Coats & Capes (Bunka)

Bunka Fashion Series
Garment Design Textbook
Coats & Capes

Bunka Fashion College
Garment Design Textbook 0
Coats & Capes

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Copyright© Bunka Fashion College, 2010
Published by
Bunka Publishing Bureau,
Bunka Gakuen Educational Foundation
3-22-7 Yoyogi, Shibuya-ku
Tokyo, Japan
151-8524
http://www.books.bunka.ac.jp
All rights reserved, including the rights of reproduction in whole or

in any form without the express written permission of the publisher.

Garment Design Textbook @-Coats & Capes
Publisher: Sunao Onuma
Edited by: Bunka Publishing Bureau


http:/ /www.bunka.ac.jp/
Printed in Japan by: Dai Nippon Printing Co., Ltd.
To the reader:
• This is a full translation of the Japanese textbook currently used
by the Bunka Fashion College.
• Figures herein are based on an adult Japanese woman of average
size. In an actual application, please take into account
the differing body measurements of the subject.
• All units of measurement herein are expressed in centimetres.
• All symbols and abbreviations used herein have been standardized
and can be found in tables on pages 212 and 213.
Foreword
The Bunka Fashion College's Bunka Fashion Course textbooks were revised to the Bunka
Fashion College Garment Design Textbooks.
Revision of our curricula for development of fashion industry professionals from about 1980
made us aware of the need for textbooks that deal separately and in detail with each subject
area of the course content. Consequently, the content of textbooks was recently updated
and now appears in the form of the Bunka Fashion Series of textbooks.
The Bunka Fashion Series of textbooks cover tour areas of study:
- The Garment Design textbooks that tea eh a broad range of professional fashion knowledge
and skills, for the development of human resources in various areas.
- The textbooks on Apparel Production intended for the development of professionals for
the apparel industry including textile designers, merchandisers, apparel designers and
production managers.
- The Fashion Distribution textbooks that aim to develop all types of fashion business people
including stylists, buyers, fashion advisors and display designers-professions in the field of
fashion distribution that are becoming increasingly specialized.
-The Fashion Professional textbooks that cover fundamental aspects related to all the three
courses above, such as color, design sketches, fashion history and fabrics.
Through the Garment Design textbooks you will acquire general knowledge about clothing
and production skills, and also develop your creativity and aesthetic sensibility.
We start with the fundamentals of garment design, and through the construction of basic
fashion items, move on toa comprehensive study of garment design and its application.
Furthermore, yo u will acquire high-level specialist knowledge and skills that address the needs
of the apparel industry that is becoming increasingly specialized.
Our concept is "turning ideas into products." We sincerely hope that you have a positive
learning experience in taking this skills acquisition course.
Sunao Onuma
Chairman
ContentS c•••• &c••••
Preface ··············.. ········.. :················.. ··············································· 3
Foreword ........................................... ........ ..... ...... .... .... ...... ... ... ........ 5
lntroduction .. ............. ....... .. ... ... ..... ..... .... ..... .... ... ..... ... ... .. ... .. ... ... ... .. 10
Fashion Coordinates ........ .... .. ....... ............... ....... .... ... ...... .... ... ..... ... .... 11
Bunka-style pattern making .... ... ... ..... ... ........ ... ..... .. ..... ... ........... ......... 15
Na mes of parts of a sloper 16
Chapter 1 . Coats ·········· · ·· · ·· ·· · · ·· · ········· · ····· · ····· · ··· · · ·· ······· · ······· · ·· · ···· · m
1. Coats ··· ··· ··· ······ ·· ···· ········· ·········· ··· ······ ···· ········ ··· ····· ··· ···· ···· 18
What is a coat? ............ .. ...... .. ............ .. ............ .. .......... · 18
The history of coats ...... .. .. .. ................ .. .............. .. ........ 18
2. Coats-Types, Designs and Fabrics ············································ 20

Silhouettes .. · · · · · · · .... · · · · · · · · · · · · · · · · · · · · · · · · · · .. · · · · · · · · · · · · · · · · · · · · · · · · · 20
Fabrics ............. ....... ... ........ ......... ......... ........... ... ........ 20
Classification by shape · · · · · · · · · · · · · · .. · · · · · · · · · .. · · · · · · · · · · · · · · · · · · · · · · · · 21
Classification by fabr ic · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 22
Classification by the way they are m ade ................ .... ......... 22
3. Coat Designs and Pattern Drafting ............ ........ ................. 23

Stra ight silholjette coat .. ................................................ 23
Raglan sleeve coat .. .... ........ ...... ...... .. .............. .. .. .. .... .. .. 27
Redingote ... ....... ... .............. ........................................ 34
Flared coat ..................... .......... ......... .................... .. .... 3 7
Trench coat .. .. ......... .. ... .... ... .. .. ... ....... ... ...... .... .. .. ...... ... 41
Drop-shoulder coat ................. ... .... ... .. .... .... .. .... ... ... .. ... . 45
Duffle coat ............ ............... .... ... ....... .... ... .... ... .. .. .... ... 49
4. Design and Pattern Drafting of Individual Parts .. .. ........ .. ........ .. .. · 52

Yo ke sleeve .. .. ........ · .............. · .. .... .. .... .. .............. .. ...... · 52
Epau lette sleeve · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 53

Dolman sleeve · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 54
Square sleeve · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 57
Kimono sleeve
O Without a gusset · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 59
@ With a diamond-shaped gusset · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 62
@) With a gusset that is an extension of the bodice sides · · · · · 65
High nec k ......................................................... .......... 68
Hood
Measuring the hood .. .. .................................. · .............. · 70
O Without darts ........................ · ..................... ... ........ 71
@ With da rts ................................................. .. ...... .. .. 72
@) With a gusset .. ...................................... .. .......... · .. .. 7 3
8 Fitted hood · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 7 4
5. Methods of Basting, Fitting and Pattern Adjustment ..................... 75
Straight silhouette coat
O Pattern-making ·· ······ ········· ····· ····· ·· ······· ··········· ······ · 75
@ Fulling (correcting the grain) · · · · · · · · ·· · · · · · · · ·· · · · · · · · · · · ·· · · · · · · 77
@ Cutting · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 77
e Applying interfacing for the coat, and basting ·· ············· 78
0 Marking ·· · · .. · · · ·· ·· ·· .. · ......... · · · · · · ..... ......... · .... ..... ....... 79
0 Basting .... ... · · · · · ............... ·.................................... 80
8 Fitting and adjusting the garment and altering the pattern .. 82
lf the centre front does not líe in a straight"line at the
he m and is opening towards the si des of the coat · · · · · · · · 83
lf the centre front does not líe in a straight line at the
he m and is overlapping excessively · · · · · · · · · · · · · · · · · · · · · · · · · · 84
lf creases appear in the front armhole ..... · · · · ............ 85
lf creases appear in the back armhole ·· · · · · · ·· · · · · · · · · · · · · 86
Raglan sleeve coat
O Pattern-making · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 87
@ Cutting · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · ·.. 88
@ Using interfacing during basting · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 88
e Basting ·· ·· · ·· · ·· · ·· · ·· · ·· · ·· · ·· · ·· · ·· · ·· · ·· · ·· · ·· · ·· · · ·· · ·· · · ·· · ·· · ·· 90
6. Sewing Methods ··········· ························································· 92
O Arranging the sea m allowances for final sewing ........... 92
@ Making the pattern for and cutting out the
upper collar and the facing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94
@ Cutting out and applying the interfacing . . . . . . . . . . . . . . . . . . . . . 95
e Cutting out accessory pieces . .. ... . ... .. .. .. .. .. .. .. .. .. .. .. .. .. 97
0 Making the pattern for and cutting out the lining fabriC ··· 97
0 Preparing for final sewing ........................................ 99
8 Final sewing ... ................ ................ .. ... ........ .... ...... 101
Raglan sleeve coat
O Arranging sea m allowances for final sewing · · ·· ·· · · · ·· · · · · ·1 18
@ Making a pattern for and cutting out the upper collar · · · ·1 19
@ Cutting out and applying the interfacing · · · · · · · · · · · · · · · · · · · · ·1 20
e Making a pattern for and cutting out the lining · · · · · · · · · · · ·121
0 Preparing for final sewing · · · · · · · · · · · · · · · · · · · ·· ·· · · · · · · · · · · · · · · · · ·123
0 Final sewing · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · ·1 24
7. Sewing Individual Parts ···· ·········· ······· ········· ··· ·· ······ ········· ····· ·· 132
Coat pockets· · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 1 32
Undecorated patch pocket · ·· ·· · · · · · · · · · · · · · · · · · · · · · · · · · · · ·· ·· · · · · · · · · 1 32
Hacking pocket
A) Standard method ·· ··· ········· ··· · ······· ··· ··········· ··· · ··· ·· 135
B ) With heavy-weight fabrics · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 1 39
Hacking pocket with flap · · · · · · · · · · · · · · · · · .". · · · · · · · · · · · · · · · · · · · · · · · · · · · 142
In-sea m pocket · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 146
Making different types of pocket opening decoration
Matsubadome ... .. ... .... ... .. .. .................. .. ...... .. .. .. . 147
Rickrack ... .... .. ...... ................. ....................... ..... 148
Pleating ....... ........................ ....... ........ .... .......... 1 48
Ruching ........... ... ... ... .. .. .... .... .. .. .. .. .. .. ..... ........ .. . 149
Standing collar ...... ... ..... ..... ... ...... .... .. .. .... .. .... .... .. .. .... . 1 50
High neck ... .... ....... ............................................... .... 1 53
Hood
A) Unlined hood .......... .... ... ....... .... ....... ... .... .. ....... 1 58
B) Lined hood ............................................ ............ 162
C) Reversible hood ... ... ..... .... .. .. .. .. ... ... .. .. .. ... .... .. .. ... 166
Turnback cuffs .. ..... ...... ............. ................................. 169
Cuff straps . ·· .... .... ... .............. ......... ......... ....... ...... ..... 171
Tabs ····· ···· ············· ······ ····· ··· ····· ······· ······· ····· ··· ········· · 173
Diamond-shaped gusset
A ) Finishing the end of the gusset attachment with
fusible interfacing · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 17 4
B) Finishing the corner of the gusset attachment with
reinforcing fabric · · · ·· ·· · · · · · · · ·· ·· · · · · · · · · · · · · · · · · · ·· · · · · · · · · · .. 177
A gusset that is an extension of the bodice si des · · · · · · · · · · · · · · · · 179
Fly front open ing
A) Standard fly front opening .. ... ...... ... ...... .. ... .... ... .. .. 182
B) Standard fly front opening · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · ·· · 186
C) Abbreviated fly front opening · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 187
Chapter 2 Capes ··········································································IEPJ
1. Capes ················.............. .. ...... ·.......... ·................ ·.. ......... ·.. 190
What is a cape? .. .... ...... ..... .... ...... ..... .. ........ ....... ...... ... 190
The history of capes ............ .. .................. .... ............... 190
2. Cape Designs and Fabrics ····················· ··································· 192

Shapes and structures .... · .............. · ·· · ........ · .. · · .. ·· .. .... · .. 192
Fabrics .................. ................ .. ................................. 193
3. Cape Designs and Pattern Drafting .. ........... ....... .... .... .. ... ........... 194
Pattern drafting for a cape ...................................... .. ... 194
Cape (one pattern piece) .... ....... ....... ..... .. .. ..... ........ ..... . 194
Short cape (two pattern pieces) ....... .. ........................... 196
Boxy silhouette cape ... .. ........ .. ......... .. .... .. ................... 198
Taking the bust-arm measurement ............ · .... · ... .. .... 200
Long cape ............... .. ..... .. ........... ....... : ...................... 201
4. Sewing of Individual Parts ......................... .. ............................ 204
Arm slits
Slash opening for arm slits .. .. · ...... · · .. · .... · .. · · .. .... · · .... 2 04
Box-shaped arm slits · ...... · .. · · .... .. · .. ·· .. .. · .. · · .. · · · .. · .... 205
Double-jetted arm slits ...... · ......... · .. · · .. · .. · .. · .... · · .. .... 208
Arm slits with fastener · ............ ·· .... ··· .. .......... ·· ...... · 21 O
Symbols related to the instructions on drawings (Bunka-style) ··· ····· · 212

Abbreviations used ··········.. ···················································· 213
Referential measurements (JI Ssizes) ········································· 214
Referential measurements-Bunka Fashion College ······················· 215
Bunka-style sloper bodice for an adult female ······························ 216
Calculation-Ouick Reference Table ··········································· 217
lntroduction
The fashion industry has expanded significantly into all aspects of

people's lives. There are many different areas in the apparel industry and
it is important that the people engaged in its various occupations possess
technical knowledge relating to garment production.
Recently, the Japanese physique has generally improved in line with
changes in lifestyle, and significant changes have become obvious in the
female body shape, particularly of young women. lt is important to create
clothes that properly incorporate these changes.
As part of updating the Bunka Fashion Series of textbooks, we conducted
an independent study at the College of measurements required for clothing
production, where our students' physical measurements were taken. We
conducted trial fittings for each size and revised our block patterns and
standard sizes for women in the younger age groups. We then studied and
developed pattern-drafting methods with emphasis on accommodating
these age groups.
The Garment Design Textbooks comprise the five following books:
Fundamentals of Garment Design, Skirts and Pants, Blouses and Dresses,
Jackets and Vests, and Coats and Capes.
This book, "Jackets & Vests", is designed for beginners and looks at the
history of these two garments, and also provides information related to
garment na mes and designs. lt explains the pattern drafting theory that
forms the basis of pattern making, pattern manipulation techniques to
alter patterns according to different body shapes, as well as sewing
methods for individual parts and production of the actual garment.
This book, "Coats & Capes", looks at the history of these two garments,
and explains pattern drafting theories by garment style, name and
design. lt also explains techniques to draft patterns for individual parts
and develop the basic pattern into various designs, as well as sewing
methods for individual parts and production of the actual garment.
As examples of actual garment production, techniques for sewing coats
with set-in sleeves and raglan sleeves are explained in detail, with a
focus on heavy woollen fabrics that protect against the cold. The book
makes ample use of diagrams to ensure that all processes from pattern
making, cutting, and sewing of individual parts to fitting and adjusting
the garment and final stitching, are clear and easy to understand.
Fashion Coordinares
Fashion Coo 1·d·mate
1
Fashion Coordinates
Fashion Coordinares
Bunka-style pattern making
The Bunka Fashion College has, based on many years of research into the body shapes of adult Japanese
women, perfected a unique theory of flat pattern making.
The Bunka-style flat pattern making method involves drawing based on the Bunka-style sloper, a product of
research and development that represents the simplest form of the female body. One of its features therefore
is that patterns can be drafted in less time by learning the theory be.hind the developing of the silhouette.
- - Fea tu res of the Bunka-style adult sloper - -

CD Asloper can be drawn with just the three measurements of bust, back length and waist.
® Avariety of different designs can be created by distributing and moving three darts.
Shape of the sloper patterns and purpose of darts

Shoulder darts
Darts to accommodate the
roundness of the shoulder blades
Bust darts
Back
L..J...__ _¡__.L..__ _- - - ' - - - - ' - - - - - - ' WL
Waist darts Waist darts

Darts to shape the Darts to accommodate
silhouette of the back torso the front torso
The method of creating a sloper is described in the back section of this book. lt is preferable, when creating
garments, to have a sloper that has been adjusted to fit the particular body shape of the wearer.
Please refer to the first book of the Bunka Fashion Series titled Fundamentals of Garment Design for a detailed
explanation of the theory behind the Bunka-style sloper and methods for adjusting it.
Names of parts of a sloper
Side neck point (SNP)

Side neck point (SNP)
Back neckline
Backneck --~--- Shoulder point (SP)

point (BNP) Front neck
shoulder point (FNP)
darts
Centre front
line (CF)
Centre back
line (CB)
Back Front
si de si de
line line
Waist darts Waist darts
Sleeve cap point
Sleeve
cap curve
1
underarm
underarm
Sleeve
line
length
1
Fold Fol~
lline line 1
i Cuff line
'
1. Coats
The beginnir
of the greatc
What is a coat?
The cape a
A coat was an overgarment worn by men and originally called The different types of coats have been named after thei carrick.
an overcoat. Nowadays, however, the garment worn over a silhouette, design or fabric, a place name, their purpose, thE With Europc
jacket or dress, that is, an overcoat, is commonly referred to name of the person who wore them or according to the wa1 uniforms an
as a coat. they are made. including ne
Coats used to be worn as part of a military uniform but were When classified according to their purpose of use, there arE middle of n
then adopted as general menswear. From the 20th century coats that protect us from the cold and from the rain, coa\1 of overcoat ~
onwards, women also, as part of their social progression, for sports and leisure and coats for formal wear. Each of these The Chester
began wearing coats. coats is designed according to their purpose and made from named after
appropriate fabrics. worn as a fe
At the begi
woollen tex
The history of coats Ulster coat,
< Up to the 13th century

> <:~ _____________1_4_th_-_s_t_h_c_e_n_tury
______________~)
anda cape
In the ancient Greek and Roman In the latter half ofthe14th century,
period, the coat consisted of a piece the robe-like houppelande beca me
of cloth wound around the body. popular among the upper classes.
This was called a manteau, the most lt was long and voluminous, lined
basic style of the coat, and was worn with fur, and its edges were dagged,
thereafter in every period of history. that is cut into decorative scallops.
In ancient Greece, it was known as a
himation. In ancient Rome, the man's
version was known as a toga, and the
woman's, a palla. They all consisted
of a piece of cloth wrapped around
the body.
Himation Houppelande
<~----------------------------------1_6_th_-_1_8_th__c_en_tury~-----------------------------------J)
In the latter half of the 16th century, men began
wearing a short manteau over a padded jacket and
puffed breeches. The manteau had a collar and a
hood, and some had sleeves although they were not
u sed.
In the latter half of the 17th century, the popular
combination of justaucorps and vest marked the
beginning of the men's suit style and saw the end
of the manteau.
In the latter half of the 18th century, the manía for
all things English made popular in France the raxa
(a closely-knit woollen fabric) frac jacket and the
redingote designed for horse-riding worn by the
English upper classes.
1930
<~ ____________________________________ 1_9_ili ________________________________________~)>
__c_e_n_nrry
The beginning of the 19th century saw the appearance

of the greatcoat, a large, loose overcoat with a collar.
The cape attached to the shoulders was called a
carric k.
With European monarchs now investing in military
uniforms and military training, many kinds of uniform
including new styles of coats appeared. Around the
middle of the 19th century, therefore, various styles
of overcoats beca me popular.
The Chesterfield coat that appeared in the 1840s was
named after the Earl of Chesterfield, and ca me to be
worn as a formal overcoat in the 2oth century.
Al the beginning of the 1870s, developments in the
woollen textile industry saw the appearance of the
Ulster coat, a double-breasted coat with a belt, a hood
anda cape made from heavy raxa or Harris Tweed.
Carric k Chesterfield coat Ulster coat
<~ ________________________________ 2_0_ili

__c_e_n_nrry __)__________________________________~)>
___(_c_o_nt_e_m_p_o_r_MY
The beginning of the 2oth century saw the

end of the exaggerated silhouette of women's
clothing, and women began wearing coats in
men's designs. The first proper women's coats
appeared after World War 1 (1914-1918), and
the practica! styles of men's clothing began
to be adopted as part of the transformation
of women's consciousness and lifestyle. A
variety of coats from sports coats to town
coats, cycling coats and duster coats were
now seen.
After World War 2, the trench coat and duffle
coat worn by soldiers on the battlefield carne
to be worn by both m en and women of all ages
asan outdoor coat for all kinds of weather.
Cycling coat
After1950 (post-war), Parisian haute couturiers
began to take advantage of advancements in
cutting technology and different silhouettes
for women's coats began to be seen.
Yves Saint-Laurent turned a mannish style of
coat into a classic for women in the latter half
of the 1970s, and in the 1980s, an oversized
silhouette was standard. Over time coats have
become more casual and lighter, and with the
development of new types of fabric, coats in
various fabrics are now worn regardless of the
season.
2. Coats - Types, Designs and Fabrics
\nere are
Silhouettes are also n<
Because a coat is an outermost garment, it is both as traditio
important to make it roomy enough to accommodate
what you are wearing underneath and also to create
Pea coa1
an attractive silhouette.
The pea
Silhouettes are roughly classified into the tour
by its s
following types.
breaste1
slash po
Straight silhouette pockets
A silhouette that is square like a box and that never The pea
goes out of fashion. Examples are garments of a worn by
general design that are standard sellers and the duffle against
coa t. most ce
blue me
Fit and fiare silhouette
A silhouette where the upper section of the body Straight silhouette Fit and fiare silhouette
is fitted and the lower section contains a fiare,
emphasizing the beautiful line from the waist to the
hips. The redingote is a typical example.
Trench '
A repn
Tent silhouette
mannis
A silhouette that opens out from the shoulder to the
menan
hem resembling a tent. lt is a soft silhouette with
coat is ·
movement created by the fiare.
devisec
for mili
Barrel silhouette trench!
A silhouette with roundness around the shoulder that British
narrows towards the hem and inflated in the shape of Genera
a barre!. The cocoon coat is a typical example. Crimea
Theyw¡
Fabrics bytheE!
Select fabrics that are capable of expressing the Burber
silhouette and the beauty of movement and that are Tent silhouette Barrel sil houette
popula t
appropriate for the purpose of the coat-a garment
that is worn outdoors and that completely covers the
body. Fabrics for protection against the rain (raincoats)
Coat fabrics are roughly classified into fabrics for The most important factor for fabrics that protect against rain is
protection against the rain and fabrics for protection that they breathe but do not let water through. Water-repellent
against the cold. textiles (high-density water-proofed textiles) that allow air and RedinQ
steam to pass but do not allow drops of water through, fabrics with A coat
a coating of synthetic resin applied to the base fabric and laminated atthe •
Fabrics for protection against the cold (overcoats)
fabrics are available. flared
Garments that provide protection against the cold have
In recent times, cotton and synthetic fibres that have undergone a lt origi
become lighter due to remarkable advancements in
water-repelling process are widely used for raincoats. of the
the field of synthetic fibres and the heavy look of the
A raincoat's function is to stand up to strong rain and wind and it is was w
conventional overcoat is now out of favour. The most
important to consider the leve! of discomfort that is caused by high coat it
important factors for fabric that protect against the
temperatures and humidity when deciding on the combination of populé
cold are that they are warm and light and that they do
design and fabric. the 18
not lose their shape. The most common woolen fabrics
mena
are tweed, mossa, beaver, shaggy, melton and heavy-
lt be
weight georgette. Among the high-quality fabrics,
· betwe
there are the animal hairs of cashmere, camel, alpaca
the rE
and vicuna. Feather and cotton quilted fabrics are
today
also widely used. Furs and hides are used also as high-
quality fabrics, used in combination with woolen fabrics
or in sections of the garment as a design effect.
Classification by shape
There are many different types of coats. In addition to the classification of coats by type, fabric or the way they are made, coats
are also named after their historical origins, a person from history ora place name, and some styles of coats are now established
as traditional styles.
Pea coat Duffle coat

The pea coat is characterised A casual coat for protection against the cold worn
by its short length, double by both men and women of all ages, the duffle
breasted front, and vertical coat has a wide application from sports to town
slash pockets (double jetted wear. The front opening is closed using toggles.
pockets). The duffle coat also has superior functionality.
The pea coat has long been The duffle coat is named after a small town in
worn by sailors for protection Belgium where the heavy woolen textile for the
against the cold and is made coat is woven, to produce coats that protect
most commonly from navy fishermen against the cold.
blue melton. The duffle coat was worn by British soldiers
during World War 11, then became popular
among ordinary people and spread throughout
the world.
Trench coat lnverness coat

A representative coat in a A coat with a cape long enough to cover the
mannish style, worn by both arms in the place of sleeves, attached to a
men and women. The trench loase knee-length bodice. The lnverness coat
coat is thought to have been originated around 1859, when the men in the
devised as a waterproof coat region of the Scottish port town of lnverness
for military operations in the wore coats made of Scottish tartan cloth.
trenches conducted by the Thereafter, they began wearing different
British military commander, versions of the coat-double-breasted; with a
General Raglan, during the tailored collar; and with a waistband. The coat
Crimean War (1853-1856). was brought to Japan in the Meiji period asan
They were produced thereafter overcoat for men but it was also worn as a coat
by the British clothing company over traditional Japanese men's clothing, and
Burberry, and have become also as a tailcoat for formal dress.
popular worldwide.
Redingote Chesterfield coat

A coat that is lightly cinched A coat that is not very long with a fitted waist. The
at the waist and has a slightly front opening is a fly front where the buttons
flared hem. are not visible from the outside and the upper
lt originated at the beginning collar is made from velvet.
of the 18th century when it A favourite of the Earl of Chesterfield, he wore
was worn as a horse-riding it during the 1840s and it became popular as
coat in Britain and became an elegant overcoat for formal dress.
popular in París at the end of
the 18th century among both
men and women.
lt became popular again
between 1920 and 1930 when
the redingote style we see
today was established.
Classification by fabric Classification by the way they are made
Down coat Three season coat
=
A quilted coat filled with feathers that retains heat and protects A coat that can be worn through the three seasons of autumn, Standa
the wearer against the cold. The fabric has undergone a winter and spring. The outer fabric of the coat is commonly patterr
special down-proofing process so that the feathers do not m ade from medium-weight to light-weight wool, sil k, synthetics
escape from the inside of the coat. or cotton and has undergone a water-repelling process. A
Nowadays fillers such as new types of polyester are also used removable liner is often attached to the inside of the coat.
instead of feathers for thermal insulation. In that case, the The liner is attached to the inside of coats and other garments
fabric does not need to undergo a down-proof processing and and is made from fabrics such as wool, quilting or short-haired Thede
wool, sil k, cotton, synthetic fibers and hides can be used. fur.ln the winter months, the liner serves to protect the wearer most b
from the ·cold and in spring and autumn, the coat is worn by cha
leather coat without the liner. Garments need to respond to lifestyles that Heavy
A coat made from animal skin that has been tanned (a special are simpler and more rational, and this kind of coat is useful protec
process for preventing decay), dyed and then subjected to for dealing easily with environmental changes and changes in cashm
various other finishing processes to produce a hide that is temperature. will be
suitable for making a garment.
Beca use hides are flexible, durable, allow air to pass and have Reversible coat Requi1
good thermal insulation properties, they are excellent for A coat made so that it can be worn inside out also. Reversible
protection against the cold, wind, and water. Most of the hides coats can either be made with reversible fabric or from a
used are from animals such as cows, sheep, goats and pigs. combination of two different kinds of fabric.
Leather coats also come in a variety of designs, from elegant Reversible fabric is a general term used to describe a kind of
to sporty. layered textile that has no face or back side and can be used
for both the inside and the outside of a garment. There are
Fur coat different combinations: plain fabrics in colours that look good
together, a check and floral pattern, or fabrics with different
The most commonly used short-haired furs are squirrel, rabbit Mani
and mink fur, and long-haired furs are fox. There are many weaves.
other types including chinchilla, sable and astrakhan, and Bodic
luxurious-looking furs are expensive fabrics. Fur is robust and M ove
has excellent insulating properties. dart ,
Sin ce the 1960s, different types of inexpensive imitation fur distril
coats have increased rapidly and taken the place of real as ea~
fur as fashion items. The perception of fur has changed
significantly from its image as an expensive status symbol Bodic
to a stylish fabric that can be worn by anyone. Nowadays Divid1
fur coats are popular among young people. so a~
betWI
meas
1/4 ol
the a
to tt
The •
beco
3. Coat Designs and Pattern Drafting
1, Standard measurements from the Bunka Fashion College female students reference measurements have been used for drafting
y patterns and determining the length of fabric required.
S
A.
S
d The design of this coat with a tailored collar and straight silhouette is the
most basic and never goes out of fashion. The design can be developed
by changing the length, the fullness, the collar and the pockets.
Heavy-weight woollen fabrics such as tweed and mossa are good for
protecting against the cold, and high-quality wools such as camel and
cashmere can also be used according to the purpose for which the coat
will be used.
Requires: 260cm of 150cm-wide outer fabric

250cm of 90cm-wide lining fabric
or 220cm of 110cm-wide lining fabric
(Length of front bodice x 2) + 40cm of 90cm-wide fusible
interfacing
Thickness of shoulder pads 1-1.5cm
Manipulating the darts on the sloper

Bodice back
Move about 2/3 of the shoulder 2
dart allowance to the armhole and ,--- Clase 3
distribute what remains of the darts
asease in the shoulder.
Bodice front
Divide and move the bust darts Back
so as not to disturb the balance
between the front and back armhole
measurements. Leave about 1/3 to
1/4 of the dart allowance as room in
the armhole and move what remains
to the neckline and the shoulder.
The amount moved to the shoulder
becomes the bust dart allowance.
Distribute in the
armhole
lmportant points for pattern drafting Collar
• From
Because coats are worn as the outermost garment, when Bodice front point
drafting the pattern, consider the length of the coat, length of • At the centre front, add sorne room for layering (0.5cm) meas
the sleeves, the amount of room required in the body of the and for the button extensions of the coat. At the shoulder rolllir
coat and the sleeves and the measurements for the neckline line, add room for layering, in the same way as for the
• Ata 1
and armhole in relation to those of the inner garments. back shoulder line. draw
• With the bust point (BP) as the pivotal point, cut and open angle
Bodice back out towards the hem half the bust dart allowance that point
• To increase functionality, add more room to the bodice has been moved to the shoulder, and cut and open what • Conn
back than to the bodice front. Add room for layering at remains on the neckline as gorge darts. point
the shoulder line and draw. with
• Extend the waistline lcm at the side and draw the side collar
seam line. • From
par al
• With
2-2.5
back
• Meas
O.S cm widtr
O.Scm
attac
• Dete1
edge
Back O.S cm
,,. í,,.
0 F'ront Di a meter
of buttons
=2.8cm
1.8cm
WL
Cut and
Coat open out
length
(103cm) O.Se
HL ~
Collar Cutting and opening out the bodice front
• From point ® positioned 1cm back from the side neck
(O.Scm) point on the bodice front, measure the front collar stand Close half of the bust dart allowance and cut
measurement (3cm) and connect with the end of the collar and open out the gorge darts
houlder
rol/ line to draw the rol/ line.
for the Cut and
• At a point 5cm below the front neck point on the sloper open out
draw a line that intersects the lapel rol/ line at a right (
1d open
angle. Measure the collar width on that line and mark
ce that
point @. Draw the lapel and the front neckline.
!n what
• Connect point ® with a point 2cm below the front neck
point. Extend the line 3cm beyond the intersection point
with the rol/ line and connect with point ® to draw the
collar attachment line.
• From point ® measure the back neckline measurement ®
para/le/ to the collar rol/ line.
• With point ®as the pivota/ point, m ove the back neckline
2-2.5cm on the are, and connect to point ® to draw the
back collar attachment line.
• Measure the collar stand measurement (3.5cm) and collar
width measurement (5cm) at right angles to the collar
attachment line. Determining the
position of the
• Determine the front collar width and draw the outside end of the darts
edge of the collar.
allowance and
cut and open out
Enlarged view at the hem
Front
Sleeve
• Copy the armhole on the bodice. Make the height of the
sleeve cap 5/6 of the length between the bottom of the Aco
sleeve and the centre of the difference between the front to m
and back shoulder points. of tt
• To create the directionality of the sleeve so that it follows arml
the natural shape of the arm, move the position of the In ac
sleeve cap point 1cm backwards and meas u re the front and anin
back armhole measurements. However, the measurement
pur~
added to the armhole measurement is related to the
amount of ease and is adjusted according to the type of Determining the height Req
fabric. óf the sleeve cap
Ma1
Bod1
<!) Mov
dist1
* is the shortage in the armhole ca used by changes

to the bust measurement. See the measurement
Bod
Lea'
table on page 217 for more about this measurement.
wha
Lea'
re m
T
<!) + 0-0.Scm
j
Back
sleeve sleeve
width
1
0
Sleeve length
+ 6-7cm
1.2cm
\
1.2cm 3cm 3cm
width
Sleeve
Sleeve
EL 1 1
Sleeve Sleeve vent with

Crease cap dummy buttons Deve l
line line rema
bust
1
3-
Sleeve width X ...l._ 0.5cm

2 4 3cm 3cm
Enlarged view
Sleeve width
2
Raglan sleeve coat
Acoat that is comfortable to put on and take off and al so comfortable
to move in. The raglan sleeve extends in one piece from the shoulder
of the coat with a deep diagonal seam from the neckline to the
armhole, making the sleeves easy to insert the arms into.
In addition to mossa, tweed and double georgette, you can also use
animal hairs such as cashmere, camel and beaver depending on the
purpose for which the coat will be used.
Requires: 260cm of 150cm-outer fabric

(Length of front bodice x 2) + 70cm of 90cm-wide fusible interfacing

Bodice back
Move about 1/2 to 2/3 of the shoulder dart allowance to the armhole and
distribute what remains of the darts asease in the shoulder.
Bodice front
Leave about 1/3 to 1/4 of the dart allowance as room in the armhole and move
what remains to the neckline.
Leave 1/3 to 1/4 of the bust dart allowance as room in the armhole and divide the
remaining as room in the neckline andas bust dart allowance in the side seams.
/ Closei--f
Back
CD
Open
Bodice
Order of pattern drafting • At th1
• Determine the degree of incline of the sleeve cap line by
Bodice back dividing the base of the right-angled isosceles triangle into the b
• Determine the coat length, and draw adding room to the equal sections. Make the height of the sleeve cap about add e
body width. 3/4 of the length from the back shoulder point as far as • Draw
• Add room for layering at the shoulder line. To create the bottom of the armhole. as fo1
roundness in the shoulder point. add 1cm room to the • Connect the shoulder point and the guide point on the
shoulder point and extend the shoulder width. From that diagonal line and extend. Determine the length of the Sleeve
point draw a right-angled isosceles triangle to determine sleeve and make it the sleeve cap line. Measure the sleeve • Find
the incline of the sleeve cap line. cap height (®) from the shoulder point and draw a line that sleev
• Draw the neckline, divide into three equal sections to intersects the sleeve cap line at a right angle. The sleeve mea~
determine the starting point for drawing the sleeve width is determined by finding the point on that line that the s
attachment line. Connect this point and point ® on the is at the same distance from point ®as the bottom of the samE
back width line on the sloper and draw a guide line. Draw armhole on the bodice. ínter
the sleeve attachment line as far as the bottom of the • Take the same measurement as the sleeve width in the • Take
armhole with a gentle curve according to the amount of sleeve opening to determine the measurement of the slee\
tension in the shoulder blades. sleeve opening (back sleeve width x 3/4 ). is th
• Draw a line directly downwards from point ® and cut and slee\
Sleeve back panel open out the amount for the fiare in the hem line. CIOSI
• Determine the degree of incline of the sleeve cap line and cut e
the height of the sleeve cap (®). The degree of incline on the sleeve cap line and the height
of the sleeve cap vary according to the amount of room
required in the bodice of the coat, the depth of the armhole
and the amount of anticipated movement. Following are
SP sorne measurements to use as a guide.
O.Scm
Sleeve length + 7-8 cm
3.5cm
Coat
length Back
(90cm)
1.5cm
HL
Determining the sleeve cap
SP
Back
Sleeve
28
Bodice front
e by • At the centre front, add 0.5cm room for layering and for
into the button extensions of the coat. At the shoulder line,
lOut add 0.5cm room.
ras • Draw the raglan line for the bodice front in the same way
as for the bodice back.
the
the Sleeve front panel
eve • Find the degree of incline of the sleeve and draw the
hat sleeve cap line. From the shoulder point take the same
eve measurement as the back sleeve cap measurement on
hat the sleeve cap line. To determine sleeve width, take the
the same measurement as the front underarm on the line that
intersects the sleeve cap line at a right angle.
the • Take the same measurement as the sleeve width in the
lhe sleeve opening. Draw the underarm sleeve line so that it
is the same measurement as the back sleeve underarm
md sleeve line.
Close the bust darts that have been moved to the sides and
cut and open out towards the hem.
¡ht
~m
le 1cm
re
3cm
Sleeve length + 7-Bcm Diameter of button = 2.8cm
.S cm Top-stitch distance
from edge of fabric = 0.7cm
3cm
~e ve
Cut and
open out
3 ···Coat Designs and Pattem Drafting ·•· 29

Cutting and opening out
Adjust
Back
¡---- -
2cm
HL -
"'"'
Cuffs Figure 1 Cutting and opening out
(tJ···~·I
O.Scm lcm
1 : .·. .
r--- ~
0.4cm O.Scm O.Scm O.Scm 0.4cm
Cut and open out * Consider the cutting and opening out measurements
for the removable cuffs according to the fabric yo u are using
30
With a straight silhouette
Sleeve
Front Front
3 ·-·Coat Designs and Pattern Drafting ·-· 31

Determining the angle of the sleeve cap line Compa
As the raglan sleeve extends in one continuous piece from the Therefore make the angle of the sleeve cap line on the the sh<
shoulder, it is important to determine the angle of the sleeve front sleeve larger (a stronger incline) than that on the back The diag
cap line with the shoulder point as the pivota! point. sleeve.
Where the angle is large (i.e the incline is strong), the shoulder The greater the difference between the two angles, the
line and raglan line follow the line of the arm in a natural way. stronger the directionality of the sleeve will be. A. When
When you connect the front and the back sleeve cap lines, the The slee
Where the angle is smaller, the sleeve beco mes wider, creating
angle on the shoulder line is determined according to the ratio Since th
room from the shoulder point along the raglan line when the
shown in the following diagram. plenty o
arms are lowered.
A front and back angle ratio of about 2:3, as shown in the hanging
The sleeve cap line of the raglan sleeve also needs to incline
diagram, allows sufficient room for movement and also shoulde1
in a frontward direction to accommodate the movement of
expresses the beauty of the sleeve. a coat ti
the arms.
for a pat
instead 1
Determining the incline of the sleeve
2:3
Back Sleeve
32
Comparison of sleeve width, sleeve cap height and sleeve bottom measurements when the angle of
!he the shoulder point is changed
ack
The diagram below shows where the angle of the shoulder point has been changed while maintaining the same armhole depth.
the
A. Where the shoulder point angle is small B. Where the shoulder point angle is large
:he The sleeve width will increase and the sleeve cap will be low. The sleeve width will become narrow and the sleeve cap
ti o Since the underarm measurement has increased, there is higher.
plenty of room for movement of the arms. When the arms are Since the underarm measurement decreases, functional ity
he hanging at the sides of the body, room is created from the in terms of movement of the arms is impaired, but the line
so shoulder point along the raglan line. This design is suitable for running from the shoulder along the sleeve fits the body
a coat that emphasizes functionality and is roomy overall, or beautifully.
for a pattern where the shoulder line has be en m ade into darts
instead of seams on the sleeve cap line.
A
B
Back
Front
\ When you align the sleeve cap

line and the sleeve opening line
\ Back sleeve in the diagram above you can
Front sleeve
see how the different
\ measurements change
\
\
\
Redingote Importa!
Bodice ba<
Also known as a riding coat, the redingote is a slim coat with the waist cinched • Determin
along the princess seams. With different fabrics and coordinates, the orthodox for ease
design of the red ingote can be worn in both a sporty andan elegant way. You draw thE
should select fabrics that suit the purpose of the coat. • Draw th <
room for
Requires: 300cm of 150cm-wide outer fabric • Determ i1
320cm of 90cm-wide lining fabric below th
Length of bodice front x 2 of 90cm-wide fusible interfacing the silhc
Thickness of shoulder pads H.Scm

Bodice back
Move about 2/3 of the shoulder darts to the armhole and distribute what
remains of the darts as ease.
Bodice front
Leave about 1/3 to 1/4 of the chest darts as ease in the armhole and move
what remains of the darts to the neckline and the bust darts.
Coat rength
(118cm)
34
lmportant points for pattern drafting
Bodice back • Make the amount for cinching the princess seam at t he
• Determine the length of the coat, measure the amount required waist about 2/3 of dart d and draw the fiare of the hem in
for ease in the body of the coat and in the hipline, and the same way as the side seam.
draw the high waistline. • Draw the high waistline of the martingale in the cent re,
• Draw the neckline and the shoulder line with additional and then at the centre back, the extension for the vent.
room for layering and then draw the armhole.
• Determine the fiare at the hem starting at a point 10cm
below the hip line (so that the coat length does not cause
the silhouette to change).
lcm~0.5cm
0.5cm ~¡:2{+.á.
~~ j 0.5cm
® '"... 0.5-:;trJ
~
2c m \ \ Día meter of
Back 1- button = 2.5cm
~ 1.5cm
1 \\..2.5-3cm
/'\ 1-1.5cm
"' ...._ 2c m
'"
V lOcm
1'\.
1_/!!.l ~ le m
T
0
1
1.5cm'\ le m
~rm 1 r.N
2cm 1// ~ k ']1 - - 1
T.---:- ~d
Martingale
2.5cm
•
Back F'ront
(side panel)
(side panel)
Coat len gth

(liBe m) lcm'l:
HL HL
1\-------
7.5cm
+ + 3cm ---:7f
lOe m
H
4+4.5cm
7.5cm
l!
1"--acm / \ \ 0.5 cm
End of
vent
/
0.5cm
1'0.5cm 0.5cm 0.5cm
Extension
/::,.
1
1
t\Left 1\Right
1' [/
1\ 1
1
1 1
P::
~~ 1
f;:::: 1
1
L _j _j L
3 ··· Coat Designs and Pattem Drafting ·•· 35

Bodice front
• Determine the position of the collar rollline and add 0.7cm
ease for layering; ease in the shoulder line and in the body
of the coat and for the double-breasted button extensions A function<
of the coat. a large am
• At the shoulder point, add room to accommodate the that are pé
thickness of the shoulder pads, and draw the armhole and high, stanc
the side seam line. high, and t
• Draw the princess seams from around the position of the Use good·
bust darts so that they pass through the area between fiare.
dart a and dart b. Draw the fiare of the hem in the same
way as for the side seam.
Determining the height of the sleeve cap
Sleeve
2cm T
Front armhole + 0.5 <
1
1cm
l. Scm
Sleeve length
+ 6-7cm
Sleeve
0
O.Scm
1
End of dummy
sleeve vent
2.5cm
Sleeve
width X _2_ (14.5cm)
2 4
36
Flared coat
Afunctional coat with an elegant A-line silhouette containing Requires: 260cm of 150cm-wide outer fabric
a large amount of fiare. lt has set-in sleeves with wide cuffs 360cm of 90cm-wide lining fabric
that are part of the same garment piece as the sleeve and a Length of bodice front + 15-20cm of 90cm-wide
high, standing collar. The centre front of the coat is relatively fusible interfacing
high, and the coat can be worn with the top button undone. Thickness of shoulder pads 1-1.5cm
Use good-quality, light fabric that produces an attractive Sewing of individual parts:
fiare.
See page 150 for sewing the standing collar
See page 169 for making the turn-back cuffs

Bodice back
Move about 1/2 of the shoulder darts to the armhole. Develop
what remains of the darts into the fiare.
Bodice front
Make about 1/4 to 1/5 of the bust darts into ea se at the armhole,
insert 0.5cm of ease into the neckline with what remains of
the darts, and develop what remains into the fiare.
!h
3 - ·Coat Designs and Pattem Drafting ·-· 37

Correct
lmportant points for pattern drafting Aiign th
Bodice back Bodice front fiare in
• inserta seam in the centre back to create a siihouette with • Ciose the chest darts and cut and open out in two piaces
a iarge amount of fiare in the back. (see next page).
• To deveiop the fiare, open out at the position of the
shouider darts and the @ iine to make the pattern. The Collar
amount of fiare can be changed by moving the position of • As the fiare coat has high iapeis, the neckiine is deep and
the end of the darts (Figure 1, page 40). sits off the neck.
le m
lcm\ ~0.5cm
0.5cm 0.5cm~
.--
-.---==~F\--
="'®-- // • O.S~--( 0.5cm
', fClose '/
,: 1 7 Close \
Back Front
~ \
~
"r-. 2cm
3cm
Diameter of
button = 2.8cm
le m
Coat length
(88cm) ~ /
Cut and Cut and
open out open out
L ...1 L
38
Correcting the grain in the bodice back
Align the grain with the centre of the pattern so that the amount of
fiare in the bodice back is distributed equally.
o places
~ep and Cutting and opening out
3 ·-· Coat Designs and Pattern Drafting ·-· 39

Figure 1 Sleeve
• As the sleeve has no particular directionality, it is not
necessary to move the sleeve cap.
• For the turn-back cuffs, measure the cuff length and cut The most
Relationship between the amount of as one continuous piece. worn by b
fiare and the end of the darts character
extension
As the darts become shorter,
the amount of fiare increases
slight flan
to move i1
A Determining the height of the sleeve cap

Use the armhole pattern before cutting and opening out
Front armhole
+ 0-0.Scm
í
1
Sleeve length
Sleeve + Scm
Be m
40
not Trench coat
cut The most recognized style of raincoat, the trench coat is Requires: 500cm of 110cm-wide outer fabric
worn by both men and women in a variety of situations. lt is 330cm of 90cm-wide lining fabric
characterized by a deep overlapping of the two front button (200cm of 90cm-wide lining fabric for a half-
extensions, plenty of room in the body, a silhouette with a lining)
slight fiare at the hem and raglan sleeves that are comfortable Length of bodice front + 70-SOcm of 90cm-wide
lo move in. lt also has epaulettes, a storm flap and gun flap. fusible interfacing
Thickness of shoulder pads 0.8-1cm
Sewing of individual parts:
See page 171 for sewing the cuff belt
Manipuiating the darts on the sloper

Bodice back
Move about 2/3 of the shoulder dart allowance to the armhole
and distribute what remains of the darts into ease.
Bodice front
Make about 1/3 to 1/4 of the bust darts into ea se at the armhole,
use O.Se m to inserte ase into the neckline, and develop the rest
into the silhouette.
th
3 ·-· Coat Designs and Pattem Drafting ·-· 41

6.5cm l
Bodice
• This coat has a lot in room in the body and deep armholes. • Fold the fabric loops attached to the shoulder point in
• Connect the 1/3 point of the back neckline to the point that double and fasten with a button (see page 44) to form the S cm
is halfway between the line ® on the back width line and epaulettes.
the bust line to make a guide line for drawing the raglan • Make the belt long enough to be worn t ied with the ends
line at the back. hanging down, attach a buckle and a D ring (see page 44).
• Connect the 1/3 point of the neckline to the point halfway
4.5cm r
on the chest width line to make a guide line for drawing the Collar
raglan line at the front. • The collar is a shirt collar with a collar band. The two
Collar
~¡.
• Clase the bust darts on the bodice front, open out at the ends of the collar band meet at the centre front and are band
hem line and develop into the same flared hem silhouette fastened with a chin strap.
as the bodice back.
SP
0.5cm
Sleeve length+ 6-Bcm
Back
16cm
3cm
Coat length
(108cm)
Cut and
open out
Determining the height of the sleeve cap

2.5cm
JL
42
A wrap e
shoulder·
and no fa
Front Heavy-w
Even unli
Require5
Epaulette
6cm Scm
' \
8?lc¿-~2cm
1+-- 13cm - - + t - - 13cm ----+1 Sewing 1
Back + +
+ +
HL
+ +
Vent tab attachment

position
1
11
11
11
11
11
2cm
~ Belt ~· J[
BZ= 15cm ~ 15cm ::::e 4cm
150cm
44
Drop-shoulder coat
A wrap coat with a hood and a boxy silhouette with drop
shoulders. lt has a deep overlapping of the two front edges
and no fastenings, and can be worn in many different ways. Bodice back
Heavy-weight jersey or medium wool are suitable fabrics. Move about 1/2 of the shoulder darts to the armhole and
Even unlined, it is light and comfortable to wear. distribute what remains of the darts asease.
Requires: 260cm of 150cm-wide outer fabric Bodice front

310cm of 90cm-wide lining fabric Make about 1/2 of the bust darts into ease at the armhole, and
Length of bodice front + 15-20cm of 90cm-wide move the remaining 1/2 to the neckline. On the drawing close
fusible interfacing the 1/2 that has been moved to the neckline, cut and open out
Thickness of shoulder pads 1-1.5cm at the hem and make what remains into ease at the neckline.
+: 1
See page 166 for sewing a reversible hood.
1
1
'
+
Close - 1-
2
Back
3 ·-·Coat Designs and Pattem Drafting ·-· 45

Bodice
• As the shape of the armhole al so affects the directionality • Determine the height of the sleeve cap as shown in the
of the sleeve, make su re that the curve in the back armhole diagram below.
is not deeper than that in the front armhole. • For the sleeve attachment line, draw the back sleeve cap along
• Extend both the front and back shoulder points by 5cm, the armhole on the bodice to prevent the sleeve from flowing
draw a line that extends downward at a right angle and backwards. Draw the front sleeve cap in a curve away from
measure 1cm on the line. Connect that point with the the area between the armhole line on the bodice in order to
shoulder point, draw the sleeve cap line, and determine establish directionality.
the length of the sleeve. • When the sleeve is attached (see Figure 1 on page 47), the
angle of the front sleeve cap line becomes stronger and
the sleeve flows towards the front (it follows the natural
shape of the arm).
Sleeve length
+ 6cm
Back
Coat length
(73cm)
Sleeve length
+ 6cm
Determining the height

of the sleeve cap
Cut and
open out
46
Figure 1
~
/
/ Sleeve
Front
Diagram for comparison
~...--_B_el_t------>---1\\. _______________¡l4cm
170-lSOcm
~ ._.r ........... n ......! - - - - .l n _ _.. __ T"\. r..

Hood
• Close 1/2 of the amount of the bust dart allowance that has been
moved to the neckline and cut and open out at the hem. Then
redraw the neckline and make the drawing for the hood.
• See page 70 for how to take the measurements for the hood. A loose-fit
and wome
lt is laye re
to make tt
Hood the front
,_ __ measurement
~ + 2cm ------+1 from left t
2
lt is gene
such as m
has been
Hood
Hood
measurement
- -: : - - - - + 6-7cm
2
48
Duffle coat
A loase-fitting coat with a boxy silhouette worn by both men

Requires : 230cm of 150cm-wide outer fabric
and women of all ages.
Length of bodice front + 15-20cm of 90cm-wide
ltis laye red in the shoulder area to insulate against the cold and
fusible interfacing
to make the coat strong, and the toggle fastening means that
the front sections of the coat can be conveniently overlapped
See page 173 for making the tabs
from left to right or right to left.
lt is generally unlined and therefore suited to fulled fabrics
such as melton or heavy-weight woolen fabrics where the nap
has been raised after fulling. Bodice back
Move the shoulder darts to become ease in the armhole.
Bodice front
Move 1.5cm of the bust dart allowance to become ease in the
neckline and make what remains into ease in the armhole.
Open
Back
lmportant points for pattern drafting • Make four fifths of the length from 1/2 the difference Hood
between the front and back shoulders to the underarm, • The size
Bodice the sleeve cap height. the neckl
• The duffle coat is generally around knee length but you • As the sleeve has no ease and is top-stitched on the from twc
can make it in your preferred length. bodice, make the measurement taken on the sleeve width líes relal
line from the sleeve cap point at both the front and the against t
Sleeve back shorter than the armhole measurement.
• The sleeve of the duffle coat is slightly longer than other As the amount to be reduced is not fixed, check the sleeve (1) Draw as
coats, and the extra length serves in the place of gloves attachment measurements after you have drawn the sleeve the coat, rr
to protect against the cold. cap line. /2 + 2-3cn
the point 11
(2) Draw ti
front and
si de of the
the point Q
(3) Draw a
draw a line
Toggle button
and mark
measure h
le m
Enlarged view the centre
(4) Divide t
Right Mark the p
-- (5) Detern
and draw 1
cm
Overlapping 1 going dire
l
fabric ®.Divide
Z.Scm 3cm 5cm
sections te
Diameter of button=1.8cm
Left Make the 1
¡.... 6cm....¡ and @ano
Top-stitch width
from edge of fabric
=0.7cm T
2cm 6cm
3cm j_
l Back F"ront
l 3cm
3cm
Chin strap
2.5cm
Back ar
-1.3cm
1.5cm 2.5cm
Coat length
(96cm)
0.5cm
Scm
2cm
Be m
12cm Determining the height

of the sleeve cap
Pocket 21cm
1
1
1
L __ _ 1
_ ___ 1
~-------------------U------~~~~~~~~==~=C:ij lcm
_ _J 6cm
2C
50
erence Hood
erarm, • The size of the hood is determined by hood length and
the neckline attachment measurement. The hood is made
Around
n the from two panels and when not being worn on the head, the head
{23cm)~
width lies relatively flat. A chin strap is attached to protect 2
nd the against the col d. ®-------©----.::..::..:. .-: -.:. :. :. :. :.-® ®
1
sleeve (1) Draw a straight line directly upward from the centre front of Hood
l
sleeve the coat, measure the height of the hood (hood measurement
/2 + 2-3cm) and draw a right-angled line that intersects with lcm ' ©
the point 1cm below the side neck point (SNP) on the bodice. :
(2) Draw the hood attachment line. Measure horizontally the
front and back collar attachment measurements on either Hood
measurement + 2 _ cm
side of the middle point on the sloper shoulder width and mar k 3
2
the point@. {43cm)
Hood 1.5cm
(3) Draw a straight line directly upward from point @. Then
draw a line ata right angle from the hood height measurement ( 1
and mark the point where they intersect @. From point @,
measure half of the measurement around the head towards
the centre front of the coat and mark it point @.
(4) Divide the are a between ® and@ into three equal sections.
ht Mark the point 1cm above the two-thirds mark point ©.
(5) Determine point @ along the centre front of the hood,
and draw the sea m line. Mar k as® the point at which the line End of hood
cm "-
going directly upwards on the centre front intersects line @ u attachment
@. Divide the area between line @ and ® into three equal
sections to determine point ©.
Make the length between © and @ the same as between ©
and@ and draw the sea m lines.
Back armhole
Front armhole
-1.3cm
T
1
-1.3cm
®
1.5cm
1
Sleeve length
Sleeve +10cm Sleeve
ht
1.5cm
2cm 3cm 2cm

Adjust
4c~ Toggle
(for the sleeve opening)
3cm
3 ·· ·Coat Designs and Pattem Drafting ··· 51

4. Design and Pattern Drafting of Individual Parts
A sleeve v
Yoke sleeve section , ar
the should
epaulettes
A sleeve that is cut as a continuous piece from the yoke.
Following is an explanation of a simple method for developing
the pattern for the raglan sleeve coat on page 27. lmporta1
Pattern dE
lmportant points for pattern drafting • For bot h
Pattern development from the raglan sleeve coat as far a
armhoiE
• For both the front and the back, extend the yoke seam Decide
as far as the armhole line on the sloper, and redraw the and the
armhole line and the sleeve attachment line. curve a1
Decide whether to make the point where the yoke and the sleeve • Decide
attachment line connect into an angle or a curve according to accordi
the design.
·-
Armhole on sloper
BL
Back
52
Epaulette sleeve
A sleeve where a narrow yoke is inserted in the shoulder
section, and the sleeve is cut as one continuous piece from
the shoulder. So called because the sleeve appears to have
epaulettes.

Pattern development from the raglan sleeve coat on page 27
• For both the front and the back, extend the shoulder sea m
as far as the armhole line on the sloper, and redraw the
armhole line and the sleeve attachment line.
Decide whether to make the point where the epaulette
and the sleeve attachment line connect into an angle ora
curve according to the design.
• Decide whether to insert fiare into the back bodice
according to the silhouette of the front bodice.
Armhole on sloper
Dolman sleeve Importa
Bodice bé
A relaxed sleeve with a deep armhole where the wide sleeve
Manipulating the darts on the sloper • Determi
opening is gathered and cuffs attached. the coa!
Bodice back • Drawth<
Move about one half of the shoulder darts to the armhole and line, anc
make the rest into ease. • Determ
height 1
Bodice front points G
Leave 1/3 of the bust darts in the armhole and move the • Draw a
remaining · 2/3 to the neckline. The dart allowance that has measu1
been moved to the neckline will become ease in the neckline that lin
and the bust dart allowance.
The bust darts that have been moved to the neckline will be
developed as part of the design. They can be developed in
severa! ways, for example, including them in to the seams
or making darts. Here one half has been use to develop the
silhouette at the hem and the rest made into darts.
Close~
3
lmportant points for pattern drafting • Take the same measurement as the sleeve width measurement
at the sleeve opening to determine the sleeve opening
Bodice back measurement, add an amount for puff, draw the sleeve opening,
• Determine the length of the coat and add ease to the body of and then the underarm seam line.
the coat and the shoulder line.
• Draw the sleeve cap on the line that extends from the shoulder Bodice front
e and
line, and determine the sleeve length.
• Draw in the same way as the bodice back. Draw the front
• Determine the depth of the armhole and draw. Determine the sleeve cap line deeper than the back armhole line to
height of the sleeve cap using the measurement ® between produce a frontward directionality.
points ® and@ as a guide.
! the
• Draw a line ata right-angle to the sleeve cap line, take the same
:has Sleeve
measurement as the armhole measurement on the bodice on
kline • For the underarm seam line, copy the underarm seam line of
that line, and determine the sleeve width.
the sleeve back to produce the same curve (the area between
11 be points ® and @ ).
!d in • Connect the front and back sleeves and determine the cuff
ams measurement.
the
Back
nt
le m
4 ·-· Design and Pattern Draftine: of Individual Part.< ·-· 55

Cutting and opening out Diagram for comparison
F•ont l
/+- Around the wrist + 12cm (27cm)---..¡
1
1
Sleeve
1
1
1
1
1
1
1
-----
56
Square sleeve
A sleeve where the armhole line runs at a right angle to the
bottom of the armhole and has a boxy silhouette when viewed
from the side.

Follow the same instructions as for the dolman sleeve.

Bodice back
1 • Add ease to the bodice and the shoulder line, extend the
shoulder line to determine sleeve length. From there, make a
line at a right angle and draw the sleeve opening line.
\ • Draw a line directly downward from point ® (between the back

width line and the side seam on the sloper). Draw a horizontal
line from point @. Measure 1.5cm towards the side seam, from
the point where the two lines intersect at a right angle and mark
point@.
• Connect the shoulder point and the point ® and draw the
armhole on the bodice.
• Draw a line from point ® that intersects at a right angle with
the sleeve cap line and determine the height of the sleeve cap
(.t:..).
• With the point ® as the pivotal point, draw an are with ®@
(JI) as the radius. Make the point where the are intersects with
the sleeve width line point ®. Mark as © the middle point
between points@ and ®.
• Draw a line from point © to intersect the sleeve opening line at
a right angle and determine the sleeve opening measurement.
• Connect with point © and draw the underam line.
Bodice front
• Add ease to the body of the coat 1cm
and the shoulder line, extend the
shoulder line and determine the A sleeve
sleeve length. Draw the sleeve The patt
opening line at a right angle. three-dil
• Draw a line directly downward
from chest width line on the sloper.
Draw a horizontal line from point@ OWit
. Measure 1.5cm towards the side
Asthe~
seam, from the point where the two
lines intersect at a right angle and mea sur
mark point®.
• Connect the shoulder point and Manip
point ® and draw the armhole for
Bodice
the bodice.
Move a
• On the sleeve cap line, take the
sleeve cap measurement (.6.) in the
same way as for the back and draw Bodice
the sleeve width line. Leave
moved
• On the sleeve width line, take the
measurement as from point ® to the
armhole and mark point ®.
• With the point®as the pivotal
point, draw an are with ®@ (e) as
the radius. Make the point where the
are intersects with the sleeve width
line point ®.
• Divide into two equal sections the
line between point ® and the point
where the horizontalline from point
@ and the are intersect. ®Mar k the
middle point ©.
• Draw a line from point©to intersect Diagram for comparison
the sleeve opening line at a right
angle and determine the sleeve
opening measurement. Draw the
underarm line with the same curve
as the sleeve back.
• Connect the sleeve front and back,
determine the cuff measurement
and draw.
Cuff
1+- Around the wrist + 12cm (27cm)-+{
58
Kimono sleeve
A sleeve that is an extension of the bodice and ideal for expressing a round shoulder line andan overall soft silhouette.
The pattern is a simple two-piece pattern, but a gusset can also be inserted to create additional room to move in the sleeve and
three-dimensionality when viewed from the side.
O Without a gusset
As the kimono sleeve is made from two pieces, make the angle of inclination from the shoulder point gentle so that the side sea m
measurement from the underarm does not become short.

Bodice back
Move about 2/3 of the shoulder darts to the armhole.
Bodice front
Leave 1/2 of the bust dart allowance in the armhole and move the other 1/2 to the neckline. The dart allowance that you have
moved to the neckline will become ease in the neckline and bust darts.
Closet
4 ·-·Design and Pattem Drafting oflndividual Parts ·-· 59

Bodice back Moving t
• Add ease to the bodice width and the shoulder line and draw Where ti
• Take the same measurement as@-© at the sleeve opening,
a right-angled isosceles triangle to determine the angle of the shoulder
determine the size of the sleeve opening, and connect to point
sleeve cap line at the shoulder point. Divide the base of the to the fr<
@as a guide line for drawing the sleeve bottom line. Take the
triangle into three equal sections, determine the angle of the
same measurement as@ -@ on the guide line and draw the
sleeve cap line, measure the sleeve length, and draw the sleeve
sleeve bottom line.
opening line.
• Divide the underarm measurement on the sloper into three
equal sections and mark points@ and@. Bodice front
• From point @, draw a line that intersects the sleeve cap line at • Draw in the same way as for the bodice back.
a right angle and mark point ©.
SP
Bac
Sleeve length + 6cm
Back
Cut and
open out
1cm
Sleeve length + 6cm
Cut and
open out
60
Moving the shoulder line
Where the sleeve is cut as an extension of the bodice, the
ng,
shoulder line has a tendency to move backwards, so move it
1int
to the front.
:he
he

8 With a diamond-shaped gusset
A kimono sleeve where the angle from the shoulder point has been increased and aligned with the shoulder line anda gusset has
been attached in arder to create additional room in the underarm.
The diamond-shaped gusset is often used on the long-sleeved variety of the kimono sleeve. o
O.S cm
• Divide the distance between the back width line and the
side seam line on the sloper in to two equal parts and
See page 59. mark the centre point @.
• Determine the end of the gusset attachment line on the
lmportant points for pattern drafting si de sea m line, mark it point@ and connect with point @.
• Draw !l line from point ® to intersect the sleeve cap
Bodice back line at a right angle mark it point ©. Extend line ® - ©
• Add ease to the bodice width and the shoulder line and downwards.
draw a right-angled isosceles triangle to determine the • Take the same measurement at the sleeve opening as®
angle of the sleeve cap at the shoulder point. Determine - © and mar k point ®. Take the same measurement as®
the angle of the sleeve cap line on the base of the triangle -@ on the extension of line ®- © and mar k point ®.
and measure the sleeve length. • Connect points ® and ®.
• Position the gusset attachment in such a way that the • Mark the middle point between point © and the sleeve
seams of the gusset are not visible when the wearer's opening as point e. draw a downward line from point (8)
arms are lowered. at a right angle to the sleeve cap line, and mark the point
where it intersects line ®-®as point Q).
• Connect points ® and Q) to draw the underarm gusset
attachment line.
• Clase the shoulder darts and open out in the hem.
Bodice front
• In the same way as for the back, determine the angle of
the sleeve cap line and draw.
• For the gusset attachment position at the front, divide the
distance between the chest width line and the side seam
line on the sloper into three equal sections and mark
poínt @. Mark point ® on the side seam line using the
same measurement as for the back, and connect points
®and@.
• Draw a straight line from point ® to intersect the sleeve
cap at a right angle line, mark point ©. Connect ® - ©
and extend the line downward.
• Take the same measurement as ® - © at the sleeve
opening and mark point ®. From point ® take the same
measurement ®-@ on the extension of line ®- ©, and
mar k point ®.
• Connect points ® and ®.
• Take the same measurement on the sleeve cap lineas the
measurement on the bodice back sleeve between point e
and the sleeve opening, and mark the point ~ . From ~
\ draw a line ata right angle to the sleeve cap line and mark
as point ® the point where it intersects with line ®- ®.
• Connect points ® and ® to create the front underarm
gusset attachment line. As the front gusset attachment
line will have an acute angle, make it slightly curved to
make the finishing of the corner easier.
• Cut and open out 1/2 of the bust darts allowance that
has been moved to the neckline in the hem and use the
remaining darts to develop the design.
62
has
!he
nd
he
1 Back
cap
©
®
®
ve WL •
'
8
nt
le m
Cut and
el open out
®
1
/~
Sleeve length + 6cm
1/Close
. . .¡
(
Cut and
open out

O With a
A kimono si
This design
1 Back
it expresse ~
WL
Sfeeve
opening
Sfeeve
bottom
sea m
Gusset
• Draw a horizontal line and a perpendicular line, and
on the horizontal line mark the back gusset width ®
@ and the front gusset width ® @.
Back Front • On either side of the perpendicular line, copy the
area between ® and@ and ® and ®.
• With the ®as the pivotal point, draw an are with ®-
®® CD as the radius. With ®as the pivotal point, draw an
are with ® and ®as the radius. Use the intersecting
Back Front point of the two ares to draw the diamond shape of
the gusset.
Side seam
He m
64
8 With a gusset that is an extension of the bodice sides
A kimono sleeve where a triangular gusset is attached as an extension of the si des of the bodice.
This design creates room for the arm to move, and beca use each side of the bodice is made from three pieces,
it expresses the three-dimensionality of the garment when viewed from the side.

See page 59.

Developing from a kimono sleeve with a diamond-shaped
gusset (A-Iine silhouette).
Bodice back
Draw the bodice side panel and the gusset.
• Draw a line directly downward from point ® and draw the
side panel seam lines on both sides.
• The triangle connecting @, ® and CD will become the
gusset in the underarm.
• Close the shoulder darts and either cut and open out in the
hem or make them into ease in the shoulder.
1
Sleeve length + 6cm
Back
WL
Cut and
open out Back
(side panel)
HL
4 ·-· Design and Pattem Drafting of Individual Parts ·-· 65

Bodice front Gusset
Draw the bodice side panel and the gusset. Draw continuous '
• Draw a line directly downward from ® 1
/~
point and draw the side seam lines for the
bodice.
• The triangle connecting ® , ® and ® will // Close
become the gusset in the underarm. Sleeve length + 6cm

• Cut and open out 1/2 of the bust dart
allowance that has been moved to the
neckline in the hem and use the remaining
darts to develop the design.
(
Cut and
open out
HL
Diagram for development
--
Figure 1
WL
Bac
HL WL
WL
HL
HL
66
Sleeve
opening
Draw continuous with the bodice side panel.
sea m
Making the triangle in the sleeve

bottom smaller so that the
stitching is not visible
Gusset Gusset
1
Bodice
si de
panel
Back Front
Back Front
(side (side
panel) panel)
He m
Figure 1
When making the section of the gusset that is at the underarm

smaller, make su reto include sufficient sea m allowance in the
underarm on the bodice. /{'-
/!
Front
Back 1/
lf making the gusset smaller
WL
HL
4 ···Design and Pattern Drafting oflndividual Parts ·•· 67

High neck lmportant P
• As the colla1
neck, take o
A high collar that is cut out asan extension of the bodice. on both the
1.5cm at the
Manipulating the darts on the sloper • For the heig
at the centr•
Bodice back
point and d1
Move the shoulder darts to the armhole to make the
@ on the st
neckline easier to draw. Draw the dart lines for the neckline
neckline wi
and clase leaving an amount for ease in the armhole to create
on the ned
the high neck darts.
• copythecu
Bodice front · line (height
Make about 1/3 of the bust dart allowance into ease in the with the ce1
armhole, clase the remaining on the drawing and develop into • Measure 1<
shaped seams. guide poin
the BP and
on both si1
in the nec
Clase the
in the nec
Diaq
Ad
~ A
68
@ 0.5cm
• As the collar has a shape that sits off the
neck, take off 1.5cm at the side neck point
on both the bodice front and the back, and
1.5cm at the centre front.
• For the height of the back collar, add 5.5cm
at the centre back and Scm at the si de neck
point and draw the neckline. Connect point
high 3cm
® on the shoulder line and point ® on the
kline
neckline with a curved line. Draw the dart
eate
on the neckline.
• Copy the curve@-@ 7cm above the shoulder
line Cheight of the front collar), and connect
the with the centre front.
nto • Measure 1cm towards the centre from the Back Front 0.5cm
guide point on the neckline, connect with
the BP and extend upwards. Mea su re 2.5cm
on both sides of the extension line for ease
in the neckline and draw connecting lines.
Close the bust darts and cut and open out
in the neckline.
Back Front
:,·;~
'f /? _ Facing on bodice back
Adjust
Facing on bodice front

4 ·-·Desi~ro and Pattem Dr.ofhn.,. nfln";,,;, ... , n-~

Hood Wit
A hood
"Hood" is the general term for the cowl-style headpiece that loosely covers the head and neck a long their form.
The size of the hood (length and width) is determined by taking the necessary measurements for the hood and considering the
purpose for which the hood will be worn. lf its main purpose is protection against the cold or rain, the hood will be closely fitted
around the head but sorne hoods are of a loase design with ease added to the length and width.
Measuring the hood

Because a hood covers the head and the neck, the dimensions Where the end of the attachment of the hood is not going
of those parts of the body are required. There is a difference to be the front neck point, measure as far as the end of the
between individuals in the size of the head and the length of attachment on the left or right of the front neck point. lf you
the neck. want to add ease to the length, slacken the tape measure on
Have the wearer stand erect and looking straight ahead. Using one side of the head, press it down firmly on the top of the
a tape measure, measure loosely from the front neck point head and measure the other side with the same amount o!
on the sloper over the top of the head and back to the front slack.
neck point.
70
O Without darts
A hood with a loose silhouette.
g the
ntted lmportant points for pattern drafting
From the front neck point and directly upward from the centre
front, measure and draw the hood length (hood measurement/2
+ 2-5cm) and the hood width (around the head/2-2 to 3cm).
As this hood has no darts, determine the hood width by
taking into consideration a balance with the hood attachment
ping measurement.
the Dra.w a horizontalline 2cm below the side neck point, mea su re
yo u the front and back hood attachment measurements on that
e on line, and draw the shape of the hood.
lthe As the shape of the hood changes according to the difference
f of between the hood width and the attachment measurement,
adjust with sorne ease in the hood width.
Hood width
1+--- Around the head _ 2 _3 cm ---1
2
25-26cm
4c~
Hood length
Hood measurement + 2 -scm
2
(41-44cm)
Example of a duffel coat bodice
Scm SNP
Back
Front
4 ·· ·Design and Pattem Drafting oflndividual Parts ·•· 71

8 With darts
A hood with darts that has a three-dimensionallook.
A hood wil

On this drawing, the shape of the hood has been drawn after
determining the hood's length and width, and the difference in
attachment measurements between the hood and the bodice
has been made into darts. However, you can also determine
hood width after determining the dart allowance (based on
the silhouette of the hood).
M ove the darts if too much thickness is created

by their overlapping with the shoulder line sea m
allowance
/+-- Around the head _ _ cm

1 2
---.¡
2
(26-27cm)
4c~
Hood
Hood measurement + 2 -scm
2
(41-44cm)

13cm
Back
Front
72
8 With a gusset
Ahood with a long, narrow gusset in the centre.
ter
in
·ce
ne
n Measure and draw hood length and width and draw the
attachment line and the outline of the hood.
Determine the width of the gusset and draw the seam line
parallel to the outline of the hood. Then measure the same
length as the sea m line to draw the gusset.
1
1+-- Around the head _ _ cm
2 3
-..¡
2
(25-26cm)
4cm
4cm ..,
Scm
' Hood Hood measurement + 2 -Scm

' 2
'
(41-44cm)
Back
Front
4 ·-· Design and Pattem Drafting oflndividual Parts ·-· 73

8 Fitted hood
A fitted silhouette where the head is completely covered and the neck section is an extension of the centre front.

The hood is short and wide and has darts.
The hood attachment line when the hood is worn will be as OPa
shown in Figure 1. On the drawing, therefore, reduce 3-4cm (e)
from 1/2 the hood measurement. Copyt
Conne
contir
Ched
insert
to COl
1+------ Around the head+ 2 _3 cm--+{

2
(30-31cm)
1.5cm
Hood
Hood measurement _ _ cm
3 4
2
(35-36cm)
9cm
FNP
When using heavy·weight

fabrics, position the darts in
such a way that they do not
Back overlap with the shoulder line
Front seam allowance.
---r- . . . . . . .
Figure 1 / ~3-4cm) "'--..
7
1 1
1 1 Hood measurement
1 2
1
L__ \
74
S. Methods of Basting, Fitting and Pattern Adjustment
tJI Straight silhouette coat
O Pattern-making
Copy the drawing toa separate sheet of paper to make the pattern.
Connect the neckline, gorge lines, lapels, roll lines and armholes with smooth,
continuous lines.
Check the amount of ease and the alignment markings in the sleeve cap, and
insert the grain lines, na mes of the pattern pieces and other alignment markings
to complete the pattern.
Pattern check
1
Gorge line, rollline
1 Front
Draw a neat
curve
Back
Armhole
\
Front \
Draw a neat curve

Pattern e Fullin
woolen fe
shrink wh
fabric shc
cut.
The look
n
OJ
cashmen
partícula
apply a 1
fabrics. 1
iron witr
lf your <;
are usin
retain i1
Back Front fulled p
.....
u
8Cu¡
-¡..
Cuttin<
-¡..
The fal
andvo
coat c1
In the
be pie
-¡..
direct
the s<
back.
Cut e
uppe
and <
Take
tootl
n Undercollar
OJ
Upper
sleeve
Under
sleeve or
76
Pattern layout for cutting
1 fulling (correcting the grain) 150cm wide -------~
woolen tabric, being highl'l absorben\, has a tendenq to
shrin"- when ewoseó \o s\eam or tl\g\'1 \empera\mes. \he
~ • '- "::> ~'\>te~ ~ e¡ . ~ ~\c1 '\:.! i\\~ ~ ~ i\~. (:,
cut.
The look and feel of tweeds and napped fabrics such as
cashmere, melton, flannel, shaggy, mossa and velour in
particular is easily damaged. You should, therefore, never
apply a hot iron directly on to the front surface of these
fabrics. lnstead you should turn them inside out and lightly
iron with a steam iron.
lf your garment requires a large amount of fabric or if you
are using napped or shiny fabrics that have a tendency to
retain iron marks, it is a safer option to have your fabric
fulled professionally.
8 Cutting
Cutting the outer fabric
The fabrics used for making coats are of different weights
and vol umes compared to toile. Do a basting together of the
coat cut from the actual fabric you have chosen.
In the case of napped fabrics, the pattern pieces should
be placed with the nap of the fabric running in the same
direction. Collars should be cut so that the nap runs in
the same direction as the bodice when the collar is folded
back.
Cut out the pocket pieces, pocket facings, facings, and
upper collar after you have fitted and adjusted the garment
and altered the pattern.
260cm
Take care to match the pattern of herringbone or hound's
tooth checks when placing the pattern pieces.
le m Cut after
fitting and
adjusting
~----------=~----_J
5 ··· Methods ofBasting, Fitting and Pattern Adjustment ·•· 77

e Applying interfacing for the coat, and basting to the entire garment, be aware that it will shrink when the
interfacing is applied. Therefore roughly cut out the outer fabric
Choosing an interfacing and the interfacing together, apply the fusible interfacing, make
The interfacing plays an important role in preventing the markings on the interfacing and align the seam allowances.
fabric from stretching and maintaining the silhouette of the
garment. Coats are generally long and fully lined, and they can Applying fusible interfacing
be considerably heavy. A type of interfacing, therefore, that is When basting the coat also, apply interfacing where necessary
light and provides a strong support for the outer fabric from so as to maintain a silhouette that is close to the finished
the underside is ideal. silhouette. The fusible interfacing is applied befare the marking
In the example described here, fusible interfacing has been is done, and should be applied in such a way that the grain of
used. Choose an interfacing that has good adhesive strength both the outer fabric and the interfacing are correct and that
for fabrics that have undergone a process for raising their the pattern is symmetrical on both si des of the garment.
nap. Pay particular attention to the hemline as interfacing Place the outer fabric on an ironing mat with the wrong side
has a tendency to come off due to the friction created when facing upwards and place the fusible side of the interfacing on
walking. top. Align the cut edges of the outer fabric and the interfacing
So that the grain responds well to the way the fabric moves, as you correct the grain overall and then apply.
consider the special characteristics of the interfacing and
maybe, for example, cut the interface on the bias in places in
the garment where stretch is required.
Alternatively, in cases where you are going to apply interfacing
Sections of a garment where

interfacing is to be
applied during basting
(see the following page for
cutting out the interfacing)
280-
Back
(back si de of the Jabric)
..... ..•.•...••.•...........•.•• ..
....••.....••..••••••••....•.•.....•
· :·.-t.·.· .·.·.·.·.·.·.:.·.·.·.·.·.·.·.·.·.·.·.·.·.·.·.·.·.·.·.· ·.·.·
:• .•.•.·.·.· ,:.·.·.·.·.·.·.·.·.·.·.T....•.•.•.•.•.·.·.·.•.•.•.•.·..·.·.
..... ..........••......•......... ..
• • • • • • • • .. • • •Jeo ••••••••••••••••••• ••
:.•••••.........•......•••..•...••...
.....
. .....
. .... .. ........•..••••............... ..
.•• ••••!tr.·•
.· ..... •.·.•.•.....•..••.•
....·.·.·.·.·.·.·.·.·.·.·.·.·.·.>::.·.·.·.·.·.·.·.·.·.· ·.•.·
.... ......................................
..... .........................•..... ....
...........•••••••••••............... ...
.............•.••.................••.. ..
.........................................
•..................................... ..
•••.•........••••••.•••............... .......
.... .......................................
.............•..•..................... ....
.......................................
.••.........•..•••••.•................. ....
..•••••••...••................••••••••....
.•............••.•..•.................. ....
.................•.............•.......
..... .........................................
·•·······································
....
.............••........................... ....
••............••••••••.•..................•••
•.•••.•.••..............••••••••••••.....
...•••••••............
·· r~·~·~·~·~·~·~·~·~·~·~·~·~·~·~·~·~·~·~·~·~·;.·:.·~·~·~·~~~~
..••••••.•...........••...••.•...••.........••.
~
···•···········•··••··•·························
.......................................... · ~-=~
·································~
·······················~ p
78
Pattern layout for cutting
C3 Marking
90cm wide
For marking, use tailor's tacks. Tack closely between points
·. with a strong curve such as the armhole, sleeve cap and collar
attachment line.
With heavy, coarsely woven fabrics and fabrics that have a
shag, the tailor's tacks have a tendency to fall out and it is
easy to cut the shag accidentally when cutting the threads.
Therefore mark the back side of the fabric with chalk and
machine stitch each piece with long stitches (0.4-0.Scm) or
·. F"ront
alternatively, make stitch markings with basting thread .
F"ront
. .
.... ,..............
•••••• w•••• •••••••••
•••••• 1 1
•·
·.••·.·•·.·.·.•••
.·.·.·.·.·.·.·.·.·.·.lj ¡~
.....................
• • • 1 ............... .
...........
···· •........
~ ······ ~~ ········
....................
·····•·······•·····•
• • 1 •••••••••••••••••
·' ··················
•.•...•.......••.••.
....................
....................
•
;:.·.·.·.·.·.·.·.·.· ..... ·.· .... ·.·..
.. • • • • • • • • • • •••••• l .
+
. •j::·.
tron
..
~ .... {~..te ,J. • ilú/abric)
•.................•••..••••
)( ·.
..........................
: ·.•.•.•.•.•.·.•.•.•••.·.•.•.•.•.•.•.•.·.·.·.•.•.·.·.·
..........................
280-300cm
}\ ·.
•.••••......•
... ...........
.............
.............
1 ••••••••••
.......
·.·.·.·.·.·.•.·.·.
..........
....... ..;
1\ ..........
..............
...........
...••....••.
.........
..........
·.·.•.·.·.·.·.·.·. ~ .
.:(
.... ,
f....
....1. •••••••••••••••••••••••••• •••• •••••••••••••••••••
r. . . , -~-
...............
.·.·.·.·.·.·.·.·.·.·.·.·.·.·.\·.·.·.·.·.·.·.·.·.·.·.4
.·.·.·.·.·.·.·.·.-.1
.....
.·.·.·.·.·.·.·.·.·.·.·.·.·.·.·.· +
...........................
••••••••••••••••••••••••••••• "t ....
...............
, . 1 ~ .·.·.·.·.·.·.·.·.·.·.·.·.·.·.·
...••..•.•.••..
....,
.... ...............
...............
...............................
~ ....
...., Back ..............................
........................... .
.........................•••
.l......
hem /
......................••.••
.....•......................
........................ .
...•.•.••.•••.••.••......
.........................
....
.l....
....
.......
....J
....
, / A/·
<] ..
" ~
...................... .
...........•.........•.•.
.....................
................... . .
.•.•.•...•.••....•••
• •.••••..............
...................
..•.........••..•.
................ .
f .. .............. .
...............
t . ! ...•.........
••••••••••••••••••••••••••••
L 1
..............
...........
............
.
/r .
.;,..........._
'--
:------
..
Upper
......-
collar
---~
] "'-v/
>
-:~
.........
.........
-:- ·::::-:-.
......
........
"'
-< . \./)\
.Sluv!~
.........
bpenlng / )
<:f/.., 1
Cut after
fitting and
adjusting
5 -·Methods ofBasting, Fitting and Pattern Adjustment ·-· 79

<D Basting 1 Sew the centre back and the darts
Baste on the right side of the fabric to hold in place. You can 2 Sew the sides
also overlap the seams if you are using heavy fabrics etc. 3 Fold the front edges
4 Raise the hem
5 Sew the shoulders
6 Make the collar and attach
(see next page)
7 Make the sleeves and attach
(see next page)
8 Attach the pockets and buttons
Overlap the seams Pockets for basting can be cut out from
leftover fabric
Front
(face si de of the Jabric)
2
1
1
1
1
1
80
Sewing together the collar (overlapping the seams)
Viewed from the outside
Viewed from the inside
Enlarged view
J[
Sewing together the sleeves
1
1
1
1 (Jau sid<
1 of th< fabric)
1
1
1
1
5 ·-Methods ofBasting, Fitting and Pattern Adjustment ·•· 81

8 Fitting and adjusting the garment and altering the pattern lf the e
The fror
Fitting and adjusting methods
hem. De
lt is best if, when fitting the coat, that the wearer is wearing (3) What about the balance between the sleeves and the length the cen1
the garments she intends to wear underneath (for example, of the coat, width of the shoulders and width of the hem; the
sweater, dress or suit) and high heels of the same height she shape of the collar; the positioning of the pockets; the space
will be wearing with the finished coat. As the shoulders play between the buttons and the size of the buttons?
a large part in the wearing of a coat, the coat should be worn (4) ls the sleeve cap too high or too low and does it have a
with the shoulder seams in the correct position and the centre natural directionality? Has the ease been well distributed?
back and centre front running in a straight line through the (5) Check the overall ease and the width of the hem for
centre of the body. Use pins in the position of the buttons at everyday movements such as walking and sitting.
the centre front and have the wearer stand naturally. Following is an example of where a fitting sloper was not
(1) Does the centre front line run in a straight line from top to u sed.
bottom?
(2) When viewed from the side, does the waistline run
horizontal (parallel to the floor) and do the side seams run
perpendicular?
Consider the overall silhouette and the detailing from the
front. back and side view.
Front view Rear view Side view
ls the waistline
horizontal?
ls the waistline horizontal?

---------.'
Do the si de
seams fall in
a straight line?
line pass
through the
centre of the body __ __ __ _ __ _ __ _ _ _ __""r-_.., _ __ _ __ ls the waistline horizontal?
82
lf the centre front does not lie in a straight line at the hem and is opening towards the sides of the coat
The front is too long and the centre front is opening at the
h hem. Decrease the length as shown in the diagram and adjust
the centre front line.
1e
:e
5 -Methods ofBasting, Fitting and Pattem Adjustment ·•· 83

lf the centre front does not lie in a straight fine at the hem and is overlapping excessively
lf crea
lf the centre front line is overlapping excessively at the hem,
add length to the front as shown in Figure 1. Alternatively, if the Creases
overlapping is caused by the wearer's sloping shoulders, trim front an
the shoulder point as shown in Figure 2 to make the armhole Figure 1 Add horizon1
wider or add shoulder pads for thickness. adjust ti
Front
Figure 2
Tri m
shoulder width
n
[ll
Tri m
Back
84
lf creases appear in the front armhole
Creases appear because there is too much fabric in the
front armhole. Cut off excess fabric in the bodice front, in a
horizontal direction from the center front to the armhole, and
adjust the armhole measurement and sleeve cap curve.
Adjust
@ Cut off
Sleeve Sleeve
+
+
+
5 ·-Methods ofBasting, Fitting and Pattern Adjustment ·•· 85

lf creases appear in the back armhole
Creases appear because there is too much fabric in the
back armhole. Cut off excess fabric in the bodice back
around the area of the shoulder blades, in a horizontal
direction from the center back to the armhole, and adjust e Pat
the armhole measurement and sleeve cap curve.
Copy t h
lines, e
the wa
cap lin¡
Back Back
\\
1
Adjust
@
Cut off
Sleeve Sleeve
86
ti Raglan sleeve coa!
Pattern
1 Pattern-making
Copy the drawing with smooth continuous
lines, check the alignment markings for
the waistline, raglan line and the sleeve
cap line, and make the pattern.
Sleeve- Sleeve-
back panel front panel
n
m
\L--cu-ff ----...Jl
.......____l
....
u
An amount to
accommodate
the thickness
of the fabric
Back Facing
5 ·•· Methods ofBasting, Fitting and Pattern Adjustment ·•· 87

The pe
8 Cutting Pattern layout for cutting out the outer fabric interf<
With shiny or napped fabrics, place the pattern pieces so that _ _ . - - - - - - 150cm wide - - - - - - . ¡
they run in the same direction. Cut the undercollar on the bias,
and the upper collar so that it runs in the same direction as the
bodice when the collar is folded back. On the fold
The facing can either be cut asan extension of the front edge
oras a separate piece. lf you are using a heavy-weight fabric,
cutting the facing asan extension of the front edge produces
a lighter, softer finish.
Cut the upper collar, pocket facing, and interfacing for the
sleeve opening and the he m after making the pattern following
fitting and adjusting.
8 Using interfacing during basting

In the case of raglan sleeves, interfacing is applied to the sleeve a seam at
the centre
cap section to prevent stretching of the raglan seams. On the
and cut out
bodice back and raglan sea m on the sleeve, apply interfacing the left and
right alonq
close to the sea m.
the same
After applying the fusible interfacing, mark in the same way as
for the straight silhouette coat.
.....
u
6cm
260cm
Front facing
......
Pattern layout for cutting out the interfacing ......
90cm wide - - - - - - - - + Pocket ....
...
~··
....
.... .. "
Front sleeve opening Back sleeve opening
...
....
.....
........
......
t•••
....
.......
7cm
....
• • •
.
Collar
stand
fusible hair
.....
canvas
interfacing
...
•••
(X 1)
cm
.....
....
50cm ..
....
• •
Back
..
••
Front •
.. •
bodice
he m ....
..
...
...
Cut after ..
...
7cm fitting and
6cm adjustinc¡
Pocket openmg
88
The parts of the garment where
interfacing is applied during basting
Sleeve-back panel
(back <idt of tht Jabric)
at
re
out
and
ng
e
...............................
......... .............
...••••...•.....•.....•••...•.•••
................ .
.......•.................•.....
............. ................. ..
...............................
......................... .................. .
••.•..••••......•......••......•
...••.•....• .••......•..•...••.
..•...........•..••.....•••.....
:.·.·
... .•............
••••••••••••••••••••••••·.·.--r.·.· .......... ·••••••••••.
.... .
...
.••.......•.•••..
.................
......•...•• f(oot
... ••..•.......
.........•••...
... ........... . {6adujd~ o] lb e folml).
...... ...........
• • • 111
.•.....••....
•••••••••••••••
·:·:·:· :·:·:·:·:·:·:·:·:·:·:·:·
............... ·:·:·~
... ,.......
..... .
.............
................
..............
............ ..
............
...............
............
... .
.....
...............
:·:·:·:·:·:·:·:·:·:·:·:· ·:·:·~
......••.•...••
............
............... ...
.....
. ............
............
................
............ ..... .
...............
.............•.
........... ...
....•.....•.
....
........... ...
............
...•.......•
...........
..........•. ...
................. .
...............
............
..•.......•. .............. .
........•... ....•....••....•
............................
............ .••.•..•..••....
............................
..••.....••• •....••.•.•....•
............................
............ •....•••.....•.
.................•..........
........••.. .•........••...
•••.•....••..•..••....•.....
............ ............... .
............................
............ ............... .
..•................•.•......
............
..........•. ..
............... .....
......•.........
5 ·-·Methods ofBasting, Fitting and Pattern Adjustrnent ·-· 89

8 Basting
The seam allowances are basted to hold in place after the
seams are sewn together, but with heavy-weight fabrics, you
can also overlap the seams.
1 Sew the centre back and sew together the

side seams
2 Make the sleeves
3 Make the cuffs and attach
4 Attach the sleeves
5 Make the collar and attach
(see next page)
6 Fold the front edges
7 Raise the hem
8 Attach the buttons
Fold the seam allowance
towards the back and baste
to make them líe flat
1
1
Front
(face side
~ Sleeve-
of the Jabric)
/ ¡, front panel
~llowancet
/ / (face side of the Jabric)
lj
lj
~
~ Fold the seam
towards the sleeve
and eíther bast~ to make
~~=~~~~!at or overlap f \
lj
~
6
+
1
\ - s -~-
Make thread markíngs
on the waístlíne 1
\
""'" ' " ' i
openíng Make thread
markíngs on the ~
1
\ Fold the sea m
allowance on
\
1 the sleeve bottom
towards the back
Fold the seam allowance
and baste to
towards the front and
make líe flat
baste to make them líe flat 1
\
1
\
1-
90
Attaching the collar
A: Attaching a shirt collar D: Attaching a tailored collar
Collar Collar
The outer edge of the
collar can be basted
from the fa ce side also
Fold the seam

Baste along the allowances on the
finishing line collar and baste
Fold the sea m
allowances on the
collar and baste
Front Front
(face side of the fabric) (face side of the fabric)
8: Attaching a standing collar
Baste along the Collar

finishing line
Fold the seam
allowances on the
collar and baste
Either baste with

basting thread
Front in a contrasting colour
(face side of the fabric) along the finishing line
or attach tape
Front
(face side of the fabric)
C: Attaching a flat collar
Baste along the

finishing line
Make notches in
the seam allowances
and baste along
the finishing line
Front
5 ·-·Methods ofBasting, Fitting and Pattern Adjustment ·-· 91

6. Sewing Methods
IJ Straight silhouette coa!
O Arranging the sea mallowances for final sewing

Adjust the pattern when the fitting and adjusting is completed, tacks in sections where they are required for sewing such as
and correct the markings on the outer fabric. the darts and pocket positions, and re m ove them from straight
As the seam allowances have been cut larger for basting, cut sea m sections such as the side seams.
them to the required size for final sewing. Leave the tailor's
le m
Back . ...... .
......... frol'lf
.........
............
.......
..........
...........
Add an amount to accommodate

the thickness of the fabric
and the width of the facing
to be pushed in
••••••.••...........•.•................
......•........•...•••••..••••.••.•••.••
.....................................
...
.............................•..........
.....•.•........•..•................•
...
........................................
.....................................
..................................... ...
•••..••••...••.............•....••••...•• ...
.........................................
......................................
......•........•..•••••••••••...•.•...... ...
...
.........................•............... .
......................................
...
...•...•..............•................
..........................................
........•....................••.••••••• .
...
...................•......................
....................•..••...••.••.••••..•. .
.......................................
..••••.•...•••....••..................•
...
..
...........................................
.....•......••....•......•.••.•••••.••••
··•··············••••••••··•·•·············
.••..................•........•...•••.•••••
...
............................................
....................•..............••....
........••.........................•.••.••••
..........................................
....
••••••..•.•••.................•.••..•••••..••
.............................................
~·········································
.......................•.................
...........................................
... ...
.................
...........•....
5-6cm •............ .
.............
.............
.............
92
le m
le m
Upper sleeve 1.5cm

1.5cm (back sidt of tht fabric)
1-1.5cm 1-1.5cm Under sleeve
(back sidt
of tht fabric)
2.5-3cm
3-4cm
* See page 139 for pockets
6 ·-·Sewing Methods ·-· 93

8 Making the pattern for and cutting out the upper collar and the facing
Cutou
interf;
Upper collar apply
page
bod ic
press
0.3-0.4cm
Add an amount to
accommodate
the thickness
of fabric and the
amount to be
pushedin
0.15-0.2cm Cut and open out (Ease around Adding seam allowance
0.15-0.2cm the outer edge)
lcm
WL
0.2cm
Cut and
open out
0.15-0.2cm
Tri m the amount
to be pushed in
0.3-0.4cm the thickness of fabric
The centre back
is equal to 1/2
of the amount
that has been
opened and moved f'<=::::===f::=-- 1/2 '
ofthe length '.
from the 'F =>"===iF=4l
WL to the hem /
0.2cm
Connect to the centre back with a straight line '' Cut and
'
' open out
Draw at a right angle on the straight line and cut and lcm F'acing
open out 0.3-0.4cm for ea se in the collar roll line area
Enlarged view
lcm
Adding seam allowance
n
CD
1-2cm ~-+-'-----L__J
94
8 Cutting out and applying the interfacing
Cut out the upper collar, the facings, the he m and sleeve opening
interfacing, and the fusible hair canvas collar interfacing and
apply (see "Pattern layout for cutting out the interfacing" on
page 79). With an iron, reapply the fusible interfacing on the
bodice front and back that you applied during the basting. A
pressing machine is useful for this purpose.
.................
:
cm
............................
.........................
...................•.•...
....•.....................
....
••••.....................
....
Back
(back side of the fabric)
.......
............
........ .
...........
......•....
...........
............
............
•.......•...
•............
........•.•
............ .
••••••••••••••••••••••• .lr ..•..............
................
.................
....................................
....................................
............................
...........................
········•·•·•••·············
...........................
...........•.••••.•••••.•.••
••••............
.
.................
...........
...................
... .. ...... ...
.. . ..
....................
............•.••••.•
...................
·~
....................
...................
......................•..•••.••..••..••..
........•.•..••••..•••..••.•.•...•.....
.........................................
.......................................
••••••.•••.•................•............
..•..•..............•....•.••..•••••••...
...•.....................................
........................................
.•....................•••.••••••••.•••.•..
. ... ................................
.•.••••••••.•................•.........••..
. ....
••...••••••••..•..•...................•..
..........•..............................
.........................................
...........................................
.........................................
...•...•.•••••••.••...........•...........•
..........................................
···•········································
•••••••..••...............•.•..••...••..•.
.....................••.••••.......•........
.••.•••••••.•..••..........••......••....•
................••.......••.......•....•..••
..•....•...................................
..•••............................•........••
...........................................
.............................................
............................................
•••••••••••••.•••.....................••....
............................................
.............................................
............................................
....... ..
..•..•••..•••••••.•..........................•
.............................................
................•.............................
.............................................
..........•.••••••••••••••...•................
...........
. ......
.................
.....•..........
....
...•••.......•... l. S cm

e Cu1
Cut out
See pa'
~Ma
the li
The SE
wider ·
the an
"PattE
the un
Sew the centre back and press
the siE
open the sea m allowance Use tt
the oL
Unir
The 1
Additional layer of fusible interfacing to th'
taker
lininc
..........
alloV\
.......
...... , fabri
out e
The
......
...••.... , ......
Fren
............ .. ....
........
·······~'-'••
¡¡¡ • • ~
jacq
90c
······~~~···
' . .. . 1>
...... ...
...... . ..
'..... • • *
......
... ..... .....
Upper sleeve
(back side of the Jabric)
.. ......... .. .. "
..
.......................... ......
'
•••••••• •• olt
Under sleeve "'
(back side
'
. ...... ... .
~
of the fabric)
....... .
....
... .
......
..
..
......
. ............ .... .
.............
........
..........
............... "'.
~
1-l.Scm
1-l.Scm
96
9 Cutting out accessory pieces
Cut out the fabric for the si de pockets (hacking pocket)
See page 135 for details.
i Making the pattern for and cutting out

the lining fabric Pattern for the sleeve lining fabric
The seam allowance on the lining fabric should be

wider than the seam allowance on the outer fabric by
the amount required for extra room (see page 98 for
"Pattern layout for cutting out the lining fabric"). In 2.5-3cm
(underarm seam allowance x 2
the underarm area, add length and width for encasing + thickness of fabric)
the sleeve attachment sea m allowance.
Use the same pattern for the bodice as you used for O.Scm
the outer fabric.
lining
The lining fabric of the coat is extremely susceptible
to the abrasion created when the coat is put on and
taken off. For loosely woven outer fabrics, select a
lining fabric that is heavy and strong, and does not
allow wind to pass through. The colour of the lining
fabric should strike a good balance with that of the
outer fabric.
The types of lining outer fabric available include twill,
French twill, cross-woven taffeta, satin weave and
jacquard twill. The most common fabric widths are
90cm and 110cm.
Upper sleeve- Undersleeve-

lining fabric 1.5cm lining fabric
1.5cm ' 1.5cm
O.S cm
Cut and
open out
Lining
Outer fabric
1-1.5cm

Pattern for the bodice front lining Pattern layout for cutting out the lining fabric
90cm wide On the fold
Befon
to thE
armh<
lt is i1
for th
meth'
n
CD
250cm
Back F"ront
* Add additional
length at the hem
if you are going Mak
to finish the in tt
hem on the and
outer fabric the
1.5-Zcm
with lining fabric
cut on the bias
90cm-wide - - - - - - - - - + 1
110cm wide
n
CD
le m 220cm
Back F"ront
;=======Jd 0.4cm
1.5-Zcm 1.5-Zcm
1+-------------- llOcm-wide-------------1
98
<3 Preparing for final sewing
Befare final sewing of the garment, apply fusible stay tape
to the front edges, the back of the roll back line and the
armhole.
lt is important to select a type of stay tape that is suitable
for the fabric, the silhouette of the garment and the sewing
method.
Enlarged view
Apply 1-l.Scm-wide tape over the linishing line

1 Apply stay tape
Sea m
allowance
Hall-bias
tape
Make notches
in the tape
and overlap
the inside
..........................•..
..............................
.............................
..............................
.............................
...........••.••.•••..........
...............................
...........................
••••.....•......•••.•...•••
.........
....
••••••••t
........
...
.......
.... • ffo
Hall-bias
.....
....
-'-....
t
• (9qc sidt of h..:f4f¡ '"
Back
(back sidt of tht fabric)
tape
..................
.•••.•........•.
...............
••..•.•..••.........•
T • aaa
...••...........
.......•.••.••
.••.••.••......
..............
...............
.•••••.........
...............
····································
....................................
....•••••....•......•••.•.••••.•...
........................•...........
...................................
....................................
.......•••••••••............•••••...
.......•.............................
....................................
························•············
•••....•.......•.•••••..............
.....................................
.....................................
••........•.•••••...•••......•....•••••
.....•••...................•.••.•.•..
......................................
........•..•..•...........•..........
......................................
.......••.................•.••........
••..........•...•••••.•.........•.••.•
.............................••....•..
,.......................................
.....•••••.•.•...........•..•••.........
.......................................
···········•···························
•..•••••.•..........••••••••...•......•
.......................................
1••····························
.......•••••••••...•.......
•••...•...............••.••
. .. ... . ......... .
. ... . .. ...
......•....•••••.•.•........
Tri m the tape

at the corners

Applying stay tape to the shoulder
Apply only to the front shoulder Foil m

collar
2 Apply an additional layer of interfacing to make

the collar stand firm, and machine stitch
Sew the centre back and

press open the seam allowance
....••• •.•.
~·:_¡,·.·.·.·.·.·.·.·.·.·.·.·.'fti:J.flJ..·.·.·.·.·.·.·.·.·.·.·
... .... .. ..
•• •·.·.·.·.:.·.·Jbq'Jil íil})j'Jh"e¡fjillri,).·.•••••••••••••••••
.............••.......•...........
.. ...... ........ ....... .
......................•..........
.•.....••••..•...••••••.•....•.•.•..
............. ....... ........................ .
. ...... ...... .... ... ... .
...................................
........••......••.................
~
. .... ..
....•.•.......•••........••........
.... ....... ....... ........
•••.....•..••••.....•••......•••••...
........•........................... ...
:+:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:· ..
Applying stay tape to the armhole
Enlarged view
Finished position
............••.......
··········•·•··•·····
....••••....•••••.... ...
Seam allowance
.:.·.·.·.·.·.·.·.·.·.·.·.·.·.·.·.·.·.·.·. ·.
Double-sided tape
Back
•1 • • • e** • ,_ .*k**·~ ·~, *.1:*L* . ~ • • * * • • e e •
1
.•.................••............ .
.............••••.......••••.•... (back side of the Jabric)
..
..,. • • • • • • 1.•ac tSfae ítJbJa"n'1 • • • • • • • • • •
..............•••••••........••.. .
..........................••.....
................••............•.....
...•.••.•..•.•......••••..••...... Finished
································· position
•................••••.•..........• ...
...................•................
......•....•.•.......••..••••......
.•·•··············••••·········•··•·
"-!-.·.·.·.·.·.·.·.·.·.·.·.·.·.·.·.·.·.·.·.·.·.·.·.·.·.·.·.·.·.·.·.·.· .·..
100
8 Final sewing
Following is an explanation of how to sew the outer edge of the collar and the front edges of the coat after attaching the
collar to both the bodice outer fabric and to the bodice lining fabric.
1 Sew the darts and make the pockets

(see page 139)
.
.......... . .....
.....................
••...•••••....••••....... .
..........................
......................... .
.
............................
•..••.......•••.......••.•
.... ...
.......................... ...... +
• <RfgM i'ron Right front
(bm:lr sidr'Ojthefahric) (face sidr of thr fahric)
*
Pockets have
not been decorated
in any way
+
.l. ' +
Prick stitch
~~~;;~~~~~~-~ •••••.......••.
.....................
.....................
•········•··········••••···
......................................
..•...................••..............
.....................................
••••••...••••.......•........•••••.... .
......................................
................................••....
......................................
.......................................
..
.......................................
.......................................
.......................................
......••••.......•.•••.......••••......
....•..................................
...................•...•..................
.......••••...•..••.........••.•.......•••
......••......•.•.....•..••••........•••.•
..........................................
..........................................
...........................................
........••........••......••••••........•••
...........................................
....••......• ........................
•..........................................
..................... .
........................
........
.................
.•.• ................ .
·............•.•....
Handling heavy-weight fabrics
Take care not to impair the look and the feel of heavy-weight lroning tips
fabrics (tweed, loop tweed, flannel, French twill, herringbone) lroning the seams sometimes leaves marks on the outer fabric.
made from wool that is woven, for example, plain or twill Firstly, therefore, apply moisture to just the seam allowances,
weaves. apply the iron and press down on the bulkiness in the fabric,
then open them out.
lf ironing on the face side of the fabric, apply a pressing cloth
Machine-stitching
made from the same fabric over the garment and iron in a way
lncrease the pressure of the sewing machine's presser foot
that does not impair the characteristics of the fabric.
and make the stitch length slightly longer. Use a size 11 or 14
machine needle and size 50 silk machine thread .
6 -Sewing Methods ·-· 101

2 Sew the centre back, the shoulders
and the side seams
Left back
(back side (back side of the fabric)
of the fabric)
............•.•••••••••••...........
......•.............................
..................•.................
..........•••.•.•••......•...........
....................................
.......•.............................
.........................•...........
...............••.••••••....••.......
.........••.......•.•.•..............
......................................
.....................................
......................................
...........................••.••....•.
•...............••........•••.........
......................................
............•.•.....•.................
~······································
.......................................
...............•......•.•.............. .....
••••..............••••••••••••••.......
..............••.•.•....••............. ·····
.............................................
........••.•..............•....•......•.....
Tri m the sea m allowance
3 Attach the undercollar to the bodice outer fabric Undercollar

Sew to the
end of the collar
attachment
Left back
(back side (back side
of the fabric) of the fabric)
102
4 Sew the centre back of the bodice lining fabric and the side seams
5-6(4:,
1
0.2-0.3cm l¡
~¡
Baste along the 1 l
finishing line ~
1-l.Scm l
1
1
1: 1
:1
/! 1
:¡
1! 1 11'
l Baste along the
1! 1
1l finishing line
1
1:
WL t/
1 :,
¡:
1
Left front-lining fabric/!

(back side ofthefabric) 11
Left back-lining fabric
(baclt side ofthefahric)
Right back-lining fabric
l1Right front-lining fabric
1 1 :1 (back side ofthe fabric)
1 11
11 1
:1
) :
11
111
1 :¡
Baste /11 Fold over
towards the right ll
1: 1: :1
1
1 111
11
1
1 :11
11
11
:1
/! ~¡1 Fold along the finishing lk Machine stitch
111 0.2-0.3cm
11 lines and then fold ir¡ on the seam allowance
1: 1:
over towards the back l 0.2-0.3cm
1 1 from the basting
1: 1: :1
11: ll ¡,
11
1 1
11
1
1
11 :1
11
11 ll
¡: 11 :¡
1: 1: ll
1: 1: :1
1 111
111
11
:1
1
1: 1
1
:1
------------~ lr----------------------------4 : ~~----------------~ ~-----------
*When the outer and lining fabric are not attached at the hem,
overlock both sea m allowances together on the centre back and the side
6 ·-·Sewin!!: Method< ·-· 103

5 Sew together the facing and the lining fabric, and then sew the shoulders
' 1
l .
l
1 , ••••••••
1 • • •••••••
..,J.·:·::·:·:·:·:·:·:·:·
,.•.......... :
............
.·.·.·.·.·.·.·.·.·.·. .
f . :::::::::: •
~
1 ••••••••••
1 • •••••••••••••••••
1 •••••••••
r.
1
••••••••••••••••• •
••••••••••
11 •••••••••••••••••••
••••••••• •
1 ·.·.·.·,:.·.·.·••te ..
1 ••••••••• .,
1 ••••••••••••••••••••
~1 ·:·:·:·:·:·:·:·:·:· :
. ·. :.·.·.·.·.·.·.·. .
•••••••••
..... .. ... .. . ..
1 •••••••••
...·.·.·.·.·.·.·.·.·
Fold over
towards the lining \'1 ........... .
Right front-
, Rt$Jhf!tri~t;:: •
i • • facinn • •
Left front-
lining fabric
1 • • il a • • •
lining fabric •1 • ~atk<side • Back-lining fabric (face side
(back side of the fabric) í1 • o~>iht
~ ....·q•abrl;.::
••• t •
• (face side of the fabric) of the fabric)
1
1
l1 .
1
........ . .
.........
}
1 • .. •••••••
........ .•
~
.,r •••••••••••••••••••
1 •••••••••••••••••••
1 •••••••••••
·.¡.. ........•..•
•1 •
.....
J •• •••••••••••••••••••
• •••••••
•
1
e~wiS·.sht~ir:·:· •
l·. . ...... t--------~---
2-3cm
6 Attach the upper collar to the bodice lining
Sew up to the end of the

collar attachment
104
7 Sew the outer edge of the collar and the front edges of the coat
•••••• t
......
.... A
::·!.a~Mñ at four points
Machine stitch along

the edge of the tape
Back-outer fabric
.•••...... ............••••...•.
•......•..
.......... .....................
..................... .
........................................................
..•........•.....•••............•••
.
......•••••••..•..•....•.....•.••••• ..
...........•....•••..............•
···································
................•..................
•••••..••.........•.....••••....•..
.........•••.•.••...............••.
............•....••.................
..••....................•.•.........
..........••••.••••...........•••••.
.••••...•••.......••.••••••.........
.....................................
.•.......
}....... .
.........
........
.......•.
.•.......
.........
.......
>••••••••e

8 Organise the seam allowances 9 Tidy up the front edges and around the outer JG
To reduce bulkiness, grade the seam allowance edge of the collar and fasten from the inside
on the outer edge of the collar and the front @ Sew from the inside along the edge
of the collar attachment line
edges by trimming to 0.7-0.Bcm on the outside with one strand of basting thread
and 0.4-0.Scm on the inside.
Trim the seam allowance

as lar as the end
of the collar attachment
...•••.................
........•••...........
• • • • • • • • • • • Eh7--0.8cm
1
:::::c-tTánge.accorJtA9·:..
·:·:·:·:·:·:·¡q.}tri-)~!~~~~s~,:·:·:·:
•....•.................
• • • • • • • • •o the fabrie • • •
•••........•...........
......•••••............
.•••••.................•
......••...............
...••••........•........
,••••••...••..••........
.....•...•........•....
....................... @Aiign the collar
.....••••.......••......
....................... attachment lines
.......................
·······•···•·········· . of the outer and
lining fabrics and
Tidy up the front edges
and around the outer
:·:·:·:·:·:~~~s:s:~n~.op~b:~~t:·:·:· slip baste edge of the collar with an
• • • • • • • • • • • ·ttb a~. 1roo •••
••••..•.•.••••........•. iron pushing in so that the
••.••.•..................
···••••················· sea m in not seen from the
••·•·····•••····•·····•·
......••••••......•......
,........................
outside, and baste
....................... .
..••••••......••........
..•••••.....•..........•.
...•.....................
...••••....•..•..........
••...••••••.......•......
.....•••.......•.........
,.••...................•..
...•..•.................
.........................
..••.....................
••••••••••••••••••••••••• E
..........................
...••••••......••........
•••........••.............
,.........................
...•.....................
Front-outer fabric Back-lining fabric

(face side of the fabric) (Jau side of the Jabric)
106
10 Finish the hem
e Attaching the lining by blind hemming

End of ...............................
........••••••••.•..••.•.......
•1 .·.·.·.·.·.·.·.·.·.·••· 1. •.•..........................•.
.~ ••••••••••• •r
)·r.·.·.·.·.·.·.·.·.·.·.·.t. ·········•··•···················
· ••· •· · · · • •...•.............•.
•l. ••••••••••• ~ ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••
'1 ·········· ~ · •••••••••••••••••••••••••••••••
·J·.·.·.·.·.·.·. ·.·.·.·.·.r. •.•.•.•.·.•••.·.•.• ·.·.·.·.·.·.·,.·.·.·.·.·.·.·.·.·.·.·.·.·.·.
Front-
. fa b.
·f::.ta'Gin4:::.~.
• ill •• ;t ~_!·• . .¡, ••• "
·:.::::::::troa\!¡Qüte!Jab·E¡c.·:::::.
········••fl: • .,,.. ,,], t ••••••• Back-outer fabric
l.mmg nc ), •• .,_PU<lr:chlt •••l ~ •••••••·· ~u,u: sul&oft t#'~K) •••••• (back side of the fabric)
:J•.•;c•tt,;.[abri~l··.r. ·.·.·.·.·.·.·.·.·.·.·.·.•.•.·.·.·•••••••••••••••••••••..••••.
(baclt side
...............................
.............•.........
·~ · ~ ········· ·
ofthefabric) ~.1.·.·.·..·.·.·.·.·.·.•.•.•L
1 ··········· ~ ·
• .·••••.•. ••••·•·•·•·•·•·. ·•·•·•·.·•·•·.·•·•·•·•••·•·.•.••••••·
.............................. .
·J·.·.·.·.·.·.·.·.·.·.·.·.rt. ·.·•••·.•.•••.·.·.·.·.·.·.·•·•·•·•·•·.·.·•·•·.••·•·.••·.·.•.•.
.......................... .
.........................
.•..••.......................
,.•t...........
.•......•...
.......... ........................
.................•..•.....•....
····•·························
.......•.••..••.....•........•
·~·
····························~
··········•··················
~··············~ft
Blind hem loosely along the inner edge of the fold

Trim excess seam allowance
or
..... .......... .............. ..
.•...........................
.... ..••.•........................ "' "'
Back·stitch
Prick stitch
Facing Front-lining fabric Back-llning fabric Back-
(face side (face side of the Jabric) (fau side of the fabric) outer fabric
' of the Jabric) (back side
of the fabric)
3-4cm
--
Blind hem
* With medium-weight fabrics, sew the facing hem from the inside and blind hem the lining
.. ., . ...... .., .. . d::::l ::...
'
'
'
Facing Front-lining fabric Back-lining fabric k :-- Back-
(face side (fact side of the fabric) (face side of the fabric) outer fabric
' of the Jabric) (back side
of the fabric)
'
1:
7-- -- l
' Prick stitch
' f--~
.-::=- }s-scm
' 1
' J--._
Rolled seam or blind zig-zag stitch Blmd hem
6 ·-·Sewing Methods ·•· 107

8 Making a free hanging lining
CDFinishing the outer fabric hem with piping and folding the lining fabric hem first
.•..••..............•..........
.......................•.......
~······························
.................•••••••.••...••
Front- ·:·:·:·:·:·:·:·:-:r~n.7·~u:t~·!ció~i~:·:·:·:·:·:·: Back-outer fabric
lining fabric
(baclt side
oa.·.·.·.·.·.·.·.·.~~e~;!-!e.otMe~~!'l.·.·.·.·.·.·.
...............................
of tlu fabric) ...............................

·············~·················
...............................
...............................
•..............................
3 ••••••••••••••••••••••••••••••
················•··••··········
..••••...••••.....•••.•..•.....
··········•··•••·••••••·•·•··••
.................. ....... .
~······························ ········~
Blind hem loosely
along the inner edge
...........••..•••••.••••••...
~·····················
of the fold
Make the fold allowance

Trim any excess seam allowance
the same width
as that on the bodice
outer fabric
® Finishing the outer fabric he mwith piping and folding the lining he mlast
....
... Front-
.....
.......
.....
•••••• <
Front-
lining fabric
(back side
...
.... lining fabric
(back side
of the fabric) of the Jabric)
2-3cm
Facing Front- Back-

Prick stitch (face side lining fabric lining fabric
or machine stitch , of the fabric) (face sidt (face side
of tlu fabric) of the fabric)
Blind hem loosely

along the inner
edge of the fold
Thread loop
2-3cm
@Stitching the facing hem from the inside (on fabrics that fray or stretch easily)
Facing Front-lining fabric Back- Back-

' (fau sidt (face side of the Jabríc) outer fabric
' of the fabric) (back side
of the fabric)
Blind hem loosely

of the fold
Roll the seam or hem with an overlocker
@ Finishing the outer fabric he mwith fabric cut on the bias (for heavy-weight and stretchy fabrics)
Facing Front-lining fabric Back- Back-

(face side (fau síde of the Jabric) lining fabric outer fabric
' of the fabric) (back side
of the Jabríc)
Loosely hem
the hem interfacing
Make a thread loop

at the back
Loosely hem the edge
of the fold allowance
to the hem interfacing
Hem 3-4cm along the back 4-Scm

11 Prick stitch the front edges, the outer edge of the collar and the back 12
of the lapel roll line, and make the button holes
~---- Prick stitch to

fasten the facing
to the interfacing
Front-outer fabric
(fa ce side of the fabric)
fi
110
12 Make the sleeves
Upper sleeve-
outer fabric Press and
(back sidt open out
of tht fabric)
Under
sleeve-
outer fabric
(back side
of the fabric)
Upper sleeve-
outer fabric Back·stitch or
(back sidt of the fabric) blind hem
loosely along
theinner
Under sleeve- Rolled seam edge of the
Press and open out
outer fabric or blind fold
Under sleeve-
outer fabric (back side . zig-zag stitch Prick stitch
of the fabric)
~
: Machine
1stitch
1
1
1
Make a notch in 1
the under sleeve 1
seam allowance 1
1
\ End of dummy
Back·stitch or 1 sleeve vent
1
blind hem loosely 1 Upper sleeve-
along the inner outer fabric
edge of the fold (face sidt of the Jabric)
Attach the
buttons
Ease stitch and tidy

Upper sleeve-outer fabric (face side ofthefabric) O.S cm up the ea se with an iron
Upper
sleeve-
lining fabric
(face side
of the fabric)
Upper
sleeve- 1
lining fabric 1:
(back side 1 Upper
fold over of tht fabric) j: sleeve- Align the
outer and
from the lining fabric
finishing lines ,¡ (back sidt lining
towards the
upper sleeve
:¡
1
,:
1
__. of the fabric)
from
the
inside _ _ .
with one
fabrics
and baste
1: strand Under sleeve-

:1
~
of Upper
outer fabric
~0.2-
sleeve-
1
Machme-
stitch 111
110.3cm 0.2-0.3cm :
1
. 1 basting
thread
(face side
of the Jabric)
__. outer fabric
(face side
of the fabric)
:¡ away from 11
the 1
Stitch up to
2 stitches Under
sleeve-
basting 1: before the
outer
\1 start of the
fabric
:¡
1
1:1 dummy
sleeve vent (face side
1: of the fabric)
:11 1
Under sleeve-lining fabric

((act sidt 0( the.fabric)
6 ·- ·Sewing Methods ·•· 111

13 Attach the sleeve after the intermediate basting
Check the shoulder line and determine the height and the
position of the shoulder pads. Baste excluding the lining fabric,
Align the markings on the bodice outer fabric and the sleeve and machine stitch to atta eh the
sleeve. Double-stitch the underarm. SI
outer fabric and baste. Check again the distribution of the ease
a1
and whether the sleeve is sitting properly. After the intermediate tt
basting, machine stitch along the sleeve attachment line and
tri m any excess seam allowance in the armhole or underarm.
Facing Front-lining fabric Back-lining fabric

(face side (fa ce side of the fabrú:) (face side of the Jabric)
of the fabric)
14 Attach the sleeve header and the shoulder pads

1
Sleeve header
lnterfacing with a felt finish
or sleeve wadding
A plece of outer fabric cut
on the bias may al so be used
__ ~~e_e:'~_ca?_ ~1c_m_ ___________ _
K Front - Back ~~ 3-4cm

1cm 1cm
30-32cm
Tri m the sea m allowance in

the underarm to about
0.7cm
Pie k up approximately half the thickness of

the shoulder pads and fasten to the
armhole seam allowance
Fasten to front or back seam allowance
112
15 Finish the sleeve lining
Slip-baste along the sleeve Pick up as far as the

attachment line through to shoulder pads and
the bodice lining fabric fasten from the inside
Trim excess seam

allowance on the lining
·
. Facing
(face side
'
Fasten from the
inside with one in the underarm to about
·. of the fabric)
0.7cm
strand of basting-
thread
(face side
of the fabric)
Sleeve-lining
fabric
Prick stitch along

the seam
.. (face side allowance
· of the fabric)
O.Scm
Front-lining fabric
(face side of tite fabric)
16 Final pressing (heavy-weight wool)

• Remove any basting, tailor's tacks or stray threads Figure 1
and place the garment on a body form. Check the
overall finish. Are there any seams that need to be
pressed again? Are there any marks made by the
seam allowances? Has any of the fusible interfacing
come away? What about the collar rollline?
• Remove from the body form, and do a final ironing on
the face side of the garment. So as not to impair the
characteristics of the fabric, use two to three layers of
pressing cloths made from the outer fabric or cotton
fabric from which the starch has been removed and Figure 2
press as you apply steam.
• Create a three-dimensional shape using pressing r Front edge
equipment such as a pressing ham, pressing cushion,
a sleeve pressing ball, an ironing mat or a pressing
board. Bodice
• lron the pockets on top of a pressing ham with a sheet
of thick paper between the pocket and the fa ce of the Pressing
iron so as not to leave marks made by the flaps and cloth
pocket welts (Figure 1). ¡._...- On
the fold
• lron the front edges and the he m with a pressing cloth
in between. In particular, make sure that marks made
by the seam allowances are not visible on the outside L_Hem
of the garment (Figure 2).
~

Attach the lining after sewing all outer fabric parts
With heavy-weight napped fabrics or fabrics that are difficult This method makes it easier to do an intermediate basting of
to iron, sew all outer fabric parts, including the facing and the the sleeves, to machine stitch the sleeves, and to attach the
collar, and do a final ironing before attaching the lining. shoulder pads.
1 Attach the undercollar to the bodice outer fabric (see page 102)
2 Attach the upper collar to the facing
Upper collar (back sidt ofthtfabric)
...........................................
.......••.....•....•.......••...•••••••..••••
1 •••••••••••••••••••••••••••••••••••••••••••
Make notches
in the sea m
allowance on
the collar
3 Sew around the outer edge of the collar and the front edges
(see page 105)
4 Tidy up the outer edge of the collar and the front edges
Turn to the outside, press with

an iron pressing inward so
the sea m is not seen from the
outside and baste
(j) Basting
114
5 Fasten the collar to the lining from the inside
End of collar
attachment
Back
(fa ce si de of the fabric)
6 Attach the sleeves and the shoulder pads 7 Sew together the bodice lining (see page 103)
(see page 112 for sewing the outer fabric
sleeves) 8 Sew the shoulders of the lining
Shoulder pads
Turn inside
out and
n,
1[
Sew up to the
1' half-way point
and fold over
1
the seam
1 allowance
towards the
1 back
1
1
Back- Front-
1
lining
Facing 1: fabric
(face side 1: (back side
of tht fabric)
(back side
of th< fabric)
of th< fabric)
1:1
1'
6 ···Sewing Methods ·•· 115

9 Attach the sleeve lining 1O Sew together the facing and the lining
(see page 111 for sewing the sleeve lining)
Back-lining fabric
Back- Front-
lining fabric lining fabric
of the Jabric) of the fabric)
End of
11 Hem along the neckline sea m
2-3cm
Front-outer fabric
Back-lining fabric
116
12 Fasten the lining to the outer fabric from the inside
(í) Fastening the sleeve bottom from the inside
Sleeve- ® Fastening the sleeve cap seam allowance

outer fabric to the shoulder pads
(back side
of the fabric) lining fabric
(face side
ofthefabric) 1 Shoulder
pad
Sleeve- (back síde

lining fabric of thefabric)
(back side
of the Jabric)
@ Fastening the underarm and the si de sea m

allowance from the inside
Upper collar (face side ofthefabric)
Enlarged view
Bodice- Bodice- Sleeve-

lining outer outer
fabric
(face side
Front-
of the Jabric)
lining fabric
(face side
of the fabric)
lining fabric
the inside
(back side
of the fabric)
13 Finish the hem and sleeve openings (see pages 107 and 111)
6 -- Sewing Methods ·•· 117

IJJ Raglan sleeve coa!
O Arranging sea mallowances for final sewing

Alter the pattern when the fitting and adjusting is completed,
and correct the markings on the outer fabric.
As the seam allowances have been cut larger for basting, cut
them to the required size for final sewing.
As the pocket is a type that utilizes the side seam, take care
not to trim too much off the seam allowance on the pocket
opening.
Add an amount
1cm to accommodate
the thickness of
the fabric
................
................
.................
.................
...........
........
.......•..•
....••.••..
............
••.......
. 1.5-2
.................••
................... ..........
................... .•..•.•..•
...................
...................
................•••...
·.·.·.·.·.·.·.·.·.·.·.·.·.·.·.·.·.;t.·.·.
..•....•••.
........ .
.•.....•..•
..........
..........
...........
.........
..........
..........
.•..•••....
.........
..........
...•.....•
...."............... . . .
...............
..............................+...... ..........
.•••......
·.
Back (back sidt ofthefabrú:) Fron\
(/'•ck-side. <{tite ric .. " Fac.ihg
........... .. ...........
................ ~
..........
................
...•..•...
...............
................•.
••••......••.•. ..........
................. ........ ..
1.5-2cm
•••.......••••...
.................
••..•.•..•.......
. .......
..••..•...
......... . .
.................
....•........... ........ .
...•.•.....••••..
:.·.·.·.·.·.·.·.·.·.·.·.·r..·.
................ ..•........
................ .............. ..
.......
............... ...........
.•...........•...
•....•••....••.. ........
..........
.............. .........
................
.................
.......•..•.•..•• ........ .
...•........•••.
................
................
.......
. ...... ..
•••.•.•.........
................ ....... .
................
................ ......... .
•......•...••...
....•..•...••••.
...............
...........
.........
........ .. .
................
.......•.....•. .........
...........••...
...............
..........
.•.....•..
........
..
.
................
............... .......•..
................
.............. .........
..•...••..•••..• . ..........
..........
...........
.........
.....•.•.......•
................
............... .......•.•
...•...•........
...............
..........
.........
...•......
.
................
••.....•••..... .........
........... •.........
.......•........
............. . ....•.....
•...•...•.
.•.....••.•
........ .
...........
.........
.........
Scm
......••..•. ........ .
.....•...... .....•....
..........
Th
ba
op
118
lcm
Cuff .(bw:lt siilt óftl¡e]'abrf¡;) lc1
........•
.......••
2cm
1.5-2cm
1.5-2cm
Sleeve- Sleeve-
(back si de of the fabric) (back side of the fabric)
1.5-2cm
4cm 4cm
8 Making a pattern for and cutting out the upper collar

Add sea m allowance beca use the
Upper collar thickness of the over lapping of
With wide collars, manipulate at 2-3 points
the front sections makes the left
side of the collar look smaller
0.3-0.Scm (ea se around the outer edge)
Adding seam allowance
(
Fold any excess
in the inner edge
Add 0.3-0.Scm (amount to accommodate thickness of fabric)
The centre
back is 1/2
of the
difference
that has
been
opened and 0.3-0.Scm
moved (ea se in the roll line)
Cut and open out

8 Cutting out and applying the
interfacing Cut
Cut out the interfacing for the upper sam'
collar, the hem and sleeve opening, and to a1
the fusible hair canvas interfacing for the of tt
collar and apply (see the pattern layout for addi
cutting out the interfacing on page 88). sea1
Also iron the interfacing for the bodice belc
front and back again. Sleeve- Sleeve-
front panel back panel
Additional layer of
fusible interfacing
le m
.••.......... ••.......•.•..•. . .
....•••......•..............•••..
. ...••.•............•..........
~·············
.....•........ ···············•· .
....•.•...............•.....••
...•••.•...••••...
..••..•.....................•..•.
.........•.. ···················
·.·.·.·.·.·.·.·.·.·.·.·.· ·.·:.(...·.·.·.·.·.·.·.·.·.·.·.·.·.·.·.·.
......................................
····•••···•• ..................... .
··············~···················
.......•..... ..........•............
·····································
................................. .
.•..•••....................••....•••.
·•·••••.••••••·.·.·••••.•........••......••
·.·.¡f¡·.·.·.·.·.·.·.·.·.·.·.·.·.·.·.· . .. ••
..••••........
••.....•••...
..••••......•......••....•••••
..................
..•..............•.......•..•.... .. .. .
............. .........••.....••••.
.•...••.....••......•.......••...
...•••......• .............•......
. ·::·:·:·:·:·:·:·:·:·:·: :-:·:-:·:·:·:·:·:Ff?ñ.:: :·:-:-:: Back
• .•.•.•.•.•.•.•.•.•.•.•. •·.•+•.•.•.•Jl!~fe'."! e • •• (back side
.·.·.·:.•.•.•.•.·.·.·• ••.•. ;.•.•!f!ft.ejt;bt-jc/ • • of the fabric)
- ······•···· ........ .
.•••....................•.....
·····•····••·•·······•· ....... .
...
~· .·.·.·.·.·.·.·.·.·.·.· ·•·•·.·.·•·.·•·•·•·
•••...••......••••....•••...•
.•.•••..... ..............••.
.............................
...•.••.... •............•..
..
. .:.·.·.·.·.·.·.·.·.·.·.· ·.·.1f-.·.·.·.·.·.·.·.·.·.·.·.·.·
...................•.........
••......... .........•......
.•••••...••..•...•....•.•••..
•....•.•... .........•••....
.
......•......................
.•......... ............•...
.•.••.....•.....••.....••.•.
·····························
.•...........................
.
...••......
........... ················
.•••.....••......•......••...
...•...•••....••
.
.••....................••....
....••.....
........... ················
. ..•••••.....•............•••
.••••....••.......•......••..
..••.....••••...
.
.•......... .•..............
..••••...................••.
•••.....••. ....•......••...
.
..............•..............
........•.. ............... .
. ..•.........................
....•••......•......•......•
.••••...•.. ............... .
.
···········
........... ···············•
.•••....•.•............••...
............... .
..
............................
........... ..•....•.•..••••
•...•••••...••......••.•..••
........... .•••••...••.....
. •••....•••......•......•...
.....•......................
.•.••...••. ............... .
. ...
..•..........
.... .... •···•••·••·····•
..•....................
...••.............•..... ... . ...
... . ... . . , __ ..,...,
••••.....••..•..........•. . .
~·•••••••••••••••••••••• 9e
····••••···•••····••·••···••
~····························
··························~
. ... .
. ........ .i/1:
. ..
•••• Af ••••• '**'
b.........
···· ~ ···· . .. .
120
e Making a pattern for and cutting out the lining Pattern for the froilt lining
Cut out the bodice lining, after adding some fullness, using the
same pattern as for the outer fabric. Decide on how much fullness
to add to the lining according to the thickness and stretchiness
of the outer fabric. For the sleeve lining, make a pattern with
additional length and width to serve as ease for encasing the
seam allowance in the underarm as shown in the diagram
below.
End of
facing
Facing
,WL
, Alignment
. \ marking
..
Pattern for the sleeve lining
Underarm seam allowance (1cm) x 2

+ amount to accommodate thickness of fabric =O
Sleeve-
lining fabric
Move the
Sleeve-
alignment
Sleeve- marking Sleeve- outer fabric
back panel O.Scm
front panel
Bodice
outer fabric
Outer
fabric
Lining fabric
1cm

Pattern layout for cutting out the lining
With 90cm wide fabric
90cm wide
1cm
Front
1cm
Edging fabric
With 110cm wide fabric
110cm wide
On the fold On the
290
fold
() cm
CJ
Back
1cm
e 90cm wide
122
8 Preparing for final sewing
Befare final sewing of the garment, stay tape is applied to the front edges and the armhole.
Id
Enlarged view
,..........•.
. ........
.......... . ~
.............
...............
Double-sided tape
••..•........
............. .
.............. •••••••.•..........
..••.•...•••...•..
............. ·.·.·.·:.·.·.·:.•,.•.•:f.irJi.sJ:t~r).·.·
........•....
..•.•........ •
...............
.............
..............
..............
......................
·•··'-~-·.·:.·.·.·:.·.·.·:p
. .o,_sjtJw. ·•·•·. .
••••••.•........... ,. ... ~
.....•.•......
.. .........•.•.
•...........
..••••....•..
........... .
.••...••.....
.......••••.
•••...•.•....
............
.............
•........... .~:·:·:·:·:·:·:·
............. .
............ ••...•••......•.•.....
:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:·:::
...................
.................... ..
...
•........••••
......••....
.............. . . .......•............
............ ..............•......
.................. .
"
. . .. . ..
•••••......•..
.......... .
........... .. . .
............. .
..........•.. •...............
..•.......... :.·.·.·.·.*trOñ •.·:.·.·.·.• Back
.S$
.............
••••••••••••
<"~~ !&3e~~~·:~6~.
........•••• ................
...........
••........... . (back side of the fabric)
...............
............ ...............
......•..••..
••...•..........
............ .
.............
. .
.............. -'1;':::::::::::::
............ . ..........•.. ............ .
.............
. .... ...... . ..
............. .
............. ......•.......•
•...••......
..........•...
••...•...••...
.....•..•.•. ...............
............. ••..•..•.....•..
.•...........
............
•••.......... . .............
................
.............
............. ..
..•.......•• ~··············
............ .............. •..............
. .............
.....•••....
.... ... .•...........•
•.............
,. ...... . .......•..•.••..
............. ..............
. . .. .
•............
.........••..
............ .............
.............
................... .................
............. ..
... .
............ ............•...
.............
............
.............
••............
•...••........
..•..•.......
.
............. .
........... .. ..............
.............
............ ...............
..•...........
. ........•••.•
.............
.•••.....•.. .
........... . ..........................
............. .
.
. .............
........... .
..•..•...................••.••
··••···•··•··•••··••
~

8 Final sewing
Following is an explanation of how to finish the sleeve opening and attach the sleeve lining by machine stitching. ······
·······
......
······
······
·····
·······
......
Cutting ·····
······
......
·····
••••• 1
Pocket piece A and B

(Use napped or plain lining fabric x 1 each)
Pocket opening inner facing
(outer fabric x 1)
······
....
······
1 Sew the side seams and • fJp(
make the pockets *..(&álll~
: :qf.ll
....
......
::Jti'bJ~
....
·····
.....
····· '
·····
.....
·····
....
·····
.....
'
·····
....
....
....
·····
....
•
·····
....
....
• • • 1
Pocket piece B
(face side
....
....
....
of the Jabric)
1.5cm 1.5cm __..

...
...
...
.........
....... ...... •.........
.....•.•..•••..•....
................... .
,...•.••••••........
••••••••••••••••••••• »
................ .
..........•••••.. .............. . .
• • • • • • • • • • • • • • • • • • l'
················
..•....•.•.•.... .... '
Back (back side

' ........... .
...........
...•••••... Back·stitch
of the Jabric)
........
.....•....
..........
........
..........
..•......
......... ............
..........
..... .....
........
......•••
......... .... . . Back
....
........
....... ·.·..
:. frqnt •
........
........ Front
Pocket piece A
(!;&,1¡;~id(
• : ftJthJ:.
'
.......
........
........
(back side
of the Jabric)
(back síde
.......
....
:."J4f!M'. Pocket piece A
(face síde :
....... Back·stitch
of the Jabric)
........
........ of the Jabric)
......
...... ..,
.......
1
........
..........
' 1
.......
,
1 •••••••
(
Machine
~
stitch 1
1 ...........
...... ..
........
.......
• • • • • • • (t
1
1
........
.... . .
.......
.......
1
1
1 .......
....... .
(face side
of the Jabric)
Handling napped fabrics

lroning tips
Napped fabrics (mossa, beaver, melton, shaggy) have been
On the ironing board use a pressing cloth made from the same
processed after weaving to raise the surface of the fabric, fabricas the garment ora pin board so as not to crush the pi le
making them smooth and soft to the touch.
of the napped fabric and so that the seam allowances do not
Handle napped fabrics in the following way so as not to impair make marks on the fa ce side of the outer fabric. Apply water to
their look and feel.
the seams using a brush and press open the seam allowances
being careful not to press down too hard.
Machine stitching When ironing on the face side of the fabric, apply the pressing
Use size 50 sil k sewing-machine thread and size 11 or 14 sewing- cloth and press lightly over the surface.
machine needles, make the stitch width slightly narrow and
increase the pressure of the s_ewing machine's presser foot.
124
Align the pocket
pieces and make
Machine stitch two rows of machine
along the sea m stitching around the
allowance to outside
lasten
F"ront
(back side O.S cm
F"¡ont ofthe
./114<k siik fabric)
qJJiil.
Jálm'r/ Pocket piece B
(back sidt of the fabric)
Pocket piece A
\ (baclt side of the fabric)
,,
.........
\1
Back-stitch
••
••
••
•• 1
' :. .,. . ._______________ ,,

,, 1¡
\\
-,.:*:~
2 Sew the centre back
Back
(back side
of the fabric)
.......
...... ............
•...•..••
.....
.... .••...•...•
.........
....
.....
.... .....
.....
....
..... .....
....
.....
....
.....
....
.....;:~~----1---1,
"/:/ , 11
........
........
'//
/
1
1
1
11
11
11
Back
(back side
........
........ Pocket piece B
(back side /
1
1
11
t1
/ 1
of the fabrú)
Sew and
of tlu fabric) 1 1/ press open
1 11
1 11
1 /-11
1~,.-
11
11
11
11
11
-- 1¡
----=---:..-:...-....:'/
....................
...................
Tri m the sea m allowance from the finishing fine on the hem
6 ·-·Sewing Methods - 125

3 Sew the bodice lining and sew to the facing
4-Sc~\
1:
1:
1:
1:
1:
lcmAi
Machine stitch
~:l :
Baste along the
~h lcm from the edge
~\ Baste along the
finishing line 1 ~\ finishing line
1: n
1'
WLI: Lining fabric-back
n
~ \ Lining fabric-front
1: (back sidt of the Jabric) ~\ (back side of the fabric)
1: a
1: n
1:
1:
Overlock the Overlock the n Overlock the
two seams two seams ~\ two seams
1: together together
\\\a
together
)J 0.2-0.3cm
0.2-0.3cm 1: ~\
1: n
1' ~\
1 a
1 n
1 n
1 n
1
2.5-3cm
~\
1, 1
seam allowance
Fold two times and towards the back
machine stitch or he m
126
4 Make the sleeve
Machine stitch 1cm from the edc¡e
_¿f_
Sleeve-
~~-----_-_-_"!J~ lininc¡ fabric
(back panel)
Sleeve-
Sleeve-
outer fabric
(front panel)
(back side
of the fabric)
Alic¡n
with the
markinc¡s
Sleeve- Sleeve- Sleeve- on the
outer fabric outer fabric lininc¡ fabric outer
(front panel) (back panel) fabric
(back sidt of the Jabric) (face side of tht Jabric) sleeve
Sew and
press open
Sleeve- Sleeve-
outer fabric outer fabric
(front panel) (back panel)
(back side (face side
Loosely
Sleeve- back-stitch to
t outer
fabric
(back sidt
the outer fabric
to fasten or
blind hem
ofthe
Jabric)
Sleeve-
1 Sleeve- lininc¡ fabric
(back panel)
1: (face side
1: of tht fabric)
1:
1:
1:
0.2- 1: (back sidt
0.3cm ji of the Jabric)
Sleeve-
lininc¡ fabric
(front panel)
(baclt side of the Jabric)
Sleeve-
lininc¡ fabric
(back panel) Fold from the
finishinc¡ lines
(baclt side
towards the Baste on the
of the fabric)
sleeve back tace side
panel leavinc¡ the
space
required to
insert the Sleeve-
1 shoulder pads outer fabric
1 (front panel)
Fold over1
towards the :
sleeve back 1
panel :
1
1
1
1
1
Sleeve-lininc¡ fabric (front panel)

(fa ce sidt of the Jabric)
6 ·· ·Sewing Methods ·•· 127

5 Attach the outer fabric sleeve
Enlarged view

on the sleeve to 0.6cm
Sleeve-
\
outer fabric Centre
Bodice- back
outer fabric
(face side SleE
of the fabric) linir
Top·stitch 0.7cm
from the edge
....
.... (bat
(b••
oft~
-+--- Alignment marking Back-outer fabric

(back side of tire Jabric)
on the underarm tole m
%< The stay tape is not shown here in order

to keep the diagram simple
6 Attach the undercollar to the bodice outer fabric
CD Sew up to the end of the

collar attachment positions
Undercollar
. ..........
......... .
Facing • • • • • • • • • ·
fbtuk sid~ • : :: : :: : ~
C!ftheojabric4 • ..-:::;·:
:
.....
•......••
128
7 Attach the sleeve lining (attach by machine stitching to the bodice lining)
(When viewed from the bodice lining)
Back-
facing
(back
Right back-
lining fabric :
(back si de of tht fabric) 1
1
facing 1
(back \
sidt \
oftht
:1 fabric) Notches
Right back-
lining fabric
:1\ Right front-
:lside lining fabric 1
(back side of tite fabríc) 11 Right front-

:lseam (back side of the fabric) :~ lcm lining fabric
11 · (back side of the fabríc)
!1
~~---~- il Side seam
:I _ _ _ _ _ _ _ _ _ ___.J
After machine-stitching to attach the sleeve, trim the seam

allowance on the underarm of the bodice lining and notch
8 Attach the upper collar to the bodice lining and align the upper collar and the undercollar
Sew up to the end of the collar

attachment positions
Undercollar
fasten the end of the fasten the end

collar attachment of the collar attachment
positions at four points positions at four points
facing
(back sidt
ofthe
fabric)
Sleeve- Sleeve-
lining fabric (back panel) lining fabric (back panel)
(back side of the fabric) (back side of the fabric)
6 --·Sewing Methods ·-· 129

9 Sew around the outer edge of the collar and neaten the seam allowance
Back·stitch
Machine stitch up to
one stitch befo re the
end of the collar
attachment position
Facing
(back side
of the fabric)
Sleeve-
lining fabric (back panel) Sleeve-
lining fabric (back panel)
(back side o( the.fabric)
1O Sew the upper edge of the front edges
Back·stitch Back·stitch
End of the collar
Machine stitch up to attachment position
one stitch before the
end of the collar
attachment position Facing (back side
of the fabric)
End of the collar
Facing
(back side
of the fabric)
Sleeve-
lining fabric (back panel) Sleeve-
(back side of the Jabric) lining fabric (back panel)
11 Attach the shoulder pads 12 Finish the hem

Undercollar (see pages 108 and 109)
Shoulder pad
.....
.....
,
.....
. .. .. ~·
Front-
lining ......
...
fabric
(back side
ofthe
fabric)
(back side
Front-
of the fabric)
130
Attach the collar and sleeve and fasten the
side seams from the inside
Enlarged view
Bodice-
lining fabric
Sleeve-
outer fabric
Right front- Left back-

lining fabric lining fabric
(face side (face sid<
of the fabric) of a..Jabric)
* making
See pages 108 and 109 for
thread loops and
74 Make the cuffs and atta eh
---
finishing the he m
ate cuff
ide of the.ffibrlc) Machine stitch
lnner cuff
Machine stitch
0.3-0.Scm
_;.>-
~
..,_.Press
ope11 __
1
__..J
Fold along the finishing line

~
~
Fold over to one si de
or press open
(fa ce side of the Jabric)
+ 1cm hold
Turn inside out, lnner cuff

align the cut edges ' (back side of lht Jabric)
and machine stitch
lnner cuff
(fa ce side of th< fabric)
He m
(face side of tht Jabric)

7. Sewing Individual Parts
The following is an explanation of sewing techniques for individual parts. Trin
p
Coat pockets
Because the pockets of a coat that is worn as the outermost Select a sewing method that do es not impair the silhouette of
garment serve a very practica! purpose, they should be the coat if something were to be placed in the pocket.
functional and easy to use, and sewn on strongly. The diagrams below illustrate sewing a pocket on the bodice
Pockets may either be attached to the surface of the bodice or right panel.
a pocket opening created by making a slit in the outer fabric.
Undecorated patch pocket J

Patch pockets can either be fastened down with top-stitching
or left undecorated. The undecorated pocket is suitable for
heavy-weight woolen fabrics such as tweed and flannel that
fray easily. Pocket-
inside
1
[]
Cutting out
Pocket-outslde (outer fabric x 1) Pocket openlng lnterfaclng

(fusible interfacing x 1)
Trim O.Scm Trim O.Scm
3cm ~E - .... - >
~
2.5cm /
1
Amount for
Pocket opening
measurement
folding back 1cm
~Add O.Scm Add O.Scm~
1cm
Pattern
for the pocket
Add O.Scm
~ /
Pocket-lnslde (lining fabric x 1)
Pocket
1cm
1cm
(back sid
oftht
fabric)
O.Scm
Tri m the amount to be pushed in
132
1 Apply fusible interfacing to the pocket 2 Fix the shape of the pocket
opening
=
Trim to 0.7cm Outer fabric (face side ofthefabric)
A
Lining (face side ofthefabric)

Enlarged view le m
. of
Notch
........
..•.......
..... ...
¡¡, • • • • • • • •
......... O.S cm
....••••.
ice .........
..•......
Outer fabric
(back side of the fabric) Make a notch
up to
0.2-0.3cm
befo re the
finishing line
Fold following the thick paper
Outer fabric Thick paper for the outer fabric

(back side (size of the paper pattern)
of the fabric)
0.5
Make the sea m allowance narrower on cm
curved sections and tri m where the sea m
allowance overlaps
O.Scm
3 Sew together 4 Align the outer fabric 5 Baste to the pocket attachment
the outer fabric and the lining position
and the lining
., e ( Pocket opening
Lining 1 1
p-o.scm
(face side of the Jabric)
_____________ ~:. Machine T
r-
stitch 1
along the [7 Baste
\ edge of Lining 2.5cm
) \l
2.5cm
the
foldline on
1 (face side of the Jabric) 1 from
the edge -- === === •· Bodice -...)
"'-
Pocket opening
Outer fabric
the lining
,\.
1
1
'
___ / 1
~
Baste 2cm from the edge
Baste along the finishing lines on

(face side of the fabric) top of a pressing ham
Pressing ham
6 Baste to fasten the lining 7 Remove the basting in the pocket and
machine stitch the lining to the bodice Had
Asim
Apply reinforcing fabric (fusible Enlarged view of fat
interfacing) to the bodice on the On top of a
back side of the fabric. Not pressing ham, 1 Exarr
required where interfacing has fold back the 1 pock
been applied to the bodice. outer fabric and
"'-----¡",~_,___ _ _---JL------, Exan
' 'ii baste the lining
to the bodice ...... /fi
Outer fabric Outer fabric •• 1\ o
Machme
11 (back side of the fabric)
~]
•' stitch
three
O.Scm times
11 1
1
1
1
[/""' Machine 1
.........••••
..... ·.· .... 1
stit eh '\...
11;\- ~· three times
1
1 f-- Mac hine stitch
:~ Lining 1
1 Baste (back side
l1
of the fabric)
1 Stay-stitching
1'
Bodice
~
(fact side of the Jabric) Back-stitch
') p
( n
(1
Finishing line
or
.__ ......
8 Place the outer fabric on top and 9 Fasten the pocket outer fabric to
baste the bodice
Blind hem 0.2cm along

the inner edge of the fold
1 :.____ Hemming
:: stitches
................. .......
.... ..
\
........ __ ---- --· ............
..................
. . .
.............
. . .
... . .....
........... . . . . Bastrng
..... •••••
,,.. . ...... . • •••••
'
...........
............
............. . .
L.... . . . . ... . . .
L~:.....- =:_ _.-;::~·~~e~/·
.
••.:•••••:•
................
.............. ..
...
...............
••••••.......... Macf\jn~ st1tct¡ to attacl}'thlf Jlning
Bodice (fau side ofthefabric) '
.........••...••.•••••••.............••••••
...•...•....•••••
................
...
,___. ..............
................ ..............
.........
......
- ...•.....•......
..............................
................
...........•..•• Botlice (J!gck sfde qfth 'fobnt)
......
...........
...... .
.
.........•
.......... .
134
Hacking pocket
A simple, highly practica! pocket that can be made in any kind
of fabric. lt can be top-stitched on or left undecorated.
Example A shows the standard method for sewing the hacking
pocket that is suitable for light- to medium-weight wool and
Example B, a method that is suitable for heavy-weight wools.
O Standard method
Cutting out
Outer pocket welt lnner pocket welt Pocket plece A and B
(outer fabric x 1) (outer fabric x 1) (napped lining fabric x 1 each)
2cm
Pocket openlnc¡ lnner faclnc¡

(outer fabric x 1)
Cut edge or selvage
16-18cm
Width of
Pocket openlnc¡ lnner lnterfaclng Pocket openlnc¡ outer lnterfaclnc¡ Relnforclnc¡ fabrlc pocket
(fusible interfacing x 1) (fusible interfacing x 1) (fusible interfacing x 1)
Reinforcing
fabric is not
required if
interfacing has
been applied to
the bodice
7 ·-·Sewing Individual Parts ·-· 135

1 Apply fusible 2 With the right sides of the 3 Turn the pocket welt to 8
interfacing to the outer and inner pocket welts the right side, neaten and
pocket welt together, machine stitch top stitch
around the pocket welt
Q) Push back 0.1cm

Fusible from the edge
interfacing
Machine
stitch
lnner
(back side pocket le m
oftk welt
fabric) (face side
of the fabric)
Stop just befare

Machine stitch up to 0-0.Scm the finishing line
befare the finishing line
4 Apply reinforcing fabric to the pocket 5 Attach the pocket welt to bodice
position on the bodice
Bodice 2cm Bodice

Lift the inside

pocket welt up
*Not required if
interfacing has
been applied to the
bodice front
6 Attach pocket piece A and the pocket 7 Fold back the pocket piece, pocket welt
opening inner facing and pocket opening inner facing and
make a slit in the bodice
Bodice Bodice
(face side of the Jabric) (face side of the fabric)
Sew inside
pocket
welt to
pocket
piece A
selvage
Pocket piece A Pocket piece A

Bring the pocket (back side of the fabric)
welt and the pocket
opening inner
facing together and
machine stitch
136
8 Turn pocket piece A to the bodice back 9 Attach the pocket welt seam allowance to
id side and baste the outer and inner the pocket piece A seam allowance
pocket welt to fasten
Bodice (face side ofthe fabric)
Pocket opening inner lacing Outer

(back side of the Jabric) pocket welt
(face side
of the fabric) Fold back the bodice, machine
stitch along the edge ol the
sea m and lasten the sea m
allowance to pocket piece A : :;
..z~~
IF
Bodice
(back side
Pocket of the fabric)
piece A
(back side
of the fabric) Pocket piece A
(back side of tite fabríc)
1O Turn the pocket opening inner facing 11 Attach pocket piece B

to the bodice back side
Bodice (face side ofthefabric) Bodice (face side ofthefabric)
/ CD Align pocket
®Make the ~ pieceB
pocket
opening
inner lacing
lie llat and
stitch-in-the-
ditch to
lasten
1 """ \
pocket piece¡
B in place
Pocket
( 1
opening
Make a slit in the inner lacing
seam allowance ol (face side
the pocket opening of the fabric)
inner lacing and
open out
Pocket piece B Pocket piece A

(face side of the fabric) (back side of the fabric)

12 Fasten the pocket opening inner facing to pocket piece B
Pocket
opening
Pocket piece A inner facing
(fa u side of the .fabric) Machine (face side
stitch the of the fabric)
pocket
opening
inner facing
(back side to fasten
of the fabric)
Pocket piece B
(faa side of the fabric)
13 Fasten both edges of the pocket welt

14 Machine stitch around the pocket piece
Bodice (face side ofthefabric)

Bodice (back side ofthefabric)
Hem 0.2cm along the back
le m
Top-stitch through
to the pocket piece
Top-stitch le m from the edge

Blind hem along
the inner edge of the fold
Machine stitch twice
138
O With heavy-weight fabrics Pocket plece A and B
(lining fabric, 1 each)
Cutting out
Pocket welt (outer fabric, 1 each)

Width of pocket
Se m= Width of opening x 2
pocket Pocket piece A
!
Pocket openlng
Pocket openlng lnterfaclnc¡ (fusible interfacing x 1) Relnforclnc¡ fabrlc (fusible interfacing x 1)
lnner facing l. S cm
(outer fabric x 1) Width of pocket Width of pocket
opening - 2cm opening + 2cm
Reinforcing fabric
is not required if
interfacing has
been applied to
1.5cm the bodice
1 Apply the pocket opening interfacing 2 Apply the reinforcing fabric to the
to the pocket welt and trim the excess pocket position on the bodice
seam allowance
Bodice (back sidt ofthLfabric)
2cm
Outer
pocket welt
(back sidt
of tht fabric)
(í) Apply the

pocket
opening lnner
interfacing pocket welt
(back sidt
of tht Jabric)
*Reinforcing fabric is not 2cm

required if interfacing has
been applied to the bodice
7 ·-·Sewing Individual Parts ·•· 139

3 Attach the pocket welt, pocket piece A 4 Make a slit in t he bodice
and the pocket opening inner facing
Bodice (face side ofthefabric) Bod ice (face side ofthefabric)
Over lock
@ Aiign and
make
<D Slit overcast
1
stitches
® Press and
open out
Outer pocket welt
(back side of the f abric) Pocket piece A
Pocket piece A
(back side
of the fabric)
5 Turn pocket piece A to the bodice back 6 Fasten the pocket welt to pocket piece A
side and neaten the pocket welt
Bodice
Pocket welt
Sl ip baste
(seam allowance \
has been opened Bodice
out)
Pocket piece A
Pocket piece A
(bacl< side of the fabric)
140
7 Make overcast stitches on both edges 8 Top-stitch the pocket welt and attach
of the pocket welt and turn the pocket pocket piece B
opening inner facing to the bodice back
Bodice (fau side ofthefabric)
si de
Sew the ®Aiign pocket

corners
carefully
piece B and
stitch·in·the·
ditch to
1
fasten
opening 1
inner facing
(back sidt ¿
of the fabric)
Bodice ®Make
(fact side of the fabric) overcast Pocket piece B Pocket piece A
stitches (face side (back side of tloe fabric)
of the fabric)
1O Fasten both edges of the pocket welt

9 Fasten the pocket opening inner facing Bodice (fact side ofthefabric)
to pocket piece B
Blind hem 0.2cm
of the fold
Top·stitch
both edges
0.6cm
Pocket piece A Blind hem 0.2cm along

(fact side of tht fabric) the inner edge of the fold
Machine
stitch
O.Scm
from the
edge 11 Machine stitch around the pocket piece
Pocket piece B
(fact sidt of tloe Jabric)
....
........
,,
-"~ ....
,, ,""'
,"" \\
,,,,
\
\
\
fL
1
O.Scm
\
\
\
\
\
\
\
\
\
\
Pocket piece B \
(back side of the Jabric) \
Machine stitch twice
7 ·-· Sewing Individual Parts ·•· 141

Hacking pocket with flap
A pocket where the pocket opening is cut out as an extension
of the pocket flap. lt is easy to use and is often seen on coats
and jackets.
____]
{
Cutting out Pocket piece A and B

(lining fabric x 1 each)
Pocket piece B En
2.5cm b
se,
---.::; ~-
Foldline
1
2.5cm Pocket opening

measurement
0.5cm
With heavy-fabrics, increase the width

of a and b to make the pocket lie flat
Outside facing flap (outer fabric x 1) lnside facing flap (outer fábric x 1) Pocket opening inner facing (outer fabric x 1)
1cm 1cm
Pocket opening
---l
measurement + 3cm
0.7cm 0.7cm 0.7cm 0.7cm
0.7cm 0.7cm
Outside facing flap lnside facing flap Reinforcing fabric (fusible interfacing x 1)
(fusible interfacing x 1) (fusible interfacing x 1)
Pocket opening
1cm 1cm measurement + 4cm
............................
:·::::::.:;;;;;-::;;:;-::_;;;_.::::.~:
.:.· ·.·:.·.·.·.·.·.·.·.·.·.·.·.·.·.·.·.·..·.•.• •. ~. S cm
························...
.... •....•.................
a ....... ~'&ti><I'6111S'It'&<l-.«$1ftle!&
Reinforcing fabric is not

required if interfacing has
been applied to the bodice
142
1 Apply fusible interfacing to the reinforcing fabric Reinforcing fabric
2cm
Fusible interfacing
....
... lnsert
alignment
..............
........... .
•........•..••
lnsert
alignment ......•....•.••..
...•............
.............
...............
markings ; arkings
...............
.........••..•••
...............
..........
3cmt1 / 'J
~=+=====+======~~ve m
3cm 3cm 3cm' { Jcm
Outside facing flap (back sid< ofth<fabric) lnside facing flap (back sid< ofth<fabric)
Bodice (back side ofth<fabric)
2 Make the flap
Outside facing flap (back sid< ofth<fabric) Outside facing flap (back sid< ofth<fabric)
Outside facing flap (back side ofth<fabric)
Align the
alignment
........
.........
sea m markings
............. ...............
...............
--+ ..••.........
.............. .
...............••.
}~
1_,.-
.............
...........
"--
Machine stitch Push back 0.2cm
0.2cm away from <D Press and ® Finely tri m the sea m Fold the two seam
from the edge allowance on the curve
the finishing line open out allowances from the
edge of the interfacing
lnside facing flap (fau sid< ofth<fabric)
lnside facing flap (fau side ofth<fabric)
Thick paper
Push back 0.1cm from the edge

lnside facing flap Cut the sea m
(fau sid< of th< Jabric) allowance to 0.7cm
and tidy
3 Attach the flap and the pocket opening 4 Attach pocket piece A to the outer flap
inner facing
r over oc k
Pocket opening inner facing Pocket opening inner facing
(back sid< of th< Jabric) (back sid< of th< fabric)
¡l:3cm
-
0.7cm 0.3cm '------- - ------------
----..1.------ _-:J:,
/¡ ---- . -.--.----- Tft ----- ---- ~
Do not sew
the sea
:h.'
- Machine stitch
the inside
--~
0.7cm r- Align the
outside
~e (
0.7cm facing flap Out\ide facing flap facing
allowan flap and
only (baclr side of the Jabric)
pocket
piece A
\ Pocket piece A and
Outside facing flap (back side of the Jabric) machine
(fau sid< of th< Jabric) stitch
Bodice (fau side ofthefabric) Bodice (fau side ofthefabric)
7 -·Sewing Individual Parts ·-· 143

5 Make a slit in the bodice and turn pocket piece A to the bodice back side
Pocket opening
inner facing
(back •ide of the Jabric) /
v--- Slit
Pocket piece A
(back •íde of the fabríc)
Pocket plece A L+-

·~- --------"-
....::....:,--....J Open out the
(back •íde of the Jabric)
1 ~ seam
\ .._____ allowance on
Reinforcing fabric the inside
facing flap
attachment
position
Bodice (fact •íde ofthefabríc) Bodice (back •íde ofthefabríc)
6 Turn the pocket opening inner facing to the 7 Fasten together the outside and
bodice back side and press open the seam inside facing flaps
allowance
Press and
í open out Open out
upwards
( Pocket opening p
inner facing
(back side of the fabríc)
lnside facing flap
(fau •íde of the fabric)
\--- - - - - - ·-
~
( 0.3cm
Pocket piece A Baste to lasten the
(fau síde of the Jabric) outside and inside
facing flaps
Bodice (back •ide of the Jabríc) Bodice (facoide ofthefabríc)
8 Fold up the bodice and machine stitch the 9 Align pocket pieces A and B and fasten
sea m allowance to hold in place the pocket opening inner facing and
pocket piece B
Bodice (back •íde of the fabric)
Pocket
piece B
Pocket (back •ide
piece A of the Jabric)
(fact >Íde
Pocket piece A (fau •ide of the fabric) of the fabric)
Bodice (back •íde ofthefabríc)
144
10 Stitch-in-the-ditch on the tace side to 11 Fasten both edges of the pocket
fasten pocket piece 8
Stitch;-the-ditch
_s. V Pocket welt width lnside facing flap
----- (face side of the fabric)
G Outside facing flap

t;-----;n
1 O.Scm
Machine stitch through to pocket piece B
Bodice (face side ofthefabric) Bodice (face side ofthefabric)
12 Fasten the pocket opening inner facing 13 Finished pocket

to pocket piece 8 and machine stitch
around the pocket piece
® Machine :!-----------.;1-:; <D Machine

stitch to
stitch 11 li
hold the
twice
around the ~-------------
11 --H pocket
11 Pocket piece B :: opening
pocket
piece ~ (back side of the fabric) 11 inner
11 11 facing in
~O.Scm 11 place
11 11
0.5- 11 11
.-t 1 Machine stitch in ::
0.7cm
: ~ _____ _:_g:n~l~_:~~e_)j:
~-----------------
Bodice (back side ofthefabric) Bodice (face side ofthefabric)
7 ·•· Sewing Individual Parts ·•· 145

ln-seam pocket 2
A pocket that is attached to the inside of a garment. Following
is an explanation of how to make an in-seam pocket using the
seams of the facing and lining. This kind of pocket is usually
inserted into the left bodice panel sea m.
Cutting out
Pocket piece (lining fabric x 2)
Align with the

facing- angle of the bodice
bodice front
1 Attach the pocket piece to the facing and the bodice lining
Pocket piece
(back side
of the Jabric)
le m
Left front-lining fabric

(face side of tite Jabric)
facing-
bodice front
(face side
of the fabric)
146
2 Sew together the bodice lining and the facing,
machine stitching around the outer edge of the
pocket piece
Pocket
opening
Left front- Facing-

lining fabric bodice front
Making different types of pocket opening decoration

Matsubadome
Made by embroidering a triangle with hemming thread to
resemble a pine needle and used to strengthen and decorate
a pocket opening.
_ __@~3V>...;;®;._._~
1 \
1 \
1 \
1 \
1 \
1 \
1 \
1 \
1 \
1 - - - - - - - - - -':l.
-+

Rickrack
A technique where the lining is sewn to a zig-zag-shaped braid in a zig-zag pattern. A pie
and1
Lining fabric
/
/
/
Mo" b"k~O~om
0.2cm so that
the top of the
fold is not
lo m•l<h
the length of the pocket opening
t
visible from
the tace si de
Back side Pocket opening position
The rickrack pattern is easier to create if you lightly apply glue

to the sections that will be sewn down on the inside
A technique where pleats are folded from lining fabric cut on the vertical qrain or on the bias.
Lining fabric
Pocket opening
measurement x 3
On the fold
Pocket
opening
measurement
Fold to a width of O.Scm
148
Ruching
A pleated or gathered strand of fabric that is attached to the joint between the facing
and the lining orto the pocket opening of heavy-weight woven textiles or fur coats.
to
the Pick up 5-6 of the crease lines,
ek '"" tho thco•d Ught ,od t;o \
in
id e
Firmly ti e the thread and

cut short the edges of the fabric
Cutting out
2.5-3cm
J+---- Finished measurement x 2+ 24cm (amount for decorating both edges) -----<~
Pie k up on the back side only

and bring the needle through 5.
1. the fabric from point (a). (f) Pull the thread tight.
Lining fabric
Fold in three
)J
2.
Hemming thread
®In roughly the same way

as a tailor' s knot is
made, wind the thread
6.
~m
----
around the needle once
<D lnsert the needle at a right

angle from (b) to (e) and
pick up the fabric.
7. Wind the thread
around the needle.
3. ~
Fold in two at the (h) point, pick up the fabric on the

top and bottom crease line, wind the thread around
4. <D Pass the thread under thread (d), pie k up (e) and the needle and pull to tighten.
pass the thread under the needle. Starting again from Step 4, repeat steps 4, 5, 6, and 7.
Drawing of completed ruching

Lining fabric
® At the centre of the fabric, pick up 0.2cm of

the fabric with the needle width passing
through to the tace side of the fabric. Face side
7 ·-· Sewing Individual Parts ·-· 149

Page 37: Standing collar
A standing collar that has a high centre front used in coats that
are designed to protect against the cold.
Pattern development

the thickness of the fabric and for
Trim off
the facing that has been pushed
0.15:-0.Zcm
back
Trim off
Add an amount 0.15-0.Zcm
Back to accommodate
the thickness of
the fabric and for
the facing that
has been pushed
back
1 Cut out and apply fusible interfacing
1.5cm
.: ·.·.·.·.·:.·.·.·.·.·.
...•.•.•.•• ..•.•.•••.•••...•........
........................
.........•......•....
•.••••.....•......•.
....••••••..•..•...
...•...... .•
......••.....
.•.........
lcm
...•••••.......•.•..
..•..•.............
................ .
.......... .
........... 1cm
.......... .
............
............
·:.'FJJf:.Jg"t:f::·• • Front Back
'.'(TJiclr.'dlc'.'. ' ...............
.................
.............
.............. (back side (back side
.. ••.••.....
'qj.tlilf'l!Ji!l)". •
......... . .
•••....•.. .................
............
...............
of the fabric) of the Jabric)
......... .
.........•.•
...•....•.
.•........ . ......•.•..•.•..
.............
•••.......
.......... . ..............
..............
•.•.•.......
150
1cm
1cm
1cm
2 Attach the upper collar to the bodice and apply stay tape from
the front edge to just before the tip of the collar
2cm
CD Sew up to the
finished position
RiQf:rt. frollt'-
® Apply fusible stay tape
along the finishing line
outer fab[fc
U> tk rile of 1/t<Jjlb(U)
..................
•••.•...••......•••.
....•••..•..••.....•.
••...•.•••.....••.....
.................
•...•••••......•
.••.....•..••..
Back-outer fabric (back side ofthefabric)
3 Attach the undercollar to the bodice lining
Sew up
to the
finished
position
Back-lining fabric (back side ofthefabric)

4 With the right sides of the bodice outer fabric and the bodice
lining fabric together, sew the front edges and around the collar Page
A callé
Enlarged view
Undercollar (face side ofthefabric) wayfc
under
circu l<
seams at <D Firmly secure

the end of the seams at
the collar the end of the
attachment collar
line attachment line
®M achine
stitch
0.2-0.3cm
beyond the
tape
....................
•...................
·•··················
Back- outer fabric (back side ofthefabric)
~
Add
the 1
and
@ Fold over
towards the
bodice outer
fabric
® Neaten
the seam
···················· .
5 Turn inside out, tidy and fasten the collar attachment seam allowance from the inside
@ Align the buttonholes on the

bodice outer fabric and the ® Slip-baste the neckline and
facing and hem around the lasten the lining to the outer
edge fabric on the inside
<D Push back

0.2-0.3cm from the
edge and tidy with
an iron
(face side
of the fabric)
@ Prick stitch
Right front-lining fabric Left front-lining fabric

(face side of the fabric) (face side of the fabric)
-
152
Page 68: High neck
A collar cut asan extension of the bodice that rises in a natural
way following the line of the neck. Reinforcing the collar on the
underside with fusible interfacing expresses a beautiful semi-
circular shape.
!he
ancE
Pattern development
Facing-bodice back Facing-bodice front

Add an amount to accommodate Add an amount to accommodate
the thickness of the fabric the thickness of the fabric Push back
and the facing that has been pushed back and the facing that has been pushed back ~0.15-Z.Ocm
Push back
~andcut 0.15-Z.Ocm
and cut
front
Cutting out the lining fabric
Move the end of the darts le m

in the neckline and make shaped seams
l.Bcm
Back-lining fabric
(fau si de of the Jabric)
le m
Une along front-lining fabric

Make the tip of the (fa ce side of tht fabric)
which the dart
dart slightly curved
is moved
7 -·Sewing Individual Parts ·- 153

1 Apply fusible interfacing
3
lcm
1.5cm
(]) 1'1
S
1.5cm
le m
le m
le m ,• •••••••••••••••••
...... ............
...............
.···•·····
Back- ·········
outer fabric
.·······•··
....... .
·········
·········
····•····
•··•·•···
... ····················
····················· ·········
·········
···•····•
...
...
...
·················
·•••····••··•····
•··········•···
······•··
·········
......
··••·•·•·
, ..
.........
...... •·•·•·••·····
··············· Front-
•·••·•·•·•··· 1.5cm ..•.•.... ...'
outer fabric
'• :.:::::::.•:.•::::: (back síde ofthefabric) .........
•····••·•
·········
..•....•.
···•·•·•·
o
2 Apply an additional layer of fusible interfacing to the high-neck section

and stay tape to the front edges
Cut out to finished size (excluding the darts)

and apply (some fabrics may not require interfacing)
Finishing
fine Back-
outer fabric
... ·•···············
·······················
···•·•·•••··•···•··•·•·
.·•·•·••·•·•····•·
··················~
················ Front-
.. ·············
··•·•··•••·•··
·····•··········
outer fabric
(back side
·•··•···•·••·•· of the fabric)
154
3 Sew the neckline darts 4 Sew the centre back
Stretch to make the
seam allowances smooth
(do the same at the front also)
...
open out
Back-
5 Sew the shoulders on the bodice outer fabric
and the facing (back side of the Jabric)
Back-
outer fabric
Sew and open out
........
..........
........
..•...... .
)
.•........
.••.........
...........
........
.........
Facing-bodice back
Left front facing Right front facing
(back si de of the fabric) (back si de of the fabric)
6 Apply stay tape to the neckline
.••.......
,..........
........ .
..........
......
.....
"
(back side
of the fabric)
7 ·· ·Sewing Individual Parts ·•· 155

7 Attach the lining fabric to the facing
Facing-
bodice back
8 Align the bodice outer fabric and the bodice lining and sew around the
collar from the front edge
Enlarged view
Machine stitch 0.2-0.3cm Tri m where the seam

beyond the tape allowance is layered
..............
.............
..............
.........................
..••....••....•
...............
0.2-
0.3cm
............
.•..•....••...
.............
@ Fold over towards the bodice outer fabric
(D Open out
®Neaten
the sea m
Back-
outer fabric
(back side (face side
156
9 Turn the garment inside out, tidy and sew the shoulder seam from the inside
1O Prick-stitch or stitch-in-the-ditch a long the sea m of the darts
As the collar will stand even more sharply if the bodice and the facing
are joined, the dart sections and seams are sometimes prick-stitched or
stitched-in-the-d itch.
Push back 0.2-0.3cm and tidy with an iron
Prick-stitch
Prick- Left front-

stitch or outer fabric
stick-in- (fau side
the-ditch of the fabric)
When opening out the seam allowance and machine stitching

Depending on the design, machine stitching along the divide in the sea m
on the darts and the shoulders can make them stronger and the collar
stand more sharply.
In this case, machine stitch immediately after sewing the darts and the
shoulders and opening out the seam allowance.
Front-
outer fabric Back-
(fau side outer fabric
of the fabric) (fau sidt
of tht fabric)
7 ·-· Sewing Individual Parts ·-· 15 7

Hood
The inside of a hood is seen both when it is pulled over the
head and left down. Take this into consideration when sewing
the hood. Ba<
sti1
Three methods of stitching a hood, depending on the type of
fabric, used are described here.
0 Unlined hood
1 Apply the fusible interfacing
1-1.2cm
.....
.....
....
..... Fusible
interfacing
......
.....
..........
.....
.....
Hood
(back si de of the fabric)
.....
.....
......
....
.....
.....
Facing-back neckline
E
ti
lcm a
tt
1.5cm
1.5
.·.·.·.·.·.·.·.·.·.·.·•·•·•·.·.·.·.·.·.·.·. ·.
cm
Back
..................•..........
............
..•....•••....• .
.· .•.·.·.·.·.·•·.·.·.·.·.·.·.·.•.•.•.·.·•·.·•••• ........
····················••······
...••.....••
...............
............
........... "'
...........•••.
. ... .......................
................
...•......••... .
...........•...
············
................
.. .•......•......
•......•..•...•
..............
............ . . 1.5
cm
..•......•••.
·. ·. .·.·.·.·.·.·.·.·.·.·.·.·.·
..............• :
•.•....•.••. ............ .
158
2 Sew the centre of the hood and finish the seam allowance
With heavy-weight fabrics
Back- ------------ ...........

......
stitch ...
''
' '\
\ (j) Press
.....
....
1
1 .....
..... open
....
.....
1
1
.....
....
.....
Hood-
1
1 Hood-
.... right panel
(back sidt of tht Jabric)
1
1
1
right panel
1
.....
.... '
.... '''
..... ''
1
'
Machine stitch
/
/ "'
/
/
1
1
1
1
1
1
1
Hood- 1
Finish by encasing 1 Hood-
the seam allowance left panel 1 left panel
in a piece of lining (back sidt of tht fabric) 1
1 (back side of tht fabric)
fabric cut 1
on the bias 1
1
1
1
1
1
1
1
1
With light-welght fabrics
3 Fold over the seam allowance

Eniarged view towards the right and top-stitch
~~-
/
Encase the /
/
two seam /
allowances 1
1
together 1
1
1
ll
11
'1
'1
11
11
11
11 Hood- Hood- Hood-
11 left panel
11 left panel right panel
11 (back sidt of tht Jabric) (Jau sidt of the Jabric) (Jau sidt of tht fabric)
11
11
1
1
1
11
·~-----
(j) lron on top of a pressing ha m

and fold over the sea m allowances
towards the right
7 ·- Sewing Individual Parts ·•· 159

4 Finish the edges of the facing 5 Top-stitch to fasten the facing
Top-stitch to fasten the facing
or blind hem along the back
4.5cm
Hood Hood
(back side of the Jabric) (face side of the Jabric)
Hood Fold along the finishing 0.5cm

(face side of the fabric) fine with an iron
Facing
6 Baste to fasten the bodice and hood
Back-outer fabric
Left front- Right front-

(face side (face side
of the Jabric) of the Jabric)
7 Sew together the bodice lining and the facing; turn inside
out the bodice outer fabric to which the hood has been
attached; and sew the front edges and the neckline
Facing-back neckline (face side ofthefabric) ® Make note hes in the sea m allowance
on the neckline, press open the sea m
allowance and turn back to the right side
.......••••...
.• ..• • .·.Left..
fron C""'t ••••••••••••••
~ • oute.r: fabfip:•:•:•:•:•:•:•:•.
•• • (!1~cktSi1e.,• •.•.•.:.•.·.·.·.·.·.
• ofttht!J[.abric • • • • • • • • • •
...........
.•••....•
•......... 1
•
sea m
allowance
·:·.:: ....:::·::·:·:·:·:·:·:·!. :·:.

•..•••••••.......•.....
•• ••••••• r~
• ••••••••••••••• I;(
,.
Back (back side ofthefabric)
160
8 Top-stitch the seam allowance on the neckline to hold in place
1
1
1
1
1
1
1
1
1
1
1
Hood 1
(face side 1
of the fabri~
1
1
1
1
1
1
1
1
1
1 With heavy·weight fabrics,
1 you can al so press open
1 the seam allowance
1
1 (see drawing below)
Align the bodice outer fabric

and bodice lining and top·stitch
(if not top·stitching, prick stitch)
Right front- Left front-

outer fabric lining fabric
(fau side of the Jabric) (face side of the fabric)
<D Align the bodice lining to the hood,

With heavy-weight fabrics attach the facing on the hood, and press
open the seam allowance
Pressing open the seam allowance on the hood facing
Make notches in the bodice

Baste r.
Hood
(back side
of the Jabric)
outer fabric
Left front- Right front- (back side
.....
outer fabric outer fabric of the fabric)
face side of the Jabric) (fau side of the Jabric)
.....
outer fabric
(back side
of the Jabric)
® Sew the neckline and the front edges

(see page 163, 164) and top·stitch
to hold down the sea m allowance
*Finish around the edge of the hood last
, on the neckline
7 ···Sewing Individual Parts ·•· 161

e Lined hood SE
1 Cut out the fabric and apply fusible interfacing to the facing
Facing
Apply
fusible
Hood Hood- Hood-
(2 pleces) outer fabric outer fabric
le m
(fau síde
of the fabríc) ....
...
(back síde
of the fabríc)
...
....
.......
Back·!
4cm
2 Sew the centre of the hood

You are not limited to using just lining fabric
on the hood. You can use a range of fabrics.
lf the garment fabric has so me thickness, the
Hood- way in which the hood is sewn will change
(for example, press open the seam instead of
outer fabric
folding over to one si de).
(back sídt
of tht fabríc) Baste along
the finishing line
Hood-
outer fabrlc
(right panel)
(back sídt
of the fabric)
''
Back-stitch
-------- --
...
................
"'
...
''
'' .....
........ \
\ ... Facing
\
1 .....
...
.....
(fau sídt
...... 1
1
of the fabric)
1
.....
...
......
1
Hood- 1 Hood- Hood-
outer fabric 1 outer fabric outer fabric
-+
1
......
(right panel) 1 (right panel)
-+ (right panel)
(back sidt
of the fabric)
1
1
1
1 .....
...
(back síde
of the fabric)
Make a fold
along the
finishing line
(back síde
of the Jabríc)
...
..... 1
1
.. ....
...
with an iron
1
1
1 .....
...
,
162
3 Sew with the right sides of the hood outer fabric and lining fabric together
outer fabric
Hood-lining fabric
(back sidt of tite fobric)
4 Sew with the right sides of the bodice outer

fabric and the hood outer fabric together
Back-stitch Back-stitch
End of hood attachment
Left front- Right front-

(face sidt of th t f abric) (fau sidt of tht f abric)
5 Make notches in the seam allowance and press open
Hood-outer fabric
® Make notches in the

strongly curved
sections of the neckline
and press open the
<D Make note hes in the seam allowance
seam allowance at the /
end of the hood ./
attachment line ~
•
.....
Right front -
outer fabric
~ack sfd
óf thtf ábtic)
L~ftfront-
outer fab ·e
@aclt "s ld<
1[ tht [ab Hcf
1•
: •
....... ··•······
\ ..... ..
·~·
( ........••••.....
# ...•••.•...••
•••••••
Back-outer fabric
(back sidt of tht fabr ic)
7 ·-·Sewing Individual Parts - · 163

6 Sew with the right sides of the bodice lining 7 Press open the seam allowance
fabric and the hood lining fabric together on the hood facing
Enlarged view
End of hood
attachment
Hood-lining fabric
Back-lining fabric (back side of the Jabric)
Left
out e
(fa
oftl
Righl tronf-
búfer abdé
(ba& sUe.
,¡.,.;,¡,.
tf.e/.brú:/
oftlte alwi9
(back side
of the fabric) ·.
8 Sew the front edges

Hood-lining fabric (back side ofthefabric)
End of hood
.........
..........
..........
.........
....
....
j..ett1r¡mt-
"'utl!r {ab ic
Jl>a~!( s1dt
ifiht,Ja rN
(back side
of the Jabric)
...............
••••..•••.......
j..e{tfro(lt-
ovter fabric
(bacl('fldt-
ofthefa/t.T!cJ
···········••··
···············
•.....•.••••..
•.......•••
(back side ...........
..........
..........
...........
of the fabric) ...........
164
e 9 Stitch the centre of the hood from the inside
Loosely lasten the sea m

allowances on the
Tidy up the shape hood outer labric and
abric
ol the hood and slip
~ric)
the hood lining labric
Hood- baste to make lie llat in place with basting thread Hood-
outer labric
lining labric
(face side
(baclr side
of the Jabric)
of the Jabric)
(face side
of the Jabric)
Lelt lront- Right lront-

outer labric outer labric
1O Slip-baste a long the neckline to make the

seam lie flat and fasten from the inside
Neckline seam allowance

on the bodice outer labric Loosely lasten
the edge ol
the machine
stitching using
basting thread
Hood-
lining labric
(fau side
of the fabric)
Right lront- Left lront-

outer labric lining labric
7 ·· ·Sewing Individual Parts ·•· 165

8 Reversible hood
1 Cut out the fabric, and stitch the centre of the

outer hood and the inner hood
Press open
,;
,.,..,..,. --
,;
1
/\
Outer hood 1 Machine stitch
(outer fabric: x 2) 1
1
lnner hood 1
1
(outer fabrlc 1
or dlfferent
fabrlc: x 2) 1cm
1cm : Outer hood
1 (back side of the Jabric)
1
1
1
1
1
1
1
1
1
1
1
1
2 Stitch together the bodice outer fabric and the outer hood
Outer hood
(back side
of the fabric)
Stitch and press open Stitch up to the end of the

hood attachment position.
Back-stitch at the beginning
and the end of the sea m.
......................•
Back-outer fabric
,
166
3 Sew together the bodice lining and the inner hood
lnner hood
(back síd•
of th< fabríc)
Stitch up to the end o

the hood attachment
position.
Back-stitch at the
beginning and the
end of the sea m.
Left front-lining fabric Back-lining fabric Right front-lining fabric

(back síd• of th< fabric) (back síd< of th< fabríc) (back síd• of th< fabríc)
4 With the right sides of the bodice outer fabric and the
bodice lining together, secure the ends of the hood
attachment seam to prevent the hood from slipping
Finishing the seam at the end of

the hood attachment position
Pick up a stitch
(back síd•
Secure the end of the of t/1< fabríc)
hood attachment seam
·.
.....•••.•••.....•.••
··•••·•••···•···•···••
, ~
Back-outer fabric
(back síd• of th< fabríc)

5 Sew the front edges of the hood and the bodice
ThE
ext
tur
Enlarged view
Outer hood
(back side
of the fabric)
Lift the sea m allowance
Lift the seam allowance and machine stitch
and machine stitch up to up to the end of the hood
the end of the hood attachment seam
attachment seam
Machine stitch
along the outside
0.2cm from the tape
6 Turn to the outside, neaten and sew the centre

of the hood and the neckline from the inside
Fasten the two hoods together on the inside
(see page 165)
Outer hood
(back side
of the fabric)
Turn the hood
inside out,
and arrange
precisely
(face side
of the fabric)
...
· ·~
Press open the
seam allowance
.:•....................
....••........•.••••.•
·::::. •
:::::::.'l:e"ft.l!ór.ft~
•• .·:.·.·.·.·.·. outé.t.l!.8fi •••••••••••••
1/J•"" •••••••••••••••••• (bitciz*si.Jtt.·.·.·.·.•.•.•.•.
:. :.:·:.:·:.:.:·:·:Jf.t~{~b:l.~·:·:·:.:.:·::
.••••••••...............•...
..•••...••••••..•...•....•...•
••........................
.........................
....................... .
•.........................
~ ......•......••.......•.
.........•..••••..•...•••
......................
~·······················
.................
...•••....•.......•.
Facing
(face side
of the fabric)
Right front- Left front-

outer fabric lining fabric
(face side of the fabric) (face side oj the jabric)
168
?aqe 31: 1urnbat~ cu\\s
The amount to be turned back is cut out and sewn as an
extension of the sleeve opening. When worn, the cuffs are
turned back on themselves as appropriate.
With liqht-weiqht fabrics

1 Sew the sleeve bottom. Then arrange the seam
Cutting out allowance and press open using an iron.
("""
1 1 "'
1 1
1
1
1
1
Sleeve-outer fabric
(fau sidt of tht fabric)
V 1.5-1.8cm
Sleeve-outer fabric 1
(back sidt of tht Jabric) 1
1
1
1
1
1
1 Notch
1 /
1
1,..¡¡
( ~ ,~ Tri m tole m
lnner cuff lnner cuff
o (face si de of the Jabric)
',;
Cut off
( Crease line
\
1
J
¡_..... Sew on the seam
1
1 Outer cuff 1 allowance away
o (fau sidt of tht fabric)
Outer cuff from the finishing
( ~leeve
opening line line at a distance
\ equal to the thickness
O -1-3cm
1 of the fabric
.......
' 1 Not eh
~ 1
Sew a little
le m to the inside
of the finishing line
Fold the sleeve opening and the cutis along the finishing line with an iron
2 Turn the sleeve inside out and tidy up

Enlarged view
the cuffs
Sleeve-lining fabric
Sleeve-outer fabric
Sleeve-outer fabric Sleeve-
Sleeve-outer fabric (fact sidt of tht fabric) lining fabric
(fa u sidt of tht fabric) (face sidt
of tht Jabric)
lnner cuff
Outer cuff Outer cuff

lnner cuff
\. (fau sidt of tht Jabric) (fact si de of tht Jabric)
tce side of tht Jabric)
Outer cuff
(back sidt of the Jabric)

With heavy-weight fabrics
Cuff s
1 Use a different light-weight fabric for the 2 Sew the sleeve bottom A cuff ~
inner cuff and sew together applied
1
1
Sleeve-outer fabric
!-~ (back side of the fabric) lí 1.5-1.8cm
1.5-1.8cm
Sleeve- outer fabric
(back side of the fabric) r ------ ee
Mach ine stitch
the si ve
botto m and press
open the seam
allowance
/ Sleeve opening
A 1cm
cm
~mA1cm ~ : /1 lnner cuff
lnner cuff 1
1
1cm¡..?
H (back side of the fabric) (bacl< side of the fabric) 1
17
!}
1
Outer cuff l::m 71 cm Outer cuff 1
1
1cm1,/
(back side of the fabric) (back side of the fabric) 1
1
1
B<
"\1cm
Sew together the sleeve outer fabric, the inner cuff (different fabric)
and outer cuff, and press open the sea m allowance
3 Turn the sleeve inside out and tidy up the cuffs
Enlarged view
-- - Sleeve-lining fabric
Sleeve-outer fabric
Sleeve-outer fabric (back side of the fabric)
(face side of the fabric) Sleeve- outer fabric Sleeve-
(face side of the fabric) lining fabric
(face side
of the fabric) ...
lnner cuff
Outer cuff -
(face side of the fabric) Outer cuff
Machine stitch
Outer cuff or hem
170
Cuff straps
A cuff strap is a belt or band on a sleeve opening and often
applied to overcoats and raincoats.
Maklnq the belt
Usinq a buckle wlthout a pin Usinq a buckle with a pin
Fold inside out and machine stitch Adjust the sea m so that it is not at the
centre and machine stitch
Belt width
- (fabric thickness)
2
Ti======== Belt width - (1 + fabric thickness)
Belt width Belt (back sidt of tht fabric) 1em
On the fold
+
Machine stitch
\ (back sidt of tht Jabric)
Machine
st\ch 0.5-0.7cm
~
1 ~~::~~e
====~,=~================~;R~~}
1
1
===!¡"========"'=,w belt
Press open the seam Move the sea m away from Tri m
allowance at the centre the centre and press open
Enlarged view o.s-o.7cm
(back sidt ofthtfabric) Trim the

sea m
allowance Machine stitch to fasten in place
at the tip
Apply fusible interfacing depending on the outer fabric

Turn the belt inside out, top-stitch and attach the buckle
(A) Apply over the entire belt (B) Apply to the outside
facing belt
Outside
facing belt
, 1
(back sidt of tht fabric) (back sidt of tht Jabric)

Making the belt loops
Tabs
lf the selvages of the fabric can be used lf the selvages of the fabric cannot be used A slim
can be
Fold twice so that the selvage is at the top
pocket
lnside facing belt button
Selvage
buttor
Length of belt
loop+ 2-3cm Make the seam allowance
lnside facing belt the same breadth as the
belt and press open
at the centre
Top-stitch both edges
Attaching the belt loops
Reinforcing fabric (A) Attaching the top edge from the inside (B) Attaching the top and
(lining fabric or fusible
interfacing)
and folding the bottom edge and bottom edges from the
machine stitching from the outside inside
8 1
1
1
r Position for
1 attachment of
lnside facing belt
2-3cm
1 lnside facing belt
2-3cm
1 1 the belt loops
Machine stitch to Machine stitch to
fasten in place fasten in place
gSom
1 1
0.7-1cm 0.7-1cm
Belt
(faasiik
2.5cm of the fabric)
0.7-1cm Machine stitch

2-3 times
0.2-0.3cm to fasten Machine stitch
2-3 times on the
inside to fasten
Finished cuff strap
(C) Folding the top and bottom edges

and machine stitching from the
outside to attach
0.2-0.3cm
Machine stitch
2-3 times to fasten
0.2-0.3cm
172
Tabs
A slim decorative attachment in the style of a flap that
can be attached to any part of a garment. Attached to a
pocket or sleeve opening, it sometimes has the function of
button fastening and can also be used as an extension for a
buttonhole.
Cutting out
Apply fusible interfacinc¡
dependinc¡ on the outer fabric
Alic¡nment markinc¡
Outside facinc¡ tab

(back si de of thefabric)
Alic¡nment markinc¡
7 Sew around the tab 3 Fasten the tab to the seam allowance
lnside facinc¡ tab
(face side of thefabric) Move 0.2-0.3cm from
the edc¡e and alic¡n
Outside Sleeve-outer fabric

facinc¡ tab (fa u si de of the Jabric)
(back sidt of
Outside facinc¡ tab
thefabric)
(fau side of the fabric)
Machine stitch on the seam
allowance 0.1-0.15cm away from Machine
the finishinc¡ line stitch
2 Turn inside out and make the button hole

Top·stitch on the tace side
Outside
facinc¡ tab
(back side of t!:I9!'9 F=====.::? Buttonhole with eyelet
thefabric)
lnside facinc¡ tab

(fa u si de of the fabric)
4 Sew the sleeve bottom

Pressinc¡ open out the sea m Foldinc¡ over both sea m allowances on
allowance on the sleeve bottom the sleeve bottom in the same direction
Press and open

.-- =
Sleeve-outer fabric 1
1
(baclo side of tht Jabric)
Sleeve-outer fabric \ Sleeve-outer fabric
(fact sidt of tht Jabric) 1 (fact sidt of lht fabric)
1
1
1~
~--- 1
( 1- Outside facinc¡ tab
v (fa u side of the Jabric) Make the tab
1
1
\----
"'
¡-..._ slic¡htly loose
- -- -,
\ <5'1 ,
:--1
-01
-1-------' -1-------'
. . : . .....
lnside facinc¡ tab
r¡1 ~Tab
-- ..·.. .
(back si de of lht Jabric) \ Tab
(Jau sidt of tht fabric) (Jau sidt of tht fabric)
"='

2 S
Diamond-shaped gusset
lnserting a diamond-shaped gusset into a kimono sleeve that is
strongly angled from the point of the shoulder adds some vol ume
to the sides and creates a three-dimensional structure.
You can use fusible interfacing or reinforcing fabric to finish
the end of the gusset attachment. The method that uses fusible
interfacing is simple. In unlined coats it makes finishing the seam
allowance easy. Attaching a piece of reinforcing fabric makes the
corners stronger.
0 Finishing the end of the gusset attachment

with fusible interfacing
Attaching the gusset with face sides

of the fabric together
1 Overlock the seam allowance and apply

fusible interfacing to the end of the
gusset attachment
Front 1.2-l.Scm
(back si de of the Jabric)
1cm
Apply fusible interfacing
Make a notch up to
0.1cm before the end
Back
1.2-l.Scm
,
174
------------ ---- - -
2 Sew the sides and the sleeve bottom
3 Attach the gusset
Enlarged view
Sleeve-front panel
End of gusset
attachment
Sleeve-
back panel
(back sidt
of thtfabric) Machine stitch to
attach the gusset
Front Back
(back sidt of tht fabric) (back sidt of thtfabric)
Front Back
Sew the underarm and press

open the seam allowance
Sleeve- Sleeve-
(fau sidt (fau sidt
of tht fabric) of tht .fabric)
4 Hem the gusset to the sleeve bottom and

side seam allowance
Sleeve bottom
Back Front
Machine stitch to
attach the gusset
Sleeve- Sleeve-
(back sidt
of lht fabric)
Front Back
(back sidt of tht fabric) (back sidt of lht Jabric)
'

Attaching the gusset with face sides of the fabric together
1, 2 Steps 1 and 2 are the same as when

attaching the gusset with tace sides ot
the tabric together
using an iron
3 Fold the gusset attachment position along
the tinishing line Sleeve-
back panel
(back side
of the fabric)
End of gusset
attachment
Front Back
(back side of the Jabric) (back si de of the Jabric)
•
..
~.
111
,..,.'"', 4 Apply the gusset to the back side ot the 5 Hem the gusset to the sleeve
.... garment and machine stitch on the tace side ot bottom and side seam allowance
the fabric to tasten in place
Sleeve bottom
Machine stitch to
attach the gusset
Sleeve-
back panel
iface side of thefabric) Sleeve-
back panel
(back side
of the fabric)
Back Front Back

iface si de of the fabric) iface side of the fabric) (back side of the fabric) (back si de of the fabric)
'
176
8 Finishing the corner of the gusset attachment with reinforcing fabric
With a small seam allowance
Enlarged view of the end of the

gusset attachment position
Make a fine machine stitch
Apply reinforcing fabric to the sideways at the tip of the
//\ gusset attachment position
tace side of the garment
k~, / Reinforcing
·f
..... / fabric
\ ~ ® Machine stitch away
0.1cm
from the finishing line
Q) Apply tht0 on the sea m allowance
reinforcing \
fabric to the
tace si de of
the garment
Front
(back side of thefabric)
@ Make a notch up to
0.1cm before the
finishing line
Reinforcing fabric
(use either lining fabric or the outer fabric)
Sleeve bottom seam
Sleeve- Sleeve-
of th e fabric) of the Jabric)
Reinforcing fabric
(fa u si de of thefabric)
Tidy up the corners

with an iron
Fold along the finishing line

using an iron
Front Front Back

(back si de of th e Jabric) (back side of thefabric) (back side of th e Jabric)
Side seam
'
Apply the gusset to the back side of the
garment and machine stitch on the tace side of
the fabric to fasten in place
7 ·-· Sewing Individual Parts ·•· 177

With a large seam allowance
A gu
Enlarged view A trie
panel
//\ provi
/ \ The ~
// \
CD Machine stitch on the
( \ seam allowance
guss'
bott<
Apply reinforcing fabric to the
tace side of the garment
(
{" \
®Make
Y\'
notches in
\
V
at th
J
) the bodice 0.2cm
and the
reinforcing
fabric up to
O.lcm before
the finishing
line
Front
*The rest of the process is the same as when

the seam allowance is small
Attaching the gusset with tace

sides of the fabric together
Enlarged view
End of gusset
attachment Sleeve-
front panel
(back side
of the fabric)
Front Back
(back si de of the fabric) (back side of the fabric)
'
178
Agusset that is an extension of the bodice sides
A triangular gusset is cut as an extension of the bodice side
panel, which is attached to the bodice with shaped seams, to
provide additional room for movement.
The side panel is attached to the bodice and the triangular
gusset section is attached so that it inserts into the sleeve
bottom seam. The ending points of different seams converge
at the corners, so sew each separately.
7 Apply fusible interfacing to the end of the

gusset attachment points to prevent fraying
1cm CD Apply fusible

interfacing
® Make a notch up
to 0.1cm before
Front
4cm
Make a notch up to
0.1cm before the
finishing line
Gusset Back
(back side (back sidt of tht fabric)
of the Jabric) 1.2-1.5cm
1.2-l.Scm
'
4cm 4cm

2 Attach the gusset to the bodice back
SI
se e
the
@ Press
Back Gusset Gusset open
(fau side (back side (fau si de (back side (back side
of the Jabric) of the Jabric) of the Jabric) of the Jabric) of thefabric)
1
1
1 Cí)Sew the
1
1 back side
1 panel seam
1
1
1
1
1
1
1
1
1
1
1
1
1
1
3 Sew the together the bodice front

and back and the gusset
1
Front 1
1
1
1
1
1
1
: Gusset Back
1 (back side (back si de of the fabric)
: of the Jabric)
1
1
1
1
1
(j) Sew the front :
side panel 1
sea m 1
1
1
1
1
1
1
1
1
1
1
1
1
180
Front
(fact side
of the fabric)
® 1
1
Sew the 1
1 1
sleeve 1 1
bottom 1 Back- 1
section of 1 stitch
the gusset
V -+
1
1
1
1
1
1
1
1
1
1
1
1 Gusset Back Front Gusset Back
/ (back side (back side (back side (back side (back side
1 of the fabric) of the Jabric) of the fabric) of the fabric) of the fabric)
1
1
1
1
1
1
1
1 Press
1 open
1
1
1
1
1
1
1
1
1
1
4 Sew the sleeve bottom on the bodice
Gusset
(back
side
ofthe
Jabric)
Back Back Front

(back side 1 (back side (back sidt
1
of the fabric) Back- 1 of the Jabric) of the Jabric)
stitch 1
1
1
1
1
1
1
Sew the
sleeve
bottom Press open
Sleeve opening ' Sleeve opening

A
Fly front opening ri
The fly front opening is a way of concealing the buttons, snaps

and other types of fasteners on the front of a coat or jacket by
making the top front edge double- layered.
Fly front openings can be created either with the standard
method ora simple method.
The standard method as shown in A is suitable for light- or
medium-weight wool. The method shown in B creates a neat
finish on heavyweight wool.
~Standard fly front opening
1 Cutting out the fabric and determining the

attachment position of the fly front piece
Diameter of 4
button=3cm Fly front piec:e A and B (lining fabric x 1 each)
1.8cm
1
1
1
1 16cm :
1
1
1
1
Fly
front
le m
· te¡tl le m ...........
... ....
..........
Right front
......... (back side
....... ..........
of the fabric)
•
........
...... ..
• •
......•••
• • • • • lf
.....
.....
...
.... ~
1 1
...........
.............. .......
.. ..
.............
............
.......... ...
.................... .. ' . ..................
. ....•..••.
........ .
...........
....·····•···•·
•....•.•••. ..............
.............
~····
.
...............
~
........... .
............ ............. .
182
2 Attach the fly front piece to the bodice 3 Turn inside out and tidy up the front edges
right front and the facing
Notch
®Notch
........
........
••.......
Machine r03<m
stitch
........
....... Push
Fly
(Í)Machine 1
stitch
1
1; Fly
Push
· back
Fly
......
.....
..... Fly
back
0.3cm
back
front
piece
1' front
1
1 piece
0.3cm
back
from
front
piece
.....
..... front from
the
A 1 B the A edge
(back 1 (back (fact (fact
1 edge Right
Right front sidtof 1 sidt of sid< of fhmt sidt of
(face sidt tht 1 tltt the tllt
{Wk
of tht Jabric) fabric) 1 Jabric) fabric)
1 sli~•J Jabric)
1 tk
U,
l fobrlc)
l
l
1
Notch l
l
......••.••
...........
..........................
................
........••••••
..•............ .............
.•••••......
......... .
•......••.
•••........••.. .......... .
......•.••
4 Machine stitch the fly front piece to 5 Make a buttonhole in the facing Enlarged view
hold in place
1
1
1
1
0.2- 1
0.3cm:
1
1
1
Diameter of button :
+ thickness of button 1
1
1
1
1
Machine 1 1
stitch 0.2cm
from the edge
1
1
0.2cm
....
..... 1
1
....
1 1
1
...
Right front
(face side
of the fabric)
1
1 Fly
: front
1 plece
Fly
front
piece
Facing-
right front
(face sidt
_)
: A B of tht fabric) Fly
1 (face (fa ce (fa ce front
1 sidt of side of sidt of piece
1 the the tire B
: fabric) fabric) fabric) (fa ce
1 sidt of
.......
1
1 tht
1 fabric)
1
1
1
1
1
1
....
..... Buttonhole with
eyelet on the right
.....
.... side of the facing
' .. .. .................
..•••.......
••........•
........... .
............
...........
.............
..............
••••......••..
................
......... ....
.......•••.•••. ...........
.......... . .

6 Stitch the front edge and turn inside out TL
to
Undercollar
{fact side of the fabric) (back side of the fabric)
Machine stitch
(fact sidt
of the fabric)
Right front Fly front piece B

(fact sidt (fau sidt
.....
.........
.....
.....
Facing- Facing-
right front right front
(back sidt (back sidt
of tht fabric) of the fabric)
1
• .. • 1
•••••••••••• J
............•••
••·•·•·.·•·.·.•.•.•.•.•.• •
"\
•••••••••••• 1 Press
( o~n
~ Undercollar
Upper collar
(1 Back
stitch
1 Machine:
l stitch 1
Right front
(fact sidt
of the Jabric)
Facing- Fly front piece B

right front (fact sidt
(back sidt of the Jabric)
of tht fabric)
'
184
7 Turn the front edge inside out, neaten and 8 On each front edge, join the bodice and
top-stitch the facing with thread loops between the
button and the buttonholes respectively
Right back-
Í lining fabric
(face side
of the fabric)
i:
~
®Top-stit~l
CD Baste along the 1

edge of the
top-stitching
position
CD Prick-stitch
Right front Right front-

(face side lining fabric
of the fabric) ®O.Scm-long (face side
thread loop of the fabric)
End of seam
1\
L>--
1
~/
Facing-
right front
(face side
9 Make the buttonholes of the Jabric)
Buttonholing
Right front
(face side
of the fabric)
1
1
'- •

8 Standard fly front opening 4 Tt
With heavy-weight fabrics, the front edges may become bulky. To avoid this, reduce the fly front on the facing.
1 Cut out the fly front pieces and attach to the bodice right front panel and the facing
Fly front piece A and B (lining fabric x 1 each)
Enlarged view
®BL
wi
Right front Facing- @Th1

(fact side right
of lile fabric) front
(Jau sidt (fau side
ofthe oftlre
fabric) fabric)
Notch
Fly front piece B

...1
3cm (back side of
thefabric)
Maki
2 With the right sides of the bodice front and 3 Turn the front edge to the face side
the facing together, stitch the front edges
Machine
stitch
Fly
front Machine
piece stitch through fly
A front pieces
(fa u
A and B (excluding
sidt of the bodice front)
Right front
(fau side tht
...... Right front
(back sidt
of the fabric) fabric)
...
... of the Jabric)
......
•
....
....
···~
• • 1
Facing-
right front ... '
.....
••• 1
(Jau side
...
of the fabric)
,
•
....
....
• • 1
Mactlir¡e
stitctt
....
186
4 Top-stitch to fasten the fly front piece in place
When top-stitching the front edge and the collar
" ""
Upper collar ""
"" Upper collar
(fau sidt ( (fau sidt
Back side Face si de of the fabric
of tlat fabric) ', of lht fabric) of the fabric
Prick-stitch '' \
,_1
1
1
1
®Buttonhole 1
with eyelet 1
1
1
1
1
1
1
1
1
1
Right front 1
@Thread loop (fau sidt 1
1
of tht fabric) 1
1
1
1
1
1
1
1
1
1
1
1
1
1 1 1
1
' ... 1
:_...-- Prick-stitch
8 Abbreviated fly front opening

Making buttonholes in the facing and turning inside out
Cutting out
fly front plece (lining fabric x 1)
Right front
(fau sidt
of tht Jabric)
(back sidt
of lht fabric)
•
2cm l.Scm

1 Attach the fly front piece to the bodice right 2 Make the buttonholes in the right
front panel front facing
facing-
right
front
(face side
.................
...................
···~ ·············
ofthe
.••....•.....•....•
····•············ .················
................
......••.......
- - ........ .
................
fabric)
........
--, .........
: ·················
... fusible
..........
.......
1••••••••• tape •• 1 ·:·:·:·:·:·:·:·:·
. .........
......... ..
1........
•••••••••••••••••.
: 1••. ••••••••••••••
·.
................
1
1.........
• tt • • • • • •
.
":
fly .....••..
:
fly 1 •••••••••••••••••
front 1.·:::::::.
Buttonhole
with eyelet
:. front
piece
••••l;li!S\é.'
piece 1 •:•:•:•:•:•:•:•:•
from the
tace side of
(face side J •••••••••••••••••
--+ ..·. (lace siú J •.•::.•::.•.• the facing
:.
ofthe
fabric)
11·:·:·:·:·:·:·:·:·
•••••••••
........
1•••••••••
:~-••••····
.: ofthe 1 •.·.·.·.·.·.·.·.·
Jabric) l :•:•:•:•:•:•:•:•:
.........
: 1••••••••••••••••• 1 ..........
1 ·:·:·:·:·:·:·:·:·
........
•••••••••
........
- __, .........
/.
/~
.
..•............•...
··················
................. . ....•.....•...••.
.............. .
3 Stitch the front edge and turn inside out 4 Top-stitch to fasten the fly front
piece in place
Undercollar
Right back-
lining fabric
(face side
of the fabric)
facing-
Machine stitch right
along the edge front
of the tape on (face side
the lapel ofthe
1 fabric) Right front-
1
1
lining fabric
1 (face side
..•..........•
...............
1
1
of the fabric)
..............
----1
1
1
1 1
Below the end of the
lapel roll line, machine
1
1 .......
......
1
1
~
stitch after pushing
back from the tape an •1 Fly
1
1 ......
1• • • • • • • Top-
amount of fabric equal
to the thickness of the ·'•¡
1 front : ::•:•:•:•:•:•
piece 1 • • • • • • •
stitch
on the
fabric + the amount of •1 right
(fau side 1 •:•:•:•:•:•:•
the facing that has been si de
ofthe ~ •::::::
1
pushed back <*> 1
fabric) 1 . . . • •• •
t1 1 •••••••••••••
1 ••••••
Prick stitch
* Not required if the pattern

·1
."f
1 ••••••
........
.......
1 ·.·.·.·.·.·:
-- ........ .
/ -1
has been adjusted to /
accommodate the amount ..............

_.
.••...•......•. ---"'
1
of the facing that has ...............

......•........
been pushed back ..............
...•...........
188
1. Capes
What is a cape?
The history of capes
A cape is a sleeveless outer garment that hangs from the
shoulders and encases the arms. The word "cape" comes
< Upto the 5th century
>
from the Latin word "capa," a covering with an opening for Capes have a long history and
the head that later became the French word "cape". were even worn by the people
Capes arrived in Japan around the 16th century in the form of ancient Egypt. Women, who
of the capa worn by Portuguese missionaries. seldom left their homes, wore
capes for decoration and as a
symbol of rank. In ancient Greece,
men wore the chlamydes. In
ancient Rome, women wore the
palla as a cover for the head and
body when going outdoors.
Short
<:~--------------------------------------6_-_l_S_th__c_e_n_tu_ry
________________________________________~> <J
Byzantine paludamentum 11th century mantle 15th century mantle
The mantle became increasingly characterized as an outer dust. Capes worn as a symbol of authority to show occupation
garment. In terms of form, outer garments were classified as or rank, or worn as a religious ceremonial garment were lined
either coats with sleeves or sleeveless capes. Unlike the coat. with gorgeous fur and hada long train at the back.
the mantle was not a sewn garment, rather a simple piece of In the 14th century, a gown called a houppelande was worn
fabric that was wrapped around the body. with a horse-riding cape made from raxa (a close-woven heavy
The mantle was worn for a variety of purposes. In the Middle wool) worn over the top.
Ages it was worn for protecting oneself from rain, cold and
190
<~ ________________________________________1_6_-_17_t_h_c_e_n_t_u~ry~----------------------------------~:>
In 16th century Europe, Spanish fashion was
popular. A short mantle was worn over the top
of a jacket called a pourpoint Some mantles
also had sleeves and a hood.
In the 17th century, overcoats for women
ce, came to be called "capes" and a mantle
In draped over one shoulder was popular among
he knights. However, in the latter half of the 17th
nd century, with the arrival of the justaucorps for
men the mantle was gradually worn on fewer
occasions.
16th century
Short Spanish-style mantle 17th century
Short mantle with rhingrave
<:~ ___________1_8_t_h_c_e_n_tu~ry_____________J:> / 19-20th century

~~----------------------~-------------~
18th century
A cape for going out
18th century 19th century Early 20th century

Mantle Fur cape Three-layered cape
In the 18th century, the pelisse, a cape worn by In the mid-19th century, the fashion for crinoline caused skirts to
women on top of a robe was first seen. Long capes become wider and the mantle became popular asan over-garment
where either generally referred to as a mantle or for protection against the cold.
a cloak. Thereafter, variations in length and design led to the capes of the
present day.
1 ·· ·Vests ·•· 191

2. Cape Designs and Fabrics
Shapes and structures

Classified in terms of the structure of their patterns, there are Removable capes can, as a form of detail, also be sewn onto Fabr
five cape silhouettes (A-E below). suits, dresses and coats to create capelet suits, capelet dresses pass
Cape silhouettes have many points in common with skirt and capelet coats. are 1
silhouettes in terms of their pattern shape. nee(
A B e
Shoulder
Centre_C\ í)_Centre
Centre J____ Centre
back ~u front back 1 front
1
1
A circular cape created from one pattern A shape created with two pattern pieces, A structure where three pattern pieces
piece in a full circle, three-quarter circle, that is, with a seam running from the (front, back and side) are joined together
semi-circle or quarter-circle or in a shoulder line. The silhouette changes to forma box-shaped structure, creating
size in between these. All have flared according to the width of the hem but a more enhanced three-dimensional
silhouettes. this is called a conical or semi-flared look than that of a two-section cape.
silhouette. The cape can be created in either a
box silhouette or a fiare silhouette. By
inserting a sea m in the centre back, you
can create a silhouette at the back that
is even more three-dimensional.
192
Fabrics
n onto example, reversible fabrics and firm wool fabrics) are ideal.
Fabrics that are closely woven so as not to allow the wind to
res ses For protection against the rain, use waterproof fabrics such as
pass through, thus protecting the wearer against the cold,
gabardine. For a fashion-conscious cape, you can use any kind
are good for making capes. For long capes, fabric that does
of fabric ranging from velvet to sil k.
need to be lined (the both sides of which can be used, for
D E
Neckline
Centre ~ Shoulder Centre

e back front
1
1
A cape make from one rectangular, trapezoid or circular A shape consisting of graduated rectangular gathered tiers.
pattern piece, with a cinched collar, in a similar form to a Some designs also have a collar area cut in the shape of a yoke.
gathered or tucked skirt.
2 ·-·Cape Designs and Fabrics ·-· 193

3. Cape Designs and Pattern Drafting Order
(j) Plac
®Ora'
Pattern drafting for a cape line
alor
Capes have a form that envelope the body. Therefore Arm slits are necessary with long capes. The slits should
consider movement of the arms when incorporating ease be positioned in such a way that allows the hands to pass
into your drawing. To that end, you will require the bust- through and be raised slightly with the elbows bent. The size
arm measurement (around the arms and body in line with of the arm slits should incorporate enough room for upward 4.5cm~
rr
the bust). See page 200 for how to take the bust-arm and downward movement of the arms and should be larger
measurement. than the pocket opening on a coat.
Standard measurements from the Bunka Fashion College female students' reference measurements have been used for drawings
and amounts of fabric required.
®
Cape (one pattern piece)
A cape that consists of one garment piece with a centre back Manipulating the darts on the sloper
cut out on the fold, darts inserted at the shoulder line and no
sea m lines. lt is al so known as a circular cape. When using this Bodice back
pattern, the length of the cape will be limited by the width of Move approximately 2/3 of the shoulder darts to the armhole
the fabric you are using as the vertical grain passes through asease. The remaining becomes ease in the shoulder.
the bodice front.
Tweed, shaggy wool, mossa and reversible fabrics are suitable Bodice front
for this cape. Move 0.7cm of the chest darts to the neckline asease. Leave
what remains of the darts in the armhole.
Bodice front length + 10cm of 90cm-wide fusible
interfacing
CapE
lengtt
194
Order of pattern drafting
= CD Place the back sloper and determine the cape length.
shoulder point is positioned 5-6cm away from the shoulder
point on the back sloper.
® Draw a line that intersects the extension of the centre back @ Draw a quarter circle with radius ®@ to determine the
line at a right angle. Align the centre front of the sloper
front cape length.
along that line and adjust the front sloper so that the
@ Add ease to the front and back shoulder line for layering
of garments and draw the shoulder line. Move the end of
the darts towards the front to make the shoulder line lie
naturally flat.
@ Draw the facing and the button positions.
Diameter of button=2.5cm
@ Draw the collar.
ings 2.5cm 2.5cm
ole
ve
ut
Back
Cape
length
Tips for placing the bodice front sloper

To determine the position of the front
sloper, use a right-angled ruler so that the
30cm
centre front and the centre back are at right
angles to each other.
.$- 10 1S 20 1S 30 JS 40 45 50 55 60 65 ]Q 15
Back
3 ·-·Cape Designs and Pattern Drafting ·•· 195

Short cape (two pattern pieces) \mt
Boc
• A
D
As the shoulder darts on the bodice back ha ve be en developed Manipulating the darts on the sloper d
in the hem, the silhouette is flared in the back.
V
Bodice front
As the cape will be worn on top of other garments, move 0.5cm
a
100cm of 90cm-wide lining fabric of the chest darts to the neckline as ease. Leave what remains
•e
Front bodice length + Scm of 90cm-wide fusible in the armhole.
interfacing
196
Bodice back Bodice front
• Add ease to the shoulder line for layering of garments. • Make the angle at the shoulder point deeper than at the
Determine the degree of angle at the shoulder point and back and draw a line to intersect the centre front extension
draw a line to intersect the centre back extension line. line. With the intersection point as the pivota! point draw
With the intersection point as the pivota! point draw an an are that is the same measurement as the back seam
are to form the hemline. line to form the front hemline. Tri m 1cm of the front he m.
• Close the shoulder darts, cut and open out at the hem and
make the remaining darts into ease.
Right front
Draw an are with the interseeting Draw an are with the interseeting
point as the pivota! point point as the pivota! point
3em
le m
Diameter
of button
=l. Se m
le m
2em lem
Front
3 ·-Cave DesiRns :anrl P.:.ttprn n~4h ........ -- 10"7

Boxy silhouette cape
• Ad
thE
frc
A boxy silhouette cape consisting of three pattern pieces (front, Manipulating the darts on the sloper • DE
back and si de panels) with narrow shoulders and tucks inserted se
at the shoulder points. The cape is given added functionality Bodice back bé
by the insertion of pleats in the shaped seams on the back. Move 2/3 of the shoulder darts to the armhole and make the
Bl
The arm slits in the front shaped seams are wide open to rest into ease.
•A
accommodate the movement of the arms. d
Bodice front o
Requires: 250cm of 150cm-wide outer fabric Leave 1/2 of the bust darts in the armhole, move the other hall •C
200cm of 90cm-wide lining fabric to the nec.kline as ease in the neckline and bust darts. S
Front bodice length + 15-20cm of 90cm-wide S
fusible interfacing
See page 204 for making slash openings for the
arm slits
2
Close3
Open
---o --
198
• Extend the si de sea m line directly upward and downward and
• Add approximately 1/2 of the back width measurement at
mark the point where it intersects a horizontalline from the
the back and 1/3 of the chest width measurement at the
front shoulder point as point @.
front asease in the width of the bodice.
• Determine the width of the bodice side panel from the
• Determine cape length, drawing guide lines for the shaped
midpoint between point ® and the bustline to the hipline.
seam directly downward from the back width line at the
• Make the difference in measurement between @ © and
back, and at the front, from the middle point between the
the @ ©. and the difference in measurement between @ ®
BP on the sloper and the side seam line.
and ®® into tucks at the shoulder point. lnserting tucks
• Add ease to the shoulder line for layering of garments and
at the shoulder point creates a design effect as well as
determine the shoulder width above the shoulder point
room for movement at the shoulder point. Pleats are also
on the sloper.
alf inserted into the shaped seams in the bodice back to allow
• On the hipline, measure the amount for the fiare on either
ease of the movement of the arms.
side of the guide lines for the shaped seams, and draw the
• Position the arm slits along the shaped seams on the
shaped seams for the bodice front and back.
bodice front so that the arms can be bent and pass easily
through to the outside.
3cm
Diameter of
button=2.5cm
Back Si de
panel
Arm
slits
HL
L _j L
A cap¡
Back patter
lnser tucks
As th¡
are su
Side panel Facing
Taking the bust-arm measurement

There is no ideal stancefortaking the bust-arm measurement
as this depends on the silhouette of the cape. However, the
basic stance is, as shown in the photograph, standing with
the elbows bent and hands placed on the hips. A horizontal
measurement through the bust point is then taken.
lf the hands are on the waist when the measurement is
taken, the measurement around the chest is longer than
when the hands are placed at a lower level.
Adapt the stance according to the design and the amount
of room for movement.
Approximately SOcm is added to the measurement taken in
the basic stance to determine the bust-arm measurement.
This measurement should serve as a guide when doing the
drawing.
200
Long cape
A cape with a three-dimensional silhouette made from tour Requires: 380cm of 150cm-wide outer fabric if you wish the
pattern pieces with shaped seams in the front and back. nap of the fabric to run in the same direction
As the cape is unlined, reversible and closely woven fabrics 260cm of 150cm-wide outer fabric if the nap is to
are suitable. run in either direction

Bodice front
Move the bust darts as ease in the neckline and to the
shoulder.
3 ·-·Cape Designs and Pattern Drafting ·-· 201

Bodice back
• Determine the front and back cape length and add ease in • Move the shoulder darts to a position that is at the same • Adc
the shoulder line for layering of garments. Draw a right- measurement as the shaped seamline on the front. Move ove
angled triangle at the shoulder point to determine the the end of the darts on the sloper 2cm towards the side • Adc
silhouette of the cape. Determine the degree of the angle seam and draw a straight descending line. at t
and draw the side seamline. • From that line mea su re 7cm on the waistline and draw the • Mo
• Add the amount for fiare to the centre back. shaped seamline on the side. str
• Frc
of
tht
Cape length
(113cm)
202
Bodice front
~me • Add ease for layering of garments and an amount fo r
ove overlapping at the centre front.
id e • Add ease in the shoulder line, draw a right-angled triangle
at the shoulder point and draw the side seamline.
the • Move 3cm from the BP on the sloper and draw a line
straight downward.
• From that line measure 3.5cm and 1.5cm on the waistline
of the sloper, connect the bust darts that were moved to
the shoulder and draw the shaped seamline. le m
Top-stitch
distan ce
from edge
of fabric
=l.Scm
3cm
O.Scm
3cm
1
1
1
1
1
1
1
1
1
1
1
1
_l
3 ·-·Cape Designs and Pattern Drafting ·-· 203

4. Sewing of Individual Parts B
Following is an explanation of sorne important points when sewing.
Arm slits
The slit openings allow the arms to pass through to the outside
Slash opening for arm slits
of the cape and should be placed in a position on the bodice
front that makes it is easy to do so. lf the shaped seams are
in the same position, make use of the seams to create a slash
opening. lf there are no seams, make hacking pockets, double
jetted pockets or use fasteners.
1 Apply fusible interfacing and machine 2 Sew the shaped seams leaving the opening
stitch to fasten unstitched
Machine stitch ~~
1 J
1.5cm
Opening
Front- Back- Front- Front- Back-

outer fabric outer fabric outer fabric outer fabric outer fabric
(back sidt (back side (back sidt (back sidt (back sidt
of the fabric) of tht Jabric) of tht Jabric) of tht Jabric) of tht fabric)
1.5cm
1.5cm
Front-outer fabric
(fact sidt of tht Jabric)
3 Sew along the shaped seams leaving the 4 Hem the opening in the
opening in the lining fabric unstitched lining fabric
Back-outer fabric
0.2-0.3cm Front-outer fabric (back sidt of the Jabric)
Machine stitch (back sidt of tht fabric)
1.5cm
Back- Back- Front- Back-

lining fabric lining fabric lining fabric lining fabric
(back sidt 2cm Make a slit (face sidt
(back sidt (fact side
of tht fabric) Opening in the back of the fabric)
of tht Jabric) of tht Jabric)
only and
fold over Hem the
towards the lining fabric
front 0.2-0.3cm
back from
the edge
1.5cm
Machine stitch
Linina fabric-front ((au sidt o( the (abrid
204
Cutting out
Pocket welt Pocket openlnc¡

lnner faclnc¡
le m 7.5cm
2.5cm 3.5cm=Pocket
opening width
1nner pocket 2cm
welt
!
Pocket opening le m
22cm
Arm slits measurement
/or
measurement +4cm
(fact side
of the fabric)
Pocket openinc¡ lnterfacinc¡ Relnforclnc¡ fabrlc

2cm 2cm
(fusible interfacing) (fusible interfacing)
Same size as
pocket welt
1 Apply the pocket opening 2 Sew both edges of the 3 Turn the pocket welt
interfacing to the pocket welt pocket welt inside out and top-stitch
Push back 0.2cm
Outer pocket welt Top-stitch the

(back side of the Jabric) outer pocket welt
Machine stitch up to
the finishing line
Push back 0.2cm 0.7cm
4 Apply reinforcing fabric to the opening 5 Attach the pocket welt
Bodice-outer fabric (back side ofthefabric) Bodice-outer fabric (fact side ofthefabric)
le m
(fact sidt
Reinforcing of the fabric)
fabric
Machine stitch the
pocket welt
attachment position
Leave the
inside pocket
welt folded up
4 ·-·Sewing oflndividual Parts ·-· 205

6 Attach the pocket opening inner 1 Make a slit in the bodice
facing
Bodice-outer fabric (face side ofthefabric) Bodice-outer fabric (face side ofthefabric)

lnner pocket
Align the pocket welt
opening inner (face side Pocket
facing to the of the fabric) opening inner
pocket welt and facing
machine stitch (back side
of the fabric)
8 Slip baste the pocket welt 9 Machine stitch the inner pocket
attachment position to make it welt to fasten
líe flat
Bodice-outer fabric (faa side ofthefabric)
Outer pocket welt

Fold up the
bodice,
machine stitch
Press open the along the edge Bodice-outer
seam allowance on of the sea m to fabric
the outer pocket lasten the (back side
welt and slip baste of the fabric)
to make lie flat
Pocket opening
inner facing
1O Make a slit in the pocket opening

inner facing and press open the
seam allowance
Bodice-outer fabric (face side ofthefabric)
lnner pocket
Slit
welt right side)
(face side
of the fabric)
206
11 Stitch-in-the-ditch to fasten the pocket opening inner facing
Bodice-outer fabric (face side ofthefabric) Bodice-outer fabric (backside ofthefabric)
lnner pocket
welt
(face side
of the Jabric) Fold the pocket
opening inner facing lnner pocket
at the pocket welt welt
attachment position (face side
of the fabric)
Stitch-in-the-ditch
Pocket opening
inner facing
12 Top-stitch both edges of the pocket 13 Make a slit in the arm slits of the
welt to fasten lining fabric
Bodice-outer fabric (face side ofthefabric) Bodice-lining fabric (face side ofthefabric)
Blind hem along the

inner edge of the fold
Pocket welt position

S lit
Blind hem along the

inner edge of the fold
14 Align the lining fabric to the pocket

welt, fold and hem
Bodice-lining fabric (face side ofthefabric)
Fold the seam

allowance on the
lining fabric and Pocket welt
hem around once attachment
posltion
Machine stitch to
lasten the pocket
opening inner
facing

(face síde of the fabric)

Double-jetted arm slits
1 Apply the pocket opening

Cutting out interfacing to the pocket
welt and overlock around
Pocket welt Pocket opening interfacing Reinforcing fabric the edge
(fusible interfacing) (fusible interfacing)
Piping width x 3 + 4cm Same size as Piping width + 3cm
pocket welt
Piping width 2cm ..........
..........
/ ..........
..........
~ ......... .
..........
·t.......
: ~: ;~j: ~l
Pocket
opening
or
22cm measurement
+ 4cm
2.5cm
l
\'<---------1
...•.......
..........
.•.....•..
. ........
2 Apply reinforcing fabric to the 3 With the right sides of the bodice and
opening the pocket welt together, machine
stitch the opening and make a slit

l. S cm
Slit
Appiy
reinforcing
fabric Machine stitch
around
opening
Pocket welt
208
4 Push the pocket welt through to the 5 Tidy up the piping fabric
bodice back side and press open the
seam allowance
Bodice (back síde ofthefabríc) Bodice (back síde ofthefabríc)

Reinforcing fabric
Pocket welt Align

Fold up the pocket (Jau síde
welt and press open of the fabríc)
(back síde
of the fabríc)
ing
et
nd
6 Slip-baste the seam on the pocket 7 Fold up the outer fabric and fasten the
welt seam allowance of the pocket welt
Bodice (Jau síde ofthefabríc) Pocket welt

(bacl< síde
of the Jabríc)
[:::>- Slip-baste Machine stitch

along the edge
of the sea m
Pocket welt ----....
(fau síde
of the fabríc)
8 Fold up the outer fabric and fasten the triangular pieces on both edges
Pocket welt Bodice (back síde of the Jabríc)

(back síde of the fabric) Machine stitch to
Machine stitch to fasten
fasten the
the triangular pieces
triangular pieces
Bodice Pocket welt

(fau síde of the Jabríc) (fau sí de of the fabríc)
(Jau síde of the fabríc)

Arm slits with fastener
Cutting out
1.2cm=O (lncrease or Faclnc¡ lnterfacinc¡ for the facinc¡ Reinforclnc¡ fabric

decrease depending on the (fusible interfacing) (fusible interfacing)
length of the fastener) O + 4.5cm 3.5cm
......
......
.... ......
..... ... .
22-23cm=O
· ¡··
........
......
.. ..
......
... Same
size as
..
..·¡..
.....· 0 +3cm
O +
4.5cm ...... .......
-
facing
......
2.5cm ......
......
1 Apply reinforcing fabric to the 2 Make a slit in the centre of the facing and
opening fold the seam allowance
O + 0.5cm
1.5cm
0.7cm
Fold Facing
Reinforcing
allowance (back side Fold over
fabric
of the fabric) towards
the back
si de
Facing
(back side
of the fabric)
0.7cm
Enlarged view
3 Attach the fastener to the facing

Facing Fastener
Enlarged view (face side
of the fabric)
Facing
(face side Lift up the facing Lift up the
of the fabric) and machine facing and
stitch to fasten the machine Facing
Facing Lift up the facing stitch to (face side
fastener in place CD Machine
(face side and machine stitch fasten the ofthefabric)
the triangular piece stitch
of the fabric) fastener in
2-3 times to fas~ from
place
in place ____,..... the
inside
Fastener
(back side ® Fold around
of the fabric) the edge
210
4 Make a slit in the bodice and fold
along the finishing line
Bodice (face side ofthefabric) Bodice (back side ofthefabric)
ic
g)
Reinforcing
fabric
Slit Fold
Jcm
5 Attach the fastener
¡,..-_,,
,,,,,, ,,,,,,
,,,, ,,,,
,, 1
Baste
,, '~
JJ JJ Double-stitch
--+ ''
,, 11
1
,,
along the edge
of the fold
,,,,,, ,,,,,,
'' 1
,, ,,
1~":.."'!!
ne
4 ·-·Sewing oflndividual Parts ·•· 211

Symbols related to the instructions on drawings (Bunka-style) lnst
These symbols help to make the instructions on flat drawings easy to understand. ~
Instructions and corresponding symbol marks Not'
lnstructions Symbol marks Summary lnstructions Symbol marks Summary
Line that acts as a guide when lndicates that the left and right
-
_k_
drawing other lines. Shown by a lines lntersect. Shown by a thin
thin solid llne ora broken line. Marking to solld line. On
Guide line indicate pie
------ intersections
of lines
r--
Line indicating that one line of a lndicates that cross·wlse grain of
fixed length has been divided the fabric runs in the direction of the
into equal lengths. Shown by a arrow. Shown by a thlck solid line. In
Sector line
~
thin broken line ora solid line.
Grain line
1 L.-
pi
Line indicating the finished lndicates the direction of the bias

outline of a pattern. Shown by a of the fabric. Shown by a thick
/
thick solid line or a broken line. solid line.
Finishing line
------
Bias direction -
-
l'" -'i
Line indicating the position and
the size of a facing. Shown by a
Used in the case of fabrics that
have a pile ora sheen. lndicates
-
fi thick dot·dash line.
Direction of
the direction of the pile. Shown '
-
Facing line -------- pi le '•oo'"
pile pile
by a thick solid line.
¡i
¡: -
11
-
Line indicating where the fabric lndicates the part to be
is to be cut on the fold. Shown extended.
by a thick broken line.
Extension
Cut on the fold
marking ~ 1;: ...
¡:;
Line indicating the position of a lndicates the part to be eased.
fold or the position for folding
back a fold. Shown by a thick
Fold back line
Fold peak line -------- broken line.
Ease marking
~
Line indicating the position and lndicates the part to be shaped.

the type of stitching. Shown by a
thin broken line. lt is also
acceptable just to show the start Shaping ~
Stitching line ------------ and end of the stitching. marking
~
Marking to indicate the bust lndicates that the paper pattern
point. Shown by a thin solid line. is to be folded along the dotted
n lines and cut open a long the solid
Bust point Close and cut line.
(BP) X open marking
e
lndicates a right angle. Shown by lndicates that the paper pattern

Marking to cut
L
a thin solid line. pieces are to be arranged
fabric with
LJ[J
contiguously when cutting out
Right angle paper pattern the fabric.
marking pieces arranged
contiguously
212
lnstructions Symbol marks Summary lnstructions Symbol marks Summary
Afignment markings Draw one diagonal line sloping
Notch d Marking to preven! misafi gnment

when sewing together two pieces
of fabric.
Tucks
N
downwards towards the hem.
lndicates that the higher fine
folds over the lower fine.
Pl
Draw two diagonallines sloping lndicates the position of buttons.
ht
in ~ ----p downwards towards the hem.
8
Shows that the higher fine folds
One-way
RH over the lower fine. Button

pleats marking
Same as above. lndicates the position of button

of
9F holes.
-wr
the
ine. lnverted Button hole
1 11
pleats marking
ias
Abbreviations used
B Bust MHL Middle Hip Line BNP Back Neck Point
UB Under Bust HL Hipline SP Shoulder Point
w Waist EL Elbow Line AH Arm Hole
MH Middle Hip KL Knee Line HS Head Size
H Hip BP Bust Point CF Center Front
BL Bustline SNP Side Neck Point CB Center Back
WL Waistline FNP Front Neck Point
213
Referential measurements
Japanese Industrial Standards (JIS) sizes

Clothing sizes for adult women (JIS L 4005-1997)
Body type classification indicator
Body types are classified in the following way:
Body type Meaning
Body type ot person with hip size that has the highest rate ot occurrence in each ot the height and bust combinations shown when the
A body type height ot Japanese adult women is classitied into 142cm, 150cm, 158cm and 166cm, bust sizes between 74-92cm is divided at intervals
ot 3cm and between 92-104cm at intervals ot 4cm
Y body type Body type ot a person whose hips are tour centimetres smaller than body type A
AB bodytype Body type ot a person whose hips are tour centimetres larger than body type A. However, bust is assumed to be 124cm or smaller
B body type Body type ot a person whose hips are eight centimetres larger than body type A
Types and names of sizes

Types and na mes of sizes classified by body type are as follows:
R Symbol for a height of 158cm meaning Regular
p Symbol for a height of 150cm meaning Petite
pp Symbol for a height of 142cm, meaning Extra Petite
T Symbol for a height of 166cm meaning Tall
Clothing sizes for adult women Body type A

Body type A: Height 142cm Body type A: Height 150cm (Unit: cm)
Name SAPP 7APP 9APP llAPP 13APP 15APP 17APP 19APP 3AP SAP 7AP 9AP llAP 13AP 15AP 17AP 19AP 21AP
Basic Bust 77 80 83 86 89 92 96 100 74 77 80 83 86 89 92 96 100 104
physical
measurements Hips 85 87 89 91 93 95 97 99 83 85 87 89 91 93 95 97 99 101
Height 142 150
10 - -
- - 64 67 70 73 76
20 61 58 61 64 80 84
-e:
"'o
- 64 67 70 73 76 -
.2~ 30
-
Referential ~
80
human body
measurements
"'
·¡¡;
S: ......
-u
~:E
e:~
~ -
40
50 64 67 70
61
64 67
67 70 73 76 80
84
88
e>v - 73 76
60 80 84 70 73
70 67 70 73 76 80
88 64
67 70 73 76
76 80 84 88 - 92
Body type A: Height 158cm Body type A: Height 166cm (Unit: cm)
Name 3AR SAR 7AR 9AR llAR 13AR 15AR 17AR 19AR 3AT SAT 7AT 9AT llAT 13AT 15AT 17AT 19AT
Basic Bust 74 77 80 83 86 89 92 96 100 74 77 80 83 86 89 92 96 100
physical
measurements Hips 85 87 89 91 93 95 97 99 101 87 89 91 93 95 97 99 101 103
Height 158 166
10
- 58 61 64 67 70 73 76 80 61 64 67 70 73 76
20 61 61 80
30
r-- 64
64
Referential ~
- 61 r-- 64 67 70 73 -
human body "'
·¡¡; 40
-
67 70 73 76 80 84 76 80
measurements S: 64
50 64
60
67
70 73 88
- -
- 70
73
- -
-
70
- -
- - 76
76 80 84 -
- -
-
- -
214
Bunka Fashion College-Referential measurements of female students
Measurements and standard values for garment production (Bunka Fashion College, 1998)
Standard
Measurement
value (cm)
Around the bust 84.0
Around the underbust 70.0
Around the waist 64.5
VI
...... Around the mid-hips 82.5
e
Q)
E
Q)
Around the hips 91.0
'-
:J Around the base of the arm 36.0
VI
10
Q) Around the upper arm 26.0
E
-10
Around the elbow 22.0
u
'-
Around the wrist 15.0
......
Q)
Around the palm of the hand 21.0
E
10
Around the head 56.0
o
Around the base of the neck 37.5
Around the thigh 54.0
Around the lower leg 34.5
~QI
..
111
e:
Back and shoulders width 40.5
....,E Back width 33.5
"O~
~~ Chest width 32.5
"'E
Ql
Space between bust points 16.0
Height 158.5
Total length 134.0
VI
Centre back length 38.0
......
e Back length 40.5
Q)
E
Q) Front length 42.0
'-
:J
VI Side neck point to bust point 25.0
10
Q)
Sleeve length 52.0
E
~
...... Waist height 97.0
O'
e Hip depth 18.0
Q)
....J
Crotch depth 25.0
lnseam length 72.0
Knee length 57.0
'-
Q) Front and back crotch length 68.0
~
......
o Weight 51.0
215
Bunka-style bodice sloper for an adult female
Basic lines
r • Refer to the Ouick Reference Table on
page 217 for calculating the measurement
®
of each part on the drawing.
• Calculate the size of ea eh waist dart as a
ratio of total dart allowance.
@Chest
width @ The size of the dart is the width of the
@ line B body - CW/2 + 3).
-+B.3cm
5 • When drafting a pattern without using a
Front protractor, formulas can be used for
bust measurements up to 93cm. For a
<D bust measurement of 94cm or more,
Center adjustments must be made in the
back armhole (see Book 1-Fundamentals of
length Garment Design). Draft the pattern
according to the formula in the Ouick
Reference Table, and then make
Center @Side Center @ changes in the armhole line.
back sea m front
line line line
WLL-__________________L __ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ ~
B
¡.---------- ® Body width = - + 6cm - - - - - - - - - + !
2
Curved lines
Method for calculation of shoulder
slope and bodice darts, when
drawing without using a protractor
3.2cm
®
Bodice
back
WL~----~~--~~~~~--~~-----U~----~ WLL-----------------~----------------~
f e d e b a
Waist dart measurement-Quick Reference table (Unit: cm)

Total dart allowance f e d e b a
100% 7% 18% 35% 11% 15% 14%
9 0.630 1.620 3.150 0.990 1.350 1.260
10 0 .700 1.800 3.500 1.100 1.500 1.400
11 0.770 1.980 3.850 1.210 1.650 1.540
12 0.840 2.160 4.200 1.320 1.800 1.680
12.5 0.875 2.250 4.375 1.375 1.875 1.750
13 0.910 2.340 4.550 1.430 1.950 1.820
14 0.980 2.520 4.900 1.540 2.100 1.960
15 1.050 2.700 5.250 1.650 2.250 2.100
216
Calculation-Quick Reference Table (Unit: cm)
nt
a
1\ Body
width
+•6
@ -BL
1~ +13.7 :
Back
width
+7.4
BL-@
~ +8.3 :
Chest
width
+6.2
___!!_
32
32
B
:4
Front
neckline
width
+3.4 = 0
Front
neckline
depth
0 +0.5
Angle
( :
Bust darts
- 2.5)0
(cm)
1~ -3.2
Back
neckline
width
0 +0.2 :2
Back
shoulder
darts
-0.8
*
*
77 44.5 20.1 17.0 23.7 15.B 2.4 6.6 7.1 16.B 3.2 6.B 1.6 0.0
7B 45.0 20.2 17.2 23.9 16.0 2.4 6.7 7.2 17.0 3.3 6.9 1.6 0.0
79 45.5 20.3 17.3 24.1 16.1 2.5 6.7 7.2 17.3 3.4 6.9 1.7 0.0
BO 46.0 20.4 17.4 24.3 16.2 2.5 6.7 7.2 17.5 3.5 6.9 1.7 0.0
B1 46.5 20.5 17.5 24.5 16.3 2.5 6.B 7.3 17.B 3.6 7.0 1.7 0.0
B2 47.0 20.5 17.7 24.7 16.5 2.6 6.B 7.3 1B.O 3.6 7.0 1.B 0.0
B3 47.5 20.6 17.B 24.9 16.6 2.6 6.9 7.4 1B.3 3.7 7.1 1.B 0.0
B4 4B.O 20.7 17.9 25.1 16.7 2.6 6.9 7.4 1B.5 3.B 7.1 1.B 0.0
B5 4B.5 20.B 1B.O 25.3 16.B 2.7 6.9 7.4 1B.B 3.9 7.1 1.9 0.1
B6 49.0 20.9 1B.2 25.5 17.0 2.7 7.0 7.5 19.0 4.0 7.2 1.9 0.1
B7 49.5 21.0 1B.3 25.7 17.1 2.7 7.0 7.5 19.3 4.1 7.2 1.9 0.1
BB 50.0 21.0 1B.4 25.9 17.2 2.B 7.1 7.6 19.5 4.1 7.3 2.0 0.1
B9 50.5 21.1 1B.5 26.1 17.3 2.B 7.1 7.6 19.B 4.2 7.3 2.0 0.1
90 51.0 21.2 1B.7 26.3 17.5 2.B 7.2 7.7 20.0 4.3 7.4 2.0 0.2
91 51.5 21.3 1B.B 26.5 17.6 2.B 7.2 7.7 20.3 4.4 7.4 2.0 0.2
92 52.0 21.4 1B.9 26.7 17.7 2.9 7.2 7.7 20.5 4.5 7.4 2.1 0.2
93 52.5 21.5 19.0 26.9 17.B 2.9 7.3 7.B 20.B 4.6 7.5 2.1 0.2
94 53.0 21.5 19.2 27.1 1B.O 2.9 7.3 7.B 21.0 4.7 7.5 2.1 0.2
95 53.5 21.6 19.3 27.3 1B.1 3.0 7.4 7.9 21.3 4.B 7.6 2.2 0.3
96 54.0 21.7 19.4 27.5 1B.2 3.0 7.4 7.9 21.5 4.B 7.6 2.2 0.3
97 54.5 21.B 19.5 27.7 1B.3 3.0 7.4 7.9 21.B 4.9 7.6 2.2 0.3
9B 55.0 21.9 19.7 27.9 1B.S 3.1 7.5 B.O 22.0 5.0 7.7 2.3 0.3
99 55.5 22.0 19.B 2B.1 1B.6 3.1 7.5 B.O 22.3 5.1 7.7 2.3 0.3
100 56.0 22.0 19.9 2B.3 1B.7 3.1 7.6 B.1 22.5 5.1 7.B 2.3 0.4
101 56.5 22.1 20.0 2B.5 1B.B 3.2 7.6 B.1 22.B 5.2 7.B 2.4 0.4
102 57.0 22.2 20.2 2B.7 19.0 3.2 7.7 B.2 23.0 5.3 7.9 2.4 0.4
103 57.5 22.3 20.3 2B.9 19.1 3.2 7.7 B.2 23.3 5.4 7.9 2.4 0.4
104 5B.O 22.4 20.4 29.1 19.2 3.3 7.7 B.2 23.5 5.5 7.9 2.5 0.4
The slopers have been created to lit bust measurements of mainly 80cm - 89cm. For measurements not listed in the table above, add or reduce
the body width ea se (6cm) as required.
217

Coats &amp; Capes (Bunka)

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Coats &amp; Capes (Bunka)

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Bunka Fashion Series

Garment Design Textbook

Coats & Capes

Coats & Capes

Bunka Fashion College

All rights reserved, including the rights of reproduction in whole or

Bunka Fashion Series

Publisher: Sunao Onuma

Edited by: Bunka Publishing Bureau

Bunka Gakuen Educational Foundation

Printed in Japan by: Dai Nippon Printing Co., Ltd.

2. Coats-Types, Designs and Fabrics ············································ 20

3. Coat Designs and Pattern Drafting ............ ........ ................. 23

4. Design and Pattern Drafting of Individual Parts .. .. ........ .. ........ .. .. · 52

Epau lette sleeve · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · · 53

2. Cape Designs and Fabrics ····················· ··································· 192

Symbols related to the instructions on drawings (Bunka-style) ··· ····· · 212

The fashion industry has expanded significantly into all aspects of

- - Fea tu res of the Bunka-style adult sloper - -

Shape of the sloper patterns and purpose of darts

L..J...__ _¡__.L..__ _- - - ' - - - - ' - - - - - - ' WL

Waist darts Waist darts

Side neck point (SNP)

Backneck --~---­ Shoulder point (SP)

Waist darts Waist darts

Sleeve cap point

< Up to the 13th century

The beginning of the 19th century saw the appearance

Carric k Chesterfield coat Ulster coat

<~ ________________________________ 2_0_ili

The beginning of the 2oth century saw the

Pea coat Duffle coat

Trench coat lnverness coat

Redingote Chesterfield coat

Requires: 260cm of 150cm-wide outer fabric

Manipulating the darts on the sloper

* is the shortage in the armhole ca used by changes

Sleeve Sleeve vent with

Sleeve width X ...l._ 0.5cm

Requires: 260cm of 150cm-outer fabric

Manipulating the darts on the sloper

Sleeve length + 7-8 cm

Sleeve length + 7-Bcm Diameter of button = 2.8cm

3 ···Coat Designs and Pattem Drafting ·•· 29

Cuffs Figure 1 Cutting and opening out

Cutting and opening out

3 ·-·Coat Designs and Pattern Drafting ·-· 31

Determining the incline of the sleeve

\ When you align the sleeve cap

Manipulating the darts on the sloper

Coat len gth

3 ··· Coat Designs and Pattem Drafting ·•· 35

Cutting and opening out

Determining the height of the sleeve cap

Manipulating the darts on the sloper

3 - ·Coat Designs and Pattem Drafting ·-· 37

~ep and Cutting and opening out

3 ·-· Coat Designs and Pattern Drafting ·-· 39

A Determining the height of the sleeve cap

Manipuiating the darts on the sloper

3 ·-· Coat Designs and Pattem Drafting ·-· 41

Sleeve length+ 6-Bcm

Determining the height of the sleeve cap

Vent tab attachment

Coats & Capes (Bunka)

Coats & Capes (Bunka)

L..J...__ _¡.L.. _- - - ' - - - - ' - - - - - - ' WL

Backneck --~--- Shoulder point (SP)