PG EDS or ‘ Dc WIPER UP The Professional Approach VOLUME ONE MARTIN M. SHOBEN & JANET P. WARDPATTERN CUTTING AND MAKING UP The professional approach Revised Edition Martin Shoben, MA, FCFI and Janet Ward, MA, BEd (Hons), FCF1For Jenny and Nick Pint published y Dacre iisineasnm ‘Tha sion 2011 by Roullaige 2 Park guise, Non Par Nbinwsten, Oxfenbsire ON EARN ZA Thigh Ava, Now York, SY 7,1 Rouilecge isan imprint of the ‘aylor Firs published 1987 i Croup, saintornia busiaess Conyright © (987, Martin Sholven an Tanet Wand AM rights reserved ‘The ig of Marin Sheben andl Janet Ward to be identiied as dao authors of eis ‘wor is boon sisarid in aeeardance wih che Copyright, Da-iens anc Potens ct 1988 [No part of this poblication ay be reproduced stored in w retrial systezn. ‘oe ansmitted in any form oe by any Zucans clectonse, saccheaical, photocepying, _evatding or cthervise without the prior waitin permission cf the publisher Noties No rosponsibilty’s gsauraed by the publishes far any injury anchor damwgove persons cor property 35a maltor af prodcets lability, negligence or otherwise. 0” from any use fr operation af any met od, products, striction or ideas conésed in the material herein. Because of rapid advances in dhe mecicul seiences i peticulas,inlegenden verification of diagnoses and dug dosages should be made British Library Cataloguing in Publication Data Sheber, Marti alten cating am making up the professional approach 41, Drewmakiig~ patern desig Lie 1 War, Janet 646.49209 T7520 Libeary of Comzress Cataloging-in-Pablication Data ‘ealalog recor for this book is moilable from the Library of Congress ISBN, 978.0-7506-03685 [ree wo nigint Pin 2010Contents Acknowledgements 7 Preface 9 List of abbreviations ° 1. Measurement taking and basic block construction n 2 Making up ~ general information 28 3. Darts and other forms of suppression 8 4) Eliminating the waist seam and fied styles 9 5) Set in and grown on sleeves n 6 Collars 10 7 Skirts a1 8 Openings and facings 164 9 Fastenings and openings ~ making up 184 10 Pockets 196 11 Trousers and related garments 205 12 Drapes 21s Further reading 219 Lis of suppliers 2 Index 2BAcknowledgements ‘We would like to record our appreciation for all the help we have received from our colleagues at the London College of Fashion; The London Institute; and also in particular to Patrick Taylor, Anne Martin and Sue Lacey. Finally to our students past and present for providing us with an ‘unending source of stimulation,Preface This is a revised one-volume edition of a successful three-volume work first published by Batsford in 1980, and it provides a complete, up-to-date course for students and teachers on the principles and techniques of pattern cutting and making up. Heinemann has provided us with the opportunity to redesign the format id content. Collars, skirts, pockets and drapes are dealt with in detail, and important new sections have been added on trousers, grown on sleeves, dartless blocks and fitted evening wear. ‘The book also covers techniques such as zip setting, cutting and sewing darts, planning and sewing of openings, and provides detailed instructions. on how to make a garment; with every construction stage clearly outlined. ‘The comprehensive nature of this book makes it suitable for students on GCSE, City and Guilds, BTEC and degree courses Martin Shoben and Janet Ward Abbreviations CB Centre back CBF Centre back fold CE Centre front CFF Centre front fold CH Crown height RS Right side S8__ Side seam WS Wrong side1. Pattern Master Junior (designed by Martin Shoben) 2 Phvot pins 3 Bradawi 4 Pins 5. Patter notchers: 6 Tracing whee! 7 Patter Master (designed by Martin Shoben) 8 Sticky tape 9 Rule Master (designed by Mavtin Shoben} 10 17cm shears 14 Screwdriver 12 180m share 13 Ships 44 Small scissors 15. Pattern weight 16 Tape measure Photograph courtesy of D. Whittington Jones Equipment designed by Martin Shoben is avaliable from Morplan (see Suppiiers).CHAPTER ONES Measurement taking and basic block construction Block patterns are used in the 1 Essential body measurements Although block construction is not industry to provide pattern cutters such as bust, waist and hips, the main purpose of this book, it is with basic shapes from which to which are contained in the advisable to construct 2 block develop many different garment company size chart carefully by following all the designs. The basic block will vary 2 Some scale measurements which instructions provided. You will then from company to company are difficult to measure dicectly be able to follow all the other depending on such factors as from the body. See page 205 exercises contained in this book. Tolerances, which are allowances 1 Intended age group of market, e.g. teenage of mature 2. Type of product, e.g. children’s This chapter, which will provide ‘Size chart and measurement ‘wear, maternity wear you with all the information needed taking 3. Price range and fabric category to construct an industrial block 4 Idiosyncracies of the particular pattern has been broken down into The size chart in Figure 2 consists ‘company. the following two stages of the essential body measurements required to construct an industrial for movement. “The dimensions of the basic blocks 1 Taking the body measurements ys ie a are based on the following 2 Asystem of applying them (© four sles, and is based on average information produce various besic blocks, measurements which are calculated by measuring large numbers of people. From the results of these surveys a statistical average emerges (for further details see Grading for 2. Main size chart (in cm) the Faskion Industry, Taylor and Shoben. The following notes and diagrams are to help you to understand how the measurements ate obtained and to enable you to measure a dress stand or model girl in order to produce a block pattern. Bust girth Waist girth 60.0 © 650 High hip girth 81.0 86.0 | Hip girth 870 © 920 | Haltacrossback =§ 15.0162 | Armhole width 101 11.0 ‘Sequence of measurement | Armhote girth 406 426 taking (See Figure 3) | Neckbasegith 358-370 | Shoulder length W315 Paar around the fullest | Bicep width 25.2 27.0 x part of the bust, The tape must be Elbow girth 240 © 258 © 27.6 29.4 1.8 horizontal atthe back. This Wrist girth 152 160 16.8 17.6 0.8 measurement must not be taken Height 160.1 1625 1649 167924 Uihily. Dress length 5 980 995 1010 15 | Waist to knee 567 678 8558408 | YEN aiseandlet ‘Armhole depth 174 18018619208 ig settle at the narrowest part. Take Nape to waist 398 | this measurement firmly. Underarm length 46.1 Waist to hip 217 3. High hip girth The landmark is the iliac crest, ape to bust point which is positioned approximately2 10cm below the waist. This is a critical measurement for tight skirts. 4 Hip gith Place the tape around the fullest part of the hip. Use the hip bone (trochanter) as a guide. This ‘measurement should be taken. firmly, S Half across back Approximately 10.5 cm down from nape. Use the armhole seams as a guide. Measure generously. 6 Armhole girth ‘This measurement must be taken loosely from the front shoulder point down to the armhole line, and up again to the back shoulder point. ‘You are advised to use the size chart for this measurement. 7. Neck base girth Measure around the base of neck, and apply the tape measure fairly foosely. (Back neck depth, front neck depth and front neck width are proportions of the neck base girth, and are explained in the instructions.) 8 Shoulder Tie a fine tape around the neck, let it find its lowest level. Measure from this tape to the acromion (bone at the end of the shoulder). 9 Upper arm girth ‘Measure around the fullest part of the bicep, fairly generously. 10 Elbow gin Measure around the elbow, using the elbow as a guide, fairly ‘generously. i Wrist ‘Use the bones at the wrist as a landmark. Measure fairly generously. 12 Height From the top of the head to the ground, The mode! must take off her shoes, 13-_Dress length (to knee) ‘Measure from the nape of the neck. to the knee. Patiern Cutting and Making Up 14 Armhole (or scye) depth A very difficult measurement to calculate as there is no real Tandmark. This measurement also depends on fashion. You are advised to use the size chart for an average. 15 Nope to waist Locate the nape, or seventh cervical vertebra. Measure down to waist, tape. 16 Underarm length Position the tape measure to the highest point of the underarm and measure down the underarm to the wrist bone. To allow for movernent reduce this measurement by 3 em. 17 Waist 10 kip Measure down from waist tape to the hip bone. 18 Nape to bust point ‘This is an important measurement ‘which affects the hang of the ‘garment. Measure from the nape at ‘centre back (CB) around the beck neck through the front shoulder neck point down to the bust point. Note that the height of the bust point will depend on whether a bra is worn,Measurement taking and basic construction 3 \ 5 2 {| 7 52 317630 ae The hasic bodice block (Figure 4) Sequence Size 12 (om) 1 Square out horizontally and vertically from 0 21 down from 0 = back neck depth, 1.5 cm all sizes 15 3 2down from 1 = nape to waist 40.4 4 3down from 1 = armhole depth plus 4.0 cm all sizes, square out 20 5 4s halfway between points 3 and 1 for across backline 11.0 6 Sout from 3 = half bust plus 5.0 cm tolerance 48.5 Square up 10 6 and down to 7 to complete rectangle dropping point 7, 1.3 cm below waistline for a size 12. Increase this by 1.0 em per size. 7 Bout from 0 = neck base girth divided by 6 plus 1.4 mall sizes ~ shape back neck 78 8 9 out from 3 = half the across back phus 1.8 cm tolerance 18.0 9 Lup from9 = armhole girth plus 2.5 emdivided by6 7.5, 1011 up from 10 = armhole girth plus 2.5 cm tolerance divided by 4 112 1112 from 9 = armhole width no 12 1Bup from 12 = 10 up from 7S 13 14up from 13 = 11 up from 10 no 14 Construct rectangle for the armhole 15 1S is halfway between 5 and 3 for the side seam 16 Square down to point 16 dropping 1.0 cm below waist line for a size 12 increasing by 0.3 cm per size 17 17 down from 14 = 0.5 all sizes, os 18 18 down from 6 = new base girth divided by 6 plus 1.6 cm tolerance ~all sizes 1 1919 out from 6 = neck base girth divided by 6 plus 0.5 em tolerance 67 20 Connect 18 to 19 for front neck 21 20 out from $ is midway points 12 and 5 984 Panern Cutting and Making Up Sequence 22 Square down to point 21, dropping 1.8m below waist line for size 12. Increase this by 0.7 cm per size 23 22s midway points 3 and 9 plus 1.0m 24 Square down to point 23 dropping 0.5 cm below waist line 25 24 from 19 = nape to bust point minus the half beck neck width 26 25 from 24 = 1.5 all sizes 27 26 from 24 = 1.5 all sizes 28 Connect 25 to 19 2927 from 19 = bust dart width, plus or minus 0.1 cm per size. Connect to point 25 30 Swing an arc from 9 through 11. On this arcis the back shoulder measurement plus 1.5 cm case all sizes. Connect to point 8 31 Swing an are from 12 through 17. On this arc is the shoulder measurement plus 0.6 em ease, all sizes 32 Draw in armhole as indicated on diagram 33° Swing an arc from 26 through 21 34 Swing an are from 15 through 16 35 Swing an arc from 22 through 23. To calculate the amount of suppression at the front waist, back waist and side seam follow the simple formula (a) measure 7 from 2 = 48.5 cm (b)caleulate half the waist girth and add 3.5 cm tolerance = 36.0 cm (©) subtract (b) from (a). This excess (ie. 12 em) is suppressed in the 3 suppression areas in the follow- ing manner: front dart = S.cm all sizes 5.0 cm side scam = 4m all sizes 4.0 cm back dart = 3m all sizes 3.5cm 36 -28and 29 out from 21 both equal 2.5 em, Connect to 26 37 30.and 31 out from 16 both equal 2.0 cm. Connect 10 15, 38 32 and 33 out from 23 both equal 1.75 em. Connect to 2 Sleeve pitch marks ‘The front armhole pitch Ais located 6 em above point 12. ‘The back armhole pitch Bis located at cross backline. ‘The front sewing notch Cis $.0cm up from point 13. ‘Trace off the front and back bodices and fold out waist darts to check the waist run see Figure25). Dress skirt (Figure 5) Sequence 1 Square vertically and horizontally from 0 2A down from 0 = waist to hip ~ square out 3 2.down from 0 = skirt length ~ square out 4 Bout from. = halfhip plus 1.6 cm all sizes ~square out square to locate points 4 and § SG from 1 = 15 from3 on the bodice plus 1.0 cm. Square to locate points 7 and 8, making point 8, 1.0 cm above 0.10.4 on the waist fine Sive 12 (om) 10.0 26.5 5.5 13.0 1a 48.5 36.0 125 25 2.0 175 Sie 12 (om) 22.0 57.6 16 1.0Measurement taking and basic construction 5 12.814 got 9 10 BIN ee aa hi 1" ha tt — 3 | | 2 1 5 7 Sequence Size 12 fom) 6 9 from 0 = 33 from 2on the bodice and raised 0.Sem 8.3 7 1 from 9 = 33 from 32.0n the bodice and raised 0.5 cm, +5 Find the centre of 10 from 9 and square down to the hhem line. Point 11 is located 6.0 cm above the hip 6.0 line, Connect points 11-9-10 for the back dart. 8 12 from 10 = 32 from 31 on the bodice and raised 1.0 can above waist line 98 9 13 from6 = 6,0 cm all sizes. Connect points 13 10 12 for back hip curve 6.0 1014 from 8 = 12 from 8 and raised 1.0 cm above waist line, Connect 14 to 13 for front hip curve 1115 from 4 = 28 from 7 on the bodice, end raived 0.3m 7.2 1216 from 15 = 1.3 em all sizes, and raised 0.3 em 13 13 Square down from the centre of 15 and 16 to the hem Tine 14 Point 17 is 10 cm above the hip line 10.0 15. Comect points 17-15-16 for the front dart 16 Point 18 is midway 16 and 14 17 Square down to the hem line 18 The difference between 14 from 16 on the skirt and 30 from 29 on the bodice is placed either side of point 18 for the side dart 14 19 Square down to the hem line 20 Point 21 is 11 cm up from the hip fine no 21 Connect 21 t0 20 and 19 Draw in the waist lineas shown in Figure S, trace off the block pattern, close ‘out the waist darts and test the waist line for shape. Correct ifnecessary.16 Pattern Cutting and Making Up Straight sleeve block with full crown height (Figure 6) Sequence ‘Sige 12 (om) 1 Trace off the front and back armhole and scye box 2 Mark points A and B and C and point 15 3 Dfrom15=crownheight plusorminus0.6cmpersize 15.0 4 E from B = 3.0 cm per size for back drape 3.0 5 F from A = 2.0 em per size for front drape 20 6 — G from 15 = 1.0.cmall sizes 10Measurement taking and basic construction 7 Sequence Size 12 (cm) 7 HfromG = 1.5 emall sizes (guide for back seyeline). 1.5 Connect point E to points H-G-F-D-E for the sleeve head 8 from G = underarm sleeve length plus or minus 0.4 cm per size 46.5 9 Square down from point F to point J 30 Square down from point E to point K 11 L from Fis @ misror image of points F to G 12 Fold the paperon line F to J and trace the line through, ‘Also mack point Mon the wrist line 13. N from E is a mirror image of points Eto G 34 Fold the paper on line E to K and trace the line through. Mark point O on the wrist line. The front pitch is located at point F. The back pitch is located at point E, Theelbow line islocated halfway between points 1 and G minus 1.0 cm towards point G 15 Trace off the sleeve and check that the sleeve crown measurement fits accurately into the erimbole, Also check that the crown line blends smoothly through all the construction points. Separate skirt block (Figure 7) This separate skirt block is suitable for use with all the skirt exercises showa in te skirt section of this 7 Recluce waist by 1 em ‘book. It also forms the basis for the | \ trouser block. Itis constructed as the dress skirt but because itis not \, suspended from a bodice it needs to be tighter around the waist. Ibis usual to ease some of the waist into the waistband to provide some ease over the hipbone. Reduce the dress skirt as in Figure 7. Remove approximately 1.0 om at the side seam ang raise 1.0 em to correct the waist line ~ any further alterations should be made by increasing the dacs evenly “The waistband (Figure 8) is constructed as a rectangle baved on ‘ ; the finished waist measurement plus tS —_ tolerance b_ the required finished width and a button stand is added to the left side only. See Figure 9 8 ‘Notch the waistband in quarters as Button stand shown in Figure 8. \_ waist measurement plus foleranco——————r1g ley i SS t Pl Ease into waistband18 10 Pattern Cuating and Making Up 2 8 7 10 16 Sheath skirt (Figure 10) Sequence u R Square vertically and horizontally from 0 1 down from 0 = waist to hip 2 down from 0 = skirt length 3 out from 1 = half the hip gicth plus 1.5 cm tolerance. Square up to point 4 and down to S 6 out from 1 = midway between points 1 and 3 plus 1 cm towards the front. Square up to point 7 and down to point 8. Point 7 is 1.0 em above the waist line 9 from 7 = 2.0 mall sizes 10 from 7 = 2.0 emall sizes 1 up from 6 = 6.5 cmall sizes. Connect points 9and 10 to point 11 for the hip line curve 12 from 0 = midway between points Oand 9 and moved 1.0 cm towards the side seam and also raised 0.2 em 13 from 12 = is midway between I2and 9 and raised 0.4 14 from 12 = the dart is 13 em long and is located midway between the centre back and the side scam plus 1.0 om towards the side seam 15 from 13 = is 12.0 em long and is located midway point 14 and the side seam 16 from 4 = is midway points 10 and 4 plus 2.0 cm towards the side seam and is raised 0.4 cm above the waist ine Size 12 (em) 2.0 57.7 475 7 10 2.0 2.0 65 125 5.0 12.0 12.0 123Measurement raking and basic construction v Sequence Size 12 (cm) 13,17 from 16 = midway point 11 to the centre front and moved 2.0 cm towards the side seam. The dart is 12 em long BS ‘This straight skirt fits very snugly around the waist and hips. Although yokes and other horizontal seams can be introduced into it, itisnot advisable touse this block for flared skirts. Use the Figure 6 block instead. 14 Calculate the amount of suppression in the waist darts as follows: (@) Measure the back and front waist e.g-: 0 to 9 and Wd 44.0 (b) Halve the finished waist measurement 33.0 (©) Subtract (a) from (b) for the suppression quantity 11.0 (@)_ Subtract 2.0 em from (c) for waistband ease 9.0 (©) Place a third of 9.0 om either side of points 12-13-16 and connect to points 14-15-17 3.0 15 Fold out the back and front darts and correct the waist run, See Figure 25. Dartless block (Figure 11) ‘The dartless shirt block is suitable for use with all lose fitting styles such as shirts, blouses, box jackets, etc. In order to compensate forits lackof suppression, this block hss 2 much greater amount of tolerances added inall areas, and although itis illustrated asa size 12, itcan be used asamulti-size block for example 10, 12and 14.Sequence 10 n 2 B Sleeve for the dartless block with full crown height (Figure 12) Sequence Mauser 10 u 2 1B 4 Pattern Cutting and Making Up ‘Square vertically and horizontally from 0 1 down from 0 = back neck depth, 1.5 cm all sizes. Square out 2 down from 1 = armhole depth plus 4.5 cm. Square out 3 down from 1 = fashion length, Square out, Point 4 is, midway points 1 and 2 for the half-across back line. Square out $5 from 2 = half bust plus 8.5 cm tolerance. Square up to point 6 and down to point 7 8 from 0 = back neck width 7.5 cm. Increase or ‘decrease this measurement by 0.3 em per size 9 from 2 = half across back measurement plus 3.3 cm tolerance 10 from 9 = scye width 11.0 em plus 2.5 cm tolerance. Square up to points 1 and 12 which are located on line 6-0. Construct rectangle for the armhole 17 from 6 = neck base girth divided by 6 plus 1.5 em tolerance 18 from 6 = front neck depth, 7.7 em plus or minus 0.2 ‘em per size. Draw front neck 15 from8 = back shoulder length. 13.5 cm on line 13 10 14, Increase or decrease by 0.2 cm per size 16 from 17 = front shoulder length. 13.5 cm on line 13, to 14. Increase or decrease by 0.2 cm per size Draw in thearmhole. Point 19 smidway between 2and 5 for the side seam position. Square down to the hem for point 20, Armbole balance marks are located as follows: (A) On half across back line (B) 6 em above point 10 © Sem above B ‘Trace off the scye box from the above block, marking in the balance marks D from A = 3m for the back drape E from B = 2.0 cm for the front drape ‘own height plus 3.0 cm (see page 21) 1.0 em all sizes 1.5 em all sizes (guide for the back scye fine). Connect points D-G-E-F-D for the sleeve head I from G = underarm sleeve length. Square out. Square down from point E to J on the wrist line. Square from point D to K on the wrist line. L from E is a mirror image of points E to G. Fold the paper on line E to J and trace the line through. ‘Mark point M on the wrist line. from D is a mirror image of D from G Fold the paper online D to K and trace the line through. Mark point P on the wrist line. The front pitch is located at point E. ‘The back pitch is located ‘at point D. Check that the sleeve crown fits the armhole, Trace off the sleeve and adjust the crown rrun if necessary, Size 12 (om) 1s 26 62.0 52.0 1S 19.5 BS 76 17 BS BS Sie 12 (om) 3.0 20 13.0 1.0 15 BSMeasurement wing and basic construction 2 Crown height The height of the sleeve head or ‘crown is crucial to the hang and the set of the sleeve. The shorter the sleeve crown height is in relationship to the armhole depth, ‘the more the sleeve will tlt ‘upwards. Figure 13 shows a full crown height sleeve set into an armhole. Compare this with Figure 14 which shows a reduced crown height sleeve. Figures 15 and 16 illustrate low crown height sleeves; compare the different effects. The choice of crown height is based on appearance and garment function; the less fitting the garment the lower the crown height and vice versa. A full crown height sleeve will have a tailored appearance and hang very straight co the body and have ess lift than a sleeve with a low crown height. Ifthe crown height is reduced as in Figures 14, 15 and 16 the angle of sleeve to the armhole will change and the sleeve will progressively tilt upwards when sewn into the bodice. The sleeve head circumference, however, does ‘remain constant, and the upper arm gicth widens (see Figure 17), “Therefore, the lower the crown hight, the wider the upper arm sleeve girth Galeutasing the erown height ‘There are many formulas for calculating sleeve crown height, however the only safe way is to place the garment on to the dress stand, insert a shoulder pad if required and then meastve from tne unde dsm 10 tue shoulder end. S~- Figure 13.2 Pautern Cutting and Making Up 7 ‘This interesting drafting method was developed by Patrick Taylor and is H used with permission. J = Low crown sleeve (Figure 17) Sequence Position the front and back blocks as in Figure 17 ‘Marks points A~B and € and D (front and back pitch) Extend line A-B-E Position the full crown sleeve om to line ACB-E, so that the sleeve centre line is on line A~B-E Point E is located on the wrist line Point F is located by continuing line BC until C-F equals C-G Connect F to H for front underarm ‘Measure F to H and swing an arc of the same radius from J ‘Measure D to K and locate point L which is the same length as DK 10 Trace off the low crown sleeve from points L-D-B-C-F-H-J-L. Establish the intermediate crown heights i.e. from full to low crown as follows 11 Point M is located at the front sewing notch 12 Mark points N-O-P-Q-R as in Figure 17 13 Connect R to L with a straight line. Divide equally for required heights 14 Connect N to D with a straight line, Divide equally for required heights 15 Connect © to M with a straight line. Divide equally for required heights une wauanMeasurement taking and basic construction Sequence 16 Connect P to € with a straight line, Divide equally for required heights 17 Connect Q to F with a straight line, Divide equally for required heights. (On these dividing lines will be located the sleeve pitch points and sewing. notches. Retain this draft and use it to trace off the required crown heights that will provide the appropriate fit and appearance, This draft can also be used for adding raglan style lines. Fitted two-piece sleeve This sleeve is usually found in tailored garments. [thas twopitches: one from the front pitch point tothe elbow and one from elbow to waist. Thisextra forward pitch allows the sleeve to follow closely the natural hang of thearm. See Figure 18, Fitting lines which are planned to coincide with the sleevedrape lines, are displaced under the sleeve so that they are hidden. Figure 19 Sequence Size 12 (om) 1 Trace off armhole, marking in points A-B-C 2 EtoD = armhole to waist. Square out 3 BtoF = underarm length. Square out 435 4 BtoG = crown height 15.0 3. Hfrom B = back drape = 3.5 cm variable 33 6 — Jfrom A = front drape = 2.5 cm variable 25 7 Connect Hw G to J for crown 8 KfromE = 1.0em Lo 9 Lfrom K = 1.5m 1s 10 Connect H to L. Blend into K 1 Connect K to J 12 Drop perpendicular line from J down to wrist 13 Mark point M on elbow 14 N from M = 1.5 cm for forward pitch, variable Ls 15 Draw line J-N 16 Locate point on wrist line ~ continuation of J-N 17 P from O = 3m for forward pitch, variable 30 18 Connect PtoN 19 Q from N = haif elbow girth plus tolerances 3.0 em Angle H-Q-N must be 90° 18.9 20 RfromP=halfwrist measurement plustolerance3em 11.0 21 Line Q-R-P must be at 90° Thissleeve can be cut in three ways, First as 50-50 sleeve, that isin two pieves ‘with the seams appearing on the drape lines. More usual, however, isthe sleeve that has a displaced frontand back drape line (Figure 20). 21S from fine Q4T = 3 cm 3.0 22 T from Q = 25cm 25 23° UfromR = 20cm 20 24 V from line N-J = 3.0 cm 3.0 25° WiromN = 2.5m 25 26 © X fromP = 20cm 20 27 Draw line S-T-U and V-W-X. These will be the new displaced underarm seams ‘The shaded areas (Figure 20) have tobe traced off and repositioned as points SI-TI-Uland KI-WI-XI Figure21). Note that the back notches are eased on tothe undersleeve and that front notches are stretched on to theundersleeve notches (Figure 21). The finished two-piece siceve pattern is shown in Figure 22, The grain indicated may be varied according to fabric design, suchas stripes or checks, 18 a Front pitch Foreward pitch jos pitchPatiern Cutting and Making Up m Top sleeve XK > WSFolding darts and truing seam lines ‘This deals with the principles involved in checking that the newly constructed block patterns are suitable for use in further style development. Folding and cutting darts A. Darts must be folded and cut so that the widest part (which is sewn into the seam) is completely caught into the seam, and can be finished, i.e., overlocked accurately. B_ There must be a smooth flowing line from one pattern section to another. A Figure 23 £ example of A above. 1 Trace off the pattern from te draft on to a clean sheet of paper. 2. Fold the dart in the chosen direction, for example A folds to B (Figure 23), 3 Cut along fine A-B-C as shown in Figure 24 4 Open out pattern and continue to cut around the outline until reaching next dart. Repeat procedure for each dart until the ‘pattern has been completely cut ‘out (Figure 25). Checking seam runs ‘After accurately creasing and cutting darts, seam lines must be checked to ensure that they are smooth flowing. ‘This is a basic principle of pattern cutting and applies 10 every area of the pattern where seams meet, otherwise the machinist will find it impossible to ~w a professio~-I, cleanly made garment Check seam runs and adjust by the method shown in the following ‘example. Take the back and front bodice and pin up the darts and side seams (Figure 25). Line A-B is clearly incorrect and could not be machined accurately. Correct fine A-B in the following manner. Measurement taking and basic construction 23 a Fold pe 1 The CF and CB waist points should be 90° angles. Correct these first 2. Draw ina smoothly flowing line (Figure 25). Repeat this with every pattern section before adding seam allowances. 25 ‘Adding seam allowances Seam allowances will vary, depending on the following factors 1 Method of manufacture 2. Type of fabric 3. Type of garment Industrial block patterns usually6 Pater Cutting and Making Up 27 jFold shoulder [Seam tina| Cuthalt way = around neck have seam allowances added. These Method fends of each seam are folded in the seam allowances are average order showa below. amounts, and the pattern cutter will Add seam allowances to the first “Trace off the pattern adding seam i pattern after tracing off from the sage alter them according to the above Ra Bnah ihe’ allowances. Cut generously around factors “Average seam allowances, onde ae ent depend on the the pattern, sees flow: method of manufacture. For Side seam 2.5m example, if the shoulder seams are Cutting sequence Shoulder 1.5cm sewn and pressed open, itis Starting from point A cut along the Waist 13m important that the seam ends are the CF and halfway around the neck Armbole 1.0m same shape as the armhole and neck seam. Stop before the front shoulder Facings —0.7.cm line (Figure 26). neck point (Figure 27). Style seams 1.5 cm Its essential that seam allowances Fold the shoulder seam CBzip 25cm are totally accurate, and that the downwards. Cut from point CMeasurement taking and basic construction u around the front neck point to point B. Cut down around the armhole. Stop before reaching the underarm point (Figure 28) Repeat this procedure with each pattern, Figure 29 shows a frst pattern with seam allowances added. Pattern notches are used to mark the ends of each seam and dart, so that when the garment is cut out they can be transferred to each cut part in the form of small notches cut in the garment sections.CHAPTER TWO—-— Making up — general information Basic fabric manipulation In the industry, tacks and pins are rarely (sometimes never) used. during the making up process. Instead special techniques are applicd and skills developed which tenable the operator to manipulate the fabric accurately while sewing. All the garment sections are very clearly balanced to eliminate any confusion, This information is essential or the person making up the garment because this balancing of parts is the substitute for tacks and pins. Once all the sections have been balanced it is the placement of the fabri on the machine that is important. General procedure ‘The first section is placed under the presser foot at the correct angle, then held in position by lowering tepee o(Fg 30.Te se ond se ion is pla ed on op of the first and secured with the foot (Figure 31). The pieces are joined for 2 103 cem before further manipulation of the fabric is necessary (Figure 32) Now let us look at the joining of the specific shapes which form the basis ofall garment construction, Long straight sections When joining long pieres, seams for example, the only guide is the balance marks which have been marked at intervals along the edges to be joined. The pieces are held under the presser foot as described in the general procedure, and joined for 210 3 cm (Figure 33) 30 ws Straight sections 32 ‘ws Curved sections, ‘The right hand is used to keep the under section steady and flat atthe first notch while the left hand, with the fingers on top of the fabric and the thumb underneath, places the top section in position. [cis important to make sure that the notches of both sections are exactly ‘matching. Holding these firmly together, one can now stitch down to the first balance mark (Figure 34). Tan sabeee vanes De set ed and this procedure repeated along the whole length of the seam, If the balance marks have not been allowed to slip the pieces will be accurately joined together. If one section finishes longer than the other then first check that the balance marks are together; if they are then check both sections with the pattern for accuracy of cutting. Do not trim the longer section to match the shorter, but establish a reason for the discrepancy and make adjustments accordingly.‘There is no hard and fast rule as to which piece is placed on top when sewing these shapes, but it has been found that distortion is less likely to ‘occur when the outer curve is placed ‘uppermost. ‘The inner curve is angled correctly under the presser foot and is left flat. Both the right and left hhands are used to encourage the ‘outer curve to adopt the shape of the under section. This is done by using the left hand to pull the fabric back firmly near the edge of the outer ‘curve (this causes the edge to frill slightly), while the right hand pulls th. L.wer edge of the curve around to follow the shape of the under section. The lower section is left completely fat, only the outer curve being manipulated (Figure 35). “The apparent frilling of the edge of the section occurs because the raw edge of the outer curve ‘measures more than the raw edge of the inner curve. However, at the depth which they are seamed together both measure exactly the same. al ‘Seaming corners ‘The comer on each section should be clearly and accurately marked on the seam line (A). The inner corner must be reinforced, as it will have 10 bbe notched or cut right into the corner (Figure 36). Position both pieces so that the ‘corners are exactly together. Making up — general information A — Comers deaily marked 29 Neodle down through fabric foot raised Holding them firmly and gently so that they cannot slip, stitch down to the corner (Figure 37). Stop the machine with the needle down through both fabric layers exactly on the marked corner. Raise the presser foot. The needle is now holding the sections on the corner point (Figure 38). Turn both pieces so that the row of stitching is in the horizontal _0si jon (0 the left of the presser Kot, wi. :he needle sill" roug’ the fabric (Figure 39). Using the left hand pull the top section around with its edge in line with that of the under section, needle still in the doven position, ‘which remains flat, Lower the presser foot and complete the seam (Figure 40). The corner is now completed (Figure 41). In later chapters other ‘manipulative procedures will be ‘Top secticn aligned with underPattern Cutting and Making Up Using a spacial 8 a Rows of stitching pulled up to size | ‘ described which are best understood in context; but itis important to understand fully the basic techniques before proceeding with garments. ‘There are various methods of gathering fabric. The method chosen is determined by 1 Tf bi 2 Length to be gathered 3 Quality of the garment 4 Machinery and aids available Using a gathering foot ‘This enables 2 longer length of fabric to be gathered on to a shorter piece during the joining operat (Figure 42). The ratio of gathers Wo pattern stage to ensure accurate gathering and joining. Using skilled handling techniques ‘The operator pushes the fabric under the machine foot so that the resulting row of stitching holds the fabric in the gathered position (Figure 43). Several rows of machine stitches parallel to the edge of the fabric ‘The ends of the threads on one side of the fabric are pulled up until the fabric has been reduced to the required size (Figure 44). The 8 ps oy Fable pushed under the foot ~~ gussets, It can also be used in the form of stay stitching to stabilize edges that are likely to stretch, such as bias cut edges and the edges of loosely woven fabries (Figure 46). ‘Do not underestimate the importance of reinforcement in garment construction, This can not only affect the silhouerte of your garment, but also the hang and fit ~ essential ingredients of the professional product. Machine stitching Pulled up ana pulling the threads on the under side of the fabric (Figure 48). Principles of making up Before making up a garment or part ‘of a garment, there are certain principles which should be understood and followed in order to produce the garment in the minimum amount of time and with a high degree of professionalism. 1 Reinforcement Reinforcement is necessary at the points of the garment which are ‘expected to take strain, for example, corners that have to be clipped, 2p PS psand = Intetining Staytape2. Se ect on 0° seam type The scam may be an integral part of the original design ot simply serve the purpose of joining sections to achieve the bare ‘shell’ of the garment. Whichever of these is applicable, it is equally important to the final garment. 3. Each stage becomes preparation for the next Boa ang avhieveaa smooth run at crown and cuff. 27 This sleeve will gather into the armhole and cuff to produce a puff sleeve, ot Cuffs and sleeve opening: Cals fall into two basic categories 1 Straight 2 Shaped. Sleeve openings are usually positioned on the rear drape fine. In «full-length sleeve they are approximately 8 cm long. See Figures 217 and 218. 1 The straight cuff (Figure 219) is usually not more than 6 cm wide. It is cut with a fold at the wrist edge. 2. Ifa wider cuff (Figure 220) is Rar drape line required, itis important to relate Stenger the cuff shape to the shape of the 1 Caloulate the required cuff ‘arm. As the arm gets wider the width, In the example shown in ‘cuff has to get wider or it will be Figure 221 this is 6 cm. tight to wear. 220 2. Calculate the wrist measurement plus tolerance. 219 3. Calculate the allowances for button and buttonholes and add seam allowances. 221 b4— Wrist pis 2 em —r! Le ‘ b ot ecm Fala + Extension for Extension for Shaalitcu ‘Shaped cutt bution stand ‘buttonhole