PATTERN MAGIC Tomoko Nakamichi Lean aTUsing this book ‘Ac the beginning ofthis book (page 7) T explained abou rhe relationship between the three-dimenstonal structre fof a garment and fla pattern pieces. A major objective when making garments for women is aoe only that they fic properly but that they also loole artacriv. Fae this reason, gnement design will never cease to exist and provide endless enjoyment. I hope the pattern-making method 1 introduce here is of use to you in turning an image into a silhouete or design detail, and chat you learn from the ideas in cis book and find new methods that work for you. ‘The pattern drafting and manipulation for the design of garments in this book are based on the Bunka-stylesloper (block) for adult women (Japanese ‘M” size: bust 83cm, waist 64cm, centre back length 38cm), and a half-scale dress form for the thrce-dimensional pattern manipulation. All che measurements on this dress form are half thar of a full-sized dress form, its surface area is scaled down to a quarter and its volume to one-eighth. Using a half- scale dress form helps to understand the overall balance and look ofa germent, As my objective was to explain che construction of a patter in an easy-to-follow way, Uhave omitted pattern markings such as facing Hines used for actually constructing the garment and che amount of fabric required ro make the gstrent. ‘Abbreviations used in Symbols used in pattern drafting pattem drafting we wn eS Bust Point cae Shown by athia slid ling, a ne ergo tgaiegswicnn ‘Arm Hole equa ent vby atin broken AH Hal Firishing line i | Sintatitescmcertieerte ont Arm Hole —— —Trrerergungantivenebeas dia Balt conte old ocean Back Arm Hole tisk . Righearalarnadeeg /, Indes aright aegle. Shown by athe slid be Wa = it = Greve yaeile Fy ‘Gram nea diagonal ine oping downwards teams thetvemn Snows YA | sessment _ [anne — =e Bust Line Biesdrecion / i WL Via tine i Excensfonmatking | e-em panabesretdet Hip Une = tnemating | [ntact Ehow Line S oseand educa tepipr patale te | rt ose ecmopetoons ce o Ting roam entre tac TAA eure mack Shien paper | [ ncn eo trae fate eee ea [eompocsy | | ed " parrenw wacieBasic bodice pattern otc ont pate based on the Bodice pater wth dosed da anexsye dpe lod (80 p50 9-100, Inserting a circular design line A\ When the edge of the circle passes through the bust points Catng out the ele pros patern wth the sae shouete athe oper shove, © The edgeof he dele “The ce that has ben ut out forms ses trough east pls. the ate forthe design ne B when the circle extends beyond the bust points [en you eutat the cele, he undesde doesnot ef rd cannot be sed as pall, Thwcinlewrendsheyond the bus pots Even you ol ter, oes not 2To make a pattern for the circle Shortoning the darts so that they end at the edge of he cicle will make Ue cil i fat so that a pattern ean be made, Honever, the sihouelte wil be not be same asthe seper (lock). SS ZN | - ‘Shoren hedasioendattheedge tthe ckce, Claw the cars nde ut the ce ‘hapa ot itd in the chert eres ‘and the slut not the sme Three methods for making a pattern with the same silhouette ‘They all involve manipulating the darts that ave left inside the circle. “Linc sls ters tomate bio ond. eee, “ater maans to prot down on any fnes Ua eases to le la In ‘sma way to supa cube where th corars have been worm vay, ‘ere curves fr onthe pater as ‘how the dauing tani jut ‘smal anountoffdles creates & welled fo. ‘epending onthe method you use, the thre denon ‘xprenion changes fram sf tse, Tothe ets a bode pater wher the das have oon fated, Fz Partenw wacieInserting complex design lines into a sloper (block) as a further appl In the same way as for the bot ‘Graw eny kind of Ine you want ication of this technique sce withthe cular design fine, make the bodice alter aut of ape. and don't forget !o insert the pestion of the opening. Ccutand open out along ihe ies Flaten out he ares tha! dont ate brinseting dare, ere oF Mating, or by comeing thse elhoss uannette opened out “he patent bt the egring of ho ‘eve como! be opened out becuse trees ‘rosea lance forte dein ie sein Feld overa sl pertion atthe er ofthe ‘uve creat como sam allonance, ‘Ten, eer sich ou the flded potion ‘ik and ape norte shouie, rete tt atone ois. [tough we have to be meticulous about measurerents fra garment patter in some cases where only afew nilimekes are theres nothing wrong wth being Houle. Hare | havo flded an crested the seam allowance but you may change 4 otha he desian Ines end at reports up to where you can se. br abo stiches at with patterns that have curved deg Ines, and ven you actually ct the fable, you wl {oad the messurements Select a method corsidting to eveal balance of te garment. 2Accents (deppari) This deppari protrudes from the back like a shell ‘Since it utilises the unevenness of he body, i doesn'e just have to be the back ftom which a deppari protrudes. ‘They can be positioned anywhere, on the back for on the chest, to create a sharp Here are two interesting deppari designs. Aereseansenteut AZZ Vr tee 3 decane ihe eran consi cetu with rehnenate oy thigh bee Dud nectinesigateanly deeper © Tia the capper appenio be Frotrding from the pon nae the cave of the shoulder lade ene daw item the end (ofthe shoulder cart en the patie Yo make the dean neat move the nent enoider - 7 dt athe 4 Oteoreineceppid agin andestout asthe poionvalicrcaerif ee ‘9 shouler scum, cos the et shar dae and cut ts sectoncerruouly nth he hectee ont. ala »Page 13: Deppari shirt ‘The deppari on the chest utiles te fullnoss of the bust. The sharp accent in the chest area of the crisp high quality cotton shirt has a coolness that is reminiscent of a safaristyle shit: J 1 i I | @ tecaus ho srt does not have tobe patsy tod to he body, ‘ide the route dat alowance ha was moved tothe A Into bro ‘equal secon stute ane aint te dts, re etn he aie, Shorian the dat beeaue the ct allnance ssl, © Draw the depp. dete bust dart Alerceirto thee equ ection, dre ‘one third in casein the ernie, eave two hrs forte bt dar ane the depp to thesrmhole, © rovers he deppar and ct out | 28Diifiveatecen belie Dyeerasinetetatre ih i etek (etree eee yisein aroha veo Gere est seem ae CnnPage 14: Dress with gathered hole ‘A design vihere a hole is opened and gathered ina fitted sithouette, without inserting darts or design lines. et © crate pater ofa cess with a lite shout 30seem. | 250 (© tecaue heeft and right boc pack are asymm, aga them and craw where you want to open the hol, Ie ating and opening out lines naval pattem ina blreed ay \herethe cut and opening out nes donot mace contac withthe plat ofthe dart, aut by making the dt lange or shor. [hee the point ofthe dato farewy.for example he te bus dat on he et occ rontin he dang you can la craw nother etn andopenigeutine as n@. ‘ake an opering nthe back et stesso along the adler ating and opening cute, andeonnet hat secten tothe kodcs fort 3© Close al the darts, thereby making posse o create a fled lhovete wer thot ‘Manpate the et and epaed pars to daw asmecthcontiruousting forthe outine of the le and theese. Then redraw thehertine wth ea, ag ine Topesich weth = ton AO _a+e+Son—_ Oem 2Page 15: Camis with gathered ho A design where the luxurious fabri used for the camisole is fitted to the. body with design lines and appeers to have sprung from the gathered hole, I's made from cotton voile woven with dots and is great for wearing as casual mear, for example, with jeans.Shoulder sap tachment peeon em Bien: 2m oon =| 1! | sem {© Open sna hoe forthe gather around hemi hp (MH) asf the ight fen. Mate part ofthe gather nto al or rater eghas. “ocr the fil stip, decide whe ts eam onde and dont ew beyond that pit. Ther mate he il, taking care otf atl itt the bodes, he wang the curved gon sears as sg es, oe ® © caw des ees fore gathering aad patie in secton® ‘ofthe partum her the hola hasbeen ra ‘Aen the bce ft rd back ight ears ari the de ines, nrgeret ofthe led section ‘Th ene o th fa ip are not [ened tosther u‘cond 3+ 10em Son EN Wn adobe Top-cich with = tem © Cutandopencout secon @ ofthe ptr. Ald 77cm on each side eget plenty of il Ako add exes width a required et D ard on (em in th cae) to daw smocth well connected nes O cate xc ofthesecions 8, © and @ and as the heme‘age 17: Sleeve with gathered hole A design for a close-fiting sleeve, with volume only in the top section ofthe sleeve. Visualize the finished silhouette of the sleeve to determine how much fullness ‘must be added to the paitern. Then, make the pattern, drawing the sleeve height n the same way asin the design drawing on the right. Don't forget that the amount for cutting and opening out varies ‘greatly depending on the fabric you have chosen. 050m tem Tea @ tease the arnt of the bse ert make dani ferthe eee, 36 © dante fished sthovete of he seeve ‘cap 36 cen rom the ie (th eae cap ic ‘atone ine Fished stat),pom © As sronmin the agar, craw the past cf {he dove cap that faces the neck by adding thesane mewuerentesin @) Dra the Under ine © secure he unto th getheng st nl ace apn atthe dese cp ven hth © ctandapenautite ceevecipunuit ——_@ Draweuting and opening ot inne in 3 reaching Darddawasmosthcaned le, adalpaltem lm the cone of tehoe. | O Frnt ath ne seve cap attached, cand agen cu unl the eave op tne become hao. [Rup to you ta desde how much you want oo the deeve cap, bu conser the eri gran, easeof swing, red ather ecto With Sete biasthe mbPage 16: Crater bodice ‘An elegant bocice that emphasizes the subtle movements of the fabric. © ree to cig ns othe “oat ardeterine peng end(®, Add 2em atthe bustline toad thickness lo the “caer” ad set here the esing wil end tines reat an pering at hot cing, SD isthe tine fom atch te “ster tans to sell aw B-Boy ‘ecendg tale that connec the pons the tv dts, Closets datsonthe section thats thes ofthe cme” onthe bodice aght pane © Ces the drtin and cat are open out @ unst-8>-G ages sh Aign @and Bas shownin the deaning 1 mace one pate. ‘he diference i eng betveen @ and on the bodice leit a ee parosseamaunt cf ese Use fab eon the ies that certo et ee 39Page 17: Crater sleeve ‘A-sleove with structural interest where a dent has been macde in the fabric on the sleeve cap. ‘An interesting design for a simple jacket or coat: Ten a aa @ diate baseseave pate. Draw the @.Open smote tthe oli Shape of theseave cap. Conect the point acre eee. eee the leve wth ov ele seo he sleev-cp ine has been died nto bre ‘qual sectors and the secre opening with ‘measure, Draw the fre wth asin Duta curve at te Eto ests the shape ofthe natu er, 40.tgs honor ~ aah Sen Ebon @o-5 dinetomle Meebo dient forthe aale" Ald sum nina the hires ofthe Drawn ringard open ot na ‘nord iemibestne idle arddvce “enue mie seaterven aden" fel patenintamtoneng es Shesecpatersrta to pnely@)ard poe ome ©. Mak poins @ ond@ to indeate te rea tote eased, moving te desig ines inna lo has the foc of malig the arm appeer @ Mate th priate ofthe cured: between @)and(@ on pune Bint, Cutan epen cut panel as ; shown the drawing. ‘The amount to be opened eutvaes secon othe fb use, bu here about 8 percent of aha een epee. “The amount hatha ben opened out seas to cate an eget etext aThe ofosbiana technique was developed from the ide of connecting v0 holes +0 form a tuonekesracture As the ofcsbiant ia complex design, we start by assembling i¢ out of paper, Assembling the otoshiana Dopena olectthe desired © Make apaperpipe and ace © With sso oof the pat rotucng om the top ofthe popac See onthe pepe. inthe hole. Dee onyour \ % ested ag ae the gt for @ Fatd the exces on both the pipe. © base the des tres Qf ocs es a area ade in thee) rake the entanc othe le oes 1 sharper. and the ook cere © catatong the tins. Brats the atgecot ‘he paper par andthe pe re cared the excers amount does et ft. ayage 18; Skirt with id Oloshiana© riche mun ote forte ste bse © In same way wih pape on pake 42, insert hehe thu a “he pate forthe et inthe pcr ison Below butyoueanmske _iabie nave tp este the aosiana Ae si any shape you went. 4© Ofena oe wher yu want to pestion Bs losian in the i ‘The hoe can be of any se uk emember to male lerger then the ‘teumference of tendo the ube andar than the lati ae. insert te assented oteshisna inte the helen the si and cate your deed shoves, 45© cut ang te design nes to make te abc pera ‘Where the ede ofthe ele do nt fold te pate and aghust theme (@ Open out ee kon the fled part, bon machines fora smooth, ‘cantrucustne. - 46 PATTERN MAGICThis dress features two otoshiane connected on the inside to form tunnel This is a complex pattern, using the besic otoshiana technique. For this distinctive design, I chose a coarse woollen fabric, in a neutral color, that is easy to ease and stretch,(© Using a sooer Gio), cose the dats and ct ard open out ‘base pate: for asnple des that has neither ders or cei ines © Decide onthe tno places for postoning the hos and make aman {ole folowing th ote item ming ora et 48Lumps and bumps (dekoboko) ‘This technique evolved from an idea to incorporate 1 dekoboko (an uneven surface] decoration into 2 garment. ‘Auaching cubes on a base i in itself interesting, bbue when the cubes are connected with design lines, the undulating lines come alive, * | i ’ | | | @Avenbleatveesdmensiol obec mace —@ Atich tothe paperbaze. © Gatanay te bottom reba. fof pape ary ee you want ‘Thikcofthepaperbue a the arent From he op, sean and om the bottom, ereae, and tla ia Q wera in any way you ware _Thepatiemis easier tomate the nee 85 through the comers ofthe ree dmonional tied © cater tens, open ana fata ost “9Ce (eet) Berets tty eri tetas) Various looks can be created according to how you inse't the design lines: Ronee ne sees ietstien cera Beeecse ees seen eon esMaking a pattern with the three-dimensional paper objects © random atach he ues a trent heights tothe bade: soper—@ Daw te dosgn tern anyway you nant, ening ogether te cbes (bbe) made out of paper. © Gat xing the inesand open to ceate the pater, "Whee te esi nos doa ac tough the comers ofthe cubes {hepato wil rtf Us ere ofthe thie bs eng inverting dats, easing, c atening to mace the pater if. aPATTERN MAGIC Part 2 Making patterns for haute couture garments When I was a student, I remember how difficule it was learning pattern-making off the blackboard. achieved the shapes I wanted by making miniatures cout of paper, flattening them out by inserting lines and catting them to make a pattern. It gave me a great feeling of satisfaction, but I knew chat, logically, it was a dubious way of going about it. Playing around with patterns enables us £0 produce ‘many more designs for couture garments. 2Dress with a draped Celesitesel (correiececn wera) 53oneself, ish this in mind ad with « in often inspi liscover |Draped design ‘An eleganc contrast created by light and shade. Make an easy-to-draft fat patter fora draped design that is usually produced by pinning and thees-dimensional cutting of fabric. [A right and left intersecting whicipool deape thas been inserted into the sloper bodice, Making the basic pattern 2m: eu 30m asc Hr oden © trsert wat ars so that he bode acc rant drs ae ceed when cating and apeing ou he dapod set The err ofthe droped area expressed onthe drawing by “cle, conse the lees bythe ayers see. The be connecting (8-E) ite dig ine formating the hl. © ciade -, thers of the cl, our equal econa and ‘net theeatng an opening ou es Oe he paste above ard ‘now (0) into paras @ ané B respectively. arr Simple draped design (without twisting the fabric) Intersect the left and right bodice panels through the h 'ole and create the draped design. The larger the circle, the more relaxed the design wl be, and conversely, the smaller the circle, the sharper the design, © clos rts on bath panels @ and and et and open oot unt ihe tance beten and becomes Tain this ca, Atg panels © Siesan - Fd) and draw smoot, continuous ines, {a “Tomak the le deco where the ream il end and clit, Q Seu togetnr te area beeen @ to 8 on one bodice panel @ bret the other bodice paneinie te hole you hae made nd se fem tO: Sew th cane front rom heen af to seam, tthe hem, 3 Parrenn maceComplex draped design (adding one twist to the fabric) “The intersecting ofthe left and right bodice panels is the same as on the simple draped design bodice, but the adding of ono twist keeps the fabric in place, thereby showing the modulations in the design. Romember that the underside of the fabric will appear atthe front. @ Thebavcpatoncthe samo afore Single doped cig bce Divide he pattern above and baw BG into pane @)and © reepectisy: evese panel tal ne ist The under Sido the fabric sopra on te fae sd ‘Chunge the psion here pars @ and ©) rect shown in he draaing. @wne © close te dats on both pane © and and eat and open ox ho ‘yea bohveen pointe sro) (idem n ts ase, ‘Align points) and Band draw sent, coninus nes “ormce the hole, decide whee Ue sear wil end and cal 8) a‘abric) © Where the patie ns been ved © severe one hal oth baie end sen betncen © srd©. Insite ther at the bode into the hole andi. Sev tor @ lo on te oer hal of he bocce Sete cork ‘tonterd rom te seam end tothe hem, Because of he bul o the (aie, mate the hole somehel age andes afte asembing. 6Page 53: Dre draped desig! A dress made from silk formal occasions. ‘The draped design arcund the chests erested with a technique that does not invoNe twisting and maximizes the soft, fabric.9 Tor i tem ‘Cece/ oar te 0 pon) oe N, send 2, ‘Ose Oscm ff ar 1509 i dena @ Forth bie bac, clove te i ats dlrs erd ver alte fre, Sia BACK Jot 6 " 2 in sence sent ‘bom end of " H opering| a he com 8m Back FRONT fons ‘Aarle lng eck © line © because te rece is wide, move the shoulder drs tthe recline Dice he ads the cee othe cape onthe bodes be fren nt four qual sectens ad daw etn and opening ns on fanel@ For the sit pattem ©, craw tere cating an apesing Endot ® Ine facing the nd ofthe ears © on the bocce front, ‘vide the pattem on ‘ther side cf B-© into panels @ and. Clase ‘the carts on @) and cut and open aut Then ® dose the darts on ®)and, ‘open cut the cen front horizon unt aligned ‘with ® 2nd aston FRONT: inthe dowing, ‘seu tr upto the and ofthe sea, ee: over the ofkerhafint ti hale you hove ‘made an sew tna fom (upto be end ‘ofthosaam The cnt front ofthe sits vert and Ueeore not sen.The twist (nejiri) ‘When you rwist a fabric ic becomes narrower and shorter, and when you release it ic returns to notmal. Ina different way from a garment that has a furrowed drape produced by techniques such as changing the positon of te left snd right sleves, this pattem has been manipulaced so that the fabric is twisted round and round lke a apical. © Theoreticaly speaking, when ‘a’ is twisted, mecsurement« becomes shorter. However, a the fabric wil look like that in the drawing on the right, the measurement wil, n eal, be even shorter, ‘As the fabric wl attempt to release the twist, reduce the ease inthe hips to ft precisely. ‘A design that incorporates elastic tape ora band to keep the hemline in position and prevent the fabric from returning to normal, is best ‘°As twisting makes the waist narrower, be careful not to reduce too much at the wei ‘As nefiri's not a natural form ofthe fabric it will be easier ifyou use a fabric that has high stetchabilty The basic bodice ww |) 20m va. ‘Acts makes the gnmont shorty, Ser has ben added othe engl. The wast has been tte igh @Three nejiri patterns As twisting the fabric changes the shape of the neckline and the armhole in a complex way, here the fabric has been twisted only around the waist. ‘Twist horizontally ack rwowr Is zt + 7 = 10cm, * « ‘a= ae em (© tio tecnte bya esasemert tat pp econ thet yu wie acute a be {© Move btnece srt hosel esou ne darn (ntsc on {© Reon he se soa Ireta connec he come of fe avn te wast an ip main mnt Twist perpendicularly =_ aniplate the cent ont ae centre beck en the pairn bya measurement equal tot (mn Bis case 4em) in wet diection eps to tat ofthe Net you wane fe cet ne Fabre © fajustne nes forthe rectne eho tam. ©Twist both horizontally and perpendicularly ‘Maing the fbi oithozntaly nd prpenlcllyat the same time ec, 0 maripulate foe horeorta pattern sing the ptt hatha lady been maripted vet "ease you use a vertaly manips ptt in nhich ta hens hs not yet been asd. Aust the hernia ie end 70 parrenn macie= ‘oan "oan © et horzonaly ‘Marius the pattem the dreton ‘ppotte to that of te ws you wat to ‘pate nthe abi nthe same way as forthe pepe twat @ taste pater “Tho pattern the same forte front and the back, nthe simple dei ‘where the eeves are prt ofthe bose is rated nahi fab No ‘ease hasbeen aed o make the garment Hite at he hp. Sich the reckine open and check that your heed its Uwough.M edocs not, mak (he eck larger © Twist prpendlctay ‘Mariplate te patter very In the diecton oppor to that ofthe tia you want ocreste inthe fone n(OTe cat ao cl to tsar th Sere ap, ig thelr ght Sere apes sown nthe ding, The clesgniesinerted ino to bode back serve as asith come, (© Atle design as been crated by manga the pte. B PATTERN MAGIC_ Hide and seek (Rakurenbo) ‘Nota flare char expands uniformly by cutting and opening our che pattern, but a flare that is subtly concealed on the underside of the fabric. M: a pattern for the kakuronbo design ‘with a deawing is easier than you thials, A basic jabot-style frill ‘A gorgeous decorative effect for the front of a blouse, I) ‘The connection between the section that is visible from the front and the section concealed underneath is important. Ms O Atuch pre @,Oand@. Reverse © befor ataching or the back sce the ment wailbon op @ Micke dening ofthe il @ Separate atthe various parts. yeu want tomate. © sinc aust eine that wil became te edgeot ta.Flare concealed in a curve This design makes you wonder how the flare has bbeen concealed, The folded and layered look that hhas so much depth is structurally beautiful ané ‘exciting. With that idea in mind, | began by drawing. some complex curves. © ® 1 ot 1 (© Dew design tines onthe bse. © insertion te way tel wou fl Hwcore the © separato out the various pats. 6 PATTERN magic@ Roun to@ andmare the faroporte ——_@ Aig he vow pats (Goin tom which he frei ing to Reverso D befor aligning or the hake ofthe fbie opoea inthe places youwarttaineertthe wil bean to, flxe The no that ezendsperpendeuly ) fromm the flare points becomes Be cutting and ‘pening etl rhe Ha, — f= (© Catand open out and ekaw the fled bene 76Page 55: A pinafore with kakurenbo design ‘The complex curves of the flare design lines were incorporated into the waistline of a baby dollstyle pinafore made from a soft woollen georgette that neatly expresses the concealed flare. |End ot opening | S6em- © Dot a pate forthe prafore 7© Dia the cond design tne on the bode font. Find abalone © incrtaigament marge and cating er opering oat nes (#) that cet of the concealed section, ink the cones secon. “Tre aligament masings wl bacome fare points } (© fevers the conceal cactons, bring Bom ote fot ane comnet ‘a fae points na balanced way and da the sen ines for | the are). 78 PATTERN MaciE|| Interwoven design In this technique you gather the fabric | and mold as ifr were being woven. I decided tose if could produce a pattern from the complex beauty crested by layers of fabric 1 woven together that Thal once seen | ina fasion magazine. | If he fabric on the lefeand he sight are of different colors, qi the way in which the fabric inversects a can be seen more clearly. © Asembe the paper sloper (oe on the diss erm and dares symmeircaly, | Asshewa nthe deaning, make allmert margin plac whave | the tes inset Gace ie rte fb) ee, | es pean ere SSS ae Sones oar poate s aoe apart Ine the garment, its advsabe to use a base a eheetee ae Srsee 80 iand daw nes © the pats that dont pass trough the bust pont refuse oe at @ Cat as shown the dawing above, renal cag lang he bes. net gathers mths part, doe bo ecavedferet avi have diferent gaan sme sting may shares arts, and catand open out And thencutand open out the amount ecar when you tterneae the are pce egther et he fe for tho gathering agin. The volume cf the gating vides secocng wih some eatin the heme and adjust at eee tothe abe used and accorng ta yur posonal preteeres. a few seam sey and ls ced pices ‘ater wear an the garment th ‘nt When you derausea bor fon tos, and soles tote Oba cafulntia cotton dep Make cito the abicup othe (© tnervoave tebe pees rm the epithe same ney esthe ierent matings iste in sep. fines yu dew onthe pape on the dss frm, BiPage 56: Blouse with an interwoven design Using this tecbique, | ceted a blouse with left and ght asymmetry. ncoton lawn fabs, made @ bamboo leaf shape from the points of the fabric that I cut into, | did not sew the pointed sections dow, preferring them to be loose. nO Seen e ) a ‘Gn Front Ack : arc = ten, 20m ‘a ter tom a 2p ‘en | | | som | om aen{|] t0m|lPaom = oil @ Move the shoulder dart tothe armcle ten iene seth tien © daw treneineonthebtes tack wien @ cnfta yao frat bate ont vn see sspeety dod ot tee Ora fro 2ten ico bent @o, © Copy the eft anit bodies epaately. tise ne pattem mating for Ue bocce Intestin testo pas tucugh the BP but where they do not, sine ht bie ton, ad ent marines @-Dfarthe the length of te aml arte sown the dang. Hee the ast date have ern end a sini theletandeght bodes, you can see fom tie deawng,Bamboo shoot (takenoko) Page 57: Bodice with a takenoko design In this exciting technique, layers resembling the multi-layered neckline ofa formal kimono ae created from one piece of fabric. They look exactly like the layers of a bamboo shoot, ‘The lighter and more fitted the sifhouette of the bodice, the more the sheding in the fabric stands out © mate a pape doper (oo and daw weklines te centea design cur rezambing atamboo shoot stove theo? @cutmiotne ‘About 35-22 searallowances a4eign @catinto the teens and dose shove theo? the ders and fatten, Do retest NY, Lhe ey i © txtond the fnes tomas the shoulder arate sembol, thereat and ‘pen eut to cele the mount fo he ack @ cut inte the fabric atng the ed ines, © Form the ts fo the top downs. ‘About 15-2 mute tbe llded consrng the ying ofthe (Beck ss6 seam aewerers, ettne are) ote overcasstenes hereondthereoniyen ae theseomallowences,Aipyiey errata Remains Byariiptceetiea ncn Ertl neopirnsen a eae ya Rote cry ernie elie /ee Page 58: Knot dress Basic pattem manipulation for a knot dress DS ene ie shir dors unten opens ie WL an : —~, sem y eack| x asen eA SS.\ as osenlficm — ann\ \> a 190m in ® I Leh L - © Close bot te shouber dats and armhole das uni 2am opens on the va Etash th ent of the knot 9 in he peton where you want to est the b see eciedin the nt of the knot © eat, Measure o om (® Gem tease) and tom raw the cut ae opening cut rin the pesiton wise you want odape the tor fame @ Treareane thats been cut and opened ut becomes he drape, Dea onthe amaut toa and ope out ‘ecco lo te abe sed. ‘raw the pate fr the bow fom were you have cu eneopered out “The bins of he htc etemine by caving the curv fm ‘Nowe Tec nebw atte botonots reine ead cenit besarte pot 87 then make patio forthe des base ote draw eating and opening Irs, {© Sev the bow secton it atte shape woe.Page 59: Tying a bow A ‘A design with a different-shaped bow produced Using the same pattern manipulation as used for the ‘dress on page 87. @ Find thecenroofthe Sow BL Tale he measurement & wich Includes sed eas emi this case and fo there, raw cut and oping outs © cutard open cut Dam thepaiten othe ‘bow from where youve etandopeted. Te reson he boi curved thi wy so ge treknat some ines, tt there vest reasons ao, Sse arcentated on or pint you make into an ange, bt period ‘when tei made rto cane, Page 59: Tying a bow B An imaginative design in which one end of the bow i part ofthe bodice and the other end is part of the coll ‘The two ends of the bow are looped and tied together. At first sight it seers complicated, ‘but the pattern is surprisingly simple. 052 eu Daw cuter Ore toca fab yeube sar ® sem nd of cote BACK . | stscrsent es 1 LS ok | EOIN ct | neal a N ilpRo i ft L jee ae © ats pater forth bie sng ho sper tac). A veel knot ie possible wth thi i. ‘Mesure the wid and bins ofthe knot and kaw cating ant ‘pening eu ine. on the foi om {© Cosa the dats onthe bodice front and cat end pen out. Dia he pati forthe bo rom where you haves, and ep ot Cnontet os eoff cal — we ‘ a i olen 0 Petit pert ee ath kaha teton pep eneineyrnieriaineetliprd gp weno i oon ic oe he hy ved berg ssPage 59: Tying a bow C ‘Two separate bows are tied towards the right for attractive emphasis. Here the two bows are of the same length, but one large and one small bow ‘would also be effective, Pace he second bow @on tonaf the bow Unt pat ofthe odie end sein tha hapa tube p tothe end ofthe scm @ Find te cert ofthe knot @. ‘herion @ Mousre othe mesnverert to which seas been added 1 the ‘dof the kno) hrconaly, and Ghe meatzerent to which a1 he ben aed tothe thickness ofthe bd vest. rset et and sped ines. ‘ver the lad read res do nt pas rough he endof he ats ut to ake ther nda he des tes. 20 Occ ein© Cote the dats on the bodice and cut and open out Fram the sectene that have boon opened out, da the atten forthe est bew a6 an extension of te bose @ 236m 28cm. e [ RIGHT i f vert { dG /= wet s @ © © Draw the pattem forthe second bow. @ inet seam ~~ Sat ic A ~ ter oa "e (© ews the leftard gh pices of he bow instep Feinwith cmt centrcuslin, vd v8 x Bom rectangular plce forthe knot ewnen then inthe ee pes and iz cyPage 59 Tying a bow D ‘An elaborate design is achieved by passing the bow through a hole before tying, The expression of the garment changes considerably by moving the position of the hole up or down, to the side, or by changing the size ofthe hole. Another example of Pattern Magic! BACK rat the texice pater wing elope edt. “he notes prt of thet tat par of tec ts beeen be let andepht hs. Determine thelerg ofthe bow, considering the length ofthe interseon the detaee beta the aks ae se ofthe brat oy————_$_$_———SaaE Page 60: A collar with two distinct expressions Asshirt collar from the baci and, vrhen viewed from the front, a double collar, this offers two variations on a theme, | combined pattorns for two colar to make this intriguing design. 20m Sem BACK snl ey ore COLLAR om geen ® 25cm ——~ Ter Ve sen Hem i Sten (@ Using th dopr (eyo pats fr the bo base © brat patiers trae of we cals, ores ey ai mi} of ‘> oll la colar atzciment Fre alr san atari fa a ® WUT] ‘e e © aincectw aterrantizes QM peters feresen Sad efivetwcalnn Copy thecalr” Braet co san es Sind oncor weird aati fe raring ‘Gerhard hor tore wi ‘ @ ntestromin ei Ble eo ES @ Thepaitem or@ and Gr producedin step @ are abe t BB) (he pater for Bs face done, but the wcineeaeent, a gap Tis colori corsiucted fom patem pleces@., and @ae hewn in open tween &)-and the eng snot equal. Open out tesla the ering. len BG erd call teresting pation ©, 9596a Page 60: A collar with an intriguing curve ‘On asheet of paper craw a cue and then fold along the nes ofthe curve. ‘When you bend the inside ofthe curve slightly, the outside ofthe curve rises up and takes on a completely diferent appearance. | appled this interesting effet to a colar N. cotta \S, BD bn 1s @ Ag the souter ond @ end smoasure Am of colar width ats nent engl eam Bn te ear aac tne for Then cnrettom@ andimatee ani er the on of © ide he eli, fecuse te bck ote clarkesa cle ‘an, mesure tho legth ofthe bat reine snd mate a ecard craving, Tem © ting opr ec, caf the pte ete hdc base Mak the clr atocen positon © > pmedeace nd J imoisntare © sees @ 4. © Foc of nih ct rounders the ver | ‘ola continuous Make the upper celar @). BACK FRONT G,©,O ard alintercenet oceatea pattem wise Sabri an theca bee 2 one Because rebrand he cll) rejoined though fa colaatachnent Ine ‘ure, when you put Ron, the cle ests pwd in those wey asthe pape en the ] l ‘opposte page, fora carpi detec, (Order for sewing together @ sew togatrthe keen cn bk © Sew the ar edges for cla ptiers 5m, ee aie (© Ser th ct atachmert neon the back eine tine Auchhetuiagand pice bode and. Atehiclateninguce— @ Sew the tontbedee snd. @Althe coleratocimet ing sew @ toe tice + tase avid ta incon, bt Shoal when ov eu crs the arent, sac hefacg tthe neckine of Be texieand prick tic sen he back colaratachnen’ poston ar te fecngsn I Fee shewn in trenA method for making a full-size pattern from a half-scale pattern “The diagram below shows hew to enlarge a pat cf the pat forthe otoshana dess (page 18) to produce a full-size pater, {© You wi need some wht paper on which to draw the hl-sale and fl-siae pattems, Copy the halal musin (ole) to sake Ue paper pattem @ Nthough you can star from anywhere, the method descsived here str from 2. from te line tha del ascends rom By, craw ane that its at aright angle, end make the poin where the two lines inerect nto. ‘Doub eich o the twomneesuements 2 and o, between and@ard between @ and G respectively, and copy eno te whe pape {@ Neat take doube the measurement of = on the line that connects @ and in a straight ne. From there, tke double the sessurement of eal aright ange and draw a cxve. @ Exterd the ine fom @ to\B by #2. Mark tat point @ and measure 2 at aright angle to mest ©. © Extend G-D, take twice the meesurement of & and mark ©. From , take twice the’ measurement of at aight angle and trake i, Again take tice the measvrement of a and «al aight angie and make it @. Draw guide Ines on the hal-cale pattern and by doubling the guide lines, double the pattein Ines and copy onto the white papes Thesto the and The basis for pattern development is the Bunka-style sloper (block) for an adult woman ‘The Bunks-seyle sloper (blocs) created for the body shape of che modern Japanese woman is constructed three- dimensionally and fited to the body with darts (bust datts, back shoulder darts, waist darts). Bust (B), waist (W) and centre back length measurements are required to draw the sloper (block). The measurements for each part of che body are based on the bust measurement, and the sizeof each dart has been caleuloted from the bust and waist measurements. Each waist dart is éaleulated by the formule—bodice ~ (W/2 + 3)—winere sem is the amount of ease added, Precise calewacions ate cequired for a neat ft, but drawings willbe relacively easy if you refer ro the quick reference table of measurements for different parts of the body. Pages 101 and 102 fearere half-scale slopes (blocks for you to use for each of che bust sizes: 77, 80, $3, 86 and 89cm, Quick reference table of measurements for different parts of the body iva silos] feel a] Ss |S] [an] Se a \) Ere Ber] Bira| S409) 2c2] 2 [grace o+os b-29/] ovce 78 46.0 20.2 We 239 16.0 24 67 72, wo | 69 16 60 46.0 4 4 3 16.2 25 er | 72 75 63 uw 1 46.5 205 1s a5 163 25 68 73 | 178 70 ar | wo | aos | a7 | ur | es | 20 | 08 | 7s | wo | 70 | 10 | | ew 46.0 207 17s 25.1 167 28 cy 74 188 7a 1.8 os _| as | ma | wo | ea [oe [er [ee fore [ee tof oe Aa 500 210 164 25.9 172 28 TA 16 195 73 | 20 [mes [a [ws foes wa [es [om |e [ee sp eo Ws dart measurenent—Quie reference table um [Total darts volume | : 2. * ~ z = _| = m% 18% 35%, Cc 16% 10% 9Making a drawing of a sloper (block) Bi Slopes (lock) ate wade for bath the boice and he sleeve, but only the method of drawing 2 bace slope (oc, wed tiyeughout thes boc, exained ere cop _ ® Basle lies r—s | / ® ‘Cheat © ? Wish FRONT | Byam | ‘eFem @ } conte \ B+ 6.2em / ose aby <> Fis daw the bavctns forthe bodes \ ‘ooh ~ hes renureah pe ebay | 7 rd rvlnes ne oderef D6. The \ faerie pace ler abo araged Tonalin oer fom he otto yeu protec pate daingn ht de \ Lom curved tines [tor droning Be cine, a the curved reso he necne, shout, and amie, and aly the cit ef wil ¢ Tips for moving darts ‘When you close the waist darts wth @ as the pivolal point. the armhole opens a rll amount to provide ase inthe armhole. “The wast dats on the sloper (bloc) are marked whan used for pattern drafting but have been omied where not required. 100Bunka-style sloper (block) for an adult woman «ize m) ¢hat-scale) Copy at 200% on a photocopier to make the ful-ized pattem, Ge ——Bust (8) Tom ‘0m 830m ‘6am _|_67om ‘36m _| 7am BP = deri 68m Oem Siem 77 eo pm soem Brom 402In conclusion | | Just ice works oa, ormenes come in various kinds garments with visual impact armen | | ‘hot react to tbe movement ofthe bod, garments for casual wear—bus there és no ane prescribed 4 \ way for how they are made, The history of clothing began with che wrapping of a picce of fabric { round the bo, so you shout your mid be free sed approach the nsking of garments with | sense f fan es fr amen ar aru insite Hhaveabays biel in expire | ererslr sarpieeninireonloiineotonsnemmnens and is supplementary to the tcaching materials used at the Banka Fashion Open College for min tongeimeeticias ‘wo te w eres apprciton many pope for rblp ah puiion, inchabng Ms Kes Fujin, fom whew {ected adie abou slopes and everyone whos sham iors se | | \ 103 ‘ PATTERN MAGEPATTERN MAGIC Tomoko Nakamichi Available for che first time in English, Pattern: Magic is the cult pattern-making book from Japan, Step-by-step projects show you how 10 create stunning, sculptural clothes, using 2 creative approach to pattern making, ‘All the information you need to start pattern. making is included, from the basic sloper to measurements and scaling. Each project is beautifully illustraced with clear diagrams and photographs showing the stages of construction, the muslins, and the finished garments. With 200 color illustrations “This hook bulous. The English language edition makes the techniques accessible to the novice and students alike. My students will now be able to incorporate the ideas into their coursework with ease.” Mary Gottlicb, Parsons, The New School for Design,Having served many years as a professor at Bunke Fashion College, Tomoko Nakami ‘currently delivers lectures and holds courses ‘on pattern making, in her native Japan and internationally. This book s together the results of the research on garment patterns she ‘has carried ous to help instruct her students, For more information, or to order, go t0 sw laurenceking.com For oir current catalog please email ssiles@laurenceking.com