@ gn | from store- 1 bought patterns _ to drafting your own: ac Leh eral a= 806] __ with confidence LEE HOLLAHANA VA ST HT EAT TE Contents About this book Chapter 1: Tools and materials Essential equipment Choosing fabrics Chapter 2: All about ‘commercial patterns: Why use a commercial pattern? How to measure accurately Buying a commercial pattern Understanding your pattern Preparing a commercial pattern’ Preparing your fabric Pinning, marking, ond cutting out Chapter 3: Altering a pattern Simple alterations for ‘commercial patterns Simple bodice alterations Simple sleeve alterations Simple skin alterations Simple dress alterations Simple pants alterations, a7 48 50 56 87 60 6 Chapter 4: Designing your ‘own patterns Creating your own pattern Using pattern blocks ‘Making and fing a toile Advanced pattern alterations Designing patterns ‘Simple dart manipulation Styling sleeves and cuffs Styling skins Styling dresses Collar styles Facings and waistbands Pocket styles ‘Chapter 5: The pattern blocks USSIZE 6 pattem blocks US SIZE 8 pattern blocks US SIZE 10 pattern blocks US SIZE 12 pattern blocks US SIZE 14 pattern blocks USSIZE 16 pattern blocks US SIZE 18 pattern blocks Chapter 6: Core sewing techniques Glossary Index Credits 63 64 66. 68 72 80 84 88 93, 96 100 105 108 m m2 m4 16 18 120 122 124 127 40 142 144= | About this book Making your own clothes allows you to get the perfect fit, and once you have perfected the fit, you | can begin to add details of your own design. This book guides | you through the process of using and adapting commercial sewing Patterns to suit your body, and then moves on to explain how to create your own patterns using the pattern blocks provided in chapter 5. Pattern (pages 47-61) ‘Once you've bought your pattern, you might find that you ‘eed to make some alterations in order to get the perfec fit In this chapter, youtl learn how to make the most commonly used alterations to commercial patterns in order to improve the fit of your garments. Tools and materials ipoges 9-17) Here you'l find a useful guide to the essential pattern cutters tools and materials and the different types of thread ‘ovcilable. There is also a directory of fabric types, with comprehensive information on fabric qualities and uses. All about commercial patterns (pages 19-45) This section of the book is a guide fo using commercial ‘sewing patterns. it discusses everything from getting ready fo buy a pattern based on your figure shape fo ‘measuring yourself accurately, right down fo how to use the information on the pattern envelope. You'll also find out about preparing your fabric for use, pinning, marking, and cutting out= Design Designing your own patterns (pages 63-109) In order to design your own clothes, you need to create basic pattern blocks for all the components that make up a garment. in this chapter, you'll learn not only how to create these basic components using the pattern blocks provided with the book, but also how to manipulate them to different designs and styles that suit you. Find out about toiling your designs as an essential part of the making process, and how to transfer your two-dimensional design ideas into the three- dimensional reality of your own unique garments. ‘he pattern blocks ages m1-125) 1 this section youl find basic ie mee ae raitern blocks for a ski, pose elite, yodice, and sleeves in U.S. ‘represent tin ‘izes 6-18 |U.K. 8-20). Scale (25cm), so that ne blocks up using the you can easly ytid fo make your own - transfer the lines Jersondiized pattern blocks ofthe paten ailor them to it your figure ges to pattem and use what you learned seems. ‘the previous chapier io fesign your own patterns. eran ey Te a oe you ae w a) baie scale Up the speci pece you nee. Core sewing techniques (ages 127-139) This refresher course on core sewing techniques serves os a useful guide for beginners or ‘as a handy reminder for those already experienced in making their own clothes.Essential equipment Over the next few pages, you'll nd a guide to the essential tools for dressmaking and for designing and adjusting pattems. A guide to the different types of fabric can be found ‘on pages 14-17. Serrated scissors Pinking shears Needlework/embroidery ‘Small and with short blades and sharp points, these scissors give greater control in intricate areas and are ideal for snipping notches, clipping curves, or trimming seam allowances. To get the desired quality of finish in your sewing projects, it’s important to have the right equipment. ‘The fine, serrated edges of these blades hold delicate, lightweight, or soft fabric in place. They are ideal for fine fabrics, such as silk or satins The blades of these shears have notched teeth that leave a definite zigzag edge on the cut fabric. This provides the “pinked” cut that nneatens the raw edges on seams and makes the fabric less likely o ravel scissors Dressmaker's fabric shears The long, straight, sharp blades of these shears give a smooth cut and are ideal for cutting fabric quickly. Often the handles are at an angle to the blades, so the blades can sit parallel {o the cutting surface, ensuring the fabric remains flat. They have molded handles, with a smaller hole for the thumb ond a larger one for the fingers, ‘and can be right- or left-handed. They should be used only on fabri. Paper scissors I's essential to keep a pair of scissors just for paper. Using fabric shears for cutting paper patterns will cause the blades to become blunt. Paper scissors do not need sharp points, but they must be able to cut paper cleanly. Pattern tracing wheel Used with dressmaker’s carbon paper (also known as dressmaker tracing paper), this tool transfers the line markings to both sides of the fabric at once. The method is not suited for heavy ‘of textured fabric, on which the marks would be hard to see.Dressmaking pins These general-purpose pins ‘are used to hold pieces of fabric together before sewing They are suitable for medium- weight fabrics. They are ‘especially useful for working on paper patterns and when pattern drafting, ‘Tape measure Choose a good-quality tape measure that will neither ravel nor stretch. it should be at least 60 in. 50 em} long, with measurements marked accurately from the very stort of the tape. Needles A selection of hand needles, in different sizes, is essential for hand sewing and for taking thread ends to the back of your work after machine sfitching, For general machine sewing, universal multipurpose) machine needles are available in different sizés to suit different fabrics and threads, For special purposes, such as sewing silk or doing decorative stitching, use specialist needles. Replace all needles regularly—blunt ones can snag fabric. Tailor's chalk Tailors chalk is a traditional material used for marking cloth and can be easily brushed away when finished it comes in triangular pieces, rollers, and pencils of various colors. Keep the edges or points sharp, mark on the wrong side of the fabric, and use a color that shows up well against the fabric you are using. Pin cushion Itis @ good idea to keep your hand needles and pins safely organized in a pin cushion, so that they are both out of harm's way and readily avoilable when you ineed them. essenriar equip Wash-away marker pens These can be used to transfer pattern marks to fabric. The ink from wash-away marker pens can be sponged or washed away afterward, but check that this does not damage the fabric “assurances B Fadeaway marker pens ‘Also known as evaporating or ait-soluble pens, these are an alternative to tailor’s chalk and wash-away markers. The ink fades in 48 hours, but test on a scrap of your chosen fabric first. Pattern awl This handy litle tool allows you to hold and manipulate fabric when it would otherwise be too awkward for your fingers, for example, when guiding a gathered edge under the presser foot of a machineel Tools and materials Plain cotton fabric (1) Inexpensive unbleached muslin, sheeting, or other plain cotton fabric is used for making tolles—test versions of garment made to check the pattern isee pages 68-71) Sewing machine needles Mutipurpose machine needles cre suitable for regular machine sewing. These are available in sizes fo suit the fabric and thread being stitched. American sizes range from 9-20 and European sizes from 60-120. Needle packets are usually numbered with the relevant size. The larger the number, the larger and stronger the needle. Dressmaker's tracing paper (2) Used with a tracing wheel to mark fabric by transferring dols of color onto its surface (see page 44) Dressmoker’s pattern paper (3) Marked with a grid to help you to create and adapt patterns, this can bbe bought ready-made or you con make your own. Dressmoking curves/Skirt curves These templates, made of plastic, wood or ‘metal and available in a variety of shapes, ‘ct as guides when drawing curves on paper pattern, for example fo shape hips ‘on pons and skis (see above and right. ‘2x 12in, (5 x 30cm) clear curve, with a vain (0.5cm) grid, like the one above, is especially useful Dress forms These allow you to try out toiles (see pages 68-71) cand to adjust garments for a better fi before final sewing. Adjustable dress forms are ideal models to start with. The dimensions can be easily adjusted to match your own or a friend's measurements. Solid, linen-covered dress forms are the fashion- ‘ industry standard. The clear seam lines help to ‘achieve accurate pattern cutting, but they are only available in standard dress sizes and aren't adjustable (see "Padding out the dress form to your own size,” page 80).Essential equipment [1g Ee Thread The choice of thread will depend ‘on whether itis for hand stitching ‘or machine sewing. Choose a good quality thread in a fiber similar fo the fabric being used, i.e, cotton thread for cotton; polyester for synthetic cloth, ee. Choose colors similar to that of the fabric so it blends in, or gives better coverage of the ‘seam or edge. Its 10 thick select a contrasting thread for decorative finishes, A good {0 be used in serger needles. uality thread is essential Hond embroidery floss when sewing, These include twisted pear! cotton, loosely wound stranded General-purpose threads that can be split and Spun trom polyester or Used as needed, sofi embroidery ewing machine mercerized cotton, or with foss, and topestry yarns. These [Sewing machine is essential for anyone wanting ‘a cotton core covered with thredids are too thick o go {Sew song seoms and give garments o tidy, polyester, these types of threads through machine needles, but {Blessional nish. Machines work by interlocking are suitable for using on the they can be used inthe loopers upper and a lower thread to stitch fabric layers sewing machine, They are of sergers for decorative 'Gether The tension and the length ofthe siches dso avaiable in arge cones, _flalocking and rolled hemming, ibe adjusted fo suit the fabric. Modem which make them suitable for [chines offer a selection of different stitches serger sewing. Bobbin fill ferent tasks ‘Aine thread, normaly available Silk thread in black or white and used in Sik threads are ideal for sewing _the bobbin of a sewing machine both silk and wool fabric, and for for machine embroidery, this sewing by hand as they are soft thread reduces the bulk in an ‘and gentle to handle, and tend embroidered design. It can also. nol to knot. be bought in pre-wound bobbins Machine embroidery floss A Aisi mt om potest ot a ee ene ae : rayon, and has a high sheen tron and ironing boord = fea the ight tones han general-purpose hreod An iron and ironing board ‘ore essential for ironing fabrics, and are also useful for smoothing out patiern Pieces. Also useful is a tailors ham; used for pressing curved areas of clothing, such os cuffs, {ts therefore ideal for temporary hand sewing os it will break and not damage fabric when removed. This con be used for hand sewing etch ty and machining. if using a sewing This is a stronger, thicker thread machine. spetiol needa WN) < g icces Grier ReH eT yailable in cotton and even ‘wool; these give a matte finish, : large eye is required fo prevent Woistines, and collars. for topstitching seams, hand Be ieee For sce x sewing buttonholes, and for ve ‘sewing on buttons. it should be Used with a fopstich needle, os it This i 0 soft, song, thick has a larger eye to carry the iivead that ie eens ee thread, and with general-purpose thread wound onto the bobbin. loopers of a serger, It is ideal for flatiocking and hemming as the loosely spun threadChoosing fabrics Awide selection of fabrics in various textures and colors is available. When selecting a fabric for your project, its important to take the fabrics fiber content, texture (or “hand’l, drape, color, and in some instances, the size of its print, or its horizontal stretch, info account. Once a piece of fabric is cut, it cannot be returned, and mistakes can be costly Commercial patterns contain valuable suggestions regarding which fabric types suit a ‘garments particular design. Check the back of the pattern envelope. You'll find a list of ‘appropriate fabrics, their widths, and exactly how much fabric (what lenathl you wil need to buy. Cotton and linen fabrics are available in standard widths of 36in (90cm) to 45in (120cm), and sometimes even Sdin (130cm and 60in {150cm). Woolens are most often woven on wider looms and normally measure about 60in (150em| wide. Knit fabrics are usually available in widths from Séin {140cm! to 60in (15cm Don't rust your “eye” when selecting a fabric that must match the color of another garment. A shade of green, for example, can be dificult fo visualize mentally. Green hues undergo subtle ional changes depending upon whether they tend more foward the bive or the yellow in their composition. Bring the original garment with you to the fabric store, to be sure the colors ore compatible. Take time to decide on the perfect fabric for your needs. Lightweight corduroy, for ‘example, is perfect for children's wear since itis very durable, and lightweight, silky ‘cits will drape beautiful in the flowing lines of a dress. Finally when bringing your fabric home, and certainly when storing, roll the fabric instead of folding it. Ths will prevent creases that may be difficult fo remove. Ariention to these details will ensure the success of your project, but coordinating a beautiful fabric in a color and texture that perfectly matches your garment’ design will turn your project into a work of ar Cotton popin's| strength is derived from its tight weave, Use weights instead of pins when cutting denim. Woven fabrics Generally, medium-weight, woven fabric are easy to handle and are the best choice for beginners. Stiff and bulky fabrics or those that are fine, with little body are more difficult to sew with. COTTONS These fabrics were tracitionally made from 100% cotton but are often blended or even replaced with man-made fibers like polyester or rayon today. Cotton A natural product of the cotton Plant, cotton readily accepts colored ‘dyes. Cotton has a tendency to shrink, so its a good idea to preshrink before cutting out. Ether pass over the fabric with a steam iron or launder beforehand. Cottons are usually cut on the grain for stabily, but can be cut and sewn on the bias for ease of wear or design contrast. Calico cotton A lightweight, plain-weave fabric, offen with a printed pattern, this is appropriate for both casual clothing and children's wear since it launders well Chino A medium-weight, twill:-weave cotton, with a slight sheen, most offen dyed beige and often used for slacks. A heavier-weight chino, dyed in dork blue or black, is appropriate for work clothes. Cotton batiste A fine, lightweight and sheer plain-weave cotton, this is ideal for children’s wear, lingerie, handkerchiefs, «and blouses. Cotton baltiste is substantial enough fo support hand or machine embroidery embellishments used in heirloom sewing techniques. Consider the stipes: ‘checks of gingham, ‘ensure these match 2 ‘seams and openings.upion silk (also known as doupioni silk A luxurious, heavyweight sik, made from weft threads spun from two cocoons, which produces irregular horizontal slubs. Itis ideal for formal wear and bridal gowns Habotai silk (also called “China silk"| A less expensive, lightweight, glossy silk variety. Habotai makes up the fine linings in coats and jackets, and can be printed with colorful patterns. It is o beautiful fabric for gorgeous, lightweight scarves. Sik organza A sheer silk fabric, wth highly twisted threads that make it very strong. Crisp, and with a sheen, it is used for bridal veils and gowns and other formal wear. Because of is fine weight it is difficult to handle; one solution for achieving a perfect hemline is to roll ‘ond hand sew the hem. It is ideal as an ‘underlining, as it is both thin and strong. Woot A natural fiber processed from the fleece shom from animals, mainly sheep. “Pure woo!” is 100% wool; woolen blends, if so labeled, must contain at least 55% pure wool, which is then blended with other fibers, often sik. Woven wool textures tend to have bulk, enabling them to retain body heat. Conversely, wool also acts os insulation against heat and is a common fiber in clothing worn in desert areas. tis, also naturally stain and wrinkle resistant. Wool fabrics vary enormously, depending on the breed from which the fibers come, whether they are used alone or mixed with other fibers, and how the fabric is constructed, making it possible to use woolen fabric for smart pants, coats, or chunky knitted sweaters, ‘Camel hair A fabric made of wool blended with natural hair fibers obtained {rom the camels sof inner coat. Camel hair is a luxury fabric with a very soft hand that is ideal for overcoats. “Camel hair’ often refers to the distinctive ton color of the natural hair. Cashmere Another luxury fabric made from a blend of fine, undercoat hairs of the Kashmir goat. Soft and plush, cashmere is used for sweaters and other knitwear. Woven cashmere is ideal for overcoats and jackets. Wool tartan 4 woolen, twill-weave fabric in mutcolored plaid designs. Ancient Scottish clans designated particular tartan Plaids within their own unique choice of colors. Wool tartan is ideal for forming aand holding the pleated folds of kits. Not all woo! plaids are “even plaids,” with a symmetrical balance of colored threads. Colored:thread lines in other plaid designs may not be equally Balanced, so itis important to take care ‘when placing pattern pieces before you ‘cut out sections of garments. Worsted wool A more expensive woolen fabric, with o distinctive smooth surface. This fine wool responds well fo steam pressing offen required in couture talloring techniques; it wil also fallin softy draped lines. Woven wool 4 plain weave, and a soft ‘ond warm fabric, woven wool is ideal for ‘winter coats and jackels. Lightweight ‘woolen blends ore suitable for tailored suits and pants, KNIT FABRICS Knit fabrics are constructed with loops rather than warp and weft threads being ‘woven together. The fibers used fo make Tartan yarns are dyed and then woven into the cloth In bands of color, creating Plaids or checks. the threads/yarns for knit fabric may be natural wool, cotton, or synthetic, or various blends of these, allowing the creation of a multitude of knit fabrics. Double knit A fabric in which the weave is the same on both sides. Available in cotton, cotton blends, wool, and other fibers, double-knit fabrics have moderate stretch. This should be faken into account when choosing a knit fabric for 0 garment, Medium-weight double knits ‘are fine for pants and jackels; they will hold their shape but stil have enough “give" for ease of movement. Lightweight double knits are good for dresses, since they will hold their shape and sill drape well Interlock knit A fine, stable, single- knit fabric, normally manufactured in cotion or cotton-polyester blends, Itis excellent for Tshir's, casual outerwear, and underwear. ‘Spandex A highly stretchable fiber, not used on its own, but blended with other knitted fibers to provide comfort and stretch. Formerly used only in lingerie and swimwear, spandex now finds its way into cotton and cotton-polyester blends for use in casual wear. ‘Sweatsuit fabric This heavyweight knit is warm and comfortable to wear, with a great deal of stretch, making it suitable for loose-fting garments and sports clothing. Tricot A delicate, warp-knit fabric, usually of nylon, with a crosswise stretch ‘ond no vertical stretch. Soft, smooth, and with good draping ability, itis excellent for lingerie ‘Spandex is added to suiting fabrics to help garments retain their shape.ANIMAL FABRICS ther animal skin in origin or fox alternatives. ‘Feux fur Specially produced fabrics that ‘Priate expensive animal fur. Because of the expertise in constructing these fabrics, many are dificult fo distinguish from the “Feal thing,” at least at first glance. Their ‘Wale lies in that they offer a viable ‘Gtemative to real fur. Constructing jackets ‘end coals of faux fur requires special sewing techniques. Faux suede A synthetic fabric, this is washable, durable, and ideal for jackets ‘2nd tailored blazers. Since this fabric is ‘@n imitation of genuine leather suede, it ‘will be necessary to use the same special ‘Sewing techniques required when handling genuine leather. Leather Animal skins, or hides, that ore Suitable for clothing. Full-grain leather is fnow available in fashion colors. The ‘availabilty of some skins may be restricted, however, because of animal- ‘welfare laws. Leather requires special ‘sewing techniques, and it may be necessary to purchase leather for a sewing project by the whole hide, rather thon in spectic yardage amounts. SPECIAL FABRICS Special-occasion wear makes use of the ‘most luxurious and expensive fabrics bers from all sources are constructed in ‘a variely of vaays to create special fabrics ‘and garments. Bouclé A wool or wool-blend fabric, and ‘also a wool yarn, formed by a special process that makes loops. The woven ouclé wool surface has a nubby overall effect and is ideal for Chanel-type tailored jackets. Bouclé yarn is also suitable for knitted sweaters, Chiffon An ultralight, sheer fabric, usually produced with silk threads. Reduced-cost versions are made from polyester. Chiffon has a fine draping quality and is greatly used in formal wear. This fabric can be difficult to handle, The usual voluminous hems found in evening dresses are best sewn by hand or with o serger. Lace A fine, open cloth with a pattem, ‘commonly used for evening and bridal ‘wear, lingerie, and nightgowns, and os ‘an edging for trimming garments. Lace is made with threads of sik, cotion, or synthetic bers. Some laces are hand crocheted, and others are embroidered threads or cords on a net background. Satin A fabric woven in sik, cotton, and synthetic fibers that has a shiny surface. Duchesse satin is a heavyweight, expensive variety and is used mostly for bridal dresses and formal evening wear. Taffeta A ploin-weove, silk fobric that is also produced in polyester and acetate. itis @ crisp fabric, famous for the rusting sound if makes when worn in motion. Inexpensive versions are wonderful for children’s “fancy dress” wear. It's usually dry-clean only ‘Tulle A fine net, often of nylon, with a stiff feel. Tulle is most often used fo make underskirs designed to support full- skirled bridal gowns or evening wear. Velvet A tufted fabric, ideally woven in silk ‘threads, but also manufactured from cotton, rayon, and synthetic fibers, The shor thread loops are cut fo form a Leather is suitable for jackets, bags, belts, and upholstery, dense pile, which lies in one direction. Rays of light cast on the slant of the pile are reflected from the fabric in varying shades of color, so care must be taken ‘when cutting out pattern pieces. All of them have to be laid out in the same direction, so the garment will have 0 uniform color. Velvet also requires special pressing techniques. INTERNAL FABRICS Some specially created materials are designed for the internal construction of clothing and are not visible on the outside. These are essential in producing G perfect finish. Interfacings fabrics Used to line and support the shape of garments. Haircloth interfacing is made from cotton blended ‘with natural horse hair or synthetic fibers and is used mostly in professional tailoring techniques. Fusible interfacing, ‘woven or bonded, and backed with a heat-fusing film, is available in various weights. Fusible fabrics are used to help shape and support garment details such 95 collars and necklines Stabilizers A wide variety of stabilizing materials is available. They are used to suppor fashion fabrics while those fabrics are being embellished. Choose a type to suit the project and fabric being used—tear-away, cut-away, and wash- away are all available in varying weights, Bouclé has an interesting surface texture,Why use a commercial pattern? Commercial patterns provide an easy way to cut and make a garment that's just right for you. Buying a store-bought pattern has many benefits. it contains information on everything you will need to know to construct your chosen design. The pattern will often include several different sizes, and you can combine elements from these to perfect your garment’ fit. The outside of the envelope will provide you with a detailed guide about the fastenings and trimmings required, fabric suitability and how much to purchase, linings, and interfacings. Further details of construction can be found inside on the information sheet. ‘Commercial patterns Selecting the correct There are many popular names _size pattern in the field of commercial patterns: You may already have decided Vogue, McCall's, Butterick which pattern design you would Simplicity, New Look, Burda, like to make, but before you buy i, ‘and Kwik Sew. The simplicity or You will need to know which size fo complexiy of available designs purchase. In order to do this, you varies, ranging from a very simple _will need fo take some of your own dress for the beginner to a basic measurements. Do not use sophisticated couture design for your standard dress size ithe one the more experienced sewer. you use when you are shopping for clothes!. Store dress sizes and rhe st commercial pattern sizes are different: a store size 10 may be a pattern size 12; however, most pattern companies do use the same body measurements [if you ‘re a size 14 in Vogue, then you willbe a 14 in McCall's). Pages 22-23 will explain how to measure yourself accurately. The main measurements to go by when buying a pattern are the bust and. hip. Use the hip measurement ‘when buying a skirt pattern and the bust for a top, a dress, or a 12d f90 orb side seams is @ good idea Make sure you m line, not the pattem edge. Note how the thin, of a commercial patter the 4 One-way print ric has a ver ¢ Two-way print 1as been placed going both up {and down the fabric. You are not restricted and can u ‘end forthe top of your gam You wi 3s ‘matching the print ie neceesary Two-way print Tip ier cae the eee ‘at a convenient height. Cut with long-bladed- sie aurea er oe e iagsecare saNapped, or pile, fabrics Anapped or pile fabric has @ raised fuzzy texture with a deiinite direction to its surface; itis sometimes called a “one- way fabric.” Examples of this ‘re corduroy, velvet, veleteen, suede cloth, ond fake fur. When you run your hand along in one direction the fabric is smooth and shiny, ond in the other itis rough and dull When pattern pieces are faid on a one-way fabric, itis ‘again important that they lie in the same direction. You can clearly see the effect of a one- way fabric when it has been cut incorrecly Pile fabric layout ® This is an example of a one-way layout, appropriate for napped ‘2nd pile fabrics and one-way Bins, Al the tops ofthe pattern ppeces are facing toward the top 16nd of the fabric, and because {you cannot turn the pattem pieces ‘ground to make them ft more ‘economically; you may need to buy more fabric. Fabric preparation tips ‘Check the fabric for flaws before cutting ‘out any garment or project. You may be ‘able to work around small problems but it best to inspec the fabric before you make your purchase. « Prashrink the fabric by washing iin the ‘way the garment wil eventually be laundered, if oppropriate, or by steaming itwith an iron—by hovering lightly over the surface of the fabric ‘+ Prewash fabrics and lace or ribbon ‘embellishments before starting construction 10 ensure thot the colors do not bleed when ‘washed os a completed garment. Test napped fabric for shading hen the nap is running upward the color wil be che hen rung dower ha fabric ele smoot but the color wil be fess vibrant. This veh len hie eet| Using a plaid fabric The range of plaid fabrics is vast. Apart from the difference in the scale of the squares themselves, you will ind that certain designs are more even, Whereas others have a more: irregular arrangement of squares and bors. ‘An even plaid will be easier 0 use because itis symmetrical If you spread your folded fabric out on a table, turn down one commer, and the squares match, then the plaid is even. ‘An uneven plaid will take more planning when aligning the pattern pieces on the fabric and will require extra material for « layout similar 10 one-way fabrics. Cutting plaid When cutting a plaid, as with siripes, you must consider how the plaid will match when the seams meet. You may want the plaid to meet in horizontal stripes or perhaps to chevron for a dramatic effect. Think about where you want the bars to be placed on the body. The image to the right is an example of a central arrangement. The same siripe or bar runs through the CF and CB, matching at the shoulder seam. The stripe on the sleeve head will match the stripe on the bodice armhole front and back. It is aways safer to cut plaids ina single layer, rather than with the fabric folded, so that you can see both Even plald sides tomeasure and match the An even plaid makes laying out pattem pieces easy. When using an uneven plaid, matching the plaid exactly You stil have to consider matching horizontal and strong horizontal and vertical nas needs more vertical lines, but pattem pisces can be tured to careful consideration. Here, a strive in the minimize fabric wastage. Altiough these pieces are design has bean used to align the hip line. facing in opposite directions, key points, such as hio a, lines, sti match up.Extra care and patience is required Jwhen cutting a garment on the bios. Bios-cut designs are deceiving, often looking simple, with few seams. Silks or silky fabrics are favored for their expensive look and the natural drape that they provide—but they ‘re often fine and slippery, and require a very light touch and. minimal handling in both the cutting out and sewing, Only use a commercial pattern designed specifically for the bias, because extra width has been provided for in the pattern to allow for the weight and stretch of the bias fabric. The amount of width needed will vary from one silk to ‘another. f your garment is too fight, itwill pucker ond twist. When cutting sik on the bias, treat it as 0 one-way layout Isee age 38}. This will minimize the danger of cutting different grains, ‘which will react in diferent ways to cause twisting or puckering and also to protect against shading when opposing grains make a fabric appear a different color) For the best results, do not fold the fabric; cut out in a single thickness, and place a layer of pattern tracing paper under the sik. The sik will cling to the paper, helping to keep it stable while itis cut out with a pair of sharp shears. Serrated scissors con also be helpful for cuting out sik. 4 Bias dress pattern layout on silk This dress has both OF and 8 seams. The commercial pattem suppies only two half-garment pattems, so ‘another patter layout wil be required with the pieces placed 48 opposites, Keep the tops of the patter pieces pointing in the same direction, because the sik can behave ditferenty i the ‘grain dection changes. rrepur rowers Maintaining proportions when working with bias fabrics To counteract the narrowing qualities of fobric used on the bias, you must add lin {2 Scm| tothe existing seam allowances tthe side seams, This extra wath helps to counteract the effect ofthe hanging weight, pulling the fabric down and making it longer and narrower. Before sewing the patiem pieces together, cul the garment out and pin i onto a dress form, ond then leave ite hang overnight or longer. In this time, the weight ofthe fabric will draw the dress downward, making it narrower. you temporarly hand boste the side seoms onto the dress form, this wil keep the slippery fabric in place uni i can be stitched on the machine. Leave the garment fo hang onthe dress {orm again, before leveling out the hem and stitching,Pinning, marking, and cutting out Itis important that you have a large clear surface on which to prepare your pattern. You need to maintain complete accuracy when placing your pattern pieces before pinning them onto your fabric. Any discrepancies fo the grain or movement that adds or removes fabric could rvin the fit of your garment and, at this stage, be difficult 1o detect and alter. Marking the pattern information such as notches, darts, and pockets onto the fabric accurately is vital, and you must consider the best too!s for the job. This will be entirely determined by the fabric you have chosen. Simple sizing alterations suitable for commercial patterns, such as lengthening and shortening the bodice, sieeve, skir, dress, and pants, will help provide your pattern with a more accurate fil, providing the professional finish that you desire. and pinning Follow the envelope instruction sheet for suggested layout plans for your fabric width. These plans are very precise, and, if they are followed ‘correctly, your pattern pieces should fit on perfectly. Always lay your pattern on a large flat surface; never let the fabric hang over a fable edge, becouse this distorts and stretches i First, line up any patter pieces that use the fabric’ fold, Accuracy is key, because even a small sither added cr subtracted will change the size Using a tape, measure from the patter grain line to the selvage at each end of each pattem piece to ensure the grain remains straight. of your garment 2 Hota stit with 3 Try to place pins so weights; when the they do not distort the position of each piece fabric. Distortion can is checked, you can pin itn place. Place the pins along the seam allowance, perpendicular to the pattern’s edge, and pin diagonally at ‘the comers, happen if you pin out too ‘much or too lite fabric at a time. With special fabrics, such as sik and plastics, where there is the risk of leaving a hole, pin within the seam allowance.How to mark out your fabric There are many different methods ‘of marking ond transferring details ‘rom the pattern to the fabric. INis best to fest out the options on your actual fabric before you start. Some marking methods work better than others on different fabrics. You'll fnd examples of these on the next three pages. ‘Marking is usually done on the wrong side of fabric. if marking is necessary on the right side, it should be done with basting ‘thread, which can easily be removed. Choosing your marking method When marking patterns, how ‘much information is transferred depends on how much sewing ‘experience you have. As a general guide, a novice sewer might need to have all the construction details marked ‘oul—whereas an experienced sewer may mark only notches, curved dorts, ends of darts, and pocket placements. Thete are different types of chalk, pens, and tracing paper: that you can use for transferring the markings. Asa rule, you should always fest the marking method on the fabric fist to censure that itcon be removed successfully. Tailor’s chalk or pencils come in different colors, and becouse of this, they work well on a variety of fabrics. They can usually be removed by brushing out; however, test them before you begin. Chalk can also be: used to mark out darts, difficult curved seams, and pocket placements — ‘always mark on the wrong side of the fabric. Tailor’s tacks allo’ tacks are a fost and easy way to temporarily mark packet placements oF tends of darts on bulky fabrics, such as thick woolens. The small circes in the images below indicate the postion of a dat. ‘Thvead a needle with doubled (but rot knotted) contrasting thread; locate the mark indicated on the pattern by ‘a small circle. 3 With this fist stitch, leave a tin (2.5em) ‘ail stitch again through the same spot ‘and leave a 2in (Scm) loop, and then leave ‘another 1in 2.5cm) tall before cutting ‘marked on the pattern '5 Snip the threads, leaving an equal ‘amount of thread on both sides. 2.sew through the pattern and two layers of fabric to produce ‘a.small stitch. ‘4 Femove all pins from the pattern. Pull the two layers of fabric apart carefuly. 6 Both sides of the fabric are now marked accurately but temporal.All apour commercia: parrerns ‘small circle. Pattern wheel and dressmaker's tracing poper ‘Told your fabric with the wrong sides together. Fold a sheet of tracing paper in half and insert it between the two layers of fabric. tracing wheel. Cutting out Before cutting out, ensure you have a clean tabletop at @ convenient height, Keep the fabric fat, and use a sharp pair of shears. Serrated blades are good for knits and slippery fabrics. 1 tart cutting the patter out of the fabric as close to the edge of you must mark all the notches 2 Once the pieces are cut out, the paper as possible, without with small nicks into the seam cutting the tissue of the pattern. allowance. Be careful not to Keep the lower blade of the cut too far inn (8 mm) is ‘shears resting on the tabletop as more than enough to indicate yyou cut. Try to use long even, the marks. ‘strokes rather than short choppy ‘ones—this will ensure straighter ‘edges to your pieces. 2 Pull the two layers of fabric apart. 2 Trace the desired line with your 3 Mark the pin placement with chalk and remove the pin. 3 The color comes through, clearly marking the stitching line. Professional tips for cutting out different fabrics + Sik and fine fabrics When cutting slippery fabrics, ‘always put paper underneath ‘and cut a 0 single layer. The paper acts as magnet ond helps to keep the fabric stil, preventing it from moving away from the scissors os you cut Serrated scissors are helpful in cutting out sik. Sometimes its useful to Use a checklist or to mark the pattem pieces themselves to indicate that you have + Heavy and thick fabrics ‘already cut them out. ‘The fabric’ thickness may make it necessary and more ‘accurate fo cut the pattern out ‘8 a single layer. Cutting out velvet Fold the fabric with the pile side ‘ut, this will keep the fabric from ‘moving while you cut + Cutting out a single layer Ensure that you cut out all patter pieces the correct ‘number of mes ond remember to reverse the pattern for the different sides of the garment.Pocket placement ee ores out out ll th chine or hand basting is out al the main temporary way to transfer pattern pieces. Cut out [formation rom the patter to the paper pocket pattern fhe fabric. As the garment is being fftched, you simply remove the Sastng line, Again, you must test bie fabric frst to ensure stitching fetes or color from the basting bread is not left behind, ‘When cutting paper patterns in laid or pit febric, matching the pockets is necessary. Basing is a fost and easy way to temporarily ark pocket placement 2 Measure, and then fold under the pocket ‘seam allowance. ‘Find the small circles indicating the pocket 4 With a pencil, mark the prominent fabric ‘Place the pocket pattern onto the fabric Slacement, and position the pocket piece on design lines on the pocket pattern, ‘and use your pencil lines to match plaids be main pattern. or prints if necessary. Fold out the seam allowance and cut out the pocket, ' Place the pocket pattern, stil pinned to the 7 Thread a needle with a contrasting 8 Construct the pocket according to brie, onto the main pattern to double-check thread and, using long stitches, baste the the pattern instructions and machine hat an accurate fabric match has been pocket placement position onto the right stitch the pocket to the bodice. Try not nade. Then, with a pin, record the pocket _side of the fabric. to catch the basting stitch while sewing, iacement through both layers of fabric, a8 this can be difficult to remove later. I is possible to remove it as you sew if this becomes a problem. rinning, marking, ana curting out jj 49 LiSimple alterations for commercial patterns All commercial patterns are made to standard average body measurements for each figure type or size. Companies spend a lot of time and money inviting the public to take part in measurement surveys, eager for their patterns to fi as many people as possible. In reality, of course, we are all different—but standardizing measurements is a necessary process for the industry Of course, if your measurements are correct, you are ready for the next step. If not, you will need to customize your patter to create a more personalized ft—and choosing the correct size will help enormous\y. itis best to purchase the size that most closely its your bust and hip measurements. This is because, os @ general rule, size alterations are easier to make in other areas, Creating and altering pattems is a vast subject orea with varying degrees of simple and complex methods involved. As a home sewer, you may encounter or have a non-standard body shape (a common reason why people choose to create their own designs) Certain body shapes require more complex pattern adjustments, than the simple adjustments in this following chapter. For example, ‘one requirement might be to adjust the patiern when the bust is disproportionately larger than the chest and other upper body measurements. In this case, enlarging the bust would be easier than altering the other measurements, and the method of adjustment would be more complex—adiustments such as this can be found in a later chapter see pages 72-79). Alterations + Shortening or lengthening a skirt The allerations to be found in this (see page 57) section are os follows: * Increasing or decreasing o * Shortening or lengthening the skirt waist (see page 57-58) bodice (see page 50! * Enlarging or reducing o skirt + Shortening or lengthening the waistband (see page 59) shoulder (see pages 51-52) * Shortening or lengthening * Altering the bust (see page 52) ‘a princess-ine dress (see ‘= Moving the bust dar up or page 60) down (see pages 53-55) ‘= Shortening or lengthening ports + Increasing the bust by small leg lenath (see page 61) ‘amounts (see poge 55) + Shortening or lengthening the sleeve (see page 56)ple rules for ittern alterations + Alvoys stort wih ot pressed pater pieces ‘+ When making patter alterations, ‘always pin frst ond check with a ruler before finally securing down with tape or glue ‘+ Amending the length of o pattern should be done before al ther ‘erations. Draw a straight ine with ‘long ruler and keep the pattem pieces aligned along i. '+ When lengthening, you will need to place lissue paper or pattern tracing ‘paper underneath fo il the gop. ‘Again, pin the new piece into position before securing with tape, ‘+ When shortening pattern pieces, pin them into position and measure ‘again before securing. ‘+ When on alteration has disrupted a seam or dort line, fake on average beiween the two lines, and then ‘smooth and toper a new line = When adding or subtracting large ‘amounts (anything over Tin/2.Scm, divide the amount between two or three diferent places. For example, ‘to odd 2in (Sem), siash-and-spread Jn two places, adding Tin (25cm) at ‘each. By distributing the adjustment in this way, you will retain the original design proportion itis necessary fo fold ports of ‘your patter to reduce its size, remember fo foke half the ‘measurement required from each ‘side of the tuck, so as nat to double the amount. For example, to take ‘ut 2in (Sem, take lin (2.5cm] from the fold fo the inside fold and. ‘another Tin (2.Scm) from the inside {old to the dotted tine Ain (25cm) \When shortening a pattern, itis important to remember ‘0 take just half of the fl measurement from each ‘side ofthe tuck. Special note ‘The pattems used in the following sequences do not include seam allowance. When manipulating your own Patterns, keep in mind that a pattern with seam allowance included may look different from these. The basic method ‘of shortening or lengthening pattern (see page 50} con be applied fo al patterns.‘Locate all the pattern pieces that you need for your design. Cut them apart from any other pieces, and accurately cut them out in your size. ‘3 Create the patorn along the printed ine anc fold down to your pencil ine, securing the pattern with tape. Simple bodice alterations Bodice alterations can affect the armhole and shoulder. Remember that when making adjustments to any pattern piece, it wll affect adjoining pieces. For example, when altering a front bodice, it may affect the back bodice or the sleeves. ‘Most commercial patterns have a line incicating the best place to shorten or lengthen a pattern. This, is a very common alteration and ‘can be done easily. Lengthening or shortening a pattern can disrupt the line of the side seam or dart. Redraw them if necessary, 2.Commercial patterns have a printed line on each piece indicating where to shorten and lengthen it. Locate the line, measure the amount to be shortened, and draw line parallel o the printed line. connecting the lines with a ruler or Tsquare using smooth, tapering ‘Locate the “lengthen or short==" lines. fyou have a choice, itis lin. Cut along this line as ‘ohvays better to increase rather accurately as possible. than decrease when drawing. 3 From the cut patter edge, ‘measure the amount to be adcec_ and draw a paral ine. craw the grain line onto the new pape” witha ruler—this wil be usec ‘to correctly align the joining 4 .Chock that the pattern edges are straight and pattern piece. smooth by redrawing them with a ruler and pencil. Asa general ul, i a large step is created bby making a pattern adjustment, always redraw bigger rater than smaller. Repeat this method for the back bodice,Shortening the bodice shoulder ‘The method balow shows how to shorten the bodice shoulder while retaining the ‘original garment shape. 2 .with a ruler, connect the center shoulder to a point midway down the armhole, with a straight line that blends into the armhole. ‘4 Measure in from the line the amount the 5 Move the hinged shoulder in to meet the pencil shoulder is to be shortened by, and mark the mark. Tape the pattern in the correct position, pattern with a pencil ‘and then glue a strip of paper under the pattern ‘shoulder line. ‘7 Repeat this method for the back, using the ‘same measurements. ee pbs 6 With a ruler, redraw the shoulder line to smooth out the step.Altering the bust: Lengthening the bodice shoulder ‘The method below shows how to lenathen the bodice three methods shoulder, while retaining the original garment shape. iMelhod Je reving te bust point Moving the bust point or apex up or down isa quick and simple pattem alteration 2.with a ruler, connect the center shoulder to ‘midway along the armhole. The straight ine ‘should blend into the armhole, ‘First, cut out the front bodice patties in the correct size, ‘3 Cut along this line from the shoulder o the Glue a strip of paper to one side of the armhole, leaving a hinge. f you are working _ pattern, measure the amount to be added “with a patter that includes seam allowance, _to lengthen the shoulder, and make a Ccut up to the stitch line, and then make a ‘small snip from the pattern paper edge to 2 with a ruler, draw a ine through the the stitch ine and leave a hinge. ccenter of the side seam dart and the: dart The point where the two lines intersect is the bust point or apex. ‘5 Move the shoulder piece to the ‘measured pencil mark and secure it with tape. Redraw the shoulder line asa smooth, straight ine. 3 eter to your personalized 6 The firished ieee ements 22 and, on the pattern, measure from :~ eal ee ‘center shoulder down to your ows i theta | bust point measurement, roughly = line with the pattern's bust point.‘Method 2a: moving the entire bust dart up This is for adjustments larger than ‘Ain (2.5m). ‘Once you have your new bust point or ‘apex, connect the new bust point to the side dart edges with a ruler 2.Draw a box around the ‘bust dart and cut out the bottom and side of the box. 3 Measure the required & sports fo eae 3 re . ‘the box and mark a F ao ig the new bust point é line. Crease the top line of : ‘ the box and fold up to the now line, To retain the original “amount as the original stem indicates,eee Altering a part (6 Fold out the dart and ‘check once again for steps and gaps in the new side seam. tis ‘important to check what implications your alterations may have for 7 With a ruler, redraw the pattern, smoothing ‘out the side seam. 9 The finished pattern ‘Method 2b: moving the entire bust dart down ‘1. Cut out the front bodice pattem in the correct size, draw a box around the bust dart, and then cut out the top and side of the box. 2 Measure the required amount from the bottom of the box, marking a paral! line. Crease the bottom line of the box and fold down to the new line, 3 Place some paper underneath and tape it in position. Special note Remember, the patierns used in these sequences do not have seam allowance.“4 Fold out the dart and check for ‘sleps and gaps in the new side ‘seam. Itis important to check what Impications your alterations may Fave for the rest of the pattem Before cutting it out. ‘5. With the dart stil folded, redraw the ‘Side seam, smoothing out any steps fend gaps using a ruler. ‘6 The finished pattern Method 3: increasing the bust by ‘small amounts, *kin (2em) of less When a small amount extra is needed to increase the bust, the seam allowance can be Used. Taking too much fabric from the seam allowance will weaken your garment, 30 small ‘amounts only are possible, ie. in 2cm) in total. Adding to the bust through the side ‘seams will also add to the armhole circumference. To ensure the sleeve wil ft correctly, you will need to add the same ‘Cut out your pattern pieces in the correct ‘amount to the sleeve patter and to the back. size and add extra paper to the side seams ‘of the bodice and sleeve (there is no seam, ‘2 Fold out the bust dart ‘3 Measure out from the side seam the ‘amount to be added (up to Yin {5mm}. ‘4.With a skirt curve, blend the added ‘measurement into the side seam while the dart is folded closed. 6 Adding to the bust circumference also Jncreases the armhole. ‘Add the same amount to the sleeve biceps width.Altering a pattern ‘Locate the sleeve pattern and cut it out the required size. Remember to cut accurately. 3 Fold down to the measured pene line and secure the pattern with tape. Simple sleeve dl eaons How to lengthen or shorten a sleeve. Lengthening or shortening a sleeve is an easy alteration to do. Simply use the pattern’s “shorten or lengthen line" and add or subtract the amount you need. ‘Locate the sleeve pettern and cut it cot to the required size. Then locate the printed “shorten or lengthen” line on the 2 Tape or glue some paper to one side the pattern. With a pencil and ruler, — 2 Locate the printed “shorten or lengthen” line on the pattern and measure from it the ‘amount to be altered, and draw a paralle! pencil line with a ruler. Crease the pattern ‘along the printed lin. special note Remember, the patterns used in. these sequences do not have seam allowance.Simple skirt Decreasing a skirt waist When a skit fis on the hips and a small alterations stereos nde ates wa {0 more than Sain/2cm), this method is Changing the length of a skirt is quick and easy to do. a quick and simple alteration When altering a skirt pattern use the alteration line provided in the same way a8 for a sleeve. Remember to add or subtract by the same amount on the front and back pieces. ‘Lengthening or shortening a skirt ‘Locate the skit pieces, tront and back, and ‘cut them out tothe required size. Remember secu accurately, ‘Locate the skirt pieces, front and back, i ‘and cut them out to the required size. Remember to cut accurately. Divide the total amount needed to change the waist bby four, To create a smooth fit, this amount should again be split in two and 2 The skit pattern wil include a printed } Jengthen and shorten” line. Follow the same original skit shared equally between the side seam | “step-by-step guide as for lengthening or ee ‘and the dart, ] “Srorening a sleeve (s00 page 56) ] } 2 starting with the front skit, split the measurement again; measure outward, } increasing the dart on either side atthe | ait line. Blend back into the dart end. This sequence continues on the next page > Shortened skirt piecesyu pe Increasing a skirt waist When a skit fs on the hips and smal aeration is needed to adust the waist (no more than ‘in/2cm), this method is quick and easy to do. ‘Locate the skirt pieves, front and back, and cut them out to the required size. Remember to cut accurately. Divide the {otal amount needed to change the waist by four. To create a smooth fit, this ‘amount should again be spit in ‘wo and shared equally between the side seam and the dart, 2 Starting with the front skirt, spit the measurement again: ‘measure inward, decreasing the dart on elther side at the \eaist line. Blend back into the dart end. 3 In this example, because there is no seam allowan ‘when cutting larger sizes, you will need to add paper to the side seams. Measure the amount to be added to the waist side seam and blend it back into the hip. 4 Accurately cut the excess paper away. '5 Repeat the method for the back.Increasing at the hip To increase through the hip, if no more than 24in(2em) is needed. ‘4 The finished skirt. The extra | ‘amount added tothe hip should | continue down to the hem. 2 Add the amount you need to the hip to ‘make the pattern larger. This will be a {Quarter ofthe total amount to be added (2x fronts, 2 x backs). ‘Locate the skit pieces, front and ‘back, and cut them out to the required size. You wil also need to alter the hips if you have altered the waistband. ‘3 Blend from the waist line to the new hip, ‘measurement and continue down to the hem. Trim away the excess dress sizes.os Altering a pattern Simple dress alterations Lengthening or shortening a princess-line dress. itis especially important to keep the CF and CB lines straight \when altering a large pattern such as this princess-line dress. itis important to consider where you need the alteration on the body, as this type of garment covers two alteration points: above and below the waist. Shortening a princess-line dress ‘When shortening this pattern, use the CF, CB, or the grain line as @ guide to align the pieces. This is important in order to retain the garment’s shape. T Locate al the pattern pieces required for your design and cut them out to the required size. 2 Measure the amount to shorten the 3 Draw a parallel pencil lina. 4. Make a crease, fold down the requires crass by. ‘amount, and secure it with tape.oimpre wress wreruronss armpre pants airerarions “Lengthening a princess- line dress [When lengthening this pattern, [eethe OF 0B, or the grain tine 12 guide to align the pieces to. is important in order to the original garment shape. ‘T Locate all the pattern pieces ed for your design and cut ‘out to the required size je the desired position for your ation and cut across the line. Sue or tape on some paper to one ‘of the pattern and measure out ‘amount to be added. (2 Draw a pencil line. '3 Align the other pattern pieces to the {ain line, CF, or CB, and secure them with tape. Trim off the excess paper on ether side. Simple pants alterations This is a simple alteration just for the length of the leg. Use the lengthen and shorten line as before, remembering to alter the same amount front and back. ‘VLocate all the pattern piaces required for ‘your design and cut them out, To shorten the pants, folow the same method as for ‘shortening the sleeve (see page 56). 2 When lengthening pants, ensure you line up the grain lines to retain the Criginal trouser style and shape.Creating your own pattern What is flat pattern cutting? Flat pattern cutting is a well-established, formulaic, two-dimensional approach to creating and developing paper pattems based on an accurately fitted block. Paper copies of the blocks are then developed and manipulated flat on a tabletop. Three-dimensional shapes are formed by adding in and folding out excess paper to a prescribed formula. A successful final pattem is dependent on how well the block fils the body, the accuracy of the work, the success of the methods used, and how creatively the design has been interpreted by the pattern cutter. Getting started ‘What is a basic block? shape in the fashion industry is This chapter discusses the use of A basic blocks the original drafted one that is going o be repeated personal blocks as @ method for _ pattern that has been perfected to throughout that season's, making your own patterns, and _fit the body precisely. Once this collection—once perfected, it will how industry uses “working pattern has been tested for ft, it also benefit from being copied patterns” and "seasonal shapes’ becomes the base that all her ——_to cardstock for continued reuse. fo speed up the design process. _paterns are derived from. This Examples would include a blouse There are several different ways original block should never be cut__ with shoulder pads or a lowered to create block patterns; only two up for manipulations, and it should waistine on a pair of jeans. The ‘are covered in detail in this book. _be altered only if your body shape pattern cutter would start with the In the first, scaled-down blocks are changes. Itnever includes a seam basic block and adapt is detaling resized using a gid system —these allowance; ths makes patient the designs specications, biocks are supplied on pages 12- manipulation more accurate Thereater, all the blouses and 125 with instructions on how to To make it easier fo trace around jeans in that collection could be cut scale them up fo full size on page and fo prolong is life, the finished from this block, avoiding the need 66. The second method is to buya pattern block can be traced. to start at the beginning each time. ready-made commercial patern. onto cardstock : block from a store. This simple, basic pattern wil fi CAlevlating fabric requirements When designing your own patterns, you'll need to know how much fabric to buy. To do this, cut out the pattern pieces and, bearing in mind the grain direction ‘You wil learn about making the body with just enough ease for your first tolle—a fabric protolype _freedom of movement (see page of the garment you are making— 31). Any design shaping, flare, or cand assessing and altering its ft detailing is created ot the next {see page 68). Once the blocks slage. A haf tole of he pattern is £ have been perfected, youre ready often sufcien!io assess the fi, ond fold Ines, lay aut he pieces for the more creative practice of however, a full garment may be Gooen en Heda ie designing your own garments. necessary ifthe right side of the perm! and ain OTT Wi For this you need to understand body is different from the left. It Rea seit t ate ae design analysis, looking closely fakes ime and patience to perfect ti pieces wil fl side by side atthe initial design sketch and the shape and itis not uncommon {Piece eo to interpreting is construction details to make two or more toes o get it Ona Row much room nee so into a clear “working drawing” right. Remember, you willneed to 9 seam allowance, and remember ‘Marking out a dress form with yarn add seam allowance fo the pattern 1° S100, oxtra fave ifthe fobric tothe correct proportions, fom the in orderto sew the tole together. Chosen has a strong pattem that Position of seam lines to the width Wigt is @ seasonal shape? needs to be aligned across a of the button stand is an easy way is "i foveualzethe nlometin belre Seasonal shape vies more seam See pages 37-40 wonder toa pepereaen SN os ee ns en as stage in the process. A seasonalerearing your own pattern ‘Methods for creating basic blocks There are several woys to create your own personal pattern blocks—two are covered in this book. The methad you choose is meraly a question of personal preference. The basic block “consists of five simple pieces: a darted bodice front and back, a sleeve, and a skirt front and back. The skirt and bodice can be joined to make a dress. ‘orking pattern: \glan sleeve working pattem is made from a basic 2ck but Is one stage farther on in the ‘sign, such as @ raglan sisave, whers > boolce and sleeve pattems have ‘en permanently joined to make a new ‘ape, a kimono sleeve, ora baste shirt, These accurate working ttems, once tolled and perfected, also be transferred to cardstock kept for future use, Et SE pao 1 The commercial block pattern 2.Using pattern blocks or fitting shell Use the blocks provided on pages 112-125. This a store-bought patter that you Flow the step-by-step guide on page 66 for can purchase in standard sizes and alter restzng the patter blocks onto aid paper. 10 Mt. Instructions are provided for mating ‘Persona! aterations.Using pattern blocks How to create a custom-made pattern using basic blocks. Itis possible to create unique patterns using basic handmade or commercial block patterns and your own body measuremenis. Your custom-made blocks can be mounted ‘onto cardstock and used again and again to create new patterns. How to scale up pattern blocks On pages 112-125, you can find scaled-down pattern blocks in seven sizes. You can use these to make your own personal blocks. To make enlarging the patterns easier, each column and row is identified with a letter or number. Each square on the grid represents « Tin [2.5cm square on your pattern tracing paper or graph paper. See below for the scaling- up method. How to use a commercial block ‘Most companies that produce ‘commercial patterns also produce ‘@ commercial block [or “sloper’ in various sizes. They feature in the same pattern catalog books as regular patterns, and can be purchased in department stores ‘and fabric shops, Commercial block patterns are very convenient fo use, saving a lot of the time that is involved in drafting your own. Block patterns ‘re arranged in one size per envelope, 50 you will need fo know the size you require before you buy one. (For advice on sizing, see page 22.) Commercial block patterns are the master patterns that all other patterns are based on. For ease of use, these block patterns are produced with large seam allowances so that alterations can Scaling ode 110 your grid paper, start by labeling athe tin Some HE som) coun wth eter, andthe rows wth either draft your own grid paper = umbers. Each tin (2.Scm) square on your grid ‘download it from the Internet and | _paper is represented by one grid square in the _paete ft together as letier (48) etze © book. Mark out a small “X" on your grid where sheets, or buy dressmaker! — the lines in the diagrams are positioned on the pelah Sasa aan ine ‘rid inthe book. Stat at the top left-hand corner ‘squares. Ifyou are drafting ‘and work your way around the pattern clockwise your own grid paper, it is Lunt! you can see the outline of the pattern. important to keep checking your measurements, ensuring that all the lines are parle ‘The blocks do not include seam allowance. Once you have enlarged the patterns you wil need to add seam allowance ‘before making up the tol. ‘Seam allowance is ‘un (1.5em).‘and any changes conto the pattern patterns suggest ch as gingham or plaid, olle’s balance can be d using the vertical lines. envelope are detailed ‘0n how to take ‘adjustments to the ft toile, and even advice suitability for different Commercial blocks o Commercial suppliers, ‘such as Vogue, sall block patterns that take a fot of the work out of making your own, ou have finished connecting the "X's, using a 4 Fold out the darts to make sure they ine up and. trace off the finished shape onto a fresh ‘match. This is a good way to ensure that the same ern tracing paper. ‘curve or straight line is continued from one side of the “ ‘dart to the other. Even out any lumps and bumps. ‘5 Belore cutting out, measure the patter pieces to ensure that they are correct. For example, check that the front and back side ‘seams of a skirt are the same a length. Cut out, and then label, & ‘name, and mark al the pattern pieces with grain lines, notches, land 30 0n,oe Making and fitting G toile Make a toile to test the fit of the garment you're creating. Having checked the accuracy of your block, you are now ready to make your first toile A toile is an early version of a garment made in inexpensive fabric to test a pattern—a kind of fabric prototype. You may make multiple toiles during the process of perfecting your block ‘Methodical working ‘When you ore pattern cutting, it's good practice to work in a ‘methodical manner. Create « history of how your patter was {trated and all ihe stages that his involves. When o mistake becomes apparent it is then easier retrace your steps and idenly Tips for working methodically Preparation First, you need to press the creases from some medium-weight musiin with a steam iron. Fold the musiin in half with the grain. Trace off your blocks onto a new sheet of pattern ‘racing paper and add seam ‘allowance. Place the pattern pieces ‘on the muslin parallel to the grain line, and trace around them with a pencil, Mark on the CF and C8, and draw in the bust ines, waist lines, the biceps line, and the elbow line Mark in the hip line on the skirt and all the grain lines. itis important to mark these out on the muslin so that once you have made up the garment, you can see ifthe lines are balanced and in alignment with the body. Sewing your toile together ‘Sew your toile together with sean allowance of in (1.5m); ensure that you are accurate ‘throughout or you will alter the size of your toile. ‘Sew the darts first while the pieces care flat. Press the front darts toward the CF and the back darts toward the CB. Next, sew the front ‘and back bodice shoulder seams nd side seams together and press them open. Sew up the ‘underarms of both sleeves and then set the sleeves into the finished armholes (see page 134), Do not press the sleeve ‘caps or YOU will fatten out the ease. For the skin, make the darts fst before ‘sewing up the side seams. ‘ Sewing pieces together the wrong way up. Working in ‘a step-by- ‘Step way helps to keep mistakes and inaccuracies to a minimum, ‘Never be tempted to ignore a problem. Chopping pieces of your [where the mistcke hoppened. Many mistakes are made thraugh Sorting out problems a the paper pattern stage will save valuable ‘adding seam allowances to some pate pieces and nat to ahers, time and money Working methodically allows» Trace off the patiem pieces * Notches ore vital for ‘YoU more scope fo be creative at every stage of pattern ‘matching up pattern ‘once you have learned the ‘manipulation, and keep pieces, for checking them ‘basic principles. ‘and label the stages, ot the pattern stage, and Only when you have for sewing up—don' forget ‘+ Trace your blocks onto finished your fot pattern ‘0 put them on, os it will, ‘cardstock to differentiate ‘manipulations, end you ore save you a great deal of them from your patierns. Feody to try out your tlle time later (see poge 83). ‘should you put the seam * Label everthing thoroughly, allewance onthe patin. _» Cut one patlem piece at ‘withthe name and date of time, and check all the the block or pattem piece + Always put the seam Pattie pieces to ensure le, Left Skint Front (cut, ‘allowance on the final that they fit together Cuff cut 4), Cut on Fold, potter, Where necessary. ‘and so on, Mark on the CB ‘ond CF lines, grain lines, * Always write on your pieces» Mark on all the doris and Bolonce lines, notches and the ight way up and on the details on your fabric ‘ize of seam allowance, correct side—f necessary pleces with tallor’s tacks or This will help to avoid ‘mark “Right Side Up” SU) chalk (see page 43) contusion of every stage, ‘on pieces that can't be fumed over. + When sewing your toile fogether, ciways sew to the ‘seam allowances you have. ut on your patter. f you ‘re inaccurate by even a traction of an inch, the size ‘of your tole will be altered ‘considerably, ‘Any alterations that you ‘make on your folie should be copied to your pattern immediately, before you {forget what or where they were. Dont forget to add ‘seam allowances back on where you have chopped ports off your pattern,