PATTERN MAGIC Tomoko Nakamichi era areaUsing this book [Ar the beginning ofthis book (page 7) explained about the relationship between the three-dimensional structure ff a garment and flat pattern pieces. A major objective when making garments for women is not only that they fit properly but that they also look attractive. For this reason, garment design will never cease to exist and provide endless enjoyment. [hope the pattem-making method [introduce here is of use to you in earning an image into a silhouette or design detail, and that you learn from the ideas in this book and find new methods that work for you. ‘The pattern drafting and manipulation forthe design of garments in this book are based on the Bunka-stylestoper (block} for adult women (Japanese ‘M’ size: bust 83cm, waist 64cm, centre back length 38cm), and a half-scale dress form for the three-dimensional pattern manipulation. All the measurements on this dress form are half that of « fal 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 garment, As oy objective was to explain the construction of a pattern in an easy-to-follow way, Ihave omitted pattern markings such as facing lines used for actually constructing che garment and the amount of fabri required to make the garment, ‘Abbreviations used in Symbols used in pattern drafting pattern drafting : Cetin scare gianna Bt Bain Guideline Siuntyatn sine te Seeorlioe ‘Sitten’sowyehatccnse tee Fa Finshingtine | —————— | tomebyatatscaineer soaker Front Arm Hole t ea Ban Guonthefold | —-——— | shieyedilinterne Back Arm Hole et E lati ate men k Incats aight rai Shown by thin soe Bre We e-wa = Al Waist er i clean ‘Drow twa tagonallins stoping downwards towards thehem. Shows ma Sorschigeron oro hao Mid Hip 4 fee ‘ease gae tinted aL pete Bis recion J |seatsisaage sme we Waist Line mt Enercon mating | ~~, | ntexnmep testes Hip Line a en ee Elbow Line ie ose and ox nde te ptt abled sgh | oe pepeianrea Siatoe scp fete . Maing ocak Centre Back Ibe sper A snc ppt pesados pen i SRpcueenaaagonseawe eoniguously ZF z ”Basic bodice pattern Bice ont ptt based on he Bodie pattern with closed drs, elas sper od pages 99-102. Inserting a circular design line A\ When the edge of the circle passes through the bust points Can ou the ele produces pattern wth he same shouete asthe oper above. ‘The edgeof the ce “The ice that as been ct ou fms pasesthrough be bust pans. the pit for he design ne. B when the circle extends beyond the bust points Even you cutout the eel, the undesie ds nat ef and cannot be used spt, Thecideestendsbeyond he bus porss —_Evenifyou cutout the ccs, dors ot ef. 2To make a pattern for the circle Shortening the darts so that they end at the edge ofthe circle will make the ice ie itso that a pattern can be made. However, the sihouette will be not be seme asthe sloper (block). ‘Shorten the dasa ed atthe eo Close the cas and eat out he eee, ‘The pation sot ited inthe chest aes andthe sthoetteis not the same, Three methods for making a pattern with the same silhouette ‘They al involve manipulating the darts that are et inside the cl. “faten® means to pres down on any fullness that fest flat. asimlar way ta sugar cube where the comers have been warn ay, ‘ere cues frm onthe pat as shown inthe drawing, Fatening st 2 small amount fulness creates a welled fom. Depening onthe method you us, the thre-dimesional expresson changes frm soft sharp. Totheletsa bodes pattern where the darts ave been atte. | 2Binserting complex design lines into a sloper (block) as a further application of this technique + design ne, make the bok ate ut! PAE ee atone oper. J the same way as forthe bodice with the ecu tea any kind of ine you want and don forget Cutan epan out lng hates. atten out the aan that donot eth ty rserting dts, easing, oan ‘orb combining hese methods 4connote opened out, ‘The pate i ft but the bogining ofthe curve canet be opened out beau hee rosea alwance forthe des he sean Fo over a sal portion a th end ofthe ‘uve to crea some sem slowance “Then, either selch et the fled portion cit and open net te shed notte nso ‘ste feds eon ace Abou we have to be meticulous about measurements for a garment pate ome cates where only fe millers are IRON. tere othing wrong wit elng fx. Here Ihave fled and ceated the seam alowanc but you may change lg tat the design ines end athe pots upto where you can sew alo stiches alot wth patton that have carved desig ines, ard when you actualy cit the fabric out, you wi ‘0 ccjs the measurements, Select a matod consdaring the overal balance of te gent. 5Accents (deppari) This deppari protrudes from the back like a shell. ‘Since it utilises the unevenness of the body, ie doesn't just have to be the back from which a deppari protrudes. ‘They can be positioned anywhere, on the back ‘or on the chest, to create a sharp desiga line Here are two interesting deppari designs, (0 Becaete deppar comes nt contact with height ke ony thevight bode @ To make the depp eppearto be rac neckline stat deeper protucing fromthe pot wee the ere of the shoulder lade ends, daw ttm the end GP 7 Way te deprarned move height sheer Fron DEQ Oreenethedeppui agin ansewout. Aste procion vata nei hers no shout seam, cls the eft snulder drt and a is sertion continual with the bode ont. 7Page 13: De ‘The deppari on the chest utilises the fullness 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 safari-style shir. © because he shit does not have tobe parca ee to the body, ‘vee sheds det alourance hat wae moved tothe AM ink two ‘ual sections Dtebute oe ano the dts, ard he et nthe abl. Shrien the dart beease he dat alowance smal re r ‘aan 20m 116 raw the deppa Davie the a et ance nt thee equal sections, tute ‘one thd ino ease nthe aml, eave two i thd forthe bt dart and sew the depo the aml a © reverse the deppari and cutout 28The gathers are arranged ata right angle co the sear, Fetmmig oer pene y tree hone ele (otek 3) Tee eserves tog priate cto sels ePage 14: Dress with gathered hole ‘A design where a hole is opened and gathered in a fitted sithouette, without inserting darts or design lines. om [sem 8 the tem soem @ rat paton ofa dross with a ited shout, 30soe Lenginen i \ a © ficou the et and right bode panels are asym aig tem end craw where you want o open th hl. nse cating ad opening out Snes aad pattern in a balanced ay, ‘nee the uting and apeing out nes donot make cont withthe point af the darts dst by malig he dts longer or hota here the point ofthe cts to faraway fr cumple ike the burt dato the at ads nt nthe dang, you ean als ow another cing and operng outline in @. ‘Make an epening in the back et shoulder along the ed-ptter tig and opening out and connect that secant he bode nt 3© Coe al the drs, thereby making posible io create a led lout even without rts. ‘Marple the uta opened pats, to raw a smooth continuous ne forthe cutie ofthe hole and he ie sear, Then eda the hertine th a eat, aight ine. CORD __ ay assem Semen 32sited winousline ‘token ‘A design where the luxurious fabric used for the camisole is fited to the: body with design lines and appears to have sprung from the gathered hole, It's made from cotton volle woven with dots and Is great for wearing as casual wear, for example, with jeans,Sen © Open a small or he gathering around hemi hip (MY) are ofthe ight bode fon. ae part ofthe gatheng toa il for rater empha. Toccate the il ati, delde wher the etm ene ad do nat sow beyond that point Then make taking care na to attach tothe bode, Rte wait using the curved gon seams as design les. €@ ova design Ens forthe gathering aaa pater in szton) ofthe pater where th ols as Been made. [Algae adc for and back ight Seseans anit thedesign nes larger ofthe filed zeton, “The ers the il stip are not Fone toga, a4‘coRD + 196m ‘ith selene Topic wth = Yom © Cutand open out secton @af the ptr. Ad 27cm on each Siete get plenty ofr Ako ad ex width a reqred at ae) (em nti cass) to draw smooth well cemected ines O cutout each ofthe sections ©) © and @ and ast te em ine. 35le li/; SIEGY, A design for a close-ftting sleeve, with volume only inthe top section ofthe sleeve. Visualize the finished silhouette of the sleeve to determine how much fullness must be added to the pattern, Then, make the pattem, drawing the sleeve height in the same way as in 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. 05em ton am © Measure the sol of the bose and rate a dawg forthe deve 36 © Draw he rites thou ofthese ‘ap as seen rom the ele (the sleeve caps fltene inthe fished saeI — expine pon| swof he seve @Asshowninthe dag daw hepa of @ Cutandopenouttheseeve cap unttit Draw cutting nd opening out es ina sleevocap thesteeve cap that faces the nckby adding reaches @)and dawasracth curved ne. ral patter fom the cent ofthe hole the same measurement asia @. Draw the underarm ne © rity wth the eeve ap tthe, cut and open out unt te sleeve cap ne becomes orzo Its up to you to decide how much you want to open the seve cap, but cosiar the fac ran, ease sein, and othe fcr © Bec: the srount forthe gathering i sl nck sufcent, apn out the sleeve cap even father The amount fr cutee operng out vires acorn othe fac used, 7inserting ease, the fabrit was-shaped inco a gentle Cojjeave seructoré,resembling a crater on the surface of Bag vi ely vince ein Shape for a hore dramatic appearance,Page 16: Crater bodice ‘An elegant bodice that emphasizes the subtle movements of the fabric. @ @ torte design es forthe erate” anddeteine ports @)and(Bl, Add 2om atthe bustin oa thickness othe Yate” and nat ee teen wl end ina feu and opening ot a ehown inte dang, (A the ea am when the “erator ars ta sel, Craw GD by ‘exendng theline tat connects the pent ofthe two dar, O clese tne darts on the ecton Ua orms the totam ofthe eae" en theo ight pan. @ Close the dtm Band cut ancl open out ® antl @-6°-@ ates ‘in. Aign ® and as shown nthe dawn to make one pater ‘The ciferencen eng between @ and (on the ode et are ight anos the ameunt of ese se ibe on th ie tha le tet net exe, 39Page 17: Crater sleeve ‘A sleeve with structural interest where a dent has been made in the fabric on the sleeve cap. ‘An interesting design for a simple jacket or coat. lzem Tene Sa Sa © vratt the base seave pattern. Draw the shape ofthe sleeve cap, Connee the point share the seve wth on ee seo the sloeve-cp ine as been ved int to easton ard he sleveapening with measurement Ow theo wth 2 Sight butard curve athe EL to cet the shape ofthe nar am, Open sane a the ld ie to make one plese, 40Aneto make {© owe the design nes for the “eatr® nna fromthe sere ot ines, and ve thesieeve pattern into two pan, and ©. Marc pnts @ and ®t incest he wea sem sess irae SA totheroatr in HI so sem alle / 2 = aed en an Sem Sem OO (@ 30 to inerosea te thle ofthe “rater” inte ate bebween @ and Bon panel. © Dew nes or cutng and opering out ina ‘al patter nthe ares beeen and onpane @. {oe cused. Moving the design nes inard ofa the fect of making the am appear simmer © Hate the psimeter ofthe curved ne between @) and) on panel Biko, Cut and open cut panel @ as shown inthe drawing. The amount to be opened out vais according to the esc ued but here about 15 percent ot as been opened ‘The amount tat hasbeen opened uti eased to cate an eegat sBhvete a‘The otosbiana technique was developed from the idea of connecting two holes to form a tunneblike struccure, [As the ofosbiana isa complex design, we start by assembling it out of paper. © open 2 hole of he cee sire onthe paper @ Wake paper pipe and pace © With sss eu of the pat pret for the tp ofthe paper len the le Dede on your ese ange ar the length for the le ({ ly ry © Fold the excess on both Sider and rede the bes. The amount aed inthis ey as ‘he entrance othe ole bo or shape, nd the look change cut ong the ines Beco he edges of the pape pars ana te pipe are carved the ‘encase amount door nat at. a(© snake «si os) or te set bse. © inthe sone way swith paper on page 42, insert the tbs though 2 Theptara forth shet nthe picts shown below but you can make the sit any shape you want 44cetrough © Ofenatole where you want opostion he ooshan nthe kit, Thee can be of any se, but emambr to mat ager than the ‘teunfeence ofthe end of the tube ane amr than theft base, © inert the assembled ofoshana nt the hols inthe sit and reste your deed shout, (© Fasten the fav alo the sit wh, and machine otc, © toot the desi tes ete, considering how bot to fcus on ‘eotoshian, 45© cutaiong ne design les to make te fas pate Where the edgar ofthe le do note old the pate ar ast ‘ele. (© Open out an ton he ele pats, then actine sch fora smoot, tinuous. 46This dress features two ofoshiana Connected on the inside to form atunnel, This is a complex patern, using the basic otoshiana technique. For this distinctive design, I chose a coarse woollen fabric, in a neutral color, that is easy to ease and stretch,oh © Using a seper Glo, dose Ue dats ened et and open out. ‘base patie for asimgle des that as nether das or cesian Snes © Decide onthe te places for postoning the les ard make amin Mele folowing the oer of aten-making fora sk 48Lumps and bumps (dekoboko) ‘This technique evolved from an idea to incorporate a dekoboko {an uneven surface] decoration into a garment, Attaching cubes onto a base isin itself inceresting, but when the cubes are connected with design lines, the undulating lines come alive. © Asset athee-dimensond objet made @ Attach ta the poper base @ cutaway the bottom of the base of paper in any sie you wan. "Think ofthe paper bse a the garment From the opts cones rom the bottom, concave. inser isin any way you want The pattern easier to make the lines © Cot ong te tes, open an faten out 49Ge eetretemiet rs heel ryt one ey aM ta) farous looks can be created according to how you insert the design lines Renee eek eure geste eu Gury Deets eee eee eeu acsMaking a pattern with the three-dimensional paper objects @ Randomly stich the aber teen he ehs tothe bodice sper @ Draw the design ines inary way your ogee Ue cubes (oc) made ot of papa. {© cut tong the tines and open to create the patie, ‘Were the design Ines don pas trough th comesof he cbs, ‘ho pate wl ot efit. Use ne ofthe thie be leche: inverting dts esingo ateing to kate pation le et. 51PATTERN MAGIC Part 2 Making patterns for haute couture garments ‘When I was a student, I remember how difficult it was learning pattera-making off the blackboard. achieved the shapes I wanted by making miniatures ‘out of paper, flattening them out by inserting lines and cutting them to make a pattern. It gave me a great feeling of satisfaction, but I knew that, logically, it was a dubious way of going about it. Playing around with patterns enables us to produce many more designs for couture garments. 52avures 53Draped design ‘An elegant contrast created by light and shade. ‘Make an easy-to-draf flat patteen fora draped desig thats usually produced by pinning and three-dimensional cuting of fabric, A right and left intersecting whirlpool drape has been inserted into the sloper bodice. Making the basic pattern et 3en< asm Hi ro Hy osem “Bs 28cm © tert waist arts so that he Boe sted in the wai are. The ede ent dase cloed when citing and epening out he draped ‘ca. Te cen of the draped area expressed onthe drawing by {lle consrng the bk eae bythe layers fae, The ne anneting (BC) the desig ine for rsing te ole, @ ove, the acscfthe cena four eu secon and set th cating nd opening cut ines Die the pte above nd below imo pont @ and respect acL Simple draped design (without twisting the fabric) inersect the left and right bodice panels through the hole and create the draped design The larger the itcle, themore relaxed the design willbe, and conversely, the smaller the ce, the sharper the design © Ces drs on bth pans @ and(B and cut and open ut ul the stance between and becomes Tema hscase. Align panes @) -P ‘nd(@)and crew mat once ines. “ome thehol decide where the seam wl end and cl kG, © Sew together the area between @ to (Bon one bodes panel © Inert te other bade panelnt the hoe you have made ae sew 4 fom ® to. Sc te cone ont ram the nd af the seam, to the hem, 8Complex draped design (adding one twist to the fabric) ‘The intersecting of the left and right bodice panels s the same as on the simple draped design bodice, but the adding of one twist keeps the fabric in place, thereby showing the modulations in the design, Remember that the underside of the fabric will appear at the front, Shouts @ The bai pattern the same as forthe single expe design bo. ‘ive the pera above ad tow BG Into panes @)and @ respectively Reverse panel toa one tit. The vader side ofthe fabric peas onthe aces ‘Ehange te postion where panels @ and 6) meat 5 shorn in the draving {© ios the date on both panel @ and and eat end open out ie ares betaan paints) an (1m ntsc), ‘gn pots) an a daw smooth, continous es. “omit te hol, desde whare the sea willend an cal 8B. 64‘abric) © where te patter hasbeen revered © fevene on ha ofthe bodes and sew between © and B © Inet the oer half ofthe boii the hoe and twit. {© Sew rom 10.6 on the other a ofthe bocce. Se the cee front andro the seam nd to the hem. Because ofthe bulk the ‘brie, make the hole somewhat ee and ads after xienbng 6Page 53: Dres draped design ‘A dress made from silk crépe for m formal occasions. ‘The draped design around the chest is created swith a technique that does not involve twisting and maximizes the sot, bllowy fabric.i ‘equal @ For the bodies back, cosa the das and insert ite fare, End a: opening © because the neces wis, move the sauder dts tothe nec, Dive the rds of he cel forthe ape on the bodice Trentnt four egul ection: and draw cutung end opening ines on ane! @. For the sit pate draw stone cating and opening Se acing te end ofthe das, © on the bodice fran, ‘vide the pattem on cele side of © into panels @ and ®, Close the dais on@ and cat and open aut Then lose the darts on and ‘open out the centre font Ihsiently unt aigned wth and as shown FONT In the crawing. Sew rom up tothe end ofthe seam, css ‘over the ciher aint ho hole yeu have ‘ade and sew this rom up tothe end ofthe seum The cent font ofthe skits vet and theo not sawn the opening bothers you, ew it down at the back oThe twist (nejiri) When you ewis «fabric icbecomes narrower and shorter, and when you release iti erurns to normal, Ina different way eom a garment that has @ furrowed drape produced by techniques such as changing the position of the left and right sleves, this paren has been manipulated so tha the fabric is ewisted round and round ike a spital. © Theoretically speaking, when ‘a'is twisted, measurement « becomes shorter. However, as the fabric ‘ill ok ke that inthe drawing on the right, the measurement wil n reality, be even shorter ‘°Asthe fabric will attempt to release the twist, reduce the ease in the hips to fit 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 waist. © As nefir isnot a natural form ofthe fabric twill be easier if you use a fabric that has high stretchabiity The basic bodice am en ‘As twisting makes the garment shore, 3m hasbeen added to he length, “The waist hasbeen sed shy. 68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 7 =| . so i0an 7 = = idem © twove the cents by a measurement equalto ‘at eppoite recon ofthe tis you want to rat inthe able {© wove bose sar lines hozontaly x shown nthe dann Ont case Ton). © Rea the se seam nes to connect he comer ofthe anole and the wat and hip area smooth continues es Twist perpendicularly rm nck Ul © Manipulate the centre font and cent back onthe pattern by ameasurment equ 10°” Gi this case on) ia vera rection opposite to thao the ts you want ocean the abe. © fast hens fr te necine and the Fem. ©Twist both horizontally and perpendicularly ‘Making he fab tit hocantay and prpeniclly at he sare Une fica, So mariplte he horizortal ptr using the eter that has aeacy been mnpted verily ‘iseaserifyou us a very mandated patie in which dhe homing hasnt yet been adjisted, Act the hee a he end 70 Parrenn macic7 . i => = "oon "ent © twist horcontaly ‘Manipulate the patter nthe decton ‘posta t that of the le ou want to eaten the fabri th sare way forthe perpendiar vis. O sae patter ‘The pattern ete same forthe front andthe back a the simple desi ‘where the sleeves ar prt ofthe Boece is created ina ki fabri No ‘ee hasbeen added to mak the gument ited a the hp. Stretch the heclne open and chek hat your hea fis rough. ie doesnot, mak the neck larger, © Tulstpemenicaay Manipulate the pater vertealy Inthe dtetionopposte to that ofthe ts you want o create inthe fabae, FRONT N & BACK e | "aw "oan RNo nthe >t make § @ To create asf eect tom the shoul to the desu ep, gn tee an ight sleeve caps shown inthe drawing. The des es sete int he bocce ek seve sty ih accent © A sty desen tas been ceated by manipula he pate. a PATTERN MAGIC||| Hide and seek (kakurenbo) } ‘Not flare char expands uniformly | ——_yrcurting and opening’ouriie paméen b's Berd | that is subtly concealed on the underside ofthe fabric. ! ‘Making a pattern forthe kakrenbo design i ‘with a drawing is easier than you thik. A basic jabot-style frill ‘A gorgeous decorative effect forthe front of a biouse. | ‘The connection between the section that is visible from the front and the section concealed underneath is important © Atch puts @. Ded @ Reverse) bee ataching othe back eof the arent wi eon top. @ ake a crawing ofthe il @ Separate outthe var prs, youwant to make. a {© Simoothy aust the ee that wil become the ledge ofthe fil 7%Flare concealed in a curve ‘This design makes you wonder how the flare has bbeen concealed. The folded and layered look that has so much depth is structurally beautiful and ‘exciting, With that idea in mind, | began by drawing some complex curves. ! ® |e © i i © raw design nes onthe ave @ insert asin the way the Fret a, became te © Separate out th varios pats 68 eT [ow *N le Oke to@ andark teins Algnthevateurpte (Giron whch te far gong to Revers infor sng rte bck of te fac sppee inthe pices you want aint the wilbe ontop. fle The ire that excendspeperclrly ‘tom te fe point becomes te eat ae ‘opening out nas fr he fe, {@ Cutan open out andcediaw te fed homing. 76 OvaPage 55: A pinafore with kakurenbo design The complex curves of the flare design lines were incorporated into the waistline of a baby doll-style pinafore made from a soft woollen georgette that neatly expresses the concealed flare. —11em— 150m +8} 50m! ser 2em ‘em Son) 35 em ‘atom. ser sen orem z FRONT Endo opening Stem smn —— sem (© rte patto forthe pnatoe ”© ova the cured design tres onthe bodice fot. Fd abalaice © tng lgment makings and eating and opening out es (©) {ats ofthe concealed sation, lint he conzale ection. ‘The algrment makings il become fae points (© reves the concealed sections bing tiem to theft and comect ‘Add fle points @-G in a alae way andthe design es for the tare (2,TM TE stesa1sntr evecare treet Hi In this technique you gather the fabric | and mold ie as ifr were being woven. 1 decided to see if could produce a pattern from Tl, the complex beauty created by layers of fabric ‘woven together that I had once seen | tn ecidoamapiniae Wi! Ifthe fabric onthe left and the right are of differen colors, i the way in which the fabric intersects can be seen more clearly. © Assemble the paper sper (oct) on the des form and daw Boat symeticly. i ‘Asshowmn the drawing, make agent makingsin places where thelines nese ones, Sitios a | soot smear te ion Socnetetocrasyecan | dicen fai stay in pace. You can ether wear an under es, or yu ca ine the garmet with the sama fabric asthe garment. When you Ine the garment isadveabe to use base patter that has no Intersection nes. nd ‘sew the neckne athe ames ogee ‘sth he outer fae aye, nc | 80and dre nes aces where ae ae few tam yond itis ders of ther wear a0 {he garment th st. When you Sle to se abet fon nes, an holes togeter even afer eteg long the nes set gathers thee par ose the Because ferent abe have diferent ging and seme setting may rs, and ext ad open cut. Ard then evtandepen xt the amount forthe gathering aga. The volume of the gthenng aris acon to the fic used and acorn o your penoral preference, ‘occur when you ntrwoave the fabric pecs together cat the abe © ‘he parts that donot pss through the but pointes oe fat Cuts shown the ding above. ih some ese the ere and eit atthe end. | O boca otto sotto dnp. Make cbt the fabicup oe © nterweave the abe pees rom th opin the sae way es the lermentmaengsbseted nen. Shes you daw onthe paper onthe ese frm. atPage 56: Blouse with an interwoven design Using this technique, | created a blouse with left and right asymmetry. In cotton lawn fabric, | made a bamboo leaf shape from the points of the fabric that | cut into, | did not sew the pointed sections down, preferring them to be loose. s - ee 2 we! ‘| | a : a ‘| @ brew the neekneon the bode back wits ef and 2 © Daft pattern erated bose font vn odie Inver interne era fromfi markings @- forthe Intesectons nto the lef and ight bode, 0 Fittest and ct and open outhe pata Mak te pot dco. A he fare sare extend det, ka rng fab ‘fom the sameBamboo shoot (takenoko) Page 57: Bodice with a takenoko design In this exciting technique, layers resembling, the multi-layered neckline of a formal kimono are created from one piece of fabric. ‘They look exactly ike the layers of a bamboo shoot. ‘The lighter and more fitted the silhouette of the bodice, the more the shading In the fabric stands out. © sake a paper sper lec) an draw tuck nest create a design resambing a bamboo shoot as | Ocatiwrn above the @cutintothe ‘About 15-2em seam lancesQ.cinito the tuck nes ad cor thedartsanfaten Cott © Extend the nes tard i, shouldered the able, then cut and show te gP pen Ut ceate the mount or te tla design Cot into the fabric slong the red lnes, (© For the ticks rom th top downwvac. About .5-2om is equted tobe folded conden the fying ofthe aceite seam alewances, : ofthe fbi) Mate ouseartitehes hereandthereenyon 85 ‘heseam alwances,(Gene gah erie es) iy Giareiragte er eoieirs ern k earnest ets eee ent Ree cers Beer eee ee eee er Rae cerita ntPage 58: Knot dress Basic pattern manipulation for a knot dress ose the erie dats ‘nt 2em apens oni WA. fa / BACK| lo Close the emote dais nt 2em opans on the WL cio bat the sous drs and sme crs unt 2em opens on the wast hen ka ptm fr the des be {stash the cent of the knot in he potion where you want to cente he bry Craw ney wt ofthe ek oe a. Measure rr amin cz) and rote aw cating and opening hes. ‘raw the cating and opening cu tnes inthe poston where you wan to dap te sow abe © Te anount that hasbeen cata oped © Sew the bow secton loa hear shape ‘out becoes the rie. poe Decale onthe amount to etand open out . _accortng tothe abe ‘raw the pate for he bow fram were yous have ct nd opened ou The bukines ofthe not deere by rang te cae fom Bh. Nee The cc mb tt bon fae ni nerf cnt tb pend oat at pet 87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. @ Fin he cent the bow “ake te measurement which Incas added eac ein this cise and om ther, ea cut, ad opening out es © Catand pen out Draw the pata forthe ow rom whereyou have cut rd opened. THe reason the bu icuvedin hs way to give ‘he ot some bles, but here are sucur reson a. Sess concentrated on oe pot i you male int an angle, bute speed ‘when sina rc, Page 59: Tying a bow B An imaginative design in which one end of the bow is part ofthe bodice and the other end is part ofthe collar. ‘The two ends ofthe bow ae looped and ted together. At first sight it seems complicated, but the pattern i surprisingly simple. 88 sen ex Daw cater ooe ‘abe you& 2m en 0am ° sem | ert BACK {-atachren | See See ten aia eel “ | NV IlFRON | it 1 poet veal | © Daft a pattern forthe bole using the sloper loc) A verte kn ‘poss wih ht te, ‘Measure the width ape! bulkness ofthe kt, an ra cating and opening cuties (© chs the dss onthe odie rot aed cut and ope out. Draw te pate fr the bow fom where you have ct and open out ‘cen the fe (© Fass the vera ram ofthe fabri trough the ength ofthe bow to coataaluge, dstntvelenat ott leoce produced you cal the {abc on the ins you want onset ot, potlon se the rt: Here have slighty changed the yng mathe. ther yng methods ae als posse. 89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 the second bow @ on top of the bow tha spar of the die aed win the shape of tube up Ue endo the seem @ Find the cenke of theknot B. Fer @ ease othe nesses aber edo he Stahot he loo) howoway an he research ee Nester ae othe ines the el vee Vert nd peatins "eth ated pea es ot pas rou teed oe ate onl een en ne <0 Ov« join© Clos the dats on he bade and cu and open cut, Fam the sections hat have eterson ofthe bod, oan pnd ou raw the pate fr the fst bow as an 2 ° GHT | FT q msn }). oe eS © Daw hepato the son bow ® oO ‘ —o 7 a oat —“® {© Reverse the ean sight pieces ofthe bow instep adam 8 x Sem rectangular pec forthe knot between them Fein vit smooth continous ine. on gn the we pies andPage 59: Tying a bow D ‘An elaborate design is achieved by passing the bow through 2 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 of the hole. Another example of Pattern Magi nl COLLAR, som 950m Daft the bose pater using a soper toc ‘The noted prt ofthe tow that pst of ho cla ts betwen the eft and ites. ‘Betermine the nth ofthe bo consi the length of the intesedon, the tance bens he two hls andthe se fe hk. 92Page 60: A collar with two distinct expressions ‘A shirt collar from the back and, when viewed from the font, a double colar, this offers two vatiations on a theme, | combined pattems for two collars to make this intriguing design. 20m COLLAR, L O Fie re (© vsng the doper id, dat hepato ote bocce bs © bv ptens foreach of he vo cos Eee al my of le ct lo colar ‘tact fe" colar sand atatnant na ane o al a o ® © Align be colar atacrent nes Hae puto for cal @ and ofthe to cal. Copy tho eoar stand on coler® to clr @). Ts cols constructed rom pate pieces, and Gas shown ia the ering. @wrthout the cole snd then make five sls in he colar nag towards the colar stand as shen the drawing. oe Bly o © the pater for and prcicedn slop @ are agned st BB (he pte for Bis face down), but the inne diferent, «gap ‘opens tetneen ®-i)and the lengths not equal. Open out the sls, ign Bnd cal te renlting patra 9596CO Page 60: A collar with an intriguing curve (Ona sheet of paper, draw a curve and then fold along the lines ofthe curve ‘When you bend the inside ofthe curve sight, the outside ofthe cuve rises up and takes on a completely diferent appearance. applied this interesting effect to a collar Irsem [ssn Aten te shoud of and and measure 4m of colar witha ght ange rom Bon the cla aan ine fe. Then comes am and mate « Craving forte ion © ise th cla Because the back ofthe colar has calar ‘and measure engthof the bak eine vr a ect daving Tem © Using 2sloper boc, atte pattem othe aes be, Mk te cli atiacment oon Ds xeciiog 1 Be ptmeboutce ana =~ 7 nected oe Undercaier © tached Uppercalla seater prardsin these way th pagar on Ue ‘opposite page, fora complete cient look (Order for sewing together sen togter reba @ cent bck Son the colar edges forthe ela pates Ome, @ Sew re clu atactment te onthe bck ‘Axachihefacing and pect: bode ana ®, @ sen the front bodes and (atthe clr atachmart in, ew @ tothe bodice. * Have abbreviated the stent when you seus construct ha gamant, tach the facing tthe nec of he odie ae pk sith to ft th back col tacment postin andthe fang place as shown th rang. backside Faced 97A method for making a full-size pattern from a half-scale pattern “The diagram below shows how to enlarge a pat ofthe pattem forthe otoshiana dress (page 19) to produce a full-size pattern. {© You wil need some white paper on which to draw the hal-cale and fullsize pattems. Copy the halscale musin (tle) to ‘make the paper pater. @ Although you can start from anywhere, the method described here stats from @. From the line that deetly ascends from @, draw atne tat hits @ ata right angle, and make the point where the two lines Intersect into @. Double each af the two measurements and , between @and\@and between @ and @ respectively, and eepy onto the white pape © Next take double the measurement of on the Ine that connects @® and ® in a straight tine, From there, take double the measurement of» a aight angle and draw a curve {@ Extend the ine rom @ to @ by # x2. Mark that point @ and measure 2 ata right angle to meet @ Extend ©-B, take twice the measurement of and mark ®. From @, take tice the measurement of & ata ight angle and rake i, Again take tie the measurement of & and « at arght angle and make it Draw guide lines on the haf-scale pattern and by doubling the guide ines, double the pattem lines and copy onto the white paper, 98 Thethe and an? The basis for pattern development is the Bunka-style sloper (block) for an adult woman ‘The Bunka-style stoper (block) created for the body shape of the modern Japanese women is constructed three: dimensionally and fired to the body with darts (bust dacts, 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 ofthe body are based on the bust measurement, and the size of each dart has been calculated from the bust and waist measurements. Each waist dart is calculated by the formala—bodice ~ (WI2 + 3}—where Jom isthe amount of ease added, Precise calelations are required for a neat fit, but drawings will be relatively easy if you refer to the quick reference table of measurements for different parts of the body. Pages 101 and 102 fearure half-scale slopers (blocks) for you to use for each of the bust sizes: 77, 80, 83, 86 and 889em, (Quick reference table of measurements for different parts of the body ‘Uncen sa [o-e! th fa-e! oz] & | mite "see | ears | ine | oe o \| Bre fire] Bera] Bona Bsse] ZS |fsotee} eves [iB-20'| ov02 [Soe w_| ws | 3 | wo | ar | we | e« | oe | 7 | wa | ea | ve ve | #0 | m2 | v2 | mo | so | 24 | 7 | za | wo |e | v0 vo | ass | ma | wa | a1 | 1a | 28 | or | re | va [es | a7 wm | wo | zs | wa | as | oe | 25 | @7 | 72 | ws | ee] a7 eo | ws | os [as | zis | a | es | ea | 7a | ve | 70 | a7 ew | «wo | ms | m7 | x7 | ws | 28 | 0a | 73 | 190 | 7a | 10 | as | me | we | mo | we | 28 | 60 | va [wea [7a] v0 [eo | 27 | wo | oa | or | 28 | 02 | 74 | es [7a | a0 a | wes [ze [10 | a3 | we | 27 | 69 | 74 | vee [7a | 10 | #0 | zo | mz | ass | wo | ar | to | 75 | wo | 72 | 10 w | as | ao | es [ a7 | wa | ar | 70 | 75 | wa | 72 [0 oo | soo [| aa | ves | eso | wa | ee | 71 | 75 | 19s | 7a | 20 eo [sos [a | ves | eer | wa | 28 | 7 | 76 | ws | va | 20 Waist dart measurement—Quick reference table are Total darts volume i 2. = a x # = % 18% 35% 1% 18% 14% a oy 1 a 1 ua 12 0 a7 18 as i +8 4 W oe 2 a9 2 ny 1s # 08 2 2 1a 18 a 128 as 23 2 * 10 12 99Making a drawing of a sloper (block) sSlopets (blocks) are made for both the bodice and the sleeve, but only the methad of drawing 2 bodize slper (block), used ‘throughout this book, i explained here B je lines e ao @ oy cote cr ab ‘th wm beatae Bm) Curved lines Tips for moving darts When you close the wast darts with @ as the pivotal pont, the armhole opens & “The waist darts on the sloper (block) ave marked when used for pattern crating bu gi tee FRONT Sisto, oe > i, = i I aly draw the basic res for the Bou ~ curatly measuteeah pr ofthe boy fn dra nes he oder of 08. The ‘urn th pie able ar ao aranged for tending in oder em helt to lp you proceed with pti dating in that ode. ‘Nic drain tne is ines, daw tho curved line ofthe reckine, should, and aioe, a tally he das, small amount to provide ease in the armhole ithave been omitted where not require. 100 Bu CopBunka-style sloper (block) for an adult woman ‘size wp thal-scale) Copy at 200% on a photocopier to make the full-sized pattem, 101 EKBust) Trem 80cm | 83cm 86cm ‘ecm BP | 89em_86cm 83cm 80cm 77cm mf 102In conclusion Jus ie works of at, garments come in arons kinds garment with vial inp games ‘har ect othe street of he Bods garment fr canal webu tra one presibed a far how de remade. The history felting began wth the waning of pc of fabric rund he by, you shoud le your mind fe and psc the making of garmans with seo fa. Kes for garments ae arguably init. have anys bseved in experimenting vith ides. Tis book ones pater that have creed based om a tahandsror approach, nd supplementary to che teaching materials sed athe Banka Fashion Open Calle for students who may find patrn-smaking dtc, | woul tke express my appeciaon ro mary peopl fr thse el is ths puto, inching Ms Kasai Fino, rom whore exve advice about slope and eveyone wh showman ares thi book, 103PATTERN MAGIC ‘Tomoko Nakamichi [Available for the first time in English, Pattern Magic is the cult pattern-making book from Japan, Step-by-step projects show you how to ereate stunning, sculptural clothes, using a creative approach to pattern making. ‘All the information you need to start pactern. making is included, from the basic sloper fo measurements and scaling. Each project is. beautifully illustrated with clear diagrams and. photographs showing the stages of construction, the muslins, and the finished garments. With 200 color illustrations “This book is fabulous. 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 Gottlieb, Parsons, The New School for Design. $24.95Having served many years as a professor at Bunka Fashion College, Tomoko Nakamic| currently delivers lectures and holds courses on pattern making, in her native Japan and internationally. This book brings together the results of the research on garment patterns she has carried ont to help instruct her students, For more information, or to order, go to ‘www.laurenceking.com For our current catalog please email sales@laureneeking.com