GARMENT DARTS (2-1)

DART DEFINITION
Dart can be defined as a
stitched-gown fold, tapering
at one or both ends, to allow
the fabric to follow the shape
of the body. They create the
difference between the
flatness of fabric and curving
third dimension of the
feminine form. The following
is a description of dart details
(see diagram on the right):
Dart Legs - is the two lines making up a dart.
Dart Fold - is a dart center line.
Dart Excess/Bulk/Intake - is the space
between the dart legs.
Dart Angle - is the spread between the dart
legs.
Dart Point or Apex - is the dart end that
usually points to the area where fullness is needed.
DART FUNCTION
Darts have a vital function in garment
construction to provide carefully shaped
fullness (see diagram on the right). They
fold out the fabric, removing the excess in
some areas, such as around the waist, and
tapering to the point of the dart to allow
fullness, correctly made and positioned.
They are used to shape a garment at the
bust, waist, shoulders or elbows and helps
create the contour and line of the fashion
silhouette. Darts are essential in clothing
when the fashion is for body-fitting
garments, they help the fabric to mould to
the body contours and they improve the fit
of the garment. Sometimes darts are used
decoratively to provide a design line and
are not used for fitting.
DART TYPES
Basically there are only two kinds of darts, and both are based
on triangular shapes. The most common type begins with the
wide part of the fold at seam and narrows to the point. This is
the Single-Pointed dart and is placed at waist, bust, elbow or
shoulder seams. The long vertical Double-Pointed or Contour
dart is less common; this dart cross the waistline in garments
without waist seams; it is used to give contour to a waistless
dress, long blouse, or jacket(see diagram on the right).

~1~
In general, darts extend from the waistline up or down to point to the
fullest part of the body - the bust line or tummy, for example - and end
about 1 to 2.5 cm before the fullest part of it. They may also be used in
the side seam for the bust, at the elbow in fitted sleeves, and the back
shoulder. The larger the curve, the farther away from the fullest part the
dart should end, to place the fullness in the garment over the fullness of
the body curve. Misplaced darts place fullness in the wrong place and 1 2 3
look puckered at the point. Darts can be shaped to straight (1), convex (2)
or concave (3) curves (see diagram on the right).
French Dart (see diagram on the right) is a variation on the underarm dart but is drawn from
a lover point of the side seam and extends diagonally from the hip to the bust and is often
curved. This dart combines bust dart and front waist dart. It is like contour darts help shape
the waistline area of a garment without a waistline seam.
Panel or Seam Dart (see diagram below) is a vertical dart in a garment which passes over, or
close to, the bust point or shoulder blades. These darts are combination of a basic darts and
may curve from the armhole, shoulder or the neckline. These darts are used in tailored
garments since they fit more smoothly than basic darts, due to the fact that they pass over most of the
main curves of the
body and thus Panel Dart from the Armhole Panel Dart from the Shoulder
provide shaping
where it is most
needed. Panel or
seam dart from
armhole is the
classic type and
also known as the
Princess Line.
DART SIZE
The size of the dart is measured by the angle of the tip, the larger the body curve, the larger the fitting
dart will need to be. As the angle becomes larger, the ‘bulge’ made by the dart also becomes larger.
DART LENGTH
Dart must be long enough to reach to the bust circle and they may be lengthened to the bust point. If the
dart is lengthened to the bust point, it takes up some of the ease that is normally allowed in the garment
and makes a more snugly fitted garment.
DART USES
Darts are designer’s greatest asset - they can be used in the way listed below to create various designs.
▪ Darts can be
moved from one
location to
another.
▪ Dart can be
divided, this
result from
splitting the dart
control into two
or more smaller
darts. For
example, with a
prominent bust, a 7.5 cm dart may be necessary, this is too bulky to fold into one dart and therefore
several are advisable. The more curves in the figure, the more darts are necessary to give a good fit.
~2~
▪ Darts can be combined into one large dart, generally, this is done by combining the bust and waist darts
into one end.
▪ Darts can be converted to seams, gathers, pleats, and tucks.
▪ Darts can be converted to flare.
▪ Darts can be released to make boxy or tent garments.
DART ROTATION OR MANIPULATION
Darts are a necessary feature of a well-fitting garment. You can never just get rid of a dart. It is there for a
reason. If you see a dart on your pattern, it has been placed there to enhance the fit around a curved area
of your body. You can move it, change
it to a pleat, a tuck, gathers, flare or put
the fabric on the bias, but you cannot
just make a dart magically disappear.
You cannot just add a dart, either. It
must come from somewhere else. You
must move it from another location, or
take it from pre‐existing gathers, pleats,
etc. of the pattern you are manipulating.
Theoretically the rotation of the dart
(see diagram on the right) can be moved
from the basic location to any position
on the garment as long as the point of
the dart remains at the point of the bust
or shoulder blades, but not all positions
can achieve the best fit. Dart rules can
change depending on the style, the
fabric being used and the overall design.
▪ Bust darts (see diagram on the right) - should point
to the bust point and end at least 1.25 cm and up to 5
cm away from the bust point. Remember that when
moving darts around, go from the ‘apex’ point, not the
dart point if it has been moved back. Remember to
true the dart, and move the point back away from the
apex afterwards.
▪ Darts on skirts and pants should be located at the
fullest part of the tummy or seat and should never
extend beyond the fullest part. Darts are necessary in
the back of a skirt or pants to give a smooth fit from
the waist and over the hips, as the greatest curve is usually from 18 to 25.5 cm below the waist. These
darts may be taken care of by the cut of the yoke or by the use of gores. So when transferring the darts,
choose the type and the location that works best for certain figure type.
▪ The Under-Arm Dart - usually is placed 5 cm below the armscye and points toward the bust, but it
should never pass the armscye. The dart under the arm is not as wide as the shoulder dart because it is
closer to the bust curve.
▪ The Shoulder Dart - generally begins at a point slightly closer to the neck than half-way on the shoulder
seam, and slants slightly toward the center front, ending on the point of the bust. The distance this dart
extends depends on the style of the garment. Generally it ends at a point half-way down the armscye.
▪ Other darts may be necessary to give the desired fit, depending on the style.
 Small darts at the back of the neck line take care of rounded shoulders or a pad of flesh across the
back of the neck.
 Darts at the elbow are necessary to make a sleeve fit closely.
~3~
  A vertical dart running from the little finger at the
wrist toward the elbow will make the sleeve fit
snugly at the lower arm.
 Vertical darts from the waist down may be
necessary to take care of a protruding abdomen.
Drawing Bust Circle
The bust circle encloses the area of the pattern that covers
the bust. Draw the circle around the bust point with
compass using a radius of:
 3.8 cm for sizes 8, 10, and 12.
 5 + cm for sizes 14, 16, 18.

Drawing Dart End

2
This act is performed to determine and draw the
dart wide end.
○ Vertical darts fold toward the center front or
center back. 1
○ Horizontal darts fold down.
○ Decorative darts fold according to the design
effect
Steps: 3
(1) Draw line BA to mark the middle of the dart.
(2) If the dart is to fold ‘down,’ draw line ED to
meet the middle ine BA. Then draw line FD.
(3) If the dart is to fold ‘up,’ draw line FD to meet
the middle line BA. Then draw line DE.

~4~
BASIC BLOCK PATTERNS & FITTING ADJUSTMENTS (2-2)

No matter what pattern you are working with, it will most likely be derived from
Basic Block Pattern - a foundation pattern constructed to fit an average figure.
The basic blocks can be drafted to fit individual figures by using personal
measurements instead of the standard ones listed in the size chart. The blocks
include the basic amount of ease required for the function of the block, for
example, a dress block requires less ease than a jacket block. Some blocks offer a
further choice of ease, for example, the over-garment block can be drafted to be
close fitting for a formal coat or to be an easier fitting coat. It is important that the
correct block is chosen for the design; this not only saves time during adaptation
but can affect the final shape. For example, the close fitting bodice block has a
wide dart to produce shaping for the bust - this shaping is too acute for many easy
fitting designs so the easy fitting block would provide a better base.
The instructions produce a block with no seam allowance but these instructions
will not work for everyone. The block instructions work best on women with
small or average measurements. Unfortunately, very curvy women, those with full figures or anyone with
a bust measurement that is large in proportion to waist and hips will require more adjustments in fitting
after the pattern is made. When cutting out the resulting pattern pieces for fitting, make sure to add it in
for necessary alterations.
The designer uses a foundation pattern or block
as a basis for making the pattern for a design
(see diagram on the right). They may introduce
style lines, tucks, gathers, pleats or drapes but
still the basic fit of the pattern will conform to
the block used. The finished pattern is made up
into a calico toile to check the proportions and
shape. The design is then cut out in fabric and
made up. This is termed a ‘sample'. The size of
the sample will depend on the niche market of
the company. Manufacturers of high fashion
garments will use a smaller size than the
companies that cater for the general market. If
buyers accept the design and orders are received the pattern is then graded into the sizes required.
WAYS FIGURES VARY FROM THE IDEAL BODY SHAPE
▪ Proportion - where bust, waist, hip fall along the length of the body. This determined by bone structure:
short-waisted or long-waisted.
▪ Shape & Size of Contours - curves, bulges, hollows of the body. This determined by tissue 7 basic
curves in body, such as: (i) bust, (ii) back, (iii) hip, (iv) stomach, (v) thigh, (vi) seat, and (vii) arm.
▪ Posture - alignment of body parts. How frame is carried, may change with time.
▪ Symmetry - Right vs. Left. Most common cases are: one shoulder higher, one hip higher, one side of
waist curves more.
▪ Body shape - bone structure, how the figure is built. Quantity and distribution of weight in relation to
size of body frame determines shape.
BLOCK PATTERN ADJUSTMENTS TO FIT INDIVIDUAL BODY SHAPE
The adjustment of the pattern is divided into two categories, such as:
1) Measurement Deviation - this includes small alterations such as shortening or lengthening of trousers
or skirt, increasing or decreasing of hip circumference, etc.
2) Body Shape Differences - this includes larger alterations for any types of disfigurements such as,
sloping shoulders, stooping or over erect figure, asymmetrical figure, etc.
~5~
The adjustments of any block pattern needed in order to
get an individual pattern that has to be in harmony with
1
the individual body shape. Example on the right diagram
shows the top's pattern on the left was purchased using
2
the size chart and the wearer's bust measurement. The
top's pattern on the right was drafted to wearer’s
measurements. In the first pattern there is considerable 3
fitting is needed to correct the following problems: 4
1. Shoulders are too wide
2. Bustline appears snug
3. Waistline pushes up Commercial Pattern Pattern Drafted to
Wearer’s Measurements
4. Hipline is too small
5. Armholes gape
6. Excess fabric in the back 5
7. The torso is too long etc.
Apart from the major defects of the body there may also 6
be certain minor defects, which should be taken care of
while drafting the pattern. It is essential that after
drafting a particular block pattern it should be tried on a
body or form so that the necessary adjustment of the 7
patterns are done.
When the construction of the block is completed there is a need to check every aspect of the paper pattern
to ensure its accuracy and that all the markings were properly copied. After that the layout of basic block
pattern pieces should be done on muslin and all pieces must be cut out. Then the muslin pattern pieces
should be assembled for fitting by basting all seams (sides, darts, shoulders, etc.) together.
Try the muslin pattern on the form or stand in front of a full-length mirror and have someone help you
check the fit. Try the garment on with the fabric right side out. This is very important to remember if you
have left and right side differences. The seam allowances will be on the outside. Follow the fitting
sequence from the top down, and remove the problems by pinning the seams deeper or shallow making
the changes on the practice piece. Check the test fit muslin and make correction till fully satisfied. Mark
the necessary corrections and the same should be transferred on the paper pattern for a final pattern. The
following checklist will help to determine if further adjustment or minor fitting is needed for a good fit.
▪ Lengthwise grainlines, side seams, center front /back seams hang straight or at right angles to the floor.
▪ Crosswise grainlines are parallel to floor.
▪ Adequate wearing ease is available for sitting, moving and bending.
▪ Armhole seams curve smoothly over the end of shoulder.
▪ Darts point to the fullest part of the curve smoothly.
▪ Shoulder seam length comes to end of shoulders.
▪ Sleeves are comfortable with no wrinkles.
▪ Hipline fits smoothly.
▪ Hemline is even.
▪ Pant legs hang smoothly and do not restrict any part of the legs.
▪ Crotch depth is right, neither too low and baggy nor too tight and binding.
▪ Pants hang smoothly from the waist. The waistband fits the body comfortably and stays in place when
bending and sitting.
▪ Pants have no pulls or excess fabric across the front or back crotch level.
▪ The length of the garment is appropriate.

~6~
SOLVING FITTING PROBLEMS
 Method of Testing Pattern
After the measurements of the figure have been taken, test the pattern as follows (see diagram on the
right):
Shoulder: Measure shoulder of pattern along the seam line, taking care not to include the seam
allowances in the measure. Compare with the shoulder measure of the figure and note on the pattern any
change needed. The back shoulder seam usually slightly longer than the front shoulder seam.
Back and Chest Widths: Check by measuring the pattern at the place of narrowest width. This should
equal one-half the width of the back measure. Check width across the chest in the same way, and note
necessary changes. Do not count the seam allowances, and in case of an opening on the front of the
pattern, be sure to start measuring on the center front line rather than on the edge of the pattern.
Bust: Place back and front patterns together and measure the pattern along the bust line. Multiply by 2 to
find the bust measure of the pattern, which should equal 10 to 15 cm more than the bust measure of the
figure for a loose fit. A snug fit requires 5 to 7.5 cm, just enough extra fullness for ease.
Waist and Hip Line: Measure down from the armscye along the under-arm seam a distance equal to the
under-arm measure of the figure. This marks the waistline. Locate the hip line. The measurement of the
pattern from the center front at this point should equal one-half the hip measure plus 5 to 10 cm.
Sleeves: Measure girth on the
pattern. The measure of the
pattern should equal the girth
measure plus 2.5 to 5 cm.
Measure the length of the
sleeve and compare it with the
measure taken. If the elbow
line is marked on the sleeve,
check with measurements
taken above and below the
elbow. For ease at the elbow
2.5 cm should be allowed.
Armhole: To test the size of
the armscye, hold the tape
measure on the edge while
measuring the curve of the
pattern. The sleeve size
should be at least 2.5 cm (ease
for cap) larger than the
armhole measurement.
Darts: Dart on the pattern has
been placed to enhance the fit
around a curved area of the
body. Bust darts should point
to the bust point and end at
least 1.3 cm and up to 5 cm
away from the bust point.
Darts on skirts and pants
should be located at the fullest
part of the tummy or seat and
should never extend beyond
the fullest part.

~7~
PATTERN ADJUSTMENTS TO ACHIEVE A BETTER FIT
The alterations are pinpoint areas where further changes are needed to accommodate the body contour or
bone structure. When making alteration, be careful not too over-
fit because too precise a fit will tend to accent a figure fault.
Major changes require tucking to eliminate any excess fabric, or 1 3
slashing to add more fabric for a fuller figure.
 Length Adjustments
The figure may be long-waisted with a shorter than average
hipline, or the arm may be longer from shoulder to elbow and
average from elbow to wrist, therefore necessary pattern length
adjustments should be made to the personal needs. Shortening or
lengthening the pattern pieces (see diagram on the right) is an
easy adjustment to make and is crucial to correcting many fitting
problems.
2 4
Lengthening the Bodice & Sleeve (1) - cut the pattern along
adjustment lines within the body area. Place paper underneath and
spread the cut pattern edges apart the required amount securing
the changes with tape.
Lowering the Skirt Hipline (2) - cut the pattern along the hipline.
Place paper underneath and lower the hipline into the correct
position securing the changes with tape.
Shortening the Bodice & Sleeve (3) - crease the pattern between 1
3
the adjustment lines within the body area and make a fold half the
amount needed to be shortened securing the change with tape.
Raising the Skirt Hipline (4) - crease just above the hipline of the
pattern and make a fold half of the amount needed to bring the
hipline into position securing change with tape.
 Circumference Adjustments
Changing the pattern to correspond the body contours 1 2 3 4
allow personalize the pattern. When the figure curves
built into the pattern the garment flatters the figure
much better.
Reducing Waist & Hips - draw in new seamlines on
the pattern (1). If the adjustments larger than 2.5 cm
in the fitted style with a waist line seam, it will be
necessary to slash the pattern as indicated and lap the
edge ¼ of the amount required (2).
Enlarging Waist & Hips - mark ¼ the amount needed
to be enlarged at the waist and hip lines and connect
the markings by drawing new seamlines, tapering
above the waist to the bustline (3). Correct all
necessary seamlines and dart lines on pattern pieces.
For adjustments larger than 2.5 cm, slash the pattern
as indicated and place paper underneath. Spread slashed pattern edges ¼ of the amount needed to the
waist and hipline securing with the tape (4).

~8~
  Shoulder Adjustments
1
Since shoulders support the hang of entire garment, it is essential
that they are fitted properly with the fabric smoothly molded over
the body. Shoulder seams should rest directly on top of the
shoulders from the base of the neck to an end of the arm hinge.
Narrow Shoulders (1) - the armhole seams fall beyond the end of
the shoulder for set-in sleeves and sometimes pull and restrict
movement. To correct the muslin garment, pin the dart in the front 2
and back deep enough to pull the armhole seam into place. Adjust
the paper pattern the same amount.
Broad Shoulders (2) - the armhole seams draw over the shoulder,
causing wrinkles and pulling in a set-in sleeve. Other sleeve types
pull and do not have enough ease in the shoulder area for
movement. To correct the muslin garment, slash the front and back from the shoulder seam to the
armhole seam. Spread the cut edges the amount needed until wrinkles disappear. Insert strips of fabric
under the cut edges and baste. Adjust the paper pattern pieces the same amount.
Sloping Shoulders (1) - if the shoulders slope more than the average, wrinkles will appear diagonally
from the neck to the underarm near the bust dart and across the end of the shoulder in back because the
shoulder and armhole seams are not placed at the angle needed for the figure. To overcome this fault,
take up the shoulder seam to conform to the slope of the shoulder. The seam should be taken up deepest
at the armhole and only the seam allowance at the neck. Lower the armhole seamline the same amount.
Transfer the alterations to the paper pattern.
1
Square Shoulders (2) - if shoulders are square the garment
will wrinkle crosswise below the neck front and back
because the shoulder area is not wide enough for the bone
structure. In this case slash the front and back near the
shoulder seam from the armhole edge to the neckline. Spread
the cut edges the amount needed until wrinkles disappear. 2
Insert strips of fabric under cut edges and baste. Transfer the
alterations to pattern pieces. For raglan and kimono sleeves,
transfer the alteration to the pattern as illustrated.
 Neckline Adjustments
The basic neckline, called a ‘Jewel’ neckline, should encircle the body at the base of the neck. When a
neckline pulls, is too large, or does not hug the body in flattering manner, it will need further alterations.
Tight Neckline (1) - neckline pulls uncomfortably around 1
neck. To correct this, draw a line on the garment at the
correct neckline location. Stitch along this line and then
clip to the new seamline at 1.3 cm interval until it is
comfortable. Adjust the front and back paper patterns of
the bodies by drawing a new seamlines.
Large Neckline (2) - neckline is too big and does nor
2
reach to the base of the neck. To correct, fill in the
neckline to the base of the neck with a folded, shaped
bias strip of fabric and baste. Adjust the front and back
paper patterns of the bodies by extenting the seamlines as
indicated by the strip.
 Bust Adjustments
The bust area is the most difficult portion of the pattern to alter. Select appropriate block pattern
according to the bust measurement which will provide the circumference needed in this area. Patterns are
~9~
mostly drawn to accommodate a ‘B’ cup size. All other sizes may need an adjustment to the pattern. A
well fitted bra is crucial for a good fit.
Bust Dart Length - this is the most important feature in creating a smooth, flattering fit over the bosom.
The proper dart lengths will vary with every woman, as they are dependent on the shape as well as the
size of the breasts. The darts must all point to the bust apex point and should end between 2.5 and 4 cm
away from the apex.
To Shorten (1) or Lengthen (2) the Underarm Dart, mark the muslin with a pin where the dart should
end. To correct, open the side seam and re-stitch the dart to the proper length. Do the same for waist darts
and adjust the paper pattern the same way.

1 2

High or Low Bust - when the bust darts do not fall in line with the fullest part of the bust the horizontal
creases will appear above the bust (1) (if is a low bust) or below the bust (2) (if it is a high bust). The the
darts needs to be raised or lowered for good fitting.

1 2

Pin fit the bust seams on the right side of the fabric. Adjust until the bust is well fitted and in line with the
bust point and does not pull. Do the alterations on the paper pattern by locating and indicating the bust
apex and bust point to point.
 Armhole
An armhole that is too small will bind and cut and when the armhole is too big it will gap. The underarm
portion should be about 2.5 cm below the armpit and the garment should fit smoothly around the armhole
- it should not bind, pull, or restrict arm movement.
Tight Armhole (1) - draw the correct line at the 1
armhole. Stitch carefully along the line and clip to the
new stitching at 1.3 cm intervals until the armhole
seam is comfortable. Transfer the alternations to
bodice paper pattern.
Large Armhole (2) - to correct the large armhole,
insert bias strips of fabric to fill in the amount needed
around and under the arm. When placed accurately, 2
baste securely and transfer the alteration to the bodice
paper pattern.
 Sleeves Adjustments
The most important attention in the sleeve should be
paid to the ease needed in a sleeve cap. The improper

~ 10 ~
distribution of ease in the sleeve cap can cause distortion and discomfort especially when a figure has
contour or bone structure problems. However, these same figure problems can affect the length of the
sleeve cap, too.
Distribution of Ease (1) - diagonal wrinkles will form, starting at the sleeve cap and continuing across the
sleeve, distorting the lengthwise grain. When this occurs, remove the sleeve cap from the armhole
between the notches. For wrinkles that start at the front of the sleeve cap, re-distribute the ease, moving it
forward until the wrinkles disappear. For wrinkles that start at the back of the sleeve cap, re-distribute the
ease, moving it backward until the wrinkles disappear. 1
Baste the sleeve into the armhole and check the
appearance.
Excess Ease in Sleeve Cap (2) - the sleeve cap
wrinkles around armhole seam. To correct, release the
stitching and smooth the sleeve cap, then pin in a
shallow vertical dart at the top and baste the sleeve in
place. At the shoulder marking, make slash 7.5 to 10 2
cm into the pattern. Overlap the edges the amount to
be decreased (pattern will bubble slightly). Make 3.8
cm clips at each end of ease so that the seam
allowances lie flat. Be sure to maintain the girth
across the sleeve cap where the ease ends and shorten
the sleeve cap slightly as indicated.
3
Skimpy Sleeve Cap (3) - sleeve cap pulls and
collapses, causing wrinkles. To correct, slash across
the top of the sleeve cap, insert a strip of fabric under
the cut edges. Spread the amount needed to increase
the ease around the upper armhole seam and baste.
Adjust the sleeve cap area of the sleeve paper pattern
the same way. 4
Sleeve Cap Too Deep (4) - the sleeve cap wrinkles
across the top of the sleeve just below the seam.
Reduce the amount of ease by pining out excess
fabric. Adjust the sleeve cap area of the sleeve paper
pattern the same way.
Large Arm (1) - the sleeve pulls due to a lack of wearing ease. To correct, slash the sleeve along the
lengthwise grain, insert a strip of fabric under the cut edges and spread the amount needed, tapering to the
shoulder seam and sleeve edge. If the sleeve cap still pulls, remove the stitching, add a piece of fabric to
extend the cap, and baste. Add ease thread in the strip and insert in the armhole. Adjust the sleeve paper
pattern the same amount, folding the pattern so that it lies flat and then re-draw the grainline.
Slim Arm (2) - the sleeve
1 2
sags and is shapeless. Cut
block up center line and
overlap required amount
as in diagram. Redraw
the sleeve head. This
reduces the sleeve head
measurement so the
armhole is raised
approximately 1 cm.
Remark balance points to
match sleeve.

~ 11 ~
  Erect Posture
When a person stands with shoulders thrown back and chest out then the garment will be out of balance.
Folds will appear from neckline to shoulder blades in bodice back (1). To secure a perfect fit - shorten
center back at shoulder blades by slashing the muslin back pattern across from center back to armhole
seamline about 10 cm below neckline. Overlap edges of slash at center back to remove the necessary
amount, tapering the slash to the armhole
seamline. Pin in position. Re-draw center
back line straight to restore the original
grainline, this will decrease the neckline. Use
the paper pattern as guide to restore the
neckline and shoulder seams to the original
size and shape (2). Cut across front block at
bust and chest, open amount needed to bring
front waistline down to its correct position.
Trace round the new shape adjusting dart
position (3). 1 2 3

 Stooping Posture
When a figure is tilted forward, then the garment will also out of balance. This time wrinkles will appear
at the back diagonally from the lower portion of the shoulder blades to the underarm, the garment will
poke out in the back and is apt to bind at the back of the neck (1). To overcome these faults - lengthen the
center back at the shoulder blades by slashing the
muslin back pattern across from center back to 1 2 3
armhole seamline about 10 cm below neckline.
Spread the slash apart to add necessary amount at
center back, tapering the slash to the armhole
seamline. Insert a strip of fabric under the cut
edges and pin in position. Re-draw center back line
straight to restore the original grainline, this will
increase the neckline. Use the paper pattern as
guide to restore the neckline and shoulder seams to
the original size and shape (2). Cut across the front
block at bust and chest, and overlap the amount to
be removed. Trace round the new shape adjusting
dart position (3).
PANTS FITTING
Even though the names and styles of pant-type garments change with fashion, the
need for a good fit is always the same. There is an importance of knowing the vital
points of formation of a right trouser. The knowledge of critical areas in a trouser is
an important because the entire fit of trouser depends on the making of the pattern.
The basic trouser blocks are drafted to the average stock size measurements and the
resulting patterns fit the majority of people with such measurements. Due to
differences of body structure variations in fit may occur and therefore the defects
need to be altered.
Pants should fit comfortably at the waistline and fall smoothly over the hips and
thighs. In well-fitted pants, the lengthwise grainline is perpendicular to the floor and
creases in the legs are on the straight grain. Pants length will vary according to the
silhouette. Pants that are too tight are uncomfortable and they also accentuate figure
flaws. Main problems to avoid when making pants include:
▪ Ripples at the waistline
▪ Wrinkles at the crotch

~ 12 ~
▪ Bagginess at the crotch
▪ Waistline pulling down at center back or center front 2 3
1
▪ Pressed creases that hang off-grain
 Posture Type (see diagram on the right).
▪ Average (1) - stands fairly straight. Side seams of pants fall straight
and are lined up with the ankle.
▪ Forward-tilted hip (2) - stands in somewhat slouched manner; fairly
flat, low seat, and a high prominent roll below the front waist or high
prominent hip bones. This posture causes pants to sag under the seat
unless the pattern is altered.
▪ Backward-tilted hip (3) - stands with tummy lower and posterior out
and up. Pants hike up over the seat if the pattern crotch length is not
corrected.
 Hip Type (see diagram on the right).
▪ Average Hip (1) - no excessive roundness directly below the waist at sides or back. There is no great
side thigh prominence. The greatest circumference measurement is at the seat level, usually 18-23 cm
below waist.
▪ Little Difference (2) - little difference between hip and waist
measurement; generally doesn’t have curves below the waist.
▪ Heart Hip (3) - great roundness just below the waist. The upper 1 2 3
hip measurement taken 7.5-10 cm below the waist will be larger
than the measurement at the seat level.
▪ Semi-Heart Hip (4) - curves below the waistline may not
appear to be as extreme as the heart shape. The lower hip
circumference may be the same or up to 4 cm more than the
measurements taken 8-10 cm below the waistline. There is no
thigh prominence.
▪ Diamond hip (5) - great thigh prominence at the side. The
difference between the waist and lower hip measurements is 29 4 5 6
cm or more.
▪ Rounded diamond hip (6) - great prominence at the sides as
well as curves just below the waistline. This sometimes makes
the difference between the waist and hip much less than a
standard diamond.
SOLVING PANTS FITTING PROBLEMS
After determining the figure variations, take figure 11 10
measurements and compare them with the measurements of
the block pattern (see diagram on the right).. The
measurement of the pattern should equal figure measurement
plus ease to the pattern measurements and if differences
occur, the adjustments are needed to achieve a good fit.
1. Waist
2. High hip 8 cm down from waist at side
3. Hip at fullest part
4. Distance from waist to full hip at side
5. Pant length at side (waist to floor)
6. Thigh width at fullest part
7. Knee width 2.5 cm above center of knee
8. Distance to knee at side
9. Crotch depth (sitting)

~ 13 ~
10. Crotch length back
11. Crotch length front
To check the back and front crotch length divide the total circumference into front and back lengths (a
large ring hanging on the tape measure will usually fall to the center of the body when measuring the
crotch circumference from front waistline to back waistline).
Baste in the legs and remember to baste darts. Try on the pants. To position the center front, center back,
and side seams, tie a piece of elastic around the waist and pin the seams into the elastic. Check the
position and ease of the crotch (front to back seam). Notice how the pant legs fall and where to straighten
the grainline. Play with the fabric at the waist, pulling it up, or letting it drop. The wrinkles will run from
the high point to the low point
of the cross grainline.
 Pants Block Pattern 1

Adjustments
The most critical step in 2 3
achieving perfectly fitted
pants is to adjust the crotch.
Unless the crotch is in the
correct position, no amount of
adjustment made later can
overcome a poor fit. The
diagram on the right shows
crotch position points on the
figure (fig.1). Often pants
have wrinkles that either point up (fig. 2) or down (fig. 3) from the crotch line in either the front or the
back, indicating that the Crotch, Depth, Crotch Length, Or Crotch Curve needs adjustments. These crotch
adjustments should be made first because they can affect other adjustments.
 Crotch Depth
1 2
Adjustments
If the crotch depth is too short,
wrinkles will point up from the
crotch and the pants will pull and
bind between the legs. If it is too
long, the pants will hang loosely
there. The crotch depth should exactly equal figure measurement plus 1.3 cm
to 2 cm for sitting ease. If not, it must be adjusted by equally lengthening or
shortening front and back pattern pieces.
To Shorten (1) this area, make a fold ½ the amount needed at the hip line
level on each pattern piece and fasten with tape.
To Lengthen (2), cut the pattern along the hip line level, place paper
underneath, spread the amount needed and fasten with tape.
 Crotch Length Adjustments
A large abdomen or full buttocks can cause the pants crotch circumference to
fit tightly. Flat buttocks or sway back may cause the pants crotch
circumference to be too long. The adjustment amount and location will
depend on the type and complexity of the change needed. The crotch length
can be adjusted either at the crotch point or along the center front or center
back seam. Both types of adjustments affect only the crotch seam and do not
change the side seam. Increases or decreases can be made equally to the front
and back pattern pieces or distributed more to one piece than to the other. The

~ 14 ~
large decreases or increases in length can be adjusted in two or three locations (see diagram above).
Carefully study the figure. Compare front and back crotch lengths of the block pattern with the figure
measurements. If any adjustment is needed alter the pattern piece only where measurements indicate
required change in order to get a good fit.
CROTCH LENGTH PROBLEMS & SOLUTIONS

№ DIAGRAM PROBLEM SOLUTION

A large abdomen causes diagonal

Lengthen only the front crotch
1 wrinkles to form at the front crotch
circumference.
and around the abdomen.

Full buttocks cause the seat to cup

Lengthen only the back crotch
2 under the buttocks and to fit tightly
circumference.
in the back.

Full buttocks and/or full thighs

Lengthen the back crotch
cause the back waist to pull down
3 circumference at the center
when you sit and pull tightly in the
back.
back crotch area when you stand.

4 Flat buttocks cause a baggy seat. Shorten the crotch back length.

Sway back causes fabric to

5 wrinkle horizontally in the back Shorten the crotch back length.
just below the waistline.

 Crotch Point Adjustments

Altering at the crotch point will also affect the upper thigh measurement.
To Decrease Crotch Length at the Crotch Point (1), slim the pattern the
required amount.
To Increase Crotch Length at the Crotch Point (2), add to the crotch
1 2
seam. Remember to retain the crotch curve shaping and gradually taper
new lines back to meet the original leg seam.
 Crotch Seam Adjustments
Altering along the crotch seam enables fullness to be added or subtracted
across the abdomen or buttocks. 1 2

To Decrease Crotch Length along the Crotch Seam (1), fold the pattern on
the hip depth line ½ the amount needed, tapering the fold out to the side
seam.
To Increase Crotch Length along the Crotch Seam (2), cut the pattern along
the hip depth line just to, but not through, the side seam. Place paper
underneath and spread the amount needed (see diagram on the right).

~ 15 ~
  Waistline Adjustments
1 2
Compare figure waist measurements
with the block pattern, if these differ,
the pattern adjustments are needed.
To Decrease (1): Take away 1/8 of the
total alteration required from the
pattern front and back at each center
and side seam.
To Increase (2): Add 1/8 the total
alteration required to the pattern front and back at each center and
side seam.
The waistline also can be increased or decreased by adjusting the
darts. Each dart can be taken in or let out.
 Hips Adjustments
1 2
Compare the relationship of figure high hip and full hip
measurements with the block pattern and determine the amount
needed to be increased or decreased.
To Decrease (1): On both front and back pattern pieces, mark ¼ the
total decrease inside cutting lines along side seams. Curve to the
waistline as needed to achieve smooth seamline and trim off excess
pattern paper.
To Increase (2): On both front and back pattern pieces, mark ¼ the
total increase outside cutting lines along side seams. Adjust curve to
the waistline as needed to achieve correct size and draw new seam
line.
 Thighs Adjustments
Compare figure thigh measurement with the block pattern. Thigh
measurement of the pattern should equal figure thigh measurement
plus 2.5 cm for wearing ease.
To Decrease (1): On both front and back pattern pieces, mark ¼ the
total decrease inside cutting lines of side seams and inseams. On the
side seams, draw new cutting line through markings from hip,
tapering to original cutting line near hem. On inseams, redraw new
1 2
cutting line beginning at crotch point, tapering to original cutting line
near hem.
To Increase (2): Add ¼ the total amount needed along the side seams
and inseams lines. Draw new cutting lines tapering gradually from
the crotch point or the hipline and extend straight down to the hem
edge.
 Length Adjustments
To Increase (1): Slash the pattern across the leg above hemline on
pattern front and back. Place paper underneath and spread the 1 2
amount needed, keeping edges parallel. Fasten with tape and redraw
seam lines.
To Decrease (2): Make a fold ½ the excess above hemline across the
leg of pattern front and back. Fasten with tape and redraw seam lines.

~ 16 ~
KEYS TO SUCCESSFUL PANTS
 Style
The first key is knowing which pants styles to avoid and which styles to use with the figure type. Pants
styles fall into three basic silhouettes - fitted, straight, and flared. The selected silhouette should be
flattering to the figure type. Seams, darts, gathers, and pleats may be used to shape the silhouette and
create a horizontal or vertical illusion in the pants design. Other design details include pockets, yokes,
trim of any kind, and the waistline treatment. These are the basic guidelines for selection of a flattering
pant style:
 Shorter-than-average figures look taller when pants and top are the same color.
 A tall person looks shorter if the pants and top are different colors or textures.
 Wide legs create an illusion of fullness.
 Fitted legs are unflattering for the too-thin as well as for the too-full figure.
 Flared legs are flattering to tall, slender figures.
 Straight legs are a good choice for the figure with full thighs or a prominent derriere.
 Gathers or pleats at the waistline emphasize a protruding abdomen.
 If the figure is very curvy, select a style that has two waistline darts on each side of center front
and back. Avoid a side zipper opening.
 Avoid hip-hugger styles if the figure has full thighs and prominent hips.
 Fabric Selection
The second key to attractive pants is correct fabric selection. Denim, sports cloth, corduroy, velveteen,
gabardine, and a variety of medium-weight blends are suitable for pants. The fabric should be firmly
woven to hold its shape and wear well. It should drape over the figure gracefully and should have good
wrinkle resistance. Knits are usually a good choice for comfort, but the weight of the knit determines its
success as a pants fabric. Avoid soft, clingy knits for most pants fashions - they emphasize figure flaws.
Consider fabric texture and design carefully. Some textured fabrics will be scratchy and require a lining;
others will be too bulky for pants. Select plaids and prints with color and size of plaid or print in mind.
The appropriateness of a printed fabric for pants should also be considered.
White and light-coloured fabrics may require a lining or underlining to prevent undergarments and seam
allowances from showing through. Be certain the fabric selected for lining or underlining has the same
care requirements as the fashion fabric.
 Fit
Fit is the third key to pants comfort and attractive appearance. Pants should fit comfortably at the
waistline and fall smoothly over the hips and thighs. In well-fitted pants, the lengthwise grainline is
perpendicular to the floor and creases in the legs are on the straight grain. Pants length will vary
according to the silhouette.
NOTE: Never sew a continuous seam from leg to leg. Sew each leg separately and connect the legs at the
rise of the pant by sewing the center seam from back to front.

~ 17 ~
HEM LENGTHS & WAISTLINE LEVELS (2-3)
GARMENT HEM LENGTHS
A Hem is the finished edge of a
garment, such as the lower edge of
a dress, pant leg, sleeve or top. It is
one of the most important fashion
aspects of any garment.
In the history of costume and
fashion the length of clothing varied
depending on the economic and
social context. This in turn became
determining factor and a vital
indicator of the current fashion and
the popular silhouette.
Length is an essential principle in the garment design and the designer is free to modify any length in the
garment components. The variations in the hem length can change the silhouette and proportion of the
garment. Although fashion and proportion dictate hem lengths, generally there is no standard hem length
that is correct for every woman.
The diagram on the right gives you an idea about principal hem lengths of garment skirts. Beyond the
longest length, skirt extends into trains that drag on the floor when the wearer walks. Wedding dresses
may feature chapel length or the longer cathedral length trains.
▪ Micro-mini - extremely short skirt, length is less than 38 cm.
▪ Mini - short skirt, measuring about 38 cm from waist to hem
produces about mid-thigh length hem.
▪ Above-the-knee - skirt about 2.5 to 5cm shorter than mid-
knee. Skirt length is 53 to 56 cm from waist to hem or 48 to 51
cm from the floor (also called ‘short’ length).
▪ Knee - skirt measuring about 58.5 cm from waist to hem, to
mid-knee-cap length or 45.5 cm from the floor.
▪ Below-the-knee - skirt hemline 2.5 to 7.7 cm below knee. The
skirt measures 61 to 68.5 cm from waist to hem or 15.5 to 43 cm
from the floor (also called ‘street’ or ‘cocktail’ length).
▪ Mid-calf - skirt length about 68.5 cm from waist to hem with
hemline located halfway between knee and ankle, about 35.5 cm
from the floor (also called ‘midi’ or ‘ballerina’ length).
▪ Below mid-calf - skirt length about 78.5 cm from waist to hem
or about 25.5 cm from the floor (also called ‘long’ or ‘midi’).
▪ Lower-calf - skirt length about 84 cm from waist to hem or
about 20.5 cm from the floor (also called ‘long’ or ‘maxi’).
▪ Evening length - skirt length about 101.5 cm from waist to hem or 2.5 cm from the floor (also called
‘formal length’ or ‘full length’).
▪ Floor length - skirt length about 104 cm from waist to hem (garment touches the floor).
GARMENT WAISTLINE LEVELS
Although fashion dictates the location of the waistline, in many garments the waistline falls at the natural
waistline, other styles are highlighted by a waistline either above or below the natural waistline. The
range is wide – from the Empire style with the seamline just below the bust, to the lowered waistline with
the seam located at the hipline Where the waistline of a garment is located in relation to the wearer’s
waist has a significant effect on the silhouette and style of the garment.

~ 18 ~
Menswear waistlines typically fall at or
near the natural waistline. Womenswear
waistlines are much more variable and
tend to rise and fall with fashion changes.
▪ Dropped waistlines - fall between the
waist and hips.
▪ High-rise waistlines - occur slightly
above the natural waistline.
▪ Empire waistlines - occur under the
bust line.
Current fashions help determine the level
of the waistline. Waistlines within the
body of the garment, as in a dress, can be
fitted to the body by darts or dart substitutes such as pleats, seams, or elastic. Waistlines at garment edges
may also be banded, faced, or finished by other edge treatment methods.
JACKETS HEM LENGTHS
Jacket lengths used by consumers refer to body landmarks such
as waist, hip, crotch, and thumb. Apparel industry personnel use
center back length measurements from the base of the neck to the
hem. The approximate landmarks for size 10 are given below.
▪ Waist - 45.5 to 48.5 cm from neck to hem at center back.
▪ Hipbone - 48.5 to 51 cm from neck to hem at center back.
▪ 2” (inches) below hip - 58.5 to 61 cm from neck to hem at
center back.
▪ Crotch - 68.5 cm from neck to hem at center back.
▪ Rule of thumb - 71 to 74 cm from neck to hem at center back.
▪ Three-quarter length - 74 cm from neck to hem at center back.
▪ Seven-eighths - 86.5 cm from neckline to hem at center back.
SLEEVE LENGTHS
Sleeves influence the total silhouette of the garment. The
“correct” sleeve length is one that is in proportion to the
garment and the figure. The following is the suggested
lengths that can be used as reference when designing a
sleeve:
▪ Cap - very-very short sleeve, actually an extension of the
shoulder and not usually continued under the arm.
▪ Short - the typical short sleeve lies with its lover edge
relatively straight across the upper arm (half the distance
between elbow and underarm).
▪ Above-Elbow or Elbow length - any sleeve style that
ends at the elbow and completely covering the arm above
the elbow.
▪ Three-Quarter or Bracelet: the sleeve ends halfway
between the elbow and the wrist bone to show bracelet.
▪ Seven-Eighths - a sleeve which terminates approximately
5 cm above the wrist bone.
▪ Wrist Length - the sleeve grazes the wrist just at the
prominent wrist bone.
Long or Full Length - falls 2.5 cm below the wrist bone at a comfortable length before reaching the
hand. Long sleeve tapered to the wrist so it can be pushed up to stay in place (also called ‘push-up’).

~ 19 ~
PANTS / TROUSERS WAIST LEVELS & HEM LENGTHS
Fashion, as well as functionality dictates that styles vary in design,
resulting in a wide range of detailing and different hem lengths and
waist heights, however, the pants, of all the garments, demand the
most perfect fit.
Waist Levels
Waistlines may be grouped by their shape, depth, and location of the
body.
▪ High waist or Raised - the waistline that falls significantly above
the natural waist
▪ Waistband - this waistline falls slightly above the natural
waistline.
Natural waist - a waistline that falls at the natural waist and tends to make the wearer seem shorter by
visually dividing the figure in half.
▪ Drop waist - a low waistline that usually
falls near the level of the upper hips.
Balances the upper and lower bodies, and
adds to the visual impression of height by
lengthening the torso.
Hem Lengths
The length of the pants or shorts is important to the total look. It is essential that shorts do not end at an
unattractive point on the leg and the pants length fits the figure type, while both must be well balanced
with the entire dressing. The majority of pants hem lights names derive from their particular styles.
(1) Short shorts or Hot Pants - 2.5 to 4 cm below the crotch of the inseam and 2.5 to 4 cm above the
crotch at the side seam.
(2) Shorts - 5 cm below crotch level.
(3) Jamaica - halfway between the crotch and knee.
(4) Bermuda or Walking shorts - halfway between Jamaica and knee.
(5) Knee length - it is just to the bottom of the knee.
▪ Deck pants - the hem length just below the knee.
(6) Pedal Pushers - 5 cm down
from the knee.
(7) Gaucho or Toreador pants -
halfway between the knee and
ankle.
(8) Crop pants - halfway between
Gaucho and Capri pants
(9) Capri pants - 2.5 cm above the 1
2 3 4 5 6 7 8 9
ankle
▪ Ankle length - it is just below the
ankle bone, the hem circumference
is usually slightly larger than the
ankle circumference but is large
enough to go over the foot.
▪ Classic pants or Floor length -
full-length pants, typically 1 to 5
cm off the floor, when wearing
shoes, the hem circumference
needs to be full enough to cover
most of the shoe.

~ 20 ~
FACINGS & INTERFACINGS (2-4)

FACINGS
Facing is a piece of fabric, usually the same as the fabric of the main garment, attached to another with
the purpose of finishing and concealing of the raw edge in neat and attractive manner. When a facing
finishes a curved or shaped edge it becomes its mirror image. A facing can duplicate an entire garment
section, for example, in bell sleeves, the entre sleeve is faced. Cascade ruffles are also faced in this way.
In most of the cases facin g is turned to the wrong side of the garment but a designer can reverse the
normal role of the facing, turning it to the outside of the garment as a decorative feature.
Dictated by the shape of the edge facing can be applied to the following
features of the garment, such as:
 Necklines
 Front openings
 Armholes
 End of Sleeves
 Collars (facing called undercollar)
 Pockets and Pocket flaps
 Waistlines of some Trousers and Skirts
 Etc…
Facings Types
Although the shape and actual construction of facings vary stylistically they can be classified into three
categories, such as: Shaped Facing, Extended Facing, and Bias Facing. The facing pattern, except the bias
facing, most follows the same grain as the piece to which it will fit so that it lies quiet flat.
 Shaped Facing
This type of facing is used to finish necklines and armholes,
and because it takes the shape of the piece to be faced, it is
called shaped facing. A separated piece of fabric should be
cut to match the shape of the area to which it will be attached.
When cutting it is very important to cut facing on the same
grain as the part of the garment to which it will fit, so that it
lays quite flat.
Facing pattern is easy to prepare because it is a direct copy of
the edge to be faced. The width of the facing should be not less than 5 cm. Wide facings are used for
certain specific purposes, for example, pajamas often have a very deep facing at the back to protect the
pajama top from perspiration. In outer garments that are made of polyester, a deep facing protects the
garment from skin oils.
 Pattern Directions (see diagram below)

Front & Back Neckline Facing Deep Back Neckline

Facing
~ 21 ~
 Place a piece of paper under the
area of the pattern where the
garment to be faced. The paper
should be large enough to make a
facing 6.4 cm wide, see diagram
on the right.
▪ Trim off any paper extending
beyond the pattern edge.
▪ Remove the facing layer of
paper, and mark the width of the
facing on it.
▪ Trim off the rest of the excess
paper and label the facing pattern Armhole Front & Back Facings
on the side opposite to the side
label for Front. Mark straight grain on the facing pattern.
▪ Repeat the same techniques for back and armhole if it is
needed.
 Decorative Facing
This is shape facing variation that has the same construction
method but it is attached to right side of the garment for
decorative purpose. The width of decorative facing can vary
from very narrow to wide.
 Combination Facing
This is another variation of shaped facing in which the
neckline and armhole facing are cut in one piece. It is often
used on garments with narrow shoulder seams. When you
apply the combination facing to the garment always
remember one roll; do not sew the shoulder seams of either
the garment or the facing until after the facing is stitch to the
garment.
 Bias Facing
This type of facing is used in many cases, especially when wide facing is
not suitable for some fabrics like: sheer, silky fabrics, transparent, lace,
sequined and metallic as well as lustrous fabrics. Bias facing is often
applied at the neckline of blouses or dresses that have flat or partial roll
collars.
 Pattern Directions
The bias facing is a parallel strip of fabric cut on the true bias, as shown
in a diagram on the right. These strips are cut 2.5 cm wide and folded
under 0.6 cm on each end to be 1.3 cm finished width. If garment style
requires wider strips, then cut a bias strip two times the desired width
plus 0.6 cm for folding in and add 0.6 to 1 cm to allow for shaping. The
length should be of the garment edge plus 5 cm to allow for finishing.
 Extended Facing
An ‘extended' facing is used for a garment that has a center front or back
opening. It is usually always cut in one piece with the garment and folded
to the inside. It can be interfaced for reinforcement, if necessary,
especially at the buttonhole opening.

~ 22 ~
Extended facing can be used for
garments with different types of front
or back openings, such as: standard,
double breasted, asymmetrical, fly,
etc.
All openings on the ladies garments
always laps right over the left in the
front and left over the right in the
back, just the opposite of men’s.
Note: For patter construction of
different front opening types see
Neckline & Center
“Metric Pattern Cutting for Women’s Front facing extends
Wear” by Winifred Aldrich (5th Extended facing for
out to the armhole
Neckline & Center Front
edition).
INTERFACINGS
An interfacing fabric lies between the facing and the wrong side of the fashion fabric. Interfacings are
used to shaped detail areas in a garment. It provides strength, stability, prevents stretching and gives
added crispness without bulk.
Almost all garments, regardless of their style or type of fabric, require some interfacing in such areas as
collars, cuffs, lapels, waistbands, belts, opening edges, pocket flaps; some hems should be interfaced to
maintain their shape and firmness.
Interfacings are available in a wide range of fibers, weights, and degrees of crispness. The selection of
appropriate interfacing depends upon the weight of the fashion fabric, the area in which it will be used,
the amount of shaping or stiffness desired and the type of care the fabric will receive. In general, the
interfacing should not be heavier in weight than a garment fabric, although it can be crisper.
Interfacing is placed on the back side of the facing or to the inside of the
garment section. The interfacing is placed to the garment section on bulky
fabrics (to cushion the seam) and “see-through” fabrics (to hide seam).
Depending on the fabric, interfacing may be placed to the facing before or
after it is seamed.
The interfacings are usually cut from the facing pattern pieces
and categorized according to their method of application: ‘sew-
in’ (1) or ‘iron-on’(2).
Sew-In Interfacing
This type of interfacing is stitched to the garment by hand or
machine, it can be woven such as: polyester or silk organza,
china silk, fine batiste, voile or self-fabric, or non-woven 1 2
fabrics. All sew-in interfacings should be preshrunk. Choose
interfacing that will blend with the colour and the texture of the
fabric without showing through to the right side of the garment.
Iron-On or Fusible Interfacing
This type of interfacing has a resin coating on the back that will fuse to
fabric, when moisture, heat, and pressure are applied. Fusible interfacing
is usually applied directly to the garment, not to the facing, however,
with lightweight fashion fabrics, it can be fused to the facing to avoid
outline or imprint visible on the right side of the garment.
Interfacing pattern can be constructed the same way as facing pattern. All
pattern pieces should be labeled and straight grain should be marked.
~ 23 ~
NECKLINES (2-5)

NECKLINES
A Neckline refers to the area around the neck and shoulders. Before the 20 th
century, garments from the same period all had similar necklines. Today fashion
features many different types of necklines in a season.
The Neckline of a garment not only frames the face, but also influences how the
entire garment fits and hangs. When fitted correctly, a neckline should lay
smooth against the body without gaping or wrinkling. The seam line of the
closely fitted neckline, such as Jewel neckline (basic block pattern) should rest
on the collarbone at front of the neck and on prominent bone at base of neck at
the back. All necklines are
raised or lowered from this
point give many variations
such as: Scoop, U-neck, V-
neck, Square, Bateau, Cowl,
Sweetheart, Keyhole,
Halter, etc.
Always consider the shape
of the face when deciding
on one style of the neckline
or the other. Generally faces
can be grouped into three
types, such as: round, long (usually with pointed chin), and oval. Each face type should be analyzed
properly before adapting one neckline or the other.
Oval Face - any neckline will work with this type of face shape.
Round Face - any V-neck, U-neck and elongated square necks are good for this type of face, but
necklines that will emphasize the roundness of the face should be avoided such as: Jewel and round
necklines.
Long Face - any style of round neckline is good, but V-necks and especially deep V-necks should not be
used.
NECKLINES PRINCIPLES
1. If a neckline is made wider in the front, the same needs to be done for the back.
2. Try avoiding deeper neckline for both front and back at the same time. In case one decides to keep the
neckline deeper in both front and back then an ease of about 1.2 cm needs to be taken out on the centre
front neck.
3. The measurement which is taken diagonally should be marked
diagonally on the pattern and a measurement taken straight should be
marked straight.
4. For curved neckline, always square out 0.6 cm either side at center back
and center front and on shoulder level.
NECKLINE CHANGES
There are number of variation in necklines
that are possible to make once the basic block
has been drafted. String to test neckline on the
body as shown in the diagram on the right.
Determine the shape of a new neckline, its
width and height. Use obtained style
measurements to adapt basic neckline pattern to the desired style.

~ 24 ~
Cowl Neckline Changes
The cowl neckline can be developed from the boat
neckline by adding width to the neckline and
length to the center front to provide one or more
softly draped folds. The most satisfactory drape is
achieved when crep or some other soft fabric is
used and when the garment is cut on the bias.
High Draped Cowl - a small amount of width and
length will produce a high draped cowl.
Low Draped Cowl - as the neckline width is increased, the drape of the
neckline becomes lower.
Pattern Directions
▪ Use the bodice sloper to make a working pattern.
▪ Transfer all fitting darts to the neckline.
▪ Construct the boat style neckline on the pattern raising the neckline 1.5
cm at the center front.
▪ Measure the new neckline width the tape measure, then drape the tape
measure on the person to see how low the neckline will hang, the more
width will lower the neckline.
▪ The folds are created by adding length to the pattern, the more length
gives more cowl folds. Draw lines from CF to the shoulder.
▪ Slash along the lines to, but not through the shoulder seamline and place
the pattern on top of another paper, then spread the pattern at slash lines
and pin it to the paper.
▪ Draw lengthwise grain as the diagonal of a square built around center
front.
▪ The facing can be separate peace, or it can be an extension of the front.
To add facing to the pattern see diagram (1) below.
▪ To make pleats at the shoulder, slash through the shoulder seamline and
mark the exact pleat line, see diagram (2) below. Then fold each pleat to
true it.

(1) (2)

~ 25 ~
BUILT-UP NECKLINES 2
Built-up necklines extend above
the base of the neck and must
accommodate the position of the
neck as it juts forward (1). There
are two basic types of built-up
necklines: all-in-one with the
bodice (2) and set-in bands (3).
Either type can be developed
from any point along the 1
shoulder and to any height.
Added room is provided along
the outer edge of a built-up
neckline. This allows the
neckline to rise up and away
from the neck and shoulder of
the garment to prevent strain
from the neck’s forward
position. 3
Stovepipe Neckline Changes
The Stovepipe neckline design Stovepipe Neckline
extends above the natural
neckline in front and back, with seams at center front
and center back. Pattern manipulation as follows:
Front
Figure 1
• Trace and cut front bodice pattern.
• Mark A 5 cm (2”) down from center front.
• Mark B 1.3 cm (½”) in from neck at shoulder.
• Draw curved slash line from A to B.
Figure 2
• Cut slash line from A to, not through, point B.
• Place on paper and spread 5 cm (2”). Secure.
• Trace and label center front neck C.
Figures 3a & 3b
• Continue line 3.8 cm (1½”) up from point B and square a
short line.
• Draw a curved line to C and to A.
• Blend at A and B. Notch (Figure 3b).
• Cut from paper.
Front Facings
Figure 4
• Place center front of pattern on fold of the paper.
• Trace neckline from center front to 2.5 cm (1”) down from B on
shoulder.
• Remove pattern. Draw the bottom edge parallel with the neckline and
notch center front neck.

~ 26 ~
Back
Figure 5
• Trace back. Mark A at neck/shoulder and draw a guideline parallel with
center back.
• Extend center back 2.5 cm (1”). Label B and square a short line.
• Mark C 1.3 cm (½”) from A.
• From C draw a 3.8 cm (1½”) line to the guideline. Label it D.
• Draw a curved line parallel with the neckline from D to B and from D to
shoulder line.
• Add a 2.5 cm (1”) extension at center back for closure and mark notches.
Back Facing
Figure 6
• Trace the back pattern 2.5 cm (1”) below point C, starting at original center
back. Remove pattern. Draw facing’s edge parallel with neckline edge and
notch at point C and center back.
• Draw grainline and complete pattern for test fit.

~ 27 ~
OPENINGS & FASTENERS (2-6)

Opening is a part of a piece of clothing that is made to open and

close so that it can be put on easily. Openings of any type should be
long enough to allow for ease of wear and removal to serve a useful
purpose. They should be strong and neatly finished because they
are handled so frequently and are subject to much strain. Although
openings are primarily functional, their precision and workmanship
can add a special dimension to the garment.
USES OF OPENINGS ON GAGMENTS
 For free movement
 For decoration
 As a style feature
 Allows garment to be made close fitting style
 Allows garment to be put on and taken off easily.
OPENING LOCATIONS
Openings can be placed on different parts of a garment and they
can be extended trough all garment or only pathway down. The
following are examples of opening placements:
 Center front or Center back
 Side seam or Shoulder seam of the garment
 Sleeves hems or cuffs
 Collars
 Pockets
All openings on the ladies garments always laps right over the left
in the front and left over the right in the back, just the opposite of
men’s.
TYPES OF OPENINGS
The type of any garment part opening
depended on its position and finishing. The
common opening types are Faced Openings 4
and Placket Openings.
 Faced Openings
This type of openings is usually finished
using facing applications. The following are
examples of faced openings: 5
2 3
(1) Single-breasted (one row of buttons) 1
(2) Double-breasted (two rows of buttons)
(3) Asymmetrical
(4) Cross over
(5) Edge to edge.
 Placket Openings
A Placket is on opening with fabric piecing that can extend part way down a
garment, trough all garment, or can be placed in a garment seam. A garment
placket made in a slash cut that often reinforced at the base to prevent tearing
is one of the strongest and gives a better finish when completed. Plackets can
be at the neck of shirt, the cuff of a sleeve, or in the upper part of trousers or

~ 28 ~
skirts. When the garment is in use, plackets are kept closed with the aid of fasteners such as zippers,
buttons and buttonholes, press buttons, hooks and eyes, etc. Plackets can be differentiated into two types,
such as: Inconspicuous and Conspicuous.
Inconspicuous Plackets
The continuous bound plackets, bound-and-faced plackets
and zipper plackets are examples of inconspicuous
plackets.
(i) Continuous Bound Placket (see diagram on the right):
This is also called one-piece placket and may be made in a
seam or slash. It is suitable for children’s dresses,
undergarments like petticoat, and for sleeve openings
where a cuff or band is used. Do not use this placket on
curved seams and on bulky fabrics.
To make a pattern for this placket, measure twice the length of the opening and add 2.5 cm, the width
should be 3 to 4 cm. The strip of the fabric should be cut on the lengthwise grain.
(ii) Bound-and-Faced Placket or Two-Piece Placket (see diagram on the right):
This is used in the left seam of skirts or petticoats and back seam
of dresses. The underlap side of this placket is finished with a
binding and the overlap with a facing. For this, two separate
strips of fabric are used, one of width 4 cm for the overlap and a
wider one 5.5 cm for the underlap. Both the strips should be 2.5
cm longer than the placket opening. The 2.5 cm extra 1ength of
the strips should extend below the placket opening.
(iii) Zipper Plackets (see diagram on the right):
There are several methods of applying zippers. The choice depends on the
position of the zipper in the garment and the type of garment. Zippers are
usually concealed either with two overlapping fabric edges (two lines of
stitching and is referred to as slot seam zipper placket) or with one (called
lapped seam zipper placket and only one line of stitching is visible).
Generally the lapped seam application is used on side openings in
garments and slot seam placket on center back and center front openings.
The mock fly front is a similar application as a lapped application.
Conspicuous Plackets
These are tailored plackets that are commonly seen on shirts neck openings, shirt sleeve openings and
children’s dresses. Conspicuous plackets can be finished with one-piece band or two-piece band.
One-piece placket band (see diagram below):
The underlap and overlap sides of the placket pattern should extend beyond the center front line by 1 ½
times the finished width of the pleat plus 2 cm. When the garment is finished, the fasteners will hold this
fold in position.

~ 29 ~
Two-piece placket band (see diagram below):
This type should be used at curved areas when the neck and placket bands are combined. The width and
the length of the placket depend on the style.

Shirt sleeve placket (see diagram below)

This opening designed for a man-tailored shirt. It has two bands with different widths. Consider the
length and the width of the placket when preparing strips pattern.

FASTENERS
Openings are usually accompanied by the
fasteners that are used to close around. They
can be fastened with buttons & buttonholes,
zipper, snaps, hooks & eyes, bands, tapes, or
just wrap around. The closures can be used
alone or with a second type of closure. A wrap
skirt might not need a second method to keep
the garment secure, but wrap dress often have
a tie at the waist along with a small snap at the
bust to help keep the fabric layers together.
Openings and fasteners are the little things that can mean a lot to a design. Don’t overlook the importance
of these well-chosen details, they must suit the type of garment and must be at the right place. A designer
should know how vital to a garment insignificant buttons can be. An expertly made buttonhole can be a
fashion marvel. A simple
bow, perfectly shaped and
tied, is a thing of beauty.
Even the teeth of a zipper
can be fascinating focus.
There are some closings
which are so cleverly hidden
that the eye of the beholder
must play a guessing game.

~ 30 ~
  Types of Fasteners
Fasteners can be categorized into two groups, such as: Inconspicuous Fasteners (hook & eye or bar,
hooks & loops tape, concealed zipper, snaps etc.) and Fasteners with Decorative Effect (button &
buttonhole, exposed zipper, button & loop, tapes, the strings, frogs, eyelets & grommets etc.). These
categories may be used singly or sometimes multiple types of garment closures can be applied on any
project, for example, jeans have both a button and a zipper, so it is important to be familiarized with
multiple options.
Fastenings Attachment General Rules
 Fastenings should be sewn on double fabrics.
 Fastenings should be enough to close the opening.
 Fastenings should not gap but close the opening.
 Fastenings should match the weight and texture of fabric.
 Fastenings should be washable if fabric is washable.
 Fastenings should suit the age of the wearer.
 Fastenings should suit the sex of the wearer.
 Fastenings should be sewn exactly opposite one another in other that the opening will be flat
when fastened.
BUTTON & BUTTON HOLE
Buttons are hardware items used in conjunction with buttonholes for the fastening of garments. The most
common use of buttons is to secure the openings of garments, by sliding the button through a slit in the
piece of cloth to which the first is to be held. The slit is only sufficiently wide to allow the button to be
fully pushed through while still remaining stitched to the first piece of cloth.
Garment buttons are an important finishing touch not only because they have functional importance as
fasteners, but also as a decorative element. They are essentials of the garment that help to transform a
basic design into one of interest design. You can see them simply closed the front or back openings and
cuffs of a garment or rest on shoulders, outline seams, closing skirts and pants, fastening waistbands,
attaching belts, ending sleeve vents. They can match, contrast, or complement; give a tailored, casual, or
dressy look.
Buttons can be fascinating, functional, and fashionable. They are fascinating because of their many sizes,
shapes, colors, and designs. They are functional because they are one of the major methods of opening
and closing garments. Buttons are fashionable because they also decorate and enhance apparel and other
items.
Although buttons are available in a wide range of shapes and contours, there are basically only two types,
such as:
(i) Sew-Trough Button that has two or four visible holes for
attachment to a garment.
(ii) Shank Button that has a metal, plastic or fabric shank/loop
behind the button through which the button is attached to a
garment. The shank allows room for the overlapping fabric so that
the button rests on top of the buttonhole. Shank heights vary and
can be extended by the way the button is sewn to the garment.
Because shank buttons do not have a visible hole, these are
sometimes used for decorative effect, with or without a practical
function.
The variety of materials from which buttons can be made is
considerable, including the natural ones of wood, bone, horn and
mother of pearl as well as the man-made ones of metal, polyester,
polyamide, acrylic, etc. In addition, plastic and metal can be
combined such as when metal ring encircles a button, and plastic
~ 31 ~
can be covered with the fabric of the garment. The natural materials provide buttons with some variety in
colour and pattern and possibly in size and shape, at a high price, while the man-made materials are more
uniform and less expensive.
Buttons can be used to close a garment with buttonholes, loops, or short chain between two buttons. They
can be grouped in cluster, spaced irregularly, or a row of small buttons can be placed instead of few
larger ones. The buttons must relate to the fabric, the design of the garment, and especially to the wearer.
There is a definite trend in buttons each season as in other fashions. Spacing and proportion are the keys
to selection and placement of buttons. Big buttons may look fine on a tall, well-built figure and the
smaller for the small figure, but that still follows the fashion trend. Buttons are available in a wide range
of shapes, contours and colors. The best way to find the correct size of the garment button is to pin on
different sizes and see how they look.
Use contrasting colored buttons with care so they don’t look spotty. They are the style detail of the dress,
so keep the dress simple in design and fairly neutral in color. Black or white buttons are always a safe
choice for a contrasting fabric. The self-covered buttons are also having a place in dressmaking, but they
can be used unwisely. Individually decorated buttons can match or contrast with a garment. When using a
small-scale print fabric to cover the button, the motif must be centered. Covered buttons can be
embroidered with initial monogram, or a motif, or stitched with the simple design directly on the face of
the button. Small beads or sequins also can be stitched to buttons for a sparkling effect.
General rules of Button & Buttonhole Placement

1. All openings on the ladies garments always laps right over

the left in the front and left over the right in the back, just the
opposite of men’s.

2. The width of the overlap should equal the radius of the button plus 0.6 cm.
3. The distance from neckline to the top buttonhole equals the radius of the
button plus 0.6 cm.

4. The controlling buttonholes should be located at or near the

point of greatest strain, such as: the bustline, the waistline and
the hipline.
5. The space between all buttons should be equal.
6. Horizontal buttonholes should begin 0.3cm from center front,
in the overlap, and extent back, into the bodice proper. They generally applied on close-fitting garments,
where there is some stress.
7. Vertical buttonholes are placed on the center front or center back line. When a vertical band of fabric is
sewn onto a blouse, shirt, or dress vertical buttonholes are placed in the middle of the band. They used on
garments where there is less stress, such as on a shirt.
8. The buttonhole length is equal to the diameter/width of
the button plus the thickness of the button. The diagram
on the right shows how to measure flat and round buttons.

~ 32 ~
Remember that large buttons are placed farther apart
than small ones. Make the buttonholes marking on the
right side of the garment to make certain that the
finished buttonhole will follow the fabric grainlines.
Mark the center lines first, because it is the reference
point in placing the buttonhole; center lines must meet
when closing is fastened. Next mark with pins the
distance between the buttonholes and then mark with
chalk the short lines for the position of the buttonholes
and the long continuous lines to indicate their length.
▪ For the Center Closing, the buttons are positioned on the underlap center line, the buttonholes in
corresponding positions on the overlap center line. The top buttonhole is generally placed below the
neckline edge at least half the width of the button plus 6 mm. The last buttonhole should be 7.5 cm to 10
cm from the bottom. Place the buttonholes not closer than 1.5 cm from a closing edge. For a large button,
the extension should be no less than half the button’s width plus 0.6 cm.
▪ For a Double-Breasted Closing with functional buttonholes, place each row of buttons an equal distance
on each side from the underlap center line, and buttonholes in corresponding positions from the overlap
center line.
▪ For an Asymmetrical Closing, first make sure center lines match. Mark the short placement markings
perpendicular to the edge and the long length lines parallel to the edges.
 ZIPPERS
Zippers are probably the most common type
of garment closure that is used in sewing
today. With practice, installing a zipper is
easy to do and provides a durable way to
secure the clothing.
There are basically three types of zippers:
Conventional and Invisible zippers are
closed at one end and generally sewn into a
seam. Separating zippers are open at both
ends and are used in a seam line where they
are required to open completely.
The types of zippers may vary in lengths,
colours, materials or styles and they can be
installed in several different ways for a different look. Always choose the most appropriate zipper for the
finished item based on the design of the item, the fabric type, and fabric weight. Be sure to select a zipper
that is long enough for the location to prevent strain when getting in and out of the garment or item. If the
desired length is not available, choose a longer zipper and shorten it.
 HOOKS & EYE
Hooks and eyes are hidden fasteners. They can be used to hold edges
together or to overlap edges. Hooks and eyes are available in several sizes
and colours to match different fabrics. Hooks come with either loops or
straight eyes. The smaller hooks and eyes must be used on light-weight
fabrics. Larger hooks and eyes require heavier fabric. Small hooks and
eyes are found at the top of dresses and blouses to prevent the fabric gap that can
happen at the top of a zipper. They add a little extra security along with the zipper in
case the zipper teeth break or the tab gets pulled down.

~ 33 ~
  SNAPS
Snaps are fasteners that should be used to secure areas where there is little strain. They are primarily used
to hold something in place, and can therefore be used in place of buttons and buttonholes or self-gripping
devices. Snaps are generally made of metal and come in a variety of sizes for light-weight, medium-
weight, and heavy-weight fabrics and they can be seeing on Shirts, Western wears, children clothing, etc.
The color of the snaps should blend with the fabric of the garment. Clear nylon snaps are also available.
Snaps come in several sew-in and no-sew styles.
The Sew-In Styles are generally in two parts: the ball and the socket. The
ball part of the snap is positioned on the overlap side of the placket, and
the socket on the underlap. The snap pieces are placed 0.3 cm from the
edge of the fabric.
No-Sew Snaps are visible on the outside of the garment and generally
come in four parts. The inner and outer parts pierce the fabric to make one
snap piece. These types of snaps can damage the fabric where the snap is
placed, try do not make any mistakes when installing no-sew snaps.
Prong snaps use knife-like points to pierce the fabric and join with the
inner pieces. The prongs do minimal damage to the fabric and work well
on light-weight fabrics. The snap’s cap can add embellishment to the
garment using gem-like stones or coordinating colored ring caps. Post snaps use a center post to pierce
the fabric and join the pieces together. This type of snap is stronger than a pronged snap and is used in
heavy-weight or thick fabrics. Some specialty snaps can be used for a variety of garments, accessories,
and home interior projects.
 HOOK & LOOP
This variety of fastener is closed by pressure and opened by pulling it apart. These
fasteners consists of two strips that are made of tiny, firm, polyester hooks on one
piece and soft nylon loops on the other. The size of the fastener indicates its
holding strength. They are excellent on loose-fitting garments such as jacket
fronts, belts overlaps, etc. Also, because they grip with strength but peel
apart easily, they are ideal for people with poor or limited finger or hand
mobility, such as children or people with arthritis.
Hook and loop fasteners are packaged in several shapes, width sizes, thickness and come in fashion
colors. They can be attached on by machine or hand. The hook piece is placed on the underlap side of the
placket - away from the skin and the loop is stitched to the wrong side of the placket overlap.
 DECORATIVE FASTENERS
Some popular decorative fasteners are frogs, toggles, and ties. Such fasteners can
be used instead of buttons. Frogs usually seeing on oriental-style jackets and on
capes, velvet jackets, or quilted vests; they can be bought or handmade. Toggles
can be used on all kinds of outerwear. Ties make an easy closure for all types of
clothing. They can be made of ribbon or matching fabric. Ties can be applied on
all sorts of garments including dresses, skirts, blouses, etc.

~ 34 ~
POCKETS (2-7)

Pockets are little pouches sewn into

and onto various garments (dresses,
shirts, trousers etc). Whether casual or
tailored, the pockets can be functional or just for show. Changes in the type and number of pockets for
both sexes derive both from fashion and from the necessity to accommodate different kinds of things
(handkerchief, car key, mobile phone etc).
Generally pocket’s primary use is as a depository or temporary holding place for items or hands. A
pocket opening should be wide enough for hands and deep enough to keep objects from falling out.
Pockets can be designed for all types of garments and their size, shape, and placement should
complement the design of the garment. There is a need to observe the figure to determine what pocket
style is best to make. To de-emphasize a round body type, select a pocket and garment style that has
square and rectangular lines. To fill out a thin and angular figure, choose pocket and garment styles that
are curved and rounded.
POCKET CLASSIFICATION
Pockets come in lots of shapes and formats but they are all branch out from two basic constructions:
(1) Pockets of self fabric applied to the garment (patch pocket)
(2) Pockets of lining pushed to the inside through a seam or slash (sometimes covered by flap or welt)
Some, such as patch pockets, paper bag pockets, and jetted pockets with a flap, are external and can be
decorative, while others, including front hip pockets, are more discreet and hidden from view. They can
be made from the same fabric as the garment or from a contrasting fabric.
POCKETS LOCATION
Pocket placement is an important consideration. There has always been a difference in the number and
position of pockets customarily provided for men, women, and children.
One excellent rule for positioning pockets below the waist is that they should be located at the level
where the hands can slip into them naturally and comfortably. However, there are instances when the
rules are meant to be flexed a little. Pockets above the waist are so often meant to be strictly decorative; it
should be considered whether their position is flattering, regardless of how accessible the pocket may be.
POCKETS TYPES
Outside Pockets
Pockets such as the patch pocket are attached to the outside of a garment.
This type of pocket can be designed in a number of sizes and shapes, with
or without a flap.
Inserted Pockets
Pockets are inserted into a straight or stylized seam, with the cavity
or pouch on the inside of the garment. Inserted pockets can also be
stitched to the inside of a garment, giving the appearance of a patch
pocket on the right side of the garment.
Welt Pockets
Welt pockets are characterized by a separate strip or flap stitched to the
pocket opening, with the pouch falling to the inside of the garment. The
pockets can have a double welt or single welt, or they can be stylized with
or without flaps.
Pocket Pattern Construction
Locate pocket placement and draw in pocket line. Mark depth of pocket bag. Draw other details (facing,
welt, flap etc.). Trace all pocket parts onto another paper and add seam allowances at entry, pocket pouch
etc.
~ 35 ~
GARMENT COLLAR (2-8)

A Collar is a separate piece of fabric

that is attached to the neckline of a
garment. It is encircles the neck and
frames the face, offering great
opportunities for design variations.
COLLAR TYPES
Collars come in different styles,
shapes, and sizes. They may be developed close to or away from the neckline. Collars may be wide or
narrow, flat or high, soft or stiff and with or without an attached stand. The collar edge may be stylized or
may follow a basic shape - it may be round, curved, scalloped, square, or pointed (long or short) in any
direction. An important aspect of collars is that they must fit to the size of the neckline.
Collar has many types of variations such as sailor, bertha, chelsa, puritan, notch, tie, Peter Pan etc. but
actually the starting point for all variations are three basic shapes, such as: Flat collar, Standing collar,
and Rolled collar.
Flat collar - sit flat on the garment
to mirror the neckline shape, it has
deep curve on the collar edge that
corresponds closely to the garment
neck edge.
Standing collar - stand up, hugging the neckline, it has a straight or very slightly curved neck edge.
Rolled collar - is the variation of stand and fall collars where the collar stands around the neck and then
rolls over onto the shoulders, its neck edge can vary in shape from straight to a curve opposite that of the
garment. This collar gently rises from the neck seam and turns down to create a rolled edge around the
neck.
COLLAR TERMS
▪ Neckline - the side of the collar that is
joined to the neckline of the garment.
▪ Stand - the height or rise of the collar from
neckline to roll line.
▪ Roll line - the fold-over at the collar stand.
▪ Fall - depth of collar from roll line to style
line.
▪ Style line - outer edge or design of the
collar or rever.
▪ Break point - where the rever turns to
form lapel.
▪ Break line - line along which lapel rolls
back.
Collars are always cut double. The collar
that comes on the top is called ‘Top’ collar
and the collar that comes under it is called
‘Under’ collar. The Under collar is always
cut smaller.
COLLAR STYLING FACTORS
The four styling factors that determine how a collar looks are the following:
1. Distance between the neckline and the base of the neck.
~ 36 ~
 2. Height of the stand - that is how far the collar stands up.
3. Shape and depth of the fall.
4. Rever or lapel, if included, and its size and shape.
Each type of collar can be modified by varying
the four the four principles that govern collar
styling.
DETERMINING COLLAR STAND
How much stand a collar has, is related to the
shape of its neckline edge. The straighter the
neck edge, the more stand (see diagram (a) on
the right). The more curved the neck edge, the
less the stand (see diagram (b) on the right).
Regardless of the collar design, the neckline
edge generally has one of two basic shapes:
1. Contrary to the neckline curve of the form or
garment. This type of collar will spring open when
unbuttoned - convertible (1) and (2) (prototype - the
basic shirt collar).
2. Closely follows the curve of the neckline of the form
or garment. This type of collar will stay in place when
unbuttoned - nonconvertible (3) (prototype - the Peter
Pan collar).
STANDARDS FOR COLLARS 1 2 3

▪ All collars with corners and center front openings

should be symmetrical – with identically shaped curves or points.
▪ A well-applied collar should fit neckline area without unsightly gaps or wrinkles.
▪ Inside edge should smoothly encircle the neck without straining or rippling.
▪ Collar should hug the garment closely without the corners flipping up.
▪ The neck seams should not show unintentionally at the back or front of the garment.
▪ The under collar should never show, not should seams
at the finished edge.
▪ It should be interfaced properly to maintain shape.
▪ Have enclosed seam graded to reduce bulk.
▪ It should be well pressed.
INTERFACING SELECTION
• Select an interfacing fabric that provides stability and shape to the collar.
• Select one that is the same or lighter in weight than the fashion fabric.
• When using knits or stretch fabrics, select an interfacing fabric that “gives” when the fabric is stretched.
INTERFACING APPLICATION
The fashion fabric will determine whether the
interfacing is applied to the under or upper collar.
Generally speaking, the interfacing is applied to the
undercollar. However, when using fusible interfacing,
attach it to the uppercollar on see-through fabrics, and
heavy fabrics.

~ 37 ~
GARMENT SLEEVES (2-9)

Sleeve is the part of a garment that

covers the arm. Sleeves are both
functional and design elements of a
garment. As functional elements,
sleeves must allow for freedom of
movement and comfort and must
enhance the overall purpose of the
garment. As design elements,
sleeves should complement the
bodice to which they are attached.
SLEEVE TYPES
Primitive clothing had sleeves that
were cut with the garment in one
piece. In the Middle Ages, the set-
in-sleeve became popular. Today
we wear many different types of
sleeves.
There are three basic types of sleeves, such as:
(1) Kimono Sleeve 1
(2) Set-in-Sleeve 2
3
(3) Raglan Sleeve
Basic sleeve sloper usually used for
construction of different sleeve styles, it can be
divided, expanded, or manipulated
Kimono Sleeve - is cut in one piece with the front and
the back of the garment. The kimono sleeve is always
cut with a deeper armscye than the set in sleeve.
Wrinkles under the arm are inherent to this type of
sleeve because of the extra fabric between the bodice
and sleeve.

Set-in-Sleeve - is joined to the garment by an armhole seam

that circles the arm near the shoulder. All set-in type sleeves
must be eased, gathered, darted, or tucked and sewn into the
bodice armscye seam. They can be fitted or flared, cut to any
length, and their hemlines finished in a variety of ways.

Raglan sleeve - has a part of the sleeve attached to the bodice. A

diagonal seam is formed from the neckline to the underarm.
Underarm wrinkles are common in this type of sleeve, as well. Extra
ease is added across the chest and the armhole is lowered to increase
freedom of movement.

~ 38 ~
SET- IN- SLEEVE
Parts of the Set-In-Sleeve
▪ The Shoulder Seam is connected to the
armscye of the garment.
▪ The Front and Back Balance Points
control the amount of ease and its
distribution as the sleeve is sewn.
▪ The Cap covers the top of the arm at
the shoulder joint and must have a small
amount of ease in rigid fabrics to allow
for movement. ▪ The Bicept Line is the
measurement of the circumference of
the arm at the underarm point.
▪ The Underarm Seams are joined to
form the sleeve body.
▪ The Elbow Dart alows for mnovement
of the lover arm in a fitted sleeves in a
rigid fabrics.
▪ The Placket Line should follow the wrist bone up the arm and is open in a fitted sleeve to allow the
hand to enter the sleeve.
Set in Sleeve Styles
Set in sleeves fall into three main categories, such as:
(1) Classic
(2) Casual
(3) T-Shirt
The sleeve style is mainly determined by the height
of the sleeve cap (see diagram on the right).
Sleeve Cap Height
The form and function of set in sleeves is dependent upon the shape and height of the sleeve cap and the
style of armhole to which the sleeve is sewn. The sleeve cap is the curved top section of the sleeve from
the front underarm to the back underarm. The sleeve cap height is that area of the sleeve from the biceps
or underarm line to the top of the sleeve cap. The cap height will vary with each armhole and sleeve style.
Changes in fullness of the cap seamline and cap height will result in dramatically different sleeve styles.
Sleeve Cap General Principles
▪ As the cap height is shortened, the sleeve will stand or jut away from the arm at the hemline if the
armscye is not dropped off the shoulder tip.
▪ As the cap height gets shorter, the underarm line must get longer in order to produce a sleeve cap line
that can still be sewn into the bodice armscye with sufficient ease for comfort and movement.
▪ As the cap height is shortened, a “gusset” is formed at the underarm. This “gusset” is what provides the
freedom of movement. It also creates folds at the underarm that are not desirable in more tailored
clothing.
▪ If the sleeve cap height is increased above the standard fitted sleeve, the cap will extend above the
normal shoulder line.
▪ Higher caps with more ease are more difficult to sew. They require ease stitching to mold the cap to the
armhole without puckering. Fabric weight and stiffness will significantly influence the way a sleeve cap
is eased into the armhole.
▪ Jacket and coat sleeves are often redesigned to reduce ease but not restrict movement. The shoulder line
is extended past the shoulder point and the shoulder slope is lengthened.

~ 39 ~
Classic Sleeve (see diagram below)
The classic sleeve is the sleeve found in most traditional tailored, fitted styles. It can be drafted with or
without an elbow fitting dart. It should be sewn to an armscye where the shoulder point at the armscye
ends at the shoulder tip, thus the armscye is not dropped off the shoulder. The classic sleeve is
characterized by a high sleeve cap. The higher sleeve cap is much more formal and attractive when
movement is not a priority. The armhole depth on the bodice could be raised slightly to provide a bit
more freedom of movement without sacrificing aesthetics. The classic sleeve is a tradeoff between style
and mobility.
 Cap height for the classic sleeve should be about 12.5 cm to 15 cm.
 Additional cap ease is needed to go over ball of the arm since the sleeve cap is high and bicep or
underarm line is narrower. Cap ease should be between 3.8 cm to 5 cm.
Casual Sleeve (see diagram below)
The casual sleeve is a less tailored style. The bodice armhole shoulder point is dropped off the shoulder
1.3 to 2.5 cm. Diagonal wrinkles will form at the armscye as a result; however, greater freedom of
movement is possible. The casual styles are a nice compromise between style and mobility and between
formal classic styles with little freedom of movement and sloppy T-shirt styles.
 The cap height should be about 7.5 cm to 10 cm with about 2.5 cm ease.
 The shoulder seam is lengthened 1.3 to 2.5 cm on the bodice and the shoulder slope is also lengthened
to raise the shoulder line slightly.
 The armhole is therefore larger and the sleeve cap is also larger and so less ease is required in cap.
T-Shirt Sleeve (see diagram below)
The T-shirt sleeve is a very casual style. The shoulder point on the bodice armscye is typically dropped
off the shoulder more than 2.5 cm and the armhole is a very shallow curve. Diagonal wrinkles will form
at the armscye as a result. Greater freedom of movement is possible with this style though.
 The sleeve cap height can be 0 to 5 cm with 0 to .1.3 cm ease.
 The shoulder line
and shoulder Classic Sleeves & Bodice Casual Sleeve & Bodice T-Shirt Sleeve& Bodice
slope are
lengthened
extensively to
drop the armscye
off the shoulder.
 The sleeve cap is
flat and can be
sewn in before
the underarm
seam is sewn.
 A gusset is
created at the
underarm for
freedom of
movement.

Cap Sleeve
Cap sleeves are very short sleeves with a curved hemline. The sleeve cap seamline can
extend around part or all of the armhole seamline. The cap sleeve is a classic sleeve
with a high sleeve cap and works best in classic armhole that is not dropped off the
shoulder.

~ 40 ~
GARMENT PATTERN CONSTRUCTION (2-10)
APPROACH TO THE GARMENT PATTERN CONCEPTION
The outline of clothes often changes dramatically in different periods of fashion.
The concept of design has been responsible for the most exciting changes in shape
and cut during last century. Fashion trends dictate movements in hemlines, styles
of sleeves, colours, fabrics to be used, the flare of a skirt, etc.
Don’t bother trying to patent your fashion designs, there’s really no point and it
takes forever to go through the process. You could patent a particular design, but
then another can come along and change one or two things and still produce it
without being in violation of the patent. Besides, you’re not going to invent
anything new. This does not mean that it is okay to steal someone else’s design.
You still have to put some original thought into your own work. While all designs
are “borrowed” at the root, they are original thoughts through the combination of
elements, fabric choices, cultural meanings or some other grouping.
The more art, art history, world history, cultural knowledge, and current events
that you learn or keep up with, the better you will be at design. There is a direct
relationship between design and a mental database of history and culture. While
you may think those classes are not very interesting, every major label designer
out there not only keeps up with current events, but knows their history and world cultures.
Keep in mind that all designers work from inspiration of some kind. Sitting in front of a white sheet of
paper expecting genius to grow forth does not work well for anyone. Build journals of inspirations
sources, construction details, favourite designers, etc.
Know your target market above all else. Who is this designed for? What price category? Which season?
Where do you see it being sold? Also keep in mind that abundantly wealthy socialites 19‐24 years old
who like to go clubbing on a regular basis are in very short supply.
Remember that when you design your garment for a particular target market and price point, you have to
match your patternmaking, fabric and construction techniques. To make the point, your abundantly
wealthy 19 year‐old clubbing socialite will most definitely not buy your dress made out of N 2000 per
yard Lace or George fabric.
Designers work from the textiles to the design, and the pattern is made with that fabric in mind. That way
they know the following:
▪ The fabric exists and is available
▪ The design is made for that fabric rather than have a design “make due”
with the fabric you can find. It is best to start with the fabric when you can.
It’s a whole lot easier than being disappointed by not being able to find the
right fabric for your design later.
▪ The pattern should always be made knowing what fabrics, notions,
interfacings, etc. are going to be used.
▪ The principles and elements of design should be always kept in mind at all
times.
A well-fitting garment starts with a well-made pattern and of course a
suitable design. It can either be a pattern in various standard sizes or an
individually made pattern. The standard sizes are produced before they
actually have a buyer, while made-to-measure garments are produced only
when an order is placed.
When the designer get a very clear idea of the garment design next a
foundation pattern (block) is used as a basis for making the pattern for a
design. The made-to-measure garments also originate from a designed
~ 41 ~
standard block pattern. Patterns can be manipulated and changed adding adaptations to the block pattern
needed in order to get an individual pattern. Individual patterns are created by figure analysis, style and
size selection, and applied adaptations. The goal is to create a garment that is esthetical and has a good
fit, harmony in style lines and designed shape. Finding a balance between the body shape, the designed
style, and the necessary adaptations accomplishes an individual pattern.
Three different types of patterns are used when drafting a required garment style patterns, they are:
(1) Block Pattern – is the basic pattern that is used as a basis for adaptations. This block pattern is traced
on to pattern paper to produce the working pattern.
(2) Working Pattern – is used for cutting and adapting the block to achieve the final pattern.
(3) Final Pattern – is the pattern from which the garment will be cut. It must be clearly marked with all
the information that required for making up the garment.
The basic block pattern is spread,
slashed, cut and manipulated to
form a new pattern or shape. It is
then placed on another paper and
retraced along the newly shaped
lines. The lines are blended and the
seam allowances, grain lines and
necessary pattern information are
added to complete the pattern (see
diagram on the right).
KEY TERMS
▪ Block Pattern - is an outline of the body shape that used interchangeably to mean a pattern that serves
as a basis for other patterns. It is copied or traced, manipulated and cut apart observing specific rules
without changing the original fit of the pattern.
▪ Sloper or Template – is a shape made of a stiff substance, such as freezer paper or cardboard, usually
the size of the finished design of a pattern that has no seam or hem allowances.
▪ Design or Styled Pattern - this comprises of the finished pattern inclusive of all the features or style
details related to specific garment design. Seam allowances can be added, if desired.
▪ Master Pattern / First Pattern - is the original pattern developed from a basic block for a frequently
used style. It has no seam allowances or additional style details. These patterns save design time.
▪ Seamless Pattern - is a pattern without any seam or hem allowances. The allowances are drawn
directly on the fabric after the pattern has been traced.
▪ Sample Garment – first model of a garment, made in the definitive fabric or on one as close as
possible, which tests whether the garment will be kept in the collection or not.
▪ Production Pattern - this is a pattern set that has been test fit, corrected and perfected and comprises of
all the pattern pieces for an entire size range. All details are noted on the pattern including seam
allowances.
▪ Pattern Marker - is a length of paper containing a copy of all pattern pieces to be cut at one time. All
pattern symbols are clearly indicated on a marker.
▪ Pattern Plot - this refers to the act of placing new guidelines or design lines on traced copy of the
working pattern to allow for pattern manipulations.
▪ Pattern Manipulation - this means to alter the basic block pattern to produce a design pattern using
slashing, spreading or pivoting of pattern sections and adding measurements for desired garment style.
▪ Pivotal Point - a designated point on the working pattern from which it can be manipulated to achieve
various designs without changing the fit and size of the garment.
▪ Grain Line - is the direction in which the yarn runs in all woven fabrics (lengthwise and crosswise
grain). The grain line on the block pattern run parallel with the center front and center back edges in the
bodice and in case of sleeves or trousers straight down the middle.
▪ Landmarks - are designated point around the body that correspond with those on the form. They are
essential for measuring the body sections when drafting or draping.
~ 42 ~
▪ Balance Points - is the points that are marked on two corresponding parts of a pattern to show exactly
how the parts should be joined together.
▪ Dot Marking - a pencil mark indicating a specific point on the pattern.
▪ Pattern Symbols or Pattern Markings – is the symbols for construction that are marked on the
pattern, such as for darts, buttonholes, notches, dots or tucks. They are transferred from the pattern to the
fabric by means of tailor’s tacks, notches, chalk, basting or temporary fabric markers.
PRINCIPLES OF PATTERN MAKING
Generally basic principles are common to many pattern pieces and they are:
Seam Lines – a pattern piece can be cut across vertically, horizontally, diagonally, with curved lines etc;
when the sections are joined the pattern piece will have a seam, but the basic shape remains the same.
Dart shaping can be moved to seam lines so that the shaping remains but the dart disappears.
Shape – a garment can fit closely to the figure, be semi-fitting or easy fitting in shape. This is achieved
by using the blocks with or without shaping. These are some examples of changes of pattern shape:
▪ Widening the outline – inserting extra body ease.
▪ Hidden shapes – adding pleats or godets.
▪ Puff and Bell shapes – adding width to the design by tucks or gathers;
▪ Cone shapes – widening the hem line only.
Adding Pieces – when adding pockets, peplums, panels, flaps etc. Consider carefully the balance of the
design.
Body Movement – in more advance pattern cutting parts of bodices are added to sleeves. When working
these designs always be aware that the body must be able to move. It is only on wide full garments that
very simple shapes can be used.
Beautiful Shapes – it is always necessary to have good lines and shapes. When cutting intricate patterns
small amounts of the basic block may be lost or small
parts added.
Points of Consideration - before commencing any
adaptation the following points should be considered:
▪ Design Analysis - this consists of examining a picture
or sketch in details and to determine how the fitting darts
have been used. The analyzer has to explain what has
happened to these fitting darts, for example, a classic
princess is distinguished by a styleline that starts at the
front and back waist darts and continuing over bust
points and shoulder blades and ending at mid-shoulder
dart of the back, the position of dart point can vary to
improve stylelines that replace darts.
▪ Selection of the Correct Block - the blocks include the basic amount of ease required for the function of
the block, for example, a dress block requires less ease than a jacket block. It is important that the correct
block is chosen for the design - this not
only saves time during adaptation but can
affect the final shape of the garment.
▪ Dart Manipulation - a dart can be
transferred to any location around the
pattern’s outline from a designated pivotal
point without affecting the size or fit of the
garment. The dart excess can be used as
gathers, pleats, tuck-darts, stylelines
(princes seams or yokes), flare, and ease.

~ 43 ~
▪ Added Fullness - this is to increase
fullness in a garment to an amount
greater than the dart excess provides.
1 2
The length and width within the 3
pattern’s frame must be increased - this
increment can change the silhouette.
Fullness can be equal (1), one-
side (2) and unequal (3).
▪ Contouring - this is to fit the
contours of the upper torso
closer than does the basic block,
the pattern must be reduced
within its frame to fit the
dimensions of the body above,
below, and in between the bust
and shoulder blades. This can be
performed by trimming the
outline of the pattern to fit the
slope of the shoulder and the
side seam ease is eliminated. These designs follow the
contour of the body rather than hanging loosely over
the hallow areas around the bust and shoulder blades.
DESIGN ANALYSIS
As a patternmaker you need
to be able to accurately
interpret the design and
deliver a pattern that can be
sewn into a garment to look
like that design. It is your
job to analyze the design by
paying attention to details
and to decide which
principles to apply to the
developing pattern to
ensure that what you see in
that design will come up
into a reality.
Make a copy of the design and mark it into proportions
according to the body. Mark the major body areas,
such as: waist, bust, knees, elbows, etc. Completely
break down the entire garment. You need to answer following questions:
What Basic Pattern is used for
this design?
• Will it be a fitted dress with a
waistline seam and set- in
sleeves? [Use the Basic Skirt
and Basic Bodice]
• Will it be a fitted dress
without a waistline seam? [Use
the Basic Dress Block]

~ 44 ~
• Does it have a relaxed fit? [Use the Basic Dartless Dress Block and Sleeve.]
• Will the sleeve be slender and shaped with an elbow dart? [Use the Shaped Basic Sleeve.]
• Will the sleeve be wider and have no elbow dart? [Widen the Straight Basic Sleeve.]
• Will the sleeve be cut as part of a garment that is fitted smoothly? [Use a Kimono Sleeve on a Basic
Bodice or a Basic Dress Block, depending on whether or not there will be a waist seam.]
• Will the garment be worn over another garment? [Enlarge the chosen pattern.]
How is the skirt designed?
• Will the skirt be straight, tapered in at the hem, or flared?
• If the skirt is flared, which type of flare will it be - internal, external, or both?
• If the skirt is gathered, where will the gathers be and how much fullness will be added?
• If the skirt will have pleats, where will they be and how deep? Will the pleats be straight or flared? Does
the pleat have an inset section?
• Will the skirt be gored and if so, how many gores will there be? Will they fall close to the body or flare
out?
How is the bodice designed?
• If the garment is fitted, where are the bodice darts? Are there visible darts, gathers in instead of darts, or
seams with hidden darts? Do gathers replace the waistline darts?
• Is extra fabric introduced into the bodice area for fullness, pleats, blousing, or draping?
• If any changes will be made to the armhole area, will the front and back armholes still be equal? If not,
how will they be equalized?
• Is the neckline large enough to slip over the head? If not, how will it be made large enough?
• Where is the back shoulder dart in this design - on the shoulder, in the neckline or hidden in a seamline?
How is the sleeve designed?
• Is the sleeve wider at the wrist than the Basic Sleeve? If so, how much wider?
• Does the sleeve need an elbow dart or can the arm bend easily without a dart? If a dart is needed, can a
small dart be eased in?
• Does the sleeve have the Basic Sleeve cap height or is it a shortened action cap?
• If changes were made to the bodice armholes, has the sleeve been adjusted to match?
• What is the amount of ease in the sleeve cap? Can it be set into the armhole?
What are the design details for this garment?
• Has the neckline been changed from the Basic?
• Is there a collar? Is there a lapel? Does the collar have a stand? Is it flat or rolled? How wide is the
collar or a lapel?
• Does this design have pockets? If so, where are they and what type are they? What size?
• Do the sleeves have cuffs? If so, are they a separate pattern piece or is the bottom of the sleeve turned
up to form a cuff?
• Can this garment be put on easily? Does it need an opening? Where?
• Are there buttons and buttonholes in the design? If so, where will the buttons be located and how large
will they be? What is the allowance for an overlap?
• Does this design have waistband? If so, where is its level and what type of waistband? What size?
• Is there a belt included in this design? What type of belt?
• Are there any other details that need attention?
GARMENT PATTERN INSPECTION
When the garment pattern is constructed there general questions that must be answered, such as:
• Are the sections of the patterns coordinated? Are the seams that will be sewed together the same length?
Do design lines in the bodice line up with those in the skirt? Do the front design lines blend with those
in the back?
• Is the armhole balanced - is the front armhole the same size as the back armhole even though they are
not the same shape? Is any adjustment to the armhole reflected in the sleeve cap? If the pattern for the
~ 45 ~
 garment was enlarged, was the sleeve changed to match? How much ease does the sleeve cap have?
Can that much ease be set into the armhole, using the fabric for this garment?
• Where will it be necessary to have a facing? Have the facing patterns been made?
• Is each pattern section marked clearly with a label indicating what it is? Does each section have a
specified location for the Straight Grain?
• Are all notches marked clearly so the pattern sections will go together easily when the garment is
constructed?
DRAFTING PROCEDURES
When drafting the pattern it is essential that lines and curves are smooth because any uneven lines will
show as unsightly bumps on the finished garment.
When a curved line
meats a straight line it
must run into it
smoothly (1). Neck and
armhole curves must be
perfect. Make sure all
design curves are
beautifully shaped,
especially where they
meet a fold line (2).
Draw all lines smooth
and even because
pattern pieces that are
‘cut and spread’ can
give an uneven outline
(3). Shape downwards
the base of a single-
pointed dart because
when dart is machined
the base of it is drawn
upwards on the seam
(4). To avoid sharp
point at the bust shorten
the length of the bust
dart and front waist dart
by 2 cm (5). To achieve
a fitted shape around the
diaphragm, curve the
side seam slightly (0.3
cm to 0.5 cm) inwards
(6) and the bust and waist darts slightly outwards (7) and (8).
1. Draft in pencil. Ink on the pattern may stain the fabric or other patterns copied from the Basic Pattern.
Use a very sharp pencil. Tilt the pencil in toward the ruler or French curve when drawing a line. Do not
draw lines freehand on patterns.
2. “Make a copy of the pattern” is frequently the first step in instructions. It usually refers to copying
one of the Basic Patterns. The drafter must find the correct pattern, lay it over another sheet of paper and
trace the outlines of the pattern with a pencil and then add the internal pattern lines by running a
needlepoint tracing wheel over the lines. The needlepoint wheel leaves perforations on the lower sheet of
paper that are then retraced with a pencil and ruler. Labels are added to the freshly copied pattern such as
“Center Front” and “Hip Level Line.” The Basic Pattern is returned to its storage location before
proceeding.

~ 46 ~
3. “Square a line over” appears often in the drafting directions. One arm of the Tailor’s Square is
precisely aligned with an existing line at some specific point and a second line is drawn along the other
arm of the square. There must be an existing line in order to square a line. It cannot be assumed that the
edge of the paper is straight.
4. Pivoting a pattern is often done to change a design. Pivoting
is a manipulation process. A pattern is placed over another sheet
of paper, pinned securely with several push pins and a specific
part of the pattern is traced. One push pin is located at the “pivot
point” and the rest of the push pins are removed. The lower
sheet of paper is still pinned in place. The upper pattern is
moved on the pivot point as much as directed and then pinned
down securely again. Another section of the pattern is traced.
Depending on the effect desired, this procedure may need to be
repeated several times before the final pattern is completed.
After pivoting is completed, the upper pattern is removed and
stored. The lower pattern has labels added and lines drawn using pencil and ruler to mark the traced lines
so they are visible.
5. Measuring. The tape measure is positioned on the area of the body being measured with no fingers
under the tape and no slack in the tape. It does not indent the flesh nor loosely slip down. Measurements
are always taken of the model as she is, not as she hopes to be later.
• “Jump over the dart” may be one of the instructions. An easy and accurate way is to measure from the
Center Front to the first dart, hold a pencil point or a fingernail firmly on the tape measure at that mark
and transfer that mark to the other side of the first dart, continuing in this manner until the entire front
waistline is measured and the amount noted on the pattern near the waistline.
• “Measure around the curve” is often seen in the instructions for armholes and sleeve cap. Place the
tape measure on the rib at the curve line on the pattern. Keep the edge of the tape on the curved line.
Repeat these steps until the curve is measured. It is possible to use this technique to measure any curved
line.
6. “True the Pattern” is a step that must be taken as any pattern nears completion. It is rarely mentioned
in the instructions but the designer must always take the time to refine and true each pattern.
• Use a ruler and pencil marks to mark all lines that should be straight and the curve stick or French
curves to smooth all curved lines. Check that lines such as Hip Level Line and Scye Line are squared
over from the center line.
• Close darts by folding them in the direction they will be pressed in the garment and trace across that
seamline. Flatten the paper and go over the tracing perforations with pencil marks. This is the seamline in
the dart area.
• Lay the seams that will be sewed together side by side. Check if they are the same length and correct if
needed. Next check if a point forms at either end of the line. Smooth out any such points by adding or
cutting off a little to curve them. There should be no points or jogs on patterns where the body has a
smooth shape. When this matching of seams is done, it may be necessary to curve Princess Lines at the
shoulder seam so they form a smooth line as they pass over the shoulder.
• Check the shape of necklines. A boat neckline is the only one that meets in a point on the shoulder
seam. All other necklines should have a smooth curve at the shoulder seam.
• Check the skirt seams at the hemline. Every section of a skirt should be square at the lower corners. If
the skirt is very flared, the square corner may be only 5 cm wide before it starts to swing upward in a
curve.
7. Add Notches. Notches are indicated by short lines squared to the seamlines. They are used to help to
assemble the garment by matching the notches correctly during sewing process. For example, since the
Hip Level Line always serves as a notch, a second notch could be added below the Hip Level Line to
mark the side seams on gored skirts.

~ 47 ~
For the designer who is developing patterns for production, the
pattern is usually notched using a device called a ‘notcher.’ It takes a
tiny bite out of the pattern’s edge. Internal lines on production
patterns are marked with holes that have circles around them so they
are more visible, their placements are nearing the end of darts,
pocket or trim location, button or buttonhole placement, and inverse
corners.
• All seams are notched using single or multiple notches - short
seams once and longer seams twice. The pattern maker places the
notches so that it is impossible to match them and sew together
incorrect ‘pattern sections.’
• Notches are used when one seam is longer than the other and the
difference is meant to be eased in or gathered. Notches indicate the
amount of easing and where it is positioned.
• Notches are used to mark center lines and other matching points
such as Hip Level Lines.
• One notch is used to mark the front armhole and front of the sleeve cap. Two notches are used to mark
the back armhole and the back of the sleeve cap.
• Multiple notching is often used on skirts with several gores. All the gores would already have one notch
at Hip Level Line. Starting at the Center Front, each gore could have another notch lower on the seam to
indicate its progression around the body.
• If the patterns have seam allowances, they are indicated with notches as are the dart locations where
they touch the seams.
• Notches are used to indicate the location of fold lines, endings of zipper openings, ends of slits and any
other details that need to be drawn to the attention during garment assembling. On industrial patterns that
have seam allowances, a hole is used to mark details such as pocket locations, ends of darts, etc.
PATTERN INSTRUCTIONS
The garment pattern is the primary link
between design and production and so
must communicate accurately with all
the functions, such as pattern grading,
marker planning, and sewing that have
to use the pattern and the pattern has to
clearly and precisely convey the
information necessary to perform each
of this operations. The following
construction details and information
should be recorded and marked clearly
on the pattern:
1. Pattern name (six gore skirt,
Bermuda trousers, classic blouse etc.).
2. Pattern size (Size 8, Size 14 etc.).
3. The name of each piece of pattern
(bodice front, bodice back, sleeve,
facing, back yoke, cuff etc).
4. The number of pieces to be cut with
each pattern piece (a single piece or a
paired pattern piece).
5. Centre front and centre back lines
should be marked. It is advantageous to cut outward notches at CF and CB of pattern pieces because at the
time of assembling the garment, notches on collars can be matched to notches on the neck line of garment etc.

~ 48 ~
6. Grain lines should be drawn on all pattern pieces. This line indicates that the pattern should be kept on the
cloth in such a way that the line is parallel to selvedges (these are usually marked by arrow lines).
7. Fold lines should be clearly shown. Fold lines appear along centre front or centre back edges and
sometimes along hems to show where the material is to be folded ( these are often marked by a fold symbol).
8. Balance marks or matching notches along seams to show which seams are to be joined together and where
(hip line, waist line, elbow line etc.)
9. Construction marks should be clearly shown (these include darts, buttonholes, pockets placing, pleats,
slit, zipper etc.)
10. If seam allowances are not included in the draft, this should be mentioned. If seam allowances are
included, seam lines and cutting lines should be clearly shown.
SEAM ALLOWANCES
The seam allowances can be added to the
finished patterns in the process of their
construction or chalked on to the fabric during
layout process. The
extra width of
seam allowance
required will
depend on the type
of seam and the
distance between
the seam and the
top stitching (see
two examples on
the right).
There is a general
guide to the
amount of seam allowance required in specific
places however these are general rules and they may change according to the company and their
guideline. It may also change according to the fabric that is patterned for. Fabrics which fray easily will
require wider turnings especially around facings and collars.
It is important that the seam allowances added to the pattern must be accurate and clearly marked by lines
or notches.
GENERAL RULES OF SEAM ALLOWANCE
Basic seams 1.2 cm Most common
Flat felled seams 1.5 - 2 cm To allow the fold‐over
Knit seams or serge‐sew seams 0.6 - 1 cm
Extremely curved seams without
0.5 cm
added bulk (gathers, pleats, etc.)
Facing seams, collars, pockets,
0.5 cm Must match garment
waistbands
Interfacing 0 cm Take all seam allowance off
Used for fitting purposes, after pattern is perfected,
Perfectly straight seams before
2 or 2.5cm seam allowance will be taken down to normal amount
fitting
(1.2 cm)
Closures: buttons/buttonholes 0.5 cm Because they usually have facings
Centered zipper 1.2 cm
Invisible zipper 1.2 cm
Lapped zipper 2 - 2.5cm Need larger amount for lap
Exposed zipper 1.2 cm
Fly zipper/buttons 0.5 ‐ 1.2 cm
~ 49 ~
 THE GENERAL RULES OF HEMS

Rolled 0.5 cm Light weight or sheer fabrics - all lengths

Medium weights - sporty look – short to
Double‐fold/topstitch 1.2 - 2 cm
mid‐length
Turn once, blind hem or topstitch 2.5 - 5 cm All weights - classy - all lengths
Luxury hem 7.5 - 10 cm High end - mid to long lengths
0.5 ‐ 1.2 cm seam Curvy hems or shaped (high end) - all
Faced hem (shaped) allowance + hem lengths (depends more on the shape than
facing the length)

~ 50 ~