,2 )
Tomoko Nakamichi Having served many years as a professor at Bunka Fashion College, Tomoko Nakamichi currently delivers lectures and holds courses on paffern making in her native Japan and internationally. This book brings together the results of the research on garment patterns she has carried out to help instruct her students. She also enjoys creating the ball-jointed fashion dolls that appear iñ the pages of this book.
PA TTER N M AC I C Tomoko Nakamichi
KingPublishing Laurence
Pattern Making Cut andioin flat piecesof fabric to assemble into a three-dimensional garment.
Take the pieces of a three-dimensional garment apart and flatten them, to get individual pattern pieces.
The relationship between the flat pattern pieces and the three-dimensional structure of the garment never changes.
You can create a garment by cutting, moving and reassemblingthe piecesof a pattern, just like the pieces of. a pazzle.
Use your original designs to make new patterns.
Conte n ts Usingthis book
Fundamentals
PIateS
Pa r t 1 Creatingform throughinspiration
Accents
13
Instructions 27
(deppari)
Gathered hole
14'15 '1.7
Crater
L6.1.7
The drop hole
1,8. 1.9
(otoshiana)
Lumps and bumps
20
(dekoboko)
female sloper(block)for an adultJapanese Thedressform usedin this bookis basedon the standardBunka-style Seepages98-'102for moredetails All patternsarefor a size9 lapaneseadult female(bust 83cm,waist 64cm, centrebacklength38cm) to garmentsize Theposiüonof the cuttingandopeningout lines,andthe amountto be openedout, mayvaryaccording and developthe frtern measurements bodyform, reduceto halfallfull-sized When usinga half-scale
Plates
P ar t 2 MakingPatterns for hautecouture garments
Instructtons /1
Draped design
53
The twist
54
68
55
74
Interwoven design
56
80
Bamboo shoot
57
84
58.59
86
(nejiri)
Hide and seek (kal
.¿:ffi (tak-enoko)
The knot (musubw)
Two distinctexPressions 60
94
60
96
An intrigurng curve
Bunka-style sloper (block) for an adult woman woman Bunka-style sloper (block) for an adult
éjr.'H¡lir'"ir*!ur.l
99
lo1
usitrgthis book At the beginning of this book (page 7) I explained about the relationship berween the three-dimensional structure of a garment and flat pattern pieces. A major objective when making garments for women is not only that they fit properly but that they also look attractive. For this reason, garment design will never cease to exist and provide endless enjoyment. I hope the pattern-making method I introduce here is of use to you in turning an image into a silhouette or design detail, and that you learn from the ideas in this book and find new methods that work for you. The pattern drafting and manipulation for the design of garments in this book are based on the Bunka-style sloper (block) for adult women (Japanese'M' size: bust 83cm, waist 64cm, centre back length 38cm) , and a half-scale dress form for the three-dimensional pattern manipulation. All the measurementson this dress form are half that of a full-sized dress form, its surface area is scaled down to a quarter and its volume to one-eighth. Using a halfscaledress form helps to understand the overall balance and look of a garment. As my objective was to explain the construction of a pattern in an easy-to-follow wa¡ I have omitted pattern markings such as facing lines used for actually constructing the garment and the amount of fabric required to make the garment.
Abbreviationsused in pattern drafting
Symbolsused in patterndrafting
BP BustPoint
Guideline
Line that acts as a guide when drawing other lines Shown by a thin solid line
AH Arm Hole
Sectorline
equal lengths Shown by a th¡n broken l¡ne
FAH FrontArm Hole
F in ish in gline
L¡ne ind¡cating the finished outline ofa pattern Shown bv a thick solid line or a broken l¡ne,
Cuton the fold
[ine ind¡cating where the fabr¡c is to be cut on the fold, Shown by a thick broken line
BAH BackArm Hole B Bust W Waist
One-waypleats
BL BustLine
EL ElbowLine CF CentreFront CB CentreBack
--=
G-
Indicates the direction of the bias ofthe fabric. Shown bv a thick solid line
/
Biasdirection
/ ---=-r,>
Extension marking
t---
Easemarking
z/----=---x
Ind¡cates the part to be stretched
lnd¡c¿tes the Dart to be eased
Clo sea n d
Indicates that the paper pattern is to be folded along the dotted lines and cutopen along the sol¡d line
cu t o p e n m arki ng
Markingto cut fabricwith paper patternp¡eces arrangeo contiguously
Draw two diagonal lines slop¡ng downwards towards the hem Shows that the higher l¡ne folds over the lower line,
Ind¡cates that the cross-w¡se gra¡n ofthe fabric runs ¡n the dirtrt¡on of the arrow Shown bv a thick solid line
Gr a inlin e
WL Waist Line HL Hip Line
Indicates a r¡ghtangle.Shownby a thin solidline
N-7T (,/l l\)
MH M id Hip H Hip
L
Rightanglemárkin1
Ind¡cates thatthe paper pattern pieces are to be arranged contiguously when cutting out the fabric.
& 11 PATTERN
MAGIC
P A T T E RN MACIC
Part1 Creating formthroughinspiration You'll find ideas for garment design everywhere ... buildings,flowers or treesin nature, tools you use every da¡ even a person's face. To turn the image in your mind into a garment you'll need to know the techniques of pattern making. It's not.difficult and there's no one prescribed way to make garments; just discover a way that suits you.
13 PATTERN
I
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15 PATTERN
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,-
-.i'.::'.:
a: : : :
.
16 P AT T E R N
M A C IC
I
Sleevewith gatheredhole
Lrater sleeve
(Seepage36 for instructions)
!=: page40 for instructions)
17 PATTERN
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,18 PATTERN
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19 PATTERN
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20 PATTERN
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PATTERN
M ACI C
Fundamentals It's possible to express avant-garde design and elegant detail in a contemporary garment by using the Bunka-style sloper (block) as a base which fits the wearer's body form as closely as possible. First, insert a circular design Iine instead of darts into the bodice of the sloper. The secret of Pattern Magic lies in the "close, cut and open out" technique.
21 PATTERN
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Basicbodicepattern
Bodicefront oattern basedon the Bunka-style sloper(block)(seepagesgg-102)
Bodicepatternwith closeddarts.
lnserting a circulardesignline ff
Wn"ntheedgeof thecirclepasses throughthebustpo¡nts
Cuüing out the circleproducesa patternwith the samesilhoueüeasthe sloperabove.
Theedgeof the circle passes throughthe bustpoints.
l-r
I
The circlethat hasbeencut out forms the patternfor the designline.
Whenthe circleextendsbeyondthe bustpoints
Evenif you cut out the circle,the undersidedoesnot lie flat and cannotbe usedas a pattern.
Thecircleextendsbeyondthe bustpoints
Evenif you cut out the circle,it doesnot lieflat.
22 PATTERN
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To makea patternfor the circle Shorteningthe daftsso that they end at the edgeof the circlewill makethe circlelie flat so that a patterncan be made However, the silhouette will be not be sameasthe sloper(block).
Shoftenthe dartsto end at the edgeof the circle
Closethe dartsand cut out the circle
The patternis not fitted in the chestarea andthe silhouette is not the same
Threemethodsfor makinga patternwith the samesilhouette Theyall involvemanipulating the dartsthat areIeftinsidethe circle.
1. Insertdarls(Closetwo darLsto makeinto one)
2. Ease
3. Flatten
"Flatten"meansto pressdown on any fullnessthat refusesto lieflat In a similarway to a sugarcubewhere the cornershavebeenworn away, gentlecurvesform on the patternas just shownin the drawing Flattening a smallamountof fullnesscreatesa well-fittedform
Depending on the methodyou use,the three-dimensional expression changesfrom softto sharp To the left is a bodicepatternwherethe dads havebeenflaüened
23 PATTERN
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I ns er t i ncgo m p l e xd e s i g nl i ne sin toa slo p e (r b lo ck) asa furtherapplication of thistechnique In the sameway as for the bodicewith the circulardesign line,makethe bodicepatternout of paper Drawany kindof lineyou want and don't forgetto insert the positionof the opening.
Cut and openout alongthe lines
Flattenout the areasthat do not l¡efiat either by insertingdarts,easing,or flattening, or by combiningthesemethods
24 PATTERN
MACJC
Cannot openeo The patternls flat but the beginningof the curvecannotbe openedout because thereis no seamallowance for the designlineseam
Foldovera smallportionat the end of the curveto createsomeseamallowance Then,eitherstretchout the foldedportionor cut and opennearthe shoulden
c - : : e fl a teit her r -, : -e nl n g, tf !
BACK
F RONT
Althoughwe haveto be meticulous for a garmentpattern,in somecases whereonlya few millimetres are aboutmeasurements involved, thereis nothingwrongwith beingflexible.HereI havefoldedand createdthe seamallowance but you may change the designso that the designlinesend at the pointsup to whereyou cansew. The fabricalsostretchesa lot with patternsthat havecurveddesignlines,and when you actuallycut the fabricout, you will needto adjustthe measurements. Selecta methodconsidering the overallbalance of the garment.
25 PATIERN
MACIC
N MACIC
á3ffiffi cuttlng requlres
¡ ::¡r
-.
\ -ieppdri protrudes from the back like a shell.
:
;¡ it utilisesthe unevennessof the bod¡ : rl-sn'tjust have to be the back - r rr-hich a deppari protrudes. r.r' can be positioned anywhere,on the back
I
: rn the chest, to create a sharp design line. -. : rc .tre two interesting dep pari designs.
b. F
3cm
" t i I
Reverseand cut out
FRONT
BP
aao
22 makeonlythe rightbodice the depparicomesinto contactw¡ththe rightneckline, 43 Because significantly deeper :ack neckline
the depparíagainand cut out $ Reverse
will be neaterif thereis S Rsthe projection no shoulderseam,closethe left shoulderdart with the and cut thissectioncont¡nuously bodicefront
PATf
ERN
MACIC
S To make the deppariappearto be protrud¡ngfrom the pointwherethe curveof the shoulderbladeends,draw it from the end of the shoulderdart on the pattern To make the deppailneat,movethe rightshoulder dad to the AH
Page13:Depparishirt of the bust. The depparion the chestutilisesthe fullness The sharpaccentin the chestareao f th e c ri sphi ghqualitycotton shirt hasa coolnessth a t i s r emi ni scent shirt. of a safari-style
SLEEVE
fittedto the body, the shirtdoesnot haveto be particularly $ Because that was movedto the AH into two dividethe shoulderdartallowance one halfinto the darts,andthe restin the equalsectionsDistribute the dad allowance is small armholeShortenthe dart because
cn cm
/
-/-/ ..t6cm
COLLAR 4cm r
a+a-
12cm 2cm 11cm
@ Draw lhe depparl Dividethe bust dart distribute allowanceinto threeequalsections, one third into easein the armhole,leavetwo thlrdsfor the bustdart and sewIhe deppari to the armhole
@ Reversethe deppari and cutout
28 PATTERN
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Page14:Dresswith gatheredhole A designwherea hole is openedand gathered in a fitted silhouette,without inserting dartsor des ignlines .
0 .5 cm
(f Drafta patternof a dresswith a fitted sjlhouette
0 - 5 cm
the left and rightbodicepanelsareasymmetrical, alignthem and drawwhereyou want to openthe hole Insertcuttingand openingout @ Because nesin a rad¡alpatternin a balanced way. Wherethe cuttingand openingout linesdo not makecontactwith the pointof the darts,adjustby makingthe dartslongeror shorter. Wherethe pointof the dartis too far away,for examplelikethe bustdarton the left bodicefront in the drawing,you canalsodrawanothercutting a n do p e n in go u t lin ea sin @ Makean openingin the backleft shoulderalongthe radial-pattern cuttingand openingout line, andconnectthat sect¡on to the bodicefront
31 PATTERN
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Closeall the darls,therebymakingit possibleto create a fitted ouette evenwithout darts. Manipulatethe cut and openedparts,to drawa smooth continuous rine for the outlineof the holeand the sideseam.Then redrawthe hemline with a neat,straightline.
End of seam
Top-stitchwidth= 1cm
o*..ll9-
* . .:u"-------- ,
':
-i filred
i:,ü
: lr t t n u o u s l in e :
t l - r eh e m l i ne
i:
!
IIi3¡ i:' - ::s i g n w h e reth e l u x u ri o u fa s bri c . ,:l fo r th e c a mi s o l e i s fi tte dto the - ::;i w i th d e s i g nl i n e sa n d a p p earsto -:. e s p ru n gfro m th e g a th e re dhol e. : ; m a d efro m c o tto nv o i l ew o v en :' d o tsa n d i s g re a tfo r w e a ri ngas ,i s u a lw e a r,fo r e x a mp l ew , i th j e ans.
5cm 9cm
Shoulderstrap position attachment 2cm
21cm-
I*L'
I 6cm
BACK
I ,1
20cm-
I 18cm
End of
24cm 14cm
18cm
Y
6cm
I
Q Open a smallholefor the gatheringaroundthe mid hip (MH) areaof the right bodicefront. Make a part of the gatheringinto a frill for greateremphasis. To createthe frill strip,decidewherethe seamendsand do not sew beyondthat point.Then makethe frill, taking care not to attach it to the bod¡ce. Fit the waist usingthe curveddiagonalseamsas designlines.
Align the right side seams, and cut open ;'
@ Draw designlinesfor the gatheringin a radialpatternin section@ of the patternwherethe hole hasbeen made. Alignhe bodicefiont and backrigtrts¡deseamsand insertthe dcign lines Enlargement of the frilledsection, The endsof the frill strip are not joined together.
34 PAT T ER N M AG IC
With stretched bias
Top-stitchwidth = 1cm
End of seam
End of seam
pattern Add 27cmon each @ Cut and oPenout section@ of the and @ sideto get plentyof frill.Alsoadd extrawidth as requiredat @ lines' well-connected smooth draw (4cmin thiscase)to
6
/s, the hem line C) Cut out eachof the sections@, @ and @ and adjust
35 PATIERN
MACIC
hole with gathered Page17.Sleeve A designfor a close-fittingsleeve, with volumeonlyin the top section Visualize the finished of the sleeve. silhouetteof the sleeveto det er m i n eh o w mu c hfu l l n e s s must be addedto the pattern.
1
, ra w i n g T hen,m a k eth e p a tte rn d t he s lee v eh e i g h ti n th e s a me way as in th e d e s i g nd ra w i n go n t he r igh t. Don't forgetthat the amountfor c ut t inga n d o p e n i n go u t v a ri e s greatlydependingon the fabric y ou hav ec h o s e n .
O Measurethe armholeof the bodiceand makea drawingfor the sleeve
Os,
of the sleeve @ Drawthe finishedsilhouette capas seenfrom the side(thesleevecap is flattenedin the finishedstate).
lf¡fü:ü filInn"]!1 ilmü
¡rf,f tl tu{
f ú
¡ ]L
36 P Af I E R N
M A C IC
*@ ;\
of the sleeve
Oeegcanis
l: deeve cap that facesthe neck by adding t: samemeasurementas in @. Draw the eiderarm line.
@ Cut and open out the sleevecap unül it reachesline @ and draw a smooth, curvedline.
@ Draw cutting and opening out lines in a radialpattern from the centre of the hole.
Sleeve cap
tO nrstly,with the sleevecap attached,cut and open out until the sleevecap line becomeshorizontat. It is up to you to decidehow much you want to open the sleevecap, but considerthe fabric grain, easeof sewing, and other factors. Sleeve
Top-stitch width= lcm a-b= x Endof seam-? 2cm
E +s c m
the amountfor the gatheringis still not sufficient,open out the sleevecap evenfurther. @ Because The amountfor cutting and openingout vaies accordingto the fabricused.
37 PAT T ER N M AG IC
b\\
Endof seam
_____--
'¡ !,,-it,
By inserting ease,the fabric was shaped into a gentle c.oncavestructure,resembling a crater on the surface of the m.ben. Use a sturdy fabric that can be easedinto shape , for a more .*¡,.dramatic appearance.
Lil
'i
)age 1
Craterbodice
: - elegantbodicethat emphasizes the subtlemovements of the fabric.
FRONT @
/.'i II ll ll ll
ll tl tl
|l tl ll
points@ and@, Q rseftthe designlinesfor the "crater"anddetermine ',-:re the easingwill end - d isthe linefrom whichthe "crater"startsto swell Draw@@ by :,::nding the linethat connects the pointsof the two darts -
to the "crater"and insert @ ndd Zcmat the bustlineto add thickness linesfor cut and openingout asshownin the draw¡ng
O Closethe dartson the section :-et forms the bottom of the :rater"on the bodicerightpanel
B ri ng together
@ Closethe dart in @ and cut and openout @ until@Af-@ aligns with @ AIígn@ and @ asshownin the drawingto makeonepanern Thedifference in lengthbetween@ and@ on the bodiceleft and right panelsis the amountof ease Usefabriccut on the biasso that it ¡s easierto insertease
39 PATTERN
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#
w
Page17: Cratersleeve A sleevewith structural interestwherea dent hasbeenmadein the fabricon the sleevecao. An interesting designfor a simplejacketor coat.
$ Draftthe basicsleevepattern Drawthe shapeof the sleevecap Connectthe point wh e r ethe sl eeve w i dthon el thersi deof the sle e ve -cap l i nehasbeendj vi dedi ntotw o e q u a lsecti ons andthe sl eeveopeni ngw i dth measurementDraw the linewith a slight outwardcurveat the ELto createthe shape of the naturalarm
40 PATTERN
MACIC
at the fold lineto make S Opensymmetrically a one-prece sreeve
,' ffm
ü, i[ri ] il
l,ul]l t¡Í
H I
mm
'
ri[5úii] ,it ill[ilt
r r,,{l
@ -@ = ' !fud lineto make L¡
Q Ltore the designlinesfor the "crater" mn¡adfrom the sleevefold lines,and divide ü¡e deeve pattern into two panels,@ and E l¡a* points@ and @ to indicatethe area b be eased.Moving the designlinesinward *o hasthe effectof makingthe arm appear drfmer.
the th¡ckness of the @ Rdd ¡cm to increase "crater" in the areabetweei @ and @ on panel@.
G) Draw linesfor cuttingand openingout in a radialpatternin the areabetween@ and @ on panel @
@ Make the perimeterof the curvedline between@ and @ on panel@ inio x. Cut and open out panel@ as shown in the drawing. The amountto be openedout variesaccordingto the fabric used,but hereabout 15 percentof x hasbeenopened. The amountthat hasbeenopenedout is easedto createan elegantsilhouette
41 PATTERN
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The drop hole (otoshiana) The otoshiana technique was developed from the idea of connecting two holes to form a tunnel-like strucrure. As the otoshiana is a complex design, we start by assemblingit out of paper.
Assem blingthe otoshiana
ffi (f Open a holeof the desired ciTp
^n
+hé ñrñpr
a paperpipeand place @ trrtake it in th e h o le D eci deon your desiredangleand the lengthfor th e p ip e
cut off the part protrudingfrom the top of the paper @ With scissors
@ rold the exceison both sidesand redrawthe lines The amountaddedin thisway makes the entranceto the holelooser, or sharper, and the lookchanges
@ Insertthe designlines,
the edgesof @ Cut alongthe lines Because the paperpartsandthe pipearecurved,the excess amountdoesnot lieflat
42 PATTERN
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¡ar both lelnes The tÉ way makes : hde looser, r bo* changes.
O Makea muslin(toile)for the skirtbase Thepatternfor the skirlin the pictureis shownbelowbut you canmaxe the skirlany shapeyou want
@ In the sameway aswith paperon page42, insertthe tubethrougna fabric baseto createthe otoshiana
lf,r :rütruÍr
ft nrulilt
I mJ,Lfiiff|'
ü \m
44 PATTERN
MACIC
F
F
-,:- --:'
otoshianainto the holeln the skirtand create @ lnsertthe assembled yourdesi red si l houette
the otoshianain the skirt S Opena holewhereyou want to pos¡tion --r ho e canbe of any size,but remember to makeit largerthanthe
rhp ihrnrroh ¡
: ':!mferenceof the end of the tube andsmallerthanthe fabricbase
how bestto focuson @ Insertthe designlineshere,considering the otoshiana
to attach @ Fastenthe fabricbaseto the skirtwith pins,and machine-stitch
45 PATTERN = f:- - -
MACIC
I
@ Cut alongthe designlinesto makethe fabricoattern Where the edgesof the hole do not lie flat, fold the patternand adjust the line.
@ Open out and iron the folded parts,then machine_stitch for a smooth. continuous line.
--
-.dressfeaturestwo otoshiana on the insideto form --:,¡rected
::;n n e l . -- s is a complexpaüern,using :-: basicotoshianatechnique. ::r th i sd i s ti n c ti vdee s i g n , :5osea coarsewoollenfabric, - a neutralcolor,that is easy :r easeand stretch.
,l
''':'
Lur ' lcm
t
c19 -"n,1: tlfu tack
BACK
¡ ,i df' rú' ul 5cm :T¡l ¡ gil 1ñiligl:l]4
20cm
iFLi.r ¡lM
End of o p e nr n
Open
]mÉ urMN
*n t ll
lQ Usinga sloper(block),closethe dartsandcut and openout A basepatternfor a stmpledressthat hasneitherdartsnor designlines.
fmr
rdhm üÍMr
for positioning the holesand makea muslin @ Decideon the two places (toile)followingthe orderof pattern-makingfor a skirt
lm
1iltt [d Lülll
48 PATTERN
MACIC
Lumpsand bumps (dekoboko) This technique evolved from an idea to incorporate a Jekoboko (an uneven surface) decoration úro a garment. Anaching cubes onto a base is in itself interesting, but when the cubes are connected with design lines, dre undulating lines come alive.
Makinga patternfor the dekobokoout of paper
+,
a three-dimensional objectmade Q Assemble out of paperin any sizeyou want
@ Insertlinesin any way you want. The patternis easierto makeif the lines passthroughthe cornersof the threeobject dimensional
€) nttach to the paperbase. Think of the paperbaseas the garment
@ Cut alongthe lines,openand flattenout.
49 PATTERN
MACIC
@ Cut away the bottom of the base. Fromthe top, it is convexand from the bottom, concave
LLll
,¡ ,t i
-T
',,laking a patternwith the three-dimensional paperobjects
Q Randomlyattachthe cubesat differentheightsto the bodicesloper : ock)madeout of paper.
@ Drawthe designlinesin any way you want,join¡ngtogetherthe cubes
@ Cut alongthe linesand open to createthe pattern Wherethe designlinesdo not passthroughthe cornersof the cuoes, the patternwill not lieflat Useone of the threebasictechniques: insertingdarts,easing,or flattening,to makethe patternlieflat
51 PATTERN
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1{I
PATTERN
M ACI C
P ar t2 Makingpatterns for hautecouture garments When I was a srudent, I remember how difficult it was learning pattern-making off the blackboard. I achieved the shapesI wanted by making miniatures out of paper, flattening them out by inserting lines and cutting them to make a pattern. It gave me a great feeling of satisfaction, but I knew that, logicall¡ it was a dubious way of going about it.
Playing around with patterns enablesus ro produce many more designsfor couture garments.
its a_ : t t \ vas
-: _::ures
-
-*!tr
I
53 PATTERN
MACIC
'! I I F
ñ p i
É I i i
PATTERN
MAGIC
r
57 PATTERN
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;3 F
TF
Tyitg a bow A
Tyittg a bow B
(Seepage88 for instructions)
(Seepage88 for instructions)
Tying a bow C
Tying a bow D
(Seepage90 for instructions)
(Seepage92 for instructions)
59 PATTERN
MACIC
Two distinct expressions
An intriguing curve
(Seepage95 for instructions)
(Seepage97 for instructions)
60 PATTERN
MACIC
PATTERN MAGIC
Clothes are a way of expressing oneself,
and with this in mind I'm often inspired by fashions of the past.
To discover how they were made, I try drafting the patterns myself, and sometimescome up with designsthat are
g
entirely my own.
,d
Drapeddesign An elegant contrast creared by light and shade. Make an easy-to-draft flar pattern for a draped design that is usually produced by pinning and three-dimensional cutting of fabric. A right and left intersecting whirlpool drape has been insetted into the s\oper bodice.
lr l,
i vta Kng f t ne basicpattern ffñ!
m
¡
rj I i
lcm
:
I I l
:
j 1 i ! 3
5 cm
0.5cm
lcm
1
BP tcm}*'z 9cm
l
; :
9cm l I
4cm
\
4cm
; : + 0 5cm
H'
t+
2 ,5 cm
O Insertwaist dartsso that the bodiceis fitted ¡n the wa¡starea The bodicefront dartsare closed wh
areaece ntreorthe,ñ .rhconsidering a crrcre, the
*, ;:;:: il-,."T:r"ff i["-;,lT: ff
bulkcreatedby the tuy.r, ot fuUri. ill " tin" connect¡ng (€!@) ,sthe designline for makingth" n","'
Divide @@, theradius of thecircle, intofourequalsect¡ons and opening outlinesDivide the;;;;;;;; 11.,X.*ig."o ow €-F(9 ¡ntopanels and respectively. ""0 @ @
Lm
I n te rs e cth t e l e ft a n d ri g h tb o d i c epanel sthroughthe hol eand createthe drapeddesi gn.The l argert he cir cle, t h e mo rere l a x e dth e d e s i g nw i l l b e, and conversel the y, smal l ertheci rcl e,the sharperthedesi gn.
End of seam
,= Closedadson both panels@ and@ and cut andopenout untilthe distance between@ and@ becomes18cmin thiscaseAlignpanels@ lines and@ and drawsmooth,continuous To makethe hole,decidewherethe seamwill end andcallit @
: ''- : - : a n d :: , : ,: and
panelintotheholeyouhavemadeandsew theotherbodice fti Insert fromO to @ Sewthecentre frontfrom@, theendof theseam, to thehem
ffi Sewtogetherthe areabetween@ to @ on one bodicepanel
63 PATTERN
MACIC
Complex drapeddesign(addingonetwistto thefabric) The intersecting of the left and right bodicepanelsis the sameas on the simpledrapeddesignbodice, but the addingof one twist keepsthe fabricin place,therebyshowingthe modulations in the design. Rememberthat the undersideof the fabricwill appearat the front.
Armholeline
@ Q The basicpattern is the sameas for the simpledrapeddesignbodice Dividethe pattern above and below @@ into panels@ and @ respectively. Reversepanel@ to add one twist. The undersideof the fabricappearson the faceside. Changeihe posit¡onwherepanels@ and @ meetas shownin the drawing.
Side seam
Armholeline
End of seam
areabetweenpo¡nts@ and @ (18cm in this case) Alignpoints@ and@ and drawsmooth,continuous lines. To makethe hole,decidewherethe seamwill end and call it O.
64 PATTERN
MACIC
thefabric) -
^ ^ Ai^^
: -¡i
On
@ Wherethe patternhasbeen reverseo
one halfof the bodiceand sew between@ and @ Q Reverse
@ Insertthe otherhalfof the bodiceinto the holeandtwist
@ Sewfrom @ to @ on the otherhalfof the bodiceSewthe centre front and from the seamend to the hem Because of the bulkof the fabric,makethe holesomewhatlargeand adjustafterassembling
+_:
65 PATTERN
MACIC
cr ¡gil -l]tf !¡ilÍ[ iE
Fag*53. #ress #r-mp:md *$*sigr-r A dressmadefrom silkcréoefor more formaloccasions. The drapeddesignaroundthe chestis created with a techniquethat doesnot involvetwisting and maximizes the soft, billowyfabric.
0.5cm 0.5cm
.scm 1.scm 4 equal pans
H
;
@ Forthe bodiceback,closethe dartsand inserta little flare.
End of openrng
+2 c m
FRONT
Shoulder
2cm
2cm
Neckl¡ne
(f Because the necklineis wide,movethe shoulderdartsto the neckline. Dividethe radiusof the circlefor the drapeon the bodice front into four equalsectionsand draw cuttingand openinglineson panel@ Forthe skirtpattern@, drawjust one cuüingand openrng linefacingthe end of the darts.
WL
)O @ On the bodicefront, dividethe patternon eithersideof @@ into panel s@and@ C l ose the dartson @ and cut and openout.Then closethe dartson @ and open out the centrefront horizontally untilaligned with @ and@ asshown ¡n the draw¡ng
Sewfrom @ up to the end of the seam,cross overthe otherhalf into the holeyou have madeand sew thls alsofrom @ up to the end of the seam The centrefront of the skirtis a vent and thereforenot sewn.lf the opening bothersvou. sew it down at the back.
67 PATTERN
MACIC
@
FRONT J
L
-
Th* tre'ist{reeiiri} \fhen you twist a fabric it becomesnarrower and shorter, and when you releaseit, it returns to normal. In a different way from a garment that has a furrowed drape produced by techniquessuch as changing the position of the left and right sleeves, this patern has beenmanipulated so that the fabric is twisted round and round [ke a spiral.
e Theoretically when 'a' istwisted,measurement.becomesshorter.However,asthe fabric speaking, will looklikethat in the drawingon the right,the measurement will,in reality, be evenshorter. e As the fabricwill attemptto release the twist, reducethe easein the hipsto fit precisely. A designthat incorporates elastic tapeor a bandto keepthe hemlinein positionand preventthe
ü
fabricfrom returning to normal,is best *As twistingmakesthe waistnarrower,be carefulnot to reducetoo muchat the waist. a As neiiriis not a naturalform of the fabric,it will be easierif you usea fabricthat hashighstretchability.
T h e b a sicb o d ice
As twistingmakesthe garmentshorter,3cm hasbeenaddedto the length The waisthasbeentwistedslightly
6B PATTERN
MACIC
I
Threeneiiripatterns As twisting the fabric changesthe shapeof the necklineand the armholein a complexway, herethe fabric has been twisted only aroundthe waist.
Twisthorizontally
a = 1ocm $ Move the centreby a measurementequalto 'a' in the oppositedirectionof the twist you want to createin the fabric, @ Move both sideseamlineshorizontallyas shown in the drawing (¡nthis caselOcm). @ Redrawthe sideseamlinesto connectthe cornerof the armholeand the waist and hip areain smoothcontinuouslines.
Twistperpendicularly
Q Manipulatethe centrefront and centre backon the pattem by a measurementequalto 'b' (in this case 4cm) in a verticaldirectionoppositeto that of the twist you want to createin the fabric. (O Adjustthe linesfor the necklineand the hem,
69 PATTERN
MACIC
Twistboth horizontallyand perpendicularly
Making the fabr¡ctwist horizontailyand perpendicurarry at the sametime is difficurt, so manipulatethe horizontalpattern usingthe patternihat hasall
It iseasier ir vou u u".ti.uiiv panern in*hi.h th";:drii::"##t:r"1"*"J;1'L "' 'unipurated
Adjust thehemrine attheend.
Q Basicpattern The patternis the samefor the front and the back,and the simpledesign wherethe sleevesare part of the bodiceis createdin a knit fabric.No easehas beenaddedto makethe garmentfitted at the hip. Stretchthe necklineopen and checkthat your headfits through lf it doesnot, make the neck larger.
O¡T ilfrGd
@ Twist perpendicularly Manipulatethe pattern vertically in the directionoppositeto that of the twist you want to create in the fabric.
O Tw¡sthorizontally Manipulatethe patternin the direction oppositeto that of the twist you want to create¡n the fabric,¡n the samewav as for the perpendicular twist.
72 PATTERN
MACIC
Page60: A collarwith two distinctexPresslons double when viewedfrom the front' a A shirtcollarfrom the backand' on a theme' collar,this offerstwo variations design' to makethisintriguing I combinedpatternsfor two collars
o +@
3cm
of the @ Draft patternsfor each
the patternfor the bodicebase l$ Usingthe sloper(block),draft
two cottars
r6\ ¡ñ\ DZ---r yl
C ol l ar / attachmenl
l i ne
\
Coilarstandattachmentllne
@igl lines €) Alignthe collarattachment collar the CoPY collars of th" t*o standon collar@ to collar@
for collars@ and O makePatterns stand;then collar the without @ makefive slitsin the collarrunntng in towardsthe collarstandasshown the drawing
With the collar standlng
arealignedut@@ for @' and@' producedin stepO is different'a gap incllne the as but @ ls lacedown)' the slits' the lengthis not equal Openout e>O ""¿ (9) d callthe resultingPattern
)wn in asshown from patternpieces@' @' and@ Thiscollaris constructed
95 PATTERN
MACIC
l: f llñ
dmple design fabric. No l$. Stretchthe lldoes not. make
@ To createa soft effectfrom the shoulderto the sleevecap,alignthe left and right sleevecapsas shownin the drawing The designlinesinsertedinto the bodicebackserveas a stylishaccent
@ n stytistrdesignhas beencreatedby manipulatingthe pattern.
73 PATTERN
MAGIC
Flide and seek (kakurenbo)
-i¡ ml E
Not a flare that expands uniformly
4'
5ú
by cutting and opening out the pattern, but a flare that is subtly concealed on the underside of the fabric. Making a pattern Íor the kakurenbo design with a drawing is easier than you think.
A basicjabot-style frill A gorgeousdecorativeeffectfor the front of a blouse. The connectionbetweenthe sectionthat is visiblefrom the front and the sectionconcealedunderneathis important.
o'
(O Rttachparts@, @ and@. Reverse or thebacksideof the @ beforeattaching garment willbeontop. l[) rtnakea drawing of the frill you want to make
@ Separateout the variousparts
/ @
@ Smoothlyadjustthe line that will becomethe edgeof the frill
74 PATTERN
MAC¡C
Ffareconceafed in a curve Thisdesignmakesyou wonderhow the flarehas beenconcealed. The foldedand layeredlook that hasso much depth is structurallybeautifuland exciting.With that ideain mind, I beganby drawing somecomplexcuryes.
f i\ _ _ @
Q Draw designlineson the base.
o
@
@ Insertlinesin the way the frill would fall
si
@ Separateout the variousoarts.
75 PATIERN
MACIC
@ Returnto @ and mark the flare points (pointsfrom which the flare is going to appear)in the placesyou want to insedthe flare.Thelinethat descends perpendicularly from the flare pointsbecomesthe cutting and openingout linesfor the flare.
@ Align the variousparts. Reverse@ beforealigningor the backsideof the fabric will be on too.
@ Cut and openout and redrawthe flaredhemline
76 PATTERN
MACIC
Page55.A pinafore with kakurenbo design Th ec o mp l e xc u rv e so f th e fl a redesi gnl i nes were incorporatedinto the waistline of a babydoll-stylepinafore madefrom a soft woollengeorgette that neatly expresses the concealedflare.
- 1 8 cm
.
-17cm
1 8cm
Q Drafta patternfor the pinafore
77 PATTERN
MACIC
-
I d
f
.;
rF
I @ Drawthe curveddesignlineson the bodicefront Finda balance that setsoff the concealedsection
(O Insertalignmentmarkingsand cuttingand opening out lines( r ) into the concealedsection. The alignmentmarkingswill becomeflare points.
the concealedsections,bringthem to the front, and connect. @ Reverse Add flare points@@ in a balancedway and draw the designlinesfor the flare(a)
78 PATTERN
MACIC
@ Add alignmentmarkings@@ when sewingthe designlines.
to the bod¡ceto serveas markings
@ Cut and openout the amountfor the flare
79 PATTERN
MACIC
Interwoven design In this technique you gather the fabric and mold it as if it were being woven. I decided to seeif I could produce a pattern from the complex beauty created by layers of fabric woven together that I had once seen in a fashion magazrne. If the fabric on the left and the right are of different colors, the way in which the fabric intersects can be seenmore clearly.
() Assemble the papersloper(block)on the dressform and draw lines symmetrically. As shownin the drawing,makealignmentmarkingsin placeswhere the linesintersect,
(Face side of the fabr¡c)
Make overcast stitches here and there in the back Because this designcontainsfew seam allowances,the fabric frays easilyand it is piecesof difficultto makethe assembled fabric stay in place You can either wear an under-dress, or you can linethe garmentwith the samefabricas the garment When you linethe garment,it is advisable to usea base patternthat hasno intersection lines,and sewthe necklineand the armholestogether with the outerfabriclayer.
80 PATTERN
MAGIC
.^d dravllines :: : es wh ere
er',seam s , andi ti s : : ecesof ':-:- weaf an r¿ ¡armentwith -_ ,','henyou e :: :se a base r - e s,and 1-
-(
O The partsthat do not passthrough the bust point refuseto lie flat evenaftercuttingalongthe lines Insertgathersin theseparts,closethe darts,and cut and openout And then cut and openout the amount for the gatheringagain Thevolumeof the gatheringvariesaccording to your personalPreference. to the fabricusedand according
@ Cut asshown¡nthe drawingabove. Becausedifferentfabricshavedifferentgrainsand somestretchingmay occurwhen you interweavethe fabricpiecestogether,cut the fabr¡c with someease¡n the hemlineand adiustit at the end
@ Becarefulnot to cut too deep Makecub into the fabricup to the alignmentmarkingsinsertedin stepQ.
@ Interweavethe fabric piecesfrom the top in the sameway asthe Iinesyou drewon the paperon the dressform
lóoethér
81 PATTERN
MACIC
Page56: Blouse with an interwoven design Usingthis technique,I createda blousewith left and right asymmetry.In cotton lawn fabric, I madea bambooleafshapefrom the pointsof the fabricthat I cut into. I did not sew the pointedsectionsdown, preferringthem to be loose.
ctose'lf Open BACK 1cm 1r Zipper (left)
9cm 2cm Q Move the shoulderdart to the armhole
ll
'l c m
,S". \
1 c m r.d á -
@ Drawthe necklineon the bodicebackwith left and right asymmetry
o jül[ :5 frÉ
82 PATTERN
MAGIC
1 cm d bodicefont.
@ Draw the intersectinglineson the bodicefront Insertalignmentmarkings@@ for the into the left and right bodice. ¡ntersections
@ Copy the left and right bodicesseparately.lt is easierin termsof the patternmakingfor the intersectinglinesto passthrough the BP,but wherethey do not, as in the right bodicefront, adjust the lengthof the armholedaÉ as shown in the drawing.Herethe waistdads havebeenclosedas you can seefrom the drawing.
8cm
makea lining and extremelydelicate, @ fold the dartsand cut and open out the pattern Make the pointsdecorat¡veAs the fabricis transparent from the samefabric
83 PATTERN
MACIC
Bambooshoot(takenoko) Page57. Bodice with a takenokodesign In t hisex c it ingt ech n i q u el,a y e rsre s e mb l i n g th e m ult i- lay er ed n e c k l i n eo f a fo rm a lk i mo n o are createdfrom one pieceof fabric.
i They look exactlylikethe layersof a bambooshoot. The lighterand morefitted the silhouetteof th e bodic e,t he m o reth e s h a d i n gi n th e fa b ri c standsout.
tp make a papersloper(block)and draw tuck linesto createa design resembling a bambooshoot.
84 PATTERN
MACIC
Ele
a de*gn
@ Cut into the tuck linesand closethe dartsand flatten Do not cur abovethe BP
@ Cu t in to th e fa b r ica lo n gth e r e d lin e s About 1 5-2cm is requiredto be foldedconsidering the frayingof the Seamailowances
@ Extendthe ljnestowardsthe shoulderand the armhole,then cut and openout to createthe amountfor the tucks
@ Formthe tucksfrom the top downwards
@ack side of the fabric)
Makeovercastst¡tches heleandthereont/on -zq PATTERN
MACIC
-llss¿z¿;4g¿z
Page
Knotdress
Basicpatternmanipulationfor a knot dress Closethe shoulderdarts until2cm ooens on the WL
6cm
I
I BACKI
0.5cm
I-P.' I Close the armhole darts until2cm oDenson the WL
2cÁ
1.scm
Pg"x'
\ 20cm
End of openrng
bcm
Q Closeboth the shoulderdartsand armholedarb until 2cm openson the waistline,then makea patternfor the dressbase. Establishthe centreof the knot @ in the positionwhere you want to createthe bow. Easeis requiredin the width of the knot to tie at @. Measureo from @ 13cmin th¡s case)and from there draw cutting and opening lines. Draw the cuttingand openingout linesin the positionwhereyou want to drapethe bow fabric @ Theamountthat hasbeencut and opened out becomes the drape. Decideon the amountto cut and ooenout accordingto the fabricused. Draw the patternfor the bow from whereyou havecut and openedout. The bulkinessof the knot is determinedbv drawingthe curvefrom @ End of seam
Note:The circlednumberat the bottom of a l¡ne¡ndiates the numberof centimetresüobe openedout at that point
87 PATTERN
MAGIC
@ Sewthe bow sectioninto a tubular shape upto@
Page59.Tyinga bowA A designwith a different-shaped bow produced usingthe samepatternmanipulationas usedfor the dresson page87.
Q find the centreof the bow @ Takethe z measurement @ which includes addedease(4cmin this case)and from there,draw cutting and openingout lines
@ Cut and openout Draw the patternfor the bow from whereyou havecut and opened.The reasonthe bow is curvedin thisway isto give the knot somebulkiness, but therearestructural reasonsalso Stress¡sconcentrated on one point if you make@ into an angle,but is dispersed whenthis is made¡ntoa curve
Page59: Tyinga bow B An imaginativedesign in which one end of the bow is part of the bodice and the other end is part of the collar. Thetwo endsof the bow areloopedand tied together. At first sight it seemscomplicated, but the patternis surprisingly simple.
2cm
2cm
End of collar attachment
$ Drafta patternfor the bodiceusingthe sloper(block)A verticalknot is oossible with thistie Measurethe width and bulkiness of the knot,and draw cuttingand op e n in go u t lin e s 3cm
Neckline
32cm
L,On the fold \
\
7*
f) Closethe dartson the bodicefront and cut and openout Drawthe patternfor the bow from whereyou havecut, and openout Cut on the fold
On the fold 0 5cm @ Passthe verticalgrainof the fabricthroughthe lengthof the bow to createa large,distinctive knot A soft lookis producedif you cut the fabricon the bias lf you want to inserta jo¡nt,posit¡on¡t insidethe knot
HereI haveslightlychangedthe tyingmethod Othertying methodsarealsopossible
89 PATTERN
MACIC
ffmg*59; TyFng e b*w Two separatebows are tied towardsthe right for attractiveemphasis. Herethe two bows ar eof t he s amel e n g th , but one largeandone smallbow wouldalsobe effective.
Placethe secondbow @ on top of the bow that ¡spartof the bodiceand sew in the shapeof a tube up to the end of the seam
ffi rind the centreof the knot @
to whicheasehasbeenaddedto the @ Measurez (themeasurement width of the knot) horizontally, and¡ (themeasurement to whichease hasbeenaddedto the thickness of the knot)verlically. lnsedcut and spreadlines Wherethe cutand spreadlinesdo not passthroughthe end ofthe darts,adjustto makethem end at the designlines
90 PATTERN
MACIC
End of seam
openedout, drawthe patternfor the first bow as an $ Closethe dartson the bodiceand cut and open out Fromthe sectionsthat havebeen extenslonof the bodice 29cm
@
LEFT l lcm
S Drawthe patternfor the secondbow
piecefor the knot betweenthem;alignthe threepiecesand q$ Reverse the left and r¡ghtpiecesof the bow in stepS; add an 8 x 5cm rectangular jo inwith a sm o o thco , n tin u o ulin s e
1: : . d t o t h e
-: : 'the
91 PATTERN
MACIC
Page59:Tyinga bow D An elaboratedesignis achievedby passing the bow througha hole beforetying T he ex pr es s i oonf th e g a rme n tc h a n g e sc o n s i derabl y by m ov ingt h e p o s i ti o no f th e h o l eu p o r d o w n, t o t he s ide,o r b y c h a n g i n gth e s i z eo f th e h ol e. Anotherexampleof PatternMagicl
__?i
the fold
/l
12cm!
On the fold
COLLAR
0 5cm End of collarattachment
4cm 0 F RONT Draftthe bodicepatternusinga sloper(block) The knotted part of the bow that is part of the collarsitsbetweenthe left and rightholes Determ¡ne the lengthof the bow,considering the lengthof the intersection, the distancebetweenthe two holes,and the sizeofthe knot 2cm
i¡ ,: €n t ne
: :'$e
k no t
93 PATTERN
MACIC
Page60:A collarwith two distinctexpressions A shirtcollarfrom the backand,when viewedfrom the front, a double collar, thisofferstwo variations on a theme. I combinedpatterns for two collars to makethisintriguing design.
1 scm
scmlJ @ o +@ COLLAR ,a,4cm!+ (i s----LL__l z.5cm:,I
7cm
3cm v Q Usingthe sloper(block),draftthe patternfor the bodice base
o.2cm
@ Draft patternsfor eachof the two collars
@ C ol l ar attachment Collarsland attachmentline
l tne
@ f} Align the collarattachmentlines of the two collarsCopythe collar standon collar@ to collar@
@ tvtakepatternsfor collars@ and @ withoutthe collarstand;then makefive slitsin the collarrunning towardsthe collarstandasshownin the drawing
@
Wi ththe col l arstandi ng
@ti
o
(D'
@ the patternfor @' and @' producedin step@ arealignedat @tr@ (the patternfor @ is facedown),but asthe inclineis different,a gap Thiscollaris constructed from patternpieces@, @, and@ a5shownin the drawins
opensbetween@@ and the lengthis not equal Openout the slits, align@@ and callthe resultingpattern@
95 PATTERN
MACIC
96 PATf
ERN
MACIC
curve Page60,A collarwith an intriguing On a sheetof paper,draw a curveand then fold alongthe linesof the curve. When you bendthe insideof the curveslightly,the outsideof the curverisesup and takeson a completelydifferentappearance. effectto a collar. I appliedthis interesting
On the fold
attachmenl l i ne J.5Cm
FRONT l .5cm of @ and @ and lA Align the shoulders measure4.5cmof collarwidth at a right anglefrom @ on the collarattachmentllne for @. Thenconnectfrom @ and makea drawingfor the front of @ insidethe collar. Because the backof the collarhasa collar the lengthof the backneckline stand,measure and makea rectangular drawing
BP
Q Usinga sloper(block),draft the patternfor the bodicebase Mark the collarattachmentposition
@ Fora softfinish,cut the underandthe upper Makethe uppercollar@ collarcontinuously @, @, @ and @ all interconnectto createa patternwherethe bodiceand the collarbecome one Because @ (the bodice)and@ (thecollar) arejoined althoughthe collarattachmentline is curved,whenyou put it on, the collarfloats upwardsin the sameway asthe paperon the oppositepage,for a completelydifferentlook
Order for sewing together
Faces¡de of the fabric
Attachthe facingand prick stitchto fastenin Dlace
O Sewtogetherthe bodice@ centreback @ Sewthe collaredgesfor the collarpatterns @and@ @ Sewthe collarattachmentline on the back bodiceand@. @ Sewthe front bodiceand @ @ At the collarattachmentline,sew @ to the bodice * | haveabbreviatedthe instructions,but when you actuallyconstructthe garment, attachthe facingto the necklineof the bodiceand prick-stitchto fastenthe back collarattachmentpositionand the facing-in placeasshown in the drawing
97 PATTERN
MACIC
A methodfor makinga fufr-size patternfroma harf-scare pattern The diagrambelowshowshow to enlargea part of the pattern for the otoshianadress (page19) to producea full_sizepattern. u will needsomewhite PaPeron which to draw the half-scale and full-sizepatterns.copy the half-scalemuslin(toile) to the paperpattern. G) Rlthough you can stad from anywhere,the method describedhere
ila"#"tl1j'trdat
startsfrom @.
directly ascends from@,drawa linethathits@ at a rightangle,andmakethepoint wherethetwo
lines
Doubleeachof the two measuremenb o and a, bstw...6
and@ and between@ and @ respectively, and copyonto the white paper. @ Next take doublethe measurement of e on the line that connects@ and @ in a stra¡ghtline. From there,take doublethe measurement of r ¿1¿ right angleand draw a curye. @Exte nd the linef r om @ t o@ by t x 2. M ar k t hat p o i n t @ a n d m e a s u r e ¡ x 2 a t a r ¡ g h t a n g l e t o m e e t @ . end @-@' take twice the measurement of ¡ and mark@. From@, take twice the measurement of a at a right angleand it @. Againtaketwice the measurement of x and r at a right angreand makeit @. Drawguidelineson the half-scale patternand by doublingthe guidelines,doublethe pattern linesand copyonto the white paper.
f tx2
98 PATTERN
MACIC
The basis for pattem deuelopmentis the
üvo lines le paper. u¡ble the
ngle and b paper.
Bunka-stylesloper(block) for an adult woman The Bunka-stylesloper (block) createdfor the body shapeof the modern Japanesewoman is constructedth¡eedimensionallyand fitted to the body with darts (bustdarts,back shoulderdarts,waist darts). Bust(B),waist (!7) andcentrebacklengthmeasurements arerequiredto draw the sloper(block).The measurements for eachpart of the body are basedon the bust measurement,and the sizeof eachdart has beencalculatedfrom the bust and waist measurements.Each waist dart is calculatedby the formula-bodice - (UIlz + 3)-where 3cm is the amount of easeadded.Precisecalculationsare required for a neat fit, but drawings will be relatively easyif you refer to the quick referencetable of measurementsfor different parts of the body. Pages101 and 'I-.02feature half-scaleslopers(blocks)for you to usefor eachofthe bust sizes:77,80,83, 86 and 89cm. tableof measurements for differentpartsof the body Quick reference Eody width
B^ B
Back width
@- BL -
B. ^_ + tJ.t
12
-
8
+ I- 4
f,+ e.e
w¡dth
B
B 32
^^ +o.¿
g
77
44.5
20.1
17.O
23.7
15.8
78
45.0
20.2
17.2
23.9
16.0
79
45.5
20.3
17.3
24.1
80
46.0
20.4
17.4
24.3
81
46.5
20.5
17.5
24.5
82
47.O
20.5
17.7
24.7
83
47.5
20.6
17.4
84
48.0
20.7
85
48.5
óo
Frcnt neckline w¡dth
B 32
Che5t
BL- @
(Unit:cm) Front neckline depth
E +3.4--@ @ +0.5
Back ntrkline width
,;-;
@+0.2
Back shoulder darB
B ^^ 32 ''o
6.6
7.1
16.8
6.8
t.o
2.4
6.7
7.2
17.O
6.9
1.6
16.1
2.5
6.7
7.2
11.3
6.9
1.7
16.2
¿.c
o./
7.2
| /.c
6.9
1.7
2.5
6.8
7Q
17.8
7.0
1.7
to.c
¿,o
6.8
7.3
18.0
7n
1.8
24.9
16.6
2.6
6.9
7.4
18.3
7.1
1.8
17.9
25.'l
16.7
2.6
6.9
7.4
18.5
7.1
1.8
20.8
18.0
¿4.ó
16.8
2.7
6.9
7.4
18.8
7.1
1.9
49.0
¿v,Y
18.2
¿c.3
17.O
2.7
7.O
19.0
7.2
1.9
87
49.5
21. 0
18.3
25.7
17.1
2.7
7.O
7.5
19.3
7.2
1.9
88
50.0
21.O
18.4
25.9
17.2
2.8
7.1
7.6
19.5
7.3
2.O
89
50.5
21.1
18.5
26.1
17.3
2.8
7.1
7.6
19.8
7.3
2.O
Waistdart measurement-Quickreferencetable Total darts volum€ 100% I
(Unit:cm) o
7o/o
0.6
lAyo t.o
35o/" J.
l
o
a
11o/"
15/"
14o/o
1
1.4
1 .3 1.4
10
0.7
1.8
3.5
1.1
.tE
11
0.8
2
3.9
1.2
1.6
1.5
12
0.8
2-2
4.2
1.3
1.8
1 .7
12.5
0.9
2.3
4.3
1.3
1.9
1.8
99 PATTERN
MAGIC
Makinga drawingof a sloper(block) ;;?üil?ffÍ3;j:f¡:iXjilf"Ththe
bodice andthesleeve, butonrvthemethod ordrawing a bodice (btock), sroper used
Cq
B as iclines @
@ ,a\ I
B 12
o
Centre back length
B
8cm
@
t-----,@.-
Back V\^ width El lcm G) (-J', line i, BACK u,ccm; G\ ñv z+ 7 .4 cm I --8
.\-
@ Chest width FRONT line
@
rO) B' + 8.3cm
Á
^o + 6.2cm =\
I
--ó
Centre back line
@
Firstlydraw the basiclinesfor the bodice. Accuratelymeasureeachpart of the body and draw linesin the orderof O to @ The numbersin the guidetable arealsoarranged for readingin orderfrom the left to help you proceedwith patterndraftingin that order.
Body widt h= ( f + 6c m )
Curved 9+ s.¿cm=@) 24 @ + 0.5cm
FRONT Ao
After drawingthe basiclines,draw the curved linesof the neckline, shoulde¡and armhole. and finallythe darts
Tipsfor movíngdarts when you closethe waist dartswith @ as the pivotalpoint,the armholeopensa smallamountto provideease in the armhole. The waistdartson the sloper(block)are markei when usedfor putt.rn JiurtingiJti"uu beenomittedwhere not required.
lvlakethe amount that is opened out ¡nto ease
Make the amount that is opened out into ease in the armhole
¡n the armhole
+
100 PATTERN
MAC¡C
M)(halr-scale Bunka-üle sloper(block)for an adultwoman(Size Copyat 2@7" on a photocopierto makethe full-sizedpattern.
b bodice. b body o 8 . th " larranged o trclp you ¡t order.
rtfie curved l¡mhole,
77cm 80cm 83cm 86cm
n armhole. -ed.
89cm 86cm I
101 PATTERN
MACIC
I In co4
j ¡".,r*.
Bust(B) Waist(W) Back lengtt 77cm 58cm 80cm 61cm 83cm 64cm 38cm
I
thatrm{ w a y f m{
86cm
67cm
aromdüd
89cm
70cm
a seredl
I
wth rder¡l andis s¡{ studem{
r*o'u{ indudql shomrl
86cm 83cm 80cm 77cm
77cm 80cm 83cm 86cm 89cm
102 PATTERN
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M)(halr-scale) Bunka-üle sloper(block)for an adultwoman(Size Copy at2Cxi'%on a photocopierto makethe full-sizedpaüern'
77cm 80cm 83cm 86cm
Bust(B) Waist(W) Back lengtl
F
77cm
58cm
80cm
6 1cm
83cm
64cm
86cm
67cm
ir
89cm
70cm
a¡
{t
38cm
¿ rd Ir d ¡b
77cm 80cm 83cm 86cm 89cm
89cm 86cm 83cm 80cm
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In conclusion Just like works of art, garments come in various kinds: garments wiü visual mpact, garments that react to the movement ofthe bod¡ garments for casual wear-but
there is no one prescribed
way for how they are made. The history of clothing began with the wrapping of a piece of fabric aromd the bod¡ so you should let your mind be free and approach the making of garments with a sense of frm. Ideas for garments are arguably infinite. I have always believed in experimenting with ideas. This book contains pattems that I have created based on a trial-and-error approach, and is supplementary to the teaching materials used at the Bunka Fashion Open College for students who may find pattem-making
difficult.
I would like to express my appreciation to many people for their help in this publication, including Ms Kasai Fujino, from whom I received advice about slopers, and everyone who has
D|n
shown an interest in this book.
BL
LIOTHCA Dis e ñ o lr¡d i¡rq : ' " ;
N|L
103 PATTERN
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