Principles of Pattern Making and Grading

B.Sc.

Fashion Design PPM & Grading

B.Sc. COSTUME DESIGN AND FASHION

First Year
Paper No. II
PRINCIPLES OF PATTERN MAKING &
GRADING
School of Distance Education
Bharathiar University, Coimbatore – 641 046
1
B.Sc. Fashion Design PPM & Grading
6
CONTENTS
Page
Lessons
No.
UNIT - I
Lesson-1 Body Measurements 7
Lesson-2 Head Theory 19
Lesson-3 Preparation of Fabric for Cutting 25
UNIT – II
Lesson-4 Types of Paper Patterns and Methods of Pattern 37
Making
Lesson-5 Pattern Making – Drafting 41
Lesson-6 Pattern Making – Draping 46
UNIT – III
Lesson-7 Styles Created Using Dart Manipulation 69
Lesson-8 Garment Fitting 82
UNIT – IV
Lesson-9 Pattern Alternation 99
Lesson-10 Pattern Grading – Manual 105
Lesson-11 Master Pattern Grading 110
UNIT – V
Lesson-12 Pattern Layout 143
Lesson-13 Transferring Pattern Markings and Fabric Cutting 153
3
FASHION DESIGN - PRINCIPLES OF PATTERN MAKING & GRADING

(Syllabus)
UNIT - I
Body measurements – importance, preparing for measuring, ladies
measurements, boys and men’s measurements. Standardizing body
measurements – importance, techniques used. Relative length and girth
measures in ladies / gentlemen . Preparation of fabric for cutting – importance
of grain in cutting and construction, steps in preparing the fabric for cutting
UNIT - II
Pattern making – methods of pattern making – (drafting and draping), merits
and demerits. Types of paper patterns (patterns for personal measurements and
commercial patterns). Principles of pattern drafting. Pattern details. Steps in
drafting basic bodice front, back and sleeve. Draping – preparation of body form,
steps in draping a basic bodice front, bodice back and sleeve
UNIT - III
Styles created by shifting of blouse darts, adding fullness to the bodice,
converting darts to seams and partial yokes and incorporating darts into seams
forming yokes. Fitting – standards of a good fit, steps in preparing a blouse for
fitting, checking the fit of a blouse, solving fitting problems in a blouse, fitting
techniques
UNIT - IV
Pattern alteration – importance of altering patterns, general principles for
pattern alteration, common pattern alteration in a blouse. Pattern grading –
definition, types, manual – master grades, basic front, basic back, basic sleeve,
basic collar and basic grading.
UNIT - V
Pattern layout – definition, purpose, rules in layout, types of layout (methods),
Layouts for lengthwise striped designs, fabric with bold designs, asymmetric
designs, one way designs. What can be done if cloth is insufficient, fabric
cutting, transferring pattern markings, stay stitching and ease stitching.
4
UNIT – I
5
6
LESSON–1
BODY MEASUREMENTS
CONTENTS
1.0. Aims and Objectives
1.1. Importance of body measurements
1.2. Preparation for measuring
1.3. Ladies measurements
1.4. Boys and men’s measurements
1.5. Standardizing body measurements
1.5.1. Importance and techniques
1.6. Let us sum up
1.7. Lesson end activities
1.8. Points for discussion
1.9. References
1.0 AIMS AND OBJECTIVES
In this unit we have discussed the importance and how to take body
measurements.
After reading this unit, you should be able to know
Ø How to take body measurements in different parts of the body
1.1 IMPORTANCE OF BODY MEASUREMENTS
In order to construct garments that fit well, body measurements must be taken
with precision. You can draft original patterns based on the se measurements
which can be used as the basis of a variety of styles. You may buy commercial
patterns, but to select the pattern of correct size and later to make pattern
adjustments to fit your figure you have to know your own measurements.
1.2 PREPARATION FOR MEASURING
For taking the measurements, use a good quality measuring tape which is
sturdy and will not stretch. The metal end of the tape should be used for
vertical measurements and the other end for horizontal and circumference
measurements. The measurements should be taken over a smooth fitting
7
foundation garment and never over bulky garments. Before taking

measurements, tie a cord or string around the waist. Next, take ¼” wide tape
and cast it around your armhole. This will make it easier to measure width of
shoulders, armscye depth etc. Stand erect with the arms hanging straight at the
sides while measurements are being made by some one else. Take snug
measurements rather that tight or loose ones. Hold the tape parallel to the floor
for horizontal measurements, and perpendicular to the floor for vertical
measurements. As the measurements are taken, record them in a note book.
1.3 LADIES MEASUREMENTS
The various positions on the body where measurements are to be taken are
shown.
Fig.1.1
8
Bodice Measurements
Bust: Measure around the fullest part of the bust raising the measuring tape
slightly to a level just below the shoulder blades at the back.
Waist: Measure snugly around the waist (where you tied the cord) keeping the
tape parallel to the floor.
Neck: Measure around the neck, passing the tape just above the collar bone in
front and along the base of the neck at the back.
Shoulder: Measure from the neck joint to the arm joint along the middle of the
shoulder (A to B in Fig.1.1a).
Front waist length: Measure down from neck at highest point of shoulder to
waist line through the fullest part of the bust (A to C in Fig.1.1a).
Shoulder to bust: Measure down from highest point of shoulder to tip of bust
(A to D in Fig.1.1a).
Distance between bust points: Measure in the horizontal direction, the
distance between the two bust points (D to E in Fig.1.1a).
Back width or across back measurement: Measure across the back from
armhole to armhole about 3 inches below base of neck (P to Q in Fig.1.1b).
Back waist length: Measure from the base of neck at the centre back to waist
line (R to S in Fig.1.1b).
Armscye depth: Measure from base of neck at centre back to a point directly
below it an in level with the bottom of the arm where it joints the body (R to T in
Fig.1.1b).
Sleeve measurements
Upper arm circumference: Measure around the fullest part of the arm.
Lower arm: Measure around the arm at desired level corresponding to lower
edge of sleeve.
Elbow circumference: Measure around the arm elbow.
Wrist: Measure around the wrist.
Sleeve length: For short sleeve length, measure down from tip of shoulder at
top of arm to desired length of sleeve (B to F in Fig.1.1a). For elbow length
sleeve measure from top of arm to elbow point (B to G in Fig.1.1a). For full
length, bend the elbow slightly and measure down from top of arm to back of
wrist passing the tape over the elbow point (B to H in Fig.1.1a).
Skirt measurements
Waist: Same as for bodice.
Hip: Measure around the fullest part or the hip horizontally. (This level will be
bout 7 to 9 inches below the waist for an average figure).
9
Waist to hip: Measure down from waist at centre back to fullest part of the hip
(S to U in Fig.1.1b).
Skirt length: Measure down the centre back from waist to desired length of
skirt (S to V in Fig.1.1b).
1.4 BOYS AND MEN’S MEASUREMENTS
Many measurements are common for both women’s garments and men’s
garments. In addition to women’s measurements fewer measurements are
required for mens and boys garments. They are listed below:
Shirt Length
Shirt length should be measured from neck at highest point of shoulder to
desired length along the front.
Pant Length
Pant length is measured from waist to ankle along with side of the body.
Cuff Measurement
Cuff measurement is estimated by measuring the wrist loosely and adding ½”
overlap extension to it.
1.5 STANDARDIZING BODY MEASUREMENTS
1.5.1 IMPORTANCE AND TECHNIQUES
Measurement surveys collect measurement data to produce sizing systems. They

are very costly. To obtain reliable data, thousands of subjects have to be
measured and it is very difficult to obtain public money for the task. The last
comprehensive British survey of women's body measurements, publicly
available, was published in 1957. Many companies still use this data, but modify
it with reference to European surveys, their own sample surveys of their
particular product market, leaked information or other available data: e.g. an
increase in waist measurement and the height increase in younger women.
Measurement by different types of scanning has been developed. Experimental
work is taking place with the Hamamatsu Photonics Bodyline near infrared
scanner in the Department of Computer Science, University College, London.
Recent surveys have been undertaken at Loughborough University using a
shadow scanner (LASS). This method creates a measurable three-dimensional
image. A slit of light is passed over a rotating body whilst cameras record the
image. Dimensions around and through the body can be recorded. The French
system TELMAT has updated its 2D body measurement system to 3D imagery in
order to provide more accurate calculations of body measurements.
10
Conversions of imagery into body measurements appear to have difficulties with

complex angular measurements, identifying body landmarks and a recognition
of the changing state of the body. Clothing technologists take this into account
when taking body measurements manually. A system of manual measurement
using an anthropometric stand and special harness has been developed by a
researcher at the Manchester Metropolitan University.
Many measurement surveys are confirmed jointly by public research bodies and
by companies and they view the resulting data as commercial information which
is privately held. The flack of publicly available measurement data has meant
that the British Standards BS 5511 and BS 3666 have remained main guides to
British size ranges and labeling information. However, the handbook is now
available for designers and manufacturers from the Consumer Safety Unit (CSU)
of the UK Department of Trade and Industry. The handbook is a design resource
produced by the Institute of Occupational Ergonomics at the University of
Nottingham. The handbook brings together all available anthropometric and strength data on
266 anthropometric dimensions and 28 strength measurements. Data are presented from a range
of countries from Europe, Asia and the USA.
British Standards
Sizing : The British Standards Institution has established a size designation
system that indicates (in a simple, direct and meaningful manner) the body size
of the woman that a garment is intended to d\. The size designation system is
based on body and not garment measurements.
Size Designation : The size designation of each garment should comprise the
control dimensions, in centimeters, of the intended wearer of that garment.
TABLE 1
SIZE CODES AND ASSOCIATED BODY MEASUREMENTS
Body measurements
Size codes Hips Bust
From To From To
cm cm cm cm
8 83 87 78 82
10 87 91 82 86
12 91 95 86 90
14 95 99 90 94
16 100 104 95 99
18 105 109 100 104
20 no 114 105 109
22 115 119 110 114
24 120 124 115 119
26 125 129 120 124
28 130 134 125 129
30 135 139 130 134
32 140 144 135 139
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Where practicable, the pictogram should be used as a means of indicating the

size designation. Where it is not practicable to use the pictogram, the control
measurements should be given, together with the descriptive words such as bust
girth, hip girth, etc. alongside, in the order shown below.
Tables from BS 3666: 1982 Size coding scheme for women’s outer wear are
reproduced by permission of The British Standards Institution, 2 Park Street,
London W1A 2BS.
Example of inclusion of size code number into label
SIZE 16
BUST GIRTH 96
HIP GIRTH 104
HEIGHT 164
12
Fig.1.2
The largest percentage of the population falls into medium height range.
Although the girth of women varies, the general trend is for weight to increase
with height. This feature is reflected in the size charts.
WOMEN OFMEDIUM HEIGHT 160cm, 170cm (5ft 2½ in – 5 ft 6½ in)
SIZE SYMBOL 8 10 12 14 16 18 20 22 24 26 28 30
BUST 80 84 88 92 97 102 107 112 117 122 127 132
WAIST 60 64 68 72 77 82 87 92 97 102 107 112
HIPS 85 89 93 97 102 107 112 117 122 127 132 137
BACK WIDTH 32.4 33.4 34.4 35.4 36.6 37.8 39 40.2 41.4 42.6 43.8 45
45.
CHEST 30 31.2 32.4 33.6 35 36.5 38 39.5 41 42.5 44
5
13
13. 14.
SHOULDER 11.75 12 12.25 12.5 12.8 13.1 13.7 14 14.3 14.6
4 9
41. 47.
NECK SIZE 35 36 37 38 39.2 40.4 42.8 44 45.2 46.4
6 6
12.
DART 5.8 6.4 7 7.6 8.2 8.8 9.4 10 10.6 11.2 11.8
4
34. 43.
TOP ARM 26 27.2 28.4 29.6 31 32.8 36 37.8 39.6 41.4
4 2
20.
WRIST 15 15.5 16 16.5 17 17.5 18 18.5 19 19.5 20
5
26. 29.
ANKLE 23 23.5 24 24.5 25.1 25.7 26.9 27.5 28.1 28.7
3 3
23. 26.
HIGH ANKLE 20 20.5 21 21.5 22.1 22.7 23.9 24.5 25.1 25.7
3 3
NAPE TO 43.
39 39.5 40 40.5 41 41.5 42 42.5 43 43.2 43.4
WAIST 6
FRONT
42.
SHOULDER 39 39.5 40 40.5 41.3 42.1 43.7 44.5 45 45.5 46
9
TO WAIST
ARMHOLE 26.
20 20.5 21 21.5 22 22.5 23 23.5 24.2 24.9 25.6
DEPTH 3
WAIST TO 60. 61.7

57.5 58 58.5 59 59.5 60 61 61.25 61.5 62
KNEE 5 5
21. 22.
WAIST TO HIP 20 20.3 20.6 20.9 21.2 21.5 22.1 22.3 22.5 22.7
8 9
WAIST TO 110.
102 103 104 105 106 107 108 109 109.5 110 111
FLOOR 5
30. 35.
BODY RISE 26.6 27.3 28 28.7 29.4 30.1 31.5 32.5 33.5 34.5
8 5
SLEEVE 60. 61.
57.2 57.8 58.4 59 59.5 60 61 61.2 61.4 61.6
LENGTH 5 8
SLEEVE
54. 55.
LENGTH 51.2 51.8 52.4 53 53.5 54 55 55.2 55.4 55.6
5 8
(JERSEY)
Extra
measurement
25.
s (garments) 21 21 21.5 21.5 22 22.5 23 23.5 24 24.5 25
5
CUFF SIZE
SHIRTS
CUFF SIZE,
14.2 14. 15.7
TWO-PIECE 13.25 13.5 13.75 14 14.5 15 15.25 15.5 16
5 75 5
SLEEVE
TROUSER
27.
BOTTOM 21 21.5 22 22.5 23 23.5 24 24.5 25.4 26.2 27
8
WIDTH
IEANS
20.
BOTTOM 18.5 18.5 19 19 19.5 20 21
5
WIDTH
14
Short Women Tall women

152cm-160cm 170cm-178cm
(4ft 11 ½ in 5ft-2 ½ in) (5ft 6½ in 5ft-9 ½ in)
NAPE TO WAIST -2cm +2cm
SCYE DEPTH -0.8cm +0.8cm
SLEEVE LENGTH -2.5cm +2.5cm
WAIST TO KNEE -3cm +3cm
WAIST TO FLOOR -5cm +5cm
BODY FISE -1cm +1cm
A number of companies are, for commercial reasons, using 5cm intervals

between all sizes. This procedure eliminates the size 8 and allows many grading
increments to remain the same across the size range. A 5cm interval size chart
for use with the popular sizes 10-22 is shown below. Note the size chart just
stays within the lower limit of the BSI size range standard for size 10.
WOMEN OF MEDIUM HEIGHT 160cm-l 70cm (5ft 2 '/2 in - 5ft 61/2 in)
SIZE 10 12 14 16 18 20 22
BUST 82 87 92 97 102 107 112
WAIST 62 67 72 77 82 87 92
HIPS 87 92 97 102 107 112 117
BACK WIDTH 33 34.2 35.4 36.6 37.8 39 40.2
CHEST 30.5 32 33.5 35 36.5 38 39.5
SHOULDER 11.9 12.2 12.5 12.8 13.1 13.4 13.7
NECK SIZE 35.6 36.8 38 39.2 40.4 41.6 42.8
15
DART 6.4 7 7.6 8.2 8.8 9.4 10
TOP ARM 26.4 28 29.6 31.2 32.8 34.4 36
WRIST 15.5 16 16.5 17 17.5 18 18.5
ANKLE 23.4 24 24.6 25.2 25.8 26.4 27
HIGH ANKLE 20.4 21 21.6 22.2 22.8 23.4 24
NAPE TO WAIST 39.5 40 40.5 41 41.5 42 42.5
FRONT SHOULDER TO WAIST 39.5 40 40.5 41.3 42.1 42.9 43.7
ARMHOLE DEPTH 20.5 21 21.5 22 22.5 23 23.5
WAIST TO KNEE 58 58.5 59 59.5 60 60.5 61
WAIST TO HIP 20.3 20.6 20.9 21.2 21.5 21.8 22.1
WAIST TO FLOOR 103 104 105 106 107 108 109
BODY RISE 27.3 28 28.7 29.4 30.1 30.8 31.5
SLEEVE LENGTH 57.3 58 58.7 59.4 60.1 60.8 61.5
SLEEVE LENGTH (JERSEY) 51.3 52 52.7 53.4 54.1 54.8 55.2
Standard Body Measurements

The chart is compiled for High Street Fashion garments
Small = approx size 8-10
Medium = size 12
Large = approx size 14-16
X Large = size 18
SML MED XLGE

SIZE SYMBOL BUST LGE L
S M XL
BUST 82 88 94 100
WAIST 62 68 74 80
HIP 87 93 99 105
BACK WIDTH 32.8 34.4 36 37.6
16
CHEST 30.6 32.4 34.2 36

SHOULDER 11.9 12.3 12.6 13
NECK SIZE 35.5 37 38.5 40
DART 6.1 7 7.9 8.8
TOP ARM 26.4 28.4 30.4 32.4
WRIST 15.3 16 16.7 17.4
ANKLE 23.1 24 24.9 25.8
HIGH ANKLE 20.1 21 21.9 22.8
NAPE TO WAIST 39.2 40 40.8 41.6
FRONT SHOULDER TO WAIST 39.2 40 41 42
ARMHOLE DEPTH 20.2 21 21.8 22.6
WAIST TO KNEE 57.7 58.5 59.3 60.1
WAIST TO HIP 20.2 20.6 21 21.4
Extra measurements (garments)

CUFF SIZE SHIRTS 21 21.5 22 22.5
CUFF SIZE, TWO PIECE SLEEVE 13.5 13.75 14 14.25

TROUSER BOTTOM WIDTH 21.5 22. 22.5 23
JEANS BOTTOM WIDTH 18.5 19 19.5 20
1.6 LET US SUM UP
In this unit, we
Ø Learn what is the importance of body measurements and how to take body
measurements
1.7 LESSON END ACTIVITIES
Ø The distance students can have a practical experience among yourself by

carrying out trials in taking body measurements
17
1.8. POINTS FOR DISCUSSION
Ø Analyze the importance of Body measurements and how to prepare yourself

before taking body measurements.
Ø Establish a standard measurement chart containing measurements for
different age groups.
1.9 REFERENCES
Ø Practical Clothing Construction – Part I and II, Mary Mathews, Cosmic

Press, Chennai (1986).
Ø Metric pattern cutting – Winifred Aldrich, Black Well Science Ltd, III
Edition, France (2003).
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LESSON–2
HEAD THEORY
CONTENTS
2.1. Head theory
2.1.1. Eight head theory
2.1.2 Relative length measurements in gentlemen/women
2.1.3. Relative girth measurements in gentle men and women
2.2. Let us sum up
2.5 References
In this unit we have discussed about eight head theory its importance and
techniques.
After re ading this unit, you should be able to know
Ø What is head theory with its length and girth measurement sin
gentlemen/gentlewomen
2.1 HEAD THEORY
2.1.1 EIGHT HEAD THEORY
Artists have divided a grown up human body into eight equal parts, which are
equal in height to that of the head. So each part is known as the ‘head’. All
these eight divisions or heads are as follows:
1st head = from hair to chin or nape of neck.
2nd head = from nape of neck to nipple or bottom of scye.
3rd head = from bottom of scye to naval or hollow of waist.
4th head = from naval to fork or pubic organs.
5th head = from fork to mid thigh or end of fingers, with arm at side.
6th head = from mid-thigh to small, below knee.
7th head = from small to lower leg, just above the ankle.
8th head = from lower leg to ball of foot, standing tip-toe.
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Note: Actually the total human height is computed at7 1/2 heads, but for easy
calculations, the height is taken from hair to the foot, standing tip-toe, thus
making eight equal parts.
2.1.2 RELATIVE LENGTH MEASUREMENTS IN GENTLEMEN/WOMEN
Making use of "Eight Heads Theory", the following relative length measures can
be obtained, for a grown up proportionate human body.
Relative length measurements in gentlemen/women

Fig.2.1
20
Nape to the level of armpit = one-eighth of the height (i.e. 1 head).
Natural waist (i.e. nape to waist) = one-fourth of the height (i.e.-2

heads).
Fore -arm (i.e. armpit to wrist bone) = one-fourth of the height (i.e. 2
heads).
Elbow to armpit = one-eighth of the height (i.e. 1 head).
Inside leg or leg measure = half the full height (i.e. 4 heads) less
5 to 6 cm (2 to 2 ¼").
Slope of shoulder = one-sixth of the natural waist

length.
Sleeve length (upto wrist) from = three-eighth of the height (i.e. 3
shoulder heads)
less 2 to 4 cm 3/4 to 1 ½").
Both the arms extended = full height of the figure (i.e. 8 heads).
Knee from fork = half inside leg less 5 cm (2").
Small from knee = 5 to 6.5 cm (2 to 2 ½").
Calf from small = about 7.5 to 8.75 cm (3 to 3 ½).
Bodyrise (i.e. waist to fork). = one-eighth of the height + 5 cm (2").
2.1.3. RELATIVE GIRTH MEASUREMENTS IN GENTLEMEN AND WOMEN
Proportions of the girth measures in men are clearly shown in fig.2.2 The girths
from top to bottom are as follows:
Out of these girths, the chest measure is very important, as all the other girth
measures of a grown up proportionate body are derived from it.
Relative Girth Measures in Men
Neck = one-third chest + 6.25 to 7.5 cm (2/2 to 3").
Waist = chest less 10 to 12.5 cm (4 to 5").
Seat = chest + 2.5 to 5 cm (1 to 2").
Small round = about one -third seat.
Knee round = small round + 2.5 to 4 cm (1 to 1 ½").
Calf round = small round + 2.5 to 4 cm (1 to 1 ½").
21
Shoulder (half) = one-fourth chest or less 1.5 cm (½").

Bottom round = calf round less 2.5 cm (1"), i.e. same as small.
Scye round = half chest less 0.75 to 1.25 cm (1/4" to ½").
Across chest = one-fourth chest less 2.5 to 4 cm (1 to 1 ½").
Half back = one-sixth chest + 4 cm (1 ½").
Relative Girth Measures in Men

Fig.2.2
Depth of scye (from neck) :
For chest upto 72 cm (28") = one-fourth chest + 1.25 cm (½")
For chest from 72 to 92 cm (28 to 36") = one-fourth chest.
For chest 92 cm (36") and above = one -sixth chest + 7.5 cm (3").
22
Relative Girth Measures in Ladies (fig.2.3)

The following relative girth measures of matured ladies are useful in cutting
garments like blouse, shirt, coat etc.
Neck = one-third bust + 5 to 6.5 cm (2 to 2 ½").
Waist = bust less 12.5 to 18 cm (5 to 7").
Seat = bust + nearly 5 to 10 cm (2 to 4").
Across chest = one-eighth bust + 5.75 cm (2 ¼").
Halfback = one-sixth bust + 2.5 cm (1").
Shoulder (half) = one-sixth bust + 4 to 5 cm (1 ½ to 2").
Round upper arm = one-fourth bust + 5 to 6.5 cm (2 to 2 ½").
Depth of scye = one-eighth bust + 5 to 6.5 cm (2 to 2 ½").
Relative Girth Measures in Ladies

Fig.2.3
23
2.2. LET US SUM UP
In this unit, we
Ø Discussed on head theory and relative length and girth measurements for
women/men.

sketching eight head theory for men and women.
2.4 POINTS FOR DISCUSSION
Ø Analyze relative length and girth measurements for gentlemen and women.
2.5 REFERENCES
Ø Zarapker system of cutting – Zarapkar.K.P., Navneet Publications Ltd.
24
LESSON–3
PREPARATION OF FABRIC FOR CUTTING
CONTENTS
3.0. Aim and Objective
3.1. Preparation of fabric for cutting
3.1.1 Grain and its type s
3.1.2. Importance of grain in cutting and construction
3.2. Steps in preparing the fabric for cutting
3.2.1. Checking each end of the fabric and straightening it
3.2.2. Checking and straightening the fabric grain
3.2.3. Shrinking fabrics and Pressing
3.3. Let us sum up
3.6 References
In this unit we have discussed how to fabric preparation for cutting

After reading this unit, you should be able to know
Ø How to prepare fabric for cutting
3.1 PREPARATION OF FABRIC FOR CUTTING
The following basic terms should be understood proceeding to prepare the fabric.
Grain (Fig.3.1a) : Grain refers to the direction of yarns in a fabric. Woven
fabrics are made up of lengthwise and crosswise or filling yarns interlaced at
right angles to each other. These yarns are called the lengthwise and crosswise
grains of the fabric. On patterns, lengthwise grain is referred to as straight grain.
Bias grain is any direction on a fabric that does not exactly follow a lengthwise
or a crosswise yarn. True bias makes a 45° angle with the lengthwise and
crosswise yarns.
Lengthwise yarns are usually stronger and heavier and stretch less than
crosswise yarns. This property can be used to identify the lengthwise grain on a
piece of fabric which has no selvedge. Stretch the fabric along one grain, holding
it taut with your two hands held 2" -3" apart; then stretch it similarly along the
25
perpendicular grain. Of the two directions, the one which stretches less is the
lengthwise grain.
Selvedge: This is the finished edge of the fabric which runs lengthwise (See
Fig.3.1a) Selvedge is woven differently with extra yarns and stronger yarns than
the rest of the fabric. In a good quality fabric, the selvedge is very compactly
woven and is about half an inch wide. On poor fabrics, selvedge will be narrow
and loosely woven.
Fig.3.1a
3.1.1 GRAIN AND ITS TYPES
On grain: A fabric in which the crosswise yarns run exactly at right angles to
lengthwise yarns and which has right-angled corners is said to be on grain or
grain pe rfect (Fig.3.1b).
26
Fig.3.1b
Off grain: A fabric in which the crosswise are not running exactly at right angles
to lengthwise yarns is referred to as off grain fabric. This happens because the
fabric has been pulled out of shape and pressed in that position during finishing
at the factory (Fig.3.1c).
Fig.3.1c
Off grain print: In a print made of lines, checks, etc, if the lines do not run
straight along lengthwise or crosswise grain, it is referred to as an off grain print
(Fig.3.1d). Fabrics with off grain prints should not be selected for garment
construction because with such fabrics it will be almost impossible to make the
right and left half of the garment identical in design or to match the design along
seams, centre front, centre back etc (See Fig.3.1e).
27
Fig.3.1d Fig.3.1e
With the grain, Against the grain: Stroke a bias-cut edge of a fabric with your
thumb and forefinger. You will find that if the stroking is in one direction the
yarns tend to come apart causing the edge to fray, while if you stroke in the
opposite direction the yarns close up compactly with the rest of the fabric. The
latter direction is said to be with the grain and the former, against the 'grain. (In
(Fig.3.1f), the arrow points in the direction with the grain). While working
(cutting, stitching, ironing etc.) along a bias edge, one should obviously work
with the grain to avoid stretching or ravelling. This is especially important for
fabrics which ravel easily.
Fig.3.1f
3.1.2 IMPORTANCE OF GRAIN IN CUTTING AND CONSTRUCTION
The manner in which a garment is cut in relation to the grain lines of the fabric
affects the durability, fit and hang of the garment. Garment should be cut in
such a way that the lengthwise grain is parallel to garment length along centre
front (along A B in Fig.3.1h), centre back, centre of sleeve (along C D in Fig.3.1g)
etc.
28
Fig.3.1g
Fig.3.1h
Because of the greater strength of lengthwise yarns, garments cut on lengthwise
grain hang better and will be more durable. Ruffles, pleats and gathers will fall
in graceful folds only if the folds follow lengthwise yarns. Moreover, the
additional stretch of the crosswise grain will be needed across the body for
movement.
29
An exception to the above rule is the case of yokes which are usually cut on
crosswise grain (centre front and centre back edge parallel to crosswise grain).
Sometimes yokes are cut on bias for design interest. In striped fabrics you may
cut the front and back of the, garment on true bias to get the chevron effect.
In a well constructed garment, not only should the lengthwise grain run
lengthwise on the body but the crosswise grains should be at right angles to the
lengthwise grain or parallel to the floor at the base of the neck (line 2 in Fig.3.1h)
across the bust (line 3) across the fullest part of the hip (line 4) at the base of the
sleeve cap (line 1 in Fig.3.1g) etc. This can not be achieved if you are using an off
grain fabric for cutting. The result will be an ill fitting garment which has
wrinkles, lacks balance and is uncomfortable to wear. If a dress design should
look balanced on the figure, the right half and left half should be identical in
design, shape and grain.
In this context special care must be exercised when buying fabrics with printed
stripes or checks. If these prints happen to be off grain, as in (Fig.3.1d), you can
balance the design on the right and left half of the garment only by disregarding
the grain, and this will create probl ems as mentioned earlier. Even so, this is
preferable to making the fabric grain- perfect at the expense of balance in
design. These problems do not arise in the case of woven checks and stripes.
As a final point, recall what has been said earlier about cutting and stitching
along a bias direction: always work with the grain and not against.
3.2 STEPS IN PREPARING THE FABRIC FOR CUTTING
Preparation of fabric involves the following four steps which are explained in
detail further below.
1. Checking each end of the fabric to see whether it is, straight along a crosswise
yarn. If it is not, cut it along a crosswise yarn (See Fig.3.2a). This process is
called straightening or evening the ends.
2. Checking the fabric to see whether it is grain perfect (i.e ., whether the
corners form right angles). Straighten the grains, if the fabric is offgrain. (See
Fig.3.2b-d).
3. Shrinking the fabric if it has not been pre - shrunk by treatments like
Sanforising.
4. Pressing the fabric and removing all creases.
3.2.1. CHECKING EACH END OF THE FABRIC AND

STRAIGHTENING IT (FIG.3.2A).
First of all check whether the fabric end is cut or torn. In a torn fabric, the fabric
end will be straight along a crosswise yarn and will not need straightening. Torn
30
edge can be recognised by the tiny ends of lengthwise threads visible along this
edge. (See edge AB in Fig.3.2a)
If the fabric has cut ends, examine them to see if they are cut along crosswise
yarns. If not, straighten them as explained below. (In Fig.3.2a, CD is a cut end
that needs straightening).
Methods of straightening fabric ends:

The methods used for straightening the ends of different types of fabrics are the
following (a) Loosely woven fabrics or fabrics with prominent crosswise yarns can
be cut straight along the visible crosswise yarn. (b) Fabrics that are firmly woven
can be torn (with a quick jerk) straight across the fabric after clipping into the
selvedge (c) For sheer fabrics and fabrics that fray, clip the selvedge and gently
pull one crosswise yarn so that it causes a puckered line. Now cut carefully
along this puckered line as far as you can follow it clearly. Now grasp the yarn
(or the one next to it) again and repeat the pulling and cutting, across the full
width of the fabric. (See Fig.3.2a).
Fig.3.2a
3.2.2 CHECKING AND STRAIGHTENING THE FABRIC GRAIN (FIG.3.2B-D).
After the ends have been straightened, fold the fabric in half lengthwise,
matching the selvedges accurately, and place it on a table top as shown with
the selvedges exactly in line with the long edge of the table and the crosswise
ends falling close to the short edge of the table. If the crosswise ends match
evenly and are parallel to the short edge of the table, it is clear that the
crosswise ends are at right angles to the selvedges and the fabric is grain perfect
(Fig.3.2b).
31
Fig.3.2b
Fig.3.2c
Fig.3.2d
32
If the crosswise ends do not match evenly and/or are not parallel to the short
edge of the table, it shows that the crosswise ends are not at right angles to the
selvedges. Such a fabric is off grain and needs straightening or restoring of right
angled structure (Fig.3.2c).
Methods of straightening fabric grain

Important methods used for straightening fabric grain are the following.
(a) Stretching method (Fig.3.2d): The simplest method of making a fabric grain
perfect is by stretching it. Open up the fabric, keep it near the corner of a table
and pull it on the true bias in the correct direction as shown in the figure. After
pulling for some time, fold the fabric and check for grain perfectness as you did
before. This process may have to be repeated several times.
(b) Steam press method: If the above mentioned method does not work, clip the
selvedge at intervals, sprinkle water on the fabric and press with a hot iron in
the appropriate direction (instead you may press with a steam iron) till the
fabric becomes grain perfect.
(c) Immersion method: This is the most effective method for straightening
washable fabrics. Fold the fabric lengthwise, tack the selvedges together,
immerse it in water until it is completely" wet, and then squeeze out excess
water. Hang up the fabric till it is half dry. Now place it near the corner of a table
and carry out the stretching process to make it grain perfect. (Keep paper or
cloth underneath to prevent the fabric from getting soiled or stained from the
wooden table-top). After straightening, keep it on a flat surface and dry-When
dry, press with an iron and remove the tacking stitches along the edges.
3.2.3 SHRINKING FABRICS AND PRESSING
Cotton fabrics, especially those with the low thread counts which are not
Sanforised or pre -shrunk must be shrunk before cutting. Fabrics which have to
be shrunk can be made grain perfect at the same time by following the
immersion method.
3.3 LET US SUM UP
In this unit, we
Ø Learnt what is grain, its importance in fabric cutting and steps in preparing
fabric for cutting
Ø The distance students can have a practical experience in a fabric by

identifying different types of grains and by preparing fabric for cutting.
33
Ø Analyze the importance of Grain in a fabric
3.6 REFERENCES
Ø Practical clothing construction – Part I and II, mary mathews, cosmic press,
Chennai (1986).
34
UNIT – II
35
36
LESSON–4
TYPES OF PAPER PATTERNS AND
METHODS OF PATTERN MAKING
CONTENTS
4.1. Methods of pattern making
4.1.1. Drafting and draping
4.1.2. Merits and demerits of drafting and draping
4.2. Types of paper patterns
4.2.1. Patterns drafted with personal measurements
4.2.2. Commercial patterns
4.3. Let us sum up
4.6. References
Ø In this unit we have discussed the methods of pattern making and types of
paper patterns.
After reading this unit you should be able to
Ø Explain the methods of pattern making
Ø Discuss about the types of paper patterns
4.1 METHODS OF PATTERN MAKING
A basic pattern can be prepared by one of two methods: (1) by drafting (2) by
draping fabric on a model or on the person concerned.
4.1.2 DRAFTING AND DRAPING
Drafting may be defined as a system of drawing patterns on paper with

mechanical precision, on the basis of body measurements. This is an effective
and economical method which can be learned easily unlike draping which
requires a model, a lot of fabric and considerable skill.
37
4.1.3 MERITS AND DEMERITS OF DRAFTING AND DRAPING
Drafted Patterns
Advantages:
1. A good pattern of the right size which has been adjusted to suit your
individual requirements will enable you to obtain a good fit.
2. A pattern prepared on thick paper or card board can be preserved for a long
time and can be used over and over again.
3. By manipulating the basic pattern pieces it is possible to produce patterns
for complicated and original designs. (For example, the basic sleeve can be
adapted for a puff sleeve or bell sleeve etc.)
4. A paper pattern of a particular size can be used to make new patterns of
proportionately larger or smaller sizes by following a systematic procedure
called "grading".
5. Cutting with the help of a paper pattern is quicker and easier than drafting
straightaway on the fabric.
6. Use of a paper pattern will enable you to cut the garment with a minimum
amount of fabric because it is possible for you to try out the placement of
pattern pieces in different ways till you have found the most economical
way to keep them.
Disadvantages:
a) It is time consuming process as it takes lot of time to draft the pattern.
b) Unless the techniques and principles of drafting is known it is difficult for
the persons to prepare paper pattern.
3. The paper pattern can be rarely used more than once unless copied on a
thick sheet.
Draping
Advantages:
1. Varies styles can be tried over the model.
2. Very simple to work once when the techniques is learnt.
Disadvantages:
1. Required skin to drape
2. It requires a model
3. It requires lot of fabric
4. Labourious process
5. Not economical as fabric consumption is more
38
4.2 TYPES OF PAPER PATTERNS
1. Commercial patterns prepared on the basis of standard measurements.

2. Patterns drafted using personal measurements.
4.2.1 PATTERNS DRAFTED WITH PERSONAL MEASUREMENTS
To draft your own patterns rather than buy commercial patterns. It is most
economical, and not too laborious once you have understood the principles of
drafting.
As you are drafting the pattern based on your personal measurements, the
garment will fit you better especially if your measurements don't have the same
proportions as the standard size,
Finally in making your own patterns you have great scope for deriving personal
satisfaction from the freedom to create your own designs.
4.2.2 COMMERCIAL PATTERNS
Development of Commercial patterns: Commercial patterns were first made in

U.S.A in the 1850's by Ebenezer Butterick who was a tailor. In the beginning
they were crude patterns in rough paper, for simple designs only. The first
patterns were for men's and boys' clothing. Patterns for women and children
were also developed later and became available commercially. You may have
seen fashion magazines like Vogue, McCall's Pictorial, Simplicity etc, and their
pattern books.
Commercial patterns are usually done on tissue paper. Since tissue paper is not
bulky, it allows many pieces of pattern to be packed compactly in an envelope.
In commercial patterns seam allowances are included for safety. Patterns of
established companies are usually printed and marked clearly with straight
grain lines, seam lines, cutting lines, darts, centre lines and all the necessary
construction details. Good patterns are carefully labelled with the following
information : the pattern size, name of each pattern (back, front, sleeve etc),
number of pieces to cut from each pattern piece etc In addition some companies
provide instruction sheets explaining the steps involved in using the pattern to
cut out the garment, transferring pattern markings, and constructing the
garment.
In India there are very few concerns making paper patterns probably because
there is not much demand for them. Unlike in foreign countries we have the
facility to get our clothes custom tailored at fairly reasonable rates. Housewives
and women who know a little bit of tailoring prefer to make their own patterns
rather than buying expensive ready made patterns. This may be another .reason
for the lack of demand for commercial pattern.
39
4.3 LET US SUM UP
In this unit, we
Ø Learnt the methods of pattern making and types of paper patterns.

preparing drafted paper pattern and commercial paper pattern.
Ø Critically analyse the preparation of drafted paper pattern and commercial

paper pattern.
4.6 REFERENCES
Ø Practical clothing construction, Part I and II, Mary Mathews, Cosmic Press,
Chennai (1986).
40
LESSON–5
PATTERN MAKING - DRAFTING
CONTENTS
5.1. Introduction to Pattern Drafting
5.2. Principles of pattern drafting and pattern details
5.3. Steps in drafting
5.3.1. Basic bodice front and back
5.3.2. Basic sleeve
5.4. Let us sum up
5.7. References
Ø In this unit we have discussed the principles of pattern drafting and steps
in drafting.
Ø Discuss the principles and steps in drafting.
5.1 INTRODUCTION TO PATTERN DRAFTING
The basic blocks can be drafted to fit individual figures by using personal
measurements instead of the standard ones. The basic pattern is also referred to
as sloper, block, master or foundation pattern. It consist of five pattern pieces –
Bodice front, bodice back, skirt front, skirt back and the sleeve. The basic
pattern can have only a minimum number of darts and seams and it should fit
the body comfortably without being tight or loose. The designer uses a
foundation block as a basis for making the pattern for a design. She may
introduce style lines, tucks, gathers, pleats or drapes.
41
5.2 PRINCIPLES OF PATTERN DRAFTING AND PATTERN DETAILS
Drafting can be done on ordinary brown paper which should not however be too
thin. To obtain an accurate draft, use a sharp pencil, and a ruler for drawing
straight lines. To get the corners at right angles, keep an L scale or set squares
ready. Before drafting, it is important to understand the procedures and
instructions clearly, and to have practice in drawing a well balanced pattern
with smooth curves and straight lines. You must understand the following
principles before starting to attempt drafting.
1. Patterns must be made larger than body measurements to allow for freedom
of movement, ease of action and comfort in wearing. Recommended ease
allowance for various parts of the body are listed below.
Bust 3" to 5" (3" for a tight fitting garment and 5" for loose fitting one); waist ¼"
to ½"; hip 3" to 5"; upper arm 3" to 4"; arm hole depth 1"; bodice length nil;
sleeve length nil; skirt length nil.
2. For symmetric designs where the right and left sides are alike, paper pattern
for half front and half back only need to be made: For the bodice, start the
drafting with the back part. For sleeves, full pattern must be drafted.
3. It is better to draft the primary or basic pattern blocks—plain bodice, plain
sleeve, plain skirt without seam allowances. When this is done, be sure to leave
seam allowances while laying out the pattern on the material at the time of
cutting. If you do not have much experience in cutting, and want to avoid the
risk of cutting without seam allowance, you may add seam allowances to your
paper pattern itself after completing the draft.
4. The following construction details and information should be recorded and
marked clearly.
a) Name of each piece of pattern (bodice front, bodice back, sleeve etc),
b) Number of pieces to be cut with each pattern piece. (For example, for a
back open dress you have to cut 1 front, 2 backs and 2 sleeves),
c) 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,
d) Length wise or straight grain line should be drawn with a red pencil as
shown (<----->) 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 the
length of the cloth or the selvedges. It is usually drawn parallel to the
centre front and centre back edges of the pattern,
e) Provide matching notches or balance marks if necessary along seams to
show which seams are to be joined together and where,
42
f) Centre front and centre back line should be marked. It is advantageous to

cut outward notches at centre front and centre back 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.
g) 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,
h) Dart markings, pleat markings etc. should be clearly shown.
5.3 STEPS IN DRAFTING

Sample measurements (7 years old): Chest 24” waist length 10 ½”, waist 23”,
back width 11”, sleeve length 5”.
5.3.1 BASIC BODICE FRONT AND BACK
Bodice pattern (Fig.5.1)

For children, back and front pattern can be drafted within the same rectangle
because it is not necessary to make the front larger than the back.
Fig.5.1
Construct rectangle ABCD with the following measurements:
• AB = ¼ (bust + 5" ease allowance) = ¼ bust + 1 ¼" = 7 ¼",
• AD = BC = back waist length + ½".
• Mark AG = ½ back width = 5 ½",
• AF = 1/12 chest = 2",
• AH = 1",
43
• AJ = 1/12 chest + ¼" = AF + ¼" = 2 ¼" and GK = 1".

• Connect HF with a bold line as shown. This is the back neck line.
• Connect JF with dotted line as shown. This is the front neck line.
• Connect FK with a straight line. This is the shoulder seam.
• Mark BL = ¼ chest = 6".
• Draw GO parallel to and equal to BL.
• Mark KX = 1/3 KO and XY = ½”.
• Connect KXL as shown with a bold line. This is the back armscye line.
• Connect KYL as shown with a dotted line. This is the front armscye line.
• Mark CM = ½”. Connect LM. This is the side seam.
For dart, mark DN = ½ DM—½" and NP=CL -1". Mark R and S. ½" on either side
of N and connect RP and SP.
5.3.2 BASIC SLEEVE PATTERN (FIG.5.2)
Fig.5.2
The sleeve is drafted in the same manner as an adult's sleeve except for a few
differences. Hence a separate diagram is not given for child's sleeve pattern.
In Fig.5.2, AD is on fold and is equal to sleeve length. AB= ¼ bust— ¼" (for
adults this was ¼ bust—1 ½"). Mark BE = ½ AB and DF = ½ lower arm + ¼".
Connect AE. Divide it into 4 equal parts and mark a, b, c. Mark cg=½", bf =
¼", ae = ¼" and ad – ½". Connect AgfeE (back armscye line) and AgbdE (front
armscye line). Cut out the sleeve and label it as explained under adult's sleeve.
44
5.4 LET US SUM UP
In this unit, we
Ø Discussed on the principles and steps in drafting.

carrying out trails in drafting the fabric for different styles of garment.
Ø Critically analyse the drafting methods for different styles of garment.
5.7 REFERENCES
Chennai (1986).
45
LESSON–6
PATTERN MAKING - DRAPING
CONTENTS
6.1. Introduction to Draping
6.2. Preparation of body form
6.3. Steps in draping
6.3.1. Basic bodice front
6.3.2. Basic bodice back
6.3.3. Basic sleeve
6.4. Let us sum up
6.7. References
Ø In this unit we have discussed the methods of pattern making and types of
paper patterns. This unit includes the principles and steps in drafting and
draping.
Ø Explain the methods of pattern making
Ø Discuss about the types of paper patterns
Ø Discuss the principles and steps in drafting and draping
6.1 INTRODUCTION TO DRAPING
Many designers prefer to use draping methods to create their original designs. A
designer can easily see the proportion, fit, balance, and style lines of a design,
exactly as it will look on the bodice. Working with actual materials gives a
designer greater inspiration and a better indication of the flow and performance
of a fabric.
Draping is the manipulation of fabric on a three dimensional form by a designer
to obtain perfect fit and harmony between the fabrics and design of the garment
and the silhouette of the individual.
46
Draping or modeling is the moulding of material around a dress stand or human

body for the purpose of designing a garment just like a sculptor, modeling allows
the fusion designer to work in 3 dimension.
6.2 PREPARATION OF BODY FORM
It is difficult for a person to fit herself and a fitter is not always available, a dress
form the exact duplicate of one’s figure is almost essential. One that is made on
the individual is more satisfactory and less expensive than the commercially
made form. For that reason, the instructions for making a form have been
included in this tailoring manual.
Materials needed
i. Two shirts of thin knit material such as T shirts. Thin muslin cut on the
bias and about 5 inches wide, to build up a neck line; or gauze tubing
shaped to the figure; or a packaged dress from kit (from a department store)
which will contain all necessary material.
ii. Two rolls of medium weight adhesive paper, one inch wide.
iii. Eight yards of coloured scotch type, ¼ inch wide.
iv. Stiff, corrugated cardboard, large enough to cut out a base for the largest
hip size and a neck size piece.
v. Other materials: Two sponges, two small basins for water, needle, thread,
sharp scissors, surgical scissors if available, pencil, yardstick, rule,
tapeline, sharp razor blade with one cutting edge only, small paint brush.
Method of Procedure
Four persons are necessary to construct the form quickly; two to moisten strips,
and two to paste strips to person, one working on the front and one on the back.
Allow one tour for making the form on the figure and one hour for finishing it
after it is removed from the figure.
1. The person should wear a bra and girdle which give desirable style lines.
She should so that her hands may be placed on the back of a chair or rest
on the edge of a table for support.
To cut the paper, hold the roll with edge extending over a table edge, and cut
through the role with a razor blade.
All strips should be cut before starting to make the form on the person.
Keep it separate on table where each group of strips is cut from the two rolls of
tape to prevent confusion and to speed up the operation.
47
a. Diagram showing the depth each group of strips is cut from the two rolls.
Each group should be labeled as it is cut.
b. First group of strips is cut ¾ inch in from outside of both rolls and are
approximately 15 to 12 inches long.
These strips are used from shoulder to waist on first layer, and diagonally from
neck down layer, front and back on the second layer.
2. Second group of strips, around 12 to 9 inches, is cut ¾ inch from outside
of each roll. These strips are used on the first layer from waist to
lower hip edge, and on the second layer down from the neck in front
and back.
3. Third group of strips, around 9 to 5 inches, cut ¾ inch in from outside edge
of roll. These strips are used diagonally under the arm on both first and
second layers in making the form.
4. Cut around 250 of 3 inch strips for finishing edges of form and for joining
the two sections.
a. Put the shirt, or substitute on the person and sew edges together so that
the shirt fits smoothly and firmly on the figure. It should run up onto the
neck to form a neckband, extend out over upper arm to form a smooth arm
scye, and extend well below the widest hips pull the shirt down smoothly
from shoulder, and paste a long strip of moistened tape closely around the
normal waistline, overlapping tape ends to prevent slipping, overlapping
tape ends to prevent slipping. Paste another strip of tape closely below the
widest hip. Paste strips curving under each bust preserve contour.
b. First layer of strips, 12 to 15 inches. Begin at center front and back, paste
moistened strips on the figure from neck and shoulder edges to taped
waistline, overlapping strips ¾ of the strip width. Let strips curve to body
contour as they will, and if too long tear off excess length.
Continue pasting strips to arm scye edge, overlapping strips at top of
shoulder. Repeat for second side of front and back. From waist to lower
hip edge, paste 9 to 12 inch strips at right angles to waist, joining tape ends
to those above the waist. Paste short 5 to 9 inch strips diagonally from
under arm to lower hip edge, allowing strips to overlap front and back
strops at side front and back. Repeat for second side.
c. Second layer of tape. Above the waist use 9 to 12 inch strips. Start just
below the neck, paste strips diagonally across front, alternating strips from
right and left side, having strips overlap at to of shoulder.
As you continue downward, the ends of strips should touch and form the
upper arm scye. Continue these crossed strips down the body to the lower
hip line edge. Using 12 to 15 inch strips below the waistline. This should
form a smooth surface over the entire figure, especially at the waist where
joinings, had occurred on the first layer.
48
d. Reinforce around arm scye to form a good shape, using 3 to 5 inch strips.
Some persons may wish to short sleeve cap. This is formed form 1 to 3
inches beyond arm scye at shoulder tip, using short 3 to 5 inch strips,
building a smooth upper arm curve, allowing strips to follow the arm curve
when pasting on. (It is difficult to put on and remove garments with an
extended sleeve cap).
Finish the neck with one layer of 6 to 9 inch strips around the neck to form
a good shape until dress form is removed from person. The neck can be
reinforced more sturdily when form is removed.
e. Measure and mark the form before removing.
Measure from floor up to within 2 or 33 inches below the widest hip and
carefully mark for the base of the form.
f. Mark for removing form from person, down center front and back with
ruled line, across front and back at intervals for matching when joining half
sections. To remove form from the figure, cut with a one -edged razor blade
down center front and back marked lines. Be careful to cut through paper
only. Finish cutting through the fabric with surgical scissors or sharp-
pointed shears.
Remove the two sections.
Join sections, using 3 inch strips.
Place fronts down on the table with edges and across markings matching both
front and back, and pint a tape securely around the waist.
49
Fig.6.1
50
Fig.6.2
51
6.3 STEPS IN DRAPING
These are some of the points to be considered while draping the fabric on body
form.
a) Analyze the creative elements of design. Identify the design details such as
body style, style lines, neck details, collars etc. Determine the draping
techniques for that particular design.
b) Measure and prepare the approximate length and width of the fabric for the
design.
c) Align and Anchor the fabric for the beginning steps, starting with the
chosen grain line.
d) After the fabric has been properly aligned on the dress form, work around
the figure.
e) Trim, clip and cut the excess fabric around the style area.
f) When the design is completed, remove the fabric from the dress form.
g) In the finished design together and recheck the fit.
6.3.1 BASIC BODICE FRONT
1. Pin the apex mark on the fabric to the apex position on the dress form.
Fig.6.3
52
2. Pin the center front grain line fold of the fabric to the center front position
of the dress form.
Anchor pins at center front neck and center front waist. An additional pin may
be needed at the bust level tape.
Fig.6.4
3.a. Put a pin on the center of the princess panel position at the waistline on the
dress form and use it as a guide for the following steps.
b. Pin the center of the princess panel line of the fabric exactly in the
center of the princess panel of the dress form.
c. Anchor pins at the waistline and in the cross grain.
Fig.6.5
53
4. Pin the front cross grain parallel to the floor (not the bust level tape).
NOTE: The reason for centering the princess panel line is to verify that the cross
grain line is perfectly aligned. Check that the lengthwise grain is parallel to the
center front and that the cross grain is parallel to the floor.
5. Clip the waistline fabric at the center of the princess panel from the bottom
edge up to the waist seam tape.
NOTE: Over clipping the waistline will result in a tight waistline fit and the lack of
necessary ease.
Fig.6.6
6. Pin and drape the front waist dart. The excess fabric that falls between the
center of the princess panel and the center front waist position will become the
front waist dart. Be careful not to overstretch the waistline or the rib cage area.
a. Crossmark the princess seam at the waistline. Smooth the fabric from
center front to the princess seam at the waistline and cross-mark. Crease
the fabric at the waistline/princess seam crossmark.
b. Pin the excess fabric on the princess seam. The excess fabric is creased
at the princess seam crossmark and folded toward the center front. Taper
the dart to nothing toward the bust apex.
54
Fig.6.7
Fig.6.8
7. Smooth and drape the remainder of the waistline. Smooth the fabric
across the waist tape until the fabric passes the side seam. Pin at the side
seam/waist corner. Leave a 1/8-inch pinch at the waistline. Also, do not mold
the rib cage area.
55
8. Pin and drape the side seam and the beginning of the shoulder.
a. Smooth the excess fabric past the side seam. Be careful not to
pull or mold the fabric across the rib cage area.
b. Smooth the fabric up and over the dress form arm plate to the shoulder.
Create a V4-inch-1/4- inch pinch at the screw level (middle at ridge) of the
armhole. This ensures that the armhole does not become too tight. Pin in
place. Leave all excess fabric in the shoulder area.
NOTE: It is not necessary to make the 1/4-inch-1/4-inch pinch if using a foam

form or any amount of arm.
9. Drape the front neckline. Trim and clip the neckline at intervals. Smooth the
excess fabric around the neck area.
Fig.6.9
Fig.6.10
56
10. Drape and smooth the fabric over the shoulder/neckline seam of the
dress form to a point just past the princess seam. Pin in place. Crossmark the
princess seam and the shoulder.
11. Drape the front shoulder dart. The excess fabric that falls between the
shoulder/neckline and the shoulder/armhole area will become the amount of
excess fabric in the shoulder dart. The larger the bust, the larger the dart; the
smaller the bust, the smaller the dart
a. Crease the fabric at the shoulder/princess seam crossmark.
Fig.6.11
b. Pin the excess fabric on the princess seam. The excess fabric is folded at
the princess seam cross-mark and folded toward the center front neck. Taper
the dart to nothing toward the bust apex.
12. Mark all key areas of the dress form to the fabric.
a. Neckline: Crossmark at center front neck and at neckline/shoulder corner.
Lightly mark remainder of neckline.
b. Shoulder seam and shoulder dart: Lightly mark shoulder seam and
crossmark shoulder dart and shoulder ridge corner.
Arm plate:
• Top at shoulder seam ridge.
• Middle at screw level.
• Crossmark bottom at side seam.
57
d. Side seam: Lightly mark.

e. Waistline and waist dart:
Crossmark at center front waist, side seam waist, and both sides of the dart.
Fig.6.12
6.3.2 BASIC BACK BODICE
1. Pin the center back grain line fold of the fabric to the center back position on
the dress form.
2. Align the neckline position mark of the fabric to the center back neck
position on the dress form.
Fig.6.13
58
3. Pin and drape the back cross-grain line of the fabric to the shoulder blade
level on the dress form. Pin the arm plate crossmark 1/4 inch away from the
plate (at the armhole ridge). Distribute the excess ease along the shoulder blade
level.
NOTE: This line is correctly draped when the drape hangs freely and evenly
without any drag or pulled-down look. Also, the lower edge of the drape should
hang parallel to the floor.
Fig.6.14
4. Pin and drape in the back waistline dart 7 inches long by 1 1/4 inches wide,
as follows:
a. Smooth the fabric toward the side seam until the fabric passes the princess
seam. Place a crossmark at the princess/waist seam.
b. Measure and crossmark the waistline 1 1/4 inches toward the
side seam from the princess seam/waist crossmark.
c. Measure and crossmark 7 inches up at the middle of the dart, remaining
parallel to center back (on grain). Refer to the illustration.
d. Fold the back waistline dart in place. At the waistline, fold the
princess seam crossmark to the 1 1/4-inch crossmark. Taper the dart to nothing
at the 7-inch mark.
NOTE: The waist dart increases or decreases in width and length as sizes get
larger or smaller from a standard size 8 or 10.
59
Fig.6.15
5. Clip, smooth, and drape the waistline.

a. Clip the waistline fabric at the center of the princess panel up to the bottom
of the waist seam tape.
NOTE : Over clipping the waistline will result in a tight waistline fit and the lack
of necessary ease.
b. Smooth the fabric across the waist tape until the fabric passes the side seam.
Pin at the side seam/waist corner.
Fig.6.16
60
6. Drape the back side seam. Smooth the fabric past the side seam and flat
over the dress form. Be careful not to mold or distort the back rib cage area. Pin
in place.
7. Clip, smooth, and drape the back neckline.
a. Carefully trim the excess fabric around the neck area, clipping at intervals.
b. Smooth the fabric over the shoulder/neckline area of the dress form and
pin in place.
Fig.6.17
8. Drape in the back shoulder dart, 3 inches long by 1/2 inch wide:
a. Smooth the fabric over the shoulder seam, starting at the neckline and
moving toward the princess seam, and crossmark.
b. Measure toward the armhole 1/2 inch from the princess seam at the
shoulder (width of back shoulder dart) and crossmark.
c. Measure down 3 inches on the princess seam from the shoulder seam and
crossmark.
d. Fold the back shoulder dart in place. Fold the fabric from the princess seam
crossmark to the 1/2-inch crossmark. Taper the dart to nothing at the 3-inch
crossmark.
61
Fig.6.18
Fig.6.19
9. Mark all key areas of the dress form to the fabric.

a. Neckline: Crossmark at center back neck and at neckline/shoulder corner.
Lightly mark remainder of neckline.
62
b. Shoulder seam and shoulderdart:

Lightly mark shoulder seam and crossmark shoulder dart and shoulder ridge
corner.
c.. Arm plate:

• Mark top at shoulder seam ridge.
• Mark middle at screw level.
• Mark bottom of the plate at the side seam crossmark.
d. Side seam: Lightly mark.
e. Waistline and waist dart:

Crossmark at center back waist, side seam waist, and both sides of the dart.
Fig.6.20
The designer may make pattern adjustments but still retain the original
character of the sleeve. Fitting a sleeve into a garment is essential when a new
sleeve has been drafted. The fitting allows the designer to compare the flat
pattern dimensions with the hang movement, proportion, and shape of the
actual sleeve.
A properly fitted sleeve will provide the designer with the highest-quality
garments. Therefore, fittings must be done carefully and accurately.
63
Fig.6.21
6.3.3 BASIC SLEEVE

1. Cut, sew, and crimp the basic sleeve. Cut the basic sleeve out of fabric. Sew
the elbow dart and the underarm seam. Crimp the sleeve cap from the front
notch to the back notches.
Fig.6.22
64
2. Pin the underarm seam of the sleeve. Lift the arm to expose the underarm
seams and pin the underarm seam of the sleeve to the underarm seam of the
bodice armhole. Place the pins parallel to the stitchline, from the front notches
down and around to the back notches.
Fig.6.23
3. Pin the sleeve cap to the remaining portion of the armhole, matching the
shoulder notch to the shoulder seam of the bodice and all remaining stitchlines.
NOTE: For additional fitting procedures on sleeves.
`
Fig.6.24
65
6.4 LET US SUM UP
In this unit, we
Ø Discussed on the preparation of dress form
Ø Discussed the steps in draping.

carrying out trails in draping and the fabric for styles of garment.
Ø Critically analyse the draping skill adopted for different styles of garment
Ø Critically analyse the drafting methods for different styles of garment.
6.7 REFERENCES
Ø The art of Fashion Draping, Connie Amaden – Crawforg, Fairchild Publishers,

III Edition, New Delhi (2005).
66
UNIT – III
67
68
LESSON–7
STYLES CREATED USING
DART MANIPULATION
CONTENTS
7.1. Introduction
7.2. Styles created by shifting blouse darts
7.3. Adding fullness at the top and bottom edges of the bodice
7.4. Converting darts to seams
7.5. Incorporating darts into seams forming the yoke
7.6. Converting darts to a partial yoke
7.7. Let us sum up
7.10. References
Ø In this unit we have discussed the styles created using dart manipulation.
Ø Create styles using dart manipulation in a garment
7.1 INTRODUCTION
While designing and making patterns for ladies garments it is important to know
the principles of dart manipulation. This pattern has two ba sic darts pointing to
the bust line, one from the waistline and the other from the side seam. By
pattern manipulation, it is possible to shift the darts into other parts of the
bodice without changing the fit of the garment, but creating interesting effects. It
is also possible to add extra fullness in the form of gathers, pleats etc. by the
slash and spread method.
7.2 STYLES CREATED BY SHIFTING BLOUSE DARTS
Style 1 (Fig.7.1a-a2)
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In this style (Fig.7.1a), the side seam dart has been shifted to the shoul der area
by the slash method as follows :
Fig.7.1a
Trace the basic pattern with the darts. Mark the bust point P and extend the
side seam dart to the bust point as shown (Fig.7.1a1).
Fig.7.1a1
Now draw line CP where the new dart is to be located. Slash along this line to
the bust point. Now close the side seam dart and pin. You will find that an open
space in the shape of a dart has been formed in the shoulder area (Fig.7.1a2).
70
Fig.7.1a2
Keep this pattern on another paper and draw the final pattern terminating this
shoulder dart 2" away from the bust point.
Style 2 (Fig.7.1b-b2)
In the style shown in (Fig.7.1b) the side seam dart and waistline dart have been
shifted to the centre front edge as explained below:
Fig.7.1b
71
Trace the basic pattern and extend the waistline dart and the side seam dart till
the bust point P (Fig.7.1b1).
Fig.7.1b1
Draw lines AB and CD where the new darts are to be located. Connect BP and
DP as shown and slash the pattern along these lines. Close the waistline dart
and side seam dart and pin as shown in (Fig.7.1b2) (It will be easier to close the
darts if one side of each dart is slashed).
Fig.7.1b2
Now you will find that two open spaces have been formed at the centre front
edge of the pattern. Keep this pattern on another paper and trace the new
pattern shortening the darts by 1½" to 2" .
Style 3:
Darts shifted to the neckline an and converted to gathers (Fig.7.1c-c2): the
waistline and side seam dart to the neckline area where the gathers are desired
using the method described under style 1 and style 2 The finish pattern is
shown in (Fig.7.1c).
72
Fig.7.1c
Make a smooth cut at the wide end of the dart and mark notches indicate the
beginning and ending of gathers. If you require more gathers near the neckline
than 1 dart equivalent, additional fullness must be introduce as follows: Slash
the pattern shown in (Fig.7.1c1) along the dotted lines drawn from the neckline
to the waistline and armscye line and spread up the pattern at neckline as
shown in (Fig.7.1c2) Trace this pattern on to a paper.
Fig.7.1c1
Fig.7.1c2
73
7.3 ADDING FULLNESS AT THE TOP AND BOTTOM EDGES OF THE BODICE
Style 4 (Fig.7.1d-d2):
In this style (See Fig.7.1d) gathers have been introduced at the neckline
waistline as follows
Fig.7.1d
Slash the pattern all the v from the neckline to the waistline (from A to B
Fig.7.1d1) after drawing the horizontal grain line E right angles to the centre
front edge of the pattern.
Fig.7.1d1
Next, take a large sheet of paper and mark a horizontal grain line on it. Keep
the two halves of pattern on the new sheet of paper leaving a gap of to 6"
depending on the amount of gathers desired) and matching the horizontal grain
lines (Fig.7.1d2).
Fig.7.1d2
Redraw to get the final pattern. Mark notched indicate the beginning and ending
of gathering.
74
7.4 CONVERTING DARTS TO SEAMS
This style (Fig.7.2a) has decorative seams from the armhole to the line, dividing
the front bodice into three gore panels. The seams can be made more
conspicuous by insertion of lace, ruffles or bias binding.
Fig.7.2a
To n the pattern, make a copy of the bodice pattern extend the basic darts to the
bust point P. BPB1 is the extended waistline dart. Extend line BP shown to meet
armscye line at point A in the desired position. The curved line APB is the
decorative seam line. (Fig.7.2a1).
Fig.7.2a1
Label the centre panel as section and side panel as Section II. Mark matching
notches and grain lines and cut the pattern apart along line APB. Cut off the
dart area of the waistline dart and close the side seam dart. (Fig.7.2a2) shows
the final pattern.
Fig.7.2a2
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Styles 6 to 9 (Fig.7.2b-e)
In all these styles the darts have been converted to seams using the principle
explained above. If you are making the pattern for a child's dress, the basic
pattern will have only a waistline dart and only this dart has to be cut away or
folded in. If there is no dart in the bodice, you just have to draw the style line
and cut the pattern apart.
Fig.7.2b Fig.7.2c
Fig.7.2d Fig.7.2e
7.5 INCORPORATING DARTS INTO SEAMS FORMING THE YOKE
In this style (Fig.7.3a), the darts have been incorporated into the seam forming
the yoke.
Fig.7.3a
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To get the best results points P and P on the yoke should be located at the bust
points. To make the pattern, trace the bodice pattern and extend the basic darts
till the bust point P (Fig.7.3a1).
Fig.7.3a1
Draw the yoke line APQ as explained below. Mark point A at about the midpoint
of the shoulder line. Connect A to the bust point P and draw PQ perpendicular to
the centre front edge of the pattern. Mark matching notches and grain line.
Label the yoke as section and the rest of the blouse as section II. Now cut along
APQ and separate the two sections. Close the darts in section II as shown in Fig.
Style 11 (Fig.7.3a2):
Fig.7.3a2
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Style 11 (Fig.7.3b-b2)
In this style the dart has been converted to gathers in the lower section of the
bodice.
Fig.7.3b
To make the pattern, trace the basic bodice pattern, draw the yoke line ABC and
button extension as shown (Fig.7.3b1).
Fig.7.3b1
Draw dotted lines PQ and RS to points of darts as illustrated. Mark matching
notches and grain lines and cut out and separate the yoke from the bodice.
(Fig.7.3b2).
Fig.7.3b2
78
Slash along the dotted lines in section II and fold the original darts. Now the
pattern will open up as in (Fig.7.3b3) Place over fresh paper and redraw to get
the final pattern.
Fig.7.3b3
7.6 CONVERTING DARTS TO A PARTIAL YOKE
Style 12 (Fig.7.3c-c5)
The design shown in (Fig.7.3c) serves much the same purpose as a yoke, but is
somewhat similar to a dart in its construction. As the dart seam line does not
extend across the entire garment, it is sometimes referred to as a partial yoke.
Fig.7.3c
To make the pattern for this style, first of all shift the waistline and side seam
darts to the shoulder line (Fig.7.3c1).
Fig.7.3c1
79
Fold the dart and pin it, and draw the design line CD as shown in (Fig.7.3c2).
Fig.7.3c2
Draw DE perpendicular to the waistline and cut the pattern along CDE stopping
the cutting about 1/8” above the point E. Allow the dart to open up in the lower
section of the pattern and spread the pattern as shown (Fig.7.3c3).
Fig.7.3c3
Keep the dart in the upper area closed. Keep this pattern on another
paper and trace the outline. Allowances must be left on the fabric at the time of
cutting as shown by dotted lines, in (Fig.7.3c4).
Fig.7.3c4
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Construction of partial yoke (Fig.7.3c5)

Reinforce corner D with machines stitches close to the seam line. Gather the
seam line C’D of (Fig.7.3c4) so that it becomes equal to CD. Fold the upper part
of the garment down, right sides facing and pin the two seam lines D C and D C’
together as shown in (Fig.7.3c5) (The dotted lines show the position of the upper
part of the garment).
Fig.7.3c5
Stitches as you would stitch a dart with gathered side up.
7.7 LET US SUM UP
In this unit, we
Ø Learnt the create styles using dart manipulation
Ø The distance students may try to create styles using dart manipulation
technique.
Ø Critically analyze suitable methods to create styles using dart

manipulation.
7.10 REFERENCES
Chennai (1986).
81
LESSON–8
GARMENT FITTING
CONTENTS
8.1. Fittings – Introduction
8.2. Standards of a good fit
8.3. Steps in preparing a blouse for fitting
8.4. Checking the fit of a blouse
8.5. Solving fitting problems in a blouse
8.6. Fitting techniques
8.7. Specific fitting problems in a blouse and their remedies
8.8. Let us sum up
8.11. References
Ø In this unit we have discussed about the fitting standard with techniques.
Ø Check the fit of a garment
Ø Identify the fitting problems and remedies for the same.
8.1 FITTINGS – INTRODUCTION
The success of your garment depends a great deal on its fit. A well fitting garment
has optimum amount of ease (neither too tight nor too loose) and its seam lines
follow the general silhouette of the body. It hangs or sets in a well balanced
manner without wrinkles, sagging or poking out.
8.2 STANDARDS OF A GOOD FIT
The factors which determine whether a garment has good fit or not are ease, line,
grain, set and balance. These factors are referred to as "Standards for a good fit".
They are interrelated. For example, if a garment has excess ease or too little
82
ease, the grain lines go out of position, wrinkles appear and the garment may
lack balance?
Ease: Ease is the difference between the actual body measurement and the
garment measurement at any given point. This amount varies with fashion, type of
garment and personal taste. A garment constructed with optimum amount of ease
will be of the right size. Pulling or drawing across the bust, shoulder blades,
hipline etc. are evidences of insufficient ease. Excess ease causes folds across the
loose area giving a baggy appearance to the garment.
Line: Lines to look for in fitting are the basic silhouette seams, circumference
seams and design lines. The shoulder seam should be straight across top of
shoulder. The side seam should be straight and must be half way between back
and front. The circumference lines include neckline, armhole. waistline and
hemline. They should form smooth curves following the natural body curves. The
armhole should be oval shaped and should not curve too far into the bodice nor
should it extend too far away from the natural joint. The neckline should fit well
without pulling or gaping. Waistline and hemline should be parallel to the floor.
Design lines such as pleats, darts, gores, and yokes within the garment should be
graceful and smooth.
Grain: When a garment is worn, the fabric grain lines must fall correctly in the
proper places on your figure. The lengthwise grain should be perpendicular to the
floor at the centre front and centre back of the garment. In the sleeve the length-
wise yarns should hang vertically from shoulder line to centre of sleeve hem. The
crosswise yarns should be parallel to the floor across bust, waist, and upper arm of
sleeve. In Fig. 8.1.a, b, c. the solid lines are lengthwise grain lines (KL centre front
line, PN centre back line and ST centre sleeve line) and the dotted lines are crosswise
grain lines (AB and CO across bust lines and EF across upper arm line).
Set: A garment is said to have a good smooth set, if it has no undesirable
wrinkles. Wrinkles are slanting triangles caused by the garment being strained
over some curve or bulge of the body. The wrinkles pointing towards the shoulder
blade in Fig.8.2 is caused by protruding shoulders; to remove them you must
provide extra length and width for the garment in this area. If a garment is tight
around its circumference, crosswise wrinkles occur above or below the tight area.
Balance: For a good fit, the garment should look balanced from left to right and front
to back. A skirt should extend the same distance from the centre to the right and left
sides. If the shoulder seam stands away from the shoulder at neck point and fits
tightly at armhole point, the garment looks out of balance.
8.3 STEPS IN PREPARING A BLOUSE FOR FITTING
1. To make fitting easier, mark the important grain lines on blouse front, back
and sleeve (centre front line, across bust line, centre sleeve line, across upper arm
line etc.) by pencil or tacking stitches (See Fig.8.1.a,b,c).
83
Fig.8.1a Fig.8.1b
Fig.8.1c
2. Make sure that bias edges and curved edges (especially neckline) are stay
stitched before the garment is assembled for fitting.
3. Assemble the garment using small basting (tacking) stitches or machine basting
in contrasting coloured thread in the following order,
(a) Blouse front darts (Fig.8.1d).
Fig.8.1d
84
(b) Blouse back darts (Fig.8.1e)
Fig.8.1e
(c) Shoulder seam and side seams as shown in Fig.8.1f. (While tacking these
seams front and back should be kept right sides facing and wrong sides out)
Fig.8.1f
(d) Sleeve hem and side seams of sleeve (Fig.8.1g).
Fig.8.1g
Sleeve should be tacked to the armhole only after checking the fit of the blouse
and sleeve separately and making the necessary adjustments.
85
8.4 CHECKING THE FIT OF A BLOUSE
1. Put on the garment right side out over a good fitting brassiere. If there is a
centre opening pin it closed, matching the centre lines on overlap and under lap.
(Use several pins). Adjust the blouse so that the centre lines coincide with the
centre of your figure.
2. Stand in front of a mirror and study the overall appearance of the blouse.
Remember that the armhole, neckline and lower edge of blouse have an
extended seam allowance (i.e., the edge of the fabric is not the seam line).
3. Determine the fit of the blouse by checking the following points. (Though it is
possible to do this by yourself, it would be better if you have some one
experienced to assist you in fitting).
a) Whether there are any changes needed in length of the bodice, sleeve and
shoulder seam.
b) Whether it has the right amount of ease across bust upper arm, back etc.
c) Whether the seam lines (shoulder, armscye, side seam, waist line, and neck-
line) follow the general silhouette of the body.
d) Whether the grain lines are falling correctly in the proper places on your
figure.
e) Whether there are any wrinkles.
f) Whether the darts are of optimum width and point towards the bust point
ending ¾" to 1" away from the bust point.
8.5 SOLVING FITTING PROBLEMS IN A BLOUSE
Basic Principles:
(1) If there is too little or too much of ease, let out the seam or dart near the
tight area and deepen (i.e., take in) near the too loose area. Apparent
tightness in one area may also be rectified sometimes by deepening the
part of the seam where the garment is relatively loose. For example,
if the blouse seems tight near the arm joint of shoulder line, taking a deeper
seam at neck point of shoulder line may correct the problem.
(2) To get rid of diagonal wrinkles provide greater length and/or
width near the pointed end of the wrinkle. Sometimes the problem is
solved by decreasing the length of the garment at the opposite end. For
example, if there are wrinkles pointing towards the shoulder near the arm
joint, you may either let cut the shoulder seam and retack reducing the
seam allowance as you approach the arm joint or you may simply
deepen the seam at the opposite end i.e., neck point. Both processes
reduce the slope of the shoulder. By trial and error you have to see which
procedure gives the best effect.
86
(3) If a crosswise grain line is sagging, lift the sagging part by taking a
deeper seam above it. If the grain line is curving up you have to do the
opposite i.e., let out the seam above the rising part. Before making this
adjustment, make sure that the off grain condition is not due to faulty cutting.
(4) To rectify a lengthwise seam line that curves or slants instead of hanging
vertical, rip out the seam near the bulge (heavy bust, protruding back etc.)
which is the cause of the trouble, and retack providing greater length and
width for the bulge.
(5) To remedy an off balance condition, deepen the seam above the side
which hangs down or let out the seam directly above the part which rises up.
(6) Fitting must be done over and over again until a perfect fit has been
achieved. As mentioned earlier sleeve should be tacked to the armhole and tried
on only after checking the fit of the blouse and sleeve separately and making the
necessary adjustments.
8.6 FITTING TECHNIQUES
(1) Since the fitting is done wearing the blouse right side out, all changes needed
will be marked on the right side, with chalk, pencil or pins. They are to be
transferred to the wrong side later (after taking off the blouse) for making
necessary adjustments or alterations.
(2) Fitting is usually done only on the right hand part of the garment. Changes
marked on right hand side are to be transferred to the left hand side, so that the
alterations are identical on both sides. If there are any imperfections they can be
taken care of at the time of second fitting.
(3) If a seam or dart has to be shortened or lengthened, mark the termination
point, preferably with a pin.
(4) If a seam has to be adjusted at one end to produce a tightening effect, take in
the extra amount and pin on the right side. If a seam has to be loosened at one
end, rip the seam at that part and re pin as a lapped seam or a plain seam (with
reduced seam allowance) using pins applied on the right side.
(5) For side seam line that slants towards the back as in Fig.8.2e rip out the
whole seam and re pin alter raising the back part above the front the required
amount. (See Fig.8.2e 1)
8.7 SPECIFIC FITTING PROBLEMS IN A BLOUSE AND THEIR REMEDIES
We present below a number of fitting problems that you may encounter while
fitting a blouse. The problems (a to k) are illustrated in Fig.8.2a to k. The
remedial measures for each problem are also explained with the help of figures
(Fig.8.2a1 to k1).
87
In these figures the solid lines indicate the original seam lines and the dotted
lines the adjustments to be made. Since too many lines may confuse the reader,
the cutting lines of blouse front, back and sleeve are not shown in the figures
Problem: a (Fig.8.2a): End of shoulder seam extends beyond arm joint: the
sleeve cap slips down below the arm joint (if sleeve has been attached).
Cause: Shoulder seam is too long
Fig.8.2a
Remedy: (Fig.8.2a1): Shorten the shoulder seam. (Mark the correct length with
pencil or chalk or pin and draw new armhole curve connecting this point and
under arm point as shown by dotted line).
Fig.8.2a1
Problem b (Fig.8.2b): End of shoulder seam does not reach arm joint. If sleeve
has been attached, the sleeve cap rides up.
Cause: Shoulder seam is too short.
88
Fig.8.2b
Remedy (Fig.8.2b1): Lengthen the shoulder seam. (Mark the correct length and
draw new armhole curve as indicated by dotted line).
Fig.8.2b1
Problem c (Fig.8.2c):
(1) Diagonal wrinkles pointing towards the neck point on shoulder.
(2) The blouse rises above the shoulder at the arm joint but hugs the neck.
(3) The crosswise grain line drops near armhole.
Cause: Shoulder slope of the blouse is insufficient.
Fig.8.2c
89
Remedy (Fig.8.2c1,c2): Increase the shoulder slope. (Re pin the shoulder seams
making them slightly deeper as you approach the arm joint along the dotted line
shown in (Fig.8.2c1).
Fig.8.2c1
If the blouse is tight near the neckline, rip out the seam at this point and repin
along the dotted line shown in Fig.8.2c2).
Fig.8.2c2
Problem d (Fig.8.2d):
(1) Diagonal wrinkles pointing towards the arm joint on shoulder.
(2) The blouse rises above the shoulder at the neck point but hugs the arm joint.
(3) The cross. wise grain line pulls up at armhole in front and back.
Cause: Shoulder slope of the blouse is too much.
Fig.8.2d
90
Remedy (Fig.8.2d1,d2): Reduce shoulder slope. (This can be done by reducing

the seam allowance near the arm joint as shown in (Fig.8.2d1) or by increasing
the seam allowance near the neck point as in Fig.8.2d2).
Fig.8.2d1 Fig.8.2d2
Probleme (Fig.8.2e):
(1) Wrinkles pointing towards the shoulder blades.
(2) The blouse swings far out from the body at back and hugs the body in
front.
(3) The crosswise grain line curves up and the side seam slants towards the
back.
Cause : Back length of blouse is insufficient due to protruding shoulder blades.
Fig.8.2e
Remedy (Fig.8.2e 1): Provide extra length for shoulder blades (Rip out and pin
new shoulder seam reducing the seam allowance of back shoulder Rip out side
seam and repin it lifting the back above the front at the side seam. Mark new
armhole seam line, increasing width of the back as shown. Front hemline near
waistline should be trimmed along the dotted line).
Fig.8.2e 1
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Problem f (Fig.8.2f)
(1) Wrinkles pointing towards the bust.
(2) The underarm seam slants to the front.
(3) The blouse swings from the body at centre front and hugs the body at back.
(4) The crosswise grain line rises above the bust line.
Cause: Insufficient width or length or both for blouse front.
Fig.8.2f
Remedy (Fig.8.2f1): Provide extra length and width near the bust line. (Rip out
the side seam and introduce a side seam dart on the blouse front. If a side seam
dart is already present, increase the width of the dart. Repin the side seam
reducing the seam allowance on the blouse front. Increase the width of the
waistline dart if necessary).
Fig.8.2f1
Problem g (Fig.8.2g): The neckline gapes and sags in front.

Cause: Neck circumference of blouse is too much.
92
Fig.8.2g
Remedy (Fig.8.2g1): Reduce neck circumference. (Reshape the centre front line,
slightly curving in towards the top edge near neck as shown. If necessary, work
a row of ease stitching (large stitches) on the neck seam line and pull up the
bobbin thread until the neckline fits smoothly).
Fig.8.2g1
Problem h (Fig.8.2h): Pulling wrinkles pointing towards front sleeve cap.
Cause: Front sleeve cap seam is too deep.
Fig.8.2h
Remedy (Fig.8.2h1): Reduce depth of front sleeve cap seam as shown
93
Fig.8.2h1
Problem i (Fig.8.2i): Pulling wrinkles pointing to the top of the sleeve.

Cause: Sleeve cap height is too short.
Fig.8.2i
Remedy (Fig.8.2i 1): Increase sleeve cap height as shown by dotted lines.
Fig.8.2i1
Problem j (Fig.8.2j): Pulling wrinkles pointing to under arm point.

Cause: Sleeve cap height is too much.
Fig.8.2j
Remedy (Fig.8.2j 1): Reduce sleeve cap height as shown.
94
Fig.8.2j1
Problem k (Fig.8.2k): Sleeve pulls and wrinkles across upper arm.

Cause: Sleeve width is insufficient at upper arm.
Fig.8.2k
Remedy (Fig.8.2k1): Increase sleeve width at upper arm as shown.
Fig.8.2k1
95
8.8 LET US SUM UP
In this unit, we
Ø Learnt how to check the fit of a garment and how to rectify those problems
Ø Learnt standards of a fit
Ø The distance students may select a person among themselves to check the
fit of a garment and if any problem arise can think over themselves to
rectify those problems using the study
Ø Analyze certain fitting problems with remedies.

Ø Analyze standards of fit
Ø Analyze how to prepare a blouse for fitting.
Ø Analyze fitting techniques
8.11 REFERENCES
Chennai (1986).
96
UNIT – IV
97
98
LESSON–9
PATTERN ALTERNATION
CONTENTS
9.1. Importance of pattern alteration
9.2. General principles for pattern alteration
9.3. Common pattern alteration in a blouse
9.4. Let us sum up
9.7. References
Ø In this unit we have discussed the importance, principles and common

pattern alternation in a blouse.
Ø Identify the techniques for pattern alternation.
9.1 IMPORTANCE OF PATTERN ALTERATION
Importance of altering patterns: if a garment is cut after the pattern is altered to

fit your figure, there is no danger of wasting expensive fabric and spoiling the
garment. Fitting the garments also will be much easier because there will not be
major alterations to be made at this stage. Moreover some alterations cannot be
satisfactorily made after the garment is cut. Hence it is essential that you perfect
your pattern by making the necessary alterations before using it for cutting out
the actual garment.
9.2 GENERAL PRINCIPLES FOR PATTERN ALTERATION
(1) A far as possible make changes within the pattern by slashing and spreadi ng
or slashing and lapping. Patterns can also be altered by redrawing the edges of
the pattern. (This is the method adopted for altering garments at the time of
fitting.) But the first method is by far the best in altering paper patterns.
(2) To preserve the original grain line, make all slashes and folds parallel or
perpendicular to the grain line (to centre front line, centre back line etc.
99
(3) Where there are darts, make changes between the tip of the dart and the
outside edge.
(4) If an alteration in length is made along one edge of the pattern, take care to
make an identical alteration in the adjoining edge. For example, if back shoulder
seam is shortened the front shoulder seam should also be shortened.
(5) When tucks or darts are used for making a pattern smaller, remember that
the width of these should be just half the amount to be removed.
(6) When decreasing or increasing the width of pattern pieces, if only half the
pattern (half back or half front) is used, subtract or add only one fourth of the
total adjustment to be made. For example, if waist measurement has to be
increased by one inch, add ¼" to the half back pattern and the same amount to
the front pattern. If only a front or back section needs adjustment, add or minus
half the amount of the adjustment to the respective section.
(7) When the pattern alteration involves slashing and spreading, it is necessary
to keep a sheet of paper beneath and to pin or stick to it the spread-out parts so
that they will thereafter remain in position. On spreading or lapping after
slashing, some edges of the pattern become jagged. These must be trimmed after
drawing the new seam lines.
9.3 COMMON PATTERN ALTERATION IN A BLOUSE (FIG.9.1)
You must analyse your fitting problems to decide which of the following
alterations are needed in your blouse. All the principles of pattern alteration
should be borne in mind while doing the alterations.
Shortening the blouse (Fig.9.1a): To shorten, make a tuck half as wide as the
amount to be reduced, and pin. The tuck should be made about 2½" above the
waist line at right angles to centre front or centre back line. Redraw new straight
side seam line, as shown in the figure.
Fig.9.1a
Lengthening the blouse (Fig.9.1b): To lengthen, slash the pattern 2 1/2 inches
above the waist line at right angles to centre front. Now spread the pattern the
necessary amount and pin or stick each edge to a strip of paper kept
underneath. Redraw side seam line.
100
Fig.9.1b
Lengthening the shoulder seam: Alteration for broad shoulders (Fig.9.1c):
Slash down from midpoint of shoulder seam to a level below the armhole and
then slash across at right angles to the first slash almost to the side seam. Now
spread the slashed edges apart, the correct amount and stick or pin a paper
underneath to maintain this position. Draw a new seam line from neck line to
armhole.
Fig.9.1c
Shortening the shoulder seam: Alteration for narrow shoulders (Fig.9.1d):
Slash pattern as above and overlap the edges of the slash, the necessary amount
and pin. Draw new shoulder seam line straight from neckline to armhole.
Fig.9.1d
Decreasing shoulder slope: Alteration for square shoulders
(Fig.9.1e): Slash from the shoulder downwards (as above) then across through
the side seam. Place paper below the slash and raise the entire armhole section
the desired amount. Pin or stick the pattern to the paper. Draw new shoulder
seam line as shown.
101
Fig.9.1e
Increasing the shoulder slope: Alteration for sloping shoulders (Fig.9.1f):
Slash the pattern as you did for decreasing the shoulder slope. Lower the entire
armhole section, overlapping along the crosswise slash and pin Draw new
shoulder seam line as shown.
Fig.9.1f
Increasing back length: Alteration for round shoulders (Fig.9.1g): Slash the
back pattern about 4" be low neckline, from centre back to armhole, seam line.
Spread the slash apart the necessary amount, insert paper underneath and pin
in position. Redraw centre back line straight, and neckline and shoulder seam to
original size as shown by dotted lines.
Fig.9.1g
Decreasing back length: Alteration for hollow back (Fig.9.1h): Slash the
back pattern as above and overlap edges of slash the necessary amount tapering
to the armhole line. Redraw the centre back line and other seam lines which got
altered while overlapping the edges.
Shortening centre front length: Alteration for hollow chest: Slash the front
pattern across from centre front to armhole about 4" below the neckline and lap
the slashed edges as for decreasing back length (Refer Fig.9.1h).
102
Fig.9.1h
Increasing length and width of front pattern: Alteration for large bust
(Fig.9.1i): Make length wise and crosswise slashes cutting through the centre of
dart. Spread the pattern the necessary amount in each direction (vertical and
horizontal) and pin it to paper. Mark new dart point half way between the tips of
the separated dart lines and redraw wider darts.
Fig.9.1i
Decreasing neck line measurement: Alteration for neck line that sags in
front (Fig.9.1j): Pin small even sized darts at regular intervals on the neck edge
of the pattern.
Fig.9.1j
Increasing waist measurement: Add to each side seam edge at the waist line
one fourth the total amount of increase desired, and draw new side seam lines.
Decreasing waist measurement: Remove one fourth the amount of decrease
desired from each seam edge at the waist line, and draw new side seam lines.
Lengthening sleeve cap (Fig.9.1k): Slash the pattern crosswise as shown and
spread the pattern the necessary amount.
103
Fig.9.1k
Increasing width of sleeve cap: Alteration for large upper arm (Fig.9.1L):
Slash the sleeve pattern vertically down from centre of sleeve cap to lower edge.
Make a crosswise slash at fullest part of sleeve cap from seam line to seam line.
Spread apart each side of the pattern, the necessary amount. This will cause the
edges of the slash across the Sleeve cap to overlap. Insert paper under slash
extending beyond the sleeve cap line and pin or stick in position. Redraw sleeve
cap line to adjust for the amount decreased due to the overlapping.
Fig.9.1L
Increasing or decreasing length of sleeves: To shorten or lengthen short

sleeves, alteration can be made at the lower edge.
9.4 LET US SUM UP

In this unit, we
Ø Learnt the techniques of pattern alternation.

Ø The distance students can have a practical experience by carrying out trails
in making pattern alternation.

Ø Analyze the techniques of pattern alternation.
9.7 REFERENCES
Chennai (1986).
104
LESSON–10
PATTERN GRADING - MANUAL
CONTENTS
10.1. Pattern grading
10.2. Definition
10.3. Types
10.4. Manual grading
10.4.1. Manual grading the back bodice
10.4.2. Manual grading the front bodice
10.4.3. Manual grading of basic sleeve
10.4.4. Manual grading of basic collar
10.5. Let us sum up
10.8. References
Ø In this unit we have discussed the importance, principles and common pattern alternation
in a blouse. This unit includes pattern grading and its types.
Ø Identify the techniques for pattern alternation.
Ø Grade patterns either manually or master grades for basic front, back,
sleeve and collar.
10.1 PATTERN GRADING
It is very much helpful in the garment industry starting from a pattern drafted
from a particular size you can make patterns of other sizes by grading.
10.2 DEFINITION
Grading is a method of enlarging of reducing a pattern of a particular size

proportionately to some other size.
105
10.3 TYPES
Manual grades
Master grades
10.4 MANUAL GRADING
10.4.1 MANUAL GRADING THE BACK BODICE: (FIG.10.1 A)
Take the 32" size back bodice pattern (without seam allowance) and trace its
outline on a larger sheet of paper.
Fig.10.1a
Extend the centre back line A1 A by one inch and mark four points at 1/4
intervals. (These represent bust sizes 32" to 40" at 2" intervals), Label the last
point as A2.
Mark C one inch vertically above B. Mark CD = ½" and connect DB. Divide DB
into 4 equal parts, then connect these points to the points marked above centre
back line as shown.
Now draw DF parallel to the shoulder line BE, with DF = BE + 1". This will be
the shoulder line for 40'' size.
Connect F to the original shoulder point E. Mark three points which divide EF
into four equal parts, and join them to the corresponding points on BD by lines
which will be parallel to DF.
Next, draw the horizontal line LM from the underarm point and mark P as the
midpoint of AL.
106
Draw PQ as shown. Extend this line one inch outward and mark 4 points 1/4"
apart.
Now extend bust line LM and waist line A1R and mark points ½" apart. Connect
all the points marked as shown in the figure
10.4.2 MANUAL GRADING THE FRONT BODICE: (FIG.10.1B)
When grading front bodice, the bust line is extended to both sides (beyond
centre front and beyond side seam) 3/8" is added beyond centre front and 1/8"
beyond side seam for each size increase. There is no grading around the
armhole. The shoulder lengthens 1/8" and rises J" for each size increase. The
neck grade rises 1/8" and extend 3/8" outward on the centre front.
Fig.10.1b
Take the 32" size front bodice pattern and race its outline on a larger sheet of
paper.
Extend waist line AB beyond B and mark four points 3/8" apart. Label the last
point as C.
Similarly extend bust line LM to LN and mark points 3/8" apart on MN.
Connect CN and corresponding points and extend these four lines upwards as
shown. These are the centre front lines of the various sizes.
Extend line BA beyond A and mark four points 1/8" apart. Label the last point
as D.
Similarly extend line ML and mark four points 1/8" apart.
Connect all the corresponding points to form the side seam lines of the various
sizes.
On the shoulder line, rule vertical lines upwards from G and H and mark off four
points at J" intervals along each of these lines.
107
Label the highest points as P and Q respectively. Connect PQ and extend it on to

either side by and mark points I and K.
IK is the shoulder line of size 40. Connect GI and HK as shown. This gives the
angle for shoulder increase.
Rule the shoulder lines for the in between sizes by connecting the points marked
earlier, and extending them on to either side as shown
Extend centre front line upwards and mark off four points 1/8" apart.
Label the highest point as F and connect KF as shown.
Connect corresponding points to form the neck lines and extend the lines to
meet the centre front lines.
10.4.3 MANUAL GRADING OF BASIC SLEEVE
Take the sleeve pattern of bust size 32" and trace its outline on a sheet of paper.
Extend line AB one inch beyond B to B, and one inch beyond A to A.
Between A A1 and B B1 mark points at ¼ inch intervals. Extend the centre line
one inch beyond C to C1.
On CC1, mark points \ inch apart.
Extend line EF one inch beyond F to F1 and one inch beyond E to E1.
Between E E1 and F F1 also mark points inch apart.
Now connect the respective points as shown in Fig.10.1c.
Fig.10.1c
The outermost pattern is that of 40 inch size, next one 38 size, next 36" size and
so on.
10.4.4 MANUAL GRADING OF BASIC COLLAR
Take the collar pattern of bust size 32 inch and trace its outline on a sheet of
paper.
108
D1 C1
D C
A
d B
A1 B1
Fig.10.1d
Extend the line A to A1, B to B1, C to C1 and D to D1 in Fig.10.1d.

Between A A1, B B1, C C1 and D D1 mark points at ¼ inch intervals.
Connect the respective points as shown in Fig.10.1d.
The outermost pattern is that of 40 inch size, next one 38 size, next 36 size and
so on.
10.5 LET US SUM UP
In this unit, we
Ø Discussed the types of grading, manual grades for basic front, back, sleeve
and collar.
in making pattern grading.
Ø Evaluate the manual grading techniques by grading a particular garment

style for different sizes.
10.8 REFERENCES
Chennai (1986).
109
LESSON–11
MASTER PATTERN GRADING
CONTENTS
11.1. Master Pattern grading - Introduction
11.2. Master grades
11.2.1. The basic whole back
11.2.2. The basic front
11.2.3. The basic sleeve
11.2.4. The basic collar
11.3. Let us sum up
11.6. References
Ø In this unit we have discussed master pattern grading for basic back, basic
front, basic sleeve and collar.
Ø Master grades for basic front, back, sleeve and collar.
11.1 MASTER PATTERN GRADING - INTRODUCTION
The girth and length grading increments for the body have been determined
according to the data provided by the survey. The re sultant increments and their
applications now provide the foundations for deriving the grades of other basic
components.
11.2 MASTER GRADES
The following examples demonstrate the applications of the system to standard

types of block patterns. These are the basic patterns from which most outerwear
garment patterns are developed and each example provides:
1) Where necessary, an illustrated introduction to the principles involved in
grading the demonstration pattern.
110
2) The increments used, and their locations.

3) The net of grading increments required for one size up and one size down
from the base size.
4) Instructions regarding the common and other axes required in relation to
the grading position of the pattern.
5) Grading instructions accompanied by illustrations showing each successive
stage. The line sectors to mark after each move denoted by a thickened line.
6) An example of the finished grade is shown together with the vectors used
for checking accuracy.
7) The first five groups of examples show the applications the dynamic neck to
waist grading method and in group six, the static method is demonstrated.
The first examples demonstrate the basic body and derived grades, and these
grades are central to the entire system. All of the other grades for bodies,
sleeves, lapels and collars are based on these examples.
11.2.1 THE BASIC WHOLE BACK
This first grading example utilises the following increments:

B: The total width grade from the centre back to the side seam.
D: Across back. This is equal to increments F plus G.
E: Side section.
F: Neck width.
G: Shoulder length in two sections (G/2 + G/2).
K: Armhole depth.
Fig.11.1 illustrates the locations of these increments with Fig.11.2 showing the
grading axes and Fig.11.3 the increment net for this grade.
Grading increments for basic whole back.

Fig.11.1
111
Grading axes.
Fig.11.2
Increment net
Fig.11.3
112
Grading instructions: BASIC WHOLE BACK

Stage 1: align pattern on X and Y axes (Fig.11.4)
• Move on Y axis to second G/2
• Mark part of armhole.
Fig.11.4
Stage2: continue on Y axis to E (Fig.11.5)

• Mark side seam
• Complete armhole to side seam
• Complete hem.
Fig.11.5
Stage 3: re-align on X axis and align the Y axis of the pattern to the relevant K
line (Fig.11.6)
• Mark corner of centre back and neck.
113
Fig.11.6
Stage 4: remain on K line (Fig. 11.7)
• Move on K axis to F
• Complete neckline
• Mark start of shoulder.
Fig.11.7
Stage5: remain on K line (Fig.11.8)
• Move to first G/2
• Complete first part of shoulder
• Mark dart
• Mark start of second part of shoulder.
114
Fig.11.8
Stage6: remain on K axis (Fig. 11.9)

• Move to second G/2
• Complete shoulder
Fig.11.9
Grade for basic back
115
11.2.2 THE BASIC FRONT
This is the basic grade for all fronts with bust darts and the example is
demonstrated on a standard block front with the bust dart coming from the
shoulder. The increments used for this grade are:
C: The total grade from the front edge to the side seam.
E: Side section.
F: Neck width.
G: Shoulder length in two sections (G/2 + G/2).
H: Width of breast.
I: Front edge to bust point on bust line.
I: First side of the bust point.
J: Bust point to armhole on bust line.
L: Second side of the bust point.
M: Front neck point to bust line. This increment is equal to increments K plus
and is applied as one unit for the dynamic neck to waist grade.
THE BUST DART GRADE

Apart from changing the bust girth, the bust dart grade also affects two other
dimensions:
1) The vertical length from the front neck point to the bust line. Increment M
is used for this purpose.
2) The depth of the front armhole as measured from the armhole base to the
shoulder point. This change in depth is caused by increment K which is I
the resultant quantity after the application of increment M.
The principles of this particular grade are:
1) Increment I = F + G/2 + I, affects the total width I on the bust line from the
front edge to the bust point. This side of the bust dart receives increment I,
at the bust point (Fig. 11.10).
2) The other side of the bust dart receives increment J1 at the bust point and
this point is joined to the intersection of the shoulder and bust dart line at
point S (Fig.11.11). The length of this connecting line A. is changed by
increment M so as to equal the change in length of the other side of the
bust dart.
3) The angle of the shoulder line (alpha) relative to the bust dart line remains
unchanged irrespective of how much the connecting line A is pivoted
around point S.
4) When J, is applied at the bust point and increment M is applied along line
A. the result is that the armhole depth is affected by about two-thirds of the
value of M. (This result can be calculated trigonometrically.)
116
5) Thus when M is applied to the length of the bust dart and J, at the bust
point, increment K is generated automatically (Fig. 11.12).
6) The resultant quantity for increment K ensures that the depths of the-front
and back armholes change by the same amount. As increment K is also
applied to the sleeve head, the relationships between the components is
accurately maintained.
The distances shown in the illustrations accompanying this section have been
exaggerated for the purposes of clarity.
Grade for first side of bust dart

11.10
117
Length A and Depth B

Fig.11.11
The generation of increment K

Fig.11.12
118
Grading Instruction: THE BASIC FRONT
Grading increments for basic front

Fig.11.13
119
Grading axes
Fig.11.14
Increment net
Fig.11.15
120
Stage 1: mark central M on bust dart line (Fig.11.16)

• M to M1 = one size increase
• M to M2 = one size decrease.
Fig.11.16
Stage 2: align pattern on X and Y axes (Fig.11.17)
• Mark front edge
• Mark hem corner.
Fig.11.17
121
Stage 3: remain on Y axis. (Fig.11.18)

• Move to I1, mark new bust point
Fig.11.18
Stage 4: remain on Y axis. (Fig.11.19)

• Move to J1, mark point S
Fig.11.19
122
Stage 5: remain on Y axis (Fig.11.20)

• Move to second G/2.
• Mark armhole from across chest line to about 3 cm from side seam.
Fig.11.20
Stage 6: remain on Y axis (Fig.11.21)
• Move to E
• Mark side seam
• Complete base of armhole
• Complete hem.
Fig.11.21
123
Stage 7: align Y axis to relevant M line (Fig. 11.22)

• Mark corner of neck and front edge.
Fig.11.22
Stage 8: remain on M line (Fig.11.23)

• Move to F
• Complete neck
Fig.11.23
124
Stage 9: remain on M line I (Fig.11.24)

• Move to first G/2
• Complete first section of shoulder
• Mark corner of bust dart and shoulder.
Fig.11.24
Stage 10: use the pattern to join shoulder corner (Stage 9) to bust point
(Fig.11.25)
Fig.11.25
125
Stage 11: align pattern from bust point to point S (marked in Stage 3) (Fig.11.26)
• Join bust point to this point
• Mark central M
• Mark relevant M.
Fig.11.26
Stage 12: move pattern along this line and align central M with relevant M
(Fig.11.27)
• Move towards shoulder to increase
• Move towards bust point to decrease
Fig.11.27
Stage 13: move pattern by distance G/2 parallel to bust dart line (Fig.11.28)
• Towards side to increase
• Towards front to decrease
• Complete shoulder and armhole
126
Fig.11.28
Grade of basic front
127
11.2.3 THE BASIC SLEEVE
The one-piece straight sleeve is the first of the basic derived grades where all of
the necessary grading increments are obtained from the armhole and side
section grade of the body.
When allocating the sleeve width increments, it is essential to maintain two
relationships (Fig.11.29)
1) That between the top and bottom halves of the sleeve.
2) That between the two halves of the front and back sleeves
This is irrespective of whether the side seam of the garment has been displaced
from the centre of the armhole. In these instances, the same allocation of the
armhole width grade 2E, on the side sections of the I back and front, should be
used for the related sleeve I sections.
This grade is the key to all of the other sleeve grades demonstrated in this
section, and as such should be I thoroughly understood.
Top and under sleeve relationships

Fig.11.29
128
Grading Instructions: BASIC SLEEVE
Grading increments for one-piece straight sleeve

Fig.11.30
129
Grading axes
11.31
Increment net
Fig.11.32
130
Stage 1: align pattern on X and Y axes (Fig. 11.33)

• Mark front seam
• Mark starts of sleeve head and hem line.
Fig.11.33
Stage2: remain on Y axis (Fig. 11.34)
• Move to E
• Mark front section of head
• Mark part of hem.
Fig.11.34
131
Stage 3: align Y axis of pattern on relevant K line (Fig.11.35)

• Move to E2 mark head section and centre nip
• Mark hem to centre.
Fig.11.35
Stage 4: re-align Y axes of pattern and paper (Fig. 11.36)
• Move to E3, mark back section of head
• Mark part of hem.
Fig.11.36
132
Stuge5: remain on Y axis (Fig. 11.37)

• Move to E4
• Complete back section
• Mark back seam
• Complete hem.
Fig.11.37
Stage 6: Use the pattern to (Fig.11.38)

• Blend head to front section
• Blend head to back section.
Fig.11.38
133
Grade of Basic Sleeve
11.2.4 THE BASIC COLLAR
The grading increments for this component are derived directly from the back and
front neck base sections of the body and they are applied to the collar length as
follows:
• Increment F: for the front neck length
• Increment F: for the back neck length
Thus for each size, the length of the basic collar changes by the amount of 2F.
A. Collar construction (Distance Z)

Fig.11.39
134
The X axis for this grade comes from the construction systems generally used for
this type of collar and this method ensures that the neck seam curvature
remains unchanged throughout the grading. This is an important principle
because the distance Z (Fig.11.39) controls the stand and fall of the collar.
B. Grading axis (Distance Z)

Fig.11.39
GRADING INSTRUCTIONS: THE BASIC COLLAR
Grading increments for basic collar

Fig.11.40
135
Grading axes
Fig.11.41
Increment net
Fig.11.42
136
Stage I: align pattern to (Fig.11.43)

• Xaxis
• Y1 and Y2 (upper or lower)
• Mark centre sections of neck seam and outside edge
• Mark shoulder seam nip
Fig.11.43
Stage2: remain on X axis (Fig. 11.44)

• Move centre back to F
• Mark centre back, part of neck seam and outside edge.
Fig.11.44
137
Stage3: remain on X axis (Fig. 11.45)

• Move collar front to F
• Mark front, part of neck seam and edge.
Fig.11.45
Stage 4: Use pattern to blend the neck seam and outside edge (Fig.11.46)
Fig.11.46
138
Grade of ba sic collar
11.3 LET US SUM UP
In this unit, we
Ø Discussed the Master grading for basic front, back, sleeve and collar.
in master pattern grades.
Ø Evaluate the master grading techniques by grading a particular garment

style for different sizes.
11.6 REFERENCES
Ø Pattern Grading for Women’s Clothes – The technology of sizing, Gerry

Cooklin, Black Well science Ltd, London, 2004.
139
140
UNIT – V
141
142
LESSON-12
PATTERN LAYOUT
CONTENTS
12.1. Definition
12.2. Rules in layout
12.3. Methods of layout
12.4. Special layouts
12.5. Let us sum up
12.8. References
Ø In this unit we have discussed the rules for layout, types of layout and
special layouts.
Ø Identify which layout is most suitable for cutting the fabric in a most
economical manner where fabric wastage should be minimized.
12.1 DEFINITION
It is a method of placing the pattern on fabric in the most economical manner to

minimize the length of fabric.
12.2 RULES IN LAYOUT
1. Press the fabric as well as the pattern pieces flat before laying the pattern on
the fabric.
2. Use a large table or any hard flat surface for accommodating your work.
3. If an open layout is used, place the fabric right side up on the table. For all
other layouts, fold the fabric right sides facing and wrong sides out.
4. Decide on the best way to fold your cloth. This will depend on the width of the
cloth, width of your pattern pieces, the type of cloth and design of the garment
143
(whether left and right halves are identical, whether many pieces have to be cut
on fold etc.). The common methods of folding the cloth for laying out pattern
pieces are shown under the heading methods of layout (See Fig.12.1).
5. Make a trial layout by keeping weights or two pins per pattern, to make sure
that cloth will be sufficient. Rules 6 to 9 must be borne in mind while making
the trial layout.
6. Straight grain lines on patterns must be kept parallel to the fabric selvedge.
To ensure this, measure and adjust the pattern so that both ends of the straight
grain line are the same distance from the selvedge (see the sleeve pattern in
Fig.12.1g) and pin the pattern to the fabric along the grain line arrows.
Fig.12.1g
7. Fold lines on the patterns must be kept on folded edges of fabric.
8. Leave enough space between patterns for cutting outward notches and
marking seam allowances (if the patterns do not include seam allowances). Also
make sure that there is enough material left for cutting out belts, facings,
pockets, etc. for which you may not have made paper patterns.
9. The patterns must be placed on the fabric in the most economical way. Some
hints on economical pattern placement are given below.
(a) Try different layouts till you find one that requires minimum length of
cloth. Start cutting only after all the pattern pieces are placed.
(b) Wider end of large pieces should be placed at the cut edges (along one edge
or both the edges).
(c) Lay the pattern pieces close together.
(d) Place as many pieces as possible near the selvedge ends so that the left-
over material will be in one large bit rather than in two or more smaller
bits. This will maximise the space available near the folded end for laying
patterns that have to be kept on fold.
(e) As far as possible try to fit the wide end of one piece beside the narrow end
of another. (See the petticoat layout shown in Fig.12.1f)
(f) Fit pieces similar in shape next to each other. This is called dovetailing (See
Fig.12.1h).
144
Fig.12.1h
(g) If pattern pieces to be kept on fold are narrow, fold the material just wide
enough to accommodate them (i.e. use off-centre lengthwise fold as in
Fig.12.1b). This will leave all the excess material together on one side
(h) Make duplicates for pattern pieces that have to be used twice and use them
for making the trial layout.
10. Pin patterns to the fabric firmly. After placement of the patterns has been
decided, pin the corners and the long outside edges of the patterns, placing pins
close to and approximately perpendicular to the cutting line. Use just enough
pins to keep the pattern in position. Too many pi ns will distort the edges. You
should start cutting the fabric only after pinning all the pattern pieces.
11. Take care to use special layouts for asymmetric designs and for fabrics with
designs, striped and checked designs, designs going in one direction and fabrics
with nap and pile as discussed under the heading special layouts.
12.3 METHODS OF LAYOUT
a) Lengthwise centre fold (Fig.12.1a): Here the fabric is folded down the
middle parallel to the selvedges so that the selvedges come together. This is the
most frequently used fold. The layout. for a simple frock on this type of fold is
illustrated in the figure,
Fig.12.1a
145
b) Off centre lengthwise fold (Fig.12.1b): This is used when narrow pieces
have to be cut on fold. To ensure that the fold is parallel to the selvedge, mark
points measuring the required distance (width of the half pattern including seam
allowance) from the selvedge at regular intervals and fold along the markings.
The layout for a child's panty on this type of layout is illustrated in the figure.
Fig.12.1b
c) Crosswise centre fold (Fig.12.1c): This is suitable for materials that are too
narrow to accommodate the width of pattern pieces when folded lengthwise.
Fig.12.1c
d) Off centre crosswise fold (Fig.12.1d): When only a part of the material is
required to cut pattern pieces that are too wide for lengthwise fold layout, this
type of fold is used.
146
Fig.12.1d
e) Double fold (Fig.12.1e): This is used when many pattern pieces that are not
too wide must be cut on fold. For garments with no opening for front and back
sections, this type of fold can be used provided the cloth is wide enough to
accommodate the patterns when folded this way.
Fig.12.1e
f) Combination fold (Fig.12.1f): Here, lengthwise fold and crosswise fold are
combined.
147
Fig.12.1f
g) Open layout: In this type of layout, the fabric is not folded at all. This is used
especially for designs which require right and left halves to be cut separately
12.4 SPECIAL LAYOUTS
a) Fabrics with lengthwise striped design (Fig.42a,a1,b,b1): While cutting

fabric with bold stripes, adjust the position of the pattern so that one of the
prominent lines falls along the centre back of the garment and the remaining
strips are identical on the two sides of the fold (See Fig.12.2a1).
Fig.12.2a 1
Finished appearance of the garment is shown in Fig.12.2a.
148
Fig.12.2a
Striped material can also be cut on the bias (See Fig.12.2b1) forming a chevron
design (in the shape of the letter V) at the centre front or the centre back seam
or opening as shown in Fig.12.2b.
Fig.12.2b1 Fig.12.2b
b) Fabrics with bold designs such as plaids, and crosswise stripes

(Fig.12.2c,c1): Match plaids and stripes so that they form continuous? lines
across seam openings (see Fig.12.2c) or meet at equal angles.
Fig.12.2c
When you fold such fabrics to keep the pattern pieces, make sure that the
stripes are matching exactly on both layers of fabric, as in Fig.12.2c1.
149
Fig.12.2c1
If the print is large and spaced or with sweeping curves, drape the fabric on your
body and look in the mirror to see where and how the highlighting part of the
design should be placed.
c) Asymmetric designs (Fig.12.2d,d1): These designs call for right and left
sides to be cut separately from a single layer of fabric, taking
care to see that you are not cutting both the sections for the same side. If the
material has no right and wrong side, this problem will not arise. Fig.12.2d
shows a blouse with asymmetric design.
Fig.12.2d
Its layout is displayed in Fig.12.2d1.
Fig.12.2d1
150
d) Fabrics with one way design (Fig.12.2e,e 1): When cutting these fabrics, you
must take care to see that all the pattern pieces are arranged in the same
correct direction as shown in Fig.12.2e 1.
Fig.12.2e 1
The finished appearance will be like in Fig.12.2e. Otherwise the print will look
upside down on sections which have been placed wrongly.
Fig.12.2e
e) Fabrics with nap and pile have to be treated like fabrics with one way design.
151
12.5 LET US SUM UP
In this unit, we
Ø Learnt the rules for pattern layout.
Ø Discussed the method of layout
Ø Discussed special layout
Ø The distance education students may try different trails of layout for
different styles of different where the fabric consumption should be
minimized.
Ø Analyze suitable layout for a particular kind of garment style.
12.8 REFERENCES
Chennai (1986).
152
LESSON–13
TRANSFERRING PATTERN MARKINGS AND
FABRIC CUTTING
CONTENTS
13.1. What can be done if cloth is insufficient
13.2. Fabric cutting
13.3. Transferring pattern markings
13.4. Stay stitching and case stitching
13.5. Let us sum up
13.8. References
Ø In this unit we have discussed how to transfer pattern markings onto the
fabric and fabric cutting.
Ø Know, what can be done if cloth is insufficient.
Ø How to transfer pattern markings into fabric.
Ø Learned fabric cutting
13.1 WHAT CAN BE DONE IF CLOTH IS INSUFFICIENT
If cloth is not sufficient, the simplest thing to do is to buy extra fabric. But if it is
not available, or you prefer to make do with what you have, the following
procedures will help you.
(1) If possible, reduce seam allowances, hem allowances or length and width of
some of the pattern pieces. Often you can do this without changing the fit of the
garment by reducing fullness (gathers, pleats etc.).
(2) You may decide to cut some pieces on bias or crosswise grain. Some prints
may look attractive if the yoke or sleeves are cut on bias or crosswise grain.
153
(3) Pattern pieces which have to be cut on fold can be cut near selvedges and
then joined up, with some trimming applied near the seam (eg., box pleat with a
harmonising material, faggoting, lace etc) to make it look like an original pattern.
You may even find that you end up with an interesting new design (necessity is
the mother of invention!).
(4) Use some other material similar in colour and texture to cut parts that are
not visible from outside.
(5) You may decide to modify the design of the garment. For example, if you were
planning to have a puff sleeve, use a plain sleeve or omit the sleeve.
(6) Certain sections which ought to be cut in one piece may be cut out. in more
than one piece and then stitched together if material is otherwise not sufficient.
This technique is called piecing. Piecing should be done inconspicuously with
design and grain matched-Piecing in solid coloured fabrics is shown in Fig.13.1a
and printed fabrics in Fig.13.1b.
Fig.13.1a,b
154
13.2 FABRIC CUTTING
(1) If the pattern does not have seam allowance, make sure, that you have
drawn cutting lines on the fabric leaving enough seam allowance beyond the
edge of the pattern before starting to cut the fabric.
(2) Hold the fabric flat on the cutting surface with your left hand, and cut with
long even strokes using your right hand.
(3) Walk around the table as you cut because if you move the pattern and
material, the grain may shift resulting in uneven edges.
(4) Cut accurately and smoothly exactly along the cutting lines.
(5). Notches should be cut wherever necessary (Fig.13.2). Notches are guides for
joining the garment sections. They indicate which edges are seamed together.
For example, the front part of the armhole and the front part of the sleeve are
marked with two notches, while back part of the sleeve and the armhole are mar
ked with one notch. A notch cut at centre of sleeve helps in matching sleeve
centre to shoulder seam of bodice. Notches are usually cut outwards and not
into the seam allowance especially if the fabric frays readily or if seam allowance
is narrow.
Fig.13.2b shows a sleeve with a single notch (P) cut outwards to a sharp point
and a double notch (K) cut outwards with a straight line spanning the width of
two notches.
Fig 13.2b
This method of cutting a group of notches as one spanning the width of the
notches saves time and effort. Notches may be cut inward as shown in
Fig.13.2a, if the fabric is firmly woven and the seam allowance is not too narrow.
155
Fig.44a
Some prefer to make a short ¼ clip or slash to mark notches at beginning and
termination points of seam lines, darts etc. on firm, nonravelling fabrics. On
ravelling fabrics, some dress makers make a line of basting to mark important
notches (Fig.13.2c).
Fig.13.2c
13.3 TRANSFERRING PATTERN MARKINGS
After cutting all the pattern pieces accurately you should transfer seam lines
and all the pattern markings to the fabric (top layer as well as lower layer).
The common methods employed for marking fabrics are: use of tracing wheel
and carbon paper contrasting coloured tailor's chalk, colour pencil and ordinary
lead pencil (provided the colour of the fabric is such that the pencil marks will
be visible on it), use of pins in combination with pencil or tailor's chalk, use of
tailor's tacks etc. Each of these methods has its advantages and disadvantages
as can be seen from the detailed explanations given below.
Tracing wheel and carbon paper (Fig.13.3a): This method is not suitable for
delicate fabrics which may get spoilt by the sharp teeth of the tracing wheel.
Another drawback is that carbon marks (and often smudges too) will be left on
cloth and may be visible from the right side, especially if the fabric is
transparent or if the carbon paper is of bad quality.
156
Fig.13.3a
In applying this method, you may use pencil (instead of tracing wheel) with
carbon paper, but then you should trace only the ends (and a few points in
between) of darts and seams.
If the pattern includes seam allowance and has no slashes or holes provided for
facilitating transfer of pattern markings, proceed as follows. For patterns without
allowance, follow the procedure explained under Tailor's chalk.
Fold the carbon paper in the middle with the wax sides (sides with carbon)
facing. Remove a few pins from a portion of the pattern and slip the folded
carbon paper with one side between the lower layer of fabric and the table and
the other side be tween the pattern and the upper layer of fabric. (Be sure to
check beforehand that the folded fabric has its right sides facing, and don't
make the mistake of inserting carbon between the two layers of fabric). Now the
wax sides of the carbon will be facing the wrong sides of the fabric. In Fig.13.3a
pattern is labelled as 1, the upper layer of fabric as 2, and the under layer of
fabric as 3. Pin the pattern in position again and run the tracing wheel along the
seam lines and dart lines of the pattern as shown in the figure. For tracing
straight lines, keep ruler beside the line and run the tracing wheel along it. To
avoid spoiling the fabric with carbon marks you may mark just the ends of seam
lines, dart lines etc. If you have forgotten to cut notches which should have been
cut outwards, mark the position of the notches by a stroke of the tracing wheel
perpendicular to the seam line through the centre of the notch.)
Tailor's Chalk: If you have cut slashes or holes or inward notches in the pattern
for beginning and termination points of darts and seams (or if you have not left
seam allowance in the pattern), you can mark directly on to the top layer of
fabric with tailor's chalk or ordinary pencil. Marks on the top layer can be
transferred to the under layer of fabric by placing a carbon paper under it with
wax face up, and using a tracing wheel; it can also be done with the help of pins
as explained below
157
Common pins (Fig.13.3b): Markings on the top layer of fabric can be

transferred to the lower layer by inserting pins through both layers of fabric at
the points to be marked. As soon as one pin is inserted, turn the fabric and
mark the pin point on the underside with chalk or pencil marks. After
completing all the markings necessary remove the pattern and connect the chalk
or pencil marks. (Use a ruler for straight lines). If the pattern has seam
allowance and no holes or slashes near darts and seam lines, pins can be
inserted through the pattern and double layer of fabric and the pattern lifted to
mark the pin points on upper layer of fabrics.
Fig.13.3b
Tailor’s tacks (Fig.13.3c,c 1,d): This method is especially good for silks and
sheer fabrics. Unlike the other two methods it has the advantage that no pencil
or carbon marks will be left on the fabric. The tacks should be worked using
double thread of a contrasting colour so that they can be easily seen.
Working of continuous tailor's tacking (Fig.13.3c,c1): If the pattern includes
seam allowance and I has no slashes or holes provided for facilitating transfer of
pattern markings, tailor's tacking is done as follows (See Fig.13.3c).
Fig13.3c
Tack through the pattern and double layer of fabric along the seam lines and
dart markings using uneven stitches of ½" length on 1 upper side and ¼ length
on under side. While making the stitches on the upper side do not pull them
tight, instead leave them as loops of ¼" height.
158
After completing the tacking, cut each loop along the midpoint as shown
(Fig.13.3c). Unpin the pattern from the fabric and remove it carefully, making
sure that the threads do not get pulled out of the fabric. Now raise the upper
layer of fabric slightly and clip the threads between it and the bottom layer, so
that thread tufts will be remaining on both layers of fabric (Fig.13.3c1).
Fig.13.3c1
Note: If the pattern has no seam allowance, tailor's tacking will be done through
double layer of fabric just along the edge of the pattern without catching the
pattern
Working of single tailor's tacks (Fig.13.3d): If you have provided holes or
slashes at ends of seam lines, darts etc., you can work this type of tacking
stitch. Fig.13.3d shows a dart with three holes cut in it (two holes at the base of
the dart and one hole at the tip of the dart) to facilitate transfer of pattern
markings. Through each of these holes, single tailor's tacking has been worked
as follows. At the point to be marked, take a small stitch through the slash in
the pattern, catching the double thickness of fabric and leaving a thread end of
V length on the upper side. Work a back stitch in the same place and le ave a
loop of 1/2" height. Clip the thread, leaving a 3/4" thread end. After completing
the tailor's tacks, unpin the pattern from the fabric and remove it gently. Now lift
the upper layer of fabric and clip the threads between it and the bottom layer.
Fig.13.3d
Removing the pattern
After the fabric is marked completely, remove the paper patterns carefully and
put them safely back in a cover.
159
13.4 STAY STITCHING AND CASE STITCHING
Stay stitching is a row of regulation machine stitching (stitch of normal length)

using matching thread, done on a single thickness of fabric between the cut edge
and the seam line, about 1/16" from the latter. Stay stitching helps to preserve
the lines and grain of the fabric as cut by the pattern. It prevents curved edges
like neckline, armhole etc. and bias edges like side seams from stretching and
going out of shape Stay stitching is also used for reinforcement at curves and
corners to be slashed later in construction.
For slippery fabrics and fabrics which pucker, tack a tissue paper behind the
fabric and stitch through the fabric and tissue paper. Stay stitching should be
done with the grain. In Fig.13.4b the direction for stay stitching on a blouse
front is indicated by small arrow heads drawn near the seam lines.
Fig.13.4b
EASE STITCHING
Ease stitching is done instead of stay stitching where a little extra fullness is
needed as in a sleeve cap. For ease stitching you may use a standard size stitch
with loose upper tension or a slightly longer stitch than normal stitch. Some
times if the neckline is loose, ease stitching is done around it so that thread can
be pulled to form small gathers, thus shortening the neckline. Always the under
thread should be pulled for gathering and for this reason the bobbin thread
should be strong. Also the upper tension should be looser than the under
tension.
Note: On firmly woven fabrics, you need not do stay stitching on most seams.
However, stay stitching must be done on neckline as soon as the garment is cut
out. If you do not do this, you will have a lot of trouble adjusting the collar to fit
the neckline or you may end up with a loose gaping neckline.
Advantages
1. Material will not go waste, since we can design according to the material.
2. Once it is draped it is easy to cut.
3. Correct exact fitting is possible.
4. No measurements should not taken often, for a particular person.
160
13.5 LET US SUM UP
In this unit, we
Ø Discussed the method to transfer pattern markings onto the fabric.
Ø Learnt what is stay and ease stitching.
Ø The distance education students may try different trails to transfer pattern
markings onto the fabric, what can be done if fabric is insufficient.
Ø Analyze the methods of transferring pattern marking.
13.8 REFERENCES
Chennai (1986).
161

Principles of Pattern Making and Grading

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What are the different methods of pattern making discussed?

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B.Sc.

Fashion Design PPM & Grading

B.Sc. COSTUME DESIGN AND FASHION

School of Distance Education

Bharathiar University, Coimbatore – 641 046

FASHION DESIGN - PRINCIPLES OF PATTERN MAKING & GRADING

1.0 AIMS AND OBJECTIVES

1.1 IMPORTANCE OF BODY MEASUREMENTS

1.2 PREPARATION FOR MEASURING

foundation garment and never over bulky garments. Before taking

1.3 LADIES MEASUREMENTS

1.4 BOYS AND MEN’S MEASUREMENTS

1.5 STANDARDIZING BODY MEASUREMENTS

1.5.1 IMPORTANCE AND TECHNIQUES

Measurement surveys collect measurement data to produce sizing systems. They

Conversions of imagery into body measurements appear to have difficulties with

Where practicable, the pictogram should be used as a means of indicating the

Example of inclusion of size code number into label

WOMEN OFMEDIUM HEIGHT 160cm, 170cm (5ft 2½ in – 5 ft 6½ in)

BUST 80 84 88 92 97 102 107 112 117 122 127 132

WAIST 60 64 68 72 77 82 87 92 97 102 107 112

HIPS 85 89 93 97 102 107 112 117 122 127 132 137

WAIST TO 60. 61.7

Short Women Tall women

NAPE TO WAIST -2cm +2cm

SCYE DEPTH -0.8cm +0.8cm

SLEEVE LENGTH -2.5cm +2.5cm

WAIST TO KNEE -3cm +3cm

WAIST TO FLOOR -5cm +5cm

BODY FISE -1cm +1cm

A number of companies are, for commercial reasons, using 5cm intervals

BUST 82 87 92 97 102 107 112

HIPS 87 92 97 102 107 112 117

BACK WIDTH 33 34.2 35.4 36.6 37.8 39 40.2

CHEST 30.5 32 33.5 35 36.5 38 39.5

SHOULDER 11.9 12.2 12.5 12.8 13.1 13.4 13.7

NECK SIZE 35.6 36.8 38 39.2 40.4 41.6 42.8

DART 6.4 7 7.6 8.2 8.8 9.4 10

TOP ARM 26.4 28 29.6 31.2 32.8 34.4 36

WRIST 15.5 16 16.5 17 17.5 18 18.5

ANKLE 23.4 24 24.6 25.2 25.8 26.4 27

HIGH ANKLE 20.4 21 21.6 22.2 22.8 23.4 24

NAPE TO WAIST 39.5 40 40.5 41 41.5 42 42.5

FRONT SHOULDER TO WAIST 39.5 40 40.5 41.3 42.1 42.9 43.7

ARMHOLE DEPTH 20.5 21 21.5 22 22.5 23 23.5

WAIST TO KNEE 58 58.5 59 59.5 60 60.5 61

WAIST TO HIP 20.3 20.6 20.9 21.2 21.5 21.8 22.1

WAIST TO FLOOR 103 104 105 106 107 108 109

BODY RISE 27.3 28 28.7 29.4 30.1 30.8 31.5

SLEEVE LENGTH 57.3 58 58.7 59.4 60.1 60.8 61.5

SLEEVE LENGTH (JERSEY) 51.3 52 52.7 53.4 54.1 54.8 55.2

Standard Body Measurements

SML MED XLGE

CHEST 30.6 32.4 34.2 36

Extra measurements (garments)

CUFF SIZE, TWO PIECE SLEEVE 13.5 13.75 14 14.25