Chapter 2

Basic Pattern Development

Explains how a flat paper pattern is developed from body or dress-form measurements through the Flat Pattern and Draping methods, introduces pattern-making terminology, tools and symbols, and covers standardised sizing, the five elements of garment fit. It then takes the learner step by step through drafting the basic bodice block, neckline variations, dart manipulation, the basic skirt and its variants, and the three categories of collars.

2.1 Pattern Making

Pattern making is the process of transforming a design into its constituent flat pattern pieces and then drafting them; the pattern-maker interprets designs into sample pattern pieces.
Pattern construction is divided into two parts: measuring correctly, and knowledge of the technique with which patterns are applied.
Early tailoring systems needed to be simple and speedy since each garment was cut individually; the modern system is the Block Method, where seam allowances are calculated only at the time of cutting the final pattern.
Proportionate Systems divide the whole body into eight heads with girth measurements in proportion, offering a solution when measurements are unreliable, but no two human forms are identical so no single system fully satisfies every figure.
W. H. Hulme and Philip Kunick both criticised drafting systems based on a hypothetical scale/girth measurement rather than sound, demonstrable principles, noting that such systems rarely give a satisfactory fit for extreme sizes.
Due to unreliable cutting systems many designers began draping patterns directly on a dress form; this achieves good results in skilled hands but is inefficient and time-consuming for ready-to-wear production.
A pattern can be developed by two methods: the Flat Pattern Method (measurements are converted into a pattern following a logical stepwise procedure) and the Draping Method (fabric is draped directly on a dress form or figure).
The Flat Pattern Method is widely used because the basic block includes ease allowance for body movement, the method is logical and easy to understand, it brings consistency and accuracy of size and fit in mass production, and it is fast and efficient even for complicated designs.

2.1.3 Terminology

Block/Sloper: a basic set of pattern pieces used to make additional patterns of any style; it has darts to fit body contours but no design features or seam allowances, and should carry the block name, grain line and size.
Pattern: developed from the block, includes all information needed for cutting and production including seam allowance — grain line, centre front/back, style/code number, pattern piece name, size, cutting information (Cut 1, Cut 2, Cut on fold), notches, directional-fabric symbol, date and seam allowances.
Seam allowance guide: 1/4" for sharp curves; 1/2" for neckline, armhole, waistline, style line; 1" for side seam, centre line, shoulder, plackets; 2" for a straight hemline.
Muslin: an unbleached plain-woven cotton fabric in light, medium or heavy weight, used to make test fits; medium quality is generally used for test fitting and draping.
Grain line: a line drawn end to end on a pattern piece showing how it should align with the lengthwise grain of the fabric; it is always placed parallel to the selvedge.
Balance refers to hang and proportion in a garment, guided partly by fashion (e.g. long tops over short skirts); balance marks/notches are pencil marks copied through all stages to show where pattern edges are to be matched.
Dart: a wedge or triangular shape that controls garment fit. Dart legs are the two equal sides; the dart point is where it ends; dart intake is the amount of suppression between the legs; the apex is the highest point on the bust.
Darts are finished away from the apex (not stitched to the point) to avoid creating a strain-causing point on the rounded body. A single dart pattern ends 1/2" from the bust point; in a two-dart pattern the waist dart ends 3/4"-1" away and the other dart 3/4"-1 1/2" away from the bust point.

2.2 Measurements

Accurate measurement is essential for good fit; one must first observe the dress form's shape — hollows, shoulder slope, etc. — before measuring.
Key bodice measurements include front length, centre front length, shoulder to waistline, underarm seam, shoulder length, width of bust, front waistline, front hipline (7" below waistline), apex measurement, centre front to princess line, shoulder blade, width of back, back waistline, back hipline, and centre back length.
Lower-body and limb measurements include centre front/back length for lower garment, side seam length, crotch depth (measured differently on a dress form with an L-square versus on a seated body), knee, ankle, bicep, elbow and wrist circumference, cap height and sleeve length.
A general sizing system for a country is ideally based on body measurements taken from a cross-section of the population; the growing demand for ready-to-wear (RTW) has made standardised sizing systems important.
The British Specification BS3666 is the sizing system used by all UK garment manufacturers and retailers, with sizes suffixed S (short) or T (tall).
Women's sizing is generally based on bust measurement for upper garments and hip girth for lower garments, since two women with equal hip girth can differ by up to 12" in bust measurement.
The number of available sizes depends on variation in body structure in the population; the USA has the widest size range (sizes 2 to 26, plus Missy, Petite, Tall and Big), while smaller ranges use S, M, L, sometimes XS, XL and XXL.
India currently has no single standard measurement chart; individual companies develop their own charts based on their customers, which can confuse buyers about sizing.

2.3 Tools

A range of specialised tools is used in pattern making, including the grading ruler for drawing straight lines and adding grading increments, and the French curve for drawing curved seam lines.
A tracing wheel is used for marking notches and transferring pattern markings/seam lines onto fabric or paper.
Patterns are made on pattern/dotted paper and test-fitted using muslin on a dress form.
Familiarity with these tools and their correct use ensures accuracy and speed in drafting and adapting patterns.

2.4 Fit

Apparel fit is the relationship between the size and contour of a garment and those of the human body; a well-fitted garment hangs smoothly with pleasing proportions, no pulls, gaping seams, constriction, and adequate ease for movement.
Fit is governed by fashion trends, cultural influences, age, sex, figure type, lifestyle and the intended end use (e.g. more ease is needed in a tracksuit than in spectator sportswear).
The five elements of fit are Grain (garment cut on the true grain hangs evenly), Set (a smooth fit without undesirable wrinkles), Line (structural lines aligning with the natural lines of the body), Balance (right and left sides appearing symmetrical/in equilibrium) and Ease (roominess in a garment).
Ease is of two kinds: Fitting ease, which allows room for body movement and comfort and is present in all garments, and Design ease, the extra fullness added purely for style and silhouette, which is optional.
Evaluating fit examines each body part: shoulders (seam on top of shoulder, matching slope), bust/chest (darts point to and end about an inch from the fullest curve), neckline, collar (circumference 1/4" bigger than neckline), armscye (cut about an inch below the armpit, deeper at front), sleeves, waistline, hips and crotch/seat (back crotch curve longer and deeper than front).
Test fitting uses muslin or a similar plain-weave fabric of comparable weight to the final fabric so that seams and darts are clearly visible; pinning seams (right angle to the seam) gives a quick preview without stitching, though basting is used at the crotch seam.
There are two methods of fit: the first test fit on muslin at the pattern stage (done from the right side, checking ease, fullness, button/buttonhole placement) and the second fit after stitching but before final finishing, which refines and perfects the fit.
Test fitting is not necessary when the design is basic or a repeat style, the maker has experience adjusting the pattern, there is enough fabric to re-cut, or there is enough seam allowance to increase the size if required.

2.5 Pattern Development — Basic Bodice

To draft the basic bodice, a paper of length = centre front length + 3" and width = half bust width + 4" is folded lengthwise with the fold placed away from the drafter, and a guideline is marked 1" down from the top edge to locate point A.
Key points are plotted using body measurements: A to B = front length; A to C = B to D = front width; D to E = centre front length giving neck depth (CE) and neck width (CF = CE − 1/8"); G (midpoint of DE) to H = apex measurement.
The princess line, waist dart intake, underarm seam and armhole are drafted using points such as DJ (centre front to princess line), KL (front waistline minus DJ) and LM (underarm seam length), then the front armhole and shoulder are drawn and joined to H.
The back is traced by extending the block: B to Z = back width, Z to Y = centre back length, Y to X = CF (front neck width) for the back neckline, and Z to U = centre back to princess line, with dart intake (U to V) calculated as the difference between the Z–L1 measurement and the back waistline measurement.
Truing is the process of correcting lines/darts to conform to body shape: the front shoulder dart is folded at the apex and traced with a tracing wheel; the back shoulder dart is folded and the shoulder line redrawn with a French curve, dropping 1/8" at the armhole edge.
The waistline is trued by folding both waist darts and closing the side seam, then blending the waistline with a French curve while dropping the side seam 1/4".
For a sleeveless bodice, the basic bodice block armhole is raised 1/2" at the armhole level (points E and F) and the curves are redrawn.

2.6 Neckline

The measurement needed for any neckline is the neck depth, measured diagonally from the nape of the neck to the centre front (Neckline measurement A); for square, glass or sweetheart necklines a straight measurement of width to centre front is also taken (Neckline measurement B).
Rules for necklines: if made wider in front, the back must also be widened; avoid making both front and back deeper simultaneously (or take out about 1/2" ease at centre front neck); diagonal measurements are marked diagonally and straight measurements marked straight; curved necklines are always squared out 1/4" at centre back, centre front and shoulder level.
V-neckline: extend the centre front line to point A, square out to B at the shoulder/neckline intersection, then mark BC = 7" (or as required) diagonally and join with a slight curve; a broader V is achieved by extending B to B' by 1" or as desired.
U-neckline: mark points A and B as for the V-neck, measure diagonally down from B to C for the required neck depth, square 1/4" from both B and C, then join BC.
Round neckline is a variation of the U-neck, cut wider at the shoulder and deeper at the back; Square neckline squares down from B to D (side depth, e.g. 5 1/2") then out to C at centre front; Glass neckline squares out 1" from C to D and joins BD and DC with straight lines; Sweetheart neckline squares down from B to D (side depth, e.g. 5") and marks CE = 3 1/2" on centre front, joining BD and DE with straight or curved lines.
Necklines are finished with piping (a 1 1/4" bias strip stretched and stitched to the seam line, finished 1/8"-1/4" wide, popular on blouses and Indian garments), bias facing (a similar unstretched strip finished on the wrong side), or shaped facing (cut to the shape of the neckline, generally 1 1/2" wide, attached on the right side and turned in).

2.7 Dart Manipulation

Dart manipulation is a useful and interesting tool for creating innovative dart placements and style lines; changing dart position adds visual interest, especially on striped fabric, without altering the basic fit of the garment.
Darts can be converted into new dart positions, style lines, tucks, pleats, gathers or yokes while the basic fit is preserved.
There are two methods of dart manipulation: the Pivot Method, where the pattern is pivoted on the apex, the old dart is closed and the pattern opens on the new desired line; and the Slash and Spread Method, where the pattern is slashed on the desired new line and, as the old dart is closed, the pattern spreads open at the slash to create the new dart.
Examples of dart manipulation using the slash-and-spread method include shoulder dart to waist dart, waist dart to centre front dart, and shoulder dart to side-seam-intersection dart, each requiring the appropriate basic bodice block, slashing the new position and closing/folding the old dart before tracing the new pattern.

2.8 Skirt

To draft the basic skirt, take paper of length = desired skirt length + 3" and width = half hip + 4", and construct block ABCDEF using A to B = back hip, B to C = front hip, and A to D/C to F = desired length (e.g. 21").
The hip level is marked 7" down (A to G, C to H); the waist dart intake for front and back is found by measuring the trued side-seam/waist curve length and subtracting the front/back waistline measurement, and the excess is divided into two darts each for front and back.
Trueing the skirt involves folding each dart at its vanishing point, then truing the waistline with a French curve — raising it 1/4"-1/2" at the side seams and dropping the back waistline by 1/8" at centre back.
The one-dart basic skirt (measurement method) is made from the two-dart sloper by adding the side dart's measurement to the first (centre) dart and eliminating the second; this method can only be used for skirts/trousers since there is no apex in the lower body.
The A-line skirt is developed from a one-dart skirt sloper by slashing a line and closing part of the waist dart so the ease shifts to the hem, then adding 1"-1 1/2" at the side seam hemline and blending the side seam and hemline.

2.10 Collar

Collars are an added feature at the neckline that frame the face and draw maximum attention; there are three categories: Stand collar, Flat collar and Roll collar.
Stand collar stands around the neck like a Chinese/mandarin collar and is cut after measuring the neck edge of the pattern.
Flat collar lies nearly flat on the shoulder, like a Peter Pan collar, and is cut by tracing around the neck edge of the basic bodice.
Roll collar is a variation of stand and fall collars where the collar stands around the neck and rolls over to frame the face, like a turtle neck.
Collars are always cut double: the Top collar is on top and the Under collar (always cut slightly smaller) lies beneath it.
Collar terminology: Neckline Edge (edge stitched to the neckline), Collar Edge/leaf edge (outer edge of the collar), Collar Stand (the part that stands, especially at centre back), and Roll Line (the line on which the collar folds or rolls).

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