Pattern making ii

2nd year fashion design

2024

By- Solomon Tsegaye

MSc in Fashion Design
skirt pattern making
design variation

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 SKIRT CHARACTERISTICS

Skirts are described in terms of the following

three areas:

• The sweep: the width of the skirt at hemline.

• Movement: the way a skirt’s fullness reacts to

the movement of the body.

• The break point: the point at which the skirt

breaks away from the body into fluid movement.
A-Line Flared Skirt
Flare Skirt
12-Gore Graduated Flare
12-Gore Design Variations
Strapless garments

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 Strapless garments

• Strapless are garments that contour the

bust area and terminate at varying
distances up, or down, bust level, and
remain in place when worn.

• Strapless garments requires under support

for security

• Popular for day dresses, evening wear,

gowns, casual bedtime wear, & wedding
dresses
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 1 2 3

Princess bodice Princess torso Bra-top

Basic
strapless
foundations

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 Princess • Contoured above, below, and in
bodice between the bust

foundation • However, if the bust is linked, contouring

between the busts is lost

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Bra-top torso • Contoured above, below, and in between the
bust
foundation

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JACKET AND COAT
FOUNDATIONS

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 JACKETAND COAT FOUNDATIONS AND
COAT
FOUNDATIONS
The jacket and coat foundations are developed larger than the size they
represent.

The enlarged garments tolerate area for a lining, facing, interfacing,

underlining, chest piece, shoulder pads, and sleeve headers, and they are
large enough to fit comfortably over other apparel.

 Inner construction is an important part of the garment’s support

system because it stabilizes the fit and shape of the garment.

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The type and amount of support depend on a number of
factors:
 jacket style (soft or traditional tailored jacket),
 weight and weave of the fabric,
 cost of construction,
 and selling price of the garment.

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 JACKET AND COAT TERMS
A jacket designed with a skirt is considered a suit.
Roll line: Foldline of the collar and lapel.
Breakpoint: Roll line of the lapel starting at the front
extension.
Depth: Distance below centre front where the left and right
lapels cross each other.
Collar stand: Height where the collar folds over itself.
Lapel: Part of the jacket that folds over itself and to which a
collar is attached.
Notch: Space between collar and lapel.
Gorge: Seam that connects the collar with the lapel.
Revere(s): Lapel without a collar.
Shawl: Continuous lapel and collar in one.
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INNER SUPPORT—TERMS AND DEFINITIONS
1. Underlining: reinforces open weaves, prevents transparency in light colors,
and adds support. Select a light-weight woven fabric— broad cloth, muslin, or
fusible interfacing. Underlining is made from the jacket pattern.

2. Interfacing: the layer between the garment and the facing. Its function is
to stabilize collars, cuffs, vents, lapels, waistbands, and other shapes.
Interfacing is classified as woven or nonwoven, fusible or nonfusible. It can be
firm for structured garments and supple for soft tailoring. Interfacing is made
from the jacket pattern.

3. Interlining: the layer between lining and underlining. Stitched to lining

individually and acts as a single layer. Interlining is made from the lining
pattern.

4. Lining: a finishing layer that covers the inside construction of the garment. 18
Lining is made from the jacket pattern.
 TWO JACKET FOUNDATIONS
The basic jacket and the one-piece foundation

Each has its own unique base for creating designs.

Both jackets and coat foundation can be combined with the kimono,
raglan, and drop shoulder styles for sleeve variations

Basic Jacket and Coat Foundations

 The jacket and coat are based on the torso foundation.
 The jacket pattern allows area for 1/4-inch-thick shoulder pads.
 Designs requiring larger/thicker shoulder pads should adjust the
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shoulder line of the jacket but not the lining.
BASIC JACKET AND COAT PATTERN
FOUNDATIONS

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 One-Piece-Foundation Draft
ONE-PIECE JACKET/COAT
FOUNDATIONS
The one-piece foundation is the base for developing
jacket designs without side seams.

 The wrap-around and three panel jackets are

traditional styles that are examples of such designs.

 The one-piece foundation is not limited to the styles

illustrated.

 The designer has more freedom in the placement of

style lines using this foundation.
 The collar and lapels have a masculine touch
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COMPLETED ONE-PIECE FOUNDATION PATTERN

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THE JACKET AND COAT SLEEVES
The basic dress sleeve is the base for drafting the one-piece and two-piece sleeves for the basic jacket and
coat foundations.
Two methods are illustrated for increasing the bicep and cap ease: slash/spread and the grading method

Slash and
Spread Method

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THE JACKET AND COAT SLEEVES
Grade Terminology: The terms are in relation to the location of the grader to the guidelines placed on the paper.
Out: Away from the grader .
In: Toward the grader . Grading the Jacket/Coat Sleeves
Up: To the right of the grader .
Down: To the left of the grader .

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 TAILORED TWO-PIECE SLEEVE

The upper- and under sleeves are drafted together.

They are separated at the completion of the draft by tracing the

under sleeve on another sheet of paper.

The upper sleeve is cut from the remaining part of the sleeve.
The two-piece sleeve is based on the basic jacket sleeve.

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TAILORED TWO-PIECE SLEEVE PATTERN

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Collar

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collars
• Collar is the part of garment around the
neck of a shirt, blouse, jacket or coat, either
upright or turned over.

• The styling and application of a collar is

important to your looks & look of your
garment

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 Collars have both functional and decorative features

As decoration: Collar is often the focal point of the

collars garment drawing the eye upward to frame the face.
• The Outer edge of a collar contribute to its overall
appearance

As a functional feature: Collars often provide

warmth and protection for the neckline from external
element

• Collars can be wide or narrow, flat or rolled, cut-on or

sewn-on
• Outside edge of the collar can be straight, curved or
pointed
• Collars typically consist of an upper collar, an under
collar, and interfacing
• They can be cut on the lengthwise, crosswise, or bias
grainlines depending upon the desired effect and the type 29
of fabric selected
 1. Convertible

• Contrary to the neckline curve of the form or

garment
• This type of collar will spring open when
Collar unbuttoned

Classification • E.g: Basic shirt collar

Regardless of the collar design, the
neckline edge generally has one of
two basic shapes:

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 2. Non-convertible:
Collar • Closely follows the curve of the neckline of the
Classification form or garment

• This type of collar will stay in place when

unbuttoned

• E.g: Peter Pan collar, sailor collar

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 Based on the different outfits, collars can
be classified as:

Collar 1 2 3

Categories Stand collar Roll collar Flat collar

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Roll collars • Rise up from the neckline and then folds
over on to the shoulder

• Roll collars can be created from stand

collar

• By making the outer edge bigger than the

neck edge So that when the collar is folded
over, its outer edge will lie against the
wider part of the back / below the neckline

• E.g: shirt collar, polo collar, notch collar

(jacket)
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Notch Collar
• Three Standard Collar and Lapel Styles

1. Basic notch: Drafted at level with the

neckline

2. Lowr-notch: Drafted at varied depths

below a modified neckline

3. Portrait: Drafted a distance away from

HNP/Shoulder at neck & CF neck

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Basic notch

• Drafted at level with the neckline

• The collar/lapel indicates that the “notch”

(or wedge) is at level with the front neck
of the model

• Since it is drafted on the front pattern only

back neck measurement is required

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Notch
Lower notch

• New neckline is drawn to accommodate the

lowr notch lapel

• If the neckline is drawn too close in

proximity to the breakpoint of the jacket, the
lapel may be too short and cause the jacket
to be unflattering

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 Portrait
collar & lapel

• The collar/lapel is placed at a chosen

distance from the shoulder/neck

• This will require drafting a new

neckline

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Shirt collar

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 Polo collar
• Turned-down / pointed collar fastened
with a buttoned placket, which ends at
mid-chest

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Flat collars
foundation
• Lie only on the shoulder, and do not rise onto
the neck (When properly made, flat collars
will roll just slightly to conceal the neck
seam

• Flat collars can be created from stand or roll

collars by slashing and spreading the outer
edge until it equals the distance of the bodice
on which it lies

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Flat collars
• Lie only on the shoulder, and do not rise
onto the neck (When properly made, flat
collars will roll just slightly to conceal the
neck seam

• Flat collars can be created from stand or

roll collars by slashing and spreading the
outer edge until it equals the distance of
the bodice on which it lies

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Peter Pan • Lies flat and next to the garment at the
neckline when the corners are rounded
collar

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Sailor collar • A broad collar having a square flap across
the back and narrowing to V-shape in the
front

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 • A rounded turned-down collar, without
Shawl collar lapel notches, that extends down and
partially cross the front of a garment.

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Stand collars

• Rise up from the neckline, and do not lie on

the shoulder.

• Stand collars are rectangles.

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Mandarin • Is a short unfolded standup collar style on
collar a shirt or jacket

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Turtleneck
collar

• High-necked collar that is folded over; it is

usually snug around the neck

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sleeves

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 • Sleeves are both functional and design
elements of a garment.

• As functional elements, sleeves must

allow for freedom of movement, comfort
sleeves and must enhance the overall purpose of the
garment

• As design elements, sleeves should

compliment the bodice to which they are
attached.

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Sleeve terms • Sleeve length
• Biceps level
• Sleeve cap: Curved top of the sleeve above
biceps line
• Elbow level: Placed at the articulation
point of the
arm, and the location of the elbow dart
• Wrist level/sleeve hem: Entry for the hand

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 There are three basic types of sleeves

1 2 3

Set in sleeve kimono sleeve Raglan sleeve

Sleeve Types

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 • The sleeve is “set in” the armhole of a
set-in sleeve garment at or near the natural edge of the
shoulder

• That is most often used in suits, coats and

shirts because of its professional, natural
look

• There are many variations

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Two piece • Based on the basic jacket sleeve,
commonly used for suit style of clothing
sleeve • Named as upper & undersleeves and are
drafted together
• After completion, under sleeve will
separated by tracing in to new paper

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 Peasant sleeve
• A full sleeve gathered at top and bottom

• Similar to a balloon sleeve but with softer

more flowing fabric
Varieties of
set in sleeve

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 Melon sleeve
• Plain at top and ballooned out halfway between
the elbow and the wrist
• Cut’s in two pieces with a seam going around the
sleeve at the fullest part

Varieties of
set in sleeve

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 Leg-of-mutton
sleeve
• The leg-of-mutton / gigot sleeve is constructed with
a full top that is gathered into the armhole, Tapers
gradually to tuck in closely at the wrist, which
gives the sleeve the bell-shaped outline

• First seen in fashionable dress in the 1820s, but

becomes popular between approximately 1825 &
1833

Varieties of
set in sleeve 56
 Bishop sleeve
• Remember the old Bishop style dresses, that’s the
origin of this style.
• Bishop sleeve, a long sleeve, fuller at the bottom
than the top, and gathered into a cuff

Varieties of
set in sleeve

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 Juliet sleeve
• Juliet sleeve is a long, tight sleeve with a puff at
the top.
• It is inspired by fashions of the Italian
Renaissance
• Popular from the Empire period through the 1820s
Varieties of in fashion, again in the late 1960s under the
influence of zeffirelli’s film
set in sleeve

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 Bell or angel
sleeve
• Bell sleeve, a long sleeve that is fitted from the
shoulder to elbow and gently flared down/from
elbow onward

Varieties of • The bell sleeve is very similar to the poet sleeve,

but has a “cleaner look,” often without ruffles
set in sleeve

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 Puff sleeve
• Puffed up sleeves are short and gathered in a way
to make them look like puffs, or puffs around the
upper arms or at the shoulders

Varieties of
set in sleeve

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 Petal sleeve
• A slight variation to your cap sleeves.
• A two piece sleeve that overlap to form a petal
shape
• They have a flimsy strap just as thin as the petals
that extend out of the shoulder straps
Varieties of
set in sleeve

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 Petal sleeve
• A slight variation to your cap sleeves.
• A two piece sleeve that overlap to form a petal
shape
• They have a flimsy strap just as thin as the petals
that extend out of the shoulder straps
Varieties of
set in sleeve

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 Cap sleeve
• The cap sleeve sits directly on the shoulder
• Cap sleeves are not tight-fitting at all, which
allows for a comfortably loose fit above the arms.

• This is the shortest type of sleeve cut on women’s

Varieties of tops and dresses

set in sleeve

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 • Kimono sleeves are cut all in one with the front
and back bodice.
Kimono sleeve • kimono sleeve is always cut with a deeper
armscye than the set in sleeve

• Armhole is absorbed in to kimono design

• Compensation must be made on the front bodice

armhole, to avoid strain when the arm is in a
forward position

• Through transferring dart excess to mid armhole

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Dolman • Dolman has lowered under seams with
sleeve exaggerated folds on the under arms, providing for
a high arm lift

• Long sleeve that is very wide at the top and

narrow at the wrist

• It is developed from the basic kimono

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Batwing • A long sleeve with a deep armhole, tapering
towards the wrist. Also known as a “magyar”
sleeve sleeve.

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Raglan sleeve • Raglan style line combines part of the
bodice with the sleeve

• Raglan sleeves have part of the sleeve

attached to the bodice

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Sleeves cuffs

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sleeve cuffs • Lower part of the sleeve surrounding the
wrist
• Sleeve cuffs are developed in a variety of
widths and styled in a number of ways
(square corners ,curved, pointed, …..)

The most common are:

• Basic shirt cuff:
• French cuff: needs horseshoe shape
• Roll - up cuff:
• Wide/contoured cuff:
• Closed cuff : is closed band around the
opening of sleeve. Mostly used on short
puff sleeves 69
Basic shirt Measurements Needed
cuff
• Around hand + ease
• Cuff width as desired (2”)

1st : draw length & width on folded paper

& Add 1” for extension

2nd : Mark button placement @ center of

extension
 Center buttonhole 3/4 inches
 Add seam allowance & Unfold the pattern
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 • Extension is added in
both sides
French cuff
• French cuff shirts are
distinguished by long
cuffs that are folded back
and fastened with
cufflinks or silk knots.

• Can be in different
shapes

• Two-Piece Pointed Cuff:

• French cuff variation 71
Contoured • Follow the shape of the arm and can be
as wide as desired ( from wrist to elbow)
Cuff
• Required measurement: wrist + ¾ inch
ease

• Draw the sleeve width on the traced

basic sleeve

• Cut the cuff from the sleeve

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 • Developed all-in-one with the sleeve or as separate
Roll-Up Cuff cuffs stitched to the sleeve and turned up.

• Trace sleeve and Draw three parallel lines spaced

1 1/2 inches apart below hem (A–B line)

• Fold it, so that Section 1 is up, Section 2 down, and

Section 3 underneath

• cut from the paper while folded

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Buttons

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 BUTTONS AND BUTTONHOLES
BUTTONS
Buttons and buttonholes are both functional and decorative:
o Primary purpose is to hold two sides of a garment
together by having a button on one side of the garment

o Buttons can be made of plastic,

metal, natural substances (wood,
bone, mother-of-pearl), or covered
in fabric or leather
 …Con’t

 Buttons range in size, with

different geometric shapes,
such as circle, square,
rectangle, 1/4-ball, half-ball,
and full-ball

► Other types:
o Velcro, snaps, hooks and eyes, and grippers
 …Con’t
 Size of button is express as ligne where
1Ligne = 0.635mm or (1/40 inch) used to
measure the diameter of buttons

 Ligne is a French word which

means “line” and it is
shortened with the letter of L

 Stands for Ligne (size code)

And it is used to recognize
button size internationally
 BUTTONHOLES
 Buttonholes are openings or loops wide enough to
accommodate the size of the button,
 Placed on an overlapping section of the garment or as
a loop where the center lines meet

 Button extension:
© Button closures require an overlap
extending beyond the center line
© Extension should be equal to the diameter
of the button
 Plackets
 Made of more than one layer of
fabric, and often have interfacing in
between the fabric layers to give
support and strength to the placket
fabric
 Because the placket and the fasteners
on it are often subjected to stress
when the garment is worn.
 The two sides of the placket often overlap to protect the wearer
from fasteners rubbing against their skin and to hide underlying
clothing or undergarments
 Types of Plackets

Placket Front French Front Fly Front

Placket Front
Material of the shirt folded to the
outside (sometimes a separate
piece attached).
 Range in size from 1" wide to 2"
wide with 1.5" being most common.

 Two rows of top to hem stitching

are present, commonly 1/4" in from
each edge.
 French Front
Edge of the shirt front is
folded over/fold inside
To create a creased edge and
held together by the button
holes

This cleaner, plain front gives

shirts a simple look
 Fly Front
Placket Front or French Front are
designed with an extra strip behind
the center for the buttonholes

Buttons are concealed behind the

front center

Here the fold is designed to cover

the shirts buttons entirely
 Facing
 Fabric applied to a garment edge, on the inside.
Shaped facings:
 Cut to match the outside shape of the piece to
provide a neat finish, and are often cut from the
same pattern pieces.
They are typically made of the same fabric as the
garment, but may also be made of lighter-weight fabric or
in a contrasting color as a design element
 For example, either the neckline or the armhole
 Facing
There are different kinds of facings

Separate Facing Extended Facing "All-in-one"

i. Separate facings:
o Used for one particular seam exclusively
o For example: either the neckline or the armhole.
o But of course, each of these could have a separate facing of their own
o For example: CF or CB
 …Con’t

ii. Extended facings:

o This is basically a separate facing, but which is attached to the
garment by a folded straight line.
o extends one seam to other with
single facing.

iii. All-in-one facings

 This kind of facing combines several separate facings into one
and the same piece.
 For example: the neckline and armhole facings, basically
becoming a copy of the upper bodice.
 Pockets
 It is important that pocket size,
shape, and placement should
complement the design of the
garment.

 Pocket is a pouch that has a closed

end is usually stitched on top of a
garment or inside the garment.

 Pocket can be both functional and

decorative purpose.
 TYPES OF POCKETS
Pockets can be classified in three categories.

1. Outside pocket

2. Inserted pocket

3. Welt pocket
 1. Outside pocket
 As the name suggest Pockets of any size or
shapes that are stitched over the garments
Types of outside pockets
Pouch pocket: Accordion/cargo
Patch pocket  Hangs along the pocket: it is form of
side of the patch pocket, often
garment with accordion folds
connected to it for increasing
only at the top capacity
 2. Inserted pocket

 This kind of pouch is stitched

inside of the garment into a
straight/curved or stylized
seam.
3. Welt pocket
• An inset pocket with the lower lip
finished by an upstanding welt. The
welt may be from 3/8” to 1” wide.

• It can have one or two lips finishing

the opening edges.

• This pocket are used mainly found as

the chest pocket of a jacket, coat or
as back side pocket on trousers.
floating pockets
Knotted pockets

Bubble pockets
Cut-out pockets

zippered pockets
slanted pockets
variations of pockets

kangaroo pockets

patch pockets
THANK YOU!!

By :Solomon Tsegaye
Solomontsegaye99@gmail.com

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