Patternmaking for Fashion Designers

PATTERNMAKING FOR FASHION DESIGNERS ..

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\ -~: ,) LORI A. KNOWLES

The Practical Guide to Patternmaking for Fashion Designers

The Practical Guide to Patternmaking for Fashion Designers Juniors, Misses, and JiIlOmen

Lori A. Knowles

Fairchild Publications, Inc. New York

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Extended Contents Preface

CHAPTER

1 2

Taking Measurements,

CHAPTER

3

Drafting the Sloper Set

CHAPTER

4

Draping the Sloper Set

CHAPTER

5

Dart Manipulation for Bodices, Sleeves, and Skirts

CHAPTER

6

Collar and Neckline Theory and Development

105 135

CHAPTER

7

Sleeve Theory and Development

163

8 9

Dart Equivalents As Stylelines, Gathers, Pleats, and Release Tucks

187

CHAPTER

Added Fullness and Flares, and Added Ease

225

CHAPTER

10

The Torso Sloper and Its Uses

257

The Jacket Sloper and Its Uses

289

CHAPTER

11 12

The Coat Sloper and Its Uses

CHAPTER

13

The Dartless Jean Sloper and Its Uses

315 333

CHAPTER

14

Special Body Forms, Live Models, and Contoured Styles

351

CHAPTER

Patterns for Fabric Used on the Bias Grainline

CHAPTER

15 16

369 389

CHAPTER

17

Patterns for Fabrics That Shrink

CHAPTER

18

Linings

415 423

CHAPTER

19

Knockoff Pattern Techniques

439

CHAPTER

20

Production Pattern Techniques

447

ApPENDIX

A

Quarter-Scale Sloper Set for Misses' Size Twelve

455

ApPENDIX

B

Metric Conversion Chart

461

ApPENDIX

C

Fractions of Inches to Decimal Point Chart

462

ApPENDIX

D

French Curve

463

ApPENDIX

E

Sample Pattern Chart

ApPENDIX

F

Sample Specification Sheets

464 .465

CHAPTER

CHAPTER

CHAPTER

Introduction to Pattern making Body Forms, and Live Models

Patterns for Fabrics That Stretch

1 19 43 81

Glossary

467

Index

477

xv

Preface

xv

Acknowledgments

CHAPTER

1

1

Pattern making for the Fashion Industry Objective

2

3

Key Terms

3

Fabric Grainlines

3

Pattern Grainlines Marker

4

4

Pattern Labeling

5

Seam Allowance

8

Hem Allowance

10

Pattern Marking

12

Grading a Size Range

13

Tools and Equipment Used in Pattern making Notions

16

Questions

17

2

Taking Measurements, Body Forms, and Live Models

Introduction Objective

14

16

Summary

CHAPTER

1

Introduction to Patternmaking

Introduction

19 19

Checklist for Taking Measurements Preparing the Body Form Preparing Live Models

21

Upper Torso Measurements Arm Measurements

20

20

23

28

Lower Torso and Leg Measurements

30

Size Charts for Junior's, Misses', and Women's Sizes Summary

32

Questions

33

Learning Activities

33

32

19

CHAPTER

3

Introduction Objective

43

Drafting the Sloper Set 43 44

Checklist for Drafting the Sloper Set General Instructions

44

44

Drafting the Bodice for Junior's, Misses', and Women's Sizes

45

Drafting the Fitted Set-In Sleeve for Junior's, Misses', and Women's Sizes Drafting the Two-Dart Skirt for Junior's, Misses', and Women's Sizes

56

Drafting the One-Dart Skirt for Junior's, Misses', and Women's Sizes

60

52

Drafting the Two-Dart Trouser for Junior's, Misses', and Women's Sizes

62

Drafting the One-Dart Trouser for Junior's, Misses', and Women's Sizes

68

Test Fitting the Sloper Set and Creating the Two-Dart Front Bodice Summary Questions

75

Learning Activities

CHAPTER

4

75

81

Draping the Sloper Set

Introduction Objective

70

75

81 81

Checklist for Draping the Sloper Set General Instructions Preparing the Body Form Blocking Muslin

81

82 82

82

Two-Dart Bodice for Junior's, Misses', and Women's Sizes Two-Dart Skirt for Junior's, Misses', and Women's Sizes Checking the Trued Bodice and Skirt Drapes on the Form Transferring the Trued Drapes onto Paper

83 94 101

102

Final Truing of Bodice and Skirt for Junior's, Misses', and Women's Sizes Summary

103

Questions

103

Learning Activities

CHAPTER

5

Introduction Objective

103

103

105

Dart Manipulation for Bodices, Sleeves, and Skirts 105 107

Style 0501: Front Bodice with Shoulder Tip Dart and Center Front Waist Dart Style 0502: Front Bodice with Two Waist Darts

110

Style 0503: Back Bodice with Neck and Waist Darts

112

Style 0504: Front Bodice with Converging Center Front Darts Style 0505: Sleeve with Two Elbow Darts Style 0506: Front Skirt with Inverted V Darts

114

116 119

Style 0507: Front Skirt with Horizontal Side Seam Darts

120

107

Style 0508: Curved Dart Dress

722

Pattern Chart for Style 0508 Specification Summary Questions

Sheets for Style 0508

6

734 734

135

Collar and Neckline Theory and Development

Introduction Objective

732

734

Practice Problems

CHAPTER

737

735 737

Recreating the Proportions

of a Design Sketch

737

Style 0601: Bateau Neckline, Bodice with Intersecting

Curved Darts

Style 0602: Funnel Neckline, Bodice with Neck Darts

. 740

Style 0603: Tie Collar, Bodice with Center Front Darts and Placket Style 0604: Straight

Neckline, Bodice with Contoured

Style 0606: Sailor Collar with Asymmetrical Pattern Chart for Style 0606

Questions

7

752

Bodice

755

767

762 762

Sleeve Theory and Development

Introduction

763 763

Sleeve Theory Objective

Button-Front

Darts

748

767

Practice Problems

CHAPTER

744

Rolled Collar, Bodice with Zip Front and French Darts

Style 0605: One-Shoulder

Summary

738

763

Dartless Sleeve Sloper

764

Style 0701: Petal Sleeve

766

Style 0702: Dropped Shoulder

Sleeve and Bodice

768

Style 0703: Long Sleeve with Upper Cap Combined with Bodice Style 0704: Square Armhole Style 0705: Modified

Sleeve and Bodice

Kimono Bodice with Gussets

Style 0706: Dolman Sleeve, Dartless Wraparound Pattern Chart for Style 0706 Summary

785

Questions

786

774 776 Top

779

785

Practice Problems

CHAPTER

8

Introduction Objective

Dart Equivalents As Stylelines, Gathers, Pleats, and Release Tucks ... 787 788

Style 0801: Bodice with Square Neckline and Release Tucks

788

187

Style 0802: Bodice with Armhole

Princess Styleline, Sweetheart

and Cap Sleeves

Neckline,

192

Style 0803: Bodice with Yoke, Gathers, Shawl Collar, and Short Sleeves

196

200

Style 0804: Bodice with Stand Collar, Bare Shoulders, and Bust-Level Styleline Style 0805: Bodice with Front Yoke, Back Pleats, Raglan Sleeves, and Convertible Style 0806: Skirt with Gathered Waist, Kick Pleat, Waistband, Style 0807: Skirt, Princess Line, Overlapped Waistband,

Collar

204

209

and Back Zipper

Back Zipper, and Slit

211

Style 0808: Trouser with Stitched Pleats, Fly Front, Front Insert Pockets, Back Double Piping Pockets, and Cuffs Pattern Chart for Style 0808 Summary Questions

9

Introduction Objective

222

222 223

Practice Problems CHAPTER

215

223

225

Added Fullness and Flares, and Added Ease 225 225

Style 0901: Top with Two Layers, Flared with Uneven Hem

226

Style 0902: Blouse with Gathered Front, Buttoned Placket, and Short Puffed Sleeves with Control Lining

229

Style 0903: Blouse with Long Full Gathered Sleeves, Flared Cuff Flounces, Peplum, and Collar

233

Style 0904: Flared Skirt, Waist Finished with Inside Facing Style 0905: Circle Skirt and Waistband Style 0906: Half-Circle Skirt

239

241

244

Style 0907: Pant, Pull-On with Low Crotch and Double Elastic Waistband Style 0908: Jumpsuit,

Double-Breasted,

Pattern Chart for Style 0908 Summary Questions

10

Introduction Objective Torso Sloper

Wide Flat Collar, and Inverted Box Pleats

248

255

255 25fj

Practice Problems CHAPTER

246

256

257

The Torso Sloper and Its Uses 257 257 257

Style 1001: Shirt with Box Pleats and Sleeve Placket

262

Style 1002: Shirt, Oversized, with Hidden Button Placket, Buttoned Tabs, Belt, and Inseam Pockets

267

Style 1003: Vest, Fitted, with Flat Collar

271

Style 1004: Skirt with High Waist and Insert Pockets

273

Style 1005: Dress with Short Kimono Sleeves and Empire Waist

277

Style 1006: Dress with Modified Cape Collar, Low Waist, and Handkerchief Style 1007: Traditional

Kimono

282

Hem

278

Pattern Chart for Style 1007 Summary Questions

286 287

Practice Problems

CHAPTER

11

Introduction Objective

286

287

289

The Jacket Sloper and Its Uses 289 289

290

Jacket Sloper: Front, Back, and Sleeve Jacket Sloper, Separate Bodice, and Skirt Style 1101: Bolero with Leg-of-Mutton

293

Sleeves

293

Style 1102: Portrait Lapel Jacket, Panel Stylelines,

and Front Ties

297

Style 1103: Bomber Jacket, Hidden Zipper Closure, Elastic-Cased Waist, Epaulets, and Pouch Pockets with Flaps Style 1104: Single-Breasted

302

Jacket with Low Notched Lapel, Two-Piece Sleeves,

Welt Pockets, Vents, and Bound Buttonholes Pattern Chart for Style 1104 Summary Questions

CHAPTER

12

Introduction Objective

306

314

314 314

315

The Coat Sloper and Its Uses 315 315

Coat Sloper: Front, Back, and Sleeve

315

Style 1201: Long Coat, Patch Pockets, Button Tabs, Back Vent, and Modified

Shawl Collar

Style 1202: Pea Coat, Double-Breasted, and Adjustable

Back Belt

Style 1203: Cape with Over-the-Shoulder Summary Questions

CHAPTER

13

Introduction Objective

318

Modified

Design with Flared Back

323 Yoke, Knife Pleats, and Loose Hood

330 331

333 333

Dartless Jean Sloper

334 338

Style 1302: Capri Pants with Low-Rise Waistline

341

Style 1303: Jeans with Slim Fit, Five Pockets, Tapered Legs, and Zippered Ankles Style 1304: Sailor Pants

Questions

333

The Dartless Jean Sloper and Its Uses

Style 1301: Runner's Shorts

Summary

326

350 350

347

343

CHAPTER

14

Introduction Additional

351 Measurements

Objective

Needed for Contoured

Style 1402: Gown, Flattened on Skirt

Bra Cups

Bust with Boning

Tiers

and Padding,

Skirt

360

364

Questions

365

369

Patterns for Fabric Used on the Bias Grainline

Introduction Objective

in Bodice, and Three Separate

Pleated Collar, Boning

with Godets and Train Summary

352

354

Style 1403: Gown, Off-the-Shoulder,

15

Styles

351

Style 1401: Halter Top with Contoured

CHAPTER

351

Special Body Forms, Live Models, and Contoured Styles

369 370

Flat Patterned

Bias Torso Sloper

Draped Bias Torso Sloper Style 1501: Bias Camisole

371

373 with Separate

Cowl Front

376

Style 1502: Bias Top with Cowl Collar, Short Cowl Drape Sleeves, and Hip Band Style 1503: Bias Skirt with Trumpet

Hem

Style 1504: Bias Slip Dress with Low Back and Crisscross Summary

16

Straps

383

388

389

Patterns for Fabrics That Stretch

Introduction

389

Objective

391

Knit Torso Sloper Flat Patterned: in Width,

Only

Front, Back, and Sleeve, for 50-Percent

in Width,

Only

Style 1602: Knit Shirt with Raglan Sleeves, Shoulder

Knit Full-Length

Bodysuit

Bodysuit in Width

Stretch

Fabric

395

Pads, V Neck, and Cuffs

395 Sloper Draft: Front, Back, and Sleeve

for 1OO-Percent Stretch Knit Full-Length

Fabric

391

Style 1601: Classic Tee Shirt with Crew Neck in Ribbing

in Ribbing

Stretch

391

Knit Torso Sloper Drape: Front and Back, For 50-Percent

Fabric in Width

and Length

397

Sloper Drape: Front and Back for 100-Percent

and Length

Style 1603: Mid-Thigh-Length

Sloper Flat Patterned: in Width and Length

Stretch

Fabric

401

Bodysuit

and Empire Seam Knit Legging

Spaghetti

387

Questions

CHAPTER

378

382

with U-Front

Neck, Racer Back,

404 Front and Back for 100-Percent

405

Stretch

Fabric

Style 1104: Single-Breasted Jacket, Including Lining, from Chapter 18 Pattern Chart for Style 1104 Summary

447

452

453

ApPENDIX

A

Quarter-Scale Sloper Set for Misses' Size Twelve

455

ApPENDIX

B

Metric Conversion Chart

461

ApPENDIX

C

Fractions of Inches to Decimal Point Chart French Curve

462 463

ApPENDIX

D E

Sample Pattern Chart

464

ApPENDIX

F

Sample Specification Sheets

465

ApPENDIX

Glossary

467

Index

477

Preface

I have had the good fortune of finding a career in the fashion industry that suited my abilities, offered challenges and excitement, and introduced me to many fine, hard-working people. While a student at the Fashion Institute of Design and Merchandising in San Francisco, California, I discovered that patternmaking was my area of expertise. After a few years of working full-time in the fashion industry as a patternmaker, I began teaching patternmaking courses at West Valley College in Saratoga, California, working concurrently as a professional patternmaker for Marian Clayden Ine. My students appreciated the handouts I created to supplement my classes and suggested that I write a patternmaking textbook. I discussed the contents of the proposed book with students, other instructors at the college, and professional patternmakers, and, with their input and my own knowledge and experience as a pattern maker and instructor, undertook the project. This textbook demonstrates how to draft, drape, and flat pattern an array of garment styles in a variety of textiles for Misses', Junior's and Women's sizes. Fashion styles are ever changing; therefore, whenever possible, classic styles are shown in this text rather than up-to-theminute, trendy styles that will become dated after one season. The styles shown represent a range of pattern work, from beginning to advanced. The content in this book is organized differently from other pattern books on the market. I felt it was important to provide the theory of pattern making along

with detailed drawings of the patternmaking process. Going through the steps toward completing a pattern is effective only if the student understands the process, and how all of the pieces work together in a finished garment. Most of the styles are shown complete, including facings and closures. This approach reinforces the fact that the patternmaker must consider how garment pieces such as bodice, sleeves, collar, and facings work together as a unit, as well as how the garment is put on. Fitting tips are given for several styles to correct fit problems before the first sample garment is cut. Emphasis is placed on the marking and labeling of pattern pieces, and the listing of the pieces and notions on pattern charts. Students indicated that this approach was the most effective, enabling them to understand the pattern making process and apply what they learned to patterns of their own design. To further enhance students' education, learning activities, practice problems, and a glossary are provided. Women's bodies come in all different shapes and sizes, and an effort has been made to accommodate this variety with detailed size charts and measurement tables so that students are not limited to designing for the "perfect" size-8 figure. While preparing this book, I conducted exhaustive research on the body measurements of women of different weights, heights, ages, and ethnicities. With this information, I developed size charts that reflect the average proportions of today's women. These charts should be helpful for pattern makers and manufacturers try-

ing to fit the modem-day publie. The garment styles are shown on drawings of a Misses' size-12 body form, instead of an elongated fashion figure, to give students a more accurate idea of the actual proportions of the finished garment in an average sIze. My goals in writing this textbook are to:

• Explain the techniques of patternmaking and make them easy to understand. • Include tips for improving fit. • Include considerations turing process.

of the manufac-

• Include a wide variety of textile uses, styles, and sizes. • Help students attain their goals as professionals in the fashion industry. I hope I've achieved these goals and that this book serves as a useful guide to those seeking, or already possessing, careers in the fashion industry as pattern makers. Happy pattern making!

Acknowledgments I would not have written this book without the encouragement of many students at West Valley College and my co-workers at Marian Clayden Ine. Some of the more vocal advocates include Justine Ly, Trang DeHaesleer, Ginna Macaraeg, Anu Godsey, Laura Brosius, Tina Bui, LaRhonda Harris, Debbie Lewis, and Maria Luisa Castillo De Gulick. I wish to thank all of my students at West Valley College, who peppered me with questions

that required me to come up with answers; as well as those whose designs challenged my skills, and those who shared their own expertise from careers in the fashion industry in other countries. Sally Aitken and Kaee Min of the Fashion Design and Apparel Technology Department at West Valley College have been very encouraging during my time as an instructor, and they helped convince me to write this book. Thank you for your support, advice, and friendship, without which I could not have completed this project! Thanks are also due to Marian and Roger Clayden, who employed me for so many years and provided a family atmosphere in which their employees could feel comfortable and flourish. I learned so much while under their wings, a great deal of which went into this book. I can't thank them both enough.

I wish to thank my wonderful husband, Matt Knowles, whose professional photography helped to illustrate this text, and whose computer knowledge helped me learn the programs necessary to complete this textbook. Thank you, too, for putting up with me during this very long process! I consider Mr. Hector Edward Lopez to be my patternmaking and teaching mentor. He was one of my instructors at the Fashion Institute of Design and Merchandising in San Francisco, California. I have tried to emulate his patternmaking prowess and his engaging, professional manner as an instructor-but I don't think I'll ever be as suave as he is! Fairchild Books has given me the honor of having my work published, for which I cannot thank them enough. Olga Kontzias, Executive Editor, has been a supporter since I first contacted Fairchild

and was instrumental in seeing this project to fruition. Olga also put me in touch with Beth Cohen, Joseph Miranda, Elizabeth Marotta, and others at Fairchild who have been there to keep me going, help me stay organized, and pull me through the most stressful times. Thank you, all! Reviewers selected by the publisher were also velY helpful. They include Missy Bye, University of Minnesota; Betty Davie, Kent State University; and Elaine Zarse, Mount Mary College. To my family, friends and models, thank you for your continued interest in my project, for participating in size measurement research, and for listening to my book updates with eagerness instead of boredom. From now on I'll be able to converse on a variety of topics rather than just the contents of this and my menswear book.

Introduction to Patternmaking

Patternmaking = pattern drafting, pattern draping, and flat patternmaking

Figure 1.1

Pattern drafting is a design process that involves taking measurements from a person's body or a body form, adding ease to these measurements (usually), and then transferring these measurements onto a paper pattern. This is done using pencils, tape measures, rulers, curves, scissors, and tape. The finished paper pattern is placed on top of fabric as a guide to cutting out garment pieces.

Figure 1.2

Pattern draping is a design process that involves pinning and marking pieces of fabric that have been placed on a body form, or a human body, into the desired shape. These "draped" pieces of fabric are then corrected and transferred onto paper using tracing wheels, pencils, rulers, curves, scissors, and tape. The finished paper pattern is placed on top of fabric as a guide to cutting out garment pieces.

Figure 1.3

Flat patternmaking is a design process in which a base block, or sloper, is used to create a pattern for a new style. The sloper

1

front bodice sloper size 12

is traced, then set aside. The traced copy is transferred into a new style using one or more pattern making techniques. These techniques include adding fullness, contouring, pivoting, and slash and spread.

Figure 1.4

Patternmaking has come a long way since people first started cutting shapes out of fabric instead of just wrapping large sections of it around themselves. As people made clothing that conformed more closely to the human body, they found that fabrics that do not stretch need to be shaped by placing darts, pleats, gathers, or stylelines at strategic areas, thus enabling the fabric to ftt smoothly over the body's contours. This is especially true of the adult female form, which has many convex (outward) and concave (inward) curves throughout its three-dimensional shape.

Pattern making for the Fashion Industry Patternmaking techniques have developed over the centuries to convert fabrics and animal skins into clothing to cover the human body. In the previous and current

centuries, machines have been used to create patterns. Before the advent of computers, patterns were always made by hand. The introduction of body scanners to record minute detail about individual body shape may revolutionize the way clothing is produced. In the future, an individual's measurements may be sent directly to a clothing manufacturer, where they will be used to create a custom pattern that will guide the cutting of the garment-ail done by computer. Currently, the majority of clothing worn by people in industrialized nations is mass produced in third world countries. Clothing manufacturers often produce garments offshore to reduce costs to the manufacturer, which in turn reduces the retail cost to the consumer. The fashion industry has had its share of bad press about the conditions under which its products are made. Manufacturers should do their utmost to ensure that their workers and contractors are treated fairly and with respect, as demonstrated by reasonable compensation and hours, and decent working conditions. The patternmaking process starts with the fashion designer's idea. A ftrst pattern is drafted, draped, flat patterned, or created on a computer. Next, a ftrst

sample of the new style is cut and sewn. The first sample is fitted to a body form or a live model. Changes are almost always made to the first pattern, either to perfect the fit or to adjust the style of the garment. A second sample is then cut, sewn, and fitted. Further changes may be made, and more sample garments may be cut and sewn, until the designer, patternmaker, or in-house merchandiser and company owner are satisfied. At this point, more samples are made for in-house salespeople and sales representatives who show the garments to prospective buyers for retail establishments; or, the manufacturer may sell directly to the public. Once a style is deemed worthy of going into production, the pattern is sent to the production patternmaker, who prepares the pattern for grading into a size range. The production pattern must be as perfect as possible so that errors are not transferred into production garments, which number into the hundreds or thousands for large companies. This is only one way of producing patterns; each company has its own system. In smaller companies, fewer employees may be responsible for more than one part of the production process. Some companies are so small that the designer does all of the pattern work, and sometimes even the cutting and sewing!

Objective This chapter introduces the student of fashion design and patternmaking to the industry terms, tools, and equipment. Basic information about the type of paper used for patternmaking, fabric grainlines, pattern labeling, seam allowance and hem allowance, pattern marking, grading a size range, and the names of the body form parts prepare students to proceed through the rest of the chapters. Students who have an extensive knowledge of sewing using commercial patterns will find that the fashion industry has its own standards for widths of seam allowance, pattern marking (such as notches and punch holes), and timesaving construction methods. For example, the seam allowance depth on the neckline of a pattern produced by a fashion manu· facturer is narrow, usually 1/4 inch, to eliminate the need to "grade" the seam allowance by cutting the seam allowance layers with scissors. A knowledge of

sewing techniques is very valuable for a patternmaker, but the beginning student can be successfully taught patternmaking and sewing simultaneously ifhe or she has an aptitude for working with the hands and is able to visualize patterns and garments three dimensionally.

You will need to be familiar with several terms before you start the lessons in this book. Terms included in the glossary appear in boldface type at the first text mention. Additional terms may require a longer explanation or a visual example to be fully understood. The explanation of these terms comprises the rest of this chapter.

Figure 1.5

It is important to understand and use fabric grainlines correctly, otherwise your garments will hang improperly and will twist. Have you ever bought a garment that had sideseams that twisted toward the front or back? Well, a good guess is that the garment was not "cut on grain." When fabric is woven on a loom, the first yarns placed

edges of the fabric is featured at hems. A fabric hangs differently if cut on the cross grain, especially if there are gathers or pleats. The gathers or pleats do not lay flat; instead they puff out away from the body. This is usually acceptable in skirts but should be kept in mind when designing with borders.

pattern grainlines are always placed parallel to the straight grain and selvages

Bias Grainline

Another way to cut garments out of fabric is to use the bias grainline. If a perfect cross grain (torn edge or pulled thread) is laid on a perfect straight grain (torn edge or pulled thread), you will have a diagonal fold that is a perfect 45-degree angle to the straight or cross grain. This 45degree angle line is called true bias. A garment that is cut with the true bias running up and down on the body stretches and clings to the body. This is one way to make a garment size fit a wider range of figure types, as knits do, but it uses more fabric per garment and can be difficult to sew without ripples or stress lines on the seams. on the loom are called the warp yarns or warp grain. Another name for these yarns is the straight grain. These yarns run the length of the fabric, so if you have 3 yards of fabric, the warp grain yarns are 3 yards long. The warp grain has the most strength in a woven fabric and the least amount of stretch, because there is tension on the yarns when they are set in the loom. In garments made of woven fabric, the warp or straight grain usually runs up and down the body. Garments hang well when cut out of fabric this way as long as the pattern pieces have been made correctly. Cross Grainline

After the loom has been set with warp yarns, the next step is to add or weave the weft yarns or weft grain. Another name for these yarns is the cross grain. These yarns run across the width of the fabric from side to side or "selvage to selvage" and are at a 90-degree or right angle to the straight grain. The selvages are the tightly woven edges that run along the outer length of a bolt of fabric and are parallel to the straight grain. Occasionally a garment is cut with the weft or cross grain running up and down instead of around the body. This might be done when a border design on one or both

Figure

1.6

Grainlines are drawn on pattern pieces to ensure that they will be placed on a fabric in a way that enables the garment to be cut properly. The grain line is drawn as a straight line that runs from edge to edge of the pattern piece. It includes arrows to distinguish it from other lines on the pattern. The grainline can be drawn in various places on the pattern, depending on whether the garment is to be cut on the straight, cross, or bias grainline. When placing the pattern on a piece of fabric, the grain line drawn on the pattern piece is always laid parallel to the straight grain and selvages of the fabric.

Figure

1.7

Most fashion manufacturers expect to make multiple copies of their designs, and the patternmaker must remember what goes into the production of such garments. The fabric probably will be stacked in several layers or "ply" (one layer = 1 ply), with a marker on top. A marker is a piece of paper the same width as the fabric from edge to edge (selvage

,=~.. ~'j 2.004 ,0

to selvage) onto which pattern pieces have been traced. The pattern pieces are placed in such a way as to use the least amount of fabric per garment. When you draw grainlines on pattern pieces, be sure the lines go from edge to edge. Then when the pattern piece is placed on marker paper, the grainline can easily be lined up with the grid of letters and numbers on the paper. When fabric is stacked in several layers with a marker on top and with pattern pieces close together, cutting can be difficult. Special electric tools or computerized cutters are used to cut through the layers. Because of this, you should refrain from making patterns with very odd shapes, extremely sharp points, and cutouts that would make the production process difficult if not impossible.

Pattern Labeling Pattern labeling helps the people who use your patterns. Each pattern should have a style number, which usually consists of 4 or 5 digits. These digits generally have some significance; for instance, the first number may indicate the year or season for which the pattern is made; the second number, whether the garment is a dress,

- ~1

! I

top, or jacket; and the last two or three numbers, the style itself. When creating first patterns, it's best to write the name of the pattern piece, such as "bodice front" or "collar," on the pattern for easier recognition. You should also indicate the size of the garment, usually a number such as "12" with a line under it, which means "cut." Beneath this, you should note the number of pieces to be cut, such as "1," followed by the word for the type of fabric, such as "self." The garment industry uses words such as "self' or "lining" to designate different fabrics without having to write the whole name of the fabric, such as "wooljersey,"on each pattern piece. Usually manufacturers make up stamps with these words on them for use in labeling pattern pieces. Each pattern should be accompanied by a pattern chart, also called a "pattern card" or "face card," which acts as a legend or key explaining these words. The pattern chart also lists the individual pattern pieces so that someone using the pattern knows what they are and whether any are missing. Pattern charts usually list the notions a garment requires and provide a sketch of the garment to identify it. There are many examples of completed pattern charts throughout this book. You will also find a

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shirt may have a black collar and black belt. Even if the grey and black fabrics are from the same mill and have the same fiber content, they are still different colors on different bolts. The pattern pieces to be cut from the grey fabric (self) would be labeled "self' and the pattern pieces to be cut from the black fabric (contrast) would be labeled "contrast." The word "contrast" is usually written in blue ink. If another fabric were used on the outside of the garment, such as a white necktie, that pattern piece would be labeled "contrast 2," and patterns cut from the black fabric would now be labeled "contrast 1" to indicate the use of more than one contrasting fabric on the garment. The words "contrast 2" can be written in brown ink.

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Self Figure 1.8

To help the people who work with patterns, a color code system is used by some manufacturers. This helps to differentiate the pattern pieces that are cut from different fabrics. The fabric from which most of the outer garment is cut is called "self' fabric, and these pattern pieces are usually labeled in black ink. Contrast Figure 1.9

If more than one fabric is used on the outside of the garment, the other fabrics are called contrast. For example, a grey

Lining and Interfacing Figure 1.10

Lining is any fabric used on the inside of a garment that hides construction. Alternately, it may be used to reduce bulk in a garment, such as under the collar or on the back in the vest style shown here. Lining pattern pieces should be labeled in red ink with the word "lining." You might use a stiffener fabric called interfacing inside pieces such as the collar or the front to give them more body and help them retain their shape. Pattern pieces that are to be cut in interfacing fabric should be labeled in green ink with the abbreviation "int'f." Interlining and Underlining Figure 1.11

Some garments have an inner layer oflining, called an interlining, that is sandwiched between the self fabric layer and the lining on the inside of the garment. An interlining might be used to add extra weight and stability to the garment and provide a layer to which boning is attached. Or, it might be used as insulation in cold weather wear, such as batting in a ski jacket. The word "interlining" is color coded in orange ink. An underlining fabric layer might also be used in some garments to add stability to a flimsy self fabric, or to provide a layer to which interfacing is hand sewn in a tailored jacket. The word "underlining" is color coded in yellow ink. Fashion manufacturers have developed their own systems for labeling and

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Figure

color coding pattern pieces. A color code is provided below. You may customize your own color code system.

Standard Color Code System

Self

=

First patterns or original drafts are usually drafted onto a lightweight paper that creases easily for truing darts or pleats. First patterns may be "half' patterns, as shown in the sketch. In this example, you would draft one sleeve but write "2-self' to cut a right and a left sleeve, and then draft one half of a front bodice and write "I-self on the fold." The sketch shows the fabric folded with selvage edges together and the front bodice pattern piece placed with the center front against the fabric fold. This results in a full front bodice with right and left sides attached in the center. To indicate this type of cut layout, draw a foldline against center front.

black ink or pencil

Contrast #1

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blue

Contrast #1

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Contrast #2

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Contrast #2

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To enable garment pieces to be sewn together, excess fabric, called seam allowance, is provided beyond the stitchlines. Seam allowance varies in width depending on how the seams are finished. Most fashion manufacturers use 1/2 inch for average seams on garments. Seam allowance of lj4 inch is used at enclosed seams or very curvy seams such as necklines and facings. The patternmaker might allow a 3/4 inch seam

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allowance to make it easier to sew in a zipper. Seam widths vary according to both the type of machine used and the type of fabric.

Figure 1.14

If a garmen t is sewn together using a five-thread overlock machine, the patternmaker might add 1/2 inch or 3/8 inch seam allowance. The reason for this variance is that the five-thread machine sews a 3/8-inch wide seam but it also has a blade that trims fraying edges beyond 3/8 inch. The garment may need 1/8 inch of fraying threads trimmed while the garment is sewn.

Figure 1.15

Garments that are sewn with three threads on an overlock machine produce seams that are 3/16 to 1/4 inch wide, so the patternmaker will probably leave 1/4 inch seam

seam allowance shaped to be pressed back

allowance on edges to be sewn with this type of machine. Three-thread overlock seams are commonly used on knits. Knits do not ravel, therefore, the raw edges do not need to be trimmed by the blade. Seam Allowance at Pattern Corners

squared seam corners

dress, or pants, hem allowance is added beyond the finished edges of the garment. There are many different types of hem finishings, and the measurement of the hem allowance can vary accordingly. Following are just a few types of hem finishes. .

The seam allowance shape at pattern corners can be determined by different factors: Figure 1.16

1. To simplify the cutting process, seam allowance shapes in the corners may be extensions of the curves of the pattern. The tool used to cut the garment can continue its course. Figure 1.17

2. To simplify the sewing process, seam allowance corners may be folded and shaped in the direction the seam will be pressed or ironed. ~) Figure 1.18 ~,

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3. Another option to simplify the sewing process is to square the seams. In some instances, this will show the depth of the seam allowance, reducing the need for seam allowance notches. This method also matches seams that sew to each other, from the stitchline out to the edge of the fabric.

To finish the raw edges of fabric at the outer edges of garments, such as the bottom edge of a blouse, jacket, coat,

Figure 1.19

The narrowest hem finish is the roll hem, which can be sewn with three threads on an overlock machine by setting the stitches very close together and tightening the tension of the upper looper. Some machines, such as those made by Merrow, are designed to produce this type of decorative overedge or pearl edge. Unless the fabric frays, only 1/8 to 3/16 inch is used in the hem depth. Fraying necessitates trimming with the blade of the machine. With sheer and very lightweight fabrics, roll hems produce a ripple effect if the fabric is stretched while being sewn.

Figure 1.20

Baby hems, which are also very narrow, use from 3/16 to 1/4 inch in the hem depth. They can be sewn using a straight-stitch machine and a special presser foot attachment, which rolls the fabric as it is sewn. Like roll hems, baby hems can also produce a ripple effect in sheer or lightweight fabrics if the fabric is stretched while being sewn.

Figure 1.21

Figure 1.23

Rolled hems that are 1/4 and 1/4 inch or 1/2 and 1/2 inch are often used on casual clothing, especially at the bottom of shirts, full skirts, or jeans (1/2 and 1/2 inch). These hems are sewn on a straightstitch machine and can be used on lightto heavy-weight fabrics.

To produce a more expensive look for a hem, use a blindstitch machine or hand sew the hem so that you do not see stitches on the outside of the garment. The hem depth should be 1 to 2 inches.

Figure 1.22

Knit fabrics may have hems that range in depth from 1/2 to 2 inches, depending on the style and type of the garment. Usually the raw edge of the fabric is folded to the desired depth and then stitched. A coverstitch machine is used, which shows two or three rows of straight stitches on the outside of the garment and has an overcast of stitches on the inside of the garment, finishing off the raw edge. Another way to finish knit fabrics is to use a three-thread overlock machine on the raw edges, turn up the hem the desired depth, and use a straight-stitch machine with woolly nylon thread in the bobbin (so the stitchline will stretch). This produces a similar effect to a CQverstitch machine.

free hanging lining used on: coats, capes, dresses, ~ pants, ~ skirts 3

Jacket and Coat Hems Figure 1.24

A jacket that has a lining attached should have a llj2Figure 1.24 to 2-inch deep hem, and the lining should finish 1/4 to 1/2 inch shorter than the outer fabric. A coat, cape, dress, pant, or skirt with a freehanging lining should have a 11/2- to 2inch deep hem, and the lining should finish 1/2 to 1 inch shorter than the outer fabric.

Note: For full skirts with curved hems, use shallow hem folds. Otherwise, puckers will form because the raw edge is too full to lay flat.

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Figure 1.26 Figure 1.25

The fashion industry uses nonverbal communication, in the form of notches, on garments. Notches are clips or slices into the seam allowance on a pattern or on a garment piece. They tell the person sewing the garment whether the garment piece is intended for the front or back. If several garment pieces look alike, notches can indicate which pieces match together and in what order (indicated by the addition of one more notch to each seam going around the body). Notches also mark the intake of a dart, pleat, or tuck and can be used to control where gathers are placed. Notches may be used to indicate seam allowance width; however, not all manufacturers use them for this purpose. It can be costly to have several notches on each pattern piece. Although one notch is cut through all the layers at once, there is the danger of the notches being cut too deep, so use them sparingly.

Punch holes are tiny holes that may be used to indicate pocket or dart placement. They are marked in the fabric using an awl. Because it is a hole in the garment, the punch hole needs to be placed where it will be hidden inside the garment. To mark the placement of a pocket, draw the pocket outline on the body piece and mark punch holes 1/8 inch inside the pocket outline. Punch holes are marked on pattern pieces with a screwpunch, which cuts out a tiny hole. To mark a double-ended dart, the middle section of the dart intake or dart excess is marked with punch holes lj8 inch from the dart stitchlines (or with one punch hole 1/8 inch from the stitchline and one punch hole at the dart's center). The ends of the dart taper to sharp points and are marked with the punch hole lj2 inch from the dart point. You must circle the punch holes to differentiate them from other dots or marks that may be on your pattern.

Grading

a Size Range

Figure 1.27

Grading patterns makes it possible to offer a range of sizes to your customers. Patterns can be graded using a see-through ruler. Figure 1.28

A grading machine may also be used to grade a size range. It is faster and more exact than the ruler method. Figure 1.29

Some companies use computers to grade patterns. Of course this is much more costly, but many manufacturers have computer systems to perform this function.

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1. Heavy paper (manila paper) for slopers and production patterns 2. Muslin 3. Clear tape approximately lj2 inch wide 4. Straight metal rulers of various lengths: 36,48, and 60 inches 5. Pattern paper: solid paper in white or other light colors 6. Tissue paper: lightweight, pliable paper used to test the fit of patterns 7. Pattern hole punch, which makes a 3/4-inch diameter hole through which a pattern hook is put 8. Tape measure 9. Straight pins, size #17 10. Ninety-degree-angle metal ruler or L-square, the longer the better 11. Hip curve, of metal or plastic, also called "vary form curve rule" 12. See-through plastic ruler, 18 by 2 inches, with a lis-inch grid spacmg 13. Pattern hooks, on which a completed pattern is stored, with a pattern chart in front 14. Needlepoint tracing wheel 15. Awl, used to make tiny holes through fabric when marking punch-hole placement

16. Screw punch, used to make tiny punch holes in paper patterns when marking punch-hole placement 17. Pushpins 18. Weights, used to hold pattern pieces while being traced or to keep markers in place 19. Marker paper: white paper having a grid printed on it with letters and numbers; also called dot paper 20. Notcher 21. Hard pencils, which leave a finer line than soft ones 22. Pattern snips, used to cut heavy pattern paper 23. Rotary cutter: used with a surface that can be cut on, such as lj16-inch thick sheet of Styrene 24. Colored pencils or pens for color coding and marking corrections on patterns 25. Fabric scissors: to be used only for fabric so that blades stay sharp longer 26. Paper scissors: to be used only for paper, which dulls the blades more quickly than fabric 27. Circle template, for drawing button or snap placement on patterns 28. Plastic curves in various shapes 29. Triangle marked with degree angles

Figure 1.31

A body form or a person to act as a fit model is necessary for patternmaking. It is easier to work with a body form rather than a live person. You can't poke pins into a person, and their arms can't be removed to make certain patterns easier to draft or drape. However, a live person can tell you if something is uncomfortable and can sit, walk, bend over, and raise the arms-all very helpful when test fitting a garment to see whether someone can move in it. If you want to design a dress or bodice that pushes the breasts up and flattens them, then you'll need a live fit model. Most dress forms cannot flatten at the bust. Chapter 14 covers special body forms and live fit models for contoured styles. It is best to use a body form that has legs so you can make pants, bodysuits, and other garments

that cover the lower limbs. If a body form with legs is not available, you will need to find a live model to fit these styles. Parts of the Body Form Figure 1.32 shows the front of the body form and Figure 1.33, a side view. Figure 1.34 shows the back of the body form. Pattern Paper

Some pattern makers use marker paper for first patterns. A solid paper in white or any other light color may also be used. A lightweight paper that enables you to see marks through the paper when it is folded is preferred. Tissue Paper

This paper is very the fit of a pattern in fabric. Because over curves almost

handy when testing draft before it is cut it is so pliable, it fits like fabric.

Figure 1.31

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straight grain and cross grain. It is used as a substitute for the fabric that will be used in the final garment (fashion fabric), to drape or test fit. Several weights of muslin are available, to represent various weights of woven fabrics, but it cannot substitute for very soft fabrics, especially when used on the bias grainline. If your fashion fabric is one that stretches, such as a knit, muslin cannot be a substitute.

Buttons and zippers are some of the notions used on garments. Figure 1.35 illustrates different types and sizes of buttons. Figure 1.36 shows several types of zippers. Summary

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This paper has several names, including manila paper, tag board, oak tag, and hard paper. It comes in various widths and weights, similar to a manila folder. It is durable, with stiff edges that are easy to trace around. I t is used for slopers and production patterns, which are traced to make markers. Muslin

Muslin is a lOO-percent cotton fabric with a weave that is easily seen, on both the

The information in this chapter will help prepare you as you begin your training as a patternmaker. As you work through the chapters in this text, you will take what you've learned in this chapter and apply it to the pattern styles you create. Because each chapter and each pattern style in this text builds on previously learned material, you should not skip chapters. An important aspect of patternmaking involves "what" or "who" serves as your fit model. A patternmaker must have a full-scale body form or a live fit model readily available for fitting patterns. The patternmaker's choice of fit model is crucial in determining the garment's end use. To become a custom dressmaker, he or she may use a potential customer (live model) as a fit model and may wish to work with a variety of body shapes. If the patternmaker wishes to work for a fashion manufacturer that produces standardsized clothing, a fit model should be chosen with measurements that match a standard sample size so the garments fit as many people as possible. The size charts included in Chapter 2, Table 2.1, can help guide you in picking a body form or a live model that reflects realistic proportions for to day's average woman. People have continued to grow larger over the centuries, particularly in the past few decades. Women also wear different undergarments than they did in

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years past, when pointy bras and waistcinchers or girdles were the norm. The supposed "ideal" proportions of 36-inch bust, 26-inch waist, 36-inch hip may be pleasing to the eye but they do not reflect today's average figure. Some women measure their hips across their "hip bones." However, the largest circumference of the hips and buttocks is often lower on the body. You will need to find the largest cirClt7Tiference of the lower torso for the correct hip measurement. Questions 1. When using ment pieces, parallel to marker half from selvage

a marker to cut out garis the fabric folded in half the selvages, and the the width of the fabric to selvage?

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2. What does the word "ply" refer to? 3. How may fabric that does not stretch and that is cut with the straight grain running up and down the body be made to fit closely and smoothly over the contours of the adult female body? 4. Will a fabric that does not stretch on the straight grain, stretch at least a small amount on the bias grainline? 5. Does the cross grain of a piece of fabric run parallel or at a 90-degree angle to the selvages? 6. Does the grainline drawn on a pattern piece run parallel or at a 90-degree angle to the fabric's selvages when it is laid out to be cut?

Taking Measurements, Body Forms, and Live Models

The ability to take accurate measurements from body forms and live models is an important skill that all patternmakers must learn_ Working with a body form is less complicated than working with a live model. Body forms can be pinned into, drawn on, are always available, and never gain or lose weight. Live models must be treated gently, their modesty needs to be respected, and they may gain or lose weight; however, your final garment is produced for a live person to wear. Live models are velY valuable as fit models because they can move about, sit, walk, bend, and tell you verbally if the garment you have made is comfortable and practical. U sing the instructions in this chapter, you will be able to measure fit models of any Junior's, Misses', or Women's size. The designs shown in this textbook are drawn from a Misses' size 12 set of measurements. However, some of the styles shown may be appropriate for Junior's or Women's sizes. The instructions in this textbook will give you the knowledge to proportion the pattern styles to the size you are working with. Several charts of measurements are included in Chapter 3 to help you draft or drape the size of your choice. If your model's size is not included in the charts, just look at the increments between sizes and add or subtract these to arrive at the measurement for the size you need. Look at the size charts included later in this chapter before selecting a body form or live fit model with which to work. If you wish to

be able to grade a range of average sizes from your sample size, pick a fit model that closely resembles one of the sizes in the charts mentioned.

Note: For grading purposes, it is best to work with a sample size closest to the middle of the size range you wish to offer. If you wish to make custom clothing for a client or for yourself, it doesn't matter what size your model is.

A professional pattern maker must have a full-scale model for fitting patterns and garments. The pattern maker must take very precise measurements from the fit model and record them for future use. These measurements are used to draft or drape very basic pattern pieces called slopers, which are the subject of Chapters 3 and 4. The slopers and the fit model measurements are then used to make flat patterns for almost unlimited styles. Some styles or the textiles used to make them require pattern draping, which is covered in selected chapters. Measurements must be taken from a body form or live model carefully, so mistakes will not be transferred into the patterns, causing fit problems. If you wish to make patterns to fit yourself, have someone else take your measurements, because it is difficult to take your own measurements accurately.

2

Checklist for Taking Measurements 1. Select a body form or live model as your fit model. You will need a body form with legs if you wish to make patterns for such garments as pants, shorts, swimsuits, and bodysuits, or find a live model to measure for fitting these items. 2. To prepare a body form for measuring, you will need the following items: straight pins, narrow ribbon or twill tape, an accurate flexible tape measure, and rulers that are 48 to 60 inches long or a carpenter's level (to check horizontal levels). 3. To prepare a live model for measuring, you will need the following: straight pins, narrow elastic, thread for tailor tacks or chalk, an accurate flexible tape measure, and rulers that are 48 to 60 inches long or a carpenter's level (to check horizontal levels). Your live model should wear appropriate undergarments (a bra and underpants that give the wearer a natural shape for everyday clothing), with either a full bodysuit or one that reaches to mid-thigh, which may be marked and sewn with elastic. 4. A copy of the measurements from this chapter, to be filled in and saved for future use. These measurements will be referred to throughout the textbook.

Note: Because panty hose or tights usually have tight waistbands and distort the waistline measurement, your model should not wear them during the measuring process.

Preparing the Body Form Figure 2.1

1. Place a pin 1 inch below the armhole plate at the side seam to mark the underarm/side seam intersection. Leave this pin in the form for reference. Figure 2.2

2. Place a pin at the edge of the shoulder tip/armhole intersection. This point is located at the shoulder seam where the shoulder tip just begins to curve downward toward the armhole plate. I t is not at the top edge of the armhole plate, which is usually placed about 1/4 inch below the curve of the shoulder tip. 3. Place a pin directly across from the screw in the armplate, measured 1/4 inch into the fabric away from the plate-on the front, only-to mark the front mid-armhole point. Figure 2.3

4. Establish the bustlevel. On the front of the form is the apex or bust point posi-

tion. This is marked along the princess seam on the right and left sides of the form at the fullest part of the bust mound or curve, which is at the largest circumference of the bustline. Place pins at each apex/bust point and leave them in the form. Be sure both pins are the same height from the floor. Next, take a length of narrow ribbon or twill tape and pin it from apex to apex without slack. Pin the ribbon completely around the form, parallel to the floor, to establish the bust level. 5. Establish the waistline. On most body forms, the waistline is marked by a woven tape. If your body form is not marked, measure the form to find the smallest circumference between the bust and hips, and pin ribbon or tape around the form at this level. Waistlines are not necessarily perfectly parallel to the floor. On adult females, the waistline may dip a little at center back. This is normal; however, you should check that the waistline at the side seams measures an equal distance from the floor on the right and left sides. The waistline seam is measured at the center of the waistline tape. 6. Establish the hip level. Find the largest circumference of the hips and buttocks by measuring at several levels of the lower torso. Once you've found the level of the largest circumference, mark it with ribbon or tape parallel to the floor to establish the hip level. This level will not necessarily touch the "hip bones"; it may be lower, nearer to the crotch level. Preparing

Live Models

Your model should wear a bra and underpants under a full bodysuit that can be marked, pinned, and sewn with elastic to establish the bust level, waistline, and the hip level. Panty hose and tights have snug waistbands that distort the waist measurement and should not be worn. Figure 2.4

1. Place a pin, or use chalk or a tailor tack (thread looped through fabric with both ends sticking out) to mark a spot 1 inch below the model's underarm along her body. The model should not lift her arm when you mark this position and also when measuring to this

point, because the underarm hollows out as the arm lifts, which will distort the measurement. 2. Place a pin below the model's underarm on her arm. This placement is used for measuring the arm. The pin placement for the arm is dropped less from the underarm than the pin placement for the body to enable the sleeve cap area to fit into the armhole with the correct amount of ease. Many women have a large biceps circumference in proportion to their bust circumference. To fit a sleeve with the correct amount of cap ease, the cap height must be shortened at the underarm area. Only on models with slender arms or large bustlines, or both, may the underarm mark on the arm match the underarm mark on the body. For average-sized women (see Table 2.1, page 34), measure pin placement lj4 inch below the underarm on the model's arm. Figure 2.5

3. The model's shoulder/armhole intersection is found by pressing with your thumb or a finger in this area to find a dip between the bones. Mark this point on the model's bodysuit with a pin, chalk, or a tailor tack. This position should be at the top of the shoulder curve. If you cannot feel the dip between the bones, try to envision where the armhole seam would naturally meet at the model's shoulder and mark this point.

Figure 2.6

4. Have the model raise her arm about 45 degrees from the floor and swing it slightly toward the center front until a crease forms, which marks where the front mid-armhole will be. Mark this point with a pin, chalk, or a tailor tack. Figure 2.7

5. Establish the bust level. The apex or bust point position is at the nipple. The apex marks the fullest portion of the bust mound. Mark the apexes with chalk, tailor tacks, or pins. The apexes should be the same height from the floor. Pin a length of narrow elastic from apex to apex without slack. Continue pinning the elastic around the model, keeping an equal distance from the floor, to establish the bust level. Sew the elastic onto the model's bodysuit so this position does not change for future fittings. Elastic stretches as your model removes the bodysuit. Figure 2.8

6. Establish the waistline. Have your model bend to the side at the waist. A crease will form at the natural waistline. Check that her underwear is not creating a false waist position. Mark the waistline first with a pin or chalk, then pin narrow elastic around

the model's body. The waistline may dip down in the back, which is normal for women. Sew the elastic onto the bodysuit for future fittings. Figure 2.9

7. Establish the hip level. Find the largest circumference of the hips and buttocks by measuring at several levels on the body. Once you've found the level of the largest circumference, mark it with elastic parallel to the floor to establish the hip level. Sew the elastic onto the model's bodysuit for future fittings. Figure 2.10

8. Establish the center back neck position. This is found by pressing with your thumb or a finger in this area to find a dip between two prominent bones, which are vertebrae. Mark with chalk, a tailor tack or a pin. Figure 2.11

9. To mark the crease in the back midarmhole, leave your model's arm hanging down. First, establish the shoulder blade level on the model. Measure the center back from the neckline down to the waist = _ then divide this measurement by 4: _____

7

-t =

_

Using this final measurement, measure from the neckline down along the center back and place a pin or tailor tack at this point. A line going through this point parallel to the floor is called the shoulder blade level. The back armhole seam runs along the crease formed between your model's body and arm with

mark this intersection with a pin, tailor tack, or chalk. This point should line up in the center of the underarm on the model's upper rib cage and should intersect with the pin that is placed 1 inch below the underarm. Figure 2. 14

the arm hanging down. The intersection of the shoulder blade level and the armhole is called the back mid-armhole.

12. Establish the side seam/waist intersection. Again, keep in mind that the side seam of your model's body suit may not be in the correct position. Visualize a straight line (or use a long ruler) going halfway between the front and back of the model's leg and continuing straight up to the waist, and mark this point.

Figure 2. 12

10. Establish the shoulder/neckline intersection. Visualize where the curve of the neckline seam would be if your model were wearing a collar that hugged the neck. (The collar in this photo is set too far from the natural neckline seam; thus, the pin mark is on the collar itself.) This position should also intersect at the top of the shoulder curve. Figure 2.13

11. Establish the underarm/side seam intersection. The side seam of your model's body suit may not be in the correct position, so you will need to

Upper Torso Measurements Avoid pulling the tape measure tightly over the body as this will distort the measurements. Be gentle. Do not let a live model hold in her stomach or stand in an unnatural position. The following steps are shown on a body form, but the same measurements are needed if using a live model. #1 (Figure 2. 15) Total shoulder girth level =

_

Measure all the way around the upper arms and body with tape measure parallel to the floor. If your body form does not

have arms, see Table 2.1 (page 34) to find the shoulder girth measurement that corresponds with the shoulder width and biceps circumference of your model. #2 (Figure 2. 16) Total upper chest level =

_

Measure all the way around the upper chest under the arms. The tape measure may dip down a little in the back. #3 Total bust level =

=

_

Measure all the way around the smallest circumference of the torso. The waist level may dip in the back. #6 (Figure 2. 18) Shoulder seam =

_

Measure from the high neck point out to the shoulder/armhole intersection along the top of the shoulder.

_

Measure all the way around the largest circumference of the bust, with the tape measure parallel to the floor. #4 (Figure 2. 17) Total rib cage level

#5 Total waist level =

_

Measure all the way around the rib cage directly under the bust mound, parallel to the floor.

#7 (Figure 2. 19) Half the front neckline

=

_

Measure from the high neck point around to the pit of the neck. #8 (Figure 2.20) Center front neck to shoulder tip

=

.

Measure from the pit of the neck to the shoulder tip.

Note: Some body forms have a high center front neck position. Check Table 2.1 (page 34) for a neckline circumference measurement that corresponds with your model's size. Measure your model's total neckline circumference to see if the center front neck needs to be dropped, and adjust it before filling in #7.

Measure straight out from center front to the mid-armhole point at the pin. #10 (Figure 2.21) Half the front upper chest =

_

Measure straight out from center front to the side seam at the underarm, parallel to the floor. #11 Half the front bust level

=

_

Measure straight out from center front, over the bust point to the side seam, parallel to the floor. #12 Half the front rib cage level

=

_

Measure straight out from center front, directly under the bust mound to the side seam. #13 (Figure 2.22) Bust span =

_

Measure from center front waist over to the side/waist intersection. #16 (Figure 2.23) Half the back neckline =

_

Measure from the high neck point around to the center back neck. #17 (Figure 2.24) Center back neck to shoulder tip =

_

#18 Halfwav across shoulder blades = __

#19 Half the back upper chest

=

_

Measure from center back to the side seam at the underarm. The tape measure may dip down a little in the back. #20 (Figure 2.25) Half the back bust level

=

_

Measure straight out from center back to the side seam, parallel to the floor.

_

Measure from apex to apex for #13, then divide by 2 for # 14.

#15 Half the front waist =

Using the one-fourth measurement, measure down from the neck and mark at center back for the shoulder blade level. Obtain the "halfway across shoulder blades" measurement by measuring from center back over to the edge of the armhole plate or the pin on your live model.

.

The shoulder blade level is found using one-fourth of the center back measurement from the neckline to the waistline.

measure straight across waist circumference

Figure 2.26

#21 Half the back rib cage level =

_

Measure straight out from center back to the side seam at the rib cage level, parallel to the floor. #22 Half the back waist =

#24 (Figure 2.28) Side seam length =

_

Measure from the pin placed 1 inch below the underarm/armhole plate down to the waistline.

_

Measure from center back waist over to the side seam/waist intersection.

#25 (Figure 2.29) High neck point to front side seam

#23 (Figure 2.26) Dart placement =

Measure from the high neck point down the front to the underarm/side seam intersection, which is marked with a pin.

Measure out from center front princess seam on the body foml.

_

dart placement for live models forms without princess seams, straight (not curved) across the from side to side (diameter) = and divide this number . Then use below:

Add 3/8 inch if #5 total waist level is less than 25 inches = _ Or, add 1/2 inch if #5 total waist level is between 26 and 30 inches = _ Or, add 5/8 inch if #5 total waist level is between 31 and 35 inches = _ Or, add 3/4 inch if #5 total waist level is 36 inches and up = _ Use this final measurement in the space for #23 where it says "Dart placement =

"

.

to the

Figure 2.27

To find or body measure waistline ______ by 4 = the chart

= __

#26 (Figure 2.30) High neck point to back side seam

= __

.

Measure from the high neck point down the back to the underarm/side seam intersection, which is marked with a pin. #27 (Figure 2.31) Center front length

=

_

Measure from the pit of the neck down the front to the waist over the tape between the bust mounds. #28 Front total length =

"

Measure from the high neck point over the bust to the waist. Do not contour the tape measure in under the bust. #29 (Figure 2.32) Shoulder tip to center front waist

=

.

Measure from the shoulder tip, over the bust, and down to the center front waist. Do not contour the tape measure in under the bust.

#32 (Figure 2.34) Center back length = #31 (Figure 2.33)

Bust radius

=

_

Measure from the apex along the princess line to just under the bust mound at the rib cage level.

_

Measure from the back neck down to the waist. #33 Back total length

=

,

Measure from the high neck point down the back to the waist.

#34 (Figure 2.35) Shoulder tip to center back waist =

.

Measure from the shoulder tip, over the back, and down to the center back waist.

the bottom of armhole plate and the underarm along the arm allow some ease under the arm. If a sleeve is cut in fabric that does not stretch and it reaches all the way up to the underarm, it will be very uncomfortable to wear.

Check Your Measurements

• Add #10 (half the front upper chest) and #19 (half the back upper chest) together: + _ _____ . Now multiply by 2: ______

x

2

=

_

This number should equal #2 (total upper chest level): . If not, check your measurements again. • Add #11 (half the front bust level) and #20 (half the back bust level) together: ------

______ _____

+ -------

. Now multiply x 2=

by 2:

. This

number should equal #3 (total bust level): . If not, check your measurements again. • Add # 12 (half the fron t rib cage level) and #21 (half the back rib cage level) together: + _ _____ . Now multiply by 2: _____ x 2= . This number should equal #4 (total rib cage level): . If not, check your measurements again. • Add #15 (half the front waist) and #22 (half the back waist) together: ______ ______

. Now multiply x

2 =

by 2:

_

This number should equal #5 (total waist level): . If not, check your measurements again.

The total arm length may seem short, but sloper sleeves only reach to the wrist bone as a landmark. As you use this sloper to draft other sleeve styles, you can add length to the sleeve so it falls onto the hand if necessary. If you are using a body form that does not have an arm, check the instructions in Chapter 3 (see Table 3.1, page 77) to find a size that matches your body form. The armhole plate on the body form represents the point where the arm connects to the body. The marks that were dropped from

#35 (Figure 2.36) Total arm length =

_

Measure from the shoulder tip down the arm and around the elbow tip to just below the wrist bone with the arm slightly bent, hanging naturally. #36 (Figure 2.37) Underarm length =

_

Measure from the pin that is 1/4 inch below your model's underarm, down to just below the wrist bone with the arm held straight.

)

•••ifJ~

~

#37 (Figure 2.38) Forearm length =

_

Measure from just below the wrist bone up to the elbow tip with the arm bent. #38 (Figure 2.39) Biceps circumference

=

_

Measure the biceps at the largest circumference, high up under the arm with the muscle flexed, which will enlarge the circumference. #39 (Figure 2.40) Elbow circumference

=

_

Measure the elbow at the widest part with the arm bent. #40 (Figure 2.41) Wrist circumference

=

Measure around the wrist joint.

_

Note: Some female body forms are too long waisted, so compare both measurements.

#42 (Figure 2.43) Total hip level =

_

Measure all the way around the largest circumference of the hips and buttocks with the tape measure parallel to the floor. #43 Hip depth at center front = #41 (Figure 2.42) Hand circumference =

Measure around circumference.

Measure from center down to the hip level.

_

front waist level

_

the hand at the largest

Lower Torso and Leg Measurements These steps are shown on a body form, but the same measurements are needed if using a live model. The live model should not wear shoes for these measurements. If you are measuring a body form, it will not have feet, and it may not have legs. Check Table 2.1 (page 34) to find the lower torso and leg measurements that correspond to your form's size and height. Use your form's center back length and high shoulder point to bust level as a gauge to determine the body form's total height.

#44 (Figure 2.44) Hip depth at side seam =

_

Measure from the side/waist down to the hip level along the side seam. #45 Hip depth at center back =

Measure from center down to the hip level. #46 (Figure 2.45) Half the front hip =

back

_

waist level

_

Measure from center front over to the side seam at the hip level. #47 (Figure 2.46) Half the back hip

=

_

Measure from center back over to the side seam at the hip level.

#52 Inseam to ankle #48 (Figure 2.47) Outseam/side seam to floor =

_

Measure from the side/waist along side seam to the floor (no shoes).

the

#49 Inseam to floor =

_

Measure from the center of crotch down to the floor (no shoes). #50 Crotch depth

=

=

_

Measure from the center of the crotch down along the inner leg to just above the ankle bone. #53 (Figure 2.49) Crotch length =

_

Measure from center front waist down between legs and up to center back waist. Do not pull tightly between the buttocks.

_

Find the difference between #48 and #49, which gives you #50, the crotch depth. To check this measurement with your live model, have her sit up straight on a flat surface, and measure from the surface (at her crotch level) up to her waist level along her side seam. #51 (Figure 2.48) Outseam to ankle

=

_

Measure from the side/waist down to just above the ankle bone.

#54 (Figure 2.50) Total thigh circumference

#57

=

_

Measure all the way around the largest circumference of the upper thigh. #55 Total calf circumference =

Measure the largest circumference upper calf. #56 Knee level from waist

=

_

of the

_

Measure from the side/waist down to the middle of the knee.

~

Size Charts for Junior's, Misses', and Women's Sizes The measurements shown in Table 2.1 (page 34) reflect results of research the author conducted by measuring women of different ages, ethnicities, weights, and heights. Size charts from garment manufacturers and mail-order companies and measurements taken for scientific studies published on the Internet were also compared. Obviously, it is impossible ta develop a set of measurements that will fit every woman's body perfectly, because each woman has an individual shape. However, after compiling research and developing size charts, the author found that she was able to match mast individuals with a size that fit reasonably well. Misses' sizes are usually graded in total circumference for the bust, waist, and hips as follows: 1 inch between each size from size up to size 10, then 11/2 inches between each size from size 10 ta size 16; after that there is a 2-inch grade between each size from size 16 to size 18 (or up to size 26 for some manufacturers). However, not all manufacturers grade with these increments, which is part of the reason that size measurements vary so much from one company ta another. It should be noted that commercial clothing pattern companies have their own size charts, which often vary considerably from those for ready-towear clothing sold in stores.

°

Measure from the middle of the knee down to just above the ankle bone. Note: The crotch depth measure#58 Total ankle circumference

=

Measure the smallest circumference ankle just above the ankle bone. #59 (Figure 2.51) Foot circumference =

_ of the

_

Have the model point her toes, then measure around the widest part of her heel.

ments may seem long; this is because they are measured from the side seam over the curve of the hip, not from the center front. This measurement corresponds with the pattern drafts of the pants and activewear included in this textbook.

Check Your Measurements

Add #46 (half the front hip) and #47 (half the back hip) together: + _____ .Nowmultiply by 2: x 2 = ________ . This number should equal #42 (total hip level): _ If not, check your measurements again.

Taking precise measurements from a body form or a live model can be time consuming but is well worth the effort. These measurements are used in Chapter 3 ta draft a sloper set-a very basic set of pattern pieces from which numerous other styles are flat patterned. The accuracy of

these measurements will directly correlate to the fit of the sloper set. Any errors should be corrected when test fitting the sloper set, so the errors will not be transferred to the rest of the styles flat patterned from the sloper. The care you take when recording these measurements will be rewarded by better fitting patterns, saving you time and hassle in future. It is imperative for pattern makers to be detail orientated. Always check your work so mistakes won't get by you. Questions 1. How do you find the bust point or apex on a female body form? 2. How do you find the shoulder/armhole intersection on a live model? 3. Why isn't the underarm/side seam intersection marked directly at the underarm on a live model or at the bottom of the armhole plate on a body form? 4. Is the widest area of the lower torso always measured at a point touching the front hip bones? 5. Does the waist level for an adult female

body form or live model usually dip down in the front or the back? 6. How do you find the waistline on a live model? 7. How do you find the waistline/side seam intersection on a live model? Learning Activities 1. Try taking the measurements of an elderly woman. How do this person's proportions compare with those of "average" adults? Ask her how she feels about the way clothing fits. How can the fashion industry better serve this customer? Which aspects of the market are the most important for this customer: fit, comfort, color, style, price, quality, or availability? 2. Try taking the measurements of a woman before and also during pregnancy. Besides the obvious, how does her body change? How can the fashion industry better serve this customer? Which aspects of the market are the most important for this customer: fit, comfort, color, style, price, quality, or availability?

Table 2.1

Body Measurements and Sizes A. Junior's Average Sizes for 5'5" Height Size

1-JA

3JA

5-JA

7-JA

9-JA

llJA

13JA

15-JA

17JA

Bust circumference Waist circumference Hip circumference

32" 25" 35"

33" 26" 36"

34" 27" 37"

35" 28" 38"

36" 29" 39"

37.5" 30.5" 40.5"

39" 32" 42"

40.5" 33.5" 43.5"

42" 35" 45"

Center back neck to waist Back total length Front total length High shoulder point to bust level Bust span, point to point

15.375" 16.5312" 16.5312" 9.875"

15.5" 16.6875" 16.8125" 10.125"

15.625" 16.8437" 17.0937" 10.375"

15.75" 17" 17.375" 10.625"

15.875" 17.1562" 17.6562" 10.875"

16" 17.3125" 17.9375" 11.125"

16.125" 17.4687" 18.2187" 11.375"

16.25" 17.625" 18.5" 11.625"

16.375" 17.7812" 18.7812" 11.875"

6.5625"

6.6875"

6.8125"

7.0625"

7.25"

7.4375"

7.625"

7.8125"

Upper chest circumference Rib cage circumference Bra size Panty size

31.5"

Across shoulders, shoulder tip to shoulder tip Shoulder seam, neck to shoulder tip Shoulder girth

6.9375"

27.5" 32AA 4

32.25" 28.5" 32A 5

33" 29.5" 32B 5

33.75" 30.5" 34B 6

34.5" 31.5"

14.5"

14.75"

15"

15.25"

4.8125"

4.875"

4.9375"

5"

37" 34.5"

38.25" 36"

39.5" 38"

34B 6

35.75" 33" 36B 7

36C

38C

40C

8

8

9

15.5"

15.875"

16.25"

5.0625"

5.1875"

5.3125"

16.625" 5.4375"

17" 5.5625"

38.125"

39"

39.875"

40.75"

41.625"

42.75"

43.875"

45"

46.125"

Biceps circumference Arm, shoulder tip to wrist C.b. to shoulder tip, down arm to wrist Wrist circumference

10.75" 22.375" 29.625"

11.125" 22.5" 29.875"

11.5"

11.875"

22.625" 30.125"

22.75" 30.375"

12.25" 22.875" 30.625"

12.75" 23" 30.9375"

13.25" 23.125" 31.25"

13.75" 23.25" 31.5625"

14.25" 23.375" 31.875"

6.125"

6.25"

6.375"

6.625"

6.75"

6.875"

Outseam, waist to floor at side seam Inseam, crotch to floor Crotch depth, outseam - inseam = depth Crotch length, c.f. waist to c.b. waist

41.25"

41.375"

41.5"

41.625"

41.75"

41.875"

42"

42.125"

42.25"

31" 10.25"

31" 10.375"

31" 10.5"

31" 10.625"

31" 10.75"

31" 10.875"

31" 11"

31" 11.125"

31" 11.25 "

25"

25.5"

26"

26.5"

27"

27.625"

28.25"

28.875"

29.5"

Waist to mid-knee at side seam Waist to ankle at side seam Thigh circumference Mid-knee circumference, leg straight Calf circumference Ankle circumference

22.875"

23"

23.125"

23.25"

23.375"

23.5"

23.625"

23.75"

23.875"

38.25" 20" 13.625"

38.375" 20.75" 14.0625"

38.5" 21.5" 14.5"

38.625" 22.25" 14.9375"

38.75" 23" 15.375"

38.875" 24" 16"

39" 25" 16.625"

39.125" 26" 17.25"

39.25" 27" 17.875"

13.125" 7.875"

13.5" 8.125"

13.875" 8.375"

14.25" 8.625"

14.625" 8.875"

15.125" 9.125"

15.625" 9.375"

16.125" 9.625"

16.625" 9.875"

Neckline circumference

14.5625"

14.875"

15.1875"

15.5"

15.8125"

16.125"

16.4375"

16.75"

17.0625"

5.875"

6"

6.5"

B. Junior's Petite Sizes for 5'1" Height Size

I-JP

3-JP

5-JP

7-JP

9-JP

II-JP

13-JP

15-JP

17-JP

Bust circumference Waist circumference Hip circumference

32" 25" 35"

33" 26" 36"

34" 27" 37"

35" 28" 38"

36" 29" 39"

37.5" 30.5" 40.5"

39" 32" 42"

40.5" 33.5" 43.5"

42" 35" 45"

Center back neck to waist Back total length Front total length High shoulder point to bust level Bust span, point to point

14.375" 15.5312" 15.5312" 9.375"

14.5" 15.6875" 15.8125" 9.625"

14.625" 15.8437" 16.0937" 9.875"

14.75" 16" 16.375" 10.125"

14.875" 16.1562" 16.6562" 10.375"

15" 16.3125" 16.9375" 10.625"

15.125" 16.4687" 17.2187" 10.875"

15.25" 16.625" 17.5" 11.125"

15.375" 16.7812" 17.7812" 11.375"

6.0625"

6.1875"

6.3125"

6.5675"

6.75"

6.9375"

7.125"

Upper chest circumference Rib cage circumference Bra size Panty size

31.5"

Across shoulders, shoulder tip to shoulder tip Shoulder seam, neck to shoulder tip Shoulder girth Biceps circumference Arm, shoulder tip to wrist G.b. to shoulder tip, down arm to wrist Wrist circumference

6.4375"

34B 6

35.75" 33" 36B 7

37" 34.5" 36C 8

38.25" 36" 38B 8

39.5" 38" 40C 9

15.5"

15.875"

16.25"

16.625"

17"

27.5" 32AA 4

32.25" 28.5" 32A 5

33" 29.5" 32B 5

33.75" 30.5" 34B 6

34.5" 31.5"

14.5"

14.75"

15"

15.25"

4.8125"

4.875"

4.9375"

5"

7.5"

5.0625"

5.1875"

5.3125"

5.4375"

5.5625"

38.125"

39"

39.875"

40.75"

41.625"

42.75"

43.875"

45"

46.125"

10.75" 20.875" 28.125"

11.125" 21" 28.375"

11.5" 21.125"

12.25" 21.375" 29.125"

12.75" 21.5" 29.4375"

13.25" 21.625" 29.75"

13.75" 21.75"

28.625"

11.875" 21.25" 28.875 "

30.0625"

14.25" 21.875" 30.375"

6.125"

6.25"

6.375"

6.625"

6.75"

6.875"

5.875"

38.75" Outseam, waist to floor at side seam 29" Inseam, crotch to floor 9.75" Crotch depth, outseam - inseam = depth 24" Crotch length, c.f. waist to c.b. waist

6"

6.5"

38.875"

39"

39.125"

39.25"

39.375"

39.5"

39.625"

39.75"

29" 9.875"

29" 10"

29" 10.125"

29" 10.25"

29" 10.375"

29" 10.5"

29" 10.625"

29" 10.75"

24.5"

25"

25.5"

26"

26.625"

27.25"

27.875"

28.5"

Waist to mid-knee at side seam Waist to ankle at side seam Thigh circumference Mid-knee circumference, leg straight Calf circumference Ankle circumference

21.375"

21.5"

21.625"

21.75"

21.875"

22"

22.125"

22.25"

22.375"

36.25" 20" 13.625"

36.375" 20.75" 14.0625"

36.5" 21.5" 14.5"

36.625" 22.25" 14.9375"

36.75" 23" 15.375"

36.875" 24" 16"

37" 25" 16.625"

37.125" 26" 17.25"

37.25" 27" 17.875"

13.125" 7.875"

13.5" 8.125"

13.875" 8.375"

14.25" 8.625"

14.625" 8.875"

15.125" 9.125"

15.625" 9.375"

16.125" 9.625"

16.625" 9.875"

Neckline circumference

14.5625"

14.875"

15.1875"

15.5"

15.8125"

16.125"

16.4375"

16.75"

17.0625"

Table 2. 1 (canL)

Body Measurements and Sizes C. Misses' Average Sizes for 5'6" Height Size

2-MA

4-MA

6-MA

8-MA

10-MA

12-MA

14-MA

16-MA

18-MA

Bust circumference Waist circumference Hip circumference

32.5" 24.5" 35.5"

33.5" 25.5" 36.5"

34.5" 26.5" 37.5"

35.5" 27.5" 38.5"

36.5" 28.5" 39.5"

38" 30" 41"

39.5" 31.5" 42.5"

41" 33" 44"

43" 35" 46"

Center back neck to waist Back total length Front total length High shoulder point to bust level Bust span, point to point

15.875" 17.0312" 17.0312" 10.125"

16" 17.1875" 17.3125" 10.375"

16.125" 17.3437" 17.5937" 10.625"

16.25" 17.5" 17.875" 10.875"

16.375" 17.6562" 18.1562" 11.125"

16.5" 17.8125" 18.4375" 11.375"

16.625" 17.9687" 18.7187" 11.625 "

16.75" 18.125" 19" 11.875"

16.875" 18.3125" 19.4375" 12.1875"

6.6875"

6.8125"

6.9375"

7.1875"

7.375"

7.5625"

7.75"

8"

Upper chest circumference Rib cage circumference Bra size Panty size

31.5" 27.5" 32A 4

Across shoulders, shoulder 14.625" tip to shoulder tip 4.875" Shoulder seam, neck to shoulder tip Shoulder girth circumference 38.375"

7.0625 "

37" 34.5"

38.25" 36"

40" 38"

34B 6

35.75" 33" 36B 7

36C

38C

40C

8

9

10

15.625"

16"

]6.375"

16.75"

17.125"

5.375"

5.5"

5.625"

32.25" 28.5" 32A 5

33" 29.5" 32B 5

33.75" 30.5" 34B 6

34.5" 31.5"

14.875"

15.125"

15.375"

4.9375"

5"

5.0625"

5.125"

5.25"

39.25"

40.125"

41"

41.875"

43"

44.125 "

45.25"

46.5"

11.125" 23" 30.4375"

11.5" 23.125" 30.6875"

11.875" 23.25" 30.9375"

12.25" 23.375" 31.1875"

12.75" 23.5" 31.5"

13.25" 23.625" 31.8125"

13.75" 23.75" 32.125"

14.5" 23.875" 32.4375"

6.125"

6.25"

6.375"

6.5"

6.625"

6.75"

Biceps circumference Arm, shoulder tip to wrist C.b. to shoulder tip, down arm to wrist Wrist circumference

10.75" 22.875" 30.1875"

Outseam, waist to floor at side seam Inseam, crotch to floor Crotch depth, outseam - inseam = depth Crotch length, c.f. waist to c.b. waist

41.75"

41.875"

42"

42.125"

42.25"

42.375"

42.5"

42.625"

42.75"

31" 10.75"

31" 10.875"

31" 11"

31" 11.125"

31" 11.25"

31" 11.375"

31" 11.5"

31" 11.625"

31" 11.75"

26"

26.5"

27"

27.5"

28"

28.625"

29.25"

29.875"

30.875"

Waist to mid-knee at side seam Waist to ankle at side seam Thigh circumference Mid-knee circumference leg straight Calf circumference Ankle circumference

23.125"

23.25"

23.375"

23.5"

23.625"

23.75"

23.875"

24"

24.125 "

38.75" 20" 13.625"

38.875" 20.75" 14.0625"

39" 21.5" 14.5"

39.]25" 22.25" 14.9375"

39.25" 23" 15.375"

39.375" 24" 16"

39.5" 25" 16.625"

39.625" 26" 17.25"

39.75" 27.5" 18.125"

13.125" 7.875"

13.5" 8.125"

13.875" 8.375"

14.25" 8.625"

14.625" 8.875"

15.125" 9.125"

15.625" 9.375"

16.125" 9.625"

16.75" 10"

Neckline circumference

14.5625"

14.875"

15.1875"

15.5"

15.8125"

16.125"

16.4375"

16.75"

17.1875"

5.875"

6"

7"

D. Misses' Petite Sizes for 5'2" Height Size

O-MP

2-MP

4-MP

6·MP

8·MP

lO-MP

12·MP

14-MP

16-MP

18-MP

Bust circumference Waist circumference Hip circumference

31.5" 23.5" 34.5"

32.5" 24.5" 35.5"

33.5" 25.5" 36.5"

34.5" 26.5" 37.5"

35.5" 27.5" 38.5"

36.5" 28.5" 39.5"

38" 30" 41"

39.5" 31.5" 42.5"

41" 33" 44"

43" 35" 46"

14.75" 15.875" 15.75" 9.375"

14.875" 15" 16.0312" 16.1875" 16.0312" 16.3125" 9.625" 9.875"

15.125" 16.3437" 16.5937" 10.125"

15.25" 16.5" 16.875" 10.375"

15.375" 16.6562" 17.1562" 10.625"

15.5" 16.8125" 17.4375" 10.875"

15.625" 16.9687" 17.7187" 11.125"

15.75" 17.125" 18" 11.375"

15.875" 17.3125" 18.4375" 11.6875"

7.1875"

7.375"

7.5625 "

7.75"

8"

Center back neck to waist Back total length Front total length High shoulder point to bust level Bust span, point to point

6.5625 "

Upper chest circumference 30.75" Rib cage circumference 26.5" Bra size 30A Panty size 4

6.6875" 31.5" 27.5" 32A 4

Across shoulders, shoulder 14.375" 14.625" tip to shoulder tip Shoulder seam, neck to 4.8125" 4.875" shoulder tip Shoulder girth 37.5" 38.375" circumference

•

6.8125"

6.9375"

7.0625"

32.25" 28.5" 32A 5

33" 29.5" 32B 5

33.75" 30.5" 34B 6

14.875"

15.125"

15.375"

4.9375" 39.25"

5" 40.125"

5.0625" 41"

34B 6

35.75" 33" 36B 7

37" 34.5"" 36C 8

38.25" 36" 38C 9

40" 38" 40C 10

15.625"

16"

16.375"

16.75"

17.125"

5.375"

5.5"

5.625"

44.125"

45.25"

34.5" 31.5"

5.125" 41.875"

5.25" 43"

46.5"

11.125" 11.5" 11.875" 12.25" Biceps circumference 10.375" 10.75" 12.75" 21.375" 21.5" 21.625" 21.75" 21.875" 22" Arm, shoulder tip to wrist 21.25" 28.4375" 28.6875 " 28.9375" 29.1875" 29.4375" 29.6875" 30" C.b. to shoulder tip, down arm to wris t Wrist circumference 5.75" 6" 5.875" 6.125" 6.25" 6.375" 6.5"

13.25" 13.75" 14.5" 22.125" 22.25" 22.375" 30.3125" 30.625 " 30.9375"

Outseam, waist to floor at side seam Inseam, crotch to floor Crotch depth, outseam - inseam = depth Crotch length, c.r. waist to c.b. waist

6.625"

6.75"

7"

39.125"

39.25"

39.375"

39.5"

39.625"

39.75"

39.875"

40"

40.125" 40.25"

29" 10.125"

29" 10.25"

29" 10.375"

29" 10.5"

29" 10.625"

29" 10.75"

29" 10.875"

29" 11"

29" 29" 11.125" 11.25"

24.5"

25"

25.5"

26"

26.5"

27"

27.625"

28.25"

28.875" 29.875"

Waist to mid-knee at side seam Waist to ankle at side seam Thigh circumference Mid-knee circumference, leg straight Calf circumference Ankle circumference

21.5"

21.625"

21.75"

21.875"

22"

22.125"

22.25"

22.375"

22.5"

36.625"

36.75"

36.875"

37"

37.125"

37.25"

37.375"

37.5"

37.625" 37.75"

Neckline circumference

22.625"

19.25" 20" 13.1875" 13.625"

21.5" 20.75" 14.0625" 14.5"

22.25" 23" 14.9375" 15.375"

24" 16"

25" 16.625"

26" 17.25"

12.75" 7.625"

13.125" 7.875"

13.5" 8.125"

14.25" 8.625"

15.125" 9.125"

15.625" 9.375"

16.125" 16.75" 9.625" 10"

13.75"

14.5625" 14.875"

13.875" 8.375"

15.1875" 15.5"

14.625" 8.875"

15.8125" 16.125"

16.4375" 16.75"

27.5" 18.125"

17.1875"

Table 2. 1 (cant.)

Body Measurements and Sizes E. Misses' Tall Sizes for 5'10" Height Size

4-MT

6-MT

8-MT

lO-MT

12-MT

14-MT

16·MT

18-MT

Bust circumference Waist circumference Hip circumference

33.5" 25.5" 36.5"

34.5" 26.5" 37.5"

35.5" 27.5" 38.5"

36.5" 28.5" 39.5"

38" 30" 41"

39.5" 31.5" 42.5"

41" 33" 44"

43" 35" 46"

Center back neck to waist Back total length Front total length High shoulder point to bust level Bust span, point to point

17" 18.1875" 18.3125" 10.875"

17.125" 18.3437" 18.5937" 11.125"

17.25" 18.5" 18.875" 11.375"

17.375" 18.6562" 19.1562" 11.625"

17.5" 18.8125" 19.4375" 11.875"

17.625" 18.9687" 19.7187" 12.125"

17.75" 19.125" 20" 12.375"

17.875" 19.3125" 20.4375" 12.6875"

6.8125"

6.9375"

7.1875"

7.375"

7.5625"

7.75"

8"

Upper chest circumference Rib cage circumference Bra size Panty size

32.25" 28.5" 32A 5

40" 38" 40C 10

Across shoulders, shoulder 14.875" tip to shoulder tip 4.9375" Shoulder seam, neck to shoulder tip Shoulder girth circumference 39.25"

7.0625"

37" 34.5"

38.25" 36"

34B 6

35.75" 33" 36B 7

36C

38C

8

9

15.625"

16"

16.375"

16.75"

17.125"

5.375"

5.5"

5.625"

33" 29.5" 32B 5

33.75" 30.5" 34B 6

34.5" 31.5"

15.125"

15.375"

5"

5.0625"

5.125"

5.25"

40.125"

41"

41.875"

43"

44.125"

45.25"

46.5"

11.5" 24.625" 32.1875"

11.875" 24.75" 32.4375"

12.25" 24.875" 32.6875"

12.75" 25" 33"

13.25" 25.125" 33.125"

13.75" 25.25" 33.625"

14.5" 25.375" 33.9375"

6.125"

6.25"

6.375"

6.5"

6.625"

6.75"

7"

Biceps circumference Arm, shoulder tip to wrist C.b. to shoulder tip, down arm to wrist Wrist circumference

11.125" 24.5" 31.9375"

Outseam, waist to floor at side seam Inseam crotch to floor Crotch depth, outseam - inseam = depth Crotch length, c.f. waist to c.b. waist

44.375"

44.5"

44.625"

44.75"

44.875"

45"

45.125"

45.25"

33" 11.375"

33" 11.5"

33" 11.625"

33" 11.75"

33" 11.875"

33" 12"

33" 12.125"

33" 12.25"

27.5"

28"

28.5"

29"

29.625"

30.25"

30.875"

31.875"

Waist to mid-knee at side seam Waist to ankle at side seam Thigh circumference Mid-knee circumference, leg straight Calf circumference Ankle circumference

24.75"

24.875"

25"

25.125"

25.25"

25.375"

25.5"

25.625"

40.875" 20.75" 14.0625"

41" 21.5"

41.25"

25" 16.625"

41.625" 26" 17.25"

41.75"

23" 15.375"

41.375" 24" 16"

41.5"

14.5"

41.125" 22.25" 14.9375"

13.5" 8.125"

13.875" 8.375"

14.25" 8.625"

14.625" 8.875"

15.125" 9.125"

15.625" 9.375"

16.125" 9.625"

16.75" 10"

14.875"

15.1875"

15.5"

15.8125"

16.125"

16.4375"

16.75"

17.1875"

Neckline circumference

6"

27.5" 18.125"

F.Women's Average Sizes for 5'6" Height Size

18-WA

20-WA

22-WA

24-WA

26-WA

28-WA

30-WA

Bust circumference

45" 37.5" 48"

47" 40" 50"

49" 42.5" 52"

51" 45" 54"

53" 47.5" 56"

55" 50" 58"

57" 52.5" 60"

16.75" 18.25" 19.875" 12.5" 8.25"

16.875" 18.4375" 20.3125" 12.8125" 8.5"

17" 18.625" 20.75" 13.125" 8.75"

17.125" 18.8125" 21.1875" 13.4375" 9"

17.25" 19" 21.625" 13.75" 9.25"

17.375" 19.1875" 22.0625" 14.0625" 9.5"

17.5" 19.375" 22.5" 14.375" 9.75"

Rib cage circumference

41.75" 40"

52DD/E

11

48.75" 48" 48D 15

50DD/E

Panty size

47" 46" 46D 14

52.25" 52"

42C

45.25" 44" 44D 13

50.5" 50"

Bra size

43.5" 42" 44D 12

16

17

17.5"

17.875"

18.25"

18.625"

19"

19.375"

19.75"

5.75" 47.75"

5.875" 49"

6" 50.25"

6.125" 51.5"

6.25" 52.75"

6.375" 54"

6.5" 55.25"

15.25" 24" 32.75"

16" 24" 32.9375"

16.75" 24" 33.125"

17.5" 24" 33.3125"

18.25" 24" 33.5"

19" 24" 33.6875"

19.75" 24" 33.875"

Waist circumference Hip circumference Center back neck to waist Back total length Front total length High shoulder

point to bust level

Bust span, point to point Upper chest circumference

Across shoulders, shoulder to shoulder tip

tip

Shoulder

seam, neck to shoulder

Shoulder

girth circumference

tip

Biceps circumference Arm, shoulder

tip to wrist

C. b. to shoulder tip, down arm to wrist

7.25"

7.5"

7.75"

42.75" 30.875" 11.875"

42.75" 30.75" 12"

42.75" 30.625" 12.125"

Crotch length, c.f. waist to c.b. waist

31.875"

32.875"

Waist to mid-knee at side seam

Ankle circumference

24.125" 39.75" 29" 19" 17.375" 10.375"

Neckline circumference

17.625"

Wrist circumference Outseam,

waist to floor at side seam

Inseam, crotch to floor Crotch depth, outseam - inseam

=

8.25"

8.5"

8.75"

42.75" 30.5" 12.25"

42.75" 30.375" 12.375"

42.75" 30.25" 12.5"

42.75" 30.125" 12.625"

33.875"

34.875"

35.875"

36.875"

37.875"

24.125" 39.75" 30.5" 19.875" 18" 10.75"

24.125" 39.75" 32" 20.75" 18.625" 11.125"

24.125" 39.75" 33.5" 21.625" 19.25" 11.5"

24.125" 39.75" 35" 22.5" 19.875" 11.875"

24.125" 39.75" 36.5" 23.375" 20.5" 12.25"

24.125" 39.75" 38" 24.25" 21.125" 12.625"

18.0625"

18.5"

18.9375"

19.375"

19.8125"

20.25"

depth

Waist to ankle at side seam Thigh circumference Mid-knee circumference, Calf circumference

8"

leg straight

Table 2. 1 (cont.)

Body Measurements and Sizes G. Women's Petite Sizes for 5'2" Height Size

18-WP

20-WP

22-WP

24-WP

26-WP

28-WP

30-WP

Bust circumference

45" 37.5" 48"

47" 40" 50"

49" 42.5" 52"

51" 45" 54"

53" 47.5" 56"

55" 50" 58"

57" 52.5" 60"

15.75" 17.25" 18.875" 12" 8.25"

15.875" 17.4375" 19.3125" 12.3125" 8.5"

16" 17.625" 19.75" 12.625" 8.75"

16.125" 17.8125" 20.1875" 12.9375" 9"

16.25" 18" 20.625" 13.25" 9.25"

16.375" 18.1875" 21.0625" 13.5625" 9.5"

16.5" 18.375" 21.5"

Rib cage circumference

41.75" 40" 42C

48.75" 48" 48D 15

50DD/E

52DD/E

11

47" 46" 46D 14

52.25" 52"

Panty size

45.25" 44" 44D 13

50.5" 50"

Bra size

43.5" 42" 44D 12

16

17

17.5"

17.875"

18.25"

18.625"

19"

19.375"

19.75"

5.75" 47.75"

5.875" 49"

6" 50.25"

6.125" 51.5"

6.25" 52.75"

6.375" 54"

6.5" 55.25"

16" 22.5" 31.4375" 7.5"

16.75" 22.5" 31.625" 7.75"

17.5" 22.5" 31.8125" 8"

18.25" 22.5" 32" 8.25"

19" 22.5" 32.1875" 8.5"

19.75" 22.5" 32.375" 8.75"

40.25" 28.875" 11.375"

40.25" 28.75" 11.5"

40.25" 28.625" 11.625"

40.25" 28.5" 11.75"

40.25" 28.375" 11.875"

40.25" 28.25" 12"

40.25" 28.125" 12.125"

Crotch length, c.f. waist to c.b. waist

30.875"

31.875"

32.875"

33.875"

34.875"

35.875"

36.875"

Waist to mid-knee at side seam

22.625" 37.75" 29" 19"

22.625 " 37.75" 30.5" 19.875"

22.625" 37.75" 32" 20.75"

22.625" 37.75" 33.5" 21.625"

22.625 " 37.75" 35" 22.5"

22.625" 37.75" 36.5" 23.375"

22.625" 37.75" 38" 24.25"

Ankle circumference

17.375" 10.375"

18" 10.75"

18.625" 11.125"

19.25" 11.5"

19.875" 11.875"

20.5" 12.25"

21.125" 12.625"

Neckline circumference

17.625"

18.0625"

18.5"

18.9375"

19.375"

19.8125"

20.25"

Waist circumference Hip circumference Center back neck to waist Back total length Front total length High shoulder

point to bust level

Bust span, point to point Upper chest circumference

Across shoulders, shoulder to shoulder tip

tip

Shoulder

seam, neck to shoulder

Shoulder

girth circumference

tip

15.25" 22.5" Arm, shoulder tip to wrist C.b. to shoulder tip, down arm to wrist 31.25" 7.25" Wrist circumference Biceps circumference

Outseam,

waist to floor at side seam

Inseam, crotch to floor Crotch depth, outseam - inseam = depth

Waist to ankle at side seam Thigh circumference Mid-knee circumference, leg straight Calf circumference

13.875" 9.75"

, H. Women's Tall Sizes for 5'10" Height

•• ~

I

»

Size

18-WT

20-WT

22-WT

24-WT

26-WT

28-WT

30-WT

Bust circumference Waist circumference Hip circumference

45" 37.5" 48"

47" 40" 50"

49" 42.5" 52"

51" 45" 54"

53" 47.5" 56"

55" 50" 58"

57" 52.5" 60"

Center back neck to waist Back total length Front total length High shoulder point to bust level Bust span, point to point

17.75" 19.25" 20.875" 13" 8.25"

17.875" 19.4375" 21.3125" 13.3125" 8.5"

18" 19.625" 21.75" 13.625" 8.75"

18.125" 19.8125" 22.1875" 13.9375" 9"

18.25" 20" 22.625" 14.25" 9.25"

18.375" 20.1875" 23.0625" 14.5625" 9.5"

18.5" 20.375" 23.5" 14.875" 9.75"

Upper chest circumference Rib cage circumference Bra size Panty size

41.75" 40" 42C 11

43.5" 42" 44D 12

45.25" 44" 44D 13

47" 46" 46D 14

48.75" 48" 48D 15

50.5" 50" 50DD/E 16

52.25" 52" 52DD/E 17

Across shoulders, shoulder tip to shoulder tip Shoulder seam, neck to shoulder tip Shoulder girth circumference

17.5"

17.875"

18.25"

18.625"

19"

19.375"

19.75"

5.75" 47.75"

5.875" 49"

6" 50.25"

6.125" 51.5"

6.25" 52.75"

6.375" 54"

6.5" 55.25"

Biceps circumference 15.25" 25.5" Arm, shoulder tip to wrist C.b. to shoulder tip, down arm to wrist 34.25" Wrist circumference 7.25"

16" 25.5" 34.4375" 7.5"

16.75" 25.5" 34.625 " 7.75"

17.5" 25.5" 34.8125" 8"

18.25" 25.5" 35" 8.25"

19" 25.5" 35.1875" 8.5"

19.75" 25.5" 35.375" 8.75"

Outseam, waist to floor at side seam Inseam, crotch to floor Crotch depth, outseam - inseam = depth Crotch length, c.f. waist to c.b. waist

45.25" 32.875" 12.375"

45.25" 32.75" 12.5"

45.25" 32.625" 12.625"

45.25" 32.5" 12.75"

45.25" 32.375" 12.875"

45.25" 32.25" 13"

45.25" 32.125" 13.125"

32.875"

33.875"

34.875"

35.875"

36.875"

37.875"

38.875"

Waist to mid-knee at side seam Waist to ankle at side seam Thigh circumference Mid-knee circumference, leg straight Calf circumference Ankle circumference

25.625" 41.75" 29" 19"

25.625" 41.75"

25.625" 41.75"

25.625" 41.75"

33.5" 21.625"

25.625" 41.75" 35" 22.5"

25.625" 41.75"

30.5" 19.875"

25.625" 41.75" 32" 20.75"

36.5" 23.375"

38" 24.25"

17.375" 10.375"

18" 10.75"

18.625" 11.125"

19.25" 11.5"

19.875" 11.875"

20.5" 12.25"

21.125"

Neckline circumference

17.625"

18.0625"

18.5"

18.9375"

19.375"

19.8125"

20.25"

12.625"

Table 2. 1 (cont.)

Body Measurements and Sizes

Bra size is determined

by three measurements:

the bust circumference the upper chest circumference the rib cage circumference The number size relates to upper chest circumference,

not to bust circumference.

The letter size or "cup" size relates to the difference between bust circumference Rib cage circumference

and upper chest circumference.

should also be factored into the bra size, because some women have a wide upper chest with a narrow rib cage.

Bra sizes come in even number sizes only, which means that if the upper chest measures at an odd number, the measurement in between sizes. To verify which even number ence compared

will fall

to round off to (lower or higher than the upper chest), consider rib cage circumfer-

with that of the upper chest. Example:

if upper chest circumference

ures from 2.5" to 5" less, select bra band size 32. If upper chest circumference

measures 33" and rib cage circumference

measures 33" and rib cage circumference

same to 2lj4" less, select bra band size 34. However, if upper chest circumference

meas-

measures the

measures 33.75" to 33.875", select bra band size

34, regardless of rib cage circumference. The difference between bust circumference Bust circumference Upper chest circumference

total

and upper chest circumference

determines

the letter size or "cup" size, as follows:

36.5"

37"

38"

39"

40"

41"

42"

43"

44"

45"

36"

36"

36"

36"

36"

36"

36"

36"

36"

36"

total

Upper chest smaller than bust Letter size or "cup " SIze Bra size

up to

0.5" 0.5"-1.25" 1.5"-2.25" 2.5"-3.25" 3.5"-4.25" 4.5"-5.25" 5.5"-6.25" 6.5"-7.25" 7.5"-8.25" 8.5"-9.25"

AA

A

B

C

D

36AA

36A

36B

36C

36D

Panty number sizes do not relate to Junior's ference grade between each size. Panty Sizes Panty Sizes

XS

S

4

5

DD/E

DDD/F

36DD/E 36DDD/F

G

H

r

36G

36H

36r

or Misses' number sizes; they come in even and odd numbers M

L

6

7

IX

2X

3X

9

8

10

4X

5X

11

12

and have a 2" circum6X 13

7X 14

Waist circumference

23"-24" 25"-26"

27"-28" 29"-30"

31"-32"

33"-34"

35"-37"

38"-39"40"-41"

42"-43"

44"-45"

Hip circumference

34"-35" 36"-37"

38"-39" 40"-41"

42"-43"

44"-45"

46"-47"

48"-49" 50"-51"

52"-53"

54"-55"

Hat size

XS 6lj2

XS 65/8

S 63/4

S 67/8

20.5"

20.875"

21.25"

21.625"

Hat size (cont.)

L

L

XL

Hat size (cont.)

7lj4

73/8

71/2

22.75"

23.125"

23.5"

Hat size Head circumference,

Head circumference

where hat sits

(cont.)

M

M

7 22"

71/8 22.375"

XL 75/8

XXL

XXL

XXXL

XXXL

73/4

77/8

8

81/8

23.875"

24.25"

24.625"

25"

25.375"