Patternmaking for menswear ( PDFDrive )

UNDERARM BA
POINT CU

0.5 CM

0.5 CM
0.5 CM

step 26 HSHIGOHUPLODEINRT
Developing the front lining SNHEOCKULPDOEINRT

BACK 0.5 CM 0.5 CM FRONT
FollowinPUONgDINEtTRhAeRMinstructions
• on page 50, trace off a copy oUfNtDhEeRARM
front body0.5frCoMm the pattern in Step 6. Remove the side0.5vPCeOMnINtT,
placket shape, and hSeLEmEVEaLllINoIwNGance.
• Next you need to adCdUTe1aPsReLINbINyGincreasing the armhole width UNDERARM 30⁄.165"CM
PU/CSONOIDIRDNENETRESARERAMM GRAINLLIINNEE
to allow for movement. From the underarm / side seam
GRAIN LINE 0.5 3C⁄1M6"
corner measure up 3⁄16in and mark, and out 3⁄16in and mark.

Find the new underarm / side seam corner and draw a line, FRONT LINING 2 CM
CUT1 PR LINING
blending it back up to the high point shoulder.

• To extend the length and give the lining an overlap at the

hemline measure down 3⁄8in from the hemline and square

across, labeling the line fold, and measure down a further

3⁄8in and square across, to give a 3⁄4in overlap.

• From the new underarm / side seam corner blend the side

seam down to meet the original hemline.

2 CM FOLD 2 CM

2 C3⁄4M" FOLD 32⁄4C" M

step 27
Developing the back lining

• Following the instructions on page 50, SHHIGOHUPLDOEINRT CENTERRE BACK
trace off a copy of the half back body NSHECOKULPDOEINRT NECK POINT
from Step 12. Before mirroring the
shape over to create a full pattern, you HSHIGOHUPLDOEINRT
need to add ease to the center back to SNHEOCKULPDOEINRT
allow the lining to expand across the PLEAT 32⁄4"CM
shoulderblades and also to increase PLEAT 32⁄4"CM
the armhole to allow for movement.
UNDERARM 30⁄.165"CM 30⁄.165"CM UUNNDDEERRAARRMM
• From the center back neck point PU/CSONOIDIRDNENETRESARERAMM P/ OSIIDNET SEAM
measure out 3⁄4in and connect this BACK LINING CORNER
point to the hemline; this will become 0.5 3C⁄1M6" CUT1 PR LINING 03⁄.156"CM
the pleat at the center back neck.
GRAINLILINNEE
• Double over the shape to create the
ONT full pattern. Remove the side vent and
DERARM its negative shape in the body of the
NT lining itself.

• On each side, from the underaSNrHEmCOKULP/DOEINRT 0.5 CM 2 C3M⁄4" FOLD 32⁄4C" M
side seam corner measure up 3⁄16in GRAIN LINE
and out 3⁄16in and mark. Find the
new corner and connect back up to
the high point shoulder.

• To extend the length and give the
lining an overlap at the hemline
measure doPUONwDINnETR3A⁄R8Min from the hemline
and square across, labeling the line
fold, and meas0u.5rCeM down a further
3⁄8in and square acrossFC,RUtOTo1NTPgRLiILNvIINeNIGNG
a 3⁄4in overlap.

• From the new underarm corner blend
the side seam down to meet the vent.

300 Chapter five the patterns: outerwear

step 28
Developing the sleeve lining

Matching the measurements 03.⁄156"CM
Having enlarged the armhole lining, 30⁄.156"CM
we will now increase the sleeve cap so
that the measurements match. At the cuff CBBAIOCCRUPBEKNOANPCESSDINRKLELTEREAEATVVREEML 03⁄.156"CM 3⁄0.165"CM FFRROONNTT SLEEVE
hem we will increase the length of the 0.5 3C⁄1M6" UCNODRENREARMAT
lining so that when the arm is raised the PBOIICNETPS LEVEL
lining will not pull the outer sleeve. SLEEVE LINING 30⁄.156"CM
CUT1 PR LINING
• Trace off a copy of the front and back sleeve patterns from 23⁄4C" M
step 21. Join the two separate patterns back together at the GRAINLLIINNEE
center line so you can make a full lining pattern.
2 C3⁄M4" FOLD
• From the front corner of the sleeve at biceps level measure
out 3⁄16in and up 3⁄16in and mark, and from the back corner of
the sleeve at biceps level measure out 3⁄16in and up 3⁄16in and
mark; find the new sleeve corners and draw lines back up to
the shoulder seam.

• From the new front and back corner of the sleeve at biceps
level blend the side seams down to meet the sleeve hemline.

• From the sleeve hemline measure down 3⁄8in and square
across and label the line fold, and measure down a further
3⁄8in and square across, to give a 3⁄4in overlap.

waxed jacket 301

pattern
Parka

This pattern includes development CHEST LIENVEEL BPPBNAOIAOTCICCTNKKHCTH
of the following features: BACK MASTER FRONT
Adding volume to the side seam, front, and back panels NPIOTTCCHH
Enlarging the neckline PLAN POINT
Creating a grown-on placket
Extending and shaping the hemline with a fishtail at the back FRONT MASTER
PPLLAANN
and a drawstring channel CENTERER BACK
Creating a drawstring channel at the waistline SIDE SEAM
Lowering the armhole GRAINLILINNEE
Developing front patch pockets with flaps
Developing a two-piece casual sleeve CENTERER FRONT
Developing a collared hood with center zipper and fur panel
Developing a full body lining WAISTLINE

step 1 HEMLINE
Developing the master plan

Start by selecting the basic men’s upper body sloper, or by
drafting the basic sloper according to the instructions on page
40. Cut a large piece of drafting paper slightly longer than the
length of the coat you want to develop and transfer the shape
of the sloper and all marks, labels, and instructions, following
the directions on page 48.

302 Chapter five the patterns: outerwear

step 2 BACK SHHIGOHUPLDOEINRT FRONT SHHIGOHUPLDOEINRT
Developing the enlarged neck, dropped NSHECOKULPDOEINRT NSHECOKULPDOEINRT
shoulder, lowered armhole, and extended
hemline, and shaping the hem length with 0.5 3C⁄1M6" 3⁄18"CM CENTRERE
volume added to the side seam CENTRERE 3⁄243⁄"01.C65"MCM FRONT
BACK 3 ⁄234⁄0."1C65"MCM NECK
• From the center front neck point measure down 3⁄4in and NECK POINT
from the front high point shoulder measure in 3⁄8in; repeat POINT 3 ⁄18"CM
at the back by measuring in 3⁄8in from the back high point
shoulder and 3⁄16in down the center back from the center BACK NNEEWW FRONT 32⁄4C" M
back neck point. Using the basic upper body sloper as a SHOULDER NBPBPAAOIOTCICCNTKHKTCHNFPPROIENFNTOWICRNOENHTOWTT NCHT SHOULDER
template draw in the new necklines. PTIOPINT PTIOPINT

• From the front and back shoulder tips measure up 3⁄16in and CHEST LIENVEEL 3⁄24"CM
out 3⁄4in over the armhole and mark. UBINCDEEPRSALREMVELLINE 3⁄24"CM

• Open up the side seam by adding in 15⁄8in between the front 4 C15M⁄8" 415C⁄8"M
and back body panels and repositioning.
CENTERER BACK BACK MASTER OLD SIDE SEAM FRONT MASTER GRAINLILINNEE
• From the underarm / side seam corner square down 15⁄8in PLAN NEW SIDE SEAM PPLLAANN CENTERRE FRONT
and starting from this point draw in the new armhole,
connecting back up to the new dropped shoulder seam, using WAISTLINE 8321C⁄4"M
the basic upper body sloper as a template. Draw in the new
notch positions on the lowered armhole. HEMLINE

• To extend the length, from the lowered neck measure 321⁄4in OLD SIDE SEAM
down the center front. Square across to create the new
hemline and extend the side seam and the center back line. 3 1C3⁄M16" NEW HEMLINE 133⁄C16"M
3 1C3⁄M16" 41"0 CM
• To shape the new hemline measure down a further 13⁄16in at
the center front and square across to the center back. 12 C43M⁄4"

• To develop the parka fishtail design at the center back, 52C" M
measure down a further 57⁄8in and square across to the side
seam to create a rectangle.

• Starting at the bottom of the extended rectangle at the
center back measure up 43⁄4in and mark, and measure in 2in
toward the side seam and mark. Join these points with an
angled line 4in long. Using a French curve draw an arc from
the 2in point up to the side seam and curve down toward the
center front.

step 3 FRONT MASTER FRONT MASTER
Adding volume to the front to create PLAN
the silhouette PPLLAANN FRONT MASTER
FRONT MASTER PPLLAAN
UNDERARM PLAN
POINT
5 CM2" UNDERARM LINE
UNDERARM / SIDE 14.55C3⁄4M" UBINCDEEPRSALREMVELLINE
SUENADEMRCAORRMNER
POINT 5134⁄4."5 CM
• Following the instructions on page 50, trace off the front 5 CM 14.5 CM

body shape from the master plan onto a separate piece

of paper.

• From the center front at the hemline, measure in 53⁄4in GRAIN LINE GRAINLILINNEE SIDE SEAM
CENTRE FRONT CENTERER FRONT GRAINLLIINNEE
(half the width of the panel) and mark. From the side seam SIDE SEAM SIDE SEAM CENTERRE FRONT
SIDE SEAM 104"CM
measure in 53⁄4in along the waistline and from here square 10 CM

up 4in and mark. 14.5 CM

• From the underarm / side seam corner measure 2in up

the armhole and from this point draw a line down to meet

the mark made above and then a straight line down to the

hemline. This is the cut line.

• From the hemline cut up along the cut line to just under

the armhole.

• Keeping the center front vertical, open the cut line 2in at the

hem to add in the volume. 5 CM

• Redraw the hemline. 5134⁄4."5 CM 5 2C"M

14.5 CM

parka 303

step 4 step 5
Developing the front placket, front placket Developing the drawstring channel line and
facing, and hemline facing pocket position

• Develop the front placket on the pattern shape developed in2.25 7⁄C8"M • From the underarm / side seam corner measure 75⁄8in down
the previous step. From the center front neck point square the side seam and mark, and a further 3⁄4in and mark. Square
out 7⁄8in and square in 7⁄8in. Repeat at the hemline and in to the front and create a rectangle 57⁄8in long and 3⁄4in
connect the points with vertical lines to form the 13⁄4in- wide; this will become the drawstring channel.
wide placket.
• Developing the pocket flap and pocket bag shape on the
• From the new placket line at the center front neck point master plan itself allows you to assess the proportions in
measure 23⁄8in in to the body, and repeat at the hemline; relation to the body front.
join with a vertical line. This will be the width of the
facing pattern. • Measure a further 31⁄2in down the side seam and mark; this is
the top of the pocket flap positioned over the side seam.
• To develop the hemline facing measure up 15⁄8in from the
hemline at the front facing width line and at the side seam; • From this point square in 87⁄8in and square out 13⁄8in. To
join these points with a line following the shape of the hem. develop the rectangle that will become the pocket flap shape,
measure down 4in on both sides and connect these points
CENTER FRONT with a straight line.
23⁄8" NECK POINT
• Make a mark halfway along the bottom line (5in); measure
FRONT MASTER up 3⁄4in on each side and draw lines back to the center of the
PPLLAANN bottom line to create an enCNEEvNCeTKlRoPEpOFIeNRTOpNoTint to the pocket flap.

• The pocket bag sits 3⁄8in underneath the flap: first, measure
3⁄8in down the side seam and mark.

• From this point square in 85⁄8in and square out 13⁄16in to
create a line 97⁄8in long.

• To deveFloROpNtThMeASpToEcRket bag shape square down 105⁄8in on
each side anPLdAcNonnect these points with a straight line.

19.5 CM FACING DEPTH LINE FRONT
CENTRE FRONT CUT 1 PR SELF
FACING DEPTH LINE 2 CM CDHRAANWESLTRING CENTERRE FRONT GRAIN LINE
CENTERRE FRONT 9 CM NECK POINT
0.5 CM 15 CM
2.25 CM 8 CM 3 CM 1 CM 1 CM
2 CM FRONT MASTER
22.5 CM PPLLAANN
22 CM

FRONT MASTER 27 CM
PLAN

3 CM 19.57C5⁄M8" FACING DEPTH LINE FRONT
22 CM CENTERER FRONT CUT 1 PR SEL

FACING DEPTH LINE 4 CM FRONT HEM 2FACC3M⁄4IN" G CDHRAANWENSSLETTLRRININGG
CENTRE FRONT
415C⁄8"M FRONT HEM FACING

62C3⁄M8" 9 C31M⁄2" 133⁄16C"M 13⁄C8"M1557⁄8"CM 13⁄C8"M
PLACKET 0.51C3⁄8M" 8227⁄8."5 CM
DEVELOPOPMENT 8 3C1M⁄8" 2825⁄8"CM
2 C3M⁄4"

2710C5M⁄8"

133⁄16C"M 8225⁄8"CM
FRONT HEM FACING
41C5⁄M8"

4 CM FRONT HEM FACING

6 CM
PLACKET
DEVELPOMENT

304 Chapter five the patterns: outerwear

CENTRE FRONT CENTRE FRONT
NECK POINT NECK POINT

6 CM

2.25 CM

FRONT MASTER FRONT MASTER
PLAN PLAN

step 6 19.5 CM FRONT
Front body pattern CUT 1 PR SELF
FACING DEPTH LINE
• Following theFACING DEPTH LINE iinnsdtircuactitniognasllotnh2peCapMglaec5eCD0mHR,AAetNWrnEatSLcTpeRoINosGfitfiothnes front CENTRE FRONT
body pattern,CENTRE FRONT for the GRAINLILINNEE

drawstring channel, pocket, an9 dCMfront p15laCcMket facing.
0.5 CM 1 CM
22.5 CM

8 CM 3 CM 22 CM 1 CM

2 CM

27 CM

3 CM 22 CM
FRONT HEM FACING
4 CM

FRONT HEM FACING 1 CM 1 CM

6 CM
PLACKET
DEVELPOMENT

1 CM 1 CM

1 C3M8⁄ " GRAIN LINE
1 C3M8⁄ "

⁄ "3 81 CM ⁄ "1 C3M8

step 7 GGRRAIAINNLLIINNEE FRONT PLACKET FACING
Front placket facing and hem facing patterns CUT 1 PR SELF

• Following the instructions on page 50, trace off the final 1 CM 1 CM
front placket facing pattern and the front hem facing pattern, 3⁄8"
adding a 3⁄8in seam allowance on all sides. 1 CM 1 CM 3⁄8"

FRONT PLACKET ⁄ "3 8 1 CM SIDE SEAM FRONT HEM FACING GRAINGLINEL FRONT⁄ "3 81 CM
FACING 1 CM CUT 1 PR SELF 1 CM
CUT 1 PR SELF
SIDE SEAM FRONT
⁄ "3 81 CM ⁄ "31 CM 8

1 CM 1 CM
3⁄8"
3⁄8"

FRONT PLACKET FACING FRONT HEM FACING
CUT 1 PR SELF CUT 1 PR SELF

⁄ "3 81 CM 3⁄81"CM ⁄ "13CM8
1 CM"
1 CM
1 CM 8

3⁄

SIDE SEAM FRONT HEM FACING GRAIN LINE 1 CM
CUT 1 PR SELF FRONT 1 CM

1 CM 1 CM
1 CM 1 CM

parka 305

step 8 step 9
Adding back volume to create the silhouette Developing the hemline facing and drawstring
channel line
• Following the instructions on page 50, trace off the back
body shape from the master plan onto a separate piece • Develop the hemline facing on the pattern shape developed
of paper. in the previous step. To develop the back hemline facing,
measure up 15⁄8in from the hemline at the center back and
• From the center back at the hemline, measure in 53⁄4in at the side seam. Join these points with a line following the
(half the width of the panel). From the side seam measure shape of the hem.
in 53⁄4in along the waistline and from here square up 4in
and mark. • From the underarm / side seam corner measure 75⁄8in
down the side seam and mark, and a further 3⁄4in and mark.
• From the underarm / side seam corner measure 2in up From both points square across to the center back; this will
the armhole and from this point draw a line down to meet become the drawstring channel.
the mark made above and then a straight line down to the
hemline. This is the cut line.

• Keeping the center back vertical, open the cut line 23⁄8in at
the hem to add in the volume.

• Redraw the hemline.

BACK MASTER BACK MASTER BACK MASTER BACK MASTER BACK MASTER
PPLLAANN PLAN PLAN PLAN PPLLAANN

BACK MASTER BACK MASTER BACK MASTER BACK MASTER
PLAN PLAN PPLLAANN PLAN

BUINCDEEPRSALREMVELLINE UNDERARM LINE
UNDERARM LINE
52"CM BUINCDEEPRSALREMVELLINE UNDERARM LINE
UNDERARM

5 CUMNDEP/CURSOONAIIDRRDNEMNETRESLAREINRAEMM
POINT
CENTCREENBTAERCERKBACK 5 CM UNDERARM
GRAINGRLIAINNELLIINNEE POINT

10 CM104"CM
CENTRE BACK

SIDE SSIEDAEGMRSAEIANMLINE
10 CM

CENTCEREERNBTARCEKBACK
SIDE SEAM GRAINGLRLIIANINENE LINE

CENTRE BACK
SIDEGSSIREDAAEIMNSLEIANME
GRAINGRLIAINNE LINE
SIDE SEAM
GRAINLLIINNEE
75⁄8"
14.553C⁄4"M 145.53⁄4C" M 2 CM DRAWSTRING CHANEL 2 CM 23⁄4C" M
14.5 CM 14.5 CM 2 CM 2 C3⁄M4" 2 CM
DRAWSTRING CHANENLEL
DRAWSTRING CHANEL

14.5 CM 14.5 CM

14.53⁄C4"M 6 CM 4 CM HHEEMM145FFC⁄8AA"MCCIINNGG 4 CM 415C⁄8"M
14.5 CM 623C⁄8"M 6 C4MCM
14.5 CM BACK 4 CM
14.5 CM BACK BACK HEM FACING
145.53⁄4C" M
14.5 CM

306 Chapter five the patterns: outerwear

step 10 BBAACCKK
Back, back hem facing, and drawstring CCUUTT1 1PRPSRELSFELF
CHANNEL patternS
1 CM GGRRAIAINLNINLIENE
• Following the instructions on page 50, trace off the back
pattern. Indicate the placement positions for the drawstring1 CM DDRRAAWWSSTTRRIINNGGCCHHAANNNNELEL
and hem facing. Indicate the position of the pocket by lining
up this back pattern with the front from Step 5 at the side
seam; trace the pocket position onto the back pattern with
dotted lines.

• Trace off the back hem facing onto a new piece of paper and,
following the instructio1nCsMon page 50, create the full pattern
shape. Add a 3⁄8in seam allowance on all sides.

• Align the front and back body patterns at the side seam
and trace off the drawst1riCnMg channel and, following the
instructions on page 50, create the full pattern shape.
Add a 3⁄8in seam allowance on all sides.

1 CM

1 CM GRAIN LINE
1 CM

1 CM DRAWSTRING CHANNEL
CUT 1 SELF

31⁄8"CM BACK HEM FACING 13⁄8C"M BBAACCKKHEHMEFMACFIANGCING BACK
CUT 1 SELF CUT 1 PR SELF
1 C3⁄8M" GRAIGNLLINE 13⁄C8"M DRAWSTRING CHANNEL
1 3C⁄8M" CBUATC1KSHEELFM FACING 13⁄C8"M

1 3⁄C8"M 1 3⁄C8"M

31⁄8"CM DRAWSTRING CHANNEL 31⁄8"CM
CUT 1 SELF

1 C3⁄M8" GGRRAAIINNLLININEE 13⁄8C"M
1 C3⁄8M" BAC13K⁄8CH"MEM FACING
1 3C⁄8"M parka 3071 3C⁄8"M
DRAWSTRING CHANNEL
CUT 1 SELF

⁄ "3 81 CM 1 CM 13CM8⁄ " 1 CM 13CM8⁄ " ⁄ "1 C3M8

1 CM 1 CM

step 11 ⁄ "3 81 CM FRONT POCKET FLAP GRAINLINE FRONT POCKET FLAP
Front pocket flap and bag patterns CUT 2 PR SELF GRAIN LIGNREAIN LINECUT 2 PR SELF
1 CM FRONT POCKET FLAP
• Following the instructions on page 50, trace off the front CUT 2 PR SELF
pocket flap pattern and add a 3⁄8in seam allowance on
all sides. 1 CM3⁄18CM" ⁄ "13CM8

• Following the instructions on page 50, trace off the front 1 CM
pocket bag pattern. Add a 3⁄8in seam allowance on three
sides and a 13⁄16in facing to the top. 1 CM 13C8M⁄ "

13CM8⁄ "1 CM 13CM8⁄ "1 CM

3 CM FACING 3 CM

"1 ⁄331C6M FACFAICNINGG "1 ⁄3 CM3 16

FOLD FOLD

FOFOLLD D FOFOLLDD

FRONT POCKET BAG FRONT POCKET BAG
CUT 1 PR SELF CUT 1 PR SELF
FRONT POCKET BAG
CUT 1 PR SELF

1 CM 3⁄18CM" 1 CM 1 CM
GRAINLINE
⁄ "3 81 CM ⁄ "13CM8
GRAIN LIGNREAIN LINE

318CM⁄ " 1 CM

SLETCPOEORVPOIENOWTCFNAP

BABPCAITKCCKH FPPNFRIOTROOICNOTNHTCNT HT
NOPTOCINHT

NEW 2C
UNDERARM
POINT

COUNRDNEERRARM UBNICDEEPRSARLMEVLIENLE UCNODRENREARRM 2.5 CM
OPFOSINLTEEVE POOFINSTLEEVE
AT BICEPS UBNADCEKRAURNMDEBARCAKRSMEASMEAM AT BICEPS
LEVEL BACK LINEBACK LINE LEVEL
CENTER LICENNETRE LINE
step 12 FOREARMFLIORNEEARM LINE E
Sleeve master plan FUNRDOENRTARUMN FDREORNATRSMEASMEAM
ELBOW LINE
Start this development by selecting the basic men’s sleeve
sloper, or by drafting the basic sleeve sloper according to the
instructions on page 42. Cut a large piece of drafting paper
slightly longer than the length of the shirt you want to develop
and transfer the shape of the sloper and all marks, labels, and
instructions, following the directions on page 48. The design
will be altered to reflect the dropped shoulder and the
lowered armhole.

4 CM

HEMLINE

32 CM
SLEEVE HEM

308 Chapter five the patterns: outerwear

CROWN 23⁄C4"M
POINT

NEW BACK 23⁄4"CM 2 C3⁄M4"
NOTCH
BACK FRONT
PITCH NEW FRONT
stePpIT1C3H POINT NOTCH
DevPeOlINoT ping the sleeve

• Open the sleeve up along the center line by 3⁄4in. NNEWEWSLEEVE 2 C3⁄4M" UBINCDEEPRSALREMVELLINE 23⁄4C" M NEW SLEEVE
• From the shoulder tip measure down 3⁄4in, the same amount CUONRDNERAART M UCONDRNERERARAMT
BIPCOEIPNSTLEVEL PBIOCIENPTS LEVEL
you dropped the shoulUdNeDrERoAnRMthLeINuE pper body sloUPOpNDIeNErT.RARM
UNDERARM • From the biceps level measure down 3⁄4in, half the amount by 2.5 C1"M 2.5 1C"M
POINT
which you dropped the armhole; redraw the new biceps level
position, extending it by 1in each side.
• Using the basic sleeve sloper cap shape as a template,
redraw the new sleeve cap, indicating the lowered notches.
• Draw the new underarm seams down to the sleeve hemline.
• From the slEeLeBvOeWhLIeNmE line square down 15⁄8in to create
the facing shape, pitching out at each side to reflect the
underarm seams when folded.
UNDERARM BACK SEAM ELBOWW LLEINVEEL ELBOW LLEINVEEL
BACK LINE
CENTRE LINE
FOREARM LINE

UNDERARM FRONT SEAM

HEMLINNEE HEMLINEE

145⁄8C"M FACINGG 145⁄8C"M

32 CM
SLEEVE HEM

2 CM

2 CM 2 CM

NEW 2 CM UNDERARM LINE 2 CM NEW
UNDERARM UNDERARM
POINT POINT

UNDERARM 2.5 CM 2.5 CM SLEEVE
POINT CUT 1 PPRR SSEELLFF

UNDERARM FRONT SEAM step 14 ELBOW LINE GRAAIINNLILINNEE
Sleeve pattern

ELBOW LINE

• Following the instructions on page 50, trace off the final
sleeve pattern.

HEMLINE HEMLINE HEM SSTTIITTCCHHLLIINNEE
FFOOLLDD
4 CM FACING 4 CM

parka 309

step 15 CUT A&NODPOEPNEN • Starting at the bottom right side of your paper mark point
Developing the collared hood (A) and draw a 97⁄8in horizontal line left (the length of the
combined neck measurement) and mark point (B).
There are three measurements you need to
create the pattern for the hood: • From (A) square up 153⁄4in (half the head circumference) and
1. The front and back neck measurements, mark point (C). Complete the rectangle and mark point (F).

taken from the pattern—here they are • From (B) square up 21⁄2in (the neck height) and mark
47⁄8in and 47⁄8in. If you are developing point (D). Square in 3⁄4in and mark; label this point center
a hood with a center back panel, back neck.
remember to deduct the panel width
from the final neck measurement as • From (D) measure up 4in and mark point (E). Square in 3⁄4in
well as from the crown and and mark.
front opening.
2. The front and back neck height, found • Using a French curve draw in the neckline from (A) up to the
by placing the front pattern on top of center back line 3⁄4in in from (D). Measure 47⁄8in (the front
the back pattern and aligning them at neck measurement) along this line from (A) and mark the
the chest level, then measuring the shoulder notch.
distance between the front and back
neck heights—here it is 21⁄2in. • To shape the front opening, from (A) add on the front placket
3. The vertical circumference of the width, which is 13⁄4in. To do this, extend the neckline by 7⁄8in
head, taken for the hood opening (half the placket width) and then square up 23⁄4in; from this
by measuring around the face of the point square back 13⁄4in and mark.
model’s head, starting and finishing
at the center front neck point—here it • From (C) measure down 2in and then square out 2in and
is 311⁄2in. mark; this is the top of the front opening. Using a French
curve, draw in the curved front opening from the mark
FF CC you made at the top of the placket to the top of the
front opening.
2"
5 CM • From the front opening draw the hood shape (determined by
the design, head size, neck opening, and usage) back around
52"CM to the mark 3⁄4in out from (E).

• To enlarge the hood, draw a cut line at a slight angle from the
shoulder tip through the hood down to finish just in front of
the shoulder tip notch.

FC

8.5 CM

BBACK HOOOODDLLIINNEE GRAINNLILINNEE BACK HOOD LINE GRAIN LINE
CENTRE FRONT LINE
HHOOOOD MASTTEERR CENNTTERREFFRROONNTTLILINNEE 41503⁄C4"M HOOD MASTER
PLAN PLAN
2 C3⁄4M"
EE E

104"CM DD NECNKELCINKE LISNHEOULDER
NOTCH
32⁄4"CM 4.153⁄4C" M D
BB 9275⁄8"CMCB B
NECKLINE 72 3⁄C4"M
6.215⁄2"CM AA CB

CF

CF

A

310 Chapter five the patterns: outerwear

E CENTRE
E
2 CM

10 CM

step 16 D 2 CM 4.5 CM
Adding volume to the hood CB
NECK LINE D

6.5 CM CB

CF 7 CM

• Cut along the cut line from the top, leaving the shape • From the new front opening position measure out 1in and
A
connected by a fraction of an inch. B 25 CM
NECKLINE mark. From this point square backBto the top of the hood
A

• Moving it clockwise, open the front by 33⁄8in, which will pitch panel; then from the same point square back down to the

down the center front. Redraw the top of the hood. bottom of the opening, finishing with a slight curve to

meet the front placket. This creates a straight front for the

addition of the fur panel.

C CC FF CC

FF

5 CM 83.35⁄8"CM

5 CM BBAACCKKHHOOODO LDINLIENE

CENTRE FRONT LINE HHOOOODD MAASSTTEERR GGRRAIAINNLILINNEE BAACCKKHHOOODO LDINLIENE GGRRAIAINNLILINNEE
PPLLAANN CCEENNTTREERFRFORNOTNLITNLIENE CCEENNTTREERFRFORNOTNLITNLIENE
40 CM HHOOOODD MAASSTTEERR
EE PPLLAANN 2.5 C1"M

4.5 CM DD CCBB EE
7 CM BB
CF DD CB
BB
CCFF

AA CF

AA

C

step 17

Developing the full hood, neck facing, zipper, and fur panel

• Trace off the hood shape and, following the instructions on

page 50, double it along the center back neck to create a

mirrored shape. PEAPNAENLEL
GRAIN LINE
CENTRE FRONT LINE 415C⁄8"M 133⁄C16M"
NEW FACING STRIP
2.5 CM
• To develop the facing shape, measure up 23⁄4in from the BACRKEHMREOOVOMEDOVZLIIEPNZPEIEPRCCETNRTR

neckline at tahleinceefnotlelor wfrion8ngCtMtahnedshceanpteeor fbtahcek and join these 83 1C⁄8"M
points with neckline. 23⁄4C" M
MASTER
PLAN parka 311

• To remove the center back hood panel, in whicHhOOtDhe zipper
is sandwiched, meas2uCrMe in 3⁄4in along the backMPLAhASoNTEoRd line on

both sides, finishing 13⁄16in from the new facing strip. FUR PANEL

• The fur panel is attached to the hood along the front
FUR PANEL
opening and will need a separate pattern. Measure 31⁄8in

back from the front opening and create a rectangular panel

on both sides.

7 CM
273⁄4C"M

CF

A CF
7 CM
SHOULDER CCEENNTTREER SHOULDER 27 ⁄34C"M
NOTCH BBAACCKK NOTCH CF

NECK FACING HOOD 7 CM
CUT 1 SELF CUT 1 SELF

HOOD SHOULDER 7 CM
CUT 1 SELF NOTCH

GRAIN LINE HOOD 4 CM 3 CM1 CM
CUHTO1ODSELF NEW FACING STRIP 4C
1 CM 1 CM 1C
CUT 1 SELF 1 CM

GRAIN LINE CENTRE
BACK
GGRRAAIINNLILINNEE
1 CM
GRAIN LINE
step 18 SHOULDER 7 CM
Hood and neck facing patternS NOTCH

• Following the instructions on page NECK FACING 7 CM 1 CM
50, trace off the final hood pattern CUT 1 SELF CF
removing the center zipper panel. 1 CM
NECK FACING GRGRAIAINNLLIINNEE GRAIN LINE 1 CM 8 CM
• Following the instructions on page
50, trace off the neck facing pattern, NECKCFUATC1 SINELGF GRAIN LINE
adding a 3⁄8in seam allowance on CUT 1 SELF FO
all sides. 1

1 CM 13 C⁄8M" GRAIN LINE 13⁄8C"M1 ⁄38C"M 8 CM
13 ⁄C8M" 31 ⁄C8"M 13⁄8C" M ⁄138"CM
NECK FACING
31⁄8C"M CUT 1 SELF 1 CM

1 CM 1 CM 1 CM 1 CM
8 CM 1 CM
step 19 1 CM 1 CM 13⁄C8"M 1 CM
1 CM
Centre BACK HOOD and fur panel patterns

• Construct the f1i5n⁄a8ilncwenidteerbzyiptpheerlepnagnte1hClM 1 CM 1 CM 1 CM
as a rectangle 4 CM 13⁄C8"M
1 CM
3⁄8" 15⁄8" 3⁄8" 1 CM
1 3C⁄8M" 31⁄8"CM
of the back hood line measured from 1

Step 17, adding a 3⁄8in seam allowance 13C⁄8M" 13⁄C8"M

on all sides.

• Following the instructions on page 50, INSEERRTT ZZIIPPPER 831C⁄8M" 31⁄8" HOOD LINING
CUT 1 LINING
trace off the fur panel from one side 8 CM

of the hood from Step 17, doubling the FFOOLLDD

shape along the front opening. Add

a 3⁄8in seam allowance on all sides to HOODHOOPODENOPINENGINEGDEGDGEE
GRAINGLRIANINELINE
create the final pattern.

FUR CENNTTERRE BBAACCKKHHOOOODDPPAANNEEL L
CUT 1 PR FUR CUT 11 PPRRSSEELLFF

FOFOLLDD FUR GL
CUT 1 PR FURFUR PANEL
CUT 1 PR FUR
1 CM1 CM 13C⁄8M"
312 Chapter five the patterns: outerwear 13⁄8C"M

13C⁄8"M
13C⁄8M"

1 C3⁄8M" 13C⁄8"M
3⁄8" 15⁄8" 3⁄8"
1 CM
4 CM
1 CM

BACK HREOOMDOVLIENZEIP 8 CM
2 CM

FUR PANEL

CM 3 CM

CING STRIP 7 CM

step 20 HOOOODDLLINININIGNG
CCUUTT11LLININININGG

TRE SHOULDER Final hood lining pattern
ACK NOTCH 7 CM
CF

• Following the instructions on page 50,

trace off the hood lining pattern from

Step 17 without the neck facing, center GL

zipper, and fur panels.

1 CM 1 CM

1 CM 1 CM
4 CM
4 CM INSERT ZIP CENTRE BACK HOOD PANEL SHFSNFRHREHIGOCOOOHKNUNUTLPPTLDOODEINERINTRT 1 CM UNDER
CUT 1 PR SELF POINT
BACK CENTRE 32⁄4C" M
SHOULDER 1 CM BACK
NECK POINT NECK
1 CM 1 CM
1.5 CMPOINT 30⁄.165"CM TSSPOHIHPOIONUTULLDDEERR
PLEAT
0.5 CM SHOULDER
POINT

0.5 CM 0.53⁄C16M"

step 21

Developing the front lining

• Following the instructions on page 50, trace off a copy of the0.5 CM UNDERARM 30⁄.165"CM
C/ PUSOONIRDDINNEETERSARERAMM
front body shape frPUoONmDINETRSARtMep 6. Remove the facing shape from 1 CM
the front. The remaining0.5sChMape will become the front lining. 0.53⁄C16M" GGRRAIAINNLLIINNEE
• Next, you need to add ease by increasing the armhole width
1 CM FFRROONNTTLLINININIGNG
BACK LINING CCUUTT11PPRRLILNIINNIGNG

to allow for movement. From the sChUoTu1 PldReLIrNINtGip measure out 1 CM

3⁄16in and mark, and up 3⁄16in and mark. Find the new shoulder GRAIN LINE 1 CM
tip, and from this point draw a line1fCoMllowing the curve of the

shoulder back to the front high point shoulder.

• From the underarm / side seam corner measure up 3⁄16in FUR
and mark, and out 3⁄16in a2nCdM mark. Find the8nCeMw corner 2 CM CUT 1 PR FUR
and draw a line 3⁄16in out from the original armhole back
2 C3M⁄4"

up to the new shoulder tip.1 CM HOOD OPENING EDGE FOLD
• To extend the length and give the lining an overlaFOpLDat the GRAIN LINE

waistline, cut it in1 ChMalf, and open it up by moving the panels SIDE SEAM
apart by 3⁄4in. 1 CM
• From the new underarm / side seam corner8 bCMlend the side

seam dow1nCMto meet the original hemline.
1 CM
1 CM1 CM

parka 313

BSNHAEHSBCOCHAKIKUGCOLPHDKOUEPILNRODTEINRT NCBCNBAEEAEECCCNCNKKTKKTREER
STSPOHIHPOIONUTULLDDEERR PPOOIINNTT
91⁄.165"CM
step 22 30⁄.165"CM PPLLEEAATT
Developing the back lining
0.53C⁄16M" 0.5
• Following the instructions on page 50, trace off a copy of the UNDERARM
back body from Step 9. UNDERARM 30⁄.165"CM POINT
/ SIDE SEAM
• You will need to add ease to the center back to allow the CPUOONDIRNENTREARRM 0.5 CM
lining to expand across the shoulder blades and also to
increase the armhole to allow for movement. From the center 0.53C⁄16M" 2 CM
back neck point measure out 9⁄16in and connect this point to
the waistline; this will become the pleat. BBAACCKKLLINININIGNG
CUUTT11PPRRLILNIINNIGNG
• From the back shoulder tip measure out 3⁄16in and mark, and
up 3⁄16in and mark. Find the new shoulder tip and draw a line GRRAIAINNLLIINNEE
following the curve of the shoulder back to the back high
point shoulder. 2 C3⁄4M" 23⁄4C" M

• From the underam / side seam corner measure up 3⁄16in
and mark, and out 3⁄16in and mark. Find the new underarm /
side seam corner and draw a line 3⁄16in out from the original
armhole back up to the new shoulder tip.

• To extend the length and give the lining an overlap at the
waistline, cut it in half and open it by moving up by moving
the panels apart by 3⁄4in.

• From the new underarm / side seam corner blend the side
seam down to meet the original hemline.

step 23
Developing the sleeve lining

Matching the measurements STOLCPEORPEOINOVWTFEN 30⁄.156"CM
Having enlarged the armhole lining, we CAP

will now increase the sleeve cap so that

the measurements match. At the sleeve SLEEVE SLEEVE
CORNER CORNER AT
hemline we will increase the length AT BICEPS 30⁄.165"CM BICUENDPESRLAERVMEL30⁄.165"CM
whenFRONT PUONLDINEETVREALRM
of the lining so that the arm is POINT
SHOULDER 0.53C⁄16M"
raised the lining willNECnKoPOtINTpull the 03.⁄156"CM

outer sleeve. 0.5 CM SHOULDER 32⁄4C" M
POINT
0.5 CM
PLEAT SLEEVE LINING GGRRAIAINNLILINNEE
CUSTLE1EPVRE LLIINNININGG

CUT 1 PR LINING

• Following the instructions on page 50, trace off a copy of the

sleeve from Step 14.

• From the shoulder tip measure up 3⁄16in and mark, and
from the front and back corners of the sleeve at biceps level
measurPUeONDINoETRuAtRM3⁄16in and mark and up 3⁄16in and mark. Find the
new corners0.o5 fCMthe sleeve and connect the front, the cap, and
0.5 CM
GRAIN LINE
the back with a curved line.
• From the new front aFCnRUOTdN1TbPLRaINLcIINNkGINcGorners of the sleeve at biceps

level draw a line down to blend in with the sleeve hemline.

• From the sleeve hemline measure down 3⁄4in and square 2 C3M⁄4"
across to increase the length of the lining, pitching out at

2 CM each side to reflect the underarm seams when folded.

2 CM 2 CM

314 Chapter five the patterns: outerwear

parka 315

GLOSSARY

Annotation Label or instruction added Center line Line running down from the a section of the pattern that needs
to a pattern to indicate grainline, shoudler tip to the cuff hem that divides replicating by folding the fabric over.
piece name, season, cut ratio, internal the front and back halves of the sleeve. Forearm line Line running down the
features, and fabric used. Chest level The largest circumference of front sleeve denoting the front aspect
Awl Wooden- or plastic-handled metal the chest horizontal to the floor. of the arm.
spike used to puncture small holes Collar point The lowest external edge French curve Flat drawing tool shaped
through pattern card, paper, or fabric. of the collar shape when folded down on in a graduating curve to give a template
the garment neckline. for drawing curves of the body.
Back high point shoulder Point Collar stand Rectangular band that is Front high point shoulder Point
where the shoulder line and the sewn to the neckline of a garment and where the shoulder line and the back
back neckline meet. lifts the collar. neck curve meet.
Back shoulder seam Line between the Crotch level Line where the lower torso Front neck curve The length of the area
neck and armhole that rests along the ends and the legs begin. made by the front neck opening in
shoulder on the final garment. Crotch point Point where the front and a garment.
Back shoulder tip Point where the back rises meet the inseam. Front shoulder seam Line that runs
shoulder line and the armhole line meet. Cuff guard Fabric band that encases the between the neck and armhole on
Back underarm point Lowest point of slit opening at the bottom of the sleeve a pattern; it rests along the shoulder of
the armhole, usually where it meets the through which the hand passes. the body on the constructed garment.
top of the side seam line. Front shoulder tip Point where the
Balance marks See notches. Dart Stitched fold of fabric placed shoulder line and the armhole line meet.
Bias grain Line taken across the fabric in a garment to fit it to the curves Front underarm point Lowest point of
at a 45-degree angle to the weft and of the body. the armhole, usually where it meets the
warp threads. Dart point The end of the stitched fold top of the side seam line.
Biceps level The largest circumference of fabric. Fullness Extra volume to a pattern area
around the upper arm. On patterns, the Dart leg The sides of the dart length. in width, length, or both.
line that runs across the width of the Dart line The central line between the Fuse Interfacing material with an
sleeve below the shaped cap; it is usually dart legs. adhesive side used to stiffen or support
the widest circumference of the sleeve Digitizing Digitally tracing the outline internal sections of a garment.
as it encapsulates the bicep muscle. of a pattern piece to render the shape
Block Another name for “sloper.” as computer mapping data. Gathers Pulled together fabric,
Box pleat A pleat made by making two Drafting paper Specialist paper or its length reduced to fit a smaller
folds in a piece of fabric, their edges Manila card used to construct a pattern. measurement.
facing in different directions. Drill holes Holes punched through Grading Process of enlarging or
Button stand A column of fabric at the a pattern card to allow the positions reducing the dimensions of a pattern
front of a shirt or garment that holds of pockets, buttonholes, and design proportionally to create a larger or
buttons and buttonholes. features to be marked on the fabric. smaller pattern size.
Drop The difference between the chest Grainline Direction of the warp and weft
CAD Computer-aided design. and waist circumferences. threads in a piece of fabric.
CAM Computer-aided manufacture.
Center back (CB) Central line that vertically Ease Measurement of space between Half back neck measurement Distance
divides the back body into two halves. the body and the garment added to the between the center back seam and the
Center back neck Point at the top of pattern to allow a proper fit. back shoulder seam.
the spinal column where the neck joins Elbow level Line that denotes the level Half front neck measurement Distance
the body. of the elbow within the sleeve length. between the center front seam and the
Center back rise Line running between front shoulder seam.
the waist and the center crotch point Facing Section of fabric used to finish Hemline Bottom edge of the
that divides the back lower torso into the hems and openings of garments; garment body.
two halves. also used to give support to an area Hem width Extended section of the
Center front (CF) Central line that of fabric. garment body that is folded up to create
vertically divides the front body into Fit model A model who is the size a finished edge to the garment body.
two halves. and shape of a fashion label’s typical High point shoulder Point where the
Center front neck point Point in the customer; clothes are fitted to their front and back shoulder seams meet
center of the ribcage where the front of body shape. the neckline. Also known as “shoulder
the neck joins the body. Flare Volume added to a garment neck point.”
Center front rise Line running between by pivoting or the insertion of Hip level The largest circumference
the waist and the center crotch point a separate panel. of the hips and buttocks horizontal to
that divides the front lower torso into Fold line Label attached to a drawn line the floor.
two halves. with bent arrows at each end to indicate

316

Horizontal grain Direction of the weft Set-in sleeve Sleeve that is set or Upper body sloper (bodice sloper/
threads that run horizontally across the attached to a circular opening (armhole) torso sloper) Basic pattern of the torso
fabric from selvage to selvage. that encases the arm around the in a particular size that has no design
shoulder down through the underarm pit. features.
Inseam The inner seam of the pant legs. Shoulder notch Aligning notch on a
collar to control fabric spread when Vent Vertical slit in the back or side
Knee level Line of the knee on a pant leg inserting the collar; it is matched with back hem seams of coats or jackets
pattern. the shoulder seams. that allows body movement when the
Shoulder tip Point where the sleeve garment is worn.
Lapel Constructed fabric panel that cap and the front and back shoulder
connects the collar and front opening seams meet. Waistband Band of faced fabric attached
of a jacket or shirt and gives a finished Slash and spread Patternmaking to the top of pants to give finish and
appearance; also used for strength technique that involves cutting open a support or inserted in a jacket as a
and support. pattern to introduce or remove volume. design feature to denote the waist level.
Side seam Seam of garment that Waistline Circumference around the
Made-to-measure Describes runs down the side of the body, coats, torso of the body between the hips and
a custom-made garment that is fitted and pants. the bottom of the rib cage.
to individual measurements. Sleeve cap (crown/head) Upper part of Warp Holding yarn that runs parallel to
Marker Gridded paper onto which the sleeve that is sewn into the armhole. the edges of the loom.
patterns are traced, for fabric to Sloper A basic pattern shape that Weft Filling yarn woven across the loom,
be cut out. represents an area of the body, usually perpendicular to the holding yarn.
Muslin Unbleached, raw cotton fabric the torso (upper body sloper), arms Wristline The smallest circumference of
used to test garment designs. Also the (sleeve sloper), or legs (pant sloper). the arm.
name of a sample garment made from Also known as “block.”
muslin and used to test the fit and Style line Seams that separate the Yoke Panel created in the top front or
proportional balance of a design on pattern pieces of a design. back area of a garment, coat, or jacket.
the human body. Suppression Removal of fabric to Also applied to a panel across the top
introduce shape to the curves of the of pants.
Neckline Opening in a garment where human body.
the head passes through.
Notches Small incisions made to indicate Toile Another name for “muslin.”
a position when aligning patterns, seams, Tolerance The amount of movement in
hems, CF, and CB. woven fabric structure.
Top stitch Lock stitch that is placed
Outseam Seam of the garment down the along the edge of seams to secure
outside of a pant leg. them together.
Torso The trunk of the human body
Pivoting Rotation of a pattern from between the shoulders and the crotch.
a fixed point. Tuck Fold in fabric secured to seams; like
Placket Fabric band that encases a slit pleats, tucks create volume.
or opening at the neck or center front of Two-piece sleeve Sleeve shape made of
a garment and holds a closer of buttons two pattern pieces that take the natural
or zippers. hanging shape of the arm. The upper
Pleat Fold in fabric that when repeated part attaches to the sleeve cap / head
creates volume in a design. of the armhole; the lower part attaches
Plotter Large-scale paper printer that to the underarm section of the armhole.
plots digitized patterns. It is generally used in tailored suits and
PR = pair of patterns. coats, and the sleeve is set high under
the arm for mobility.
Raglan sleeve Sleeve that extends from
under the arm toward the neckline. Under collar Copy of the faced collar
Roll line Folded line where the lapel pattern that is reduced in size to enable
turns over from the collar down to the the collar edge seam to turn under itself
center front opening. so that it is not visible.
RSU = right side up. Underarm seam Vertical seams of a
Seam allowance Extra volume added set-in sleeve that, when sewn together,
to the stitch line that allows seams to create the cylindrical tube of the sleeve.
be sewn together.

GLOSSARY 317

INDEX Darts 105, 119, 127, 151, 188, 236–37, 253, 272 Jacket linings 66, 282–83, 287, 300–1, 313–14
denim jacket 220–31 jackets 8, 11, 61, 66;
AccuMark software (Gerber) 68, 69, 70 design development 36–39;
activewear 11, 14, 58, 62 denim 220–31;
and technology 14, 68–71 double-breasted 62, 233, 268–87;
see also hooded sweatshirt; sweatpants design development patterns 38 single-breasted 63, 252–67
Alcega, Juan de 8 design drawings 20, 22 Jacksons, J. 10
anatomy see human anatomy designer patterns 38 jeans 196–203
annotation 38, 39, 51 digital grading 70 jersey 78
anoraks 50–51, 57, 68; digitizing patterns 69–70 jetted pockets 65, 272, 281
double-breasted styles 233, 268–87
pattern 206–19 doublets 8 “KASANE” 8
anthropometer 26 drafter’s pencils 18 Kawakubo, Rei 14
armholes 41, 42, 55, 59, 66; draping 8, 20 knitted fabrics 58, 59, 78, 84, 85
drawstrings 174, 304, 306–7
adjusting 81, 85, 90, 105, 127, 144, 233, 270, dress forms 30, 49, 71 L’Art du Tailleur (Garsault) 8
289, 303 drill holes 51 landmark points 25–27, 70
avatars see virtual avatars drop 31 lapels 236, 256, 271
awl 18, 19 dropped crotch 159, 160, 169, 176, 187 lay planning 70
dyeing 60 layering 8
Balance 31, 61, 62 Lemonnier, Elisa 10
“Balmac” trench coat 7 Ease 58, 59, 95; Libro de Geometría Práctica y Traça (Alcega) 8
band collar 62 for knitted fabrics 78, 85; line 62
baseball hemlines 117, 127 applied to linings 66, 249, 283, 300, 313, 314; linings 66;
basting (loose stitching) 8 applied to sleeves 43, 59, 95, 110, 135, 144, 214,
bellows pockets 193 244, 264, 284; coat 66, 248–50;
belts see waist belts applied to pants 171 hood 313;
bespoke tailoring 21, 22, 59 see also darts; pleating jackets 66, 282–83, 287, 300–1, 313–14; sleeve 66,
bias grain 57 247, 291, 301, 314
bib shirt 138–47 elasticated gathering 174, 209, 213 long-sleeved shirt 104–15
body growth 55 elbow patches 297 long-sleeved collarless shirt 74–79
Engineered Garments 14 lumberjack shirt 116–25
see also grading English neckline 63
body mapping 24 envelope pockets 221–22, 224, 225, 295 Made-to-measure see bespoke
epaulets 134, 243–44 mandarin collar 62, 142–43
see also 3-D body scanning technology eyelet punch see pattern drill Margiela, Martin 14
bootcut silhouette 199 marker making 70
boundary lines 24, 36 Face, The 14 mass production 10, 22–23, 39
box-pleat 192–93 facings: cuff 266, 286; master plans 7, 37–38, 48–51, 74;
branding 14, 20, 31, 68, 71
break point 273 fly 153, 162, 179, 190, 191; for collars 227–28, 238–39, 275, 298–99;
breast pockets 106, 107, 118, 121, 221–22, 224, 225, front 240, 259, 260, 274, 276, 291; for coats/jackets 48, 206–8, 212, 220–21, 233–37,
hem 66, 209, 213, 234, 260, 290, 304, 306; 252–55, 289–90, 302–4, 306;
257, 262–63, 272, 278–79, 292 hood opening 100; for epaulets 243;
Browne, Thom 11, 12–13 neck 209, 210, 212, 213, 249, 261, 277, 278, 311, 312; for flies 163;
button stand 162, 163, 190 placket 77, 83, 304, 305; for hoods 99, 216, 310–11;
pocket 93, 107, 121, 155–56, 165, 170, 295; for pants 150–1, 158, 168–69, 170, 171, 186–88,
C. P. Company 11 sleeve 246; 197–99
Cambridge boating collar 64 vent 276; for pockets 161, 164, 172, 178, 181, 191, 201–2, 211,
capes 8 waistband 194 222, 241, 262, 278, 291, 295; for shirts/tops
cargo pants 186–95 fit models 31 74–76, 80–1, 89–93, 104–6, 116–19, 126–28, 138–39,
cargo pockets 188, 193 fitting 61 140;
cassocks 8 fleece 78 for shorts 176–77, 180;
casual styles 14, 63, 67, 95, 97: flies 151, 153, 159, 162–63, 169, 179, 180, 188, 190, for sleeves 48, 77–78, 85–86, 94–97, 110–12, 123,
198, 200; 134–36, 143–44, 214, 229–30, 244–45, 264–65,
jackets 67, 220–31; extension 154, 157, 166, 179, 184, 191, 200, 203 269–73, 284–85, 296–97, 308–9;
shirts 62, 104–15, 135 French curves 18, 19, 41 for storm flaps 243;
chinos 158–67 French-style neckline 63 Maxima Poplin 7
club collar 64 funnel collar 63 measurement taking 7, 8, 21, 24–29, 40–1; armholes
coat linings 66, 248, 249–50 41, 42;
coats 7, 8, 14, 232–51 Garsault, M. de 8 collars 236;
coin pocket 201, 273, 280 geometry curves 18, 19 hoods 98–100, 217–18, 310;
collar shapes 62–63, 64 GQ 14 inside leg 46, 47;
collar stands 62, 64, 108, 120, 132, 298–99; grading 52–55, 70 neck 26, 41, 61, 62, 227;
hidden 62, 227–28, 236, 238, 275; grainlines 46, 49, 51, 57 necklines 41, 120;
patterns 84, 122, 133, 228, 238, 240, 275, 299 gusseted pockets 65, 292 pants 45–47
collars 50, 63–64, 84, 108, 120, 122 132–33; sleeves 42–44, 59, 94, 244, 264, 284;
convertible 62, 227–28, 236, 238–40, 273, 275, Haute couture 20 tools for 10, 18, 26–29;
298–99; hemlines: baseball 117, 127; see also grading; size charts
mandarin 62, 142–43 median plane 24
see also neck sizes cuff 111, 123, 144, 245, 265, 285; elasticated 213; military styles 8, 11, 12
compasses 18 facings 234, 304, 306; mirroring 37, 38, 50
computer-aided design (CAD) 7, 68–70 shaping 75, 127, 140, 207, 233, 253, 255, 269, 271, Miyake, Issey 8, 14
computer-aided manufacture (CAM) 68 273, 303; modeling see draping
computer-aided patternmaking 14, 22, 68–69 sleeve 44, 78, 214, 229, 230, 246, 287; pant 46 moulage see draping
concealed pockets 65, 121 hems 66 muff pockets 93, 94
convertible collars 62, 227–28, 236, 238–40, 273, high-waisted pants 150–57 muslins 21, 30, 37, 38, 61, 62, 64
275, 298–99 hip curves 18, 19
coronal plane 24 hooded sweatshirt 88–103 Neck sizes 32, 33, 62, 98, 120, 132, 227
Coutts, J. 10 hoods 88, 98–100, 216–19, 310–13 necklines 41, 63–64
cross grain see horizontal grain horizontal grain 57 notched waistbands 156–57, 166, 171, 174
crotch level 45–47, 49, 61 human anatomy 24–27 notcher 18
see also dropped crotch notches 38, 48, 51, 70, 156, 171, 174, 238, 246;
crotch measurements 28, 33, 45, 58 Illustrations see design drawings
cuff guards 67, 112, 113–14, 124–25, 146 Improved Tailor’s Art, The (Jacksons) 10 alignment 91, 92, 156, 216, 218, 223, 226, 229, 231;
cuff hemlines 111, 123, 136, 144, 245 industrialization 8 collar 258, 273;
cuff point 265, 285 inside leg 28, 33, 45, 46, 47 shoulder 299, 310
cuff styles 67 Internet, the 68
cuff vents 246, 266, 285–86 Italian loose neckline 63
cuffs 44, 113, 124, 145, 285–86;
ribbed 86, 101, 174

318

Officer collar 64 291–92; storm flap 243–44
Owens, Rick 14 shorts 178–79, 181–82; straight collar 62
side 281; straight grain 57
Pant slopers 37, 45–47; Poell, Carol Christian 14 suspenders 156
creation of master plan from 49, 150, 168, 170, polo shirt 80–87 Suzuki, Daiki 14
176, 180, 186, 197; posture 31, 61 sweatpants 168–75
grading 54–55 Practical Guide for the Tailor’s
Cutting-Room (Coutts) 10 Tailor’s chalk 18, 19, 26
pants: cargo pants 186–95; Prêt-à-porter see ready-to-wear tailored shorts 176–85
chinos 158–67; production-line processes 20–23 tailored sleeves 67, 244–47, 264–66, 284–87
high-waisted 150–57; production patterns 39 tailoring 8, 10, 21;
jeans 196–203; proportion 62
sweatpants 168–75; Prostyle 22 training in 10
see also shorts; pant slopers see also bespoke tailoring
QC (Quality Control) 23 Takada, Kenzo 14
parka 302–15 tape measures 10, 18, 19, 26
patch fly 180 Raeburn, Christopher 14 Taylor’s Complete Guide or Comprehensive Analysis
patch pockets 65, 129–30, 192, 202, 209, 211, 257, raglan shoulder shaping 290 of Beauty and Elegance in Dress 8
raglan sleeves 89, 90–91, 94–97, 297–98 technology:
263–64, 291–92 ready-to-wear 10, 14, 20, 22–23, 31, 52 and design development 14, 68–71;
pattern slopers (blocks) 7, 26, 36; ribbing 174 and measurement taking 29, 30, 52, 68, 71;
roll collar 62, 258, 273 and textiles 11, 14
adapting 56 3-D body scanning technology 29, 30, 71
see also pant slopers; sleeve slopers; upper see also convertible collars 3-D flattening technology 70–71
body slopers roll line 273 Throup, Aitor, 14
patternmaking 20, 36–39; rulers 18, 19, 26 tolerance 59
history of 8–14; tools 18–19, 26, 39
use of computers in 14; Safari shirt 126–37 top collars 108, 120, 122, 132–33, 229, 240
tools/equipment for 18–19, 39; sailor collar 62, 63 tracing wheel 18, 19
training in 7, 8, 10 sample size 22 see also sizing systems transverse horizontal planes 24
pattern design systems (PDS) 70–1 samples 22, 38 trench coats 7;
pattern drill 18, 19 scalpels 18 pattern 232–51
pattern hole punch 18 Science Completed in the Art of Cutting trend research 22
pattern hooks 18 turned-down collar 62, 63
pattern masters 18, 19 (Walker) 10 turtleneck collar 63
pattern tracing 50–1 scissors 18, 19 two-piece sleeves 37, 67, 229–31, 244, 284–87
see also under individual patterns seam allowances 18, 38, 50, 51, 60
pattern weights 18 seam ripper 18, 19 Undersleeves 229, 230–31, 246, 265–66, 285, 286
patterns: bib shirt 138–47; seams 18, 136 upper body slopers 20, 21, 36–37, 40–41;
anorak 206–19; self-facing strips 155, 156, 165, 170, 181, 182
cargo pants 186–95; semibespoke 21, 22 creation of master plans from 48, 74, 80, 89,
chinos 158–67; set squares 18, 19, 26 104, 116, 126, 138, 140, 206–8, 212, 220, 233, 252,
denim jacket 220–31; set-in sleeve 67, 123–24 289, 302, 306; grading 53
digitizing 69–70; sewing 23 Uomo Vogue 14
high-waisted pants 150–57; shaped pockets 241–42
hooded sweatshirt 88–103; shirts: long-sleeved 104–25, 138–47; Van Beirendonck, Walter 14
jeans 196–203; vents 234, 249, 250, 261, 276–77, 283, 290, 293, 294
long-sleeved shirt 104–15; short-sleeved 126-37
long-sleeved collarless shirt 74–79; see also polo shirt see also cuff vents
lumberjack shirt 116–25; shorts 176–85 virtual avatars 14, 71
parka 302–15; shoulder slope 31, 61, 255, 270 volume, adding/removing 61, 207, 208, 212, 272,
polo shirt 80–7; shrink test 196
safari shirt 126–37; shrinkage 18, 60, 196 289;
shorts 176–85; side pockets 281 to coats/jackets 209, 235, 253, 254, 257, 260,
sweatpants 168–175; silhouettes 7, 8, 10, 11, 20, 31, 62; 271, 272, 276, 303, 306; hoods 311; to pants 170,
trench coat 232–51; fitted 119, 237, 253; 189; to sleeves 67, 96;
waxed jacket 288–301 leg 171, 187, 198–99 see also pivoting; pleating; slash
Peter Pan collar 63 single-breasted styles 252–67 and spread
pins 18 size charts 7, 10–11, 20, 24, 32–33;
piping 264 standardized 10–11, 22, 37 Waist belts 290, 293, 294
pivoting 38, 56, 237 see also grading; measurement taking; sizing waistband tab 226
plackets 76, 81, 121; systems waistbands 102, 184–85, 194, 203, 226; notched
concealed 65, 139; sizing systems 10–11, 52
facings 77, 83, 305; see also grading; neck sizes; 3-D body scanning 156–57, 166, 171, 174;
grown-on 65, 106, 127; technology sizing 174
sewn-on 65, 117, 127, 131, 221, 222, 290, 293, 304 slash and spread 38, 56, 239 waistlines 45, 46, 48;
pleating 141–42, 159, 169, 170, 176, 197, 199 sleeve cap ease 43, 59, 95 and darts 47, 49, 105, 119, 127, 129, 154, 169, 171,
pocket bearer 162, 192, 201 sleeve caps 43, 66, 78, 291; 181, 253, 257, 260;
pocket flaps 121 adjusting 95, 111, 135, 287, 301; high 150–57
pocket stands 65 and knitted fabrics 85 Walker, W. 10
pocket welts 65, 151, 153, 154–55, 156, 160, 164–65, sleeve slopers 37, 42–44; Watanabe, Junya 63
170, 172, 181–82, 221, 224, 234, 241, 257, 263, 272, grading 54; waxed jackets 288–301
274, 279, 280 creation of master plan from 48, 77, 85, 94, 110, welt stands 65, 221, 241
pockets 65, 93, 241–42, 304, 308; 123, 134, 143, 214, 229, 244, 264, 269, 284, 296, see also pocket welts
bellows 193; 308 welts see pocket welts
breast 106, 107, 118, 121, 221–22, 224, 225, 257, see also under individual patterns WGSN 22
262–63, 272, 278–79, 292; sleeve linings 66, 247, 291, 301, 314 widespread cutaway collar 64
cargo 180, 193; sleeves 66–67, 296, 308–9; wingtip collar 64
coat 234, 241–42; hemlines 44, 78; wool see knitted fabrics
coin 201, 273, 280; long 77–79, 89, 104, 110–15, 123–24, 143–45, 214–15, Woolrich Woolen Mill 7
concealed 65, 121; 229–31;
envelope 221–22, 224, 225, 295; raglan 89, 90–91, 94–97, 297–98; Yamamoto, Yohji 11, 14, 31
gusseted 65, 292; short 85–86, 126–37, 134–37; yokes:
jeans 201–2; tailored 67, 244–47, 264–66, 284–87;
jetted 65, 272, 281; two-piece 37, 67, 229–31, 284–87 back 106, 107, 119, 121, 128, 187, 189,
muff 93, 94; see also sleeve slopers 199, 200;
pant 151–53, 154–55, 159, 160–62, 163–65, 169, spandex 78 front 118, 121, 128, 221, 223, 229
170, 172–73, 191–93 standardization of sizes 10–11, 22, 37
patch 65, 129-30, 192, 202, 209, 211, 257, 263–64, Zippers 153, 211, 295, 311

index 319

FURTHER READING

Aldrich, Winifred, Metric Pattern Cutting for Menswear, Blackwell, Oxford, (4th edition) 2006
Baudot, François, The Allure of Men, Assouline, New York/Paris, 2002
Blackman, Cally, One Hundred Years of Menswear, Laurence King, London, 2009
Boucher, François, The History of Costume in the West, Thames & Hudson, London, 1996
Chenoune, Farid, A History of Men’s Fashion, Flammarion, Paris, 1993
Cicolini, Alice, The New English Dandy, Thames & Hudson, London, 2007
Cooklin, Gerry, Pattern Grading for Men’s Clothes: The Technology of Sizing, John Wiley & Sons, 1992
Davies, Hywel, Modern Menswear, Laurence King, London, 2008
Gavenas, Mary Lisa, The Fairchild Encyclopedia of Menswear, Fairchild Publications, Inc, New York, 2008
Gieve, David W., Gieves & Hawkes: 1785–1985 The Story of a Tradition, Gieves & Hawkes, Portsmouth, 1985
Jobling, Paul, Man Appeal: Advertising, Modernism and Menswear, Berg, Oxford/New York, 2005

Knowles, Lori A., The Practical Guide to Patternmaking for Fashion Designers: Menswear, Fairchild Books, New York, 2005
McNeil, Peter and Karaminas, Vicki (editors), The Men’s Fashion Reader, Berg, New York, 2009
Peacock, John, Men’s Fashion: The Complete Sourcebook, Thames & Hudson, London, 1996
Shoben, Martin and Hallett, Clive, Essential Shirt Work Book, LCFS Fashion Media, 2001
Waugh, Norah, The Cut of Men’s Clothes 1600–1900, Faber, London 1964/ Routledge 1987
Whife, A. A. and Brigland, A. S., The Modern Tailor, Outfitter and Clothier, Caxton, London, (4th edition) 1949
Whife, A. A., A First Course in Gentlemen’s Garment Cutting, Tailor & Cutter, London, 1952
Whife, A. A., Cutting from Block Patterns: Gentlemen’s Jackets, Waistcoats, Trousers, etc., Tailor & Cutter, London, 1960

PICTURE CREDITS Author’s
acknowledgments
Fashion illustrations at the beginning of each pattern are by Thom Davies.
All other technical flats, diagrams, and illustrations are by Elisha Camilleri. Self-belief is a powerful creative tool: I am eternally grateful to Laurence
All muslin photography is by Simon Pask Photography (model for the pants King, Helen Evans, Anne Townley, Peter Jones, and Lizzie Ballantyne whose
patterns: Stuart Dando). enthusiasm and patience have allowed the book to evolve and develop into its
present form.
The author and publisher would like to thank the following individuals and
institutions who provided images for use in this book. In all cases, every Also to Nicole, Phoebe, and River for their continuing support, patience, and
effort has been made to trace the copyright holders but should there be any love throughout this process.
errors or omissions, the publisher would be happy to insert corrections in any
subsequent editions of the book. Special thanks to Elisha Camilleri and Thom Davies for sharing my passion
for fashion and for their invaluable technical and creative contributions
2 © Alasdair McLellan, model: Roc Barbot at Models1, throughout the project.
with thanks to Margaret Howell
I would like to thank all my colleagues and students past and present who
6 Photo by Tim Barber www.woolrichwoolenmills.com have inspired the writing of this book through their invaluable comments
www.wplavori.com and contributions. Many thanks to all the designers, fashion companies, and
educational institutions who generously gave their time during the research of
9 © WWD/Condé Nast/Corbis this book.
10 l: © WWD/Condé Nast/Corbis; r: © WWD/Condé Nast/Corbis
11 l: © WWD/Condé Nast/Corbis; r: © WWD/Condé Nast/Corbis Huge thanks to Dr. Simeon Gill for his guidance and expertise in developing
12–13 © WWD/Condé Nast/Corbis the anthropometrical sizing profiles and procedures, and to the staff at
15 Engineered Garments SS12/model Jay Alaimo Manchester Metropolitan University who have supported this project.
18–19 Photography by Packshot.com
20 © Helen King/Corbis Dedicated to the memory of my family who toiled in the cotton mills
21 John Lund/Paula Zacharias/Getty Images of Lancashire.
23 © Qilai Shen/In Pictures/Corbis
25 Philip Dowell/Dorling Kindersley/Getty Images
27–29 Photography by Simon Pask, model: Raphael Sander for NEVS
30 Karina Lax
31 © WWD/Condé Nast/Corbis
39 b: © Helen King/Corbis
60 Gary Ombler/Dorling Kindersley/Getty Image
63 © WWD/Condé Nast/Corbis
70 Screenshots created in Gerber’s AccuMark Pattern Design System (PDS)

software 71 t: Screenshots created in Browzwear 3D Design Software; b:
Screen shots taken in [TC]²’s (Textile Clothing Corp) 3-D body scanning
program. Thanks to Dr. Simeon Gill
73 © WWD/Condé Nast/Corbis (Issey Miyake Spring 2011)
148 © WWD/Condé Nast/Corbis (Junya Watanabe Man Fall 2012)
204 © Benoit Tessier/Reuters/Corbis (Issey Miyake Men Fall 2012)

All other photography by the author and staff at the Department of Apparel,
Manchester Metropolitan University.

320