Tecnicas de corte y confeccion

1. ,2
)

3. Tomoko Nakamichi
Having served many years as a professor at Bunka Fashion
College, Tomoko Nakamichi currently delivers lectures and
holds courses on paffern making in her native Japan and
internationally. This book brings together the results of the
research on garment patterns she has carried out to help instruct
her students.Shealso enjoys creating the ball-jointed fashion
dolls that appear iñ the pagesof this book.

4. PATTERNMACIC
Tomoko Nakamichi
LaurenceKingPublishing

5. Pattern Making
Cutandioinflatpiecesof fabric
to assembleinto a three-dimensional garment.
Take the piecesof a three-dimensionalgarment apart
and flatten them, to get individual pattern pieces.
The relationship between the flat pattern piecesand the
three-dimensional structure of the garment never changes.
You can create a garment by cutting, moving and
reassemblingthe piecesof a pattern, just like the pieces
of.a pazzle.
Use your original designs to make new patterns.

6. Contents
Part 1
Creatingform
throughinspiration
Usingthis book
Fundamentals
Accents
(deppari)
Gathered hole
Crater
The drop hole
(otoshiana)
Lumpsandbumps
(dekoboko)
Thedressform usedinthisbookisbasedon thestandardBunka-stylesloper(block)for anadultJapanesefemale
Seepages98-'102for moredetails
All patternsarefor a size9 lapaneseadultfemale(bust83cm,waist64cm,centrebacklength38cm)
Theposiüonof thecuttingandopeningout lines,andtheamountto beopenedout,mayvaryaccordingto garmentsize
Whenusinga half-scalebodyform,reduceto halfallfull-sizedmeasurementsanddevelopthe frtern
PIateS
13
14'15 '1.7
L6.1.7
1,8. 1.9
Instructions
27
20

7. .¿:ffi
Part 2
MakingPatterns
for hautecouture
garments
Plates
53
Instructtons
/1
Draped design
Thetwist
(nejiri)
Hide and seek
(kal<wrenbo
Interwoven design 56
Bamboo shoot
(tak-enoko)
Theknot
(musubw)
Two distinctexPressions 60
6854
7455
80
8457
86
94
58.59
An intrigurng curve 60 96
Bunka-stylesloper (block) for an adult woman 99
Bunka-style sloper (block) for an adult woman
éjr.'H¡lir'"ir*!ur.l
lo1

8. usitrgthisbook
At the beginning of this book (page 7) I explained about the relationship berween the three-dimensional structure
of a garment and flat pattern pieces.A major objective when making garments for women is not only that they fit
properly but that they also look attractive. For this reason, garment design will never ceaseto exist and provide
endlessenjoyment. I hope the pattern-making method I introduce here is of use to you in turning an image into a
silhouette or design detail, and that you learn from the ideas in this book and find new methods that work for you.
The pattern drafting and manipulation for the design of garments in this book are based on the Bunka-style sloper
(block) for adult women (Japanese'M' size: bust 83cm, waist 64cm, centre back length 38cm), and a half-scale
dressform for the three-dimensional pattern manipulation. All the measurementson this dressform are half that
of a full-sized dressform, its surface area is scaleddown to a quarter and its volume to one-eighth.Using a half-
scaledressform helps to understand the overall balanceand look of a garment. As my objectivewas to explain the
construction of a pattern in an easy-to-follow wa¡ I have omitted pattern markings such as facing lines used for
actually constructing the garment and the amount of fabric required to make the garment.
B
Bust
Abbreviationsusedin
patterndrafting
BP
BustPoint
AH
Arm Hole
FAH
FrontArm Hole
BAH
BackArm Hole
Symbolsusedin patterndrafting
11
PATTERN MAGIC
W
Waist
MH
Mid Hip
H
Hip
BL
BustLine
WL
WaistLine
HL
HipLine
EL
ElbowLine
CF
CentreFront
CB
CentreBack
Guideline
Linethat actsas a guide when drawing other lines
Shown by a thin solid line
Sectorline equal lengths Shown by a th¡n broken l¡ne
Finishingline
L¡neind¡catingthe finished outline ofa pattern
Shown bv a thick solid line or a broken l¡ne,
Cutonthefold
[ine ind¡cating where the fabr¡c is to be cut on the fold,
Shown by a thick broken line
Rightanglemárkin1
L Indicatesa r¡ghtangle.Shownbyathinsolidline
One-waypleats G- --=
N-7Tl) (,/l
Draw two diagonal lines slop¡ng downwards towards the hem Shows
that the higher l¡nefolds over the lower line,
Grainline
Ind¡cates that the cross-w¡segra¡n ofthe fabric runs ¡n the dirtrt¡on of
the arrow Shown bv a thick solid line
Biasdirection /
/
Indicates the direction of the bias ofthe fabric.
Shown bv a thick solid line
Extensionmarking t---
---=-r,>
Ind¡cates the part to be stretched
Easemarking z/----=---x lnd¡c¿tes the Dart to be eased
Closeand
cut open marking
Indicates that the paper pattern isto be folded along the dotted lines
and cutopen along the sol¡dline
Markingto cut
fabricwith paper
patternp¡eces
arrangeo
contiguously &
Ind¡cates thatthe paper pattern pieces are to be arranged
contiguously when cutting out the fabric.

9. PATTERN MACIC
Part1
Creatingformthroughinspiration
You'll find ideasfor garment designeverywhere ...
buildings,flowers or treesin nature,
tools you useevery da¡ even a person'sface.
To turn the image in your mind into a garment
you'll need to know the techniquesof pattern making.
It's not.difficult and there'sno one prescribedway
to make garments;just discover a way that suits you.

10. 13
PATTERN MACIC
I

12. 15
PATTERN MACIC

13. ,-
-.i'.::'.:
a:::: .
16
P AT T E R N M A C I C

14. I
Lrater sleeve
!=: page40 for instructions)
Sleevewith gatheredhole
(Seepage36 for instructions)
17
PATTERN MACIC

15. ,18
PATTERN MACIC

16. 19
PATTERN MACIC

17. 20
PATTERN MACJC

18. PATTERN MACIC
Fundamentals
It's possibleto expressavant-gardedesignand elegantdetail
in a contemporary garment by using the Bunka-style sloper (block)
as a basewhich fits the wearer's body form as closely
as possible.First, insert a circular designIine instead
of darts into the bodice of the sloper.
The secretof Pattern Magic lies in the
"close, cut and open out" technique.
21
PATTERN MACIC

19. Basicbodicepattern
Bodicefront oatternbasedon the
Bunka-stylesloper(block)(seepagesgg-102)
Bodicepatternwith closeddarts.
lnsertinga circulardesignline
ff Wn"ntheedgeofthecirclepassesthroughthebustpo¡nts
Cuüingout the circleproducesa patternwith the samesilhoueüeasthe sloperabove.
Theedgeof thecircle
passesthroughthe bustpoints.
Thecirclethat hasbeencut out forms
the patternfor the designline.
l-r
I Whenthecircleextendsbeyondthebustpoints
Evenif you cut out the circle,the undersidedoesnot lieflat andcannotbe usedasa
22
PATTERN MACIC
pattern.
Thecircleextendsbeyondthe bustpoints Evenif you cutout thecircle,it doesnot lieflat.

20. Tomakea patternfor the circle
Shorteningthe daftssothattheyendat the edgeof the circlewill makethe circlelieflat sothat a patterncanbe made
However,thesilhouettewillbenotbesameasthesloper(block).
Closethe dartsandcutoutthecircle
Threemethodsfor makinga patternwiththesamesilhouette
TheyallinvolvemanipulatingthedartsthatareIeftinsidethecircle.
Thepatternisnot fitted in the chestarea
andthesilhouetteisnotthe same
3. Flatten1. Insertdarls(Closetwo darLsto makeintoone) 2. Ease
"Flatten"meansto pressdownon
anyfullnessthat refusesto lieflat In
a similarwayto a sugarcubewhere
the cornershavebeenwornaway,
gentlecurvesform on the patternas
showninthe drawing Flatteningjust
a smallamountof fullnesscreatesa
well-fittedform
Dependingon the methodyouuse,thethree-dimensional
expressionchangesfromsoftto sharp
Tothe leftisa bodicepatternwherethe dadshavebeenflaüened
23
PATTERN MACIC
Shoftenthedartsto endattheedgeof thecircle

21. In the samewayasfor the bodicewith the circulardesignline,makethe bodicepatternout of paperDrawanykindof lineyouwantanddon'tforgetto insertthepositionof theopening.
Insertingcomplexdesignlinesintoa sloper(block)
asa furtherapplicationof thistechnique
24
PATTERN MACJC
Cutandopenout alongthe lines
Flattenout theareasthatdo not l¡efiateither
by insertingdarts,easing,or flattening,
or bycombiningthesemethods

22. Cannot
openeo
Thepatternlsflatbutthe beginningof the
curvecannotbeopenedout becausethereis
no seamallowanceforthe designlineseam
Foldovera smallportionat theendof the
curveto createsomeseamallowance
Then,eitherstretchoutthefoldedportionor
cutandopenneartheshoulden
FRONT BACK
Althoughwe haveto bemeticulousaboutmeasurementsfor a garmentpattern,in somecaseswhereonlya few millimetresare
involved,thereisnothingwrongwith beingflexible.HereI havefoldedandcreatedtheseamallowancebutyou maychange
thedesignsothatthedesignlinesendat thepointsupto whereyoucansew.
Thefabricalsostretchesa lot with patternsthat havecurveddesignlines,andwhenyou actuallycut the fabricout, you will
needto adjustthe measurements.Selecta methodconsideringtheoverallbalanceof thegarment.
25
PATIERN MACIC
c -:: e flateither
r -,:-enlng,
tf!

23. N MACIC
á3ffiffi
cuttlng requlres
¡ ::¡r

24. I
-.
-ieppdri protrudes from the back like a shell.
: ;¡ it utilisesthe unevennessof the bod¡
: rl-sn'tjust haveto be the back
- r rr-hicha deppari protrudes.
r.r' can be positionedanywhere,on the back
: rn the chest,to createa sharp designline.
-.: rc .tretwo interesting deppari designs.
b.
F
"
t
i
I
FRONT
BP
aao
22
43 Becausethedepparicomesintocontactw¡ththe rightneckline,makeonlythe rightbodice
:ack necklinesignificantlydeeper
S Rsthe projectionwillbeneaterif thereis
no shoulderseam,closethe leftshoulderdart
andcutthissectioncont¡nuouslywiththe
bodicefront
PATf ERN MACIC
S To makethedeppariappearto be
protrud¡ngfromthe pointwherethe curveof
theshoulderbladeends,drawit fromtheend
of the shoulderdarton the patternTomake
thedeppailneat,movethe rightshoulder
dadto the AH
Reverseandcut out
3cm
$ Reversethedepparíagainandcutout

25. Page13:Depparishirt
Thedepparion the chestutilisesthe
Thesharpaccentin the chestarea
qualitycottonshirthasa coolness
of a safari-styleshirt.
fullnessof thebust.
of thecrisphigh-
thatisreminiscent
cn
SLEEVE
/
cm -/-/..t6cm
4cm
$ Becausetheshirtdoesnot haveto beparticularlyfittedto the body,
dividetheshoulderdartallowancethatwasmovedto theAH intotwo
equalsectionsDistributeonehalfintothedarts,andthe restinthe
armholeShortenthe dartbecausethedadallowanceissmall
r a+a-
@ Drawlhe depparl Dividethe bustdart
allowanceintothreeequalsections,distribute
onethirdintoeaseinthearmhole,leavetwo
thlrdsfor the bustdartand sewIhe depparito
thearmhole
12cm 2cm 11cm
28
PATTERN MACIC
COLLAR
@ Reversethe deppari andcutout

27. Page14:Dresswithgatheredhole
A designwherea holeisopenedandgathered
in a fittedsilhouette,withoutinsertingdartsor
designlines.
0.5cm 0-5cm
(f Drafta patternof a dresswith a fittedsjlhouette

28. @ Becausethe leftandrightbodicepanelsareasymmetrical,alignthemanddrawwhereyouwantto openthe hole Insertcuttingandopeningout
nesina rad¡alpatternina balancedway.
Wherethe cuttingandopeningout linesdo not makecontactwiththe pointof thedarts,adjustby makingthedartslongeror shorter.
Wherethe pointof the dartistoo far away,for examplelikethe bustdarton the leftbodicefrontinthedrawing,youcanalsodrawanothercutting
andopeningoutlineasin@
Makeanopeninginthe backleftshoulderalongthe radial-patterncuttingandopeningout line,
andconnectthatsect¡onto the bodicefront
31
PATTERN MACIC

29. Closeallthe darls,therebymakingit possibleto createa fitted
ouetteevenwithout darts.
Manipulatethecutandopenedparts,to drawa smoothcontinuousrine
for theoutlineof the holeandthesideseam.Thenredrawthe hemline
with a neat,straightline.
Endof seam
o*..ll9- *..:u"-------- ,
Top-stitchwidth= 1cm

30. ':
-i filred
:lrttnuous line
: tl-rehemline
i:,ü
i: !
IIi3¡i:'
- ::sign wherethe luxuriousfabric
. ,:l for thecamisoleisfittedto the
- ::;i withdesignlinesandappearsto
-:. e sprungfromthe gatheredhole.
: ; madefromcottonvoilewoven
:' dotsandisgreatfor wearingas
,isualwear,for example,withjeans.

31. 5cm 9cm
Shoulderstrap
attachmentposition
2cm
I
21cm-
BACK
20cm-
Endof
24cm
6cm
Y18cm
I*L'6cm
I,1
I
18cm
14cm
I
Q Opena smallholefor the gatheringaroundthe mid hip (MH) areaof the rightbodicefront.
Makea partof the gatheringinto a frill for greateremphasis.
Tocreatethe frill strip,decidewherethe seamendsanddo not sewbeyondthat point.Thenmakethe frill,
taking carenot to attach it to the bod¡ce.
Fitthe waistusingthe curveddiagonalseamsasdesignlines.
Align the right
side seams,
and cut open ;'
@ Drawdesignlinesfor the gatheringin a radialpatternin section@
of the patternwherethe holehasbeenmade.
Alignhe bodicefiont andbackrigtrts¡deseamsandinsertthedcign lines
Enlargementof the frilledsection,
Theendsof the frillstriparenot
joinedtogether.
34
PATTERN MAGIC

32. With stretchedbias
Top-stitchwidth = 1cm
End of seam
Endof seam
C) Cutout eachof the sections@, @ and@ andadjustthe hemline
@ CutandoPenout section@ of the patternAdd27cmon each
sideto getplentyof frill.Alsoaddextrawidthasrequiredat@ and@
(4cminthiscase)to drawsmoothwell-connectedlines'
35
PATIERN MACIC
6
/s,

33. Page17.Sleevewithgatheredhole
O Measurethearmholeof thebodiceand
makea drawingfor thesleeve
36
PAf I E R N M A C I C
@ Drawthefinishedsilhouetteof thesleeve
capasseenfromtheside(thesleevecapis
flattenedinthefinishedstate).
Os,
lf¡fü:ü
filInn"]!1
ilmü
A designfor a close-fittingsleeve,
withvolumeonlyinthetopsection
of thesleeve.Visualizethe finished
silhouetteof the sleeveto
determinehow muchfullness
mustbeaddedto the pattern.
Then,makethe pattern,drawing
thesleeveheightin the same
way asin the designdrawingon
the right.
Don't forgetthat the amountfor
cuttingandopeningout varies
greatlydependingon the fabric
you havechosen.
1
f
ú
¡rf,f
tl tu{
¡
]L

34. *@
;
of the sleeve
Oeegcanis l: deevecapthat facesthe neck by adding
t: samemeasurementasin @. Drawthe
eiderarm line.
@ Cut and openout the sleevecapunül it
reachesline@ anddraw a smooth,curvedline.
@ Draw cutting andopeningout linesin a
radialpatternfrom the centreof the hole.
tO nrstly,with the sleevecapattached,cut andopenout untilthe sleevecaplinebecomeshorizontat.
It isup to you to decidehow muchyou want to openthe sleevecap,but considerthe fabricgrain,easeof sewing,andother factors.
Sleeve
Top-stitchwidth= lcm
a-b= x
Endofseam-?
2cm
E+scm
@ Becausethe amountfor the gatheringisstillnot sufficient,openout the sleevecapevenfurther.
Theamountfor cuttingandopeningout vaies accordingto the fabricused.
37
PATTERN MAGIC
Sleeve cap
b Endofseam

35. _____--
'¡ !,,-it,
By inserting ease,the fabric was shapedinto a gentle
c.oncavestructure,resemblinga crater on the surfaceof
the m.ben.Use a sturdy fabric that can be easedinto
shapefor a more dramatic appearance., .*¡,.
Lil
'i

36. )age1 Craterbodice
: - elegantbodicethatemphasizesthesubtlemovementsof thefabric.
Q rseftthedesignlinesforthe "crater"anddeterminepoints@ and@,
',-:re theeasingwillend
-
- d isthe linefromwhichthe "crater"startsto swell Draw@@ by
:,::nding the linethatconnectsthe pointsof thetwo darts
O Closethedartson the section
:-et formsthe bottomof the
:rater"onthebodicerightpanel
39
PATTERN MACIC
@ ndd Zcmat the bustlineto addthicknessto the "crater"andinsert
linesfor cutandopeningout asshowninthedraw¡ng
Bring
together
@ Closethedartin@ andcutandopenout@ until@Af-@ aligns
with@ AIígn@ and@ asshownin thedrawingto makeonepanern
Thedifferencein lengthbetween@ and@ on the bodiceleftandright
panelsisthe amountof easeUsefabriccut on the biassothat it ¡s
easierto insertease
FRONT
@
/.'i
II
ll
ll
ll
ll
tl
tl
|l
tl
ll

37. #
w
Page17:Cratersleeve
A sleevewith structuralinterestwherea denthasbeenmadein thefabricon thesleevecao.
An interestingdesignfor a simplejacketor coat.
$ Draftthe basicsleevepattern Drawthe
shapeof the sleevecap Connectthe point
wherethesleevewidthon elthersideof the
sleeve-caplinehasbeendjvidedintotwo
equalsectionsandthesleeveopeningwidth
measurementDrawthe linewith a slight
outwardcurveat the ELto createthe shape
of the naturalarm
40
PATTERN MACIC
S Opensymmetricallyatthefoldlineto make
a one-precesreeve
ü, ,' ffm
i[ri ] il mm
H l,ul]l t¡Í
I ' ri[5úii]
,it ill[ilt
r r,,{l

38. !fud lineto make
L¡ Q Ltorethedesignlinesfor the "crater"
mn¡adfromthe sleevefold lines,and divide
ü¡e deevepatterninto two panels,@ and
E l¡a* points@ and@ to indicatethe area
b beeased.Movingthe designlinesinward
*o hasthe effectof makingthe armappear
drfmer.
@-@='
@ Rdd¡cm to increasethe th¡cknessof the
"crater"in the areabetweei@ and@ on
panel@.
G) Drawlinesfor cuttingandopeningout ina
radialpatternin the areabetween@ and@
on panel @
@ Make the perimeterof the curvedlinebetween@ and@ on panel@ inio x. Cut andopenout panel@ as
shownin the drawing.
Theamountto be openedout variesaccordingto the fabricused,but hereabout15 percentof x hasbeenopened.
Theamountthat hasbeenopenedout iseasedto createan elegantsilhouette
41
PATTERN MAGIC

39. Thedrophole
The otoshiana technique was developed
from the idea of connecting two holes
to form a tunnel-like strucrure.
As the otoshiana is a complex design,
we start by assemblingit out of paper.
(otoshiana)
Assemblingtheotoshiana
(f Opena holeof thedesired
ciTp
^n
+hé ñrñpr
@ Cutalongthe linesBecausethe edgesof
the paperpartsandthe pipearecurved,the
excessamountdoesnotlieflat
@ trrtakea paperpipeandplace
it inthe hole Decideon your
desiredangleandthe lengthfor
thepipe
@ With scissorscut off the partprotrudingfrom the top of the paper
@ rold the exceison both
sidesandredrawthe linesThe
amountaddedinthisway makes
the entranceto the holelooser,
or sharper,andthe lookchanges
42
PATTERN MACIC
ffi
@ Insertthedesignlines,

40. ¡ar both
lelnes The
tÉ way makes
: hde looser,
r bo* changes.

41. O Makea muslin(toile)fortheskirtbase
Thepatternforthe skirlinthepictureisshownbelowbutyoucanmaxe
theskirlanyshapeyouwant
@ Inthesamewayaswith paperon page42, insertthetubethrougna
fabricbaseto createthe otoshiana
lf,r :rütruÍr
ft nrulilt
ImJ,Lfiiff|'
44
PATTERN MACIC
üm

42. F
F
-,:- --:' rhp ihrnrroh ¡ S Opena holewhereyouwantto pos¡tiontheotoshianaintheskirt
--r hoe canbeof anysize,but rememberto makeit largerthanthe
: ':!mferenceof theendof thetubeandsmallerthanthefabricbase
@ Fastenthefabricbaseto theskirtwith pins,andmachine-stitchto attach
@ lnsertthe assembledotoshianaintothe holeln the skirtandcreate
yourdesiredsilhouette
@ Insertthedesignlineshere,consideringhow bestto focuson
the otoshiana
45
PATTERN MACIC
=f:---

43. @ Cut alongthe designlinesto makethe fabricoattern
Wherethe edgesof the holedo not lieflat,fold the patternandadjust
theline.
@ Openout andironthe foldedparts,then machine_stitchfor a smooth.
continuousline.
I

44. --
-.dressfeaturestwo otoshiana
--:,¡rectedontheinsideto form
::;nnel.
-- s isa complexpaüern,using
:-: basicotoshianatechnique.
::r thisdistinctivedesign,
:5osea coarsewoollenfabric,
- a neutralcolor,that iseasy
:r easeandstretch.
,l
''':'

45. 'lcm
tack
5cm
20cm
Endof
openrn
Open
Lur
t
c19
-"n,1:tlfu
¡ ,idf'rú'ul
:T¡l ¡ gil
1ñiligl:l]4
iFLi.r¡lM
]mÉurMN
*nt
ll
lQ Usinga sloper(block),closethedartsandcutandopenout
A basepatternfor a stmpledressthathasneitherdartsnordesignlines.
fmr
üÍMrrdhm
lm
1iltt
[d
Lülll
@ Decideon thetwo placesfor positioningtheholesandmakea muslin
(toile)followingthe orderof pattern-makingfor a skirt
48
PATTERN MACIC
BACK

46. Lumpsandbumps
(dekoboko)
This technique evolved from an idea to incorporate
a Jekoboko (an uneven surface)decoration
úro a garment.
Anaching cubes onto a base is in itself interesting,
but when the cubes are connected with design lines,
dre undulating lines come alive.
€) nttach to the paperbase.
Thinkof the paperbaseasthe garment
@ Cutawaythe bottomof the base.
Fromthe top, it isconvexandfrom the
bottom,concave
@ Insertlinesin anywayyouwant.
Thepatterniseasierto makeif the lines
passthroughthe cornersof the three-
dimensionalobject
49
PATTERN MACIC
Makinga patternforthe dekobokooutof paper
+,
Q Assemblea three-dimensionalobjectmade
out of paperin anysizeyou want
@ Cutalongthe lines,openandflattenout.

47. LLll ,¡
,t i

48. -T
',,lakinga patternwiththe
three-dimensionalpaperobjects
Q Randomlyattachthe cubesat differentheightsto the bodicesloper
: ock)madeout of paper.
@ Cutalongthelinesandopento createthe pattern
Wherethe designlinesdo not passthroughthecornersof thecuoes,
the patternwillnotlieflat Useoneof thethreebasictechniques:
insertingdarts,easing,or flattening,to makethe patternlieflat
51
PATTERN MACIC
@ Drawthe designlinesinanywayyouwant,join¡ngtogetherthecubes

49. 1{I
PATTERN MACIC
Part2
Makingpatternsfor
hautecouturegarments
When I was a srudent,I remember how difficult it was
learning pattern-making off the blackboard.
I achievedthe shapesI wanted by making miniatures
out of paper, flattening them out by
inserting lines and cutting them to make a pattern.
It gave me a great feeling of satisfaction,
but I knew that, logicall¡ it was a dubious way
of going about it.
Playing around with patterns enablesus ro produce
many more designsfor couture garments.

50. I
53
PATTERN MACIC
its
a_: tt vas
-: _::ures
- -*!tr

53. '!
I
I
F
ñp
i
É
I
i
i
PATTERN MAGIC

54. r
57
PATTERN MACIC

55. ;3
F
TF

56. Tyitg a bow A
(Seepage88 for instructions)
Tying a bow C
(Seepage90 for instructions)
Tyittg a bow B
(Seepage88 for instructions)
Tying a bow D
(Seepage92 for instructions)
59
PATTERN MACIC

57. Two distinctexpressions
(Seepage95 for instructions)
An intriguing curve
(Seepage97 for instructions)
60
PATTERN MACIC

58. g
,d
PATTERN MAGIC
Clothes are a way of expressingoneself,
and with this in mind
I'm often inspired by fashionsof the past.
To discover how they were made,
I try drafting the patterns myself, and
sometimescome up with designsthat are
entirely my own.

59. Drapeddesign
An elegantcontrast crearedby light and shade.
Make an easy-to-draftflar pattern
for a draped designthat is usually produced
by pinning and three-dimensionalcutting of fabric.
A right and left intersectingwhirlpool drape
has been insetted into the soper bodice.
lrl,
ivtaKfng tne basicpattern
ffñ!
m
¡
rj
I:
iI
I
l
:
j
1
i
!
3l
;
:
5cm
lcm
0.
1
;:+05cm
H'
t+ 2,5cm
O Insertwaistdartssothat the bodiceisfitted ¡nthe wa¡starea Thebodicefront dartsareclosedwh
area
.rhecentreorthe,ñ ;:;:: il-,."T:r"ffi["-;,lT: ff
*,
a crrcre,consideringthe bulkcreatedbythe tuy.r,ot fuUri. ill tin"connect¡ng(€!@) ,sthedesignlinefor makingth" n","'
"
Divide@@, theradiusofthecircle,intofourequalsect¡onsand
11.,X.*ig."o
openingoutlinesDividethe;;;;;;;;
""0ow€-F(9 ¡ntopanels@ and@ respectively. Lm
lcm
9cm
5cm
BP
9cm
tcm}*'z
4cm
4cm
l
I

60. Intersectthe leftandrightbodicepanelsthroughthe holeandcreatethe drapeddesign.Thelargerthe circle,
themorerelaxedthedesignwill be,andconversely,the smallerthecircle,the sharperthedesign.
Endof
seam
,= Closedadson bothpanels@ and@ andcutandopenout untilthe
distancebetween@ and@ becomes18cminthiscaseAlignpanels@
and@ anddrawsmooth,continuouslines
Tomakethe hole,decidewheretheseamwillendandcallit @
ffi Sewtogethertheareabetween@ to @ on onebodicepanel
:''-: -: and
::,: ,: and
fti Inserttheotherbodicepanelintotheholeyouhavemadeandsew
fromO to@
Sewthecentrefrontfrom@,theendoftheseam,tothehem
63
PATTERN MACIC

61. Complexdrapeddesign(addingonetwistto thefabric)
Theintersectingof the leftandrightbodicepanelsisthe sameason the simpledrapeddesignbodice,
but the addingof onetwistkeepsthe fabricin place,therebyshowingthe modulationsin the design.
Rememberthat the undersideof the fabricwill appearat the front.
Armholeline
@
Q The basicpatternisthe sameasfor the
simpledrapeddesignbodice
Dividethe patternaboveand below@@
into panels@ and@ respectively.
Reversepanel@ to addonetwist.The under-
sideof the fabricappearson the faceside.
Changeihe posit¡onwherepanels@ and@
meetasshownin the drawing.
Side seam
Armholeline
Endof seam
areabetweenpo¡nts@ and@ (18cm inthiscase)
Alignpoints@ and@ anddrawsmooth,continuouslines.
Tomakethe hole,decidewherethe seamwill endandcallit O.
64
PATTERN MACIC

62. thefabric)
- ^ ^ Ai^^
: -¡i On
+_:
@ Wherethe patternhasbeenreverseo Q Reverseonehalfof the bodiceandsewbetween@ and@
@ Inserttheotherhalfof the bodiceintothe holeandtwist @ Sewfrom@ to @ on theotherhalfof thebodiceSewthecentre
frontandfromtheseamendto the hem Becauseof the bulkof the
fabric,makethe holesomewhatlargeandadjustafterassembling
65
PATTERN MACIC

63. cr
¡gil
-l]tf
!¡ilÍ[
iE
Fag*53.#ress
#r-mp:md*$*sigr-r
A dressmadefrom silkcréoefor more
formaloccasions.
Thedrapeddesignaroundthe chestiscreated
with a techniquethat doesnot involvetwisting
and maximizesthe soft,billowyfabric.

64. H
;
+2cm
FRONT
0.5cm 0.5cm
.scm 1.scm
2cm
(f Becausethe necklineiswide,movethe shoulderdartsto the
neckline.Dividethe radiusof the circlefor the drapeon the bodice
front intofour equalsectionsanddrawcuttingandopeninglineson
panel@ Forthe skirtpattern@, drawjustonecuüingandopenrng
linefacingthe endof the darts.
4 equal
pans
Endof
openrng
@ On the bodicefront,
dividethe patternon
eithersideof @@ into
panels@and@ Close
the dartson @ andcut
andopenout.Then
closethe dartson @ and
openout the centrefront
horizontallyuntilaligned
with@ and@ asshown
¡nthedraw¡ng
Sewfrom @ up to the endof the seam,cross
overtheotherhalfintothe holeyouhave
madeandsewthlsalsofrom @ up to the end
of the seamThecentrefront of the skirtisa
ventandthereforenot sewn.lf the opening
bothersvou. sewit down at the back.
67
PATTERN MACIC
@ Forthe bodiceback,closethe
dartsandinserta littleflare.
2cm
Shoulder
WL
l¡ne
)O
@
FRONT
J
L
Neck-

65. -
Th* tre'ist{reeiiri}
fhen you twist a fabric
it becomesnarrower and shorter,
and when you releaseit, it returns to normal.
In a different way from a garment that has a
furrowed drape produced by techniquessuch as
changing the position of the left and right sleeves,
this patern has beenmanipulatedso that the fabric
is twisted round and round [ke a spiral.
eTheoreticallyspeaking,when'a' istwisted,measurement.becomesshorter.However,asthefabric
willlooklikethatinthedrawingontheright,themeasurementwill,in reality,beevenshorter.
eAsthefabricwillattemptto releasethetwist,reducethe easein the hipsto fit precisely.
A designthatincorporateselastictapeor a bandto keepthehemlinein positionandpreventthe
fabricfromreturningto normal,isbest
*As twistingmakesthe waistnarrower,becarefulnotto reducetoo muchat the waist.
aAsneiiriisnota naturalformof thefabric,it willbeeasierif youusea fabricthathashighstretchability.
Thebasicbodice
Astwistingmakesthe garmentshorter,3cmhasbeenaddedto the length
Thewaisthasbeentwistedslightly
6B
PATTERN MACIC
ü
I

66. Threeneiiripatterns
As twistingthe fabricchangesthe shapeof the necklineand
herethe fabrichasbeentwistedonly aroundthe waist.
Twisthorizontally
the armholein a complexway,
$ Move the centreby a measurementequalto 'a' in the oppositedirectionof the twist you want to createinthe fabric,
@ Move bothsideseamlineshorizontallyasshownin the drawing(¡nthiscaselOcm).
@ Redrawthe sideseamlinesto connectthe cornerof the armholeandthe waistandhipareain smoothcontinuouslines.
Twistperpendicularly
Q Manipulatethe centrefront andcentrebackon the pattem by a measurementequalto 'b' (in this case
4cm) in a verticaldirectionoppositeto that of the twist you want to createin the fabric.
(O Adjustthe linesfor the necklineandthe hem,
69
PATTERN MACIC
a= 1ocm

67. Twistboth horizontallyandperpendicularly
Makingthe fabr¡ctwist horizontailyandperpendicurarryat the sametimeisdifficurt,somanipulatethe horizontalpatternusingthe patternihat hasall
Itiseasierirvou
"'
uu".ti.uiiv
'unipurated
panernin*hi.hth";:drii::"##t:r"1"*"J;1'L Adjustthehemrineattheend.

69. Q Basicpattern
Thepatternisthe samefor the front andthe back,andthe simpledesign
wherethe sleevesarepartof the bodiceiscreatedin a knit fabric.No
easehasbeenaddedto makethe garmentfittedat the hip.Stretchthe
necklineopenandcheckthat yourheadfitsthrough lf it doesnot, make
the necklarger.
@ Twistperpendicularly
Manipulatethe patternvertically
in the directionoppositeto that
of the twist you want to create
in thefabric.
O¡T
ilfrGd
O Tw¡sthorizontally
Manipulatethe patternin the direction
oppositeto that of the twistyou want to
create¡nthe fabric,¡nthe samewav asfor the
perpendiculartwist.
72
PATTERN MACIC

70. Page60:A collarwith
two distinctexPresslons
A shirtcollarfromthe backand'whenviewedfromthefront'a double
collar,thisofferstwo variationson a theme'
I combinedpatternsfor two collarsto makethis
l$ Usingthesloper(block),draftthe patternfor the bodicebase
r6
¡ñ DZ----ryl
3cm
Collar/
attachmenl
line
Coilarstandattachmentllne
for@' and@' producedinstepO arealignedut@@
@ lslacedown)'but asthe incllneisdifferent'a gap
)wn in e>O
""¿
thelengthisnot equalOpenouttheslits'
d callthe resultingPattern(9)
95
PATTERN MACIC
intriguingdesign'
With the collar standlng
@ Draftpatternsfor eachof the two cottars
@igl
€) Alignthe collarattachmentlines
of th" t*o collarsCoPYthe collar
standon collar@ to collar@
O makePatternsfor collars@ and
@ withoutthecollarstand;then
makefiveslitsinthe collarrunntng
towardsthecollarstandasshownin
thedrawing
o+@
Thiscollarisconstructedfrompatternpieces@' @' and@ asshownin

71. f
l: dmpledesign
llñ fabric.No
l$. Stretchthe
lldoes not. make
@ Tocreatea softeffectfrom the shoulderto the sleevecap,alignthe leftandrightsleevecapsasshownin the drawing
Thedesignlinesinsertedintothe bodicebackserveasa stylishaccent
@ n stytistrdesignhasbeencreatedby manipulatingthe pattern.
73
PATTERN MAGIC

72. (kakurenbo)
Flideand seek
Not a flare that expands uniformly
by cutting and opening out the pattern, but a flare
that is subtly concealedon the undersideof the fabric.
Making a pattern Íor the kakurenbo design
with a drawing is easierthan you think.
A basicjabot-stylefrill
A gorgeousdecorativeeffectfor the front of a blouse.
Theconnectionbetweenthe sectionthat isvisiblefrom the front and
the sectionconcealedunderneathisimportant.
o'
l[) rtnakea drawingof the frill
you wantto make
(ORttachparts@,@ and@.
Reverse@ beforeattachingorthebacksideofthe
garmentwillbeontop.
@ Smoothlyadjustthe linethat will becomethe
edgeof thefrill
74
PATTERN MAC¡C
-i¡
ml
E
4'
5ú
@ Separateout the variousparts
/
@

73. Ffareconceafedina curve
Thisdesignmakesyou wonderhow the flarehas
beenconcealed.Thefoldedandlayeredlookthat
hasso muchdepthisstructurallybeautifuland
exciting.With that ideain mind,I beganby drawing
somecomplexcuryes.
Q Drawdesignlineson the base.
f
i__
@ @ o
@ Insertlinesin the way the frill wouldfall
si<Jeof the
@ Separateout the variousoarts.
75
PATIERN MACIC

74. @ Returnto @ andmarkthe flarepoints
(pointsfrom whichthe flareisgoingto
appear)inthe placesyouwant to insedthe
flare.Thelinethatdescendsperpendicularly
from the flarepointsbecomesthe cuttingand
openingout linesfortheflare.
@ Alignthe variousparts.
Reverse@ beforealigningor the backsideof the fabric
willbeon too.
76
PATTERN MACIC
@ Cutandopenout andredrawtheflaredhemline

75. Page55.A pinaforewithkakurenbodesign
Thecomplexcurvesof theflaredesignlines
wereincorporatedintothe waistline
of a babydoll-stylepinafore
madefrom a softwoollengeorgette
that neatlyexpressesthe concealedflare.
-18cm
.
1
8cm
Q Drafta patternfor the pinafore
77
PATTERN MACIC
-17cm -

76. I
d
f
.;
rF
I
@ Drawthe curveddesignlineson the bodicefront Finda balance
that setsoff the concealedsection
(O Insertalignmentmarkingsandcuttingandopeningout lines( r )
into the concealedsection.
Thealignmentmarkingswill becomeflarepoints.
@ Reversethe concealedsections,bringthemto thefront, andconnect.
Add flarepoints@@ ina balancedway anddrawthe designlinesfor
theflare(a)
78
PATTERN MACIC

77. @ Add alignmentmarkings@@ to the bod¡ceto serveasmarkings
whensewingthedesignlines.
@ Cutandopenout theamountfor theflare
79
PATTERN MACIC

78. Interwovendesign
In this technique you gather the fabric
and mold it as if it were beingwoven.
I decidedto seeif I could produce a pattern from
the complex beauty created by layers of fabric
woven together that I had once seen
in a fashion magazrne.
If the fabric on the left and the right
are of different colors,
the way in which the fabric intersects
can be seenmore clearly.
() Assemblethe papersloper(block)on the dressform anddrawlines
symmetrically.
Asshowninthe drawing,makealignmentmarkingsin placeswhere
the linesintersect,
(Face side
of the fabr¡c)
Make overcast
stitches hereand
there in the back
80
PATTERN MAGIC
Becausethisdesigncontainsfew seam
allowances,the fabricfrayseasilyand it is
difficultto makethe assembledpiecesof
fabricstayin place Youcaneitherwearan
under-dress,or you canlinethe garmentwith
the samefabricasthe garmentWhenyou
linethe garment,it isadvisableto usea base
patternthathasno intersectionlines,and
sewthe necklineandthe armholestogether
with the outerfabriclayer.

79. .^d dravllines
:::es where
er',seam
s, anditis
: : ecesof
':-:- weafan
r¿¡armentwith
-_ ,','henyou
e :: :se a base
r -es,and
1-
-(
lóoethér
O The partsthat do not passthroughthe bustpoint refuseto lieflat
evenaftercuttingalongthe linesInsertgathersintheseparts,closethe
darts,andcutandopenout Andthencutandopenout the amount
for the gatheringagainThevolumeof the gatheringvariesaccording
to thefabricusedandaccordingto yourpersonalPreference.
@ Cutasshown¡nthe drawingabove.
Becausedifferentfabricshavedifferentgrainsandsomestretchingmay
occurwhenyou interweavethe fabricpiecestogether,cut the fabr¡c
with someease¡nthe hemlineandadiustit at theend
@ Becarefulnotto cuttoo deepMakecub intothefabricupto the
alignmentmarkingsinsertedinstepQ.
@ Interweavethe fabricpiecesfrom the top in the sameway asthe
Iinesyoudrewon the paperon thedressform
81
PATTERN MACIC

80. Page56:Blousewithaninterwovendesign
Usingthistechnique,I createda blousewith leftand rightasymmetry.In cottonlawnfabric,
I madea bambooleafshapefrom the pointsof the fabricthat I cut into.
I did not sewthe pointedsectionsdown,preferringthemto be loose.
ctose'lf
Open
BACK
Q Movethe shoulderdart
to the armhole
cm
2cm
9cm
ll'lcm
,S".
1
1r
Zipper
(left)
1cm r.dá-
@ Drawthe necklineon thebodicebackwith leftand
rightasymmetry
82
PATTERN MAGIC
o
jül[
:5
frÉ

81. d bodicefont.
1cm
@ Drawthe intersectinglineson the
bodicefront
Insertalignmentmarkings@@ for the
¡ntersectionsintothe leftandrightbodice.
@ fold the dartsandcutandopenout the pattern Makethe pointsdecorat¡ve
from the samefabric
@ Copythe leftandrightbodicesseparately.lt iseasierin termsof the patternmakingfor the
intersectinglinesto passthroughthe BP,but wheretheydo not,asinthe rightbodicefront, adjust
the lengthof the armholedaÉasshownin the drawing.Herethe waistdadshavebeenclosedas
you canseefrom the drawing.
Asthefabricistransparentandextremelydelicate,makea lining
83
PATTERN MACIC
8cm

82. Bambooshoot
Page57.Bodicewith
a takenokodesign
In thisexcitingtechnique,layersresembling
the multi-layerednecklineof a formalkimono
arecreatedfrom onepieceof fabric.
i
Theylookexactlylikethe layersof a bambooshoot.
Thelighterandmorefittedthe silhouetteof
the bodice,the morethe shadingin the fabric
standsout.
(takenoko)
tp makea papersloper(block)anddrawtucklinesto createa design
resemblinga bambooshoot.
84
PATTERN MACIC

83. Ele a de*gn
@ Cutintothetucklinesandclosethedartsandflatten Do notcur
abovethe BP
@ Cut intothe fabricalongthe redlines
About1 5-2cmisrequiredto befoldedconsideringthefrayingof the
Seamailowances
@ Extendtheljnestowardstheshoulderandthearmhole,thencutand
openout to createtheamountforthetucks
thetop downwards
@ack side
of the fabric)
Makeovercastst¡tches
heleandthereont/on
-llss¿z¿;4g¿z<z
-zq
PATTERN MACIC
@ Formthetucksfrom

85. 6cm
II
BACKI
I-P.'
Pg"x'
0.5cm
1.scm
2cÁ
I
20cm
Endof
openrng
Page Knotdress
for a knotdressBasicpatternmanipulation
Closethe shoulderdarts
until2cm ooenson the WL
Closethe armholedarts
until2cm oDenson the WL
bcm
Q Closeboththe shoulderdartsandarmholedarb until 2cm openson the waistline,then makea patternfor the dressbase.
Establishthe centreof the knot @ in the positionwhereyou want to createthe bow.
Easeisrequiredin the width of the knot to tie at @. Measureo from @ 13cmin th¡scase)andfrom theredraw cuttingandopeninglines.
Drawthe cuttingandopeningout linesin the positionwhereyou wantto drapethe bow fabric
@ Theamountthathasbeencutandopened
out becomesthedrape.
Decideon theamountto cutandooenout
accordingto the fabricused.
Drawthe patternfor the bow from whereyou
havecut andopenedout.
Thebulkinessof the knot isdeterminedbv
drawingthecurvefrom@
Endof seam
Note:Thecirclednumberat the bottomof a l¡ne¡ndiatesthe numberof centimetresüobeopenedout at that point
87
PATTERN MAGIC
@ Sewthe bow sectioninto a tubularshape
upto@

86. Page59.Tyinga bowA
A designwith a different-shapedbow produced
usingthe samepatternmanipulationasusedfor the
dresson page87.
Q find thecentreof the bow @
Takethez measurement@ which
includesaddedease(4cminthis
case)andfromthere,drawcutting
andopeningout lines
@ Cutandopenout Drawthe patternforthe
bow fromwhereyouhavecutandopened.The
reasonthe bow iscurvedinthiswayisto give
the knotsomebulkiness,buttherearestructural
reasonsalso Stress¡sconcentratedon onepoint
if youmake@ intoanangle,but isdispersed
whenthisismade¡ntoa curve
Page59:Tyinga bow B
An imaginativedesign
in whichoneendof the bow ispartof the bodice
andthe otherendis partof the collar.
Thetwo endsof the bowareloopedandtiedtogether.
At firstsightit seemscomplicated,
but the patternissurprisinglysimple.

87. 2cm
2cm
Endof collar
attachment
$ Drafta patternfor the bodiceusingthe sloper(block)A verticalknot
isoossiblewiththistie
Measurethe widthandbulkinessof the knot,anddrawcuttingand
openingout lines
3cm
7*
Neckline
32cm
f) Closethedartson thebodicefrontandcutandopenout
Drawthe patternfor the bowfromwhereyouhavecut,andopenout
Cuton thefold
@ Passthe verticalgrainof thefabricthroughthe lengthof the bow
to createa large,distinctiveknot A softlookisproducedif youcutthe
fabricon the bias
lf youwantto inserta jo¡nt,posit¡on¡tinsidethe knot
L,On the
fold
HereI haveslightlychangedthetyingmethod
Othertyingmethodsarealsopossible
89
PATTERN MACIC
On the
fold
0 5cm

88. ffmg*59;TyFnge b*w
Twoseparatebowsaretied
towardsthe right
for attractiveemphasis.
Herethe two bows
areof thesamelength,
butonelargeandonesmallbow
wouldalsobeeffective.
Placethesecondbow@ on top of the bowthat¡spartof the
bodiceandsewintheshapeof a tubeupto theendof theseam
@ Measurez (themeasurementto whicheasehasbeenaddedto the
widthof the knot)horizontally,and¡ (themeasurementto whichease
hasbeenaddedto thethicknessof the knot)verlically.
lnsedcutandspreadlines
Wherethecutandspreadlinesdo not passthroughtheendofthe
darts,adjustto makethemendat thedesignlines
90
PATTERN MACIC
ffi rind the centreof the knot@

89. Endof seam
-: :'the
1::.d to the
$ Closethe dartson the bodiceandcut andopenout Fromthe sectionsthat havebeenopenedout,drawthe patternfor the firstbow asan
extenslonof the bodice
29cm @
l lcm
LEFT
S Drawthepatternfor thesecondbow
q$ Reversethe leftandr¡ghtpiecesof the bow instepS; addan 8 x 5cmrectangularpieceforthe knotbetweenthem;alignthethreepiecesand
joinwitha smooth,continuousline
91
PATTERN MACIC

90. Page59:Tyinga bowD
An elaboratedesignisachievedby passing
the bow througha holebeforetying
Theexpressionof the garmentchangesconsiderably
by movingthe positionof the holeup or down,
to theside,or by changingthesizeof the hole.
Anotherexampleof PatternMagicl
__?ithe fold
/l12cm!
On the fold
COLLAR
Endof collarattachment
Draftthe bodicepatternusinga sloper(block)
Theknottedpartof the bow that ispartof the collarsitsbetweenthe
leftandrightholes
Determ¡nethe lengthof the bow,consideringthe lengthof the
intersection,the distancebetweenthetwo holes,andthe sizeofthe knot
0 5cm
2cm
4cm
0
FRONT

91. i¡,:€n tne
: :'$e knot
93
PATTERN MACIC

93. Page60:A collarwith
two distinctexpressions
A shirtcollarfromthe backand,whenviewedfromthefront,a double
collar,thisofferstwo variationson a theme.
I combinedpatternsfortwo collarsto makethisintriguingdesign.
scmlJ @
o+@
COLLAR
,a,4cm!+ (i
s----LL__l
z.5cm:,I
@
Q Usingthesloper(block),draftthe patternfor
7cm
3cm
v o.2cm
@ Draftpatternsfor eachof the two collars
Collarslandattachmentline
Collar
attachment
ltne
f} Alignthe collarattachmentlines
of the two collarsCopythe collar
standon collar@ to collar@
@
@ tvtakepatternsfor collars@ and
@ withoutthe collarstand;then
makefiveslitsinthecollarrunning
towardsthecollarstandasshownin
thedrawing
Withthecollarstanding
Thiscollarisconstructedfrom patternpieces@, @, and@ a5shownin
thedrawins
@ti
@ the patternfor @' and@' producedin step@ arealignedat@tr@
(thepatternfor@ isfacedown),butasthe inclineisdifferent,a gap
opensbetween@@ andthe lengthisnot equalOpenout theslits,
align@@ andcallthe resultingpattern@
95
PATTERN
1scm
the bodice base
@
o
(D'
MACIC

94. 96
PATf ERN MACIC

95. Page60,A collarwithanintriguingcurve
On a sheetof paper,drawa curveandthenfoldalongthe linesof thecurve.
Whenyoubendthe insideof the curveslightly,theoutsideof thecurverisesupand
takeson a completelydifferentappearance.
I appliedthisinterestingeffectto a collar.
Q Usinga sloper(block),draftthe patternfor the bodicebaseMarkthe collarattachmentposition
97
PATTERN MACIC
l.5cm
lA Alignthe shouldersof @ and@ and
measure4.5cmof collarwidthat a right
anglefrom@ on the collarattachmentllne
for @. Thenconnectfrom@ andmakea
drawingfor thefrontof @ insidethecollar.
Becausethe backof thecollarhasa collar
stand,measurethe lengthof the backneckline
andmakea rectangulardrawing
@ Fora softfinish,cuttheunderandtheupper
collarcontinuouslyMakethe uppercollar@
@, @, @ and@ allinterconnectto createa
patternwherethe bodiceandthe collarbecome
one Because@ (thebodice)and@ (thecollar)
arejoinedalthoughthe collarattachmentline
iscurved,whenyouputit on,thecollarfloats
upwardsinthe samewayasthe paperon the
oppositepage,for a completelydifferentlook
Order for sewing together
O Sewtogetherthe bodice@ centreback
@ Sewthe collaredgesfor the collarpatterns
@and@
@ Sewthe collarattachmentlineon the back
bodiceand@.
@ Sewthe front bodiceand@
@ At the collarattachmentline,sew@ to the
bodice
* | haveabbreviatedthe instructions,but
whenyou actuallyconstructthe garment,
attachthe facingto the necklineof the
bodiceandprick-stitchto fastenthe back
collarattachmentpositionandthe facing-in
placeasshowninthe drawing
On the fold
attachmenl
line J.5Cm
FRONT
BP
Faces¡de
of the fabric Attachthefacingandprick
stitchto fasteninDlace

96. A methodformakingafufr-sizepatternfroma harf-scarepattern
Thediagrambelowshowshow to enlargea partof the patternfor the otoshianadress(page19)to producea full_sizepattern.
u will needsomewhite PaPeron whichto drawthe half-scaleand full-sizepatterns.copy the half-scalemuslin(toile)tothe paperpattern.
G)Rlthoughyou canstad from anywhere,the methoddescribedherestartsfrom @.
ila"#"tl1j'trdat
directlyascendsfrom@,drawa linethathits@atarightangle,andmakethepointwherethetwolines
Doubleeachof thetwo measuremenbo anda, bstw...6 and@ andbetween@ and@ respectively,andcopyontothewhitepaper.
@ Nexttakedoublethe measurementof e on the linethat connects@ and@ in a stra¡ghtline.Fromthere,take doublethemeasurementof r ¿1¿ rightangleanddrawa curye.
@Extendthelinefrom@to@bytx2.Markthatpoint@andmeasure¡x2atar¡ghtangletomeet@.
end@-@' taketwicethe measurementof ¡ and mark@. From@, taketwicethe measurementof a at a rightangleandit @.Againtaketwicethe measurementof x andr at a rightangreandmakeit @.
Drawguidelineson thehalf-scalepatternandby doublingtheguidelines,doublethepatternlinesandcopyontothewhitepaper.
f
tx2
98
PATTERN MACIC

97. üvo lines
le paper.
u¡ble the
ngle and
b paper.
The basisfor pattem deuelopmentis the
Bunka-stylesloper(block)
for an adultwoman
The Bunka-stylesloper(block) createdfor the body shapeof the modernJapanesewoman is constructedth¡ee-
dimensionallyandfittedto the bodywith darts(bustdarts,backshoulderdarts,waistdarts).
Bust(B),waist(!7) andcentrebacklengthmeasurementsarerequiredto drawthesloper(block).Themeasurements
for eachpart of the body are basedon the bust measurement,and the sizeof eachdart hasbeencalculatedfrom
the bustand waist measurements.Eachwaist dart is calculatedby the formula-bodice - (UIlz + 3)-where 3cm
is the amount of easeadded.Precisecalculationsarerequiredfor a neatfit, but drawingswill be relativelyeasyif
you referto the quick referencetable of measurementsfor differentparts of the body.Pages101 and 'I-.02feature
half-scaleslopers(blocks)for youto usefor eachofthe bustsizes:77,80,83, 86 and 89cm.
Quickreferencetableof measurementsfor differentpartsof the body (Unit:cm)
B
Eody
width
B^
@-BL
B.^_
- + tJ.t
12
Back
width
- + I-4
8
BL- @
f,+e.e
Che5t
w¡dth
B ^^g
+o.¿
B
32
B
32
Frcnt
neckline
w¡dth
E+3.4--@
Front
neckline
depth
@+0.5 ,;-;
Back
ntrkline
width
@+0.2
Back
shoulder
darB
B ^^
32
-
''o
77 44.5 20.1 17.O 23.7 15.8 6.6 7.1 16.8 6.8 t.o
78 45.0 20.2 17.2 23.9 16.0 2.4 6.7 7.2 17.O 6.9 1.6
79 45.5 20.3 17.3 24.1 16.1 2.5 6.7 7.2 11.3 6.9 1.7
80 46.0 20.4 17.4 24.3 16.2 ¿.c o./ 7.2 | /.c 6.9 1.7
81 46.5 20.5 17.5 24.5 2.5 6.8 7Q 17.8 7.0 1.7
82 47.O 20.5 17.7 24.7 to.c ¿,o 6.8 7.3 18.0 7n 1.8
83 47.5 20.6 17.4 24.9 16.6 2.6 6.9 7.4 18.3 7.1 1.8
84 48.0 20.7 17.9 25.'l 16.7 2.6 6.9 7.4 18.5 7.1 1.8
85 48.5 20.8 18.0 ¿4.ó 16.8 2.7 6.9 7.4 18.8 7.1 1.9
óo 49.0 ¿v,Y 18.2 ¿c.3 17.O 2.7 7.O 19.0 7.2 1.9
87 49.5 21.0 18.3 25.7 17.1 2.7 7.O 7.5 19.3 7.2 1.9
88 50.0 21.O 18.4 25.9 17.2 2.8 7.1 7.6 19.5 7.3 2.O
89 50.5 21.1 18.5 26.1 17.3 2.8 7.1 7.6 19.8 7.3 2.O
Waistdartmeasurement-Quickreferencetable
(Unit:cm)
99
PATTERN MAGIC
Total dartsvolum€
100%
o o a
7o/o lAyo 35o/" 11o/" 15/" 14o/o
I 0.6 t.o J. l 1 1.4 1.3
10 0.7 1.8 3.5 1.1
.tE
1.4
11 0.8 2 3.9 1.2 1.6 1.5
12 0.8 2-2 4.2 1.3 1.8 1.7
12.5 0.9 2.3 4.3 1.3 1.9 1.8

98. FRONT
Ao
Makinga drawingof a sloper(block)
;;?üil?ffÍ3;j:f¡:iXjilf"Ththe
bodiceandthesleeve,butonrvthemethodordrawingabodicesroper(btock),used
Basiclines
oCentre
back
length
Curved
@ @
@
Chest
width FRONT
line
^oI + 6.2cm
--ó
=
B
Á
@
B
8cm
t-----,@.-
@
Back
width
line
@
V^
-J',
lcmG) (El
BACK i,
G
u,ccm;
ñv
z+7.4cm I
--8
.-
Centre
back
line
Bodywidth=(f+6cm)
B
Cq
,aI
B
12
rO)
' + 8.3cm
9+ s.¿cm=@)
24
@+ 0.5cm
Firstlydraw the basiclinesfor the bodice.
Accuratelymeasureeachpartof the body
anddraw linesin the orderof O to @ The
numbersin the guidetablearealsoarranged
for readingin orderfrom the leftto helpyou
proceedwith patterndraftingin that order.
lvlakethe amount
that is opened
out ¡ntoease
¡n the armhole
After drawingthe basiclines,drawthe curved
linesof theneckline,shoulde¡andarmhole.
andfinallythe darts
Tipsformovíngdarts
when you closethe waistdartswith @ asthe pivotalpoint,the armholeopensa smallamountto provideeasein the armhole.Thewaistdartson the sloper(block)aremarkeiwhenusedfor putt.rnJiurtingiJti"uu beenomittedwherenot required.
Makethe amount
that is opened
out into ease
in the armhole
100
PATTERN MAC¡C
+

99. Copyat 2@7" on a photocopierto makethefull-sizedpattern.
77cm
80cm
83cm
86cm
89cm
86cm I
b bodice.
b body
o8. th"
larranged
otrclpyou
¡t order.
rtfie curved
l¡mhole,
n armhole.
-ed.
Bunka-ülesloper(block)foranadultwoman(SizeM)(halr-scale
101
PATTERN MACIC

100. Bust(B) Waist(W) Backlengtt
77cm 58cm
38cm
80cm 61cm
83cm 64cm
86cm 67cm
89cm 70cm
I
Inco4
¡".,r*.j
I
thatrm{
wayfm{
aromdüd
I
a seredl
wth rder¡l
andiss¡{
studem{
r*o'u{
I
indudql
shomrl
77cm
80cm
83cm
86cm
89cm
86cm 83cm80cm 77cm
102
PATTERN MAGIC

101. Bunka-ülesloper(block)foranadultwoman(SizeM)(halr-scale)
Copyat2Cxi'%on a photocopierto makethefull-sizedpaüern'
77cm
80cm
83cm
86cm

102. Bust(B) Waist(W) Backlengtl
77cm 58cm
38cm
80cm 61cm
83cm 64cm
86cm 67cm
89cm 70cm
F
{t
ir
a¡
¿
rd
Ir
d
¡b
77cm
80cm
83cm
86cm
89cm
89cm 86cm 83cm80cm
102
PATTERN MACIC

103. D|n
BL
N|L
In conclusion
Just like works of art, garments come in various kinds: garments wiü visual mpact, garments
that react to the movement ofthe bod¡ garments for casual wear-but there is no one prescribed
way for how they are made. The history of clothing began with the wrapping of a piece of fabric
aromd the bod¡ so you should let your mind be free and approach the making of garments with
a sense of frm. Ideas for garments are arguably infinite. I have always believed in experimenting
with ideas. This book contains pattems that I have created based on a trial-and-error approach,
and is supplementary to the teaching materials used at the Bunka Fashion Open College for
students who may find pattem-making difficult.
I would like to express my appreciation to many people for their help in this publication,
including Ms Kasai Fujino, from whom I received advice about slopers, and everyone who has
shown an interest in this book.
103
PATTERN MACIC
LIOTHCA
Diseño lr¡di¡rq:'";

105. ::=$ r-"F-'@e-'E--
,ilffiil,ffiilt,rr.'ñ'rf,i,i i¡l:l${CeKl. E :O*