CHAPTER ONE

Introduction to Patternmaking

Introduce students of fashion design and patternmaking to the industry's terms, tools, and equipment.Basic information about the type of paper used for patternmaking, fabric grain lines, pattern labeling, seam

allowance, hem allowance, pattern marking, grading a size range, and names of the body form parts will prepare

students to proceed through the rest of the course. Students who have extensive knowledge of sewing using

commercial patterns will find that the fashion manufacturing industry has its own standards for widths of seam

allowance, pattern marking such as notches and punch holes, and time-saving construction methods. For example,

the seam allowance depth on a pattern's neckline produced by a fashion manufacturer is narrow, usually 1/4 inch, to

eliminate the need for the person sewing the garment to grade the seam allowance by cutting the seam allowance

layers with scissors. Knowledge of sewing techniques is very valuable for a pattern maker but beginning students

can successfully learn patternmaking and sewing simultaneously if they have an aptitude for working with their

hands and are able to visualize patterns and garments in a three-dimensional manner.

1. Pattern drafting

I) Pattern drafting is a design process that involves taking measurements from a person's body or a

body form, (usually) adding ease to these measurements, and then transferring these measurements

onto a paper pattern. This is done using pencils, tape measures, rulers, curves, scissors, and tape. The

finished paper pattern is placed on top of fabric to use as a guide to cut out garment pieces.

II) Flat patternmaking is a design process in which a base blocks, or sloper, is used to create a pattern

for a new style. The sloper is traced and then set aside. The traced copy is converted into a new style

using one or more Patternmaking techniques. These techniques include adding fullness, contouring,

pivoting, and slash and spread.

Optional extra front length for men

With protruding abdomen

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III) Fitting the body

Patternmaking has come a long way since people first started cutting shapes out of fabric instead of just wrapping

large sections of it around themselves. As people made clothing fit closer to the body they found that non-stretch

fabrics need to be shaped by placing darts, pleats, gathers, or stylelines at strategic areas for the fabric to fit

smoothly over the contours of the human body.

Stages of pattern Making

The pattern making process begins with a fashion designer's idea, from which a first pattern is drafted, flat patterned

or developed on a computer. A first sample of the new style is then cut and sewn. The first sample is fitted to a body

form, a live model, or both. There are almost always changes made to the first pattern, either to improve fit or adjust

the garment's style. A second sample is cut, sewn, and fitted. Further changes may be made, and more sample

garments may be cut and sewn, until the designer, pattern maker, in-house merchandiser, and company owner, all of

these are satisfied. At this point, more samples are made for in-house salespeople and sales representatives who

show them to prospective buyers for retail establishments, or the manufacturer may sell directly to the public. Once

a style is deemed worthy of being put into production, the pattern is sent to the production patternmaker who

prepares the pattern for grading into a size range. The production pattern must be as perfect as possible so that errors

are not transferred onto production garments, numbering hundreds or thousands for large companies. This is only

one way of producing patterns; each company has its own system. For example, employees of small companies may

be responsible for more than one part of the production process. Some companies are so small that the designer does

all of the pattern work and maybe even the cutting and sewing.

Key terms in pattern making

There are some terms you will need to know and understand:

A) Fabric grain lines

Straight grain line

Fabric grainlines are important to understand and use correctly or your garments will not hang properly and will

twist. When fabric is woven on a loom, the first yarns that are placed on the loom are called the warp grain or the

straight grain. These yarns run the length of the fabric so if you have three yards of fabric, the warp grain yarns are

three yards long. The warp grain has the most strength and the least amount of stretch in a woven fabric because

there is tension on the yarns when they are set in the loom. Usually, garments made of woven fabric use the warp or

straight grain up and down the body. Garments hang well when cut out of fabric this way, as long as the pattern

pieces have been made correctly.

Cross Grainline

After the loom has been set with warp grain yarns you begin to weave the weft grain yarns or cross grain. These

yarns run across the width of the fabric from side to side or selvage to selvage and are at a 90-degree angle or right

angle to the straight grain. The selvages are the tightly woven edges that run along the outer length of a bolt of fabric

and are parallel to the straight grain.

Occasionally a garment will be cut with the weft or cross grain up and down the body instead of around the body.

This might be done when there is a border design that is on one or both edges of the fabric that is featured on the

hem. The fabric will hang differently if cut on the cross grain, especially if there are gathers or pleats. The gathers or

pleats will not lie flat and will puff out, away from the body.

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Bias Grainline

Another way to cut garments out of fabric is to use the bias grainline. If you take the perfect cross grain (torn edge

or pulled thread) and place it on the perfect straight grain (torn edge or pulled thread) you will have a diagonal fold

that is a perfect 45-degree angle to the straight or cross grain. This 45-degree angle line is called true bias. When a

garment is cut with the true bias up and down on the body, the garment will stretch and cling to the body. This is

one way to make garments fit a wider range of figure types just as knits do, but it uses more fabric per garment and

can be difficult to sew without getting ripples or stress lines on the seams. A strip of bias fabric may be used to bind

garment edges or finish off raw edges of seams.

Pattern Grain line

Pattern pieces have grain lines drawn on them, so they are placed on the fabric. For the garment to be cut properly.

The grain line is drawn as a straight line that runs from edge to edge of the pattern piece, with arrows on it to

distinguish it from other lines on the pattern. The grainline can be drawn in various places on the pattern, depending

on whether the garment is cut on the straight, cross, or bias grain line; however, when placing the pattern on a piece

of fabric, the grain line drawn on the pattern piece is always laid parallel to the straight grain and selvages of the

fabric.

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B) Pattern Labeling

Pattern labeling ensures that the people who use your patterns will use them correctly, as you intended. Each pattern

should have a style number. This number usually has some significance. For instance, the first number may tell you

what year or season the style was created; the second number may tell you whether the garment is a shirt, pant, or

jacket; and the last two numbers may indicate the style itself.

When drafting first patterns you usually write the name of the pattern piece for easy recognition such as shirt front

or collar.

You should also have the size of the garment, usually written as a number such

Lining and Interfacing

Lining is any fabric used on the inside of a garment that hides the construction of the garment. It may also be used to

reduce bulk in a garment, such as the pocket lining or the back in the vest style shown in below figure Label lining

pattern pieces with the word "lining" in red ink. You might also use a stiffener fabric called interfacing inside

pieces such as the front facing to give them more body and to retain their shape. Pattern pieces that will be cut in

interfacing fabric should be labeled with the abbreviation "intT' in green ink.

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Interlining and Underlining

Some garments have an inner layer of lining called interlining that is sandwiched between the self fabric layer and the lining

you see on the inside of a garment. An interlining might be used to give extra weight and stability to a garment, or it might be

used as insulation in cold weather wear such as batting in a ski jacket. The word "interlining" is color coded in orange ink. An

underlining fabric layer might also be used in some garments to add stability to flimsy self fabrics or additional support across

the upper back of a jacket. The word "underlining" is color coded in yellow ink. Fashion manufacturers have their own systems

to label and color code pattern pieces. A color code is provided below. You may customize your color code system.

Fold Line

First patterns or original drafts are usually drawn onto lightweight paper that creases easily for truing darts or

pleats. First patterns may be "half' patterns. For example, you draft one sleeve but write "2- self' so it is cut with a

right and a left sleeve, or you draft one half of a back shirt and write "I-self on the fold." The fabric is folded with

selvage edges together, and the pattern piece is placed with the center back against the fabric fold. This results in a

full back shirt with right and left sides attached in the center. To indicate this type of cut layout, draw a fold line

against center back.

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C) Non verbal Communication in pattern Making

The fashion industry uses nonverbal communication on garments in the form of notches. Notches are clips or slices

cut into the seam allowance on a pattern or garment piece. These let the person sewing the garment know whether

the garment piece is for the front or back. If there are several garment pieces that look alike, notches may indicate

which pieces match together and what order they go in. This is done by adding one more notch to each seam as it

goes around the body. Notches also mark the width of a dart, pleat, or tuck, or can be used to control the placement

of gathers. Notches may also be used to indicate seam allowance width. However, not all manufacturers use notches

to mark seam allowances. It can be costly to have several notches on each pattern piece. Although one notch is cut

through all the layers at once, it is possible to cut notches too deep, so use them sparingly.

Punch holes and circles

Punch holes are tiny holes that may indicate pocket or dart placement. Punch holes in fabric are made with an awl.

Since you are making holes in the garment, they need to be placed so they will be hidden. To mark the placement of

a pocket, mark punch holes 1/8 inch inside the pocket placement outline. Punch holes are marked on pattern pieces

with a screw punch, which punches out tiny holes. To mark a double-ended dart, the middle section of the dart

intake or dart

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1. Heavy paper (manila paper) for slopers and production patterns

2. Muslin

3. Clear tape, approximately 1/2inch wide

4. Straight metal rulers in various lengths: 36,48, and 60 inches

5. Pattern paper, solid paper in white or other light colors

6. Tissue paper (lightweight, pliable paper) used to test pattern fit

7. Pattern hole punch, makes 3/4 inch diameter hole through which to put a pattern hook

8. Tape measure

9. Straight pins, size #17

10. 90-degree angle metal ruler or "L" square, the longer the better

11. Hip curve, metal or plastic, also called vary form curve rule

12. See-through plastic ruler 18 inches by 2 inches with a lja-inch grid spacing

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13. Pattern hooks to store a completed pattern and its pattern chart (in front)

14. Needlepoint tracing wheel

15. Awl to make tiny holes through fabric to mark punch hole placement

16. Screw punch to make tiny punch holes in paper patterns to mark punch hole placement

17. Push pins

18. Weights to hold pattern pieces in place while they are being traced or to keep markers in place

19. Marker paper, which has a printed grid with letters and numbers, also called dot paper

20. Notcher

21. Hard pencils, which leave a finer line than soft ones

22. Pattern snips for cutting heavy pattern paper

23. Rotary cutter (you need a surface you can cut on such as Styrene lj16-inch thick sheet)

24. Colored pencils or pens for color coding and for corrections on patterns

25. Fabric scissors, which you should use only for fabric so that they stay sharp longer

26. Paper scissors, which you should use only for paper since it dulls the

blades more quickly than fabric

27. Circle template for drawing button or snap placement on patterns

28. Plastic curves in various shapes

29. Triangle marked with degree angles

Body Forms

A body form or a fit model is necessary for pattern making. It's easier

to work with a body form than with a live person. You can't poke pins

into a person. You can't remove their arms to make certain patterns

easier to fit. Alternatively, a person can tell you if something feels

uncomfortable. They can sit, walk, bend over, and raise their arms.

This is very helpful when test fitting a garment to see if people can

move in it comfortably. I t is best to use a body form that has legs so

you can make pants and shorts. If a body form with legs is not

available, you will need to find a model to fit these styles.

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CHAPTER TWO

Taking Measurements of Body Forms (and Live Models)

The ability to take accurate measurements from body forms and live models is an important skill that all

patternmakers should possess. In many ways, working with a body form is easier than working with a live model

because you can stick pins into and draw on them, they are always available, and they never gain or lose weight.

Live models need to be treated gently, with respect, and they are liable to gain or lose weight. However, your final

garment created on a body form will also be for a person to wear. Live models are very valuable because they can

sit, walk, bend, and thus tell you if the garment you have made is comfortable and practical.

A professional patternmaker must have a full-scale model for fitting patterns and garments. The patternmaker must

take very precise measurements from the fit model and record them for future use. These measurements are used to

draft very basic pattern pieces called slopers, the slopers and the fit model measurements are then used to create flat

patterns of the rest of the styles in this text, as well as your own designs. Measurements must be taken from a body

form or live model carefully, keeping in mind that any mistakes will be transferred onto the patterns and will cause

fit problems. If you wish to make patterns based on your measurements, have someone else measure you. It is very

difficult to take your own measurements accurately.

Checklist for Taking Men’s Measurements

1. Select a body form or live model; you will need a body form with legs or a fit model to make patterns for

pants and shorts.

2. To measure a body form you will need straight pins, narrow ribbon or twill tape, an accurate flexible tape measure, a

48-inch to 60-inch-Iong ruler (to check horizontal levels); a carpenter's level is optional.

3. To measure a live model you will need straight pins, narrow elastic, thread for tailor tacks or chalk, an accurate flexible

tape measure, a 48-inch to 60-inch-Iong ruler or a carpenter's level (to check horizontal levels). The live model should

wear underpants and a full bodysuit (or a bodysuit that reaches at least to mid-thigh), which can be marked and sewn on

with elastic.

4. Save a copy of the measurements from this chapter so you can fill it in and save it for future use. These measurements

will be referred to throughout the textbook.

How to prepare t h e men Body Form

1. If you are measuring a body form, you will need to establish a few points from which to measure. Place a straight pin 1

inch elbow the armhole plate at the side seam to mark the underarm-side seam intersection. Leave this pin in the form

for reference.

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2. Place a pin at the edge of the shoulder tip/armhole intersection. This point is located at the shoulder seam where the

shoulder tip begins to curve downward toward the armhole plate.

3. Place a pin directly across from the screw in the armplate, measured ¼ inch into the fabric away from the plate only on

the front, to mark the front mid-armhole point.

4. Establish the chest level. On the front of the form, there are slightly curved mounds that denote the chest. The largest

circumference of the chest needs to be marked. This level is usually close to the underarm pin at the side seam. Pin a

length of narrow ribbon or twill tape around the body form at this level and parallel to the floor to establish the chest

level. Measure from the floor with a long ruler or carpenter's level.

5. Establish the waistline. On most body forms, the waistline is marked with a woven tape. If your body form does not

have an established waistline, measure the form to find the smallest circumference between the chest and hips, and pin

ribbon or tape around the body form at this level. Waistlines are not necessarily perfectly parallel to the floor. On adult

males, it is normal for the waistline to dip at the center front. However, you should make sure that the waistline at the

side seams measures the same distance from the floor on the right and left sides. The waistline seam is measured at the

center of the waistline tape.

6. Establish the hip level. Find the largest circumference of the hips and buttocks area by measuring at several levels

along the lower torso. Once you've determined the level of the largest circumference, mark it with ribbon or tape

parallel to the floor to establish the hip level. This level will not necessarily touch the hip bones and may therefore be

lower, nearer to the crotch level.

Upper Torso Measurements

#1 Total shoulder girth level = _________________________________

Measure all the way around the upper arms and body with a tape measure, keeping it parallel to the floor. If the

body form does not have arms, see standard table to find the shoulder girth measurement that corresponds to the

shoulder width and chest circumference of the form.

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#2 Total chest level = ________________

Measure all the way around the largest circumference of the chest with a tape measure, keeping it parallel to the

floor.

#3 Total abdomen level = ______________________________

Measure all the way around the largest circumference of the abdomen (usually at the belly button level on a live

model) with a tape measure, parallel to the floor.

#4 Total waist level = ________________________

Measure all the way around the smallest circumference of the torso at the natural waist.

#5 Shoulder seam = _________________________

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

#6 Half the front neckline = _______________________

Measure from the high neck point around to the pit of the neck. Men's sizes have designated neckline measurements

that correspond to their chest measurements. Look up the neckline circumference for the model's size in Table 2.1,

and, add ½ inch ease for the finished neckline total. For example, a size 40 chest has a 151/2 inch neckline, so you

would add 1/2 inch ease to get a finished neckline total of 16 inches. Measure the fit model's total neckline

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circumference. Adjust the center front neck depth so that the total neckline circumference matches the set neckline

for his size plus 1/2 inch ease. Do not change the back neck depth.

#7 Center front neck to shoulder tip = ____________

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

#8 Half the front to mid-armhole = ________________

Measure from center front to the mid-armhole point at the pin.

#9 Half the front chest = ________________________

Measure from center front along the chest level to the side seam, parallel to the floor.

#10 Half the front abdomen = _____________

Measure from center front along the abdomen level to the side seam, parallel to the floor.

#11 Half the front waist = ________________________

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

#12 Half the back neckline = ________________________

Measure from the high neck point around to the center back neck.

#13 Center back neck to shoulder tip = ______________________

#14 halfway across shoulder blades = _____________________

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

waistline. Using the one-fourth measurement, measure down from the neck, and mark at center back for the

shoulder blade level. Obtain the "halfway across shoulder blades" measurement by measuring from center back to

the edge of the armhole plate or the pin.

#15 Half the back chest = __________

Measure from center back to the side seam along the chest level, parallel to the floor.

#16 Half the back abdomen = __________

Measure from center back along the abdomen level to the side seam, parallel to the floor.

#17 Half the back waist = ________________

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

#18 Dart placement = _________________

Measure from center back waist over to the side seam/waist intersection, divide by 2, and add 1/2 inch. Write the

resulting measurement in the #18 space.

#19 Side seam length = ____________

Measure from the pin placed 1 inch below the armhole plate down to the side seam/waist intersection.

#20 High neck point to front side seam = _______________

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

pin.

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#21 High neck point to back side seam = ______________.

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

pin.

#22 Center front length = __________

Measure from the pit of the neck down the front to the waist. Do not curve the tape measure in under the abdomen

#23 Front total length = ____________________

Measure from the high neck point over the chest down to the front waist. Do not curve the tape measure in under the

abdomen.

#24 High neck point to front chest level =______________________

#25 shoulder tip to center front waist =_____________________________

Measure from the shoulder tip, over the chest and down to the center front waist. Do not curve the tape measure in

under the abdomen.

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#26 Center back length = _______________

Measure from the back neck down to the waist.

#27 Back total length = ____________________

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

#28 shoulder tip to center back waist=__________________

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

How to Check Your Measurements

• Add #9 (half the front chest) and #15 (half the back chest) together: -------+ -------

______ ' Now multiply by 2: _____ x 2 = ' this number should equal #2 (total chest level): ' If not, check your measurements

again,

• Add #10 (half the front abdomen) and #16 (half the back abdomen) together: + _ _____ ' Now multiply by 2: _____ x 2 =, this

should equal #3 (total abdomen level), If not, check your measurements again,

• Add #11 (half the front waist) and #17

(Half the back waist) together: -------- Now multiply by 2: x 2 _____ ' this number should equal #4 (total waist level), If not, check

your measurements again

Lower Torso and Leg Measurements

These steps are shown on a body form, but the same measurements apply to a live model. The live model should not wear shoes

when you take these measurements. If you are measuring a body form, it will not have feet, and it might not have legs, either.

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Find the lower torso and leg measurements that correspond to the body form's size and height in Table 2.1. Use the form's center

back length and high neck point to front chest level as a gauge to determine the body form's total height.

#36 Total hip level = ____________________

Measure completely around the largest circumference of the hips and buttocks, keeping the tape measure parallel to the floor.

#37 Hip depth at center front = _________________

Measure from center front waist level down to the hip level.

#38 Hip depth at side seam = ______________________________

Measure from the side/waist down to the hip level along the side seam.

#39 Hip depth at center back = ________________________

Measure from center back waist level down to the hip level.

#40 Half the front hip = _____________________

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

#41 Half the back hip = _______________________

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

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#42 Outseamlside seam to floor = _______________

Measure from the side/waist along the side seam to the floor. Remember that if you are using a live model, he should not be

wearing any shoes.

#43 Inseam to floor = _____________________

Measure from the center of the crotch straight down to the floor. Again, the live model should not be wearing any shoes.

#44 Crotch depth = ____________________

To determine the crotch depth, find the difference between #42 and #43, which gives you #44. To check this

measurement on a live model, have him sit up straight on a flat surface, and measure from the surface (at his crotch

level) up to his waist level along his side seam.

#45 Outseam to ankle = ______________________

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

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#46 Inseam to ankle = _________________

Measure from the center of the crotch down the inner leg to just above the ankle

bone.

#47 Crotch length = ______________________

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

buttocks.

#48 Total thigh circumference = _________________

Measure completely around the largest circumference of the upper thigh.

#49 Total calf circumference = ________________

Measure completely around the largest circumference of the upper calf.

#50 Knee level from waist = _____________________

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

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#51 Knee level to ankle level = _________________

Measure from the middle of the knee down to just above the ankle bone.

#52 Total ankle circumference = ______________________

Measure completely around the smallest circumference of the ankle just above the ankle bone.

#53 Foot circumference = _________________________

Have the model point his toes so you can measure around the widest part of his heel.

How to Check Your Measurements

Add #40 (half the front hip) and #41 (half the back hip) together: + _______ . Now multiply by 2: x 2

_____ . This number should equal #36 (total hip level). If not, check your measurements again.

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Chapter Three

Drafting the Sloper Set

Sloper is a term that is given to a very basic set of pattern pieces that are used to flatpattern almost any style.

Flat patternmaking is a design process in which a sloper is used to create a pattern for a new style by tracing the

sloper onto pattern paper and then manipulating the traced copy. The basic sloper set consists of the following items:

Front upper body

Back upper body with waist dart

A fitted sleeve with elbow dart

Front trouser

Back trouser with waist dart

An upper body sloper is a garment piece that covers the male body from the shoulders down to the waist (the upper

torso).

A trouser is a garment that covers the body from the waist down to the top of the shoes and covers each leg

separately. It fits loosely around the low hip and thighs, hanging almost straight down from the hip level without

cupping under the buttocks.

Later chapters will introduce additional slopers, including the dartless jean, the jacket, and the coat slopers. The

basic sloper pieces are simplistic as far as style but are not necessarily simple to make. Very careful measuring

techniques and fittings are required to complete a sloper set that fits well. All of the sloper pattern pieces include

ease. Ease is extra width or length that is added to achieve a comfortable fit. Write on your finished sloper pieces the

amount of ease each area includes, to serve as a reminder when you use them to create other styles.

Some pattern makers create new pattern styles by using body measurements or by draping (making a pattern by

placing and shaping fabric on a body form). While using these methods results in good patterns, it requires more

work than creating new styles using a sloper set because the patternmakers have to start from scratch each time they

create a new style. The sloper pattern pieces outline the boundaries of the body parts they cover. A sloper pattern set

establishes the length, width, and placement of the chest level, waist level, hip level, neckline, armhole, shoulder,

side seams, and so on. New pattern styles may be flat patterned quickly by tracing the portions of the sloper pieces

that relate to the new pattern shape. Then you create a new style by using patternmaking principles such as dart

manipulation or adding fullness. Since you will create numerous new pattern styles using the sloper set as a

template, make sure you fit your slopers as perfectly as possible, therefore reducing the need for future fit

corrections. Although the body proportions of men's sizes 32 chest up to 54 chest are different, the instructions in

this chapter will work for all of these sizes.

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Checklist for Drafting the Sloper Set

1. A body form or a live fit model

2. A copy of the fit model's measurements

3. White pattern paper, strong enough to be folded without tearing

4. Heavy pattern paper (manila) for the completed sloper set.

5. Light- to medium-weight muslin or other woven fabric that does not stretch.

6. Tools: lead pencil, red or blue colored pencils or pens, 18-inch see-through ruler, paper-cutting scissors, tape,

French curve, hip curve, L-square, triangle with 45-degree angle, measuring tape, pushpins, calculator, straight pins

(size 17), weights.

Drafting the Upper Body Sloper for Men's Sizes

This pattern draft includes ease in the instructions:

Total chest-level ease = 2 inches

Total abdomen-level ease = 1 inch

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Front upper body sloper

Measurements needed (Figure 1):

#5 (shoulder seam) = ___________________________

#7 (center front neck to shoulder tip) =____________________

#9 (half the front chest) = _______________________

#22 (center front length) = _________________________

#23 (front total length) = ___________________________

#24 (high neck point to front chest level) =______________________

1. Center front. Draw a line from A to B that equals #23 (front total length).

2. Chest width. Starting at B, draw a line at a 90-degree angle to the A- B line (center front). Measure along this line

to C, equal to #9 (half the front chest), but add 1/2 inch for ease. From C, extend a line upward, parallel to the A- B

line, two thirds of the length from A to B.

3. Draw a line at a 90-degree angle to the A- B line (center front) from A to D, equal to # 7 (center front neck to

shoulder tip). Draw a 4-inch line down from D, parallel to the A- B line.

4. Center front. Starting at B, measure up along the A-B line and mark E, equal to #22 (center front length). E is the

pit of the neck. The line from B to E is the final center front and can be drawn in red or blue pen or pencil.

5. Lower neck guideline. Starting at E draw a 4-inch line at a 90-degree angle to the center front.

6. Shoulder tip. Starting at B, draw a line that intersects the D guideline, equal to #25 (shoulder tip to center front

waist) but add 1/4 inch for ease. Label the intersection as F.

7. Shoulder seam. Starting at F, draw a line that intersects the D-A line, equal to #5 (shoulder seam). Label the

intersection as G. The line from F to G is the final shoulder seam, and can be drawn in red or blue.

8. Upper neck guideline. At a 90-degree angle to the F-G line (final shoulder seam), draw a line down from G that

intersects the E guideline, and label the intersection as H.

9. Chest level. Starting at G, draw a line down toward the B-C line, parallel to the A-B line (center front), equal to

#24 (high neck point to chest level). Label as I. Draw a line at a 90- degree angle to the A- B line that intersects with

I, and label the intersection as J. This is the front chest level.

Figure 1 Figure 224

Measurements needed (Figure 1):

#8 (half the front to mid-armhole) = _____________

#10 (half the front abdomen) = ______________

#19 (side seam length) = _________________

#20 (high neck point to front side seam) =____________________

10. Underarm/side seam corner. Starting at G, draw a line that intersects the C guideline, equal to #20 (high neck

point to front side seam) but add ¼ inch for ease. Label the intersection as K.

11. Side waist guideline. Starting at B, measure along the B-C line, and draw a guideline parallel to center front,

equal to #10 (half the front abdomen), but add '/4 inch for ease. Label as L. The upper body sloper will include more

than 1 inch of ease in the waist. This provides ease for protruding abdomens.

12. Side seam/waist corner. Starting at K, draw a line that intersects the L guideline, equal to #19 (side seam length)

and make a cross mark. Label the cross mark as M for the side/waist intersection. The line from K to M represents

the final side seam and is drawn in red or blue pen or pencil.

13. Mid-armhole guideline. To find N, use one third of the measurement from the A-B line. Starting at A, measure

down to N. Draw a line at a 90-degree angle to the A-B line from N to 0, equal to #8 (half the front to mid-armhole).

Draw a line that extends 2 inches above and below O.

14. Lower armhole guideline. Starting at K, draw a 2-inch line for the armhole curve at a 90-degree angle to the K-

M line.

The Back upper body sloper

Measurements needed (figure 1):

#2 (total chest level) = ________________

#5 (shoulder seam) = ________________

#13 (center back neck to shoulder tip) =_______________

#15 (half the back chest) = _____________

#17 (half the back waist) = ______________

#18 (dart placement) = ______________________

#19 (side seam length) = ___________________

#21 (high neck point to back side seam) =______________

#26 (center back length) = ______________________

#27 (back total length) = ______________________

#28 (shoulder tip to center back waist) =_______________

19. Center back. Draw a line from A to B that equals #27 (back total length).

20. Chest width. Starting at B, draw a line at a 90-degree angle to the A-B line (center back). Measure along this line

to C, equal to #15 (half the back chest) but add 1/2 inch for ease. From C, extend a line upward, parallel to the A-B

line, two-thirds of the length from A to B.

21. Draw a line at a 90-degree angle to the A-B line (center back) from A to D, equal to #13 (center back neck to

shoulder tip), but add 1/2 inch for ease (the back shoulder eases onto the front shoulder). Draw a 4-inch line down

from D, parallel to the A-B line.

22. Center back. Starting at B, measure up along the A- B line and mark E, equal to #26 (center back length). E is

the center back/neck intersection. The line from B to E is the final center back and can be drawn in red or blue pen

or pencil.

25

23. Lower neck guideline. Starting at E, draw a 4-inch line at a 90-degree angle to the center back.

24. Back waist dart. Starting at B measure along the B-C line toward C, equal to #18 (dart placement) and label as

F.

Measure 3/4 inch from F and label as G. F to G is the total dart intake. Mark H halfway between F and G. The

waistline at the dart notches is dropped below the B-C line according to the model's total chest level and chest

circumference without ease. The following are estimates and may be changed to fit the model:

Chest circumference/drop from B-C line

34 inches/drop is 5/16 inch 36 inches/drop is 3/8 inch

38 inches/drop is 7/16 inch 40 inches/drop is 1/2 inch

42 inches/drop is 9/16 inch 44 inches/drop is 5/8 inch

46 inches/drop is 11/16 inch 48 inches/drop is 3/4 inch

50 inches/drop is 13/16 inch 52 inches/drop is 7/8 inch

54 inches/drop is 15/16 inch

25. Side seam/waist guideline. Starting at B, measure toward C using #17 (half the back waist), but add 1/4 inch

ease and 3/4 inch for the dart intake. Draw a guideline parallel to the A-B line and label as I.

26. Shoulder tip. Starting at B, draw a line that intersects the D guideline, equal to #28 ((tip to center back waist),

but add 1/4 inch ease. Label the intersection as].

27. Neck/shoulder corner. Starting at A, measure along the A-D line to K, adding 1/8 inch to the A-G measurement

of the front upper body sloper shown in Figure 3.3. This measurement may be adjusted to fit the model. Most people

require a wider back neck. Check the measurement from K to J to see if it is 1/2 inch longer than #5 (shoulder

seam), and adjust, if necessary. The line from K to J represents the final shoulder seam and can be drawn in red or

blue pen or pencil.

28. Upper neck guideline. At a 90-degree angle to the K-J line (final shoulder seam), draw a line down from K that

intersects the E guideline, and label the intersection as L.

29. Underarm/side seam corner. Starting at K, draw a line that intersects the C guideline, equal to #21 (high neck

point to back side seam), but add ¼ inch ease. Label the intersection as M.

26

Figure 1 Figure 2

30. Side seam/waist corner. Starting at M, draw a line that intersects the I guideline, equal to #19 (side seam length)

and make a cross mark. Label the cross mark as N for the side/waist intersection. The line from M to N represents

the final side seam and is drawn in red or blue pen or pencil.

31. Waist dart. Measure from B along the B-C line to H. Using the resulting measurement, measure from the A-B

line to 0, which is the dart point. The line from H to is equal to #19 (side seam length). Draw the dart stitch lines

from F and G connecting to 0. The punch hole for this dart is set ½ inch back from the dart point (0), centered

between the stitches lines of the dart, and is circled.

32. Mid-armhole guideline. To find P, use one quarter of the measurement from the B-E line. Starting at P, measure

down to P. Draw a line at a 90-degree angle to the A-B line from P to Q equal to #14 (halfway across shoulder

blades). At Q draw a line for the armhole parallel to the A- B that extends 2 inches above and below Q The line

from P to Q represents the shoulder blade level.

Measurement needed (Figure 2):

#12 (half the back neckline) = _____________

33. Neckline. R is measured 9/16 inch from L. Place a French curve as shown in the sketch to draw the neckline

curve from K to R to E. Do not allow the curve to dip below the E-L line. Measure the neckline curve, and compare

it with #12 (half the back neckline). If the neckline is close to #12 in measurement, draw the neckline in red or blue

pen or pencil so that it represents the final neckline curve.

34. Armhole. Place a French curve as shown in the sketch to draw the armhole curve from J to Q to M. You will

probably need to move the curve tool once you draw the Q-M line to complete the armhole. Draw the final armhole

in red or blue pen or pencil.

Measurement needed (figure 3):

#17 (half the back waist) = ____________

27

35. Waist dart. Step a- Fold the dart along the dart stitch lines, with the F and G notches touching. Crease the paper

along the F-O line, and then fold the dart intake under toward center back (as shown with the dashed line in the

sketch). Step b- Place a hip curve as shown in the sketch to draw the waistline curve from B to F and G to N.

Compare this measurement with #17 (half the back waist), but add 1/4 inch for ease, and adjust at N, if necessary.

Use red or blue pen or pencil. Cut along the curve while the dart is folded closed to true the shape of the dart intake.

Figure 336. (Figure 4) The completed back upper body sloper has notches clipped at F and G for the waist dart as shown in

the sketch. Start from the underarm/sideseam intersection (M) and measure along the armhole using the same

measurement as the front armhole notch to mark the lower back armhole notch. Measure the upper armhole notch

1/2 inch above the lower notch. These double notches will match the double notches on the sleeve sloper. This

pattern shows only the necessary lines. Draw the grain line parallel to center back, and indicate arrows. Using a

screw punch, make tiny holes through the paper at the dart point and punch hole.

28

Figure 4

Final Truing of the Upper Body Sloper for Men's Sizes

37. Step a-Be sure the front and back side seams are the same length and that the armhole and waistline curves blend

smoothly from front to back at the side seams. Step b- Be sure the neckline curve blends smoothly from front to

back. Step c-Be sure the armhole curve blends smoothly from front to back at the shoulder seam. Remember that the

back shoulder seam is 1/2 inch longer than the front and is eased to the front when sewn.

29

Figure 5

30

38. (Figure 6) Measure the front armhole and the back armhole. The back armhole should measure 1/2 inch more

than the front armhole. When the sleeve is sewn into the armhole with the cap ease equally distributed, the cap notch

that matches to the shoulder seam will be slightly forward of the center of the sleeve cap. This makes the sleeve

hang slightly toward the front at the wrist, which is how the arm naturally hangs.

Figure 6

39. (Figure 7) If the front armhole is too big, reduce it by shifting the shoulder seam toward the front, no more than

¼ inch at the shoulder tip, leaving the neck in place. Add to the back the same amount taken away from the front.

The side seam may also be shifted slightly toward the front, leaving the waistline in place, to reduce the front

armhole.

31

Drafting the Fitted Set-In Sleeve for Men's SizesThis pattern draft includes ease in the instructions:

Total biceps level ease = 2 inches

Total elbow level ease = approximately 11/2 inches

Total wrist level ease = 2 to 3 inches

A set-in sleeve is one that "sets into" the armhole, as opposed to an all-in-one sleeve such as a dolman sleeve. It

also refers to a sleeve that joins the body of the garment at or very near the shoulder tip position, as opposed to one

that is dropped down from the shoulder tip such as a kimono sleeve. If you are working with a body form that does

not have an arm, refer to the arm measurement charts.

Fitted Set-in Sleeve

Measurements needed (Figure1):

#29 (total arm length) = ________

#30 (underarm length) =__________

#31 (forearm length) = ____________

#32 (biceps circumference) = ____________

#33 (elbow circumference) = ________

1. Fold a piece of white pattern paper in half, and crease it along the fold.

Begin by drafting half of the sleeve; the fold line goes down the center of the sleeve lengthwise. Draw a line at a 90-

degree angle to the fold, starting at A and going out to the edges of the paper. A is the top of the sleeve cap.

2. Starting at A, measure to B, equal to #29 (total arm length). B is at the wrist level. Draw a line at a 90-degree

angle to the fold (A-B line), starting at B and going out to the edges of the paper.

3. Starting at B, measure to C, equal to #30 (underarm length). C is at the biceps level. The A-C measurement equals

the cap height (the difference between the total arm length and the underarm length). Refer to the arm measurement

charts in Table 3.1 at the end of this chapter, and compare the cap height with the size on the chart closest to the

model's size. You may wish to adjust your draft if it is very different from the cap measurement on the chart.

4. Starting at B, measure to D, equal to #31 (forearm length). D is at the elbow level.

32

5. Biceps level. Add 2 inches of ease to #32 (biceps circumference), and divide by 2 for half the biceps level:

#32________ + 2 inches =_______÷2= _______________

Using this final measurement, start at C, and draw a line at a 90-degree angle to the fold (A-B line). Mark this point,

and label it as E.

6. Elbow level. Add 1 inch of ease to #33 (elbow circumference), and divide by 2 for half the elbow level:

#33__________ + 1 inch =____ ÷2 = _________________

Using this final measurement, start at D, and draw a line at a 90-degree angle to the fold (A-B line). Mark this point,

and label it as F.

Figure 1

\

Figure 2

Figure 3

33

Figure 4

Figure 2

8. Take the fold line and lay it against the G-H line. Crease the paper so it lies flat.

Figure 3

9. Take the top of the sleeve cap (A) and match it to C at the biceps level. Crease the paper so it lies flat.

Figure 4

10. Sleeve cap guidelines. Open the paper back up, and make a dot at the intersection of the crease/folds in the paper

in the sleeve cap area (see sketch). From the dot, measure to the right (or "up" toward the top of the sleeve cap) 3/4

inch and label as 1. Measure in along the biceps level (E-C line) 1 inch and label as]. Now measure ¼ inch out from

A and label as K. Connect J to I to K with lines as shown in the sketch.

Sleeve cap. (Figure 5) Place a French curve as shown in the sketch, and draw the cap curve from E, near I, and up

to K. This is the final cap curve for the back or the sleeve and can be drawn in red or blue pen or pencil. Trace the

cap curve line to the other side of the paper. Also, trace the E-G, E-C, F-D, and G-B lines.

(Figure 5)

12. Figure 6 Front cap curve. Open the paper all the way, and lay it flat. On the right side of the sleeve cap,

measure in ¼ inches halfway between the biceps level corner and the crease that divides the cap in half crosswise.

13. Draw a new curve (as shown by the dashed lines on the sketch) and blend at biceps corner and upper cap curve.

This side of the sleeve is now the final front cap curve. Draw the curve in red or blue pen or pencil.

14. The left side of the sleeve is the back. Beginning at the edge of the paper on the left side, start cutting toward F

and continue cutting until you reach D to begin the back elbow dart.

34

Figure 6

Measurements needed (figure7):

#34 (wrist circumference) = _____________

#35 (hand circumference) = _________________---

15. Elbow dart width. Place a piece of paper under the sleeve in the elbow area, and tape it to the top edge of the cut.

Pick up the lower sleeve at B, and fold it over toward the front of the sleeve slightly until a 1/2-inch wide wedge

shape opens at F Now, measure the wrist level and compare it with #34 (wrist circumference). The wrist level must

have at least 2 inches of ease (more ease is okay). Tape down the lower section of the sleeve. True the final

waistline with the hip curve for a smooth curve, and draw in red or blue pen or pencil. Compare the sleeve wrist

level with ease to #35 (hand circumference). If the hand circumference is larger, this sleeve will require an opening

at the wrist such as a slit or placket.

16. Divide the biceps level into four equal sections, and label as E, L, C, and M.

Divide the wrist level into four equal sections, and label as G, 0, and P. Draw a straight line connecting

Figure 7

35

M to P and continue through the cap. Where this line intersects at the elbow level, label as Q Measure from Q to D.

The line from D to R is equal to the line from Q to D. R is the dart point. Connect a line from R to S. F and S are the

dart notches for now. Connect lines from R up through Land from R down to N. The elbow dart allows more ease to

bend the elbow. Set the punch hole 1/2 inch back from the dart point and circle it.

17. (Figure 8) True the elbow dart. Fold the dart closed along the dart stitch lines with the intake folded toward the

wrist level. While the dart is folded closed, draw a straight line from E to G in red or blue, then cut out the back

underarm seam. The front underarm seam is drawn in red or blue pen or pencil. Label the new upper notch as T, and

label the new lower notch as U. The back underarm must be straight so it will hang smoothly when sewn to the

straight front underarm seam. This trued dart allows extra ease in the elbow level for a total of approximately 11/2

inches.

Figure 8

18. Measure the front upper body armhole and the back upper body armhole.

Figure 9

19. To complete the fitted set-in sleeve draft, use the front armhole measurement from step 18 and, starting at (front

underarm/biceps intersection), measure up along the cap. Mark this point, and label as W. Use the back armhole

measurement from step 18 and, starting at E (back underarm/ biceps intersection), measure up along the cap. Mark

this point, and label as X.

20. The space between Wand X is the ease in the sleeve cap, which should be 8 percent of the total armhole: front

armhole____ + back armhole_____ = _______ x 8 percent=____________________cap ease.

If there is too much ease in the sleeve cap, it is better to enlarge the upper body armhole rather than to try to reshape

the sleeve cap. If there is an error, it is usually in the body, not in the sleeve.

36

21. Mark the center of the ease, and label as Y. Y is notched and matches to the body shoulder seam. Do not notch X

or W. The single notch on the front of the sleeve matches the single notch on the front upper body armhole. The

double notches on the back of the sleeve match the back upper body armhole. All of the ease in the cap should be

contained above these notches to help the fabric drape smoothly over the curve at the top of the arm.

22. The grain line is drawn at the center of the sleeve at the biceps level, at a 90- degree angle to the biceps level. I t

continues straight down through the sleeve with arrows. Using a screw punch, make tiny holes through the paper at

the dart point and punch hole.

(Table) Arm Measurements

The body measurements shown in Table in annexure can be used for the sleeve draft if the body form does not have

an arm. With the exception of the cap height, these measurements do not include ease.

Drafting the Trouser for Men 's S iz es

This pattern draft includes ease m the instructions:

Total waist-level ease =] inch

Total hip-level ease = 2 inches

Front and back Trouser

Measurements needed (see figure 1)

#36 (total hip level) = _______________

#38 (hip depth at side seam) = ___________

#40 (half the front hip) = ____________

#4] (half the back hip) = __________

#42 (outseam/side seam to floor) =_______

#44 (crotch depth) =________

#50 (knee level from waist) = _________

37

Center front. Draw a line from A to B that equals #42 (outseam/side seam to floor) or that is equal to your preferred

trouser length, measured from the side/waist down to the hem.

2. Front hip width. Draw a line at a 90- degree angle to the A-B line (center front) from at A to C, equal to #40 (half

the front hip), but add 1/2 inch for ease.

3. Front hem. Draw a line at a 90-degree angle to the A-B line (center front), from B to D, equal to #40 (half the

front hip), but add 1/2 inch for ease.

4. Side seam. Draw a straight line connecting C to D.

5. Back hip width and hem. Continue the A-C line from C to E, equal to #41 (half the back hip), but add 1/2 inch for

ease. Also continue the B-D line from D to F, equal to #40 (half the back hip), but add 1/2 inch for ease.

6. Center back. Draw a straight line connecting E to F

7. Hip level. Starting at C, measure down to G, equal to #38 (hip depth at side seam). The lines from A to Hand E to

I are equal to the line from C to G. Connect I to G to H with a straight line.

8. Crotch level. Starting at C, measure down to J, equal to #44 (crotch depth) but add 1 inch for ease. The lines from

A to K and E to L are equal to the line from C to J. Connect L to J to K with a straight line, and extend the line past

K and L. This is the crotch level. In a trouser, which has an easy comfortable fit, the crotch level is lowered with

ease so it does not cling to the body.

9. Knee level. Starting at C, measure down to M, equal to #50 (knee level from waist). The lines from A to N and E

to 0 are equal to the line from C to M. Connect 0 to M to N with a straight line, and extend the line past N and O.

Measurement needed (See Figure 2)

#36 (total hip level) = ________________

#53 (foot circumference) = ______________

10. Front crotch extension. Measure from K to P using the front crotch extension measurement from Table 3.2, on

page 59 that matches the model's hip circumference. Use #36 (total hip level), the hip circumference without ease. P

is the front crotch point.

38

11. Back crotch extension. Measure from L to Q using the back crotch extension measurement from Table 3.2, on

page 59, that matches the model's hip circumference without ease. Q is the back crotch point.

12. Front grain line. Measure from J to P and divide by 2. Using the resulting measurement, start at P and measure

to R and mark. The N -S line is equal to the K-R line. Mark S, then connects R to S, and continues the line up to the

A-C line and down to the B- D line. This line is the grain line with arrows. The grain line is also the crease line

down the leg of the trouser if you press a crease in the pant. The leg is equally balanced on either side of the grain

line in this sloper.

13. Back grain line. Measure from K to R. U sing the resulting measurement, start at L and measure to T and mark.

The O-U line is equal to the L-T line. Mark U, then connects T to U, and continues the line up to the E-C line and

down to the F-D line. This line, with arrows, is the grain line as well as the crease line. The back grain line is not

halfway between the side seam and the crotch point, but the leg from the knee level down is equally balanced on

either side of the grain line in this sloper.

14. Hem widths. Use the hem widths from Table 3.3, on page 59, or choose your own measurement. Include a

minimum of I-inch ease beyond #53 (foot circumference) in the total hem circumference. Use #36 (total hip level),

the hip circumference without ease, to find the hem width for the desired size. Once you've selected the front and

back hem widths for the size of your pattern, use these to mark V, W, X, and Y Measure equally on each side of the

grain line.

39

The V-W line is the final front hem and the X-Y line is the final back hem and both can be drawn in red or blue pen

or pencil. Make a mark 1 inch down from G and label as Z.

Center back. KK is measured 3/4 inch in from the E-F line. The I-KK is equal to #39 (hip depth at center back).

This line may continue down to the crotch level. Use a French curve to connect I to HH to Q to complete the back

crotch seam from KK to I to HH to Q. Measure the total front and back crotch seam.

Compare the resulting measurement with #47 (crotch length). The trouser should measure at least 11/2 inches more

for all sizes. If it measures less than this, slash the back trouser along the hip level, from center back to G at the

outseam, and open a space equal to the amount needed. Redraw the back grain line in the upper portion of the pant

so that it is one straight line (do not change the grain line placement in the lower portion). Blend the back crotch

seam from KK to I

21. Back waist and dart. Starting with a 90- degree angle at the center back/KK corner, draw a slight curve with a

hip curve ending along the E-C line, equal to #17 (half the back waist), but add 3/4 inch for dart intake and ¼ inch

for ease. Mark this point, and label as LL. KK-MM equals #18 (dart placement), and MM is the first dart notch, NN

is the second dart notch. MM-N is 3/-l inch, and represents the dart intake total. 00 (dart point) is 41/2 inches above

the hip level (the dart length may be adjusted to the model's shape). The dart stitch line from the MM-OO line is

parallel to the grain line. Draw the other dart stitch line from 00 to NN. The punch hole is set 1/2 inch from the dart

point, halfway between the stitch lines, and is circled.

Measurement needed (See Figure 3):

# 17 01alf the back waist) = _________________

22. Complete the back waist by folding the dart closed. Crease along the stitch line nearest center back, and fold

under the dart intake toward center back, bringing the MM and NN notches together. Redraw the back waistline

curve with the dart folded closed. Measure the trued back waist with the dart still closed, and compare it with #17

(half the back waist), but add 1/4 inch for ease, and adjust the waist measurement at the outseam, if necessary . Be

sure the outseams of the front and back are the same length and that the waistline curve blends smoothly from front

to back. Draw in red or blue pen or pencil. Cut the back waist while the dart is folded closed.

Figure 3

23. Check the front and back outseams to be sure they are the same length. Check the inseams, starting at th e hems

and working your way up to the crotch points. The back crotch point will probably be longer than the front. Mark

the place where the front reaches the back inseam. Then, keeping the back crotch point extension the same amount,

40

lower and blend it into the back crotch curve as shown in the sketch with dashed lines. Trim away the unneeded

portion.

Figure 4

24. Complete the front and back trouser with notches clipped at MM and NN for the dart. Mark notches at the hip

level (G) on the outseams, and at the knee level on the outseams and inseams. This pattern is shown with only the

necessary lines. The grain lines are already in place and should have arrows on them. Using the screw punch, make

tiny holes through the paper at the dart point and punch hole.

41

Chapter Three

Measurement and patternmaking for Men’s ShirtMen's shirts and tops come in a variety of styles from casual wear to formal wear. Menswear styles do not vary as

much as women’s wear styles, but there are opportunities to generate design interest with different styles and to

learn patternmaking skills while creating attractive and comfortable shirts. This chapter teaches you flat

patternmaking techniques for men's shirts and tops.

This chapter teaches students to apply flat pattern making techniques for shirts, including using upper body slopers

and the sleeve sloper, adding extra ease/fullness, and creating stylelines. You will review patterns for knit and

woven fabrics that include a simple T-shirt and a fine dress shirt with French cuffs. The introduction and styles

shown in this chapter explain and illustrate collar and sleeve theory. Examples of a completed pattern chart and

specification sheets are also included. The styles shown on the following pages are patterned from a man's size 40

regular sloper set. Students get information to figure out the proportions of the styles so they can create smaller or

larger sizes of the same look.

Added ease and fullness

The fitted shape of the sloper pieces gives patternmakers a starting point from which to create different garment

styles, most of which include more ease or added fullness. Menswear styles usually have a loose, comfortable fit.

The only areas that often fit close to the body are shirt necklines, pant and short waistlines, active sportswear, and

undergarments.

42

Menswear styles and proportions change over time; therefore, it is best to work with a sloper set that has a fitted

shape so you can adjust ease and fullness to match current trends. To add ease and fullness to pattern pieces, enlarge

the outer dimensions of the pattern piece or slash and spread it into sections.

Style lines

Stylelines are seams that separate garment pieces. Some stylelines are called dart equivalents because they affect a

garment's fit by replacing the darts and thus shaping the fabric over a body's contours. Other stylelines do not affect

a garment's fit, but rather add design interest or enable you to apply a contrast fabric or trim.

Anatomy of a Collar

Collars come in a variety of shapes and sizes. A band collar fits closely along the neck and is shaped with a smaller

upper edge circumference than at the neckline edge, as the neck narrows toward the head. A turtleneck collar is a 43

rectangle cut from stretch fabric whose upper folded edge decreases in circumference and hugs the neck. A straight

rolled collar rolls over a collar stand at the back neck that gradually lessens to nothing at the front neck. (A collar

stand is the amount that a collar rises from the neckline seam.) The roll line is the foldline where the collar stand

ends and the collar folds over itself.

Some styles have a separate collar band that lies against the neck with the outer collar attached along the top of the

band.

A convertible collar is a rolled collar that may be worn buttoned or unbuttoned; when unbuttoned, the collar points

spread and lie flatter at the chest. A sailor or middy collar lies flat on the shoulders with a very small collar stand.

Most collars have an upper collar (the layer that you see) and an under collar (the layer that you do not see).

Collar Theory

The shape and measurement of a collar neckline seam, whether curved or straight, determines the collar stand

height. Generally, a straighter collar neckline seam (from slightly concave to slightly convex) fits higher on the

neck and shoulders, and a more curved (concave) collar neckline seam lies flatter on the shoulders and has little or

no collar stand height.

The band collar and collar with band have a slightly convex neckline curve that is drafted by raising the center front

and blending a curve to the shoulder notch. The band does not roll over itself and the top edge has a smaller

circumference than the neckline so that it hugs the neck. The center back band height determines the collar stand. If

a collar is attached to the top of a band, it is slashed and spread so that it flares out slightly; this allows it to fit over

the band easily and leaves room for a necktie to pass over the band and under the collar.

The straight rolled collar has a straight neckline rather than a convex one because the collar rolls over itself without

straining. The roll line in the above figure is represented by a dashed line. The collar stand of the straight collar is

determined by the height of the center back and the fact that the neckline is straight. The sailor collar neckline is

traced from the shirt pieces with the front and back shoulders overlapping each other l/2 inch, which allows a collar

stand at center back of approximately 1/8 inch-just enough to keep the shirt neckline from showing. A deeper

shoulder overlaps results in a higher center back collar stand.

44

The Sleeve Theory

The fitted sleeve sloper introduced in chapter 3 is a set-in sleeve that "sets into" the armhole; it is not cut in one

piece with the body. The main concept of sleeve theory introduced in this chapter is the relationship among the cap

height, underarm length, and biceps circumference that allows you to develop comfortable sleeves that fit well. As

the cap height is shortened, the underarms are lengthened and the biceps level is widened as shown in Figure 4.5.

All of these sleeves have the same finished armhole measurement, but the sleeve with the shortest cap height has the

most ease at the biceps level and is therefore the most comfortable to wear. Although deep folds form at the

underarm area, it is acceptable in this sleeve style.

Figure 1

Extended Shoulder and Shortened Cap Height

Figure 2

45

Many men's shirt styles have shoulder seams that extend past the natural shoulder tip of the body, causing the

armhole seam to fall at the upper arm instead of at the shoulder tip/armhole intersection as it does on the sloper

sleeve. When the shoulder of a shirt is extended, the sleeve cap height must be shortened by the same amount.

Otherwise, the total sleeve length will be affected and the cap curve will not fit smoothly into the new armhole

shape. Extended shoulder styles do not require sleeve cap ease because the sleeve cap does not reach over the curve

of the shoulder as it does on the sloper sleeve.

Figure 2

Lowered Armholes

Lowering the armhole from the original position on the sloper in any shirt, jacket, or coat style requires extra ease in

the biceps circumference to make up for the larger armhole and to facilitate arm movement. Lowering the sleeve

underarm position to match the shirt's lowered armhole restricts arm movement up, down, backward, and forward.

There are folds in the fabric at the underarm area, but it is acceptable in this lowered armhole style of sleeve.

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