level 1: foundation: fd1-pg1-bbw pattern & … – helen joseph-armstrong patternmaking for...

LEVEL 1: PATTERN & GARMENT CONSTRUCTION 1

FOUNDATION: FD1-PG1-BBW Basic Blocks ~ Compulsory

MODULE 1: FD1-PG1-PBS Patterns ~ Bodice to Shirt

MODULE 2: FD1-PG1-GBS Garment ~ Shirts & collars

MODULE 3: FD1-PG1-PST Patterns ~ Skirts & Trousers

MODULE 4: FD1-PG1-GST Garment ~ Skirt & Trouser/Pkts

MODULE 5: FD1-PG1-PD Patterns ~ Dress Adaptations

MODULE 6: FD1-PG1-GD Garment ~ Dress construction

MODULE 7:FD1-PG1-KG Patterns & Garment ~ Knit Tops and Bottoms

MODULE 8: FD1-PG1-CPB Pattern & Garment ~ Corset/Petticoat/bra

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Page # Chapter Topic 3 Outline of Module 15-15 1 Ladies Blouse, Shirt and Peasant top 13- 30 2 Collars 31-34 3 Sleeve Adaptations 35 4 Cuffs for Shirts 36- 37 5 Shirt Facings 38- 39 6 Shirt Pockets 40- 41 7 Button holes and Button Placement

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Patternmaking for fashion design – Helen Joseph-Armstrong

Patternmaking for fashion design –Helen Joseph-Armstrong

Fashion Designer – Concept to Collection Sandra Burke


1. Adapting – Bodice/Sleeve – Blouse, Shirt & Peasant top

2. Collars – for shirts

3. Sleeves – adaptations for shirts

4. Shirt Cuffs

5. Shirt Facings

7. Buttons & placement

6. Shirt Pockets


MODULE 1: FD1-PG1-PBS Patterns ~ Bodice to Shirt

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PaP tternmaking for fashion PPdesignd Helen Joseph Armstrong

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PPATTERNS ~ BODICE TO SHIRT Please note that it is compulsory to have completed the FFoundation - Ladies basic Blocks before attempting any modules in Level 1. The basic blocks foundation can be found under the Tutorials. The Basic blocks must be made ffull size, either in size 110 or in your own personal size. Please make sure to iinclude your own measurements in a chart format, if you are making the patterns for yourself. This Module 1 of Level 1 is a pattern module, using the ladies bodice block. Patterns made in module 1 will have to be constructed into garments in module 2. So keep your patterns in a safe place. Module 3 and 4 will also link in the same way, as will modules 5 & 6, and 7 & 8. To accurately complete each module you will need to print out the tutorials and briefs and follow them closely. The compulsory pattern making book; Pattern making for Designers, by Helen Joseph-Armstrong, will assistyou further with your pattern making endeavours. Your tutor is always available to help and assist you in any way. I do hope you find pattern making and garment construction as fascinating and rewarding as I do.

www.garmentgraphix.co.uk

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1. THE BLOUSE, SHIRT AND PEASANT SHIRT There are 3 categories of ladies shirts: 1. The Blouse 2. The Casual Shirt/ or oversized shirt 3. The Peasant shirt 1. The Blouse :- The Blouse sleeve is slightly wider than the basic block and differs from the shirt due to the way the sleeves are inserted. The armhole is lowered and the sleeve head/cap and yokes usually have gathers , which gives it a slightly romantic look. The sleeve has a higher head/cap, and usually gathers and for this reason the sleeve is inset and not flat stitched, like the shirt sleeve. This means that the shoulders and side seam of the body are sewn closed as well as the side seams of the sleeve. The sleeve is then pinned at the underarms , head and all round the armhole and then stitch in. Drafting the Front Blouse from the Front Bodice: The blouse and shirt have very similar adaptations: lowered armhole and extra ease added to side seams. This draft is based on the waist dart block or the two dart front, and the back bodice. The sleeve is adapted to fit the armhole.~ Trace front bodice on larger sheet of paper. Continue CF line for at least 7”. Mark. We are using the waist dart front, so there will not be the shoulder dart as right. ~ At the base of the bodice draft, square out from CF

and draw a line labelled waistline.

1. The Blouse with yoke styling.

2. The Basic Shirt

3. The Oversized Shirt

FRONT

Pattern making for Fashion Design –Helen Joseph-Armstrong

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~ Extend the shoulder line by ½”. ~ Mark ¾” down from underarm and square out ¾”, to lower the armhole and add extra for ease. ~ Re-draw the armhole curve. ~ Join side seams and square front hem from 7” mark. ~ Always take away 1/4” at side seam hem and reshape back into the hem line half way across. This stops the side seam hems from looking like they are dropping down at the sides. ~ Make sure to label your ‘front shirt’, add in grain line, and mark ‘cut x2’. ~ Do not cut out your front shirt yet as you still have the plackets to add, as well as seam allowance. DDrafting the Back shirt from the Back bodice: ~ Trace the back bodice on a large sheet of paper. ~ Draw in the CF line, extending beyond the waist line by 7”. Mark ~ Extend shoulder line past the dart. Measure the front shoulder and make sure your mark that on the back shoulder line, so that they relate. ~ Mark ¼” out from mid-armhole at (y). ~ Mark ¾” down and ¾” out from under arm. ~ Square out from CB line on 7” mark. ~ Join side seam and hemline. ~ Again take away 1/4” at side seam hem and reshape back into the hem line half way across. ~ Measure front side seam and relate to the back side seam. Make sure they are even, add on to the pattern to ensure the side seams match. ~ Be sure to put in your grain line (parallel to the CB). CB will be on fold. Label your back pattern piece and mark ‘cut x1 on fold’. ~ Do not cut out your back shirt yet, as you still have to add seam allowance.

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TThe Blouse:- Sleeve Head The sleeve draft is adapted to fit the enlarged and lowered armhole of your shirt front and back. ~ Trace the sleeve (see dotted line for sleeve draft original), and then begin the amendments. ~ Extend the biceps at under arm seam out by ¾” on either side. (as you did to the body front and back) ~ Take off ½” from the sleeve head /cap as you extended your shoulder, and if you did not take off from the sleeve head, the sleeve would be too long. The ease or fit of the sleeve head should be larger than the armhole by ½”. Measure the armhole (front)and then relate that measure to the sleeve head (front) from underarm to head. Repeat for the back armhole and back sleeve head. - Sleeve Hem ~ Square a line from the grain line and the left corner of sleeve (C)(front cuff) straight across. ~ A – B = ½ the bicep measure (from underarm to underarm) . Mark. ~ Draw a line from bicep to B. ~ A – C = Repeat A – B instructions. ~ C – D = 2” (You are reducing the sleeve length to accommodate for the cuff) ~ B – E = 2”. Draw line across cuff. ~ E – F = ½ the distance between E and the grain line. Mark. ~ F – G = ¾” squared down from F. ~ G – H = 2 ½” parallel to the grainline. Cross mark and slit for placket entry. Draw hem line curve from E to G and to D, as illustrated.

Sleeve head


Sleeve hem

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2 Pleats

1 Pleat

Gathers

Plain

SSleeve hemline options: Subtract the around-hand measurement from the hemline of the sleeve. After you have decided which hemline option you will be making, follow the directions below, and if there is any excess remaining, trim off on the inner sleeve seam at the hem. There are 4 different sleeve hemline options to choose from:- ~ 2 Pleats ~ 1 Pleat ~ Gathers ~ Plain ~ Gathered head and cuff 2 Pleat hem option: ~ Mark two 1 ¼” pleats 1” away from the right side of the slit. The space between will be ¾”. ~ Remove excess from the side seams as per broken line right. Allow 1” for ease, and blend a curved line to the elbow. 1 PPleat hem option: ~ Move the placket slit ½” towards the front. ~ Mark a 1 ¼” pleat ¾” from the slit. Allow ¼” ease on the hem. ~ Trim excess from the side seam, blend to elbow. Gathers: ~ Notch hemline 1 ½” in from side seams at hem. Gather between notches. Plain: ~ Allow ½” for ease. Remove excess from side seams at hem. ~ Blend from hem to elbow. ~ Move placket slit ¾” towards front.


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9. TThe Blouse , Shirt , or Oversized Shirt Yoke: The back shoulder line is always brought to the front by 1” for a better look. Gathers or pleats can be added to the front and back yoke. The back and front yoke can be shaped into a V to create a cowboy shirt, just for a different look. Adapting the front and back shirt to make Yokes: ~ Trace back shirt and place front and back shoulders together. ~ Extend the back shoulder line into the front shirt by 1” , adopting the front neck and armhole shaping. (figure 1) ~ Mark notches. Remember to take away 1” on the front shoulder area when completing your front shirt pattern, as you have added to the back. Always remember that pattern making is a balance. When you add on 1 pattern piece, you will have to take away the same amount on the piece that will be joining it, otherwise your length will increase and shaping of necklines and armholes will not be consistent. ~ On your back shirt pattern piece, make a mark 5” from the CB neckline. Square out to the armhole.(as figure 1) ~ Cut back yoke from the pattern. (figure 2) ~ Shape your shirt back at hem if you want a curved hemline.(figure 2) ~ Trace out the shirt front and cut away 1” on the shoulder . (figure 3) ~ Extend CF line out ¾” for button placket. The buttons will be placed on the CF line. ~ Shape your front shirt hem if you want a curved hem. (figure 3). Remember that what you do to your back hem, you have to do to your front hem, so the side seams match. ~ If you want your shirt/blouse more fitted, 1” away at waist (back & front)and reshape to armhole and hem.

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Figure 1 Figure 2 Figure 3

Cowboy shirt

Pattern making for Fashion Design –Helen Joseph-Armstrong PPaPatttterernn mamakikikingng ff foror FF Fasashihihionon DeDesign eesisigngn ––Helen JosephHeHelelenn JoJosesephph--ArmstrongArArmsmstrtronongg

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10. Figure 4 Completing the shirt/blouse patterns:

~ Add seam allowances to the back yoke, the back shirt and front shirt and sleeve. ~ Mark notches, label each pattern piece and add grain lines. The easiest way to label each piece is as follows: It is clear to see and neat. ~ And don’t forget your grain line on each pattern piece. *Collars, cuffs, plackets and fusing details will follow later in the module. Please keep all pattern pieces safe as you will be building on the blouse pattern pieces as you go along.

FRONT SHIRT SIZE 8 CUT X2

½” seam allowances added all round patterns except CF and CB


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22. The casual shirt: The Casual shirt pattern fits more loosely than the blouse. The armhole is lowered more and the chest is bigger. This shirt can be extended into a shirt-waister dress. The collar, placket and cuffs will be addressed later in the module. Please keep these pattern front, back and sleeve to one side as we will be adding to them as we go along. The back Shirt: ~ Trace the back bodice.~ Draw the shoulder line straight across the dart to X at end of the old shoulder edge. ~ Add ¼” to the mid-armhole. (as per Y) ~ Mark 1 ½” down from the armhole. ~ Square from CB, going 1” past the side seam at new under arm. Mark. ~ Square from CB to the side seam waist point. ~ Extend CB line to 7 – 9” beyond the waist line. ~ Square across to side seam and square up to Z at underarm. ~ Mark 1” in at waist level. (or leave out if you want it more roomy. ~ Draw the side seam and hemline curve. Draw the armholes touching X, Y, and Z as illustrated. The Front Shirt: ~ Trace front bodice and mark the centre of the armhole Y. ~ Extend the shoulder to equal the back shoulder as per X. ~ mark 1 ½” down from the armhole. ~ Square out from the CF line through the underarm mark for 1”. ~ Extend CF line to 7 – 9” beyond the waist line. ~ Square across to side seam and square up to Z at underarm. ~ Mark 1” in at waist level, if you have done that on the back. Re draw the side seam line. ~ Draw the side seam and hemline curve. Draw the armholes touching X, Y, and Z as illustrated.

Figure 1

Pattern making for Fashion Design –Helen Joseph- Armstrong

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Figure 3 Figure 4

AAdjusting the shoulder and neckline: ~ Trim 1/16” from around the whole neckline. (see figure 2) ~ Measure the front and back armholes and if they differ takeoff the excess on the shoulder point to nothing at the neckline. ~ Mark the armhole notches, on the front (x1 notch), and on the back (x2 notches). The Shirt sleeve: ~ Trace out your drafted sleeve and label A and B as per figure 3. Fold your paper on the centre of the sleeve (A/B line). ~ Mark 1 ½” up from bicep line of drafted sleeve and mark D (see dotted line). Square a line across the paper from fold line. ~ Draw a straight line from sleeve head A to meet up with the new bicep line, that equals the front armhole measurement. Label E. ~ Draw a line to the hem of the sleeve draft. ~ Divide the A – E line into 4 equal parts and mark. Square up 1/4” and square down 1/8” as per figure 4.~ Square a line at A from centre line to create sleeve head. ~ Blend sleeve head from squared head over the ¼” and down through the centre point on the armhole to the dropped 1/8” and to the underarm point. Shape it smoothly. ~ The sleeve head or cap should always be greater then the measurement of the armhole that it will be fitting in to. This gives the sleeve some ease to fit into the armhole. If there is insufficient, at extra at E underarm. ~ Mark sleeve notches on sleeve by relating the sleeve pattern to the respective front and back bodies. ~ The cuff instructions will follow later in this module.

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Figure 5

Figure 6

OOver sizing the Shirt: The shirt block can now be amended to make an over sized shirt by following the easy steps below: ~ Trace out the front and back patterns onto a large sheet of paper. ~ Draw a straight line from mid shoulder, and parallel with the CF and CB lines straight through to the hems. Draw a line squared out from CF/ CB line though the armhole. Cut pattern apart though the A/B line. ~ Spread the desired amount between the A/B line keeping the squared red underarm level as you do so. ~ Your under arms can be lowered. Remember that what you do to the front pattern, you will need to do to the back pattern. ~ Mark in notches for front and back as figure 2. Sleeve Modification:~ Trace sleeve out on paper and fold on centre line. ~ Lower the sleeve head by the same amount you added into A-B on front and back shirts. If you did not do this, your overarm measurement would be too long. ~ Square a line out along the sleeve draft from CF through the underarm point. ~ Draw a line from B (new sleeve head) to E on the bicep line to equal the ½ armhole measurement. ~ Follow directions of figure 4 on previous page to complete the oversized sleeve shirt pattern. ~ The cuff instructions will follow later in this module.


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14. 22. The Peasant blouse: The peasant blouse can trace its roots back to most countries in the world, but mainly Europe and the Mediterranean. The neckline is cut out and gathered while the sleeve hem can have a band or elastic.The neckline can be pulled down around the shoulders if elastic is used. Please use your Basic shirt block as a foundation for this pattern. Getting started: ~ Trace out the front and back shirt/blouse patterns. ~ Draw curved raglan style lines from 1 ¼” in from neckline to just below the notches of the armhole and label X on the front and back patterns. ~ Draw slash lines on the front from bust point to the neck, 3” away from CF and then down to the waist at side seam. ~ Draw slash lines on the back from the CB neck to the waist at side seam, matching the front. ~ On front and back take out 3” from the neck area all round. Draw in the scooped neckline. ~ Mark the hem for the desired length, or keep to the length of the shirt/ blouse length.

Figure 1 Figure 2

Pattern making for Fashion Design –Helen Joseph-Armstrong PaPatttterernn mamakikingng f foror F Fasashihionon

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FFigures 3 & 4: ~ Cut out the necklines and separate the raglan lines ~ Save raglan section from front and back for the sleeve. Front: ~ Slash from the neck to the side waist and from the dart point. Close the dart and spread 3” at the bust point as shown. Trace out adding ½” for seams and 1” for hems then cut out pattern front. Back: ~ Slash to the side waist and spread 1” less than you did(at the neckline) on the front. Trace out adding ½” for seams and 1” for hems, then cut out pattern back. Figures 5 & 6 - sleeve: ~ Trace out the shirt/blouse sleeve 3” below the bicep or the desired length. ~ Cut out and separate on the grainline. ~ Place the shoulders of the front and back together and trace out. ~ Match the notches of X front and back sleeve to the armhole and end ¼” from the shoulder tip (as in broken lines of figure 5). ~ Trace and mark A. ~ Draw in slash line B and C, as shown. ~ Cut out from your paper. ~ Cut along slash lines from top to the hem, but not through them. ~ Spread the slashes half the amount of B to C. Trace. ~ Draw in hemlines and seams. ½” for seams and 1” for hems. ~ cut out from paper and mark in grain lines and label correctly.

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Figure 3 Figure 4

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Figure 6


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16. 2. COLLARS

A collar on a shirt helps to frame the face, as well as offering different designing variations. Collars can sit flat on the body, as in Peter pan collars, or sit up the neckline as in a 2 piece collar with stand. The points of the collar can be rounded, pointed, elongated or shawl. Collar terms: ~ NNeckline edge – The side of the collar that is stitched to the neckline of the garment. ~ CCollar edge – The outer edge of the collar. ~ CCollar stand – The height at which the collar rolls over itself. ~ Roll line – The fold-over at the collar stand.

y, TYPES OF COLLARS

Roll line The fold over at the collar stand.

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11. Rolled Shirt Collar The basic shirt collar or rolled collar can either be worn open or closed. It has a 1” stand at the centre back and the width varies from 2 ½ to 3”. The grain line can be straight with the CB or on the bias depending on your design effect you want to create. Measurements needed: Centre back neck: ___________________ Centre front neck: ___________________ Total: _____________________________ Top Collar : Figure 1: ~ Square a line in the centre of the paper. Mark and label as follows – ~ A – B = 3” (for the collar width). ~ B - C = Total neck measurement (as above). Label C. ~ B – D = The centre Back to shoulder measurement your took as above. Mark for notch. Figure 2: ~ Square a line up from C. ~ Mark E ½” from C. ~ Draw a curved line from E blending with D. ~ Square a line from A passing 1” or more from guideline C. Label F. ~ Draw a line from E to F. ~ Draw in grain line and cut the collar from the paper. ~ The top collar is cut x1 in fabric and x1 in fuse. The under collar can also be fused if the fabric is particularly difficult and will pucker in the sewing process.

Figure 1

Figure2


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UUnder Collar: The under collar is drafted from the top collar and is a little shorter in the CB height to nothing at the points. This is to minimize extra fabric in the under collar when it rolls , and to ensures that the seams sit in the centre and don’t pull to the top collar. Figure 3: ~ Trace out the top collar, and trim 1/8” off the collar squaring out at CB to nothing at the point. (see dotted line for original top collar line.) Figure 4 & 5: ~ The under collar can have a CB seam a illustrated in figure 4 or be on the fold, as figure 5. ~ The grain line can be drawn on the straight grain, cross grain or on the bias, depending on the fabric chosen or the design detailing wanted. ~ Add on your seam allowance of ½” all round the top and under collar. Label them correctly. ~ The under collar is cut x1.

Collar point variations: Figure 6:~ Collar designs can vary from the basic point collar by extending the point or rounding the point to create different shapes. Collar variations begin at the inner neck point and blend into the centre of the top edge of the collar, in line with the shoulder notch.

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Figure 3

Figure 5

Figure 4

Figure 6


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19. Figure 1 Figure 2

Figure 3

Figure 4Figure 5

Figure 6

FFitting Problems with the Shirt /Roll collar: Make a mock –up of your collar pattern, by cutting out your collar pattern and a portion of the front and back body, in scrap fabric and trying it on someone. Below are some of the problems and solutions to fitting your roll shirt collar: Figure 1: ~ Problem 1 – The collar’s edge lies above the stitch line at the back neck. ~ Solution 1 - In crease the outer edge of the collar by slashing lines from the outer edge of the mock-up to the roll, between the shoulder and the CB on both sides. (or work on the fold) Figure 2 & 3: ~ The edge of the collar must cover the under collar join to the body by ¼”. If it does not measure the short fall and add it to the top and under collar starting at CB to nothing at the points. ~ Use tape to secure the slashed areas of the mock-up. Measure the openings and add the same amount to the collar patterns, top and bottom ,slashing in the same place you did on the mock- up. (figure 3) ~ Trace out the slashed pattern on a new piece of paper. Seam allowances were already added, so don’t add more. ~ Test your fit again, making absolutely sure you are happy with your rolled shirt collar. Figure 4 & 5: ~ Problem 2 – Collar falls loosely around the neck area. ~ Solution 2- Decrease the collars edge. (by doing the opposite you did on solution 1). - Cut 3 slash lines from the fall edge of the collar to the roll. - Overlap the slashed parts and pin in place, taking away the fullness in the collar edge. ~ Amend the collar patterns by slashing in the same place as your mock-up and closing the same amount with tape, on both the top and under collars. ~ Retrace your roll collar, and cut out. No need to add seam allowance as it was added previously. Test the fit of your roll collar again by cutting another mock-up.


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22. Mandarin Collar A Mandarin collar is also referred to as a Chinese, Nehru, or military collar. It can be described as a close fitting, stand-up collar. It stands vertical when viewed from the CF, and hugs the neck. This mandarin collar is also used in our 2 piece collar or ‘Collar and Stand’ or men’s shirt collar. A mandarin collar can meet at the Centre of the neck, and have the body fronts wrap for the button stand, Or can extend to the end of the body stands and wrap over themselves and have a button. The CF top edges of a mandarin collar are Usually rounded, but when used for the men’s 2 piece collar it can blunted or squared. The measurement of the neckline or of the Shirt neckline front and back are needed to draft this pattern. Types of Mandarin Collars: Measurements needed: ~ Centre back neck:________________ ~ Centre front neck: _______________ ~ Total neck: _____________________

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Mandarin meeting CF Mandarin with V neckline Squared Mandarin Wrap mandarin & button Wrap mandarin, button & frill


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21. MMaking the Mandarin Pattern: Figure 1: ~ Square a right angle in the centre of the paper and follow measurements below – ~ A – B = 1 ½” (for CB collar height) ~ B – C = Total back and front neck. Label this C. ~ B – D = back body measurement - CB to shoulder measurement. ~ Notch D for the shoulder point alignment. Figure 2: ~ Square up ½” from C and mark and label E. ~ Draw a curved line from E to D, completing the neckline edge collar.~ Square 1 ½” up from C along E to D line and level F. ~ Draw in line from A to F, parallel with B-D-E line. Figure 3: ~ Complete the mandarin pattern by placing it on the fold and adding ½” seam allowances all round the collar. Add in grain lines and label the pattern piece. The pattern will be cut x2, for a top and under mandarin collar. You will also cut x1 fusing. ~ Cut out the collar from the paper. Mandarin Collar Variations: In figure 4 and 5 you will be able to see the different variations that can be done to the basic mandarin collar. The points can be rounded (figure 4) or extended and elongated. (figure 5) ~ If you are want your mandarin collar to button, add 1” to the CF for the button stand. (see figure 6) then add your seam allowance.

Figure 1

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Figure 2

Figure 3

Figure 4 Figure 5

Rounded mandarin collar

Wing Collar extension on mandarin

CF is extended by 1 ¼” and Blended in before centre notch.

Figure 6


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MMaking of a flat Mandarin Collar: Use your casual shirt block to draft this flat laying mandarin collar. You can also use your yoke pattern from the casual shirt and the matching front pattern to make this mandarin, as it is the neck area that you need to work from. ~Trace out the casual shirt back and front as we need to drop the neckline to accommodate for the flat mandarin collar. ~ Drop front neckline by 4”, and the CB by 2”. Both the shoulder lines also needs to move by about 2 ½”. It can be reshaped when we join the shoulders to make the mandarin collar. Square out from CF and CB and shape your new neckline. Cut from paper. ~ Trace your new front just to underarm area. Lay your new back pattern on top of traced front with the shoulders together, seam allowances meeting, and trace to the underarm area. ~ Reshape neckline at shoulders if it needs smoothing. Remember this neckline already has 3/8” seam allowance added, so draw a 3/8” line below new neckline to show seam line. This is the line you have to draft your mandarin collar from. ~ Figure 2: To create the mandarin shape, mark 1” points all around the neckline from the neck seam line. Draw in the flat mandarin shape, taking care to square up from the CB and CF lines and then round the edge of the front, to have a curved shaped mandarin.

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Figure 1

Figure 2

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Figure 3

Figure 4

Figure 3: ~ Draw in the 3/8” seam allowance all round the mandarin pattern piece. ~ The CB can either be placed on the fold, and you would then cut x2 fabric – x2 fuse. Or you can add 3/8” seam allowance to the CB and have a CB seam. You would then cut the collar x4 fabric – x4 fuse. ~ Once you have made pattern and added seam allowance, cut from the paper Figure 4: ~ Is the completed front and back patterns with the lowered necklines. The sleeve instructions can be found in chapter 3, showing how to add in fullness to the casual sleeve. The cuff instructions can be found in chapter 4.

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24. 33. Collar with stand or 2 piece collar The 2 piece collar consists of the mandarin collar with a shirt collar Attached to the top edge. Making the 2 piece collar: - figure 1 ~ Trace out your mandarin collar, and use that as the stand for your 2 piece collar. ~ Square out 1” extension, for the button stand, from A and B. ~ Draw in curved line or square, as desired. Mark button hole placement as per figure 1. Figure 2: ~ Trace out the mandarin collar or stand, see the broken line. ~ Draw in the collar on top of the stand by increasing the CB line to 2” and squaring out along the collar edge. Move ½” in from the CF line lower edge and draw a straight line 2 ½” down. ~ Mark and then curve in to meet the collar edge line. ~ Notch the mid point of the inner edge of the collar, and make the same notch to the stand. This is a guide when sewing them together. Figure 3: ~ As the collar stands now, the fall edge will be too tight so we need to open the collar edge a little. ~ Cut out collar and make 2 slash lines as per figure 3. ~ Cut along the slash lines from the collar edge to the inner neck but not through it.

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Figure 1

Figure 2

Figure 3


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Figure 4: ~ Place the CB on the fold, and spread the 2 sections 1/8”. Tape them in place. ~ Trace out the new collar pattern. Add on ½” seam allowance on the collar as well as the stand. ~ Cut out from the paper. Label each of the pattern pieces:- collar cut x2 fuse top collar x1. The stand cut x2 and cut x1 or 2 fuse depending on the fabric chosen. Add in grain lines. It is not necessary on the 2 piece collar to take out fullness on the under collar as was done for the roll collar. This is because the2 piece collar has a stand, whereas the roll collar has a built in stand and needs to compensate for the top collar rolling over the under under collar.

fabbrriicc cchhoosseenn. AAdddd iinn ggrraaiinn lliinneess.

Figure 4


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26. 44. Peter Pan Collar The peter pan collar can also have a full roll, partial roll or be a flat collar, all depending on the design and how close you make the pattern sit against the neckline. The general principle is that if you make your collar pattern conform closely to the neckline, yourcollar will be a flat peter pan collar. The more you wrap the shoulder edge of the front and back body, so the collar will need a built in stand and the collar will sit higher and therefore have a roll. The correlation of the stand, width and neckline of a Peter pan collar: So we have established that the height of a collar stand is controlled by the amount of overlap at the shoulder edges. This is called the 4 to 1 rule and is illustrated below. See how the collar’s nneckline edge, wwidth and hheight of compares to the body ‘s neckline edge. A = full roll: with 1” stand, width 2 ¾” B = Partial roll: ½” stand, width 3 ½” C = flat: 1/8” stand, any width (closest to the neckline)

ou wraapp tthhee sshhoouullddeerr eeddggee ooff tthhee ffrroonntt aanndd bbaacckk bbooddyy,, ssoo

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o the coll rr wwiillll nneeed a built in standoo tthhee ccollaarr

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www.aliexpress.com AA = B = C =

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www.forever21.com

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27. AA = Full roll Peter pan collar (1” stand) Figure 1:- TTop collar ~ Trace the back pattern. Place the front pattern over traced back pattern, shoulder neck points touching and wrapping the shoulder edges by 4”. ~Trace the neckline and part of the centre lines. A point will appear at the shoulder neckline. Figure 2: ~ Extend the CB neck into the neck area by 1/8”. Draw the neckline through the point ending ¼” below the CF. ~ Square out along the CB line for 2 ½” and draw in the collar shape keeping the 2 ½” equidistant all along the collar and rounding it into the CF neck area. Notch the shoulder line in neck and collar edge. ~ Cut the collar from the paper, and relate the pattern of the collar to the body by laying the collar CB to the body CB and using a pencil walk the patterns together along the edge making sure the shoulder notch on the collar meets up with the shoulder line on the body. Continue round the front body to check the collar fits the body perfectly. Add or trim from your collar where necessary. Figure 3: ~Trace the collar out on the fold of the paper. Notch the CB. ~ Add ½” seam allowance all round the collar. Cut from the paper. Figure 4: - UUnder collar ~ Trace the top collar on the fold of paper. Remove the pattern. ~ Trim 1/8” from the outer edge of the collar, starting at CB and finishing at nothing at CF. ~ Put in the same shoulder notches on neck and outer edge of the collar. ~ Put a notch either side of CB on the under collar to tell the difference when sewing up the collar. ~ Label top collar, cut x1, fuse x1. Label under collar cut x1. Draw in grain lines.

ryy.

r

Figure 1

Figure 2

Figure 3 Figure 4


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28. BB = Partial roll Peter pan collar ( ½” stand) Figure 1: ~ Trace out the back pattern. Place the front body on top of the traced back with neckline meeting and the shoulder edges wrapping by 2”. ~ Trace out the front on top of the back in this position, with shoulders wrapped. Figure 2: ~ Extend the CB into the neckline by 1/8”. Square out from CB neck. ~ Blend the neckline over the shoulder point dropping CF ¼”. ~ Mark 3 ½” down the CB line. Square out from CB keeping the 3 ½” equidistant all round the neckline to make the collar shape. ~ Round up the collar to the dropped CF. ~ Add ½” seam allowance all round the collar. Cut out the collar with CB on fold of paper. ~ Label pattern pieces correctly. Cut x2, and fuse x1 for top collar. ~ No need to make a separate under collar as the roll is not so great.

rs wrapped.

.

Figure 1

Figure 2

C = Flat Peter pan collar Figure 1: ~ Trace out the back pattern. Place the front body on top of the traced back with the neckline meeting and the shoulder edges wrapping by ½”. Figure 2: ~ Repeat the process above to make the collar. Note that the this collar can be any width.

Figure 1 Figure 2


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29. 55. The basic Sailor collar The sailor collar draws it’s inspiration from the old sailor design uniforms from days gone by. It has a flat collar that conforms to the neckline or body pattern, and does not have a stand. This Basic Sailor collar is squared in the back and ends with a V neckline at the front and a button stand. Making the Sailor collar: ~ Trace out the back body on a sheet of paper. ~ Over lay the front pattern on the traced back pattern, making sure the necks touch and the shoulder ends are wrapped ½”. ~ Trace around the CF body pattern. ~ A – B is the depth of the V neck. ~ Raise up the CB neck by 1/8” to nothing at the shoulder and down to B. ~ Mark 8” down the CB and square out 7” and back into B down the CF length. ~ Cut collar from the paper

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30.

Figure 2: ~ Trace out the collar on the fold of the paper. ~ Add ½” seam allowance all round and cut from the paper. ~ Add in the grain lines, label , and cut x 2 fabric, cut x1 top collar fuse. CCompletion of the Front and Back shirt blocks: Figure 3 & 4: ~ Trace the front shirt block on paper mark down on CF line the desired depth of the v neck. Draw a line from nape of neck to extend beyond v depth mark. ~ Draw a parallel line 1” from the CF line for the button extension. ~ 1/8” in front of the original CF line is where you will start the button holes and work back from that for the button length. (This is to ensure that the buttons sit exactly on the centre front line.) ~ Plackets and button placement will be discussed later on in this section.


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31. 3. SLEEVE - ADAPTATIONS FOR SHIRTS

To make your basic shirt sleeve more romantic, you will need to slash and spread the sleeve pattern and add in gathers. Your design will dictate having gathers at the head of the sleeve or the cuff, or even have both. Making your sleeve a ¾ length with a narrow band cuff instead of a wider traditional cuff will make the look even more feminine. Below are instructions on how to adapt your shirt sleeve to a gathered one: 1. Gathers at sleeve cuff: ~ Trace out your basic shirt sleeve on paper. Remember it already has seam allowance. ~ Divide your shirt sleeve into quarters. A-B is the centre of the sleeve and the grain line. Make parallel lines either side of the A-B line ½ the distance from the centre line to underarm point. Mark the 2 lines X at the armhole. Cut out sleeve. ~ Slash up to the X and not through the head of the sleeve. Spread each by 2” & tape down on another sheet of paper. ~ As a general rule, so as not to have too much fullness in your sleeve gathering, you would only spread ½ the width of the cuff and armhole area. (if your design has more gathers, by all means spread it more.) ~ Redraw in the hem line ~ Remark the placket slit, 3” up from the cuff hem, centred between the back slash opening. 2. Gathers at sleeve had and cuff: ~ Trace out your basic shirt sleeve on paper. Remember it already has seam allowance. ~ Divide your shirt sleeve into quarters. A-B is the centre of the sleeve and the grain line. Make parallel lines either side of the A-B line ½ the distance from the centre line to underarm point. Mark the 2 lines X at the armhole. Cut out sleeve. ~ Draw in a spreading guide line at the under arm line, as well us another line 4” up from the cuff, squared out from the CF line. Cut out. ~ Draw in a line on a new sheet of paper for the top spreading line. ~ Slash through all the panels of the sleeve from cuff through the armhole area. ~ Lay panel 1 on the spreading guide line, tape down. Mark 2” out from panel 1 (top and bottom) and make a mark. Place panel 2 on vertical marks and in line with spreading guide line.

d

e.1. GATHERS AT SLEEVE CUFF

2. GATHERS AT SLEEVE HEAD AND CUFF

Sketches by Liza Perryman

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~ Mark 2” out from panel 2 (top and bottom) make a mark. Repeat the process until complete. ~ Find centre of spread A-B to make new CF line and straight grain line. Mark 1” up from A and reshape to under arms on either side. ~ Redraw in the hem line ~ Remark the placket slit, 3” up from the cuff hem, centred between the back slash opening. If you are wanting to make your sleeve a ¾ length, you would now take out 4- 6” from the length at the cuff and remark in your placket slit opening. A narrow cuff band would be more appropriate instead of a wide cuff. (This will be discussed in chapter 4 of Cuffs.) FFINISHING OPTIONS FOR SLEEVE SLIT There are 6 different options to finishing off your sleeve cuff slit opening: 1. Banded slit opening: - Figure 1 a & b ~ Band or binding is cut 1 ½” – 2” wide and just more than 2 times the length of the slit. ~ Stitch right side (RS)of the binding to wrong side (WS)of the sleeve, from ¼” to nothing at x and back down to ¼”. ~ Fold binding in on itself and pin to WS of sleeve on stitch line. Top stitch on folded edge of binding 2. Stitch back slit:- Figure 2 ~ Roll edge of slit 1/8” in on itself until raw edge is covered. Top stitch from cuff edge to nothing at top of slit and down to cuff edge again. ~ Working from WS of sleeve stitch a V from 1/8” to nothing at the top of the slit to catch the raw edges of the slit.

2. GATHERS AT SLEEVE HEAD AND CUFF

wwnn ttoo ccuuffff

th ooff tthhee sslliitt.m

m ccuufff edgge to nothingg at topp of slit a owanndd ddooww



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33. 33. Elastic Cuff:- Figure 3 ~ The slit on the sleeve as well as the cuff can be eliminated and an elastic cuff can be used instead. ~ Add 2” to sleeve length for fold over for the elastic. ~ The length of the elastic should be 2” less than the around-hand measurement with no ease. The width of the elastic is your option, but then the hem allowance increases according to the elastic width. 4. Underseam opening: ~ If you do away with the sleeve slit you can use the underseam of the sleeve at the cuff for the cuff opening. ~ The seam allowance of the sleeve is individually overlocked and then flat stitched closed leaving 2 ½” for the slit at the cuff. Edge stitch the seam allowance back, boxing it at the top of the opening. 5. Spaced opening: ~ The sleeve cuff is made a little wider by adding 3/4” on either side of the cuff to nothing at underarm. ~ The cuff is then sewn and attached leaving the added extra as a space that is folded over when buttoned. The cuff seams are overlocked and foot stitched down to neaten the space between the cuff. 6. Placket slit finishing ~ This is a very difficult slit finishing and I would advise you not to tackle this option unless you are a proficient sewer. ~ Draft the sleeve placket by following the measurements below – figure 6 ~ On the sleeve pattern slit mark the following points. Draw ¼” lines out from each side of slit, ending ½”down from top of slit (figure 7- (e))

stic wwiiddtthh.

g..

s. Draw ¼ lines out from each side of slit,,

Figure 6

Figure 7


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~ Take your banding piece (as figure 7b) – place RS of band to the WS of the sleeve slit(nearest the side seam). Stitch up to the angle cut and back stitch.(8f & g) ~ Fold the banding over and edge stitch. ~ Working on the other side of the slit, place the placket’s RS to the WS of the sleeve slit. Stitch tot he end of the slit line and back tack.(8h) ~ Fold the placket to the RS and bring the angle line from underneath upwards to be covered by the placket and fold ¼” seams of the placket inwards and edge stitch closed as in (8i).

Figure 8


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35. 4. CUFFS FOR SHIRTS

Shirt sleeve cuffs can be made in various widths, but their length is determined by the measurement of the circumference of your hand. You will therefore need the following measurements to complete the shirt cuff: BASIC SHIRT CUFF Measurements needed: ~ Measure around the hand (as per picture)_________, plus ½ - 1” ease. The standard measurement is 8 ½”(including the ease) for a basic cuff, and usually 2” in width. The width of a cuff can be as narrow as a binding, ½” to as wide as 3 ½” or more. When designing a shirt , your design will determine the width of the cuff. Figure 1: ~ Fold paper lengthwise. ~ Square a 2” line from fold. Draw a parallel line 8 ½” long. Mark and draw up.~ Add 1” for the button extension. Figure 2: ~ Add ½” seam allowance along the 3 sides from the fold line. ~ Mark button placement in centre of extension. ~ On the other side centre button hole horizontally ¾” from left edge. ~ Cut from paper. Figure 3: ~ Unfold pattern, add grain line and label correctly.

Making a band cuff for a ¾ length sleeve: ~ Measure circumference of arm between elbow and wrist to find the ¾ width. Add 1” to that measurement for ease. The length should be about 11- 12”.~ Fold paper and mark in length. Square up each end and mark 1” wide. Add seam allowances

of 3/8”. Label and mark the cuff pattern and cut from paper

Figure 1


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36. 5. SHIRT FACINGS

There are a couple of different facings methods to finish up your shirt fronting closure. Below are a few examples: 1. Shaped fold back facing: ~ Mark the facing on your front shirt block 2 ½” wide at the shoulder and 3” from the front extension line. Draw in line as per figure 1 – dotted line. ~ Fold the pattern on the extension line, and with a tracing wheel trace the facing outline. ~ Cut out around the neck and shoulder line. Open up and cut facing from paper. ~ Notch the CF line top and bottom. 2. Straight fold back facing: ~ 3” is extended out from the extension line for the facing. Cut along this line then fold facing back and cut out along neck and hem line. (figure 2)

3. Separate shaped facing: ~ Trace out the front button hole area, along neckline and shoulder. ~ Mark 3” out from extension line right down the front, decreasing the facing to 2” round the neck and into the shoulder. Cut out facing pattern.

(see figure 3)

Figure 1

Figure 2 FiFigugurere 2 2

Figure 3


Sketch by Liza Perryman

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44. Band Facing: ~ The band is the same width on either side of the CF notch – extension is ¾” wide therefore the band width will be 1 ½” wide, plus ¼” therefore the band width will be 1 ½” wide, plus ¼” for seam allowance.(figure 4) ~ Trace the front pattern front, round the neck, front and a little at the hem. Remove the pattern and draw in the band line. Add on your ¼’ seam allowance. (figure 5) – Completed band. Stitching procedure for a band facing: ~ Place the RS band to the inside of the front WS. Stitch up the front seams together squaring around the top and ending at CF notch. ~ Turn band to RS folding in ¼” seams and topstitching the band closed on the front RS. ~ The collar is prepared with the under collar seams folded under and top collar seams out. RS of top collar placed on top of inside body, seams together. ~ The top collar is stitched to the CF notch and the under collar seam allowance folded under and edge stitched closed on the top.

Figure 4 Figure 5

Figure 6


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38.

6. SHIRT POCKETS

A pocket is a pouch that has an opening and is usually sewn onto or into a garment. It can be a decorative or functional feature, or both. The pocket opening should be big enough to accommodate the width of the hand and deep enough to hold objects. Pockets can be found in all types of garments, but for this section we are dealing with pockets for a ladies shirt. 1. Patch pockets: Are attached to the outside of the shirt and can also have a flap above it. They have a straight top and sides, whilst the bottom can be square, rounded or v- shaped. Patch pockets can have pleats inserted into the centre of the pocket or seams to make them more decorative. ~ Taking your shirt front pattern, draw in a horizontal line 10 ½” down from the nape of neck and squared out from the CF line. ~ 3” from CF along this line is the punch mark for your 1st pocket position. 5” from that mark is the 2nd mark for your pocket position. ~ Take a piece of paper and fold it in ½. Square out from fold line ½ the distance of your pocket punch mark (2 ½”) plus 1/8” so as to cover your punch marks on your shirt body. Shape your pocket as desired. If you are not a proficient sewer, keep to straight pocket lines. Curved pockets will need to have a press marker made out of cardboard by retracing the pocket, minus the seam allowance. Cut out your fabric pocket and overlock the top edge. You would then place the cardboard pocket marker on the cut out fabric pocket, within the seam allowances and then press the excess fabric over the cardboard marker. You will have a neatly pressed pocket ready to be placed onto the marks on your shirt front, pinned in place and edge stitched on 3 sides. The top corner points can be bar-tacked in place to strengthen the pocket.

Patch pockets


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39.

22. Flap Pockets: Flap pockets are decorative additions that are either used on their own or added above patch pockets. Their shape can vary from rectangular, rounded to v-shaped. They usually have a button fastening. 3. Welt Pockets: Welt pockets have a separate strip or flap stitched to the pocket opening, with the pocket pouch falling to the inside of the garment. 4. Jet pockets: Are 2 binding strips that are stitched to either side of the pocket opening. The opening lies between the 2 bindings with the pocket or pouch falling to the inside of the garment.

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Welt pockets Jet Pockets


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40. 7. BUTTONS & PLACEMENT ON LADIES SHIRT

A ladies shirt always has the buttonholes on the right hand side of the front, and it buttons over the buttons on the left side. The easiest way to remember this is that a lady is always “right”. (not so Girls!!!) Buttons and button holes have a two fold function. It can be decorative as well as holding two sides of a garment together by having a button on one side which slots into a buttonhole on the other side. There are other types of closures such as: velcro, snaps, hooks and eyes and self fabric ties.Buttons come in various sizes and shapes, such as circular, square, rectangular, and shank. The diameter of the button determines its size. Buttons can be made out of various types of materials such as; wood, bone, mother of pearl and even covered in self fabric or leather. A button can definitely enhance a garment and in some cases make a fashion statement. Buttonholes have to be wide enough to accommodate the button diameter.

FLAT BUTTONS – 2 hole and 4 hole buttons in different shapes.

SHANK BUTTONS – haveLoops underneath the button To attach to the garment. They Can either be covered (as right) Or made of wood, plastic or Metal. Below are some Diamante and rhinestone buttons.

DECORATIVE BUTTONS -

Made in various materials and coming In all different shapes.(2 hole & 4 hole)

Diamante and rhinestone buttonss.

nt

DDDEEEC

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Bling Diamante Buttons

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BButton holes: ~ Shirt button holes are usually done by machine and are just the standard button hole. Domestic sewing machines of a higher calibre will you a variety of buttonholes to match your fabric type. For example; a finer georgette fabric will take a cross stitch button hole. ~ A key hole buttonhole is used mainly for jacket buttonholes. Buttonhole Placement: ~ The buttonholes on a ladies shirt are always placed on the CF line. There is usually only 6 buttons placed down the length on a standard shirt. Obviously if the design has buttons as its feature and there are be 3 buttons grouped closely at intervals, then the spacing will be different. ~ Roll collar shirts will have 6 button holes running vertically down the CF. The top button hole will start a ¼” from the top. (figure 1) ~ A 2 piece stand collar will have the top button placed horizontally on the stand and 1/8” over the CF line. This allows the stand button to sit directly in line will all the other buttons on the CF line. ~ Please follow the directions of figure 3 & 4 for the measurement placement of button holes on a roll collar shirt and a 2 piece stand collar shirt. ~ The marking of the button positioning will be discussed in the next Module which appertains to the sewing of the ladies shirts.

Standard buttonhole Keyhole buttonhole

&

Figure 1 Figure 2

Figure 3

Figure 4



Information compiled by Liza Perryman

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Bibliography: ~ Helen Joseph Armstrong, 20010. Patternmaking for Fashion Design. 5th edition. Pearson publishers. ~ Part information and sketches compiled by Liza Perryman

42.

level 1: foundation: fd1-pg1-bbw pattern & … – helen joseph-armstrong patternmaking for...

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