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Adjust a pattern in quadrants for accurate results | B Y J O I M A H O N

Every body is unique in its proportions and dimensions. To personalize patterns, sewers have been trained to use generic � tting adjustments that, unfortunately, often create

more � tting issues than they solve. I have found that the best way to achieve impeccable � t is to focus on the body’s vertical and horizontal proportions, adjust patterns to correspond, then � ne-tune the � t on a muslin.

Certain points on a pattern must align with the same points on the body for a garment to � t correctly. � is means that bust, waist, and hip circumference measurements are not enough. With my � tting method, you’ll break down the body and pattern into small areas. � en, adjust the pattern areas individually—front and back—to match the body’s vertical and horizontal proportions. � is system enables you to address the most important � t issues before cutting a muslin. By the time you sew a muslin, all that’s left to do is � ne-tune it; the heavy lifting is completed.

� is technique is especially useful for � tting the bust. � e key to my bust-� tting method, which is unique to my overall � tting approach, is the bust’s division into quadrants centered around the apex. � e standard bust-adjustment method generally changes the waist as well as the bust, yet ignores areas around the bust that should be included for the best � t. My technique addresses the bust quadrants separately to address the location and distribution of the bust’s fullness.

Let me show you how to get a perfect � t in one of the most dif-� cult areas to � t on a woman’s body. You’ll learn how to adjust a � tting shell bodice to match your body’s proportions exactly. � en you’ll learn how to apply this method to a fashion pattern bodice with design and wearing ease included.

Joi Mahon is a custom clothier, sewing instructor, and the author of Create the Perfect Fit: Measuring and Pattern Fitting for Real Sewing Solutions (Krause Publications, 2014). DesignerJoi.com.

Bust Fit

52 T H R E A D S

Divide the bust into quadrantsBreaking down bust adjustments into four areas enables you to create a custom fit for any bust size, shape, and height. The four bust quadrants are: shoulder to apex (length); bust curve (length); apex to apex (width); and apex to side seam (width/depth). You’ll measure the body, then you’ll measure the same area on the pattern and compare the measurements.

SHOULDER TO APEX The shoulder-to-apex measurement and adjustment

address the area above the bust apex. On the body, run a tape measure from the shoulder’s approximate

center to the bust’s forward-most point. This apex is sometimes marked on patterns, but sometimes not. If there are darts or princess seams, it’s easy to locate the apex; all bodice darts point to the apex, and a princess-seam side-front piece’s curve corresponds to the apex. Measure from the middle of the pattern’s shoulder seamline to the apex.

BUST CURVEOn the body, the bust-curve area is the lower portion

of the breast. It is measured from the apex to the underbust line, approximately where the bra band sits,

following the breast’s curve. The bust-curve area is vital for fitting a bodice, and it isn’t adequately addressed by standard bust adjustment methods. Commercial patterns include up to 3 inches of space below the apex to accommodate a B cup.

On the pattern, measure 3 inches down from the apex and draw a horizontal line from center front to side seam to demarcate the bust-curve area. This is where you’ll make any necessary adjustment to accommodate the body’s bust curve.

APEX TO APEXOn the body, measure from one apex across the center front to the other apex. To make this easier,

apply adhesive dots to mark the correct apex locations on the body. Divide the measurement in half. On the pattern, measure from the bust apex to the center-front seamline or foldline, which is half the full apex-to-apex width.

If the pattern’s apexes don’t align with the body’s apexes, the pattern won’t fit correctly. The apex-to-apex measurement is one of the easiest areas on a pattern to adjust and one of the most important fit areas.

APEX TO SIDE SEAM

A single full-bust circumference

measurement doesn’t account for the bust’s depth. Measuring from the bust apex to the side seam gives the side-bust depth and accounts for the breast’s side fullness. On the body, mark the side seam. Then, measure from the bust apex to the side seam.

Measure the same way on the pattern.

This measurement is especially useful for princess-seamed bodices because the side front’s curve must align with the bust apex for a good fit.

Shoulder-to-apex length

Apex-to-apex width

Side seam

Apex-to-side-seam depth

Bust-curve length

1

3 4

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J U N E /J U LY 2 0 1 5 53www.threadsmagaz ine . com

Use a commercial fitting shell pattern, such as Vogue 1004, in a size that closely matches your measurements. A fitting shell clearly illustrates how to adjust the areas of measure on the body without having to think about design ease. These adjustments are raw length or width increases or decreases within the bust quadrants and other pattern areas to match the body’s proportions. The process is quick and efficient: Measure, then make the changes.

Measure the following areas on the body. Then measure the same areas on the fitting shell pattern, omitting seam allowances, darts, and other fitting details. Compare the body measurements to the same areas on the pattern.

Horizontal • upper chest• apex to apex• apex to side seam• front waist• full upper back• back waist• midback (level with

the full bust)

MAKE THE CHANGESIf the body and pattern measurements are the same or less than 1⁄4 inch different, make no change. If the pattern is smaller than the body in any area, lengthen or widen the pattern area to match. If the pattern is larger than the body, shorten or narrow the pattern area.

Make length changes first, then make width changes. To adjust, mark slash lines on the pattern in the approximate middle of each area needing adjustment. For example, if you need to lengthen the

bust-curve area, mark a horizontal line through the area’s center, cut, and spread the pattern.

Slash lines run vertically or horizontally from edge to edge on the pattern; there are no angled slash lines in this process. Spread or overlap slashed lines evenly to change the pattern area’s proportion.

Tape down the spread or overlapped pattern edges. Don’t true the pattern edges until all raw length and width adjustments are complete (see “True the pattern” on the facing page).

Add 1⁄4 inch.

Add 7⁄8 inch.

Add 1⁄4 inch.

Add 2 inches.

Subtract 3⁄4 inch.

Subtract 6 inches (split between two locations).

Subtract 7⁄8 inch.

To fit our model’s bust, we shortened quadrant 1, lengthened quadrant 2, and narrowed quadrants 3 and 4. This illustration also shows the other torso length and width adjustments to match her proportions.

Bust curve

Underbust to waist

Apex to side seam

Front waist

Apex to apex

Shoulder to apex

Shoulder to full backBack neck to waist

Upper chest

Subtract 1⁄4 inch.

Subtract 1⁄2 inch.

FRONTBACK

Side seamCenter-front seam

Side seam

Center-back seam

Full upper back

Back waist

Midback

Vertical • shoulder to apex• bust curve• underbust to waist• shoulder to full back• back neck to waist

VERTICAL MEASUREMENT

This line shows width change without cutting the pattern.

HORIZONTAL MEASUREMENT

Adjust a fitting bodiceCOMPARE THE MEASUREMENTS

⁄

Apex to apex

54 T H R E A D S

FITTING SHELL FRONT FITTING SHELL BACK

Necklines, armscyes, darts, and side seams are likely to change temporarily during the adjustment process. They may become too long, too short, or distorted. Other fitting details can change dramatically during pattern adjustments, as well. Such changes are temporary and are corrected after all adjustments are completed.

If the pattern begins to look unnatural halfway through the raw changes, don’t panic: Trueing resolves this. However, there’s no point in trueing an area you just changed when it may be further affected by another change.

Armscyes can become particularly distorted during adjustment; this is normal. Before making pattern changes, trace the original

armscye to create a template to use after completing the adjustments to true the armscyes. You can do the same for a neckline, or wait until the muslin fitting and clip the neckline on the body. During the muslin fitting, you also can refine the length and depth of darts and side seams.

Changes made in one pattern area may affect other areas. However, each pattern section should be fitted separately. If your pattern has a sleeve, get the bodice fit correct first, then fit the sleeve. True the pattern’s edges with a French curve or design curve. If you made armscye templates, lay them over the adjusted pattern’s armscye.

TRUE THE PATTERN

this is normal. Before making pattern changes, trace the original pattern’s armscye.

Back armscye template

Making templates of the original armscyes provides an easy way to true the adjusted pattern armscyes.

Because we corrected the pattern to match our model’s proportions, the first muslin required only minor tweaks to fine-tune its fit.

this is normal. Before making pattern changes, trace the original this is normal. Before making pattern changes, trace the original

Making templates of the original armscyes provides an easy way to true the adjusted pattern armscyes.

Front armscye template FRONT BACK

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Fit a fashion bodiceYou can apply the bust-adjustment process to any garment style. As you decide how much to change, keep in mind that fashion patterns incorporate wearing and design ease appropriate to the intended fit and silhouette.

CONSIDER EASE AND FIT PREFERENCES Wearing ease is the extra room above the body measurements in a garment to allow basic movement. Design ease, which is part of what defines a garment’s silhouette, is the amount given beyond wearing ease. Ease can create some confusion in the adjustment process: How much is necessary depends on the garment’s style and the wearer’s fit preferences. What one person considers semifitted, the next might consider loose-fitting.

Ease is not typically distributed evenly throughout a pattern. For example, the shoulder-to-apex, bust-curve, and apex-to-apex quadrants on a pattern tend to have no ease. The apex-to-side seam quadrant, however, may use varying ease amounts to create different silhouettes.

Because most ease is incorporated away from the garment’s center, it’s simple to pin out small amounts of excess at the side seam during a muslin fitting. This kind of change is best done on a muslin and is not a major fit issue that must be addressed on the pattern first.

EVALUATE THE FASHION PATTERNEvaluate the pattern to determine what areas need to match the body’s proportions exactly—usually the vertical proportions—and what areas require ease to achieve the garment’s desired silhouette. Judge how much ease to preserve or eliminate based on personal fit preferences.

We chose a vintage reproduction fashion pattern, Butterick 6582, with a crossover neckline that features gathers at the shoulders (see the pattern cover on the facing page). It’s drafted as a semifitted garment, with 41⁄2 inches of ease at the full bustline. Our model’s bust measurement is 1 inch greater than the pattern size we used, reducing the ease at the bustline to 31⁄2 inches.

Our model’s figure is petite, but she is well-muscled, and she prefers a close fit in bodices to accentuate her silhouette. Once we adjusted the pattern’s vertical proportions, the bodice ease was better positioned over her bust to accommodate her fit preference.

ADJUST THE PATTERN AND FINESSE THE MUSLINThe pattern adjustments shown achieved our model’s preferred close fit in the fashion muslin. The same length changes made for the fitting shell pattern were made on the fashion pattern, but the width changes were different because of the desired ease. No width change was necessary at the upper chest because of the pattern’s shoulder gathering. The apex-to-apex measurements were a match, and the apex to side seam was unchanged to retain a close fit while including 3⁄4 inch of wearing ease through the front. After fitting the first muslin, we added a bust dart to reduce gaping at the armscye and to take up excess length at the front side seam. You can add darts easily during the muslin fitting if necessary.

Armscye template

Armscye template

Add 3 inches.

Add 1⁄4 inch.

Subtract 7⁄8 inch.

Subtract 3⁄4 inch.

Add 1⁄2 inch.

Add 1⁄2 inch.

Subtract 6 inches (split between two locations).

The asymmetrical fashion bodice pattern shows the length and width changes

made to fit our model, taking into consideration the pattern’s

ease and her fit preferences.

FRONT

BACK

56 T H R E A D S

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Without the adjustments, especially in the bust quadrants, the vintage-style bodice would have fit poorly: bagging and bunching above the bust and through the lower torso, and pulling over the bust curve and across the upper back.

Pattern: Butterick 6582. Fabric: cotton sateen, Fabric.com.

After all pattern adjustments and the addition of bust darts, the fashion bodice muslin shows an excellent fit through the bust.

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PATTERN/PATRON

MISSES’ DRESS & BELT Semi-fitted dress, mid-calf has gathered shoulders andback zipper. A: attached bow. A,B: straight, back vent.C: flared, belt. Purchased petticoat and belt-kit.NOTIONS:Dress A,B,C:18" (45cm) Zipper and Hooksand Eyes. Also for C:Approx. 2" (50mm) PurchasedBelt/Buckle Kit (w/o Prongs).FABRICS:Lt.wt. Faille, Crepe, Taffeta, Piqué and Lt.wt.Linen. Also for A,B:Shantung. Unsuitable for obviousdiagonals, plaids or stripes. *with nap. **w/o nap.

MULTI-SIZED FOR CUSTOM FIT

SIZE(6810)(121416)(182022)Fabric widths given in inches.DRESS A45*/**2≤2≤2≥2≥2≥2≥2≥2∫2∫60*/**1≥1≥2≈2≈2≈2≈2≈2≤2≤SEW-IN INTERFACING A3611111111145∫∫∫∫∫∫∫∫∫DRESS B45*/**222≥2≥2≥2≥2≥2∫2∫60*/**1≈1≤1≤1≤222Ω2Ω2ΩDRESS & BELT C45*/**3≤3≤3≤3√3≥3∫44Ω4µ60*/**2≈2≤2≤2≤2√2≥2∫2∫3SEW-IN INTERFACING B,C36, 45≤≤≤≤≤≤≤√√

WIDTHS Lower edgeA,B363738394143454749C116117118119121123125127129LENGTHS Finished back from base of your neckA,B,C4343µ43≤43≥4444µ44≤44≥45

ROBE &CEINTURE (J. FEMME)Robe à mi-mollet, semi-ajustée, zippée dos, droite(fente soufflet dos), ou évasée, avec ceinture, toutes:fronces aux épaules. A:nœud attenant. Jupon noncompris. Ceinture/kit d’assemblage à acheter. MERCERIE:A,B,C:Zip (45cm) - Agrafes; plus pour C: 1boucle (sans tige) et kit d’assemblage (environ 50mm). TISSUS:Faille ou lin fins - Crêpe - Taffetas - Piqué; pluspour A,B:Shantung. Grandes diagonales ne convien-nent pas. *avec sens. **sans sens.

MULTI-TAILLES/A VOS MESURES

TAILLE(6810)(121416)(182022)Largeurs des tissus données en centimètres.ROBEA115 */**2.32.32.62.62.62.62.62.72.7150 */**1.61.62.22.22.22.22.22.32.3ENTOILAGECOUSU A90 1.01.01.01.01.01.01.01.01.0115 0.80.80.80.80.80.80.80.80.8ROBE B115 */**1.91.92.62.62.62.62.62.72.7150 */**1.31.41.41.41.91.92.02.02.0ROBE & CEINTURE C115 */**3.23.23.23.43.53.63.73.83.9150 */**2.22.32.32.32.42.62.72.72.8ENTOILAGECOUSU B,C90, 115 0.50.50.50.50.50.50.50.60.6

LARGEURS à l’ourletA,B929496.599104109115120125C295297300302307312317323328LONGUEURS dos, votre nuque à l’ourletA,B,C109110110111112112113114115

averagemoins facile

6582

6582

SIZ

E/T

AIL

LE

SIZE/TAILLE681012141618202224Bust30

1⁄231

1⁄232

1⁄234363840424446

Waist232425261⁄2283032343739

Hip321⁄233

1⁄234

1⁄236384042444648

T. de poitrine788083879297102107112117T. de taille58616467717681879499T. de hanches8385889297102107112117122

Butterick®

6582SIZE/TAILLE

Butterick®

RetroB U T T E R I C K

'60

B

C

A

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