pattern magic.pdf

8/19/2019 pattern magic.pdf

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Tomoko

Nakamichi

Having

served many years

as a

professor

at Bunka Fashion

College, Tomoko

Nakamichi

currently delivers lectures

and

holds

courses on

paffern

making in her native

Japan

and

internationally.

This

book brings

together the results

of the

research

on

garment

patterns

she has

carried out to help

instruct

her students.

She also enjoys

creating the ball-jointed

fashion

dolls that

appear iñ the

pages

of this book.


4/105

PATTERNMACIC

Tomoko

Nakamichi

Laurence

ing

Publishing


5/105

Pattern

Making

Cut and

oin

flat

pieces

f

fabric

to assemble nto a

three-dimensional

garment.

Take the

pieces

of

a three-dimensional

garment

apart

and

flatten

them, to

get

individual pattern pieces.

The relationship

between the flat

pattern pieces

and the

three-dimensional structure

of the

garment

never

changes.

You can create a

garment

by cutting, moving and

reassembling he

pieces

of a

pattern,

just

like

the

pieces

of. a

pazzle.

Use your original designs to make new patterns.


6/105

Contents

P

a

rt

1

Creating

orm

through

nspiration

Using

his

book

Fundamentals

Accents

(deppari)

Gathered

hole

Crater

The drop

hole

(otoshiana)

Lumps

and bumps

(dekoboko)

Thedressorm used

n hisbook

sbased

n he standard

unka-style

loper

block)

or an adult apanese

emale

See ages 8-'102or moredetails

All

patternsare

or a

size

lapanese

dult

emale

bust

83cm,

waist 64cm,

centreback

ength38cm)

The

posiüon

f

the cutting ndopening

ut

ines, nd he amount

o be

opened ut, may

varyaccordingo

garment

ize

Whenusing half-scale

ody orm,

educeo

halfall ull-sized

easurements

nddevelophe

rtern

PIateS

13

14'15

'1.7

L6.1.7

1,8

1.9

Instructions

27

20


7/105

.¿:ffi

Part

2

Making

Patterns

for

haute

couture

garments

Plates

53

Instructtons

/1

Draped

design

The twist

(nejiri)

Hide

and

seek

(kal


8/105

usitrg his

book

At the beginning of this

book

(page

7) I

explained

about

the

relationship

berween the three-dimensional structure

of a

garment

and flat pattern pieces.

A major

objective

when

making garments for

women

is not

only that they fit

properly but

that they also look attractive.

For this

reason, garment

design will never cease o

exist

and

provide

endless enjoyment. I hope

the

pattern-making

method I introduce

here is of use to you in

turning an

image into

a

silhouette or design detail,

and that

you

learn from the ideas in

this

book and

find

new methods that work for

you.

The pattern drafting and manipulation for the design of garments in this book are based on the Bunka-style sloper

(block)

for

adult women

(Japanese

M'

size: bust 83cm, waist

64cm, centre back length 38cm)

and a

half-scale

dress

orm

for the three-dimensional pattern

manipulation. All

the measurements

on this dress orm are

half

that

of a

full-sized

dress orm,

its surface area is scaled down

to a

quarter

and its volume

to one-eighth. Using a half-

scaledress orm helps to

understand the

overall balance and

look

of

a

garment.

As

my obj ective was to explain

the

construction

of a

pattern

in an easy-to-follow

wa¡

I

have omitted

pattern

markings

such as facing lines used for

actually

constructing

the

garment

and the amount of fabric r equired

to make the

garment.

B

Bust

Abbreviations

sed

n

pattern

drafting

BP

BustPoint

AH

Arm Hole

FAH

FrontArm

Hole

BAH

BackArm Hole

Symbols sed n

pattern

drafting

11

PATTERN MAGIC

W

Waist

MH

Mid Hip

H

Hip

BL

Bust ine

WL

WaistLine

HL

HipLine

EL

Elbow ine

CF

CentreFront

CB

CentreBack

Guideine

Line hat acts as a

guide

when drawing other lines

Shown by a thin solid ine

Sector

ine

equal

engths

Shown by a th¡n broken ¡ne

Finishing ine

L¡ne

nd¡cating

he finished outline ofa

patte rn

Shown bv a hick solid

ine or a broken

¡ne,

Cut

on

he old

[ine ind¡cating where

the

fabr¡c is to be cut

on the

fold,

Shown by a thick broken lin e

Right ngle

márkin1

L

Indicatesr¡ght

ngle. hown y a hin solid ine

One-way

leats

G-

--=

N-7T

l \ )

( , / l

Draw two diagonal lines slop¡ng downwards to wards the hem Shows

that the higher ¡ne olds

over he

lower line,

Grain ine

Ind¡cates

that the cross-w¡se

gra¡n

ofthe

fabric runs

¡n the dirtrt¡on of

the arrow Shown bv

a thick solid

line

Biasdirection

/

/

Indicates the direction

of

the bias ofthe fabric.

Shown bv a hick solid ine

Extension

arking

t---

---=-r,>

Ind¡cates the

part

to be

stretched

Ease arking

z/----=---x

lnd¡c¿tes the Dart to be eased

Close nd

cut open marking

Indicates that the

paper

pattern

is o be folded

along the dotted lines

and cutopen along the sol¡d ine

Marking

o cut

fabricwith

paper

pattern ¡eces

arrangeo

contiguously

&

Ind¡cates

thatthe

paper pattern pieces

are to be arranged

contiguously when

cutting out the

fabric.


9/105

PATTERN

MACIC

Part1

Creating

orm

hrough

nspiration

You'll

find

ideas

or garment

design

everywhere

.. .

bui ldings,

lowers

or trees

n nature,

tools you use every da¡ even a person's ace.

To

turn

the image

in your

mind

into

a

garment

you'll

need

to

know

the

techniques

of

pattern

making.

It's

not.difficult

and

there's

no

one prescribed

way

to

make garments;

ust

discover

a

way

that

suits

you.


10/105

13

PATTERN

MACIC

I


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12/105

15

PATTERN

MACIC


13/105

,-

-. i ' .:: ' .:

a::::

.

16

P AT T E R N M A

C

I

C


14/105

I

Lrater sleeve

=:

page

0 for instructions)

Sleeve ith gathered ole

(See

age

36

for instructions)

17

PATTERN

MACIC


15/105

,18

PATTERN MACIC


16/105

19

PATTERN

MACIC

L


17/105

20

PATTERN

MACJC


18/105

PATTERN

MACIC

Fundamentals

It's possible

o expressavant-garde design and elegant detail

in

a contemporary

garment

by using the Bunka-style sloper

(block)

as a base which fits the wearer's

body

form

as

closely

as

possible.

First, insert a circular

design

ine instead

of darts

into

the bodice of the sloper.

The

secretof

Pattern

Magic lies in the

"close,

cut and open out" technique.

21

PATTERN

MACIC


19/105

Basic

odice

attern

Bodice

ront

oattern

based

on the

Bunka-style

loper

block) see

pagesgg-102)

Bodice

attern

with

closed

arts.

lnserting

circular esignine

ff

Wn"n

heedge f

thecircle

asses

hroughhebust

po¡nts

Cuüingout the circle

roduces pattern

with

the same

ilhoueüe s he sloper

bove.

Theedge

of

the

circle

passes

hrough he bust

points.

The circle

hat

has

beencut

out

forms

the

pattern

or

the design ine.

l-r

I

When

he circle xtends

eyond

he bust

points

Even f you

cut out

the circle, he underside

oesnot lie lat

and cannot

be usedasa

22

PATTERN

MACIC

pattern.

The

circle

xtends eyond

he

bust

points

Even f

you

cut out the circle, t doesnot

lie lat.


20/105

To make

a

pattern

or

the circle

Shorteninghe daftsso hat hey end

at the edgeof the circlewill make

he circle ie lat so hat a

pattern

an

be

made

However,he silhouette il l

be not be same s he

sloper

block).

Closehe darts nd

cut out he circle

Threemethodsor

making

pattern

with he

same ilhouette

Theyall nvolvemanipulating

he darts

hatare

eft nside

he circle.

The

pattern

s not fitted n

the chestarea

and he silhouettes not

he same

3. Flatten

. Insert arls

Close

wo darLso make nto

one) 2. Ease

"Flatten"means o

press

own

on

any ullnesshat refuseso lie lat In

a similar ay

o a sugar ubewhere

the corners ave

been

worn

away,

gentle

urvesorm on the

pattern

s

shown n he drawing Flattening

us t

a small mo unt

of

fullness

reates

well-fittedor m

Depending

n the method

ou

use, he

hree-dimensional

expressionhangesrom soft o sharp

To he left s

a bodice

pattern

where he dads havebeen laüened

23

PATTERN

MACIC

Shoftenhe darts o end at he edgeof

the circle


21/105

In

the

same

way

as or

the

bodice

with

the

circular

esign

ine,

make

he

bodice

pattern

out

of paper

Draw

anykind

of

l ine ou

want

and

don' t

orget

o insert

he posi t ion

f

the

opening.

Insert ingomplex esignines

nto

a sloper

block)

as

a further

pplication

f

this

echnique

24

PATTERN

MACJC

Cut

and

open

out

along

he ines

Flatten

ut

he

areas

hat

do

not

¡e

iat

either

by

nserting

arts,

asing,

r flattening,

or

by

combining

hese

methods


22/105

Cannot

openeo

Thepatterns lat

but he beginning f the

curve annot e opened ut becausehere s

no seam llowanceor he designineseam

Fold

vera small

ortion

t he endof the

curve o create ome eam llowance

Then, ither tretch ut he olded

portion

r

cut andopennear he shoulden

FRONT BACK

Althoughwe have

o be

meticulous

bout

measurementsor

a

garment

attern,n

some ases

here

nly

a few mill imetresre

involved,here snothingwrongwith

being

lexible. ere have olded ndcreatedhe seam llowanceut

you

maychange

the design o hat he designines ndat he

points

p o where

ou

cansew.

The abricalsostretches lot with

patterns

hat havecurveddesign ines, nd when

you

actually ut the

fabric

out,

you

will

need o adjusthe measurements.elect method onsideringhe overall alance f the

garment.

25

PATIERN MACIC

e f lat

either


23/105

N

MACIC

á3ffifi

cuttlng requlres

¡

: : ¡ r


24/105

-.

\

-ieppdri

protrudes from the

back

like a shell.

:

;¡

it ut i l ises he unevenness f the bod¡

:

r l-sn't

ust

have

o be

the back

- r rr-hicha deppari protrudes.

r.r ' can be

posit ionedanywhere,on the back

:

rn

the chest, o create

a

sharp design

ine.

-.

rc . tre wo

interest in de

pari

designs.

FRONT

BP

aa o

22

43

Because

hedeppari omesntocontactw¡th he right

neckline, ake

only he

rightbodice

:ack

necklineignificantlyeeper

S

Rs he

projection

ill be neater

f

there s

no shoulder

eam,

losehe

eft

shoulder

ar t

and

cut hissection ont¡nuouslyith he

bodice

ront

PATf ERN

MACIC

S

To make he deppariappear o be

protrud¡ng

rom he

pointwhere

he curve

f

the shoulder lade nds, raw t from he end

of the shoulder arton he

pattern

To make

thedeppailneat,move he rightshoulder

dad o the AH

Reverse nd cut out3cm

$

Reversehedepparí gain ndcut out


25/105

Page

3:Deppari hirt

Thedepparion the

chestutiliseshe

The sharp ccent

n the chestarea

qualitycottonshirt

has

a coolness

of a safari-stylehirt.

fullness

f the bust.

of the cr isp

igh-

that s eminiscent

cn

SLEEVE

/

cm

-/-/

. . t6cm

4cm

$

Becausehe shirtdoes

not have o be

particularly

itted o the body,

divide he shoulder

artallowancehatwasmoved o the AH

into wo

equal

ectionsDistribute ne half nto he

darts, nd he rest n he

armholeShortenhe dart

becausehe dad allowancessmall

r

a+a-

@

Draw

he depparl

Divide he bust dart

allowance

nto hree qual ections,istribute

one hird ntoease

n

he armhole,

eavewo

thlrds

or

the bustdart

and sew he deppari o

the armhole

12cm

2cm

11cm

28

PATTERN MACIC

COLLAR

@

Reversehe deppari and cutout


26/105


27/105

Page

4:

Dress

ith

gathered

ole

A

design

where

a hole

s

opened

nd gathered

in

a

fi tted

silhouette,

i thout

nserting

arts

or

design

ines.

0.5cm

0-5cm

(f

Draft

a pattern

f

a dress

with

a fitted

sjlhouette


28/105

@

Becausehe

eft

and

ight

bodice

anels

reasymmetrical,l ign hemanddrawwhere

ou

want

o open he

hole Insert

utt ing ndopening ut

nes

n a rad¡al

attern

n

a balanced ay.

Where he cutt ing ndopening

ut

ines

o

not

make ontact

with

he

point

of the darts, djust y making he darts onger r shorter.

Where he

point

of the dart s oo far away,or exampleike he bust

darton he

eft

bodiceront n he drawing,

ou

canalso rawanother utt ing

andopening ut

ine

s

n

@

Makean openingn he back eftshoulder long he radial-patternutting ndopening ut ine,

andconnecthat sect¡ono the bodice ront

31

PATTERN

MACIC


29/105

Close

ll

the

darls,

hereby

making

t

possible

o

create

a fitted

ouette

even

without

darts.

Manipulate

he

cut

and

opened

arts,

o

draw

a smooth

ontinuous

in e

for

the

outline

f

the

hole

and

he

side

eam.

hen

edraw

he

hemline

with

a neat,

straight

ine.

End

of

seam

o

..ll9-

*

.

.:u"-

------

,

Top-stitch idth= 1cm


30/105

':

-i

filred

:lr ttnuous

l ine

:

tl-re

emline

i:,ü

i:

I I i3¡ i : '

-

: :s ign

where

he uxur iousabr ic

. , : l

for

the camisoles i t ted

o the

-

: ; i

wi th designines

ndappearso

-: .

e sprung rom he gathered ole.

: ; made

rom

cotton

oi lewoven

: ' dotsand s

great

or wear ing

s

, isual

wear, or

example, i th

eans.


31/105

5cm 9cm

Shoulder trap

attachment

osition

2cm

I

21cm-

BACK

20cm-

End of

24cm

6cm

Y

8cm

I

*L'

6cm

I

,1

I

18cm

14cm

I

Q

Open a smallhole or the

gathering

around he mid hip

(MH)

areaof the

right

bodice

ront.

Make a

part

of the

gathering

nto

a

frill

for

greater

emphasis.

To

create he frill strip,decide

where

he seamendsand do not sew

beyond

hat

point.

Then

make he

frill,

taking care not to

attach

it

to

the

bod¡ce.

Fit

he waist using he curveddiagonal eams s

design

ines.

Align

the

right

side seams,

and cut open

;'

@

Draw design ines or the

gathering

n

a

radial

pattern

n

section@

of the

pattern

where he hole hasbeenmade.

Align he bodice iont and back igtrt s¡de eams nd nsert he dcign lines

Enlargement f the frilled

section,

The endsof the frill stripare not

joined

ogether.

34

PATTERN

MAGIC


32/105

With

stretched

bias

Top-stitch

width

=

1cm

End

of

seam

nd

of

seam

C)

Cut

out

each

of

the sections@,

@

and

@

and

adjust

he

hem

ine

@

Cut and

oPen

out

section

@

of

the

pattern

Add

27cm

on

each

side

o

getplentyof frill.Alsoaddextrawidthas equired t@ and@

(4cm

n his

case)

o

draw

smooth

well-connected

ines'

35

PATIERN

MACIC

I


33/105

Page

7.

Sleeve

ith

gatheredole

O

Measurehe armhole f the

bodice nd

makea drawing or the sleeve

36

P Af

I

E R N M

A

C

I C

@

Draw

he

inished ilho uette f the sleeve

capasseen

rom

he

side

the

sleeve ap

s

flattenedn he inished tate).

Os,

lf¡fü:ü

filInn"] 1

ilmü

A design

or

a close-fitting

leeve,

with

volume nly n he op section

of

thesleeve.

isualizehe finished

silhouette

f the sleeve

o

determineow much u l lness

mustbe added

o the

pattern.

Then,make he

pattern, rawing

the s leeve

eight n he same

way

as

n the design rawing

n

the r ight.

Don't

orget ha t the

amount

or

cutt ing ndopening

ut var ies

greatly

epending

n the

fabric

you have hosen.

1

f

ú

¡rf,f

tl

tu{

¡

]L

- -


34/105

*@

;\

of

the sleeve

Oeeg

can s

l: deeve cap that faces

he neck

by adding

t:

same

measurement

s n

@.

Draw

he

eiderarm line.

@

Cut and open

out the

sleeve

cap unül

it

reaches

ine

@

and

draw

a smooth, curved

ine.

@

Draw

cutting and

opening

out lines

n

a

radial

pattern

rom

the centre

of the hole.

tO nrstly,with

the sleeve

ap attached,

ut and

openout

until he

sleeve ap

ine becomes

orizontat.

It

is up to

you

to decide

how much you

want

to open

the sleeve

ap, but

consider he

fabric

grain,

easeof sewing,

and

other factors.

Sleeve

Top-stitch

idth

=

lcm

a-b=

x

Endofseam-?

2cm

E+scm

@

Because

he

amount or

the

gathering

s

still not

sufficient,

pen

out the sleeve

ap even

urther.

The amount

or cutting

and opening

out vaies

according

o the fabric

used.

37

PATTERN

MAGIC

Sleeve cap

b\\

Endof

seam


35/105

_____--

'¡

,,-it,

By inserting ease, he fabric was shaped

nto a

gentle

c.oncave tructure,resembling

a crater on

the

surface of

the m.ben. Use a sturdy

fabric that can be eased nto

shape

or

a

more dramatic appearance.

.*¡,.

Lil

'i


36/105

)age

1

Crater

odice

:

-

elegant odice

hat emphasizes

he subtlemovements

f the fabric.

Q

rseft

hedesignines

or he

"crater"

nddetermine

oints

@

and

@,

',

:re the

easing ill end

-

-

d

is

he ine rom

which he

"crater"

tartso swell Draw

@@

by

:,::nding the i ne hat

connectshe

points

f

the wo darts

O

Closehe darts

n he section

:-et forms

he bottom of

the

:rater"on he

bodice ight

panel

39

PATTERN

MACIC

@

ndd Zcm

at he bust ine

o add

hicknesso the

"crater"

and nsert

linesor

cut and

opening ut

asshown n

he draw¡ng

Bring

together

@

Close

he dart n

@

andcut and

openout

@

until

@Af-@

aligns

with

@

AIígn

@

and

@

as

shown n the

drawing o make

one

panern

The

differencen ength

etween

@

and

@

on he bodiceeft

and ight

panels

s

he amount

of ease Use abric

cut on

the biasso

hat it ¡s

easier

o insert ase

FRONT

@

/.'i

I I

l l

l l

l l

l l

t l

t l

| l

t l

l l


37/105

#

w

Page 7:

Crater leeve

A sleeve it h structuralnterest here

a denthasbeenmade n the abric

n the sleeve ao.

An

interesting

esignor a simple

acket

r coat.

$

Draft he

basic leeve

attern

Draw he

shape f the sleeve

ap Connect he

point

where hesleeve idth

on elther ide f the

sleeve-capinehas een jv idednto wo

equal ect ions

nd he sleeve pening idth

measurement raw

he

inewith

a slight

outward urveat the EL o create he shape

of the natural

rm

40

PATTERN

MACIC

S

Opensymmetricallyt

he

old

ine o make

a one-prece

reeve

ü,

,'

ff

i[ri

]

il

mm

H

l,u l ] l

t¡ Í

I

'

ri[5úii]

,it

ill[ilt

r r , , { l


38/105

o

make

L¡

Q

Ltore

he

design ines

or the "crater"

mn¡ad

rom he sleeveold ines,

nd divide

ü¡e

deeve

pattern

nto two

panels,

@

and

E

l¡a*

points

@

and

@

to indicate

he area

b be eased.

Moving he

design ines nward

*o

has

he effectof making

he arm appear

drfmer.

@-@=

'

@

Rdd

¡cm to increasehe

h¡cknessf

th e

"crater"

n the

area

betweei

@

and

@

on

panel

@.

G)

Draw inesor

cutting ndopening

ut n a

radialpattern

n the

areabetween

@

and

@

on

panel

@

@

Make the

perimeter

f the curved

ine

between

@

and

@

on

panel

@

inio x.

Cut and open

out

panel

@

as

shown n the drawing.

The

amount o be openedout varies

ccording o the fabric

used,

but hereabout 15

percent

of x hasbeen

opened.

The

amount

hat has

beenopened

out

is eased

o create

an elegant

ilhouette

41

PATTERN MAGIC


39/105

The

drop

hole

The otoshiana

technique was developed

from

the idea of connecting

two holes

to form a

tunnel-like strucrure.

As the otoshian a is

a complex design,

we start by assembling

t out of

paper.

(otoshiana)

Assem

ling he

otosh

an

(f

Opena holeof

the desired

ciTp

^n

+hé ñrñpr

@

Cut along he inesBecause

he edges f

the

paper

arts

nd he

pipe

arecurved,

he

excess mount oesnot ie lat

@

trrtake

paper

ipe

and

place

it n he hole Decide

n

your

desired ngle nd

he eng th or

the

pipe

@

With scissorsut

off the

part protruding

rom the top

of the

paper

@

rold

he exceis

n both

sides

nd

edraw

he inesThe

amount

added n hisway makes

the entranceo the hole ooser,

or sharper, nd

he

ook

changes

42

PATTERN

MACIC

ffi

@

Inserthe designines,


40/105

Th e

makes

looser,

changes.


41/105

O

Makea muslin

toile)

or he

skirt

base

Thepattern

or

he skirl n

he

picture

s

shownbelow

but

you

canmaxe

the

skirlany

shape

ou

want

@

In he

same

way aswith paper

n page

2,

nsert

he ube

hrougn

fabric

base

o create

he

otoshiana

lf,r

:rütruÍ

ft

nrulilt

I

mJ,Lfiiff|'

44

PATTERN

MACIC

ü\m


42/105

F

rhp ih rnrroh ¡

S

Open

a

hole

where

ou want o

pos¡tionheotoshiana

n he skirt

--r

hoe canbe

of anysize,

ut

remembero

make t arger

han he

:

': mference

f the end

of the

ubeandsmaller

han

he abric

ase

@

Fasten

he abric

baseo the

skirt

with

pins,

nd

machine-stitch

o attach

@

lnsert he

assembled

toshiana

nto

he hole

n the skirt

and

create

your

desired

ilhouette

@

Insert

he design

ines

ere, onsidering

ow best o focus n

the otoshiana

45

PATTERN

MACIC

=f:---


43/105

@

Cut

along

he

design

ines

o make

he fabric

oattern

Where

he

edges

f

the hole

do not

lie lat,

fold

the

pattern

and

adjust

the

ine.

@

Open

out

and

ron

he folded

parts,

hen

machine_stitch

or

a

smooth.

continuous

ine.


44/105

--

-.

dress

eatures wo otoshiana

--:,¡rected

n he

nside

o

form

:: ;nnel .

--

s sa complex

aüern,

sing

:-: basic toshianaechnique.

: : r

th isd ist inct iveesign,

:5osea

coarsewoollen abric,

-

a neutral olor, hat is easy

:r ease nd stretch.

''':'


45/105

' lcm

tack

5cm

20cm

End

of

openrn

Open

Lu

t

c1

-"n,1:

tlfu

¡

, idf ' rú 'u

:T¡l

¡

gil

1ñiligl:l]4

iFLi.r

¡lM

]mÉ

urM

*nt

l l

lQ

Using

sloper

block),

losehe darts

ndcut and

openou t

A

base

attern

or

a stmple ress

hat hasneither

arts or

designines.

fmr

üÍMr

dh

lm

1iltt

[d

Lülll

@

Decide n

he wo

places

or positioning

he holes

ndmake

muslin

(toile)

ollowing

he

orderof pattern-making

or a skirt

48

PATTERN

MACIC

BACK


46/105

Lumpsand bumps

(dekoboko)

This

technique evolved

from

an

idea

to

incorporate

a

Jekoboko

(an

uneven surface) decoration

úro

a

garment.

Anaching

cubes onto a base is in itsel f interesting,

but

when the cubes are connected

with

design

lines,

dre undulating

lines come alive.

€)

nttach to the

paper

base.

Think

of the

paper

baseas he

garment

@

Cut away he bottom of the base.

From he top, it is convexand rom the

bottom, concave

@

Insert ines n anyway

you

want.

The

pattern

s easiero make f the lines

pass

hrough he corners f the hree-

dimensional

bject

49

PATTERN

MACIC

Making

pattern

or

the dekoboko

ut of

paper

+,

Q

Assemble three-dimen sionalbjectmade

out

of

paper

n

any size

ou

want

@

Cut along he ines, penand lattenout.


47/105

LLll

,¡

,t i


48/105

' ,,laking

pattern

ith

he

th

ee-dimensional

aper

bjects

Q

Randomly

ttach he cubes

t different eights

o

the bodice loper

: ock)made ut

of

paper.

@

Cut

along he ines

ndopen o

createhe

pattern

Where he design

ines o not pass

hrough

he corners f the

cuoes,

the

pattern

will not

ie lat

Useoneof the

hreebasicechniques:

inserting

arts,

asing, r flattening,

o make he

pattern

ie lat

51

PATTERN

MACIC

@

Draw

he designines

n any way

you

want,

oin¡ng

ogether

he cubes


49/105

PATTERN

MACIC

Part

2

Makingpatternsor

haute

outure

arments

When

I

was

a srudent,

I remember

how

difficult

it

was

learning

pattern-making

off

the

blackboard.

I

achieved

he

shapes

wanted

by

making

miniatures

out

of paper,

flattening

them

out

by

inserting

lines

and

cutting

them

to

make

a

pattern.

It gave

me

a

great

feeling

of

satisfaction,

but

I knew

that,

logicall¡

it

was

a

dubious

way

of going

about

it .

Playing

around

with patterns

enables

us ro produce

many

more

designs

or

couture

garments.


50/105


51/105


52/105


53/105

PATTERN

MAGIC


54/105

57

PATTERN

MACIC


55/105

;3

F

TF


56/105

Tyitg

a bow

A

(See

age

88

for instructions)

Tying a bow

C

(See

age

0

for instructions)

Tyittg a

bow

B

(See

age

88 for instructions)

Tying a

bow

D

(See

age

92 for

instructions)

59

PATTERN MACIC


57/105

Two

distinct

expressions

(See

age

95 for

instructions)

An

intriguing

curve

(See

age

97 for instructions)

60

PATTERN

MACIC


58/105

,d

PATTERN

MAGIC

Clothes are

a way

of expressing

oneself,

and with this in

mind

I'm often inspired

by fashions

of the past.

To discover

how

they were made,

I try drafting the patterns myself, and

sometimes ome

up

with designs hat

ar e

entirely my own.


59/105

Draped

design

An

elegant

contrast

creared

by

light

and

shade.

Make

an

easy-to-draft

flar

pattern

for

a

draped

design

hat

is

usually

produced

by pinning

and

three-dimensional

cutting

of

fabric.

A right

and

left

intersecting

whirlpool

drape

has

been

insetted

into

the

s\oper

bodice.

l r l ,

ivtaKf

g

tne

basic

attern

ffñ

m

¡

rj

I

:

i

I

I

l

:

j

1

i

3

l

;

:

5c m

lcm

0.

1

; :+05cm

H'

t+

2,5cm

O

Insert

waist

darts

so

hat

the

bodice

s

itted

¡n

he

wa¡st

area

The

odice

ront

darts

are

closed

wh

area

.rh

ce

re

r

h

,

ñ

;:;::

il-,."T:r"ff

["-;,lT:

ff

*,

a

crrcre,

onsidering

he

bulk

created

y

he

tuy.r,

ot

fuUri.

ll

tin"

connect¡ng

€ @)

,s

he

design

ine

or

making

h"

n","'

"

Divide

@@,

the

adius

f

he

circle,

nto

our

equal

ect¡ons

nd

11.,X.*ig."o

opening

ut

ines

Divide

he

;;;;;;;

""0

w

€-F(9

¡nto

panels

@

and

@

respectively.

Lm

lc m

9cm

\

5c m

BP

9c m

tcm}*'z

4c m

4c m

l

I


60/105

In tersect

he

eft

and

r ight

bodice

anels

hrough he hole

andcreatehe draped esign. he argerhe c i rc le,

the more e laxedhe

design

i l l

be,andconversely,he smal ler the

i rc le,he sharperthe esign.

Endof

seam

,=

Close adson bothpanels

@

and

@

andcutandopenout until

he

distance etween

@

and

@

becomes 8cm n hi s

case

Align

panels

@

and

@

anddrawsmooth, ontinuous

ines

To make he hole, ecide here

he

seamwill

endandcall

t

@

ffi

Sew ogetherhe area etween

@

to

@

on one bodice

anel

an d

an d

fti

Insertheother odice

anelnto

he

hole

ou

havemade

nd ew

from

O

to

@

Sew hecentreront rom

@,

heend f heseam,o hehem

63

PATTERN

MACIC


61/105


62/105

abric)

On

@

Where he

pattern

has

been everseo

Q

Reverse

ne

half

of the bodice ndsewbetween

@

and

@

@ Insert he otherhalfof the bodicento he holeand wist @ Sew rom@ to @ on theotherhalfof the bodiceSew he centre

front

and

rom

he seam nd o the hem Becausef the bulkof the

fabric,make

he

hole

somewhatarge ndadjust fterassembling

65

PATTERN

MACIC


63/105

cr

¡gil

-l]tf

¡ilÍ[

iE

Fag*

53. #ress

#

r-mp:md

$*sigr-r

A dressmade rom

silkcréoe or more

formal

occasions.

The

draped esign

round he

chest s created

with

a technique

hat doesnot involve

wisting

and maximizes

he

soft,billowy abric.


64/105

H

;

+2cm

FRONT

0.5cm

0.5cm

.scm 1.scm

2cm

(f

Becausehe necklineswide,move he shoulder arts o the

neckline. ivide he radius f the circle or the drape n the

bodice

front

nto our

equal ections nddrawcutting

and opening ines n

panel

@

For he skirt

pattern

@,

draw

ust

one cuüingand openrng

line acing he end of the darts.

4 equal

pans

End

of

openrng

@

On the

bodice ront,

divide he

pattern

on

either ide f

@@

into

panels@and@

Close

the dartson

@

and

cut

andopenout.Then

close he dartson

@

and

open out the centre ront

horizontallyntilaligned

with

@

and

@

asshown

¡n

he draw¡ng

Sew rom @ up to the end of the seam, ross

over he other

half nto

he hole

ou

have

madeand sew hls

also rom

@

up to the

end

of the seam

The centre ront

of

the skirt s a

vent and hereforenot sewn. f the opening

bothers ou. sew t down at the back.

67

PATTERN MACIC

@

For

he bodice ac k,

losehe

dartsand nserta little lare.

2cm

Shoulder

WL

l¡ne

)O

@

FRONT

J

L

Neck-


65/105

-

Th*

tre'ist

reeiiri}

\fhen you

twist a fabric

it becomes arrower

and shorter,

and when you release

t, it returns to normal.

In a different

way

from

a

garment

that has

a

furrowed

drape

produced

by techniques

such as

changing the

position

of the

left

and right sleeves,

this

patern

has

been

manipulated

so that the fabric

is

twisted round and round [ke

a spiral.

eTheoreticallypeaking, hen a' is wisted,measurement.ecomeshorter. owever, s he abric

will ook ike

hat n hedrawing

n he

right,

he measurement

ill, n reality,

eeven horter.

e

As he fabricwill

attempt o releasehe twist,

educehe

ease

n

the hips o fit

precisely.

A

designhat ncorporates

lasticapeor a band

o keep he hemlinen position

nd

prevent

he

fabric rom returning

o normal,sbest

*As

twistingmakes

he waistnarrower,

e careful ot

to

reduce

oo much

at the waist.

a

As

neiiri

snot a naturalorm

of the abric,t will

be easierf

you

use

a

fabric

hat hashigh

stretchability.

The

basic od ice

As wisting

makes he

garment

horter, cm hasbeen

added o the ength

The

waisthas

been wisted l ightly

6B

PATTERN MACIC

ü

I


66/105

Three eiiri

patterns

As twisting he

fabric

changes he shapeof the neckline nd

here he fabric has

been wisted

only around he

waist.

Twist orizontally

the armhole n a complexway,

$

Move the centreby a measurement qual

o

'a' in

the

opposite

directionof the twist

you

want

to create

n the fabric,

@

Move both sideseam

ineshorizontally sshown n the

drawing

¡n

his case Ocm).

@

Redraw

he sideseam ines o connect

he cornerof the armholeand he waist and hip area n

smoothcontinuous

ines.

Twist

erpendicularly

Q

Manipulate he centre ront

and

centre

backon the

pattem

by a measurement qual o 'b'

(in

this

case

4cm)

n a verticaldirection

opposite

o

that of the twist

you

want to create n the fabric.

(O

Adjust he lines or

the

neckline nd

he hem,

69

PATTERN

MACIC

a

=

1ocm


67/105

Twist

both

horizontally

nd

perpendicularly

Making

he

fabr¡c

wist

horizontaily

nd perpendicurarryt the same ime sdifficurt,so manipulate

he

horizontal

attern

using

he

pattern

hat

has

all

It

s

easier

r

vou

"'

u u".ti.uiiv

'unipurated

anern

n

hi.h

h";:drii::"##t:r"1"*"J;1'L

Adjust

he

hemrine

t

he

end.


68/105


69/105

Q

Basic

pattern

The pattern

s he

same or the front

and he back,

and he

simple esign

where

he sleeves re part

of the bodice

s createdn

a knit abric.

No

easehas

beenadded

o make he

garment

itted at

the hip. Stretch

he

neckline

penand check hat

your

head its

hrough lf it

doesnot, make

the neck arger.

@

Twist

perpendicularly

Manipulate

he

pattern

vertically

in

the direction

opposite

o that

of

the twist

you

want

to create

in

the

abric.

O¡

ilfrGd

O

Tw¡st

horizontally

Manipulate

he

pattern

n

the direction

opposite o that

of the twist

you

want

to

create n he fabric, n he samewav as or the

perpendicular

wist.

72

PATTERN

MACIC


70/105

Page

0:

A

collar

ith

two

distinct

xPresslons

A

shirt

collar

rom

he

back

and'

when

viewed

rom

he

ront'

a

double

collar,

his

offers

wo

variations

n

a

theme'

I

combined

atterns

or

two

collars

o

make

his

l$

Using

he

sloper

block), raft

he

pattern

or

the

bodice

ase

r6 \

¡ñ\

DZ----

ry l

3cm

Collar

attachmenl

l ine

\

Coilar

tand

attachment

ln e

for

@'

and

@'

produced

n

step

O

are

aligned

t@ @

@

ls

ace

down)'

but

as

he

ncllne

s

different'

ga p

)wn

in

e>O

""¿

the

ength

s

not

equal

Open

out

he

slits'

d call

he

resulting

Pattern

9)

95

PATTERN

MACIC

intriguing

esign'

With

the

collar

standlng

@

Draft

patterns

or

each

of

the

two

cottars

@igl

€)

Align

he

collar

ttachment

ines

of th"

t*o

collars

CoPY

he

collar

stand

on

collar

@

to

collar

@

O

make

Patterns

or

collars

@

and

@

without

he

collar

tand;

hen

make

ive

slits

n

he

collar

unntng

towards

he

collar

tand

s

shown

n

the

drawing

o+@

This ollar

s

constructed

rom

pattern

ieces

@'

@'

and

@

as

shown

n


71/105

design

No

he

not.

make

@

To createa soft effect rom the shoulder

o the sleeve ap,align he

left

and

right sleeve apsasshown

n

the drawing

The design ines nserted

nto

the

bodicebackserveas a stylish ccent

@

n

stytistr

esignhasbeencreatedby manipulating

he

pattern.

73

PATTERN MAGIC


72/105

(kakurenbo)

Flide

and seek

Not

a

flare that

expands uniformly

by cutting and opening out the

pattern,

but

a flare

that is subtly concealed

on the underside of the fabric.

Making a pattern Ío r

the kakurenbo design

with

a drawing is easier han

you

think.

A basic

abot-style

ril l

A

gorgeous

ecorative

ffect or

the front of

a blouse.

The

connection

etween

he section

hat is visible

rom

the

front

an d

the

section oncealed

nderneath

s mportant.

o'

l[) rtnake drawing

of the frill

you

want

o make

(O

Rttach

arts

@,

@

and

@.

Reverse

before

ttaching

r heback ide

f he

garment

ill

beon

op.

@

Smoothly

djust he line

hat will become

he

edgeof the rill

74

PATTERN

MAC¡C

-i¡

ml

E

4'

5ú

@

Separate

ut the various

parts

/

@


73/105


74/105

@

Return o

@

and mark he flarepoints

(points

rom which he flare s

going

o

appear) n the

places ou

want to insed

he

flare. he ine hat

descends

erpendicularly

from

the flare

points

becomeshe cutting

and

opening

ut ines or he lare.

@

Align he variousparts.

Reverse

@

beforealigning

or the backside

of the fabric

wil l be on

oo .

76

PATTERN

MACIC

@

Cut andopen

out and edraw he lared

emline


75/105

Page

5.

A

pinafore

ith

kakurenbo

esign

The

complex urves

f the lare

design

ines

were ncorporated

nto

he

waistl ine

of a babydoll-style

inafore

made rom

a soft woollen

georgette

that

neatly

expresses

he concealed

lare.

-18cm

.

1

8cm

Q

Drafta

pattern

or

the

pinafore

77

PATTERN MACIC

-17cm

-


76/105

I

d

f

.

r

I

@

Draw he

curved esign

ines n

the bodice

ront Find

a balance

that

setsoff the

concealed

ection

(O

Insert

lignment

arkings

ndcutting

nd

opening

ut ines

r

)

into

the concealed

ection.

The alignment

markings

will

become lare

points.

@

Reverse

he concealed

ections,

ring

hem o

the ront,

and connect.

Add flare points

@@

in a

balancedway

and draw

he design

ines or

the lare

a)

78

PATTERN

MACIC


77/105

@

Add alignment

markings

@@

to the bod¡ce

o serve

as markings

whensewing

he design

ines.

@

Cut and

openout he

amount

or the

lare

79

PATTERN

MACIC


78/105

Interwoven design

In this technique

you gather

the fabric

and mold

it

as

f i t

were being woven.

I decided o see f I could produce a pattern from

the complex beauty

created by layer s of fabric

woven together

that I had once seen

in a

fashion

magazrne.

If the fabric on the left and the

right

are

of

different

colors,

the way in which the

fabric intersects

can be seen

more

clearly.

()

Assemble

he

paper

loper

block)

n the dress

orm

and draw ines

symmetrically.

As shown n he drawing,makealignmentmarkingsn

places

here

the ines ntersect,

(Face

side

of the fabr¡c)

Make

overcast

stitches here and

there

n

the back

80

PATTERN

MAGIC

Because

hisdesign ontainsew seam

allowances,he fabric rays

easilyand

t is

difficult o

make

he assembled

ieces

f

fabric stay n place Youcan eitherwear an

under-dress,r

you

can ine he

garment

with

the same abric

as he

garment

When

you

line he

garment,

t is

advisableo use

a

base

pattern

hat has

no

ntersection

ines,

nd

sew he neckline nd

he armholesogether

with the outer abric

ayer.


79/105

where

f

an

with

base

and

O

The

parts

hat do

not

pass

hrough

he bust

point refuse o

lie lat

even

aftercutt ing

long he

ines nsert

athers

n hese

arts, lose

he

darts,

nd cut and open

out And hen

cut and open

out the amount

for

the

gathering

gain The

volume f the

gathering

aries

ccording

to

the abric

used ndaccording

o

your

personal

reference.

@

Cut asshown

n he drawing

bove.

Because ifferent

abrics

havedifferent

grains

and

somestretching

may

occur

when

you

interweavehe

fabric

piecesogether, ut

the fabr¡c

with some ase

n he hemline

ndadiust

t at he end

@

Becareful

ot o cut oo deep

Makecub

nto he abricup

o the

alignment

markingsnserted

n stepQ.

@

Interweave

he fabric

pieces

rom the top

in

the

sameway

as he

Iines ou drewon he paper n he dressor m

81

PATTERN MACIC


80/105

Page

6:

Blouse

ith

an nterwoven

esign

Using

his

echnique,

created

blouse

with

left

and right

asymmetry.

n

cotton

awn

abric,

I made

a

bamboo

eaf

shape rom

the

points

of

the fabric

hat

I

cut into.

I

did not

sew

he pointed

ections

own, preferring

hem

o

be

oose.

ctose'lf

Open

BACK

Q

Move

he

shoulder

ar t

to the

armhole

cm

2cm

9cm

l l

' lcm

,S".

\

1

1r

Zipper

(left)

1cm r.dá-

@

Draw

he

neckline

n he

bodice

ack

with eft

an d

right

asymmetry

82

PATTERN

MAGIC

o

jül[

:5

frÉ


81/105


82/105

Bamboo

shoot

Page

7.Bodice

ith

a takenoko

esign

In

hisexci t ingechnique,

ayersesembl ing

the mul t i - layered

eckl ine

f a

formal

imono

arecreatedrom

one

piece

of fabric.

i

They ook

exactly ike he ayers

f a bamboo

hoot.

The

ighterand more itted

he silhouette

f

the

bodice,he more he

shadingn he abric

stands

ut .

(takenoko)

tp makea

paper

loper

block)

nd

draw uck ines

o create

design

resembling

bamboo

hoot.

84

PATTERN

MACIC


83/105

@

Cut nto

he

uck ines

nd

closehe

darts

nd latten

Do

not cur

above he BP

@

Cut nto

he abric

long

he red

ines

About1 5-2cm s equiredo be olded onsideringhe raying f the

Seam

ilowances

@

Extend

he jnes

owards

he

shoulder

nd

he armhole,

hencut

and

open

out o

create

he amount

or

he ucks

the

op downwards

@ack

side

of the fabric)

Make

vercast

t¡tches

hele

and

here

ont/on

-llss¿z¿;4g¿z


84/105


85/105

6c m

I

I

BACKI

I-P.'

Pg"x'

0.5cm

1.scm

2cÁ

I

\

20cm

Endof

openrng

Page

Knot

d

ess

for

a knot dress

asic

attern

manipulation

Close

he

shoulder arts

until

2cm

ooenson the WL

Close he

armhole darts

until2cm oDens

on

the

WL

bc m

Q

Closeboth the shoulder

dartsand armholedarb until 2cm openson the waistline, hen makea

pattern

or the dressbase.

Establishhe centreof the knot

@

in the

position

where

you

want to create

he bow.

Eases required n

the width of the knot to tie at

@.

Measure

from

@

13cm

n

th¡s case)and

from there draw

cutting

and opening ines.

Draw he cutting

and opening ut l ines n the

posit ion

here

you

want

o drape he

bow

abric

@

The

amount

hat has

been ut andopened

out becomeshe drape.

Decide n he amount o cut and ooenou t

accordingo the

fabric

used.

Draw

he

pattern

or the

bow

from where

you

havecut and openedout.

The

bulkiness f

the knot s

determined v

drawing he curve rom

@

End of seam

Note:

The

circled umber

at the bottom of a

l¡ne ndiates

he numberof centimetres obe openedout at that

point

87

PATTERN

MAGIC

@

Sew he bow section

nto a tubular shape

upto@


86/105


87/105

2c m

2c m

Endof collar

attachment

$

Drafta

pattern

or the bodice sing

he

sloper

block)

A vertical not

is

oossible

ith

his ie

Measurehe width

and

bulkiness

f the

knot,

anddrawcuttingan d

opening ut ines

3c m

*

Neckline

32cm

f)

Close he darts n the bodiceront

and

cut andopen

ou t

Draw he

pattern

or the bow rom where

ou

have ut,andopenou t

Cut on he

ol d

@

Passhe vertical rain

of the abric hrough he ength f the bow

to

create

large,

istinctive

not

A soft ook

sproducedf

you

cut he

fabric

n the bias

lf

you

want

o insert

o¡nt,

posit¡on

t nsidehe knot

L,On

the

\

fold

\

Here have l ightly hangedhe yingmethod

Other yingmethods realso

ossible

89

PATTERN

MACIC

On the

fold

0 5c m


88/105

ffmg*

9;

TyFng

b*w

Two

separate

ows

are

ie d

towards

he right

for

attractive

mphasis.

Here he two bows

are

of the

same ength,

but

one arge

ndone

small

ow

would

also

e effective.

Place

he

second

ow

@

on op

of the

bow

hat ¡s

part

of

the

bodice ndsew n he shape f a tubeup o theendof theseam

@

Measure

(the

measurement

o which

ease

as

beenadded

o

the

width

of the

knot)horizontally,

nd

(the

measurement

o which

ease

hasbeen

dded

o the

hickness

f the

knot)verlically.

lnsed

ut andspread

ines

Where

he

cutand

spreadines

o

not

pass

hrough

he

end

ofthe

darts,

djust

o make

hem

endat he

design

ines

90

PATTERN

MACIC

ffi

rind

the

centre

f the knot

@


89/105

End

of seam

to the

$

Close

he dartson

the bodice

nd

cut and open

out

From he

sectionshat

havebeen

opened

ut,

draw he

pattern

or the

irstbow as an

extenslon

f

the bodice

29cm

@

l lcm

LEFT

S

Draw he

pattern or the second

ow

q$

Reversehe

eft and

¡ght

pieces f the

bow n

step

S;

addan

8

x

5cm ectangular

iece or

he knot

between

hem;align

he hree

pieces nd

join

wi tha

smooth, ontinuous

ine

91

PATTERN MACIC


90/105

Page

9:

Tying

bowD

An elaborate esign s achieved y

passing

the

bow

through

a

hole

before ying

The

express ionf the

garment

hanges onsiderably

by moving

he

posi t ion

f the

hole

up or down,

to the s ide, r by changinghe s ize f the hole.

Anotherexample f

Pattern

Magicl

__?i

he fold

/ l

12cm

On the fold

COLLAR

End

of collarattachment

Draft he bodice attern

sing sloper

block)

The

knotted

part

of the bow that is

part

of the collarsits

between he

left

and

ightholes

Determ¡ne

he

ength

f the bow,considering

he ength f the

intersection,

he distance

etween he wo holes, nd he

size fthe knot

0 5cm

2c m

4c m

0

FRONT


91/105

tn e

knot

93

PATTERN

MACIC


92/105


93/105

Page

0:

A collar ith

two

disti ct

expressions

A shirtcollar rom

he back

and,whenviewed rom

he front,

a double

collar,

hisoffers

wo variations

n a theme.

I

combined atterns

or

wo collarso make

his ntriguingesign.

scm

J

@

o+@

COLLAR

,a,4cm +

(i

s----LL__l

z.5cm:,

@

Q

Using

he sloper

block),

raft he

pattern

or

7cm

3c m

v

o.2cm

@

Draft

patterns

or eachof the two

collars

Collar

landattachmentin e

Collar

attachment

l tne

f}

Align he

collar ttachmentines

of the wo collars

Copy he collar

standon collar

@

to collar

@

@

@

tvtakepatterns

or collars

@

and

@

without

he

collar

tand; hen

make iveslits n he collar unning

towardshe collar tand sshown n

the drawing

With he

collar tanding

This ollars

constructed

rom

pattern

ieces

@, @,

and

@

a5shown n

the drawins

@ti

@

the pattern

or

@'

and

@'

produced

n

step

@

arealigned

at

@tr@

(the

pattern

or

@

is

acedown),but as

he

ncline

sdifferent,

gap

opens etween

@@

and he ength snot equal

Openout he slits,

align

@@

andcall he resulting

attern

@

95

PATTERN

1

sc m

the bodice base

@

o

(D'

MACIC


94/105

96

PATf

ERN MACIC


95/105

Page 0,A collar

ithan

ntriguingurve

On

a sheet f

paper,

raw

a curveand hen

old along he

ines f the curve.

When

you

bend he

nside f the curve

lightly,he

outside f the curve

ises p and

takes n

a completely ifferent

ppearance.

I

applied

his nteresting

ffect o a collar.

Q

Usinga sloper

block),

raft he

pattern

or

the

bodicebase Mark he collarattachment

osition

97

PATTERN MACIC

l .5cm

lA

Align he shoulders f

@

and

@

and

measure .5cmof collar

width at a right

angle

rom

@

on the collar ttachment

ln e

for

@.

Thenconnect

rom

@

and

make

drawing or the

rontof

@

insidehe collar.

Becausehe back

f the collar asa collar

stand,

measurehe ength f the back

neckline

andmake rectangularrawing

@

Fora soft inish, ut

he under nd he upper

collar ontinuously

ake he upper ollar

@

@, @, @

and

@

all nterconnect

o create

pattern

where he bodice nd he

collar ecome

one

Because

(the

bodice) nd

@

(the

collar)

are

oined

although he collarattachment

ine

iscurved, hen

you put t

on, he collar

loats

upwards n the sameway as he

paperon the

opposite

age, or

a completely

ifferent ook

Order for sewing together

O

Sew ogether

he bodice

@

centreback

@

Sew he collar

edges or the collar

patterns

@and@

@

Sew he collarattachment

ine on the back

bodice nd

@.

@

Sew he front bodice

and

@

@

At the collar

attachment ine,sew

@

to the

bodice

* | haveabbreviatedhe instructions, ut

when

you

actually

onstructhe

garment,

attach he

facing o the neckline f the

bodiceand

prick-stitch

o

fasten he back

collarattachment

osition

nd

he facing-in

place

asshown n the drawing

On the fold

attachmenl

l ine

J.5Cm

FRONT

BP

Faces¡de

of the fabric

Attach he

acing

nd

prick

stitch o fasten n

Dlace


96/105


97/105

The

basis

or

pattem

deuelopment

s

the

Bunka-style

loper

block)

for

an

adult woman

The

Bunka-stylesloper

(block)

created

or

the

body shape

of the

modern

Japanese

oman

is

constructed h¡ee-

dimensionally nd itted o the bodywith darts bustdarts,backshoulder arts,waist darts).

Bust

B),

waist

7)

and

centre

ack engthmeasurementsre equired o draw hesloper

block).

Themeasurements

for

each

part

of

the body

are based

on the bust measurement, nd the sizeof eachdart

has been

calculated

rom

the

bust and waist

measurements. ach waist dart is calculatedby the formula-bodice

-

(UIlz

+

3)-where 3cm

is

the amount of ease dded.

Precise alculationsare required or a neat it,

but

drawings will be relatively easy

f

you

refer to the

quick

reference able of

measurementsor

different

parts

of

the body.

Pages

101

and

I-.02

eature

half-scale

lopers

blocks)

or

you

to use or eachofthe bust sizes:77,80,83, 86 and 89cm.

Quick

referenceableof measurementsor different

arts

of the

body

(Unit:

cm)

B

Eody

width

B^

@-BL

B.^_

- + tJ.t

12

Back

width

- + I-4

8

BL-

@

f ,+e.e

Che5t

w¡dth

B

^^

g +o.¿

B

32

B

32

Frcnt

neckline

w¡dth

E+3.4--@

Front

neckline

depth

@+0.5

, ; - ;

Back

ntrkline

width

@+0.2

Back

shoulder

darB

B

^^32 - ''o

77 44.5 20.1 17.O 23.7

15.8

6. 6 7. 1

16.8

6. 8

t. o

78

45.0

20.2

17.2

23.9

16.0

2.4

6.7

7. 2 17.O 6.9 1.6

79 45.5 20.3 17.3 24.1

16.1

2. 5

6.7

7.2

11.3 6.9 1.7

80

46.0 20.4 17.4 24.3

16.2 ¿. c o. /

7. 2

| / .c

6.9

1. 7

81

46.5

20.5

17.5 24.5 2. 5 6. 8

7Q

17.8 7. 0 1. 7

82 47.O 20.5

17.7 24.7

to.c ¿,o

6. 8 7. 3

18.0

7n

1. 8

83 47.5 20.6

17.4 24.9 16.6 2.6 6.9 7. 4

18.3

7. 1

1. 8

84 48.0 20.7 17.9 25.'l

16.7 2. 6 6.9 7.4 18.5 7. 1

1. 8

85

48.5 20.8 18.0

¿4.ó 16.8 2. 7 6. 9 7.4

18.8

7. 1

1. 9

óo

49.0

¿v,Y

18.2

¿c.3

17.O

2. 7

7.O 19.0

7. 2

1. 9

87

49.5 21.0 18.3 25.7

17.1

2. 7

7.O 7.5 19.3 7.2

1. 9

88 50.0 21.O

18.4 25.9

17.2

2.8

7.1 7.6 19.5

7.3

2. O

89 50.5 21.1

18.5 26.1 17.3 2. 8

7.1 7.6 19.8 7.3 2.O

Waist

dart

measurement-Quick

eference

able

(Unit:

cm)

99

PATTERN

MAGIC

Total

darts volum€

100%

o o a

7o/o

lAyo 35o/" 11o/" 15/"

14o/o

I 0. 6

t. o J. l 1 1. 4 1.3

10 0.7

1.8 3.5 1.1

.t E

1. 4

11 0.8 2 3.9

1.2 1.6 1. 5

12 0.8

2-2 4.2 1.3 1.8 1.7

12.5 0. 9

2. 3 4.3 1.3 1.9 1.8


98/105

FRONT

Ao

Making

a

drawing

f

a

sloper

block)

;;?üil?ffÍ3;j:f¡:iXjilf"Ththe

bodice

nd

he

leeve,

ut

onrv

he

method

rdrawing

bodice

roper

btock),

sed

Basic

ines

o

Centre

back

length

Curved

@

@

@

Chest

width FRONT

line

^o

+

6.2cm

--ó

=\

B

Á

@

B

8cm

t-----,@.-

@

Back

width

line

@

V\^

-J',

lcmG) (E l

BACK

i,

G\

u,ccm;

ñv

z+7.4cm

I

- -8

.\ -

Centre

back

line

Bodywidth=(f+6cm)

C

,a\

I

B

12

rO)

' + 8.3cm

9+

s.¿cm

@)

24

@+

0.5cm

Firstly

raw

the

basic

ines

or

the

bodice.

Accurately

measure

ach

part

of

the

body

and

draw

ines

n

the

order

of

O

to

@

The

numbers

n

the

guide

able

are

also

arranged

for

reading

n

order

rom

the

left

to helpyou

proceed

with pattern

drafting

n

that

order.

lvlake

he

amount

that

is

opened

out ¡ntoease

¡n

he

armhole

After

drawing

he

basic

ines,

draw

he

curved

lines

f

the neckline,

houlde¡

nd

armhole.

and

inally

he

darts

Tips

or

movíng

arts

when

you

close

he

waist

darts

with

@

as

he pivotal

point,

he

armhole

pens

a small

amount

o

provide

ease

n

the

armhole.

he

waist

darts

on

the

sloper

block)

re

markei

when

used

or

putt.rn

Jiurting

Jti"uu

been

omitted

where

not

required.

Make

he

amount

that

is

opened

out

into

ease

in the

armhole

100

PATTERN

MAC¡C

+


99/105

Copy

at

2@7" on a

photocopiero

make he

full-sized

attern.

77cm

80cm

83cm

86cm

89cm

86cm I

Bunka-üle

sloper

block)

or an adult

woman

(Size

)

halr-scal

101

PATTERN

MACIC


100/105

Bust B) Waist W)

Back engtt

77cm

58cm

38cm

80cm

61cm

83cm

64cm

86cm 67cm

89cm 70cm

In co4

¡".,r*

I

thatrm{

wayfm{

aromdüd

I

a seredl

wth

rder¡

and

s s¡{

studem{

r*o'u{

I

indudql

shomrl

77cm

80cm

83cm

86cm

89cm

86cm 83cm

80cm 77cm

102

PATTERN

MAGIC


101/105

Bunka-üle

sloper

block)

or

an

adult

woman

(Size

)

halr-scale)

Copy

at2Cxi'%

n

a

photocopier

o

make

he

full-sized

aüern'

77cm

80cm

83cm

86cm


102/105

Bust

B)

Waist

W)

Back engtl

77cm 58cm

38cm

80cm

61cm

83cm

64cm

86cm

67cm

89cm

70cm

F

{t

ir

a¡

¿

rd

Ir

d

¡b

77cm

80cm

83cm

86cm

89cm

89cm 86cm

83cm 80cm

102

PATTERN MACIC


103/105

In conclusion

Just

like works of art,

garments come in various kinds:

garments

wiü visual

mpact,

garments

that react to the

movement ofthe bod¡

garments

for casual

wear-but there is

no

one

prescribed

way for how they are made.

The history of clothing began

with the wrapping

of a

piece

of

fabric

aromd the bod¡ so

you

should let

your mind be free and approach

the making of

garments

with

a sense of

frm. Ideas for

garments are arguably infinite.

I have always believed

in

experimenting

with ideas. This book contains

pattems

that I

have created based on a trial-and-error

approach,

and is supplementary to the teaching materials used at the Bunka Fashion Open College for

students

who may find

pattem-making

difficult.

I would

like to

express

my appreciation

to many

people

for their help

in

this

publication,

including Ms Kasai Fujino,

from whom I received

advice about slopers,

and everyone who

has

shown an interest

in

this

book.

103

PATTERN

MACIC

LIOTHCA

Diseño

lr¡di¡rq: '" ;


104/105


105/105

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