3

CONSTRUCTING BASE PATTERNS

Kimono sleeves – Bustiers – Blouson Jackets – Knitwear – Dresses – Coats –

Sleeves – Hoods – Swimwear

by Dominique PELLEN

WOMENSWEAR CLOTHING
PATTERN MAKING
FLAT-PATTERN DRAFTING

OTKUUT Éditions
dp studio
 VOLUME 3 CONSTRUCTING BASE PATTERNS
WOMENSWEAR CLOTHING KIMONO SLEEVES – BUSTIERS –
PATTERN MAKING BLOUSON JACKETS – KNITWEAR
FLAT-PATTERN DRAFTING – DRESSES – COATS – SLEEVES
– HOODS – SWIMWEAR

Foreword

At the very beginning, clothing was a means of protecting man from the elements and was put together
using materials sought in the animal and vegetal world.
With time, clothes took on the more symbolic value of social standing and began to differentiate the
various social classes. Indeed, rank within society was strongly asserted through them until the law of
1793 appeared, allowing people to dress how they wanted. This foreshadowed the democratization of
clothing as we know it today.
Garment-making on a slightly larger scale for the purpose of distribution in department stores began in
the 1830s and the end of the 19th century saw the rise of Couture fashion with its roots dating back as
far as the 14th century court. The term “ready-to-wear” was used for the first time in 1947.

In the buying process today, image or “brands” and what they say about a consumer’s purchasing power,
are often given precedence over the garment itself.
Globalization and the quest for profitability have led to reinforced marketing forces and a profusion of
collections, constantly making and unmaking new fashions. This evolution has also been made apparent
in the way clothes are made, with bespoke garment-making giving way to made-to-measure that has
since given way to designer ready-to-wear and its mass-market counterpart. Progressively, flat-pattern
drafting has taken precedence over draping as it is more profitable, and quicker and easier to adapt to
each season’s new trends.
Most firms making clothes now use flat-pattern drafting, and for fashion clothing per se, this involves
creating patterns for garments that will enhance the architecture of the body. The patterns in this
method will give you the necessary tools to do that.
To make a new piece, the pattern-maker uses either a fashion sketch or a technical drawing, both of
which need to be analyzed at length to closely interpret the designer’s ideas and respect the proportions
of the piece being created.
Two different techniques are possible for putting a design or drawing into volume:
- Draping - consists of working the volume in 3D, placing muslin directly on a dummy to create a pattern
through the development of new and complex volumes that could not be achieved through flat-pattern
drafting
- Flat-pattern drafting - consists of creating volume in 2D mode by outlining the pattern’s construction
on paper, using specific body measurements to which ease is added, according to the style aimed at.
The resulting pattern should correspond perfectly to an exclusive or specific model made to fit a
particular mannequin or wearer.

This first volume (of three) is an approach to the fundamentals of flat-pattern drafting and to the
understanding of female morphology, vital for adapting and making clothing. In their careful precision,
the patterns explained in this method are constructed with “top-of-the-range” rigor and contemporary
style. The instructions are easy to follow and each step of the construction process is explained in detail
and clearly illustrated.

From chapter to chapter, all the fundamentals necessary for mastering the essentials of the women’s
wardrobe will be studied.

Making sure the professional know-how communicated throughout is within the reach of all, this method
will be a precious guide into the exciting world of garment-making and fashion, helping users to access
it successfully.

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 VOLUME 3 CONSTRUCTING BASE PATTERNS
WOMENSWEAR CLOTHING KIMONO SLEEVES – BUSTIERS –
PATTERN MAKING BLOUSON JACKETS – KNITWEAR
FLAT-PATTERN DRAFTING – DRESSES – COATS – SLEEVES
– HOODS – SWIMWEAR

Preface

With his Breton roots and passion for creativity and the arts, Dominique PELLEN dreamt of only one thing
during his childhood: becoming a painter, sculptor or designer.
At the age of 15, he started a training course in boat-making at the specialized technical school in Brest.
In parallel to this course, at the end of which he obtained a diploma in carpentry and sheet-iron work,
he took classes in drawing and painting at a Fine Arts school. At this point, he began to express his
artistic side through his fashion figurine illustrations that became a passion, indeed a passion that has
never left him.
In 1986, this enthusiastic and driven young man presented his drawings to the director of the Jean PATOU
fashion house. This shrewd and professional director immediately spotted his potential and encouraged
him to pursue a career in fashion design.
After doing various courses in fashion drawing, sewing, draping and flat-pattern drafting at the Chambre
Syndicale de la Couture Parisienne school, he began a 3-year course in design and pattern-making at
this prestigious institution, founded in 1927.
Winner of the NUIT DES JEUNES CREATEURS contest in 1988 and the FOUNDATION DE France award in
1990, he won several more prizes over the next few years in design-related contests.

Armed with his Chambre Syndicale diploma, he soon caught the attention of certain professionals
thanks to the magic of his designs and won first prize in the Christian DIOR competition in 1991. In 1992,
he became Gianfranco FERRE’s assistant at the legendary house of DIOR, and in 1994 won the newly
created DINARD contest.

His polyvalence in the leading disciplines of fashion and his knowledge of trends and the market soon
caught the interest of various international companies. He worked as a consultant for the research
institute NOMURA (the most powerful private institution specializing in marketing in Japan), for New
FASHIONS in New York, SARTEX in Tunisia, the Chinese company Croquis and for the Guangzhou Fashion
Week in China.
In France, companies such as LANVIN, BALMAIN and Anne-Valerie HASH called upon his expertise as a
consultant. From 1994 to 2002, he employed his talents as artistic director of the luxury clothing brands
JIONE (Japan), Jane LASCO (France) and Alexandra de RUIZ (France)
2003 marked a new stage in his career. As well as continuing his collaborations with various brands, he
became a design and pattern-making teacher at the Chambre Syndicale de le Couture Parisienne that
he knew so well.
Within this establishment, internationally renowned for the quality of its teaching, he has passed on to
students from all over the world the technical demands and know-how necessary for attaining a « top-
of-the-range » standard of clothing.
His experience in this rich and vital context gave him the inspiration for a simple, clear and detailed
method that uses all the required data for making « top-of-the-range » clothing. Devised so that non-
professionals can also use and understand the techniques, this method is based on the principles of
flat-pattern drafting for the making of clothes.

After 25 years of intense activity in the fashion sector, and more than 10 years in teaching, Dominique
PELLEN has now published a method entitled « Womenswear Patternmaking, flat-pattern drafting »,
in three volumes. Through the precision of its technical content, this method transmits the exciting
experience of garment creation, explaining the fundamentals in detail and making sure they are within
the reach of everyone.s

dp studio | 3
 MÉTHODE dp studio

WOMENSWEAR CLOTHING
PATTERN MAKING
FLAT-PATTERN DRAFTING
par Dominique PELLEN

VOLUME 3
 VOLUME 3 CONSTRUCTING BASE PATTERNS
WOMENSWEAR CLOTHING KIMONO SLEEVES – BUSTIERS –
PATTERN MAKING BLOUSON JACKETS – KNITWEAR
FLAT-PATTERN DRAFTING – DRESSES – COATS – SLEEVES
– HOODS – SWIMWEAR

Contents

p 006 General Instructions

p 038 Bodice bases

p 062 Kimono sleeves

p 196 Bustiers

p 224 Blouson Jackets

p 252 Knitwear

p 300 Dresses

p 340 Tailored jacket base with a side piece (3 pieces)

p 362 Coats

p 408 Sleeves

p 456 Hoods

p 490 Swimwear

p 526 Les poches et autre

p 550 Seam allowance and lining

p 592 Annexes

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0 MÉTHODE dp studio

GENERAL
INSTRUCTIONS
 VOLUME 3 CONSTRUCTING BASE PATTERNS
WOMENSWEAR CLOTHING KIMONO SLEEVES – BUSTIERS –
PATTERN MAKING BLOUSON JACKETS – KNITWEAR
FLAT-PATTERN DRAFTING – DRESSES – COATS – SLEEVES
– HOODS – SWIMWEAR

Contents

p 008 Glossary

p 012 List of supplies

p 014 Measurement chart

p 016 Basic principles for making an outline

p 020 Placing tape on the dummy

p 026 The dummy’s arm

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 0 VOLUME 3

GENERAL INSTRUCTIONS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

GLOSSARY

A C
Adapt: adapting a pattern or garment to specific measurements. Collar: piece of fabric fixed around the neck and on the neckline of
a garment.
Adjust: checking the proportions of each pattern piece and perfecting
the lines of each piece prior to assembly. This can be done once the Collar stand: part of the collar that is assembled between the
pieces have been made in muslin or beforehand on the flat-pattern neckline and the actual collar, if the latter exists. It gives the collar
outline. more structure and height.

Assemble: putting together different pattern pieces with the help of Crotch: this curved line and important trouser measurement starts
a sewing machine to create a whole. on the centre front waist, passes between the legs and ends on the
centre back waist.
Appliqué: placing a piece of fabric over another larger piece and
fixing them together. Crotch seam: a curved seam starting at centre front waist level and
passing between the legs to the inside leg seam.
Armhole: a curved line located at the front and back of the garment
body, allowing the insertion of a sleeve (sleeve cap). Cuff: the bottom of a long sleeve ends in a cuff or turn-back cuff etc…

Armscye: a curved line at the top of a sleeve, allowing it to be Curve : to shape a line by curving it.
assembled to the body of the garment (at armhole level).
Curved collar stand: a piece of fabric fixed at the base of a suit collar
B to give it hold.

Back rise (trousers): a curved line and measurement that starts at Cross grain: is the horizontal or weft grain direction of the fabric,
centre back waist level and passes between the legs to the inside perpendicular to the warp grain.
leg seam.
Crossover or overlap value: adding enough value at centre front level
Base patterns: is a working pattern using specific body measurements so that one side of the garment can cross over the other, usually to
(with or without ease) to which you can apply transformations to enable buttoning. Also known as overlap value.
make other patterns.
D
Basque: a piece of fabric fixed at waist level that descends more or
less to hip level. Dart: V-shaped volume, sewn wrong side facing, allowing a garment
to be correctly fitted to the body.
Bend: curving a line.
Dart pivot: moving a dart by pivoting it from the base (changing its
Bevel: making small incisions (with the help of scissors) along the direction).
length of a seam to trim it and reduce fabric bulk.
Décolleté or low neckline: a low or open neckine giving more comfort
Bias: the bias grain of a fabric is at 45° to its warp and weft threads. or expressing a certain style.
When cut at 45°, « true bias » is referred to. At other angles, « false
bias » is used. Drape: placing fabric in a harmonious way on the body, by forming
supple folds that are more or less regular. The fabric used is generally
Bias (V): to incline a line of construction or seam on a 45° angle to cut on the true bias so that it hangs well.
obtain a true bias, or on other angles for a false bias.
E
Bisection: straight line that cuts an angle (eg : a dart) into two equal
parts. Ease: when making a garment in woven fabric, it is vital to add some
allowance to the measurements of the person for whom the garment
Button: a piece made out of metal, wood, horn, mother-of-pearl, is being made for comfort and movement.
plastic etc. for closing a garment.
Ease out: consists of stretching a fabric with the help of an iron and,
Buttonhole: an opening in a garment made manually or by machine if necessary, a damp cloth, in order to pull it into a precise shape to
through which a button passes. assemble with another piece.

Button loop: Small round of woven thread or fabric cut on the true Edging: straight or true bias band or trim placed on the edge(s) of
bias, fixed on the edge of a garment for a button to pass through. part of a garment.

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 G
Enlarging: increasing the volume of a construction by adding centimetres. Gathers: Small puckers made by two parallel rows of running
stitches placed along the edge of the fabric to pull it in and create
Excess value: excess fabric value between two notches that needs to extra volume.
be eased out using an iron and even a damp cloth if the excess value
is significant. The larger the excess value, for example at the top of Godet: a triangular piece of fabric inset between two pieces of fabric
a sleeve cap, the better the finished sleeve shape. or in-one with a seam to add volume and shape.

F Gore: a typically trapezoid shaped piece or panel sewn to another

garment panel to create a flowing effect, often used in skirts.
Facing: piece of fabric used to line a neckline, armhole, pocket
opening etc… to bring a clean and neat finish. Gusset: inset between two or more seams to add more room,
especially under the arm in the construction of a kimono sleeve. This
Facing or faced hem: an interior finish made in the same fabric as piece is usually diamond shaped and cut on the true bias.
the garment, running parallel to the garment edge. A skirt without a
waistband for example, will often be finished this way. Grading: a system allowing the increasing or decreasing of volume of
a garment in one size in order to create the other sizes as accurately
Fall (of a collar): represents the part of the collar that descends onto as possible. For example, from a size 10 a size 8, 12, 14 etc. can be
the garment. obtained.

Flap: a lined piece of fabric placed over another part of a garment, H

for example a pocket flap.
Hang: the impression a garment gives when tried on the body. When
Flat area: a plane area or platitude of a few centimetres perpendicular a garment is even, straight and balanced, it hangs well.
to the outline to help ensure symmetrical assembly. For example, the
armhole of a suit jacket is outlined on the front with a flat area of Hem: finishing the edge of a garment by folding and sewing it on the
2cm. wrong side of the fabric.

Flat-pattern drafting: 2D technique of making patterns for clothes I

using paper.
In-one: refers to a pattern pièce constructed as an intégral part of
Flare: adding enough material to widen the bottom of a skirt, dress, another piece, without a seam, for example facing constructed in one
trousers… and the same pattern piece as the garment front.

Folding: action of placing one part of the fabric over another part. Invisible buttoning tab: system of closing a garment composed of
buttonholes hidden under a band of added fabric or in-one with the
French curve: a plastic and curved ruler allowing the user to draw the main fabric.
curve shapes represented on a pattern. A longer French curve is used
for trouser curves etc… To inset: to insert one pattern piece into another larger piece by
curving in the larger one.
French curve: a plastic and curved ruler allowing the user to draw the
curve shapes of any outline. The one most often employed is french Inside leg: inside length of the leg measured from the front crotch to
curve n°21. the ground (or trouser hem).

Frill: band of fabric added to a garment that can be gathered, L

pleated, cut on the bias or straight grain, in the form of a circle or
spiral, creating a decorative effect. Lining: generally made out of fine fabric, this interior layer covers
and finishes the inside of a garment, concealing its seams and giving
Front facing: a piece of fabric attached to the front edge of a garment the garment extra hold.
before being folded to the wrong side to be hidden. It has exactly
the same shape as the garment edge and contours it perfectly. The M
same fabric as the garment can be used or a lining fabric if the main
fabric is thick. Maintain: suppressing the excess value of a piece of fabric by
creating two gathered stitches to facilitate assembly with another
Fullness: represents the given (or extracted) volume of a pattern or garment part.
garment.

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 0 VOLUME 3

GENERAL INSTRUCTIONS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Mitered angle: seam made diagonally and on an angle to avoid Piping: a narrow strip of fabric cut on the true bias and generally
thickness where two flaps of fabric join. This method is to be avoided placed on a pocket or buttonhole opening. Piping can be single or
if alterations might later be needed (lengthening of the garment, for double.
example) because a certain amount of fabric is suppressed, making
the lengthening of this part of the garment difficult. Pivoting darts: moving a dart by pivoting it from the base.

N Pleat: a fold formed by doubling fabric back upon itself, which is then
secured in place.
Neckline: a curved opening made on upper bust level for the head
to pass through. Plumb line: a vertical line at right angles with the floor, used for
determining the balance of a garment in relation to the length or
Nip: suppressing fabric on a garment, for example at waist level. crosswise grain of the fabric. The latter grains are perpendicular and
This suppression can be carried out by the creation of seams and/ parallel to the ground, respectively.
or darts.
Pocket: opening incorporated in part of a garment, allowing the hand
O to enter. A pocket can either be appliqué or inset. When inset, this
opening is prolonged by the pocket sack.
On fold: when cutting part of a pattern twice, for example a skirt
front, indicate ‘on fold’ for centre front so that the latter will be Press-stud or snap: a device for closing a garment made of two
placed on the fabric fold and cut twice, eradicating the need for a pieces of metal that slot into eachother.
centre front seam.
R
Outline: accurately reproducing the lines and contours of a pattern
on a piece of paper. This can be done : Rib: knitted rib band (elastic) used to finish the edge of a garment,
• using tracing paper to follow the lines with a pencil for example the end of a sleeve or the neckline of a jumper. Rib can
• using an awl to dot the pattern lines before pencilling over the have more creative uses and be in-one with the main knitted piece.
dotted indents. Rib can also be added, in other words sewn to the main piece.

Overlocking: assembling two pieces using an overlocking machine Rise: (trousers), the defined length on centre front between the waist
that first cuts the excess fabric and then joins the two pieces by and the base of the front crotch. Also known as the front rise.
an elastic overlock stitch. This method is used when working with
knitted fabric that requires elasticity, or when edging the different Rise: (collar) used also to express how high a collar rises.
pieces of a garment before assembly to avoid fraying.
Roll line: the line where a collar folds down and the lapel or upper
P collar (suit, shawl etc) descends onto the garment.

Pair of scissors: a shearing tool for cutting fabric, consisting of two S

mobile blades joined together by a hand piece.
Seam: allowing any part of a garment to be separated into several
Parallel: lines moving in the same direction that never touch. For pieces to bring creativity or improve a shape or volume.
example, the bust spread line is parallel to centre front.
Seam allowance value: an allowance of extra fabric that is added
Pattern: a paper template comprising all the necessary pieces, parallel to the edge of each pattern piece to facilitate assembly and
finishes, notches and seam allowances for making a garment. The when large enough, allow future alterations.
pattern outline allows the garment to be cut in fabric.
Selvedge: edge of the fabric formed by the ends of the weft threads.
Pattern-making: converting drawings into garment volumes, either
by flat-pattern drafting (2D) or draping (3D). Sheathed assembly: assemble two pieces of fabric, right sides
facing, leaving one seam open to turn back onto the right side.
Pattern notches: notches are small indents used to facilitate the
joining of two pieces of fabric, optimize the assembly process and Shift: rebalancing part of a garment or pattern by changing its
obtain the desired volume. A notch is always perpendicular to the grainline so that it hangs better.
seam.
Shoulder pad: wadding cut in a semi circle and placed on the edge of
Perpendicular: a straight line at right angles with another line. For the shoulder and beginning of the armhole to bring structure to the
example, the large hip line is perpendicular to centre front. garment and lift the shoulder slope.

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 Z
Spread: a measurement that exists between two points, for example Zip fastener: a fastening system composed of two parts that slot
the bust spread (between the two bust points). into eachother with the help of a cursor that enables the closing or
opening of the zip.
Square (V): to adjust a marker point on an outline so as to set it at
right angles to another point or straighten it in the aim of assembling
two pièces accurately.

Standardization: a method to help ensure accurate assembly by

checking and adjusting seam allowance value through the placing
of notches at the end of each seam line. It is vital to check the length
of each seam, two by two, as they must be absolutely identical.

Straight grain: is the selvedge or warp grain direction of a fabric and

the one in which it is rolled out (lengthwise). A garment with a centre
front SG is cut parallel to the fabric selvedge.

Symmetry: the position of two identical parts located either side of

an axis. For example, the left front of a basic skirt can be found by
placing the right side on the left of centre front.

T
Tab: a piece of fabric that is added, usually to dissimulate a slit or opening.

Tape or tying ribbon: fine flat cotton tape, generally red or blue,
cut on the straight grain, allowing a pattern-maker to indicate the
major axis and construction lines on the dummy (bust, waist, large
hip lines etc). This tape can also be used for finding particular shapes
when making a mock-up on the dummy.

Turn-up: a band of fabric folded onto the right side of the garment,
creating a certain style.

U
Underwiring: metal or plastic strip to reinforce or give hold to
different parts of a garment, for example bustiers.

W
Warp: lengthwise grain of a woven fabric, parallel to the selvedge.
Fabric is very often cut on this grain.

Weft: horizontal grain of a woven fabric, perpendicular to the

selvedge. Fabric is less often cut on this grain.

Widen: increase the width of a dart or seam. Open up a neckline or

armhole.

Y
Yoke: a piece of fabric added to a garment and assembled with the
rest of the garment in a way that respects its style.

Yoke (trousers): a piece of fabric added below the back waistband of

a pair of trousers.

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 9. Tracing paper
1. Awl

24. Tracing 39. Carbon paper

wheel
33. Blue and red
tailor’s chalk

10. Compass
17. Pair of paper 34.Tailor’s ham
scissors

2. Hook

25. Pair of fabric

11. Metal tailor’s square 35x60cm scissors
35. Sleeve-board

Graphite and colour 18. Weights

0,5 Criterium leads

26. Rubber

36. Powder tracer

12. Plastic calibrated 60° set square 19. Sheets of white paper
with protractor 65x100cm

27. Pattern notcher 37. A thimble

4. Criterium

28. 1m metallic ruler

20. Cardboard for patterns

13. Perforator
5. Suit curves with a lever
21. A grading ruler
29. Pencil sharpener 40. Sellotape

14. Zenith Trapano

6. Vary form curve
for trousers and skirts 30. Muslin

22. 70cm
French curve

7. Adhesive
black tape 31. Tape measure

15. Drawing pins

38. A dummy

23. French curve

n°21
16. Box of pins
8. Red and blue tape
32.Kapok
 VOLUME 3 CONSTRUCTING BASE PATTERNS
WOMENSWEAR CLOTHING KIMONO SLEEVES – BUSTIERS –
PATTERN MAKING BLOUSON JACKETS – KNITWEAR
FLAT-PATTERN DRAFTING – DRESSES – COATS – SLEEVES
– HOODS – SWIMWEAR

LIST OF SUPPLIES NECESSARY FOR MAKING

A GARMENT BY FLAT-PATTERN DRAFTING
WITH A MOCK-UP IN MUSLIN.
1. Awl: metallic bore for dotting holes to reproduce the lines of a 24. Tracing wheel: tool for reproducing a pattern outline on muslin. It
Pattern on another piece of paper. is best not to use this roller when reproducing a pattern on paper
as it will lack precision.
2. Hook: for hanging the finished patterns.
25. Pair of fabric scissors: for cutting muslin and fabric.
3. Graphite and colour 0,5 Criterium leads: to insert in the criterium.
The graphite leads are used for the main outlines and the colour 26. Rubber: indispensable for erasing errors..
leads for highligthing an aspect of the outline.
27. Pattern notcher: tool for making small indents in cardboard to
4. 0,5 Criterium: pencil for tracing an outline with precision. indicate, for example, the position of a notch or of the sides of a dart.

5. Suit curves: plastic tool for outlining the curve shapes of suit jackets. 28. 1m metallic ruler: for reproducing long straight lines.
6. Vary form curve for trousers and skirts: metal tool for outlining 29. Pencil sharpener: for sharpening tailor’s chalk used for making
the curve shapes of skirts and trousers. marks on the muslin.

7. Adhesive black tape: fine black plastic adhesive tape for defining 30. Muslin: raw cotton muslin used for making a mock-up of the pattern
volume on the dummy, for example. to examine the volume of the model on a dummy before making
the model in fabric.
8. Red and blue tape: coloured cotton tape of about 0,5cm for defining
the main construction lines on the dummy. The red tape is generally 31. Tape measure: used for measuring the body and for studying
for the vertical ines and the blue for the horizontal. notions of volume on the body for creating new models.

9. Tracing paper: transparent paper for tracing certain parts of the 32. Kapok: a very light vegetal fibre that is both water resistant and
outline as precisely as possible without having to fold and damage rotproof but highly inflammable. It is used for defining volume
the paper used for the outline. in the dummy’s arm as well as testing volume on other parts of
the dummy.
10. Compass: a useful tool for certain outlines.
33. Blue and red tailor’s chalk: for marking certain points on the muslin.
11. Metal tailor’s square 35x60cm: vital tool for the construction of
rectangles and for the squaring up of lines and angles in general. 34. Tailor’s ham: used for ironing on a round surface when called for.
12. Plastic calibrated 60° set square with protractor: vital tool for the 35. Sleeve-board: for ironing and opening out the seams of narrower
squaring up of lines and angles on the outline. parts of a garment, notably the sleeves.

13. Perforator with a lever: perforating machine for making holes in 36. Powder tracer: tool for marking certain points on the muslin to
patterns to hang them from a hook once finished. help, for example, define the hem.

14. Zenith Trapano: machine for making small holes in patterns to 37. A thimble: indispensable for hand sewing.
highlight certain spots (the top of darts, for example).
38. A dummy: used for displaying a constructed garment to check
15. Drawing pins: small metal pins that help keep an outline in place that it is balanced and hangs well. Also known as the mannequin.
while reproducing it. Drawing pins can replace the awl but are
39. Carbon paper: paper used for reproducing a pattern outline on
less efficient.
muslin.
16. Box of pins: to assemble the different parts of an outline that have
40. Sellotape: useful when transforming certain outlines.
been cut out in muslin.

17. Pair of paper scissors: necessary for cutting out patterns and for
transforming them.

18. Weights: useful for holding down paper or cardboard outlines while
reproducing them on paper, cardboard or muslin.

19. Sheets of white paper 65x100cm: used for making the outline.
20. Cardboard for patterns: for making patterns that you can keep
longer. Such patterns can be used as templates to gain time for
future re-use and transformation.

21. A grading ruler: ideally a 60cm-long ruler in transparent plastic with

several grading lines to facilitate accurate outline construction.

22. 70cm French curve: tool for outlining long curve shapes.
23. French curve n°21: tool th at can outline most curve shapes. The
exterior curve of this tool is used the most.

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 0 VOLUME 3

GENERAL INSTRUCTIONS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

MEASUREMENT
CHART

This chart covers all the basic measurements of a ‘typical’ female The patterns evolve in different ways depending on the size or the the
morphology that will be used and referred to throughout this flat- size section. These variations will be indicated for each size section,
pattern drafting method. on the right of the chart.

The referenced measurements throughout this book correspond to a All the measurements of this chart are expressed in cm and given a
French size 38 = a size 10 in the UK and a size 8 in the US. number so that they can be easily recognized on the figurines that
illustrate the chart.
The chart uses the sizes that are common to the female population
and range from a size 8 to 20 (UK), size 6 to 18 (US). In terms of height, It is important to pay special attention when taking measurements
1,68m has been given as an average. The sizes have been divided into as it is the starting point of garment construction. Measuring the
three sections : human body is not always an easy process. While making the pattern
- First section, from size 8 to 14 (UK), 6 to 12 (US). outline, if certain values seem strange (too big, too small), take
- Second section, from size 16 to 18 (UK), 14 to 16 (US). the measurements again in order to have your doubts confirmed or
- Third section, size 20 (UK), 18 (US). removed.

11
12
10
16
4 9 13
15 14
1
22 23
17 19 21
20 18 8
5
2

28 24
3

30

26 25 27

31
7

32

29
33

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 MEASUREMENT CHART
Measurement chart of the female body
This chart is for information purposes only and uses 1,68m as an average height.

Sizes T36 T38 T40 T42 T44 T46 T48 Variations

Height 168 168 168 168 168 168 168

1 Bust 83 87 91 95 100 105 111 +4/+5/+6

2 Waist 63 67 71 75 80 85 91 +4/+5/+6

3 Large hips 90 94 98 102 107 112 118 +4/+5/+6

4 Top of shoulders to bust line 26,3 27 27,7 28,4 29,25 30,1 31,1 +0,7/+0,85/+1

5 Bust point to waist 16,75 17 17,25 17,5 17,8 18,1 18,45 +0,25/+0,3/+0,35

6 Waist to large hip (centre front) 19,75 20 20,25 20,5 20,8 21,1 21,45 +0,25/+0,3/+0,35

7 Waist to floor (centre front) 104,5 105 105,5 106 10 6,6 107,2 107,9 +0,5/+0,6/+0,7

8 Bust spread (distance from bust point to bust point) 18,5 19 19,5 20 20,6 21,2 21,9 +0,5/+0,6/+0,7

9 Centre front length (neckline base to waist) 36,5 37 37,5 38 38,6 39,2 39,9 +0,5/+0,6/+0,7

10 Neck circumference 32,8 34 35,2 36,4 37,9 39,4 41,2 +1,2/+1,5/+1,8

11 Neckline width 11,6 12 12,4 12,8 13,3 13,8 14,4 +0,4/+0,5/+0,6

12 Shoulder length (from the top to shoulder point) 12,2 12,5 12,8 13,1 13,45 13,8 14,2 +0,3/+0,35/+0,4

13 Bust point to shoulder point 23,3 24 24,7 25,4 26,25 27,1 28,1 +0,7/+0,85/+1

14 Cross-front width (between crossline points) 31 32 33 34 35,25 36,5 38 +1/+1,25/+1,5

15 Cross-back width (between crossline points) 34 35 36 37 38,25 39,5 41 +1/+1,25/+1,5

16 Top of shoulder to Cross-front points 17,5 18 18,5 19 19,6 20,2 20,9 +0,5/+0,6/+0,7

17 Back length (from top of shoulder to waist) 42,5 43 43,5 44 44,6 45,2 45,9 +0,5/+0,6/+0,7

18 Centre back length (neckline base to waist) 41 41,5 42 42,5 43,1 43,7 44,4 +0,5/+0,6/+0,7

19 Back length (from shoulder point to waist) 39 39,5 40 40,5 41,1 41,7 42,4 +0,5/+0,6/+0,7

20 Sideseam length (from bottom of armhole to waist) 20,75 21 21,25 21,5 21,8 22,1 22,45 +0,25/+0,3/+0,35

21 Arm length (shoulder point to wrist) 61,5 62 62,5 63 63,6 64,2 64,9 +0,5/+0,6/+0,7

22 Shoulder point to elbow 34,5 35 35,5 36 3 6,6 37,2 37,9 +0,5/+0,6/+0,7

23 Biceps circumference 26 27 28 29 30,25 31,5 33 +1/+1,25/+1,5

24 Wrist circumference 15,5 16 16,5 17 17,6 18,2 1 8,9 +0,5/+0,6/+0,7

25 Sideseam length (from waist to floor) 105 105,5 106 106,5 107,1 107,7 108,4 +0,5/+0,6/+0,7

26 Waist to floor length (centre back) 103,5 104 104,5 105 105,6 106,2 106,9 +0,5/+0,6/+0,7

27 Inside leg to floor length (front) 81,5 81,5 81,5 81,5 81,5 81,5 81,5 0

28 Rise lenght(waist to base of crotch) 23,5 24 24,5 25 25,6 26,2 26,9 +0,5/+0,6/+0,7

29 Knee to floor length 47 47 47 47 47 47 47 0

30 Thigh circumference 50 52 54 56 58,5 61 64 +2/+2,5/+3

31 Knee circumference 33,5 35 36,5 38 39,85 41,7 43,9 +1,5/+1,85/+2,2

32 Calf circumference 32,25 33,5 34,75 36 37,52 39,04 40,84 +1,25/+1,52/+1,8

33 Ankle circumference 21,5 22,5 23,5 24,5 25,7 26,9 28,3 +1/+1,2/+1,4

All measurements in this chart are given in centimetres (cm).

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GENERAL INSTRUCTIONS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

BASIC PRINCIPLES
FOR MAKING A BASE PATTERN

Basic rules
To approach this flat-pattern drafting method, it is important to define
a ‘typical’ morphology on which the different base patterns will be 1. When making women’s garments, always work on the right side
based. To do this, after analysing the different existing possibilities, (right side when the garment is worn) because womenswear buttoning
all the base patterns made in this volume are made in a size 10 (UK), is always right over left.
size 8 (US), size 38 (FR), in keeping with the measurements of a Siegel
2. When reproducing an outline on paper, always consider the right
and Stockman dummy, reference 50497. Step by step, this method
side of the paper (where the outline is reproduced) as the right side
will demonstrate how to make all the essential garments of the
facing of the fabric. Centre back will therefore always be towards the
womenswear wardrobe, using the measurement chart found on page
left and centre front towards the right. (Diagram n°1)
15, established using this dummy.
3. A pattern must always be read in the same way. That is to say, if
For a fuller understanding during construction of the various base the user is working with five pieces, the work starts with the front on
patterns proposed in this book, each explanation is given using the the right, followed by centre front on its left, then the side front panel,
required measurements to help the user check the precision of each side back panel and the back on the far left. (Diagram n°2)
construction at any moment of the process.
4. It is important to indicate the SG for each pattern piece as well as
any other necessary information. Reference each piece. (Diagram n°3)
These base patterns will also prove useful for making the same
- The model reference (eg : W14-401.2, combines…)
garment in different sizes. This will engender variations to the base
- The naming of each piece (eg : front, side front panel, upper sleeve…)
that must be respected and analysed using the chart.
- The size of the pattern undertaken (eg : size 10, size 12…)
Changing a pattern so that is corresponds to a different size must be
- The number of times a piece must be cut (eg : x2, x1…)
proportional and balanced.
- If the model requires fusible, indicate it (eg : fusible). If this is only
needed in an isolated part of the garment, it is better to make a
The measurements indicated can of course extend further for smaller
separate piece using the precise measurements of the fusible.
or bigger sizes but it is important as a first step to master this method
- The number of the piece and also how many pattern pieces there
in size 10 (UK), size 8 (US), to see how a garment will differ in other
are in total for the model - eg : 3/7 – means that this is the third
sizes.
piece out of a total of seven in this pattern set.
In this book, the base patterns are represented in black and the 5. When a garment is symmetrical, it is not necessary to construct the
variation possibilities in red for a clearer reading. pattern it in its entirety. The right half alone is enough except when a
All measurements are given in centimetres. pattern is being sent for production and needs to be fully represented.
Inversely, when a garment is asymetrical, it is crucial to reproduce the
whole pattern as a mirror effect, right side next to left side.

6. It is important to construct all outlines with absolute precision to

avoid subsequent imprecisions as the pattern evolves because at a
later stage this will have a negative impact on the garment-making
process. Remenber that several different work posts are involved
in professional garment-making (pattern-making, fabric-cutting,
assembly etc.) and each step must be carried out with rigour to avoid
adding or removing milimetres, or even centimetres, to or from the
finished garment.

7. This method includes checking and adjustment stages where

tracing paper is used to improve the precision of lines for an optimal
assembly. This paper is used to avoid folding or damaging the paper
outline which must stay neat and clean.

These stages are represented on a grey background and, from time

to time, a video will demonstrate and explain the method.

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 Centre back SG

Back
Diagram n°1

Front

Centre front SG

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BASIC PRINCIPLES FOR MAKING A BASE PATTERN
 0 VOLUME 3

GENERAL INSTRUCTIONS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°2

Back Side back panel Side front panel Centre front Front
Centre back SG on fold

Centre front SG

Diagram n°3
Centre back SG on fold

Model
Model
reference
reference Model
Model reference Model reference Centre front
Back reference
Side back panel Side front panel size 10 (UK)
size 10 (UK) Front
size 10 (UK) size 10 (UK) size 8 (US)
size 8 (US) size 10 (UK)
size 8 (US) size 8 (US) x2
x2 size 8 (US)
x2 x2 2/5
5/5 x2
4/5 3/5 1/5
Centre front SG
SG

SG

SG

SG

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 BASIC PRINCIPLES FOR MAKING A BASE PATTERN
Method for constructing a base or pattern Method for transforming a base pattern to make other models
1. The first essential step, before starting a base pattern, is to 1. Observe the model you want to make in detail. Study the lines,
take measurements. Method and rigour are vital for this to avoid seams and details (its volume, type of collar, sleeve, finishing details
subsequent errors or misunderstandings. etc…).

2. By definition, a base pattern can be made for many different 2. C h o o s e a n a p p r o p r i a te b a s e p a t te r n f o r s t a r t i ng t h e

elements of the wardrobe (skirt, bodice, sleeve…) without considering transformation. Firstly, outline each piece of the base on paper and
a particular style or identity. First of all, the volume of the body for then trace the different lines that define the model you want to create.
whom it is being made must be defined.
3. Once you have drawn these lines on the base, think about the best
3. In general, before starting the construction of a pattern outline, way of modifying it in order to obtain the style of model you want to
the overall volume must be defined via a rectangle indicating make. Modifications can vary : seamlines, yokes, pockets, widening
maximum length and width. certain parts, adding parts…

4. To optimize each outline, read all the instructions carefully and 4. Do not forget the fastening system of each model you consider
progressively, each stage at a time, to avoid misunderstandings and (buttons, zips…). You must be able to put on and take off the finished
errors. garment.

5. Pattern notches are necessary for obtaining accuracy. They must 5. Once the volume has been found, do not forget to check the
be placed regularly, in various tricky areas, while assembling. They accuracy and length of the new pattern lines and add the necessary
bring precision to the assembly process and a better overall result notches for future assembly.
is obtained.
6. Outline the new base on a piece of muslin and reproduce it so
6. Once the outline has been made, it is useful to try it out in muslin. that it can be assembled and tried on the body. Again, if certain
Make modifications if necessary and re-draw the outline with any modifications are required, make them directly on the muslin and
necessary corrections so that the final outline can serve as an then correct them on the paper outline.
accurate base for making other garments in the future.
7. It is then possible to place the seam allowances to facilitate
7. For an outline to become a pattern, the necessary seam allowances assembly of the model and thereby obtain a complete pattern. Do
must be defined for assembly. This can be carried out in a ready-to- not forget to mark all necessary indications on each pattern piece.
wear or top-of-the-range manner, depending. Do not forget to mark
all necessary indications on each pattern piece.

8. This pattern can serve as a base on which various transformations

can be applied to obtain different models of your choice.

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GENERAL INSTRUCTIONS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

PLACING TAPE
ON THE DUMMY

Placing construction lines on the dummy is vital for obtaining straight

and balanced garments that hang well. These lines are applied in a
certain way, explained below, and are represented by coloured tape.
The red tape is for placing vertical lines, the SG among others, and
the blue tape is for placing the horizontal lines such as the waist, bust
and large hip lines.

Using the dummy for this example in size 10 (UK), size 8 (US), start
placing the tape.

Back Front

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 PLACING TAPE ON THE DUMMY
Diagram n°1

Top of shoulder
6,5
6,5 0,5
Neckline seam
1
17
Neckline seam
Neckline base
43 27
44
43,5
Bust Bust

18 17

1
Waist Waist
33,5

19 20

Centre back Centre front

47
Large hips Large hips

Diagram n°1
Centre front Bust
Place the tape along the centre seam of the dummy as far as its base. Bust measurement = 87cm
Make sure this vertical line is straight for garment balance. (The Starting from the left side and crossing the fullest point of the
balance and straightness of the dummy itself should be checked). bust, place the tape around the body, making sure the tape stays
Start placing the tape 1cm above the dummy’s neckline seam (the horizontal. Fix it where you started, on the left side. Measure
neckline base). This is the assembly seam. approximately 27cm down from the top of the shoulder vertically
towards this tape.
Neckline At centre front, between the bust and waist line, there should be a
value of 17cm.
On the centre front, place the tape on the neckline seam of the
At centre back, between the bust and waist line, there should be a
dummy, then onto the shoulder for 0,5 cm in alignment with the
value of 18cm, due to the fact that the waist line at centre back has
neckline seam of the dummy and end by placing the tape 1cm above
been lowered.
the neckline seam on centre back.
Measure the neckline (34cm for this dummy), divide this
Large hips
measurement by two and then at centre front, use half of this value
to find centre back, namely : 34/2 = 17cm. Large hips measurement = 94cm
Starting from centre back, place a marker point at 6,5cm on the Place the tape 20cm below the waist line tape (this measurement
neckline tape corresponding to the top of the shoulder. should be taken on centre front), then pin it horizontally (parallel to
the base of the dummy). Fix it on the left side with a knot.
Waist At centre back, the length between the waist line and the large hip
line is now only 19cm due to the fact that the waist line has been
Waist measurement = 67cm.
lowered.
Stretch the tape well around the waist by fixing it on the left with the
help of a knot. Take it 44cm higher as far as the hollow at the top of
Centre back
the shoulder.
Lower centre back by 1cm compared to centre front. Check the vertical Starting from the top of the dummy (the neck), place the tape down
measurement at the back, starting from the top of the shoulder to centre back vertically. The position of centre back has already been
the waist, lowered by a centimetre. This line should measure 43cm. indicated on the neckline tape.
This 1cm difference between back (43cm) and front (44cm) lengths The half-neckline measurement = 34/2 = 17cm
will be generally observed in this method.

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GENERAL INSTRUCTIONS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°2

Top of shoulder
6,5

22,75 22,75
20,75 20,75

Bust Bust

15,75
17,75 17,75
15,75
Waist Waist

22,5
Centre back 24,5 Centre front
24, 5
Large hips 22,5
Large hips

Diagram n°1 (continued) Diagram n°2

Centre back Shoulder – side seam line
1. Moving down the vertical tape of centre front, for each horizontal 1. On each of the bust, waist and large hip tape markings, divide by
tape marking (bust, waist, large hips and dummy base) divide by two two between centre front and back.
to find the middle of each of these areas. Move the side seam by 1cm towards the back so that it will not
Check the half measurements on the left and right side to make sure be seen when the wearer is looked at front on (this move must be
they correspond. proportional).
½ bust measurement = 87/2 = 43,5cm This means that when we increase the front by 1cm, automatically the
½ waist measurement = 67/2 = 33,5cm back will decrease by a centimetre without changing the width of the
½ large hip measurement = 94/2 = 47cm half bust, half-waist and half-large-hip lines.
Position the tape representing centre back by passing through each
2. The following measurements are obtained :
of these middle areas.
- Bust : 87/2 = 43,5/2 = 21,75
Check the line is vertical for the hang and balance of the garment.
front +1 = 21,75 + 1 = 22,75cm
back -1 = 21,75 -1 = 20,75cm
- Waist : 67/2 = 33,5/2 = 16,75
front +1 = 16,75 +1 = 17,75cm
back -1 = 16,75 -1 = 15,75cm
-Large hips : 94/2 = 47/2 = 23,5
front +1 = 23,5 +1 = 24,5cm
back -1 = 23,5 -1 = 22,5cm

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 PLACING TAPE ON THE DUMMY
Diagram n°3

Shoulder point
12,5
12,5

35
32
17,5 11 14
12 16
Cross-line 12
4
Bust Bust

Waist Waist

Centre front

Centre back
Large hips Large hips

Diagram n°2 (continued) Diagram n°3

Shoulder – side seam line Armhole
3. Starting from the top of the shoulder (6,5cm from the centre back), 1. Shoulder length = 12,5cm.
stretch the tape over the lines representing the bust and waist. To locate shoulder point (where the shoulder ends), measure 12,5cm
Descend the tape to the base of the dummy in an even way, going starting from the top of the shoulder.
through the line representing the large hips.
2. Neckline depth = 14cm.
From shoulder point, move 14cm down the side seam line tape in
order to locate the base of the neckline. This base is located 4cm
above the bust line.

3. Cross-front = 32cm (for the half cross-front = 32/2 = 16cm, to

locate the centre front.
This measurement is to be taken from one side of the crossline to the
other, at about 12cm above the bust line. Cross-back = 35cm (for the
half cross-back = 35/2 = 17,5cm to locate centre back. This measu-
rement is to be taken from one side of the crossline to the other, at
about 12cm above the bust line.

4. Armhole width = 11cm.

This measurement is to be taken between the two front and back
crossline points (on the right side).

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GENERAL INSTRUCTIONS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°4

6,25
6,25

9,5

19
8,3
Bust Bust

Bust point
6,3 7,3

Waist Waist
15,75

8,8
Centre back 9,8 Centre front
Large hips Large hips

Diagram n°4
Shoulder strap seam
1. To place the tape for this, use (as a measurement reference) the 4. For the back, starting from the middle of the shoulder (6,25cm from
equivalent of half the back waist divided by five. the top of the shoulder), move the tape down towards the bust line at
For this dummy: ½ back waist = 15,75/5 = 3,15cm. centre back level for an equivalent distance of 2/5 of this reference
measurement + 2cm, namely : 15,75 X 2/5 = 2 = 6,3 + 2 = 8,3cm.
2. To place the shoulder strap seam, divide the shoulder length by
two (12,5/2 = 6,25cm). 5. Continue towards the waist line at centre back level for an
Place the tape on this point, then on the front, moving down towards equivalent distance of 2/5 of this reference measurement, namely:
the fullest point of the bust, determing half the bust spread (distance 15,75 X 2/5 = 6,3cm.
from bust point to bust point divided by two, namely : 19/2 = 9,5cm,
6. Continue placing the tape in the direction of the large hips at
for this dummy). From this new bust point (P) move down towards the
centre back level, for the same distance as for the waist + 2,5cm,
waist, for an equivalent distance of 2/5 of this reference measurement
namely: 6,3 + 2,5 = 8,8cm.
+ 1cm, namely: 15,75 X 2 + 1 = 6,3 + 1 = 7,3cm to centre front.
Then, fix the tape at the base of the dummy in the prolongation of all
3. Continue placing the tape in the direction of the large hips at these points to obtain a harmonious line.
centre front level, for the same distance as for the waist + 2,5cm,
namely: 7,3 + 2,5 = 9,8cm.
Then, fix the tape at the base of the dummy in the prolongation of all
these points to obtain a harmonious line.

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 PLACING TAPE ON THE DUMMY
Diagram n°5

3,65 3,65
Bust Bust

3,15
3,15
Waist Waist

Centre front
Centre back
Large hips 4,65 4,65 Large hips

Diagram n°5
Side piece
1. Place the tape on each side of the side piece, respecting the
following values :
- on the bust line : 1/5 of the reference measurement + 0,5cm,
namely: (15,75/5) + 0,5 = 3,65cm
- on the waist line : 1/5 of the reference measurement, namely:
15,75/5 = 3,15cm
- on the large hip line : aforementioned waist value + 1,5cm, namely:
3,15 + 1,5 = 4,65cm.

2. Place the tape evenly along each of these points at the front
and the back, moving down to the base of the dummy and up to the
armhole to finalise the tape positioning.

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GENERAL INSTRUCTIONS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

THE DUMMY’S ARM

The construction of this arm will allow you to fix it to your dummy in
order to fit and balance sleeves when you are required to make them.
For the female dummy, work is carried out on the right side. Once the
arm has been outlined, it will therefore correspond to an arm that will
fit on the right side of the dummy.

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 THE DUMMY’S ARM
Diagram n°1

A B
0 9 19 24 29

14 Sleeve cap depth

Upper arm Underarm

Upper SG

Under SG

35 Elbow length

62
D C

Diagram n°1
1. Trace the basic rectangle as shown (points A,B,C,D) using the
following dimensions :
The width of the rectangle is 29cm (point A to B) and the length is
62cm (corresponding to the length of the arm, point A to D). Once
constructed, the arm will be 27cm wide at its fullest biceps point.

2. To fix point zero 0 to point A, place vertical lines at 9, 19 and 24cm,

without moving the ruler.
The lines positioned at 9 and 24cm correspond to the upper arm SG
and underarm SG respectively. Still working from point zero (point
A), place horizontal lines at 5,9,14, 35cm, without moving the ruler.
The lines positioned at 14 and 35 cm correspond to the sleeve cap
depth line and horizontal elbow line respectively.

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GENERAL INSTRUCTIONS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°2

Diagram n°2
A B
1. On the 14cm line, place a marker point 1cm either side side of the
19cm vertical line (points E and G). From these two marker points,
trace two vertical lines of 1cm (points F and H). On the horizontal
elbow line, place markers 3cm either side of the 19cm vertical line
(points I and J). Use a ruler to join points F and I, and then points H
and J. The segment (points F to I) represents a part of the upper arm
crook line seam and the segment (points H to J) represents a part of U T
the underarm crook line seam.
F H
2. For the upper crook line, represented by points F to I, measure 1 1
the distance between points F and I, then pivot the ruler from point E 1 1 G
I for the same distance as this measurement (22,1cm) to trace the
total length of the crook line = 46cm for this example. Point K has Upper arm Underarm
now been created on the 19cm vertical. From point I, a measurement
equivalent to 23,9cm has been traced (46 – 22,1 = 23,9cm).
Place a marker point on the base of the rectangle 11cm from point K
(point L) and trace a straight line. Then, from point L trace a straight
line up where the horizontal elbow line and the left edge of the
Upper SG

Under SG
rectangle intersect (point M). The volume of the upper arm starts to
appear.

3. For the underarm crook line, represented by points H to J, repeat

the above operation but starting from point H and for a total length
M I 3 3 J
of 47cm instead of 46cm on the 19cm vertical (point N). From point J, S
a measurement equivalent to 24,9cm (47 – 22,1 = 24,9cm) has been
traced.
Move the horizontal line of the rectangle base up by 0,5cm to make
points O and Q, tracing a straight line to join them, with a marker
point placed at 5cm from point O and Q, corresponding to the
middle (point R). Trace a straight line joining points N and R. Trace
another straight line from point R up to the intersection between the
horizontal elbow line and the right edge of the rectangle (point S).
The volume of the underarm starts to appear.

4. The upper arm elbow seam continues up to point U and the

underarm elbow seam up to point T.

K 47
46
N
R Q
L O
0,5
D 11 5 C

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 THE DUMMY’S ARM
Diagram n°3

Diagram n°3
A B
1. For the moment, the crook and elbow lines are made up of straight
lines. To define the curves of each segment, divide each one by two
and mark a perpendicular measurement of 0,3cm and one of 0,5cm
for the upper arm elbow. Here are the segments to be divided by two,
to which 0,3cm is then added : points F, I to I, K to H, J to J, N to S, R)
U For the segment corresponding to points M to L, divide by two and
T
add 0,5cm.
F H 2. For the crook line seams, the perpendicular lines will be inside the
outline and the elbow seams (the outer seams) outside the outline.
E G
From these new points, use a ruler to re-draw the broken lines and
then curve them by softening each of the angles with a French curve,
Upper arm Underarm including the horizontal elbow line.

0,3 0,3
Upper SG

Under SG

M I J S

0,3
0,3

0,5 0,3

K
N R
O Q
D L C

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GENERAL INSTRUCTIONS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°4

A B

U T

F H

E G
Diagram n°4b
Upper arm Underarm
TR ACING PAPER

J
I S
Upper SG

Under SG

e
m crook lin
e
m crook lin

Upper elbow
Under elbow
Underar

M I J Upper Upper
S
Upper ar

Underarm
K N

R L

Diagram n°4
N O R Q
Using tracing paper (Diagram n°4b) adjust the bottom of the arm
C
D L by raising the base of the upper arm (points L to K) to the crook line
(points I to K). Then move this crook line onto the underarm crook line
(points J, N) to continue raising the underarm base (points N,R) and
the underarm elbow seam (points R,S). Go back to the upper arm elbow
seam (L,M) to finish outlining the bottom of the upper arm piece.
Correct imperfections and the angles using a French curve and then
an awl to dot the modified outline before re-drawing it.

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 THE DUMMY’S ARM
Diagram n°5

A B
1 1
Y X
1,5 W 3

Z
2
U V T

F H 0,5
1,5

E G Aa

Upper arm Underarm

Upper SG

Under SG

M I J S

N O R Q
C
D L

Diagram n°5
Now add marker points for tracing the sleeve cap. For the upper arm
piece, place a marker point 1,5cm in from the far left edge (point Z) on
the horizontal line which is 5cm below the top of the rectangle. Then,
place a marker point 3cm to the left of the 19cm vertical (point W). On
the 9cm horizontal, place a marker point 2cm to the left of the 19cm
vertical (point V).
For the underarm, place a marker point on the 14cm horizontal 1,5cm
to the left of the SG lowered by 0,5cm (point Aa).
On either side of the SG, at the very top, indicate a flat area of 1cm
(points X and Y).

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PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°6b

TR ACING PAPER

W Y
Upper SG

Upper front

Z
V
Upper back
r SG

T
Unde

U
F H
r SG
crook line

Uppe

Aa
crook line

Diagram n°6
r elbo
w
r elbo

Underarm
Upper ar m

Uppe
Unde
Underar m

A B
I 1 1
S
M Y X
J
1,5 W 3

Z
2
U V T
Diagram n°6
1. Use tracing paper to outline the sleeve cap (Diagram n°6b). F H 0,5
1,5

2. Firstly, trace the front part of the upper arm by placing the left edge E G Aa
of the tracing paper slightly to the left of the SG. Re-draw the SG, the
1cm flat area (point X), point W, point V and then point F with a part Upper arm Underarm
of the Upper arm crook line.
Move the tracing paper so that this crook line (point F) is positioned
on the underarm crook line (point H), then continue to trace point
Aa, the underarm SG and the underam elbow seam corresponding to
the right edge of the rectangle until this line intersects with the 9cm
Upper SG

Under SG

horizontal (point T).

Move the tracing paper to position the underarm elbow seam on
the upper arm elbow seam, corresponding to the left edge of the
rectangle. Continue until this line intersects with the 9cm horizontal
(point U) and outline the back of the upper arm, point Z, the 1cm flat M I J S
area (point Y) and the upper arm SG.

3. Once all these points have been outlined, begin to look for the
curve of the sleeve cap.
Starting from the top of the elbow seam (points T,U), trace a straight
line that extends beyond point Z and beyond points T and U at the
other end. Using a French curve, trace along all of these points.
For the front of the upper arm, go straight through the flat area
tangentially and extend beyond points W and V.
For the underarm, approuch the straight line previously tracedon
a tangent, passing through point Aa and the top of the crook line
(points H,F), prolonging the curve beyond these points.
For the back of the upper arm, again use the tangent of the straight
line and then look for the 1cm flat area (point Y). To finish the outline,
trace a slight curve on the top arm, between the crookline (points K
F,H) and point V. Go back to your paper outline and use an awl to dot
each section of the curve as outlined on tracing paper, before re- N O R Q
drawing the curve on your outline.
D L C

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 THE DUMMY’S ARM
Diagram n°7 Diagram n°7b

Y X
A B

Y X
W Z W
Z
T
U V T U V

F H F H

E G Aa Aa
Upper arm Underarm
Upper arm Underarm

Upper SG

Under SG
Upper SG

Under SG

Ae Ad Ac Ab
Ae Ad Ac Ab
5 5 5 5

M J S
X I J
M S X
Maintain X Maintain
X

X 6,5 X Af
Ease out Af
Ah Ah Ease out
X
X

X
X

X
X
Ease out Ease out
X
X
X Ag = 20,35 cm
Ag = 20,35 cm X
K
K N
R
N O R L
Q

D L C

Diagram n°7
1. Place pattern notches to indicate where to maintain and ease out 3. There is a value of 11,5cm between notches on the underarm
with an iron. elbow seam (5 + 6,5cm, points Ab,Af ) whereas on the upper arm
elbow seam the value is 12,8cm (points Ae,Af). If you calculate the
2. Start by marking a 5cm notch on each of the elbow and crook line
difference between these two measurements, you obtain the value to
curves (points Ab,A,Ad,Ae) above the horizontal elbow line (points
be maintained on upper arm elbow level, namely: 12,8 – 11,5 = 1,3cm.
M,S). On the underarm elbow seam, descend below the horizontal
elbow line and mark a notch of 6,5cm (point Af). 4. For the upper arm crook line, easing out will be necessar y
Measure the distance between this notch and the bottom of the arm (points Ad,K) in order to obtain the length of the underarm crook
(points Af to R), namely: 20,35cm (point Ag) for this section of the line (points Ac,N) which is shorter by 1cm. Easing out this seam will
arm. Trace this distance on the top arm elbow seam, starting from enable you to slightly manipulate the shape of the arm.
the bottom. Then mark another notch to determine the volume that The final outline of this arm is now complete. (Diagram n°7b)
will have to be maintained at elbow level (point Ah).

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GENERAL INSTRUCTIONS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°8

Upper tip

10
Ao Ap As

As
1

Upper tip

2 Au Av 13 Av
Au
SG

SG
1
At
Ar Aq
At

Ai Aj

Am An Am An Lower tip
6 Lower tip
SG
SG

Al Ak

Diagram n°8
1. To finish the arm, trace the muslin and cardboard tips for the two
ends of the arm. For the lower tip, trace a rectangle of 6cm long and
4cm wide (points Ai,Aj,Ak,Al).
Trace the rectangle’s vertical and horizontal axis of symmetry (they
will cross in the middle) and then look for 4 symmetrical curves in
each of the four sections. Mark points Am and An on either end of the
horizontal axis. They wil be assembled with points Bg of the upper
arm and Bm of the underarm arm.

2. For the upper tip, trace a rectangle of 10cm wide and 13cm long
(points Ao,Ap,Aq,Ar).
Trace the rectangle’s vertical and horizontal axis of symmetry
(points As,At,Au,Av). On the lefthand side, place a marker point 2cm
above the horizontal axis (point Au) and then another marker point
2cm below the axis on the righthand side (point Av). Then place a
marker point at the bottom (point At) 1cm to the right of the vertical
axis and another at the top (point As) 1cm to the left of this axis.
Using a French curve find the two upper symmetrical curves and the
two lower symmetrical curves. The ends of the vertical axis (points
As,At) correspond to the tape position on the upper arm (point Be)
for the upper tip and the tape position of the underarm arm (point
Bk) for the lower tip. Point As and point Be correspond to the tape
position of the shoulder seam on the dummy.

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 THE DUMMY’S ARM
Diagram n°9

Aw Ba Ax Aw Ba Ax

Upper front
Shoulder tab Upper front Shoulder tab

2,5 21
Bc Bc’ Bd Bc’ Bd

1,5 2,5
Foldline SG

Foldline SG
11

Back Back

Az Bd Ay Az Bd Ay

20

Diagram n°9
1. A muslin shoulder tab must now be made to fix the arm to the To assemble the arm, start by sewing the crookline seam, easing out
dummy. For this, draw a rectangle 20cm wide and 21cm long (points the upper arm crookline, and then sew the elbow seam, incorporating
Aw,Ax,Ay,Az). Trace a vertical axis (in the middle) that will serve as the excess value at elbow level into the area above it.
the foldline (fabric positioned SG, points Ba,Bd) and then a horizontal Close the bottom of the arm with the corresponding tip. This must be
line 11cm from the bottom (points Bc, Bd). sewn by hand carefully.
Fill the arm from the bottom up with Kapok (raw material made of
2. On the left at point Bc, place a marker point 1,5cm to the right along
natural fibres) and then finish the operation by closing the top of the
the horizontal line (point Bc’). Trace a vertical from this new point Bc’.
arm with the corresponding tip, assembling the two parts once again
3. On this vertical, on either side of point Bc’, indicate flat areas of by careful hand sewing.
2,5cm and then trace a curve joining points Aw and Az that already Place the canvas tab on the top edge of the arm in order to fix it to the
exist. dummy. This sewing must also be done by hand.

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GENERAL INSTRUCTIONS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Be

Diagram n°10
Y X

Z W

T
U V

H
Bj Bk
F
2
Aa

Upper arm Underarm

Upper SG

Under SG
Ae Ac Ab
Ad

0,5 1,5 0,5

Bf Bi Bl
J S
M Maintain
X

Af
X
Ah Ease out

X
Ease out
X

X
Bh
K N
2
Bg 4 R
L
4 Bm

Diagram n°10
To position the tape, place different marker points that will allow you
to outline the curve.

1. For the upper arm : where the SG and the top of the sleeve inter-
sect, place point Be. Place a marker point at the top of the elbow,
0,5cm to the left of the SG (point Bf). Then place a marker point (point
Bg) 4cm to the right of the bottom of the elbow seam (point L).
Place another one (Bh) 2cm to the left of the crook line seam (point
K), then further up the elbow, place a marker point 1,5cm to the left
of the crook line seam (point Bi). On the sleeve cap depth line of the
crook line seam, place a marker point 2cm to the left (point Bj).
Using a French curve, join points Be,Bf,Bg for the first tape position
and then points V, Bj,Bi,Bh for the second.

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 THE DUMMY’S ARM
Be

Diagram n°10b
Y X

Z W

U V T

H
Bj Bk
F
Aa
Upper arm Underarm
Upper SG

Under SG
Ae Ac
Ad Ab

Bf Bi Bl
M J S
Maintain
X

X
Af
X
Ease out
Ah
X

X
Ease out
X

X
Bh
K N
Bg Bm R
L

Diagram n°10 (continued)

2. For the underarm : where the SG and the armhole intersect, place
a marker point (point Bk).
Place another one at the top of the elbow, 0,5cm to the right of the
SG (point Bl). At the bottom of the elbow seam (point R), place a
marker point 4cm to the left (point Bm). Then join points Bk,Bl,Bm
to establish the tape position, using a French curve.
The final outline for placing the tape is complete (Diagram n°10b).

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1 MÉTHODE dp studio

BASE PATTERNS
FOR BODICES
 VOLUME 3 CONSTRUCTING BASE PATTERNS
WOMENSWEAR CLOTHING KIMONO SLEEVES – BUSTIERS –
PATTERN MAKING BLOUSON JACKETS – KNITWEAR
FLAT-PATTERN DRAFTING – DRESSES – COATS – SLEEVES
– HOODS – SWIMWEAR

Contents

p 040 Bodice base pattern

p 054 Short sleeve base pattern

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BASE PATTERNS FOR BODICES WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

BODICE BASE PATTERN

P. 280 | SHORT SLEEVE

P. 294 | GLOVE SLEEVE
P. 302 | LEG-OF-MUTTON SLEEVE

This base pattern uses the measurements of a specific mannequin,

from shoulder to large hip, to which ease value is added for comfort.
From this base, you will be able to make a whole series of different
garments (blouse, shirt, dress, bomber jacket, coat…).

Front

Back

Technical drawing

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 BODICE BASE PATTERN
Diagram n°1
45,5

9,5 9,5
A K
B

Centre back SG

Bust spread line

27

I J
Cross-line

12

9,5
M P
E F
21,75 23,75 Bust

Back Front

Centre front SG
64
17

G H
Waist

20

Large hips

D L C

Diagram n°1
Constructing the rectangle (points A, B, C, D)
1. To determine the width (points A, B), use the bust measurement 5. Trace a longitudinal of this measurement from center front above
plus ease, then halve this sum as you are only constructing one half the bust line. The intersection between the bust line (points E, F) and
of the pattern, namely: (Bust + 2)/2 = (87+4)/2 = 91/2 = 45,5cm. this longitudinal represents the bust point (P).

2. For the length (points A, D), use the shoulder top to bust point 6. On the back, position also a longitudinal on the bust line 9,5cm
measurement and move down vertically through bust point (point P) from center back. This longitudinal serves simply as the SG for
and the first front dart to large hip level, namely: 64cm (corresponding placing the waist dart.
to 27+17+20).
7. Place the side seam line (points K, L). To do this, halve the width
3. Start by placing the bust horizontal (points E, F) 27cm below point of the rectangular outline and apply the proportional difference used
B and place the horizontal waist line 17cm farther down (points G, H). in the skirt base pattern, namely: 45,5/2 = 22,75cm.
Position the large hipline 20cm below the waist line (points C, D).
8. Proportional difference:
Trace each of these lines from center front to center back, as shown in
- front + 1 = 22,75 + 1 = 23,75cm (points F, M)
the diagram. Move 12cm above the bust line to position the crossline
- Back – 1 = 22,75 – 1 = 21,75cm (points E, M).
(points I, J) and trace the line from center front to center back..
9. Trace the side seam line (points K, L) 23,75cm from center front on
4. Measure the bust spread (distance between the two bust points).
the bust line (point M). Beware: from here on, the outline becomes
For this base pattern, it is 19cm. Halve the measurement as you are
asymmetric.
constructing only one half of the pattern, namely: 19/2 = 9,5cm.

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BASE PATTERNS FOR BODICES WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°2

A K B
Centre back SG

Bust spread line

I J
Cross-line

Y Z
4 4
M P F
E
Bust

Back Front

Centre front SG
X N W
G H
2 2 Waist

Large hips
Ab L Aa C
D
23,5
25,5

Diagram n°2
1. Start by constructing the side seams. On the waist line (points G, (large hips + ease)/2 = (94 + 4)/2 = 49cm.
H) place a 2cm value either side of point N (this is an average value 49/2 = 24,5cm
that can increase or decrease, depending on the waist measurement), Proportional difference:
creating new points X and W. - front + 1 = 24,5 + 1 = 25,5cm (points C, Ab)
- back – 1 = 24,5 – 1 = 23,5cm (points D, Aa).
2. Using a ruler, join these points to the intersection (point M)
between the side seam line (points K, L) and the bust line (points E, 4. Place marker points 25,5cm from center front on the large hipline
F), and then extend these straight lines 4cm beyond the intersection (points C, D), creating new point Ab and 23,5cm from center back,
to position the armhole opening (points Y and Z). creating new point Aa.

3. To finalize these seams, use the large hip measurement: 94cm 5. Trace the hip curves from these points up to points X and W on
in this example. Do not forget to add the 4cm ease value. Halve the the waist line, using a French curve with the arch placed downwards.
total of this sum (only half of each pattern piece is being constructed) The arch can be placed upwards if you are dealing with a larger
and then halve the result once more to separate the front and the volume at small hip level and a less round volume for the large hips.
back measurements so that you can then apply the proportional
difference, namely:

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 BODICE BASE PATTERN
CONSTRUCTING THE FRONT

Diagram n°3

K R 6 B
A
12,5
2,1 7
T
Centre back SG

Bust spread line

S
24

V
I J
Cross-line
16 + 0,5 = 16,5

Y Z

E M P F
Bust

Back Front

Centre front SG
G X N W H
Waist

Large hips
D Ab L Aa C

Diagram n°3
1. On your customer or f inal wearer, measure the neckline 5. To determine the front shoulder slope, use the customer’s
width from one shoulder top to the other, taking this horizontal shoulder line length (12,5cm) to make an arc of a circle with a
measurement at the back of the body. Then halve the result as you compass, starting from point R. Again with a compass, but this time
are only constructing half the pattern piece, namely: 12/2 = 6cm. This with the customer’s measurement of 24cm (from bust point P to
measurement corresponds to the tape position on the mannequin. In shoulder point), trace another arc and create point T where the second
other words, the neckline remains fitted. arc cuts through the first.

2. Position the shoulder top (point R) 6cm to the left of point B (on 6. Mark the cross-line point on the cross line. The cross-front
center front, points B, C) at the top of the rectangular outline, as measured on the customer (32cm) is from one cross-line point to the
shown in the diagram. other. Do not forget to add a total ease value of 1cm. Calculate half the
cross-front width, namely: (32+1=/2 = 16,5cm. Mark this value 16,5cm
3. Place an average neckline depth of 7cm from point B (on center
from center front (point J) on the cross-line, creating new point V.
front, points B, C), creating new point S for the base of the neckline.

4. Link up points R and S in a straight line, find its exact middle and
draft a perpendicular of 2,1cm from that point. This point will be
useful when constructing the neckline later.

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BASE PATTERNS FOR BODICES WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°4

A K R B

6,44 U
U’ 2,5

Centre back SG
S

Bust spread line

T’

V
I V’’ J
V’’’ Cross-line

V’

Diagram n°4b Y Z

TR ACING PAPER E M P F
Bust

r
U Back Front
ulde
Sho
T

Centre front SG
nt shoulder dar t

Cross-line G X N W
V
H
V’’ Waist
1st leg of the fro

Large hips
D
Ab L Aa C

Shoulder dart value

1/8 of ½ the bust measurement + 1 = (87/2) + 1 = 5,44 + 1 = 6,44 cm

Diagram n°4
Now construct a shoulder dart to continue shaping the bodice
1. For this, position the first dart leg 2,5cm to the left of the bust Now that you know the shoulder dart depth, place the tracing pa-
spread line (point U) by tracing a straight line from this new point to per over your bodice outline and pivot it from point P to the left by
bust point P. This measurement gives the right position for the dart: 6,44cm (distance equivalent to the dart depth), creating new point
neither too straight, nor too slanted. U’ (6,44cm from point U). By pivoting the tracing paper, the second
leg of the dart has been obtained (points P, U’).
2. On tracing paper (Diagram n°4b, outline this first dart leg (points
Half the shoulder (points U’, T’) and the cross line (point V’, V’’’) have
P, U), the left side of the shoulder from the first dart leg (points U, T)
also moved. Dot and redraw the traced lines on your paper outline.
and also the left side of the cross-line (points V, V’’).

3. To find the dart depth, use the following formula: 1/8 of ½ the bust
measurement + 1cm (value that does not vary), namely: (87/2)/8 =
5,44 + 1 = 6,44cm.

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 BODICE BASE PATTERN
Diagram n°5

A K R B

U’ U

Bust spread line

Centre back SG

T’ S

V V’’
I
J
V’’’ Cross-line

V’

Y Z

M 23,75 P
E F
Bust

Back Front

Centre front SG
X N W 18,25 Ad 3,5 O Ac
G H
Waist

15

Ae

Large hips
D
Ab L Aa C

Diagram n°5
Constructing a waist dart to finalize front shaping
1. To f ind the depth of this dar t, calculate using the waist 4. From this measurement, subtract the front side panel dart value,
measurement, namely 67cm + an ease value of 2cm. namely 2cm (points N, W) and then the desired result of 18,25cm,
Halve this sum and then halve the result once more to construct a namely: 23,75 – 2 – 18,25 = 3,5cm.
quarter of the bodice: half the front, in this instance. Simply divide This measurement (3,5cm) represents the depth of the waist dart,
the waist measurement + ease by 4, namely: (67 + 2)/4 = 17,25cm. which must now be halved to place half the value either side of the
bust spread line (point O), namely: 3,5/2 = 1,75cm (points Ac, Ad).
2. Do not forget the proportional difference applied at the beginning,
namely: front + 1 = 17,25 + 1 = 18,25cm. 5. Join these points to bust point P using a ruler. Extend the dart to
15cm below the waist (point Ae). Join points Ac and Ad to point Ae. The
3. W hen the initial rec t ang le w a s dr af ted using the bus t
front waist measurement now represents the desired value, namely:
measurement, the front width was given as 23,75cm (points F, M).
18,25cm between points W, Ad and Ac, H.

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BASE PATTERNS FOR BODICES WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

CONSTRUCTING THE BACK

6 K R
A B
Ah 12,5 + 1 = 13,5
1,5 U
Ai U’
Ak Ag
Aj
3

Bust spread line

Centre back SG

S
Af T’

26
V V’’
I J
V’’’ Cross-line
1/3 de 12 = 4
V’
Al

Y Z Diagram n°6

M P F
E
Bust

Back Front

Centre front SG
G 1 Am X N W Ad O Ac
H
Waist

Ae

Large hips
D Ab L Aa C

Diagram n°6
1. For the back, trace a horizontal from the front shoulder point This small shoulder blade dart is necessary for placing the shoulder
(point T’) to the side seam line (points K, L). New point Af is obtained. blade volume.
The back shoulder top is situated 1cm lower than the front shoulder
2. Place a marker point 3cm above this point (point Ag) and trace a
top. This is normal as on the front the bust volume uses more length.
horizontal to the left of Ag, namely: in the back pattern piece.
The volume is now evenly spread:
3. To determine the back shoulder top, place a marker point 26cm the waist to shoulder top length is 43cm (17 + 26 = 43cm)
along the center back line (point Ah). Trace a horizontal of 6cm (half center back waist to bottom of neckline is 41,5cm (43 – 1,5 = 41,5cm).
the neckline width) to the right, creating the new point Ai.
5. Trace a vertical dart on center back. For this, create a new point Am
4. From point Ah, descend the back neckline edge by 1,5cm and create 1cm to the right of center back on the waist line (point G).
a flat area, represented by a perpendicular from this new point Aj.
6. Join this point to the base of the rectangle (point D) using a ruler.
From the shoulder top (point Ai), place the shoulder line length along
For the top of this dart, descend 4cm from point l (4cm = a third of the
the horizontal from point Ag. The given shoulder length of this base
length between the bust line and the crossline, namely:
is 12,5cm to which 1cm must be added for the shoulder blade dart,
12/3 = 4cm) and create new point Al.
namely: 12,5 + 1 = 13,5cm. Now trace the shoulder (points Ai, Ak).
Join point Al to point Am on the waist line, using a ruler.

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 BODICE BASE PATTERN
Diagram n°7

A K R B
Ah U
Ai
U’
Aj Ak Ag

Bust spread line

Centre back SG

S
Af T’

V V’’
I J
V’’’ Cross-line

V’
Al
Aq
6
Y Z

21,75 M P
E F
Bust

Back Front

Centre front SG
G Am An 2,5 Q Ao 16,25 X N W Ad O Ac
H
Waist

12

Ap

Ae

Large hips
D Ab Aa C
L

Diagram n°7
1. Position a waist dart on the SG, 9,5cm from center back. To This measurement (2,5cm) represents the depth of the waist dart,
calculate the depth of this dart, carry out the same operation as which must be halved to place half the value either side of the SG
for the front, namely: (Waist measurement + ease) halved and then (point Q), namely: 2,5/2 = 1,25cm (points An, Ao).
halved again to work on a quarter of the bodice = half the back, in this
5. Descend the dart to 12cm below the waist line (point Ap) and
instance. You can simply divide directly by 4, namely:
extend it vertically to the halfway mark between the bust line (points
(67 + 2)/4 = 17,25cm.
E, F) and the cross-line (point l). Trace the dart by joining the 4 points
2. Do not forget the proportional difference applied at the beginning, with a ruler (Aq to Ao, Aq to An and Ap to An, Ap to Ao).
namely: back – 1 = 17,25 = 16,25cm.
The two front and back waist darts can be made longer or shorter
3. When the rectangular outline was constructed using the bust
below the waist depending on the body shape of the wearer. They can
measurement, the given back width was 21,75cm (points E, M).
also be traced with a French curve (the arch placed downwards) if the
4. Subtract from this measurement as follows: the 1cm center back wearer has a fuller figure.
dart (points G, Am), the 2cm back side panel dart (points N, X) and
the desired result 16,25cm, namely: (21,75 – 1 – 2) – 16, 25 = 2,5cm.

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BASE PATTERNS FOR BODICES WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

A K R B
Ah Ar’ As’ U
Ai 6,25
6,25 Ar 1 U’
Aj As Ak
Ag

Bust spread line

Centre back SG

Af S
T’
Diagram n°8
At’
4
At Au V V’’
I J
17,5 + 0,5 = 18 V’’’ Cross-line

V’
Al
Aq
Y Z

E M P
F
Bust

Back Front

Diagram n°8b
Centre front SG
TR ACING PAPER

Back shoulder

G Am An Q Ao X N W Ad O Ac
H
Waist
Ai Ar’
As’
Ak
Ar As

Shoulder blade dart

Ap At’

Ae

Av Large hips
1
D Ab L Aa C

Diagram n°8
Making the shoulder blade dart as part of the shoulder
construction
1. Measure point R to U on the front = 6,25cm, in order to position the (point As) onto the first leg, closing the dart to outline shoulder point
back dart on the same level as the front shoulder dart. (point Ak). Draft a straight line joining point Ai to shoulder point
(point Ak). Make sure you have the right shoulder length = 12,5cm
2. Place a marker point 6,25cm from point Ai on the back shoulder
from point Ai to Ak.
top, creating point Ar. Join this point to the top of the waist dart (point
Aq) using a ruler. This line corresponds to the first dart leg and cuts 5. Also make sure you have the same measurement as on the front
the cross-line at point At. Place a marker on the dart leg 4cm (in this (from R to U) between points Ai and Ar’ on the back, namely: 6,25cm.
example) above this point, creating new point At’.
6. Add the modifications found on tracing paper concerning the two
3. Mark a new point As 1cm to the right of point Ar, as this is the dart legs (Ar’ and As’) to your pattern by dotting and redrawing the
estimated dart value for the shoulder blade. Join point As to point two parts of the shoulder line (points Ai, Ar’ and As’, Ak).
At’ with a ruler.
7. On the cross-back line, place a marker 18cm from point I on center
4. Once this dart has been placed, the shoulder line needs adjusting. back (point Au). This measurement represents half the cross-back
Take some tracing paper (Diagram n°8b) and outline from point Ai to width + ease, namely: (35 + 1)/2 = 18cm. At 1cm above point D on the
the first dart leg (point Ar) and continue down to point At’. hemline, create new point Av, trace a perpendicular from this point
Then pivot from the dart tip (point At’), moving the second leg and redraw the hemline in a curve up to the back side seam.

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 BODICE BASE PATTERN
Diagram n°9

A K R B
Ah Ar’ As’ U
Ai
U’
Aj Ak
Ag

Bust spread line

Centre back SG
Af S
T’

At’

At Au V V’’
I J
V’’’ Cross-line
V’
Al
Aq
Y Z

E M P
F
Bust

Back Front

Centre front SG
G Am An Q Ao X N W Ad O Ac
H
Waist

Ap
Diagram n°9b
Ae

TR ACING PAPER

Av Large hips
I

D Ab L Aa C
Ce
ntr
eb
ac
k

Back Aj

Diagram n°9
Ai Constructing the front and back neckline
r R
Ar’ ulde 1. On tracing paper (Diagram n°9b) outline center front (points J, S),
Sho
U
the marker point at 2,1cm and the shoulder (points R, U). Move the
2,1 tracing paper onto the back shoulder by placing point R on point Ai
S and outline center back (points Aj, I) with the perpendicular placed
at point Aj.
Centre front

Front 2. Place a perpendicular at the base of the front neckline (point S).
Trace the neckline curve using a French curve, passing through the
marker point at 2,1cm. Once traced, dot it onto your outline, placing
J
the tracing paper on center front and then on center back. Redraw the
front and back necklines on your outline.

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BASE PATTERNS FOR BODICES WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING Diagram n°10

A K R B
Ar’ As’ U
Ai
U’
Aj Ak

Bust spread line

Centre back SG
T’ S

At’ 11,4
11,4

At Au V V’’
I J
V’’’ Cross-line
9 V’ 1
8
Diagram n°10b Al 1,3
Aq
TR ACING PAPER 1,8

Y Z

E M P
F
Bust

Back Back Front

r U’
e
o uld
sh r
As’ Shoulder Ak ck lde

Centre front SG
Ba h ou
ts
on
Fr
T’
Back
Front

s line
Au C ros
line G Am An Q Ao X N W Ad O Ac
C ros s V’
Waist H

Z Y
l
Side pane

Ap

Ae

Av Large hips

D Ab L Aa C

Diagram n°10
Constructing the armhole
1. Join the cross-back point (point Au) to the back armhole opening 6. Place notches perpendicular to the armhole curve.
(point Z). Find the halfway mark between these two points and draft - On the front, place a notch 8cm from the armhole opening on
a 1,3cm perpendicular from this mark. the side seam (point Y). Place a second notch 1cm above this one,
to distinguish the front from the back.
2. Join the cross-front (point V’) - which has shifted - to the front
- On the back, place a notch 9cm from the armhole opening on the
armhole opening (point Y). Find the halfway mark between these two
side seam (point Z).
points and draft a 1,8cm perpendicular from this mark.
The aforementioned excess values are average measurements for
3. Draft perpendiculars from the front armhole line (point Y) and from the bodice base pattern in size 10 (UK size). They will enable you
the front and back shoulder points (points T’ and Ak). to separate the front and back armholes and find out the upper
sections of the armhole where the excess value needs to be worked
4. On tracing paper (Diagram 10b) outline the front shoulder
in with an iron. These values are generally located on cross-line
(points U’, T’) with the perpendicular, the cross-line point V’, the
level, front and back.
1,8cm mark, the perpendicular at the front armhole opening and the
front side seam (points Y, M, W). Shift the front side seam (points Y, 7. Measure the remaining distances between the following points:
M, W) onto the back side seam (points Z, M, X). Outline the 1,3cm T’ and the notch at 8cm for the front, namely: 11,4cm
mark, the cross-back point (point Au), the back shoulder point with Ak and the notch at 9cm for the back, namely: 11,4cm.
a part of the back shoulder (points Ak, As’) and the perpendicular.
The final construction of the armhole has been obtained.
5. Find the cur ve for the front and back using a French cur ve,
(Diagram n°10c)
then place the back shoulder onto the front shoulder to check the
continuity of the shoulder curve. Now dot and redraw the armhole
on your outline.

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 BODICE BASE PATTERN
Diagram n°10c

R
Ai
Ar’ U
Aj As’
Ak U’

Bust spread line

Centre back SG

T’ S

11,4
At’
11,4

At Au V’’
I J
V’’’ Cross-line
9 V’ 1
8
Al
Aq

Y Z

M P
F
Bust

Back Front

Centre front SG

Diagram n°11b
Am An Q Ao X N W Ad O Ac
H
Waist
TR ACING PAPER

As’ Shou
lder U’
Ak er
ld
ou
Sh
T’
Front
Ap Back

Ae
Cross line Au s line
C ros
V’
9,4
Large hips
Av
Ab L Aa C
Z Y

Bust line
M M
l
l

Side pane
Side pane

Diagram n°11b Armhole width

It is possible to check the armhole width of this base

1. On tracing paper (Diagram n°11b) outline the front neckline,
including the notches, side seam, shoulder line and bust line. Place
the front armhole opening (point Y) over the back armhole opening This ensures appropriate proportions between the sleeve and the
(point Z) making sure you stay within the prolongation of the front armhole width to enhance comfort and movement for the wearer.
bust line ( keeping center front and back really parallel), then outline When the armhole width is narrow, you must think about comfort by
the back armhole with the notch, shoulder and side seam. making a fairly large sleeve.
Inversely, when the armhole width is quite large, the sleeve width can
2. The armhole measures 9,4cm from the 9cm notch on the back
be narrower.
armhole to the 8cm notch on the front armhole.

3. The average value of this measurement is between 11 and 12cm for

dresses and blouses, and between 12 and 14cm for garments with
sleeves (suit jackets, coats).

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PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°12

R
Ai
Ar’ U
Aj As’
U’
Ak
Centre back SG

T’ S
11,4

At’ 11,4

I V’’
Au J
Cross-line V’’’ Cross-line
9
V’ 1
Al 8
Aq

Y Z

P
M M F
Bust Bust

Back Front

Am An Q Ao X W Ad O Ac Centre front SG H
Waist Waist

Ap

Ae

Large hips
Av Large hips

Aa Ab C

Diagram n°12
To finalize the construction, outline the front and back separately
and then soften the angles formed at waist level (points X and W).

If you use this base pattern for making a garment or for making
another pattern and keep both shoulder and waist darts on the front,
it is vital you distance them from bust point so that you can taper
them off at bust swell. This will avoid the creation of peaks in the
fabric at bust point.
(see darts from page 194 onwards)

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 BODICE BASE PATTERN
Diagram n°13

Ai R
Ar’ U
Aj As’
U’
Ak
Centre back SG

T’ S
11,4

At’ 11,4

I V’’
Au J
Cross-line V’’’ Cross-line
9
V’ 1

Y Z

Aq P
Al M M F
Bust Bust

Back Front

Centre front SG
Am An Q Ao Ad O Ac H
Waist Waist

Ap

Ae

Large hips
Large hips
Av
Aa Ab C

Diagram n°13
If it is necessary to have the same bust measurement for the back
as for the front, you will need to move the center back dart and back
waist dart farther down. The volume on bust line level will then be
looser.

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BASE PATTERNS FOR BODICES WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

SHORT SLEEVE
BASE PATTERN

P. 180 | BODICE BASE PATTERN

P. 222 | FIVE-PIECE BODICE
P. 234 | BODICE BASE WITH TWO WAIST DARTS

When constructing this sleeve, the armscye corresponds to the

bodice base pattern and will be defined with an excess value of
between 2 and 4cm.
Your starting point for defining the width of this sleeve and the
sleeve cap depth will therefore be the bodice base armhole.

Back front

Technical drawing

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 SHORT SLEEVE BASE PATTERN
Diagram n°1

Armhole er
o uld
t sh
Shoulder on
Fr

s-line
C ros
s-line
Armscye C ros

Back Front

Back Front C ôté

SG

Diagram n°1
Before starting the sleeve, it is important to remember the following
explanations that will help you understand the difference between
an armscye and an armhole.

1. On a garment, the assembly line between the garment body and

the sleeve is an armhole.

2. On the sleeve, this same assembly line is called an armscye.

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PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°2

A G B

14

Back Front

20
E F

Crook line
Elbow line

SG

D H (29,85/2) - 0,5 = 14,42 C

(29,85/2) + 0,5 = 15,42

29,85

Diagram n°2
1. Start by tracing the rectangular outline (points A, B, C, D) as
follows:
Diagram n°2b
To find out the sleeve width, measure the front and back bodice base
armhole (points Ak, Z for the back and T’, Y for the front), namely
20,4 + 19,4 = 39,8cm. Take ¾ of this measurement for the sleeve TR ACING PAPER

width, namely:
39,8 X (3:4) = 29,85cm (points A, B).
This sleeve width measurement allows us to estimate the sleeve’s
ease value using our reference arm width measurement: 27cm (see Back U’
the Dummy’s Arm): 29,85 – 27 = 2,85cm. e r
uld
The ease value is therefore 2,85cm for this sleeve. Ak ho er
As’ Shoulder
c ks uld
Ba s ho
nt
2. For the sleeve length in this example, an average value of 20cm Fr
o
T’
has been used (points C, D). Front

3. Determine the sleeve cap depth. On the bodice armhole (Diagram Back
n°2b), link up the front and back shoulder points with a line (points
Ak, T’), halve the distance between the two points and draft a straight
16,8 s-line
line down from the halfway mark to meet the bottom of the armhole Au
C ros
at side seam level (points Y, Z). This line measures 16,8cm. Take 5/6 s-line V’
C ros
of this measurement to establish the sleeve cap depth, namely:
16,8 X (5/6) = 14cm. 20,5 19,3

4. Place this measurement 14cm from point A to create point E and

Z Y
draft a horizontal from there (points E, F).
e
Side piec

5. Place the SG (points G, H) and when doing so apply proportional

M
difference to the sleeve width, namely: 29,85/2 = 14,92 Front = 19,4 cm
- Back + 0,5 = 15,42 Back = 20,4 cm
Total armhole = 19,4 + 20,4 = 39,8 cm
- Front – 0,5 = 14,42cm
Sleeve width
Give more width to the back to allow for the triceps. 39,8 x 3/4 = 29,85 cm

6. To determine the elbow and crook line verticals, halve the two Armhole length = 16,8 cm
Sleeve cap depth = 16,8 x 5/6 = 14 cm
spaces (back: between points A,G and front: between points G,B),
namely: for the back 15,42/2 = 7,71cm and for the front 14,42/2 =
7,21cm.

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 SHORT SLEEVE BASE PATTERN
Diagram n°3

0,5 1
A B

1,7 1,9

0,8 1
I J

Back Front
0,9 1
K L
1,1 1,3

E F
0,8
SG

Crook line
Elbow line

D H C

Diagram n°3
1. To start the outline of the sleeve cap, draft two diagonals from 3. Maintain a flat area on either side of point G, 0,5cm for the back
point G to points E and F, as shown in the diagram. Where the and 1cm for the front, and a flat area of 0,8cm on the front side of the
diagonals and elbow (point I) and crook (point J) lines intersect, sleeve cap depth (points E, F).
draft a perpendicular to each diagonal. On the back, from point I, It is important to maintain a flat area on the front (point F) as the front
this perpendicular will be 0,8cm and on the front, from point J, 1cm. armhole needs to be opened up to facilitate movement. On the back
this is not necessary as the body movements do not require it.
2. From points I to G, and J to G, halve the distance and draft a
perpendicular to the diagonals from the halfway mark of 1,7cm for 4. To trace the sleeve cap between points 0,8cm and 0,9cm on the
the back and 1,9cm for the front. Then, from points I to E, and J to F, back and points 1 and 1cm on the front, draft straight lines that pass
halve the distance and draft a perpendicular to the diagonals from the through the points and beyond at both ends, as shown.
halfway mark of 0,9cm for the back (point K) and 1cm for the front
5. Use a French curve to define the curves and pass through each
(point L). Lastly, from points K to E, and L to F, halve the distance
point, staying on a tangent to the straight lines of the rectangle. Use
and draft a perpendicular to the diagonals of 1,1cm for the back and
the French curve as indicated and take into account the flat areas.
1,3cm for the front, as shown.

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BASE PATTERNS FOR BODICES WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°4

A B

I J

Back Front
K L

E F
SG

Crook line
Elbow line

0,75 C’
D’ 0,75
D H C
D’’ C’’

Diagram n°4b

TR ACING PAPER

Diagram n°4
It is possible to slightly taper the sleeve (depending on the style
aimed at). To do this, take in points C and D by 0,75cm, for example, E F
creating points C’ and D’.

Two solutions are possible for finishing the hem Back

Front

1. Join points E and F to points C’ and D’ with a ruler. On tracing paper D’ C’

(Diagram n°4b), outline the back (points E, D’, H) and shift the side D’’ C’’
panel (points E, D’) onto the front side panel (points F, C’) and outline
the front (points F, C’, H).
Then, with the French curve, redraw the hem in a slight curve to re-
move the angle obtained at side seam level. Points C’’ and D’’ are
obtained. Dot the front and back curves (D’’ to H and C’’ to H) onto
your outline and redraw them (Diagram n°4c).

2. Join points E and F to points C’ and D’ respectively, using a French

curve and taking into account the perpendiculars placed to the C’ to
D’ horizontal from these two points. A horizontal hem will be kept in
this solution that will facilitate folding the hem for a simplified finish
(Diagram n°4d).

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 SHORT SLEEVE BASE PATTERN
Diagram n°4c

Back Front

E F

Crook line
Elbow line

SG

H C’’
D’’

Diagram n°4d

Back Front

E
F
Elbow line

Crook line
SG

D’ H C’

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PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°5

1,75
Excess value calculation
Back: 21,8 - 20,4 = 1,4 cm 3,5
Front: 21,5 - 19,4 = 2,1 cm

Total excess value: 1,4 + 2,1 = 3,5 cm

3,5 : 2 = 1,75 cm 20,4 G 19,4

A B

I J

1
Back Front
K Back length Front length L
= 21,8 cm = 21,5 cm 8
9

E F
Crook line
Elbow line

SG

D’
C’
D H C
D’’ C’’

Diagram n°5
1. Now place notches. As a reference, take those placed on the bodice 3. Calculate the difference between the front and back armscye and
base pattern neckline, namely: on the front, 8cm from point F for the armhole measurements, namely:
first notch and then the second notch 1cm higher to indicate the front - Front: 21,5 – 19,4 = 2,1cm
side of the sleeve; on the back, place the notch 9cm from point E. - Back: 21,8 – 20,4 = 1,4cm
The total difference is therefore: 1,4 + 2,1 = 3,5cm.
2. To deter mine where to place the notch on the ar msc ye,
corresponding to the shoulder seam of the bodice base pattern, use 4. To balance the excess value between the back and front, halve this
the armhole measurements, namely: for the front, 19,4cm from point total difference. The sum will determine the position of the bodice
F and for the back 20,4cm from point E. base pattern shoulder seam, namely: 3,5/2 = 1,75cm, the position of
To find out the excess value, measure the front armscye length, the shoulder notch. The measurement of 3,5cm represents the excess
namely: 21,5cm (points F, G) and that of the back armscye, namely: value that needs to be absorbed to assemble the sleeve correctly on
21,8cm (points E, G). the bodice base.

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 SHORT SLEEVE BASE PATTERN
Diagram n°5 (continued)
The average excess value is between 2 and 4cm, depending on
whether the garment is ready-to-wear or luxury.

1. For ready-to-wear, the excess value is kept to a minimum to avoid

having to ease it in with an iron during assembly.
If the excess value is too big, it is possible to place 0,5cm of the
value at the bottom of the armscye (below the notches) to reduce
excess value in the upper part and therefore correspond to the base
pattern:
The notches are moved by 0,5cm to keep a small excess value in this
part of the sleeve:
- For the back, 9 + 0,5 = 9,5cm
- For the front, 8 + 0,5 = 8,5cm and then add a notch 1cm from the
first one.
It is also indispensable to add this 0,5cm value to the front and back
armhole lengths to reduce the sleeve’s excess value:
- For the back: 20,4 + 0,5 = 20,9cm
- For the front: 19,4 + 0,5 = 19,9cm
When recalculating the excess value, it is 1cm less than the base
Diagram n°6
pattern, namely:
- For the back: 21,8 – 20,9 = 0,9cm
- For the front: 21,5 – 19,9 = 1,6cm
The excess value is therefore 0,9 + 1,6 = 2,5cm.
The armhole does not change value.
To reduce the excess value, it is also possible to decrease the sleeve
cap depth. For example, when calculating this value: take 5/6 of the
armhole depth minus 0,5cm, so for our example: (16,8 X 5)/6 – 0,5 =
13,5cm. The excess value will be reduced by a good centimeter over
the whole armscye, taking it from 3,5cm to less than 2,5cm.

2. For a luxury product, it is important to keep a certain excess value Back armhole Front armhole
to be able to give roundness to the sleeve cap once finished. This value
Back Front
is eased in with an iron and by the creation of small gathers.
The fabric used must also be taken into account. Some fabrics are
better adapted to being worked in with an iron than others. For
example, when using leather or stiff wool fabrics, you will need about
2cm of excess value. However, when using tweeds or loose weaves,
SG

about 4cm of excess value can be envisaged.

Armscye

Diagram n°6
To optimize assembly between the body and sleeve, it is advisable
to obtain curves for the armscye and armhole that are similar to each
other for the first few centimeters.

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2 MÉTHODE dp studio

KIMONO SLEEVES
 VOLUME 3 CONSTRUCTING BASE PATTERNS
WOMENSWEAR CLOTHING KIMONO SLEEVES – BUSTIERS –
PATTERN MAKING BLOUSON JACKETS – KNITWEAR –
FLAT-PATTERN DRAFTING DRESSES – COATS – SLEEVES – HOODS
– SWIMWEAR

Contents

p 064 Classic batwing kimono sleeve

p 078 Enlarged batwing kimono sleeve

p 086 Batwing kimono sleeve with a shoulder dart

p 090 Batwing kimono dress

p 098 Short kimono sleeve

p 104 Japanese-style kimono

p 110 Kimono sleeve with inset gusset (bodice base pattern)

p 136 Kimono sleeve with inset gusset (knitwear or loose garment base pattern)

p 150 Kimono sleeve with in-one gusset and raglan seam

p 158 Kimono sleeve with in-one gusset and yoke seam

p 164 Kimono sleeve with gusset half inset on the sleeve

p 170 Kimono sleeve with gusset half inset on the body

p 180 Kimono sleeve with inset gusset on the side piece (bodice base pattern)

p 186 Kimono sleeve with inset gusset on the side piece (knitwear /loose garment
base pattern)

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KIMONO SLEEVES WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

CLASSIC BATWING
SLEEVE

For the construction of this model, start from a knit or loose garment
base pattern (explained on P.272) where the front and back volume
are balanced. This balance is needed for the model because the
classic batwing sleeve is cut in one with the bodice.
Outline the base pattern up to the waist and place the front outline
on the right-hand side of your paper, leaving enough space for the
sleeve. Once the back has been outlined, place it on the left-hand
side of the paper, leaving enough space once again for the sleeve
development.

Front

Back

Technical drawing

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 CLASSIC BAT WING SLEEVE
H B

I A

Cross line Cross line

Bust Bust

Back Front
Center back SG

Center front SG

Waist Waist

M F

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KIMONO SLEEVES WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

CONSTRUCTING THE FRONT

Diagram n°1

A’
1
A

35

74,5
Cross line
C

27

10

10
D P
G
Bust

Front

Center front SG
Waist
F

Diagram n°1
1. Create more volume on shoulder level. To do this, raise the
shoulder point (point A) by 1cm (point A’) as shown and join it to the
shoulder top (point B) with a ruler.
Raising the shoulder will add extra fabric and so increase ease of
movement in this area.

2. Extend the shoulder (points B, A’) beyond shoulder point. Measure

the folded arm length of the wearer. For this example, the measure-
ment to place is 74.5cm (measurement from shoulder top to wrist =
shoulder 12.5 + arm length 62 = 74.5cm).

3. Place this measurement on the extended shoulder slope. Point C is

obtained.At right angles to point C, place the half-width of the bottom
of the sleeve aimed at, which is: 20/2 = 10cm, for this example. Point
D is obtained. To trace the under sleeve from point D, join the side 6. Place notches on the upper and under sleeve.
seam at right angles (point E) and trace the line obtained (points D, E). - Upper sleeve: place a notch 35cm from shoulder top (point A’),
corresponding to the elbow length
4. Bisect this angle (points D, E, F) to create a 45° angle. Give the
- Under sleeve: place a notch 27cm from point D at the bottom of the
bisection line the length required from point E to create the effect
sleeve, also corresponding to the elbow length.
aimed at for the under sleeve. For this example, 10cm has been cho-
sen. Point G is obtained. Make sure the E, G line bisects the angle
evenly all along its length.

5. Trace the under sleeve curve with a French curve, joining point
G to point F. On the other side of point G, approach the straight line
(points D, E) on a tangent.

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 CLASSIC BAT WING SLEEVE
Diagram n°2

5
B

A’’ A’

C
Cross line

E
C’

D P
G Bust
Front
D’

Center front SG
Waist
F

Diagram n°2
1. The sleeve is going to be moved down from the body as shown
Diagram n°2b
to prevent the creation of unsightly fabric folds on shoulder point
level. This will also reduce the underarm volume as pivoting the arm
downwards decreases and closes the angle between the body and
the sleeve more. TR ACING PAPER

2. To do this, join point F (where the side seam and waist intersect)
to point A’ with a ruler. On tracing paper (Diagram n°2b) outline the
A’
whole sleeve (points A’, C, D, G, F) including the notches.

3. Pin down point F and pivot the whole of the traced outline by a
value of between 3 and 5cm. For this example, pivot by 5cm. Point A’ C
becomes point A’’ and points C and D become C’ and D’ respectively.

4. Dot the whole of the pivoted outline onto your paper outline and
then redraw the new sleeve position on your outline. Soften the upper
sleeve section slightly with a French curve just beyond shoulder D G
point level, so that it moves smoothly into the outline and creates a
continuous line (points C’, A’’).
Front sleeve

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KIMONO SLEEVES WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

CONSTRUCTING THE BACK

Diagram n°3

H
I’ 5 I’’
1
I

J
Cross line

L
J’

K
Bust
N
N’
Back
Center back SG

K’

Waist
M
Q

Diagram n°3b

TR ACING PAPER

I’

Diagram n°3
1. As for the front, raise the shoulder point by 1cm: point I becomes
K
point I’. Take the front sleeve tracing and reproduce it on your back N

outline, symmetrically.
Back sleeve = Front sleeve
2. First of all, turn the tracing paper over (Diagram n°3b) and place (identical volume)
points A’, F on points I’, M. Then, from point M, pivot the sleeve by
5cm.
M
3. Dot the tracing outline onto your paper outline (points I’, J, K, N,
M) and redraw the whole pivoted section on your outline (points I’’,
J’, K’, N’, M). Do not forget to include the notches. Soften the upper
sleeve section slightly with a French curve just beyond shoulder point
level, as you did for the front.

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 CLASSIC BAT WING SLEEVE
Diagram n°4

B
A’

35

Cross line

C’’ Front
C’

P Bust

27
G’
D’
D’’’

Center front SG
D’’

Waist
F
O
F’
Diagram n°4b

TR ACING PAPER

J’’ 5

J’
Back
Diagram n°4
K’’’ 1. On tracing paper (Diagram n°4b) outline the bottom of the front
K’ K’’
D’’’ sleeve (points C’, D’) and then the bottom of the back sleeve (points
Front D’ D’’
J’, K’), placing the two under sleeve seams on top of each other. Soften
the angle obtained at points D’ and K’. Points D’’ and K’’ are obtained.

2. Reproduce these curves on your front and back outlines. Adjust the
C’’ 5 C’ sleeve length that has become too long since the shoulder point pivot
Sleeve-end adjustment
of earlier. Modify as necessary. For this example, it will be a classic
case of removing the 5cm gained when pivoting from the bottom of
the sleeve, in parallel fashion.

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PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°4

H
I’

35

Cross line

Back
J’’
J’

Bust
Center back SG

27
N’ K’
K’’’
K’’

Waist
M
Q
M’
Diagram n°4c

TR ACING PAPER

G’

N’
Center back SG

Diagram n°4 (continued) Back

Front
3. Modify first on tracing paper (Diagram n°4b) and then reproduce
the modifications on your front and back outlines. Points C’’, D’’’ for M
F
the front, and points J’’, K’’’ for the back are obtained. Do not forget Q
M’ F’
t
on

to reposition the notches so that they are still 35cm from points A’
r fr
n te

and I’, and 27cm from points D’’’ and K’’’. Now rectify the bottom of
Ce

the front and back side seams on hem level because an angle will
appear during assembly. O

4. On tracing paper (Diagram n°4c) outline the front (points O, F, G’),

then shift its side seam (points F, G’) onto the back side seam (points
M, N’), placing points G’ and N’ on top of each other to begin and
progressively sliding the two seams so that points M and F end up
on top of each other. Rectify the angle created with a French curve to
obtain points F’ and M’ as shown.
Dot and redraw the two side curves on your front and back outlines.

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 CLASSIC BAT WING SLEEVE
B

A’

Cross line

C’’ Front

P
Bust
G’

D’’’

Center front SG
Waist

Diagram n°5 O
F’

H
I’

Cross line

Back
J’’

Bust
N’
K’’’
Center back SG

Waist
Q
M’
Diagram n°5
The final outline of the classic batwing kimono has been obtained.

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KIMONO SLEEVES WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°6
B
A’

Cross line

C’’
Front

G’’
G’’’ P Bust
C’’’

1,5
D’’’
G’ 1,5

Center front SG
D’’’’

Waist

O
F’

Diagram n°6b

TR ACING PAPER

A’

Diagram n°6
C’’
1. It is also possible to reduce the under sleeve volume. Define firstly
the volume you want to suppress. In this example, remove 1.5cm from
either side of point G’ and obtain points G’’ and G’’’.
G’’
D’’’
The upper sleeve can be moved to an angle of up to 45° (in relation to
the SG vertical) but beyond that will lead to insufficient volume for the
arm to be raised properly.

2. Join points G’’ and G’’’ to shoulder point (point A’).

3. On tracing paper (Diagram n°6b) outline the following sleeve
section: points A’, C’’, D’’’, G’’. Then, from point A’, pivot the tracing
paper so that point G’’ moves onto point G’’’. A gap appears, which is
normal as segment A’, G’’ is smaller than segment A’, G’’’.

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 CLASSIC BAT WING SLEEVE
Diagram n°6

H
I’

Cross line

Back
J’’

N’’
Bust N’’’
J’’’

1,5
Center back SG

1,5 K’’’
N’

K’’’’

Waist

Q
M’

Diagram n°6c

TR ACING PAPER

A’

Diagram n°6 (continued) C’’’

G’’
4. Dot and redraw the traced outline in its entirety. G’’’

Soften the angle formed at shoulder point (point A’) with a French
curve and then redefine the under sleeve curve. A new notch is G’
obtained where the extended A’, G’’’ line and new curve intersect.
D’’’’
5. For the back, apply the same transformations as on the front
to maintain balance. On tracing paper (Diagram n°6c) outline the
F’
transformed front sleeve (points A’, C’’’, D’’’’, F’) with the curves as
they now are at points A’ and G’.
Turn the tracing paper over and place it over your back outline,
placing points A’ and F’ on top of points I’ and M’ respectively in
order to obtain the same volume as for the front. Dot and redraw the
whole section.
Points J’’’, K’’’’ are obtained.

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PATTERN MAKING
FLAT-PATTERN DRAFTING

A’

Cross line

The fact that point C’’’

arrives at bust line is Front
pure coincidence

P Bust
C’’’

Center front SG
D’’’’

Waist

Diagram n°7 O
F’
H
I’

Cross line

Back
The fact that point J’’’
arrives at bust line is
pure coincidence

J’’’
Bust
Center back SG

K’’’’

Waist

Q
M’

Diagram n°7
The final outline for the classic batwing kimono sleeve with reduced
under arm volume has been obtained.

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 CLASSIC BAT WING SLEEVE
A DIFFERENT CONSTRUCTION,
WITH NO UPPER SLEEVE SEAM
B

A’
1
A

35

74,5
Cross line
C

E
27
10
10
D’ D Bust
G

Front

Center front SG
Diagram n°8

I’
1 Waist
I F
O
F’
35

74,5
Cross line
J

L
27
10

10 K K’
Bust
N
Center back SG

Back
Diagram n°8b

TR ACING PAPER

Waist
M
Q
M’

M F

Diagram n°8 M’ F’

1. When you want to create a batwing kimono without an upper

sleeve seam, practically the same transformation as for the classic
batwing kimono sleeve is carried out. You simply do not pivot on
shoulder point level (by 5cm) but otherwise outline in the same way
as earlier: - Outline the front sleeve end (points C and D) and then the back
- For the front: (points B, A’, C, D, G, F, O) sleeve end (points J and K) on tracing paper (Diagram n°8c) with
- For the back: (points H, I’, J, K, N, M, Q). points D and K adjoined. Look for the new curve with a French curve.
Points D’ and K’ are obtained. Reproduce the front and back curves
2. Now adjust on waist, side seam and sleeve end levels.
on their respective outlines.
- Outline the waist curve on tracing paper (Diagram n°8b) with points
F and M adjoined. Rectify the curve where the two side seams meet at
waist level by suppressing the angle there and obtain points F’ and
M’. Reproduce the front and back curves on their respective outlines.

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Diagram n°9

Diagram n°8c
Q
TR ACING PAPER
ist
Wa

M’
M

Front Back
t
Bus

Ce
n te
r ba
ck
N
D K
D’ K’ J ine
C ss l
C ro

Back
H
I B
I’
A’ A
K’ K
Front

Cross line
J
C

D’ D P Bust
G
Center front SG

Diagram n°9 F
Waist
O
F’
1. To create a batwing kimono sleeve with no upper sleeve seam,
assemble the front and back at the shoulder seam.

2. This leads to a center front SG that can be placed on fold and a

center back that needs a seam.

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 CLASSIC BAT WING SLEEVE
Diagram n°10

Q
ist
Wa

M’

t
Bus

Ce
n te
r ba
N

ck
ine
ss l
C ro

Back

H
B
I’
A’
K’

Front

J Cross line
C

D’ P Bust

G
Center front SG

Waist
O
F’
Diagram n°10
The final outline for the batwing sleeve with no upper arm seam has
been obtained.

If more fabric volume is required on shoulder point level, it is

preferable to start the transformation from pattern pieces that have
already been pivoted on shoulder point level (by 5cm).

In this case, there will be no seam on the arm but a dart on the
shoulder due to the shifts that certain parts of the sleeve have
undergone. (See the chapter on the batwing kimono sleeve with a
shoulder dart, page 86).

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PATTERN MAKING
FLAT-PATTERN DRAFTING

ENLARGED BATWING KIMONO

SLEEVE

For the construction of this base, start from the classic batwing
kimono sleeve that has undergone a pivot on shoulder level. The
volume for this new model is going to be increased under the arm
and its development will depend on the style aimed at and the
fabric used.
Start by outlining the front and back.

Front

Back

Technical drawing

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 ENLARGED BAT WING KIMONO SLEEVE
CONSTRUCTING THE FRONT

Diagram n°1

I
A
C’

D’’
Cross line
1
D’ E

4,5 H’
C Front
H B’
8
P Bust

G B

Center front SG
D G’ 1

Waist

Diagram n°1
1. Outline the sleeve (points A, B, C, D) on tracing paper (Diagram 5. Draft the under arm curve by joining up each of the points. Start
n°1b) without forgetting to outline the notches. Now pivot from point from point D’’ and pass through point H’ before changing the position
A (shoulder point). The value of the pivot depends on how much of the French curve to move towards point G’. Change position again
volume you want to add for the style aimed at. as shown to join the bottom of the garment (point F).
For this example, an 8cm increase has been chosen. Pin point A
down and pivot the tracing paper 8cm towards the left as shown.
Points B, C, D become points B’, C’, D’ respectively.

2. Now define the under sleeve volume. For this model, the sleeve Diagram n°1b
end width is going to be slightly reduced. Move point D’ up by 1cm
to obtain point D’’ and from this new point, trace a parallel to the
TR ACING PAPER
under sleeve.
Then, in accordance with the style aimed at, place two markers that
will help you redraft the under arm curve. A

3. Join the shifted notch (point E) to the bottom of the garment (point
F) in a straight line and halve this distance to obtain point G. Descend
by 1cm perpendicular to this point to obtain point G’.

4. Join the sleeve end (point D’’) to point G in a straight line and again C

halve this distance to obtain point H. Move up by 4.5cm perpendicular

to this point to obtain point H’. Place a line at right angles to this
point as shown. B
D

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Diagram n°2

12,5 I
74,5 35
A’
C’ A

D’’

Cross line

Front

P
Bust

G’

Center front SG
Diagram n°2 Waist

1. An angle has formed on shoulder point level (point A) and the F

upper sleeve curve is no longer necessary in this larger garment
configuration.
This angle will appear each time the upper sleeve seam passes
beyond the shoulder slope gradient when increasing the under
sleeve. The more fabric volume added to the under sleeve, the more
this angle will close.

2. Join points A and C’ in a straight line and soften the angle that
remains at point A with a French curve.

3. Place a notch where the new shoulder point is situated, 12.5cm

from point I.
Point A’ is obtained.

4. Check the sleeve length which should, in principle, measure

74.5cm between points I, C’ : 12.5cm from points I to A’ and 35cm
from shoulder point (point A’) to the notch, which leaves 27cm to the
sleeve end.
A slight difference in length can be seen at notch level and at point C’.
Reduce the sleeve length very slightly by tapering to nothing on the
base pattern outline.

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 ENLARGED BAT WING KIMONO SLEEVE
CONSTRUCTING THE BACK

Diagram n°3

S
J
M’

L’’
Cross line 1
N L’
R’
Back 4,5
M
K’ R
8
Bust

K
Q
Center back SG

1 Q’ L

Diagram n°3b

Waist
TR ACING PAPER
O

C’

D’’

Center front SG
H’

G’

Waist

Diagram n°3
1. For this transformation, the traced outline of the front sleeve can 5. Transfer the front curve pattern markings (1cm from point G and
be used as the front and back pattern lines are the same (points A, 4.5cm from point H) to the back curve: join point O (at the bottom of
B, C, D correspond to points J, K, L, M). the garment) to the under sleeve notch (point N) in a straight line,
halve this distance and move down by 1cm from the halfway mark
2. Turn the tracing paper over and place points A and B of the tracing
point Q to obtain point Q’.
paper over points J and K. Pin down point J and pivot by 8cm, as for
Join point Q to point L’’, halve the distance and move up by 4.5cm
the front. Points J’, K’, L’, M’ are obtained.
from the halfway mark point R to obtain point R’.
3. Reduce the sleeve end width by 1cm as you did for the front:
point L’ moves up by 1cm and becomes point L’’. From this new point,
trace a parallel to the under sleeve.

4. To draft the new under sleeve curve, use tracing paper to outline
the front curve (points C’’, F, Diagram n°3b) and then position it on
your back outline between points O and L’’. Dot and draw the front
curve (tracing paper) onto your back outline (paper).

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Diagram n°4

S 12,5
J’ 35 74,5

J M’

L’’
Cross line
Back

Bust

Q’
Center back SG

Waist

Diagram n°5b

TR ACING PAPER

Diagram n°4
On the back proceed as for the front C’

1. On shoulder point level (point J), the same angle has formed as for Front
the front and the upper sleeve curve is no longer necessary in this
larger garment configuration. D’’
Join points J and M’ in a straight line and soften the angle that L’’

remains at point J with a French curve.

2. Place a notch on new shoulder point level (point J’), 12.5cm from Back
point S. M’
Check the sleeve length which should, in principle, measure 74.5cm
between points S and M’ as follows: 12.5cm for the shoulder between
points S and J’, and 35cm between shoulder point (point J’) and the
notch, which leaves 27cm to the sleeve end.

3. A slight difference of length appears at point M’ requiring a small

reduction in sleeve length, as for the front. Redraw the sleeve end,
by tapering to nothing on the base pattern curve.

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 ENLARGED BAT WING KIMONO SLEEVE
I
A’
C’

Cross line
D’’

Front
27

P Bust

Center front SG
G’

Diagram n°5
Waist
F

S
J’
M’

Cross line
L’’

Back
27

Bust
Center back SG

Q’

Waist

Diagram n°5
1. To check sleeve hem accuracy (Diagram n°5b) assemble the front
and back under sleeve seams and align points D’’ and L’’.
For this example, no modifications are required on sleeve hem level.

2. Place notches 27cm from the sleeve hem ( D’’ for the front’ and L’’
for the back), representing elbow length.

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PATTERN MAKING
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Diagram n°6
The back

S
J’
M’

L’’
Cross line

Back

Bust

Q’
Center back SG

Waist
O

Diagram n°6
The final outline of the enlarged batwing kimono sleeve has been
obtained.

84 | dp studio
 ENLARGED BAT WING KIMONO SLEEVE
Diagram n°6
The front

I
A’
C’

D’’ Cross line

Front

P Bust

G’

Center front SG
Waist
F

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KIMONO SLEEVES WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

BATWING KIMONO SLEEVE

WITH A SHOULDER DART

This model allows you to suppress the upper sleeve seam and
instead create a shoulder dart. A downwards slope for the sleeve
can therefore be maintained, reducing the angle between the sleeve
and the body, which leads to less fabric volume under the arm.

Front

Back

Technical drawing

86 | dp studio
 BAT WING KIMONO SLEEVE WITH A SHOULDER DART
A

Cross line

Front
B

P Bust

Center front SG
Diagram n°1 Waist

Cross line

Back
D

Bust
Center back SG

Diagram n°1
Waist 1. For this construction, outline the front and back of the classic
batwing kimono sleeve.

2. To assemble the front and back together (without an upper sleeve

seam and just a shoulder dart), you will need to suppress the slightly
round quality of the upper sleeve seams.

3. To do this, join the sleeve ends to shoulder point in a straight line,

namely:
- For the front, between points A and B
- For the back, between points C and D.

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Diagram n°2

Diagram n°2
t
ais
1. On a separate sheet of paper, outline the modified front, placing W
center front on grain (SG) and adjoining the back to obtain only one
piece as shown, hence suppressing the upper sleeve seam.

Ce
Position the back and front upper sleeve seams so they are tou-

n te
rb
ching, points C and D aligned with points A and B respectively, and

ac
k
outline the back volume.

2. On this central line (points A, B and C, D), place a marker 6cm

st
below points A and C to obtain point E. Bu

This is the average value necessary for constructing the shoulder

dart and shaping the garment on shoulder level. Soften the angles
formed at shoulder point (points A and C).
ine
sl
os
Cr

Back
45°

C
A
E 6

G
as
bi
eu

Cross line
Tr

D Front
B

P
Bust
Center front SG

Waist

3. Square up points B and D in relation to the new upper sleeve

making sure they are at right angles to the modified sleeve. Points
B’ and D’ are obtained.
From the perpendicular you have just placed, approach the base
pattern markings (points F and G) on a tangent using a French curve.

4. Use tracing paper (Diagram n°2b) to adjust the hem curve if 6. In this type of outline, center back has to be placed on a false
necessary. Assemble the under sleeve seams down to the sleeve bias, and therefore with a seam, as center front has already been
hem (points F and G). For this example, the modification is barely programmed on grain and can be cut on fold if necessary.
perceptible.

5. Draft the true bias obtained for this outline at 45° to the center
front SG.

88 | dp studio
 BAT WING KIMONO SLEEVE WITH A SHOULDER DART
Diagram n°2b

TR ACING PAPER

B
Front t
ais
W

Ce
n te
rb
F

ac
k
G
Back
st
Bu

ine
sl
os
Cr

Back

A
E

Cross line

Front
D
B

P Bust

F
Center front SG

Diagram n°3

Waist

Diagram n°3
The final outline of the batwing kimono sleeve with a shoulder dart
has been obtained.

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KIMONO SLEEVES WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

BATWING KIMONO
DRESS

This model of dress, with its open neckline and batwing sleeves,
is made up simply of two pieces: a back and front, of practically
identical volume. Only the front and back necklines differ.

To construct this base, start from the balanced knit/loose garment

base pattern explained on P.272 of this book. The front and back
volume being the same (except for the neckline and armhole), it is
possible to construct by placing the front and back on top of each
other and creating a single volume for the front and back.

Front

Back

Technical drawing

90 | dp studio
 BAT WING KIMONO DRESS
Diagram n°1

Back

Cross line

P Bust
Center front and center back SG

Front

Waist

Diagram n°1
Start by outlining the balanced knit/loose garment base pattern with
the front placed over the back as shown. For this example, outline
up to the waist only.
Flip the back over so it can be placed behind the front.

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PATTERN MAKING
FLAT-PATTERN DRAFTING

G’
Back
1
G
50

Cross line

21

P Bust

Center front and center back SG

J
K
M Front
2

13

A
Waist

20

Large hips
Diagram n°2 D’
D C
23,75

23,75 + 3 = 26,75

60

E F B
3

92 | dp studio
 BAT WING KIMONO DRESS
Diagram n°2
Create the volume aimed at for this dress
1. Determine the desired hem length, namely for this example: 60cm
below the waist (points A, B). Position the large hip line perpendicular Diagram n°3b
to center front, namely 20cm below the waist, starting from point
C. The large hip reference measurement used throughout our base TR ACING PAPER
patterns is 91cm + 4cm of ease value, namely per quarter garment:
(91 + 4)/4 = 23.75cm (points C, D).
For this dress, add 3cm to each quarter of the large hip measurement, G’
namely: 23.75 + 3 = 26.75cm.
This measurement corresponds to the C, D’ line in Diagram n°2 and
leads to a total large hip measurement of: 26.75 x 4 = 107cm. I

2. The armhole will start from the large hip line to create a really large
and low hung batwing. From point D’, draft a perpendicular to the
large hip line downwards as far as the hemline (point E). Move in from
point E by 3cm (point F) so that the dress is more fitted at the bottom.

3. At the top of the piece, raise shoulder point by 1cm. Point G

becomes point G’. Extend this new shoulder slope to create the sleeve
length aimed at. J
For this example, place 50cm from shoulder top (point H) to obtain M
point I, corresponding to a ¾ length sleeve, just below the elbow.
Place a value of 21cm downwards from point I to obtain point J, L
representing the half-width of the sleeve end.

4. Extend the E, D’ line vertically as shown in order to then draft a

perpendicular to join point J, creating point K as shown. Bisect the
angle obtained (points J, K, D’) and give an average length of 13cm to
the bisection line to obtain point L, enabling you to trace the under
sleeve seam.
The line bisects point K at a 45° angle.
Join point L to point J in a straight line, then halve this distance and D’
place new point M 2cm above the halfway mark obtained.
This point will help establish the side seam curve. Join up each point
using a French curve and make the curve as smooth as possible.
Place straight lines to make sure points L and M are square. From
point J, pass through the straight line at point M and then from point
M, change the direction of the French curve as shown to join point L,
before moving the French curve down to reach point D’ on the large
hip line. Continue to move down from point D’ with the French curve
and join point F on a tangent.

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PATTERN MAKING
FLAT-PATTERN DRAFTING

H
G’’ 5 G’
Back
G

I’
Cross line

P Bust

Center back and front SG

M Front
J’

M’

L
L’
A
Waist

Diagram n°3

D Large hips
D’ C

Diagram n°3
1. Pivot the sleeve to prevent the garment blocking at shoulder point
(same principle used for each batwing kimono sleeve).

2. On tracing paper (Diagram n°3b), outline the sleeve (points D’,

L, M, J, I, G’). Pivot by 5cm from point D’ (or by between 3 and 5cm,
depending on the case) so that points G’, I, J, M and L become points
G’’, I’, J’, M’ and L’.

3. Redraw between points D’, L’, M’, J’, I’, G’’ using a French curve
and a ruler. From point I’, join shoulder point (point G’) to finalize the
outline. In the event of an angle forming at point G’, soften it with a
French curve.

F B

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 BAT WING KIMONO DRESS
10 H
G’’ Q
G’ S S’

G 4,5
N
Back R 3,5
I
O
I’
Cross line

P Bust

Center back and front SG

M Front
J’
M’

L
L’
A
Waist

Diagram n°4

D Large hips
D’ C

Diagram n°4
1. Now construct the open and enlarged front and back neckline:
- For the front, move down from the base pattern neckline (point N)
by 3.5cm to obtain point O
- For the back, move down from the base pattern neckline (point Q)
by 4.5cm to obtain point R
- On the shoulder, move down from point H by 10cm to obtain point S.

2. On tracing paper (Diagram n°4b) outline center front, the new

neckline opening (point O) and the shoulder slope (points H, G’).
Turn the tracing paper over to position the traced shoulder onto the
shoulder of your paper outline (making sure point S is approached on
a tangent) and outline the back markings, modified neckline (point
R) and center back.
Point H is thus obtained for the front and back. Draft straight lines
to square up points O and R, and use a French curve to establish
the new neckline. Once it has been found, dot the front and back
neckline onto your paper outline and redraw each part of the curve.

3. To finish, place a notch on the upper sleeve, halfway along the S,

S’, I’ segment. F B

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PATTERN MAKING
FLAT-PATTERN DRAFTING

I’
Cross line

P Bust

Front

Center front SG
J’
M’

Diagram n°5 L’
A
The Front Waist

Diagram n°4b
Large hips
D’ C

TR ACING PAPER
Ce
n te
r ba
ck

4,5

Q
S’
lder H
B ack shou
G
lder H
G’
nt shou
F fro
G’ G

S N
3,5

O
Center front

F B

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 BAT WING KIMONO DRESS
S’

I’
Cross line

Bust

Back
Center back SG

J’
M’

L’ Diagram n°5
A
Waist The Back

Large hips
C D’

Diagram n°5
Separate the front and back pattern pieces and flip the back over so
that it becomes a right back piece.
The final outline of the batwing kimono dress has been obtained.

B F

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KIMONO SLEEVES WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

SHORT KIMONO SLEEVE

This base illustrates the short kimono sleeve with a different

volume from that developed in the balanced knit (or loose garment)
base pattern.
However, the balanced knit base (P.272) will nonetheless be used to
construct this new base. Outline the front and back of the balanced
knit base pattern separately up to the waist.

Front

Back

Technical drawing

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 SHORT KIMONO SLEEVE
CONSTRUCTING THE FRONT

Diagram n°1

A
B’
8
2
1
B
2 H C
J
I

Cross line

F E P
G Bust
2

Front
Center front SG

Waist
D

Diagram n°1
1. To bring ease on shoulder level, start by raising shoulder point depending on the style aimed at). From point I, join point B’ using
(point B) by 1cm, perpendicular to the shoulder slope to obtain point a French curve with the arch turned towards point B’. The curve
B’. Join points A, B’ with a ruler and extend the line beyond point B’. (points B’, I) cuts the line (points C, D) at point J. Halve the distance
between points J and F to obtain point K. Square up point I in
2. From shoulder point (point B’), define the sleeve length desired,
relation to the curve (points B’, I) by placing a straight line there.
depending on the style aimed at. For this example, extend the A, B’
Use the line at point I to help you trace the curved sleeve edge and
line by 8cm. Point C is obtained.
pass through point K to join point G.
From point C, join the bottom of the side seam (point D) using a ruler.

3. Now give shape to the side seam and sleeve: - For the side seam, use a French curve to join points G and D.
- To determine the armhole opening, use the bust line as a reference
(although the armhole can start above or below this line, depending
on the style). Draft a line from point E, perpendicular to the C, D
line, to obtain point F and from this point, place the value chosen
for enlarging the sleeve. For this example, place a value of 2cm and
obtain point G.
- On the left of point C on shoulder slope level, place 2cm (point H)
and perpendicular to this point, place 2cm downwards (point I),
representing the end of the sleeve (the 2cm value can vary

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CONSTRUCTING THE BACK

Diagram n°2

L
M’ 8
2
M 1
N T 2
V
U

Cross line W W’
0,5
Back

Q R
Bust S
2
Center back SG

Waist
O

Diagram n°2
Construct the back in exactly the same way as the front to keep the point M’ with the arch turned towards point M’. The curve (points M’,
various volumes symmetrical. U) cuts the line (points N, O) at point V. Halve the distance between
points V and R to obtain point W. Draft a 0.5cm perpendicular from
1. Raise shoulder point by 1cm. Point M becomes point M’.
point W to obtain point W’. This value can vary depending on the
2. Join points L and M’ with a ruler and extend the line beyond point style aimed at and whether you want to add more coverage to the
M’. Place a value of 8cm from shoulder point (point M’) to obtain back of the arm. Square up point U in relation to the curve (points
point N. From point N, join the bottom of the side seam (point O) M’, U) by placing a straight line there. Use the line at point U to help
using a ruler. you trace the curved sleeve edge and pass through point W’ to join
point S.
3. Reproduce the side seam and sleeve shaping created on the front:
- For the side seam, use a French curve to join points S and O.
- To determine the armhole opening, use the bust line as a reference.
Draft a line from point Q, perpendicular to the N, O line, to obtain
point R and from this point, place the value chosen for enlarging
the sleeve (points R, S = 2cm).
- On the right of point N on shoulder slope level, place 2cm (point T)
and perpendicular to this point, place 2cm downwards (point U),
representing the sleeve edge. Use a French curve to join point U to

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 SHORT KIMONO SLEEVE
Diagram n°4

B’
C
H B
J
I

Cross line

Diagram n°3

F E P
TR ACING PAPER
G Bust

M’ B’ Front

Center front SG
Back Front

U I

Waist
G D
S
D’

Diagram n°3 Diagram n°4

1. Use tracing paper (Diagram n°3) to check that the sleeve edge 1. Rectify the bottom of the side-seam as an angle will appear when
curve runs smoothly from front to back. To do this, join the front and assembling.
back pieces at the shoulder, adjoining points I and U and taking into
2. Use tracing paper (Diagram n°4b) to outline the front (points D, G)
account the lines previously placed at points I and U.
with the hem line (the waist line in this example) and then place the
tracing paper over your back outline, with point D on top of point O.
Outline points O, S and the hem line (waist line) for the back.

3. Look for the new hem curve and then dot and redraw it on your
paper. Points D’ for the front and O’ for the back are obtained.

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Diagram n°4 Diagram n°5

SG
M’ Back Front
N U I
M T

V U
S G

Cross line W W’ Figure n°5b

Back
TR ACING PAPER

Q R
S
Bust Back Front
4
U I 4

S G
4 4
Center back SG

Waist O
O’

Diagram n°5
It is preferable to use facing for the sleeve-edge finish.
1. To construct this, use tracing paper (Diagram n°5b) to outline the
sleeve edge curve with the front and back joined at the shoulder.
For this example, the shoulder seam has been suppressed. This
Diagram n°4b
change can lead to a slight angle at shoulder point (points U, I) as
initially the shoulder seam was curved.
TR ACING PAPER
Suppress this angle and position a new line to square up for accuracy
of the curve.

2. Define the facing volume.

S
G Place 4cm from different points along the sleeve
curve and perpendicular to it, in order to trace the other edge of
the facing parallel to it. To finish this pattern piece, draft a 4cm
perpendicular from points G and S (the side seams) and create a
Back Front right angle as shown so that you can use a French curve to finish the
end of the facing on a curve where it meets the side seam.

O D
For this example, assembly will be carried out on side seam level.
O’ D’ To keep balance between the front and back, the shoulder will be
positioned on the grain line (SG).

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 SHORT KIMONO SLEEVE
Diagram n°6

L
A

M’ B’

U I

Cross line W’ K Cross line

Back Front

P
Bust
S G Bust

Center front SG
Center back SG

Waist Waist

O’ D’

Diagram n°6
The final outline for the short kimono sleeve has been obtained.

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KIMONO SLEEVES WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

JAPANESE-STYLE
KIMONO

This model is made up of a front, back and sleeves with dropped or

low-positioned armholes.
To construct this base, start from the balanced knit or loose garment
base pattern.

Front

Back

Technical drawing

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 Diagram n°1

JAPANESE-ST YLE KIMONO

F

G’
1 Back
G
47,5

H
Cross line

P Bust

Diagram n°1
Front
1. Outline the front and back on top of each other so you have only
one construction to elaborate. Determine the hem length. For this
example, it will be positioned 60cm below the waist (points A, B).
Define the width of the garment body. For this, use the large hip E
measurement, plus ease value, namely: 91 + 4 = 95cm. As we are
3
working per quarter garment, divide this measurement by 4, namely: Waist
D
95/4 = 23.75cm. To bring extra comfort to this dress, add 3cm (this A
can vary depending on the style aimed at) per quarter garment,
namely a total extra ease value of 3 x 4 = 12cm.
Place a total width per quarter garment of 23.75 + 3 = 26.75cm at the
bottom of the garment on hem level (points B, C), perpendicular to
center front.

Center back and front SG

2. From point C, draft a vertical upwards, extending beyond the
waist line. The waist line cuts this perpendicular at point D. Place a
marker 3cm above this point to obtain point E from whence the sleeve
will begin. The position of this marker can be moved up or down
depending on how much volume is wanted for the sleeve.

3. Move onto the upper part of the dress and raise the shoulder by
1cm to add extra comfort. Move point G up by 1cm as shown to obtain
point G’, perpendicular to the shoulder slope. From point G’, join
point F (the shoulder top) in a straight line. Extend this new shoulder
line (points F, G’) by the length desired for the sleeve as shown. For
this example, 47.5cm has been chosen to create a ¾ sleeve. Point H
is obtained. From shoulder top (point F) the following measurement
has therefore been placed: 12.5 + 47.5 = 60cm. 60
Reminder: this method’s shoulder and arm length reference
measurements are respectively: 12.5 + 62 = 74.5cm

4. Join points E and G’ to prepare for the shoulder slope pivot (points
G’, H). This pivot will prevent the fabric from bunching up at shoulder
point. The value of the pivot is generally between 3 and 5cm.

C 26,75 B

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PATTERN MAKING
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F
G’’ 5
G’ N
Back
G
Diagram n°2
I

Ligne
H’’ Cross line
H’ 47,5

d’em
manc
hure
P Bust

Front

Waist
D A

J’
J

Diagram n°2

Center back and front SG

1. Pivot for this example by 5cm from point E. Outline lines E, G’ and
G’, H on tracing paper (Diagram n°2b). Pin down point E and pivot so
that point G’ moves to point G’’ and point H to H’.

2. Once you have pivoted, join points H’ and G’ in a straight line.

Soften the angle that forms at point G’ with a French curve.

3. To determine the armhole line from point E, trace a perpendicular

to shoulder slope (points G’, H’). Point I is obtained.
The armhole line position can vary depending on the style aimed at.
It is preferable to keep the upper sleeve line straight (points H’, I) so
that you can assemble the upper sleeve without a seam if necessary.

4. Define the width of the sleeve end, which can, for this example,
stay the same as the armhole width. Place the half-armhole width
Diagram n°2b
(points E, I) from point H’.
Point J is obtained. Join points J and E, making sure point J stays at
right angles. TR ACING PAPER

5. Since the pivot, the sleeve has been lengthened approximately by

the value of the pivot, namely 5cm. If the sleeve is too long, shorten G’
it. To do so, mark the measurement chosen for the sleeve length
(47.5cm) from point G’ on the upper sleeve. Point H’’ is obtained. H
Define the definitive hem line for the sleeve (points H’’, J’) from this
point, parallel to the initial hem line (points H’, J).

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 Diagram n°3

JAPANESE-ST YLE KIMONO

0,5
F’
F
G’’
G’ N

I Back

A rmh
ole li
H’’ Cross line

ne
H’

P Bust
Front sleeve Back sleeve

Front K L
2

9
E

Waist
D
A

J’
J

Diagram n°3 Center back and front SG

Creating the V-neckline
1. Firstly, place a half-overlap value, namely 2cm for this example.
Define the neckline opening: place a marker 9cm above point A on
waist level to obtain point K and then join the overlap line at point L,
2cm to the right.
Move down vertically from this point until you reach the hemline as
shown (point M).

2. For this new base, keep the base pattern neckline for center back
with a slight increase on shoulder level (point F). Move out by 0.5cm to
obtain point F’. Outline the front (points A, K, L, F, G’) on tracing paper
(Diagram n°3b) and then move the front and back shoulders onto each
other and finish outlining point N and center back. Use a French curve
to draft the front neckline curve, passing through points L, F’ and N.
Dot and redraw the front and back neckline curves onto your paper.

C B M

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Diagram n°4
The Front

F’
G’

I
I

A rmh
Cross line

arms

ole li
H’’

cye li

ne
ne
P

SG Bust

Front sleeve Front

L

E
E
Waist
D
A

J’

Diagram n°3b

Center front SG
TR ACING PAPER
Ce
n te
r ba
ck

0,5
lder F’
B ack shou
F
G’ lder
t shou
Fron

C M
B

Diagram n°4
K L
Outline the front and back separately, as well as the front and back
sleeve detached from the garment body.
A

The final outline of this kimono has been obtained.

Center front SG

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 JAPANESE-ST YLE KIMONO
Diagram n°4
The back

F’
N G’

I
I

Cross line
H’’
ne
cye li
arms

ne
ole li

SG
Bust
A rmh

Back Back sleeve

SG

E
Waist
E
D

J’
Center back SG

Diagram n°5
It is possible to construct the sleeve without an upper sleeve seam.
Simply outline the front and back of the sleeve assembled at the
upper seam sleeve (points I, H’’).

B C Diagram n°5

E I E
Armhole line Armhole line

Back sleeve Front sleeve

SG

J’ H’’ J’

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KIMONO SLEEVES WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

KIMONO SLEEVE
WITH INSET GUSSET
(BODICE BASE PATTERN)
P. 584 | SEAM ALLOWANCE VALUE FOR THE KIMONO
WITH GUSSET

To construct this new base, start from the bodice base pattern.
The sleeve of the new base will be attached to the garment body
by simply an upper and under arm seam but for the construction of
this particular model a diamond-shaped piece of fabric is required
under the arm. This “gusset” will allow the arm to be raised more
easily without being blocked by a lack of fabric under the arm.

The disadvantage of this sleeve: the seams need to be modified for

the garment to fall better as the shoulders were not balanced in the
base pattern. However, this base will enable you to make a kimono-
sleeve garment that is close to the body and shaped, thanks to the
inset gusset.

Frontt

Back

Technical drawing

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 KIMONO SLEEVE WITH INSET GUSSET (BODICE BASE PATTERN)
Diagram n°1
Center back SG

0,5
Cross line Cross line
0,5

1 1
1 1

P
Bust Bust

Back
Front

Center front SG
Waist Waist
1 1

Diagram n°2b

Diagram n°1 TR ACING PAPER

1. Define the volume you want to create on the front and back. To
do so, outline the bodice base pattern front and back separately up
to the waist. For this example, enlarge the garment body by 1cm per
quarter, namely 4cm in total.
1
2. Start by enlarging the front and back side seams by 1cm at the
armhole opening and at the waist as shown. Lower the armhole
opening also by 1cm. Back shoulder

3. Add 0.5cm to the cross line and then trace the new front and back
armhole, taking into account the right angle at the new armhole
opening.

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Diagram n°2

1 1
Center back SG

Cross line Cross line

P
Bust Bust

Back Front

Center front SG
Waist Waist

Diagram n°2c

TR ACING PAPER
Diagram n°2
1. Outline the enlarged front and close the shoulder dart. This
is necessary to maintain balance between the front and back on
shoulder slope level (balance in terms of the front’s fabric direction
in relation to the back’s and also to the cross line that has been
repositioned horizontally like the back’s).
22,5
2. To give extra comfort on shoulder point level, add 1cm to both 21,3
the front and back. To do so, move up buy 1cm, perpendicular to the 18,7
base pattern shoulder slope, and join the base pattern shoulder
top from this new point. (For the back shoulder, use tracing paper
(Diagram n°2b) to close the shoulder blade dart before drafting the
new shoulder line).

3. Use tracing paper (Diagram n°2c) to outline the front and back
Back Front
armholes assembled at the side seam. To find out the armhole depth,
join the two shoulder points and halve the segment. From the halfway Armhole length
mark found, join the armhole opening. A measurement of 18.7cm is = 22,5 21,3 = 43,8 cm

obtained. Armhole depth

- The front armhole length = 21.3cm = 18,7 cm

- The back armhole length = 22.5cm.

This gives a total armhole length of: 22.5 + 21.3 = 43.8cm.

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 KIMONO SLEEVE WITH INSET GUSSET (BODICE BASE PATTERN)
CONSTRUCTING THE FRONT

Diagram n°3
D
Diagram n°3b Cross line

A E
TR ACING PAPER 11,4

E
A 20
A’

C’ Bust

C 1 (10 + 1 =11)
Front
C’ 10

Center front SG
B

45°
Waist

F’
(62 - 15,58) = 46,42

F
1

Diagram n°3
1. To determine the lower opening of the gusset, halve the side Place a marker 46.42cm below point A’ (the armhole opening
seam (points A, B) and move up by 1cm from the halfway mark corresponding to the sleeve cap depth) to obtain point F (passing
found (point C) to obtain point C’ (for this example: 20/2 = 10cm, through point C’ even though it is not exactly in the continuity of
10 + 1 = 11cm). points A’ and F).
Draft a perpendicular to the C’, F segment from point F corresponding
2. From point C’, draft a straight line to join the cross line at point D
to an average front sleeve width, namely: 20/2 = 10 – 1 = 9cm (take an
that cuts the armhole line at point E, creating the segment (points C’,
average width of 20cm and divide by two to work per half garment.
E), corresponding to the gusset opening. (On this outline, the gusset
Then, subtract 1cm for the proportional difference between front
opening measures 11.4cm (points C’, E)).
and back). Point G is obtained, 9cm from point F.
3. Use tracing paper (Diagram n°3b) to outline points C’, A, and Reminder: the proportional difference is the opposite here of what it
then turn over the tracing paper and reproduce point C’, A, and E usually is for the bodice base pattern as the arm will be integrated
of the segment (points C’, E) on the other side as shown: point A’ is in the front and back volume, and the arm needs more volume at the
obtained. back.

4. Now look for the inclination of the arm. From point C’, maintain 5. The front under sleeve seam is going to be eased out with an iron.
a 45°angle in relation to the horizontal waist line and trace a In anticipation, move up by 1cm from point F to obtain point F’. The
straight linerepresenting the estimated arm length, namely: 62cm, front sleeve hemline will be drafted once the back sleeve is finished.
the method’sarm length reference, minus the sleeve cap depth of
15.58cm = 62 –15.58 = 46.42cm. (To find the sleeve cap depth, take
5/6 of the armhole depth, namely: 18,7 x 5/6 = 15.58cm).

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PATTERN MAKING
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K
7,5

27

15,58
15,42 6,9 Cross line
J O D
Diagram n°4 I

A E

11,4
A’

P Bust
35
C’ Front

Center front SG
5

11

N
19,42
5 (35 - 15,58)
B

1 L’
Waist
L
M

27
G
G’

3. Join up segments G’, J and K, H with a French curve to soften the

outline on shoulder level, positioning the arch of your French curve
F’
F
towards shoulder point.

4. It is preferable to reduce the width of the waist dart (points L, M) to

bring extra ease to the gusset. Move in by 1cm from the second dart
leg (point L) to obtain point L’. From this new point, join bust point P
in a straight line. Make sure the second dart leg (points L’, P) is the
same length as the first leg (points M, P).

5. Place notches in preparation of the sleeve’s assembly.

Diagram n°4
Determining the sleeve volume 6. On the under sleeve seam, place 19.42cm, corresponding to elbow
length from point A’. Line A’, N = the upper sleeve elbow length – the
1. To establish the sleeve width, take ¾ of the armhole length,
sleeve cap depth, namely: 35 – 15.58 = 19.42cm.
namely: 43.8 x ¾ = 32.85cm.
Place two notches, each 5cm on either side of point N as shown.
Then divide by two and apply the proportional difference, namely:
On the upper sleeve seam, place a notch 35cm below point H,
32.85/2 = 16.42cm
corresponding also to elbow length.
- for the front: 16.42 – 1 = 15.42cm
Position notches also at shoulder point as excess value will be
- for the back: 16.42 + 1 = 17.42cm.
placed on the back pattern piece in this vicinity. Place one 7.5cm
The sleeve cap depth was calculated earlier when establishing the
below point K and another one 27cm above the 35cm notch.
under sleeve length: 15.58cm.
7. It is important to balance the front and back volume to prevent the
2. Use a setsquare to place the sleeve cap depth of 15.58cm from
garment from twisting. To do this, make sure the following three front
shoulder point (H), positioning the setsquare on point H and point A’
measurements are reproduced on the back:
to obtain the line H, I.
- side seam length = 11cm (points B, C’)
Now place the front sleeve width, namely: 15.42cm from point A’ on
- gusset opening length = 11.4cm (points C’, E)
the A’, I line to obtain point J. The front sleeve width is therefore now
- width measurement on the perpendicular between the cross line
represented by the A’, J horizontal. Join points G and J in a straight
(point D) and the armhole opening (point A) = 6.9cm (points O, D).
line to represent the upper sleeve, extending the line beyond point J.
It is always better for the end of the sleeve to be at right angles with
the upper sleeve whereas for the moment the right angle is at point
F. Modify that by placing your setsquare along the upper sleeve
(points G, J) and passing through point F. At right angles to the upper
sleeve line (points G, J), point G’ is obtained, as shown.

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 KIMONO SLEEVE WITH INSET GUSSET (BODICE BASE PATTERN)
CONSTRUCTING THE BACK

Center back SG

Diagram n°5
Cross line Q 6,9 R

V
11,4
T

Bust 20
T’

Back
U Maintain 1cm
excess value

5,5 (19,42 + 0,5)

11 19,92

19,42
X 5,5
Waist S S’ 45°

Y
11

W’

Diagram n°5 47,42

(46,42 + 1) W
1,5

1. Outline the enlarged back and extend the cross line beyond point
Q. Place the measurement found on the front (points O, D), namely
6.9cm: point R is obtained. Descend on a perpendicular to the cross
line from point R until the armhole opening.

2. Move out by 1cm on the waistline from point S to obtain point S’. 4. Find the true arm position. From point U, maintain a 45° angle
This value is added to the back as 1cm was suppressed on the front in relation to the horizontal waist line and trace a straight line
waist dart to increase the gusset volume. Place the front side seam corresponding to the estimated arm length, namely: 62cm, this
length from point S’ upwards, namely 20cm for this example (points method’s reference arm length, minus the sleeve cap depth = 62
A, B) to obtain point T and the new side seam (points S’, T) as shown. – 15.58 = 46.42cm. Add 1cm to this measurement, corresponding
Draft a perpendicular to the side seam from point T. Place the front to the excess value required on elbow level, namely: 46.42 + 1 =
side seam measurement (points B’, C), namely 11cm from point S’ to 47.42cm. Place a marker 47.42cm below point T’ (the armhole opening
obtain point U, where the gusset will start. Join point Q from point U corresponding to the sleeve cap depth) to obtain point W (passing
in a straight line and place the measurement taken on the front for the through point U even though it is not exactly in the continuity of
gusset length (points C’, E), namely: 11.4cm. Point V is obtained. points T’ and W). Trace a right-angled perpendicular of 1.5cm from
If this point does not fall on the base pattern armhole, modify the point W to obtain point W’.
bottom part of the armhole so that it joins up with point V smoothly. This value can be slightly modified, up or down, to match the back
arm inclination to that of the front.
3. On tracing paper (Diagram n°5b), outline points U, T and V and then
reproduce this section on the other side of the U, V line as shown.
Point T’ is obtained.

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Diagram n°5 (continued)

Diagram n°5b
5. Place a notch 19.92cm below point T ’ to obtain point X
corresponding to elbow length, remembering that 0.5cm has been
TR ACING PAPER
added to the front measurement of 19.42cm to allow for excess value
on elbow level.
V
6. Join points X and W’ in a straight line, softening the angle obtained T
at point X.
Place two notches, each 5.5cm on either side of point X (elbow
length) as shown.
Compared to the front, there is 1cm more between these notches to
allow for the creation of gathers to ease in the 1cm excess value and
make a bent sleeve.
U
From point W’, trace a right-angled perpendicular to the X, W’ line
of the width chosen for the back sleeve end, namely: 20/2 = 10cm
+ 1 = 11cm (take an average width of 20cm and halve it to work per
half garment. Then add 1cm for the proportional difference between
back and front). Point Y is obtained, 11cm from point W’.

Diagram n°6b
Diagram n°6
TR ACING PAPER
1. Use a setsquare to determine the sleeve cap depth. Position it
on shoulder point, passing through points T’ and Z and then place
15.58cm from point Z, corresponding to the sleeve cap depth (points
G’
Upper sleeve
Z, Aa). Once this pattern line has been drafted, place the back sleeve
width, namely: 17.42cm from point T’ on the T’, Aa line to obtain point
Ab.
The back sleeve width is therefore represented by points T’, Ab. Join
Front points Y and Ab in a straight line to represent the upper sleeve and
F’
extend the line beyond point Ab.
W’ Join up lines Ac, Z and Y, Ab with a French curve to soften the outline
on shoulder level.
This curve might slightly reduce the extra length added at shoulder
Back
point (1cm value).

2. Place notches for the upper sleeve assembly, firstly one 35.5cm
below point Z, corresponding to elbow length. The back value is
Y’ Upp
er s 0.5cm more than that of the front in the same vicinity to allow for the
leev
e excess value required at shoulder point (35 + 0.5 = 35.5cm).
This excess value can go from 0.5 to 1cm depending on the fabric
used and how much it can be eased in with an iron.

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 KIMONO SLEEVE WITH INSET GUSSET (BODICE BASE PATTERN)
Ac 7,5

Z
Center back SG

Maintain
excess value 0,5 cm 27

15,58
Diagram n°6
Q R Ab
Aa
Cross line

17,42

T’
Bust 35,5

Back 35

Maintain
excess value 1 cm

Waist
Ad Ae Af S S’

27

Y
Y’
Diagram n°6 (continued)
3. Position notches on shoulder point level also to anticipate the
placing of excess value on the back in this vicinity. Place one 7.5cm
W’
below point Ac, without forgetting to close the shoulder blade dart
beforehand. Place another one 27cm above the 35.5cm notch.
Compared to the front, there is 0.5cm more between notches on the W
back.

4. Rectify the sleeve end. Place the measurement used on the

front between point G’ and the notch at 35cm, namely 27cm for this
example, on the back upper sleeve from the back notch at 35.5cm.
Point Y’ is obtained.

5. Taking into account the right angles at points G’ and Y’, use tracing
paper (Diagram n°6b) to assemble the front and back at the under
arm seam, placing point F’ on point W’. Draft the new sleeve-end
outline using a French curve, and then dot and redraw it on your paper
(Diagram n°7 for the front).

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Diagram n°7
The Front

J D Cross line

E
A

A’
P Bust

C’
Front

Center front SG
N

B
X
B’ L
X L’ M Waist
L’’
Ease out X M’

X
G
X
G’
X
X
F’
F
Diagram n°7b

TR ACING PAPER

U C
Center front SG

Front

Back
Ce
n te

L’ M
rb

B
ac

S’ L’’ M’
k

S’’ B’
Af
Ae
Af’
Ae’

Ad
Ad’

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 KIMONO SLEEVE WITH INSET GUSSET (BODICE BASE PATTERN)
Ac
Z

Diagram n°7
Center back SG

Maintain The Back

excess value 0,5 cm

Ab
Cross line Aa
Q

V
T

T’
Bust

U
Back
Maintain
excess value 1 cm

X
Waist Ae Af S
Ad S’
Ad’ Ae’ Af’ S’’

Y
Y’

W’

Diagram n°7 W
1. Once the front and back outlines have been carried out, adjust
the waist line.

2. Outline center front, point M and the first leg of the front dart
(points M, P) on tracing paper (Diagram n°7b). Close the first leg over
the second (point L’) and then outline the side seam (points B, C).

3. Move onto the back side seam (points U, S’) and outline the second
leg of the waist dart (point Af) before closing it over the first (point Ae)
to join center back (point Ad). Still on tracing paper, soften all angles
on the waist darts and side seam using a French curve. Do not forget
to square up your angle at the top of center back as shown. This will
move the outline down slightly (point Ad’).
Points M’, L’’, B’, S’’, Af’, Ae’ and Ad’ are obtained.

4. Dot the curves of each section onto your paper and redraw all of
the segmented curves.

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CONSTRUCTING THE GUSSET

Diagram n°8 Diagram n°9

4,7 4,7

9,4 Ai

V T’’ A’’ E
11,4 11,4
T A
1,2

SG
SG
Back Front
Ag Ah

Gusset
U C’

11,4 11,4

Aj

Diagram n°8 Diagram n°9

1. To find out the width to apply for the gusset, join the following 1. On a sheet of paper, trace a symmetrical axis. On either side of the
front and back sections: points A, E, C’ and T, V, U. Assemble these vertical axis, place half of the V, E measurement previously found,
two pieces at the side seams, namely points A, C’ for the front and namely: 9.4/2 = 4.7cm. Points Ag and Ah are obtained.
T, U for the back.
2. From these two points, place the measurement for the gusset ope-
2. Use the measurement found between points V and E, namely: ning (previously obtained when outlining the front and reproduced
9.4cm for this example. also on the back, namely: 11.4cm) vertically first of all to obtain points
Ai and Aj.
Reproduce this measurement four times as shown to create a ba-
lanced, diamond-shaped gusset and draft straight lines to join up
points Ag, Ai, Ah, Aj.

3. The gusset can be cut in two different ways:

-At 45° to the axis, if you want to cut the gusset on a true bias. This
will enhance the fit and ease of the underarm section but assembly
will be more difficult.
- On the vertical axis, keeping the entire gusset on grain (straight
grain).

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 KIMONO SLEEVE WITH INSET GUSSET (BODICE BASE PATTERN)
K
Diagram n°10
The front H

J D Cross line

E
A

13,6
A’
12,7
P Bust
0,5

C’’ 0,5
C’’’
Front

Center front SG
C’

B
X
B’
X L
L’ M Waist
Ease out X L’’
M’
X

G X
G’ X
X

F’
F

Diagram n°10
1. Inserting the gusset during assembly is very tricky. To facilitate
this procedure, modify the gusset opening slightly on the front and
back outlines. On the front at point C’, trace a right angle to the C’,
E line and place a marker 0.5cm on either side of point C’. Join these
two markers to point E in a straight line, extend this line to the side
seam and under sleeve lines to obtain point C’’ on the under sleeve
and point C’’’ on the side seam.
For this example, a measurement of 13.6cm is obtained between
points C’’ and E and 12.7cm between points C’’’, E.
There is a difference between the two seams but this is not important.
However, it is important to apply the same measurements on the
back and in exactly the same way.

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Diagram n°10
The back

Ac
Z
Center back SG

Maintain
excess value 0,5 cm

Ab
Cross line Aa
Q

T
13,6
T’
Bust 12,7

Back
U’ U’’
Maintain
U excess value 1 cm

X
Ad Waist Ae Af S S’
Ad’ Ae’ Af’ S’’

Y
Y’

W’

Diagram n°10 (continued)

2. Move onto the back and place 12.7cm from point V downwards,
cutting the side seam at point U’ as shown. Then place 13.6cm, also
from point V downwards, cutting the undersleeve at point U’’.

3. If the 0.5cm gap applied on the front is not taken into account on
the back, it is of no great importance as long as the opening length
of the gusset is respected for accurate assembly.

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 KIMONO SLEEVE WITH INSET GUSSET (BODICE BASE PATTERN)
Diagram n°11b
K

Balanced sleeve, front

Wrong side facing

Rght side facing

J Cross line

Piece of fabric E

P Bust

C’

C’’ C’’’
Front

Center front SG
N

X B’
Waist
X L’’
M’
Ease out X
X
X
G’’’
X
X Diagram n°11

F’’

Ai’
Ai

Diagram n°11 13,6 13,6

SG

1. Modify the side lengths of the gusset, without changing the width.
SG

Use the center of the horizontal axis (points Ag, Ah) to place the new
length (12.7cm) downwards to obtain point Aj’ and the other new Ag Ah
measurement (13.6cm) upwards to obtain point Ai’.
Gusset
2. Despite this evolution, assembly will remain tricky at points E for
the front and V for the back as there is literally no seam allowance
value. The solution to this is to stitch a piece of fabric (same fabric 12,7 12,7
or organza…) on the right side facing of the front and back before
cutting the gusset opening, in order to create seam allowance value Aj
once the fabric is flipped over to wrong side facing (Diagram n°11b Aj’
for the front; the back following the same instructions).
Place the right side facing of this piece of fabric on top of the right
side facing of the garment.

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Diagram n°12

Ai’

Ai
Gusset SG

SG

Ag Ak Ah

2 Al

Aj
Aj’

Diagram n°12
1. In the event of too much material on underarm level due to the
gusset construction, proceed as follows to extract length from the
middle section in order to get rid of the surplus.

2. To find out how much to extract, measure the distance between

points T, T’’ or A, A’’ on your outline (Diagram n°8), namely 1.2cm for
this example.

3. Place 1cm, for example, on either side of the horizontal axis, trace
right angles at points Ak and Al and then trace four identical curves
with a French curve to form a pointed arch (ogive).

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 KIMONO SLEEVE WITH INSET GUSSET (BODICE BASE PATTERN)
Diagram n°13

Center back SG
Cross line

Front

Center front SG
P Bust

Back

Waist

Diagram n°13
1. Once the back and front have been constructed, make sure the 3. There are two possible solutions for this:
front and back upper sleeve slopes are the same for a balanced - Conserve this base pattern construction if you have to align checks
assembly and to prevent the sleeve from twisting. This will also or stripes on the upper sleeve.
guarantee the correct alignment of checks and stripes (if used) when - Balance the upper and under sleeve seams, in which case it is
cutting in the final fabric. impossible to make the model in checked or striped fabric. To
obtain balance, shift the seams as follows:
2. In this example, the front and back upper sleeve seams are
- The front of the sleeve towards center front
perfectly parallel on the outline and therefore will be when cut.
- The back of the sleeve towards the upper sleeve.
when the sleeve is worn and seen in profile, the front upper sleeve
seam once assembled will be positioned towards the back and the
undersleeve seam towards the front. This is normal as the front and
back volumes are not balanced (the front bust volume impacting the
overall front volume).

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Diagram n°14

View from top to bottom

of the sleeve Diagram n°15b
Balanced seam to obtain for upper and under sleeve

TR ACING PAPER

Upper sleeve

C’
Front

Back Front

N
Finished upper sleeve seam, imbalanced

Finished

Upper sleeve fold line

Under sle

undersle
eve fold lin

eve seam

G’
e

, imbalan

F’
ced

F’’ G’’
Y’’ W’’
Y’ G’ W’ F’
2,4 2,4
5,5 4,5

Diagram n°14 Diagram n°15

1. To find out the values to apply for rebalancing the sleeve seams, 1. Outline the following section of the sleeve on tracing paper
place the assembled sleeve flat as shown and measure the distance (Diagram n°15b): points C’, N, F’, G’, J) and then from point C’ (the
obtained at the bottom between the upper and under sleeve seams beginning of the gusset) pivot the tracing paper towards center front
(between points Y’, G’ and W’, F’), namely 4.8cm in this example. by 2.4cm between points F’ and F’’ or G’ and G’’.

2. Dot and redraw the whole section. Points C’, N’, F’’, G’’, J’ are
obtained. Nothing changes for the under sleeve except the opening
of the gusset (points E, C’’) which needs adjusting on the new outline
(points C’, N’).
Point C’’’’ is obtained. For the upper sleeve, join the curve at point J
from point G’’ on a tangent to keep the upper sleeve seam smooth.
Extend this line beyond the tangent line and then if necessary,
redraw the upper sleeve curve where it joins shoulder point using
a French curve.

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 KIMONO SLEEVE WITH INSET GUSSET (BODICE BASE PATTERN)
FRONT TRANSFORMATION

H
Diagram n°15

27

J’ J Cross line

35

P Bust

C’
C’’
C’’’
Front

Center front SG
C’’’’
N

N’

B’
X
Waist
X L’’
M’
Ease out
X
X
G’
X
2,4
G’’ X
F’
X

2,4 F’’

Diagram n°15 (continued)

3. Adjust the upper sleeve notch positions. Place the first notch 35cm
from shoulder point H (12.5cm from point K). Place another notch
27cm above this notch.

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BACK TRANSFORMATION

Ac

Diagram n°16
Center back SG

Maintain 0.5cm
excess value
27

Ab’ Ab
Cross line

(35 + 0,5)
V 35,5

Bust

U
Back
U’ U’’’
U’’ Maintain 1cm
excess value

X’

X
Waist

Ad’ Ae’ Af’ S’’

Y’’

Y’ 2,4
Diagram n°16b

TR ACING PAPER W’’

W’ 2,4

Ab

Diagram n°16
1. Outline the following section of the sleeve on tracing paper
Upper sleeve
(Diagram n°16b): points U, X, W’, Y’, Ab and from point U (the
beginning of the gusset) pivot the tracing paper towards the upper
Back sleeve by 2.4cm between points W’ and W’’ or Y’ and Y’’.

U
2. Dot and redraw the whole section. Points U, X’, W’’, Y’’, Ab’ are
obtained. Nothing changes for the under sleeve, except the opening
of the gusset (points V, U’’) which needs adjusting on the new outline
X (points U, X’). Point U’’’ is obtained.
For the upper sleeve, join the curve above point Ab from point Y’’ on
a tangent to keep the upper sleeve seam smooth. Extend this line
beyond the tangent line and then if necessary, redraw the upper
Y’
sleeve curve where it joins shoulder point using a French curve.

W’

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 KIMONO SLEEVE WITH INSET GUSSET (BODICE BASE PATTERN)
Ac
Diagram n°17
Center back SG

Maintain 0.5cm
excess value

Cross line
Ab

Bust

Back
U
U’ U’’’
Maintain
excess value 1 cm

X’

Waist

Ad’ Ae’ Af’ S’’

Y’’

Y’’’

W’’

Diagram n°16 (continued) Diagramn°17

3. Adjust the upper sleeve notch positions. Place the 35cm notch 1. Check for transformations at the bottom of the sleeve on upper
from shoulder point (12.5cm from point Ac, shoulder blade dart sleeve seam level by outlining the front and back sleeves on tracing
closed) where 0.5cm excess value will also be maintained, changing paper (Diagram n°17b), taking into account the 35cm and 35.5cm
the notch position to 35.5cm. notches on the front and back respectively. There is a difference
between the two sleeve ends that needs correcting with a French
4. Place another notch 27cm above the 35.5cm notch.
curve.

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K
Diagram n°17

J Cross line

P Bust

C’
C’’’’
C’’’
Front

N’ Center front SG

X B’
Waist
X
L’’
X M’
Ease out

X
G’’’
X
G’’
X

F’’

Diagram n°17 (continued)

2. From these notches, place the base pattern measurement (27cm)
on the upper sleeve seam. Points G’’’ for the front and Y’’’ for the
back are obtained.
Square up these two points and then align the back and front sleeve
ends at the under sleeve seam on tracing paper (Diagram n°17c)
as shown. Draft the new curve between points G’’’ and Y’’’ with a
French curve. Dot and redraw the two curves on your back and front
sleeve outlines.

3. The kimono sleeve with an inset gusset can therefore be finalized

in two different ways.

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 KIMONO SLEEVE WITH INSET GUSSET (BODICE BASE PATTERN)
Diagram n°17b Diagram n°17c

TR ACING PAPER TR ACING PAPER

J
Ab

N’

N’ X’

Front
Front Back
Up
pe
rs

Under sleeve
le
ev

X’ Back
e

F’’

G’’’
Y’’
G’’
Y’’’ Y’’
G’’’ F’’ W’’
G’’ Y’’’

W’’

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Diagram n°18

The front, imbalanced upper sleeve parallel

to the back
Ai’
K

Gusset
SG

Ag Ah

Cross line
SG

Ai’ E

Aj’

Gusset P Bust
SG

C’

Ag Ah C’’
C’’’
Front

Center front SG
SG

X B’
Aj’ X Waist
L’’
Ease out X M’
X

G’ X
X
X

F’

Diagram n°18
1. Take the outline where the front and back upper sleeves are paral-
lel. In this case, the sleeve seams will noticeably shift at the bottom.
The upper seam will shift towards the back and the under seam
towards the front. It is possible in this construction to use checked
and striped fabric.

For the gusset, two possibilities exist:

- the simple diamond-shaped gusset
- extracting length from the middle of the gusset to reduce material
for the underarm.

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 KIMONO SLEEVE WITH INSET GUSSET (BODICE BASE PATTERN)
Diagram n°18

The back, imbalanced upper sleeve parallel

to the front
Ac
Center back SG

Maintain
excess value 0,5 cm

Cross line

Bust

Back
U
U’ U’’
Maintain
excess value 1 cm

X
Waist

Ad’ Ae’ Af’ S’’

Y’

W’

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Diagram n°19
Ac The back, balanced sleeve
Center back SG

Maintain
excess value 0,5 cm

Ab
Cross line

Bust

Back U

U’ U’’’
Maintain
excess value 1 cm

X’
Waist

Ad’ Ae’ Af’ S’’

Y’’’

W’’

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 KIMONO SLEEVE WITH INSET GUSSET (BODICE BASE PATTERN)
Diagram n°19
The front, balanced sleeve
K

Cross line

P Bust

C’
C’’’’
C’’’
Front

Center front SG
N’

B’
X
Waist
X L’’
M’
X
Ease out
X

G’’’ X

F’’

Diagram n°19
2. Take the outline where the sleeve has been shifted for balance.
There is a difference in direction between the front and back sleeves,
making it impossible the cut the model in a checked or striped fabric
as they would not align on the upper sleeve.

For the gusset, two possibilities exist as previously mentioned, with

or without the extraction of fabric via a pointed arch (ogive).

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KIMONO SLEEVE WITH INSET GUSSET

(KNITWEAR OR LOOSE GARMENT
BASE PATTERN)
To construct this new base, start from the knitwear or loose garment
base pattern. Like for the previously explained kimono sleeve with
inset gusset that started from the bodice base pattern, the sleeve of
this new base is attached to the garment body simply by an upper
and under arm seam. It is essential to add a diamond-shape piece
of fabric, known as a “gusset”, under the arm of this model to allow
for the arm to be raised without being blocked.
The volume will be looser in this model to allow for the bust volume,
remembering that the back and front pieces have been balanced.
The shoulder and shoulder blade darts have been incorporated in
the armhole, which also creates extra ease.

Be careful not to insert the gusset too low as this will restrict arm
movement. Check front and back ease of movement in relation to
the gusset position.

Front

Back

Technical drawing

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 KIMONO SLEEVE WITH INSET GUSSET (KNIT WEAR OR LOOSE GARMENT BASE PATTERN)
Diagram n°1
The Front

1
H
H
1

1,5 D Cross line

Cross line
D

A P Bust
P Bust A

Center front SG
Front
Center front SG

Front

3 Waist
Waist
B B

Diagram n°1
1. Define the volume aimed at for the front and back. To do this, Length: back = 25.5cm and front = 27.3cm, namely 25.5 + 27.3 =
outline the front and back of the knitwear (or loose garment) base 52.8cm in total.
pattern separately, up to the waist. For the depth, join the shoulder points and from the halfway mark of
this line, join the armhole opening using a ruler: 22.1cm is obtained.
2. For this example, enlarge the garment body by 3cm per quarter,
To find out the sleeve width, take ¾ of the armhole length, namely:
namely 12cm in total. Start by enlarging the front and back sides by
52.8 x ¾ = 39.6cm.
3cm at the armhole opening and waist. Lower the armhole opening
Then apply the proportional difference, namely: 39.6/2 = 19.8cm.
also by 4cm and raise the shoulder points by 1cm to add ease to the
For the front: 19.8 – 1 = 18.8cm and for the back: 19.8 + 1 = 20.8cm.
kimono. Add 1.5cm to the cross line, as well as 1cm to the shoulder
To find out the sleeve cap depth, take 5/6 of the armhole depth,
points, then trace the new front and back armholes without forgetting
namely: 22.1 x 5/6 = 18.41cm.
the right angles at shoulder points and at the front armhole opening.

3. Reproduce the enlarged armhole (on shoulder and armhole

opening level) on tracing paper (Diagram n°1b) with the back and front
assembled at the side seam. Calculate the length of the new armhole
and also its depth, namely:

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Diagram n°1
The back
1 V
V
1
Center back SG

Center back SG
M 1,5
M
Cross line Cross line

Q Q

Bust Bust

Back Back

Waist 3 Waist
O O

Diagram n°1b

TR ACING PAPER

V H

27,3
25,5

22,1
D
M

Front Back

Armhole length
Q A
25,5 + 27,3 = 52,8 cm

Sleeve width
52,8 x 3/4 = 39,6 cm
39,6/2 = 19,8 cm
Front - 1 = 18,8 cm
Back + 1 = 20,8

Armhole depth = 22,1 cm

O B
Armscye depth
22,1 x 5/6 = 18,41 cm

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 KIMONO SLEEVE WITH INSET GUSSET (KNIT WEAR OR LOOSE GARMENT BASE PATTERN)
CONSTRUCTING THE FRONT

Diagram n°2

Diagram n°2b

TR ACING PAPER

A
D Cross line

E 12,7
C’ A
P Bust

18,2 A’

Center front SG
Front
(18,2/2) - 1 1

C’

45° Waist

G
12

25/2 = 12,5
front - 0,5 = 12 cm
back + 0,5 = 13 cm
F’
43,59
F
1
(62 - 18,41) 2. Determine the arm position. From point C’ trace a straight line,
maintaining a 45° angle in relation to the horizontal waist line, and
place the method’s reference arm length, namely: 62cm minus the
sleeve cap depth 18.4cm = 62 – 18.41 = 43.59cm.
Place a marker 43.59cm below point A’, the armhole opening
corresponding to the sleeve cap depth, to obtain point F (passing
Diagram n°2 through point C’ even if it is not exactly in the continuity of points
Outline the enlarged front
A’ and F).
1. To determine the position of the opening for the gusset, halve the
3. Trace a perpendicular to point C’ from point F and place upon it an
side seam (points A, B) and move down from the halfway mark (point
average width for the front of the sleeve, namely: 25/2 = 12.5 – 0.5 =
C) by 1cm to obtain point C’. (For this example, the side seam measures
12cm (take an average width of 25cm and halve it to work per half
18.2cm, namely: 18.2/2 – 1 = 8.1cm).
pattern piece. Then subtract 0.5cm for a proportional difference
Join the cross line (point D) from point C’ in a straight line. This
between the back and front). At 12cm from point F, point G is
line cuts the armhole line at point E, creating the segment C’, E,
obtained.
corresponding to the opening for inserting the gusset and measuring
12.7cm. Outline points C’, A and E on tracing paper (Diagram n°2b) 4. The front under sleeve seam is going to be eased out with an iron.
and then turn the tracing paper over and reproduce points C’, A and To anticipate this, raise point F by 1cm to obtain point F’. The hem for
E of the right side of the segment (points C’, E): point A’ is obtained. the sleeve end will be carried out once the back is finished.

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K
7,5

H
Diagram n°3

27

L 7,7 D Cross line

J
I
18,41

18,8

E
(35-1)
34 A
P Bust

12,7 A’

Center front SG
Front

C’
8,1

5 16,59
(35-18,41) Waist

29,5

G
G’

F’

Diagram n°3
Determine the sleeve volume
1. Use a setsquare to place the sleeve cap depth of 18.42cm from Place another notch 34cm below point H on the upper sleeve seam,
shoulder point (H), positioning the setsquare on point H and point A’ corresponding also to elbow length. This value is equal to (35 – 1)
to obtain the line H, I. as shoulder point was previously raised by 1cm on the outline. Place
Then place the front sleeve width, namely: 18.8cm from point A’ on notches also on shoulder point level as excess value will be applied
the A’, I line to obtain point J, the front sleeve width (points A’, J). Join on the back in this area:one 7.5cm below point K and another 27cm
points G and J in a straight line, representing the upper sleeve and above the 34cm notch on elbow length level.
extend this line beyond point J. Make sure the bottom of the sleeve is
4. It is important to keep the front and back volume balanced to
at right angles with the upper sleeve. Presently, the upper sleeve is
prevent the garment from twisting. To ensure this, the following three
at right angles with point F. Modify this with a setsquare, positioning
front measurements must be reproduced on the back:
it along the G, J line (the upper sleeve) and passing through point F to
- Side seam length = 8.1cm (points B, C’)
obtain point G’, which is at right angles with the G, J line.
- Gusset opening length = 12.7cm (points C’, E)
2. Place notches for the sleeve assembly. - The perpendicular width between point D on the cross line and
point A at the armhole opening = 7.7cm (points L, D).
3. Place the elbow length measurement of 16.59cm on the under
sleeve seam (points A’, N, namely: upper sleeve elbow length – sleeve
cap depth = 35 – 18.41 = 16.59) from point A’. Then place a notch 5cm
on either side of point N.

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CONSTRUCTING THE BACK

Diagram n°4
Center back SG

M 7,7 N
Cross line

Diagram n°4b

TR ACING PAPER

S
S

Q
Q
Bust Q’ 12,7
18,2

Back

R
R
8,1

Waist 45°

U
13

T
44,59
Diagram n°4 (43,59 + 1)

1. Outline the enlarged back and then extend the cross line beyond
point M as shown. Place the measurement found on the front (points
L, D), namely: 7.7cm to obtain point N.
Move down on a perpendicular to the cross line from point N to the
armhole opening. Place the front side seam length (namely 18.2cm,
points A, B on the front) from point O on the waist line up to the line namely: 62 – 18.41 = 43.59cm. Add 1cm to this length corresponding
descending from point N to obtain point Q and the new side seam to the required excess value on elbow level, namely: 43.59 + 1 =
(points O, Q). 44.59cm. Place a marker 44.59cm below point Q’, the armhole
opening to obtain point T (passing through point R even if it is not
2. Draft a perpendicular to the side seam from point Q. Place the front
exactly in the continuity of points Q’ and T).
measurement (points B, C’, namely 8.1cm) on the new side seam
from point O to obtain point R, where the gusset starts. From point 4. From point T, trace a right angled perpendicular to the Q’, T line
R, join point M in a straight line. Place the measurement taken on for the back sleeve end width, namely: 25/2 = 12.5 + 0.5 = 13cm (take
the front for the gusset length, namely: 12.7cm (points C’, E) on the an average width of 25cm and halve it to work per half pattern piece.
straight line from point R to obtain point S. Then add 0.5cm for the front-back proportional difference).
You might have to slightly modify the armhole curve to join point S. Place 13cm from point T to obtain point U.
On tracing paper (Diagram n°4b), outline points R, Q and S so that
you can reproduce them in identical fashion but on the other side of
the R, S line. Point Q’ is obtained.

3. Now find the arm position. From point R, trace a straight line
corresponding to the measurement of the reference arm length minus
the sleeve cap depth, on a 45° angle to the horizontal waist line,

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Diagram n°5

Y 7,5
V

Maintain 27
excess value
Center back SG

M N
W X
Cross line
18,41
20,8

S
34,5

Q
34
Bust Q’ (35 - 1)

Back

R
Maintain
5,5 excess value

16,59

Z
17,09 5,5
Waist (16,59 + 0,5)
O
29,5

U
U’

Diagram n°5
1. Determine the sleeve volume. Using a setsquare, place the sleeve
T
cap depth (18.41cm), from shoulder point downwards, using points V
and Q’ to position the setsquare. Point W is obtained as shown. Now
place the back sleeve width, namely 20.8cm from point Q’ to obtain
point X. The back sleeve width = points Q’, X. Join points U and X in
a straight line, representing the upper sleeve and extend the line
beyond point X. Now join lines Y, V and U, X with a French curve to
soften the outline on shoulder level. Place notches also on shoulder point as the excess value is
positioned on the back pattern piece. Place one 7.5cm below point Y
2. Place notches for the sleeve assembly. Place one 17.09cm below
and another one 27cm above the 34.5cm notch.
point Q’ (point Z), corresponding to the elbow length, remembering
There is 0.5cm more between the back notches than between those
that 0.5cm has been added to the initial front measurement of
of the front.
16.59cm for excess value on elbow level. Place two notches, each one
5.5cm either side of point Z (elbow length).
There is 1cm more between these notches than between those on the
front so that gathers can be placed between the two back notches to
ease in 1cm of excess value and create a bent sleeve.

3. Place a notch 34.5cm below point V, corresponding to elbow

length. The back value is 34.5cm as it includes the excess value
required on shoulder point level (34 + 0.5cm = 34.5cm).
This excess value can go from 0.5 to 1cm depending on the fabric
used.

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KIMONO SLEEVE WITH INSET GUSSET (KNIT WEAR OR LOOSE GARMENT BASE PATTERN)
D Cross line
J
I

A P Bust

A’
Diagram n°6

Center front SG
C Front

C’

Waist
X
B
X
Ease out X
G
X
G’ X
X Diagram n°6b
F’
Y
V
F TR ACING PAPER
Center back SG

Up
Maintain

pe
excess value

rs
lee
ve
Back
Cross line M X
U’

W
Front T

S F’
Up
pe
Bust
Q rs
lee
ve
Q’
bottom sleeve
Back G’

R
Maintain
excess value

Z
Waist

U
U’

Diagram n°6 T

1. Rectify the sleeve end. Reproduce the measurement taken on

the front from point G’ to the 34cm notch, namely 29.5cm for this
example, on the back upper sleeve. Point U’ is obtained.

2. Use tracing paper (Diagram n°6b) to assemble the front and back
at the under sleeve seam, placing point F’ on point T and respecting
the right angles at points G’ and U’. Draft the new sleeve end on
tracing paper using a French curve and then dot and redraw it on
your paper outline.

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Cross line
Diagram n°7 J
I
The front

E
A P Bust

A’

Front

Center front SG
C

C’

Waist
B
X
B’
X

Ease out X

G’ X
X

F’

Diagram n°7b

TR ACING PAPER

Diagram n°7
1. Once the front and back outlines have been made, adjust the waist
line. Outline center front, the waist line up to point B and then the side
seam with point C’ on tracing paper (Diagram n°7b).
Center front SG

2. Move onto the back side seam (points O, R) and outline the waist
ack

Front
Back line once again up to center back. Using a French curve, and still on
te r b

tracing paper, soften the angle on side seam level. Points B’ and O’
C en

O B
are obtained.
O’ B’

3. Dot the curves onto the appropriate part of your paper outline and
redraw all the curves section by section.

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 KIMONO SLEEVE WITH INSET GUSSET (KNIT WEAR OR LOOSE GARMENT BASE PATTERN)
Y
V
Center back SG

Maintain
excess value

Cross line X
M
W Diagram n°7
The Back
S

Bust Q

Q’

Back
R Maintain
excess value

Z
Waist
O
O’

U’

CONSTRUCTING THE GUSSET

Diagram n°8
Diagram n°8
1. To find out the width to apply for the gusset, join the following
10,9 front and back sections: points A, E, C’ and Q, S, R, assembling them
at the side seams: points A, C’ for the front and points Q, R for the
S Ae E back. Take into account the measurement between points S and E:
1,4 A in this example 10.9cm.
Q
2. On a separate sheet of paper, trace a symmetrical axis. On either
Back Front
side of the vertical axis, place half the S, E value found, namely:
10.9/2 = 5.45cm. Points Aa and Ab are obtained.
From each of these points, place the gusset opening measurement,
obtained on the front and also reproduced on the back, on either
side of the vertical, namely 12.7cm in this example (to be reproduced
four times as shown for a balanced gusset). Points Ac and Ad are
R C’ obtained.
Draft straight lines to join up the four points (Aa, Ac, Ab, Ad), like in
Diagramn°10 P.147.

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Cross line
D
J
I

E
A P Bust

A’
Front

Center front SG
0,5
C’’ = 13,6 0,5

C’ C’’’ = 14

Waist
B
X
B’
X
Ease out X
X Y
G’ V
X
Diagram n°9
Center back SG

X
Maintain
F’ excess value

Cross line M X
W

Bust Q

Q’

Back
R’’ = 13,6
R’ = 14 Maintain
excess value
R
Z
Waist
O
O’

U’

Diagram n°9
1. When assembling, the gusset is quite tricky to insert. To make T
it easier, a slight modification will be brought to the front and back
outline where the gusset opening has been planned. On the front
at point C’, trace a line at right angles with the C’, E line and then
place a marker 0.5cm either side of point C’. Join these two points in
3. Move onto the back and place the 14cm measurement from point
a straight line at point E and extend the line up to the side seam line
S so that it cuts the side seam at point R’. Now place the 13.7cm
on one side and the under sleeve on the other, to obtain points C’’’
measurement from point S so that it cuts the under sleeve at point R’’.
and C’’ respectively. For this example, a measurement of 13.7cm is
It is possible that the 0.5cm x 2 opening-up carried out on the
obtained between points C’’ and E and 14cm between points C’’’, E.
front has not impacted the back but this is of no consequence.
2. This difference between the two seams is of no importance. The most important thing for perfect assembly is respecting the
However, it is important to keep these same measurements for the measurements already fixed for the gusset opening.
back and in identical fashion.

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 KIMONO SLEEVE WITH INSET GUSSET (KNIT WEAR OR LOOSE GARMENT BASE PATTERN)
Diagram n°10 Diagram n°11

Ac’ Ac’
Ac

13,7

SG
13,7
SG

13,7 13,7

SG
SG

Sleeve Sleeve

12,7 12,7 2,8

Af

Aa 5,45 5,45 Ab Aa Ab

Back Front
Ag

12,7 12,7
Gusset
Body Body
14 14 14 14

Ad
Ad’
Ad’

Diagram n°10 Diagram n°11

1. Once the changes have been made, do not forget to modify 1. When constructing the gusset, you may find there is too much
the gusset’s side lengths. The gusset width does not change fabric under the arm. To reduce this surplus, a pointed arch or ogive
and so points Aa and Ab can still be used to place the new 14cm can be created in the middle of the gusset between points Aa and Ab.
measurement below to obtain point Ad’ and the 13.7cm above to
2. To find out how much to extract, measure the distance between
obtain point Ac’.
points A, Ae and Q, Ae on your outline, namely 1.4cm for this example
2. Despite efforts made, assembly will remain tricky at points E and (see Diagram n°8 P.145). Place this value on either side of the
S as there is literally no seam allowance value. The solution is to horizontal axis of the gusset to obtain points Af and Ag, and trace
stitch a piece of fabric (same fabric as garment or organza…) to the right-angled lines to the vertical axis at these points. Use a French
front and back right side facing, before cutting the gusset opening. A curve to trace four identical curves to form the pointed arch as shown.
seam allowance value will thus be created once the fabric is flipped
3. The gusset can be cut in two different ways:
over to wrong side facing.
- At 45° or on the true bias for a gusset that has greater ease but is
more difficult to assemble.
- On the vertical axis to keep the gusset on grain.

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Cross line

Diagram n°12
E

P Bust

Gusset
Ac’

Center front SG
Front
C’’

SG
C’’ Sleeve Sleeve
C’

SG
Waist
Aa Ab
X
B’ Back Front
X
Ease out X Corps Corps
Ac’
G’ X
X
X

SG
Ad’
SG

F’
Af
Aa Ab
Y
Ag
Center back SG

maintain
excess value
Gusset
Ad’
Cross line

Bust

Back
R’’
maintain
R’ excess value
R

Waist

O’

U’
Diagram n°12
The final outline of the kimono sleeve has been obtained.
For the gusset, there are two possibilities:
- The simple gusset T
- The gusset with a pointed arch (ogive).

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Diagram n°13

Center back SG
Cross line

Back

Center front SG
P
Bust

Front

Waist

X
X
Ease out X
X
X
X

Diagram n°13
1. For a balanced assembly and to prevent the garment from twisting,
once the front and back outlines have been constructed, make sure
the back and front upper sleeve slopes are the same. This will also
guarantee that once you cut in real fabric, stripes and checks (when
used) align properly.

2. In this example, the front and back upper sleeve seams are parallel
on the outline which means they will also be once cut in fabric.

3. Although the precision of this construction will minimize the

risk of sleeve seam imbalance, the seams could still twist once the
construction if finished.
To rebalance even more, use the same technique as in the kimono
sleeve with inset gusset that starts from the bodice base pattern.

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KIMONO SLEEVE WITH

IN-ONE GUSSET AND RAGLAN
SEAM
For this kimono sleeve with a raglan seam, there is no longer an
inset gusset but a gusset cut in one piece with the sleeve and body
volume. Consequently, there is no need for a seam between the
sleeve and the body to obtain the gusset volume, though there
will be a raglan seam between sleeve and body. To construct this
new base, use the kimono with inset gusset base pattern with the
balanced sleeve as your starting point.

Firstly, outline the front and back of the kimono with inset gusset
and the balanced sleeve(P.110). It is necessary to outline the entire
base pattern side seam (points B and J on the new outline), as well
as the points reproduced on the left and right of the gusset opening
(points B’ and J’).

Front

Back

Technical drawing

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 KIMONO SLEEVE WITH IN-ONE GUSSET AND RAGLAN SEAM
CONSTRUCTING THE FRONT

F
Diagram n°1
F’ E
8

Cross line
G
3

Center front SG
B C

B’

A Bust

Front

X
Waist
X

X
Ease out X

X
X
X

Diagram n°1
1. The outline (points A, B, C) has been reproduced on the right of These values are theoretically estimated in function with the type of
the A, C line and in this process, essential for determining where the garment being made, namely:
armhole opens on the body and sleeve of the garment, point B’ has - 2 to 4cm for blouses, shirts and dresses
been obtained. This point (B’) will become the armhole opening of - 3 to 5cm for suits
the sleeve. - 4 to 6cm for blouson jackets and parkas
- 5 to 7cm for coats
2. Now form the raglan shaping according to the style aimed at.
The bigger the garment, the more this value will increase because the
For this example of a fairly classic raglan, join points D and E at the
armhole opening becomes lower and lower as a model gets bigger.
neckline and then find the halfway mark between the two points to
obtain point F. From point F, trace a perpendicular to the D, E line that 3. Trace the raglan curve between points F’ and G using a French
cuts the neckline at point F’ as shown. curve. Rectify very slightly the armhole opening curve (points B, G)
Look for a tangent to the A, C line (corresponding to the initial gusset so that it moves smoothly into point G.
opening) that will help you form the raglan curve. Extend the A, C line
4. As the raglan curve is on a bias, it could easily distort. Place a
beyond point C and then from point B, create a parallel to the base
notch 8cm below point F’ on the curve and another one at point G.
pattern bust line and place a line 3cm above it to form another parallel
as shown. This parallel cuts the extended A, C line at new point G. The
3cm measurement will bring ease and comfort to the model.

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Diagram n°2

F’ E

Cross line

G
C

Center front SG
B
SG

B’

P
A Bust

Front

5 19,42

X
Waist
Ease out
X

X
X
X
X

H 45,42

Diagram n°2
1. The under sleeve is at present made up of broken lines (points B’, 2. Once the under sleeve seam has been rectified, the angle at point
A, and A, H). Join points B’ and H in a straight line and then reposi- B’ in relation to the new seam will also need correcting. Then rectify
tion the notches on the under sleeve seam: place two notches, each the armhole opening curve (points B’, G) very slightly so that it moves
one 5cm either side of elbow length, 19.42cm from point B’. Once smoothly into point G. Make sure this curve is exactly the same length
the seam has been formed, check the under sleeve length has not as previously defined between points B and G.
changed. It should measure 45.42cm. Rectify if necessary.
3. Before separating the sleeve from the body, do not forget to trace
a SG on the sleeve as shown.

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 KIMONO SLEEVE WITH IN-ONE GUSSET AND RAGLAN SEAM
Diagram n°3

F’

SG

G
Cross line
G

Center front SG
Front B
B’
sleeve

P
Bust

Front

Ease out X Waist

X
X
X
X

Diagram n°3
Reproduce the body and sleeve outlines separately on a new sheet of
paper, marking the necessary notches for accurate assembly.

The final front outline for the kimono sleeve with in-one gusset has
been obtained.

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CONSTRUCTING THE BACK

Diagram n°4

M
N
L
N’

12
Center back SG

Maintain
0.5cm excess value

Cross line

O
I
3

J
J’
Bust

Back K
Maintain 1cm
excess value

Waist

Diagram n°4
1. As for the front, the outline (points I, J, K) has been reproduced on
the left of the K, I line and point J’ has been obtained. This procedure
is essential for determining where the armhole opens on the sleeve
and body of the garment.
Point J’ will become the armhole opening of the back sleeve.

2. Now form the raglan shaping. As for the front, in fairly classic 3. Use a French curve to trace the raglan curve between points N’
raglan mode, join points L and M and find the halfway mark between and O.
the two points to obtain point N. Trace a perpendicular to the L, M line Rectify the armhole opening curve very slightly so that it moves
down from point N to cut the neckline at point N’. Look for a tangent smoothly into point O.
to the K, I line (corresponding to the initial gusset opening) that will
4. Place a notch on the raglan curve to facilitate assembly and
help you form the raglan curve. Extend the K, I line beyond point I,
prevent twisting (being on the bias, the risk of twisting for this curve
and then from point J create a parallel to the base pattern bust line
is increased). Position a notch 12cm below point N’ on the curve and
as you did for the front. From this parallel, place aline 3cm above it
place another one at point O.
to form another parallel that cuts the K, I line (representing the initial
gusset opening) at point O as shown.

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 KIMONO SLEEVE WITH IN-ONE GUSSET AND RAGLAN SEAM
Diagram n°5

M’
N’’
N R’
M R
L
N’
Center back SG

Q
Maintain
0.5cm excess value

Cross line

O
I
J

J’
Bust

K
Back
Maintain 1cm
excess value

Waist

Diagram n°5
1. It is preferable to move the shoulder blade dart to the seam
between the body and sleeve. Bisect the dart first of all and then
Diagram n°5b
shorten it so that it intersects with the raglan curve (point Q). Redraw
the shortened dart that is now completely inside the sleeve section
(points R, Q, R’). TR ACING PAPER

2. Now this dart can be moved to the seam between body and sleeve.
On tracing paper (Diagram n°5b), reproduce the following sleeve M
section: points Q, N’, M, R. From point Q, pivot the first dart leg onto R
N’
the second so that point R is placed over point R’.
Dot the traced outline to obtain the sleeve in one single piece: points
M’, R’, S, T, K, J’, O, Q, N’’.
Due to the change of position of the shoulder blade dart, a slight
angle may form on the shoulder, in which case the shoulder slope Back shoulder Q
will need rectifying.

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N’’ M’
N R’ Diagram n°6
L M R
N’
Center back SG

Q Maintain
0.5cm excess value

Cross line

O
I
J

J’
Bust
SG

K
Back
5,5 Maintain 1cm
excess value

19,92
5,5

Waist

47,42
T

Diagram n°6
The under sleeve is presently made up of broken lines. Join points J’
and T in a straight line and then reposition the notches on the under
sleeve seam: place two notches, each 5.5cm on either side of elbow
length, 19.92cm from point J’.

1. Once the seam has been formed, check the under sleeve length
has not changed. It should measure 47.42cm. Rectify, if necessary.

Before separating the sleeve from the body, do not forget to trace a
SG on the sleeve, as shown.

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 KIMONO SLEEVE WITH IN-ONE GUSSET AND RAGLAN SEAM
Diagram n°7

M’
N’’

N’
L
Maintain
Q 0.5cm excess value
Center back SG

Cross line Back

O
sleeve
O

J’
SG
J

Bust

Maintain 1cm
excess value
Back

Waist

Diagram n°7
Reproduce the body and sleeve outlines separately on a new sheet of
paper, without forgetting to mark the notches for accurate assembly.
For the sleeve, there is still an angle at point Q, due to the shoulder
blade dart pivot. Rectify this curve by either straightening it or using
a French curve, depending on the correction.

The final back outline for the kimono sleeve with in-one gusset has
been obtained.

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KIMONO SLEEVE WITH IN-ONE

GUSSET AND YOKE SEAM

There is no inset gusset for this kimono sleeve. It is cut in one with
the volume shared between the sleeve and the garment body.
It is therefore necessary to have a seam between the body and the
sleeve so that the gusset volume can be created.
Start from the kimono sleeve with in-one gusset and raglan seam
base pattern in which the sleeve has been balanced.
Firstly, outline the front and back body and sleeve of this base
pattern joined at the raglan seam. For this new base, the idea is to
create a seam between the sleeve and body in the form of a yoke
as illustrated.
The shape of the yoke is to be chosen on stylistic grounds and
depending on the style aimed at.

Front

Back

Technical drawing

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 KIMONO SLEEVE WITH IN-ONE GUSSET AND YOKE SEAM
CONSTRUCTING THE FRONT

Diagram n°1

A’
A

9 D

Cross line C
E

Center front SG
Front B’
sleeve
P
Bust
SG

Front

X
Waist
X
X
Ease out X
X
X
X
Diagram n°1
1. Once the sleeve and body have been joined at the raglan seam
(points A, B joined to points A’, B’ up to the notch at point E), start
to position the yoke seam. For this fairly classic example, draft a
horizontal 3cm above the cross line (point C) to obtain point D.
Place a notch on the horizontal 9cm from point D.

2. Using a French curve, trace the yoke curve between point E

(corresponding to the tangent line previously placed 3cm from point
B when creating the kimono with in-one gusset and raglan seam,
P.151) and the notch 9cm from point D.

Before separating the sleeve from the body, do not forget to place a
SG on the sleeve.

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Diagram n°2

Center front SG
Front
sleeve

D’
SG

E’
D

C
Cross line
B’
E
B

Center front SG
P
Bust

Front

X
X
X
Ease out X
X Waist

X
X

Diagram n°2
Reproduce the body and sleeve outlines separately on a new sheet of
paper, without forgetting to mark the notches for accurate assembly.

The final outlines of the front body and sleeve have been obtained.

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CONSTRUCTING THE BACK

Diagram n°3

F’

M F
Center back SG

K
Maintain
I 0.5cm excess value

3 9 L

H Cross line

Back
G sleeve

G’
Bust

Maintain 1cm
Back excess value

Waist

Diagram n°3
1. As for the front, after joining the sleeve and body at the raglan 3. For the shoulder blade dart, previously shifted to the raglan seam,
seam (points F, G joined to points F’, G’ in the section between the two it is preferable to move it to the seam between the sleeve and body
notches as shown), start to position the yoke seam. For this example, (the yoke seam). To do this, trace a line from point K at the bottom of
as for the front, draft a horizontal 3cm above the cross line (point H) the dart to the yoke curve. Point L is obtained.
to obtain point I. Place a notch on the horizontal 9cm from point I.

2. Using a French cur ve, trace the yoke cur ve between point J
(corresponding to the tangent line previously placed 3cm from point
G when creating the kimono with in-one gusset and raglan seam) and
the notch 9cm from point I.

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Diagram n°4

M’ F’’ F’
M
F
ac k
C enter b

K Maintain
I’ 0.5cm excess value
L’
I
L
H
Cross line
SG

6
J
Center back

Back
G sleeve
G’
Bust

Maintain 1cm
Back
excess value

Waist

Diagram n°4 Diagram n°4b

1. On tracing paper (Diagram n°4b) outline the following section:
points K, L, I, M, F and then from the bottom of the dart (point K)
TR ACING PAPER
pivot this section so that point F moves onto point F’. New points L’,
I’, M’, F’’ are obtained.
F
M
2. A little dart has formed (points K, L, L’) in the process of closing the
shoulder blade dart. In this example, the dart is of 0.3cm.
Center back SG

3. This little dart is going to be transformed into excess value. For

this, place a notch 6cm above the notch at point J on the yoke seam. K
The excess value will be divided between this notch and the notch
9cm from center back.
I L

Before separating the sleeve from the body, do not forget to place a
SG on the sleeve.

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 Diagram n°5

KIMONO SLEEVE WITH IN-ONE GUSSET AND YOKE SEAM

M’ F’’ F’

ack
C enter b
Maintain
0.5cm excess value
K
Maintain 0,3cm
I’ excess value
L’ L
Center back SG

I
Cross line
J’
Back
H sleeve

SG
J G’

Bust À maintenir
Embus 1 cm
Back

Waist

Diagram n°5
1. Reproduce the body and sleeve outlines separately on a new
sheet of paper, without forgetting to mark the notches for accurate Diagram n°6
assembly.
The final outlines of the back sleeve and body have been obtained.
2. Once the sleeve has been separated from the body, correct the
yoke curve with a French curve at points L and L’ (where the dart
formed).

M’
ack
C enter b

Maintain 0.5cm
excess value

I’ Maintain 0.3cm
excess value
Center back SG

I
Cross line
J’
Sleeve
H Back
G’
SG

Maintain 1cm
Bust
excess value
Back

Waist

Diagram n°6

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KIMONO SLEEVE WITH

HALF-GUSSET INSET
ON THE SLEEVE
For this kimono construction a half-gusset is inset on the sleeve.
The other half is provided by the front and back of the garment
body in the form of a side piece. This means the sleeve and body
are still cut as one piece, with an upper and under sleeve seam.
The principle is to have the half-gusset on the sleeve and the side
piece on the body.
To construct this new base, use the kimono sleeve with inset gusset
base pattern, where the sleeve has been balanced, as your starting
point.

Front

Back

Technical drawing

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 KIMONO SLEEVE WITH HALF-GUSSET INSET ON THE SLEEVE
CONSTRUCTING THE FRONT

Diagram n°1

Cross line

Center front SG
P

D Bust

Front

X A
3 B
Waist
X

Ease out X

X
X
X

Diagram n°1
Move the side seam (point A) in for the creation of the side piece. For
this example, move in by 3cm to obtain point B as shown.
Join point B to point C (corresponding to the top of the gusset
opening) in a straight line. Section A, B, C, D (the front side piece)
will join the gusset area under the horizontal axis and shift its
position to the garment body.

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Diagram n°2 SG
SG

Diagram n°2b

TR ACING PAPER
D
C

A B
D

A B

Diagram n°2
1. To assemble the side piece and half gusset, outline the base
pattern gusset without any increases. The four sides of the diamond
should therefore measure 11.4cm.

2. Once the front side piece (points A, B, C, D) has been outlined

on tracing paper (Diagram n°2b), place it on the right of the vertical
axis, with point A at the bottom of the vertical and point C right at
the top as shown.

Once this piece has been positioned, it might not be on a perfect

vertical but this is of no consequence. It is important however, to
respect the bottom width (points A, B) as well as the position of point
C at the very top of the gusset.

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 KIMONO SLEEVE WITH HALF-GUSSET INSET ON THE SLEEVE
CONSTRUCTING THE BACK

Diagram n°3
Center back SG

Maintain
0.5cm excess value

Cross line

Bust

Back H

Maintain 1cm
excess value

Waist

F 3 E

Diagram n°3
As for the front, determine the back side piece, applying in identical
fashion a value of 3cm from the side seam (point E) to obtain point F.
Join point F to point G (corresponding to the top of the gusset
opening) in a straight line.

Section E, F, G, H (the back side piece) will join the gusset area under
the horizontal axis and shift its position to the garment body.

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Diagram n°4

Diagram n°4b

TR ACING PAPER
SG

G
SG

G C

H D

Gusset

F E

F E A B

Figure n°4
1. Once the back side piece has been outlined on tracing paper 2. Replacing half the gusset by a side piece will facilitate assembly
(Diagram n°4b), place it on the left of the vertical axis with point G as seam allowances can be added everywhere. Angles C on the front
right at the top as shown. and G on the back remain a sensitive zone when assembling but
less so than before. As for the kimono sleeve with inset gusset, it is
Once this piece has been positioned, it might not be on a perfect possible to stitch a piece of fabric (right side facing) to create seam
vertical but this is of no consequence. It is important however, to allowances to incorporate these angles.
respect the bottom width (points E, F) as well as the position of point
3. The gusset can be cut on grain (SG) or on the true bias, depending,
G at the very top of the gusset.
knowing that the bias adds ease and comfort of movement but is
trickier when assembling.

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 KIMONO SLEEVE WITH HALF-GUSSET INSET ON THE SLEEVE
Cross line

Center front SG
C

P
Bust

D
Diagram n°5 Front

X B Waist
X
Ease out X
X
X
X
Center back SG

Maintain

SG
0.5cm excess value
SG

Cross line G C

G Gusset

Bust

Back
H
Maintain 1cm
excess value F E A B

Waist
F

Diagram n°5
The final outlines for the front, back and half-gusset inset on the
kimono sleeve have been obtained.

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KIMONO SLEEVE WITH GUSSET

HALF INSET ON THE BODY

In this construction, a half-gusset is inset on the garment body,

meaning that the sleeve and body are still cut as one piece, with an
upper and under sleeve seam.
The other half is provided by the front and back of the sleeve, crea-
ting a sort of side piece. The principle is to have the half-gusset on
the body and the side piece on the sleeve. The sleeve will therefore
be made up of three pieces: the front and back sleeve (cut in one
with the garment body) and the side piece (cut separately).

To construct this new base, use the kimono sleeve with inset gusset
base pattern, where the sleeve has been balanced, as your starting
point.

Front

Back

Technical drawing

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 KIMONO SLEEVE WITH GUSSET HALF INSET ON TH BODY
CONSTRUCTING THE FRONT

Diagram n°1

Cross line

P Bust

5 Front

Center front SG
G
5 A
19,42
X (35 - 15,58)

X
Waist
X
Ease out X

X
X
C
X
F
1 B
D 27
2
(62 - 15,58 = 46,42 cm)
B’ (46,42 - 19,42 = 27 cm)

Diagram n°1
1. Reproduce the front outline of the kimono sleeve with inset gusset 3. The initial sleeve end curve cuts the D, E line at point F, from which
(P.135). The sleeve hem will be different here because of the side point 1cm will be gained when the under sleeve is eased out. For the
piece. In the base pattern, the front under sleeve, to be eased out upper sleeve, keep the initial sleeve-end curve (points F, C).
with an iron for a better hang, was 1cm shorter (46.42 – 1 = 45.42cm).
4. Reposition the elbow line notch, at right angles to the D, E line,
2. Extend the under sleeve seam by 1cm to obtain 46.42cm (remember continuing through from point A to obtain point G (the new elbow
that the notch, point A, designating elbow length, is located line notch). Place two notches, each one 5cm either side of point G.
19.42cm from the armhole opening). From point A, place the forearm
measurement, namely: 46.42 – 19.42 = 27cm to obtain point B’.
From point B, located at 45.42cm, we have moved down by 1cm to
obtain point B’.
From point B’, reproduce the sleeve end curve (points B, C), and then
also from point B’, move in by the value of the side piece width (for
this example 2cm) to obtain point D. From point D, draft a straight
line upwards to the top of the gusset opening (point E).

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CONSTRUCTING THE BACK

Diagram n°2
Center back SG

Maintain
0.5cm excess value

Cross line

Bust

H Maintain 1cm
Back excess value
0,5

5 M
M’
I’ 5 5,5
I
19,92
0,5
Waist
21,7

O
21,7
N
K
1,5
Diagram n°2 27
(46,42 - 19,42 = 27 cm) J
2 N’

1. Outline the back of the kimono with inset gusset and balanced
sleeve.

2. From point H, redefine the under sleeve seam, suppressing the 4. From point J, trace a right-angled perpendicular in preparation of
angle on elbow level, so that a straight line for the under sleeve the side piece width on the back pattern piece. As for the front, place
is maintained to facilitate assembly with the gusset and the front 2cm in width from point J on the perpendicular to obtain point K.
section. From point K, draft a straight line up to the top of the gusset opening
(point L).
3. As for the front, the sleeve hem will be impacted by the side piece.
Up to now in the construction, the back under sleeve was 1cm longer 5. Reposition the elbow line notch, at right angles with the K, L line,
to maintain excess value on elbow level in order to bend the sleeve continuing through from point I’ (base pattern elbow line notch) to
slightly for a better hang (46.42 + 1 = 47.62cm). obtain point M (the new elbow line notch). On the side piece, place
However, the sleeve needs to be reduced as it will now be attached two notches, each one 5cm either side of point M as shown.
to the gusset Consequently, shorten the under sleeve seam to obtain
6. Now that the back side piece has been traced, apply a 1.5cm
the base pattern measurement of 46.42cm (point I representing
difference (already applied on the kimono sleeve with inset gusset to
the elbow line placed 19.92cm from the armhole opening (19.42
balance the front and back upper sleeves) to help curve the bottom of
+ 0.5 = 19.92cm). This means that the 1cm excess value has been
the under sleeve attached to the body by the side piece.
suppressed, allowing the front to be attached to the back.
Move in (to the right) by 1.5cm from point K, staying on the
So that the front and back align perfectly, raise the elbow notch on
perpendicular started at point J, to obtain point N.
the front (point I) by 0.5cm to obtain point I’. From point I’, place the
forearm measurement (from elbow to wrist), namely:
46.42 – 19.42 = 27cm to obtain point J.

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 KIMONO SLEEVE WITH GUSSET HALF INSET ON TH BODY
Diagram n°3
The Front

Cross line

P Bust

Front

Center front SG
G

A
X

X
Waist
X
Ease out X

X
X
C
F X

D F’
D’
B’

Diagram n°2 (continued) Diagram n°3

7. To develop the excess value required at elbow level (upper sleeve), 1. Adjust the sleeve end, paying attention to the markings placed for
place a marker 0.5cm below point M to obtain point M’. where the sleeve must be eased out with an iron.
Join point M’ to point N to break up the seam (points L, M’, N). Use a
2. On tracing paper (Diagram n°3b) assemble the under sleeve seams
French curve to soften the angle obtained at point M’. On the upper
of the front and back.
sleeve and at right angles with the L, M line, place a notch 5.5cm
above the M’ notch. This notch corresponds to the notch positioned 3. Start by outlining the back upper sleeve (point O), then point N’
at 5cm on the side piece. Place another notch 5.5cm below point M’, and lastly the notch positioned at 5.5cm. Move this notch onto the
at right angles with the M’, N line as shown. notch positioned at 5cm on the back side piece and outline points
The value of 5.5cm has been chosen in order to have a total excess K, J and I’.
value of 1cm to maintain on elbow level. Now measure the length Take the front and fix points I’, J onto points B’, A and then outline
obtained between the 5cm notch below point M and point K on the point D with the notch at point G. Move point D to point F and outline
side piece = 21.7cm. From the 5.5cm notch on the upper sleeve, place point C and the front upper sleeve.
the same value to obtain point N’.
4. Draft the sleeve-end curve with a French curve and then dot the
modifications onto the corresponding sections on your outline. Use
The value to maintain between notches, namely 1cm, has also been
the French curve to redraw each section. New points K’, N’’, F’ and
represented.
D’ are obtained.

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Diagram n°3
The back
Center back SG

Maintain
0.5cm excess value

Cross line

Bust

H
Back Maintain 1cm
excess value

M’

I’

Waist

Diagram n°3b
N’’
TR ACING PAPER K’
N’
K
J
Up
pe
rs

I’
lee
ve

A
Back
G
Un
de
Un rs
de lee
rs ve
lee
ve
O

N’’
Up Front
pe
rs
lee J
ve K’
D N’
K
F B’

Sleeve-end adjustment prior F’ D’

to creating under sleeve
side piece
C

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 KIMONO SLEEVE WITH GUSSET HALF INSET ON TH BODY
Diagram n°4

Cross line

P Bust

Front

Center front SG
G

X Waist

Ease out X
X
X
C
X

F’ Diagram n°4b
Center back SG

Maintain
0.5cm excess value TR ACING PAPER TR ACING PAPER

E
L
Cross line
Front Back

Bust

Back Maintain 1cm

excess value
H I’
A

M’

Waist

N’’

Diagram n°4 J K’
D’ B’
Detach sections E, D’, B’, A for the front and L, K’, J, I’, H for the back
(Diagram n°4b) from the sleeve in order to join them to the gusset.

The front and back outlines, with the aforementioned sections

extracted, have now been obtained.

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Diagram n°5

Diagram n°5
Outline the gusset and symmetrical axis used in the kimono with Q
inset gusset base pattern (points Q, R, S, T).

SG
SG
Diagram n°6 T R

S Inset gusset as used

in kimono sleeve base
SG

pattern
SG

T R
E L

I’
A Diagram n°6
1. Keep exclusively the top part of the gusset above the R, T
horizontal , then take the back and front sleeve sections and fix them
to the half-gusset.

2. To do so accurately, place point E of the front on point T of the

gusset and align point B’ with the vertical line of the axis (points
Q, S). Do the same with point L of the back placing it on point R of
the gusset, and then align point J with the vertical line of the axis
(points Q, S).
You will notice that the under sleeve seams do not align with this
axis and that points B’ and J are no longer on the same level. This
is normal given the evolution of the under sleeve (balanced base
pattern sleeve).

3. The under sleeve seam disappears in this new construction.

J 4. The gusset can be cut on grain (SG) or on the true bias, knowing
B’ K’ that the bias will enhance ease and movement but will be more
D’ difficult to assemble.

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 KIMONO SLEEVE WITH GUSSET HALF INSET ON TH BODY
Diagram n°7
1. After creating the half-gusset with side piece on the sleeve, make
one last adjustment to the sleeve end.
On tracing paper (Diagram n°7b) assemble each piece (front upper
sleeve, front side piece, back side piece and back upper sleeve) and
rectify the sleeve’s hem curve using a French curve.
New points F’’, D’’, B’’, J’, K’’ and N’’’ are obtained.

2. Reproduce each curve section on the front, back and side piece
sections of your outline.
Cross line

P
Bust

Front

Center front SG
G

X Waist

Ease out
X
X
X
C
X
Center back SG

F’’
F’
Maintain
0.5cm excess value

Cross line

L
Diagram n°7

Bust

Back H Maintain 1cm

excess value

M’

Waist

N’’

N’’’

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Diagram n°7

Q
SG

T R
E L
Diagram n°7b
SG

TR ACING PAPER

Sleeve-end transformation
after creating the half-gusset
Q
SG
SG

T R
E L

Front Back

I’ M’
A
G
Half-gusset plus
Maintain 1cm
side piece
excess value

X
B’’ Ease out
J K’
D’’ X
K’’
D’ J’ X
B’
X

D’’
X K’
N’’
F’’ B’’ J
N’’’ O
K’’
F’ B’
C J’
D’

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 KIMONO SLEEVE WITH GUSSET HALF INSET ON TH BODY
Diagram n°8
1. The final outlines of the front, back and side piece have been
obtained.

2. The fact of having replaced the half-gusset by a side piece will

facilitate assembly as seam allowances can be placed everywhere.
Angles E on the front and L on the back will remain sensitive zones
when assembling but less so than before. Cross line

3. It is possible to stitch a piece of fabric (right side facing), as for

the kimono sleeve with inset gusset, to add seam allowance value to E
reinforce the angles.

P Bust

Front

Center front SG
G

X Waist

Ease out X
X

C X Q
X
F’’
Center back SG

SG

Maintain
0.5cm excess value Diagram n°8 T R
E L

Cross line
SG

Bust

Back Maintain 1cm

excess value
H

M’

Waist

B’’
N’’’ K’’
D’’ J’

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KIMONO SLEEVE WITH INSET

GUSSET ON THE SIDE PIECE
(BODICE BASE PATTERN)
For this kimono, the gusset is inset in a side piece. The sleeve and
body are still cut as one piece with an upper sleeve seam and,
instead of an under sleeve seam, a side seam that travels the entire
length of the garment (body and sleeve) will be created.

To construct this new base, on the hypothesis of creating the same

volume as when constructing the kimono with gusset half inset on the
body, use this base as your starting point and outline the front, back
and half-gusset integrated on the side of the sleeve. The principle of
this new base is to create a side piece on the side of both the back
and front body that continues along the side of the under sleeve. The
sleeve will still be made up of three pieces: the front and back cut in
one with the body and the side piece cut separately.

Front

Back

Technical drawing

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 KIMONO SLEEVE WITH INSET GUSSET ON THE SIDE PIECE (BODICE BASE PATTERN)
CONSTRUCTING THE FRONT

Diagram n°1

Cross line

P Bust

Front

Center front SG

X
A
X B
3 Waist
X

Ease out X

X
X
X

Diagram n°1
Fix a marker on the waist of this outline to start constructing the side
piece on the body. For this example, the value chosen corresponds
to the value used when creating the kimono with half-gusset inset
on the sleeve. From point A, move in by 3cm and join new point B to
point C at the top of the gusset opening.

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CONSTRUCTING THE BACK

Diagram n°2
Center back SG

Maintain
0,5cm excess value

Cross line

Bust

Maintain 1cm
excess value
Back

Waist

E 3 D

Diagram n°2
Carry out the same procedure as on the front to construct the side
piece on the body.
From point D, move in by 3cm and join new point E to point F at the
top of the gusset opening.

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 KIMONO SLEEVE WITH INSET GUSSET ON THE SIDE PIECE (BODICE BASE PATTERN)
Diagram n°3

SG
Gusset SG

Half-gusset on the body

Diagram n°3
Reproduce the half-gusset of the kimono sleeve with half-gusset
inset on the body.

Diagram n°4
C
A

SG
SG Gusset B
E

F Half-gusset on the sleeve

Diagram n°4
As the transformations are the same for the half-gusset inset on the
body are the same as those for the sleeve, outline the same half-
gusset for the sleeve.

Diagram n°5
H

SG Side piece B
E
SG

F
Side piece with inset gusset
G

Diagram n°5
1. To form the side piece with inset gusset, assemble the two half- 3. The resulting piece can be cut in two different ways:
gussets (from the sleeve and the body). On the true bias, which will enhance ease and movement but prove
more difficult when assembling (avoid checked and striped fabrics).
2. Trace a symmetrical axis and on the left of the vertical (points G,
- On grain (SG) to facilitate assembly.
H) place first of all the first half-gusset (inset on the sleeve). Then on
the right of the same vertical (points G, H) assemble the second half-
gusset (inset on the body) to the first one as shown.

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Diagram n°6
The front

Cross line

P Bust

Front

Center front SG
X

X
Waist
X

Ease out X

X
X
X

Diagram n°6
1. Outline the front and back (without the parts of the side piece
suppressed on the body) and side piece.

2. The fact of replacing the gusset by a side piece greatly facilitates

assembly as seam allowances can be placed everywhere. The angles
(point C on the front and point F on the back) remain a sensitive zone
when assembling but less so than before as there is more width,
making seam allowances possible. It is still possible to stitch a
piece of fabric right side facing, as for the kimono sleeve with inset
gusset, to reinforce the angles.

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Diagram n°6
The back
Center back SG

Maintain
0,5cm excess value

Cross line

Bust

Maintain 1cm
Back excess value

Waist

SG Side piece
SG

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PATTERN MAKING
FLAT-PATTERN DRAFTING

KIMONO SLEEVE WITH INSET GUSSET

ON THE SIDE PIECE (KNITWEAR /
LOOSE GARMENT BASE PATTERN)
For this kimono sleeve, the gusset is inset in a side piece. The sleeve
and body are still cut in one with an upper and under sleeve seam.
A part of the front and back sleeve and a part of the front and back
body will be fixed to the gusset, creating a side piece. To construct
this new base, use the kimono sleeve with inset gusset outline that
corresponds to the knitwear/loose garment base pattern.

Front

Back

Technical drawing

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 KIMONO SLEEVE WITH INSET GUSSET ON THE SIDE PIECE (KNIT WEAR / LOOSE GARMENT BASE PATTERN)
Diagram n°1

Cross line

P Bust

Center front SG
Front
B

Waist

Maintain
excess value
Cross line
E
A
1
A’
Bust
Center back SG

Back

D
Maintain
excess value

Waist

C’
1 C

Diagram n°1b

TR ACING PAPER

Diagram n°1
Redefining the sleeve end B D

1. On the front, add 1cm to the under sleeve seam (points A, B) to

obtain point A’. After transforming, the fabric will be eased out along Sleeve-end adjustment
this seam between the sleeve and side piece by the initial easing out before separation from
the side piece
value of 1cm.

2. On the back, subtract 1cm from the under sleeve seam (points
C, D) to obtain point C’. After transforming, the 1cm excess value to
maintain (as per initial value) will be along this seam between the
sleeve and side piece. Front Back

3. Using tracing paper (Diagram n°1b), outline the front sleeve end
(points B, A’, E) and then move the front under sleeve seam onto the
back under sleeve seam. Outline the back sleeve (points D, C’, F).
Draft the new curve with a French curve and then dot and redraw it A’ C’
E F
on your front and back outlines.

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PATTERN MAKING
FLAT-PATTERN DRAFTING

CONSTRUCTING THE FRONT

Diagram n°2

Cross line

P Bust

Front

Center front SG
B
O’

O
Waist

G H
4,5

J
A
3,5
A’

Diagram n°2
Place markers on this base
1. On the waist, for constructing the side piece on the garment body,
move in by 4.5cm from point G to obtain point H. Join point H to point I,
representing the top of the gusset opening.

2. On sleeve-end level, for constructing the side piece on the sleeve,

move in by 3.5cm from point A’ to obtain point J. Join point J to point
I, representing the top of the gusset opening.

3. Place a notch (point O’) at right angles with the I, J line, continuing
through from the initial notch at point O as shown.

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CONSTRUCTING THE BACK

Diagram n°3

Maintain
excess value

Cross line

Bust
Center back SG

Back Maintain
5,5
D excess value
5
Q’ Q’’
5,5
5
Q
Waist

L
K
4,5

N
3,5

C’
C

Diagram n°3
1. Proceed as for the front to create the side piece, namely: 3. For the sleeve (directly above the side piece) move the Q’ notch
- On the waist, for constructing the side piece on the garment body, down by 0.5cm to obtain point Q’’ and then place two notches, each
move in by 4.5cm from point K to obtain point L. Join point L to point one 5.5cm either side of the point Q’’ notch. The top one is directly
M, representing the top of the gusset opening. level with the side piece notch positioned at 5cm from point Q’.
- On sleeve-end level, for constructing the side piece on the sleeve,
move in by 3.5cm from point C’ to obtain point N. Join point N to
point M, representing the top of the gusset opening.

2. Place a notch (point Q’) at right angles with the M, N line, continuing
through from the initial notch at point Q as shown. Place two notches
on the side piece, each one 5cm either side of the point Q’ notch.

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PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°4

TR ACING PAPER TR ACING PAPER TR ACING PAPER TR ACING PAPER

I M
I
M

D D

B B

Q Q’
O’ O

G H L K

Back body
Front body

N
C
J A’
Back sleeve
Front sleeve

Diagram n°4b

Diagram n°4 R

1. Outline the four pattern pieces constituting the side piece: points
B, G, H, I – B, O, A’, J, O’, I – D, M, L, K – D, M, Q’, N, C’, Q.
U S
2. Outline also the gusset (Diagram n°4b) used in the kimono sleeve
with inset gusset outline (points R, S, T, U), corresponding to the
knitwear/loose garment base pattern.
T

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 KIMONO SLEEVE WITH INSET GUSSET ON THE SIDE PIECE (KNIT WEAR / LOOSE GARMENT BASE PATTERN)
Diagram n°5
1. Place the four pattern pieces on either side of the axis as follows: 2. Ideally, if the fabric allows it, cut this piece on the true bias for
- Front sleeve: place point A’ on the vertical line of the axis and point enhanced ease, although assembly will prove more difficult in this
I on point R of the gusset case and so avoid checked and striped fabrics. It is nonetheless
- Back sleeve: place point C’ on the vertical line of the axis and possible to cut this piece on grain (SG) depending on your criteria.
point M on point T of the gusset. Because of transformations to
the outline, the two parts overlap by about 1cm but this is of no
consequence.
- Front body: place point G on the vertical line of the axis and point I
on point R of the gusset
- Back body: place point K on the vertical line of the axis and point M
on point T of the gusset.

Figure n°5

I R
O’ H
J
U
A’ D G
SG B

C’ D S K

N
Q’ L
T M
SG

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PATTERN MAKING
FLAT-PATTERN DRAFTING

Cross line

P Bust

Front
Diagram n°6

Center front SG
O’

Waist

J’
J 1

Diagram n°6
1. Outline the front and back without their corresponding side pieces
on a new sheet of paper.

2. Position the area that will need to be eased out on the front,
Maintain
placing a marker 1cm above point J to obtain point J’. On the back,
excess value
add 1cm for excess value on elbow level, placing a marker 1cm below
Cross line point N to obtain point N’.

Bust

Back
Center back SG

Maintain
excess value

Q’’

Waist

N
1
N’

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Cross line

P Bust

Diagram n°7 Front

Center front SG
X O’
X
Waist
X
Ease out H
X

E X
J’’

J’
J

Diagram n°7
1. Establish the definitive curve for the sleeve end on tracing paper
(Diagram n °7b) by assembling all the corresponding pieces:
- The front sleeve (points E, J’), the front side piece (points J, A’)
- The back side piece (points C’, N)
- The back sleeve (points N’, F).
Maintain Align points J and J’ and then points N and N’.
excess value
2. Use a French curve to draft the new curve. New points J’’ and N’’
Cross line are obtained.
Dot and redraw each curve section on your front, back and side piece
outlines.

Bust

Back
Center back SG

Maintain
excess value

Q’’

Waist

N’’

N
N’

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Diagram n°7

SG
I R
O’ H
J’ J

A’ SG Side piece G

C’ K

N N’
Q’ T M L

Diagram n°7b

TR ACING PAPER

Sleeve-end adjustment after separation

from the side piece
Diagram n°8
1. The final outlines of the front, back and side piece have been
obtained.

2. The fact of replacing the gusset by a side piece will greatly

facilitate assembly as seam allowances can be placed everywhere.
The angles at point I on the front and point M on the back remain a
sensitive zone when assembling but less so than before as there is
more width. It is still possible to stitch a piece of fabric right side
facing, as for the kimono sleeve with inset gusset, to reinforce the
angles.
Front Back

N’’
J C’
J’
A’ N N’
J’’ F
E

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Cross line

P Bust

Center front SG
Front

O’
X

X Waist

H
Ease out X
X
X
E X

Maintain J’’
excess value

Cross line

M Diagram n°8
Bust

Back
Center back SG

Maintain
excess value

Q’’

Waist

N’’
SG

O’ I R
H
J’

Side piece
A’ SG G
C’ K

N’
L
Q’ T M

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3 MÉTHODE dp studio

BUSTIERS
 VOLUME 3 CONSTRUCTING BASE PATTERNS
WOMENSWEAR CLOTHING KIMONO SLEEVES – BUSTIERS –
PATTERN MAKING BLOUSON JACKETS – KNITWEAR
FLAT-PATTERN DRAFTING – DRESSES – COATS – SLEEVES
– HOODS – SWIMWEAR

Contents

p 198 Basic bustier with shoulder strap seams

p 204 Bustier with pointed front hem

p 214 Balcony bustier

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PATTERN MAKING
FLAT-PATTERN DRAFTING

BASIC BUSTIER WITH SHOULDER

STRAP SEAMS

This construction is for a classic bustier with front and back shoulder
strap seams. To make it, outline the front and back of the bodice
base pattern (with one waist dart) separately.
Depending on the exact style aimed at, it is possible to outline the
bodice with two waist darts. It is also possible to start from the five-
piece bodice to make a bustier with an added side piece.

Front

Back

Technical drawing

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 BASIC BUSTIER WITH SHOULDER STRAP SEAMS
Diagram n°1

Center back SG

Cross line Cross line

21,75 - 1 = 20,75 D A 23,75 - 1 = 22,75

Bust D’ 1 A’ P Bust
1

Back Front

Center front SG
16,25 - 0,5 = 15,75 0,5 0,5 18,25 - 0,5 = 17,75
Waist E’ E B B’ Waist

Large hips
23,5 - 1 = 22,5 C 25,5 - 1 = 24,5 Large hips
F
F’ 1 1 C’

Diagram n°1
1. Firstly, extract the ease volume added in the bodice base pattern Measurements obtained for the bustier:
construction as this bustier will be closer to the body. Extract as - Bust = 87, 87/4 = 21.75cm, namely: front + 1 = 22.75cm and
follows, per quarter bodice: 1cm from the bust (points A and D), back – 1 = 20.75cm
0.5cm from the waist (points B and E) and 1cm from the large hips - Waist = 67cm, 67/4 = 16.75cm, namely: front + 1 = 17.75cm and
(points C and F). back – 1 = 15.75cm.
- Large hips = 94cm, 94/4 = 23.5cm, namely: front + 1 = 24.5cm
2. Extract the above values from the front and back side seams as
and back – 1 = 22.5cm.
shown to obtain points A’, B’, C’ and D’, E’, F’ respectively. Redraw
the side seams with a ruler above the waist and with a French curve
below the waist, with the arch placed downwards.

Reference measurements used for the bodice:

- Bust = 87cm + 4cm ease = 91cm, 91/4 = 22.75cm, namely:
front 23.75cm and back 21.75cm (proportional difference applied)
- Waist = 67cm + 2cm ease = 69cm, 69/4 = 17.25cm, namely:
front 18.25cm and back 16.25cm (proportional difference applied)
- Large hips = 94cm + 4cm ease = 98cm, 98/4 = 24.5cm, namely:
front 25.5cm and back 23.5cm (proportional difference applied).

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Diagram n°2
Center back SG

Cross line I, J = 1,9 cm Cross line

I, K = 2,85 cm J
K
H
I

P G
D A
D’ A’ 1
2 Bust Bust
M
L
Back Front

Center front SG
E B
Waist E’ B’ Waist

Large hips
Large hips
F C
F’ C’

Diagram n°2
1. Define the neckline position on the front, namely 7cm above the 3. On center back, place a marker 2cm below the bust line to
bust line (point G) for this example. Point H is obtained. Trace a indicate the bottom of the back neckline. Point L is obtained. Place a
horizontal from point H across and beyond the front as shown. The perpendicular from this point at right angles with center back.
horizontal cuts the shoulder dart and indicates its width as 1.9cm
4. On center front, place a marker 1cm below the bust line to indicate
(value between points I and J, the first and second dart legs). To
where the neckline ends. Point M is obtained.
determine the dart value of the bustier, multiply this value by 1.5cm,
namely: 1.9 x 1.5 = 2.85cm.

2. Place this value from the first dart leg (point I) on the horizontal
to obtain point K. Use a French curve to draft the bust curve between
points P and K.

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 Diagram n°3

BASIC BUSTIER WITH SHOULDER STRAP SEAMS

Q
K J H
I

R’ R
P G
D A
Bust O D’ A’ Bust M
L N

Back Front
Center back

Center front SG
Y Z E B
Waist E’ B’ Waist

Large hips
Large hips
F C
F’ C’

Diagram n°3b

TR ACING PAPER

Diagram n°3 K Q
R’ I G
1. Define the sweetheart neckline shape on tracing paper (Diagram L
O D’
R
M
N Bust B ust
n°3b). Outline center front with point M and the bust line. A’ line
p seam

P
2. Outline the first leg of the front shoulder dart next (from point P
Center back

P
am

Ce

up to and beyond point I).

Side se

n te
Back shoulder stra

Front
r fr

3. From bust point (point P), pivot the first leg of the shoulder dart
o nt
SG

onto the second, by slowly sliding it up to point K, 2.85cm farther up Back

E’ B’
than point I. You will notice that the first dart leg (points P, I) is shorter
than the curve drafted for the side front panel (points P, K) but it is Neckline adjustment
of no importance as the point to really take into account for the low
neck outline is K.

4. Outline the front side seam (points B’, A’ and beyond point A’) 7. Draft the neckline curve with a French curve, passing through
with the bust line. points M and K. Dot the curve on the corresponding sections of your
front and back outlines and then redraw it.
5. Move the tracing paper onto the back, placing the front side seam
The following points are obtained:
over the back side seam (points E’, D’ and beyond point D’). Outline
- On the back: points L and O
the bust line, the second leg of the waist dart from point Z to the top.
- On the side back panel: points N and R’
6. Move the second leg onto the first (point Y) and outline the back - On the side front panel: points R and K
up to center back with point L (2cm below bust line). - On the front: points Q and M.

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Diagram n°4

Q
K J H
I

R’ R
A P
D G
Bust O D’ A’ Bust
L N M
6
2,27 2,27
S
U T
Center back

Center front SG
0,6 0,6
SG

SG

Y Z W V
E B
Waist E’ B’ Waist
SG

Back

Side back Side front Front

panel panel

Large hips
F Large hips
C
Aa F’ C’ X

Diagram n°4
1. Draft another horizontal 6cm below bust line (point G) to obtain 5. Below the waist, once the SG of the waist dart has been extended
point S. down to the large hip line (point X), redraw the two dart legs down to
point X using a French curve.
2. Starting from the SG of the waist dart, place a value that will
If necessary, adjust the hem line where the dart touches it. Outline
help you trace a curve perfectly adapted to the bust shape. Use the
the hem and first dart leg (points V, X) and then move onto the second
following formula:
leg (points W, X) to outline that part of the hem. Soften the angle ob-
1/10 of one quarter of the bust measurement + 1cm, namely:
tained, dot the modification onto your outline and redraw the curves.
[(87/4) + 1]/10 = 22.75/10 = 2.27cm.
For this example, it will not be necessary.
3. On the horizontal starting at point S, place this value of 2.27cm
6. Proceed in the same manner for the back waist dart. Descend the
either side of the waist dart’s SG to trace the bust curve. Use a
dart’s SG down to the large hip line (point Aa). Trace the new dart legs
French curve, passing through points T and U and joining bust point
(points Y, Aa and Z, Aa) using a French curve.
on a tangent. For the front, stay on a tangent with the first leg of the
shoulder dart (points P, Q).

4. On the first and second legs of the front waist dart, above the
waist line (between points V, P and W, P), find the halfway mark of
each leg and from there trace 0.6cm perpendiculars to the dart legs
as shown. Redraw the dart legs, starting from points V and W, on
the waist line, curving the legs more by passing through the 0.6cm
markers and using the French curve with the arch placed upwards
as shown. Approach the bust curves already in place on a tangent.

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 BASIC BUSTIER WITH SHOULDER STRAP SEAMS
Diagram n°5

Q
K J H
I

R’ R
P
D A G
Bust O D’ A’ Bust
N M
L

S
U T
Center back

Center front SG
SG

SG

Y Z W V
E B
Waist E’ B’ Waist

SG
Back
Frontl
Side front
Side back
panel
panel

Large hips
F C Large hips
Aa F’ C’ X

Diagram n°5
1. Use a French curve to soften the angles on the dart legs of the back 2. Separate each piece to obtain the final outlines of the front, side
waist dart and on center back at waist level, as well as those formed front panel, side back panel and back (Diagram n°5b).
at points B’ and E’ at waist level.

Q
K
I

R’ R
P
O N D’ A’
L Bust M

Side back Side front

Back panel panel Front

Y Z E’ B’ W V
Waist
Diagram n°5b
SG

SG

SG
Center back

Center front SG

Aa Aa F’ C’ X’ X Large hips

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PATTERN MAKING
FLAT-PATTERN DRAFTING

BUSTIER WITH POINTED

FRONT HEM

This construction is for a bustier with front and back seams, and a
pointed front hem. The two front seams either side of center front
taper down towards the point and there is also a seam on the two
side front panels. To make it, outline first of all the bodice base
pattern with one waist dart, separating the front and back.
Depending on the style aimed at, it is possible to outline the bodice
with two waist darts or the five-piece bodice.

Front

Back

Technical drawing

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 BUSTIER WITH POINTED FRONT HEM
Diagram n°1

Center back SG

Cross line Cross line

21,75 - 1 = 20,75 D A 23,75 - 1 = 22,75

A’ P
Bust D’ 1 1 Bust

Back Front

Center front SG
0,5 0,5
16,25 - 0,5 = 15,75 18,25 - 0,5 = 17,75
Waist E’ E B B’ Waist

Large hips
23,5 - 1 = 22,5 F C 25,5 - 1 = 24,5 Large hips
F’ C’
1 1

Diagram n°1
1. Firstly, extract the ease volume added in the bodice base pattern Values obtained for the bustier:
construction as this bustier will be closer to the body. - Bust = 87cm, 87/4 = 21.75cm, namely: front + 1 = 22.75cm
and back – 1 = 20.75cm
2. Extract as follows, per quarter bodice: 1cm from the bust (points A
- Waist = 67cm, 67/4 = 16.75cm, namely: front + 1 = 17.75cm
and D), 0.5cm from the waist (points B and E) and 1cm from the large
and back – 1 = 15.75cm
hips (points C and F). Extract the aforementioned values from the
- Large hips = 94cm, 94/4 = 23.5cm, namely: front + 1 = 24.5cm
front and back side seams (points A’, B’, C’ and D’, E’, F’ respectively).
and back – 1 = 22.5cm.
Redraw the seams above the waist with a ruler and below the waist
for the hips with a French curve, arch placed downwards as shown.
Reference measurements for the bodice:
- Bust = 87cm + 4cm ease = 91cm, 91/4 = 22.75cm, namely:
front 23.75cm and back 21.75cm (proportional difference applied)
- Waist = 67cm + 2cm ease = 69cm, 69/4 = 17.25cm ,namely:
front 18.25cm and back 16.25cm (proportional difference applied)
- Large hips = 94cm + 4cm ease = 98cm, 98/4 = 24.5cm, namely:
front 25.5cm and back 23.5cm (proportional difference applied).

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Diagram n°2
Center back SG

1,9
Cross line Cross line
I, J = 1,9 cm
I, M = 3,85 cm M J I
H

P G
D A
2 D’ A’ 1
Bust Bust
O
N
Back Front

Center front SG
E B
Waist E’ B’ Waist

10

L K
1,5

Large hips
Large hips
F C
F’ C’

Diagram n°2
1. Define the neckline position on the front, namely 7cm above the 3. Now establish the position of the pointed front shaping. Place a
bust line (points G, H) for this example. Trace a line from point H that marker 10cm below the waist line on center front to obtain point K.
extends across and beyond the front horizontally. The horizontal cuts From this point, trace a 1.5cm perpendicular to center front to obtain
the shoulder dart and indicates its width as 1.9cm (value between point L.
points I and J, the first and second dart legs).
4. Join points L and P in a straight line. Place the dart value previously
2. To determine the dart value of the bustier, multiply this base calculated (3.85cm) from point I to obtain point M. Use a French curve
pattern value by 1.5cm and then add 1cm, namely: (1.9 x 1.5) + 1 = 2.85 to draft a harmonious curve for the bust between points P and M.
+ 1 = 3.85cm. The added centimeter is required as there will be two
5. On center front, to indicate where the neckline ends, place a
waist darts rather than one, placed differently. This modification will
marker 1cm below bust line (point G) to obtain point O. On center
open up the neckline too much and so use the dart above bust line to
back, place a marker 2cm below bust line (new point N) to indicate
make the bustier closer to the body. This value of 1cm is an estimated
where the back neckline ends. Place a perpendicular at point N, at
value and can vary depending on the morphology of the wearer.
right angles with center back.

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 BUSTIER WITH POINTED FRONT HEM
Diagram n°3

M’
M H
J I

Q’ Q
A P
D G
Bust R D’ A’ Bust
S O
N 6
Back Front
2,27 x 2 = 4,54 cm V U T
Center back

Center front SG
E B
Waist E’ B’ Waist

L K

Large hips
Large hips
F C
F’ C’

Diagram n°3
1. Use tracing paper to draft the low neckline shape (Diagram n°3b). 4. Draft the sweetheart neckline curve with a French curve, passing
through the perpendicular at point N via point M to create an even
2. Outline center front with point O and then the front seam (points P
curve. Dot the curve onto the corresponding parts of your paper and
and I). From bust point (P) pivot the front seam, sliding it slowly to the
then redraw it. Points Q and Q’ are obtained on the sides, points R
top of the bust curve at point M, 3.85cm from point I. You will notice
and S on the back at the top of the waist dart and point M’ where the
when outlining that point I is positioned before point M but this is of
first front seam begins.
no consequence as the curve will subsequently be defined from point
M, changing the position of point I. Point M’ will be obtained. 5. Draft another horizontal 6cm below bust line (point A’) to obtain
point T, on center front. The horizontal cuts the seam previously
3. Outline the side front panel with the bust line. Move the tracing
traced at point U.
paper onto the back so that the front side seam (points A’, B’) is
placed over the back side seam (points D’, E’). Outline the bust line
and second leg of the waist dart. Shift the second leg onto the first
and outline the back up to center back and point N.

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Diagram n°4

Diagram n°3 (continued)

6. As for the basic bustier, use the following formula to calculate the
position of a marker that will allow you to trace the bust curve below
bust line, without forgetting to multiply this value by two, as in this
outline the value is only placed once, namely:
1/10 of one quarter of the bust measurement + 1cm, namely:
M’
[(87/4) + 1]/10 = (21.75 + 1)/10 = 22.75/10 = 2.27cm, 2.27 x 2 = 4.54cm. M
H
J I
7. Place the 4.54cm on the horizontal from point U. Point V is
obtained. Use a French curve to draft the bust curve between points V
and P, approaching point P on a tangent so that the first curve carried Q
out earlier between points P and M is respected. A P G
A’ Bust
O
Front
V U T

1,2

Center front SG
Diagram n°3b
W X Z Y
TR ACING PAPER B B’ Waist
3,5 1,75

N Bu
st

L K
ck

M
r ba

D’ A’
n te

H
Ce

Back I

P G
C Large hips
P
Front Bust C’
O
E’
B’
Center front SG

Diagram n°4
1. Halve the waist dart value so that two darts can be constructed on
the front, the second dart forming the other seam. From 3.5cm, the
waist dart (points W, X) is reduced to 1.5cm (points Y, Z) as shown.

2. Join points L and Z using a French curve, arch placed downwards.

3. Join point Z to point P in a straight line and then halfway along this
line place a 1.2cm perpendicular. Use the French curve to help you
curve the second side of the seam, passing through the 1.2cm marker
and approaching the L, Z and P, V curves on a tangent.

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 BUSTIER WITH POINTED FRONT HEM
Diagram n°5

M’
M
H
J I

Q’ Q

A P
D G
Bust D’ A’ Bust
N S O
R
Back
V U T
Center back

Front

Center front SG
W X Z Y
Waist E’ E B B’ Waist
3 3
0,5 0,5
6 Aa
Ab’ Ab
Aa’
Ac

L K

F C X
F’ C’

Diagram n°5
Define the hemline shape
1. On the front side curve, place a marker 3cm below waist line (point 3. On center back, place a marker 6cm below waist line to obtain
Aa). Move in from this point by 0.5cm to extract a little side width and point Ac.
obtain point Aa’.
4. Place right-angled perpendiculars at points Ac, Ab’ and Aa’ and
2. As for the front, on the back side curve, place a marker 3cm below use a French curve to trace the provisional hem curves.
waist line (point Ab). Move in from this point by 0.5cm to extract a
little side width and obtain point Ab’.

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PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°6

M’
M
H
J I
Af

Q
Ae
5,5
P Diagram n°7b
A G
A’ Center Bust
O
front
panel TR ACING PAPER
V U T
Side front Front
panel
Center front SG

k
ac
rb
n te

Ap
Ce

Center front SG
Ad W
ais
6,5 t An
1,75 W X Z Y Al
B Ac
B’ Ah Ai Waist E’ B’
Ao’ Ah Ai Y
Am’
Aa Ak Ao
Am
Aa’ Z’ Waist
Aa’ Aj Ab’ Aj’
Ak’
Aj
Ag
Ak
0,8 0,8

K K
L L’

C
C’

6. To form this dart, join points Af, Ai, Ag, Ah in straight lines.
Subsequent to creating this seam, point Af may need adjusting.
Diagram n°6 Do so on tracing paper, if necessary but for this example, there has
been little impact on the neckline curve.
1. Place the axis of the second front dart (that will form a seam in the end).
7. On the hem curve at point Ag, suppress the ease value in order to
2. Move in from point B’ on the waist line for 6.5cm to obtain point Ad.
obtain a closer fit when worn. Suppress 0.8cm on either side of point
3. Move in from point A’ on the bust line for 5.5cm to obtain point Ae. Ag, for this example: points Aj and Ak are obtained. Redraw the sides
of the new seam between points Ah, Aj and Ai, Ak.
4. Join points Ad and Ae, representing the axis of the second dart, in
a straight line. Extend this axis beyond bust line up to the neckline
curve (point Af) and beyond the waist line down to the hem curve
(point Ag).

5. On waist line level, place half the value of the suppressed waist
dart, namely: 1.75/2 = 0.875cm, either side of the axis to obtain
points Ah and Ai.

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 Diagram n°7

BUSTIER WITH POINTED FRONT HEM

M’
M
H
J I
Af

Q’
Q
Ae
A P
D G
Bust D’ A’ Center Bust
N R S front O
Side back panel
Back panel
V U T
Center back

Side front Front

panel

Center front SG
Ad

Ap An Al W X Z Y
Waist E’ E B B’ Ah Ai Waist
Z’
Aj’ Ak’
Am’ Ab Aa 36,7
Ao’ Ab’ 37,2
Aa’ Aj
Ao Am Ak
Ac
Ag L’
K
L

F C
F’ C’

Diagram n°7
1. Check the length of the two sides of the pointed front hem, before 4. Continue outlining right up to the side seam (points B’, Aa’). Move
finalizing the hem curve. Between points M’ and L, the measurement onto the back by placing the front side seam onto the back side seam
= 36.7cm. (points E’, Ab’) and then outline the second leg of the waist dart (points
Between points M and L, the measurement = 37.2cm. Al, Am). End by closing this dart, placing the second dart leg over the first
There is a difference of 0.5cm between the two measurements. The (points An, Ao) and outline center back (points Ap, Ac). Place right-angled
P, M’ and P, M lengths are the same (8.5cm in this example) and so it perpendiculars at points Ac, Ab’, Aa’ and then use a French curve to draft
is the lower half of the outline that needs to be modified. the definitive hem curve.

2. Measure the length between points P and Y (17.7cm) and repro- 5. Where the second front seam (or side panel seam) intersects
duce this measurement on the other side of the seam from point P with the hem curve, points Aj’ and Ak’ are obtained, and where the
downwards. Point Z’ is obtained. Measure the length between points back waist dart intersects with the hem curve points Ao’ and Am’ are
Y and L (10.5cm) and, as above, reproduce it on the other side of the obtained. Dot and redraw the curve sections on your paper outline.
seam from point Z’ downwards to obtain point L’.

3. Use tracing paper (Diagram n°7b) to finalize the hem curve. Outline
center front with point K, continuing as far as the first leg of the seam
(points L, Y). Close the seam by moving the second leg (points L’, Z’)
progressively onto the first leg (points L, Y) starting from point Z’ so
that point L’ joins point L and creates an apex.
Continue outlining up to the first leg of the side panel seam (points
Ai, Ak) and then move the first leg onto the second leg (Ah, Aj) to
close the seam.

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PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°8

M’
M
Af Af

Q’ Q

D’ A’ A’ P P
R S
N Bust O

Side back
Back Center
panel
front panel U T
Center back

Front
SG

Center front SG
Side front
panel
SG
SG

Ap An Al E’ B’ Ah Ai Z’ Y
Waist Waist

Ab’ Aa’
Ao’ Am’ Aj’ Ak’
Ad

L’ L K

Diagram n°8
Use a French curve to soften the angles obtained on all the front and
back seams, including side seams, and on center back. On the front,
the angle at bust point (point P) will also need softening.

The final outline has been obtained (Diagram n°8b).

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 BUSTIER WITH POINTED FRONT HEM
Diagram n°8b

M’
M
Af Af

Q’ Q

D’ A’ A’ P P
R S Bust O
N
Side back
Back Center
panel
front panel U T
Center back

Front
SG

Center front SG
Side front
panel
SG
SG

Ap An Al E’ B’ Ah Ai Z’ Y
Waist Waist

Ab’ Aa’ 36,7

Aj’ Ak’ 37,2
Ao’ Am’
Ad

L’
L K

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PATTERN MAKING
FLAT-PATTERN DRAFTING

BALCONY BUSTIER

This construction is for a bustier with balcony cups and front and
back seams. To make it, outline first of all the bodice base pattern
with one waist dart, separating the front and back.
Depending on the style aimed at, it is possible to outline the bodice
with two waist darts or the five-piece bodice. In the latter case, the
bodice will also have a side piece.

Front

Back

Technical drawing

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 BALCONY BUSTIER
Diagram n°1

Center back SG

Cross line Cross line

21,75 - 1 = 20,75 23,75 - 1 = 22,75

D A
Bust A’ P Bust
D’ 1 1

Back Front

Center front SG
0,5 0,5
16,25 - 0,5 = 15,75 18,25 - 0,5 = 17,75
Waist E’ E B B’ Waist

Large hips
23,5 - 1 = 22,5 25,5 - 1 = 24,5 Large hips
F C
F’ 1 1 C’

Diagram n°1
1. Depending on the style aimed at, it is possible to outline the Values obtained for the bustier:
bodice with two waist darts or the five-piece bodice. In the latter - Bust = 87cm, 87/4 = 21.75cm, namely: front + 1 = 22.75cm
case, the bodice will also have a side piece. and back – 1 = 20.75cm
- Waist = 67cm, 67/4 = 16.75cm, namely: front + 1 = 17.75cm
2. Extract the illustrated values from the front and back side seams
and back – 1 = 15.75cm
(points A’, B’, C’ and D’, E’, F’ respectively). Redraw the seams above
- Large hips = 94cm, 94/4 = 23.5cm, namely: front + 1 = 24.5cm
the waist with a ruler and below the waist for the hips with a French
and back – 1 = 22.5cm.
curve, arch placed downwards as shown.

Reference measurements for the bodice:

- Bust = 87cm + 4cm ease = 91cm, 91/4 = 22.75cm, namely:
front 23.75cm and back 21.75cm (proportional difference applied)
- Waist = 67cm + 2cm ease = 69cm, 69/4 = 17.25cm ,namely:
front 18.25cm and back 16.25cm (proportional difference applied)
- Large hips = 94cm + 4cm ease = 98cm, 98/4 = 24.5cm, namely:
front 25.5cm and back 23.5cm (proportional difference applied).

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PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°2
Center back SG

Cross line Cross line

I, J = 1,9 cm
I, K = 2,85 cm K J
H
I

P G
D A 1
2 Bust D’ A’ Bust
M
L

Back Front

Center front SG
E B
Waist E’ B’ Waist

Large hips
Large hips
F C
F’ C’

Diagram n°2
1. Define the neckline position on the front, namely 7cm above the 4. On center back, to indicate the base of the neckline, place a marker
bust line (points G, H) for this example. Trace a line from point H that 2cm below bust line to obtain point L. Place a perpendicular at point
extends across and beyond the front horizontally. L, at right angles with center back.

2. The horizontal cuts the shoulder dart and indicates its width as 5. On center front, the base of the neckline is located 1cm below bust
1.9cm (value between points I and J, the first and second dart legs). line for this example. Point M is obtained.
To determine the dart value of the bustier, multiply this base pattern
value by 1.5cm, namely: (1.9 x 1.5) + 1 = 2.85cm.

3. Place the above dart value (2.85cm) from point I, the first dart leg,
to obtain point K. Use a French curve to draft a harmonious curve for
the bust between points P and K, approaching the second leg of the
waist dart on a tangent.

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 BALCONY BUSTIER
Diagram n°3

Q
K J H
I

R’ R

D A P
G
Bust O D’ A’ Bust
N M
L

Back Front
Center back

Center front SG
E B
Waist E’ B’ Waist

Large hips
Large hips
F C
F’ C’

Diagram n°3
1. Use tracing paper to draft the neckline shape (Diagram n°3b). 4. Move the tracing paper onto the back so that the front side seam
Outline center front with point M and the bust line (points G, P). Then (points A’, B’) is placed over the back side seam (points E’, D’ and
outline the first leg of the front shoulder dart (from point P up to and beyond point D’). Outline the bust line and second leg of the waist
beyond point I). dart. Move the second leg onto the first and outline the back up to
center back and point L.
2. From bust point (P) move the first leg of the shoulder dart onto the
second leg, sliding the tracing paper slowly up to point K, 2.85cm 5. Draft the sweetheart neckline curve with a French curve, passing
from point I. Note that the first dart leg (points P, I) is shorter than through points K and M. Dot the curve onto the corresponding parts
the curve drafted between points P, K but this is of no consequence of your paper outline and then redraw it. The following points are
as the important marker to take into account for the neck outline will obtained:
be point K. - The back: points L and O
- The side back panel: points N and R’
3. Outline the front side seam (points B’, A’ and beyond point A’) with
- The side front panel: points R and K
the bust line (points A’, P).
- The front: points Q and M.

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PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°4

Diagram n°3b
Q
TR ACING PAPER K J H
I

R
A P
G
A’ Bust
K Q M
R’ G 6
I
R
O D’ Bust M
L line T U
N A’
Bu
st S
2,27 2,27
Back shoulder strap seam
Center back

Center front SG
Front
am

P
0,4 0,4
Side se

Ce
n te
r fr
o nt

Front
SG

E’ B’
2,5
Back B
B’ V V’ W’ W Waist

Large hips
Diagram n°4 C
C’
1. Draft another horizontal 6cm below bust line (point G) to obtain
point S. From the SG of the waist dart, a value is going to be placed
to help trace the curve mirroring the bust shape. Use the following
formula to work out the value to place: 4. On the first and second legs of the new front waist dart (points V’,
1/10 of one quarter of the bust measurement + 1cm, namely: P and W’, P), above the waist line, trace 0.4cm perpendiculars from
[(87/4) + 1]/10 = (21.75 + 1)/10 = 22.75/10 = 2.27cm. the halfway mark of each leg as shown.

2. Place the 2.27cm either side of the waist dart SG and use a French 5. Use a French curve to redraw the dart legs, curving them. Start
curve to trace the bust curve, joining points T and U to point P on a from the waist line (points V’ and W’), pass through the 0.4cm
tangent. perpendiculars and approach the bust curves (points P, T and P, U on
a tangent, with the arch of the French curve placed upwards.
3. So that two darts can be constructed on the front, reduce the
waist dart value by 1cm in order to constitute the second dart which
will later form a seam. From 3.5cm, the waist dart (points V, W) is
reduced to 2.5cm (points V’, W’) as shown. Trace the new waist dart
(points P, W’, X, V’).

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 BALCONY BUSTIER
Diagram n°5

K Q
J
Af I H

R’ R
Ad
D 5,5 P
A G
Bust O D’ A’ Bust
L N M

Back T U
S
Center back

Center front SG
Front

5,25 Ag 1 Ah
E B
Waist E’ B’ V V’ W’ W Waist
Ac
5
6,5 5
0,5 0,5
6
Aa’ Aa Z Z’
Ab Ae

15

X Y

F C
F’ C’

Diagram n°5
Define the hemline shape
1. On center front, place a marker 15cm below waist line to obtain Join points Ad, Ac and Ae, representing the axis of the second dart,
point Y. On the front side seam curve, place a marker 5cm below waist in a straight line. Extend this axis beyond bust line up to the neckline
line to obtain point Z. From point Z, move in by 0.5cm to reduce the curve (point Af).
side width a little. Point Z’ is obtained.
4. On waist line level, place half the value of the suppressed waist
2. As for the front, on the back side seam curve, place a marker 5cm dart, namely: 1/2 = 0.5cm, either side of the axis to obtain points Ag
below waist line to obtain point Aa. Move in from this point by 0.5cm and Ah. To form this dart, join points Af, Ah, Ae, Ag in straight lines.
to extract a little side width. Point Aa’ is obtained. On center back, In creating this seam, point Af may need adjusting. Do this on tracing
place a marker 6.5cm below waist line to obtain point Ab. paper if necessary. However, for this example, there has been little
Place right-angled perpendiculars at points Ab, Aa’ and Z’ and use a impact on the neckline curve.
French curve to trace the provisional hem curves.

3. Place the axis of the second front dart (that will form a seam in the end).
Move in from point B’ on the waist line for 5.25cm to obtain point Ac.
Move in from point A’ on the bust line for 5.5cm to obtain point Ad.
Move in from point Z’ on the hem curve by 6cm to obtain point Ae.

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PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°6

Diagram n°6b

TR ACING PAPER

Af

Q
K J
P Bust
Af I H

Ai
R Aj
7 Ad
A P
G
A’ Aj Bust Ak Ak’
M
3
Ai

Center front SG
T U
S
Ak Ak’
Center front SG

Front

B Ag Ah
B’ V V’ W’ W Waist
Ac

Z’
Ae

X Y

C
C’ Diagram n°7b

TR ACING PAPER

Diagram n°6
1. Now form the balcony cup shape. On center front, place a marker
3cm below the neckline base (point M) to obtain point Ai. On the side
k
ac

panel seam, place a marker 7cm below point Af to obtain point Aj.
rb
te
en

Ao
2. Outline center front with point Ai and the bust curve (points P, Ak’)
C

W
on tracing paper (Diagram n°6b). From point P, slide the P, Ak’ curve ai
st
Al
onto the other curve (points P, Ak) to finalize the outline, measure Ab
Am
the points Aj and Af.
E’
Ar B’
Ar’ Ag
3. Using a French curve and still on tracing paper, draft the lower Ah W’
curve of the balcony cup. Dot and redraw the two curve portions on V’ Waist
Aa’
your paper outline (points Ai, Ak’ and Ak, Aj). An Z’ Aq’
Center front SG

Aq
The marker placed earlier 6cm below bust line (point S), defining the
Ae Ap’
position of the lower curve, can be moved up or down for a smaller or Ap
deeper cup, depending on the bust size and the style aimed at.

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 BALCONY BUSTIER
Diagram n°7

Q
K J H
Af I
Half-cup
n°2 Half-cup
R’
R Ad n°1
A P G
O D
Bust D’ A’ Aj Bust
L N M
Side front Ai
Side back panel T U
Back panel S
Center back

Ak Ak’

Center front SG
Center Front
front
panel

Al Am Ag Ah
Ao E B
Waist E’ B’ V V’ W’ W Waist
Ac

Ar Ar’ Aq’
Z’ Aq
Ab Aa’
Ae Ap’
Ap

X Y

F C
F’ C’

Diagram n°7
1. Using tracing paper (Diagram n°7b), now finalize the hem curve. 4. Place right-angled perpendiculars at points Ab, Aa’, Z’ and then
Outline center front with point Y and then continue up to the first leg using a French curve, draft the definitive hem curve.
of the waist dart (point W’). Close the dart by moving the first dart leg
5. Where the waist darts and the hem curve intersect, points Ap, Ap’
onto the second leg (point V’).
and Aq, Aq’ for the front and Ar and Ar’ for the back are obtained. Dot
2. Continue outlining up to the first dart leg of the side panel seam and redraw the curve sections on your paper outline.
(points Ah, Ae) and then close the seam by moving the first leg onto
the second leg (points Ag, Ae).
Continue again up to the side seam (points Z’, B’).

3. Move onto the back by placing the front side seam onto the back
side seam (points Aa’, E’) and then outline the second leg of the waist
dart (points Am, An). Now close this dart by placing the second leg
over the first (points Al, An) and outline center back (points Ab, Ao).

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PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°8

Q
K
Af
half-cup half-cup
n°2 n°1
Af P P
Bust M
Aj

SG
R’ R

SG
Ai
D’ A’
O N Ak Ak’
L Aj Aj
Side front Ai
Center back

panel
Ak Ak’
Side back
panel Center

Center front SG
front panel Front
Back
SG

Ao Al Am E’ B’ Ag Ah V’ W’
Waist Waist
SG

SG
SG

Ar’ Aa’ Z’
Ar
SG
Ab Aq’ Aq

Ap’ Ap

Diagram n°8
Separate each of the seven pattern pieces. Use a French curve to
soften the angles obtained on the side seams, those at waist level
on center back and those on other seams.
The final outline has been obtained (Diagram n°8b).

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 BALCONY BUSTIER
Diagram n°8b

Q
K
Af

half-cup half-cup
n°2 n°1
Af P P
Bust M
Aj

SG
R’ R

SG
Ai
D’ A’
O N Aj Ak’
L Aj Ak

Side front Ai
Center back

panel Ak Ak’
Side back Center
panel front panel

Center front SG
Back Front
SG

Ao Al Am E’ B’ Ag Ah V’ W’
Waist Waist
SG

SG
SG

Ar Ar’ Aa’ Z’
Ab Aq
SG
Aq’

Ap’ Ap

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4 MÉTHODE dp studio

JACKETS
 VOLUME 3 CONSTRUCTING BASE PATTERNS
WOMENSWEAR CLOTHING KIMONO SLEEVES – BUSTIERS –
PATTERN MAKING BLOUSON JACKETS – KNITWEAR
FLAT-PATTERN DRAFTING – DRESSES – COATS – SLEEVES
– HOODS – SWIMWEAR

Contents

p 226 Jeans jacket

p 240 Bomber jacket with dropped-shoulder sleeve

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 4 VOLUME 3

JACKETS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

JEANS JACKET

P. 410 | SLEEVE WITH DROPPED SHOULDER

AND ELBOW SEAM
This classic jeans jacket has a front and back yoke, separated by a
shoulder seam. On each side of center front, there are two seams,
forming three panels per half front. The back has only one seam
each side of center back, creating two panels per half back. To
construct this new base, start from the bodice base pattern with
one waist dart.
The volume of the front darts (shoulder and waist) is going to be
shared between the two seams. At the back, the shoulder blade and
waist darts are going to be absorbed into the single seam.

Front

Back

Technical drawing

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 Diagram n°1

JEANS JACKET
1
1
B’ B
C C’

A
Center Back SG

2,5

A’

Cross line Cross line

P
Bust Bust

Back Front

Center front SG
Waist Waist

Grandes hanches
Grandes hanches

Diagram n°1
1. Outline first of all the back and front separately. Decide how much 3. Increase the neck girth for extra comfort when worn. To do this,
volume you want the jacket to have. For this example, the jacket ends outline the front and back neckline on tracing paper (Diagram n°1b).
on small-hip level, namely 10cm below the waist. In relation to the On center front, place a marker 2.5cm below the bottom of the
bodice base, add a total of 6cm extra ease on bust level for this new neckline (point A) to obtain point A’.
base. (Reminder: when constructing the bodice base pattern, a 4cm
4. Move the shoulder top by 1cm (point B on the front and C on the
ease value was added on bust level).
back) to obtain points B’ and C’. Change nothing on center back (point
The total ease value for the bust of this jacket will therefore be 4 +
D). Trace the new neckline curve and then dot and redraw it on your
6 = 10cm.
front and back outlines.
2. On small-hip level, add a total of 4cm extra ease. (Reminder:
the ease value added on small- hip level for the bodice base was
about 3cm). The total ease value for the small hips of this jacket will
therefore be 3 + 4 = 7cm.

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JACKETS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

CONSTRUCTING THE FRONT

Diagram n°2

B’
Diagram n°1b

TR ACING PAPER
E
E’
2
A’
Ce
n te
rB
ac
k

10,8

1,5 Cross line

F
D
F’
C 9,7
C’
G’ 1,5
ou lder B
k sh G
B ac B’ 2
lder
hou
nt s
Fro G’’ P
A
Bust
A’

Front
Center front

Center front SG
K 2 K’
H
Waist

10

J’ 1 J
I

Diagram n°2
1. Apply the changes in volume before carrying out any other
transformations. Lengthen the shoulder by 2cm so that the sleeve
subsequently constructed will be very slightly dropped. Extend the
shoulder by 2cm from point E to obtain point E’.
To allow for this change, extend also the cross line by 1.5cm from
point F to obtain point F’.

2. At the armhole opening (point G), move out by 1.5cm to add one 5. Place right-angled lines at points G’’ and E’ and then draft the new
part of the total extra ease initially decided upon (6/4 = 1.5cm) and armhole curve, using a French curve and passing through the new
obtain point G’. From this point, descend by 2cm as shown to obtain cross line point (F’).
point G’’.
6. Place a notch perpendicular to the new armhole curve, 9.7cm from
3. Place a marker 10cm below waist level (point H) to obtain point I point G’’. From this notch to point E’ the distance measures 10.8cm.
and then draft the I, J horizontal. To add extra ease on seam level, The new front armhole therefore measures: 9.7 + 10.8 = 20.5cm.
extend point J by 1cm to obtain point J’ (4/4 = 1cm). Join points G’’
and J’ in a straight line.

4. Where the G’’, J’ line and the waist line (point K) intersect, move
in for this example by 2cm (point K’) to obtain a little side shaping.
Join points G’’, K’ and K’, J’ in straight lines and then soften the angle
formed at waist level (point K’).

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 Diagram n°3

B’

JEANS JACKET
N
N’

E
E’
A’

M
F

F’
S’ S Q
R
G

G’’ Diagram n°3b

P
O Bust TR ACING PAPER

Front B’
N
N’
Center front SG

E’
1,5
4

A’

Fold line
F’ Cross line M
K K’
H 4
Waist

SG
R S’
G’’ S
Q 3

Center front
O

L
P
J’ J
I

K’

Diagram n°3 Diagram n°3c

1. Now elaborate the yoke line. To trace it, outline the following
section, the upper part, on tracing paper (Diagram n°3b) and close
B’
the shoulder dart: points L, M, A’, B’, N, P, N’, E’, F’, G’’, O, K’ (point L N
corresponding to the intersection between bust line and center front, N’
and point O to the intersection between bust line and the side panel E’
points G’’, K’).

2. In this example, the bottom of the yoke will be placed 4cm below
the cross line (point M on center front). Point Q is obtained. A’
Trace a perpendicular to center front from this point and obtain point
Center front SG

R where the perpendicular intersects with the armhole and points S

and S’ where it intersects with the closed shoulder dart. Cross line
F’ M
3. Reproduce the yoke on a separate sheet of paper (points Q, M, A’,
B’, N, N’, E’, F’, R, S’, S) (Diagram n°3c).
R S’ S Q
4. Take the traced section (Diagram n°3b) and reproduce the bottom
yoke line on your front outline (points Q, R). To do this, place the
traced section on bust line and center front (points P, L, Q), dot the
section of the line up to the first leg of the shoulder dart (points Q,
S), re-open the shoulder dart and dot the section between points S’
and R.

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Diagram n°4

B’
N
N’

E
E’
A’

M
F 1,05
F’ 1,05 2,1 6
6 T’’ Q
X’ S T’
S’ T
R X’’
X
G
Diagram n°4
G’’
1. Now share the shoulder and waist dart volume between the two
Z P V L
seams about to be elaborated. O Center Bust
For the moment, define the position of these seams on the front: Side front front panel
- First seam: at the top, start it 6cm in from point Q (point T) and at panel Front
the bottom, 7cm in from point I (point U). Join points T and U in a
straight line. Where the seam intersects with bust line, point V is

Center front SG
obtained and point W where it intersects with the waist line.
- Second seam: at the top, start it 6cm in from point R (point X) and
at the bottom, 13cm in from point I (point Y). Join points X and Y in
a straight line. Where the seam intersects with bust line point Z is
obtained and point Aa where it intersects with the waist line.
Aa W
2. To find out the dart value to place on each of these seams,
calculate as follows: K K’ Aa’’ Aa’ W’’ W’
H
- For the shoulder dart on the yoke line, measure the distance 1,25 1,25 Waist

left between points S and S’, namely 2.1cm. Place half this
measurement on each seam, namely: (2.1/2) = 1.05cm and halve
the measurement again to place the halfvalue either side of each
seam, namely: 0.525cm (1.05/2) either side of points T and X to 1,2
obtain points T’ and T’’ for the first seam and points X’ and X’’ for
J’ J Y’’ Ab’ Ab U’
the second. I
Y’ U’’ 7
- For the waist dart on the waist line, the bodice base dart value is 13
3.5cm. Reduce this by 1cm to make the front less fitted, namely:
3.5 – 1 = 2.5cm. Incorporate this value in the two seams. Halve it 0,6 0,6
to share between the two seams, namely: 2.5/2 = 1.25cm and then Y U
halve it again the place the half-value either side of each seam
(points W and Aa), namely: 1.25/2 = 0.625cm. Points W’ and W’’ for
the first seam are obtained and points Aa’ and Aa’’ for the second.
- For the waist dart on the hem line, measure the distance left between
points Ab and Ab’, namely: 1.2cm. Halve this measurement to
share it between the two seams, namely: 1.2/2 = 0.6cm and halve
this measurement again to place the half-value (0.3cm) either side
of each seam (points U and Y). Points U’ and U’’ are obtained for
the firsts eam and Y’ and Y’’ for the second.

3. Use straight lines to trace each seam:

- First leg of the first seam, points T’, V, W’, U’
- Second leg of the first seam, points T’’, V, W’’, U’’
- First leg of the second seam, points X’, Z, Aa’, Y’
- Second leg of the second seam, points X’’, Z, Aa’’, Y’’.

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 JEANS JACKET
Diagram n°5

B’
N
N’

E
E’
A’

M
Diagram n°5b F

F’ T’’
X’ S’ S Q
TR ACING PAPER X’’ T’
T
R
X
G

S’ S
T’’ T’
G’’
R X’ Q
Z P V L
X’’
SG

G’’
O Center Bust
Side front Center front panel Side front front panel
Center front

Front
O panel
panel Front

Z
L

Center front SG
V

Aa W
K K’ Aa’’ Aa’ W’’ W’ H
Waist

J’ J Y’’ U’ I
Y’ U’’
Diagram n°5 Y U
1. After constructing the seams, check that the seams join up with
the yoke seam (between points Q and R) accurately.

2. Use tracing paper to do this (Diagram n°5b). Outline center front

(points H, Q) and then the lines Q, T’ and T’, V. Pivot from point V to
close the first seam (point T’ over point T’’). Continue outlining the
next part (points T’’, S, then S’, X’ and X’, Z). Close the next seam,
placing point X’ over point X’’ and outline the last section (points
X’’, R).

3. Keeping the perpendicular from point Q at right angles with center

front, trace the yoke line with a ruler.
Then, place the tracing paper over your outline, dot and redraw each
section of this new line.

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CONSTRUCTING THE BACK

Diagram n°6

C C’
Aj
D Aj’
Ac
Ac’

2
Center Back SG

10,8

Ak

Ad 1,5
Ad’
Cross line
11,1

Ae
1,5
Ae’
2
Ae’’

Bust

Back

2
Af’ Af Ai’ Ai
1 Waist

10
Diagram n°6
1. As for the front, apply the changes in volume before carrying
out other transformations. Lengthen the shoulder by 2cm so that
Ah the sleeve subsequently constructed will be very slightly dropped.
Ag Ah’ Extend the shoulder by 2cm from point Ac to obtain point Ac’. To allow
1
for this change, extend also the cross line by 1.5cm from point Ad to
obtain point Ad’.

2. At the armhole opening (point Ae), move out by 1.5cm to add one
part of the total extra ease initially decided upon (6/4 = 1.5cm) and
obtain point Ae’. From this point, descend by 2cm as shown to obtain
point Ae’’.
Place a right-angled line at point Ac’ and then draft the new armhole
curve using a French curve. Add 1cm to the waist from point Af to
make center back less fitted. Point Af’ is obtained. Place a marker
10cm below waist level (point Af’) to obtain line Ag, Ah, perpendicular
to center back as shown.

3. To add extra ease on seam level, extend point Ah by 1cm to obtain

point Ah’ (4/4 = 1cm).Join points Ae’’ and Ah’ in a straight line.

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 JEANS JACKET
Diagram n°7

TR ACING PAPER

Back
B ack
shou
lder
Ac’
der
oul
k sh lde
r
B ac hou
Ac’ r o nt s
F
E’

Back cross line

Ad’

Front cross line

F’

Ae’’
G’’

Back
Front

Ai’ K’

Diagram n°6 (continued)

4. Where the Ae’’, Ah’ line and the waist line (point Ai) intersect, move
in for this example by 2cm (point Ai’) to obtain a little side shaping.
Join points Ae’’, Ai’ and Ai’, Ah’ in straight lines and then soften the
angle formed at waist level (point Ai’). Diagram n°7
5. Place a notch perpendicular to the new armhole curve, 11.1cm Assembling the front and back at the side seam on tracing paper as
from point Ae’’. From this notch the measurement left to point Ac’ is shown, now check the armhole.
10.8cm.

The new front armhole therefore measures: 11.1 + 10.8 = 21.9cm.

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Diagram n°8

C C’
D Aj Aj’
Ac Ac’
Ao
An
Ap Ap’

Center back SG on fold

Ak
Ad
Ad’
Cross line

Diagram n°8b Am

TR ACING PAPER Ae

Ae’’

4,5 C’
Al Aj Aj’ Bust
D
Ac’

5 Ao Back

An Ap’
Ap
Center back SG on fold

Ak Ad’

Am

Af’ Af Ai’ Ai
Ae’’ Waist

Af’

Ag Ah’
Ah

Diagram n°8
1. Now create the yoke line. To draft it, outline the upper back section
(points Af’, D, C’, Aj, Ak, Aj’, Ac’, Ad’, Ae’’) on tracing paper (Diagram
n°8b) and close the shoulder blade dart. Diagram n°8c
2. In this example, the yoke’s diagonal line is placed partly in the
neckline, 4.5cm from point D (point Al) and partly in the armhole, 4cm
below the cross line (point Ad’) at new point Am. Trace a line joining C’
D
Center back SG on fold

these two points (see Diagram n°8b for the Al, Am diagonal). Ac’
3. A rounded area is going to be added to the yoke. To create it, place
a marker 5cm below point D on center back (point An). From point An,
trace a parallel to the neckline to meet the Al, Am diagonal. Place a Ao
An
right-angled perpendicular from point An and then trace this curve,
mirroring the neckline 5cm above it.
Where the new curve intersects with the Al, Am diagonal, point Ao Ad’
is obtained.

4. Reproduce the yoke on a separate sheet of paper (points An, D, C’,

Ac’, Ad’, Am, Ao) (Diagram n°8c). Am

5. Use the tracing paper (Diagram n°8b) to reproduce the back yoke
line (points An, Ao, Am) on your back outline.

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 JEANS JACKET
Diagram n°9
A seam is going to be created on the back that starts from the
shoulder blade dart and passes through the existing waist dart.
To do this, join the bottom of the shoulder blade dart (point Ak) to
the top of the waist dart (point Aq). Soften the slight angles that
form at the following points:
Diagram n°9
- Point Ak, on the side back panel (panel n°5)
- Point Aq, on the side back panel (panel n°5)
- Point As on the side back panel (panel n°5)
- Point Aq on the back (panel n°6)
- Point Ar on the back (panel n°6)
C C’
D Aj
Aj’
Ac
Ac’
Ao

An
Ap Ap’
Center back SG on fold

Ak
Ad
Ad’
Cross line

Am

Aq
Ae

Ae’’

Bust

Back Side back

panel

Af’ Af Ar As Ai’ Ai
Waist

Ag Ah Ah’

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Diagram n°10
B’
C C’
D Aj N
Aj’
N’
Ac Ac’
Ao
E
An E’
Ap Ap’
A’
Center back SG on fold

Ak
Ad
Ad’ M
Cross line F
F’
Am S’ T’’
X’ S Q
T’
Aq T
R X’’
Ae X
G
Ae’’ G’’
Z P V L
Bust O Bust
Center
Side front front
Side back panel Front
Back panel
panel

Center front SG
Aa W
Af’ Af Ar As Ai’ Ai K K’ Aa’’ Aa’ W’’ W’ H
Waist Waist

Au’ At’ Ah’’

J’’ Y’’ Y’ U’
Ag Au At Ah Ah’ I
J’ J U’’
Y U

Diagram n°10b
Diagram n°10
1. Adjust the hem line on tracing paper (Diagram n°10b). TR ACING PAPER

2. Outline center front (points H, I) up to the first leg of the first seam Af’
(points W’, U’), close this seam by placing the first leg over the second
k

Ar
(points W’, U’ over W’’, U’’) and then continue outlining up to the first
ac
rB

As
te

leg of the second seam (points Aa’, Y’). Close the second seam by
en

Ag Back
C

Ai’
placing the first leg over the second (points Aa’, Y’ over Aa’’, Y’’) and K’ Aa’’ Aa’
SG

W’’ W’
H
continue outlining up to the side seam (points K’, J’). Au’
At’
Side back
Center front

Au panel Side front

3. Move the front side seam onto the back side seam, placing points At
panel
Center
Front
Ah’’ front
K’, J’ over points Ai’, Ah’ and then continue outlining up to the second J’’ panel
Ah’
leg of the dart that is now in fact a seam (points As, At). Close this J’
Y’’ Y’ U’’ U’
seam, placing points As, At over points Ar, Au, and finish outlining I

up to center back (points Af’, Ag). Soften this segmented line with a
French curve.

4. Check that points Ag and I are still at right angles with center back 5. Dot and redraw this new hem curve section by section. New points
and center front respectively. J’’, Ah’’, At’ and Au’ are obtained. On the front seams, the change at
points U’, U’’, Y’ and Y’’ is minimal and therefore these points will
not be renamed.

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 JEANS JACKET
Diagram n°11

C’
Aj Aj’
D B’
Ac’ N’ N
Center

on fold
back
SG

An Ao E’

Ap
Ap’ A’
Ao

Center front SG
An Ad’
Ap Ap’
Cross line
F M

Am

R S’ S Q
Cross line

Am T’’ T’ Q
X’’ X’
R

Ae’’ G’’
O Z’ Z V’ V L
Bust Bust

Side back Side front Center

Back front panel Front
panel panel
Center back SG on fold

Center front SG
Af’ Ar As Ai’ K’ Aa’’ Aa’ W’’ W’ H
Waist Waist
8,2 10,6 9 5,7
6,1

Ag Au’ At’ Ah’’ J’’

Y’’ Y’ U’’ U’ I
Total taille dos :
Total taille devant :
18,8
20,8

Diagram n°11
1. Separate each piece of the outline, namely: 3. Place notches on the front and back yoke lines: points R, Q for the
- The front n°1 front and Ao, Am for the back to situate the seams of the panels that
- The center front panel n°2 will assembled below.
- The side front panel n°3
4. Check that the front and back volumes tally on waist level:
- The front yoke n°4
- Front: 6.1 + 5.7 + 9 = 20.8cm
- The side back panel n°5
- Back: 8.2 + 10.6 = 18.8cm
- The back n°6
Namely: 20.8 + 18.8 = 39.6cm
- The back yoke n°7
39.6/2 = 19.8cm: front + 1 (19.8 + 1) = 20.8cm and back – 1 =
2. Soften the slight angles formed at waist and bust level of the two (19.8 – 1) = 18.8cm.
seams: points W’, W’’, Aa’, Aa’’, V, V’, Z and Z’. This tallies perfectly as the proportional difference has been taken
into account (+ 1 on the front and – 1 on the back, therefore a 2cm
difference).

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Diagram n°12

C’
D
B’
Ac’
Center

on fold
back
SG

Back yoke
An Ao
E’

Front yoke
A’ Ax Ay
J’
Ao Ad’

Center front SG
An
Ap Ap’ Cross line
F M

Fold line
Am

R Q Az
Cross line

Am T’’ T’ Q Ax’ Az’

X’’ X’
R

Ae’’ G’’
Z’ Z V’ V
L
Bust O Bust

Side back Side front Center Front

Back
Center back SG on fold

panel panel front panel

Center front SG

Fold line

Af’ Ar As Ai’ K’ Aa’ W’’ W’ H

Waist Aa’’ Waist

Ag Au’ At’ Ah’’ J’’

Y’’ Y’ U’’ U’ I

Diagram n°12
1. To accommodate a 15mm diameter button, add 1.5cm on the front
(panel n °1) for the half-overlap and 3cm on the front yoke (panel n°4)
to allow for the facing, which will be cut in-one for this model.
Reminder: in most cases, the half-overlap is equal to the button diameter.

2. To add the above values, use the previously traced outline:

(Diagram n°3b) and extend the yoke line by 1.5cm for the half-overlap
and then by 3cm for the facing from point Q. Trace the bottom of the
facing in a straight line for 3cm, in continuation of the value added
from point Q for the half-overlap and then create a perpendicular to
this line to join the facing to the neckline. As Diagram n°3b illustrates,
use a French curve to curve the facing towards the neckline.

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 JEANS JACKET
Diagram n°12b

C’
D
B’
Ac’
Center

on fold
back
SG

Back yoke
An Ao
E’

Front yoke A’ Ax Ay
J’
Ao Ad’

Centrer front SG
An
Ap Cross line
Ap’ F M

Fold line
Am

R Q Az

Cross line

Am T’’ T’ Q Ax’ Az’

X’’ X’
R

Ae’’ G’’
Z’ Z V’ V L
O
Bust Bust

Side back
Back Side front Center Front
panel
Center back SG on fold

panel front panel

Center front SG
Fold line
Af’ Ar As Ai’ K’ Aa’ W’’ W’ H
Waist Aa’’ Waist

Ag Au’ At’ Ah’’ J’’

Y’’ Y’ U’’ U’ I

Diagram n°12 (continued)

3. Traditionally, a closed shirt collar, sleeve with an elbow seam and
straight band all around the hem line are the characteristics of the
classic jeans jacket.
The position of the buttonholes is still to be chosen.

The final outline of this jacket has been obtained (Diagram n°12b).

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DROPPED-SHOULDER
BOMBER JACKET

P. 418 | DROPPED-SHOULDER SLEEVE

This model comprises a shared shoulder yoke between the front

and the back and introduces the principle of the dropped shoulder
and knife pleats.
Outline the front and back of the bodice base pattern separately up
to the waist and then proceed to construct this new base. No front
shoulder dart is required for the bomber and so it will be pivoted to
the waist in this example. Outline the back up to the waist without
any changes.

Front

Back

Technical drawing

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 Diagram n°1

DROPPED-SHOULDER BOMBER JACKET

0,5
B’
B

A
2,5

Bust spread
A’

0,5
C C’
D

Front
Center Back SG

P
Cross line

Center front SG
Bust

Back

Diagram n°1b

TR ACING PAPER

Waist
Ce
n te
rB
ac
k

D
0,5
Diagram n°1
C’ C
1. Start by increasing the neckline: for this example, lower center B’
B

front (point A) by 1.5cm and move the shoulder top (point B for the
front and point C for the back) by 0.5cm towards shoulder point.
Center back (point D) does not change. The following points are A
1,5
obtained:
A’
- A’ and B’, for the front
- C’, for the back.
Center front SG

2. Redraw the new neckline on tracing paper (Diagram n°1b),

assembling the front and back at the shoulder. Dot the front and back
curve on your paper outline and then redraw.

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CONSTRUCTING THE FRONT

Diagram n°2

B’
B

3
O
O’
A

Bust spread
A’
Front armhole ( points O’, G )
= 21,9 cm

Cross line

26
F
E
Front
6,5

P
G Bust
Center front SG

Pleat Pleat Waist

H
4 4
3 11 2,5
J’ J N M L K
I
1,5
27,5
Total hemline width = 27,5 - 4 - 4 (pleats) = 19,5 cm (finished)

Diagram n°2
1. Calculate the global volume aimed at for the bust girth, namely 5. Place the hemline pleats as follows:
for this example: - Position the first pleat 11cm from center front (point I) for a pleat
- Reference bust measurement + ease = 87 + 13 = 100cm value of 4cm. Points K and L are obtained.
100/2 = 50cm for the half outline, 50/2 = 25cm for the quarter outline. - Position the second pleat 3cm from the first (point L), also for a
Remember to apply proportional difference, namely: pleat value of 4cm, and obtain points M and N. The total width
- Front + 1 = 25 + 1 = 26cm of 27.5cm will be 19.5cm when finished (27.5 – 4 – 4 (2 pleats) =
- Back – 1 = 25 – 1 = 24cm. 19.5cm).

2. The front bust girth from center front across is now 26cm, which 6. Extend shoulder point (point O) for this example by 3cm to obtain
situates the armhole opening also at 26cm from center front. Indicate point O’. Join points O’, G with a French curve, maintaining a right
this on your outline by tracing a 26cm horizontal from center front angle at point O’. The front armhole presently measures 21.9cm.
(point E) to obtain point F.

3. Now choose the armhole depth. For this example, lower point F by
6.5cm to obtain point G. Lengthen the jacket according to the style
aimed at. In this example, lengthen it by 2.5cm from point H on center
front to obtain point I.

4. From point I, trace a perpendicular to center front to define the

hemline. Stop this line so that it aligns vertically with point G (the
new armhole opening). Point J is obtained. Move out from point J by
1.5cm (point J’) and join point G from there with a ruler.

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 Diagram n°3b

TR ACING PAPER

DROPPED-SHOULDER BOMBER JACKET

B’

O’
Q
Diagram n°3
6,2 A’
R’’
R’
R
B’

Center front SG
B

O 5
E
16,6
O’
Q A
6
R’’ Front
G
A’
Bust spread

R’
1
R
Cross line

F
E
Front

P
G
Bust Diagram n°3c

TR ACING PAPER
Center front SG

B’

O’
Front yoke
Waist Q
Pleat Pleat H

J’ J N M L K
I
Total hemline width = 27,5 - 4 - 4 (pleats) = 19,5 cm (finished) R’’

Diagram n°3
1. To separate the yoke shared between the front and back shoulder, Pivoting from point Q may have slightly distorted the neckline curve
without a shoulder seam, place a line, for example 5cm below shoul- and if so, will need adjusting. In this example, the change is barely
der top (point B’) to obtain point Q and 6cm below shoulder point visible.
(point O’) to obtain point R. If no yoke is being made, it is possible to extend shoulder point (point
Trace a line to join points Q and R. It is preferable to raise point R by O’) by 1cm to add more ease to the front armscye. It is also possible,
1cm (point R’) to add more ease on armscye level. if the shoulder dart has been kept, to close it by 1cm to open the front
armhole more.
2. Use tracing paper (Diagram n°3b) to redraw the front armhole
curve, outlining first of all the curve between points G and R before 4. Place a notch halfway along the yoke line (points Q, R’’).
moving on to points R’ and Q. Pivot the tracing paper from point Q so
5. Outline the following section of the front yoke: points O’, B’, Q, R’’
that point R’ is placed over point R. Finish by outlining the top of the
on tracing paper (Diagram n°3c) so that it can be joined to the back
curve (points R, O’) and also points B’, A’ and E. The curve is uneven
yoke once it has been outlined.
where it meets the yoke line (points R’, Q).

3. Trace a new curve, dot it on your paper outline and then redraw,
respecting the right angle at point O’. A new intersection (point R’’)
is obtained where the yoke line (points R’, Q) meets the new armhole
curve. The length of the curve (points G, O’) is now 22.8cm (O’, R’’ =
6.2cm and R’’, G = 16.6cm).

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FLAT-PATTERN DRAFTING

CONSTRUCTING THE BACK

Diagram n°4 Diagram n°5b

C C’ TR ACING PAPER
D
3
Ac
Ac’ C’
Ah
Ag
D
Ac’

Center back SG on fold

Back armhole
Back yoke
(points Ac’, V)
Cross line = 24,7 cm

Ae

Ad Af
24
U
T

6,5
Bust

V Diagram n°5c
Center back SG on fold

Back

C’
Ah
D Ag
Ac’
S’ S
Center back SG on fold

Waist
1 Pleat Pleat
5
9 4 3 4
X Back yoke
X’
W Y Z Aa Ab
1,5

Total hemline width = 25,5 - 4 - 4 (pleats) = 17,5 cm (finished) Ae

Ad Af Ae’

Diagram n°4
1. On center back, suppress the vertical dart on waist level and then - Position the first pleat 9cm from center back (point W) for a pleat
redraw the center back SG. To do this, add 1cm to point S on the value of 4cm. Points Y and Z are obtained.a
waist line to obtain point S’. As previously calculated, the back width - Position the second dart 3c from the first (point Z), also for a pleat
measures 24cm (25 – 1 = 24cm, proportional difference applied). value of 4cm, and obtain points Aa and Ab.

2. Place this measurement horizontally from point T to obtain point 5. The total width of 25.5cm will be 17.5cm when finished (25.5 – 4 – 4
U. As for the front, lower this point by 6.5cm for the new armhole (2 pleats) = 17.5cm). The proportional difference between front and
opening and obtain point V. Place a marker 5cm below the waist line back is therefore maintained (+ 1 front, - 1 back).
on center back (point S’) to obtain point W.
6. Extend the shoulder (point Ac) by the same value as the front,
It is logical that the back is longer than the front as the bloused effect
namely: 3cm to obtain point Ac’. Create a right angle from this
will be bigger there.
point and then join point V using a French curve. The back armhole
3. Trace a perpendicular to center back from point W to define the presently measures 24.7cm (points Ac’, V).
hem line. Stop this line where it aligns vertically with the armhole
opening (point V). Point X is obtained.

4. As for the front, move out from this point by 1.5cm (point X’).
Trace the side seam (points X’, V) with a ruler. Now place the hemline
pleats, namely:

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 Diagram n°5d

Diagram n°5

DROPPED-SHOULDER BOMBER JACKET

Q

R’’

C C’ B’
C’
Ah Ag Ah Ag
D D
Ac O’

Center back SG on fold

Ac’
Ac’
Front + back yoke

Ae

Ad Af Ae’

Cross line
Ad Ae
Af

Diagram n°5e
T U
TR ACING PAPER

Bust
Center back SG on fold

G
V
Back
Front

R’’

Front s
houlde
r
B ack s
houlde O’
r
Ac’
S’ S
Waist
Back
Pleat Pleat
X
X’ Ae’
W Y Z Aa Ab

Diagram n°5
V’
1. To determine where the yoke ends on the back (the back yoke
line), take the cross line as a marker for this model (points Ad, Ae).
Descend the apex of the shoulder blade dart to the cross line (point
Af ). Join point Af to point Ag, representing the second leg of the
shoulder blade dart.

2. Separate the yoke from the garment body on tracing paper 4. Length of the armhole curve on yoke level (points Ac’, Ae’) = 10.8cm.
(Diagram n°5b) and close the shoulder blade dart. To do that, outline Length of the lower part of the armhole curve (points Ae, V) = 14.8cm.
the first part (points Af, Ad, D, C’, Ah) and then from point Af pivot the Namely: 10.8 + 14.8 = 25.6cm for the back armhole curve.
first leg of the dart onto the second leg (point Ah over point Ag). The
5. Add the front yoke (Diagram n°5c) to the back yoke as shown in
outline the points that have moved: Ag, Ac’, Ae.
(Diagram n °5d), by assembling the two pieces at the shoulder (points
3. Copy the following part of the yoke on a separate piece of paper: C’, Ac’ join points B’, O’). Dot and redraw on your paper outline. The
points D, C’, Af, Ae, Ab’, Ac, Ad, T (Diagram n°5c). Closing the dart yoke volume has now been defined (points D, C’, B’, Q, R’’, O’, Ac’,
means that the yoke line is now segmented and a real horizontal Ae’, Af, Ad).
needs to be reinstalled for the Ad, Ae’ line.
6. Check on tracing paper (Diagram n°5e) that the front and back
Correct accordingly, which means adding a little material between
armholes align, joining the front and back at the shoulder. The curve
points Ae and Ae’. Normally this extra value would be taken off the
between the front and back must be smooth and even.
lower part of the jacket but as for this model one centimeter was
added to the front yoke, this operation is not necessary. The front
and back volumes are balanced at this stage. Maintain the top of
piece n°2 horizontal.

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FLAT-PATTERN DRAFTING

Diagram n°6

C C’
Ah Ag
D
Ac Diagram n°6b
Ac’
TR ACING PAPER

Ai Ae

14
3
Ad Ae
Cross line Af Ai Ai’ Ae’’

U
T V

First leg of the pleat

Bust
V
Center back SG on fold

V’
Back

X’
Aj Aa Ab

S’ S
Waist

Pleat Pleat
Aa Ab X X’
W Y Z Aa’ Ab’
Diagram n°6c
X’’

Aj TR ACING PAPER

Af Ai
Diagram n°6
1. To position the knife pleat in the upper part of the jacket just
First leg of the back pleat

under the yoke seam, place a marker 14cm (for this example) from
point Ad on center front. The point obtained (Ai) represents the first
leg of the pleat. Trace a vertical down from this point to the hem line
to obtain point Aj.

2. Decide on the pleat value and outline the following section on tra-
cing paper (Diagram n°6b): points Ai, Ae, V, X’ Ab, Aa, Aj. From point
Aj, pivot the tracing paper to open the pleat by the value decided on,
namely: 3cm for this example.
Dot and redraw the result on your paper outline. Points Ai’, Ae’’, V’,
X’’, Ab’ and Aa’ are obtained.

3. Define the pleat head on tracing paper (Diagram n°6c), outlining

the angle (points Af, Ai, Aj) so that the pleat lies to one side (seam
allowance towards center back). Bisect the pleat (points Ai, Ai’).
Aj
4. Place the tracing paper over the second leg of the pleat so that
point Ai is positioned over point Ai’ and dot the Af, Ai segment up to
the pleat’s bisection and then from this point (on the pleat’s bisection),
double back to join point Ai. The pleat head has thus been created.

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 Diagram n°7

DROPPED-SHOULDER BOMBER JACKET

B’
C C’ B
Ah Ag
D
Ac O
Ac’ O’
Q A
R’’
A’

Bust spread
R’
R
Ai Ai’ Cross line
Ad Ae
Cross line Af Ae’’

F
E
Front
U
T

P
G
Bust Bust
Center back SG on fold

V’

Center front SG
Back

S’ S Waist H
Pleat Pleat
Waist
Aj J’’ N’ M’ L’ K’
I
Pleat Pleat J’ N
J M L K
Y Z Aa Ab X
X’
W Y’ Z’
Aa’ Ab’ X’’
Aa’’ Ab’’

Diagram n°7b

TR ACING PAPER
Diagram n°7
1. Assemble the front and back in order to adjust the hemline. In this E
construction, the back is made longer than the front so that it has T
more of a bloused effect. Most often, this effect is less pronounced
on the front, hence less volume required. V’ G

Back
2. On tracing paper (Diagram n°7b) outline the front and close the
Center front

pleats (points E, I, K, L, M, N, J’ and G) and then do the same with

Center back SG on fold

Ai Ai’
the back, outlining points V’, X’’, Ab’, Aa’, Aj, Z, Y, W and T and also
Front
closing the pleats. Joining the back to the front side seam (points G,
Côté

J’) as shown, aligning points G and V’.

Aj
3. Note that points J’ and X’’ do not align properly. Use a French curve
to correct the hemline curve as best possible by creating a slight S
Y Z Aa’ Ab’
shape for the curve that cannot be joined properly in the middle. W X’’ N’ M’ L’ K’
Y’ Z’ Aa’’
Points K’, L’, M’, N’, J’’, Ab’’, Aa’’, Z’ and Y’ are obtained. Ab’’ J’’
N M L K I
J’
4. Dot and redraw the corresponding part of this curve on your front
and back outlines.

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FLAT-PATTERN DRAFTING

Diagram n°8

B’ B
C C’
Ah Ag
D
Ac O
Ac’ O’
Q A
R’’
A’

Bust spread
R’
R
Ai Ai’ Ae Cross line
Ad
Cross line Af Ae’’

F E
Front
U
T

P
G
Bust Bust
Center back SG on fold

V’

Center front SG
Back

S’ S Waist H
Pleat Pleat
Waist
J’’
Pleat Pleat N’ M’ L’ K’ I

W Y’ Z’ Aa’’
Ab’’ X’’

Diagram n°8
1. Adjust the pleat heads at the bottom of the jacket on waist level, - Point Y’ over point Z’ and then dot the hem curve up to the halfway
situated on a curve. mark of the pleat (the bisection). From this halfway mark, join the
same segment, namely point Y’.
2. To do this, outline angles K’, M’, Y’, and Aa’’ on tracing paper
- Point Aa’’ over point Ab’’ and then dot the hem curve up to the
(Diagram n°8b) with the first leg of each pleat and then move the first
halfway mark of the pleat (the bisection). From this halfway mark,
legs onto the second leg of each pleat, placing as follows:
join the same segment, namely point Aa’’.
- Point K’ over point L’ and then dot the hem curve up to the halfway
mark of the pleat (the bisection). From this halfway mark, join the
same segment, namely point K’.
- Point M’ over point N’ and then dot the hem curve up to the halfway
mark of the pleat (the bisection). From this halfway mark, join the
same segment, namely point M’.

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 DROPPED-SHOULDER BOMBER JACKET
Diagram n°8b

TR ACING PAPER

Y’

1st back knife pleat

TR ACING PAPER

Aa’’

2nd back knife pleat

TR ACING PAPER Diagram n°9

Center back on fold

Back waistband

Center front SG
K’
5 5 Front waistband
17,5 cm 19,5 cm
1st front knife pleat

Fold line Fold line

5 5
TR ACING PAPER

M’

2nd front knife pleat

Diagram n°9
1. Elaborate the waistband. The waistband is usually composed of a
straight band in two parts (front and back).

2. Trace a rectangle of 2 x 5cm by 17.5cm for the back and one of 2 x

5cm by 19.5cm for the front.
The width values (17.5cm and 19.5cm) are those decided on for this
model but can vary depending on the style aimed at.

3. Depending on the type of fastening chosen for the jacket is on

center front, do not forget to add the half-overlap value.
In principle, the half-overlap is equivalent to the diameter of the but-
ton used.

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FLAT-PATTERN DRAFTING

Diagram n°10

R’’

B’
C’
D
O’
Center back SG on fold

Back + front Ac’

yoke

Ad Ae’
R’’ A’

Bust spread
Ai Ai’ 1 Cross line
Ad
Ae’’
Cross line
Pleat
13
Front
14

P
G
Bust Bust
Center back SG on fold

V’

Center front SG
Back

Waist
S’ H
Waist Pleat Pleat
J’’
N’ M’ L’ K’ I
Pleat Pleat

W Y’ Z’ Aa’’ Ab’’ X’’

Center back SG on fold

Back waistband
Center front SG

Front waistband
17,5 cm 19,5 cm

Fold line Fold line

Diagram n°10
Place notches to allow for future sleeve assembly. On the front, place
one 13cm above point G and another 1cm below it. On the back, place
a notch 14cm above point V’.

The final outline of the bomber jacket has been obtained

(Diagram n°10b).

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 Diagram n°10b

DROPPED-SHOULDER BOMBER JACKET

Q

R’’
B’
C’
D
O’
Back + front
Center back SG on fold

Ac’
yoke

Ad A’
Ae’

Bust spread
R’’

Ai Ai’ Cross line

Ad
Cross line Ae’’
Pleat

Front

G P
Bust Bust
Center back SG on fold

V’

Center front SG
Back

Waist
S’ H
Waist Pleat Pleat
J’’
N’ M’ L’ K’ I
Pleat Pleat

W Y’ Z’ Aa’’ Ab’’ X’’

Center back SG on fold

Back waistband
Center front SG

Front waistband
17,5 cm 19,5 cm

Fold line Fold line

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5 MÉTHODE dp studio

KNITWEAR
 VOLUME 3 CONSTRUCTING BASE PATTERNS
WOMENSWEAR CLOTHING KIMONO SLEEVES – BUSTIERS –
PATTERN MAKING BLOUSON JACKETS – KNITWEAR
FLAT-PATTERN DRAFTING – DRESSES – COATS – SLEEVES
– HOODS – SWIMWEAR

Contents

p 254 Knitwear or loose garment base using the bodice base pattern

p 264 Knitwear or loose garment base using specific measurements

p 272 Balanced knitwear or loose garment base

p 276 Knitwear base with 20% stretch

p 286 Sleeve for the knitwear base

p 292 Sleeve for the knitwear base with 20% stretch

p 296 Collar for the knitwear base

p 298 Collar for the knitwear base with 20% stretch

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PATTERN MAKING
FLAT-PATTERN DRAFTING

KNITWEAR OR LOOSE GARMENT

BASE USING THE BODICE
BASE PATTERN
P. 286 | SLEEVE FOR KNITWEAR BASE
P. 296 | COLLAR FOR KNITWEAR BASE

The purpose of this new base, using the bodice base pattern with
one waist dart as its starting point, is to create knitwear or loose-fit
and deconstructed clothing where the darts and ease value of the
base pattern will be suppressed. The shoulder dart for the front and
shoulder-blade dart for the back will be pivoted into the armhole,
leading to more volume on armscye level. It is not recommended to
use this base for garments with kimono sleeves, as the front and
back shoulder slopes of a kimono construction need to be balanced.

Outline the front and back of the bodice base pattern separately.

Front

Back

Technical drawing

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 CONSTRUCTION DU DEVANT

KNIT WEAR OR LOOSE GARMENT BASE USING THE BODICE BASE PATTERN
Diagram n°1

B
Diagram n°1b

TR ACING PAPER

D’ C
D E
16 Cross line

P
Bust
D C
Cross line
Front

Center front SG
P

Waist

Large hips

Diagram n°1
1. Start by closing the shoulder dart. To do so, use tracing paper
(Diagram n°1b) to outline the second leg of this dart (points A, P),
then the rest of the shoulder up to shoulder point (points A, B) and
the cross line segment from point C to D.

2. Place the tracing paper over your front outline and pivot from
point P in order to close the shoulder dart. The pivot moves the A, B
segment farther up on the shoulder line and the C, D segment farther
in towards center front as shown.

3. From center front (point E), place half of the cross line width wit-
hout ease, namely: 32/2 = 16cm. Point D’ is obtained, 0.5cm farther
in towards center front than point D.

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Diagram n°2

D’ C
D E
Cross line

5 L
¼ Bust Girth
87/4 = 21,75 P
F
G Bust

Front

Center front SG
Diagram n°2
1. Place the front volume aimed at on the bust, waist and large hip
lines without adding ease, namely:
- Bust line: bust girth divided by 4, namely 87/4 = 21.75cm
- Waist line: waist girth divided by 4 + dart value, namely (67/4) + 3.5 I ¼ Waist Girth + darts
= 16.75 + 3.5 = 20.25cm H
67/4 + ( 1 + 2,5 ) = Waist
- Large hip line: hip girth divided by 4, namely 94/4 = 23.5cm.. 16,75 + 3,5 = 20,25

2. Place these measurements on the corresponding lines from center

front across:
- On the bust line 21.75cm from center front (point F), point G is obtained.
- On the waist line 20.25cm from center front (point H), point I is
obtained.
- On the large hip line 23.5cm from center front (point J), point K is
obtained.
Join points I, G, between the waist and bust, with a ruler and extend
the line beyond bust line (point G). Below the waist (points K, I),
¼ Hip Girth
trace the hip curve with a French curve, arch placed downwards. K 94/4 =23,5 Large hips
J
3. Move the bodice armhole opening (point L) up by 1cm (point M)
to reduce the armhole depth that increased when the shoulder dart
was closed. This new marker (point M) is located 5cm above bust line.

4. Place a right-angled perpendicular from point M of about 1.5cm.

The waist dart is suppressed from the outline, giving this new base a
maximum of volume on waist level.

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 Diagram n°3

KNIT WEAR OR LOOSE GARMENT BASE USING THE BODICE BASE PATTERN
A

D’ C
M, B = 21,3 cm D E
Cross line

2,1

M
L

P
F
G Bust

Front

Center front SG
Diagram n°3
1. Join points M and D’ in a straight line and from the halfway mark of
this line draft a line downwards of 2.1cm, perpendicular to it.

2. Place a right angle at shoulder point (point B) and then trace the
new armhole curve using a French curve, arch placed downwards, I
H
passing through the following points: Waist
- The right angle at point B, the cross line point D’, the bottom of the
2.1cm line and the 1.5cm perpendicular at point M.
The armhole length obtained (points M, B) is: 21.3cm.

K Large hips
J

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CONSTRUCTING THE BACK

Diagram n°4

O’ O
Q’
Q

Center back SG
Diagram n°4b

TR ACING PAPER
N

R S’ S
O Cross line 17,5
Q

Bust

Back

Waist

Diagram n°4
1. As for the front, start by closing the dart, which in this instance is
the shoulder blade dart. Use tracing paper (Diagram n°4b) to outline
the second dart leg (points N, O) and the rest of the shoulder up to
shoulder point (points O, Q).
Large hips
2. Place the tracing paper over your back outline and pivot from
point N to close the shoulder blade dart. The pivot moves segment
O, Q farther up on the shoulder line and points O’, Q’ are obtained.

3. From center back (point R), place half of the cross line width wit-
hout ease, namely: 35/2 = 17.5cm. Point S’ is obtained, 0.5cm farther
in than point S, as for the front.

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 KNIT WEAR OR LOOSE GARMENT BASE USING THE BODICE BASE PATTERN
Diagram n°5

O’ O
Q’
Q

Center back SG
N

R S’ S
Cross line

Aa

Z
5

¼ Bust Girth X
W 87/4 = 21,75
Bust

Back

1
¼ Waist Girth + darts
T’ Y
T Waist 67/4 + ( 1 + 2,5 ) =
16,75 + 3,5 = 20,25

Diagram n°5
1. At center back on waist level (point T), suppress the 1cm vertical
dart and redraw the center back SG. Point T’ is obtained. The back
hem line becomes horizontal again (points U’, V). Large hips ¼ Hip Girth
U 94/4 =23,5
V
2. Place the back volume aimed at without adding ease on the bust, U’
waist and large hip lines, namely:
- Bust line: bust girth divided by 4, namely 87/4 = 21.75cm.
- Waist line: waist girth divided by 4 + dart values, namely
(67/4) + (1 + 2.5) = 16.75 + 3.5 = 20.25cm.
- Large hip line: hip girth divided by 4 = 94/4 = 23.5cm. 4. Trace a line to join points Y, X between waist and bust using a ruler
and extend the line beyond bust line (point X). Below the waist (points
3. Place these measurements on the corresponding lines from center
V, Y), trace the hip curve with a French curve, arch placed downwards.
back:
- On the bust line 21.75cm from center back (point W), point X can be 5. As for the front, raise the bodice armhole opening by 1cm (point
maintained. Aa) to reduce the armhole depth, increased by closing the shoulder
- On the waist line 20.25cm from center back (point T’), point Y is blade dart. This new marker (point Aa) is located 5cm above bust
obtained. line (point X).
- On the large hip line 23.5cm from center back (point U’), point V can
be maintained.

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Diagram n°6

O’ O
Q’
Q
Center back SG

Diagram n°7b

N
TR ACING PAPER
S’ S Q, Aa = 20,7 cm
R
Cross line W

1,4
Aa

Ce
n te
Z

rb
ac
kS
G
X
W
Bust Back

Ah

Back 0,5

Af
Ag
Ad
Ae
O

Ab
1,5
T Y Ac
T’
Waist
Center front SG

Front

F
Large hips
U
V
U’

Diagram n°6
1. Join points Aa and S’ in a straight line and from the halfway mark
of this line, trace a line downwards of 1.4cm perpendicular to it.

2. Place a right angle at shoulder point (point Q’) and then trace the
new armhole curve using a French curve, arch placed downwards,
passing through the following points:
- The right angle at shoulder point (point Q’), the cross line point S’,
the bottom of the 1.4cm line and point Aa.

3. The armhole length obtained (points Aa, Q’) is: 20.7cm.

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 Diagram n°7

KNIT WEAR OR LOOSE GARMENT BASE USING THE BODICE BASE PATTERN
0,5
0,5

Af Ae Ad
Ag
O’ O A
Ah Q’
Q
B
Center back SG

Ab
1,5

Ac

S’ S D’ C E
R D
Cross line Cross line

Aa M

Z L

X G P
W F
Bust Bust

Back Front

Center front SG
T I H
T’ Y
Waist Waist

U Large hips
K Large hips
V J
U’

Diagram n°7
1. Increase the neckline for a more comfortable fit: 3. Draft the new neckline on your tracing paper, passing through
- Place a marker 1.5cm below point Ab on center front and obtain points Ac, Ae, Ag, Ah.
point Ac. The original neckline can be used as a guideline to help trace the new
- Open up the front neckline on shoulder level by moving point Ad by neckline on tracing paper if necessary.
0.5cm to obtain point Ae. Once the neckline has been drafted on tracing paper, dot the curve
- Do the same thing for the back neckline on shoulder level by moving onto your front and back outlines and redraw the two curve segments
point Af by 0.5cm to obtain point Ag. (points Ac, Ae for the front and Ag, Ah for the back).
- On center back, do not alter the neckline base (point Ah).
4. Soften the angles formed on waist level (point I for the front and
2. On tracing paper (Diagram n°7b), outline center front, point Ac Y for the back).
with its right angle and the shoulder (points Ae, A). Move the tracing
paper onto your back outline, front shoulder (points Ae, A) over back
shoulder (points Ag, O’) and then outline center back with the right
angle at point Ah.

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Diagram n°8
Ae
Ag
Ah
Q’
B
Center back SG

Ac

Diagram n°8b
R S’ D’ E
1
Cross line Cross line
TR ACING PAPER
9
9
Aa M

P ine
X G F ss l
W k cro
Bust Bust B ac
S’

Back
Back Front
B ack s
Ag houlde
r
Center front SG

Q’ lder
shouAg
Ai B ack Ae
Q’ r
houlde
B Front s

20,7 21,3

Y I H Back cross line S’

T’ D’
Waist Waist 17,6

Back Aa Front
M

Large hips Large hips

U’ J
V K
Y I

Armhole check prior to length modifications

Diagram n°8
1. For the subsequent sleeve construction, take the front and back 6. Place notches to facilitate future setting in of the sleeve:
armhole measurements: - On the front: place the first notch 9cm above point M and another
- Front: 21.3cm one 1cm above it.
- Back: 20.7cm. - On the back: place a notch 9cm above point Aa.
- In this construction, the shoulder seam notch is positioned on the
2. Measure also the armhole depth (points Ai, Aa, M).
back, given the size of the front armhole (longer than that of the
3. Use tracing paper (Diagram n°8b) to outline the front armhole with back). To rectify this, re-balance the armholes so the back armhole
the shoulder and side seam (points Aa, B, D’, M, I) and then move is about 1cm longer than that of the front.
this side seam (points M, I) onto the back side seam (points Aa, Y).
Now outline the back armhole and shoulder (points Y, Aa, S’, Q’, Ag).

4. Join the two shoulder points (points Q’ and B) in a straight line

and from the halfway mark (point Ai) draft a line downwards to the
bottom of the armhole (where it joins the side seam). The armhole
depth can thus be measured, namely for this example: 17.6cm (points
Ai, Aa, M). (Measurement to be noted for future sleeve construction).

5. Make sure the front and back armhole is even and aligns accurately
when the two pieces are assembled at the shoulder.

262 | dp studio
 Diagram n°9b
Diagram n°9
TR ACING PAPER

KNIT WEAR OR LOOSE GARMENT BASE USING THE BODICE BASE PATTERN
Ag’ Ae
0,8
Ae Ah
Ag Q’’ 0,8 Ae’
Ae’ B
Q’

Center back SG
0,8
B 0,8 B’

B’
Ac
Q’’, Aa = 21,5 cm

S’ E
R D’ 1
B’, M = 20,5 cm
Cross line Cross line
Diagram n°9c 9
9
Aa M
TR ACING PAPER

Ag’ P
B ack sh
oulder W X G F
Q’’ Bust Bust
Ai
houlder
Q’ B Front s
Back Front
B’

Center front SG
21,5 20,5

17,6
Back cross line S’
D’
Front cro
ss line

T’ Y I H
Waist Waist
Aa
M

Back
Front

Armhole with shoulder

position modifications

Y I
Large hips Large hips
U’ V K J

Diagram n°9
1. To avoid having the shoulder seam notch on the back, change the 5. After this modification, reproduce the armhole on tracing paper
position of the shoulder seam, making it parallel and thereby possible (Diagram n °9c) and check once again its measurements:
to lengthen the back armhole. Visually, the shoulder seam will also - Front (points M, B’): 20.5cm
be positioned better. - Back (points Aa, Q’’): 21.5cm.

2. To carry out the above modification, remove 0.8cm from the front. 6. The back armhole is now longer than the front armhole. Join the
It will be added to the back later. To find out the aforementioned two shoulder points in a straight line (points Q’’, B’) and from the
value, add the front and back armhole lengths together and halve halfway mark (point Ai) draft a line downwards to the base of the
the result. Apply proportional difference, adding 0.5cm to the back armhole opening (points Aa, M). This length is unchanged: 17.6cm.
and subtracting 0.5cm from the front.
7. To assemble the sleeve, place notches as follows:
A difference of 1cm between the front and back will be obtained:
- On the front: place the first notch 9cm above point M and another
21.3 + 20.7 = 42cm
one 1cm above.
42/2 = 21cm
- On the back: place a notch 9cm above point Aa.
- For the back: 21 + 0.5 = 21.5cm then, 21.5 – 20.7 = 0.8cm
- The shoulder seam notch will now be on the front of the sleeve,
- For the front: 21 – 0.5 = 20.5cm then, 20.5 – 21.3 = 0.8cm.
which is more logical.
3. Parallel to the front shoulder (points Ae, B), trace a new shoulder
0.8cm below (points Ae’, B’). Place a notch on the halfway mark of
the new shoulder (points Ae’, B’).

4. On tracing paper (Diagram n°9b) outline the section that was

suppressed on the front (points Ae, Ae’, B’, B) and move it onto the
back, positioning the initial front shoulder (points Ae, B) over the
back shoulder (points Ag, Q’).
Dot and redraw the front section on the back. Points Ag’, Q’’ will be
obtained 0.8cm from the initial shoulder (points Ag, Q’).

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PATTERN MAKING
FLAT-PATTERN DRAFTING

KNITWEAR OR LOOSE GARMENT

BASE USING SPECIFIC
MEASUREMENTS
To construct a knitwear piece (or loose garment), it is not always
necessary to use the bodice base pattern as your starting point and
you can start simply from a set of measurements. In this case, it is
better to make the front and back on top of each other so that the
two pieces are balanced and the shoulder slopes identical.

Firstly, different measurements need to be taken on the dummy

(or on the wearer).

Front

Back

Technical drawing

264 | dp studio
 C A

KNIT WEAR OR LOOSE GARMENT BASE USING SPECIFIC MEASUREMENTS

Bust spread line
26,5

5 9,5
P Bust D
G 21,75

Center front SG on fold

Front
17

Diagram n°1 63,5

Waist
H
20,75 E

Center back SG on fold

Back
20

Large hips
I
F
23,5

Diagram n°1 B

1. Trace a symmetrical axis (points A, B, C) on a sheet of paper with

points A, B representing center front.

2. Position the different lines of construction you will be working 3. Place the required measurements on each of these lines:
with, namely the bust line, waist line and large hip line: - The bust girth (as referenced in this method) without ease = 87cm.
- For the bust line, place a marker 26.5cm below point A on center Divide this measurement by four to find out the half front and half
front to obtain point D. Trace the bust line from this point, back bust measurement. For this model, the front and back will
perpendicular to center front. This measurement was arrived at stay identical and so the value to place from point D is: 87/4 =
by adding together the front and back lengths (27cm and 26cm 21.75cm (point G).
respectively) from the bust line up to shoulder top: 27 + 26 = 53cm - The waist girth (as referenced in this method) without ease = 67cm.
divided by two to balance the front and back lengths, namely: 53/2 Add the bodice base pattern’s waist dart values to this (3.5cm for
= 26.5cm. the half front and 2.5 + 1 = 3.5cm for the half back, multiplied by
- For the waist line, place a marker 17cm below point D on center front two for the complete waist), namely: 67 + (7x2) = 81cm. Divide this
to obtain point E. Trace the waist line from this point, perpendicular measurement by four to find out the value to place per half front
to center front. and half back, remembering that the front and back stay identical
- For the large hip line, place a marker 20cm below point E on in this model. The value to place from point E is therefore: 81/4 =
center front to obtain point F. Trace the hip line from this point, 20.75cm (point H).
perpendicular to center front. - The large hip girth (as referenced in this method) without ease
If the lengths of the three positioned lines are added together, a total = 94cm. Divide this measurement by four to find out the value to
length of: 26.5 + 17 + 20 = 63.5cm is obtained (points A, F), from place per half front and half back, remembering that the front and
shoulder top to the large hip line (representing the hem line of this back stay identical. The value to place from point F is therefore:
model). 94/4 = 23.5cm (point I).

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PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°2

K 6,5
C A
12

Bust spread line

Diagram n°1 (continued) 24

18
4. Trace the side seam by joining points G and H using a ruler and
extend this line beyond point G. Place a marker 5cm above point G for 16 Cross line
N M
the base of the armhole opening (point J). Below the waist, between O
points H and I, use a French curve to trace the hip curve. 17,5

5. Place the bust spread line as in the bodice base pattern, 9.5cm
from point D parallel to center front. Point P is obtained where the 12
bust spread line intersects with the bust line.
J

P Bust D
G

Front

Center front SG on fold

Waist
H E

Back
Center back SG on fold

Large hips
I F

Diagram n°2
B
1. Define the half neckline width from point A across, equal to 6.5cm
for this model. Point K is obtained, corresponding to the shoulder top.

2. Place the shoulder length aimed at for this new base, namely 12cm - For the back, the referenced cross line is 35cm without ease. The
and draft the shoulder slope (the method’s referenced shoulder length half cross line is therefore 35/2 = 17.5cm. Place this measurement
of 12.5cm has been used minus 0.5cm to open up the neckline more).. from point M to obtain point O.
Trace an arc of 12cm from point K. Place the referenced measure-
ment taken on the dummy, namely 24cm (point P to shoulder point), Point J (base of the armhole opening) can be defined in a different
on the arc from point P to obtain point L (shoulder point). manner, starting from point L downwards. The measurement between
points L and J for this model is 18cm.
3. Place the cross line 12cm above bust line (point D) to obtain point M.
4. Define the half front and back cross lines:
- For the front, the referenced cross line is 32cm without ease. The
half cross line is therefore 32/2 = 16cm. Place this measurement
from point M to obtain point N.

266 | dp studio
 KNIT WEAR OR LOOSE GARMENT BASE USING SPECIFIC MEASUREMENTS
Diagram n°3

Diagram n°3 :
1. Define the front and back neckline depths. For this example:
C K A - The front neckline is 8cm deep (the method’s referenced neckline
2 depth taken on the dummy measures 7cm, from which 0.5cm is
R subtracted for front and back shoulder balance, and then 1.5cm
L 8 added to increase the base pattern depth).Place this value on
Bust spread line

center front from point A downwards. Point Q is obtained.

- The back neckline is 2cm deep ((the method’s referenced neckline
Q depth taken on the dummy measures 1.5cm, to which 0.5cm is added
for front and back shoulder balance). Place this measurement on
center front from point A downwards. Point R is obtained.
N Cross line
O M 2. Use a French curve to draft the neckline curve, taking into account
the right angled perpendiculars traced at points Q and R to help you
stay accurate.

3. Check the evenness of this curve on tracing paper (Diagram n°3b)

J by joining the front and back at the shoulder. Outline the front firstly
and then before outlining the back, do not forget to flip the tracing
paper over as you are presently dealing with a left back.
P Bust
G D
4. If necessary, modify the front and back curve sections so that
they align perfectly and then dot and redraw the changes on your
Front paper outline.
Center front SG on fold

Diagram n°3b

Waist TR ACING PAPER

H E
Ce

Back
n te
Center back SG on fold

rb
ac
k

Back R

L
Large hips
F
I Q

Front
B
Center front

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PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°4

Diagram n°4b

C K A TR ACING PAPER

R
L
Bust spread line

Q Back
J

N Cross line
O M K
er
ould
k sh
B ac r
ulde
L t sho
Fron

P Bust
G D

Front
Center front SG on fold

Front

Waist
H E

Back Diagram n°4

Center back SG au pli

1. Draft the front and back armhole curves.

2. Firstly, trace right angled perpendiculars at point J (the armhole
opening) and point L (shoulder point). Use a French curve and draft
smooth curves, passing through point N on the front cross line and
O on the back.

3. As for the neckline, use tracing paper (Diagram n°4b) to check

Large hips
I F the evenness of the front and back curve by joining the two pieces
at the shoulder.

4. Outline firstly the front and then before outlining the back, flip
B over your tracing paper as you are presently dealing with a left back.

5. If necessary, modify the curve sections so that they align perfectly

and then dot and redraw the changes on your paper outline.

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 KNIT WEAR OR LOOSE GARMENT BASE USING SPECIFIC MEASUREMENTS
Diagram n°5

K K

R R

L
L

Bust spread line

Q

Cross line N Cross line

M O M

J J

D Bust P Bust D
G G

Center front SG on fold

Center back SG on fold

Back Front

Waist Waist
H H
E E

Large hips Large hips

F
I I F

Diagram n°5
1. To finish constructing the outline, detach the back pattern piece
and flip it over so that it becomes a right back.

2. Soften the angles on waist level (point H) using a French curve.

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PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°6

K’
K K
1,4
R 1,4 K’
1,4 L’
L
1,4 L
L’

Cross line Cross line

M O N M

Bust spread line

J J

Bust P Bust
D G G D

Center front SG on fold

Center back SG on fold

Back Front

Waist Waist
E H H E

Large hips Large hips

F I I F

Diagram n°6
1. To avoid finding the shoulder seam notch on the back, due to - For the back: 20.25 + 0.5 = 20.75cm, then 20.75 – 19.35 = 1.4cm
the size of the front armhole that is presently bigger than the back - For the front: 20.25 – 0.5 = 19.75cm, then 19.75 – 21.15 = 1.4cm.
armhole, it is better to lengthen the back armhole so that it is about
4. Parallel to the front shoulder (points K, L), trace a new shoulder
1cm longer than that of the front.
line 1.4cm below (points K’, L’). Place a notch in the middle of the new
2. Staying parallel to the initial seam, change the position of the shoulder (points K’, L’).
shoulder seam. This will lead to a better visual for the seam and allow
5. Outline the front section that has just been suppressed (points
you to lengthen the back armhole, as explained below.
K, K’, L’, L) and move it onto the back, positioning the initial front
3. On the front, reduce by 1.4cm as shown. This value can then be shoulder (points K, L) over the back shoulder (points K, L). Dot and
added to the back. To calculate this value, add the front and back ar- redraw the front piece onto the back to obtain points K’, L’ 1.4cm
mhole lengths together and halve the result. Then apply proportional above the initial back shoulder (points K, L). After this modification,
difference, adding 0.5cm to the back and subtracting 0.5cm from the check the armhole lengths once again:
front. A 1cm difference between the two will therefore be obtained: - The front (points J, L’) = 20.5cm
21.5 (front) + 19.35 (back) = 40.5cm - The back (points J, L’) = 21.5cm.
40.5/2 = 20.25cm As aimed at, the back armhole is now longer now than that of the front.

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 Diagram n°7

KNIT WEAR OR LOOSE GARMENT BASE USING SPECIFIC MEASUREMENTS

K’

K’
R
L’

L’

Cross line Cross line

M O N M

Bust spread line

J J

Bust P Bust
D G G D

Center front SG on fold

Center back SG on fold

Back Front

Waist Waist
E H H E

Large hips Large hips

F I I F

Diagram n°7
1. The final outline of this knitwear or loose garment base has been
obtained.

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PATTERN MAKING
FLAT-PATTERN DRAFTING

BALANCED KNITWEAR OR LOOSE

GARMENT BASE

P. 286 | SLEEVE FOR KNITWEAR BASE

P. 296 | COLLAR FOR KNITWEAR BASE

Mainly intended for constructing pieces with kimono sleeves, the

front and back of this new base need to be balanced on shoulder
slope, side seam and neckline width levels.

Front

Back

Technical drawing

272 | dp studio
 BALANCED KNIT WEAR OR LOOSE GARMENT BASE
Diagram n°1

Ad
Af

Ah Q’
B

Ab

Cross line Cross line

R S’ D’ E

Aa M

Bust P Bust
W X G F

Center front SG on fold

Center back SG on fold

Back Front

Waist Waist
T’ Y I H

Large hips Large hips

U’ J
V K

Diagram n°1
1. Outline the front and back of the knitwear or loose garment pattern 2. Position the front and back bust, waist, cross and large hip lines
block previously illustrated, being careful to outline the base pat- on exactly the same level in order to achieve perfect balance between
tern neckline (half neckline width of 6cm) and shoulder (points Ad, the front and back.
B for the front and Af, Q’ for the back). However, do not change the
shoulder seam position. The outlines will be as follows:
The front: points Ad, Ab, E, F, H, J, K, I, G, M, D’, B.
The back: points Af, Ah, R, W, T’, U’, V, Y, X, Aa, S’, Q.

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PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°2

Ba
6 Be 6
Bc Ad
Af’
Bd Ad’
Ah Af Q’ Bg B’
Q’’
Diagram n°2b
Bf B
Ab
Bh TR ACING PAPER

Cross line Cross line

R S’ D’ E
R

Ce
n te
rb
ac
k
Aa M
Back
Ah
Bust X G P Bust
W F
Bb Af’

Center front SG on fold

Center back SG on fold

Ad’
Q’’ lder
Back Front Shou
B’

Ab

Front

Center front SG
Waist Waist
T’ Y I H E

Large hips Large hips

U’ V K J

Diagram n°2
1. Bet ween the front and back, trace a perpendicular to the establish their new positions. From the initial positions (point B for
horizontals previously positioned as shown (points Ba, Bb). From the front and Q’ for the back) trace horizontals that cut the Ba, Bb
the front and back shoulder tops (points Ad and Af respectively), vertical at points Bf and Bg in order to highlight the difference in level
trace horizontal lines that cut the Ba, Bb vertical in order to highlight between the two shoulder points. Find the halfway mark between
the difference in level between the two shoulder tops. From point points Bf and Bg to obtain point Bh and trace a new horizontal that
Ad point Bc is obtained and from point Af point Bd is obtained. Find runs through it.
the halfway mark between the two horizontals (points Bc, Bd) to
3. Place the base pattern shoulder length of 12.5cm from the new
obtain point Ae and trace a new horizontal that runs through it as
shoulder tops (points Ad’ and Af’) on the horizontal that runs through
shown. The new front and back shoulder top positions can now be
point Bh. The new shoulder point positions are obtained, namely
determined. From the two shoulder tops (points Ad and Af), trace
point B’ for the front and Q’’ for the back.
verticals perpendicular to the horizontals (points Ad, Bc and Af,
Bd) that cut the new horizontal running through point Ae. The new 4. Trace a right angle at each shoulder point (points B’ and Q’’) to
shoulder tops are obtained (points Ad’ and Af’) and the 6cm half- help redraw the armholes accurately without modifying the half cross
neckline width respected. line width, starting at point D’ for the front and S’ for the back.

2. Carry out the same process with the two shoulder points to

274 | dp studio
 Diagram n°3

BALANCED KNIT WEAR OR LOOSE GARMENT BASE

Af’ Ad’
Ah
Q’’ B’
Diagram n°2c
Ab
TR ACING PAPER

R S’ D’ E
Cross line Cross line
Aa

S’ Aa M
Back

Af’ P
lder
W X G F
hou Bust
B ack s Ad’ Bust
Back shoulde er
Af’ r Q’’ s hould
Front
Center back SG on fold

Center front SG on fold

Q’’ B’ Back Front

Front cross line

e D’
ros s lin
B ack C S’

T’ Y I H
Waist Waist

Back Aa M
Front

Large hips Large hips

U’ J
V K
Y I

Diagram n°2 (continued) Diagram n°3

5. Draft the new neckline by firstly outlining the front (points E, Ab, The final outline of the knitwear or loose garment base with perfectly
Ad’, B’) on tracing paper (Diagram n°2b). Move the front shoulder balanced shoulders has been obtained.
(points Ad’, B’) onto the back shoulder (points Af’, Aq’) and then
outline points R, Ah, Af’, Q’’.

6. Once the neckline has been drafted on tracing paper, dot and
redraw it on your front and back outlines.
Now use tracing paper (Diagram n°2c) to check the armhole on
shoulder level. Firstly outline the front armhole (points I, M, D’, B’,
Ad’), move the front shoulder (points Ad’, B’) onto the back shoulder
(points Af’, Q’) and then outline the following points on the back: Y,
Aa, S’, Q’’, Af’. Rectify the armhole, if necessary.

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PATTERN MAKING
FLAT-PATTERN DRAFTING

KNITWEAR BASE
WITH 20% STRETCH

P. 292 | SLEEVE FOR KNITWEAR BASE WITH

20% STRETCH
P. 298 | COLLAR FOR KNITWEAR BASE WITH
20% STRETCH

When this method refers to knitwear, it is referring to garments made

in knit fabric. One industrially knit fabric, known as “warp” knit fabric,
is made using a vertical knitting technique where the interlocking
stitches or loops consist of several threads and run lengthwise This
way of knitting results in fabric that is ladder proof and a bit stretchy. It
is used notably for swimwear, sports clothing, underwear and lingerie.
As well as the abovementioned, there is also another commonly used
knit fabric known as “weft” knit fabric where the loops or stitches are
knitted horizontally, using one continuous yarn. This kind of knit fabric
is unfortunately not ladder proof.
When making clothes in knit, it is important to allow for the particular
characteristics of the knit fabric chosen. To calculate how close to the
body you can work a knitwear garment, a knit fabric’s stretch percentage
needs to be known.
The knitwear base patterns illustrated in this method are intended for
bi-stretch knit fabrics, with stretch in both directions (lengthwise and
crosswise).
Remember that the knitwear or loose garment base in this method
represents the body’s volume without added ease and results in a
finished garment where the fabric does not pull to fit the body.

Back Front

Technical drawing

276 | dp studio
 Diagram n°1

N J

KNIT WEAR BASE WITH 20% STRETCH

M
O
I

Cross line Cross line

Q H

R G

Bust Bust
S F

Back Front
Center back SG

Center front SG
Waist Waist
T E

Large hips Large hips

U D B
K

Diagram n°1
1. Start by outlining the knitwear or loose garment base. For this The value calculated (10%) is then deducted from 100%, namely: 100
example, choose the base where the shoulder position remains – 10 = 90% or 0.9, which represents the coefficient to multiply by to
unchanged (see P.254). It is possible to use the base with the shift in establish the measurements of an outline for a knitwear base with
shoulder position (see P.272), if you are sure you are subsequently 20% stretch.
going to construct a sleeve. Another example: for a fabric with 8% stretch: 8%/2 = 4%
100% - 4% = 96% = a 0.96 coefficient to multiply by.
2. Now changes will be made in function with the particular stretch
percentage of the knit fabric being used. For example, if the chosen 3. The coefficient to multiply by is always less than 1 because in this
fabric has 20% stretch, apply the following calculation to find out method it is the base representing the body’s volume that is reduced
how much you need to deduct from this base, namely: 20%/2 = 10%. (subtracted from) by the amount necessary for a better fit, depending
(The stretch percentage is generally found on the fabric’s composi- on the fabric used.
tion label).

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PATTERN MAKING
FLAT-PATTERN DRAFTING

CONSTRUCTING THE FRONT

Diagram n°2

Diagram n°2
1. Find the halfway mark of center front (points A, B) and obtain point J’
C, the central point from which each construction line will start. Now I
define the points necessary for constructing the various lines that will I’
undergo modification (points A, B, D, E, F, G, H, I, J, representing the A
bust, cross, shoulder point and shoulder top lines, among others…).

36

36,5 /
,4
2. Trace each construction line (points C, A – C, B – C, D – C, E – C, A’

/3
2,7
F – C, G – C, H – C, I and C, J). Calculate by how much each one has to

32,85
6
be modified, using the multiplication coefficient. Example: the base Cross line
H
pattern bust line (points C, F), starting from the side seam, measures
23.65cm. Multiply it by the coefficient to find out the measurement of
H’
the new base, taking into account the 20% stretch, namely: 23.65 x

26

27,8 / 25,02
,5
0.9 = 21.28cm. Place this new measurement from point C on the bust

/2
3,
line (which is now shorter) to obtain point F’.

85
G
3. Proceed in the same way for each previously defined point and
G’ 26
then redraw the new base (points A’, B’, D’, E’, F’, G’, H’, I’, J’), joining ,4
/2
3,7
all the new points together and reproducing the shape of the initial 6 Bust
F
lines (the hip curve will remain curved, the straight line of the shoul-
der will remain straight etc…) as shown. The new outline is drawn F’ 23 ,
65
/ 21
completely parallel to the initial outline. , 28

4. Redraw also the hem, waist, bust and cross line horizontals, as
shown in red. Front
C

Center front SG
5 3
/ 19,
21,7
E’
E
Waist
76
2,
/3

27,8 / 25,02
,4
36

B’
D’
Large hips
D B

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 KNIT WEAR BASE WITH 20% STRETCH
CONSTRUCTING THE BACK

Diagram n°3

N
M
O
N’
M’ O’

33,6 / 30,24

32,13

5
3,7
35,7 /

/3
,5
37
Cross line Q

Q’

5
4,7
/2
R

,5
27
Diagram n°3 2 3,7
6 R’

Bust , 4/
1. On center back, from point K, place the measurement (points B, 26
S
Center back SG

C) found on the front so that the central point for the back (point L) is
S’
on exactly the same level. 28
/ 21,
23 ,6 5
2. Define the points necessary for constructing the various lines
that will undergo modification (points K, M, N, O, Q, R, S, T, U,
Back
representing, among others, the bust, cross line, shoulder point and
L
shoulder top lines…).

3. Trace each construction line (points L, K – L, M – L, N – L, O – L, Q -

L, R – L, S – L, T and L, U). Modify these lines using the same formula 21,7
as for the front, multiplying by the coefficient 0.9. / 19,
5 3
Place each new measurement found on the corresponding T’
construction line from point L and obtain the following new points: T
Waist
K’, M’, N’, O’, Q’, R’, S’, T’, U’.

4. Redraw the outline by joining all the new points together,

reproducing the shape of the initial lines and drawing the new outline
27,8 / 25,02

parallel to the original one.

5. Redraw also the hem, waist, bust and cross line horizontals, as
36
,4

shown in red.
/3
2,
76

K’ U’

Large hips
K
U

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Diagram n°4

Reduced outline, allowing for 20% stretch

N’ J’

M’
O’
I’

Armhole length before A’

modification
Back = 18,5 cm
Front = 19 cm

Cross line Cross line

Q’ H’

R’ G’

Bust Bust
S’ F’

Back Front
Center back SG

Center front SG

Waist Waist
T’ E’

Large hips Large hips

K’ U’ D’ B’

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Diagram n°4c

TR ACING PAPER

Diagram n°4 L
1. Do not forget to respect the right angles that some of the curved
lines meet (at the armhole and neckline openings, for example and
at shoulder point) nor to check on tracing paper that the front and
back curves align evenly for the neckline (Diagram n°4b) and armhole
(Diagram n°4c).

Ce
n te
rb
2. Check the front and back armhole lengths, namely:

ac
k
- Back (points R’, O’) = 18.5cm Back
- Front (points G’, I’) = 19cm M’

3. The above values can remain intact, depending on the model being
created. If a sleeve, for example, is being added, it is preferable to r N’
ulde
modify a little, as follows. Indeed, in this outline as it stands the k sho J’
B ac
lder
shoulder notch will end up on the back of the sleeve, which will ts hou
F ron
O’
prevent the sleeve from hanging well. This notch is most often
I’
situated on the front of the sleeve, within 1cm maximum of the SG.
A’

Diagram n°4b

Center front
Front
TR ACING PAPER

ne
s li
os
Cr
Q’

N’
r
ulde J’
k sho
N’ B ac er
Back shoulder ould
h
O’ O’ nt s
Fro
I’

Cross line
H’
e Q’
C ros s lin

Back R’ G’ Front
Côté

T’ E’

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Diagram n°5

Reduced outline, allowing for 20% stretch,

with armhole lengths rectified
N’’ 0,75 J’
N’ J’’
M’ O’’ 0,75
0,75 O’
0,75 I’
I’’

Definitive armhole length A’

Back = 19,25 cm
Front = 18,25 cm

Cross line Cross line

Q’ H’

R’ G’

Bust Bust
S’ F’

Back Front
Center back SG

Center front SG
Waist Waist
T’ E’

Large hips Large hips

K’ U’ D’ B’

Diagram n°5
1. It is better to shift the shoulders to rectify the shoulder notch 3. Outline the suppressed front section (points I’, J’, I’’ and J’’) on
position and to enhance the shoulder seam visually. On the front, tracing paper so that you can then reproduce it on the back shoulder
trace a parallel to the shoulder slope, 0.75cm below it (points I’’, J’’) in slope from points N’, O’ upwards, adding 0.75cm in length to the back
order to obtain a 1cm difference between the back and front armhole shoulder and obtaining points N’’, O’’ as shown.
lengths, with the back armhole longer than that of the front. To find
4. Check the front and back armhole lengths once again. The
the 0.75cm value, the following calculation was made:
following measurements should be found:
18,5 + 19 = 37,5 cm
- Back (points R’, O’’) = 19.25cm
37,5/2 = 18,75 cm
- Front (points G’, I’’) = 18.25cm.
2. Apply a front-back proportional difference of: 0.5cm more for the These measurements are to be used if a sleeve is being constructed.
back and 0.5cm less for the front and you will obtain:
- For the back: 18.75 + 0.5 = 19.25cm
- For the front: 18.75 – 0.5 = 18.25cm.

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 Diagram n°6
Reduced outline, allowing for 20% stretch,
with armhole lengths rectified

KNIT WEAR BASE WITH 20% STRETCH

N’’
J’’
M’ O’’

I’’

Definitive armhole length A’

Back = 19,25 cm
Front = 18,25 cm

Cross line Cross line

Q’ H’

R’ G’

Bust Bust
S’ F’

Back Front
Center back SG

Center front SG
Waist Waist
T’ E’

Large hips Large hips

K’ U’ D’ B’

Diagram n°6
The final outline of the knitwear base with 20% stretch, to which a
sleeve could be added, has been obtained.

When the stretch percentage is fairly small, less than 5% for example,
it is not necessary to apply this method of reduction, as a small
percentage of stretch is considered simply a source of extra ease.
It is possible in this case, however, to reconsider the ease value you
decide to add at the beginning of construction, in the knowledge that
the fabric has a little stretch. If you feel it brings enough comfort,
it is even possible to forego the creation of seam allowances for
assembly.

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Extension or elasticity rate of a knit fabric (%) Recovery rate of a knit fabric
1. With knit fabrics, it is important to analyze how elastic they are 1. When stretching a fabric to see how elastic it is, it is also
before deciding what type of garments the fabric is suited for. A rate interesting to find out its recovery rate. When a fabric returns to
of between 50 and 100% is considered ideal for making clothing its initial position after being stretched, it is considered excellent,
where ease of movement is essential. allowing maximum use of the fabric’s stretch.

2. To find out the elasticity rate, use a ruler (Diagram n°7). 2. Generally speaking, avoid fabrics with a weak elasticity and
recovery rate for clothing where stretch and ease of movement
3. Take a piece of fabric and fold it on the weft to see how far it can
are heavily relied upon (swimwear, sports clothing, lingerie,
extend in this direction. The same can be done by folding it on the
underwear…).
warp to check the elasticity or extension rate of a fabric in the sense
of the warp (Diagram n°8).

4. Then, define a length between two points. For this example, insert a
pin in the fabric, 10cm from the selvedge as illustrated in Diagram n°8.
Place the beginning of the ruler (point zero) on the pin and stretch
the fabric without distorting it to find out its elasticity rate; in this
example = 79% (Diagram n°9).

Diagram n°7

100 %

10 20 30 40 50 60 70 80 90

1 2 3 4 5 6 7 8 9

0 10 cm 20 cm

Ruler, elasticity rate

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Diagram n°8

10
Knit fabric
SG

Fold on the warp

Selvedge

Diagram n°9

100 %

10 20 30 40 50 60 70 80 90

1 2 3 4 5 6 7 8 9

0 10 cm 20 cm
SG

79% elasticity

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SLEEVE FOR KNITWEAR BASE

P. 254 | KNITWEAR OR LOOSE GARMENT BASE USING

THE BODICE BASE PATTERN

This sleeve has been specially adapted for the knitwear or loose
garment base, which uses the bodice base pattern as its starting
point. The shoulder has been modified for visual enhancement.

Back Front

Technical drawing

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 SLEEVE FOR KNIT WEAR BASE
Diagram n°1

13,66

SG

C A D

E’ F’
E F
0,75 0,75

15,5 14,5

Diagram n°1
1. Trace a symmetrical axis in the middle of a sheet of paper, with proportional difference to the back and front respectively, namely:
point A at the center of the intersection as shown. 30/2 = 15cm
Back: 15 + 0.5 = 15.5cm.
2. As for the front, to calculate the sleeve cap depth, take 5/6 of the
Front: 15 – 0.5 = 14.5cm.
armhole depth. To keep excess value to a minimum for the sleeve,
Place the above measurements on the horizontal axis from point A,
subtract 1cm (invariable value) from the value found, namely:
to the left for the back and to the right for the front. Points C and
(17.6 x 5/6) – 1 = 14.66 – 1 = 13.66cm..
D respectively are obtained. Draft 6cm lines downwards from each
3. Place this measurement from point A upwards and obtain point B. of these two points (an average value for the outline of this short
sleeve). Points E and F are obtained. Move in by 0.75cm from point E
4. To calculate the sleeve width, take ¾ of the front and back armhole
and F in order to slightly curve in the sleeve (points E’, F’).
lengths. To keep excess value to a minimum for the sleeve, subtract
1,5cm (invariable value) from the value found, namely: 6. Join points C, E’ and D, F’ using a French curve with the arch placed
- Armhole length: back + front = 21.5 + 20.5 = 42cm upwards. The sleeve-end does not need to worked on a curve now
- Sleeve width: (42 x ¾) – 1.5 = 31.5 – 1.5 = 30cm. and as the outline remains horizontal, assembly will be be easier.

5. To find out the value to place back and front, halve the sleeve width
measurement just found and apply a + 0.5cm and – 0.5cm

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Diagram n°2

B
0,5 1

1,65 1,84

0,77 0,97
G SG H

Crook line
Elbow line

0,87 0,97

1,06 1,26

C A D
0,8

E’ F’
E F
= =
= =

Diagram n°2
1. For the sleeve cap outline, proceed in the same way as for the 3. Place 0.77cm on the perpendicular from point G and 0.97cm on the
short sleeve base pattern. The values alone will change. Firstly, join perpendicular from point H. Find the halfway marks of segments B,
points C and D to point B with a ruler. Find the halfway mark between G and B, H and draft perpendiculars upwards from there of 1.65cm
points A, C and A, D in order to position the elbow and crook lines. and 1.84cm for the back and front respectively. Find the halfway
Draft a vertical from the halfway mark for each one as shown. The mark of segments C, G and D, H also but draft the perpendiculars
two verticals cut the B, C line and the B, D line at points G and H of 0.87cm and 0.97cm downwards this time for the back and front
respectively. From these new points, draft perpendiculars to the B, respectively.
C and B, D lines. Find the halfway mark of the last segment (between the last
perpendiculars placed and points C and D). From there, draft
2. To know the value to place on these perpendiculars, divide the
perpendiculars of 1.06cm and 1.26cm downwards for the back and
knitwear base sleeve cap depth calculated on the previous page
front respectively.
by the sleeve cap depth of the short sleeve base pattern, namely:
13.66/14 = 0.97cm. 4. Place a straight line as shown above point B, creating a right angle
The dart values of the short sleeve base pattern are to then be on each side of the A, B axis, with a value of 0.5cm on the left for the
multiplied by the coefficient that has just been found, namely: back and 1cm on the right for the front. This represents a flat area or
1.3.x 0.97 = 1.26cm platitude. On the sleeve cap depth line, mark a flat area of 0.8cm
1 x 0.97 = 0.97cm from point D inwards.
1.9 x 0.97 = 1.84cm
1.7 x 0.97 = 1.65cm
0.8 x 0.97 = 0.77cm
0.9 x 0.97 = 0.87cm
1.1 x 0.97 = 1.06cm.

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Diagram n°3

G H

SG

Crook line
Elbow line

C A
D

E’ F’
E F

Diagram n°3
Armscye outline
1. Between points 0.87 and 0.77 on the back and 0.97 and 0.97 on the
front, trace straight lines that go beyond each of the points as shown.

2. Finalize the armscye outline, using the straight lines just drafted
to trace the curves in four sections, and placing the arch of the French
curve as shown.

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Diagram n°4

21,3
21,6

1
21,5 20,5

G H
SG

Crook line
Elbow line

C A
D

E’ F’
E F

Diagram n°4
1. To find out how much excess value to place, calculate the diffe-
rence
between the front and back armscye and front and back armhole
lengths, namely:
- Armscye: back 21.6cm, front 21.3cm
- Armhole: back 21.5cm, front 20.5cm
To calculate the difference:
- Back: 21.6 – 21.5 = 0.1cm
- Front: 21.3 – 20.5 = 0.8cm.
The excess value to place on the armscye is therefore 0.1 + 0.8 = 0.9cm.

2. In order to find the notch and the base pattern shoulder seam
on the front armscye (do not consider a change in position for the
shoulder seam as illustrated in previous chapters), place the front
armhole length (20.5cm) from point D.

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Diagram n°4b

SG

Crook line
Elbow line

C A D

E’ F’

Diagram n°4 (continued)

Proceed in the same way for the back, placing the back armhole
length (21.5cm) from point C. The excess value (0.9cm) can be found
between the two points obtained. Halve this value, namely: 0.9/2 =
0.45cm.

The notch is therefore placed as shown and the final outline of the
sleeve has been obtained (Diagram n°4b).

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PATTERN MAKING
FLAT-PATTERN DRAFTING

SLEEVE FOR KNITWEAR BASE

WITH 20% STRETCH

P. 276 | KNITWEAR BASE WITH 20% STRETCH

As for the construction of the knitwear base reduced in size to

allow for 20% stretch in a knit fabric, a method of reduction will be
applied in the following pages for the sleeve adapted to this base.
More precisely, it is preferable to adapt the sleeve to the knitwear
base with the modified shoulder position for visual enhancement.

Back Front

Technical drawing

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 SLEEVE FOR KNIT WEAR BASE WITH 20% STRETCH
Diagram n°1
1. Start from the knitwear base sleeve, illustrated in the previous
chapter, and outline it before making any transformations.
Diagram n°2

Diagram n°1

O C
B’
O’
C’

N D
N’ D’

SG
Crook line
Elbow line

SG

M M’ E’ E
L L’ F’ F
K G
K’ ,31 G’
9 / 14
15, A

J’ I’ H’
J H
I

Diagram n°2
1. The transformation is carried out in the same way as for the 3. Example: the distance between points A and J is 15.9cm. Multiply
reduced knitwear base that allows for 20% stretch in the knit fabric. this measurement by 0.9 to find the reduced measurement to place,
Determine the central point to which all the construction lines must namely: 15.9 x 0.9 = 14.31cm.
converge. For this model, position it where the sleeve cap depth line Place this measurement from point A to obtain point J’. Proceed in the
and the SG intersect (point A). Use all the points used in the knitwear same way for each line, placing the newly calculated measurements
base construction for the armscye, namely: B, C, D, E, F, G, H, I, J, K, from point A towards the following points: B, C, D, E, F, G, H, I, (J
L, M, N, O. already done), K, L, M, N, O. The new points B’, C’, D’, E’, F’, G’, H’, I’,
J’, K’, L’, M’, N’, O’ are obtained, representing the new measurements
2. The stretch content of the chosen knit fabric must be 20%, as for
of the reduced sleeve.
the body of the knitwear base, to adapt the sleeve to the body.
Do the following calculation to find the coefficient to multiply by:
20%/2 = 10%
100% - 10% = 90% or 0.9, the value of our coefficient.

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Diagram n°4
Diagram n°3

19,4 19,25

1,15 18,25
19,25

B
B’

O
B’ C

O’ C’
N
D
SG

N’ D’

SG
M
M’ E’ E
L F K’ G’
K G A
K’ L’ F’ G’
A

J’ I’ H’
J H J’ I’ H’
I

Diagram n°3 Diagram n°4

1. Trace the new armscye, joining up all the new points and respecting 1. Check the armscye length:
the shape of the initial outline (curves and straight lines). - Back = 19.4cm
- Front = 19.25cm

2. The reduced knit wear body (for a 20% stretch content) is

constructed with a change in shoulder seam position in anticipation
of a future sleeve (-0.5 on the front and +0.5 on the back), leading to
the following armhole lengths:
- Back = 19.25cm
- Front = 18.25cm

3. The difference between the armscye and the armhole is therefore:

(19.4 + 19.25) – (19.25 + 18.25) = 38.65 – 37.5 = 1.15cm. This value
corresponds to the excess value required for assembling the sleeve.
In this particular case, the shoulder seam notch to be placed on the
sleeve will be situated just inside the front section of the sleeve, as
will become apparent on the next page.

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 SLEEVE FOR KNIT WEAR BASE WITH 20% STRETCH
Diagram n°4b

B’

SG

K’ G’
A

J’ I’ H’

Diagram n°4 (continued)

4. Place the notches as follows:
- For the back: 19.25cm from point K’.
- For the front: 18.25cm from point G’.
Halve the space between these two notches, namely:
1.15/2 = 0.57cm, which represents the definitive position of the
shoulder notch, corresponding to the knitwear base with no shift in
shoulder position (P. 254).

The final outline of the sleeve has been obtained (Diagram n°4b).

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PATTERN MAKING
FLAT-PATTERN DRAFTING

COLLAR FOR THE KNITWEAR BASE

P. 254 | KNITWEAR OR LOOSE GARMENT BASE USING

THE BODICE BASE PATTERN

For the construction of this collar, use the measurements of the

knitwear or loose garment base neckline as your starting point,
leading to a classical and close-fitting neckline.
This collar construction can also be used on any other base.

Front

Technical drawing

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 COLLAR FOR THE KNIT WEAR BASE
Diagram n°1 Diagram n°3
1. Firstly, measure the front and back half-neckline, namely: 6.6cm 1. To determine the position of the shoulder notch, work out the
and 10cm = 16.6cm. Choose the collar length aimed at. For this difference between the base pattern width (16.6cm) and the knit collar
example: 2.5cm when finished. width (13.28cm), namely: 16.6 – 13.28 = 1.25cm.

2. Trace a rectangle of 2.5 x 2 = 5cm by 16.6cm (points A, B, C, D), 2. Take the half back neckline width (base pattern) and divide it by
corresponding to the half collar and the base pattern neckline width 1.25, namely: 6.6/1.25 = 5.28cm.
(half-neckline of the knitwear or loose garment base = 16.6cm). Place the shoulder notch 5.28cm from center back.
Generally, a collar is constructed on fold.

Diagram n°3
Diagram n°1
A B A E B
Center back

2,5
Center back
SG on fold

SG on fold

Fold line Fold line

2,5 5,28 Shoulder notch

D 16,6 C D F C

Diagram n°2
To find out the half-collar measurement in knit fabric, take the base
pattern width (16.6cm) and extract 1/5, namely: 16.6 – (16.6/5) =
16.6 – 3.32 = 13.28cm.
The aforementioned 1/5 is a fair estimation for a fabric that is quite
stretchy. When assembling, the collar will be stretched and should
Diagram n°4
therefore become the same length as the neckline length. It is The final outline of the knit fabric collar has been obtained.
indispensable to obtain the 3.32cm value previously lost thanks to
the elasticity of the fabric.
Place the width of the half-collar in knit (13.28cm) from center back
(points A, D) and obtain points E and F.

Diagram n°2 Diagram n°4

A E B A E
Center back
Center back

SG on fold
SG on fold

Fold line Fold line

D 13,28
C D F
F

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PATTERN MAKING
FLAT-PATTERN DRAFTING

COLLAR FOR THE KNITWEAR BASE

WITH 20% STRETCH

P. 276 | KNITWEAR BASE WITH 20% STRETCH

Use the knitwear base collar (P.296) as your starting point. Outline
the 5cm x 13.28cm rectangle and apply the same method of reduc-
tion as in the knitwear base with 20% stretch.

Front

Technical drawing

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 COLLAR FOR THE KNIT WEAR BASE WITH 20% STRETCH
Diagram n°1 Diagram n°3
Start by outlining the knitwear base collar, illustrated in the previous It is also possible to calculate this notch position. On the base pat-
chapter. tern, the notch is situated 5.28cm from center back (points A, D). On
this new outline (collar for the knitwear base with 20% stretch), the
notch is placed by multiplying 5.28cm by the coefficient 0.9, namely:
5.28 x 0.9 = 4.75cm.
Place this measurement from center back (points A’, D’) to locate the
new notch position.
Diagram n°1
A E
Center back

Diagram n°3
SG on fold

Fold line

A E
Center back
D SG on fold A’ E’
F
Fold line

Shoulder notch
D’ F’
D F
5,28
4,75

Diagram n°2
1. Mark point G as the central point of the rectangle and trace
diagonals from point G as shown. Place the modified measurements,
calculated by multiplying the original measurement by the coefficient
found earlier (for the knitwear base with 20%) on these diagonals,
namely: 7.1 x 0.9 = 6.39cm. Diagram n°4
2. Place this measurement (6.39cm) from point G on the four The final outline of the collar reduced in size (for a knit fabric with
diagonals as shown. Points A’, E’, F’, D’ are obtained. Join up these 20% stretch) has been obtained (points A’, E’, F’, D’).
points in straight lines.

3. Draft a diagonal from point G downwards to meet the D’, F’ line.

Place the new shoulder notch where the two intersect.
Diagram n°4
A’ E’
Center back
SG on fold

Fold line

Diagram n°2 D’ F’

A E
Center back

A’ 6,3 9
SG on fold

Fold line 7,1/ E’

D’ G F’

D F

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6 MÉTHODE dp studio

DRESSES
 VOLUME 3 CONSTRUCTING BASE PATTERNS
WOMENSWEAR CLOTHING KIMONO SLEEVES – BUSTIERS –
PATTERN MAKING BLOUSON JACKETS – KNITWEAR
FLAT-PATTERN DRAFTING – DRESSES – COATS – SLEEVES
– HOODS – SWIMWEAR

Contents

p 302 Flared dress with shoulder strap seams and low front neckline

p 312 Princess-line sheath dress with low front neckline

p 326 Dress cut below the waist with princess seams on the bodice and low back neckline

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PATTERN MAKING
FLAT-PATTERN DRAFTING

FLARED DRESS WITH SHOULDER

STRAP SEAMS AND LOW FRONT
NECKLINE
P. 054 | SHORT SLEEVE BASE PATTERN

Use the bodice base pattern with one waist dart as your starting
point for building the volume of this dress.
The base pattern ease values: 4cm for the bust, 2cm for the waist
and 4cm for the large hips, will provide the volume required for this
construction.

Back Front

Technical drawing

302 | dp studio
 J D
H J’
I E
G
Center back SG

FLARED DRESS WITH SHOULDER STRAP SEAMS AND LOW FRONT NECKLINE
F A
Cross line Cross line 3
B
A’
7

P
C
Bust Bust

Back Front

Center front SG
Waist Waist

Large hips
Large hips

Diagram n°1b
Diagram n°1
TR ACING PAPER

F
Ce
n te
rb
ac

Diagram n°1
k

G
Back
1. Outline the back and front of the bodice separately.
r J’ H
ulde
2. Define a lower front neckline as follows: on center front, place a k sho D
B ac J
marker 3cm below the cross line (point A in this example) and obtain I ou lder
n t sh
point A’. From point A’ and perpendicular to center front, draft a 7cm E Fro

horizontal to obtain point B. From point B, draft a line upwards to

the shoulder.

3. On tracing paper (Diagram n°1b), outline the front and back

Cross line
necklines (points C, A’, B, D and E for the front and points F, G, H, I
for the back), joining them at the shoulder (points D, E for the front B A’
and H, I for the back).

4. Still on tracing paper and without moving the base pattern center
Center front

Front
back neckline position (point G), open up the neckline as shown and
obtain point I for the front and J’ for the back.
C
5. Dot the new neckline on your front and back outlines, and redraw
it in pencil.

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FLAT-PATTERN DRAFTING
J D
E

CONSTRUCTING THE FRONT

A
Cross line

Diagram n°2 A’
B

P C
Bust

SG

Center front SG
Diagram n°2 Waist

1. For this model, keep the base pattern outline of the waist and
shoulder darts.

2. Define how long you want the dress to be. In this example, the
Side front panel Front
hem line is set 40cm below the large hip line (points K, L) and obtain
point M on center front. From point M and perpendicular to center
front, trace the hem line using the same width measurement as the
large hip line (points K, L) and obtain point N. Draft a line upwards
from point N to join point L. S
3. Trace the SG of the waist dart and continue it down as far as the
hem line to obtain point O. L Large hips K
4. To flare the different panels of the dress, place a value of 3cm on
either side of point O as shown. From the new points obtained (Q and
R), draft lines upwards to join the apex of the waist dart (point S).

5. To flare the bottom of the dress more and spread the flared effect
out evenly, move out from point N by 3cm to obtain point T. From
point T, join the hip curve on a tangent. The line and curve will touch
at point L.

6. Create right angles at the bottom of each flare panel (points S, Q –

S, R – L, T) and trace lines from the corrected angle to the SGs (points
O and N) to facilitate assembly. Points Q’, R’ and T’ are obtained.

40

T’ N R’ Q’
T 3 3 O 3 M
R Q

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 H J’
I
G

Center back SG

FLARED DRESS WITH SHOULDER STRAP SEAMS AND LOW FRONT NECKLINE
CONSTRUCTING THE BACK

F
Cross line

Diagram n°3

Bust
SG

SG

Waist
Diagram n°3
1. As for the front, keep the base pattern outline for the waist and
shoulder blade darts.
Side back 2. Fix the length aimed at for the dress, marking the hem line
Back panel 40cm below large hip level (points U, V) for this example. Place the
measurement on the side seam from point V downwards to obtain
point W. It is important to keep the front and back side seam lengths
Ab
the same (points L, T and V, W respectively).

3. From point W, trace the hem line perpendicular to center back.

Point X is obtained. To keep the hem line parallel to the ground, raise
U Large hips
point X by 1cm to obtain point X’. Trace the SG of the waist dart and
V continue it down to the hem line (point Y).

4. To flare the different panels of the dress, place a value of 3cm on

either side of point Y as shown. From the new points obtained (Z and
Aa), draft lines upwards to join the apex of the waist dart (point Ab).

5. To flare the bottom of the dress more and spread the flared effect
out evenly, move out from point W by 3cm to obtain point Ac. From
point Ac, join the hip curve on a tangent. The line and curve will touch
just above point V.

6. Create right angles at the bottom of each flare panel (points Ab,
Z – Ab, Aa – V, Ac) and trace lines from the corrected angle to the
SGs (points Y and W) to facilitate assembly. Points Z’, Aa’ and Ac’
are obtained.
40

X’
Z’ Aa’ Ac’
1 X
Z 3 Y 3 W 3 Ac
Aa

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FLAT-PATTERN DRAFTING

Diagram n°4b

TR ACING PAPER

U Ab

V L S

Back
Side back panel Side front panel Front
ac k
te r b
C en

Center front
X’
1

X
Ad’
Ad
Y
Aa’
Z’
Y
Ac’ T’
W
N Q’ R’
O O
M

Diagram n°4
1. Adjust the hem on tracing paper (Diagram n°4b), outlining each 3. Keep center front and back (points M and X respectively) of the
section, starting from center front (points K, M), continuing to point base pattern at right angles on hem level and join up each point of
R’ and point O, and then the side panel line (points S, R’). the hem line with a ruler, softening the angles with a French curve to
obtain an even curve.
2. Pivot the tracing paper so that points S, R’ are placed over points
S, Q’. Continue outlining up to point T’, marking points O and N, and 4. Do not forget that the definitive back hem has been raised by 1cm.
the side seam line on a tangent with the hip curve. Move onto the Use a French curve between points X’ and Ac’to trace a smooth curve,
back, placing the start of the side front panel at point T’ over the start respecting the right angle on center back (point X’).
of the side back panel at point Ac’ as shown. Continue outlining up
5. Dot the curve sections onto the corresponding part of your front
to point Z’, marking points W and Y, and the side panel line (points
and back outlines and then redraw them in pencil.
Z’, Ab). Pivot the tracing paper so that points Z’, Ab are placed over
points Ab, Aa’ and then outline up to center back (points X, X’, U),
making sure you mark point Y as shown.

306 | dp studio
 Diagram n°4
J D
H J’
I E
G

Center back SG

FLARED DRESS WITH SHOULDER STRAP SEAMS AND LOW FRONT NECKLINE
A
F Cross line
Cross line

A’
B

P
C
Bust Bust

Center front SG
SG
SG

SG

Waist Waist

Side back
Side front
Back panel Front
panel

Ab

U Large hips Large hips

V L K

X’ Ad Ad’
Ac’ T’ N R’ Q’
Z’
X Aa R M
Z Y Aa’ W Ac T O Q

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PATTERN MAKING
FLAT-PATTERN DRAFTING J
E

Diagram n°5

Cross line

B A’

6
6

P P C
Bust

5 5

Center front SG
Waist

Side front Front

panel

S S

Large hips
L K
SG

SG

Q’ R’
T’ M
N O O

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 H J’
I
G
Diagram n°6

Center back SG

FLARED DRESS WITH SHOULDER STRAP SEAMS AND LOW FRONT NECKLINE
F
Cross line

Diagram n°5
1. Separate the front from the side front panel with a view to placing
the seam allowances, remembering to mark the SG of the side front
panel before detaching it.

2. At bust point (P) on the side front panel, soften the angle formed
Bust
by the second legs of the waist and shoulder darts.

3. For assembly, place a notch 6cm above point P on the first and
second legs of the shoulder dart, and another one 5cm below point
P on the first and second legs of the waist dart (do this on both the

SG

SG
front and side front panel).

4. At the bottom of the waist dart (point S), soften slightly the angles
formed, using a French curve.

5. Soften also the angles formed at waist level (on the dart and side
seam line).
Waist

Side back
Back panel

Ab

U Large hips
V

Diagram n°6
To separate the back from the side back panel with a view to placing
seam allowances, join the first leg of the shoulder blade dart to the
top of the waist dart.

X’ Ad Ad’
Z’ Ac’
X
Z Y Aa Aa’ W Ac

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Diagram n°7

J’
I
G

Center back SG
F
Cross line

Diagram n°7
Separate the back from the side back panel, remembering to mark
the SG on each of the pieces. Bust

1. Using a French curve with the arch placed upwards, soften the two
angles obtained, at the top of the waist dart and at the bottom of the
shoulder blade dart (do this on both the back and side back panel).

2. At the bottom of the waist dart (point Ab), soften slightly the angles
formed there using a French curve.
SG

SG
3. Soften also the angles formed at waist level (on the dart, and side
seam and center back lines).
Waist

Side back
Back
panel

Ab Ab

Large hips
U V

X’ Ad’ Ad
Ac’
Aa’ Z’ W
X Y Y

310 | dp studio
 J
J’
I
G Diagram n°8 E

FLARED DRESS WITH SHOULDER STRAP SEAMS AND LOW FRONT NECKLINE
Center back SG

F Cross line
Cross line
B A’

6
6

P P C
Bust Bust

5 5

Center front SG
SG

SG

SG

SG
Waist Waist

Side back Side front

Back Ab Ab panel panel Front

S S

Large hips
U Large hips
L K
V

X’ Ad’
Ad R’
Ac’ T’ N O Q’ O M

Diagram n°8
The final outline of this dress has been obtained.

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PATTERN MAKING
FLAT-PATTERN DRAFTING

PRINCESS LINE SHEATH DRESS

WITH LOW FRONT NECKLINE

P. 054 | SHORT SLEEVE BASE PATTERN

Compared to a traditional princess seam, the seam in this model

is moved farther over to the side. The dress has a round and low
front neckline. Use the bodice base pattern with one waist dart (or
another base if more appropriate) as your starting point for creating
the volume of the dress.
The base pattern ease values: 4cm for the bust, 2cm for the waist
and 4cm for the large hips, will provide enough volume to elaborate
this model..

Back Front

Technical drawing

312 | dp studio
 Diagram n°1 0,5
0,5
E’
A A’ E
Ai Aj F
G
B
Center back SG

PRINCESS LINE SHEATH DRESS WITH LOW FRONT NECKLINE

Maintain

Cross line Cross line

D
5
P
C
Bust Bust

Back Front

Center front SG
Waist Waist

Large hips
Large hips

Diagram n°1b

TR ACING PAPER
Ce

Diagram n°1
n te
rb
ac

1. Outline the front and back of the bodice separately.

k

Back
G
2. Define the new neckline by firstly modifying the back shoulder,
suppressing the shoulder blade dart. The latter value is transformed A’
A
E
into excess value and later worked in with an iron. For this modifica- ou lder E’
k sh
tion, join points A and B in a straight line. B ac lder
B hou
nt s
Fro
3. Elaborate the low front neckline. On center front, place a marker F

5cm above the bust line (point C) and then open up the shoulder top
(point E) by moving it 0.5cm to the left. Points D and E’ are obtained.
Open the back neckline (point A) also by 0.5cm. Point A’ is obtained. Front

4. Outline the front and back necklines with the new points on tracing
paper (Diagram n°1b) joining the two outlines at the shoulder (points
A, B for the back and E, F for the front). Maintaining the neckline
opening on center back (point G), draft the new neckline curve using D

a French curve and passing through points D, E’, A’.

Center front

5. Dot the neckline curves on your front and back outlines, before C
redrawing them with a pencil.

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FLAT-PATTERN DRAFTING

Diagram n°2

E’ E
F
CONSTRUCTING THE FRONT

Diagram n°2
1. For this model, move the waist dart slightly so that you can move Cross line
the princess seam farther over to the side. Shift each point of the
waist dart (points P, H, J, I) by 1.25cm, for example, to the side. Redraw
the waist dart in the same way but with the new points P’, H’, J’, I’.
The value of this shift to the side can vary from D
about 0.5 to 3cm. More than 3cm will lead to too much excess value
that would be visible on the bust line and too difficult to work in with
an iron. If, however, a dart is reconstituted, the value can exceed 3cm. P C
P’ 1,25 Bust
2. Trace the SG of the new dart and extend it beyond large hip level.
3. Decide how long you want the dress to be. In this example, place
the hem line 40cm below the large hip line (points K, L) on center front
from point K to obtain point M.

Center front SG
4. From point M, trace a perpendicular to center front that ends level
with point L as shown. Point N is obtained.

5. Point O is obtained where the hem line (points M, N) intersect with

the SG of the new dart. Place a marker 0.5cm either side of point O to 1,25
I’ I
shape the seam slightly.
H’ H Waist
Join the new points obtained (O’ and O’’) to the bottom of the new
waist dart (point J’).

6. To shape the bottom of the dress even more, move point N in by

2cm to obtain point N’. Join point N’ to point L on large hip level. Front
Be careful not to make the sides too narrow because excess fabric
will form on hip level and increase the hip volume. It is better to
shape the bottom half of the dress in different areas, to spread the
narrowing effect out for balance. If a fold of fabric forms on the hips,
J’ J
create a small horizontal dart to remove the excess fabric. This dart
1,25
will subsequently disappear via pivot when the pattern is made
(Diagram n°2b).
L Large hips K

40

N’ O’’ O’
N M
0,5 0,5
2
O

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 PRINCESS LINE SHEATH DRESS WITH LOW FRONT NECKLINE
Diagram n°2b

R R

Q Q

P’ P’

Side front panel Side front panel

I’ I’
SG
SG

Move by pivot
Suppress dart L L

An’
O’’ An’ O’’

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FLAT-PATTERN DRAFTING
Diagram n°3

E’ E
S’ F
S

V’
V

Diagram n°3b
U’ T’
U R’ T Cross line
TR ACING PAPER
R
8,5

S
D
Q
V

P’’ P C
P’ Bust

Center front SG
U
R

I’ I
P’ P H’ H Waist

Side front panel Front

Diagram n°3
J’ J
1. Fix a point on the armhole to start the princess seam from. From
the base of the armhole opening (point Q), place 8.5cm, for example,
on the armhole curve to obtain point R. Use a French curve to trace the
L Large hips K
princess seam from point R to the top of the new waist dart (point P’).

2. The base pattern shoulder dart value is going to be pivoted into

the princess seam so that it will be hidden by the seam for aesthetic
reasons. However, it will still exist.

3. To pivot the dart, outline the base pattern bust point (point P),
SG

second leg of the shoulder dart (points P, S), cross line (points T, U),
rest of the shoulder up to shoulder point (points S, V), armhole curve
up to point R with the notch and seam curve up to point P’ (top of the
new waist dart) on tracing paper (Diagram n°3b).

4. With the tracing paper placed over the outline, from point P pivot
the second dart leg (points P, S) onto the first leg (points P, F) and
then outline all the new points obtained on tracing paper (points T’,
S’, V’, U’, R’, P’’).
The dart is now located in the princess seam, between points R and
R’. Point P’ has moved to point P’’ and a small excess value will be
created when the princess seam is assembled.

N’ O’’ O’
N M

316 | dp studio
 Diagram n°4

A A’
G

PRINCESS LINE SHEATH DRESS WITH LOW FRONT NECKLINE

B CONSTRUCTING THE BACK
Center back SG

Maintain

Diagram n°4
Cross line 1. As for the front, in order to change the position of the princess
seam, firstly move the waist dart slightly. Move each point of the base
pattern waist dart (W, X, Y, Z) to the side by 1.25cm. Redraw the new
W W’
dart in the same way as its predecessor but in a different position
(points W’, X’, Y’, Z’).
Trace the SG of the new dart and extend it beyond large hip level to
reach the future hem line.
Bust 1,25 2. The length aimed at for the dress has been fixed at 40cm below
large hip level. Place this value on the side seam line from point Aa
to obtain point Ab.
Back
3. From point Ab, trace a line perpendicular to the side seam line
(points Aa, Ab) and end it when it becomes level with point Ac. Point
Ad is obtained.

4. Raise point Ad by 1cm to obtain the same measurement (40cm)

as on the side seam line between the hem line and large hip line on
1,25
Z Z’
center back. Point Ad’ is obtained.
X X’
The front is 1cm longer. This is normal as point Ac has been raised
Waist
by 1cm in relation to point K (the large hip position on center front) to
respect the center back waist - large hip reference length of 19cm (the
waist having been lowered by 1cm on center back in relation to center
front for the horizontal position of the large hip line on the dummy to
SG

be possible).

5. Where the hem line (points Ab, Ad) and the SG of the new dart
Y Y’ intersect, point Ae is obtained. Place 0.5cm either side of the SG to
slightly shape the seam. From these two new points (Ae’, Ae’’) join
1,25 the bottom of the waist dart (point Y’).

6. To shape the bottom of the dress more, move point Ab in by 2cm to

Ac Large hips obtain point Ab’ and from this point, join point Aa on large hip level.
Aa

40

Ad’ Ab’
1 Ad Ae’ Ae’’ Ab
0,5 0,5 2

Ae

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Diagram n°5

A A’
Ai Aj
G
B
Maintain

Center back SG
2,5 Ag

Cross line 10,5

2,5
W
W’
Af

Diagram n°5 Bust

Side back
1. Fix a place on the armhole to start the princess seam from.
Back panel
From the base of the armhole opening (point Af), place 10.5cm, for
example, on the armhole curve to create point Ag as the start of the
princess seam. Trace the seam from point Ag to the top of the new
waist dart (point W’) using a French curve.

2. Place two notches on the princess seam, each one 2.5cm from
points W’ and Ag respectively, as shown.

Z Z’
Waist X X’
SG

SG

Y Y’

Ac Large hips
Aa

Ad’
Ab’
Ad Ae’ Ae’’ Ab

Ae

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 THERE ARE SEVERAL POSSIBLE SOLUTIONS

PRINCESS LINE SHEATH DRESS WITH LOW FRONT NECKLINE

FOR THE SHOULDER BLADE DART

Diagram n°6

A’
0,5
B
B’’
Maintain
Center back SG

Al
Ag
Cross line

W’
Al’
Ag

Diagram n°6b
W’
TR ACING PAPER
Bust Af

Bust

B’’

Al Ag

Al’

W’

Af

Diagram n°6
First solution
If the chosen fabric is dry handle, it is possible to actually suppress
the shoulder blade dart. The 1cm excess value thereby created will
be reduced to 0.5cm to facilitate assembly. Consequently, shoulder
point will have to be shortened by 0.5cm. Do this on tracing paper
(Diagram n°6b), moving point B (shoulder point) in by 0.5cm to obtain
point B’’. Trace the new shoulder line (points A’, B’’).
Now redraw the new armhole with the side back panel (panel 3)
attached, making sure shoulder point stays at right angles. Two
new points are obtained (Al and Al’), where the princess seam and
armhole intersect.

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Diagram n°7
Second solution
The excess value created when suppressing the shoulder blade dart
can be maintained using an iron, as long as the fabric used allows
this.

Diagram n°7

A’ Diagram n°8
Third solution
B The third solution is to keep the original shoulder blade dart.
Maintain
Center back SG

Ag
Cross line
Diagram n°8
Ag
W

A’ Ai
Aj
W’
B
Af
Center back SG

Bust

Bust

Ah

Cross line Ag

W’

Bust

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 PRINCESS LINE SHEATH DRESS WITH LOW FRONT NECKLINE
Diagram n°9 Diagram n°9c

A’ A’
Ai Ai
Aj Aj’
B’
B
Center back SG

Center back SG
Ah
Ah
Maintain
Ag’
Cross line Ag
Cross line Ak’ Ag

Ak Ak

W’ W’
W’
Af
Bust
Bust Bust

Diagram n°9
Fourth solution
There is also the possibility of pivoting the shoulder blade dart into
the princess seam. To do this, join the bottom of the shoulder blade
dart (point Ah) to the princess seam curve to obtain point Ak as
shown. On tracing paper (Diagram n°9b), outline the second leg of
the shoulder blade dart (points Ah, Aj), the shoulder from the second
TR ACING PAPER
leg to shoulder point (points Aj, B), the armhole up to point Ag and
the princess seam curve up to point Ak.

1. On your paper outline (Diagram n°9c), from the bottom of the Aj

shoulder blade dart (point Ah) pivot the second dart leg of the tracing B
paper onto the first dart leg of your paper outline (points Ah, Ai) and
then dot the whole of the traced section onto the paper outline (points
Aj’, B’, Ag’, Ak’). The shoulder blade dart has therefore been closed
and excess value created on the princess seam: point Ak has moved
Ah
to point Ak’ (the dart is now located here but has been transformed
into excess value). Ag

2. Redraw the curve so that it is smooth, evening out the angles Ak

formed at points Ak and Ak’.

3. Now place two notches, each 2.5cm from points Ag’ and Ag on
the back panel curve and side back panel curve respectively. Place
another notch on the princess curve 2.5cm above the top of the new
Diagram n°9b
waist dart (point W’) as shown.
(For this example, the measurement between the two notches on the
back is 6.5cm and on the side back panel 6cm. Consequently, there
is a minimal amount of excess value (0.5cm) to maintain during
assembly).

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Diagram n°10b

TR ACING PAPER

Y’
J’

K
Ac Aa L

Side back panel Side front panel Front

Back
Side-
back

Center front
C enter

An An’ O’’ O’
Am Am’
M
Ab’ N’
Ad’
Ae’ Ae’’
Ad

Diagram n°10
1. Adjust the hem line on tracing paper (Diagram n°10b), outlining 2. Concerning the hem outline, make sure center back and front at
all the corresponding sections starting from center front (points points Ad’ and M respectively stay at right angles, before using a
K, M). Continue along the front to point O’ and the J’, O’ seam line French curve to trace the new hemline curve as evenly as possible.
(separating the front and the side front panel). Pivot this seam onto Notice that the front section stays horizontal while the side front
the next seam line (points J’, O’’) and continue outlining to point N’ panel, side back panel and back sections curve.
of the side seam line. Outline this seam up to point L. Now move onto
3. New points Am and Am’ are obtained where the hem line intersects
the back, placing the front side seam (points L, N’) onto the back side
with the princess seam intersect and points An and An’ where it
seam (points Aa, Ab’) and then outlining the Y’, Ae’’ seam (separating
intersects with the side seams.
the back and the side back panel). Move this seam onto the next seam
(points Y’, Ae’) before continuing along to center back (points Ac, Ad’) 4. Dot the curve sections onto the corresponding parts of your paper
where the outlining ends. outline before redrawing them in pencil.

322 | dp studio
 Diagram n°10

A A’ E’ E
Ai Aj S’ F
G

PRINCESS LINE SHEATH DRESS WITH LOW FRONT NECKLINE

S
B
Maintain V’
Center back SG

Ah
Ag U’ T’
Cross line U R’ T Cross line
R

W W’
Af Q D

P’’ P C
Bust P’ Bust
Side back
Back panel Side front panel Front

Center front SG
Z Z’ I’ I
Waist X X’ H’ H Waist
SG

SG

SG

Y Y’

J’ J

Ac Large hips Large hips

Aa L K

Ad’ Am Am’ An An’

N O’’ O’
Ad M
Ae’ Ae’’ Ab N’
Ab’
Ae O

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PATTERN MAKING
FLAT-PATTERN DRAFTING
A’ E’
G
B V’
Center back SG

Maintain

Diagram n°11

Ag Ag U’ Cross line
Cross line R’
R
6
6
W’ W’ D
Af Q
12,35 12,45

P’’ P
C
P’ P’ Bust
Bust

5 5
Side back
Back panel Side front panel Front

Center front SG
X’ Z’ I’ H’ Waist
Waist
SG

SG

SG

Y’ Y’

J’ J’

Large hips
Large hips
Ac Aa L K

Ad’ Am Am’ An An’ O’’ O’ M

Diagram n°11
1. In order to place seam allowance values, outline each piece sepa- 3. Place notches for assembly, taking into account the excess value
rately: the front, side front panel, side back panel and the back. Do created. Position two of them 6cm below points R and R’ and then
not forget to mark the SG on each piece. At the bottom of the new 5cm below point P’, place a notch on both legs of the new waist dart
waist darts, use a French curve to slightly soften the angles formed as shown.
there, as well as softening other angles formed on waist level (darts
4. For this example, the measurement between the notches on the
and side seams).
front is 12.45cm and between the two notches on the side from panel
2. To finish the front outline, extend the first leg of the new waist 12.35cm. On the front, there is consequently 0.1cm excess value to
dart beyond point P’ and then, using a French curve and staying on a maintain on bust level.
tangent to this line, trace the curve to join point R’.

324 | dp studio
 A’ E’
G
Diagram n°12
B
V’
Maintain
Center back SG

PRINCESS LINE SHEATH DRESS WITH LOW FRONT NECKLINE

Ag Ag
U’ Cross line
R’
Cross line
R

D
Af Q

P’ P’ C
Bust Bust

Side back
Back Side front panel Front
panel

Center front SG
X’ Z’ I’ H’
Waist Waist

Large hips
Large hips
Ac Aa L K

Ad’ Am Am’
An An’ O’’ O’ M

Diagram n°11 (continued) Diagram n°12

Between points P’ and P’’, excess value had been created when the The final outline of the dress has been obtained.
shoulder dart was pivoted. When the seam curve was altered between
points R’ and P’, this excess value was reduced. The final excess value
must be small enough to be maintained with an iron.

After separating the two back pieces, it is possible that the princess
seam curves will need a little correcting.

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DRESSES WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

DRESS CUT AT THE WAIST WITH

PRINCESS SEAMS ON THE BODICE
AND LOW BACK NECKLINE
P. 054 | SHORT SLEEVE BASE PATTERN

For this dress cut below the waist, there are princess seams on the
bodice and a low neckline at the back. Its flared skirt has godets at
the back and knife pleats at the front.
Use the bodice base pattern with one waist dart as your starting
point for creating the volume of this dress.
The base pattern ease values: 4cm for the bust, 2cm for the waist
and 4cm on large hip level, will provide enough volume to elaborate
this model.

Back Front

Technical drawing

326 | dp studio
 3 3
Diagram n°1 C
G G’ C’
H D
F

B
Center back SG 1,5
B’

DRESS CUT AT THE WAIST WITH PRINCESS SEAMS ON THE BODICE AND LOW BACK NECKLINE
Cross line Cross line

E’

4,5
P
E A
Bust Bust

Back Front

Center front SG
Waist Waist

Large hips
K Large hips
L J I

40

40
40

R
O
R’ Q N M

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 6 VOLUME 3

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PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°1
Outline the front and back of the bodice separately
1. To create the low back neckline, outline on tracing paper (Diagram 4. Trace a perpendicular to center front from point M to join point
n°1b) the base pattern neckline, with the front (points A, B, C, D) and N. Proceed in the same way from point O to join the SG of the waist
back (points E, F, G, H) joined at the shoulder (points C, D for the front dart (point R) and from point Q to also join the SG of the waist dart
and G, H for the back). On center front, place a marker 1.5cm below the (point R’).
neckline base (point B) to obtain point B’. Open up the two shoulder
5. When the large hip line remains horizontal as required, center
tops (points C and G) by moving them 3cm to the left to obtain points
back is not level with the side back panel at the bottom of the dress.
C’ and G’. On center back, place a marker 4.5cm above bust line (point
This will be rectified when the hem is adjusted farther on in the
E) to obtain point E’, representing the new neckline base.
construction process.
2. Use a French curve to trace the new neckline curve. Do not forget
to keep points E’ and B’ at right angles on center back and front
respectively. Dot the new neckline on your front and back outlines
before redrawing it in pencil.

3. Decide on the length aimed at for this dress.

In this example, the hem line is placed 40cm below large hip level
(points I, J for the front and K, L for the back). Place the 40cm on the
center front and back verticals and side seams to obtain points M,
N, O, Q.

Diagram n°1b

TR ACING PAPER

E
Diagram n°2
1. Decide exactly where to place the seam between bodice and skirt
E’
for this dress cut below the waist. For this example, place a marker
on center front, 9cm below the waist (point S for the front and V for
the back) and another marker 3cm below the waist on side seam
level (point T for the front and U for the back). New points S’, T’, U’,
V’ are obtained.
These values can be modified depending on the style aimed at.
Ce

ck
On the back, trace a 4.5cm horizontal from point V’ (staying parallel
n te

ba
ss to the waist line) and obtain point W. This horizontal will help place
rb

o
Cr
ac

the godets and the yoke curve will start from this point on the back.
k

F
2. To trace the waist seam, use tracing paper (Diagram n°2b) and
outline the skirt part of the dress from waist to hem, closing the waist
G darts. Start by outlining the front (points S, S’, I, M, Aa, Y, X) with
G’ C the first leg of the waist dart. Then pivot the first dart leg (points Y,
H C’
X) onto the second leg (points Y, Z) and continue to outline points Y,
D
Aa’, N, J, T’, T, Z.
B
3. To obtain a continuous seam between the front and back of the
B’ dress, the front and back need to be joined. Do this by positioning
point J (front large hips) over point L (back large hips) and then slowly
slide the front hip curve onto the back hip curve until point T’ and
Center front

point U’ meet. Continue to outline the back (points U’, L, Q, R’, Ac,
Ad, U) with second leg of the waist dart.
Pivot the second leg (points Ac, Ad) onto the first leg (points Ac, Ab)
and continue to outline points Ac, R, O, K, V’, W, V, Ab.
A

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 Diagram n°2 C
G G’ C’
H D
F

Center back SG B

DRESS CUT AT THE WAIST WITH PRINCESS SEAMS ON THE BODICE AND LOW BACK NECKLINE
B’

Cross line Cross line

E’

P
E A
Bust Bust

Side back Side front

Back panel panel Front

Center front SG
V Ab Ad U T Z X S
Waist 3 3 Waist
U’ T’
U’’ T’’
9
Ae’ 9
Ae
4,5 Af’
Af
V’ W S’

Ac

K Large hips Large hips

L J I

R
O
R’ Q N Aa M

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DRESSES WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°2b

TR ACING PAPER

V’

Ab Ad

K W
Af
Af’ U
T
U’ Z X
Ac T’ S
a ck U’’
T’’
b
n te r
Ce
Ae
Ae’
S’

L
O Y
J
Back

Front
R’’
R’

Center front

Aa’
Aa M

Diagram n°2 (continued)

4. Trace a perpendicular to center front from point S’ to create a 7. Move onto center back of your paper outline and proceed in the
right angle as shown before drafting a smooth and even yoke curve same way, dotting the first curve section up to the first leg of the waist
with the arch of the French curve placed downwards, using the dart (points V, V’, W, Af, Ab) and then opening the dart by pivoting
perpendicular on the front and point W on the back to guide you, point Ab onto point Ad and continuing to dot the last curve section
and joining points T’, U’ . When the angle formed at points T’, U’ is (points Ad, Af’, U’’, U).
softened, these points will move (to new points T’’ and U’’) and lead
8. Redraw the curve in pencil section by section, positioning the
to a slightly lower curve position on the front and back side seams.
French curve as shown for each part.
5. The yoke curve cuts the waist darts at points Ae, Ae’ on the front
9. Redraw the back hem with a French curve to even out the difference
and Af, Af’ on the back.
in level between points R and R’. Point R’’ is obtained.
6. Once this curve has been drafted on tracing paper, move onto Soften the front hem with a French curve at points Aa and Aa’.
center front of your paper outline and dot the first curve section up
to the first leg of the waist dart (points S, S’, Ae, X). Open the dart by
pivoting from point X onto point Z and continuing to dot the second
curve section (points Z, Ae’, T’’, T).

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 CONSTRUCTING THE SKIRT FRONT

Diagram n°3b

ROBE COUPÉE À LA WAIST DÉCOUPE PRINCESSE ENCOLURE DÉGAGÉE DOS

Diagram n°3c
TR ACING PAPER

T’’
T’’

Ae Ae
Ae’ Ak Ai
Ag S’ Ae’ Ak’ Ak Ai’ Ai
Ag’ Ag
1A 1B 1C S’

Y
J
Y
J
I
I

1,5

Center front SG
1,5
1,5

Front
Front

1,5

1,5
Center front

1,5

3 3 3
N

Aa’ M
Aa Al Aj Ah
N

Aa’ M
Aa Al’ Al Aj’ Aj Ah’ Ah

Diagram n°3 Example

1. Outline the entire skirt front on tracing paper (Diagram n°3b): For angle A, corresponding to points Ae, Ak’ and Al’, place the tracing
points S’, I, M, Aa, Aa’, N, J, T’’, Ae’, Ae. Place verticals on this outline paper on the vertical of the next pleat (points Ak, Al), then dot the
to represent the future knife pleats. From center front (points S’, M), curve up to the halfway mark of the 3cm pleat width. Turn the tracing
place three lines 1.5cm from each other (points Ag, Ah – Ai, Aj – Ak, Al). paper and place it on the Ak’, Al’ vertical so that points Ak’, Al’ of the
tracing paper turn back on themselves but in the other direction.
2. On a fresh sheet of paper (Diagram n°3c), place a vertical on the
Dot the same curve, again up to the halfway mark of the pleat width.
right (SG). To form the knife pleats, place a horizontal on large hip
Redraw the pleat head obtained in pencil in order to reproduce the
level, for example, to keep each pleat section even (points S’, M, Ah,
same position for the knife pleats during assembly.
Ag, then Ag’, Ah’, Aj, Ai and Ai’, Aj’, Al, Ak).
Proceed in the same way for the other two angles, 1B and 1C.
It is possible to work like this as knife pleats stay vertical.
The fact of having closed the waist dart while creating the curve
3. Place the first pleat section on the SG (points S’, M, Ah, Ag), separating the bodice and skirt, has given the skirt a flared volume.
placing the large hip line on the horizontal axis. The value of the closed dart has led to the opening at the bottom
(points Aa, Aa’). For this example, the skirt has evolved in a way that
4. Now place the width aimed at for each pleat, namely 3cm for this
allows you to continue and finalize the skirt from this stage.
example. Place a vertical 3cm to the left of the first section as shown
and then place the second section (points Ag’, Ah’, Aj, Ai) to the left
of it.

5. Place once again a 3cm pleat width to the left of the section
previously placed and then place the third section (points Ai’, Aj’, Al,
Ak) to the left of it. Place the last 3cm pleat width before outlining the
rest of the skirt (points Ak’, Al’, N, J, T’’).

6. On tracing paper (Diagram n°3d) outline the three curves that

form angles 1A, 1B and 1C on the top of the skirt, marking each of the
knife pleat verticals.

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DRESSES WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

CONSTRUCTING THE SKIRT BACK

Diagram n°4b

TR ACING PAPER

U’’

Af
Af’
Am Ao
V’
W

Diagram n°3d
L

K’
TR ACING PAPER K

1,5
1A 1B 1C 1,5 Back
1,5
Center back

Q
O’ R
O An Aq Ar R’

Diagram n°4b & 4c

1. Place three and a half godets per half-skirt, namely seven godets
altogether. The first godet is situated on center back (points V’, O’)
and the others are positioned on the horizontal (points V’, W) 1.5cm
after point V’.

2. On the base pattern bodice, there is a vertical dart on center back. 7. Take the tracing paper outline of the skirt back (Diagram n°4b) and
For this model, it will not be needed for the bottom part of the skirt pin down point V’ at the top of center back on the fresh sheet of paper.
as the skirt is going to be flared, not fitted. To remedy this, draft a Place the first half-godet value (10.5cm) by pivoting from point V’
vertical from point V’ (parallel to the SG) down to the hem line to and then outline the section created (points V’, Am, An, O’). On the
obtain point O’, representing the bottom of the new center back line final outline, this will become: points V’, Am, An, O’’. From point Am,
(points V’, O’). Point K’ is also obtained on large hip level. pivot again, moving point An to new point An’ to obtain the 21cm
godet value.
3. Starting from new center back, draft three verticals 1.5cm from
Outline the section created (points Am, Ao, Aq, An’). From point Ao,
each other (points Am, An – Ao, Aq – W, Ar).
pivot again, moving point Aq to new point Aq’ to obtain the 21cm
4. Outline the entire skirt back on tracing paper (Diagram n°4b): godet value and then outline the section created (points Ao, W, Ar,
points V’, Am, Ao, W, Af, Af’, U’’, L, Q, R’, R, Ar, Aq, An, O’). Aq’). From point W, pivot once again, moving point Ar to new point
Ar’ to obtain the 21cm godet value and then outline the last section
5. On a fresh sheet of paper (Diagram n°4c) draft a vertical on the left,
(points W, Ar’, Q, L, U’’).
representing center back.
8. To trace the hem using points O’’, An, An’, Aq, Aq’, Ar and Ar’, draft
6. Take a value of 21cm for each godet (value chosen according to
right-angled lines up to the halfway point of each godet as shown.
the style aimed at). Place the new center back of the tracing paper
Using a French curve, soften the angles formed in the middle of each
(points V’, O’) onto the vertical drafted on the left of the new sheet of
godet.
paper. The dotted part of the outline (points V’, K’, O’, O, K) has now
been suppressed.

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 U’’

O
K
V’
Af

K’
Center back

Am

O’
Af’

Ao

10,5
W
Ac

O’’
L

ips
L arge h

An
21
Diagram n°4c

Back

An’
21

Aq
21

Aq’
Ar
Q

Ar’
R’

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DRESS CUT AT THE WAIST WITH PRINCESS SEAMS ON THE BODICE AND LOW BACK NECKLINE
 6 VOLUME 3

DRESSES WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

CONSTRUCTING THE FRONT PRINCESS SEAM

Diagram n°5

C
C’
Diagram n°5 D
Aw
1. Choose a point on the front armhole for the princess seam to start Aw’
from. For this example, place 8.5cm from the base of the armhole Av’
B
opening (point As) on the armhole curve to obtain point At. Trace the Av
seam downwards with a French curve to reach the top of the waist dart B’
(point P), staying on a tangent with the second leg of the shoulder
dart (points P, Aw).

2. Presently, it is the base pattern shoulder dart that appears on the Au’ Cross line
outline. Its value is going to be pivoted to the princess seam to make Au At’ Ax
the dart invisible (the dart will still exist but will be hidden inside the At 8
seam once the garment is assembled).
8,5
3. To pivot the dart, outline on tracing paper (Diagram n°5b) the base 8

pattern bust point (P), second leg of the shoulder dart (points P, Aw), As
cross line (points Au, Ax), the rest of the shoulder up to shoulder point
(points Aw, Av), the armhole curve up to point At with the notch (at P Bust
A
9cm) and the princess seam curve up to point P (top of the waist dart).

4. From point P, pivot the second dart leg (points P, Aw) onto the first Side front 5 5

(points P, D) and then outline all the tracing paper’s pattern lines panel Front

Center front SG
(points P, Ax, Aw, Av, Au, At). The dart is now in the princess seam.
Point At has moved to point At’.Retracer une courbe régulière de façon
à enlever les angles formés aux points Az et Az’.

5. For assembly, position notches above and below point P. Place

them as shown: 8cm below points At and At’, and 5cm below point P,
on both legs of the waist dart.
Z X Waist
T S

Diagram n°5b T’’

TR ACING PAPER
Ae’ Ae
S’
Aw

Av

Ax

Au
At

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 CONSTRUCTING THE BACK PRINCESS SEAM

DRESS CUT AT THE WAIST WITH PRINCESS SEAMS ON THE BODICE AND LOW BACK NECKLINE
Diagram n°6

namely, 0.4cm excess value

(9,1 - 8,7 = 0,4 cm)
G G’ G’’
F H’ Ba
H
Bd 5. From the bottom of the shoulder blade dart (point Ay), pivot the
first dart leg of the tracing paper (points Ay, H) onto the second
Center back SG

6
Az’ dart leg of your paper outline (points Ay, Ba) and then dot the entire
Az tracing paper outline onto your paper outline. The shoulder blade
9,1 dart has now been closed and excess value has been created on the
Ay neckline: point Az has moved to Az’ (the dart is now located here but
Bc has been transformed into excess value).
Cross line
Bg
Bd
6. Redraw the curve so it is smooth, with the angles formed at points
Az and Az’ evened out.
9
11
7. Now place two notches. Position them both on the neckline curve:
Be one 9cm above point E’ at the bottom of the neckline and another 6cm
E’ below point G’’ on shoulder level.
Bf

Bust
E

Side back
Back panel

Diagram n°6b
Waist Ab Ad U TR ACING PAPER
V

G’
U’’
H

Af’
Af
V’ W

Az

Ay

Diagram n°6
1. From the base of the armhole opening, move along the armhole
curve for 11cm to mark the beginning of the princess seam (point Bc).

2. From the top of the waist dart (point Be), join point Bc using a
French curve. The princess seam has now been created.

3. Place a notch between panels n°4 and n° 5 where the princess

seam intersects with the cross line (point Bg).

4. You can now suppress the shoulder blade dart in order to place
excess value on the back neckline. To do this, from the bottom of the
shoulder blade dart (point Ay), join the neckline curve (point Az). On
tracing paper (Diagram n°6b), outline the first leg of the shoulder
blade dart (points Ay, H), the shoulder (points G’, H), the neckline up
to point Az and the Az, Ay line.

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 6 VOLUME 3

DRESSES WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°7

E
Ce

4
n te
rb
ac

E’ Diagram n°7b
k

r
9 ulde C’
Sho
D

k
ac
sb
os
Cr 8,7
4 B’

Center front SG on fold

Front facing
G’
C’
r
ulde
H Sho

B’

Diagram n°7b
Drafting the neckline facing
Center front

A Shou
lder
G’
H
Center back SG

Cross back

Diagram n°7
1. Construct the neckline facing (4cm wide for this example) before E’
pivoting the shoulder blade dart so that during assembly you can
maintain the excess value created by the shoulder blade dart.
E
Different ways of finishing the inside of the neckline are possible but
Back facing
it is important to suppress the excess value on the outer neckline.

2. For the edge of the facing, trace a line 4cm to the left of the dress
neckline, staying parallel to it. (For this example, between the two
neckline notches, piece n°4 measures 9.1cm and the facing 8.7cm.
There is therefore 0.4cm excess value to maintain during assembly.

3. For this model, a seam is going to be created on shoulder level

for the facing (Diagram n°7b). Center front and back will be on fold,
indicating that the opening for this dress will be by invisible zip on
the side.

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 DRESS CUT AT THE WAIST WITH PRINCESS SEAMS ON THE BODICE AND LOW BACK NECKLINE
Diagram n°8

C’
G’’ D
Aw’

Bb Av’

B’

Maintain

Bc Cross line
Au’ Ax’
Bc
Bg At’
Bg Bd
At
Be
E’
Be
Bf As
Bust Bust
E P A

P’ P
Center back

Back Side back Side front Front

Center front SG
panel panel
SG

SG

SG

Waist Waist
V Ab X S

Ad U T Z

U’’ T’’
Af Ae
S’
V’ W Af’ Ae’

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DRESSES WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

T’’

Ae
Diagram n°8
Ae’ Ak’ Ak Ai’ Ai Ag’ Ag 1. In order to place seam allowance values, outline all pattern pieces
S’
separately. For the bodice, separate the front, side front panel, side
back panel, back, back and front facing, and for the skirt, the front
and back.
J L arge
hips 2. Once all the pieces have been separated, soften the angle that has
formed on bust level (point P) on the side front panel on bust level.
I
Point P’ is obtained.

3. Do not forget to mark the SG on each piece.

4. For the SG of the skirt part, make sure assembly between front
Center front SG

and back is balanced. To ensure this, take center front as the SG of

reference, given there is no seam on center front level. This will lead
Front
to a certain false bias on front side seam level.

5. Reproduce the front false bias on the back side seam to ensure
balance for assembly and also mark the SG of the false bias (as for
Pleat the front).
Pleat
6. Soften all angles on waist level and also at point P’.
Pleat

M
Al’ Al Aj’ Aj Ah’ Ah

Diagram n°8
U’’

K’ V’
O’ Am Ao Af Af’
Center back
W

L
ips
L arge h

Back
SG

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 DRESS CUT AT THE WAIST WITH PRINCESS SEAMS ON THE BODICE AND LOW BACK NECKLINE
Diagram n°9
C’
G’’

Bb Av’

B’

Maintain

Bc Bc
Au’ Cross line
Bg Bd
At’
At

Be Be
E’
Bf As

Bust Bust
E P
P’ A
Center back

Side back Side front

Back panel panel Front

Center front SG
SG

SG

SG

Waist Waist
V Ab Ad U T Z X S

U’’ T’’

Af Ae
Af’ Ae’
V’ W S’

Diagram n°9
The final outline of the dress has been obtained.

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7 MÉTHODE dp studio

TAILORED JACKET
FUNDAMENTALS
 VOLUME 3 CONSTRUCTING BASE PATTERNS
WOMENSWEAR CLOTHING KIMONO SLEEVES – BUSTIERS –
PATTERN MAKING BLOUSON JACKETS – KNITWEAR
FLAT-PATTERN DRAFTING – DRESSES – COATS – SLEEVES
– HOODS – SWIMWEAR

Contents

p 342 Tailored jacket base with a side piece (3 pieces)

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 7 VOLUME 3

TAILORED JACKET FUNDAMENTALS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

TAILORED JACKET BASE

WITH A SIDE PIECE
(3 PIECES)
P. 434 | TAILORED SLEEVE
P. 570 | SEAM ALLOWANCE VALUE FOR THE TAILORED
JACKET BASE
P. 590 | LINING AND FACING FOR THE TAILORED
JACKET BASE

The construction of this tailored jacket in three pieces (front, back

and side piece) is an important base pattern as it will be used for
constructing other versions of the tailored jacket in this section of
the book.
Determine the measurements to use for constructing the base outline
rectangle. The length of the jacket has been estimated as 70cm. The
hem line will therefore be situated below large hip level. Use the bust
girth for the width (87cm for this example). Envisage a total average
ease value of 8cm to which 5cm will be added to compensate for a
reduction in volume during the construction of the vertical darts. The
following width is obtained: (87 + 8) + 5 = 100cm, namely by half
pattern piece: 100/2 = 50cm.

..

..

..

Back Front
Technical drawing

342 | dp studio
 Diagram n°1

50

A K B

TAILORED JACKET BASE WITH A SIDE PIECE (3 PIECES)

Centre back SG

Bust spread line

27

E P Bust F
9,5

70

Centre front SG
17

G Waist H
Side piece SG

20

I Large hips
J

D L 26 C
24

Diagram n°1
From point A mark the back’s width (point K) and then trace a vertical
1. Trace the base outline 50 x 70cm rectangle (points A, B, C, D).
down to the bottom (side seam line): point L is obtained. The front
Position the bust, waist and large hip lines. The bust line needs to
volume of 26cm is automatically obtained (points K, B).
be positioned 27cm below point A, on a horizontal from center back
to center front (points E, F). 3. Mark the bust spread line, representing the distance between the
two bust points, namely: 19cm for this example. As every outline in
2. Place another horizontal 17cm below the bust line (point E),
the book is illustrated by half pattern piece, halve this measurement
corresponding to the waist line (points G, H) and a third horizontal
and then place the resulting value from center front (point F) on the
20cm below the waist line (point G), corresponding to the large hip
bust line. Point P (bust point) is obtained at 19/2 = 9,5cm.
line (points I, J). Halve the rectangle’s width (50/2 = 25cm) to mark
the separation between the front and back pattern pieces, without
For this outline, first construct the jacket back.
forgetting to make the proportional difference:
- For the front: 25 + 1 = 26cm
- For the back: 25 – 1 = 24cm.

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 7 VOLUME 3

TAILORED JACKET FUNDAMENTALS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

CONSTRUCTING THE BACK

Diagram n°2

N
A K B

M 1,5
R’
7 1,25 Q
13,5
R
Centre back SG

Bust spread line

39,5

S 19 Cross line
U
T

12

12
41,5

E W 2 P Bust F
V

Centre front SG

G O Waist H
Side piece SG

I Large hips J

D L C

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 TAILORED JACKET BASE WITH A SIDE PIECE (3 PIECES)
Diagram n°2
1. Place a marker point 41.5cm above the waist line (point G) on For the bodice base pattern, the neckline base is situated 4cm above
center back, corresponding to the waist to back neckline length. bust line and so a difference in neckline depth of 2cm is obtained
Point M is obtained. here, the jacket neckline base being 2cm lower.
Trace a perpendicular to center back from point M to place the half- The total ease value given to this jacket at bust level is 8cm. For
neckline width: 7cm. The half-neckline base width is 6cm but for each quarter garment, 2cm therefore needs to be added (8/4 = 2cm).
this jacket the neckline is going to be opened up a little, taking the The evolution given to the width of the garment and to the neckline
neckline width from 12cm to 14cm and leading to a half-neckline depth is balanced for this model (2cm for each part).
width of 7cm. This neckline can be modified and lowered more, for example,
Once this half-measurement has been marked on the outline, place depending on the style aimed at. The neckline depth must be
a marker point (N) 1.5cm above it for the shoulder top. This position estimated in relation to the global volume of the garment body. The
corresponds to the base pattern’s waist-to-shoulder-top length of narrower a garment, the higher the neckline should be in order not
43cm. to restrict body and arm movement: thus, the armhole depth should
also be quite short (proportionally). If a fitted garment body with a
2. To find the back shoulder slope, take the customer’s waist-to-
deep neckline is aimed at, the sleeve volume will have to be full to
shoulder-point measurement: 39.5cm for this example. On the side
facilitate arm movement. Inversely, if a narrow sleeve with quite a
seam line, 39.5cm above waist level (point O), place a new marker
deep armhole is aimed at, the volume of the garment body will have
(point Q). Trace a perpendicular from this point in the direction of
to be full to facilitate arm movement.
center back. The back shoulder length can now be placed.
The back shoulder length can now be placed. The shoulder length of 6. In order to trace the back neckline, join cross point U to the
the bodice base is 12.5cm (+ 1cm excess value for the back that can neckline base (point W) in a straight line. Divide this line in two and
also be replaced by a shoulder blade dart) with a half-neckline width from the halfway point, draft a perpendicular of 2.2cm on the left of
of 6cm. the line, as shown.
The half-neckline width has been fixed at 7cm which means the At shoulder point, trace a perpendicular from point R’ (the shoulder
shoulder length originally defined for the base pattern is now pad line) and then, using the French curve with the arch faced
reduced to 11.5cm, plus the excess value that needs to be added to downwards, draft the back neckline curve. This neckline needs
this part of the back. This leads us to a shoulder length of 12.5cm to be traced in order to establish the exact point where the seam
that we will increase by 1cm as this base is an outer garment with separating the back from the side piece begins.
greater shoulder coverage than a basic bodice, for example.
The back shoulder length breakdown is therefore:
[(12.5 – 1) + 1] + 1 = 13.5cm.
Place the shoulder length diagonally from shoulder top (point N) to
the horizontal extending from point Q. Point R is obtained.

3. Allow for the shoulder pad thickness on your outline, if you decide
to include shoulder pads. For this base, raise the shoulder point
(point R) by 1.25cm to obtain point R’, as shown.
Join points N and R’ using a ruler.

4. Position the cross line 12 cm above and parallel to the bust line
(points E, F). Points S and T are obtained for the cross line that
extends from center back to center front. Place the cross-back width,
which will be half of the total cross line measurement for the base,
namely 35cm, therefore: 35/2 = 17,5cm.
Being an outer garment, the jacket requires a little more volume, so
add 1.5cm ease value to this half cross-line measurement, namely:
17.5 + 1.5 = 19cm.
Place the 19cm on a horizontal from center back (point S) and ending
at cross point (point U).

5. Place a marker 2cm above the bust line at side seam level (point V)
to obtain the neckline base position (point W).

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Diagram n°3
1. This point X is situated 2cm above the 2.2cm point traced earlier 3. Now place a waist dart to balance the front and back volume.
on the neckline curve, as shown. At waist level, allow for a total ease value of 10cm to create a marked
From point X, draft a line downwards as far as the waist line (point waist but one that is not overly pronounced.
Y) but perpendicular to it. In relation to this perpendicular, place the The base waist girth measurement is 67cm, to which the ease value is
following measurements: added: 67 + 10 = 77cm. For this outline, the half-waist measurement
- 1cm to the left for the back seam (point Y’) is therefore: 77/2 = 38.5cm. This measurement now needs to be
- 1.5cm to the right for the side piece seam (point Y’’). halved in order to be able to place it on the front and back, namely:
In order to continue the outline below waist level, mark the halfway 38.5/2 = 19.25cm.
point between Y’ and Y’’ (point Z). Do not forget the proportional difference, namely:
From this new point Z, draft a perpendicular all the way down to the - For the front, the finished waist measurement is equal to:
hem line (point Aa). 19.25 + 1 = 20.25cm
At 0.4cm on either side of Aa, place a marker: - For the back, the finished waist measurement is equal to:
- On the left (point Aa’) for the side piece 19.25 – 1 = 18.25cm.
- On the right (point Aa’’) for the back. In order to find our finished back waist measurement, it is necessary
This 0.4cm value has been calculated to make sure the large hip to add this waist dart to the back pattern piece.
volume is balanced once the outline is finished. Calculate its value as follows:
From points Aa’ and Aa’’, draft perpendiculars upwards from the The width of the back rectangle is 24cm, from which the value of the
hem line (points C, D) to just beyond the large hip line and then, with vertical darts already placed needs to be deducted, namely 1cm on
the arch faced downwards on the French curve, trace the hip curve center back, 2.5cm between the back and the back side piece, and
while staying on a tangent to the large hips. Join points Aa’’ and Y’ the final value to obtain, 18.25cm:
for the back and points Aa’ and Y’’ for the side piece. 24 – (1 + 2.5) – 18.25 = 2.25cm. This value represents the value of
the back waist dart.
2. Place a vertical dart on center back. Move in 1cm from point G
To position this dart, find the halfway mark between points G’ and Y’
at waist level (point G’). For the top of the dart, move down for the
on the waist line to fix the SG, on either side of which the half waist
equivalent of a third of the E-S segment, corresponding to the cross
dart value will be placed, namely: 2.25/2 = 1.125cm.
line length, namely: 12/3 = 4cm.
Descend the dart to 12cm below the waist line and to calculate the
From the top of the dart, join point G’ in a straight line and
top of the dart position, halve the distance between the bust and
then continue this line down to point D, as shown. Point D is the
cross lines, namely: 12/2 = 6cm. Draft straight lines for the four
intersection point between the bottom of this outline and the left
sides of the dart.
side of the pattern outline.
Move onto the front outline now, before finalizing the side piece.

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 Diagram n°3

TAILORED JACKET BASE WITH A SIDE PIECE (3 PIECES)

N
A K B

M R’
Q
Centre back SG

Bust spread line

R

U Cross line
S T

4 = 1/3 de12
X
2

6
E W Bust
P F
V

Centre front SG
2,25
Y
= =
G 1 1 1,5 Y’’ O Waist H
G’ Y’
Z
Side piece SG

12

I Large hips
J

Aa’ Aa’’

D 0,4 0,4 L C

Aa

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PATTERN MAKING
FLAT-PATTERN DRAFTING

CONSTRUCTING THE FRONT

Diagram n°4

N
A K Ab 7 B
Ag
M Ad
R’
2,5
Q 1,25
12,5
R
Centre back SG

Bust spread line

Af
Ac

24

S U Cross line Ae 17,5

T

E W Bust F
V P

Centre front SG

Y
G Y’’ O Waist H
G’ Y’
Z
Side piece SG

I Large hips J

Aa’ Aa’’

D L C

Aa

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 TAILORED JACKET BASE WITH A SIDE PIECE (3 PIECES)
Diagram n°4
1. Place the half-neckline width of 7cm, as for the back, which will
enable you to position the shoulder top (point Ab). It is important to
keep the same neckline width measurement to prevent the garment
as a whole from twisting.

2. Now find the front shoulder slope.

To help you do this, take the bust point (point P) – shoulder point
measurement of 24cm and then the shoulder length measurement
of 12.5cm (1cm less than the back because the excess value has
been suppressed).
If the same calculation as for the back is carried out, the following is
obtained: with a half-neckline width of 7cm, this means the shoulder
length originally defined for the base pattern is reduced to 11.5cm.
This measurement is increased by 1cm to allow for the fact that this
model is an outer garment with greater shoulder coverage than a
bodice base, for example. The back shoulder length is therefore:
(12.5 – 1) + 1 = 12.5cm.

3. With the help of a compass, place the shoulder length from

shoulder top (point Ab) in the arc of a circle for 12.5cm. Then, from
bust point, place the 24cm measurement so that it cuts the arc of the
circle at a point which corresponds to the shoulder point (point Ac).
This 24cm value has been measured on the dummy between bust point
and shoulder point (measured diagonally).
As for the back, place the envisaged shoulder pad thickness of
1.25cm (point Ad) perpendicular to the shoulder slope and join
points Ad and Ab with a ruler.

4. Place the cross point on the same cross line as for the back,
starting from (point T) on center front, as shown. The half cross line
width of this base is: 32/2 = 16cm, to which the same ease value as
for the back is added (1.5cm), namely: 1.5 = 16 = 17.5cm. Point Ae is
obtained.
Now construct a shoulder dart to help build the bust volume.
Place the first shoulder dart leg 2.5cm to the left of the bust spread
line (point Af). It is important to always place this value on the
shoulder line as the shoulder pad line can sometimes be very difficult
to define.
Join bust point (P) and point Af in a straight line and extend this line
as far as the shoulder pad line (point Ag). To find out the shoulder
dart value, use the following calculation:
1/8 of the half-bust girth + 1cm, namely: (87/2)/8 + 1 = 6.44cm.

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FLAT-PATTERN DRAFTING

Diagram n°5

N Ag
K Ag’
A Ab B
6,44
M R’
Ad
Q Af
R
Centre back SG

Ad’ Ac Af’

Bust spread line

Ac’

S U Ae Cross line
T
Ah
Ae’
X Ah’

2,7
Ai

E W Bust F
V P

Centre front SG

2,75
Y
G Y’’ O Aj’ 1,5 1,5 Aj’’ Waist H
G’ Y’
Z
Aj
Side piece SG

15

I Large hips
J

Aa’ Aa’’ Ak’’

Ak’

D L 0,25 0,25 C

Aa Ak

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 TAILORED JACKET BASE WITH A SIDE PIECE (3 PIECES)
Diagram n°5
1. To place the dart value, outline the following pattern lines on
tracing paper (Diagram n°5b):
- The first dart leg (points P, Af, Ag)
- The shoulder and shoulder pad lines, on the left of the first dart leg
(points Af, Ac and Ag, Ad)
- The cross line, on the left of the first dart leg (points Ah, Ae).

2. Place the tracing paper over your paper outline and pin bust point Diagram n°5b
P of the tracing paper onto bust point P of the outline. Now pivot
everything to the left for the value that has been set for the dart, in
TR ACING PAPER
this instance: 6.44cm.
Do not forget that this value is placed on the left of point Af for
6.44cm, creating point Af’ and corresponding to the shoulder line. Ag
Dot the traced pattern lines onto your paper outline and redraw Af
Ad
everything (points P, Ah’, Af’, Ag’, Ad’, Ac’, Ae’).
Ac
3. Now join the new cross point (point Ae’) to point W on the neckline
base. Find the halfway mark of this line and draft a perpendicular of
2.7cm downwards from there (point Ai), as shown. From point Ai, draft
a vertical down to the hem line (point Ak).
Ae Ah
Place marker points where the vertical intersects with the waist line
as follows:
- 1.5cm to the left of the intersection for the side piece seam (point Aj’)
- 1.5cm to the right of the intersection for the front seam (point Aj’’).
Place a marker 0.25cm on either side of point Ak:
- On the left, point Ak’ for the front
P
- On the right, point Ak’’ for the side piece.
Draft perpendiculars to the hem line (points C, D) upwards from
points Ak’ and Ak’’, to slightly beyond the large hip line and then,
with the arch placed downwards on the French curve, trace the hip
curves tangentially to the large hips. Join points Ak’’ and Aj’ for the
side piece and points Ak’ and Aj’’ for the front.
As for the back, the waist girth must be checked in order to define the
vertical dart value for the front. With the proportional difference, the
finished front waist is equal to: 19.25 + 1 = 20.25cm. (As a reminder:
38.5/2 = 19.25cm).
To work out the dart value, calculate in the following way:
The width of the front rectangle is 26cm from which the dart value
already placed between the front and the front side piece must be
deducted, 3cm, as well as the final value to be obtained, 20.25cm:
26 – (3 + 20.25) = 2.75cm.
This value represents the front waist dart to be placed.
Halve this value and then place the half value on either side of the
SG, namely: 2.75/2 = 1.375cm.
Place this dart 15cm below the waist. The top of the dart is situated
at bust point P. Trace the four sides of the dart in straight lines.

Do not forget that darts never stop right on point P when making a
model: you have to therefore move them slightly away from this point.

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Diagram n°6
½ bust girth = 9 + 9 + 8.85 + 11.15 + 9.5 = 47.5cm, including 4cm of ease value (47.5 – 43.5 = 4cm)
½ waist girth = 7.5 + 7.5 + 6.75 + 8.6 + 8.15 = 38.5cm, including 5cm of ease value (38.5 – 33.5 = 5cm)
½ hip girth = 19.7 + 10.05 + 21.25 = 51cm, including 4cm of ease value (51 – 47 = 4cm)

N K Ag’ Ag
A Ab B

M R’ Ad
Q Af
R Ad’ Ac Af’
Centre back SG

Bust spread line

Ac’

U Ae Cross line
S T
Ah
Ae’ Ah’
X

Ai

W P Bust F
E V
=9 =9 8,85 11,15 9,85

Centre front SG
Y

G Y’’ O Aj’ Aj Aj’’ Waist H

G’ = 7,5 = 7,5 Y’
6,75 8,6 8,15
Z
Side piece SG

I Large hips J
19,7 21,25
10,05

Aa’ Aa’’ Ak’ Ak’’

D L C

Aa Ak

Diagram n°6
It is possible to control the bust, waist and large hip gir th - Large hips: 19.7 + 10.05 + 21.25 = 51cm, namely 102cm in total for a
measurements. The measurements indicated above go from center specified base pattern large hip measurement of 94cm, so 102 – 94
back and to center front: = 8cm of total ease value.
- Bust: 9 + 9 + 8.85 + 11.15 + 9.5 = 47.5cm, namely 95cm in total for Balance in terms of this base pattern’s global ease value has
a specified base pattern bust measurement of 87cm, so 95 – 87 = therefore been maintained.
8cm of total ease value If this jacket needs to be more fitted or less fitted, the waist dart values
- Waist: 7.5 + 7.5 + 6.75 + 8.6 + 8.15 = 38.5cm, namely 77cm in total will have to be modified, with front and back balance maintained. The
for a specified base pattern waist measurement of 67cm, so 77 – 67 large hip volume can also be changed, depending on the style aimed at.
= 10cm of total ease value

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 Diagram n°7

N Ag’ Ag
A K Ab B

TAILORED JACKET BASE WITH A SIDE PIECE (3 PIECES)

M R’
Ad
Q Af
R Af’
Ad’ Ac Al
Centre back SG

Bust spread line

3,5
Ac’ 3

Am

U Ae Cross line
S T
Ah

X Ae’ Ah’ 37

Ai

E W Bust
V P F

Centre front SG
Y
G Y’’ O Aj’ Aj Aj’’ Waist H
G’ Y’
Z
Side piece SG

I Large hips
J

Aa’ Aa’’ Ak’ Ak’’

D L C

Aa Ak

Diagram n°7
1. Position the center front neckline base. This is situated 37cm
above the waist line (point Al). For this construction, lower it by 3cm
(point Am). Join the shoulder top (point Ab) to the neckline base (point
Am), find the halfway mark of this diagonal and draft a perpendicular
of 3.5cm downwards from it as shown. The hollowed-out shape of the
neckline will now be visible.
To outline the neckline precisely, work on tracing paper to obtain a
perfect and continuous curve from front to back.

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FLAT-PATTERN DRAFTING

Diagram n°7b
Diagram n°7 (continued)
TR ACING PAPER
1. On tracing paper (Diagram 7b), outline the following pattern
markings:
S
- Center front up to the neckline base (points F, Am)
- The hollowed-out point of the neckline 3.5cm below the diagonal
(Ab-Am)

Ce
ntr
- The front shoulder pad line from shoulder top towards the first leg Back

eb
ack
of the shoulder dart (points Ab, Ag).
M
Shift the tracing paper onto the back of the shoulder pad so that the
front shoulder top (point Ab) is placed over the back shoulder top
N
(point N) and the sloping lines of the back and front of the shoulder Ab
pad are placed on top of each other. Now outline center back from R’
the neckline base (points M, S). Ag
Place perpendiculars to center front and back at points M and Am
and with the help of a French curve, begin to trace the neckline Am
curve. Once it has been drafted, dot first of all the front neckline
curve onto your paper outline and then the back curve. Redraw the
two curved sections.

Centre front SG
Front

Diagram n°8b
F
TR ACING PAPER

Front

Diagram n°8
1. Now adjust the neckline. Previously, on the back, the outline of
the neckline had been made so as to determine the vertical allowing
the separation between the back and the side piece.
Now that this seam has been fitted with a waist dart, it is crucial to
Ad’
R’
check whether the back neckline curve needs to be modified.
Ag’
Ad’ 2. Outline the following pattern markings on tracing paper (Diagram
n°8b):
- The back shoulder pad line (points N, R’)
- The cross line with the back cross point (point U)
U - The back seam (points X, Y’).
From point X, pivot the back seam (points X, Y’) onto the side piece
X Ah
Ae’ seam (points X, Y’’) and continue the outline as follows:
- The hollowed out point at 2.2cm
Ai
- The side seam line with the neckline base (points W, O)
W
- The side piece seam (points Ai, Aj’).
From point Ai, pivot the side piece seam (points Ai, Aj’) onto the front
Back Side piece Front
seam (points Ai, Aj’’) and continue the outline as follows:
- The cross-front with the cross point (points Ae’, Ah’)
- The shoulder pad line (points Ad’, Ag’).
Place a perpendicular to points R’ and Ad’, and then from point W on
the neckline base, place a perpendicular of 1.5cm on the front (on
the right of point W).
Use a French curve to draft the neckline curve.
Y’ Y’’ Aj’ Aj’’
3. Point X might have moved slightly. In this example, the new outline
is situated just below the original point X (point X’).

4. Once the curve has been drafted, do not forget to bring together
the front and back shoulder pad lines (points N, R’ placed onto points
Ad’, Ag’) to check that the upper part of the curve is even. This outline
is important to obtain a neat and precise sleeve assembly.
Dot the curve onto your paper outline and redraw the four sections
of this curve, without forgetting to pivot from points X and Ai on the
front and back seams.

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 Diagram n°8

TAILORED JACKET BASE WITH A SIDE PIECE (3 PIECES)

N
A K Ab B
Ag’ Ag
M
R’ Ad
Q Af
R Ad’ Ac Af’ Al
Centre back SG

Bust spread line

Ac’

Am

U Ae Ah Cross line
S T
Ah’
Ae’
X
X’

Ai

E W Bust
V 1,5 P F

Centre front SG
Y
G Y’’ O Aj’ Aj Aj’’ Waist H
G’ Y’
Z
Side piece SG

I Large hips
J

Aa’ Aa’’ Ak’ Ak’’

D L C

Aa Ak

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FLAT-PATTERN DRAFTING

Diagram n°9

N
A K Ab B
Ag’ Ag
M
R’
Q Ad
Af
R Af’
Ad’ Ac Al
Centre back SG

Bust spread line

Ac’
Total
24,1 Total
Am
22,7

S U Ae Ah Cross line
T
Ah’
Ae’
11 X 1

X’
10

Ai

W Bust F
E V P

Y Centre front SG
G Y’’ O Aj’ Aj Aj’’ Waist H
G’ Y’
Z
Side piece SG

I Large hips
J

Aa’ Aa’’ Ak’ Ak’’

D L C

Aa Ak

Diagram n°9
1. As shown in the diagram, place the notches necessary for assem- 2. Measure the rest of the front and back armhole to find out what the
bling the sleeve. Place one on the front, 10cm from point W on the excess value is between armscye and armhole:
neckline base and another one 1cm above it. - For the front, from the 10cm notch to the shoulder pad = 12.7cm.
Place a notch on the back 11cm from point W. The total front armhole measures 22.7cm.
- For the back, from the 11cm notch to the shoulder pad = 13.1cm.
The total back armhole measures 24.1cm.

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 Diagram n°10

TAILORED JACKET BASE WITH A SIDE PIECE (3 PIECES)

N
A K Ab B
Ag’ Ag
M
R’
Q Ad
Af
R Ad’ Ac Af’ Al
Centre back SG

Bust spread line

Ac’
Am

S U Ae Ah Cross line
T
Ah’
Ae’
X
X’

Ai

E W Bust
V P F

Centre front SG
Y
G Y’’ O Aj’ Aj Aj’’ Waist H
G’ Y’
Z
Side piece SG

I Large hips
J

D’
1
D Aa’ Aa’’ L Ak’ Ak’’ C

Aa Ak

Diagram n°10
1. For the hem, place a marker 1cm above point D (point D’) on the
dart that now corresponds to center back and then at right angles to
segment G’, D, trace quite a long flat area, as shown.
To finalize the hem line, use tracing paper to close the seams
between the side piece, back and front.

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FLAT-PATTERN DRAFTING

Diagram n°10 (continued)

2. On tracing paper (Diagram n°10b), start by outlining points G’,
D’, Aa’’ and Y’. Now move the tracing paper onto points Aa’, Y’’ and
outline the side piece (points Ak’’, Aj’). Move the tracing paper once
again, onto the front (points Ak’, Aj’’) and finish outlining the front
(points C, H).

Complete the hem curve, and then dot and redraw everything onto
your paper outline.

On this tailored jacket base, the seams have stayed vertical from
large hip level down to hem level, resulting in an almost horizontal
hem line. It is possible at this point to slightly flare the hem line in the
continuity of the large hip curves, if so desired.
The hem line will in this case be redefined on tracing paper and
transformed into a more or less pronounced curve, depending on the
extent of the flare.

Diagram n°10b

TR ACING PAPER Diagram n°11

1. To construct the tailored collar, you need to place an overlap
value for this example of 2.5cm, corresponding to a button diameter
of 25mm.
G’
H The starting point of the collar also needs to be defined. For this
example, place a marker 5cm below bust line (point Ao) on center
Side piece SG

Centre front SG

front. Trace a perpendicular to center front of 2.5cm, equivalent to

Centre back SG

the overlap value (2.5cm) from this point to obtain point Ao’. Draft a
parallel to center front from this new point down to the hem in order
Aj’ Aj’’
Back Y’ Y’’ Front to position the overlap line.

2. The first buttonhole can be situated very close to the starting point
Side piece of the tailored collar if the button diameter does not get in the way
D’
of the lapel. If the button is too big, or the overlap too small, the first
Aa’’ Aa’ Ak’’ Ak’ buttonhole position will have to be lowered by 0.5 to 1cm.
C
Once the first buttonhole is positioned, determine a space between
each buttonhole, making sure the last space – the one between
the last buttonhole and the hem – is bigger, as is always the case,
for aesthetic reasons. For this example, the space between each
buttonhole is 10cm. So that the button stays in a center front
position, the buttonhole needs to be moved by 2 to 3mm to the right
of center front as the thread used to sew on the button takes up a
little volume. The slight shift in the buttonhole position will allow
for this volume.

3. The rest of the buttonhole is situated on the left of center front.

Remember to make the buttonhole slightly bigger than the button to
allow it to pass through without too much difficulty.

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 Diagram n°11

TAILORED JACKET BASE WITH A SIDE PIECE (3 PIECES)

N
A K Ab B
Ag’ Ag
M
R’
Q Ad
Af
R Ad’ Ac Af’
Al
Centre back SG

Bust spread line

Ac’

Am

S U Ae Ah Cross line
T
Ah’
Ae’
X
X’

Ai

E W Bust F
V P

Ao’
Ao
2,5

= 10

0,2 à 0,3
Y
G Y’’ O Aj’ Aj Aj’’ Waist H
G’ Y’
Z
= 10
Side piece SG

Centre front SG

2,5

I Large hips
J

D’

D Aa’ Aa’’ L Ak’ Ak’’ C

Aa Ak

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PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°12

N
A K Ab B
Ag’ Ag
M
R’
Q Ad
Af
R Ad’ Ac Af’ Al
Centre back SG

Bust spread line

Ac’

Am

S U Ae Ah Cross line
T
Ah’
Ae’
X
X’

Ai

E W P Bust F
V

Ao’
Ao

Y
G Y’’ O Aj’ Aj Aj’’ Waist H
G’ Y’
Z
Side piece SG

Centre front SG

I Large hips
J

D’

D Aa’ Aa’’ L Ak’ Ak’’ C

Aa Ak

Diagram n°12
The final outline of the jacket with side piece (three pieces) has been
obtained.

The volume of the lapel has not yet been defined. To construct the
collar of this jacket, use the tailored collar base pattern explained in
this volume (page 178).

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 Diagram n°13

TAILORED JACKET BASE WITH A SIDE PIECE (3 PIECES)

N Ab
Ag
M R’ Ag’
Af
Af’
R
Centre back SG

Bust spread line

Ad’

Ac’
Am

Ah Cross line
S U Ah’
Ae’
X’

X’ Ai
Ai

W Bust
E P
F
V

Ao Ao’

Centre front SG
O Waist
Y’ Aj’’ Aj’’ H
G’ Y’
Side piece SG

Large hips
I J

D’
Aa’’ Aa’’ L Ak’ Ak’ C

Diagram n°13
Separate each pattern piece with a view to placing the seam
allowance values.

The lapel is represented here for the purposes of illustrating the

finished front of a tailored jacket. Its construction is explained in
the chapter relative to the tailored collar construction, page 193.

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8 MÉTHODE dp studio

COATS
 VOLUME 3 CONSTRUCTING BASE PATTERNS
WOMENSWEAR CLOTHING KIMONO SLEEVES – BUSTIERS –
PATTERN MAKING BLOUSON JACKETS – KNITWEAR
FLAT-PATTERN DRAFTING – DRESSES – COATS – SLEEVES
– HOODS – SWIMWEAR

Contents

p 364 Coat with dropped-shoulder sleeves starting from the bodice base pattern

p 380 Coat with saddle sleeves

p 400 Narrow-fit coat in three pieces with protruding pocket

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 8 VOLUME 3

COATS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

COAT WITH DROPPED-SHOULDER

SLEEVES STARTING FROM
THE BODICE BASE PATTERN
P. 426 | LOW SLEEVE

Start from the bodice base pattern with one waist dart for the
construction of this new base. The shoulder dart has been incorpo-
rated in the waist dart. This coat is loose with dropped shoulders
and hence the sleeves are assembled much lower than a set-in
sleeve.
Before starting the construction, it is important to think about what
kind of volume you are aiming at for the coat. The hem, for this
example, is positioned 124cm from the front shoulder top and the
coat is therefore long. The total bust girth aimed at is 122cm and
the total hem circumference 196cm.
It is preferable to balance the front and back shoulder slopes for
this model to keep the front and back armholes in proportion for a
neater shoulder slope.

..

Back Front
Technical drawing

364 | dp studio
 THE BACK

Diagram n°1 Diagram n°1b

COAT WITH DROPPED-SHOULDER SLEEVES STARTING FROM THE BODICE BASE PATTERN
Center back SG

Center back SG
Cross line Cross line

Bust Bust

Back Back

Waist Waist

Large hips Large hips

Diagram n°1
1. Firstly, outline the front and back of the bodice, making the following 3. Once the shoulder blade dart has been shifted, (Diagram n°1b) is
changes: obtained for the back.
- On the front, move the shoulder dart into the waist dart You will notice that an angle has appeared on the shoulder slope
- On the back, move the shoulder blade dart into the waist dart and where the shoulder blade was situated. This is normal due to the
extend its second leg to the top of the waist dart. modification made to the second leg of the shoulder blade dart. The
(See the specific chapter on dart manipulation in Volume 1, P 194). angle will subsequently disappear as the outline advances.

2. Keep center front and back parallel to the SG for this example.

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THE FRONT

Diagram n°1 Diagram n°1b

Bust spread

Bust spread
Cross line Cross line

P Bust P Bust

Front
Center front SG

Front

Center front SG

Waist Waist

Large hips Large hips

366 | dp studio
 Diagram n°2

COAT WITH DROPPED-SHOULDER SLEEVES STARTING FROM THE BODICE BASE PATTERN
D’
15
1 F B
D
Center back SG

A’

15 1 A
C

Bust spread
Cross line

Cross line

Bust

P Bust
Back

Front

Center front SG
Waist

Waist

Large hips

Large hips

Diagram n°2
Given the large volume aimed at for the coat, it is possible to raise the
front and back shoulder points by 1cm to add extra ease.

The Front Back

Raise point A by 1cm as shown to obtain point A’. Raise point D by 1cm as shown to obtain point D’.
Trace the new shoulder (points B, A’) in a straight line and extend this Trace the new shoulder (points E, D’) in a straight line (points E, D’)
line beyond point A’. Then prolong the shoulder by 15cm as shown and extend this line beyond point D’. Then, as for the front, prolong
(value defined in accordance with the style aimed at) to obtain a the shoulder by 15cm to obtain a dropped shoulder position. Place
dropped shoulder position. Place this measurement from point A’ to this measurement from point D’ to obtain point F, the new shoulder
obtain point C, the new shoulder point. The entire shoulder (points point. The entire shoulder (points E, F) now measures:
B, C) now measures: 15 + 12.5 = 27.5cm. 15 + 12.5 = 27.5cm.

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Diagram n°3

B
B’

A’
C’ A
H
C

Bust spread
E’
D’
J E
D F
Cross line
G
Center back SG

F’

Cross line
I

P Bust

Front

Center front SG
Bust

Back
Waist

Waist

Large hips

Large hips

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 Diagram n°3b

TR ACING PAPER

COAT WITH DROPPED-SHOULDER SLEEVES STARTING FROM THE BODICE BASE PATTERN
B
E

J
F

C
H

Back Front

Cross line
I G

Diagram n°3c
TR ACING PAPER

K M 6
6 E’ B
O N
B’
J E L (12,5 + 15)
F R 27,5
C’
S
27,5 H
F’
(12,5 + 15) Q C
Back Front

Cross line
I G

Diagram n°3
Balancing the front and back shoulder slopes
1. On tracing paper (Diagram n°3b), outline the front and back, and are obtained.
place them on the same horizontal (cross line, for example) as shown.
5. Proceed in the same way for the shoulder points.
Outline the shoulder slopes: between points B and C for the front, and
From points C and F, draft perpendiculars to center front and back
E and F for the back, as well as center front (points G, H) and center
that meet more or less in the middle (points Q and R). Where they
back (points I, J), with the cross line (points I, G).
meet in the middle, point R is 2.8cm farther up than point Q as the
2. Start adding transformations to the traced diagram (Diagram diagram shows.
n°3c). Draft a perpendicular to center front and back from each
6. Find the halfway mark of this 2.8cm gap (point S) and from there
shoulder top (points B and E respectively) and extend the two
draft a perpendicular, once again, to center front and back. From the
perpendiculars so that they meet more or less in the middle (points
new shoulder tops (points B’ and E’) place the shoulder length on
K and L). Where the two meet, point K is 1cm farther up than point L
the perpendicular that passes through point S, namely: 12.5 + 15 =
as the diagram shows.
27.5cm. Points C’ and F’ are obtained.
3. Find the halfway mark of this 1cm gap (point M) and from there
7. Now reproduce the new shoulder slopes on your paper outline:
draft, once again, a perpendicular to center front and back. Points N
points B’, C’ for the front and E’, F’ for the back.
and O are obtained.

4. From points N and O, place the half-neckline width on the new

perpendicular, namely 6cm. Points B’ for the front and E’ for the back

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CONSTRUCTING THE FRONT

Diagram n°4

B
B’

Diagram n°4 C’
A’ A H
Defining the volume of the garment body, front and back

Bust spread
C
1. Set up the new front width, using the bust measurement aimed at C’, U = 26,8 cm

(122cm) as a starting point, namely: 122/2 = 61cm per half garment

61/2 = 30.5cm per quarter garment Do not forget to apply the front-
G
back proportional difference, namely: Cross line
- Front + 1 = 30.5 + 1 = 31.5cm T
T’’ T’
- Back – 1 = 30.5 – 1 = 29.5cm.
31,5
Note that the added ease per quarter garment for the front is:
31.5 – 23.75 = 7.75cm.
13,5 P
To place this width on a perpendicular to center front, draft a line of
Bust
31.5cm that passes through the base of the armhole opening (point T’)
as shown. Point T’’ is obtained. Front

Center front SG
2. From point T’’, fix the base of the new armhole opening. For this U
dropped shoulder model, the armhole needs to be low. Choose a
measurement to descend by from point T’’. In this example, descend
by 13.5cm to obtain point U.

3. Square up the angle at shoulder point (point C’) and then draft the
Waist
armhole curve between points C’ and U using a French curve. For this
example, the distance between points C’ and U measures 26.8cm.
Given its very low position, the armhole shape is quite flat. This is
normal.

4. Define the hem length, namely 123.5cm from the new shoulder
top (point B’).
This value has changed slightly since balancing the front and back
shoulder slopes. The shoulder top has moved downwards by 0.5cm.

5. Point V is obtained at hem level on center front. Large hips

Draft a perpendicular to center front from point V of the width aimed
at for the hem (196cm finished hem circumference), namely:
196/2 = 98cm per half garment 98/2 = 49cm per quarter garment.
Do not forget to apply the front-back proportional difference, namely:
- Front + 1 = 50cm
- Back – 1 = 48cm.
Point W is therefore obtained, 50cm from point V at the bottom of
center front.
Join points U and W in a straight line to form the side seam line.
123,5 of point B’

W V
50

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 Diagram n°5

B
B’

A’ A
C’ H

COAT WITH DROPPED-SHOULDER SLEEVES STARTING FROM THE BODICE BASE PATTERN
Bust spread
C

G
Cross line

T’’ T
T’

Diagram n°5 P
Place the patch pocket Bust
1. Place a marker 57cm below point B’ on the bust spread line to
Front
obtain point X. Staying on the same line, place another marker 19cm

Center front SG
U
below point X to obtain point Y, corresponding to the bottom of the
pocket. Place the pocket width of 17cm from point X, perpendicular
to the bust spread line, to obtain point Z.

2. Draft a line down from point Z and another across from point Y to
finish the pocket at point Aa as shown. Waist

3. Round off the angles at points Y and Aa. To do this, mark each
side 3cm along as shown and with a French curve use the marks to
create the rounded pocket edge. The outline of the pocket has been
obtained (Diagram n°5b). 57
Z X

9,5

Large hips

17
Diagram n°5b
19
3 3
Z X Aa 3 3 Y

Pocket
SG

W V

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Diagram n°5c

B
B’

C’ A’ A
H

Bust spread
C

Diagram n°5 (continued)

G
4. For aesthetic reasons, raise the left side of the pocket (point Aa Cross line
at the bottom and point Z at the top) so that the finished pocket does T’’ T T’
not droop when the garment is worn.

5. For this example, the two points will be raised by about 2.5cm to
obtain points Aa’ and Z’. Redraw the pocket and round off the angle P
at point Aa’. Bust
6. The new position of the pocket (Diagram n°5c) and the pocket
Front
outline (Diagram n°5d) have been obtained.

Center front SG
U

Waist

57
Z’
2,5 X
Z 9,5
Diagram n°5d
Large hips

17

Z’
X 19
Aa’
2,5
Pocket Aa Y
SG

W V

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 CONSTRUCTING THE BACK

Diagram n°6

E’
D’
J E F

COAT WITH DROPPED-SHOULDER SLEEVES STARTING FROM THE BODICE BASE PATTERN
D
Center back SG

F’

F’, Ac = 29,6 cm

I
Cross line

29,5
Ab’
Ab Ab’’

Diagram n°6
Bust
1. The vertical dart on center back is suppressed for this loose-fit coat.
13,5
Back
2. Place the new back width previously calculated, namely 29.5cm,
Ac perpendicular to center back on a line that passes through the base
of the armhole opening (point Ab).
Place 29.5cm from center back (point Ab’) to obtain point Ab’’. From
point Ab’’, fix the new base for the armhole opening. As this model
has dropped shoulders, the armhole has to be low and so descend
Waist from point Ab’’ by 13.5cm to obtain point Ac.

3. Square up the shoulder point (point F’) and then draft the armhole
curve between points F’ and Ac with a French curve. The measurement
between these two points for this example is 29.6cm.

4. Place the hem length, namely 123.5cm from the new shoulder
top, namely point E’. This measurement has slightly changed since
balancing the back and front shoulder slope. The shoulder top has
moved up by 0.5cm. (Reminder: originally, the back shoulder top was
Large hips 1cm lower than that of the front).
Point Ad has now been obtained at the bottom of center back.

5. From point Ad, draft a perpendicular to center back of 48cm (value

previously calculated) to obtain point Ae.

6. Join points Ac and Ae in a straight line to form the side seam line.
123,5 of point E’

Ae
Ad
48

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Diagram n°7
The Front
0,5
B
B’
B’’

C’ A’ A
H
1,5
C

Bust spread
H’

Diagram n°7 G
Cross line
1. Do not forget to open up the neckline which, for the moment, is T
T’’
still base pattern in dimension: T’
- On center front, place a marker 1.5cm below point H to obtain point
H’ and on the shoulder slope, move point B’ to the left by 0.5cm to
obtain point B’’. P
- On center back, point J does not change. Simply move point E’ on Bust
the shoulder slope to the right by 0.5cm to obtain point E’’.
U Front

Center front SG
2. On tracing paper (Diagram n°7b), join front and back at the
shoulder and then draft the new neckline curve. Dot and redraw the
new neckline on your front and back outlines.
All types of collar can be adapted to this base.

Waist

Large hips

W V

374 | dp studio
 Diagram n°7
The Back
0,5

E’ E’’
D’
J E
F
D

COAT WITH DROPPED-SHOULDER SLEEVES STARTING FROM THE BODICE BASE PATTERN
Center back SG

F’

I
Cross line
Diagram n°7b

Ab’
Ab Ab’’ TR ACING PAPER

I
Bust

Ce
Back

n te
r ba
ck
Ac
Back
J

E’’
B’’

Waist F’
C’
H’

Front

Center front
G

Large hips

Ad Ae

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Diagram n°8
The Back

E’’
E’
J E D’
F
D
Center back SG

F’
Diagram n°8b

TR ACING PAPER
I
Cross line
Ac U

Ab’
Ab Ab’’

Bust

Back I G

Ac
SG
ck
r ba
n te
Ce

Waist

Center front SG
Ad

Ae’
W’

Ae
W V

Large hips

Ae’

Ad Ae

376 | dp studio
 Diagram n°8
The Front
B
B’
B’’

C’ A’ A

COAT WITH DROPPED-SHOULDER SLEEVES STARTING FROM THE BODICE BASE PATTERN
H

Bust spread
C
H’

Diagram n°8 Cross line

G
Adjusting the hem
T’’ T
1. On tracing paper (Diagram n°8b), outline the front hemline and T’
side seam up to point U (points G, V, W, U).

2. Shift the front side seam onto the back side seam, placing point P
U over point Ac and then outline, including the back hemline (points Bust
Ac, Ae, Ad, I).

3. A gap and an angle appear at the bottom of the side seam. Use a Front

Center front SG
U
French curve to draft a smooth and even curve for the hem line. Dot
and redraw it on your paper outlines. Point W’ is obtained for the front
and point Ae’ for the back.

Waist

Large hips

W’

W V

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Diagram n°9
The Back

E’’
J

F’
Center back SG

Diagram n°9
I
Cross line
To help assemble the sleeve to the garment body, do not forget to
15 place notches:
- For the front, position a first one 12cm below point C’ and a second
one 1cm below
- For the back, position one notch, 15cm below point F’.
Bust

The final outline of the coat has been obtained.

Back
Ac

Waist

Large hips

Ae’

Ad

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 W’
C’

U
12
1

Front
The Front
Diagram n°9

B’’

Waist
Bust

Large hips
Cross line

Center front SG

V
G
H’

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COAT WITH DROPPED-SHOULDER SLEEVES STARTING FROM THE BODICE BASE PATTERN
 8 VOLUME 3

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COAT WITH SADSGE SLEEVES

To construct this new base, start from the bodice base pattern with
one waist dart. The coat has no darts or seams on the actual body
but the volume tapers at the hemline and so becomes narrower.
Its saddle sleeves are assembled to the body lower down than the
armhole for a set-in sleeve.
As the body of the coat has neither darts nor seams to shape it, the
side seam might move towards the front when worn. This depends
on the bust volume: the larger the latter is, the more the side seam
will ride towards the front.

Decide the volume aimed at for the coat before starting to construct.
For this example, the hem has been fixed 98cm below the front
shoulder top, for a coat that ends above the knee. The total finished
bust girth will be 109cm and the hem circumference 96cm.

..

Back Front

Technical drawing

380 | dp studio
 COAT WITH SADSGE SLEEVES
Diagram n°1
Center back SG

Bust spread
Cross line Cross line

Bust P Bust

Back Front

Center front SG

Waist Waist

Diagram n°1
1. Firstly, outline the front and back of the bodice base pattern,
pivoting the front shoulder dart into the front waist dart. Keep center
front and back parallel.

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CONSTRUCTING THE FRONT

Diagram n°2

2
Diagram n°2 H’’
H’
1 H
1. For the front, outline up to the waist before starting to create the

Bust spread
volume aimed at. In this construction, the waist dart disappears.
Place the large hip line (20cm below the waist, point A) to obtain
point B. Draft a perpendicular to center front from this point.

2. For the bust, determine how much width to add per quarter 2,5 Cross line
I’
garment. The total bust girth aimed at is 109cm (including ease). I
Calculate as follows: 109/4 = 27.25cm.
C’’ C
In this instance, the proportional difference on bust level (+1 front, C’
-1 back) is not applied as the front and back will subsequently be 27,25
balanced to enable the construction of the saddle sleeve. 8
Draft a horizontal line, perpendicular to center front, which
Bust
passes through the base of the armhole opening (point C). Point
C’ is obtained on center front. From point C’, place the bust width P
C’’’
previously calculated, namely: 27.25cm. Point C’’ is obtained. Front

Center front SG
3. Define how low the base of the armhole opening will be. For this
example, position it 8cm below point C’’. Point C’’’ is obtained.
Now place the hemline. The large hip line is located 64cm below
shoulder top and the hemline aimed at is 98cm below shoulder top,
therefore the hemline will be positioned 34cm below the large hip
line (98 – 64 = 34cm). Place point D for the hemline 34cm below Waist
point B on center front. F A

4. From point D, draft a perpendicular to center front to place the

width aimed at for the hem. The total hem circumference has already
been decided on (96cm) and now needs to be divided by four, before
applying the proportional difference, namely: 96/4 = 24cm.
- For the front + 1 = 24 + 1 = 25cm 20
- For the back – 1 = 23cm.
Place 25cm from point D horizontally to obtain point E.

5. Join points E and C’’’ in a straight line. This line is cut by the waist
line at point F. In anticipation of extra width on the sides, firstly add Large hips
width on shoulder and cross line level: B
- For the shoulder: before extending it, raise it by 1cm at shoulder
point for more comfort when worn. Raise point H by 1cm to obtain
point H’. Join points G, H’ in a straight line and extend this line
beyond point H’ by 2cm. The point obtained (H’’) represents the
new shoulder point.
- For the cross line, move to the left from point I by 2.5cm to obtain
point I’, representing the new cross line.

6. The new armhole can now be drafted. Square up points C’’’ and
H’’ before creating the new curve that passes through point I’ with
a French curve.

34

E
25 D

382 | dp studio
 Diagram n°3

COAT WITH SADSGE SLEEVES

G

H’
H’’
H
Bust spread

I Cross line
I’

C’’ C
C’
Diagram n°3b
K
TR ACING PAPER

3,7 Bust

C’’’ P
K

C’’’’
Center front SG

Front C’’’
1
J

Waist
F A

Large hips
B

Diagram n°3
1. To pursue the sleeve construction, halve the side seam (points F,
C’’’) and place a marker 1cm below the halfway mark to obtain point J.

2. From point J, draft a straight line to meet the armhole curve on

a tangent as shown. Where the two meet, the tangent line (K) is
obtained 3.7cm above the base of the armhole opening (point C’’’).
This value (3.7cm, points C’’’, K) can vary depending on how deep
the armhole is, its shape and the type of garment being constructed.

3. On tracing paper (Diagram n°3b), outline points J, C’’’ and K, and

then turn the tracing paper over and copy this outline onto the other
side of the J, K line of your paper. Point C’’’’ is obtained.

E D

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Diagram n°4

G
7,5
H’
H’’
H

Bust spread
27

20,66 I Cross line

I’
O
O’ C
21,01
C’
N C’’
K
18,56

Bust

C’’’ P
(35 - 2) = 33 Front
C’’’’

Center front SG
5 J
(35 - 2) - 20,66
= 12,34

5
Q
Waist
X F A

Ease out X

X
27,9 M
11 X
M’
X

X L’
45°
L
1
(62 - 2) - 20,66 = 39,34

Large hips
B

E D

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 COAT WITH SADSGE SLEEVES
Diagram n°4b

TR ACING PAPER

Af’’

H’’

30,9

27,8
Ag’

24,8 I’

Back

Front

Ai’’ C’’’

Narrower sleeve width: Basic sleeve width

27,8 + 30,9 = 58,7 cm 27,8 + 30,9 = 58,7 cm
58,7 x 2/3 = 39,13 cm 58,7 x 3/4 = 44,02 cm
39,13 / 2 = 19,56 cm 44,02 / 2 = 22,01 cm
Front – 1 = 19,56 - 1 = 18,56 cm Front – 1 = 22,01 - 1 = 21,01 cm
Back + 1 = 19,56 + 1 = 20,56 cm Back + 1 = 22,01 + 1 = 23,01 cm

Sleeve cap depth: Sleeve cap depth:

24,8 x 5/6 = 20,66 cm 24,8 x 5/6 = 20,66 cm
Aj F

Diagram n°4
1. Recreate the natural tilt of the arm, making sure a 45° angle is 3. The front undersleeve seam will be eased out with an iron. In
maintained between point J and the large hip line before drafting a anticipation of this, raise point L by 1cm to obtain point L’. The end-
line of the estimated arm length, namely: 62cm referenced arm length of-sleeve hem will be carried out when the back sleeve is finished.
minus 2cm for the shoulder shift, minus 20.66cm for the sleeve cap
4. Place the sleeve cap depth with a set square. Pass through
depth = (62 – 2) – 20.66 = 39.34cm. (To determine the sleeve cap
points C’’’’ and H’’ at shoulder point to position it. The measurement
depth, calculate 5/6 of the armhole depth, namely: 24.8 x (5/6) =
between point H’’ and N for the sleeve cap depth should be 20.66cm.
20.66cm). (Diagram n°4b)
Once this has been marked, place the front sleeve width.
2. Place a marker 39.34cm below the base of the armhole opening
(point C’’’’) to obtain point L, passing through point J even though it Two different solutions will be proposed depending on the sleeve
is not exactly in the continuity of the line (points C’’’’, L). volume aimed at (see next page).
Join points C’’’’, L in a straight line to finalize the undersleeve seam.
From point L, draft a perpendicular to the J, L line, placing an average
front sleeve width, namely: 24/2 = 12cm – 1 = 11cm (take an average
width of 24cm, halve it to work per half garment, subtract 1cm for the
front-back proportional difference).
At 11cm from point L, point M is obtained.

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FLAT-PATTERN DRAFTING

Diagram n°4 (continued)

First solution Second solution
1. Define the sleeve width following the basic sleeve block principle 1. Define the sleeve width by taking only 2/3 of the armhole length
where ¾ of the armhole length is used. The sleeve will be very large for a narrower sleeve that is probably in better proportion with the
if you choose this solution. body of the garment (to be chosen according to the style aimed at).
Front armhole length + back armhole length = 27.8 + 30.9 = 58.7cm. The front + back armhole lengths = 27.8 + 30.9 = 58.7cm.
Take ¾ of this measurement for the sleeve width, namely: Take 2/3 of this measurement to calculate the sleeve width, namely:
58.7 x ¾ = 44.02cm. 58.7 x 2/3 =39.13cm.

2. Halve this value to divide the width between the front and back, 2. Halve this measure to divide the width between the front and back,
without forgetting to apply proportional difference, namely: without forgetting to apply proportional difference, namely:
44.02/2 = 22.01cm 39.13/2 = 19.56cm
- For the front – 1 = (22.01 – 1 = 21.01cm) - For the front – 1 = 19.56 – 1 = 18.56cm
- For the back + 1 = (22.01 + 1 = 23.01cm). - For the back + 1 = 19.56 + 1 = 20.56cm.

3. Place 21.01cm on the sleeve cap depth line (points C’’’’, N) from 3. Place 18.56cm on the sleeve cap depth line (points C’’’’, N) from
point C’’’’ to obtain point O, the front sleeve width. point C’’’’ to obtain point O’, the front sleeve width.

4. Join points M and O in a straight line to represent the upper sleeve, 4. Join points M and O’ in a straight line to represent the upper
extending this line beyond point O. sleeve, extending this line beyond point O’.

5. For this example, the second solution has been chosen to improve
the sleeve to body balance.

6. Keep the bottom of the sleeve at right angles with the upper
sleeve. Presently, only point L is at right angles. Rectify that with
a set square, placing it along the upper sleeve seam (points M, O’)
and on point L at the other end. At right angles with the upper sleeve
(points M, O’) Point M’ is obtained. Join line M’, O’ to line G, H’’ with
a French curve to soften the outline on shoulder level.

7. Place notches to facilitate sleeve assembly. Firstly, place a marker

12.34cm from point C’’’’ on the undersleeve seam for the elbow
length (points C’’’’, Q), calculated by taking the upper sleeve elbow
length minus 2cm for the shoulder shift minus the sleeve cap depth
= (35 – 2) – 20.66 = 12.34cm. Place a notch 5cm either side of point
Q. Now place a notch 33cm below point H’’ on the upper sleeve seam,
also corresponding to the elbow length (elbow length – 2cm shifted
shoulder = 35 – 2 = 33cm). Measure the length that remains between
this notch and point M’, namely: 27.9cm. This measurement will be
useful when subsequently constructing the back sleeve.

8. Place notches also at shoulder point as farther into construction,

excess value will be created at the back of this area. Place a notch
7.5cm below point G and another one 27cm above the notch at 33cm
(elbow length).

386 | dp studio
 Diagram n°5

COAT WITH SADSGE SLEEVES

H’
H’’ 5
H R
5
S

Bust spread
9

I’ I Cross line

O
O’ C’’ C
C’
N
K

Bust

C’’’ P

C’’’’

Center front SG
Front
J

Q
Waist
X F A

Ease out X

X
M
X
M’
X

X
L’
L
Large hips
B

Diagram n°5
The saddle seam can now be constructed
1. Create a line that runs parallel to the shoulder slope to represent
the saddle seam between sleeve and body. For this example, place
it 5cm below the shoulder and join points R and S in a straight line
as shown.

2. Place a notch 9cm below point R on this straight line.

E D
3. To finalize the saddle seam, trace a curve between point I’ on the
cross line and the notch that has just been placed at 9cm, using a
French curve.

4. Place a notch where the cross line and saddle seam intersect
(point I’).

dp studio | 387
 8 VOLUME 3

COATS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°6

Diagram n°6
1. For this model, a welt pocket will be positioned as follows: G
Place a marker 52cm below shoulder top on the bust spread line to
obtain new point T. From this point, trace a 3cm perpendicular to the H’
H’’
left of the bust spread line. Point U is obtained. R
H
2. Place another marker 15cm below point T on the bust spread line to
S

Bust spread
obtain new point V. From this point, trace a 4.5cm perpendicular to the
left of the bust spread line to obtain new point W. The W, U segment
corresponds to the pocket opening.
8,3
I’’ I’ I Cross line
3. Define the shape of the pocket tab. For this example, the tab
will be 4cm long and rectangular in shape (comprised of four right
O O’
angles). From points W and U, draft 4cm lines to the left as shown C
C’’ C’
(points Aa and Ab) and then join points Aa and Ab in a straight line
N
to create the tab. K

Bust
14,5 P
C’’’
C’’’’

Center front SG
9,25

Front
J

Q
Waist A
X F

Ease out X

X 52
U’’ 1 U’
M Ab 2
X U T
M’ 4
X 3

L’
L 15
4
Large hips
B
4. Define the volume of the pocket sack. Place a marker 19cm below Aa W
2
point T on the bust spread line to obtain new point X. Extend the U, 4,5 V
W’’
W line downwards and then from point X trace a perpendicular to the
1 W’ 19
bust spread line to meet the U, W prolongation as shown at point Y. X
To the right of point Y, trace a 14cm horizontal to obtain new point Z Y
Z
and from there draft a line upwards. 14

5. Place a marker 2cm either side of points W and U to obtain points

W’ and U’, determining the width of the pocket sack. Trace 1cm lines
to the left of points W’ and U’ to obtain points W’’ and U’’ respectively
and to create the pocket bottom seam line.

6. Use a French curve to trace the final pocket sack shape.

7. Balance the front and back volume to prevent the coat from
twisting. To do this, make sure the following three front measurements
are reproduced on the back:
1 – the C’’’, J segment of the side seam = 9.25cm
2 – the length from tangent line K to point J = 14.5cm
3 – the width from point I’ to point I’’ on the cross line = 8.3cm.
E D

388 | dp studio
 CONSTRUCTING THE BACK

Diagram n°7b Diagram n°7

COAT WITH SADSGE SLEEVES

TR ACING PAPER
Ae
Af’ 2
Af’’
Ae
1

Center back SG
Af
Af’ 2
Af’’
1
Back Af

Cross line 2,5 8,3

Ag Ah
Ag’

Ai Ai’

Diagram n°7 Bust

8
1. Once the back of the bodice base pattern has been outlined up
to the waist, suppress the center back dart and descend the center
back vertical, placing the large hip line 20cm below waist level and Ai’’
Back
the hem line 34cm below the large hip line. Point Ac is obtained at the
bottom of center back at hem level. The waist dart also disappears in
this construction. Trace a perpendicular line from point Ac, placing
the hem width aimed at.

2. The aforementioned width, calculated earlier, is of 23cm. Point

Ad is obtained. Waist
Aj
3. Carry out the shoulder point and cross line increase, as for the 1
front:
- For the shoulder: prior to extending it, it is preferable to firstly raise
shoulder point by 1cm for enhanced ease when worn. On tracing
paper (Diagram n°7b), close the shoulder blade dart and raise
point Af by 1cm as shown to obtain point Af’. Join points Ae and Af’ 20
in a straight line and extend this line beyond point Af’ by 2cm to
obtain point Af’’, namely the new shoulder point.
- For the cross line: move out from point Ag horizontally by 2.5cm to
obtain the new cross line, namely point Ag’. Large hips

4. It is important to maintain balance between the back and the

front and therefore extend the cross line by the same measurement
calculated for the front cross line (points I’’, I’), namely 8.3cm. Point
Ah is obtained. Draft a vertical downwards from point Ah, in order
to subsequently place the same measurement used on the front,
namely 8cm.
Trace a perpendicular to center back that passes through point Ai
at the base of the back armhole opening and that intersects with 34
the vertical previously drafted at point Ai’ as shown. Draft a vertical
downwards from point Ai’ of the same value as chosen for the front,
namely 8cm. Point Ai’’ is obtained.

5. Join points Ad and Ai’’ in a straight line that is cut by the waist
line at point Aj.
The volume of the back of the coat has now been defined. Trace
the new armhole, passing through the new cross line point Ag’ and
placing right angles at points Af’’ and Ai’’.

Ac Ad
23

dp studio | 389
 8 VOLUME 3

COATS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°8

Ae
Af’
Af’’ Diagram n°8
Center back SG

Af 1. From point Ai’’ on the side seam, place the measurement neces-
sary to maintain sleeve volume balance, namely 9.25cm. Point Ak is
obtained. From point Ak, create a tangent to the armhole curve to join
point Al, positioned 14.5cm from point Ak.
This value corresponds to that of the front in the same vicinity. Make
Cross line Ag Ah
sure point Al is positioned 3.7cm from point Ai’’ at the base of the
Ag’
armhole opening, to once again ensure good balance between the
back and front.

2. On tracing paper (Diagram n°8b), outline points Al, Ai’’, Ak and

Ai Ai’
then flip over the tracing paper and reproduce these points on the
Al other side of the Ak, Al ine as shown. Point Ai’’’ is obtained.
Bust

3,7 14,5

Ai’’
Back
Ai’’’
9,25 Diagram n°8b

TR ACING PAPER

Ak
Waist Al
Aj

Ai’’

Ak
Large hips

Diagram n°9
1. Recreate the natural position or tilt of the arm, making sure a 45°
angle is maintained between point Ak and the large hip horizontal
before drafting a line of the same length as that of the front arm,
plus 1cm excess value, which will be placed on elbow level, namely:
39.34 + 1 = 40.34cm.
Place a marker 40.34cm below point Ai’’’ to obtain point Am, passing
through point Ak even though it is not exactly in the continuity of
the Ai’’’, Am line. Join points Ai’’’, Am in a straight line to finalize the
undersleeve seam.

2. Place a notch 12.84cm below point Ai’’’ (point An), corresponding

to the elbow line, in the knowledge that 0.5cm excess value for the
elbow has been added to the front measurement of 12.34cm.

Ac
Ad

390 | dp studio
 Diagram n°9 Diagram n°9 (continued)
3. Place two notches, each 5.5cm either side of point An on the elbow

COAT WITH SADSGE SLEEVES

line. There is a total of 1cm more between these two notches than
7,5
those on the front in the same vicinity as a gathered stitch will be
Ae
placed between the two back notches to ease in the 1cm excess value
Af’
Af’’ and create a bent sleeve.
Center back SG

Make sure point Am is at right angles with the undersleeve (points

Af
Ai’’’, Am) before placing the measurement aimed at for the end of
sleeve width from this point, namely: 24cm/2 = 12cm + 1 = 13cm (1cm
is added for the front-back proportional difference).
27
Point Ao is obtained 13cm from point Am.
Cross line Ag
Ag’ Ah
20,66 Aq
Aq’ Ap 23,01

Ai Ai’
20,56
Al
Bust
33,5 =
(33 + 0,5)

Ai’’
Back
Ai’’’

Maintain
5,5
(35 - 2) - 20,66 + 0,5
Ak An = 12,84
12,84
Waist
5,5
Aj

Ao

45° 13
40,34 =
Large hips (39,34 + 1)
Am

4. Determine the sleeve cap depth using a set square and passing
though points Ai’’’ and Af’’. The front sleeve cap depth (points H’’, N)
of 20.66cm needs to be placed from point Af’’. Point Ap is obtained.
Now place the back sleeve width previously calculated, namely:
- For the first solution: 23.01cm
- For the second solution: 20.56cm
Depending on the solution chosen, place the corresponding
measurement from point Ai’’’ on the sleeve cap depth line (Ai’’’,
Ap) to obtain the back sleeve width. Point Aq is obtained if the first
solution is opted for and point Aq’ for the second.

5. For this example, the second solution has been chosen for better
volume balance between the sleeve and body. Join points Aq’ and Ao
in a straight line, representing the upper sleeve and extending the
line beyond point Aq’. Soften the shoulder by joining lines Ae, Af’’
and Aq’, Ao with a French curve.

Ac Ad

dp studio | 391
 8 VOLUME 3

COATS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°10
The front

Diagram n°9 (continued)

6. Place notches on the upper sleeve. Place one 33.5cm below point
Af’’, corresponding to elbow length (elbow length minus 2cm for the G
shifted shoulder position, plus 0.5cm excess value) which equals:
H’
(35 – 2) + 0.5 = 33.5cm. This excess value is necessary for the back H’’
R
shoulder. H

7. Place notches on shoulder point level as this is where the excess S

Bust spread
value for the back will be placed. Place one 7.5cm below point Ae,
without taking into account the shoulder blade dart value, and then
place another one 27cm above the notch at 33.5cm.
I’’ I’ I Cross line
There is a 0.5cm more between the back notches than between those
of the front. O
O’ C
C’’ C’
N
K

Bust
C’’’ P

C’’’’

Center front SG
Front
J

Q
Waist
X F A

Ease out
X

X U’’ U’
M Ab
X U T
M’
X

X
L’
L

Large hips B
Aa W
V
W’’
W’
X
Y
Z

Diagram n°10
1. Rectify the sleeve end. Reproduce the measurement taken on
the front between point M’ and the notch at 33cm on the back upper
sleeve, namely 27.9cm for this example. Point Ao’ is obtained.

2. Keeping points M’ and Ao’ at right angles, use tracing paper

(Diagram n°10b) to assemble the front and back sleeve at the
undersleeve seam, placing point L’ on point Am. Draft the new sleeve-
end outline with a French curve on this tracing paper before dotting
and redrawing it on your paper outline.

E D

392 | dp studio
 Diagram n°10
The Back

COAT WITH SADSGE SLEEVES

Ae
Af’
Af’’
Center back SG

Af

Cross line Ag
Ag’ Ah
Aq
Aq’ Ap

Ai Ai’

Al
Bust

Ai’’
Back
Ai’’’

Maintain

Ak An 27,9
Waist
Aj

Ao’

Ao

Large hips
Am

Diagram n°10b
TR ACING PAPER

O’ C’’’’ Ai’’’ Aq’

Front Back
Top
Top

L’ Am
Ao’

Ao

M’
Ac Ad

dp studio | 393
 8 VOLUME 3

COATS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Av’ Ae’
7,5 Diagram n°11
Av Ae Af’
As’ Af’’
Ar’
8
4 As
5
Af Diagram n°11b
Ar
Center back SG

8 Au 4
At TR ACING PAPER

Ag

Cross line Ag’ Ah Ad

Aq’
Aq
Aq’ Ap At

Center back
Ai
Ai’
Al
Bust Ap
As

Ai’’
Back
Ai’’’

Maintain
Ak An
Waist
Aj

Ao’

Ao

Large hips
Am

Diagram n°11
1. Now create the saddle seam. On center back, place a marker 4cm
below the base of the neckline to obtain point Ar. Create a right angle
from this point as shown.

2. Parallel to the second part of the shoulder slope (points As, Af’’)
and 5cm below it, trace a straight line, as for the front (and depending
on the style aimed at). Point At is obtained where this line intersects
with the armhole.
Bisect the shoulder blade dart and from the point where the
bisection meets the straight line traced below it, place a notch 4cm
to the right in the direction of point At. From this notch, trace a curve
to join the cross line at point Ag’. Continue the curve on a tangent in
the other direction until it meets the right angle starting from point
Ar on center back. This curve cuts the bisection line of the shoulder
blade dart at point Au.

3. Trace a shorter shoulder blade dart (bottom of this new dart is now
Ac Ad
point Au) in order to completely suppress it from the sleeve itself. It
will pivot into the seam between the body and the sleeve.
To trace the dart from point Au, join points As and As’ in a straight
line. The shoulder blade dart can now be closed. Outline points
Ar, Av, Ae, As’, Au on tracing paper (Diagram n°11b) and then, from
point Au, pivot the first dart leg (points Au, As’) onto the second leg
(points Au, As).

394 | dp studio
 Diagram n°12
Front

COAT WITH SADSGE SLEEVES

Diagram n°11 (continued) G
4. Dot the traced outline onto your paper outline. Points Ar’, Av’ and
H’
Ae’ are obtained. The dart is closed and the sleeve is now one piece. H’’
Since closing the new shoulder blade dart, angles have formed at H R
points Au and As.
S

Bust spread
Rectify this by making the lines between points Ae’ and Af’’ and
points Ar’ and At smoother and more even.

5. Place two notches on the sleeve, 8cm from points Ar and Ar’ and
I’’ I’ I Cross line
another one on the cross line.
Do not forget to replace the 7.5cm notch on the right of point Ae’. O
O’ C’’ C
C’
N
K

Bust
C’’’
P
C’’’’

Center front SG
Front
J

Q
Waist
X F A
Ease out X

X
M U’’ U’
Ab
X U T
M’
X

L’
L

Large hips B
Aa W
V
W’’
W’
X
Y
Z
Diagram n°12
Adjusting the hem
1. To do this, outline points C’’’, E and D of the front on tracing paper
(Diagram n°12b) and points Ai’’, Ad and Ac of the back, aligning points
C’’’ and Ai’’ as shown.

2. The front and back do not align on side seam level. This is normal
as the side front panel (see the dotted lines of the bodice base pattern)
shifted when the shoulder dart was pivoted into the waist dart.

3. Soften the angle obtained on the side seam using a French curve.
Points E’ and Ad’ are obtained. Dot and redraw this curve onto your
front and back outline.
E’
D
E

dp studio | 395
 8 VOLUME 3

COATS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Av’ Ae’

Av Ae Af’ Af’’ Diagram n°12

Ar’ As’
As Af The Back
Center back SG

Ar
Au At

Ag
Cross line Ag’ Ah
Aq
Ap
Aq’
Ai Ai’

Al
Bust

Ai’’
Back
Ai’’’

Maintain
Ak
An
Waist

Aj

Ao’

Ao

Large hips
Am
Diagram n°12b

TR ACING PAPER

Ai’’ C’’’
ck SG

Center front SG
C enter ba

Back Front

Ac Ad
Ad’

Ad’
Ad
E’
Ac E D

396 | dp studio
 Diagram n°13

COAT WITH SADSGE SLEEVES

Cross line

Bust spread
Bust

SG
Front

Center front SG
Back

Ease out Waist

X

Large hips

Diagram n°13
1. Once you have finished constructing, make sure the front and
back upper sleeves are facing the same direction, so that striped and
checked fabrics will align properly when and if used.

2. With this construction, the upper and under sleeve seams do not
stay in place when worn. The upper sleeve seam shifts to the back
and the under sleeve seam to the front.

3. If you wish to rebalance the seams, modifications will need to

be made that entailmoving the seams apart more, as previously
explained during the construction ofthe kimono with inset gusset
(P.110).

4. Do not forget to place the SG on the sleeves before detaching them

from the garment body, front and back.

dp studio | 397
 8 VOLUME 3

COATS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°14
The Front

G
R

Bust spread
R’

Cross line
I’

I’’

Sleeve K

Bust
K’ C’’’
P

Center front SG
Front
C’’’
SG

Waist
F A
Q

X
U’’ U’
Ab
X
Ease out U
X

X
M’
X
X
Large hips
L’ B
Aa
W
W’’
W’

Diagram n°14
The final outline of the coat has been obtained. In this construction,
the neckline remains as per base pattern and no overlap has been
E’
added. D

398 | dp studio
 Diagram n°14
The Back

COAT WITH SADSGE SLEEVES

Av’ Ae’

Ar’
Ar

Ag’
Ag’’

Sleeve

Al
Al’

Ai’’
Center back SG

Back

SG
Ai’’’

Maintain

Aj
An

Ao’

Am

Ac
Ad’

dp studio | 399
 8 VOLUME 3

COATS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

NARROW-FIT COAT IN THREE PIECES

WITH PROTRUDING POCKET

P. 450 | PUFFED SLEEVE (TAILORED SLEEVE BASE PATTERN)

To construct this new base, start from the tailored jacket base
pattern composed of three pieces. The volume remains the same
as that used for the tailored jacket, with an 8cm ease value for the
bust and large hips, and 10cm for the waist.
As a consequence, the cross line and shoulder width remain the
same also. This might be considered fitted for a coat but all areas of
the volume can be increased to achieve the style you are aiming at.

..

..

..

..

..

..

Back Front

Technical drawing

400 | dp studio
 Diagram n°1

NARROW-FIT COAT IN THREE PIECES WITH PROTRUDING POCKET

Bust spread
Center back SG

Cross line Cross line

Bust P Bust

Back Side piece Front

Center front SG
Waist Waist
Side piece SG

Large hips Large hips

Diagram n°1
Firstly, outline the three pieces of the tailored jacket separately (front,
side piece and back).

dp studio | 401
 8 VOLUME 3

COATS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°2

Bust spread
Center back SG

Cross line Cross line

Bust P Bust

Back Side piece Front

Center front SG
Waist Waist
Side piece SG

J Large hips I F E B Large hips A’ A

36
35

K’
L K H’ G’ D’
2
H 1 1 G D 2 C’ C

402 | dp studio
Diagram n°2
1. On the front and side piece, from points A, B, E and F downwards

NARROW-FIT COAT IN THREE PIECES WITH PROTRUDING POCKET

on large hip level, draft lines of 36cm for this example that are
perpendicular to the large hip line.
New points C, D, G and H are obtained as shown. Join up points C, D
and G, H in a straight line. For the back, from points I and J downwards
on large hip level, draft lines of 35cm that are perpendicular to the
large hip line. New points K and L are obtained.
The 1cm difference in length between the back and front (35cm and
36cmrespectively) is due to the lowering of center back by 1cm for an
enhanced fit, whenthe tape was placed on waist level.

2. Taper the bottom of the coat to make it narrower, according to the

style aimed at.
For this example, from points D for the front and K for the back, move
Diagram n°3
inwards by 2cm to obtain points D’ and K’ as shown. Join up points B, 1. Adjust the hem on the three pieces of the construction.
D’ and I, K’ in a straight line. For the side piece, move inwards from On tracing paper (Diagram n°3b), outline the front (points A’, C’, D’,
points G and H by 1cm to obtain points G’ and H’, and then join up B, O, N, Q, M, P), adjoin the side piece to the front (points G’, E of the
points E, G’ and F, H’ in a straight line. side piece on points D’, B of the front) and then outline the side piece
Depending on how much you taper the bottom of the coat, it might be (points G’, H’, F, S, R, E). Adjoin the back to the side piece (points K’,
necessary to soften angles that may form on large hip level (points J I of the back on points H’, F of the side piece, being careful to align
and I for the back, E and F for the side piece and B for the front). points I and F) and then outline the back (points I, K’, L, J). Making
sure points C’ and L remain at right angles, draft a smooth hem
curve, using a French curve. New points H’’ and K’’ are obtained.
Dot and redraw this curve on your paper outline of the front assembled
with the side piece and then on your paper outline of the back.
Diagram n°3b
2. You can construct the volume of the pocket on the same piece of
TR ACING PAPER tracing paper.
To do so, place a marker 8cm above points I and F (point T) and from
P this new point, join point M on waist level (first leg of the waist dart)
using a French curve. As the waist dart and hip curve between the
front and side piece have not been closed, they will bring volume
Adjust the hem and create
the protruding pocket naturally and make the pocket protrude. If this is not enough to
produce the desired effect of the protruding pocket, increase the
volume of the pocket opening itself.
S R O N M
taille 3. Determine the position of the pocket sack.
From point M on the waist line, draft a 27cm line downwards (point
U). From point U, trace a line perpendicular to the M, U line that
joins point V on the side piece. To avoid giving too much volume to
T the pocket sack, use the first leg of the front waist dart as a guide
(points M, Q) and draft a line down from point Q as far as the U, V
SG

8
Q
E B
27 horizontal.
F A’
I W’ Large hips
Point W is obtained where this line meets the horizontal. From point
V’’
6
W, draft a 6cm vertical and a 6cm horizontal as shown to obtain
6 V’ W’’
J
V X’ X W points W’ and W’’ respectively and form one side of the pocket sack,
U
6 6 using a French curve to round off the angle. Proceed in the same way
Center front

to form the other side of the pocket sack, drafting a 6cm vertical and
a 6cm horizontal from point V to obtain points V’’ and V’ respectively
back

and using a French curve to round off the angle.

C enter

4. Points X and X’ are located where the pocket sack and side seam
intersect and the front and side piece adjoin.

5. Soften the angle at the top of the center back dart and those
formed on waist level (front, side piece and back).
K’ H’’ G’

H’ D’ C’
K’’
L

dp studio | 403
 8 VOLUME 3

COATS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°3

Bust spread
Center back SG

Cross line Cross line

Bust P Bust

Back Side piece Front

Center front SG
Waist N M Waist
S R O
Side piece SG

Large hips Large hips A’ A

J I F E B

K’
H’’ G’ D’
L K
K’’ H H’ G D C’ C

404 | dp studio
 Diagram n°4
M

Diagram n°5

NARROW-FIT COAT IN THREE PIECES WITH PROTRUDING POCKET

s line
C ros

T Pocket sack
in fabric
Q
SG

Bust

V’’ W’
Side front
panel

V’ W’’

Waist
O N

Diagram n°4b
M

T Facing
in fabric Large hips
B
4 W’

Q
Lining for the
pocket sack X W’’

V’’ W’
SG

Diagram n°5
V’ W’’
1. It is now possible to separate the side front panel from the front.
At its base, the side front panel is going to form part of the pocket
bottom. Above the waist, the outline does not change and can be
outlined as it stands.
However, for below the waist, use your tracing paper (Diagram n°3b)
and outline points N, Q, W’, W’’, X, B, O, making sure you indicate the
SG. Soften the angle at bust point.

2. Modify the side piece as it is also going to form part of the pocket
Diagram n°4 bottom. Nothing changes above the waist. For the changes below
Copy the pocket sack traced earlier onto a fresh sheet of paper (points the waist, outline points R, E, X’, V’, F, S from your tracing paper
M, Q, W’, W’’, V’, V’’, T), making sure you indicate the SG. (Diagram n°3b).
It is possible to insert facing (of 4cm, for example) for the upper part
3. For the front, as nothing changes above the waist, proceed to
of the pocket sack and then use lining for the rest (Diagram n°4b).
outline as it is up to the first leg of the shoulder and waist darts.
Below the waist, using your tracing paper once again (Diagram n°3b),
outline the following points: M, T, F, H’’, C’, C, A.

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PATTERN MAKING
FLAT-PATTERN DRAFTING

Bust spread
Diagram n°5
Cross line

P Bust

Side piece Front

Center front SG
S R M
Waist
Side piece SG

A’ A
F E
F Large hips

V’ X’

H’’ C’ C

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 Diagram n°6
Center back SG

Bust spread

NARROW-FIT COAT IN THREE PIECES WITH PROTRUDING POCKET

Cross line Cross line

Bust P Bust

Side front T
Side piece panel Front

Center front SG
Back
Pocket sack Q

V’’ W’

SG
S R O N M
Waist Waist

V’ W’’
Side piece SG

SG

T
Q

Large hips Large hips A’ A

J I F E B
W’ F

V’ X’ X W’’

L
K’’ C’ C
H’’

Diagram n°6
The final outline of the narrow-fit coat with protruding pocket has
been obtained.
The pocket can be finished with either the same fabric for the pocket
sack or with facing and lining fabric (see Diagrams n°4 & n°4b).

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9 MÉTHODE dp studio

SLEEVES
 VOLUME 3 CONSTRUCTING BASE PATTERNS
WOMENSWEAR CLOTHING KIMONO SLEEVES – BUSTIERS –
PATTERN MAKING BLOUSON JACKETS – KNITWEAR
FLAT-PATTERN DRAFTING – DRESSES – COATS – SLEEVES
– HOODS – SWIMWEAR

Contents
p 410 Dropped sleeve with elbow seam

p 418 Dropped-shoulder sleeve (bomber jacket)

p 426 Dropped-shoulder sleeve (coat)

p 434 Tailored sleeve

p 450 Puffed sleeve (tailored sleeve base pattern)

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PATTERN MAKING
FLAT-PATTERN DRAFTING

DROPPED SLEEVE
WITH ELBOW SEAM

P. 226 | JEANS JACKET

Use the short sleeve base pattern (P.54) for the construction of
this two-piece sleeve, from which part of the excess value will be
suppressed when the elbow seam is created. Before starting, you
will need to know the total length of the front and back armhole
of the garment body to which the sleeve is going to be assembled
(jeans jacket) and also the armhole depth.
For this example, the length is 42.4cm and the depth 18cm.

Back Front

Technical drawing

410 | dp studio
 FIRST SOLUTION

15

DROPPED SLEEVE WITH ELBOW SEAM

A G B

16,4 15,4

Diagram n°1
SG

55

E D F
13,5 12,5

Diagram n°1
1. To construct the sleeve, calculate firstly the sleeve cap depth and 3. For the sleeve length, the wearer’s arm measurement is required.
the sleeve’s width, and choose the length in accordance with the This measurement is taken with the arm folded and the tape measure
wearer’s measurements. To determine the sleeve cap depth, take 5/6 descending from shoulder point to wrist via the elbow, namely
of the armhole depth, namely: (18 x 5)/6 = 15cm and for the width, 62cm for this example. From this measurement, extract the cuff
take ¾ of the total armhole length, namely: (42.4 x 3)/4 = 31.8cm. length aimed at (5cm for this example) and also the shoulder length
developed in relation to the bodice base pattern (2cm), namely:
2. Draft a SG in the center of a piece of paper and then a line that
62– 5 – 2 = 55cm.
runs perpendicular to it, representing the sleeve cap depth line. In
Place this measurement from point C downwards to obtain point D.
this example, place it 16cm below the top of the paper.
From point D, draft a line perpendicular to the SG in order to place
Theoretically, the back of the sleeve is always slightly larger than
the end of sleeve width.
the front as there is more muscle there. Using the sleeve width
To determine this measurement, fix the cuff width aimed at as
measurement calculated above, create a proportional difference
follows: take the wearer’s wrist measurement = 16cm (for this
between the front and back to allow for this as follows:
method’s reference measurement), add ease = 7cm for this example,
31.8/2 = 15.9cm.
plus an overlap value of 3cm to be shared between the two sides,
Back = 15.9 + 0.5 = 16.4cm, point A.
namely: 16 + 7 = 23 + 3 = 26cm.
Front = 15.9 – 0.5 = 15.4cm, point B.
Halve the total sleeve-end width in order to work on the front
Place the point A and B either side of the SG. Indicate the sleeve cap
and back separately: 26/2 = 13cm, and then apply the front-back
depth by creating new point C, 15cm above the sleeve cap depth line.
proportional difference: back + 0.5 = 13.5cm, point E and front – 0.5
= 12.5cm, point F.
Place these two points on the bottom horizontal as shown, on either
side of point D.

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Diagram n°1 (continued)

Check points E and F are at right angles by drafting straight verticals
as shown to maintain a straight hem line (easier to assemble when
adding a cuff).

4. Using a French curve with the arch placed upwards, trace lines to
join points A and B on the sleeve cap depth line, staying on a tangent
with the straight verticals first, before curving your lines to meet
points A and B.

Diagram n°2

Diagram n°2
1. To establish the sleeve cap, join points C, A and C, B with a
0,5 C 1
ruler. Halve the distances between points A, G and G, B, and from
1,82 the halfway mark draft lines upwards as shown to meet the C, A
2,03
line for the back at point H and the C, B line for the front at point I,
respectively. Determine the values required for creating the sleeve
1,07 cap outline. To do this, start with the reference sleeve cap depth of
0,85 the short sleeve base pattern, namely: 14cm.
H I
0,96 1,07
2. Divide the measurement already placed for the sleeve cap
K depth (15cm) by the reference depth, namely: 15/14 = 1.07cm. 1.07
1,17 1,39
J represents the coefficient to multiply by for each of the short sleeve
G B
base values (1.3cm – 1cm – 1cm – 1.9cm – 1.7cm – 0.8cm – 0.9cm –
A
0,8 1.1cm). This will lead you to the new values to place (1.39cm – 1.07cm
– 2.03cm – 1.82cm – 0.85cm – 0.96cm – 1.17cm).
From points H and I, trace perpendiculars to the A, C and B, C lines
respectively, of 0.85cm from point H for the back and 1.07cm from
point I for the front.

3. Now halve the following segments: C, H – H, A – C, I and I, B. From

the halfway mark between points C, H and C, I draft perpendicular
lines upwards of 1.82cm for the back and 2.03cm for the front,
respectively. From the halfway mark between points H, A and I, B draft
SG

perpendicular lines downwards of 0.96cm for the back and 1.07cm

for the front, respectively.

4. From the half way mark of segments A , J and K , B, draf t

perpendicular lines downwards of 1.17cm for the back and 1.39cm
for the front, respectively. Indicate a flat area either side of point
C: 0.5cm for the back and 1cm for the front, and another flat area of
0.8cm for the front from point B inwards on the sleeve cap depth line.
Between the two 1.07cm perpendiculars placed on the front, trace
a straight line that extends beyond both perpendiculars as shown.
Proceed in the same way for the back between the 0.85 and 0.96cm
perpendiculars.

5. Use a French curve to join up the various points created. For the
top of the sleeve cap, position the arch upwards and then position it
downwards for the bottom.
E D F

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 Diagram n°3

DROPPED SLEEVE WITH ELBOW SEAM

H

J K
G B
A

33

SG

Q L R
N

E’ E M’ M’’ D F F’

1 1 1 1
M

Diagram n°3
1. Place the elbow length, the reference measurement of which 5. Join each seam on tracing paper (Diagram n°3b) to check the
is 35cm. Do not forget to extract from this measurement the value hem line accuracy. Outline the SG first of all and continue up to
relative to the armhole of the jeans jacket, lowered by 2cm, namely: point F’, outlining points R, F’ and then shifting this line onto the
35 – 2 = 33cm. corresponding line of the back (points E’, Q).
Now outline the undersleeve up to the seam (points M’, N) and then
2. Place a marker 33cm below point C on the SG (point L). To locate
shift this line onto the M’’, N line and continue outlining up to the SG.
the elbow seam, find the halfway mark between points E and D (point
M). From point M, draft a perpendicular line upwards that cuts the 6. For this example, you will notice slight angles at points M’, M’’ and
elbow length line at point N and extends beyond it. F’, E’. Soften them before dotting and redrawing the transformations
onto your paper outline.
3. Use a French curve to draft the elbow seam curve, passing through
point H to finalize the seam. Extend the curve beyond point H so that
it cuts the armscye line (point O). Below elbow length, curve the two
pieces a bit more to add extra bend to the sleeve.

4. At 1cm either side of point M, place points M’ and M’’ and from
these points, join point N in a straight line. Soften the angles
obtained at point N. So as not to change the width aimed at for
the sleeve end, the 2cm suppressed above will be added to the
undersleeve seams (points E and F).
Extend points E and F outwards by 1cm to obtain points E’ and F’. Join
these new points to points Q and R in straight lines and then soften
the angles obtained at points Q and R with a French curve.

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Diagram n°3b

TR ACING PAPER Diagram n°4

Armscye length:
L N N Back = 23,5 cm
L
Front = 23 cm

R Q Armhole length:
Back = 21,9 cm
Front = 20,5 cm

Excess values:
( 23,5 + 23 ) - ( 21,9 + 20,5 ) =
SG

46,5 - 42,4 = 4,1 cm

SG

Elbow seam
Undersleeve seam

4,1
21,9
20,5
C

M’ M’’

D F’ E’ D O

H I

J K
G
A
B
SG

Q L R

Diagram n°4 N

1. As this model has an elbow seam, it is possible to place the excess

value in the seam to reduce the risk of unsightly fabric folds when
assembling the sleeve.

2. Calculate the sleeve’s excess value:

- Armscye length: back 23.5cm (points A, C) and front 23cm (points
B, C), namely: 23.5 + 23 = 46.5cm
- Armhole length: back 21.9cm and front 20.5cm, namely: 21.9 + 20.5
= 42.4cm.
Resulting in: 46.5 – 42.4 = 4.1cm, namely the sleeve’s excess value.

E’ E M’ M’’ D F F’

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 DROPPED SLEEVE WITH ELBOW SEAM
Diagram n°5
1. It is possible to reduce this excess value by placing, for this
example, 0.5cm on either side of the seam line (points O, N). To do
this, on either side of point O, place 0.5cm (points O’ and O’’). From
point S (bottom of the dart positioned 9cm below the sleeve cap
depth line), join points O’ and O’’ using a French curve. Extend the
dart leg (points S, O’’) up to the armscye curve to obtain point T as
Diagram n°5b
shown.

TR ACING PAPER

Diagram n°5
C

C T’
O’’

T
T’ O O’

A
0,5
0,5 point O’ point O’’ I
H G

J K
G
A
B

S
Q

9
S
SG

Q L R
N

2. You will need to adjust the sleeve cap. On tracing paper (Diagram
n°5b), outline the SG (points G, C), the armscye curve up to point T
and the seam curve (points S, T). From point S, slowly slide one side
of the seam (points S, T) onto the other side of the seam (points S,
O’) so that point O’ is placed on the S, T seam. Finish outlining the
armscye curve up to point A.

3. You will notice that points O’ and T do not align. Retrace an even
armscye curve where these points join up properly. Dot and redraw
the new armscye curve: point T’ is obtained.
E’ E M’ M’’ D F F’

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Diagram n°6
Armscye length:
Back = 23,5 cm
Front = 23 cm

Armhole length:
Back = 21,9 cm
Front = 20,5 cm

Excess values:
( 23,5 + 23 ) - ( 21,9 + 20,5 ) =
46,5 - 42,4 = 4,1 cm

Diagram n°6
3,1
1. Measure the length of the new armhole: 20,5
- Front = 23cm (points B, C) 21,9 C
- Back = 22.5cm (points C, T + T’, A)
In total = 22.5 + 23 = 45.5cm.
Position notches as for the jeans jacket, namely: on the front of the
T
armscye, 9.7cm and 10.7cm above point B, and on the back of the T’
armscye, 11.1cm from point A.
Place notches corresponding to the front and back armhole lengths 1
also, namely: 20.5cm above point B for the front and 21.9cm above
point A for the back. The definitive excess value for the sleeve can 9,7

now be measured by subtracting the total armhole length from that 11,1
A G B
of the armscye, namely: 45.5 – 42.4 = 3.1cm.

2. Having constructed a 1cm dart in the seam (0.5 + 0.5cm), an excess

value of 3.1cm is obtained. This value can be decreased more, if so
desired, by increasing the dart value. However, do not take too much
fabric into the seam. This could shift the shoulder notch onto the back,
S
pulling the sleeve towards the back, which will not be aesthetic. The
SG
shoulder notch must always be located between the SG of the sleeve
and within 1cm to the right thereof.

3. Place an opening for the elbow seam vent by positioning two

notches, 9cm above point M’ and point M’’ as shown.
Q L R
N

9 9

Diagram n°7
E’ E M’ M’’ D F F’

M
5
Fold line

10

Diagram n°7
1,5 1,5 Construct the cuff, using the measurements defined earlier, namely:
26 = (16 + 7) + (1,5 x 2)
- 5cm total finished length, without forgetting to double this
measurement as the cuff will be made with a fold line.
- 26cm total finished circumference, including a 3cm overlap value
(divided between each side).
- Place a buttonhole and a button halfway down the 5cm cuff length.
The length of the buttonhole is calculated on the basis of the
button’s diameter and volume.

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 DROPPED SLEEVE WITH ELBOW SEAM
Diagram n°8
Detach each piece to finalize the outline.

T’ T

A G B

Upper sleeve
SG

SG

S S

Undersleeve

Q N N L R

D
E’ M’ M’’ F’

Second solution
Fold line
If you find there is still too much excess value on the sleeve cap after
increasing the seam’s dart value, you can reconstruct the sleeve cap,
Cuff
SG

taking only 4/5 of the armhole depth, namely: (18 x 4)/5 = 14.4cm.
This new sleeve cap depth will allow you to reduce both the final
length of the sleeve cap and its excess value.

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SLEEVES WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

DROPPED-SHOULDER SLEEVE
(BOMBER JACKET)

P. 240 | DROPPED-SHOULDER BOMBER JACKET

This sleeve is assembled without excess value and belongs to the

low-sleeve category. To construct it, you are required to know the
total front and back armhole length of the garment body onto which
the sleeve will be assembled (for this example, the dropped-shoulder
bomber jacket), namely: 25.7cm for the back and 22.8cm for the
front, so in total: 25.7 + 22.8 = 48.5cm.
You also need to define the sleeve cap depth, sleeve width and
desired length.

Back Front

Technical drawing

418 | dp studio
 Sheet edge

0,5 1

15

13,16
22,3
25,2

B J G K C

DROPPED-SHOULDER SLEEVE (BOMBER JACKET)

Crook line
Elbow line

56 SG
Diagram n°1

1 E H I F
1

H’ D D’
= =
= =
14 13

Diagram n°1
1. To calculate the sleeve cap depth, take one third of the total shoulder length (3cm more than that of the bodice base pattern),
armhole length, minus the increase on shoulder point level (3cm namely: [(62 – 5) + 2] – 3 = 56cm.
longer than that of the bodice base pattern), namely: Place this measurement from point A downwards on the SG line.
[(48.5)/3] – 3 = 16.16 – 3 = 13.16cm. Point D is obtained.
For the sleeve width, use the front and back armhole measurements, Draft a perpendicular to the SG for the sleeve-end width. For the
namely: 22.8cm and 25.7cm. sleeve end, from point D upwards, draft two horizontals as shown,
As this is a low or dropped sleeve with no excess value, simply 1cm above each other. This 2cm value corresponds to the ease
subtract 0.5cm from the armhole measurements, namely: incorporated in the sleeve length calculation to give the sleeve a
- For the back: 25.7 – 0.5 = 25.2cm looser feel (characteristic of the bomber jacket).
- For the front: 22.8 – 0.5 = 22.3cm.
4. Now measure the cuff width or circumference aimed at for this
Theoretically, the back of the sleeve is always larger than the front.
example, namely:
2. Draf t a SG in the center of a fresh sheet of paper. Place a Wrist circumference of the wearer = 16cm, to which ease must be
perpendicular line 15cm (for example) below the top of the page and added = 4cm, for this example, plus an overlap value of 3cm to be
from the intersection point between the sleeve cap depth line and divided between each side of the cuff, namely: (16 + 4) + 3 = 23cm.
the SG, place the sleeve cap depth previously calculated, namely: Add 4cm onto this value for 2 little knife pleats on the sleeve of 2cm
13.16cm. Point A is obtained. Place the previously calculated front and each.
back measurements from either side of point A downwards, namely:
25.2cm for the back and 22.3cm for the front. Points B and C are
obtained, with the B, C horizontal representing the sleeve width.

3. To determine the sleeve length, measure the wearer’s arm length.

This measurement is taken with the arm folded, from shoulder point
to the wrist via the elbow, namely: 62cm for this example. Subtract
the desired cuff length from this measurement, add extra ease for
the elbow area of the bomber jacket and then subtract the increased

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Diagram n°2

1,3 1,5

M
1,1 1,2
B J G K C
Elbow line

Crook line
SG

E H F
I
D D’
H’

Diagram n°1 (continued) Diagram n°2

The total end of sleeve width is therefore: 23 + 4 = 27cm, to be halved 1. On the sleeve cap depth line, draft lines upwards from points J and
to find the measurements to apply front and back, not forgetting to K (the elbow line and crook line, respectively) that intersect with the
take into account the proportional difference, namely: A, B and A, C lines. Points L and M are obtained.
27/2 = 13.5cm
2. Now halve the following segments: points A, L – L, B – A, M and M, C.
- Back + 0.5 = 13.5 + 0.5 = 14cm, point E.
Between points A, L and A, M, draft a 1.5cm perpendicular upwards
- Front – 0.5 = 13.5 – 0.5 = 13cm, point F.
on the front and one of 1.3cm on the back, and then between points
Position these points either side of the SG, on the horizontal passing
L, B and M, C, draft a 1.2cm perpendicular downwards on the front
through point D’ (the middle horizontal).
and one of 1.1cm on the back.
To know where to place the elbow line (that passes through the el-
Place flat areas either side of point A: of 0.5cm on the back and of
bow) and the crook line (that passes through the crook of the arm),
1cm on the front.
halve the following segments: B, G – G, C – E, D’ – D’, F. Points H, I, J
and K are obtained. From point H, draft a line downwards to join the 3. Use a French curve to join up each point, passing through points
end of sleeve horizontal (point H’). L and M when tracing the upper curves (between points A, L and A,
Join points H’, J and I, K with a ruler. M). For the upper section, place the arch upwards and below points
L and M, place it downwards.

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 Diagram n°3

DROPPED-SHOULDER SLEEVE (BOMBER JACKET)

L

B J G K C

Crook line
Elbow line

SG

I’
9

E H F
I
D D’
H’

Diagram n°3
1. To trace the curve at the bottom of the sleeve, pass through points
E, H’, D’, I’, F, positioning the arch of the French curve as indicated.

2. Place an opening (for the vent) on the elbow line, parallel to the
SG preferably and perpendicular to the bottom of the sleeve. Place
a marker 9cm above point H’ to indicate the length of the opening.

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Diagram n°4b
Diagram n°4
TR ACING PAPER

A
B C

B J G K C

E F
Crook line
Elbow line

SG

Diagram n°4c
TR ACING PAPER

C B

42,4 42,2

9
2,35 2,35
2,5 1,5 I’

E H F
I F’
D D’
H’

Diagram n°4
1. Before placing the previously mentioned pleats, check the final F

sleeve-end circumference as it has become a curve whereas the two F’ E

pleats were envisaged originally for a horizontal sleeve end. The

curved circumference measures 27.7cm, so there is an increase of
7mm to take into account. To allow for this increase, increase the pleat
values from 2cm each to 2.35cm each (0.7/2 = 0.35cm). Place the first
pleat 2.5cm from the vent and the second pleat 1.5cm from the first.
The pleats will be assembled parallel to the SG.

2. Now adjust the sleeve end on tracing paper (Diagram n°4b) with
4. Define pleat heads 1 and 2 using a French curve (Diagram n°4d).
the pleats closed. Once the curve has been modified, dot and redraw
it on your paper outline.

3. Check also on tracing paper (Diagram n°4c) to see if the side seams
align. If there is a difference in length between the two seams (for
this example, there is a difference of 0.2cm) even the difference out
to make a smooth hem curve. Point F’ is obtained for this example.
After modifying the curve if required, dot and redraw it on your paper
outline.

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 Diagram n°5

DROPPED-SHOULDER SLEEVE (BOMBER JACKET)

A

L 1 M

14 13
Diagram n°4d
0,1 B’ C’ 0,5
J G K
TR ACING PAPER B C

Crook line
Elbow line

1st pleat

SG

2nd pleat
Vent

Pleat Pleat
I’
E H
I F’
H’ D D’

Diagram n°5
1. To finalize the armscye curve, check the front and back armscye 3. Place notches on the armscye corresponding to the bomber’s yoke
lengths. The front measurement is 23.3cm and the back 25.8cm. seams. For the front, place one 13cm above point C’ and then another
There is a difference between these measurements and those of the one 1cm above it. For the back, place one 14cm above point B’.
armhole that are 22.8cm for the front and 25.7cm for the back.

2. It is therefore necessary to reduce the front and back sleeve width.

On the front: 23.3 – 22.8 = 0.5cm. From point C, move in by 0.5cm
to obtain point C’ and as a consequence modify the armscye curve
which, for the front, now ends at point C’.
On the back: 25.8 – 25.7 = 0.1cm. Move in by 0.1cm to obtain point B’.
Instead of reducing on the side of the sleeve, it is also possible to
modify the armscye length by decreasing the sleeve cap depth.
(Diagram n°5b)

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FLAT-PATTERN DRAFTING

Diagram n°5b

Value to find to obtain the right

armscye length

L M
1

14 13

J G K
B C

Crook line
Elbow line

SG
fente

Pli Pli
I’
E H
I F’
H’ D D’

Diagram n°6

Fold line
10 Diagram n°6
Now construct the cuff as previously specified, namely:
- Finished length 5cm, without forgetting to double this
1,5 1,5 measurement as the cuff will be made with a fold line.
- Finished circumference 23cm, including an overlap value of 3cm
23 = (16 + 4) + (1,5 x 2)
(divided between the two sides of the cuff).
- Place a buttonhole and button halfway down the cuff length. The
length of the buttonhole is to be calculated on the basis of the
button diameter and volume.

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 Diagram n°7

DROPPED-SHOULDER SLEEVE (BOMBER JACKET)

A

L M

B’ J G K
C’

Sleeve

Crook line
Elbow line

SG
Vent

Pleat Pleat

E I’
F’
H’

Fold line

Cuff
SG

Diagram n°7
The final outline of this sleeve and cuff has been obtained.

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FLAT-PATTERN DRAFTING

DROPPED-SHOULDER SLEEVE
(COAT)

P. 364 |DROPPED-SHOULDER COAT USING THE BODICE

BASE PATTERN
This base adopts the principles of the low-sleeve category, which
means it has no excess value when assembled with the armhole.
To construct the sleeve, you are required to know the front and
back armhole lengths of the garment body onto which the sleeve
will be assembled, namely for this example: back = 29.6cm and
front = 26.8cm. These values were obtained after rebalancing the
garment body’s shoulder slopes, allowing the construction of a
more balanced sleeve.

For its construction, the sleeve cap depth, sleeve width and desired
length need to be defined. Regarding the sleeve cap depth, take one
third of the total armhole length, minus the increase on shoulder
point level when constructing the body (15cm in this example),
namely: (56.4/3) – 15 = 18.8 – 15 = 3.8cm. To calculate the sleeve
width, indicate the front and back armhole measurements on the
sleeve outline. It won’t be necessary to reduce the two armhole
lengths by 0.5cm as the sleeve cap depth (3.8cm) is very small in
this example.

..

Back Front

Technical drawing

426 | dp studio
 Diagram n°1

DROPPED-SHOULDER SLEEVE (COAT)

29,6 26,8

3,8 C D
B
A

Back Front
SG

47

18 17

F E G

Diagram n°1
1. Draft a SG in the center of a fresh sheet of paper. Place a perpen- 3. Place this measurement (47cm) from point B downwards to obtain
dicular to the SG, representing the sleeve cap depth line. In this point E. Decide on the width aimed at for the sleeve end = 35cm for
example, it can be situated 5cm below the top of the paper. this example, and then from point E, draft a perpendicular to the SG
Reminder: theoretically, the back of the sleeve is always slightly lar- corresponding to this width. Halve this measurement, namely: 35/2
ger than the front (more muscle mass there). = 17.5cm and then apply the front-back proportional difference:
In this example, the back sleeve width measures 29.6cm and the front - Back = 17.5 + 0.5 = 18cm
26.8cm. - Front = 17.5 – 0.5 = 17cm.
Draft a line 3.8cm above the SG and sleeve cap depth line intersection
4. Place the above measurements on either side of the SG to obtain
(point A) as shown. Point B is obtained.
points F and G as shown. Draft the sides of the sleeve by joining
2. From point B in a straight line, place the back armhole length points F, C for the back and points G,D for the front.
(29.6cm) so that it meets the sleeve cap depth line. Point C is obtai-
ned. Proceed in the same way on the other side of point B for the front
armhole length (26.8cm) to obtain point D. To determine the sleeve
length, the wearer’s arm measurement needs to be known.
This measurement is taken with the arm folded, from shoulder point
to wrist via the elbow, namely: 62cm for this example = the method’s
reference measurement.
Subtract the increased shoulder length developed on the garment
body (15cm more than the base pattern), namely: 62 – 15 = 47cm.

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Diagram n°2

C D
A

Back Front

SG

F E
G

F’ G’

Diagram n°2b

TR ACING PAPER

D C

Diagram n°2
1. Now adjust the sleeve end.
2. On tracing paper (Diagram n°2b), outline the SG and the E,G and
G,D lines representing the front and then shift the front side seam
(points G, D) onto the back side seam, with point D placed over point
C and G over F, and continue to outline the F, E line representing the
back. A slight gap appears between points F and G due to the volume Front Back

disproportion of the back compared to the front.

3. With a French curve, soften the angle formed at points F and G.

Points F’ and G’ are obtained. Dot the two sections of this new curve G F
E
onto your sleeve outline and then redraw it.
G’ F’

428 | dp studio
 Diagram n°3

29,6 B 26,8
0,38 1
0,43
M

DROPPED-SHOULDER SLEEVE (COAT)

L 0,5
0,32 0,35
C D
H A I

Back Front

SG
Elbow line

C rook line

J E K
F G

F’ G’

Diagram n°3
1. Now carry out the sleeve cap outline. Firstly, divide the sleeve - On the back: from the halfway mark between points B and L draft
cap depth (3.8cm) by the sleeve cap depth of the dropped-shoulder a 0.38cm line upwards. Proceed in the same way between points L
sleeve base pattern (13.16) to find out the coefficient to multiply by in and C, drafting a 0.32cm line downwards.
order to calculate the values to place for this sleeve cap construction, - On the front: from the halfway mark between points B and M draft
namely: 3.8/13.16 = 0.29cm. a 0.43cm line upwards. Proceed in the same way between points M
and D, drafting a 0.35cm line downwards.
2. Now calculate the values to place by multiplying the dropped-
shoulder sleeve base pattern measurements by 0.29cm as follows: 4. At point B, draft a perpendicular to the SG representing a flat area
1.1.x 0.29 = 0.32cm of 0.5cm for the back and 1cm for the front, as shown.
1.2.x 0.29 = 0.35cm
5. Draft the armscye curve using a French curve and passing through
1.3.x 0.29 = 0.38cm
points L and M. Place the arch of the French curve as indicated in the
1.5 x 0.29 = 0.43cm.
diagram.
3. Place the elbow and crook lines. To do so, halve each of the
6. Check the lengths of different parts of the curve (points B, C and
following segments:
B, D). There should be 29.6cm between points B and C on the back,
- Points C,A and A,D on the sleeve cap depth line
and 26.8cm between points B and D on the front.
- Points F,E and E,G on the hem line.
If discrepancies appear, it is possible to either move the shoulder
Points H, I, J and K are therefore obtained. Join points H, J to form
notch or points C and D in order to obtain the right measurements.
the elbow line and points I, K for the crook line. From points H and I,
draft lines upwards that meet the B, C and B, D lines at points L and
M respectively. Now halve the following segments:

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Diagram n°4

B
15 12
1
L M
C D
H A I

Back Front
SG
Elbow line

C rook line

J E K
F G

F’ G’

Diagram n°4
Place notches on the armscye, corresponding to the notches placed
on the armhole of the garment body:
- On the SG, at point B
- On the front, 12cm and 13cm from point B
- On the back, 15cm from point B.

430 | dp studio
 Diagram n°5

DROPPED-SHOULDER SLEEVE (COAT)

B

L M
C D
H A I

Back SG Front

2,5 2,5
Elbow line

C rook line

J E K
F G

F’ G’

Diagram n°5
An alternative for the hem finish
1. To keep a straight hem line (which will simplify assembly and the
seam allowance fold line on hem level), create right angles to the
F,G horizontal at points F and G as shown. Then, from the halfway
mark between points F,C on the back and G,D on the front, move in
by 2.5cm.

2. Place straight lines to mark this 2.5cm reduction in width on both

sides, and then join points F F F and C F, C and G,D using a French
curve with the arch positioned as indicated.

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Diagram n°6

L M
C D
H A I

E
F’ G’

Diagram n°6
The final outline of the dropped-shoulder sleeve with a shaped hem
has been obtained.

432 | dp studio
 Diagram n°7

DROPPED-SHOULDER SLEEVE (COAT)

B

L M
C D
H A I

F J E K G

Diagram n°7
The final outline of the dropped-shoulder sleeve with a straight hem
has been obtained. This alternative is an easier way of finishing the
sleeve hem.

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PATTERN MAKING
FLAT-PATTERN DRAFTING

TAILORED SLEEVE

P 342 | TAILORED JACKET BASE PATTERN WITH A SIDE

PIECE (3 PIECES)
P 580 | SEAM ALLOWANCE VALUE FOR THE TAILORED
SLEEVE

The tailored sleeve is a bent and fitted sleeve made of two parts
(the upper sleeve and the under sleeve). The width and length of
the sleeve cap is defined in accordance with the width and length
of the armhole.
Reminder: the excess value for a set-in sleeve must be between
2 and 4cm.

..

..

..

..
..
..
..

Back Front

Technical drawing

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 THE TAILORED SLEEVE
Diagram n°1

TR ACING PAPER

24,1

22,7
20,1
Back

Front
D

Side piece

Tailored jacket base pattern armhole

Diagram n°1
1. To find the armhole length, join the two ends of the jacket shoulder 2. To find the sleeve width, take ¾ of the armhole width measure-
in a straight line (points A and B). Halve this distance and from the ment (from point A to B), namely: 22.7 + 24.1 x ¾ = 35.1cm (back
halfway mark point C, draft a straight line downwards to the bottom armhole = 24.1cm and front armhole = 22.7cm).
of the armhole (point D). The measurement between points C and D
3. The front of the sleeve must reach the wrist, so the full arm length
is 20.1cm. For the sleeve cap length, take 4/5 of the armhole length,
measurement of 62cm is to be used, corresponding to the standard
namely: 20.1 x 4/5 = 16.08cm.
size measurements used throughout this method.
In constructing this sleeve, the under sleeve descends by 0.5cm, so
for the position of the sleeve cap length line, this must be taken into 4. In this construction, the upper sleeve length is equal to 2/3 of
account by subtracting 0.5cm from the sleeve cap length, namely: the total width of the sleeve, and the under sleeve length (always
16.08 – 0.5 = 15.58cm. shorter) is equal to 1/3.

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Diagram n°2

23.4 = 2/3 of the sleeve width 35.1

= =

E M F
0

Diagram n°2
15,58
1. To construct the base pattern rectangle, take the upper sleeve
measurement and the arm length, namely:
O 5.85 = ¼ of the upper sleeve - Rectangle width = 35.1 x 2/3 = 23.4cm
Q - Rectangle length = 62cm
4,89
(1/4 de 15,58 +1) Draft the rectangle (points E, F, G, H). Position and draft the sleeve
cap line 15.58cm below point E (points I, J). Do the same for the
I J elbow line 35cm below point E (points K, L).
Draft the SG line in the center of the upper sleeve, namely:
23.4/2 = 11.7cm (points M, N).

2. Look for the top of the upper sleeve elbow seam located at ¼ of the
35
sleeve cap length plus 1cm above the sleeve cap line (point I), namely:
15.58/4 + 1 = 4.89cm (point O). From this point, draft a perpendicular
towards the SG line of the sleeve, as shown.

3. To find the volume of the under sleeve, calculate ¼ of the upper

sleeve width, namely: 23.4/4 = 5.85cm.
1,5
This value will be used several times in the outline to maintain
0,5
balance between the upper and under sleeve sections. Use this
K R S’ S L
measurement for the perpendicular starting from point O to create
5,85 point Q, representing the top of the under sleeve elbow seam.

4. On elbow level place a marker 1.5cm to the right of point K (point R)

and, keeping your ruler in place, another marker 5.85cm to the right
(point S). From point S, move back towards the elbow by 0.5cm (point
S’). At the bottom of the rectangle (points H, G), place a new marker
Upper sleeve and under sleeve SG

(point T) 3.5cm to the left of the SG (point N).

62 Use a ruler to join up points O, R, T, representing the upper arm
elbow seam and points Q, S’, T, representing the under arm elbow
seam.

H T N G
3,5

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 THE TAILORED SLEEVE
Diagram n°3

M F
E

O Q

Z’ J’
5,85 1
I
Z J

Diagram n°3
1. Draft a horizontal (points U, V) 3cm above the bottom of the
rectangle (points H, G).
This will allow you to reduce the sleeve length on crook line level.

2. Now mark the upper and under crook line seams. Place a marker
(point W) 5.85cm to the left of point V. On the elbow line, place a
marker (point X) 2cm to the left of point L and place another one
(point Y) 5.85cm to the left of point X.
On the sleeve cap line, place a marker (point Z) 5.85cm to the left K R S’ S Y X 2 L
of point J. Join points W, Y, Z, representing the under arm crook 5,85
Upper and under sleeve SG

line seam, and points V, X, J, representing the upper arm crook line
seam, with a ruler.

3. The two crook line seams need to be extended by 1cm beyond the
sleeve cap line (points J and Z). New points J’ and Z’ are obtained.
Point J’ will be just outside the rectangle.

5,85
W V
U
3

H T N G

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Diagram n°4 Diagram n°5

E M F E M F

Profile

Profile

O Q Q
O

Z’ J’ Z’ J’
I I
Z J Z J

K R S’ S Y X L K R S’ S Y X L
Upper and under sleeve SG

Upper and under sleeve SG

W W
U V U V
Aa
W’

H T N G H T N G

Diagram n°4 Diagram n°5

1. Work on the profile lines that will enable you to visualize the 1. Draft the bottom of the sleeve by joining point T to where the crook
finished sleeve volume. line profile (point Aa) and the horizontal (points U, V) intersect. Soften
To do this, halve each of the following spaces: points O, Q – R, S’ – V, the angle obtained at point Aa using a French curve.
W – X, Y and J, Z. Join up each of the obtained points as shown, and
2. Extend the under sleeve crook line seam until it reaches the
for the elbow profile take the lines down to point T.
bottom of the sleeve (point W’).
2. Extend these lines beyond, into the armscye section. This will be
useful later.

438 | dp studio
 Diagram n°6 Diagram n°7

THE TAILORED SLEEVE

E M F E M F

O Q O Q

Z’ J’ Z’ J’
I I
Z J Z J

0,5 0,3
0,3 0,3

K R S’ S Y X L K R S’ S Y X L
Upper and under sleeve SG

Upper and under sleeve SG

0,3

0,3 0,3
0,3

W W
U V U V
Aa Aa
W’ W’

H T N G H T N G

Diagram n°6 Diagram n°7

1. If you don’t have a very long French curve to trace the elbow and 1. Once the seam lines have been broken up with a ruler, soften each
crook line seams as curves, it will be necessary to break up the of the angles obtained using the flat part of the French curve, with
following sections with a ruler, as a standard French curve is too the arch facing upwards.
small: O, R – R, T – Q, S’ – S’, T – Z’, Y – Y, W’ – J’, X and X, V. Divide each seam line approximately by two between the placed
perpendiculars, the elbow length line and the end points.
2. To break up each section, halve the distances:
- On the crook line seams, move the perpendiculars in by 3mm. 2. Do not forget to soften the angles on elbow level at points R, S’,
- On the elbow seams, extend the perpendiculars by 3mm, except Y and X.
between points O, R which needs to be extended by 5mm.

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Diagram n°8

E M F

O Q

Diagram n°8
Check the hem during assembly via the elbow and crook line Z’ J’
Ab
seams.
I Z J
1. On tracing paper (Diagram n°8b) outline the upper sleeve (points
X, V, T, R), move the crook line seam onto the crook line seam of the
under sleeve (points Y, W’), outline the under sleeve (points Y, W’, T,
S’) and then outline the upper sleeve once again (points X, V, T, R) to
assemble it via the elbow seam (points T, R).

2. The bottom of the elbow seam (point T) needs to be modified with

a ruler in this example, to improve the hem line. Bring it on a tangent
with the base outline a shown. Point T’ is obtained.

3. Go back to your paper outline. Dot and redraw the new hem on the
upper and under sleeve.
K R S’ S Y X L
Upper and under sleeve SG

Diagram n°8b

TR ACING PAPER

R
X Y
S’ R

Upper
Under
X
U W V
Crook line

Upper
Aa
T’ W’
Elbow

T
V
H T N G
W’ T’
T

440 | dp studio
 Diagram n°9

THE TAILORED SLEEVE

M
E 1 1 F
Profile Profile
1,9 2,4
= =

1/3
1 de O, M = 1,9

1
Q
O

Z’ J’
Ab 1,5
I J
Z
0,5
Ac

Diagram n°9
Construct the armhole
1. Place a marker 1cm on either side of the SG (point M). To draft the
upper sleeve cap, join points O, M on the back section and points M,
J’ on the front section, using a ruler.

2. Divide the O, M line into three (15.78cm) and from the first third K R S’ S Y X L
landmark (15.78/3 = 5.26cm) of this line draft a perpendicular to it
Upper and under sleeve SG

of 1.9cm from point M. From point M, on the front, place the 5.26cm
measurement found on the back twice successively.
From the first marker point, draft a 2.4cm perpendicular and one of
1.9cm from the second marker point, as shown.
Perpendicular to the O,M line on the back, draft a 1cm line that
intersects with the profile line as shown.

3. Perpendicular to the M, J’ line on the front, draft a 1cm line to

intersect with the profile line as shown. For the under sleeve, place
a marker 1.5cm on the right of the SG where it intersects with the
sleeve cap length line (point Ab). From this marker, draft a 0.5cm
perpendicular downwards (point Ac) as shown.

W V
U
T’ W’ Aa
H T N G

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Diagram n°10b

TR ACING PAPER

M
Upper sleeve SG

ve S G

Front Z’ Q
J’ O
r slee

Ab
Uppe

Ac
Back
G

Inner
ve S

Ab
Diagram n°10
r slee

X Y S’ R
Unde

E M F

O Q

Z’ J’
Ab
I J
Z
Ac
Diagram n°10
1. Use tracing paper to construct the armhole (Diagram n°10b). This
will allow you to close the elbow and crook line seams.
Start by outlining the front of the upper sleeve. Mark the SG (points
M, Ab), the 1cm flat area to the right, the 2.4cm, 1.9cm and 1cm mar-
ker points and the upper sleeve crook line (J’, X). To continue the
outline, turn the tracing paper round. This is necessary as the under
sleeve is a left side (for the construction) since its outline is placed
within that of the upper sleeve.
Position the upper sleeve crook line (points J’, X) onto the under
K R S’ S Y X L
sleeve crook line (points Z’, Y) and outline the 0.5cm lowered marker
upper and under sleeve SG

(point Ac), the under sleeve SG (points M, Ab) and the under sleeve
elbow seam (points Q, S’).

2. Once again, you will need to turn the tracing paper round and place
the under sleeve elbow seam (points Q, S’) onto the upper sleeve
elbow seam (points O, R).
Then outline the 1cm and 1.9cm marker points, the 1cm flat area and
the upper sleeve SG (points M, Ab). On the back piece, join point O
to the 1cm marker point with a ruler but go beyond this point with
your line.

3. Use a French curve to form the armscye, making sure you go

through every point and with the French curve positioned as indi-
cated.
Once the armhole curve has been drafted on tracing paper, dot it U W
V
onto your paper outline and redraw everything. T’ W’ Aa
H T N G

442 | dp studio
 Diagram n°11

THE TAILORED SLEEVE

Diagram n°11
1. Place notches on the sleeve, starting from point Ac:
24,1 3,6 - On the front, at 10cm and another one 1cm above it
22,7
E F - On the back, at11cm.
Ae Ad 2. To find the notch corresponding to the shoulder seam of the jacket,
M
and the 10cm and 11cm notches on the front and back respectively,
place the remaining armhole lengths: 13.1cm for the back (point Ae)
and 12.7cm for the front (point Ad), which leaves an excess value of
3.6cm.
O Q back front
1
11
armscye: 14.9cm 14.5cm
10
armhole : 13.1cm 12.7cm
Z’ J’
Ab
I
1.8cm + 1.8cm = 3.6cm
Z J
Ac
3. Halve the excess value (points Ad, Ae, so: 3.6/2 = 1.8cm) to find
Cran the position of the shoulder notch, which for this base will be situa-
ted right on the SG, namely at 1.8cm from point Ad (point M). Place
the notch.
If the excess value seems too big, it is possible to move the 10 and
11cm notches by 0.5cm, thus placing these markers 10.5cm and
11.5cm from point Ac, which will give a little excess value under the
notches. There will therefore be a little less excess value for the upper
sleeve. The notches placed on the armhole stay in the base pattern
5 5 5
5 position, at 10 + 1cm for the front and at 11cm for the back.

K R S’ S Y X L
Back Front
armscye: 14.4cm 14cm
6,5
Upper and under sleeve SG

armhole : 13.1cm 12.7cm

1.3cm + 1.3cm = 2,6cm

= 4. It is also important to place notches on the elbow and crook line

=
seams for the sleeve to be eased out with an iron in the right places.
Place notches 5cm above the elbow line (points R, S’, Y, X) on every
seam (the two elbow and two crook line seams). On the upper sleeve
crook line seam, note that from the notch at 5cm, the length to point V
is shorter than on the length of the under sleeve crook line seam from
the notch at 5cm to point W’. This is normal as the sleeve needs to be
eased out with an iron and shaped to the arm.

5. Add a notch 6.5cm below point S’ on the under sleeve elbow seam.
U W Measure the distance between the notch and the bottom of the seam
V
(point T). In this example, it is of 20.6cm. Use this measurement to
T’ W’ Aa
place a notch 20.6cm above point on the upper sleeve elbow seam.
H T N G Note that the distance between the notches of the under sleeve elbow
seam (11.5cm) is shorter than the distance between the notches of
the upper sleeve elbow seam (12.2cm). Again this is normal as the
upper sleeve elbow seam must be maintained with an iron (excess
value) to help bend the sleeve more.

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Diagram n°12

Q
O

J’ Z’
Ac

Under sleeve SG
Upper sleeve SG

X
Maintain

X
Ease out

V
W’
T’ T’

Diagram n°12
The base pattern outline for the tailored sleeve has been obtained.

1. The under sleeve needs to be moved to the right of the upper

sleeve, so that the two crook lines are facing each other as shown.

2. For the upper sleeve, it will be necessary to:

- Ease out the crook line from the notch to the hem (point V)
- Maintain between the two notches on the elbow seam.

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 THE TAILORED SLEEVE
Diagram n°13b

TR ACING PAPER

Diagram n°13
Sleeve vent
For this base pattern outline, the vent is constructed in a way that it
may be opened.
There are two different ways of approaching this vent.

First solution
Ah’ 1. Place the hem values and fold the seam allowances to form the
vent. This first method allows future alterations of the bottom of the
sleeve without any problem as the seam allowance values remain in
TR ACING PAPER the construction and are not trimmed down.
The finished appearance is therefore a bit less aesthetic as extra
fabric thickness is added.

2. Define the vent opening aimed at. For this example, the finished
vent measures 10cm. Place a marker 11cm above point T’ at the bottom
of the sleeve (upper and under), on the elbow side. Points Af and Af’
are obtained. From these two points, draft a 4cm perpendicular,
W’ creating new points Ag and Ag’, and then draft a parallel to the elbow
seam downwards for 4cm (points Af and T’), extending it beyond the
hem line, as shown.

3. Extend the upper and under sleeve elbow seams (points Af, T and
Af’, T’) 4cm beyond points T’. Points Ah and Ah’ are obtained.
TR ACING PAPER
From these points trace 4cm parallels to the hem lines of the upper
and under sleeve.

4. On tracing paper (Diagram n°13b), outline the following angles:

- For the upper sleeve: the angle (points T’, V, J’). Without moving
point V, shift this angle to the other side of the hem line so that
point Ai is positioned on the intersection of the line representing
the hem value (points Ah, Ai).
- For the under sleeve: the angle (points T’, V, J’). Without moving
Ah point W’, shift this angle to the other side of the hem line so that
point Ai’ is positioned on the line representing the hem value
(points Ai’, Ah’).
TR ACING PAPER 5. To finalize the process, outline the following angles:
- For the upper sleeve: the angle (points Af, Ah, Ai). Without moving
point Ah, shift this angle to the other side of the elbow seam so that
point Aj is positioned on the intersection of the line representing
the vent’s hem value (points Ai’, Ah’).
- For the under sleeve: the angle (points Af’, Ah’, Ai’). Without
moving point Ah’, shift this angle to the other side of the elbow
seam so that point Aj’ is positioned on the intersection of the line
V
representing the vent’s hem value (points Ag’, Aj’).

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Diagram n°13
M
First solution

O Q

Z’
J’ Ac

Under sleeve SG
Upper sleeve SG

X
Maintain

Af Ease out Af’

Ag’
Ag
X

X
=
V W’ =
=
=
T’ T’

= Ai Ai’ =
= =
Aj’
Ah Ah’
Aj

Diagram n°13 (continued)

Second solution
1. Place the hem values and create a mitered angle to the upper and
under sleeve elbow seam angles. With this construction method, it
is more difficult to carry out future alterations, like the lengthening
of the sleeve, as when a mitered angle is made, the surplus fabric
is cut away for an improved visual. Indeed, an enhanced finish at
the bottom of the sleeve is obtained in this method as there is less
fabric thickness.

2. For this construction, start in the same way as for the first solution,
and then mark the changes relating to the mitered angle.

3. Find the bisection of the angles - points Af, T’, V for the upper
sleeve and points Af’, T’, W’ for the under sleeve. Points Ak and Ak’
are obtained.

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 Diagram n°13
M
Second solution

THE TAILORED SLEEVE

Diagram n°13c

TR ACING PAPER

O Q
Af

Z’

on
J’

cti
Ac

se
Bi
T’

Under sleeve SG
Upper sleeve SG

TR ACING PAPER

on
cti
se
Bi
Maintain
X
V

T’
X

X
Ease out

X
Af Af’
Ag Ag’
Ak X Ak’ Diagram n°13d
ion

Bi
se
ct

ct
se

ion
Bi

X Al’ TR ACING PAPER

= V =
Al = W’ =
=
=

T’ = T’
=
Ai Ai’
Bi

Am Am’
se
cti
on

W’

T’

Diagram n°13 (continued)

4. On tracing paper (Diagram n°13c) outline the angles (points Af, T’,
Ak and Ak, T’, V) for the upper sleeve. Position these angles on the TR ACING PAPER

other side of the Af, T’ and T’, V lines, without moving point T’. Points
Al and Am are obtained, forming the seams of the mitered angle.
Af’

5. On tracing paper (Diagram n°13d) outline the angles (points Af’,

Bi
se

T’, Ak’ and Ak’, T’, W’) for the under sleeve. Position these angles on
cti
on

the other side of the Af’, T’ and T’, W’ lines, without moving point T’.
Points al’ and Am’ are obtained, forming the seams of the mitered
angle.
T’

6. Add the seam allowances.

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 9 VOLUME 3

SLEEVES WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°14
M
First solution

Q
O

Z’
J’ Ac

Under sleeve SG
Upper sleeve SG

Maintain X

X
Af Af’
Ease out Ag’
Ag
X

X
V W’

T’ T’

Ai
Ai’
Aj’
Ah Ah’
Aj

Diagram n°14 Sleeve assembly

The final outline of the tailored sleeve base pattern, with the two Firstly, ease out the upper sleeve crook line seam in order to obtain
different finishes for the bottom of the sleeve, has been obtained. the same length as the under sleeve crook line. This way, the sleeve
will turn more and follow the shape of the arm.
Once the sleeve has been eased out, assemble the crook line seam.

1. Open the seam and then iron it to improve the fall of the sleeve
on the crook line.
Flatten the under sleeve on a table: the upper sleeve forms excess
value naturally as the fabric will not lay flat on the table. Make sure
the sleeve does not form horizontal folds and pleats on elbow level.

448 | dp studio
 M Diagram n°14

Second solution

THE TAILORED SLEEVE

O Q

J’ Z’
Ac

Under sleeve SG
Upper sleeve SG

X
Maintain

X
Ease out Af’
Af Ag’
Ag
X

X
Al’
V
Al W’

T’ T’
Ai Ai’
Am Am’

Diagram n°14 (continued)

2. Ease in the excess value with an iron for about 3cm beyond the 5. Use gathering stitches once again to ease in the sleeve cap excess
crook line seam, parallel to the upper sleeve (the fabric must be able value and then assemble the armscye and the armhole, notch over
to accommodate this easing-in work with an iron). notch, to obtain the correct fall of the sleeve. Once assembled with
the garment body, ensure the sleeve hangs straight when worn, or
3. Once the excess value has been eased in, iron out the crease line
slightly towards the front, but certainly not towards the back.
or fold created between the eased in fabric and the rest of the upper
sleeve.
To do this properly, fold the upper sleeve over the under sleeve and
check if the sleeve turns well and that a smooth and even curve has
been formed for the upper arm

4. Assemble the elbow seam and place two gathering stitches

between the notches on the upper section to help ease in the excess
value on the elbow line.

dp studio | 449
 9 VOLUME 3

SLEEVES WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

PUFFED SLEEVE (TAILORED SLEEVE

BASE PATTERN)

P 400 | NARROW-FIT COAT IN THREE PIECES WITH A

PROTRUDING POCKET

To construct the sleeve, this example starts with the tailored sleeve
base pattern.
However, you can also use other sleeve base patterns as your
starting point (glove sleeve, blouse sleeve…).

..

..

..

..
..
..
..

Back Front

Technical drawing

450 | dp studio
 Diagram n°1

PUFFED SLEEVE (TAILORED SLEEVE BASE PATTERN)

Back Front

Under sleeve SG
Upper sleeve SG

X
Maintain

X
Ease out

Diagram n°1
Outline the two parts of the tailored sleeve (upper and under)
separately.

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SLEEVES WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°2

Diagram n°2
1. Plan the transformation aimed at and the number of darts required 3,66
F G
in order to suppress the large excess value. For this example, create B
three darts of 4cm long maximum on the SG of the upper sleeve. 3,66 4
I 3 H 3,66
3
2. Firstly, place the extra length necessary for creating the sleeve
transformation, namely 4cm on the SG of the upper sleeve, from point A
A upwards. Point B is obtained. Draft a horizontal that runs through L M
K J
point B, perpendicular to the SG and then, using a French curve, trace
the new upper sleeve cap (back and front). Taper your new line off
when you reach the notches of the base pattern sleeve cap (points C
and E) or just before them, as shown. D
C
E
N
3. Now measure the new sleeve cap lengths (front and back) to
compare them with the front and back armhole lengths of the narrow-
fit coat (identical to the tailored jacket base). Q
Back Front O
Armscye 18,3 (points C, B) 18,5 (points E, B)
Armhole - 13,1 (24,1 - 11 = 13,1 cm) - 12,7 (22,7 - 10 = 12,7cm)

= 5,2 = 5,8
A difference of 5.2 + 5.8 = 11cm is obtained, corresponding to the
excess value that the darts are going to suppress.
Upper sleeve SG

Divide this value by three to calculate the value of each dart, namely:
11/3 = 3.66cm.

4. Place the first dart on the SG of the upper sleeve, positioning half
the value (3.66/2 = 1.83cm) on either side of point B on the SG. Points
X
F and G are obtained. Join points A, F and A, G in a straight line to
represent the two legs of the first dart.
Maintain X
5. Define the distance you want to create between each dart, namely
for this example: 3cm. Place this value from points F and G to obtain
points H and I. X
From points H and I, place the 3.66cm dart value to obtain points
J and K. Find the halfway mark between points K, I and J, H to
establish the center of these two darts and from the halfway mark X
on the new augmented armscye curve, draft perpendicular lines to Ease out
join the original armscye curve at points L and M.
X
Now trace the dart legs (points K,L – I,L – H,M – J,M).
Make sure points L, M and K,J are on the same horizontal if you want
to place the darts on the same level, front and back. If you choose to X
do so, the darts will not be evenly-spaced out. For this example, we
have chosen evenly-spaced-out darts, 3cm from each other.
X

452 | dp studio
 Diagram n°3

PUFFED SLEEVE (TAILORED SLEEVE BASE PATTERN)

F B G
I’ H’
I H
K’ J’
A
K M
L J

C D
E
N

Diagram n°3
Q
O 1. On tracing paper (Diagram n°3b), close the darts so that you can
adjust the new armscye. Outline first of all the elbow seam (points
N, O), the notch (point C) and the armscye curve up to point K. Close
the dart by pivoting one dart leg onto the other (points L,K onto L,I),
and then continue outlining the armscye up to point F.
Once again, pivot dart leg A, F onto dart leg A, G and continue
Upper sleeve SG

outlining the armscye up to point H. Close the next dart in the same
way, pivoting points M, H onto points M, J and finish outlining the
armscye, marking the notches at points D and E and the crook seam
(points Q, R). Maintain the curves as they are between points N, C
for the back and points Q, E for the front.
X
Place perpendiculars to the SG at the top of points F and G before
rectifying the curves where the darts have been created. Points K’,
Maintain X I’, H’ and J’ are obtained.

2. Check the final armscye length (points C, K’, I’, F, G, H’, J’, D, E) as it
X may have been modified when creating the darts. If necessary, modify
the length of each dart by the same value to rectify the difference in
length.
X Dot and redraw the different curve segments on your paper outline.
Ease out

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 9 VOLUME 3

SLEEVES WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°3b

TR ACING PAPER

Q
Front

E
D

J’ J
H’ H

G A
F

I’ I
K’ K L

Back
C

454 | dp studio
 Diagram n°4

PUFFED SLEEVE (TAILORED SLEEVE BASE PATTERN)

F G
I’
H’

K’
A J’
L M

D
C
E
N

Q
O

Upper sleeve Under sleeve

Upper sleeve SG

X
Under sleeve SG

Maintain

X
Ease out

Diagram n°4
The final outline of the puffed sleeve has been obtained.

dp studio | 455
10 MÉTHODE dp studio

HOODS
 VOLUME 3 CONSTRUCTING BASE PATTERNS
WOMENSWEAR CLOTHING KIMONO SLEEVES – BUSTIERS –
PATTERN MAKING BLOUSON JACKETS – KNITWEAR
FLAT-PATTERN DRAFTING – DRESSES – COATS – SLEEVES
– HOODS – SWIMWEAR

Contents

p 458 Basic hood using the bodice base pattern

p 470 Overlapping hood for double-breasted garments

p 476 Hood with an added back piece

p 482 Balaclava-style fitted hood

dp studio | 457
 10 VOLUME 3

HOODS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

BASIC HOOD USING THE BODICE

BASE PATTERN

To make this hood, use the bodice base pattern. The neckline of the
bodice will be the actual starting point of this construction.
The hood consists of two pieces sewn together on center back.

Front

Back

Technical drawing

458 | dp studio
 HOOD VOLUME 1

BASIC HOOD USING THE BODICE BASE PATTERN

Diagram n°1

st
Bu

ne
Back s li
os
Cr

Ce
n te
rb
ac
k
C

B’ B
0,5

A
Diagram n°1 3
1. Firstly, outline the front of the bodice base pattern and then
A’
assemble it with the back at the shoulder.

2. To give the hood a certain comfort, open up the base pattern

neckline, especially at the front. For this example, from the base of
Cross line
the neckline (point A), descend by 3cm on center front to obtain point
A’. Open up on shoulder point level also, moving point B by 0.5cm to
Bust spread

obtain point B’ and then taper to nothing on center back at point C as

shown. Use a French curve to trace the new neckline (points A’, B’, C).

P Bust
Center front SG

Front

Waist

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PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°2

st
Bu
27

30

E
ne
Back s li
os
Cr

Ce
n te
rb
ac
k
C

B’ B

A’

Diagram n°2
Cross line
1. From point C on center back, place the desired hood length. For
this example, 30cm has been chosen (point D). This value can vary
Bust spread

depending on the style and volume aimed at.

2. From point D, draft a perpendicular to center back, representing

the depth of hood aimed at, namely 27cm for this example. Point
E is obtained. This value can also vary depending on the style and
volume aimed at.
P Bust
Center front SG

Front

Waist

460 | dp studio
 D

D’
st
Bu

BASIC HOOD USING THE BODICE BASE PATTERN

Diagram n°3

E
ne
Back s li
os
Cr

Ce
n te
rb
ac
k
C’
E’ 2
C

B
B’

Diagram n°3 A

1. To close the hood opening more (points A’, E), pivot the entire hood
from shoulder top (point B’) as shown. A’
2. On tracing paper (Diagram n°3b), outline the shoulder (from point
B’), the back neckline (points B’, C), center back (points C, D) and the
perpendicular from point D to point E. Cross line

Bust spread

Diagram n°3b
P Bust

TR ACING PAPER
Center front SG

Front
D

Waist
Ce

E
n te
rb
ac
k

3. From point B’ (shoulder top), pivot by an average value of 2cm

between the neckline outline on paper and the tracing paper outline.
Once you have pivoted, dot the whole traced outline onto your paper
C
outline and redraw everything in pencil, rectifying the break in the
neckline curve at point B’ that occurred during the pivot. Points C, D,
B’ E have now become points C’, D’, E’.
If you want to enlarge the hood opening (points A’, E) pivot by less
than 2cm.
If you want to reduce the hood opening (points A’, E) pivot by more
than 2cm.

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 10 VOLUME 3

HOODS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

D
Diagram n°4
D’

st
Bu
3,5

1/3
1/3

Back
ne
s li

Ce
os
Cr

n te
rb
ac
k
C’
E’
C

B
B’

A’

Cross line
Bust spread

Diagram n°4
1. On the D’,E’ line from point D’, place a third of the line’s value,
P Bust
namely: 27/3 = 9cm.

2. On the C’, D’ line from point D’, place a third of the line’s value,
Center front SG

namely: 30/3 = 10cm.

Front
3. From point D’, bisect the angle (points C’, D’, E’) and place 3.5cm
on the bisection to enable you to curve the back of the hood, passing
through the points obtained at 9 and 10cm from point D’. (This line
transformation depends entirely on the style of hood aimed at). Draft
the hood’s front curve between points E’ and A’ with a French curve
to finalize the outline. Waist

4. Make sure point E ’is at right angles.

462 | dp studio
 BASIC HOOD USING THE BODICE BASE PATTERN
Diagram n°5

st
Bu

Back
ne

Ce
s li
os

n te
Cr

rb
ac
k
C’
E’

A’

Cross line
Bust spread

Diagram n°5
The volume of this hood (points A’, C’, E’) has been obtained.
P Bust
Center front SG

Front

Waist

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 10 VOLUME 3

HOODS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

HOOD VOLUME 2

Diagram n°6

st
Bu

Back
ne

Ce
s li
os

n te
Cr

rb
ac
k
C’
E’

=
=
A’
A’’ 5

Cross line
Bust spread

Diagram n°6 P Bust

1. It is also possible to reduce the hood opening by shifting point A’

by 5cm horizontally in relation to center front. Point A’’ is obtained.
Center front SG

2. Trace the new neckline of this hood, passing through point A’’ and Front
moving tangentially onto the base pattern neckline. Extend the curve
beyond point A’’.
Now place a notch (point F, the tangent line) on the neckline curve.

3. Next, measure the length from this notch down to center front
(points F, A’) and place the measurement found on the new outline, Waist
passing through point A’’. Point G is obtained.

4. Now define the front hood curve between points E’ and G.

464 | dp studio
 BASIC HOOD USING THE BODICE BASE PATTERN
Diagram n°7

st
Bu

ne
Back s li
os
Cr

Ce
n te
rb
ac
k
C’
E’

A’
A’’

Cross line
Bust spread

Diagram n°7
P Bust
The outline of this new hood (points G, C’, E’) has been obtained.
Center front SG

Front

Waist

dp studio | 465
 10 VOLUME 3

HOODS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

HOOD VOLUME 3

Diagram n°8

st
Bu

Back
ne

Ce
s li
os

n te
Cr

rb
ac
k
C’
E’

A’’’

5 A’

Cross line

Diagram n°8
Bust spread

1. You can also end the hood before center front but still on the
original neckline, as indicated in the diagram. Place a marker on
the neckline curve 5cm to the left of point A’ as shown. Point A’’’ is
obtained.
P Bust
2. From this new point, trace a smooth and even front curve between
points E’ and A’’’.
Center front SG

Front

Waist

466 | dp studio
 Diagram n°10

Ce
n te
rb
ac
k
Back
C

BASIC HOOD USING THE BODICE BASE PATTERN

st
Bu er B’
uld
Sho

Back A’
ne

Ce
s li
os

n te
Cr

rb
ac
k
Cross line

E’ C’

Center front SG
Front

A’’’

A’

Diagram n°9
Cross line
Bust spread

P Bust
Center front SG

Front

Waist

Diagram n°9 Diagram n°10

The outline of the last alternative for the basic hood has been The enlarged neckline remains the same for the three alternatives but
obtained (points A’’’, C’, E’). hood volume 3 alone has an extra notch to identify the final position
of the edge of the hood.

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HOODS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

E’ E’

Volume n°1 Volume n°2

Center back SG
Center back SG

C’ C’

A’ G

E’

Diagram n°11
Center back SG

Volume n°3

Diagram n°11
C’
1. Now place the grain line of the three hoods on center back (SG).
2. Three different hood volumes are obtained.
3. The hood volume will now be cut twice and have a center back
seam (between points E’ and C’).
A’’’

468 | dp studio
 BASIC HOOD USING THE BODICE BASE PATTERN
Diagram n°12

E’ E’

Volume n°1
Center back SG

C’

A’ A’

Diagram n°12
1. It is also possible to cut this hood in one piece (without a center
back seam).

2. Generally, a hood is lined for a better finish (to hide the seam
allowances and overlocking).
The inside of the hood can be made in the same fabric as the hood
or in another fabric, depending on the style. In this case, the hood
interior will necessitate the same work as the hood itself (same
pieces…).
The hood interior can also be made in a lesser fabric, like lining
fabric. In this case, an extra pattern piece will be required for the
facing, placed on the outer edge of the hood interior.
This is to hide the lining, especially when it is of average quality.

dp studio | 469
 10 VOLUME 3

HOODS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

OVERLAPPING HOOD
FOR DOUBLE-BREASTED
GARMENTS
Use the basic hood of the previous chapter hood volume n°1, which
starts from the bodice base pattern, to begin this new construction.

Front

.. ..

.. ..

.. ..

.. ..
.. ..

.. ..

.. ..

.. ..

.. ..

.. ..

Back

Technical drawing

470 | dp studio
 Diagram n°1

OVERLAPPING HOOD FOR DOUBLE-BREASTED GARMENTS

C’
E’ Back

r
ulde B’
Sho

A’

Cross line

Front

F
Bust
Center front SG

Diagram n°1
Start outlining the front bodice as in the previous chapter, where it is
placed below the back as indicated. Outline the shoulder top placed
at point B’, center front (points A’, F), the cross line and bust line. The
following points should be marked: F, A’, E’, C’, B’.

dp studio | 471
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PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°2

E’ Back C’

r
ulde B’
Sho

A’

Cross line

Front
7

F G
Bust

Diagram n°2
Center front SG

1. A double-breasted construction is created with a larger half-

overlap value than usual. In most cases, the buttons on double-
breasted garments are placed either side of center front in
symmetrical fashion.

2. Define the half-overlap value to apply, which for this example is

7cm. The bigger the overlap value, the more the hood will cover the
face (10 to 12cm would probably be the maximum). Place the 7cm
value from center front (points A’, F) and from the point obtained on
bust line (point G), trace a parallel to center front.

3. Now determine the neckline position. On the overlap line, place a

marker 7cm above point G on the bust line to obtain point H. Using a
French curve, trace the new neckline, staying on a tangent with the
original one.
The new hood base has now been obtained (points C’, B’, H). From
the new neckline base (point H), draft the new front curve of the
hood with a French curve to finalize this outline (points E’, H).
In this model, the rounded shape of the back of the hood has been
modified into something more pointed, which can be more or less
pronounced, depending on the style aimed at.

472 | dp studio
 Diagram n°3

OVERLAPPING HOOD FOR DOUBLE-BREASTED GARMENTS

C’
E’
Back

ulde
r B’
Sho

A’

Cross line

Front H
2
Button diameter = 20 mm
Buttonhole = 2,4 cm
= = 2

F G
Bust
12

2,4

Diagram n°3
12
Center front SG

1. Choose the size of the buttons and position the buttonholes.

For this example, choose a button with a 20mm diameter and a
buttonhole width of 2.4cm.

2. Draft a horizontal 2cm below point H at the base of the neckline.

This corresponds to the position of the first buttonhole.
Once finished, check that the button does not get in the way of the hood.
Then, draft a vertical 2cm in from the garment edge (points G, H) to
represent the button position.

3. From this button position (2cm in from the garment edge, thus
corresponding to the button diameter) to center front, there is a
distance of: 7 – 2 = 5cm.
Place this value on the other side of center front, so that the buttons
are placed symmetrically. On the right of center front, position the
buttonhole, not the button.
Place a new marker 2 to 3mm to the right of the existing one and
position the buttonhole width there, namely: 2.4cm.

4. The following buttons will be placed 12cm below and the next pair
of buttons 12cm below again, in an evenly-spaced manner.
Do not forget that in most cases a button is positioned on bust level.

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PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°4

Ce
n te
rb
ac
k

Back C’

Diagram n°4b
u lder B’
Sho
E’

A’

Cross line

Center back SG
H

Front

F G
Bust

C’
Center front SG

Diagram n°4
1. Outline the neckline of the bodice base pattern defined when H’
constructing the basic hood (points A’, B’, C) and then add the
necessary transformations to create this new neckline (points B’, H).

2. Outline also the hood volume (Diagram n°4b) which will be cut twice
and joined by a seam starting from center back (points E’, H’, C’).

474 | dp studio
 Diagram n°5

OVERLAPPING HOOD FOR DOUBLE-BREASTED GARMENTS

E’ E’

Diagram n°5

Center back on fold SG

It is also possible this hood in one single piece (without a center
back seam).

C’

Diagram n°6
H’ H’
E’
Ce
n te
rb
ac
k

Back
C’
Center back SG

r
ulde B’
Sho

Front

Cross line
C’
H

F
Diagram n°6
G
Bust 1. The final outline of this hood, and its two different versions and
corresponding neckline, has been obtained:
- Cut in two pieces
- Cut in one single piece (Diagram n°5).
Center front SG

2. A hood is generally lined for a better finish (to hide the seam
H’ allowances and overlocking). The inside of the hood can be made in
the same fabric as the hood itself or in another fabric, depending on
the style. The lined hood in this case, will demand the same work as
the hood itself (the same pieces…).
The hood can also be lined in a lesser fabric (lining fabric), which
means an extra pattern piece will be required for the facing, placed
on the outer edge of the hood interior.
This is to hide the lining, especially when it is of average quality.

dp studio | 475
 10 VOLUME 3

HOODS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

HOOD WITH AN ADDED

BACK PIECE

This hood is composed of two pieces: a flat added back piece and
a band of fabric that goes from shoulder to shoulder. To construct
this hood, you will need to know the following measurements of
the wearer or the method’s reference measurements used for this
example:
- The head circumference = 55cm (measurement taken on forehead
level as it is the largest part of the head)
- The head length = 62cm (measurement taken from shoulder top
to shoulder top via the top of the head)
- The neckline girth = 40.8cm (measurement taken around the
neckline curve of the bodice base pattern plus transformations
for the base of the hood).

Front

..
..

..
..

Back

Technical drawing

476 | dp studio
 Diagram n°1

HOOD WITH AN ADDED BACK PIECE

D F
45°
13,7
13,7 3
H 9,33

G
Center back on fold SG

28

7,5
E
C

7,86

A 27,5 B

Diagram n°1
1. At the bottom left-hand corner of a sheet of paper, trace a right 3. From point F, place a marker one third of the way down, using the
angle. From angle A on the horizontal, place half the head circumfe- center back length (28cm) to calculate the distance, namely: 28/3 =
rence value, namely: 55/2 = 27.5cm (point B). 9.33cm (point G). This point will help trace the curve of added back
On the vertical from point A (center back) upwards, a certain length piece. Bisect the D, F, G angle to create two 45° angles and then place
needs to be placed for creating the hood’s base curve. To find this a marker 3cm below point F on the bisection line to obtain point H as
measurement, take 1/7 of the head circumference, namely: shown. Use a French curve to draft the curve of the added back piece,
55/7 = 7.86cm (point C). passing through points D, H and G. Place a right-angled perpendicular
From point C, draft a perpendicular to center back and using a French to center back from point D and taper the curve into this line at point
curve with the arch placed towards center back, trace the base curve D and into the E, F vertical at point G, at the other end of the curve.
(points C, B) as shown. Measure the curve (points D, G), which for this example is of 13.7cm.
When assembled with the neckline, this curve will open up the hood Place this measurement on the vertical from point G upwards to ob-
from the head. To obtain this effect, the curve needs to be inversed tain point I.
in relation to the neckline. This point will join up with point D of the added back piece during
assembly.
2. From point C on center back, place half the head length – 3cm to
obtain the hood length, namely: (62/2) – 3 = 31 – 3 = 28cm (point D).
This measurement can vary depending on the length aimed at for the
back of the hood. Now define the half width aimed at for the added
back piece. For this example, in its largest point, the half-width will
be of 7.5cm. From point C on center back (points C, D), place half the
value of the added back piece, namely 7.5cm, to obtain point E and
trace a parallel to center back from this new point. From point D,
trace a perpendicular to center back of 7.5cm to the right to obtain
point F at the intersection with the parallel to center back previously
created (points E, F).

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PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°2

D F

H
Center back on fold SG

J
6 K
o nt

E 6
C 3
r fr

G’ 1 1
n te

G’’ J’ 3
M
Ce

2 J’’
K’ 1,5
2
K’’
L 4
26,4
A
B

Diagram n°2
1. Place half the neckline value on the base curve (points C, B), with 3. Position the darts at the base of the hood.
a certain dart value added to help open up the hood when worn. For Place the first one on the vertical that separates the two pieces
this example, three darts of 2cm are going to be placed. (points E, F). The dart will start from point G and straddle the vertical,
From point C, place the half-neckline value plus the value of the with each leg 1cm either side of it (points G’ and G’’). Trace the two
three darts on the curve, namely: (40.8/2) + (3 x 2) = 20.4 + 6 = dart legs using a French curve with the arch placed downwards.
26.4cm (point L). This point represents center front. This dart will disappear when the two parts of the hood are assembled.
The number of darts to place when constructing a hood depends Place the first leg of the second dart 3cm to the right of point G’’
on the volume and style aimed at… It is possible to put more or less (point J’) and place also its width (2cm) to obtain point J’’. From the
darts in function with the shape envisaged. halfway mark of the J’, J’’ width upwards, draft a 6cm perpendicular
to the curve, representing the dart length (point J). Draft this dart
2. Place a marker 4cm above point L, perpendicular to the curve, to
with a ruler. Place the first leg of the third dart 3cm to the right of
obtain point M, representing the estimated length of the front of the
point J’’ (point K’) and also the dart width (2cm) to obtain point K’’.
hood where it fastens. For the fastening, place the half-overlap value
From the halfway mark of this width (points J’, J’’) upwards, draft
on the right of center front, namely for this example: 1.5cm. Draft a
a 6cm perpendicular to the curve, representing the dart length
4cm parallel to center front and a perpendicular to center front from
(point K). Trace this dart also with a ruler.
point M as shown.

478 | dp studio
 Diagram n°3

HOOD WITH AN ADDED BACK PIECE

I

D F

H Diagram n°3b

TR ACING PAPER
G
Center back on fold SG

Center back on fold SG

J
K

C G’ E
G’’ J’ M Center front
J’’ J
K’
K’’ G’
L G’’
C K
J’
A J’’
B
K’
K’’

u
M ilie
nt M
d eva
L

Diagram n°3
1. Adjust the hood’s base curve on tracing paper (Diagram n°3b) as
the darts have slightly modified it.

2. Outline center back (points C, D), the curve up to point G’ and the
first dart leg up to point G on tracing paper. Gradually pivot the first
dart leg from point G onto the second dart leg. Continue outlining
the base curve between points G’’ and J’, and then close the second
dart by pivoting the first leg onto the second from point J. Continue
outlining the curve between points J’’ and K’, and then from point K,
pivot in the same way to close the dart. From point K’’, outline the rest
of the curve up center front and the half-overlap.

3. Taking into account the right angle on center back, redraft a

smoother curve. Once drafted on tracing paper, dot and redraw each
section of the curve in pencil on your paper outline.
With the curve adjustment, points G’, G’’, J’, J’’, K’, K’’ have changed
position slightly.

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PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°4 D Diagram n°5

18,5 N
I
G

Center back on fold SG

D F

I N
Center back on fold SG

C
G’
SG

G
J
K
SG
G’ E
C
J’
G’’ J’’
K’ M Center front
K’’ 1,8 1

1 J
L K
A
B

G’’
J’ M
J’’
K’ Center
K’’ front

L
Diagram n°4
1. Define the depth aimed at for the hood. For this example, 18.5cm
has been chosen. Trace a perpendicular to the E, F vertical of 18.5cm
from point I to obtain point N.
The position of point N can vary depending on how open you want
the hood to be.
From point N, draft a perpendicular to the horizontal (points I, N)
Diagram n°5
downwards in the direction of center front. To finalize the hood, use 1. Separate the two pieces. Outline the added back piece (points C,
a French curve to find the shape you want to give it. D, G, G’) and the front of the hood (points L, M, N, I, G, G’’, J’, J’’, K’,
K, K’’).
2. Place two buttonholes on center front, 1cm above and 1cm below
points L and M respectively, and 2 to 3 mm to the right of center front. 2. The final outline of this hood has been obtained.
The rest of the buttonhole opening is placed on the left of center front,
namely: for a button diameter of 15mm, an average value of 1.8cm.

3. Trace a SG on each piece:

- For the added back piece, place it on center back. Center back is
therefore on fold.
- For the other part, place it parallel to the vertical (points E, F),
though you can also put it on the horizontal (points I, N), depending
on how you intend to cut.

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 L
Diagram n°6 Center
K’’ front
K’
J’’

HOOD WITH AN ADDED BACK PIECE

J’ M
D
G’’

K
J

G G
Center back SG

C
G’ G’

I SG N

Diagram n°6
1. The hood can also be finished in another way. Create a mirror
image of the front of the hood as shown on the other side of the
J
horizontal (points I, N) so that you can make this part of the hood as
one piece, without a center back seam. K
For the added back piece, create a mirror image on the other side of
center back, to also eliminate the center back seam and make the
G’’
added back as one single piece. J’ M
J’’
2. A hood is usually lined for a better finish (to hide the seam K’ Center
K’’ front
allowances and overlocking).
The hood interior can be made in the same fabric as the hood or in L
another fabric, depending on the look aimed at. The lined interior
can in this case necessitate the same work as the hood itself (same
pieces…).
The hood interior can also be made in a lesser fabric, like lining
fabric. In this case, an extra pattern piece will be required for the
facing, placed on the outer edge of the hood interior.
This is to hide the lining, especially when it is of average quality.

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 10 VOLUME 3

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PATTERN MAKING
FLAT-PATTERN DRAFTING

BALACLAVA-STYLE
FITTED HOOD

This hood, made of three parts, consists of an added band of fabric

that starts at the base of the hood and travels up and across the
top of the head, and two side pieces either side of the central band,
which meet in the middle under the chin.
To construct the hood, you will need to know the following
measurements of the wearer or the method’s reference
measurements used for this example:
- Head circumference = 55cm (measurement taken on forehead
level as it is the largest part of the head)
- Head length = 62cm (measurement taken from shoulder top to
shoulder top via the top of the head)
- Neckline girth = 40.8cm (measurement taken around the neckline
curve of the bodice base pattern plus transformations for the base
of the hood).

Front

..
..

..
..

Back

Technical drawing

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 BALACLAVA-ST YLE FITTED HOOD
D I E

K
J
31
Center back on fold SG

SG

4
Diagram n°1
G H F

7,86

A 27,5 B

Diagram n°1
1. In the bottom left-hand corner of a sheet of paper, trace a right 4. Join up points B and E with a ruler and halve this length to find
angle. From angle A, place half the value of the head circumference the hood’s horizontal axis (points F, G). On this axis, from point G on
on the horizontal, namely: 55/2 = 27.5cm (point B). center back across, define and place the central band’s half width.
From angle A on the vertical this time (center back), a certain length For this example, 4cm has been chosen (point H). From this new
needs to be placed to create the hood’s base curve. To calculate this point, trace a parallel to center back that starts from the curve
measurement, take 1/7 of the head circumference, namely: (points C, B) and goes beyond the horizontal (points D, E).
55/7 = 7.86cm (point C). Find the halfway mark between points D, E (point I) and from point I,
draft a 4cm perpendicular to the D, E horizontal downwards to obtain
2. From point C, trace a perpendicular to center back and using a
point J.
French curve with the arch facing center back as shown, draft the
curve (points C, B). 5. From point J, trace a horizontal to the left and join the vertical that
When assembled with the neckline, this curve will open up the hood travels up from point H. Point K is obtained.
from the head. To obtain this effect, the curve needs to be inversed in
relation to the neckline.

3. Place half the head length value from point C upwards, namely:
62/2 = 31cm (point D). From point D, trace a perpendicular to center
back of the same value as the bottom width (points A, B), namely:
27.5cm (point E).

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HOODS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

D I E

1
K
4 J
45° Q =
Center back on fold SG

O
1
=
SG

Diagram n°2

4,58
L
G H F

C
N
1,5

4
Center front
26,4

A M B

Diagram n°2
1. To create the top of the hood, firstly bisect the H, K, J angle and 3. From point M, draft a 4cm perpendicular to the curve upwards to
place a marker 4cm below point K on the bisection line. obtain point N.
Point Q is obtained. On the front, from halfway mark between points The 4cm value between points M and N represents the length of the
E and F, trace a 1cm perpendicular to the left of the E, F vertical. front of the hood where it fastens. On the right of center front and
Curve the hood opening more by moving the horizontal axis (points perpendicular to it, place the half-overlap value, namely: 1.5cm, for
F, G) in by a value calculated as follows: take 1/6 of half the head this example.
circumference, namely: (55/2)/6 = 4.58cm. Trace a 4cm parallel to center front as shown. All the following
points forming the top curve of the hood can now be joined up with
2. From point F, move in to the left by 4.58cm to obtain point L.
a French curve: N, L, O, J, plus the 1cm flat area to the left of point J
On the base curve (points C, B), place half the neckline value plus a
and then Q, H.
certain dart value to help open up the hood when worn.
For this example, three 2cm darts are going to be placed. From
point C, place the half-neckline value plus the three darts, namely:
(40.8/2) + (3 x 2) = 20.4 + 6 = 26.4cm (point M).
This point represents center front.

484 | dp studio
 R

BALACLAVA-ST YLE FITTED HOOD

D I E

K
J 8
Q
Center back on fold SG

O
13
13

Diagram n°3 35
SG

L
G H F

Center front

M
A B

Diagram n°3
1. The measurements to apply for tracing the added band have now
been made apparent. On the top curve of the hood, the measurement
between points O and H = 35cm. Place this value on the vertical from
point H upwards to obtain point R.
From point R, trace a perpendicular to center back to finalize the
added band.

2. Place notches to facilitate assembly.

3. Place one 8cm above point O on the top curve and another one
8cm below point R on the added band.

4. ace one 13cm above point H on the back curve and another one
13cm above point H on the added band.

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 10 VOLUME 3

HOODS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

D I E

K
J
Q
Center back on fold SG

O
SG

Diagram n°4 L
G H F

S
T
6
6
11 3
C 3
S’
H’ H’’ S’’ T’
2 T’’ N
2

A B

Diagram n°4
Positioning the darts at the base of the hood
1. The first dart is situated on the vertical that separates the two
pieces, 4cm to the right of center back. The dart starts at point H
and straddles the vertical, each dart leg being 1cm either side of it
(points H’, H’’). Trace the two dart legs using a French curve with the
arch placed downwards.
This dart will disappear when the two parts of the hood are
assembled.

2. Position the first leg of the second dart 3cm to the right of point H’’
(point S’). To position the second dart leg, place the 2cm dart width
and obtain point S’’. From the halfway mark between points S’ and
S’’, draft a 6cm perpendicular to the curve upwards to obtain point
S. Trace this dart with a ruler.

3. Position the first leg of the third dart (point T’) 3cm to the right of
point S’’ and place the 2cm dart width to obtain point T’’. From the
halfway mark between points T’ and T’’, draft a 6cm perpendicular
to the curve upwards to obtain point T.
Trace this dart with a ruler also.

486 | dp studio
 R

BALACLAVA-ST YLE FITTED HOOD

D I E

K
J
Q
Center back on fold SG

O
SG

Diagram n°5
L
G H F

S
T

C
S’ N
H’ H’’ S’’ T’
T’’
1
1,8
Center front
1

A B
M

Diagram n°5
1. Adjust the hood’s base curve on tracing paper (Diagram n°5b) as 4. Position two buttonholes on center front, 1cm above and 1cm
the darts have slightly altered it. below points M and N respectively, and 2 to 3mm to the right of
center front. The rest of the buttonhole opening is placed on the left
2. On tracing paper, outline center back (points C, G), the curve up
of center front, namely: for a button diameter of 15mm, an average
to point H’ and the first dart leg up to point H. From this point, pivot
value of 1.8cm.
the first dart leg slowly onto the second leg and continue outlining
the base curve between points H’’ and S’. 5. Indicate the SG on each piece:
Close the second dart by pivoting from point S, continue outlining - Place it on center back for the added band. Center back will
the curve between points S’’ and T’ and from point T, pivot once therefore be on fold.
again to close the third dart. From point T’’, outline the end of the - For the other part, place it on a vertical axis, perpendicular to the
curve up to center front and the halfoverlap. F, G horizontal.

3. Taking into account the perpendicular to center back to the

right of point C, retrace a curve that is smooth and without signs of
segmentation (caused by the darts). Once traced, dot the curve onto
your paper outline and then redraw the modified curve in pencil.
With the curve adjustment, points H’, H’’, S’, S’’, T’, T’’ have changed
position slightly.

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HOODS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°5b

TR ACING PAPER

Center back on fold SG

G H

Diagram n°6
Center back on fold SG

H’
C T
S’ G H
H’’ S’’
T’
T’’

r
C
C ente H’
front
N
M

Diagram n°6
1. Outline the added band: points R, H, H’, C, G.
2. Create a mirror image (Diagram n°6b) by copying it on the other
side of the SG so that you can finish the piece without a center back
seam.

3. The final outline of the hood has now been obtained: the added
band (Diagram n°6b) and the side of the hood (Diagram n°6c) that
will be cut twice.

4. Generally a hood is lined for a better finish (to hide the seam
allowances and overlocking). The hood interior can be made in the
same fabric as the hood or in another fabric, depending on the style.
The lined interior in this case can necessitate the same work as the
hood itself (same pieces…).
The hood interior can also be made in a lesser fabric, like lining
fabric. In this case, an extra pattern piece will be required for the
facing, placed on the outer edge of the hood interior.
This is to hide the lining, especially when it is of average quality.

488 | dp studio
 R R

Band

BALACLAVA-ST YLE FITTED HOOD

Center back SG

Diagram n°6b

G
H H

H’ C H’

Side
SG

Diagram n°6c H

S
T

H’’
S’ N
S’’
T’
T’’

dp studio | 489
11 MÉTHODE dp studio

SWIMWEAR
 VOLUME 3 CONSTRUCTING BASE PATTERNS
WOMENSWEAR CLOTHING KIMONO SLEEVES – BUSTIERS –
PATTERN MAKING BLOUSON JACKETS – KNITWEAR
FLAT-PATTERN DRAFTING – DRESSES – COATS – SLEEVES
– HOODS – SWIMWEAR

Contents

p 492 One-piece swimsuit starting from a knitwear base pattern

p 502 Two-piece swimsuit (bikini)

p 514 One-piece swimsuit with a bust dart

p 522 Triangle bikini

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 11 VOLUME 3

SWIMWEAR WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

ONE-PIECE SWIMSUIT STARTING

FROM A KNITWEAR
BASE PATTERN
This swimsuit is made using a knitwear base pattern (with 20%
stretch) explained earlier in this book (P.276). The knitwear base
has already been reduced in volume, compared to the knitwear
base with no stretch.
To obtain the volume of the one-piece swimsuit, the width of the
knitwear base with 20% stretch needs further reduction, in addition
to the shaping this piece requires.

Back Front

Technical drawing

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 Diagram n°1

ONE-PIECE SWIMSUIT STARTING FROM A KNIT WEAR BASE PATTERN

Cross line Cross line

Bust Bust

Back Front

Waist Waist

Center front on fold SG

Center back on fold SG

Large hips Large hips

Diagram n°1
To start the transformation, outline the front and back of the knitwear
base with 20% stretch.

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PATTERN MAKING
FLAT-PATTERN DRAFTING

CONSTRUCTING THE FRONT

Diagram n°2

Diagram n°2
1. On the bust and large hip lines (points A, B and C, D respectively),
1
reduce the existing width by 7/8, namely: 4,5 H
- Bust line: 19.6 x 7/8 = 17.15cm (points A, B’)
I
- Large hip line: 21.2 x 7/8 = 18.55cm (points C, D’).
J
2. Reduce the existing width of the waist line (points E, F) by 5/6,
namely: 18.2 x 5/6 = 15.16cm (points E, F’).

3. Join up points B’ and F’ in a straight line and extend this line

beyond point B’ up to point G, located 2cm above the bust line. Point
G corresponds to the base of the new armhole opening. Trace a right L Cross line
angle there as shown. K
For this new base, point G is placed 2cm above bust line but the base 5

of the armhole opening can be positioned lower or higher, depending

on the style aimed at.
To finish the side seam, join up points V’ and X’ using a French curve
G A’
with the arch placed downwards.
2,5
2 B’ Bust
4. Decide where the strap will be positioned on the shoulder slope. B
A
Place a first marker 1cm below shoulder top (point H) to obtain point 17,15
I, corresponding to the swimsuit’s neckline. Place another marker,
corresponding to the strap width for this example, 4.5cm to the left Front
of point I to obtain point J.

5. Determine how far the neckline will descend on center front. For
this example, move up from bust line (point A) by 2.5cm to obtain
point A’. Define also the crossfront width, placing a marker 5cm to
the left of center front (point K) to obtain point L. The neckline will be
F’ Waist E
drafted once the markers on the back pattern piece have been placed. F
15,16
6. To define the position of the inside leg seam, the rise length needs
Center front on fold SG

to be known. The method’s reference measurements for this are:

24cm (see the classic trouser base pattern, P.242, Volume 2).
To find the position of the seam, take 4/3 of the rise length plus
1.5cm, namely: (24 x 4/3) + 1.5 = 32 + 1.5 = 33.5cm.
Place this length from the waist line (point E) downwards. Point M is
obtained. Place a marker 4.5cm to the left of point M, perpendicular
R
to center front on inside leg level, to obtain point N. Place a marker
also above the inside leg seam (points M, N) for the seam on groin 33,5

level, which needs to be opened up in this vicinity for comfort. 5

D’ Large hips
For this, calculate ¼ of the rise length, namely: 24 x ¼ = 6cm and D C
place a marker 6cm above point M to obtain point O. Trace a 3cm line 18,55

to the left of point O to obtain point Q.

7. To draft the curve that goes from hip to groin area, place a marker
on the large hip curve to define where this curve is positioned on the
hips. For this example, place a marker 5cm above point D’ to obtain Q O
point R. Trace a right angle there as shown. 3
6
This curve will be drafted once the back has been constructed.

N M
4,5

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 CONSTRUCTING THE BACK

Diagram n°3

Diagram n°3

ONE-PIECE SWIMSUIT STARTING FROM A KNIT WEAR BASE PATTERN

1
1. On the bust and large hip lines (points S, T and U, V respectively),
Z 4,5
reduce the existing width by 7/8, namely:
Aa - Bust line: 19.6 x 7/8 = 17.15cm (points S, T’)
Ab - Large hip line: 21.2 x 7/8 = 18.55cm (points U, V’).
Place a marker also to help draft the shaped outline at the bottom
of the swimsuit for the buttocks. For this, take ¾ of the U, V’ width,
namely: 18.55 x ¾ = 13.91cm. Point V’’ is obtained.

2. Reduce the existing width of the waist line (points W, X) by 5/6,

0,9
Cross line namely: 18.2 x 5/6 = 15.16cm (points W, X’).

3. Join up points T’ and X’’ in a straight line and extend the line
beyond point T’ up to point Y, located 2cm above the bust line. Point Y
corresponds to the base of the new armhole opening. Trace a right
angle there as shown.
Y For this new base, point Y is placed 2cm above bust line but the base
S Bust 2 of the armhole opening can be positioned lower or higher, depending
T’ T
Ad on the style aimed at.
4
17,15
4. Decide where the strap will be positioned on the shoulder slope.
7 Place a first marker 1cm below shoulder top (point Z) to obtain point
Back Aa, corresponding to the swimsuit’s neckline.
Place another marker, corresponding to the strap width for this
Ac example, 4.5cm to the left of point Aa to obtain point Ab.

5. Determine how far the neckline will descend on center back. For
this example, move down from bust line (point S) by 7cm to obtain
W Waist X’ point Ac. Define also a certain width on bust line level, placing a
X
15,16
marker 4cm to the right of center back (point S) to obtain point Ad.
Join up points Aa and Ad in a straight line and from the halfway mark
Center back on fold SG

of this line, draft a 0.9cm line perpendicular to the Aa, Ad line, which
will later help you to trace the back neckline.

6. To define the position of the inside leg seam, use the rise length:
24cm. To find the position of the seam, take 6/5 of the rise length,
namely: (24 x 6/5) = 28.8cm.
Ah Place this length from the waist line (point W) downwards. Point
28,8
Ae is obtained. Place a marker 4.5cm to the right of point Ae,
5 perpendicular to center back on inside leg level, to obtain point Af.
13,91
U Large hips V’ Draft a 1cm line downwards from point Af to obtain point Ag. Join up
V
18,55
V’’ points Ae and Ag with a French curve.
On the back, this seam is generally curved.

7. To draft the ‘cheek’ curve for the bottom, place the same marker
as for the front on the large hip curve, namely: 5cm above point V’
to obtain point Ah.
Af Trace a right angle there as shown.
Ae 1
4,5 Ag

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PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°4

I H
Z Aa
Ab J

Cross line L Cross line K

Y G A’

Bust T’ B’ Bust
S T B
Ad A

Back Front

Ac

Waist X’ F’ Waist E
W X F
Center front on fold SG
Center back on fold SG

Ah R

U V’ D’
V D C
Large hips V’’ Large hips

Q O
Af
Ae
Ag

N M

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 Diagram n°4b Diagram n°4c

TR ACING PAPER TR ACING PAPER

Ce
W

n te
rb
ac
Ac
k
X’
X’

Center back on fold SG

Back

ONE-PIECE SWIMSUIT STARTING FROM A KNIT WEAR BASE PATTERN

Ad

Ah
Back
T’ U
V’’
Y

M
Ae
Ag
Aa
Ab I N
O
J
Q

C
Cross line
L

t
fron
te r
G A’
R

C en
Bust
B’ A Front
E
Center front on fold SG

Front

F’

F’
E

Diagram n°4
Now draft the front and back necklines and armholes, and the curve
Diagram n°4d
going from groin to buttock at the back, on tracing paper. To do this,
outline the following points:
TR ACING PAPER

1. For the neckline and armhole (Diagram n°4b), assemble the front
and back at the shoulder: points E, A, A’, L, I, J, G, B’, F’ for the front I
and points Ad, Aa, Ab, Y, T’, X’ for the back. Using a French curve, draft J

the backline neckline curve and then link it up with the front curve, Aa Ab

making sure you respect the right angle at point A’.

For the armhole, respect the right angles at points G and Y, and draft
a smooth curve.

2. For the groin curve at the front and the buttock curve at the back
(Diagram n °4c) assemble the front and back at the inside leg seam:
points E, C, O, M, N, Q, R, F’ for the front and points W, U, Ae, Ag, V’’, Y G
Ah, X’ for the back. T’ B’
Use a French curve to start drafting the back curve between points
Ag and V’’ before continuing the curve to where it ends at point Ah, Front
respecting the right angle there. Respect the right angles also at Back
points R and Q when drafting the front curve. Taper the front curve
into the back curve at point N.

3. Join the front and back side seams to make sure the two armhole X’ F’

curves align (Diagram n°4d).

Dot and redraw the various curves on your paper outline.

dp studio | 497
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PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°5

1 I
Aa 4
Ab J I’
Aa’ Ab’ J’

Ai

Cross line Cross line L

Aj

Y G A’
Bust Bust
Ad T’ B’ A

Back Front

Ac

Waist Waist
W X’ F’ E
Center front on fold SG
Center back on fold SG

SG
SG

Ah R

Large hips Large

U V’’ C
hips

Q O

Ae
Ag

N M

498 | dp studio
 ONE-PIECE SWIMSUIT STARTING FROM A KNIT WEAR BASE PATTERN
Diagram n°5b Diagram n°5c

TR ACING PAPER TR ACING PAPER

I
J Ab
Aa

Diagram n°5
Once the volume of the swimsuit has been found, there is one last
operation to carry out to prevent the straps from falling too easily
when worn. This entails pivoting the whole of the strap towards
center front and back.

1. Front strap: place a marker 7cm below point J (point Ai) and use this
point to pivot the strap from. For this example, the strap (point J) will
be pivoted by 1cm towards center front. Outline the top of the strap
(points Ai, J, I, L) on tracing paper (Diagram n°5b) and from point Ai,
pivot by 1cm to the right. Points J’ and I’ are obtained.
The pivot value will vary depending on the morphology of the wearer.
In any case, the final strap adjustment should be carried out on the
wearer.

2. Back strap: place a marker 7cm above point Y (point Aj) and use
this point to pivot the strap from. For this example, the strap (point
Ab) will be pivoted by 4cm towards center back. Outline the top of
the strap (points Aj, Ab, Aa, Ad) on tracing paper (Diagram n°5c) and
from point Aj, pivot to the left by 4cm. Points Ab’ and Aa’ are obtained.
The pivot value will vary depending on the morphology of the wearer.
In any case, the final strap adjustment should be carried out on the
wearer.

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SWIMWEAR WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°6 I
Aa I’
J
Aa’’ Ab J’ I’’
Ab’
Aa’

Cross line Cross line

L

Y G A’

Bust Bust
Ad T’ B’ A

Back Front

Ac

Waist Waist
W E
X’ F’

Center front on fold SG

Center back on fold SG

SG
SG

Ah R

U Large hips Large

V’’ C
hips

Q O

Ae
Ag

N M

Diagram n°6
1. Once the straps have been moved, redefine their shape with a
French curve:
- For the front, join up points I’, A’ and J’, G
- For the back, join up points Aa’, Ac and Ab’, Y.

2. You will also need to redefine the shoulder slopes from points J’
and Ab’ as shown. New points I’’ and Aa’’ are obtained.

3. Use a French curve to soften the angles on waist level (points F’,
X’).

500 | dp studio
 Diagram n°7
Ab’ J’ I’’
Aa’’

ONE-PIECE SWIMSUIT STARTING FROM A KNIT WEAR BASE PATTERN

Y G A’

Bust Bust
Ad T’ B’ A

Back Front

Ac

Waist Waist
W X’ F’ E

Center front on fold SG

Center back on fold SG

SG
SG

Ah R

Large hips Large

U V’’ C
hips

Ae
Ag

N M

Diagram n°7
The final outline of the one-piece swimsuit, with neither center back
nor center front seams, has been obtained.

dp studio | 501
 11 VOLUME 3

SWIMWEAR WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

CONSTRUCTING
THE BIKINI

To construct this new base comprising of two pieces (bikini top and
bottoms), use the one-piece swimsuit pattern block as your starting
point.

Back Front

Technical drawing

502 | dp studio
 -1-
CONSTRUCTING THE BIKINI BOTTOMS

Diagram n°1

CONSTRUCTING THE BIKINI BOTTOMS

Bust Bust

Back Front

Waist Waist

Center front on fold SG

Center back on fold SG

SG
SG

Large hips Large

hips

Diagram n°1
Outline the front and back of the one-piece swimsuit pattern block
separately.

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SWIMWEAR WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

CONSTRUCTING THE FRONT

Diagram n°2

Diagram n°2
1. Decide where you want to position the waistband of the bikini
Bust
bottoms on the tummy. For this example, it will be placed halfway
between the waist and large hip lines (points A, B).
Point C is obtained.

2. Trace a perpendicular to center front from point C to the hip curve. Front
Point D is obtained. Suppress a little fabric value at point D.
For this example, reduce by 0.5cm. Move in to the right of point D by
0.5cm to obtain point E.

3. Use a French curve to redraw the hip curve from point F to point E
and beyond. Respect the right angle positioned at point F. Waist
A
4. The hip curve was drafted beyond point E as the waistband
line of the bikini bottoms will be redrawn once the back has been
=
constructed.

0,5
SG

D C
E

F =

Large
hips
B
Center front on fold SG

504 | dp studio
 CONSTRUCTING THE BACK

Diagram n°3

CONSTRUCTING THE BIKINI BOTTOMS

Bust
Diagram n°3
1. The waistband line is once again positioned halfway between the
waist and large hip lines (points G, H) to obtain point I.
Trace a perpendicular to center back from point I to the hip curve to
Back
obtain point J.

2. As for the front, suppress a little fabric value at point J, by moving

it in to the left by 0.5cm. Point K is obtained.

3. Use a French curve to redraw the hip curve from point L to point K
and beyond. Respect the right angle at point L.
G Waist

=
SG

0,5

I J
K

= L

Large hips
Center back on fold SG

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SWIMWEAR WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°4

Bust Bust

Back Front

Waist Waist
G A
SG
SG

K’ E’
I J D C
K E

L F

Large hips Large

H B
hips
Center back on fold SG

Center front on fold SG

506 | dp studio
 Diagram n°4b

CONSTRUCTING THE BIKINI BOTTOMS

TR ACING PAPER

H
K’
E’

k
C

ac
Back

rb
K

te
E

en
Diagram n°4 C L
F
1. On tracing paper (Diagram n°4b) outline the front (points B, C, E, Front
F), then shift the front hip curve onto the back hip curve and outline
the back (points L, K, I, H).

Center front on fold SG

B
Align points E and K where the two hip curves meet.

2. Soften the angle that has formed on side seam level where the two
curves meet with a French curve to obtain points E’ and K’. Place the
tracing paper on top of your paper outline, and dot and redraw the
front and back curve sections.

K’ E’
I C

Back Front

L F

Large hips Large

H B
hips
Center back on fold SG

Center front on fold SG

Diagram n°5

Diagram n°5
The final outline of the bikini bottoms has been obtained.

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 11 VOLUME 3

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PATTERN MAKING
FLAT-PATTERN DRAFTING

-2-
CONSTRUCTING THE BIKINI TOP

Diagram n°6

Diagram n°6
1. Outline the front of the one-piece swimsuit pattern block and
assemble it with the top part of the swimsuit back at the side seam
(points A, B) as shown. This will give you an idea of the upper half of
the swimsuit before transforming it.

P Bust

Bust

Back Front
ck

Waist
er ba

B
C e nt

t
Wais
Center front on fold SG
SG

Diagram n°7
For this transformation, the bust needs to be shaped. Start by
suppressing some fabric value on the center front bust line. Place
markers 0.5cm either side of the bust line on center front to obtain
Large hips points C and D. Join points C and D to point P in straight lines to form
a dart that will later be suppressed.

1. Define the width aimed at for the bikini top. Place markers 2.5cm
either side of the bust line on center front to obtain points E and F.

2. Construct two other darts for the bust shaping and volume.
3. To calculate the dart value, use the front bust width, namely:
17.15cm.
Take one quarter of this measurement to find the full dart value,
namely: 17.15/4 = 4.28cm. Halve this value to create the two darts,
namely: 4.28/2 = 2.14cm per dart.

4. Start by creating the dart below bust point. For this, define first of
all where the bottom of the bikini top will be positioned on the body,
which for this example is 6cm below bust line. Trace this horizontal.
On either side of the SG (bust spread line), place half of the dart value,
namely: 2.14/2 = 1.07cm. Points G and H are obtained. Join points G
and H to bust point (point P) using a French curve.

508 | dp studio
 CONSTRUCTING THE FRONT

4
I’ I

CONSTRUCTING THE BIKINI BOTTOMS

1,07 1,07

L K

A J F
6

D 0,5 2,5
Bust P
Diagram n°7 0,5 2,5
Bust C
6
E
H G
Back
1,07 1,07

17,15
ck

B Waist
er ba
C e nt

t
Wais
SG

Front Center front on fold SG

Large hips

Diagram n°7 (continued)

5. Now construct the dart above bust point. Start by positioning the
strap. Place a marker 4cm to the left of point I on the shoulder slope
to obtain point I’. Join point I’ to bust point P in a straight line. Now
decide where to position the top of the bikini on the body, which for
this example will be 6cm above bust line.
Trace this horizontal that cuts the strap line (points I’, P) at point
J. Place half the dart value either side of point J, namely: 2.14/2 =
1.07cm. Points K and L are obtained. Join points K and L to bust point
P using a French curve.

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PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°8

L K

A
F
Bust P D

Bust
C

Back H G
ck

B Waist
er ba
C e nt

t
Wais
SG

Center front on fold SG

Front

Large hips

Diagram n°8
The front of the bikini can now be formed. Join points K, F – E, G – H,
A – L, A with a French curve.
Point A corresponds to the original base of the front armhole opening.

510 | dp studio
 CONSTRUCTING THE BACK

CONSTRUCTING THE BIKINI BOTTOMS

Diagram n°9 I’ I

L K

R
J
F
A
T Bust P D
C
O Bust
1,5 Q
ck

M E
er ba

1,5
C e nt

N Back H G

B Waist

t
Wais
SG

Center front on fold SG

Front

Large hips

Diagram n°9
1. Now move onto the back to finalize the bikini top volume. Place
a marker 1.5cm either side of bust line on center back (point M) to
obtain points O and N and to define a finished width of 3cm on center
back.

2. Trace perpendiculars to center back from points O and N and

before they reach the side seam join with the front, use a French curve
to join lines O and N to the upper and lower front curves respectively,
as smoothly as possible. Points R and Q are obtained where the O
and D perpendiculars intersect with the side seam.

3. Define the back strap position. To do this, halve the strap width
at the top (point S) and the O, R width (point T). Join up points S, T in
a straight line to represent the back strap position.

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 11 VOLUME 3

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PATTERN MAKING
FLAT-PATTERN DRAFTING

I’ I

S
Diagram n°10

L’ K’
L K
R
J
F
A Bust
T P D
C
O Bust
Q
ck

M E
er ba

H G
C e nt

N Back H’ G’

Diagram n°10b
B Waist

t
TR ACING PAPER Wais

SG

Center front on fold SG

R Front
L’ K’
L
K

P’ D
P
Center front

Large hips

Diagram n°10
Adjust the curves of the bikini cups where the front darts have been
created.

1. For the dart above bust line: on tracing paper (Diagram n°10b),
Diagram n°10c
outline the upper half cup section (points P, K, F, D) and from point P,
slide the first dart leg onto the second, and outline the other upper
half cup section (points P’, L, R). An angle has formed where the dart TR ACING PAPER

has been closed. Redraw the upper curve with a French curve and
extend the dart legs to obtain points L’ and K’ where they intersect
with the new curve. P’
P
C

2. For the dart below bust line: on tracing paper (Diagram n°10c),
E
outline the lower half cup section (points P, C, E, G) and from point P,
slide the first dart leg onto the second, and outline the other lower G
H
half cup section (points P’, H, O). An angle has formed where the dart G’
Center front

H’
has been closed. Redraw the lower curve with a French curve and O
extend the dart legs to obtain points H’ and G’ where they intersect
with the new curve. Dot and redraw the modified curves on your
paper outline.

512 | dp studio
 Diagram n°11 L’ K’

R F
Front

SG

Center front
Back Bust P D
T
Side front C
O
Bust panel

k
r bac
M E
Q

C ente

CONSTRUCTING THE BIKINI BOTTOMS

N
H’ G’

Diagram n°11
Outline the entire bikini top (points P, K’, F, D, C, E, G’, H’, Q, N, M,
O, T, T, R, L’).

L’ K’

R’ R F
T Side front
O Front
Center back

panel

Center front
M Back D
Bust P’ P
C
SG

SG

SG
N E
Q’ Q

H’ G’

Diagram n°12

Diagram n°12
Finalize this outline by separating the top into three distinct pieces: 2. Second piece (n°4): outline it as it is (points P’, L’, R, Q, H’).
1. First piece (n°3): if you do not want a seam on the bust line, it is 3. Third piece (n°5): outline it with center back on grain (points R’,
possible to close the dart (points D, P, C). To do this, outline points Q’, N, M, O, T).
P, K’, F, D and from point P, pivot this first section onto the second
section, placing line D, P over line C, P, before outlining the second
section (points P, G’, E, C).

S I 0,5
Diagram n°13 Fold line

T Back Front J 0,5

Shoulder

Diagram n°14 Fold line

S I
Strap
T Back Front J
Shoulder

Diagram n°13 Diagram n°14

The last outline to construct is the strap. Outline the lengths used The final outline of the strap has been obtained.
during construction of the bikini top:
- The front: from point J to point I’
- The back: from point T to point S.
Assemble them before defining the strap width. For this base, use a
standard width of 0.5cm to be doubled in order to create a fold line.

dp studio | 513
 11 VOLUME 3

SWIMWEAR WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

ONE-PIECE SWIMSUIT
WITH A BUST DART

To construct this new base, start by outlining the front and back of
the one-piece swimsuit pattern block.
The new construction will have more shaping than the original
swimsuit block. The bust dart will lend volume to the bust and the
center back seam will help create a more fitted waist and allow
more volume to be developed for the bottom. To do this, a center
back seam is required.
The values to enlarge by are for reference only and will vary accor-
ding to the dimensions of the wearer.

Back Front

Technical drawing

514 | dp studio
 CONSTRUCTING THE FRONT

Diagram n°1

ONE-PIECE SWIMSUIT WITH A BUST DART

E
6

B
P Bust
A
Diagram n°1
4,5

6,86
D 1. Firstly, reposition bust point (P).
Front For the knitwear base (with 20% stretch), the bust width is of 23.75cm
with point P 9.5cm from center front. Calculate the ratio of these two
measurements, namely: 23.75/9.5 = 2.5cm.
Apply the same coefficient to the bust measurement for this
swimsuit, namely: 17.15/2.5 = 6.86. Place this measurement from
center front (point A) on the bust line. Bust point P is obtained.
C Waist
2. Define the position of the bust dart. To do this, place a marker
4.5cm below point B on the side seam to obtain point D and join this
point to point P in a straight line. This line represents the position of
the closed dart. Place a marker on the armhole also, 6cm above point
B for this example, which will serve as a pivotal point for developing
the dart (point E).
SG

Large
hips
Center front on fold SG

dp studio | 515
 11 VOLUME 3

SWIMWEAR WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°2

Diagram n°2b

TR ACING PAPER

B
E
B’
P 2

D B P Bust
Front A
D’
P’
D

Front

C Waist

Diagram n°2
1. To develop the volume of the bust dart, start by outlining points
E, B, D, P on tracing paper (Diagram n°2b) and from point E, shift the
tracing paper outline so that point B moves upwards by 2cm. This is
SG

an average value that can be increased or decreased accordingly.

Points B’, D’, P’ are obtained, corresponding to a shift in volume of
2cm (the bust dart value).
The volume created between points P and P’ will be reduced once
the side seam has been adjusted and the part that remains will lend
volume to the bust. Large
hips
2. Join up points D’ and P in a straight line. This line represents the
Center front on fold SG

second dart leg of the bust dart.

(Quite by chance, the second dart leg in this example corresponds to
the bust line horizontal of the original pattern block).

516 | dp studio
 Diagram n°3

Diagram n°3b

TR ACING PAPER

ONE-PIECE SWIMSUIT WITH A BUST DART

E
B’

D’ P
D

F’

Front

E
B’

C
B
F P Bust
A
D’
F’ P’
D

Front

C Waist

Diagram n°3
1. Redefine the side seam. Start by outlining points E, B’, D’, P on
tracing paper (Diagram n°3b) and from point P, pivot the second dart
leg (points D’, P) onto the first leg (points D, P) before outlining points
SG

D, C on the side seam.

2. Use a French curve to draft the new side seam, starting from point
B’ and staying tangential with the original side seam. New points F
and F’ are obtained where the closed dart intersects with the side
seam.
Large
3. Dot and redraw the two segments (points B’, F and F’, C) on your hips
paper outline.
Center front on fold SG

dp studio | 517
 11 VOLUME 3

SWIMWEAR WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°4

Diagram n°4b

TR ACING PAPER

B’
Front

F
P’’
F’

E
B’

B
F P’’ P Bust
A
D’
P’
F’ D 3

Front

Diagram n°4 Waist

C
1. Now shorten the bust dart so that it does not reach point P and
form a point in the fabric.
Ideally, the dart should be placed on the fullest part of the bust.

2. To shorten the dart, bisect it (points F, F’) and place a marker 3cm
to the left of point P on the bisection line. Point P’’ is obtained. Trace
SG

the new bust dart (points F, P’’ and F’, P’’).

Check the side seam again on tracing paper (Diagram n°4b) with
the new dart closed and if necessary rectify it. For this example, the
change in the side seam is barely perceptible.

3. To finalize the outline, place a new right angle at point B’ and the
Large
side seam before redrafting the front armhole with a French curve, hips
staying tangential to the original curve.
Center front on fold SG

518 | dp studio
 Diagram n°5

ONE-PIECE SWIMSUIT WITH A BUST DART

B’
A

P Bust
F
P’’
F’

Front

Diagram n°5
C Waist
The final outline of the front of this swimsuit has been obtained.
SG

Large
hips
Center front on fold SG

dp studio | 519
 11 VOLUME 3

SWIMWEAR WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

CONSTRUCTION DU DOS

Diagram n°6

G G’ Bust

0,5

Back
1
H
H’

Diagram n°6 I
1,5 Waist
I’
1. To enhance the fit of this swimsuit, carry out the following
adjustments (made possible by the creation of the center back seam),
defining new points for the base as you do so:
- On the bust line, move point G to the right by 0.5cm to obtain point G’
- At the base of the neckline opening, move point H to the right by
SG

1cm to obtain point H’

Center back

- On the waist line, move point I to the right by 1.5cm to obtain point I’
- On the large hip line, move point J to the left by 0.5cm to obtain
point J’.

2. Join up points H’ and I’ in a straight line, then from point I’, join 0,5 Large hips
point K with a French curve, passing through point J’ on large hip J’
J
level.

3. Make sure points H’ and K are at right angles with the new center
back seam. If necessary, redraw the inside leg seam from the right
angle at point K downwards.
Redraw the low neckline, passing through point G’ and staying on
a tangent with the original curve. Curve it smoothly into the right
K
angle at point H’. Use a French curve to soften the angle formed on
waist level (point I’).

520 | dp studio
 Diagram n°7

ONE-PIECE SWIMSUIT WITH A BUST DART

Bust
G’

Back

H’

Waist
Diagram n°7
I’
The final outline of the back of this swimsuit has been obtained, with
a center back seam.
SG
Center back

Large hips
J’

dp studio | 521
 11 VOLUME 3

SWIMWEAR WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

TRIANGLE BIKINI TOP

The one-piece swimsuit pattern block was previously transformed

in this book to construct a bikini (P.502). Use the transformed
pattern block as your starting point to construct the triangle bikini
top. Other changes will then be applied to create this new base.

Back Front

Technical drawing

522 | dp studio
 CONSTRUCTING THE FRONT

TRIANGLE BIKINI TOP

Diagram n°1
Outline the front of the bikini top as shown, closing the dart situated
above bust line and the dart straddling bust line, thereby increasing
the dart situated below the bust.

Diagram n°1

Front

Center front
P
P’

Diagram n°2

0,5 0,5
H
G
F
5

Diagram n°2
Front E
Define the volume aimed at for this new bikini
1. Transform the previously constructed bikini top as follows. Place
Center front

a marker 3cm below point A on center front to obtain point B. On the

C side seam, place a marker 2cm below point C to obtain point D. Place
2
P a marker 5cm above the upper curve of the bikini top (point E) in the
D P’ prolongation of the closed dart to obtain point F.
2,5 A Place markers also to define the original strap width, namely: 1cm in
I total, placing 0.5cm either side of point F to obtain points G and H.
3
2. Join up points B and D smoothly with a French curve, passing along
B the edge of the original dart openings as shown.

3. Place a marker 2.5cm to the right of point D on the curve you have
just traced to obtain point I.

4. Join up points B, G and I, H in straight lines. The new bikini top

volume has now been obtained.

dp studio | 523
 11 VOLUME 3

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PATTERN MAKING
FLAT-PATTERN DRAFTING

Fold line

Diagram n°3
1. Add a little fabric value between points I and B, so that the gathers
placed later at the bottom of the bikini cups will not be pulled and
flattened too much. The bust needs room to find its natural position.

2. Halfway along the I, B curve, move down by an average value of

0.5cm as shown and redraw the curve, tapering it into the original
curve at points I and B.

Diagram n°3
H G
F

Front E
Center front

C
P
D P’
A
I
126
0,5
B
Bikini cord

Diagram n°4
Elaborate a halter-neck strap with enough hold to keep the bikini top
in place on the body, and also the bikini cord that pass through the
casing at the base of the bikini cups and ties at the back in a knot
or bow.

1. The strap will be fixed at points H and G. To allow the wearer to tie
it in a knot or bow with the strap from the second cup at the nape of
the neck, the length has been estimated at 50cm.

2. For the bikini cord, measure the girth of the body below the bust,
Diagram n°4
estimated at 76cm for this example. Do not forget to add extra value
(estimated at 50cm) to allow for a knot or bow on center back. A total
length of 126cm (76 + 50) is obtained.

Halter strap
50
Fold line
1 2

Back Front
1

524 | dp studio
 TRIANGLE BIKINI TOP
Fold line
Diagram n°5
The final outline of the triangle bikini top has been obtained. The
bottom of the two triangles will be gathered by a cord passing
through the base and then tied at the back, allowing wearers to adjust
the bikini top to individual bust size and shape.

H G

Front
Center front

To gather

Diagram n°5

Halter strap

Fold line

Back Front

Bikini cord

dp studio | 525
12 MÉTHODE dp studio

POCKETS
AND MISCELLANEOUS
 VOLUME 3 CONSTRUCTING BASE PATTERNS
WOMENSWEAR CLOTHING KIMONO SLEEVES – BUSTIERS –
PATTERN MAKING BLOUSON JACKETS – KNITWEAR
FLAT-PATTERN DRAFTING – DRESSES – COATS – SLEEVES
– HOODS – SWIMWEAR

Contents

p 528 Slanted side pocket on trousers

p 534 Welt pocket

p 538 Patch pocket

p 542 Western pocket on straight-leg trousers

p 546 Polo tab

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 12 VOLUME 3

POCKETS AND MISCELLANEOUS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

SLANTED SIDE POCKET

ON TROUSERS

Slanted side pockets are most often used on smart city trousers.
The pocket opening is on a diagonal between the waistband and
the side seam of the trousers.
For this example, use the classical pleat-trousers base pattern as
your starting point.

..

Technical drawing

528 | dp studio
 Diagram n°1

SLANTED SIDE POCKET ON TROUSERS

A 3
C

14

Centre front
B
B’ 1

Large hips

SG
Front

Knee length

Diagram n°1
1. First of all, position the pocket opening on the trousers. For this
example, place a marker point 14cm below point A along the side
seam, creating point B. On the waist line, 3cm from point A, place
point C. Join points B and C to establish the pocket opening, as
shown.
The hand must fit comfortably in the pocket, so it is important the
top of the pocket does not stick to the trouser leg and that it is
slightly raised.

2. To ensure this, move point B horizontally by between 0,5 and 1cm,

depending on the thickness of the fabric used, creating new point B’.

3. Trace the new pocket opening (points C, B’) and then from point
B’, join the hip curve (side of the trousers) on a tangent, as shown.

Hem line

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POCKETS AND MISCELLANEOUS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°2

Diagram n°2
Trace the pocket pattern lines A
C I H H’ F
1. Different solutions exist for constructing and assembling a pocket
sack. 4

2. In this example, take the pocket bottom as far as center front 14

Centre front
so that it can be fixed to both sides of the trousers (side seam and J
center front). 4
Place a marker 8cm below point B’, creating point D, and start tra- B’
cing the pocket bottom from this point towards point E, placed B E
14cm below point F on the waist line, as shown. The shape of this 8
pocket base can be modified but avoid angles that are too sharp Large hips G
which will complicate assembly. K
D
3. As for the pocket sack, it can stop before. For this example, follow
the pocket bottom as far as point G and then move upwards to point
H, to avoid an accumulation of fabric on center front.

SG
Point G is well situated for creating a smooth curve for the two base
lines of the pocket (tangent line).

4. On the edge of the pocket opening (line B’, C), it is preferable to Front
insert facing made in the same fabric as the trousers. Trace a parallel
defining the volume of the facing (points B’, C, I, K) 4cm from line
B’, C.

5. The facing must be cut in fabric whose volume corresponds to the

surface area of the pocket facing as shown in the outline (points A, I,
K). To avoid bulkiness where the facing and the waistband meet, it is
possible to descend the facing to just below segment I, K.

Knee length

Hem line

530 | dp studio
 Pocket facing cut in fabric

C I

Diagram n°3b Diagram n°3c

SG
B’

H H’ F

SLANTED SIDE POCKET ON TROUSERS

C

Centre front K

J Fusible for pocket facing in fabric

Diagram n°3d
B’

SG
Large hips

Pocket sack lining

SG

I H
Front

J
Diagram n°3e
SG

K
Knee length D

Diagram n°3
Once the preparation has been carried out, outline each pattern piece
on a separate sheet of paper.

1. The first piece (Diagram n°3b) represents the front of the trousers
cut in fabric with the pocket opening already illustrated..

2. The second piece (Diagram n°3c) represents the facing cut in the
same fabric as the trousers. The SG can be placed in two different
ways depending on the model and the risk of fabric distortion
(Diagram n°3d).

3. The third piece (Diagram n°3e) represents the pocket sack cut in
lining fabric or cotton toile.

4. The fourth piece (Diagram n°3f) represents the facing of the pocket
bottom. It is cut in the same fabric as the trousers as it will be visible
on the finished trousers. Sew it as an appliqué on the pocket sack
lining before assembling the pocket.
Hem line
5. The fifth and last piece (Diagram n°3g) corresponds to the pocket
bottom, extending as far as center front and cut in lining fabric or
cotton toile. When outlining this piece, the waist dart exists but it
can be pivoted into the bottom of the pocket sack, thus removing it
from the waist assembly.

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 12 VOLUME 3

POCKETS AND MISCELLANEOUS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

A
I

Diagram n°4
SG

Diagram n°3f
F
A
C I H H’
Pocket bottom facing in fabric

front
J

C entre
K

B E

SG
E’

G
G’
K
Diagram n°3g D

Pocket bottom lining

A I H H’ F
C

Diagram n°4
Centre front

J 1. To remove the dart, outline first of all the following segment:

points A, H, J, G, D, K, B and from point J, using tracing paper (Diagram
SG

n°4b) pivot the first leg of the dart (point H’) onto the second leg
B E (point H). Now outline the other part of the pocket sack (points H’,
G F, E, G’, J).
K 2. Re-draw the base curve at points G and G’, making sure it is
D smooth and even.

Pocket bottom lining 3. The length (points D, E) has increased due to the dart pivot but it is
before the dart pivot possible to suppress this added value at point E. To do this, calculate
the difference between the new length (points D, E) and the base
pattern lengths (points D, G plus G’, E). Point E’ is obtained.
With a French curve, join point E’ to the front, making sure you stay
on a tangent to center front.

Diagramn°3h

A H
C I
TR ACING PAPER

H’ F

J
Centre front

B J
DL

G
K E

D
G’
Pocket bottom lining reduced, same
surface area as the pocket sack

Diagram n°4b

532 | dp studio
 F
A
C I

t
e fron
C entr
Diagram n°5

E’
C H H’ F B

SG
K

SLANTED SIDE POCKET ON TROUSERS

Centre front D
J

Pocket bottom lining

B’

Large hips

A
I

I H
SG

SG
Pocket bottom facing in
fabric
Front J

SG
K

K
D

Knee length Pocket sack lining

C I
SG

B’
Pocket facing in fabric

Diagram n°5
The final outlines of the pieces required for constructing the slanted
side pocket for the classical pleat-trousers base have been obtained.

Do not forget that certain pieces can be thermo-fused for more hold,
Hem line
for example the pocket edge facing. The fusible will be cut on SG for
better hold.

If you do not want to take the pocket bottom as far as center front, you
can stop it in the same place as the pocket sack. The angle formed
at point J can be softened with a French curve if necessary (Diagram
n°3h).

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 12 VOLUME 3

POCKETS AND MISCELLANEOUS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

WELT POCKET

The welt pocket is usually seen on coats and raincoats. Its opening
is on a diagonal and it is cut in-one with the fabric of the garment
body.
Its position is often a question of style but it is important to consider
the practicality of this pocket. Take into account the arm length of
the wearer and also the pocket sack depth.

..

Technical drawing

534 | dp studio
 Diagram n°2

Diagram n°1

Bust spread line, SG

WELT POCKET
M 1
I
E 2
O
A
Bust spread line, SG

52
E
B A
5
3
F D C
4 2

L
Pocket bottom H
15 1
Pocket sack 19
N G
J K
4
14

F
D
C
4,5

Diagram n°2
1. Define the volume of the pocket sack. Place a marker point on
the bust spread line 19cm below point A and mark it point G. Trace a
perpendicular to the bust spread line from point G and then extend
the line D, B so that it cuts the perpendicular.
New point J is obtained where the two lines meet. Place a marker
Diagram n°1 14cm to the right of point J and mark it point K. Draft a perpendicular
upwards from this point.
1. First of all, position the pocket opening. For this example, place
a marker point on the bust spread line 52cm below shoulder top and 2. Place markers 2cm below point D and above point B, creating
mark it point A. points H and I respectively. These points will determine the width of
Place a marker 3cm to the left of point A, perpendicular to the bust the pocket sack. Place perpendiculars 1cm from both of these points
spread line, creating point B. to obtain the pocket bottom seam line (points L, M).
Use a French curve to finalize the curved shaping of the pocket sack.
2. Place another marker on the bust spread line, 15cm below point A,
From points M and I, join the vertical starting from point K in a curve.
creating point C and then on the left of this point trace a perpendicular
Soften the angle obtained at point K and then finish the curve in an
of 4,5cm, perpendicular to the bust spread line.
S shape between points L and H and the horizontal at point G, as
Point D is obtained. Points D and B correspond to the pocket opening.
shown.
3. Now define the shape of the pocket tab. For this example, the tab
3. Now trace the facing for the pocket bottom. Draft a line parallel to
length is of 4cm and made of right angles (rectangular shape). From
and 5cm on the inside of line L, M, creating points N and O, as shown.
points B and D, draft 4cm perpendiculars to the pocket opening (line
B, D), as shown. Points E and F are obtained. Join the two points in a
straight line to finalize the pocket tab.
The shape of this tab can vary depending on the style aimed at.

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 12 VOLUME 3

POCKETS AND MISCELLANEOUS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°3b

D’ B’
Pocket tab in fabric

Fold line
F E

SG
D B

M
O M
B
O
B

Diagram n°3c
Pocket bottom facing
in fabric
SG

SG
D

L D

Pocket bottom in lining

N Diagram n°3d
N

Diagram n°3
Now the preparation is over, outline each piece on a separate piece
of paper.

1. The first piece (Diagram n°3b) is the pocket tab (points B, D, F, E). It
has been doubled to obtain a fold line on the pocket opening (points
SG

E, F). Points B’ and D’ are obtained.

2. The second piece (Diagram n°3c) corresponds to the pocket

bottom which is usually cut in lining fabric or cotton toile (points M, D
O, N, L). If the garment fabric is not too thick, it is possible to cut this
piece in the same fabric as the garment, in which case you will no H
longer need pocket facing (points L, M, O, N).

3. The third piece (Diagram n°3d) represents the pocket facing cut
Diagram n°3e
in fabric (points L, M, O, N) that has to be sewn as an appliqué onto
the pocket bottom if the latter is cut in lining fabric or cotton toile. Pocket sack in lining

4. The fourth piece (Diagram n°3e) represents the pocket sack cut in
lining fabric or cotton toile (points H, I).

536 | dp studio
 Diagram n°4

WELT POCKET
Garment front, right side facing

Bust spread line, SG

52

B A
3
1

Pocket bottom
15
Pocket sack

1
D

4,5 C

Diagram n°4
The pocket placement on the front of the garment is the first vital
step to make before proceeding to create the pocket, as its position
will be the sole indication on your pattern outline. The red rectangle
(see Diagram n°4), representing the pocket sack and bottom, will be
the only defined element on the pattern piece of the garment front
for the construction of this pocket.

Do not forget that certain pieces can be thermo-fused for better hold.
In this example, the tab can be thermo-fused.
Cut the fusible on the SG to give the pocket even more hold.

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 12 VOLUME 3

POCKETS AND MISCELLANEOUS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

PATCH POCKET

This pocket is fairly simple to make.

Make sure the inside finish or lining is slightly smaller than the main
fabric so that it stays hidden once assembled. The few millimeters
less for the lining will prevent it from being visible on the edges of
the pocket.

..

Technical drawing

538 | dp studio
 PATCH POCKET
Diagram n°1

I J

4 4
17
A B
Fold line
4 4

I’ J’

19

Fabric

E F

3 3

D G H C
3 3

Diagram n°1
1. To construct this pocket, draft a rectangle of the measurements
you want to give the pocket (points A, B, C, D). In this example, the
pocket width is 17cm (points A, B) and the length 19cm (points B, C).

2. Soften the angles at the base of the pocket using a French curve,
for a value of 3cm on either side of points C and D as shown. New
points E, F, G, H are obtained.

3. Pocket facing will be required for the top of the pocket but this can
be in-one with the pocket. It is of 4cm in this example. Draft a parallel
4cm above line A, B, creating points I, J for this new line. The dotted
line on Diagram n°1 (points I’, J’) represents the position of the facing
once folded inside the pocket (facing, points I, J, A, B).

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 12 VOLUME 3

POCKETS AND MISCELLANEOUS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°2

A B I J

I’’ J’’ A B
I’ J’ Fold line

0,2 à 0,5 depending

I’ J’
on the thickness
Lining

Fabric
E E’ F’ F

G’ H’

D E F
C
G H

G H

Diagram n°3

I’’ J’’

Diagram n°2
Lining
1. To outline the lining, use the dotted line (points I’, J’) as your
starting reference but move in a few millimeters as shown so that the
E’ F’
lining is slightly smaller than the actual pocket (in fabric).
In this example, the lining has been moved in by 0,3cm from the
real fabric edge, creating points I’’, J’’, F’, H’, G’, E’). Generally, the
difference placed between the lining and real fabric is between 0,2 G’ H’
and 0,5cm.

2. This pocket is sewn as an appliqué onto the garment and finished

by topstitching, pin tuck or double topstitching depending on the
garment and the style.

540 | dp studio
 Diagram n°4

PATCH POCKET
X

Diagram n°3
The final outline of this pocket and its lining has been obtained.

It is important to analyze well the position of this pocket on the

garment. Depending on the volume of the garment and the position
of the patch pocket, it is sometimes necessary to modify the shape
of the pocket to maintain a horizontal pocket visually. For example,
on a loose garment, one side of the patch pocket must be raised by a
certain value (x) so that it stays horizontal when worn (Diagram n°4).

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 12 VOLUME 3

POCKETS AND MISCELLANEOUS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

THE WESTERN OR JEANS POCKET

ON STRAIGHT-LEG TROUSERS

This pocket is usually seen on jeans. It starts from the side seam
and moves along and up to the bottom of the waistband. The pocket
is more or less horizontal at the base but then curves as it moves
up to the waistband.
For this construction, a pair of low-waist jeans has been chosen as
the garment base.

..

Technical drawing

542 | dp studio
 Diagram n°1

THE WESTERN OR JEANS POCKET ON STRAIGHT-LEG TROUSERS

A 9
C
5

0,5 à 1 B

Centre front
B’

Large hips

Front SG

Knee length

Diagram n°1
1. First of all, position the pocket opening.
In this example, place a marker point 5cm below point A along the
side seam to obtain point B. From point A again, place another
marker 9cm along the waist line, creating point C. Join points B and
C using a French curve to define the pocket opening.

2. It is important to raise the pocket slightly from the garment so

there is enough room for the hand to enter.
To do this, extend point B on the horizontal y between 0,5 and 1cm.
This value depends mainly on the thickness of the fabric used. Point
B’ is obtained. Trace the new pocket opening (points C, B’) and then
Hem line
from point B’, join the top of the hip curve (point A) on a tangent, as
shown.

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 12 VOLUME 3

POCKETS AND MISCELLANEOUS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°2

A
3
C E
B

Centre front
B’

Diagram n°2 G’ 4
Trace the pocket sack pattern lines G
11 14
1. For this model, the pocket sack is made in one piece. Place a
marker 11cm below point B’ and mark it point D to start tracing the
base of the pocket sack. Place a marker 3cm along from point C in the D F Large hips
direction of center front and mark it point E.
Draft a parallel to the SG from point E for 14cm and mark point F at
the bottom of this line. Draft a perpendicular from point F and join
point D in a slight curve.

SG
2. Facing for this pocket is going to be cut in the same fabric as the
garment. The facing’s volume is obtained by drafting a line of 4cm
from point B’ downwards. Point G is obtained.
Place another marker 3cm to the right of point C, corresponding to
point E. Join points E and G using a French curve to define the base
of the facing.

3. The facing is thus formed by points A, E, G’ (point G’ corresponds

to where the hip curve and the bottom of the facing intersect). Facing
is not necessary for the pocket opening as the pocket sack for this
type of “jeans” pocket usually ends just before the pocket opening
and is therefore not visible. Knee length
In similar fashion to the slanted side pocket, it is possible to insert
facing in the same fabric as the garment, depending on the finish
aimed at.

Diagram n°3
Now the preparation is over, outline each piece on a separate
sheet of paper
1. Outline firstly the front of the trousers (Diagram n°3b) cut in fabric
with the pocket opening already clearly indicated.

2. The second piece (Diagram n°3c) corresponds to the pocket

bottom and sack cut in lining fabric (cotton generally).
Start by outlining the pocket bottom (points A, C, E, F, D, G’, B) and
then points E, C, B’, G’, D, representing the pocket sack. Points C, B’,
G, G’ and D transform into points C’, B’’, G’’, G’’’ and D’ on the pocket
Hem line
sack outline. Line E, F represents the pocket sack fold line.

3. The third and last piece (Diagram n°3d) corresponds to the pocket
bottom facing, cut in the same fabric as the trousers as it will be
visible on the trousers once finished. Simply sew it onto the pocket
sack lining as an appliqué before assembling the pocket.
A
C E C’
B B’’

G’ G’’’ G’’
A
Fold line
SG

E
Diagram n°3c
Diagram n°3d
SG

D D’
Pocket bottom facing Pocket sack and pocket F
G’ bottom in lining
in fabric

544 | dp studio
 Diagram n°3b

C
B’
Centre front

THE WESTERN OR JEANS POCKET ON STRAIGHT-LEG TROUSERS

Diagram n°4
The final outlines of each piece necessary for making the western
Large hips
pocket have been obtained.
SG

C
A
B’
Centre front

C E C’
B B’’

SG

Fold line
Large hips

D
D’
Knee length F

Pocket sack and pocket

bottom in lining
SG

Diagram n°4

A
Knee length
E
SG

Hem line G’

Pocket bottom facing

in fabric

Hem line

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 12 VOLUME 3

POCKETS AND MISCELLANEOUS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

THE POLO TAB

To construct this tab, use the bodice base neckline as your starting
point.
Do not forget that this neckline is very close-fitting so needs to be
opened out before starting the tab. Otherwise, use another base as
your starting point.

..

..

..
..

..

..

Front

..

..

..

Technical drawing

546 | dp studio
 Diagram n°1 Diagram n°2

THE POLO TAB

1,5

1
r r
ulde ulde
Sho Sho A
E F

Right front Left front Right front Left front

Cross-line Cross-line

14,5 G

1
Centre front

C B D

2,4

Bust Bust
Centre front

Diagram n°1 Diagram n°2

1. Firstly, outline the left and right sides of the bodice front with 1. Define how long you want the tab to be. For this example, 14,5cm
the seam allowances of your choice (in this example, 1,5cm for the (points A, B) has been chosen.
shoulder and 1cm for the neckline). There will be no center front seam. From point B, trace the width of the tab perpendicular to center front
(for this example, 2,4cm), placing half this value on either side of
center front, namely: 2,4/2 = 1,2cm (points C and D). From points
C and D, draft parallels to center front up to the neckline (points E
and F).

2. Place a marker 1cm above point B on center front (point G).

To insert the two sections of fabric forming this tab into the bodice
base, it is necessary to cut between each of the following points: A,G
then G,C and G,D to add the required seam allowances for assembly.

dp studio | 547
 12 VOLUME 3

POCKETS AND MISCELLANEOUS WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

FIRST SOLUTION FOR THE POLO TAB

WITH A STRAIGHT BASE

Diagram n°3 Diagram n°4

The front of the garment is now prepared for the insertion of the 1. Now prepare the two fabric sections from which the two tabs
polo tab. (upper and under) will be made.
Trace a rectangle of 4,8 X 13,5cm (points H, I, J, K).

2. Divide the 4,8cm by two to mark the fold line of the tab (points L,
M) and place a 1cm seam allowance value all the way round, as shown.

1
H L I
r
ulde 1
Sho A

Fold line SG
E F

13,5

Right front Left front Diagram n°4

1
2,4 2,4

Cross-line K M J
G 1

C B D

Diagram n°5
Bust
For this first tab model, simply cut out the two segments to obtain
the upper and under tab.
Centre front

The final outline of this tab has been obtained.

H I
L
Diagram n°3
Fold line SG

Upper and under tab,

right and left side
respectively Diagram n°5

M
K J

548 | dp studio
 SECOND SOLUTION FOR THE POLO TAB
WITH A POINTED BASE

Diagram n°7

THE POLO TAB

The final outline of the right side of the tab with a pointed base has
been obtained.
The left side stays identical to the left side of the first tab model with
a straight base, previously explained.

When assembling the tabs, the seam allowances can be trimmed

down in certain places to avoid fabric layering or bulkiness.
Diagram n°6

H 1 I
L
2,4 2,4
Fold line SG

Upper tab Under tab

1 right side left side
13,5

H I H I
1 L L
N

K M J
Fold line SG

Fold line SG
2 1

1
1 O

K M M
J K J

Diagram n°6
Diagram n°7
1. For the second tab model, another form of upper tab (right side)
will be created.
Outline the first tab (rectangle of 4,8 X 13,5 plus seam allowance
values) and then on the left side, between points H, L and K, M,
divide by two to obtain the SG of this part.

2. Define how deep you want the point of the tab to be. For this
example, place a marker 2cm below the SG.
Point O is obtained. Use a ruler to join points M,O and K,O that form
the point.

3. Finalize the point by adding a 1cm seam allowance value, as

shown.

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13 MÉTHODE dp studio

SEAM ALLOWANCE
VALUE AND LINING
 VOLUME 3 CONSTRUCTING BASE PATTERNS
WOMENSWEAR CLOTHING KIMONO SLEEVES – BUSTIERS –
PATTERN MAKING BLOUSON JACKETS – KNITWEAR
FLAT-PATTERN DRAFTING – DRESSES – COATS – SLEEVES
– HOODS – SWIMWEAR

Contents

p 552 Standardization

p 562 Seam allowance value for the three-piece tailored jacket base pattern (luxury)

p 568 Seam allowance value for the three-piece tailored jacket lining (luxury)

p 572 Seam allowance value for the sleeve (luxury)

p 576 Seam allowance value for the kimono sleeve with inset gusset (luxury)

p 582 Lining and facing for the tailored jacket base pattern

dp studio | 551
 13 VOLUME 3

SEAM ALLOWANCE VALUE WOMENSWEAR CLOTHING

AND LINING PATTERN MAKING
FLAT-PATTERN DRAFTING

STANDARDIZATION

This is a method for checking and adjusting seam allowance value

to facilitate and enhance assembly. Notches are placed at the end
of each seam line (stitching line) and at right angles to it, indicating
where the seam allowance value begins.

Two examples will be illustrated to highlight different

standardization methods to use, depending on the position of the
seam allowance values.

552 | dp studio
 FIRST EXAMPLE

Front

B’ B H’
A’
A
H
G’ 1,5
B’’
A’’
E’
G
1,5

STANDARDIZATION
E
1 1

F’
Diagram n°1
F

This shows the bodice base front where a

seam allowance value that permits future
alterations has been applied (luxury).
Cross-line
D’ D P’ Firstly, define the seam allowance values
to place:
- Sides = 2cm
- Neckline, armhole, dart = 1cm
- Shoulder = 1,5cm

Before applying seam allowance values,

define in what order the different seams
of the garment will be assembled
(the garment assembly chain).
P Bust
For this example:
A, close the shoulder dart
Front B, assemble the side panel
C, assemble the shoulder
D, assemble the sleeve
Centre front SG

2
E, assemble the collar

C’
C

Diagram n°1
1. Firstly, extend the two legs of the shoulder dart (points P, A and P, 3. You will notice that points E’ and G’ come to a stop at the dart
B). Extend also the side seam (points C, D) then the shoulder slope legs (points P, A and P, B). Trace perpendiculars from points E’ and
from both the top and the point (points G, H and E, F). G’ to join the two dart legs as shown, for the seam allowance value
of this dart.
2. Trace the seam allowance values parallel to the base:
Check that lines P’, A’’ and P’, B’’ are the same length for balanced
- 1cm from lines P, A and P, B. Points P’, A’ and P’, B’ are obtained.
assembly.
- 2cm from line C, D. Points C’, D’ are obtained.
- 1,5cm from lines E, F and G, H. Points E’, F’ and G’, H’ are obtained.

dp studio | 553
 13 VOLUME 3

SEAM ALLOWANCE VALUE WOMENSWEAR CLOTHING

AND LINING PATTERN MAKING
FLAT-PATTERN DRAFTING

B’ B K’ H’
A’
A Diagram n°3
G’ H
B’’
A’’ K
K’
E’
1
G G’
B’’ K
A’’
E’
E G
I’
E
F’ I’
I
I
F
1

Cross-line
Cross-line
D’ D P’
P’

J
J’

J
J’

P Bust

Front
P Bust

Centre front SG
Front
Centre front SG

C’ C

C’
C

Diagram n°2

Diagram n°2
1. Trace the seam allowance values of the armhole and the neckline
1cm from the base.

2. You will notice that these allowance values come to a stop:

- For the armhole: at point I on the base shoulder slope (points E, F)
and at point J on the base side seam (points C, D). From points I and
J, trace perpendiculars to lines E, F and C, D to obtain points I’ and
J’, as shown.
- For the neckline: at point K on the base shoulder slope (points G, H).
From point K, trace a perpendicular to line G, H to obtain point K’. Diagram n°3
3. You will notice that the neckline and armhole lines come to a stop The final outline of the front has been obtained, with the seam
on the side, shoulder and dart seams. allowance values indicated and the notches placed.

554 | dp studio
 FIRST EXAMPLE

Back
Diagram n°4
V

R’ M N

S’
R 1,5
T’

STANDARDIZATION
1,5 U’
T

U
Centre back SG

Diagram n°4b

Cross-line TR ACING PAPER

Q
Q’
S’

Shoulder blade dart

Bust

Back

O
O’

Diagram n°4
1. First of all, extend the two legs of the shoulder blade dart (points 3. You will notice that points S’ and T’ come to a stop at the dart legs
L, M and L, N) and the side seam (points O, Q). (points L, M and L, N).
Then extend the shoulder slope from both the top and the point As the dart width is too short, there is no need to create a seam
(points R, S and T, U). allowance value as the seam allowance value is already inside the
dart. Simply form the dart head by outlining angle n°1 (points L, S’,
2. Trace the seam allowance values parallel to the base:
R’) on tracing paper (Diagram n°4b).
- 2cm from the line O, Q, to obtain points O’, Q’.
Place the traced angle on your outline to reproduce it on the second
- 1,5cm from the lines R, S and T, U, to obtain points R’, S’ and T’, U’.
dart leg (points L, T’), making sure the angle cuts the bisection of
the shoulder blade dart at point V. Now reproduce the same segment
(points T’, V) on the left of the bisection and join points V and S’.

dp studio | 555
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AND LINING PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°5

R’ Y’
S’
R Y T’
1
W’
S U’
T

W
U
Centre back SG

Diagram n°6
L
The final outline of the back has been obtained, with the seam allo-
wance values indicated and notches placed.

Cross-line

1
Q Y’
Q’ S’
T’
Y
X X’ W’
S
T
W
Centre back SG

Bust

Back Cross-line

X X’

Bust

O
O’ Back

Diagram n°5
Now trace the neckline and armhole seam allowance values 1cm from
the base.
You will notice that these values come to a stop at:
- Point W for the armhole on the base shoulder base (points T, U) O
and at point X on the base side seam (points O, Q). From points W O’
and X, trace perpendiculars to lines T, U and O, Q to obtain points
W’ and X’.
- Point Y for the neckline on the base shoulder slope (points R, S).
From point Y, trace a perpendicular to line R, S to obtain point Y’.
Diagram n°6

556 | dp studio
 Diagram n°7
Front

K’

B’’ G’
K
A’’
E’
G

STANDARDIZATION
E

I’

Cross-line
P’

J
J’

Aa’ Aa P Bust

Front
Centre front SG

C’
C

Diagram n°7
1. Place a notch on the side seam to facilitate seam alignment and
guarantee balanced assembly. For this example, the intersection of
base bust line and side seam (points Z and Aa) has been chosen.

2. Check that lengths (Z,X on the back and Aa,J on the front) are
thesame. If they are not, keep the longer measurement and lengthen
the shorter one to match. For this example, no modifications are
required.

dp studio | 557
 13 VOLUME 3

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AND LINING PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°7
Back

Y’
S’
T’
Y

S W’
T
Diagram n°7b
W

TR ACING PAPER
Centre back SG

Ce
ntr
eb
Cross-line

ac
k
Back

r
ulde
Sho
1
X X’

Front
Centre front SG

Z
Z’
Bust

Back

O
O’
Diagram n°7 (continued)
1. Once the front shoulder and back shoulder blade darts have
been closed, they will serve as notches to guarantee balance for the
shoulder seam assembly (this was anticipated when constructing the
base). It is important to check the lengths
obtained on either side of the darts:
- From the shoulder top, the segment (points G, K) must be equal
to the segment (points S, Y). For this example, they are equal as
the seam allowance value for the neckline (1cm) was applied when
assembling the front and back at shoulder seam level on tracing
paper (Diagram n°7b).
- From shoulder point, segment (points E, I) must be equal to
segment (points T, W). For this example, they are equal.

2. Each seam allowance value must undergo the same check.

558 | dp studio
 SECOND EXAMPLE

Diagram n°8

STANDARDIZATION
E’ 1,5
E
F’
F

Suit jacket back

Centre back SG

B’ B
D D’

Suit jacket
side piece

2 2

A’ A
C C’

Diagram n°8
1. A suit jacket back with side piece where seam allowance values 4. Next, extend the side seams (points A, B and C, D) and then the
allowing future alterations have been applied (luxury). shoulder slope from top and point (points E, F).

2. Firstly, list the seam allowance values that are going to be placed: 5. Trace the seam allowance values parallel to the base outline:
- Side panels = 2cm - 2cm from lines A,B and C, D. Points A’,B’ and C’,D’ are obtained.
- Armhole = 1cm - 1,5cm from line E,F. Points E’,F’ are obtained
- Shoulder = 1,5cm

3. To determine where to place notches, define first of all the seam

assembly order of the garment (garment assembly chain). For our
example:
-A, close the seam between the back and the side piece
-B, assemble the shoulder
-C, assemble the sleeve.

dp studio | 559
 13 VOLUME 3

SEAM ALLOWANCE VALUE WOMENSWEAR CLOTHING

AND LINING PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°9

E’
E
I’
F’
I F
Centre back SG

Suit jacket back

1

N
B’ B
D D’ M

L L’ M’ M’’
2 2
H G Diagram n°9b
= =
1 TR ACING PAPER

J K
E’
I’
F’
Suit jacket E
F
side piece I

D
B

H G
Suit jacket back

C C’ A’ A

Suit jacket
side piece

C A

Diagram n°9
1. Trace the armhole seam allowance value 1cm from the base For this example, take the notches situated on the bust line (points J
outline. To do this, it is preferable to assemble the two side seams and K) as a reference to guide you. The same seam allowance value
(points A,G and C,H) on tracing paper (Diagram n°9b), aligning points as the one placed on the side panels must be placed beyond points G
G and H. Then draft the armhole curve seam allowance parallel to the and H on the side seams (points C,H and A,G), namely: 2cm. Points L
base outline and 1cm from it. and M are obtained. From points L and M, a perpendicular to the side
seams can be traced (points C,L and A,M) to obtain points L’ and M’.
2. You will notice that this curve comes to a stop at shoulder level
The armhole seam allowance value for the back will now stop at
(points E,F), creating intersection point I. From point I a perpendicular
point N on segment L,L’. However, the side piece seam allowance
to the shoulder line (points E,F) can be traced to obtain point I’.
value still doesn’t come to a stop at the right point and so extend
3. However, at the top of the side seams a strange phenomenon segment M’,M to obtain point M’’.
occurs, as the back armhole does not come to a stop there (points
4. All the other pattern pieces (neckline, center back… etc.) will
C,D and A,B). In other words, adjustment is necessary as the same
undergo the normal checks but in principle do not require special
seam length for these two pieces needs to be obtained. Place a notch
adjustments.
where this measurement should begin.

560 | dp studio
Diagram n°10

STANDARDIZATION
The final outline of the jacket back and side piece is obtained with
the seam allowance values and notches placed.

E’
E
I’

I
Centre back SG

Suit jacket back

L’ M’ M M’’

H G

J K

Suit jacket
side piece

C’ A’ A
C

Diagram n°10

dp studio | 561
 13 VOLUME 3

SEAM ALLOWANCE VALUE WOMENSWEAR CLOTHING

AND LINING PATTERN MAKING
FLAT-PATTERN DRAFTING

SEAM ALLOWANCE VALUE FOR

THE THREE-PIECE TAILORED JACKET
BASE PATTERN (LUXURY)
P 342 | BASE PATTERN FOR THE TAILORED JACKET
WITH SIDE PIECE (3 PIECES)
P 582 | LINING AND FACING FOR THE TAILORED JACKET
BASE PATTERN

Alterations are made possible if the following seam allowance

values are applied.

562 | dp studio
 Diagram n°1
C
C’

1,5 1,5
1 1,5
1
1,5
2 Excess value
1

Bust spread
Center back SG

SEAM ALLOWANCE VALUE FOR THE THREE-PIECE TAILORED JACKET BASE PATTERN (LUXURY)
1
1

Cross line
1

B 1

A
2

P Bust

2
Back 2 Front

Center front SG
1

Waist

2 2
2

Large hips

1
5
5 1

Diagram n°1
1. For this base, the seam allowances are established as follows: - The upper collar (cut on grain (SG)): add 1cm all round except on
- The side seams and center back = add 2cm center back which has no seam (on fold).
- The armhole, neckline, overlap (center front) and darts: add 1cm - The facing: add 1cm everywhere except on the shoulder (1.5cm) and
- The shoulder: add 1.5cm center back which is generally on fold (no seam).
- The hem: add 5cm, except for half of the front where this value will - The front facing: add 1cm everywhere except on the shoulder
be reduced to 1cm as shown to avoid fabric bulk with the facing. (1.5cm). Make sure all the notches are transferred when marking
- The under collar (cut on the true bias): add 1cm all around except on the seam allowance values on your outline.
center back (with its seam) where 2cm will be added.

dp studio | 563
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AND LINING PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°2
C
C’

Excess value

Bust spread
Center back SG

Cross line

P Bust

Back Front

Center front SG
Waist

Large hips

Diagram n°1 (continued)

2. Check that measurements A and B are equal and that they cor-
respond to measurements A’ and B’ to assemble the side seams
perfectly. For this example, 2cm have been placed for these values
(points A, B, A’ and B’).

3. Check also that measurement C (corresponding to the total front

shoulder length) is equal to measurement C’ (corresponding to the
total back shoulder length, remembering also the 1cm excess value
requirement for the back).

564 | dp studio
 Diagram n°1 Diagram n°2

1,5

Bust spread
Bust spread

SEAM ALLOWANCE VALUE FOR THE THREE-PIECE TAILORED JACKET BASE PATTERN (LUXURY)
Cross line Cross line

Facing 1 Facing

P Bust P Bust

Center front SG
Center front SG

Waist Waist

Large hips Large hips

1
1

Diagram n°2
The final outline for the three-piece tailored jacket with seam
allowances and notches has been obtained.

dp studio | 565
 13 VOLUME 3

SEAM ALLOWANCE VALUE WOMENSWEAR CLOTHING

AND LINING PATTERN MAKING
FLAT-PATTERN DRAFTING

B’
B’
A’
1 A’

Side piece

2 2

Side piece

Side piece SG
Side piece SG

2 2

5 5

Diagram n°1 Diagram n°2

1
Center back on fold

Center back on fold

Mitered assembly 1
Mitered assembly
for upper collar for upper collar
SG

SG

566 | dp studio
 Center back on fold Center back on fold

Back facing

Back facing
Diagram n°1

Diagram n°2
1,5

C C
en en
te te
rb rb
ac ac
k k
tr u tr u
e e
bi
1

bi as
as

SG SG
Diagram n°1

Diagram n°2
1
4

4
1

for under collar

for under collar

Mitered assembly

Mitered assembly
1

dp studio | 567
SEAM ALLOWANCE VALUE FOR THE THREE-PIECE TAILORED JACKET BASE PATTERN (LUXURY)
 13 VOLUME 3

SEAM ALLOWANCE VALUE WOMENSWEAR CLOTHING

AND LINING PATTERN MAKING
FLAT-PATTERN DRAFTING

SEAM ALLOWANCE VALUE FOR

THE THREE-PIECE TAILORED
JACKET LINING (LUXURY)
P 342 | BASE PATTERN FOR THE TAILORED JACKET
WITH SIDE PIECE (3 PIECES)
P 582 | LINING AND FACING FOR THE TAILORED JACKET
BASE PATTERN

Alterations are made possible if the following seam allowances values

are applied.

568 | dp studio
 Diagram n°1
1,5
N
2
O 1,5 I
Q
Q’ 1
J
1
1

SEAM ALLOWANCE VALUE FOR THE THREE-PIECE TAILORED JACKET LINING (LUXURY)
Cross line
1 s line
C ros

B B’

1 A’ A
2

M’
Bust Bust

Side P
Center back on fold SG

Back Front
piece

2 2 1
2
SG

SG
Waist Waist

2 2

1
2 2

Large hips Large hips

R’ R
L K

Diagram n°1
1. For this base, the seam allowances are established as follows: 3. Transfer all the notches when marking the seam allowances on
- The side seams: add 2cm your pattern outline.
- The armhole, neckline, and front side panel with the facing: add 1cm
4. Check that measurements A and B correspond to measurements
- The shoulder: add 1.5cm
A’ and B’.
- The hem: stop where the finished fabric hem ends, so no value added.

2. Center back is on fold. An ease pleat will be placed here (box or

knife) for extra comfort.

dp studio | 569
 13 VOLUME 3

SEAM ALLOWANCE VALUE WOMENSWEAR CLOTHING

AND LINING PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°2

N
O
Q
Q’

Cross line

Bust
Center back on fold SG

Diagram n°2 Back

The lining for the tailored jacket has been obtained with the defined
seam allowances.
Do not forget to soften each of the angles formed on waist level and
at bust point.

Waist

Large hips

R’ R

570 | dp studio
 Diagram n°2

SEAM ALLOWANCE VALUE FOR THE THREE-PIECE TAILORED JACKET LINING (LUXURY)
s line
C ros

B’

A’ A

M’
Bust

P
Side
piece Front
SG

SG

Waist

Large hips

L K

dp studio | 571
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SEAM ALLOWANCE VALUE WOMENSWEAR CLOTHING

AND LINING PATTERN MAKING
FLAT-PATTERN DRAFTING

SEAM ALLOWANCE VALUE FOR

THE SLEEVE (LUXURY)

P 434 | TAILORED SLEEVE

572 | dp studio
 Diagram n°1

SEAM ALLOWANCE VALUE FOR THE SLEEVE (LUXURY)

1 1

Upper
sleeve
1,5 1,5
1,5 1,5
Upper sleeve SG

Under sleeve SG

X
Maintain Under
sleeve
X

1,5 X
1,5
Ease out
X 1,5
F
1,5
B G
C X
Seam

11 11
X
Seam

Lining

4
g
Linin

4 E
A 4

H
D

Diagram n°1
1. The seam allowances planned for this base make potential
alterations possible. They are as follows:
- The side seams: add 1.5cm
- The armhole: add 1cm
- The hem: add 4cm.

dp studio | 573
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AND LINING PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°1b

TR ACING PAPER

Diagram n°1 (continued)

2. For the hem, do not forget to reproduce angles n°1, 2, 3 and 4 on Upper sleeve,
tracing paper (Diagram n°1b) to better define the hem value. crook line
To do this, flip the tracing paper over and reproduce the bottom of
the crook line for angles n°1 and 2.

3. Plan facing for the vent at the bottom of the sleeve.

- For the upper sleeve:
Place a marker 11cm above point A on the elbow seam to obtain
point B. From point B, perpendicular to the elbow seam, move out
by 4cm (point C). From point C, descend on a perpendicular to the
TR ACING PAPER
B, C line to join the hem (point D).
- For the under sleeve:
Place a marker 11cm above point E on the elbow seam to obtain
point F. From point F, perpendicular to the elbow seam, move out Under sleeve,
by 4cm (point G). From point G, descend on a perpendicular to the crook line
F, G line to join the hem (point H).

4. To finish the hem values, use angles n°3 and 4, turn them round
in relation to the elbow lines, and reproduce the seam allowance line
to obtain points D and H.

TR ACING PAPER

Upper sleeve,
elbow line

TR ACING PAPER

Under sleeve,
elbow line

574 | dp studio
 Diagram n°2

SEAM ALLOWANCE VALUE FOR THE SLEEVE (LUXURY)

Upper
sleeve
Upper sleeve SG

X Under sleeve SG

X
Maintain Under
sleeve
X

Ease out
X
B F
G
C
X
Seam

X
Seam

Lining
g
Linin

A E

H
D

Diagram n°2
The final outline of the blouse sleeve with its cuff has been obtained.

dp studio | 575
 13 VOLUME 3

SEAM ALLOWANCE VALUE WOMENSWEAR CLOTHING

AND LINING PATTERN MAKING
FLAT-PATTERN DRAFTING

SEAM ALLOWANCE VALUE

FOR THE KIMONO SLEEVE
WITH INSET GUSSET (LUXURY)
P 110 | KIMONO SLEEVE WITH INSET GUSSET
(BODICE BASE PATTERN)
The seam allowances applied to this base result in a product of
luxury characteristics where alterations can be made if necessary.
These values are therefore larger than those of a basic product in
to make future enlarging possible.

576 | dp studio
 Diagram n°1

1 1

SG
1,5
A A’
Gusset
1
4
1,2

SEAM ALLOWANCE VALUE FOR THE KIMONO SLEEVE WITH INSET GUSSET (LUXURY)
1,5

1 1

Cross line

Piece of organza

1 1
SG

Gusset

P Bust

Front

Center front SG
Fold line
1,5
1 1

1,5 1

X 2 1,5 1 1,2

X 1,5 Waist

X
Ease out
6
X

X 1,5
X

Diagram n°1
1. The breakdown of these values is as follows: 2. For this example, the front facing is in-one. Do not forget to place
– Side seams and center back: 2cm a halfoverlap value of 1.2cm, for this example, before placing the
- Shoulders and sleeves: 1.5cm front facing. The latter is situated 6cm from and parallel to the fold
- Neckline, darts and assembly of the front with the facing: 1cm line, from the hem up to the bust after which it curves to the shoulder.
- Hem at sleeve end: 2cm or 4cm, depending on how the bottom of Remember to place 4cm at the most scooped-out part of the neckline.
the sleeve is finished. Point A is obtained on the shoulder.
- Hem at garment end: 1.5cm for hems later assembled with other On tracing paper (Diagram n°1b), outline the front facing, then shift
parts of the garment but 5cm for hems that end a garment, finished the front shoulder onto the back shoulder, and outline the back
by hand for example. neckline and center back (point B). Place a marker 4cm from the
- Gusset: 1cm on each side - Facing: 1cm for the neckline and bottom original back neckline (point B) and parallel to it as shown to obtain
of the garment, and 1.5cm for the shoulder. Center back is generally point C, allowing you to trace the back facing.
on fold. There is a slight adjustment to be made between the front facing and
- Front facing: 1cm for assembly with the front lining (if there is one) the back neckline facing at point A. To create a continuous and smooth
and the neckline, and 1.5cm on shoulder and hem level. line between the front facing and back neckline facing, move point
A to point A’. Copy this transformation onto your paper outline. The
final outline of the front facing (Diagram n°1c) has now been obtained.
Place it on the right of the fold line (see Diagram n°2, P.580).

dp studio | 577
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SEAM ALLOWANCE VALUE WOMENSWEAR CLOTHING

AND LINING PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°1

E
D
D’
1,5
1
B

Center back on fold SG

2 4 1,5
C
1 1,5
B
Center back SG

Maintain 1
exces value 0,5 cm
C

Cross line

Piece of organza

1,5

Center back on fold SG

B
Bust
C

Back

Maintain
2 exces value 1 cm

1,5
2

Waist 1,5 1,5

1,5

1,5

Diagram n°1 (continued)

3. Redraw the back neckline facing separately. 6. The 1.5cm hem at the end of a garment section allows you to
assemble it with another part of the garment. However, hems that
4. To finish the sleeve end, outline angles n°1 and 2 on tracing paper
end a garment (for example, if this base stopped at the waist) require
(Diagram n°1d), then pivot the tracing paper so that the crook line
5cm so that they can be tucked and handstitched.
seams continue below the bottom of the sleeve. A slight angle forms
that will add material to the hem value and facilitate assembly. 7. The tricky part of this model is assembling the gusset with the
rest of the garment, particularly the pointed part at the top of the
5. Outline angle n°3 also on tracing paper (Diagram n°1e) so that you
gusset, as there is no front and back seam allowance on the garment
can trace the shoulder blade dart head. Place point D of the tracing
for assembling the gusset.
paper on point D’ and reproduce the D’, E segment up to the bisection
It is therefore advisable to add a piece of organza (or other fabric) as
line of the shoulder blade dart (point E). Then join up points E and D.
shown, to create this missing seam allowance value at the top of the
gusset opening.

578 | dp studio
 Diagram n°1b
Diagram n°1d
TR ACING PAPER

TR ACING PAPER

SEAM ALLOWANCE VALUE FOR THE KIMONO SLEEVE WITH INSET GUSSET (LUXURY)
C en

Diagram n°1c
te r
bac
kS
G

Front sleeve-end
C A’

4
B
TR ACING PAPER

A A’

Back sleeve-end
Cross line

Cross line

Bust

Diagram n°1e
Fold line

Bust

TR ACING PAPER
Center front SG

Waist

Shoulder blade
dart

dp studio | 579
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AND LINING PATTERN MAKING
FLAT-PATTERN DRAFTING

Gusset

SG
Gusset
SG

A’
A’

Cross line
Piece of organza

P Bust

Front
Center front SG
Fold line

X Waist

X
Ease out
X

X
Diagram n°2
X

Diagram n°2
The final outline of the kimono sleeve with inset gusset and seam
allowances has been obtained.

580 | dp studio
 SEAM ALLOWANCE VALUE FOR THE KIMONO SLEEVE WITH INSET GUSSET (LUXURY)
D D’

C
Center back SG

Maintain
exces value 0,5 cm

Cross line

Piece of organza

Bust

Back

Maintain
exces value 1 cm

Waist

Diagram n°2

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 13 VOLUME 3

SEAM ALLOWANCE VALUE WOMENSWEAR CLOTHING

AND LINING PATTERN MAKING
FLAT-PATTERN DRAFTING

LINING AND FACING FOR

THE TAILORED JACKET BASE
PATTERN
P 500 | SEAM ALLOWANCE VALUE FOR THE LINING OF
THE TAILORED JACKET BASE PATTERN

Once the jacket has been constructed, start working on its facing
and lining. Depending on the way you decide to assemble, two
different possibilities for constructing the facing exist: curved or
mitered.

582 | dp studio
 Diagram n°1 Diagram n°1
Front facing, curved collar Front facing, mitered collar

A A
B B
C C

Bust spread
Bust spread

F F’ F F’
G’ G’
D’’ D’’
G G
D D

LINING AND FACING FOR THE TAILORED JACKET BASE PATTERN

Cross line Cross line

P Bust P Bust

0,3 à 0,6 0,3 à 0,6

E E’ E E’

Center front SG
Center front SG

Waist Waist

Large hips Large hips

Diagram n°1
1. For this example, the shoulder and waist darts are used in 2. When constructing the facing, deduct the shoulder pad thickness
determining the facing volume to avoid having a dart on the front existing in the tailored jacket base pattern. Outline points A, C. The
lining (slip the dart inside when assembling the facing and lining). facing will go under the shoulder pad when the jacket is assembled,
To do this, outline the top part of the front jacket with its lapel, up to thereby hiding the shoulder pad between the fabric and the lining.
the aforementioned darts, on tracing paper (Diagram n°1b).
3. Add fabric volume to the lapel so that when assembled it curls well
Join the back neckline by assembling the two shoulders, without
and the outside edge (points D, E) lays flat.
the thickness of the shoulder pad (pivot from point A to place the
shoulder lines on top of each other). After pivoting, rectify the
neckline.

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 13 VOLUME 3

SEAM ALLOWANCE VALUE WOMENSWEAR CLOTHING

AND LINING PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°1b

TR ACING PAPER
Ce

Diagram n°1c
nt
er
ba
ck

TR ACING PAPER
5

F
Front shoulder pad
A G
Shoulder line D’
C
(without shoulder pad) D
Back shoulder pad 0,2 à 0,5
Bust spread

G D

Cross line

SG
P Bust

E
E
Center front SG

Diagram n°1 (continued)

4. On tracing paper (Diagram n°1c), outline the lapel up to the break
line (points D, E, F, G). Still on tracing paper, add between 0.2 and
0.5cm onto the lapel tip (point D). For this example, add 0.2cm and
then join the notch at point G in a straight line and point E using a
French curve.
Determining the value (between 0.2 and 0.5cm) depends on the fabric
thickness. The thicker the fabric used, the larger the value added
F
(closer to 0.5cm). The modified lapel outline has been obtained
G
(Diagram n°1d).
D’
5. On break line level (points E, F), also add a little value (between
0.3 and 0.6cm) so that the break line of the lapel curls well. For this
example, add 0.3cm. Trace a parallel 0.3cm to the right to the base
pattern break line (points F’, E’).
Go back to the tracing paper (Diagram n°1c) and place it over the
new break line (points F’, E’) and dot the enlarged lapel (points F, G,
D’, E). Redraw the whole section with a pencil. Points G’ and D’’ are
Diagram n°1d
obtained. To finish the lapel, join points D’’ and E with a French curve.
The two examples are represented here: the mitered assembly and
the curved assembly.
SG

584 | dp studio
 Diagram n°2

A A

C C
Bust spread

Bust spread
F F
G’ G’
D’’ D’’

Cross line Cross line

LINING AND FACING FOR THE TAILORED JACKET BASE PATTERN

P Bust P Bust

E E
Center front SG

Center front SG

Waist Waist

Diagram n°3

A
Center back on fold SG

Facing

Large hips Large hips H

Diagram n°2 Diagram n°3

The outline of the facing transformation, with the two assembly 1. Now create the back neckline facing on tracing paper (Diagram
possibilities (mitered or curved) has been obtained. n°1b). To do this, place the facing length (for this example, 5cm) from
the neckline opening on center back and obtain point H. Trace a right-
angled perpendicular to center back from this point.

2. From this perpendicular, use a French curve to join the first leg of
the front shoulder dart (point C) on a tangent for an accurate reading
of the line separating the front and back facing. Redraw the shape of
the back facing elsewhere on your paper.

dp studio | 585
 13 VOLUME 3

SEAM ALLOWANCE VALUE WOMENSWEAR CLOTHING

AND LINING PATTERN MAKING
FLAT-PATTERN DRAFTING

LINING FOR THE GARMENT BODY

Diagram n°4
Diagram n°4b
1. To construct the lining use practically the same outline as for the
jacket body, with simply a few modifications applied for more com-
TR ACING PAPER
fort. Start by outlining the front, without the shoulder pad thickness
and without the facing (points I, J).
For the hem, the lining stops at the bottom of the outline (points K, L). N

2. Outline next the side piece. Add 0.5cm at the armhole opening
O
(point M) to obtain point M’ and then on tracing paper (Diagram n°4b), I

redraw the armhole with the front and side piece seams assembled
and then the back and side piece seams. With the shift of point M J

to point M’ and the suppression of the shoulder pads, the shoulder

Back
points have evolved too (trace right-angled perpendiculars to the
Front
shoulder points and redefine the curves).

3. The 0.5cm value previously added prevents the fabric from being
tugged by the lining. If the lining is exactly the same length as the
fabric, the fabric will be pulled. To avoid this risk, systematically add
a little more length to the lining.
M’
4. Outline the back, without the shoulder pad thickness. Deduct also
M
the facing created for the neckline, reproduced on this outline. Add
an ease pleat on center back (inverted or knife). This added material Side
optimizes movement ease for the wearer and reduces the risk of piece
lining tearing.
Beyond center back (point Q) in the continuity of the back facing
line, add 2cm, corresponding to half the pleat value (point Q’), and
draft a vertical down to the bottom of the outline (point R’). From this
new point, on a perpendicular to center back, join point R.

5. The notches placed 10cm from the SG (point M) on the armhole

for the back and 9cm from the SG on the armhole for the front do not
move. Once the armhole opening has been slightly modified by the
0.5cm increase for the lining, the following values are found:
- On the back: 10.7cm instead of 11cm
- On the front: 9.7cm instead of 10cm.

TR ACING PAPER

N I

Back Front

O J

586 | dp studio
 Diagram n°4

N I

LINING AND FACING FOR THE TAILORED JACKET BASE PATTERN

5 O
2
Q’ Excess value
Q
J

s line
C ros
10,7

9,7

M’
0,5
M Bust

Back Side Front

piece
Center back on fold SG

SG
SG

Waist

Large hips

R’ R
L K

dp studio | 587
 13 VOLUME 3

SEAM ALLOWANCE VALUE WOMENSWEAR CLOTHING

AND LINING PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°5

O I

Excess value
Q’ Q

s line
C ros

M’

Bust

Side
Back piece Front
Center back on fold SG

SG
SG

Waist

Large hips

R’ R
L K

Diagram n°5
The final outline for the lining of the tailored jacket body has been
obtained.

588 | dp studio
 LINING FOR THE SLEEVE

Diagram n°6

3,6

1,25
S

S’

12,2

LINING AND FACING FOR THE TAILORED JACKET BASE PATTERN

11,6

Ad Ae

10,7 9,7
X’

Sleeve cap depth

0,5
Upper X
sleeve
Upper sleeve SG

Under sleeve SG

Elbow length
V

Maintain
Under
sleeve

Ac
Ab
W’

W
Seam

11
9
Seam

T’ U
U’ Y

T 2 Z
4 Aa

Diagram n°6
1. To construct the sleeve lining, outline first of all, the upper and 3. For the end of the sleeve, the lining stops at the bottom of the
under tailored sleeve, separately. Once this has been carried out, outline (points T, U). Given a vent is part of the upper sleeve on this
place the upper and under crook lines opposite each other as shown. model, deduct a certain value from the lining for a better finish.
Suppress 2cm in width and 9cm in length, for example.
2. If the shoulder pad thickness was suppressed for the jacket body,
From point T, go towards the crook line by 2cm (point T’) and then
the same must be done for the upper sleeve lining.
place a marker 9cm above point T’ on a parallel with the elbow seam
For the jacket construction, the shoulder pad thickness was of
(points V, T) to obtain point W. Trace a perpendicular to this parallel
1.25cm. Deduct this value from point S on the upper sleeve lining
from point W to obtain point W’.
and from the new point S’, redraw the front and back curves using
a French curve, tapering to nothing on the initial or base pattern 4. For the under sleeve lining and the lining on armhole level, raise
outline. the armscye by 0.5cm to avoid the fabric being pulled by the lining.
Place the 0.5cm from point X to obtain point X’ and redraw the curve.

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 13 VOLUME 3

SEAM ALLOWANCE VALUE WOMENSWEAR CLOTHING

AND LINING PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°6 (continued)

5. For the end of the sleeve, same thing as for the upper front, the
lining stops at the bottom of the outline (points Y, Z).
Elaborate the vent for this part. From point Z, move out by 4cm
Diagram n°6b
(point Aa) and up by 11cm (point Ab) and join the elbow seam on a
perpendicular (point Ac).
TR ACING PAPER

6. Using tracing paper (Diagram n°6b), check that the new armscye
curve without the shoulder pad is smooth and even.

7. Place notches 10.7cm and 9.7cm from point X’ for the back (point S
Ad) and the front (point Ae) respectively. Now redefine the notch for
the shoulder seam. S’

From the front (point Ae) and back (point Ad) notches, place the front
Upper S
and back armhole measurements: 12.7cm and 13.1cm respectively. front
Ae
Divide the space left between these two points to find the position S’

of the new shoulder notch, which for this example corresponds to Ad

the original SG. Upper

X’ back
The excess value for this sleeve can be calculated by subtracting the
armhole from the armscye: X

Under
Back Front
Armscye 14 13,4
Armhole 12,2 11,6
1,8 1,8

There is therefore, a total excess value of 3.6cm.

If this is considered too big, it is possible to reduce the value by
moving each of the notches down (points Ad and Ae on the back and
front respectively) by 0.5cm, leading to the following values:

Back Front
Armscye 13,5 12,9
Armhole 12,2 11,6
1,3 1,3

There is therefore a reduced total of: 1.3 + 1.3 = 2.6cm.

As lining fabric is usually springy and dry-hanSGe, it is preferable to
extend the upper sleeve crook line to allow for the fact that the fabric
will not need to be eased out.
To do this, create point U’ on the horizontal prolongation of point Y,
at the bottom of the under sleeve crook line, as shown. Use a French
curve to join point U’ to point T’, staying on a tangent to the original
outline.

590 | dp studio
 Diagram n°7

LINING AND FACING FOR THE TAILORED JACKET BASE PATTERN

S’

Ad Ae

X’

Upper
sleeve
Upper sleeve SG

Under sleeve SG

Maintain
Under
sleeve

Ac Ab

W’
W
m
Sea

Seam

U’ Y
T’
Z Aa

Diagram n°7
The final outline of the tailored sleeve lining, fully adapted to the
lining of the jacket body, has been obtained.

dp studio | 591
14 MÉTHODE dp studio

ANNEXES
 VOLUME 3 CONSTRUCTING BASE PATTERNS
WOMENSWEAR CLOTHING KIMONO SLEEVES – BUSTIERS –
PATTERN MAKING BLOUSON JACKETS – KNITWEAR
FLAT-PATTERN DRAFTING – DRESSES – COATS – SLEEVES
– HOODS – SWIMWEAR

Contents

p 594 Female carriage and posture

p 604 Female morphologies and builds

p 606 Nomenclature sheet

p 608 Production card

p 610 Production scale

p 611 Sections

p 614 Shoulder pads

p 616 Alteration fittings

p 629 International size-correspondence chart

dp studio | 593
 14 TOME 3

ANNEXES LE VÊTEMENT FÉMININ, MODÉLISME,

COUPE À PLAT

FEMALE CARRIAGE
AND POSTURE

The design of a garment is impacted by the carriage and posture When clothes are made for women who do not demonstrate the
of the wearer. aforementioned characteristics of “normal” posture, other criteria
and types of carriage will be encountered:
The way the arm falls is a good indication of carriage. If the body
is straight, its posture is classified as “normal”. The arm falls 1. Carriage classified as “arched”
vertically and is parallel to the body.
In this case, when a woman is placed in profile, the following can be
If the body tends to lean backwards, its posture is classified as
observed:
“arched”. The arm swings to the front and is no longer vertical. The
- The waist line dips more at the back and can rise at the front
virtual line passing through the central axis of the garment is no
- The arm axis moves the arm forwards
longer perpendicular to the ground.
- The large hip volume is almost identical to the bust volume but not
If the body tends to lean forwards, its posture is classified as
on the same vertical axis
“stooped”. The arm swings to the back and is no longer vertical.
- If a vertical is placed on the back, point A on shoulder blade level
The virtual line passing through the central axis of the garment is
is not on the same axis as point B on large hip level as point B has
no longer perpendicular to the ground.
moved inwards
- If a vertical is placed on the front, point C on bust level is no longer
Posture plays an important role when cutting a garment as the fall
on the same axis as point D on large hip level as point C has moved
of the garment depends on it. Posture and carriage generally change
inwards
from woman to woman above the large hip line. The large hip line
- The rounded shape of the back as it leans forwards means that
always stays parallel to the ground and no real changes in posture
the cross-back width is larger than in “normal” posture and this
below this line are to be noted.
increase is detrimental to the cross-front
- On a pattern, the back and front of the armhole no longer
This flat-pattern drafting method was created with a certain type
correspond, with a flatter back and deeper front
of carriage and morphology in mind, one using average height and
- The bust shrinks as it moves inwards rather than out
“normal” posture as references.
- The back and front skirt lengths are no longer the same, with the
front often longer than the back.
The following characteristics pertaining to “normal” posture and
This carriage changes the fall of a garment as the body above large
carriage can be observed when a dummy or real person is placed
hip level is no longer straight.
in profile:
- The waist line dips slightly at the back
2. Carriage classified as “stooped”
- The arm axis is vertical, making the arm fall vertically
- The large hip volume is almost equal to the bust volume and on the - The waist line dips at the front
same vertical axis - The arm axis moves the arm backwards
- If a vertical is placed on the back, point A of the shoulder blade is - The volume of the large hips is almost identical to the volume of the
on the same axis as point B on large hip level bust but not on the same vertical axis
- If a vertical is placed on the front, point C of the bust is almost on - If a vertical is placed on the back, point A on shoulder blade level
the same axis as point D on large hip level is no longer on the same axis as point B on large hip level as point
- There is very little difference between the cross-back and cross- A has moved inwards
front widths - If a vertical is placed on the front, point C on bust level is no longer
- The front and back skirt lengths are almost identical. on the same axis as point D on large hip level as point D has moved
inwards
This carriage is the easiest to dress as the body’s verticals - The cross-front width is often larger than the cross-back width
correspond closely to the SG of the fabric. - The bust becomes rounder
- The back and front skirt lengths are no longer the same, with the
back often longer than the front.
This carriage changes the fall of a garment as the body above large
hip level is no longer straight.

The particularities of the human body are described here in

order to anticipate problems linked to the different posture and
morphological types. The guidelines provided are only to be taken
into account if relevant to the client morphology to help ensure an
optimum fit and “hang” of the garment.

594 | dp studio
 Carriage and posture types

ANNEXES

Carriage classified as Carriage classified as Carriage classified as

“stooped” “normal” “arched”

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 14 VOLUME 3

ANNEXES WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

CARRIAGE CLASSIFIED AS “ARCHED”

Diagram n°1
Diagram n°2

Centre back SG
Cross-line Cross-line

P
Bust Bust
Front
Centre front SG

Back

Waist Waist

Large hips Large hips

2 2
Increased value for the hips Increased value for the shoulder blades

Diagram n°2
1. The shoulder blade volume is more prominent as the bottom
moves inwards in this posture. If a difference of 2cm, for example, is
Diagram n°1 found in relation to the vertical axis passing through the large hips,
here are the transformations to carry out:
The tummy volume is more prominent than the bust which moves
- after outlining the bodice base back, join the top of the waist dart
inwards in the arched posture. If a 2cm difference, for example, is
to the base of the shoulder blade dart and separate the back in two
found in relation to the vertical axis passing through the bust, here
along the line where the waist and shoulder blade darts are situa-
are the transformations to carry out:
ted as shown, for a (pre-defined) value of 2cm.
- After outlining the bodice base front, separate it into two along the
- find the symmetrical axis of this value added to the top of the waist
line where the bust and waist darts are situated for a pre-defined
dart by halving the separation value and then re-drawing the waist
value of 2cm, as shown.
dart with its redefined depth, hence allowing for the increase on
- Find the symmetrical axis of this added value on large hip level by
shoulder blade level.
halving the separation value and then re-drawing the waist dart
- re-draw the increased shoulder blade dart (depending on the value
with its redefined depth, hence allowing for the increase on large
added to the shoulder blade dart, in this case 2cm, extend the dart
hip level. The large hip and waist measurements will increase by
accordingly). After tracing the new shoulder blade dart, an adjust-
2cm on the front.
ment of the shoulder on tracing paper might be necessary and
needs to be checked.

2. An increase in value for the large hips is not taken into account for
this morphology type.

596 | dp studio
 Diagram n°4b

Centre back SG
Diagram n°3

Cross-line

ANNEXES
Centre back SG

Bust Back

=
Cross-line

Bust
Waist
Back

1
Waist Large hips

Diagram n°4
1. The back is too long and needs to be reduced by for example, 1cm
Large hips (this value can be found by pinching the surplus fabric on center back).
Halfway between the bust line and waist line, cut along the entire
back width and reduce the back length by the determined value.
Then taper to nothing on the side seam, as shown. It is sometimes
necessary to end this dart on the front rather than on side seam
level. Pivot the lower part in order to suppress the surplus fabric
(Diagram n°4b).

2. Once this has been carried out, redefine how this base falls
Diagram n°3 (Diagram n°4c). Start by lowering the center back SG in order to define
1. The waist dips at the back. Determine the difference between this value A that needs to be subtracted from center back and added onto
dipped waist and the base waist, for example 1cm. the side (value B).
From point C, trace a straight line that cuts the SG (point D) and then
2. Lower the waist by this value on center back. From this new point,
from this point, trace the new hem line, which might need adjusting
join the waist line on side seam level.
a little (points D, E).
3. Check the measurement of this new curve and rectify slightly if
3. Try to find the new waist curve located on the same level as point
necessary.
F. Using tracing paper (Diagram n°4d), close the waist dart and draw
4. Re-draw the waist dart above the waist line. the curve between points F’ and G. This new waist cuts the dart legs at
points H and I. Now re-draw the dart under the waist line. The length
of the dart can be modified, if necessary.
The final outline of the shortened back has been obtained. (Diagram
n°4e)

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 14 VOLUME 3

ANNEXES WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°4c
Centre back SG

Diagram n°4e

Cross-line

Centre back SG
Bust Back

Cross-line

F’
F Waist H
I
G
Bust
Back

Waist H
F’ I
C D G
Large hips
E
A
B

Large hips
Diagram n°4d D
E
TR ACING PAPER
Centre back

F’ H I

Waist curve adjustment

598 | dp studio
 CARRIAGE CLASSIFIED AS « STOOPED »

Diagram n°5 Diagram n°6

ANNEXES
Centre back SG
Cross-line Cross-line

P
Bust Bust

Front Back
Centre front SG

Waist Waist

Large hips Large hips

2 2
Bust increase value Increased value for the hips

Diagram n°5 Diagram n°6

The volume of the bust is prominent compared to the large hips that The volume of the bottom is prominent compared to the shoulder
have moved inwards in the stooped posture. If a 2cm difference for blade that has moved inwards in the stooped posture. If a 2cm
example, is found in relation to the vertical axis passing through the difference, for example, is found in relation to the vertical passing
large hips, here are the transformations to carry out: through the shoulder blade, here are the transformations to carry out:
After outlining the bodice base front, separate it into two along - After outlining the bodice base back, separate it in two along the
the line where the bust and waist darts are situated, for the pre- line where the shoulder blade and waist darts are situated, for a
defined value of 2cm, as shown. pre-defined value of 2cm, as shown.
- Find the symmetrical axis of this value added at bust level by - Find the symmetrical axis of the value added at large hip level by
halving the separation value and re-drawing the waist dart with its halving the separation value and redrawing the waist dart with
redefined depth, hence allowing for the increase at bust level. To its redefined depth, hence allowing for the increase on large hip
finish, re-draw also the new shoulder dart. level. The large hip measurement has been increased by 2cm at the
back, as well as around the waist.
The bust measurement has been increased by 2cm on the front.

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 14 VOLUME 3

ANNEXES WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°8c

Diagram n°7

Cross-line

Centre front SG
P
Cross-line Front Bust

1
P
=
Bust

Front
Centre front SG

Waist

1
Waist

Large hips

Diagram n°8
1. The front is too long and therefore needs reducing by for example,
Large hips 1cm (this value is found by pinching the surplus fabric on center front).
Halfway between the bust and waist line, cut along the entire front
width and reduce the front length on center front by the pre-defined
value, as shown.
Then taper to nothing on the side seam line. (Note that sometimes
it is necessary to end the dart on the back rather than on the side
seam). Pivot the lower part so as to suppress the surplus fabric
(Diagram n°8b).
Diagram n°7 2. Once this has been carried out, redefine how this base falls
1. The waist dips at the front. Determine the difference between this (Diagram n°8c).
dipped waist and the base pattern waist, for example 1cm. Define the evolution value (A) obtained between the center front
SG and point B. This value (A) to be taken away from center front is
2. Lower the waist by this value on center front. From this new point,
going to be added to the side (point C). From point B, trace a straight
join the waist line and continue along to the side seam.
line that cuts the SG (point D) and then from this point, trace the new
3. Check the measurement of this new curve and rectify slightly, hem line (points D,E) that may need adjusting.
if necessary.
3. Draft the new waist curve, level with point F. Use tracing paper
4. Re-draw the waist dart above the waist line, as shown. (Diagram n°8d) to close the waist dart and draw this curve between
points F’ and G.
The new curve cuts the dart legs at points H and I. Now re-draw the
dart below the waist line. Its length may need adjusting. The final
outline of the shortened back has been obtained (Diagram n°8e).

600 | dp studio
 Diagram n°8c

Diagram n°8e

ANNEXES
Cross-line
Centre front SG

Cross-line

Centre front SG
P
Front Bust

P
Bust
Front

I H F’ F
G
Waist

I H
F’
G
Waist

D B
Large hips
E
A
C
Large hips
D
E

Diagram n°8d

TR ACING PAPER
Centre front SG

I H F’

Waist curve adjustment

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 14 VOLUME 3

ANNEXES WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°9b
Centre back SG

Cross-line Cross-line

Centre front SG
P
Bust Bust
Back Front

A
1
B

Waist

Waist

Large hips
Large hips

Diagram n°9
1. The torso is too long, at both the back and front.
2. Pinch the surplus fabric visible on the dummy and then suppress
this value from the pattern outline. (Diagram n°9b)

3. Join lines A and B (Diagram n°9c) and then rectify the seams
(center back, side panels and waist darts).

The final outline of the shortened base has been obtained (Diagram
n°9d).

602 | dp studio
 Diagram n°9c

Centre back SG

Cross-line Cross-line

Centre front SG

ANNEXES
P
Bust Bust
Back Front

A
B

Waist Waist

Large hips
Large hips

Diagram n°9d
Centre back SG

Cross-line

Cross-line
Centre front SG

P
Bust Bust

Back Front

Waist Waist

Large hips Large hips

dp studio | 603
 14 TOME 3

ANNEXES LE VÊTEMENT FÉMININ, MODÉLISME,

COUPE À PLAT

FEMALE MORPHOLOGIES
AND BUILDS

Morphological study of the female body linked to the design of clothing

is highly complex because of the large variety of contrasting builds that
need to be considered.
The various volumes and curves making up the human body and that
Diagram n°1
are common to all, nonetheless differ from woman to woman.

To define the female body as best as possible, three fundamental

references have been singled out:
-Bust measurement
- Large hip measurement
- The difference between the large hip half-measurement and bust half-
measurement.
The latter measurement, referred to as “the spread”, is a vital
characteristic of the female build as it determines the relationship
between the upper and lower volumes of the body (the waist line
serving as the divide line).

Using these measurements and the “spread” value calculation, the

following build types have been identified as the most representative:
- Slim build (S) = a spread value equal to or less than 0
- Normal build (N) = a spread value between 0 and 4
- Strong build (S) = a spread value equal to or above 4

Three different heights are attributed to these three builds (suggesting

different clothing lengths):
152cm
Silhouettes A
160cm
168cm

Diagram n°1
From one woman to the next, the nature of volumes and curves change.
Measurement charts use “the spread” to classify associated
measurements of the body without taking into account notions of
shape. They do not consider the various volumes that make up the
human body.
For example, two women may have the same bust measurement but:
- The first one, a large bust and a straight back
- The second one, a muscled back and a smaller bust.
The measurements are the same but the body shapes are nonetheless
different, and so a garment that fits one of the two women probably
Silhouettes B
won’t fit the other woman and vice versa.
To conclude, when elaborating ready-to-wear clothing, it is vital to
bear these considerations in mind to make sure as many women as
possible can actually wear the same garment in a particular size set.

604 | dp studio
 Diagram n°2

ANNEXES
Slim builds
Spread less than 0

152 cm 160 cm 168 cm

Normal builds
Spread between 0 and 4

152 cm 160 cm 168 cm

Strong builds
Spread above 4

152 cm 160 cm 168 cm

Diagram n°2
Each build is associated with three possible height categories as
shown and thus nine different female morphologies have been
identified.

dp studio | 605
 14 TOME 3

ANNEXES LE VÊTEMENT FÉMININ, MODÉLISME,

COUPE À PLAT

NOMENCLATURE
SHEET

A nomenclature sheet is made up once a prototype has been validated. The list of labels, diverse accessories and their respective costs is
It lists all the different elements required to make a referenced model. then given, followed by the cost price for assembling a model (the
Once it has been filled in, the total cost price (per unit) of each chosen manufacturing).
model can be calculated.
A technical drawing illustrating each model is also represented.
Firstly, the model reference and the season it is planned for are
indicated. Then all the materials required to make the model are listed. Once the nomenclature sheet is complete, it is important to add up all
the trims required for each model, multiplied by the number of models
Fabric references must be indicated, supplier names and all the details ordered, to obtain the total number to purchase, so that production
allowing a company to order the yardages required for production of of the collection will take place in organized fashion and without
the chosen models. Sometimes samples of the referenced fabrics are interruption.
presented just below the list.

Another chart indicates the list of trims needed to manufacture and

finish each model. Trim references are given, supplier names and all
the details allowing a company to order the quantities required for
production of the chosen models.

606 | dp studio
 NOMENCLATURE SHEET

Company:

Model reference: Season:

Fabric Supplier Reference Color Width Quantity Unit price Total

ANNEXES
Total material:

Sample 2 Sample 2

Trims Supplier Reference Color Width Quantity Unit price Total

Doublure / Lining / Fodera
Thermo / Thermo / Fusile
Epaulette / Should / Spallina

Bouton / button / Bottone

Zip / Zipper / Cerniera

Gros grain / Petersham / G grain

Droit fil / On grain / Al filo

Biais / Bias / Sbieco

Tir zip / Zipper / Cerniera

Oeillets / Eyelet / Occhiello

Cordon / Drawstring / Cordon

Embouts / Bobble / Ghiera

Elastique / Elastic / Elastico

Pression / Press stud / pressione

Total trims:

accessories unit price

Brand label:

Composition label:

Size label:

Pochette Bouton :

Button pouch:

Seal:

Hanger :

Covered hanger

Accessories total:

Manufacturing:

Total cost price:

model

dp studio | 607
 14 TOME 3

ANNEXES LE VÊTEMENT FÉMININ, MODÉLISME,

COUPE À PLAT

PRODUCTION CARD

As its name indicates, a production card is used to facilitate garment Different references can be indicated, depending on the type of
assembly in a production workshop (with a contractor). fusible needed (fusible for jackets, waistbands etc…).

The production card is of particular importance when the prototype A list of different parts likely to need fusible is made and boxes
is being made in a studies office or prototype workshop to ensure are ticked to indicate the type of fusible to use on different pattern
that all the different elements necessary for making a model are pieces.
compiled..
Depending on the materials used, it is important to specify details
These elements are organized according to the different workshop for the cut and layout of pieces in these materials, such as those
posts responsible for the various stages of the prototyping process. cut in printed or patterned fabric that need a specific alignment
or those where the wale or nap of the fabric need to be taken into
Firstly, the season of the collection and model reference are account etc…
indicated at the top of the page.
There might also be indications about the method to use for cutting
Then, a series of essential measurements for each model taken certain materials.
on the prototype are indicated. These provide vital criteria when
assembling the first piece for production, referred to as the test With all these elements on board, the production workshop has
piece or pre-production sample. to manage the entire garment-making process of the collection in
These tests are sometimes made in different sizes and use the question.
corresponding measurements indicated on the production card.

Other elements are provided concerning fusible, if the model

requires it.

608 | dp studio
 Fiche de production Société / Compagny
Saison
Production card Season
Produzione

RÉFÉRENCE MODÈLE NOMENCLATURE TISSU / FABRIC LIST / NOMENCLATURA TESSUTO

Code n° Article n° Tissu Laize Composition Métrage
Code n° Article n° Fabric art. Width Composition Yardage
Codice n° Articolo Articolo Altezza Métroggio

DETAILS DES MESURES MESURES / MEASUREMENT / MISURA THERMO EN PLAQUES / FUSIBLE / TERMOADESIVO
Dessin / Sketch / disegno A. Hauteur • De l’épaule à la taille / Heigth shoulder to waist / Altezza spalla y vita T.36 T.38 T.40 T.42 T.44 T.46 T.48 RÉFÉRENCE THERMO / FUSIBLE REFERENCE

• De la taille à la base /Waist to base / Vita y base Devant

B. Poitrine / Bust (chest) / Seno (petto) Front / Davanti
C. Largeur épaule / Shoulder width / Larghezza spalla Devant + côté devant
D. Longueur de manche / Sleeve length / Lunghezza manica Front + side front / Dietro + davanti
E. largeur encolure / Neckline width / Larghezza misura del collo Parementure
F. Profondeur encolure • Devant / Front neckline depth / Profondita misura del collo davanti Facing / Ornamento
• Dos / Back neckline depth /Dietro Dessus de col
G. Emmanchure • Devant / Armhole front / Giro davanti Collar / Collo
• Dos / Back / Dietro Dessous de col
H. Largeur bas de manche / End of sleeve width/ Larghezza calze manica Collar / Collo
I. Hauteur poignet / Cuff heitgh / Altezza polsino Pied de col
J. Largeur poignet à plat / Flat cuff width / Larghezza polsino piatto Under collar / Pied de col
K. Largeur de l’ourlet en extension / Stretched hem width / Larghezza orlo estensible Empiècement devant
L. Largeur encolure en extension / Stretched neckline width / Larghezza misura del collo estensible Front yoke / Sporne davanti
M. Largeur manche 15cm au dessus du poignet / Sleeve width 15cm over cuff / Altezza manica 15 cms polsino Poches
N. Longueur milieu dos de l’encolure / Center back neckline length / Lunghezza dietro misura del collo Pocket / tasca
O. Carrure dos / empiècement / Back yoke width / Larghezza schiena sprone Rabats
P. Tour de poitrine/Bust (chest) measurement / Giro torace (petto) Flap / Patta
Q. Tour de taille / Waist measurement / Giro vita Bas de manche
R. Tour de hanches / Hip measurement / Giro anca End of sleeve / Davanti
S. Largeur totale vêtement fermé / Whole width closed garment / Larghezza vestiti Poignets
T. Longueur / Length / Lunghezza Cuffs / Calze manica
Tissu / Fabric/Tessuto U. Taille avec élastique / Waist with stretch / Vita com elastico Fente
V. Hanches / Hips / Anca Vent / Spacco
W. Hauteur doublure / Lining length / Altezza fodera Manches
X. Hauteur fourche devant (hors ceinture) / Front crotch length / Altezza cavallo davanti Sleeve / Manica
Y. Hauteur fourche dos (hors ceinture) / Back crotch length / Altezza cavallo dietro Têtes de manches
Z. Largeur cuisse (base fourche) / Thigh width (crotch base) / Larghezza cavallo base Sleeve caps / Capo giromanica
Ceinture et passants
Waistband and belt loops / Cintura passante
COUPE / CUTTING / TAGLIO OBSERVATIONS DE COUPE / CUTTING OBSERVATION / TAGLIO
Raccord motifs Besoin Pas besoin Nombre de mètres / Meter / Metro
Pattern maching Need No need
Congiunimento motivo Bisogno No bisogno
Tissu / Fabric / Tessuto
Sens du poil Sens descendant Contre sens
Fabric wale Regular Reverse Doublure / Lining / Fodera
Senso del tessuto Senso Contro senso
Thermo / Fusible / Termoadesivo
Tête bêcher Possible Pas possible
Intersect Possible Not possible
Interzione Possibile No possibile Gabarit / Size / Taglio

dp studio | 609
ANNEXES
 14 TOME 3

ANNEXES LE VÊTEMENT FÉMININ, MODÉLISME,

COUPE À PLAT

PRODUCTION
SCALE

Before launching the production of a garment, a production scale needs

to be drawn up.
This scale covers various elements that are crucial to the garment-
making process:
- The garment is identified by its reference, a drawing and the season
it is intended for
- Technological conditions necessary for its manufacture are also
highlighted, namely the material(s) used for making the garment, the
types of machine used to make it, the type of stitch to use as well as
the stitch number per centimeter and possibly a list of complementary
materials
- Each assembly stage is highlighted to make sure the exact criteria,
step by step, for making the model in question (the approved pre-
production sample) are fully respected and reproduced. To ensure
this, seam and sewing symbols are indicated and sometimes even
photos for an optimal understanding. Further observations might
complete this information.

GAMME DE FABRICATION
PRODUCTION SCALE
Saison Réf. Modèle
Season Model ref.

Conditions Technologiques
Technologicals conditions
Tissus Matériel Type de point Nombre de points / cm Matériels divers Dessin
Fabrics Material Stitch type Stitch number / cm Various materials Sketch

Opérations Sections ou Photos Observations

Operations Sections or Photos Observations

etc...

610 | dp studio
SYMBOLS

When preparing the production scale, it is useful to provide symbols for Different symbols are necessary to make each layout completely com-
each section that requires specific explanations, to clarify and facilitate prehensible.
assembly.

ANNEXES
The symbols themselves are grouped together in the following way:
Knowing how to illustrate a section requires familiarization with the - Open seams assemblies
symbols and markings used on layouts: - Closed seams assemblies
- A thick black continuous line represents a layer of fabric - Folded seams assemblies
- A fine red continuous line represents needle penetration for various - Other seams assemblies
assembly points.

Lines generally used for layouts

Thick black continuous line

Line representing a layer of fabric

Fine red continuous line

Line representing needle penetration for various assembly points

Symbols for layouts

Fabric face (right side)

Fabric back (wrong side)

Single thickness over-seaming

Multi-thickness over-seaming or over-edging

Diameter

Blind stitch

dp studio | 611
 14 VOLUME 3

ANNEXES WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Open seam assemblies

Assembly

Plain seam assembly

Plain seam assembly

with spaced-out topstitching

Plain seam assembly

with a topstitched edge

Folded tucked seam

Edge-stitched folded tucked seam

Closed seam assemblies

Closed seam

French seam,
Assembly and topstitching

Simple Parisian seam,

Assembly via hemming

Double Parisian seam,

Assembly via hemming

612 | dp studio
Folded seam assemblies

Plain folded seam assembly

ANNEXES
Plain folded seam assembly
with topstitching on seam edge

Folded seam topstitched down

Plain folded seam assembly

with spaced-out topstitching

Folded seam
with spaced-out topstitching

Lapped seam, folded and topstitched

Two-needle industrial lapped seam

Seam assemblies

Blind (or false) hem

Machine-stitched hem

Invisibly-stitched folded hem

Folded separate hem

Overlocked lapped hem

with an invisible stitch

Machine edge-stitched covered seam

dp studio | 613
 14 TOME 3

ANNEXES LE VÊTEMENT FÉMININ, MODÉLISME,

COUPE À PLAT

SHOULDER
PADS Diagram n°1
Set-in sleeve shoulder pad

Two main types of shoulder pad are used in women’s clothing:

Diagram n°1
Shoulder pads used for set-in sleeves, such as tailored, leg-of-mutton
and blouse sleeve constructions etc…
This shoulder pad ends in a straight line on shoulder point, as
shown in the diagram.

Diagram n°2
Shoulder pads used for raglan sleeves, such as raglan, kimono and
saddle sleeve constructions etc…
This shoulder pad encompasses the top of the arm and gives
roundness to the sleeve in that area.
The tape is placed along the center of the shoulder pad from shoulder
top to the end of the pad, dividing the front and back volume in two
(Diagram n°2b).
These two main types of pad can be completed by other shapes of
pad but they all stem from one of the two major types. A shoulder
pad can also be created for a specific model. For its position, it is
preferable to place it 1cm beyond the armhole tape marking to help
give shape to the sleeve cap (Diagram n°1b).
Diagram n°1b
Shoulder pad 1cm beyond
Diagram n°3 the armhole tape marking

When deciding to place a shoulder pad during the creation of

a garment, you must add its thickness to your outline. This
measurement is to be taken at the far end of the shoulder pad
(example 0,75cm) where it reaches shoulder point. If the pad is
relatively thick at the shoulder top end (near the neck), it is possible
to also add 0,25cm for example, to the outline (Diagram n°3b).
This precaution is essential to prevent the garment from pulling
on the body due to lack of length (consumed by the shoulder pad 1
thickness).

614 | dp studio
 Diagram n°2 Diagram n°3
Raglan sleeve shoulder pad

0,75

ANNEXES
1

Centre front SG
Bust spread
P

Diagram n°2b Diagram n°3b

Placing the tape for a raglan sleeve
0,25

0,75
1

dp studio | 615
 14 TOME 3

ANNEXES LE VÊTEMENT FÉMININ, MODÉLISME,

COUPE À PLAT

ALTERATION FITTINGS
During fittings of a garment (or of a mock-up in toile), several problems
may be identified, depending on the morphology and carriage of the
wearer. In the following pages, there is a non-exhaustive list of the
most common problems and solutions to remedy them.

1°
SUIT JACKET
(BODICE, BLOUSON JACKET, COAT…)

Diagram n°1
Centre back SG

Bust spread

Back Side back Side front

panel panel
Front
SG side piece

Centre front SG
SG
SG

SG

Side piece

Diagram n°1
The Front
1. A front that is too narrow will crush the bust and form folds in the
fabric. The garment will also gape at center front.

2. To resolve this problem, add more width to the bust as well as on

the side front panel.
This width increase will in turn impact the cross-front of the garment.

616 | dp studio
 Diagram n°2

Centre back SG

ANNEXES
Bust spread
Back Side back Side front
panel panel
Front

SG side piece

Centre front SG
SG
SG

SG
Side piece
Upper sleeve SG

Under sleeve SG

Diagram n°2
Maintain
The back
1. A back that is too narrow will lead to discomfort for the wearer,
especially when the arms move forward. This will be felt particularly
at elbow level. Visually, no pulling of the fabric will be noticeable Ease out

until the wearer moves.

2. To resolve this problem, the cross-line width will have to be

increased a little without modifying the armhole too much. The side
seam can also be moved to increase the back volume. After these
modifications have been carried out, the armhole will need to be
redrawn.

3. The back of the sleeve can also be enlarged to guarantee more

overall comfort, without forgetting that the sleeve must correspond
to the volume of the rest of the garment. Once these modifications
have been carried out, check the excess value that will no doubt have
increased.
If the excess value is too big and difficult to suppress, it is possible to
increase the armhole depth.

dp studio | 617
 14 VOLUME 3

ANNEXES WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°2b

Centre back SG

Bust spread
Back Side back Side front
panel panel Front

SG side piece

Centre front SG
SG
SG

SG
Side piece

Diagram n°2 (continued)

Under sleeve SG
Upper sleeve SG

The back
4. An over-large cross-back creates big pleats at the back that are not X

part of the design and that change the allure of the garment as the
X
fabric is not being pulled sufficiently. There is not enough tension. Maintain
X

5. To resolve this problem, reduce the cross-line width a little without

X
modifying the armhole too much. The side seam can also be moved to
reduce the back volume. Once these modifications have been made, Ease out
X

re-draw the armhole. X

6. The back of the sleeve can also be made smaller to guarantee X

better assembly with the garment body.

If the excess value is too small, it is possible to reduce the armhole
depth.

618 | dp studio
 Diagram n°3 Diagram n°4

Centre back SG

Bust spread
Back Side back Side front

ANNEXES
panel panel Front

SG side piece

Centre front SG
SG
SG

SG
Side piece
Centre back SG

Bust spread

Back Side back Side front

panel panel Front
SG side piece

Centre front SG
SG
SG

SG

Side piece

Diagram n°3 Diagram n°4

The back is too long between the cross-line and the base of the Inversely, if the back is too short between the cross-line and the
neckline. A fold will form at the neckline base. The neckline needs neckline base, the neckline will have to be raised to give more fabric
to be lowered to suppress this surplus fabric. In some cases, the length to the back and prevent the top of the collar from moving away
shoulder top might need to be moved and the shoulder slope too much from the nape of the neck.
modified.

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 14 VOLUME 3

ANNEXES WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°5 Diagram n°6

Centre back SG

Bust spread
Back Side back Side front
panel panel Front
SG side piece

Centre front SG
SG
SG

SG

Side piece Centre back SG

Bust spread
Back Side back Side front
panel panel Front
SG side piece

Centre front SG
SG
SG

SG

Side piece

Diagram n°5 Diagram n°6

The shoulder The shoulder
1. An overly horizontal shoulder slope is a common flaw when a 1. An overly short shoulder slope is also a frequent flaw. In this case,
garment is being fitted. Ugly folds appear at the base of the front the shoulder point sticks to the body and the neckline gapes in the
and back armhole. void when the garment is buttoned up (a horizontal fold can also form
on the back between the two shoulder points, indicating tension from
2. To resolve this problem, pinch the surplus fabric at shoulder level
a lack of ease at shoulder level).
in symmetrical fashion back and front.
2. If the garment stays open (unbuttoned) at center front, the two
3. If the flaw only appears on one side (back or front), pinch the
fronts will not be parallel, one side appearing longer than the other.
surplus fabric only on that side. This flaw might only be visible on
To resolve this problem, unpick the shoulder seam and give more
one side of the garment (one shoulder, no doubt the one where the
length to the front and back shoulder points, in identical fashion on
shoulder pad is placed).
both sides, to regain perfect symmetry for the two fronts.

620 | dp studio
 Diagram n°7 Diagram n°8
Centre back SG

Bust spread
Back Side back Side front
panel panel Front

ANNEXES
SG side piece

Centre front SG
SG
SG

SG

Side piece

Centre back SG

Bust spread
Back
Side back Side front
panel panel Front
SG side piece

Centre front SG
SG
SG

SG

Side piece

Diagram n°7 Diagram n°8

The shoulder The shoulder
1. An over-long shoulder means that the armhole seam will be part There is pulling on the front between the neckline and armscye,
of the arm volume rather than part of the shoulder, moving the sleeve creating an ugly fold.
further away from the arm and making the sleeve look empty. To resolve this problem, unpick the shoulder seam and align the
To resolve this problem, reduce the length of the front and back front shoulder with the back shoulder to suppress this pulling (front
shoulder and redraw the armhole, modifying also the cross-line and back neckline widths should be equal, in principle).
widths. After carrying out these transformations, check the neckline,
armhole and cross-front.
2. An over-short shoulder can place the armhole seam on the volume
of the garment body, moving the sleeve position so there is no longer
enough room for the arm.
To resolve this problem, increase the front and back shoulder length
and redraw the armhole, modifying also the cross-line widths.

dp studio | 621
 14 VOLUME 3

ANNEXES WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°9

Centre back SG

Bust spread
Back Side back Side front
panel panel Front

SG side piece

Centre front SG
SG
SG

SG
Side piece
Under sleeve SG
Upper sleeve SG

X
Maintain
X

Diagram n°9 Ease out

X

The sleeve X

An over-narrow sleeve will hem in the arm and affect comfort and X

hang of the sleeve when worn.

To resolve this problem, enlarge the armhole of the garment in order
to then enlarge the armscye of the sleeve to ensure better comfort.

622 | dp studio
 Diagram n°10

ANNEXES
Centre back SG

Bust spread

Back Side back Side front

panel panel Front

4 1
SG side piece

Centre front SG
SG
SG

SG

Side piece
Upper sleeve SG

Under sleeve SG

X
Maintain
X

Ease out
X Diagram n°10
X
The sleeve
X An over-wide sleeve, defined by an armhole that is too low, can also
impact the comfort of the wearer. The sleeve volume will accumulate
and restrict movement of the arm.
To resolve this problem, the armhole on the garment body needs
to be raised and then the armscye of the sleeve modified so that it
corresponds perfectly to the armhole.

dp studio | 623
 14 VOLUME 3

ANNEXES WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°11 Diagram n°12

Under sleeve SG
Upper sleeve SG
X

X
Maintain
X

X
Ease out
X

X
Under sleeve SG
Upper sleeve SG

X
Maintain
X

X
Ease out
X

Diagram n°11 Diagram n°12

The sleeve The sleeve
The sleeve folds on the front of the arm. Its hang needs to be The sleeve folds on the back of the arm. Its hang needs to be
reconsidered for a better fit on the wearer. To re-balance the sleeve, reconsidered for a better fit on the wearer. To re-balance the sleeve,
it is usually enough to move the notches so that the sleeve moves it is usually enough to move the notches so that the sleeve moves
backwards. forwards.

624 | dp studio
 2°
TROUSER

Diagram n°13 Diagram n°14

ck

Centre front
C entre ba
Large hips

ANNEXES
X
X Ease out
X
2
X Back Front
X

Knee length

SG

SG
Hem line
ck

Centre front
C entre ba

Large hips

X
X
X Ease out
X
X Back Front
X

Knee length
SG

SG

Hem line

Diagram n°13 Diagram n°14

The rise of a pair of trousers is too long. When worn, a small fold The trouser rise is too short. When worn, the trousers have a
forms on the crotch (front) and on the seat (back). This extra length tendency to cut into the wearer’s groin.
must be eliminated from the two pieces. The crotch and seat depth To resolve this problem, mark the initial position of the waistband
do not change, in principle. on the dummy and then let the trousers fall until the right rise length
It is to be noted that the rise length can be defined by the style aimed is obtained for comfort. Measure the difference between the new
at, leading at times to a deliberate exaggeration of this length. waistband position and the initial one and lower the crotch and the
seat by this amount on your pattern outline.

dp studio | 625
 14 VOLUME 3

ANNEXES WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°15 Diagram n°16

ck

Centre front
C entre ba

Large hips

X
X
X Ease out
X
X Back Front
X

Knee length
SG

SG

Hem line
ck

Centre front
C entre ba

Large hips

X
X
X Ease out
X
X Back Front
X

Knee length
SG

SG

Hem line

Diagram n°15
The crotch (front) is too short because of an over-narrow thigh volume
(lack of width). Ugly folds (commonly referred to as “whiskers”)
Diagram n°16
appear at the front on the inside leg. The back rise of the trousers is too short. Folds appear on the front
Unpick the crotch on the customer and measure how much this because the front and back volumes are not balanced and the
opens up the trousers. This will depend, from wearer to wearer. This trousers do not sit properly.
measurement must be added to the front of the trousers (value to be To resolve this, it is possible to suppress fabric value at the front and
halved in order to place one half on the right front and the other half give more to the back to increase the difference between the length
on the left front). of the front rise and that of the back.
Redraw the crotch as well as the leg inseam. Remember to re-define the leg lengths, if necessary.

626 | dp studio
 Diagram n°17 Diagram n°18

ck

Centre front
C entre ba

Large hips

X
X
Ease out
X

ANNEXES
X
X
Back Front
X

Knee length
SG

SG

Hem line
ck

Centre front
C entre ba

Large hips

X
X
X
Ease out
X
X
Back Front
X

Knee length
SG

SG

Hem line

Diagram n°18
The back rise is too short (lack of length). The fabric is pulled, forming
creases on the back inside leg, and the trousers tend to cut into the
bottom.
Diagram n°17 Unpick the seat seam on the wearer and measure how much this
opens up the trousers (given the difficult access, it is not easy to
The back rise or seat seam of the trousers is too long. Folds form
define this value without unpicking the inside leg seam, also known
under the bottom generally, as there is nowhere to accommodate
as the leg inseam). This measurement is to be added to the back of
the surplus fabric.
the trousers as shown (value to be halved, placing one half on the
To resolve this, put the trousers on the dummy or wearer, pinch the
right back and the other half on the left).
surplus fabric and suppress the equivalent value from your pattern
Redraw the back rise as well as the leg inseam.
outline.

dp studio | 627
 14 VOLUME 3

ANNEXES WOMENSWEAR CLOTHING

PATTERN MAKING
FLAT-PATTERN DRAFTING

Diagram n°19

ck

Centre front
C entre ba
Large hips

X
Ease out
X

X
Back Front
X

Knee length
SG

SG

Hem line

Diagram n°19
The back of the trousers pull horizontally across the buttocks and at
large hip level. It is advisable to check the position of the side seam.
If it pulls towards the back, this confirms that there is a lack of
material at the back. Analyze the difference between the correct
position and the back-leaning side seam (at large hip level) and
place this value difference on either side of the trousers’ grain line,
without changing the waist measurement or the width of the bottom
of the trousers.
Then adjust the curve of the back rise, the back side panel and the
back waist line.

628 | dp studio
CORRESPONDING
INTERNATIONAL
SIZE CHART
This chart of corresponding sizes for different countries highlights
certain differences that exist between countries. Indeed, each country
has its own barometer for measurements, making it quite difficult to

ANNEXES
give the exact equivalent of a particular country’s size reference.

The chart allows the user to find his/her country’s equivalent size
reference in relation to the measurements used in this flat-pattern
drafting method.
Once the corresponding size has been found, the user must scale a
base pattern up or down and work in proportion to the size used in this
method, namely a French size 38.

Pays / Countries Tailles /Sizes

Allemagne / Germany 34 36 38 40 42 44 46

Brésil / Brazil 42 44 46 48 50 52 54

160/84 165/88 170/92 175/96 180/100 185/105

Chine / China
A A A A A A

Corée du sud/ South Korea 55 66 77 88 99

Espagne / Spain 36 38 40 42 44 46 48

États-Unis / United States 4 6 8 10 12 14 16

États-Unis / United States (pouces / inch) 28 29 30 31 32 33 34

Europe / Europe 34 36 38 40 42 44 46

France / France 36 38 40 42 44 46 48

International / International (lettres / letters) S M M L L XL XL

International / International (chiffres / numbers) 0 1 2 3 4 5 6

Italie / Italy 40 42 44 46 48 50 52

Japon / Japan 7 9 11 13 15 17 19

Royaume-Uni / United Kingdom 8 10 12 14 16 18 20

dp studio | 629
 OTKUUT Publications
OTKUUT Editions, in association with the dp studio company, has published a
first series of books allowing readers to learn the fundamentals of flat-pattern
drafting.

Womenswear pattern-making, flat-pattern drafting

Volume 1: Skirts, Bodices, Sleeves, Collars
Volume 2: Jackets, Sleeves, Tailored collars, Trousers, Capes
Volume 3: Kimono sleeves, Bustiers, Blouson Jackets, Knits, Dresses, Coats, Hoods, Swimwear

OTKUUT Publications
44 rue Armand Silvestre 92400 Courbevoie

[email protected]
www.dpstudio-fashion.com

In France, royalties are governed by the Intellectual Property Rights (IPR) code of 1st July 1992, aggregating all laws relative to Intellec-
tual Property, notably those of 11th March 1957 and 3rd July 1985.

Article L122-4 of IPR: all rights reserved. No part of this publication may be reproduced, distributed, translated, adapted, transformed
or transmitted in any form or by any means, including photocopying, recording or other electronic methods, without the express written
permission of the publisher.

© Copyright 2014 OTKUUT Publications

ISBN 979-10-94351-02-4

First edition – legal deposit – December 2014

Typesetting: Philippe Guillaume
Printing: SNEL Graffics sa, Vottem, Belgium

630 | dp studio
 3

WOMENSWEAR CLOTHING PATTERN MAKING FLAT-PATTERN DRAFTING

CONSTRUCTING BASE PATTERNS Kimono sleeves – Bustiers – Blouson Jackets – Knitwear
– Dresses – Coats – Sleeves – Hoods – Swimwear
3
The dp studio method is simple, clear, precise and highly detailed, and covers all the data necessary for
making the essential basics of women’s clothing with an optimal understanding that facilitates their making.
CONSTRUCTING BASE PATTERNS
Kimono sleeves – Bustiers – Blouson Jackets – Knitwear –
This method has been developed in a way that explores the fundamentals of how clothing is made by flat
Dresses – Coats – Sleeves – Hoods – Swimwear
pattern drafting, in a top-of-the-range spirit.
by Dominique PELLEN
The method addresses a wide-reaching public, including both private and professional schools whose
renown and recognition are gained through work of the best quality.
Individuals desiring to design and make clothes can discover, to a varying extent depending on their level,
all the elements necessary for making a garment. WOMENSWEAR CLOTHING
PATTERN MAKING
www.dpstudio-fashion.com
FLAT-PATTERN DRAFTING
ISBN 979-10-94351-02-4

49 €

dp studio OTKUUT Éditions