PAT TERNMAKING

FOR
UNDERWEAR DESIGN

Kr istina Shin, Ph.D.

.
 Digitized by the Internet Archive
in 2024

httos://archive.org/details/patternmakingforO00Okris
 PATTERNMAKING
FOR
UNDERWEAR DESIGN
Patternmaking for Underwear Design
Copyright © 2010 Kristina Shin

All rights reserved under International and Pan-American Copyright Conventions. No part of this publication may
be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic or mechanical,
by photocopying, recording or otherwise, without the express written permission of the copyright owner:
[email protected]

ISBN: 1451511590
EAN: 9781451511598

Printed in the United States of America

 PATTERNMAKING
FOR
UNDERWEAR DESIGN

Kristina Shin
PhD
 Preface
| am pleased to introduce Patternmaking for Underwear Design. This book started as a simple
lecture note five years ago and has developed into a comprehensive patternmaking guide suitable
for students, teachers and the industry. Step-by-step instruction is matched with superb illustrations,
and all measurements are provided in both metric and imperial scales. This book introduces common
bra patternmaking methods currently widely used in industry and offers the author’s own innovative
bra patternmaking method, developed using the flat patternmaking concept. This new method
enables students with novice patternmaking skill sets to create various bra designs from scratch with
commercial fit quality.

Patternmaking for Underwear Design also introduces different types of underwear, categorised
into three sub-groups based on function: 1. Foundation, 2. Lingerie, and 3. Sleepwear/lounge
wear. Patternmaking and the construction of lingerie and sleepwear/loungewear is relatively more
straightforward than the methods used for foundation garments. As a consequence, the author
concentrates on the development of foundation garments and the bra in particular. Since its advent
in the late 19th century, the bra has evolved into a highly complex and sophisticated garment which
serves multiple functions by supporting the breasts and creating whatever is the fashionable shape
of the time. It is perhaps not surprising then that the bra is still evolving as a result of changes in
fashion trends and rapid developments in cutting edge technologies such as moulding, bonding, and
lamination, and ultrasonic sewing technology, as well as smart materials developments.

Patternmaking for Underwear Design has seven chapters. Chapter 1 helps readers gain an
understanding of underwear in general, and the bra in particular. Chapter 2 demonstrates how
to create the basic blocks which are then used and developed further in later chapters. Chapter 3
considers different types of bra pattern which produce garments with commercial fit quality and
introduces not only the industry’s basic underwired bra direct drafting method, but also the author’s
own innovative flat patternmaking method for the lower centre bra, sports bra and soft bra pattern.
Chapter 4 contains different types of corsetry pattern reflecting the recent fashion renaissance for
these garments. Chapter 5 introduces four different types of pattern for briefs and panties. Chapter
6 introduces four different types of sleepwear. Last but least, chapter 7 covers other soft lingerie.

| would like to thank the wonderful pattern and sample makers whom | met in the industry during my
time as a designer and patternmaker for both outerwear and underwear. Without their generosity
in sharing their knowledge and passion for patternmaking, this book wouldn’t be possible. | also
would like to thank Mr. and Mrs. Sia, Chairman and Vice Chairman of ACE Style Intimate Apparel, a
world leading underwear manufacturer, for their support and generosity. Also, | would like to thank
the Institute of Textiles and Clothing of the Hong Kong Polytechnic University for providing me with
a sound research environment. Last but least, | would like to thank my family and friends for their
support and encouragement.

Kristina Shin
PhD
Contents
Preface 3.4 The lower centre T-cup bra 78
3.5 The sports bra pattern 90
Chapter 1 3.6 The soft bra pattern 107

Introduction 1
1.1 Underwear 2 Chapter 4
1.2 Patternmaking 3 Different types of corsetry pattern 117
1.2.1 The basic block 3 4.1 The corset pattern 118
1.2.2 The intermediate block 3 4.2 The all-in-one pattern 126
1.3 Body measurements 4 4.3 The waspie pattern 141
1.3.1 Bra sizing 4 4.4 The garter belt pattern 150
1.3.2 Sizing conversion chart 4
1.3.3 Body measurements chart 5
1.4 Materials and trims 9 Chapter 5
144) Fabrics 9 Different panty patterns 155
1.4.2 Laces 10 5.1 The brief pattern 156
1.4.3 Elastic trims 11 5.2 The thong pattern 163
1.4.4 Accessories 12 5.3 The boy leg brief pattern 169
1.4.5 Paddings 13 5.4 The French knickers pattern 178
1.5 Bra anatomy 14
1.6 Underwire and cup coverage 15 Chapter 6
1.7 Finding the centre of a wire 17
Different types of sleepwear pattern 187
1.8 Bra back design and support 19 6.1 The babydoll pattern 188
6.2 The slip pattern 195
Chapter 2 6.3 The camiknickers pattern 202
The basic blocks 21 6.4 The pyjama shirt pattern 210
2.1 The basic bodice block 21 6.5 The pyjama pants pattern 223
2.2 The basic skirt block 31
2.3 The basic T-shirt block 38 Chapter 7

Camisole, bodysuit and leggings 231

Chapter 3 7.1 The camisole pattern 232
Different types of bra pattern 48 7.2 The bodysuit pattern 238
3.1 The basic underwired bra pattern 49 7.3 The leggings pattern 245
3.2 The hook-up bra pattern 63
3.3 The two-dart full cup lace bra pattern 69 References 251
 Bra back design

Cup coverage

Wire opening
1.1 Underwear
The idea of wearing underwear is so natural for people living in the 21st Century but understanding
how the concept of underwear evolved is not quite so simple. Ewing (1971) takes the view that
underwear began as outerwear which gradually migrated to being worn as underclothing for largely
functional reasons. Whilst accepting that underwear existed in some form before the concept of
‘fashion’ began, she argues that it did not really acquire any significance, or any history, until the late
Middle Ages. Tobin (2000) disagrees with this viewpoint, suggesting that the concept of underwear
became significant only from the end of the 19th Century. However, Saint-Laurent (1968) provides
an alternative viewpoint, suggesting that the concept and existence of underwear began in ancient
civilisation around 3000B.C. from a sense of status, and not for hygienic purposes or protection from
extreme weather. Saint-Laurent (1968) identifies this layering process as instrumental in bringing
about the concept of undergarments and suggests that, as society became more complex and
sophisticated, these original simple undergarments developed to serve many different purposes and
functions.

The Oxford English Dictionary (2006) defines underwear as clothing worn under other clothes, and
next to the skin, whereas Blair (1992) defines underwear as an overall term for clothing worn close
to the body and under outer garments. The concept of underwear is strongly related to its functions
(Barbier and Boucher, 2004; Calasibetta, 2003; Cunnington and Cunnington, 1992) and the functions
of underwear throughout history can be summarised as follows:

i. To provide class distinction.

ii. To provide protection from the cold.
iii. To support the shape of the costume.
iv. To support the body. Underwea
1.1
@
2
V. To provide enhanced personal hygiene.
vi. To enhance sexual attraction.

Barbier and Boucher (2004) classify women’s underwear into three different categories based on
functionality: lingerie, corsetry and hosiery. They identify lingerie as mainly for hygiene purposes,
sexual attraction, and comfort. Corsetry is identified as providing support for the outerwear costume
shape, as well as to preserve female morality. Hosiery functions as an enhancer of aesthetic qualities
and reflects industrial improvements. Barbier and Boucher (2004) also argue that the three major
functions of hygiene, body support, and sexual attraction/aesthetics remain relevant to modern
underwear. In general, underwear is classified into: foundation, lingerie, and loungewear. Foundation
consists of bra, girdle, corset and other supporting garments whilst lingerie consists of soft underwear
and sleepwear, and loungewear consists of loose fit garments for home entertaining.

However, whilst ‘under the outerwear’, underwear has an established and growing position as an
important fashion item, underwear patternmaking has neither been shared or studied in the same way
afforded to outerwear, despite its long history. The author has produced this book ‘Patternmaking for
Underwear Design’ to help rectify the lack of underwear patternmaking books and to allow fashion
students, designers in the industry, to understand more about underwear patternmaking.
 1.2 Patternmaking
The three different patternmaking methods commonly used by fashion designers and patternmakers
in the industry, and educators in the education field, are:

1. Draping
2. Pattern drafting
3. Flat patternmaking

Depending on the material used and the style to be achieved, the above three methods can be used
separately or blended. Draping is the oldest patternmaking method which involves creating the
pattern pieces by applying fabric directly onto the three dimensional dress form. Pattern drafting
is also called as ‘direct pattern drafting’ which involves creating the pattern pieces by using body
measurements directly. Flat patternmaking is a system of creating patterns by manipulating a basic
block.

1.2.1 The basic block

This basic block, known as a basic pattern or ‘sloper’, is created by using either the direct drafting
method or draping and has already undergone the fitting and alteration process for good fit. The
basic block contains a movement ease allowance which allows the body to move without tearing
the garment. Each basic block tends to be different from one company to another. Creating a fashion
pattern by using the flat patternmaking method is reasonably logical and easy to understand.

1.2.2 The intermediate block

The need
Patternmaking
1.2
Mi
3 for further development of the basic block led to the development of the concept of the
intermediate block. The intermediate block, or foundation, is a developed from the basic block
to enable easier and faster pattern manipulation. Use of the intermediate block maximises the
utilisation of flat patternmaking because it enables patternmakers to produce patterns for a variety
of styles within a short period of time. Use of the intermediate block is now commonplace in the
outerwear industry.

1.3 Body measurements

The accurate body measurements ensure the accuracy of the patternmaking and subsequent
fit of garment. A body measurements chart (p.5) is provided for convenience of the reader. The
measurement points are illustrated in Figure 1 - 4 (p.6-7). The US size10 (UK size12) is used as a
standard size for this book as its ‘under bust girth’ and ‘full bust girth’ measurements fit in the
34B/75B bra size (US) (Figure 5 on p.8). The US 34B are chosen because the US is one of the world’s
biggest intimate apparel market and the bra size 34B/75B is the standard sample size commonly
used in the industry.
1.3.1 Bra sizing

The bra sizing system consists of two components; the even numbered band size and cup size. For
instance, 34B means a 34 inch band with a B cup. 34B is equivalent to 75B in the metric system.
The band size for the imperial system needs to be calculated by adding 4-5 inches to the under
bust girth measurement whilst the under bust girth is used directly as the band size for the metric
system. For instance, a woman with 29-30 inch under bust girth is recommended to wear a bra
with a 34 inch band whilst a woman with 75cm under bust girth should wear a bra with a 75 cm
band. Cup size is determined by the difference between the full bust girth and the band size (see
Table 1).

Table 1: The formular for the bra cup determination

Full bust - Under bust | Cup size

(for metric) (Asia)

1.3.2 Sizing conversion chart

The actual body measurements of 34B vary between countries as shown in the size conversion
chart for 34B below (Table 2). For instance, a 34B bra sold in Asia is equivalent to a 34A bra sold in Body
1.3
M
4measure
the US. This sizing method can be called ‘vanity sizing’ which help consumers feel good about their
body. However, this creates confusion and difficulties for consumers. Therefore, it is important for
manufacturers to educate consumers by using information on the size label.

Table 2: Size conversion chart for 34B

Other lingerie,
Category Bra sleepwear & Outerwear
swimwear

Australia & ; ‘
US UK | France | Italy | Euro Asia West / East US | UK | France | Italy | Australia | Germany | Euro | Korea
New Zealand
 1.3.3 Body measurements chart

Large

Size 12 (UK) Size 14(UK) Size 16(UK) Size 18 (UK)

Grading Size 8 (UK) Size 10 (UK)
Body Size 44 (Euro) Size 46 (Euro)
interval Size 36 (Euro) Size 38 (Euro) Size 40 (Euro) Size 42 (Euro)
Measurements tion
Size 6 (USA) Size 8 (USA) Size 10 (USA) Size 12 (USA) Size 14 (USA ) Size 16 (USA)
RRR ee
= Se

Full Bust Girth

fa | eostone

Across Shoulder

Bust Point to Bust

Point

Sleeve Length

Elbow Girth

Hip Girth
=

Body
51.3
Mmeasurements
 Figure 1: Girth measurements Figure 2: Front and other measurements

7. Bust Depth

4. Across Front

1. Over Bust Girth 8. Bust point to

Bust point
2. Full Bust Girth

3. Under Bust Girth

14. Waist Girth 12. Elbow Girth

15. Mid Hip Girth 10. Sleeve Length

13. Wrist Girth

17. Thigh Girth

20. Crotch Depth

23. Waist to Knee Body

1.3
M
6measur

18. Knee Girth

24. Waist to Ankle

19. Ankle Girth

 Figure 4: Trouser measurements
Figure 3: Back and other measurements

9. Centre Back Length

6. Across Shoulder

5. Across Back

21. Waist to High Hip

22. Waist to Hip

26. Outseam

25. Inseam

Body
HM
71.3
measurements
 Figure 5: 34B (75B) breast measurements

Bust point to bust point

7
(18cm)

Centre neck to B.P.

77/g
(20cm)

Outer bust arc

3 aE
(10cm)

Body
1.3
HM
8measure

Table 3: Breast measurements for cup pattern drafting

3 fe" (8.4cm) 3 ¥/,4" (9.4cm) 31.” (7.9cm)

3 re” (9cm) 3 5/se” (10cm) 3°" (8.5cm)
3 B/,.” (9.6cm) 43/,.’ (10.6cm) 3 5/,” (9.1m)
4/16” (10.2cm) 4 ’/_” (11.2cm) 3 7/3” (9.7cm)

Note: Conversion between metric and imperial measurements is rounded for simplicity.
 1.4 Materials and trims

1.4.1 Fabrics

Charmeuse: Charmeuse is a soft and light woven fabric which offers good hand feel and
lustrous look. It is constructed by warp-face satin weaving.

Cotton jersey: Cotton jersey can be constructed by weft, flat and circular knitting. Cotton jersey
is used for underwear from undershirt to brief gusset lining.

Cotton lycra: Cotton Lycra is a knit fabric composed of cotton and lycra which offers comfort
of cotton and shape recovery of Lycra. Lycra is a trademark name of DuPont but
widely used as a generic name for spandex.

Laminated form: Laminated form refers a thin polyurethane sheet laminated with knit fabrics on
both surfaces. It is used for the cut and sewn bra cup construction. Commonly
used form thicknesses are 2mm, 3mm and 4mm.

Powernet: Powernet is used for the bra and other foundation garments such as all-in-
one and girdle. Usually made of nylon or polyester blended with spandex. It
possesses excellent elasticity and shape recovery and constructed by mostly
warp knitting.

Materials
1.4
andtrims
B
9
Satin: Satin is made of filament yarn including silk, nylon and polyester which offers
lustrous look and excellent drape. It is used for women’s lingerie such as slip,
French knickers and nightgowns.

Satinette: Synonym for satin. Usually made of synthetic fibre.

Simplex: Simplex has an appearance of two sided jersey. It is popular for the moulded bra
cup due to its firm yet stretchy characteristics. Nylon and polyester are used.

Stabiliser: Stabiliser refers a fine nylon net. It is sheer and rigid. Normally used at the gore
and side (cradle) where shouldn’t be stretchy.

Tricot : Tricot is a plain warp knit fabric. It is popularly used for women’s underwear as it
can be made of any fibres which are comfortable, durable and most importantly
breathable. It is very stable even with light and sheer materials.
1.4.2 Laces

All-over-lace: A lace without scallop edge like a normal fabric.

SORES

asehasecees ; 3 $
Gallon lace: A band lace with repeated scallops with or without picots on
both edges. It is also called a ‘double scalloped’ lace. It comes
with 14.5cm, 17cm and 22 cm.

@10

Small band lace/

Trimming lace: Gallon lace with 3-8cm width. It is used for decoration around and
Materials
1.4
trims
the neckline, underband or legs.

Embroidery lace: Embroidery lace is a lace with an edge created by embroidery.

Base materials can be both rigid and stretchy.
 1.4.3 Elastic trims

Shoulder strap/
brastrap: Shoulder strap is an elastic tape with smooth surfaces on
both sides. Some have decorative edges or patterns. Invisible
shoulder straps made of clear plastic and exchangeable shoulder
straps with hooks became fashionable.

$$6:0666000006OO0666600<
NF OF Od OF OF OF I I IIIS

CC P—§$P-~P-~S——S

Plush elastic: Plush elastic is also called ‘facing elastic’ and ‘trimming elastic’.
One side is soft and fuzzy which touches the skin whilst other
side is hidden after sewing.

pg, 00,0,
YO) Ooo.
goooococodoco atefatelelsiels[etstelateletelelietste tel

andtrims
Materials
1.4
HM
11

Fold-over elastic: _ Fold-over elastic is also called ‘V-fold’ elastic. It is used as a

binding to the edges without seam allowance.
1.4.4 Accessories

Underwire: | Underwire is a U-shape metal wire. Usually made of stainless

steel with nylon coating at the tips or whole body.

Bone: Bones are made of plastic of stainless steel. Plastic bones are
popularly used for bra (side support) and corset for its light weight
and flexibility. Commonly used width is 4.8mm.

Ceee
Cts NnTee
attest2de OR,

Ring: The ring is used as a link/connector between straps in order to

adjust the length of the straps. A circular shape is most popular
but triangular and rectangle shapes are also available. Sizes range O
from 6mm to 30mm which is based on the width of the straps.

Slide: The slide is also used as an adjuster of the length of the straps.
It is a rectangular shape with a middle bar which can fix the end
Materials
1.4
andtrims
HM
12
of the strap. Sizes range from 6mm to 30mm.

Hook: The hook functions like a ring which connects two straps to the
bra. A rectangular shape is most commonly used but a triangular
shape is also available. Sizes are from 6mm to 30mm depending
on the width of the straps.
 Hook & eye tape: Hook and eye (H&E) tape is used as a fastener/closure. Hooks
and eyes are made of stainless steel and tapes are made of
cotton or nylon. Sizes vary. Commonly used H&E widths are
1.9cm, 3.2cm and 4.5cm. However, it can be customized.

1.9cm 3.2cm
(1 column x 3 rows) (2 column x 3 rows) (3 column x 3 rows)

1.4.5 Paddings

PU (Foam) cup: PU (Polyurethane) is used in order to increase the cup volume.

Moulded PU is popularly used due to its smooth appearance.
Yellowing of PU is one of problem which requires thick lining.

Materials
1.4
andtrims
MH
13

Fibre filled: Fibre filled pads are light and made of polyester. It possesses
excellent colour fastening compared to the PU but it doesn’t
project the smooth surfaces as PU cup does.

Cookie: The cookie is also called a chicken fillet. It is removable padding

which is made offilled fibre, air, foam, water, and silicon.
1.5 Bra anatomy

Shoulder strap (S/S)

Neckline
/\nner bust edge
Upper Cup
Slide

Gore / Centre piece

Side panel Wing / Back
Hook tape Lower cup
Eye tape

Braanat
1.5
@14

Underarm
elastic

Underband elastic Lower cup center Lower cup side

Side bone channel tape

Cradle : A combination of a gore and side panels. It is also called a frame.

 1.6 Underwire and cup coverage

The underwire itself can be categorised by three different centre heights; low centre height,
medium centre height, and high centre height wire, and various wire gauges are also available
with a multitude of wire shapes. The wire shape is strongly tied with the types of cup coverage as
indicated in Figures 6-8. Thus, the low centre height wires include plunge wire, cleavage and % cup
wire, the medium centre height wires include % cup wires (with a slightly different coverage) and
the high centre height wires include full cup wire, and balcony or balconette wire. Figures 6-8 show
the different types of underwire and corresponding bra designs. When a wire is being selected for
bra design, there are three things which should be considered; curve, tension and the length of
the wire. Bra band patternmaking starts with the shape of the wire, and bra cup patternmaking
depends on the wire centre height along with breast measurements.

Figure 6: Low centre height wires and cup coverages

Full cup

Underwire
1.6
and
M15
cup
coverage

CE

*C.F. = Centre front

 Figure 7: Medium centre height wire
and cup coverage

(lr

Figure 8: High centre height wire and cup

coverages

1.6
Underwire
and
cup
M
coverage
16

CE

Strapless bra Balcony bra

 1.7 Finding the centre of a wire
Finding the centre of a wire is rather difficult and confusing for the first time. It is easier to use
guide lines (X and Y-axis) for the band draft in order to determine the centre of the wire. After
drawing horizontal and vertical guidelines, place the wire at the corner of the two guidelines and
find the lowest point of the wire which touches the X-axis. Then, mark the point with a marker on
the wire (Figure 9). Slide the wire down and to the side so the inner curve of wire will touch the X
and Y-axis and transfer the centre on the band draft (Figure 10). For high centre height wire (i.e. full
cup wire), it is easier to place the outer wire end parallel to the Y-axis. For medium centre height
wire (i.e. 3/4 cup), it is easier to place the wire where the inner wire end points at the pit of the
neck base whilst the outer wire end points at the tip of the shoulder. However, it is rather difficult
to pinpoint the precise centre position for the low centre height wire (i.e. plunge wire). Figures 11
and 12 show how to open and trace a wire for the band draft.

Xx

Mark the centre on the wire

Figure 9
centre
the
1.7
Finding
ofawire
M
17

Figure 10
 Figure 11: Method of Opening and
tracing of a wire

Y.

Figure 12: Complete the wire opening tracin

g

1.7
Finding
the
ofa
centre
wire
By
18

* Opening amount (a) between the original tip and open

tip is between */s"(1cm) and 3/,”(2cm).
The amount depends on the shape and tension
of the wire used. The purpose of this procedure
is to mimic the open shape of the wire when the bra
is worn ona thr ee-dimensional human body.
 1.8 Bra back design and support
The back of a bra design impacts on the support provided for the breasts. Figure 12 shows the
different types of bra back. A range of hook and eye tapes is available for the different activities
involved and performances expected. For instance, racer back and U-back styles provide extra firm
support and are commonly used for sports bras, nursing bras and big cup size bras whilst straight
back, gate back and halter neck styles are used for fashionable bras.

Figure 12: Different types of bra back design

Gate back Racer back

Braback
1.8
design
and
M
support
19

Scoop back Halter neck back Cross back

Ee The basic blS
ocS
ks —<ctavter2
ee

Basic bodice block Basic T-shirt block

Basic skirt block

 2.1 The basic bodice block pattern

The basic bodice block introduced in this lesson contains a total of 3” (7.6cm) movement ease.
The movement ease allows a wearer to move comfortably in a garment created from the basic
block. The construction requires a set of key body measurements including the across front (AF),
the across back (AB), the across shoulder (AS), the over bust girth (OB), the full bust girth (FB), the
bust point to bust point and the bust depth . The standard sizes from the body measurement chart
on p.5 can be used for the drafting of the basic block or alternatively custom measurements can
be used.
This basic bodice block is used as a guide pattern for the slip pattern (p.195), the camiknickers
pattern (p.202), and the pyjama shirt pattern construction (p.210) which are made of non-stretchy
materials.

The
2.1
basic
bodice
block
Ml
pattern
21
 Step one: Preparation (Figure 1)
1. Draw guidelines.
AB = A,B, = Centre back (CB)
AA; = BB, = (F/4+ 1*/:(3.8cm))
AC = AiG, = (°8/,)
AD = CD; = (*8/,4 */, (0.6cm))
AGE=CiE = (“/,+ /2 (1.3cm))
F=Mi dpoint of BB.
2. Mark F,, square* out from point F on
line BB:.

Sete eee
w/a +5 (1.3em)
ee cee ee
E: ‘D
ee

ony
!

Oe OE ada tiaes cn iy eee ee Eee nee ee eS ees oS ee Tp C: CB

2.1
The
basic
bodice
block
pattern
Mi
22

ee a Ek SA,
B a a a
2 Ge ee GO: YY
ri IB
iP */,+ U/, G8am)

Figure1

"The term ‘square’ is used when a line is drawn at right

angles (90°) from another line.
 Step two: Back neck (Figure 2 & 3)
3. Mark G, */,’ (6mm) up from point A.
4. Mark Gi, square out ('8/,2) from point G, and square up */2(1.3cm).
5. Connect G and G; with a curved line.

Pe a eh pe a ye

Figure 2 Figure 3

Step three: Shoulder slope (Figure 4 & 5)

6. Square out (*°/;) from point D and draw a _horizontal guideline.
7. Mark H GH=/
8. Connect G; and H (shoulder length).
9. Mark Hi
HH1 = 7/,(1.3cm).

The
2.1
bodice
basic
block
Ml
pattern
23

Figure 4 Figure 5
Step four: Back shoulder (Figure
6, 7 & 8)
10. Divide line H,G, by 2.
11. Mark |, square out 3°(7.6cm) from
the midpoint of line H,G;.
12. Mark Jand K, square out ‘/s (6mm
) from the midpoint of line H:G; and squa
13. Complete the shoulder with a dart. re up '/4 (6mm).

G,

Figure 6
Figure 7

The
2.1
basic
bodice
block
pattern
HM
24

Figure 8
 Rok 3 ES eS eS Ba ere eee

Step five: Front neck and shoulder (Figure 9 & 10)

14. Mark L, Li and Lo.
Arta Ag ee abo is (9/5)
15. Connect L and L: with a straight line.
16. Connect A; and L, with a straight line.
17. Mark L3 as shown in Figure 9.
18. Connect L,, Ls, Lwith a curved line.
19. Mark Ep, ('8/32+ ?/s(0.3cm)) down from point E.
20. Mark M.
LM = GiH (shoulder length)

®B [39+ \/g(3mm)

The
2.1
basic
bodice
block
Mi
pattern
25

Vs
(6mm)

Figure 9 Figure 10
 Step six: Armhole (Figure 11)
21, Mark N, 45 angle out “/s(2.2cm)
from point E;.
22 Mark O, 45 angle out 17/s (2.8cm)
from point D:.
23: Divide line E, E, by 3.
24. Mark E3 at one third of EE.
25. Connect M, Es, N, F; with a curved
line.
26. Divide line D,D, by2.
27s Mark Ds, */." (1.3cm) down from the
midpoint of line DD.
28; Connect Hi, Ds, O, F; with a curved
line.

2.1
The
basic
bodice
block
pattern
HM
26

Figure 11
 Step seven: Shoulder princess line (Figure 12 & 13)
29. Mark Mi, 7/.’ (1.3cm) up from the midpoint of line LM.
30. Mark P (B.P.), square out a half of (B.P. to B.P.) from AiBi
and square out bust depth from AAi.
31. Mark Q, 12/3’ (3.5cm) down from point B:.
32. Mark Qu, square out 3’(7.6cm) from point Q.
33. Connect M: and P with a curved line.
34. Connect P and Q, with a straight line.

Bust ||
depth

pee rere te,

SOM MaNeBOReSS
' (BP.toB.P)
+2

block
bodice
basic
The
2.1
27
Mi
pattern

|B Re te eee eee ee er ene ee

(3.Scm) !

Q {------------------Q
3
(7.6cm)

Figure 12 Figure 13
A ae aaa Gey ee

Step eight: Front waist dart (Figure

14)
35. Draw a vertical guideline, 3"(7.6cm
) from point Q:.
36. Mark R.
PR=PQ,
37. Draw a line from R to the line BB.
38. Mark R;.
RR = (“/,+ */s (1cm)) - QQ,

2.1
The
basic
bodice
block
pattern
HB
28

(7.6cm)

Figure 14
 eS = Ss ee See SS el
Ho Shea

Step nine: Back waist dart (Figure 15)

39. Draw a vertical guideline from the midpoint of
line DiC to line BB.
40. Mark S and T, °/s' (1.6cm) each out from the
vertical guideline.
41. Connect the midpoint of line DiC to S and T
with straight lines.
42. Mark U on line BB.
TU = (“/,+ 3/s (1cm)) — BS
43. Connect F; and U with a straight line.
44. Adjust the position of Ri.
F,Ri = FiU

Ae Fe ee etn ee paleey
D,

block
bodice
basic
The
Ml
2.1
29
pattern

ys a ce mie St

Rye
R
Q s Qi
(7.6cm)

Figure 15
Step ten: Front shoulder slope adjustme
nt (Figure 16)
45. Trim */,(6mm) down at the point
M and reshape
the shoulder slope with a slightly curved line.
Note : This step is optional.

2.1
The
basic
bodice
block
pattern
Hl
30

Figure 16
 2.2 The basic skirt block pattern

and a one-dart
The basic skirt block introduced in this lesson consists of a two-dart front panel
back panel and contains a total of 2” movement ease.
(W), hip
This construction method requires a set of body measurements including the waist girth
skirt block is relatively simple to
girth (H), the waist to high hip and the skirt length. The basic
create. This block is used as a guide pattern for the garter belt pattern construction (p.150).

basic
The
block
2.2
skirt
Hi
pattern
31
Step one: Preparation (Figure 1)
1. Draw vertical and horizontal guidelines.
2. Mark A, square out (“/,+ 1’ (2.5cm)*+!/,(6mm))
from the centre.
(* 1° (2.5cm) is used for two darts)
3. Mark B, square out (4/,+*/, (6mm)) from the centre.
4. Mark C, square out ("/,+'/, (6mm)) from the centre.

W] 4+ 1 @scm)+1/, (6mm)

Waist to high hip

M/4+'/4 (mm)

Skirt length

21 basic
The
block
skirt
2.2
Mi
pattern
32
(53.3cm)}

H/, +1/,, (6mm)

Centre

Figure 1
 Step two: Front skirt (Figure 2)
5. Mark D, ?/,'(6mm) down from the waist level
at the centre.
6. Mark E, square up */, (6mm) from point A.
7. Connect D and E with a curved line.
8. Connect E and B with a curved line.
9. Connect B and C with a straight line. Ia es
(6mm)

The
2.2
block
skirt
basic
HM
pattern
33

Figure 2
Step three: Front darts (Figure 3)
10. Mark the following:
DF = 3’ (7.6cm)
EGi= 475(1e3cm)
GHi=14/-(3.2em)
Hl =4/5°(1 3c)
11. Mark J, square down 3°/, (9.2cm) from the
midpoint of line FG.
12. Mark K, square down 3'/, (8.9cm) from the
midpoint of line HI.
13. Draw dart legs (FJ, GJ, HK, and IK) with a
slightly curved line.

block
skirt
basic
HM
The
pattern
34
2.2

Figure 3
 Step four: Back skirt (Figure 4)
14. Trace the front skirt on a separate piece of paper.
15. Mark L, */,’ (1.3cm) down from point D.
16. Connect L and E with a curved line.

block
skirt
basic
The
2.2
Hi
pattern
35

Centre

Figure 4
Step five: Back darts (Figure 5)
17. Divide line ME by 2.
18. Draw a vertical guideline which is “/, (6mm
) closer to the centre from the midpoint of
19. Mark N, 5’/,” line ME.
(14cm) down from the waist line.
20. Draw dart legs (ON & PN) with slightly
curved lines.

2.2
basic
The
skirt
block
pattern
Ml
36

Figure 5
 Step six: The complete skirt block (Figure 6)
21. Add pattern information.

SS,

block
skirt
basic
The
2.2
Hl
pattern
37

Figure 6
2.3 The basic T-shirt block pattern

The T-shirt block introduced in this lesson has negative ease (10% of body circumference) as it will
be made of stretchy material. The amount of negative ease needs to be adjusted based on the
elasticity of the materials used. This construction method requires a set of body measurements
including the across back (AF), the full bust girth (FB), the waist girth (W), the hip girth (H), and the
centre back length (CB).
This T-shirt block can be used without any modification. In this book, this block is used as a guide
pattern for the camisole pattern construction (p.232) and bodysuit pattern construction (p.238).

block
T-shirt
basic
The
2.3
Hi
pattern
38
 Step one: Preparation (Figure 1)
1. Draw guidelines. Horizontal measurements:
Vertical measurements: CB toA— fi.
Back length = Centre back + 7/, (6mm) CB: to. B=*"/,x 90%
Armhole level = "/, C.B. to C= “/, x 90%
Waist to hem = 4Y, (11.4cm) C.B. to D="/, x 90%

Ak

Gy)

("8/) x 90%

(Centre back) +
1; (6mm)

basic
The
2.3
block
T-shirt
Hl
39
pattern

(Wf) x90%

Guiesy

("/) x90%

Centre back (C.B,)

Figure 1
Step two: Back neck and shoulder (Figure 2)
2. Mark E, 7/, (1.3cm) from the neck level on the
centre back.
3. Mark F, square up ¥, (1.3cm) from point A.
4. Mark G, (*°ss®«/,) from the centre back on the
armhole level and square out a vertical guideline.
5. Mark H, (*®/;,) down from the neck level.
6. Connect F & H with a straight line.

Across Back /2 ze
Centre back

Figure 2

Step three: Back neck and shoulder (cont.) (Figure 3)

7. Draw a '/,(1.3cm) parallel line to AF and mark F, at the crossing point.

2
(13cm)

block
T-shirt
basic
The
2.3.
Mi
pattern
40

B Armhole

Centre back

Figure 3
 Step four: Back neck line (Figure 4)
8. Draw a curved line EF.

Centre back

Figure 4
Step five: Back armhole (Figure 5 & 6 )
9. Mark I, square out *¥4(1cm) from the midpoint of line HG.
10. Mark J, 45 angle out 1° (2.5cm) from point G.
11. Connect H, |, J, B with a curved line.

basic
The
2.3
block
T-shirt
Ml
pattern
41

Centre back Centre back

Figure 5 Figure 6
Step six: Back side and hem (Figure 7)
12. Connect B, C, D with a curved line.
13. Mark K, 7,’ (1.9cm) down from the hem
level.
14. Connect D and K with a curved line.
15. Measure the armhole and write it down
on the pattern.

The
2.3
basic
T-shirt
block
Ml
pattern
42

Centre back

Figure 7
 Step seven: Front shoulder and neck (Figure 8 & 9)
16. Trace the back of T-shirt block on a separate 18. Mark C, 44,” (11.4cm) down from the
piece of paper. neck level on the centre front.
17. Draw a line ¥,’ (1.3cm) parallel to the back 19. Connect A and C with a curved line.
shoulder.

Armhole

Centre front ' Centre front

Figure 8 Figure 9

Step eight: Front armhole (Figure 10 & 11)

20. Mark D, ¥, (6mm) out from the back armpit on the armhole level.
21. Mark E, square 7, (1cm) out from one third of front armhole height.
22. Connect B, E, D with a curved line.

basic
The
2.3
T-shirt
block
MH
pattern
43

Centre front Centre front

Figure 10 Figure 11
Step nine: Front side and hem (Figure
12)
23. Drawa line Y,’ (6mm) parallel to the
back side (Line DFG).
24. Mark H, ¥3'(1cm) down from the back
hem on the centre.
25. Connect G and H with a curved line.
26. Measure the armhole and write it down
on the pattern.

2.3
The
basic
T-shirt
block
Ml
pattern
44

Centre front
Figure 12
 Step ten: Sleeve (Figure 13 & 14)
27. Calculate the armhole length (AH) 29. Mark D and E.
AH = Front armhole + Back armhole AD = Back armhole - 1/,(6mm)
28. Draw horizontal and vertical guidelines. AE = Front armhole - */,(6mm)
AB = OF/3 = */, (cm)
BC = 13/, (4.4cm)

(/) (Lem)

i
(4.4cm)

Figure 13 Figure 14

Step eleven: Sleeve armhole (Figure 15 - 17)

30. Divide the line AE by 4.
31. Mark F, square out °/,” (16mm) from one
quarter of line AE.
32. Mark G, 7/,” (13mm) from the midpoint of
line AE towards the front armpit.
33. Mark H, square out */,” (6mm) from one
quarter of line AE.
34. Connect A, F, G, H, E with curved lines.
35. Repeat the same for the back
The
2.3
basic
block
T-shirt
Mi
pattern
45 Figure 15
(same measurements).

Is
(16mm) Ne

Vie
/,
(13mm)
a es

Figure 16 Figure 17
Step twelve: Sleeve side and hem (Figure 18)
36. Draw vertical guidelines from point D and E.
37. Mark L and M, 17/, (3.2cm) each towards to the centre from the guidelines.

Figure 18

Step thirteen: Sleeve side and hem (cont.) (Figure 19)

38. Connect L, B, M with a curved line.
39. Walk the sleeve cap on the armhole of front and back bodice in order to match the length
and mark the matching notches.

T-shirt
basic
The
block
Hi
2.3.
46
pattern

Figure 19
 Step fourteen: The complete pattern pieces (Figure 20)
40. Add seam allowance and pattern information.

Pattern pieces with out-notches

Vy
(6mm)

basic
The
2.3.
block
T-shirt
Ml
pattern
47

(1.9cm) (1.9em)

Figure 20
Different types of bra pattern —crapters

Basic underwired bra

Sports bra

Two-dart full cup lace bra Soft bra

 3.1 The basic underwired bra pattern

The basic underwired bra shown in this book is the most common cut-and-sewn full cup coverage
bra design currently available on the market. It consists of a pair of cut-and-sewn bra cups, a centre
piece (gore), two side panels and two wings (back panels). The front parts (cradle), including a gore
and two side panels, are constructed by using a rigid stabiliser (nylon net) whilst the wings are
made out of elastic materials such as powernets, stretchy knits or stretchy laces. In this lesson, the
cup joining seams are arranged to be folded into the cradle, which is known as the ‘panel-on-top’
sewing construction method. The 34B (75B) breast measurements (p.8) including the bust height,
the inner bust arc length, and the outer bust arc length are used for the cup drafting.

The
3.1
basic
underwired
bra
Ml
pattern
49
Step one: Band draft preparation (Figure 1)
1. Draw horizontal (X) and vertical (Y) guidelines.
2. Draw the centre front line, ?/s(1cm) parallel to Y.
3. Mark A, 5%/:6 -6°/16 (15-16cm) from the centre front as the cradle width.
4. Mark B, 113/s -12’/16 (29-31.5cm) from the centre front and square out 1/,’- 13/,’ (3.2-4.5cm)
from the X-axis.

Ys
(1cm)
A
xX

if 115/,-127/16 74 V/,-13/,
Se) 16 - 65/16 SS (3.2-4.5cm)
(15-16cm)

Centre Front

basic
The
3.1
bra
underwi
Hi
pattern
50

Figure 1

Note: Conversion between metric and imperial measurements is rounded for simplicity.
 Step two: Wire opening (Figure 2, 3 & 4)
5. Place a wire by matching the inside wire centre
with the X-axis whilst matching the inside of the
inner wire tip with the Y-axis.
6. Trace the whole wire first (dotted line) and open
wire 3/3’ -3/,’(1-2cm) at the armhole side.
Then, trace the open shape of wire.
7. Add °/:6 (8mm) allowance each at the wire tips for ne
both movement ease and sewing (wire play).
8. Mark C, */, (6mm) up from the X-axis.
9. Draw a curved line */s (3mm) parallel to the wire
inner line (cup joining seam line).

Centre Front

Figure 2

nS
rx
s/, 6 Cup joining seam line.
(8mm) (8mm)
(Wire play) (Wire play)

basic
The
3.1
bra
HM “sy IC
underwired
pattern
51
(6mm)
Xx

Centre Front Centre Front

Figure 3 Figure 4
Step three: Band drafting (Figure 5)
10. Mark D, ?/.(13mm)* for the midpoint height of the cradle.
Note: Keep */,(13mm) about 3/,’-11/," (2-3cm) from the center to both directions.
11. Connect C, D and B with a curved line.

Figure 5

Step four: Band drafting (cont.) (Figure 6)

12. Mark E, square 11/,(3.2cm) up from point B. 1*/, (3.2cm) is the height of the hook and eye tape.

bra
underw
basic
The
Mi
3.1
pattern
52

Figure 6

* Use */,"(13mm) for */,(10mm) elastic band and use °/,(15mm) for */,(12mm) elastic band.
 Step five: Band drafting (cont.) (Figure 7)
13. Connect E and F with a straight line.
14. Find the midpoint between E and F.
15. Mark G, square */s’-3/s (0.3-1cm) down from the midpoint of line EF.
Connect E, G, F with a curved line.
16. Draw a side line, parallel to the wire with a straight line from point A.
Note : The angle of the side line can be changed according to the design and sewing method.

Ts -*/s
(0.3-lcm)

Centre Front

The
3.1
basic
bra
underwired
HM
pattern
53

Figure 7
Step six: Lower cup draft preparation (Figure 8)
17. Draw vertical and horizontal guidelines.
18. Mark A and B, 27/16 (5.5cm) and 13/;¢ (3cm) on the vertical guideline.
19. Mark C and D.
AC = 3 ’/1g (8.7cm)
AD = 3 3/1¢'(9.7cm) ut oi a ea re Bees
20. Connect A, C, A, D, B, C, B, D with
straight lines. ec = :
6 3/16 Re At 3M
Cae ae D6
(5.Sem)

Cee Ct %
~Dy

Pig
(3cm)

Figure 8

Step seven: Lower cup draft (Figure 9)

21. Mark E, square out ?/s (10mm) from the one third of line AC.
22. Mark F, square out °/32 (7mm) from the midpoint of line AD.
23. Mark G, square out °/:6 (8mm) from the midpoint of line BD.
24. Mark H, square out °/32 (7mm) from the midpoint of line BC.
25. Connect C, E, A, F, D and C, G, B, H, D with curved lines.

underwi
basic
The
3.1
bra
HM
pattern
54

Figure 9

Note : Curve AEC = Inner bust arc 3 °/16 (9cm) (see p.8)
Curve AFD = Outer bust arc 3 '°/:¢ (10cm) (see p.8)
 Step eight: Lower cup split (Figure 10 & 11)
26. Divide line AB by 2.
27. Mark | and J, square out °/37 (4mm) each from the midpoint of line AB.
28. Connect A, J, B and A, |, B with curved lines.

Figure 10

basic
The
3.1
bra
underwired
Mi
55
pattern

Figure 11
Step nine: Upper cup draft preparation (Figure 12)
29. Draw horizontal (X) and vertical (Y) guidelines.
30. Mark A, 3*/2(8.9cm) out from Y.
31. Mark B, square down 3/16 (Smm) from X.
32. Mark C, 37/3 (9.9cm) out from Y and */,(6mm) up from X.

sy:

BY & if,
3h/y
(89cm)

a c
(9.9em) t (6mm)
xX
Bl] Gam)

Figure 12

Step ten: Upper cup draft (Figure 13)

33. Connect A, B, C with a curved line. The curve length should be same
as the upper cup curved line CAD in Figure 10.

The
bra
underwi
basic
3.1
Hi
pattern
56
C

A B

Figure 13

Note : Curve AB = Inner bust arc 3 °/:6 (9cm) (see p.8)

Curve BC = Outer bust arc 3 */:¢ (10cm) (see p.8)
 Step eleven: Upper cup draft (cont.) (Figure 14)
34. Match the lower cup centre and the cradle centre and walk each half of
the cup joining seam to find out the length of the upper cup height.
(Upper cup height) = (Cradle) - (Lower cup)
Note: 2°/,¢ (2.3cm) and 12/3) (2.7cm) are used for demonstration.
35. Mark D and E, square out the length of the each side from point A and B.

The
basic
3.1
bra
underwired
Mi
pattern
57

Figure 14
 Step twelve: The complete upper cup draft
(Figure 15)
36. Draw a line, 1°/5(3cm) parallel to the centr
e line.
37. Mark F, 3°/,(9.5cm) up from the line ABC.
38. Mark G, square out */s*(1cm)* from the
point F.
39. Connect E, F and D, G with curved lines.

The
3.1
basic
underwi
bra
pattern
HM
58

Figure 15

* */s(1cm) is the width of the shoulder strap.

 Step Thirteen: Matching for cup sewing (Figure 16)
40. Match the lower cup and the upper cup at the bust point (B.P.)
and walk each half of the joining seam.
Note: Adjust the upper cup if it is requried.

BLP,
a

The
3.1
basic
bra
underwired
HM
pattern
59

Figure 16
 Step Fourteen: Reshaping of the cradle
(Figure 17)
41. Trace two sets of the cradle (gore and
side panel).
42. Trim 1mm* from the outer layer (stretchy
material) of the gore and side panel
as shown in Figure 17.
Note: The pattern pieces for stabiliser will
stay unchanged.
The dotted lines indicate the original gore and
side panel (stabiliser).

The
3.1
basic
underwi
bra
pattern
HI
60

Figure 17

*This amount depends on the material used.

 Step Fifteen: Matching and reshaping (Figure 18)
43. Match the pattern pieces and reshape the lines.

The
3.1
basic
bra
underwired
HM
pattern
61

Figure 18

Note : Dotted lines are the original lines before reshaping. Neckline change is optional.
Step Sixteen: The Complete pattern pieces (Figure 19)
44. Separate into 11 pieces.
45. Add seam allowance and pattern information.

Inner cup (laminated foam)

es
(6mm) (6mm)

(6mm) (6mm)

Outer cup & Cradle (cotton lycra)

ay,
4 + extra allowance*
(6mm)

Ty
(6mm)

(6mm)

The
3.1
basic
bra
underwi
Ml
pattern
62

Inner cradle (rigid stabiliser) Wing (stretchy powernet)

hie
(Smm)

‘hs
(8mm)

Figure 19

* Extra allowance: the amount needed to cover the thickness of the laminated foam.
 3.2 The hook-up bra pattern

A hook-up bra refers to a bra without a cradle. Basically two bra cups are connected by a small
centre piece (or a string) instead of being embedded in the cradle. Therefore, underwires are
required for both support of the breasts and shaping of the cups. For this structural change,
both the pattern construction and the sewing techniques need to be changed. This construction
method requires an extra 1/4” (6mm) to be added to the cup for the wire placement, and the
cup joining seams need to be folded into the cup, unlike the majority of cradle bras which are
constructed with the cup joining seams folded into the cradle. The former is known as the ‘cup-
on-top’ sewing construction method in the industry and the latter is known as the ‘panel-on-top’
sewing construction method. In this lesson, the focus is on the wing drafting method and the
seam arrangement.

The
3.2
Hook-up
bra
Hi
pattern
63
Step one: Preparation (Figure 1)
1. Draft a bra band with a cradle (p.50-53) without a parallel line */s(3mm) to
the wire inner curve.

enermeene
feo

4 \ / ye /
f
/
eee
bo
ag
/
eas SA
Se. /

aaa
" a

eS

Figure 1

Step two: The cup joining seam guideline (Figure 2)

2. Complete a curved line along the wire’s outer curve.

bra
Hook-u
The
Mi
3.2
64
pattern

en ae ee | Le.

i ne eee)
Nines
la eP fe 6) Saet —
/
f

Figure 2
 Step three: Gore (Figure 3)
3. Mark A, °/s(1.5cm) up from the horizontal guideline and draw a curved
line to the cup joining seam guideline.

Figure 3

Step four: Wing (Figure 4)

4. Draw a vertical guideline which is 11/, ~ 13/,° (3.2-4.5cm) parallel to the wire centre.
5. Mark B, 1/4~ 3/s (6-10mm) down from the cup joining seam guideline.

The
3.2
bra
Hook-up
Mi
pattern
65

(3.2-4.5cm) ae

Figure 4
Step five: Wing (cont.) (Figure 5)
6. Reshape the new cup joining seam line
and connect the underband line to the point
B.

i
i H
i :New cup joining seam line

Figure 5

The
3.2
Hook-up
bra
pattern
Ml
66
 Step six: Cup drafting (Figure 6)
7. For cup drafting, the original band (see p.53) is required.
Follow steps from the basic bra cup drafting (p.54-55).
8. Add '/, (6mm) along the original cup joining seam line which
was omitted from the hook-up bra band drafting.

Ty
(6mm)
Ty
(6mm)
Onginal cup joining seam line
New cup joining seam line
> A

Original cup joining seam line

The
3.2
bra
Hook-up
Hi
pattern
67

Figure 6
Step seven: The complete pattern pieces ( Figure 7 )
9. Add seam allowance and pattern information

Inner cup (laminated foam)

6) 0
(Onnsn) (Omsn)

5
(Om)

Outer cup (cotton lycra)

wr’
/ 4 + extra allowance yy
4 + extra allowance
(0mm) (Grozn)

/ Wie
4 /s
(Gens) (Genmn)
*
emtsa extra
dlowsnce dlowance

vs + extra allowance
aig (Grnm)

Hook-u
The
bra
3.2
Mi
pattern
68
Gore (cotton lycra) Gore (stabiliser) Wing (powernet)
hig Nig
(Sena) Senn)

fa: Ty
(Gensn) (Gram) (6mnmn) (Gram)

Is Jw
(Osnn)
Ty
(6rnsn)

Figure 7

Note: The dotted lines are the original cup joining seam lines of the basic bra cup.
 3.3 The two-dart full cup lace bra pattern

This lesson illustrates how to transform three piece cup patterns from the basic bra inner cup
(p.62) into a two-dart lace cup. Both gallon lace and embroidery lace can be used for this lesson.
It is recommended to use a wider width lace (p.10) since this is a full cup bra. The two-dart full
cup lace bra offers full cup coverage together with shoulder strap extensions. An imaginary line
connecting the deepest/lowest points of the gallon lace edge pattern (the deep bow line) with a
bow shaped symbol is used in order to indicate the layout method. Figures 9-11 (p.76-77) show two
different layout methods used in the industry. It is not unusual to find a specific lace motif drawn
on the pattern in addition to the bow symbols as the industry requires high levels of precision at
all times.

The
3.3
full
two-dart
lace
bra
Ml
pattern
69
cup
Step one: Preparation (Figure 1)
1. Draft the foam cup pattern of the basic
under wired bra.
(Follow the step 6-12 of basic bra (p.54-58))
2. Draw horizontal (X) and vertical (Y) guidelines
.
3. Draw a circle with 3/;.’ (5mm) radius on the centre
.
4. Draw a guideline, ?/,’(2cm) parallel to X.
5. Match and hold each lower cup at point A and
B.
6. Pivot until point C and D meet the 3/16 (Smm)
radius circle.

Hold & Pivot

full
The
3.3.
two-dar
lace
bra
patter
cup
HM
70

Figure 1
 Step two: Neckline and S/S extension (Figure 2)
7. Mark H, 13/s (3.5cm) up from X.
8. Connect E and H with a straight line and extend to the armhole.
9. Draw a straight line for the S/S extension.
10. Draw a line, “/16 (1.7cm) parallel to the apex (Point G).
11. Mark | and J, 3/3: (1cm) (S/S elastic width).
12. Connect J and F with a curved line.

SN .

\
Neckline Scene

| ey
(3.Scm)
\
\

TT or me ‘

The
3.3
full
two-dart
bra
lace
Hi
pattern
71
cup

Figure 2
Step three: Intermediate cup draft (Figure 3)
13. Mark L, °/1s (8mm) from the point K on the new neckline.
14. Connect L and D with a curved line.
15. Mark M (LD = LM).
16. Adjust the line MN (CB = MN).
17. Reshape the rest of the upper cup.

Figure 3

Step four: Foam cup (Figure 4)

18. Trace 3 pieces of foam cup from the intermediate cup draft.
19. Add seam allowance and pattern information.

full
two-da
The
3.3
bra
lace
Mi
patter
72
cup

i,
(6mm)
ye
(6mm)

Figure 4
 Step five: Lace cup (Figure 5)
20. Trace a 2 dart cup and a S/S extension from the
intermediate cup draft.
21. Match the length of both dart legs.

Figure 5

Step six: Layout for lace cup (Figure 6)

22. Add seam allowance and pattern information.
23. Add the deep bow symbol (K—1)*.

She (Overlap ) ‘
a) ve4 + extra allowance
(6mm.

The
3.3
full
two-dart
bra
lace
Mi
pattern
73
cup

hie
(Smm)

Figure 6

*The deep bow symbol indicates the lowest position of the repeated scallop edge of gallon lace
and the layout of pattern pieces.
Step seven: The complete pattern pieces (Figu
re 7 & 8)
24. Draft the pattern of the basic bra to tracin
g the gore, side panel, S/S extension and wing.
25. Add °/16” (8mm) seam allowance for the wing.
26. Mark the deep bow symbol for the patterns.

Band draft

Stabiliser

(6mm)

The
3.3
full
two-dar
lace
bra
pattern
cup
M74
Powernet
Wi
(6mm)

Figure 7
 Laminated foam

Ys
(6mm)

Us
(6mm)

“Vie
(Smm)

Ty
(6mm) (6mm)

(6mm)

hie
(smm) “hi
(8mm)
ve4 + extra allowance
(6mm)

The
3.3
full
two-dart
lace
bra
Ml
pattern
75
cup
ie
(Smm)

Figure 8
 Layout method 1 (Figure 9)

Layout method 2 (Figure 10)

Deep bow line

The
3.3.
two-da
full
lace
bra
patter
cup
Hl
76

Figure 10

Lace photo credit: Courtesy of ‘Desseilles’

 Layout method 2 for gore, side and S/S extension (Figure 11)

“o — &|

The
3.3
full
two-dart
lace
bra
Hl
pattern
77
cup

Figure 11

Lace photo credit: Courtesy of ‘Desseilles’

3.4 The lower centre T-cup bra pattern

A T-cup refers to a cup with seams forming the letter T shape. This lesson introduces the flat
patternmaking concept applied to bra cup creation - Shin’s method. It demonstrates how to
manipulate the basic block (lower cup) in order to create an intermediate block for a lower centre
height underwired bra. In so doing, the fit will be guaranteed. The intermediate block then can be
used as a single dart cup, or can be further developed into different cup styles. It is important to
understand that this method is only for bras with the lower centre height. Another intermediate
block for bras with a high centre height (with no underwires) is introduced in the sports bra pattern
(p.90) and the soft bra pattern (p.107). This lesson also introduces how to draft a U-back.

bra
lower
Ml
The
T-cup
pattern
78
3.4
centre
 Step one: Band draft preparation (Figure 1)
1. Draft the band pattern. (Follow steps 1-2 for the basic bra)

M/,
(30cm)
Centre Front

Figure 1

Step two: Band drafting (Figure 2)

2. Mark D, */.(1.3cm) for the midpoint height of the cradle.
3. Draw a guideline crossing the point B and parallel to the wire.
4. Mark E, °/s(1.5cm) down from point B on the guideline.
5. Mark F, square down 11/16 (4.3cm) from point C.

The
3.4
lower
bra
T-cup
Hl
centre
pattern
79

Centre Front

Figure 2
Step three: Band drafting (cont.) (Figure 3)
6. Connect A, D and D, E with straight lines.
7. Connect E and F with a curved line.

Figure 3

Step four: U-back drafting (Figure 4)

8. Mark G, 12/,(4.5cm) from point F.
9. Mark H, square out 3/,(1.9cm) (the length of the hook and eye tape) from point F.
10. Mark |, 2°(5cm) parallel to FH from point G.

lower
The
bra
T-cup
3.4
Hl
pattern
centre
80

Figure 4
 Step five: U- back drafting (cont.) (Figure 5)
11. Connect | and armpit with a curved line.
12. Connect | and H with a curved line.

Figure 5

lower
The
3.4
bra
T-cup
HM
centre
81
pattern
Step six: Guide pattern (Figure 6 - 10)
13. Draft the lower cup pattern of the basic bra. (Follow steps 6-7 for
the basic bra)
14. Walk the lower cup along the cup joining seam line and trace,
starting from the
centre point to the C.F. and centre to the back.

B.P.

Figure 6

Figure 8

3.4
The
lower
T-cup
centre
bra
pattern
HM
82

Centre

Figure 9
Figure 10
 Step seven: Intermediate cup block creation (Figure 11 - 14)
15. Draw horizontal (X) and vertical (Y) guidelines.
16. Draw two vertical guidelines, 2'(5cm) parallel to Y.
17. Match the B.P. of guide pattern (Figure 10 on p.82) with the cross point of X and Y and match
the centre with the 2 (5cm) guidelines.
18. Copy the shape.

Figure 11 Figure 12

19. Repeat 17 and 18 for the other half.

20. Mark B, square up 13/6 (3cm)* from the centre.
21. Connect A and B with a straight line and extend.
22. Draw a line 2?/s (6cm)* parallel to Y, and mark C, a crossing point with line AB.

*- Referene measurement.

lower
The
3.4
bra
T-cup
MH
83
centre
pattern

Figure 13 Figure 14
 Step eight: Intermediate block (Figure 15
- 17)
23. Connect C with the end of the cup line with 24. Square out */,(6mm) at the one third position
a curved line.
of each dart leg and reshape the dart legs.
25. Reshape the side curve.

Figure 15
Figure 16

The complete intermediate block for underwired

bras

The
3.4
lower
bra
T-cup
centre
pattern
BM
84

Figure 17

Note: This intermediate block can be used as a single dart cup.

 Step nine: preparation for ‘T-cup’ (Figure 18) Step ten: Split of upper and lower cup (Figure 19)
26. Use the intermediate block (Figure 15) and 27. Separate the upper cup and rotate the rest of
draw a line which is parallel to the neckline the front lower cup to the side lower cup.
whilst passing the B.P.

Figure 18 Figure 19

Step eleven: Lower cup volume (Figure 20) Step twelve: New centre (Figure 21)
28. Divide line AB by 4 and line AC by 3. 32. Move the upper cup and rotate the lower cup
29. Mark D, square out ?/s (9mm) from as shown in the Figure 21 below.
one quarter of AB. Note: The amount for the rotation depends
30. Mark E, square out °/32 (4mm) from on design.
one third of AC.
31. Connect B, D, A, E, and C with a curved line.

lower
The
3.4
bra
T-cup
85
HM
centre
pattern

Rotate

Figure 20 Figure 21
Step thirteen: Split & cup volume (Figure 22& 23)
33. Square out °/32 (4mm) from the one third of the centre line.
34. Draw curved lines.

Figure 22 , Figure 23

Step fourteen: Upper cup volume (Figure 24) = Step fifteen: Neckline variation (Figure 25)
35. Square out 3/16 (5mm) from the centre and = 37. Raise up °/32 ~*/16 (4-8 mm) from the centre.
draw curved line. Note : This is optional for a cut-and-sewn cup.
36. Match the length of the joining seam.

lower
The
bra
3.4
T-cup
HM
pattern
centre
86

Figure 24 Figure 25
 Step sixteen: Matching and reshaping (Figure 26)
38. Match the upper and lower cup and reshape.

Note : Dotted lines are the original lines before reshaping.

Figure 26

Step seventeen: Pad/cookie (Figure 27)

39. Trace the lower cup without seam.
40. Trim all around according to the measurements
The
3.4
lower
bra
T-cup
Ml
87
centre
pattern
shown in Figure 27.

Figure 27
Step eighteen: The complete pattern pieces (Figure 28 & 29)
41. Add seam allowance and pattern information.

Lace

Vi is + extra allowance
(6mm) (6mm)

sy16 Th16
(Smm) (Smm)

hie
See Vy + extra allowance
(6mm)

ws
(6mm) 1fe
is

(6mm)

hie
(Smm)

lower
The
3.4
bra
T-cup
HM
centre
pattern
88
° Lifes
*/i6
(smm)
Is
(6mm)

he
(smm)

Figure 28
 Laminated foam Cotton lining

pe Vy (6mm)
(6mm) comm) 6mm
Notches for a pad/cookie pocket opening, Cee

Stabiliser Powernet

The
3.4
lower
bra
T-cup
centre
MM
pattern
89

Figure 29
3.5 The sports bra pattern

A sports bra is designed to provide extra support during exercise. It reduces discomfort and pain by
restricting breast movement and prevents the progressive breast sagging.
Sports bras can be categorised into two construction methods employed to minimise breast
movement — 1) Compression and 2) Encapsulation. Compression sports bras press the breasts
tightly against the chest wall whilst encapsulation sports bras restrict the bouncing movement of
the breasts without compression. Sports bras with different support levels are available for different
levels of activities. For instance, a sports bra with firm support/control is recommended for a high
or extreme level of exercise. In this lesson, an encapsulation sports bra pattern construction is
illustrated. A pair of wider shoulder straps and U-back design are employed for additional support.
An intermediate block for non-underwired bras is introduced in this lesson.

Thespo
3.5
bra
MH
pattern
90
 Step one: Band drafting preparation (Figure 1)
1. Draft the band pattern.
(Follow steps 1-2 for the basic bra)
2. Draw a curved line '/;’ (3mm) parallel to the wire inner line and extend the each end of the cup
joining seam. 19/37 -3/,’ (1.5-2cm) for the centre front and 1 (2.5cm) for the side.

Thesportsbrapattern
3.5
Mi
91

Figure 1
Step two: Band drafting (Figure 2 & 3)
3. Mark D, */.'(6mm) down from point A.
4. Mark E, 1° (2.5cm) down at the centre of cradle
.
5. Mark F, square down "°/;)"(1.5cm) from point B.
6. Mark G, square down 13/,’(4.5cm) from point
C.
7. Connect D, E, F, G with a curved line.

A : B
es ‘ID he> | i

F
iE

Figure 2

Thespor
3.5
pattern
Hi
92

Figure 3
 Step three: Band drafting (cont.) (Figure 4 & 5)
8. Mark |, square out 11/, (3.2cm) from point H.
9. Mark J, 17/, (4.5cm) from point H along the under band.
10. Draw a straight line 3?/, (9.5cm) parallel to line HI from point J.
11. Mark K and L, square out */i¢ (5mm) each from the guideline.

Uy,

m
e
a
s

GHaey
i
B/
:

Figure
4

Thesportsbrapattern
3.5
Mi
93
fie
: (S
mm)

OA

3a
|,
| a (9.5c e
m)

[]
H

Figure 5
Step four: Band drafting (cont.) (Figure 6)
12. Connect L and | with a curved line.
13. Draw a guideline connecting M and K.
14. Mark N, square out 3/,(1.9cm) from the one third of line KM.
15. Connect M, N, K with a curved line.

Step five: Band drafting (cont.) (Figure 7) Figure 6

16. Mark O, */ (1.3cm) from point M along the underarm.

17. Connect O and B with a straight line.

Thesp
3.5
HM
94

Figure 7
 De, Step six: Neck line (Figure 8)
ha Q 18. Mark P, 23/.’(7cm) up from point A.
19. Mark Q, 42/3 (10.5cm) up from point P and
square out 2?/, (7cm) from the centre front.
20. Connect P and Q with a curved line.

Figure 8
Step seven: Style line (Figure 9)
21. Mark R, 13/:6 (3cm) up from point D.
22. Mark S, square up ?/,(1.9cm) from point E.
23. Connect R and S with a curved line and continue
drawing a parallel line to the underband.
24. Draw a line 7/4 (6mm)* parallel to line RS and
continue to the side line.
Thesportsbrapattern
3.5
Ml
95

Figure 9
* A 6mm trimming tape is used. This connects the underband and the cups.
Step eight: Style line of wing (Figure 10)
25. Mark T, 17/16 (3.6cm) out from point H on the
underband.
26. Mark U, 17/16 (3cm) down from point M on the
cup joining seam.
27. Connect U and T with a curved line.

Vie Figure 10

Step nine: Style guidelines for the cup (Figure 11)

28. Mark V, 74/3. (1.7cm) from the centre front line.
29. Mark W, 79/32 (2.3cm) from point V.
30. Draw style lines from point V and W. Thespo
3.5
bra
Hl
pattern
96

Figure 11
 Step ten: Cup preparation (Figure 12)
31. Draw the lower cup and separate into 2 pieces.
(Follow steps 6-7 for the basic bra)
32. Draw the upper cup guidelines. |
(Follow steps 9-10 for the basic bra)

Figure 12
Step eleven: Intermediate block (Figure 13 & 14)
33. Match the lower cup and upper cup as shown in Figure 13.
34. Draw the upper cup side lines.

Pu by
Thesports
3.5
bra
MH
pattern
97

Figure 13 Figure 14
Step twelve: Cup manipulation (Figure 15
& 16)
35. Place the intermediate block (on a separate
piece of Paper) on top of the band pattern.
36. Walk the intermediate block along the cup joinin
g seam, starting from the centre.
37. Trace W and its style line on to the inter
mediate block.

i i g | i i | : : i $ g | |

DES
a
a
EIS

ee ANSON
ONSET
ASAT
ONCOGENE
NINES
ON
ESE
ONTOS
NEN
NONONE
ONES
ONTO
NOON
NSH
See £oAURLOUASIS
SDUSEDOASIDOHORSIDONA
LESONS SE IOUS SLEY
ONOSLELEONSEDE OS

Figure 15

3.5
The
brapatt
sports
HM
98

Figure 16
 Step thirteen: Cup manipulation (cont.) (Figure 17 & 18)
38. Trace V and its style line.
39. Trace the centre front and neckline.

St
SSN ORS eEing
oe Cao eo,
Paper |

Figure 17

Thesports
3.5
bra
HM
pattern
99

BP

Figure 18
Step fourteen: Cup manipulation (Figure 19)
40. Cut the front lower cup from the point W to the
B.P. and move the shaded area to the side.

Figure 19

Step fifteen: Cup manipulation (cont.) (Figure 20)

41. Connect V and W with a curved line.
42. Mark X, square out *°/3) (1.2cm) from point Q.

The
3.5
brapat
MH
sports
100

Figure 20
 Step sixteen: Cup manipulation (cont.) (Figure 21)
43. Match the cradle centre and the lower cup centre.
44. Walk the intermediate block along the cup
Ee | joining seam.
Paper

a
Soe
‘.,

Figure 21

Step seventeen: Armhole (Figure 22)

45. Mark M, after matching the cup joining seam.
46. Conne ct X and M with a curved line.
47. Trace the side from the band.
48. Draw a straight line from the lower cup centre to 71
the sid e:
The
3.5
bra
sports
MM
pattern
101

Figure 22
Step eighteen: Frame (gore + neckline + armhole) (Figure 23)
49. Draw a curved line connecting the gore, front neckline and style line at the wing.

|
PDISOL TATRA EREARSISIASS RCPRDHESAREE RELL EADSSES AECISSRDEELSY DAES IREIIME RSA SIIIEDSD OHILSAIOSIOSAESIEN DERLASLIPIAAUNSS RDI AANIIN oDRCoateaCeneIh
SheamisssbitseieeReDeethtitts

yas |

|
|
Figure 23

Step nineteen: Upper cup and lower cup (Figure 24)

50. Connect W and the B.P. on the upper cup guide
line with a curved line and continue to the frame.
51. Mark Y. an
52. Mark Z, square out ?/s (1cm) from one third 7 \
of line from the B.P. to Wi. ys x
53. Draw a curved line connecting Y, B.P., Z, Wi. Thespor
3.5
bra
MH
pattern
102

Figure 24
 Step twenty: Matching & reshaping (Figure 25 & 26)
54. Walk the lower cup from the centre to each side.
55. Reshape the lower cup accordingly.
Notes : The dotted lines are original lines from Figure 24.

Figure 25

Thesports
3.5
bra
M
pattern
103

Figure 26
Step twenty one: Matching & reshaping (cont
.) (Figure 27 & 28)
56. Match the joining seam length of the u pper
cup and lower cup.
YW = YW,

Wi

Figure 27
Figure 28
Thespo
3.5
pattern
MM
104
 Step twenty two: Shoulder strap (Figure 29 & 30)
57. Draw a vertical guideline.
58. Draw a horizontal guideline, 2°/16 (7.5cm) from the platform.
59. Draw another horizontal line, 4° (10.2cm) from the guideline.
60. Mark A and B, 1°/32 (1.5cm) each from the vertical line.
61. Mark C and D, 7/46 (5mm) each from the vertical line.
62. Complete the shoulder strap.

cdl
hs
(Smm)

hig.
(7.Scm)

Toy
(1.Sem)!

3.5
The
bra
sports
Ml
pattern
105

Figure 29 Figure 30
Step twenty three: The complete pattern piece
s (Figure 31)
63. Add seam allowance and pattern informatio
n.

Outer layer
Ys.
(1cm)

We
(6mm)

Wie
The
3.5
bra
sports
patter
Ml
106
(Gnm) Wn
(6mm)

(6mm)

Laminated Foam

3 Vs.
of8
(1em)
(1cm)

Vy
(Gemma)
A
(6mm)

Figure 31
 3.6 The soft bra pattern

Soft bras in general refer to bras constructed with no wires. The soft bra introduced in this lesson is
inspired by the original cut and sewn ‘Cross your heart bra’ by Playtex. The soft bra offers maximum
comfort with reasonable support. The same intermediate block for ‘the sports bra pattern (p.90)’
is used for this lesson.

soft
The
3.6
bra
MI
pattern
107
Step one: Preparation (Figure 1)
1. Draft the band pattern. (Follow steps 1-2 for
the basic bra)
2. Extend the each end of the Cup joining seam
line.

hk

IW/,
(30cm)

Figure 1

3.6
The
soft
brapat
M108
 Step two: Matching notches (Figure 2)
3. Mark the matching notches (D:&D2) on the cup joining seam line
by walking the basic bra lower cup.

Cup joining seam line

Cup joining
seam line Cupjoining
seam line

Thesoft
3.6
bra
HM
109
pattern

Figure 2
Step three: Band drafting (Figure 3)
4. Mark E, ?/4 (6mm) down from the wire outline 6. Mark F, square down 1%/,’ (3.2cm) from
on the cradle centre line. point C.
5. Draw a line, */, (6mm) parallel to the horizontal 7. Connect B: and F with a curved line.
guideline and connecting point E and B:. 8. Mark G, square up ?/, (1.9cm) from point F.

Figure 3

Step four: Band drafting (cont.) (Figure 4)

9. Mark H, 12/, (4.5cm) from point F.
10. Mark |, 27/16 (5.2cm) parallel to line FG.
11. Mark J, 13/s' (3.5cm) from point D>.
12. Connect J and | with a curved line.
13. Connect | and G with a curved line.
Theso
3.6
M
110

Figure 4
 Step five: Neckline (Figure 5 & 6)
14. Mark K, 3*/s (8cm) up from the point A.
15. Mark L, 32/s’ (8.6cm) up from point K and square out 3°/s (9.2cm)
from the centre front.
3/5 16. Connect K and L with a curved line.
(9.2cm)

‘eam 17. Draw a straight line from point K to the cradle which touches
the cup joining seam line.

Figure 5

Thesoftbra
3.6
M
111
pattern

Figure 6
Step six: Cup preparation (Figure 7)
Step seven: Intermediate block (Figure 8 & 9)
18. Draw the lower cup and Separate into 2 pieces
. 20. Match the lower cup and upper cup as shown
(Follow steps 6-8 for the basic bra)
in Figure 8.
19. Draw the upper cup guidelines.
21. Draw the upper cup side lines (guidelines).
(Follow steps 9-10 for the basic bra) Note: 17/s (3.5cm) is used for demonstration.

Figure 8

3.6
Thesof
bra
patter
M112

17, V/s
(3.Scm) (3.Sem)

Figure 7

Figure 9
 Step eight: Cup manipulation (Figure 10 & 11)
22. Place the intermediate block (on a separate piece of paper) on top of the band draft.
23. Walk the intermediate block along the cup joining seam, starting from point Di.
24. Trace the front neckline and upper part of the gore.
25. Trace the rest of the centre front.

Figure 10

Thesoftbrapattern
3.6
M113

Figure 11
Step nine: Armhole (Figure 12)
26. Walk the intermediate block from point D>.
27. Mark J.
28. Connect L and J with a curved line.
29. Mark M, a crossing point of cup and side panel.

| me

Sah Lage een = occa eh le Ng i AO dre Pane en tee es

Figure 12

Step ten: Wing (Figure 13)

30. Mark N, square out °/g(1.6cm) from point L.
31. Draw a curved line from N to M and extend to the hem of underband.

Thesof
3.6
M114

|
:

LARAPO ESAESIIORIestar ERE ee OneRSNOR WAPI

AOTABL OSAORPAODns TEESEARRODMIEPOHOE RELIST MITTBOLERO EERE HLL LBL EELLLL LEN TELL LLL DEL LLL ELL ELLIS L ELLE LEELA
NEL EEL EA ER wero |
Figure 13
 Step eleven: Lower cup (Figure 14 - 16)
32. Rearrange the rest of the lower cups and underband.
33. Reshape the lower cup shown as the Figure 16.

Figure 14

Thesoft
3.6
M
brapattern
115

<P Figure 15 Figure 16

Step twelve: The complete pattern piece
s (Figure 17)
34. Separate into 4 pieces.
35. Add seam allowance and pattern informatio
n.

Stabiliser

(6mm)

Cotton lycra

4
(6mm)

Vy
(6mm)
Thesof
3.6
HM
116
hie
(Smm)

(6mm) Ts,
(6mm)

Figure 17
chapter’4 Different types of corsetr attern

Garter belt

Waspie All-in-one
4.1 The corset pattern

A corset is a close fitting bodice , often reinforced by bones in order to mould and shape the torso
into a fashionable silhouette. A hook and eye tape or eyelets with a lace are used for the fastening
system. It also called ‘basque ,, écorselet/corselette’, ‘long -line bra’, and ‘Merry widow’.
The corset introduced in this lesson fits the wearer whose bra size is US34B/75B.
The two dart full coverage lace cup (p.69) can be used for cup pattern construction. The front bodice
panels of the corset are rigid whilst the back bodice panels are made of stretchy materials.

AR AD ARARAARAAAARA
waypedjesiod
aul
Ty M SIT
ARAAAAAAARAAADAARAAAAARARRAR AARARAAARARAAARAR
 Step one: Preparation (Figure 1)
1. Draw vertical and horizontal guidelines.
2. Trace a wire (Follow the basic bra band steps 1-2).
3. Draw a vertical guideline 2?/, (7cm) parallel to the centre back.
4. Mark B, °/s(1.6cm) up from the underbust level.
5. Mark C and D, ?/,(1.9cm) down from the waist level.

Thecorset
4.1
HM
pattern
119

(10cm)

Centre

Figure 1
Step two: Hem (Figure 2)
6. Connect A and D witha Straight line.
7. Divide the line AD by 4.
8. Mark E and F, square out */s (1cm) from the
one quarter of line AD.
9. Connect A, E, F, D with a curved line.

ere

Waist
The
4.1
pattern
corset
MM
120
OAH Her

|
|
|
ve a Se | San a aa mag eee
|
|
|

Figure 2
 Step three: Underarm and back (Figure 3)
10. Connect G and B with a straight line.
11. Divide line GB by 3.
12. Mark H, square */,(1.3cm) out from the one third of GB
13. Connect G, H, B with a curved line.

1B
Underbust

Figure 3

Step four: Underarm and back (cont.) (Figure 4)

14. Mark I, 1?/s (3.5cm) from point G along the underarm of the corset.
Thecorset
4.1
HM
pattern
121

Figure 4
 Step five: Style line (Figure 5)
15. Mark J, a cross point of a line 3"/s (7.9cm) 21. Mark N, square up */,'(0.6cm) from the waist
parallel to the centre front and the hem line. level on the guideline.
16 . Connect | and J witha Straight line. 22. Divide the line MN by 2.
17 . Divide the line J by 2. 23. Mark O and P, square out >/16 (Smm) each
18. Mark K and L, square out /2(1.3cm) each from from the midpoint of line MN.
the midpoint of line J. 24. Mark Q and R, square out 3/i¢(5mm) each
Sh Connect |, K, J and |, L, J with curved lines. from the guideline on the hem level.
20. Mark M, across point of the vertical guideline 25. Connect M, O, N, Rand M,P, N, Q with
and the back line. curved lines.

pattern
Thecor
4.1
Ml
122

= ert aannnnaasanonnanssnonnnsnnnnteataseennnnnintnanenrnn
een
ninnieenmanmnn dees tatiatmiaepdopteeues. 3BiB :

Centre
pcre

Figure 5
 Step six: Style line (cont.) (Figure 6)
26. Draw two vertical guidelines parallel to the centre front, 2'(5cm) and 4’(10.2cm) respectively.
27. Mark S and T, crossing points at the cup joining seam line.
28. Draw two vertical guidelines parallel to the centre, */)'(1.3cm) and 1°/:6 (4cm) respectively.
29. Mark U and V, crossing points at the hem line.
30. Connect S, U and T, V with straight lines.

Thecorset
4.1
HM
pattern
123

Figure 6
Step seven: Pattern labelling (Figure 7)
31. Separate into 5 pieces.
32. Add seam allowance and grainline.

‘Vie
(Smm)

Ys.
(10mm)

ys,
(6mm)

The
4.1
patter
corset
HM
124

We
(6mm)

Ty
(6mm)

Figure 7
 Step eight: Matching and matching notches (Figure 8)
33. Flip the pattern and match the seam allowance
and create notches.
34. Reshape the corner of seam when matching.

Figure 8

Wi
Step nine: The complete pattern pieces (Figure 9)
35. Add pattern information.

Thecorset
4.1
M
pattern
125

Figure 9
4.2 The all-in-one pattern

An all-in-one is a combination garment composed of a bra and a girdle. It is also called ‘body’, ‘body
briefers’, ‘body shaper’, ‘foundation’ or ‘shaper’. It is designed to contour and support the body in
order to create a slim and sleek/smooth appearance. Some are constructed with rigid materials to
provide extra-firm control/support for smoothing and shaping whilst some are constructed with
lighter materials to provide light to moderate control/support for smoothing only. Some with bum
pads are available on the market for creating a voluptuous hour glass figure. The all-in-one shown
in this lesson has a front lining made out of stabiliser for tummy control (smoothing the abdomen).
Two variations of style lines are introduced in this lesson.

Theal
4.2
HM
patter
126

Style 1 Style 2
 Step one: Cradle (Figure 1)
1. Draft the band pattern.
(Follow steps 1-2 for the basic bra)

Centre

Figure 1

Theall-inone
4.2
Ml
127
pattern
Step two: Guidelines (Figure 2)
2. Draw guidelines. 3. Draw a vertical guideline at the midpoint of
line AA.
A:A = 13°(33cm)
AB = 5'(12.7cm)
BC = 6'/.(16.5cm)
CD = 6'(15.2cm)
DE = 13/,'(4.4cm)

s
(12.7cm)

Waist

6'/,
(16.5em)

Theall-
4.2
pattern
M128

(15.2cm)

ee A ee ee s Bi;
(44cm)

Centre Front 13
Centre
uitre BacBac!
(33cm)

Figure 2
 Step three: Underarm (Figure 3 & 4)
4. Mark G, square up 2: (5cm) from point A.
5. Mark H, square down ?/, (6mm) from the midpoint of line FG.
6. Connect F, H, G with a curved line.

Figure 3

Theall-inone
4.2
M
129
pattern

Figure 4
Step four: Front leg and back leg (Figu
re 5)
7. Mark |, square down 3*/4(8.2cm) from point
C,. 11. Mark M, 2?/,(7cm) up from point D.
8. Mark J, square out 13/;.(3cm) from point |.
12. Mark N, 17/,(3.2cm) up from point D and
9. Mark K, 1'/,"(3.8cm) from the vertical guide
line Square out 23/,(7cm).
on the hip level. 13. Mark O, 1*/s'(3.5cm) from point D.
10. Mark L, ?/;(2cm) down from the hip levelonthe
14. Mark P, 1*/16 (3cm) from point E.
vertical guideline.

C, Kye
ae
0) _, Hip C

Ys
(2cm)

L
cyt
(8.2cm)

1 Boa a Gobel M‘woo

Pie
(3cm)

; 2/4
2y) 4 aS
N |
Z (7cm)
Theall
4.2
pattern
M130

Wes
3 Ws. (3.2cm)
O (3.Scm) dt

'D

Bis
P (3cm) EB
Centre Front

Figure 5
 Step five: Front leg and back leg (cont.) (Figure 6)
15. Mark Q, square out ?/,(1.9cm) from the midpoint of line JK.
16. Mark R, square out 2/:6 (Smm) from the midpoint of line KL.
17. Mark S, square out ?/:(1cm) from the midpoint of line LS.
18. Mark T, square out 3/16 (Smm) from the one third of line ON.
19. Mark U, square out */:6 (1mm) from the midpoint of line UP.

Theall-inone
4.2
HM
131
pattern

Figure 6
Step six: Front leg and back leg (cont.) (Figu
re 7)
20. Connect J, Q, K, R, L with a curved line.
21. Connect L, S, Nand N, T, O with curved
lines.
22. Connect O, U, P with a curved line.
23. Connect N and M with a curved line.

Theall-
4.2
pattern
Mm
132

Centre Back

Figure 7
 Step seven: Panel drafting for style 1 (Figure 8)
24. Mark V, 2'(5cm) out from point Bi. 27. Mark Z, square out */)(1.3cm) from
25. Mark W, 31/2 (9cm) out from point Ci. point B.
26. Mark X and Y, square out +/.(1.3cm) each from 28. Divide the line GB by 2.
the vertical guideline. 29. Divide the line BC by 2.

Theall-inone
4.2
HM
133
pattern

Centre Front Centre Back

Figure 8
Step eight: Panel drafting for style 1 (cont.)
(Figure 9)
30. Connect the cradle centre, V, W with
a curved line. 34. Connect W2 and J witha Straight line.
31. Connect Fi, X, L and F,, Y, L with curved
lines. 35. Draw a horizontal line for gore (stabiliser).
32. Create a back centre curve.
Note: 2°/; (6cm) is used for the gore height.
33. Mark Wo, 23/,(7cm) from point Wi.

4.2
Theall-
pattern
M134

Figure 9
 Step nine: The complete pattern pieces of style 1 (Figure 10)
36. Add seam allowance and pattern information.

Nylon lycra Powernet Stabiliser

a6
he
(smm)

Theall-inone
4.2
M
135
pattern

Ds
(6mm)

Cotton lining

ue
(6mm)

is Ty
(6mm) (6mm)

Figure 10
Step ten: Panel drafting for style 2 (Figu
re 11)
37. Mark A, 3’(7.6cm) from the centre front
41. Mark E, 27/,'(5.7cm) from the armpit.
on the cup joining seam. 42. Mark F, 41/,'(10.8cm) from point C.
38. Mark B, 2’(5cm) from the centre front 43. Mark G, */.(1.3cm) from point F.
on the waist level. 44. Mark H, */,"(1.3cm) from the centre back
39. Mark C, */.(1.3cm) from point B.
on the waist level.
40. Mark D, 4*/s (11cm) from the centre front
45. Mark K, the midpoint of IH.
on the hip level. 46. Mark L, the midpoint of HJ.
47. Mark M, 21/:(5.4cm) from the back leg.

a E
A I
(5.7cm)

(7-6cm) A |

~~ > Ae Ky

2 uy, ay, ae Y)
(Sem) (13cm) (10.8cm) (1.3m)
2 Fae (1.3cm) FS
Ae >> So se i nee eee ceed ef, SE
BEG FG H

Lf.
4.2
Theall-
pattern
HM
136

43/.
i
a —————— <r tt i | ee Hip
J

M
2/3.
(54cm) _F

i am ae nn ere me wane ae ep an ee Nn ee

Figure 11
 Step eleven: Panel drafting for style 2 (cont.) (Figure 12)
48. Connect A, B, Dand A, C, D with curved lines. 51. Mark D2, 2?/,(7cm) from point D1.
49. Connect E, F, Mand E, G, M with curved lines. 52. Connect D2 and N with a straight line.
50. Create a back centre curve (Line KHL). 53. Draw a horizontal line for gore (stabiliser).
Note: 23/; (6cm) is used for the gore height.

V/s
(6cm)

Theall-inone
4.2
M
137
pattern

Centre Front Centre Back

Figure 12
Step twelve: The complete pattern pieces
of style 2 (Figure 13)
54. Add seam allowance and pattern informatio
n.

Nylon lycra Powernet Stabiliser

(smm)

ve
(6mm)
8
(3mm)

Theall-
4.2
pattern
mM
138

we
(6mm)
Cotton lining

(6mm)
Is
(6mm)

Figure 13
 Step thirteen: Outer cup drafting (Figure 14 & 15)
55. Draft a lower and upper cup. 57. Mark C, ’/g(2.2cm) out from point A.
56. Match the corner of the upper and lower cup. 58. Mark D, */2(1.3cm) out from centre point B.
59. Connect C and D with a curved line.

Matching

Theall-inone
4.2
HM
139
pattern

Figure 14 Figure 15
Step fourteen: The complete cup pattern pieces (Figure 16)
60. Add seam allowance and pattern information.

Inner Cup (laminated foam)

(6mm)

Outer cup (nylon lycra)

hie
” (1.smm)
*/s
(10mm)

"4 + extra allowance

(6mm)

3/,
8 + extra allowance Theall
4.2
HM
patter
140
(10mm)

Ty
(6mm)

Ty
(6mm)

Ts
(3mm)

Figure 16
 4.3 The waspie pattern

A waspie is a belt-like corset worn to create a small waist. It is also called ‘waist cincher’, ‘waspie
belt’, ‘waspie corset’ or ‘short corset’. Its construction method is similar to that of a corset. It is
often made with garters which is called ‘waspie garter belt’ or ‘waspie suspender belt’. Some are
worn over underclothes as outerwear. The waspie introduced in this lesson fits the wearer whose
bra size is US34B/75B.
Tvl ujoyed
aidsemau,
€'y @
 Step one: Preparation (Figure 1)
1. Draw guidelines.
AB = 12°/, (32.4cm)
AC = AD =5 (12.7cm)
EB = 3'/, (8.9cm)
BF = °/,(1.9cm)

(12.7cm)

(12.7em) waspie
4.3
The
pattern
Mm
142

Figure 1
 Step two: Preparation (cont.) (Figure 2)
2. Draw a vertical guideline from the midpoint of line AB.
3. Mark G, square up 4 (10.2cm) on the vertical guideline.
4. Mark H, square down 2'/, (6.4cm) on the vertical guideline.

@143

The
4,3
waspie
pattern

Figure 2
Step three: High-waist line (Figure 3)
5. Connect C, G and G, E with straight lines.
6. Mark |, square out */,’ (3mm) from one quarter
of line CG.
7. Mark J, square out *// (3mm) from the midpoint of
line GE.
8. Connect C, |, G, J, E with curved lines.

43
The
waspie
pattern
Mm
144

,
Gteiot
niet

Figure 3
 Step four: Hem (Figure 4)
9. Connect D and H with a straight line. 13. Square out a line from point F.
10. Mark K, square out 3/s(1cm) from 14. Mark E; and Fy.
one third of line DH. 15. Mark Land M, square out ‘/,(6mm)
11. Connect D, K, H with a curved line. each from point F,.
12. Draw a vertical line, square out 3 (7.6cm)
from the centre back.

@
145

The
4.3
waspie
pattern

Centre front
Centre back

Figure 4
Step five: Hem (cont.) (Figure 5)
16. Connect E,, L and E,, M with curv
ed lines.
17. Connect H and M with a Straight line.
18. Mark N, square up */s(3mm) from the midpo
int of line HM.
19. Connect H, N, M with a curved line.

4.3
The
waspie
pattern
m146

Centre back

Figure 5
 Step six: Style line (Figure 6)
20. Mark O, a cross point of a line 51/, (14cm) 22. Connect O and P with a straight line.
parallel to the centre front and the high-waist 23. Mark Qand R, square out */s (1cm) each
line. from the midpoint of line OP.
21. Mark P, across point of a line 3*/2 (8.9cm) 24. Connect O, Q, P with a curved line.
parallel to the centre front and the hem line. 25. Connect O, R, P with a curved line.

Sy

M147

The
4.3.
waspie
pattern

Figure 6
Step seven: Style line (cont.) (Figure 7)
26. Mark S, a cross point of a line 2*/4 (5.7c
m) parallel to the centre front and the high-
27. Mark T, a cross point of a line 4’ (10.2cm) waist line.
parallel to the centre front and the high-waist
28. Mark U, a cross point of a line 1” (2.5cm) line.
parallel to the centre front and the hem line.
29. Mark V, a cross point of a line 2” (5cm)
parallel to the centre front and the hem line.
30. Connect S and U with a Straight line.
31. Connect T and V witha Straight line.

waspie
The
4.3
patter
Mm
148

Figure 7
 Step eight: The complete pattern pieces (Figure 8)
32. Add seam allowance and pattern information.

Satin & stabiliser

(6mm) 1fe
(6mm)

Ys
(1Cm)

M
149

"h Nee
4 mm,

ome us Powernet
The
4.3
waspie
pattern (6mm)

oe hs

(1Cm) (6mm)

(6mm)

Figure 8
4.4 The garter belt pattern

A garter belt is a belt with garters and is worn

around the waist. A garter band refers to
elastic band worn around the thigh or calf in a narrow
order to hold up stockings or socks in the right
whilst garters for the garter belts are const position
ructed with clasps and adjusters (slides).
hook and eye tape is used as a fastening syste Norma lly a
m at the back. It is also called a ‘suspender
garter belt pattern shown in this lesson is for belt’. The
rigid materials. For stretchy materials, a negat
(reduction in girth measurement) needs to be ive ease
applied.

garter
4.4
The
belt
patter
m150
 Step one: Front (Figure 1 & 2)
1. Trace the front skirt. 5. Mark E, 2?/.’ (6.4cm) from the front waist
2. Draw a vertical guideline at the midpoint of AB. line.
3. Mark C, 23/,’ (7cm) down from the front waist 6. Connect C, D and D, E with curved lines.
line. 7. Extend the front darts.
4. Mark D, 41/2 (11.4cm) down from the front waist 8. Reshape the darts with straight lines.
line.

garter
The
4.4
belt
MP
151
pattern

Figure 1 Figure 2
Step two: Draw the back (Figure 3 & 4)
9. Trace the back skirt.
10. Draw a vertical guideline at the middle
of the waist.
11. Mark F, 2*/,’(6.4cm) down from the back
waist line.
12. Mark G, 3/,'(8.9cm) down from the back
waist on the vertical guideline.
13. Draw a vertical line */,(1.3cm) parallel to the
centre back.
14. Mark H, 3/,° (2cm) down from the back waist.

garter
4.4
The
belt
pattern
m152

Figure 3
Figure 4
 Step three: Dart manipulation (Figure 5 & 6)
15. Close the darts and reshape.
Note: These peices can be used as complete pattern pieces.

Figure 5 Figure 6

Step four: Front and back in one (Figure 7)

16. Combine front and back and reshape.

belt
garter
The
4.4
Ml
153
pattern

Figure 7
Step five: The complete pattern pieces
(Figure 8)
17. Add seam allowance and pattern
information.

Ts
(6mm)

Figure 8 belt
4.4
garte
The
pattern
154
chapters Different panty patterns

Boy leg brief French knickers

5.1 The brief pattern

A brief is an underpant which is worn by both women and men. The brief introduced in this lesson
is for women and women’s briefs can be further categorised into three different types based on
its height/coverage: a mini (minimum height/coverage), a midi (medium height/coverage) or a
maxi (maximum height/coverage). It is also called ‘pantie’, ‘panty’, ‘panties’, or ‘brief panty’. The
brief introduced in this lesson is composed of a front panel, a back panel, a gusset and a gusset
lining and offers full coverage on the buttocks and side. It is important to keep the front gusset
width at 2 %” (7cm). The different types of elastic trims and stitches make significant differences
in appearance. In this lesson, the body measurements of US size 10 (p.5) are used.

Thebri
5.1
HM
patter
156
 Step one: Preparation (Figure 1)
1. Draw guidelines.
AB = 1'(2.5cm)
AD = H/q
CD = Hh
A= BEq=. /.x%90%
2. Square out lines from A, B, C& D
and mark E, E:1, F & G.
CF =DG = 17/3 (3:.5cm)

("74) 8 90%

Tq

Thebrief
5.1
Ml
157
pattern

NS /)
Centre Front (Gsan)
 Step two: Waist line (Figure 2 & 3)
Step three: Front leg (Figure 4 & 5)
3. Connect the midpoint of line BE, and point
E with 6. Connect F and H with a Straight line.
a Straight line.
7. Divide line FH by 3.
4. Blend the line BE.
8. Mark I, square up 3/,’ (1.9cm) from one third
5. Mark H, square out 2” (5cm) from point E.
of line FH.
9. Connect F, |, H with a curved line.

Centre Front

Figure 2

Centre Front
Figure 4

The
5.1
brief
pattern
m158

Centre Front

Figure 3

Centre Front Figure 5

 Step four: Front gusset (Figure 6 & 7) Step five: Preparation for back leg (Figure 8)
10. Divide line FG by 2. 13. Mark K, square ?/, (1.9cm) out from point H.
11. Mark J, square 1/,"(0.3cm) in fromthe 14. Mark L, 2/s’ (6cm) up from point D and
half of line FG. square out 2'/, (6.5cm) from the centre front.
12. Connect F, J, G with a curved line. 15. Connect K and L with a straight line.
16. Mark M, 2/,’ (1.9cm) from point K on the line KL.

Centre Front

Figure 6

Thebrief
5.1
Mi
159
pattern

Centre Front

Centre Front

Figure 7 Figure 8
Step six: Back leg (Figure 9)
Step seven: Back gusset (Figure 10)
17. Blend line HKM.
21. Connect L and G witha Straight line.
18. Divide line LM by 2.
22. Mark O, square out 1/;’ (3mm) from the
19. Mark N, */s’ (1cm) square out from the
midpoint of line LG.
midpoint of line LM. 23. Connect L, O, G with a curved line.
20. Connect M, N and L witha curved line.

5.1
The
brief
pattern
m160

Figure 9
Figure 10
 Step eight: Back gusset (cont.) (Figure 11) Step nine: Open pattern (Figure 12 & 13)
24. Mark P, up ?/s (1cm) from the level M. 26. Copy the back of the gusset and the back.
25. Connect M and P with a curved line.

Thebrief
5.1
M
161
pattern

Figure 11
k Figure 12
Step ten: The complete pattern pieces (Figu
re 13)
27. Add seam allowance and pattern informatio
n.

Cotton lycra

hs
(6mm)

(6mm)
Cotton jersey

5.1
The
brief
pattern
m162

Figure 13
 5.2 The thong pattern

A thong consists of a front panel, a gusset and a small triangle back centre piece, which are held
together by elastic strings. It exposes the wearer’s buttocks and upper thigh. Normally the gusset
is integrated into the front panel due to the small size of this garment. The thong is also called
‘T-back’, ‘G-string’ or ‘string’. However, ‘G-string’ or ‘string’ refers a thong without a small back
triangle piece. It is believed that thongs became popular because of the resulting ‘invisible’ panty
lines.

Thethong
5.2
M@
163
pattern

Style 1 Style 2
 Step one: Preparation (Figure 1)
Step two: Front of thong (Figure 2)
1. Trace the basic brief pattern (Open patte
rn). 2. Mark A, */,(2cm) down from the centre front
waist.
3. Mark B, square 33/,’(9.5cm) out from point A.
4. Mark C, */." (1.3cm) down from the front gusse
t
line.
S. Mark D which is a cross point of the horizontal
line from C and the brief template.
6. Connect B and D witha slightly curved line.

Thetho
5.2
pattern
M164

Centre front

Figure 1
Figure 2
 Step three: Gusset (Figure 3) Step four: Back of thong (Style 1) (Figure 4)
7. Mark E, 4*/, (11.4cm) down from point C. 13. Mark H, 3/4’ (1.9cm) up from the centre back
8. Mark F, square out ?/, (6mm) from point E. waist.
9. Connect D and F with a straight line. 14. Mark |, square out 1'/, (3.2cm) from point H.
10. Divide line DF by 2. 15. Mark J, 2’ (5cm) up from point H and
11. Mark G, square out */:6 (Smm) from the 1/,'(6mm) out from the centre.
midpoint of line DF. 16. Connect F andJ with a straight line.
12. Connect D, G, F with a curved line.

Front waist

Thethong
5.2
HM
165
pattern

Back waist

Centre front

Centre front

Figure 3 Figure 4
Step five: Back of thong (Style 1) (cont.)
(Figure 5 & 6)
17. Connect Jand | with a Straight line.
18. Divide line JI by 2.
19. Mark K, square in °/3)’ (4mm) from the midpo
int of line JI.
20. Connect J, K, | with a curved line.

Front Waist

5.2
Thetho
pattern
HM
166

Back waist 2 a

Centre front

Centre front

Figure 5
Figure 6
 Step six: The complete pattern pieces (Style 1) Step seven: Back of thong (Style 2)(Figure 8 & 9)
21. Add seam allowance and pattern 22. Mark H, 3/,(1.9cm) up from the centre back
information (Figure 7). waist.
23. Mark |, square out 21/, (6.4cm) from point H.
24. Connect H and | with a straight line.
25. Divide line Fl by 2.
26. Mark J, 3/,(1.9cm) in from the midpoint of line FI.
27. Connect F, J, | with a curved line.
Cotton lycra

Cotton jersey

Front waist

i/,; ve Fiigure 8
Thethong
5.2
Ml
167
pattern (6mm) (6mm)

Back waist_

Figure 7 Figure 9
 Step eight: The Complete pattern piece
s (Style 2) (Figure 10 & 11)
28. Add seam allowance and pattern infor
mation.

Cotton lycra
We
(6mm)

Cotton jersey

Te ues
(6mm)
(6mm)

Ts
(6mm)

5.2
Thetho
pattern
Mm
168

____Backwaist

4
Centre front (6mm)

Figure 10 Figure 11
 5.3 The boy leg brief pattern

A boy leg brief is a women’s brief with the shape of a pair of hot pants. It is also called ‘boy short’,
‘hip hugger’, ‘hipster’ or ‘shorty’. The boy leg briefs tend to have short/low leg openings and a
low waistline around the mid-hip level. However, the boy leg brief shown in this lesson offers
maximum coverage with a relatively high waistline compared to those available on the market. It
can be easily adjusted by lowering the waistline as required.

boy
The
5.3
brief
leg
HM
169
pattern
Step one: Preparation (Figure 1)
1. Draw vertical and horizontal guidelines.
AB = ("/,x 90%)
AC = (“/,x 90%)
BE = ("/,x 90%)
BD = ("/s2)
2. Mark F, 2 */s(6cm) up from the point B.

The
5.3
boy
leg
brief
pattern
MH
170

Figure 1
 Step two: Front waist and crotch (Figure 2)
3. Mark G, 1(2.5cm) down from point A on the
centre line.
4. Mark H, the midpoint of line GC:.
5. Connect C and H.
6. Blend G, H, C.
7. Mark |, 45 angle out ?/,' (1.9cm) from point B.
8. Connect F, |, D with a curved line.

Figure 2

Step three: Front leg (Figure 3)

9. Connect C and E with a curved line.
10. Mark J, square out 11/,(3.8cm) from point D.

The
5.3
leg
boy
brief
Ml
pattern
171

Figure 3
Step four: Front hem (Figure 4)
11. Mark a horizontal guideline 1*/, (3.2cm) up
from the hip level.
12. Connect Jand K with a curve line.
Note: Each corner should be right angle.

The
5.3
boy
leg
brief
pattern
Hl
172

Figure 4
 Step five: Back centre seam (Figure 5)
13. Mark L, */.(1.3cm) from point G.
14. Draw a straight line from F and passing L.
15. Mark M, 12/2 (3.8cm) from point L. M I
16. Mark N, 3/,'(1.9cm) from point C. sd

Figure 5

Step six: Back side (Figure 6)

17. Draw a curved line from K which passing point N.

boy
The
5.3
brief
leg
MH
pattern
173

Figure 6
Step seven: Back waist (Figure 7)
18. Mark Ny, (KC =KN;)
19. Connect M and N;.

Figure 7

Step eight: Back crotch and hem (Figure 8)

20. Draw a line "/32 parallel to line DJ. (OP = DJ)
21. Mark Q, square out '/, (1.3cm) from the
midpoint of line JK.
22. Connect P, Q, K with a curved line.

brief
leg
Thebo
HM
5.3
patter
174

Figure 8
 Step nine: Gusset preparation (Figure 9)
23. Draw a line 3'(7.6cm) parallel to line OP.
24. Mark R, a crossing point with the 3°(7.6cm)
guideline at the crotch.
25. Draw another line, °/s(1.6cm) parallel to the line
from step 24.
26. Mark S, a crossing point at the back hem.

brief
leg
boy
The
5.3
Mi
175
pattern

Figure 9
Step ten: Gusset (Figure 10 & 11)
27. Match front and back at the crotch
as shown in Figure 10.
28. Trace the gusset ona separate piece
of paper.
29. Connect S and S; with a Straight line.
30. Reshape RR; by subtracting the added amou
nt °/32 (4mm) from the
other side.

Front

Front

boy
The
5.3
leg
brief
pattern
Ml
176

Back

Back

Figure 10
Figure 11
 Step eleven: The complete pattern pieces (Figure 12)
31. Add seam allowance and pattern informaion.

Nylon lycra

Cotton jersey
0
(Omm)

boy
The
brief
5.3
leg
Ml
177
pattern (Omm)

Figure 12
3.4 The French knickers pattern

A pair of French knickers is usually made ofsilky

material such as silk satin. It is a loose fitting pair
short pants with an elasticated waist. The style of
shown here is similar to the culotte (divided
A gusset can be separated from both front and skirt).
back panel by using a similar method to that
in the boy leg brief. In this lesson, the US size shown
10 body measurements (see p.5) are used.

The
5.4
French
knicker
pattern
Ml
178
 Step one: Preparation (Figure 1)
1. Draw horizontal and vertical guidelines.
New crotch depth (111/,” (29.2cm)) = Crotch depth + 2”
2. Mark A, a reference point for the crotch drafting.

Crotch depth + 2”

W/,
(29,2em)

New crotch

knickers
French
The
5.4
Hi
pattern
179
Figure 1
Step two: Front crotch (Figure 2)
3. Mark B, 37/2 (8.9cm) up from point A.
4. Mark C, "/16+ 1/)’(1.3cm) out from point A.
5. Mark D, 45 angle out 11/,(3.8cm) from point A.

Figure 2

Step three: Front crotch (cont.) (Figure 3)

6. Connect B, D, C with a curved line.
7. Mark E, square out 27/, (6.4cm) from point C.

knicker
French
The
MH
5.4
180
pattern

Figure 3
 Step four: Front hem (Figure 4)
8. Mark F, square up 2’(5cm) from the new crotch level and
square out "/, +4°(10.2cm) from the centre line.
level.
9. MarkG, the midpoint between the centre line and point F on the crotch
10. Connect E, G, F with a curved line.

H/,+4° (10.2cm)

knickers
French
The
Ml
5.4
181
pattern Figure 4
Step five: Front side (Figure 5)
11. Mark H, “/, + 2’(5cm) out from the centr
e line on the waist level.
12. Connect F and H with a straight line and
extend 1’(2.5cm), mark I.

The
5.4
French
knicker
pattern
Ml
182

Figure 5
 Step six: Front waist (Figure 6)
13. Mark J, the midpoint between centre and point H.
14. Connect | and J with a straight line and then blend.

New crotch

knickers
French
Ml
The
183
pattern
5.4

Centre

Figure 6
Step seven: Back crotch (Figure 7)
15. Trace the waist, side and half of the
hem line from the front on a separate
16. Mark K, "/s out from point A. piece of paper.
17. Mark L, 45 angle out 1°/, (4.4cm) from
point A.

5.4
The
French
knickers
pattern
MH
184

Figure 7
 Step eight: Back crotch and hem (Figure 8)
18. Connect K, L, B with a curved line.
19. Mark M, square out 2'/) (6.4cm) from point K.
20. Connect M and G with a curved line.

185
HM
knickers
French
The
pattern
5.4

Figure 8
Step nine: The complete pattern piec
es (Figure 9)
21. Add seam allowance and pattern
information.

The
5.4
French
knickers
pattern
Ml
186

vi
(Icm)

Figure 9
chapter6_ Different types of sleepwear pattern

Pyjama shirt Pyjama pants

|
xX ry
S
Baby doll Slip Camiknickers
6.1 The babydoll pattern

Baby dolls are worn as a nightgown and often are made out of sheer or translucent fabrics. It
gained popularity in the 1950s due to the controversial movie ‘Baby Doll’. Modern baby dolls are
composed of a underwired bra and a puffy loose fitting hip-length skirt. When the skirt is made out
of a rigid material, an extra length needs to be added to the back skirt pattern in order to match the
length of the elongated bra wing when it is worn. The baby overlock or merrow hem (lettuce hem)
is used for the skirt hem. In this lesson, only the skirt pattern construction is illustrated.

babydol
188
HM
The
pattern
6.1
 *

Step one: Preparation (Figure 1 & 2 )

1. Draft a bra pattern according to the design.
2. Draw guidelines (X & Y) on a separate piece of paper.
3. Trace the cradle.
of the wing touches X.
A. Pivot the wing at the point A until the back corner
5. Trace the hem line of the underband.

Figure 1

189
M
babydoll
The
pattern
6.1

Figure 2
 Step two: Skirt drafting (Figure 3)
6. Draw guidelines for skirt.
Skirt length =15%,” (40cm)
Divide the front skirt into 3 sections (a,b
&c).
Divide the back skirt into 3 sections (d,e &f).
N©90 Mark B, 7, (1.9cm) from the centre back.
10. Mark C, 2° (Scm) down from x.
11. Connect B and C with a curved line.

1.5
Braana
HM
190

Figure 3
 Step three: Front skirt manipulation (Figure 4 & 5)
12. Cut the each section.
sections.
13. Pivot section by section and space 3*/1s (10cm) between
14. Add 2’ (5cm) to side hem.
15. Trace the outline.

191
M
babydoll
The
pattern
6.1

(10cm)

Centre front y y

Figure 4 Figure 5
Step four: Back skirt manipulation (Figu
re 6 & 7)
16. Repeat step 3 for the back .

6.1
The
babydol
pattern
mm
192

Centre back

(10cm)

Centre back

Figure 6 Figure 7
 9)
Step five: Compensation for negative ease (Figure 8 &
17. Extend °/:’ (1.6cm) from centre back
18. Separate each section into 2.
19. Add 2/,’ (1.9cm) to section d and e.
20. Add 2/:’ (1cm) to section f.
21. Trace the outline.

193
Mi
babydoll
The
pattern
6.1

miCentre back

Figure 8 Figure 9
Step six: The complete pattern pieces
(Figure 10)
22. Add seam allowance and pattern
information.

Lace Laminated foam

Ue
(6mm)

Stabiliser Powernet
ie
(Smm)

‘Vie
(8mm)

Chiffon
Chiffon

Ty
(6mm)

6.1
The
babydol
pattern
mm
194

Figure 10
 6.2 The slip pattern

A slip is a dress (full slip) or a skirt (half slip) worn underneath sheer dresses or skirts. The slip dress
usually consists of a pair of fitted cups, a bias-cut skirt and a pair of spaghetti straps. It works like
an independent lining for a dress or a skirt to create a smooth surface. It is also worn as sleepwear.
Both full slips and half slips come in various lengths including mid-thigh, knee, mid-calf, and ankle
length. The basic bodice block (p.21) is used for the pattern construction. In this lesson, the US size
10 body measurements (see p.5) are used.

M
195

WyTY EEE

slip
The
6.2
pattern
Step one: Preparation (Figure 1)
1. Draw vertical and horizontal guidelines
.
2. Waist to high hip = 8°(20.3cm)
3. High hip to hem = 12” (30.5cm)
4. Place the front basic block as shown in
Figure 1.

:
14/,
(37cm)

te Se or se naan ee Weis
|

Z|
High hip |

(20.3em) Theslip
6.2
pattern
MH
196

Hesatannnnininimnannnariisiininsmnisannissimimmenmmnssisinmannnnnand
igabip,

pes
|
|
i

Figure 1
 Step two: Dart manipulation (Figure 2 & 3)
5. Trace the front neck and half of the shoulder.
6. Pivot & close the waist dart.
7. Trace the rest of the basic block.
8. Create a shoulder dart.

197
Mi
Theslip
6.2
pattern

Centre front
Centre front

Figure 2 Figure 3
 Step three: Side (Figure 4 & 5)
9. Mark C, */,’-1"(1.9-2.5cm) from point B
11. Mark E, */’(1.9cm) up from the hem level
on the waist level.
and blend to the centre.
10. Mark D, "/4+*/2'(1.3cm) from the centr
e 12. Draw a side line by connecting A, C, D,
on the high-hip level. E.

Be..\C
errensennnennintnd nny ie
aioeenanaesnbectncoceretstaraehstovedsscbonerecneveevedanerooooeasesonanN ge cary
Sores y oe
4
(1.9-2.5cm)

Theslip
6.2
pattern
Hf
198

fraremttnnnenntintatnentaninaisitiniinntnannuel nivnisneinminnEt
ann
gibip Eo ocermacrintntnananinmranonninnnaninnnsaanniminminummasinnmmnl Dcanis tmnmnnmennon
igeip,
E
4/4 +4/) (13cm)

a Y/,
/ : cemnannaninenttinaninnananinnnnnnsnnannunsunnunuunemenirnub SD rrrrenpenEeD,,,,
ec = (1
Centre front
Centre front

Figure 4 Figure 5
 Step four: Empire line, shoulder dart and armhole (Figure 6 & 7)
13. Mark F, 1’(2.5cm) down from point A. 18. Connect H and | with a straight line.
14. Mark G, 12/,(4.4cm) down from point F. 19. Connect | and J each to the B.P. with
15. Mark H, 22/.(6.4cm) down from the B.P. level. straight lines.
20. Conne ct Jand F with a curved line.
16. Connect H and G with a curved line.
17. Mark | and Jas shown in Figure 6.

HM
199
Theslip
6.2
pattern

Centre front Centre front

Figure 6 Figure 7
Step five: Dart manipulation (Figure 8)
Step six: Back drafting (Figure 9)
21. Transfer the shoulder dart to the underbus
t. 22. Draw guidelines (same as Figure 1).
23. Trace the side and hem line of the front.
24. Draw a horizontal guideline from point
A.
25. Mark K, */.(1.3cm) down from the
horizontal guideline.
26. Connect A and K with a curved line.

Waist

M@
200

Highhip 6.2
The
slip
pattern

Centre front

Figure 8
Figure 9
 Step seven: The complete pattern pieces (Figure 10)
27. Add seam allowance and pattern information.

Cup facing
Ys
(1cm) (1cm)

Vy
(6mm)

Front panel Back panel

Ya
(6mm)

M
201

slip
The
6.2
pattern

Vs 1s
(6mm)
(6mm)

Figure 10
6.3 The camiknickers pattern

Camiknickers are women’s one piece

underwear consisting of a camisole/che
French knickers. It normally comes with mise and a pair of
a pair of spaghetti shoulder straps anda
camiknickers introduced in this lesson snap crotch. The
consists of a camisole with shaped breas
of French knickers without a crotch faste t panel s and a pair
ning system. The basic bodice block (p.21
pattern construction. In this lesson, the ) is used for the
US size 10 body measurements (see p.5)
are used.

6.3
The
camikni
Ml
pattern
202
 Step one: Preparation for front (Figure 1)
1. Draw vertical and horizontal guidelines.
2. New crotch depth (11%/.” (29.2cm)) = Crotch depth + 2”
3. Place the front basic block as shown in Figure 1.
4. Copy the front neck and half of the shoulder.

Waist

camiknickers
The
Mi
6.3
203
pattern

Crotch depth + 2°

U'/,
(29.2cm)

New crotch depth

Centre front
Figure 1
 Step two: Dart manipulation (Figure 2)
Step three: Front waist and side (Figure 3)
5. Pivot & close the waist dart.
8. Mark B, 2’(5cm) from point A.
6. Trace the rest of the basic block.
9. Connect the armpit and B with a curved line.
7. Create a shoulder dart.
10. Mark C, 1” (2.5cm) down from armpit.
11. Mark D, 2’ (Scm) down from point C.

The
6.3
camiknic
Ml
pattern
204

Centre front
Centre front

Figure 2
Figure 3
 Step four: Empire line, shoulder dart and armhole (Figure 4 & 5)
12. Mark E, 1 2/.’(4.4cm) down from the B.P. level 15. Connect E and F with a straight line.
13. Connect E and D with a curved line. 16. Connect F and G each to the B.P. with
14. Mark F and G as shown in Figure 4. straight lines.
17. Connect G and C with a curved line.

camiknickers
205
Mi
The
6.3
pattern

Centre front Centre front

Figure 4 Figure 5
Step five: Front draft (Figure 6)
Step six: Dart manipulation (Figure 7)
18. Draft the front French knickers (p.1
79-183). 21. Transfer the shoulder dart to the
19. Mark H, 4” (10.2cm) down from the underbust.
waist
level.
20. Connect H and B with a curved line.

The
6.3
camikni
Ml
pattern
206

Figure 6
Figure 7
 Step seven: Preparation for back (Figure 8 & 9)
22. Place the basic block, */,’ (6mm) above the 23. Trace the centre back waist.
waist level. 24. Pivot and close the back waist dart.
25. Trace the rest of the basic block.

207
Mi
camiknickers
The
pattern
6.3

Centre back

Figure 8 Figure 9
 Step eight: Back waist and side (Figu
re 10) Step nine: The complete back draft (Figu
26. Mark B, 2” (Scm) out from point A. re 11)
29. Draw a horizontal guideline from point
27. Connect the armpit and B with an C to
inward the centre back.
curve. 30. Mark D, */,'(1.3cm) down from the horizontal
28. Mark C, 1” (2.5cm) down from the
armpit. guideline.
31. Draft the back French knickers (p.18
4-185)
32. Mark E, */."(1.3cm) down from the waist
level.
33. Connect C, D and B, E with curved
lines.

NANNY

& (2.Scm)

AAA
NesnnrnngqaanamnnnannnagananeannannaanadnaanhahhA
NKAAAAAAAANNNAARARRN
(A Sabiciramitinr en
eae ae Pe eat
Ne:

The
6.3
camiknic
Ml
pattern
208

NN ~ N y N N N

aren
enannnininannnninninanninnanninunnninay
Samana
N
Centre back

eannnnadarnnnnanananannngaanannnnanannann’t
z
Centre back

Figure 10
Figure 11
 Step ten: The complete pattern pieces (Figure 12)
34. Add seam allowance and pattern information.

Hi
camiknickers
209
The
pattern
6.3

Figure 12
6.4 The pyjama shirt pattern

A pair of pyjamas consists of a shirt

and a pair of loose fitted trousers and
or loungewear for men, women and child is worn as sleepwear
ren. It can also be spelled as ‘pajamas’
in the plural and also called ‘pjs’ or ‘jim and is often used
jams’. The pyjama shirt introduced in this
loose and comfortable fit. The basic bodi lesson offers a
ce block (p.21) is used for the pattern const
lesson, the US size 10 body measurements ructi on. In this
(see p.5) are used.

@210

The
6.4
pyjama
shirt
pattern
 Step one: Back shoulder dart manipulation (Figure 1)
1. Mark c, square out from point b.
2. Transfer the shoulder dart (a) to the armhole (c).

m211

shirt
pyjama
The
6.4
pattern

Figure 1
Step two: Preparation (Figure 2)
3. Draw guidelines.
CPAt0 CBS 27,47 (17.8cm).
Waist to hem = 14°(35.6cm).
4. Place the front basic bodice on
the centre front and trace.
5. Place the back basic bodice on
the centre back and trace.

M@
212

6.4
The
pyjama
shirt
pattern

Centre front BY, 4.7’ (17.8cm)

Centre back

Figure 2
 Step three: Side (Figure 3)
back block.
6. Draw a vertical guideline at the middle of the space between front and
7. Mark A, 2” (5cm) down from the armhole level.
8. Mark B, square 5’ (12.7cm) up from the hem level on the vertical guideline.

213
B

shirt
pyjama
The
6.4
pattern

Centre front Centre back

Figure 3
Step four: Armhole (Figure 4)
9. Mark Cand D, extend 2’ (Scm)
from front 11. Connect C, E, A.
and back shoulders.
12. Connect D, F, A.
10. Mark E and F, extend 2” (Scm) from
front 13. Measure both front armhole and
and back armholes. back armhole.
Then, write them down on the pattern.

(Sem)

a,
Ty (1.3em)
Ace
i

or ee

Waist

The
6.4
pyjama
shirt
pattern
Me
214

Hem

Centre front
Centre back

Figure 4
 Step five: Neckline adjustment (Figure 5)
14. Draw a button extension, ?/, (1.9cm) 19. Draw a straight line connecting G, | and the
parallel to the centre front. button extension.
15. Mark G, 23/,’ (7cm) from the side neck. 20. Mark J, */’ (6mm) from the side neck on the
16. Mark H, */,’ (6mm) from the side neck. back shoulder.
17. Mark |, °/s. (1.6cm) down from the centre 21. Reshape the back neck.
neck. 22. Measure both front neck (IH) and back neck
18. Connect G and H with a curved line. and write them down on the pattern.

y,
(6mm)

The
shirt
Mi
6.4
pyjama
215
pattern

Centre front Centre back

Figure 5
Step six: Facing (Figure 6)
23. Draw a line 3” (7.6cm) parallel to the neck.
24. Draw a line 2’ (Scm) parallel to the button extension below the waist.
25. Blend two lines.

M
216

The
6.4
shirt
pyjama
pattern

(Sem)
es Hem

Centre front
Centre back

Figure 6
 Step seven: Pocket (Figure 7)
26. Draw a pocket (5° x 51/)" (12.7 x 14cm)), starting its top corner at 91/,'(24.1cm) down
from the side neck and 3’ (7.6cm) in from the button extension.
27. Round the bottom corners of the pocket.

@
217

The
shirt
6.4
pyjama
pattern

Figure 7
Step eight: Sleeve preparation (Figure 8)
28. Draw guidelines.
Sleeve length = 21/,’(55.3cm)
29. Mark A, square out 3” (7.6cm) from point Aj.
30. Mark B and C on the horizontal guideline.
AB = Back armhole length
AC = Front armhole length

M@
218

Sleeve length

DY,
(55.3cm)

The
6.4
shirt
pyjama
pattern

Figure 8
 Step nine: Sleeve cap (Figure 9-11)
31. Mark D, ?/, (6mm) out from one quarter of line BA.
32. Mark E, 3/s (1cm) out from one quarter of line AB.
33. Mark F, ?/s (1cm) out from one quarter of line AC.
34. Mark G, */,’ (6mm) out from one quarter of line CA.

Figure 9

35. Mark H, ?/.° (1.3cm) away from the midpoint of AB.

36. Mark |, */.(1.3cm) away from the midpoint of AC.

BM
219

The
6.4
shirt
pyjama
pattern Figure 10

37. Connect B, D, H, E, A with a curved line.

38. Connect A, F, |, G, C with a curved line.

Figure 11
Step ten: The complete sleeve pattern draft (Figure 12)
39. Mark J and K, 7” (17.8cm) each out from point H.
40. Connect B,Jand C, K with straight lines.

Sleeve length

21%,
(55.3cm)

The
6.4
shirt
pyjama
Mi
pattern
220

(17.8cm) (17.8cm)

Figure 12
 Step eleven: Collar drafting (Figure 13 - 15)
41. Draw horizontal and vertical guidelines.
AB = Front neck + Back neck
AC = 21/, (6.4cm)

Front neck + Back neck

Figure 13

42. Mark E and E1, back neck measurement.

43. Mark F, 1/." (1.3cm) up from point B.
44. Mark G, ?/s (1cm) out from point D.
45. Mark H, */4 (6mm) up from point D.

M@
221

Figure 14
The
6.4
shirt
pyjama
pattern
46. Connect E and F.
47. Draw a line connecting F and G.
48. Draw a line connecting E, and H.
49. Reshape both AEF and CE,H.

Figure 15
 Step twelve: The complete pattern pieces (Figure 16)
50. Add seam allowance and pattern information.

Ty
(1.3cm)

We
(2cm)

es
Yr Yr
(1.3em) (1.3cm) yy,” yy”
(6mm) (6mm)

: if ‘
1,
1
Gen)4
(1.3m)
BM
222

The
6.4
shirt
pyjama
pattern

Vs
(6mm)

15
(6mm) Vy
(1.3cm)

(2cm)

Figure 16
 6.5 The pyjama pants pattern

A pair of pyjamas consists of a shirt and a pair of loose fitted trousers and is worn as sleepwear or
loungewear for men, women and children. It can also be spelled as ‘pajamas’ and is often used in
the plural and also called ‘pjs’ or ‘jim jams’.
A pair of loose fitted trousers is introduced in this lesson. The front and back of the trousers are
connected at the side, which offers a loose and comfortable fit. Either drawstring or elastic can be
used for easy dressing. In this lesson, the US size 10 body measurements (see p.5) are used.

The
6.5
pyjama
Ml
223
pattern
pants
Step one: Preparation (Figure 1)
1. Draw guidelines.
AB = Crotch depth +11/," (3.8cm)
AC = Waist to knee
AD = Outseam

I +1/>
(24.14+3.8cm)

(S8.4cm)

The
6.5
pyjama
HM
pattern
224
pants

Fold line

Figure 1
 Step two: Front waist and crotch (Figure 2)
2. Mark E and F. AE = BF ="/,+ 3/, (1.9cm)
3. Connect E and F with a straight line.
4. Mark G,"/,,+ 3/4(1.9cm) out from point F.
5. Mark H, "/,, from point F.
5 Hf, 9)

<—————
Wig t3/, (1.9m) oars (19em)
Fold line

Figure 2
Step three: Front waist and crotch (cont.) (Figure 3)
6. Connect H and G with a curved line.

The
6.5
pyjama
225
Mi
pattern
pants

New crotch

Fold line

Figure 3
Step four: Front inseam (Figure 4 & 5)
7. Mark |, 3/,(1.9cm) from point G. 9. Connect | and J with a straight line.
8. Mark J, 10°(25.4cm) from point D 10. Connect G to the knee with a curved line.

The
6.5
pyjama
Ml
pattern
226
pants

J 10 Fold line J Fold line

(25.4cm)

Figure 4 Figure 5
 Step five: Preparation for back (Figure 6)
11. Mark L, */, (6mm) out from point E and
square up 11/, (3.2cm) from the waist level.
12. Mark M, square out '/, (6mm) from point H.
13. Mark N, "/15 + 3/.” (1.9cm) out from point G.
14. Mark O, 11/,’ (3.2cm) out from point K. L
15. Mark P, 11/, (3.2cm) out from point J.

New crotch

te
SsSe aE ae
Yio /s (sem),

The
6.5
pyjama
Ml
227
pattern
pants

is
L/, Fold line

Figure 6
Step six: Back waist, crotch and inseam (Figure 7 & 8)
16. Connect A, L and L, M with straight lines. 19. Connect N and O with a curved line.
17. Connect G and M with a curved line. 20. Mark Q on the line NO (QO = GK).
18. Connect O and P with a straight line.

The
6.5
pyjama
Mi
228
pattern
pants

Figure 7 Figure 8
 Step seven: The complete pattern draft (Figure 9)
21. Fold the paper at the fold line.
22. Transfer the back pattern by using a tracing wheel.
23. Unfold the paper and redraw the back.

Crotch depth

The
Mi
6.5
pyjama
229
pattern
pants

Fold line

Figure 9
Step eight: The complete pattern piece (Figure 10)
24. Add seam allowance and pattern information.

Yo
(1.3cm)

The
6.5
pyjama
Ml
230
pattern
pants

Figure 10
chapter? Camisole, bodysuit and leggings

Camisole

Bodysuit Leggings
7.1 The camisole pattern

A camisole is a women’s short sleeveless top with spaghetti shoulder straps.

The camisole can be
made of either stretchy knit materials or silky woven materials. It is also
called ‘cami’ and ‘chemise’.
It is one of the garments which crossed over from being underwear to
being used as outerwear.
The basic T-shirt block (p.38) is used for the pattern construction. The edge
binding is used for the
neck, underarm and shoulder strap.

The
7.1
camisol
Mi
pattern
232
 Step one: Preparation for front (Figure 1 & 2)
1. Trace the front T-shirt block and guidelines.
2. Mark A, 2” (5cm) from the front neck centre and square out 5° (12.7cm) from the centre front.
3. Mark B, 234 (7cm) from the front neck centre.
4. Mark C, 1/2"(1.3cm) up from the armhole level.
5. Mark D, 3/.’ (1.9cm) down from hem level at the centre front.

camisole
The
HM
233
7.1
pattern

Centre front Centre front

Figure 1 Figure 2
 Step two: Front (Figure 3 & 4)
6. Connect A and B with a curved line.
7. Connect A and C with a curved line.
8. Complete the side and hem.

The
7.1
camisol
HM
pattern
234

Centre front Centre front

Figure 3 Figure 4
 Step three: Preparation for back (Figure 5 & 6)
9. Trace the back T-shirt block and guidelines.
10. Mark A, 2/s’ (1cm) up from the armhole level at the centre back.
11. Mark B, 2/2'(1.3cm) up from the armhole level.

camisole
The
235
Mi
7.1
pattern

Centre back Centre back

Figure 5 Figure 6
 Step four: Back (Figure 7 & 8)
12. Connect A and B with a curved line.
13. Complete the side and hem.

Armhole

The
7.1
camisol
Hi
236
pattern

Waist

peevaned
2 etg

Centre back
Centre back

Figure 7 Figure 8
 Step five: The complete pattern pieces (Figure 9)
14. Add seam allowance and pattern information.

7
(1.9cm)

camisole
The
Mi
7.1
237
pattern

(Gam) (6mm)

¥"
(1.9cm)

Figure 9
7.2 The bodysuit pattern

A bodysuit is a tight fitted one piece bodice with long or short sleeves, or
sleeveless, and is made of
stretchy materials. It is also called a ‘leotard’. Some bodysuits are construc
ted with a snap crotch.
It is worn as active sportswear by acrobats, dancers, athletes, and performe
rs. The bodysuit shown
in this lesson consists of a long sleeve t-shirt and a brief combined at the
waist. The basic T-shirt
block (p.38) and brief pattern (p.156) are used for the pattern construction.

The
7.2
bodysuit
MH
pattern
238
 Step one: Preparation (Figure 1 & 2)
1. Draw horizontal and vertical guidelines. 3. Trace the front of T-shirt block (p.44)
2. Trace the back of T-shirt block (p.42) above the waist level.
above the waist level.

M
239

bodysuit
The
7.2
pattern

Centre Centre

Figure 1 Figure 2
Step two: New waist line (Figure 3 & 4)
4. Draw a horizontal guideline, 1” (2.5cm) parallel to 5. Mark A, square in 1/,(1.3cm) from the
the waist line. back side on the new waist line level.
6. Reshape the side of the T-shirt block.

M240

bodysuit
The
7.2
pattern

Centre Centre

Figure 3 Figure 4
 Step three: New armhole (Figure 5) Step four: The complete pattern draft (Figure 6)
7. Raise the armhole level 1°(2.5cm) up from 9. Trace the brief pattern (p.161).
the armhole level.
8. Reshape the armhole.

bodysuit
The
7.2
Mi
pattern
241
Waist

Centre

Centre

Figure 5 Figure 6
Step five: Sleeve cap (Figure 7) Step six: Sleeve hem (Figure 8)
10. Draw horzontal and vertical guidelines. 12. Mark the sleeve length from the tip of the
11. Draft the sleeve cap by following steps for the sleeve cap.
basic T-shirt block sleeve (p.45). 13. Mark D and E, 4’(10.2cm) each out from
the vertical guideline.

Sleeve length

bodysuit
The
7.2
Ml
pattern
242

Figure 7 Figure 8
 Step seven: Sleeve side (Figure 9)
14. Connect B, D and C, E with straight lines. 17. Mark G, '/2(1.3cm) from line CE.
15. Draw a horizontal guideline at the middle 18. Connect B, F, D and C, G, E with curved
of the sleeve. lines.
16. Mark F, */.’ (1.3cm) from line BD.

C ___.. Armhole _

M@
243

bodysuit
The
7.2
pattern

Figure 9
Step eight: The complete pattern pieces (Figure 10)
19. Add seam allowance and pattern information.

The
7.2
bodysuit
Ml
pattern
244

fe
(6mm)

vs
(6mm)

(1.9cm)

(6mm)

Figure 10
 7.3 The leggings pattern

A pair of leggings are a pair of tight fitted trousers for women and children. They are made out of
stretchy materials. They can also be used as a pair of thermal underpants. In this lesson, the US
size 10 body measurements (p.5) are used.

Ml
245
leggings
The
7.3
pattern
Step one: Preparation (Figure 1) Step two: Front leg (Figure 2)
1. Draw guidelines. 2. Mark A, "/,2up from the hip level on the centre.
Waist to hem = 39°(99cm) (outseam) 3. Draw a new hip line,?/,'(1.9cm) parallel to the
Waist to hip = 91/,(24.1cm) original hip line.
Hip to knee = ((Hip to hem) + 2) -12/,(4.4cm) 4. Mark B, "/6- (?/,(1.9cm)) out from
the centre
on the new hip level.
5. Mark C, "/, x 90% out from the centre on the
new hip level.
6. Mark D, “/, x 90% out from the centre on the
waist level.

Waist to hip

MN
(24.1cm)

Centre Front

W/,x 90%

Waist to hem

39
(99cm) Bae x 90%

eer Gee eee toj eee

(19cm)

Thelegg
7.3
Ml
pattern
246

Figure 2

v Hem/

Figure 1
 Step three: Front leg (Cont.) (Figure 3)
Tp Draw a vertical guideline from the midpoint 9. Mark G and H,(***/,) x 90% out from the
of line BC. vertical guideline to both sides.
Mark E and F,(*°*/,) x 90% out from the verti- 10. Connect A and B with a curved line.
cal guideline to both sides. 11. Connect E, G and H, F with straight lines.
12. Connect E and B with a curved line.

Ml
247
The
leggings
7.3
pattern

(A /,) x 90%

ec
Figure 3
Step four: Outseam (Front) (Figure 4) Step five: Crotch and inseam (Back) (Figure 5)
13. Draw a high hip line, 3/,'(1.9cm) parallel to 16. Trace the front ona separate piece of paper.
the new hip. 17. Mark J (BB = BJ).
14. Mark |, */4(6mm) in from C on the high hip 18. Connect E andJ (Inseam).
level. 19. Match the length and mark J; (BE = JiE).
15. Connect D, | and F with a curved line. 20. Connect J; and B.
21. Mark K,’/ (1.3cm) up from the waist and square
out */s(1.6cm) from the vertical guideline.
22. Draw a curved line connecting the crotch and
point K.

leggings
The
7.3
HM
pattern
248

Figure 4 Figure 5
 Step six: Outseam (Back) (Figure 6 & 7)
23. Mark L, “/,x 90% from point K on the waist level.
24. Mark M, one third of outseam between new hip and knee.
25. Mark N, square out */, (6mm) from C on the high hip level.
26. Connect M,N, L.
27. Mark Li (MD = ML).
28. Connect K and L, with a slightly curved line.

W/,x
K—- ___“/4x 90%
( Seer 905
eee ;

Mi
249
The
7.3
leggings
pattern

Centre Front

Figure 6 Figure 7
Step seven: The complete pattern pieces (Figure 8)
29. Add seam allowance and pattern information.

Va
(1.9em) ‘fe
(1.9cm)

Ue ‘Ty wi

(6mm) (6mm)
(6mm)

The
7.3
leggings
Ml
pattern
250

4, Le
(1.9cm) (1.9cm)
Figure 8
 References

Barbier, M. and Boucher, S. (2004). The story of lingerie. New York: Parkstone Press.

Blair, J. E. (1992). Fashion terminology. Upper Saddle River: Prentice Hall, Inc.

Boucher, F. (1987). 20,000 years of fashion. New York: Harry N, Abrams, Inc.

Calasibetta, C. M. (2003). The Fairchild dictionary of fashion. 3rd edition. New York: Fairchild
Publications.

Cunnington, C. W. and Cunnington, P. (1992). The history of underclothes, New York: Dover
Publications.

Ewing, E. (1971). Fashion in underwear. London: B.T. Batsford Ltd.

Oxford English dictionary (2006). Oxford English dictionary.3rd ed. Oxford: Oxford University
Press.

Saint-Laurent, C. (1968). The history of ladies underwear. London: Michael Joseph Ltd.

MP Tobin,
References
251 S. (2000). Inside out: a brief history of underwear. London: The National Trust.
NIN LAA
16934083R00136
gic
Lexington, KY
23 August 2012
Patternmaking for Underwear Design 1s a comprehensive patternmaking guide suitable
for students, teachers and the industry. Step-by-step instruction is matched with superb
illustrations, and all measurements are provided in both metric and imperial scales.
This book introduces common bra patternmaking methods currently widely used in
industry and offers the author’s own innovative bra patternmaking method, developed
using the flat patternmaking concept. This new method enables students with novice
patternmaking skill sets to create various bra designs from scratch with commercial fit
quality.

The Author
Dr. Kristina Shin was educated in Korea, the USA and the UK and has over 10 years
experience in the outerwear and underwear industries as both a fashion designer and
patternmaker. Prior to joining the Hong Kong Polytechnic University, Dr. Shin worked for
Triumph International Overseas Ltd., one of the world’s leading lingerie brands, as a
designer. Dr. Shin is holder of the 2004 International Award for Innovative Excellence in
Teaching, Learning, and Technology and is founding editor for the International Journal
of Fashion Design, Technology and Education. She has taught extensively in both the
USA and Hong Kong.

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