PATTERNMAKING
FOR MENSWEAR
PATTERNMAKING
FOR
MENSWEAR
Gareth Kershaw
Laurence King Publishing
Published in 2013 by
Laurence King Publishing
361–373 City Road, London,
EC1V 1LR, United Kingdom
T +44 20 7841 6900
F +44 20 7841 6910
enquiries@laurenceking.com
www.laurenceking.com
© text 2013 Gareth Kershaw
Published in 2013 by Laurence King Publishing
All rights reserved. No part of this publication may be reproduced
or transmitted in any form or by any means, electronic or mechanical,
including photocopy, recording, or any information storage or
retrieval system, without permission in writing from the publisher.
A catalog record for this book is available from the British Library.
ISBN: 978 1 78067 016 4
Technical drawings: Elisha Camilleri
Fashion illustrations: Thom Davies
Design: Lizzie Ballantyne, Lizzie B Design
Senior editor: Peter Jones
Picture researcher: Julia Ruxton
Printed in China
CONTENTS
introduction
7
patternMAKing in
contemporary menswear
8
chapter ONE
Preparation for
PatternMAKING
chapter three
The patterns: shirts
long-sleeved collarless shirt
74
short-sleeved polo shirt
80
hooded sweatshirt
88
casual long-sleeved shirt
104
lumberjack shirt
116
short-sleeved safari shirt
126
bib shirt 138
Tools and equipment 18
Studio practice 20
MEasuring the male figure
24
taking measurements
26
DRESS FORMS
30
The patterns: PANTS
FIT MODELS
31
high-waisted PANTS
150
Size charts 32
chinos
158
basic sweatpants 168
chapter TWO
tailored shorts
176
cargo pants
186
The Patternmaking
process
jeans
196
chapter FOUR
THE DEVELOPMENT OF THE DESIGN
36
Basic upper body SLOPER
40
Basic sleeve SLOPER
42
Basic PANT SLOPER
45
creating a master plan
48
anorak 206
how to trace off a pattern
50
fitted denim jacket 220
grading 52
trench coat 232
principles of Patternmaking
57
single-breasted jacket 252
using technology 68
double-breasted jacket
268
waxed jacket 288
parka 302
glossary
316
INDEX
318
chapter five
The patterns: outerwear
FURTHER READING
picture credits
acknowledgments
320
INTRODUCTION
Contemporary menswear
has evolved from a
staple of traditional
silhouettes and styles.
The development of
these styles has been
directly influenced by
social, economic, and
cultural requirements,
played out through
the many roles men
have inherited: formal
clothing, workwear,
leisure-, and activewear.
The boundaries of these
styles are less clearly defined than in previous decades as
trends move and change as quickly as seasons pass—from
Fall/Winter to Spring/Summer. Again and again the cyclical
nature of the fashion industry throws up reinterpretations
of classic silhouettes.
Patternmaking as a craft is integral to the whole fashion
production process, linking the designer’s concepts—a twodimensional illustration—with the three-dimensional realization
of shape-making, proportions, and silhouettes. Very few people
who study fashion end up specializing in pattern technology
and many who practice it have come from other disciplines.
The holistic nature of the fashion industry increasingly requires
practitioners to have a broad understanding and experience of
most, if not all, the stages involved in the creation of clothes.
A designer or practitioner who can research and conceptualize
ideas, cut patterns and identify their target sizing, construct
and technically finish a garment, develop, market, and sell
their product will be able to direct their team and product
to a satisfactory conclusion. A broad skills base is needed to
succeed in today’s fashion industry.
This book uses generic menswear garment styles to teach the
principles of pattern construction that will be encountered
throughout the fashion industry. Each pattern not only offers
a selection of shapes and design hints but also explores
the related techniques associated with its construction and
development. Working your way through each section will build
your knowledge, allowing you to further explore and adapt
generic styles.
Most designers / labels work toward a set of predetermined
body measurements (the target consumer) or an industryacquired size chart. These are used in conjunction with
a human fit model or a size-specific dress form or mannequin.
Chapter 1 discusses how to take measurements to create your
own size chart or use the industry charts provided. It highlights
the importance of developing visual awareness of the landmark
points used for taking measurements, which correlate to
the human body in relationship to fit. The chapter also
outlines studio practices related to sizing and technological
advancements through computer-aided design (CAD) and
its applications.
The designs for a garment style can be developed quickly by
using the basic sloper, or block, template described at the
beginning of Chapter 2. Tracing off the sloper and transferring
the design development onto it creates a master plan.
The master plan serves as a blueprint for the development.
This process uses only half of the pattern sloper, thus
eliminating possible duplication errors, which would result in
an unbalanced pattern—the human body is generally seen as
equal in proportion but not symmetrical. Even if your design is
asymmetric, copying over the drafted shape to create the other
side is a quick way to achieve the desired pattern style.
Where possible the different pattern pieces are kept
proportional to one another but occasionally to show detail
or to ensure that the text is readable this is not the case.
A modern interpretation of a classic icon,
Woolrich Woolen Mills’ “Balmac” trench coat.
The company’s use of original fabrics (Maxima
Poplin) from the Woolrich looms emphasizes the
functionality and detailed approach they take
to creating outerwear.
INTRODUCTION
7
PATTERNMAKING IN
CONTEMPORARY
MENSWEAR
Patternmaking for Menswear brings together a collection
of patterns that have become established classics of
contemporary men’s fashion. By working on these garment
silhouettes you will learn the basic principles needed for
patternmaking. Using these styles as building blocks to
explore ideas and your creative flare, you can interchange
techniques and processes to develop new interpretations
and solutions to your designs.
To appreciate how far the exploration of shaping fabric to
the human body has come, one needs to look at its origins.
Contemporary patternmaking is intrinsically entwined with
the history of fashion. The first notions of patterns as we now
know them appeared in the West in the fifteenth century as
men’s silhouettes began to be redefined by the demands of
social organizations such as the military, royal courts, and
religious bodies. From these origins spring the two dominant
forms of male dress construction: the first is characterized by
the technique of draping and the second developed from the
craft of shaping, currently known as tailoring. The latter, the
most commonly used and popular technique, was to become
highly prized. Guilds of tailors championed the profession and
their craft was meticulously developed during the sixteenth to
eighteenth centuries through numerous fitting sessions with
an elite clientele in the ateliers of Western Europe. As with any
craft, the greatest teacher is the practice itself: copious hours
chalking, basting (loose stitching), pinning, and cutting the
patterns for clients of every conceivable size and shape would
develop the knowledge needed to call oneself a master cutter.
More complex forms of men’s clothing evolved through cutting
and shaping as coat and doublet styles developed into structured
jackets with opened sleeves, worn with breeches. These were
first documented as simple illustrated patterns in one of the
earliest books on tailoring: Juan de Alcega’s Libro de Geometría
Práctica y Traça (Madrid, 1589). Three main periods followed
which shaped the evolution of men’s clothes through cut, fit,
and construction, beginning with the civil wars of England and
France in the seventeenth century. Clothes had to respond to
8
Patternmaking in contempoRary menswear
turbulent times: there was a societal shift from softer fabrics to
clothes produced from harsher, woolen cloth with the garment
shapes made more rigid with more robust qualities that would
survive the rigors of battle and the outdoor life. By the start
of the eighteenth century, clothes began to reflect a more
stable economic environment. The first garment of notoriety
to be adopted by the aristocracy of Europe was referred to as
a cassock or coat: It was a simple garment cut above the knee
with two front panels and two back panels sewn to the waist
with three-quarter sleeves. This style later included a collar and
vented pleats and was made from silk or satin with flamboyant
decorative details, creating a softer feminine silhouette. It was
the forerunner of the clothing shapes we see today.
As the profession developed, M. de Garsault wrote the first
serious manual to detail all the principles behind pattern
construction and tailoring, L Art du Tailleur, published by
the Académie Royale des Sciences, for the encyclopedia
Description des Arts et Métiers (Paris, 1769). Garsault
describes the whole procedure of making the coat from start
to finish, beginning with the notion of measurement taking.
He introduces the use of a thin strip of paper that was cut to
the required length to record the parameters of an individual
client’s height and width, as well as detailing construction
processes with illustrated patterns that accompanied the text.
Later, in 1796, an English manual was published: The Taylor’s
Complete Guide or a Comprehensive Analysis of Beauty and
Elegance in Dress presented a new way to perceive the art, not
too dissimilar from the present format; instructions were given
on how to draw the coat with measurements made directly
onto the material by following a series of illustrated diagrams.
These publications brought new audiences and extended the
dialogue between practitioners and their clientele.
Issey Miyake interprets the idea of layering
for men with a cape, Fall 2012 collection.
Designed from the Japanese premise of “KASANE”—
simple functionality for everyday life.
9
Modern patternmaking developed with the industrialization of
sewing and the development of mechanical processes. From
the start of the Industrial Revolution technology defined the
way the clothing industry developed. Craftsmen and women
invented labor-saving devices to increase production. As the
cultural trend toward uniformity gathered pace, the demand
for standardized clothing began to outstrip supply. Replication
was needed and templates (patterns) for gentlemen’s
clothes began to be produced. Initial attempts resulted in
poorly fitting garments; the sizing of patterns would take
considerable experimentation before a recognized sizing
system was achieved through the use of the newly conceived
1-yard measurement tape. Laid out in inches, this gave tailors
a regulated tool to record human dimensions. From these
observations a mathematical drafting system was conceived,
which was based on both the principles of geometry and
anatomical proportions.
In the first half of the nineteenth century numerous technical
publications appeared to support the new drafting technique:
The Improved Tailor’s Art by J. Jacksons (1829), Science
Completed in the Art of Cutting by W. Walker (1839), and
A Practical Guide for the Tailor’s Cutting-Room by J. Coutts.
It was during this period, particularly in France, that technical
10
Patternmaking in contempoRary menswear
training was established; Elisa Lemonnier opened one of the
first professional schools in Paris to offer cutting and tailoring
among its programs. Along with the demand for cheaper
clothing, in 1860 the first mail order fashion catalogs to
publish paper patterns appeared; the latest styles could be
bought by the middle and working classes throughout Europe
and the US, bringing the ability to produce cheaper clothing
to a wider audience and creating a forerunner of the ready-towear genre.
At the beginning of the twentieth century the craft of tailoring
began to divide into specialisms—designer, patternmaker,
and seamstress. It is a working model that has survived to
the present day, replicated in fashion houses and garment
factories all over the world. Mass production brought
duplication and the development of standard sizes but fit was
still of crucial importance throughout the first half of the last
century. Although clothing was preconstructed, the discerning
gentleman would have it adapted to the sartorial fashions of
his day. Alterations were made and silhouettes tailored through
subtle changes to the cut, line, or proportion of the garment.
The process of standardization was then speeded up by the
onset of the two World Wars, when standardized patterns
and size charts were needed to produce military uniforms for
both officers and infantry alike. Clothing the army gave the
garment industry an opportunity to review its procedures and
attitudes toward sizing and construction, and this resulted in
the formation of national registered organizations to regulate
clothing production.
Away from the austerity of war, social hierarchy still demanded
that a gentleman’s wardrobe should have multiple dress
options, even though a new era was dawning as the genderrole ideologies of the prewar period were vanquished and
modernism was embraced. The 1950s brought a new approach
to male dress, championed by a younger generation who
rebelled against the constraints of tradition. With the growing
influence of American youth cultures, formal attire with its stiff
silhouettes began to lose its appeal. New modes of informal
dressing appeared throughout towns and cities across Europe
and America. Menswear producers responded to the growth in
consumerism and this new attitude by importing or recreating
foreign styles associated with music, film, or leisure activities
(Italian tailoring, US varsity, German activewear). Relaxed
attitudes toward life brought a new direction for men’s fashion
assisted by technological advances in textiles and the uses of
synthetic materials to create easy-wear, functional clothing.
Opposite left: Yohji Yamamoto’s enigmatic
approach to masculinity is portrayed in a
return to his signature oversize proportions
at Paris Fashion Week 2008–09.
Opposite right: Italian sensibility crafted
with technical design inspires C. P. Company’s
relaxed tailored garments at the Via Savona,
Milan Fashion Week, Fall/Winter 2010.
Above left: A master of gender bending,
Thom Browne’s Fall/Winter 2012 menswear show
questions masculine identity and its perceived
role in society.
Above right: Walter Van Breirendock’s Spring
2010 menswear collection challenges fashion
orthodoxy. His burly-bodied biker models
question our perception of masculinity.
Overleaf: Thom Browne’s signature aesthetic,
models wear uniformed tailored suits combining
two-button jackets, Bermuda shorts, and kneesocks. Spring/Summer 2011 menswear show, Paris.
INTRODUCTION
11
Young men sought to differentiate with the restrictive forms
of dress associated with the modes of work their forefathers
had done. Self-expression and an individualistic approach to
dress would see previous historical notions of style redefined
throughout the 1960s and 70s. Activewear would contribute
immensely to shaping the future of men’s style through the
introduction of lifestyle branding and the public promotion of
health through sport. Formal, casual, leisure, sports, active,
work, military, and business clothing styles are today combined
together in an eclectic attempt to redefine the ideologies of
fashion. The modern man’s closet comprises many different
clothing styles, shapes, fabrics, colors, and textures, forming an
eclectic mix of creative ideas for different occasions (workwear,
formalwear, sportswear, and casualwear). No longer is the
contemporary male restricted by the social stereotypes of a
previous generation. The phenomenon of men’s ready-to-wear
(after 1980) brought a new perspective; men’s fashion found
a new language—individualism—liberated through globalized
choice and the breaking down of sexual stereotypes. With the
rise of new men’s fashion journals and magazines such as The
Face and I-D, and the reinvention of established titles such
as Esquire, GQ, and Uomo Vogue, new avenues were opened.
Strict codes of dress are no longer adhered to; advertising and
the media have broken the social molds and helped to redefine
the boundaries of how a man wants to dress. Social acceptance
is less of a concern; rebellion has become the way to invigorate
and refresh what came before.
Contemporary patternmaking no longer follows but
increasingly defines and contributes to the innovative ideas
and trends in men’s fashion. What distinguishes today’s craft
from previous decades is not necessarily the practice or
the documented techniques; the human body has remained
relatively the same and the required outcomes—clothes—have
kept their defining uses. It is the conceptual approach taken by
contemporary fashion that has directed the views and practices
of patternmakers and designers alike.
During the 1980s and 90s, Western notions of fashion and
patternmaking took a new direction, away from the previous
obsession with body-conscious image and the conventions
associated with traditional forms of dress. The influence of
a group of pioneering Japanese designers—Issey Miyake,
Kenzo Takada, Yohji Yamamoto, and Rei Kawakubo—and their
sculptural design philosophy brought a new deconstructed /
asymmetrical approach to notions of shape. Their garments
and thus patterns were minimalist; devoid of most recognizable
human features. This new aesthetic revolutionized the
relationship between the perceived processes and established
approaches to fashion creation of European and American
14
Patternmaking in contempoRary menswear
designers. It is a legacy that has defined contemporary
menswear and contributed to new ideas of masculinity.
Breaking free from previous modes of thinking, a new
generation of designers has established ways of encapsulating
the body through shape. Martin Margiela, Rick Owens,
Walter Van Beirendonck, Aitor Throup, Carol Christian Poell,
and Christopher Raeburn have all appropriated traditional
techniques through patternmaking, using the juxtaposition of
functionality and intelligent design to reinvent hybrid genres.
Cultural trends no longer appropriate generic garments alone;
contemporary menswear is concerned with communicating
a personal vision. Patterns have become a medium to bring
new ideas into physical constructs; boundaries are redrawn
as seams become structural architecture for the body, what
was once hidden is now exposed. Clothes can now have an
abstract relationship with the anatomy of the wearer; sleeves
are turned into voluminous tubes; jackets fold into bags; coats
respond to environmental changes by becoming habitable.
Technology plays an increasing role within design development;
computer-generated patterns, 3-D shape profiling, virtual
avatars, and intelligent textiles continue to shape our
consciousness. Questioning our identity will remain the pursuit
of contemporary men’s design. Centers known for their creative
diversity will continue to influence and direct the evolution
of the male silhouette: Milan, Paris, Antwerp, London, New
York, Tokyo, all act as magnetic generators pulling in creative
practitioners who respond to the ever-changing demands of
global consumerism.
The future challenges to practicing this craft will be the ability
to generate innovative products through new vocabularies
while conserving elements of the past. With the continuing
advance of computer-generated solutions to patternmaking
and the replacement of learning processes that have
traditionally been done by hand, the contemporary designer /
patternmaker has to be able to retain the integrity of their
creative pursuit in the face of increasingly powerful market
forces. Young designers have become custodians of historical
techniques through the appropriation of generic styles which
are invested with inherent meanings.
Engineered Garments have become one of
the major brands behind the resurgence in
American sportwear. The brand’s designer,
Daiki Suzuki,has a conceptual aesthetic
toward design, research, fabric, and
manufacturing processes.
CHAPTER one
PREPARATION
FOR
PATTERNMAKING
Tools and Equipment
The starting point for all patternmaking, or patternmaking, is the acquisition of a good set of tools and an
understanding of how to use them. Like any other trade,
patternmaking has its own specialist tools, which have been
developed to aid the processes of drawing and measuring.
Shown here is a selection of tools that you need to buy.
As a beginner, you will not need all of them to start
drafting, but most are recommended as you progress
through the book.
•Tape measure—used to measure the circumference and
length of the body. The three that are particularly useful are
all dual sided with centimeters and inches: a 60in (150cm)
glass fiber–coated vinyl tape will not react to changes in
temperature by expanding or shrinking; a 120in (300cm)
glass fibre–coated vinyl tape is useful when you are using
extremely long lengths of fabric, perhaps when draping fabric
on the bias; a 60in (150cm) glass-fiber tailor’s measure that
is encased in metal at one end allows the user to hold it
further away from the tip for discreet measuring around
the crotch area.
• Yardstick or meter rule—essential for starting the pattern
development as it gives an uninterrupted straight line that
will be longer than half the length of most human bodies.
It is usually made from aluminum or steel.
•Right-angled ruler—14in x 24in (35cm x 60cm) drawing
angles of 90 degrees. It is usually made from plastic,
aluminum, or steel.
• Grading ruler—18in with a 1⁄8in grid of vertical and horizontal
lines. Used for grading and adding seam allowances to
patterns. It is usually made from clear plastic.
• 45-degree set square—a large set square will help you
draw angles for shoulders and darts. Buy one that has
a 180-degree range printed on it so that it can double up
as a protractor. It is usually made from clear plastic.
•French curves and pattern masters—there are many
varieties to choose from. Not to be mistaken for the smaller
geometry curves, these are designed to mimic the curves of
the human body—neckline, armhole, waist shaping, and side
seams. Buy from a fashion retailer. They are made from clear
plastic, aluminum, or steel.
•Hip curve—designed to replicate the shape from the lower
body, it is used to draw side seams on skirts and pants
and also to draw hems. It is usually made from metal,
plastic, or wood.
•Notcher—cuts a small rectangular shape from paper or card
and is used for marking seams, ease allowances, notches on
armholes, zipper ends, and for pattern alignment. It is usually
made from cast metal.
18
Chapter ONE Preparation for PatternMAKing
•Tracing wheel—used to copy a pattern or garment shape
through layers of fabric, card, or paper. Can be bought with
a wooden or plastic handle that is attached to a circular
wheel with pointed needles.
•Compass—the best versions have an extendable arm for
drawing circles or arcs.
• Paper scissors—patternmaking scissors have been
developed with heavy, cast-metal arms for cutting card
and paper. This is the tool that you will use the most so it is
important to buy a quality pair that will stay sharp for longer
than normal scissors.
•Fabric scissors—fabric scissors come in a variety of lengths
with long, slim blades on cast-metal handles. Never cut paper
or card with fabric scissors as this will blunt the blades,
making them tear the fabric instead of slicing through it.
•Craft knife—used to cut openings in patterns.
•Eyelet punch or pattern drill—there are many kinds of
pattern drill that cut a small circle from card or paper; some
only cut one size of hole while others have changeable heads
to cut different sizes. Used to mark dart leg ends, button
placement, and pocket corners.
•Awl—a sharp tool used to mark holes in fabric and card.
• Pattern hole punch—cuts a large circular hole through card
or paper to allow a pattern hook to be inserted for hanging.
• Pattern hooks—these are available in various sizes and
are used to hold a complete set of patterns suspended
from a rail.
• Board pins—used to hold and position patterns
when drafting.
• Dress pins—used to secure fabric when working on the dress
form or for holding seams during construction. Buy long,
industrial-quality pins.
• Drafter’s pencils—with removable leads in sizes of 0.5 / 0.7 /
0.9 mm for drawing fine to thick lines.
• Pattern weights—usually made from flat rectangles of steel
with attached handles for holding down patterns or fabric.
• Manila pattern card, plain, or dot and cross pattern
marker paper—used for development, tracing, and for
final patterns.
• Cutting mat
• Glue stick
• Marker pens in blue, black, green, and red—ditto, biros
• Highlighter pen
• Various types of adhesive tape
• Seam ripper
• Pencil sharpener
• Eraser
• Tailor’s chalk and dispenser
Fabric
scissors
Tailor’s chalk and
chalk dispenser
Seam ripper
Awls
Tracing wheels
(x 2)
Pencil sharpener
and soft eraser
2H pencils
French curves
Paper/card
scissors
Pattern drill
with parts
Geometry curves
Meter
rule
Hip curves
Metal
ruler
Grading
ruler
Tape
measure
Pattern
hooks
Pattern master
(old version)
45-degree set
square
90-degree set
square
Pattern master
(new version)
Tools and Equipment
19
Studio Practice
There are two forms of patternmaking that are practiced
within industry: flat patternmaking and draping. Both are
equally valid routes to the development of silhouettes for
garments, and each has their own individual characteristics
that will appeal; the first is static and methodical, while the
second is more fluid and intuitive. Both are creative and
can contribute to a working process during the creation of
patterns for a design.
Flat patternmaking is a process where the practitioner begins
by using a mathematical formula and a size chart to map out a
flat shape on paper or card which represents a section of the
human body—the chest, arm, or leg—in a basic two-dimensional
form without any style lines (see page 36). These shapes,
known as basic slopers, or blocks, are used, together with a
sketch or technical drawing of the design, to create patterns
for a stylized garment through sloper manipulation.
Draping, also known as modeling or moulage, is a technique
in which the practitioner drapes, pins, shapes, gathers, and cuts
the fabric directly on a model or garment stand. It is usually
associated with haute couture. The process does not rely on
precut shapes but on the skill of the designer or pattern
cutter and his or her understanding of the body. Working
directly on the figure allows you to see the proportion of
seam lines, panels, pockets, buttons, and dart positions
almost instantaneously.
Some sections of the garment industry will predominantly use
the flat patternmaking process because it is cheaper and has
a shorter lead time between design and the manufacture of
the garment ready for wholesale in the ready-to-wear market.
An accomplished and experienced designer or patternmaker
working for a luxury brand or haute couture house will often
successfully use a combination of both draping and flat
patternmaking. This method also encourages an understanding
of how flat patterns relate to the three-dimensional figure and
is often used in teaching environments, too.
Although patternmaking can be seen as a stand-alone
specialism, it is an integral part of the production system
of the modern garment industry. Most fashion brands will
employ several in-house patternmakers who will work hand
in hand with the design and marketing teams and the sample
machinists to develop the product through from initial concept
to finished product in a studio environment. This centralized
operational structure is traditional practice within the industry
and offers continuity throughout the production chain.
Another commercial practice employed increasingly by many
independent fashion labels, who may work within tighter
financial restraints, is to outsource most of their development
processes. These companies rely heavily on freelance
practitioners and garment makers for the production of
patterns and samples for their designs.
Key to both methods of working is the use of good
communication between each element of the increasingly
long production line, particularly if part or parts of that line
are out of house or even in different parts of the world.
Outlined below are the two main production-line processes you
may come across within the industry.
Designer and patternmaker
working on a collection in
a studio.
20
Chapter ONE Preparation for PatternMAKing
Bespoke and semibespoke process
Bespoke, or made-to-measure as it is also known, is the
production of patterns and garments for individuals made
from their personal measurements; each pattern is, therefore,
unique. Semibespoke is the production of patterns from a set of
industry average measurements. The garment is manufactured
to a semiconstructed stage before final adjustments are made
according to the client’s own measurements before finishing.
Bespoke production chain
Description
Design sketches produced
Ideas, styles, and fabric are discussed with the client.
Measurements taken and recorded
Once the design is chosen, the fabric is purchased and
measurements are taken and recorded.
Pattern drafted from measurements
Measurements are used to draft basic slopers to the client’s
size. The sloper is adapted to the design.
Muslin cut and sewn
Prototype muslin is cut and sewn either from muslin or the
final fabric.
Muslin fitted and adjustments made
Modifications are made to the pattern based on the fitting.
Muslin may be recut and a second fitting done before
moving to the next stage.
Final garment cut and basted for final fitting
Final fabric cut and part assembled through basting. Fit
checked on the client with possible adjustments made
for proportion.
Final garment sewn
Machine sewing and hand finishing done according to
characteristics of fabric.
Finishing
Buttonholes are sewn and labels attached before final
pressing and dispatch.
Senior male tailor measuring
cloth in a store.
STUDIO PRACTICE
21
Ready-to-wear or prêt-à-porter
Ready-to-wear, or prêt-à-porter as it is also known, is the
process of producing garments en masse in a variety of sizes.
This process is designed to meet the needs of a broader range
of customers in terms of fit and shape. Standard measurements
from industry-regulated charts are used, or specific customer
data is researched through sales or gathered from external
providers to create a standard size profile that fits the
demographic of the target market. This mode of production
now predominates over bespoke or semibespoke as it produces
a cheaper product.
Mass-production chain
Description
Trend research collected
Forecasting sites such as Prostyle and WGSN are consulted,
previous sales are reviewed, and customer profile data
is collected.
Range planned
The season’s themes, looks, colors, silhouettes, fabrics, and
price points are agreed upon.
Design development
Fashion illustrations and technical flats are produced and
trade shows visited to research technical advancements
and to collect fabrics and trims for moodboards.
Designs finalized and specification document developed
Designers and garment technologists meet to produce
a specification document that contains all the production
information needed for manufacture. Sample fabric and
trims are ordered.
Patterns outsourced or produced in house
Patterns are developed or adapted from previous generic
styles to a sample size.
Samples manufactured and fitted
Samples are sewn, usually in final fabrics according to
specification sheets. Printing and speciality finishes are
outsourced. Samples are fitted and adaptations made.
Wholesale orders taken
The collection is either shown to buyers and press through
a runway show or via private sale meetings. Often external
sales agents are appointed.
Mass-production process begins
Orders are collated into sizes and styles, delivery times are
agreed, and bulk fabric and trims are ordered.
Patterns graded
Pattern slopers are enlarged or reduced from the base
sample size either manually or digitally to create a size
range that meets customer and regional requirements.
Order dispatched to cut, make, and trim (CMT)
Fabrics, trims, patterns, and samples are sent with the
specification document to the manufacturer.
Style marker and cutting
Fabric is laid out in volume and the paper pattern marker
is made ready for cutting. This sheet of paper shows all the
pattern pieces laid out in an arrangement so that as little
fabric as possible is wasted. If the fashion company has its
own in-house pattern department then a computer-aided
pattern design system may be used to generate the marker,
allowing the company to control the wastage. Component
parts are cut en masse ready for sewing.
Opposite: A man sews a suit jacket at
a factory on the outskirts of Shanghai, China.
22
Chapter ONE Preparation for PatternMAKing
Mass-production chain
Description
Prepare for sewing
Some styles may need fusing added to component parts
before construction. Styles are then sorted into bundles of
units depending on construction processes.
Sewing
Bundles are dispatched to the factory floor and the
production line of machinists. It is very unlikely that a single
machinist will sew a garment from start to finish. Teams of
machinists usually sew component parts of the garment—
collars, pockets—in multiple units. Each component is then
passed to another team for assembly.
Finishing and pressing
The finishing team will trim threads and attach buttons
and details.
Quality control and dispatch
Known as QC, this is the end of the production line where
garments are measured, and sewing and details are
inspected to ensure that a quality standard is upheld and
customer returns minimized. The product is sorted into
wholesale orders, either by size, color, and / or style,
ready to be shipped.
23
Measuring the male figure
The taking of accurate measurements and the creation of
good size charts are vital to ensure that the result of the
pattern making process is a garment that fits comfortably.
This can only be done with a thorough understanding
of human anatomy and the tools used to test those
measurements—the garment stand and the fit model.
Body mapping is the act of physically recording the body’s
surface by taking measurements. These measurements are
geometrically mapped out using the basic sloper methodology
to create a shaped template pattern that, when assembled,
will mirror the human form. As a continual surface the human
body has no boundary lines, unlike those found on a garment.
Establishing these boundary lines on the body is the first step
in understanding the segmented parts of a pattern. Boundary
lines always stay in the same position, no matter how a body
grows upward or outward. Gaining an understanding of these
dividing lines will help you create designs in proportion to the
human form.
posterior
aspect
Median plane
The median line passes longitudinally through the middle of the
body from front to back, dividing it into right and left halves.
coronal plane
This is a vertical plane at right angles to the median
plane, dividing the body into front (anterior) and back
(posterior) portions.
transverse Horizontal planes
These lines pass horizontally through the body at right angles
to the median and coronal planes, dividing the body into upper
and lower portions. The chest plane runs around the largest
expanse of the ribcage. The waist plane runs around the center
of the body and the hip plane runs around the widest part of
the lower body.
Coronal
plane
median
plane
transveRse
horizontal
chest
plane
transveRse
horizontal
waist
plane
transveRse
horizontal
hip
plane
anterior
aspect
24
Chapter ONE Preparation for PatternMAKing
Landmark points
There are various landmark points on the body that are used
when taking measurements. These are extensions of the body
mapping above and denote the areas of separation between
the parts of the pattern.
Top of the head or crown—the highest point of the body
Center back neck point—the protrusion of the seventh
vertebra
High point shoulder—identified by the raised edge of the
trapezius muscle
Center front neck point—the hollow where the clavicles meet
the sternum
Shoulder tip—the most lateral aspect of the acromion
Underarm point—the position at which the arm joins the body
under the arm
Sternum
Chest nipple point—the point at which the nipple protrudes
the most
Elbow point—the point at which the joint between the humerus,
radius and ulna protrudes the most
Wrist point—the point at which the hand and wrist bones join
the radius and ulna
Seat protrusion point—the point at which the buttocks
protrude the most
Knee point—the middle of the patella
Refer back to the male skeletal form to start to identify the
positions of these points within the bone structure. This will
help you to pinpoint these landmarks accurately on your model
when following the measurement steps below.
pectoral
girdle
Clavicle
scapula
cervical
vertebrae
acromion
ribs
thoracic
vertebrae
humerus
ILLIAc
radius
vertebral
column
lumbar
vertebrae
sacrum
ulna
coccyx
pelvic
girdle
femur
patella
tibia
MEASURING THE MALE FIGURE
25
Taking measurements
The measurement system shown here includes the minimum
landmark points needed to reproduce an accurate set of basic
pattern slopers for the male figure.
Tools needed to take accurate
body measurements
• Anthropometer or a 2-yard pole or piece of wood used to
gauge height
• A new cloth or fiber tape measure (cloth tape measures
stretch through use, so always use a new one)
• A yardstick or meter rule
• A set square or right-angled ruler
• Notebook, pencil, and chalk
• In order for you to take measurements accurately your fit
model should not be wearing any clothes apart from a pair
of fitted shorts. Make sure that the shorts are not too tight
or they will distort the waistline. Ask your model to stand
in an erect position, keeping his eyes looking forward in a
horizontal position (so that the head does not tip up or down)
with relaxed shoulders and arms falling naturally to the side
and palms turned inward to the body.
1. Chest circumference / fig: (A) & (B)
Place the tape around the widest point on the chest, which will
be roughly level with the nipple. Make sure the tape is sitting
horizontally under the armpits.
2. (Natural) waist circumference / fig: (A) & (B)
Place the tape horizontally around the smallest circumference
of the torso between the chest and the hips.
3. Low waist circumference / fig: (A) & (B)
Place the tape horizontally around the abdomen, 2in below
the natural waist. This additional measurement is used when
constructing a pant sloper for a more casual style.
4. Hip (seat) circumference / fig: (A) & (B)
Place the tape at the greatest buttock protrusion keeping it parallel
to the floor when passing over the buttocks.
5. Back waist length
(Center back neck to the natural waist) / fig: (B)
Place the tape at the base of the neck (the last cervical
vertebrae) then measure down to the natural waist point.
Mark for future measurements.
6. Center front waist length
(Center front neck to the natural waist) / fig: (A)
Place the tape at the base of the neck at the front (the sternal
notch), then measure down to the natural waist point. Mark for
future measurements.
26
Chapter ONE Preparation for PatternMAKing
7. Center back neck to front waist length / fig: (A) & (B)
Place the tape at the base of the center back neck (the last
cervical vertebra), then measure around the neck and over the
shoulder down toward the center front natural waist point.
Mark for future measurements.
8. Neck base circumference / fig: (A) & (B)
Place the measure at the base of the back of the neck at the point
that you identified earlier. Continue to the high point shoulder, which
can be identified by the raised edge of the trapezius muscle, mark,
and continue around to the front neck point, which is denoted by
a hollow at the top of the chest at the center front (sternum bone).
9. Head circumference / fig: (A) & (B)
Place the tape around the widest part of the head, running above the
ears and over the forehead.
10. Head length / fig: (A)
Place the tape under the chin point with the head in a vertical
position and measure up so that the measurement is taken level with
the crown point on the top of the head.
11. Across back width / fig: (B)
Measure between the points at which the arms are connected to the
body. On a pattern this is between the back notches.
12. Across front width / fig: (A)
Measure between the points at which the arms are connected to the
body, where a crease is formed by the armpit. On a pattern this is
between the front notches.
13. Shoulder length / fig: (A)
Place the tape at the high point shoulder that you identified
previously and measure along the top of the muscle to the
shoulder tip.
14. One-piece sleeve length / fig: (A)
Measure from the shoulder tip down the arm and over the elbow to
the wrist with the arm hanging naturally but slightly bent. You can
also take the underarm measurement in this position by placing the
tape 3⁄4in underneath the model’s armpit and measuring down to
the wrist.
15. Wrist and hand circumference/ fig: (A) & (B)
Measure around the wrist joint where the bone protrudes. Together
with the width of the hand this measurement will help you establish
the minimum cuff width. Measure around the widest point of the
hand with fingers and thumb held as if the model is putting his arm
in a sleeve.
FIGURE A
9
10
13
8
7
12
1
14
6
2
3
19
4
15 a
15 b
21
17
20
22
23 a
23 b
TAKING MEASUREMENTS
27
16. Center back neck height from floor / fig: (B)
This measurement will allow you to gauge the proportions of all
the other body length measurements and evaluate the silhouette
of the garment.
FIGURE B
To measure the model’s body length accurately use an
anthropometer. Ask the model to stand in an erect position with his
feet together and arms hanging naturally in relaxed position. Direct
the model’s head into an upright position where his eyes and ears
are on the same horizontal plane.
9
Lower the arm of the anthropometer down onto the center
back neck point. Take the height reading from the dial on the
anthropometer. If you don’t have an anthropometer, use a
2-yard pole or a piece of wood against a flat surface.
If using a tape measure, make sure it is a new one.
8
7
11
17. Low waist to floor length / fig: (A)
Place the tape on the side of the body at the low waistline and
measure down vertically to the floor.
1
5
18. Natural waist to hip length / fig: (B)
Place the tape at the natural waistline, on the side or the side back,
then measure down to the hip level.
2
19. Crotch length (Center front and center back) / fig: (A) & (B)
Place the tape on the low waistline at the center front. Pass between
the lowest part of the crotch and up between the buttocks to the
low waistline on the center back. This measurement can also be
separated into front crotch length and back crotch length.
18
20. Inside leg length / fig: (A)
Place the tape end in a central position under the crotch, then
measure down the inside of the leg to the ankle.
15 a
3
19
4
15 b
21. Thigh circumference / fig: (A) & (B)
Place the tape around the widest point on the leg, 2in below the
crotch. Keep the tape parallel to the floor.
21
22. Calf circumference / fig: (A) & (B)
Place the tape around the widest point of the lower leg below the
knee line. Keep the tape parallel to the floor.
23. Ankle and heel-foot circumference / fig: (A), (B) & (C)
Ankle—measure around the narrowest point (the medial malleolus)
above the ankle. Keep the tape parallel to the floor.
Heel foot—measure around the heel passing the tape measure over
the widest part (the dorsal juncture) of the foot at a 45-degree angle
to the floor.
16
22
24. Seat depth / fig: (C)
Ask your model to sit upright with his knees at a right angle to his
torso. Place the tape on the low waistline at the side and measure
down vertically to the seated buttocks.
23 a
23 b
28
Chapter ONE Preparation for PatternMAKing
The measurement model pictured in figures (A), (B), and (C)
is a professional model working within the fashion industry.
He was selected because he has an industry-endorsed average
body shape for a size 38in (96cm) chest. The summary of the
model’s measurements provided below was recorded by a TC2
3-D Body Measurement Scanner.
FIGURE C
Use the information below to make comparisons with your fit
model’s measurements.
1 Chest circumference
2 (Natural) waist circumference
3 Low waist circumference (2in below natural)
4 Hip (seat) circumference
5 Center back neck to natural waist length
24
23 a
23 b
6 Center front neck to natural waist length
7 Center back neck to front waist length
8 Neck base circumference
9 Head circumference
10 Head length
11 Across back width
12 Across front width
13 Shoulder length
14 One-piece sleeve length
15a Wrist circumference b Hand circumference
16 Back neck height from floor
17 Low waist to floor length
18 Natural waist to hip length
19a Front crotch length (natural waist)
b Back crotch length (natural waist)
20 Inside leg length (crotch to ankle)
21 Thigh circumference
22 Calf circumference
23a Ankle circumference
b Heel-foot circumference
24 Seat depth
38in
331⁄8in
331⁄2in
373⁄8in
173⁄4in
153⁄4in
221⁄4in
151⁄2in
227⁄8in
91⁄2in
153⁄8in
141⁄8in
61⁄8in
243⁄4in
63⁄4in
97⁄8in
603⁄8in
403⁄4in
81⁄4in
143⁄8in
143⁄4in
287⁄8in
217⁄8in
141⁄8in
93⁄4in
123⁄4in
123⁄8in
TAKING MEASUREMENTS
29
DRESS FORMS
Fit mannequins or dress forms are used in the clothing industry
for developing patterns and for fitting muslins and garments.
Choosing the right one is important when establishing your
size range. Modeled to represent the dimensions of the human
body, they are made from fiberglass with a covering of foam
and linen. They can be bought in many sizes and in different
body configurations (three-quarter, full-, or half-body, with or
without arms).
Standard forms are three-quarter length, finishing below the
hip. They are generally sold without arms and are mounted on
a central metal adjustable pole, with or without wheels. These
are the perfect starting point when building up a studio as you
can use one to fit and assess patterns, muslins, and garment
silhouettes during line development. Full-body versions
are available and generally hang on a pole from the crown
point. They are available with removable arms and legs and
collapsible shoulders.
Recent advances in 3-D body scanning technology have seen
the development of a new, technically superior form with an
accurate body shape that is truly representative of age and
customer profile. Produced from sizing data collected through
surveys, these forms can be manufactured to a high level of
30
Chapter ONE Preparation for PatternMAKing
accuracy with collapsible shoulders, collapsible hips, removable
arms, and a soft abdomen. They also have measurement lines
incorporated and come with an adjustable stand.
If your form comes without any measurement lines, use
seam tape to mark them before use. This will help you in your
understanding of pattern construction as the front and back
slopers represent the segmented parts of the human body.
Attach the seam tape with pins or sew the landmark lines to
the linen—center front and back, neckline circumference, chest
circumference, waist circumference, hip circumference, side
seams, shoulder seams, and armholes. To find these positions
use your tape measure to divide the circumferences and
lengths of the form.
Above: The evolution in the shape of the dress
form from three different manufacturers, all
produced to a size 40in. Left to right: Siegel
& Stockman tailor’s dummy, France, c.1960;
Alvanon full-body form created using bodyscan
data, US, 2005; Kennett & Lindsell’s British
body shape line, UK, 1980.
Fit models
When considering and selecting a fit model around which to
develop a collection, it is important to identify your customer’s
silhouette or normal body shape first. This can be achieved by
undertaking comparative research among your competitors.
Take photos and collect tearsheets from magazines or from
street style blogs. This information will help you identify what
your consumer may look like and thus help you to select the
best fit model. Remember that fashion models on the catwalk
are not real customers; they are marketing tools used to
project the image of the brand.
It is wise to have several fit models reflecting different male
silhouettes. Once you have recruited your fit models it is
important to record certain fundamental elements, such as
posture, weight, eating habits, and exercise routines. This will
help you to make accurate judgments in future fitting sessions;
if your model’s shape changes you can avoid unnecessary
corrections and adjustments to samples and patterns.
Posture and drop
Posture and drop are also important factors when selecting
a fit model. Unlike the dress form, the human body may not
be symmetrical.
Posture
Posture refers to the physical manner in which the body frame
is carried. Incorrect posture can affect the balance of patterns,
resulting in numerous figure adjustments.
The following are some of the most common posture
variations that will also affect the balance of a garment.
Normal The head and neck are held centrally over the shoulders,
which sit back and down. The chest is slightly lifted above a taut
stomach. Arms hang naturally with elbows bent forward over
a straight back.
Erect The chest is lifted, which creates an arched upper back,
thus shortening the upper back length and increasing the front
chest length from the prominence of the chest to base of
the neck.
Rounded / slumped back The head is slumped forward with
curved shoulders and a rounded upper back and hollow chest,
which leads to a narrow chest with increased back length
and width.
Sloped or square shoulders Sloping shoulders will require an
increase in the pitch of the shoulder slope from the armhole,
while square shoulders will need a decrease in the pitch.
Drop
Drop is the term used to describe the ratio between the
circumference of the chest and that of the waist. Identifying
this will help you to visualize the silhouette of the figure:
a larger waist than chest will give you a triangular
silhouette; a waist that is the same as the chest will
lead to a rectangular silhouette.
Men’s ready-to-wear has traditionally offered a wider
range of fitting groups with short, medium, and tall heights
accommodated. Increasingly retailers have categorized these
into five general silhouettes:
•Slim—straight back with low muscle definition on chest,
abdomen, and lower body;
•Regular / normal—a flat chest and stomach with
a straight back;
• Large / athletic—a pronounced chest with a straight back
and enlarged muscle definition;
•Stocky—rounded shoulders with a curved back and a slightly
protruding stomach and chest;
• Obese—a corpulent abdominal area that results in stooped
shoulders and a curved back.
As your product may appeal to one or more of these figure
types it is important that you can identify these variations,
giving you the ability to make corrections to your patterns and
thus achieve a better fitting garment for your customer.
Designer Yohji Yamamoto conducting a fit
session as he prepares for his Spring
2011 menswear show.
FIT MODELS
31
Size charts
All the size charts provided are to create proportionally balanced patterns, which would be adjusted to the individual requirements
during the sampling process.
SAMPLE CHINESE BODY SIZE CHART
Code
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15 a
15 b
16
17
18
19 a
19 b
20
21
22
23 a
23 b
24
32
Body Measurements
Chest circumference
72
76
80
84
(Natural) waist circumference
62
66
70
74
Low waist circumference
65
69
73
77
Hip (seat) circumference
71
75
79
83
Back waist length
42.2 42.5
42.8
43.1
Center front waist length
39.2 39.5
39.8
40.1
Front waist from center back neck
56
57
58
59
Neck base circumference
37
38
39
40
Head circumference
56.2 56.5 56.8
57.1
Head length
24
24.2
24.4
24.6
Across back width
36
37
38
39
Across front width
32
33
34
35
Shoulder length
13.2 13.5
13.8
14.1
One-piece sleeve length
58
58
58
58
Wrist circumference
14.8
15
15.2
15.4
Hand circumference
20.8 21
21.2
21.4
Body length
125.8 128.2 130.6 133
Low waist to floor length
97.8 98
98.2
98.4
Low waist to hip length
18
18
18
18
Front crotch length
35.3
35.5
35.7
35.9
Back crotch length
33.9
34.5
35.1
35.7
Inside leg length
69.4
70
70.6
71.2
Thigh circumference
37.2
39
40.8
42.6
Calf circumference
31.6
32.5 33.4
34.3
Ankle circumference
22.2 22.5
22.8
23.1
Heel-foot circumference
30.2 30.5 30.8
31.1
Seat depth
31
31
31
31
Chapter ONE Preparation for PatternMAKing
88
78
81
87
43.4
40.4
60
41
57.4
24.8
40
36
14.4
58
15.6
21.6
135.4
98.6
18
36.1
36.3
71.8
44.4
35.2
23.4
31.4
31
92
82
85
91
43.7
40.7
61
42
57.7
25
41
37
14.7
58
15.8
21.8
137.8
98.8
18
36.3
36.9
72.4
46.2
36.1
23.7
31.7
31
96
100
104
108
86
90
94
98
89
93
97
101
95
99
103
107
44
44.3 44.6 44.9
41
41.3
41.6
41.9
62
63
64
65
43
44
45
46
58
58.3 58.6 58.9
25.2 25.4 25.6 25.8
42
43
44
45
38
39
40
41
15
15.3
15.6
15.9
58
58
58
58
16
16.2
16.4
16.6
22
22.2
22.4
22.6
140.2 142.6 145
147.4
99
99.2
99.4 99.6
18
18
18
18
36.5
36.7 36.9
37.1
37.5
38.1
38.7
39.3
73
73.6
74.2
74.8
48
49.8
51.6 53.4
37
37.9 38.8
39.7
24
24.3
24.6
24.9
32
32.3
32.6
32.9
31
31
31
31
Grade
4
4
4
4
0.3
0.3
1
1
0.3
0.2
1
1
0.3
0
0.2
0.2
2.4
0.2
0
0.2
0.6
0.6
1.8
0.9
0.3
0.3
0
SAMPLE US BODY SIZE CHART
Code
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15 a
15 b
16
17
18
19 a
19 b
20
21
22
23 a
23 b
24
Body Measurements
Chest circumference
(Natural) waist circumference
Low waist circumference
Hip (seat) circumference
Center back neck to natural waist length
Center front neck to natural waist length
Center back neck to front waist length
Neck base circumference
Head circumference
Head length
Across back width
Across front width
Shoulder length
One-piece sleeve length
Wrist circumference
Hand circumference
Back neck height from floor
Low waist to floor length
Natural waist to hip length
Front crotch length
Back crotch length
Inside leg length
Thigh circumference
Calf circumference
Ankle circumference
Heel-foot circumference
Seat depth
34”
36”
38”
40”
42”
44”
84.9
69.7
72.2
84.9
48.9
44.8
53.5
35.6
56.4
25.1
38
36
15.3
62.6
16.5
21.6
160.5
105.8
20
32.5
34.6
80.5
53.4
34.6
21.3
32.4
28.0
90.7
75.5
78.0
90.7
49.2
45.8
54.5
36.8
56.7
25.3
39
37
15.6
62.9
17.2
21.8
160.7
106.1
20
33.4
35.5
80.9
55.9
35.6
22.1
32.7
28.0
96.5
81.3
83.8
96.5
49.5
46.7
55.5
38.1
57.0
25.5
40
38
15.9
63.2
17.8
22.0
160.9
106.4
20
34.3
36.4
81.3
58.4
36.5
22.9
33.0
28.0
102.3
87.1
89.6
102.3
49.8
47.7
56.5
39.4
57.3
25.7
41
39
16.2
63.5
18.4
22.2
161.1
106.7
20
35.2
37.3
81.7
60.9
37.5
23.7
33.3
28.0
108.1
92.9
95.4
108.1
50.1
48.6
57.5
40.6
57.6
25.9
42
40
16.5
63.8
19.1
22.4
161.3
107
20
36.1
38.2
82.1
63.4
38.4
24.5
33.6
28.0
113.9
98.7
101.2
113.9
50.5
49.6
58.5
41.9
57.9
26.1
43
41
16.9
64.2
19.7
22.6
161.5
107.4
20
37
39.1
82.5
66.0
39.4
25.3
33.9
28.0
Grade
5.8
5.8
5.8
5.8
0.32
0.95
1
1.27
0.3
0.2
1
1
0.32
0.32
0.64
0.2
0.2
0.32
0
0.9
0.9
0.4
2.52
0.95
0.79
0.3
0
SAMPLE EUROPEAN BODY SIZE CHART
Code
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15 a
15 b
16
17
18
19 a
19 b
20
21
22
23 a
23 b
24
Body MeasurementsEU34EU36EU38EU40EU42EU44
Chest circumference
88
92
96
100
104
108
(Natural) waist circumference
72
76
80
84
88
92
Low waist circumference
76
80
84
88
92
96
Hip (seat) circumference
90
94
98
102
106
110
Center back neck to natural waist length
44.1
44.4
44.7
45
45.3
45.6
Center front neck to natural waist length
39.9
40.2
40.5
40.8
41.1
41.4
Center back neck to front waist length
55.1
56.1
57.1
58.1
59.1
60.1
Neck base circumference
38
39
40
41
42
43
Head circumference
56.7
57
57.3
57.6
57.9
58.2
Head length
24.8
25
25.2
25.4
25.6
25.8
Across back width
37
38
39
40
41
42
Across front width
32
33
34
35
36
37
Shoulder length
One-piece sleeve length
Wrist circumference
Hand circumference
Back neck height from floor
Low waist to floor length
Natural waist to hip length
Front crotch length
Back crotch length
Inside leg length
Thigh circumference
Calf circumference
Ankle circumference
Heel-foot circumference
Seat depth
13.7
64
17.2
21.6
154.4
111.3
20
25.9
29.5
83.4
52.7
35.1
24.4
32.4
30
14
64
17.4
21.8
154.6
111.5
20
26.7
30.3
83.8
54.5
36
24.7
32.7
30
14.3
64
17.6
22
154.8
111.7
20
27.5
31.1
84.2
56.3
36.9
25
33
30
14.6
64
17.8
22.2
155
111.9
20
28.3
31.9
84.6
58.1
37.8
25.3
33.3
30
14.9
64
18
22.4
155.2
112.1
20
29.1
32.7
85
59.9
38.7
25.6
33.6
30
15.2
64
18.2
22.6
155.4
112.3
20
29.9
33.5
85.4
61.7
39.6
25.9
33.9
30
Grade
4
4
4
4
0.3
0.3
1
1
0.3
0.2
1
1
0.3
0
0.2
0.2
0.2
0.2
0
0.8
0.8
0.4
1.8
0.9
0.3
0.3
0
SIZE CHARTS
33
CHAPTER two
The
PatternMAKing
process
the development of the design
There are five stages in the development of a design in patternmaking: the basic sloper pattern, the master plan or pattern,
the design development pattern, the designer pattern from which the muslins are cut, and, finally, the production pattern.
How pattern slopers relate to the body
The boundary lines of the basic
pattern slopers—bodice, sleeve,
pant—and their alignment to the male
figure. Use this template to assist
you in your design development when
determining proportional placement of
style features on your silhouette.
SIDE HIGH POINT SHOULDER
WAISTLINE
CHEST LEVEL
SIDE SEAM
SEAM
WAISTLINE
CURVE
UNDERARM FRONT
GRAINLINE
HIP LEVEL
CR
OTCH
UNDERARM BACK SEAM
GRAINLINE
CHEST LEVEL
BICEPS LEVEL
CENTER FRONT
CENTER FRONT NECK
CHEST
LEVEL
INSEAM
GRAINLINE
OUTSEAM
SEAT LEVEL
KNEE
LEVEL
HEMLINE
Right: A student cutting
out patterns for his
final-year collection.
36
UNDERARM FRONT
SEAM
C
OT
HEMLINE
CR
HIP LEVEL
GRAINLINE
WAISTLINE
RVE
H CU
WAISTLINE
KNEE
LEVEL
BICEPS LEVEL
UNDERARM BACK SEAM
GRAINLINE
SIDE SEAM
CHEST
LEVEL
CENTER BACK
INSEAM
CENTER BACK NECK
OUTSEAM
SIDE HIGH POINT SHOULDER
GRAINLINE
SEAT LEVEL
Chapter TWO: the patternmaking process
UNDERARM/
SIDE SEAM
CORNER
The basic sloper
When developing any pattern, the first stage is to create a
basic sloper. Drafted from a size chart or from a company’s
fit model’s measurements, these patterns offer only the basic
pattern shape, broadly following the contours of the body.
For menswear the following basic slopers are usually needed:
• Basic upper body sloper—a front and a back body shape
• Basic sleeve sloper, which can be one or two piece
• Basic pant sloper, which consists of a front and back
leg shape
All patterns in the book are based on these three basic slopers
(see pages 40–47). Once the basic sloper has been created,
it is made up as a muslin and fitted. After any necessary
adjustments are made, the sloper is then cut from heavy
card or thin plastic with no seam allowance.
The exception to the rule is the tailored two-piece sleeve,
which is drafted direct with no sloper used (see Trench
Coat pages 244–45).
The master plan or pattern
CENTRE
BACK
NECK
POINT
POINT
FRONT
SHOULDER
SHOULDER
POINT
TIP
BACK
BACK
SHOULDER
SHOULDER
POINT
TIP
4.5 CM
4 CM
7
CM YOKE
BACK
7 CM
14 C
7 CM
M
10 CM
WAISTLINE
WAISTLINE
NEW HEMLINE
HEMLINE
3 CM
14 CM
3 CM
SIDE SEAM
SIDE
SEAM
SIDE PANEL SEAM
FRONT
MASTER
MASTER
PLAN
14 CM
BACK
MASTER
PLAN
BREAST
POCKET
12 CM
YOKE LINE
2 CM
WELT
WELT
GRAINLINE
GRAIN LINE
CENTRE
FRONT
CENTER FRONT
SIDE SEAM
FRONT MASTER
PLAN
GRAINLINE
GRAIN LINE
WAISTLINE
WAIST
LINE
SIDE SEAM
CENTER BACK
CENTRE
BACK
BACK MASTER
PLAN
FRONT MASTER
PLAN
CENTRE BACK
CENTER
BACK
CHEST LEVEL
LINE
CHEST LEVEL
6 CM
POCKET
BAG
17 CM
CHEST LINE
3 CM
6 CM
3 CM
FRONT
FRONT
NOTCH
PITCH
POINT
BACK MASTER
PLAN
7 CM
FRONT YOKE
CENTRE FRONT
FRONT
CENTER
BACK
PITCH
BACK
POINT
NOTCH
FRONT
SHOULDER
HIGH POINT
NECK
SHOULDER
POINT
2 CM
12.5 CM
HEMLINE
HEM LINE
A master plan for pattern development is, like an architectural
blueprint, the starting point for any design. The master plan
begins from the basic pattern slopers that hold no design
features. It allows visual pattern planning, and design details
can be investigated for positioning or depth before the basic
slopers are adapted.
Start each pattern by selecting the appropriate sloper or
slopers from which you can then create a master plan; a jacket
design, for example, might start with both the basic sloper and
the sleeve sloper.
The master plan (above left) is created by tracing around the
shape of the sloper onto pattern drafting paper following the
instructions on pages 48–49. The style details of the design,
such as yokes, style lines, darts, and pockets, are then drawn
onto the master plan (above right).
Most master plans are traced from half of the sloper, and one
side of the pattern is then developed before being copied,
or mirrored, to create the other side of the pattern piece
(see page 50). This saves time in the patternmaking process
and serves to eliminate possible errors in duplicating design
features from one side of the pattern to the other. The human
body is generally symmetrical and, therefore, shape and
silhouette development need only be done to one half of the
body if the design is balanced. Even if the design is asymmetric,
drafting one half of the pattern and then copying over the
drafted shape to create the other side before working on the
full front or back body pattern is a quick way to achieve the
desired style.
Pattern shapes are then traced off the master plan, which
is never cut but instead left intact for reference, serving
as a blueprint and record of the pattern development.
development of the design
37
4 CM
4 CM
⁄16" CM
0.4
3
0.4
⁄16" CM
3
⁄16" CM
0.4
3
⁄16" CM
0.4
UNDERARM
/UNDERARM
SIDE SEAM
CORNER
POINT
3
FRONT RIGHT
CUT 1 SELF
2⁄4"CM
3
GRAINLINE
Designer patterns
The pattern shapes may be either traced directly from the
master plan or from design development patterns onto
patternmaking paper to create the designer pattern. The
designer pattern is then used to create a muslin, sample,
or test garment for fitting prior to production.
At this stage patterns that have been designed in half, and
that need to be created as shapes with a left- and right-hand
side, are copied or mirrored. Annotation is also added, such as
grainlines, notches, and drill holes for darts, together with seam
allowances (see pages 50–51).
GRAINLINE
CENTER
BACK
NOTCH
SHOULDER
NOTCHES
CUT 1 LINING
SHOULDER
NOTCHES
COLLAR STAND
CUT 1 PR SELF
GL
HEMLINE
38
BACK LINING LEFT
COLLAR
CUT 1 PR SELF
CUT 1 LINING
GRAINLINE
BACK LINING RIGHT
In this book designer patterns are shown in blue; patterns for
linings are shown in pink.
Chapter TWO: the patternmaking process
HEMLINE
GRAIN LINE
CENTRE FRONT
CENTRE FRONT
GRAIN LINE
5
1.5
⁄8" CM
T
M OU
E SEA
MOV
CENTRE FRONT
CENTER
FRONT MASTER
PLAN
PLAN
FRONT SIDE SEAM
Design development patterns
While developing the pattern, it may be necessary to trace off
shapes from the master plan for further development—these
are called design development patterns. Complicated design
features may need to be slashed and spread (see page 56) to
add fullness or pleats, or panel shapes may need to be opened
up through pivoting techniques (see page 56) to achieve
cylindrical silhouettes on the final pattern. When tracing the
pattern shapes from the master plan all marks made on the
master plan, such as notches or seam allowance, should also
be transferred to the development pattern. Once the pattern
shapes have been developed, these development patterns can
then be taped to another piece of paper before the designer
pattern is traced off.
0.4
⁄16" CM
3
Production patterns
Once the muslin or sample garment has been approved the
production patterns are traced from the designer patterns.
These are then graded (see pages 52–53) and used for
mass garment manufacture. They are cut from card with all
annotations added. Every part of the garment will have
a corresponding pattern piece.
Left and right patterns
In this book, all the master plans and
pattern developments start with the
pattern shape for the right-hand side of
the garment as you would see it if you
were the wearer, and this is how all the
patterns are labeled. If you are looking
at the pattern, or a pair of patterns,
from the front, the right pattern would
be on the left and vice versa.
Left: Production patterns.
Below: A woman uses a band blade
to cut multiple garment pieces.
39
Basic UPPER Body SLOPER
Step 1
Developing the basic upper body sloper frame
• Cut a large piece of drafting paper slightly longer than the
length of your torso or fit model.
• Using a yarstick, draw a vertical line down the left-hand side
of your drafting paper; make a mark at the top of this line
and label it (0).
• From (0) measure down 3⁄4in, mark and label (1). This is the
center back neck point.
• From (1) measure down 85⁄8in (armhole depth); mark and
label (2). This is a variable measurement dependent on the
figure type and arm girth.
• From (1) measure down 177⁄8in (back neck to waist); mark and
label (3).
• From (1) measure down 253⁄4in (garment length); mark and
label (4). The garment length is a variable measurement
dependent on the silhouette you want to create. In this
instance, it is determined by adding the center back neck
to back waist measurement (177⁄8in) to the waist to hip
measurement (77⁄8in).
• From (2) square across one-quarter of the chest
measurement plus one-quarter of the garment ease 105⁄8in;
mark and label (5) (chest level).
• Repeat this from (0): square across one-quarter of the chest
measurement plus one-quarter of the garment ease 105⁄8in;
mark and label (6).
• From (3) square across one-quarter of the chest
measurement plus one-quarter of the garment ease 105⁄8in;
mark and label (7) (waistline). From (4) square across onequarter of the chest measurement plus one-quarter of the
garment ease 105⁄8in; mark and label (8) (hip level).
• Join points (6), (5), (7), and (8) with a straight line; this will
become your side seam.
• From (1) square out one-fifth of the neck base circumference
plus 1⁄4in = 33⁄8in; mark and label (9).
40 Chapter TWO: the patternmaking process
Armhole (scye) depth
Small = 81⁄4in; Medium = 85⁄8in; Large = 9in; X-large = 93⁄8in
(grade increment = 3⁄8in)
Measurements needed to draft sloper
Quarter chest circumference = 91⁄2in
Armhole (scye) depth = 85⁄8in
Center back neck to waist = 177⁄8in
Waist to hip = 77⁄8in
Garment length = 253⁄4in
Half across back measurement = 77⁄8in
Neck base circumference = 153⁄8in
0
1
13
6
10
9
16
14
17
11
2
ACROSS BACK
3
12
CHEST LEVEL
45
5
15
SIDE SEAM
Measurements used for this size 38in block
Chest circumference = 38in
Full garment ease = 5in
Half chest circumference = 19in
Half ease = 23⁄8in
Quarter chest circumference = 91⁄2in
Quarter ease = 13⁄16in
CENTER LINE
The method introduced here is a guide to developing the
basic men’s upper body sloper with no annotation or seam
allowances. All the measurements given are an approximation
of a UK standard size 38in (chest circumference 38in plus 5in
full body garment ease = 43in), which is generally regarded
as a medium in the industry. The half front upper body sloper
is developed on top of the half back upper body sloper and
will need to be traced off and mirrored over separately before
following the pattern adaptations in subsequent chapters.
These slopers will serve as a starting point for all the drafts
in this book (except pants) or for your own designs. You can
also use measurements from the size charts on pages 32–33 to
make the sloper in a different size to fit your model or form.
WAISTLINE
7
HIP LEVEL
4
8
• From (9) square up 3⁄4in and label (10). Using a French curve,
draw in the back neckline from (10) to (1).
• The measurement (1) to (11) is half the measurement (1) to (2)
= 43⁄8in; mark and label (11).
• Square out from (11) half the across back measurement
77⁄8in; mark and label (12). This is a variable measurement
and 3⁄8–1⁄4 in of ease may need to be added depending on
the amount of ease added to the chest circumference. If the
armhole shape is too deep or flat at the underarm, add
ease to the across back measurement; this will narrow the
underarm and extend the shoulder length.
• From (1) square down one-eighth of the armhole depth minus
5
⁄16in (3⁄4in); mark and label (13).
• From (13) square across the same measurement from (11) to
(12) half the across back measurement plus ease if needed;
mark and label (14).
• From (14) square down through (12) until you reach the line
(2) to (5); mark and label (15).
• At (14) square out 11⁄16in; mark and label (16); this is your front
and back shoulder tip. Draw a line from (10) front and back
Step 2
TRACING OFF THE FRONT AND BACK slopers
• Cut a large piece of drafting paper slightly longer than
the sloper you have just developed and twice the width.
• Draw a vertical line down the center of the piece of paper
longer than the upper body sloper. This will be the side seam
line for the front and back upper body slopers once traced.
• Place the new paper over the master pattern you have just
drafted, aligning side seams together. To the left-hand side
trace the upper body sloper off with the back neckline from
the master. Turn over the paper so that the back upper body
sloper is now aligned to the right side of the seam line.
• Trace around the same sloper, drawing in the front neckline.
Turn over the paper and retrace around the front upper body
high point shoulder to (16); this is your front and back
shoulder seam.
• From (15) at a 45-degree angle measure out 13⁄16in; mark.
• Draw in the armhole shape from (16) using the whole
French curve, draw a line that passes through (12),
continuing down to pass through the mark you made from
(15) to finish at (5). This is the front and back armhole.
• From (1) measure down one-fifth of the neck base
circumference minus 5⁄16in (23⁄4in); mark and label (17).
Using the cylindrical part of a French curve draw a line
from (10) to (17). This is the front neckline.
sloper so that you have both sides of the upper body sloper
marked on one side.
• Mark the back and front notches on the slopers you have just
traced; measure up 43⁄4in from (15) on the back upper body
sloper where it intersects the back armhole line. Make two
marks and label back notch.
• Measure up 31⁄8in from (15) on the front upper body sloper
where it intersects the front armhole line. Mark and label
front notch.
BACK
NECKLINE
1
BACK HIGH
POINT
SHOULDER
BACK
SHOULDER
SEAM
FRONT
SHOULDER
TIP
BACK
SHOULDER
TIP
10
CENTER BACK
NECK POINT
FRONT
SHOULDER
SEAM
10
FRONT
NECKLINE
16
16
FRONT
HIGH POINT
SHOULDER
17
CHEST LEVEL
2
10
15
16
16
17
BACK
NOTCH
2
CHEST LEVEL
15
5
15
45º
CHEST LEVEL
2
15
WAISTLINE
7
WAISTLINE
HIP LEVEL
8
HIP LEVEL
3
Calculating the width and depth of
the front neckline
To measure the position of the
front high point shoulder and the
center front neck point, through
which to draw the front neckline,
3
10
hold a right-angled ruler against
the neck of your fit model or
dress form, keeping it horizontal
to the ground. This will give you
the depth of the CF neck.
2
CENTER FRONT
CHEST LEVEL
SIDE SEAM
CENTER BACK
2
3
5
31⁄8"
43⁄8"
FRONT
NOTCH
45º
CENTER FRONT
NECK POINT
FRONT
NOTCH
SIDE SEAM
CENTER BACK
10
1
BACK
ARMHOLE
FRONT
ARMHOLE
CENTER FRONT
BACK
NOTCH
5
4
CENTER
FRONT
POINT
4
HIGH POINT
SHOULDER
4
basic UPPER body sloper
41
Basic Sleeve SLOPER
The method introduced here is a guide to developing the basic
men’s sleeve sloper with no annotation or style lines. All the
measurements given here are for a sample size 38in. This
sloper will serve as a starting point for all the drafts in this
book, or for your own designs. You can also use measurements
from the size charts on pages 32–33 to make the sloper in a
different size, or use your own measurements taken from your
fit model or male dress form.
Measurements used for this sleeve sloper, corresponding
to a size 38in upper body sloper
Armhole = 191⁄4in + 1in ease = 201⁄4in
Sleeve length to wrist = 271⁄2in
Top of sleeve cap to elbow length = 161⁄8in
Upper biceps circumference = 14in
BACK
SHOULDER
TIP
FRONT
SHOULDER
TIP
FRONT
BACK
CENTER FRONT
CHEST LEVEL
SIDE SEAM
CENTER BACK
CHEST LEVEL
Taking the armhole measurement from the basic
upper body sloper
The armhole measurement needs to be taken
from your basic upper body sloper. Place
a tape measure at the back shoulder tip
and walk it round the curve up to the
front shoulder tip.
If you are developing your basic slopers
to your own measurements, just replace
the armhole measurement above with the
one you have taken.
42 Chapter TWO: the patternmaking process
Step 1
Developing the basic sleeve sloper
• Cut a large piece of drafting paper slightly longer than the
length of your sleeve measurement or the arm length of your
fit model.
• Using a ruler, draw a vertical line down the left-hand side of
the drafting paper; make a mark at the top of this line and
label it (1). This is the back underarm seam.
• From (1) square across 14in to the right (the circumference of
the biceps); make a mark and label it (3).
• From (1) square down 271⁄2in (the length of the sleeve); make
a mark and label it (2). Square across from (2) and down
from (3) to create a rectangle.
• Divide the width of the rectangle vertically into four narrower
equal-sized rectangles, naming the lines between them, from
the left, back line, center line, and front line. Label the long
side of the rectangle on the right-hand side front underarm
seam. Label the top of the center line (4).
• From (1) measure down one-third of the armhole
measurement—63⁄4in, which is the height of the sleeve cap;
make a mark and label it (5). This is the sleeve corner at
biceps level. Square across to intersect the front underarm
seam from (3); make a mark and label it (6). This is the sleeve
corner at biceps level. The line you have drawn is the biceps
level. Label the point where this line intersects the back line
as (7) and the front line as (8).
• From (7) measure up 4in (one-sixth of the armhole
measurement of 33⁄8in + 5⁄8in = 4in); draw a notch and
label it (A). This is the back notch.
• From (8), measure up 33⁄8in (one-sixth of the armhole
measurement); draw a notch and label it (B). This is the
front notch.
Shape of the armhole
The front notch is lower than the
back notch to allow for the deeper
curve at the front of the sleeve. This
accommodates the shape of the sleeve and
also allows the arm to move forward.
14"
4
1
TOP OF SLEEVE CAP
3
⁄8"
5
5
8
7
6
SLEEVE
CORNER
AT BICEPS
LEVEL
1"
ELBOW LEVEL
FRONT UNDERARM SEAM
1"
271⁄2"
FRONT LINE
BACK LINE
103⁄8"
CENTER LINE
BICEPS LEVEL
203⁄4"
103⁄8"
SLEEVE HEMLINE
2
TOP OF
SLEEVE CAP
BACK
NOTCH
FRONT
NOTCH
SLEEVE
CORNER
AT BICEPS
LEVEL
SLEEVE
CORNER
AT BICEPS
LEVEL
FRONT UNDERARM SEAM
FRONT LINE
BICEPS LEVEL
CENTER LINE
ELBOW LEVEL
123⁄8"
SLEEVE HEMLINE
1"
6
Step 2
Shaping the underarm seams
• Measure in 3⁄4in from both back and front underarm seams at
the sleeve hemline and mark.
• From both points redraw the new back and front underarm
seam lines back up to the corners of the sleeve at biceps
level to create a tapered sleeve shape.
2
SLEEVE
CORNER
AT BICEPS
LEVEL
⁄8"
3
BACK LINE
8
FRONT
NOTCH
⁄16"
Measuring the sleeve cap and adding ease
At this point you should measure your
newly drafted sleeve cap, which should
be 1in larger than the armhole. This
ease is distributed during construction
between the 4notches to give 3shape to the
sleeve cap. You can add more or less ease
depending on your sleeve shape, fabric,
A
or design.
B
7
B
3
1"
5
A
63⁄4"
BACK UNDERARM SEAM
1
⁄4"
3
BACK
NOTCH
BACK UNDERARM SEAM
• Now you will draw in the curved sleeve cap.
• Draw a straight line from (5) to (A); halfway along this line
square down 3⁄16in; connect (5) to (A) with a hollow curve
through this point.
• Draw a straight line from (A) to (4); halfway along this
line square up 5⁄8in; connect (A) to (4) with a raised curve
through this point.
• Draw a straight line from (4) to (B); halfway along this
line square up 3⁄4in; connect (4) to (B) with a raised curve
through this point.
• Draw a straight line from (B) to (6); halfway along this line
square down 3⁄8in; connect (B) to (6) with a hollow curve
through this point.
• Divide the length of the sleeve below the sleeve cap in
half (subtract the sleeve cap height from the sleeve length
(271⁄2in – 63⁄4in = 203⁄4in) and divide in half (203⁄4in ⁄ 2 =
103⁄8in). Measure 103⁄8in from (5) down the back underarm
seam and mark, then square across. From this line measure
1in back up toward the biceps level, make a mark, and square
across. This is the elbow level.
• Notch the top of the sleeve cap by measuring 3⁄16in from (4)
along the sleeve cap toward the front notch.
Basic Sleeve SLOPER
43
TOP OF
SLEEVE CAP
Step 3
To shape the sleeve hemline for the addition
of a cuff
FRONT
NOTCH
SLEEVE
CORNER
AT BICEPS
LEVEL
44 Chapter TWO: the patternmaking process
⁄16"
3
⁄16"
3
FRONT UNDERARM SEAM
FRONT LINE
CENTER LINE
BACK LINE
ELBOW LEVEL
• From the center line, divide the width of the new sleeve
hemline at the front and back of the sleeve in half and mark.
• On the back sleeve hemline, measure down 3⁄16in from
this point and mark; and on the front measure up 3⁄16in
and mark.
• From the corner of the back underarm seam, draw a convex
curve to the center line through the point on the back, then
reverse and draw a concave curve to the front underarm
seam through the point on the front.
SLEEVE
CORNER AT
BICEPS LEVEL
BICEPS LEVEL
BACK UNDERARM SEAM
Adding a cuff to a sleeve
The sleeve hemline is shaped for the
addition of the cuff panel with a curve
that is concave on the back sleeve and
convex on the front. This is to balance
the cuff shape around the cylindrical
shape and hinged movement of the arm.
BACK
NOTCH
Basic PANT SLOPER
The method introduced here is a guide to developing the basic
men’s pant sloper with a 3⁄4in back waist dart for shape above
the buttocks and a 15⁄8in front pleat for ease of movement.
The silhouette is straight with no annotation or style lines
added. All the measurements given are for a sample size
32in (81cm) waist, which accompanies a size 38in (96.5cm)
chest. This sloper will serve as a starting point for all the pant
drafts in this book, or for your own designs. You can also use
measurements from the size charts on pages 32–33 to make
the sloper in a different size, or use your own measurements
taken from your fit model or male dress form.
The modern man has diligently followed fashion when it comes
to how he wears his pants and jeans. From high-waisted to lowriding, the waistline seems to be in a state of cultural flux. The
natural waist in most men is the smallest measurement around
the circumference of the abdomen or stomach. Generally most
pants are designed to sit between this and the hip—the most
comfortable point for movement, with the waistband line being
dropped 2in below the natural waist on average, depending on
the design.
Measurements used for this size 32in (81cm) pant sloper
Waist circumference = 32in + 13⁄16in ease = 333⁄16in
Total hip circumference = 373⁄4in + 4in ease (1in ease on each
of the four panels) = 413⁄4in
Front hip measurement = 187⁄8in
Back hip measurement = 227⁄8in
Crotch depth = 101⁄4in
Outside leg measurement = 421⁄8in
Inside leg measurement = 32in
63⁄4"
101⁄4"
CENTER FRONT
1
WAISTLINE
5
HIP LEVEL
4
9 ⁄2"
1
6
2"
8
CROTCH LEVEL
2
91⁄2"
32"
INSEAM
Step 1
Developing the basic pant sloper frame
• Cut a large piece of drafting paper slightly longer than
the length of your pant design or the leg length of
your fit model.
• Using a ruler, draw a vertical line down the right-hand
side of the paper; make a mark at the top and label it (1).
This is the outside leg or outseam. Square across to the left.
This is the waistline.
• From (1) measure down 101⁄4in; make a mark and label it (2).
This is the crotch depth.
• From (2) measure down 32in; make a mark and label it (3).
This is the length of the inside leg. Square across to the left.
This is the hemline.
• From (1) measure down 63⁄4in; make a mark and label it (4).
• From (4) square across to the left one-quarter of the hip
circumference minus 1in to find the front hip measurement
(101⁄2in – 1in = 91⁄2in); make a mark and label it (5). This is the
hip level.
• From (2) square across to the left one-quarter of the hip
circumference minus 1in (101⁄2in – 1in = 91⁄2in); make a mark
and label it (6). This is the crotch level.
• From (6) measure up 101⁄4in; make a mark and label it (7).
This line is the center front.
• From (6) square across to the left one-quarter of the
measurement from (4) to (5) minus 3⁄8in (23⁄8in – 3⁄8in = 2in);
make a mark and label it (8).
• From (8) measure down 32in to intersect with the hemline;
make a mark and label it (9). This is the inseam.
101⁄4"
7
HEMLINE
9
3
Basic pant SLOPER
45
CROTCH CURVE
Chapter TWO: the patternmaking process
C
B
WAISTLINE
33⁄4"
5
HIP LEVEL
10
1
7
4
13
⁄16
"
FRONT
CROTCH
POINT
PLEAT
31⁄2"
8
FRONT CROTCH LEVEL
D
6
2
FRONT
8
11
F
KNEE LEVEL
31⁄8"
43⁄8"
1
43⁄4"
⁄2 INSIDE
LEG
HEMLINE
43⁄8"
E
OUTSEAM
GRAINLINE
12
9
46
A
7
15⁄8"
CENTER
FRONT
WAIST
INSEAM
Step 2
Developing the front pant sloper
• To find the waist measurement, you need to work back from
the wider front hip measurement. From (7) measure across
31⁄2in toward the side seam; make a mark and label it (A).
From (A) square down to the hemline and label it grainline.
This will also become one side of the pleat.
• From (A) continue to measure across 15⁄8in for the pleat;
make a mark and label it (B). The pleat width can be adjusted
according to the fit required.
• From (B) measure across the remainder of the front hip
measurement minus 5⁄8in (43⁄8in – 5⁄8in = 33⁄4in) and label it
(C). Shape down to (4). This is the outseam.
• To shape the crotch, measure out 13⁄16in from (6) at a
45-degree angle and make a mark. Draw a curved line from
(5) to (8) passing through this point.
• Make a mark where the grainline passes through the crotch
level and label it (D), and another where the grainline meets
the hemline and label it (E).
• To find the knee level, divide the measurement from (D)
to (E) along the grainline (which is also the inside leg
measurement) in half; make a mark and then measure up
31⁄8in; make a mark and label it (F); square across 43⁄8in
toward the inside leg and 43⁄4in toward the outside leg or
side seam. This is the knee level.
• To create the hem width, from (E) square across 43⁄8in
toward the inside leg and make a mark and 43⁄8in toward the
outseam and make a mark.
• Draw the inseam and the outseam as gentle curves from
these points back to (8) and (4) respectively, passing through
the points you marked at each end of the knee level.
43⁄8"
3
9
CENTER
BACK
WAIST
5 1⁄2" WAISTLINE
H
2"
B
13⁄4"
2"
10"
A
G
10
2 ⁄2"
⁄16"
12
8
11
PLEAT
J
1
33⁄8"
K
13⁄16"
HIP LEVEL
5
D
6
⁄16"
9
14
BACK CROTCH
LEVEL
4
2
13
L
BACK
F
KNEE LEVEL
53⁄8"
53⁄8"
9
1
⁄2 INSIDE
LEG
HEMLINE
4 ⁄8"
7
E
53⁄8"
OUTSEAM
9
C
I
INSEAM
BACK
CROTCH
POINT
1
CR
O TC
H CURVE
7
31⁄2"
Step 3
Developing the back pant sloper
• The back pant sloper is developed over the front and then
the two are separated when both are traced onto separate
pieces of paper.
7
1
• From (7) measure up 2in; make a mark and label it (10).
Then square across to the right to a point beyond (1).
• From (1) measure out 2in; make a mark and label it (J).
Square up to meet the line you drew from (10).
• From (8) measure down 5⁄8in; make a mark and label it (11).
5
4
Do the same from (2) and label the mark (13). Square across
from (11) to (13). This is the back crotch level.
• From (11) measure out 31⁄2in; make a mark and label it (12).
2
8
This is the back crotch point.
6
3
• From (10) measure across 1 ⁄4in; make a mark and label it (G).
This is the center back waist.
• From (G) draw a 10in line to (J). This is the back waist
measurement including the dart width of 3⁄4in.
• From (G) measure 51⁄2iin along the line you have just drawn;
make a mark and label it (H). This marks the center of
the dart.
• From (H) square down 33⁄8in; mark and label it (I). This is the
length of the dart. From (H) measure out 3⁄8in on both sides.
Draw a line from each point to (I) to create the dart legs.
• Measure up 3⁄16in from the top of both dart legs and redraw
the waistline back to (G) and (J). This will keep a straight line
along the waistline when the dart is taken in.
• To shape the crotch, continue the center front line down
from (5) through (6) to meet the new back crotch level; make
a mark and label it (14). From (5) measure up 13⁄16in; make a
mark and label it (K). From (14) measure out 21⁄2in at a
45-degree angle and make a mark. With a French curve draw
a line from (12) to (K) passing through this point and continue
up with a straight line to (G). This is the center back rise.
• At the knee level from (F) measure out 53⁄8in toward the
inside leg and 53⁄8in toward the outseam and mark.
• At the hemline from (E) measure out 47⁄8in toward the inside
leg and 53⁄8in toward the side seam.
• From the back crotch point
3 to
9 at (12) draw a curved line down
the mark at the knee level and continue with a straight line
down to the mark at the hemline. This is the inseam.
• At (13) measure out 3⁄4in; make a mark and label it (L).
• From the waistline at (J) draw a curved line passing through
(L) to the mark you made at the knee level, continuing with a
straight line down to the mark you made at the hemline. This
is the outseam.
3
Basic pant SLOPER
47
Creating a Master Plan
from a Basic SLOPER
To adapt each sloper into the final pattern, the first stage is to create a master plan onto which the various features of the
design are drawn. In each case, you will need to ensure that you draw the master plan onto a piece of paper that is large
enough for you to draw additional elements onto the outside of the sloper.
BACK
NOTCH
FRONT
NOTCH
FRONT MASTER
PLAN
CENTER FRONT
SIDE SEAM
BACK MASTER
PLAN
GRAINLINE
CHEST LEVEL
CENTER BACK
To create a master plan from the basic
UPPER body sloper
• Cut a large piece of drafting paper slightly longer than the
length of the shirt, jacket, or coat you want to develop.
• Using a ruler, draw a vertical line down the center of the
drafting paper labeling it side seam.
• Using a set square, draw a horizontal line through the middle
of the vertical line, labeling it waistline.
• Place the front sloper to the right side of the vertical line,
lining up the waistline and the side seam.
• Draw round the sloper, making sure that you indicate all the
notches marked, and transfer the grainline. Label it front
master plan and also label the center front.
• Place the back sloper to the left side of the vertical line,
lining up the waistline and side seam.
• Draw round the sloper as before. Label it back master plan
and also label the center back.
• If the sloper you have chosen has chest level and hip level
indicated, transfer these to the master plan and label them
chest level and hip level.
WAISTLINE
HIP LEVEL
TOP OF
SLEEVE CAP
BACK
NOTCH
FRONT
NOTCH
NEW BACK
PITCH POINT
1.75 CM
3 CM
UNDERARM FRONT
SEAM
FOREARM LINE
CENTER LINE
BACK LINE
ELBOW LEVEL
HEMLINE
48 Chapter TWO: the patternmaking process
SLEEVE
CORNER AT
BICEPS LEVEL
BICEPS LEVEL
3 CM
SLEEVE
CORNER AT
BICEPS LEVEL
UNDERARM BACK SEAM
To create a master plan from the sleeve sloper
• Cut a large piece of drafting paper slightly longer than the
length of the sleeve you want to develop.
• Draw a vertical line down the center of the drafting paper,
longer than the sleeve sloper, and label it center line.
• One-quarter of the way down use a set square to draw
across a horizontal line through the center line and label it
biceps level.
• Align the center line and the biceps level on the sleeve
sloper with the center line and the biceps level drawn on
the paper.
• Draw round the basic sleeve sloper, making sure that you
indicate all the notches and the top of the sleeve cap.
OL
NE
E
URV
HIP LEVEL
CROTCH LEVEL
CROTCH LEVEL
Look at design features such as the placket
on a shirt or the closure on a cuff. Look
KNEE LEVEL
INSE
AM
GRAINLINE
OUTSEAM
BACK
MASTER
PLAN
FRONT
MASTER
PLAN
HEMLINE
Assessing the design
Before starting to create any pattern you
should first assess the design using a
menswear dress form or fit model. The sloper
that you have selected might be longer or
shorter than the design you are developing.
Analyze by taking a measurement from your
fit model or form and by consulting your
size chart, or even using competitors’
garments as comparison.
C RO
HIP LEVEL
OUTSEAM
GRAINLINE
C
TCH
CROTCH CURVE
INSEAM
To create a master plan from the pant sloper
• Cut a large piece of drafting paper slightly longer than the
length of the pant you want to develop.
• Using a ruler, draw a vertical line down the center of the
drafting paper, longer than the pant sloper, and label
it center grainline.
• One-quarter of the way down use a set square to draw across
a horizontal line through the center grainline and label it
crotch level.
• Align the center grainline and the crotch level on the basic
pant leg slopers with those you have drawn on the paper.
• Draw around the slopers, making sure that you indicate the
notches, waist dart, and hip level.
• It is important that you align the front and back pant
slopers horizontally.
KNEE LEVEL
HEMLINE
at the length and consider the way that a
garment might be worn. Shirts, for example,
are generally tucked into jeans, pants, or
shorts, so the length of the sloper that you
have selected might need to be extended.
Refer back to your dress form, samples,
or drawings and photos that you may have
collected. For example, the yoke at the back
of a shirt would start part way down the
back shoulder; to find this position you can
attach a piece of cotton tape to your form
to help you assess the proportions against
your design drawing.
Creating a Master Plan from a Basic SLOPER
49
How to trace off a pattern from the
master plan or development patterns
Tracing half the pattern shape from the master
plan and then creating the full pattern shape
Collars, stands, yokes, and some body panels are developed as
half patterns on the master plan. When complete they will need
to be mirrored to create the full pattern shape. When doing
this, the center of the pattern is usually aligned on the center
front or center back lines.
• Using opaque paper placed over the master plan or
development pattern, trace off the half pattern shape,
leaving enough room on the paper to the other side of the
pattern shape to fold the paper in half down the center front
or center back.
2
1
2
1
TRACE
4
3
Adding details to one half of the pattern only
If a detail, such as a pocket, appears
on only the right side of the pattern,
add it before mirroring (and then avoid
copying it during the mirroring process);
if it appears on the left-hand side, add
it after the pattern has been mirrored.
FOLD
2
3
• Transfer all the annotation marked on the master plan,
including the grainline, notches, and drill holes.
• Add seam allowance in accordance with the construction
process (see page 60).
• Fold the paper in half down the center front or center
back line.
• Turn the paper over and retrace the pattern shape on the
other side to create the full pattern shape. Add all the
annotation necessary to complete the pattern.
1
RETRACE
2
1
Tracing complete pattern pieces directly
from the master plan
Some pattern pieces, such as a sleeve or a pocket, can
be traced directly from the master plan or from
a development pattern.
• Using opaque paper placed over the master plan or
development pattern, trace off the pattern shapes.
• Transfer all the annotation marked on the master plan,
including the grainline, notches, and drill holes.
• Add seam allowance in accordance with the construction
process (see page 60).
4
3
3
COMPLETE PATTERN
50
Chapter TWO: the patternmaking process
Annotation
Annotation is the technical language placed on the pattern to
communicate information about the pattern, garment, or its
construction to the manufacturer. It should be written onto
each production pattern piece clearly and centrally, or it can
be marked on using a range of symbols. The language used
varies between countries, manufacturers, fashion labels, and
patternmakers. Some of the annotation can also be written
onto the master plan or development patterns during the
patternmaking process, such as the grainline, drill holes, or
notches.
Listed below are basic annotations used throughout
the industry.
Piece name
This identifies the pattern shape; whether it is a sleeve, the front
right or front left body panel, or a pocket bag.
Style identifying number or name
This could be an abbreviation, such as FW/001 (Fall/Winter
collection style number 1), or could include the name of the theme
of the collection.
Piece number
Since many patterns are made from several pattern pieces, this
identifies the pattern piece within the set. It is either written as
1/7 or 1 of 7, meaning piece one in a set of seven.
Pattern size
This is the size of the garment, for example: 34, 36, 38, 40,
42 (or S, M, L, XL, etc.)
Number of pieces to be cut from each pattern piece
This is abbreviated to the following symbols:
NOTCH
PIECE NAME: FRONT BODY
PIECE NUMBER: 001/012
STYLE NAME: FW/2016 - ANORAK
PATTERN SIZE: 38
PIECES TO CUT: CUT 1 SELF
DRILL
HOLE
FOLD
GRAINLINE
(Self)—Cut the pattern from the main fabric for the garment
(Cut 1 PR Self)—Cut one pair (right and left) from the main fabric
for the garment
(Cut 1 Self)—Cut a single pattern piece from the main fabric
(Cut 1 Mirrored)—cut one of this pattern piece flipped over onto
its other side.
You can also add additional information for cutting patterns from
fusing or lining fabric (Cut 1 Self & 1 Fusing).
Asymmetric designs need to be marked with the abbreviation
RSU (right side up), meaning place the pattern right side up on
the right side of the fabric.
Fold line or symbol
Indicates that the pattern should be folded along this line.
Grainline
The grainline indicates the direction in which you want the
pattern shape to be placed on the fabric. Most pattern pieces are
placed on the straight grain, which runs parallel to the selvage of
the fabric (see page 57).
Seam allowances
Seam allowances can be drawn on the pattern, can be indicated
by notches, or the instruction can simply be written on the
pattern—“3⁄4in seam,” for example. If there is no seam allowance,
use the abbreviation NSA.
SEAM ALLOWANCE
Notches and drill holes
Notches and drill holes are used to convey the construction
process of the garment.
Notches are made in the edge of the pattern for seam alignment,
panel placement, or to indicate an area of ease.
Drill holes are used to indicate pocket placements, button
positioning, and dart lengths. Place the drill hole 3⁄16 to 3⁄8in
before the tip of a dart or the corner of a pocket position so that
the mark is not seen from the front of the finished garment.
How to trace off a pattern from the master plan or development patterns
51
Grading
Once the pattern is made, an understanding of grading and the use of technology in the patternmaking studio and in
industry will ensure that your patterns are transferred accurately for use in production.
Grading
At its most basic, grading is the technique of increasing the
size of a garment pattern. It is not, however, a process of
enlarging patterns to fit the idiosyncrasies of individual figures;
those adjustments need to be carried out while adapting
the sloper or in construction. Instead, grading is a system
used in conjunction with a size chart to create proportional
enlargements of a garment to best fit your customer base.
Grade rules dictate the growth between sizes. The starting
point, or base size, represents the size that you used when
developing the pattern. It may not have been the smallest size
in the customer range, in which case you will have to grade
both down and up.
+Y
0
The manual grading technique outlined here is
shown on basic sloper patterns without any
style lines or adaptations. Once you have
understood the principles of growth
3
related to specific areas of the male
+X +Y
body you should be able to apply
4
them successfully to your styled
patterns. The instructions are
for a one-size grade up for
the basic upper body, sleeve,
5
and pant slopers with
a 15⁄8in
+X
increment between sizes.
Consult the size charts
(pages 32–33) for different
grade values.
+X -Y
2
-Y
4
52
Chapter TWO: the patternmaking process
8
7
chest level
side seam
5
back
waistline
6
Right: Back
pattern showing
growth increments
between sizes
S to XXL.
1
1
3
Incremental growth is recorded along two axes which are
given numerical values, or coordinates. These are written as
(Y), which is vertical movement plus or minus, and (X), which
is horizontal movement plus or minus. These axes are at right
angles to each other and the point at which they intersect is
called the zero point. In the figure above values (measurable
distances) are added to the X and Y coordinates which are
applied to the cardinal points on the perimeter of
a pattern to map out the next size or sizes.
2
6
center back
The grading of clothes began to appear in the middle of the
nineteenth century as a very simple system that relied on
measurements of height and circumference to enlarge and
shrink the garment in proportional increments
to create small, medium, and large sizes.
Not until the commercialization of the
ready-to-wear market after the 1950s
did a sizing system that offered
-X +Y
consistency of proportion begin
to be adopted by manufacturers.
The modern grading system
is a process of adding growth
values to a base pattern.
Incremental measurements
-X
(the variable distance
between two fixed points on
a pattern) define intervals
between sizes. Growth values
have been defined within the
clothing industry through the
-X -Y
collection of measurement data
on growth ratios (circumferences
of the body and variable heights of
the body) related to age and figure types.
Grading can be performed both manually and
by computer.
To establish the cardinal point of a one-size grade, from the
zero point take the required measurement horizontally (X);
then square up the required measurement vertically (Y);
connect (Y) to the zero point to create the grade line.
7
hemline
8
S
M
L
XL
XXL
2
+Y
3
4 back
NOTCH
chest level
5
back
waistline
6
6
7
2
3
center back
5
side seam
Back UPPER
-X +Y body sloper
+X +Y
Mark (1) at the center back neck point and measure up
vertically (Y) value = 5⁄16in
Mark (2) at the high point shoulder measure up vertically (Y)
value = 5⁄16in and horizontally out (X) value = 1⁄8in
Mark (3) at the shoulder tip and measure up vertically (Y)
value = 1⁄4in and horizontally out (X) value = 3⁄16in
0
+X
-X
Mark (4) at the back notch and measure up vertically (Y) value
1
3
= ⁄8in and horizontally out (X) value = ⁄16in
Mark (5) at the underarm / side seam corner and measure
horizontally out (X) value = 3⁄8in
Mark (6) at the waistline point and measure up vertically (Y)
value = 3⁄16in and horizontally out (X) value = 3⁄8in
+X -Y
Mark (7) -Xat-Ythe hemline point and measure horizontally
out (X)
value = 3⁄8in and down vertically (Y) value = 3⁄16in
Mark (8) at the center back hemline
and measure down
-Y
vertically (Y) value = 3⁄16in
1
hemline
8
2
1
3
+X +Y
7
8
1
4
front
NOTCH
chest level
center front
5
side seam
Front UPPER body sloper
4
Mark (1) at the center front neck point and measure up
1
vertically (Y) value = ⁄4in
Mark (2) at the high point shoulder measure up vertically (Y)
value = 5⁄16in and horizontally out (X) value = 1⁄8in
5
Mark (3) at the shoulder tip and measure
up vertically (Y)
+X= 1⁄4in and horizontally out (X) value = 3⁄16in
value
Mark (4) at the front notch and measure up vertically (Y) value
= 1⁄8in and horizontally out (X) value = 3⁄16in
Mark (5) at the underarm / side seam corner and measure
horizontally out (X) value = 7⁄16in
Mark (6) at the waistline point and measure up vertically (Y)
value = 3⁄16in and horizontally out (X) value = 7⁄16in
+X -Y
6
Mark (7) at the hemline point and measure horizontally out (X)
value = 7⁄16in and down vertically (Y) value = 3⁄16in
Mark (8) at the center front hemline and measure down
vertically (Y) value = 3⁄16in
7
front
waistline
6
7
hemline
8
GRADING
53
7
SLEEVE
CORNER
AT BICEPS
LEVEL
BICEPS LEVEL
4
front
elbow LEVEL
2
1
7
6
seam
center line
back
7
Front pant sloper
2
1Mark (1) at the center front waist point and measure up
3
1
1
2
C
HIP LEVEL
seat leVEL
2
3
front
4
KNEE LEVEL 5
4
hemline
12
10
8
3
6
54 Chapter TWO: the patternmaking process
9
OUTseam
vertically (Y) value = 3⁄16in and horizontally out (X)
value = 1⁄8in
1
Mark (2) where the hip level meets the crotch curve measure up
1
vertically (Y) value = ⁄16in and horizontally
out (X) value = 1⁄8in
4
Mark (3) at the front crotch point and measure horizontally out
(X) value = 1⁄4in
Mark (4) at the inseam knee
5 point and measure down vertically
(Y) value = 3⁄16in and horizontally out (X) value = 1⁄8in
Mark (5) at the outseam knee point and measure
down vertically (Y) value = 3⁄16in and horizontally out (X)
value = 1⁄8in
Mark (6) at the inseam hem point and measure down vertically
(Y) value = 3⁄8in and horizontally out (X) value = 1⁄8in
Mark (7) at the outseam hem point and measure down vertically
6
(Y) value = 3⁄8in and horizontally
out (X) value = 1⁄8in
Mark (8) where the hip level meets the outseam point and
measure up vertically (Y) value = 1⁄16in and horizontally out (X)
value = 1⁄4in
Mark (9) where the waistline meets the outseam point and
8measure up vertically (Y) value
8
7
= 3⁄16in and horizontally
out (X)
1
value = ⁄4in
CURVE
2
5
front
NOTCH
3
TC H
6
back
NOTCH
RO
4
6
SLEEVE
CORNER
AT BICEPS
LEVEL
INSEAM
3
12
11
Sleeve sloper
9
Mark (1) at the back underarm seam hemline
and measure
10
8
horizontally
out (X) value = 1⁄4in and vertically down (Y) value
1
= ⁄8in
8
2
Mark (2) at the front underarm seam hemline and measure
horizontally out (X) value 3= 1⁄4in and vertically down (Y)
value = 1⁄8in
Mark (3) at the back sleeve corner at biceps level and measure
horizontally out (X) value = 5⁄16in
5
Mark (4) at the front sleeve corner at biceps level and measure
horizontally out (X) value = 5⁄16in
4
5
Mark (5) at the front notch and measure horizontally out (X)
3
value = ⁄16in
Mark (6) at the back notch and measure up vertically (Y) value
= 1⁄8in and horizontally out (X) value = 1⁄16in
Mark (7) at the top of the sleeve cap and measure up vertically
(Y) value = 1⁄4in
back underarm seam
1
2
TOP OF
SLEEVE
CAP
9
front underarm
1
7
6
6
7
TC
H
CUR
VE
1
2
CR
O
12
11
9
10
HIP leVEL
8
seat leVEL
3
back
OUTseam
4
vertically (Y) value = 3⁄16in and horizontally out (X)
1
9
value = 1⁄8in
Mark (2)1where the hip level meets the crotch curve measure
up vertically (Y) value = 1⁄16in and horizontally out (X) value =
1
⁄8in
2
Mark (3) at the back crotch point and measure horizontally
out 8
1
(X) value = ⁄4in
Mark (4) at the inseam knee point and measure3 down vertically
(Y) value = 3⁄16in and horizontally out (X) value = 1⁄8in
Mark (5) at the outseam knee point and measure down
vertically (Y) value = 3⁄16in and horizontally out (X)
value = 1⁄8in
Mark (6) at the inseam hem point and measure down vertically
(Y) value = 3⁄8in and horizontally out (X) value = 1⁄48in
5
Mark (7) at the outseam hem point and measure down vertically
(Y) value = 3⁄8in and horizontally out (X) value = 1⁄8in
Mark (8) where the hip level meets the outseam point and
measure up vertically (Y) value = 1⁄16in and horizontally out (X)
value = 1⁄4in
Mark (9) where the waistline meets the outseam point and
8
measure up vertically (Y) value = 3⁄16in and horizontally out (X)
value = 1⁄4in
Mark (10) at the dart tip and measure up vertically (Y)
value = 3⁄16in and horizontally out toward the outseam
(X) value = 1⁄8in
7
6
Mark (11) at the top of the dart leg toward the outseam and
measure up vertically (Y) value = 3⁄16in and horizontally out
toward the outseam (X) value = 1⁄8in
Mark (12) at the top of the dart leg toward the center back
and measure up vertically (Y) value = 3⁄16in and horizontally out
toward the outseam (X) value = 1⁄8in
M
3
INSEA
5
BACK pant sloper
2 Mark (1) at the center back waist point and measure up
4
6
KNEE leVEL
hemline
5
7
The main body growth principles
• The center front and center back seams
will grow in length.
• Neck and shoulder tips will grow in
length and width.
• Armholes will grow in length and width.
To retain the balance of the sleeve
the same value would be applied to the
sleeve cap.
• Side seams will grow in width.
• Pants have to accommodate growth in
length and width.
GRADING
55
Adapting patterns and slopers
Adapting the basic sloper into different
garment styles involves a range of
manipulation techniques that fit the garment
to the contours of the body. These include
the use of darts and style lines to help
remove fabric from the sloper and to fit
it more closely to the body, and the use of
pleats and gathers to help generate fullness
over the curves of the body.
Patternmaking techniques can also be used to
shape different pattern pieces and add volume.
⁄16"
3
FRONT PANEL
3
⁄16SELF
"
CUT 1 PR
⁄16"
3
13⁄16"
CHEST LEVEL
⁄16"
3
⁄16"
GRAIN LINE
KET
OPE
NING
CHEST LEVEL
POC
WAISTLINE
CENTER FRONT
E/P
T LIN
DAR
OCK
ET
3
CENTER FRONT
CENTER BAC
K
DRILL HOLE
OLD HEMLINE
WAISTLINE
FOLD
FACING
OLD HEMLINE
Pivoting
Pivoting is used to redistribute volume and
add in flare or a dart to a pattern piece
without the need to cut through the pattern.
• Trace around the original pattern piece
and then draw in the style line. Use
a pattern drill to mark the end of
the line.
• Pivot the pattern by placing an awl
through the drill hole and then move the
pattern so that the style line moves to
its new position and volume is added into
the pattern shape.
• Retrace the pattern with the outline of
the pattern moved to its new position.
56
Chapter TWO: the patternmaking process
NEW HEMLINE
Slash and spread
Slash and spread can also be used to add or
remove volume from a pattern piece.
• Trace around the original pattern piece
onto a separate piece of paper. Draw
style lines equidistant from each other
through the area you want to expand.
• Cut through the style lines, leaving one
outer edge of the pattern attached by
a fraction of an inch.
• Either overlap the sections evenly along
the cut style lines to remove volume,
or open them up to add volume.
• Tape the slashed pattern to a new piece
of paper and then retrace the new
pattern shape.
Principles of Patternmaking
WARP
STRAIGHT GRAIN
Grainline
Straight grain
Garments are generally cut with the straight grain running
down the body. The straight grain is the warp yarn, which is
the yarn that runs down the length of woven fabrics parallel to
the selvage. This yarn is stronger than the weft yarn, which is
the yarn that is woven horizontally across the fabric. The weft,
therefore, has more give or stretch. Clothes that are cut on the
straight grain are more stable and hang straighter.
AS N
BI AI
R
G
Bias grain
The bias runs at a 45-degree angle to the straight grain and to
the selvage of the fabric. Garments that are cut on the bias will
stretch and therefore mold to the contours of the body, fitting
many different silhouettes.
WEFT
HORIZONTAL GRAIN
Horizontal or cross grain
The horizontal or cross grain runs across the fabric from
selvage to selvage. Since this grain follows the less stable weft
yarn, garments cut in this direction will tend to stretch and
hang softly with pleats and tucks.
BIAS GRAIN
CUT 1 SELF
BIAS GRAIN
CUT 1 PR SELF
BIAS GRAIN
CUT 1 SELF
CUT 1 SELF
BIAS GRAIN
BIAS GRAIN
CUT 1 SELF
BIAS GRAIN
CUT 1 SELF
CUT 1 PR SELF
BIAS GRAIN
CUT 1 PR SELF
BIAS GRAIN
IN
STRAIGHT GRA
CUT 1 SELF
Above: Straight grain. Anorak pattern pieces
are laid along the fabric parallel to the
selvage, providing stability as the warp
thread runs along the length of the garment.
CUT 1 SELF
BIAS GRAIN
STRAIGHT GRAIN
CUT 1 SELF
STRAIGHT GRAIN
CUT 1 SELF
STRAIGH
T GRAIN
CUT 1 SE
LF
CUT 1 SELF
GRAIN
IGHT
STRA
LF
PR SE
CUT 1
CUT 1 SELF
STRAIGHT GRAIN
CUT 1 SELF
STRAIGHT GRAIN
CUT 1 SELF
STRAIG
HT GRA
IN
CUT 1 SEL
F
STRAIGHT
GRAIN
CUT 1 PR
SELF
STRAIGHT
GRAIN
CUT 1 SELF
STRAIGHT GRAIN
STRAIGHT GRAIN
CUT 1 PAIR
BIAS GRAIN
Right: The figure shows the
directions of warp, weft, and
bias grains in relation to
the body.
Above: Bias grain. Anorak pattern pieces are
laid along the fabric at a 45-degree angle to
the selvage, giving the garment an element of
stretch as warp and weft threads at this angle
are more flexible as a result of gravity and
hang-weight.
PRINCIPLES OF Patternmaking
57
Ease
Ease needs to be added to the
measurements taken directly from the
body or from a size chart to ensure that
the garment is comfortable to wear.
Ease is the measurable difference
between the dimensions of the human
body and the garment, a difference
that allows the body to move in the
garment without restraint. Adding to the
measurements taken from the body—to
its circumference and length—when
creating the pattern, creates the space.
Lack of sufficient ease will cause the
garment to appear tight or wrinkled
when worn.
Calculating the amount of ease
Knitted fabrics stretch and so generally
require negative ease. As a result the
garment is made smaller than the
original measurements and uses the
fabric’s stretch properties to achieve its
full dimensions. For most other fabrics,
you will need to add ease. There are no
agreed international sizing standards
for the amount of ease that should be
added to any particular sloper or style of
garment. Calculating the amount of ease
can be subjective and is reliant on fabric,
body size, movement, function, and
garment style (formal-wear, workwear,
activewear). Analyze your competitors’
garments, or even garments in your own
closet, to gain an understanding of ease.
As a general rule, ease is added to
outerwear to accommodate the space
needed for garments worn underneath.
Ease is also added to pants around the
hip and crotch area so that the wearer
can sit comfortably. It is also added to
all garments at almost every point that
the body moves: underarms, shoulders,
chest, spine (at the back of the neck),
hips, elbows, and knees.
Left: A student analyzing
the fit of a design on
a dress form.
58
Chapter TWO: the patternmaking process
tolerance
Tolerance relates to the stability of the fabric and is measured
by the amount of movement in the fabric generated through
the manufacturing process. Woven fabrics generally have less
movement than knitted fabrics, which have a natural stretch
in their construction. The type of fiber used in a woven or
knitted fabric, however, can affect the amount of tolerance—a
loosely spun or natural fiber might generate greater amounts
of tolerance than a more stable nonwoven or synthetic fiber.
Tolerances are calculated in fractions of an inch across the
width and length of the fabric. Across a whole garment they
can add considerably to the amount of fabric required for a
comfortable fit. Assess the properties of the fabric before
calculating additional allowances required for each pattern.
Allowances for tolerance and ease are calculated together
and either added or taken away. By looking at the size
charts on pages 32–33 and comparing the circumferential
measurements you will be able to establish the ease ratio
on which to base your calculations.
Drafting the pattern with ease
Ease can be added either to the sloper or later to the
pattern itself.
Direct drafting
The sloper is drafted using measurements taken directly from
the fit model or dress form with no ease added. These slopers
will fit skintight to the body. Ease is then added during the
pattern development process to create the desired silhouette.
This method is generally used for bespoke tailoring, allowing
greater control over the fit of the garment.
Drafting with ease
In this case the sloper is drafted to include the ease allowance,
which is added to the measurements taken from the fit model,
the dress form, or the commercial size chart. The sloper is,
therefore, slightly larger than the human body at any give
size. The pattern is then manipulated to create the given style.
This method is used mainly in mass manufacture.
Sleeve cap ease
Additionally, ease is added to the sleeve cap between the front
and back notches with the greatest amount distributed over
the top of the cap. This means that the sleeve cap is generally
larger than the armhole into which it will be inserted; ease
allows the relatively flat shape of the sleeve to sit comfortably
over the rounded shape of the cap without stretching or
wrinkling. Shirt sleeves generally take 1⁄5in to 3⁄4in of ease
around the cap and jackets from 3⁄4in to 15⁄8in, depending on
the type of fabric.
Ease used throughout this book
All the slopers in this book are drafted
with basic ease given to the basic
sloper. Ease has been added according
to the style or silhouette given on each
pattern. Ease has been taken away or
added according to the garment design.
addition
of ease
FOREARM LINE
CENTER LINE
BACK LINE
UNDERARM BACK SEAM
SLEEVE
CORNER
AT BICEPS
LEVEL
ADDITION
OF EASE
BICEPS LEVEL
PLACEMENT
OF SLEEVE
HEAD AGAINST
ARMHOLE
SEAM
SLEEVE
CORNER
AT BICEPS
LEVEL
TOP OF
SLEEVE
CAP
FRONT
NOTCH
UNDERARM FRONT
BACK
NOTCH
STRETCH
ARMHOLE
SLEEVE
CAP
EASE
ARMHOLE
INNER
SLEEVE
ELBOW
LEVEL
CUFF
HEMLINE
PRINCIPLES OF Patternmaking
59
Seam allowance
Seam allowance is added to the pattern once all the
development is complete. Trace off the pattern shape from
the master plan or development pattern and then add the
seam allowance to create the final pattern. The width of the
seam allowance will vary according to the fabric, style, and
construction technique. It is also important to consider the
specialist machinery that will be used in construction before
Seam
allowances
adding the seam allowance. Different machines have a different
bite (the width between the needle and the cutting edge of
an overlocker, or serger, for example) that can vary from 1⁄80 to
5
⁄8in or more; the seam allowance will need to correspond to
the bite. Check the lengths of the seams for corresponding
pattern shapes and add alignment notches on both seams
for assembly.
Light- / medium-Heavyweight fabricsSewing machinerySeams
weight fabrics
⁄4in
Hems, facings, necklines, collars
Three-thread baby
overlocker stitch; binding
machine; single-needle
lockstitch; single-needle
chain stitch
Lapfelled, welted
⁄8in
Front, side, waist,
Armholes, sleeves,
shoulder, and pocket
collars, facings,
seams that will be
enclosed seams.
overlocked together
Single-needle lockstitch;
single-needle chain stitch;
4 / 5 thread overlocker
stitch; cover-stitch
Plain superimposed
⁄8in
Hem allowances
1
3
5
⁄4in
Hem allowances
3
Capped, slotted
Side, waist seams,
hem allowances
1in
Hem allowances
2in
Double-turned or Blind-hemmer
blind-hemmed seams
Shrinkage
Some fabrics, like denim and cotton
jersey, shrink when washed. A shrink
test should, therefore, be carried out
on any fabric likely to shrink when the
garment is first washed. Cut a square
yard of the fabric and mark the grainline
using permanent marker or a stitching
line. The fabric should then be washed
using an industrial technique, or one
relevant to the final product. Remeasure
the square yard: this will give you the
ratio by which the square has shrunk;
then apply this to the pattern or sloper.
Alternatively, make up the garment
in its entirety and apply the washing
technique relevant to the style.
Remeasure the garment and adapt the
pattern to accommodate the shrinkage
ratio. A further method is to manufacture
the garment from preshrunk fabric.
Left: Blue jersey being removed from
the dyeing tank; fabric dyed before
manufacture is less likely to shrink.
60
Chapter TWO: the patternmaking process
Fitting
After drafting a sloper or pattern, a muslin should be made.
This is a test garment, usually made from muslin, which is sewn
together to check the fit. Use the muslin to check the balance
of the garment, fit and also the proportion of different
areas of the garment in relation to each other.
Balance
When drafting a pattern, you need to consider the relationship
between the garment and the human body—the balance.
Balance is achieved when the center front and center back lines
on a jacket or shirt hang equally from both sides of the body
and the side seams of a pair of pants are perpendicular to the
ground. Symmetry can be achieved by distributing volume and
ease equally between the different pieces of the pattern during
the drafting of the sloper.
Balance can, however, also be achieved by ensuring that the
grainline of the pattern is marked correctly (see page 57) and
that it is aligned to the grainline of the fabric with the warp and
weft threads aligned at 90 degrees to the chest level, waistline,
and along the center front and center back lines.
Gravity, which also works in conjunction with the grainline, can
also affect the balance of the garment if fabric is distributed
unequally around the body. Faults in the figure and poor
posture can also affect balance.
Balance control areas on the
male figure
Balance of a garment can be
corrected on the patterns after
fitting has occurred. Illustrated
here are the two areas of the
garment that affect
the balance.
HIGH POINT SHOULDER
CHEST LEVEL
WAISTLINE
Jackets and shirts can be
adjusted through the fit of the
neckline, shoulder slope and seam
position, armholes, and chest by
adjusting the volume between the
front and back patterns.
CROTCH LEVEL
Pants can be adjusted through the
fit of the waist, hips, and front and
back crotch by adjusting the volume
from front to back or vice versa.
Evaluating the fit of a garment can help to rectify figure faults
and problems caused by poor posture and is done through
assessing the muslin. Structural seam lines should fall in the
expected positions on the body. Shoulders are particularly
important in fitting as the clothing hangs from them.
Any deviation created by wrong proportions will appear
as wrinkles, creases, or tightness, giving the wearer visual
and physical discomfort. These areas will then need to be
readdressed to reinstate the balance in the pattern and another
muslin will need to be made.
PRINCIPLES OF Patternmaking
61
Line and proportion
In menswear line refers to the structural seam lines, also called
style lines, that separate the component parts that make up the
garment—sleeves, yokes, collar, and front and back body panels.
Proportion is the space taken (in terms of length and width)
by the various pattern pieces between these lines and their
relationship to each other. Together they make up the garment
silhouette, the overall shape that encloses the body.
When fitting the muslin you need to assess all of the above,
checking to see that seams fall correctly, especially at the
shoulders from which most garments hang. Any discrepancy
in the balance or proportions will manifest itself as wrinkles,
creases, or areas of tightness that give the wearer physical
discomfort or create visual distortion. Address these
discrepancies by adjusting the muslin, taking notes, and then
redrafting the sloper or pattern before creating a second
muslin to retest the fit.
Collar terminology
The collar stand is a band that raises
the collar from the neckline to the
point at which the collar rolls over.
It can either be incorporated into the
shape of the collar itself, or it can
be a separate pattern; it can be either
visible or hidden.
Most collars rise up from the neck edge
and turn over at some point to sit on the
shoulders, where they hide the neckline.
The point at which they turn over is
called the collar roll.
There are many variations in collar shape, both traditional
and contemporary.
neck sizes and Collars
Neck sizes vary among shirt brands and styles; minor
variations in the way shirts are constructed will account for
slight differences in collar fit, which can be assessed through
the insertion of two fingers between the neck trunk and
buttoned collar to give ease. Traditional shirt sizing is classified
according to neck circumferences, which are displayed as
numerical figures and take into account the sleeve length
for styles worn with a button collar and tie.
Casual shirt styles are classified with descriptive sizing: Extra
small, Small, Medium, Large, Extra large, which are based
on corresponding chest circumference measurements. Neck
opening styles are constantly in flux; they can be determined
according to fashion trends or garment styles, depending
on what is in vogue.
• A band or mandarin collar rises up from the neckline of the
shirt and has a slight convex curve to the neckline and its
upper edge so that it sits close to the neck. This type of collar
does not have a collar roll (see Bib Shirt, pages 138–47).
• A turned-down collar is a rolled collar. It has a convex
neckline and can be attached to a stand (see Casual
Long-sleeved Shirt, pages 104–15).
• A convertible collar is a rolled collar. It also has a convex
neckline and can be attached to a stand (see the Doublebreasted Jacket, which has a shaped convertible collar with
a hidden stand, pages 268–87) or can be sewn straight onto
the neckline.
• Straight collars are rectangular in shape with a straight
neckline and are generally sewn onto the neckline without a
stand. The collar rolls naturally from the center back neck,
moving in a concave line down to the center front. They are
often used in activewear where the collar is a single layer and
made from a manufactured preknitted rib (see Short-sleeved
Polo Shirt, pages 80–87).
• A sailor collar sits flat over the shoulders and is created
by aligning the front and back upper body slopers at the
shoulder seam and then drafting the shape on top.
Neck Sizing Chart
USA—SizesS
M
L
XL
XXL
15” – 15 1/2”
16” – 16 1/2”
17” – 17 1/2”
18” – 18 1/2”
XSS
M
L
XL
XXL
To fit collar (inches) 14”
14 1/2”
15”
16”
17”
17 1/2”
18”
(centimeters)
37cm
38cm
41cm
43cm
44cm
46cm
To fit collar (inches)
UK—Sizes
XXS
35.5cm
14” – 14 1/2”
European—Sizes
XSS
M
L
XL
To fit collar (centimeters)
37–38cm
41–42cm
43–44cm
44–45cm
62
Chapter TWO: the patternmaking process
38–40cm
• A Peter Pan collar is generally used on womenswear but
can be adapted with good results for men’s clothing. It has
a similar construction method to the sailor collar except that
the shoulder seams are overlapped.
• A turtleneck or funnel collar is drafted from a rectangle
whose sides are then shaped so that the upper edge is
smaller than the neckline. It is generally used with stretch
fabrics or can be cut from woven fabrics with a zippered or
buttoned opening.
Necklines and collar styles
There are broadly three types of neckline that are associated
with different collar styles. When developing patterns you need
to consider whether to lower the center front neckline, and
how much by, depending on the collar style you have chosen.
In the images below the black lines represent the actual
neckline, while the red lines represent the collar neckline.
• A high neckline is also
referred to as an English
neckline. Reminiscent of the
neckline of the Victorian
wingtip collar, this neckline
sits close to the neck and
is high at the center front.
• A mid-height neckline is also
referred to as an French-style
neckline. Associated with the
classic turned-down collar,
this neckline sits close to
the neck but is lower at the
center front.
• A low neckline is also
referred to as an Italian loose
neckline. Usually associated
with a cutaway or widespread
collar style, this neckline sits
away from the neck and is
lower at the center front,
offering a loose, casual style.
Right: Suit jacket with hunting details.
Junya Watanabe’s Fall 2011 show presents
a distant yet familiar image of Americana.
Classic collar styles with high and midstyle necklines.
OFFICER COLLAR
WINGTIP COLLAR
CAMBRIDGE BOATING
COLLAR
WIDESPREAD
CUTAWAY COLLAR
CLUB COLLAR
OXFORD BUTTON-DOWN
COLLAR
Adjusting the collar
When developing any collar that rolls over, it is important that
the outer edge of the collar sits flat on the body and hides the
neckline. If the outer edge of the collar is too short, it will rise
up above the body when closed. If the outer edge is too long
then it will bunch up and not sit flat.
The best way to evaluate how long the outer edge of the
collar needs to be is to make up a muslin of the top half
of the garment with the collar sewn in to assess the fit on
the dress form. When deciding the width of your collar, make
sure that it is not narrower than the stand. This will ensure that
the stand will not be visible when the collar is turned over.
• If the outer edge is too wide, cut open the collar muslin and
overlap the sections evenly until the collar sits flat.
• Record the new shape by taping the sections before
removing the muslin and measuring the outer edge.
• If the outer edge is too short, cut open the collar muslin into
equal sections from the outer edge toward the neckline
and open them out evenly until the collar sits flat on
the shoulders.
• Record the new shape by taping the sections before
removing the muslin, then measure the outer edge of
the collar.
64
Chapter TWO: the patternmaking process
Plackets
Grown-on placket
Sewn-on placket
There are many types of placket, including concealed, wrap
and strap, and decorative bias, but there are only two ways
to construct a placket. You can either grow on the required
material that you then fold back to form the placket or you can
construct it as a separate piece of material that will be sewn
onto the front opening. Both are popular methods.
Concealed placket
• Before you construct the placket, establish the diameter of
the buttons you will be using. This will determine the finished
width of the placket.
• Identify the fitting line, which is the line on which the buttons
and buttonholes are placed, usually the center front.
• The placket extends beyond the fitting line by approximately
half the diameter of the button, or its radius plus 3⁄16–3⁄8in.
• The placket is attached to both sides of the shirt and,
when fastened, the left side overlaps the right. The side
underneath holds the buttons and the top holds
the buttonholes.
Pockets
There are many different styles of pocket, from patch pockets,
concealed pockets that can be welted or jetted, to cargo or
bellows-style pockets with gussets.
When developing the internal parts of a concealed pocket, keep
in mind the job a pocket performs and the wear and tear on the
integral parts. The area where a pocket is attached to the main
fabric is usually reinforced with fusing to stabilize the fabric
and to prevent it from stretching and becoming misshapen.
The width and depth of the pocket bag itself is determined
by the opening you have drawn on your master plan and the
internal space available to position the pocket within the
design; it should be shaped so that the bag is not caught
up in any seams.
Pocket terminology
A flap, or welt
stand, can be used
to hide the pocket
opening and give
a tailored finish.
A welted pocket
is finished on the
outside with one
band of fabric.
A jetted pocket has
its opening hidden
by two bands of
fabric that are
narrower than
a welt.
PRINCIPLES OF Patternmaking
65
Hems
The hem allowance is turned up and connected to the lining
during construction to create an internal facing. The hem can
be fused to give rigidity.
There are many different methods for constructing internal
linings for jackets and coats. The lining is larger or of a similar
size to the external shell of the garment, which allows for
movement of the body. The linings of jackets and coats need
to have ease added across the back of the shoulderblades,
for example, in the form of a center back inverted box pleat
to allow for movement. Ease is frequently added to the chest
front in the form of a tuck or pleat, to allow for the expansion
of the chest. Lining patterns for sleeve caps and armholes are
made larger to avoid pinching. Ease is also added in the form of
extra length to the hems of the body and sleeve lining, to allow
stretch when the body is bent over or arms raised.
Sleeves
The cut of the sleeve is largely determined by the sleeve cap
height (the distance between the top of the sleeve cap and the
biceps level) and its relationship to the width of the underarm.
A sleeve with a higher sleeve cap will be tighter and the
underarm shorter. This type of sleeve is often used for fitted
jackets (see Single and Double-breasted Jackets,
SHIRT
HIGH CAP
Linings
The job of the lining is to hide the various parts of the
garment’s internal construction, such as seams, fusing,
interlining, and pocket bags, if you have chosen not to make
these a design feature.
SEAM
LINE
LOW CAP
SEAM
LINE
SHIRT
SLEEVE
pages 252–67 and pages 268–87). A sleeve with a shorter
sleeve cap will be wider and the underarm will also be wider.
This type of sleeve is used for more casual garments (see
Casual Long-sleeved Shirt, pages 104–15). When lowering the
top of the sleeve cap to create a more casual, wider sleeve you
also need, therefore, to remember to widen the biceps level.
To create a more casual sleeve first create a larger armhole
on the front and back upper body slopers. This can be done
by either lowering the armhole (see Hooded Sweatshirt, pages
88–103) or by extending the shoulder, or both (see Casual Longsleeved Shirt, pages 104–15).
Take the measurement of the new armhole from the front and
back upper body slopers by laying a tape measure held on its
side around the new shape.
66
Chapter TWO: the patternmaking process
Tailored two-piece
Casual two-piece
One- and two-piece sleeves
Most sleeves are constructed from one pattern piece with
a single underarm seam, and called a set-in sleeve (see Casual
Long-sleeved Shirt, pages 104–15). Tailored sleeves (see the
Single-breasted Jacket, pages 252–67), and other casual jacket
sleeves (see the Fitted Denim Jacket, pages 220–31) are made
from two pieces (a top and a bottom panel).
sleeves and for casual sleeves. The casual two-piece sleeve
keeps the original sleeve cap shape of the basic sloper because
padding is not needed. The two panels needed for the sleeve
(top and bottom) can therefore be drafted from the basic
sloper. This is achieved by folding in the outer sections of the
sleeve sides to give you the bottom panel. A tailored sleeve,
however, has to be drafted from scratch and is developed
to give you the more pronounced sleeve cap needed for the
padding and rolls.
There are two methods of drafting a pattern for a two-piece
sleeve that broadly divide into the method used for tailored
Cuffs and cuff guards
Although not illustrated here in any depth, there are many
different styles of cuff, from single cuffs to more elaborate
historical designs. The single cuff used on the shirts illustrated
in this book holds in the volume at the end of the sleeve, has
ease added so that it fits comfortably around the wrist and can
rise up when the arm moves forward.
Before adding a cuff or hem allowance to any pattern, first
establish your sleeve length.
The function of the cuff guard is to finish and provide support
to the opening that allows the hand to pass through the cuff.
It is rectangular in shape with either a shaped or a flat end. The
length of the guard can vary and it can be closed with a button
midway along its length. When the guard is attached, 3⁄8in is
taken for the seam on the shirt opening.
• Single-button,
cut corner
barrel cuff
• Single-button,
rounded barrel
cuff
• Two-button,
cut corner
barrel cuff
• Two-button,
turned barrel
cuff
PRINCIPLES OF Patternmaking
67
USING Technology
CAD / CAM are acronyms for two innovations that have
revolutionized the working practices of the clothing industry.
Computer-aided design and computer-aided manufacture cover
a number of software and hardware solutions that are used
in the patternmaking and manufacturing processes. Clothing
design and manufacturing technology has become increasingly
reliant on computer-based operational systems to reduce
expenditure and to respond to the ethical expectations of the
consumer by using resources more efficiently. These systems
have enabled brands to reduce lead times, to lower costs, to
increase workforce efficiency, to communicate more effectively
with manufacturers, and to develop Web-based profiles for
customers. CAD / CAM and the Internet have revolutionized all
stages of the design process. The high-quality output offered
by these applications has speeded up product development and
enabled brands to become more competitive. The work of an
entire design studio can now be contained on a single laptop,
and this has changed the way designers and patternmakers
practice their craft. Style libraries, photographs and drawings,
patterns, colors, and textures can be scanned, modified, and
digitally enhanced to create line stories, moodboards, and
lookbooks in a matter of hours. Awareness, use, and integration
of the products now available is essential to any menswear
brand if it wants to stay competitive in a global market.
A studio environment showing the AccuMark
pattern design system on screen.
68 Chapter TWO: the patternmaking process
Anorak pattern parameters being digitized via
the Gerber digitizer XLd workstation table.
However, computer-aided technology has been developed to
enhance the manual process of patternmaking, not to replace
it. Without the competence and knowledge gained from the
practices of flat patternmaking and draping, computerized
patternmaking technology cannot be used effectively.
The advantages of using these systems are: increased speed,
greater accuracy in measurement, the ability to store patterns
as digital data, accurate reproduction of patterns when
needed from a template library, and reduced use of space and
the physical costs of paper and card. There are many CAD /
CAM companies catering for small and large businesses that
provide a range of solutions for the patternmaking industry.
Choosing the appropriate one for your business will require
some research; information can be gathered from trade shows,
Web forums, and other companies’ experiences of the product.
Most offer schemes for ongoing technical support with training,
system installation, and maintenance, as well as software
upgrades. Software companies that provide patternmaking
solutions to larger businesses are Gerber (US), Lectra (France),
Vetigraph (France), Pad System (Canada), Grafis (Germany),
OptiTex (Israel), Gemini (Romania), [TC]2 (Textile Clothing
Corp, US), and Alvanon (US). Companies catering for smaller
patternmaking businesses are Telestia (Greece), Fashion Cad
(Australia), Wild Ginger (US), Browzwear Solutions (Singapore),
and VR Software Limited (UK).
Outlined here are the basic approaches to generating patterns
and the associated software and hardware products used by
design and manufacturing teams throughout the apparel and
educational sectors.
Digitizing and scanning patterns
Digitizing is the process whereby manual patterns are mapped
or traced through the use of an electronic point locator
(cursor), which is moved across a digitizing table; this data is
converted into pattern parameters and stored for later use.
The process described here is that for Gerber AccuMark
software. To start, the pattern piece is placed on the digitizing
table with the grainline horizontal to the floor; it is secured with
tape. Before the digitizing process can begin certain preference
tables have to be set up on the system. A storage area for the
data to be saved to is created, a user environment is set up,
and parameter and grade rule tables are created. Once these
have been established, the process of entering the data can
begin. Points on the pattern are located using the digitizing
cursor crosshairs and information is input by pushing the
relevant keys on the cursor pad. Digitizing starts by entering
in the piece name, piece category, and the piece description,
then the rule table is selected from the alphabetical list on the
table menu.
Pattern being fed through a Graphtec image
scanner, which converts full-size patterns into
CAD data.
Next the grainline is recorded and the process starts at
the top left-hand corner on a cardinal point (shoulder tip),
working clockwise, selecting the inputting code from the
key pad: (AB1)—for a graded point followed by a rule number,
(A)—for intermediate curves, (AB1C1)—for a graded point, rule
number, and notch. The digitizing scanner is another method
of inputting patterns into the system; patterns are passed
between plastic sheets which are fed though the scanner, so it
is faster than the manual process. It takes a matter of minutes
for the scan to be processed into parameter data, which can
be converted for checking and manipulation compatibility with
Gerber AccuMark.
Piece name being entered on the menu
board of the digitizing table using the
16-button cursor.
USING TECHNOLOGY
69
Screen shot
of Gerber’s
AccuMark Pattern
Design System
(PDS) software.
A shirt pattern
is shown in
the work area.
Generating patterns
Patterns can also be created directly on the computer: Basic
slopers can be created using your landmark parameters (chest,
waist, hips, and body lengths) from the size charts provided.
Gerber AccuMark PDS (Pattern Design System) allows you to
generate new patterns or to open digitized or scanned patterns
from your storage area. Menu slopers can be manipulated
to add fullness, or can be stretched or shrunk for fabric
tolerance; they can be scaled to change size ratios, copied to
make common pieces, or even mirrored to create full patterns.
Seams, notches, and annotations can also be applied to your
pattern pieces.
Digitally grading patterns
The principles of grading are the same for manually grading
a pattern and grading a pattern on the computer. As grading
by hand can be a time-consuming process, computer grading
is now the process of choice for the apparel industry. With
the added benefit of accuracy, patterns can be graded
automatically. Like the manual method, the (X) and (Y)
coordinates have to be assigned a measurement value. This is
done through establishing a rule table to define the movement
of the cardinal points of your pattern (horizontal and vertical
axes). You will need to establish your incremental body
growth between sizes before completing the rule table. This
information can be taken from an industry-published size chart
or from your own customer profiling.
Lay planning and marker making
These two technical terms refer to parts of the production
process. The lay plan is the mapping out of pattern pieces in
sequential order on a piece of paper (the marker). The marker
is the width and length of the fabric lay. This will be determined
by the number of garments to be cut and the sizes ordered.
70
Chapter TWO: the patternmaking process
Although manual marker making is still practiced, generating
markers on the computer offers considerable benefits. Material
utilization and fabric wastage can be controlled by optimizing
small and large sizes. Gerber AccuNest software offers an
automated function where the fabric parameters and quantity
are set, and then pattern pieces are selected to generate the
most economical marker plan.
Digital output
Many CAD programs for patternmaking are now compatible
with other design software, enabling pattern data to be
exported and e-mailed around the world. Factories have the
hardware to be able to print out patterns to make samples,
and to make lay plans or markers in paper or card ready to
be processed by single- or multiple-vector cutting systems.
The 3-D Runway Creator program allows pattern data to be
turned into virtual garments on avatars so that manufacturers,
retailers, and buyers are able to view products while they are in
the development stage. Changes to style, color, and fit can be
reviewed even before samples are made.
Emerging technologies
At the forefront of apparel engineering is the advancement
in digital technology and virtual software solutions for
pattern generation. As the emerging market seeks to refine
its production and output processes, computer-generated
solutions will increasingly play a pivotal role in how the designer,
patternmaker, manufacturer, and consumers interact. New
software programs allow design teams and patternmakers
to view manual processes yet to be actualized. Many leading
apparel companies have been developing interactive pattern
design systems (PDS) that feature 3-D flattening technology,
a solution to flat patternmaking and virtual three-dimensional
prototyping. Basic pattern slopers can be rendered into full body
Screenshot of
Browzwear’s
V-Stitcher 2-D
to 3-D garment
modeling
software. A
shirt pattern
with virtual
avatar is
shown in the
work area.
samples which are then fitted onto a library of customizable,
computer-generated avatars, or 3-D styles which can be
rendered into 2-D patterns. Fit, proportion, ease, tightness, and
other vital technical aspects of a garment can be modified.
Simulated fabric and print design can be applied prior to
production, reducing the need for multiple samples. Many of
the Pattern Design Systems work on collaborative platforms
specifically developed for the fashion industry, allowing pattern
data to be easily incorporated into design or other product
management programs.
Body scanning
This new technology has changed how the apparel industry
develops its size charts; research into fit and shape analysis
among brand demographics has reduced the need to have
multiple sizing by targeting specific body shapes. Brands and
patternmakers now have access to regional size surveying data
for almost any target market or country’s consumers. Many
companies now offer a range of services from fit analysis,
customer profiling, demographic body surveys to basic pattern
sloper creation based on market research. Through this
new technology patternmakers are able to influence brand
positioning and capture new audiences via target sizing. Body
scanning has contributed to garment creation analysis in
almost every studio practice. The production of tailor-made
forms with core realistic body shapes developed from sizing
data also allows for greatly improved customer fit.
Screenshots of [TC]²’s (Textile Clothing Corp)
3-D body scanning program. Measurements are
extracted to generate 3-D avatars and body
mapping diagrams.
USING TECHNOLOGY
71
CHAPTER three
The
Patterns:
shirts
pattern
long-sleeved collarless shirt
This pattern includes development
of the following features:
Shaping the body
Lowering the neckline
Creating a front placket
Shaping the hemline
Shortening the sleeve cap height
Shaping the sleeve
BACK
BACK
PITCH
NOTCH
POINT
FRONT
PITCH
NOTCH
POINT
step 1
Developing the master plan
WAISTLINE
HIPLINE
HIP LEVEL
74
Chapter three the patterns: shirts
CENTRE FRONT
CENTER
FRONT MASTER
PLAN
PLAN
GRAIN LINE
GRAINLINE
BACK MASTER
PLAN
SIDE SEAM
CENTER
CENTRE BACK
Start by selecting the basic men’s upper body sloper, or by
drafting the basic sloper according to the instructions on page
40. Cut a large piece of drafting paper slightly longer than the
length of the vest you want to develop and transfer the shape
of the sloper and all marks, labels, and instructions following
the directions on page 48.
CHESTLINE
CHEST LEVEL
step 2
Shaping the body
CENTRE FRONT
CENTER
CENTRE FRONT
CENTER
2.5 CM
1"
NEW
NEW SIDE
SIDE SEAM
SEAM
NEW
N
EW SIDE
SIDE SEAM
SEAM
2.5 CM
1"
SIDE SEAM
WAISTLINE
GRAIN LINE
GRAINLINE
FRONT MASTER
PLAN
PLAN
BACK MASTER
PLAN
GRAIN LINE
GRAINLINE
CHEST LEVEL
LINE
CENTRE BACK
CENTER
• From the side seam at the waistline measure out 1in on both
sides and mark. From the hemline at the side seam measure
out 3⁄4in on both sides and mark.
• Connect these points with a straight line from the hemline
to the waistline, then continue with a curved line to the
underarm / side seam corner.
UNDERARM
/UNDERARM
SIDE SEAM
CORNER
POINT
3
2 CM
⁄4"
3
2 CM
⁄4"
HEMLINE
step 3
Shaping the hemline
• Extend the center front and back lines down 3⁄8in at the hem
and mark.
• Connect both of these points back to the bottom of the side
seam with a shallow curve.
• Measure up 9⁄16in along this line to indicate the hem
allowance and mark with a dotted fold line.
FRONT MASTER
PLAN
PLAN
BACK MASTER
PLAN
1.59⁄CM
16"
3
1 CM
⁄8"
FOLD
FOLD
NEW HEMLINE
NEW
NESIDE
W SIDSEAM
E SEAM
SIDE SEAM
WAISTLINE
N
EW SSIDE
IDE SESEAM
NEW
AM
CENTRE BACK
CENTER
CHEST LINE
LEVEL
9
1.5
⁄16" CM
ALL
FA
OW
CIANC
NG E
long-sleeved collarless shirt
75
step 4
Lowering the front neck and
placket development
1.5
⁄16" CM
16
61⁄4"CM
9
CHESTLINE
CHEST LEVEL
OLD
FOL
F
CENTRE
CENTER FRONT
GRAIN LINE
GRAINLINE
ALLOWANCE
F
ACING
NEW HEMLINE
step 5
Front pattern
step 6
back pattern
• Trace off the front onto a new piece of paper and, following
the instructions on page 50, create the full pattern shape,
which will be cut down the right-hand side of the placket to
create an opening.
• Trace off the back onto a new piece of paper and, following
the instructions on page 50, create the full pattern shape.
NTRE FRONT
ECK POINT
16 CM
.5 CM
BACK
CUT 1 SELF
Chapter three the patterns: shirts
GRAIN LINE
GRAIN
LINE
GRAINLINE
GRAIN
GRAINLINE
LINE
CENTRE FRONT
CENTER
GRAIN LINE
76
CENTRE BACK
BACK
CUT 1 SELF
FRONT
CUT 1 SELF
CENTRE
CENTER BACK
FRONT
CUT 1 SELF
CENTRE FRONT
CM
1.5
⁄16" CM
9
NEWSIDE
SIDE SEAM
SEAM
NEW
SIDE SEAM
WAISTLINE
FRONT MASTER
PLAN
PLAN
SIDE
NNEW
EW SID
E SEASEAM
M
BACK MASTER
PLAN
CENTRE
CENTER BACK
• Measure down 9⁄16in from the center
front neck point. Using the basic upper
body sloper as a guide to the shape,
draw in the new neckline.
• Continue to measure down a further
61⁄4in—the length of the placket.
From the new center front neck point,
measure back along the neckline 5⁄16in
and then out 5⁄16in.
• At both these points, drawn a vertical
line down to create a rectangular
shape the length of the placket and
9
⁄16in wide.
CENTER
CENTRE FRONT
NECK POINT
NEW
NECKLINE
NEW
NECK
LINE
FRONT
CUT 1 SELF
1 CM
1.5
3
1
⁄8CM
" CM
UNDER PLACKET FACING
CUT 1 SELF
9 CM
1
1.5
⁄16"CM
FOLD
GRAIN LINE
GRAIN LINE
GRAINLINE
FOLD
FOLD
FOLD
UNDER PLACKET FACING
CUT 1 SELF
"
13⁄8CM
17 CM
FOLD
FOLD
3
⁄4CM
"
6
17
GRAIN LINE
GRAINLINE
FOLD
FOLD
1
16
⁄4CM
"
6
16 CM
CUT 1 SELF
FOLD
FOLD
FOLD
UPPER PLACKET FACING
3
1
⁄8CM
"
9
1.5
" CM
1⁄16CM
1.5
⁄16" CM
1.5 CM
GRAIN LINE
FOLD
CUT 1 SELF
9
1.5 CM
• Draw a rectangle 61⁄4in long and 15⁄8in wide.
• Indicate the 3⁄8in seam allowance on one long side and
divide the rest of the width in half to give a 9⁄16in facing
when folded. This will form the upper placket facing.
• Draw another rectangle 63⁄4in long and 13⁄8in wide.
• Indicate the 3⁄8in seam allowance on the two long sides,
leaving a 9⁄16in facing. This will then form the under
placket facing.
UPPER PLACKET FACING
step 7
Developing the upper and under placket facings
TOP OF
SLEEVEPOINT
CAP
CROWN
BACK
BACK
PITCH
POINT
NOTCH
FRONT SLEEVE
SLEEVE
FRONT
MASTER PLAN
MASTER
PLAN
RM
M SEA
ERA
SEA
UND
RM
KERA
BAC
UND
M
UNDE
FRON
T RARM
SEAM SEAM
UNDERARM
BACK SLEEVE
SLEEVE
BACK
MASTER PLAN
MASTER
PLAN
CENTER
LINE
CENTRE LINE
BICEPS
UNDERLEVEL
ARM LINE
step 8
Developing the sleeve master plan
Start this development by selecting the basic men’s sleeve
sloper, or by drafting the basic sleeve sloper according to
the instructions on page 42. Cut a large piece of drafting
paper slightly longer than the length of the shirt you want to
develop and transfer the shape of the sloper and all marks,
labels, and instructions, following the directions on page 48.
The sleeve sloper that you have selected might be longer
or shorter than the design you are developing. Analyze by
taking a measurement from your fit model or dress form and
by consulting your size chart, or even by using competitors’
garments for comparison.
FRONT
FRONT
PITCH
NOTCH
POINT
HEMLINE
CUFF HEM
long-sleeved collarless shirt
77
TOP OF SLEEVE CAP
⁄8"
3
BACK
NOTCH
FRONT
NOTCH
BICEPS LEVEL
BACK SLEEVE
MASTER PLAN
FRONT SLEEVE
MASTER PLAN
ELBOW LEVEL
CENTER LINE
Ease for knitted and stretch fabrics
Knitted and stretch materials, such as
jersey, fleece, and spandex, need very
little or no ease allowance on the sleeve
cap because the ease is found in the
stretch of the fabric itself. You will
therefore need to reduce the sleeve cap
on some patterns.
SLEEVE
CORNER
AT BICEPS
LEVEL
UNDERARM SEAM
• Reduce the sleeve cap by measuring 3⁄8in down the center
line from the top of the sleeve cap.
• Using the basic sleeve sloper as a guide, draw in the new
sleeve cap shape.
SLEEVE
CORNER
AT BICEPS
LEVEL
UNDERARM SEAM
step 9
Reducing the sleeve cap height
HEMLINE
TOP OF
SLEEVEPOINT
CAP
CROWN
BACK
NOTCH
UNDERARM
LINE
BICEPS
LEVEL
1.5
⁄16" CM
3
13⁄CM
16"
Chapter three the patterns: shirts
FOL
FOLDD
33⁄CM
1
16"
NEW UNDERARM SEAM
GRAIN
LINE
GRAINLINE
ELBOWLINE
LEVEL
ELBOW
9
78
FRONTSLEEVE
SLEEVE
FRONT
MASTERPLAN
PLAN
MASTER
BACK SLEEVE
SLEEVE
BACK
MASTER PLAN
MASTER
PLAN
FACING
ALLOWANCE
MLLIINNEE
EM
HE
1.5
⁄16" CM
9
33⁄CM
1
16"
GRAIN LINE
AT BICEPS
LEVEL
UNDERARM
SLEEVE
POINT
CORNER
AT BICEPS
LEVEL
SLEEVE
UNDERARM
SLEEVE
POINT
CORNER
33⁄CM
1
16"
• First measure 1 ⁄16in in at the sleeve hemline from both sides
and mark. Repeat at the elbow level and mark.
• From the corner of the sleeve at biceps level on both sides,
join these new points with a curved line to the elbow level
and a straight line to the hemline. These are the new
underarm seams.
• At the sleeve hemline measure up 9⁄16in to indicate the sleeve
hem allowance and mark with a dotted fold line.
3
FRONT
NOTCH
M SEAM
RARM
UNDERAR
NEW UNDE
step 10
Sleeve shaping
CROWN POINT
UNDERARM
POINT
LINE
GRAIN
GRAINLINE
UNDERARM
POINT
UNDERARM LINE
FRONT SLEEVE
MASTER PLAN
1.5 CM
3 CM
FOLD
FACING
HEMLINE
CUT 1 PR SELF
SLEEVE
NEW UNDERARM SEAM
GRAIN LINE
ELBOW LINE
GRAIN LINE
3 CM
3 CM
Following the instructions on page 50, trace
off the
BACK SLEEVE
MASTER PLAN
sleeve pattern.
NEW UNDERARM SEAM
step 11
Sleeve pattern
1.5 CM
3 CM
long-sleeved collarless shirt
79
pattern
Short-sleeved polo shirt
This pattern includes development
of the following features:
Creating a front placket
Creating a collar stand
Lowering the armhole
Widening the sleeve cap
Developing a short sleeve
Incorporating a ribbed collar and cuff
BACK
BACK
PITCH
NOTCH
POINT
step 1
Developing the master plan
WAISTLINE
WAISTLINE
HIP
LEVEL
HIPLINE
80 Chapter three the patterns: shirts
CENTER
CENTREFRONT
FRONT
FRONT MASTER
MASTER
FRONT
PLAN
PLAN
GRAINLINE
GRAIN
LINE
BACK MASTER
MASTER
BACK
PLAN
PLAN
SIDE SEAM
SIDE
SEAM
CHEST
LEVEL
CHESTLINE
CENTREBACK
BACK
CENTER
Start by selecting the basic men’s upper body sloper, or by
drafting the basic sloper according to the instructions on page
40. Cut a large piece of drafting paper slightly longer than the
length of the shirt you want to develop and transfer the shape
of the sloper and all marks, labels, and instructions following
the directions on page 48.
FRONT
FRONT
NOTCH
PITCH
POINT
BACK NOTCH
FRONT NOTCH
2
3 CM
⁄4"
FRONT MASTER
PLAN
PLAN
SIDE SEAM
BACK MASTER
PLAN
CENTRE FRONT
CENTER
LINE
CHEST LEVEL
CENTRE BACK
CENTER
• Measure 3⁄4in down the side seam from the underarm / side
seam corner and mark. Using the original sloper, recreate
the shape of the armhole and transfer the back and front
notches to their new positions on the lowered armhole.
UNDERARM
/UNDERARM
SIDE SEAM
POINT
CORNER
GRAIN LINE
GRAINLINE
step 2
Lowering the armhole on the body
WAISTLINE
HEMLINE
CENTRE
CENTER FRONT
NECK POINT
step 3
Developing the center front placket
and hem width
NEW FRONT
NOTCH
GRAIN
LINE
GRAINLINE
FRONT MASTER
PLAN
PLAN
SIDE SEAM
BACK MASTER
PLAN
CENTRE FRONT
CENTER
2.51"
CM
LINE
CHEST LEVEL
CENTRE BACK
CENTER
• From the center front neck point measure down 4in—the
length of the placket.
• From the center front neck point measure 1⁄2in back along
the neckline and then out 1⁄2in.
• At both of these points draw a vertical line down to create a
rectangular shape the length of the placket and 1in wide.
• At the bottom of the pattern measure up 9⁄16in from the
hemline and draw in the hem allowance.
10 CM
4"
NEW BACK
NOTCH
WAISTLINE
FOLD
NEW HEMLINE
FACING
ALLOWANCE
short-sleeved polo shirt
1.5
⁄16" CM
9
81
step 4
Front pattern
GRAIN LINE
GRAINLINE
CENTRE FRONT
CENTER
SIDE SEAM
CENTRE BACK
FRONT
CUT 1 SELF
CENTRE FRONT
FRONT MASTER
PLAN
BACK MASTER
PLAN
GRAIN LINE
• Trace off the front onto a UNDERARM
new piece of paper and, following
POINT
the instructions on page 50,
create the full pattern shape,
which will be cut down the right side of the placket to create
CHEST LINE
an opening.
2 CM
WAISTLINE
HEMLINE
step 5
back pattern
• Trace off the back onto a new piece of paper and, following
the instructions on page 50, create the full pattern shape.
82
Chapter three the patterns: shirts
GRAIN LINE
GRAINLINE
BACK
CUT 1 SELF
CENTRE
CENTER BACK
GRAIN LINE
CENTRE FRONT
FRONT
CUT 1 SELF
step 6
Upper and under placket facing patterns
⁄8"
13CM
1"
2.5 CM
1"
2.5 CM
⁄8"
1 CM
1 3CM
1 CM
2.5 CM
FOLD
UNDER PLACKET FACING
CUT 1 SELF
GRAIN LINE
FOLD
UNDER PLACKET FACING
CUT 1 SELF
GRAINLINE
1 CM
10 CM
FOLD
4"
GRAIN LINE
FOLD
UNDER PLACKET FACING
CUT 1 SELF
⁄8"
3
1 CM
UPPER PLACKET FACING
CUT 1 SELF
GRAIN LINE
1 CM
1 CM
GRAIN LINE
1 CM
FOLD
10 CM
10 CM
FOLD
FOLD
CUT 1 SELF
FOLD
FOLD
10 CM
CUT 1 SELF
GRAINLINE
UPPER PLACKET FACING
UPPER PLACKET FACING
FOLD
⁄8"
3
⁄8"
3
FOLD
4"
2.5 CM
2.5 CM
1 CM
1 CM
1 CM
⁄8"
13CM
1"
FOLD
1 CM
1 CM
⁄8"
3
2.5 CM
CM
13
⁄8"
• Draw a rectangle 43⁄4in long by 13⁄4in wide; this measurement
includes a 3⁄8in seam allowance around all four edges.
• Indicate the 3⁄8in seam allowance around all four sides,
leaving a 4in x 1in facing. This will form the upper
placket facing.
• Draw a rectangle 43⁄4in long by 23⁄4in wide; this measurement
includes a 3⁄8in seam allowance around all four edges.
• Indicate the 3⁄8in seam allowance around all four sides and
divide the rest of the width in half to give a 1in facing when
folded. This will form the under placket facing.
short-sleeved polo shirt
83
step 7
Developing a collar stand for a knitted ribbed collar
• Draw a rectangular box 3⁄4in wide and 93⁄4in long. Label
the narrow side as the center back neck and the long side
as the neckline.
• From the center back measure 33⁄8in along the neckline
and mark a notch. This is the half back neck measurement;
the remaining 61⁄4in is the half front neck measurement,
including half the placket width, 1⁄2in.
• At the front end of the collar stand measure up 3⁄8in and
make a mark. From this mark, with a shallow curve, draw a
new line blending back to the shoulder notch.
• Complete the stand by drawing another new line 3⁄4in from
1⁄.2" 5 C
M
the first and blending it back. Square up from the end of the
new neckline to complete the front of the stand, drawing a
curved line at the upper corner.
• Measure 1⁄2in (half the width of the placket) from the front of
the stand back toward the shoulder line, square across, and
label it center front neck.
1 2
N
23 ⁄4C" M
COLLAR
MASTER
PLAN
NTTREER
EN
CE
C
ONNTT
RO
F
FR
NEECCKK
23CM
⁄4"
CENTER
BACK
NECK
SHOULDER
NOTCH
3 CM
1
⁄8"
NECKLINE
NECKLINE
16
"
61⁄4CM
T T
ENEN
EMEM
URUR
AS
AS
ME
CKME
T NE
NECK
8.5
33⁄8"CM
NECK MEASUREMENT
BACK NECK
MEASUREMENT
HALF BACK
ONT
FRON
HALF FR
CF
Step 8
Collar stand pattern
• Trace off the collar stand onto a new piece of paper and,
following the instructions on page 50, create the full
pattern shape.
1.25 CM
CENTRE
T
FRON
NECK
2 CM
COLLA
CUT 1
Knitted ribbed collars
Knitted ribbed collars are piecemanufactured to order, or can be bought
in specific standard neck measurements
according to style and inserted between
the two parts of the stand.
1 CM
84 Chapter three the patterns: shirts
SHOULDER
SHOULDER
NOTCH
NOTCH
CF
CF
COLLAR
COLLARSTAND
STAND
CUT
PR SELF
CUT
1 1PR
SELF
GRAIN
GL
LINE
CF
C
F
SHOULDER
SHOULDER
NOTCH
NOTCH
CB NECK
CB
NECK
16 CM
EMENT
NECK MEASUR
TOP OF
SLEEVE
CAP
CROWN POINT
BACK
BACK
PITCH
NOTCH
POINT
Step 9
Developing the sleeve master plan
FRONT
FRONT
PITCH
NOTCH
POINT
BICEPS
LEVEL
UNDER
ARM LINE
FRONT SLEEVE
FRONT
SLEEVE
MASTER PLAN
MASTER PLAN
RARM
SEAMSEAM
UNDE
RARM
BACKUNDE
BACK
SLEEVE
BACK
SLEEVE
MASTER PLAN
MASTER PLAN
FRONTUNDER
SEAM
UNDARM
ERAR
M SEAM
CENTER
LINELINE
CENTRE
Start this development by selecting the basic men’s sleeve
sloper, or by drafting the basic sleeve sloper according to the
instructions on page 42. Cut a large piece of drafting paper
slightly longer than the length of the sleeve you want to
develop and transfer the shape of the sloper and all marks,
labels, and instructions following the directions on page 48.
The design illustrated is a short sleeve with a ribbed cuff.
The sleeve sloper that you have selected might be longer or
shorter than the design you are developing. Analyze it by
taking a measurement from your fit model or dress form and
by consulting the size chart, or even by using competitors’
garments for comparison.
HEMLINE
CUFF HEM
Step 10
Widening the sleeve cap for the lowered
armhole
10 7
⁄8"
BACK
PITCH FRONT
NOTCH
POINT NOTCH
PITCH
PONT
UNDERARM
LINE
BICEPS
LEVEL
UNDERARM
SLEEVE
POINT
CORNER
AT BICEPS
LEVEL
FRONT
UNDER
UNDEARM
RARM
SEAM
SEAM
CENTRE LINE
CENTER
SEAMM
RMSEA
ERARM
UNDERA
BACK UND
FRONT
FRONT SLEEVE
SLEEVE
MASTER PLAN
MASTER
PLAN
BACK SLEEVE
SLEEVE
BACK
MASTER PLAN
MASTER
PLAN
9
1.5
⁄16" CM
Knitted materials need very little
ease on the sleeve cap, so in this case
ease was not added to the new sleeve
cap measurement.
1C
⁄2"M
2170
Measure the front and back of the
original armhole on the master plan (in
this case 93⁄4in and 97⁄8in respectively),
then the new armhole (101⁄2in and 107⁄8in
respectively). Compare this to the sleeve
cap measurement and increase the length
of the sleeve cap by the same amount.
UNDERARM
SLEEVE
POINT
CORNER
AT BICEPS
LEVEL
9
1.5
⁄16" CM
Adjusting the sleeve cap to fit the armhole
Having enlarged the sleeve circumference
in Step 2, you will need to check the
length of the sleeve cap and increase it
according to the new armhole measurement.
TOP
OF
CROWN
SLEEVE
POINTCAP
• Extend the biceps level out 9⁄16in on both sides.
• Using the original sleeve sloper as a template, redraw the
new sleeve cap shape and indicate the new notch positions to
match those on the lowered armhole.
short-sleeved polo shirt
85
TOP
OF
CROWN
SLEEVE
CAP
POINT
BACK
BACK
NOTCH
PITCH
POINT
Step 11
Developing the short sleeve
FRONT
FRONT
NOTCH
PITCH
POINT
UNDER
ARM
LINE
BICEPS
LEVEL
6
23CM
⁄8"
7
⁄8"
155 CM
⁄8"
1557CM
1 ⁄CM
8"
3
BACK
BACK SLEEVE
SLEEVE
MASTER
PLAN
MASTER PLAN
CENTRE LINE
CENTER
FRONT
PITCH
POINT
UNDER ARM LINE
Step 12
POLO Sleeve pattern
6 CM
15 CM
UNDERARM
POINT
15 CM
SEAM
1 CM
CENTRE LINE
UNDERARM SEAM
86 Chapter three the patterns: shirts
POLO SLEEVE
CUT 1 PR SELF
FRONT SLEEVE
MASTER PLAN
ATTACH KNIT RIB CUFF HERE
UNDERARM SEAM
BACK SLEEVE
• Following the instructions on page 50,
trace
off the
MASTER
PLAN
sleeve pattern.
GRAIN LINE
GRAINLINE
UNDERARM
POINT
UNDERARM
SLEEVE
POINT
CORNER
AT BICEPS
LEVEL
POLO SLEEVE
CUT 1 PR SELF
FRONTSLEEVE
SLEEVE
FRONT
MASTER PLAN
PLAN
MASTER
CROWN
POINT
BACK
PITCH
POINT
SEAM
SEAM
ATTACH KNIT RIB
UNDER
UNDERARM
ARM SEAM
UNDERARM
SLEEVE
POINT
CORNER
AT BICEPS
LEVEL
UNDERARM SEAM
• Measure 23⁄8in down the center line from the biceps level and
square across the sleeve width.
• From the center of this new line measure 57⁄8in out to both
sides and mark. This is the new sleeve cuff width.
• Join the extended sleeve cap to the edge of the cuff width
with a curved line on both sides.
• Continue to measure a further 3⁄8in down the center line and
square across to create a seam to attach the knitted ribbed
cuff. Both ends of this seam allowance should be extended
by 3⁄8in so that when it is folded up, the seam allowance
matches the shape of the cuff.
short-sleeved polo shirt
87
pattern
Hooded sweatshirt
This pattern includes development
of the following features:
Creating a side panel
Lowering the neckline
Constructing a muff pocket
Lowering the armhole
Widening the sleeve cap and lowering the cap height
Constructing a raglan panel sleeve
Reducing the length of the sleeve
Incorporating a ribbed cuff and waistband
Constructing a hood
88 Chapter three the patterns: shirts
Assess the function of the garment
Before embarking on any pattern
development, first identify the purpose
of the garment. A hooded sweatshirt is
generally worn over other clothes, so you
would need to make the pattern slightly
larger to accommodate the clothes worn
beneath it.
BACK
BACK
PITCH
NOTCH
POINT
FRONT
PITCH
NOTCH
POINT
step 1
Developing the master plan
GRAIN
LINE
GRAINLINE
SIDE SEAM
FRONT MASTER
PLAN
PLAN
CENTRE
CENTER FRONT
BACK MASTER
PLAN
CENTRE
CENTER BACK
• Start by selecting the basic men’s upper body sloper, or by
drafting the basic sloper according to the instructions on
page 40. Cut a large piece of drafting paper slightly longer
than the length of the sweatshirt you want to develop and
transfer the shape of the sloper and all marks, labels, and
instructions following the directions on page 48.
CHESTLINE
CHEST LEVEL
WAISTLINE
HIPLINE
HIP
LEVEL
step 2
Moving the shoulder seam
BACK HIGH
POINT
SHOULDER
BAC
K SH
OUL
DER
SEA
M
Raglan sleeve development
The first stage in raglan sleeve
development is to move the shoulder seam
from the back of the shoulder forward to
the front of the pattern. This balances
the front and back pattern pieces, so
that when the raglan shapes are drawn,
the new shoulder seam sits centrally
on the top of the shoulder.
13⁄8C" M
M
8"
13 ⁄C
SIDE SEAM
FRONT MASTER
PLAN
PLAN
GRAIN
LINE
GRAINLINE
BACK MASTER
PLAN
CENTRE
CENTER FRONT
CHEST
LINE
CHEST
LEVEL
CENTRE
CENTER BACK
• To move the shoulder seam forward, remove 3⁄8in from the
front shoulder seam and add 3⁄8in to the back shoulder seam.
Measure the new front shoulder seam. The back shoulder
seam should be the same length, so it will extend beyond
the original back high point shoulder. You will need to redraw
the back neckline, blending it back from the new back high
point shoulder.
M
SEA
LDER
HOU
NT S
O
R
F
WAISTLINE
HEMLINE
hooded sweatshirt
89
NEW BACK
PITCH POINT
NOTCH
POSITION
33⁄CM
16"
1
NEW FRONT
FRONT
NOTCH
PITCH
POINT
POSITION
POSITION
CENTRE
NEW CENTER
NECK
FRONT NECK
POINT
POINT
UNDERARM
/ SIDE
SEAM
UNDERARM
CORNER
POINT
LINE
CHEST LEVEL
33CM
1
⁄16"
GRAIN LINE
GRAINLINE
SIDE SEAM
SEAM
CENTRE BACK
CENTER
step 3
Lowering the armhole on the body and
center front neckline
CENTRE
CENTER FRONT
FRONT MASTER
PLAN
PLAN
BACK MASTER
PLAN
• Measure 13⁄16in down the side seam from the underarm
/ side seam corner and mark. Using the original sloper
as a template, recreate the shape of the armhole
and transfer the back and front notches to their new
positions on the lowered armhole.
• Measure down 13⁄16in from the center front neck point
and mark. Using the sloper as a template, redraw the
new lowered neckline.
WAISTLINE
HEMLINE
BACK
SHOULDER
POINT
FRONT
SHOULDER
POINT
4 CM
0.5 CM
0.
5
CM
ALIGNMENT
NOTCH
5
⁄8"
NEW BACK
4 1CM
PITCH POINT
POSITION
FRONT
FRONT
HIGH
POINT
SHOULDER
SHOULDER
POINT
15⁄8"
.5
CM
ALIGNMENT
NOTCHES
4 CM
C
M
10
12
BACK
BACK
HIGH
POINT
SHOULDER
SHOULDER
POINT
4 CM
CM
.5
53
C⁄1
6M
"
CENTER FRONT
CENTRE FRONT
FRONT MASTER
PLAN MASTER
FRONT
PLAN
GRAINLINE
GRAIN LINE
BACK MASTER
PLANMASTER
BACK
PLAN
SIDESEAM
SEAM
SIDE
SIDE SEAM
CHEST
LEVEL
CHESTLINE
CENTER
BACK
CENTRE
BACK
CENTRE BACK
FRONT MASTER
PLAN
NEW FRONT
NOTCH
NEW
FRONT
POSITION
PITCH
POINT
POSITION
3
⁄4"
2 CM
GRAIN LINE
BACK MASTER
PLAN
• First measure 15⁄8in down the back neckline from the back
high point shoulder and mark, and 15⁄8in down the front
neckline from the front high point shoulder and mark.
• Next measure 3⁄4in down from the new front notch on the
armhole and square across to the back armhole and mark.
From these points draw a straight line up to each ofWAISTLINE
the
marks you made on the front and back necklines.
• From the back neckline measure 43⁄4in down this line, and
from the front neckline measure 41⁄8in. Square up 3⁄16in
on each line and mark.
• With a shallow curve, draw lines from the points on the
back and front necklines to the armholes, this time passing
HEMLINE
through the marks at 3⁄16in.
0.
CENTRE FRONT
CM
⁄16"
0.5 CM
3
10
12
"
step 4
Creating the raglan shoulder shapes onCHESTLINE
the UPPER body sloper
ALIGNMENT
ALIGNMENT
NOTCH
NOTCH
NEW BACK
NEW BACK
NOTCH
PITCH POINT
POSITION
POSITION
41
⁄8"
3 4
4⁄
NEW FRONT
PITCH POINT
ALIGNMENT
ALIGNMENT
POSITION
NOTCHES
NOTCHES
2 CM
WAISTLINE
WAISTLINE
90
Chapter three the patterns: shirts
GRAIN LINE
HEMLINE
HEMLINE
POSITION
0.5 CM
5
C
M
NEW FRONT
PITCH POINT
POSITION
2 CM
FRONT MASTER
PLAN
GRAIN LINE
SIDE SEAM
CENTRE BACK
BACK MASTER
PLAN
CENTRE FRONT
CHESTLINE
WAISTLINE
FRONT
SHOULD
HIGH
POINT
ER
POINTER
SHOULD
step 5
DEVELOPING The raglan shape
• Trace off the shoulder shapes, which will be used to create
the raglan sleeve, adding front and back notches for
alignment.
E
LINE
NECKLIN
EAM
ER S
ULD
SHO
HEMLINE
FRONT SHOUL
SHOULD
ER SHAPE
DER
SHO
ULD
ER
ALIGNMENT
NOTCH
NOTC
H
E
LIN
CK
NE
GRAIN LINE
GRAINLINE
BACK
BACK
HIGH POINT
SHOULD
ER
SHOULD
ER
POINT
SEA
M
ALIGNMENT
NOTCHES
NOTCHES
GRAINLINE
GRAIN LINE
SHAPE
BACK SHOULDER SHAPE
FRONT
SHOULDER
POINT
EAM
NECKLINE
ER S
ULD
FRONT SHOULDER SHAPE
hooded sweatshirt
NMENT
TCH
SHO
91
step 6
Developing the side panel
8
⁄8 "
31CM
81CM
⁄8"
3
81CM
3
⁄8"
81CM
3
⁄8"
ALIGNMENT
NOTCH
CENTRE
CENTER FRONT
SIDE SEAM
WAISTLINE
GRAIN
LINE
GRAINLINE
FRONT MASTER
PLAN
PLAN
BACK MASTER
PLAN
ALIGNMENT
NOTCHES
GRAIN LINE
GRAINLINE
HEMLINE
step 7
Side panel pattern
• Following the instructions on page 50, trace off the new side
panel shape and mark the side panel style lines with notches,
two for the back and one for the front, to aid alignment
during construction.
SIDE PANEL
92
CUT 1 PANEL
PR SELF
PR SELF
GRAIN LINE
CENTRE FRONT
T MASTER
PLAN
NMENT
CH
CHES
CHESTTLINE
LEVEL
CENTRE
CENTER BACK
• First measure 31⁄8in out from the side seam along the
waistline toward the center front and center back. Repeat
at the hemline and draw two vertical lines up to the raglan
style line to create the side panel.
Chapter three the patterns: shirts
step 8
Developing the center front muff pocket
POCKET
POCKET
MASTER PLAN
MASTER
PLAN
CENTER FRONT
CENTRE
FRONT
CHEST LEVEL
CHEST
LINE
FRONT
MASTER
PLAN
FRONT
MASTER
PLAN
SIDE PANEL
SEAM
SIDE
PANEL
SEAM
• Start by developing half of the muff pocket from the center
front. Measure up 2in from the hemline and mark, continue
measuring up a further 71⁄8in and mark. From both these
points square across 53⁄4in toward the side panel style line
and mark. Create a rectangle by joining all four points.
• Measure in 1in from the bottom left corner of the rectangle.
Connect this point back to the vertical left-hand side with an
angled line 2in in length. Measure in 13⁄16in from the top left
corner. From this point, draw a shallow curved line down to
connect with the top of the angled line. This will become the
curved pocket opening.
• To create a facing for the front opening, measure in a further
1in along the shallow curved line of the front opening, and
draw in the shape of the facing.
13⁄CM
16"
3
53⁄4" CM
14.5
1" CM
2.5
WAISTLINE
WAISTLINE
⁄8" CM
7118
52"CM
2.51"CM
2" CM
5
HEMLINE
HEMLINE
step 9
muff pocket and facing patterns
MUFF
MUFFPOCKET
POCKET
CUT
CUT11SELF
SELF
GRAINLINE
GRAIN
LINE
GRAIN LINE
MUFF POCKET FACING
CUT 1 PR SELF
CUT 1 PR SELF
GRAIN LINE
MUFF POCKET FACING
GRAINLINE
• Trace off the muff pocket shape onto a new piece of paper
and, following the instructions on page 50, create the full
pattern shape.
• Following the instructions on page 50, trace off the
facing pattern.
FRONT
CUT 1 SELF
GRAIN LINE
CENTRE BACK
GRAIN LINE
BACK
CUT 1 SELF
hooded sweatshirt
93
MUFF POC
CUT 1 PR S
GRAIN LIN
step 10
Front pattern
step 11
back pattern
• Trace off the front onto a new piece of paper and, following
the instructions on page 50, create the full pattern shape,
adding drill holes for the muff pocket placement.
• Trace off the back onto a new piece of paper and, following
the instructions on page 50, create the full pattern shape.
POCKET
ASTER PLAN
BACK
BACK
CUT
1 SELF
CUT
1 SELF
CHEST LINE
FRONT
CUT 1 SELF
14.5 CM
2.5 CM
WAISTLINE
GRAINLINE
18 CM
GRAINLINE
GRAIN LINE
STER
CENTERBACK
BACK
CENTRE
GRAIN LINE
CENTRE FRONT
FRONT
CUT 1 SELF
5 CM
HEMLINE
TOP OF SLEEVE
CROWNCAP
POINT
BACK
BACK
PITCH
NOTCH
POINT
FRONT
FRONT
PITCH
NOTCH
POINT
SEAM
ERARMSEAM
UNDRARM
BACK UNDE
Start this development by selecting the basic men’s sleeve
sloper, or by drafting the basic sleeve sloper according to the
instructions on page 42. Cut a large piece of drafting paper
slightly longer than the length of the sleeve you want to
develop and transfer the shape of the sloper and all marks,
labels, and instructions, following the directions on page 48.
The sleeve sloper that you have selected might be longer or
shorter than the design you are developing. Analyze it by
taking a measurement from your fit model or dress form and
by consulting the size chart, or even by using competitors’
garments for comparison.
CUFF
HEM
HEMLINE
94
Chapter three the patterns: shirts
FRONT SLEEVE
FRONT
SLEEVE
MASTER
MASTERPLAN
PLAN
FRONT
UNDER
UNDER
ARM
SEAM
ARM
SEAM
BACK SLEEVE
SLEEVE
BACK
MASTER PLAN
MASTER
PLAN
step 12
Developing the sleeve master plan
CENTER LINE
CENTRE
BICEPS
LEVEL
UNDER ARM
LINE
step 13
Widening the sleeve cap WITH A LOWERED CAP AND
reducing the SLEEVE length
• To make the sleeve cap larger, to fit the larger armhole
created in Step 3, and give the finished raglan a casual fit,
you will need to reduce the cap height. Measure down the
center line 3⁄4in.
• Extend the biceps level out by up to the measurement that
you lowered the armhole by, and not beyond. In this case,
extend the line out by 1in on both sides.
Altering the sleeve cap to fit the armhole
You must take the new measurement from
the armhole so you can match it with the
sleeve cap plus or minus ease, depending
on fabric and fit.
step 14
Moving the center line forward to develop
the raglan sleeve
Moving the center line on the raglan sleeve
In the same way that you adjusted the
shoulder seams in Step 2, you now need to
move the seam on the sleeve.
• Measure 3⁄8in from the center line toward the front underarm
seam. At this 3⁄8in measurement, draw a straight line from
the top of the sleeve to the hem. The top of this line is the
new top of the sleeve cap.
TOP OF
SLEEVE CAP
• Using the original sleeve sloper as a template, redraw the
sleeve cap shape and add the new back and front notch
positions to match those on the lowered armhole. Redraw the
underarm seam lines from the new points at the end of the
biceps level down to the hemline at the cuff.
• Reduce the sleeve length by measuring up 4in from the
hemline and redraw the line following the shape on the
original sloper.
NEW BACK
NOTCH
POSITION
NEW FRONT
NOTCH
POSITION
BICEPS LEVEL
⁄4"
3
1"
BICEP LEVEL
SEAM
RARM SEAM
1"
RM
BACK UNDERA
⁄8"
3
⁄
3 8"
FRONT SLEEVE
MASTER PLAN
CENTER LINE
BACK SLEEVE
MASTER PLAN
NEW FRONT
NOTCH
POSITION
FRONT UNDE
NEW BACK
NOTCH
POSITION
FRONT UN
DERARM SE
AM
CENTER LINE
AM
RARM SE
BACK UNDE
BACK SLEEVE
MASTER PLAN
CUFF HEM
4"
4"
CUFF HEM
HEMLINE
hooded sweatshirt
95
SHOULDER
SHAPE
R
OU
LD
E
SH
FRONT
FR
ON
T
M
EA
RS
DE
L
OU
SH
SE
AM
CK
BA
BACK
SHOULDER
SHAPE
TOP OF THE
SLEEVE CAP
step 15
Creating the raglan shape of the sleeve
• Trace the raglan shoulder shapes from Step 4 onto the
sleeve cap by placing the shoulder tips together at the new
top of the sleeve cap and aligning the tips of the raglan
shapes to the sleeve cap lines.
BICEPS LEVEL
FRONT SLEEVE
MASTER PLAN
FRONT
BACK UN
UNDERA
DERARM
SEAM
RM SEAM
NEW CENTER LINE
BACK SLEEVE
MASTER PLAN
CUFF HEM
SHOULDER
SHAPING
FRONT
SHOULDER
SHAPING
BACK
BACK UNDERA
CUFF HEM
96
step 16
smoothing out the TOP OF THE SLEEVE CAP
RARM SEAM
FRONT SLEEVE
MASTER PLAN
FRONT UNDE
RM SEAM
BACK SLEEVE
MASTER PLAN
NEW CENTER LINE
BICEPS LEVEL
Chapter three the patterns: shirts
• Trace the raglan sleeve onto a separate piece of paper.
To create smooth lines around the raglan sleeve cap, shape
the top of the sleeve cap so that it is less angular, and
smooth out the joins on the sleeve cap with shallow curves.
When closing the shoulder shapes the removed volume will
help to avoid extra width through the shoulder seams.
CENTER LINE
ROTATING
SHOULDER
LINE IN
CLOSING
SEAM
ROTATING
SHOULDER
LINE IN
CLOSING
SEAM
TOP OF
SLEEVE CAP
NG UP
NEW POSITION OF
BICEPS LEVEL
ONE-PIECE
RAGLAN SLEEVE
CUT 1 PR SELF
FRONT UN
DERARM
FRONT SLEEVE
MASTER PLAN
BACK UN
BACK SLEEVE
MASTER PLAN
DERARM
LINE MOVI
BICEPS LEVEL
LINE MOVI
• To create a one-piece raglan sleeve you must close the front
and back shoulder shape on the sleeve cap. Measure the
front and back shoulder seam lines from the neckline down
to the top of the sleeve cap. Then extend the new center line
up from the top of the sleeve cap to beyond the shoulder
seam length.
• Trace the raglan sleeve from Step 16 onto a separate piece of
paper; repeat the process for the back raglan sleeve master
plan. Then place the front traced sleeve cap over the original
one, aligning the underarm lines. From the top of the sleeve
cap moving up the new center line, rotate the front shoulder
seams along the center line. Mark the sleeve width of the
shoulder panel periodically as you move along the center
line until you reach the neckline; draw in the new position of
the front neckline. Place the back traced sleeve cap over the
original one, aligning the underarm lines. From the top of the
sleeve cap moving up the new center line, rotate the back
shoulder seams along the center line. Mark the sleeve width
of the shoulder panel periodically as you move along the
center line until you reach the neckline.
• By closing the shoulder seams you have raised the biceps
level to a new position, straightening the curved shoulder
line. To establish the front and back sleeve seams, align them
with the biceps width. Once you are able to connect these
three lines, redraw the sleeve length in its new position.
• Place the front and back sleeve seams at the new neckline
position. To keep the same sleeve cap height, measure the
biceps width, place the front shoulder seam at the new
neckline, trace down the length, and redraw in the new
position of the front shoulder seam to the biceps level.
• Draw in the new position of the back neckline, place the back
shoulder seam at the new neckline, trace down the length,
and redraw in the new position of the back shoulder seam to
the biceps level.
NG UP
step 17
closing the raglan shoulder shapes on the
sleeve cap to create a casual, one-piece
raglan sleeve
GRAINLINE
NEW POSITION OF
CUFF HEM
CUFF HEM
step 18
one-piece raglan sleeve PATTERN
• Following the instructions on p. 50, trace off the final
one-piece raglan sleeve pattern.
hooded sweatshirt
97
Taking measurements for the hood
There are three measurements you need to
create the pattern for the hood:
1. The front and back neck measurements,
taken from the pattern—here they are
61⁄2in and 33⁄4in.
2. The front and back neck height, found by
placing the front pattern on top of the
back pattern and aligning them at the
chest level, then measuring the distance
between the front and back neck heights
—­
here it is 41⁄2in.
3. The vertical circumference of the head,
taken for the hood opening by measuring
around the face of the model’s head,
starting and finishing at the center
front neck point—here it is 311⁄2in.
CB NECK
POINT
BACK
PANEL
HEAD
HEIGHT
FRONT
PANEL
CENTER
BACK
NECK
POINT
MEASUREMENT
FOR HEAD
CIRCUMFERENCE
CHEST LEVEL
NECK
HEIGHT
CENTER FRONT
NECK POINT
CENTER
FRONT
NECK
POINT
SHOULDER
TIP
CENTER BACK NECK POINT
41⁄2"
• Starting at the bottom left-hand side of a piece of paper,
draw a 101⁄4in horizontal line—the length of the combined
back and front neck measurements.
• Square up and draw a 153⁄4in line (half of the head
circumference). Square across and then down to complete
the rectangular box.
• Mark the bottom left corner and label as the center back
neck point.
• From the bottom left and right corners measure down
41⁄2in (the neck height) and mark. Join the marks to
form a rectangle.
153⁄4"
step 19
Developing the hood
101⁄4"
98
Chapter three the patterns: shirts
NECK
HEIGHT
CF NECK
POINT
Taking the combined front and back neck measurements
(101⁄4in), use a French curve to draw the neck shape from the
center back neck point until it joins the line at the bottom
of the rectangle, and mark. This is the center front. This
measurement will fall short of the bottom right corner of
the rectangle.
• The central panel is 23⁄8in wide. Remove half of the
measurement from the center back neck point and the other
half from the top of the sleeve cap.
• From the top right corner measure down 41⁄8in and
square out 1in. Now draw the hood shape
according to
1.5 CM
1.5 CM
the design.
• Finally, to create the pattern for the central panel, measure
the back hood line—here it is 201⁄4in.
TOP OF
CROWN
SLEEVE
CAP
POINT
Design of the hood
This hood design has a central panel.
The width of the panel needs to be
deducted from the hood shape at the
center back neck point and at the top of
the sleeve cap. The overall shape of the
hood is determined by the design, head
size, neck opening, and usage, which in
this case is as outerwear.
33CM
1
⁄16"
LI
N
BA
CK
HO
OD
2.5 CM
1"
51.
20 15
⁄4"CM
FOLD
1.5 CM
1.5 CM
HOOD
HOOD
MASTER
PLAN
MASTER PLAN
GRAIN
LINE
GRAINLINE
Step 21
Hood pattern
LINE
HOOD LINE
BACK HOO
BAC
• Following the instructions on page 50, trace off the
hood pattern.
33CM
1
⁄16"
9.5 CM
3 3⁄4"
3C
M
NOTCH
SHOULDER NOTCH
LINE
CENTRE
CENTER FRONT LINE
CENTRE
CENTER
BACK
NECK
POINT
FRO
NT H
OO
OD
D OO
PPEE
NNIN
INGG
GL
HOOD OPENING EDGING
CUT 1 RIB
1
10.5
4
⁄8" CM
NE
70 CM
SIDE HOOD
CUT 1 PR SELF
GRAIN LINE
CM
FAC
ING
LIN
E
6161
⁄2."5
HOOD
MASTER PLAN
GRAIN
LINE
GRAINLINE
2.5 CM
step 20
Shaping the hood
hooded sweatshirt
3 CM
99
HOO
CUT
3
MC
Step 22
Hood opening facing strip and edging patterns
FOLD
HOOD FACING
GNICAF DOOH
CUT 1 SELF FLES 1 TUC
• The hood opening facing is a strip of fabric, 13⁄16in in depth,
that follows the curved shape of the hood opening. The
edging finishes the hood opening.
• On the hood side panel pattern, measure in 13⁄16in at the
neckline and mark and 13⁄16in at the top of the front hood
opening and make a mark. Connect these points to create
a curve 13⁄16in in depth along the opening.
• Trace off the hood opening facing strip onto a new piece of
paper and, following the instructions on page 50, create the
1.5 CM
full pattern shape.
1.5 CM
• With a tape measure held upright measure along the
outer edge of the facing strip—in this case 271⁄2in. Draw a
rectangular box 271⁄2in long by 13⁄16in wide and mark a fold
line lengthways down the center to create the edging.
31 3C
⁄
M
"
16
HOOD FACING
CUT 1 SELF
LG
GL
FAC
ING
IN
LIN
INE
GRAIN LINE
GRAINLINE
HOOD
HOOD
MASTER PLAN
MASTER
PLAN
3
13CM
⁄16"
⁄
1.5 9CM
⁄16"
EDGING
HOOD OPENING EDGING
CUT 1 RIB
100 Chapter three the patterns: shirts
GL
70
271CM
⁄2"
1.5 9CM
16"
FOLD
9
1.5
⁄16"CM
9
1.5
⁄16"CM
Step 23
Center back hood panel pattern
• Draw a rectangular box 23⁄8in wide by 201⁄4in long. This will
become your final center back hood panel.
13⁄16"
CENTER
CENTRE BACK
NECK POINT
POINT
NECK
1 ⁄16"
3
BACK HOOD
CUT 1 SELF
GRAINLINE
201⁄4"CM
51.5
7
7
⁄8"CM
20
8
31CM
⁄8"
• The cuff is a folded pattern. Draw a rectangular box
61⁄4in wide and 77⁄8in long. Mark the fold line halfway
along the width.
RIBBED CUFF
CUT 1 PR RIB
GRAINLINE
Step 24
Ribbed cuff pattern
31CM
⁄8 "
8
8
31CM
⁄8"
FOLD
31CM
⁄8 "
8
20
77⁄8"CM
91 CM
8 CM
8 CM
91 CM
hooded sweatshirt 101
Step 25
Ribbed waistband pattern
20 CM
• The waistband is a folded pattern. Draw a rectangular
box
8 CM
61⁄4in wide and 353⁄4in long. Mark the fold line halfway along
the width.
8 CM
8 CM
8 CM
20 CM
91 CM
313⁄4"
31⁄8"
8 CM
8 CM
RIBBED WAISTBAND
CUT 1 RIB
GRAINLINE
31⁄8"
FOLD
8 CM
8 CM
31⁄8"
31⁄8"
91 CM
102 Chapter three the patterns: shirts
313⁄4"
hooded sweatshirt 103
pattern
Casual long-sleeved shirt
This pattern includes development
of the following features:
Shaping the body
Creating a grown-on placket
Adding length to the body
Extending the shoulder, moving the shoulder
seam, and enlarging the armhole
Creating a back yoke
Creating
a breast
pocket
OFFICER
COLLAR
WING-TIP COLLAR
Creating a two-piece collar
Lowering the armhole
Reducing the sleeve cap height
Developing a cuff with cuff guard
CAMBRIDGE BAOTAING
COLLAR
WIDE SPREAD
CUTAWAY COLLAR
CLUB COLLAR
BACK
BACK
PITCH
NOTCH
POINT
FRONT
NOTCH
PITCH
POINT
Start by selecting the basic men’s upper body sloper, or by
drafting the basic sloper according to the instructions on page
40. Cut a large piece of drafting paper slightly longer than the
length of the shirt you want to develop and transfer the shape
of the sloper and all marks, labels, and instructions, following
the directions on page 48.
104 Chapter three the patterns: shirts
WAISTLINE
HIP
LEVEL
HEMLINE
FRONT MASTER
PLAN
PLAN
GRAIN
LINE
GRAINLINE
SIDE
SIDE SEAM
SEAM
BACK MASTER
PLAN
CENTER FRONT
FRONT
CENTRE
Step 1
Developing the master plan
CENTRE
CENTER BACK
BACK
CHEST LEVEL
LINE
O
D
Step 2
Developing the enlarged armhole, extending
the shoulder, moving the shoulder seam, and
adding length and width to the body
2⁄ "CM
34
2.5
1" CM
HEMLINE
6
23CM
⁄8"
5
41CM
⁄8"
CENTRE FRONT
CENTER
GRAIN LINE
GRAINLINE
FRONT MASTER
PLAN
OLD FRONT SIDE SEAM
WAISTLINE
NEW SIDE SEAM
BACK MASTER
PLAN
OLD BACK SIDE SEAM
3
2 CM
⁄4"
3
⁄4"
2 CM
CHEST LINE
LEVEL
CENTRE BACK
CENTER
• To create the relaxed fit of this shirt style, add 3⁄4in each to
the front and back side seams. This will enlarge the armhole
and give the shallower sleeve cap of an extended shoulder
style. You will need to reposition the front and back upper
body slopers to add 15⁄8in at the side seams and redraw the
master plan.
• From the front shoulder tip measure out 3⁄4in over the
armhole, square down 3⁄4in, and mark. At the front high point
shoulder measure 1in down the neckline and draw a new line
across to meet the new mark at the armhole.
• Trace this shape onto a new piece of paper and cut it out.
Add the shape to the top of the back shoulder seam and
trace around it. This will create a shorter shoulder on the
front and a longer shoulder on the back.
• Extend the center front and center back lines down 23⁄8in
from the hemline and square across to create a new hemline.
ER
ULD
SHO AM
SE
4"M
23 ⁄C
SHO
ULD
SEA ER
M
23⁄4C" M
1"
2.5 CM
3
2
⁄4"CM
FRONT SHOULDER
NECK POINT
FRONT HIGH POINT
SHOULDER
NEW HEMLINE
Step 3
Developing the new armhole and body shaping
NEW
NEW
BACK
BACK
PITCH
NOTCH
POINT
UNDERARM
/ SIDE SEAM
UNDERARM
CORNER
POINT
3
⁄8"
1CM
1⁄8"CM
3
CENTRE
CENTER FRONT
FRONT
3
⁄8"CM
1
GRAIN
LINE
GRAINLINE
FRONT MASTER
PLAN
PLAN
BACK MASTER
PLAN
3
⁄8"
1CM
NEW
NEW
FRONT
FRONT
PITCH
NOTCH
POINT
CHEST LEVEL
LINE
1" CM
2.5
52"
CM
3
⁄4"
124CM
CENTRE
CENTER BACK
BACK
• Measure 1in down the new side seam and make a mark. From
this point on the front and back master plans, using the basic
upper body slopers as a template, trace the new lowered
armhole shape, continuing it up to connect with the new
shoulders. Transfer the back and front notches to their new
positions on the lowered armhole.
• To develop the side seam, measure out 3⁄8in in both
directions where the new side seam intersects the waistline.
• Connect both these points up to the new underarm / side
seam corner and down to the new hemline at the bottom of
the new side seam with straight lines.
• Create a side back dart by measuring 43⁄4in from the center
back along the chest level and the original hemline. Draw
a vertical line to connect these two points.
• Measure 2in down this new line from the chest level and
mark. This point will be the starting point of the side back
dart. Where the new line intersects the waistline, measure
3
⁄8in out on both sides and mark. This will become the
widest point of the dart. Draw in the dart legs, connecting
all the above points and the end of the dart line at the
original hemline.
WAISTLINE
HEMLINE
⁄4"
1243CM
NEW HEMLINE
Casual long-sleeved shirt 105
CENTRE
CENTER
PRONT
FRONT
NECK
POINT
9
1.5 CM
⁄16"
9
1.5 CM
⁄16"
FRONT MASTER
PLAN
PLAN
BACK MASTER
PLAN
CENTRE
CENTER BACK
• The placket width in this style is 13⁄16in and is centered over
the center front line. Measure 9⁄16in out from the center front
neck point and mark, and back 9⁄16in along the neckline and
mark. Repeat at the hemline and connect all four marks to
make a rectangle.
• Add another rectangular placket shape, 13⁄16in wide, to the
front of the first rectangle, and then add a further 3⁄8in
seam allowance.
• The overall measurement of the placket excluding the seam
allowance is now 23⁄8in.
CHEST LEVEL
LINE
GRAIN
LINE
GRAINLINE
Step 4
Developing the grown-on placket
CENTRE FRONT
CENTER
NEW
FRONT
PITCH
NOTCH
POINT
313CM
⁄16"
3
1 CM
⁄8"
NEW
NEW
BACK
BACK
PITCH
NOTCH
POINT
WAISTLINE
HEMLINE
CENTER
CENTRE
BACK
NECK
POINT
NEW
BACK
SHOULDER
POINT
3
3 1CM
⁄16"
3
1 CM
⁄8"
3
3 1CM
⁄16"
NEW HEMLINE
NEW
BACK
SHOULDER
TIP
M
81⁄8C"
3
NEW
FRONT
PITCH
NOTCH
POINT
CHEST LEVEL
LINE
5 2"
CM 5 2"
CM
45CM
⁄8"
1
12
43CM
⁄4"
73CM
2
⁄4"
4.513CM
⁄4" 4.513CM
⁄4"
BACK MASTER
PLAN
WAISTLINE
HEMLINE
NEW HEMLINE
106 Chapter three the patterns: shirts
NEW
NEW
BACK
BACK
PITCH
NOTCH
POINT
FRONT MASTER
PLAN
PLAN
GRAIN LINE
GRAINLINE
CENTRE
CENTER FRONT
• To create the back yoke measure 31⁄8in down the center back
from the center back neck point and mark. Measure 31⁄8in
from the new back shoulder tip down the armhole and mark.
Connect these two points with a straight line.
• From the front armhole measure 43⁄4in in along the chest
level and mark. At this point square up 15⁄8in and down 23⁄4in
and draw a vertical line. At the top of the line square out 2in
on each side and mark. These points will become the
pocket corners.
• Measure up 3⁄8in from the bottom of the vertical line and
square out 13⁄4in to either side and mark. Join these points
back to the bottom of the vertical line with straight lines.
Connect these points back up to the pocket corners to create
the final pocket shape.
CENTRE
CENTER BACK
Step 5
Developing the back yoke and front breast
pocket
⁄8 "
831CM
FR
CU
GRAI
GRAI
FRONT LEFT
CUT 1 SELF
8 CM
8 CM
FRONT RIGHT
CUT 1 SELF
Step 6
Front pattern
CHEST LINE
NEW
BACK
PITCH
POINT
NEW
FRONT
PITCH
POINT
Step 7
back pattern
5 CM 5 CM
4 CM
CENTRE BACK
4.5 CM 4.5 CM
FRONT MASTER
PLAN
BACK MASTER
PLAN
• Trace off the back onto a new piece of paper and, following
the instructions on page 50, create the full pattern shape.
GRAIN LINE
CENTRE FRONT
• Following the instructions on page 50, trace off the front
12 CM
7 CM
pattern, indicating the breast pocket position
on the right
front panel with drill holes at the corners.
FOLD
FOLD
BACK
CUT 1 SELF
FOLD
FOLD
FOLD
FOLD
WAISTLINE
FACING
FACING
FOLD
FOLD
GRAIN
LINE
GRAINLINE
BREAST
POCKET
BREAST
CUT
1 POCKET
CUT 1 SELF
SELF
FOLD
FOLD
GRAIN LINE
• Following the instructions on page 50, trace off the breast
BACK
pocket pattern, adding
1in facing to the top.
CUT 1aSELF
2.5
1"CM
Step 8
Breast pocket pattern
Step 9
Back yoke pattern
GRAIN
LINE
GRAINLINE
FRONT LEFT
CUT 1 SELF
2.5
1"CM
GRAIN LINE
GRAINLINE
FOLD
FRONT RIGHT
CUT 1 SELF
FOLD
NEW HEMLINE
GRAIN LINE
GRAINLINE
HEMLINE
BACK YOKE
BACK
YOKE
CUT 1 PR SELF
GRAINLINE
GRAIN LINE
• Trace the back yoke onto a new piece of paper and, following
the instructions of page 50, create the full pattern shape.
Casual long-sleeved shirt 107
Step 10
Developing the collar stand
Step 11
Developing the top collar
• Trace off the stand shape from Step 10 onto another piece
of paper.
• Continue the center back line vertically up 3in from the top
of the stand, square across 91⁄2in, and make a mark. This is
the collar point. Connect this point back down to the center
front neck with a straight line. You have now created the
basic top collar shape.
• At the collar point extend the front edge of the collar out and
up by 3⁄8in and draw a curved line back to meet the outer
edge. This will give the collar a smoother shape.
• Measure up 1in from the top of the stand along the center
back and make a mark. From here, square across to a point
above the shoulder notch. From this point draw a curved
line to meet the center front neck, mirroring the curve
of the stand. This is the inner edge of the 2in-wide top
collar shape.
Measuring half the neck from the master plan
We will develop half the collar stand
before creating the full collar stand.
By taking measurements from the master
plan, which is drawn in half, you will be
measuring half of the neck measurement.
• On the master plan measure the length
of the back neck, in this case 43⁄8in,
and the front neck from the shoulder
tip down past the center front line
to the point at which the placket
finishes, in this case 53⁄8in.
• Add these two measurements together
to give half the neck measurement,
in this case 93⁄4in.
COLLAR
DEVELOPMENT
COLLAR
COLLAR
POINT
13⁄8CM
"
SHOULDER NOTCH
CB
5 CM2"
REMOVE 0.3 CM
CUT 1 SELF
GRAIN LINE
CENTER
FRONT
NECK
SHOULDER
NOTCH
CB NECK
CENTER
BACK
NECK
13.
53⁄85" CM
11
"
43⁄8CM
CF
2.5 CM1"
CB
• On a new piece of piece of paper, draw a rectangle measuring
93⁄4in by 1in, which is the half neck measurement by the
width of the collar stand. Label the narrow side as the center
back neck and the long side as the neckline.
• From the center back neck, measure 43⁄8in (the half back
neck measurement) along the bottom line of the rectangle
and place a notch. Label it the shoulder notch. Do the same
43⁄8in along the top line of the rectangle.
• Measure up 9⁄16in at the front edge of the rectangle
and join this point back to the lower shoulder notch with
a slight curve.
• From the shoulder notch, measure 53⁄8in (the half front neck
measurement) along this curved line. At the front of the
curved line, square up 1in (the width of the collar stand).
Then draw another curved line to connect this line back to
UNDER COLLAR
the top shoulder notch.
OUTER EDGE OF TOP COLLAR
TOP COLLAR
9
CUT 1 SELF
⁄16"
CUT 1 FUSE
53⁄8"
43⁄8"
93⁄4"
NECKLINE
GRAIN LINE
INNER EDGE OF TOP COLLAR
108 Chapter three the patterns: shirts
CF
CB NECK
STAND WIDTH
COLLAR STAND
CUT 1 PR SELF CUT 1 FUSE
OUTER EDGE OF STAND
GRAIN LINE
INNER EDGE OF STAND
CF
1"
CB
1"
Step 12
Top collar pattern
Collar stand pattern
under collar Pattern
• Trace off the collar stand pattern and, following the
instructions on page 50, create the full pattern shape.
• Trace off the top collar pattern and, following the instructions
on page 50, create the full pattern shape.
• The under collar is a copy of the top collar reduced by 1⁄8in
at the center back neck, which is blended back with a line
to both collar points; this reduction, when sewn, will pull the
seam edge under the collar slightly so as not to be seen.
Make a separate pattern for the under collar.
GRAIN LINE
TOP COLLAR
TOP
COLLAR
CUT
1 SELF
CUT
1 SELF
CUT
1 FUSE
CUT 1 FUSE
GRAINLINE
CFF
C
COLLAR STAND
STAND
COLLAR
CUT 11 FUSE
FUSE
CUT
CUT 11 PR
PR SELF
SELF CUT
CB NECK
C
CFF
STAND WIDTH
OUTER
OUTER EDGE
EDGE OF
OF TOP
TOPCOLLAR
COLLAR
GRAIN LINE
GRAINLINE
INNER EDGE OF TOP COLLAR
SHOULDER NOTCH
SHOULDER NOTCH
REMOVE 1⁄8"
UNDER
COLLAR
UNDER
COLLAR
CUTCUT
1 SELF
1 SELF
OUTER EDGE OF STAND
GRAIN LINE
GRAINLINE
CB NECK
INNER EDGE OF STAND
Casual long-sleeved shirt 109
TOP OF
SLEEVEPOINT
CAP
CROWN
BACK
BACK
PITCH
NOTCH
POINT
Step 13
Developing the sleeve master plan
FRONT
FRONT
PITCH
NOTCH
POINT
BICEPS LEVEL
M
M SEA
SEARM
RMERA
K UND
UND
BACERA
CUFF
HEM
CUFF HEM
Measurements for developing the sleeve
You will need three measurements here:
1. Half the armhole measurement—measure
the new armhole on the front and
back patterns. In this case the front
armhole is 101⁄4in and the back 11in.
Add these measurements together
(211⁄4in) and divide in half,
making 105⁄8in.
2. Half the biceps measurement—measure
the biceps width from the master plan.
In this case it is 14in. As this is a
casual-fitting shirt you can determine
the amount of ease according to the
design. In this case we will add 5in
ease to the biceps measurement, making
19in. Divide this measurement in half,
making 91⁄2in.
3. The cuff measurement, which in this
case is 91⁄2in (the wrist measurement),
plus a 2in tuck, making 111⁄2in.
110 Chapter three the patterns: shirts
FRONTSLEEVE
SLEEVE
FRONT
MASTER PLAN
MASTER
PLAN
UNDE
FRON
RARM
T UNDE
SEAMSEAM
RARM
BACK
BACK SLEEVE
SLEEVE
MASTER
PLAN
MASTER PLAN
CENTERLINE
LINE
CENTRE
UNDER ARM LINE
• Start this development by selecting the basic men’s sleeve
sloper, or by drafting the basic sleeve sloper according to the
instructions on page 42. Cut a large piece of drafting paper
slightly longer than the length of the sleeve you want to
develop and transfer the shape of the sloper and all marks,
labels, and instructions, following the directions on page 50.
The design illustrated is shaped and has a gathered tuck on
the back of the sleeve for even more shaping.
Step 14
Developing the sleeve with a reduced sleeve cap height
and shaping the cuff hemline
• Measure 1in down the center line from the top of the sleeve
cap to reduce the height of the sleeve cap by the same
amount that you lowered the armhole in Step 3.
• At an angle from the new top of the sleeve cap, draw out
a line measuring half the new armhole—105⁄8in. From the
center line, draw out a line measuring half the new biceps
measurement—91⁄2in. Adjust these lines until they meet to
form a triangle and repeat on the other side of the sleeve.
This will become the frame around which you construct the
new shortened sleeve cap.
• From the cuff hemline measure 5in up the center line and
square out 53⁄4in on both sides (the wrist measurement
plus 2in for the tuck) and mark. To create the shaping at the
bottom of the sleeve, measure down 3⁄16in on the back sleeve
from the center of the new cuff hemline and mark this point.
On the front sleeve, measure up 3⁄16in from the center of the
new cuff hemline and mark this point. Join the points with
a curved line that is convex on the back sleeve and then
reverses at the center line so that it is concave on the front.
• Now draw in the new underarm seam lines from either end
of the new cuff hemline to the new corners of the sleeve at
biceps level to create the sleeve shape.
" M
5 ⁄8C
1207
BICEPS LEVEL
UNDERARM
FRONT SLEEVE
FRONT
SLEEVE
MASTER PLAN
MASTER
PLAN
BACK SLEEVE
SLEEVE
BACK
MASTER PLAN
MASTER
PLAN
EAEMAM
M
MSS
EERRARR
ND
UD
KN
BACU
LINE
CENTER
LINE
CENTRE
LINE
T UU
NN
DEDRE
AR
RM
AR
SEM
A
MSE
ELBOW
LEVEL
ELBOW
LINE
⁄ "
0.5 CM
3
NEW
UND
POI
NEW FRONT
FRONT
NEW
SLEEVE
UNDERARM
CORNER AT
POINT
BICEPS LEVEL
91⁄2" CM
24
AM
91⁄2"
24 CM
16
53⁄4" CM
14.5
FRON
NEW BACK
BACK
NEW
SLEEVE
UNDERARM
CORNER AT
POINT
BICEPS LEVEL
21075⁄8
C" M
HEIGHT
CM
2.5 1"
SLEEVE
CAP
HEAD
SLEEVE
HEIGHT
TOP OF
CROWN
SLEEVE
CAP
POINT
⁄ " CM
0.5
3
16
53⁄4" CM
14.5
5"
13 CM
CUFF HEM
HEMLINE
CUFF
Casual long-sleeved shirt
111
• Add shape to the sleeve cap by measuring 33⁄8in from the
new top of the sleeve cap along the diagonal line toward the
new front corner of the sleeve at biceps level, square out
1
⁄2in, and mark. Then from the front corner of the sleeve at
biceps level measure 4in up along the diagonal and mark.
On the back measure down 31⁄2in on the diagonal, square out
1
⁄2in and mark; measure 31⁄8in up from the back corner of the
sleeve at biceps level and mark.
• Using a French curve, draw in shallow raised curves from the
new top of the sleeve cap through the marks on the upper
portion of the sleeve cap, reversing the curves at the marks
on the lower portion of the sleeve cap, and finishing these
hollow curved lines at the corners of the sleeve at biceps
level. To add in the notches, first measure the distance on
the front and back body panels between the corners of the
sleeve at biceps level and the notches around the armhole.
Then transcribe the measurements to the sleeve cap,
measuring from the sleeve corners toward the cap.
• From the back underarm seam line measure in 3in along the
new cuff hemline and square up 61⁄4in. This is the cut line
for the cuff guard. From the bottom of the cuff guard line,
continue to measure 13⁄4in and mark, and a further 2in and
mark. This will become the tuck.
CROWN
TOP OF
SLEEVE
CAP
POINT
1
1.3 CM
⁄2"
1 "
3 ⁄2M
9C
83.3⁄58"
⁄2" CM
1.3
1
CM
10
⁄ "M
8 3C
1 8
91⁄2"
BICEPS LEVEL LINE
UNDERARM
NEW FRONT
FRONT
NEW
SLEEVE
UNDERARM
CORNER AT
POINTLEVEL
BICEPS
91⁄2"
FRONT SLEEVE
FRONT
SLEEVE
MASTER PLAN
MASTER
PLAN
CENTER
LINE
CENTRE
LINE
RSME S
AEMAM
BACK SLEEVE
BACK
SLEEVE
MASTER PLAN
MASTER
PLAN
1
6
⁄4" CM
16
TU
CK
TUCK
3" CM
7.5
"
1 ⁄4CM
4.5
3
CUFF HEM
HEMLINE
CUFF
112 Chapter three the patterns: shirts
C4"M
FRNON
U
DE
TR
UN
ADREM
RA
NEW BACK
BACK
NEW
SLEEVE
UNDERARM
CORNER AT
POINTLEVEL
BICEPS
M
EAM
SESA
ARM
RM
DAER
UN
R
K
E
C
D
A
B
UN
ONT
ARM
Step 15
DEveloping the new sleeve shape
CM
5 2"
NEW CUFF HEM
CROWN
POINT
M
9C
8.5
CM
1.3 CM
10
UNDERARM LINE
CM
Step 16
Sleeve pattern
NEW FRONT
UNDERARM
POINT
RARM
GRAINLINE
GRAIN
LINE
SEAM
SLEEVE
SLEEVE
CUT 1 1
PRPR
SELF
CUT
SELF
UNDE
CENTRE LINE
• Following the instructions on page 50, trace off the sleeve
pattern, indicating the top of the cuff opening position with
FRONT SLEEVE
a drill hole.
MASTER PLAN
6 CM
TUCK
NE
5 CM
Step 17
Developing the cuff
Measuring the cuff
The cuff is a double pattern piece that
is sewn onto the end of the sleeve and
turned inside out. The cuff shape will
start and finish at the guard opening.
Measure this width from the pattern,
in this case 113⁄8in, and subtract 2in
for the tuck and 3⁄8in for the seam
allowance (3⁄16in on either side) on
the cuff guard opening, making 9in.
• On a separate piece of paper, draw a box 9in long by 61⁄4in
wide to create a rectangular-shaped cuff.
• Divide the box in half lengthways, draw a line across the
center, and label it fold.
23
9" CM
1
83CM
⁄8"
SLEEVE
CUFF
SLEEVE
CUFF
CUT
SELF
CUT11PR
PR
SELF
1
83CM
⁄8 "
FOLD
FOLD
GRAIN LINE
GRAINLINE
CM
Casual long-sleeved shirt 113
2 CM
FOLD
FOLD
FOLD
GRAIN
LINE
GRAINLINE
1
16
6
⁄4"CM
BOTTOM CUFF GAURD
CUT 1 PR SELF
TOP CUFF GUARD
GAURD
CUT 1 PR SELF
2 CM
1 CM
2 CM
1 CM
⁄8"
⁄4"
3
1 CM
⁄4"
3
⁄8"
3
3
BOTTOM EDGE STITCHED
TO CUFF
6 CM
2 ⁄8"
TO CUFF
BOTTOM EDGE STITCHED
3
4 CM
1 CM
2.5 CM
TOP CUFF GAURD
⁄8"
3
2 CM
1 CM
1 CM
114 Chapter three the patterns: shirts
E STITCHED
UFF
M
4 CM
15⁄8"
1 CM
⁄8"
3
CUT 1 PR SELF
CUT 1 PR SELF
GUARD
BOTTOM CUFF GAURD
16 CM
61⁄4"CM
16
GRAIN
LINE
GRAINLINE
FOLD
FOLD
FOLD
FOLD
FOLD
2 CM
• Create a rectangular box 61⁄4in by 23⁄8in.
• Divide the box in half lengthways, draw a line down the
center, and label it fold.
• At each end square out 3⁄4in from the fold line and mark on
both sides. Join these points with straight lines. This will
leave you with a 3⁄8in seam allowance on each long side.
1 CM
TOP EDGE
Step 19
Developing the bottom cuff guard
M
16 CM
GRAIN LINE
• On a separate piece of paper, create a rectangular box 61⁄4in
long by 23⁄8in wide.
• Divide the box in half lengthways, draw a line down the
center, and label it fold.
• At each end square out 3⁄4in up and 3⁄4in down from the fold
line and mark. Join these points with straight lines. This will
leave you with a 3⁄8in seam allowance on each long side.
• From the top left corner measure 1in along the long side of
the rectangle and square across 3⁄4in. This small rectangular
shape will be removed from the pattern.
• From the bottom right corner measure 3⁄8in down the long
side of the rectangle and mark, and measure 3⁄4in in on the
short side and mark. Join these points with an angled line.
• Now measure 3⁄8in in along the top edge of the rectangle you
drew in the top left corner and join this point to the top of
the first angled line to give a pointed shape to the top of
the cuff guard.
FOLD
FOLD
FOLD
1 3C
⁄8"M
2.5
1" CM
2 CM
FOLD
3
1 3C
⁄8"M
TOP EDGE
FOLD
2 CM
Step 18
Developing the top cuff guard
⁄4"
3
⁄4"
⁄4"
3
TOP EDGE
Casual long-sleeved shirt 115
pattern
Lumberjack Shirt
This pattern includes development
of the following features:
Shaping the body
Creating a sewn-on placket
Adding length to the body
Creating a baseball hemline
Creating a classic Western-style front yoke
shape that doubles up as pocket flaps to
the internally sewn pocket bag
Creating a back yoke with center back pleat
Creating a two-piece collar
Creating a set-in sleeve
Developing a cuff with cuff guard
BACK MASTER
PLAN
PLAN
FRONT MASTER
PLAN
PLAN
Start by selecting the basic men’s upper body sloper, or by
drafting the basic sloper according to the instructions on page
40. Cut a large piece of drafting paper slightly longer than the
length of the shirt you want to develop and transfer the shape
of the sloper and all marks, labels, and instructions, following
the directions on page 48.
116 Chapter three the patterns: shirts
WAISTLINE
HIPLINE
HIP
LEVEL
CENTRE
CENTER FRONT
GRAIN LNE
GRAINLINE
SIDE SEAM
Step 1
Developing the master plan
CENTRE
CENTER BACK
CHEST LINE
LEVEL
BACK MASTER
PLAN
PLAN
Step 2
Lengthening the body and developing the
baseball hemline
FRONT MASTER
PLAN
PLAN
CENTRE
CENTER FRONT
GRAIN
LNE
GRAINLINE
• Extend the center front, side seam, and the center back lines
down 23⁄8in from the original hemline.
• Join these three points with a straight horizontal line to
create a new hemline.
• On this new hemline measure in 15⁄8in from the center back
and the center front.
• From these points draw graduated curves up to meet the
end of the side seam on the original hemline. You have now
created a generic baseball hemline.
SIDE
SIDE SEAM
CENTRE
CENTER BACK
CHEST LEVEL
LINE
WAISTLINE
623CM
⁄8 "
HEMLINE
5
⁄8"
41CM
NEW HEMLINE
5
⁄8"
41CM
NEW HEMLINE
1.59CM
⁄16"
FOLD
FOLD
FOLD
CENTRE
CENTER FRONT
SIDE SEAM
GRAIN
LNE
GRAINLINE
CHEST
LEVEL
CHEST
LINE
CENTER BACK
CENTRE
FOLD
FOLD
WAISTLINE
FOLD
FOLD
CENTRE FRONT
GRAIN LNE
SIDE SEAM
HEMLINE
6 CM
HEMLINE
NEW HEMLINE
4 CM
2.5 CM
1"
NEW HEMLINE
1.59⁄CM
16"
NEW HEMLINE
2.5 CM
1"
CENTRE BACK
• The placket width is 1in and is drafted over the center front
as aCHEST
template
to be traced off and attached later.
LINE
• From the center front neck point measure back 1⁄2in along
the neckline and mark, and measure out 1⁄2in and mark;
repeat this at the new hemline and connect these points with
straight lines and label the outer one fold.
• From the outer line measure out another 1in at the neckline
for the placket width and mark; repeat at the hemline.
Measure out another 9⁄16in to create the seam allowance;
WAISTLINE
repeat
at the hemline. Again, join these points and label the
first line fold.
• The overall measurement of the placket is now 21⁄2in,
including the seam allowance.
4 CM
FRONT MASTER
PLAN
PLAN
BACK MASTER
PLAN
1"
2.5 CM
Step 3
BACK MASTER
FRONT MASTER
PLAN
PLAN
Developing
the sewn-on placket
2.5 CM
1"
CENTER
CENTRE
FRONT
NECK
POINT
2"
21⁄CM
6.5
lumberjack shirt 117
BACK
BACK
PITCH
NOTCH
POINT
FRONT
FRONT
PITCH
NOTCH
POINT
FOLD
19
⁄2"
71CM
FOLD
3
13CM
⁄16"
Step 4
Developing the front yoke shape
CHEST LINE
LEVEL
BACK MASTER
PLAN
PLAN
CENTRE FRONT
CENTER
SIDE SEAM
CENTRE BACK
CENTER
FOLD
WAISTLINE
FOLD
• From the front notch on the armhole square across to meet
the new placket shape.
• Measure between the front notch and the placket, in this
case 71⁄2in.
• Divide this measurement in half, in this case 33⁄4in, and at
this new point square down 13⁄16in and mark. This will be the
apex of the curve on the Western-style front yoke.
• Draw a curved line from the front notch to the point at
the apex of the curve, followed by another curved line to
the point at the other end of the horizontal line you drew
to the placket line.
FRONT MASTER
PLAN
PLAN
HEMLINE
NEW HEMLINE
Step 5
Developing the breast pocket and flap
FRONT MASTER
PLAN
FRONT
MASTER
PLAN
1⁄8"CM
FRONT
FRONT
NOTCH
PITCH
POINT
⁄8"
4
11⁄ " CM
POCKET POSITION
POCKET
POSITION
3
SIDE
SEAM
SIDE
SEAM
CENTRE BACK
118 Chapter three the patterns: shirts
4
8
D
3
• To make a pocket 43⁄8in wide, measure 3⁄8in down from
center of the pitch line you drew and square out 21⁄8in either
side. Each end of this horizontal line should intersect the
curved line of the yoke to create a triangular shape. Mirror
this shape above to create a diamond shape, the apex of
which sits 3⁄8in above the horizontal pitch line. Add a 3⁄8inwide facing strip that follows the curve of the yoke from
both sides of the diamond shape. This shape will become the
concealed pocket flap described in Step 11 below.
• In this example the pocket depth is 53⁄4in measured from the
WAISTLINE
middle of the diamond shape. Draw vertical lines from
each
point where the pocket intersects the curve of the yoke to
create a rectangle 53⁄4in x 43⁄8in. Mark the lower corners of
the pocket with drill holes.
FOLD
FOLD
3
5⁄"
14.5 CM
CHEST LINE
FOLD
FOLD
3
3
⁄8"
1 CM
CENTER
FRONT
CENTRE
FRONT
BACK
PITCH
BACK
NOTCH
POINT
FOLD
Pocket size
BACK MASTER
PLAN
Pocket widths generally reflect the width
of a human hand or a group of fingers.
The depth can depend on your design
ethos or the depth of a hand from
fingertip to wrist.
BACK
BACK
PITCH
NOTCH
POINT
FOLD
UNDERARM
UNDERARM
/ SIDE
SEAM
POINT
CORNER
Step 6
Developing the front shirt panel
POCKET POSITION
CENTRE
CENTER FRONT
SIDE SEAM
SIDE SEAM
NEW FRONT
CHEST LEVEL
LINE
CENTRE
CENTER BACK
FRONT MASTER
PLAN
PLAN
WAISTLINE
• Where the waistline intersects the side seam measure 9⁄16in
toward the center front and mark.
• From the underarm / side seam corner draw a slightly curved
line down to meet the new point on the waistline and carry
through with a curve back to the hemline at the bottom on
the side seam.
HEMLINE
NEW HEMLINE
⁄2
9 3CM
1
"
1 ⁄4"C
166
Step 7
Developing the back yoke shape, center back
pleat, and shaped back panel
BACK
BACK
PITCH
NOTCH
POINT
BACK MASTER
PLAN
PLAN
M
FRONT MASTER
PLAN
FOLD
3
2 CM
⁄4"
FRONT
FRONT
PITCH
NOTCH
POINT
FOLD
UNDERARM
/ SIDE
SEAM
UNDERARM
CORNER
POINT
CHEST LINE
LEVEL
14
51⁄2"CM
4.5
13⁄4CM
"
13CM
⁄8"
3 CM
1
⁄8"
CENTRE FRONT
CENTER
FOLD
1.59CM
⁄16"
WAISTLINE
NEW BACK SIDE
SIDESEA
SEAMM
SIDE SEAM
POCKET POSITION
CENTRE BACK
CENTER
10
4" CM
HEMLINE
FOLD
• From the back armhole notch square across to the center
back to create the back yoke panel.
• From where this line intersects with center back measure
out 3⁄4in.
• Connect this point to the bottom of the new hemline at the
center back with a straight line. This will create half of the
pleat width.
• Where the waistline intersects the side seam measure 9⁄16in
toward the center back and mark.
• From the underarm / side seam corner draw a curved line
down to the new point on the waistline; carry through with a
curve back to the hemline at the bottom of the side seam.
• From the center back measure 51⁄2in along the chest level.
• From this point, square down to the original hemline.
• Measure 13⁄4in down this line and mark. Measure 4in up the
line from the original hemline and mark. Where this line
intersects the waistline measure out 3⁄8in on each side and
mark these points. Join all these points with straight lines to
create the dart.
FOLD
FOLD
1.59⁄16
CM
"
Shaping for a fitted silhouette
Side seam shaping will give the shirt
a fitted silhouette. Back shaping with
a dart will give you an even more
fitted silhouette.
FRONT
FRONT
PITCH
NOTCH
POINT
FOLD
BACK MASTER
PLAN
PLAN
NEW HEMLINE
lumberjack shirt 119
Step 9
Developing the top collar
• On a new piece of piece of paper, draw a rectangle measuring
97⁄8in by 1in, which is half the neck measurement by the
width of the collar stand. Label the narrow side as the center
back neck and the long side as the neckline.
• From the center back neck, measure 35⁄8in (the half back
neck measurement) along the bottom line of the rectangle
and place a notch. Label it the shoulder notch. Repeat along
the top of the rectangle.
• Measure up 9⁄16in at the front edge of the rectangle and
join this new point back to the lower shoulder notch with
a slight curve.
• From the shoulder notch, measure 61⁄4in (the half front neck
measurement) along this curved line. At the front of the
curved line, square up 1in (the width of the collar stand).
Then draw another curved line to connect this line back to
the top shoulder notch.
• From the top right corner of the stand measure along 1in
(the width of the placket) and from this point square across
to the lower curved line. Label this center front neck. Round
off the top right corner with a slight curve.
COLLAR STAND
DEVELOPMENT
CENTER
BACK
NECK
CENTER
FRONT
NECK
SHOULDER
NOTCHES
1"
2.5 CM
2.5 CM1"
1 "
⁄4 CM
6
16
⁄"
9 3CM
5
8
NECKLINE
NECKLINE
7
9
⁄8" CM
25
61⁄4"
16 CM
120 Chapter three the patterns: shirts
9
⁄16" CM
1.5
7
25
⁄8" CM
9
COLLAR
POINT
3
⁄8"CM
1
5 CM2"
CB
CB
Measuring half the neck from the master plan
We will develop half the collar stand
before creating the full collar stand.
By taking measurements from the master
plan, which is drawn in half, you will be
measuring half the neck measurement.
• On the master plan measure the length
of the back neck, in this case 35⁄8in,
and the front neck from the high
point shoulder down past the center
front line to the point at which the
placket finishes when folded, in this
case 61⁄4in.
• Add these two measurements together
to give half the neck measurement,
in this case 97⁄8in.
• Trace off the stand shape from Step 8 onto another piece
of paper.
• Continue the center back line vertically up 3in from the top
of the stand, square across 97⁄8in, and make a mark. Connect
this point back down to the center front line with a straight
line. You have now created the basic top collar shape.
• At the collar point extend the front edge of the collar by 3⁄8in
and draw a curved line back to meet the outer edge. This will
give the collar a smoother shape.
• Measure up 1in from the top of the stand along the center
back and make a mark. From here, square across to a point
above the shoulder notch. From this point draw a curved
line to meet the center front line, mirroring the curve of the
stand. This is the inner edge of the 2in-wide top collar shape.
SHOULDER
NOTCH
SHOULDER
NOTCH
2.5 CM1"
CB
CB
Step 8
Developing the collar stand
COLLAR
DEVELOPMENT
9 CM SEAM ALLOWANCE
1.5
⁄16" SEAM ALLOWANCE
2.5 CM
1"
2.5 CM
1"
3 CM SEAM ALLOWANCE
1
⁄8" SEAM ALLOWANCE
ALLOWANCE
NEW SEAM ALLOWANCE
Step 11
Front yoke and concealed pocket flap
facing patterns
• Following the instructions on page 50, trace off the shape of
the front yoke pattern from Steps 4 and 5.
• Indicate the concealed pocket flap position with a broken line.
• Trace off the flap facing pattern separately.
GRAIN LINE
FRONT YOKE
CUT 1 PR SELF
GRAIN LINE
GRAINLINE
CUT 1 PR SELF
FRONT YOKE
CUT 1 PR SELF
PLACKET
FRONT PLACKET
• Following the instructions on page 50,
trace off the placket pattern from Step
3, adding a 3⁄8in seam allowance to the
right-hand side of the placket pattern.
CENTRE
CENTER FRONT
Step 10
Front placket pattern
CUT 2 FUSE
FOLD
BUTTON
PLACEMENT
FOLD
FLAP STITCH LINE
GRAIN LINE
LINE
GRAIN
GRAINLINE
FLAP STITCH LINE
FLAP FACING
CUT 1 PR SELF
FLAP FACING
CUT 1 PR SELF
Step 12
Front breast pocket bag pattern
Step 13
Back yoke pattern
• Following the instructions on page 50, trace off the front
pocket bag pattern from Step 5.
• Trace off the back yoke from Step 7 onto a new piece of
paper and, following the instructions on page 50, create the
full pattern shape.
FRONT POCKET BAG
FRONT BREAST
CUT 1 PR SELF
BACK
BACK YOKE
YOKE
GRAINLINE
CUT 1 PR SELF
CENTER BACK
CENTRE
GRAIN
LINE
GRAINLINE
GRAIN LINE
POCKET BAG
CUT 1 PR SELF
lumberjack shirt 121
Step 14
Front pattern
Step 15
Back pattern
• Following the instructions on page 50, trace off a copy of the
lower front shirt panel from Step 7. Follow the curve from
the armhole to where the curve meets the top of the pocket
bag, draw a horizontal line across the pocket, and then follow
the curve toward the center front. This will create the pocket
opening edge under the flap.
• Trace off the back shirt panel and, following the instructions
on page 50, create the full pattern shape.
PLEAT
CENTRE BACK
CENTER
GRAIN LINE
GRAINLINE
BACK
CUT 1 SELF
GRAIN
LINE
GRAINLINE
FRONT
PR
CUTCUT
1 PR1SELF
• Trace off the collar stand pattern and, following the
instructions on page 50, create the full pattern shape.
• Trace off the top collar pattern and, following the instructions
on page 50, create the full pattern shape.
• The under collar is a copy of the top collar, reduced by 1⁄8in,
at the center back neck, which is blended back with a line
to both collar points; this reduction, when sewn, will pull the
seam edge under the collar slightly so as not to be seen.
Make a separate pattern for the under collar.
STAND WIDTH
STAND WIDTH
STAND WIDTH
STAND WIDTH
OUTER EDGE OF STAND
COLLAR
COLLARSTAND
STAND
CUT
CUT 11FUSE
FUSE
CUT 11 PR
PR SELF
SELF CUT
GRAIN LINE
GRAINLINE
CENTER
BACK
TOP
COLLAR
TOP
COLLAR
CUT
1 SELF
CUT
1 SELF
CUT
CUT1 FUSE
1 FUSE
OUTER EDGE OF TOP COLLAR
OUTER EDGE OF TOP COLLAR
GRAINLINE
GRAIN LINE
INNER EDGE OF TOP COLLAR
SHOULDER NOTCH
SHOULDER NOTCH
REMOVE1⁄8 "
UNDER COLLAR
UNDER COLLAR
CUTCUT
1 SELF
1 SELF
GRAIN LINE
GRAINLINE
INNER EDGE OF STAND
CENTER
BACK
122 Chapter three the patterns: shirts
CCFF
C
CF
F
Step 16
Collar stand pattern
Top collar pattern
Developing the under collar
TOP OF
SLEEVEPOINT
CAP
CROWN
BACK
PITCH
BACK
POINT
NOTCH
FRONT
FRONT
PITCH
NOTCH
POINT
Step 17
Developing the sleeve master plan
UNDERARM
LINE
BICEPS LEVEL
BACK
BACK SLEEVE
SLEEVE
MASTER
PLAN
MASTER PLAN
UNDERARM
SLEEVE
POINT
CORNER
AT BICEPS
LEVEL
CENTRE
CENTER LINE
1
61.5
24
⁄4"CM
NEW SLEEVE LENGTH
FRONT
FRONT SLEEVE
SLEEVE
MASTER
PLAN
MASTER PLAN
FRONT
UNDERAR
UNDERARM
M SEAM
SEAM
UNDERARM
SLEEVE
CORNER
POINT
AT BICEPS
LEVEL
SEAM
UNDERARMSEAM
BACK UNDERARM
Start this development by selecting the basic men’s sleeve
sloper, or by drafting the basic sleeve sloper according to the
instructions on page 42. Cut a large piece of drafting paper
slightly longer than the length of the shirt you want to develop
and transfer the shape of the sloper and all marks, labels, and
instructions, following the directions on page 48. The design
illustrated is shaped and has a gathered pleat on the back of
the sleeve for even more shaping. The sleeve sloper that you
have selected might be longer or shorter than the design you
are developing. Analyze by taking a measurement from your
fit model or dress form and by consulting your size chart, or
even by using competitors’ garments for comparison. The
sleeve length is 241⁄4in and the cuff measurement is calculated
by adding 13⁄16in to the wrist measurement of 97⁄8in for a tuck,
giving 11in.
28
CM
11"
NEW CUFF HEM WIDTH
CUFF HEM
OF
TOP
CROWN
SLEEVE
CAP
POINT
BACK
BACK
NOTCH
PITCH
POINT
UNDERARM
LINE
BICEPS LEVEL
UNDERARM
SLEEVE
POINT
CORNER
AT BICEPS
LEVEL
FRONT SLEEVE
SLEEVE
FRONT
MASTER PLAN
MASTER
PLAN
NEW UN
FRON
DERA
T UN
RM
DESE
RA
AM
RM SEAM
CENTRE
CENTER LINE
BACK SLEEVE
SLEEVE
BACK
MASTER
PLAN
MASTER PLAN
16
61⁄4"CM
61.5
241⁄4"CM
NEW SLEEVE LENGTH
LENGHT
0.53CM
⁄16"
8
31CM
⁄8"
5 "
⁄16"
3
1 CM
⁄8
41CM
NEW CUFF HEM
3
0.5 3CM
⁄16"
UNDERARM
SLEEVE
POINT
CORNER
AT BICEPS
LEVEL
AM SEAM
SERM
DERA
UNRM
DERA
BACK
NEW UN
• To create the shaping at the bottom of the sleeve, measure
down 3⁄16in on the back sleeve from the center of the new
cuff hemline and mark this point. On the front sleeve,
measure up 3⁄16in from the center of the new cuff hemline
and mark this point. Join the points with a curved line that
is convex on the back sleeve and then reverses at the center
line so that it is concave on the front.
• Now draw in the new underarm seam lines to create the
sleeve shape.
• From the back underarm seam line measure in 31⁄8in along
the new cuff hemline and square up 61⁄4in. This is the cut line
for the cuff guard. Measure in a further 15⁄8in at the bottom
of this line and mark and then a further 13⁄16in and mark.
This will become the tuck.
FRONT
FRONT
NOTCH
PITCH
POINT
TUCK
Step 18
Developing the sleeve shape
CUFF HEM
lumberjack shirt 123
Step 19
Sleeve pattern
Step 20
Developing the cuff
• Following the instructions on page 50, trace off the
sleeve pattern.
SLEEVE
CUT 1 PR SELF
GRAINLINE
GRAIN LINE
SLEEVE
CUT 1 PR SELF
Measuring the cuff
The cuff is a double pattern that is sewn
onto the end of the sleeve and turned
inside out. The cuff shape will start
and finish at the guard opening. Measure
this width from the pattern, in this case
11in, and subtract 13⁄16in for the tuck
and 3⁄8in for the seam allowance (3⁄16in on
either side) on the cuff guard opening,
making 91⁄2in.
• On a separate piece of paper, draw a horizontal box 91⁄2in
long by 51⁄2in wide to create a rectangular-shaped cuff.
• Divide the box in half lengthways, draw a line across the
center, and label it fold.
91⁄2"
24 CM
SLEEVE CUFF
CUT 1 PR SELF
CUT 1 PR FUSE
GRAIN LINE
GRAINLINE
SLEEVE CUFF
CUT 1 PR SELF
CUT 1 PR FUSE
FOLD
FOLD
3
TOP EDGE
3
13C
⁄8"M
13C
⁄8"M
TOP EDGE
⁄4"
TOP CUFF GUARD
GAURD
CUT 1 PR SELF
GRAIN LINE
GRAINLINE
16
61⁄4"CM
FOLD
FOLD
3
FOLD
FOLD
2.5
1" CM
2 CM
⁄4"
2 CM
3
⁄4"
2 CM
3
BOTTOM EDGE STITCHED
TO CUFF
6 CM
1 CM
⁄8"
3
23⁄8"
TO CUFF
BOTTOM EDGE STITCHED
⁄8"
1 CM
124 Chapter three the patterns: shirts
⁄4"
2 CM
• On a separate piece of paper, create a rectangular box 61⁄4in
long by 23⁄8in wide.
• Divide the box in half lengthways, drawing a line across the
center, and label it fold.
• At each end square out 3⁄4in from the fold line on both sides
and mark. Join these points with straight lines. This will leave
you with a 3⁄8in seam allowance on each long side.
• From the top left corner measure 1in down the long side of
the rectangle and square across 3⁄4in. This small rectangular
shape will be removed from the pattern.
• From the top right corner measure 3⁄8in down the long side
of the rectangle and mark, and measure 3⁄4in across the
short side and mark. Join these points with an angled line.
• Now measure 3⁄8in down from the edge of the rectangle you
drew in the top left corner and join this point to the top of
the first angled line to give a pointed shape to the top of the
cuff guard.
⁄4"
2 CM
Step 21
Developing the top cuff guard
14
⁄2 "
51CM
FOLD
FOLD
3
FOLD
GRAIN
LINE
GRAINLINE
FOLD
61⁄4"CM
16
CUT 1 PR SELF
BOTTOM CUFF
BOTTOM
CUFF GUARD
GAURD
15⁄8"
4 CM
⁄8"
3
⁄8"
3
1 CM
1 CM
• Create a rectangular box 61⁄4in by 23⁄8in.
• Divide the box in half lengthways, draw a line down the
center, and label it fold.
• At each end square out 3⁄4in on both sides from the fold line
and mark. Join these points with straight lines. This will leave
you with a 3⁄8in seam allowance on each long side.
FOLD
Step 22
Developing the bottom cuff guard
lumberjack shirt 125
pattern
Short-sleeved safari shirt
Step 1
Developing the master plan
Start by selecting the basic men’s upper body sloper, or by
drafting the basic sloper according to the instructions on page
40. Cut a large piece of drafting paper slightly longer than the
length of the shirt you want to develop and transfer the shape
of the sloper and all marks, labels, and instructions, following
the directions on page 48.
126 Chapter three the patterns: shirts
BACK
BACK
PITCH
NOTCH
POINT
FRONT
NOTCH
PITCH
POINT
WAISTLINE
HIP LEVEL
HEMLINE
CENTRE
CENTER FRONT
FRONT
FRONT MASTER
PLAN
GRAIN
LINE
GRAINLINE
BACK MASTER
PLAN
SIDE SEAM
CHEST LEVEL
LINE
CENTRE
CENTER BACK
BACK
This pattern includes development
of the following features:
Creating a darted body
Constructing a grown-on and a sewn-on placket
Adding length to the body
Creating a baseball hemline
Creating a shoulder yoke
Creating an epaulet and sleeve tab
Creating a patch pocket with flap
Creating a two-piece collar
Lowering the armhole
Reducing the sleeve cap height
Developing a short sleeve incorporating a cuff
CENTRE FRONT
CENTER
NECK POINT
BACK
BACK
PITCH
NOTCH
POINT
Step 2
Lengthening the body and creating a grown-on
and sewn-on placket
FRONT MASTER
PLAN
PLAN
FOLD
SIDE SEAM
CENTRE BACK
CENTER
BACK MASTER
PLAN
FOLD
WAISTLINE
HEMLINE
3
62CM
⁄8"
6
23CM
⁄8"
2.5 CM
1"
Step 3
Developing the new armhole, body, and
hem shaping
3
2
⁄4"CM
5 CM
2"
FRONT
FRONT
MASTER
PLAN
PLAN
9
1.5 CM
⁄16"
3
⁄8"
1 CM
3
1
⁄8"CM
FOLD
9
1.5
⁄16CM
"
SIDE SEAM
CENTRE
CENTER BACK
BACK
MASTER
PLAN
WAISTLINE
16
61⁄4"CM
CENTRE FRONT
CENTER
CHEST LINE
LEVEL
11.5
41⁄CM
2"
NEW
NEW
FRONT
FRONT
PITCH
NOTCH
POINT
UNDERARM
UNDER
/ SIDE
SEAM
ARM
CORNER
POINT
GRAIN LINE
GRAINLINE
NEW
NEW
BACK
BACK
PITCH
NOTCH
POINT
Shaping the body
There is no side seam shaping in this
design because the side back and side
front darts give enough shape to
the silhouette.
FOLD
NEW HEMLINE
2.5 CM
1"
1.5 9CM
⁄16"
6 CM
⁄8"
2
3
HEMLINE
5.5
21⁄8"CM
11.541CM
⁄2"
NEW HEMLINE
3
0.5 CM
⁄16"
3
0.5 CM
⁄16"
• Measure 3⁄4in down the side seam and mark. From this
position on the front and back master plan, using your
basic upper body slopers as a template, trace the new
lowered armhole shape, continuing it up to connect with
the shoulders. Draw in the new lowered notch positions.
• Create the front dart by measuring 61⁄4in along the chest
level from the old underarm / side seam corner and mark,
square down and draw a line to connect with the new
hemline. Where this line intersects the waistline measure out
3
⁄8in on both sides and mark. This will become the widest
part of the dart. Repeat at the new hemline, measuring out
3
⁄16in on both sides and mark. Draw in the dart legs from the
chest level down, connecting all of the above points.
• Create the side back dart by measuring 41⁄2in along the
chest level and the original hemline from the center back
and mark. Draw a vertical line to connect these two points.
Measure 2in down this new line and mark and up 21⁄8in and
mark. Where this new line intersects the waistline measure
out 9⁄16in on both sides and mark. This will become the widest
point of the dart. Draw in the dart legs, connecting all of the
above points.
• Develop the hem shaping from the center front to the side
seam using a French curve. When you reach the front dart
CENTRE
CENTER FRONT
CHEST LEVEL
LINE
GRAIN
LINE
GRAINLINE
• Extend the center front and center back lines down 2 ⁄8in
from the hemline and square across.
• The front left body panel has a grown-on placket of 1in and
the front right body has a sewn-on placket. You can create
both from one pattern development.
• From the center front neck point measure back 1⁄2in along
the neckline and mark, and measure out 1⁄2in and mark;
repeat this at the new hemline and connect these points with
straight lines and label the outer one fold.
• From this line continue to measure out 1in at the neckline and
mark, and then a further 9⁄16in for the seam width; repeat at
the hemline. Again, join these points, mark, and label the first
line as a fold line.
• The overall measurement of the placket is now 21⁄2in,
including the seam allowance.
FRONT
PITCH
NOTCH
POINT
3
you will need to step the hemline down so that it continues in
a smooth line when the dart is folded. Do this by tracing the
dart legs and the hemline onto a separate piece of paper, fold
the dart, and then redraw the hemline. Cut it out and, when
you open up the paper, you will have a template off which to
trace the step. Continue to draw in the hemline up to the side
seam and then back down to the center back.
short-sleeved safari shirt 127
FRONT
FRONT
SHOULDER
SHOULDER
POINT
TIP
BACK
BACK
SHOULDER
SHOULDER
POINT
TIP
10
4" CM
NEW
NEW
FRONT
FRONT
NOTCH
PITCH
POINT
LINE
CHEST LEVEL
FRONT
FRONT
MASTER
PLAN
PLAN
BACK
BACK
MASTER
PLAN
PLAN
FOLD
SIDE SEAM
CENTRE BACK
CENTER
81⁄CM
3
8"
NEW
NEW
BACK
BACK
PITCH
NOTCH
POINT
FOLD
WAISTLINE
HEMLINE
NEW HEMLINE
Step 5
Yoke pattern
• Trace off the yoke onto a new piece of paper and, following
the instructions on page 50, create the full pattern shape.
FRO
N
SHO T
U
NEC LDER
K PO
INT
R
4 CM
CENTRE BACK
FRO
ELF
CENTER BACK
GRAINLINE
GRAIN LINE
NT
YOK
E
CUT
1 PR
S
B
ACK
BACK
NOT
CH
NOTCH
FOL
D
FOL
D
CEN
IN L
YOKE
CUT 1 PR SELF
TRE
INE
BAC
BACK
K
NOT
CH
NOTCH
SHOSHOU
ULDLDER
ER SSEAM
EAM
FRONT
FRO
NT
NONOTCH
TCH
128 Chapter three the patterns: shirts
E
KLIN
NECKLINE
NEC
CENTRE FRONT
CENTER
• For the back yoke shaping measure 33⁄4in down the center
back line and mark, and 31⁄8in from the back shoulder tip
down the armhole and mark. Connect these two points with
a straight line.
• For the front yoke measure 31⁄8in down the armhole from the
front shoulder tip and mark, square across 4in, and mark,
and measure 15⁄8in down the front high point shoulder and
mark. Connect all the above points with straight lines.
• Trace off the back yoke onto a separate piece of paper. Next,
align the back shoulder seam you have just traced with the
front shoulder seam on the master plan and trace off the
front yoke shape to complete the yoke.
1
8 3CM
⁄8 "
1
⁄8"
45CM
GRAIN LINE
GRAINLINE
9.5
33⁄4"CM
Step 4
Developing the front and back yoke shapes
FRONT
SHOULDER
HIGH POINT
NECK
POINT
SHOULDER
NECKLIN
NECKLI
NE
EAM
ER S
ULD
E
SHO
SHO
U
EAM
RS
LDE
FRONT T
FRON
NOTCH
H
NOTC
Step 6
Developing the front patch pocket and flap
Front patch pocket shape
The front patch pocket is placed directly
over the side front dart and is 31⁄2in
wide by 41⁄2in long at the lowest point
of its spade shape.
NEW
FRONT
BACK
MASTER
PLAN
• Measure up 3⁄8in from the center at the top of the pocket and
square out 13⁄4in on both sides and mark. This is the upper
edge of the pocket flap.
WAISTLINE
• From the center of this line square
down 2in and mark; this
is the lowest point of the spade shape. Measure 3⁄8in back up
this line, square out 2in on both sides, and mark. Join these
points up to the upper edge of the pocket flap and down to
the lowest point of the spade shape.
1
2
1⁄ " CM
1
"
3⁄ CM
3
2"
5 CM
13⁄4"
13⁄4"
4.5CM
4.5CM
4"
10
CM
⁄ "
1.5 CM
9
SIDE SEAM
SIDE
SEAM
CENTRE BACK
Pocket flap shape
The pocket flap is also spade shaped and
is developed on top of the pocket for
fit purposes. The top flap is positioned
3
⁄8in above the pocket opening edge.
⁄"
9 3CM
16
FRONT
MASTER
PLAN
FRONT MASTER
PLAN
8
3
16
2
73⁄4"CM
FOLD
FOLD
NEW
NOTCH
FRONT
PITCH
POINT
CENTER
FRONT
CENTRE
FRONT
CHEST LINE
NEW
BACK
PITCH
POINT
FOLD
• From the dart point measure out 13⁄4in on both sides along
the chest level and mark to create the 31⁄2in pocket width.
• From these points, square up 13⁄16in and mark. From the same
points, square 23⁄4in down from the chest level and mark.
Measure down 9⁄16in on the dart line and mark. Join all the
above points to create the spade-shaped pocket.
HEMLINE
NEW HEMLINE
short-sleeved safari shirt 129
NEW
BACK
PITCH
POINT
NEW
FRONT
PITCH
POINT
9 CM
5 CM
BACK
MASTER
PLAN
1 CM
3 CM
10 CM
7 CM
1.5 CM
NEW
BACK
PITCH
POINT
FRONT
MASTER
PLAN
SIDE SEAM
CENTRE BACK
Step 7
Pocket patterns
4.5CM 4.5CM
0.53⁄16
CM
"
CENTRE FRONT
CHEST LINE
⁄4"
3
4.5CM 4.5CM
1 CM
3 CM
10 CM
7 CM
FRONT
MASTER
PLAN
SIDE SEAM
BACK
MASTER
PLAN
FOLD
1.5 CM
0.5 CM
FOLD
FACING
FOLD
0.5 CM
FOLD
GRAIN LINE
GRAINLINE
GRAIN LINE
NEW HEMLINE
⁄"
⁄4"
FOLD
FOLD
CUT
1 PR SELF
2 CM
NEW HEMLINE
3 1 CM
8
2 CM
POCKET BAG
CUT 1 PR SELF
HEMLINE
HEMLINE
3
⁄16CM
"
0.5
POCKET BAG
POCKET
BAGSELF
CUT
1 PR
FOLD
WAISTLINE
FOLD
2 CM
FOLD
5 CM
FOLD
FOLD
3
FOLD
FOLD
FOLD
CENTRE FRONT
CENTRE BACK
CHEST LINE
9 CM
FACING
FACING
2 CM
• Following the instructions on page 50, trace off the pocket
patterns, adding a 3⁄8in allowance to the top of the pocket
WAISTLINE
flap and a 3⁄4in facing plus a 3⁄16in seam allowance to the top
of the pocket bag.
NEW
FRONT
PITCH
POINT
FOLD
FOLD
⁄"
3
1 CM
8
FOLD
FOLD
FOLD
FOLD
POCKET FLAP
CUT 2 PR SELF
GRAINLINE
1 CM
GRAIN LINE
POCKET
FLAP
CUT 2 PR SELF
FOLD
1 CM
FOLD
GRAIN LINE
POCKET FLAP
CUT 2 PR SELF
BACK
CUT 1 SELF
2.5 CM
1 CM
1 CM
2.5 CM
• Trace off the back onto a new piece of paper and, following
the instructions on page 50, create the full pattern shape.
GRAIN LINE
GRAINLINE
Step 8
Back pattern
1 CM
1 CM
FRONT RIGHT
CUT 1 SELF
LD
130 Chapter three the patterns: shirts
CENTRE FRONT
CENTER
CENTRE FRONT
G
FRONT RIGHT
CUT 1 SELF
FRONT LEFT
CUT 1 SELF
FRONT LEFT
CUT 1 SELF
FOLD
FOLD
GRAIN LINE
FOLD
FOLD
GRAIN
LINE
GRAINLINE
BACK
CUT 1 SELF
GRAIN LINE
GRAINLINE
• The right-hand side of the front pattern has a sewn-on
FRONT RIGHT
placket as a design feature and the left-hand side hasCUT
a 1 SELF
grown-on placket that is folded back and sewn. Following the
instructions on page 50, trace off the front pattern including
the placket to create the left-hand panel, and then retrace
the front panel without the placket development to create
the right-hand panel.
GRAIN LINE
Step 9
Front pattern
GRAIN LINE
1 CM
1 CM
2.5
1" CM
3
⁄8CM
"
1
13⁄8CM
"
2.5 CM
1"
1 CM
1 CM
13⁄8CM
"
3
1 CM
⁄8"
Step 10
Placket pattern
FRONT
LEFT PLACKET
PLACKET
CUT 1 SELF
CUT 1 FUSE
GRAIN LINE
GRAINLINE
FOLD
• Following the instructions on page
50, trace off the placket pattern
separately to be cut with fusing.
3
1 CM
⁄8"
2.5 CM
1"
2.5 CM
1"
1 CM
3
⁄8"
13⁄8CM
"
3
1 CM
⁄8"
short-sleeved safari shirt 131
Step 11
Developing the collar stand
Step 12
Developing the top collar
Measuring half the neck from the master plan
We will develop half the collar stand
before creating the full collar stand.
By taking measurements from the master
plan, which is drawn in half, you will
be measuring half the neck measurement.
• On the master plan measure the length
of the back neck, in this case 31⁄2in,
and the front neck from the shoulder
tip down past the center front
line to the point at which the
placket finishes when folded,
in this case 61⁄4in.
• Add these two measurements together
to give half the neck measurement,
in this case 93⁄4in.
Collar shape
There are many variations in collar
shape, both traditional and contemporary.
Here we are developing a straight collar
shape. Again, only half of this pattern
will be drafted.
CENTER
BACK
NECK
DEVELOPMENT
1⁄8" CM
SHOULDER NOTCH
SHOULDER
NOTCH
CB
CB
5 CM2"
1"
2.5 CM
33⁄8" CM
8.5
CENTER
FRONT
NECK
SHOULDER
NOTCHES
1" CM
2.5
31⁄2" CM
8.5
6 ⁄4"CM
16
1
UNDER COLLAR
CUT 1 SELF
24.5
93⁄4CM
"
NECKLINE
NECKLINE
⁄16" CM
1.5
9
GRAIN LINE
CB NECK
1"
2.5 CM
TOP COLLAR
CUT 1 SELF
CUT 1 FUSE
COLLAR
POINT
3
CB
CB
• On a new piece of piece of paper, draw a rectangle measuring
93⁄4in by 1in, which is the half neck measurement by the
width of the collar stand. Label the narrow side as the center
back neck and the long side as the neckline.
• From the center back neck, measure 31⁄2in (the half back
neck measurement) along the bottom line of the rectangle
and place a notch. Label it the shoulder notch. Repeat along
the top side of the rectangle.
• Measure up 9⁄16in at the front edge of the rectangle and join
this point back to the shoulder notch with a slight curve.
• From the shoulder notch, measure 61⁄4in (the half front neck
measurement) along this curved line. At the front of the
curved line, square up 1in (the width of the collar stand).
Then draw another curved line to connect this line back to
the top shoulder notch.
• From the top right corner of the stand measure along 1in (the
width of the placket) and from this point square across to the
lower curved line. Label this center front neck. Round off the
top right corner with a slight curve.
• Trace off the stand shape from Step 11 onto another piece
of paper.
• Continue the center back line vertically up 3in from the top
of the stand, square across 91⁄2in, and make a mark. This is
the collar point. Connect this point back down to the center
front line with a straight line. You have now created the basic
top collar shape.
• At the collar point measure up 3⁄8in from the front edge of
the collar extend the front edge of the collar by 3⁄8in and
draw a curved line back to meet the outer edge. This will
give the collar a smoother shape.
• Measure up 1in from the top of the stand along the center
back and make a mark. From here, square across to a point
above the shoulder notch. From this point draw a curved
line to meet the center front line, mirroring the curve of
the stand. This is the inner edge of the 2in-wide top
collar shape.
COLLAR
OUTER EDGE OF TOP COLLAR
GRAIN LINE
132 Chapter three the patterns: shirts
INNER EDGE OF TOP COLLAR
61⁄4"CM
16
Step 13
Collar stand pattern
Top collar pattern
Developing the under collar
• Trace off the collar stand pattern and, following the
instructions on page 50, create the full pattern shape.
• Trace off the top collar pattern and, following the instructions
on page 50, create the full pattern shape.
• The under collar is a copy of the top collar reduced by 1⁄8in
at the center back neck, which is blended back with a line
to both collar points; this reduction, when sewn, will pull the
seam edge under the collar slightly so as not to be seen.
Make a separate pattern for the under collar.
COLLAR
STAND
COLLAR
STAND
CUT1 1PR
PRSELF
SELF CUTCUT
1 FUSE
1 FUSE
CUT
CCFF
STAND WIDTH
GRAIN LINE
GRAINLINE
CB NECK
CFF
C
STAND WIDTH
TOP COLLAR
COLLAR
CUTTOP
1 SELF
1 SELF
CUTCUT
1 FUSE
CUT 1 FUSE
OUTER
EDGE
OFOF
TOP
COLLAR
OUTER
EDGE
TOP
COLLAR
GRAIN LINE
GRAINLINE
INNER EDGE
EDGE OF
OF TOP
TOP COLLAR
COLLAR
INNER
SHOULDER NOTCH
SHOULDER NOTCH
REMOVE 1⁄8"
UNDER
COLLAR
UNDER
COLLAR
CUTCUT
1 SELF
1 SELF
OUTER EDGE OF STAND
GRAIN LINE
GRAINLINE
CB NECK
INNER EDGE OF STAND
short-sleeved safari shirt 133
Step 14
Developing the shoulder epaulet and sleeve tab
• For the sleeve tab, draw a rectangle 1in wide by 85⁄8in long.
• Create the point at the end of the tab by measuring 3⁄8in
back down both long sides of the rectangle and then joining
these two points back to a central point.
• At the other end of the rectangle, measure in 3⁄8in and
square across for the seam allowance, and a further 1in and
square across for the fold line. The tab on the sleeve that the
sleeve tab folds over is prebought herringbone cotton tape.
• For the shoulder epaulets draw a vertical rectangle 1in wide
and 41⁄2in long. Follow the instructions for the sleeve tab, but
with a 9⁄16in seam allowance and no fold line.
22 CM
85⁄8"
FOLD
FOLD
2.5 CM
SLEEVE TAB
CUT 2 PR SELF
GRAIN LINE
SLEEVE TAB
CUT 2 PR SELF
1 CM
2.5 CM
1 CM
FOLD
FOLD
FOLD
FOLD
GRAIN LINE
GRAINLINE
11.5 CM
⁄8"
3
1"
2.5 CM
1⁄8"CM
3
41⁄2"
11.5 CM
SHOULDER EPAULETE
CUT 2 PR SELF
2.5 CM
1"
FOLD
SHOULDER EPAULET
CUT 2 PR SELF
GRAIN LINE
GRAINLINE
2.5 CM
FOLD
SHOULDER EPAULETE
CUT 2 PR SELF
9
1.5
⁄16" CM
1⁄8"CM
3
GRAIN LINE
BACK
BACK
PITCH
POINT
NOTCH
1 CM
1.5 CM
TOP OF
SLEEVE
CAP
CROWN POINT
FRONT
FRONT
PITCH
NOTCH
POINT
BICEPS LEVEL
CENTER LINE
HEMLINE
CUFF HEM
134 Chapter three the patterns: shirts
FRONTSLEEVE
SLEEVE
FRONT
MASTER PLAN
MASTER PLAN
UNDERARM SEAM
FRON
T UNDERARM SEAM
M
Start this development by selecting the basic men’s sleeve
sloper, or by drafting the basic sleeve sloper according to the
instructions on page 42. Cut a large piece of drafting paper
slightly longer than the length of the shirt you want to develop
and transfer the shape of the sloper and all marks, labels, and
instructions, following the directions on page 48. The design
illustrated has a short sleeve with turned-up cuff.
BACKSLEEVE
SLEEVE
BACK
MASTER PLAN
MASTER
PLAN
CENTRE LINE
UNDER ARM LINE
Step 15
Developing the sleeve master plan
ERARM SEA
UND
BACKUNDE
RARM SEAM
1"
SLEEVE TAB
CUT 2 PR SELF
CROWN
TOP
OF
POINTCAP
SLEEVE
Step 16
Developing the sleeve with a reduced
sleeve cap
1207 5
C
⁄8"M
C
⁄ "M
5 8
2170
Measurements for developing the sleeve
You will need three measurements to
develop the sleeve:
1. Half the armhole measurement—measure
the new armhole on the front and
back patterns. In this case the front
armhole is 101⁄4in and the back 11in.
Add these measurements together
(211⁄4in) and divide in half,
making 105⁄8in.
2. Half the biceps measurement—measure
the biceps width from the master
plan. In this case it is 14in. As
this is a casual-fitting shirt you
can determine the amount of ease
according to the design. In this case
we will add 3in ease to the biceps
measurement, making 17in. Divide this
measurement in half, making 81⁄2in.
3. Half the cuff measurement, which in
this case is 175⁄8in.
21.75
"
81⁄2CM
FRO
UNDNT
ERA
UND
RM ERA
SEARM
M SEAM
SEAM
M SEAM
UNDERARM
UNDERAR
BACK
CENTRE INE
CENTER
LINE
1.3
⁄2" CM
1
⁄ "M
C
3
0.5
⁄16" CM
UNDERARM
BICEPS
LEVEL
LINE
63CM
⁄8"
2
3
0.5 CM
⁄16"
NEW FRONT
UNDERARM
SLEEVE
POINT
CORNER
AT BICEPS
LEVEL
FRONT
SLEEVE
FRONT
SLEEVE
MASTER
PLAN
MASTER
PLAN
BACKSLEEVE
SLEEVE
BACK
MASTER
PLAN
MASTER
PLAN
FRONTUND
UND
ERA
ERA
RM
RMSEA
SEAMM
UNDERARM SEAM
CENTRE INE
• Shape the sleeve cap by measuring 23⁄4in from the new top
of the sleeve cap along the diagonal line toward the new
front sleeve corner at biceps level, square out 1⁄2in, and mark.
Then measure 23⁄8in up along the diagonal line from the
front corner of the sleeve at biceps level, square 3⁄16in down,
and mark. On the back measure 2in down the diagonal line
from the sleeve cap top, square out 1⁄2in, and mark; measure
33⁄8in up along the diagonal line from the back sleeve corner
at biceps level, square down 3⁄16in, and mark.
• Using a French curve draw in shallow raised curves from the
new top of the sleeve cap through the marks on the upper
portion of the sleeve cap, reversing the curves at the marks
on the lower portion of the sleeve cap, and finishing these
hollow curved lines at the corners of the sleeve at biceps
level. Add in the notches taken from the body panels.
M 3
7 CM
⁄4"
25"C 2
3 8
8.53
NEW BACK
UNDERARM
SLEEVE
POINT
CORNER
AT BICEPS
LEVEL
Step 17
Completing the new sleeve shape
UNDERARM SEAM
1
1.3 CM
⁄2"
CENTRE
CENTER INE
LINE
FRONT SLEEVE
MASTER PLAN
NEW BACK
UNDERARM
POINT
FRONT
SLEEVE
FRONT
SLEEVE
MASTER
PLAN
MASTER
PLAN
CROWN
OF
TOP
POINT
SLEEVE
CAP
M SEAM
RARM
UNDERAR
BACK UNDE
BACK SLEEVE
MASTER PLAN
21.75
81⁄2" CM
BACK
BACK SLEEVE
SLEEVE
MASTER
PLAN
MASTER PLAN
SLEEVE HEAD
HEIGHT
21.75 CM
8.5
UNDERARM
LINE
BICEPS
LEVEL
• Measure 3⁄4in down the center line from the top of the sleeve
CROWN
cap to reduce the height of the sleeve
cap by the same
POINT
amount that you lowered the armhole in Step 3.
• At an angle from the new top of the2 CM
sleeve cap, draw out
a line measuring half the new armhole—105⁄8in. From the
center line, draw out a line measuring half the
new biceps
27
CM
M
CAdjust
measurement—81⁄2in.
these
lines
until
they
meet to
7
2
form a triangle and repeat on the other side of the sleeve.
This will become the frame around
which you construct the
UNDERARM LINE
new shortened sleeve cap.
21.75 CM
SLEEVE HEAD
CAP
HEIGHT
3
2 CM
⁄4"
short-sleeved safari shirt 135
NEW TOP OF
SLEEVE
CAP POINT
NEW
CROWN
EW FRONT
NDERARM
OINT
M
5 C 7 CM
CM
0.5 CM
UNDERARM LINE
UNDERARM
BICEPS
6 CM
0.5 CM
CENTRE INE
UNDERARM SEAM
• From the top of the sleeve cap measure 10in down the center
line and square out 75⁄8in on both sides. This is the new cuff
NEW BACK
NEW
FRONT
hem
width. Join the ends of this line back up to the
corners
UNDERARM
UNDERARM
BACK SLEEVE
FRONT SLEEVE
POINT
of
the sleeve atMASTER
biceps
level
with
a
curve.
POINT
PLAN
MASTER PLAN
• To add the folded cuff to the cuff hem, measure 1in up from
ELBOW LINE
this line, and square across,
drawing a dotted line to meet
the lines at the sides. This is the line to which the cuff will
fold up. From the cuff hem continue to measure down 1in and
square across with another dotted line, the same width as
the first dotted line. Measure a further 1in down and square
across with a line the same width as the cuff hem. Join all
these points at the sides.
• Add a further 3⁄8in seam to the end.
LEVEL
LINE
SHO
CUT
19.25
75⁄8CM
"
CUFF
HEM
CUFF
HEMLINE
FACING
FACING FOLD
FOLD
BACK SLEEVE
SLEEVE
BACK
MASTER PLAN
MASTER
PLAN
CENTRE LINE
CENTER
8.5
25.5
10" CM
1.3 CM
Step 18
ShortenING the sleeve
19.25
"
75⁄8CM
FOLD
2.5 CM
1"
2.5
1" CM
FOLD
2.5 CM
1"
13⁄CM
8"
FRONTSLEEVE
SLEEVE
FRONT
MASTERPLAN
PLAN
MASTER
Blending a seam
To find out how to create the steps in
the curved underarm seam so that it is
smooth when the cuff is folded, try
folding the pattern and then drawing in
the curve of the underarm seam. Either
trim the seam with the paper still folded
or mark with a tracing wheel, before
opening out the pattern.
NEW CROWN POINT
25.5 CM
• Following the instructionsUNDERARM
on page 50, trace
off the
LINE
sleeve pattern.
SHORT SLEEVE
GRAIN L INE
GRAINLINE
Step 19
SHOrt Sleeve pattern
CUT 1 PR SELF
19.25 CM
CUFF HEMLINE
FACING
FOLD
FOLD
BACK SLEEVE
MASTER PLAN
136 Chapter three the patterns: shirts
CENTRE LINE
CM
1.3 CM
UNDERARM SEAM
SLEEVE HEAD
HEIGHT
CROWN
POINT
19.25 CM
FOLD
2.5 CM
2.5 CM
FOLD
2.5 CM
1 CM
FRONT SLEEVE
MASTER PLAN
FOLD
FOLD
FOLD
FOLD
FOLD
FOLD
short-sleeved safari shirt 137
pattern
Bib shirt
Start by selecting the basic men’s upper body sloper, or by
drafting the basic sloper according to the instructions on page
40. Cut a large piece of drafting paper slightly longer than the
length of the shirt you want to develop and transfer the shape
of the sloper and all marks, labels, and instructions, following
the directions on page 48.
138 Chapter three the patterns: shirts
FRONT
NOTCH
PITCH
POINT
WAISTLINE
HIP
LEVEL
HIPLINE
FRONT MASTER
PLAN
PLAN
CENTRE
CENTER FRONT
FRONT
BACK MASTER
PLAN
GRAIN
LINE
GRAINLINE
LEVEL
CHEST LINE
SIDE
SIDE SEAM
SEAM
Step 1
Developing the master plan
BACK
BACK
PITCH
NOTCH
POINT
CENTRE
CENTER BACK
This pattern includes development
of the following features:
Shaping the body
Creating a concealed front placket
Adding length to the body
Shaping the hem with a lowered back
Creating a pleated bib panel
Creating a mandarin collar
Lowering the armhole
Widening the sleeve cap
Developing a cuff with cuff guard
1.25 CM
1"
1.25 CM
1"
2.5 CM
1"
BACK
BACK
PITCH
NOTCH
POINT
Step 2
Developing the left placket and the concealed
right placket and adding length to the body
FRONT
PITCH
NOTCH
POINT
• The hem shape in this design has a lowered back. On the
front body extend the center front and side seam lines down
23⁄8in from the hemline and square across.
• On the back body, extend the center back and side seam lines
down 31⁄2in from the hemline and square across.
• From the center front neck point measure back 1⁄2in along
the neckline and mark, and measure out 1⁄2in and mark.
Repeat this at the new hemline and connect these points
with straight lines. This will become the right placket width
of 1in.
• From the outer line measure out another 1in at the neckline
and mark; repeat at the hemline and join these points with
straight lines. This will become the underside of the placket.
CENTRE FRONT
CENTER
FRONT MASTER
PLAN
PLAN
GRAIN
LINE
GRAINLINE
BACK MASTER
PLAN
SIDE SEAM
CENTRE BACK
CENTER
LINE
CHEST LEVEL
WAISTLINE
HEMLINE
3
⁄8"
62CM
2.5 CM
1"
6
⁄8"
23CM
2.5
1" CM
3 CM
1
⁄8"
"
13⁄8CM
CONCEALED
LEFT PLACKET
CONCEALEDPLACKET
SELF
CUT 11SELF
CUT 1 FUSE
AM
SE
ATTACH TO SHIRT RIGHT SIDE UP
FOLD
SE
AM
FOLD
FOLD
FOLD
FOLD
ILLUSTRATION OF THE END OF THE
FOLDED CONCEALED PLACKET
3
1 CM
⁄8"
2.5 CM
1"
2.5 CM
1"
"
13⁄8CM
2.5 CM
1"
1 CM
3
1 CM
⁄8"
3
1 CM
⁄8"
2.5 CM
1"
1 CM
2.5 CM
2.5 CM
1 CM
2.5 CM
FOLD
FOLD
GRAIN LINE
GRAINLINE
ATTACH TO SHIRT RIGHT SIDE UP
FOLD
FOLD
FOLD
FOLD
FOLD
GRAIN LINE
FRONT LEFT PLACKET
CUT 1 SELF
CUT 1 FUSE
1 CM 1 CM
1 CM
2.5 CM
1 CM
2.5
CM
2.51CM
CM
13⁄8CM
"
FOLD
GRAIN LINE
FOLD
FOLD LINE
FOLD LINE
2.5 CM
1"
3
⁄8"
1 CM
1 3CM
⁄8"
2.5
1" CM
3
1 CM
⁄8"
CONCEALEDPLACKET
CUT 1 SELF
CUT 1 FUSE
FOLD
1 CM
2.5
1" CM
3
1⁄8"CM
2.5
1" CM
1 CM
1 CM
2.5 CM
1 CM
2.5 CM
1 CM
FOLD
13⁄8CM
"
GRAIN LINE
GRAINLINE
CENTRE FRONT
GRAIN LINE
6 CM
2.5 CM
FRONT LEFT
RIGHTPLACKET
PLACKET
2.5 CM
CUT 1 SELF
CUT 1 FUSE
6 CM
⁄8"
1 CM
2.5 CM
1"
2.5 CM
2.5 CM
FRONT MASTER
PLAN
3
SIDE SEAM
GRAIN LINE
CENTRE FRONT
FRONT
PITCH
POINT
6 CM 9 CM
2.5 CM
1"
"
13⁄8CM
1.25 CM
1.25 CM
2.5 CM
1.25 CM
1.25 CM
2.5 CM
3
1 CM
⁄8"
2.5 CM
• Trace off the placket shape from the front body twice
more and position the two plackets side by side. Add 3⁄8in
seam allowance on all sides to create the final left placket
pattern. The concealed placket is made by folding the placket
together in the directions indicated by the arrows.
1 CM
2.5 CM
2.51CM
CM
• Following the instructions on page 50, trace off the placket
shape you have just developed onto a separate piece of
paper, adding 3⁄8in seam allowance on all sides to create the
final front right placket pattern.
1 CM
2.5 CM
Step 4
Concealed left placket pattern
13⁄8CM
"
2.5 CM
1"
Step 3
Front right placket pattern
BACK
PITCH
POINT
ER
2.5 CM
1"
1
93
CM
⁄2"
9
⁄2"
31CM
bib shirt 139
2"M
5C
NEW
BACK
NEW
PITCH
BACK
POINT
NOTCH
LINE
CHEST LEVEL
23⁄4CM
"
FRONT
MASTER
MASTER
PLAN
6.5
21CM
⁄2 "
SIDE SEAM
CENTRE
CENTER
BACK BACK
BACK
MASTER
PLAN
GRAINLINE
WAISTLINE
HEMLINE
BACK
BACK
PITCH
NOTCH
POINT
FRONT
NOTCH
PITCH
POINT
WAISTLINE
⁄8"
1 CM
3
SIDE SEAM
CENTRE
CENTER BACK
1⁄8"CM
3
GRAIN
LINE
GRAINLINE
FRONT
MASTER
MASTER
PLAN
PLAN
BACK
MASTER
PLAN
PLAN
3
1
⁄8"CM
CENTRE
CENTER FRONT
CHEST LEVEL
LINE
OLD HEMLINE
140 Chapter three the patterns: shirts
5 CM
22
8
⁄8"
NEW
NEW
FRONT
FRONT
PITCH
NOTCH
POINT
Step 6
Developing the body shaping
• To develop the side seam, measure out 3⁄8in in both
directions where the side seam intersects the waistline.
• Connect both these points with straight lines up to the new
underarm / side seam corner and down to the hemline at the
bottom of the side seam.
• From the center back measure 3⁄8in along the waistline.
From this point draw a straight line to the intersection
of the chest level and the center back, and another line
down to the new hemline.
CENTER FRONT
NECK POINT
CENTRE FRONT
CENTER
Step 5
Developing the new armhole,
bib, and hem shaping
• Measure 3⁄4in down the side seam and make a mark. From
this position on the front and back master plan, using your
basic upper body slopers as a template, trace the new
lowered armhole shape, continuing it up to connect with the
shoulders. Transfer the back and front notches to their
new positions on the lowered armhole.
• The bib shape is developed on the front body master plan by
measuring 85⁄8in down from the center front neck point, then
squaring across 21⁄2in.
• Next measure 2in down the front shoulder seam from the
front high point shoulder. Connect this point to the line you
drew previously. Draw in a shallow curve connecting the two
lines at the bottom.
• Redraw the hemline with a French curve from the new
lowered center front up to the side seam on the original
hemline and back down to the lowered hemline at the
center back.
FRONT
HIGH POINT
SHOULDER
1.25 CM
1.25 CM
BACK
CUT 1 PR SELF
GRAIN LINE
GRAINLINE
• Following the instructions on page 50, trace off the front
body pattern.
GRAIN LINE
GRAINLINE
FRONT
CUT 1 PR SELF
Step 8
back pattern
1
⁄2" CM
1.25
• Trace off the bib shape from the master
plan onto a separate piece of paper.
• Decide on the type of pleats and their
ratio. In this design we have ten knife
pleats at a distance of 1⁄2in apart, with
a fold between each pleat of 1⁄2in (1⁄4in
when folded).
• On another piece of paper, draw out the
pleating scheme and then fold the paper
into the pleats.
• With the paper still folded, place the
center front of the bib shape against the
edge of the first pleat and draw around
the shape. Still with the paper folded,
cut out the shape and then open up the
paper to reveal the pattern for the pleated
bib shape.
bib shirt 141
0.6 CM
0.6 CM
1
0.6 CM
⁄4"
1
0.6 CM
⁄4"
1
0.6 CM
⁄4"
1
0.6 CM
⁄4"
1
0.6 CM
⁄4"
1
0.6 CM
⁄4"
1
0.6 CM
⁄4"
1
0.6 CM
⁄4"
1
0.6 CM
⁄4"
1
0.6 CM
⁄4"
1
⁄4"
0.6 CM
1
⁄4"
0.6 CM
1
⁄4"
0.6 CM
1
⁄4"
0.6 CM
1
⁄4"
0.6 CM
1
⁄4"
0.6 CM
1
⁄4"
0.6 CM
1
⁄4"
0.6 CM
1.25 CM
"
0.6 ⁄4CM
1
0.6 CM
0.6 CM
Pleating
In a production scenario pleating would
always be sourced from a professional
pleater. The fabric would arrive prepleated to your requirements, at which
stage the patterns for the pleated panels
would be cut. The steps described here
show how you can investigate pleating
ratios yourself.
1.25 CM
1
1.25
⁄2" CM
⁄2" CM
1.25
1
1
⁄2" CM
1.25
1.25
⁄2" CM
1
1
1.25
⁄2" CM
⁄2" CM
1.25
1
⁄2" CM
1.25
1
1
⁄2" CM
1.25
Step 9
Developing the pleated bib panel
0.6 CM
0.6 CM
• Following the instructions on page 50, trace off the back
body pattern.
0.6 CM
0.6 CM
.6 CM
Step 7
Front pattern
0.6
0.6
0.6
0.6
0.6
0.6
0.6
0.6
0.6
0.6
0.6
0.6
0.6
0.6
0.6
0.6
0.6
0.6
0.6 CM
.25 CM
Step 10
Pleated bib pattern
BIB
CUT 1 PR SELF
• Following the instructions on page 50, trace around the
pleated shape to create the bib pattern.
PLEAT FOLD
DIRECTION
Step 11
Developing the mandarin collar
• On a new piece of piece of paper, draw a rectangle measuring
97⁄8in by 1in, which is the half neck measurement by the
width of the mandarin collar. Label the narrow side as the
center back neck and the long side as the neckline.
• From the center back neck, measure 35⁄8in (the half back
neck measurement) along the bottom line of the rectangle
and place a notch. Label it the shoulder notch. Repeat along
the top line of the rectangle.
• Measure up 9⁄16in at the front edge of the rectangle and join
this new point back to the shoulder notch with a slight curve.
• From the shoulder notch, measure 61⁄4in (the half front neck
measurement) along this curved line. At the front of the
curved line, square up 1in (the width of the mandarin collar).
Then draw another curved line to connect this line back to
the top shoulder notch.
• From the top right corner of the stand measure along 1in (the
width of the placket) and from this point square across to the
lower curved line. Label this center front neck. Round off the
top right corner with a slight curve.
Measuring half the neck from the master plan
We will develop half the collar before
creating the full collar. By taking
measurements from the master plan, which
is drawn in half, you will be measuring
half the neck measurement.
• On the master plan measure the length
of the back neck, in this case 35⁄8in,
and the front neck from the shoulder
tip down past the center front line
to the point at which the placket
finishes, in this case 61⁄4in.
• Add these two measurements together
to give half the neck measurement,
in this case 97⁄8in.
CENTER
CENTRE
BACK
BACK
NECK
NECK
CENTER
CENTRE
FRONT
FRONT
NECK
NECK
SHOULDER
SHOULDER
NOTCHES
NOTCHES
1"
2.5 CM
1"
2.5 CM
1 "
⁄4 CM
6
16
5
⁄8"
9 3CM
25
97⁄8CM
"
NECKLINE
NECKLINE
142 Chapter three the patterns: shirts
⁄16" CM
1.5
9
CENTRE
BACK
NECK
2.5 CM
2.5 CM
16 CM
9 CM
• Trace off the mandarin collar onto a new piece of paper
and, following the instructions on page 50, create the full
pattern shape.
CF
SHOULDER NOTCH
MANDARIN COLLAR
CUT 1 PR SELF CUT 1 FUSE
TH
D WID
STAN
SHOULDER NOTCH
CB NECK
STAN
D WID
TH
1.5 CM
25 CM
NECKLINE
OUTER EDGE OF STAND
CF
Step 12
Mandarin collar pattern
CENTRE
FRONT
NECK
SHOULDER
NOTCHES
GRAINLINE
GRAIN LINE
INNER EDGE OF STAND
TOP OF
SLEEVE
CROWN
POINT CAP
BACK
BACK
PITCH
NOTCH
POINT
FRONT
FRONT
PITCH
NOTCH
POINT
Step 13
Developing the sleeve master plan
FRONT SLEEVE
FRONT SLEEVE
MASTER
PLAN
UNDERARM SEAM
FRONT UNDE
RARM SEAM
MASTER PLAN
61.5 CM
ERARM SEAM
BACK UND
UNDERARM SEAM
MASTER PLAN
241⁄4" NEW SLEEVE LENGTH
NEW SLEEVE LENGTH
BACK SLEEVE
MASTER
PLAN
BACK SLEEVE
CENTER
LINE
CENTRE
LINE
BICEPS
LEVEL
UNDERARM LINE
Start this development by selecting the basic men’s sleeve
sloper, or by drafting the basic sleeve sloper according to the
instructions on page 42. Cut a large piece of drafting paper
slightly longer than the length of the shirt you want to develop
and transfer the shape of the sloper and all marks, labels, and
instructions, following the directions on page 48. The design
illustrated is shaped and has a gathered tuck on the back of
the sleeve for even more shaping. The sleeve sloper that you
have selected might be longer or shorter than the design you
are developing. Analyze it by taking a measurement from
your fit model or dress form and by consulting the size chart,
or even by using competitors’ garments for comparison. The
sleeve length is 241⁄4in and the cuff measurement is calculated
by adding 13⁄16in to the wrist measurement of 97⁄8in for a tuck,
making 11in.
28CM
11"
NEW CUFF HEM WIDTH
NEW CUFF HEM WIDTH
CUFF HEM
CUFF HEM
bib shirt 143
TOP OF
CROWN
SLEEVE
POINTCAP
Step 14
Developing the sleeve for a lowered armhole
NEW
BACK
PITCH
NOTCH
POINT
CUFF HEMLINE
144 Chapter three the patterns: shirts
1.5 CM
FRONUNDER
T UNDEARM
SEAM
RARM
SEAM
FRONT
PITCH
NOTCH
PONT
BICEPS
LEVELLINE
UNDERARM
UNDERARM
SLEEVE
POINT
CORNER
AT BICEPS
LEVEL
BACKSLEEVE
SLEEVE
BACK
MASTER
PLAN
MASTER
PLAN
UNDERARM
SLEEVE
POINT
CORNER
AT BICEPS
LEVEL
FRONT
SLEEVE
FRONT SLEEVE
MASTER PLAN
MASTER
PLAN
RARM SEAM
1
16
6
⁄4"CM
TUCK
831CM
⁄8"
5
⁄16"
13CM
41CM
⁄8" 3
CUFFCUFF
HEMLINE
OLD
HEMLINE
NEW CUFF HEMLINE
UNDERARM SEAM
SEAM
DERARM
BACK UN
UNDERARM SEAM
UNDERARM SEAM
0.5 CM
UNDERARM SEAM
CENTRE LINE
0.5 CM
NEW CUFF HEMLINE
3
0.5 CM
⁄16"
BACK
PITCH
NOTCH
POINT
Step 15
DEVELOPING the sleeve
• From the back underarm seam line measure in 31⁄8in along
the new cuff hem and square up 61⁄4in. This is the cut line for
the cuff guard. Measure in a further 15⁄8in and mark, then
a further 13⁄16in and mark. This will become the tuck.
UNDERARM
SLEEVE
POINT
CORNER
AT BICEPS
LEVEL
TOP OF
SLEEVE
CROWN
CAP
POINT
FRONT UNDE
1.5 CM
FRONT SLEEVE
MASTER PLAN
BACK SLEEVE
MASTER PLAN
UNDERARM
POINT
3
0.5
⁄16" CM
CUFF HEMLINE
NEW
FRONT
PITCH
PONT
UNDERARM LINE
1.5 CM
NEW CUFF HEMLINE
• Extend the biceps level out 9⁄16in on both sides so that the
new sleeve cap measures 207⁄8in, the same measurement as
the new armhole.
• Using the basic sleeve sloper as a template, redraw the
new sleeve cap shape, and indicate the new lowered
notch positions.
• To create the shaping at the bottom of the sleeve, measure
down 3⁄16in on the back sleeve from the center of the new
cuff hemline and mark this point. On the front sleeve,
measure up 3⁄16in from the center of the new cuff hemline
and mark this point. Join the points with a curved line that
CROWN
is convex
on the back sleeve and then reverses at the center
POINT
line so that it is concave on the front.
• Now draw in the new underarm seam lines to create the
sleeve shape.
CENTRE LINE
CENTER
NEW
BACK
PITCH
POINT
FRONT SLEEVE
FRONT
SLEEVE
MASTER PLAN
MASTER
PLAN
BACK SLEEVE
SLEEVE
BACK
MASTER PLAN
MASTER
PLAN
ARM SEAM
RARM
UNDER
BACK UNDE
Start by measuring the front and back
of the new armhole on the upper body
slopers (in this case 10in and 107⁄8in
respectively). Add these measurements
together (207⁄8in) and then measure the
sleeve cap (201⁄8in). The sleeve cap,
therefore, needs to be increased by
3
⁄4in and not beyond, allowing for the
amount of ease.
UNDERARM
LINE
BICEPS LEVEL
CENTRE LINE
CENTER
UNDERARM
SLEEVE
POINT
CORNER
AT BICEPS
LEVEL
1.5 CM
Having enlarged the sleeve circumference
in Step 5, you will need to check the
length of the sleeve cap and increase
according to the new armhole measurement.
NEW
FRONT
PITCH
NOTCH
PONT
SLEEVE
SLEEVE
CUT 11PR
CUT
PRSELF
SELF
• Following the instructions on page 50, trace off the
sleeve pattern.
GRAINLINE
GRAIN
LINE
Step 16
Sleeve pattern
Step 17
Developing the cuff
• On a separate piece of paper, draw a box 91⁄2in long by 51⁄2in
wide to create a rectangular-shaped cuff.
• Divide the box in half lengthways, draw a line across the
center, and label it fold.
Measuring the cuff
The cuff is a double pattern piece that
is sewn onto the end of the sleeve and
turned inside out. The cuff shape will
start and finish at the guard opening.
Measure this width from the pattern
(11in) and deduct 13⁄16in for the tuck and
3
⁄8in for the seam allowance on the cuff
guard opening, making 91⁄2in.
9125
⁄2"CM
7 CM
SLEEVE
CUFF
SLEEVE CUFF
CUT 1 PR SELF
2
⁄4"
7 CM
3
CUT
SELF
CUT11 PR
PR FUSE
CUT 1 PR FUSE
FOLD
LINE
FOLD
GRAINLINE
GRAIN LINE
23⁄4"
bib shirt 145
⁄4"
2 3CM
FOLD
FOLD
LINE
FOLD
LINE
FOLD
FOLD
LINE
FOLD
1 3C
⁄8"M
1 3C⁄8M
"
⁄4"
2 3CM
GRAIN LINE
GRAINLINE
16
61⁄4"CM
GRAIN LINE
TOP CUFF GUARD
GAURD
CUT 1 PR SELF
BOTTOM CUFF GAURD
CUT 1 PR SELF
16 CM
• On a separate piece of paper create a rectangular box 61⁄4in
long by 23⁄8in wide.
• Divide the box in half lengthways, draw down the center,
and label it fold.
• At each end square out 3⁄4in up and 3⁄4in down from the fold
line and mark. Join these points with straight lines. This will
leave you with a 3⁄8in seam allowance on each long side.
• From the top left corner measure 1in down the long side of
the rectangle and square across 3⁄4in. This small rectangular
shape will be removed from the pattern.
• From the top right corner measure 3⁄8in down the long side of
the rectangle and mark, and measure 3⁄4in across the short
side and mark. Join these points with an angled line.
• Now measure 3⁄8in down along the right edge of the
1 CM
1 CM
4 CM
rectangle you drew in the top left corner and join this
point
to the top of the first angled line to give a pointed shape to
the top of the cuff guard.
23⁄CM
4"
2.5
1" CM
FOLD LINE
FOLD LINE
Step 18
Developing the top cuff guard
FOLD LINE
TOP EDGE
1 3CM
⁄8"
23⁄CM
4"
1 3CM
⁄8 "
3
2 CM
⁄4"
3
62CM
⁄8"
BOTTOM EDGE STITCHED
TO CUFF
FOLD LINE
1 CM
2.5 CM
FOLD
LINE
FOLD
2 CM
GRAIN LINE
GRAINLINE
BOTTOM CUFF GAURD
GUARD
8"
13⁄CM
CUT 1 PR SELF
16 CM
1
16
⁄4"CM
6
• Create a rectangular box 61⁄4in by 23⁄8in.
• Divide the box in half lengthways, draw a line down the
center, and label it fold.
• At each end square out 3⁄4in up and 3⁄4in down from the fold
line and mark. Join these points with straight lines. This will
leave you with a 3⁄8in seam allowance on each long side.
FOLD
LINE
FOLD
Step 19
Developing the bottom cuff guard
FOLD
LINE
FOLD
TOP EDGE
4
⁄8"
15CM
1 3CM
⁄8"
1 CM
146 Chapter three the patterns: shirts
2C
BOTTO
bib shirt 147
CHAPTER FOUR
The
Patterns:
PANTS
step 1
Developing the master plan
Start by selecting the basic men’s pant sloper, or by drafting
the basic pant sloper according to the instructions on page 45.
Cut a large piece of drafting paper slightly longer than the pant
you want to develop and transfer the shape of the sloper and
all marks, labels, and instructions following the directions on
page 49.
150 Chapter FOUR the patterns: PANTS
EK R
C
TUBRAVRISE
CRHEC
T
T
K
O
N
C
E
CR
BA
HIP LEVEL
HIP
LINE
C ET
TR
C EN
HIP LINE
HIP LEVEL
HIP
LINE
HIP LINE
SEAT LINE
SEAT LEVEL
SEAT
LINE
HEMLINE
HEMLINE
HEMLINE
KNEE LEVEL
KNEE
LINE
KNEE LINE
HEMLINE
HEMLINE
HEMLINE
BACK
BACK
MASTER
MASTER
BACK
PLAN
PLAN
MASTER
PLAN
IIN
NSSEID
AE
M LE
G SE
INSID
AM
E LE
G SE
AM
GRAINLINE
GRAIN
LINE
GRAIN LINE
SEMAM
E EA
S
OIUDTS
M
E
SIDE S A
KNEE LINE
KNEE
KNEELEVEL
LINE
SEAT LEVEL
SEAT
LINE
SEAT LINE
OU
SIDTS
E EA
SEM
AM
SIDE SEAM
FRONT
MASTER
FRONT
FRONT
MASTER
PLAN
MASTER
PLAN
PLAN
GRAIN LINE
GRAINLINE
GRAIN LINE
C
CRE
NTTCR
O
HECFURROVN
ET RISE
IINSEAM
NSIDE LEG SEAM
This pattern includes development
of the following features:
Front pleats
Straight legs
Fly, fly facing, and fly extension
Front right-angled welted pockets
Back welted pockets
Notched waistband
INSIDE LEG SEAM
CE
N TR
E FRONT RISE
ISE
pattern
High-waisted Pants
2⁄4"CM
3
1
8"
45⁄CM
HIP
HIP LEVEL
LINE
3
⁄8 "
1 CM
FLY SHAPE
FLY
SHAPE
⁄8"
1143CM
OLD
OLD PLEAT
PLEATLINE
LINE
C
CR
EO
N
TTCRHE
CFURROVN
ET RISE
33⁄8" CM
8.5
• Following the instructions on page 50,
trace off the back pant leg pattern.
RISE
ACK
BACK LEG
LEG
BACK LEGBACK
CUT 11PR
CUT
PRSELF
SELF
CUT 1 PR SELF
CE
RB
NT
7 CM ISE
KER
RV
A
UC
7 CM
3
⁄4"
7 2CM
HIP LINE
KNEE
KNEELEVEL
LINEKNEE LINE
M
GRAIN LINE
AM
NSSEID
IN
E LEG SEA
SIDE SEAM
OUTSEAM
S
IDE SEAM
M
GRAINLINE
GRAIN LINE
PLAN
BACK
MASTER
PLAN
INSIDE LEG SEA
BACK
BACK
MASTER
MASTER
PLAN
GRAINLINE
GRAIN LINE
SEAT
SEATLEVEL
LINE SEAT LINE
GRAIN LINE
FRONT
FRONTLEG
LEG
CUT
CUT 11PR
PRSELF
SELF
RH BC
NTTC
CREO
C
HIP
HIPLEVEL
LINE
13⁄CM
16"
3
WAISTLINE
step 5
Back leg pattern
• From the bottom of the back waist dart
square out 23⁄4in to each side. This will
become the pocket opening.
3
⁄4"
7 2CM
• Following the instructions on page 50,
trace off the front pant leg pattern.
step 4
Developing the back welted
pocket position
GRAINLINE
GRAIN LINE
step 3
Front leg pattern
3
17 6CM
⁄4"
NEW PLEAT
NEW
PLEATLINE
LINE
• Move the pleat lines ⁄8in toward the center front along the
waistline. Redraw and notch.
• Measure 15⁄8in down from the waistline and 3⁄4in in from
the outseam and mark. From this point square down 43⁄8in,
and from the same point continue across 33⁄8in toward
the center front, creating a right-angled shape. Measure in
3
⁄8in from the vertical line and draw a parallel right-angled
shape to make the width of the welt opening. Square off
at both ends.
• To create the fly shape, measure in 13⁄16in from the center
front waist point and square down 63⁄4in. At the bottom of
this line measure 13⁄16in back up and make a mark; draw a
curved line from this point back down to the crotch curve.
3
NEW PLEAT
NEW
PLEATLINE
LINE
3
1 CM
⁄8 "
5
⁄8"
41CM
3
⁄8"
1 CM
OLD
OLD PLEAT
PLEATLINE
LINE
step 2
Developing the front right-angled welted
pocket and fly shape and moving the pleats
13⁄CM
16"
3
CENTER
CENTRE
FRONT
FRONT
WAIST
POINT
HEMLINE
HEMLINE HEMLINE
High-waisted Pants 151
step 7
Front pocket bag pattern
• Measure 23⁄4in from the outseam along the waistline and
mark; square down 107⁄8in and mark.
• From the bottom of this line square out 25⁄8in toward the
center front and mark, and from the outseam measure in
53⁄8in along the waistline and mark. Draw a line between
these two points. This is the side pocket seam. From the
bottom of the first line square out 25⁄8in toward the outseam;
13.5 CM
from here square up 33⁄8in and then square out 3⁄4in to meet
7 CM
1 CM
5
the outseam. This point is 7 ⁄8in from the waistline, measured
along the outseam.
• To create a slight angle to the side of the pocket bag, at the
top of the pocket measure 3⁄8in back along the waistline
toward the outseam and redraw the side pocket seam.
• Round off all the corners.
• Following the instructions on page 50, trace off the front
pocket bag pattern.
PLEAT LINE
PLEAT LINE
step 6
Developing the front pocket bag
FRONT POCKET
FRONT
POCKETBAG
BAG
CUT 22 PR
PRPOCKETING
POCKETING
GRAIN LINE
GRAINLINE
27.5 CM
3
513.5
⁄8" CM
2
⁄4"
73CM
1 CM
⁄8"
WAISTLINE
PLEAT LINE
PLEAT LINE
3
2 CM
FRONT POCKET BAG
CUT 2 PR POCKETING
GRAIN LINE
7
27.5
10
⁄8"CM
6.75 CM
5
19.5
7
⁄8" CM
6.75 CM
TTCRH
ECFURROVE
NT
RISE
7
10
⁄8"CM
27.5
8.5 CM
CE
NT
RE F
RO
NT RISE
27.5 CM
19.5 CM
OUTSEAM
8.5
33⁄8"CM
CCR
EO
N
23CM
⁄4"
5
6.75
⁄8" CM
2
152 Chapter FOUR the patterns: PANTS
5
26.75
⁄8" CM
step 8
Developing the welt shape of the front right-angled pocket
• At the top of the line square out 33⁄8in on each side (the
width of the pocket opening).
• From the end of each line square down 9⁄16in and mark;
square in from these points, ending 9⁄16in from the fold,
and mark. Square down and complete the end of the welt.
• Add a 3⁄8in seam allowance to all sides of the shape to create
the final pattern.
• The shape of the welt is developed on a fold so that a seam
is not needed on all sides and will resemble a T shape.
• Draw a 43⁄8in vertical line (the length of the pocket) down
the center of a piece of paper. This is the fold line.
• From the bottom of the line square out 9⁄16in on each side.
This is the width of the welt.
3
"
3
8.5⁄8CM
8.5
33⁄8CM
"
"
1⁄8CM
3
13CM
⁄8"
9 CM
1.4
⁄16"
3 CM
1
⁄8"
POCKET
WELT
POCKET WELT
CUT
SELF
CUT1 PR
1 PR
SELF
⁄ "
9
1.4
CM
16
13⁄CM
8"
FRONT
POCKET
SIDE
FRONT
POCKET
WELT WELT
SIDE
GRAIN
LINE
GRAINLINE
3 CM
1
⁄8"
FOLD
FOLD
113⁄CM
4
8"
9 CM
1.4
⁄16"
9 CM
1.4
⁄16"
⁄"
3
1 8CM
3 3CM
⁄16"
1
3
1 CM
⁄8"
13CM
⁄8"
⁄"
3
1 8CM
3 CM
1
⁄8"
3 CM
1
⁄8"
13⁄CM
8"
FLY FACING
CUT 1 SELF R.S.U
• Following the instructions on page 50, trace off the front fly
facing pattern, adding a 3⁄8in seam allowance to all sides.
173 CM
6
⁄4"
FLY FACING
CUT 1 SELF R.S.U
Zippers
When developing the fly length it is
important to select a zipper that is 3⁄8–
9
⁄16in shorter than the fly facing shape.
GRAIN
LINE
GRAINLINE
step 9
fly facing pattern
⁄"
31 CM
8
13CM
⁄8"
High-waisted Pants 153
⁄8"
3
⁄8"
3
5
1
⁄8"
4 CM
5
1 CM
1 CM
⁄8"
41 CM
1 CM
Fly extension
The fly extension is attached to the
right side of the center front and sits
behind the left fly facing. The facing
shape is 3⁄8in longer to cover the bulk
of the zipper end.
⁄8 "
FLY EXTENSION
FLY EXTENSION
GRAIN LINE
GRAINLINE
3
3
⁄8 "
1 CM
step 10
Developing the fly extension
415CM
⁄8"
4
15CM
⁄8"
1 3CM
⁄8"
1 3CM
⁄8"
3
8"
1 ⁄CM
1 3CM
⁄8"
FOLD
FOLD
• On a separate piece of paper, draw a vertical box 71⁄8in long
by 31⁄8in wide to create the rectangular-shaped fly extension.
• Divide the box in half lengthways, draw a line down the
center, and label it fold. Add a 3⁄8in seam allowance on
all sides.
181⁄CM
7
8"
CUT 1 SELF
CUT 1 SELF
1871CM
⁄8 "
step 11
Developing the back welted pocket and bag
• The welt opening is developed at the tip of the waist dart.
The pocket bag is then drawn over the back leg pattern and
traced off to make individual patterns.
• From the center of the dart at the waistline draw a 91⁄2in
perpendicular line down through the dart tip and make a
mark; from this point square out 33⁄8in on each side and
mark. From these points square back up to the waistline to
create a rectangle. This is the basic shape of the pocket bag.
• From the bottom of the dart square out 23⁄4in on each side
and mark; from these points square down 9⁄16in and mark.
Connect these points to create a rectangular shape. This is
the welt opening, which sits 9⁄16in from each outside seam of
the pocket bag.
• To shape the pocket bag measure 3⁄8in in along the waistline
on each side and mark. Connect these points with a shallow
curve back to the outside seams of the bag. From each
bottom corner of the bag measure up 13⁄8in and in 13⁄8in
and join these points with a curved line.
1⁄ "CM
3 8
1⁄ " CM
3 8
4"M
23 ⁄C
7
M
16" C
19 ⁄.5
M
1.5 C⁄16
"
4"M
7
23 ⁄C
"
3
⁄8"M
3.51 C
33 ⁄8"
8.5 CM
3
83.5⁄ "CM
3 8
BACK
POCKET
BACKWELTED
WELT POCKET
MASTER
MASTERPLAN
PLAN
154 Chapter FOUR the patterns: PANTS
ISE
KER
ARCV
CBU
RHE
TC
OT
ERN
C
⁄8"M
3.51 C
3
⁄8"M
3.51 C
3 ⁄8"M
3.51 C
GRAINLINE
GRAIN LINE
9
1.5 C⁄16M
2
914⁄2"CM
"
9
9
16
1.5 C⁄M
135"CM
step 12
UNDER pocket bag pattern (back welted pocket)
UNDER POCKET
BAGPOCKET BAG BOTTOM
BACK
CUT
2 PR
POCKETING
CUT
2 PR
POCKETING
Pocket construction
This pocket design has a self-facing
strip sewn to the back of the bag so that
when the pocket is open the pocketing
material is not seen.
STITCHLINE
LINE
STITCH
GRAIN
LINE
GRAINLINE
STITCH
STITCHLINE
LINE
• When tracing this pattern you need to remove the dart.
Following the instructions on page 50, trace off the top
pocket bag pattern by placing the center grainline on one
side of the dart leg and drawing around one side of the top of
the pattern before moving the grainline to the other dart leg
and drawing around the other side.
• Reposition the grainline back to the center of the dart
and continue to draw the remainder of the pocket bag
and welt shape.
step 13
Top SECTION of under pocket
bag pattern
(back welted pocket)
BACK
WAISTLINE
BACK WAIST LINE
STITCH LINE
3
⁄8"
1 CM
⁄"
1 3CM
8
WELT POCKET OPENING
WELT POCKET OPENING
WELT
POCKET OPENING
OPENING
WELT
POCKET
STITCH
LINE
STITCH
LINE
13⁄CM
8"
STITCHSTITCH
LINE LINE
BOTTOM SECTION
OF UNDER
GRAINLINEGRAIN LINE
• Following the instructions on page 50, trace this pattern from
the lower stitch line of the welt opening, adding a 3⁄8in seam
allowance to the top edge.
CUT 2
POCKETING
STITCH STITCH
LINELINE
STITCH LINE
⁄"
31 CM
8
POCKET BAG
TOPBACK
SECTION
INNER TOP
OF UNDER
CUT 2 POCKETING
POCKET BAG
GRAIN LINE
GRAINLINE
• Following the instructions on page 50,
trace this pattern from the waistline to
the top stitch line of the welt opening,
adding a 3⁄8in seam allowance to the
lower edge.
step 14
Bottom SECTION of under pocket bag pattern
(back welted pocket)
FACING STITCH
STITCH LINE
FACING
LINE
BACK POCKET
POCKET BAG
BAG INNER BOTTOM
CUT
POCKETING
CUT2 2
POCKETING
High-waisted Pants 155
step 15
Developing the back POCKET self-facing strip
14
51⁄CM
2"
⁄"
3
1 CM
⁄8"
3
1 8CM
WELT
POCKET
WELT
POCKET OPENING
OPENING
⁄16"
1.5 CM
BACK POCKET
BACK
POCKET
FACING
SELF-FACING
CUT 2 SELF
CUT 2 SELF
9
3
2 CM
⁄4"
⁄ "
STITCH
LINE
STITCH
LINE
1.5 CM
⁄16"
STITCH
LINE
STITCH
LINE
9
1.5
16 CM
9
1.5 9CM
⁄16"
GRAIN LINE
GRAINLINE
• Trace the welt opening from the back pant leg, adding 9⁄16in
to each end. Measure down 3⁄4in at each end of the lower
edge of this rectangular shape to create a larger rectangle
measuring 63⁄4in x 13⁄8in. Add a 3⁄8in seam allowance to the
top and bottom edges to create the final pattern.
3 CM
1
⁄8"
3
1 CM
⁄8"
step 16
Developing the back POCKET welt strip
141⁄CM
5
2"
⁄ "
9
1.5
16 CM
• On a separate piece of paper, draw a horizontal box 51⁄2in
long by 11⁄8in wide to create the rectangular welt strip. Divide
the box in half lengthways, draw a line across the center, and
label it fold.
• Add a 9⁄16in seam allowance to each of the shorter sides and
a 3⁄8in seam allowance to the longer sides.
3 CM
2
⁄4"
⁄16"CM
1.5
9
⁄"
3
1 CM
⁄8"
3
1 8CM
⁄ "
1.5 9CM
16
BACK
POCKET WELT
BACK POCKET WELT
CUT 2 SELF
CUT 2 SELF
1.5 9CM
⁄16"
9
1.5
⁄16"CM
FOLD
FOLD
GRAIN LINE
GRAINLINE
9
1.5
⁄16"CM
⁄"
3
1 CM
8
3 CM
1
⁄8"
9
1.5
⁄16"CM
⁄ "
9
1.5
16 CM
step 17
Developing the left side of the waistband
Notched waistband
This waistband design has a notched
center back that is reminiscent of
traditional tailoring, and buttons for
the attachment of suspenders.
3
8
BUTTON
POSITION
BUTTON
POSITION
1⁄ " CM
• Draw a horizontal rectangle 163⁄8in long (half the length of
the full waist measurement) by 13⁄8in wide (the depth of the
waistband). Label the left-hand side center front and the
right-hand side center back.
• Add alignment notches for the front pleat by measuring
31⁄8in in from the center front. Continue measuring 41⁄16in
toward the outseam, and a further 4in along mark the back
pleat alignment notch.
• Develop the notch shape by measuring 1in up the center back
and then a further 13⁄16in and mark. Square in 3⁄8in and mark.
Connect these two points with an angled line and draw a
curved line from the top back to the outseam notch.
• Add a 3⁄8in seam allowance to all sides to create the
final pattern.
8 ⁄ ".5 CM
22
3
⁄8"
78
13⁄16"
⁄8"
13⁄8"
GRAINLINELINE
GRAIN
LEFT
WAISTBAND
LEFT
WAISTBAND
CUT
1 PR
CUT 1 FUSE
1 FUSE
CUT
1 SELF
PR SELF CUT
1"
CB
CB
CF
CF
3
⁄8"
3
⁄8"
156 Chapter FOUR the patterns: PANTS
BACK DART
NOTCH
⁄8"
5" CM
13
4" CM
10.3
16
OUTSEAM
1
3
4 ⁄ "CM
10.3
31⁄8"
PLEAT ALIGNMENT
NOTCH
3
⁄8"
3
step 18
Developing the right side of the waistband
• Add the 15⁄8in fly extension to the center front then add a
3
⁄8in seam allowance to all sides to create the final pattern.
1⁄ " CM
3
8
BUTTON
BUTTON
POSITION
POSITION
⁄" C
228.5
M
3 CM
1⁄ "
8
1⁄ " CM
3
CB
2.5 CM1"
RIGHT WAISTBAND
RIGHT
WAISTBAND
CUT 1 PR SELF CUT 1 FUSE
CUT
1 PR SELF CUT 1 FUSE
GRAINLINE
GRAIN
LINE
3
8
⁄ " CM
1
1 CM⁄ "
3
OUTSEAM
16
⁄"
83 CM
1
8
⁄"
4 1CM
5
8
3
1
PLEAT ALIGNMENT
NOTCH
"
10.34 ⁄CM
10.34"CM
BACK DART
NOTCH
8
3
135"CM
8
⁄8 "
8
1 CM⁄ "
3
8
1 ⁄ " CM
3.5
CF
CF
16
CB
3
8
3
7
1⁄ " CM
• Repeat the steps above, but work with the center front
on the right and the center back on the left, or trace the
left-hand side and mirror.
BUTTON
BUTTON
POSITION
POSITION
FRONT
EXTENSION
High-waisted Pants 157
Start by selecting the basic men’s pant sloper, or by drafting
the basic pant sloper according to the instructions on page 45.
Cut a large piece of drafting paper slightly longer than the pant
you want to develop and transfer the shape of the sloper and
all marks, labels, and instructions following the directions on
page 49.
158 Chapter FOUR the patterns: PANTS
ISE
KVER
CAUCR
HB
CE
OTR
EN
ISE
CR
R
K
BAC
TRE
CEN
HIP LINE
HIPLEVEL
LINE
HIP
HIP
LINE
HIP
LEVEL
HIP LINE
SEAT LINE
LINE
SEAT LEVEL
HEMLINE
HEMLINE
KNEE
KNEE
LEVELLINE
KNEE LINE
HEMLINE
HEMLINE
INSID
EAEML
EG
SEA
INSID
M
E LE
GS
EAM
BACK
MASTER
BACK
PLAN
PLAN
MASTER
PLAN
GRAIN LINE
GRAIN
LINE
GRAINLINE
MM
AA
EE
ES
DTS
S
OIU
M
SIDE SEA
KNEE
KNEE LINE
KNEE LINE
LEVEL
SEAT LEVEL
LINE
SEAT LINE
OU
SIDTS
ES
EA
EAMM
SIDE SEAM
FRONT
MASTER
FRONT
FRONT
PLANMASTER
MASTER
PLAN
PLAN
GRAIN LINE
GRAINLINE
N
OTR
CE
H FCRUORNVTERISE
INSIDE LEG SEAM
INSEAM
step 1
Developing the master plan
GRAIN LINE
CR
E
CE
INSIDE LEG SEAM
This pattern includes development
of the following features:
Angled center front waist and crotch curve
Angled center back waist
Dropped crotch
Straight legs
Front fly, fly facing, and button stand and bearer
Angled side pockets
Back welted pockets
Notched waistband with front tab
N TR
E FRONT RISE
pattern
Chinos
CE
15⁄8"
⁄16"
3
57⁄8"
HIP LINE
3
13⁄CM
16"
HIP LEVEL
4
15⁄CM
8"
SEATLEVEL
LINE
SEAT
DROPPEDSEAT
SEATLEVEL
LINE
DROPPED
3
13CM
⁄16"
FRONT LEG
CUT 1 PR SE
FRONT
MASTER
MASTER
PLAN
GRAINLINE
KNEE LINE
LEVEL
SIDTS
OU
ES
EA
EA
MM
INSEAM
INSIDE LEG SEAM
3
13⁄CM
16"
4
15⁄CM
8"
33⁄CM
1
16"
GRAIN LINE
• Drop the seat level down 13⁄16in from the original seat level
and redraw the bottom of the crotch curve and the inseam
and outseam.
• Taper the hem in 3⁄4in on both seams and redraw the lines
back up to give the pant a slimmer profile.
• Remove the 15⁄8in pleat volume by angling back the front
crotch curve. To do this, measure in 13⁄16in from the center
front waist point and from this point square up 3⁄8in. Connect
this point back down to the dropped crotch and redraw the
new waistline with a shallow curve back to the outseam.
The remaining 3⁄8in will be taken out at the center back waist.
• To create the fly shape, measure in 15⁄8in from the new center
front waist point and from here measure down 71⁄8in. At the
bottom of this line measure 13⁄16in back up and make a mark;
draw a curved line from this point back to the center front
crotch curve.
• From the outseam waist point measure 15⁄8in toward the
center front and 57⁄8in down the outseam and connect these
two points to create the angled pocket opening. Extend the
pocket opening line at the waistline by 3⁄16in and redraw it,
blending the line back to the waistline to enlarge the opening.
PLEAT
3
⁄8"
1 CM
RO
NTT
R
CEH F
CRUORNVTERISE
CENTRE
CENTER
FRONT
FRONT
WAIST
POINT
POINT
1
18
7
⁄8"CM
step 2
Developing the dropped crotch, front fly,
angled center front waist, and front angled
pocket opening
18 CM
SEAT LINE
DROPPED SEAT LINE
FRONT LEG
CUT
1 PR
SELF
FRONT
LEG
CUT 1 PR SELF
GRAIN LINE
FRONT
MASTER
PLAN
KNEE LINE
3 CM
SIDE SEAM
CE
3 CM HIP LINE
4 CM
INSIDE LEG SEAM
3 CM
4 CM
GRAIN LINE
NT
RE F
RONT RISE
Enlarging the angled pocket opening to
accommodate the width of the hand
The pocket opening must be enlarged to
1 CM
allow for different hand widths orCENTRE
the
3 CM
FRONT
pockets will be too tight to use and
WAIST
POINT
stretching will occur.
PLEAT
3
2 CM
⁄4"
3
2 CM
⁄4"
HEMLINE
GRAINLINE
step 3
Front leg pattern
• Following the instructions on page 50, trace off the front
pant leg pattern.
2 CM
2 CM
HEMLINE
chinos 159
step 4
Developing the dropped crotch, angled center
back waist, and welted pocket position
• Drop the seat level down 13⁄16in from the original seat level
and redraw the bottom of the crotch curve and the inseam
and outseam.
• Taper the hem in 3⁄8in on both seams and redraw the lines
back up to give the pant a slimmer profile.
• From the center back waist point measure in 3⁄8in and from
this point measure up 3⁄8in; redraw the shorter waistline and
the longer back crotch curve.
• From the bottom of the dart square out 23⁄4in to each side.
Create a rectangular box 9⁄16in deep by 51⁄2in long.
step 5
Back leg pattern
• Following the instructions on page 50, trace off the back pant
leg pattern.
CENTER BACK
WAIST POINT
13⁄8CM
"
8"
13⁄CM
1 CM
9
1.5
⁄16"CM
7 CM
3
BACK
MASTER
PLAN
3 CM
KNEE LINE
INSIDE SEAM
SIDE SEAM
OUTSEAM
INSIDE SEAM
INSEAM
SIDE SEAM
KNEE LINE
LINE
1 CM
HEM LINE
1 CM
3
1 CM
⁄8"
3
1 CM
⁄8"
HEMLINE
HEM LINE
160 Chapter FOUR the patterns: PANTS
BACK LEG
LEG
CUT 1 PR
PR SELF
SELF
GRAIN LINE
GRAINLINE
3
1 ⁄CM
16"
SEAT LINE
DROPPED SEAT LINE
GRAIN LINE
GRAINLINE
BACK
MASTER
PLAN
PLAN
3 CM
K RISE
BAC
SEAT LINE
LEVEL
DROPPED
DROPPED SEAT
SEAT LINE
LEVEL
OCTE
CNH
3
13⁄CM
16"
HIP LINE
BACK LEG
CUT 1 PR SELF
E
TR
E
C
TR
HIP LINE
LEVEL
1.5 CM
14 CM
GRAIN LINE
1.5 CM
GRAIN LINE
VKERISE
U
BARC
14
51⁄2"CM
CR
1.59⁄CM
16"
1 CM
CE
N
7 CM
2 ⁄4"
3
12
43⁄4"CM
5
4 1CM
⁄8"
1⁄8"CM
3
step 6
Developing the front pocket bag
15
57⁄8CM
"
• First recreate the original shape of the front pant leg
master plan before the shape for the angled side pocket
was removed and redraw the pocket opening from Step 2
(without the extension for the enlarged opening).
• Next create the pocket bag template by measuring 43⁄4in
along the waistline from the top of the pocket opening to
develop the pocket bag width. From this point square down
101⁄4in; this is the length of the pocket bag.
• From the bottom of the pocket opening on the outseam,
to create a step, measure down 15⁄8in and from this point
measure in 3⁄4in; from here measure down a further 23⁄4in
and connect this point to the pocket length to close the
bag shape.
• To create a slight angle to the side of the pocket bag, at the
top of the pocket measure 3⁄8in back along the waistline
toward the outseam and redraw the pocket length. At the
bottom of the pocket, round off the corners (13⁄16in by 13⁄16in),
and round off the step.
• Develop the pocket facing depth by measuring in 13⁄16in from
the opening and connecting the waistline with the step using
a parallel curved line.
26
101CM
⁄4"
33⁄CM
1
16"
4
15⁄CM
8"
3
FCRUOR
NVE
RISE
7 CM
23⁄4"
133⁄CM
16"
CR
EN
OT
R
CE
H
2⁄4"CM
FRONT
FRONT
POCKET
BAG
MASTER
PLAN
PLAN
⁄16"
313CM
33⁄CM
1
16"
3 CM
12
4
⁄4"
3
13⁄CM
16"
C"M
03.5⁄16
NLINE
IT
ST
INE
HL
LINE
AIN AI
GRGR
NG
CI
FA
CH
E
LIN
BAG G
KET
TIN
POC OCKE
TOP
RP
1P
CUT
NT
FRO KET
POC
BAG R
STE
MA AN
PL
E
LIN
AIN
GR
FRONT
POCKET
BAG
MASTER
PLAN
EPT
D
INLG
INE
FEAPCTH
GD
IN
FAC
• Trace off the pocket bag shape with the facing depth line
onto a separate piece of paper, extend the pocket opening
line by 3⁄16in, and redraw it, blending the line back to the top
edge, as in Step 2.
ING
ING
PEONPEN
TCO
KET
KEPO
POC
step 7
Developing the front pocket bag master plan
KET
POC
INE
GL
NIN
GRAIN LINE
OPE
chinos 161
0.5 CM
0.5
CM
POCKET OPENING
FACING DEPTH LINE
CH
STIT
ING
FAC
TOP POCKET BAG
• Following the instructions on page 50, trace off the top
pocket bag pattern and the top pocket facing from the
latest development in Step 7, including the extended pocket
opening. Trace off the pocket bearer and the under pocket
bag without the additional shape formed by the extended
pocket opening.
0.5 CM
GRA
FACING DEPTH LINE
LINE
GRAIN LINE
FRONT
POCKET
BAG
MASTER
PLAN
G RA
IN
LINE
POCKET OPENING
TOP POCKET BAG
CUT 1 PR POCKETING
IN LIN
E
GRAIN LINE
CH
STIT
ING
FAC
The pocket bearer
The pocket bearer is cut from the
original fabric and is sewn to the under
pocket bag, which is then sewn to the
waistband and outseam behind the angled
pocket opening. While the pocket opening
was made longer in Step 2, the pocket
bearer and under pocket bag will follow
the original line of the waistline,
holding the dimensions of the pocket
parts together.
LINE
NING
OPE
KET
POC
CUT 1 PR POCKETING
step 8
Front pocket bag component patterns
FRONT
POCKET
BAG
MASTER
PLAN
0.5 CM
1 CM
13⁄CM
8"
1 CM
1 CM
1 CM
GRAIN LINE
1 CM
1 CM
GRAIN LINE
GRAINLINE
3 CM
1
⁄8"
13⁄8CM
"
FRONT FLY FACING
CUT 1 SELF R.S.U
CUT 1 SELF R.S.U
FRONT
FACING
FRONT
FLY FLY
FACING
CUT 1 SELF R.S.U
CUT 1 SELF
CUT 1 SELF
FRONT
FLYFLYBUTTON
STAND
FRONT
BUTTON STAND
GRAIN LINE
GRAINLINE
FOLD
LINE
FOLD
TOP POCKET FACING
CUT 1 PR SELF
GRAIN LINE
E
TOP POCKET BEARER
CUT 1 PR SELF
LIN
UNDER POCKET BAG
CUT 1 PR POCKETING
FOLD LINE
E
IN LIN
POSITIONS
⁄8"
3
GRA
CH
STIT
BUTTON POSITIONS
BUTTON POSITIONS
BUTTON
GRAIN LINE
ER
AR
BE
GRAIN LINE
FRONT FLY BUTTON STAND
CUT 1 SELF
1 CM
1 CM
3
"
3 CM
1
⁄8
⁄8"
1 CM
3
162 Chapter FOUR the patterns: PANTS
POCKET OPENING LINE
⁄8"
3
⁄8"
1 CM
1 CM
3 CM
1
⁄8"
FRONT
POCKET
BAG
MASTER
PLAN
1 CM
POCKET OPENING
TOP POCKET BEARER
CUT 1 PR SELF
TOP POCKET FACING
CUT 1 PR SELF
E
IN LIN
GRA
FACING DEPTH LINE
NE
GRA
IN LI
GRAIN LINE
GRAINLINE
GRAINLINE
1 CM
POCKET OPENING LINE
POCKET OPENING LINE
IN
CCIN
HL
FA
STIT
ER
AR
BE
E POCKET BEARER
G
TOP
R
A
IN LIN
H LIN
LINE
E STITC
CUT 1 PR
CHSELF
ING
STIT
FAC
G
E
CUT 1 PR SELF
POCKET BAG
CUT 1 PR POCKETING
TOP POCKET FACING
CUT 1 PR SELF
BAG
POCKET
UNDER
POCKET BAG
UNDER
CUT 1 PR POCKETING
CUT 1 PR POCKETING
G
FACIN
KET
POC
TOP PR SELF
1
CUT
• Following the instructions on page 50, trace off the fly shape
developed in Step 2 onto a separate piece of paper. Label the
straight line, fold; flip the fly shape over along this line and
mirror it to create a single pattern shape. Add a 3⁄8in seam
allowance to all sides.
• The pattern is folded along the straight line to give double
thickness to the buttonholes once positioned.
• Trace off the single fly shape from the left side of the button
stand to create the fly facing pattern.
UNDER
GRAIN LINE BAG
TOPBAG
POCKET
TOP POCKET
GRAIN LINE
CUT 1 PR POCKETING
CUT 1 PR POCKETING
GRAIN LINE
E
LIN
GRAINLINE
GRAIN LINE
TINCE H
H IL
CT
TITS
SR
ERE
RR
EAA
BBE
GRAIN LINE
LINE
RER ER
BEAAR
INEG
KETT BE
CE
EGNLIN
POK
PC
SELF
TOPOENPIN
TOO
SELF
P
KEET
1 PRT 1 PR
CCK
PO
PO
TOP CUT C
U
GRAINLINE
E
N LIN
step 9
Developing the front fly button stand and
front fly facing
⁄8"
3
TOP POCKET
FACING
1 CM
1 CM
8"
4
15⁄CM
FLY
MASTER
MASTE
R
PLAN
3
16"
13⁄CM
RIGHT
RIGHT
LEFT
8"
45⁄CM
1
⁄8"
1 CM
⁄8"
1 CM
3
3
1
3 CM
⁄8"
BEARER
CUT 1
PR SELF
step 11
Front fly button bearer pattern
GRAIN LINE
LEFT
FLYFLY
LEFT
BUTTON BEARER
BUTTON
CUT
1 PR SELF
GRAINLINE
13CM
⁄8"
4 CM
45⁄CM
8"
1
CENTRE
CENTER FRONT
FRONT
• Create a master plan to draw the
shape of the front fly button bearer by
placing the front leg patterns together
at the center front and tracing around
the outline.
• The button stand and fly facing are
attached to the left pant leg and
the button bearer is attached to the
right pant leg. From the center front
measure 15⁄8in along the waistline of
the left leg for the positioning of the
buttons and a further 15⁄8in for the
overlap and make a mark.
• From the bottom of the fly curve
draw across and up, slightly curving
your line, to meet this point on
the waistline.
4 CM
• Following the instructions on page 50, trace off the button
bearer final pattern, adding a 3⁄8in seam allowance to
all sides.
CENTRE FRONT
R
step 10
Developing THE front fly
button bearer
3 CM
LEFT
4 CM
1 3CM
⁄8"
3
1 CM
⁄8"
chinos 163
step 12
Developing the back welted pocket and
bag shape
M
2 ⁄2C"
6.5
1
⁄4"M
23C
.51 ⁄2"CM
62
1⁄ "CM
3 8
1⁄ "CM
3 8
4"M
7
23 ⁄C
1⁄ .5" CM
9 16
16"
1.5 C⁄M
4"M
7
23 ⁄C
9
1.5 C⁄16M"
⁄ "
⁄8"M
3.513C
2"M
5C
2"M
5C
3 ⁄8"M
3.51 C
TTRC
ENO
CR
⁄8"M
3.513C
8"M
13 ⁄C
3.5
GRAIN LINE
GRAINLINE
1 CM
14
5
⁄2"
ISE
KVRE
AUCR
C
B
EH
9 16
1.5 CM
2
914⁄2"CM
9
• The welt opening is developed at the tip of the waist dart.
The pocket bag parts are drawn over the back leg pattern
and then traced off to make individual patterns.
• From the center of the dart at the waistline draw a 91⁄2in
perpendicular line down through the dart tip and mark; from
this point square out 33⁄8in on each side and mark. From
these points square back up to the waistline to create a
rectangle. This is the basic shape of the pocket bag.
• From the bottom of the dart square out 23⁄4in on each side
and mark; from these points square down 9⁄16in and mark.
Connect these points to create a rectangular shape. This is
the welt opening, which sits 9⁄16in from each outside seam of
the pocket bag.
• To shape the pocket bag measure 3⁄8in in along the waistline
on each side and mark. Connect these points with a shallow
curve back to the outside seams of the bag. From each
bottom corner of the bag measure up 13⁄8in and in 13⁄8in
and join these points with a curved line.
BACK
POCKET
BACK WELT
WELTED
MASTER
POCKET PLAN
MASTER PLAN
step 13
BACK pocket bag BOTTOM pattern (back
welted pocket)
• When tracing this pattern you need to remove the dart.
Following the instructions on page 50, trace off the pocket
bag pattern by placing the center grainline on one side of
the dart leg and drawing around one side of the top of the
pattern before moving the grainline to the other dart leg
and drawing around the other side.
• Reposition the grainline back to the center of the dart
and continue to draw the remainder of the pocket bag
and welt shape.
164 Chapter FOUR the patterns: PANTS
BACK POCKET
BACK
BACK POCKET BAG
BAGOFBOTTOM
CUT 2 PR POCKETING
⁄8"
393CM
CUT 2 PR
POCKETING
STITCH LINE
STITCH
LINE
STITCH
LINE
STITCH LINE
51⁄2"
14 CM
GRAIN LINE
GRAINLINE
Pocket construction
This pocket design has a self-facing
strip sewn to the back of the bag so that
when the pocket is open the pocketing
material is not seen.
135"
CM
63⁄4" 20 CM
FACING STITCH LINE
FACING
STITCH
LINE
BACK WAISTLINE
BACK WAISTLINE
step 14
Top section of under pocket bag pattern
(back welted pocket)
BACK POCKET
BAG INNER TOP
GRAINLINE
• Following the instructions on page 50, trace this pattern from
the waistline to the top stitch line of the welt opening, adding
a 3⁄8in seam allowance to the lower edge.
GRAIN LINE
TOP OF FRONT OF BACK POCKET BAG
CUT 2 POCKETING
CUT 2 POCKETING
STITCH
STITCH LINELINE
⁄"
31 CM
8
STITCH
LINE
STITCH LINE
⁄8"
1 CM
3
WELTED POCKET OPENING
WELTED POCKET OPENING
WELTED
POCKET OPENING
OPENING
WELTED
POCKET
1 3CM
⁄8"
STITCH LINE
step 15
Bottom section of UNDER pocket bag pattern
(back welted pocket)
13⁄CM
8"
STITCH LINE
STITCH LINE
STITCH LINE
BOTTOM
FRONT
BACK OF
POCKET
OF BACK POCKET BAG
BAG
INNER
CUT
2 POCKETING
GRAIN LINE
BOTTOM
GRAINLINE
• Following the instructions on page 50, trace this pattern from
the lower stitch line of the welt opening, adding a 3⁄8in seam
allowance to the top edge.
CUT 2
POCKETING
step 16
Developing the back self-facing strip
step 17
Developing the back welt strip
• Trace the welt opening from the back pant leg, adding 9⁄16in
to each end. Measure down 3⁄4in at each end of the lower
edge of this rectangular shape to create a larger rectangle
measuring 65⁄8in x 13⁄8in. Add a 3⁄8in seam allowance to the
top and bottom edges to create the final pattern.
• On a separate piece of paper, draw a horizontal box 51⁄2in
long by 11⁄8in wide to create the rectangular-shaped back
welt strip.
• Divide the box in half lengthways draw a line across the
center, and label it fold.
• Add a 9⁄16in seam allowance to each of the shorter sides and
a 3⁄8in seam allowance to the longer sides.
51⁄2"
3
1 CM
⁄8"
1 3CM
⁄8"
⁄ "
91.5 CM
16
BACK
POCKET
BACK POCKET
FACING
CUT 2 SELF
FACING
CUT 2 SELF
GRAIN LINE
GRAINLINE
⁄4"
13⁄CM
8"
WELT
OPENING
WELTPOCKET
POCKET OPENING
STITCH
STITCH
LINE
STITCH LINELINE
STITCH
LINE
1.59⁄CM
16"
2 3CM
14 CM
1.5
CM
9
⁄16"
⁄16"
1.59 CM
23⁄CM
4"
13⁄8CM
"
1.5
⁄16"CM
9
⁄16"CM
1.5
⁄2"
145CM
1
9
13⁄CM
8"
13CM
⁄8"
1.59⁄CM
16"
BACK
POCKET
BACK POCKET
WELT WELT
CUT 22
SELF
GRAIN
LINE
CUT
SELF
GRAINLINE
1.59⁄CM
16"
9 CM
1.5
⁄16"
FOLD
LINE
FOLD
1.5
9 CM
⁄16"
13CM
⁄8"
13⁄CM
8"
1.5
9 CM
⁄16"
⁄ "
1.5
CM
9
16
chinos 165
step 18
Developing the right side of the waistband
• This style has a notched center back so the waistband will be
drafted in two parts.
• Take the waist measurement from the front and back leg
patterns to create the waistband. Draw a vertical line 13⁄8in
long (the depth of the waistband) and label it center back.
Square across 87⁄8in for the back pant width and mark the
outseam. Measure a further 71⁄2in for the front pant width
8
3
8
3
1 CM⁄ "
1 CM⁄ "
WAIST LINE
LINE
WAIST
8
BACK
DART
BACK
DART
NOTCH
NOTCH
8
8
3
318
⁄8" CM
71⁄2"
3
87⁄8"
⁄"
1 CM
8
⁄"
1 CM
3
GRAINLINE
GRAIN LINE
CUT
1 PR
SELFSELF
CUT
1 PR
3
RIGHT
WAISTBAND
RIGHT
WAIST BAND
CF
CF
4
FLYFLY
NOTCH
NOTCH
3
CB
CB
2 CM⁄ "
"
3.51 ⁄CM
8
POCKET
POCKET
NOTCH
NOTCH
3
FLY EXTENSION
FLY EXTENSION
FOR BUTTON
FOR BUTTON
BEARER
BEARER
1⁄ " CM
8
3
1⁄ " CM
1⁄ " CM
OUTSEAM
SIDE
SEAM
WAIST BAND CIRC - 83 CM / 2 CM EASE
and mark and label the center front. Measure a further 31⁄8in
for the fly extension for the button bearer. Complete
the rectangle.
• Develop the notch shape by measuring 3⁄4in up the center
back and in 3⁄8in along the top of the waistband and join
these two points.
• Add a 3⁄8in seam allowance to all sides to create the
final pattern.
step 19
Developing the left side of the waistband
• Develop the notch shape by measuring 3⁄4in up the center
back and in 3⁄8in along the top of the waistband and join
these two points.
• Add a 3⁄8in seam allowance to all sides to create the
final pattern.
1⁄ "CM
TAB
OUTSEAM
SIDE SEAM
FRONT
FRONT
WAISTBAND
TAB
WAISTBAND
• Use the basic waist measurement from the right waistband to
create the left waistband rectangle (71⁄2in + 87⁄8in) but then
add the measurement for the center front waistband tab,
which is 15⁄8in in length with an additional 9⁄16in to create the
point. The waistband depth is 13⁄8in.
3
CUT
1 PR1SELF
CUT
PR SELF
GRAINLINE
GRAIN LINE
WAISTLINE
WAISTLINE
166 Chapter FOUR the patterns: PANTS
87⁄8"
POCKET
POCKET
NOTCH
NOTCH
NOTCH
FLYFLY
NOTCH
BUTTON
BUTTON
POSITION
POSITION
9
⁄16"
1.5 CM
71⁄2"
CB
CB
LEFT
WAISTBAND
LEFT
WAISTBAND
8
16
CF
CF
11
3
⁄ "
1.75 CM
"
3.51 ⁄ CM
8
BACK
DART
BACK
DART
NOTCH
NOTCH
5
8
4 1CM
⁄"
2⁄ "CM
3
4
chinos 167
Start by selecting the basic men’s pant sloper, or by drafting
the basic pant sloper according to the instructions on page 45.
Cut a large piece of drafting paper slightly longer than the pant
you want to develop and transfer the shape of the sloper and
all marks, labels, and instructions, following the directions on
page 49.
168 Chapter FOUR the patterns: PANTS
ISE
E R
VK
RC
UA
ETCB
RH
NTC
EO
SE
CR
I
K R
BAC
RET
T
N
CE
HIP LINE
HIPLEVEL
LINE
HIP
HIPLEVEL
LINE
HIP
HIP LINE
SEAT LINE
SEAT LEVEL
LINE
SEAT
LINE
SEAT LEVEL
KNEE
KNEE
LEVELLINE
KNEE LINE
HEM LINE
HEMLINE
HEM LINE
HEMLINE
HEM
LINE
HEM LINE
E SE
AM
INSID
KNEE
KNEE LINE
KNEE LINE
LEVEL
IIN
NSID
SEAE SE
M A
M
BACK
MASTER
BACK
PLAN
PLAN
MASTER
PLAN
GRAIN LINE
GRAIN
LINE
GRAINLINE
M
SIDE SEA
MM
AA
EE
ES
DTS
S
OIU
SEAT LINE
SIDTS
OU
ES
EA
EA
MM
SIDE SEAM
FRONT
MASTERFRONT
PLANMASTER
MASTER
PLAN
GRAIN
LINE
GRAINLINE
CR
EN
OTR
CE
H FCRUO
RN
VTE RISE
CE
GRAIN LINE
IINSEAM
NSIDE SEAM
step 1
Developing the master plan
INSIDE SEAM
This pattern includes development
of the following features:
Angled center front waist and crotch curve
Angled center back waist
Dropped crotch
Enlarged volume in straight legs
Stitched front fly
Side welted pockets
Back patch pocket
Drawstring ribbed waist
Center back notch detail
Ribbed cuff at hem
N TR
E FRONT RISE
pattern
Basic Sweatpants
45⁄CM
1
8"
3
⁄8"
1 CM
3 ⁄CM
1
16"
181⁄8C
7
"M
3 1CM
⁄8 "
SEATLEVEL
LINE
SEAT
DROPPEDSEAT
SEATLEVEL
LINE
DROPPED
INSIDE SEAM
INSEAM
GRAIN
LINE
GRAINLINE
• Drop the seat level down 13⁄16in from the original seat level
and redraw the bottom of the front crotch curve and the
inseam and outseam.
• Remove the 15⁄8in pleat volume by angling back the front
crotch curve. To do this, measure in 13⁄16in from the center
front waist point and from this point square up 3⁄8in. Connect
this point back down to the dropped crotch and redraw the
new waistline with a shallow curve back to the outseam.
The remaining 3⁄8in will be taken out at the center back waist.
• In this style the fly shape is stitched rather than constructed.
To create the fly shape, measure in 15⁄8in from the new center
front waist point and from here measure down 71⁄8in. At
the bottom of this line measure 13⁄16in back up and make
a mark; draw a curved line from this point back to the
crotch curve.
HIP LEVEL
33⁄CM
1
16"
FRONT
MASTER
PLAN
SIDTS
OU
ES
EAMM
EA
33⁄CM
1
16"
HIP LINE
33⁄CM
1
16"
5
OTC
CR
step 2
Developing the dropped crotch, front fly, and
angled center front waist
H CURVE
3
LINE
KNEE LEVEL
HEM LINE
HEMLINE
CENTER
BACK WAIST
POINT
7 CM
23⁄4"
TCH
SEAT LEVEL
LINE
DROPPED SEAT LEVEL
LINE
GRAIN LINE
GRAINLINE
3
13⁄CM
16"
CRO
HIP LEVEL
LINE
HIP
EEAAMM
ES
DTS
SIU
O
• Drop the seat level down 13⁄16in from the original seat level
and redraw the bottom of the crotch curve and the inseam
and outseam.
• From the center back waist point measure in 3⁄8in and from
this point measure up 3⁄8in; redraw the shorter waistline and
the longer back crotch curve.
• From the bottom of the dart square out 23⁄4in to each side
to create the pocket placement guide line of 51⁄2in, for the
right leg only. The top of the patch pocket is aligned against
this line.
1
14
⁄2"CM
5
KNEE LEVEL
LINE
3
13⁄CM
16"
BACK
MASTER
PLAN
IN
INSE
IDAEMS
EAM
step 3
Developing the dropped crotch, angled center
back waist, and welted pocket position
VE
CUR
3
1
⁄8"CM
3
8"
1 ⁄CM
HEMLINE
HEM LINE
basic sweatpants 169
step 4
Adding volume to the front leg
step 5
Developing the front side welted pocket
• From the new outseam waist point measure down 1in; from
this point measure in 3⁄4in and down 57⁄8in to the hip level.
Remove a 3⁄4in by 57⁄8in rectangle, which will become the
welted pocket opening.
1.3 CM
2.5 CM
Pocket construction
This pocket design has a self-facing
strip sewn to the back of the bag so that
when the pocket is open the pocketing
material is not seen.
CR
EN
OTR
CE
H FCRUORN
VTE RISE
CE
NTR
E FRO
NT RISE
2.5
1" CM
• Cut up the grainline and open by 1in.
• From the outseam waist point measure out 1⁄2in; draw inHIP
theLINE
new outseam line.
HIP LINE
step 6
Front leg pattern
HEMLINE
GRAIN LINE
GRAINLINE
GRAIN LINE
SIDE SEAM
DROPPED SEAT LINE
KNEE LINE
HEMLINE
FRONT LEG
CUT 1 PR SELF
GRAIN LINE
SIDE SEAM
REMOVE
SIDE POCKET
WELT SHAPE
FRONT LEG
HIP LINE
HEMLINE
CUT 1 PR SELF
15 CM
KNEE LINE
CUT 1 PR SELF
170 Chapter FOUR the patterns: PANTS
GRAIN LINE
KNEE LINE
REMOVE
SIDE POCKET
WELT SHAPE
FRONT LEG
HEMLINE
SIDE SEAM
GRAIN LINE
INSIDE LEG SEAM
SIDE SEAM
15 CM
GRAIN LINE
INSIDE LEG SEAM
SIDTS
OU
ES
EA
EA
MM
CE
NTR
INSIDE LEG SEAM
SIDE SEAM
GRAIN LINE
KNEE LINE
2.5 CM
DROPPED SEAT LINE
2.5 CM
HEMLINE
FRONT
MASTER
PLAN
HEMLINE
FRONT
MASTER
PLAN
PLAN
KNEE
KNEE
LEVELLINE
HIP LINE
REMOVE
SIDE POCKET
WELT SHAPE
• Following the instructions on page 50, trace off the front
FRONT
pant leg pattern.
MASTER
E FRO
NT RISE
GRAIN
GRAINLINE
LINE
G SEAM
1.3
MLECM
INSIEDAE
2.5 CM
CE
NTR
E FRO
NT RISE
FRONT
MASTER
PLAN
DROPPED SEAT LINE
INSIDE LEG SEAM
E FRO
NT RISE
CE
NTR
HIPLEVEL
LINE
HIP
HIP
HIPLEVEL
LINE
DROPPEDSEAT
SEAT
LINE
DROPPED
LEVEL
KNEE LINE
DROPPED
SEAT
LINE
DROPPED
SEAT
LEVEL
FRONT
MASTER
PLAN
FRONT
MASTER
PLAN
GRAIN LINE
CR
EN
OTR
CE
H FCRUORN
VTE RISE
1
INSIDE LEG SEAM
1.3
⁄2" CM
2.5 CM
1"
DROPPED SEAT LINE
7
15
5
⁄8"CM
HIPLEVEL
LINE
HIP
E ISE
RKVR
BCAUC
1 CM
14
5
⁄2"
Creating extra volume for the sweatpant silhouette
in the back
To create the sweatpant silhouette
extra volume needs to be added. This is
achieved by adding 1in through the middle
of the pattern and by keeping the dart
width (3⁄4in) but removing 1⁄4in from the
outseam, giving an extra 11⁄2in ease in
the waist of the back leg pattern.
POCKET
PLACEMENT
R
CEH
OTT
RN
CE
7 CM
23⁄4"
2.5 CM
1"
3
2
⁄4"CM
REMOVE 10.7
⁄4" CM
step 7
Adding volume to the back leg
• Cut up the grainline and open by 1in.
• Remove the dart legs and continue the waistline across,
keeping the volume in the pattern.
• From the outseam waist point measure in 1⁄4in; draw in the
new outseam line.
INSI
EDAEM
LE
KNEE
KNEE
LEVELLINE
GRAIN LINE
GRAINLINE
E SEEAAMM
DTS
SIU
O
BACK
MASTER
PLAN
GS
EA
M
DROPPED SEAT
SEAT LINE
LEVEL
DROPPED
5
2"CM
5 CM
2.5 CM
CENTER
BACK WAIST
POINT
REMOVALREMOVAL
OF CB
OF CB
‘V’ SHAPE“V”
‘V’ SHAPE
SHAPE
8.5 CM
3 CM
8.5
3
⁄8"
SE
E
URV
KNEE
KNEE LINELEVEL
KNEE LINE
GRAIN LINE
GRAIN
GRAINLINE
LINE
BACK
BACK
BACK
MASTER MASTER
MASTER
PLAN
PLAN
PLAN
GRAIN LINE
NEW GRAINLINE
INSI
DE L
EG
SEA
M
NEW GRAIN LINE
EEAAMM
ES
DTS
SIU
O
DROPPEDDROPPED
SEAT
LINESEAT
LINE
DROPPED
SEAT
LEVEL
M
SIDE SEA
SE
AM
L EG
DE
INS
I
SE
AM
KNEE LINE KNEE LINE
INS
GRAIN LINE
IDE
GRAIN LINE
L EG
M
SIDE SEA
HEMLINE HEMLINE
HEMLINE HEMLINE
CUT 1 PR SELF
• Following the instructions on page 50,
trace off the back pant leg pattern.
BACK LEG
CUT 1 PR SELF
step 9
Back leg pattern
BACK LEG
M
SIDE SEA
33⁄8in down the back crotch curve and
BACK
BACK
mark, and
2in along
the waistline and
MASTER MASTER
mark. Connect
PLAN these
PLAN two points with a
straight line.
SEA
M
• To remove the V shape detail, from
center
back
DROPPED the
SEAT
LINE SEAT
DROPPED
LINEwaist point measure
C
CH
OT
CR
BAC
HIP LINE HIP
HIP LEVEL
LINE
RE
NT
CE
RE
NT
CE
BAC
notch
detail
HIP LINE
HIP LINE
K RI
K RI
14 Removing
CM
14 CM the center back
INSIE
DAEML
EG
step
7 CM 8
POCKET POCKET
PLACEMENT
PLACEMENT
SE
7 CM
2.5 CM
2 CM
2 CM
REMOVE 0.7 CM
REMOVE 0.7 CM
HEMLINE
HEMLINE
HEM
LINEHEM LINE
basic sweatpants 171
5" CM
13
step 10
Developing the front side welted pocket
position and bag
23CM
⁄4"
HIP LINE
GRAIN LINE
• From the outseam waist point measure 5in along the
waist, and from this point square down to the hip level plus
a further 31⁄8in; from here square back to the outseam.
Measure 2in along this line and make a mark.
CM
• From the bottom of the welt opening shape13measure
down
2.5 CM
13⁄16in along the outseam and connect this point to the
2 CM 2in
point at the bottom of the pocket bag with a straight line.
• To add curves to this line, divide its measurement into four
and mark. From the bottom of the line square down 3⁄16in at
the first mark and from the top of theFRONT
lineSIDE
square up 3⁄16in
15 CM
WELTED POCKET
MASTERPLAN
at the first mark. Draw a curved line joining
these points,
starting at the bottom and reversing the curve in the middle
of the line.
FRONT SIDE
FRONT
SIDE
WELTED POCKET
WELTED
MASTERPLAN
2.5
1" CM
157⁄8CM
5
"
HIP
HIP LEVEL
LINE
GRAINLINE
GRAIN LINE
POCKET
MASTER PLAN
3 3CM
1
⁄16"
1
83CM
⁄8"
⁄16"
3
0.5 CM
⁄160.5
" CM
3
5 CM
2"
DROPPED
SEAT
LEVEL
DROPPED
SEAT
LINE
3 CM
8 CM
0.5 CM
0.5 CM
5 CM
DROPPED SEAT LINE
FRONT POCKET BAG
FOLD
CUT 1 PR SELF
GRAIN LINE
step 12
Developing the front welt strip
• Following the instructions on page 50, trace off the front
pocket bag pattern, and mirror it over to create both sides
of the bag, with the opening on one side only.
• On a separate piece of paper, draw a horizontal box 57⁄8in
long by 11⁄2in wide.
• Divide the box in half lengthways, draw a line down the
center, and label it fold.
• Add a 3⁄8in seam allowance to each side.
GRAIN LINE
step 11
Front pocket bag pattern
1 CM
1 CM
CUT 1 PR RIB
1 CM
1 CM
FOLD
GRAIN LINE
2 CM
1 CM
1 CM
GRAINLINE
15 CM
2 CM
2 CM
⁄4"
3
⁄4"
3
1 CM
1 CM
⁄8"
⁄8"
3
3
1 CM
1 CM
172 Chapter FOUR the patterns: PANTS
⁄8"
3
⁄8"
3
1 CM
1 CM
2 CM
FOLD
57⁄8"
FRONT POCKET BAG
FOLD
FOLD
CUT 1 PR SELF
1 CM
GRAIN LINE
CUT 1 PR SELF
1 CM
C
FOLD
15 CM
FRONT
POCKET
FRONT POCKET
BAG BAG
CUT 1 PR RIB
FRONT POCKET WELT
FRONT POCKET WELT
CUT 1 PR RIB
1 CM
1 CM
F
⁄8"
3
CUT
1 PR SELF
FRONT
POCKET WELT
⁄8"
3
1 CM
1 CM
FOLD
3
3
⁄8"
⁄8"
1 CM
GRAIN LINE
GRAINLINE
1 CM
2
4"
73⁄CM
273⁄CM
4"
3
⁄4"
2 CM
BACK
POCKET
LINE
1
⁄2"CM
514
GRAIN
LLIN
INEE
• Use the pocket position line on the back leg pattern as the
starting point for developing the patch pocket bag. From
this line measure 3⁄4in up and 3⁄8in down at each end and
join these points to create a rectangle. This is the folded
facing shape.
• Continue to measure down 51⁄2in on each side and square
across. From each bottom corner of the bag measure up
15⁄8in and in 15⁄8in and join these points with a curved line.
CENTER LINE
CENTRE
3
1 CM
⁄8"
4 ⁄CM
1
8"
5
HH
IPIPLE
LIN
VEEL
RISE
step 13
Developing the back right patch pocket bag
CR
O
CK
RE BAVE
CENTCUR
H
TC
145⁄CM
8"
FACING
FACING
FOLD LINE
FOLD
LINE
step 14
Back right patch pocket7 CMbag pattern
7 CM
2 CM
FACING
STITCH LINE
FACING
STITCH
LINE
FACING
STITCH LINE
LINE
FACING
STITCH
LINE
NE
PATCH POCKET
CUT 1 SELF
GRAINLINE
4 CM
CK RIS
RE BA
E
4 CM
CENT
CENTRE LINE
GRAIN
HIP LI
BACK RIGHT
PATCH POCKET
BACK
RIGHT
CUT 1 SELF
GRAIN LINE
BACK
1 CM
• Following the instructions
on page 50, trace offPOCKET
to create the
LINE
back right patch pocket pattern and add on the self-facing
allowance as shown. 14 CM
basic sweatpants 173
⁄"
31 CM
8
⁄"
31 CM
8
⁄"
CENTER
CENTRE BACK INSERT
CUT
1 RIB
BACK
INSERT
CUT
1 RIB
⁄"
31 CM
8
1
3 C8M
⁄"
33⁄8"
GRAINLINE
GRAIN LINE
8.5 CM
• The center back notch detail is purely a design feature.
• Draw a horizontal line 4in in length and mark each end;
from the center of the line square down 33⁄8in and mark.
This is the center back line.
• Connect these three points to form a triangle.
• Extend the lines out by 3⁄8in at each end and draw a larger
triangle to give 3⁄8in seam allowance on all sides.
2"
5 CM
5 CM
2"
CENTER
BACK
CENTRE BACK
1
⁄"
31 CM
8
3 C8M
step 15
Developing the center back V notch style detail
step 16
Developing the ribbed waistband
• On a separate piece of paper, draw a horizontal box 303⁄4in
long (the length of the ribbed waistband calculated according
to the standard stretch calculation given below) by 4in wide
(double the depth of the waistband).
• Divide the box in half lengthways, draw a line down the
center, and label it fold.
• Mark cord holes for the drawstring in the bottom left and
bottom right corners.
• Add a 3⁄8in seam allowance to all sides.
⁄8"
3
3
⁄8"
303⁄4"
⁄8"
⁄8"
3
2"
RIBBED WAISTBAND
CUT 1 RIB
2"
⁄8"
GRAINLINE
3
2"
FOLD
2"
⁄8"
3
174 Chapter FOUR the patterns: PANTS
⁄8"
3
3 ⁄8"
1
HEM CUFF
CUT 1 RIB
31⁄8"
⁄8"
⁄8"
3
85⁄8"
⁄8"
3
GRAINLINE
⁄8"
3
31⁄8"
FOLD
31⁄8"
3
⁄8"
⁄8"
3
85⁄8"
3
You may have to reduce the waistband
further than this standard formula,
depending on the stretch of the jersey
rib. Use this calculation as a starting
point and check the stretch ratio before
making the final waistband pattern.
• On a separate piece of paper, draw a horizontal box 85⁄8in
long by 61⁄4in wide (double the depth of the hem cuff).
• Divide the box in half lengthways, draw a line across the
center, and label it fold.
• Add a 3⁄8in seam allowance to all sides.
⁄8"
A standard calculation for the waistband
length can be made by measuring the
circumference of the waist from the
front and back pant patterns and then
by dividing this measurement by four;
one-quarter is then subtracted from the
measurement of the waist circumference.
step 17
Developing the ribbed hem cuff
3
Sizing the waistband
Before developing the waistband pattern
for the ribbed jersey, it is important
to calculate the amount by which you will
need to reduce the waistband and this
will vary depending on the stretch ratio
of the rib you are using. The stretch
of ribbed jersey will depend on the
amount of elastic or spandex used by
the manufacturer.
DRAW
CORD
HOLES
⁄8"
DRAW
CORD
HOLES
3
3
⁄8"
3
basic sweatpants 175
pattern
Tailored Shorts
Shortened straight legs
Front fly, fly facing, and button stand and bearer
Angled side pockets
Back welted pockets with flaps
Straight waistband with side tab
This pattern includes development
of the following features:
Angled center front waist, crotch curve
Angled center back waist
Dropped crotch
step 1
Developing the master plan
This shorts style is developed from the master plan of the
chinos. Start by selecting the chinos master plan, or develop
the master plan from the basic men’s pant sloper by following
the instructions for the chinos on pages 158–60.
The adaptations already made for the chinos style are:
Angled center front and back waist to remove the pleat volume
Dropped crotch front and back
Front fly development
Alignment of back welted pockets
4 CM
3
⁄8"CM
1
15⁄CM
8"
4
" 1 CM
13⁄8CM
7
18⁄8"CM
13⁄CM
16"
HIP LEVEL
HIP
LINE
3
DROPPED
SEATLEVEL
LINE
DROPPED SEAT
HIP LINE
13⁄CM
16"
3
SEAT LEVEL
SEAT
LINE
DROPPED
SEAT
DROPPED
SEATLEVEL
LINE
SEAT LINE
3
31CM
⁄16"
DROPPED SEAT LINE
KNEE LEVEL
KNEE
LINE
M
M
A
SAEM
EE
OIUDTS
S
A
SIDE SE
KNEE LINE
OU
S
IDTS
E EA
SEM
AM
SIDE SEAM
GRAINLINE
GRAIN
LINE
GRAIN LINE
M SEAM
INSIDE
INSEA
INSIDE SEAM
3 CM
KNEE
LINE
KNEE LEVEL
KNEE LINE
176 Chapter FOUR the patterns: PANTS
1
16"
33⁄CM
ES
EAM
INSI
DE
SEA
M
SEAT LINE
DROPPED SEATSEAT
LINELEVEL
3 CM
SEAT
LINE
GRAINLINE
GRAIN
LINE
3
31CM
⁄16"
BACK
BACK
714
1
1.5 CM MASTER
PLAN
MASTERPLAN
⁄2"CM
5CM
BACK
1.5 CM
MASTERPLAN
14 CM
HIP LEVEL
HIP
LINE
15⁄8"
3 CM
3 CM
9
⁄16" CM
1.5
1.5 9CM
⁄16"
3 CM HIP LINE
3 CM
FRONT
MASTERPLAN
FRONT
FRONT
MASTER PLAN
MASTERPLAN
1 CM
23⁄4"
7 CM
1
18 CM
13⁄CM
16"
3
ININ
SE
SAID
M
3
3 CM 1 CM
⁄8"
GRAIN LINE
1 CM
3 CM
15⁄CM
8"
4
⁄16"
3
step 2
Developing the front angled side pocket
opening and front shorts length
57⁄8"CM
15
HIP LEVEL
HIP
LINE
CE
RN
OTC
R
FRONT
FRONT
MASTER
MASTER
PLAN
PLAN
GRAINLINE
GRAIN
LINE
133⁄4" CM
34.8
NEW HEMLINE
NEW
HEMLINE
5
0.8 CM
⁄16"
• From the bottom of the pocket opening measure 133⁄4in down
the outseam and then square out 5⁄16in. Redraw the outseam
back from this point.
• From the bottom of the crotch curve measure 81⁄16in down
the inside leg and then square out 5⁄16in. Redraw the inseam
back from this point.
• Draw a line between the two points to form the new hemline.
5
⁄16"
0.8 CM
⁄16"
20.5 81CM
M
EGSESAEMA
LG
SIIDDEELE
INS
DROPPED SEAT
DROPPED
SEATLEVEL
LINE
OU
S
IDTS
E EA
SEM
AM
Enlarging the angled pocket opening to
accommodate the width of the hand
The pocket opening must be enlarged to
allow for different hand widths or the
pockets will be too tight to use and
stretching will occur.
EC
H
FU
RR
OVNET RISE
• From the outseam waist point measure 15⁄8in toward the
center front and 57⁄8in down the outseam and connect these
two points for the angled pocket opening. Extend the pocket
opening line at the waistline by 3⁄16in and redraw it, blending
the line back to waistline to enlarge the opening.
KNEE LEVEL
KNEE
LINE
4 CM
E FRON
T RISE
15 CM
HIP LINE
step 3
Front leg pattern
FRONT
FRONTLEG
LEG
CUT
CUT 11PR
PRSELF
SELF
SIDE SEAM
GRAIN LINE
34.8 CM
0.8 CM
NEW HEMLINE
0.8 CM
20.5 CM
GS
INSIDE LE
EAM
• Following the instructions on page 50, trace off the front
leg pattern.
DROPPED SEAT LINE
GRAINLINE
GRAIN
LINE
CE
NTR
FRONT
MASTER
PLAN
tailored shorts 177
KNEE LINE
3
⁄4"
124CM
5
⁄8"
4 1CM
13⁄8CM
"
step 4
Developing the front pocket bag
57⁄8"CM
15
"M
26
101⁄CM
4"
3 16
1 ⁄C
3
3
⁄4"CM
2
FRONT
FRONT
POCKET
POCKET
BAG
BAG
MASTER
MASTER
PLAN
PLAN
4
CM
15⁄8"
23⁄4"
7 CM
13⁄CM
16"
3
CE
RN
OT
C
RHE
C
FU
RROVN
ET R
ISE
• First recreate the original shape of the front pant leg
master plan before the shape for the angled side pocket
was removed and redraw the pocket opening from Step 2
(without the extension for the enlarged opening).
• Next create the pocket bag template by measuring along the
waistline a further 43⁄4in from the opening to develop the
pocket bag width. From this point square down 101⁄4in; this is
the length of the pocket bag.
• From the bottom of the pocket opening, to create a step,
measure down 15⁄8in and from this point measure in 3⁄4in;
from here measure down a further 23⁄4in and connect this
point to the pocket length to close the bag shape.
• To create a slight angle to the side of the pocket bag, at the
top of the pocket measure 3⁄8in back along the waistline
toward the outseam and redraw the pocket length. At the
bottom of the pocket, round off the corners (13⁄16in by 13⁄16in),
and round off the step.
• Develop the pocket facing depth by measuring in 13⁄16in from
the opening and connecting the waistline with the step using
a parallel curved line.
13⁄CM
16"
3
13⁄CM
16"
3
13⁄CM
16"
3
43⁄4"CM
12
CM
⁄ "
30.156
POC
G
IN
INNG
PE
ON
TE
CKOEP
KPEOT
E
CH
IT
ST
LIN
NT
FRO ET
K
POC
BAG R
STE
MA AN
PL
E
AIN
GR
LIN
E
FRONT
POCKET
BAG
MASTER
PLAN
KET
POC
178 Chapter FOUR the patterns: PANTS
EE
LININ
GR
AINL
GRAIN
NG
CI
FA
BAG G
KET
TIN
POC OCKE
TOP
RP
1P
CUT
• Trace off the pocket bag shape with the facing depth line onto
a separate piece of paper, extend the pocket opening line up
3
⁄16in, and redraw it, blending the line back to the top edge.
N
INELI
PLTH
TH
PE
DED
GG
ININ
FFAACC
step 5
Developing the front pocket bag master plan
G
NIN
GRAIN
OPE
ET
G
TER
AN
IN
FAC
KET
POC
LF
TOP PR SE
1
CUT
LINE
G
EL
HN
ITHCLI
INE
GRAIN LINE
GRAINLINE
GRAIN LINE
GE
LIN
GIN
INN
P
NE
ETOPOE
OCCKKET
P
PO
GRAINLINE
BAG
POCKET
BAG
UNDER
POCKET
UNDER
1 PR POCKETING
CUTPOCKETIN
G
CUT 1 PR
ERRER
EA
R
LINE
BEETAB SEE
K
LFLF
KPEOTC 1 P
PR
RS
P OC C
UT1
CUT
POCKET OPENING
LINE
POCKET OPENING
IN LIN
GRA
E
FRONT
POCKET
BAG
MASTER
PLAN
FOLD LINE
CUT 1 SELF
CUT
1 SELF
FLY
EXTENSION
FLY EXTENSION
FLY EXTENSION
CUT 1 SELF
18
71⁄CM
8"
4 CM
tailored shorts 179
1 CM
13⁄8CM
"
4 CM
3
415CM
⁄8 "
1 CM
⁄"
GRAIN LINE
GRAIN LINE
GRAINLINE
"
13⁄8CM
13 CM
8
⁄8"
13 CM
4
15CM
⁄8"
4 CM
1 CM
⁄"
3
1 8CM
FOLD LINE
FOLD
LINE
1 CM
4 CM
13⁄CM
8"
1 CM
13⁄CM
8"
5
3
1
GRAINLINE
1 CM
⁄8 "
41 CM
"
1⁄8CM
1 3CM
⁄8"
3
7 CM
⁄8"
18
GRAIN LINE
GRAIN LINE
• On a separate piece of paper, draw a vertical box 71⁄8in long
by 31⁄8in wide to create the rectangular-shaped fly extension.
• Divide the box in half lengthways, draw a line down the
center, and label it fold.
• Add a 3⁄8in seam allowance on all sides.
"
1⁄8CM
4 CM
POCKET BEARER
CUT 1 PR SELF
FRONT LEFT FLY FACING
CUT 1 SELF R.S.U
E
INE
HL
TC
STI
CUT 1 PR POCKETING
UNDER POCKET BAG
step 8
Developing the fly extension
FRONT
LEFT
FLY
FACING
FRONT
LEFT
FLY FACING
1 SELF
R.S.U
CUT 1CUT
SELF
R.S.U
1 CM
3
⁄8"
1 CM
3 CM
1 CM1
⁄8"
4 CM
1 CM
IN LIN
ER
GRAIN LINE
18 CM
5
1
⁄8"
4 CM
TOP POCKET FACING
CUT 1 PR SELF
15⁄8"
GRA
AR
BE
• Following the instructions on page 50, trace off the fly shape
developed in Step 1 onto a separate piece of paper and flip
it over, adding a 3⁄8in seam allowance to create the final fly
facing pattern.
POCKET OPENING LINE
1 CM
POCKET BEARER
CUT 1 PR SELF
GRAIN LINE
E
IN LIN
GRA
POCKET OPENING LINE
TOP POCKET
TOP POCKET FACING
CUT 1FACING
PR SELF
CUT 1 PR SELF
FACING DEPTH LINE
GRAIN LINE
GRAINLINE
BAG
KET
INE
ING
POC
NE
CH L
KET
ER
LI
STIT
POC
UND
ING
CH
FAC
1 PR
IT
CUT
ST
INE
CH LINE
ER
IT
L
T
S
AR
ING GRAIN
BE FAC
GRAINLINE
TOP POCKET
BAG GRAIN LINE
TOP POCKET
BAG
CUT 1 PR POCKETING
CUT 1 PR POCKETING
FRONT
POCKET
BAG
MASTER
PLAN
The pocket bearer
The pocket bearer is cut from the
original fabric and is sewn to the
waistband and outseam behind the angled
pocket opening. It is attached to the
pocketing material of the under pocket
bag. While the pocket opening was made
longer in Step 2, the pocket bearer and
under pocket bag will follow the original
line of the waistline, holding the
dimensions of the pocket parts together.
1 CM
FACING DEPTH LINE
GRA
IN
0.5 CM
step 7
Developing the front fly facing
SITTC
ERRST
RRE
A
EA
BBE
• Following the instructions on page 50, trace off the top
pocket bag pattern and the top pocket facing from the
latest development
in Step 5, including the extended pocket
0.5 CM
opening. Trace off the pocket bearer and the under pocket
bag without the additional shape formed by the extended
pocket opening.
8"
1 ⁄CM
IN
GRA
step 6
Front pocket bag component patterns
step 9
Developing the back shorts length
9
⁄16" CM
1.5
9
⁄16"
1.5 CM
1
⁄2"CM
5
14
BACK
CUT 1
HE
O
NTTCR
RI
CVKE
CBUAR
SE
E
CR
BACK
BACK
MASTER
MASTER
PLAN
PLAN
LEG
SE
AM
DROPPED
LEVEL
DROPPEDSEAT
SEAT
LINE
IN
NSSEI
D
AE
M
5
⁄8 "
49.819CM
GRAINLINE
GRAIN LINE
HIP
LEVEL
HIP
LINE
AM
SAEM
EE
SIUDTS
O
• From the waistline measure 195⁄8in down the outseam
and then square out 5⁄16in. Redraw the outseam back from
this point.
• From the bottom of the crotch curve measure 81⁄8in down the
inside leg and then square out 5⁄16in. Redraw the inseam back
from this point.
• Draw a line between the two points to form the new hemline.
5
0.8 CM
⁄16"
⁄16"
0.8 5CM
NEW
NEW HEMLINE
HEMLINE
KNEE
KNEELEVEL
LINE
step 10
Back leg pattern
1.5 CM
• Following1.5
the
CMinstructions on page 50, trace off the back
14 CM
leg pattern.
B
TRE
CEN
GRAIN LINE
BACK
MASTER
PLAN
IDE
LEG
SE
AM
DROPPED SEAT LINE
IN S
49.8 CM
M
SIDE SEA
HIP LINE
GRAINLINE
GRAIN LINE
ACK
RIS
E
BACK LEG
BACK
LEG
CUT
CUT 11PR
PRSELF
SELF
KNEE LINE
180 Chapter FOUR the patterns:
PANTS
0.8 CM
0.8 CM
NEW HEMLINE
20.5 CM
81⁄8" CM
20.5
step 11
Developing the back welted pocket
and bag shape
M
6.52 ⁄C"
1 2
⁄4"M
2 3C
1 ⁄2"CM
62.5
1⁄ " CM
34
1⁄ " CM
3 8
"M
273 ⁄4C
CM
16"
19 ⁄.5
9 16
1.5 CM
⁄ "
"M
273 ⁄4C
"
9 16
1.5 CM
⁄8"M
3.513C
2"M
5C
"
5 C2M
⁄8"M
3.513C
E
KE R
ARCV
CBU
RH
TTC
EON
CCR
3
⁄8"M
3.51 C
3
⁄8
3.51 C
GRAINLINE
GRAIN LINE
ISE
1
14
5
⁄2"CM
"M
9214⁄2" CM
9
⁄ "
1.5 C⁄16M
• The welt opening is developed at the tip of the waist dart.
The pocket bag parts are drawn over the back leg pattern
and then traced off to make individual patterns.
• From the center of the dart at the waistline draw a 91⁄2in line
down through the dart tip and mark; from this point square
out 33⁄8in on each side and mark. From these points square
back up to the waistline to create a rectangle, which is the
basic shape of the pocket bag.
• From the bottom of the dart square out 23⁄4in on each side
and mark; from these points square down 9⁄16in and mark.
Connect these points to create a rectangular shape. This is
the welt opening, which sits 9⁄16in from each outside seam of
the pocket bag.
• To shape the pocket bag measure 3⁄8in in along the waistline
on each side and mark. Connect these points with a shallow
curve back to the outside seams of the bag. From each
bottom corner of the bag measure up 13⁄8in and in 13⁄8in
and join these points with a curved line.
BACK
WELT POCKET
BACK WELTED
POCKET
MASTER PLAN
MASTER
PLAN
step 12
Under pocket bag pattern (back welted pocket)
• When tracing this pattern you need to remove the dart.
Following the instructions on page 50, trace off the pocket
bag pattern by placing the center grainline on one side of
the dart leg and drawing around one side of the top of the
pattern before moving the grainline to the other dart leg and
drawing around the other side.
• Reposition the grainline back to the center of the dart
and continue to draw the remainder of the pocket bag and
welt shape.
3
93CM
⁄8"
UNDER POCKET
BAG POCKET BAG BOTTOM
BACK
CUT 22PR
POCKETING
CUT
PR
POCKETING
STITCH LINE
LINE
STITCH
STITCH
STITCHLINE
LINE
GRAIN LINE
GRAINLINE
Pocket construction
This pocket design has a self-facing
strip sewn to the back of the bag so that
when the pocket is open the pocketing
material is not seen.
5"CM
13
FACING STITCH
LINE
FACING
STITCH
LINE
⁄2 "
145CM
1
2063CM
⁄4"
tailored shorts 181
BACKBACK
WAISTLINE
WAIST LINE
GRAIN LINE
GRAINLINE
step 13
Top SECTION of pocket bag pattern (back
welted pocket)
• Following the instructions on page 50, trace this pattern from
the waistline to the top stitch line of the welt opening, adding
a 3⁄8in seam allowance to the lower edge.
STITCH
STITCHLINE
LINE
STITCH
LINE
STITCH LINE
⁄8"
1
3 CM
TOP SECTION OF
BACK POCKET BAG
POCKET
INNER TOP BAG
CUT 2 POCKETING
CUT 2 POCKETING
⁄8"
WELT POCKET OPENING
1 3CM
POCKET OPENING
WELTWELT
POCKET
OPENING
3 CM
1
⁄8"
WELT POCKET OPENING
1 3CM
⁄8"
STITCH LINE
LINE
STITCH
STITCHSTITCH
LINELINE
GRAIN LINE
step 14
Bottom SECTION of pocket bag pattern
(back welted pocket)
POCKET BAG
CUT 2
POCKETING
GRAINLINE
• Following the instructions on page 50, trace this pattern from
the lower stitch line of the welt opening, adding a 3⁄8in seam
allowance to the top edge.
BACK
POCKET
BOTTOM
BAG INNER BOTTOM
SECTION
OF
CUT 2 POCKETING
step 15
Developing the back self-facing strip
⁄2"
145CM
1
⁄"
3
1 8CM
3
1 CM
⁄8"
182 Chapter FOUR the patterns: PANTS
WELT
OPENING
WELTPOCKET
POCKET OPENING
STITCH
LINE
STITCH
STITCH LINE
STITCH LINE
LINE
2 3CM
⁄4"
1.5
9
⁄16"CM
BACK
POCKET
BACK
POCKET
FACING
FACING
CUT 2 SELF
CUT 2 SELF
1 3CM
⁄8"
GL
1.59⁄CM
16"
GRAIN LINE
• Trace the welt opening from the back pant leg, adding ⁄16in
to each end. Measure down 3⁄4in at each end of the lower
edge of this rectangular shape to create a larger rectangle
measuring 65⁄8in x 15⁄16in. Add a 3⁄8in seam allowance to the
top and bottom edges to create the final pattern.
9
1.5 CM
9
⁄16"
1.59⁄16
CM
"
⁄"
3
2 4CM
3 CM
1
⁄8"
step 16
Developing the back welt strip
⁄16CM
"
1.5
⁄16"CM
1.5
⁄2"CM
5114
9
9
1 3CM
⁄8"
1 3CM
⁄8"
• On a separate piece of paper, draw a horizontal box
51⁄2in long by 11⁄8in wide to create the rectangular-shaped
welt strip.
• Divide the box in half lengthways, draw a line across the
center, and label it fold.
• Add a 9⁄16in seam allowance to each of the shorter sides
and a 3⁄8in seam allowance to the longer sides to create the
final pattern.
1.59⁄CM
16"
BACK
POCKET
BACK
POCKET
WELT WELT
CUT 2 SELF
GRAIN LINE
CUT 2 SELF
1.59⁄CM
16"
GRAINLINE
9 CM
1.5
⁄16"
FOLD
LINE
FOLD
9 CM
1.5
⁄16"
1 3CM
⁄8"
13CM
⁄8"
⁄ "
91.5 CM
16
⁄ "
9
1.5
CM
16
OU
SI
DETS
SEEA
AMM
CERNT
OTCH
C
13⁄8CM
"
3
1 CM
⁄8"
3 CM
2
⁄4"
2⁄"
2⁄"
7 3CM
4
7 3CM
4
GRAIN
G
RAINLILNE
INE
5 CM
2"
HIP
H
IPLLINEEV
EL
CENTRE
1 CM
1 CM
step 18
Back welted pocket flap pattern
HIP LIN
E
• Following the instructions on page 50, trace off the
flap pattern.
⁄"
⁄8"
31 CM
8
13CM
GRAINLINE
GRAIN LINE
2 CM
7 CM
7 CM
E
5 CM
GRAIN
LIN
SIDE SEA
M
BACK RIS
E
• The pocket flap shape is developed over the back welt
opening. From the top of the welt opening, at the dart point,
square down 2in and mark. From this point square across
23⁄4in to each side and connect these two points with the top
of the welt opening to create a rectangle.
• From each bottom corner measure up 3⁄4in and connect
these points back down to the center of the bottom line to
form the pointed shape of the pocket flap.
• Round off the bottom corners.
• Add a 3⁄8in seam allowance to the top edge of the flap.
VE
RSE
RE BACK
CURI
step 17
Developing the back welted pocket flap
POCKET
FLAP
POCKET FLAP
CUT 2 PR SELF
CUT 2 PR SELF
tailored shorts 183
step 19
Developing the waistband
• You can create the outseam tab on top of the waistband,
which will allow you to define the correct proportion.
• In this case create the waist side-seam tab 23⁄8in long by
13⁄16in wide. Measure 3⁄8in in from the left on each long side
and connect these points to the center of the left-hand
vertical to create the pointed shape of the tab.
OUTSEAM
SIDE SEAM
• Create a rectangle 323⁄4in long (the waist circumference
measurement) by 23⁄4in wide (double the waistband width).
Draw a fold line lengthways across the center. Indicate the
outside seams and center back, and mark notches for the
pocket opening and back darts.
• Add 15⁄8in to the center front for the fly extension.
1
7
⁄2"CM
19
3
⁄8"CM
1
POCKET
POCKET
NOTCH
NOTCH
BACK DART
DART
BACK
BACKDART
DART
BACK
FOLD
FOLD
POCKET
POCKET
NOTCH
NOTCH
FOLD
FOLD
CB
CB
CF
GRAINLINE
GRAIN
LINE
5 2"
CM
⁄8 "
311CM
9
1.5 CM
⁄16"
3
⁄8"
1 CM
9
1.5 CM
⁄16"
FOLD
WAISTBAND
CUT 1 SELF
GRAIN LINE
GL
184 Chapter FOUR the patterns: PANTS
WAISTBAND TAB
CUT 2 PR SELF
FOLD
1
8"
45⁄CM
CF
CF
7
822.5
⁄8" CM
FLY
FLYEXTENSION
EXTENSION
7
822.5
⁄8" CM
8"
⁄8"
3.513⁄CM
3.513CM
71⁄2"CM
19
1 CM
5 CM
1.5 CM
1 CM
FOLD
FOLD
FOLD
3 CM
1.5 CM
• Following the instructions on page 50, trace off the
waistband pattern, adding a 3⁄8in seam allowance to all sides.
• Trace off the tab pattern, adding a 3⁄8in seam allowance to
all sides.
1 CM
1.5 CM
3 CM
5 CM
1.5 CM
step 20
Waistband pattern
FLY EXTENSION
1 CM
POCKET
NOTCH
3.5 CM
BACK DART
POCKET
NOTCH
BACK DART
POCKET
NOTCH
BACK DART
POCKET
NOTCH
FOLD
BACK DART
FOLD
WAISTBAND
CUT 1 SELF
GRAIN LINE
WAISTBAND
WAISTBAND
GRAINLINEGRAIN LINE
CUT
CUT 11SELF
SELF
FOLD
FOLD
GL
GL
FOLD
WAISTBAND TAB
WAISTBAND
TAB
CUT
CUT 22PR
PRSELF
SELF
WAISTBAND TAB
CUT 2 PR SELF
tailored shorts 185
ISE
E R
VK
RC
UA
ETCB
CH
NTR
EO
CR
SE
I
CK R
T BA
TRE
N
E
C
HIP LINE
HIP
HIPLEVEL
LINE
HIP
HIPLEVEL
LINE
HIP LINE
SEAT LINE
SEAT LEVEL
LINE
SEAT LEVEL
SEAT
LINE
KNEE
KNEE
LINE
LEVEL
KNEE LINE
HEM LINE
HEMLINE
HEM LINE
HEMLINE
HEM
LINE
HEM LINE
186 Chapter FOUR the patterns: PANTS
INSIID
NS
EILDEE
GSE
SA
EM
AM
INSID
E SE
AM
KNEE
KNEE LINE
KNEE LINE
LINE
step 1
Developing the master plan
Start by selecting the basic men’s pant sloper, or by drafting
the basic pant sloper according to the instructions on page 45.
Cut a large piece of drafting paper slightly longer than the pant
you want to develop and transfer the shape of the sloper and
all marks, labels, and instructions, following the directions on
page 49.
BACK
BACK
MASTER
MASTER
BACK
PLAN
PLAN
MASTER
PLAN
GRAIN LINE
GRAIN
LINE
GRAINLINE
M
SIDE SEA
MM
AA
EE
ES
DTS
S
OIU
SEAT LINE
SIDTS
OU
E SEA
EAMM
SIDE SEAM
FRONT
MASTERFRONT
PLANMASTER
MASTER
PLAN
GRAIN
LINE
GRAINLINE
CE
RN
OTTR
CE
H FCRUORNVTERISE
IINSEAM
NSIDE SEAM
GRAIN LINE
CE
INSIDE SEAM
This pattern includes development
of the following features:
Lowered front waist and angled crotch curve
Angled center back waist
Dropped crotch
Back yoke
Carrot leg
Shaped knee patches
Front fly, fly facing, fly extension, and button stand
Angled side pockets
Back inverted box-pleat patch pocket
Cargo-style bellows pocket
Sectioned waistband
N TR
E FRONT RISE
pattern
Cargo Pants
step 2
Developing the dropped crotch, lowered front
waist, and angled center front waist
C
HIPLEVEL
LINE
HIP
OLD
LINE
SEATSEAT
LEVEL
NEWSEAT
SEAT
LINE
DROPPED
LEVEL
33⁄CM
1
16"
SIDTS
OU
ES
EA
EAMM
GRAIN LINE
GRAINLINE
3
31CM
⁄16"
KNEE
LEVELLINE
KNEE
INSIDE SEAM
INSEAM
2.5 CM
1"
• Drop the seat level down 13⁄16in from the original seat level
and redraw the bottom of the front crotch curve and the top
of the inseam and outseam.
• From the center front waist point measure in 13⁄16in and from
this point measure down 9⁄16in. Redraw the new front crotch
shape to the dropped crotch and redraw the new lowered
waistline with a shallow curve back to the outseam. The
remaining 3⁄8in will be taken out at the center back waist.
• On the knee level measure in 1in from the inseam and mark,
and 3⁄16in from the outseam and mark. On the hemline
measure out 23⁄4in from the grainline toward the inseam and
mark, and 31⁄2in toward the outseam and mark. Redraw the
new leg seams to taper the front leg silhouette.
33⁄CM
1
16"
CER
NOTT
RCEHFCRU
ORNVTERISE
9
1.5 CM
⁄16"
3
0.5
⁄16" CM
HEM LINE
HEMLINE
73⁄CM
2
4"
1
93CM
⁄2"
OLD
LINE
SEATSEAT
LEVEL
NEW
SEAT SEAT
LINE LEVEL
DROPPED
33⁄CM
1
16"
EAM
9
1.5
⁄16" CM
GRAINLINE
GRAIN LINE
E SEEAAMM
DTS
S
OIU
KNEE
KNEE
LEVELLINE
1.5 CM
9
⁄16"
3
31CM
⁄16"
9
1.5 CM
⁄16"
• Drop the seat level down 1 ⁄16in from the original seat level
and redraw the bottom of the back crotch curve and the top
of the inseam and outseam.
• From the center back waist point measure in 3⁄8in and from
this point measure up 3⁄8in; redraw the shorter waistline and
the longer back crotch curve.
• From the waistline measure 23⁄4in down the crotch curve and
mark, and 13⁄8in down the outseam and mark; connect these
points with a straight line. This is the yoke line.
• On the knee level measure in 9⁄16in from the outseam and
mark, and 9⁄16in from the inseam and mark. On the hemline
measure out 43⁄8in from the grainline toward the outseam
and mark, and 4in toward the inseam and mark. Redraw the
new leg seams to taper the back leg silhouette.
3
HIP LEVEL
LINE
HIP
IN
INSE
IDAEM
LEG
S
step 3
Developing the dropped crotch, angled center
back waist, and back yoke position
E
LINE
YOKE LIN
C
3
3.5 1CM
⁄8"
3
1
⁄8"CM
⁄8"
1 3CM
EISE
KVR
AUCR
EH BC
C
R
OTT
REN
73⁄CM
2
4"
HEMLINE
3
⁄8"
114 CM
104"CM
cargo pants 187
KNEE
PATCH
FRONT
MASTER
PLAN
8.5 CM
step 4
Developing THE front leg styling, front knee
patch, fly, and pocket positions
• To create the fly shape, measure in 15⁄8in from the new
center front waist point and from here measure down 71⁄8in.
At the bottom of this line measure 13⁄16in back up and make
a mark, then draw a curved line from this point back to the
crotch curve.
• To create the angled pocket opening, measure in 15⁄8in along
the outseam waist and connect this point back to where the
hip level joins the outseam with a straight line.
• Extend the pocket opening line at the waistline by 3⁄16in
and redraw it, blending the line back to waistline to enlarge
the opening.
5.5 CM
KNEE LINE
SIDE SEAM
8.5 CM
5.5 CM
INSIDE LEG
SEAM
1 CM
1 CM
8.5 CM
1 CM
1 CM
8.5 CM
8"M
1
45 ⁄C
4
15⁄CM
8"
⁄16"
HIP LEVEL
LINE
HIP
33⁄C
1
16"
M
CR
EN
OTR
CE
H FCRUORNV
TE RISE
1
18
7
⁄8"CM
3
GRAIN
GRAINLINE
LINE
FRONT
MASTER
PLAN
SIDTS
OU
ES
EA
EAMM
SEAT
LINE
SEAT
LEVEL
EAM
GS
IDAEMLE
INSE
63CM
2
⁄8"
81⁄CM
3
8"
3
1 3⁄C
16"
M
CARGO
POCKET
POSITION
2⁄4"CM
3
Enlarging the angled pocket opening to
accommodate the width of the hand
The pocket opening must be enlarged to
allow for different hand widths or the
pockets will be too tight to use and
stretching will occur.
KNEE
KNEE LINE
LEVEL
7 CM
23⁄4"
10 CM
4"
10 CM
4"
2⁄4"CM
3
• To mark the cargo pocket position measure 23⁄8in down from
the bottom of the slit pocket opening and 31⁄8in in from that
point and mark.
• To develop the front knee patch measure 23⁄4in up from the
knee level on both the outseam and the inseam and square
across; measure 4in down from the same points and
square across.
• From the center of these lines measure out 3⁄4in; redraw,
passing through these points with a curved line.
HEMLINE
KNEE
PATCH
PATCH
FRONT
MASTER
PLAN
3
8.5 3CM
⁄8"
3
8.53CM
⁄8"
1
25.5
⁄8"CM
KNEE LEVEL
LINE
KNEE
INSEAMLEG
INSIDE
SEAM
3
1 CM
⁄8 "
3
⁄8"
1 CM
18 CM
188 Chapter FOUR the patterns: PANTS
ONT RISE
4 CM
4 CM
3 CM
8.5
3
⁄8"
5
21.5⁄8"CM
SID
OUTS
E SE
EAAM
M
step 5
Adding darts to the front knee patch
• To add the knee darts trace off the knee patch shape onto a
separate piece of paper. Divide it in half horizontally across
the center (half the patch height of 63⁄4in). On both seams
measure up 3⁄8in and down 3⁄8in from the center and connect
each of these points to the center line with a 21⁄8in line,
forming the darts.
73⁄CM
2
4"
"
13⁄8CM
13⁄8CM
"
3
8.5
3
⁄8"CM
step 6
Front leg patterns
step 7
Developing THE back leg styling, back knee
patch, back yoke, and pocket positions
• Following the instructions on page 50, trace off the
knee patch pattern and the upper front and lower front
leg patterns.
UPPER FRONT
CUT 1 PR SELF
UPPER FRONT
CUT 1 PR SELF
1 CM
1 CM
CARGO
POCKET
POSITION
ALIGNMENT
NOTCH
SEAT LEVEL
LINE
3
1 CM
⁄8"
7 CM
23⁄4"
GRAINLINE
GRAIN LINE
CARGO
POCKET
POSITION
1
83CM
⁄8"
KNEE
KNEE LINE
LEVEL
BACK
MASTER
PLAN
SE
AM
HIP
HIPLEVEL
LINE
3
⁄8 "
6 2CM
AMM
DTESSEEA
SIU
O
LOWER FRONT
CUT 1 PR SELF
⁄4"M
723 C
INSIEDAE
MLE
G
4"M
7
23 ⁄C
ERISE
73⁄CM
2
4"
3
⁄8"
3.5 1CM
1 3CM
⁄8"
RKV
BCAUC
RCEH
T
T
NO
GRAIN LINE
GRAINLINE
FRONT KNEE PATCH
CUT 1 PR SELF
ALIGNMENT
NOTCH
NOTCH
GRAIN
LINE
GRAINLINE
N
GRAIN LINE
GRAINLINE
8.5 CM
CER
8.5 CM
• Trace off the back yoke shape onto a separate piece of paper,
cut through the dart legs, and close up to create the curved
yoke shape.
• To remove the remaining volume left by the dart leg,
measure 3⁄8in in from the outseam along the yoke line
and reshape the outseam from this point back down to the
hip level.
• To mark the patch pocket position square out 23⁄4in in each
direction from the bottom of the dart horizontal to the
crotch curve.
• To mark the cargo pocket position measure 23⁄8in down from
the hip level and 31⁄8in in from that point and mark.
• To develop the back knee patch measure 23⁄4in up from
the knee level on both the outseam and the inseam and
square across; measure 4in down from the same points and
square across.
• Find the center of these lines and mark. On both seams
measure down 3⁄8in from the top line and up 3⁄8in from the
bottom line and mark. Shape the knee by joining these points
back to the center points with straight lines.
13⁄8CM
"
73⁄CM
2
4"
10
4" CM
10 CM
4"
13⁄8CM
"
3
1 CM
⁄8"
HEMLINE
cargo pants 189
step 8
Back leg patterns
step 9
DEVELOPING THe Front fly facing and
button stand
• Following the instructions on page 50, trace off the fly shape
developed in Step 4 onto a separate piece of paper. Flip over
the fly shape along the straight edge line and redraw to
create a mirror image. Add a 3⁄8in seam allowance to all sides.
• The pattern is folded along the straight line to give double
thickness to the buttonholes once positioned.
• Trace off the single fly shape from the left side of the button
stand to create the fly facing pattern.
1 CM
BACK YOKE
CUT 1 PR SELF
4 CM
4 CM
1 CM
GL
CB
• Following the instructions on page 50, trace off the yoke
pattern, the knee back pattern, and the upper back and lower
back leg patterns.
13⁄CM
8"
⁄8"
41CM
5
1 CM
⁄8"
3
1 CM
⁄8"
3
1 CM
GRAIN
LINE
GRAINLINE
KNEE BACK
CUT 1 PR SELF
⁄8"
1 CM
3
4.5 CM
4.5 CM
1 SELF
CUT 1CUT
SELF
1 CM
FRONT FLY FACING
CUT 1 SELF R.S.U
1 CM
4.5 CM
4.5 CM
FOL.D LINE
1 CM
19 CM
FLY
EXTENSION
CUT 1 SELF
FRONT
FLY
STAND
FRONT
FLYBUTTON
BUTTON STAND
GRAIN LINE
18 CM
1 CM
GRAIN LINE
1 CM
FOLD LINE
FOLD
LINE
BUTTON POSITIONS
BUTTON
POSITIONS
GRAIN LINE
GRAINLINE
1 CM
19 CM
1 CM
FOL.D LINE
⁄8"
⁄8"
13 CM
1 CM
⁄8"
3
1 CM
1 CM
4 CM
1 CM
LOWER BACK
CUT 1 PR SELF
15⁄48"CM
154⁄8CM
"
⁄8"
3
13 CM
1 CM
ALIGNMENT
NOTCHES
NOTCHES
GRAIN LINE
GRAINLINE
FRONT FLY BUTTON STAND
CUT 1 SELF
1 SELF R.S.U
CUT CUT
1 SELF
R.S.U
FRONT
FLY
FRONT
FLYFACING
FACING
181⁄8CM
7
"
ALIGNMENT
NOTCHES
190 Chapter FOUR the patterns: PANTS
GRAIN LINE
GRAIN LINE
GRAINLINE
UPPER BACK
CUT 1 PR SELF
GRAIN
LINE
GRAINLINE
H
P
PATC ET
K
POC IO
N
ITION
IT
PPOOSS
CARGO
POCKET
POSITION
FOLD LINE
3 CM
1
⁄8"
ALIGNMENT
NOTCHES
1 CM
1 CM
1 CM
1 CM
1 CM
1 CM
3
14.5
⁄4"CM
⁄"
3
1 CM
1 CM
14.3 ⁄54"CM
13⁄8CM
"
FOL.D
LINE
FOLD
3
1 CM
⁄8"
38
⁄8"
1 CM
FRONT
CUT 1 S
Fly extension size
The front fly extension is wider and
longer then the fly facing and button
stand so that it will cover them both,
because multiple seams may cause
irritation to the wearer.
19
71CM
⁄2"
CUT 1 SELF
CUT 1
SELF
FLY
FLY EXTENSION
EXTENSION
• On a separate piece of paper, draw a vertical box 71⁄2in long
and 31⁄2in wide to create the fly extension.
• Divide the box in half lengthways, draw a line down the
center, and label it fold.
• When folded and placed along the front crotch curve the top
edge of the fly extension will need to be modified to follow
the angle of the waistline. Trace across and redraw.
• Add a 3⁄8in seam allowance on all sides.
1 CM
719
⁄2"
GRAIN LINE
GRAINLINE
1 3CM
⁄8"
3 CM
1
⁄8"
13CM
⁄8"
13CM
⁄8"
1243CM
⁄4"
1⁄8"CM
step 11
Developing the front pocket bag
261CM
⁄4"
10
3
F
CR
UO
RN
VERISE
3
⁄4"
7 2CM
33⁄CM
1
16"
CCRE
O
NT
RH
C
E
145⁄8CM
"
3
13⁄CM
16"
13⁄CM
16"
3
3
12
4
⁄4"CM
3
13⁄CM
16"
⁄16"
I
FAC
EN
NPG
TIO
KEN
CE
POP
TO
H
TH
CKE
EEPPT
ED
EIND
LINIGNL
NFGAC
PO
ING
FRONT
POCKET
BAG
MASTER
PLAN
• Trace off the pocket bag shape with the facing depth line
onto a separate piece of paper, extend the pocket opening
line by 3⁄16in, and redraw, blending the line back to the
top edge.
FRONT
POCKET
BAG
MASTER
PLAN
GRAIN LINE
GRAINLINE
step 12
Developing the front pocket bag master plan
57⁄8"CM
15
133⁄CM
16"
0.5
3 CM
• First recreate the original shape of the front pant leg master
plan before the shape for angled side pocket was removed
and redraw the pocket opening from Step 4 (without the
extension for the enlarged opening).
• Next create the pocket bag template by measuring 43⁄4in
along the waistline from the pocket opening to develop the
pocket bag width. From this point square down 101⁄4in; this is
the length of the pocket bag.
• From the bottom of the pocket opening on the outseam,
to create a step, measure down 15⁄8in and from this point
measure in 3⁄4in; from here measure down a further 23⁄4in
and connect this point to the pocket length to close the
bag shape.
• To create a slight angle to the side of the pocket bag, at the
top of the pocket measure 3⁄8in back along the waistline
toward the outseam and redraw the pocket length. At the
bottom of the pocket, round off the corners (13⁄16in by 13⁄16in),
and round off the step.
• Develop the pocket facing depth by measuring in 13⁄16in from
the opening and connecting the waistline with the step using
a parallel curved line.
5
⁄8 "
41CM
3
2⁄4"CM
step 10
developing the Front fly extension
FRONT
POCKET
BAG
MASTER
PLAN
cargo pants 191
RER
BEA
ALIG
NOT
GRAIN LINE
GRAIN LINE
LINE
ALIGNMENT
NOTCH
LINE
CH
STIT
The pocket bearer
The pocket bearer is cut from the
original fabric and is sewn to the
waistband and outseam behind the angled
pocket opening. It is attached to the
pocketing material of the under pocket
bag. While the pocket opening was made
longer in Step 4, the pocket bearer and
under pocket bag will follow the original
line of the waistline, holding the
dimensions of the pocket parts together.
CH
STIT
RER
BEA
UNDER POCKET BAG
CUT 1 PR POCKETING
• Following the instructions on page 50, trace off the top
pocket bag pattern and the topALIGNMENT
pocket facing from the latest
NOTCH
development in Step 12, including
the extended pocket
opening. Trace off the pocket bearer and the under pocket
bag without the additional shape formed by the extended
pocket opening.
RER
BEA
LINE
UNDER POCKET BAG
CUT 1 PR POCKETING
CH
STIT
UNDER POCKET BAG
CUT 1 PR POCKETING
step 13
Front pocket bag component patterns
GRAIN LINE
1 3CM
⁄8"
⁄8"
3
3
237⁄4CM
"
1 CM
3
⁄8"
⁄8"
⁄8"
⁄8"
3
3
⁄8"
LINE
GRAIN LINE
E
LIN
RER
BEA
ET
F
CK
SEL
PO
PR
TOP
T 1 POCKET FACING
CUCUT 1 PR SELF
3
CH
STIT
ING
FAC
TOP POCKET BAG
CUT 1 PR POCKETING
ING
EN
1 CM 1 CM 1 CM 1 CM
OP
237⁄4CM
"
ET
NOTCH
INE
TOP POCKET FACING
CUT 1 PR SELF
1 CM
CK
ALIGNMENT
ALIGNMENT
NOTCH
GRAIN LINE
GRAINLINE
GRAIN LINE
GRAIN LINE
GRAINLINE
13⁄CM
8"
1
15 CM
57⁄8"
FOLDLINE
FOLD
L
ING
N
PE
O
ET
FOLDLINE
FOLD
CK
GRAIN LINE
LINE
FOLDLINE
FOLD
5 ⁄8"
GRAIN LINE GRAINLINE
1 CM
157CM
PO
CH
STIT
ING
FAC
TOP POCKET BAG
CUT 1 PR POCKETING
INE
1 CM
1
GRAIN LINE
GRAIN LINE
RER
BEA
ET
F
CK
SEL
PO
PR
T1
CU
• For the patch pocket draw a rectangle 7in wide and
65⁄8in deep.
• From the top of the center line measure out 3⁄8in on
both sides and mark, and then a further 3⁄8in on both
sides and mark. Repeat at the bottom of the vertical
line. Join all these points with dotted vertical lines
and label each fold. The two outside lines will be
folded toward the center line to create the hidden
inverted box pleat.
ALIGNMENT
NOTCH 3
• From the left bottom corner measure
up ⁄4in and
mark, and measure across 3⁄4in and mark. Join these
two points to create a shaved corner. Repeat at the
right bottom corner.
• Add a 3⁄8in seam allowance on all sides.
BACK PLEATED
PATCH POCKET
BACK
PLEATED
CUT 1 PR SELF
PATCH
POCKET
CUT 1 PR SELF
FOLDLINE
FOLD
TOP POCKET FACING
CUT 1 PR SELF
step 14
Developing the back inverted box-pleat
patch pocket and panel top
ALI
NO
PO
GRAIN LINE
CH L
STIT
NOTCH
GRAINLINE
GRAIN LINE
FA
LINE CING
ALIGNMENT
ALIGNMENT
NOTCH
⁄4"
2 CM
⁄4"
2 CM
3
3
13⁄8CM
"
192 Chapter FOUR the patterns: PANTS
TOP POCKET
FACING
CUT 1 PR SELF
CH
STIT
ING
FAC
CUT 1 PR POCKETING
TOP POCKET
BAG
TOP POCKET
BAG
CUT 1 PR POCKETING
GRAIN LINE
GRAIN LINE
TE
E
LIN
KG E
LIN BEARER
C
NIN
PE
POO
INGPOCK1ETPR SELF
EN
T
CU
OP
ET
CK
PO
INE
CH L
INE
STLIT
LINE
GRAIN LINE
GRAINLINE
CH
STIT
ING
FAC
ESTRITCH
ERAERR BAG
TOP
BPOCKET
BEA
CUT 1 PR POCKETING
UNDER
POCKET
BAG
UNDER
POCKET
BAG
CUT
POCKETING
CUT1 PR
1 PR
POCKETING
ALIGNMENT
NOTCH
POCKET
BEARER
CUT 1 PR SELF
"
13⁄8CM
TOP POCKE
CUT 1 PR S
1 CM 1 CM 1 CM 1 CM
7 CM
1 CM
7 CM
1 CM
⁄8"
3
⁄"
13⁄8CM
"
1 3CM
8
2 CM
3
⁄4"
GRAIN LINE
GRAINLINE
BACK PATCH
POCKET
BACK PATCHPANEL
POCKET PANEL
CUT 1 PR
SELFSELF
CUT
1 PR
FOLDLINE
LINE
FOLD
3
2 CM
⁄4"
13CM
⁄8"
13⁄CM
8"
14
⁄2"
51CM
⁄8"
1 CM
3
⁄8"
1 CM
3
FOLDLINE
1 CM
3
⁄8"
1
5
⁄2"
14 CM
1 CM
15 CM
• For the panel top of the patch pocket
draw a horizontal rectangle 51⁄2in
long by 11⁄2in wide. Divide it in half
lengthways and draw in a dotted fold
line. This will give a panel facing
of 3⁄4in.
• Add a 3⁄8in seam allowance on
all sides.
FOLDLINE
FOLDLINE
SELF
FOLDLINE
EATED PATCH POCKET
GRAIN LINE
step 15
Developing the panel top for
the back inverted box-pleat
patch pocket
2 CM
1 CM
step 16
Developing the cargo-style bellows pocket
TOP
TOP FACING
FACING
3
13CM
⁄16"
3
13CM
⁄8"
6 CM
6 CM
23⁄8"
23⁄8"
CARGO
POCKET
FLAP
CARGO POCKET
FLAP
CUT 1 PR SELF
CUT
1 PR SELF
GRAIN LINE
GRAINLINE
BELLOWS SIDE
FOLD LINE
13CM
⁄8"
FOLD LINE
FOLD
LINE
23⁄8"
3
62CM
⁄8 "
6 CM
13⁄CM
8"
1 3CM
⁄8"
⁄8"
" CM
63⁄417
1 CM
3
⁄8"
2 CM
FOLD LINE
2 CM
1 CM
3
16 CM
BELLOWS
BOTTOM
1 CM
⁄8"
⁄8"
3
GRAIN LINE
CUT 1 PR SELF
CARGO POCKET BAG
BELLOWS SIDE
FOLD LINE
• To develop the pocket flap, draw a rectangle 63⁄4in long and
43⁄4in wide. Divide the width in half 23⁄8in by 23⁄8in with a
23 CM
dotted
line the length of the pattern. This will be the fold line
when constructed.
• Add a 3⁄8in seam allowance to all sides.
3
2 CM
⁄4"
FOLD
FOLD LINE
LINE
3
2 CM
⁄4"
63⁄417
" CM
1 CM
8 CM 17
8 CM
step
2 CM 2 CM
Developing the cargo pocket flap
BELLOWS SIDE
BELLOWS
SIDE
CUT
CUT 11 PR
PRSELF
SELF
1
6
"
16⁄4CM
3 CM
FOLD LINE
2 CM 2 CM
2 3CM
⁄4" 2 3CM
⁄4"
23 CM
9"
BELLOWS
BELLOWS
BOTTOM
BOTTOM
TOP FACING
81CM
3
⁄8"
GRAIN
LINE
GRAINLINE
81CM
3
⁄8"
CARGO POCKET
POCKETBAG
BAG
CARGO
BELLOWS SIDE
BELLOWS
SIDE
2 3CM
⁄4" 2 3CM
⁄4"
FOLD LINE
LINE
FOLD
• The bellows sides and bottom are developed onto the
pocket front. Start by drawing a vertical rectangle 9in long
by 61⁄4in wide.
• Along the top edge of this shape add a 13⁄16in facing strip.
• To create the bellows sides, on each side of the pocket
measure out 11⁄2in from the original top line and 11⁄2in from
the bottom line and join these two points. Draw a fold line
down the middle.
• For the bottom bellows strip, draw a similar 11⁄2in rectangle at
the bottom edge, with a center fold line.
• To create the two cutaway corner shapes, draw a line at 45
degrees to each bottom corner and square out from this 3⁄4in
in each direction. Draw three sides of a 11⁄2in square, cutting
into the bellows strips. When sewn these shapes will create
mitered corners when the bellows are folded.
• Add a 3⁄8in seam allowance to all sides except the top of the
bellows side panels.
3 CM
33CM
1
⁄16"
FOLD LINE
FOLD
FOLD LINE
FOLD
1 CM
cargo pants 193
step 18
Developing the waistband facing
BACK FACING
22.5
87⁄8" CM
15.5 CM
4 CM
22.5 CM
22.5 CM
SIDE SEAM
CENTRE BACK
BACK RIGHT
CUT 1 SELF
CUT 1 SELF
CUT 1 SELF
POCKET OPENING
POCKET
SECTION LEFT
CUT 1
8"
1 ⁄CM
3
4 CM
22.5 CM
POCKET
SECTION RIGHT
CUT 1
CENTRE BACK
CENTER
22.5 CM
FRONT RIGHT
CUT 1 SELF
SIDE SEAM
OUTSEAM
4 CM
15.5 CM
1 CM
15.5 CM
1 CM
BACK LEFT
1 CM
4 CM
1 CM
FRONT LEFT
SIDE
SEAM
OUTSEAM
CF
1 CM
SIDE SEAM
POCKET OPENING
• To develop the waistband, create separate panel patterns
15⁄8in wide and the following in length: front left (61⁄8in),
pocket section left (15⁄8in), back left (87⁄8in), back right
(87⁄8in), pocket section right (15⁄8in), and front right including
fly extension (77⁄8in).
• Add a 3⁄8in seam allowance to all sides to create the
final patterns.
4 CM
CENTRE
/ FLYEXTENTION
EXTENTION
CENTER FRONT
RONT / FLY
4.5 CM
GRAIN LINE
CENTRE FRONT / FLY EXTENTION
1 CM
SIDE SEAM
SIDE SEAM
BACK FACING
step 19
CUT 1 SELF
Developing the waistband
1 3CM
⁄8"
15.5
61⁄8" CM
5
41CM
⁄8 "
CENTRE FRONT
22.5
87⁄8" CM
POCKET OPENING
45CM
⁄8 "
1
CENTRE BACK
15.5
61⁄8" CM
4.5 CM
15.5 CM
POCKET OPENING
4 CM
3
⁄4" CM
14.5
145⁄8"CM
GRAIN
LINE
GRAINLINE
POCKET OPENING
13CM
⁄8"
CENTRE FRONT / FLY EXTENTION
CUT 1 SELF
POCKET OPENING
5
41CM
⁄8"
1 CM
1 CM
⁄8"
1 CM
3
3 CM
1
⁄8"
CF
1 CM
3
⁄8"
4 CM
15⁄8"
CENTRE FRONT
CENTER
SIDE SEAM
OUTSEAM
CENTRE BACK
CENTER
SIDE SEAM
OUTSEAM
POCKET OPENING
CENTRE
CENTER FRONT / FLY EXTENTION
This waistband is developed in two parts.
The inside facing is one full piece while
the outside is segmented into parts that
match the pocket openings.
POCKET OPENING
• To develop the facing, on a separate piece of paper, draw
a horizontal box 15⁄8in wide by 347⁄8in long (331⁄8in waist
measurement + 13⁄4in fly extension), then notch the positions
of the following for alignment­—pockets, outseams, and center
back—by measuring them from the waistline on the front and
back pant patterns.
• Add a 3⁄8in seam allowance to all sides to create the final
facing pattern.
FRONT LEFT
BACK LEFT
CUT 1 SELF
BACK RIGHT
CUT 1 SELF
FRONT RIGHT
CUT 1 SELF
CUT 1 SELF
4
15CM
⁄8"
3 CM
1
⁄8"
⁄
3
1 CM
8"
13⁄8CM
"
15.5
61⁄8" CM
415CM
⁄8"
POCKET
SECTION LEFT
CUT 1
194 Chapter FOUR the patterns: PANTS
22.5
87⁄8" CM
22.5
87⁄8" CM
15CM
⁄8"
4
POCKET
SECTION RIGHT
CUT 1
15.5
61⁄8" CM
4.5
13⁄4CM
"
⁄
3
1 8CM
"
4 CM
M
cargo pants 195
Shrinkage
Shrinkage is not included in this
adaptation of the jeans pattern. All
raw cotton denim shrinks when washed.
A shrink test should be carried out
first. Cut a square yard, apply the
washing technique relevant to the final
product, and remeasure the square yard:
This will give you the ratio by which
the square has shrunk, which you can then
apply to the pattern by increasing the
width and length. Alternatively, make
the jeans in their entirety and then
apply the washing technique relevant
to the style. Remeasure the jeans and
adapt the pattern to accommodate the
shrinkage ratio.
196 Chapter FOUR the patterns: PANTS
Carrot leg
Skinny leg
Straight leg
Bootcut leg
pattern
Jeans
This pattern includes development
of the following features:
Lowered front waist and angled crotch curve
Raised center back waist
Back yoke
Straight legs, bootcut legs, carrot legs, skinny legs
Jeans pocket
Coin pocket
Back patch pocket
Straight waistband
step 2
Developing the lowered front waist and angled
crotch curve
SE
E RI
VK
RC
UA
ETCB
SE
CH
NTR
K RI
EO
C
CR
A
B
RET
T
N
CE
HIP
HIPLEVEL
LINE
HIP LINE
N
NEEW
WCC
FF
IINSEAM
NSIDE SEAM
GRAINLINE
GRAIN
LINE
INSEI
N
AS
MIDE
SEA
M
INSID
E SE
AM
PLEAT
PLEAT
LINES
LINES
CB
4 CM
NEW
WAIST
HEM
LINE
HEMLINE
EL
VE
LIN
HIPLE
WHIP
NEW
NE
LINE
HIPLEVEL
HIP
HIP LINE
EEAAMM
ES
DTS
SIU
O
SIDE SEAM
GRAIN LINE
step 3
Developing the raised center back waist
BACK
MASTER
PLAN
KNEE
LEVEL
KNEE LINE
INSE
IN
IDAEMS
EAM
LINE
SEAT LEVEL
SEAT LINE
FRONT
MASTER
PLAN
2⁄4"CM
3
GRAIN
LINE
GRAINLINE
1.5 CM
HEMHEM
LINELINE
HEMLINE
INSIDE SEAM
KNEE
KNEE LINE
LEVEL
PLEAT
LINES
3 CM
FRONT
MASTER
PLAN
BACK
MASTER
MASTER
BACK
PLAN
PLAN
MASTER
PLAN
KNEE
KNEE
LEVELLINE
KNEE LINE
NEW CF
HEM LINE
HEM LINE
HEMLINE
H
SEAT LEVEL
LINE
GRAIN LINE
MM
AA
EE
ES
DTS
S
OIU
M
A
E
S
SIDE
KNEEKNEE
LINE
KNEE LINE
LEVEL
HIP LEVEL
LINE
HIP
SEAT LINE
SIDTS
OU
ES
EA
EAMM
FRONT
MASTER
FRONT
PLAN
MASTER
PLAN
SEAT LEVEL
SEAT
LINE
NE
KNEE LINE
• From the crotch curve cut along the hip level toward the
outseam. Open up the back crotch curve 3⁄4in and redraw the
new position of the waist top.
HEM LINE
HEMLINE
HEM LINE
jeans 197
M
SIDE SEA
SEAT LEVEL
LINE
WAIST
SIDTS
OU
E SEA
EAMM
SEAT LINE
9
1.5 CM
⁄16"
GRAIN LINE
GRAINLINE
HIPLEVEL
LINE
HIP
SIDE SEAM
GRAIN LINE
INSIDE SEAM
INSEAM
HIP LINE
GRAIN LINE
GRAINLINE
E FRONT RISE
N TR
CR
EO
N TR
CE
HF
CR
UO
RN
VT
E RISE
CE
INSIDE SEAM
• Remove the 15⁄8in pleat volume by angling back the front rise.
From the center front waist point measure in 13⁄16in and from
this point measure down 9⁄16in. Redraw the new front crotch
curve shape down to the crotch point.
3
13⁄CM
16"
Start by selecting the basic men’s pant sloper, or by drafting
the basic pant sloper according to the instructions on page 45.
Cut a large piece of drafting paper slightly longer than the pant
you want to develop and transfer the shape of the sloper and
all marks, labels, and instructions, following the directions on
page 49.
5
4 1CM
⁄8"
step 1
Developing the master plan
CENTER
FRONT
WAIST
POINT
3.5
13⁄8" CM
step 4
Developing the front fly, jeans pocket,
and leg silhouettes
5
⁄8 "
41CM
7.5 CM
3"
HIPLEVEL
LINE
HIP
3.5
1
⁄8" CM
SEAT LEVEL
LINE
198 Chapter FOUR the patterns: PANTS
FRONT LEG
BOOT CUT LEG
SLIM LEG
STRAIGHT LEG
GRAIN LINE
SLIM LEG
LEG
CUT LEG
BOOT CUT
SLI
SLIM
M LE
LEG
G
STRAIGHT LEG
GRAIN LINE
GRAINLINE
SLIM LEG
LEG
STRAIGHT LEG
BOO
BOOT
T CUT
CUT LEG
LEG
HEM LINE
BOOT CUT LEG
KNEE LINE
SIDE SEAM
FRONT
MASTER
PLAN
STRAIGHT LEG
SLIIM
SL
M LE
LEG
G
STRAIGHT LEG
3
3 1CM
⁄16"
3
2 CM
⁄4"
CF
C
F
SEAT LINE
SLIM LEG
STRAIGHT LEG
STRAIGHT LEG
2 CM
3 CM
BOOT CUT LEG
SLIM LEG
GRAIN LINE
INSIDE SEAM
• Following the instructions on page 50, trace off the front
pant leg pattern using the desired leg silhouette.
3 CM
2 CM
2 CM
3.5 CM
HIP LINE
CUT 1 PR SELF
4 CM
CF
4 CM
F
C
7.5 CM
BOOT CUT LEG
GRAIN LINE
GRAINLINE
SLIM LEG
LEG
STRAIGHT LEG
BOOTCUT
BOOT
CUTLEG
LEG
3
2 CM
⁄4"
3
3 1CM
⁄16"
HEMLINE
HEM LINE
LEG
CUT LEG
BOOT CUT
INSIDE SEAM
INSEAM
KNEE
KNEE
LEVELLINE
SIDTS
OU
E SEA
EAMM
FRONT
MASTER
PLAN
11 CM
3.5 CM
17 CM
FRONT LEG
CF
C
CUT 1 PR SELF
3
• To create the fly shape, measure in 13⁄8in from the center
front waist point and from here measure down 63⁄4in to
create a rectangular fly shape. At the bottom of this line
measure 3⁄4in back up and make a mark; draw a curved line
from this point back to the crotch curve.
• From the outseam waist point measure back 43⁄8in and down
3in and create a rectangle. At the bottom left corner of the
rectangle measure 15⁄8in along and 15⁄8in up and join the
points to create a rounded opening.
• The original outseam of the master plan is the outseam for
the straight leg silhouette. To create the slim leg silhouette
measure in 13⁄16in from both seams along the hemline and
redraw the seams up to the seat level.
• To create the bootcut silhouette measure out 3⁄4in from
both seams along the hemline and redraw the seams up to
the knee.
step 5
Front leg pattern
CF
C
CF
F
45⁄CM
1
8"
3
2
⁄4"CM
3
17 6CM
⁄4"
11
"
43⁄8CM
"M
13 ⁄8C
5
0.8
⁄16" CM
YOKE STYLE LINE
"
0.8 ⁄16
CM
step 6
Developing the back yoke shape and
leg silhouettes
VE
CUR
TCH
O
R
C
5
HIP
LINE
HIP
LEVEL
BACK LEG
3
31CM
⁄16"
8
31⁄CM
8"
1 CM
0.8 CM
BOOT CUT LEG
3
⁄16"
3 1CM
3
2 CM
⁄4"
LEG
BOOT CUTLEG
BOOTCUT
STRAIG
STRA
IGHT
HT LEG
SLIM LEG
LEG
LEG
IGHT
IGHT
STRA
STRA
SLIM LEG
HEM
LINE
HEMLINE
3
2 CM
⁄4"
3
3 1CM
⁄16"
BOOTCUT
CUTLEG
LEG
KNEE
KNEE
LINE
LEVEL
STRAIGHT LEG
SLIM LEG
INSE
IDAEM
SEA
M
GRAIN
LINE
GRAINLINE
BACK
MASTER
PLAN
8 CM
YOKE STYLE LINE
3 CM
0.8 CM
HIP LINE
BACK LEG
SEAM
3 CM
T
WAIS
LINE
BACK YOKE
CUT 1 PR SELF
SIDE
AM
E SE
BACK
MASTER
PLAN
INSID
GRAIN LINE
EA
SIDE S
M
• Following the instructions on page 50, trace off the back
pant leg pattern using the desired
leg silhouette.
SEAT LINE
CUT 1 PR SELF
LEG
CUTLEG
BOOT
BOOTCUT
SLIM LEG
GRAIN LINE
GRAINLINE
LEG
LEG
IGHT
IGHT
STRA
STRA
SLIM LEG
BOOTCUT
CUTLEG
LEG
BOOT CUT LEG
SLIM LEG
STRAIGHT LEG
3 CM
2 CM
STRAIGHT LEG
SLIM LEG
HEM LINE
2 CM
3 CM
BOOT CUT LEG
KNEE LINE
STRAIG
STRA
HT LEG
IGHT
step 7
Back leg pattern
AMM
UTESSEEA
S
OID
SEAT
LINE
SEAT
LEVEL
• From the waistline, measure 31⁄8in down the crotch curve and
mark, and 13⁄16in down the outseam and mark; connect the
points with a straight line. This is the yoke line.
• Measuring along the waistline, remove 3⁄8in from the
outseam, which is extra volume left by the front pleat.
• Trace off the back yoke shape onto a separate piece of paper,
cut through the dart legs, and close up to create the curved
yoke shape.
• To remove the remaining volume left by the dart leg,
measure 5⁄16in in from the outseam along the waistline and
reshape the outseam from this point.
• The original outseam of the master plan is the outseam for
the straight leg silhouette. To create the slim leg silhouette
measure in 13⁄16in from both seams along the hemline and
redraw the seams up to the seat level.
• To create the bootcut silhouette measure out 3⁄4in from
both seams along the hemline and redraw the seams up to
the knee.
jeans 199
GRAINLINE
GRAIN LINE
BACK
YOKE
BACK
YOKE
CUT 1 PR SELF
CUT 1 PR SELF
8
31CM
⁄8"
1 CM
3.5 CM
3.5 CM
BACK LEG YOKE
FLY
EXTENSION
CUT 1 SELF
1 CM
1
GRAIN LINE
1 CM
ALIGNMENT
BACK
LEGNOTCHES
YOKE
ALIGNMENT
NOTCHES
133CM
⁄16"
IDE S
OUST
SEEAAM
M
• Following the instructions on page 50,
trace off the final back yoke pattern.
Seam allowance is not added as many
seam variations are possible in jeans
construction. The two most commonly
used are flat felled seams and lapped
seams; the former usually has a seam
allowance of 3⁄8in and the latter 3⁄16.
E
INLEIN
T LT
ISIS
W
WAA
K
CK
BAC
BA
TRE
TEENR
C
N
E
C
step 8
Back yoke pattern
3
1 CM
⁄8"
1 3⁄8"
⁄8"
18 CM
1 CM
3
13⁄CM
8"
3 CM
1
⁄8"
step 9
Front fly facing pattern
GRAIN LINE
FOL.D LINE
1 CM
63⁄4"
17 CM
FLYFLY
FACING
FACING
13⁄CM
8"
13 CM
⁄8"
FLY EXTENSION
CUT 1 SELF
Front fly extension size
The front fly extension is longer than
the fly facing so that it will cover
it, because multiple seams may cause
irritation to the wearer.
FLY
EXTENSION
CUT 1 SELF
71⁄8"
ING
LF R.S.U
200 Chapter FOUR the patterns: PANTS
⁄"
1 CM
38
3.5 CM
13⁄CM
8"
18 CM
1 CM
FOL.D
LINE
FOLD
1 CM
13CM
⁄8"
13CM
⁄8"
17 CM
⁄8"
1 CM
3
⁄8"
1 CM
3
CENTRE FRONT
GRAIN LINE
1 CM
• On a separate piece of paper, draw a vertical box 71⁄8in long
1 CM
by 23⁄4in wide.
3.5 CM
• Divide the box in half lengthways, draw a line down the
center, and label it fold.
• When folded and placed along the front crotch curve the top
edge of the fly extension will need to be modified to follow
the angle of the waistline. Trace across and redraw.
• Add a 3⁄8in seam allowance on all sides.
13 ⁄8"
3.5 CM
GRAIN LINE
GRAINLINE
3
1 CM
1 3⁄8"
⁄8"
step 10
Front fly extension pattern
13CM
⁄8"
1
1 CM
CUT 1 SELF R.S.U
CUT
1 SELF R.S.U
• Following the instructions on page 50, trace off the fly shape
developed in Step 4 onto a separate piece of paper and flip it
over, adding a 3⁄8in seam allowance to all sides to create the
final fly facing.
CENTER
CENTRE
FRONT FRONT
GRAINLINE
3.5 CM
1 CM
43 ⁄8"CM
11
3 8" CM
⁄
3.5
1
0.5
⁄16" CM
3
7.5
3" CM
• Extend the pocket opening line ⁄16in above the waistline to
allow for the width of the hand. From this point measure a
further 13⁄8in toward the center front to create the pocket
bag width. From here square down 91⁄2in and mark; then
square back 61⁄4in to the outseam.
• Develop the pocket opening facing and bearer depth by
drawing a line 13⁄16in from and parallel with the opening line.
• From the opening line on the outseam measure 13⁄16in down
(the facing depth) and a further 23⁄4in and mark. Connect
this point with the end of the pocket depth line using a
descending curve.
GRAIN LINE
3
24 CM
GRAIN LINE
GRAINLINE
3.5 CM
11 CM
0.5 CM
1
249CM
⁄2 "
PO
CK
ET L
33⁄CM
1
16"
33⁄CM
1
16"
PO 7.5 CM
CK
ET L
INE
POCKET OPENING
ALIGNMENT NOTCHES
step 11
Developing the front jeans pocket bag
and bearer
73⁄CM
2
4"
3 CM
3 CM
INE
LINE
HIPLEVEL
HIP
7 CM
HIP LINE
FRONT
MASTER
PLAN
FRONT
MASTER
PLAN
16 CM
1 CM
16
6
⁄4"
FACING ALIGNMENT NOTCH
FRONT
MASTER
PLAN
POCKET OPE
ALIGNMENT N
POCKET OPENING
ALIGNMENT NOTCHES
GRAIN LINE
7 CM
FRONT JEAN POCKET BEARER
CUT 1 PR SELF
GRAIN LINE
FRONT JEAN
POCKET BAG
FRONT JEAN POCKET BAG
CUT
1 PR SELF
CUT 1 PR SELF POCKETING
POCKETING
3 CM
OPENING
ALIGNMENT
NOTCH
FACING ALIGNMENT NOTCH
ALIGNMENT
NOTCH
7.5 CM
POCKET OPENING
ALIGNMENT
NOTCHES
POCKET
GRAIN
LINE
GRAINLINE
FACING
ALIGNMENT NOTCH
FACING
11 CM
0.5 CM
POCKET OPENING
ALIGNMENT NOTCHES
3.5 CM
• The jeans pocket bag is constructed
in one piece. Trace off the pocket bag
shape from the master plan mirroring
it over using the left-hand side as the 3 CM
PO
CK
ET L
fold line. Remove the pocket opening
INE
24 CM
shape from the left side.
• Trace off the final pocket bearer shape
HIP LINE
from the front pocket master plan.
OPENING
ALIGNMENT
NOTCH
FOLD LINE
FOLD
LINELINE
GRAIN
step 12
Front jeans pocket bag and
bearer patterns
FACING ALIGNMENT
NOTCH
FACING ALIGNMENT
NOTCH
POCKET
OPENING
POCKET
ALIGNMENT NOTCHES
16 CM
stepBAG
13
FRONT JEAN POCKET
FOLD LINE
POCKET
OPENING
ALIGNMENT
POCKET OPENING
NOTCH NOTCHES
ALIGNMENT
PATTERN
POCKET OPENING
ALIGNMENT NOTCHES
• Draw a rectangle 23⁄8in wide by 4in
long. At one end, along the shorter
side, mark two fold lines 3⁄8in apart.
COIN
POCKET
CUT 1 SELF
236⁄8CM
"
FOLD
FOLD
FOLD
FOLD
GRAINLINE
FACING ALIGNMENT NOTCH
FACING ALIGNMENT NOTCH
CUT 1 PR SELF POCKETING
DEVELOPING THE Coin pocket
POCKET OPENING
ALIGNMENT NOTCHES
GRAIN LINE
NOTCH
LINE
GRAIN
GRAINLINE
GRAINLINE
"
13⁄8CM
13 CM
⁄8"
10
4"CM
COIN POCKET
CUT 1 SELF
jeans 201
FRONT JEAN POCKET BAG
CUT 1 PR SELF POCKETING
INE
7 CM
POCKET
3 CM
FRONT JEAN
POCKET
POCKET BEARER
JEAN BEARER
FRONT
SELFSELF
CUT
CUT1 PR
1 PR
OPENING
OPENING
POCKET
NOTCHES
ALIGNMENT
ALIGNMENT
7.5 CM
POCKE
ALIGN
step 14
Developing the back patch pocket bag
1 CM
7 "
⁄8 CM
5
15
HIP
HIPLEVEL
LINE
2⁄4"CM
3
ESSEEAAMM
UT
S
OID
GRAIN
LINE
GRAINLINE
3 "
⁄4
2 CM
• From the center point of the yoke line measure out 3in each
2 CM
side and from each of these points square downFACING
13⁄16in and
mark. Draw a line between these two points; this is the top
FOLD
opening of the patch pocket. From the center point of the
7
opening, square down 5 ⁄8in and mark.
• From this point measure up 3⁄4in and mark. Square out 21⁄2in
to each side, and connect PATCH
thesePOCKET
points up to the top opening
CUT 1 PR SELF
line to give an angled pocket
shape.
• Connect the same points down to the center point on the
bottom line.
GRAIN LINE
16"
1
33⁄CM
RRISVEE
BACCKU
TRTECH
NO
CCER
3 "
⁄16
3 1CM
YOKE LINE
CM
7.53"
CM
7.53"
SEAT LEVEL
LINE
⁄8"
BACK PATCH
POCKET
MASTER PLAN
⁄8"
1 CM
3 CM
YOKE LINE
7.5 CM
7.5 CM
3
3
1 CM
2 3CM
⁄4"
3 CM
FOLD
HIP LINE
SIDE SE
202 Chapter FOUR the patterns: PANTS
GRAIN LINE
AM
• Following the instructions on page 50,
trace off the patch
2 CM
CM
pocket bag pattern2 and
add a 3⁄4in folded facing at the top
and a 3⁄8in seam allowance to all other sides to create the
final pattern.
SEAT LINE
BACK PATCH
POCKET
MASTER PLAN
FOLD
FOLD
PATCH POCKET
PATCH
POCKET
CUT 1 PR SELF
CUT 1 PR SELF
GRAIN LINE
GRAINLINE
ISE
CK R
E BA
FOLD
TR
CEN
step 15
15 CM
Back patch pocket bag pattern
23⁄CM
4"
FACING
FACING
FOLD
19.5
75⁄8" CM
5
228CM
⁄8"
EXTENTION
FLY EXTENSION
SIDE SEAM
OUTSEAM
CENTRE BACK
CENTER
GRAIN LINE
GRAINLINE
5
22
8
⁄8"CM
Make all arrows with pink text into black
arrows
CF
FOLD LINE
5
⁄8" CM
719.5
13⁄8CM
"
4
15⁄CM
8"
45⁄CM
1
8"
13⁄8CM
"
3.5 CM
11⁄2"
5
4 1CM
⁄8"
3
1 CM
⁄8"
WAIST
BAND
WAISTBAND
CUT 1 SELF
POCKET OPENING
ALIGNMENT NOTCH
3
1 CM
⁄8"
5
4 1CM
⁄8"
POCKET OPENING
ALIGNMENT NOTCH
• Draw a rectangle 31⁄4in wide by 34in
long (317⁄8in waist measurement plus
5
⁄8in ease plus 11⁄2in fly extension
measurement) with the fly extension
marked at the right-hand end. Draw a
fold line down the center lengthways.
• Add a 3⁄8in seam allowance to all sides.
• Notch the center front, pocket
openings, outseams, and center back.
SIDE
SEAM
OUTSEAM
POCKET OPENING
ALIGNMENT NOTCH
step 16
Developing the waistband
jeans 203
CHAPTER FIVE
The
Patterns:
outerwear
pattern
ANORAK
Start by selecting the basic men’s upper body sloper, or by
drafting the basic sloper according to the instructions on page
40. Cut a large piece of drafting paper slightly longer than the
length of the jacket you want to develop and transfer the shape
of the sloper and all marks, labels, and instructions, following
the directions on page 48.
206 Chapter five the patterns: outerwear
FRONT
FRONT
NOTCH
PITCH
POINT
WAISTLINE
HIP LEVEL
HEMLINE
FRONT MASTER
PLAN
PLAN
CENTRE
CENTER FRONT
BACK MASTER
PLAN
GRAIN
LINE
GRAINLINE
LEVEL
CHEST LINE
SIDE SEAM
step 1
Developing the master plan
BACK
BACK
PITCH
NOTCH
POINT
CENTRE
CENTER BACK
This pattern includes
development of the following features:
Adding volume to the front and back patterns
Enlarging the neckline
Creating a shaped and elasticated hemline
Creating a dropped shoulder with seam moved toward
the front
Developing a center front patch pocket with mitered
corners, zipper opening, and flap
Enlarging the sleeve cap
Creating a sleeve with elasticated cuffs
Developing a hood with separate front peak
• Extend the center front, side seam,
3.5
CMcenter back lines down 43⁄8in
and
from the hemline and square across to
FRONT
create a new hemline.
MASTER
• PLAN
To shape the hemline measure 13⁄16in
up the side seam and blend back
toward the center front and center
back using a French curve.
• To develop the side seam shaping, at
the hemline measure 3⁄8in into the
front body and connect this point
back to the new underarm / side seam
corner with a straight line. Repeat
these steps for the back by measuring
3
⁄8in into the back body.
03⁄1.65
"
0⁄ .5" CM
3 16
0⁄ .5" CM
CM
⁄ "
3
16
3 16
3
2
⁄4"CM
23⁄4CM
"
LINE
CHEST LEVEL
1 ⁄8"CM
3.5
SIDE SEAM
SIDE SEAM
FRONT
MASTER
MASTER
PLAN
CENTRE FRONT
CENTER
BACK
MASTER
PLAN
GRAIN
LINE
GRAINLINE
3
⁄8"
3.51CM
3
WAISTLINE
HEMLINE
CENTRE FRONT
FRONT
SHOULDER
HIGH
POINT
NECK POINT
SHOULDER
BACK SHOULDER
HIGH POINT
NECK
POINT
SHOULDER
CENTRE BACK
CENTER
NECK POINT
BACK
BACK
SHOULDER
SHOULDER
POINT
TIP
FRONT
SHOULDER
SHOULDER
TIP
POINT
NEW
NEW
BACK
BACK
PITCH
NOTCH
POINT
NEW
NEW
FRONT
FRONT
PITCH
NOTCH
POINT
CENTRE
CENTER FRONT
NECK POINT
CHEST LINE
LEVEL
CENTRE BACK
CENTER
SIDE SEAM
SIDE SEAM
5 CM
CENTRE
CENTER FRONT
NECK POINT
NEW
NEW
FRONT
FRONT
PITCH
NOTCH
POINT
NEW
BACK
2 CM
PITCH
step 3
POINT
NEW Extending and shaping the hem
FRONT
PITCH and shaping the side seam
POINT
2 CM
NEW
NEW
BACK
BACK
PITCH
NOTCH
POINT
CENTRE FRONT
FRONT
SHOULDER
HIGH
POINT
NECK POINT
SHOULDER
BACK
MASTER
PLAN
WAISTLINE
FRONT
FRONT
MASTER
PLAN
PLAN
CENTRE FRONT
CENTER
CENTRE FRONT
NECK POINT
FRONT
SHOULDER
SHOULDER
TIP
POINT
GRAIN
LINE
GRAINLINE
FRONT
SHOULDER
POINT
3 "M
2⁄4C
OLD SIDE SEAM
M
BACK
SHOULDER
SHOULDER
TIP
POINT
23⁄4C
"M
OLD SIDE SEAM
0.5 CM
M
2C
CENTRE BACK
CENTER
NECK POINT
CENTRE FRONT
SHOULDER
NECK POINT
CENTRE FRONT
DER
2C
GRAIN LINE
0.5
CM
0.5 CM
• From the center front neck point
measure down 3⁄4in and from the front
high point shoulder measure in 3⁄16in;
measure in 3⁄16in from the back high
point shoulder. Using the basic upper
body sloper as a template draw in the
new front and back necklines.
• From the front and back shoulder tips
measure up 3⁄16in and out 3⁄4in over the
armhole and find and mark the new
shoulder tips.
• Open up the side seam by adding in
3
⁄4in between the front and back body
panels and repositioning.
• From the chest level square down 13⁄8in
on each side and, starting from the
underarm / side seam corner, redraw
the new armhole shape using the basic
upper body slopers as a template up to
the new shoulder tips. Draw in the new
notch positions.
SHOULDER
BACK HIGH
POINT
NECK POINT
SHOULDER
CENTRE BACK
CENTER
step 2
Developing the enlarged
neck, dropped shoulder, and
lowered arm, and adding
volume to the side seam
HEMLINE
11 CM
43⁄8"
3
1 CM
⁄8 "
3 CM
1
⁄8"
11
43⁄8CM
"
313⁄CM
16"
ANORAK 207
13⁄16"
SHO
ULDE
R
SHSO
EU
ALMD
BACK HIGH
SEAM ER
SHOULDER
POINT
NECK
SHOULDER BACK
POINT
SHOULDER
TIP
POINT
FRONT SHOULDER
HIGH POINT
NECK POINT
SHOULDER
FRONT
SHOULDER
TIP
13⁄16"
3"CM
1 ⁄16
13⁄16"
3
3 CM
step 4
Repositioning the shoulder seam
WAISTLINE
FRONT MASTER
PLAN
PLAN
CENTRE
CENTER FRONT
GRAIN LINE
GRAINLINE
NEW SIDE SEAM
BACK MASTER
PLAN
NEW SIDE SEAM
CHEST LINE
LEVEL
CENTRE BACK
CENTER
• From the front high point shoulder measure 13⁄16in down the
front neck curve and 13⁄16in down the armhole from the front
shoulder tip and draw in the new shoulder seam. Cut and
remove this shape from the front body panel.
• To add the shape onto the back body panel, from the back
high point shoulder and the back shoulder tip measure up
13⁄16in and connect these points with a straight line from the
back high point shoulder, curving it down slightly to the new
shoulder tip.
NEW HEMLINE
step 5
Adding volume to the front
KCAB
REDLUOHS
INAL
ORIG LDER
U
SHO
M
SEA
R
ULDE
SHO AM
SE
8" 4
1M5 ⁄C
ERCENTER
TNEC
KCAB
FRONT
KCEN
NECK
TPOINT
NIOP
M
⁄8"4
15C
GRAINLINE
UNDERARM
/ SIDE SEAM
CORNER
RETSAMASTER
M KCAB
FRONT
NALP
PLAN
GRAINLINE
FRONT MASTER
PLAN
RETSAM KCAB
NALP
133⁄4"
MC319⁄2"
MC4"01
MC 04
SIDE SEAM
31C⁄2"9
M
MC4"01
153⁄4"
MC25⁄.26"
1
ENIL NIARG
MC
2"5
MC 53
208 Chapter five the patterns: outerwear
KCAB
FRONT
REDLUOH
S
HIGH
KCE
N POINT
SHOULDER
TNIO
P
ENIL NIARG
ENIL NIARG
• Trace off the
KCENfront body panel onto
ERTNEC
TNIOP
a new piece
of paper. Volume
will be
KCAB
KCEN
4
added byMCcutting
and spreading
the
TNIOP
pattern pieces open to redefine
the shape.
MC 4
• From the side seam square
in 31⁄2in at
two points and from the hemline draw
TSAM KCAline
B
a 133⁄4inREvertical
passing through
NALP
the points. Continue to measure in a
further 4in and from the hem draw
a 153⁄4in vertical line.
• Measure 2in down the side seam from
the underarm / side seam corner and
from here draw an angled line to the
top of the 153⁄4in vertical line.
• Measure down a further 21⁄2in and
connect this point with an angled line
to the top of the 133⁄4in vertical line.
• From the hemline cut up each line and
out to the side seam, leaving the shape
connected by a fraction of an inch.
• Starting from the center front open
each panel out 2in at the hem.
• Redraw the new hemline with a
gradual curve back toward the center
front, removing the overhanging
MC 5
panel corners.
MC 5
M2C" 5
2" 5
MC
MC 5
MC 5.6
step 6
Front pattern and developing the front neck facing, patch pocket bag, and hem WIDTH
• Trace off the front onto a new piece of paper and, following
the instructions on page 50, create the full pattern shape.
You will now develop the front neck facing and patch pocket
on top of this pattern.
• The front neck facing will strengthen the zipper insertion.
From the front high point shoulders measure 15⁄8in down
each shoulder seam and draw a curved line down toward the
center front following the shape of the neckline.
• From the center front neck point measure out 3⁄16in on
both sides along the neckline. From these points create
a rectangle 3⁄8in wide by 43⁄4in long; this will be cut later to
allow the zipper to be sewn in.
• From the bottom of the rectangle measure down 15⁄8in along
the center front and then square out 15⁄8in right and left; this
is the width of your facing. Connect these points back up to
meet the curved lines drawn previously and round off all
the corners.
• To develop the pocket bag measure 23⁄8in down from the
bottom of the facing shape. From this point square out
61⁄4in left and right. Measure 125⁄8in down both sides to
create a square.
• Measure 13⁄16in up along the length of the hemline to
create a channel to take the elastic for a gathered finish.
1
4 5C
⁄8"M
3 CM
1
⁄8"
⁄8"M
4
15C
4
15CM
⁄8"
ZIPPER LENGHT
LENGTH
3
12
4
⁄4"CM
45CM
1
⁄8 "
6
23CM
⁄8"
FRONT BODY
CUT 1 SELF
GRAIN LINE
GRAINLINE
16
⁄4"
61CM
5
CM
3212
⁄8 "
325CM
12
⁄8 "
1661CM
⁄4"
3 1C3 M
⁄16"
"M
HEM STITCH LIIN
NE FOR ELASTIIC
CATED GATHERING
6
133 ⁄1C
ANORAK 209
step 7
Front neck facing pattern
• Following the instructions on page 50, trace off the neck
facing pattern, adding a 3⁄8in seam allowance on the neckline
and shoulders only.
GRAIN LINE
GRAINLINE
FRONT NECK FACING
CUT 1 SELF
step 8
Front hem FACING pattern
1C
M
• Following the instructions on page 50, trace off the hem
facing pattern, adding a 3⁄8in seam allowance on all sides.
1C
3 "M
1⁄8C
M
CUT 1 SELF
3 ⁄8"
1 CM
13 ⁄8C"
FRONT HEM FACING
GL
1 C3⁄M
8"
1 C3
⁄8M
"
210 Chapter five the patterns: outerwear
GL
FRONT HEM FACING
3 "
1 ⁄8CM
1 CM
M
13⁄8"CM
1 C3
⁄M
8"
1 CM
GRAIN LINE
FRONT NECK FACING
CUT 1 SELF
CUT 1 SELF
step 9
Developing the pocket bag with mitered corners
and zipper opening
POCKET
TOP
POCKET TOP
5
⁄8"
12
32 CM
5"
POCKET
MASTER
PLAN
POCKET MASTER
5
28
CM
11"
145CM
⁄8 "
FOLD
FOLD
4 CM
5
1 ⁄8"
⁄8"
3
⁄ "
9 CM
1.5
16
145CM
⁄8 "
POCKETBOTTOM
BOTTOM
POCKET
9 CM
1.5
⁄16"
⁄16"
1.5
9 CM
1 CM
TOP FRONT
4 CM
13 CM
13 CM
TOP FRONT PATCH POCKET
BAG
CUTPOCKET
1 SELF
1 CM
ZIPPER OPENING
GL
GL
POCKET TOP
32 CM
4 CM
CUT 1 SELF
step 10
Bottom and top pocket bag patterns
BOTTOM FRONT PATCH POCKET
BOTTOM FRONT
CUT 1 SELF
POCKET MASTER
PLAN
• Following the instructions on page 50, trace off the
bottom
pocket bag pattern.
28 CM
28 CM
• Following the instructions on page 50, trace off the top
pocket bag pattern.
POCKET BAG
CUT 1 SELF
1.5 CM
4 CM
13CM
⁄"
31 CM
8
⁄"
3 1 CM
8
125⁄8"
32 CM
6161CM⁄4"
⁄"
31 CM
8
⁄"
⁄"
31 CM
8
FOLD LINE
FOLD
3 1 CM
8
FOLD LINE
FOLD
6161⁄CM
4"
GRAIN LINE
POCKET FLAP
CUT 1 SELF
POCKET FLAP
CUT 1 SELF
• On a separate piece of paper, draw a horizontal box
125⁄8in long by 61⁄4in wide to create a rectangular-shaped
pocket flap.
• Divide the box in half lengthways, draw a line across the
center, and label it fold.
• Add a 3⁄8in seam allowance on all sides.
⁄8"
5
12
⁄8"
32 CM
⁄"
31 CM
8
GRAINLINE
step 11
Pocket flap pattern
FOLD
FOLD
1.5 CM
⁄8"
POCKET BOTTOM
13CM
1.5 CM
1 CM
4 CM
FOLD
4 CM
GRAIN LINE
GRAINLINE
GRAIN LINE
1 CM
4 CM
1.5 CM
TOP FRO
CUT 1 SE
BOTTOM
CUT 1 SE
PLAN
GRAIN LINE
GRAINLINE
⁄8"
41CM
1 CM
⁄8 "
⁄8"
3
⁄8"
3
1 CM
28
11"CM
9 CM
1.5
⁄16"
5
4
1CM
⁄8"
ZIPPEROPENING
OPENING
ZIPPER
3
• Trace off the 12 ⁄8in by 12 ⁄8in square from the front body,
indicating the center grainline.
• The zipper opening will be inserted along a panel seam,
which is created by measuring down 15⁄8in from each top
corner and squaring across. To create the zipper opening
draw a rectangle 10in by 3⁄8in, centered on the panel seam.
• To develop the mitered corners that will give the pocket a
bellows effect, square out 3⁄8in from the bottom corners and
connect to the top corners to give a new angled side. From
the new angled side measure in 15⁄8in along the bottom line
and mark, and from this point square down 15⁄8in and mark.
Repeat on the other side. Join the lower points on each side
with a straight line to create a new pocket bottom line. Name
the old bottom line fold. Continue to measure 9⁄16in down the
angled side and mark. Measure 9⁄16in out from the new pocket
bottom line and mark. Join these two points back to the point
you marked on the original pocket bottom line (now the fold
line). Repeat on the other side.
5"
13 CM
13 CM
1 CM
5
1 CM
4 5CM
1
⁄8 "
5
ANORAK 211
step 12
Adding volume to the back and creating the back neck facing
• Trace off the back body panel onto a new piece of paper.
Volume will be added by cutting and spreading the pattern
pieces open to redefine the shape.
• From the side seam square in 31⁄2in at two points and from
the hemline draw a 133⁄4in vertical line passing through the
points. Continue to measure in a further 4in and from the
hem draw a 153⁄4in vertical line.
• From the underarm / side seam corner measure 2in down the
side seam and connect this point with an angled line to the
top of the 153⁄4in vertical line.
• Measure down a further 21⁄2in and connect this point with an
angled line to the top of the 133⁄4in vertical line.
• From the hemline cut up each line and out to the side seam,
leaving the shape connected by a fraction of an inch.
• Starting from the center back open each panel out 2in at
the hem.
• Redraw the new hemline with a gradual curve back
toward the center back, removing the panel corners that
are overhanging.
• To create the back neck facing, measure 15⁄8in down the
shoulder seam from the back high point shoulder and mark,
and 15⁄8in down the center back from the center back neck
point and mark. Join these points with a curved line following
the shape of the neckline.
CENTRE
CENTER
BACK
NECK
POINT
ORIG
ORIG
IN
INAL SHOU AL
SHO
ULDE SEA LDER
M
R
SEAM
BACK
BACK
BACK
HIGH SHOULDER
SHOULDER
NECK
POINT
NECK
CENTRE
SHOULDER POINT
BACK POINT
NECK
POINT
1 5C
4
⁄8"M
4 CM
SHO
ULDE
SEAM R
4 CM
5
⁄8 "
CM
41
BACK MASTER
BACK MASTER
PLAN
PLAN
PLAN
BACK MASTER
BACK MASTER
PLAN
PLAN
PLAN
10 CM
212 Chapter five the patterns: outerwear
10
4"CM
9 CM
10
CM
4"
9 CM
21⁄2"CM
6.5
GRAIN LINE
6.5 CM
5
2"CM
GRAIN LINE
GRAINLINE
5 CM
1
93CM
⁄2 "
SIDE SEAM
353CM
13
⁄4"
GRAIN
LINE
GRAINLINE
10 CM
3
35
40CM
CM
15
⁄4"
40 CM
GRAIN LINE
UNDERARM /
SIDE SEAM
CORNER
91CM
⁄2"
3
CM
5 2"
5 CM5 2C"M
5 CM
step 13
Back pattern and hem FACING
CENTRE BACK
CENTER
3 CM
31C
3 M
⁄16"
GRAIN LINE
CENTRE BACK
BACK BODY
CUT 1 SELF
GRAIN LINE
GRAINLINE
BACK BODY
CUT 1 SELF
• Trace off the back onto a separate
piece of paper and, following the
instructions on page 50, create the
full pattern shape, adding a 3⁄8in
seam allowance on the neckline and
shoulders only.
• Measure 13⁄16in up along the length
of the hemline to create a channel to
take the elastic for a gathered finish.
3 CM
HEM STITCH LINE FOR ELASTICATED GATHERING
16"M
3
13 ⁄C
M
1 CM
1C
1 CM
HEM STITCH LINE FOR ELAS
ATED GATHERING
CA
STTIIC
1C
M
1C
M
1C
1 CM
1 CM
BACK HEM FACING
GL
M
CUT 1 SELF
BACK BODY
CUT 1 SELF
⁄"
⁄"
3 1 CM
8
13CM
8
• Trace off the back neck facing onto a separate piece of paper
and, following the instructions on page 50, create the full
pattern shape, adding a 3⁄8in seam allowance on the neckline
and shoulders only.
1C
M
3 CM
1 CM
BACK NECK FACING
CUT 1 SELF
⁄"
3
1 CM
8
GL
1
GRAIN LINE
⁄"
3 CM
8
GRAIN LINE
CENTRE BACK
step 14
Back neck facing pattern
BACK NECK FACING
CUT 1 SELF
3 CM
HEM STITCH LINE FOR ELASTICATED GATHERING
1C
1 CM
BACK HEM FACING
GL
M
CUT 1 SELF
step 15
Back hem FACING pattern
"
13C
1 CM
BACK HEM FACING
CUT 1 SELF
GL
GL
8"M
13 ⁄C
BACK HEM FACING
⁄8"
1 3CM
⁄8"M
M
8"
13 ⁄C
CUT 1 SELF
"
13C⁄8M
⁄8M
"
13⁄8CM
1 3C
⁄8"M
13 C
• Trace off the back hem facing onto a separate piece of paper
and, following the instructions on page 50, create the full
pattern shape, adding a 3⁄8in seam allowance on all sides.
1 CM
ANORAK 213
BACK
BACK
PITCH
NOTCH
POINT
FRONT
FRONT
PITCH
NOTCH
POINT
NEW BACK
PITCH POINT
UNDET
FRON
RARM
UNDEFRON
RARM
T SEAM
CENTRE LINE
CENTER
LINE
BACK LINE
K SEAM
RM
BAC
DERA
UNRM
ERA
UND
BACK
Start this development by selecting the
basic men’s sleeve sloper, or by drafting
the basic sleeve sloper according to the
instructions on page 42. Cut a large
piece of drafting paper slightly longer
than the length of the shirt you want
to develop and transfer the shape of
the sloper and all marks, labels, and
instructions, following the directions
on page 48. For this design the sloper
will be altered to reflect the dropped
shoulder and lowered armhole.
UNDERARM
SLEEVE
POINT
CORNER
AT BICEPS
LEVEL
LINE
UNDERARM
BICEPS
LEVEL
ELBOW LINE
3 CM
HEMLINE
32 CM
SLEEVE HEM
CROWN
POINT
4"
23⁄CM
FRONT
PITCH
POINT
2⁄4"CM
3
2 CM
⁄4"
3
NEW NEW
BACKBACK
NOTCH
PITCH
POINT
UNDERARM
POINT
32 CM
SLEEVE HEM
214 Chapter five the patterns: outerwear
1.75 11CM
⁄16"
LINE
OLD UNDERARM
BICEPS LEVEL
UNDERARM
LINE
NEW BICEPS
LEVEL
11
1.75
⁄16" CM
3
31CM
⁄16"
GRAIN LINE
GRAINLINE
UNDERARM FRONT SEAM
FOREARM LINE
CENTRE LINE
BACK LINE
M
• Open up the master plan along the center line by 3⁄4in and
intersecting the biceps level.
• From the top of the sleeve cap measure down 3⁄4in, the
amount by which you dropped the shoulder on the upper
body sloper.
• From the center of the biceps level square down 11⁄16in, half
ELBOW LINE
the amount
by which you dropped the armhole. Redraw the
new biceps level position, extending it by 13⁄16in each side.
• Using the basic sleeve sloper cap shape as a template,
redraw the new sleeve cap, indicating the lowered notches.
• Extend the sleeve hemline by 13⁄16in to each side and draw in
the new underarm seams by connecting the points back up
to each end of the new biceps level.
• Extend the sleeve hemline by 13⁄16in to each side, recreating
the opposite angle to the sleeve pitch, as the hem will be
folded up.
• When adapting any sleeve, check the amount of ease and
adjust if necessary before copying off the final pattern.
3
3 1CM
⁄16"
UNDERARM LINE
33⁄CM
1
16"
step 17
Developing the sleeve master plan
NEW
NEWFRONT
FRONT
PITCH
POINT
NOTCH
CUFF HEMLINE
HEMLINE
⁄4"
2 3CM
33⁄CM
1
16"
BACK
PITCH
POINT
1.75 CM
3 CM
UNDERARM
SLEEVE
POINT
CORNER
AT BICEPS
LEVEL
FOREARM LINE
step 16
Sleeve master plan
UNDERARM BACK SEA
RARM
T
TOP
OF
CROWN
SLEEVE
POINTCAP
SLEEVE
CUT 1 PR
2 CM
NEW BACK
PITCH POINT
NEW FRONT
PITCH POINT
step 18
Sleeve pattern OLD UNDERARM LINE
1.75 CM
NEW UNDERARM LINE
1.75 CM
3 CM
GRAIN LINE
CUFF HEMLINE
SLEEVE
CUT 1 PR SELF
GRAIN LINE
GRAINLINE
3 CM
• Following the instructions on page 50, trace off the new
sleeve pattern.
3 CM
UNDERARM
POINT
3 CM
UNDERARM FRONT SEAM
2 CM
2 CM
CUFF FACING GATHERING LINE
FOLD
2 CM
ANORAK 215
D
7
12.5
4
⁄8" CM
C
5"
13 CM
GRAIN LINE
GRAINLINE
INE
IN
NEL L
K PA
BAC
13⁄8"CM
25
97⁄8"CM
6.5 CM
panel pattern.
ENTRE
ACK LINE
HALF N
ECK
7.5 CM
NT
ME
AS
UR
EM
E
25 CM
9 CM
1 CM
HOOD MASTER
PLAN
A
216 Chapter five the patterns: outerwear
GRAIN
LINE
GRAINLINE
PEAK
ALIGNMENT
Following the NOTCH
instructions on page 50, trace off the hood side
40 CM
CENTRE FRONT LINE
LI N E
NEL
K PA
BAC
GRAIN LINE
step 20
Hood side panel pattern
12 C
M
HOOD SIDE PANEL
CUT 1 PR SELF
9 1C
3
⁄2"M
CM
7.5 3"
HALF N
EC
KM
EA
SU
RE
M
E
2 CM
PANEL
ALIGNMENT
NOTCH
CENTRE
CENTER FRONT LINE
4123⁄4"C
M
1.5
⁄16" CM
9
7.53"CM
CENTRE
CENTER
BACK LINE
C
3 CM
•
PEAK
ALIGNMENT
NOTCH
HOOD MASTER
PLAN
PLAN
B
12.5 CM
3
2 CM
⁄4"
PANEL
ALIGNMENT
NOTCH
NT
• Starting at the bottom right side of your paper mark point
(A); square left 97⁄8in (the length of the combined neck
measurement) and mark point (B).
• From (A) square up 153⁄4in (half the head circumference) and
mark point (C). Complete the rectangular box and mark
point (D).
• From (B) square up 3in (the neck height) and then square in
3in and label as center back line.
• Taking half the front and back neck measurements added
together (97⁄8in) use a French curve to draw the neck shape
from (A) up to a finishing point on the center back line.
• From (A) measure up 31⁄2in and then out 3⁄8in and draw in a
curved line.
• From (D) square down 5in and then across 9⁄16in and mark;
and again from (D) square across 47⁄8in and then down 13⁄16in
and mark.
• From (C) square down 21⁄2in and then out 3⁄4in and mark.
• Use these points to draw in your hood shape (determined by
the design, head size, neck opening, and usage).
• From the top of the hood opening, measure 43⁄4in down the
front opening and draw in the peak alignment notch.
⁄2"
6.521CM
33⁄CM
1
16"
step 19
developing the hood
A
403CM
15
⁄4"
HEAD
HEIGHT
CENTER
BACK
NECK
POINT
MEASUREMENT
FOR HEAD
CIRCUMFERENCE
NECK
HEIGHT
CENTER FRONT
NECK POINT
CENTER
FRONT
NECK
POINT
SHOULDER
TIP
Taking measurements for the hood
There are three measurements you need to create the
pattern for the hood:
1. The front and back neck measurements, taken from the
pattern—here they are 47⁄8in and 47⁄8in. If you are
developing a hood with a center back panel remember to
deduct the panel width from the final neck measurement
as well as from the crown and front opening.
2. The front and back neck height, found by placing the
front pattern on top of the back pattern and aligning
them at the chest level, then measuring the distance
between the front and back neck heights—here it
is 3in.
3. The vertical circumference of the head, taken for
the hood opening by measuring around the face of the
model’s head, starting and finishing at the center
front neck point—here it is 311⁄2in.
CB NECK
POINT
BACK
PANEL
FRONT
PANEL
NECK
HEIGHT
CF NECK
POINT
CHEST LEVEL
ANORAK 217
step 21
Developing the center back hood panel
1
718.5
⁄4"
CM
3
8
1⁄"
3.5 CM
8
3
E
BACK PA BA
NELCL
K IN
PANEL LI
E N
Measurements for the hood panel
The center hood panel is 31⁄8in wide at
the neckline and 23⁄4in wide at the hood
opening. To find the length, measure the
back panel line on the hood master plan
to create the center panel—here it is
201⁄2in. The shape of the panel follows
the shape of the head, so it is narrower
at the back of the neck, wider at the
crown, and then narrower again at the
front of the head—following a similar
principle to the way the segment of an
orange is shaped.
1⁄"
3.5 CM
HOOD FRONT
HOOD
FRONT
NOTCH
NOTCH
2 ⁄ "CM
5.5
⁄"
5.52 CM
1
8
8
LINE LINE
CENTER BACK
BACK
CENTRE
GRAINLINE
GRAIN LINE
1
201⁄2"
5
218 Chapter five the patterns: outerwear
8
5
8
BACKBACK
PANEL LINE
PANEL
CUT 1 SELF
CUT 1 SELF
⁄"
⁄"
41 C
M
4 1CM
NECK EDGE
NECK EDGE
LINE
52 CM
HOOD PANEL
HOOD PANEL
• Draw a vertical grainline 201⁄2in long. At the top square
out 13⁄8in on each side and label the line hood front. At the
bottom measure out 15⁄8in on each side and draw a slightly
curved line reflecting the shape of the center back neck on
the upper body sloper; label as neck edge.
• From the center of the hood front square down 71⁄4in and
then square out 21⁄8in to each side: this is the widest point.
Notch for alignment.
• On both sides connect the hood front to the neck edge,
passing through the central notch alignment line; this shape
will become the final center back hood panel.
NOTCH
NOTCH
step 22
Developing the hood peak pattern
• Repeat for the other half of the rectangle.
• Draw the peak curve by connecting the left and right 3⁄4in
marks with a curved line passing through the halfway point
on the lower side of the rectangle.
• Start by drawing a rectangular box 31⁄2in wide by 9in long.
Divide in half widthways at 41⁄2in.
• From this center point on one side of the rectangle measure
out 13⁄8in and mark; on the same side of the rectangle,
measure 3⁄4in down along its width and mark. Join these
points with a curved line.
PEAK ALIGNMENT NOTCH
PEAK ALIGNMENT NOTCH
PEAK
ALIGNMENT
NOTCH
31⁄8" 8 CM
PEAK
ALIGNMENT
NOTCH
133.5
⁄8" CM
133.5
⁄8" CM
8 CM31⁄8"
⁄4"
23⁄4"
7 CM
PEAK
CUT 1 PR SELF
CUT 1 STIFFING
GRAINLINE
GRAIN LINE
7 CM23⁄4"
PEAK
CUT 1 PR SELF
CUT 1 STIFFING
3
HOH
D OP
OODOO
PEENNING
ING EDGE
EDG
E
2 CM
3
2 CM
⁄4"
GE
G ED E
ENIN EDG
D OP ING
HOO PEN
DO
HOO
ANORAK 219
pattern
Fitted denim jacket
Start by selecting the basic men’s upper body sloper, or by
drafting the basic sloper according to the instructions on page
40. Cut a large piece of drafting paper slightly longer than the
length of the jacket you want to develop and transfer the shape
of the sloper and all marks, labels, and instructions, following
the directions on page 48.
220 Chapter five the patterns: outerwear
FRONT
NOTCH
PITCH
POINT
WAISTLINE
WAIST
LINE
HIP
HEMLEVEL
LINE
FRONT MASTER
PLAN
PLAN
CENTRE
CENTER FRONT
FRONT
BACK MASTER
PLAN
GRAIN
LINE
GRAINLINE
CHEST LINE
LEVEL
SIDE SEAM
SEAM
step 1
Developing the master plan
BACK
BACK
PITCH
NOTCH
POINT
CENTRE
CENTER BACK
BACK
This pattern includes
development of the following features:
Creating front and side back panels
Creating a sewn-on front placket
Reducing the length of the body
Creating a front yoke and combined front and back
shoulder panel
Developing side welted pockets
Developing a front breast envelope pocket
Developing a shaped convertible collar with hidden stand
Creating a waistband with tabs
Developing a casual two-piece sleeve with two-piece cuff
step 2
Developing the enlarged neck, reduced body
length, front placket, and body panels
BACK MASTER
PLAN
3 CM
2
⁄4"
4
15CM
⁄8"
9 CM
3 ⁄2"
1
YOKE LINE
3
7 2CM
⁄4"
5.5
⁄8"
21CM
FRONT PANEL LINE
SEAM
SIDE SEAM
GRAIN LINE
GRAINLINE
BACK PANEL LINE
12.5
47⁄8"CM
FRONT PANEL LINE
1
8 3CM
⁄8"
CENTRE FRONT
CENTER
CHEST LINE
LEVEL
1 CM
19
7
⁄2"
47
⁄2"
181CM
WAISTLINE
NEW HEMLINE
12.5
47⁄8"CM
1
8 3CM
⁄8"
1
19 7CM
⁄2"
5
5.5
41CM
21⁄CM
8"
⁄8"
3
72CM
⁄4"
OLD HEMLINE
CENTRE
BACK
NECK
POINT
POINT
FRONT
SHOULDER
SHOULDER
TIP
POINT
BACK
BACK
SHOULDER
SHOULDER
POINT
TIP
4"
4.5
13⁄CM
FRONT
SHOULDER
FRONT HIGH POINT
NECK
SHOULDER
POINT
⁄4"M
723C
2
7 3⁄C
4"M
⁄4"
7 2C3 M
2 3C
7
⁄4"M
541⁄2"C
1
4"CM
10
M
3
⁄16"
3 1CM
31CM
⁄16"
3
1451CM
⁄2"
FRONT
MASTER
MASTER
PLAN
YOKE LINE
⁄4"
43CM
12
3 CM
2
⁄4"
POCKET
BAG
1763CM
⁄4"
14
51CM
⁄2"
3
3 1CM
⁄16"
SIDE SEAM
SEAM
BACK
MASTER
PLAN
WELT
WELT
GRAIN
GRAINLINE
LINE
CENTRE
BACK
CENTER BACK
CHEST LEVEL
LINE
NEW HEMLINE
HEMLINE
6
23CM
⁄8"
3
⁄16"
31CM
3
62CM
⁄8"
WAISTLINE
WAISTLINE
4
15CM
⁄8"
CENTRE FRONT
FRONT
CENTER
step 3
Developing the shoulder panel, side welted
pocket, and breast envelope pocket
• Measure 15⁄8in down the front high point shoulder and make
a mark. Measure 23⁄4in down the armhole from the front
shoulder tip and square across 4in into the front.
Join this line back up to the mark you made on the neckline.
• Measure 13⁄4in from the center back neck point along the
neckline and make a mark. Measure 23⁄4in down the armhole
from the back shoulder tip and square across 51⁄2in into the
back. Join this line back up to the mark you made on
the neckline.
• From the center front measure in 13⁄16in along the yoke line
to develop the breast envelope pocket. Continue to measure
a further 43⁄4in for the pocket width, and divide it in half. At
each end measure down 51⁄2in and join across the bottom to
create a rectangle.
• The side welted pocket is developed from the side seam into
the front body. From the hemline square 13⁄16in up the side
seam, then measure up a further 51⁄2in and create the welt
shape by drawing a 51⁄2in by 3⁄4in rectangle. Continue to
measure up 13⁄16in along the side seam for the height of the
pocket bag, and make a mark. To develop the width of the
pocket bag measure 47⁄8in along the hemline from the side
seam and then square up 63⁄4in. Close the shape by joining
this point to the mark on the side seam with an angled line.
CENTER
CENTRE
FRONT
NECK
POINT
FRONT MASTER
PLAN
PLAN
BACK
PITCH
BACK
POINT
NOTCH
FRONT
FRONT
PITCH
NOTCH
POINT
CENTRE BACK
CENTER
• From the center front neck point measure down 3⁄4in,
and draw in the new neckline using the basic upper body
sloper as a template.
• From the new center front neck point measure down 181⁄2in,
and from this point square across to the center back to
reduce the body length.
• From the new center front neck point measure back 3⁄4in
along the new neckline and mark, and measure out 3⁄4in
and mark. Repeat this at the new hemline and connect these
points with straight lines to create a rectangle. This is the
15⁄8in-wide placket.
• To create the three front panel shapes first create the front
yoke. From the front neckline measure 31⁄2in down the side
of the placket and from this point square across to the back
armhole and make a mark.
• From the placket measure 21⁄8in along the yoke line you have
just drawn and from this point square down to meet the new
hemline. Continue to measure a further 23⁄4in along the yoke
line and square down to the hemline again. These are the
three front panels.
• To create the back panel measure 71⁄2in from the center back
along the hemline and mark; repeat at the chest level. Draw
a vertical line through these points, at the chest level curving
in toward the armhole mark made earlier.
⁄
32 CM
4"
12.5
47⁄8CM
"
fitted denim jacket 221
step 4
Developing the breast envelope pocket parts
3
31CM
⁄16"
13⁄8CM
"
13⁄8CM
"
BREAST ENVELOPE
ENVELOPE
POCKET
PLAN
POCKET MASTER
MASTERPLAN
4"
10 CM
9 CM
1.5
⁄16"
CM
1.59⁄16
"
YOKE LINE
1
⁄8"
4 CM
5
3
⁄8"
81CM
3 CM
2
⁄4"
CENTRE
CENTER FRONT
FRONT
3
1 CM
⁄8"
SIDE SEAM
SEAM
"
263⁄8CM
2 ⁄8"
6 CM
PANEL LINE
3
PANEL LINE
• All the pocket parts are developed on top of each other and
then traced off separately. The envelope breast pocket is
stitched behind the front panels along the yoke.
• First draw the rectangular opening. From the center of
the top line of the pocket measure out 2in on each side.
Measure down 9⁄16in at each end and join to create a 4in
by 9⁄16in rectangle.
• Next draw the pocket flap, which will be stitched into the
yoke seam and sit over the welt. From each end of the top
pocket line square down 13⁄16in and mark; from the center of
the top line square down 15⁄8in and mark. Join the points at
the sides to the central mark to create the angled pitch of the
flap point.
• To shape the angled envelope pocket bag square down 43⁄4in
from the center of the top pocket line and from this point
square out on each side to meet the side lines of the pocket
rectangle. According to the shape desired, on each side
draw an angled line up from a point along this line to the
top corner. Finish by connecting these points down to the
center line.
step 5
Front FOLDED placket pattern
step 6
Developing the final combined shoulder panel
• Following the instructions on page 50, trace off the
front placket shape developed in Step 2. Double over the
rectangular shape and draw the fold line down the center.
• In this design the shoulder panels are constructed by joining
the front and back shoulder panels developed in Step 3.
Following the instructions on page 50, trace off the front
shoulder pattern from the front sloper, then align the front
shoulder seam with the back shoulder seam and trace off
the back shoulder pattern to create the final shoulder
yoke pattern.
CUT 1 PR SELF
SLEEVE LINE
G
ED
CK K
NE BAC
SHOULDER PANEL
SHOULDER YOKE
CUT 1 PR SELF
SLEEVE LINE
E
GRAIN
LINE
GRAINLINE
FOLD
NECK EDGE
NECK EDGE
FRONT
GRAINLINE
SLEEVE LINE
NECK ED
GE
FRONT
GRAIN LINE
222 Chapter five the patterns: outerwear
SLEEVE LINE
FRONT FOLDED
PLACKETPLACKET
CUT 1 PR SELF
SHOULDER LINE
GE
ED
CK ACK
E
N B
• Trace off the back body panel onto a
new piece of paper and, following the
instructions on page 50, create the full
pattern shape.
• Following the instructions on page 50,
trace off the side back body pattern.
SIDE BACK
BODY
CUT 1 PR SELF
GRAIN LINE
GRAINLINE
SIDE BACK
BODY
SELF
CUT 1 PR SELF
GRAIN LINE
step 7
Back and side BACK body panel
patterns
GRAIN LINE
BACK BODY
SELF
CUT 1 SELF
GRAIN
LINE
GRAINLINE
BACK BODY
CUT 1 SELF
step 8
Front yoke BODY panel pattern
• Following the instructions on page 50, trace off the front
yoke pattern developed in Step 3, adding alignment notches
for the shoulder panel.
NT
O
FR
NE
NE
LI
GRAIN LINE
GRAINLINE
FR
ON
TN
EC
K
NE
LI
CK
FRONT YOKE
YOKE BODY
BODY PANEL
PANEL
FRONT
CUT 1
1 PR
PR SELF
SELF
CUT
fitted denim jacket 223
SIDE BOTTOM POCKET BAG
CUT 1 PR POCKETING
1 CM
14 CM
1 CM
1 CM
1 CM
⁄4"
3
⁄8"
3
2 CM
FOLD LINE
⁄8 "
1 CM
1 CM
⁄
⁄
⁄
3
⁄8 "
3 2 CM
4"
3 2 CM
4"
3 1 CM
8"
⁄8"
3
⁄8 "
3
⁄
⁄8 "
3
⁄8 "
3
1 CM
14 CM
SIDE BOTTOM POCKET BAG
CUT 1 PR POCKETING
⁄8 "
GRAINLINE
63⁄4"
GRAIN LINE
3
17 CM
GRAIN LINE
1 CM
2 CM
⁄8"
13 CM
3
1 CM
⁄8 "
⁄8"
⁄8 "
1 CM
1 CM
3
⁄8"
⁄8"
1 CM
8"
1 CM
1 CM
12.5 CM
SIDE TOP POCKET BAG
CUT 1 PR POCKETING
1 CM
3
⁄
3
1 CM
47⁄8"
3
1 CM
2 CM
3 CM
⁄
3 CM
1
8"
3
3 CM
13⁄16"
1 CM
GRAINLINE
14 CM
1 CM
⁄
3 CM
1
8"
1 CM
1 CM
1 CM
⁄
1 3CM
8"
SIDE BOTTOM POCKET BAG
CUT 1 PR POCKETING
1 CM
SIDE TOP POCKET BAG
CUT 1 PR POCKETING
1 CM1 CM
⁄8 "
1 CM
2 CM
⁄
13CM
8"
SIDE TOP POCKET BAG
CUT 1 PR POCKETING
3
1 CM
FOLD LINE
51⁄2"
1 CM
3 CM
GRAIN LINE
1 CM
2 CM
⁄
1 CM
1 CM
1 CM
1 CM
3 CM
GRAIN LINE
13 CM
8"
1 CM
1 CM
3 CM
31 CM
8"
2 CM
2 CM
2 CM
14 CM
1 CM
1 CM
⁄
13⁄16"
12.5 CM
2 CM
1 CM
1 CM
2 3CM
8"
SIDE WELT POCKET
CUT 1 PR SELF
GRAIN LINE
1 CM
GRAINLINE
SIDE WELT POCKET
CUT 1 PR SELF
SIDE TOP POCKET BAG
CUT 1 PR POCKETING
3
1 CM
1 CM
GRAIN LINE
5 ⁄2"
1 CM
1 CM
1 CM
14 CM
1 CM
1 CM
SIDE BOTTOM POCKET BAG
CUT 1 PR POCKETING
⁄
3 1 CM
8"
17 CM
1 CM
1
14 CM
1 CM
⁄8"
⁄4"
3
1 CM
3
FOLD LINE
2 CM
1 CM
1 CM
14 CM
1 CM
5⁄"
1 14 CM
2
1 CM
2 CM
1 CM
GRAIN LINE
1 CM
• Following the instructions on page 50,
trace off all the side welted pocket
parts developed in Step 3.
• Start with the welt shape, doubling
the width to create a 51⁄2in by 11⁄2in
rectangle. Mark the center fold line
lengthways and add a 3⁄8in seam
allowance to all sides to create the
final pattern.
• The top pocket bag has the welt
rectangle removed and the bottom
pocket bag is a full shape. Add a 3⁄8in
seam allowance to all sides to create
the final patterns.
⁄8 "
3
1 CM
FOLD LINE
SIDE WELT SHAPE
CUT 1 PR SELF
2 CM
2 CM
⁄
3 1 CM
8"
SIDE WELT POCKET
CUT 1 PR SELF
1 CM
2 CM
1 CM
1 CM
1 CM
1 CM
1 CM
1 CM
step 9
Side welted pocket
comPONENT PATTERNS
GRAIN LINE
14 CM
17 CM
step 10
Front body panel patterns
GRAIN LINE
1 CM
1 CM
2 CM
3 CM
1 CM
1 CM
224 Chapter five the patterns: outerwear
POCKET
STITCH LINES
GRAINLINE
GRAIN LINE
STITC
ST
ITCHHLIN
ESES
LIN
PO
C
KET STICH
MIDDLE FRONT PANEL
CUT 1 PR SELF
CENTRE FRONT PANEL
S
LINE
FRONT ATTACH
TOTO
PLACKET
FRONT
ATTACH
PLACKET
GRAIN LINE
CH
STIT
KET STICH
CENTER
PANEL
CENTREFRONT
FRONT
PANEL
PO
C
CUT
CUT11PR
PRSELF
SELF
CUT11PR
PRSELF
SELF
CUT
MIDDLE FRONT PANEL
CUT 1 PR SELF
SIDE
PANEL
SIDEFRONT
FRONT
PANEL
WELT
WELTOPENING
OPENING
SIDE FRONT PANEL
CUT 1 PR SELF
WELT OPENING
SIDE FRONT PANEL
CUT 1 PR SELF
WELT OPENING
GRAIN LINE
KET STICH
PO
POCK
CKET
ET
KET
PO
C
GRAIN
LINE
GRAINLINE
GRAINLINE
GRAIN LINE
GRAIN LINE
GRAIN LINE
POCKET
STITCH LINES
POCKET
STITCH LINES
ET
CKET
PO
POCK
ESES
LIN
TCHHLIN
STI
STITC
1 CM
12.5 CM
1 CM
POC
MIDDLE FRONT
MIDDLE
FRONTPANEL
PANEL
CUT
PR SELF
SELF
CUT 1 PR
• Following the instructions on page
50, trace off all the front body panel
patterns developed in Step 3: the
center front panel, the middle front
panel, and the side front panel.
⁄
⁄
13CM
8"
13CM
8"
step 11
Front breast envelope pocket
COMPONENT PATTERNS
⁄
3
1 CM
8"
⁄8 "
13CM
• Following the instructions on page 50, trace off the final
envelope pocket parts developed in Step 4.
• Add a 3⁄8in seam allowance on all sides to create the final
envelope pocket and flap patterns.
• Add a 3⁄8in seam allowance to the top and sides to create the
final envelope pocket facing pattern.
BREAST ENVELOPE
BREAST
ENVELOPE POCKET
POCKET
CUT 1 PR SELF
⁄
⁄
13CM
8"
13CM
8"
M
3
1 CM
⁄
1C
⁄8"
3 8"
1 CM
1 CM
1 CM
1 CM
GRAINLINE GRAIN LINE
CUT 1 PR SELF
1 CM
GRAIN LINE
BREAST ENVELOPE POCKET FLAP
CUT 2 PR SELF
1 CM
1 CM
BREAST ENVELOPE POCKE
CUT 1 PR SELF
1 CM
1 CM
1 CM
3
3
1 CM
1 CM
⁄8 "
⁄8"
1 CM
1 CM
⁄
⁄8 "
3 1 CM
8"
3
1 CM
BREAST ENVELOPE POCKET
CUT 1 PR SELF
CUT 2 PR SELF
1 CM
⁄
1 CM
GRAIN LINE
GRAIN
LINE
GRAIN LINE
BREAST
ENVELOPE
BREAST ENVELOPE
POCKET FLAP
CUT 2 PR SELF
POCKET FLAP
1 CM
1 CM
⁄8"
3
3 1 CM
8"
1 CM
3 8"
1 CM
1 CM
1 CM
GRAIN LINE
BREAST ENVELOPE POCKET FLAP
CUT 2 PR SELF
1 CM
1 CM
1 CM
BREAST ENVELOPE POCKET FACING
CUT 1 PR SELF
1 CM
GRAIN LINE
1 CM
1 CM
⁄
⁄8"
3
1 CM
1 CM
1 CM
1 CM
1 CM
1 CM
1 CM
1 CM
⁄8"
1 CM
1 CM
3
3
⁄8"
BREAST ENVELOPE POCKET FACING
CUT 1 PR SELF
⁄
⁄8"
3 1 CM
8"
3
GRAIN LINE
BREAST
ENVELOPE
BREAST ENVELOPE
POCKET FACING
CUT 1 PR SELF
POCKET
FACING
CUT 1 PR SELF
GRAIN
LINE
1 CM
fitted denim jacket 225
GRAIN LINE
1 CM
1 CM
1 CM
1 CM
SIDE SEAM
The waistband and tab
Take the measurements of the hemline
for the front and back body panels from
the master plan in Step 2, including the
placket width. The denim jacket in this
design has a split waistband 15⁄8in in
width, with a tab inserted at the side
back panel seam. The tab is developed on
top of the front waistband for proportion
and then removed for the final pattern.
1 CM
1 CM
1 CM
FOLD
GRAIN LINE
4 CM
1 CM
3 CM
1
⁄8 "
6 CM
23⁄8"
1 CM
1 CM
FRONT
WAISTBAND
FRONT
WAISTBAND
FOLD
FOLD
1 PRSELF
SELF
CUT CUT
1 PR
GRAIN LINE
GRAINLINE
145⁄8CM
"
145⁄8CM
"
"
13⁄8CM
3
1 CM
⁄8"
3
1 CM
⁄8"
1437
⁄8" CM
1 CM
BACK WAISTBAND
CUT 1 SELF
1 CM
6 CM
CB
TAB PLACEMENT
1 CM
3
1 CM
⁄8"
1 CM
3
⁄8 "
8"
13⁄CM
37 CM
⁄8"
WAISTBAND TAB
CUT 2 PR SELF
⁄8"
3
⁄8"
⁄8 "
1 CM
13⁄CM
8"
3
⁄
FOLD
CUT 1 PR SELF
3
GRAIN LINE
GRAINLINE
3
1 CM
3
1 CM
⁄8"
3
1 CM
8"
4 5CM
1
⁄8 "
FRONT WAISTBAND
3
1 CM
⁄8"
1 CM
3815"
CM
⁄
4 5CM
1
⁄8 "
FOLD
GRAIN LINE
GRAINLINE
GRAIN LINE
13⁄8CM
"
3 CM
CB
1 CM
1 CM
1 CM
3
1 CM
⁄8"
3
18CM
"
3815"
CM
SIDE SEAM
BACK PANEL LINE
3 CM
1
⁄8"
3
1 CM
⁄8"
5
3
1 CM
⁄8 "
38 CM
CB
1 CM
BACK WAISTBAND
CUT 1 SELF
GRAIN LINE
1 CM
CB
226 Chapter five the patterns: outerwear
1 CM
1 CM
1 CM
1 CM
WAISTBAND TAB
TAB PLACEMENT
TAB
PLACEMENT
CUT 2
PR SELF
CENTRE
FRONT
CENTER FRONT
GRAIN LINE
13⁄8CM
"
3
1 CM
⁄8 "
1 CM
133⁄16CM
"
1 CM
3
1 CM
⁄8 "
1 CM
1 CM
13⁄8CM
"
1 CM
37 CM
4 CM
1 CM
CUT 1 PR SELF
CENTRE FRONT
FRONT WAISTBAND
SIDE
SEAM
SIDE
SEAM
6 CM
1 CM
CEMENT
BACK
PANEL
BACK
PANEL
LINE LINE
3 CM
1 CM
• For the front waistband draw a rectangle 145⁄8in long by 31⁄4in
wide (15⁄8in doubled for the folded band). Indicate the panel
lines with notches for alignment. Add a 3⁄8in seam allowance
on all sides to create the final pattern.
• For the back waistband draw a rectangle 15in long by 31⁄4in
wide (15⁄8in doubled for the folded band). Indicate the center
back with an alignment notch at 71⁄2in (half the waistband
length). Add a 3⁄8in seam allowance on all sides to create the
final pattern.
• For the waistband tab construct a rectangle 23⁄8in long by
13⁄16in wide. At one end measure back 3⁄8in at the sides and
join these points to a center point to create an angled
point. Add a 3⁄8in seam allowance on all sides to create
the final pattern.
GRAIN LINE
CENTRE FRONT
BACK PANEL LINE
step 12
Developing the final waistband parts and tab
• Starting in the center of the piece of paper make a mark to
indicate the bottom of the center back and label it (A). From
(A) draw a 10in horizontal line and mark (B) at the end.
• From (A) measure out 33⁄8in (the width of the half back neck)
along the line and place a notch. Name it the shoulder notch.
• From (A) square up 13⁄16in and mark (G); continue up 2in and
mark (D).
• From (D) square out 10in and mark (E) at the end.
• To give the collar shape, measure up 3⁄8in from (B) and mark
(F). Join this point back with a slightly curved line measuring
33⁄8in to (C).
• From (E) square up 3⁄8in and out 3⁄8in and from these points
run a straight line back down to (F) and back along to blend
in with the top line toward (D). Then continue each of these
lines up from the 3⁄8in mark until they intersect. This is the
collar point.
• Develop the hidden stand shape by drawing a curved line out
from (G) down to meet (C).
• Trace the master plan onto a separate piece of paper and cut
out the stand. Divide the stand length into four equal parts
C
and draw vertical cut lines.
• Remove the top collar shape from the development by
tracing onto a separate piece of paper. Trace the cut lines
across from the stand.
TOP COLLAR MASTER
PLAN
Measuring half the neck from the master plan
We will develop half the collar and
stand before creating the full collar
and stand. By taking measurements from
the master plan, which is drawn in half,
you will be measuring half of the neck
measurement.
• On the master plan in Step 2 measure
the length of the back neck, in this
case 33⁄8in, and the front neck from
the shoulder tip down past the center
front line to the point at which the
placket finishes, in this case 63⁄4in.
• Add these two measurements together
to give half the neck measurement, in
this case 10in.
NECK EDGE
⁄8"
1 CM
COLLAR
POINT
E
E
5 CM
2"
3
1 CM
⁄8"
3
D
TOP COLLAR
COLLAR
TOP
MASTER PLAN
PLAN
MASTER
G
STAND MASTER
PLAN
3
31CM
⁄16"
F
13⁄8CM
"
C
A
CENTRE BACK NECK
25.5
10" CM
TOP COLLAR MASTER
PLAN
TOP COLLAR MASTER
PLAN
PLAN
STAND MASTER
STAND
MASTER
PLAN
PLAN
C
NECK EDGE
NECK
EDGE
fitted denim jacket 227
D
CM
A
A
B
17
63⁄4CM
"
8.5
33⁄8"CM
CENTRE
CENTER BACK NECK
NECK
CENTER
BACK
CENTRE NECK
BACK NECK
CENTRE BACK NECK
STAND MASTER
PLAN
step 13
Developing the shaped convertible collar with hidden stand
REMOVE
NEW CENTRE BACK
CENTRE BACK NECK
0.9 CM
0.4 CM
step 14
0.4 CM
0.4 C
Adding shaping to the convertible collar and
stand
M
• Cut down the vertical lines on the top collar shape, leaving
them attached at the bottom by a fraction of an inch.
Starting from the center back open out each line by 3⁄16in,
curving down the top collar. From the center back neck
remove 3⁄8in, the width lost when closing up the stand.
REMOVE
3
⁄16CM
"
0.4
0.43⁄16
CM
"
0.43⁄16C"M
CENTRE BACK
NEW CENTER
CENTRE BACK NECK
CENTER
3
0.9
⁄8"CM
• Cut down the vertical lines on the stand shape, leaving them
attached at the bottom by a fraction of an inch. Overlap the
sectionsTOP
along
the top edge moving them by 1⁄8in toward the
COLLAR MASTER
PLAN
center back; this will bring up the neckline.
TOP COLLAR MASTER
MASTER
PLAN
TRE BACK NECK
CENTER
CEN
"
0.31⁄8CM
0.31⁄CM
8"
0.31⁄8CM
"
STAND MASTER
PLAN
NECK EDGE
step 15
Collar stand pattern
0.3 CM
0.3 CM
CENTRE BACK NEC
K
0.3 CM
• Trace off the collar stand onto a new
STANDpiece
MASTER of paper and,
PLAN
following the instructions on page 50, create the full pattern
shape, adding a 3⁄8in seam allowance on all sides.
⁄8"
⁄8"
TOP COLLAR
ALIGNMENT
ALIGNMENT
ALIGNMENT
TOP COLLAR
TOP COLLAR
TOP COLLAR
ALIGNMENT
NECK EDGE
1 CM
M
1C
228 Chapter five the patterns: outerwear
TOP COLLAR
CUT 1 PR SELF
1 CM
GRAIN LINE
1 CM
FRONT YOKE
FRONT
YOKE
NOTCH
NECK
NECK NOTCH
FRONT YOKE
FRONT
YOKE
NOTCH
NECK
NECK NOTCH
GL
GL
13C
CUT 1 PR SELF
⁄
COLLAR
STAND
COLLAR
STAND
CUT 1 PR SELF
M"
13 C8
⁄8"M
3
3
1 CM
1 CM
TOP COLLAR
ALIGNMENT
TOP COLLAR
ALIGNMENT
1 CM
1 CM
31 CM
8"
⁄
GRAIN LINE
GRAINLINE
"
13⁄8CM
"
1 3CM
⁄8"
M
1 3C⁄8"
3
1
⁄8CM
3
1 CM
⁄8"
TOP
COLLAR
TOP COLLAR
CUT 11PR
CUT
PRSELF
SELF
FRONT YOKE
NECK NOTCH
GL
FRONT YOKE
NECK NOTCH
⁄
31 CM
8"
• Trace off the top collar onto a new piece of paper and,
following the instructions on page 50, create the full pattern
shape, adding a 3⁄8in seam allowance on all sides.
M
1 3C⁄8"
M
1C
1C
M
step 16
COLLAR STAND
CUT 1 PR SELF
TOP Collar pattern
step 17
Developing the sleeve master plan
to the yoke line and on the back master plan from the back
shoulder tip to the back panel line. In this case the combined
yoke measurement from the front yoke line to the back panel
line is 105⁄8in and the remainder of the armhole measures
91⁄2in. Transfer these measurements to the sleeve by
measuring down the front and back armhole of the
sleeve from the shoulder tip and marking the seam
panel alignment notches.
Casual two-piece sleeve
The two-piece sleeve shown here is for
a casual jacket that retains the sleeve
cap shape of the basic sleeve sloper,
unlike the tailored two-piece sleeve
that has a padded sleeve cap. The
starting point is the basic sleeve
sloper from which two panels—the top
sleeve and undersleeve—are created.
UNDERARM
SLEEVE
POINT
CORNER
UNDERARM
FRONT
UNDER
FRONT
ARM SEAM
SEAM
LINE
FRONT LINE
CENTER
CENTRE LINE
ELBOW LINE
LEVEL
AT BICEPS
LEVEL
NEW HEMLINE
1
93CM
⁄2"
61 CM
24"
LINE
BACK LINE
AT BICEPS
LEVEL
UNDERARM
SLEEVE
POINT
CORNER
LINE
UNDERARM
BICEPS
LEVEL
1
⁄2"
93CM
• Shorten the sleeve to allow for the addition of the cuff.
From the sleeve hemline measure up 31⁄2in on each side and
square across to create the new hemline.
• To find the position at which to separate the top sleeve
and undersleeve panels, measure the armhole on the front
master plan created in Step 2 from the front shoulder tip
SEAM
PANEL
ALIGNMENT
SEAM
PANEL
ALIGNMENT
1
⁄2"
93CM
For this two-piece sleeve we are going to
separate the under- and top sleeve panels
so that the seams align with the points
at which the side back and front yoke
seams meet the armhole.
5
8"
2710C⁄M
K SEAM
RM
BAC
ERA
RM
UND
ERA
UNDK
BAC
Start this development by selecting the basic men’s sleeve
sloper, or by drafting the basic sleeve sloper according to the
instructions on page 42. Cut a large piece of drafting paper
slightly longer than the length of the sleeve you want to
develop and transfer the shape of the sloper and all marks,
labels, and instructions, following the directions on page 48.
The design illustrated has a two-piece sleeve.
OLD HEMLINE
325CM
12
⁄8"
fitted denim jacket 229
27 CM
SEAM
3
⁄8"
1 CM
SEAM PANEL
SEAM PANEL
ALIGNMENT
ALIGNMENT
BODY
ON
ON
BODY
PLAN
LINE
FRONT
FRONT
LINE
FRONT
UNDEUNDER
RARMARM SEAM
FRONT SEAM
LINE
LINE
CENTRE
CENTER
LINE
BICEPS
LEVEL
UNDERARM
WVELLINE
OLE
LBLOBW
EW
WEE
NE
N
1
1
OLD ELBOW
LEVEL
LINE D
ELBOW
OLD
D
133 ⁄16
C" M
A
A
SLEEVE
SLEEVE
MASTER
MASTER
PLAN
BACK
LINE
BACKLINE
UNDERARM FRONT SEAM
SEAM PANEL
SEAM PANEL
ALIGNMENT
ALIGNMENT
ONONBODY
BODY
B
B
NEW
HEMLINE
NEWHEMLINE
C
C
9 CM
9 CM
9 CM
FRONT LINE
CENTRE LINE
• Divide the width of the new biceps level into four and
mark. From these points square up to the same level as the
shoulder tip and down to the sleeve hemline to divide the
UNDERARM
LINEwidthways. Label
UNDERARM
sleeve into four
sections
the new lines back
POINT
line, center line, and front line to recreate the frame of the
original sleeve sloper.
• On the back underarm seam, mark (A) where it intersects the
elbow level and (B) where it intersects the new hemline.
• On the front line, mark (C) where it intersects the new
hemline and (D) where it intersects the elbow level.
Mark (1)
where the elbow level intersects the back line. The
• ELBOW
LINE
square created by points (A), (B), (C), and (D) will now be
pivoted counterclockwise from (1) on the elbow level by 13⁄16in,
measured from the center line at the hem. Do this by copying
the square onto a separate piece of paper to pivot and draw
in the new position.
• Square down from the back seam panel alignment notch.
Trace off the triangular shape between the sleeve cap and
the biceps level. Flip this shape over and position it so that
theNEW
back
corner of the sleeve at biceps level aligns at the
HEMLINE
center line along the biceps level. Copy the shape over.
Repeat from the front seam panel alignment notch.
BACK LINE
MENT
SEAM SEAM
BACK
ARM
UNDER
RARM
BACK
UNDE
step 18
PANEL
ALIGNMENT
Starting to develop the
two-piece sleeve
OLD
HEMLINE
OLDHEMLINE
OLD HEMLINE
32 CM
step 19
Developing the top and undersleeve shapes
"
2710C5⁄8M
SEAM PANEL
SLEEVE
SEAM PANEL 1
ALIGNMENT
• To develop the top sleeve
square in 3 ⁄2in from
MASTERfront seamALIGNMENT
ON BODY
PLAN
ON BODY the new angled
the front underarm seam until you intersect
C
NEW HEMLINE
5"
3
17
⁄4" CM
32.4
OLD HEMLINE
230 Chapter five the patterns: outerwear
1.5 9CM
⁄16"
FRONT SEAM
SEAM
E FOREARM SEAM
FRONT
UNDER
UNDERA
RMARM SEAM
UNDE
UNDER
SLEEV
R SLE
E FRONT
EV SEAM
TOPSLEE
TOP
SLE
EVE
VE
FRONT
FOR
SEA
EAR
M M
13 CM
3
2 CM
⁄4"
CENTER
LINE
LINE
CENTRE
BACK
VE SEAM SEAM
BACKUNDERSLEE
UNDER SLEEVE
TOP SLEEVE
SLEEVE SEAM
TOP SEAM
BACK BACK
ELE
LVIN
LE
2 C⁄M
W
OW
BO
EELLB
3 4"
BACK SEAM
ARM SEAM
RARM
UNDER
UNDE
BACK
UNDERARM FRONT SEAM
24
9 1⁄CM
2"
3 CM
FRONT LINE
CENTRE LINE
BACK LINE
UNDERARM BACK SEAM
hemline and from this point draw a line up to connect with
the front seam panel alignment notch.
• To create the top sleeve back seam continue to measure
UNDERARM LINE
5in along the angled hemline, which gives the hem facing.
Using a curved line connect this point to the back seam panel
alignment notch, passing through the elbow level.
• To develop the undersleeve shape square in 15⁄8in from the
back seam panel alignment notch and from this point draw
down a curved line passing through the elbow level 3⁄4in in
from the top sleeve back seam (measured along the elbow
LINE hemline.
level) connecting
W the
LBOto
1
A
NEW E
•
From
the
front
seam
panel alignment notch measure in
1 CM
OLD ELBOW LINE D
9
⁄16in to ensure that the front and back underarm seams
are aligned on the center line. (This method may differ
depending on changes made to the basic sleeve sloper
following any lowering of the armhole.) Using a curved line
connect this point with the hemline, passing through the
elbow level 3⁄4in in from the top sleeve front seam (measured
B along the elbow level).
5
41CM
⁄8 "
31⁄2CM
"
9
step 21
Top sleeve pattern
step 22
Two-piece sleeve cuff PATTERN
• Following the instructions on page 50,
trace off the final undersleeve pattern,
adding in alignment notches.
• Following the instructions on page 50,
trace off the final top sleeve pattern,
adding in alignment notches.
• Construct a rectangle 101⁄4in long
by 31⁄4in (19⁄16in doubled in width
for a folded cuff). Add a 3⁄8in seam
allowance on all sides to create the
final pattern.
⁄8 "
13
CM
⁄8"
10261⁄CM
4"
13CM
GRAIN LINE
GRAINLINE
⁄8 "
⁄
13CM
31 CM
8"
154⁄CM
8"
TWO-PIECE
SLEEVE CUFF
CUFF
CUT 1 PR SELF
CUT 1 PR SELF
154⁄CM
8"
⁄8"
1 ⁄8"
5
4 CM
GRAIN LINE
GRAINLINE
GRAIN LINE
GRAINLINE
GRAIN
LINE LINE
GRAIN
step 20
Undersleeve pattern
FOLD
FOLD
1 ⁄8"
5
4 CM
⁄8 "
31 CM
⁄8"
26 CM
101⁄4"
13 CM
13CM
8
TOP
SLEEVE
TOP
SLEEVE
CUT
1 PRSELF
SELF
CUT
1 PR
CUT 1 PR SELF
UNDERSLEEVE
UNDER SLEEVE
CUT 1 PR SELF
UNDER SLEEVE
CUT 1 PR SELF
⁄"
13CM
fitted denim jacket 231
pattern
Trench Coat
This pattern includes development of the following features:
Shaping the body panels, moving the side seam to the back
Creating a double-breasted extension
Extending the hemline
Lowering the armhole
Creating a center back vent
Developing a storm flap and epaulet
Developing front welted pockets
Developing a shaped convertible collar with hidden stand
and lapel
Developing a tailored two-piece sleeve with cuff vent
Developing a full body lining
232 Chapter five the patterns: outerwear
Fitting the trench coat
Traditionally, trench coats were produced
as an outer garment to be worn over
suit jackets or dress coats. Chest
circumferences, neck openings, armholes,
sleeve caps, and sleeve lengths were all
made larger to accommodate the garment
underneath. Modern interpretations
combined with a more casual approach to
dress no longer dictate that trench coats
should be oversized. When developing this
style, take into account the formality
or informality of the garment you are
designing, together with how it may
be worn.
BACK
BACK
PITCH
NOTCH
POINT
FRONT
FRONT
MASTER
FRONT
MASTER
PLAN
PLAN
CENTER
CENTREFRONT
FRONT
BACK
MASTER
BACK
MASTER
PLAN
PLAN
SIDE SEAM
SIDE
SEAM
CENTRE
BACK
CENTER
BACK
Start by selecting the basic men’s upper body sloper, or by
drafting the basic sloper according to the instructions on page
40. Cut a large piece of drafting paper slightly longer than the
length of the coat you want to develop and transfer the shape
of the sloper and all marks, labels, and instructions following
the directions on page 48.
CHEST LEVEL
CHEST
LINE
GRAINLINE
GRAIN LINE
step 1
Developing the master plan
FRONT
NOTCH
PITCH
POINT
WAISTLINE
WAISTLINE
HIP LEVEL
HEMLINE
3"
7.5 CM
NEW
NEW
BACK
BACK
PITCH
NOTCH
POINT NEW
NEW
FRONT
FRONT
PITCH
NOTCH
POINT
CHEST LEVEL
CHEST LINE
WAISTLINE
WAISTLINE
CENTRE
FRONT
CENTER
FRONT
FRONT MASTER
FRONT
MASTER
PLAN
PLAN
GRAIN
LINE
GRAINLINE
BACK
MASTER
BACK
MASTER
PLAN
PLAN
2.5 CM
1"
SIDE SEAM
SIDE SEAM
• From the chest level square down 1in on each side and
starting from the new underarm / side seam corner redraw
the new armhole shape using the basic upper body slopers
as a template. Transfer the back and front notches to their
new positions on the lowered armhole.
• Extend the side seam, center front, and center back lines
down vertically from the existing hemline to the required
length of the coat.
• Square across from the center front to the center back at the
new hemline.
• To develop the double-breasted extension, square out 3in
from the center front at the neckline.
• Repeat at the hemline.
• Connect the two points with a vertical line to create the
double-breasted extension.
2.5
1" CM
CENTER
BACK
CENTRE
BACK
step 2
Lowering the armhole, extending the hemline,
and developing the double-breasted extension
OLDHEMLINE
HEMLINE
OLD
HEMLINE
HEMLINE
7.5
3"CM
Trench Coat 233
step 3
Developing the hemline facing, back vent, and front welted pocket position
Developing the hemline facing, back vent, and front
welted pocket position
Most trench coat styles have a back vent
incorporated into the design. The job of
this vent is to allow freedom of movement
around the leg and seat area. Sitting
down in a closed garment will restrict
body movement and feel uncomfortable.
The length of your design will generally
determine the length of the vent needed;
the longer the coat or jacket, the longer
the vent.
The vent extension has a diagonal line at
the top so that the seams, when pressed,
are not as bulky as they would be if the
vent was square. A diagonal seam with
less bulk creates an optical illusion,
drawing your eye away from this detail.
Take time to look at other examples of
vents as you do your research. You will
find that some are topstitched along
this diagonal seam and others are
sewn internally.
• Add the hem allowance to the bottom of the pattern as
a horizontal rectangle measuring 15⁄8in in width.
• To develop the vent measure 2in up the center back from
the old hemline, and from this point square out 23⁄8in.
• From the bottom of the hemline allowance, square out 23⁄8in.
Join the two points with a vertical line.
• Now measure an additional 9⁄16in up the center back line
and mark.
• Draw a line from this point down to the top of the vent
extension at its outside edge, creating a diagonal line at the
top of the vent.
• To develop the rectangular pocket opening, measure in 9in
along the old hemline from the center front and then square
up 13⁄16in and mark; this will be the bottom right-hand corner
of the pocket opening. Create a rectangle 71⁄8in long by 3⁄4in
wide at an angle of your choice.
• Mark each corner of the pocket opening with a drill hole.
NEW
NEW
BACK
BACK
PITCH
POINT NEW
NOTCH
NEW
FRONT
FRONT
PITCH
NOTCH
POINT
3C
2
4"M
FRONT MASTER
PLAN
⁄ "
9
1.5CM
16
GRAIN LINE
GRAINLINE
POPC
OK
CK
EETT
17
8 1C⁄8M
"
OPPEEN
NININ
GG
⁄
WAISTLINE
WAISTLINE
5CM
2"
CENTRE
FRONT
CENTER
FRONT
FRONT MASTER
PLAN
SIDE SEAM
CENTRE
BACK
CENTER
BACK
BACK MASTER
PLAN
BACK MASTER
PLAN
SIDE SEAM
CHEST CHEST
LEVELLINE
3CM
3
1 ⁄16"
OLD HEMLINE
HEMLINE
234 Chapter five the patterns: outerwear
4CM
6CM
15⁄8"
NEW
NEWHEMLINE
HEMLINE
FACING
FACING
15⁄8"
4CM
23⁄8"
23CM
9"
step 4
Developing the shaping lines
Shaping the coat
To create a fitted coat you can introduce
shaping into the sloper by moving the
side seam into the back panel. Once you
have extended the front panel you can
create two new style lines. Shaping is
created by removing the internal volume
between these lines. At the hemline you
can add a little flare to the design by
crossing the lines over, thus adding
volume by extending the circumference
of the hem.
• From the side seam, measure 41⁄8in along the back armhole
toward the back notch, and draw a vertical line down from
this point to the hemline.
• From the intersection of this line with the waistline, measure
13⁄8in toward the center back and 9⁄16in toward the side seam
and mark both points.
• Join these new points back up to the armhole with slightly
curved lines.
• Label the line that defines the new back panel shape back
panel style line.
• Label the line that defines the new front panel shape front
panel style line.
• Continue the back panel style line down in a graduated curve
until it meets the vertical line you first drew.
• At the hemline, measure out 23⁄4in from the vertical line you
first drew toward the center back and mark.
• Continue the front panel style line down in a graduated curve
until it meets this new point.
NEW
NEW
BACK
BACK
NEW
PITCH
NOTCH
NEW
POINT
FRONT
FRONT
NOTCH
PITCH
POINT
CHEST
LEVEL
CHEST
LINE
POPC
OK
CK
EETT O
OP
PEENN
ININ
GG
CENTRE
FRONT
CENTER
FRONT
GRAIN LINE
GRAINLINE
SIDE
SIDESEAM
SEAM
41⁄8"
3
3.5CM
1
⁄8"
⁄
9
1.5CM
16"
EXTENSION
BACK BACK
VENTVENT
EXTENSION
OLD HEMLINE
OLD HEMLINE
FRONT
MASTER
FRONT
MASTER
PLAN
PLAN
FRONT PANEL STYLE LINE
WAISTLINE
WAISTLINE
LINE
BACK PANEL STYLE
CENTRE BACK
CENTER
BACK
1
0.
5C
M
BACK
MASTER
BACK
MASTER
PLAN
PLAN
HEMLINE
HEMLINE
FOLD
FOLD
FACING
FACING
273⁄4CM
"
Trench Coat 235
step 5
Developing the shaped convertible collar with hidden stand and lapel
and positioning the front dart line
CM
E
B
CM
"
2.5 1
M
393.5⁄4C"
D
C
C
2.5 1
"M
HIGH
POINT
SHOULDER
SHOULDER
NECK POINT
A
EE
ININ
KKLL
⁄8 "
13 CM
C
C
NNEE
Collar measurements and lapel shape
To draft the lapel and shaped convertible
collar with hidden stand for a pattern
with a front neck measurement of 53⁄4in,
excluding the double breast extension,
and a back neck measurement of 33⁄4in,
first locate the position on the pattern
where you want your collar to break on
the new front edge line of the body
section. To work out the shape and size
of the lapel and collar, consider the
proportion of your design and the length
of the silhouette. It is always a good
idea to assess the shape of the lapel by
folding the paper back on the roll line.
Redraw and develop the shape until you
are satisfied.
5
21. "
Break point and roll line
The point at which the front will turn
over to create a lapel is called the
break point (BP) and the line that it
turns on is the roll line. The lower
down the front your BP is, the wider
an opening you will have around the
neck silhouette.
• Square left 1in and mark point (B).
• Join points (B) and (C) with a dotted line.
• From (B) square out 1in back toward the shoulder and mark
point (D).
• From (D) square back into the shoulder, curving the line
slightly back toward the neckline and cutting off the high
point shoulder.
• Continue the straight line from (D) through (B), extending
it to the width you would like to make the collar, and mark
point (E).
• At a right angle from (E) draw out the collar shape
you require.
• Mark a notch at the point where the top collar joins the
neckline and at the point where it meets the shoulder line.
• To position the line of the front dart, measure 13⁄4in from the
original side seam along the front armhole toward the front
notch. From here draw a straight line in toward the pocket,
finishing one-quarter of the way up from the bottom of the
pocket opening. This is the line of the dart.
NEW
NEW
BACK
BACK
PITCH NEW
NOTCH
POINT FRONT
3 CM
1
⁄8 "
PITCH
NEW
POINT
FRONT
NOTCH
CHEST LEVEL
LINE
CHEST
13 ⁄4"
PLAN
FOLD
FOLD
FACING
FACING
GRAIN LINE
GRAINLINE
CENTRE
FRONT
CENTER
FRONT
NININ
GG
P
PEEN
POPCO
K
CK
EETTO
O
ORIGINAL
SIDE SEAM
ORIGINAL
SIDE SEAM
FRONT
PANEL
STYLE
LINE LINE
FRONT
PANEL
STYLE
LINE
OLD HEMLINE
OLD HEMLINE
LINE
L STYLE
PANELE
BACK
EL STY
BACK PAN
CENTRE
BACK
CENTER
BACK
WAISTLINE
WAISTLINE
HEMLINE
HEMLINE
236 Chapter five the patterns: outerwear
ROLL
ROLLPOINT
POINT
FRONT
MASTER
FRONT
MASTER
PLAN
BREAK
POINT
BREAK
POINT
BACK VENT
EXTENTION
BACK
VENT
EXTENTION
• To give the front of your lapel some shape, from the neckline
square out 3⁄8in and square up 3⁄8in. Find the new front neck
point and join this point back to the neckline and down to
the break point with slight curves to give the shaping for
the lapel.
• From the high point shoulder continue the shoulder seam out
1in and mark point (C).
• From the break point on the front line draw a straight dotted
line to (C).
• Continue this line beyond (C) for 33⁄4in (the length of the
back neck measurement) and mark point (A).
M
4.5 C
BACK
MASTER
BACK
MASTER
PLAN
PLAN
step 6
Development of the front dart shaping
Rotating the pattern
Creating and opening a dart on the front
panel will allow you to introduce shaping
that runs from under the arm toward the
front pocket, giving the trench coat a
closer fitted silhouette. This dart is
achieved by opening and rotating, or
pivoting, the pattern.
• Trace off the shape of the front panel from the master plan
onto a separate piece of paper.
• To open the dart line at the armhole, on another piece of
paper trace around the front panel starting from the end
of the dart line at the pocket opening, up to the top of the
dart line at the armhole and then continuing in a clockwise
direction until the point directly under the end of the dart on
the hemline.
• Make sure the two pieces of paper are aligned exactly, and at
the pocket end of the dart line place a drill hole through both
pieces of paper.
• With an awl holding the pieces of paper down at the same
point, pivot the new pattern clockwise so that the top of the
dart line moves a distance of 13⁄16in to the left.
• Trace along the dart line again, creating the second side of
the dart, and continue to trace the rest of the panel shape.
• After pivoting, the hemline will be pitched lower toward the
center back line. Blend the two lines together with a shallow
curve. Once the dart is closed this will bring the hemline back
up into a straight line.
step 7
Front PANEL pattern
• Following the instructions on page 50, trace off the front
panel pattern.
FRONT PANEL
CUT 1 PR SELF
FRONT PANEL
CUT 1 PR SELF
FRONT PANEL
CUT 1 PR SELF
3CM
INE
LINE
HEML
HEM
OLD OLD
K
DRILLHOLE
GRAIN LINE
GRAINLINE
OPE
NING
KET
DRILLHOLE
DRILL
HOLE
CENTRE BAC
TRE BACK
CECEN
NTER BACK
WAISTLINE
POC
DAR
T LIN
E/ PO
LINE
IST
WAWA
ISTLINE
CENTRE FRONT
T
CKE
CHEST LINE
CENTRE
FRONT
CENTER
FRONT
T
CKE
KET
PO/ CPO
LIN
LEIN/ E
TT
D
DAARR
CHEST
CHEST
LINE LEVEL
GRAIN LINE
3
POC
PO
KCEKTET
OOPPEE
NIN
N
INGG
1 ⁄16"
3CM
OLD HEMLINE
FOLD
FACING
OLD HEMLINE
OLD HEMLINE
FOLD
FOLD
FACING
FACING
OLD HEMLINE
Trench Coat 237
step 8
Developing the shaped convertible collar with hidden stand
2.5
1" CM
CENTER
BACK
CENTRE
BACK
The shaped convertible collar with hidden stand
In this design the trench coat collar
has a separate stand incorporated which
allows the collar to turn over and sit
flat around the back of the neck.
• Fold a piece of paper in half and, laying the fold on the center
back of the collar on the master plan, trace off the shape of
the collar (including the notches). Label the center back.
This is the collar master plan and you will be developing
this in half.
• The next step is to create the stand shape. Measure 1in up the
center back (the width of the collar stand). From this point
draw a curved line that ends where the roll line intersects the
neckline on the master plan. This ensures that the stand will
not be seen when the collar is turned down.
• Place a double notch along this new line.
COLLAR MASTER PLAN
COLLAR DEVELOPMENT
STAND DEVELOPMENT
STAND MASTER PLAN
NECK NEEDCG
KE
EDL
GIE
NLEIN
SHOULDER
SHOULDER
NOTCH
NOTCH
E
step 9
Collar stand pattern
COLLAR
COLLAR
ALIGNMENT
ALIGNMENT
NOTCH
NOTCH
COLLAR STAND
CUT 1 PR SELF
CUT 1 FUSE
CENTRE BACK NECK
COLLAR STAND
CUT 1 PR SELF
CUT 1 FUSE
CENTER
BACK NECK
COLLAR
COLLAR
ALIGNMENT
ALIGNMENT
NOTCH
NOTCH
• Trace off the collar stand pattern onto a new piece of paper
and, following the instructions on page 50, create the full
pattern shape.
GRAIN LINE
GRAINLINE
NECK EDGE LINE
238 Chapter five the patterns: outerwear
SHOULDER
SHOULDER
NOTCH
NOTCH
SHOULDER
SHOULDER
NOTCH
NOTCH
NECK EDGE LINE
step 10
Developing the collar using slash and spread
Slash and spread
In order to sit flat across the
shoulders, the outer edge of the collar
needs to be wider than the inside edge.
You can use the slash and spread method
to increase the length of the outer edge
of the collar.
COLLAR DEVELOPMENT
COLLAR
COLLAR
ALIGNMENT
ALIGNMENT
NOTCH
NOTCH
COLLAR
MASTER PLAN
OPEN
CENTER BACK
CENTRE BACK
OPEN
O
E
OPP
EN N
COLLAR DEVELOPMENT
OPE
OPE N
N
COLLAR
MASTER PLAN
OP
OP EN
EN
CENTRE BACK
OUTE
O R
CENTER BACK
CENTER
BACK
CENTRE BACK
Slash and spread is a technique that
allows you to introduce fullness or
volume to an area of a pattern by cutting
a line in the pattern and opening the two
sides out at one end of the line only.
Once you have introduced the volume,
you can then trace off the new shape.
• Trace off the half collar shape without the stand from the
collar development.
• Measure across the length of the half collar and draw lines to
divide it into five equal sections.
• Cut down each line toward the stand, but do not cut right
through to the edge.
• Transfer the measurements obtained from your muslin to
your paper pattern, and open out the lines on the pattern
to the same distances as on the muslin.
• Redraw the collar, creating a smooth curve at the outer edge.
• You may find that the collar point is too square and you need
to add some shaping according to the style of the design.
Continuing the curve, measure out 3⁄4in from the edge of the
collar and draw a line back to the center front neck point.
UTEE
RD
GGEE O
ED
F CCO
OF
OLLLLA
AR
COLLAR POINT DEVELOPMENT
COLLAR POINT MASTER PLAN
R
COLLAR
COLLAR
POINT
POINT
⁄
3
2C
4M"
SHAPING
SHAPING
CENTER
FRONT
CENTRE
FRONT
NECKNECK
POINT POINT
Trench Coat 239
GRAIN LINE
TOP COLLAR
TOP COLLAR
CUT 1 PR SELF
FUSE
CUT
PR1 SELF
CUT 1
CUT 1 FUSE
• Trace off the half collar pattern and,
following the instructions on page 50,
create the full pattern shape.
GRAINLINE
step 11
TOP Collar pattern
step 12
Developing the front facing shape
FRONT SHOULDER
FRONT
NECK
POINTHIGH POINT
SHOULDER
⁄
⁄
M
13 C
8"
⁄
13C8M"
13CM
8"
COLLAR
NOTCH
COLLAR
NOTCH
⁄
⁄
13 CM
8"
• Develop the front facing on the front panel pattern.
• From the new front line measure in 33⁄4in along the chest
level, and measure in 33⁄8in along the waistline, the old
hemline, and the new hemline.
13 CM
8"
Front facing
In this design make the front facing
wider than the double-breasted extension
so that the button and buttonhole are cut
and sewn through the main fabric, giving
them support and strength.
• From the high point shoulder measure 2in along the shoulder
seam toward the armhole.
• Draw a straight line connecting these points from the
hemline up toward the shoulder seam, blending through
the chest level to the marked point on the shoulder with
a smooth curve.
CUT 1 PR SELF
CUT 1 PRCUT
FUSE1 PR SELF
FRONT FACING
FRONT FACING
FRONT
LINE
FRONT
LINE
GRAIN
LIINE
GRAINLINE
• Following the instructions on page
50, trace off the front facing shape to
create the final pattern, adding a 3⁄8in
seam allowance to all sides.
3 CM
⁄8"
38.5
CENTER
FRONT
CENTRE FRONT
MLINE
HELINE
OL
OLDDHEM
FRONT FACING LINE
FRONT
FACING LINE
P
KOEC
TKEOTP
OE
PN
EN
IN
ING
G
3 CM
⁄8 "
38.5
FOLD
FOLD
240 Chapter five the patterns: outerwear
⁄
13CM
8"
⁄
3
38.5CM
⁄8 "
⁄
1 3CM
8"
13CM
8"
⁄
FACING
FACING
13 CM
8"
HEMLINE
HEMLINE
POC
GRAINLINE
GRAIN LINE
OTNPTANPAN
FF
RR
ON
EL SE
ST
TYLLE
LE LINE
LIY
NE
ISTLINE
WA
WAISTLINE
CENTRE FRONT
CENTER
FRONT
step 13
Front facing pattern
3 CM
39.5
⁄4"
CUT 1 PR FUSE
CHEST
LEVEL
CHEST
LINE
⁄
13CM
8"
52C
"M
GRAINLINE
step 14
Back PANEL pattern
BACK PANEL
BACK PANEL
CUT 1 PRCUT
SELF 1 PR SELF
GRAIN LIINE
• Following the instructions on page 50, trace off the back
panel pattern.
FOLD
FOLD
step 15
Developing the front welted pocket stand and bags
Pocket shape
The pocket bag for this trench coat is
not rectangular like most patch pockets
but shaped like half a human kidney.
The depth and width is determined by the
opening you have drawn on your master
plan and the internal space available to
position the pocket within the design.
• To develop the shape for the welted pocket stand, which will
be attached to the bottom stitch line during construction,
square out 2in from the bottom stitch line at each end and
connect the points. At the top end extend the line by 3⁄8in
and connect this point back to the bottom stitch line at an
angle. This will conceal the opening when sewn down.
⁄"
3
1C
8M
M
⁄16"
133⁄C16M
"
1.5C
ENE
H LI
TOP
LINEST
ITCH
LINE
CCUUTT
LI1
N
BOT E LINE
KET
TOM
OPE
STUIT
NCIN
PO
KEG
NDC
T OPE
ERH
STIT
NIN
LCIN
⁄8 "
POC
TOP
ST
GRAIN LINE
ITCH
G
LTHAS
HWAELP
LF
TE
FOL
D FOLD SHAPE
M
2"
POCKET BAG
MASTER PLAN
⁄
M
M
9
16"
1.5C
5C
POCKET BAG
MASTER PLAN
GRAINLINE
F WE
HAL
1C
3
• Start by creating a separate master plan on a new piece of
paper. Trace round the rectangular pocket opening shape,
indicating the direction of the grainline next to it.
• Label the two long sides of the rectanglar box top stitch line
and the other bottom stitch line. The pocket and welt stand
shapes are developed from these lines.
• To develop the bag shape, square out 3⁄8in from the top stitch
line at each end and connect the points. Extend this line 9⁄16in
at each end.
• Starting from a right angle at each end of this line, draw a
half kidneylike shape that, once constructed, will hang below
the pocket opening.
• When drawing the pocket bag shape check that you do not
extend it too far forward so that it interferes with the facing
or button placements. This will now become your top pocket
bag shape.
9
Trench Coat 241
GRAINLINE
GRAIN LINE
POCKET WELT
CUT 1 PR SELF
CUT 1 PR FUSE
LINE
GRAINLINE
GRAIN
INE
E
STIT
TOP
TOP
STIT
CH
TOM
UND
SERTSIT
TIT
CH
C
HLINLE
CH
LIN
LIN
E
FOLD
FOLD
• The welt flap shape that you have just developed is only
a half pattern. Trace it off and, following the instructions
on page 50, create the full pattern.
step 17
Top pocket bag pattern
POCKET WELT
CUT 1 PR SELF
CUT 1 PR FUSE
step 16
Pocket welt pattern
BOT
• Following the instructions on page 50, trace off the pocket
bag shape.
3
1 CM
⁄8"
TOP POCKET BAG
CUT 1 PR POCKETING
TOP POCKET BAG
CUT 1 PR POCKETING
242 Chapter five the patterns: outerwear
GRAIN LINE
GRAINLINE
ITCH NE
LINE
ITCH
LI
TOM
ST
ER ST
UND
BOT
CH LI
ITCITH
TOP
ST
TOP
ST
UNDER POCKET BAG
⁄8"
CUT 1 PR POCKETING
UNDER POCKET BAG
CUT 1 PR POCKETING
1
3 CM
• Following the instructions on page 50, trace off the top
pocket bag shape to create the under pocket bag pattern;
make sure you carry over the stitch lines. The under pocket
bag is smaller than the top pocket bag. To create the under
pocket bag pattern, measure up 3⁄8in from the understitch
line and draw a parallel line; this is the new edge of
the pattern.
LIN
NE E
step 18
Under pocket bag pattern
step 19
Storm flap and epaulet master plan
• This is the storm flap master plan onto which you will
develop the style lines.
L
NEE
LIV
TE
SL
HET
CCKK
BABA
R RE
TCEENT
N
CE
CS
HE
C
LDR S
LDE
OU
SSH
HOU
K
E
EC
T NC
ONT NE
FFRRON
EL
OLO
MH H
A
ARRM
• Cut a piece of paper large enough to cover the front and
back upper body panels.
• Draw a horizontal line through the middle of the paper.
• Place the front and back body panels together at the
shoulder, as you would if you were sewing them together,
and position the shoulders along the seam.
• Trace round the front and back upper body from the chest
level up, including the armhole.
M
SEA
ER
EAM
K
CKC
NE E
K N
C
BA
BA
C
K
K
CENTER
FRONT
CENTRE FRONT
Storm flap
A design feature on this trench coat
style is the classic storm flap that
is associated with many outerwear
garments. The flap is sewn down to the
front chest and to the back, leaving the
armhole open. Storm flaps are open to
interpretation and can be designed in
many different ways.
STORMFLAP
FLAP
STORM
MASTER PLAN
MASTER
PLAN
LEVEL
CHEST
CHEST
LINE
step 20
Developing the storm flap and epaulet
• To draft the epaulet draw a 51⁄2in line out from the shoulder
seam, square down 2in toward the front chest level, and
square back toward the armhole. Create the point at the end
of the epaulet by measuring 3⁄4in back down both sides and
then joining these two points to a central point at the tip.
⁄
E
LINT
STES
CEH EL
CH
3
.5
"9
CM
K
3 ⁄4
C
DD
OLL ACBKA
FFO
EEBR
TR
T
N
N
CEE
M
13⁄16"
3C
V
LE
C
1
⁄
3 8C"M
M
31 C
8"
KK
CC
B
BAA
M
13C8"
C
30.5
16"
M
⁄
POINT
HIGH ER
SHOULD
POINTER
SHOULD
NECK
⁄
G
NIN
EOCPKE G
N
CK
NE PENIN
AM
R SAEM
TTET
ULELE
E
EPPAAU
LINE
H HO
MM
AARR
O
⁄
M
3
2C
4"
E E
ULLDDER S
HOU
SHSO
E
LNE
OLE LI
STORM FLAP
DEVELOPMENT
STORM FLAP
DEVELOPMENT
9⁄"
M
8
257 C
51 ⁄2"14 CM
"M
52C
2 C"M
3
CENTRE FRONT
CENTER
FRONT
⁄4
2 CM
• To develop the storm flap as a half pattern with the epaulet
protruding from the shoulder, start from the high point
shoulder, measure in 3⁄16in along the shoulder seam, then
square down 97⁄8in toward the chest level and center front.
• From this point square across 31⁄2in to just below the chest
level and mark. From the front corner of the underarm and
side seam measure in 13⁄16in along the chest level and from
here square up 3⁄4in and mark.
• Connect these two points with a curve to complete the lower
front edge of the storm flap.
• To draft the side of the flap around the armhole, extend the
shoulder seam out 3⁄4in. Next measure in 3⁄8in from the back
armhole along the chest level and then square up 3⁄8in and
mark. With a shallow curve, join this point to the end of the
extended shoulder seam and the point at the outside edge
of the front of the flap.
• To shape the lower edge of the back of the storm flap
first locate the position of the lower back point. To do this
measure in 33⁄4in from the center back along the chest level
and square down 13⁄16in and mark.
• Then locate the apex of the curve on the center back by
measuring 3⁄8in up the center back line from the chest level
and mark.
• Join this point to the lower back point with a curve,
representing half of the curve across the center back. Draw
a shallow curve from the lower back point to the point at the
edge of the armhole curve.
⁄4"
3
3 CM
3
1 ⁄16"
9 CM
31 ⁄2"
CHEST LINE
CHEST
LEVEL
FRONT
FRONT
Trench Coat 243
STORM FLAP
CUT 1 PR SELF
• Trace off the storm flap onto a new piece of paper and,
following the instructions on page 50, create the full pattern
shape, indicating with notches the position of the epaulet.
step 22
Epaulet pattern
SHO
SHOULD
ULD ER
ER L LIN
INE E
INE
ER LINE
ULDDER L
SHSOHOUL
ET
ETLTE
LU
PAPUA N N
EE
IO IO
OS
OITSIT
PP
5141⁄2CM
"
EPAULET
CUTEPAULETTE
4 SELF CUT 4 SELF
GRAIN
LINE
GRAINLINE
2"5 CM
• Following the instructions on page 50,
trace off the pattern for the epaulet.
EPAUE
P
POS POLAEUTLETTE
SITIO
ITIO
N N
CENTER
BACK
CENTRE
BACK
STORM FLAP
CUT 1 PR SELF
GRAIN LINE
GRAINLINE
step 21
Storm flap pattern
2 CM
3
⁄4"
step 23
Developing the two-piece tailored sleeve
Measurements required to develop the sleeve
Measurements required to draft the sleeve:
• Armhole 211⁄4in + 13⁄8in ease = 221⁄2in.
(Take this measurement from the
basic upper body sloper.)
• Sleeve length to wrist = 271⁄2in.
(Take this from the shoulder tip,
running down the back of the elbow to
the wrist; extra length can be added
at this point to suit your design.)
• Top of sleeve cap to elbow length =
161⁄8in.
• Upper biceps circumference = 133⁄8in.
(Take this measurement from round the
upper arm; extra width “ease” can be
added for movement.)
• Cuff measurement = 125⁄8in. (This
garment is taken from the basic
tapered sloper. As an overgarment
there is no need to reduce the
cuff width.)
• Sleeve cap height = 71⁄4in.
244 Chapter five the patterns: outerwear
• Cut a large piece of drafting paper slightly longer than the
length of your sleeve or the arm length of your fit model.
• Draw a 271⁄2in vertical line down the center and label it center
line; label the top of this line (1) and the bottom (2). This is
the length of the sleeve.
• From (1) measure down 71⁄4in (the sleeve cap height, or
one-third of the armhole measurement not including ease,
to which you can allow tolerance of plus or minus 3⁄16in) and
label point (3).
• From (1) measure down 161⁄8in (the elbow length) and label
point (4).
• Divide the armhole measurement (221⁄2in) by 6 to give 33⁄4in
and add 3⁄8in volume to give 41⁄8in. From (1) square out 41⁄8in
to the left and to the right and label these points (5) and (6).
• From (2) measure out 41⁄8in to the left and to the right and
label these points (7) and (8).
• Connect all points, (5), (6), (7), (8), to form a rectangle.
• Divide the sleeve cap height (71⁄4in) by 3 to give 23⁄8in.
From (6) measure down 23⁄8in, make a mark, and label it back
notch. From the back notch square in 1in and mark point (A);
this is the top point of the back seam on the undersleeve.
• From (3) square out to the left to intersect the line from
(5) to (7) and mark point (B), and square out to the right to
intersect the line from (6) to (8) and mark point (C). This is
the biceps level.
• From (B) measure out 1in and mark point (D), and measure
in 1in and mark point (E). From (C) measure in 3⁄8in and mark
point (F), and measure out 3⁄8in and mark point (G).
3
26.1
⁄8" CM
A
1"
2.5 CM
71⁄4" CM
18.5
FRONT
1
41
16CM
⁄8"
FRONT
PITCH
NOTCH
POINT
7
27.25
⁄8" CM
LINE
BICEPS
LEVEL
UNDERARM
SLEEVE
SLEEVE
MASTER
MASTER
PLAN
PATTERN
271⁄2"
⁄8 "
41CM
I
BOTTOM
SLEEVE
CUFF
UNDERSLEEVE
CUFF POINT
POINT
1.5C
M
NEE
SS
2
8
CUFF
HEML
INE
FOLD
FACING
LD
D
OL
FO
F
3 CM
Trench Coat 245
10 C
N
1
718
⁄8"CM
CU
UFF
FF HHEEMM
LILIN
FOLD
⁄
M
1
514
⁄2"CM
32 CM
4"
7
G
CENTER LINE
CENTRE
LINE
UNDE
DERS
LEE
R SL
VE
EE
FO
VE
RERE
FO
ARAR
M SE
AMAM
M SE
M
C
TOP SLEEVE
3
1 CM
⁄8 "
LINE
ELBOW
ELBOWLEVEL
4
5
3
2⁄4CM
"
TOP
TOP SLEEV
SLEEVEEFRONT
FOREASEAM
2⁄4CM
"
3
TOP SLEEVE
CUFF POINT
L
K
H
RM SEAM
J
POINT
MM
SEA
SEA
KK
E BAC
BAC
LEEV
EVE
NT SLE
UND
FROERS
1 3CM
⁄8"
1 3CM
⁄8"
TOP SLE
TOP
SLEEVE
EVEBAC
KKSEA
BAC
MM
SEA
3
2.5 CM
1"
1"
2.5 CM
F
E
B
D
D
BACK
BACK
PITCH
NOTCH
GRAIN LINE
6
10.6
41⁄8CM
"
CUT 1 PR SELF
1
10.6
41⁄8CM
"
3 CM
5
• From (7) measure up 3⁄4in and from this point measure out
3
⁄4in and mark point (L); this is the top sleeve cuff point.
Measure in 3⁄4in and mark point (M); this is the undersleeve
cuff point.
• The cuff circumference is 125⁄8in. Divide this between the top
and undersleeve so that the top sleeve cuff width is 71⁄8in
and the undersleeve is 51⁄2in. This allows the top sleeve seam
to fall toward the back of the arm, slightly out of view.
• From (L) draw a line 71⁄8in long to intersect the line from (7)
to (8) and mark point (N). From (M) draw a line 51⁄2in long to
intersect the line from (7) to (8) also at point (N). These are
the cuff hemlines.
• Draw in the top sleeve front seam by drawing a blended line
connecting the points from (L) through (J) to (D).
• Draw in the undersleeve front seam by drawing a blended
line connecting the points from (M) through (K) to (E).
• Using a French curve, draw in the top sleeve cap starting at
(D) with a concave curve through the front notch where you
reverse the curve to a convex curve up to (1) and back down
to the back notch with a similar convex curve.
• Measure the length of this line and compare it to the
measurement of the armhole on the front and back patterns.
Here the length should be 145⁄8in. Adjust the curves until the
line is the correct measurement.
• Using a French curve, draw in the top of the undersleeve with
convex curve starting at (E) up to (A).
• Again, measure this line and adjust it until it is the same
measurement as the armhole on the front and back
patterns—in this case 81⁄4in.
• Draw in the back seam of the top sleeve with a blended line
from the back notch through points (G) to (I) and continue
down to (N).
• Draw in the back seam of the undersleeve with a blended line
from (A) through (F) to (I) and also continue with this seam
on the same line as the top sleeve down to (N).
TOP SLEEVE FOREARM SEAM
• To establish the front notch on the armhole divide the sleeve
cap height (71⁄4in) by 2 to give 35⁄8in, and subtract 3⁄4in to
give 27⁄8in. This will ensure a rectangular shape to the sleeve
cap instead of the square shape that would occur if the
sleeve cap were just divided in half. From (B) measure up
27⁄8in, make a mark, and label it front notch.
• From (4) square out to the left to intersect the line from
(5) to (7) and mark point (H), and square out to the right to
intersect the line from (6) to (8) and mark point (I). This is
the elbow level.
• From (H) measure out 3⁄8in and mark point (J), and measure
in 15⁄8in and mark point (K).
step 24
1
6
5
10.6 CM
10.6 CM
Top sleeve pattern,
facing,
and cuff vent
GRAIN LINE
2.5 CM
18.5 CM
BACK
PITCH
TOP S
TO
LPESELVEE
EVB
EA
BC
AC
KKSSE
EA
AMM
SLEEVE
TOP TOP
SLEEVE
FOREARM
TOP
T SEAMSEAM
TOP SLE
EVSLEEVE
E FRON
CENTRE LINE
E
FO
FO
LD
LD
FACING
FA
CING
D
OLLD
FFO
" M
EMLIN
FFOOLLD
D
3
31C
⁄16
M"
CUFF
H
CE
MLI
UFF
H NE
140 C
FOREARM SEA
M
4 CM
UNDER SLEEVE
⁄16"M
9C
1.5
2 CM
2 CM
TOP SLEEVE FOREARM SEAM
1 CM
• Following the instructions on page 50, trace off the final top
sleeve pattern, adding
in alignment
notches.
K
H
ELBOW LINE
I
J
4
• From the sleeve hemline square
down 13⁄16in and draw a
rectangular box. This is the sleeve facing, which will be folded
up inside the sleeve.
• Extend the length of the sleeve facing by 13⁄16in at the back
seam to create a sleeve opening.
• Measure up 4in along the back seam and create a
rectangular box 13⁄16in in width.
9
• Measure up a further
⁄16in and join this point to the outer
BOTTOM
SLEEVE
CUFF
corner of the box, creating
an angle and shape similar to the
POINT
M
L
14 CM
TOP SLEEVE
center
back
vent.
CUFF POINT
2 CM
N
8
2
• The corner of the
sleeve
facing
and opening
can be finished
7
18 CM
CUFF HE
MLINES
with a mitered seam once folded back and attached to the
sleeve lining.
CUTCUT
1 PR 1
SELF
PR SELF
SEAM
1 CM
1 CM
TOP SLEEVE BAC
K SEAM
SLEEVE
MASTER
PATTERN
FRONT SLEEVE BACK
2.5 CM
2.5 CM
41 CM
POINT
FRONT
Adding PITCH
the sleeve facing
POINT
It is important that you have already
CM
established 7.25your
sleeve length before
F
B E
UNDERARM LINE
G
adding Da sleeve
facing
to C the
bottom of
3
your sleeve.
GRAINLINE
6.1 CM
A
D
LD
OL
FFO
3 3CM
1 ⁄16"
UNDER SLEEVE FRONT SEAM
UNDER SLEEVE FOREARM SEAM
M
A
SEAM
SE
UNDE
DE
SL
UNR
UNDERSLEEVE
UNDER SLEEVE
1 PAIR
SELF
CUT CUT
1 PAIR
SELF
K
CK
AC
VEVEBBA
EEE
SL
RE
• Following the instructions on page 50, trace off the final
undersleeve pattern, adding in alignment notches.
• From the sleeve hemline square down 13⁄16in and draw a
rectangular box to create the sleeve facing.
• Extend the length of the sleeve facing by 13⁄16in at the back
seam to create the other side of the sleeve opening.
• Measure up 4in along the back seam to create a rectangular
box 13⁄16in in width.
• Measure up a further 9⁄16in and join this point to the outer
corner of the box, creating an angle and shape similar to the
center back vent.
• The corner of the sleeve facing and opening can be finished
with a mitered seam once folded back and attached to the
sleeve lining.
GRAINLINE
GRAIN LINE
step 25
Undersleeve pattern, facing, and cuff vent
M
⁄
⁄16"
313CM
246 Chapter five the patterns: outerwear
ING
FA
FACICNG
1⁄ "
FFEHE
CUH
3 16
CUFF
E
NNE
MLI
MLI
LD
OLD
FFO
MC 3
41"0 CM
D
OLLD
FFO
C
9
1.5
16"
⁄
3 CM
0.5
16"
BACK
SHOULDER
TOP OF
TIPBACK
THE
step 26
Developing the top sleeve
lining
⁄
⁄
FRONT
TOP OF
SHOULDER
THE FRONT
TIP
3 CM
0.5
16"
GRAINLINE
GRAIN
LINE
3 CM
0.5
16"
⁄
TOP SLEEVE
LINING
TOP SLEEVE
LINING
PR LINING
CUT 1CUT
PR1 LINING
0.53 CM
16"
⁄
30.5 CM
16"
REMOVE
REMOVE
1CM
3
⁄8"
⁄
3
2C
4M
"
• Following the instructions on page 50,
trace off the top sleeve pattern onto a
separate piece of paper.
• Remove 3⁄8in from the lower edge of
the sleeve, leaving a 3⁄4in facing.
• From the back shoulder tip measure
out 3⁄16in and up 3⁄16in and mark.
• From the front shoulder tip measure
out 3⁄16in and up 3⁄16in and mark.
• Using the sleeve cap shape as a
template, join these points at the cap
with a curved line.
• From the new shoulder tips redraw the
lines down to blend in with the new
sleeve hemline.
CROWN
TOP OF
POINT
SLEEVE CAP
⁄
TOP
OF
BACK
THE BACK
SHOULDER
TIP
⁄16"
0.5
3 CM
0.53 CM
16"
step 27
Developing the under sleeve lining
TOP
OF
FRONT
THE FRONT
SHOULDER
TIP
⁄
GRAINLINE
GRAIN
LINE
3
0.5
CM
16"
⁄
3 "
2CM
4
OV
RE
EMMOV
R
M
1C
3 ⁄8 "
EE
PR LINING
CUT 1CUT
PR1LINING
UNDERSLEEVE
LINING
UNDER SLEEVE
LINING
• Following the instructions on page 50, trace off the
undersleeve pattern onto a separate piece of paper.
• Remove 3⁄8in from the lower edge of the sleeve, leaving
a 3⁄4in facing.
• From the front shoulder tip measure out 3⁄16in and up 3⁄16in
and mark.
• From the back shoulder tip measure up 3⁄16in and then out
3
⁄16in and mark.
• Join these points along the underarm with a curved line.
• From the new shoulder tips redraw the lines down to blend in
with the new sleeve hem.
Trench Coat 247
⁄
CM
30.5
16"
BACK
BACK
SHOULDER
SHOULDER
POINT
TIP
CM
3 16
"
0.5
⁄
CM
03.5 16"
⁄
step 28
Developing the front body lining
JOINJOIN
TOTO
FACING
FACING
CUT
1 PR1LINING
CUT
PR LINING
FRONT
LINING
FRONT
LINING
GRAIN LINE
GRAINLINE
• Following the instructions on page 50, trace off a copy of the
front body panel without the facing.
• Remove 1in from the lower edge of the hem allowance.
• From the shoulder tip square out and up 3⁄16in, find the new
shoulder tip, and blend back to the front facing line along
the shoulder.
• From the top of the front style line, measure 3⁄16in out into
the armhole and continue this line and the style line up to
a point and mark where they intersect.
• Join this point with the new shoulder tip by drawing a curved
line following the shape of the armhole.
HEMLINE
HEMLINE
REMOVE
REMOVE
2.5CM
REMOVE
REMOVE
2.5CM
1"
1"
step 29
Developing the back neck facing
• Following the instructions on page 50, trace the left back
pattern onto a separate piece of paper. Measure 2in down the
center back and 2in down the shoulder seam from the high
point shoulder. Connect these points with a curve following
the shape of the neckline.
248 Chapter five the patterns: outerwear
2"
5 CM
5 C2"M
FACING
FACING
BACK LINING
MASTER PLAN
CENTER BACK
Here it is illustrated as a half pattern
to be traced off before you make the
adaptations for the ease in the lining.
BACK LINING
MASTER PLAN
CHEST
LINE
CHEST LEVEL
CENTRE BACK
Back neck facing
The back neck facing is added to give
strength and to stabilize the collar.
It is connected to the front facing at
the shoulder and is cut from facing
fabric and fused.
BACK
BACK HIGH POINT
SHOULDER
SHOULDER
POINT
CUT 1 FUSE
GRAIN LINE
BACK NECK FACING
NECK FACING
CUTBACK
1 SELF
1 SELF
CUTCUT
1 FUSE
GRAINLINE
• Trace off the back neck facing onto a
new piece of paper and, following the
instructions on page 50, create the full
pattern shape.
CENTER
BACK
CENTRE BACK
step 30
Back neck facing pattern
BACK
52C" M
5 CM
2"
⁄
1.5
9 CM
16"
PLEAT
PLEAT
NEWNEW
CENTER
CENTREBACK
BACK
step 31
Developing the left back body lining
⁄
30.5 CM
16"
FACING
FACING
⁄
3 CM
0.5
16"
LEFT BACK
LEFT
BACK LINING
LINING
MASTER
PLAN
MASTER
PLAN
⁄
3 CM
0.5
16"
UNDERARM
UNDERARM
POINT
CHEST
LEVEL
CHEST LINE
/ SIDE SEAM
CORNER
GRAIN LINEGRAINLINE
CENTRE BACK
BACK
CENTER
• Using the tracing of the back pattern on which you drew the
neck facing, create half of the back lining pleat to introduce
ease. From the center back measure out 9⁄16in below the
facing line and mark, and from the chest level measure out
9
⁄16in and mark. Join these two points and then blend the line
back to the original center back line at the waist with
a slight curve. Notch the center back along this new line.
• From the shoulder tip measure out 3⁄16in and up 3⁄16in and find
the new shoulder tip. Draw a straight line back to the outer
edge of the neck facing.
• At the underarm / side seam corner square out 3⁄16in. Join
this point back to the new shoulder tip using a curved line
following the original armhole shape.
• Because the vent on the left side of the back pattern is
folded in when constructed, remove the vent shape from the
lining together with a negative of the vent shape in the back
panel lining itself.
• Remove 1in from the lower edge of the hem allowance.
This will leave enough fabric to allow for an overlap, or ease,
in the lining at the hem.
BACK
SHOULDER
SHOULDER
TIP
POINT
REMOVE
NEGATIVE OF
SHAPE
REMOVE
NEGATIVE
OFVENT
VENT
SHAPE
HEMLINE
HEMLINE
REMOVE
REMOVE
2.5 CM
1"
REMOVE
1" CM
2.5
REMOVE
REMOVEVENT
VENT SHAPE
REMOVE
SHAPE
WAISTLINE
WAISTLINE
Trench Coat 249
step 32
Developing the right back lining
step 33
Back lining patterns
• Trace off the right back panel pattern from the left back
panel pattern you have just developed and reverse.
• Add the negative vent shape back into the pattern to create
a straight center back line.
• As you are still working on a left back panel shape, you need
to turn it over before adding the annotations for the right
back lining.
• Following the instructions on page 50, trace off the back
panel lining patterns.
GRAIN LINE
GRAINLINE
CENTER
CENTRE BACK
BACK
GRAIN LINE
GRAINLINE
CHEST
LEVEL
CHEST LINE
GRAIN LINE
GRAINLINE
LINING
MASTER
PLAN
NEW CENTRE
BACK
NEW CENTER
BACK
RIGHT
LINING
RIGHTBACK
BACK
MASTER PLAN
CENTER
CENTRE
BACK
BACK
NOTCH
NOTCH
HEMLINE
HEMLINE
HEMLINE
HEMLINE
250 Chapter five the patterns: outerwear
CUT 11 LINING
CUT
LINING
BACK
LINING LEFT
BACK LINING LEFT
CUT 11LINING
CUT
LINING
BACK
LINING
RIGHT
BACK LINING
RIGHT
WAISTLINE
WAISTLINE
HEMLINE
HEMLINE
Trench Coat 251
pattern
Single-breasted Jacket
Start by selecting the basic men’s upper body sloper, or by
drafting the basic sloper according to the instructions on page
40. Cut a large piece of drafting paper slightly longer than the
length of the shirt you want to develop and transfer the shape
of the sloper and all marks, labels, and instructions, following
the directions on page 48.
252 Chapter five the patterns: outerwear
FRONT
NOTCH
WAISTLINE
LINE
HIP LEVEL
FRONT MASTER
PLAN
PLAN
CENTRE
FRONT
CENTER FRONT
BACK MASTER
MASTER
PLAN
GRAIN
LINE
GRAINLINE
CHEST LEVEL
LINE
SIDE SEAM
step 1
Developing the master plan
BACK
BACK
PITCH
NOTCH
POINT
CENTRE
CENTER BACK
BACK
This pattern includes development
of the following features:
Shaping the body panels and creating a side panel
Extending the front and shaping the breast with added volume
Extending the hemline
Creating a center back vent
Moving the shoulder slope toward the back
Creating a welted breast pocket
Developing a patch pocket with flap
Developing a roll collar with lapel
Developing a tailored two-piece sleeve with cuff vent
Developing taped internal seams with no lining
BACK
BACK
PITCH
NOTCH
POINT
FRONT
PITCH
NOTCH
POINT
FRONT MASTER
PLAN
PLAN
CENTRE
CENTER FRONT
BACK MASTER
MASTER
PLAN
GRAIN
GRAINLINE
LINE
CENTRE
CENTER BACK
BACK
• From the hemline square down 31⁄8in at the center front, side
seam, and center back lines.
• Join these three points with a straight horizontal line.
SIDE SEAM
CHEST LEVEL
LINE
step 2
DevelopING the hemline
WAISTLINE
HEMLINE
HEMLINE
3
⁄8"
81CM
3
8"
81⁄CM
8 3CM
⁄8"
1
NEW HEMLINE
HEMLINE
step 3
Developing the internal shaping
CENTRE
CENTER
BACK
NECK
POINT
3
0.5
⁄16" CM
BACK
BACK
PITCH
NOTCH
POINT
BACK MASTER
PLAN
FRONT MASTER
MASTER
PLAN
PLAN
1.59⁄16
CM
"
5
1.7 CM
⁄8"
CENTRE
CENTER FRONT
10.5
41⁄8CM
"
12.8
5"CM
1
1.4
⁄2" CM
5
1.7
⁄8" CM
12.8
5" CM
WAISTLINE
GRAIN
LINE
GRAINLINE
CHEST LEVEL
LINE
CENTRE
CENTER BACK
• To create the front internal dart, at the center front chest,
waist, and original hemlines square in 5in and mark.
• From the chest level mark square down 41⁄8in, and from the
hemline mark square up 5in; these two points are the ends of
the dart.
• From the waistline mark measure out 1⁄4in to each side,
making the dart width 1⁄2in.
• Connect all these points with curved lines.
• For the center back shaping: from the center back, measure
in 1⁄4in at the new hemline and the original hemline; at the
waistline measure in 9⁄16in, and at the center back neck point
measure in 3⁄16in.
• From the chest level draw a curved line up to meet the new
center back neck point and then down to join the new point
on the waistline, then down farther to connect the points
on the hemlines.
• Taking volume from the side seam gives a fitted silhouette
and will also help you to develop the side panel. From the
side seam at the waistline measure out 5⁄8in in each direction
and mark. Connect these two points with a curved line up to
the underarm and down to the original hemline.
FRONT
FRONT
PITCH
NOTCH
POINT
UNDERARM
/UNDERARM
SIDE SEAM
CORNER
POINT
SIDE SEAM
When determining suit panel sizes it is
important to do some market research,
investigating similar garments and
comparing measurements with the style you
may be developing. Use your fit model
or form to gain the correct proportions
for the paneling as this will ultimately
affect the balance of the jacket.
HEMLINE
12.8
5" CM
NEW HEMLINE
1
⁄4" CM
0.7
Single-breasted Jacket 253
step 4
Developing the side panel
• Start with the front style line: from the center back measure
63⁄4in along the new hemline toward the center front and
mark; continue measuring 3⁄4in and mark, and a further
47⁄8in and mark. These points are the ends of the three new
shaping lines.
• From the new side seam measure 15⁄16in toward the front
along the waistline and mark; from the underarm / side seam
corner measure 3⁄8in along the armhole toward the front and
mark; from the side seam measure 2in along the old hemline
toward the front and mark.
• Join the marks at the new and the old hemlines to the
waistline mark with a straight line and continue up to the
chest and front armhole with a graduated curve; this is the
side front style line, which separates the new side panel from
the front panel.
• To create the back style lines, from the center back measure
61⁄4in along the waistline and mark, and then a further 13⁄16in
and mark.
• From the underarm / side seam corner measure 21⁄2in toward
the center back and mark, and a further 3⁄4in and mark.
• The back style lines start from a point on the back armhole
below the notch; to find this measure 2in from the chest
level up the center back and then square across to the back
armhole and mark.
• From this point draw the back style lines, intersecting the
chest and waist at the marks you made earlier, crossing over
each other 31⁄2in above the original hemline and continuing
down to the new hem in a straight line.
Side panels
On the front and back slopers you are
going to create style lines that will
separate the panel into front, side,
and back, as in the classic three-piece
suit. In the previous step you took away
volume from the side seam back and front.
To create the side panel you need to
combine these to gather and redraw them
as a single shape. Having removed volume
at the side seam, you then need to remove
additional volume from the back panel,
to finish the fitted shape of the
jacket. You do this between the new
back and side panel.
BACK
BACK
PITCH
NOTCH
POINT
FRONT
FRONT
PITCH
NOTCH
POINT
52"
CM
NEW HEMLINE
2 3CM
⁄4"
47⁄8" CM
12.5
254 Chapter five the patterns: outerwear
CENTRE
CENTER FRONT
GRAIN
LINE
GRAINLINE
N LINE
EPARATIO
SIDE FRONT S
⁄
73CM
2
⁄4"
17
63⁄4"CM
FRONT MASTER
PLAN
PLAN
3
18CM
"
3.3
15⁄16"CM
SIDE SEAM
INE
LIN
NL
ON
TIO
ATI
ARA
PAR
EP
SE
CK S
BACK
SIDE BA
SID
BACK SEPARATION LINE
HEMLINE
1
⁄2"
93CM
WAISTLINE
1661CM
⁄4"
21⁄2"
6.3CM
33⁄CM
1
16"
CHEST LEVEL
LINE
CENTRE
CENTER BACK
5 CM
2"
3 CM
2
⁄4"
BACK MASTER
PLAN
step 5
Developing the new shoulder slope and front hem styling
"
1 3C⁄8M
1 C3⁄M
8"
BACK
BACK
PITCH
NOTCH
POINT
BACK MASTER
MASTER
PLAN
SIDE SEAM
FRONT MASTER
PLAN
PLAN
GRAIN
GRAINLINE
LINE
INE
LIN
NL
ON
TIO
ATI
ARA
PAR
EP
SE
KS
CK
AC
BA
IDE B
S
SID
BACK SEPARATION LINE
NE
TION LI
T SEPARA
S
SIDE FRON
FRONT
FRONT
PITCH
NOTCH
POINT
CHEST LEVEL
LINE
WAISTLINE
FRONT
SHOULDER
POINT
TIP
BACK
SHOULDER
TIP
POINT
FRONT
SHOULDER
FRONT
NECK
HIGH POINT
SHOULDER
POINT
CENTRE
CENTER FRONT
BACK
SHOULDER
BACK
HIGH POINT
NECK
SHOULDER
POINT
CENTRE
BACK
CENTER BACK
Shoulder slope
Move the angle of the shoulder seam
before you open up the front: This
will prevent the shoulder seam from
being seen from the front, giving
a seamless silhouette.
• From the back shoulder tip measure 3⁄8in down the armhole
and mark; from the front shoulder tip extend the armhole up
3
⁄8in and mark. From these two new points draw in the new
shoulder seams back up to the high point shoulders.
• To add style shaping to the center front hem, measure 3⁄4in
down from the hemline at the center front and connect back
to the side seam with a smooth curve.
OLD HEMLINE
HEMLINE
NEW HEMLINE
HEMLINE
3 CM
2
⁄4"
Single-breasted Jacket 255
step 6
Developing the front extension
• Trace off the front panel onto a separate piece of paper and,
following the instructions on page 50, reverse the shape to
create the left-hand side panel, which will eventually also
contain the breast pocket shape.
• Extend out 1in horizontally from the center front neck point
and at the hem; connect these points with a straight line to
create the front extension.
Lapel shape
Pitching back and opening the front
breast shape will enable the straight
sloper front to follow the contours of
a male chest.
• From the chest level measure up 15⁄8in and square a line
across; repeat four times.
2.5 CM
1"
CENTER
CENTRE
FRONT
NECK
POINT
step 7
Developing the front breast shaping
4
15CM
⁄8"
LINE
CHEST LEVEL
4
15CM
⁄8"
4
15CM
⁄8"
CENTRE
FRONT
CENTER FRONT
4
15CM
⁄8"
WAISTLINE
WAISTLINE
CENTRE
CENTER FRONT
FRONT
LINE
CHEST LEVEL
WAISTLINE
WAISTLINE
1"
2.5 CM
HEMLINE
NEW HEMLINE
HEMLINE
NEW HEMLINE
256 Chapter five the patterns: outerwear
step 8
Developing the welted breast and patch pockets
step 9
Adding in the volume on the front breast panel
• For the breast pocket placement, from the top of the waist
dart measure 2in along the chest level toward the center
front; this will be the bottom corner of the rectangular
welt opening.
• Measure 23⁄8in in the opposite direction and mark; from
this point square up 11⁄16in; this is the opposite corner of
the rectangle.
• Join these points with an 43⁄8in straight line, square up 9⁄16in
at each end, and draw a rectangular box.
• The patch pocket runs off the front panel into the side
panel and covers the waist dart; when plotting the pocket
measurement do not include the dart width.
• From the waist dart measure 3⁄4in along the waistline toward
the center front, and from this point square down 9⁄16in and
mark; this is the starting point for the pocket depth.
• Measure down another 9⁄16in for the welt opening, then
measure down a further 61⁄2in (the pocket depth).
• The pocket width is 57⁄8in, which will run over onto the
side panel.
• Round off the bottom corners of the pocket.
• Cut along the horizontal lines you drew across the chest
and neck from the center front and neck into the shoulder;
open each 3⁄16in upward at the front, creating a wedge shape,
adding in a total of 15⁄16in.
• Tape against another piece paper and redraw the front panel,
blending through the open steps.
3
⁄16"
0.4 CM
3
⁄16"
0.4 CM
3
0.4 CM
⁄16"
3
0.4 CM
⁄16"
3
0.4 CM
⁄16"
1⁄ "
3 "
114C⁄8M
11
1.8
⁄16"CM
52"
CM
3
62CM
⁄8"
CENTRE
FRONT
CENTER FRONT
LINE
CHEST LEVEL
WAISTLINE
WAISTLINE
9 16
.5 CM
CENTRE FRONT
FRONT
CENTER
LINE
CHEST LEVEL
HEMLINE
NEW HEMLINE
3
⁄4"
WAISTLINE 2 CM
1.5 9CM
⁄16"
9
1.5
⁄16" CM
16.5
61⁄2CM
"
15
57⁄8"CM
7
15
5
⁄8"CM
HEMLINE
NEW HEMLINE
Single-breasted Jacket 257
Checking the shape
It is always important to check the
shape you have created by folding back
the paper on the roll line to assess
it; redraw and develop until you are
satisfied. The sequence above is a method
widely used to draft a basic tailored
collar. Variations can be found in many
patternmaking books available, old and
new; choose the one that you prefer.
258 Chapter five the patterns: outerwear
93C1⁄M
2"
5
⁄8 "
41CM
CENTRE
CENTER
FRONT
NECK
POINT
M
12".5
C
B
A
D
2.5 CM
1"
3
0.5
⁄16" CM
2.5 C
1M
"
3 CM
1
⁄8 "
C
FRONT
FRONT
SHOULDER
HIGH POINT
NECK
SHOULDER
POINT
ROLL
LINE
FACING LINE
LINE
CHEST LEVEL
BREAK POINT
9 CM
10 CM
WAISTLINE
WAIST
LINE
CENTRE FRONT
BREAK POINT
POINT
CENTRE
CENTER FRONT
FRONT
• From the front high point shoulder measure out 1in and
mark point (C).
• You will run the roll line through point (C); from the
waistline measure 43⁄4in up the front, mark and name as
the break point.
• Draw a straight line from here up through (C), continue for
31⁄2in and mark point (A).
• From (A) square 1in back toward the shoulder and mark
point (B).
• Draw a line from (B) to (C); square out 1in from the top of this
line and mark point (D).
• From (B) extend the line out 13⁄4in and mark point (E). This is
the width of the collar (23⁄4in) at the center back neck curve.
• From (E), starting at a right angle, draw out the collar shape
that you require, finishing the collar notch 15⁄8in in from the
extended front.
• To shape the front of the jacket lapel, measure in 3⁄8in from
the center front neck point. From this point draw a graduated
line back down the center front to give shape.
• From (D) draw a line back toward the shoulder line, crossing
it 3⁄16in back from the front high point shoulder, and blend in
to the curved neck shape.
E
43⁄4CM
"
12
Break point and roll line
Locate on the pattern where you want your
collar to break on the new front edge
line of the body panel. Consider the
proportion of your design and silhouette
length. The point at which the front will
turn over to create a lapel is called
the break point (BP) and the line that
it turns on is the roll line. The lower
down the front your BP is, the wider
an opening you will have around the
neck silhouette.
41.3⁄54
"C
M
step 10
Developing the roll collar
9.5 CM
CM
CM
4 .5
2 .5
B
A
D
2.5 CM
0.5 CM
2.5 C
ROLL
LINE
FACING LINE
LINE
CHEST LEVEL
BREAK POINT
POINT
12 CM
• From the collar measure back 15⁄8in along the shoulder seam;
this is the width of the facing.
CHEST LINE
• From the jacket front measure in 31⁄2in along the
waistline and mark, and measure in 33⁄4in along the hemline
and mark.
BREAK POINT
• From the waistline measure 4in down the front edge of
the jacket and continue down to the point you marked
on the hemline with a deep curve; this is the lower front
WAIST LINE
jacket shaping.
• From the hemline measure 15⁄8in up the side seam and from
here square in 4in; from this point draw a graduated curve
up to meet the point you marked on the waistline, continue
up in a straight line to the chest level, and blend back to the
shoulder with another curved line.
CENTRE FRONT
104"CM
1
9 3CM
⁄2"
WAISTLINE
WAIST
LINE
CENTER
CENTRE FRONT
FRONT
CENTRE
FRONT
NECK
POINT
4 CM
step 11
Developing the facing
1 CM
M
C
FRONT
SHOULDER
NECK
POINT
14 5C
⁄8"M
9 CM
E
10
4" CM
4
15CM
⁄8"
⁄4"CM
9.35
3
LEFT
CUT 1 SELF
Single-breasted Jacket 259
GRAIN LINE
CENTRE
FRONT
CENTER FRONT
GRAIN
LINE
GRAINLINE
GRAIN LINE
• Following the instructions on page 50, trace off the left and
right front panels.
• Mark the breast pocket on the left side only, and the patch
pocket position on both sides.
LEF
CUT
CENTRE FRONT
RIGHT
CUT 1 SELF
SELF
RIGHT
CUT 1 SELF
GRAIN
LINE
GRAINLINE
step 12
Final front pattern
step 13
Front facing pattern
step 15
Combining the side panel
FOLD
FOLD
ALLOWANCE
FACING
NEW HEMLINE
260 Chapter five the patterns: outerwear
4
15⁄CM
8"
RNALTIINOEN L
ATAIO
RP
S
SIIDDEEBABCAKCSKEPSAE
INE
CLOSE
CLOSE
• Trace off the closed side panel onto
a separate piece of paper.
• Match up the front panel at the waist
and hemlines to the new side panel at
the side front style line.
• Transcribe across the position for the
remainder of the welted opening for
the patch pocket.
9
1.5
⁄16"CM
9
1.5
⁄16"CM
45CM
1
⁄8"
FOLD
FOLD
FACING
ALLOWANCE
NEW
NEWHEMLINE
HEMLINE
E LINE
INN
PAATRIOANTILO
AR
PE
SES
CK
CK
AA
SIIDDEEBB
S
CLOSE
CLOSE
E N LINE
S
PTAIORNALTINIO
SIIDDEEFR
FORNOTNST
RA
AE
EPS
SIDE
SEAM
SIDE
SEAM
SIDE
SEAM
SIDE
SEAM
• Following the instructions on page 50, trace off the side
panel onto a separate piece of paper.
• Next you need to remove the internal volume by closing the
dart shapes in the side seam. Cut down both sides of the
side seam to the bottom of the shaping and out along the
waistline, making sure to leave the shapes connected by a
sliver of paper at the edges so that the side lengths do not
change when manipulated.
• Reposition by closing up the shape and tape together.
• Measure 15⁄8in down on both sides at the hemline and square
across to create a rectangular box; this is the hem allowance.
FRONT FACING
CUT 1 PR SELF
step 14
Developing the side panel and hem ALLOWANCE
CENTER
RE FRONT
GRAIN
LINE
GRAINLINE
• Following the instructions on page 50, trace off the front
facing pattern.
step 17
back pattern
• Following the instructions on page 50, trace off the back
panel onto a separate piece of paper.
• From the hemline at the center back and side seams square
down 15⁄8in and square across to form a rectangle, extending
it 15⁄8in past the center back; this is the hem allowance.
• From the bottom of the hem allowance measure up 77⁄8in
and then square back into the center back. From this point
measure up 9⁄16in on the center back and draw an angled
line back to the top corner of the vent shape.
• The center back neck facing is 15⁄8in in width to match the
front; measure 15⁄8in down from the center back neck point
and 15⁄8in down the shoulder from the back high point
shoulder and connect these two points with a curved line.
• Following the instructions on page 50, trace off the back
panel pattern.
BACK
PRSELF
SELF
CUT 11PR
GRAIN LINE
GRAINLINE
step 16
Developing the center back vent
and back neck facing
BACK
BACK
NECK
HIGH POINT
SHOULDER
SHOULDER
POINT
CENTER
CENTRE
BACK
NECK
POINT
4
15CM
⁄8 "
CENTRE
CENTER BACK
45CM
1
⁄8"
BACK MASTER PLAN
FOLD
SIDE SEAM
LINE
CHEST LEVEL
WAISTLINE
⁄ "
9
1.5
16 CM
FOLD
FACING
ALLOWANCE
4
15CM
⁄8"
4
15CM
⁄8 "
• Trace off the back neck facing onto a separate piece of paper
and, following the instructions on page 50, create the full
pattern shape.
NEW HEMLINE
CENTER
BACK
CENTRE BACK
GRAIN LINE
GRAINLINE
7
20 7CM
⁄8"
VENT
step 18
Back neck facing pattern
BACK NECK FACING
BACK YOKE
CUT
1 SELF
CUT 1 SELF
CUT1 1FUSE
FUSE
CUT
Single-breasted Jacket 261
⁄
8"
1 CM
"
CM
1.516
3
9
⁄
step 19
Developing the welted breast pocket top and
bottom bag
LIN
EE
UTTLIN
CCU
⁄
"
CM
1.516
9
5 ⁄16"
513
.5 CM
E
CHE LIN
ITCH
ITLIN
TO
TOPPSTST
LIENE
CHLIN
ITCH
TIT
OMSST
TTM
TO
BOTBO
GNING
INE
EN
OP
OP
T
ET
E
CK
K
C
PO
PO
1 CM
⁄
13 CM
8"
⁄
9 16
CM
"
1.5
53CM
⁄8"
13.5
BREAST
WELTED
WELTED
BREAST
POCKET TOP
POCKET
TOP BAG
AND BOTTOM
PLAN
ANDMASTER
BOTTOM
BAG
MASTER PLAN
15.5
"
61⁄8CM
GRAIN
LINE
GRAINLINE
• From the front left final pattern in Step 12, trace off the
breast pocket opening onto a separate piece of paper so that
you have a rectangle 43⁄8in long by 9⁄16in wide drawn at an
angle to the grainline.
• Extend the top stitch line by 9⁄16in to the right and 3⁄8in to the
left, and extend the bottom stitch line by 9⁄16in to the left and
3
⁄8in to the right.
• Connecting these points on the left, draw a 53⁄8in vertical
line down. Connecting the points on the right, draw a 61⁄8in
vertical line down. Square across 53⁄8in at the bottom to
connect these two lines (the width of the pocket bag).
13.5
"
53⁄8CM
step 20
Breast pocket bag patterns
• Following the instructions on page 50, trace off the pocket
bag shape and add a 3⁄8in seam allowance above the top
stitch line to create the final top pocket bag pattern.
• Trace off the pocket bag shape again as far as the bottom
stitch line, then add a 3⁄8in seam allowance on top of the
stitch line to create the final bottom pocket bag pattern.
⁄
3 CM
1
8"
1 CM
1 CM
⁄
13 CM
8"
⁄
8"
1 CM
3
1 CM
1 CM
⁄
1 3CM
8"
262 Chapter five the patterns: outerwear
GRAIN
LINE
GRAINLINE
GRAIN
LINE
GRAINLINE
TOP BREAST POCKET BAG
CUT 1 POCKETING
GRAIN LINE
15.5 CM
GRAIN LINE
BOTTOM BREAST POCKET BAG
CUT 1 POCKETING
BOTTOM BREAST
POCKET
BAG
BOTTOM BREAST POCKET BAG
CUT
CUT1 POCKETING
1
POCKETING
TOP BREAST
POCKET
POCKET BAG
TOP BREASTBAG
CUT 1 POCKETING
CUT
1 POCKETING
step 21
Developing the breast pocket welt
• Mirror this parallelogram along the fold line.
• Add a 9⁄16in seam allowance to both long sides of the shape
and a 3⁄8in allowance to the shorter sides.
⁄
3 8"
1 CM
43 ⁄8"
⁄ "
9 CM
1.5 16
11 CM
LD
D
FOL
FO
ELT
ET W
OCK
ST P
BREA SELF
1
E
M
E
2.5 C CUT
NELIN
LDLLID
FO
1 FUS
R FO
ERE
NT
CUT
11 CM
CENCET
43 ⁄8"
⁄ "
CM
1.9516
M
2.5 C
12.5" C
M
1"
BREAST POCKET WELT
CUT 1 SELF
CUT 1 FUSE
⁄ "
CM
9516
1.
FOLD
M
C"
2.5 1
FOLD
1 3CM
⁄8"
⁄ "
M
C
1.
9 516
13CM
3 CM
1
8"
⁄8"
3
1 8CM
"
5 CM
⁄8"
15
⁄
7
⁄
• From the front left pattern in Step 12, trace one long side of
the breast pocket opening onto a separate piece of paper
so that you have a line 43⁄8in long at the same angle as the
breast pocket itself. This will become the center fold line.
Copy the direction of the grainline across, too.
• Parallel to the grainline, draw 1in lines up from both
ends of the line and mark. Connect these marks to create
a parallelogram.
1"
⁄
3 8"
1 CM
GRAIN LINE
GRAINLINE
Welts
If your welted pocket is angled then the
welt’s shape will need to reflect this.
Welts can be the same size or larger than
pocket openings and are doubled over so
they have two layers of fabric, with a
fusing layer in between for rigidity.
1⁄ "
33 CM
16
FACING
FACING
FOLD
FOLD
step 22
Developing the final patch pocket
61⁄2"
GRAIN
LINE
GRAINLINE
16.5 CM
PATCH POCKET
PATCH
POCKET
CUT 1 PR SELF
CUT 1 PR SELF
• On a separate piece of paper draw a rectangular box 57⁄8in
wide by 75⁄8in tall.
• From the top measure 13⁄16in down each side and square
across with a broken line, naming it fold; this will become the
facing for the pocket bag.
• Round off both bottom corners and add a 3⁄8in seam
allowance to create the final pattern.
step 23
Developing the final patch pocket flap
1
3CM
⁄"
11.5 CM
2
⁄
⁄8 "
1
615.5
⁄8CM
"
1 CM
3
8"
4.5 CM
GRAIN LINE
13⁄4"
FOLD
FOLD
FOLD
FOLD
PATCH POCKET FLAP
PATCH
POCKET FLAP
CUT 2 PR SELF
CUT 1 PR FUSE
CUT
2 PR SELF
CUT 1 PR FUSE
GRAINLINE
• On a separate piece of paper draw a rectangular box 61⁄8in
wide by 21⁄4in tall.
• From the top measure 1⁄2in down each side and square across
with a broken line, naming it fold; this will be sewn in to the
welt opening construction.
• Round off both bottom corners and add a 3⁄8in seam
allowance to create the final pattern.
Single-breasted Jacket 263
step 24
Developing The patch pocket piping
• On separate piece of paper, draw a horizontal box 57⁄8in long
by 3⁄4in wide to create a rectangular-shape for the piping.
• Divide the box in half lengthways, draw a line down the
center, and label it fold.
• Add a 3⁄16in seam allowance to both long sides and a 3⁄8in
seam allowance to each end to create the final pattern.
Piping
The piping is sewn between the pocket
flap as decoration to the opening.
In this example it is only 3⁄16in wide.
13CM
⁄8"
PATCH POCKET
POCKET PIPING
PIPING
SELF
CUT 1 PR SELF
FOLD
GL
⁄4"
2 CM
3
13⁄CM
8"
7
15
5
⁄8"CM
⁄
⁄
3
0.5
16" CM
3
0.5
16" CM
3
0.5
16" CM
⁄
3
0.5
⁄16"CM
step 25
Developing the two-piece tailored sleeve
Measurements required to develop the sleeve
• Armhole 201⁄4in + 3⁄4in ease = 21in.
(Take this measurement from the
basic upper body sloper.)
• Sleeve length to wrist = 251⁄4in.
(Take this from the shoulder tip,
running down the back of the elbow to
the wrist; extra length can be added
at this point to suit your design.)
• Top of sleeve cap to elbow length =
133⁄4in.
• Upper biceps circumference = 16in.
(This measurement is taken round the
upper arm; extra width “ease” can be
added for movement.)
• Cuff measurement = 113⁄4in. Remove
3
⁄4in as 3⁄8in from each side to reduce
the cuff width from the basic tapered
sloper, which is 125⁄8in.
• Sleeve cap height = 63⁄4in.
• Cut a large piece of drafting paper slightly longer than the
length of your sleeve or the arm length of your fit model.
• Draw a 251⁄4in vertical line down the center and label it
center line; label the top of this line (1) and the bottom (2).
This is the length of the sleeve.
• From (1) measure down 63⁄4in (the sleeve cap height, or onethird of the armhole measurement not including ease) and
label point (3).
• From (1) measure down 133⁄4in (the elbow length) and label
point (4).
264 Chapter five the patterns: outerwear
• Divide the armhole measurement (21in) by 6 to give 31⁄2in
and add 3⁄8in ease to give 37⁄8in. From (1) square out 37⁄8in to
the left and to the right and label these points (5) and (6).
• From (2) measure out 37⁄8in to the left and to the right and
label these points (7) and (8).
• Connect all points (5), (6), (7), (8) to form a rectangle.
• Divide the sleeve cap length (63⁄4in) by 3 to give 21⁄4in. From
(6) measure down 21⁄4in, make a mark and label it back notch.
From the back notch square in 1in and mark point (A); this is
the top point of the back seam on the undersleeve.
• From (3) square out to the left to intersect the line from
(5) to (7) and mark point (B), and square out to the right to
intersect the line from (6) to (8) and mark point (C). This is
the biceps level.
• From (B) measure out 1in and mark point (D), and measure
in 1in and mark point (E). From (C) measure in 3⁄8in and mark
point (F), and measure out 3⁄8in and mark point (G).
• To establish the front notch on the armhole divide the sleeve
cap height (63⁄4in) by 2 to give 33⁄8in, and subtract 7⁄8in to
give 21⁄2in. This will ensure a rectangular shape to the sleeve
cap instead of the square shape that would occur if the
sleeve cap were just divided in half. From (B) measure up
21⁄2in, make a mark and label it front notch.
• From (4) square out to the left to intersect the line from
(5) to (7) and mark point (H), and square out to the right to
intersect the line from (6) to (8) and mark point (I). This is
the elbow level.
• From (H) measure out 3⁄8in and mark point (J), and measure
in 15⁄8in and mark point (K).
• From (7) measure up 3⁄4in and from this point measure out
3
⁄4in and mark point (L); this is the top sleeve cuff point.
Measure in 3⁄4in and mark point (M); this is the undersleeve
cuff point.
• The cuff circumference is 113⁄4in. Divide this between the top
and undersleeve so that the top sleeve cuff width is 63⁄4in
and the undersleeve is 5in. This allows the top sleeve seams
to fall toward the back of the arm, slightly out of view.
• From (L) draw a line 63⁄4in long to intersect the line from (7)
to (8) and mark point (N). From (M) draw a line 5in long to
intersect the line from (7) to (8), also at point (N). These are
the cuff hemlines.
5
1
9.8
37⁄CM
8"
6
9.8
8"
37⁄CM
1
5.6
2
⁄4"CM
A
2.5 CM
1"
17
63⁄4"CM
6.5
21⁄2"CM
SLEEVE
MASTER
PATTERN
251⁄4"
LINE
ELBOW
ELBOWLEVEL
4
⁄"
M
BOTTOM
SLEEVE
UNDERSLEEVE
CUFF
CUFF POINT
POINT
5
13
" CM
⁄"
3
24CM
7
I
CENTRE
CENTER LINE
UNDER SLEE
VE FR
FOON
REAR
T SE
MAM
SEAM
5
4 1CM
⁄8 "
3
1 CM
⁄8"
3
24CM
⁄"
L
3
24CM
TOP SLEEVE
CUFF POINT
TOP SLEEVE
CUFF POINT
K
H
TOP SLEEVE FRONT
FOREARM
SEAM
SEAM
J
G
M
SEAM
K SEA
BACK
VE BAC
LEEEVE
ERSSLE
UND
FRONT
3
1 CM
⁄8 "
3
1 CM
⁄8 "
TOP SLEEVE BAC
K SEAM
3
2.5 CM
1"
2.5 CM
1"
F
C
LINE
UNDERARM
BICEPS
LEVEL
E
B
D
35
133CM
⁄4"
FRONT
FRONT
PITCH
NOTCH
POINT
BACK
NOTCH
PITCH
POINT
• Draw in the top sleeve front seam by drawing a blended line
connecting the points from (L) through (J) to (D).
• Draw in the undersleeve front seam by drawing a blended
line connecting the points from (M) through (K) to (E).
• Using a French curve, draw in the top sleeve cap starting at
(D) with a concave curve through the front notch where you
reverse the curve to a convex curve up to (1) and back down
to the back notch with a similar convex curve.
• Measure the length of this line and compare it to the
measurement of the armhole on the front and back patterns.
Adjust the curves until the line is the same length as
the armhole.
• Using a French curve, draw in the top of the undersleeve
starting with a convex curve starting at (E) up to (A).
• Again, measure this line and adjust it until it is the same
measurement as the armhole on the front and back patterns.
• Draw in the back seam of the top sleeve with a blended line
from the back notch through points (G) to (I) and continue
down to (N).
• Draw in the back seam of the undersleeve with a blended line
from (A) through (F) to (I) and also continue with this seam
on the same line as the top sleeve down to (N).
N
17⁄4"CM
6
CUFF H
EMLINE
S
3
2
8
Single-breasted Jacket 265
• Following the instructions on page 50, trace off the top
sleeve onto a separate piece of paper.
• From the bottom of the sleeve measure down 13⁄16in and draw
a rectangular box to create the facing strip.
• Extend the length of the cuff facing by 13⁄16in at the inner
sleeve seam and square up 4in to create a rectangular box
13⁄16in in width. This is the cuff extension.
• Measure a further 9⁄16in up the back seam and join this point
to the outer corner of the box, creating an angle and shape
similar to the center back vent.
• The corner is then folded to create a mitered corner
during construction.
• Trace off the undersleeve onto a separate piece of paper and,
following the instructions on page 50, reverse it over.
• From the bottom of the sleeve measure down 13⁄16in and
draw a rectangular box to create the facing strip. Extend the
length of the cuff facing by 13⁄16in at the inner sleeve seam.
• On top of this extension square up 4in from the facing and
create a rectangular box 13⁄16in in width.
• Measure a further 9⁄16in up the back seam and join this point
to the outer corner of your rectangular box, creating
an angle and shape similar to the center back vent.
• The corner is then folded to create a mitered corner
during construction.
266 Chapter five the patterns: outerwear
GRAIN LINE
FOLD
OLLDD
F
FO
31C⁄ M"
M
3 3 C
3 1C⁄16M"
3 CM
10 CM
FOLD
3 CM
LD
FOLD
FO
16"M
13 ⁄C
3
CING
AG
G
INF
FA
IN
CFC
U
C
FA
F
F
F
F
UF
CU
3 16
3 1C3⁄16M"
1 3 16"M
3
3 CM ⁄C
4
1"0 CM
4"0 CM
1
10 CM
FO
OLLDD
FOLD
FOLD
FO
FOLD LD
CUFF
CU
FFFA
CICI
FA
NG
CUFF FA
CING NG
3 CM
3 1 3⁄16"
3 CM CM
CUT 1 PR SELF
1.5 CM
1⁄ .5 CM
9 16"
UNDER
CUT
11PR
SLEEVE
CUT
PRSELF
SELF
1 C9⁄M
16"
1.5 C.5
M
UNDERSLEEVE
UNDER SLEEVE
CUT 11PR
CUT
PRSELF
SELF
TOP SLEEVE
TOP1SLEEVE
TOP
SLEEVE
CUT
PR SELF
GRAINLINE
GRAIN LINE
GRAINLINE
GRAIN
LINE
step 27
Developing the final undersleeve pattern with
cuff vent
GRAIN LINE
step 26
Developing the final top sleeve pattern with
cuff vent
Single-breasted Jacket 267
pattern
Double-breasted Jacket
This pattern includes development of the following features:
Shaping the body panels and creating a side panel
Creating a double-breasted extension and shaping the breast
with added volume
Extending the hemline
Creating side vents
Moving the shoulder slope toward the back
Lowering the armhole
Developing a welted breast pocket
Developing jetted side pockets
Developing a coin pocket
Developing a shaped convertible collar with hidden stand
and lapel
Developing a tailored two-piece sleeve with cuff vent
Developing a full body lining
268 Chapter five the patterns: outerwear
step 1
Developing the master plan
BACK
PITCH
BACK
NOTCH
POINT
Start by selecting the basic men’s upper body sloper, or by
drafting the basic sloper according to the instructions on page
40. Cut a large piece of drafting paper slightly longer than the
length of the jacket you want to develop and transfer the shape
of the sloper and all marks, labels, and instructions, following
the directions on page 48.
CENTER FRONT
CENTRE
FRONT
FRONT
MASTER
FRONT
MASTER
PLAN
PLAN
GRAINLINE
GRAIN
LINE
MASTER
BACKBACK
MASTER
PLAN
PLAN
SIDE
SIDESEAM
SEAM
CHEST
LEVEL
CHEST
LINE
CENTER
BACK
CENTRE
BACK
Creating the jacket sloper
To create a suit jacket sloper from the
basic sloper, you need to make some shape
adaptations to the front, side, back,
and shoulder areas of the pattern,
building on the techniques learned
in the single-breasted jacket
development (pages 252–67).
FRONT
FRONT
NOTCH
PITCH
POINT
WAISTLINE
WAISTLINE
HIP
HIPLEVEL
LINE
BACK MASTER
PLAN
FRONT MASTER
PLAN
PLAN
FRONT
FRONT
PITCH
NOTCH
POINT
step 2
Developing the hemline
CENTRE FRONT
CENTER
SEAM
SIDE SEAM
GRAIN
LINE
GRAINLINE
CHEST LEVEL
LINE
CENTRE BACK
CENTER
• From the hemline square down 2in at the center front, side
seam, and center back lines.
• Join these three points to form the new hemline.
BACK
BACK
PITCH
NOTCH
POINT
WAISTLINE
HEMLINE
5 CM
2"
NEW HEMLINE
5 CM
2"
5 CM
2"
Double-breasted Jacket 269
BACK MASTER
PLAN
FRONT MASTER
PLAN
BACK
PITCH
POINT
CENTER
CENTRE
FRONT
NECK
POINT
"
1 3C⁄8M
1 3C
⁄8"M
BACK MASTER
PLAN
FRONT HIGH
POINT SHOULDER
BACK
BACK
PITCH
NOTCH
POINT
FRONT MASTER
PLAN
PLAN
⁄
9
1.5
16"CM
BACK
P
5 2"
CM
FRONT
FRONT
PITCH
NOTCH
POINT
FRONT
PITCH
POINT
step 3
Developing the new shoulder slope and front
CHEST LINE
double-breasted
extension
CENTRE
BACK
NECK
POINT
0.5 CM
FRONT
SHOULDER
POINT
TIP
BACK
BACK
SHOULDER
SHOULDER
POINT
TIP
CHEST LINE
LEVEL
C
• From the back shoulder tip measure ⁄8in down the armhole
and mark; from the front shoulder tip extend the armhole up
3
⁄8in and mark. From these two new points draw in the new
shoulder lines back up to the high point shoulders.
• From the center front neck point measure down 9⁄16in and
draw in the new neckline up to the front high point shoulder.
• FromWAISTLINE
the new center front neck point square out 2in; repeat
this at the new hemline. Connect these two points to create
the double-breasted extension.
CENTRE BACK
1.5 CM
OLDHEMLINE
HEMLINE
5 CM
5 CM
NEW
HEMLINE
NEW
HEMLINE
FRONT MASTER
PLAN
1.5 CM
BACK MASTER
PLAN
5 CM
step 4
FRONT
PITCH
Lowering the armhole
and
developing
the
POINT
internal shaping
CENTRE BACK
CENTER
WAISTLINE
HEMLINE
HEMLINE
OLD
HEMLINE
NEW HEMLINE
0.53CM
⁄16"
NEW HEMLINE
270 Chapter five the patterns: outerwear
FRONT MASTER
PLAN
PLAN
BACK
NEW
NEW
FRONT
FRONT
PITCH
NOTCH
POINT
UNDERARM
/ UNDERARM
SIDE SEAM
CORNER
POINT
4.5 CM
3
⁄4CM
"
2
SEAM
SIDE SEAM
LINE
CHEST LEVEL
1.59CM
⁄16"
GRAIN LINE
CENTRE FRONT
• From the underarm / side seam corner measure 3⁄4in down
the side seam and using the front and back upper body
slopers as a template redraw the armhole from this point,
connecting it back up to the shoulder on either side.
Draw in the new notches on the lowered armhole.
• To shape the center back, measure in 3⁄16in at the new
hemline, measure in 9⁄16in at the waistline, and measure in
3
⁄16WAISTLINE
in at the center back neck point.
• Connect these points with straight lines to create the new
center back line.
SIDE SEAM
CENTRE BACK
CHEST LINE
NEW
NEW
BACK
BACK
PITCH
NOTCH
POINT
CENTRE BACK
BACK
PITCH
POINT
GRAIN
LINE
GRAINLINE
BACK MASTER
PLAN
1 CM
CENTRE FRONT
CENTER
1 CM
CENTRE
FRONT
NECK
POINT
CENTER
CENTRE
BACK
NECK
POINT
⁄
FRONT
SHOULDER
POINT
BACK
SHOULDER
POINT
3
0.5
16"CM
0.5 CM
NEW HEMLINE
GRAIN LINE
GRAINLINE
WAISTLINE
HEMLINE
5 CM
CENTRE FRONT
CENTER
SIDE SEAM
SEAM
CENTRE
CENTER BACK
GRAIN LINE
CENTRE FRONT
SIDE SEAM
CENTRE BACK
3
C
0.5 CM
step 5
Developing the side panel
4.5
4"
13⁄CM
WAISTLINE
NEW
NEW
UNDERARM
UNDERARM
POINT
/ SIDE SEAM
CORNER
1 3CM
⁄8"
CENTRE FRONT
CENTER
GRAIN LINE
GRAINLINE
SIDE SEA
SEAM
M
SEAM
1.59⁄CM
16"
13CM
⁄8"
1
19
⁄2"CM
7
T SIDE
FR
FRON
CHEST LINE
LEVEL
BACK SIDE SEAM
13⁄CM
8"
4 5CM
1
⁄8"
16.5
6
⁄2" CM
1
OLD HEMLINE
HEMLINE
1
83CM
⁄8"
1
18 7CM
⁄8"
5 CM
2"
NEW HEMLINE
SIDE SEAM
SEAM
SIDE
GRAIN LINE
4
4
15CM
⁄8 "
4
15CM
⁄8"
4
15CM
⁄8 "
4
15CM
⁄8"
step 6
Developing the front lapel shaping
WAISTLINE
CENTRE
CENTER FRONT
FRONT
M
SEAM
T SIDE
FR
FRON
SBACKSIDE
SIDESEAM
SEAM
BACK
BACK SIDE SEAM
SEAM
Lapel shape
Pitching back and opening the front
chest/lapel shape will enable the
straight sloper front to follow the
contours of a male chest.
415CM
⁄8 "
CHEST LINE
LEVEL
GRAIN
LINE
GRAINLINE
0.5 CM
1.5 CM
CENTRE BACK
SIDE SEAM
3
FRONT MASTER
PLAN
PLAN
NEW
NEW
FRONT
FRONT
PITCH
NOTCH
POINT
BACK SIDE SEAM
• Taking volume from the side seam gives a fitted silhouette
and will also help you to develop the side panel. From the
original side seam at the waistline measure out 3⁄8in into the
front and back bodyUNDERARM
panels.
POINT
4.51CM
⁄"
• Connect
CHEST LINE these two points with straight lines up to the new
2 CM
underarm / side seam corner and down to the point where
the original side seam line intersects the old hemline.
• For the front style line, from the original side seam measure
2in along the new hemline toward the front and mark, and
measure 15⁄8in along the waistline toward the front and mark.
At the new underarm / side seam corner square in 9⁄16in
toward the front and mark.
WAISTLINE
• Join
up the three points with straight lines. This is the front
style line, which separates the new side panel from the
front panel.
• Having removed volume at the side seam, you then need to
remove additional volume from the back panel, to finish the
fitted shape of the jacket. You do this between the new back
and
side panels.
HEMLINE
• To create the back style lines, from the center back measure
61⁄NEW
2inHEMLINE
along the waistline and mark, and continue to measure
3
⁄8in and a further 3⁄8in and mark both points.
• From the center back measure 71⁄2in along the chest level
and mark, and measure a further 3⁄8in and mark. Measure in
71⁄8in along the original hemline and mark.
• The back side seams start from a point on the back armhole
below the notch; measure up 13⁄4in from the chest level on
the center back and then square across to the back armhole
and mark the point where the line intersects the armhole.
• From this point, starting with a shallow curve, draw the back
style lines, intersecting the points marked on the chest level,
waistline, and original hemline, and continuing down to the
new hemline.
NEW
NEW
BACK
BACK
PITCH
NOTCH
POINT
BACK MASTER
PLAN
⁄
⁄
FRONT MASTER
PLAN
CENTRE BACK
CENTER
5 CM
NEW
BACK
PITCH
POINT NEW
FRONT
PITCH
POINT
3
1 8CM
"
1
3 CM
8"
BACK MASTER
PLAN
K
TER BACK
CENTRE
.5 CM
CENTRE FRONT
E
CENTRE
BACK
NECK
POINT
From the chest level measure up 15⁄8in and square a line across;
repeat four times.
OLD
HEMLINE
HEMLINE
NEW HEMLINE
Double-breasted Jacket 271
step 7
Developing the welted breast pocket and side
jetted pocket
4 CM
93 1C
⁄2"M
1.5 9CM
⁄16"
1.59CM
⁄16"
LEVEL
CHEST LINE
WAISTLINE
⁄8"
8.533CM
47⁄8"CM
12.5
CENTRE
CENTER FRONT
FRONT
M
AM
EA
SE
ES
IDE
T SID
FR
FRON
BACK SIDE SEAM
SEAM
BBACK SIDE
SIDE SEAM
SEAM
GRAIN
LINE
GRAINLINE
5 CM
2"
K
BACK
TER BAC
CENTRE
CENTRE FRONT
AM
IDE SE
S
FRONT
SBACK SIDE SEAM
BACK SIDE SEAM
GRAIN LINE
9
⁄16"CM
1.5
31CM
⁄2"
9
9
1.5
⁄16"CM
9
⁄16"CM
1.5
9
1.5
⁄16"CM
"
53⁄4CM
14.5
HEMLINE
HEMLINE
NEW HEMLINE
⁄ "
3
0.4
16 CM
⁄ "
3
0.4
16 CM
step 8
Adding in the volume on the front lapel /
chest panel, creating the center dart volume
and front hem styling
⁄ "
3
0.4
16 CM
⁄ "
3
0.4
16 CM
UNDERARM
/UNDERARM
SIDE SEAM
CORNER
POINT
CENTRE FRONT
CENTER
T
M OU
E SEA
MOV
FRONT MASTER
PLAN
PLAN
9
⁄16"
1.5 CM
• From the master plan trace off the front panel only onto
a separate piece of paper including all the development in
Steps 6 and 7.
• Cut along the horizontal lines you drew across the chest
and neck from the center front and neck into the shoulder;
open each 3⁄16in upward at the front, creating a wedge shape,
adding in a total of 15⁄16in.
• Tape against a new piece of paper and redraw the front panel
blending through the open steps.
• When the center dart is sewn up, this will reduce the length
of the top of the jetted pocket. To add back this volume,
square out 9⁄16in (the width of the dart) from the top of the
pocket opening. From here blend a line back up into the front
style line finishing at the armhole.
• To add style shaping to the center front hem, measure down
3
⁄4in from the hemline at the new front edge and connect
back to the front style line with a smooth curve.
• Cut another piece of paper and trace off a new front
master plan.
⁄ "
3
0.4
16 CM
FRONT SIDE SEAM
CENTRE BACK
4 CM
• For the breast pocket placement, from the center front
4 CM
square in 33⁄8in along the chest level; this is the
bottom
corner of the rectangular welt opening.
4 CM
• From this point, draw a line 31⁄2in long at an angle, ending
4 CM
9
⁄16CHEST
in above
the chest level. Create a rectangle 9⁄16in wide
by
LINE
1
3 ⁄2in long.
• A center dart is created to run down into the side jetted
pocket to give shape to the lower chest. This pocket runs off
the front panel into the front style line; when plotting the
pocket measurement do not include the dart width, which
will be added next.
• From the center front measure in 47⁄8in along the chest level
andWAISTLINE
from here square down to the old hemline. Mark a point
on this line 2in below the chest level; this is the top of
the dart.
• From the front side seam measure in 31⁄2in along the
waistline and mark. Measure a further 9⁄16in and mark; this is
the dart width. From these points draw two straight lines up
to the
dart top.
HEMLINE
• The pocket opening sits 9⁄16in below the waistline. Create
3
9
a rectangle
NEW HEMLINE 5 ⁄4in long and ⁄16in wide; this is the
pocket opening.
⁄
3
24CM
"
272 Chapter five the patterns: outerwear
step 9
Developing the shaped convertible collar, coin pocket, and hem shaping
E
A
8"M
381 ⁄C
B
31
3 16
"
5C⁄8M
41
• The welted coin pocket is developed just above the jetted
pocket running across the center dart. From the waistline
square up 3⁄8in, then create a rectangle 9⁄16in wide by 23⁄8in
long, with the measurement split between each side of the
dart so that 3⁄4in is toward the center front and 15⁄8in toward
the side seam.
• At the center front hemline measure back 33⁄4in toward
the side seam and mark; measure 85⁄8in up the center front.
Use a French curve to give a smooth rounded edge to the
bottom corner.
"
⁄M
C
Break point and roll line
Locate on the pattern the position where
you want the collar to break on the
new front edge line of the body panel.
Consider the proportion of your design
and silhouette length. The point at which
the front turns over to create a lapel
is called the break point (BP) and the
line that it turns on is the roll line.
The lower down the front your BP is, the
wider an opening you will have around the
neck silhouette.
C
COLLAR
NOTCH
2.5
C1M"
⁄
2.5 CM
1"
3M "
3C
1 ⁄16
33CM
1
⁄16"
4.51 CM
⁄4"
CM
52"
3
13⁄CM
8"
FRONT MASTER
PLAN
PLAN
ROLL LINE
LINE
CHEST LEVEL
⁄
32 CM
4"
3
1 CM
⁄8"
3 CM
17
6
⁄4"
9
CM
1.5
16"
⁄
5
822
⁄8" CM
1.5 9CM
⁄16"
CENTRE FRONT
CENTER
BREAK POINT
14 5CM
⁄8"
• From the high point shoulder measure out 1in and mark
point (C).
• You will run your roll line through (C); from the waistline
measure 63⁄4in up the front, mark, and label break point.
• Draw a straight line from here up through (C), continue for
31⁄8in, and mark point (A).
• From (A) square 1in back toward the shoulder and mark
point (B).
• Draw a line from (B) to (C). Square out 13⁄16in from the top of
this line toward the shoulder and mark point (D).
• From (B) extend the line out 15⁄8in and mark point (E). This is
the width of the collar (23⁄4in) at the center back neck curve.
• From (E), starting at a right angle, draw out the collar shape
that you require, finishing the collar notch 23⁄8in in from the
extended front.
• To shape the front of the jacket lapel, measure in 3⁄8in from
the center front neck point. From this point draw a graduated
line back down the center front to give shape, and draw up
13⁄16in to create the collar point. Draw a line from the collar
point back to the end of the collar notch.
• From (D) draw a line back toward the shoulder line, crossing
it 3⁄8in back from the high point shoulder, and blend in to the
curved neck shape—find the angle by measuring in 13⁄4in
from the collar notch and then up 13⁄16in until it connects to
the neckline.
31 8C
"M
D
HEMLINE
NEW HEM
HEMLINE
NEW
LINE
9.5
33CM
⁄4"
Checking the shape
It is always important to check the
shape you have created by folding back
the paper on the roll line to assess
it; redraw and develop until you are
satisfied. The sequence above is a method
widely used to draft a basic tailored
collar. Variations can be found in many
patternmaking books, old and new.
Double-breasted Jacket 273
M
4 C
FRONT
FRONT LEFT
LEFT
CUT 1
CUT
1 SELF
SELF
CENTRE FRONT
FRONT
CENTER
GRAINLINE
GRAIN LINE
GRAIN LINE
FACING LINE
CENTRE FRONT
• Following the instructions on page 50,
trace off the front panel to create the
final front right pattern, excluding
the welted breast pocket and the
collar development.
• To trace off the left side final front
pattern, reverse the master and copy
the underside. Mark the breast pocket
and omit the welted coin pocket.
GRAIN LINE
GRAINLINE
FRONT RIGHT
FRONT
CUT 1 SELF
12 CM
CENTRE FRONT
FRONT
CENTER
step 10
Front right and front left
body patterns
12 CM
4 CM
4 CM
5 ⁄8M
"
4 1C
step 11
Developing the front facing
pattern
FRONT FACING
CUT 1 PR SELF
SELF
FRONT LEFT
CUT 1 SELF
3
12 4CM
⁄4"
145CM
⁄8"
274 Chapter five the patterns: outerwear
14 5CM
⁄8"
GRAIN LINE
GRAINLINE
CENTRE FRONT
FRONT
CENTER
CENTRE FRONT
CENTER
GRAIN LINE
GRAINLINE
FACING LINE
CENTRE FRONT
GRAIN LINE
3
124CM
⁄4"
CENTRE FRONT
GRAIN LINE
• Develop the front facing using the
front right panel pattern.
• From the high point
shoulder, measure
FRONT RIGHT
CUT 1shoulder
SELF
15⁄8in back along the
seam;
this is the width of the facing.
• From the jacket front, measure in
43⁄4in along the chest level and mark,
and repeat at the waistline.
• From the hemline, measure 15⁄8in up
the side seam and from here square
across toward the center front.
• Draw a blended line joining these
points from the shoulder seam
through the chest and waistlines and
continue straight down toward the
line you drew at the hem until the two
intersect 15⁄8in above the hemline.
• Following the instructions on page 50,
trace off the final facing pattern.
3.5 CM 3.5 CM 3.5 CM
CB
step 12
Developing the shaped convertible collar and hidden stand
COLLAR MASTER
PLAN
• Remove the stand shape from the development by tracing
onto a separate piece of paper; double it over to create the
2 CM
full stand shape, indicating the vertical cut lines.
• Cut down the vertical lines on the full stand shape, leaving
4 CM
COLLAR
them
attached at the neckline by a fraction of an inch.
ANGLE
Overlap
the sections along the top edge, moving them 1⁄8in
toward the center back; this will bring the neckline up.
• Trace off the half top collar shape onto a separate piece
of paper. Cut down the vertical lines from the outer edge,
leaving them attached at the bottom by a fraction of an inch.
Starting from the center back, open out each line by 3⁄16in,
curving the top collar down.
• Remove 3⁄8in from the center back, which is the amount lost
COLLAR MASTER
by closing
the stand up.
PLAN
0.4 CM
0.4 CM
0.4 CM
CB
REMOVE
0.9 CM
• Trace off the half collar development from Step 9 onto a
2 CM
2 CM
separate piece of paper.
2 CM
3
NECK
NEup
• To develop half the concealed stand shape, measure
⁄L4Iin
the center back from the neckline and mark; measure 15⁄8in in
from the point at the angle of the front neck curve and mark.
Connect these points with a curved line.
• From the center back measure 3⁄4in along the neckline and
13⁄8in along the outer edge and mark, repeat twice; divide the
collar into four sections by connecting these points to form
cut lines through the collar shape.
3.51 ⁄ CM
3.5
1 ⁄ CM
"
"
1 ⁄ CM
3.5
"
3
3
8
3
8
8
COLLAR MASTER
1 5⁄C
4
8" M
PLAN
8
⁄0".3 CM
1 8
⁄ " 3 CM
0.
18
8
8
1
CB
CB
1
1
8
4 CM
0⁄ ".3 CM
COLLAR
ANGLE
⁄ " CM
0.3
COLLAR
COLLAR
STAND
STAND
2 CM
0.4 CM
0.4 CM
LINE
NECKL
NECKINE
COLLAR MASTER
PLAN
CB
CB
REMOVE
REMOVE
3
3
3
⁄0.
16"4
CM
CM
⁄0.4
16"
⁄0.9
8"
CM
0.9 CM
0.4 CM
NECKLINE
3
CB
REMOVE
2 CM
COLLAR
ANGLE
0⁄16.4
" CM
CB
2 CM
2 CM
NECKLINE
1
⁄4"
3
⁄"
CM
0.3
3.5 CM 3.5 CM 3.5 CM
3
2 CM
3
⁄4"
⁄4"
2 CM
3
⁄4"
2 CM
NE
3 CKLINE
3
⁄4"
⁄4"
3
2 CM
⁄4"
⁄"3
0.
CM
CB
COLLAR MASTER PLAN
COLLAR MASTER
PLAN
COLLAR
MASTER
PLAN
STEP 12
COLLAR STAND
ALIGNMENT
NOTCH
ALIGNMENT
ALIGNMENT
NOTCH
ALIGNMENT
ALIGNMENT
NOTCH
0.3 CM
0.3 CM
0.3 CM
STEP 12
CB
NECKLINE
ALIGNMENT
ALIGNMENT
NOTCH
ALIGNMENT
ALIGNMENT
NOTCH
TOP COLLAR
CUT 1 PR SELF
G
E
N
LI
N
AI
R
• Following the instructions on page 50, trace off the full
stand pattern.
CB
0.3 CM
0.3 CM
0.3 CM
STAND
• Trace off the top collar onto
a new piece of paper and,
following the instructions on page 50, create the full
pattern shape.
NECKLINE
0.3 CM
0.3 CM
0.3 CM
COLLAR
0.3 CM
0.3 CM
0.3 CM
step 13
collar and COLLAR stand patterns
ALIGNMENT
NOTCH
TOP COLLAR
CUT 1 PR SELF
E
N
LI
N
AI
R
G
COLLAR STAND
CUT 1 PR SELF
E
N
LI
IN
RA
G
Double-breasted Jacket 275
step 14
Developing the side panel and hem ALLOWANCE
SIDE MASTER
PLAN
PLAN
BACK SIDE SEAM
• Following the instructions on page 50, trace off the side
panel from Step 5 onto a separate piece of paper.
• Next you need to remove the internal volume by closing the
dart in the side seam. Cut down both sides of the side seam
to the bottom of the shaping and out along the waistline,
making sure to leave the shapes connected by a sliver of
paper at the edges so that the side lengths do not change
when manipulated.
• Reposition by closing up the shape and tape together to
redraw the new side panel shape.
• At the hemline measure 15⁄8in down on both sides and square
across to create a rectangular box; this is the hem allowance.
SIDE M
PLA
WAIST
CLOSE DART
CLOSE DART
WAISTLINE
1.5 CM
20 CM
FOLD
HEMLINE
4
15CM
⁄8 "
FACING
ALLOWANCE
step 15
Developing the side vent
4
15CM
⁄8 "
FOL
4 CM
4 CM
Parts of the vent
The vent development has two parts. One
MASTER the
is a side vent facing that sits SIDE
under
PLAN
back body panel, attached to the side
panel. The vent shape is doubled so that
it can be folded back on itself to create
a facing with a mitered top. The second
part is a facing that is developed on the
back panel and sits over the side vent:
This is a single shape that acts as a
facing when turned in.
BACK SIDE
SIDE SEAM
SEAM
SIDE
CUT 1 PR SEL
SIDE SEAM
1.59CM
⁄16"
FOLD
77⁄8"
20 CM
FOLD
4 CM
FOLD
FOLD
4
15CM
⁄8"
4
15CM
⁄8"
276 Chapter five the patterns: outerwear
MASTER
SIDE MASTER
PLAN
PLAN
WAISTLINE
CLOSE DART
CLOSE DART
WAISTLINE
• To add the side vent to the side panel, square out 15⁄8in from
the back style line at the hemline and mark. Then measure
out a further 15⁄8in and mark. Square up 15⁄8in (the hem
allowance measurement) and mark, then a further 77⁄8in
(the vent length) and square back into the back panel.
• Measure 15⁄8in back along this line and square down to the
mark on the hemline.
• Extend the 15⁄8in facing line from the side panel across
the vent.
• At the top of the vent, measure up 9⁄16in on the
outsideFOLD
line
HEMLINE
and again on the back style line. Connect
these
two
points
FACING
4 CM
back down to the top of the center line of the vent. This
creates the mitered corner at the top of the vent.
4 CM
4
15CM
⁄8"
step 16
side pattern
• Following the instructions on page 50,
trace off the side panel pattern.
SIDE
SIDE
SELF
CUT
CUT11PR
PR
SELF
SIDE SEAM
STEP 15
CENTER
BACK
NECK
POINT
M
WAISTLINE
145⁄8"C
GRAIN LINE
SIDE MASTER
PLAN
FOLD
FOLD
15⁄8"
4 CM
FOLD
FOLD
CHEST LINE
step 17
Developing the back hem, vent, and back
neck facing
• From the master plan trace the back panel onto a separate
piece of paper.
• From the hemline measure down 15⁄8in on both sides and
square across to form a rectangle; this is the hem allowance.
• From the bottom of the hem allowance measure out a further
15⁄8in from the front style line, then square up 15⁄8in (the hem
allowance measurement), then a further 77⁄8in (the vent
length) and square back in to the side panel. From this point
measure up 9⁄16in on the side seam and draw an angled line
back to the top corner of the vent shape.
• The back neck facing is 15⁄8in in width to match the front;
measure 15⁄8in down from the center back neck point and
15⁄8in down the shoulder and connect these two points with
a curved line following the shape of the neckline.
CENTRE BACK
CHEST LEVEL
CENTER BACK
FOLD
BACK MASTER PLAN
MASTER
BACK
PLAN
WAISTLINEAA
WAISTLINE
9
⁄16"
1.5 CM
20 CM
77⁄8"
15⁄8"
4 CM
145⁄8CM
"
ALLOWANCE
FACING
⁄8"
4 1CM
5
Double-breasted Jacket 277
GRAIN LI
4C
M
CENTRE BA
4 CM
STEP 16A
WAISTLINEAA
step 18
1.5 CM
Back panel and back neck facing patterns
BACK
BACK
CUT 1 PR SELF
CUT 1 PR SELF
FOLD
GRAIN LINE
GRAINLINE
FACING
NECK FACING
BACK NECK
BACK
SELF
1 SELF
CUT 1
CUT
GRAIN LINE
STEP 16B
GRAINLINE
CENTRE BACK
• Following the instructions on page 50, trace off the back20 CM
BACK MASTER
panel pattern.
PLAN
• Trace off the back neck facing onto a new piece of paper
and, following the instructions on4 CM
page 50, create
4 CM
FACING the full
pattern shape.
4 CM
CHEST LINE
WAISTLINEAA
1.5 CM
20 CM
4 CM
FOLD
FOLD
4 CM
FACING
4 CM
STEP 16B
4911⁄16.5"CM
step 19
Developing the breast pocket top and
bottom bags
⁄
3 8"
⁄
9 16"
1.5 CM
1 CM
LINE
HNE
ITCH
TCLI
STI
TO
TOPPST
NE
LINE
H LI
TC
CH
TIIT
M SST
OOM
TTTT
BOBO
PEINNGING
ETOPOEN
CKET
PO
POCK
1 CM
⁄
318CM
"
⁄16"
TOP BREAST POCK
CUT 1 POCKETING
12.5
47⁄8CM
"
11.5
2"
41⁄CM
278 Chapter five the patterns: outerwear
⁄ "
CM
1.5
9
GRAIN LINE
GRAINLINE
GRAIN LINE
FACING
NECK
BACK
• From the front left final
pattern
in Step
9, trace off the breast
CUT 1 SELF
pocket opening onto a separate piece of paper so that you
have a rectangle 31⁄2in long by 9⁄16in wide drawn at an angle.
• Extend the top stitch line by 9⁄16in to the right and 3⁄8in to the
left, and extend the bottom stitch line by 9⁄16in to the left and
3
⁄8in to the right.
• Connecting these points on the left, draw a 47⁄8in vertical
line down. Connecting the points on the right, draw a 53⁄4in
vertical line down. Square across 41⁄2in at the bottom to
connect these two lines (the width of the pocket bag).
E
NE
CU
CUTTLILIN
9
CM
1.516
3 CM
⁄4"
514.5
LINE
STITCH
CHPLINE
ITTO
TOP ST
T LINE
NE
CU
ITCH LI
NE
OMLIST
CUT LINE
BO
ITCH
G
STTT
OPENIN
ET
BOTTOM POCK
ING
EN
OP
POCKET
1 CM
1 CM
⁄
3
1.5 CM
1 CM
1 CM
8"
⁄
13CM
8"
⁄
3
1 CM
1 CM
8"
1 CM
TOP BREAST
POCKET BAG
TOP BREAST POCKET BAG
CUT
1 POCKETING
BAG
1 POCKETING
POCKET
CUT
TOP BREAST
GRAIN LINE
GRAINLINE
1.5 CM
step 21
DEVELOPING THE Breast pocket welt
⁄8
13CM"
• Mirror this parallelogram along the fold line.
• Add a 9⁄16in seam allowance to both long sides of the shape
and a 3⁄8in allowance to the shorter sides.
⁄
1.5 CM
9
16"
⁄2"
391CM
⁄8
13CM"
Welts
If your welted pocket is angled, then the
welt will need to reflect this. Welts can
be the same size or larger than pocket
openings and are doubled over so they
have two layers of fabric, with a fusing
layer in between for rigidity.
FOLD
⁄
CM
9 16
1.5
"
FOLD
2.5 CM
1"
GRAIN LINE
TER
CEN FOLDINLIENE
LD L
CE
ORE
FNT
⁄2"
39 1CM
21.5"
CM
SELF
CUT 1 USE
F
CUT 1
2.51"
CM
⁄
91.516CM
"
LD
OLD
FFO
⁄8"
BREAST POCKET BAG
1 POCKETING
B
CM
2.5 1"
13CM
1 CM
BREAST POCKET WELTWELT
KET
CUT 1 SELF
T POC
EA1SFUSE
RCUT
⁄2"
391CM
⁄
CM
1.5
9 16
"
⁄
1 CM
31 CM
8"
• From the front left pattern in Step 9, trace one long side of
the breast pocket opening onto a separate piece of paper
so that you have a line 31⁄2in long at the same angle as the
breast pocket itself. This will become the center fold line.
Copy the direction of the grainline across, too.
• Parallel to the grainline, draw 1in lines up from both
ends of the line and mark. Connect these marks to create
a parallelogram.
GRAIN LINE
GRAIN
LINE
1 CM
BOTTOM BREAST POCKET BAG
CUT 1 POCKETING
CM
CUT 1 POCKETING
GRAIN LINE
GRAINLINE
GRAIN LINE
GRAIN LINE
2.5
11.5 CM
GRAIN LINE
11.5 CM
1.5 CM
2.5 CM
BOTTOM
BREAST
BREAST POCKET BAG
BOTTOM
POCKET BAG
1 POCKETING
CUT
BREAST
BOTTOM
POCKET
BAG
CUT 1 POCKETING
CUT 1 POCKETING
14.5 CM
1.5 CM
1 CM
⁄
3 CM
1
8"
14.5 CM
1 CM
2.5
CM
1.5 C
1 CM
1.5 CM
GRAIN LINE
11.5 CM
11.5 CM
1 CM
• Following the instructions on page 50, trace off the pocket
bag shape and add a 3⁄8in seam allowance above the top
stitch line to create the final top pocket bag pattern.
• Trace off the pocket bag shape again as far as the bottom
stitch line, then add a 3⁄8in seam allowance to create the final
bottom pocket bag pattern.
GRAIN LINE
M
step 20
Breast pocket bag patterns
Double-breasted Jacket 279
step 22
Developing the coin pocket top and bottom bag
• Draw a rectangle 23⁄8in wide and 21⁄2in tall (the size of the
coin pocket bag). Label the top edge as the bottom stitch line
and add a 3⁄8in seam allowance to all sides. This is the bottom
coin pocket bag.
• Draw another rectangle the same size and again label the top
edge as the bottom stitch line.
• Square up 9⁄16in on both sides and connect these points to
create a second rectangle.
• Label the top edge of this rectangle as the top stitch line.
Add a 3⁄8in seam allowance on all sides. This is the top coin
pocket bag.
STEP 19C
STEP 19C
STEP 19B
1 CM
⁄
1 CM
1.5 CM
⁄
3 1 CM
"
1 8CM
1 CM
3
8"
⁄
⁄16"
91.5 CM
16"
1.59CM
STITCH LINE
BOTTOM
BOTTOM
STITCH
LINE
1 CM
6 CM
FOLD
2 CM
6.5
21⁄2CM
"
6.5
21CM
⁄2"
1.5 CM
1 CM
6.5
2
⁄2"
6.5 CM
1 CM
⁄
⁄
31 CM
8"
1 CM
3
8"
1 CM
⁄8"
13CM
⁄8"
263CM
⁄
31 CM
8"
1 CM
⁄8"
13CM
⁄8"
13CM
⁄
1 CM
⁄
263CM
⁄8"
31 CM
8"
31 CM
8"
STEP 19B
1 CM
STEP 19 A
⁄18"CM
step 23
DEVELOPING THE Coin pocket welt
• On a separate piece of paper, draw a horizontal box 23⁄8in
long and 11⁄2in wide to create a rectangular-shaped welt.
• Divide the box in half lengthways, draw a line down the
center, and label it fold.
• Add a 3⁄8in seam allowance to each end and a 9⁄16in seam
allowance to each long side to create the final pocket
welt pattern.
1 CM
⁄18"CM
23⁄86" CM
3
3
⁄16"
⁄16"
9 CM
1.5
1.5
9 CM
COIN
POCKET WELT
COIN POCKET WELT
SELF
CUT 11
CUT
SELF
CUT 1 FUSE
CUT
1 FUSE
⁄4"
3
2 CM
FOLD
FOLD
⁄
32 CM
4"
GRAINLINE
GRAIN LINE
1 CM
BOTTOM COIN POCKET BAG
CUT 1 POCKETING
GRAINLINEGRAIN LINE
1.5 CM
TOP COIN POCKET BAG
CUT 1 POCKETING
TOP COIN
POCKET BAG
CUT 1 POCKETING
GRAINLINE
2 CM
6.5
⁄2"
21CM
GRAIN LINE
GRAIN LINE
FOLD
6.5 CM
BOT
2 CM
POCKET BAG
CUT 1 POCKETING
1 CM
LINE
STITCHLINE
BOTTOM
BOTTOM
STITCH
COIN POCKET WELT
CUT 1 SELF
CUT 1 FUSE
COIN POCKET
BOTTOM
BOTTOM
COIN BAG
CUT 1 POCKETING
2 CM
1 CM
STITCH LINE
TOPTOP
STITCH
LINE
⁄
⁄8"
⁄
⁄8 "
1 CM
3
8"1.5 CM
11.5
3CMCM
31 CM
8"
1 CM
3
⁄
3 1 CM
"
18CM
6 CM
23⁄86" CM
⁄
23⁄86"CM
31 CM
8"
STEP 19 A
1.5 CM
⁄
3
2 CM
4"
TOP CO
CUT 1 P
FOLD
FOLD
⁄
2 3CM
4"
⁄
6.5 CM
⁄16"
91.5 CM
16"
1.5
9 CM
⁄
3 1 CM
8"
6 CM
23⁄8"
⁄
3 1 CM
8"
1 CM
1 CM
280 Chapter five the patterns: outerwear
step 24
Developing the top and bottom side pocket bags
• Square up 9⁄16in on both sides and connect these points
to create a second rectangle. Label the top edge of this
rectangle as the top stitch line. Add a 3⁄8in seam allowance on
all sides. This is the top side pocket bag.
• Draw a rectangle 53⁄4in wide and 61⁄4in tall (the size of the
coin pocket bag). Label the top edge as the bottom stitch line
and add a 3⁄8in seam allowance to all sides. This is the bottom
side pocket bag.
• Draw another rectangle the same size and again label the top
edge as the bottom stitch line.
STEP 20 A
⁄
STEP 20 C
1 CM
1 CM
⁄
8"
1 CM
1.5 CM
⁄8"
⁄8 "
1 CM
⁄8 "
13 CM
3
⁄
3
⁄4" CM
514.5
3
⁄
3
8"
1 CM
3
514.5
⁄4"CM
13CM
8"
STEP 20 B
3
"
CM
18
⁄16"
⁄8"
13CM
13CM
LINE
BOTTOM STITCH
BOTTOM
STITCH LINE
LINE
STITCH
TOPTOP
STITCH
LINE
1.5
9 CM
1 CM
14.5 CM
1.5 CM
⁄16"
9
STITCH LINE
BOTTOM
BOTTOM
STITCH LINE
1 CM
1 CM
1 CM
SIDE POCKET JET
CUT 2 PR SELF
1.5 CM
GRAIN LINE
16 CM
61⁄4"
⁄8"
13CM
8"
⁄
16 CM
⁄8"
3
1 CM
8"
step 25
DEVELOPING THE Side pocket jet
3
1 CM
8"
⁄8"
3 CM
⁄4"
514.5
1
3 CM
⁄
3 CM
514.5
⁄4"
31 CM
8"
1 CM
16
61CM
⁄4"
⁄
⁄
13 CM
8"
⁄
13CM
1 CM
1 CM
16 CM
GRAINLINE
61⁄4"
1 CM
14.5 CM
GRAINLINE
16 CM
61⁄4"
1 CM
1.5 CM
FOLD
CUT 1 PR
POCKETING
1 CM
BOTTOM SIDE POCKET BAG
CUT 1 PR POCKETING
16 CM
TOP SIDE
GRAIN LINE
BAG
SIDE POCKET
TOP
POCKET
BAG
CUT 1 PR POCKETING
GRAIN LINE
BOTTOM SIDE
POCKET BAG
CUT 1 PR
POCKETING
14.5 CM
1.5 CM
STEP 20 B
STEP 20 C
1 CM
1 CM
1 CM
1 CM
1.5 CM
1 CM
1 CM
16 CM
1 CM
1 CM
1 CM
⁄"
3
53⁄ "
CM
18
14.5 CM4
1 CM
⁄
⁄8"
13CM
⁄
9 1.5 CM
16"
SIDE POCKET JET
CUT 2 PR SELF
GRAIN LINE
GRAINLINE
FOLD
FOLD
⁄16"
1.5
9 CM
⁄8 "
⁄
13CM
31 CM
8"
⁄
GRAIN LINE
GRAIN LINE
16 CM
SIDE POCKET JET
CUT 2 PR SELF
31 CM
8"
BOTTOM SIDE POCKET BAG
CUT 1 PR POCKETING
14.5 CM
⁄8 "
3
BOTTOM STITCH LINE
TOP SIDE POCKET BAG
CUT 1 PR POCKETING
1 CM
1
1 CM
BOTTOM STITCH LINE
16 CM
14.5 CM
• On a separate piece of paper, draw a horizontal box 5 ⁄2in long
(the width of the side pocket opening) by 9⁄16in wide to create
the side pocket jet.
• Divide the box in half lengthways, draw a line down the
center, and label it fold.
• Add a 3⁄8in seam allowance on all sides to create the final
side pocket jet pattern.
TOP STITCH LINE
31 CM
8"
3 CM
⁄4"
514.5
⁄8"
1 CM
3
16 CM
1 CM
1 CM
1 CM
14.5 CM
1 CM
1C
3 CM
1
STEP 20 A
1 CM
1
1 CM
1 CM
Double-breasted Jacket 281
⁄
GRAIN
LINE
GRAINLINE
FRONT LINING
0.5 3CM
⁄16"
3
2 CM
⁄4"
CUT 1 PR LINING
⁄
UNDERARM
/ SIDE SEAM
UNDERARM
CORNER
POINT
30.16
5"CM
0.53CM
⁄16"
step 26
Developing the front lining
• Following the instructions on page 50, trace off a copy of the
front body panel from Step 9. Remove the facing shape from
the front; the remaining shape will become the front lining.
• Next you need to add ease by increasing the armhole width
to allow for movement. At the shoulder tip measure out
3
⁄16in and mark, and up 3⁄16in and mark. Find the new shoulder
tip, and draw a straight line back toward the front high
point shoulder.
• From the top of the front style line measure up 3⁄16in and
mark, and out 3⁄16in and mark. Find the point and using a
French curve draw a line 3⁄16in out from the original armhole
back up to the new shoulder tip.
• From the new point blend the front side seam down to meet
the original hemline.
• From the hemline extend the front style line and the front
edge down by 3⁄4in and square across; this will create
an overlap to allow movement when bending over in
the garment.
• Draw a fold line 3⁄8in up from the new hemline.
30.16
5"CM
SHOULDER
POINT
TIP
FRONT
HIGH POINT
SHOULDER
FOLD
NEW HEML
INE
INE
282 Chapter five the patterns: outerwear
⁄
3
2 4CM
"
HOULDER
OINT
HIGH POINT
SHOULDER
3
⁄4"CM
2
step 27
Developing the back lining
GRAINLINE
GRAIN
LINE
CENTER BACK
BACK
CENTRE
BACK LINING
BACK
LINING
CUT
LINING
CUT1 PR
1 PR
LINING
8
⁄
CM
30.5
16"
⁄
FRONT
FRONT
UNDERARM / SIDE
UNDERARM
SEAM CORNER
POINT
⁄
CM
3
0.5
16"
GRAIN LINE
GRAINLINE
GRAIN LINE
SIDE
LINING
SIDE LINING
CUT
LINING
CUT1 1PRPR
LINING
CUT 1 PR LINING
PLEAT
31.5 CM
BACK LINING
INE
3
2
⁄4"CM
⁄
CM
CUT 1 PR LINING
FRONT LINING
FOLD
NEW HEML
UNDERARM
UNDERARM
/ SIDE SEAM
POINT
CORNER
3 16CM
"
0.5
0.5
2 CM
0.5
CM
30.5
16"CM
SHOULDER
POINT
• Following the instructions on page 50, trace off a copy of the
side panel from Step 15. Remove the hem allowance and the 0.5 CM
UNDERARM
vent shape; the remaining shape will become the side lining. POINT
• Next you need to add ease to the underarm shape to allow
the lining to expand, giving increased movement to the
armhole width. At the top of the front and back style lines
measure up 3⁄16in and mark, and measure out 3⁄16in and mark.
Find the new points (the front and back underarm / side
seam corners), and using a French curve connect them up at
a distance of 3⁄16in out from the original armhole.
• From the underarm / side seam corner blend the style lines
down to meet the original hemline.
• From the hemline extend the back and front style lines down
2 CM
FOLD
2 CM
by 3⁄4in and square across; this will create an overlap to allow
movement when bending over in the garment.
• Draw a fold line 3⁄8in up from the new hemline.
GRAIN LINE
0.5 CM
2 CM
0.53 ⁄CM
16"
CM
2 CM
NEW HE
step
28MLINE
Developing the side lining
0.5 CM
3
POINT
CENTRE BACK
FOLD
POINT
3
⁄16" CM
0.5
FOLD
FOLD
BACK UNDERARM /
BACK
SIDE SEAMUNDERARM
CORNER
0.5 CM
NDERARM
OINT
PLEAT
PLEAT
12 ⁄ "CM
31.5
GRAIN LINE
FRONT LINING
2 CM
3
2 CM
⁄4"
0.5 CM
SHOULDER
POINT
CUT 1 PR LINING
.5 CM
BACK
SHOULDER
SHOULDER
TIP
03⁄1.65"
• Following the instructions on page 50, trace off a copy of the
back body panel from Step 17. Remove the hem allowance
shape; the remaining shape will become the back lining.
• You need to add ease to the center back to allow the lining
to expand across the shoulderblades and also to increase the
armhole to allow for movement.
• Fold over the vent shape onto the pattern, trace around it,
and then remove the vent and its negative shape from the
back style line.
• From the center back neck point measure out 3⁄4in and then
square down 123⁄8in and square back in; this will become the
pleat at the center back.
• From the back shoulder tip measure out 3⁄16in and mark, and
up 3⁄16in and mark. Find the new back shoulder tip and draw a
straight line from here back toward the high point shoulder.
• From the top of the back style line measure out 3⁄16in and
mark. From this new point, and using a French curve, draw a
line 3⁄16in out from the original armhole back up to the new
shoulder tip.
• From the new point blend the back style line down to meet
the original hemline.
• From the hemline extend the center back seam and the
side vent seam down by 3⁄4in and square across; this will
create an overlap to allow movement when bending over
in the garment.
• Draw a fold line 3⁄8in up from the new hemline.
0.5 CM
M
03⁄1.65"
CM
0.5 CM
2 CM
⁄4"
2 3CM
FOLD
FOLD
⁄4"
2
3 CM
Double-breasted Jacket 283
step 29
Developing the two-piece tailored sleeve
Measurements required to develop the sleeve
Measurements required to draft the
tailored two-piece sleeve are as follows.
• Armhole 207⁄8in + 15⁄8in ease = 221⁄2in.
(Take this measurement from the
basic upper body sloper.)
• Sleeve length to wrist = 251⁄4in.
(Taken from the shoulder tip, running
down the back of the elbow to the
wrist; extra length can be added at
this point to suit your design.)
• Top of sleeve cap to elbow length =
133⁄4in.
• Upper biceps circumference = 16in.
(This measurement is taken round the
upper arm; extra width “ease” can be
added for movement.)
• Cuff measurement = 113⁄4in. Remove
3
⁄8in from each side to reduce the cuff
width from the basic tapered sloper,
which is 125⁄8in.
• Sleeve cap height = 7in.
• From (B) measure out 1in and mark point (D), and measure
in 1in and mark point (E). From (C) measure in 3⁄8in and mark
point (F), and measure out 3⁄8in and mark point (G).
• To establish the front notch on the armhole divide the sleeve
cap height (7in) by 2 to give 31⁄2in, and subtract 3⁄4in to give
23⁄4in. This will ensure a rectangular shape to the sleeve cap
instead of the square shape that would occur if the sleeve
cap were just divided in half. From (B) measure up 23⁄4in,
make a mark and label it front notch.
• From (4) square out to the left to intersect the line from
(5) to (7) and mark point (H), and square out to the right to
intersect the line from (6) to (8) and mark point (I). This is
the elbow level.
• From (H) measure out 3⁄8in and mark point (J), and measure
in 15⁄8in and mark point (K).
5
1
10.5
41⁄8CM
"
6
10.541CM
⁄8"
5.8
23⁄8"CM
251⁄4"
ELBOW LINE
LEVEL
4
⁄
M
BOTTOM
SLEEVE
UNDERSLEEVE
CUFF
CUFF
POINTPOINT
13
5" CM
⁄
3 CM
2
4"
7
I
CENTRE LINE
CENTER
UNDERS
R SLE
LEEEV
VEEFR
FOON
RETAR
SE
MAM
SEAM
1⁄
5
4 CM
8"
3
1 CM
⁄8 "
TOP SLEEVE
SLEEVE FRONT
FOREARM
SEAM
SEAM
3 CM
2
⁄4"
L
K
H
3
24CM
"
J
G
M
SEAM
K SEA
BACK
VE BAC
LEEVE
ERSSLEE
UND
FRONT
1 3CM
⁄8 "
1 3CM
⁄8 "
TOP SLEEVE BAC
K SEAM
2.5 CM
1"
2.5 CM
1"
3
SLEEVE
MASTER
PATTERN
TOP SLEEVE
CUFF POINT
284 Chapter five the patterns: outerwear
F
LINE C
UNDERARM
BICEPS
LEVEL
E
B
D
BACK
PITCH
NOTCH
POINT
2.5 CM
1"
17.6 CM
7"
3
6.9
2
⁄4"CM
353CM
⁄4"
13
FRONT
FRONT
PITCH
NOTCH
POINT
TOP SLEEVE
CUFF POINT
• Cut a large piece of drafting paper slightly longer than the
length of your sleeve or the arm length of your fit model.
• Draw a 251⁄4in vertical line down the center and label it
center line; label the top of this line (1) and the bottom (2).
This is the length of the sleeve.
• From (1) measure down 7in (the sleeve cap height, or onethird of the armhole measurement, not including ease) and
label point (3).
• From (1) measure down 133⁄4in (the elbow length) and label
point (4).
• Divide the armhole measurement (221⁄2in) by 6 to give 33⁄4in
and add 3⁄8in volume to give 41⁄8in. From (1) square out 41⁄8in
to the left and to the right and label these points (5) and (6).
• From (2) measure out 41⁄8in to the left and to the right and
label these points (7) and (8).
• Connect points (5), (6), (7), (8) to form a rectangle.
• Divide the sleeve cap height (7in) by 3 to give 23⁄8in. From (6)
measure down 23⁄8in, make a mark and label it back notch.
From the back notch square in 1in and mark point (A); this is
the top point of the back seam on the undersleeve.
• From (3) square out to the left to intersect the line from
(5) to (7) and mark point (B), and square out to the right to
intersect the line from (6) to (8) and mark point (C). This is
the biceps level.
A
17
6 3⁄4"CM
CUFF H
EMLINES
N
2
8
• Measure the length of this line and compare it to the
measurement of the armhole on the front and back patterns.
Here the length should be 117⁄8in. Adjust the curves until the
line is the correct measurement.
• Using a French curve, draw in the top of the undersleeve with
convex curve starting at (E) up to (A).
• Again, measure this line and adjust it until it is the same
measurement as the armhole on the front and back
patterns—in this case 87⁄8in.
• Draw in the back seam of the top sleeve with a blended line
from the back notch through points (G) to (I) and continue
down to (N).
• Draw in the back seam of the undersleeve with a blended line
from (A) through (F) to (I) and also continue with this seam
on the same line as the top sleeve down to (N).
STEP 25 A
step 30
Developing the final top sleeve pattern with cuff vent
TOP
TOPSLEEVE
SLEEVE
CUT
SELF
CUT11PR
PR
SELF
GRAINLINE
GRAIN LINE
• Following the instructions on page 50, trace off the top
sleeve onto a separate piece of paper.
• From the bottom of the sleeve measure down 13⁄16in and draw
a rectangular box to create the facing strip.
• Extend the length of the cuff facing by 13⁄16in at the back
seam and square up 4in to create a rectangular box 13⁄16in in
width. This is the cuff extension.
• Measure a further 9⁄16in up the back seam and join this point
to the outer corner of the box, creating an angle and shape
similar to the center back vent.
• The corner is folded to create a mitered corner during
construction.
1.5 C9⁄M
16
FOLD
FO
LD
CUFF
CU
FFFAFA
CICI
NGNG
31 3C
⁄16"M
3
3 1CM
⁄16"
3 CM
1 3⁄16"
CM
FO
FOLD
LD
"
4"
10
• From (7) measure up 3⁄4in and from this point measure out
3
⁄4in and mark point (L); this is the top sleeve cuff point.
Measure in 3⁄4in and mark point (M); this is the undersleeve
cuff point.
• The cuff circumference is 113⁄4in. Divide this between the top
and undersleeve so that the top sleeve cuff width is 63⁄4in
and the undersleeve is 5in. This allows the top sleeve seams
to fall toward the back of the arm, slightly out of view.
• From (L) draw a line 63⁄4in long to intersect the line from (7)
to (8) and mark point (N). From (M) draw a line 5in long to
intersect the line from (7) to (8), also at point (N). These are
the cuff hemlines.
• Draw in the top sleeve front seam by drawing a blended line
connecting the points from (L) through (J) to (D).
• Draw in the undersleeve front seam by drawing a blended
line connecting the points from (M) through (K) to (E).
• Using a French curve, draw in the top sleeve cap starting at
(D) with a concave curve through the front notch where you
reverse the curve to a convex curve up to (1) and back down
to the back notch with a similar convex curve.
Double-breasted Jacket 285
GRAIN LINE
step 31
Developing the final undersleeve pattern
with cuff vent
286 Chapter five the patterns: outerwear
GRAINLINE
GRAIN LINE
CUT 1 1
PRPR
SELF
CUT
SELF
LD
F
FOOLD
LD
FO
FOLD
GG
FA
ACCININ
FF
CUFFF
CU
⁄ "
1M
3C
3 16
3
3 CM
3 1C⁄16M"
NG
4"
10 CM
FOLD
CUFF FACI
3 CM
3 CM
1⁄ .5 CM
9 16"
10 CM
FOLD
1.5 CM
UNDER SLEEVE
UNDERSLEEVE
CUT 1 PR SELF
TOP SLEEVE
• Trace off the undersleeve onto a separate piece of paper and,
following the instructions on page 50, reverse it by turning
it over.
• From the bottom of the sleeve measure down 13⁄16in and draw
a rectangular box to create the facing strip.
• Extend the length of the cuff facing by 13⁄16in at the back
seam and square up 4in to create a rectangular box 13⁄16in in
width. This is the cuff extension.
• Measure a further 9⁄16in up the back seam and join this point
to the outer corner of your rectangular box, creating an
angle and shape similar to the center back vent.
• The corner is folded to create a mitered corner
during construction.
133 ⁄16C" M
step 32
Developing the final two-piece sleeve lining patterns
⁄
BACK
SHOULDER
TIP
0.53 ⁄CM
16"
3
0.5
⁄16"CM
0.5 CM
BACK
SHOULDER
POINT
BACK
SHOULDER
POINT
0.5 CMTIP
30.5"CM
16
0.5 CM
⁄
CROWN
POINT
TOP OF
CROWN
SLEEVE
CAP
POINT
3
0.5
16"CM
0.5 CM
Matching the measurements
Having enlarged the armhole of the body
panel lining, we will now increase the
sleeve cap so that the measurements
match. At the cuff hem we will increase
the length of the lining so that when the
arm is raised the lining will not pull
the outer sleeve.
• Following the instructions on page 50, trace off a copy of the
top sleeve from the sleeve master plan.
• From the shoulder tip measure up 3⁄16in and mark, and from
the front and back shoulder tips measure out 3⁄16in and mark,
and measure up 3⁄16in and mark. Find the new points and
connect these to new shoulder tip with a curved line.
• From the new shoulder tips draw a line down to blend in with
the cuff hem.
• From the cuff hem measure down 3⁄4in and square across to
increase the length of the lining. Draw a fold line 3⁄8in inside
the new hemline.
• Following the instructions on page 50, trace off the
undersleeve lining pattern.
• At the top of the front and back shoulder tips measure up
3
⁄16in and mark, and measure out 3⁄16in and mark; connect
these points with a curved line.
• From the new shoulder tips draw a line down to blend in with
the cuff hem.
• From the cuff hem measure down 3⁄4in and square across to
increase the length of the lining. Draw a fold line 3⁄8in inside
the new hemline.
30.5
16"CM
⁄
0.5 CM
0.5 CM
3
0.5
16"CM
3
0.5
⁄16"CM
0.5 CM
GRAIN LINE
GRAIN LINE
GRAINLINE
⁄
3
0.5
16"CM
FRONT
SHOULDER
POINT
FRONT
SHOULDER
POINT
TIP
0.5 CM
0.5 CM
⁄
⁄
3
0.5
16"CM
0.5 CM
2 CM
2 C3⁄M
4"
FOLD
FOLD
UNDER SLEEVE LINING
LINING
UNDERSLEEVE
UNDER SLEEVE LINING
CUT 1 PR LINING
CUT 1 PR LINING
TOP SLEEVE LINING
TOP SLEEVE LINING
CUT 1 PR LINING
CUT 1 PR LINING
GRAIN
LINE
GRAINLINE
GRAIN LINE
0.53CM
⁄16"
FRONT
SHOULDER
TIP
2 CM
3 C
2
⁄4" M
3 4"
2 CM
⁄
2 CM
FOLD
FOLD
3 ⁄4CM
2
"
2 CM
Double-breasted Jacket 287
pattern
Waxed Jacket
This pattern includes development of the following features:
Adding volume to the side seam
Enlarging the neckline
Creating a sewn-on front placket
Extending the hemline
Creating side vents
Developing a waist belt
Dropping the shoulder
Lowering the armhole
Developing breast and front patch pockets with gussets
and flaps
Developing a back envelope pocket with side zipper
Developing a shaped convertible collar with stand
Developing raglan sleeves with elbow patches
Developing a full body lining
288 Chapter five the patterns: outerwear
BACK
BACK
PITCH
NOTCH
POINT
step 1
Developing the master plan
FRONT
NOTCH
PITCH
POINT
CENTRE
CENTER FRONT
FRONT
FRONT MASTER
PLAN
GRAIN
LINE
GRAINLINE
BACK MASTER
PLAN
SIDE SEAM
SEAM
Start by selecting the basic men’s upper body sloper, or by
drafting the basic sloper according to the instructions on page
40. Cut a large piece of drafting paper slightly longer than the
length of the jacket you want to develop and transfer the shape
of the sloper and all marks, labels, and instructions, following
the directions on page 48.
CENTRE
CENTER BACK
CHESTLEVEL
LINE
CHEST
WAISTLINE
⁄
13⁄8C
"M
31 8C
"M
03⁄1.56 C
" M
3 CM
2
⁄4"
NEW BACK
NOTCH
CHEST LEVEL
LINE
⁄
3
24CM
"
3
⁄8"
3.5 1CM
NEW FRONT
NOTCH
3
⁄8"
3.5 1CM
HEMLINE
3
11 4CM
⁄8 "
113⁄8CM
4
"
NEW HEMLINE
waxed jacket 289
CENTRE BACK
CENTRE FRONT
CENTER
WAISTLINE
FRONT MASTER
PLAN
PLAN
GRAIN
LINE
GRAINLINE
BACK MASTER
PLAN
NEW SIDE SEAM
NEW
UNDERARM
UNDERARM
/ SIDEPOINT
SEAM
CORNER
3
2 CM
⁄4"
• From the center front neck point measure down 3⁄4in and at
the front high point shoulder measure in 3⁄16in; repeat at the
back by measuring in 3⁄16in from the back high point shoulder.
Using the basic upper body sloper as a template draw in the
new front and back neck curves.
• Open up the side seam by adding in 3⁄4in between the front
and back body panels and repositioning.
• From the front and back shoulder tips measure up 3⁄16in and
out 3⁄8in over the armhole and make a mark.
• From the chest level square down 13⁄8in on each side and,
starting from the new underarm / side seam corner, redraw
the new armhole shape using the basic upper body slopers
as a template. Draw in the new notch positions on the
lowered armhole.
• To create the jacket length, extend the center front and
center back lines down by 43⁄8in. Square across to create the
new hemline and bring down the side seam line to meet it.
FRONT HIGH POINT
SHOULDER
CENTRE FRONT
CENTER
NECK POINT
3 CM
0.5
⁄16"
CENTRE BACK
CENTER
step 2
Developing the enlarged neck, dropped
shoulder, lowered armhole, and extended hem
length, and adding volume to the side seam
FRONT HIGH POINT
SHOULDER
3
0.5
⁄16"CM
HIP
LEVEL
HEMLINE
4123⁄
4"C
M
.53 3
C⁄4M
"
3 ⁄4C"
93.5
M
CENTRE
CENTER FRONT
WAISTLINE
FRONT MASTER
PLAN
PLAN
PLACKET SHAPE
SHARE
BACK MASTER
PLAN
GRAIN
LINE
GRAINLINE
LINE
CHEST LEVEL
63CM
⁄8"
2
1 3CM
⁄8"
3
1 CM
⁄8 "
NEW
UNDERARM
NEW
/ UNDERARM
SIDE SEAM
CORNER
POINT
NEW SIDE SEAM
CENTRE FRONT
GRAIN LINE
NEW SIDE SEAM
ALIGNMENT
ALIGNMENT
NOTCHES
NOTCH
NEW HEMLINE
3
62CM
⁄8 "
2 CM
CENTRE BACK
ALIGNMENT
ALIGNMENT
NOTCHES
9
• From the high point shoulder measure 1 ⁄8in down the back
neck curve and 15⁄8in down the front neck curve and mark.
• From the new underarm / side seam corner measure 33⁄4in
2 CM
CHEST LINE and make a
up the front armhole
mark, and measure
3.5 CM
3.5 CM
33⁄4in up the back
armhole and make a mark.
• From these points draw straight lines up to the marks you
NEW UNDERARM POINT
made on the front and back neck curves.
• From the back BACK
neckMASTER
curve measure 53FRONT
⁄8in down
MASTER this line and
PLAN
3 PLAN
then square up ⁄8in. From the front neck measure 43⁄4in
down the lineWAISTLINE
and then square up 3⁄8in.
• With a shallow curve, draw another line from the points on
the back and front neck curves to the armholes, this time
passing through the marks at 3⁄8in.
• Trace off the shoulder shapes ready to transfer to the sleeve,
adding front and back notches for alignment.
HEMLINE
• To create the sewn-on placket, square out 13⁄16in at the center
front 11neck
point and mark, and square in 13⁄16in and mark. 11 CM
CM
Repeat at the
new hemline on the center front and mark.
NEW HEMLINE
Join these points to create the 23⁄8in placket shape.
4
15CM
⁄8"
3
⁄8"
13.5 5CM
2 CM
5
BACK HIGH
POINT
SHOULDER
4 5CM
1
⁄8 "
CENTRE FRONT
NECK POINT
CENTRE BACK
CENTER
1 CM
1 CM
0.5 CM
M
0.5 C
step 3
Creating the raglan shoulder shapes
and front placket width 0.5 CM
step 4
Developing the placket stitch line, folded hem
ALLOWANCE, side vent, and waist belt position
290 Chapter five the patterns: outerwear
1
⁄16"
33CM
FRONT
FRONT
MASTER
PLAN
PLAN
1"
2.5 CM
3
2 CM
⁄4"
⁄8 "
2597CM
4
⁄8"
15CM4
⁄8" 15CM
WAIST
BELT
WAISTLINE
⁄
3
24CM
"
SIDE SEAM
CENTRE
CENTER FRONT
PLACKET STITCH LINE
LINE
1
4
⁄8" CM
10.5
1"
2.5 CM
13⁄8CM
"
SIDE SEAM
5 CM
W
20
6.5 CM
3 CM
1.5 CM
HEM STITCH
FACING
STITCHLINE
LINE
FOLD
HEMALLOWANCE
FACING
HEM
3
⁄16"
3 1CM
4 5CM
1
⁄8" 415CM
⁄8"
19
17
SIDE VENT
FOLD
• Trace off onto a separate piece of paper the front body
pattern from the previous step without the raglan shape.
• To indicate the stitch line placement for the sewn-on placket
draw a dotted line from the neckline to the hemline at
a distance of 13⁄16in in from the center front.
• To indicate the hem allowance stitch line draw a dotted line
13⁄16in above the hemline.
• From the center front measure in 2in along the hem
and then square down 13⁄16in; this is the starting point for
the hem allowance.
• Extend the hem allowance along to the side seam and square
up. At this point measure out 15⁄8in plus a further 15⁄8in; this
is the side vent width with a central fold line.
• From the top of the hem allowance at the end of the side
vent square up 97⁄8in and then square back to the side seam;
this is the side vent length.
• On top of the vent length measure up 3⁄4in; from this point
draw a line back to the side vent fold line and then angle
back up to meet the side seam at the same 3⁄4in height.
• To develop the waist belt position measure up and down 1in
on the side seam each side of the waistline; this is the belt
width. From these points create a rectangle 2in wide by 41⁄2in
long along the waistline. From the front of the rectangle,
measure back 3⁄8in either side and draw two lines back down
to the center to create the waist belt tip.
1
⁄16"
33CM
1
⁄16"
33CM
5 2"
CM
3 CM
FOLD
HEM FACING
step 5
Developing front patch pocket parts and positions
• From this point create a rectangle 63⁄4in high by 71⁄2in wide;
this is your pocket bag shape. Round off the bottom corners
by measuring 13⁄16in up and in from each corner.
• The lower pocket flap position sits 3⁄8in above the bag and
is 3⁄16in wider on each side edge. Measure up 3⁄8in above the
pocket bag and from this point create a rectangle 77⁄8in long
and 21⁄2in wide sitting over the pocket bag.
3
13CM
⁄16"
3 CM
FRONT
FRONT
MASTER
PLAN
PLAN
FRONT
3
⁄8"CM
1
3.5
⁄
9
1.5
16"CM
5" CM
13
SIDE SEAM
SEAM
CENTRE FRONT
PLACKET STITCH LINE
135"CM
2"
5 CM
3
4
⁄4"CM
12
21⁄8CM
"
5.5
3
⁄4"
9.53CM
WAISTLINE
⁄8"
2077CM
"
21⁄2CM
6.5
71⁄2"CM
19
2"CM
5
3
⁄4"CM
6
17
SIDE VENT
FOLD
1 CM
SIDE SEAM
MASTER
• Trace off onto a separate piece of paper the front body
PLAN
pattern from the previous step.
• To establish the position of the front breast patch pocket
bag, measure 33⁄4in up from the waistline and 21⁄8in in from
the center front and mark; this is the bottom right corner of
your pocket bag.
• From this point create a rectangle 5in high by 43⁄4in wide;
this is the pocket bag shape. Round off the bottom corners.
CM
• The breast pocket flap position sits 3⁄8in10.5
above
the bag and is
2.5 CM 3 WAIST
3
⁄16in wider on each side. Measure
up ⁄8BELT
in above WAISTLINE
the pocket
2.5 CM
bag and from this point create
2 CM 5in long and 2in
2 CM a rectangle
CM the bottom line of the
4 CM4
wide sitting over the pocket bag.
From
9
rectangle measure up ⁄16in on each side and draw two lines
back down to the center to create an envelope point to the
25 CM
pocket flap.
• To develop the lower waist pocket bag shape underneath the
waistline, measure 9⁄16in up from the facing
stitch line and 2in
FACING STITCH LINE
3 CM
in from the center front and make a mark; this
FOLD is the bottom
3 CM
3 CM
HEM FACING
5 CM
right corner of the pocket bag.
3
⁄16"
3 1CM
1.5 9CM
⁄16"
CENTRE
CENTER FRONT
Matching the measurements
Having enlarged the armhole of the body
panel lining, we will now increase the
sleeve cap so that the measurements
match. At the cuff hem we will increase
the length of the lining so that when the
arm is raised the lining will not pull
the outer sleeve.
1
16"
33⁄CM
1
⁄16"
33CM
FOLD
HEM ALLOWANCE
FACING
1
16"
33⁄CM
9
1.5
⁄16"CM
4 CM 4 CM
step 6
Front pattern and developing
the front facing
52"
CM
step 7
Front facing pattern
FOLD
GRAIN LINE
GRAINLINE
FRONT
FACING
FRONT
FACING
1 SELF
PR SELF
CUTCUT
1 PR
GRAIN
GRAINLINE
LINE
FRONT
CUT 1 PR SELF
FRONT FACING LINE
PLACKET STITCH LINE
• Following the instructions on page
50, trace off the front facing, adding
alignment notches and a 3⁄8in seam
allowance on all sides to create the
final pattern.
• Following the instructions on page
50, trace off the front body pattern,
annotating all the positions needed for
pockets and belt.
• Draw a vertical dotted line from the
neckline to the hemline at a distance
of 2in from the center front line;
this will become the width of the
facing pattern.
FOLD
52"
CM
waxed jacket 291
step 8
Front breast patch pocket patterns with gusset
edge of the bag shape that will be stitched down to the
jacket body—in this case 141⁄8in. Draw the gusset as a long
rectangular shape, 141⁄8in long by 13⁄16in wide, and add a 3⁄8in
seam allowance on all sides.
1 CM
1 CM
GRAIN LINE
3 CM
1 CM
1 CM
1 CM
BREAST POCKET BAG
CUT 1 PR SELF
1 CM
36 CM
GRAIN LINE
FOLD
FOLD
CUT 1 PR SELF
⁄8"
3
BREAST POCKET FLAP
CUT 2 PR SELF
GRAIN LINE
BREAST POCKET FLAP
CUT 2 PR SELF
GRAINLINE
BREAST POCKET GUSSET
CUT 1 PR SELF
1 CM
1 CM
1 CM
1 CM
⁄8 "
3
1 CM
3 CM
⁄8"
3
141⁄8"
1 CM
1 CM
36 CM
1 CM
1 CM
1 CM
⁄
2 CM
3
4"
FOLD
FOLD
36 CM
⁄8"
⁄8"
3
8"
1 CM
BREAST POCKET
BAG
BREAST
POCKET
CUT 1 PR SELF
BAG
36 CM
3
⁄
23CM
4"
1 CM
1 CM
3 CM
⁄
⁄
13CM
8"
1 CM
1 CM
3
2 CM
FOLD
FOLD
BREAST POCKET GUSSET
CUT 1 PR SELF
36 CM
1 CM
2 CM
GRAIN LINE
GRAINLINE
1 CM
GRAIN LINE
1 CM
3 CM
1 CM
• Following the instructions on page 50, trace off the breast
pocket flap pattern; add a 3⁄8in seam allowance on all sides.
• Following the instructions on page 50, trace off the breast
pocket bag pattern, adding a 3⁄8in seam allowance all around
the outside edge and a 3⁄4in facing strip to the top opening
edge, which will be folded into the bag.
• The measurements to develop the gusset on the breast
patch pocket bag are taken by measuring around the outside
⁄8"
3
3
1 CM
⁄8"
13⁄8"CM
1 CM
3
⁄8"
1 CM
GRAIN LINE
step 9
Front waist patch pocket patterns with gusset
• Following the instructions on page 50, trace off the waist
pocket flap pattern, doubling it over along the length to
make a folded pattern and adding a 3⁄8in seam allowance
on all sides.
• Following the instructions on page 50, trace off the waist
pocket bag pattern, adding a 3⁄8in seam allowance all around
the outside edge and a 13⁄16in facing strip to the top opening
edge, which will be folded into the bag.
1 CM
1 CM
1 CM
⁄
1 CM
⁄8"
FOLD
FOLD
FOLD
⁄8"
6.5
21⁄CM
2"
WAIST GUSSET POCKET BAG
CUT 1 PR SELF
1 CM
FOLD
1 CM
1 CM
21⁄2"
3 CM
⁄8"
1 CM
GRAIN LINE
⁄
191⁄2"
1 CM
1 CM
WAIST
POCKET POCKET
GUSSET
WAIST
GUSSET
CUT
PR SELF
49.51CM
CUT
1 PR SELF
WAIST POCKET GUSSET
CUT 1 PR SELF
49.5 CM
49.5 CM
191⁄2"
13⁄16"
GRAIN LINE
13⁄8"CM
⁄8"
3
1 CM
1 CM
292 Chapter five the patterns: outerwear
GRAINLINE
49.5 CM
⁄8"
3
GRAIN LINE
49.5 CM
3
⁄8"
1 CM
13⁄8"CM
1 CM
1 CM
1 CM
⁄8"
3
3 CM
3 CM
3 CM
13⁄16"
1 CM
1 CM
⁄8"
⁄
13CM
8"
49.5 CM
1 CM
3
1 CM
3
8"
3
3
1 CM
⁄8" 1 CM
GRAIN LINE
1 CM
⁄8 "
3
3 CM
FOLD
WAIST GUSSET POCKET BAG
CUT 1 PR SELF
6.5 CM
1 CM
1 CM
WAIST POCKET BAG
CUT 1 PR SELF
3 CM
1 CM
FOLD
FOLD
6.5
2"
21⁄CM
1 CM
FOLD
FOLD
3
6.5 CM
GRAIN LINE
GRAINLINE
1 CM
FOLD
FOLD
1 CM
3
31CM
⁄16"
⁄
WAIST POCKET
FLAP FLAP
WAIST
POCKET
CUT 1 PR SELF
CUT 1 PR SELF
21⁄2"
CM
133⁄16
"
3
8"
1 CM
6.5 CM
6.5 CM
3
8"
1 CM
GRAIN LINE
FOLD
6.5 CM
1 CM
GRAIN LINE
⁄
⁄
3
8"
1 CM
WAIST POCKET FLAP
CUT 1 PR SELF
3
"
18
CM
3
• The measurements to develop the gusset on the breast
patch pocket bag are taken by measuring around the outside
edge of the bag shape that will be stitched down to the
jacket body—in this case 191⁄2in. Draw the gusset as a long
rectangular shape, 191⁄2in long by 13⁄16in wide, and add a 3⁄8in
seam allowance on all sides.
1 CM
6.5 CM
⁄8"
3
1 CM
1 CM
BREAST POCKET FLAP
CUT 2 PR SELF
13⁄8"CM
36 CM
141⁄8"
⁄8"
3
13⁄16"
GRAIN LINE
GRAINLINE
1 CM
1 CM
CUT 1 PRCUT
SELF 1 PR SELF
GRAINLINE
1 CM
BREAST POCKET
GUSSET
BREAST
POCKET GUSSET
3 CM
3 CM
13⁄16"
WAIST BELT
CUT 1 PR SELF
GRAIN LINE
67.5
265⁄8"CM
GRAIN LINE
GRAINLINE
67.5
265⁄8"CM
• On a separate piece of paper, draw a horizontal box 43⁄4in
wide by 265⁄8in long (the length of the center front) to create
the rectangular-shaped placket.
• Divide the box in half lengthways, draw a line down the
center, and label it fold. Add a 3⁄8in seam allowance on
all sides.
1C
1 CM
SEWN-ON
PLACKET
FRONT SEW
ON PLACKET
CUT 1 PR SELF
step 10
Front sewn-on placket pattern
1 CM
3
1 CM
⁄8"
1 CM
12 CM
43⁄4"
3
1 CM
⁄8"
3 CM
1
⁄8 "
3
1 CM
⁄8 "
FOLD
LINE
FOLD
6
23CM
⁄8 "
63CM
2
⁄8"
1C
1 CM
3 CM
1
⁄8 "
3
⁄4"CM
412
3 CM
1
⁄8 "
step 11
Developing the back side vents, hem ALLOWANCE,
and waist belt position
723CM
⁄4"
3 CM
2
⁄4"
2
⁄4"
73CM
1"
2.5 CM
1"
2.5 CM
3
2 CM
⁄4"
BACK
BACK VENT
VENT
7
⁄8"
259CM
9
1.5
⁄16"CM
CENTRE
CENTER BACK
BACK LINE
LINE
WAISTLINE
WAIST
LINE
3
72CM
⁄4"
2
⁄4"
73CM
1"
2.5 CM
1"
2.5 CM
9
1.5
⁄16"CM
BACK
MASTER
PLAN
VENT
BACK VENT
• Trace off the back body without the raglan shape onto a new
piece of paper and, following the instructions on page 50,
create the full pattern shape.
• From the hemline corners square down 13⁄16in and square
across to create the facing.
• Repeat this above the hemline by squaring up 13⁄16in, and
indicate the hem stitch line with a dotted line.
• Extend the hem allowance line and the hemline out from the
side seam at both ends by 15⁄8in; this is the vent width.
• From each end of the extended hemline square up 97⁄8in and
square back to the side seam; this is the vent length.
• On the top of the vent length measure 3⁄4in up the side seam
and from this point draw an angled line back down to the
vent corner.
• To develop the waist belt position square up 1in and down 1in
each side of the waistline to establish the belt width. From
these points create a rectangle by connecting the points
across the back.
• To position the belt loops, from the side seam on each side
measure 23⁄4in along the waistline and draw two rectangles
9
⁄16in wide by 23⁄4in long centered over the waistline.
7
9
⁄8"CM
25
HEM
ALLOWANCE
STITCH
LINE
HEM
FACING STITCH
LINE
HEMLINE
13CM
⁄16"
3
1⁄
4 5CM
8"
13CM
⁄16"
3
1⁄
4 5CM
8"
waxed jacket 293
1 CM
3 CM
1
⁄8 "
1 CM
3
1 CM
⁄8"
GRAINLINE
GRAIN LINE
CENTER
BACK
LINELINE
CENTRE
BACK
BACK
PANEL
BACKBODY
BODY
PANEL
CUT 11SELF
CUT
SELF
• Following the instructions on page 50, trace off the back
body pattern without the side vents, which will be sewn on
as part of the back envelope pocket bag, annotating all the
positions for belt and loops.
• Add the position of the back envelope pocket by measuring
97⁄8in up from the hemline on both sides and squaring across
to create a rectangle 22in wide by 97⁄8in high.
WAISTLINE
WAISTLINE
11"
28 CM
2811"
CM
BACKENVELOPE
ENVELOPE POCKET
BAG BAG
BACK
POCKET
7
9
⁄8" CM
25
HEM FACING
ALLOWANCE
STITCHLINE
LINE
HEM
STITCH
28 CM
GRAIN
LINE
GRAINLINE
1 CM
GRAIN LINE
TOP ENVELOPE
13⁄8 "CMFACING
CUT 1 PR SELF
3
1 CM
1⁄ "CM
1 CM
3 8
3 CM
3 CM
1
⁄ CM
3
8"
1 CM
1 CM
3
8
1 CM
CM⁄ "
1 CM
1 CM
BACK ENVELOPE POCKET BAG
CUT 1 PR POCKETING
1 CM
ZIPPER OPENING
⁄8 "
BACK SIDE VENT
CUT 1 PR SELF
⁄8"
1 CM
FOLD
ZIPPER OPENING
GRAIN LINE
3
⁄8"
3
RAIN LINE
294 Chapter five the patterns: outerwear
⁄8 "
3
1 CM
3
8
⁄"
1 CM
WAISTLINE
1 CM
1 CM
1 CM
1 CM
GRAIN LINE
CENTRE BACK LINE
3 8
1 CM
1 CM
1 CM
1 CM⁄ "
GRAINLINE
GRAIN LINE
NOTCH
UNDER ENVELOPE FACING
CUT 1 PR SELF
3
8
1⁄ " CM
3
8
1 CM
2 CM
2 CM
• To create the waist belt trace off from Step 4 the front ends
of the belt and from Step 11 the middle section, constructing
a rectangle 2in wide by 311⁄2in long. Add a 3⁄8in seam
allowance on all sides to create the final pattern.
WAIST BELTBELT
WAIST
CUT 1 PR SELF
CUT 1 PR SELF
1 CM
1 CM
step 14
Developing the waist belt pattern
⁄
⁄
31 CM
8"
2 CM
1
1 CM
• Following the instructions on page 50, trace off the side vent
pattern and add a 3⁄8in seam allowance on all sides to create
the final pattern.
1 CM"
1 CM
1 CM
step 13
BACK Side vent pattern
13⁄CM
8 "
1 3CM
⁄8 "
2 CM
8"
13⁄CM
H. ALLOWANCE
HEM
FACING
1 CM
EL
step 12
Back body PANEL pattern
NOTCH
1
1
CENTRE BACK LINE
1 CM
1 CM
⁄8"
⁄8"
3
GRAIN LINE
⁄
1 3CM
8"
3
NOTCH
NOTCH
step 15
WAISTLINE
Back envelope
pocket bag
pattern
BACK ENVELOPE
BACK ENVELOPE POCKET BAG
POCKET
BAG
CUT
1 PR POCKETING
GRAIN LINE
28 CM
⁄
13CM
8"
NOTCH
NOTCH
CUT 1 PR POCKETING
1 CM
BACK ENVELOPE POCKET BAG
•25 CMFollowing
the instructions on page
50, trace off the final back envelope
1 CM
pocketHEMbag
Step 12. Add a 3⁄8in
FACING from
STITCH LINE
seam allowance
on all sides.
HEM FACING
1 CM
28 CM
GRAINLINE
BACK BODY PANEL
CUT 1 SELF
NOTCH
NOTCH
1 CM
⁄
13CM
8"
NOTCH
NOTCH
NOTCH
NOTCH
⁄8"
⁄
13CM
8"
⁄8 "
3
1 CM
1 CM
3
GRAIN LINE
3 CM
2
⁄4"
CENTRE BACK LINE
GRAIN LINE
7
20
7
⁄8"CM
GRAIN LINE
1 3CM
⁄8 "
33CM
1
⁄16"
3
1
⁄16"
3 CM
1 CM
3
1 CM
⁄8"
13⁄8CM
"
3
1 CM
⁄8"
3 CM
ZIPPER OPENING
TOP ENVELOPE FACING
CUT 1 PR SELF
1 3CM
⁄8 "
3
2 CM
⁄4"
ZIPPER OPENING
1 CM
3 CM
1 1CM
⁄8 "
1 CM
TOP ENVELOPE FACING
CUT 1 PR SELF
3 CM
ZIPPER OPENING
GRAIN LINE
⁄8"
2 CM
313CM
⁄16"
⁄
1 3CM
GRAIN LINE
GRAINLINE
2 3CM
⁄4"
1 CM
1 CM
1 CM
32 CM
4"
2 CM
1 3CM
⁄8"
2 CM
1 CM
13⁄8CM
"
13⁄18CM
"CM
1 CM
1 CM
ZIPPER OPENING
GRAIN LINE
1 CM
1 CM
TOP ENVELOPE
FACING
CUT 1 PR SELF
2 CM
1 3CM
⁄8 "
1 CM
2 CM
3 CM
1
⁄8"
3 CM
1
⁄8"
1 CM
1 3CM
⁄8"
1 CM
2 CM
FOLD
ZIPPER OPENING
ZIPPER OPENING
1 CM
FOLD
FOLD
UNDER ENVELOPE FACING
CUT 1 PR SELF
HEM FACING
HEM FACING STITCH LINE
1 CM
BACK ENVELOPE POCKET BAG
1 CMENVELOPE FACING
UNDER
CUT 1 PR SELF
GRAINLINE
2 CM
1 CM
13CM
⁄8 "
3 CM
1
⁄8"
23⁄4CM
"
1 CM
3
1 CM
1 CM
"
1⁄8CM
13⁄CM
8"
1 CM
1 CM
13⁄CM
8"
1 CM
25 CM
HEM FACING
HEM FACING
1 CM
28 CM
28 CM
10 CM
4"
step 17
Top and under envelope pocket facing patterns
28 CM
28 CM
BACK ENVELOPE POCKET BAG
BACK ENVELOPE POCKET BAG
25 CM
NOTCH
NOTCH
28 CM
HEM FACING STITCH LINE
HEM FACING STITCH LINE
CUT 1 PR SELF
• Following the instructions on page 50, trace off the two parts
of the back envelope facing patterns, and add a 3⁄8in seam
allowance on all sides on both patterns.
WAISTLINE
FOLD
25 CM
UNDER ENVELOPE
FACING
WAISTLINE
3 CM
FOLD
ENVELOPE POCKET
MASTER PLAN
28 CM
• The facing for the pocket’s opening is constructed as a
folding rectangle, 4in wide by 97⁄8in long. Divide in half
lengthways, adding a fold line down the middle.
• To divide again for the insertion of a 77⁄8in closed-end zipper,
measure out 13⁄16in from each end
of the fold line and square
1 CM
across. Measure in 13⁄16in along this line from the bottom and
mark and 3⁄4in from the top and mark. This is the opening for
the zipper.
• Create a stepped opening by drawing a rectangle 77⁄8in long
by 3⁄8in wide, centered along the opening.
GRAIN LINE
CENTRE BACK LINE
BACK BODY PANEL
CUT 1 SELF
CENTRE BACK LINE
7
9
⁄8"CM
25
WAISTLINE
1 CM
1 CM
1 CM
1 CM
1 CM
BACK BODY PANEL
CUT 1 SELF BACK BODY PANEL
CUT 1 SELF
BACK ENVELOPE POCKET BAG
CUT 1 PR POCKETING
TOP ENVELOPE FACING
CUT 1 PR SELF
UNDER ENVELOPE FACING
CUT 1 PR SELF
BACK SIDE VENT
CUT 1 PR SELF
1 CM
2 CM
1 CM
1 CM
GRAIN LINE
FOLD
Envelope pocket
The envelope, or poacher’s, pocket in
this design has identical zipped openings
on both the left- and right-hand sides so
it can be used from either side of the
1 CM
jacket.1 CMThe pocket openings have a folded
3 CM
CM
facing 3 with
the
zipper attached to the
1 CM
under or
1 CM lining side of the opening.
1 CM
2 CM
20 CM
GRAIN LINE
1 CM
2 CM
GRAIN LINE
ZIPPER OPENING
3 CM
13⁄16"
GRAIN LINE
1 CM
3 CM
1 CM
FOLD
ZIPPER OPENING
FOLD
waxed jacket 295
NG
GRAIN LINE
step 16
Developing the top and under envelope pocket
facing with zipper opening
FOLD
ZIPPER OPENING
1 CM
1 CM
ZIPPER OPENING
1 CM
1 CM
10 CM
2 CM
NG
1 CM
1 CM
2 CM
GRAIN LINE
1 CM
ENVELOPE POCKET
MASTER PLAN
GRAIN LINE
GRAINLINE
1 CM
25 CM
step 18
Sleeve master plan
step 19
Developing the sleeve master plan
Start this development by selecting the basic men’s sleeve
sloper, or by drafting the basic sleeve sloper according to the
instructions on page 42. Cut a large piece of drafting paper
slightly longer than the length of the shirt you want to develop
and transfer the shape of the sloper and all marks, labels, and
instructions, following the directions on page 48.
• Draw round the basic sleeve sloper, opening it up along the
center line by 3⁄8in.
• From the shoulder tip measure down 3⁄8in, the amount by
which you extended the shoulder on the body panel.
• From the biceps level square down 9⁄16in, half of the amount
by which you dropped the armhole; redraw the new biceps
level position, extending it by 1in on each side.
• Using the basic sleeve sloper as a template, redraw the new
sleeve cap indicating the lowered notches.
• To shape the sleeve hemline, measure 3⁄8in up each
underarm seam and 9⁄16in in on each side and mark.
• From these points draw in the new underarm seams,
1 CM
connecting them back up to the extended biceps level.
• From the new sleeve hemline square down 13⁄16in to create
the facing shape, pitching out at each side to reflect the
sleeve seams when folded.
TOP
OF
CROWN
SLEEVE CAP
1 CM
POINT
SLEEVE
CAP
UNDERARM
AT
BICEPS
POINT
LEVEL
UNDERARM
POINT
9
1.5
⁄16" CM
LINE
OLD
BICEPS
OLDELBOW
LEVEL
UNDERARMLINE
NEW BICEPS
NEW
UNDERARMLINE
LEVEL
FRONT
NOTCH
1.59⁄CM
16"
1"
2.5 CM
UNDERARM FRONT SEAM
FOREARM LINE
296 Chapter five the patterns: outerwear
1.5 CM
FACING
⁄8 "
1 CM
313CM
⁄16"
3
NEW SLEEVE HEMLINE
NEW SLEEVE
NEW
SLEEVEHEMLINE
HEMLINE
FACING
FACING
1 CM
3 CM
9
⁄16" CM
1.5
32 CM
SLEEVE HEM
1 CM
3 CM
1.5
⁄16" CM
32 CM
SLEEVE HEM
1.5 CM
ELBOW
LINE
ELBOWLEVEL
HEMLINE
9
BACK LINE
CENTRE LINE
M
UNDERARM BACK SEA
ELBOW LINE
8"
13⁄CM
BACK
NOTCH
UNDERARM LINE
1.5 CM
GRAINLINE
GRAIN
LINE
UNDERARM
POINT
OLD UNDERARMLINE
NEW UNDERARMLINE
2.5 CM
FRONT
PITCH
POINT
LINE
ELBOWLEVEL
ELBOW
1.5 CM
3 CM
1
⁄8"
FRONTRARM
UNDE
UNDERARM
FRONSEAM
T SEAM
BACK
PITCH
POINT
CROWN
POINT
LINE
FOREARMLINE
FOREARM
CENTER
LINE
CENTRELINE
BACK
LINE
BACKLINE
RM K SEA
ERABAC
UNDRM
BACKERA
UND
SEAM M
BICEPS LEVELLINE
UNDERARM
2.5 CM
SLEEVE
CAP
UNDERARM
AT
BICEPS
POINT
LEVEL
GRAIN LINE
FRONT
FRONT
PITCH
NOTCH
POINT
POINT
2.5 CM
1"
BACK
BACK
PITCH
NOTCH
3
1⁄8"CM
3
13⁄CM
16"
23⁄4"
9 CM
31⁄2"
GRAIN LINE
• Construct a rectangle 7in long by
51⁄2in wide. Divide the shape into four
quarters, each 31⁄2in by 23⁄4in. Using
a French curve create an oval-shaped
elbow patch.
ELBOW PATCH
CUT 1 PR SELF
GRAINLINE
3 1 ⁄2 "
9 CM
step 20
Developing the elbow patch
pattern
7 CM
7 CM
23⁄4"
ELBOW PATCH
CUT 1 PR SELF
31⁄2"
9 CM
9 CM
3 1 ⁄2 "
23⁄4"
7 CM
7 CM
23⁄4"
step 21
Developing the raglan panel sleeve
• Before you can separate the sleeve for the raglan you need
to establish the elbow patch position. Trace off the sleeve
pattern from Step 19. From the center line along the elbow
level measure 43⁄8in out into the back sleeve and mark. Align
one side of the elbow patch pattern to this point and, using
the pattern as a template, draw in the patch position.
• Separate the sleeve into two halves, naming them front
and back.
• Trace off the back raglan shape from Step 3. Add to the
sleeve cap by placing the shoulder tips together at the new
shoulder tip and aligning the tips of the raglan to the sleeve
cap lines.
BACK
SHOULDER
UNDER ARMLINE
ALIGNMENT
NOTCH
11 CM
ELBOW LINE
43⁄CM
8"
11
HEM FACING
ELBOW LINE
ELBOW
ELBOWLEVEL
LINE
H.
ALLOWANCE
HEM
FACING
UNDER ARMLINE
BACK SLEEVE
MASTER PLAN
ELBOW
ELBOWLEVEL
LINE
ELBOW LINE
HEM FACING
HEM FACING
FRONT SLEEVE
FRONT
SLEEVE
MASTER PLAN
MASTER
PLAN
CENTRAL LINE
CENTRAL
LINE
ELBOW LINE
BICEPS LEVEL
UNDER
ARMLINE
BACK
BACKSLEEVE
SLEEVE
MASTER
PLAN
MASTER
PLAN
MASTER PLAN
SLEEVE
SLEEVE
MASTER
MASTER
PLAN
PLAN
11 CM
BICEPS LEVEL
UNDER
ARMLINE
BACK SLEEVE
UNDER ARMLINE
BICEPS LEVEL
FRONT
SHOULDE
CENTRAL LINE
MASTER
PLAN
FRONT
SHOULDER
BACK
SHOULDER
CENTRAL LINE
ALIGNMENT
NOTCH
SLEEVE
CENTRE LINE
E
R
BACK
BACK
SHOULDER
SHOULDER
UNDER ARMLINE
CENTER
CENTRELINE
LINE
CENTRE LINE
UNDER ARMLINE
• Trace off the front raglan shape from Step 3. Add to the
sleeve cap by placing the shoulder tips together at the new
shoulder tip and aligning the tips of the raglan to the sleeve
cap lines.
• It is important that the raglan sleeve panels have a fluid line.
To do this, shape the shoulder tip and the points where the
raglan shapes join the sleeve cap with shallow curves.
H. ALLWNCE
HEM
FACING
UNDER AR
FRONT S
MASTER
ELBOW LEVEL
ELBOW
LINE
ELBOW
H. ALLWNCE
HEM
FACING
HEM FACING
HEM FAC
waxed jacket 297
FRONT RAGLAN
CUT 1 PR SELF
FRONT
RAGLAN
SLEEVE
FRONT
RAGLAN
CUT 1 PR SELF
BACK RAGLAN SLEEVE
CUT 1 PR SELF
BACK RAGLAN SLEEVE
CUT 1 PR SELF
step 22
Raglan panel sleeve patterns
GRAIN LINE
GRAIN
LINE
GRAINLINE
GRAIN
LINE
GRAINLINE
GRAIN LINE
• Following the instructions on page 50, trace off the front and
back raglan panels as separate patterns.
step 23
Developing the shaped convertible collar with stand
• On a new piece of paper draw a 95⁄8in horizontal line
and mark the left end (A) and the right end (B). This is
the neckline.
• From (A) square up 15⁄8in and mark (G), and a further 31⁄8in
and mark (D). This is the center back neck.
• Finish drawing the rectangle by marking the top right corner
(E) and connecting it down to (B).
• To shape the stand, measure up 3⁄8in from (B) and mark (F).
From (B) square in 25⁄8in and mark (C). Join to (F) with
an angled line.
• From (E) square out 9⁄16in and draw an angled line down
to (F). Measure a further 3⁄8in up to create the collar point.
From the collar point draw a curved line back toward (D).
• From (G) square across to the angled front edge, and from
(C) square up to this horizontal line. Measure down 3⁄16in from
where the line from (G) intersects the angled front edge and
mark (H). Connect (H) back to the point above (C) with a
slight curve.
• Starting from (A) make three marks along the neckline at a
distance of 13⁄4in apart, and square up from each mark to the
top line of the rectangle to make three cut lines.
⁄
3
18CM
"
D
E
COLLAR
MASTER
PLAN
CENTRE
CENTER FRONT
CENTRE BACK NECK
CENTER
1
8 3CM
⁄8 "
⁄
9 CM
1.5
16"
3
0.5
⁄16"CM
H
G
SHOULDER
NOTCH
STAND
MASTER
PLAN
4 5CM
1
⁄8"
F
A
3
1
⁄4"CM
4.5
3
4.5
⁄4"CM
1
3
4.5
1
⁄4"CM
4.5
13⁄4CM
"
5
24.5
9
⁄8" CM
298 Chapter five the patterns: outerwear
0.9 CM
0.4 CM
0.4 CM
0.
3 CM
1
⁄8"
C
NECK LINE
NECKLINE
6.5
25⁄8"CM
B
MASTER
PLAN
CENTRE FRONT
CENTRE FRON
CENTRE BACK NECK
STAND
F
MASTER
PLAN
1 CM
SHOULDER
NOTCH
REMOVE
REMOVE
3
0.9
⁄8"CM
0.4 CM
3
⁄16CM
"
0.4
"
0.4⁄16CM
3
0.5 CM
H
• Cut down the vertical lines on the collar shape, leaving them
F
attached at the bottom
by a fraction of an inch. Starting from
C
1 CM
the center back open out each line by 3⁄16in, curving down the
B
6.5From
CM
collar.
the center
back remove 3⁄8in width, which is the
amount lost by closing the stand up.
• Cut down the vertical lines on the stand shape, leaving them
attached at the bottom by a fraction of an inch. Overlap the
tops by 1⁄8in toward the center back so that it brings up
the neckline.
0.⁄416"CM
3
COLLAR
MASTER
PLAN
COLLAR
MASTER
PLAN
1
0.3⁄8"CM
E BACK NECK
CENTRR
CENTE
1
0.3
⁄8"CM
1 "M
0.3⁄8C
STAND
MASTER
PLAN
0.3 CM
0.3 CM
CENTRE BACK NECK
0.4 CM
CENTRE BACK NECK
CENTER
NECK LINE
NECKLINE
0.3 CM
STAND
MASTER
PLAN
NECK LINE
step 25
Collar stand and collar patterns
• Trace off the collar pattern and, following the instructions on
page 50, create the full pattern shape.
GRAIN
LINE
GRAINLINE
• Trace off the collar stand and, following the instructions on
page 50, create the full pattern shape.
COLLAR
CUT 1 PR SELF
SHOULDER
NOTCHES
SHOULDER
NOTCHES
COLLAR STAND
CUT 1 PR SELF
GL
GL
0.4 CM
PLAN
development by tracing
• Remove the stand shape from the
C
NECK LINE
onto a separate piece of paper, including the vertical B
4.5 CM
4.5 CM
6.5 CM
NECK LINE
cut lines.
24.5 CM
A
4.5 CMthe collar shape
4.5 CMfrom the development
4.5 CM
4.5 CM
• Remove
by tracing
24.5 CM the cut lines
onto a separate piece of paper. Trace across
from the stand.
4 CM
4.5 CM
SHOULDER
NOTCH
0.5 CM
step 24
H
STAND
Separating
and shaping
the stand and collar
MASTER
G
CF
8 CM
waxed jacket 299
BA
CU
0.5 CM
0.5 CM
0.5 CM
SHOULDER
HIGH
POINT
NECK POINT
SHOULDER
FRONT
POINT
• Following
the instructions on page 50, trace off a copy ofUNDERARM
the
POINT
front body0.5from
the
pattern
in
Step
6.
Remove
the
side
vent,
0.5 CM
CM
placket shape, and hem
allowance.
LINING
SLEEVE
CUT1 PR LINING
• Next you need to add
ease by increasing the armhole width
to allow for movement. From the underarm / side seam
corner measure up 3⁄16in and mark, and out 3⁄16in and mark.
Find the new underarm / side seam corner and draw a line,
blending it back up to the high point shoulder.
• To extend the length and give the lining an overlap at the
hemline measure down 3⁄8in from the hemline and square
across, labeling the line fold, and measure down a further
3
⁄8in and square across, to give a 3⁄4in overlap.
• From the new underarm / side seam corner blend the side
seam down to meet the original hemline.
GRAIN LINE
UNDERARM
/ SIDE SEAM
UNDERARM
CORNER
POINT
⁄
0.5 3CM
⁄16"
2 CM
GRAIN LINE
GRAINLINE
FRONT LINING
CUT1 PR LINING
2 CM
FOLD
2 CM
3
0.5
16"CM
0.5 CM
BACK
UNDERARM
0.5 CM
step 26
Developing the front lining
3
2 CM
⁄4"
⁄
3
24CM
"
FOLD
step 27
Developing the back lining
HIGH
POINT
SHOULDER
SHOULDER
NECK POINT
⁄
3
0.5
16"CM
UNDERARM
/ SIDE SEAM
UNDERARM
CORNER
POINT
3 CM
PLEAT 2
⁄4"
3 CM
PLEAT 2
⁄4"
SHOULDER
HIGH POINT
NECK
POINT
SHOULDER
CENTRE BACK
CENTER
NECK POINT
3
0.5
⁄16"CM
BACK LINING
CUT1 PR LINING
0.5 3CM
⁄16"
GRAIN LINE
300 Chapter five the patterns: outerwear
3
2 CM
⁄4"
FOLD
UNDERARM
UNDERARM
/ SIDE SEAM
POINT
CORNER
3
0.5
⁄16"CM
GRAIN LINE
GRAINLINE
• Following the instructions on page 50,
trace off a copy of the half back body
from Step 12. Before mirroring the
shape over to create a full pattern, you
need to add ease to the center back to
allow the lining to expand across the
shoulderblades and also to increase
the armhole to allow for movement.
• From the center back neck point
measure out 3⁄4in and connect this
point to the hemline; this will become
the pleat at the center back neck.
• Double over the shape to create the
full pattern. Remove the side vent and
its negative shape in the body of the
lining itself.
SHOULDER
• On each side, from the underarm
/
NECK POINT
side seam corner measure up 3⁄16in
and out 3⁄16in and mark. Find the
new corner and connect back up to
the high point shoulder.
• To extend the length and give the
lining an overlap at the hemline
UNDERARM
POINT 3⁄8in from the hemline
measure down
and square across,
labeling the line
0.5 CM
fold, and measure down a further
LINING
3
⁄8in and square across,FRONT
to give
CUT1 PR LINING
a 3⁄4in overlap.
• From the new underarm corner blend
the side seam down to meet the vent.
0.5 CM
ONT
DERARM
NT
UNDERARM
POINT
⁄
3
24CM
"
3
0.5
⁄16"CM
FRONT SLEEVE
FRONT
CORNER AT
UNDERARM
BICEPS LEVEL
POINT
3
0.5
16"CM
⁄
BACK
SLEEVE
BACK
CORNER
AT
UNDERARM
BICEPS
LEVEL
POINT
3
0.5
⁄16"CM
Matching the measurements
Having enlarged the armhole lining,
we will now increase the sleeve cap so
that the measurements match. At the cuff
hem we will increase the length of the
lining so that when the arm is raised the
lining will not pull the outer sleeve.
0.5
3
⁄16"CM
step 28
Developing the sleeve lining
⁄
3
0.5
16"CM
0.5 3CM
⁄16"
• Trace off a copy of the front and back sleeve patterns from
step 21. Join the two separate patterns back together at the
center line so you can make a full lining pattern.
• From the front corner of the sleeve at biceps level measure
out 3⁄16in and up 3⁄16in and mark, and from the back corner of
the sleeve at biceps level measure out 3⁄16in and up 3⁄16in and
mark; find the new sleeve corners and draw lines back up to
the shoulder seam.
• From the new front and back corner of the sleeve at biceps
level blend the side seams down to meet the sleeve hemline.
• From the sleeve hemline measure down 3⁄8in and square
across and label the line fold, and measure down a further
3
⁄8in and square across, to give a 3⁄4in overlap.
GRAIN LINE
GRAINLINE
SLEEVE LINING
CUT1 PR LINING
3
2 CM
⁄4"
FOLD
3 CM
2
⁄4"
waxed jacket 301
pattern
Parka
FRONT
PITCH
NOTCH
POINT
WAISTLINE
Start by selecting the basic men’s upper body sloper, or by
drafting the basic sloper according to the instructions on page
40. Cut a large piece of drafting paper slightly longer than the
length of the coat you want to develop and transfer the shape
of the sloper and all marks, labels, and instructions, following
the directions on page 48.
302 Chapter five the patterns: outerwear
HEMLINE
FRONT MASTER
PLAN
PLAN
CENTRE FRONT
CENTER
BACK MASTER
PLAN
GRAIN LINE
GRAINLINE
CHEST LINE
LEVEL
SIDE SEAM
step 1
Developing the master plan
BACK
BACK
PITCH
NOTCH
POINT
CENTRE BACK
CENTER
This pattern includes development
of the following features:
Adding volume to the side seam, front, and back panels
Enlarging the neckline
Creating a grown-on placket
Extending and shaping the hemline with a fishtail at the back
and a drawstring channel
Creating a drawstring channel at the waistline
Lowering the armhole
Developing front patch pockets with flaps
Developing a two-piece casual sleeve
Developing a collared hood with center zipper and fur panel
Developing a full body lining
"M
1⁄ C
"M
2⁄ C
30⁄16
.5" CM
3 8
2⁄4CM
"
3 CM
2
⁄4"
3 CM
2
⁄4"
4
15CM
⁄8"
BACK MASTER
PLAN
NEW SIDE SEAM
WAISTLINE
FRONT MASTER
PLAN
PLAN
GRAIN LINE
GRAINLINE
OLD SIDE SEAM
CENTRE BACK
CENTER
CENTER
CENTRE
FRONT
NECK
POINT
3
POINT
TIP
UNDERARM
LINE
BICEPS LEVEL
82
321CM
⁄4"
OLD SIDE SEAM
HEMLINE
NEW HEMLINE
3
3 1CM
⁄16"
3 CM
13⁄16"
33⁄CM
1
16"
10 CM
4"
12 CM
43⁄4"
52"CM
FRONT MASTER
PLAN
PLAN
FRONT MASTER
PLAN
PLAN
FRONT MASTER
PLAN
UNDERARM LINE
5 CM
2"
3
14.5
5
⁄4" CM
14.5 CM
3
14.5
5
⁄4" CM
GRAIN
LINE
GRAINLINE
CENTRE FRONT
CENTER
SIDE SEAM
SIDE SEAM
CENTRE
CENTER FRONT
3
14.55CM
⁄4"
GRAIN LINE
GRAINLINE
104"CM
UNDERARM
LINE
BICEPS LEVEL
GRAIN LINE
SIDE SEAM
10 CM
UNDERARM / SIDE
UNDERARM
SEAM CORNER
POINT
• Following the instructions on page 50, trace off the front 5 CM
body shape from the master plan onto a separate piece
of paper.
• From the center front at the hemline, measure in 53⁄4in
(half the width of the panel) and mark. From the side seam
measure in 53⁄4in along the waistline and from here square
14.5 CM
up 4in and mark.
• From the underarm / side seam corner measure 2in up
the armhole and from this point draw a line down to meet
the mark made above and then a straight line down to the
hemline. This is the cut line.
• From the hemline cut up along the cut line to just under
the armhole.
• Keeping the center front vertical, open the cut line 2in at the
hem to add in the volume.
• Redraw the hemline.
14.5 CM
SIDE SEAM
CHEST LEVEL
LINE
4 CM
15⁄8"
FRONT MASTER
PLAN
UNDERARM
POINT
NEW
NEW
FRONT
BACK
BACK
NEW
PITCH NEW
SHOULDER
NOTCH
POINT FRONT
FRONT
PITCH
NOTCH
POINT
CENTRE FRONT
step 3
Adding volume to the front to create
the silhouette
BACK
SHOULDER
POINT
TIP
CENTRE
CENTER
BACK
NECK
POINT
FRONT SHOULDER
HIGH POINT
POINT
NECK
SHOULDER
3 4
3
0.5 3CM
⁄16"
• From the center front neck point measure down 3⁄4in and
from the front high point shoulder measure in 3⁄8in; repeat
at the back by measuring in 3⁄8in from the back high point
shoulder and 3⁄16in down the center back from the center
back neck point. Using the basic upper body sloper as a
template draw in the new necklines.
• From the front and back shoulder tips measure up 3⁄16in and
out 3⁄4in over the armhole and mark.
• Open up the side seam by adding in 15⁄8in between the front
and back body panels and repositioning.
• From the underarm / side seam corner square down 15⁄8in
and starting from this point draw in the new armhole,
connecting back up to the new dropped shoulder seam, using
the basic upper body sloper as a template. Draw in the new
notch positions on the lowered armhole.
• To extend the length, from the lowered neck measure 321⁄4in
down the center front. Square across to create the new
hemline and extend the side seam and the center back line.
• To shape the new hemline measure down a further 13⁄16in at
the center front and square across to the center back.
• To develop the parka fishtail design at the center back,
measure down a further 57⁄8in and square across to the side
seam to create a rectangle.
• Starting at the bottom of the extended rectangle at the
center back measure up 43⁄4in and mark, and measure in 2in
toward the side seam and mark. Join these points with an
angled line 4in long. Using a French curve draw an arc from
the 2in point up to the side seam and curve down toward the
center front.
0⁄16
.5" C
23⁄4"CM M
3 CM
1
⁄8 "
BACK SHOULDER
HIGH POINT
POINT
NECK
SHOULDER
CENTRE FRONT
CENTER
step 2
Developing the enlarged neck, dropped
shoulder, lowered armhole, and extended
hemline, and shaping the hem length with
volume added to the side seam
5 CM
5 2"
CM
parka 303
step 4
Developing the front placket, front placket
facing, and hemline facing
step 5
Developing the drawstring channel line and
pocket position
• Develop the front placket on the pattern shape developed in
the previous step. From the center front neck point square
out 7⁄8in and square in 7⁄8in. Repeat at the hemline and
connect the points with vertical lines to form the 13⁄4inwide placket.
• From the new placket line at the center front neck point
measure 23⁄8in in to the body, and repeat at the hemline;
join with a vertical line. This will be the width of the
facing pattern.
• To develop the hemline facing measure up 15⁄8in from the
hemline at the front facing width line and at the side seam;
join these points with a line following the shape of the hem.
• From the underarm / side seam corner measure 75⁄8in down
the side seam and mark, and a further 3⁄4in and mark. Square
in to the front and create a rectangle 57⁄8in long and 3⁄4in
wide; this will become the drawstring channel.
• Developing the pocket flap and pocket bag shape on the
master plan itself allows you to assess the proportions in
relation to the body front.
• Measure a further 31⁄2in down the side seam and mark; this is
the top of the pocket flap positioned over the side seam.
• From this point square in 87⁄8in and square out 13⁄8in. To
develop the rectangle that will become the pocket flap shape,
measure down 4in on both sides and connect these points
with a straight line.
• Make a mark halfway along the bottom line (5in); measure
up 3⁄4in on each side and draw lines back to the center of the
CENTRE FRONT
bottom line to create an envelope
NECK POINTpoint to the pocket flap.
• The pocket bag sits 3⁄8in underneath the flap: first, measure
3
⁄8in down the side seam and mark.
• From this point square in 85⁄8in and square out 13⁄16in to
create a line 97⁄8in long.
FRONT MASTER
• To develop
the
pocket bag shape square down 105⁄8in on
PLAN
each side and connect these points with a straight line.
8 CM
3 CM
2.25 CM
2 CM
FRONT MASTER
PLAN
3 CM
FRON
T HEM FAC
ING
3
62CM
⁄8"
PLACKET
DEVELPOMENT
DEVELOPMENT
4 CM
22 CM
FRONT MASTER
PLAN
PLAN
5
19.57CM
⁄8 "
DRAWSTR
STRING
ING
FRON
CHANEL
NEL
T HEM FAC
3 ING
2 CM
⁄4"
9 CM
3 1⁄2"
3
0.51CM
⁄8"
3
13⁄CM
16"
1
8 3CM
⁄8"
3
2 CM
⁄4"
15
5 7⁄8"CM
8"
13⁄CM
7
22.
8
⁄8"5 CM
22
85⁄8"CM
3
13⁄CM
16"
5
2710
CM
⁄8"
41CM
⁄8"
5
4 CM
FRON
T HEM FAC
ING
6 CM
PLACKET
DEVELPOMENT
304 Chapter five the patterns: outerwear
CENTER
CENTRE FRONT
NECK POINT
1 CM
22 CM
27 CM
CENTRE FRONT
FACING DEPTH LINE
4
15CM
⁄8 "
15 CM
1 CM
22.5 CM
GRAIN LINE
9 CM
0.5 CM
DRAW STRING
CHANEL
FRONT
CUT 1 PR SELF
5
22
8
⁄8"CM
FRON
T HEM FACIN
G
13⁄CM
8"
CENTRE FRONT
CENTER
2 CM
FACING DEPTH LINE
CENTRE FRONT
CENTER
FACING DEPTH LINE
19.5 CM
FACING DEPTH LINE
FRONT MASTER
PLAN
PLAN
CENTRE FRONT
CENTER FRONT
NECK POINT
7
2.25 CM
⁄8"
23⁄8"
FRONT
CUT 1 PR SEL
CENTRE FRONT
NECK POINT
CENTRE FRONT
NECK POINT
2.25 CM
6 CM
FRONT MASTER
PLAN
19.5 CM
FACING DEPTH LINE
FACING DEPTH LINE
step 6
Front body pattern
FRONT
CUT 1 PR SELF
CENTRE FRONT
FRONT MASTER
PLAN
0.5 CM
3 CM
8 CM
2 CM
1 CM
GRAIN LINE
GRAINLINE
CENTRE FRONT
DRAW STRING
• Following the instructions on page 50,
trace
off the front
CHAN
EL
2 CM
body pattern, indicating all the placement positions for the
15 CM
9 CMfront placket
drawstring channel, pocket, and
facing.
22.5 CM
1 CM
22 CM
3 CM
27 CM
4 CM
FRON
T HEM FAC
ING
ING
1 CM
1 CM
6 CM
PLACKET
DEVELPOMENT
1 CM
⁄8"
GRAIN LINE
3
⁄8"
3
FRONT PLACKET FACING
CUT 1 PR SELF
1 CM
step 7
Front placket facing and hem facing patterns
1 CM
⁄8"
⁄8"
3
1 CM
1 CM
1 CM
⁄8"
3
3
1 CM
1 CM
3
⁄8"
1 CM
GL
GRAIN LINE
⁄8"
FRONT HEM FACING
CUT 1 PR SELF
1 CM
1 CM
FRONT
3 "
⁄8
1 CM
⁄8"
3
SIDE SEAM
SIDE SEAM
FRONT
GRAIN
LINE
GRAINLINE
• Following the instructions on page 50, trace off the final
front placket facing pattern and the front hem facing pattern,
adding a 3⁄8in seam allowance on all sides.
1 CM
3 1 CM
8
1 CM
3
⁄"
1 CM
⁄8"
1 CM
3
3
⁄8"
1 CM
FRONT HEM FACING
CUT 1 PR SELF
FRONT PLACKET FACING
CUT 1 PR SELF
FRONT PLACKET
FACING
CUT 1 PR SELF
⁄8"
3
⁄"
⁄"
3 1 CM
8
1 CM
3 1 CM
8
⁄"
3 1 CM
8
1 CM
1 CM
1 CM
1 CM
FRONT
1 CM
FRONT HEM FACING
CUT 1 PR SELF
GRAIN LINE
SIDE SEAM
FRON
T HEM FAC
22 CM
1 CM
1 CM
1 CM
parka 305
step 8
Adding back volume to create the silhouette
step 9
Developing the hemline facing and drawstring
channel line
• Following the instructions on page 50, trace off the back
body shape from the master plan onto a separate piece
of paper.
• From the center back at the hemline, measure in 53⁄4in
(half the width of the panel). From the side seam measure
in 53⁄4in along the waistline and from here square up 4in
and mark.
• From the underarm / side seam corner measure 2in up
the armhole and from this point draw a line down to meet
the mark made above and then a straight line down to the
hemline. This is the cut line.
• Keeping the center back vertical, open the cut line 23⁄8in at
the hem to add in the volume.
• Redraw the hemline.
BACK MASTER
PLAN
PLAN
BACK MASTER
PLAN
BACK MASTER
PLAN
BACK MASTER
PLAN
PLAN
BACK MASTER
PLAN
• Develop the hemline facing on the pattern shape developed
in the previous step. To develop the back hemline facing,
measure up 15⁄8in from the hemline at the center back and
at the side seam. Join these points with a line following the
shape of the hem.
• From the underarm / side seam corner measure 75⁄8in
down the side seam and mark, and a further 3⁄4in and mark.
From both points square across to the center back; this will
become the drawstring channel.
BACK MASTER
PLAN
BACK MASTER
PLAN
BACK MASTER
PLAN
BACK MASTER
PLAN
PLAN
UNDERARM LINE
14.5 CM
2 CM
75⁄8"
GRAIN
LINE
GRAINLINE
2 CM
SIDE SEAM
UNDERARM
POINT
GRAIN
GRAIN
LINE LINE
UNDERARM LINE
CENTRE BACK
14.5 CM
SIDE SEAM GRAINLINE
GRAIN
GRAIN
LINE LINE
14.5 CM
5 CM
CENTRE
CENTRE
CENTER
BACKBACK
53⁄4CM
"
14.5
10 CM
CENTRE BACK
14.5 CM
10 CM
104"CM
GRAIN
GRAIN
LINE LINE
GRAINLINE
CENTRE
CENTRE
BACKBACK
CENTER
14.553CM
⁄4"
SIDE SIDE
SEAMLINE
SEAM
GRAIN
UNDERARM
POINT
/ SIDE SEAM
5 CM
UNDERARM LINE
UNDERARM
CORNER
POINT
UNDERARM LINE
UNDERARM
LINE
BICEPS
LEVEL
GRAIN
LINE
AMSE
AM
SE
DE
SIDE SI
5
2"CM
UNDERARM
LINE
BICEPS
LEVEL
2 CM
DRAWSTRING CHANEL
3
2 CM
2 CM
⁄4"
CHANNEL
TRING
ING CHANEL
DRAWSTR
DRAWSTRING CHANEL DRAWS
3
2
⁄4CM
"
4 CM
14.5
4"
53⁄CM
14.5 CM
14.5 CM
14.5
53⁄4CM
"
14.5 CM
14.5 CM
306 Chapter five the patterns: outerwear
6 CM
4 CM
6
⁄8"
23CM
4 CM
6 CM
G
CIN
FA
EM1
5
H
CM
4
⁄
8" ING
C
CK
FA
BA
M
HE
K
C
BA
4 CM
CK
BA
G
CIN
FA
M
HE
4
15CM
⁄8"
step 10
Back, back hem facing, and drawstring
CHANNEL patternS
• Following the instructions on page 50, trace off the back
pattern. Indicate the placement positions for the drawstring
and hem facing. Indicate the position of the pocket by lining
up this back pattern with the front from Step 5 at the side
seam; trace the pocket position onto the back pattern with
dotted lines.
• Trace off the back hem facing onto a new piece of paper and,
following the instructions
on page 50, create the full pattern
1 CM
shape. Add a 3⁄8in seam allowance on all sides.
• Align the front and back body patterns at the side seam
and trace off the drawstring
1 CM channel and, following the
instructions on page 50, create the full pattern shape.
Add a 3⁄8in seam allowance on all sides.
GRAINLINE
GRAIN LINE
1 CM
BACK
BACK
CUT
SELF
CUT1 1PRPR
SELF
1 CM
1 CM
1 CM
DRA
AW
WSSTTRRIINNGGCCHHAANN
NN
ELEL
GRAIN LINE
1 CM
1 CM
DRAWSTRING CHANNEL
CUT 1 SELF
B
BA
13⁄CM
8"
13⁄CM
8"
DRAWSTRING CHANNEL
3
1 C⁄8M"
3
1 CM
⁄8 "
3
1 CM
⁄8 "
13⁄8CM
"
DRAWSTRING CHANNEL
CUT 1 SELF
GRAIN LINE
GRAINLINE
DRAWSTRING CHANNEL
CUT 1 SELF
13⁄8CM
"
BA 3
C
1K⁄8CM
"
HE
M
3
1 CM
⁄8 "
BA
CU CK H
T 1 EM
F
SE
LF ACIN
G
BACK
CUT 1 PR SELF
13⁄CM
8"
13⁄8CM
"
"
1 3C
⁄8M
1 3C⁄8M
"
BACK HEM FACING
CUT 1 SELF
3
1 CM
⁄8"
3
1 CM
⁄8"
GRAIN
GLLINE
⁄"
3
18CM
ACCK H
K EHM
EFMAC
NG
FIA
CIN
G
FA
CIN
G
parka 307
13CM
⁄8 "
⁄8"
1 CM
13
CM
1 CM
⁄"
3 1 CM
8
GRAINLINE
1 CM
step 11
Front pocket flap and bag patterns
FRONT POCKET FLAP
CUT 2 PR SELF
⁄"
1 CM
⁄8 "
⁄"
3
8
1 CM
⁄"
⁄"
13
CM
8 1 CM
1 CM
1 CM
3
1 CM
8
• Following the instructions on page 50, trace off the front
pocket flap pattern and add a 3⁄8in seam allowance on
all sides.
• Following the instructions on page 50, trace off the front
pocket bag pattern. Add a 3⁄8in seam allowance on three
sides and a 13⁄16in facing to the top.
⁄8"
13
CM
1 CM3 1 CM
3 1 CM
8
1 CM
⁄8"
1 CM
GRAIN LINE
GRAIN LINE
FRONT POCKET FLAP
CUT 2 PR SELF
1 CM
3
FRONT POCKET FLAP
CUT 2 PR SELF
3 CM
3 CM
FACING
133⁄16CM"
1⁄ "
3
3 CM
16
FACING
FACING
FOLD
FOLD
FOLD
FOLD
FOLD
FOLD
GRAINLINE
FRONT POCKET BAG
CUT 1 PR SELF
GRAIN LINE
GRAIN LINE
FRONT POCKET BAG
CUT 1 PR SELF
FRONT POCKET BAG
CUT 1 PR SELF
1 CM
13
CM
⁄8"
⁄"
3 1 CM
8
⁄"
31 CM
8
1 CM
1 CM
1 CM
⁄"
3 1 CM
8
TOP
OF
CROWN
SLEEVE
POINTCAP
BACK
FRONT
FRONT
PITCH
NOTCH
POINT
BACK
PITCH
NOTCH
POINT
NEW
UNDERARM
POINT
2.5 CM
AT BICEPS
LEVEL
2C
E
4 CM
UNDERTARM
FRON
FRONT
SEAM
UNDE
RARM
SEAM
ELBOW LINE
LINE
FOREARMFOREARM
LINE
CENTER LINE
CENTRE LINE
BACK LINEBACK LINE
Start this development by selecting the basic men’s sleeve
sloper, or by drafting the basic sleeve sloper according to the
instructions on page 42. Cut a large piece of drafting paper
slightly longer than the length of the shirt you want to develop
and transfer the shape of the sloper and all marks, labels, and
instructions, following the directions on page 48. The design
will be altered to reflect the dropped shoulder and the
lowered armhole.
M M
K SEA
SEA
step 12
Sleeve master plan
CORNER
UNDERARM
POINT
OF SLEEVE
LINE
UNDERARM
BICEPS LEVEL
BAC RM
RM ERA
UNDERA
K UND
BAC
UNDERARM
CORNER
POINT
OF
SLEEVE
AT BICEPS
LEVEL
HEMLINE
32 CM
SLEEVE HEM
308 Chapter five the patterns: outerwear
23⁄CM
4"
NEW BACK
NOTCH
NEW FRONT
NOTCH
NEW
SLEEVE
NEW
CORNER
AT
UNDERARM
BICEPS
POINT LEVEL
2 CM
⁄4"
3
UNDERARM FRONT SEAM
FOREARM LINE
CENTRE LINE
BACK LINE
UNDERARM BACK SEA
3
2 CM
⁄4"
BICEPS LEVEL
UNDERARM
LINE
NEW SLEEVE
CORNER AT
UNDERARM
BICEPS LEVEL
POINT
23⁄4CM
"
2.5 1"
CM
FRONT
PITCH
POINT
• Open the sleeve up along the center line by 3⁄4in.
• From the shoulder tip measure down 3⁄4in, the same amount
UNDERARM
LINE
UNDERARM
you dropped the shoulder
on the
upper body sloper.
POINT
• From the biceps level measure down 3⁄4in, half the amount by
which you dropped the armhole; redraw the new biceps level
position, extending it by 1in each side.
• Using the basic sleeve sloper cap shape as a template,
redraw the new sleeve cap, indicating the lowered notches.
• Draw the new underarm seams down to the sleeve hemline.
ELBOW LINE
• From the sleeve hemline square down 15⁄8in to create
the facing shape, pitching out at each side to reflect the
underarm seams when folded.
M
UNDERARM
POINT
3
2
⁄4"CM
1"
2.5 CM
BACK
PITCH
step
13
POINT
Developing the sleeve
ELBOW LEVEL
LINE
ELBOW LEVEL
LINE
HEMLINE
HEMLINE
⁄8"
145CM
4 5C
1
⁄8"M
HEMLINE
HEMLINE
FACING
FACING
32 CM
SLEEVE HEM
2 CM
NEW
UNDERARM
POINT
UNDERARM LINE
step 14
Sleeve pattern
NEW
UNDERARM
POINT
2 CM
2.5 CM
2 CM
2.5 CM
ELBOW LINE
ELBOW LINE
• Following the instructions on page 50, trace off the final
sleeve pattern.
SLEEVE
CUT 1 PR
PR SELF
SELF
HEM STITCH
STITCH LINE
LINE
HEMLINE
HEMLINE
FACING
4 CM
UNDERARM
POINT
2 CM
GRAIN LINE
GRAINLINE
2 CM
4 CM
UNDERARM FRONT SEAM
CROWN
POINT
FOLD
FOLD
parka 309
step 15
Developing the collared hood
• Starting at the bottom right side of your paper mark point
(A) and draw a 97⁄8in horizontal line left (the length of the
combined neck measurement) and mark point (B).
• From (A) square up 153⁄4in (half the head circumference) and
mark point (C). Complete the rectangle and mark point (F).
• From (B) square up 21⁄2in (the neck height) and mark
point (D). Square in 3⁄4in and mark; label this point center
back neck.
• From (D) measure up 4in and mark point (E). Square in 3⁄4in
and mark.
• Using a French curve draw in the neckline from (A) up to the
center back line 3⁄4in in from (D). Measure 47⁄8in (the front
neck measurement) along this line from (A) and mark the
shoulder notch.
• To shape the front opening, from (A) add on the front placket
width, which is 13⁄4in. To do this, extend the neckline by 7⁄8in
(half the placket width) and then square up 23⁄4in; from this
point square back 13⁄4in and mark.
• From (C) measure down 2in and then square out 2in and
mark; this is the top of the front opening. Using a French
curve, draw in the curved front opening from the mark
you made at the top of the placket to the top of the
front opening.
• From the front opening draw the hood shape (determined by
the design, head size, neck opening, and usage) back around
to the mark 3⁄4in out from (E).
• To enlarge the hood, draw a cut line at a slight angle from the
shoulder tip through the hood down to finish just in front of
the shoulder tip notch.
There are three measurements you need to
create the pattern for the hood:
1. The front and back neck measurements,
taken from the pattern—here they are
47⁄8in and 47⁄8in. If you are developing
a hood with a center back panel,
remember to deduct the panel width
from the final neck measurement as
well as from the crown and
front opening.
2. The front and back neck height, found
by placing the front pattern on top of
the back pattern and aligning them at
the chest level, then measuring the
distance between the front and back
neck heights—here it is 21⁄2in.
3. The vertical circumference of the
head, taken for the hood opening
by measuring around the face of the
model’s head, starting and finishing
at the center front neck point—here it
is 311⁄2in.
F
F
C
F
2"
5 CM
ENEN
D OP
& OP
CUT AN
8.5 CM
E
23⁄4CM
"
104"CM
3
2 CM
⁄4"
E
E
HOOD MASTER
PLAN
153⁄CM
4"
40
CENTRE FRONT LINE
CENTREFRONT
CENTER
FRONTLINE
LINE
HOOD MASTER
MASTER
HOOD
PLAN
GRAIN LINE
BACK
HOO
D LI
NE
2"CM
5
GRAIN
GRAINLINE
LINE
B
BA CK
HO
OO
OD
D LLIN
INEE
C
C
7
9
⁄8"CM
25
NECKLINE
310 Chapter five the patterns: outerwear
A
A
CB
D
72 3⁄C
4"
M
CF
B
B
4.153
⁄4C" M
NECNKELC
INKE LINE
SHOULDER
NOTCH
CF
6.5
21⁄2CM
"
CB
D
D
B
A
CENTRE
E
4.5
NECK LINE
CM
D
CF
6.5 CM
D
CB
step 16
Adding volume to the hood
CB
2 CM
10 CM
2 CM
E
7 CM
• Cut along the cut line from the top, leaving the shape
• From the new
front opening position measure out 1in and
A
B
25 CM
B
connected by a fraction of an inch.
NECKLINE mark. From this point square back to the top of the hood
3
• Moving it clockwise, open the front by 3 ⁄8in, which will pitch
panel; then from the same point square back down to the
bottom of the opening, finishing with a slight curve to
down the center front. Redraw the top of the hood.
meet the front placket. This creates a straight front for the
addition of the fur panel.
C
E
E
C1M
"
2.5
CENTRE
LINE
CENTERFRONT
FRONT
LINE
HOOD MASTER
MASTER
HOOD
PLAN
PLAN
GRAIN LINE
GRAINLINE
B
BAACCKKH
GRAIN
LINE
GRAINLINE
CENTRE
CENTERFRONT
LINE
FRONT
LINE
HOO
OO
DD
LI N
LEINE
N
LEIN
E
B
BAACCKKH
HOO
OO
DD
LI
CENTRE FRONT LINE
HOOD MASTER
MASTER
HOOD
PLAN
PLAN
40 CM
E
E
D
D
A
A
CF
B
B
B
B
A
A
C
step 17
Developing the full hood, neck facing, zipper, and fur panel
EL
CM
REM
RO
EM
VE
OV
ZE
IPZ
PIEP
RCCE
BACK HO
OD L
TNRT
INE
R
E
N
L
PNAE
PEA
83 1C
⁄8"M
23⁄4C
"M
133⁄CM
16"
NEW FACING STRIP
CF
7 CM
4
15CM
⁄8"
7
23⁄CM
4"
R
FU
N
PA
EL
FU
R
PA
NE
L
2.5
CENTRE FRONT LINE
• Trace off the hood shape and, following the instructions on
page 50, double it along the center back neck to create a
mirrored shape.
• To develop the facing shape, measure up 23⁄4in from the
M and center back and join these
neckline at the center front
8C
points with a line following the shape of the neckline.
HOOD
• To remove the center back
hood panel, in which
the zipper
M
MASTER
2C
is sandwiched, measure
in 3⁄4in along the backPLAN
hood line on
both sides, finishing 13⁄16in from the new facing strip.
• The fur panel is attached to the hood along the front
opening and will need a separate pattern. Measure 31⁄8in
back from the front opening and create a rectangular panel
on both sides.
CENTER
CENTRE
BACK
BACK
SHOULDER
NOTCH
CF
SHOULDER
NOTCH
72 3C
⁄4"M
7C
M
A
CF
GRAIN LINE
MASTER
PLAN
CF
C
F
7 CM
CB
CB
CB
CM
D
D
CF
C
C
8.5
33⁄8"CM
5 CM
4.5
F
F
C
C
F
F
5 CM
parka 311
A
HOOD
CUT 1 SELF
SHOULDER
NOTCH
1C
CUT 1 SELF
M
M
GRAIN LINE
GRAINLINE
NECK FACING
CUT 1 SELF
• Following the instructions on page
50, trace off the final hood pattern
removing the center zipper panel.
• Following the instructions on page
50, trace off the neck facing pattern,
adding a 3⁄8in seam allowance on
all sides.
7C
M
1 CM
CF
GRAIN LINE
GRAINLINE
NECK FACING
1 SELF
NECK CUT
FACING
CUT 1 SELF
1C
7 CM
SHOULDER
NOTCH
step 18
Hood and neck facing patternS
4C
3 CM
GRAIN LINE
CM
M
1C
1 CM
4 CM
CENTRE
BACK
1C
1
GRAIN LINE
7 CM
NEW FACING STRIP
GRAIN LINE
HOOD
CUT 1 SELF
1 CM
NECK FACING
CUT 1 SELF
HOOD
HOOD
CUT
1 SELF
M
7C
GRAIN LINE
8 CM
FO
13 C
⁄
⁄8" M
M"
13C8
GRAIN LINE
M
13 C8"
1
13C
⁄8"M
⁄
⁄8"M
13C
⁄ "M
13 C
⁄8 " M
1 CM
1 CM
31 C
8
8 CM
GRAIN LINE
M
⁄"
31 C8
NECK FACING
CUT 1 SELF
M
1
1C
1C
M
M
1 CM
1C
CM
1 CM
1C
M
1
1C
step 19
Centre BACK HOOD and fur panel patterns
CM
8 CM
⁄8"
1 CM
⁄8 "
M
3
1⁄8"CM
3
3
HOOD LINING
CUT 1 LINING
1
3 1 ⁄8 "
8 CM
⁄8"
83 CM
INSERT
INSERT ZIPPER
ZIP
FOLD
FOLD
GRAIN LINE
GRAINLINE
HOODHOOD
OPENING
EDGE
OPENING
EDGE
FUR
CUT 1 PR FUR
FOLD
FOLD
1 CM
CENTER
CENTRE BACK
BACKHOOD
HOODPANEL
PANEL
CUT 11 PR
PR SELF
SELF
FUR
CUT 1 PR FUR
GL
FUR PANEL
CUT 1 PR FUR
13⁄8CM
"
1 3CM
⁄8"
4 CM
1 CM
⁄8"
3
1 CM
⁄8 " 1 ⁄8 "
5
13CM
⁄8"
13CM
⁄8 "
3
1 CM
⁄8"
312 Chapter five the patterns: outerwear
13⁄CM
8"
13CM
⁄8"
13⁄CM
8"
1 3CM
⁄8"
3
M
1
13⁄CM
8"
1 CM
1C
1C
M
1C
15⁄8"
M
1 CM
⁄8"
3
4 CM
1 CM
• Construct the final center zipper panelCM
1
as a rectangle 15⁄8in wide by the length
of the back hood line measured from
Step 17, adding a 3⁄8in seam allowance
on all sides.
• Following the instructions on page 50,
trace off the fur panel from one side
of the hood from Step 17, doubling the
shape along the front opening. Add
a 3⁄8in seam allowance on all sides to
create the final pattern.
M
1C
8C
REMOV
E ZI
P
OD L
INE
M
BACK HO
2C
FU
R
PA
NE
L
M
3 CM
CF
1 CM
1 CM
GL
• Following the instructions on page 50,
trace off the hood lining pattern from
Step 17 without the neck facing, center
zipper, and fur panels.
1 CM
1 CM
⁄ "
4 CM
UNDER
POINT
1 CM
SHOULDER
SHOULDER
TIP
POINT
0.53⁄CM
16"
0.5 CM
• Following the instructions on page 50, trace off a copy of the
UNDERARM
UNDERARM
/ SIDE SEAM
front body shape from
UNDERARM
POINT Step 6. Remove the facing shape from
CORNER
POINT
the front. The remaining0.5shape
will
become
the
front
lining.
CM
0.5 ⁄CM
"
• Next, you need to add ease by increasing
the armhole width
BACK LINING
LINING
PR
1
CUT
to allow for movement. From the shoulder
tip measure out
3
⁄16in and mark, and up 3⁄16in and mark.
Find
the new shoulder
1 CM
tip, and from this point draw a line following the curve of the
shoulder back to the front high point shoulder.
FUR
• From the underarm / side2 CM
seam corner measure up 3⁄16in
CUT 1 PR FUR
2 CM
8 CM
and mark, and out 3⁄16in and mark. Find the new corner
2 CM
⁄"
and draw a line 3⁄16in out from the original armhole back
up to the new shoulder tip.
HOOD OPENING EDGE
FOLD
FOLD
GRAIN LINE
• To extend the length and give the lining an overlap at the
1C
waistline, cut it in half,
and open it up by moving the panels
M
apart by 3⁄4in.
8 CM
• From the new underarm / side seam corner blend the side
1 C to meet the original hemline.
seam down
M
16
FRONT
FRONTLINING
LINING
CUT 11PR
CUT
PRLINING
LINING
1 CM
⁄"
3
24CM
4
SIDE SEAM
1C
M
3
GRAINLINE
GRAIN LINE
GRAIN LINE
1 CM
3
3
0.5
⁄16"CM
0.5 CM
step 21
Developing the front lining
FRONT
FRONT
HIGH
POINT
SHOULDER
SHOULDER
NECK POINT
1 CM
3
0.5
16 CM
PLEAT
0.5 CM
POINT
SHOULDER
POINT
CUT 1 PR SELF
1.5 CM
1 CM
BACK
CENTRE
SHOULDER 1 CM BACK
NECK POINT
NECK
CENTRE BACK HOOD PANEL
1 CM
INSERT ZIP
4 CM
M
1 CM
1 CM
1 CM
1 CM
SHOULDER
NOTCH
1C
TRE
ACK
HOOD LINING
HOOD
LINING
CUT 1 LINING
CUT 1 LINING
step 20
Final hood lining pattern
7C
M
CING STRIP
7 CM
CM
parka 313
⁄ "
PLEAT
PLEAT
SHOULDER
SHOULDER
TIP
POINT
0.53CM
⁄16"
• Following the instructions on page 50, trace off a copy of the
back body from Step 9.
• You will need to add ease to the center back to allow the
lining to expand across the shoulder blades and also to
increase the armhole to allow for movement. From the center
back neck point measure out 9⁄16in and connect this point to
the waistline; this will become the pleat.
• From the back shoulder tip measure out 3⁄16in and mark, and
up 3⁄16in and mark. Find the new shoulder tip and draw a line
following the curve of the shoulder back to the back high
point shoulder.
• From the underam / side seam corner measure up 3⁄16in
and mark, and out 3⁄16in and mark. Find the new underarm /
side seam corner and draw a line 3⁄16in out from the original
armhole back up to the new shoulder tip.
• To extend the length and give the lining an overlap at the
waistline, cut it in half and open it by moving up by moving
the panels apart by 3⁄4in.
• From the new underarm / side seam corner blend the side
seam down to meet the original hemline.
⁄ "
3
0.5
16 CM
UNDERARM
/ SIDE SEAM
UNDERARM
CORNER
0.5
POINT
UNDERARM
POINT
0.53CM
⁄16"
0.5 CM
GRAIN LINE
GRAINLINE
BACK
LINING
BACK LINING
CUT 11PR
CUT
PRLINING
LINING
3
2 CM
⁄4"
3 CM
2
⁄4"
2 CM
⁄ "
3
0.5
⁄16"CM
POINT
⁄ "
SLEEVE
CORNER
AT BICEPS
UNDERARM
LEVEL
3
0.5
16 CM
TOP OF
CROWN
SLEEVE
POINT
CAP
0.53CM
⁄16"
POINT
SLEEVE LINING
SLEEVE
CUT
1 PR LINING
LINING
0.5 CM
CUT 1 PR LINING
GRAIN LINE
0.5 CM
• Following the instructions on page 50, trace off a copy of the
sleeve from Step 14.
• From the shoulder tip measure up 3⁄16in and mark, and
from the front and back corners of the sleeve at biceps level
UNDERARM
POINT
measure
out 3⁄16in and mark and up 3⁄16in and mark. Find the
new corners0.5ofCMthe sleeve and connect the front, the cap, and
the back with a curved line.
FRONT LINING
PR LINING
CUT 1 back
• From the new front and
corners of the sleeve at biceps
level draw a line down to blend in with the sleeve hemline.
• From the sleeve hemline measure down 3⁄4in and square
across to increase the length of the lining, pitching out at
each side to reflect the underarm seams when folded.
2 CM
314 Chapter five the patterns: outerwear
2 CM
SLEEVE
CORNER AT
BICEPS
LEVEL
UNDERARM
POINT
3 CM
0.5
⁄16"
GRAIN LINE
GRAINLINE
0.5 CM
Matching the measurements
Having enlarged the armhole lining, we
will now increase the sleeve cap so that
the measurements match. At the sleeve
hemline we will increase the length
FRONT
of the lining so that SHOULDER
when the arm is
NECK POINT
raised the lining will not pull the
outer sleeve.
SHOULDER
3
0.5
16 CM
step 23
Developing the sleeve lining
PLEAT
2 CM
3
0.5
⁄16"CM
step 22
Developing the back lining
CENTER
CENTRE
BACK
BACK
NECK
NECK
POINT
POINT
9
1.5
16 CM
BACK
BACK
HIGH POINT
SHOULDER
SHOULDER
NECK
POINT
3
2 CM
⁄4"
⁄"
3
24CM
parka 315
GLOSSARY
Annotation Label or instruction added
to a pattern to indicate grainline,
piece name, season, cut ratio, internal
features, and fabric used.
Awl Wooden- or plastic-handled metal
spike used to puncture small holes
through pattern card, paper, or fabric.
Back high point shoulder Point
where the shoulder line and the
back neckline meet.
Back shoulder seam Line between the
neck and armhole that rests along the
shoulder on the final garment.
Back shoulder tip Point where the
shoulder line and the armhole line meet.
Back underarm point Lowest point of
the armhole, usually where it meets the
top of the side seam line.
Balance marks See notches.
Bias grain Line taken across the fabric
at a 45-degree angle to the weft and
warp threads.
Biceps level The largest circumference
around the upper arm. On patterns, the
line that runs across the width of the
sleeve below the shaped cap; it is usually
the widest circumference of the sleeve
as it encapsulates the bicep muscle.
Block Another name for “sloper.”
Box pleat A pleat made by making two
folds in a piece of fabric, their edges
facing in different directions.
Button stand A column of fabric at the
front of a shirt or garment that holds
buttons and buttonholes.
CAD Computer-aided design.
CAM Computer-aided manufacture.
Center back (CB) Central line that vertically
divides the back body into two halves.
Center back neck Point at the top of
the spinal column where the neck joins
the body.
Center back rise Line running between
the waist and the center crotch point
that divides the back lower torso into
two halves.
Center front (CF) Central line that
vertically divides the front body into
two halves.
Center front neck point Point in the
center of the ribcage where the front of
the neck joins the body.
Center front rise Line running between
the waist and the center crotch point
that divides the front lower torso into
two halves.
316
Center line Line running down from the
shoudler tip to the cuff hem that divides
the front and back halves of the sleeve.
Chest level The largest circumference of
the chest horizontal to the floor.
Collar point The lowest external edge
of the collar shape when folded down on
the garment neckline.
Collar stand Rectangular band that is
sewn to the neckline of a garment and
lifts the collar.
Crotch level Line where the lower torso
ends and the legs begin.
Crotch point Point where the front and
back rises meet the inseam.
Cuff guard Fabric band that encases the
slit opening at the bottom of the sleeve
through which the hand passes.
Dart Stitched fold of fabric placed
in a garment to fit it to the curves
of the body.
Dart point The end of the stitched fold
of fabric.
Dart leg The sides of the dart length.
Dart line The central line between the
dart legs.
Digitizing Digitally tracing the outline
of a pattern piece to render the shape
as computer mapping data.
Drafting paper Specialist paper or
Manila card used to construct a pattern.
Drill holes Holes punched through
a pattern card to allow the positions
of pockets, buttonholes, and design
features to be marked on the fabric.
Drop The difference between the chest
and waist circumferences.
Ease Measurement of space between
the body and the garment added to the
pattern to allow a proper fit.
Elbow level Line that denotes the level
of the elbow within the sleeve length.
Facing Section of fabric used to finish
the hems and openings of garments;
also used to give support to an area
of fabric.
Fit model A model who is the size
and shape of a fashion label’s typical
customer; clothes are fitted to their
body shape.
Flare Volume added to a garment
by pivoting or the insertion of
a separate panel.
Fold line Label attached to a drawn line
with bent arrows at each end to indicate
a section of the pattern that needs
replicating by folding the fabric over.
Forearm line Line running down the
front sleeve denoting the front aspect
of the arm.
French curve Flat drawing tool shaped
in a graduating curve to give a template
for drawing curves of the body.
Front high point shoulder Point
where the shoulder line and the back
neck curve meet.
Front neck curve The length of the area
made by the front neck opening in
a garment.
Front shoulder seam Line that runs
between the neck and armhole on
a pattern; it rests along the shoulder of
the body on the constructed garment.
Front shoulder tip Point where the
shoulder line and the armhole line meet.
Front underarm point Lowest point of
the armhole, usually where it meets the
top of the side seam line.
Fullness Extra volume to a pattern area
in width, length, or both.
Fuse Interfacing material with an
adhesive side used to stiffen or support
internal sections of a garment.
Gathers Pulled together fabric,
its length reduced to fit a smaller
measurement.
Grading Process of enlarging or
reducing the dimensions of a pattern
proportionally to create a larger or
smaller pattern size.
Grainline Direction of the warp and weft
threads in a piece of fabric.
Half back neck measurement Distance
between the center back seam and the
back shoulder seam.
Half front neck measurement Distance
between the center front seam and the
front shoulder seam.
Hemline Bottom edge of the
garment body.
Hem width Extended section of the
garment body that is folded up to create
a finished edge to the garment body.
High point shoulder Point where the
front and back shoulder seams meet
the neckline. Also known as “shoulder
neck point.”
Hip level The largest circumference
of the hips and buttocks horizontal to
the floor.
Horizontal grain Direction of the weft
threads that run horizontally across the
fabric from selvage to selvage.
Inseam The inner seam of the pant legs.
Knee level Line of the knee on a pant leg
pattern.
Lapel Constructed fabric panel that
connects the collar and front opening
of a jacket or shirt and gives a finished
appearance; also used for strength
and support.
Made-to-measure Describes
a custom-made garment that is fitted
to individual measurements.
Marker Gridded paper onto which
patterns are traced, for fabric to
be cut out.
Muslin Unbleached, raw cotton fabric
used to test garment designs. Also the
name of a sample garment made from
muslin and used to test the fit and
proportional balance of a design on
the human body.
Neckline Opening in a garment where
the head passes through.
Notches Small incisions made to indicate
a position when aligning patterns, seams,
hems, CF, and CB.
Outseam Seam of the garment down the
outside of a pant leg.
Pivoting Rotation of a pattern from
a fixed point.
Placket Fabric band that encases a slit
or opening at the neck or center front of
a garment and holds a closer of buttons
or zippers.
Pleat Fold in fabric that when repeated
creates volume in a design.
Plotter Large-scale paper printer that
plots digitized patterns.
PR = pair of patterns.
Raglan sleeve Sleeve that extends from
under the arm toward the neckline.
Roll line Folded line where the lapel
turns over from the collar down to the
center front opening.
RSU = right side up.
Seam allowance Extra volume added
to the stitch line that allows seams to
be sewn together.
Set-in sleeve Sleeve that is set or
attached to a circular opening (armhole)
that encases the arm around the
shoulder down through the underarm pit.
Shoulder notch Aligning notch on a
collar to control fabric spread when
inserting the collar; it is matched with
the shoulder seams.
Shoulder tip Point where the sleeve
cap and the front and back shoulder
seams meet.
Slash and spread Patternmaking
technique that involves cutting open a
pattern to introduce or remove volume.
Side seam Seam of garment that
runs down the side of the body, coats,
and pants.
Sleeve cap (crown/head) Upper part of
the sleeve that is sewn into the armhole.
Sloper A basic pattern shape that
represents an area of the body, usually
the torso (upper body sloper), arms
(sleeve sloper), or legs (pant sloper).
Also known as “block.”
Style line Seams that separate the
pattern pieces of a design.
Suppression Removal of fabric to
introduce shape to the curves of the
human body.
Upper body sloper (bodice sloper/
torso sloper) Basic pattern of the torso
in a particular size that has no design
features.
Vent Vertical slit in the back or side
back hem seams of coats or jackets
that allows body movement when the
garment is worn.
Waistband Band of faced fabric attached
to the top of pants to give finish and
support or inserted in a jacket as a
design feature to denote the waist level.
Waistline Circumference around the
torso of the body between the hips and
the bottom of the rib cage.
Warp Holding yarn that runs parallel to
the edges of the loom.
Weft Filling yarn woven across the loom,
perpendicular to the holding yarn.
Wristline The smallest circumference of
the arm.
Yoke Panel created in the top front or
back area of a garment, coat, or jacket.
Also applied to a panel across the top
of pants.
Toile Another name for “muslin.”
Tolerance The amount of movement in
woven fabric structure.
Top stitch Lock stitch that is placed
along the edge of seams to secure
them together.
Torso The trunk of the human body
between the shoulders and the crotch.
Tuck Fold in fabric secured to seams; like
pleats, tucks create volume.
Two-piece sleeve Sleeve shape made of
two pattern pieces that take the natural
hanging shape of the arm. The upper
part attaches to the sleeve cap / head
of the armhole; the lower part attaches
to the underarm section of the armhole.
It is generally used in tailored suits and
coats, and the sleeve is set high under
the arm for mobility.
Under collar Copy of the faced collar
pattern that is reduced in size to enable
the collar edge seam to turn under itself
so that it is not visible.
Underarm seam Vertical seams of a
set-in sleeve that, when sewn together,
create the cylindrical tube of the sleeve.
GLOSSARY 317
INDEX
AccuMark software (Gerber) 68, 69, 70
activewear 11, 14, 58, 62
see also hooded sweatshirt; sweatpants
Alcega, Juan de 8
anatomy see human anatomy
annotation 38, 39, 51
anoraks 50–51, 57, 68;
pattern 206–19
anthropometer 26
armholes 41, 42, 55, 59, 66;
adjusting 81, 85, 90, 105, 127, 144, 233, 270,
289, 303
avatars see virtual avatars
awl 18, 19
Balance 31, 61, 62
“Balmac” trench coat 7
band collar 62
baseball hemlines 117, 127
basting (loose stitching) 8
bellows pockets 193
belts see waist belts
bespoke tailoring 21, 22, 59
bias grain 57
bib shirt 138–47
body growth 55
see also grading
body mapping 24
see also 3-D body scanning technology
bootcut silhouette 199
boundary lines 24, 36
box-pleat 192–93
branding 14, 20, 31, 68, 71
break point 273
breast pockets 106, 107, 118, 121, 221–22, 224, 225,
257, 262–63, 272, 278–79, 292
Browne, Thom 11, 12–13
button stand 162, 163, 190
C. P. Company 11
Cambridge boating collar 64
capes 8
cargo pants 186–95
cargo pockets 188, 193
cassocks 8
casual styles 14, 63, 67, 95, 97:
jackets 67, 220–31;
shirts 62, 104–15, 135
chinos 158–67
club collar 64
coat linings 66, 248, 249–50
coats 7, 8, 14, 232–51
coin pocket 201, 273, 280
collar shapes 62–63, 64
collar stands 62, 64, 108, 120, 132, 298–99;
hidden 62, 227–28, 236, 238, 275;
patterns 84, 122, 133, 228, 238, 240, 275, 299
collars 50, 63–64, 84, 108, 120, 122 132–33;
convertible 62, 227–28, 236, 238–40, 273, 275,
298–99;
mandarin 62, 142–43
see also neck sizes
compasses 18
computer-aided design (CAD) 7, 68–70
computer-aided manufacture (CAM) 68
computer-aided patternmaking 14, 22, 68–69
concealed pockets 65, 121
convertible collars 62, 227–28, 236, 238–40, 273,
275, 298–99
coronal plane 24
Coutts, J. 10
cross grain see horizontal grain
crotch level 45–47, 49, 61
see also dropped crotch
crotch measurements 28, 33, 45, 58
cuff guards 67, 112, 113–14, 124–25, 146
cuff hemlines 111, 123, 136, 144, 245
cuff point 265, 285
cuff styles 67
cuff vents 246, 266, 285–86
cuffs 44, 113, 124, 145, 285–86;
ribbed 86, 101, 174
318
Darts 105, 119, 127, 151, 188, 236–37, 253, 272
denim jacket 220–31
design development 36–39;
and technology 14, 68–71
design development patterns 38
design drawings 20, 22
designer patterns 38
digital grading 70
digitizing patterns 69–70
double-breasted styles 233, 268–87
doublets 8
drafter’s pencils 18
draping 8, 20
drawstrings 174, 304, 306–7
dress forms 30, 49, 71
drill holes 51
drop 31
dropped crotch 159, 160, 169, 176, 187
dyeing 60
Ease 58, 59, 95;
for knitted fabrics 78, 85;
applied to linings 66, 249, 283, 300, 313, 314;
applied to sleeves 43, 59, 95, 110, 135, 144, 214,
244, 264, 284;
applied to pants 171
see also darts; pleating
elasticated gathering 174, 209, 213
elbow patches 297
Engineered Garments 14
English neckline 63
envelope pockets 221–22, 224, 225, 295
epaulets 134, 243–44
eyelet punch see pattern drill
Face, The 14
facings: cuff 266, 286;
fly 153, 162, 179, 190, 191;
front 240, 259, 260, 274, 276, 291;
hem 66, 209, 213, 234, 260, 290, 304, 306;
hood opening 100;
neck 209, 210, 212, 213, 249, 261, 277, 278, 311, 312;
placket 77, 83, 304, 305;
pocket 93, 107, 121, 155–56, 165, 170, 295;
sleeve 246;
vent 276;
waistband 194
fit models 31
fitting 61
fleece 78
flies 151, 153, 159, 162–63, 169, 179, 180, 188, 190,
198, 200;
extension 154, 157, 166, 179, 184, 191, 200, 203
French curves 18, 19, 41
French-style neckline 63
funnel collar 63
Garsault, M. de 8
geometry curves 18, 19
GQ 14
grading 52–55, 70
grainlines 46, 49, 51, 57
gusseted pockets 65, 292
Haute couture 20
hemlines: baseball 117, 127;
cuff 111, 123, 144, 245, 265, 285; elasticated 213;
facings 234, 304, 306;
shaping 75, 127, 140, 207, 233, 253, 255, 269, 271,
273, 303;
sleeve 44, 78, 214, 229, 230, 246, 287; pant 46
hems 66
high-waisted pants 150–57
hip curves 18, 19
hooded sweatshirt 88–103
hoods 88, 98–100, 216–19, 310–13
horizontal grain 57
human anatomy 24–27
Illustrations see design drawings
Improved Tailor’s Art, The (Jacksons) 10
industrialization 8
inside leg 28, 33, 45, 46, 47
Internet, the 68
Italian loose neckline 63
Jacket linings 66, 282–83, 287, 300–1, 313–14
jackets 8, 11, 61, 66;
denim 220–31;
double-breasted 62, 233, 268–87;
single-breasted 63, 252–67
Jacksons, J. 10
jeans 196–203
jersey 78
jetted pockets 65, 272, 281
“KASANE” 8
Kawakubo, Rei 14
knitted fabrics 58, 59, 78, 84, 85
L’Art du Tailleur (Garsault) 8
landmark points 25–27, 70
lapels 236, 256, 271
lay planning 70
layering 8
Lemonnier, Elisa 10
Libro de Geometría Práctica y Traça (Alcega) 8
line 62
linings 66;
coat 66, 248–50;
hood 313;
jackets 66, 282–83, 287, 300–1, 313–14; sleeve 66,
247, 291, 301, 314
long-sleeved shirt 104–15
long-sleeved collarless shirt 74–79
lumberjack shirt 116–25
Made-to-measure see bespoke
mandarin collar 62, 142–43
Margiela, Martin 14
marker making 70
mass production 10, 22–23, 39
master plans 7, 37–38, 48–51, 74;
for collars 227–28, 238–39, 275, 298–99;
for coats/jackets 48, 206–8, 212, 220–21, 233–37,
252–55, 289–90, 302–4, 306;
for epaulets 243;
for flies 163;
for hoods 99, 216, 310–11;
for pants 150–1, 158, 168–69, 170, 171, 186–88,
197–99
for pockets 161, 164, 172, 178, 181, 191, 201–2, 211,
222, 241, 262, 278, 291, 295; for shirts/tops
74–76, 80–1, 89–93, 104–6, 116–19, 126–28, 138–39,
140;
for shorts 176–77, 180;
for sleeves 48, 77–78, 85–86, 94–97, 110–12, 123,
134–36, 143–44, 214, 229–30, 244–45, 264–65,
269–73, 284–85, 296–97, 308–9;
for storm flaps 243;
Maxima Poplin 7
measurement taking 7, 8, 21, 24–29, 40–1; armholes
41, 42;
collars 236;
hoods 98–100, 217–18, 310;
inside leg 46, 47;
neck 26, 41, 61, 62, 227;
necklines 41, 120;
pants 45–47
sleeves 42–44, 59, 94, 244, 264, 284;
tools for 10, 18, 26–29;
see also grading; size charts
median plane 24
military styles 8, 11, 12
mirroring 37, 38, 50
Miyake, Issey 8, 14
modeling see draping
moulage see draping
muff pockets 93, 94
muslins 21, 30, 37, 38, 61, 62, 64
Neck sizes 32, 33, 62, 98, 120, 132, 227
necklines 41, 63–64
notched waistbands 156–57, 166, 171, 174
notcher 18
notches 38, 48, 51, 70, 156, 171, 174, 238, 246;
alignment 91, 92, 156, 216, 218, 223, 226, 229, 231;
collar 258, 273;
shoulder 299, 310
Officer collar 64
Owens, Rick 14
Pant slopers 37, 45–47;
creation of master plan from 49, 150, 168, 170,
176, 180, 186, 197;
grading 54–55
pants: cargo pants 186–95;
chinos 158–67;
high-waisted 150–57;
jeans 196–203;
sweatpants 168–75;
see also shorts; pant slopers
parka 302–15
patch fly 180
patch pockets 65, 129–30, 192, 202, 209, 211, 257,
263–64, 291–92
pattern slopers (blocks) 7, 26, 36;
adapting 56
see also pant slopers; sleeve slopers; upper
body slopers
patternmaking 20, 36–39;
history of 8–14;
use of computers in 14;
tools/equipment for 18–19, 39;
training in 7, 8, 10
pattern design systems (PDS) 70–1
pattern drill 18, 19
pattern hole punch 18
pattern hooks 18
pattern masters 18, 19
pattern tracing 50–1
see also under individual patterns
pattern weights 18
patterns: bib shirt 138–47;
anorak 206–19;
cargo pants 186–95;
chinos 158–67;
denim jacket 220–31;
digitizing 69–70;
high-waisted pants 150–57;
hooded sweatshirt 88–103;
jeans 196–203;
long-sleeved shirt 104–15;
long-sleeved collarless shirt 74–79;
lumberjack shirt 116–25;
parka 302–15;
polo shirt 80–7;
safari shirt 126–37;
shorts 176–85;
sweatpants 168–175;
trench coat 232–51;
waxed jacket 288–301
Peter Pan collar 63
pins 18
piping 264
pivoting 38, 56, 237
plackets 76, 81, 121;
concealed 65, 139;
facings 77, 83, 305;
grown-on 65, 106, 127;
sewn-on 65, 117, 127, 131, 221, 222, 290, 293, 304
pleating 141–42, 159, 169, 170, 176, 197, 199
pocket bearer 162, 192, 201
pocket flaps 121
pocket stands 65
pocket welts 65, 151, 153, 154–55, 156, 160, 164–65,
170, 172, 181–82, 221, 224, 234, 241, 257, 263, 272,
274, 279, 280
pockets 65, 93, 241–42, 304, 308;
bellows 193;
breast 106, 107, 118, 121, 221–22, 224, 225, 257,
262–63, 272, 278–79, 292;
cargo 180, 193;
coat 234, 241–42;
coin 201, 273, 280;
concealed 65, 121;
envelope 221–22, 224, 225, 295;
gusseted 65, 292;
jeans 201–2;
jetted 65, 272, 281;
muff 93, 94;
pant 151–53, 154–55, 159, 160–62, 163–65, 169,
170, 172–73, 191–93
patch 65, 129-30, 192, 202, 209, 211, 257, 263–64,
291–92;
shorts 178–79, 181–82;
side 281;
Poell, Carol Christian 14
polo shirt 80–87
posture 31, 61
Practical Guide for the Tailor’s
Cutting-Room (Coutts) 10
Prêt-à-porter see ready-to-wear
production-line processes 20–23
production patterns 39
proportion 62
Prostyle 22
QC (Quality Control) 23
Raeburn, Christopher 14
raglan shoulder shaping 290
raglan sleeves 89, 90–91, 94–97, 297–98
ready-to-wear 10, 14, 20, 22–23, 31, 52
ribbing 174
roll collar 62, 258, 273
see also convertible collars
roll line 273
rulers 18, 19, 26
Safari shirt 126–37
sailor collar 62, 63
sample size 22 see also sizing systems
samples 22, 38
scalpels 18
Science Completed in the Art of Cutting
(Walker) 10
scissors 18, 19
seam allowances 18, 38, 50, 51, 60
seam ripper 18, 19
seams 18, 136
self-facing strips 155, 156, 165, 170, 181, 182
semibespoke 21, 22
set squares 18, 19, 26
set-in sleeve 67, 123–24
sewing 23
shaped pockets 241–42
shirts: long-sleeved 104–25, 138–47;
short-sleeved 126-37
see also polo shirt
shorts 176–85
shoulder slope 31, 61, 255, 270
shrink test 196
shrinkage 18, 60, 196
side pockets 281
silhouettes 7, 8, 10, 11, 20, 31, 62;
fitted 119, 237, 253;
leg 171, 187, 198–99
single-breasted styles 252–67
size charts 7, 10–11, 20, 24, 32–33;
standardized 10–11, 22, 37
see also grading; measurement taking; sizing
systems
sizing systems 10–11, 52
see also grading; neck sizes; 3-D body scanning
technology
slash and spread 38, 56, 239
sleeve cap ease 43, 59, 95
sleeve caps 43, 66, 78, 291;
adjusting 95, 111, 135, 287, 301;
and knitted fabrics 85
sleeve slopers 37, 42–44;
grading 54;
creation of master plan from 48, 77, 85, 94, 110,
123, 134, 143, 214, 229, 244, 264, 269, 284, 296,
308
see also under individual patterns
sleeve linings 66, 247, 291, 301, 314
sleeves 66–67, 296, 308–9;
hemlines 44, 78;
long 77–79, 89, 104, 110–15, 123–24, 143–45, 214–15,
229–31;
raglan 89, 90–91, 94–97, 297–98;
short 85–86, 126–37, 134–37;
tailored 67, 244–47, 264–66, 284–87;
two-piece 37, 67, 229–31, 284–87
see also sleeve slopers
spandex 78
standardization of sizes 10–11, 22, 37
storm flap 243–44
straight collar 62
straight grain 57
suspenders 156
Suzuki, Daiki 14
sweatpants 168–75
Tailor’s chalk 18, 19, 26
tailored shorts 176–85
tailored sleeves 67, 244–47, 264–66, 284–87
tailoring 8, 10, 21;
training in 10
see also bespoke tailoring
Takada, Kenzo 14
tape measures 10, 18, 19, 26
Taylor’s Complete Guide or Comprehensive Analysis
of Beauty and Elegance in Dress 8
technology:
and design development 14, 68–71;
and measurement taking 29, 30, 52, 68, 71;
and textiles 11, 14
3-D body scanning technology 29, 30, 71
3-D flattening technology 70–71
Throup, Aitor, 14
tolerance 59
tools 18–19, 26, 39
top collars 108, 120, 122, 132–33, 229, 240
tracing wheel 18, 19
transverse horizontal planes 24
trench coats 7;
pattern 232–51
trend research 22
turned-down collar 62, 63
turtleneck collar 63
two-piece sleeves 37, 67, 229–31, 244, 284–87
Undersleeves 229, 230–31, 246, 265–66, 285, 286
upper body slopers 20, 21, 36–37, 40–41;
creation of master plans from 48, 74, 80, 89,
104, 116, 126, 138, 140, 206–8, 212, 220, 233, 252,
289, 302, 306; grading 53
Uomo Vogue 14
Van Beirendonck, Walter 14
vents 234, 249, 250, 261, 276–77, 283, 290, 293, 294
see also cuff vents
virtual avatars 14, 71
volume, adding/removing 61, 207, 208, 212, 272,
289;
to coats/jackets 209, 235, 253, 254, 257, 260,
271, 272, 276, 303, 306; hoods 311; to pants 170,
189; to sleeves 67, 96;
see also pivoting; pleating; slash
and spread
Waist belts 290, 293, 294
waistband tab 226
waistbands 102, 184–85, 194, 203, 226; notched
156–57, 166, 171, 174;
sizing 174
waistlines 45, 46, 48;
and darts 47, 49, 105, 119, 127, 129, 154, 169, 171,
181, 253, 257, 260;
high 150–57
Walker, W. 10
Watanabe, Junya 63
waxed jackets 288–301
welt stands 65, 221, 241
see also pocket welts
welts see pocket welts
WGSN 22
widespread cutaway collar 64
wingtip collar 64
wool see knitted fabrics
Woolrich Woolen Mill 7
Yamamoto, Yohji 11, 14, 31
yokes:
back 106, 107, 119, 121, 128, 187, 189,
199, 200;
front 118, 121, 128, 221, 223, 229
Zippers 153, 211, 295, 311
index 319
FURTHER READING
Aldrich, Winifred, Metric Pattern Cutting for Menswear, Blackwell, Oxford, (4th edition) 2006
Baudot, François, The Allure of Men, Assouline, New York/Paris, 2002
Blackman, Cally, One Hundred Years of Menswear, Laurence King, London, 2009
Boucher, François, The History of Costume in the West, Thames & Hudson, London, 1996
Chenoune, Farid, A History of Men’s Fashion, Flammarion, Paris, 1993
Cicolini, Alice, The New English Dandy, Thames & Hudson, London, 2007
Cooklin, Gerry, Pattern Grading for Men’s Clothes: The Technology of Sizing, John Wiley & Sons, 1992
Davies, Hywel, Modern Menswear, Laurence King, London, 2008
Gavenas, Mary Lisa, The Fairchild Encyclopedia of Menswear, Fairchild Publications, Inc, New York, 2008
Gieve, David W., Gieves & Hawkes: 1785–1985 The Story of a Tradition, Gieves & Hawkes, Portsmouth, 1985
Jobling, Paul, Man Appeal: Advertising, Modernism and Menswear, Berg, Oxford/New York, 2005
Knowles, Lori A., The Practical Guide to Patternmaking for Fashion Designers: Menswear, Fairchild Books, New York, 2005
McNeil, Peter and Karaminas, Vicki (editors), The Men’s Fashion Reader, Berg, New York, 2009
Peacock, John, Men’s Fashion: The Complete Sourcebook, Thames & Hudson, London, 1996
Shoben, Martin and Hallett, Clive, Essential Shirt Work Book, LCFS Fashion Media, 2001
Waugh, Norah, The Cut of Men’s Clothes 1600–1900, Faber, London 1964/ Routledge 1987
Whife, A. A. and Brigland, A. S., The Modern Tailor, Outfitter and Clothier, Caxton, London, (4th edition) 1949
Whife, A. A., A First Course in Gentlemen’s Garment Cutting, Tailor & Cutter, London, 1952
Whife, A. A., Cutting from Block Patterns: Gentlemen’s Jackets, Waistcoats, Trousers, etc., Tailor & Cutter, London, 1960
PICTURE CREDITS
Fashion illustrations at the beginning of each pattern are by Thom Davies.
All other technical flats, diagrams, and illustrations are by Elisha Camilleri.
All muslin photography is by Simon Pask Photography (model for the pants
patterns: Stuart Dando).
The author and publisher would like to thank the following individuals and
institutions who provided images for use in this book. In all cases, every
effort has been made to trace the copyright holders but should there be any
errors or omissions, the publisher would be happy to insert corrections in any
subsequent editions of the book.
2 © Alasdair McLellan, model: Roc Barbot at Models1,
with thanks to Margaret Howell
6 Photo by Tim Barber www.woolrichwoolenmills.com
www.wplavori.com
9 © WWD/Condé Nast/Corbis
10 l: © WWD/Condé Nast/Corbis; r: © WWD/Condé Nast/Corbis
11 l: © WWD/Condé Nast/Corbis; r: © WWD/Condé Nast/Corbis
12–13 © WWD/Condé Nast/Corbis
15 Engineered Garments SS12/model Jay Alaimo
18–19 Photography by Packshot.com
20 © Helen King/Corbis
21 John Lund/Paula Zacharias/Getty Images
23 © Qilai Shen/In Pictures/Corbis
25 Philip Dowell/Dorling Kindersley/Getty Images
27–29 Photography by Simon Pask, model: Raphael Sander for NEVS
30 Karina Lax
31 © WWD/Condé Nast/Corbis
39 b: © Helen King/Corbis
60 Gary Ombler/Dorling Kindersley/Getty Image
63 © WWD/Condé Nast/Corbis
70 Screenshots created in Gerber’s AccuMark Pattern Design System (PDS)
software 71 t: Screenshots created in Browzwear 3D Design Software; b:
Screen shots taken in [TC]²’s (Textile Clothing Corp) 3-D body scanning
program. Thanks to Dr. Simeon Gill
73 © WWD/Condé Nast/Corbis (Issey Miyake Spring 2011)
148 © WWD/Condé Nast/Corbis (Junya Watanabe Man Fall 2012)
204 © Benoit Tessier/Reuters/Corbis (Issey Miyake Men Fall 2012)
All other photography by the author and staff at the Department of Apparel,
Manchester Metropolitan University.
320
Author’s
acknowledgments
Self-belief is a powerful creative tool: I am eternally grateful to Laurence
King, Helen Evans, Anne Townley, Peter Jones, and Lizzie Ballantyne whose
enthusiasm and patience have allowed the book to evolve and develop into its
present form.
Also to Nicole, Phoebe, and River for their continuing support, patience, and
love throughout this process.
Special thanks to Elisha Camilleri and Thom Davies for sharing my passion
for fashion and for their invaluable technical and creative contributions
throughout the project.
I would like to thank all my colleagues and students past and present who
have inspired the writing of this book through their invaluable comments
and contributions. Many thanks to all the designers, fashion companies, and
educational institutions who generously gave their time during the research of
this book.
Huge thanks to Dr. Simeon Gill for his guidance and expertise in developing
the anthropometrical sizing profiles and procedures, and to the staff at
Manchester Metropolitan University who have supported this project.
Dedicated to the memory of my family who toiled in the cotton mills
of Lancashire.