Beginners Pattern Drafting Info, courses, design and pattern cutting

How to Become a Fashion Designer: The Essential Skills You Really Need

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As an industry professional one of the most common questions I am asked is: “How do I become a fashion designer?”

It’s an exciting goal, but it’s one that’s often misunderstood. Many people think becoming a designer is all about sketching ideas or choosing fabrics. In reality, those are only a small part of what a designer actually does. The following blog post will outline a suggested route you can follow – one that will give you the valuable skills you need to make your dream to become a designer a reality. In addition to that it will give you a valuable skill set that will make a real difference to your career!

I believe that to turn your ideas into real garments, you need to understand the technical side of design — and that begins with pattern cutting.

Why Pattern Cutting Is the Foundation of Design?

Pattern cutting is the bridge between creativity and reality. It’s how your ideas become tangible garments that fit, drape, and move as you imagined. Without this knowledge, you’re designing in theory — but not in practice.

Let me give you an example, I often see designs, they are no doubt really creative, but they lack the technical details that are needed to translate the design into a wearable garment.

A really common mistake among new designers is overlooking the technical elements that make a garment work. It’s easy to sketch a beautiful idea, but without understanding construction you might forget essential details like armhole seams, darts, or shaping, especially in fitted woven garments. Many beginners also don’t think about how someone will actually get into the garment, or how the fabric will behave once it’s made. Understanding whether your design is suitable for a woven or a knit, and how each behaves technically, is a key part of turning a sketch into a successful, wearable garment.

Many designers rely on others to “interpret” their ideas. But truly great designers understand pattern cutting. They know how fabric behaves, how shapes translate to the body, and how to bring a concept to life.

That’s why pattern cutting is the most overlooked — yet most essential — skill for anyone serious about fashion design. In reality any modern design job will require knowledge of pattern cutting and sample making at the very least.

Your Pathway to Becoming a Designer – Each of the title links below will take you to the individual courses blog post, when you will find a more detailed description of the course contents and links to the course itself which are held over on Teachable.

To help aspiring designers build a complete, professional skill set, I’ve developed a structured progression route through my courses. Each course builds on the last, combining traditional craftsmanship with modern digital tools. I have utilised my skills gained from over 35 years as a freelancer in the fashion industry and a career as a Senior Fashion Lecturer in a top UK university to build a range of detailed and affordable courses.

Here’s how your learning journey could look:

    1.    Professional Pattern Cutting Course

The perfect starting point. This course teaches you the fundamentals of pattern drafting — the technical foundation of every garment. You’ll gain the essential knowledge that underpins all successful design work. This course teaches you good working practice, whilst giving you a solid foundation to build your career upon.

    2.    Adobe Illustrator for Pattern Design

Once you’ve mastered manual pattern cutting, this course shows you how to use Adobe Illustrator as a pattern cutting tool. You’ll learn to draft, edit, and prepare patterns digitally, and how to format them for sale to the public — an invaluable skill if you plan to sell your own digital patterns or run a design business online. This is where you can pick up the knowledge to enable you to gain an income from your skills.

    3.    Advanced Pattern Cutting Course

This course takes your skills to a higher level. You’ll explore creative pattern cutting methods, learn to experiment with shape and structure, and discover how to use 3D software to visualise and test fit. It’s designed to prepare you for the future of fashion, where digital and creative processes work hand in hand. This is a really creative course and it’s where you will really develop your skills to prepare you for the future!

    4.    Pattern Grading Course

Finally, you’ll learn to grade your patterns for multiple sizes — a vital step in developing professional collections or ready-to-sell pattern ranges.

Specialist Options

If your interests lie in children’s wear, I also offer a Baby, Child and Teen Pattern Design Course. It focuses on age-specific fit, proportions, and sizing — helping you design patterns that work beautifully for younger body types.

Preparing You for the Future

My courses are designed not only to teach you how to make patterns, but to prepare you for where the fashion industry is heading — blending technical knowledge with creativity and digital innovation.

Coming soon, there’ll be a new course: Sewing for Small Business, aimed at those who want to produce and sell their own designs professionally.

Final Thoughts – There are no quick fixes or hacks – it takes a lot of hard work to become a designer.

My best advice is that if you dream of becoming a fashion designer, don’t skip the fundamentals. Pattern cutting is what turns your creative ideas into wearable garments — it’s the skill that connects imagination with craftsmanship.

By learning these core techniques and developing your digital pattern skills, you’ll be ready to create designs that are not only beautiful, but also technically sound, production-ready, and future-proof.

You can explore all of my courses over on teachable too and start building your pathway to becoming a professional designer today.

If you have any questions at all please email me at onitnotinit@mail.com and I will do all I can to help.

Happy Designing and Pattern Cutting,

Nicola

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Consultancy, courses, Current Projects, design and pattern cutting

Professional Pattern Cutting & Consultancy

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Throughout my career, I have found immense value in balancing freelance work with my role as a university lecturer. As a pattern cutter and grader, I have been able to stay deeply connected to the industry, gaining real-world insights and keeping up-to-date with the latest trends and techniques. This hands-on experience not only hones my skills but also allows me to bring practical, industry-relevant knowledge to my students. By working in both academia and the industry, I strike a unique balance that benefits both my students and clients. By staying actively involved in both education and the industry, I can contribute meaningfully to shaping the next generation of fashion professionals while also continuing to learn and evolve in my own practice.

One of the most rewarding aspects of my work is collaborating with diverse clients, I teach online across a range of courses. In this role, I not only teach online courses to staff and students but also develop innovative digital tools and course content. By tailoring my teaching methods to suit the needs of the individal academy or fashion school, I can provide a more enriching and effective learning experience. Additionally, offering guidance on curriculum planning enables me to shape the future of fashion education, ensuring that it remains dynamic and relevant in a constantly evolving industry.

I have recently been working with a designer transitioning from manual pattern cutting to digital pattern cutting. This opens up a multitude of opportunities to enhance their brand. By embracing digital tools, the designer can now sell garment patterns and a range of basic blocks (slopers) as digital products. This shift not only streamlines the design process but also taps into the growing digital market. This transition has significantly boosted the designer’s brand visibility and revenue streams.

Recently taking on a new client writing a pattern cutting book marks an exciting new project. The prospect of utilizing a lifetime of skills and knowledge to assist in this endeavor is both fulfilling and rewarding. Collaborating on a book project allows for creative input, sharing expertise, and contributing to the dissemination of valuable knowledge within the industry. It’s moments like these that showcase the power of continuous learning and adaptation in a dynamic field like fashion design.

Recently completing a top-secret project has freed up some time for consultancy and online support services. This presents a unique opportunity for collaboration with individuals or businesses seeking guidance in navigating the digital landscape or optimizing their design processes. Whether it’s providing expert advice on pattern drafting and grading, teaching and learning, offering insights on creating digital products, or assisting in streamlining workflows, consultancy services can help clients unlock their full potential. By sharing knowledge and expertise, consultants can empower others to thrive in an increasingly digital world.

If you are interested in exploring consultancy or online support services, feel free to reach out. The consultancy and support packages available are tailored to meet the specific needs and goals of each client, ensuring a personalized and impactful collaboration. Whether you are looking to enhance your brand, optimize your design processes, or explore new digital opportunities, working together could unlock exciting possibilities for growth and innovation. Take the first step towards realizing your full potential by reaching out and starting a conversation today.

CONSULTANCY-AND-SUPPORT-PACKAGESDownload

I look forward to hearing about your exciting plans for the future!

Nicola

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design and pattern cutting, Pattern Cutting Techniques, Sewing Techniques

‘Easing’ a sleeve head into an armhole – professionally!

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This very important step is sadly one that is often rushed or even missed out completely by pattern makers and sewers, there is no doubt that it takes time and skill to insert a sleeve into an armhole and deal with the ease in the sleeve head correctly.

There is preparation involved and many commercial sewing pattern guidelines do not follow the correct methods, they adopt short cuts, to be fair to them it would be difficult to explain the whole process and it would simply take too long.

Most high street clothing manufacturers remove a large quantity of the ease from the sleeve head as it makes the sewing process much easier for the machinist in the factory, at the expense of good fit. Little or no ease in the sleeve head can make the sleeve hang badly and create drag lines at the top of the arm and bicep.

In this post I am going to focus on the best way to deal with the ease in the sleeve head, if you have read my earlier posts on sleeve head ease then you will be familiar with how to increase or decrease the ease in your sleeve pattern. I am going to show you my method of sewing a sleeve into an armhole and how I ease in the extra fabric we often have at the crown.

Getting to know your sleeve and armhole

The above image shows the front and back bodice laid on top of the sleeve block. The pink arrows show that the back armhole and back sleeve up to the double notch positions match perfectly, and they should, as there is no ease in this part of the sleeve. The blue arrow shows how the point onwards from the notches on the back bodice matches the back sleeve – note how the measurement of the back bodice doesn’t quite make it to the notch at the sleeve head.

If we travel from the green arrow on the front armhole and apply the same measurement to the sleeves again we see that the front sleeve and armhole match perfectly from the underarm seam up to the single front notch. The orange arrows show the measurement, taken from the front bodice, of the remaining armhole, and applied to the sleeve, again this measurement stops short of the notch at the top of the sleeve.

The area marked in yellow is our ‘EASE’ and this ease needs to be ‘eased’ in between the back armhole notches and the front armhole notch.

How easy this step is depends very much on the fabric you are using, in my example I used a calico, with very little softness, if I had used a wool with a loose weave then I would have found compressing the fabric much easier!

I am easing in the maximum quantity of ease, just over 6 cm.

2 Rows of stitching

Make 2 rows of stitching, a narrow distance apart, they should be just inside your seam allowance.

Gather by pulling the thread ends

Use the ends of the threads to pull in the fabric and compress the ease, you are aiming for a smooth line with no pleats or tucks, you can also use steam to help compress and shrink the fabric. This may take some time, but be patient and you will manage it. I have 6.2 cm ease in this example and I have manage to ease it all in between the notches.

When you are happy with the sleeve head, it is then time to pin the sleeve into the armhole, all the notches should match perfectly.

There is a saying in sewing ‘we never want a saggy bottom’ this will help you remember that any excess you have to ease in should always be at the top!

A tailors ham is the best tool for pressing and steaming the sleeve head.

The sleeve head should roll off the armhole at the top, as all the ease you compressed is released. As I am using a stiff calico the effect is not as beautiful as it would be if I were to use a wool fabric that compressed easily.

I hope this helps you with your sleeve sewing and improves the fit and appearance of your next sleeve!

Happy sewing and pattern making,

Nicola

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design and pattern cutting, General Info

Freelance Pattern Cutting & Grading…

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I am regularly asked about freelance pattern cutting or grading, and while I am always happy to take on a challenging project I want to make sure my clients know how much time it takes to develop a pattern from a design, test the pattern, produce a ‘toile’ and ensure the sizing and fit are perfect.

Even a simple pattern, developed from a basic block, can take a couple of hours to produce.

I do have a wide range of basic blocks that you can purchase and develop your own patterns from, and if you have basic pattern cutting skills then this is always the most economical option. If you need help selecting the most suitable block then just ask, I am always happy to help. I want my clients to know that the price I charge for a basic block or pattern is not the same as the price I would have to charge for bespoke patterns. Most of the blocks and patterns I sell in my shops have taken me a couple of weeks at least to perfect, it is only the fact that I hope to sell multiple copies that helps me keep the price so low.

If you don’t have the skills just yet to produce your own patterns then read on…

For those projects I take on I charge an hourly rate and for a pattern maker with my experience and expertise the going rate is £40.00 per hour (some pattern cutters and graders charge up to £70.00 per hour). To give you an idea of the time it takes to produce a simple pattern, this would be around 2 hours, of course if you want a toile, pictures, size charts, etc then you can see how the cost can add up.

I hope this information is helpful and gives you an idea of the work involved and the time it takes. Knowing all this if you would like me to give you a quote for your freelance pattern cutting needs then just let me know!

Freelance Pattern Cutting & Grading Service

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bra and panties design, design and pattern cutting, designing lingerie, General Info, Lingerie Design, Pattern Cutting Techniques, size charts

The Contour Fitted Dress Block- my favourite block!

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The contour fitted dress block is one of my oldest blocks and one of my favourite blocks. I have used it over the years so many times that it’s pretty worn. I thought I had better digitize it and save a digital copy before it wore out! I didn’t stop there, as I only had the block in a size 12, I decided to develop a range of contour fitted dress blocks as I am no longer the size 12 I was as a 21 year old student at the London College of Fashion!

Over the years I have updated and modernised the block and it’s my go to block for any fitted styles, bra patterns, corsets etc.

Instead of the normal process I follow for drafting a block and grading the draft, I decided, as the grading would have been too messy, to draft and apply all the contour fitting lines to each individual size. The sizes available come in a size 8 UK (4 USA) to a size 18 UK (14 USA). Of course all the contour fitting lines can be ignored if you wish and the block can be used as a regular fitted dress block.

The contour fitting process involves taking extra suppression (darts) out at the cleavage, the neck line, around the full circumference of the bust, and also at the side seams. If you are interested in darts I have a whole workbook on them!

As with all my blocks, I sew up the draft after I have made any changes and make a fit assessment, I am really pleased with the fit of this block.

Fitting Photographs –

The images below shows the fit of the dress block – without the extra contour fitting applied – please note this dress block can be used as a fitted dress block – simply use the darts without the extra contour fitting.

As is also my custom, I measure every single area of the blocks I draft, and having done that to the 10th of a millimetre, I also then convert the measurements into inches for my ‘inch’ customers.

Sometimes maybe I go into too much detail, an old habit from working as a garment technologist!

This dress block is drafted to the hip, I prefer this as I can then lengthen the block as I need to according to the sketch I am working from, I simply have to add a rectangle below the hip line.

As the contour fitted dress block can be quite daunting, I have produced a ‘pattern sheet’ to illustrate how the block can be used to create a fitted evening top with bra cups. I supply this as a free sheet with the contour fitted dress blocks when customers buy the whole range of sizes, With this blocks set you can just buy the size you need as a single block and sleeve.

The evening bodice sewn up as a toile gives you an idea of the type of fit and the styles that this block can produce, once the contour fitting is applied.

I hope this post has inspired those of you who have the block to go ahead and make some contour fitted styles, I would love to see what you make so please send me the photos!

I have this block as a physical pattern sheet and also as a PDF instant download available in my Etsy shop.

Happy Pattern Cutting!

Nicola

 

 

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Beginners Pattern Drafting Info, courses, Current Projects, design and pattern cutting, free blocks, Free Downloads, General Info, half scale blocks, intensive pattern cutting course, Learning guide, pattern cutting course in france, practice blocks, scaled blocks, workshops

A Free Half Scale Dress Block! – As A Thank You!!

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Thank You & some exciting Information about my upcoming course!

Thanks to all my blog subscribers that took the time to subscribed to my YouTube channel! I am now well over my target 100 subscribers – as a Thank You – I have uploaded a free half scale dress block and it’s in the subscribers bonus contents page for you! Plus some more exciting news below about my upcoming pattern cutting course in France.

Just a little note about scaled blocks – first

When you are practising your pattern cutting, or even developing a style, it’s sometimes useful to do your initial experimentation with half or quarter scale blocks!

This can save paper, however I do recommend using full scale blocks as much as you can – why you may ask?

Working in full scale helps you develop an ‘eye’ for proportion and scale, its amazing, as you become more proficient in pattern drafting, you develop a second sense and can tell immediately when something doesn’t quite measure up. This is a difficult skill to master if you always work in quarter or half scale.

However scaled block do have their place and are perfect for sketch books and experimentation.

I am pleased to announce (dates to be confirmed) that I can now offer a weeks intensive pattern cutting course in France, during September. The course will be limited to 3 or 4 people and will be fully catered. Plus each course member will receive a full set of my Modeliste Creative Colour Blocks! More details and pictures of the accommodation will be available on my courses and professional development page very soon. If you are interested in the course please get in touch!

Thanks again!

Nicola

 

 

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Current Projects, design and pattern cutting, General Info, Learning guide, lingerie making tutorial

YouTube- Take a look at my videos!

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I have been on YouTube about 6 months now and it’s been hard work to get my subscriber numbers up. I need the magic 100 subscribers to get my name on the end of my URL link, rather than a long string of random numbers! As you can see I am currently on 70 subscribers.

https://www.youtube.com/channel/UCfDAZ0PO96phtnK-rcyBiQw/videos?view_as=subscriber

If any of my lovely blog follower would like to subscribe to my YouTube channel too then I would be over the moon! Just click on the link above.

I am planning a number of short technique videos very shortly and subscribers will be automatically notified!

I already have a few useful videos so please take a look!

Happy Pattern Cutting & Sewing

Nicola

 

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design and pattern cutting, Pattern Cutting Techniques

The Japanese Bunka Bodice Block – How to work with it – Pattern Magic!

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I was given my first copy of the Pattern Magic book shortly after it was published. It was written all in Japanese, there was no English translation at the time! Luckily I had a Japanese student and she kindly translated the drafting instructions for me. I don’t think the latest English translations of the book have the drafting instructions. The books do come with copies of the blocks, however.

Being Welsh and a little more ‘curvy’ than the blocks supplied, that are designed for beautiful Japanese ladies, I began the task of drafting the Bunka blocks using the drafting instructions in the original Japanese version. but to my own size charts.

I have developed a range of styles from these blocks and I love them, they are slightly different to regular bodice blocks in that they have extra suppression at the side body. This gives you the option of using the darts to make the bodice into fitted styles or cleverly ignoring the darts so that you have a straighter side seam. If you use the darts as they are, it also has the effect of spreading the suppression more evenly around the body. Not so great if you have a large bust though.

I have never been asked any questions about how to move or use the darts on these block, surprisingly. I imagine those customers that use the blocks are developing the gorgeous styles in the bunka book and therefore would just follow their instructions. Or they can work it out for themselves. Its not difficult but I thought I would show how the darts can be moved to make the blocks appear as regular blocks and the methods I use.

Firstly for me I need the suppression, that is darts, at the bust as I need as large a bump as I can throw out at the bust. I re assign the side dart to the bust dart by simply measuring the side dart and placing half that quantity either side of the bust dart.

If you have a smaller more athletic bust and you want a flatter but fitted look, then the side dart can be closed out for more shaping and the original bust dart remains the same as illustrated here.

Or if you are using the alternative block I developed with the dart at the shoulder, you will need to connect the apex of the dart to the armhole, as illustrated below, and then cut along this line, as illustrated and fold out the dart for the more fitted style. This method is also suitable for the side back dart.

 If you want to take a look at the blocks I drafted in my Etsy shop they are here.

I also have a lovely Japanese Draped Dress that I developed from this block in my shop.

I have also developed a kimono style bodice block to save you time!

I have a large collection of Japanese pattern cutting books, so keep posted as I will certainly be looking at this topic again in my blog.

If anyone out there is using these blocks I would love to hear what you do with them!

If you are a keen pattern cutter you can’t help but be inspired by these beautiful books, so take a look at Pattern Magic!

Nicola x

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Beginners Pattern Drafting Info, design and pattern cutting

Fabric Grain Explained

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Fabric Grain – A Detailed Explanation.

You may already know about fabric grain, or perhaps you may not! I have encountered students on the second year of their degree in fashion, who did not know about the grain of fabric!

Hopefully those of you that know a little may still learn something here!

Grain refers to placement of threads in a woven fabric, knowledge and understanding of fabric grain is really important when designing, drafting patterns and making any garment.

WARP-WEFT-BIAS

The WARP threads run parallel to the selvedge (the finished edge of your fabric), the WEFT threads run at right angles to the warp, i.e. from selvedge to selvedge (the cut edge). The WARP thread is the stronger of the two.

The WEFT threads should run around the garment, i.e. horizontally, this provides greater elasticity in wear.

The BIAS grain runs at 45 degrees to the warp and weft and provides the greatest amount of natural stretch. The BIAS grain is ideal for draped or softly moulded garments, as garments cut on the bias are more fluid and mould to the body closely.

When making a full circle skirt some sections will unavoidably be cut on the bias, this will result in these sections dropping more at the hem line, therefore it is essential to hang bias cut garments for at least 24 hours and revisit the hem line to make alterations.

If you take a look at my post on circular skirts, you will see how you can achieve different looks by cutting the skirt in different ways!

Grain is important as it effects the whole balance of the garment, garment sections cut off grain will twist on the body, you may well have noticed a pair of trousers you have that twist around the leg, this will be because the trouser pattern section has been cut off grain, this is often seen in cheaper garments as cutting off grain allows the manufacturer to fit more pattern sections on the fabric and save money!

Grain strongly influences how pattern sections are placed on the fabric, therefore garment pattern sections should be placed with the WARP threads running parallel to the center front (CF) and center back (CB) etc. This means that the WARP threads run vertically through the garment.

 

Unfortunately once a garment has been cut off grain there is no possibility of redemption, the signs of a garment having been cut off grain are listed below and should be taken into consideration when you are assessing the fit of a garment.

The material in the leg of a trouser appears to twist slightly to the left or the right and does not lie correctly on the inside leg, unfortunately this may not be spotted until the garment has been washed and dried.

A skirt that is intended to have an even hem line has dropped in one area of the hem.

One side of a neckline appears not to lie flat against the body, or appears to behave differently to the other side of the neckline, for example a cowl neck may hang heavier on one side than the other.

Badly cut garments that have incorrect grain that are produced in a patterned or check fabric can distort the appearance of the fabric.

All of the above are common faults found in cheaper garments, where the manufacturer has tried to save money by tilting the pattern pieces, when cutting the garment out.

Grain Lines on Basic Blocks

Strictly speaking a basic block should have a grain line with no arrows at the ends. Arrows on both ends of a grain line indicate that the pattern piece can be cut facing in either direction, arrows just on one end indicate that the pattern pieces should all be cut facing one way. Fabrics with a nap or pile such as velvet need to be cut in one direction only. Fabrics with a nap should be cut with the ‘pile’ lying as your hair would grow – downwards.

 

Grain lines, if cutting on the straight of grain, are always parallel to the CF or CB. Grain lines on trousers and sleeves run down the center line. A grain line on the center of a trouser is also referred to as a crease line.

Pattern sections to be cut on the bias grain have grain lines marked at 45 degrees to the straight grain.

 Also take note that –

When pattern sections are traced from a master pattern, measure carefully from the original grain lines to place new grain lines on any traced sections, where the original grain line may not be present.

Hopefully you now have all the information you will need on grain and grain lines!

Happy pattern drafting!

Nicola

 

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Beginners Pattern Drafting Info, design and pattern cutting, Pattern Cutting Techniques

Shaping darts on a draft without cutting out

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Mirroring Darts Technique

It’s time consuming to keep cutting and tracing a pattern you have drafted, but that’s what a lot of pattern cutter do to get the correct dart shape at the mouth of the dart. If the dart ‘top’ or mouth is not correctly shaped, this can lead to the garment pulling and tightening for a dart that has too little shaping, or the dart will bulge for darts that have too much fabric at the mouth shaping.

It is important that the upper edge of the dart is in line with the fabric on the side it is folded to.

I have worked with people that fold their darts both ways, for example towards side seams or towards center front or center back. I always fold my darts towards center front or center back.

Here is my method for planning the correct shape at the dart mouth without having to cut out the paper and fold the dart.

  1. Extend a mirror line up from the dart leg on the side you want to fold to – this line is simply a continuation of the dart ‘leg’ line.
  2. Use this line to mirror the curve or angle of the line of the pattern in the direction the dart is to be folded, the blue line in this example is a mirror of the shoulder line to the left.
  3. Draw a center line up the middle of the dart until it touches the mirrored line.
  4. Now draw in the rest of the dart shape at the mouth  by connecting the intersection of the mirror line to the right dart leg.

This technique can be used on any dart.

Want to know more about darts? I have a booklet just on dart theory!

Hope this saves your precious time!

Nicola

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