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.
In my digital pattern cutting course I show my students how to make digital grading rulers, it takes time, but in the long run it saves a lot of valuable time and really increases the accuracy of your grading.
Many of us pattern cutters and graders are now using systems such as Adobe illustrator and Corel Draw to draft and grade patterns, the downside is that we need to find workarounds to grade, as these systems, are not designed for pattern cutters. The good news is that there are several methods which make grading really easy and accurate in Ai. I do most of my grading in Gerber Accumark, but am just as happy grading in Ai, and have used my grading knowledge and skills to create several methods to grade quickly and accurately in Adobe illustrator. I cover this and much more in my course.
Lots of my students have asked if I would produce my digital rulers as a product for sale, so here is the first one! This is the skirt grading ruler set and it comes with both a multi size ruler and a single size up and down.
I love a hoody. I live in them! I have developed my basic hoody block into a raglan style hoody with 2 hood options. The block also comes with a free guide, that you can find below as it was too large a file to add to Etsy as it has so many pictures!
I am currently in the process of adding this latest block to Etsy so all versions will be available soon, including the print at home version and the A0 copy shop version and of course the ready printed and posted version too. I may well add an Ai version for my Ai students too.
This is a vast subject area! This course, Pattern Cutting & Design for Babies & Children- (Bodice Development), looks at bodice development and ventures a little into how to adapt a bodice into a simple dress style too, we will also look at some basic collars and of course sleeves. In this post I will outline my plans for future courses too, which will be natural follow on topics from this course and will be released as they are completed as separate courses. I had to break the course down into individual areas to make both the teaching and learning experience more manageable. It’s also critical that you master bodice development first!
In this brand new course we start with bodice blocks, and learn how to first draft and then adapt a basic knit bodice block (sloper) into a woven bodice, a shirt and dress block and an outerwear block. The course also covers how to draft bodice and torso blocks for tween and teen sizes and looks at blocks for developing figures as girls start to mature. In addition to this the course also teaches you how to create a t-shirt draft and further develops that into a raglan and kimono shape, both very popular children’s wear styles.
Our primary focus in this course will be on using a ‘base’ also known as a basic block or sloper to create a variety of styles for children’s wear.
You may ask – What if I don’t like drafting basic blocks (slopers) and I just want to get on to the style development and pattern cutting phase of the course? Well you could skip the drafting part of the course and pick up my Design Cut & Wear basic blocks, already drafted and tested for you and move straight on to the next part of the course which is style development.
I also have a range of basic blocks designed for small fashion startups that can be found here – Modeliste Creative Basic Blocks.
Once you have the basic blocks we move on to look at ‘style develoment’ I have chosen particular styles to incorporate some of the most widely used techniques in childrens wear as you follow me through detailed videos and PDF workbooks. I also often include a PDF version of the block or style I developed in the lesson too that you can download and print!
When it comes to designing and cutting patterns for babies and children, understanding ease is crucial. I will teach you how to draft and adapt patterns to incorporate that ease through the different age bands.
Who is this course for?
If you are an experienced dressmaker, looking to take your skills to the next level, or perhaps a small business owner starting up a children’s wear label and don’t want to go down the road of using the same patterns as your competitors, someone that really wants to set their brand and designs apart from the rest.
You may be a designer that has lot’s of designs buzzing around in your head and want to explore the intricacies of pattern cutting for babies and children, then this is the course for you.
Here is the curriculum – Please take a look to make sure the course is right for you…
Here are the follow on course I will cover in the future – I am working on them already!
TROUSERS AND DUNGAREES – we take a detailed look at trouser drafting and style development.
BABY SPECIFIC MODULE – INCLUDING BABY ONSIES, BABY SLEEP SUITS AND BABY SPECIFIC CLOTHING – INCLUDING A SECTION ON PREMATURE BABY SIZING AND CLOTHING DESIGN
SPECIAL OCCASION DRESS’S AND SKIRTS – INCLUDING OFF PARTS SUCH AS ADVANCED COLLARS, POCKETS AND ADVANCED DESIGN DETAILS.
ACTIVE WEAR FOR CHILDREN, INCLUDING FUNCTIONAL CLOTHING, DANCE WEAR AND SPORTS WEAR – LEOTARDS & SWIMWEAR
ANY IDEAS? – LET ME KNOW IN THE COMMENTS BOX BELOW!
If you feel the course is right for you then you can find more information about prices and joining over in my online pattern cutting school over on teachable! Please note that if the link doesn’t work you may need to copy and paste it into your browser.
If you have any questions about the course then please email me at onitnotinit@mail.com.
Please note there are 2 joining options, one is a single payment and the other is a payment plan. Both options offer lifetime access to the course and you can dip in and out and learn at your own pace.
I am always there to answer any questions and there are comments box’s below each lesson. I will also be adding extra content at the course grows so keep an eye on my ‘Pattern Maps’ section for new styles.
I don’t offer coupons or ‘price gimmicks’ my courses are one set price and I try to keep course prices as low as I possibly can to make them accessible to many.
If you already have, or are thinking about getting my basic bodice block, this post will hopefully give you all the information you need – if you make it to the end of the post you will find a little ‘gift’ too!
Let’s first take a little tour around my ready printed version of the basic bodice block – this version is printed and posted free of charge worldwide! This is a popular choice for those that don’t want the hassle of printing at home and sticking the pages together, or using a copy shop – this version is in black and white.
I have now developed the block into digital versions, including an Ai version, an A4 / US Letter Versions and an A0 copyshop version, if you prefer to go digital!
The A4/US letter version of the bodice block has been designed so that you can compile the pages to create the front bodice on it’s own, then the back, and then the sleeve – this method improves the accuracy a lot!
The digital versions can be colour or black and white printed and all versions now come with a 32 page guide to sizing & fit and free 1/4 and half scale blocks for practice too.
The digital versions of the blocks are also layered, this means you can open the files in Adobe reader and choose only the sizes you want to print, or all of them, the choice is yours to make!
In the 32 page guide to sizing and fit I have provided lots of information to help you work with the bodice block, including very detailed measurements! As a fashion lecturer I am compelled to go into great detail, I just can’t help myself.
Many of my customers are small fashion startups that are time poor, and need all the help they can get!
Let’s take a very quick run through the bodice guide PDF –
In addition to the fit guide, I also send out 1/4 and half scale versions – they are great for practice and note keeping, I use my half scale versions all the time to work out detailed and complex drafts, and save paper!
I also have several YouTube videos to get you started, and you can follow along as I move darts and cover some of the basics –
If you purchase any one of my blocks I am also, always here to help and answer questions and of course you can always join me for a pattern cutting course.
My courses are detailed, no quick fixes or gimmicks, they are there for those that want to learn professional methods from a professional pattern cutter, there are no shortcuts unfortunately, and if you want to learn how to be a professional pattern cutter, one that has the skills to work in the industry, then my courses are for you!
You can find detailed posts on my bog that outline my courses and the curriculums they cover.
As always if you have any questions, please ask.
I nearly forgot…. Please use the following code in my Etsy shop for a discount on my basic blocks – BLOG15BB – click the link to shop!
As you may know, I make and sell basic blocks for pattern cutters, fully graded in wide size ranges. This has been a bit of a hobby for me over the past 30 years, and something I started doing when I worked as a Senior Fashion Lecturer at the world-renowned Manchester ‘Hollings Faculty’ at MMU. It was a bit of a side hustle for me at the time and since retiring and moving to France I have now made my love of drafting and grading into a full-time job! In this series of articles I am looking closely at fitting at the bust – if you want to learn a professional and technically sound method then you are in the right place!
Did you know that most commercial pattern companies make their patterns to fit a B cup size? If your cup size is larger or smaller than this, then you begin to realise that the garments you are making from these patterns will never fit you perfectly. Most basic blocks that you can buy out there are also drafted to a B cup. I have adapted my basic bodice block, and my new torso blocks to cater for a larger cup size. I re-balanced my front blocks to be wider than the back, this allows for larger cups C/D and easier Full Bust Adjustments (FBA) for larger cup sizes. Of course, Small Bust Adjustments (SBA) are also possible.
Many commercial patterns and regular basic blocks leave the full busted lady, and there are many, with no choice but to select a pattern size to fit her bust size. This results in a garment that fits poorly everywhere else. The smaller busted lady is also faced with the same problem but in reverse.
I encounter this problem myself as I am an F cup and have a very small skeletal frame. As a pattern cutter and pattern grader I am acutely aware of how the changes I make to a pattern in one area impact the fit of the garment in other areas. In certain areas a change of a millimetre (a tiny fraction of an inch) can have an impact. In other areas centimetres (fractions of an inch or more) are required. If you simply add on extra (or subtract) all around the pattern you are creating even more fitting problems!
If you google FBA (Full Bust Adjustment) or SBA (Small Bust Adjustment) you can find many articles and blog posts on the subject. As with any information you discover on the internet there are some good articles out there and some shockingly bad ones! Some of the methods suggested will lead to more fit problems than you started with. I truly have seen some shocking ones!
If you are an AA or A cup, then you may get away without making any pattern adjustments. It also depends on the style of the garment and your fit preferences. If you are a C or perhaps a D cup, then you may also be fine.
HOW DO I KNOW IF I NEED TO MAKE A BUST ADJUSTMENT ON MY PATTERN?
Do your blouses gape or fail to sit properly at the centre front?
Is there a bump or folds of fabric above the fullness of your bust?
Do the shoulders of your garments never sit correctly?
Does the fullness of the bust shaping or the location of the darts not match your own bust shape?
Does the front hem of your garment not sit level with the rest of the hem line?
Do the darts of the garments you are sewing fail to ‘aim’ towards the fullest part of your bust?
If the fit issues mentioned above sound familiar to you then it’s likely that you would benefit from adjusting the bust area of your patterns. Once you have solved these problems you will never look back!
The goal of an FBA or SBA is to adjust the bust without altering the fit in all other areas of your garment. When making changes around the bust area we must also consider where our bust sits. I can certainly say that my bust level (and bust points) are much lower now than they were when I was a student. This is a detailed topic on its own and I have a useful blog post on raising or lowering the bust level of a pattern if you want to delve into this area in more detail. I suggest you make sure your bust point and bust level are correct first before continuing with a FBA or SBA.
Raising or lowering the bust level is quite straightforward in theory – knowing how much you need to adjust it by is more difficult to work out. This is where making a toile is essential. I covered the importance of making a toile in a previous article if you would like to know more about that.
If you want to forge ahead and don’t want to go down a rabbit hole, you can also take an educated guess by placing the pattern piece or block to your body and marking on where your bust level and bust points are. I know for myself, I will always need to lower the bust level on a commercial pattern or a basic block if I haven’t drated to my own personal measurements. You can make an ‘estimated’ adjustment first and make a trial garment, then perfect the fit of the bust level and bust points as required.
You can find much more information on how to find a bust point on any commercial pattern by looking at this post on my blog page.
Let’s look at how to locate the bust point and bust level on a pattern that has no darts in this post This will help you to understand the bust area and illustrate how to relocate a dart to the new bust level. In the next article in this series I will go into more detail, but for now lets look at a straight style.
The pattern or basic block you would like to adapt.
A ruler and a tape measure.
Take your pattern piece front and place accurately to your body. Make a mark where your bust point lies – remember this is the fullest part of your bust. To do this accurately you must be wearing a good supportive bra. When working with a finished pattern remember it will have seam allowance added so please allow for this.
Your bust point may be higher or lower than the pattern. The technique below can be used as a solution to both.
If you have no darts on the pattern then simply make a mark to identify your bust point and your bust level. You now have the location marked for the next step of making and FBA or SBA.
If you have a dart or darts on your pattern, you will need to find the centre of each existing dart. Connect this central point to your own marked bust point – then continue to mark in new dart legs, connecting both legs to the new bust point. Darts need to be shortened by at least 2.5 cm (1 inch) for sewing. If you sew a dart right to the bust point it will look very unsightly!
I am aware that I am using some technical language here – if you are asking yourself, what on earth are dart legs! Here is a little help. If you would like to know a little more about this then you can find much more info on my blog page!
Don’t forget to fold in any darts that are already on your pattern, as they would sit when they sewn, this gives you the correct shaping if you are placing the pattern piece to your body. If you have made a ‘toile’ then the darts will be sewn in.
You now have the correct bust level and your darts are aiming towards your bust points. This is a great achievement and will vastly improve fit. If you need to make an FBA or SBA you are now ready to go ahead and make the adaptations.
Let’s look at making an FBA (SBA is just the reverse of an FBA) to a pattern that has no dart at all, for example a t-shirt pattern. Larger busts look much better in garments with bust darts, so we will also introduce a dart into this basic pattern shape to perfect the fit. Larger busts also benefit from a side seam dart, this technique can also be used to add darts to any of your existing swim suit, or jersey based patterns where you would like a better fit over the bust.
PATTERN PREPARATION – Lets look at a FBA on a straight top pattern with no darts to begin with.
If your pattern has seam allowance, most commercial patterns have 1.5 cm (9/16″) seam allowance, then mark this seam allowance with a pencil inside the pattern piece.
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Place your pattern to your body and mark the bust point if you haven’t already done so.
Place your pattern on the table. Drop a perpendicular line from your bust point mark to the hem of your pattern piece.
Mark a line on your pattern where you would like the extra fullness to form, the shoulder is best for a very full bust that has a lot of volume above the bust points. You can also select a position under the armhole or use both if you want to fit a very large bust
Now you need your scissors – slash up the vertical line (from the hem) right up to your marked bust point. Continue up the line (or lines) you marked for your extra fullness. STOP at the point where the seam allowance starts.
Keeping the pattern piece slightly attached at the pivot point open the pattern piece up. If the garment is being made with stretch fabric you don’t need to open the pattern up as much as a garment made with woven fabric, half of the extra you would like to add is enough.
How much will you need to open the pattern? This all depends on the shape of your bust and how many cup sizes you want to increase the pattern by. There is a 2 cm bust girth difference per cup size so try 1 cm (as you have 2 sides to the garment) as a starting point. You can then adjust again to perfect the fit. The illustration below shows you where you need to measure.
You will need to introduce some extra length at the centre front. This allows for the extra fabric you need to travel over the larger bust and prevents the front hem from dipping upwards. It’s a bit like the difference between walking over a small hill and a large mountain range, and the walk if from the Center Front Neck Point – to the CF hem point. I have seen methods where there is no extra added to the cf length and while you can get away with this with a tiny adjustment on a small size, the fitting implications for using this method are horrific for any substantial adjustment.
Cut along the bust level from the CF to the BP and drop the centre front by the quantity you require, try 2 cm ( 13/16″)Â per cup increase and adjust as needed.
Now let’s introduce the new dart. Let’s put a french dart in at a position radiating from the waist level. Plan a dotted line where you would like this new dart to be. Cut up the dotted line, keeping it attached by a couple of mm (1/16″) right at the end. Pivot the side panel back to the hemline. If you already have a side seam dart then this planned line will be through the center of the dart you already have.
Draw in the new dart, connect the opening of the dart mouth to the bust point. . Find the centre line of the dart and draw this in. Take the dart apex back at least 2.5 cm for a small adjustment. The larger the bust the further away the dart tip needs to be from the bust point. This is also a matter of personal preference. (If you have an existing dart then plan this line through the center of the dart and this will simply make that dart larger)
It’s worth noting here that you have only made changes to the pattern where you need them. The hem circumference remains the same as does the side seam length, once the dart is sewn in. There are no changes to the armhole or the shoulder or the neck. This means that the back of your pattern piece is cut as normal. The center front is also still nice and straight which is very important.
Also please keep your eye on the bust point and bust level while making the changes, this is often lost in all the methods I have seen so be sure to keep to your original measurements and check.
I can’t promise that you will achieve the perfect fit on your first attempt. By making small adjustments to the fit using the methods explained you will certainly get there.
Here are a couple of alternative options for you to try – the first is the same method but with the extra fullness added for a bust that is voluminous above the bust point, the second is the same method applied to a pattern with an existing side seam dart.
FULL BUST ADJUSTMENT – FOR A FULLER UPPER BUST
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FULL BUST ADJUSTMENT – TO A STYLE WITH AN EXISTING SIDE SEAM DART
This subject area is vast and it’s impossible to cover all aspect of bust adjustment here. If you would like more information, for example how to make a SBA ( the exact opposite of the steps we took above) then continue reading at my blog page www.modelistecreative.com. I am also happy to answer any questions you may have. Keep a look out on my YouTube channel for useful pattern adaptation videos too.
Join me in the next article in this series where I will show you how to make a FBA and SBA on my basic bodice blocks.
If you would like to learn professional pattern cutting from an industry professional with over 30 years industry experience and a highly qualified Senior Fashion Lecturer, then please take a look at my online courses. All details on my blog
If you have purchased one of my basic blocks sheets, or if you have drafted and graded a set of basic blocks yourself, you will find the following guidelines useful.
My ready printed and graded blocks come with no seam allowance added – the exception to this may be some of my menswear blocks that traditionally have 1cm (3/8″) seam allowance included – and this will be clearly marked on the sheet. You should always trace the basic block you need from the master copy. Keeping the master copy safe is essential for 2 reasons, the first is that you can use it again and again, the second it that you can refer to it if things don’t match and check you have indeed traced the correct size and shape.
The very first thing any pattern cutter should do with a new basic block is to make a ‘toile’ – a toile is simply the technical term for a basic block sewn up in its very basic form – there are additional guidelines to follow here, so let’s take a look.
As we have already established, a toile is a prototype or a trial garment. Toiles are normally made up in calico for woven garments and a knit, that is most similar to the finished garments, for knit blocks. Toiles are also referred to as muslins in the USA.
Calico is a popular choice for woven toiles as it comes in different weights and is light in colour. This makes it easy to see the changes that need to be made and the toile can also be drawn on to note the changes required. It’s worth noting that pattern cutters make several toiles to test their patterns to perfect them, so this is very normal practice in the fashion industry.
Toiles do not need to be finished garments, in fact to speed up the process there is no need to place any seam allowance on hems. Placing seam allowance on the neckline of a toile is the wrong thing to do. This is because the seam allowance will prevent you from seeing where the neckline actually sits, and the seam allowance may also distort the neckline. Adding hem allowance to a garment also prevents you from seeing where the hem will sit when finished.
Sampling complex design details such as unusual pockets and intricate design details can be practiced as small samples to save time and fabric. I must admit that very often I do make ‘wearable’ toiles, where I finish off the toile to the standard of a wearable garment.
It is however normally not necessary to complete a toile to a finished garment stage.
As a pattern cutter, it is essential to view a toile before any pattern development takes place. A toile is simply a starting point for you design, whether you are making a simple change like adding a patch pocket or drastic changes and developing an entirely new style, knowing your starting point is essential. Once you have your toile prepared you can then make any fit adjustments before making style changes. The toile can then be kept with the basic block for quick reference every time you need to use it.
Knit garments require knit toiles.
If you would like to learn more about professional pattern design then why not join me for a course – email me at onitnotinit@mail.com or take a look at my blog page for course details.
I have also made a sew along video to accompany part 2 of the series – You can watch it here – Don’t forget to like the video and make a comment – it really helps!
If you have a spare moment – please give me a thumbs up and a comment!
Developing a basic block from your own body measurements.
Part 2 of my 3 part series devoted to making your own lingerie is about to be released at the sewing directory towards the end of this month. If you missed part 1 then you can find it by following the link below
Part 1 covered drafting your panties basic block – to your own body measurements. In Part 2 I will cover how to sew your toile and test the fit.
If you didn’t get a chance to draft the panties block – don’t worry – I have drafted the block in a range of sizes for you – size 8 UK (4 USA) to size 22 UK ( 18 USA). Simply download and print on A3 paper (see my guide to printing as a poster if you only have an A4 printer)
So feel free to pick up at part 2 and join me again for part 3 where we will look at how to develop this basic knicker shape into a range of different styles.
See you over at The Sewing Directory – for many more articles.
Welcome to part two of this 2 part series. If you missed part one you can always catch it on my blog page! In part one we looked at the front of a pattern envelope. Now let’s take a look at the back of the envelope in more detail. We will also look at some common pattern markings so when you pick up a dress making pattern your will feel much more at ease.
The envelope back becomes a little more technical, and here you will find all the additional information you need in order to purchase fabric and trimmings – otherwise known as ‘notions’. You will certainly need your glasses for the back of the envelope as there is so much information crammed into a very small space!
The back of the pattern may show you the back views of the garment, if they did not appear on the front of the envelope.
The envelope will tell you how many Pattern Pieces are
required for each style variation in the envelope. The most complex pattern I have
ever come across was by Issey Miyake, it only had 1 pattern piece, but it was
more like origami than a dress making pattern!
One of the most important pieces of information you will find on the back of your pattern envelope are the Style Details -for example the description may state that ‘the trouser front has a fly front opening’ – you may be put off the pattern at this point! Here you will also find a description of the garment, including an indication of the fit. This information is often the deciding factor when buying a pattern, as you can quickly decide if the pattern is the right one for you.
You will also be provided with fabric types suitable for the design, it’s best to stick to the suggested fabric when you first try a style, you are more likely to make a success of the project. Next time you make the pattern you can begin to experiment with different fabrics to create a different look.
Most pattern envelopes give you a very brief size chart,
this may be the bust, waist, or hip that each pattern size is intended to fit. This
is one part of the process that you should take a little time over. Selecting
the wrong size pattern that will not fit your actual body measurements can
waste so much time and effort. Always have a tape measure to hand and measure yourself.
Just because you usually take a size 12 on the high street does not mean that a
size 12 garment, made from a pattern, will fit you.
Notions: here you will see how many buttons to buy,
how long your zip needs to be etc. Notions are a complete list of all the extra
trimmings you need to buy in order to make your garment. It is always a good
idea to buy your sewing thread at the same time as you buy your fabric as you
want a good colour match. Tip – If you can’t quite get the right shade – better
lighter than darker!
The fabric quantity guide: this lets you know exactly how much fabric, lining and interfacing fabric you need to buy. These guides are usually quite generous so if you are on a particularly tight budget lay out your pattern pieces at home to see how much less fabric you can get away with. Or you can take your cut out pattern pieces to the fabric shop and lay them out – this can save you a lot of money!
Inside the pattern envelope.
A lay plan is the common term for the guide to putting your pattern pieces on the fabric, it’s worth taking the time to get this part right. You must place the pattern pieces on the fabric exactly as described. Fabric has what’s known as a grain and placing the fabric on the wrong grain will result in a garment that behaves differently to the designer’s intentions.
I wonder if you have ever worn a pair of jeans or leggings where the inside leg seam wraps to the front leg and no matter how much you pull, it will not go back. This happens when a trouser pattern is cut ‘off grain’. This means that the trouser pattern was not placed on the fabric correctly! It’s a common fault with cheap garments when the manufacturer wants to save money. Let’s look at how pattern pieces should be placed on fabric.
Take your time placing your pattern pieces on the fabric.
Knowing the selvedge of a fabric piece is the key to placing your pattern pieces correctly – often described as the finished edge of the fabric – here is a close up image to help you next time you visit a fabric shop. Its particularly important if you are buying remnant or off cut pieces of fabric.
Close up of the selvedge.
You will also find detailed making instructions inside the pattern envelope; the larger pattern companies produce detailed illustrations and a brief description of the sewing process. Smaller independent pattern companies often photograph the garment being made in stages and go into a lot more detail. Smaller pattern companies also produce guides to their patterns on YouTube! (see my bandeau top video on my YouTube channel)
Finally let’s look at some of the most common pattern markings. At first glance this can be a little daunting because there are so many lines and markings. Your making instructions will have a key and a description of each marking.
As I have already mentioned the most important pattern markings are the grain lines, the fold line – also illustrated above is also very important. The fold line indicates that you must place your pattern on the fold of the fabric to create a whole mirrored piece. Notches are placed on the pattern to enable you to match up the fabric sections as you are sewing them. This is a part of the process that many dress makers forget, however, they are essential. So always make sure you transfer all pattern markings to the fabric. Gone are the days of tailors’ chalk, modern dress makers use dissolvable pens to mark their patterns!
Notches are important!
I could go on forever as this is a huge topic and sewing using your first pattern will be a huge learning curve, but if you have any questions at all I am always happy to answer them!
Or If you have a pattern envelope that you don’t understand take a picture and let me take a look for you.
