If you are not quite ready to take on my ‘Professional Pattern Grading’ course then you may want to take a look at this MINI COURSE. In my mini course I show you a traditional method of grading – often referred to as shift grading. This process involves ‘shifting’ the pattern on the table. I have designed 2 rulers to make this method of grading much easier.
I print my rulers on good quality tracing paper to use manually. Of course they can also be opened and used for digital grading in software such as Adobe illustrator too.
The rulers come with a detailed workbook, which I am constantly updating too.
I have also created 3 videos so far…. more to come… that show how I use the ruler practically too.
This first video shows how I use the rulers to grade skirt patterns
In the second video I show how to add girth to a bodice pattern.
In this video I record the steps to grade for both girth and length too.
I have created a special area here on my blog that contains the workbook and video links for this ‘MINI COURSE’.
If you would like to join me then you can find the link to purchase the rulers and all that go with them and also the password for the private grading area here in my Etsy shop.
If you choose to join me for my ‘Professional Grading Course’ you can find all the details in this post and the good news is that the mini course comes as bonus content when you are subscribed to the professional grading course!
Hope to see you soon,
Happy Pattern Cutting, Sewing & Grading too!
Nicola
P.S I also have some handy grading rulers in my Etsy shop for use in Adobe illustrator, they can be used manually too of course and they have all the grading increments already worked out for you to grade skirt pattern easily!
Welcome to my latest course! Here you will find a detailed outline of my very latest course Professional Pattern Grading Theory & Practice and a short 5 minute video to introduce you to the course, plus lots more information below.
This is an area of study that is quite ‘niche’ and may not appeal to all, but it is one of my passions and something I have spent my whole career studying and practicing.
As with all my courses it has taken me much longer to write than I ever imagined! I decided to cover the theory of grading by looking at skirt grading first, I will cover trouser and bodice and sleeve and children’s wear grading in later courses that will follow on naturally from this course. In this course I take a deep dive into manual pattern grading theory. The course is designed specifically to teach you the in depth theory of grading through skirt grading.
Grading takes many forms within the fashion industry. I have worked with companies that have absolutely no idea where their grading increments came from and can’t explain the process they use to grade. This is not uncommon, as is the lack of accurate sizing data. This makes it impossible for a company to know if they have the correct grading applied and this in turn leads to many problems later on in the production process.
Body sizes are also changing and many if not all grading textbooks now have outdated grade plans and instructions which are based on out of date body sizes. I will show you how to create your own grade plans from scratch!
You may well be reading this post because you want to learn how to grade professionally, I will show you how to grade, and also explain why we grade the way we do. My courses are not quick fixes, they are extremely detailed with lot’s of theory and this particularly applies to this new grading course
The aim of this course is to introduce you to a range of grading methods and also the theory behind the concept of grading, that way you will be able to understand each and every method of grading you come across within the industry.
This course is a little different to my other courses, in that you may find some of the concepts difficult to understand at first, so I urge students to please take their time and review the lessons several times until they understand, it may take a little while to get there but I am confident you will!
Years of practice and teaching have allowed me to hone my skills so that I can present the key information to you clearly.
There are a couple of things worth mentioning before you embark on a grading course.
No doubt this is a complex area and not for everyone. The saying ‘I can explain it to you, but I can’t understand it for you’ comes to mind.
Sometimes grading isn’t easy, particularly when we move to style grading, however I have structured the course so that we build on your knowledge bit by bit and form a good understanding of the key concepts, so that whatever grading system you are faced with in the workplace, you will have the knowledge to understand its origins.
Grading does involve maths, there is no getting past this, Courses that tell you that you can avoid the maths and that they have a simple and easy ‘hack’ to show you, are not teaching you ‘real’ grading.
So if I haven’t put you off, you can find the full course curriculum below and links to join so let’s begin our journey!
Please note that the curriculum may change and adapt as the course grows, this in normal for all my courses as I am continually reviewing and adapting them!
If you choose to join me for the course we will take this journey step by step and build on each lesson as we go.
You will find a selection of videos, lesson notes and PDF downloads to support each lesson.
The start of the course is more theory based and there is no getting away from this, your understanding of the terms used in grading is essential – this will make it easier in the long run as we move on to the more practical lessons.
As with all my courses I am always here to help you along the way. You will find a comments box under each and every lesson, where you can ask questions, or simply let me know how you enjoyed the lesson. I work weekends and evenings, and if I am awake and have a spare moment I will always get back to you.
If you would like to join the course over on teachable please follow this link, or if you have any questions then please email me directly at onitnotinit@mail.com
You can also find my digital grading rulers and sets of basic blocks fully graded in a range of sizes over in my Etsy Shop.
Finally my best tip on how to learn how to grade, the best way to learn how to grade, is to grade!
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.
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!
What is neck width? In the diagram above you can see that I have extended the Center Back (CB) and Center Front (CF) upwards and squared a line from each shoulder point – the measurement of this line is the neck width. As you can see above the back neck width is wider than the front neck width. Is this normal you may ask, and the answer is yes -it’s perfectly normal, in fact a sign of a well balanced neckline. In this post we will go on to look at the reasons for this difference and how this information can help your bust fitting.
Let’s first understand what the implications to fit are if the back neck width (BNW) is NOT wider that the front neck width (FNW). The answer to this is that the front neck will gape. My example block above is somewhat of an extreme example as it’s a contour fitted block that needs to fit really well at the above bust area. It’s a block designed for corsets and fitted garments and it needs to be snug! I have also designed this block to accommodate a C cup, so this adjustment actually makes that ‘difference’ between the BNW and the FNW wider still.
You can see in the image above how we can measure the back and front neck widths and compare them, here we are only measuring half, so of course you would need to double these quantities for the total neck widths.
In a block for a B cup (standard fitting block), the average difference between the two widths, meaning how much the BNW is wider than the FNW is generally around 6mm to 10mm – however this ‘difference’ will increase if you are fitting a larger bust or have fit issues and a gaping front neckline area, or a garment that does not sit well above the bust level. We are very concave above our bust level at the front and there can often be fit issues here when trying to fit a larger cup size.
Let’s take a look at an adjustment we can make to accommodate a full bust and get a better fit above the bust level, you may have already made a full bust adjustment and are still having fit issues, or your block may simply be gaping at the neck and not sitting correctly, here is a simple adjustment you can try.
First I am going to close out the dart at the shoulder, as a temporary measure to allow me to make the fit adjustment with no dart in place, it can be pivoted back after.
With the dart out of the way, now we are clear to make the FNW adjustment.
Plan the cut lines as shown on the front block above – we are going to cut this section of the block and move it over to the right to reduce the front neck width even more, this is a minor adjustment and I would advise doing it in stages, particularly with the block I am using above as it has already been fine tuned for a close fit above the bust.
What we are doing here is reducing the front neck width even more, for a larger cup size, the maximum adjustment I would recommend would be a total neck width adjustment of 1.25 cm (half an inch) to a regular block, or pattern you are working on. It’s always best to make these adjutments slowly and keep checking the fit.
Here we are essentially ‘fine tuning’ the fit, this can be a solution if the bust fits well for you, but the neckline is still not fitting as you would like it.
Here you can see that we have reduced the front neck width, we would now need to trace off this pattern section and smooth out the armhole as we have a tiny ‘jog’ at the armhole curve. Please note that these small fit adjustments do not effect the fit of the back at all. having made these changes you can now pivot the temporary dart back to the shoulder if you like.
I hope this post has helped a little. You may find all this slighly confusing if you have not read my previous posts on bust adjusment, It’s a popular topic for me and you can find lots more information in this series of posts on fitting at the bust!
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.
Â
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
Â
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
I am finally ready to release my latest course, Adobe illustrator for Pattern Cutting – The course is aimed at pattern cutters that want to take their skills to the next level and create beautiful, accurate, digital patterns – using the tools available in Adobe illustrator.
The first short video below will introduce you to the course, the second will give you some more detail about the course structure. You can also download the lesson plan file as PDF to take a closer look.
You will find that there are almost 100 lessons and nearly as many videos – it’s a detailed course!
The course is available as three options –
The first option is to join the course – with practice blocks supplied in single sizes.
The second option is to join the course with a full set of digital layered Modeliste Creative blocks supplied as Ai files – This includes the skirt, trouser, bodice & sleeve blocks sets is sizes 6-18UK (2 – 14 USA) plus the A-line skirt set in sizes 6-22 UK (2-18 USA) – to get you off to a fantastic start!
The third option comes with all that is mentioned above PLUS 2 hours one to one mentorship from me – if you are setting up an ‘indie’ pattern business this is a fantastic option – Places on the course with mentorship are limited so please ask if you find the course is full as I can place you on my waiting list and let you know when the next place will be available.
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.
