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

Making The Most of Your Bodice Block

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Moving Your Bodice Darts – Example 1

This is the first in a series of posts that will demonstrate the method of moving darts around the bodice block to different locations. This post is aimed at beginners.

Moving both darts to the waistline is very easy. Lets look at the slashing method.

  1. Trace the bodice block marking in all the darts, the bust point and all other block markings such as notches.
  2. If your darts are not connected at the bust point then connect them before you begin, all changes to bust dart locations must happen through the bust point (BP)
  3. Slash up the center of the bust waist dart, right up to the bust point.
  4. Fold in the shoulder bust dart and watch the waist bust dart open up to become a larger dart. Now the 2 darts are combined at the waist.
  5. Trace around the new shape, marking in the new dart. Take the apex of the dart (point of the dart) back by 1.5 cm for sewing. If you sew a dart right up to the bust point it will look very pointy!
  6. To complete the pattern shape, fold in the dart and cut the pattern with the dart folded in as it would be sewn to get the right shape at the dart mouth.

If you want to know more about darts, this detailed workbook will give you everything you need to know!

If you don’t already have my basic bodice block you can find it here:

Modeliste Creative – basic bodice  

Or if you would like a larger size range  we also have a couple of other bodice block options we recommend.

The regular Design Cut & Wear Bodice block, or the Bodice Block with the shoulder dart removed, or the Japanese Style Bunka Bodice Block

Or maybe the plus size bodice block. They are all suitable for this technique.

Hope this helps and I will be back soon with another technique.

Happy Pattern Making.

Nicola x

 

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

Work Flow for creating a pattern from a basic block

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New pattern cutters have the advantage of adopting good working practices right from the start. If you can adapt to follow this process your work flow will be smooth and you will save time.

  1. Trace the relevant block onto your pattern paper – use plain white tracing paper or spot and cross paper  Follow the links for a supplier that will post starter pattern cutting paper packs all over the world !
  2. Transfer all grain lines and construction lines such as hip line, dart lines, notches etc.
  3. Make any changes to the shape of the basic block first, for example adding more flare or moving darts. More paper can always be taped on to extend the first draft.
  4. Plan any new seam lines on the draft. Take care not to plan seam lines unevenly over darts. You can move darts to a temporary position if they are in the way, or measure carefully across the dart as shown in the images below.
  5. Mark each pattern section on the draft with a grain line, add balance marks and notches and any special instructions.
  6. Plan and draft button stands, now draft any off parts such as collars and cuffs.
  7. Plan facing lines, facings are best produced from the final pattern sections but they can be planned now.
  8. Trace each pattern piece off the main draft- never cut the main draft up!
  9. Add seam allowance – only when you are certain you have completed your pattern, adding seam allowance is the last thing you do. See my post on suggested seam allowance quantities.
  10. Label the pattern, see my post on labelling your pattern.
  11. Finally cut out your first pattern – you are ready to test your pattern with a toile.

If you plan across without measuring, the pattern piece you trace off will not be correct, as illustrated below. This is a common mistake people make and it results in an ill fitting pattern.

Planning across a dart results in a jagged pattern piece!

I hope this helps.

Happy pattern drafting,

Nicola

 

 

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Beginners Pattern Drafting Info, Pattern Cutting Techniques

Good Working Practice – For a Pattern Cutter.

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Developing good working practice and good habits saves time.

As a professional pattern cutter, you soon learn that if you don’t have a good working practice, it costs you time, and time is something you rarely have in the fashion industry. If you are a self employed designer/pattern cutter, it also costs you money!

I worked with a wonderful Japanese designer many years ago in Copenhagen. He could only speak Japanese and unfortunately I could only speak a few words to him but he left a lasting impression on me. The reason I still remember him so well over 26 years later is because his working methods and his patterns were faultless and I do mean faultless. In fact it became a daily ritual that we would check his patterns, and see if we could spot any mistake he had made, and we never could, ever, not even once!

He also produced all his designs with the wooden end of a paintbrush, not the brush end, and they were beautiful!

Back to the topic in hand!

This is  broadly the way he worked –

He always used a 4H pencil.

He also only used a set square, no fancy pattern rulers, just a set square and a meter rule.

Pattern Labelling…

When pattern sections are traced from a draft pattern all information needs to be transferred too.

For example:

  • All pattern markings, sewing notches and balance notches. I wonder if you are thinking ” I know what sewing notches are (notches to help you match pieces when you sew) but what are balance notches. Balance notches on a pattern are there to help you ‘balance’ the pattern. For example a notch at center front and also at center back, lets you know that the garment is sitting correctly on the stand when you assess the fit of the pattern.
  • Fold lines or indications where a pattern is to be mirrored – please take note that ‘cut on fold’ is not a practice adopted in the industry. Pattern sections are mirrored and cut flat and open as a whole piece.
  • Grain lines, size of pattern, name of pattern piece, style number if required, the number of pieces to be cut and in which fabric, for example main fabric, lining, fusing, a note of the quantity of seam allowance added to the pattern, indicate the CF (center front) and CB (center back), name of cutter, small sketch or technical sketch of the garment, button and button hole positions, pocket positions, and any other important design or construction detail, for example areas you need to gather and how much to gather back to.
  • There are also a range of pattern symbols you need to know

Buttons and button holes

A solid line with a dash at each end is used to mark a button hole position

Large X’s mark button positions (I intend to do a blog post on button stands very soon and there will be a lot of information on button hole and button placement in the post)

Drill Holes – are sometimes indicated by a + but can also be marked as a circle, they can be filled or empty.

Drill holes are used in industry to indicate pocket placement positions and also indicate where to taper the dart, they are placed a set distance from the end of the dart i.e. the dart apex  (1.5 cm is a good distance).

In an industrial setting drill holes are an actual hole, a small one, but still a hole, a home sewer will mark the point with a fabric pen or a pin.

 

A place on fold or cut on fold symbol is indicated as illustrated below –

Grain lines are placed on pattern pieces to indicate the way a pattern piece should be placed on the fabric. Strictly speaking blocks should not have grain lines placed on them, if they do then the line should not have arrows on the ends.

The arrows on a grain line have meaning. An arrow indicates which direction the pattern piece should be placed on the fabric in relation to the ‘selvedge’ i.e. the finished edge of the fabric.

Knit pattern piece should be labelled with a grain line with an arrow on one end only as knit garment sections should be cut all facing one way. This is also the case with fabrics that have a nap, for example velvet. If velvet is cut with pattern sections facing different ways then the garment will look as though it has been made from different colour fabrics for each panel, as the light hits the pieces in different ways.

Grain lines can also be placed at 45 degrees and this indicates the pattern pieces should be cut on the bias grain.

DOGS

Stretch pattern pieces may need to be labelled with an instruction to cut the pattern piece in the direction of greatest stretch, particularly important with all in one garments and swim suits. This again is a topic in itself and a particular area of interest for me and I will be covering this in detail soon.

You may also need to use the following abbreviations, particularly for A-symmetrical pattern pieces.

RSU – Right Side Up

This is an instruction to cut the pattern piece with the right side up, so the cutter knows not to flip the pattern piece in an attempt to save fabric.

The opposite of RSU is RSD – Right Side Down.

Good Working Practice…

  • Use the edge of your tape measure when measuring curves
  • Sketchy lines are not acceptable in pattern drafting, use at least a 2H sharp pencil
  • Notches are very important, particularly on long or curved seams. Notches should always be marked at 90 degrees to the seam line.
  • Grain lines are marked parallel to center front and center back. A sleeve has the grain line marked down the center, a trouser has the grain line marked down the crease line (center line).
  • When you draft a pattern on a piece of pattern paper, never cut it up. Trace the pattern sections off the main draft. Do not add seam allowance until the very end of the process!
  • Check the draft pattern for the following –
  • Seam lines and lengths match
  • Grain lines have been placed on all pattern pieces.
  • Facing patterns are best cut from a final pattern
  • Check all notches match – particularly sleeve and armhole notches
  • Fitting lines such as button stands and button and button hole placement are accurate.
  • Seams meet at the correct angles – these should be 90 degrees if you want a straight line.

  • Gathers, tucks etc are clearly marked, with measurements indicated.
  • Directions in which to fold pleats are clearly marked.

I think that’s it!! There may be things I have missed, please let me know if you can think of anything at all.

I could go on forever explain all the associated information that goes with certain topics, such as notches, as there is a lot to cover there, in time I will cover these topic so please subscribe to keep up to date.

You may also find my Pattern Language Post – interesting. This covers abbreviations you may come across when using patterns.

Happy Pattern Making!

Nicola x

 

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Current Projects, Free Downloads

Your Free Tie Pattern!

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Your free tie pattern! & a POP suit!

 

Click the link below for your free tie PDF pattern, the file has 9 pattern pages that you will need to assemble to create the pattern. Print the first page of the pattern to check that you have the correct scale, and measure the box to check you have a 5 cm x 5 cm ( 2″ x 2″) box. The pattern comes with full making instructions.

Free Tie Pattern

I don’t have time to make the tie myself today as I have been busy making 2 suits for my 2 Jack Russel terriers!

They both had a little operation and hated the horrible cones they had to wear to stop them licking the wound, so a little suit each has solved the problem!

 

 

Post Operative Protections suit – specially made for Pops and Daisy too!

Ted, my fox terrier loves the feel of the suit too, it makes a nice pillow!

I used a very special technique to make this pattern a perfect fit and it’s so easy, I will be making a video soon showing the technique, so keep watching.

Nicola & Pops and Daisy and Ted today X

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Current Projects, Sewing Techniques

Sewing the “hippy” Smock Top Pattern.

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Making the ‘Hippy Style Smock’

The Smock Top project is one of my favourite patterns, I make it all the time for myself. It’s also one of my mums favourites, she adapts it to make long dresses, shapes the hem, she has even made it as a loose jacket by cutting the front top as an open shape and adding an extra facing. The pattern sleeves are long, but I will show you how they can be easily shortened. Its also lovely as a dress, I will show you how to lengthen the top too!

Here is a run through of the sewing process and also some ideas for adapting the pattern. The pattern can be purchased on Etsy and has a very detailed sew along and also some pattern adaptation ideas.

Click this link to find the pattern on Etsy

The pattern is designed so that the back smock piece is cut as 2 separate pieces with a seam down the center back, this saves fabric, however if you have wide enough fabric and want to take the extra time, then it worth cutting the back smock and the back facing on a fold line. If you choose to cut them on a fold line, then don’t forget to remove the 1 cm (3/8″) seam allowance from the center back of the pattern, or just overlap the 1 cm over the fold when you cut out.

 

The first step is to sew the center back seams (If you didn’t choose to cut them on a fold), both on the main smock, and the back smock facing.

You will also need to apply a light to medium weight fusible interfacing to the facing pieces (back and front), this will give them body and help them lie flatter inside the top.

When applying fusing to a fabric piece, remember its not like ironing, its more like pressing.

With sticky side down (that’s the shiny side) placed to the wrong side of the fabric, PRESS the iron and put a bit of your weight behind it, this will help the fusing process. Fusings are developed for a high heat setting and the resin needs to melt and stick. Don’t burn the fabric though, its always wise to do a test piece. Don’t use an ironing motion and don’t use steam and all will be well!

Now you have whole back pieces, and whole front pieces, so its time to join them all together.

Sew the shoulder seams and the side seams on the main top and do the same for the facing. Press the seams and neaten the edges using your normal method (zig zag or overlocker / serger)

 

The facing can now be applied to the neck line, Before you do this you need to neaten the edge of the facing at its hem edge. I love to apply bias binding to my facings, if you would like to have a go, see my blog post –

Making and applying your own bias binding!

Applying the facing to the neckline is the trickiest part of this process, its worth taking a little time to prepare the pattern pieces and it will help greatly if you mark the seam allowance with a fabric pen at the neckline.

It’s difficult to see where the point of the V is, so marking the seam allowance lets you stop at the V point, with your needle down in the fabric, and allows you to pivot the work, so that you can continue sewing.

Once you have sewn the facing to the main top at the neckline edge, the facing can be turned through. Before you do this you will need to clip in to the seam allowance and also the V to allow the seam allowance to open up. Cut to just within a couple of millimetres of the stitching. This will allow the facing to be pressed flat when turned through.

Now give the neckline a good press and move onto the sleeves.

I plan to make a detailed blog post on setting in a sleeve, there are a number of tips I want to share, so please keep a look out for this, its hard to picture clearly when photographing a garment!

Sew the sleeve underarm seam, I have shortened the sleeves for this top, as I want it as a summer top. I will show you how to do this later in the post, it’s not as simple as just drawing a straight line across if you want the sleeve to look straight on the body.

 

Here is a photo of one I made with long sleeves, just to give you an idea of the sleeve shape and how nicely it hangs.

OK, let’s sew the sleeves into the armholes. I start by pinning the underarm seams together (right sides together). I then travel around the armhole pinning and matching the notches. There is a little bit of ease in the sleeve head on this pattern. This means the sleeve head is larger than the armhole and needs to be eased in. This can be done by compressing the sleeve fabric as you sew. As this is such a loose fitting style then you can also make the extra into a few little pleats at the shoulder seam and this looks quite nice.

Now press and neaten the raw seam allowance edges together.

All that remains is to finish the hems, a machine stitched hem is fine for this style. Press the hems up by 1 cm and stitch into position. If you don’t have a way to neaten the raw edges, then the hems can be stitched as a double hem, but make sure you only take a small hem if you are doing this.

I love a pattern that I can use again and again, I love to make this style slightly longer as a loose summer dress. It’s also great as a cover up on the beach!

Above you can see the top has been made as a dress in a lovely soft cotton!

Some ideas for adapting the pattern!

A shorter sleeve.

Measure down from each underarm the quantity you require, for example 5 cm (2″).
Draw a line straight across and mark a point on the center of the line.

Drop this point by 1.5 cm (1/2″) and draw in a curved line as shown.

A straight line would look as though it went upwards when the sleeve is on the body.

Trace off the new sleeve, transferring the notches from the original pattern.

Making a longer smock or a dress.

Extend a line from the center back and the center front by the amount you wish to lengthen the top.

Measure down at right angles from various points along the hem line by the same amount.

Make the corners all 90 degrees for a couple of centimetres (3/4 inch).

Draw in the new, slightly curved hem line.

If you have any questions or comments, as always, please let me know.

Happy sewing and pattern cutting!

Nicola x

 

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Beginners Pattern Drafting Info, Pattern Cutting Techniques

Bodice Darts- How To Move Darts

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Princess Line Shaping On a Basic Bodice

It always amazes me that a designer can give a pattern cutter a sketch, for a fitted dress or top, in a woven fabric, and there are no darts at all illustrated on the sketch. It’s as though they imagine that a garment will fit the body in some magical way.

I realised along the way that nowadays most clothing is made in stretch or knit fabric, and this can eliminate the need for darts in some circumstances. This has resulted in many students not being aware of darts and their importance. But the fact remains that if you are designing garments in a woven fabric such as a cotton or denim, if you want the garment to fit the body, then there must be darts in some form or another. You don’t necessarily need to see them, but they must be there in some form.

This led me to create my darts booklet -which is available as a PDF instant download on Etsy. The booklet covers everything you need to know about darts!

In this post I am going to cover the method for creating a princess line shape on a basic bodice.

Step 1

The shaping above is a design choice, and can be adapted to your own design, as long as the princess line shaping goes through the bust point.

Close the  front shoulder dart to form the center front section, detach the side back panel too. You now have the sections you need.

If you don’t want a back shoulder blade dart in the center back panel, then please see my video

Removing the back shoulder blade dart for instructions on how to remove this correctly.

When you have finished your pattern you can then add seam allowance and test the pattern as a ‘toile’

Hope this helps and again if you have any questions I am always happy to answer – please subscribe to see more pattern cutting tutorials.

Nicola x

 

 

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General Info

The Story Of How Our Pattern Blocks Are Created.

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All my blocks are created either from scratch, or they are blocks that I have developed throughout my career, they are all tried and tested.

We use the most up to date size charts that we can and all our latest blocks have centimetres and inches with both UK and USA sizing and the EU equivalents too!

I revisit my tried and tested blocks constantly to review the sizing, ladies waists have become larger, so that’s a measurement we always keep our eye on.

We start with a set of basic measurements and a sheet of pattern paper, from there our years of practice allow us to draft the block in a size 12 or sometimes a size 14 to begin with.

 

Once I am satisfied with the draft, I then make a sample and fit this to my concept stand, made by Kennett & Lindsell. I bought this stand because of its measurements, they are almost identical to the latest data for size 14 (UK) measurements, within a couple of millimetres. It was only after I bought the stand from Saville Row in London that they told me it had only been used once to make a dress for Byonce. She obviously has a perfect figure, nice and shapely. The deficiencies of modern dress stands are a subject for another day!

I then fit and perfect the block on the dress stand and make any amendments necessary, this is commonly referred to as ‘toiling’ in the fashion industry.

We Have One Size – How do we then make the full range of sizes we supply –

 

Once we are satisfied with the ‘base size’ we can then ‘grade’ the block. Grading is the term used to create a range of sizes from a base size; in this case our base size is a size 12. (In the case of our outsize blocks our base size will be larger).

Pattern grading uses a set of mathematical formulas to grow a pattern piece by a specific amount and small movements in a positive of negative X or Y direction are made. This is how the various sizes of a pattern or design are developed. Every company has its own set of grade rules, and these are usually guarded closely as a trade secret because they take a lot of time and effort to develop. Once a company has an established set of grade rules, they tend to keep top secret. There are many variations of grading that exist in the industry. On your pattern block size guide you will see that I have indicated the total grading increment. This is the amount your block increases or decreases per size. For example there is usually a 5 cm difference between a size 12 and a size 14 bust. The same difference applies to the waist and hips. Some companies use a 4 cm difference.

Each small increase or decrease of the pattern is carried out in millimetres.

Hopefully this has given you an idea of the time, skill and effort that has gone into creating these blocks for you. If you have one of my blocks then hopefully I have saved you a great deal of time and stress!

If you have any question, comments or ideas please email me at onitnotinit@mail.com

Please see our shops page within the blog for places you can purchase our blocks, we have over 100 different blocks sets. Ranges include Ladies Blocks, Plus Sized Block, Baby, Child and Teen Blocks, and Menswear Blocks.

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