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.
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.
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″) 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
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.
Here is my latest video – creating the French dart – This is part 4 of a series of videos on moving darts. Ideal for new pattern cutters and those wanting to make the most of their basic bodice blocks.
You can find the free half scale blocks (slopers) used in the video in the members area. Simply subscribe for the password.
If you want to take a look at my Modeliste Creative colour blocks range then you can find them here in my Etsy shop – https://etsy.me/36ZnYlq
Watch in YouTube – Please Like – Subscribe and Click the bell for new video notifications – I aim to make one video a week from now on so please let me know if you have any requests.
Sizing is such a controversial area. Many a time I have had to advise a client that they are working with incorrect sizing data. I have worked as a freelance pattern cutter and grader for over 25 years and have regularly come across small design companies, who have asked me to grade their patterns, only to discover that they have no size chart of their own!
If you are starting your own clothing business, the first and most important thing to do is to decide on your sizing and then stick to it. For each pattern and collection you produce, your customers can then be confident that the size they select from your range of designs will always fit.
Vanity Sizing…
Now this is where a lot of the confusion occurs, many high street retailers adopt this method of sizing and this then leads to sizing misconception.
In the UK, and in many other countries, there is, believe it or not, standard sizing data available. Much of it is old and out of date, but it is generally available.
Many designers tend to use vanity sizing for their clothing range, this means that they size a garment, which by measurement would be for example a LARGE, and they apply a SMALL label to the garment. This makes the customer very happy as in their shop they fit into a SMALL! However in reality the customer is actually wearing a large (by measurement) but the label tells them it’s a small. The company then makes more sales as the customer is happy to be a small size.
This is a common method of sizing and there is much research out there if you would like to take a closer look.
I have worked for many a company that alter the label and it can be very confusing for the pattern maker. When the designer asks you to make the sizes one size larger than they actually are. When they ask you for a sample in a size 12, you then need to ask – a size 12 or your version of a size 12 which is actually a 14!!!!
Of course there is also something called ‘ease’ that can also be added to a pattern. Ease is extra allowance for movement, so the pattern cutter can add in extra and then a little extra again and this then makes the garment larger than it would be with a ‘normal’ quantity of ease. So you can see, it can be quite confusing and misleading.
My best advice when using a basic block, which would have been labelled with the correct size, according to actual body measurements, is to not be too hung up on the size the size chart tells you that you are (as it is likely larger than the high street size you take).
It is important to measure the body you are intending to fit and compare those measurements to the size chart you have. You will find some useful size charts in my members only area, simply subscribe for the password.
Don’t worry too much if the size chart tells you that you are a larger size than you thought you were, it’s more important that you select the correct block to start your pattern.
I have had many a customer that fails to measure themselves and selects a block, one they imagine will fit, and then finds that the garment does not fit, as they didn’t take the time to measure their body and select the block that was most appropriate to their own body measurements.
I am regularly asked about freelance pattern cutting or grading, and while I am always happy to take on a challenging project I want to make sure my clients know how much time it takes to develop a pattern from a design, test the pattern, produce a ‘toile’ and ensure the sizing and fit are perfect.
Even a simple pattern, developed from a basic block, can take a couple of hours to produce.
I do have a wide range of basic blocks that you can purchase and develop your own patterns from, and if you have basic pattern cutting skills then this is always the most economical option. If you need help selecting the most suitable block then just ask, I am always happy to help. I want my clients to know that the price I charge for a basic block or pattern is not the same as the price I would have to charge for bespoke patterns. Most of the blocks and patterns I sell in my shops have taken me a couple of weeks at least to perfect, it is only the fact that I hope to sell multiple copies that helps me keep the price so low.
If you don’t have the skills just yet to produce your own patterns then read on…
For those projects I take on I charge an hourly rate and for a pattern maker with my experience and expertise the going rate is £40.00 per hour (some pattern cutters and graders charge up to £70.00 per hour). To give you an idea of the time it takes to produce a simple pattern, this would be around 2 hours, of course if you want a toile, pictures, size charts, etc then you can see how the cost can add up.
I hope this information is helpful and gives you an idea of the work involved and the time it takes. Knowing all this if you would like me to give you a quote for your freelance pattern cutting needs then just let me know!
Making your own made to measure skirt block pattern – and understanding the process!
If you are new to pattern drafting I always think a skirt is a good place to start. I have carried out a lot of research on block drafting, I have even published an academic paper on the subject! The draft I am going to show you here is a combination of all my research and a method I developed as a result of much experimentation and perfecting the skirt draft.
I also realised that most drafting books are very rigid and do not allow for any manoeuvring in the process. Many of us are not drafting blocks because we are a standard shape. Being an unusual shape may well have led us to this point. So my instructions give ranges and options!
This post is a long one, at this moment I have been working on it for 2 days and it will no doubt go into 3 days once I make a toile and take some photos. What I am trying to do as I go along, is to explain the drafting process. Most, if not all, block drafting instructions out there just give basic follow the dot instructions, with barely any reasoning behind them. I am the type of learner that can’t accept anything myself until I understand it. Hence my desire to go into much detail in my posts! By the end of this you will be an expert skirt bock drafter, I promise!
Gather together:
A tape measure
A small piece of paper and a pen for notes
A calculator (I use my phone)
A large piece of paper to draft on – even wrapping paper or wall paper will do
A long ruler and a set square
A pencil (3H)
A rubber – you will need one!
You will need some measurements too!
Waist – measured at the natural waist level, What do I mean by natural waist? Having come from an era where the waist was the waist, I found myself explaining to students where the waist actually was! This is because fashion has lowered the place where most garments sit on the body. For example most trousers are now designed to sit below the waist and those garments that do actually sit on the waist are often referred to as ‘high wasted’ when in fact the sit directly on the natural waist.
If you are a plus size then the waist measurement may be more difficult to take so take a piece of string and let it settle at the waist level where it wants to. Another way to identify where the natural waist is, is to bend over to the side and see where you crease. The natural waist is usually above the belly button.
Hip measurement. The hip is the fullest area over the hips and bottom. You may sometimes be asked for a high hip or top hip measurement and this is located above the full hip. For this draft you need the full hip measurement which is normally located between 21 to 22 cm (8 1/4 inches to 8 11/16) below the natural waist (depending on your size) the smaller the size normally the higher the hip. Again if you are a plus size then the hip may be lower and if your measurement around the thighs is the largest measurement then use this. The skirt must pull over your largest part, so make sure you take a moment to make sure you have this measurement correct. Again make sure the tape is level.
Take a note of your hip depth, as instructed above.
Skirt length. This is entirely up to you. For a basic block I recommend drafting to the knee. You can always lengthen or shorten the skirt later.
Now there are a couple of things we need to consider before selecting which draft to use. If you have a hip that is more than 12 cm (4 3/4″) larger than your waist, you will need to draft a skirt with 2 back skirt darts, as one back skirt dart will not fit you well at all. However we will solve that problem once we have drafted the basic block and I will show you how to add an extra back waist dart as part of the process below.
Jot down your measurements here
It’s always advisable to make a note of your measurements and calculations when you are drafting a block or pattern. I have filled in the chart below with the measurements I am planning to use for this example. You will find a blank Skirt drafting measurements log here. I work in centimeters but I am aware many people work in inches so I have supplied conversions throughout the post.
The drafting process
We will begin by drawing a rectangle – the length of the rectangle will be your selected skirt length and the width will be half of your hip plus ‘some’ ease.
How much ease should I add?
firstly, remember we are working on half a pattern here, this is normal for pattern cutting and drafting when the block or pattern is symmetrical. Ease is extra allowance for movement and is the extra you add to a block or pattern above the actual body measurement. Ease will allow you to breath, sit, bend and function in the garment. Older people and plus size ladies usually like more ease. Young people and those that have a preference for a snug fit would add less ease. ( Babies and children also need more ease).
Another consideration to the quantity of ease you add at the hip is that those of you with wider hips and smaller waists will have more to take out at the waist (suppress) in the form of darts (suppression) as there will be a larger difference between hips and waist. What I recommend is that if you have a small waist and large hips, you may want to go for a smaller quantity of ease at the hips. Hope that all makes sense.
But – it all depends on your personal preference, I would recommend anywhere between 1 to 2 cm (3/8 inch to 13/16″) to be added to the half hip measurement (half of the total ease of 2 cm (13/16″) to 4 cm (1 9/16″) ease). Lets go with 1.5 cm ease for this example (that would be 3 cm (1 3/16″) total ease). But its really up to you. Don’t forget this is a basic block and you will use it to develop your patterns from, so adaptations can be made later to the styles you want.
Next lets mark in the hip line
This can be anywhere between 20 cm to 22 cm (7 7/8 inches to 8 11/16) or even lower for larger sizes. Here is a link to my size chart up to a size 30 UK ( 26 USA), if you want to check your measurements against this and see how hip depth relates to size with a free PDF guide.
I have decided to use 21cm (8 1/4″) as my hip depth for this example.
Now find the center of the hip line. In my example the hip line is 53 cm (20 7/8″) across so I will measure 26.5 cm (10 7/16″) across. This is where the side seam is located. Remember all lines must be square so use a set square to check.
Now raise the side seam at the waist level by 1 cm (3/8″) and square out each side by about 4 cm (1 9/16″).
Now we are ready to adjust the waist line to fit by adding in the darts.
calculate half your waist and let’s decide how much ease we want at the waist line. The minimum we can add realistically is half the amount be added to the hip measurement, and the maximum is 4 cm (1 9/16) for you to be able to ease that amount into a waistband. I have decided to add 3 cm (1 3/16″) total ease to my waist, this means I need to add half of that to half my waist. It’s important to always remember we are working on half a pattern, so the measurements are halved.
My waist is 77 cm (30 5/16″) divided by 2 that is 38.5 cm (15 3/16″).
I am choosing to add 3 cm (1 3/16″) total ease to the waist – divided by 2 that is 1.5 cm (9/16″)
38.5 cm (15 3/16″) + 1.5 cm (9/16″) = 40 cm ( 15 3/4″)
This measurement needs to be subtracted from the measurement of line B-C
This will give the amount you need to take out (suppress) at the waist, in the form of darts (suppression).
For my example, measurement of line B-C (which is half my hip and half my ease at hip) is 53 cm (20 7/8″). From this I need to subtract 40 cm (15 3/4″) – this leaves me with 13 cm (5 1/8″) to remove at the waist line.
My hip is more than 12 cm (4 3/4″) larger than my waist so I will get a much better fit with 2 darts in the back skirt. I want to avoid having a huge back dart and having all the suppression in one place.
The process is the same for adding one or two darts up to a point, so let’s carry on.
I am actually using my dress stand as ‘my’ measurements. I wish they were my measurements!
She is a size 10 USA and a size 14 UK, and was used to make a dress for Beyonce once, I bought her privately from a tailor on Saville Row ,not knowing this, but its a nice thought. She is very curvy and suits my size charts.
Lets go on. My difference is 12cm (4 3/4″). You can take at least half from the side seam, plus an extra cm if you need to. Another 1.5 cm (9/16″) to 2.5 cm (1″) can be removed in the front dart and the surplus that is left is removed at the back.
Its not ideal to remove more than 3 to 4 cm ( 1 3/16″ to 1 9/16″) in a back dart. It can be stretched to 5 cm (2″) at the maximum but really this is too much.
In this case I will remove 6 cm (2 3/8″) at the side seam, this leaves 6 cm (2 3/8″) .
I will take 2 cm ( 13/16″) at the front and this leaves 4 cm (1 9/16″)
I will take 2 darts at the back to balance the suppression.
Step one
Remove the quantity you have calculated from the side seam, do this equally at each side.
In this case 3 cm (1 3/16″) each side – measure along the lines you extended out from the point where you raised the waist.
Draw a straight line from points 1 and 2 to the side seam at hip level and then softly curve the lines outwards to shape them, not too much as the hip will be too curved, up to 1 cm (3/8″) at the center of the line is about right, however this does depend on how curvy the hip of the wearer is. I chose to curve out 0.75 (5/16″) in my draft.
Planning the front and back darts
Draw in a guide line from point 1 to A and again from point 2 to +
Divide line 1 to A into thirds and drop a line parallel at a third along from the side seam down to the hip line. This is where the front dart will be placed.
Place half of the quantity you have calculated to be taken by the front dart either side of this line and connect to a point 9 cm (3 9/16″) down the line. In my example I am taking 2 cm (13/16″) in total so I will place 1 cm (3/8″) each side of the dart center line.
Now for some fine tuning. The dart legs must both be the same length. To ensure this we will make sure that both dart legs rise above the original horizontal waist line guide by 0.5 cm (3/16″). Use a rubber to erase the surplus on the right side.
Gently shape the rest of the waist making sure the center front is at a right angle for a short distance so it lies flat without a bump or a dip!
Now on to the back – if you have 4 cm (1 9/16″) or less then you can get away with one dart at the back. You can push it and get away with a 5 cm (2″) dart at the back if you are passionate about only having one dart. We will cover putting 2 darts in the back next.
Divide line 2 – + into half. Drop a perpendicular line parallel to the CB – from this point to the hip level. The dart will be planned each side of this line, with half the amount placed equally either side of the line. The dart can be a maximum of 15 cm (5 15/16″) long, I am choosing to have my dart 13 cm (5 1/8″) long. This dart as with the front needs perfecting and the dart legs should lie approximately 0.25 cm (1/8″) above the waist guide line. Measure and perfect the darts and the waist shaping as with the front.
I have 4 cm (1 9/16″) left so I will be placing 2 cm (13/16″) each side of the dart center line.
The block now needs to be cut out in paper and the darts folded in to achieve the correct shape. If you want to learn a technique for planning the shape of the darts without having to cut the block out in paper then see my technique on mirroring darts in my last post.
You also need to make sure that the waistline run is smooth once the darts are folded in. We will take a look at that shortly. Lets move on to planning for 2 darts at the back for us shapely ones!
2 darts in the back
At this point we have 4 cm (1 9/16″) or above that we want to pop into 2 darts at the back. This time instead of placing the first dart directly in the center of the waist guide line as we did for the example with the one dart back, we will move 3.5 cm (1 3/8″) along from this center line towards the center back. This dart can be up to 15 cm (5 15/16″) long. I prefer to use a length of 13 cm (5 1/8″)
The second dart will be placed half way between the remaining portion. The dart closest to the side seam needs to be shorter than the first dart by 2 cm (13/16″).
Place between 3 cm (1 3/16″) to 4 cm (1 9/16″) in the dart closest to the center back and the remaining quantity in the dart next to the side seam. Hopefully there shouldn’t be any more than 3 cm (1 3/16″) left to distribute, but if there is let me know as I have never come across this and would like to take a closer look.
Again the darts need perfecting and the dart legs need to be the same length. Make the dart legs 0.25 cm (1/8″) above the original waist level guide for the dart closest to CB and make the dart legs 0.5 (3/16″) cm above this line for the dart next to the side seam. Curve the waist gently.
At this point I need to stop myself, as I could go on forever about how to fit and adapt this bock, but I will save that for another post. I would love to hear from anyone that has followed my draft an any feedback is much appreciated! I will be making this draft soon and will post the pictures and some more tips for making the shape even better.
I will be adding to this theme with posts on how to make your skirt into a range of styles so keep posted and make sure you are subscribed!
If you have read all this and would love a bespoke skirt draft then please let me know as we offer a service to create a basic block to your measurements, but why not give it a go yourself!
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
