FOUNDATIONS OF FLAT PATTERNING AND DRAPING

Foundations of Flat Patterning and Draping: For the Female Form provides the
foundational tools necessary for success in the techniques of flat patterning and
draping clothes and costumes.
This book begins with the basics of taking measurements, preparing the
fabric for draping, and preparing the dress form. The following chapters explore
flat patterning and draping practices for bodices, skirts, pants, dresses, sleeves,
collars, cuffs, and facings through detailed step-by-step instructions, checklists,
and numerous diagrams. The bodice drafting instructions in this book, specifically,
are a new method that accommodates all bust and cup sizes. There are instructions
for small and large cup sizes allowing for a fit that does not gap at the armscye as
typically happens with previous patterning methods, and additional sections for
bodices and sleeves and how to manipulate them to create alternate looks. The
techniques in this book generalize across sizes and shapes making it universally
applicable for the student technician, as well as the person the garment is being
developed for. Each method of drafting and draping has been class-tested and
proven to produce well-fitting garments.
Presented in an accessible format with clear instructions and detailed
illustrations, this book is well suited for use as a textbook for the undergraduate
college instructor teaching costuming or fashion, as well as for the student or
individual learning on their own in the theatre, film, or fashion industries.

Larissa McConnell is Continuing Assistant Professor of Costume Design and

Technology at Gustavus Adolphus College in Saint Peter, Minnesota. Originally
from Buffalo, New York, she earned her B.S. and B.F.A. at the State University
of New York at Fredonia and her M.F.A. at the University of Missouri, Kansas
City. Larissa has also worked at various theatres around the country, including
the Weston Playhouse Theatre in Weston, Vermont; the Alpine Theatre Project
in Whitefish, Montana; and both the Chautauqua Theatre Company and the
Chautauqua Opera in Chautauqua, New York.
 FOUNDATIONS OF
FLAT PATTERNING AND DRAPING
For the Female Form

Larissa McConnell
Cover image: Cover art by Larissa McConnell

First published 2022

by Routledge
605 Third Avenue, New York, NY 10158

and by Routledge
2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN

Routledge is an imprint of the Taylor & Francis Group, an informa business

© 2022 Taylor & Francis

The right of Larissa McConnell to be identified as author of this work

has been asserted by her in accordance with sections 77 and 78 of the
Copyright, Designs and Patents Act 1988.

All rights reserved. No part of this book may be reprinted or reproduced

or utilised in any form or by any electronic, mechanical, or other means,
now known or hereafter invented, including photocopying and recording,
or in any information storage or retrieval system, without permission in
writing from the publishers.

Trademark notice: Product or corporate names may be trademarks

or registered trademarks, and are used only for identification and
explanation without intent to infringe.

Library of Congress Cataloging-in-Publication Data

Names: McConnell, Larissa, author.
Title: Foundations of flat patterning and draping : for the female form /
Larissa McConnell.
Description: New York : Routledge, 2022. | Includes index.
Identifiers: LCCN 2021025472 (print) | LCCN 2021025473 (ebook) |
ISBN 9780367900977 (hardback) | ISBN 9780367900984 (paperback) |
ISBN 9781003022619 (ebook)
Subjects: LCSH: Costume—Handbooks, manuals, etc. | Sewing—
Handbooks, manuals, etc.
Classification: LCC PN2067 .M323 2022 (print) | LCC PN2067 (ebook) |
DDC 792.02/6—dc23
LC record available at https://lccn.loc.gov/2021025472
LC ebook record available at https://lccn.loc.gov/2021025473

ISBN: 978-0-367-90097-7 (hbk)

ISBN: 978-0-367-90098-4 (pbk)
ISBN: 978-1-003-02261-9 (ebk)

DOI: 10.4324/9781003022619

Typeset in Univers
by Apex CoVantage, LLC
To my husband, Jeff, who has been so supportive throughout this project.
Contents

Prefacex
Acknowledgmentsxi

Introduction: But What is Flat Patterning and Draping? xii

1. Tools Needed 1
Definitions of Terms 3

2. How to take Measurements 6

Measurement Sheet 29

3. Fabric: Definitions for Draping 30

4. Preparing for Draping 32

Blocking the Muslin for Draping a Bodice 34
Preparing the Dress Form 37
Padding Out the Dress Form 38
Taping the Dress Form 42
Draping Checklist 44

5. Skirts 45
How to Drape the Basic Skirt 45
Trueing the Basic Skirt 53
How to Drape a Flared Skirt 57
How to Draft a Basic Skirt 62
How Grainline Affects the Hang of a Skirt 66
Circular Skirts 67

6. Bodices 69
How to Drape the Basic Bodice 69
Trueing the Basic Bodice 79
How to Drape the Princess Bodice 90
Trueing the Princess Bodice 102
How to Draft the Basic Bodice 107
Larger Bust Cup Size Alterations 115
Side Seam Adjustment 119

vii
Contents

7.
Manipulating Darts within the Bodice 122
Using the Pivot Method to Move Darts 122
Single Dart Moved:
Side Seam Dart to Shoulder Seam 122
Combined Dart:
Moving Both the Side Seam Dart and the
Waist Dart to the Shoulder Seam 125
Moving the Side Seam Dart to the Waistline 128
Using the Slash Method to Move Darts 131
Moving the Side Seam Dart to the Shoulder Seam 131
Converting Darts to Gathers 134
Princess Seam Lines made from Darts 136
Converting Darts to Seam Lines 136
Princess Line from Shoulder Seam to Waistline 136
Princess Line from Armscye to Waistline 138

8. Dresses 141
How to Drape the Basic Sheath Dress 141
Trueing the Basic Sheath Dress (on the actual dress drape) 156
How to Draft the Basic Sheath Dress 175

9. Pants 182
How to Draft the Basic Pant 182

10. Waistbands 190

How to Draft Waistbands 190
Rectangular Waistband 190
Shaped or Contoured Waistband 191

11. Sleeves 194

How to Draft a Set-in Sleeve 194
Method A 195
Method B  197
Underarm Seam Alterations 199
Method A 199
Method B 200
Creating Alternate Looks with Sleeves 200
Cap Sleeves 201
Short Sleeves 202
Puff Sleeves 202
Bishop Sleeves 208
Leg-of-Mutton Sleeves 210
Circular Sleeves  212
Sleeve A  213
Sleeve B  214

12. Collars 217

How to Draft Collars 217
Types of Collars Determined by the Shape of the Neckline Edge 218
Styles of Collars Determined by the Shape of the Outer Edge 219
Flat Collars 221
Full-Roll Collars 222
Full-Roll Straight Collar 222
Full-Roll Convertible Collar 223
Stand Collar 224
Partial-Roll Collar 225

viii
 Contents

From the Full-Roll Collar  225

From the Flat Collar 226

13. Cuffs 228

How to Draft Cuffs  228
Single-Button Straight Cuff 229
Shaped Cuffs 229
Additional Flare 230

14. Facings 231

How to Draft Neckline and Armscye Facings 231
What is Needed for a Fitted Facing for the Neckline
  on a Garment with Sleeves 231
What is Needed for a Shaped Armhole Facing 234
Armscye Facing for a Sleeveless Garment 234
Lowered Neckline All-in-One Facing 236

15. Buttons and Buttonhole Closures 238

Buttons and Buttonhole Closures 238
To Create the Overlap and Underlap 239
Cut-in-one Facing 240
Separate Facing for Opening with Button Overlap 241

Appendix:
Labeling a Pattern 242
Trueing Darts 243
Fraction to Decimal Chart 248
Inches/Centimeters Conversion Chart 249
Additional Resources 250

Index251

ix
Preface

The goal of this book is to educate and inspire future generations of drapers and
drafters. While some of these skills may seem magical for novices, by the end of
the book you should have gained enough knowledge to be able to graduate to
more advanced skills.
This book also has the intention of being an “all-in-one” source for the basics of
drafting and draping; a single book with the information most frequently utilized
by those still learning the craft. I have found previously that multiple books were
necessary as references, and that many are now out of print, creating a void for
those who are building their personal skills and libraries. This book is primarily a
textbook, with the intention of filling some of that void.
Another reason I wanted to create this book was to develop systems that
work for all body types and can be followed by any level of drafting and draping
expertise. These instructions have been tested on sizes 2 through 26, by students
with a range of experience, in an effort to confirm the instructions’ accuracy and to
determine the ease of understanding.

x
Acknowledgments

The author would to thank the many students who assisted with the process
of testing the methods, working the kinks out, and development. Their
encouragement and support have been instrumental in getting this book written,
especially the assistance of Emilee Mason, whose math skills and collaboration
were indispensable, as well as Madison Adams, and Morgan Fuller. These students
committed hours upon hours of their time, and for that, she could not be more
grateful.
The author would also like to thank those who came before her who have
written books on drafting and draping. Their voices have been with the author
throughout this process.

xi
Introduction
But what is Flat-Patterning and Draping?

Flat patterning and draping are two methods used to create custom, fitted
garments.
Frequently, both methods are used, because flat patterning can be the better
method for certain parts of a garment, and sometimes draping is the better method.
For example, it may be easier to drape the bodice, but draft the collar and sleeves.
Flat patterning is a mathematical system using measurements to create a two-
dimensional technical drafting. This drafting is called a sloper, or a body block.
Many people are rather intimidated by this method, but the math is actually more
a system of graphing than it is calculus.
Draping is more of an “instant gratification” method of creating a pattern. You
pin muslin onto a dress form, which allows you to immediately see whether or not
the design is manifesting. If it isn’t then you are able to rework the muslin or design
lines until it is correct.

xii
Chapter 1: Tools Needed

To be successful with draping or drafting, you will need the appropriate tools. The
following supplies are recommended. It is also useful to store smaller items you
use frequently on you in a half-apron with divided sections. This will allow you
to always have your supplies with you, whether at the dress form, at the drafting
table, or the ironing board.
Medium weight muslin is traditionally used in draping.

Dress Form Industrial Iron

DOI: 10.4324/9781003022619-1 1
Tools Needed

Paper scissors
Fabric scissors
Embroidery scissors/snips
0.7 mm mechanical graphite pencil
White eraser
Tailoring pencils: red and blue
Serrated tracing wheel

60” (152.5 cm) measuring tape

2” x 18” (5.1 x 45.7 cm) clear grid
ruler
1” x 6” (2.5 x 15.2 cm) clear grid
ruler
36” (91.4 cm) or 48” (121.9 cm)
metal ruler
24” (61 cm) aluminum vary curve
ruler
12” (30.5 cm) aluminum vary curve
ruler
L-square
T-square

½” (1.3 cm) black twill tape

Aluminum head 5⁄8” (1.6 cm) steel
point pushpins
#17 dressmaker pins
Quilter’s pins
Pin cushion
Heavy craft paper – painters drop
cloth paper found in large home
improvement box stores – rolls
come in size
  35” (88.9 cm) x 140’ (42.7 m) at
some stores
Tailor’s ham
Ham stand
Sleeve board
Shoulder pads
Batting
Bias strip

2
 Tools Needed

Definitions of Terms
In order to communicate effectively, it is necessary that you are familiar with the
terminology. The following terms will provide you with the verbal tools you need.
As the Cutter/Draper, you will need to know these terms, but it is just as important
for everyone from the Costume Designer to the Stitcher to have knowledge of
them so that successful communication can occur.
It is also important to know the hierarchy in a Theatrical Costume Shop. The
following are some of the production assignments.

Costume Coordinator/Supervisor/Shop Manager

The Costume Coordinator is responsible for the daily running of the costume
shop, including budgeting, purchases, time management of all of the workers, and
meetings with the Designer.

Cutter/Draper
The responsibility of the Cutter/Draper is to take the two-dimensional rendering of
the costume or garment design and be able to convert it into a two-dimensional
pattern or a three-dimensional draping. Through communication with the Designer,
and use of the renderings, they will determine the function and design aspects of
the garment to be constructed.
They will use flat patterning and/or draping to create the patterns based on the
measurements of the person the garment is to be made for. The two-dimensional
pattern will be used in the creation of a three-dimensional garment. Usually, a
mock-up is made of muslin or other inexpensive fabric that mimics the fashion
fabric to be used in the final garment. They will then fit the garment on the person
and alter the patterns as needed.
The Cutter/Draper cuts or supervises the cutting of all the fabric for the garment
from the pattern. They will have researched the period, style, and techniques
necessary to complete the garment to the Costume Designer’s specifications. They
should also be able to determine the amount of fabric and trims for each garment.

First Hand
The First Hand prepares work for Stitchers, assists the Cutter/Draper in fittings,
with cutting, pattern-making, stitching, and alterations. Sometimes they will do the
prep work, such as preparing fabrics, gathering notions and trims, etc. They can
also supervise and organize the alterations that are needed after fittings.

Stitcher
The Stitcher is the person who sews the garment together. They also have
specialized skills that allow them to construct the garment based on the Cutter/
Draper’s patterning and instructions, and the Costume Designer’s design. The
Stitcher is supervised by the Cutter/Draper or the First Hand.

3
Tools Needed

Terms
Apex – the point of the bust.
Arm plate – on the side of the dress form, the metal plate at the place of the
armhole. The screw is the midpoint of the armhole.
Bias – on fabric, the 45-degree angle from grain and cross-grain. The bias will
stretch and can be used intentionally to create drape on the figure.
Bias tape – a woven fabric cut on the bias to make strips.
Block/blocking – the act of stretching fabric, usually muslin, to create a perfect
rectangle with right angles used for draping.
Bodice – the front and back sections for the top half of the figure.
Bust line – the line at the fullest part of the bust.
Bust point – also called the Apex, it is the point of the bust.
Cross grain – the weft thread that runs perpendicularly across the grainline.
Circumference – the measurement that is taken all the way around a part of the
figure.
Dart – a section of fabric pinned out when draping, or marked out on a drafting,
that creates a more fitted garment.
Dart legs – the lines on the dart that are stitched together.
Draping – a three-dimensional method of creating a garment traditionally using
muslin that is pinned to a dress form.
Drafting – a two-dimensional method of creating a garment using the measurements
of a figure to technically create graphed patterns.
Dress form – full-scale molded figure used for draping. They also come in ½ scale
models.
Ease – additional fabric in a garment to allow for movement.
Facing – in a garment, it is the fabric piece that is sewn to create a clean edge.
Fashion fabric – the fabric used for the final finished garment.
Fashion fabric – the fabric that the final finished garment will be made of.
Grainline – the warp thread that runs the length of the fabric and is parallel to the
selvedge. It is the strongest of the thread directions.
Hipline – the line on the figure or dress form, parallel to the floor, that indicates the
fullest part of the hip area.
Interfacing – a stabilizing material that is used to stiffen and provide additional
structure to garment pieces such as facings, collars, and cuffs. There are many
types of interfacing that are for specific uses.
Lining fabric – typically, a lightweight silky fabric that finishes the inside of a
garment to make the garment more wearable, long-lasting, and comfortable.
It will hide seams and darts and helps make the garment easier to get on and
off.
Matching notches – marks placed on patterns to indicate where the pattern pieces
line up when stitching. It is traditional to use single notches on the front
pattern pieces and double notches on the back.
Mock-up – a full-scale garment created from a pattern traditionally made of muslin
or fabric similar to the final fashion fabric. It is created with the intention of
testing the pattern’s fit for accuracy.

4
 Tools Needed

Mummy wrapping – a technique in padding out a dress form that uses bias tape
about 1½”–2” (3.8–5.1 cm) wide to wrap the dress form after adding additional
padding.
Muslin – a cotton fabric woven with a plain weave traditionally used for draping.
Notions – items used in garment construction such as buttons, snaps, thread,
zippers, etc.
Panel – a section of muslin used for draping.
Parallel – runs the same direction as a particular line.
Perpendicular – is at a 90-degree angle to a particular line.
Pivot transfer method – a method of altering a pattern by pivoting the original
pattern around the bust point to close or open a dart.
Plain weave – the warp and weft are woven with an up-down pattern. Each weft
thread goes over and then under the warp threads alternately. For this weave,
the threads are the same weight to give a balanced effect.
Princess line/seam – the line on a dress form or drafted pattern that runs from
shoulder to waistline or armscye to waistline but always goes through the
bust point. This line divides the center front from the side front.
Rendering – a sketch of a design.
Seam – the edge of a pattern that will be stitched to another edge of a pattern to
create the garment.
Seam allowance – an area of fabric that lies next to the seam line that allows the
garment to be sewn together.
Selvage (or Selvedge) – the finished, or factory edge, of a length of fabric.
Slash and compress – a method used in drafting to decrease the fullness of a pattern
piece. It consists of lines drawn on the pattern that cut and are overlapped to
change the shape of the garment. The pattern will shrink in an area creating a
narrower look on the finished garment.
Slash and spread – a method used in drafting to increase the fullness of a pattern
piece. It consists of lines drawn on the pattern that are cut to flare out the
shape of the garment. The pattern will expand in an area creating flare on the
finished garment.
Slope – the angle of the shoulder from the base of the neck to the point of the shoulder
seam. See the measurements section for directions on how to measure this.
Sloper/body block – the basic pattern or master pattern created by draping or
drafting, then converted to craft paper and used to create all other garment
designs. It does not include seam allowances.
Straight of Grain – runs the length of the fabric in the same direction as the selvage.
It is the strongest thread direction (see Grainline).
Trueing – creating accurate and matching seam lines and grainlines on a sloper so
that when the garment is sewn together the seams lines match, the grainline
is accurate, and the garment fits as expected.
Twill tape – a ribbon of cotton woven in a twill weave used for marking style lines
on a dress form. For the demonstrations in this book, a ½” (1.3 cm) wide
ribbon will be used.
Vanishing point – the tip of a dart.

5
Chapter 2: Measurements

This chapter provides the instructions for taking the measurements you will need
to use in the following chapters.
Measurements are the numbers that define the shape of a figure. While
measurements can tell you a great deal about how the figure might be shaped,
it is helpful to have an image of the person measured so that you know what
the numbers actually mean. If you are personally taking the measurements, you
may also want a photo of the person being measured for future reference. The
numbers taken from a figure can tell you much, but they don’t always tell you
everything. Does the person carry their weight in the front, or in the back, are
they an hourglass, an apple, or a pear shape? These measurements, and the use
of them, will give you a good base for your slopers which will, in turn, create the
mock-up where alterations may need to take place in order to arrive at the most
ideal fit.
It is important to note that you must remain professional during the taking of
measurements. Never make a comment or let your face make a comment about
a person’s measurements or shape. If the person being measured initiates by
making a comment, you need to continue with your job and not allow yourself to
join in. Many, if not all, people have something about themselves that they might
not find to be ideal. Do not be the cause of this insecurity in them. If you have an
assistant who will write the measurements on the measurement sheet for you,
they also must be aware of how they are conducting themselves.

How to Take Measurements

Tie a thin piece of elastic around the natural waist to assist with the taking of
measurements.
(The natural waist can be located by having the person bend slightly sideways –
shoulder toward hip – and where the bend occurs is the natural waist.)
The person being measured should wear form-fitting clothing to reduce bulk
and allow for the most accurate measurements.

6 DOI: 10.4324/9781003022619-2
 Measurements

NAME:

MO/YR: month and year that the measurements are being taken. This is a
reminder in case the measurements are needed later and to know how current
they are.

GRAD YR: when used in an educational setting, this allows for the removal
of the measurements from the measurement book after the student has
graduated.

ROLE:

PRODUCTION

PHONE:

EMAIL:

SHIRT SIZE: Given as a letter. For example, S, M, L, etc.

BRA: Your bra size is based on the bust and underbust measurements. The
underbust measurement is your band size. The difference between your bust
measurement and underbust measurement determines your cup size. Each
1” (2.5 cm) difference is equal to your cup size. For example, an A cup is a 1”
(2.5 cm) difference, a B cup is a 2” (5.1 cm) difference, etc.

DRESS SIZE: Given as a number.

PANT SIZE: Given as a number.

ALLERGIES: As they pertain to a costume shop. For example: wool, feathers,

fur, nickel, latex, spirit gum, etc.

TATTOOS: These may need to be covered, or maybe not, depending on the

location of the tattoo, the show, the director’s preference, etc.

PIERCINGS: Includes ears, nose, etc. Helpful if earrings need to be worn, etc.

AROUND HEAD: circumference of the head starting at the forehead and going
around just above the ears.

7
Measurements

EAR TO EAR: from the top of one ear, across the top of the head, to the top of
the other ear.

FOREHEAD TO NAPE: from the hairline above the center of the nose, across the
top of the head and down to the nape of the neck.

NECK: at the base of the neck.

8
 Measurements

BUST: around the fullest part of the bust with tape measure parallel to the floor.

UNDERBUST: directly under the bust where the band of the bra sits.

9
Measurements

NATURAL WAIST: typically at the narrowest point of the torso, but most
importantly, it is where you bend when you bend to the side (not necessarily
where you wear your pants).

HIGH HIP: at the hip bones between the natural waist and the hip.

10
 Measurements

HIP: around the fullest point – it is easier to take this measurement from the side
to see the fullness and to make sure that the tape measure is parallel to the floor.

HIP POINT: on the side seam, from the natural waistline to the fullest point of
the hip.

11
Measurements

SHOULDER SEAM: from the base of the neck to the point of the shoulder bone.

SLEEVE LENGTH: (the hand should be on their hip with their elbow bent away
from the body) from the center back at the base of the neck, across the shoulder,
down the arm to the elbow and then down to the wrist bone.

SHOULDER TO ELBOW CROOK: (the arm is against the body, but the elbow
is bent at a 90-degree angle so the forearm is parallel to floor) from the point of
shoulder bone to the inside elbow to the elbow crook.

12
 Measurements

SHOULDER TO WRIST: (the arm is held naturally down against body) from the
point of the shoulder bone to the wrist bone.

INSIDE ARM: (the arm is held naturally down against body) from the armpit to
the wrist.

13
Measurements

UNDERARM TO NATURAL WAIST: at the side seam, from the armpit to the
natural waist.

UNDERARM TO HIGH HIP: at the side seam, from the armpit to the high hip.
R OR L HANDED: take measurements on their dominant side.

14
 Measurements

ARMSCYE: lift arm and wrap tape measure around armscye, have them put
their arm down, then take the measurement where the tape measure crosses at
the shoulder point.

BICEP: have them make a muscle and take the measurement around the fullest
point.

15
Measurements

FOREARM: around the fullest point just below the elbow.

WRIST: over the bones of the wrist.

16
 Measurements

HAND: with fingers together, measure across the base knuckles without the
thumb.

ACROSS SHOULDER FRONT/BACK: from shoulder point to shoulder point.

ACROSS ARMSCYE FRONT/BACK: from the crease of the armscye to the other
arm’s armscye crease.

17
Measurements

ACROSS BUST FRONT: from under the arm at the side seam, across fullest part
of the bust to under the arm at the opposite side seam.

ACROSS BUST BACK: from under the arm at the side seam, across the back
along the same line as the bust front, to the under arm at the opposite side seam.

18
 Measurements

ACROSS HIP FRONT/BACK: from side seam to side seam along hip point line.

SHOULDER TO WAIST FRONT: from the shoulder at the base of the neck over
the apex of the bust and down to the natural waist.

19
Measurements

SHOULDER TO WAIST BACK: from the shoulder at the base of the neck down
to the natural waist – taken on the same side as the SHOULDER TO WAIST FRONT.

SHOULDER SLOPE FRONT: from the outside point of the shoulder across the
apex of the bust to the waist at the center front line – taken on the same side as the
SHOULDER TO WAIST FRONT.

20
 Measurements

SHOULDER SLOPE BACK: from the outside point of the shoulder to the waist
at the center front line – taken on the same side as the SHOULDER SLOPE FRONT.

NECK TO WAIST FRONT: from the hollow at the base of the front of the neck to
the natural waist down the center front line.

21
Measurements

NECK TO WAIST BACK: from the nape of neck to natural waist down Center
Back line.

NECK TO FLOOR FRONT: from the hollow at the base of the front of the neck to
the floor down the center front line (measurement taken barefoot).

22
 Measurements

NECK TO FLOOR BACK: from nape of the neck to floor down Center Back line
(measurement taken barefoot).

BUST POINT TO BUST POINT: from the apex of bust to the apex of other bust.

23
Measurements

HALTER: from the bust apex, up and around the neck, and down to the other
bust apex.

SHOULDER TO BUST POINT: from the shoulder at the base of the neck to the
apex of the bust.

24
 Measurements

WAIST TO ABOVE KNEE: from the natural waist down the side seam to above
the knee.

WAIST TO BELOW KNEE: from the natural waist down the side seam to below
the knee.

25
Measurements

OUTSEAM: from the natural waist down the side seam to below the ankle bone.

INSEAM: ask the person being measured to place the top end of the tape
measure in their upper inner thigh as high up as they can comfortably wear a pant,
make sure that their leg is straight, and then measure to below the ankle bone.
CROTCH DEPTH: Outseam minus Inseam = Crotch Depth.
(Taken on the front leg when in a slight lunge.)

26
 Measurements

THIGH: taken high up on the leg around the fullest point.

ABOVE KNEE: from just above the bent knee.

BELOW KNEE: just below the knee.

27
Measurements

CALF: around the fullest part of the muscle.

ANKLE: around the lower ankle over the bones.

28
Measurements

29
Chapter 3: Fabric
Definitions for Draping

A textile is a type of material made of natural or synthetic fibers. Also referred to

as fabric in the clothing-making industry. It may be created by weaving, knitting,
felting, etc.
A woven fabric is any textile formed by weaving.
When referring to woven fabric, there are a few terms that you should know.

Definitions
Selvage: (or “selvedge”) the tightly woven edge on fabric that prevents unraveling.
It runs the length of the fabric. The threads running the length of the fabric are
called the warp threads.

Grainline: the length of the fabric. It runs parallel to the selvedge and is the
strongest direction of the fabric.

Cross-grain: runs perpendicular to the grainline. It can sometimes have stretch

to it. The threads running cross-grain are called weft.

30 DOI: 10.4324/9781003022619-3
 Fabric

Bias: the 45-degree diagonal on the fabric. It stretches due to the open space
between the woven fibers. Can be used intentionally for body hugging garments
created without shaping darts.
Muslin: A type of cotton fabric that can be light, medium, or heavy weight,
that comes bleached or unbleached, and is made using a plain weave. For the
plain weave, the warp and weft are woven with an up-down pattern. Each weft
thread goes over and then under the warp threads alternately. For this weave,
the threads are the same weight to give a balanced effect. This fabric is what is
commonly used to drape on the dress form and to create mock-ups of the drafted
patterns to check for fit. It has a strong warp (grainline) and fairly strong cross-
grain (weft) which makes it a good choice for beginners who would benefit from a
well-behaved fabric to learn draping on.
Muslin is not always the most appropriate fabric for draping though. If your
finished garment is going to be made out of a soft, sheer, and flowy fabric, then
you should do your draping with a fabric that mimics this. To the contrary, if your
finished garment is going to be made out of a stiff heavy fabric, then you should
also drape using a fabric that mimics this. And if you are using a knit fabric for your
final garment, you should use a knit fabric for draping that mimics your fashion
fabric.

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Chapter 4: Preparing for Draping

While it may seem that taking a rectangle of fabric off of a roll or bolt is self-
explanatory and should be easy, it is usually the case that the fabric is slightly off
grain. It is important that you do not cut the fabric into a rectangle, but that it is ripped
and then reshaped. Ripping the fabric ensures that it is on grain and cross-grain.
Draping is traditionally done in a fabric that mimics the finished garment
fashion fabric. So, for example, if your finished garment fashion fabric is a stiffer
fabric you may choose to use muslin to do your drape, but if it is soft and flowy, or
a knit, then you would not want to choose muslin since it will not behave correctly
and will mislead you in how the finished garment will look.
For the following examples, you will be given instructions for using muslin.
Muslin behaves well and is inexpensive making it a good choice for beginners.
There are two methods to finding cross-grain in fabric. One is to rip the fabric
and the other is to thread-pull.

1. For ripping fabric across the cross-grain, you will need to clip the selvage into
the fabric a small amount. Then take the fabric in your hands and pull on
the cross-grain ripping the fabric until you reach the other selvage. Clip the
selvage on the other side.
2. For thread-pulling (being demonstrated with linen fabric so that you are able
to see the steps more clearly) you will literally pull a thread to find grain or
cross-grain. You will need to clip the selvage, if you have it, into the fabric a
small amount. Then separate a single thread that goes cross-grain.

32 DOI: 10.4324/9781003022619-4
 Preparing for Draping

– Pull on this thread so that the fabric gathers.

– If the thread breaks, which it frequently does, remove that thread and smooth
the fabric out with your hands. You will see a gap in the fabric where the
thread used to be. Cut along this line to the place in the fabric that the thread
broke off.

– Start pulling on this thread again and continue cutting until you reach the
other selvage.

– Look for the gap in the fabric where the thread used to be and cut along this
line. You should now have a cut edge that is on grain or cross-grain.

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Preparing for Draping

Note: Muslin, due to being a plain weave, will rip on grain, as well as across
on cross-grain. Once you have these raw edges, you will need to block the fabric.

Directions
– Remove the selvage from the muslin panel by clipping it with your embroidery
scissors and tearing along the grainline. You may choose to indicate on your
fabric which edge is on the straight of grain. The straight of grain should be
used vertically as you drape as it is the strongest direction of your fabric.
– Use embroidery scissors to clip and tear a piece of muslin so that it measures
4–6” (10.2–15.2 cm) longer and 4–6” (10.2–15.2 cm) wider than the section you
wish to drape.
– Your fabric should now have four ripped edges.

Blocking the Muslin for Draping a Bodice

“Blocking the muslin” is a phrase used to indicate that the muslin panel is free of
distortions and will lay as a perfect rectangle with 90-degree angles.
Press the muslin to make it square. (Lay the muslin panel on the corner of a
table or use an L-square to determine if the muslin is square.)

If the muslin is not square, pull opposite corners until the cross-grain is
perpendicular to the grainline. Re-press, using steam, to set the desired shape.

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 Preparing for Draping

For the Front, mark the muslin using your grid ruler to draw a line parallel to the
grainline 1” (2.5 cm) in from the long edge. This is your CF (center front) line. You
can press under on this line to make it easier to align it to the dress form’s CF. (The
CF line and fold should be on your right side of the fabric.)

– Using an L-square, draw a line perpendicular to the 1” (2.5 cm) guideline

about halfway down from the top of the fabric. This is your Bust line.

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Preparing for Draping

For the Back, mark the muslin using your grid ruler; draw a line parallel to the
grainline 1” (2.5 cm) in from the long edge. This is your CB (center back) line. You
can press under on this line to make it easier to align it to the dress form’s CB. (The
CB line and fold should be on the left side of the fabric.)

– Using an L-square, draw a line perpendicular to the 1” (2.5 cm) guideline about

8” (20.3 cm) down from the top of the fabric. This is your Shoulder Blade line.

If You Are Making a Princess Bodice Draping

For the Side Front, to mark the muslin use your grid ruler to draw a line parallel to
the grainline down the center of the fabric.

– Using an L-square, draw a line perpendicular to the center line you just drew
halfway down from the top of the fabric. This is your Bust line.

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 Preparing for Draping

For the Side Back, to mark the muslin use your grid ruler to draw a line parallel to
the grainline down the center of the fabric.
– Using an L-square, draw a line perpendicular to the 1” (2.5 cm) guideline about
8” (20.3 cm) down from the top of the fabric. This is your Shoulder Blade line.
– Your fabric is now ready for draping bodice projects (that are not on the bias).
– It is helpful to prepare all panels of muslin prior to draping.

Preparing the Dress Form

To most effectively drape a garment, it is important that the dress form be as close
to the measurements of the person being draped for. Sometimes the dress form
is close enough as is, but sometimes the dress form must be “padded out” to
accommodate the differences.

Anatomy of a Dress Form

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Preparing for Draping

Padding Out the Dress Form

– Determine the measurements needed based on the difference between the dress
form and the figure measured. It is easiest to pad out the waist and hips rather
than padding out the bust, so you should determine if there is a dress form that
is close in measurement to the figure’s bust measurement. You will also need to
check the underarm to waist measurement, and hip point measurement.

*You should pad the dress form symmetrically to achieve the desired total
measurement even though you will only be draping on the one side of the dress form.

– To pad an area that needs adjusting, place your tailoring shoulder pads at that
location and pin so that the heads of the pins face away from the center of the
pad, creating tension on the pad so it doesn’t pull off.

– Place the shoulder pad with the fullest part in the area that needs the most
padding and with the thin edge fading out.

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 Preparing for Draping

You want to make sure that there are no ledges or abrupt edges but a smooth
transition between the padding and the dress form.

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Preparing for Draping

Using quilt batting that isn’t too thick, wrap the dress form with layers to smooth
out the shoulder padding. Do not leave a ledge, but place another thin layer over.
You will need to pad out the dress form until it measures out at least 2–3” (5.1–
7.6 cm) larger than the desired measurement at that location due to the shrinking
that will happen when mummy wrapped.

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 Preparing for Draping

Mummy wrapping: You will need to cut bias strips that are about 1½”–2” (3.8–
5.1 cm) wide. Using your bias strips, you will start wrapping over the non-padded
area to achieve a smooth transition from dress form to padding. Start pinning the
end of the bias strip with the heads of the pins facing away from the direction you
are wrapping to create tension on the strip and prevent it from unwrapping. It is
suggested that you use dressmaker’s pins and not quilter’s pins due to the large
ball on the head on the quilter’s pins. These will be lumpy under your wrapping
which is inconvenient for a smooth wrap.

– It is recommended that you wrap from the top down from bust to waist, and then
wrap from below the hips up to the waist making sure to overlap in the middle.
This allows for the wrapping to stay smooth and not lift off the dress form.
– Overlap your wrapping as you go so that there are no gaps and the padding
doesn’t pop out in between. Place pins in the strips as needed to anchor them
with the heads of the pins facing away from the direction you are wrapping to
create tension on the strip and prevent it from unwrapping.
– When you get to the end of your bias strip and you need to start a new one,
make sure to overlap them by at least 3” (7.6 cm) so that there aren’t any gaps.

When you are done wrapping, the padding should be similar in feel to the dress
form – meaning that the mummy wrapping is taut and isn’t too squishy. Double
check your measurements and make adjustments as needed.

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Preparing for Draping

Taping the Dress Form

***(Half muslins are traditionally draped on the dress form’s right side if you are
right-handed, and on the left if you are left-handed.)

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 Preparing for Draping

Bust Tape:
– Measure out a piece of black twill tape to go around the fullest part of the
bust of the dress form adding an inch or two (2.5–5.1 cm) extra for overlap.
Start pinning at one bust point, with pins going through the dress form at a
low angle and with the head of the pin facing away from the direction that the
tape is pulling. The tape should be centered over the apex. Bridge across to
the other bust point and continue around the body being careful that the tape
stays parallel to the floor.

Hip Tape:
– Measure from the center of the waist tape down center front 8” (20.3 cm) (or to
the hip point measurement of the person you measured). Pin the tape at this
point on the CF seam with the tape centered over the measured point. With
pins at low angles and with the head of the pin facing away from the direction
that the tape is pulling, continue pinning the tape around the dress form paral-
lel to the floor until reaching the CF and overlapping the tape once again.

Shoulder Blade Line Tape:

– This tape is only placed on the back of the dress form. Measure from the
center back of the dress form out towards the armscye ridge so that the tape
will be parallel to the floor and is about the height of the screw in the center of
the arm plate. Pin the tape with the end turned under about ½” (1.3 cm) at this
line starting at center back with the pins going through the dress form at a low
angle and with the head of the pin facing away from the direction that the tape
is pulling. Continue pinning the tape across the back of the dress form parallel
to the floor until you reach the armscye ridge. Turn the end of the tape under
and pin.

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Preparing for Draping

44
Chapter 5: Skirts

This chapter will demonstrate how to drape and draft the basic skirt, drape the
flared skirt, introduce you to grainlines and how they affect the hang of a skirt, and
give general guidelines for a circular skirt.

How to Drape the Basic Skirt

The Basic Skirt shape is straight, with side seams parallel to the center front and
center back, although a very slight flare at the hem is acceptable. The waistline has
shaping darts, which, if desired, could be converted into gathers or pleats.

Anatomy of the Basic Skirt

Preparing the Fabric for Draping

(See Chapter 4 on Preparing the Muslin for Draping, and Blocking the Muslin)

– The length of the panel must be on the straight of grain.

– Measure the length for the front and back panels from the waistline to the
desired hem length and add 6” (15.2 cm).
– For the muslin panel, 2” (5.1 cm) goes above the waistline and 4” (10.2 cm) is
below desired hem length.
– Measure the width of the front panel at the hip point level (marked by the twill
tape) from CF to side seam, and add 4” (10.2 cm).
– Repeat this for the back panel.
– Mark the 1” (2.5 cm) guidelines for the CF and CB panels along the grainline edge. (CF
should be on the right side of the fabric and CB should be on the left side of the fabric.)

DOI: 10.4324/9781003022619-5 45
Skirts

Front
– From the center front line on the front panel, draw a horizontal line at 2”
(5.1 cm) down from the top edge to indicate the waistline.
– Using your L-square, at 8” (20.3 cm) down from the 2” (5.1 cm) marking, (or
10” [25.4 cm] down from the top edge of the fabric) draw a horizontal line
across the fabric perpendicular to the CF guideline.
– On your dress form, measure across the hip level line from CF to side seam.
Add ½” (1.3 cm) of ease to this measurement.
– Using this measurement (hip front), draw a side seam line on your front panel
parallel to the CF guideline.
– At ¾” (1.9 cm) in from your side seam line, toward your CF guideline, and from the hip
level line up only, draw another line parallel to the CF guideline and side seam line.

Back
– At the center back line on the back panel, draw a horizontal line at 2” (5.1 cm)
down from the top edge to indicate the waistline.

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 Skirts

– Using your L-square, at 8” (20.3 cm) down from the 2” (5.1 cm) marking (or
10” [25.4 cm] down from the top edge of the fabric) draw a horizontal line
across the fabric perpendicular to the CB guideline.
– On your dress form, measure across the hip level line from CB to side seam.
Add ½” (1.3 cm) of ease to this measurement.
– Using this measurement (hip back), draw a side seam line on your front panel
parallel to the CB guideline.
– At ¾” (1.9 cm) in from your side seam line, toward your CB guideline, and
from the hip level line up only, draw another line parallel to the CB guideline
and side seam line.

Directions for Draping

Basic Skirt Front

– Pin the front panel to the dress form, matching the CF guideline to the CF line
of the dress form, the waistline marking, and the hip level line.

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– Smooth across the hipline, matching the long side seam line to the dress
form’s side seam, and pin at the hip level line at the side seam.
– Distribute the ease evenly along the front hip level line and pin, making sure
the cross-grain stays parallel to the floor.
– Pin the side seam to the dress form below the hip level line.

– Pin the short side seam line to the waistline/side seam line. You will have
excess fabric across the front waistline.

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– Smooth the fabric from the CF to the princess line and place a pin at that point.

– Smooth the fabric from the side seam to the princess line, clipping the fabric
above the waistline as needed to ease the pulling, being careful to only cut to,
but not through the waistline.

(Cut to, but not through. Clipping too aggressively is very easy to do. Think of
clipping as if you were to clip only to the intended future stitching line within the
seam allowance. If you clip too much you will end up in the body of the garment.
If you do clip too far, you can mend a small cut with some masking tape placed on
the top and underneath the area.)

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– Remove the pin at the princess line and create a dart at the princess line
allowing for ¼” (0.6 cm) ease at the waistline.
– Taper the dart down toward the hipline to a vanishing point about 3” (7.6 cm)
long, and pin the dart with the pins running the length of the dart.
– Mark the vanishing point with a horizontal pin.
– (The dart may be off-grain and too long but this will be corrected in the
trueing.)

Basic Skirt Back

– Pin the back panel to the dress form, matching the CB guideline to the CB line
of the dress form, the waistline marking, and the hip level line.

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– Smooth across the hipline, matching the long side seam line to the dress
form’s side seam, and pin at the hip level line at the side seam.
– Distribute the ease evenly along the back hip level line and pin, making sure
the cross-grain stays parallel to the floor.
– Pin the side seam to the dress form below the hip level line.

– Pin the short side seam line to the waistline/side seam line. You will have
excess fabric across the front waistline.

– Smooth the fabric from the CB to the princess line and place a pin at that point.
– Smooth the fabric from the side seam to the princess line, clipping the fabric
above the waistline as needed to ease the pulling, being careful to only cut to,
but not through the waistline.

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– Remove the pin at the princess line and create a dart at the princess line
allowing for ¼” (0.6 cm) ease at the waistline.

– Taper the dart down toward the hipline to a vanishing point about 2” (5.1 cm)
above the hip level line and pin dart with pins running the length of the dart.
– Mark the vanishing point with a horizontal pin.
– (The dart may be off-grain and too long but this will be corrected in the trueing.)

Marking the Muslin

– Draw dashed lines along the center of the twill tape at waistline and at the side seam.
– Create cross marks on either side of the darts where they intersect the
waistline, and mark the vanishing points.
– Create cross marks at the side seam where it intersects the waistline.

Combining Front and Back Skirt Pieces

– Trim the front and back side seams to 1” (2.5 cm)
– Trim waistline to 1” (2.5 cm)
– With the skirt pinned together at the side seams below the hip level line, mark
on the CB line the desired length.
– Draw a hem from this mark parallel to the hipline.

After Trueing (Follow Directions: “Trueing the Basic Skirt”)

– Fit Check
– Pin the skirt to the dress form at waistline CF, CB, and side seam.
– Front and back grainlines should be straight without twisting or pulling.
– Cross-grains should be parallel to the floor.
– Side seam should align with the side seam of the dress form.
– Darts are pinned shut to vanishing points.
– Darts are smooth without twisting. (Twisting happens in the pinched-out
area of the dart. If twisted, it will not be a smooth flat dart, but will exhibit a

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contorted “twist” which means that the grainline is off within the dart. The
grainline of the dart should be parallel to the grainline of the center front of
the skirt. The center line of the dart should follow the grainline.)

Trueing the Basic Skirt

(On the actual skirt drape)
Trueing is a term used to describe the process of creating accuracy on a draped
or drafted sloper. When the muslin is still on the dress form, it may seem as if the
sloper fits well and matches the other sections. It is only when the muslin is removed
that the accuracy can be determined. Trueing can be done directly on the draped
muslin pieces, or on craft paper. The following instructions will be on the draped
muslin pieces. After trueing the muslin, then the pattern can be transferred to paper.

– After removing the skirt from the dress form, with front and back separate and
all pins removed, lay the fabric flat on your table.
– The following locations require a 90-degree angle:
– CF waist for ½” (1.3 cm) from CF
– CB waist for 1” (2.5 cm) from CB

(These 90-degree lines allow for a smooth curve when making a full garment.
Otherwise you will end up with either a V shape or a ^ shape at those points.)
(Dart Lengths: Front darts are about 3” (7.6 cm) depending on the size and
shape of the figure. Back darts are longer, usually about 6” (15.2 cm) but do not
extend beyond 2” (5.1 cm) above the hipline).

Front

– For the front waist dart, measure the width of the dart at the waistline.
– Divide this measurement in half to determine the center line of the dart. Place
a mark in the center of the opening on the waistline.

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– Using your straight ruler, draw a line parallel to the grainline through this
center point.
– Extend the length of the front dart from the waistline to the vanishing point 3”
(7.6 cm) down.

– Mark points on the waistline on either side of the center line that equal half of
the dart opening measurement.
– Using your straight ruler, draw in the dart legs from the vanishing point to the
new points you marked at the waistline.

– For the front side seam, use your curved ruler with the curved end up at the
waistline and the straight end down toward the hem to finesse your side seam line.

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– For the front waistline, fold and pin the waist dart.
– Correct your waistline using your curved ruler with the curved end toward the
side seam and the straight end toward the CF.

Back

– For the back waist dart, measure the width of the dart at the waistline.
– Divide this measurement in half to determine the center line of the dart. Place
a mark in the center of the opening on the waistline.
– Using your straight ruler, draw a line parallel to the grainline through this
center point.
– Extend the length of the back dart from the waistline to the vanishing point 6”
(15.2 cm) down, or no more than 2” (5.1 cm) above the hip level line.
– Mark points on the waistline on either side of the center line that equal half of
the dart opening measurement.

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Skirts

– Using your straight ruler, draw in the dart legs from the vanishing point to the
new points you marked at the waistline.

– For the back side seam, use your curved ruler with the curved end up at the waistline
and the straight end down toward the hem to finesse your side seam line.

– For the back waistline, fold and pin the waist dart.
– Correct your waistline using your curved ruler with the curved end toward the
side seam and the straight end toward the CB.

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*True the darts at the waistline by following the directions in the Appendix for
Trueing Darts.

Fit Check
– Pin the front and back together at the side seams from the hip level line to
hem.
– Using your flexible straight grid ruler, place the ruler on its edge and measure
from the waistline to the hip level line for front and back side seams from hip
level line to waistline. The measurements should be the same.
– If the measurements are off, then adjust the back side seam to match the front
side seam.
– If the measurements are off by more than 5⁄8” (1.6 cm), then you will need to
check the drape to correct for this.
– Now pin the darts closed and check the waistline shape for a smooth curve.
– Leaving the side seams pinned, but removing the dart pinning, draw the
hemline in.
– Mark the desired length of the skirt at the CB and draw a line parallel to the hip
level line across to CF.

How to Drape a Flared Skirt

The A-line Skirt
The flared skirt, also referred to as the A-line skirt, kicks out at the hem and has a
smooth waistline with no shaping darts.

Anatomy of the Flared Skirt

Preparing the Fabric for Draping

(See Chapter 4 on Preparing the Muslin for Draping, and Blocking the Muslin.)

– The length of the fabric must be on the straight of grain. The straight of grain
runs the length of the fabric, parallel to the selvage.
– Measure the length for the front and back muslin panels from the waistline to
the desired length of the skirt + 5” (12.7 cm).
– Measure the approximate width of the front panel at the hem for the fullness
plus at least 4” (10.2 cm).

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– Repeat this for the back panel.

– Mark the 1” (2.5 cm) guidelines for the CF and CB panels along the grainline edge.
(CF will be on the right side of the fabric, and CB will be on the left side of the fabric.)

Front
– From the center front line on the front panel, draw a horizontal line at 5”
(12.7 cm) down from the top edge to indicate the waistline.
– Using your L-square, at 8” (20.3 cm) down from the 5” (12.7 cm) marking
(or 13” [33 cm] down from the top edge of the fabric), draw a horizontal line
across the fabric perpendicular to the CF guideline. This is the hipline.
– On your dress form, measure across the hip level line from CF to side seam.
Add ½” (1.3 cm) of ease to this measurement.
– Using this measurement (hip front), draw a side seam line on your front panel
parallel to the CF guideline.

Back
– On the back panel, using your L-square, at 13” (33 cm) down from the top
edge of the fabric, draw a horizontal line across the fabric perpendicular to the
CB guideline. This is the hipline.

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– On your dress form, measure across the hip level line from CF to side seam.
Add ½” (1.3 cm) of ease to this measurement.
– Using this measurement (hip back), draw a side seam line on your front panel
parallel to the CF guideline.

Directions for Draping

Flared Skirt Front

– Pin the front panel to the dress form, matching the CF guideline to the CF line
of the dress form, the waistline, and the hip level line.

– Smooth across the hipline, matching the long side seam line to the dress
form’s side seam, and pin at the hip level line at the side seam.

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– At the waistline, smooth the fabric from the center front, letting it fall off grain.
Clip the fabric from the top edge to the waistline being careful to only cut to,
but not through that line.
– Pin the side seam at the waistline.

– Remove the pin at the hip level line at the side seam and allow the fabric to fall
into flares from the waistline.
– Using a dashed line, mark the waistline, the side seam, and the hem by either
using the dress form, or a hem marker.

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– Remove the skirt panel from the dress form and true the pattern.

Flared Skirt Back

– The skirt back is drafted using the skirt front.

– Lay the skirt back fabric flat on the table and place the skirt front panel over it,
lining up the cross-grain line of the hip level, but extending the CF ½” (1.3 cm)
past the CB. This allows for the difference in the waist front and waist back
measurements.
– Pin the layers together to prevent shifting.
– Trace the skirt front pattern onto the back panel, noting that the back waistline
will be redrawn when placed back on the dress form to check for a final fit.
– True up all panels and check for fit.

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Trueing: The back pattern is created from the front pattern so trueing should not
be necessary.

Fit Check
– Pin the side seams from waistline to hem.
– Place back on the dress form, pinning along front waistline to side seam.
– Adjust the placement of the CB waistline so that the skirt hangs properly and
the side seam of the skirt follows the side seam of the dress form.
– The new CB waistline marking will be lower than the trued marking.
– Mark the new back waistline in a contrasting color.

How to Draft a Basic Skirt

The basic skirt shape is straight, with side seams parallel to the center front and
center back, although a very slight flare at the hem is acceptable. The waistline has
shaping darts, which, if desired, could be converted into gathers or pleats.

Anatomy of the Basic Skirt

Measurements Needed:
Waist: Hip Front: Bust Point to Bust Point:
Hip: Hip Back: CF length of skirt:
Hip Point:

NOTE: Your Hip Front measurement and Hip Back measurement should equal
your Total Hip measurement.

Dart Length
– Darts in the skirt front usually extend 3” (7.6 cm) in length depending on the
size and shape of the figure.
– Back darts are longer at about 6” (15.2 cm), but do not extend beyond 2”
(5.1 cm) above the hipline.

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Note
– For the Basic Skirt, the hem is usually a straight line down to the hip point line,
but it can flare to a maximum of 2½” (6.4 cm).
– If flare is added below the hip point line only, the skirt is still considered a
fitted skirt, but if the darts are closed and fullness is added above the hipline,
then it is considered a flared skirt.
– The left side will be Skirt Back, and the right side will be Skirt Front.

Directions
– Paper size = Height of the paper should allow for the Center Front Length
measurement + 4” (10.2 cm), and width should allow for ½ Hip measurement
+ 4” (10.2 cm).

– Draw a vertical line, A-B, 2” (5.1 cm) in from the right side of the paper, where
A-B = the CF length of the skirt.
– From A, draw a horizontal line perpendicular to line A-B toward the left to new
point C, where A-C = ½ Total Hip measurement + ½” (1.3 cm) ease.
– From B, draw a horizontal line perpendicular to line A-B toward the left to new
point D, so that A-C = B-D.
– Using your straight ruler, connect C to D.
– From A, mark point G on line A-B, where G = Hip point measurement.
– From G, draw a horizontal line across to new point H. G-H is your hip point line
or hip level. (C-H should equal A-G.)
– From point A, on the A-C line, label point E, where E = ½ Hip Front measurement
+¼” (0.6 cm) ease.
– From E, draw a vertical line to new point F, so that B-F = A-E.
– At the intersection of lines E-F and G-H, mark point I.

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Skirts

Waistline

– From point A, measure and mark point J, where J = ¼ Waist measurement +
dart measurement from chart* (see below).
– From point C, measure and mark point K, where K = ¼ Waist measurement +
dart measurement from chart* (see below).
– Using your curved ruler with the straight edge toward the skirt hem and the
curved edge at J, draw a curved line to a vanishing point above point I.
(The vanishing point is determined by gauging the curves of the figure that
was measured. If the figure has more distinct curves, then there would be a
more abrupt curve from the waistline and a vanishing point closer to J and
further away from the hip point line. If the figure is less curved, then the line
from the waistline would also be less curved and the vanishing point would be
further from J and closer to the hip point line.)
– Flip your curved ruler, keeping the straight edge toward the skirt hem and
the curved edge at K, draw a curved line from K to the same vanishing point
determined for the Skirt Front.
– From point A, on the A-B line, mark point L ½” (1.3 cm) down.
– At point L, and using your straight ruler, draw a perpendicular line out from L
½” (1.3 cm). This is to create the smooth line across CF when combined with
the other half.
– Using your curved ruler with straight edge at L and the curved edge at J,
connect J to L.
– From point C, mark point M ½” (1.3 cm) down on C-D line.
– At point M and using your straight ruler, draw a perpendicular line out from M
½” (1.3 cm). This is to create the smooth line across CF when combined with
the other half.
– Using your curved ruler with straight edge at M and the curved edge at K,
connect M to K.

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 Skirts

Adding Darts

Front
– From L, measure and mark point N, where N = ½ the Bust point to Bust point
measurement. N is the top point of the first leg of the dart.
– Mark point N1 at the dart measurement determined earlier from the Dart Chart.
– Mark the center of the dart between N and N1. Draw a vertical line from this
point to a new point 3” (3.8 cm) down from the waistline, and mark point O. O
is the vanishing point of the dart.
– Connect the legs of the dart by drawing lines from points N and N1 to point O.
– Extend the vertical line from the center of the dart, through O, and down to
connect to line B-D. This is your grainline.

Back
– From M, measure and mark point P, where P = 3” (7.6 cm). P is the top point
of the first leg of the dart.
– Mark point P1 at the dart measurement determined earlier from the Dart Chart.
– Mark the center of the dart between P and P1. Draw a vertical line from this
point to a new point 6” (15.2 cm) down from the waistline and mark point Q.
Q is the vanishing point of the dart.
– Connect the legs of the dart by drawing lines from points P and P1 to point Q.
– Extend the vertical line from the center of the dart, through Q, and down to
connect to line B-D. This is your grainline.

*True the darts at the waistline by following the directions in the Appendix for
Trueing Darts.

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Skirts

Dart Chart:
*-To estimate the amount you need for darts, subtract your waist
measurement from your hip measurement.
– If the difference is 11” (27.9 cm) or more, use 2” (5.1 cm) darts
– If the difference is 9” to 11” (22.9–27.9 cm), use 1½” (3.8 cm) darts
– If the difference is 7” to 9” (17.8–22.9 cm) use 1” (2.5 cm) darts
– If the difference is less than 7” (17.8 cm) use ½” (1.3 cm) darts

How Grainline Affects the Hang of a Skirt

Grainline is a very important aspect of how a skirt will hang. The design and style
of a skirt is determined by how the finished garment is influenced by grainline.
How does grainline affect hang? When cutting a skirt, or other garment, you should
consider the grainline and how you plan to use it.
The lengthwise threads of the fabric (the warp) that are the grainline, are stronger
than the cross-grain threads (the weft). The lengthwise threads fall and drape better
when they run up and down the body since they stretch less than cross-grain threads.
Cross-grain can be used as grainline in some cases but may eventually stretch
out of shape since they aren’t as strong as grainline threads.
Bias stretches considerably more than grain or cross-grain and can be used
intentionally to drape smoothly along the figure.
*These guidelines are for a four-gore skirt, meaning a skirt with two front panels
and two back panels.

Grain on Center Front

– The center of the front of the skirt will hang straight with the fullness hanging
at the sides in folds. Since the side seams are on the bias, the hemline may
end up hanging less evenly.

Grain in the Center of a Gore

– The fullness hangs evenly across the entire gore and therefore the skirt, so the
hemline will remain more even.

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 Skirts

Grain at the Side Seam

– The side seams of the skirt will hang straight with the fullness hanging at the
center front. Because the centers of the gores will be on the bias, the hemline
may end up hanging less evenly.

Sewing Suggestion
– For a gored flared skirt, sew gores from the hem to the waistline (wide to
narrow) to sew with the grainline and to prevent stretching on the bias.

Circular Skirts
The circular skirt has a smooth waistline with no shaping darts, and the hem is a
full circle.

Anatomy of the Circular Skirt

– Circular skirts are made from either a single circle on 72” (1.8 m) wide fabric,
such as felt, or with seams on narrower fabric.
– You need to determine the location of the waistline opening, because this will
determine where the seams are to be placed.

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Skirts

– The waistline circumference follows the mathematical formula:

radius = circumference or total waist measurement
2 x 3.14

– Determine the length of the skirt for the measurement from waistline to hem.
– Add seam allowance to these numbers for cutting. Seam allowances should
be added for the hem at the outer edge of the circle, and for the waistline to
the inner, smaller circle.
– If adding seams to create gores, or if you require a center back seam, make
sure you add the seam allowances when doing the original math. You should
determine how many seams you are going to have and add seam allowance
for each side of the seam. For example, if you have decided to have only a
center back seam then you would use the waistline circumference + the seam
allowance for the two edges that will be sewn. If you decided that you wanted
two back gores and one front, then you would use the waistline circumference
+ the two center back seam allowances, and four side seam seam allowances
(two for each side seam).

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Chapter 6: Bodices

How to Drape the Basic Bodice

The Basic Bodice sloper is a generic shape of a bodice. Once you have created
these sections of the bodice, you are able, through pattern manipulation, to create
other styles.
Manipulating fabric while draping is a valuable skill that requires experience
and is usually not successfully achieved at the first attempt. You will need to
understand the habits of the fabric and know when you, or the fabric, should be
relaxing and letting the other take control. This may sound odd, but there are times
that the fabric behaves a certain way and you need to allow it to do so, otherwise
you will continue to fight its natural characteristics. You cannot force the fabric
to do something that it doesn’t naturally want to do, because after removing the
drape from the form, the fabric will try to restore itself and the result will be an odd
fitting garment.
Keep in mind that when draping a flat piece of fabric over the front of the female
form, the excess fabric will radiate from the highest point of the bust. This fabric
may be arranged in any position as long as it is radiating from the bust. These
draping instructions will give you a sloper with front waist and shoulder darts, and
back waist and shoulder darts.
These darts can be manipulated into other design styles by combining them
into one large dart, dividing them into pleats or tucks, or converted into gathers.
They can fall anywhere on the bodice front as long as they radiate back toward the
bust point (see Chapter 7).

Anatomy of the Basic Bodice

DOI: 10.4324/9781003022619-6 69
Bodices

Bodice Front – With Shoulder and Waist Darts

– Prepare the fabric for draping.
(See Chapter 4 on Preparing the Muslin for Draping and Blocking the Muslin.)

– On your dress form, pin the prepared muslin so that the cross-grain line is
centered over the bust tape, with about 3–4” (7.6–10.2 cm) of fabric extending
above the neckline seam. The fabric should drape over the shoulder seam.
– The center front line of the muslin should line up with the center front of the
dress form.
– Place the pins into the dress form at a low angle with the head of the pin facing
away from the center of the muslin (this is so that if you pull the fabric to draw
it taut, the fabric is anchored and doesn’t slide off the dress form).
– Place pins along center front at the neckline and the waistline.
– Place a pin on the cross-grain line at the bust point.

– Smooth the fabric over the bust line to side seam. At the side seam, ½”
(1.3 cm) of ease should be added by creating a ¼” (0.6 cm) pinch. Distribute
the ease evenly along the bust line and then pin.

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 Bodices

Neckline

– To smooth around the neckline, make a cut perpendicular to center front line
on the muslin about 1” (2.5 cm) above the neck seam on the dress form.

– Cut down to the neckline seam while continuing to smooth around the neck
and up to the shoulder seam, being very careful not to clip past the neckline
seam and into the body of the garment. (Cut to, but not through. Clipping too
aggressively is very easy to do. Think of clipping as if you were to clip only
to the intended future stitching line within the seam allowance. If you clip too
much you will end up in the body of the garment. If you do clip too far, you can
mend a small cut with some masking tape placed on the top and underneath
of the area.)
– Place a pin at the shoulder seam/neckline seam intersection.

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Bodices

Shoulder Dart

– From the neckline, smooth across the shoulder seam to the princess line.
Place a pin at this point.
– From the side seam, smooth the excess fabric up and over the armhole to
create a ridge of fabric at the princess line.
– Pinch out about ¼” (0.6 cm) at the screw level of the arm plate to create ease
in the armhole.

– Place a pin at the shoulder seam on the armhole ridge.

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– Arrange the excess fabric that remains on the shoulder seam so that the center
of the dart you are creating falls directly over the princess line on the shoulder
seam.
– Pinch a ridge on the princess line to create the dart and insert pins along the
length of the dart down to a vanishing point 1½” (3.8 cm) above the bust
point. Place a pin perpendicularly to indicate the vanishing point. Remember
that there needs to be ease so you should not make the dart too tight. The
vanishing point might try to go all the way to the bust point or somewhere not
on the princess line, but you should mark at 1½” (3.8 cm) above the bust point
regardless.

Waist Dart

– Smooth down the side seam of the dress form to the waistline, pinning as you
smooth.

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Bodices

– From the center front, smooth across the waistline until you reach the princess
line. Place a pin at this point.
– If the fabric below the waistline begins to pull off grain and you start to see
“smile lines”, clip to, but not through, the waistline at the princess line. Over-
clipping at the waistline will result in a very tight garment with little to no ease.
– Smooth the excess fabric from the side seam over to the princess line so the
center of the dart you are creating falls directly over the princess line at the
waistline.

– Pinch a ridge on the princess line to create the dart and insert pins along the
length of the dart up toward the bust point up to a vanishing point 1½” (3.8 cm)
below the bust point. Place a pin perpendicularly to indicate the vanishing
point. Remember that there needs to be ease so you should not make the dart
too tight. The vanishing point might try to go to the bust point or somewhere
not on the princess line, but you should mark at 1½” (3.8 cm) below the bust
point regardless.

Marking the Muslin

– Using a pencil, draw dashed lines on the muslin along the center of the twill
tape at waistline, side seam, neckline, and shoulder seam.
– Draw a dashed line on the ridge around the arm plate of the dress form. This
may result in a small armscye but it will be adjusted for ease in the trueing.
– Create cross marks on either side of the darts where they intersect the waistline
and the shoulder seam, and mark the bust point.
– Mark the vanishing points.

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 Bodices

– Create cross marks at the side seam where it intersects the waistline and also
the arm ridge.
– Leave the fabric on the dress form, but fold over the excess muslin at the side
seam and shoulder seam to allow for draping the Back Bodice.

Bodice Back – With Shoulder and Waist Darts

– On your dress form, pin the prepared muslin with the cross-grain line centered
over the shoulder blade tape, with about 3–4” (7.6–10.2 cm) of fabric extending
above the neckline seam so that the fabric will drape over the shoulder seam.
The CB line of the muslin should line up with the CB of the dress form.
– Place pins along CB at the neckline, at the shoulder line marking, and the
waistline.

– Smooth the fabric over the shoulder blade line to the arm ridge. At the arm
plate, ¼” (0.6 cm) of ease should be added by creating a ¹⁄8” (0.3 cm) pinch.
Distribute the ease evenly along the shoulder blade line and pin.

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Bodices

Neckline

– To smooth around the neckline, make a cut perpendicular to center back line
on the muslin about 1” (2.5 cm) above the neck seam on the dress form.

– Cut down to the neckline seam while continuing to smooth around the neck and
up to the shoulder seam, being very careful not to clip past the neckline seam and
into the body of the garment. (Cut to, but not through. Clipping too aggressively is
very easy to do. Think of clipping as if you were to clip only to the intended future
stitching line within the seam allowance. If you clip too much you will end up in
the body of the garment. If you do clip too far, you can mend a small cut with
some masking tape placed on the top and underneath of the area.)
– Place a pin at the shoulder seam/neckline seam intersection.

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 Bodices

Shoulder Dart

– From the neckline, smooth across the shoulder seam to the princess line.
Place a pin at this point.
– From the side seam, smooth the excess fabric up and over the armhole to
create a ridge of fabric at the princess line.
– Place a pin at the shoulder seam on the armhole ridge.
– Arrange the excess fabric that remains on the shoulder seam so that the center of
the dart you are creating falls directly over the princess line on the shoulder seam.
– Pinch a ridge on the princess line to create the dart and place the pins along
the length of the dart down to a vanishing point 3” (7.6 cm) from the shoulder
seam. Place a pin perpendicularly to indicate the vanishing point. The
vanishing point might try to go somewhere not on the princess line, but you
should still mark at 3” (7.6 cm) from the shoulder seam.

Waist Dart

– Smooth down the side seam of the dress form to the waistline, pinning as you smooth.
– From the center back, smooth across the waistline until you reach the princess
line. Place a pin at this point.

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Bodices

– If the fabric below the waistline begins to pull off grain and you start to
see “smile lines”, clip to, but not through, the waistline at the princess line.
Over-clipping at the waistline will result in a very tight garment with little to
no ease.

– Smooth the excess fabric from the side seam over to the princess line so the
center of the dart you are creating falls directly over the princess line at the
waistline.
– Pinch a ridge to create the dart and insert pins along the length of the dart up
7” (17.8 cm).
– Mark the 7” (17.8 cm) point as the vanishing point of the dart. Place a pin
perpendicularly to indicate the vanishing point. Remember that there needs
to be ease so you should not make the dart too tight. The vanishing point
might try to go somewhere not on the princess line, but you should mark at 7”
(17.8 cm) regardless.

Marking the Muslin

– Draw dashed lines on the muslin along the center of the twill tape at waistline,
side seam, neckline, and shoulder seam.
– Draw a dashed line on the ridge around the arm plate of the dress form.
This may result in a small armscye but it will be adjusted for ease in the
trueing.
– Create cross marks on either side of the darts where they intersect the waistline
and the shoulder seam, and mark the vanishing points.

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– Create cross marks at the side seam where it intersects the waistline and the
arm plate.
– Add matching notches on the side seam, and shoulder seam. You can carefully
use a felt tip type marker to make your matching marks by pulling the fabric
away from the dress form and letting the marker create a mark on the front
of the garment. Let the marker bleed through to the back of the garment. DO
NOT MARK THE DRESS FORM.

(Matching notches should correspond to darts on the other side of the draping:
i.e. the shoulder dart on the back should align with the matching notch on the
front, and the bust dart on the side seam [if you have one] should align with the
matching notch on the back. If you have a bust dart at the shoulder seam and a
back dart at the shoulder seam, these should align at the princess line and no
additional matching notch is needed there.)

Combining Front and Back Bodice Pieces

– Trim the front and back shoulder seams to 1” (2.5 cm).
– On the front shoulder seam line and the front side seam, fold under and
pin to back bodice, matching the shoulder darts at the princess line and the
waistlines.
– Check that the shoulder cross mark at the shoulder seam, and the side seam
cross marks under the arm plate align.

Trueing the Basic Bodice

(On the actual bodice drape)
Trueing is a term used to describe the process of creating accuracy on a draped
or drafted sloper. When the muslin is still on the dress form, it may seem as if the
sloper fits well and matches the other sections. It is only when the muslin is removed
that the accuracy can be determined. Trueing can be done directly on the draped
muslin pieces, or on craft paper. The following instructions will be on the draped
muslin pieces. After trueing the muslin, then the pattern can be transferred to paper.
After removing the bodice from the dress form, with front and back panels
separate and all pins removed, lay the fabric pieces flat on your table. Do not press
the pieces with an iron since the fabric may stretch out of shape.

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Bodices

The following locations require a 90-degree angle:

– CF neck for ¼” (0.6 cm)

– CF waist for ½” (1.3 cm)
– CB neck for 1” (2.5 cm)
– CB waist for 1” (2.5 cm)

(These 90-degree angle lines that are perpendicular to the CF and CB allow for a
smooth curve when making a full garment. Otherwise, you will end up with either
a V shape or a ^ shape at those locations.)

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 Bodices

Trueing the Front Bodice Darts

– For the front waist dart, measure the width of the dart opening at the waistline.
– Divide this measurement in half to determine the center point of the dart.
Place a mark in the center of the opening on the waistline for the waist dart.
– For the front shoulder dart, measure the width of the dart opening on the
shoulder seam.
– Divide this measurement in half to determine the center point of the dart. Place
a mark in the center of the opening on the shoulder seam for the shoulder dart.

– Using your straight ruler, draw a line from the center point markings for each
dart to the bust point.
– It is important that the line from the waistline to the bust point is parallel to the
center front line.
Note: You may need to shift the center point so that the line will be parallel to
the center front line and go to the bust point.

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Bodices

– For the waist dart, measure down 1½” (3.8 cm) from the bust point on the
center line and mark this as the vanishing point.
– Mark points on the waistline on either side of the center line that equal half of
the dart opening measurement.
– Using your straight ruler, draw in the dart legs from the vanishing point to the
new points you marked at the waistline.
– For the shoulder dart, measure up 1½” (3.8 cm) from the bust point on the
center line and mark this as the vanishing point.
– Mark points on the shoulder seam on either side of the center line that equal
half of the dart opening measurement.

– Using your straight ruler, draw in the dart legs from the vanishing point to the
new points you marked at the shoulder seam.
– You should now have a front waist dart and front shoulder dart.

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Trueing the Back Bodice Darts

– For the back waist dart, measure the width of the dart opening at the waistline.
– Divide this measurement in half to determine the center point of the dart.
Place a mark in the center of the opening on the waistline for the waist dart.

– Using your straight ruler, draw a line from the center point marking at the
waistline to a point up 7” (17.8 cm). (This new point may or may not fall in the
same location as the original marking.)
– It is important that this line is parallel to the center back line.
– Mark the point that is 7” (17.8 cm) up from the waistline on the center line as
the vanishing point.

Note: You may need to shift the center point so that the line will be parallel to
the center back line.

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Bodices

– Mark points on the waistline on either side of the center line that equal half of
the dart opening measurement.
– Using your straight ruler, draw in the dart legs from the vanishing point to the
new points you marked at the waistline.

– For the back shoulder dart, extend a line from the back waist dart vanishing
point to the shoulder dart marking closest to the neckline. (This line is unlikely
to follow the original princess line.)
– Measure down 3” (7.6 cm) on this line to create a new vanishing point.

– Connect the other shoulder dart marking to this new vanishing point.
– You should now have a back waist dart and back shoulder dart.

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 Bodices

Trueing the Necklines, Shoulder Seams, and Armscyes

– For the necklines, use your curved ruler and connect your markings, making
sure that the 90-degree lines are smoothly blended.

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Bodices

– For the front and back shoulder seams, fold the darts under along the dart
legs, and using your straight ruler, draw a line from the neckline/shoulder
seam point to the armhole/shoulder seam point of each shoulder seam.

– You will need to check that the front and back shoulder seams are trued to
each other by pinning the front shoulder dart and back shoulder dart closed.
Then pin the front shoulder seam to the back shoulder seam.

Once pinned make sure that the neckline and the armscye match and are
creating smooth transitions. Your darts should also match at the shoulder seam.
If any of these are off, take the pinned muslin back to the dress form and check to

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 Bodices

see which line is correct in its location. Correct the location of the one that is off
and draw new lines.

– You will need to true the entire waistline curve by pinning your side seams
together.
– Your waistline from CF to CB should be a smooth curve.
– If it is not a smooth curve, you will need to adjust it at the side seam. If one of
the side seams is longer than the other, you will need to make adjustments to
either one or both of the side seams. Look at the armscye and waistline and
judge which to alter based on the general shape of the curves. If it is still not
clear which one to adjust, then place the muslin back on the dress form to
determine which is more accurate.

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Bodices

– To add ease at the front and back side seams at the bust line, you will first need
to drop the front and back side seams down 1” (2.5 cm) from the armscye, and
then bump them out ½” (1.3 cm).
– Using your original total armscye measurement from your person’s
measurements, check that the total armscye measurement you have
created on your draping is about 1–2” (2.5–5.1 cm) larger than the person’s
measurement This is to allow room in the armscye for the arm to fit through
and not inhibit movement. You should measure the front and back pieces of
your pattern individually by walking the edge of your 18” grid ruler around the
armscye. Then add these numbers together to get your pattern’s total armscye
measurement. If necessary, expand the armscye by dropping the front and
back and bumping it out more than the original ease you added. Keep in mind
that you can always mark and cut away the armscye in the fitting of the mock-
up if it is too snug.
– From these new points, use your straight ruler and connect the marks from the
armhole points down to the original waistline marks.

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– For the front armscye, use your 12” curved ruler and connect your shoulder
point, your armscye ridge lines, and new side seam/armhole mark.
– Mark the armscye with a single notch at 2.5” (6.4 cm) from the armscye/side
seam intersection.

– For the back armscye, use your 12” curved ruler and connect your shoulder
point, your armscye ridge lines, and new side seam/armhole mark.
– Mark the armscye with a double notch at 2.5” (6.4 cm) from the armscye/side
seam intersection.

– To true the armscye, pin the front and back shoulder seams together to check
that there is a smooth line across the top of the armscye at the shoulder seam
and that the armscye does not create a point or “wing” out.

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Bodices

Check List for Fit and Correct Amount of Ease

– Prior to pinning the pieces together to check for fit, trim the excess muslin
down to 1” seam allowance.
– Pin your trued muslin together, including all darts, side seam and shoulder
seam and place back on dress form.

Ease Checklist
– At side seam/armhole intersection = ½” (1.3 cm) per front and back (1” [2.5 cm]
total per side)
– At bust front = ¹⁄8”– ¼” (0.3–0.6 cm)
– At back shoulder blade = ¹⁄8”– ¼" (0.3–0.6 cm)
– At waist = ¼” (0.6 cm) per front and back (½” [1.3 cm] total per side)

After Trueing
– Fit Check:
– Pin the bodice to the dress form at neckline, shoulder seam, waistline at center
front and center back, and side seam.
– Front and back grainlines should hang straight without twisting or pulling.
– Shoulder seams should align with each other and darts should align.
– Side seams should be the same length.
– The armhole is a smooth fat oval shape.
– Cross-grains should be parallel to the floor.
– Side seam should align with the side seam of the dress form.
– Darts are pinned shut to vanishing points.
– Darts are smooth without twisting.

How to Drape the Princess Bodice

The Princess Bodice is defined as a bodice that follows the lines of the side front
seam and side back seam. Commonly known as the “princess lines”. The darts that
are found on the Basic Bodice do not exist on this sloper due to the seam lines that
are created that run along the center of the line that the darts follow.
Later in this chapter you will find the directions for converting darts to seam lines.

Anatomy of the Princess Bodice

– Prepare the fabric for draping. (See Chapter 4 on Preparing the Muslin for
Draping, and Blocking the Muslin.)

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Bodice Center Front

– On your dress form, line up the prepared muslin for the front so that the cross-
grain line is centered over the bust tape, with about 3–4” (7.6–10.2 cm) of
fabric extending above the neckline seam on the dress form. The fabric should
drape over the shoulder seam.
– The center front line of the muslin should line up with the center front of the
dress form.

– Place the pins into the dress form at a low angle with the head of the pin facing
away from the center of the muslin (this is so that if you pull the fabric to draw
it taut, the fabric is anchored and doesn’t slide off the dress form).
– Place pins along the center front at the neckline, at the bust line tape, and at
the waistline.
– Smooth the fabric over the bust line to the princess line at the bust point. Pin
the bust point.

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Neckline

– To smooth around the neckline, make a cut perpendicular to CF line on the

muslin about 1” (2.5 cm) above the neck seam on the dress form.

– Cut down to the neckline seam while continuing to smooth around the neck
and up to the shoulder seam, being very careful not to clip past the neckline
seam and into the body of the garment. (Cut to, but not through. Clipping too
aggressively is very easy to do. Think of clipping as if you were to clip only
to the intended future stitching line within the seam allowance. If you clip too
much you will end up in the body of the garment. If you do clip too far, you can
mend a small cut with some masking tape placed on the top and underneath
of the area.)
– Place a pin at the shoulder seam/neckline seam intersection.

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Draping the Front Panel

– Smooth the fabric across the upper torso and the shoulder seam to just past
the princess seam line on the shoulder seam. Pin at the princess seam line on
the shoulder seam.
– Smooth the fabric across the waistline to just past the princess seam line. Pin
at the princess seam line on the waistline.
– If necessary, to prevent pull lines at the waistline, clip from the bottom edge of
the fabric up to, but not through, the waistline tape on the grainline line. This
may not be needed because the distance from the center front to the princess
line can be narrow.

Marking the Muslin

– Draw dashed lines along the center of the twill tape at the waistline, princess
line, neckline, and shoulder seam.
– Draw matching notches 2” (5.1 cm) above and below the bust point making
sure that the bust point has been marked.
– Leave the fabric on the dress form, but fold over the excess muslin at the
princess line and shoulder seam to allow for draping the side front panel.

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Bodice Side Front

– On your dress form, pin the prepared muslin with the cross-grain line over
the bust line tape, and the grainline of the muslin lining up with the center of
the side front panel of the dress form. Make sure that there is enough fabric to
go up and over the shoulder seam and also have about 3” (7.6 cm) below the
waistline tape.
– Place pins at the bust line tape and at the waistline on the straight of grain,
making sure that the grainline is vertical and cross-grain is parallel to the floor.

– To prevent pull lines at the waistline, clip from the bottom edge of the fabric
up to, but not through, the waistline tape on the grainline line.
– Pin the waistline, smoothing out from the grainline pin toward the side seam,
and then from the grainline to the princess line.

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– Pin the side seam smooth from the grainline over, being careful not to alter
the straight line of the grainline.

– Pin the armhole area pinching out about ¼” (0.6 cm) at the middle of the
arm plate on the ridge to allow for ease placing a pin at the shoulder seam to
anchor the ease.
– At the shoulder seam, smooth the excess fabric up, noting that the grainline of
the panel will angle toward the neckline.

– At the princess seam, smooth the fabric over and pin, noting that there will be
some ease at the bust point between the two matching notches.

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Marking the Muslin

– Draw dashed lines along the center of the twill tape at the waistline, princess
line, neckline, and shoulder seam.
– Draw matching notches 2” (5 cm) above and below the bust point.
– Mark the bust point.
– Draw a dashed line on the ridge around the arm plate of the dress form. This
may result in a small armscye but it will be adjusted for ease in the trueing.
– Create cross marks at the side seam where it intersects the waistline and the
arm plate.
– Leave the fabric on the dress form, but fold over the excess muslin at the side
seam and shoulder seam to allow for draping the side back panel.

Bodice Center Back

– On your dress form, pin the prepared muslin with the cross-grain line centered
over the shoulder blade line, with about 3”–4” (7.6–10.2 cm) of fabric extending
above the neckline seam on the dress form. The fabric should drape over the
shoulder seam.
– The center back line of the muslin should line up with the center back of the
dress form.
– Place pins along the center back at the neckline, at the shoulder blade level
marking, below the bust line tape, and at the waistline.

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Neckline

– To smooth around the neckline, make a cut perpendicular to the center back
line on the muslin about 1” (2.5 cm) above the neck seam on the dress form.

– Cut down to the neckline seam while continuing to smooth around the neck
and up to the shoulder seam, being very careful not to clip past the neckline
seam and into the body of the garment. (Cut to, but not through. Clipping too
aggressively is very easy to do. Think of clipping as if you were to clip only to the
intended future stitching line within the seam allowance. If you clip too much
you will end up in the body of the garment. If you do clip too far, you can mend a
small cut with some masking tape placed on the top and underneath of the area.)
– Place a pin at the shoulder seam/neckline seam intersection.

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Draping the Back Panel

– Smooth the fabric across the upper torso and the shoulder seam to just past
the princess seam line on the shoulder seam. Pin at the princess seam line on
the shoulder seam.

– Smooth the fabric across the waistline to just past the princess seam. Pin at
the princess seam line on the waistline.
– If necessary, to prevent pull lines at the waistline, clip from the bottom edge of
the fabric up to, but not through, the waistline tape on the grainline line. This
may not be needed because the distance from the center back to the princess
line can be narrow.
– Smooth the fabric across the dress form toward the princess seam line,
pinning at the shoulder blade line.

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Marking the Muslin

– Draw dashed lines along the center of the twill tape at waistline, princess line,
neckline, and shoulder seam.

– Draw a double matching notch at 1” (2.5 cm) below the shoulder blade line on
the princess line.
– Leave the fabric on the dress form, but fold over the excess muslin at the
princess line and shoulder seam to allow for draping the side back panel.

Bodice Side Back

– On your dress form, pin the prepared muslin with the cross-grain line centered
over the shoulder blade line and the grainline of the muslin lining up with the

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center of the side back of the dress form. Make sure that there is enough fabric
to go up and over the shoulder seam and also have about 3” (7.6 cm) below
the waistline tape.
– Place pins along the shoulder blade line and at the waistline on the straight of
grain, making sure that the grainline is vertical and cross-grain is parallel to
the floor.

– To prevent pull lines at the waistline, clip from the bottom edge of the fabric
up to, but not through, the waistline tape on the grainline line.

– Pin the waistline, smoothing out from the grainline pin toward the side seam,
and then from the grainline to the princess line.
– Pin the side seam smooth from the grainline over, being careful not to alter
the straight line of the grainline.
– Pin the armhole area on the ridge.

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– At the shoulder seam, smooth the excess fabric up, noting that the grainline of
the panel will angle toward the neckline.
– At the princess seam, smooth the fabric over and pin.

Marking the Muslin

– Draw dashed lines along the center of the twill tape at waistline, princess line,
neckline, and shoulder seam.
– Draw a double matching notch at 1” (2.5 cm) below the shoulder blade line on
the princess line.
– Draw a dashed line on the ridge around the arm plate of the dress form. This
may result in a small armscye but it will be adjusted for ease in the trueing.
– Create cross marks at the side seam where it intersects the waistline and the arm plate.
– Add matching notches on the side seam, and shoulder seam. You can carefully
use a felt tip type marker to make your matching marks by pulling the fabric
away from the dress form and letting the marker create a mark on the front

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of the garment. Let the marker bleed through to the back of the garment. DO
NOT MARK THE DRESS FORM.
– True all panels and check for fit.

Trueing the Princess Bodice

(On the actual bodice drape)
Trueing the Princess Bodice is very similar to trueing the Basic Bodice, but without any
darts. As described previously, the darts were removed in favor of creating a seam line.
After removing the bodice from the dress form, with front, side front, side back,
and back pieces separate, and all pins removed, lay the fabric flat on your table.

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– The following locations require a 90-degree angle:

– CF neck for ¼” (0.6 cm)
– CF waist for ½” (1.3 cm)
– CB neck for 1” (2.5 cm)
– CB waist for 1” (2.5 cm)
(These 90-degree angle lines that are perpendicular to the CF and CB allow for
a smooth curve when making a full garment. Otherwise you will end up with
either a V shape or a ^ shape at those points.)
– Mark the front armhole with a single notch at 2.5” (6.4 cm) from armscye/side
seam intersection.
– Mark the back armhole with a double notch at 2.5” (6.4 cm) from armscye/side
seam intersection.

– For the necklines, use your curved ruler and connect your markings making
sure that the 90-degree lines at CF and CB are smoothly blended.

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– For the front armscye, use your 12” curved ruler and connect your shoulder
point, your armscye ridge lines, and side seam/armhole mark.
– Mark the armscye with a single notch at 2.5” (6.4 cm) up from the armscye/
side seam intersection.

– For the back armscye, use your 12” curved ruler and connect your shoulder
point, your armscye ridge lines, and side seam/armhole mark.
– Mark the armscye with a double notch at 2.5” (6.4 cm) up from the armscye/
side seam intersection.

– For the front shoulder seams, pin the front and side front pieces together
along the princess line, lining up the matching notches and bust point. Using
your straight ruler, draw a line from the neckline/shoulder seam point to the
armhole/shoulder seam point.
– For the back shoulder seams, pin the back and side back pieces together along
the princess line, lining up the matching notches. Using your straight ruler,
draw a line from the neckline/shoulder seam point to the armhole/shoulder
seam point and back.
– For the front and back waistlines, and using the pinned draped pieces, draw
your waistline using your curved ruler with the straight edge at the center
front and center back lines. Draw a line from the center front/waistline to the
side seam/waistline, and the center back/waistline to the side seam/waistline
marks.

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– You will need to check that the front and back shoulder seams are trued by
pinning the front/side front pinned pieces to the back/side back pinned pieces.
Once pinned make sure that the neckline, the princess line, and the armscye
match.
– With the front and back shoulder seams still pinned together, check that there
is a smooth line across the top of the armscye at the shoulder seam and that
the armscye does not create a point or “wing” out.

Adding Ease

– To add ease to the side seams at the bust line, you will first need to drop the
front and back side seams down 1” (2.5 cm) from the armscye, and then bump
them out ½” (1.3 cm).
– Using your original total armscye measurement from your person’s
measurements, check that the total armscye measurement you have
created on your draping is about 1–2” (2.5–5.1 cm) larger than the person’s
measurement. This is to allow room in the armscye for the arm to fit through
and not inhibit movement. You should measure the front and back pieces of
your pattern individually by walking the edge of your 18” grid ruler around the
armscye. Then add these numbers together to get your pattern’s total armscye
measurement. If necessary, expand the armscye by dropping the front and
back and bumping it out more than the original ease you added. Keep in mind
that you can always mark and cut away the armscye in the fitting of the mock-
up if it is too snug.

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– From these new points, draw your new side seams down to the original
waistline marks.

– You will need to true the entire waistline curve by pinning your side seams
together.
– Your waistline from CF to CB should be a smooth curve, as should the curve
in the armscye.
– If either is not a smooth curve, you will need to adjust the curves at the side
seam. If one of the side seams is longer than the other, you will need to make
adjustments to either one or both of the side seams. Look at the armscye and
waistline and judge which to alter based on the general shape of the curves. If
it is still not clear which one to adjust, then place the muslin back on the dress
form to determine which is more accurate.

Check List for Fit and Correct Amount of Ease

– Pin your trued muslin together, along princess lines, side seam, and shoulder
seam and place back on dress form.

Ease Checklist
– At side seam/armhole intersection = ½” (1.3 cm) per front and back (1” (2.5 cm)
total per side)
– At bust front = ¹⁄8”– ¼” (0.3–0.6 cm)
– At back shoulder blade = ¹⁄8”– ¼” (0.3–0.6 cm)
– At waist = ¼” (0.6 cm) per front and back (½” [1.3 cm] total per side)

After Trueing
Fit Check
– Pin the bodice on the dress form at shoulder/neckline, shoulder/armhole, side
seam/armhole, center front/neckline and center back/neckline.
– Grainlines should hang straight.
– Shoulder seams should align with each other and darts should align.
– Side seams should be the same length.
– The armhole is a smooth fat oval shape.
– The bodice should hang straight without twisting or pulling.
– Side seam of draped bodice aligns with side seam of dress form without
tilting.
– Side seam of draped bodice lays flat and smooth.
– Princess lines of the bodice should fall over the princess lines of the dress form.

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How to Draft a Basic Bodice

These instructions were designed to accommodate all figures and bust cup sizes.
The accommodations for the Larger Bust Cup sizes remove the gap that often
occurs at the armscye.

Measurements Needed:

Neck: Shoulder to Bust Point:

Bust: Shoulder to Waist Front: Shoulder to Waist Back:
Underbust: Across Shoulder Front: Across Shoulder Back:
Waist: Across Armscye Front: Across Armscye Back:
Shoulder Seam: Shoulder Slope Front: Shoulder Slope Back:
Bust Point to Bust Point: Neck to Waist Front: Neck to Waist Back:
Bust Front: Bust Back:

*For visual clarity, some lines will be removed from the diagrams after they are
no longer needed. These lines will remain on your bodice sloper. It is not necessary
to erase the lines on your sloper.

Basic Front Sloper

– Paper size = Height of the paper should allow for Shoulder to Waist Front
measurement + 9” (22.9 cm), and width should allow for ¼ total bust
measurement + 6” (15.2 cm).

To Create the Center Front of the Bodice

– Using your straight ruler or T-square, draw a line 3” (7.6 cm) in from the right
edge of the paper from the top all the way to the bottom.
– Measure up from the bottom of the page along this line and mark point A at
the Shoulder to Waist Front measurement + 6” (15.2 cm).
– From A, draw a horizontal line across the width of the paper perpendicular to
the vertical line.

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To Create the Shoulder Seam of the Bodice

– From A, measure down on the vertical line and mark a new point B at the
length of your Shoulder to Waist Front measurement.
– Draw a horizontal line to the left of A, and mark a new point C where C = ½
Across Shoulders Front measurement.
– From C, draw a vertical line down about 6” (15.2 cm) in length perpendicular
to the A-C line.
– From B, mark a new point D on the A-B line, where D = the Neck to Waist Front
measurement.
– Using your straight ruler, and starting at point B, angle your ruler diagonally
toward the line extending down from C. Mark new point E where your Shoulder
Slope Front measurement intersects the line from C.
– From E, angle the ruler diagonally toward the A-C line and measure to new
point F, where E-F = the length of the Shoulder Seam.
– Connect E to F with a straight line.

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To Create the Neckline of the Bodice

– From F, draw a vertical line down from the top horizontal line A-C. Then from D,
draw a perpendicular line from line A-B. Where they connect, mark new point G.
– Connect F to D with a diagonal line.
– Draw a line perpendicular to the F-D line to point G.
– Where the perpendicular line intersects the F-D line, mark a new point H.
– Measure the G-H line and divide it into 3 equal sections. The closest point to H
is the new point I.
– Using a curved ruler, connect D-I-F, making sure that at point D there is a ¼”
(0.6 cm) perpendicular line so that the neckline is round and not pointed when
matched with the other front half.

To Create the Side Seam of the Bodice

– From B, draw a horizontal line across from the A-B line to new point J, where
J = ¼ total bust measurement + ¼” (0.6 cm) of ease.
– From A, on A-B line, mark new point K where K = ¹⁄6 total bust measurement +
3” (7.6 cm).

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– From K, draw a horizontal line across to new point L, where K-L = ½ Bust Front
measurement +¼” (0.6 cm) ease.
– Draw a line to connect points L to J.
– Measure the distance between points A and K, divide this in half, and mark
new point M.
– From M, draw a horizontal line across to new point N where N = ½ Across
Armscye Front measurement.
– From N, draw a vertical line down to the K-L line. Mark new point O where the
line from N connects to the K-L line.

To Create the Armscye of the Bodice

– Connect N and L with a diagonal line.

– Draw a line perpendicular to the N-L line to point O.
– Where the perpendicular line intersects the N-L line, mark a new point P.
– Measure the O-P line and divide it into 3 equal sections. The closest point to P
is the new point Q.
– To create your armscye, use your curved ruler and draw a line from point E to
point N.
– Still using your curved ruler, draw a line connecting N-Q-L to make a
continuous curve for the armscye.

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To Create the Bust Point of the Bodice

– Measure from K and mark new point R on K-L line where R = ½ Bust Point to
Bust Point measurement.
– From R, draw a vertical line to the B-J line and mark the new point S where it
intersects the B-J line.

– Using your straight ruler and starting from point F, extend down to the R-S
line to new point T, where F-T = Shoulder to Bust Point measurement. T is the
bust point of your bodice.

=This is the stopping point for the Bodice Front. We will continue working with it
after the Bodice Back has been drafted. There are measurements from the Bodice
Back that are necessary to complete the Bodice Front.

Basic Back Sloper

– Paper size = Height of the paper should allow for Shoulder to Waist Back
measurement + 9” (22.9 cm), and width should allow for ¼ total bust
measurement + 6” (15.2 cm).

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To Create the Center Back of your Bodice

– Using your straight ruler, or T-square, draw a line 3” (7.6 cm) in from the left
edge of the paper from the top edge all the way to the bottom edge.
– Measure up from the bottom of the page along this line and mark point A at
the Shoulder to Waist Back measurement + 6” (15.2 cm).
– From A, draw a horizontal line across the width of the paper perpendicular to
the vertical line.

To Create the Shoulder Seam of the Bodice

– From A, measure down on the vertical line and mark a new point B, where
B = the Shoulder to Waist Back measurement.

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– Draw a horizontal line to the right of A, and mark a new point C where C = ½
Across Shoulders Back measurement.
– From C, draw a line straight down about 6” (15.2 cm) in length perpendicular
to the A-C line.
– From B, mark a new point D on the A-B line, where D = the Neck to Waist Back
measurement.
– Using your straight ruler, and starting at point B, angle your ruler diagonally
toward the line extending down from C. Mark new point E where your Shoulder
Slope Back measurement intersects the line from C.
– Starting at point E, angle the ruler diagonally toward the A-C line and measure
from E to new point F, where E-F = the length of the Shoulder Seam.
– Connect E to F with a straight line.

To Create the Neckline of the Bodice

– From F, draw a vertical line down from the top horizontal line A-C, then from D,
draw a perpendicular line from line A-B. Where they connect, mark new point G.
– Connect F to D with a diagonal line.
– Draw a line perpendicular to the F-D line to point G.
– Where the perpendicular line intersects the F-D line, mark a new point H.
– Measure the G-H line and divide it into 3 equal sections. The closest point to H
is the new point I.
– Using a curved ruler, connect D-I-F, making sure that at point D there is a ½”
(1.3 cm) perpendicular line so that the neckline is round and not pointed when
matched with the other back half.

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To Create the Side Seam of the Bodice

– From B, draw a horizontal line across from the A-B line to new point J, where
J = ¼ total bust measurement + ¼” (0.6 cm) for ease.
– From A, on A-B line, mark new point K, where K = ¹⁄6 total bust measurement
+ 3” (7.6 cm).
– From K, draw a horizontal line across to new point L, where K-L = ½ Bust Back
measurement + ¼” (0.6 cm) ease.
– Draw a line to connect points L to J.
– Measure the distance between points A and K, divide this in half, and mark
new point M.
– From M, draw a horizontal line across to new point N where N = ½ Across
Armscye Back measurement
– From N, draw a vertical line down to the K-L line. Mark new point O where the
line from N connects to the K-L line.

To Create the Armscye of the Bodice

– Connect N and L with a diagonal line.

– Draw a line perpendicular to the N-L line to point O.
– Where the perpendicular line intersects the N-L line, mark a new point P.
– Measure the O-P line and divide it into 3 equal sections. The closest point to O
is the new point Q.

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– To create your armscye, use your curved ruler and draw a curved line from
point E to point N.
– Still using your curved ruler, draw a line connecting N-Q-L to make a
continuous curve for the armscye.

=If the Bodice Front needs alterations, then this is the stopping point for the
Bodice Back for now. If the Bodice Front does not need alterations, then you will
continue ahead with the Bodice Back in the section “ADDING THE WAIST DART TO
THE BODICE BACK”.
=To determine whether the Bodice Front needs alterations, you must determine
the Bust Size Differential.
– Bust Size Differential: if the bust measurement is 6” (15.2 cm) or greater than
the underbust measurement, then you will need to continue with the following
directions for the Larger Bust Cup size alterations:
– If the bust size differential is less than 6”, then skip ahead to: “ADDING THE
WAIST DART TO THE BODICE BACK”.

***LARGER BUST CUP SIZE ALTERATIONS FOR BODICE FRONT:

On the Original Bodice Front Sloper:

– From A, measure down ¹⁄7 of the total bust measurement + 3”

(7.6 cm), and mark a new point U on the A-B line.
– From U, draw a horizontal line going to the armscye, and where the
line and armscye intersect, mark a new point V.
– From A, measure down ¹⁄8 of the total bust measurement + 3”
(7.6 cm), and mark new point W on the A-B line.
– From W, draw a horizontal line going to the armscye, and where the
line and armscye intersect, mark a new point X.
– If the Total Bust Measurement is larger than 39” (99 cm), then also:
– From A, measure down ¹⁄9 of the total bust measurement +3”
(7.6 cm) and mark new point Y on the A-B line.
– From Y, draw a horizontal line going to the armscye, and where the
line and armscye intersect, mark a new point Z.

TO ALTER THE BODICE FOR LARGER CUP SIZES:

– Make a copy of the sloper and transfer the labels for the following
points: Bust Point (point T), and lines N-O, L-K, U-V, W-X, (and Y-Z,
if drawn).
– Cut out the Bodice Front.
– Place the sloper pattern on a new sheet of paper, leaving room
around the original for waistline and side seam alterations.

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– Pin the original down with a pushpin placed through the bust point
and additional push pins to anchor the sloper while you trace. Trace
the waistline, up the center front, around the neckline, and then
across the shoulder seam, stopping at the armscye.

– Trace the armscye from the outer shoulder seam point to point X (if
the bust measurement is less than 39” [99 cm]), or to point Z (if the
bust measurement is more than 39” [99 cm]) and stop.

– From X (or Z), draw a line extending out 3” (7.6 cm) from O-X (or
O-Z depending on which point you need to use based upon the
previous instructions).

– Keeping your pushpin at the bust point, remove the other push pins
and then pivot the bodice clockwise so that point V lands on the
extended O-X (or O-Z) line.
– Finish tracing the rest of the armscye, but do not trace the side
seam.
– Remove the original sloper from the new tracing.

– There is likely to be a gap in the armscye line, which you will need
to close with a curved line freehand.

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– Draw a line connecting the armscye to the waistline.

– Draw a new bust line starting at the new armscye point connecting
to the center front line. This line should be drawn perpendicular to
the center front line. (It may go across the bottom of your armscye.)
– From the original sloper, transfer line R-S, and bust point T to the
new sloper.

=This is the stopping point for the Bodice Front with Larger Cup Sizes. We will
continue working with it after the Bodice Back has had its dart added. There are
measurements from the Bodice Back that are necessary to complete the Bodice
Front.

Adding the Waist Dart to the Bodice Back

– Cut out the Bodice Back and trace it onto a new piece of paper, but do not
transfer the letters (you will be labeling the new sloper differently). Leave at
least 3” (7.6 cm) of space around on the new the paper.
– From the original sloper, transfer the bust line to the new sloper (formerly line
K-L).
– Mark point A at Center Back Bust line, B at Armscye and Side Seam point, and
C at the Center Back and Waistline point.

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– From C, mark new point D on the waistline where D = ¼ waist measurement +
1” (2.5 cm) for the dart +¼” (0.6 cm) for ease.
– Using your straight ruler, draw a line from B to D.
– To the right of C, mark new point E on the waistline at 3” (7.6 cm).
– To the right of E, measure over 1” (2.5 cm) to new point F.
– Find the center of the dart on the waistline and draw a vertical line up to the
bust line A-B and mark new point G where the lines intersect.
– For the dart tip location, from G, measure down 1” (2.5 cm) and mark new
point H. This is the vanishing point of your dart.
– Connect the dart legs by drawing straight lines from H to E and H to F.

=This is the stopping point for the Bodice Back, but keep it available to take
measurements from.

Adding Darts to the Bodice Front

Waist Dart
– Make a copy of the Front Bodice sloper on a new sheet of paper leaving room
for waistline and side seam darts. Transfer and label the Bust Point (point T),
and transfer the lines for K-L, and R-S but do not label the lines.

– On your new Front sloper, mark new points: A at Center Front Bust line, B at
armscye and side seam point, C at the center front and waistline point, but
keep point T as your Bust Point.
– From C, mark new point D on the waistline where D = ¼ waist measurement +
1½” (3.8 cm) for dart +¼” (0.6 cm) of ease.

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– Mark new point E on the waistline at the intersection of the bust point line,
formerly the R-S line.
– To the right of E, measure over ¾” (1.9 cm) and mark new point F, then to the
left of E, measure ¾” (1.9 cm) and mark new point G.
– For the dart tip location, from the bust point T, measure down on the bust
point line 1½” (3.8 cm), and mark new point H. This is the vanishing point of
your dart.
– Connect dart legs by drawing straight lines from H to F and H to G.

Side Seam Dart

– To determine the size of the side dart, measure the Back Side Seam and
subtract that number from the Front Side Seam measurement.
– Front Side Seam – Back Side Seam = __________________
– The difference between the measurements is the measurement of the front
side seam dart.

*(See note below for Side Seam Adjustment.)

*SIDE SEAM ADJUSTMENT:

– If the difference between the front side seam and the back side
seam is less than ¾” (1.9 cm), then the front side seam needs to be
extended because you will not be able to create a usable dart for
your bodice. Continue with the following instructions.
– If the difference between the front side seam and the back side seam
is greater than ¾” (1.9 cm), then the front side seam does not need to
be extended and you can skip ahead to the next section, “Placement
of the Side Seam Dart”.

– In order to create a length of side seam long enough to

accommodate an adequate side seam dart, you will need to drop the
waistline at the side seam.
– To determine the distance that the Front Side Seam should be
dropped take the difference between ¾” and the difference between
the side seams.
¾” (1.9 cm) – Side Seam Difference = ________________

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– Drop the side seam from point D to a new point D1 using the
measurement you just calculated above. (D1 should be located
perpendicularly below point D.)
– Draw a line from point D1 to point C. This will be the new waistline.
– Create your Front Side Seam dart by replacing your previously used
Front Side Seam measurement with the measurement B-D1.
Front Side Seam (B-D1) – Back Side Seam = _______________
– Extend E, F, and G to the new waistline and label them E1, F1, and G1.

Placement of the Side Seam Dart

– The side seam dart may be placed anywhere along the side seam depending
on the desired look. The dart should be located on the side seam far enough
away from the armscye so that your dart does not extend into your armscye.
(Make sure that the dart tip is pointed toward the bust point. This is because
all bust darts, whether from the waistline, side seam, or shoulder seam,
must orient themselves toward the bust point. To do otherwise will make the
garment fit irregularly.)
– Mark a point on the side seam where you would like the center of your dart to
be located. This is point I.
– Draw a line from new point I extending to the bust point T.
– On the side seam, above point I, mark new point J where J = ½ the total
measurement of the side seam dart.
– On the side seam, below point I, mark new point K I where J = ½ the total
measurement of the side seam dart.
– From bust point T, measure 1½” (3.8 cm) toward I to mark a new point L. This
is the vanishing point of your dart.
– Connect dart legs by drawing straight lines from L to J and L to K.

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– Connect point B to point D or D1 to create the new side seam.

*True the darts by following the directions in the Appendix for Trueing Darts.

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Chapter 7: Manipulating Darts within the Bodice

Using the Pivot Method to Move Darts

Once you have your basic slopers draped or drafted, you can now modify them
based on design choices. This chapter will explore ways to alter the basic slopers
and manipulate them to create alternate looks.
Moving darts with the Pivot Method is a faster and easier way to move the
darts. By pivoting you can quickly relocate the darts as needed for the design.
For the first few sections, the darts will be relocated. Later sections will convert
the darts to gathers or to seam lines. It is important to note that the shaping darts
are not eliminated, but instead are converted to another shaping method.

Single Dart Moved: Side Seam Dart to Shoulder Seam

Items Needed:

– Bodice Front Sloper copy with the darts cut out and the bust point marked
– Paper larger than the sloper
– Pencil, pushpin, and ruler

– Using a copy of the bodice front sloper with side seam and waistline darts,
relabel points as marked on the diagram above.

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 Manipulating Darts within the Bodice

*Always use a copy of the original and not the original just in case of any errors.
You will want to have the original intact so that you don’t have to start from scratch
and can go back to it if needed.

Moving a Single Dart

– Using a pushpin placed through the bust point, pin the sloper to the larger
piece of paper.
– Mark the placement for the desired location of the new dart on the sloper (for
this example, label it point F at the shoulder).
– Begin tracing the sloper at point F and trace up the shoulder seam toward the
neckline, around the neckline, down the center front, across the waistline and
up and down the dart, across the remainder of the waistline, up the side seam
and stop at point D at the base of the bottom leg of the side seam bust dart.

– Pivot the sloper counter-clockwise so that point E meets the point where you
stopped tracing at point D.
– Continue tracing the sloper up the side seam, around the armscye, and the
section of shoulder seam until you get to the marking for point F again.

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– Remove the original copy of the sloper from your paper.

– The opening at the shoulder on your paper of the new sloper you just traced
is the new location of your dart.
– Measure the distance between point F and F1, and then divide this measurement
by two to locate the center line of the dart. Mark this point G.
– Draw the center line from the bust point through the center point and past the
shoulder seam.
– Mark the tip of the bust dart at 1½” (3.8 cm) from the bust point and label this
point H.

– Connect the legs to point H.

*True the darts by following the directions in the Appendix for Trueing Darts.

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Combined Dart at the Shoulder Seam

Moving Both the Side Seam Dart and the Waist Dart to the Shoulder Seam
(Combined Dart)
Items Needed:

– Bodice Front Sloper copy with the darts cut out and the bust point marked
– Paper larger than the sloper
– Pencil, pushpin, and ruler

– Using a copy of the bodice front sloper with side seam and waistline darts,
relabel points as marked on the diagram above.

*Always use a copy of the original and not the original just in case of any errors.
You will want to have the original intact so that you don’t have to start from scratch
and can go back to it if needed.

Moving the Darts

– Using a pushpin placed through the bust point, pin the sloper to the larger
piece of paper.

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– Mark the placement for the desired location of the new dart on the original
sloper. (For this example, label it point F at the shoulder.)
– Begin tracing the sloper at point F and trace up the shoulder seam toward the
neckline, around the neckline, down the center front, across to the waistline to
point B.

– Pivot the sloper counter-clockwise so that the leg of the waist dart closest to
the side seam (C) meets the point where your stopped tracing at point B.
– Continue tracing the sloper across the remainder of the waistline, up the side
seam and stop at point D at the base of the bottom leg of the side seam bust dart.

– Pivot the sloper counter-clockwise so that point E meets the point where your
stopped tracing at point D.

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– Continue tracing the sloper up the side seam, around the armscye, and the
section of shoulder seam until you get to the marking for point F again.

– Remove the original copy of the sloper from your paper.

– The opening at the shoulder is the new location of your dart.
– Measure the distance between point F and F1. Divide this measurement by two
to locate the center line of the dart. Mark this point G.
– Draw the center line from the bust point through the center point G and past
the shoulder seam.
– Mark the tip of the bust dart at 1½” (3.8 cm) from the bust point and label it
point H.

– Connect the legs to this new point H.

*True the darts by following the directions in the Appendix for Trueing Darts.

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Combined Dart at the Waistline

Moving the Side Seam Dart to the Waistline (Combined Dart)

This method is used for removing one of the darts and combining it with another
already existing dart. For this example, the side seam dart will be moved to
combine with the waistline dart.

Items Needed:
– Bodice Front Sloper copy with the darts cut out and the bust point marked
– Paper larger than the sloper
– Pencil, pushpin, and ruler

– Using a copy of the bodice front sloper with side seam and waistline darts,
relabel points as marked on the diagram above.

*Always use a copy of the original and not the original just in case of any errors.
You will want to have the original intact so that you don’t have to start from scratch
and can go back to it if needed.

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Moving the Darts

– Using a pushpin placed through the bust point, pin the sloper to the larger
piece of paper.
– Begin tracing the sloper at point B and trace across the waistline toward center
front, then up the center front, up around the neckline, across the shoulder
seam, down the armscye, and down the side seam to point E.

– Pivot the sloper clockwise so that the leg of the side seam dart closest to the
waistline (point D) meets the point where you stopped tracing at point E.
– Continue tracing the sloper down the side seam, and across the remainder of
the waistline and stop at point C.

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– Remove the original copy of the sloper from your paper.

– The opening at the waistline is the location of your combined dart.
– Measure the distance between B and C. Divide this measurement by two to
locate the center line of the dart. Mark this point F.
– Draw the center line from the bust point through the center point of the dart.
– Mark the tip of the bust dart at 1½” (3.8 cm) from the bust point and label it
point G.

– Connect the legs to this new point G.

*True the darts by following the directions in the Appendix for Trueing Darts.

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Using the Slash Method to Move Darts

The method known as “slash and spread” is useful for creating fullness in areas
that previously did not have fullness. You can add gathers, pleats, or create new
darts, which is what this section covers.
Slash and spread, and alternately, slash and compress, consists of lines drawn
on the pattern that are cut to flare out or overlap to change the shape of the
garment. If you slash and spread, the pattern will expand in an area creating flare
on the finished garment. If you slash and compress, the pattern will shrink in an
area creating a narrower look on the finished garment.

Moving the Side Seam Dart to the Shoulder Seam

Items Needed:
– Bodice Front Sloper copy with darts cut out and the bust point marked
– Paper larger than the sloper
– Pencil, pushpin, and ruler
– Tape

– Using a copy of the bodice front sloper with side seam and waistline darts,
relabel points as marked on the diagram above.

*Always use a copy of the original and not the original just in case of any errors.
You will want to have the original intact so that you don’t have to start from scratch
and can go back to it if needed.

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Moving the Dart

– Mark the placement for the desired location of the new dart on the copy of the
sloper. (For this example, label it point F at the shoulder.)
– Draw a line from the new location marking to the bust point.
– Connect the tip of the side seam dart to A with a straight line. (Note: this will
not be a straight line from the side seam to A.)
– Cut along the new dart line from F, to but not through point A.
– Cut along the bottom leg of the side seam dart to but not through point A.

*When cutting the legs of the darts, you should cut through the bottom leg for
horizontal darts, and the leg closest to center front for vertical darts.

– Close the side seam dart and tape it in place by bringing the lower leg you just
cut up to the upper leg line making sure the leg lines are aligned leaving the
lengths to be trued later.
– You should now have a new opening for a shoulder seam dart F-A-F1.

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– Place paper under the opening and tape in place.

– Measure the distance between point F and F1. Divide this measurement by two
to locate the center line of the dart. Label this point G.
– Draw the center line from the bust point through point G and past the shoulder
seam.

– Mark the tip of the bust dart at 1½” (3.8 cm) from the bust point and label it
point H.
– Connect the legs to this new point H.

*True the darts by following the directions in the Appendix for Trueing Darts.

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Converting Darts to Gathers

There are three types of gathers: Dart Equivalent, Added Fullness, and the
Combination of Dart Equivalent and Added Fullness.

Dart Equivalent Gathers

– Dart Equivalent Gathers follow the rules for darts with the gathers pointing to
the bust point.

Added Fullness Gathers

– Added Fullness Gathers do not always follow the rules of darts because they
can be the result of the slash and spread method. They typically do not point
to the bust point but are a decorative feature.

Combination of Dart Equivalent

and Added Fullness Gathers
– Combination Gathers are used when Dart Equivalent Gathers do not add
enough fullness so Added Fullness Gathers are also used. The slash and
spread method is used to increase the fullness in a location that would
normally incorporate Dart Equivalent Gathers.

Single Dart Converted to

Gathers

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Combined Dart at Shoulder

Seam Converted to Gathers

Combined Dart at Waistline

Converted to Gathers

Added Fullness Gathers

Combined Darts plus Added

Fullness Gathers

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Princess Seam Lines Made From Darts

Converting Darts to Seam Lines

Note: All princess lines that replace the darts must cross over the bust point.

Princess Line From Shoulder Seam to Waistline

– Start with a copy of the converted sloper with a shoulder seam dart and
waistline dart with a bust point marked.
– Draw a grainline in on the side front section. (The side front section is to the
left of the bust point and the left legs of the darts.) The grainline is parallel to
the center front line.

– For the Bodice Front section, extend the leg of the shoulder seam dart closest
to the center front line down to the bust point and continue it to the leg of the
waistline dart also closest to center front. (This line may be a straight line, but
it may not.)

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– For the Bodice Side Front section, use your curved ruler to smooth the dart
points through the bust point.

– Due to the new seam line being on the bias, it is encouraged that you add
matching notches. One set of matching notches should be at the bust point,
one should be above the bust point and one should be below the bust point.
You may use a distance of 2” (5.1 cm) on either side of the bust point for these.

– You should now cut the pattern to create two pieces making sure to label
each. You should also make sure that the CF section on the princess line has a
smooth curved line by eliminating any angles or points.

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Princess Line From Armscye to Waistline

– Use a copy of the converted sloper with a side seam dart and waistline dart,
and with the bust point marked.
– Draw a grainline in on the side front section. (The side front section is to the
left of the bust point and the left leg of the waistline dart.) The grainline is
parallel to the center front line.

– Draw the desired new seam line from the armscye to the bust point making
sure the line is a smooth curve.

– Using your ruler, draw a line connecting the tip of the side seam dart to the
bust point with a straight line.

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– Cut on this new princess line from the armscye to but not through the bust
point. (Note: tape can be added across the bust point to reinforce the point and
ensure that it is not cut through.)
– Cut on the lower leg of the side seam dart and the line connecting the dart tip
(the vanishing point) to the bust point, to but not through the bust point.

– Close the side seam dart and tape shut. You should now have a gap in the
armscye.

– Using your curved ruler, draw a line connecting the end of the leg closest to
the side seam of the waistline dart to the bust point.
– Due to the new seam line being on the bias, it is encouraged that you add
matching notches. One set of matching notches should be at the bust point,

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one should be above the bust point and one should be below the bust point.
You may use a distance of 2” (5.1 cm) on either side of the bust point for these.
– Using your ruler and a pencil, draw a line straightening the leg of the waist
dart from bust point to waistline.

– Cut the pattern along the legs of the waist dart to create two pieces, making
sure to label each. You should also make sure that the CF section on the
princess line has a smooth curved line by eliminating any angles or points.

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 Chapter 8: Dresses

How to Drape the Basic Sheath Dress

The Basic Sheath Dress is essentially a combined fitted bodice and fitted skirt.
For the draped dress, there are a double-ended darts at the waist. For the drafted
pattern, the dress has aligned waist darts from the bodice and skirt, both front and
back, that create the double-ended darts.

Anatomy of the Basic Sheath

Dress

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Note: A double-ended dart is also known as a fisheye dart.

– Prepare the fabric for draping:

(See Chapter 4 on Preparing the Muslin for Draping, and Blocking the Muslin.)

– Measure the length for the front panel from the neckband down CF to the
desired length of the hem and add 4” (10.2 cm).

Note: The length of the fabric must be on the straight of grain.

– Measure the width of the front panel from CF, across the bust line, to the side
seam, and add 6” (15.2 cm). (Use the hip level measurement if it is wider to
ensure enough fabric.)
– Repeat these steps for the back panel.
– Mark the 1” (2.5 cm) guidelines for the CF and CB panels along the grainline
edge. Press under along this 1” line. (CF will be on the right side of the fabric,
and CB will be on the left side of the fabric.)
– Draw a cross-grain line on the front panel at 14” (35.6 cm) down from the top
edge.
– This will line up with the Bust line.
– Draw a second cross-grain line on the front panel 14” (35.6 cm) down from the
bust line cross-grain.

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– This will line up with the Hip level line.

– To draw the cross-grain lines on the back panel, place the panels next to each
other and draw the cross-grain line on the back panel to match the Hip level
line on the front panel.
– From the back Hip level line, measure up to the shoulder blade line and draw
the cross-grain.
– On the dress form, measure the width of the hip level from CF to side seam +
½” (1.3 cm) for ease.
– Place a cross-mark at this measurement on the front panel on the hip level
line.
– Repeat these steps for the back panel.
– On the front panel, draw a line parallel to the grainline through this point from
bust line to hem.
– On the back panel, draw a line parallel to the grainline through this point from
shoulder blade to hem.

Directions for Draping

Front

– On your dress form, pin the prepared muslin with the cross-grain line centered
over the bust tape and the CF line of the muslin lining up with the CF of the
dress form.
– Place pins along CF at neckline, bust line tape, waistline, hip level tape, and
bottom edge above cage.
– Place a pin at the bust point.

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Side Seam

– Smooth across the hipline, matching the long side seam line to the dress
form’s side seam, and pin at the hip level line at the side seam.
– Distribute the ease evenly along the front hip level line and pin making sure
the cross-grain stays parallel to the floor.
– Pin the side seam to the dress form below the hip level line.

– Smooth the side seam up toward the arm plate and shoulder.
– Pin the side seam of the panel to the side seam of the dress form at the bust
line tape.

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Neckline

– To smooth around the neckline, make a cut perpendicular to CF line about 1”

(2.5 cm) above the neck seam.
– Cut down to the neckline seam while continuing to smooth around the neck
and up to the shoulder seam, being very careful not to clip past the neckline
seam and into the body of the garment. (Cut to, but not through. Clipping too
aggressively is very easy to do. Think of clipping as if you were to clip only
to the intended future stitching line within the seam allowance. If you clip too
much you will end up in the body of the garment. If you do clip too far, you can
mend a small cut with some masking tape placed on the top and underneath
of the area.)
– Place a pin at the shoulder seam/neckline seam point.

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Shoulder Dart

– From the neckline, smooth across the shoulder seam to the princess line.
Place a pin at this point.
– From the side seam, smooth the excess fabric up and over the armhole to
create the shoulder dart at the princess line.
– Pinch out about ¼” (0.6 cm) at the screw level of the arm plate to create ease
in the armhole.
– Place a pin at the shoulder seam on the armhole ridge.

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– Remove the pin at the shoulder seam/princess line point and pinch the excess
fabric so the center of the dart falls directly over the princess line on the
shoulder seam.
– Pinch a ridge to create the dart and place the pins along the length of the dart
down to a vanishing point 1” (2.5 cm) above the bust point.
– Mark the vanishing point with a horizontal pin.

(The dart may be too long or off grain, but this will be fixed in the trueing.)

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Double-Ended Waist Dart

– Along the princess line, with a vanishing point starting 1½” (3.8 cm) below the
bust point, pinch out a vertical double-ended dart.
– Pin both sides of the dart at the princess line at the waistline.
– Taper the dart down toward the hipline to a vanishing point that ends about 6”
(15.2 cm) below the waistline and pin the dart with the pins running the length
of the dart.
– Mark the vanishing points with horizontal pins.

(The dart may be too long or off grain but this will be fixed in the trueing.)

Marking the Muslin

– Draw dashed lines along the center of the twill tape at the waistline, side seam,
neckline, armhole, darts, and shoulder seam.
– Draw a dashed line on the ridge around the arm plate of the dress form. This
may result in a small armscye but it will be adjusted for ease in the trueing.
– Create cross marks on either side of the darts where they intersect the waistline
and the shoulder seam, and mark the bust point.
– Create cross marks at the side seam where it intersects the waistline and the
arm plate.
– Add matching notches on the side seam, and shoulder seam. You can carefully
use a felt tip type marker to make your matching marks by pulling the fabric

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away from the dress form and letting the marker create a mark on the front
of the garment. Let the marker bleed through to the back of the garment. DO
NOT MARK THE DRESS FORM.
(Matching notches should correspond to darts on the other side of the draping:
i.e. the shoulder dart on the back should align with the matching notch on the
front, and the bust dart on the side seam [if you have one] should align with
the matching notch on the back. If you have a bust dart at the shoulder seam
and a back dart at the shoulder seam, these should align at the princess line
and no additional matching notch is needed there.)
– Leave the fabric on the dress form, but fold over the excess muslin at the side
seam and shoulder seam to allow for draping the Back Sheath Dress. (You
may want to pin it out of the way.)

Back

– On your dress form, pin the prepared muslin with the cross-grain line centered
over the shoulder level tape and the CB line of the muslin lining up with the CB
of the dress form.
– Place pins along CB at neckline, shoulder level tape, waistline, hip level tape,
and bottom edge above cage.
– Place a pin at the shoulder level on the princess seam making sure the cross-
grain is parallel to the floor.

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Side Seam

– Smooth across the hipline, matching the long side seam line to the dress
form’s side seam, and pin at the hip level line at the side seam.
– Distribute the ease evenly along the back hip level line and pin making sure
the cross-grain stays parallel to the floor.
– Pin the side seam to the dress form below the hip level line.

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– Smooth the side seam up toward the arm plate and shoulder.
– Pin the side seam of the panel to the side seam of the dress form at the bust
line tape.

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Neckline

– To smooth around the neckline, make a cut perpendicular to CB line about 1”

(2.5 cm) above the neck seam.
– Cut down to the neckline seam while continuing to smooth around the neck
and up to the shoulder seam, being very careful not to clip past the neckline
seam and into the body of the garment. (Cut to, but not through. Clipping too
aggressively is very easy to do. Think of clipping as if you were to clip only to
the intended future stitching line within the seam allowance. If you clip too much
you will end up in the body of the garment. If you do clip too far, you can mend a
small cut with some masking tape placed on the top and underneath of the area.)
– Place a pin at the shoulder seam/neckline seam point.

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Shoulder Dart

– From the neckline, smooth the fabric across the shoulder seam to the princess
line. Place a pin at this point.
– From the side seam, smooth the excess fabric up and over the armhole to
create the shoulder dart at the princess line.
– Pinch out about ¼” (0.6 cm) at the screw level of the arm plate to create ease
in the armhole.
– Place a pin at the shoulder seam on the armhole ridge.

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– Remove the pin at the shoulder seam/princess line point and pinch the excess fabric
so the center of the dart falls directly over the princess line on the shoulder seam.
– Pinch a ridge to create the dart and place the pins along the length of the dart
down 3” (7.6 cm).
– Mark the 3” (7.6 cm) point as the vanishing point of the dart with a horizontal
pin.

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Waist Dart

– On the princess line, with a vanishing point starting 7” (17.8 cm) above the
waistline tape, pinch out a vertical double-ended dart.
– Pin both sides of the dart at the princess line at the waistline.
– Taper the dart down toward the hipline to a vanishing point and pin the dart
with the pins running the length of the dart.
– Mark the vanishing points with horizontal pins.

Marking the Muslin

– Draw dashed lines along the center of the twill tape at waistline, neckline,
shoulder seam, and side seam.
– Draw a dashed line on the ridge around the arm plate of the dress form. This
may result in a small armscye but it will be adjusted for ease in the trueing.
– Create cross marks on either side of the darts where they intersect at the
waistline, and mark the vanishing points.
– Create cross marks at the side seam where it intersects the waistline and the
arm plate.
– Add matching notches on the side seam, and shoulder seam. You can carefully
use a felt tip type marker to make your matching marks by pulling the fabric
away from the dress form and letting the marker create a mark on the front
of the garment. Let the marker bleed through to the back of the garment. DO
NOT MARK THE DRESS FORM.

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(Matching notches should correspond to darts on the other side of the draping:
i.e. the shoulder dart on the back should align with the matching notch on the
front, and the bust dart on the side seam [if you have one] should align with the
matching notch on the back. If you have a bust dart at the shoulder seam and a
back dart at the shoulder seam, these should align at the princess line and no
additional matching notch is needed there.)

Combining Front and Back Dress Pieces

– Trim the front and back shoulder seams to 1” (2.5 cm)
– Trim the front and back side seams to 1” (2.5 cm)
– With the dress pinned together at the side seams below the hip level line,
mark on the CB line the desired length.
– Draw a hem from this mark parallel to the hipline.

Fit Check
– On the front shoulder seam line and the front side seam, fold under and pin to
back panel, matching the shoulder darts at the princess line and also the hip
level lines.
– Check that the shoulder cross mark at the shoulder seam, and the side seam
cross marks under the arm plate align.
– Pin the skirt to the dress form at waistline CF, CB, and side seam.
– Front and back grainlines should be straight without twisting or pulling.
– Cross-grains should be parallel to the floor.
– Side seam should align with the side seam of the dress form.
– Darts are pinned shut to vanishing points.
– Darts are smooth without twisting. (Twisting happens in the pinched-out
area of the dart. If twisted, it will not be a smooth flat dart, but will exhibit a
contorted “twist” which means that the grainline is off within the dart. The
grainline of the dart should be parallel to the grainline of the center front of
the skirt. The center line of the dart should follow the grainline.)

Trueing the Basic Sheath Dress

(On the actual dress drape)
Trueing is a term used to describe the process of creating accuracy on a draped
or drafted sloper. When the muslin is still on the dress form, it may seem as if the
sloper fits well and matches the other sections. It is only when the muslin is removed
that the accuracy can be determined. Trueing can be done directly on the draped
muslin pieces, or on craft paper. The following instructions will be on the draped
muslin pieces. After trueing the muslin, then the pattern can be transferred to paper.

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After removing the sheath dress from the dress form, with front and back panels
separate and all pins removed, lay the fabric pieces flat on your table. Do not press
the pieces with an iron since the fabric may stretch out of shape.

The following locations require a 90-degree angle:

– CF neck for ¼” (0.6 cm)

– CB neck for 1” (2.5 cm)

(These 90-degree angle lines that are perpendicular to the CF and CB allow for a
smooth curve when making a full garment. Otherwise you will end up with either
a V shape or a ^ shape at those locations.)

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Trueing the Front Sheath Dress Shoulder Dart

– For the front shoulder dart, measure the width of the dart opening. Divide the
measurement in half to determine the center point of the dart. Place a mark in
the center of the opening on the shoulder seam.

– Using your straight ruler, draw a line from the center point marking at the
shoulder seam to the bust point.

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– For the shoulder dart, measure up 1½” (3.8 cm) from the bust point on the
center line and mark the vanishing point.

– From the vanishing point, use your straight ruler to connect the dart opening
markings on the shoulder seam to create the legs of the dart.
– You should now have a front shoulder dart.

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Trueing the Front Sheath Dress Double-Ended Waist Dart

– For the front double-ended waist dart, measure the width of the dart at the
widest part at the waistline.
– Divide this measurement in half to determine the center line of the dart. Place
a mark in the center of the opening on the waistline.

– Using your straight ruler, draw a line from the center point marking at the
waistline to the bust point, and then from the waistline down to the hipline. It
is important that this line is parallel to the center front line.

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– Working with the double-ended dart above the waistline, measure down 1½”
(3.8 cm) from the bust point on the center line and mark the vanishing point.

Note: Measure out from the center line perpendicularly along the waistline to points
that equal half the total waist opening measurement. It is important that the points at the
waistline are perpendicular to the center line of the dart and are not unevenly aligned.

– From the vanishing point under the bust point, use your straight ruler to connect to
the dart opening markings on the waistline to create the legs of the top of the dart.

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– Working with the double-ended dart below the waistline, measure down 3”
(7.6 cm) from the waistline on the center line and mark the vanishing point.

Note: Dart lengths: Front darts below the waistline are about 3” (7.6 cm) long
depending on the size and shape of the figure.

– From the vanishing point, connect the dart opening markings on the waistline
to create the legs of the dart.
– You should now have a front double-ended waist dart.

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Trueing the Back Sheath Dress Double-Ended Waist Dart and Shoulder Dart

– For the back double-ended waist dart, measure the width of the dart opening.
– Divide this measurement in half to determine the center point of the dart.
Place a mark in the center of the opening on the waistline.
– Using your straight ruler, draw a line to extend the center point marking from
the waistline to a point up 7” (17.8 cm). (This new point may or may not fall in
the same location as the original marking.) Then from the waistline continue
the line down to the hipline. It is important that this complete line is parallel to
the center back line.
– Working with the double-ended dart above the waistline, mark the point that
is 7” (17.8 cm) up on the center line as the vanishing point.

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Note: Measure out from the center line perpendicularly along the waistline to
points that equal half the total waist opening measurement. It is important that the
points at the waistline are perpendicular to the center line of the dart and are not
unevenly aligned.

– From the vanishing point 7” (17.8 cm) up on the center line, use your straight
ruler to connect to the dart opening markings on the waistline to create the
legs of the top of the dart.

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– Working with the double-ended dart below the waistline, measure down 6”
(15.2 cm) from the waistline on the center line and mark the vanishing point.

Note: Dart lengths: Back darts below the waistline are longer than front darts.
They are usually about 6” (15.2 cm) long, but you do not want to extend them
beyond 2” (5.1 cm) above the hipline.

– From the vanishing point, draw lines to the dart opening markings on the
waistline to create the legs of the dart.
– You should now have a back double-ended waist dart.

– For the back shoulder dart, extend a line from the back double-ended waist
dart vanishing point to the shoulder dart marking closest to the neckline. (This
line is unlikely to follow the original princess line.)

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– Measure down 3” (7.6 cm) on this line to create a new vanishing point.

– Connect the other shoulder dart marking to this new vanishing point.
– You should now have a back double-ended waist dart and back shoulder dart.

Trueing the Necklines, Shoulder Seams, and Armscyes

Front

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Back
– For the necklines, use your curved ruler and connect your markings, making
sure that the 90-degree lines are smoothly blended.

Front

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Back
– For the front and back shoulder seams, fold the darts under and using your
straight ruler, draw a line from the neckline/shoulder seam point to the
armhole/shoulder seam point.

– You will need to check that the front and back shoulder seams are trued to
each other by pinning the front shoulder seam to the back shoulder seam.
Once pinned, make sure that the neckline, shoulder seams, and the armscye
match and are creating smooth transitions.

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Front

Back

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– To add ease at the front and back side seams at the bust line, you will first need
to drop the front and back side seams down 1” (2.5 cm) from the armscye, and
then bump them out ½” (1.3 cm).
– Using your original armscye measurement from your person’s measurements,
check that the armscye you have created on your draping is about 1–2” (2.5–
5.1 cm) larger than that measurement. If necessary, expand the armscye by
dropping it and bumping it out more than the original ease you added. Keep
in mind that you can always mark and cut away the armscye in the fitting of
the mock-up if it is too snug, but the higher the side seam under the armscye,
the more movement is allowed after attaching the sleeve.
– From these new points, use your straight ruler and connect the marks from the
armhole points down to the original waistline marks.

– For the front armscye, use your 12” curved ruler and connect your shoulder
point, your armscye ridge lines, and new side seam/armhole mark.
– Mark the armscye with a single notch at 2.5” (6.4 cm) from the armscye/side
seam intersection.

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– For the back armscye, use your curved ruler and connect your shoulder point,
your armscye ridge lines, and new side seam/armhole mark.
– Mark the armscye with a double notch at 2.5” (6.4 cm) from the armscye/side
seam intersection.

– To true the armscye, pin the front and back shoulder seams together to check
that there is a smooth line across the top of the armscye at the shoulder seam
and that the armscye does not create a point or “wing” out.

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– For the front side seam below the waistline, use your curved ruler with the
curved end up at the waistline and the straight end down toward the hem to
finesse your side seam line.

– For the back side seam below the waistline, use your curved ruler with the
curved end up at the waistline and the straight end down toward the hem to
finesse your side seam line.

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– Smooth the waistlines at the side seams so that they are not coming to a
point, but have a smooth curve.

*True the darts that open on seams by following the directions in the Appendix
for Trueing Darts.

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Check List for Fit and Correct Amount of Ease

– Prior to pinning the pieces together to check for fit, trim the excess muslin
down to 1” seam allowance.
– Pin your trued muslin together, including all darts, side seam, and shoulder
seam and place back on the dress form.

Ease Checklist
– At side seam/armhole intersection = ½” (1.3 cm) per front and back (1” (2.5 cm)
total per side)
– At bust front = ¹⁄8”–¼” (0.3–0.6 cm)
– At back shoulder blade = ¹⁄8”–¼” (0.3–0.6 cm)
– At waist = ¼” (0.6 cm) per front and back (½” (1.3 cm) total per side)

After Trueing
– Fit Check:
– Pin the bodice to the dress form at neckline, shoulder seam, waistline at center
front and center back, and side seam.
– Pin the front and back together at the side seams from the hip level line to
hem.
– Pin the darts closed and check the waistline shape for a smooth curve.
– Using your flexible straight grid ruler, place the ruler on its edge and measure
from the waistline to the hip level line for front and back side seams from hip
level line to waistline. The measurements should be the same.
– If the measurements are off, then adjust the back side seam to match the
front side seam.
– If the measurements off by are more than 5⁄8” (1.6 cm), then you will need
to check the drape to correct for this.
– Leaving the side seams pinned, draw the hemline in.
– Mark the desired length of the skirt at the CB and draw a line parallel to
the hip level line across to CF.
– Front and back grainlines should hang straight without twisting or pulling.
– Shoulder seams should align with each other and darts should align.
– Side seams should be the same length.
– The armhole is a smooth fat oval shape.
– Cross-grains should be parallel to the floor.
– Side seam should align with the side seam of the dress form.
– Darts are pinned shut to vanishing points.
– Darts are smooth without twisting.

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How to Draft the Basic Sheath Dress

The basic sheath dress combines the fitted bodice and fitted skirt, removing the
waistline seam to create a sheath sloper with a single combined dart per half of the
front and back (two darts total in the front and two darts total in the back).

Anatomy of the Basic Sheath

Dress

Front
– Use copies of your drafted Basic Bodice Front (with either a side seam bust
dart or shoulder dart, and a waist dart), and your drafted Basic Skirt Front.
(The Basic Skirt pattern should have 1.5”–2” (3.8–5.1 cm) of total ease at the
hipline. If the skirt was drafted without this ease, add it to the side seams prior
to drafting the Basic Sheath Dress. Divide the total ease by the number of
seams and add that measurement to each seam.)

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– On a large piece of paper, long enough to trace the bodice and skirt connected,
draw a straight line down the right hand side of the page. Line up the center
fronts of the bodice and skirt against this line.

Note: If the width of the bodice waistline is wider than the skirt waistline, then
you will need to slash and spread the dart on the skirt waistline. Follow these
instructions:

– Draw a line from the tip of the Skirt Front dart to the hipline at the side seam.
– Slash down the leg of the dart closest to the center front, continuing down
the drawn line to but not through the side seam.

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– Spread the skirt pattern above the hipline so that the waistline measurement
matches the waistline measurement of the bodice.

– Pin the bodice front and skirt front to the paper along the line drawn on the
right hand side joining the waistlines at the side seam. (The waistlines at the
center front may not line up.)
– Trace the pattern – including darts, grainline, and labels.

Back
– Use copies of your drafted fitted Basic Bodice Back and drafted Basic Skirt
Back. (The Basic Skirt pattern should have 1.5”–2” [3.8–5.1 cm] of ease at the
hipline. If the skirt was drafted without this ease, add it to the side seams prior
to drafting the Basic Sheath Dress. Divide the total ease by the number of
seams and add that measurement to each seam.)

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Note: If the width of the bodice waistline is narrower than the skirt waistline,
then you will need to slash and spread the dart on the bodice waistline. Follow
these instructions:

– Draw a straight line from the tip of the Bodice Back dart to the armscye.
– Slash up the leg of the dart closest to the center back, continuing up the
drawn line to but not through the armscye.

– Spread the bodice pattern at the waistline so that the bodice waistline
measurement matches the waistline measurement of the skirt.

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– On a large piece of paper with a straight line drawn down the left-hand side of
the page, line up the center backs of the bodice and skirt against this line.
– Pin the Bodice Back and Skirt Back to the paper along the line drawn on the left
hand side joining the waistlines at the side seam. (The waistlines at the center
back may not line up.)
– Trace the pattern – including darts, grainline, and labels.

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Creating the Double-Ended Dart for Front and Back

– For the front double-ended waist dart, measure the width of the dart at the
waistline.
– Divide this measurement in half to determine the center line of the dart. Place
a mark in the center of the opening on the waistline.
– Using your straight ruler, draw a line from the center point marking at the
waistline equal to the length of the original dart.
– From the tips of the darts (the vanishing points), draw in the dart legs with
lines connecting the vanishing points to the markings at the waistline.

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– For the back double-ended waist dart, measure the width of the dart at the
waistline.
– Divide this measurement in half to determine the center line of the dart. Place
a mark in the center of the opening on the waistline.
– Using your straight ruler, draw a line from the center point marking at the
waistline equal to the length of the original dart.
– From the tips of the darts (the vanishing points), draw in the dart legs with
lines connecting the vanishing points to the markings at the waistline.
– Smooth the waistline at the side seam so that it is not coming to a point, but
is a smooth curve.

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Chapter 9: Pants

How to Draft the Basic Pant

The Basic Pant is fitted through the hips, through the waist with shaping darts, and
has a slightly tapered leg. These pants are designed to have a side seam opening.

Anatomy of the Basic Pant

Measurements Needed:
Inseam: Waist to Above Knee: Waist: Hip Front:
Outseam: Waist to Below Knee: Hip: Hip Back:
Crotch Depth: Waist to Mid Knee: Hip Point: Bust Pt to Bust Pt:

(To get the Waist to Mid Knee measurement, subtract the Waist to Above Knee
measurement from the Waist to Below Knee measurement and divide that number
by 2. Then add that number to the Waist to Above Knee measurement.)

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Note
– Add 1” (2.5 cm) of ease to the crotch depth measurement.

Directions
– Paper size = Height of the paper should allow for the Outseam measurement +
4” (10.2 cm), and width should allow for ½ Hip measurement + 14” (35.6 cm).

– Down the CENTER of the paper, draw a vertical line A-B, where A-B = the
Outseam measurement.
– From A, measure down on the A-B line to new point C, where A-C = Hip Point
measurement.
– From A, measure down on the A-B line to new point D, where A-D = Crotch
Depth measurement.
– From A, measure down on the A-B line to new point E, where A-E = Waist to
Mid Knee measurement.
– From point D, draw a horizontal line out across the paper perpendicular to the
vertical center line A-B.

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BACK: (LEFT side of the A-B line)

– Working on the left side of vertical line A-B, from C, draw a perpendicular line
horizontally out to point F, where C-F = ½ Back Hip measurement + ¼” (0.6 cm)
for ease.
– To the left of A and D, extend horizontal lines out from the A-B line to connect
D to G and A to H where D-G and A-H = C-F.
– Connect G to H with a vertical line crossing through point F.
– Measure the distance between points G and H, divide this in half, and mark
new point I.
– Extend line D-G to the left of point G to new point J, where G-J = ¹⁄8 Total Hip
measurement.

FRONT: (RIGHT side of the A-B line)

– Working on the right side of vertical line A-B, from C, draw a perpendicular
line horizontally out to point K, where C-K = ½ Front Hip measurement + ¼”
(0.6 cm) for ease.
– To the right of A and D, extend horizontal lines out from the A-B line to connect
A to L and D to M where A-L and D-M = C-K.
– Connect L to M with a vertical line crossing through point K.
– Measure the distance between points M and L, divide this in half, and mark
new point N.
– Extend line D-M to the right of point M to new point O, where M-O =  Total Hip
measurement.

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Adding Darts
(*See DART CHART below to determine dart widths.)
Back Dart: (LEFT side of the A-B line)

– From H, measure out to new point P, where H-P = ¼ Waist measurement +

dart measurement from the Dart Chart (or 1½” (3.8 cm)) + ¼” (0.6 cm) for
ease. (If you used the Dart Chart, and you find that the location for P is at or
past A, then use a smaller dart measurement making sure to use the same
measurement for the Front dart.)
– From H, measure to new point Q, where H-Q = 3” (7.6 cm). (Q marks the top of
the first leg of the dart.)
– For the other leg of the dart, measure over from Q to Q1, where Q1 = 1½”
(3.8 cm) (or your dart measurement from the Dart Chart).
– Mark the center of the dart between Q and Q1 and draw a vertical line to a point
6” down from the waistline.

Front Dart: (RIGHT side of the A-B line)

(*See Dart Chart below to determine dart widths.)
– From L, measure out to new point R, where L-R = ¼ Waist measurement + dart
measurement from chart (or 1½” (3.8 cm)) + ¼” (0.6 cm) for ease. (If you used
the Dart Chart, and you find that the location for P is at or past A, then use a
smaller dart measurement that is equal to the Back dart measurement.)
– From L, measure to new point S, where L-S = 3” (7.6 cm) or ½ Bust Point to
Bust Point measurement. (S marks the top of the first leg of the dart.)

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– For the other leg of the dart, measure over from S to S1, where S1 = 1½”
(3.8 cm)(or your dart measurement from the Dart Chart).
– Mark the center of the dart between S and S1 and draw a vertical line to a point
3” (7.6 cm) down from the waistline.

Crotch Depth Adjustments

Back: (LEFT side of the A-B line)

– From H, mark point T at ¾” (1.9 cm) in toward Q, and ¼” (0.6 cm) up from line

A-H.
– From point T, draw a straight line to line J-G crossing through point I.
– Connect point F to point J with a diagonal line.
– Making a right angle, draw a line perpendicular to the F-J line to point G.
– Divide the new line into three equal lengths and mark the point closest to line
F-J.
– Using your curved ruler with the straight end toward J, draw a line connecting
I-J using the new point as a through point.

Front: (RIGHT side of the A-B line)

– Connect point K to point O with a diagonal line.
– Making a right angle, draw a line perpendicular to K-O to point M.
– Divide the new line into three equal lengths and mark the point closest to line
K-O.
– Using your curved ruler with the straight end toward N, draw a line connecting
N-O using the new point as a through point.

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Waistlines
Back and Front:

– Using your curved ruler with the straight end toward T, connect T to P, keeping
the line perpendicular at the center back (point T) to keep a smooth line across
the center front waistline.
– From L, on the L-M line, mark a point ¼” (0.6 cm) down.
– Using your curved ruler with the straight end toward the new dropped point,
draw a line from R to the new point keeping the line perpendicular at the
center front (new dropped point) to keep a smooth line across the center front
waistline.

(You may need to extend the length of the crotch depth depending on how the
fullness of the figure is distributed. If the figure is more full in the front stomach
area, you will want to add length to the front crotch depth by extending up from
point L [not to be confused with crotch extension in the inseam area].
If the figure is more full in the back area, you will want to add length to the
back crotch depth by extending up from point T [not to be confused with crotch
extension in the inseam area]).

Darts
– Using your straight ruler, draw the legs of your darts from the adjusted
waistlines to the dart points.

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Outseams Above Hip Point

– Using your curved ruler with the straight edge down toward C and the curved
edge up at R, draw the hip curves in from R to a point above C where the curve
naturally fades out, close to, or at C, and then from P to the same vanishing
point above, or at C. (The vanishing point of the hip curve will depend on the
difference between the waist and hip measurement of the figure measured.
The larger the difference between the waist and hip will result in a more abrupt
curve from the waist. The less the difference between the waist and hip will
result in a more gradual curve from the waist.)

Pant Legs
– Draw a horizontal line across the paper through B perpendicular to line A-B to
create the ankle line.

Back:

– Measure the distance between points D and J, divide this measurement in

half, add ¼” (0.6 cm) for ease and mark new point U with U closer to J.
– Draw a vertical line through U perpendicular to D-J from the waistline to the
ankle line. (This line is your creaseline and grainline.)

Front:
– Measure the distance between points D and O, divide this measurement in
half, add ¼” (0.6 cm) for ease and mark new point V with V closer to O.
– Draw a vertical line through V perpendicular to D-O from the waistline to the
ankle line. (This line is your creaseline and grainline.)

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Outseams and Inseams

Back
– For a traditional trouser leg, at the ankle line, measure out 5” (12.7 cm) to
either side of creaseline and mark each point.
– For the Outseam, draw a straight line from the ankle point to point D and then
connect to the hip point at point C with a slight curve.
– For the Inseam, using either your straight ruler or your curved ruler (with the
straight edge at the ankle line and the curved edge at J), draw a line from the
ankle line to J.

Front
– For a traditional trouser leg, at the ankle line, measure out 4” (10.2 cm) to
either side of creaseline and mark each point.
– For the Outseam, draw a straight line from ankle point to point D and then
connect to the hip point at point C with a slight curve.
– For the Inseam, using either your straight ruler or your curved ruler (with the
straight edge at the ankle line and the curved edge at O), draw a line from the
ankle line to O.

(Pant legs can have varying fullness at the ankle depending on the style desired.
Adjust as needed.)
*True the darts at the waistline by following the directions in the Appendix for
Trueing Darts.

Labeling
– Label the pant legs, adding matching notches at the following locations: a
single notch at N to indicate the Center Front, a double notch at I to indicate
the Center Back, and a matching notch at C to match the Fronts and Backs to
each other at the side seams.

Dart Chart
*To estimate the amount you need for darts, subtract your waist measurement
from your hip measurement.
– If the difference is 11” (27.9 cm) or more, use 2” (5.1 cm) darts.
– If the difference is 9” to 11” (22.9–27.9 cm), use 1½” (3.8 cm) darts.
– If the difference is 7” to 9” (17.8–22.9 cm) use 1” (2.5 cm) darts.
– If the difference is less than 7” (17.8 cm) use ½” (1.3 cm) darts.

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Chapter 10: Waistbands

How to Draft Waistbands

– The rectangular waistband is the most traditional style waistband as long as
the waistline is at the natural waist and the waistband does not exceed 1¼”
(3.2 cm) in width. It is cut with an underlap, and can have a self-facing that is
cut in one with the waistband.
– The common width for a finished waistband is 1¼” (3.2 cm), but should not
exceed 2” (5.1 cm). If the waistband exceeds 2” (5.1 cm), then it would need to
be shaped to accommodate the curving of the figure (see later for the Shaped
or Contoured Waistband).

– To create the Rectangular Waistband, you will need the waist measurement of
the garment you are applying the waistband to + 1½” (3.8 cm) underlap. (The
underlap measurement can vary depending on your closure needs.) You do

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not need to add ease because it was added in the draping or drafting of the
garment and the waistband is using those measurements.
– When creating the pattern for a self-faced rectangular waistband, you will
need to double the finished waistband width measurement as indicated in the
diagram.
– To create your rectangular waistband, you will need your original garment
sloper for your pants or skirt.
– Before measuring, close any darts if there are any.
– Measure the sloper from the center front to the side seam. Save this
measurement.
– Then measure the sloper from the side seam to the center back. Save this
measurement also.
– Using the saved measurements, draw a rectangle the desired finished width
and a length equal to SS to CF, CF to SS, SS to CB, and CB to SS + the length
of the underlap on one length edge.
– This will give you a rectangular waistband with a side seam opening.

– The Shaped or Contoured Waistband is used on a skirt or pant with a lowered

waistline or if the waistband exceeds 2” (5.1 cm) in width. You must use a
contoured waistband because a rectangular one will not fit the body and
will gap.
– To create the shaped or contoured waistband, you will need your skirt or pant
pattern. For this example, the skirt pattern will be shown.

Contoured Waistband

Drafting the Contoured Waistband

– Trace the top of the skirt pattern from the hip point up onto another layer of
craft paper.
– Make sure you mark the dart legs, the dart tips, the center front and center
back, and side seams.
– Remove your skirt pattern after you have traced it and have marked your lines,
points, and labels.
– Draw in the darts using the markings you have made on the new paper.

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– Measure down from the waist for the depth of the waistband. For this example,
the waistband will measure 1.5” (3.8 cm) wide. The waistline is curved so you
need to make sure that the line you draw is parallel to the upper curved line
and measures 1.5” (3.8 cm) in depth. The final shape of the new waistband
should be the same curve as the original waistline.

– You should now cut along the traced lines to separate the waistband from the
skirt.

– Label the side front and the side back pieces.

– Cut along the dart lines; separating the waistband into six individual pieces:
a center front, a dart section, and a side front, as well as a center back, a dart
section, and a side back.

– You can discard the two dart sections.

– Use clear tape to tape the two front pieces (center front and side front) and the
back pieces (center back and side back) together.

– Use clear tape and tape the side front to the side back for one continuous
piece.

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– Using another clean layer of craft paper, pin your taped waistband pieces on
the paper.
– Trace the waistband onto the paper, transferring the markings for center front,
center back, and side seams.

– Remove the taped waistband from the new paper.

– On the new paper pattern, add a 1” (2.5 cm) extension from the center back for
a closure.
– Smooth out the angles on the pattern to create smooth curves.
– Draw on the grainline with the center front as cut on fold or you can create the
entire pattern and cut as one.

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Chapter 11: Sleeves

The Basic Set-in Sleeve fits smoothly into the armscye and is tapered to the wrist.

Anatomy of the Basic Set-in

Sleeve

How to Draft a Set-in Sleeve

Measurements Needed

Armscye Front: (taken from bodice sloper):

Armscye Back: (taken from bodice sloper):
Total Armscye Measurement (Armscye Front + Armscye Back):
Desired Length of sleeve from shoulder (if full length, use Shoulder to
Wrist measurement):
Sleeve opening (at desired length of sleeve):

Notes
– Sleeve cap ease = the difference between the sleeve cap measurement and
total armscye measurement from the bodice sloper. The sleeve cap seamline
should be slightly larger than the bodice sloper to create the ease necessary
to cup the sleeve over the arm when stitching it in. The ease should be about
½”–1” (1.3–2.5 cm) but no more than 1” (2.5 cm) otherwise you will have
gathers on the sleeve cap rather than a smooth, set-in sleeve.

Length of paper = desired sleeve length + 4” (10.2 cm)

Width of paper = Total Armscye measurement + 4” (10.2 cm)

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NOTE: It is standard to place single matching notches on the front of a sleeve

and armscye, and double matching notches on the back of a sleeve and armscye.

Method A
This method is used if there is 1” (2.5 cm) or less difference between the Armscye
Front and Armscye Back measurements taken off of the bodice sloper.

Directions

Method A
– Draw vertical line A-B down the middle of the length of the paper, where
A-B = the desired sleeve length.
(For a cap sleeve, the length = ¼ the Total Armscye measurement. The average
is about 4”–4½” [10.2–11.4 cm].)
– From A, measure along the A-B line to new point C, where C = ¼ the Total
Armscye measurement.
– From C, draw a line perpendicular to line A-B extending in both directions to
the edges of paper.
– From point B, draw a line perpendicular to line A-B extending in both directions.

BACK: (LEFT side of line A-B)

– Using your straight ruler and starting at point A, angle your ruler diagonally
along the left side of the perpendicular line where A-D = ½ of the Total Armscye
measurement. Labelss point D.
– On the line to the left of B, mark point E, where E = ½ the measurement of the
Total Sleeve Opening.
– Using either your straight ruler or your curved ruler (with the straight edge
at E and the curved edge at D), draw a line from D to E. D-E is your underarm
seam.
– Divide line C-D into three equal sections marking new points F and G.

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– From F, draw a line perpendicular to line C-D extending up to line A-D and
mark new point H on the A-D line.
– From G, draw a line perpendicular to line C-D extending up to line A-D and
mark new point I on the A-D line.
– Divide the distance between H and I in half and mark new point J.
– From I, on line G-I, mark new point K, where K is ¼” (0.6 cm) toward G.
– Extend line H-F up ¼” (0.6 cm) to new point L.
– Using your curved ruler, and flipping it as necessary, draw a curved line from
A-L-J-K-D.
– When drawing the curve, make sure that you have a flat section at point A by
drawing a horizontal line for ¼” (0.6 cm). This will keep the armscye curve
from having a sharp V-shaped point at the shoulder seam.
=This side represents the BACK of your sleeve. It is important to mark your
pattern. Place a double matching notch on the A-L-J-K-D line 2.5” (6.4 cm)
from D.

FRONT: (RIGHT side of line A-B)

– Using your straight ruler and starting at point A, angle your ruler diagonally
along the right side of the perpendicular line where A-D1 = ½ of the Total
Armscye measurement. Label point D1.
– On the line to the right of B, mark point E1, where E1 = ½ the measurement of
the Total Sleeve Opening.
– Using either your straight ruler or your curved ruler (with the straight edge at
E1 and the curved edge at D1), draw a line from D1 to E1. D1-E1 is your underarm
seam.
– Divide line C-D1 into three equal sections marking new points F1 and G1.
– From F1, draw a line perpendicular to line C-D1 extending up to line A-D1 and
mark new point H1 on the A-D1 line.
– From G1, draw a line perpendicular to line C-D1 extending up to line A-D1 and
mark new point I1 on the A-D1 line.
– Divide the distance between H1 and I1 in half and mark new point J1. (This point
is to mimic the Back instructions but will not actually be used.)
– From I1, on line G1-I1, mark new point K1, where K1 is ¼” (0.6 cm) toward G1.
– Extend line H1-F1 up ⅜”(1cm) to new point L1.
– Using your curved ruler and flipping it as necessary, draw a curved line from
A-L1-K1-D1. (Your curved line should not go through J1 on this side.)
– When drawing the curve, make sure that you have a flat section at point A by
drawing a horizontal line for ¼” (0.6 cm). This will keep the armscye curve
from having a sharp V-shaped point at the shoulder seam.
=This side represents the FRONT of your sleeve. It is important to mark your
pattern. Place a single matching notch on the A-J1-L1-D1 line 2.5” (6.4 cm) from
D1.
– True the underarm seam.

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(See below for underarm seam alterations if the underarm seams of D-E and D1-E1
are not the same measurement.)

Method B
This method is used if there is 1” (2.5 cm) or more difference between the Armscye
Front and Armscye Back measurements taken off of the bodice sloper.

Directions

Method B
– Draw vertical line A-B down the middle of the length of the paper where
A-B = the desired sleeve length.
(For a cap sleeve, the length = ¼ the Total Armscye measurement. The
average = 4”–4½” [10.2–11.4 cm]).
– From A, measure along the A-B line to new point C, where C = ¼ the Total
Armscye measurement + 1” (2.5 cm).
– From C, draw a line perpendicular to line A-B extending in both directions to
edges of paper.
– From point B, draw a line perpendicular to line A-B extending in both directions.

FRONT: (RIGHT side of line A-B)

– Using your straight ruler and starting at point A, angle your ruler diagonally
along the right side perpendicular line where A-D = ½ of the Total Armscye
measurement. Label point D.
– Divide the distance between point A and point D in half and mark the new
point E.
– Divide the distance between point A and point E in half and mark the new
point F.
– From point F, draw a perpendicular line up from line A-D 5⁄8” (1.6 cm) and mark
new point G.
– Divide the distance between point E and point D in half and mark new point H.

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– From point H, draw a perpendicular line in from line A-D 5⁄8” (1.6 cm) and mark
new point I.
– Using your curved ruler and flipping it as necessary, draw a curved line from
A-G-E-I-D.
– When drawing the curve, make sure that you have a flat section at point A by
drawing a horizontal line for ¼” (0.6 cm). This will keep the armscye curve
from having a sharp V-shaped point at the shoulder seam.
=This side represents the FRONT of your sleeve. It is important to mark your
pattern. Place a single matching notch on the A-G-E-I-D line 2.5” (6.4 cm) from
D.

BACK: (LEFT side of line A-B)

– Using your straight ruler and starting at point A, angle your ruler diagonally
along the left side perpendicular line where A-J = ½ of the Total Armscye
measurement. Label point J.
– Divide the distance between point A and point J into three sections and mark
the new points K and L.
– Divide the distance between point A and point K in half and mark the new
point M.
– From point M, draw a perpendicular line up from line A-J ¾” (1.9 cm) and
mark new point N.
– Divide the distance between point J and point L in half and mark new point O.
– From point O, draw a perpendicular line in from line A-J ¼” (0.6 cm) and mark
new point P.
– Using your curved ruler and flipping it as necessary, draw a curved line from
A-N-L-P-J.
– When drawing the curve, make sure that you have a flat section at point A by
drawing a horizontal line for ¼” (0.6 cm). This will keep the armscye curve
from having a sharp V-shaped point at the shoulder seam.
– On the line to the left of B, mark point Q, where Q = ½ the measurement of the
Total Sleeve Opening.
– On the line to the right of B, mark point R, where R = ½ the measurement of
the Total Sleeve Opening.
– Using either your straight ruler or your curved ruler (with the straight edge at
Q, and then at R, and the curved edge at D, and then at J), draw a line from D
to R and J to Q. D-R and J-Q are your underarm seams.
=This side represents the BACK of your sleeve. It is important to mark your
pattern. Place a double matching notch on the A-N-L-P-J line 2.5” (6.4 cm)
from J.
– True the underarm seam.

(See below for underarm seam alterations if the underarm seams of J-Q and D-R
are not the same measurement.)

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*Underarm Seam Alterations *

If, after following the instructions as in the previous section, the two underarm
seams are not the same length, then proceed as follows:

Method A

– From D, draw a vertical line down to the E-E1 line so that the new line is
perpendicular to E-E1. Where the vertical line intersects line E-E1, mark new
point M.
– From D1, draw a vertical line down to the E-E1 line so that the new line is
perpendicular to E-E1. Where the vertical line intersects line E-E1, mark new
point M1.
– Measure the distances between M-E and M1-E1. Subtract the smaller number
from the larger number. Divide that number by 2.
– Shift both points E and E1 that distance to the left, if D-E is the longer length of
the underarm seams.
– Shift both points E and E1 that distance to the right, if D1-E1 is the longer length
of the underarm seams.
– Draw new underarm seam lines to these new points.

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Method B

– From J, draw a vertical line down to the Q-R line so that the new line is perpendicu-
lar to Q-R. Where the vertical line intersects line Q-R, mark new point S.
– From D, draw a vertical line down to the Q-R line so that the line is perpendicular
to the Q-R line. Where the vertical line intersects line Q-R, mark new point T.
– Measure the distances between S-Q and T-R. Subtract the smaller number
from the larger number. Divide that number by 2.
– Shift both points Q and R that distance to the left, if J-Q is the longer length of
the underarm seams.
– Shift both points Q and R that distance to the right, if D-R is the longer length
of the underarm seams.
– Draw new underarm seam lines to these new points.

Creating Alternate Looks With Sleeves

The following sleeve shapes are just some of the optional designs that can be
created from the Basic Set-in sleeve.
Some of the sleeve shapes are achieved using the Slash and Spread Method.
The slash and spread method involves drawing lines onto a copy of the original
pattern, cutting on that line, and then spreading the pattern until the desired
fullness is achieved.

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*Always use copies of the original pattern just in case an error occurs. This will
prevent you from having to redraft a new original.

Cap Sleeves

Cap Sleeve

– The basic sleeve can be converted to a cap sleeve by removing the underarm
length and only using the area above the capline.
– A cap sleeve can have minimal underarm length but then you should scoop
the hem up at the center.

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Short Sleeves

Short Sleeve

– The basic sleeve can be converted to a short sleeve by changing the length
and then cutting the sleeve off at this desired length.
– In order to maintain a straight hem, you should also straighten the underarm
seams so they no longer taper but are perpendicular to the hem. Make sure
that the underarm seams are equal lengths.

Puff Sleeves – Gathered at the Hem

This version of the puff sleeve fits smoothly into the armscye and has added
fullness at the hem. It can be gathered into a cuff or elastic, if desired. If the sleeve
is not gathered at the hem, then it would be considered a Bell Sleeve.

Puff Sleeve Gathered at the Hem

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– Alter the basic sleeve pattern to make a short sleeve.

– Draw slash lines parallel to the grainline, but straddle the center of the sleeve
cap where the shoulder seam matching notch lies (you do not want to cut
through your matching notches), from the hem to the sleeve cap seamline.
– From the hem, cut to but not through the sleeve cap seamline.

– Start by pinning the center strip to your paper so that you have enough room
on either side to expand the pattern. Spread the sleeve from the center out,
continuing to pin with an even amount of spread on either side of center.
– Trace the pattern along the sleeve cap seamline and underarm seams. Before
tracing the hemline, you should decide how much extra puff you would like, if
any. If you drop the hem seamline more than what is indicated by the spread
of the pattern, then you will have more puff.

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– Using your curved ruler, draw in a new bottom hemline keeping the hem
curve smooth and even.

– Transfer matching notches and grainline.

– Remove the slashed pattern and cut out the new pattern.
– Add labels, drawing in a new capline, and include matching notches and
grainline.

Puff Sleeves – Gathered at the Cap

This version of the puff sleeve has added fullness at the cap and tapers into a fitted
hem.

Puff Sleeve Gathered at the Cap

– Alter the basic sleeve pattern to make a short sleeve.

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– Draw slash lines parallel to the grainline, but straddle the center of the sleeve
cap where the shoulder seam matching notch lies (you do not want to cut
through your matching notches), from the hem to the sleeve cap seamline.
– From the sleeve cap seamline, cut to but not through the hem.

– Start by pinning the center strip to your paper so that you have enough room
on either side to expand the pattern. Spread the sleeve from the center out,
continuing to pin with an even amount of spread on either side of center.
– Trace the pattern along the hem and underarm seams. Before tracing the cap
seamline, you should decide how much extra puff you would like, if any. If you
increase the cap seamline more than what is indicated by the spread of the
pattern, then you will have more puff.

– Using your curved ruler, draw in a new cap seamline keeping the curve smooth
and even.

– Transfer matching notches and grainline.

– Remove the slashed pattern and cut out the new pattern.
– Add labels, drawing in a new capline, and include matching notches and
grainline.

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Puff Sleeves – Fullness at the Cap and at the Hem

This version of the puff sleeve has added fullness at the cap and at the hem. It can
be gathered into a cuff or elastic, if desired.

Sleeve with Fullness at the Cap

and Hem

– Alter the basic sleeve pattern to make a short sleeve.

– Draw slash lines parallel to the grainline, but straddle the center of the sleeve
cap where the shoulder seam matching notch lies (you do not want to cut
through your matching notches), from the hem to the sleeve cap seamline.

– Draw a horizontal line across the sleeve parallel to the capline, but below it
about 3” (7.6 cm).

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– Number each section in order (you will be cutting through the pattern, creating
separate pieces – this allows you to put them back in the correct order).

– On the paper you will be tracing the new pattern onto, draw a horizontal line
significantly wider than the original sleeve pattern.

– Slash the pattern all the way through from hem to cap.

– With the horizontal line of the slashed strip matching the underneath paper’s
horizontal line, pin the center strip to your paper so that you have enough
room on either side to expand the pattern. Spread the sleeve from the center
out, continuing to pin with an even amount of spread on either side of center.

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– Trace the underarm seams.

– To increase the amount of puff at the cap and at the hem, increase the height
of the cap above the shoulder notch and, using your curved ruler, blend the
curve down to the underarm seams. Then drop the hem at the center line and,
using the curved ruler, blend the curve up to the underarm seams.

– Transfer matching notches and grainline.

– Remove the slashed pattern pieces and cut out the new pattern.
– Add labels, drawing in a new capline, and include matching notches and
grainline.

Bishop Sleeve
The Bishop sleeve fits smoothly into the armscye and blouses out over a fitted cuff
or into elastic at the wrist. If the sleeve is not gathered at the hem, then it would be
considered a Bell Sleeve.

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Bishop Sleeve

– Use a copy of the basic sleeve at full length.

– Draw slash lines parallel to the grainline, but straddle the center of the sleeve
cap where the shoulder seam matching notch lies (you do not want to cut
through your matching notches), from the hem to the sleeve cap seamline.
– From the hem, cut to but not through the sleeve cap seamline.

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– Start by pinning the center strip to your paper so that you have enough room
on either side to expand the pattern. Spread the sleeve from the center out,
continuing to pin with an even amount of spread on either side of center.
– Trace the pattern along the cap and underarm seams. Before tracing the hem,
you should decide how much extra puff you would like, if any. If you drop the
hem more than what is indicated by the spread of the pattern, then you will
have more puff.
– Using your curved ruler, draw in a new hemline keeping the curve smooth and
even.

– Transfer matching notches and grainline.

– Remove the slashed pattern and cut out the new pattern.
– Add labels, drawing in a new capline, and include matching notches and
grainline.

Leg-of-Mutton Sleeve
The Leg-of-Mutton Sleeve is a full-length sleeve that has an exaggerated puff at the
cap and then fits smoothly down the arm.
The method of alteration used for this style sleeve is different than previous
methods. The previous methods slashed and spread across the entire pattern,
while this method only alters the top of the pattern. This method allows for fullness
to be distributed along the cap yet maintains the fitted section below the elbow.

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Leg-of-Mutton Sleeve

– Use a copy of the basic sleeve at full length.

– Draw a vertical line from the shoulder seam matching notch to the capline that
is parallel to, or matches the grainline.
– From the shoulder seam matching notch at the top of the capline seam, mark
a point 4” (10.2 cm) down on the vertical line.
– On both of the underarm seams, make marks 3” (7.6 cm) down and 6”
(15.2 cm) down from the capline.

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– Draw diagonal lines connecting the 4” (10.2 cm) mark to the 3” (7.6 cm) and
6” (15.2 cm) marks on both underarm seams.
– Cut from the top of the sleeve at the shoulder seam matching notch, down
to the 4” (10.2 cm) mark, then continue diagonally, to but not through, the
underarm seams of the sleeve.

– Spread the upper section of the sleeve 4–8” (10.2–20.3 cm) crosswise and
raise the cap 1½–3” (3.8–7.6 cm), depending on how full a sleeve is desired.
(A leg-of-mutton sleeve with moderate fullness will have about a 4” [10.2 cm]
spread crosswise and 1½” [3.8 cm] higher cap. A leg-of-mutton sleeve with
significant fullness will have about an 8” (20.3 cm) spread crosswise, and a 3”
[7.6 cm] higher cap.)
– Trace the rest of the pattern.

– Transfer matching notches and grainline.

– Remove the slashed pattern and cut out the new pattern.
– Add labels, drawing in a new capline, and include matching notches and
grainline.

Circular Sleeves
Circular sleeves are made similarly to circular skirts, except that the waist
circumference measurement is now the armscye circumference measurement,

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and you need to move the location of the armscye opening in order to allow the
sleeve to fall more evenly.
The two versions shown in the following section give options of where the
armscye opening could be to create the two different looks.

For Sleeve A

Sleeve A
– Determine the desired sleeve length of the sleeve. Add seam allowance. This
measurement is the length of A-B.
– The length of A-B = the radius of the outer circle.
– Draw a circle with this radius.
– Draw two lines through the center of the circle. One from top to bottom,
and then the other horizontally from side to side, making sure that the lines
intersect the center of the circle and are perpendicular to each other.

– Measure the front and back armscyes on your bodice pattern. Add them
together for the total armscye measurement. This will equal the circumference
of the armscye. Subtract 3⁄8” (1 cm) from this measurement to account for
stretch on the bias of the sleeve.
– Use this formula to determine the radius:
radius = circumference or total armscye measurement – 3⁄8” (1 cm)
2 x 3.14
– Using the radius measurement that you just found, draw the armscye circle starting
at A and going up toward B. The circle should rest on the horizontal center line.

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– The inner circle will be cut out but make sure to add matching notches on the
large circle. The top notch lines up with your side seam, and the bottom notch
lines up with your shoulder seam.

For Sleeve B

Sleeve B
– Determine the desired sleeve length of the sleeve. Add seam allowance. This
measurement is the length of A-B.
– The length of A-B = the radius of the outer circle.
– Draw a circle with this radius.
– Draw two lines through the center of the circle. One from top to bottom,
and then the other horizontally from side to side, making sure that the lines
intersect the center of the circle and are perpendicular to each other.

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– Measure the front and back armscyes on your bodice pattern. Add them
together for the total armscye measurement. This will equal the circumference
of the armscye. Subtract 3
⁄8” (1 cm) from this measurement to account for
stretch on the bias of the sleeve.
– Use this formula to determine the radius:
radius = circumference or total armscye measurement – 3⁄8” (1 cm)
2 x 3.14
– Gently fold the top edge of the circle down to meet point A. Crease the fold
line at the outer edges of the circle.

– From these creases, draw in the fold line with your pencil and straight ruler.
– Where the fold line and the vertical center line intersect is the center of the
armscye circle.
– Using the radius measurement that you found for the armscye, draw the
armscye circle with the center at the intersection point.

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– The inner circle will be cut out but make sure to add matching notches on the
large circle. The top notch lines up with your side seam, and the bottom notch
lines up with your shoulder seam. Be aware that the notches seem to line up
counter-intuitively, but if they go in upside down a different look will result.

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 Chapter 12: Collars

How to Draft Collars

There are three types of basic collars: the flat, the partial roll, and the full roll. These
types refer to how the collar lies along the neckline. The flatter the collar, the more
the pattern curves at the neckline. The full roll collar pattern is straight and stands
up against the back of the neck. The partial roll pattern is slightly curved at the
neckline and stands less than the full roll but more than the flat.
The collar style is determined by the shape of the outer edge. There are many
styles of collars including the Peter Pan, Sailor, or Mandarin (also known as the
Military, Chinese, or Nehru), for example.
There are two characteristics of collars: convertible or nonconvertible. The
convertible collar can be worn with the neckline open or closed. The nonconvertible
collar can only be worn closed.
There are two methods for converting collar patterns from their originals: slash
and spread, and slash and compress.
Slash and spread, and alternately, slash and compress, consists of lines drawn
on the pattern that are cut to flare out or overlap to change the shape of the
garment. If you slash and spread, the pattern will expand in an area creating flare
on the finished garment. If you slash and compress, the pattern will shrink in an
area creating a narrower look on the finished garment.

Flat Collar

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Collars

Partial Roll Collar

Full Roll Collar

Types of Collars Determined by the Shape of the Neckline Edge

Flat: the shape of the collar is the most curved of the styles and lays against the
body.

Partial-roll: the shape of the collar is less curved and has a gentle roll at the back
of the neckline.

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 Collars

Full-roll: the shape of the collar is straighter and has the most roll at the back of
the neckline. The Straight Full-Roll collar stands up at the back neckline, folds, and
rolls down and covers the neckline seam. The collar roll ends at the seam line at
the back and does not hang down over the bodice back.

Styles of Collars Determined by the Shape of the Outer Edge

Peter Pan – a flat collar with a curved outer edge frequently found on children’s
clothing.

Bertha – a flat collar that looks like a shawl.

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Collars

Sailor – a flat collar with a long point at the front and a squared off back edge.

Mandarin, Military, Chinese, or Nehru – a stand collar with no roll.

Note
– Make sure that the shoulder seam marking (matching notch) is clearly drawn
on each pattern because when sewing the collar, it sometimes has the
unfortunate potential to go in with the neckline on the outer edge and the
outer edge on the neckline. It should also be noted that the distance from the
center back to the shoulder seam matching notch is shorter than the distance
from the shoulder seam matching notch to the center front.

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 Collars

Flat Collars

– Using copies of the bodice front and bodice back slopers, place a mark ½”
(1.3 cm) down the armscye from the shoulder seam on the bodice front sloper.
– Draw a line from the neckline to the new shoulder seam marking.

– Place a piece of paper large enough to create the collar under the bodice front
sloper and pin the bodice front sloper to the paper.
(If the bodice back sloper shoulder seam has a dart, close it with tape and then
pin the sloper up against the bodice front sloper so that the neckline is smooth
and the back bodice shoulder seam is aligned with the new shoulder seam
line. Do not flatten the dart, but allow it to tent up from the table.)

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– Trace around the center back, neckline, and center front of the bodice slopers.
– Mark the shoulder seam with a matching notch.

– Remove the slopers and draw the collar shape at about 3” (7.6 cm) width, or
the width desired.
– Add a grainline marking that is parallel to the center back.
– Add markings to the collar.

Note
– It is important that the shoulder seam lines on the slopers overlap the ½”
(1.3 cm) or the outer edge of the flat collar will ripple in that location. By
overlapping the shoulder seams, a small amount of roll is created at the
neckline.

Full-Roll Collars
– Full-Roll Straight Collar:
– Using copies of the bodice front sloper and the bodice back sloper, and using
the grid ruler, stand the ruler on edge and bend it to get the measurements of
the bodice front neckline and the bodice back neckline.

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– Add the two measurements together and draw a rectangle 2½” (6.4 cm) tall by
the total neckline measurement. You should have a rectangle ABCD.
– From A, measure out and mark new point E along the A-B line where A-E
equals the bodice back neckline measurement and E-B equals the bodice front
neckline measurement (A-D is the center back of the collar). E will match to the
shoulder seam on the sloper.

– From C, measure out to new point F to create the collar point. This point is
often 1” (2.5 cm) but will vary based on the design of the collar.
– Connect C to F and B to F with your ruler.

– Add labels to the collar with center back as cut on fold (although this may be
different and on cross-grain for certain designs).

Full-Roll Convertible Collar

*-This collar looks very much like the Full-Roll Straight Collar but the convertible
collar fits better at the neck.

– Using a copy of the Full-Roll Straight Collar, mark a point perpendicular up

from B at ½” (1.3 cm).

– Draw a line from E to new point G through the ½” (1.3 cm) point.

223
Collars

– Check the length of the new E-G line and if it is longer than the bodice front
neckline measurement, then mark a new point G1 at that length on the E-G
line.

– Draw a line parallel to the B-F line from G1 to the F-D line.

– Cut away the area outside of the new shape (the new shape is your Full-Roll
Convertible Collar).

– Add labels to the collar with center back as cut on fold, and E as your shoulder
seam matching notch.

Stand Collar
*-These collars consist of only the stand and the fall has been removed. This collar
is also known as a Chinese, Mandarin, Military, or Nehru collar. The Chinese collar
is interfaced and made on the bias with a slight gap in the center front. The Military
collar usually has a gap of 1–1½” (2.5–3.8 cm) in the center front. A plain stand
collar overlaps at center front and closes with a button or other closure.

– Using a copy of the Full-Roll Straight Collar, make the adjustments for a Full-
Roll Convertible Collar.
– Determine the height of the stand collar (usually 1–1½” [2.5–3.8 cm]) and draw
a line parallel to the neckline at this height, following the shape of the adjusted
neckline.

224
 Collars

– From G1, draw a line up perpendicular to the adjusted line to H.

– This new shape is your stand collar.
– Curve the angles to smooth the lines.

– Add labels to the collar with center back as cut on fold, and B as your shoulder
seam matching notch.

Partial-Roll Collar
*-These collars have a roll between a Full-Roll Collar and a Flat Collar.

Note
– The Partial-Roll Collar can be drafted from either the Full-Roll Collar or the
Flat Collar using the slash and spread method or conversely, the slash and
compress method.
– You may use as many slashes in the pattern as you like: less slashes are easier
to control, but more slashes allow for a smoother curve.
– It is important to create very smooth curves after making the adjustments.

From the Full-Roll Collar

– Using a copy of the Full-Roll Straight Collar, draw lines perpendicular to the
neckline and outer edge at evenly spaced points between the center back
and the center front, taking care to avoid the matching notch for the shoulder
seam.
– Using the slash and spread method, cut along the lines from the outer edge to
but not through the neckline.

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Collars

– Pin to a sheet of paper and spread the outer edge of the collar to make a gentle
neckline curve.
– Draw the new collar and adjust the curves to be smooth.

– Add labels to the collar with center back as cut on fold, and as your shoulder
seam matching notch.

From the Flat Collar

– Using a copy of the Flat Collar, draw lines perpendicular to the neckline and
outer edge at evenly spaced points between the center back and the center
front, taking care to avoid the matching notch for the shoulder seam.
– Using the slash method, cut along the lines from the outer edge to but not
through the neckline.

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 Collars

– Pin to a sheet of paper and overlap the outer edge of the collar to make a
gentle neckline curve.
– Draw the new collar and adjust the curves to be smooth.

– Add labels to the collar with center back as cut on fold, and your shoulder
seam matching notch.

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Chapter 13: Cuffs

How to Draft Cuffs

There are many types of cuffs, but the two that will be covered in this chapter
are straight cuffs and shaped cuffs. The straight cuff (also known as the single
button shirt cuff) can have the facing included – which is what is represented in the
following instructions. The shaped cuff follows the shape of the wrist end of the
sleeve pattern. After tracing, the cuff can be flared by using the slash and spread
method.

Straight Cuff

Shaped Cuff

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 Cuffs

What is Needed for a Straight Cuff

Wrist measurement _____________
Tracing Wheel
Paper about 12”x 12” in size

Single-Button Straight Cuff

(This cuff pattern has the facing included.)

– Draw a rectangle where the length = 2” (5.1 cm) longer than wrist

measurement, and width = 2–3” (5.1–7.6 cm) when finished. It will be between
4–6” (10.2–15.2 cm) wide when flat and unfolded. (The width for the cuff is a
recommendation and can be adjusted according to the desired width based
on the design.)
– Draw in a fold line along the halfway point of the width.
– The grainline should follow the length of the cuff.
– Label the cuff with instructions to “Cut 2”.
– The placement of the button and buttonhole on the cuff should be centered
between the outer edge of the length and the fold line, but the spacing for
the edge of the buttonhole and center of the button should correspond to the
instructions in the chapter on Buttons and Buttonholes and is determined by
the size of the button.

What is Needed for a Shaped Cuff

Sleeve Sloper
Tracing Wheel
Paper to fit under the sloper where the cuff is to be located and large enough to
make the cuff the desired width
Push pins, pencil, and ruler

Shaped Cuffs

– Lay the sleeve sloper pattern down over the paper and pin in place. 229
– Trace line A-B which is the edge of the sleeve.
Cuffs

– Measure out from the underarm seam sleeve edges ⅛” (0.3 cm) to create ease
for the cuff. (More than ⅛” [0.3cm] may need to be added depending on the
thickness of the fashion fabric.)
– Measure up from the edge the desired size of the cuff and trace that line C-D
parallel to line A-B.
– Remove the sleeve sloper pattern from the paper.

Additional Flare

– If you desire additional flare to your cuff, make a copy of your shaped cuff,
then draw lines perpendicular to the wrist edge on the new copy.
– From the upper edge, cut to but not through the wrist edge.

– Place the slashed copy onto a new piece of paper and pin it down with the
desired amount of flare included.

– Trace the new cuff.

Cuff with Additional Flare

230
Chapter 14: Facings

How to Draft Neckline and Armscye Facings

Facings are sections of fabric that are fitted and shaped to a garment and, after
stitching them in, create a finished edge. The following instructions are for garments
with sleeves and garments without sleeves. Facings for garments with buttons and
buttonholes will be discussed in the chapter on Buttons and Buttonholes.
Facings can vary in width due to preference, but are usually between 2–3” (5.1–
7.6 cm) wide.
NOTE: Due to the similarities between the shoulder seams and the center front
and center back, it is important to recognize that the center front and center back
have corners at right angles and that the shoulder seam corners are not at right
angles.

– When labeling the facing patterns, there should be a matching notch located
at the shoulder seam. Do not place the matching notch directly in the center
of the seam, but off-set it so that it is less likely to create an upside-down
connection when stitching.
– The grainlines for the facings should follow the center front and center
back seam lines. This is so that the facing pieces and the bodice don’t have
conflicting grainlines which would cause the garment to be ill-fitting and
uncomfortable.

What is Needed for a Fitted Facing for the Neckline

on a Garment with Sleeves
Bodice Front Sloper
Bodice Back Sloper
Paper to fit under the slopers where the facing is to be located and large enough
to make a facing 2–3” (5.1–7.6 cm) wide
Push pins, pencil, and ruler

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Facings

Front Neck Facing

– Lay the sloper pattern down over the paper to trace on and pin in place.
– Trace the neck edge, shoulder seam, and center front.
– There should be a right angle at the center front point.
– Center front may be cut on fold depending on the original pattern.
– The grainline should follow the center front line if it is cut on fold or if the
pattern is on the straight of grain there.
– Remove the sloper pattern from the paper.
– Measure out from the neckline 2–3” (5.1–7.6 cm) and create a curve that
follows the traced line.

– Place a matching notch on the shoulder seam. The matching notch will assist
when stitching because the center back and shoulder seam look similar. Note
that there is a right angle at center and not at the shoulder seam.
– Add the grainline and labels.

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 Facings

Back Neck Facing

– Lay the sloper pattern down over paper to trace on and pin in place.
– Trace the neck edge, shoulder seam, and center back.
– There should be a right angle at the center back point.
– Center back may be cut on fold depending on the original pattern.
– The grainline should follow the center back line if it is cut on fold or if the
pattern is on the straight of grain there.
– Remove the sloper pattern from the paper.
– Measure out from neckline 2–3” (5.1–7.6 cm), whichever measurement you
chose for the front, and create a curve that follows the traced line.

– Place a matching notch on the shoulder seam. The matching notch will assist
when stitching because the center back and shoulder seam look similar. Note
that there is a right angle at center and not at the shoulder seam.
– Add the grainline and labels.

Facing With Dart at Neckline or Shoulder

– If there is a dart within the area of the facing, fold the dart first and tape it shut
without flattening the tip of the dart. (Allow the tip of the dart to rise up off the
table.)
– Once the dart is closed, continue by following the previous directions.

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Facings

What is Needed for a Shaped Armhole Facing

Bodice Front Sloper
Bodice Back Sloper
Paper to fit under the slopers where facing is to be located and large enough to
make a facing 2” –2½” (5.1–6.4 cm) wide
Push pins, pencil, and ruler

Armscye Facing for Sleeveless Garment

NOTE: For a sleeveless garment, you may want to, or need to adjust the armholes
of the bodice front and back slopers. Garments without sleeves should have less
ease in them than those that have sleeves.

– To adjust the pattern, you will want to raise the side seam into the armhole ½”
(1.3 cm). You will then take in the side seam ½” (1.3 cm) at the armhole and
grade out to zero at the waistline.

– Lay the sloper pattern down over paper to trace on and pin in place.
– The facing should measure about 2” (5.1 cm) wide
– Trace the armscye, shoulder seam, and side seam.

234
 Facings

– The grainline should follow the bodice’s grainline. This means that if the
grainline on the original pattern is parallel to the center front or center back,
then the facing’s grainline is parallel to the center front or center back.
– Remove the sloper pattern from paper.
– Measure out from the armscye 2” (5.1 cm) and create a curve that follows the
traced line.
– Place a matching notch on the shoulder seam and side seam.
– Make sure that you use a single notch and double notch to indicate the differ-
ent locations because once the pattern is removed from the bodice, it can be
difficult to differentiate the edges.
– Add the grainline and labels.

Shaped Facing for Armscye

– Tape the bodice front sloper to the bodice back sloper together at the shoulder
seam (or pin carefully with edges butting up to each other).
– Lay the sloper pattern down over paper to trace on and pin in place.
– Trace the armscye, and side seams.
– The grainline should follow the center front grainline.
– Remove the sloper pattern from the paper.
– Measure out from the armscye 2”–2½” (5.1–6.4 cm) and create a curve that
follows the traced line.

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Facings

– Place a matching notch on the side seam. The matching notch will assist when
stitching because the center back and shoulder seam look similar. Note that
there is a right angle at center and not at the shoulder seam.
– Add the grainline and labels.

Lowered Neckline All-in-One Facing

v

FRONT:
– Lay the sloper pattern down over the paper to trace on and pin in place.
– Trace the center front, neck edge, shoulder seam, armscye, and side seam.
– There should be a right angle at the center front point.
– Center front may be cut on fold depending on the original pattern.
– The grainline should follow the center front line if it is cut on fold or if the
pattern is on the straight of grain there.
– Remove the sloper pattern from the paper.
– Measure out from the neckline 2½” (6.4 cm) and create a curve that follows the
traced line making sure that there is also a gentle curve from the side seam to
the front.
– Place differentiating matching notches on the shoulder seam and side seam.
– Add the grainline and labels.

BACK:
– Lay the sloper pattern down over paper to trace on and pin in place.
– Trace the center back, neck edge, shoulder seam, armscye, and side seam.
– There should be a right angle at the center back point.
– Center back may be cut on fold depending on the original pattern.
– The grainline should follow the center back line if it is cut on fold or if the
pattern is on the straight of grain there.
– Remove the sloper pattern from the paper.
– Measure out from the neckline 2½” (6.4 cm) and create a curve that follows the
traced line making sure that there is also a gentle curve from the side seam to
the front. (The center back of the facing can be as wide as 4” if desired.)
– Place differentiating matching notches on the shoulder seam and side seam.
– Add the grainline and labels.

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 Facings

NOTE: Reducing the size of the facing at the outer edge of the facing at the shoulder
seams by ¹⁄16” (0.16 cm) and grading to zero at the neckline, and the facing at the
outer edge of the underarm seams by ¹⁄8” (0.3 cm) and grading to zero at the
armhole will reduce looseness and will create a better fit after stitching the finished
garment.

237
Chapter 15: Buttons and Buttonholes

Buttons and Buttonhole Closures

Buttons and buttonholes can be functional or decorative, but this chapter will focus
on the functional aspects.
It is important that when placing buttons and buttonholes on a garment that an
overlap is added and that center front or center back lines meet when the garment
is buttoned or you will change the size and fit of the garment.

Buttonholes and Buttonhole Closures

Buttonhole Rule
– For women’s garments, on the front, the buttonholes are placed on the right
side of the body. For the back, the buttonholes are placed on the left side of
the body. (Men’s garments are the opposite.)

– The overlap on the garment is determined by the button size. It should equal
the radius of the button + ¼” (0.6 cm).
– Fig 14–1 is an example of a flat button diameter and radius. If the button is a
domed button you will need to add the height as well.

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 Buttons and Buttonholes

– The first button at the neckline is also determined by the button size. It should
equal the radius of the button + ¼” (0.6 cm).
– For horizontal buttonholes, the buttonholes should be placed so they overlap
the center front line. They should start at ¹⁄8” (0.3 cm) from center front into the
overlap and then extend into the body of the garment.
– The length of the buttonhole is equal to the width of the button + ¹⁄8”(0.3 cm)
for a flat button or if it is a domed button, you should add its height. (This is
necessary to allow the button to pass through the buttonhole with ease.)

To Create the Overlap and Underlap

– Use a copy of your bodice front sloper.

– Using the measurement of your button, add an overlap to the right side of the
bodice and an underlap to the left side of the bodice. Follow the guidelines
listed previously for creating the correct overlap width.
– Using a buttonhole spacer, or by measuring, determine the center placement
of the button locations. (Buttons are measured “on center” meaning that the
distance is measured from the center of the button to the center of the next
button.) It is suggested that a button be placed at the point of most stress, which
is at the bust point line, otherwise you may experience a gap in the garment.

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Buttons and Buttonholes

Facings for Garments With Buttons and Buttonholes

– There are two methods of creating a front facing for a garment with center
front buttons and buttonholes. One method is an extension with the overlap
and facing cut in one with the bodice front. The other method has a separate
facing that extends to the armscye.

Cut-in-one Facing
What is Needed for a Cut-in-One Facing
Bodice Front Sloper with an overlap extension
Paper to fit under the sloper where the facing is to be located and large enough
to make a facing 2” (5.1 cm) wide
Paper to fit under the slopers of the bodice front and facing
Push pins, pencil, and ruler

– Lay the sloper pattern down over the paper to trace on and pin in place.
– Trace the front overlap extension, neck edge, shoulder seam, and waistline up
to, but not including, the waist dart.
– Using your tracing wheel and tracing paper, also trace the center front line.
– The grainline should follow the center front line.
– Remove the sloper pattern from the paper.
– Measure out from the neckline 2” (5.1 cm) along the shoulder seam and create
a gently curved line with the section below the bust point parallel to the center
front, being careful not to cross over into the waist dart.

– Using a piece of paper large enough to trace the entire bodice and facing onto
it, pin the bodice sloper to the paper and then align and pin the facing so that
the overlaps line up.

240
 Buttons and Buttonholes

– Trace the entire bodice front with facing.

– Add the grainline and labels.

Separate Facing for Opening With Button Overlap

What is Needed for a Separate Facing for an Opening With a Button Overlap
Bodice Front Sloper with an overlap extension
Paper to fit under the sloper where the facing is to be located and large enough
to make a facing that extends to the armscye
Push pins, pencil, and ruler

– Lay the sloper pattern down over the paper to trace on and pin in place.
– Trace the front overlap extension line, neck edge, shoulder seam, armscye,
and the waistline up to, but not including, the waist dart.
– Using your tracing wheel and tracing paper, also trace the center front line.
– The grainline should follow the center front line.
– Remove the sloper pattern from the paper.

– Starting down from the shoulder seam onto the armscye about 3” (7.6 cm),
draw a gentle curve down to the waistline with the section below the bust point
parallel to the center front, being careful not to cross over into the waist dart.
– Trace the entire bodice front with facing.
– Add the grainline and labels.

241
Appendix

Labeling A Pattern
Labels are most conveniently written for the cutter when they are placed with the
lettering written so that the top of the label is near the top of the pattern and
written in the direction that the pattern is worn on the body.

– Include the following:

– What is the name of the piece (front, side front, side back, etc.)
– Who drafted the pattern – you may choose to use initials
– Date created
– How many to cut of fashion fabric, interfacing, lining, etc.
– Grainline or cut on fold
– Matching notches
– Darts, gathers, etc.
– Size made for or measurements used

242
 Appendix

Trueing Darts
Trueing is a term used to describe the process of creating accuracy on a draped or
drafted sloper. When the muslin is still on the dress form for a draped pattern, it
may seem as if the sloper fits well and matches the other sections. It is only when
the muslin is removed that the accuracy can be determined. Trueing can be done
directly on the draped muslin pieces, or on craft paper.
Use the following instructions to true the darts for draped or drafted patterns.
Trueing the dart adjusts the dart legs and center line so that it will lie smooth across
the stitching line without a gap. This applies to all darts that have an end on a seam
line rather than an interior dart like the double-ended dart in the sheath dress.
Note: After draping or drafting your pattern, and before cutting out all of your
pattern, you need to true your darts. You will need to leave the paper surrounding
the darts intact.
Note: For darts that lie horizontally, like side seam bust darts, the dart excess
should be folded down. Vertical darts, like a shoulder dart, or a waistline dart either
in a bodice, skirt, or pants – can be folded in the direction of your preference,
but be consistent. If you press your shoulder bust dart toward center front, the
other vertical darts, including those on your skirt or pants, should also get pressed
toward center front. If you press your back waist dart toward center back then the
darts on your skirt or pants should also get pressed toward center back.
*The following instructions are for trueing on craft paper.

For a Side Seam Bust Dart

– Using the serrated tracing wheel and straight ruler, trace both legs and the
center line of the dart. This is to perforate the lines on the paper and make it
easier to fold.

243
Appendix

– Fold the dart along the legs so that the interior of the dart folds down on the
center line and the two leg lines meet. (Refer to the previous note for guidelines
on directions of the fold.) Be careful to let the apex of the dart create a three-
dimensional bump where the bust would go. Don’t try to flatten it.

(Once the dart is folded, you may wish to use a small piece of tape to hold it
together near the outer edge of the dart).

– Using your ruler and pencil, draw a line connecting the armscye/side seam
point to the waistline/side seam point.

244
 Appendix

– You can now cut along this line.

– Open the dart and extend the dart lines to the new side seam.

For Shoulder and Waistline Bust Darts

– Using the serrated tracing wheel and straight ruler, trace both legs and the
center line of the darts. This is to perforate the lines on the paper and make it
easier to fold.
– Fold the dart along the legs so that the interior of the dart folds on the center
line and the two leg lines meet. (Refer to the previous note for guidelines on
directions of the fold.) Be careful to let the apex of the dart create a three-
dimensional bump where the bust would go. Don’t try to flatten it.
(Once the darts are folded, you may wish to use a small piece of tape to hold
them together near the outer edges of the darts.)

245
Appendix

– You can now cut along the shoulder seam and waistline seam.
– Open the darts and extend the dart lines to the seam lines.

For Skirt or Pant Darts at the Waistline

(Skirt darts will be used for the diagrams.)

– Using the serrated tracing wheel and straight ruler, trace both legs and the
center line of the dart. This is to perforate the lines on the paper and make it
easier to fold.
– Fold your dart along the legs so that the interior of your dart folds on the center
line and the two leg lines meet. (Refer to the previous note for guidelines on
directions of the fold.) Be careful to let the apex of the dart create a three-
dimensional bump. Don’t try to flatten it.
(Once the dart is folded, you may wish to use a small piece of tape to hold it
together near the outer edge of the dart.)

246
 Appendix

– You can now cut along the waistline.

– Open the dart and extend the dart lines to the waist seam.

247
Appendix

FRACTION DECIMAL
1/16 .0625
1/8 .125
3/16 .1875
1/4 .25
5/16 .3125
3/8 .375
7/16 .4375
1/2 .5
9/16 .5625
5/8 .625
11/16 .6875
3/4 .75
13/16 .8125
7/8 .875
15/16 .9375
Inches/cm Conversion Chart

248
 Appendix

INCHES CENTIMETERS INCHES CENTIMETERS INCHES CENTIMETERS

In cm In cm In cm
1 2.5 31 78.7 61 154.9
2 5.1 32 81.3 62 157.5
3 7.6 33 83.8 63 160
4 10.2 34 86.4 64 162.6
5 12.7 35 88.9 65 165.1
6 15.2 36 91.4 66 167.6
7 17.8 37 94 67 170.2
8 20.3 38 96.5 68 172.7
9 22.9 39 99.1 69 175.3
10 25.4 40 101.6 70 177.8
11 27.9 41 104.1 71 180.3
12 30.5 42 106.7 72 182.9
13 33 43 109.2 73 185.4
14 35.6 44 111.8 74 188
15 38.1 45 114.3 75 190.5
16 40.6 46 116.8 76 193
17 43.2 47 119.4 77 195.6
18 45.7 48 121.9 78 198.1
19 48.3 49 124.5 79 200.7
20 50.8 50 127 80 203.2
21 53.3 51 129.5 81 205.7
22 55.9 52 132.1 82 208.3
23 58.4 53 134.6 83 210.8
24 61 54 137.2 84 213.4
25 63.5 55 139.7 85 215.9
26 66 56 142.2 86 218.4
27 68.6 57 144.8 87 221
28 71.1 58 147.3 88 223.5
29 73.7 59 149.9 89 226.1
30 76.2 60 152.4 90 228.6

Inches/cm Conversion Chart

249
Appendix

Additional Resources
Amaden-Crawford, Connie, The Art of Fashion Draping, Fairchild Books, 5th Ed., 2018.
Hollen, Norma R. and Carolyn J. Kundel, Pattern Making by the Flat-Pattern Method,
Macmillan Publishing Company, 7th Ed., 1993.
Ingham, Rosemary and Liz Covey, The Costume Technician’s Handbook, Heinemann
Drama, 3rd Ed., 2003.
Joseph-Armstrong, Helen, Patternmaking for Fashion Design, Pearson, 5th Ed., 2009.
Moore, Dorothy, Pattern Drafting and Dressmaking, Golden Press, 1971.

For help with sewing the mock-ups or any other sewing questions, I highly
recommend the following book:
Reader’s Digest New Complete Guide to Sewing, Reader’s Digest Association, Inc., 2011.

250
Index

Page numbers in italics indicate a figure on the corresponding page.

added fullness gathers 129, 129 – 130 of ease 87 – 88; directions for military, Chinese or Nehru
A-line skirt 57, 57; see also skirts drafting 104 – 117, 104 – 117; 201; neckline edge, shape 199;
alternate looks with sleeves see front – with shoulder and waist partial-roll 199 – 200, 205; Peter
sleeves darts 70, 70; marking the muslin Pan 200; sailor 201; stand collar
apex 4 74 – 75, 74 – 75, 78; measurements 204 – 205, 205
arm plate 4 needed 104; trueing 79 – 87, combination gathers 129, 129
armscye: drafting bodices 107, 79 – 87; see also princess bodice combined darts: plus added fullness
107, 110, 110 – 111; facing for bust line 4 gathers 130; at shoulder
sleeveless garment 213 – 214, bust point 4 seam converted to gathers
214; front/back measurements bust tape 43 130; at waistline converted to
17; to waistline, princess line buttons and buttonholes: closures gathers 130
from 132 – 135, 133 – 135 217 – 218, 217 – 218; cut-in-one contoured waistband 173 – 175, 173 – 175
facing 219, 219 – 220; facings costume coordinator/supervisor/shop
back neck facing 212 – 213, 213 for garments 219; overlap and manager 3
basic bodice sloper 69 underlap creation 218, 218; cross-grain 4, 30, 30; in fabric
basic sheath dress 136, 136; separate facing for opening with 32 – 33, 33; ripping fabric 32;
directions for drafting 160 – 164, button overlap 220, 220 thread-pulling 32 – 33, 33
160 – 164; directions for draping crotch depth adjustments, pants 168,
138 – 139, 138 – 139; double-ended cap sleeves 183, 183 168 – 169
waist dart 141, 141 – 142; fit check Chinese collars 201 cuffs: additional flare 210, 210;
146 – 147; marking the muslin circular skirts 67 – 68, 67 – 68 shaped cuffs 208 – 209, 209 – 210;
142, 146; neckline 140, 140, 144, circular sleeves 194 – 197, 194 – 197 single-button straight cuff 209,
144; trueing 147 – 160, 147 – 160 circumference 4 209; straight cuff 208
Bertha 200 collars: Bertha 200; determined by cut-in-one facing, buttons and
bias 4, 31, 31 shape of outer edge 200 – 201; flat buttonholes 219, 219 – 220
bias tape 4 collars 198, 201 – 202, 202 – 203, cutter/draper 3
bishop sleeve 190 – 191, 190 – 192 206 – 207, 207; full-roll collars
blocking 4, 34 – 36, 34 – 36 199 – 200, 203, 203, 205 – 206, darts 4; equivalent gathers 129, 129;
bodices 4, 69 – 117; anatomy 69; check 206; full-roll convertible collar gathers, converting to 129 – 130,
list for fit and correct amount 203 – 204, 203 – 204; Mandarin, 129 – 130; legs 4; length, skirts

251
Index

62 – 63, 63; manipulation within 219; lowered neckline all-in-one bust front 18; across hip front/
bodice 118 – 135; pants 169; facing 215 – 216, 215 – 216; shaped back 19; across shoulder front/
pivot method 118 – 126, 118 – 126; facing for armscye 215, 215; back 17; ankle 28; armscye 15;
princess seam lines made sleeveless garment, armscye around head 7; below knee 27;
from darts 130 – 135, 131 – 135; facing for 213 – 214, 214 bicep 15; bust 9; bust point to
shoulder and waistline bust fashion fabric 4 bust point 23; calf 28; ear to ear
224 – 225, 224 – 225; skirt or pant, first hand 3 8; forearm 16; forehead to nape
at waistline 225 – 226, 225 – 226; fisheye dart 137 8; halter 24; hand 17; high hip
skirts 65, 65 – 66; slash and spread fit check: basic bodice 88; basic 10; hip 11; hip point 11; inseam
method 126 – 128, 126 – 128; sheath dress 146 – 147, 160; 26; inside arm 13; measurement
trueing 222 – 226, 222 – 226 basic skirt 52, 57, 62; princess sheet 29; natural waist 10; neck
double-ended waist dart 141, 141 – 142 bodice 103 8; neck to floor back 23; neck
drafting 4; basic bodice 104 – 117; flared skirt 57 – 62, 58 – 61 to floor front 22; neck to waist
basic sheath dress 160 – 164, flat collars 198, 201 – 202, 202 – 203, back 22; neck to waist front 21;
160 – 164; basic skirt 62 – 66; 206 – 207, 207 outseam 26; shoulder seam 12;
collars 198 – 207; contoured full-roll collars 199 – 200, 203, 203, shoulder slope back 21; shoulder
waistband 173 – 175, 173 – 175; 205 – 206, 206 slope front 20; shoulder to bust
cuffs 208 – 210; facings 211 – 216; full-roll convertible collar 203 – 204, point 24; shoulder to elbow
pants 165 – 171; set-in sleeves - 203 – 204 crook 12; shoulder to waist back
Method A 177 – 178, 181; set-in 20; shoulder to waist front 19;
sleeves - Method B 179 – 182; gathers, converting darts to 129 – 130, shoulder to wrist 13; sleeve
waistbands - rectangular 129 – 130 length 12; thigh 27; underarm to
172; waistbands - shaped or grainline, how it affects the hang of a high hip 14; underarm to natural
contoured 173 – 175 skirt 4, 30, 30, 66 – 67, 66 – 67 waist 14; underbust 9; waist to
drafting bodices 104 – 117; larger bust above knee 25; waist to below
cup size alterations 111 – 115; hipline 4 knee 25; wrist 16
measurements needed 104; side hip tape 43 military collars 201
seam adjustment 115 – 117 mock-up 4
draping 4; checklist 44; definition inches/cm conversion chart 226 – 227 mummy wrapping 5, 41, 41
30 – 31, 31; dress form 37, 37; industrial iron 1 muslin 5, 31, 31
padding out the dress form interfacing 4
38 – 40, 38 – 42; preparing for Nehru collars 201
32 – 44; taping dress form 42 – 43, labeling 171, 211, 221 notions 5
42 – 44 leg-of-mutton sleeve 192 – 193,
dresses: basic sheath dress 136 – 164; 192 – 193 overlap and underlap creation,
trueing 147 – 159; see also basic lining fabric 4 buttons and buttonholes 218, 218
sheath dress lowered neckline all-in-one facing
215 – 216, 215 – 216 panel 5
ease 4, 87 – 88, 102 – 103, 159, 176 pants 165 – 171; anatomy 165; crotch
Mandarin collars 201 depth adjustments 168, 168 – 169;
fabric: draping 30 – 31, 31; fashion 4; matching notches 4 directions for drafting 165 – 171;
lining 4; ripping 32; woven 30 measurements 6 – 28; above knee labeling 171; measurements
facings 4, 211 – 216; for garments 27; across armscye front/back needed 165
with buttons or buttonholes 17; across bust back 18; across parallel 5, 30

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partial-roll collars 199 – 200, 205 shaped cuffs 208 – 209, 209 – 210 183; circular sleeves 194 – 197,
perpendicular 5 shaped facing for armscye 215, 215 194 – 197; Leg-of-Mutton
Peter Pan collars 200 shaped or contoured waistband see sleeve 192 – 193, 192 – 193;
pivot method: combined dart at contoured waistband measurements needed 176; puff
the shoulder seam 120 – 123, short sleeves 184, 184 sleeves 184 – 190, 184 – 190; set-in
121 – 123; moving the darts shoulder 69 – 70, 75, 80 – 84, 118 – 123, sleeve 176 – 180; short sleeves
124 – 126, 124 – 126; side seam 126 – 128, 140 – 142, 148 – 149, 184, 184; slash and spread
dart to shoulder seam 118 – 119, 154, 222; blade line tape 44; and method 182, 185 – 193; underarm
118 – 119; side seam dart to waistline bust darts 224 – 225, seam alterations 181 – 182,
the waistline (combined dart) 224 – 225 181 – 182
123 – 124, 124; single dart side seam: basic sheath dress 139, sleeveless garment, armscye facing
119 – 120, 119 – 120 143, 143; of bodice 106, 106, for 213 – 214, 214
pivot transfer method 5 110; bust dart, trueing 222 – 224, slope 5, 20, 21
plain weave 5 222 – 224; dart, placement of sloper/body block 5, 53, 69, 79,
princess bodice 88 – 103; marking the 116 – 117, 116 – 117; dart and 104, 108
muslin 91, 91, 93, 93, 96, 96, waist dart to shoulder seam stand collar 204 – 205, 205
98 – 99, 98 – 99; trueing 99 – 103, 120 – 123; dart to shoulder seam stitcher 3
99 – 103; see also bodices 118 – 119, 118 – 119, 126, 126 – 128; straight cuff 208
princess line/seam 5, 88; converting dart to waistline (combined straight of grain 5, 34
darts to seam lines 130; princess dart) 123 – 124, 124; side seam
line from armscye to waistline adjustment to bodice 115 – 116 textile see fabric
132 – 135, 133 – 135; princess line single button shirt cuff 208; see also thread-pulling 32 – 33, 33
from shoulder seam to waistline cuffs tools 1, 1 – 5
131 – 132, 131 – 132 single-button straight cuff 209, 209 trueing 5; basic sheath dress
puff sleeves: fullness at cap and at single dart converted to gathers 147 – 160, 147 – 160; bodices
hem 188 – 190, 188 – 190; gathered 129, 129 79 – 87, 79 – 87; darts 222 – 226,
at cap 186 – 187, 186 – 187; skirts: anatomy 45; circular skirts 222 – 226; labeling 222; princess
gathered at hem 184 – 186, 67 – 68, 67 – 68; dart length 62 – 63, bodice 99 – 103, 99 – 103; skirts
184 – 186; see also sleeves 63; directions for drafting 53 – 56, 53 – 57
62; flared skirt 57 – 62, 58 – 61; twill tape 5
rectangular waistband 172, 172 – 173 grainline 66 – 67, 66 – 67; marking
rendering 5 the muslin 52; measurements underarm seam alterations 181 – 182,
ripping fabric 32 needed 62; trueing 53 – 56, 53 – 57 181 – 182
slash and compress 5, 126, 198,
sailor collars 201 205 – 207 vanishing point 5
seam 5 slash and spread method 5, 126, 129,
seam allowance 5 162 – 163; cuffs 208, 210; sleeves waistbands: contoured waistband
selvage 5, 30, 30 182, 185, 187, 189, 191 – 193, 198, 173 – 175, 173 – 175; rectangular
set-in sleeve: Method A 177 – 178, 205 – 206 waistband 172, 172 – 173
177 – 179; Method B 179 – 180, sleeves: alternate looks with 182 – 193; warp threads 30
179 – 180 bishop sleeve 190 – 191, 190 – 192; weft 30
shaped armhole facing 213 cap ease 176; cap sleeves 183, woven fabric 30

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