,2

Tomoko Nakamichi
Having served many years as a professor at Bunka Fashion
College, Tomoko Nakamichi currently delivers lectures and
holds courses on paffern making in her native Japan and
internationally. This book brings together the results of the
research on garment patterns she has carried out to help instruct
her students. She also enjoys creating the ball-jointed fashion
dolls that appear i the pages of this book.

PA TTER N M AC I C
Tomoko Nakamichi

KingPublishing
Laurence

Pattern Making
Cut andioin flat piecesof fabric
to assemble into a three-dimensional garment.

Take the pieces of a three-dimensional garment apart

and flatten them, to get individual pattern pieces.

The relationship between the flat pattern pieces and the

three-dimensional structure of the garment never changes.

You can create a garment by cutting, moving and

reassemblingthe piecesof a pattern, just like the pieces
of. a pazzle.

Use your original designs to make new patterns.

Conte n ts
Usingthis book

Fundamentals

PIateS

Pa r t 1
Creatingform
throughinspiration

Accents

13

Instructions
27

(deppari)

Gathered hole

14'15 '1.7

Crater

L6.1.7

The drop hole

1,8. 1.9

(otoshiana)

Lumps and bumps

20

(dekoboko)

female
sloper(block)for an adultJapanese
Thedressform usedin this bookis basedon the standardBunka-style
Seepages98-'102for moredetails
All patternsarefor a size9 lapaneseadult female(bust 83cm,waist 64cm, centrebacklength38cm)
to garmentsize
Theposionof the cuttingandopeningout lines,andthe amountto be openedout, mayvaryaccording
and developthe frtern
measurements
bodyform, reduceto halfallfull-sized
When usinga half-scale

Plates

P ar t 2
MakingPatterns
for hautecouture
garments

Instructtons
/1

Draped design

53

The twist

54

68

55

74

Interwoven design

56

80

Bamboo shoot

57

84

58.59

86

(nejiri)

Hide and seek

(kal<wrenbo\

.:ffi
(tak-enoko)

The knot
(musubw)

Two distinctexPressions 60

94

60

96

An intrigurng curve

Bunka-style sloper (block) for an adult woman

woman
Bunka-style sloper (block) for an adult

jr.'Hlir'"ir*!ur.l

99

lo1

usitrgthis book
At the beginning of this book (page 7) I explained about the relationship berween the three-dimensional structure
of a garment and flat pattern pieces. A major objective when making garments for women is not only that they fit
properly but that they also look attractive. For this reason, garment design will never cease to exist and provide
endless enjoyment. I hope the pattern-making method I introduce here is of use to you in turning an image into a
silhouette or design detail, and that you learn from the ideas in this book and find new methods that work for you.
The pattern drafting and manipulation for the design of garments in this book are based on the Bunka-style sloper
(block) for adult women (Japanese'M' size: bust 83cm, waist 64cm, centre back length 38cm) , and a half-scale
dress form for the three-dimensional pattern manipulation. All the measurementson this dress form are half that
of a full-sized dress form, its surface area is scaled down to a quarter and its volume to one-eighth. Using a halfscaledress form helps to understand the overall balance and look of a garment. As my objective was to explain the
construction of a pattern in an easy-to-follow wa I have omitted pattern markings such as facing lines used for
actually constructing the garment and the amount of fabric required to make the garment.

Abbreviationsused in
pattern drafting

Symbolsused in patterndrafting

BP
BustPoint

Guideline

Line that acts as a guide when drawing other lines

Shown by a thin solid line

AH
Arm Hole

Sectorline

equal lengths Shown by a thn broken lne

FAH
FrontArm Hole

F in ish in gline

Lne indcating the finished outline ofa pattern

Shown bv a thick solid line or a broken lne,

Cuton the fold

[ine indcating where the fabrc is to be cut on the fold,

Shown by a thick broken line

BAH
BackArm Hole
B
Bust
W
Waist

One-waypleats

BL
BustLine

EL
ElbowLine
CF
CentreFront
CB
CentreBack

--=

G-

Indicates the direction of the bias ofthe fabric.

Shown bv a thick solid line

Biasdirection

/
---=-r,>

Extension
marking

t---

Easemarking

z/----=---x

Indcates the part to be stretched

lndctes the Dart to be eased

Clo sea n d

Indicates that the paper pattern is to be folded along the dotted lines
and cutopen along the sold line

cu t o p e n m arki ng

Markingto cut
fabricwith paper
patternpeces
arrangeo
contiguously

Draw two diagonal lines slopng downwards towards the hem Shows
that the higher lne folds over the lower line,

Indcates that the cross-wse gran ofthe fabric runs n the dirtrton of
the arrow Shown bv a thick solid line

Gr a inlin e

WL
Waist Line
HL
Hip Line

Indicates
a rghtangle.Shownby a thin solidline

N-7T
(,/l
l\)

MH
M id Hip
H
Hip

Rightanglemrkin1

Indcates thatthe paper pattern pieces are to be arranged

contiguously when cutting out the fabric.

&
11
PATTERN

MAGIC

P A T T E RN MACIC

Part1
Creating
formthroughinspiration
You'll find ideas for garment design everywhere ...
buildings,flowers or treesin nature,
tools you use every da even a person's face.
To turn the image in your mind into a garment
you'll need to know the techniques of pattern making.
It's not.difficult and there's no one prescribed way
to make garments; just discover a way that suits you.

13
PATTERN

MACIC

15
PATTERN

MACIC

,-

-.i'.::'.:

a: : : :

16
P AT T E R N

M A C IC

Sleevewith gatheredhole

Lrater sleeve

(Seepage36 for instructions)

!=: page40 for instructions)

17
PATTERN

MACIC

,18
PATTERN

MACIC

19
PATTERN

MACIC

20
PATTERN

MACJC

PATTERN

M ACI C

Fundamentals
It's possible to express avant-garde design and elegant detail
in a contemporary garment by using the Bunka-style sloper (block)
as a base which fits the wearer's body form as closely
as possible. First, insert a circular design Iine instead
of darts into the bodice of the sloper.
The secret of Pattern Magic lies in the
"close, cut and open out" technique.

21
PATTERN

MACIC

Basicbodicepattern

Bodicefront oattern basedon the

Bunka-style
sloper(block)(seepagesgg-102)

Bodicepatternwith closeddarts.

lnserting
a circulardesignline
ff

Wn"ntheedgeof thecirclepasses
throughthebustponts

Cuing out the circleproducesa patternwith the samesilhoueeasthe sloperabove.

Theedgeof the circle

passes
throughthe bustpoints.

l-r

The circlethat hasbeencut out forms

the patternfor the designline.

Whenthe circleextendsbeyondthe bustpoints

Evenif you cut out the circle,the undersidedoesnot lie flat and cannotbe usedas a pattern.

Thecircleextendsbeyondthe bustpoints

Evenif you cut out the circle,it doesnot lieflat.

22
PATTERN

MACIC

To makea patternfor the circle

Shorteningthe daftsso that they end at the edgeof the circlewill makethe circlelie flat so that a patterncan be made
However,
the silhouette
will be not be sameasthe sloper(block).

Shoftenthe dartsto end at the edgeof the circle

Closethe dartsand cut out the circle

The patternis not fitted in the chestarea

andthe silhouette
is not the same

Threemethodsfor makinga patternwith the samesilhouette

Theyall involvemanipulating
the dartsthat areIeftinsidethe circle.

1. Insertdarls(Closetwo darLsto makeinto one)

2. Ease

3. Flatten

"Flatten"meansto pressdown on
any fullnessthat refusesto lieflat In
a similarway to a sugarcubewhere
the cornershavebeenworn away,
gentlecurvesform on the patternas
just
shownin the drawing Flattening
a smallamountof fullnesscreatesa
well-fittedform

Depending
on the methodyou use,the three-dimensional
expression
changesfrom softto sharp
To the left is a bodicepatternwherethe dads havebeenflaened

23
PATTERN

MACIC

I ns er t i ncgo m p l e xd e s i g nl i ne sin toa slo p e (r b lo ck)

asa furtherapplication
of thistechnique
In the sameway as for the bodicewith the circulardesign
line,makethe bodicepatternout of paper
Drawany kindof lineyou want and don't forgetto insert
the positionof the opening.

Cut and openout alongthe lines

Flattenout the areasthat do not lefiat either

by insertingdarts,easing,or flattening,
or by combiningthesemethods

24
PATTERN

MACJC

Cannot
openeo
The patternls flat but the beginningof the
curvecannotbe openedout because
thereis
no seamallowance
for the designlineseam

Foldovera smallportionat the end of the

curveto createsomeseamallowance
Then,eitherstretchout the foldedportionor
cut and opennearthe shoulden

c - : : e fl a teit her
r -, : -e nl n g,
tf !

BACK

F RONT

Althoughwe haveto be meticulous

for a garmentpattern,in somecases
whereonlya few millimetres
are
aboutmeasurements
involved,
thereis nothingwrongwith beingflexible.HereI havefoldedand createdthe seamallowance
but you may change
the designso that the designlinesend at the pointsup to whereyou cansew.
The fabricalsostretchesa lot with patternsthat havecurveddesignlines,and when you actuallycut the fabricout, you will
needto adjustthe measurements.
Selecta methodconsidering
the overallbalance
of the garment.

25
PATIERN

MACIC

N MACIC

3ffiffi
cuttlng requlres

::r

-.

\ -ieppdri protrudes from the back like a shell.

; it utilisesthe unevennessof the bod

: rl-sn'tjust have to be the back
- r rr-hich a deppari protrudes.
r.r' can be positioned anywhere,on the back

: rn the chest, to create a sharp design line.

-. : rc .tre two interesting dep pari designs.

b.
F

3cm

"
t
i
I

Reverseand cut out

FRONT

BP

aao

22
makeonlythe rightbodice
the depparicomesinto contactwththe rightneckline,
43 Because
significantly
deeper
:ack neckline

the depparagainand cut out

$ Reverse

will be neaterif thereis

S Rsthe projection
no shoulderseam,closethe left shoulderdart
with the
and cut thissectioncontnuously
bodicefront

PATf

ERN

MACIC

S To make the deppariappearto be

protrudngfrom the pointwherethe curveof
the shoulderbladeends,draw it from the end
of the shoulderdart on the pattern To make
the deppailneat,movethe rightshoulder
dad to the AH

Page13:Depparishirt
of the bust.
The depparion the chestutilisesthe fullness
The sharpaccentin the chestareao f th e c ri sphi ghqualitycotton shirt hasa coolnessth a t i s r emi ni scent
shirt.
of a safari-style

SLEEVE

fittedto the body,

the shirtdoesnot haveto be particularly
$ Because
that was movedto the AH into two
dividethe shoulderdartallowance
one halfinto the darts,andthe restin the
equalsectionsDistribute
the dad allowance
is small
armholeShortenthe dart because

cn
cm

-/-/
..t6cm

COLLAR
4cm
r

a+a-

12cm 2cm 11cm

@ Draw lhe depparl Dividethe bust dart

distribute
allowanceinto threeequalsections,
one third into easein the armhole,leavetwo
thlrdsfor the bustdart and sewIhe deppari to
the armhole

@ Reversethe deppari and cutout

28
PATTERN

MACIC

Page14:Dresswith gatheredhole
A designwherea hole is openedand gathered
in a fitted silhouette,without inserting
dartsor
des ignlines .

0 .5 cm

(f Drafta patternof a dresswith a fitted

sjlhouette

0 - 5 cm

the left and rightbodicepanelsareasymmetrical,

alignthem and drawwhereyou want to openthe hole Insertcuttingand openingout
@ Because
nesin a radalpatternin a balanced
way.
Wherethe cuttingand openingout linesdo not makecontactwith the pointof the darts,adjustby makingthe dartslongeror shorter.
Wherethe pointof the dartis too far away,for examplelikethe bustdarton the left bodicefront in the drawing,you canalsodrawanothercutting
a n do p e n in go u t lin ea sin @
Makean openingin the backleft shoulderalongthe radial-pattern
cuttingand openingout line,
andconnectthat secton
to the bodicefront

31
PATTERN

MACIC

Closeall the darls,therebymakingit possibleto create

a fitted
ouette evenwithout darts.
Manipulatethe cut and openedparts,to drawa smooth
continuous
rine
for the outlineof the holeand the sideseam.Then
redrawthe hemline
with a neat,straightline.

End of seam

Top-stitchwidth= 1cm

o*..ll9-

* . .:u"-------- ,

':

-i filred

i:,

: lr t t n u o u s l in e
:

t l - r eh e m l i ne

i:

IIi3 i:'
- ::s i g n w h e reth e l u x u ri o u fa
s bri c
. ,:l fo r th e c a mi s o l e
i s fi tte dto the
- ::;i w i th d e s i g nl i n e sa n d a p p earsto
-:. e s p ru n gfro m th e g a th e re dhol e.
: ; m a d efro m c o tto nv o i l ew o v en
:' d o tsa n d i s g re a tfo r w e a ri ngas
,i s u a lw e a r,fo r e x a mp l ew
, i th j e ans.

5cm 9cm

Shoulderstrap
position
attachment
2cm

21cm-

I*L'

I 6cm

BACK

I
,1

20cm-

I
18cm

End of

24cm
14cm

18cm

6cm

Q Open a smallholefor the gatheringaroundthe mid hip (MH) areaof the right bodicefront.
Make a part of the gatheringinto a frill for greateremphasis.
To createthe frill strip,decidewherethe seamendsand do not sew beyondthat point.Then makethe frill,
taking care not to attach it to the bodce.
Fit the waist usingthe curveddiagonalseamsas designlines.

Align the right

side seams,
and cut open ;'

@ Draw designlinesfor the gatheringin a radialpatternin section@

of the patternwherethe hole hasbeen made.
Alignhe bodicefiont and backrigtrtsdeseamsand insertthe dcign lines
Enlargement
of the frilledsection,
The endsof the frill strip are not
joined together.

34
PAT T ER N M AG IC

With stretched bias

Top-stitchwidth = 1cm

End of seam

End of seam

pattern Add 27cmon each

@ Cut and oPenout section@ of the
and @
sideto get plentyof frill.Alsoadd extrawidth as requiredat @
lines'
well-connected
smooth
draw
(4cmin thiscase)to

/s,
the hem line
C) Cut out eachof the sections@, @ and @ and adjust

35
PATIERN

MACIC

hole
with gathered
Page17.Sleeve
A designfor a close-fittingsleeve,
with volumeonlyin the top section
Visualize
the finished
of the sleeve.
silhouetteof the sleeveto
det er m i n eh o w mu c hfu l l n e s s
must be addedto the pattern.

, ra w i n g
T hen,m a k eth e p a tte rn d
t he s lee v eh e i g h ti n th e s a me
way as in th e d e s i g nd ra w i n go n
t he r igh t.
Don't forgetthat the amountfor
c ut t inga n d o p e n i n go u t v a ri e s
greatlydependingon the fabric
y ou hav ec h o s e n .

O Measurethe armholeof the bodiceand

makea drawingfor the sleeve

Os,

of the sleeve
@ Drawthe finishedsilhouette
capas seenfrom the side(thesleevecap is
flattenedin the finishedstate).

lff:
filInn"]!1
ilm

rf,f
tl tu{

]L

36
P Af I E R N

M A C IC

*@
;\

of the sleeve

Oeegcanis

l: deeve cap that facesthe neck by adding

t: samemeasurementas in @. Draw the
eiderarm line.

@ Cut and open out the sleevecap unl it

reachesline @ and draw a smooth, curvedline.

@ Draw cutting and opening out lines in a

radialpattern from the centre of the hole.

Sleeve cap

tO nrstly,with the sleevecap attached,cut and open out until the sleevecap line becomeshorizontat.
It is up to you to decidehow much you want to open the sleevecap, but considerthe fabric grain, easeof sewing, and other factors.
Sleeve

Top-stitch
width= lcm
a-b= x
Endof seam-?
2cm

E +s c m

the amountfor the gatheringis still not sufficient,open out the sleevecap evenfurther.
@ Because
The amountfor cutting and openingout vaies accordingto the fabricused.

37
PAT T ER N M AG IC

b\\

Endof seam

_____--

' !,,-it,

By inserting ease,the fabric was shaped into a gentle

c.oncavestructure,resembling a crater on the surface of
the m.ben. Use a sturdy fabric that can be easedinto
shape
, for a more
.*,.dramatic appearance.

Lil

'i

)age 1

Craterbodice

: - elegantbodicethat emphasizes
the subtlemovements
of the fabric.

FRONT
@

/.'i
II
ll
ll
ll

ll
tl
tl

|l
tl
ll

points@ and@,
Q rseftthe designlinesfor the "crater"anddetermine
',-:re the easingwill end
- d isthe linefrom whichthe "crater"startsto swell Draw@@ by
:,::nding
the linethat connects
the pointsof the two darts
-

to the "crater"and insert

@ ndd Zcmat the bustlineto add thickness
linesfor cut and openingout asshownin the drawng

O Closethe dartson the section

:-et forms the bottom of the
:rater"on the bodicerightpanel

B ri ng
together

@ Closethe dart in @ and cut and openout @ until@Af-@ aligns

with @ AIgn@ and @ asshownin the drawingto makeonepanern
Thedifference
in lengthbetween@ and@ on the bodiceleft and right
panelsis the amountof ease Usefabriccut on the biasso that it s
easierto insertease

39
PATTERN

MACIC

Page17: Cratersleeve
A sleevewith structural
interestwherea dent hasbeenmadein the fabricon the sleevecao.
An interesting
designfor a simplejacketor coat.

$ Draftthe basicsleevepattern Drawthe

shapeof the sleevecap Connectthe point
wh e r ethe sl eeve
w i dthon el thersi deof the
sle e ve -cap
l i nehasbeendj vi dedi ntotw o
e q u a lsecti ons
andthe sl eeveopeni ngw i dth
measurementDraw the linewith a slight
outwardcurveat the ELto createthe shape
of the naturalarm

40
PATTERN

MACIC

at the fold lineto make

S Opensymmetrically
a one-prece
sreeve

,' ffm

,
i[ri ] il

l,ul]l t

H
I

mm

'

ri[5ii]
,it ill[ilt

r r,,{l

@ -@ = '
!fud lineto make
L

Q Ltore the designlinesfor the "crater"

mnadfrom the sleevefold lines,and divide
e deeve pattern into two panels,@ and
E la* points@ and @ to indicatethe area
b be eased.Moving the designlinesinward
*o hasthe effectof makingthe arm appear
drfmer.

the thckness
of the
@ Rdd cm to increase
"crater" in the areabetweei @ and @ on
panel@.

G) Draw linesfor cuttingand openingout in a

radialpatternin the areabetween@ and @
on panel @

@ Make the perimeterof the curvedline between@ and @ on panel@ inio x. Cut and open out panel@ as
shown in the drawing.
The amountto be openedout variesaccordingto the fabric used,but hereabout 15 percentof x hasbeenopened.
The amountthat hasbeenopenedout is easedto createan elegantsilhouette

41
PATTERN

MAGIC

The drop hole

(otoshiana)
The otoshiana technique was developed
from the idea of connecting two holes
to form a tunnel-like strucrure.
As the otoshiana is a complex design,
we start by assemblingit out of paper.

Assem
blingthe otoshiana

ffi
(f Open a holeof the desired
ciTp

^n

+h rpr

a paperpipeand place
@ trrtake
it in th e h o le D eci deon your
desiredangleand the lengthfor
th e p ip e

cut off the part protrudingfrom the top of the paper

@ With scissors

@ rold the exceison both

sidesand redrawthe lines The
amountaddedin thisway makes
the entranceto the holelooser,
or sharper,
and the lookchanges

@ Insertthe designlines,

the edgesof
@ Cut alongthe lines Because
the paperpartsandthe pipearecurved,the
excess
amountdoesnot lieflat

42
PATTERN

MACIC

ar both
lelnes The
t way makes
: hde looser,
r bo* changes.

O Makea muslin(toile)for the skirtbase

Thepatternfor the skirlin the pictureis shownbelowbut you canmaxe
the skirlany shapeyou want

@ In the sameway aswith paperon page42, insertthe tubethrougna

fabric baseto createthe otoshiana

lf,r :rtrur

ft nrulilt

I mJ,Lfiiff|'

\m

44
PATTERN

MACIC

-,:- --:'

otoshianainto the holeln the skirtand create

@ lnsertthe assembled
yourdesi red
si l houette

the otoshianain the skirt

S Opena holewhereyou want to postion
--r ho e canbe of any size,but remember
to makeit largerthanthe

rhp ihrnrroh

: ':!mferenceof the end of the tube andsmallerthanthe fabricbase

how bestto focuson

@ Insertthe designlineshere,considering
the otoshiana

to attach
@ Fastenthe fabricbaseto the skirtwith pins,and machine-stitch

45
PATTERN
= f:- - -

MACIC

@ Cut alongthe designlinesto makethe fabricoattern

Where the edgesof the hole do not lie flat, fold the patternand adjust
the line.

@ Open out and iron the folded parts,then machine_stitch

for a smooth.
continuous
line.

--

-.dressfeaturestwo otoshiana
on the insideto form
--:,rected

::;n n e l .
-- s is a complexpaern,using
:-: basicotoshianatechnique.
::r th i sd i s ti n c ti vdee s i g n ,
:5osea coarsewoollenfabric,
- a neutralcolor,that is easy
:r easeand stretch.

,l

''':'

Lur
' lcm

c19
-"n,1: tlfu
tack

BACK

,i df' r' ul
5cm
:Tl gil
1iligl:l]4

20cm

iFLi.r lM

End of
o p e nr n

Open

]m urMN

*n t
ll

lQ Usinga sloper(block),closethe dartsandcut and openout

A basepatternfor a stmpledressthat hasneitherdartsnor designlines.

fmr

rdhm
Mr

for positioning
the holesand makea muslin
@ Decideon the two places
(toile)followingthe orderof pattern-makingfor a skirt

lm

1iltt
[d
Llll

48
PATTERN

MACIC

Lumpsand bumps
(dekoboko)
This technique evolved from an idea to incorporate
a Jekoboko (an uneven surface) decoration
ro a garment.
Anaching cubes onto a base is in itself interesting,
but when the cubes are connected with design lines,
dre undulating lines come alive.

Makinga patternfor the dekobokoout of paper

+,

a three-dimensional
objectmade
Q Assemble
out of paperin any sizeyou want

@ Insertlinesin any way you want.

The patternis easierto makeif the lines
passthroughthe cornersof the threeobject
dimensional

) nttach to the paperbase.

Think of the paperbaseas the garment

@ Cut alongthe lines,openand flattenout.

49
PATTERN

MACIC

@ Cut away the bottom of the base.

Fromthe top, it is convexand from the
bottom, concave

LLll

,
,t i

-T

',,laking
a patternwith the
three-dimensional
paperobjects

Q Randomlyattachthe cubesat differentheightsto the bodicesloper

: ock)madeout of paper.

@ Drawthe designlinesin any way you want,joinngtogetherthe cubes

@ Cut alongthe linesand open to createthe pattern

Wherethe designlinesdo not passthroughthe cornersof the cuoes,
the patternwill not lieflat Useone of the threebasictechniques:
insertingdarts,easing,or flattening,to makethe patternlieflat

51
PATTERN

MACIC

1{I

PATTERN

M ACI C

P ar t2
Makingpatterns
for
hautecouture
garments
When I was a srudent, I remember how difficult it was
learning pattern-making off the blackboard.
I achieved the shapesI wanted by making miniatures
out of paper, flattening them out by
inserting lines and cutting them to make a pattern.
It gave me a great feeling of satisfaction,
but I knew that, logicall it was a dubious way
of going about it.

Playing around with patterns enablesus ro produce

many more designsfor couture garments.

its
a_ : t t \ vas

-: _::ures

-*!tr

53
PATTERN

MACIC

'!
I
I
F

p
i

I
i
i

PATTERN

MAGIC

57
PATTERN

MACIC

;3
F

TF

Tyitg a bow A

Tyittg a bow B

(Seepage88 for instructions)

(Seepage88 for instructions)

Tying a bow C

Tying a bow D

(Seepage90 for instructions)

(Seepage92 for instructions)

59
PATTERN

MACIC

Two distinct expressions

An intriguing curve

(Seepage95 for instructions)

(Seepage97 for instructions)

60
PATTERN

MACIC

PATTERN MAGIC

Clothes are a way of expressing oneself,

and with this in mind

I'm often inspired by fashions of the past.

To discover how they were made,

I try drafting the patterns myself, and
sometimescome up with designsthat are

entirely my own.

,d

Drapeddesign
An elegant contrast creared by
light and shade.
Make an easy-to-draft flar pattern
for a draped design that is usually
produced
by pinning and three-dimensional
cutting of fabric.
A right and left intersecting
whirlpool drape
has been insetted into the
s\oper bodice.

lr l,

i vta Kng
f t ne basicpattern
ff!

rj
I
i

lcm

I
I
l

j
1
i
!
3

5 cm

0.5cm

lcm

BP tcm}*'z
9cm

;
:

9cm
l
I

4cm

4cm

; : + 0 5cm

H'

t+

2 ,5 cm

O Insertwaist dartsso that the bodiceis fitted

n the wastarea The
bodicefront dartsare closed
wh

areaece
ntreorthe,
.rhconsidering
a crrcre,
the

*,
;:;:: il-,."T:r"ff
i["-;,lT: ff

bulkcreatedby the tuy.r, ot fuUri.

ill " tin"
connectng
(!@) ,sthe designline
for makingth" n","'

Divide
@@, theradius
of thecircle,
intofourequalsectons
and
opening
outlinesDivide
the;;;;;;;;
11.,X.*ig."o
ow -F(9 ntopanels and respectively.
""0
@
@

Lm

I n te rs e cth
t e l e ft a n d ri g h tb o d i c epanel sthroughthe hol eand createthe drapeddesi gn.The l argert he cir cle,
t h e mo rere l a x e dth e d e s i g nw i l l b e, and conversel the
y, smal l ertheci rcl e,the sharperthedesi gn.

End of
seam

,= Closedadson both panels@ and@ and cut andopenout untilthe

distance
between@ and@ becomes18cmin thiscaseAlignpanels@
lines
and@ and drawsmooth,continuous
To makethe hole,decidewherethe seamwill end andcallit @

: ''- : - : a n d
:: , : ,: and

panelintotheholeyouhavemadeandsew
theotherbodice
fti Insert
fromO to @
Sewthecentre
frontfrom@, theendof theseam,
to thehem

ffi Sewtogetherthe areabetween@ to @ on one bodicepanel

63
PATTERN

MACIC

Complex
drapeddesign(addingonetwistto thefabric)
The intersecting
of the left and right bodicepanelsis the sameas on the simpledrapeddesignbodice,
but the addingof one twist keepsthe fabricin place,therebyshowingthe modulations
in the design.
Rememberthat the undersideof the fabricwill appearat the front.

Armholeline

@
Q The basicpattern is the sameas for the
simpledrapeddesignbodice
Dividethe pattern above and below @@
into panels@ and @ respectively.
Reversepanel@ to add one twist. The undersideof the fabricappearson the faceside.
Changeihe positonwherepanels@ and @
meetas shownin the drawing.

Side seam

Armholeline

End of seam

areabetweenponts@ and @ (18cm in this case)

Alignpoints@ and@ and drawsmooth,continuous
lines.
To makethe hole,decidewherethe seamwill end and call it O.

64
PATTERN

MACIC

thefabric)
-

^ ^ Ai^^

: -i

On

@ Wherethe patternhasbeen reverseo

one halfof the bodiceand sew between@ and @

Q Reverse

@ Insertthe otherhalfof the bodiceinto the holeandtwist

@ Sewfrom @ to @ on the otherhalfof the bodiceSewthe centre

front and from the seamend to the hem Because
of the bulkof the
fabric,makethe holesomewhatlargeand adjustafterassembling

+_:

65
PATTERN

MACIC

cr
gil
-l]tf
!il[
iE

Fag*53. #ress
#r-mp:md
*$*sigr-r
A dressmadefrom silkcroefor more
formaloccasions.
The drapeddesignaroundthe chestis created
with a techniquethat doesnot involvetwisting
and maximizes
the soft, billowyfabric.

0.5cm 0.5cm

.scm 1.scm
4 equal
pans

@ Forthe bodiceback,closethe
dartsand inserta little flare.

End of
openrng

+2 c m

FRONT

Shoulder

2cm

2cm

Necklne

(f Because
the necklineis wide,movethe shoulderdartsto the
neckline.
Dividethe radiusof the circlefor the drapeon the bodice
front into four equalsectionsand draw cuttingand openinglineson
panel@ Forthe skirtpattern@, drawjust one cuingand openrng
linefacingthe end of the darts.

WL

)O
@ On the bodicefront,
dividethe patternon
eithersideof @@ into
panel s@and@ C l ose
the dartson @ and cut
and openout.Then
closethe dartson @ and
open out the centrefront
horizontally
untilaligned
with @ and@ asshown
n the drawng

Sewfrom @ up to the end of the seam,cross

overthe otherhalf into the holeyou have
madeand sew thls alsofrom @ up to the end
of the seam The centrefront of the skirtis a
vent and thereforenot sewn.lf the opening
bothersvou. sew it down at the back.

67
PATTERN

MACIC

FRONT
J

Th* tre'ist{reeiiri}
\fhen you twist a fabric
it becomesnarrower and shorter,
and when you releaseit, it returns to normal.
In a different way from a garment that has a
furrowed drape produced by techniquessuch as
changing the position of the left and right sleeves,
this patern has beenmanipulated so that the fabric
is twisted round and round [ke a spiral.

e Theoretically
when 'a' istwisted,measurement.becomesshorter.However,asthe fabric
speaking,
will looklikethat in the drawingon the right,the measurement
will,in reality,
be evenshorter.
e As the fabricwill attemptto release
the twist, reducethe easein the hipsto fit precisely.
A designthat incorporates
elastic
tapeor a bandto keepthe hemlinein positionand preventthe

fabricfrom returning
to normal,is best
*As twistingmakesthe waistnarrower,be carefulnot to reducetoo muchat the waist.
a As neiiriis not a naturalform of the fabric,it will be easierif you usea fabricthat hashighstretchability.

T h e b a sicb o d ice

As twistingmakesthe garmentshorter,3cm hasbeenaddedto the length

The waisthasbeentwistedslightly

6B
PATTERN

MACIC

Threeneiiripatterns
As twisting the fabric changesthe shapeof the necklineand the armholein a complexway,
herethe fabric has been twisted only aroundthe waist.

Twisthorizontally

a = 1ocm
$ Move the centreby a measurementequalto 'a' in the oppositedirectionof the twist you want to createin the fabric,
@ Move both sideseamlineshorizontallyas shown in the drawing (nthis caselOcm).
@ Redrawthe sideseamlinesto connectthe cornerof the armholeand the waist and hip areain smoothcontinuouslines.

Twistperpendicularly

Q Manipulatethe centrefront and centre backon the pattem by a measurementequalto 'b' (in this case
4cm) in a verticaldirectionoppositeto that of the twist you want to createin the fabric.
(O Adjustthe linesfor the necklineand the hem,

69
PATTERN

MACIC

Twistboth horizontallyand perpendicularly

Making the fabrctwist horizontailyand perpendicurarry

at the sametime is difficurt,
so manipulatethe horizontalpattern
usingthe patternihat hasall

It iseasier
ir vou u u".ti.uiiv
panern
in*hi.h th";:drii::"##t:r"1"*"J;1'L
"'
'unipurated

Adjust
thehemrine
attheend.

Q Basicpattern
The patternis the samefor the front and the back,and the simpledesign
wherethe sleevesare part of the bodiceis createdin a knit fabric.No
easehas beenaddedto makethe garmentfitted at the hip. Stretchthe
necklineopen and checkthat your headfits through lf it doesnot, make
the neck larger.

OT
ilfrGd

@ Twist perpendicularly
Manipulatethe pattern vertically
in the directionoppositeto that
of the twist you want to create
in the fabric.

O Twsthorizontally
Manipulatethe patternin the direction
oppositeto that of the twist you want to
createn the fabric,n the samewav as for the
perpendicular
twist.

72
PATTERN

MACIC

Page60: A collarwith
two distinctexPresslons
double
when viewedfrom the front' a
A shirtcollarfrom the backand'
on a theme'
collar,this offerstwo variations
design'
to makethisintriguing
I combinedpatternsfor two collars

o +@

3cm

of the
@ Draft patternsfor each

the patternfor the bodicebase

l$ Usingthe sloper(block),draft

two cottars

r6\
\ DZ---r yl

C ol l ar /
attachmenl

l i ne

Coilarstandattachmentllne

@igl
lines
) Alignthe collarattachment
collar
the
CoPY
collars
of th" t*o
standon collar@ to collar@

for collars@ and

O makePatterns
stand;then
collar
the
without
@
makefive slitsin the collarrunntng
in
towardsthe collarstandasshown
the drawing

With the collar standlng

arealignedut@@
for @' and@' producedin stepO
is different'a gap
incllne
the
as
but
@ ls lacedown)'
the slits'
the lengthis not equal Openout
e>O
""
(9)
d callthe resultingPattern

)wn in
asshown
from patternpieces@' @' and@
Thiscollaris constructed

95
PATTERN

MACIC

l:
f
ll

dmple design
fabric. No
l$. Stretchthe
lldoes not. make

@ To createa soft effectfrom the shoulderto the sleevecap,alignthe left and right sleevecapsas shownin the drawing
The designlinesinsertedinto the bodicebackserveas a stylishaccent

@ n stytistrdesignhas beencreatedby manipulatingthe pattern.

73
PATTERN

MAGIC

Flide and seek

(kakurenbo)

-i
ml
E

Not a flare that expands uniformly

4'

by cutting and opening out the pattern, but a flare

that is subtly concealed on the underside of the fabric.
Making a pattern or the kakurenbo design
with a drawing is easier than you think.

A basicjabot-style
frill
A gorgeousdecorativeeffectfor the front of a blouse.
The connectionbetweenthe sectionthat is visiblefrom the front and
the sectionconcealedunderneathis important.

o'

(O Rttachparts@, @ and@.
Reverse
or thebacksideof the
@ beforeattaching
garment
willbeontop.
l[) rtnakea drawing of the frill
you want to make

@ Separateout the variousparts

/
@

@ Smoothlyadjustthe line that will becomethe

edgeof the frill

74
PATTERN

MACC

Ffareconceafed
in a curve
Thisdesignmakesyou wonderhow the flarehas
beenconcealed.
The foldedand layeredlook that
hasso much depth is structurallybeautifuland
exciting.With that ideain mind, I beganby drawing
somecomplexcuryes.

f
i\ _ _
@

Q Draw designlineson the base.

@ Insertlinesin the way the frill would fall

si<Je
of the

@ Separateout the variousoarts.

75
PATIERN

MACIC

@ Returnto @ and mark the flare points

(pointsfrom which the flare is going to
appear)in the placesyou want to insedthe
flare.Thelinethat descends
perpendicularly
from the flare pointsbecomesthe cutting and
openingout linesfor the flare.

@ Align the variousparts.

Reverse@ beforealigningor the backsideof the fabric
will be on too.

@ Cut and openout and redrawthe flaredhemline

76
PATTERN

MACIC

Page55.A pinafore
with kakurenbo
design
Th ec o mp l e xc u rv e so f th e fl a redesi gnl i nes
were incorporatedinto the waistline
of a babydoll-stylepinafore
madefrom a soft woollengeorgette
that neatly expresses
the concealedflare.

- 1 8 cm

-17cm

1
8cm

Q Drafta patternfor the pinafore

77
PATTERN

MACIC

I
d

.;

rF

I
@ Drawthe curveddesignlineson the bodicefront Finda balance
that setsoff the concealedsection

(O Insertalignmentmarkingsand cuttingand opening

out lines( r )
into the concealedsection.
The alignmentmarkingswill becomeflare points.

the concealedsections,bringthem to the front, and connect.

@ Reverse
Add flare points@@ in a balancedway and draw the designlinesfor
the flare(a)

78
PATTERN

MACIC

@ Add alignmentmarkings@@
when sewingthe designlines.

to the bodceto serveas markings

@ Cut and openout the amountfor the flare

79
PATTERN

MACIC

Interwoven design
In this technique you gather the fabric
and mold it as if it were being woven.
I decided to seeif I could produce a pattern from
the complex beauty created by layers of fabric
woven together that I had once seen
in a fashion magazrne.
If the fabric on the left and the right
are of different colors,
the way in which the fabric intersects
can be seenmore clearly.

() Assemble
the papersloper(block)on the dressform and draw lines
symmetrically.
As shownin the drawing,makealignmentmarkingsin placeswhere
the linesintersect,

(Face side
of the fabrc)

Make overcast
stitches here and
there in the back
Because
this designcontainsfew seam
allowances,the fabric frays easilyand it is
piecesof
difficultto makethe assembled
fabric stay in place You can either wear an
under-dress,
or you can linethe garmentwith
the samefabricas the garment When you
linethe garment,it is advisable
to usea base
patternthat hasno intersection
lines,and
sewthe necklineand the armholestogether
with the outerfabriclayer.

80
PATTERN

MAGIC

.^d dravllines
:: : es wh ere

er',seam
s , andi ti s
: : ecesof
':-:- weaf an
r armentwith
-_ ,','henyou
e :: :se a base
r - e s,and
1-

-(

O The partsthat do not passthrough the bust point refuseto lie flat
evenaftercuttingalongthe lines Insertgathersin theseparts,closethe
darts,and cut and openout And then cut and openout the amount
for the gatheringagain Thevolumeof the gatheringvariesaccording
to your personalPreference.
to the fabricusedand according

@ Cut asshownnthe drawingabove.

Becausedifferentfabricshavedifferentgrainsand somestretchingmay
occurwhen you interweavethe fabricpiecestogether,cut the fabrc
with someeasen the hemlineand adiustit at the end

@ Becarefulnot to cut too deep Makecub into the fabricup to the

alignmentmarkingsinsertedin stepQ.

@ Interweavethe fabric piecesfrom the top in the sameway asthe

Iinesyou drewon the paperon the dressform

loethr

81
PATTERN

MACIC

Page56: Blouse
with an interwoven
design
Usingthis technique,I createda blousewith left and right asymmetry.In cotton lawn fabric,
I madea bambooleafshapefrom the pointsof the fabricthat I cut into.
I did not sew the pointedsectionsdown, preferringthem to be loose.

ctose'lf
Open
BACK
1cm
1r
Zipper
(left)

9cm
2cm
Q Move the shoulderdart
to the armhole

ll

'l c m

,S".
\

1 c m r.d -

@ Drawthe necklineon the bodicebackwith left and

right asymmetry

o
jl[
:5
fr

82
PATTERN

MAGIC

1 cm
d bodicefont.

@ Draw the intersectinglineson the

bodicefront
Insertalignmentmarkings@@ for the
into the left and right bodice.
ntersections

@ Copy the left and right bodicesseparately.lt is easierin termsof the patternmakingfor the
intersectinglinesto passthrough the BP,but wherethey do not, as in the right bodicefront, adjust
the lengthof the armholeda as shown in the drawing.Herethe waistdads havebeenclosedas
you can seefrom the drawing.

8cm

makea lining
and extremelydelicate,
@ fold the dartsand cut and open out the pattern Make the pointsdecoratveAs the fabricis transparent
from the samefabric

83
PATTERN

MACIC

Bambooshoot(takenoko)
Page57. Bodice
with
a takenokodesign
In t hisex c it ingt ech n i q u el,a y e rsre s e mb l i n g
th e m ult i- lay er ed
n e c k l i n eo f a fo rm a lk i mo n o
are createdfrom one pieceof fabric.

i
They look exactlylikethe layersof a bambooshoot.
The lighterand morefitted the silhouetteof
th e bodic e,t he m o reth e s h a d i n gi n th e fa b ri c
standsout.

tp make a papersloper(block)and draw tuck linesto createa design

resembling
a bambooshoot.

84
PATTERN

MACIC

Ele

a de*gn

@ Cut into the tuck linesand closethe dartsand flatten Do not cur
abovethe BP

@ Cu t in to th e fa b r ica lo n gth e r e d lin e s

About 1 5-2cm is requiredto be foldedconsidering
the frayingof the
Seamailowances

@ Extendthe ljnestowardsthe shoulderand the armhole,then cut and

openout to createthe amountfor the tucks

@ Formthe tucksfrom the top downwards

@ack side
of the fabric)

Makeovercaststtches
heleandthereont/on
-zq
PATTERN

MACIC

-llssz;4gz<z

Page

Knotdress

Basicpatternmanipulationfor a knot dress

Closethe shoulderdarts
until2cm ooens on the WL

6cm

I
BACKI

0.5cm

I-P.'
I
Close the armhole darts
until2cm oDenson the WL

2c

1.scm

Pg"x'

\
20cm

End of
openrng

bcm

Q Closeboth the shoulderdartsand armholedarb until 2cm openson the waistline,then makea patternfor the dressbase.
Establishthe centreof the knot @ in the positionwhere you want to createthe bow.
Easeis requiredin the width of the knot to tie at @. Measureo from @ 13cmin ths case)and from there draw cutting and opening lines.
Draw the cuttingand openingout linesin the positionwhereyou want to drapethe bow fabric
@ Theamountthat hasbeencut and opened
out becomes
the drape.
Decideon the amountto cut and ooenout
accordingto the fabricused.
Draw the patternfor the bow from whereyou
havecut and openedout.
The bulkinessof the knot is determinedbv
drawingthe curvefrom @
End of seam

Note:The circlednumberat the bottom of a lnendiates the numberof centimetresobe openedout at that point

87
PATTERN

MAGIC

@ Sewthe bow sectioninto a tubular shape

upto@

Page59.Tyinga bowA
A designwith a different-shaped
bow produced
usingthe samepatternmanipulationas usedfor the
dresson page87.

Q find the centreof the bow @

Takethe z measurement
@ which
includes
addedease(4cmin this
case)and from there,draw cutting
and openingout lines

@ Cut and openout Draw the patternfor the

bow from whereyou havecut and opened.The
reasonthe bow is curvedin thisway isto give
the knot somebulkiness,
but therearestructural
reasonsalso Stresssconcentrated
on one point
if you make@ into an angle,but is dispersed
whenthis is madentoa curve

Page59: Tyinga bow B

An imaginativedesign
in which one end of the bow is part of the bodice
and the other end is part of the collar.
Thetwo endsof the bow areloopedand tied together.
At first sight it seemscomplicated,
but the patternis surprisingly
simple.

2cm

2cm

End of collar
attachment

$ Drafta patternfor the bodiceusingthe sloper(block)A verticalknot

is oossible
with thistie
Measurethe width and bulkiness
of the knot,and draw cuttingand
op e n in go u t lin e s
3cm

Neckline

32cm

L,On the
fold
\

7*

f) Closethe dartson the bodicefront and cut and openout

Drawthe patternfor the bow from whereyou havecut, and openout
Cut on the fold

On the
fold
0 5cm
@ Passthe verticalgrainof the fabricthroughthe lengthof the bow
to createa large,distinctive
knot A soft lookis producedif you cut the
fabricon the bias
lf you want to inserta jont,positont insidethe knot

HereI haveslightlychangedthe tyingmethod

Othertying methodsarealsopossible

89
PATTERN

MACIC

ffmg*59; TyFng
e b*w
Two separatebows are tied
towardsthe right
for attractiveemphasis.
Herethe two bows
ar eof t he s amel e n g th ,
but one largeandone smallbow
wouldalsobe effective.

Placethe secondbow @ on top of the bow that spartof the

bodiceand sew in the shapeof a tube up to the end of the seam

ffi rind the centreof the knot @

to whicheasehasbeenaddedto the
@ Measurez (themeasurement
width of the knot) horizontally,
and (themeasurement
to whichease
hasbeenaddedto the thickness
of the knot)verlically.
lnsedcut and spreadlines
Wherethe cutand spreadlinesdo not passthroughthe end ofthe
darts,adjustto makethem end at the designlines

90
PATTERN

MACIC

End of seam

openedout, drawthe patternfor the first bow as an

$ Closethe dartson the bodiceand cut and open out Fromthe sectionsthat havebeen
extenslonof the bodice
29cm

LEFT
l lcm

S Drawthe patternfor the secondbow

piecefor the knot betweenthem;alignthe threepiecesand

q$ Reverse
the left and rghtpiecesof the bow in stepS; add an 8 x 5cm rectangular
jo inwith a sm o o thco
, n tin u o ulin
s e

1: : . d t o t h e

-: : 'the

91
PATTERN

MACIC

Page59:Tyinga bow D
An elaboratedesignis achievedby passing
the bow througha hole beforetying
T he ex pr es s i oonf th e g a rme n tc h a n g e sc o n s i derabl y
by m ov ingt h e p o s i ti o no f th e h o l eu p o r d o w n,
t o t he s ide,o r b y c h a n g i n gth e s i z eo f th e h ol e.
Anotherexampleof PatternMagicl

__?i

the fold

/l

12cm!

On the fold

COLLAR

0 5cm
End of collarattachment

4cm
0
F RONT
Draftthe bodicepatternusinga sloper(block)
The knotted part of the bow that is part of the collarsitsbetweenthe
left and rightholes
Determne
the lengthof the bow,considering
the lengthof the
intersection,
the distancebetweenthe two holes,and the sizeofthe knot
2cm

i ,: n t ne

: :'$e

k no t

93
PATTERN

MACIC

Page60:A collarwith
two distinctexpressions
A shirtcollarfrom the backand,when viewedfrom the front, a double
collar,
thisofferstwo variations
on a theme.
I combinedpatterns
for two collars
to makethisintriguing
design.

1 scm

scmlJ @
o +@
COLLAR
,a,4cm!+ (i
s----LL__l
z.5cm:,I

7cm

3cm
v
Q Usingthe sloper(block),draftthe patternfor the bodice base

o.2cm

@ Draft patternsfor eachof the two collars

@
C ol l ar
attachment
Collarsland attachmentline

l tne

@
f} Align the collarattachmentlines
of the two collarsCopythe collar
standon collar@ to collar@

@ tvtakepatternsfor collars@ and

@ withoutthe collarstand;then
makefive slitsin the collarrunning
towardsthe collarstandasshownin
the drawing

Wi ththe col l arstandi ng

@ti

(D'

@ the patternfor @' and @' producedin step@ arealignedat @tr@

(the patternfor @ is facedown),but asthe inclineis different,a gap
Thiscollaris constructed
from patternpieces@, @, and@ a5shownin
the drawins

opensbetween@@ and the lengthis not equal Openout the slits,

align@@ and callthe resultingpattern@

95
PATTERN

MACIC

96
PATf

ERN

MACIC

curve
Page60,A collarwith an intriguing
On a sheetof paper,draw a curveand then fold alongthe linesof the curve.
When you bendthe insideof the curveslightly,the outsideof the curverisesup and
takeson a completelydifferentappearance.
effectto a collar.
I appliedthis interesting

On the fold

attachmenl
l i ne
J.5Cm

FRONT
l .5cm
of @ and @ and
lA Align the shoulders
measure4.5cmof collarwidth at a right
anglefrom @ on the collarattachmentllne
for @. Thenconnectfrom @ and makea
drawingfor the front of @ insidethe collar.
Because
the backof the collarhasa collar
the lengthof the backneckline
stand,measure
and makea rectangular
drawing

BP

Q Usinga sloper(block),draft the patternfor the bodicebase Mark the collarattachmentposition

@ Fora softfinish,cut the underandthe upper

Makethe uppercollar@
collarcontinuously
@, @, @ and @ all interconnectto createa
patternwherethe bodiceand the collarbecome
one Because
@ (the bodice)and@ (thecollar)
arejoined althoughthe collarattachmentline
is curved,whenyou put it on, the collarfloats
upwardsin the sameway asthe paperon the
oppositepage,for a completelydifferentlook

Order for sewing together

Facesde
of the fabric

Attachthe facingand prick

stitchto fastenin Dlace

O Sewtogetherthe bodice@ centreback

@ Sewthe collaredgesfor the collarpatterns
@and@
@ Sewthe collarattachmentline on the back
bodiceand@.
@ Sewthe front bodiceand @
@ At the collarattachmentline,sew @ to the
bodice
* | haveabbreviatedthe instructions,but
when you actuallyconstructthe garment,
attachthe facingto the necklineof the
bodiceand prick-stitchto fastenthe back
collarattachmentpositionand the facing-in
placeasshown in the drawing

97
PATTERN

MACIC

A methodfor makinga fufr-size

patternfroma harf-scare
pattern
The diagrambelowshowshow to enlargea part of the pattern
for the otoshianadress
(page19) to producea full_sizepattern.
u will needsomewhite PaPeron which to draw the half-scale
and full-sizepatterns.copy the half-scalemuslin(toile)
to
the paperpattern.
G) Rlthough you can stad from anywhere,the method describedhere

ila"#"tl1j'trdat

startsfrom @.

directly
ascends
from@,drawa linethathits@ at a rightangle,andmakethepoint
wherethetwo

lines

Doubleeachof the two measuremenb

o and a, bstw...6

and@ and between@ and @ respectively,

and copyonto the white paper.
@ Next take doublethe measurement
of e on the line that connects@ and @ in a straghtline. From
there,take doublethe
measurement
of r 1 right angleand draw a curye.
@Exte nd the linef r om @ t o@ by t x 2. M ar k t hat p o i n t @ a n d m e a s u r e x 2 a t a r g h t a n g l e t o m e e t @ .
end @-@' take twice the measurement
of and mark@. From@, take twice the measurement
of a at a right angleand
it @. Againtaketwice the measurement
of x and r at a right angreand makeit @.
Drawguidelineson the half-scale
patternand by doublingthe guidelines,doublethe pattern
linesand copyonto the white paper.

f
tx2

98
PATTERN

MACIC

The basis for pattem deuelopmentis the

vo lines
le paper.
uble the

ngle and
b paper.

Bunka-stylesloper(block)
for an adult woman
The Bunka-stylesloper (block) createdfor the body shapeof the modern Japanesewoman is constructedtheedimensionallyand fitted to the body with darts (bustdarts,back shoulderdarts,waist darts).
Bust(B),waist (!7) andcentrebacklengthmeasurements
arerequiredto draw the sloper(block).The measurements
for eachpart of the body are basedon the bust measurement,and the sizeof eachdart has beencalculatedfrom
the bust and waist measurements.Each waist dart is calculatedby the formula-bodice - (UIlz + 3)-where 3cm
is the amount of easeadded.Precisecalculationsare required for a neat fit, but drawings will be relatively easyif
you refer to the quick referencetable of measurementsfor different parts of the body. Pages101 and 'I-.02feature
half-scaleslopers(blocks)for you to usefor eachofthe bust sizes:77,80,83, 86 and 89cm.
tableof measurements
for differentpartsof the body
Quick reference
Eody
width

B^
B

Back
width

@- BL
-

B. ^_
+ tJ.t

12

+ I- 4

f,+ e.e

wdth

B
32

^^
+o.

77

44.5

20.1

17.O

23.7

15.8

78

45.0

20.2

17.2

23.9

16.0

79

45.5

20.3

17.3

24.1

80

46.0

20.4

17.4

24.3

81

46.5

20.5

17.5

24.5

82

47.O

20.5

17.7

24.7

83

47.5

20.6

17.4

84

48.0

20.7

85

48.5

Frcnt
neckline
wdth

B
32

Che5t

BL- @

(Unit:cm)
Front
neckline
depth

E +3.4--@ @ +0.5

Back
ntrkline
width

,;-;

@+0.2

Back
shoulder
darB

B ^^
32 ''o

6.6

7.1

16.8

6.8

t.o

2.4

6.7

7.2

17.O

6.9

1.6

16.1

2.5

6.7

7.2

11.3

6.9

1.7

16.2

.c

o./

7.2

| /.c

6.9

1.7

2.5

6.8

7Q

17.8

7.0

1.7

to.c

,o

6.8

7.3

18.0

7n

1.8

24.9

16.6

2.6

6.9

7.4

18.3

7.1

1.8

17.9

25.'l

16.7

2.6

6.9

7.4

18.5

7.1

1.8

20.8

18.0

4.

16.8

2.7

6.9

7.4

18.8

7.1

1.9

49.0

v,Y

18.2

c.3

17.O

2.7

7.O

19.0

7.2

1.9

87

49.5

21. 0

18.3

25.7

17.1

2.7

7.O

7.5

19.3

7.2

1.9

88

50.0

21.O

18.4

25.9

17.2

2.8

7.1

7.6

19.5

7.3

2.O

89

50.5

21.1

18.5

26.1

17.3

2.8

7.1

7.6

19.8

7.3

2.O

Waistdart measurement-Quickreferencetable
Total darts volum
100%
I

(Unit:cm)
o

7o/o

0.6

lAyo
t.o

35o/"
J.

11o/"

15/"

14o/o

1.4

1 .3
1.4

10

0.7

1.8

3.5

1.1

.tE

11

0.8

3.9

1.2

1.6

1.5

12

0.8

2-2

4.2

1.3

1.8

1 .7

12.5

0.9

2.3

4.3

1.3

1.9

1.8

99
PATTERN

MAGIC

Makinga drawingof a sloper(block)

;;?il?ff3;j:f:iXjilf"Ththe

bodice
andthesleeve,
butonrvthemethod
ordrawing
a bodice
(btock),
sroper
used

Cq

B as iclines
@

@
,a\
I

B
12

Centre
back
length

8cm

t-----,@.-

Back
V\^
width
El
lcm G) (-J',
line
i,
BACK
u,ccm;
G\
v
z+ 7 .4 cm
I
--8

.\-

@
Chest
width FRONT
line

rO)
B' + 8.3cm

^o
+ 6.2cm
=\

--

Centre
back
line

Firstlydraw the basiclinesfor the bodice.

Accuratelymeasureeachpart of the body
and draw linesin the orderof O to @ The
numbersin the guidetable arealsoarranged
for readingin orderfrom the left to help you
proceedwith patterndraftingin that order.

Body widt h= ( f + 6c m )

Curved
9+ s.cm=@)
24
@ + 0.5cm

FRONT
Ao

After drawingthe basiclines,draw the curved

linesof the neckline,
shouldeand armhole.
and finallythe darts

Tipsfor movngdarts
when you closethe waist dartswith
@ as the pivotalpoint,the armholeopensa smallamountto provideease
in the armhole.
The waistdartson the sloper(block)are markei when
usedfor putt.rn JiurtingiJti"uu beenomittedwhere
not required.

lvlakethe amount
that is opened
out nto ease

Make the amount

that is opened
out into ease
in the armhole

n the armhole

100
PATTERN

MACC

M)(halr-scale
Bunka-le sloper(block)for an adultwoman(Size
Copyat 2@7" on a photocopierto makethe full-sizedpattern.

b bodice.
b body
o 8 . th "
larranged
o trclp you
t order.

rtfie curved
lmhole,

77cm
80cm
83cm
86cm

n armhole.
-ed.

89cm
86cm I

101
PATTERN

MACIC

I
In co4

j
".,r*.

Bust(B) Waist(W) Back lengtt

77cm
58cm
80cm
61cm
83cm
64cm
38cm

thatrm{
w a y f m{

86cm

67cm

aromdd

89cm

70cm

a seredl

wth rderl
andis s{
studem{

r*o'u{
indudql
shomrl

86cm 83cm 80cm 77cm

77cm
80cm
83cm
86cm
89cm

102
PATTERN

MAGIC

M)(halr-scale)
Bunka-le sloper(block)for an adultwoman(Size
Copy at2Cxi'%on a photocopierto makethe full-sizedpaern'

77cm
80cm
83cm
86cm

Bust(B) Waist(W) Back lengtl

77cm

58cm

80cm

6 1cm

83cm

64cm

86cm

67cm

ir

89cm

70cm

{t

38cm

rd
Ir
d
b

77cm
80cm
83cm
86cm
89cm

89cm 86cm 83cm 80cm

102
PATTERN

MACIC

In conclusion
Just like works of art, garments come in various kinds: garments wi visual mpact, garments
that react to the movement ofthe bod garments for casual wear-but

there is no one prescribed

way for how they are made. The history of clothing began with the wrapping of a piece of fabric
aromd the bod so you should let your mind be free and approach the making of garments with
a sense of frm. Ideas for garments are arguably infinite. I have always believed in experimenting
with ideas. This book contains pattems that I have created based on a trial-and-error approach,
and is supplementary to the teaching materials used at the Bunka Fashion Open College for
students who may find pattem-making

difficult.

I would like to express my appreciation to many people for their help in this publication,
including Ms Kasai Fujino, from whom I received advice about slopers, and everyone who has

D|n

shown an interest in this book.

BL

LIOTHCA
Dis e o lrd irq : ' " ;

N|L

103
PATTERN

MACIC

::=$

r-"F-'@e-'E --

lt,rr.'
,ilffiil,ffii
'rf,i,i\ il:l${CeKl.

E :O*