2nd Stop :
2nd Stop :
Pattern Making
Pattern Making
Embedded Files
Technicality and Creation
BRIEF HISTORY
BRIEF HISTORY
Pattern making is the process of creating a blueprint of your garment. A pattern is used as a template to cut out fabric that matches the required specifications to sew a garment. It factors in the type of fabric, the intended fit on the wearer, and any trims that will be used.
The first major manufacturer to offer tissue paper sewing patterns in graduated sizes was Ebenezer Butterick, a Massachusetts tailor. Butterick launched The Butterick Company in 1863 to create heavy cardboard templates for children's clothing.
The earliest sewing patterns were found in tailoring manuals in the 16th century.
Pattern-making has evolved significantly over time, combining traditional craftsmanship with technological advancements like computer-aided design software and 3D modelling. This has increased accuracy, efficiency, and productivity in garment design, allowing for greater creativity and customization.
CLO 3D, Browzwear (VStitcher), Marvelous Designer, TUKA3D, and Blender (with add-ons) provide a range of 3D garment pattern-making software, from accessible tools for individual designers to powerful solutions for industrial manufacturing.
Mastering pattern making is essential for a comprehensive fashion design skillset, despite my past reliance on draping. It's a fundamental technique that cannot be avoided and is crucial for professional development.
The learning curve for CLO3D garment pattern creation proved steeper than anticipated. Turns out, I'm definitely more of a hands-on kind of maker.
BASICS
BASICS
To achieve a garment's pattern, there are normally 3 stages. For simpler patterns, only the master and final is required.
Master Pattern:
A basic, well-fitting pattern with minimal design details, often created on sturdy material like cardboard.
Serves as the foundation for creating different variations of a garment.
May be adjusted slightly for fit based on specific body types.
Intermediate Pattern:
Developed from the master pattern by adding some design elements like darts, pleats, or specific seam lines.
Used to test design ideas and further refine the fit before finalizing.
Final Pattern:
The fully completed pattern including all design details, seam allowances, and markings needed for cutting fabric.
Ready to be used for production, with clear instructions for garment construction.
I won't be dwelling on the specifics steps for each practise below, but more on what I personally learnt in the process.
DARTS
Darts in garment making are essential shaping techniques. They are triangular folds of fabric stitched to a point, designed to remove excess material and create a contoured fit. By manipulating the fabric in this way, darts allow flat pieces of material to conform to the body's curves, such as the bust, waist, and hips. Their strategic placement and size directly influence the garment's silhouette and overall fit, making them a fundamental tool for achieving well-tailored clothing.
Darts was very confusing at first and following instructions doesn't help with understanding. However with this exercise, I could finally visualise it's construction and everything clicked in a split second. Suddenly, their construction became clear, and manipulating them felt like solving an engaging puzzle.
SLEEVE TECHNIQUES
I underestimated the intricacies of sleeve construction; the processes of splitting, cutting, and extending proved to be a significant learning experience.
PUFF SLEEVES
Master Pattern
Intermediate Pattern
Master Pattern:
Sleeve Block: Trace your basic sleeve pattern (the sleeve block).
Center Line: Mark the center of the sleeve pattern.
Divide in Halves: Divide each half of the sleeve into two equal sections.
Divide into Segments: Further divide each of those sections into eight equal segments.
Intermediate Pattern:
Trace and Cut: Trace the master pattern onto new paper. Then, cut along each segment line from the bottom to the top, leaving a small connecting point at the top.
Spread and Paste: Spread the cut segments out, leaving a 2cm gap between each, and paste them down onto new paper.
Redraw Center: Redraw the center line on this spread-out pattern.
Final Pattern:
Trace and Redraw: Trace the spread-out intermediate pattern onto new paper, and redraw the center line.
Add Seam Allowance: Add a 1cm seam allowance around the entire pattern.
FLARED SLEEVES
Master Pattern:
Trace Sleeve Pattern
Mark center, then divide into 6 vertical segments.
Intermediate Pattern:
Cut segments (leave top connected), spread 2cm apart.
Raise crown center 3cm, draw new curve.
Final Pattern:
Trace the spread pattern, add 1cm seam allowance around.
EXPLORATION
To achieve a hoodie sleeve with a relaxed, wrist-draping silhouette, I patterned a darted sleeve, manually adjusting its width. The resulting sleeve was too narrow to my liking, but having understood the mechanics, I moved on to try another sleeve design.
Master Pattern:
Trace your basic sleeve pattern.
Add 6cm to the top (cap) and 18cm to the bottom (hem) of the traced pattern.
Draw the desired location and shape of your dart on the extended pattern.
Final Pattern with Darts:
Trace the modified pattern, including the dart, onto a fresh piece of paper and cut out.
CURVED SLEEVE
Master Pattern:
Trace out the sleeve pattern
Widen both sides by 8cm
draw a curve down from both edges of the sleeve pattern
make sure they are symmetrical
Intermediate Pattern
trace out the 3 parts of the sleeves (the two curves and centre)
add 1cm allowance on all sides
While transferring the pattern to fabric, I realised it had to be in 3 parts because there's seam allowance.
In the process I forgot to add a seam allowance so I had to sew it at the edge.
The result's conformity to my intent was a delightful surprise. This sleeve design demonstrates potential for integration into future collections.
PRACTISES
Pattern drafting at quarter scale highlighted the necessity for meticulous detail and patience. This experience proved to be an effective training, particularly in mitigating my inclination to rush into fabrication.
SPAGETTI STRAPS AND GATHERED RUFFLES
MASTER PATTERN
Front Bodice:
Trace: Trace basic bodice.
Close Dart: Shift right, trace new line.
New Dart: 2cm down from apex.
Bust Line: Perpendicular shift, 10cm down.
Neckline: 10cm down, mark strap, curve, 0.8cm strap line.
Back Bodice:
Length: 10cm down from bust line.
Gathers: 7cm from center back.
Strap Length: Sum front & back side seams (no darts).
Strap: Rectangle, length from above, 2.5cm width.
INTERMEDIATE PATTERN
Measure Bodice: Measure front & back bodice length (no darts).
Draw Rectangles:
Front+Back 1st tier: Measured width x 10cm.
Front+Back 2nd tier: Measured width x 20cm.
Divide Rectangles: Divide each rectangle into 4 sections.
Spread Segments: Spread sections: 9cm gap (top), 12cm gap (bottom).
Final Pattern:
Seam Allowance:
Center front/back (on fold): No seam allowance.
Side seam: 1.5 cm.
All other edges: 1 cm.
Grain Lines:
Bodice: Mark grain line.
Gathered ruffles: Mark for bias cut.
With knowledge of how darts and sleeves work, it was easier to catchup with these class practises. Understanding is key.
PRINCESS LINE DRESS WITH GODET DETAIL AND MANDARIN COLLAR
Master Pattern:
Trace the full body block (with all darts and lines).
Mark a new dart point in the armhole.
Pivot right, trace new dart (no shoulder dart).
Measure 65cm down from neckline (front & back).
Measure 26.5cm down from waistline (front & back).
Straight line flare from hip curve.
26.5cm down from waist, curve side seam (front & back).
Curve out existing dart (princess seam).
Straight line from dart diamond to hem (2 parts, no dart).
Back Hem:
Straight line from shoulder dart bottom to hem (2 parts).
Godet:
Triangle: 16.5cm height, 10cm width.
16.5cm up from triangle top, curve flare.
Master Pattern
Final Patterns
Final Pattern:
4 pattern parts.
Collar:
Neckline Measure:
Measure front & back neckline lengths.
Center Back:
Draw straight line for center back (CB).
Neckline Length:
Horizontal line across CB, length = front + back neckline.
Raise Edge:
1.5cm up from neckline end.
Collar Height:
4cm up from raised point.
CB Height:
4cm mark on CB.
Curve Edge:
Curve right side of collar.
TANK WITH NECK DART & PEPLUM
Master Pattern
MASTER PATTERN
Front Bodice Adjustments:
Trace & Dart: Trace front bodice (waist up, with darts).
Pivot Dart: Close top dart by shifting left (aligning neckline midpoints).
New Dart & Neckline: Create new dart (10cm up); reshape neckline (1cm right, 2cm down).
Armhole & Waist: Reshape armhole (5cm in, 1cm down); extend waist 2.5cm, connect to armhole.
Peplum: Mark 6cm down from waist.
Back Bodice Adjustments:
Trace & Dart: Trace back bodice (waist up, with darts).
Pivot Dart: Close top dart by shifting right (aligning neckline midpoints).
Neckline & Armhole: Reshape neckline (1cm in); reshape armhole (1cm down).
Waist & Peplum: Extend waist 2cm, connect to armhole; mark 6cm down for peplum
Final Pattern
INTERMEDIATE PATTERN
Trace the peplum.
Divide into four. Cut and spread segments 3cm apart.
FINAL PATTERN
Trace Patterns:
Trace both intermediate pattern pieces onto new paper.
Add Seam Allowances:
1.5 cm seam allowance: Apply to side seams and center back.
1 cm seam allowance: Apply to all remaining bodice edges.
Mark Center Front:
Mark the center front for cutting on the fabric fold.
Indicate Grain Lines:
Mark the grain line on both the front and back bodice pieces.
Peplum Bias:
Mark the peplum pattern pieces for cutting on the bias.
A-LINE DRESS WITH ZIG-SAG AND PETER PAN COLLAR
Master Pattern -
Front Bodice:
Trace front bodice
Close shoulder dart, open waist dart. Trace new shoulder, armhole, flared side seam.
Extend center front.
13cm below waist (hip), add 15cm (hem).
22cm from bust line to waist (CF).
22cm down from armhole side seam (new waist).
28cm from new waist, curve to CF.
2cm towards shoulder.
5cm around neckline, draw curve.
Draw scallop at CF edge.
Curve, 90 degrees at CF.
Back Bodice:
Trace back bodice
Extend center back, 28cm down from waist (hem).
Close shoulder dart, open waist dart. Trace new shoulder, armhole, flared side seam.
Correct curve for seamless armhole.
22cm from bust line to waist (CB).
22cm down from armhole side seam (new waist).
28cm from new waist, curve to CB.
2cm towards shoulder.
5cm around neckline, draw curve.
Zig Zag Line: Diagonal line up/right from side seam, below hip, up to below waist.
Peter Pan Collar:
Dart Close & Trace: Close dart, trace CF shoulder, armhole, neckline.
Shoulder Drop: 2cm down shoulder, line to neckline (2cm overlap for CB).
CB Trace: Place CB shoulder on overlap line, trace neckline.
Collar Curve: 5cm around connected neckline, redraw CF scallop.
Final Pattern:
Collar: Trace, 1cm seam allowance.
Bodice Pieces:
CB: One piece.
CF: Two pieces (separated at zig zag).
Seam Allowance:
CB & side seam: 1.5cm.
CF: 0cm.
Others: 1cm.
Master Pattern
Final Pattern
DOME
This dome design really intrigued me. I've seen a pattern similar to this when I was looking for a garment supplier some time back and they make tshirts from one whole piece of cloth. I think this can be made using that method as well, but I just followed instructions to be careful.
Master Pattern
Final Pattern
GORED SHIRT WITH LOW FLARE
Master Pattern
Intermediate Patterns
Master Pattern
Trace front skirt block
19.5cm down side seam.
7cm down center front.
Curve from 7cm mark to dart to 19.5cm mark.
Dart depth: 10cm. Mark 10cm on back dart depth.
Curve from 7cm mark to 10cm dart mark to 19.5cm mark.
Parallel line from dart line to hem.
Intermediate Pattern:
Trace skirt, cut center line.
Separate skirt and scallop, omit dart.
Place scallops adjacent, close dart.
True scallop curves (ends meet).
Cut scallops separate from skirt length (yoke).
Secure, trace final yoke pattern.
Repeat for front yoke (no trueing).
12cm down from hip on skirt.
7cm line from hem.
Flare from 12cm mark to 7cm mark.
12cm mark to hem: 27cm.
Flare: 27cm, curve to hem.
Final Pattern:
Trace intermediate pattern.
Side seam & center back allowance: 1.5cm.
Yoke grain parallel to center back.
Skirt Grain:
Bias (fluid flare).
Parallel to center back (if insufficient fabric).
Final Patterns
Circular Skirt
STEPS
Draw a square on pattern paper.
From the corner, use the radius to draw a quarter circle (waist).
Measure your desired skirt length from the waist arc.
Draw the bottom hem of the skirt, creating a larger quarter circle.
Master pattern
Final Pattern
This skirt caught my eye as its pattern was very unique. It's also one of those patterns that looks simple but is actually very difficult to draw.
REFLECTION
This entire practise process has been quite tedious, but I'm happy that I managed to clearly understand how every part works. Though I do still have an issue with being meticulous, but it's something I'll be working on continuously.
GARMENT CREATION
GARMENT CREATION
PANTS X BAG
This garment is a transformable, functional piece designed to eliminate the need for a separate bag. Worn at the waist, these gender-neutral, baggy jeans cater to Gen Z's aesthetic preferences while maintaining clean, minimalist lines suitable for a professional environment.
The side pocket is detachable and interchangeable, allowing for personalization with various materials or colors to suit the wearer's daily mood.
DRAPING + TRIALS
With a surge of excitement to start this project, I encountered a wonderfully soft white twill fabric and instinctively began to drape.
I may not end up using this fabric because its weft is only 30 inches (which may not be enough), but it's definitely a very suitable material. Honestly my favourite part is draping, as it helps to visualise the end product instantly.
After getting a rough idea of how twill will drape, I then moved on to drape with calico.
As my initial plan was to use the entire white twill fabric, I measured exactly to the weft and an ideal warp length.
First pattern
The most significant hurdle was achieving a satisfactory crotch fit. The initial prototype presented a distorted, flat appearance, which I attribute to an overly inward cut during construction.
First Prototype
I was pleased with the pant width, and after getting some advice on the crotch and making a few changes, the second prototype turned out great.
Second Prototype
Bag pattern cut out
Starting on the details, like pockets, belt loops and the attachable bag.
Bag from sideview
Bag from front view
Back view
As I slashed a little to much material away, I think I'll need to add some space back to the bag so it won't look so snug on the pants.
REVERSIBLE HOODIE
Initially, this hoodie was supposed to have removable sleeves as well, therefore the illustration below. However, in the midst of creating the actual hoodie (after toile), the chosen material does not complement having a zip along the shoulder line. More details will be shared below.
Sleeve 1
Working on the toile was very exciting, seeing such a complex pattern come to life.
I first started with draping as well, to get a rough idea how the pieces can be joined together.
Sleeve 2
I made 2 types of sleeves as an option, and everyone agreed that version 1 was nicer, provided there were less pleats.
I then cut out the pieces and redid the toile properly. This was a really tedious process, but what haven't experienced at this point was having to cut the actual garment double-sided...
Fixed on the hood and it's looking good! Due to the toile's exploratory function, a less detailed construction method was utilized.
A significant challenge arose from the sleeve's misalignment with the garment opening. After five attempts at correction, I concluded the initial pattern was flawed.
Due to the detachable nature of the toile sleeves, they were temporarily attached using pins. The pattern was then refined to ensure a precise fit during the final garment's creation.
Overall, the toile fit nicely on a real human, and I was excited to get started on the real garment.
FINAL TOILE
ACTUAL GARMENT
Started by cutting out the many parts of the top, but realised I did it wrongly after cutting two layer at once for almost the entire top. I had to cut them back facing to front facing instead of back to back.
This is the start of an emotional rollercoaster.
Corrections to the fabric, due to an earlier miscalculation, led to concerns about running short. The realization that the fabric was no longer stocked heightened the need for precise execution to avoid any further fabric loss.
I carefully sewed and ironed the pieces, making sure everything was aligned. Which they all did...at first.
The most arduous and frustrating aspect was the corner joining of the double layers. A misalignment issue required significant unpicking and readjustment of earlier construction stages. I had been stuck here for about half a day, which was crucial in view of the upcoming submission.
Finally when I kind of got it right, it's never as perfect as it should be. This was the best I could do and most time I could afford on this small corner.
Moving on, it started getting more and more complicated. I realised that even if the alignments were correct, the fabric tends to move a little while sewing, even with pins to hold them in place.
pinning on to see if the alignment was right and to as accurate as possible when sewing.
Unlike the single-layered toile, this double-layered garment required extensive considerations, including inaccessible seam construction and limited real-time error visibility.
Top of the hood after sewing the dart
The construction process was frequently punctuated by seemingly minor issues that demanded disproportionate time for resolution. I observed that 'cross-junction' seams presented a consistent challenge, with the risk of unintentionally sewing through underlying fabric layers. Repeated unpicking, while mostly successful, resulted in some instances of subtle fabric bruising.
how the hood looks without bias tape. Very filmsy and shapeless.
After sewing on the hood, I wasn't careful enough to notice that it was not perfectly aligned on the other side.
Another 'cross-junction' corner that required significant time to resolve, and the final result still exhibits minor imperfections.
How it looks like after both the inside and out were sewn together seamlessly.
cutting the bias tape from precious left over fabric
ironing them into neat strips
pinning the tape on the inner seam. lines of the hood.
After sewing on the bias tape, this is the outside,
and this is the inside.
A brief period of satisfaction was interrupted by the realization of an overlooked edge, demanding the undoing of previous seams and a complete reconstruction. Therefore, the section is presently being reworked.
I moved on to the zips, eager to find out how it will look when it's finally functional. This was another struggle, getting the zip to fit nicely on the curved edge of the sleeve.
Time was running out to manage this project submission, so after sewing on one side of the zipper to the sleeve, I pinned on the other one to see instant results.
It was very disappointing.
With a drapey material like this, the bulky zip just doesn't sit nicely. There was a huge gap and the connection seems so forced. I didn't like how it looked at all. It may be my choice of zip, or choice of fabric, but they simply don't work well with each other.
So I unpicked it, ready to solve this new issue. With limited fabric, I couldn't do much... or is it really sold out?
I went back to chinatown with a sample of this fabric, and uncle found stock...hidden all the way inside.
Call me lucky, but now I have the freedom of choice. I decided to make the sleeves double sided, so that the entire garment can be flipped together. (when it used to just be the centre panel because I THOUGHT I didn't have enough fabric).
original pleat will only look good on one side of the hoodie.
exploring a different pleat to cater to being able to flip
Double layered sleeve connects nicely to the opening, with a solid weight.
REFLECTION
This project showed me my strengths and weaknesses clearly. I struggle with being perfectly precise, even when I try really hard. I now understand how important every tiny measurement is in pattern-making, and how hard it is to get it right. With just a few months of practice, it's been a real challenge. I hope I'll get better with time, or maybe I'll focus on design and let others handle the detailed work.
Despite the frustrating parts, I'm excited to see this design finished. I'm going to keep working on the tough parts, because I really want to see it come to life.
<<< WORK IN PROGRESS >>>
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