Fitting Pattern

Alteration:
A Multi-Method Approach
Elizabeth G. Liechty Della N. Pottberg Judith A. Rasband
Fitting & Pattern
Alteration:
A Multi-Method Approach

Elizabeth G. Liechty
Assistant Professor
Clothing and Textiles
Brigham Young University

Della N. Pottberg
Assistant Professor
Clothing and Textiles
Brigham Young University

Judith A. Rasband
Home Economist in Business
Provo, Utah

Fairchild Publications
New York
 ACKNOWLEDGMENTS

The measurement procedure for comparing the body to the pattern and
the pattern alterations with their illustrations are credited to Elizabeth
G. Liechty. The fashion and figure illustrations are credited to Judith A.
Rasband. The original theory for the seam method was developed by
Della Pottberg and presented to her students at Brigham Young Univer¬
sity in unpublished materials entitled “Improved Slash Method” and
Swing and Slide Method.” Judith Rasband further tested and devel¬
oped these procedures for her master’s thesis, “Alternative Methods of
Pattern Alteration” (Brigham Young University, 1978). Additional re¬
finements as presented in this text result from the combined efforts of
the three authors.
We wish to thank our colleagues and Brigham Young University for
their encouragement and help. A special thanks to Phyllis Colona for
the first editing of the manuscript. Sincere appreciation is expressed to
Olga Kontzias, our present editor, and Fairchild Publications for the
efficient and effective manner in which they have brought this complex
project to fruition.

Book Design by Janet Solgaard

Copyright © 1986 by Fairchild Publications

Division of Capital Cities Media, Inc.

All Rights Reserved. No part of this book may be reproduced in

any form without permission in writing from the publisher, except
by a reviewer who wishes to quote passages in connection with
a review written for inclusion in a magazine or newspaper.

Standard Book Number: 87005-515-1

Library of Congress Catalog Card Number: 85-82047
Printed in the United States of America
 PREFACE

If you desire beautifully fitted and comfortable clothing that communi¬

cates knowledge, poise, and a positive self-image, this book will be a
source of satisfaction for your creative efforts. It presents innovative and
tested methods of garment fitting and pattern alteration. We hope it
will increase your insight, proficiency, and confidence and stimulate
further creative experimentation. Teachers, students, seamstresses, fit¬
ters, and tailors agree that individualized fitting and pattern alteration
are two of the most frustrating tasks in clothing construction. Our
intent is to overcome the problems that contribute to these feelings.
Our approach is to teach methods of fitting and alteration that are
logical, accurate, consistent, efficient, complete, and satisfying. We have
relied upon our own experience in the classroom and authentic experi¬
mental research. The resulting book may be used with confidence as a
teaehing/learning tool. There is still room for refinement in methods,
explanations, and illustrations. We invite your comments and look
forward to related research.
We desire to meet the needs of the seamstress, student, teacher,
lecturer, demonstrator, fitter, and tailor on both the professional and lay
level. To meet these needs adequately, we have developed the following
features.

• Each figure and pattern is realistically illustrated; each illustration

was first drawn to scale and then photographically reduced in size.
• Each alteration procedure is accompanied by meaningful identifica¬
tion of the figure variation causing the fitting problem. Understand¬
ing the what and the why of the procedure is incorporated into the
explanation, thus reinforcing learning.
• Each alteration is logical and appropriate for the specific fitting
problem. We have carefully incorporated consistency in approach.
• Alteration procedures are presented in a logical manner. A subse¬
quent procedure does not cancel a previous alteration.
• Each procedure has been developed to keep necessary restorations to
a minimum. Restorations do not introduce inaccuracies.
• Each alteration example was completed on an actual pattern to ensure
the completeness, consistency, and accuracy of the reproduction.
• Each alteration procedure has been developed to eliminate distorted
pattern pieces.
• A choice of methods is offered to allow for varying abilities, purposes,
or desires.
• Our approach encourages use of the simplest methods for a particular
alteration, thus increasing efficiency.
• Illustrations are generally self-explanatory.
• Specific alteration procedures are given for multiple variations oc-
curing on the same figure, since most figures varying from standard
require more than one alteration.
• Alteration directions are given for the asymmetrical figure.
• Alteration procedures for basic pattern pieces are also applied to
fashion pattern pieces.
• Part Two is organized for use as a ready reference.

Experience is essential to the sharpening of perception and to the

perfecting of any skill. As you apply the techniques set forth in this
book, we are confident you will develop self-reliance and the satisfac¬
tion of knowing that you too can consistently achieve a fault-free,
custom fit.
 CONTENTS

PART ONE THEORY

1 Using the Elements Principles of Design 3

The Elements of Design 4
Line 4
Shape 7
Color 8
Texture 11

The Principles of Design 14

Balance 14
Proportion & Scale 15
Rhythm 15
Emphasis 17
Harmony 17

Selecting Using Equipment 21

Measuring Tools 21
Metric Conversion Charts 22
Marking Tools 24
Cutting Tools 26
Stitching Tools 27
Fitting Supplies 29
Pattern Alteration Supplies 30

Evaluating the Figure 33

Alternative Methods of Figure Evaluation 33
The Standard/Ideal/Symmetrical Figure 34
Symmetrical Variations from the Standard Figure 36
The Asymmetrical Figure 36
Posture Evaluation 37

Selecting Patterns 41
Pattern Size—Body Circumference 41
Figure Type—Height <&» Build 41
Children 42
Developing & Mature Females 42
Developing <§p Mature Males 43
Pattern Company—Build &= Posture 43

Learning from the Contents of A Pattern 47

Pattern Companies 47
The Pattern Catalogue 48
The Pattern Envelope 49
The Guide Sheet 50
The Pattern Pieces 51

Recognizing Correct Fit 55

Basic Fitting Standards 55
Using Grainline &> Balance to Evaluate Fit 55
 Using Structural Line &> Balance to Evaluate Fit 56
Using Basic Ease to Evaluate Fit 57
Standards for Fitting a Basic Garment 57
Standards for Fitting Fashion Garments 57
Flare 57
Pleats, Tucks, Vents & Slits 59
Gathers 59
Drape 59
Darts 60
Collars 60
Pockets 61

Learning to Fit A Garment 63

Fitting Area 63
Personal Appearance 63
Efficiency Accuracy 64
Fitting Guidelines 65
Fitting Procedure 66
Figure Analysis 66
Fitting Analysis 66
Figure Requirement 67
Garment Alteration 67
Pattern Alteration 70

Methods of Fitting 71
Pinned Pattern Method 71
Preparing the Pattern for Fitting 72
Fitting Procedure for Each Unit 73
Tfial Garment Method 74
Preparing the Pattern 77
Preparing the Fabric 77
Joining the Fabric Pieces 78
Fitting THal Garments 78
Measurement Method 80
Marking the Figure for Measurements 80
hiking <§*> Recording Body Measurements 80
Lower Torso (for skirt or pants) 80
Optional Measurements (for close-fitting pants) 82
Upper Torso (for the bodice) 82
Arm (for the sleeve) 84
Comparing Body Measurements to the Pattern 84
Lower Torso (skirt) 84
Lower Torso (pants) 85
Close-fitting Pants 90
Bodice Lengths 90
Bodice Widths 91
Sleeve Lengths 95
Sleeve Widths 98

9 Methods of Pattern Alteration 99

Alteration Procedures 99
The Slash Method 100
The Seam Method 103
The Pivot Method 104
Alterations for Asymmetrical Variations 107
 Personalized Patterns & Slopers 111
10 1. Even Length Changes 111
2. Combined Even & Uneven Length Changes 112
3. Combined Even &> Uneven Width Changes 114
Checking the Finished Patterns for Accuracy 116
Preserving a Personalized Pattern 116
Using a Basic Pattern or Sloper to Compare Fit 6=
Determine Alterations 120
Using a Basic Pattern or Sloper to Design New Patterns 122

PART TWO ILLUSTRATED ALTERATION GUIDE

Hip Area 125
1. Long Lower Torso 126
2. Short Lower Torso 128
3. Large Waist' 130
4. Small Waist 132
5. Prominent Hip Bones 134
6. Prominent Abdomen 136
7. Flat Abdomen 138
8. Sway Back 140
9. Pelvis Tilts Towards Back 144
10. Prominent Upper Hip Curve 146
11. Sloping Upper Hip Curve 148
12. Broad Hips 150
13. Narrow Hips 154
14. Cylindrical-shaped Torso (hip area) 158
15. Flattened Oval-shaped Torso (hip area) 160
16. High Buttocks Contour 162
17. Drooped Buttocks 164
18. Large Buttocks 166
19. Flat Buttocks 170
20. Prominent Pubic Area 174
21. Recessed Pubic Area 176

Legs 179
22. Long Legs 180
23. Short Legs 182
24. Large Thighs at Inside 184
25. Shallow Thighs at Inside 186
26. Large Thighs at Front 188
27. Large Thighs at Sides 190
28. Outward Knee Rotation 192
29. Inward Knee Rotation 194
30. Hyperextended Calves 196
31. Large Legs 198
32. Thin Legs 200

Neck 203
33. High Neck Base at Sides 204
34. Shallow Neck Base at Sides 208
35. Large Neck 212
36. Thin Neck 214
37. Forward Head 216
38. Dowager Hump 218

Shoulders 221
39. Broad Shoulders 222
 40. Narrow Shoulders 226
41. Square Shoulders 230
42. Sloping Shoulders 234
43. Long Arm Joints (bodice) 238
44. Short Arm Joints (bodice) 240
45. Forward Arm Joints (bodice) 242
46. Prominent Collar Bones 246

Rib Cage 249

47. Prominent Sternum/Rounded Chest 250
48. Hollow Chest 252
49. Rounded Upper Back 254
50. Erect Upper Back 256
51. Prominent Shoulder Blades 258
52. Flat Shoulder Blades 260
53. Broad Chest/Upper Back 262
54. Narrow Chest/Upper Back 264
55. Wide Rib Cage 266
56. Narrow Rib Cage 268
57. Cylindrical-shaped Torso (rib cage) 270
58. Oval-shaped Torso (rib cage) 272
59. Long Upper Rib Cage 274
60. Short Upper Rib Cage 276
61. High Bust Position 278
62. Low or Pendulous Bust Position 280
63. Wide Bust Point Span 282
64. Prominent Bust 284
65. Large Bust 288
66. Small Bust 292
67. Flared Lower Ribs 296
68. Long Midriff 298
69. Short Midriff 300
70. Large Waist 302
71. Small Waist 304

Arms 307
72. Arm Length Variations 308
73. Long Arm Joints (sleeves) 314
74. Short Arm Joints (sleeves) 316
75. Large Shoulder Joints 318
76. Small Shoulder Joints 320
77. Forward Arm Joints (sleeves) 322
78. Large Arms 324
79. Thin Arms 326
80. Large Upper Arms 328
81. Large Elbows 330
82. Large Forearms 332
83. Inward Rotation of the Elbow 334
84. Large Wrists 336
85. Small Wrists 338

PART THREE
Measurement Chart 341
Adjustment Record 342
part one

theory
 CHAPTER 1

People seldom look for evidence of a figure fault or variation. Consciously or

unconsciously they seek an attractive and appropriate appearance. Such an
USING THE
appearance can be achieved when all elements of clothing design are selected to ELEMENTS &
present the individual harmoniously. The value judgments that determine
what is attractive, appropriate, and harmonious are subject to social and
PRINCIPLES
cultural influences. They form the frame of reference through which the figure OF
and the gai’ment are evaluated.
On the following pages the effects of the elements of design are ap¬ DESIGN
proached in terms of what you can do as opposed to what you should do. Too
often it is assumed that the short person should appear taller and the larger
person should appear smaller; this may not be true. Larger individuals may
enjoy the sense of presence created by their size; they may choose to emphasize
this presence with textured fabrics, bright colors, and bold lines. Small
individuals, on the other hand, may choose to emphasize their petite figure
through delicate fabrics in small-scale pastel prints.
Categorical generalizations, such as Use versus Avoid or Do versus Don’t,
dictate rather than instruct. The choice of how the elements of design will be
used is left to the individual. This choice carries with it the responsibility of
evaluating the design elements separately and in combination to achieve a total
harmony.
The elements of design are the basic, essential components of the art of
design. Traditionally, they include line, shape, color, and texture. Each element
may be manipulated to help create the desired effect in any given garment on
any specific figure.
The principles of design are those goals that have become accepted—even
expected—over time. They act as guides' for the selection and use of the
elements of design. The principles of design include balance, proportion, scale,
rhythm, emphasis, and harmony. Effective use of the elements and principles
of design can alter visual perception to create good design on the individual
figure.
The two most effective ways of controlling visual effects are repetition and
contrast. Repeating an element in garment design may reinforce or emphasize a
desired figure trait. For example, narrow vertical lines and spaces may be used
to reinforce and emphasize height. Contrasting an element in garment design
with an undesired trait may camouflage or minimize the trait. For example,
slightly curved lines and shapes can be used to camouflage the angularity of a
very thin figure. If carried to extreme, however, the effectiveness may be lost.
Basic differences become accentuated when the degree of contrast is too extreme.
For example, very thin legs will be emphasized by a wide, bouffant skirt. DESIGN ELEMENTS

Individuals with extremes of height, weight, or shape are wise to avoid Line
exact repetition or complete contrast of a feature they consider undesirable, for Shape
they will emphasize rather than counteract. The very lightness of thin, clingy Color
fabrics may emphasize the contrasting heaviness of a full figure while at the Texture
same time revealing the body contours. Conversely, the opposite extreme of
heavy, bulky, or stiff fabrics emphasizes the heaviness of the full figure by are manipulated
repetition. An intermediate degree of a specific design element can create a to create
more flattering effect.
DESIGN PRINCIPLES
Both repetition and contrast may be employed in a single garment to
Balance
focus attention on the area where it is desired and away from the area where it
Proportion
is not desired. Wise selection of clothing design can minimize the need for
Scale
alteration by creating illusion, diverting attention, or effectively camouflaging
Rhythm
an undesired figure trait.
Emphasis

to achieve
Each design element or principle is individual and can be studied separately,
yet when incorporated into a design, each is interdependent on every other.
FINAL GOAL
For example, a traditionally feminine, floral print may become bold and
Harmony
assertive when seen in very bright colors on a dark background; large-scale
pleats may cause a small figure to look unbalanced; a row of buttons down one
3
4 FITTING & PATTERN ALTERATION

side of a garment may create asymmetrical balance; a rough texture may dull
an otherwise intense color.
Because of the interrelationship of the elements and principles of design,
traditionally hard and fast rules may not remain valid in all cases. Careful
consideration must be given to selection, combination, and arrangement of
each element; the figure on which the design elements are placed; and the
setting in which they are viewed. Apparent height, weight, and shape are
relative to each of the factors discussed above. No element or principle of
design can be evaluated as an isolated entity. No matter how lovely any one
part may be, the whole must also be considered in determining the end result.

The Elements of Design

LINE
Line is the most influential element of design in the presentation of the figure
and in the fitting process. It measures the distance between two points,
encloses and divides space, and defines shape. Line indicates direction and
leads the eye throughout the design. Line may be seen in both the fabric and in
the design of a garment.
Structural line in fabric is created by the position of the yarns as they cross
each other at the right angles or as they loop vertically or horizontally. The
directional lines thus formed may be observed and are commonly referred to
as grain. The lengthwise fabric grain lies parallel to the selvage and perpendic¬
ular to the floor. The crosswise fabric grain lies between or at the right angles
to the selvages and parallel to the floor. When the fabric grains lie at right
Figure 1-1 Very angles to each other, the garment will hang evenly on both sides of the body.
fitted garment When the fabric gram is out of line, the garment will hang crooked, especially
after it is washed. Always check the grain of the fabric prior to pattern layout.
All natural fabrics without coated or heat-set finishes can be straightened very
simply by pulling the weave into alignment. This is accomplished by cutting
each end along one yarn, then pulling the fabric on the true bias in the
direction of the shortest corners. Most synthetic fabrics can be straightened by
pressing with a steam iron while the fabric is pinned to a porous or cork-top
cutting table in a grain-perfect position.
The crosswise-grain tends to stretch more than the lengthwise grain- the
lengthwise grain is more stable and durable. These are significant factors in
garment design and fit because lengthwise areas of the garment placed on the
crosswise grain may stretch or sag. During fitting and construction, check the
gram for such distortions as bending, twisting, pulling, sagging, and wrin-
hng. If the grain is distorted due to poor garment construction, the garment
will twist on the figure, causing poor fit. Grain distortions caused bv figure
variations can be corrected by alterations on the fitting garment and on the
paper pattern (see Part Three).
Decorative lines in fabric can occur as stripes, plaids, and repeating motifs
The lines are created during fabric construction or added during printing and
finishing processes. They should be considered in the layout of pattern pieces
on the fabric and in relation to the body areas on which they will be seen
Outline in garment design is established by the garment edges. Outside
ines that enclose space and define the body or the garment shape are known as
the silhouette. The garment silhouette should achieve vertical and horizontal
balance and pleasing proportional relationships, and it should avoid emphasiz¬
ing a figure variation considered undesirable. The garment silhouette may or
may not define the body silhouette. Either the body or the garment silhouette
Figure 1-2 Slightly wi 1 be dominant, depending on the closeness or looseness of fit. The closeness
fitted garment
very loTsY b<> Ca,eg°riZed aS VeTy sliSh% fitted, slightly loose, or

II y VCIy fitted garment repeats body contours exactly (see Figure 1-1) It
allows little ease for body movement. It is suitable only for photographic and
stage purposes, and some evening wear. The body silhouette is dominant.
 USING THE ELEMENTS <S= PRINCIPLES OF DESIGN
5

A slightly fitted garment repeats body contours but provides standard

wearing ease; it should fit the body without constraint. The body silhouette is
still dominant (see Figure 1-2).
A slightly loose garment only suggests body contours and stands slightly
away from the body or flows loosely over it (see Figure 1-3). There is
considerable added ease. The garment silhouette tends to become dominant.
A very loosely fit garment does not define body contour at all (see Figure
1-4). Fullness may begin at the shoulders. Fabric may stand away from the
body or fall loosely around the body in folds. The garment silhouette is
dominant.
A combination of these styles may be termed partially fitted. A partially
fitted garment is fitted in specific areas, such as over the upper bodice, the
midriff, or the upper hip area (see Figure 1-5). A looser degree of fit is
incorporated into the styling of other areas. Either the body or the garment
may become dominant in various areas, depending on the degree of fit. Such
designs provide the greatest potential for creating effective illusion to mini¬
mize a figure variation.
Looseness in fit can be created by such construction techniques as re¬
leased tucks, unpressed pleats, gathers, shirring, flare, or flared insets. No one
need feel limited to tent-like styles to conceal the body silhouette but rather
one may make use of controlled fullness in the areas of concern. For example, a
fitted yoke in the shoulder area can be used to control gathered fullness in the
bodice below. Varying degrees of close or loose fit can be used alone or in
combination to meet an infinite variety of figure needs.
Wise selection of clothing silhouettes can reduce or even eliminate the
effects a figure variation has on a garment and the resulting need for alteration.
Figure 1-3 Slightly
Slightly loose and partially fitted designs are generally advised for the fuller loose garment
figure or for camouflaging a figure variation. Rather than revealing the body
contours beneath, they allow the fabric to flow smoothly over the body or the
area of concern; the garment silhouette is dominant. A dress that does not have
a fitted waist is not likely to require alteration for the waist circumference; a
flared skirt is less likely to need adjustment in the hip area.
Garment silhouettes are subject to shifts in fashion and can mirror social
values and change. Regardless of fashion trends, however, when an artistically
attractive appearance is desired we are well advised to select only those
silhouettes that present the figure harmoniously.
During the fitting process, there is often an unintentional tendency for
the beginner to overfit a garment—to increase the closeness of fit. This results
in a loss of ease. Ease is the difference between actual body measurements and
the measurements of the garment or pattern intended by the designer. The
amount of ease may vary from style to style. Unless intentionally departing
from the original design, maintain the degree of fit intended by the designer.
Improper amounts of ease affect'the garment silhouette. Insufficient ease
results in lengthwise, crosswise, or diagonal wrinkles in strained areas and
reveals the body contours beneath. The garment will bind and pull in fitted
areas, and normal body movement will be uncomfortable.
When a garment is too tight in any body area, fabric shifts to a smaller
area and crosswise wrinkles are produced. Diagonal wrinkles occur where
there is insufficient ease over a body bulge. The fabric will return to its proper
position when sufficient ease has been introduced. On the other hand, too
much ease will generally cause fabric to sag, puff, or form vertical folds. Excess
ease must be removed to restore the fabric to its proper position. Fabric pulls or
bows upward in the direction of a body contour that is too large and sags
downward over an area where the body contour is small or shallow. (See Figure 1-4 Very
Chapter 7 and Part Three for further discussion of wrinkle correction.) loose garment

Interior design lines he within the garment itself and can be either
v structural or decorative. They can divert attention away from the silhouette;
they can be used to create vertical, horizontal, or diagonal eye movement; they
6 FITTING &> PATTERN ALTERATION

can divide the total area into pleasing proportional areas in scale with one
another and with the wearer.
Structural interior lines are created by stitched darts and seams.
Seamlines should intersect accurately in an appropriate position for the wearer.
Dartlines should be directed toward the crown of the body bulge they are
designed to fit. On a fashion garment, structural lines also may be created by
gathers, pleats, or tucks.

Decorative interior lines can be created by the placement of buttons,

pockets, and appropriate trim. Interior design lines that are well planned lead
the eye throughout the garment with a smooth, rhythmic movement. They do
not compete with one another for attention. Effective interior lines do not
emphasize an undesired figure variation but rather divert attention to another
area considered more acceptable and attractive.
Lines can be straight or curved. Straight lines oppose the curved lines of
the body to varying degrees. Curved lines conform more harmoniously to the
cui ves of the body. Lines that are only slightly rounded are referred to as
restrained curves, while more circular lines are referred to as full-rounded
curves.
Straight lines can indicate exact vertical, horizontal, or diagonal direc¬
tions. Curved lines reflect the character of the direction they most closely
resemble. Line direction can be created through the placement of grainline and
fabric design lines, the silhouette, and interior design lines.
Vei tical lines can be observed in a tubular silhouette. Interior design lines
that may produce a vertical direction include finished edges, seamlines, neck¬
lines, pleats, panels, tucks, folds, slash pockets, center front and back plackets,
button and zipper openings, a row of buttons, a soft or straight hanging tie'
and so forth. & & ’
Horizontal lines can be seen in a bouffant silhouette. They occur in the
interior of a garment as finished edges and seamlines such as yokeline,
waistline, hipline, and hemline. They may be observed in necklines, patch or
slash pockets, pocket flaps, cuffs, bow ties, belts, double-breasted closures, and

Diagonal lines can be observed in an A-line silhouette. They may occur on

the interior of the garment as lapels, panels, inserts, seamlines and finished
edges, or garment openings such as surplice.
Alone or in combination, straight lines generally have a slimming effect
due to the flatness of the line. Curved lines can add visual weight because the
me is rounded. How straight or how curved the garment lines should be will
Figure 1-5 Partially
vary according to the desire to outline or camouflage the body silhouette or to
fitted garment
create illusion in a particular area. The visual impact created by restrained
cm ved lines is generally more subtle than that created by rigid straight lines.
Single vertical lines generally create the illusion of increased height and
slimness in the area where they are used. This is because the eye is drawn
inward toward the line then follows it upward and downward, mentally
continuing the length of the line unless stopped by a horizontal intersection
However, when several vertical lines are repeated at close intervals thev
carry the'eye across the body, thus creating the illusion of increased width and
decreased height Width is also created by the use of wide lines, widely spaced
lines, and panel lines spaced far apart. The eye focuses on the one line then
moves across the body to the next line, thus measuring the width between
When correctly fitted, a tubular silhouette with obviously greater height
han width can create the effect of a vertical line and elongate the figure
Vertical wrinkles caused by poor fit produce the illusion of increased hfight
and narrowness emphasizing the too-big appearance of the garment. Asym-

^dTtTside ^ Can ViSUally alter the Pr°P°rtional areas of the body from
Single horizontal lines generally create the illusion of decreased height
an increased width in the area where they are used. This is because the eye is
drawn to the line and follows its path from side to side, until stopped by a
USING THE ELEMENTS & PRINCIPLES OF DESIGN
7

vertical intersection. The total of the divided areas of the body appears shorter
than the total height.
The greater the number of widely spaced horizontal divisions, the
shorter the individual may appear. Depending on the placement of the hori¬
zontal line, proportional body lengths can be visually increased or decreased.
For example, the dropped waistline at hip level visually lengthens the upper
part of the body and shortens the lower part of the body. Such divisions are
important considerations in the achievement of balance, proportion, and
emphasis.
When several short, thin horizontal lines are repeated at close intervals,
the illusion of increased height can be created as the eye is led up and down,
from line to line. This is particularly true if a vertical line is also present in the
center front, as with a center front opening. The narrower the vertical
silhouette, the greater the effect. Fullness in the design creates a wide silhou¬
ette and the effects of a horizontal line occur at the area of greatest fullness.
Horizontal wrinkles caused by poor fit produce the illusion of increased body
width, emphasizing the too-little appearance of the garment.
Diagonal lines tend to increase length or width at their end points. This is
because the end points are visually compared with the opposite edge point of
the silhouette. The thickness, length, and degree of slant of the diagonal
influence apparent height and width. A short diagonal line appears to increase
width. A long diagonal line appears to increase height. A sharply angled
diagonal, lying nearly horizontal, takes on the characteristics of a horizontal
line and appears to increase width. A subtle diagonal, only slightly angled and
lying nearly vertical, takes on the characteristics of a vertical line and tends to
increase height and slimness. The combination of length and slant of the
diagonal line must be considered to determine the final effect of the line.
A diagonal line increases emphasis in the area where it is placed.
The actual length of a line can be measured; however, the impact or visual
str'ength of a line is determined by the length of time the eye dwells on it. The
longer the eye follows a line, the more effective the line becomes in creating an
illusion. Lines can be exaggerated or reinforced by construction and decorative
techniques, such as piping, ribbing, bands, panels, welt seams, lapped seams,
top stitching, and other trims, particularly when they are set into a contrasting
background. The ability of a line or lines in combination to create an illusion
becomes a matter of length and strength factors, of long or short lines, of many
or few lines, of raised or flat lines, and of the background on which they
are placed.
Generally, the greatest amount of emphasis occurs when a line directly
repeats a line on the figure. However, lines in direct and extreme contrast to a
line on the figure also emphasize, due to the amount of difference between
them. Transitional lines move smoothly from one direction to another without
abrupt change in direction. They may be used to lead the eye to another part of
the body.
When vertical and horizontal lines are used in combination, as in a plaid,
the effect of increased body size is dependent on the spacing of the lines and
contrast with the background. Generally, the wider the spacing of the lines
and the greater the color contrast, the larger the apparent size. Conversely,
decreased space between the lines and a similar-colored background minimize
the effect of increased size. A greater sense of harmony is also achieved when
the scale of the plaid is in proportion to the person wearing it—for example,
when a petite figure wears a small- to medium-scale plaid. Always evaluate the
interrelationship of all elements of design as they affect the appearance of
the figure.

SHAPE
Shape is the element of design created by the enclosure of space and is usually
restricted to a two-dimensional area having length and width. It can be seen as
the silhouette of a garment or as the enclosed spaces that constitute the
8 FITTING <&= PATTERN ALTERATION

garment design. These interior shapes can be created by structural seamlines

or may lie on the surface of the garment, as with pockets and collars. These
shapes appear as the foreground, with background area or space between
them. Printed or woven motifs create the shapes that constitute the fabric
design.
Closely related to shape is form. Form generally refers to a three-
dimensional object, such as the body. The shape of the garment encloses the
form of the body. As is true of line, either body form or garment shape will
dominate. If the form of the body and shape of the garment repeat each other,
the body form will be accentuated. Fashion shapes do not always present the
individual figure well. If harmony is desired between garment and figure, the
body form must be respected. The closeness of fit appropriate for the body or
its parts that was discussed under line applies here also. Body form can be
camouflaged by a slightly loose fit in the garment shape.
Shapes within the garment design can repeat and reinforce the basic
silhouette. The choice to repeat or contrast the shape of the silhouette will
depend upon attitude toward the figure. Interior shapes can create illusions of
increased or decreased height, width, and weight, depending on placement,
size, and line direction. Angular shapes tend to emphasize the angularity of a
figure by repetition. Curved shapes tend to soften angularity in the figure and
repeat body curves. Because shapes are composed of straight and curved lines,
the discussion under line applies.
Many shapes, or divided areas within a garment, tend to decrease height
and increase width, depending on the manner of division and line direction.
Foi eground shapes tend to add visual weight in the area where they are placed;
the size and form of the surface shapes should be in harmony with the area!
The number and size of shapes are most pleasing when relative to the amount
of background space determined by the garment shape and structural
seamlines. Avoid the placement of too many shapes in a small place. The result
is crowded and confusing, with conflicting points of interest. Match stripes,
plaids, and motifs wherever possible to achieve a more harmonious
appearance.
To keep all elements congruent, keep the size of interior shapes created in
the garment in scale with the size of the wearer. Small shapes and motifs on a
small person are congruent. To create illusions of increased or decreased
height, width, and visual weight, use a gradual transition in the size of
shapes—small with medium to increase, large with medium to decrease.
Generally the jump from small to large or large to small is too extreme to be
harmonious.
Interior shapes can serve several functions. They can add interest to a
plain garment design, create a point of emphasis by attracting attention to a
specific body area, or divert attention away from an undesired figure variation.
If attention is not desired in a specific area, such as the bust or buttocks the
area is best left as background.

The illusory effects of shape can be modified by the interrelated elements

of design: line, color, and texture. However, an evaluation of the effects of each
element on the total composition is necessary. For example, the texture of the
fabric affects the line and shape of the silhouette. A firm fabric holds a specific
garment shape and causes the garment to become dominant, but a soft fabric
faffs closely about the figure, causing the body to become dominant. Because of
these differences in texture, the same design lines can appear quite different
made up in dissimilar fabrics.

COLOR

Color is the most complex and stimulating of the art elements. It refers to the
components into which white light, or the full spectrum, may be separated.
An object, such as fabric, absorbs or reflects light. When all light is absorbed
the eye perceives black. When all light is reflected, the eye perceives white!
 USING THE ELEMENTS <&= PRINCIPLES OF DESIGN
9

The varying degrees to which light rays are absorbed or reflected accounts for
the chromatic color perceived by the eye. Specific fabric dyes absorb specific
light rays; the light rays that are reflected account for the color perceived. For
example, when the dye absorbs all colored light rays except red, the fabric
appears red.
There are three separate yet interrelated dimensions of color: hue, value,
and intensity. Each has the ability to create illusions about visual size and
weight. Hue is the name given to a particular color family. Warm hues—such as
red, orange, and yellow—are mentally associated with fire. Because of longer
wavelengths they appear to advance, thus causing shapes to appear closer,
somewhat larger, and more important. Such cool colors as green, blue, and
violet are mentally associated with the sky and water. Because of shorter
wavelengths they appear to recede, thus causing shapes to appear farther away,
somewhat smaller, and less important. Colors “with hue” are called chromatic
colors.
A hue can be made to appear relatively warmer or cooler. Green pigment
appears warmer when mixed with yellow and cooler when mixed with blue.
Value refers to the lightness or darkness of a hue that results when either
white or black is added to the basic hue. Black, white and gray are “without
hue” and are called achromatic colors. With the addition of a small amount of
yellow or blue even achromatic colors can appear warmer or cooler. When
white is added, the hue lightens to a higher value and is referred to as a tint.
Very light, high-value tints reflect the light and appear to advance, causing
shapes to appear closer, slightly larger, and less compact.
When black is added to a hue, the hue darkens to a lower value and is
referred to as a shade. Very dark, low-value shades absorb light and appear to
recede, causing shapes to appear smaller, farther away, and more compact.
They tend to outline the silhouette in contrast to the background against
which it is seen.
When a combination of black and white (gray) is added to a hue, it may
remain the same in value or become lighter or darker, depending on the value
of the original hue and the particular gray. The resulting color is also dulled
and may be referred to as a tone. Generally the middle values and grayed tones
are less obvious in their effects; although they tend to maintain apparent size
and weight, they lean more toward reduction than magnification. The degree
to which color creates an illusory effect depends on the background against
which the value is observed. The greater the contrast, the greater the effect.
Intentisy is often referred to as chroma. It is the degree of brightness or
dullness of a hue and is determined by the strength, saturation, or purity of
the basic hue. Bright, pure, strong, saturated hues are said to be of high
intensity or full chroma. They appear to advance, causing shapes to appear
nearer, slightly larger, and more emphatic. Dulled, weak, grayed hues are
created by the addition of the complement of the basic hue or gray and are said
to be of low intensity. Dulled hues are called tones. They appear to recede,
causing shapes to appear farther away, smaller, less emphatic, or of less
importance.
Perception of hue, value, and intensity varies among individuals. Color
perception is dependent on the shape of the lens in the eye, the color of the lens
and the iris, the ability of the retina to perceive color, the ability of the brain to
interpret color, and on cultural and educational background as it influences
color awareness, interpretation, and appreciation. While many people may
agree that a particular hue is red, they may not agree on subtle differences
between warm orange-red, red, and cool blue-red, light red and dark red, or
bright red and dull red due to differences in perception. It is essential to
increase color awareness and maintain objectivity in color evaluation and
interpretation.
Colors are seldom seen in isolation; they are perceived in combination
with other colors in the clothing, the body, and the background against which
they are placed. Colors have an altering effect on one another. The apparent
10 FITTING <S= PATTERN ALTERATION

hue, value, and intensity of a color may be manipulated according to the

combination of colors with which it is used or against which it is seen. A red-
violet appears more violet next to a true red, more red next to a true violet. A
medium-value orange appears lighter next to brown (dark orange) and darker
next to beige (light orange). A medium intensity blue appears brighter when
placed next to a dull blue and duller when placed next to a bright blue. The
closer together the colors lie in the spectrum (color wheel), the more apparent
their basic differences become.
A knowledge of the effects of color allows us to use a specific color in a
specific area to create a specific illusion. The combined use of warm, light,
bright hues causes the figure or body area to appear nearer, somewhat larger,
and heavier. The combined use of cool, dark (but not to the point of black), dull
hues causes the figure or body area to appear farther away, somewhat smaller,
and less weighty. These effects are summarized in the following chart:

CHARACTERISTICS EFFECTS

Warm Hues Advance

Light Values Enlarge
High Intensities Excite

Emphasize

Cool Hues Recede

Dark Values Reduce
Low Intensities Calm

Minimize

By controlling the hue, value, and intensity of the specific color, we

control the effects of the color. For example, a warm red appears farther away,
smaller, quieter, and less noticeable in a dark value of low, full intensity. A cool
blue appears closer, slightly larger, heavier, and more emphatic in a light value
of a high, bright intensity.
The use of one solid hue in an outfit, or combinations of close values and
intensities of the same hue, appears to decrease width and weight and increase
height. The figure is not divided and the eye can travel freely up and down the
entire length.
The use of contrasting hues, values, and intensities in large areas in an
outfit causes the figure to appear larger and heavier. It also appears shorter.
The figure is divided into shapes where the contrasting colors come into
contact with each other. The body height is broken into comparative parts
thus creating proportional divisions. Body proportions can be altered at the
line where a color change occurs. For example, a torso considered too long can
be visually shortened by a belt matched to the color of the skirt or slacks An
upper torso considered too short can be visually lengthened by a belt matched
to the color of the bodice. Vertical balance can be improved for the person with
more weight in the lower portion of the figure by using light colors in the
bodice and darker colors in the skirt or slacks. A combination of contrasting
colors in the bodice area also increases the visual weight in the upper portion
of the figure.

The appropriate use of color combinations in prints and patterns to create

a desired illusion requires an evaluation of lines, shapes, and colors. To increase
apparent height and slimness, for example, select small-scale patterns in cool
 USING THE ELEMENTS &= PRINCIPLES OF DESIGN
11

hues with close values and intensities, in clothing styles that have vertical
movement. To increase apparent width and weight, select large-scale patterns
in bright, warm hues with strong value and intensity contrasts, in clothing
styles that have horizontal eye movement.
Use a contrasting hue, value, or intensity to call attention to a desired
point of emphasis, thus diverting the eye from an undesired figure variation.
When two or more colors are used in unequal amounts, one color should
dominate; otherwise confusion and conflict result.
Always evaluate the use of a specific hue, value, and intensity in relation
to your purpose and to the other elements of design. For example, someone
desii ing not to emphasize a large figure might decide against wearing warm,
blight colors (which emphasize the figure and its contours) in the daylight.
However, the same colors often appear duller under artificial lighting. Made
into a flattei ing style in a soft, matte-textured fabric, such colors could present
a large figure very attractively.
Seldom does an individual correspond to a particular color type. Individ¬
uals possess an infinite variety of personal coloring patterns and combinations
of apparently warm- and cool-based hues. In addition, personal coloring may
change with age and exposure to the environment.
Colors in combination can be used to reinforce or counter undesirable
effects on personal coloring. If a selected color is perceived to present skin,
hair, or eye color poorly, wear it with another color near your face that will
flatter and alter negative effects. For example, if navy blue is so dark that it
absorbs a great deal of light and seems to drain color from your face, wear it in
combination with a lighter color such as white, yellow, peach or sky blue to
reflect more light and provide needed dark/light contrast.
If a selected color is so dull that you also appear dull and uninteresting,
wear it in combination with a brighter color to enliven your looks. A color
scheme in tan and taupe comes alive with the addition of red, rose, or teal blue.
If a color has no relationship to your personal coloring, wear it in combination
with one that does. You can quickly become an integral part of the color
scheme you create with your clothes. For example, ivory and rose in combina¬
tion with black may repeat hair and cheek color. Rust and teal in combination
with gray may repeat hair highlights and eye color. The appropriate use of
makeup, such as mascara and cheek blush, can introduce desirable color
repetition or contrast and expand the variety of colors that can be worn
beautifully.

TEXTURE

Texture is the element of design that describes the surface characteristics of

fabric. These characteristics are perceived by the senses of sight, touch, and
sound. The texture of a fabric is determined by the fiber, yarn, method of
fabrication, and applied finishes.
Fibers can be natural (such as cotton, silk, linen, and wool) or they can be
synthetic (such as nylon, polyester, and acetate). Short, rough fibers usually
produce yarns and fabrics that absorb the light and appear dull. Long, smooth
fibers usually produce yarns and fabrics that reflect the light and are shiny.
Fibers may be stiff or pliable, which also affects the final fabric characteristics.
Yarns are created by twisting fibers together. Loosely twisted yarns have
fewer twists per inch, therefore exposing longer segments of fiber surface to
light. They reflect more light and appear shiny. This effect may be changed if
loosely twisted yarns are brushed to create a fuzzy nap. Fiber slippage is
greater in loosely twisted yarns, and bagginess may result. This affects fit
adversely.
Tightly twisted or crepe yarns have a greater number of twists per inch,
therefore exposing only short segments of fiber surface to the light. The yarn
twists cast shadows and the yarns appear duller. Fiber slippage is reduced in
tightly twisted yarns, resulting in a more stable yarn. The fit remains constant.
12 FITTING &> PATTERN ALTERATION

Fabrics are created by weaving, knitting, crocheting, felting, or braiding;

still other fabrics are extruded in sheets. The final textural effect in a fabric is so
dependent on the type of fiber and yarn used that an infinite variety is
possible. For example, a silk crepe of tightly twisted yarns can be very fluid and
drapable—also dull in appearance. Cotton fabric can be as delicate as dotted
swiss or as sturdy as tent canvas. Wool fabric can be as lightweight as challis or
as heavy as a blanket.
Applied finishes (such as flocked voile) can alter the physical properties of
fabric, and ultimately the texture. If not permanent, some finishes relax or
wear off, thus leaving a new set of textural characteristics.
Textural characteristics are expressed in terms of opposites. For example:
shiny/dull, rough/smooth, crisp/limp, stiff/pliable, stable/stretchy, compact/
porous, opaque/transparent, thick/thin, bristly/downy, heavy/light.
Such descriptive words help communicate the specific combination of
characteristics belonging to a fabric. The effect of each characteristic is relative
to its position on a continuum between extreme opposites. In other words,
there are many degrees of softness, stiffness, sheerness, heaviness, and so forth.
No characteristic should be considered intrinsically good or bad, but rather
should be used as a clue to match fabric to function within the garment design
and on the figure. To ignore these fabric characteristics is to invite fitting
problems and a lack of harmony between fabric garment design, and figure.
The word hand refers to the tactile aspects of fabric; it describes the way
fabric feels. Drape refers to the way the fabric hangs or falls into soft or crisp
folds. Scroop refers to the audible characteristics of fabrics. For example, taffeta
has a characteristic rustle when brushed against itself. Corduroy emits a
swishing sound when rubbed against itself.
Textural characteristics determine the suitability of a fabric for a garment
style or purpose. For example, a slippery, lightweight fabric may be very
suitable as a lining but totally inappropriate as a dress. A tailored tubular
design requires a firm fabric to hold the shape. A draped design requires soft,
pliable fabric to fall into soft folds. Conversely, to stand away from the body, a
bouffant design requires stiff, crisp fabric or under-stiffening.
Fabrics also influence the closeness of fit. For example, coat designs allow
a greater amount of ease to accommodate the heavier, bulky fabrics needed for
warmth. If such a coat is made of a lightweight fabric, it will be too large. On
the other hand, designs intended for lightweight fabrics will be too tight if
made from thick, heavy fabrics. Designs intended only for stretch fabrics have
eliminated some of the usual ease; the same garment constructed in a woven
fabric will be too tight and likely will not withstand the strain in bust, bicep,
and hip areas. Recommended fabric names and weights for a particular design
generally are listed on the pattern envelope (see Chapter 4).
Bulky or loosely woven fabrics require simple designs with few seams;
flat, smooth, tightly woven fabrics may accommodate several seams and design
details. The presence of each seam introduces the added bulk of seam allow¬
ances and the possibility of fraying and sagging. These factors influence the
achievement of a well-fitted garment.
Often medium- and lightweight fabrics with opposing characteristics can
be used interchangeably in the same design. However, the resulting silhouette
and drape will be considerably different-as for example with crisp fabrics
versus soft fabrics. The garment style must be appropriate to the fabric used so
it does not appear too heavy or limp and without body. Quantity of fabric and
placement of grain also may need adjustment to achieve the desired effect.
Textuial characteristics influence the selection of appropriate fabric for a
specific figure. The size, weight, bulk, firmness, light absorption or reflection,
and degree of opaqueness of a fabric can reveal or camouflage the body through
optical illusions. Soft, stretchy, clingy fabrics that are limp and drapable hug
the body and reveal body contours. The effect is unattractive when they are
overfitted or allowed to rest or hang on a body area such as the bust, prominent
abdomen, buttocks, or thighs. Medium-weight, smooth, firm fabrics that hold
USING THE ELEMENTS <S= PRINCIPLES OF DESIGN
13

theii shape can conceal the figure without adding size and weight. Bulky,
rough-textured fabrics conceal body silhouette and contours but increase size
and weight. Transparent fabrics reveal the body shape and, if crisp, add visual
bulk to the figure. The effect may be poor on a figure that is considered too
thin or heavy.
The degree of luster in the fabric—shiny or dull—must also be evaluated.
Shiny fabrics appear lighter and brighter. In illusion they tend to advance, thus
increasing figure size and weight and attracting attention. The same hue in a
dull-surfaced fabric will appedr darker. Such fabrics tend to recede in illusion,
thus decreasing figure size and weight and minimizing attention drawn to the
figure. For example, compare the shiny face of a crepe-back satin with the dull
back, or compare the apparent color differences in corduroy or velveteen that
result from the direction of the pile.
The illusion of decreased height and increased size and weight can be
created by using heavy, thick, stiff, napped, rough, nubby, or bonded fabrics;
they add bulk to the body. Paradoxically, soft, flimsy, sheer, shiny, drapable
fabrics can produce similar effects because they reveal body contours. Combin-
ing different textures can also have the effect of dividing the body into several
shapes, each affected by the texture used in that area.
-To create the illusion of increased height and decreased size and weight,
use fabrics that are light to medium weight, flat to medium thick, opaque or
dull, with firm, smooth, hard finishes. The use of one texture throughout the
outfit also helps create the illusion of increased height.
All factors must be evaluated to determine the appropriateness of any
fabric. For example the visual effect of size and weight produced by a dull or
shiny fabric will be relative to its bulk, softness, and firmness. Whether to use
a stiff, bulky fabric will depend on its relative thickness. Before purchasing a
fabric, drape it over the body in approximately the same grain and style line
and amount as will be required in the garment. Evaluate in a full-length mirror
its potential affects on the garment design and on the figure.
Fabric textures—and therefore performance—can be altered by the use of
interfacing, underlining, interlining, and lining. Interfacing provides body and
increased stability to a fashion fabric. It is applied to areas of stress and
wherever a firmer shape is desired. Underlining is cut from the same pattern as
the garment pieces and is sewn as one with the fashion fabric during garment
construction. It provides additional body to a fashion fabric and creates an
opaque appearance. Interlining provides extra warmth in a garment. It is
generally quite bulky and may interfere with the standard ease allowance.
Often it is sewn as an underlining with the lining. Lining provides an interior
finish to the garment. It is sewn as a separate unit, placed in the garment with
wrong sides together, and attached at facings, neckline, waistline, and hemline.
Lining fabrics are usually lightweight, soft, pliable, slippery, and opaque. They
help absorb the stress of body movement and allow the garment to slide
smoothly over the body or other fashion garments.
Each of these inner layers of fabric must be compatible with the fashion
fabric. To determine appropriateness, layer the fabrics against each other prior
to purchase. The innermost layer, such as lining, must fit the body with
appropriate ease. Each successive outer layer must be made slightly larger than
the last inner layer. This allows the layers to fit smoothly and comfortably over
one another.
Fabric shrinkage also can alter correct fit. Natural fibers may require
preshrinking according to the recommended method. If fabric is not pre¬
shrunk, it may shrink later due to laundering or steam pressing. Heat-sensitive
fabrics also may shrink when overheated in a dryer.
All elements and principles must be considered in relation to one another
and to the individual who will wear the clothing. For instance, skin and hair
texture is fine, coarse, smooth, or rough. The selection of smooth, fine fabrics
for someone with coarse, rough skin may be unflattering because of the
extreme contrast.
14 FITTING & PATTERN ALTERATION

Select fabric textures that are proportionally in scale to the wearer. Thick,
heavy fabric on a large body will emphasize the largeness through repetition.
On the other hand, thick, heavy fabric on a small body will overpower the
wearer because of extreme contrast. Embossed patterns or the length of a nap
also can influence the appropriateness of a fabric for a particular figure.
Textures can be used to divert attention away from an undesired figure
variation and toward a flattering point of emphasis. For example a small
amount of shiny fabric can be used as piping on a bodice yoke to draw attention
away from large hips.
When combining textures for various effects, take care that textures
combine harmoniously. For example, denim and chiffon in the same garment
almost certainly conflict because of extreme differences in their characteristics,
expected use, and care.
Fashion changes result in trends in textural preferences because the styles
that are in fashion dictate the texture appropriate for use. However, the texture
of a current fashion fabric may not be appropriate for a specific figure. For
example, fake furs may be overpowering on a petite figure. Avoid fashionable
textures that are inappropriate for a particular figure and focus attention on
the use of fashionable colors, lines, and shapes instead.

The Principles of Design

BALANCE
Balance refers to the equal distribution of actual or visual weight about a
central point. When there is balance there is a pleasing relationship of all the
parts from side to side and from top to bottom. A sense of stability results.
Horizontal balance is achieved when the visual weight of one side of the
body is equal to the other side. The standard horizontal balance is termed
symmetrical. There is an even distribution of weight and contour over the
body frame, and both sides of the body appear identical. When the body is
asymmetr ical or the two sides are unequal, it generally is considered desirable
to bring the body closer to visual symmetry by manipulating the elements of
design. Fine, shape, color, and texture can be effectively used in clothing to
create the illusion of increased or decreased height, width, or weight, and the
dominance or subordinance of a particular area.
Every garment design has a real or imaginary center line from side to
side. The eye mentally assigns a visual weight to each area of the design.
Symmetrical horizontal balance is created when actual or imagined center
fiont or center back lines divide the area into visually equal or nearly equal
parts; both sides of the garment appear identical. Horizontal garment balance
can also be asymmetrical. Asymmetrical styles do not compare body sides for
identical size and shape, but they remain visually balanced. The elements of
design can be manipulated to increase the visual weight and size of the smaller
side, and garments can be selected that seem to contract or expand a particular
area to achieve balance.
Vertical balance, sometimes referred to as perpendicular balance, is
achieved when the upper part of the figure is balanced by the lower part.
Generally, the heavier, solid torso or upper body should appear balanced by
the longer hip and leg area or the lower body. This creates a sense of stability in
the total figure. J

Vertical or perpendicular balance is one of the goals in good garment

design. Proper selection of clothing contributes to the achievement of perpen¬
dicular balance. For example, an individual with broad shoulders can balance
the figure with width or fabric weight in the design of the skirt.
Once again, interrelationships must be carefully evaluated. Dark colors in
low, dark values have a greater visual weight than lighter hues and values A
small area of dark color can balance a large area of light color. Farge shapes and
USING THE ELEMENTS & PRINCIPLES OF DESIGN
15

bulky textures also influence the balance of a garment by causing the figure
areas where they are used to appear heavier.

PROPORTION SCALE

Pi oportion is the size relationship of the areas of the body or garment design to
one another and to the whole. The relationship between the areas can be
defined in terms of numerical ratios. Generally, uneven ratios of 1:3, 2:3, and
3:5 are considered most interesting in clothing designs. They most nearly
repeat the natural body proportions, and the divisions are interesting because
they are not equal or readily discernible. For example, when the space division
occurs at the waist, the average body ratio is two parts above the waist and
three parts below. The sizes of the various garment areas are in proportion
when they relate harmoniously to one another, to the whole garment, and to
the figure of the wearer. Attractive garment proportions do not call attention to
variations in body proportions caused by bone structure or the uneven
distribution of weight on the body frame (see Chapter 3).
Comparative proportional areas are described in terms of scale: small,
medium, or large. Bone structure can account for variation in the scale of
different figures. When sizes are similar or related, they are said to be in scale:
for example, small prints, pockets, and collars worn on a small frame.
The parts of the body may not be proportional to or in scale with other
parts of the body or the whole. Each area may look normal when seen as an
isolated unit, but out of proportion when viewed next to an adjoining area or
as a whole. Structural or decorative lines create and shape the divisions in
garment design. Body proportions can be visually altered by placing division
lines at the shoulder for a yokeline, above the waist for a midriff line, and
below the waist for a hip yokeline. All the various effects of design elements
previously discussed can be used to bring body areas into better proportion.
Shapes, colors, and textures in the design or in accessories can also visually
increase or decrease the comparative height, weight, or dominance of a
particular area.
The size of body areas can be emphasized by either repetition or extreme
contrast in the scale of the garment details; therefore, shift no further than
from small to medium or from medium to large within one design and in
comparison to the figure. A shift into the medium range provides an illusory
transition, reducing the comparative effect of exact repetition or extreme
contrast.
Not all fashion trends are pleasingly proportional for all figures. Fashion
illustrations show an unrealistic, elongated figure with increased length in the
lower part of the body. This partially accounts for frequent disappointing
differences between fashion drawings and the constructed garment on an
actual figure.

RHYTHM
Rhythm is a sense of orderly movement. It is achieved in garment design when
the design elements are arranged to lead the observer’s eye directionally
throughout the garment and to a point of emphasis. Rhythmic movement
serves to unify the design, provide a transition between areas of the garment,
avoid conflicting areas of interest, and identify the center of emphasis in a
design. Rhythm may be either obvious or subtle.
Arrangement of the elements of design to produce rhythm can include
repetition of lines, shapes, colors, or textures; alternation of lines, shapes,
colors, or textures; gradation of lines, shapes, sizes, color values and intensities,
and textures; continuous line of shapes, colors, or textural trims; or radiation of
lines, shapes, colors, or textural folds (see Figures 1-6 through 1-10).
In each of these illustrations, the viewer visually follows a particular path
throughout the design and feels satisfaction as the pathway continues to a
pleasing and dominant point of emphasis. The elements of design can be
16 FITTING & PATTERN ALTERATION

Figure 1-9 Continuous line

of shapes, colors or textural trims.
Figure 1-10 Radiation of
lines, shapes, colors or textural folds
USING THE ELEMENTS <S= PRINCIPLES OF DESIGN
17

deliberately arranged to camouflage the figure, create an illusion, or divert the

eye away from an undesired figure variation and toward an area considered
more suitable to emphasize.

EMPHASIS

The principle of emphasis in design is the creation of a dominant point or

center of interest. That point may be the facial area or another body area as
defined by the garment desigrj. There may or may not be subordinate points of
emphasis; these points are smaller, less obvious, or less emphatic in their claim
for attention. Nevertheless, to avoid a spotty appearance, one area should
dominate. Conflicting areas of emphasis become confusing to the observer’s
eye.

Determine body areas you wish to emphasize through the figure evalua¬
tion piocess. This involves value judgments about what society deems attrac¬
tive; such preferences may or may not be suited to the particular individual.
Generally such elemental details as line, shape, color, and texture are used to
camouflage or divert attention away from a figure variation; however, some¬
times we see an unexpected figure characteristic emphasized to make a
statement of individuality—for example a longer neck or broad shoulders.
Emphasis occurs at the point of the greatest visual interest or contrast.
These points may be created in the following ways.

• A change or contrast in shape, color, or texture or in line direction or

type of decorative detail
• Repetition or concentration of lines, shapes, or colors
• The reinforcement of a design detail by trim in that same area

The more attention claimed—or the more emphasis created—by one element,
the less the others should claim. In other words, the more dominant one
element, the more subordinate the others should be.

HARMONY

To achieve harmony, all design elements must be selected and arranged to

create a unified idea, concept, or theme. This is the ultimate goal in any
creative effort. It requires combining lines, shapes, colors, and textures in a
way that is appropriate to the purpose; all individual details must relate to
form a congruent whole.
Generally in pattern, fabric, or garment selection, and in fitting and
alteration, the purpose is to present the figure as attractive, well balanced, and
well proportioned. A garment design should be sought that is harmoniously
unified among its various parts as well as with the figure on which it is to be
worn. The interrelated aspects of the elements and principles of design become
apparent as we evaluate the harmony of the whole, not just the parts.
As you attempt to camouflage or emphasize a particular part of the figure,
there is danger of ruining the harmonious presentation of the whole. There is
also danger of emphasizing one figure variation while attempting to camou¬
flage another. Therefore, the illusory effects of the entire garment design must
be evaluated in relation to the figure and the defined purpose. For instance, a
woman might have a proportionally large bust, small waist, and large hips. The
small waist may be considered the most attractive area of the figure and such
clothing details as a cinch belt may be selected to emphasize that area.
However, attention at the small waist emphasizes the largeness of the bust and
hips by extreme contrast.
For each of the illustrations in Figure 1-11, evaluate the use and interre¬
lated effect of lines, shapes, colors, and textures in achieving balance, propor¬
tion, scale, rhythm, emphasis, and—ultimately—a harmonious appearance.

Once you have gained an understanding of the elements and principles of

design as they relate to an attractive appearance, you need not be limited to
18 FITTING & PATTERN ALTERATION

traditional selections or arrangements. The design elements can be manipu¬

lated to create a desired effect. In the final analysis, the dominance of a
particular element is the most important. For example, a large-scale plaid
generally is assumed to add visual size and weight to a figure; however, a large
plaid appears smaller when presented in soft, grayed tones. Color becomes the
dominant element controlling the effect of the lines and shapes in the plaid. To
give another example, a small-scale floral print traditionally is thought to be
delicate and to help the larger figure appear smaller; however, this print takes
on increased size and visual weight when presented in strong, intense colors.
Again, the element of color becomes dominant and overpowers the ultimate
effect of the shapes.
To give additional examples, the visual weight of a heavier, thick fabric
can be modified by a simple style with few structural lines and an absence of
decoration. In this case, the style and shape of the garment become dominant
and control the effects of the texture. A clingy fabric can be caused to stand
slightly away from the body in a softly gathered/draped style worn over an
undergarment treated with an antistatic finish. In this case, the style and shape
of the garment are combined with another treated texture to control the effects
of the clingy fabric. We must always examine and determine the dominance of
the various elements of design in terms of the intended purpose.
As you finalize the selection and arrangement of the design elements
most appropriate for the figure, you may feel unsatisfied or emotionally
uncomfortable with the choices. Although correct in themselves, they may
conflict with personal preferences based on values, attitudes and interests,
geographic location, personality, mood, economic ability, or availability. In
other words, you must also identify and evaluate the social and psychological
interrelationships in terms of the individual and the individual’s purpose.

achieve or disrupt harmony

USING THE ELEMENTS <S= PRINCIPLES OF DESIGN
19

Frequently you must adapt what is available to personal needs, adapt

personal needs to preferences, or satisfy two conflicting needs at the same time.
For example, if you value being in fashion but the current style does not
present the figure well, you must determine how to modify the style lines or
select from other fashion details, such as color or accessories. By carefully
evaluating effects and the alternatives, you can usually arrive at an acceptable
solution to personal needs in both home-sewn and ready-to-wear clothing.

• If a current fashion stresses square shoulders, which may accentuate

shoulders that are already square, the shoulder pad can be eliminated.
To give the firmness and smooth appearance desired in the area, use a
layer of drapery heading or two layers of a crisp fabric.
• If puffed or extended sleeves are currently in vogue but will emphasize
already broad shoulders, consider omitting the usual alteration for
bioad shoulders and allowing the shoulder to occupy some of the space
created by the puff or extension.
• If necklines on currently popular patterns lie lower on the chest than
you desire, raise the neckline by altering the pattern prior to cutting.
• It a ready-to-wear skirt has horizontal wrinkles at the back caused by a
swayed back, alter the skirt and reset the waistband.

\ou can find solutions to fitting problems once the problem is recognized,
the cause understood, and the alternatives carefully weighed. Many fitting
problems can be solved by selecting appropriately styled clothing.
When a correct fit cannot be achieved by appropriate style selection
alone, the ability to correctly fit and alter clothing and patterns is essential in
presenting an attractive and harmonious appearance.
«<

.
 CHAPTER 2

The quality of construction and potential for effective fit of the garment begins
SELECTING &
with correct selection and wise use of appropriate sewing tools. Tools that are
clean, accurate, readily accessible and properly stored retain their usability and USING
increase one s efficiency during the total sewing process. They also help
eliminate the frustration that inevitably results when an essential tool is
EQUIPMENT
missing or does not function properly.
Many types of sewing tools are available. Some are necessities; others are
helpful and make the task easier; still others are nothing more than superflu¬
ous gadgets. Be aware of new developments, but use logic in evaluating new
products and their advertised usefulness. However clever, a tool is valuable
only to the degree that it simplifies or improves and accomplishes the intended
sewing task. Following is a list of useful equipment, including information on
selection and proper use. Cleaning and storage suggestions are also given to
ensure that the sewing tools continue to function in top condition.

Measuring Tools
Accurate sewing depends to a great extent on accurate measuring. The manner
of measuring affects the finished size and shape of the garment and the
harmony between various body areas and the corresponding fabric.
Learning to use metric measure may be necessary for everyone. Commer¬
cial patterns began to introduce metric measurements several years ago. Once
the system is understood, it is surprisingly easy to use. Metric measurements
are always designated with whole numbers. When divided into smaller units,
the decimal is used rather than the fractional division common to the inch
system. Wherever measurements are quoted throughout our text, we state
amounts in inch measurements first followed by the metric equivalent
in parentheses.

We suggest purchasing equipment with both metric and inch measurements to

help relate the two systems.

YARDSTICK (Meter Stick)

A measuring stick is of great help when marking long, straight lines on the flat
surfaces of a pattern or fabric. It is also useful when laying cloth smoothly on
the cutting table. Sliding the stick between layers of napped or rough fabric
helps the fibers, yarns, and bubbled areas adjust correctly during the grain¬
straightening and fabric-flattening processes.
The most durable types of measuring sticks are made of metal or waxed
hardwood with metal end tips. The markings should be clearly printed in
fractions and whole numbers. Smooth surfaces, edges, and corners prevent
snags in fabric. Several plastic measuring devices similar to yardsticks are
available. They usually combine a curved edge, a straight edge, and an L-square
(90-degree angle). The curved edge is very helpful for designing areas with
curved lines and for redrawing curves during pattern alteration.
Store metal or wooden measuring sticks in a hanging position in a cool
dry place. This prevents warping, rusting, and other damage. Remove finger
marks and other soil by wiping the sticks first with a cloth treated with
furniture wax, then with a dry, soft cloth.

TAPE MEASURE
The flexibility of the tape measure makes it useful for measuring large curved
or flat surfaces on the body, pattern, or fabric. The best tapes are made of
fiberglass or cloth that has been specially treated to prevent stretching, tearing,
and wrinkling. Paper tapes tear, fray, and wrinkle easily and do not retain their
accuracy. Nearly all tape measures are GO inches (1.5 m) long. This length has
proven to be the most useful and efficient. Securely attached metal end tips
increase the useful life of the tape and aid in taking accurate measurements.

21
22 FITTING &> PATTERN ALTERATION

Metric Conversion Charts

For Body Measurements
To determine your pattern size, compare your body measurements to the body
measurements listed below. The chart lists measurements in both inches and centimeters.

MISSES’
Size 6 8 10 12 14 16 18 20
in cm in cm in cm in cm in cm in cm in cm in cm
Bust 30% 78 3114 80 3214 83 34 87 36 92 38 97 40 102 42 107
Waist 23 58 24 61 25 G4 2614 67 28 71 30 76 32 81 34 87
Hips 32% 83 3314 85 3414 88 3G 92 38 97 40 102 42 107 44 112
Back waist
length 1514 39.5 15% 40 1G 40.5 1614 41.5 1614 42 16% 42.5 17 43 17% 44

MISS PETITE
Size 6 MP 8 MP 10 MP 12 MP 14 MP 16 MP
in cm in cm in cm in cm in cm in cm
Bust 3014 78 3114 80 3214 83 34 87 36 92 38 97
Waist 23‘/2 GO 2414 G2 2514 65 27 69 2814 73 3014 78
Hips 3214 83 3314 85 3414 88 36 92 38 97 40 102
Back waist
length 1414 37 14% 37.5 15 38 15% 39 1514 39.5 15% 40
WOMEN’S
Size 38 40 42 44
in cm in cm in cm in cm
Bust 42 107 44 112 46 117 48 122
Waist 35 89 37 94 39 99 4114 105
Hips 44 112 46 117 48 122 50 127
Back waist
length 17% 44 17% 44 17% 44.5 17% 45
HALF-SIZE
Size 10 14 1214 1414 1614 1814 20*4 2-
22*4
in cm in cm in cm in cm in cm in cm in cm in cm
Bust 33 84 35 89 37 94 39 99 41 104 43 109 45 114 47 113
Waist 27 69 29 74 31 79 33 84 35 89 37V2 96 40 102 42% 108
Hips 35 89 37 94 39 99 41 104 43 109 45% 116 48 122 50% 128
Back waist
length 15 38 15% 39 1514 39.5 15% 40 15% 40.5 16 40.5 16% 41 16% 41.5

For Fabrics
To convert fab ric widths and yardages from inches and yards to centimeters and m
eters,
compare what is listed i 1 each yardage block to the chart below.

FABRIC in cm in cm in cm in cm in cm in cm in cm in cm
WIDTHS 25 65 27 70 35 90 39 100 42 107 45 115 54 140 60 150
Yardage Yd m Yd m Yd m Yd 111 Yd m Yd 111 Yd m Yd 111
Va 0.15 Va, 0.25 3/a 0.35 Vz 0.50 % 0.60 % 0.70 Vs 0.80 1 0.95
1/4 1.05 1% 1.15 1% 1.30 1% 1.40 1% 1.50 1% 2
1.60 IPs 1.75 1.85
2% 1.95 2% 2.10 2% 2.20 2V4 2.30 2% 2.40 2% 2.55 2% 2.65 3 2.75
3% 2.90 3% 3.00 3% 3.10 3V2 3.20 3% 3.35 3% 3.45 3% 3.55 4 3.70
4% 3.80 4% 3.90 4 Vo 4.00 4% 4.15 4% 4.25 4% 4.35 4% 4.50 5 4.60
5% 4.70 5% 4.80 5¥a 4.95 5% 5.05 5% 5.15 53/4 5.30 5 Va 5.40 6 5.50
6%) 5.GO 6 Vi 5.75 6% 5.85 6/2 5.95 6r,a 6.10 6% 7
G.20 6% G.30 6.40

A tape with both inch and metric markings is especially useful. Efficiency
is further increased if the tape is reversible (the inch and metric markings
begin with the number 1 at opposite ends of the tape on opposite sides). A
tailor’s tape usually begins with the number 1 at the same end on both sides of
the tape. This tape has a small, firm shield attached to the beginning of the tape
that aids in taking the inseam length of pants. Other nonreversible tapes are
more useful and efficient if the end beginning with 1 is marked for quick
identification during use.
To maintain the temper in the tape material and prevent stretching and
twisting, tapes should be loosely wrapped in a smooth coil when not in use.
This will also keep the markings clear for a longer time. Fiberglass and treated
cloth tapes may be cleaned with a damp cloth.
 SELECTING & USING EQUIPMENT
23

CLEAR PLASTIC RULER

Pattern and fabric markings are easily seen through a clear plastic ruler so that
details can be measured or positioned accurately. A narrow, flexible ruler is
useful for measuring small curved areas. Stand the ruler on its edge to measure
or mark curved lines. The ruler can also be wrapped around the wrist or arm
to measure the area and determine the ease desired. Wide plastic rulers
[approximately 4 inches by 15 inches (10 by 37.5 cm)] are available but are too
rigid to be bent. These wide rulers usually have several parallel slots that vary
in distance apart. They are helpful for marking straight-of-grain lines, even
amounts of change during pattern alteration, and so forth. However, the slotted
areas break apart easily unless the ruler is used very carefully. Wide plastic
rulers will also chip and break if dropped.
All plastic rulers should be stored in a hanging or flat position to prevent
warping or breaking. Plastic is affected by extremes in temperature. These
rulers must not be brought into contact with a hot iron. When cold the plastic
is brittle; it will break or shatter if bent quickly or severely. Any plastic ruler is
easily cleaned with a damp cloth. Chemical solvents—such as dry cleaning
fluids—cause damage.

SEAM GAUGE
This simple but very useful device is usually 6 inches (15 cm) long. It has an
adjustable marker to measure short or repeated distances during clothing
construction, knitting, and so forth. A gauge with both inch and metric
measurements is very useful. The marker should move easily, mark with
precision, yet remain stable until deliberately changed.
A metal seam gauge is more durable than plastic, and the markings are
usually easier to read. The metal marker is more pointed, therefore helping to
produce more accurate measurements. A gauge that has a hole both in the
marker and the end point (to accommodate a pencil and a pin, respectively) can
be used as a simple compass to draw scallops and other curves.
A seam gauge should be kept flat during use and storage. Bending a metal
gauge or using it as a screwdriver damages the smoothness and may cause the
marker to move too loosely or tightly.

HEM MARKER
A level hem is one mark of professional fitting and sewing. An uneven hemline
is usually an indication of a need for further fitting. Once proper fit has been
incorporated above the hipline, leveling of the hem will be necessary only for
skirt styles involving bias areas.
A hem marker is an upright measuring stick that is firmly attached to a
base and is used to measure the skirt hem a given distance from the floor. An
adjustable marker attached to the upper end of the stick allows simultaneous
measuring and marking. Two types are available.
The marker on spray-types is a container of chalk with an air bulb
attached. When the bulb is pressed, a short line of chalk sprays onto the
garment. (The cutting line should be marked, not the foldline, because chalk
remains in some fabrics and can leave a stain.) The chalk marker is very
efficient; you can use it to mark your own skirt if you stand looking straight
ahead with the body weight carefully balanced. Talcum powder can be used to
refill an empty container or chalk refills can be purchased. The air tube and
bulb deteriorate with use, and the tube will break or split if kinked.
The marker on pin-types is a hinged clamp that opens to allow the skirt to
lie inside and be held firmly in place. When the clamp is closed, a pin is
inserted into the fabric through a groove in the end of the clamp. The pins can
be placed either at the trimming line or at the foldline. This hem marker
requires a little more time to use than the spray-type. Time is saved later at the
ironing board because the marking pins are accessible for reuse when turning
the hem.
24 FITTING &> PATTERN ALTERATION

Both markers will remain more usable if stored hanging upside down. In
this position the clamp on the pin-type is closed, thus preventing twisting or
breaking, and the air tube on the spray-type extends straight from the nozzle
on the container cap. Oversettling of the chalk, which occurs when it is kept in
an upright position, will also be prevented.

Marking Tools
The accurate and neat transfer of pattern markings to the fabric counterparts is
of paramount importance, both in fitting the fabric pieces together and in
obtaining a fault-free finished product. The fit of the garment and its appear¬
ance on the figure are directly affected by the care used in this process.
Markings should be permanent enough to be used effectively but temporary
enough that they can be removed or remain totally inconspicuous on the
garment.

TRACING WHEEL
Construction lines such as seam, dart, and trim lines are easily transferred from
pattern to fabric using a tracing wheel and transfer paper. All types of tracing
wheels function best over a solid surface. A square of masonite placed under
the fabric helps ensure well-defined marks and prevents damage to the table
top. A piece of thin, clear plastic or tissue paper may be placed between the
pattern and cloth to prevent transfer of the printer’s ink from the paper
pattern.
Three types of wheels are available. The sawtoothed-edge type makes
larger, more conspicuous dots, but it also may damage patterns. This tracing
wheel is inexpensive and sells at all notion counters. The smooth edge type
makes a solid line that is easily seen. It does not appreciably damage patterns.
This type of wheel is also inexpensive, but it is less often available at notion
counters. The needle-point tracing wheel is rarely sold on the retail market,
possibly because of its higher cost. It is available through industrial notion
catalogues. This tracing wheel is very desirable as it leaves only pin-dot marks
on pattern tissue and fabric, and it does little damage to patterns. The points
are extremely sharp and can be dangerous if not used and stored with care.

DRESSMAKER TRACING PAPER

This paper (to be used with a tracing wheel) is the easiest, most convenient
method for transferring pattern marks to fabric. It is available in white and in
several colors. Always choose a color that is lighter than the fabric. (White may
be used on all colors of fabric including white.) Always mark the wrong side
(back surface) of the fabric. When marking doubled layers of fabric, the single-
coated paper can be used whether the face of the fabric is folded inward or
outward. Double-coated paper can be used only when the back surfaces of the
fabric are folded inward.
Disappointment and frustration result from inappropriate choice or in¬
correct use of tracing paper. Spongy or thick fabrics mark too heavy on the top
layer and too light on the lower. Too much pressure results in conspicuous
marks that may be forced through to the face of the fabric. When marking
doubled layers of heavyweight fabric, mark each layer separately rather than
applying extreme pressure. Rolling the wheel back and forth can make thick
marks or two or more separate (and consequently inaccurate) lines. Colored
marks show through thin or sheer fabrics; these fabrics should be marked by a
different method. Paper in colors darker than the fabric will also make
conspicuous marks. Polyester and nylon fibers absorb waxes. The coating on
the waxed type of tracing paper may penetrate permanently into such fabrics.
Marking dye can remain as a stain. If the marks are pressed, they cannot be
removed by washing or dry cleaning—yet professional sewing cannot be done
without pressing. Chalk-type coatings used on tracing paper brands such as
 SELECTING &o USING EQUIPMENT
25

Saral seem to remain on the fabric surface. They loosen easily and disappear
with slight brushing. The marks are not retained in the fabric when heat is
applied. Other brands are available that advertise markings that disappear
when moistened. All brands should be tested on the fashion fabric for the
degree of clarity, show-through, and removal.

CHALK MARKERS

Clay and wax markers are very useful for marking sewing lines during the
fitting and construction of a garment. When used with a ruler or curved guide,
a very accurate line can be drawn. Clay chalk is available in brick, pencil and
powder form. The powder form is white; bricks and pencils can be found in
white, pink, and blue. The white and blue are less apt to stain. Clay chalk can
be used on all fabrics except wool; the natural oil in wool absorbs the chalk and
makes it difficult to remove. Synthetics absorb the oil in the wax markers.
The edge of the clay bricks and the pencil point glaze quickly during use,
after which they mark poorly, if at all. Renew the marking surface on both
frequently. Scrape both surfaces of the marking edge on the bricks to form a
V-shape and maintain a sharp, usable marking tool. Sharpen the pencil with
an ordinary pencil sharpener.
Clay bricks are often sold in a holder with an attached sharpening device
and a brush for removing residue. The sharpener is of little value. It forms a
rounded edge that makes a thick line lacking accuracy. The brush is stiff and
may damage some fabrics. The bricks and pencil tips break if these tools are
dropped.
Clay pencils are used in the same way as the bricks. If in the form of an
ordinary pencil, the chalk can be sharpened to a fine point for making thin
fines and small, accurate dots. The refillable marking pencils lack usefulness.
They glaze easily, make thick marks, and are not easily sharpened.
Wax bricks are available in white, red, and black. White is usable on all
colors of fabric, including white. This product does not glaze at all during use.
Wax chalk is used only for marking wool. The wax disappears into wool fabric
when pressed with a warm iron. When it is used on other fibers, a greasy stain
may appear. The dye residue may remain in the fabric. The wax brick will melt
if placed near heat.
A chalk marker is also available that dispenses powdered chalk. The
product is very useful and efficient when a continuous line or extensive
markings are necessary. The powder is held in a refillable, flattened container.
The marking is made as a serrated wheel rotates through the chalk supply then
along the fabric. The powder is easily removed with a light brushing or
shaking of the fabric.
A thin sliver of light-colored or white hand soap is a good substitute for
either clay or wax chalk if it has no added oils or cold cream. When the soap
bar is worn too thin for cleaning the hands, it is the correct thickness for
marking. Oilfree soap does not have any of the problems associated with clay or
wax chalk. It disappears into all fabrics when pressed with a steam iron. The
sliver may be kept sharp by scraping both surfaces of the edge.

ERASEABLE MARKING INKS

“Eraseable” ink is available in two forms of pens. The ink is a liquid in both
pens. Very small dots can be made with a deft, quick touch. The lighter the
mark is made, the easier it is to remove. The ink in the water-eraseable type is
sky blue. It will disappear when a drop of water or a moistened cloth is placed
on the markings before the product is touched with heat. The color neutralizes
better on fabrics composed of synthetic fibers than it does on cotton or natural
fibers. Do not use the product on fabrics that will water spot.
The air-eraseable type leaves a purple mark. Within 24-48 hours, the
v mark will neutralize and disappear if not touched with heat. The mark will
disappear immediately if touched with water.
26 FITTING & PATTERN ALTERATION

Cutting Tools
The quality of the cutting tool and the way it is used will directly affect the fit
of the garment. Scissors that shred cloth and push or pull it out of line cause
changes in the size and shape of fabric pieces. If these tools are to maintain a
sharp cutting edge, they should be used only for cutting thread and fabric.
High-quality shears or scissors are expensive, but with proper care and use
they should last a lifetime. Buy the best quality available within your budget.
The best shears and scissors are made from hot-dropped, forged, surgical
steel and have been coated with nickel or chrome to prevent rust. The screw
should maintain blade tension, not allow it to loosen or tighten. The cutting
action should be smooth, even, and clean for the full length of the blade. The
tool should be easy to use and feel comfortable in your hand. Before purchas-
ing, try several pairs on single and doubled layers of various fabrics. Cut the
fabric using the full length of the blades. With the blades still closed, pull them
away from the fabric. If they have rough edges or hooked points, they will not
free the fabric. Dull areas on the blades leave poorly cut areas of fabric or will
not cut at all. Also look for comfort and ease during the cutting process.
The weight and size of the selected tool should be compatible with the
weight of the specific fabric. Lightweight scissors or shears will not cut
heavyweight fabric accurately. Fabric that is too heavy can spring a tool that is
too light, thereby damaging it for future use.
Dropping scissors or shears can break the tips or the screw holding the
blades together; it can also spring the blades so they no longer have the proper
tension to cut accurately. Cutting tools should be stored flat in a closed, dry
place. Some are sold with a sheath to cover and protect the blades.

SHEARS
This tool is of heavy construction and is shaped with a smaller handle for the
thumb and a larger handle to accommodate the last three fingers. Such a
formation permits excellent control and the application of considerable pres¬
sure. Shears are used for extensive cutting tasks on thick fabric or multilayers
of fabric. The most common sizes of shears are 7 inches (17.5 cm) and 8 inches
(20 cm). The handles are shaped for either the right hand or the left hand. (It is
almost impossible for a left-handed person to use right-handed shears or vice
versa.)
The blades of straight shears extend outward between the two handles.
The blades of bent shears are even with the lower (large ring) handle. Bent
shears permit more accurate cutting because the angle allows the blades to lie
more nearly parallel to the table. Shears with serrated blades prevent a fluid
fabric from moving away from the pattern edges and the blades during cutting.
Lightweight shears are widely marketed; if they are made of good steel,
they are serviceable for lightweight fabrics. However, with these shears heavier
fabi ics must be cut one layer at a time to maintain cutting accuracy and to
prevent damaging the shears. Many cheap imitations of top-quality lightweight
shears have flooded the market. They are not tempered, they dull easily, cut
poorly, have riveted blades, and usually cannot be sharpened.

SCISSORS
Scissors are usually less than G inches (15 cm) long and are of lighter construc¬
tion than shears. They are used for delicate jobs of snipping or for cutting light-
to medium-weight fabric at the sewing machine, ironing board, or fitting area.
The blade and handle are usually straight, but bent types are available.
Frequently both handles have ring openings of the same size. To be effective,
scissor tips must be very pointed and sharp.

CLIPPERS
The blades on clippers are either riveted together or connected with a loop of
spring steel. Clippers do not have traditional handles. This tool should operate
 SELECTING &> USING EQUIPMENT
27

with a brisk, spring-hinge action. It permits quick snipping of thread ends and
seam stitches during fitting and construction. Most brands are not heavy
enough to snip fabric; to attempt to do so damages the blade tension. Some
people hang the clippers on a loop of tape around the neck to keep them
accessible while fitting or sewing.

SEAM RIPPER
This device aids rapid removal of unwanted stitching. Both large and small
rippers are available. The point is usually protected with a cap. A large seam
ripper has a more comfortable handle and a thick blade tip that is useful for
cutting basting stitches during fitting. A small ripper has a very sharp point
and can be used to remove fine stitching without damaging fabric. The cap fits
ovei the end of the handle during use to extend the ripper and provide more
control. Store the tool with the point covered.
To prevent damaging fabric with seam rippers, cut the stitches at close
intervals on one side of the fabric, then quickly pull the unclipped thread. It
will free itself in one continuous strand and will also loosen the clipped thread
sections, which are then easily removed.

Stitching Tools
HAND-SEWING NEEDLES
Needles are sold according to type and size. The types most generally used are
called betweens. These are short and can produce fine, accurate stitching.
People with short fingers may use them more efficiently than people with long
fingers. Sharps are medium length and should be used for longer stitches or for
making several stitches at a time. Milliners are the longest needles and are
excellent for basting long seams. Crewels (embroidery) have elongated eyes and
are easier to thread, especially if embroidery floss or doubled strands of thread
are being used for making tailor’s tacks. The calyx-eye needle is self-threading
and therefore efficient to use. It is particularly helpful for those people with
vision problems.
Needle sizes are numbered from 1 (coarse) to 12 (fine). Select the correct
size according to the texture of the fabric and the size of the thread. The needle
eye should be large enough to be easily threaded yet small enough to prevent
the thread from slipping out. Coarse needles are awkward to use on thin fabric
and vice versa. A single yarn of a given fabric can be picked up if the needle
size is correctly chosen. Store needles separate from pins. Store each in dry
containers to prevent rust and corrosion.

MACHINE NEEDLES
The quality and type of sewing machine needle affects stitching and may
determine whether alterations can be made after a garment is stitched.
Machine needles can become unusable before they break. Sewing over pins
ruins needles. Pins scrape the needle and dull, wear off, or scratch the blade
surface. If the needle hits the pin directly, the needle tip can flatten, burr
(chip), become hooked, or break. Sewing over pins also creates a wiggle in the
stitching at each spot where a pin has been stitched across. Damaged needles
cause permanent needle marks, skipped stitches, snags, runners, and other
fabric damage. Needle points also become dulled or blunted simply from use,
particularly when sewing polyester and other harsh or hard fabrics. To
produce smooth, inconspicuous stitching, a machine needle should be changed
often.
Machine needles should be compatible in size with the weight, texture,
and yarn thickness in the fabric. Sizes vary from fine—size 70 (10)—to coarse—
size 120 (19). The type of machine needle point should be chosen according to
the type of fabric. Regular needle tips cut through yarns and can cause holes
and runs in some knits. They should be used only on woven fabrics. Ballpoint
28 FITTING <S= PATTERN ALTERATION

tips push fabric yarns apart and therefore do not damage knits. They can be
used for any woven or nonwoven fabric, but they do not function well on
leather or vinyl.
A scarfed or bulged-eye needle has been developed to prevent overheat¬
ing and to penetrate fabric more easily. Due to the strength and elasticity of
polyester, especially knits, skipped stitches and overheating of the needle can
occur. Skipped stitches can result from the bouncing of the fabric over the
needle-plate opening or from the fiber forming a sticky residue on the needle.
The deep scarf cut into the blade (at the eye area on the long-groove side of the
needle) acts as an air cooler and slows the heating of the needle. A cooler
needle picks up less lint residue. These needles are marketed under such trade
names as the Coats and Clark Blue Needle (covered with silicone to help
prevent skipped stitches), the Singer Yellow Band and the Schmetz LG SCARF.

THIMBLE
Although thimbles are a little awkward to learn to use, they can speed both
temporary and permanent hand stitching. A thimble is also a piece of safety
equipment. It protects the middle finger from the eye end of the needle and
thus may prevent the blood from a pricked finger from spotting the fabric. The
efficiency of a thimble depends on the depth of the thimble depressions; they
should hold the needle securely while it is being pushed through the fabric.
A dressmaker’s thimble has a closed end and should fit the finger snugly.
Moistening the end of the finger will help the thimble stay in place. A tailor’s
thimble is open at each end and therefore, is used with a sideward motion.
People with long fingernails may prefer to use this thimble or the new
dressmaker thimble designed with an oval slit at the closed end to accommo¬
date the nail.
Leather thimbles are made of soft, long-wearing deerskin. They fit the
finger much like the conventional metal thimbles. A seam lies at each side and
is purposely left unstitched at the closed end to form vents that permit
breathing. The density of the leather prevents the needle from penetrating into
the finger.

STRAIGHT PINS
Pins are sold by metal, diameter, and length. Brass will not rust. Nickel-plated
steel will not tarnish. Stainless steel corrodes slightly, especially from chemi¬
cals in perspiration, and can leave a tarnish on light-colored fabrics. A magnet
is effective for picking up pins made of stainless steel.
Dressmaker pins are of medium thickness and are more efficiently used
on medium to coarse fabrics. Silk pins are finer in diameter and should be used
foi lightweight fabrics. You can substitute fine hand-sewing needles for pins to
•ivoid marring delicate fabrics. Pins with colored glass or plastic heads are
easier to see; they are usually longer than ordinary straight pins. Glass heads
will not melt when touched by the iron.
A good supply of pins is essential during the processes of fitting and
pattern alteration. For example, elastic, tapes, or bands are often used to define
body lines. To maintain a flat, smooth surface over which to work, these must
be overlapped and pinned, not tied. Pins are also used to define lines on the
underclothing or the garment during fitting and when deciding on style
changes.
Store pins in a pincushion. The pin heads are always upwards, easy to
grasp, and ready for instant use. Some magnetic pin containers also dispense
pins head first. Pins stored in a box become jumbled. They are difficult to pick
up separately and with the point facing correctly for use. Pins inserted into
paper are inefficient to use; both hands are needed to remove each pin. The
paper absorbs moisture and allows the pins to rust or corrode. Do not store
 SELECTING <&= USING EQUIPMENT
29

threaded needles in the same container with pins; the thread tangles Ijadly
around the pins.
Polish and smooth pins occasionally by pushing them back and forth
through an emery bag. (This is the small, strawberry-shaped bag that is
attached to some pincushions.) Do not use the emery bag to store pins or
needles, as it allows rust to form on them.

PINCUSHION
t

A felt pad of wool or a bag filled with packed wool clippings, wool yarn, or
clean hair permits needles to be inserted easily. The natural oil in wool and
hair prevents rust from forming. Wrist pincushions are especially useful; they
keep pins accessible during fitting. Weighted pincushions increase efficiency at
the cutting table, sewing machine, or ironing board. Magnetic pin holders such
as the Grabbit, Pintrapper or Needle Nabber hold pins securely and prevent
loss. The holder also may be used to gather scattered pins or the retrieve those
that have been dropped. Store any form of pin holder in a dry place.

THREAD
Sewing thread is sold by the twist, weight, and fiber. Loose twist is used for
basting and for marking with tailor’s tacks. Choose these threads in a white or
contrasting pastel color to prevent color from fading or crocking onto the
fabric. Regular twist is used for permanent hand and machine sewing.
Thread weight should be compatible with the fabric texture. Lightweight
thread blends less noticeably into thin, sheer, or delicate fabrics. It is made in
fewer colors and may be limited in availability. Regular-weight thread is used
for medium- to heavyweight fabric and is readily available in a variety of
colors. Top-stitching thread is for decorative use but may also be used as a
gathering thread. It will not break easily when gathering excessive fullness.
Cotton thread is a universal fiber choice for all fabrics. It kinks very little
during hand stitching and will not cause excessive wear on threaded parts of
the sewing machine. Polyester thread is elastic and strong. Use care when
removing polyester or silk thread. It can cut the fingers easily.
Polyester thread is sold in short staple and long staple. The short staple
threads are fuzzy and therefore cause a build-up of lint on the threaded parts of
the sewing machine. This lint can clog and wear the machine parts if it is not
removed regularly. Long staple is more expensive, but its smooth surface is
better quality. It stitches smoothly into the fabric. All polyester thread kinks
badly during hand sewing. Cotton-wrapped polyester acts like cotton in the
sewing or pressing process but retains the elasticity and strength of polyester.
Silk thread is compatible only with silk and wool. Although difficult to
use for hand sewing, it makes an excellent basting thread. Its softness prevents
thread marks in fabric.
Clear nylon thread is wiry. Machine tensions will require adjusting when
nylon thread is used. Nylon thread kinks badly during hand sewing, and it
will melt if pressed with an iron that is too warm. This thread is tougher than
the fibers in the fabric and can damage the cloth. Such damage is often seen on
commercial clothing sewn with clear nylon thread; holes occur along the
stitching line where the thread penetrates the fabric. This damage limits fitting
adjustment and shortens the wearability of the clothing.

Fitting Supplies

MEASURING TAPE
A flexible, accurate tape measure is a must in the fitting room. The numbers
and the fractional markings should be clearly marked and easy to read. Thpes
marked to begin with the number one at each end help to prevent annoyance
occuring during the fitting and alteration processes.
30 FITTING & PATTERN ALTERATION

PENCIL

Pencils with lead of a medium softness mark clearly on pattern tissue or fitting
muslin and do not smear. Insoluble carmine red lead pencils are very useful for
marking fitting changes on muslin. The markings do not bleed into the fabric
when moisture is present.

CHART FOR RECORDING MEASUREMENTS

A chart can provide a systematic, orderly method for recording body measure¬
ments and for indicating the necessity and amount of ease for natural body
movement. It can aid in the garment fitting and pattern alteration processes.
The chart in Part Three organizes information in a concise, orderly manner.
Space is also available for recording observations about body conformation and
other information obtained during the figure evaluation.

SMALL-BEAD NECKLACE OR
MEDIUM-WEIGHT CHAIN
Such a necklace or chain is very useful in fitting. Placed around the neck, it
defines the position of the back neckline and width of the front neckline.

ELASTIC, TAPE, & BANDS

Elastic can be fitted around the body and used to define a line. Do not fit it so
snugly that an indentation is formed. Choose a type that will not fold or roll.
Use a Va inch (3 mm) width for defining the armscyes and a (4 inch (G mm)
width for defining the waistline.
Twill tape or woven hem tape can be used for defining the hipline and for
placing across the body between the tips of the bust and the shoulder blades
when measuring the center lengths of the upper torso.
Grosgrain ribbon 1 inch (2.5 cm) wide or nonstretch fabric doubled to a 1
inch (2.5 cm) width is firm enough to anchor a skirt or pair of pants firmly in
place during fitting. The fastened band may then be marked and used to
indicate the size of the waistband or waist stay-tape.

Pattern Alteration Supplies

PAPER SCISSORS

Do not use fabric shears and scissors for cutting paper. Paper and cardboard
dull the blades so they will not cut fabric well—or at all. Any scissors are
satisfactory for cutting paper as long as they cut evenly and are comfortable
to use.

90-DEGREE TRIANGLE, L- OR T-SQUARE

This tool is used for truing the intersection of horizontal and vertical lines that
must meet at right angles. A 90-degree angle is also used to maintain or
establish the level of dart tips and pattern corners during alteration.

CURVED MARKERS

French curves and other commercially prepared devices are very useful for
drawing smooth curved lines and restoring smooth curves on altered pattern
edges. For an adaptation of the pivot method, use an appropriately curved
marker to quickly reproduce and alter the pattern at its edge instead of tracing
a curved edge of the pattern.

PENCILS

A pencil is often necessary for recording information, writing notes, and

marking pattern alterations. Tracing the original pattern cutting line with a
 SELECTING &> USING EQUIPMENT
31

black-lead pencil is the initial process in the pivot method. Use a red pencil to
mark the new cutting line. Medium soft black lead (no. 2), kept reasonably
sharp, is easily seen on pattern tissue; a harder lead tears the pattern.

SOFT ERASER

Any recommended art eraser is satisfactory. These are of a soft composition and
erase well with little pressure against the tissue. Pattern tissue is easily
damaged by the hardness of pericil erasers and other firm compositions.

FROSTED CELLOPHANE TAPE

Frosted tape can be written on with pencil or pen and does not deteriorate as
quickly as clear tape. A half-inch width is satisfactory for securing altered
pattern areas to alteration tissue. Increase accuracy and efficiency while taping
pattern areas by pinning the affected pattern area over corrugated cardboard or
a cork board before adding the tape. Use short sections of tape and do not
overlap. Long sections of tape tend to pucker the pattern tissue and shorten the
pattern area.

GLUE

Rubber cement will neither shrivel nor harden paper. Pattern tissue is so thin,
however, that this glue will pass through the paper. Altered pattern areas will
stick together when the patterns are folded. A glue stick is very satisfactory on
thin paper. This glue is in solid form and is placed in a storage device that
operates like lipstick. The glue is wiped across the paper edge that is to be
fastened; the glue sets immediately and permanently. Keep the container
tightly capped following each use to prevent deterioration of the glue.

PUSH PINS

Push pins are easier to locate and to grasp than metal-head straight pins. They
are very useful for securing pattern and alteration tissue in place prior to
taping or gluing. A cardboard must be used underneath to protect the table
top. Push pins may be used for all three methods of pattern alteration but are
especially useful for the seam and pivot methods.

TISSUE PAPER

Tissue paper is the same weight as pattern tissue. It is easily obtainable and
inexpensive. Select pastel-colored paper when it is necessary that the alteration
be noticeable.

FUSIBLE PATTERN BACKING

Fusible pattern backing gives body and durability to pattern tissue. The back
of entire pattern pieces can be covered for basic patterns that are intended for
frequent reuse. A backed pattern is also much easier to alter. Strips of fusible
backing can be used as alteration paper in place of tissue and tape or pins.
Fusible pattern backing such as “Fash-on” and “Bak-a-Pattern” are available at
notion counters and are sold either in a pre-packaged quantity or as yardage.
Pattern backings look much like lightweight fusible interfacing. Fusible inter¬
facing can be used for pattern backing, but do not use interfacing that shrinks
with heat. The shrinkage will change the pattern measurements both in width
and length. Plastic-coated freezer paper also may be used but it makes the
pattern very stiff. The stiffness is useful, however, in making slopers (see
Chapter 10).

CORRUGATED CARDBOARD
s Use flat corrugated cardboard under patterns during alteration. Pins can be
easily inserted to hold pattern areas securely to the alteration tissue. Using
32 FITTING & PATTERN ALTERATION

cardboard under the pattern helps ensure the accuracy of a flat, wrinkle-free
altered pattern. The cardboard also protects the table top.

NOTE PAD

During fitting, alteration, and garment construction, many situations arise that
necessitate making lists or other records of information. Using a note pad helps
to prevent writing vital information on odd scraps of available paper or on
pattern envelopes; notes written in such a manner are later unintelligible or
lost entirely. An envelope, notebook, or small box will keep notes accessible
and usable. A swatch of pertinent fabric attached to the note adds to its value;
the note also can be pinned to the pertinent pattern envelope or garment in
construction. Note pads composed of self-adhesive slips of paper are made in
various sizes. The adhesive adheres to most surfaces and permits easy removal
without leaving a residue or a stain.
 CHAPTER 3

Clothing manufacturers and pattern companies design with a standard figure

in mind. This established standard is based on the statistical average of*many
EVALUATING
figures. It is often an “ideal” figure with proportions, contours, symmetry, and THE
posture that are considered perfect. Standard figures vary according to the
company of origin. An individual’s figure is similar to a standard figure, but
FIGURE
usually varies from the standard figure in one or more body areas in terms of
height, width, depth, and circumference. Figure variations from the standard
may be the result of heredity, ethnic origin, growth patterns, posture, disease,
or accident. These variations cause fitting problems in both ready-to-wear and
personally made clothing.
You can determine personal figure variations by conducting an objective
evaluation of the entire figure. An awareness of major figure variations will aid
in the selection of clothing styles to enhance the appearance of the figure. The
awareness of figure variations should alert you to the need for possible pattern
alteration and garment adjustment. An accurate evaluation should enable you
to relate a fitting problem to its cause and to the resulting adjustment required.
Prior to an objective figure evaluation, most people assume a pleasingly
proportioned and balanced figure. An effort must be made to see the figure as
it is, not as you imagine or would like it to be. An inaccurate image of the body
can lead to the selection of clothing styles or fit that exposes, calls attention to,
or emphasizes an undesired variation.
To be effective, a figure evaluation must be realistic and objective; body
assets as well as variations must be recognized. This is a surprisingly difficult
task for some people who tend to feel dissatisfied with their individual body
build, particularly in comparison to a statistical average or ideal. Self-
consciousness and low self-esteem may result. Learning to recognize body
areas that conform to the average and to create proportional balance is very
important. Acceptance of the self is vital in developing the desire and ability to
select styles and accomplish pattern alterations that will effectively and artfully
camouflage or minimize figure variations.

Alternative Methods of Figure Evaluation

Methods of evaluating the figure vary according to the situation and equipment
available. Wear appropriate clothing during the evaluation; form fitting under¬
wear, swimsuit, leotard, or shorts and T-shirt. Possible methods of evaluation
include the following techniques, using an assistant when necessary.

1. Observe front, side, and back views of the figure in a full-length

mirror. Compare the figure to the standard figure illustrated and
discussed on the following pages (see Figure 3-1). List variations to be
considered in the fitting procedure and in the selection of clothing
styles.
2. Trace the front and side views of the full-length silhouette on paper.
Compare the traced figure with the illustrated standard figure (see
Figure 3-1). List variations to be considered in the fitting procedure
and in the selection of clothing styles.
3. Photograph the front, back, and side views of the full-length figure;
5-by-7-inch prints are ideal. Evaluate the figure as illustrated and
discussed on the following pages.
4. Pin a basic fitting pattern together and try it on the figure. Evaluate
the fit.
5. Construct a basic fitting garment and try it on the figure. Evaluate the
fit.
6. Measure the figure and compare personal measurements to standard
measurements (see Chapter 8).

v When using methods 1, 2, or 3, begin your visual observation of the figure at

the head and move down the body. This allows the evaluation to proceed in a

33
34 FITTING 6= PATTERN ALTERATION

natural, continuous direction. The eye should not jump back and forth to
various body areas, but should proceed smoothly down the figure. Observe
front, back, and side views to detect all variations. When using methods 4, 5,
or 6, begin your observations at the waist as discussed in detail in Chapter 8.
Determine the general body frame or bone structure first. Body frame can
be small, medium, or large. Determine the weight range considered standard
for the size of the body frame. Then evaluate the proportional relationship of
each area, front and back, to the previous area and to the whole. Identify figure
areas that may be larger or smaller than the average or ideal (body length, arm
length, hip width, and so forth).
Observe body conformation next; you can determine the degree of
angularity or curving of the silhouette by the amount and distribution of body
weight. Identify specific variations that may influence overall garment appear¬
ance: angular hip bones, protruding abdomen, hollow chest, and so forth. If
you observe a variation in one area, examine other areas of the figure for a
corresponding or related variation (such as rounded upper back and resulting
hollow chest).
Each figure is unique. Establish an accurate mental image of the figure
and posture. This will alert you to the need for fitting and alteration proce¬
dures and will aid you in the selection of appropriate clothing styles.

The Standard/Ideal/
Symmetrical Figure
As you begin an evaluation of the figure, each half of the body, from side to
center, is expected to appear symmetrical, or as mirror images. In other words,
the figure is assumed to be balanced, side to side.
Body proportions may be expressed in fractional amounts, or head
lengths. Standard, average, or ideal proportions generally suggest one-half the
total body length is above the hip joint and one-half below. Arm length is
divided into equal areas by the elbow, which is located at waist level. The wrist
is approximately at crotch level. Length from the base of the neck to the waist at
the center back is equal to or slightly less than the width across the shoulders.
Ideally, hip width is equal to or slightly less than the width across the
shoulders. The bust circumference is equal to the circumference of the hips,
while waist circumference is generally ten inches smaller.
Body proportions are often expressed in head lengths; referring to the
number of times the head length could fit into the total body length. The
average individual—or standard—is seven and one half heads tall. The fashion
figure is eight heads tall (see Figure 3-1). As you might expect, there are three
head lengths above the waist and five head lengths below. Body widths and
depths also may be expressed in head lengths.
Proportions for the “ideal” figure are the product of a particular culture
and are subject to change according to the whims of fashion within that
Figure 3-1 Standard
8-head fashion figure culture. Very few individuals conform to these standards. However, standards
do concern us, as they are part of the basis for sizing ready-to-wear garments
and commercial patterns. An awareness of personal variation from these
standards is essential in selecting appropriate clothing for the individual figure
and in identifying areas where alterations may be required. (Chapter 4
discusses standards as adopted by the various commercial pattern companies.)
As the fitting experience progresses, we will determine detailed variations
from the standard used by the pattern company. At this point we are con¬
cerned with a general evaluation only.
The quantity and distribution of weight in relation to the size of the body
frame determines the shape of the body and influences posture and fit in
clothing. Traditionally, the bone structure or body frame size was determined
by wrist circumference. Recently, however, the Metropolitan Life Insurance
Company has published a new approach based on elbow breadth.
EVALUATING THE FIGURE
35

To discover your ideal weight range, first determine the elbow breadth.
To do this, extend one arm in front of you, palm up. Bend it at the elbow,
raising the forearm upward, the palm of the hand facing you. Place, the thumb
and index finger of the other hand on the two prominent bones on either side
of the elbow. Using a ruler, measure the space between the fingers. Compare
the elbow breadth measurement with the 1983 Metropolitan Life elbow
breadth table below.
Next, find your height on the Metropolitan Life weight-range chart.
Follow across to locate your body frame type. Your weight should fall some¬
where between the ideal weight range given on the chart. If these weights seem
a little heavy, realize they are based on women ages 25-29 wearing one-inch
heels and three pounds of clothing, with muscles in top condition. Lower the
range by five pounds if muscles are flacid.

FRAME SIZE

Height Small Frame Medium Frame Large Frame

4'10" -5'3" less than 2V4" 2V4" -2Vi" more than 2Vi"
5'4" -5'11" less than 2%" 23/e " -25/a " more than 2%"
6' less than 2Vi" 2 Vi" -294" more than 23A"

IDEAL WEIGHTS

Height Small Frame Medium Frame Large Frame

4'10" 102-111 109-121 118-131
4'11" 103-113 111-123 120-124
5'0" 104-115 113-136 122-137
5' 1" 106-118 115-129 125-140
5'2" 108-121 118-132 128-143
5'3" 111-124 121-135 131-147
5'4" 114-127 124-138 134-151
5'5" 117-130 127-141 137-155
5'6" 120-133 130-144 140-159
5'7" 123-136 133-147 143-163
5'8" 126-139 136-150 146-167
5'9" 129-142 139-153 149-170
5' 10" 132-145 142-156 152-173
5'11" 135-148 145-159 155-176
G'O" 138-151 148-162 158-179
(Courtesy of Metropolitan Life Insurance Company.)

If weight varies noticeably from standard, the underweight individual is

generally less limited than the overweight individual in the selection of
clothing. A thin figure is less obvious beneath attractive and well-fitted
clothing. The variety of styles available is larger. There is also the possibility of
layering clothing to provide the appearance of added weight. However, weight
loss can be carried to an extreme, and a gaunt, emaciated appearance is
generally considered unattractive—even unhealthy. In such cases, nutritional
intake should be examined; health may be affected by poor nutrition, posture
may become slumped or permanently impaired, and a poor fit in clothing will
result.
Coupled with good muscle tone and posture, excess weight that is evenly
distributed over the body frame may require only a change in garment or
pattern size. Excess weight that is distributed unevenly may require several
additional fitting adjustments and style selection becomes more limited. The
strain from excess weight can lead to a breakdown of muscle tissue and support
in the arms, chest, abdomen, buttocks, and thighs. Correct posture is difficult
when the figure is overweight because of the increased effort required to
maintain an erect alignment. The weight is not balanced over both feet from
front to back. As the body parts are forced out of alignment, figure variations
are introduced and fitting problems increase. Weight loss may eliminate some
or all of these figure variations.
36 FITTING <S= PATTERN ALTERATION

Symmetrical Variations from

the Standard Figure
A careful evaluation of the figure may reveal one or more symmetrical figure
variations from the standard figure. These variations occur identically on both
sides of the body, front or back, and they can occur singly or in combination.
Examples include narrow shoulders; full bust; broad upper back; long arms;
small waist; high hips; sway-back; rounded upper back, hollow chest, and
prominent abdomen; and long midriff, short legs, and high, full hips.
Symmetrical figure variations can cause clothing to fit poorly and uncom¬
fortably when wearing certain clothing styles. Not every style will emphasize a
variation or create discomfort. Care in the selection of styles can camouflage a
variation or direct attention away from the area. Whenever clothing style
selection can be used to minimize the variation, the need for alteration is
reduced.

The Asymmetrical Figure

As the figure evaluation progresses, it may be determined that the halves of the
figure, side to center, are not identical. In other words, the size and conforma¬
tion of the right side of the figure may vary considerably from the size and
conformation of the left side. When this happens the figure is termed
asymmetric.
Figure 3-2 Single high hip
and high shoulder on the Asymmetric variations may or may not have been detected previously,
same side of the body depending on the degree of variation, the awareness level of the individual'
and the style of clothing regularly worn. Although the discovery of an
asymmetrical figure may come as a surprise, it should not be considered
unusual. Variations may have been present at birth or they may have resulted
from illness, poor posture, or some specific activity. A conscious effort to
correct poor posture can minimize or eliminate the variation.
Akm to asymmetrical variations are variations that occur from front to
back. They may be the result of disease, such as the rotation that occurs with
scoliosis, or they may be postural attempts by the body to achieve a counterbal¬
ance, such as raising a shoulder to counter weight carried on the opposite hip.
Asymmetrical figure variations can occur anywhere on the body. Check
for differences from side to side in the following areas:

neck base slope hip width

neck base width hip height
shoulder length armscye size
shoulder height upper arm circumference
back width upper arm length
back length
elbow circumference
blade size and contour lower arm circumference
blade placement lower arm length
chest width
wrist circumference
chest length
thigh circumference
bust size and contour thigh length
bust placement
knee circumference
Figure 3-3 Single high hip midriff width
calf circumference
and high shoulder on midriff length calf length
opposite sides of the body waist width
ankle circumference
waist placement

Multiple asymmetrical figure variations are common and can include the
following combinations:

• High shoulder, high breast, high hip, and long leg occurring on the
same side of the body (see Figure 3-2)
 EVALUATING THE FIGURE

High shoulder and high breast, high hip and long leg occurring on the
opposite side of the body (see Figure 3-3)
• Wide or full back, wide or full front occurring on the same side of the
body
• Wide or full back, wide or full front occurring on opposite sides of the
body (One shoulder blade protrudes while the other seems almost
depressed; one breast is fuller than the other.)

Asymmetrical variations can account for fitting problems and for discomfort
wearing certain clothing styles. Knowing the effects of various styles allows the
individual to select those suited to the figure and thus eliminate time-
consuming fitting and alteration procedures; however, dependence on these
styles can be too limiting. Whenever other garment styles are selected, pattern
alterations should be made tp improve the fit and to create a balanced, more
symmetrical appearance.

Posture Evaluation
Posture refers to the alignment of the body parts and to the manner in which
the body frame is carried. It has a direct bearing on both physical and mental
health. Posture can communicate an individual’s self-image, personality,
moods, and attitudes. It can influence physical attractiveness and the attractive¬
ness of clothing.
Incorrect posture can introduce needless figure variations and fitting
problems. Often improved posture—coupled with a weight change when
needed can eliminate many or all figure variations discovered in the evalua¬
tion of a figure. Therefore, evaluating posture is worthwhile even before
becoming involved with fitting.
You can best evaluate your posture in front of a full-length, three-way
mirror or with the aid of a photograph. Assume a normal, relaxed, but
controlled stance; do not attempt to assume a corrected posture. (For an
accurate evaluation, a realistic stance is required.) Stand without shoes; high
heels affect body alignment by shifting the center of balance.
Your weight should be evenly distributed on both feet, from front to back
and from side to side. A plumb line, a weighted string that hangs perpendicu¬
lar to the floor, can be used to evaluate body alignment. Hang the line from the
top of the mirror or draw it on the photograph. The edge of a door can also
function as a plumb line. When viewing the body profile the line should
extend from the ear to the floor. On the standard figure it will bisect the ear,
neck, shoulder joint, and elbow, pass just to the back of the wrist, bisect the
hip joint and knee, and finally pass in front of the ankle (see Figure 3-4).
Moving from the head downward, proper body alignment requires the
following:

• The head and neck are centered over the shoulders, with the chin
parallel to the floor
• The shoulders are pulled slightly back and down
• The chest is slightly lifted
• Buttock muscles are contracted slightly and tucked under, both sides
parallel to the floor
• Abdominal muscles are taut
• The arms hang relaxed at the sides, the elbows bent slightly forward
• The knees are straight but relaxed, neither flexed (bent) nor hyperex-
tended (locked)
• The feet are parallel and somewhat apart, with toes pointing straight
ahead and the ankles joining the feet at right angles

Incorrect alignment causes the body to counterbalance itself in order to remain

erect. Overly erect posture can be recognized by an exaggerated lift of the chest,
which in turn creates an arch in the upper back (see Figure 3-6). The head may
 38 FITTING & PATTERN ALTERATION

Figure 3-4 Figure 3-5 Figure 3-6 Figure 3-7 Figure 3-8
Correct posture Protruding abdomen Overly erect back Rounded upper back Swayed back/
and shoulders, forward Forward pelvic tilt
head
also be pulled back to an extreme, which will cause the plumb line to pass in
front of the ear. The knees are often hyperextended to the back and locked into
place. Such a stance places stress on the back and legs. A prominent bust,
shortened upper back length, and an increased chest length from neck base to
bust tip may result. Other possible results are squared shoulders, widened
chest, and a narrowed back. The position of the shoulders is particularly
important in fitting, as clothing hangs from the shoulders. If shoulders are
incorrectly positioned, all garment areas below will drape or fit incorrectly.
Rounded back posture can be recognized by an overly curved upper back,
a forward curve in the shoulders, a hollow chest, and a forward-tilted head (see
Figure 3-7). The plumb line will pass behind the ear. Breathing may be
hampered because of pressure on the lungs; the oxygen supply to the body will
be reduced, and chronic fatigue may result. Among the figure variations
introduced may be found a shortened—possibly hollow and narrowed—chest
length, increased upper back length and width, and prominent neck cords.
A swayed back will be evident by the forward tilt of the pelvis; a
prominent abdomen and protruding buttocks result (see Figure 3-8). The
abdominal curvature also will increase, as will the angle at the groin. Other
probable figure variations include a shortened upper back length between
waist and hip, and an increased length of buttocks to crotch.
A slumped posture is common; it results in a rounded upper back and
shoulders, hollow chest, and forward head, in combination with a swayed back
and prominent abdomen (see Figure 3-9). In addition to all the other figure
variations that result from poor posture, it also may lead to the accumulation of
excess weight at the base of the neck, commonly referred to as a dowager’s
Figure 3-9 Figure 3-10 hump. Slumped posture typically results in fatigue and backache, with discom¬
Slumped posture Rounded shoulders, fort increasing in the event of pregnancy. (A short-term counterbalance effect
forward head and can be expected during pregnancy; as the bust and the abdominal area extends,
backward pelvic tilt the shoulders become overly erect and the arch in the back is increased.)
EVALUATING THE FIGURE
39

Rounded shoulders, a forward head and backward pelvic tilt is an uncom¬

mon postural variation. It is characterized by rounded back posture as previ¬
ously discussed, in combination with an awkward tilt of the pelvis that pulls
the waist area back and thrusts the hip joint and thigh forward. The buttocks
are tucked under and knees may appear in a slightly bent position. The front
abdominal curve will increase and buttocks curve will decrease. The individ¬
ual appears to lead with the hips when walking. (See Figure 3-10.)

If no other means are available,fo evaluate your posture, you may resort to the
use of a wall. Assume a normal stance with your back against the wall; your
weight should be evenly distributed over both feet. Your body alignment is
good if your shoulders, shoulder blades, and buttocks touch the wall. The
space between the wall and the small of your back should be just large enough
to insert a flat hand.
It only the shoulders touch the wall, your posture is overly erect. If only
your shoulder blades touch the wall, you have rounded posture. If only your
buttocks touch the wall, you have a swayed back. (An exception to this would
be the individual with large buttocks.) If both shoulder blades and buttocks
touch the wall and there is a large space between your waist and the wall, you
probably have slumped posture.
If poor posture is prolonged, the stress and strain on muscles, bones, and
joints will contribute to fatigue and health problems common in later years.
However, poor posture can be corrected, if the individual is committed to the
effort required. Try the following posture exercises:

• Assume corrected posture while aligned against a wall; maintain this

posture and walk away from the wall
• Stop and hold correct posture for a short period of time
• Force a mental image of correct posture while walking; practice often
• Evaluate your posture often, in front of a mirror or as you pass a
window
• Practice good posture while walking, sitting, or bending

The time used in improving poor posture is time well spent. It can improve
your health and reduce or eliminate figure variations, fitting problems and
pattern or garment alterations that result.
 '

'
 CHAPTER 4

Tb keep fitting adjustments and pattern alterations to a minimum, choose an

appropriate pattern in a size that fits the major areas of the body frame. Alter
SELECTING
for larger or smaller muscle and other soft-tissue areas. To ensure the best fit PATTERNS
when selecting a pattern, consider three body characteristics: circumference,
height and build, and posture. The circumference determines the number size
of the pattern. The height and build determine the pattern figure type. The
build and posture determine the pattern company whose pattern will fit best.

Pattern Size—Body Circumference

The following circumference measurements are used to determine pattern size
for the garments listed; compare your measurements with the size charts in
the back of the pattern book!

BUST

The bust measurement is taken at the scye level (base of arm hinge) and is used
for blouses, coats, dresses, jackets, jumpers, and vests. Keep the tape level
across the back from side to side, then curve upward across the upper
perimetei of the bust. Most pattern companies design for a person who wears a
B-cup bra. The high bust measurement is used because it reflects the size of the
body frame. The pattern is altered to correctly fit the amount of bust tissue.
If the size of the bra cup is C or larger and small bone structure is also
involved, you may want to use the next smaller pattern size. Although the
pattern will need added circumference to accommodate the larger cup size, the
size of the armscye and the fit through the shoulders and other areas of the
bodice may be better for the small bone structure.
Conversely, if the bra cup is A and the bone structure is large in relation
to the bust, you may want to buy the next larger pattern size. The excess
circumference at the bust may be removed if the armscye and other areas fit
properly.
Once the correct size is determined, purchase the same size for all the
garments listed above. The varying amounts of livability and ease have been
incorporated into the pattern.

HIP
The hip measurement is taken around the body at the level of the hip joint and
is used for pants and skirts. The hip joint measurement is used because it
reflects the size of the frame as well as the crotch and leg size. The pattern is
then altered to correctly fit the amount of thigh and buttocks tissue. The waist
size is more easily adjusted than the hip, especially when pleats or similar lines
are involved.

Figure Type—Height & Build

The back bodice length is used as the indicator for body height. This measure¬
ment is taken from the prominent vertebra at the base of the neck to the
waistline when the person being measured is looking straight ahead.
Sometimes the names of figure types are misleading since they seem to
indicate the age of the person. In actuality, figure development begins and ends
at various ages. Final mature height and build may place a shorter, older person
in the junior figure type even though these pattern styles are designed for the
adolescent. Conversely, a tall young person’s height may place her in the misses
figure type before her bust and hips have fully matured even though misses
patterns are designed for adult tastes and figures. For these reasons, design
adjustments and pattern alterations may have to be made to accommodate
personal tastes and the body build of the person wearing the garment.

41
42 FITTING & PATTERN ALTERATION

Following are description? of the major figure types. They are arranged in
order of body development, height, and sex. All height measurements are
taken without shoes.

CHILDREN
The children’s basic bodice and pants pattern does not distinguish between the
sexes. In developing the basic bodice sloper, a waist dart is sometimes included.
This dart is released in shirts and blouses. In the dress bodice the dart may be
used or transferred into the side seam.

Tbddlers: Height 28 inches to 40 inches (71 cm to 102 cm) These

patterns are designed for a figure between baby and child. The trunk (dress)
length is shorter than the children’s length. The pants have an allowance for a
diaper that makes the crotch deeper and the hip area larger.
Children: Height 35 inches to 48 inches (88 cm to 122 cm) These
patterns are designed for a figure that is 7 inches (17.5 cm) taller than the
toddler and therefore slimmer in appearance but not in circumference mea¬
surement. The crotch depth of the pants is shorter since no allowance is needed
for diapers.
Girls: Height 50 inches to 61 inches (127 cm to 155 cm) The shape of
the basic bodice changes and the waistline dart is made slightly wider. These
patterns are designed for the girl whose bust and hips have not begun to
mature.
Boys: Height 48 inches to 58 inches (122 cm to 147 cm) The shape of
the basic bodice changes; the dart increase for boys is transferred to the
shoulders and released to give width. These patterns are designed for boys
whose shoulders have broadened and legs have lengthened.

DEVELOPING & MATURE FEMALES

The size of the dart in the basic sloper increases as the difference between the
scye measurement and the measurement at fullest bust increases. At the
present time no pattern company fully meets the needs of the taller figure.
Patterns for these women require alterations in length and width both above or
below the waist.

Young Junior/Tfeen: Height 5 feet 1 inch to 5 feet 3 inches (1.55 m to

1.60 m) These patterns are designed for the developing preteen and teen
figure.
Junior Petite: Height 5 feet to 5 feet 1 inch (1.52 m to 1.55 m) These
patterns are designed for a well-proportioned, small-scale figure.
Junior: Height 5 feet 4 inches to 5 feet 5 inches (1.63 m to 1.65 m)
These patterns are designed for a well-proportioned, shorter-waisted figure
with a high small bust and small hips.
Miss Petite: Height 5 feet 2 inches to 5 feet 4 inches (1.57 m to 1.63
m) These patterns are designed for the shorter but well-proportioned and fully
developed figure.
Misses: Height 5 feet 5 inches to 5 feet 6 inches (1.65 in to 1.68 m)
These patterns are designed for the well-proportioned and fully developed
figure of average height.
Half Size: Height 5 feet 2 inches to 5 feet 3 inches (1.57 m to 1.60 m)
These patterns are designed for a fully developed figure with narrow shoulders
and a short back waist length. The waist and hips are larger in proportion to
the bust than the other figure types.
Women: Height 5 feet 5 inches to 5 feet 6 inches (1.65 m to 1.68 m)
These patterns are designed for the mature figure that has increased in
circumference beyond the misses figure.
 SELECTING PATTERNS
43

DEVELOPING & MATURE MALES

Ifeen Boys: Height 5 feet 1 inch to 5 feet 8 inches (1.55 m to 1.73 m)
These patterns are designed for young men who have not yet reached adult
stature.

Men: Height 5 feet 10 inches (1.78 m) These patterns are sized and
designed for men of average height and build. At the present time no pattern
company fully meets the needs of the taller male figure. Patterns for these men
may i equire alterations in length or width (or both) above and below the waist.
*

PATTERN COMPANY—BUILD & POSTURE

An individual s body build and posture determine the company whose pat¬
tern will fit best. Following is an analysis of the basic patterns for the
companies listed (see Figures 4-1 through 4-3).

Burda
A Burda pattern is designed for the smaller, shorter European figure. The
bodice back is shorter from underarm to waist than American patterns.
The shoulder slope and dart size indicate a figure with a slightly rounded
upper back and a forward arm joint. The sleeve cap also is designed for a
forward arm joint and a thin arm. The neck opening is designed for an erect
head and a narrow neck from side to side but with a low base at the front. The
width of the entire lower bodice front is narrower by one size than American
patterns. When Burda is compared to other patterns, the shorter length of the
side seam, the larger underarm dart, and equal center front length indicate an
erect figure with a forward thrust of the rib cage.
The sleeve circumference is approximately 1 inch (2.5 cm) smaller at the
capline than American patterns. The placement of the elbow dart above the
midpoint of the underarm seam also reflects a shorter waist length.
The skirt back is slightly wider at the hip than Butterick or Vogue but not
as wide as McCall’s. The back and front width is the same as Simplicity. The
single front waist dart of the skirt is placed near the side seam over the hip
bone, approximately one-third the distance from side to center front. The side
seam is more sloped from hem to waist than Butterick or Vogue, and the
narrow width of the single waistline dart indicates that part of the basic dart
has been transferred to the hem and released for flare. This transfer provides a
wider sweep at the thighline and hemline, thus allowing more room for thigh
fullness and for sitting and walking.

Simplicity
Simplicity patterns are designed for the individual who is of average
height or slightly shorter, with a narrow rib cage and a rounded upper back.
The back bodice length is Va inch (0.3 cm) shorter than Butterick and
Vogue and Vz inch (1.2 cm) shorter than McCall’s. It is Va inch (0.3 cm) longer
than Burda. The back shoulder slope and dart indicate a slightly forward arm
joint. The sleeve cap is slightly flattened in the back, and the shoulder position
is forward by 14 inch (0.6 cm), also indicating a forward arm joint.
The chest width of the bodice front is slightly narrower than the other
patterns. The curve on the lower armscye of the front is more rounded than
Burda, Butterick, and Vogue but is the same as McCall’s. The bust tip is higher
than Burda, Butterick, and Vogue and is the same height as McCall’s. The
distance between the center and the bust tip is the same as Burda, Butterick,
and Vogue but narrower than McCall’s. This suggests a youthful mature bust.
The sleeve cap is 14 inch (0.6 cm) shorter than Butterick and Vogue but the
same height as Burda and McCall’s. The circumference at the elbow is the same
as McCall’s and wider than Butterick and Vogue by Va inch (0.9 cm). The single
elbow dart is midway down the underarm seam. The narrow width of the
elbow dart indicates that a small amount of the basic dart has been transferred
to the wristline, which increases the circumference of the lower arm and wrist.
44 FITTING <S= PATTERN ALTERATION

of bodice back and front patterns

Butterick Burda .... Simplicity- McCall’s

 The skirt back at the hip is the same width as Burda; it is slightly wider
than Butterick or Vogue but not as wide as McCall’s. The single waist dart
divides the waistline area approximately in half. The side seam from hem to
waistline is sloped, indicating that part of the basic dart has been transferred to
the hem. This provides a wider sweep at the hemline, thus allowing more
room for thigh fullness and for sitting and walking.

Butterick & Vogue

Both Butterick and Vogue patterns are designed for the average-to-tall
erect figure, and they vary very little.
In the back bodice, the shoulder dart is smaller and the width across the
blade is narrower than Burda and McCall’s. The back width is the same as
Simplicity. The back length is Va inch (0.3 cm) longer than Simplicity and
1/4 inch (0’6 cm) longer than Burda; it is inch (0.6 cm) shorter than McCall’s.
The front neck depth is shorter than Burda and McCall’s but the same as
Simplicity. The width of the front neck curve is less than McCall’s and
Simplicity but wider than Burda. The bust tip position is low when compared
to the other patterns. The width from center front to bust tip is approximately
the same as Burda and Simplicity but narrower than McCall’s. The lower front
armscye is less curved. The center front length at the waistline is Va inch
(0.3 cm) longer than McCall’s and Burda and the same as Simplicity. The sleeve
cap is higher and slightly wider at the top than the other pattern companies.
The elbow position is approximately midway down the underarm seam. The
sleeve fits tighter in the lower arm because the full amount of the basic dart has
been used at the elbow position.
The skirt side seam from hip to waistline is almost straight. The shaping
for the circumference difference is accomplished by two darts on the back and
fi ont pattern sections. The two darts provide better potential for a custom fit.
The darts are spaced so they divide the waist and hip area approximately in
thirds. The back dart nearest the side seam accommodates the flesh in the
upper hip area; the one near center back contours the pattern for the buttocks.
Butterick and Vogue are the only patterns that have two back and two front
skirt darts.

McCall’s
McCall’s pattern’s are designed for the average-to-tall figure with a
slightly rounded upper back.
The bodice back length is Va inch (0.6 cm) longer than Butterick and
Vogue, % inch (1.2 cm) longer than Simplicity, and % inch (1.5 cm) longer than
Burda. The width across the back blade is Va inch (0.6 cm) wider than any of the
other patterns. The dart placement on the front bodice indicates a bust tip
position Va inch to Vz inch (0.6 cm to 1.2 cm) higher and % inch (1.5 cm) farther
from center than other patterns.
The sleeve cap is Va inch (0.6 cm) shorter and slightly narrower than
Butterick and Vogue. It is the same height as Burda and Simplicity, but the
curve at the top of McCall’s sleeve is symmetrical, like Butterick and Vogue.
The elbow position is midway on the sleeve underarm. The circumference at
the elbow is % inch (0.8 cm) larger than Butterick and Vogue. Part of the elbow
dart has been transferred to the wrist, which increases the circumference of the
lower arm and wrist.
The skirt has the largest hip circumference and sweep at the hem of any of
the patterns. The hip measurement of the pattern is larger and therefore will
accommodate a figure approximately one size larger than the body measure¬
ment given on the pattern envelope. The side seam from hem to waistline is
more sloped. There is less darting from the waistline, indicating a dart transfer
from waist to hemline. This gives more room for full thighs and for sitting and
walking. The front waist dart is placed closer to the hip bone, approximately
one-third the distance from side to center front.
.
'
 CHAPTER 5

There is more to a pattern than first meets the eye. Patterns are one of the best
buys on the market when you consider the engineering that is involved, and
LEARNING
the information and help they provide. Use them to continually update your FROM THE
knowledge and improve your skills as new fabrics, equipment, notions, and
construction techniques are developed and discussed. The format used on the
CONTENTS OF
envelope, pattern tissue, and guide sheet is somewhat different for each A PATTERN
pattern company. Better garment fit and construction should result if the
pattern is read, understood, and properly used.

Pattern Companies
Major U.S. companies are Butterick, McCall’s, Simplicity, and Vogue. These
companies mass-market their patterns nationwide and in some foreign coun¬
tries. Information printed on these patterns is written in Spanish and French as
well as English. An illustrated guide sheet is supplied with each pattern but the
directions are written only in English. The patterns contain very complete
markings for layout, cutting, and construction. Seam and hem allowances may
vary in width, but the amounts are stated on the hem areas. Vogue Designer
Patterns have the most complete construction directions. These generally
feature some couture sewing techniques.
Other U.S. pattern companies are Kwik-Sew, Sew Easy, Sunrise and
Enchanted Forest. All information is written in English. Sunrise designs only
for infants through preteen sizes. Sew Easy designs are mainly sportswear
intended for knit fabric. Enchanted Forest designs for young children, some of
these patterns are available through the McCall Pattern Company.
The Burda pattern is produced in Germany. Pattern information and
guide sheets are written in English, Spanish, French, Swedish, Danish, and
Dutch in addition to German. The English translation is not always fluent. The
number and types of pattern markings are somewhat limited on these pat¬
terns. Each pattern piece is graded in three or more sizes on the same sheet of
paper. The various sections for each size have to be traced onto a separate paper
if the master pattern is to remain intact. Burda prints all sizes in the same color
but uses different outlining for each size. Seam or hem allowances are not
included, and information on the guide sheet is limited in comparison to U.S.
patterns.
The price of a pattern may reflect the company’s philosophy about the
expected customer. Some pattern styles are directed to a wide variety of ages
and lifestyles. Models in these illustrations usually suggest youthfulness be¬
cause many young people are involved in learning-to-sew projects and sewing
courses. Young people usually have less money to spend, and are often part of a
total family for whom clothing money must be divided. Consequently, manu¬
facturers allocate less time, labor, and production money to patternmaking for
this market. These patterns are designed by a salaried company designer or
patternmaker. They can sell for a low to moderate price because mass sales
allow a lower profit margin per pattern.
Other patterns are styled for people who desire more exclusive designs.
These patterns sell for moderate to high prices. The pattern pieces are more
complex. More time, labor, equipment, and therefore, costs are involved in
their production. Generally, an expensive garment prototype is purchased
from an accomplished independent designer. This designer is often interna¬
tionally known and can, therefore, demand high payment for a design. A large
part of the resulting cost must be passed on to the consumer. The smaller
market necessitates a higher profit margin for each pattern. Models in these
pattern illustrations usually suggest sophistication and subtle, adult tastes.
Adults are more financially independent and have more money to spend on
clothing. Those who want exclusiveness in design are also more willing to pay a
higher price per pattern.
47
48 FITTING & PATTERN ALTERATION

The Pattern Catalogue

Today’s pattern catalogue is an exciting preview into the world of fashion. The
current fashion story is presented in color on glossy paper. Photographs of the
latest designs appear with supporting background personality to suggest a
lifestyle or activity suitable for the design. The catalogues contain a variety of
fashions for all ages and both sexes. Ordinary styles as well as specialized
designs directed to people with specific wants or needs are available. Costumes,
home furnishings, and crafts are also featured.
The four .major companies issue a large, complete catalogue either quar¬
terly, bimonthly, or monthly. Each issue features the company’s newest designs
as the first entries. A four-digit stock number is listed with each design on
these pages, but the remaining particulars are found later within the catalogue.
These opening photographs give an instant overview of current fabrics, colors,
textures, and styles. The silhouette and the fashion trends concerning shoulder
shaping, sleeve style, waistline placement, hem length, accessories, and impor¬
tant garment combinations are revealed in the main body of the catalogue. The
catalogue pages are numbered in continuous sequence from one issue to the
next. Breaks occur in the page numbering sequence when designs are
discarded.
Available patterns are classified into various categories. Each category is
easily identified with dividers that have the category name or a trade name on
the tab. Sometimes a design appears in more than one category. Style variations
included in each pattern choice are accompanied with essential information.
Line drawings are shown for each back view. A chart lists the size range
available and the required yardage for each style variation. A fashion descrip¬
tion, the finished garment lengths, and hem circumferences are sometimes
listed and suitable fabric choices are suggested.
In the back portion of the catalogue, instructions are given for measuring
a figure to determine the correct pattern size. This instruction is given for all
age or figure-type groupings. A classified index lists each pattern number by
category or purpose. The numerical index lists available pattern stock num¬
bers in sequence within the classification category. A break in numbering
occurs between categories. The higher numbers within the category indicate
the most recent styles. When the numbering reaches a predetermined point,
the sequence for the category begins again at the original low point. You can
determine the approximate “age” of a pattern design number by its relative
position in the listing for the specific category. With access to a collection of a

Fabric Width Conversion Chart

FABRIC 32" 35"-36" 39" 41" 44"-45" 50" 52"-54" 58"-60"
WIDTH (81 cm) (90 cm) (100 cm) (104 cm) (115 cm) (127 cm) (140 cm) (150 cm)
YARDS m (i.75) m (i.6o) 1(4 (1.40) m (i.40) m (i.30) 1(4 (1.15) 1(4 (1.05) 1 (0.95)
(METERS) 2(4 (2.10) 2 (1.85) m (i.6o) m (i.6o) 1% (1.50) 1(4 (1.40) 194 (1.30) 1(4 (1.15)
2(4 (2.30) 2(4 (2.10) 2 (1.85) 2 (1.85) 194 (1.60) 1% (1.50) 1(4 (1.40) 194 (1.30)
2% (2.55) 2(4 (2.30) 2(4 (2.10) 2(4 (2.10) 2(4 (1.95) 194 (1.60) 194 (1.60) 1% (1.50)
3(4 (2.90) 2% (2.65) 2(4 (2.30) 2(4 (2.30) 2(4 (2.10) 2 (1.85) 17a (1.75) 194 (1.60)
3% (3.10) 3(4 (2.90) 2% (2.55) 23A (2.55) 2(4 (2.30) 2(4 (2.10) 2 (1.85) 17a (1.75)
394 (3.45) 3% (3.10) 3 (2.75) 2% (2.65) 294 (2.55) 2% (2.20) 2(4 (2.10) 2 (1.85)
4 (3.70) 33A (3.45) 3(4 (3.00) 3(4 (2.90) 27a (2.65) 2% (2.40) 294 (2.20) 2(4 (2.10)
494 (4.00) 4(4 (3.90) 3(4 (3.20) 3% (3.10) 294 (2.55) 294 (2.55) 294 (2.40) 294 (2.20)
4% (4.25) 4(4 (4.15) 33A (3.45) 3% (3.35) 394 (3.10) 3 (2.75) 294 (2.55) 2% (2.40)
5 (4.60) 4% (4.35) 4 (3.70) 3% (3.55) 394 (3.35) 3(4 (3.00) 27a (2.65) 294 (2.55)
5(4 (4.80) 5 (4.60) 4(4 (3.90) 4(4 (3.80) 37a (3.55) 3(4 (3.10) 3(4 (2.90) 27a (2.65)

Figure 5-2. Typical conversion chart showing yardage needed for various fabric widths. Reprinted courtesy of New
Jersey Cooperative Extension Service, Rutgers, The State University
 LEARNING FROM THE CONTENTS OF A PATTERN
49

compjuiy s catalogues, any pattern stock number can be traced to its actual date

A source index listing distributors of fabrics used in the photographed

s vies is also included in the back of the catalogue. Write to the specific
company to locate the nearest retail source of a fabric used in the photograph.
A fabric yardage conversion chart is included. Use this chart to determine
the amount of fabric required when its width is not included on the yardage
chart listed with the pattern. These converted yardages are estimates only,
based on the comparable nuiqber of square feet of fabric needed. Due to the
complexity of the shapes of pattern pieces, the converted amount may not be
the correct amount required.
To determine the actual amount of fabric needed when a different width
of fabric is to be used, indicate the folded or single fabric width (as indicated by
the layout code) on a countertop or table. Lay the pattern pieces in place.
Measure the total length used and purchase this amount plus an allowance for
straightening and shrinkage if necessary. Make a drawing of the “trial layout”
for later use with the fabric if the layout was changed from that furnished on
the pattern guide.

The Pattern Envelope

The pattern envelope, as well as the guide sheet and pattern pieces, provides
information for the sewing/learning process. The envelope heading includes
the name of the company and the pattern stock number. The envelope heading
also includes the pattern size number, figure type, and purchase price.
The trade name of the style category is .noted on the front of the envelope.
Each category is intended for a specific audience, need, or purpose. Each
company features some patterns under exclusive trade name categories and
others that are common to all companies.
The front of a pattern envelope features illustrations of all style choices for
which pieces are provided. Art work is intended to make the style appear
attractive, design lines more noticeable, and the pattern more saleable. Each
model illustrates a different style choice. Each choice is coded with a letter or
number. The drawings for the back views are coded with the same letter or
number. Examination of these illustrations reveals styling details on the bod¬
ice, sleeve, and skirt, as well as accessory details. Illustrations give an idea of the
difficulty of the construction and allow the customer to evaluate the style’s
ability to emphasize or minimize figure variations. These drawings suggest a
type of fabric, plain, print, plaid, or stripe. The fabric in the illustration may
not be the best choice for the style, or for the individual. (See Chapter 1 for
ways to create harmony between pattern, fabric, and wearer.) Fashion illustra¬
tions show a lengthened figure. Consumers will avoid disappointment by
learning to interpret the illustrations in terms of the actual figure. (This is
easier to do if the pattern envelope shows a photograph in addition to sketches
of the model.)
The back of the envelope contains vital information. Line drawings for
back views of each style choice are shown. Belts are not drawn in a fastened
position, but are left off or drawn as though hanging untied, thus exposing the
waistline. A belt drawn in place on the fashion illustration may not reveal
whether the dress has a waistline seam. A written fashion description accompa¬
nies the sketch. It includes an analysis of design lines and details, and describes
the style variations of necklines, skirts, sleeves, and so forth.
The total number of pattern pieces included for all style choices may be
stated on the envelope back. Generally, the fewer the pieces, the simpler the
construction. Sometimes small scale drawings of the pattern pieces are shown.
These help to assess the difficulty of the pattern, and the time and skill
required to do a professional job.
The back of the envelope always contains a chart of standard body
measurements, cross-referenced in all sizes in which the pattern is available.
50 FITTING & PATTERN ALTERATION

Bust, hip, and waist circumferences, along with the back waist length, afe listed
in inches and centimeters. McCall’s shades the metric measurements in blue.
The chart states the amount of fabric required for each style variation.
Amounts are given for outer fashion fabric, interfacing, lining, and any trim
fabric, based on fabric width, pattern size, style choice, and the nature of the
fabric, i.e., with or without “nap.” “Nap” in this instance refers to all fabrics
that require the upper edges of all pattern pieces to lie in one direction;
whether because of the nap, one-way color shading, a one-way design, or a one¬
way fabrication (such as knits and pile weaves). One-way layouts usually
require more fabric. Although the charts list ample fabric amounts, there may
not be adequate yardage if length losses occur before cutting the pattern pieces.
Prior to purchase, analyze the fabric loss that will result from straightening the
crosswise grain, anticipated shrinkage, lengthening of the pattern pieces, or for
style adaptations, and large-scale fabric design. Add the amount of anticipated
loss to the yardage suggested. Notions needed to complete the garment are
listed, including type and length of zipper, number and size of buttons, hooks
and eyes, and lace or other trimmings.
Charts may contain some measurements for the finished garment. Hem
circumference may be given for dresses, skirts, and pants. This indicates the
amount of basic ease or fullness added at the hemline but disregards fullness
included in pleats and ruffles. The center-back length on dresses and jackets is
stated, indicating the distance from the back neckline to hemline. This mea¬
surement reveals where the jacket edge will cross the hip area. The side length
of pants sizes is also given. These measurements alert the reader to the need for
style adaptation or pattern alteration.
The back of the pattern envelope lists suggested fabrics that are suitable
for the garment design. These fabrics are compatible in texture, weight, and
drapability to the one used by the designers. Every fabric will not make up
well in every style. Note such words as “lightweight” and “heavyweight” in
the fashion description. If the pattern is intended for knits with crosswise
stretch, a fabric stretch-guide is illustrated. Such patterns have a smaller
finished circumference due to less darting and ease needed with knitted
fabrics; they cannot be used with woven or firmly knit cloth unless alterations
are made. Be certain to use a crosswise fold of fabric when consulting the
stretch guide; only fabric with inherent elasticity that matches the stretch-
guide is suitable. The envelope back may list fabrics that are inappropriate for
the pattern, such as plaids, border fabrics, prints, and diagonal stripes or
weaves. It may indicate that extra fabric is required for matching plaids, stripes,
and one-way designs.

The Guide Sheet

The guide sheet contains a wealth of information in addition to the “how-to”

directions. It features fashion drawings for all front views. Each view is
designated by the same code letter or number used on the front and back of
the envelope. A set of labeled drawings or a list of pattern pieces needed for each
style choice is shown. Use these lists when sorting the pattern pieces needed for
a specific style choice. In this way the required pieces may be checked against
the available fabric. Some pattern pieces are used for more than one style
choice. Separate pattern pieces may be included for linings and interfacings; if
not, areas on specific pattern pieces will be labeled “interfacing,” “facing,” or
“lining,” and these pattern pieces will be used a second time for cutting the
additional garment area. Occasionally a pattern border will be labeled, “Cut
here for facing.” Each pattern piece is assigned a code number or letter
according to the sequence of its use in the construction process as outlined in
the guide sheet.
The guide sheet contains suggestions for minor alterations of pattern
sections. Usually the examples show only even amounts of change in length
 LEARNING FROM THE CONTENTS OF A PATTERN
51

and procedures are limited to slash method. Illustrations are accompanied with
ittle explanation of how and why. Remember that altering only the length will
not make most patterns fit well. A thorough knowledge of pattern alteration is
invaluable for the individual who intends to sew and fit clothing... for anyone.
This text explains and illustrates the total scope of fitting and pattern altera¬
tion. Changes for body width and contour are presented in addition to those
for length.
Instructions for preparing and cutting the fabric are given. Methods of
transferring pattern markings ,to the fabric are suggested. Read this informa¬
tion before using the pattern. It includes the initial steps for achieving correct
fit and is not repeated in the step-by-step instructions.
Layout diagrams are given on the guide sheet. These diagrams show the
exact placement of the pattern pieces when the grainlines are placed in the
suSSested relationship to tli£ fabric fold or selvages. Be alert to fabric that is
folded crosswise instead of lengthwise. Note also that the lengthwise fold is not
always placed at the center of the fabric. All parts of the drawings are in the
same scale.
Following the layout guide assures that all necessary pieces can be cut
from a specific length of fabric. Remember to take into account, however, the
possibility of fabric loss from preshrinking and grain straightening, and the
extra fabric needed because of pattern alterations for enlarging pattern pieces
or for style adaptations. Often individuals who are experienced in sewing can
use less fabric by changing the position of the fabric fold or by dovetailing
small and large pattern pieces to better advantage than is shown on the guide.
The new fold need not be along the center of the fabric, but it must be parallel
to the selvages or cut edges.
All pattern pieces can be laid with the printed side upward or downward,
so long as the fabric is doubled. Those pattern pieces that are to be cut singly
must be laid with the printed surface of the pattern and the face of the fabric in
a consistent direction. Disregarding this rule can cause a pattern piece to be cut
for the opposite side of the body or produce two pieces for the same body area.
A layout code is built into the diagrams to show the relationship between
the printed side of the pattern piece and how it is to be laid against the fabric.
The usual coding is a white sketch representing the pattern pieces placed with
the printed surface upward and a shaded sketch representing the pattern
pieces placed with the printed surface downward. Additional codings indicate
that a pattern piece must be cut a second or third time or after the fabric is
opened to a single layer. Each pattern guide sheet has a legend to explain the
coding.

The largest portion of the guide is devoted to written descriptions and

illustrations for the sequence of construction. Construction steps are numbered
in the order of assembly and are placed in columns that are read vertically like
a newspaper. Drawings illustrate the finished product.
Consider the construction guide as a help and a learning tool. Periodically
they present new ideas and use of new equipment and techniques. Although
all necessary information is given for the suggested techniques, it may be
desirable to substitute methods that are less complicated, faster, or that
produce superior quality. Many pattern guides present simplified speed tech¬
niques; however, some of these techniques yield a lower quality of construction
and durability. Learn to substitute procedures appropriate to the needs and
purposes of the sewn product.

The Pattern Pieces

Crucial information is provided by the marks and labeling on pattern pieces.

These markings help keep the fabric under control and create the fit and style
intended by the designer. The preciseness with which they are used affects the
fit and final appearance of the garment. The number and the complexity of the
markings indicate the difficulty of the construction.
52 FITTING <&= PATTERN ALTERATION

Some pattern labeling is used only for identification purposes. These

labels include the brand name, stock number, size, style choice, code number
or letter, and the name of the pattern piece.
Other markings are used to indicate natural positions for fitting the
pattern and the garment to the body. They include labeling the center front,
center back, and natural waistline, hipline and crotehline so the pattern or
garment sections can be correctly positioned on the body. They help you plan
and evaluate the potential fit of the pattern before cutting the fabric. Allow
additional length if blousing of the bodice is desired. The distance the fashion
neckline lies below the natural neckline at the center back may be stated. No
indication is given for neckline depth on the front pattern. Analysis of the
position of the finished front neckline must be made before cutting the fabric if
a specific neckline depth is desired.
The sleeve, bodice front and back are marked with alteration lines for
body and arm length changes. These alteration lines are placed near the
waistline and wrist, but the garment length may need to be changed above the
bust or elbow. Additional figure variations will require pattern alterations not
indicated on the pattern.
The markings for pattern layout and cutting are very important; they are
marked on all printed patterns. Each pattern contains an arrow to indicate the
relationship between the pattern grainline and the lengthwise direction of the
fabric. Pattern pieces with a straight arrow will have cut edges all around the
fabric piece; they may be placed against the selvages, next to the fabric fold, or
on the interior of the fabric. The arrow must be placed parallel to the fabric
selvages unless intentionally changed for purposes of design. The arrow
placement controls the grain and drapes the fabric on the body in a manner
that achieves the effect the designer intended. If the grain is parallel to center
front or center back and a zipper or other closure is not involved, the seam can
be eliminated by placing the center stitching line exactly on the fold of the
fabric.
On other pattern pieces the tips of the grainline arrows are turned to
point toward the line at the pattern edge. This pattern edge does not include a
seam allowance; it must be placed exactly on a fabric fold. Inaccuracies that
result from improper placement of these pattern pieces will double when the
cut fabric is opened flat.
The number of pieces to cut for each pattern section is indicated with the
instructions, Cut 1, Cut 2,” and so forth. Sometimes these instructions are in
the margins near small pattern pieces rather than on the pattern area. Transfer
this information to the pattern piece to clarify the cutting of the pattern when
used again or by another individual.
An arrow or scissor drawn at the pattern edge indicates the direction to
cut along the pattern edge; however, a more consistent and accurate edge is
produced by cutting so the fabric scrap falls to the right when using right-hand
shears or to the left when using left-hand shears. An accurate edge is absolutely
necessary to achieve a correct fit.
Several construction markings are printed on the pattern, such as the size
and location of buttons and buttonholes, flaps, pockets, welts, trim, casings,
and appliques. Lines for gathering and foldlines for tucks, pleats, facings, and
hemlines are also marked. Stitching lines for darts and the width of seam
allowances are marked and labeled.
Notches along the pattern edges help identify adjoining garment sections.
These notches are numbered in the order of use according to the sequence of
construction stated in the guide sheet. Single notches usually indicate garment
front pieces; double notches usually indicate back pieces. Cut the notch
outward from the seam allowances or cut the edge smooth and make a short
snip into the fabric edge exactly in the center of the notch. During layout,
identically numbered notches should lie on identical horizontal and vertical
color bars of a stripe, plaid, or similar motif. This ensures that the motif will
match at the stitching line.
LEARNING FROM THE CONTENTS OF A PATTERN
53

Precision marks are located along the stitching lines. These small, solid
ots align corresponding sections and corners of adjoining seamlines so pre¬
cisely that the fabric pieces balance correctly on the body. Using precision
marks correctly will prevent rounded corners, curving seamlines, unequal
extensions, and unintentionally eased or stretched areas. Poor fit and a cheap¬
ened appearance result when the fabric is forced to drape incorrectly or is
under tension on the body.
Large solid dots indicate that stitching should begin or end at that spot;
they may be used for a zipper ox other opening or for matching the top of the
sleeve to the basic shoulder seam position. Vogue patterns also use squares and
ti iangles to help position adjacent fabric sections accurately.
Use a color-code system of tailor’s tacks for transferring precision marks.
Transfer all small circles with one color of thread, large circles with another
color, and so on for other markings. During garment assembly the shape of the
mark will no longer be a concern; pink thread will match pink thread, and so
forth.
 '

• I
 CHAPTER 6

Beautiful and well-fitted clothes are not only attractive in themselves, but they
also enhance the appearance of the wearer. Clothes too large can get in your
RECOGNIZING
way and create a comic appearance. Clothes too small restrict movement, CORRECT
appear immodest and offensive. In either case, poorly fitted clothes distract
attention, emphasize a figure variation, and undermine the confidence of the
FIT
wearer.
Well-fitted clothes camouflage a figure variation and direct attention away
fiom aieas considered less than ideal. They allow the wearer to be the center of
interest and contribute to a sense of poise and self-confidence. Clothing that
fits, looks, and feels comfortable and allows the body to move naturally is worn
more frequently and yields a greater dollar value.

Basic Fitting Standards

The degree of harmony achieved through the application of the elements and
principles of art to the design of a garment determines the attractiveness of a
garment. When the structural divisions and decorative design of the garment
are in harmony with the body, the garment is attractive on the figure. Correct
fit is evaluated by attention to line (an art element), balance (an art principle),
and fabric ease, (a fitting principle). (See Figure 6-1.)

USING GRAINLINE &

BALANCE TO EVALUATE FIT
The foremost fabric characteristic to consider when adjusting the fit of a
garment is grainline. The designer or patternmaker has predetermined how
the fabric is to hang on the body to give the garment a specific character. By
placing the grainline arrows in a precise position on each pattern piece, the
designer causes the fabric to be controlled in the desired manner. To reproduce
this in a garment, however, both the lengthwise and crosswise fabric grains
must be perfectly aligned at 90-degree intersections before the pattern pieces
are cut. If the yarns are not aligned perfectly, they will not be in the correct
position in the completed garment. The planned effect is altered. Even very
small differences of poor grain alignment can produce noticeable changes in
the hang of the fabric and the fit of the garment. Seamlines become crooked or
tilted and the fabric behaves differently on the opposite sides of the body.
Fabric grainline is easily distinguished in cloth with woven or knitted
stripes but is sometimes difficult to distinguish in cloth with plain textures or
floral patterns. Easy recognition of the grainline makes fitting adjustments
easier, less tiring and quicker to accomplish. To aid identification of grainline
position in the completed garment, mark fitting grainlines on the fabric pieces
with pencil, transfer paper, or thread, depending on the type of fabric and the
use of the garment. Mark horizontal fitting lines at the hip, the chest and
shoulder blade, the bust, the waist, and the sleeve capline. Mark vertical fitting
lines at center front and center back, the midfront and back (center of leg, bust,
and blade), the side seam positions, and the sleeve center. When a dart or
seamline occurs at any of these fitting grainline locations, that stitched line
becomes a fitting line.
Observing the position in which the fabric grain or marked grainlines lie
on the body provides the first clue to the accuracy or deviation of the fit.
Correcting the deviations creates balance in the garment; that is, on a symmet¬
rical figure, both sides of the garment will lie equally smooth and relaxed
because the pull of gravity will be equal. On a basic-fitting garment, the length
grain should lie perpendicular to the floor at the sides, the center front and
center back; the crossgrain should lie parallel to the floor across the center
front and center back. With training, the eye will quickly perceive alignment
of the grain with the body and distinguish even subtle needs for adjustment.
*■ Until this skill is developed, true vertical grain alignment can be checked with

55
56 FITTING <S= PATTERN ALTERATION

a plumb line (a weight suspended on a string). Gravity has the same effect on
this line as it has on the grainline of the fabric.
On figures that vary from average, the fitting grainlines will lie slanted or
bowed because each figure variation requires an increase or decrease in the
existing length or width of the fabric. Insufficient or excess fabric length or
width causes tension wrinkles or loose folds in the garment area and the
grainline becomes distorted. The greater the variation from standard, the more
the grainline will slope or bow as fabric ease is “borrowed” and pulled to
another area or allowed to sag.

USING STRUCTURAL LINE &

BALANCE TO EVALUATE FIT
The second clue to the accuracy or deviation of fit in a garment is the manner
in which its structural lines align with the body and divide it into pleasing
proportions. The eye is quickly drawn to any structural line of the garment.
Darts, seams, pleats, tucks, and trim quickly attract attention and hold it for a
short time period. Simultaneously, the eye compares the garment to the
corresponding vertical or horizontal center of the body area and tries to align
the two. The eye also makes a comparison between the corresponding struc¬
tural lines on the left and right of the garment. These subconscious perceptions
and comparisons quickly judge the degree of balance of the garment. To
review, balance results from visually equal garment weight, size, or the
distance from the body center line. A balanced garment gives a feeling of
equilibrium; the observer does not tire from trying to visually move the fabric
to improve the balance.
When the garment pulls or droops from its expected position on the
body, the observer feels a sense of instability and discomfort. The greater the
mislocation of the structural lines or degree of snugness and looseness in the

Figure 6-1 Correctly fitted basic garment

 RECOGNIZING CORRECT FIT
57

garment areas, the greater the lack of balance in the fit of the garment. When
ah the stitched lines divide the body into becoming proportions, the garment
will be in harmony with the body. Both the wearer and the observer will sense
its visual and physical comfort.
Poor posture and asymmetrical figure variations affect the balance of a
garment by changing the position of its structural lines. Either of these
conditions affects the amount of fabric needed and the alignment between the
structural lines of the garment and the body centers. Strain pulls the garment
a nc to the larger area and changes the position of structural lines. Smaller
t lan average body areas permit excess relaxation in the garment fabric and
create an illusion that the underlying body area is even smaller.

USING BASIC EASE TO EVALUATE FIT

Basic ease is an amount of garment fabric required in addition to the circumfer¬
ence of the body. The extra fabric permits the garment to accommodate such
natural body movements as breathing, walking, raising and swinging the arms,
climbing the stairs, sitting, bending, and stooping. All these movements cause
expansion of the body area involved; extra fabric is required for mobility and
comfort. Shoulders should raise and lower easily; arms should raise easily to a
90-degree angle to the body; each hand should touch the opposite shoulder
easily. Following a body movement, the garment should resume its natural
position without needing adjustment.
Lack of sufficient basic ease causes the garment to lose its flow of style
lines. It appears tight and wrinkled. It becomes figure revealing instead of
figure flattering, and variations in the figure are exaggerated. The garment is Figure 6-2 Flare
uncomfortable to wear. The strain also lessens the durability of the garment
and causes it to wear out faster. Do not assume the amount of ease allowed by
the designer is sufficient for your figure.
The amount of basic ease required is determined by the style of the
garment and the acitivity the garment is intended for. Strapless bodices, halter
necklines, sleeveless bodices, and swimsuits require little, if any, ease. Sports
wear requires more ease than business-wear. Other factors affecting appropri¬
ate ease allowance include the size of the body frame, texture of the fabric, and
personal preference.

Standards for Fittingf a Basic Garment

The chart of fitting standards was developed to help you identify the positions
for the grainlines, darts, and seamlines of a well-fitted basic garment on a
standard figure. Use it as a checklist to evaluate fit and for making any needed
adjustments to bring the garment fit into harmony with these
standards.

Standards for Fittingf Fashion Garments

Basic design becomes fashion design when added fullness or style ease has been
introduced somewhere in the pattern and is intended to create a mood or
characteristic. The amount added is subject only to the designer’s discretion. It
can be incorporated into the skirt, pants, bodice, and sleeve sections. This
fullness is held in control by gathering, tucking, pleating, and flaring. It is
further controlled by stitching, darts, or an appropriate adjacent garment
section such as a band, yoke, collar, or cuff. Fitting standards may be used to
evaluate each of these design techniques and control features regardless of their
location or use in a design.

FLARE
Flared garment sections are created by adding fullness into the pattern edge Figure 6-3 Pleats and tucks
v that hangs free on the garment (see Figure 6-2). As flare is introduced to a
58 FITTING & PATTERN ALTERATION

Standards for Fitting a Basic Garment

LOWER TORSO & LEGS UPPER TORSO & ARMS

Center Back and Center Back and

Center Front Seam Center Front Seam
or Fitting Lines: Flip Area: or Fitting Lines: Blade and Chest Areas:

• are perpendicular to the • grainline is parallel to the • are perpendicular to the • have horizontal and
floor floor at the center front floor vertical grainlines that lie
• are centered on the body and center back • are centered on the body parallel and perpendicular
• are straight lines • circumference is adequate • are straight lines to the floor
to permit fabric to relax
• allows for movement body between the creases
Side Seamlines:
without straining the of the arm
Side Seamlines: fabric • allow the arms to move
• slope forward from
• does not gap at center comfortably without
• are perpendicular to the underarm to waist
front or center back when strain at the shoulders or
floor • divides the body into
button closures are used armscye
• divide the body into pleasing proportions
• is free from diagonal,
becoming proportions • are straight lines
horizontal, or lengthwise
• appear as straight lines on • create enough ease to
distortion
the body permit the arms to swing
• is controlled with Armscye:
• appear to intersect the without pulling the sleeve
correctly fitted darts to
waistline at 90-degree
accommodate the curves • liqs about Vz inch (1.2 cm)
angles
Darts: from the outer surface of
• create equal visual
the arrrl
distances beyond the edges • point toward the crown of • is in line with the back
of the legs when the the curve being
Hemlines: arm crease when the
garment is viewed from
hands are crossed at the
front, back or side • are parallel to the floor • appear as straight lines on front
• lie slightly above or below the body • is in line with the front
the largest part of the leg • end approximately 1 inch arm crease when hands
Darts: (hip) (2.5 cm) short of the fullest and arms are relaxed at
part of the curve the sides
• point toward the crown of pleasing proportions • are sewn to conform the • neither constricts nor cuts
the curve being fabric to the shape of the the body, nor pulls away
accommodated body surface from it at any area
• appear as straight lines on • have no fabric strain,
the body bubbles, or wrinkles at the
• end approximately 1 inch dart tip area
(2.5 cm) short of the fullest Bust:
part of the curve
Neckline:
• are sewn to conform the • grainline is parallel and
fabric to the shape of the • crosses the back of the perpendicular to the floor
body surface at center front
neck through the center of
• have no fabric strain, • has adequate ease to
the prominent vertebra
bubbles, or wrinkles at the permit body movement
• lies smooth against the
dart tip area and prevent gaps at
base of the neck at front,
• are positioned to create closures
sides, and back
pleasing proportions • is free from diagonal or
• crosses near the top of the
ends of the collar bone or horizontal distortion
at the base of the throat
Waistline: depression
• does not chafe the neck
Sleeve:
• divides the body into cords
pleasing vertical
• outer edge extends V6 inch
proportions
Shoulder Seamline: (1.2 cm) from armscye,
• is parallel to the floor
then drops vertically
across the front • divides the neck, shoulder, • has horizontal and vertical
• follows the body contour and arm into pleasing grainlines that lie parallel
across the back proportions and perpendicular to the
• is loose enough to allow • is inconspicuous from floor at the capline
shoulders to rise and arms front and back • underarm seam is in line
to move • lies close to the body with center of wrist
• is loose enough to allow without strain at any point • hemline maintains a
the body to expand during along its length pleasing relationship to
sitting, breathing, and • is a visually straight line the body and to other
eating from neck to armscye style lines
 RECOGNIZING CORRECT FIT
59

garment section, the opposite edge also changes in shape. Grainline position on
the pattern can be used to determine the location of flare in the garment
section; flare will occur only at a bias area of fabric. To create a more pleasing
appearance, flare may be repositioned within a garment section by changing
the angle of the grain on the pattern.
Flared areas should flow over the body and hang freely rather than
protrude. Fabric at or above the flared area should fit in a relaxed manner.
Sufficient basic ease should be present to prevent strain on the stitching. The
amount of flare should be proportional to the body area. On a symmetrical
design, the corresponding ripples on each side of the garment should be equal
in size and begin at the same height.
A flared garment unit can be divided into panels or gores that vertically
divide the body area into sections. The width of the center section should
produce a pleasing space relationship across the body.

PLEATS, TUCKS, VENTS, & SLITS

Pleats or tucks can be controlled by stitching along part or all of their length
(see Figure 6-3). The pleat or tuck should lie smoothly against the body
without tension or excess fullness in the controlled area. The unstitched
poi tion of a pleat should hang flat when the body is in a standing position.
Sufficient ease should be allowed in the garment to permit the pleats, vents and
slits to hang in a closed position except when the person is walking or seated.
Unstitched pleats should hang free and fold in place without gaping or
opening \\ hen the person is standing. When placed over a bulge, such as the
bust, an inner control panel or lining is required. The fit of pintucks is
evaluated like gathers when stitched only part of their length; accordion and Figure 6-4 Straight-hanging
umbrella pleats are evaluated like flared garment sections. gathers

GATHERS
Converting stitched darts to ease, gathers, open-end darts or unpressed pleats
may improve both the appearance and fit of the garment on some figures.
Gathers are tiny folds that fall vertically or radiate from a designated point.
Their purpose is to give soft fullness to an area.
Gathers that lie against the body should fall softly over the body bulge
with no large smooth areas or the appearance of tension (see Figure 6-4).
When a gathered area is controlled at both the upper and lower edges, there
should be sufficient lengthwise ease to allow for body movement. Again, there
should be no tension on the fabric. When gathers are controlled from the top
only, they should fall free in vertical folds.
Gathers that extend away from the body, such as in puffed sleeves, peasant
or bishop sleeves, a blouson bodice, or a harem skirt or pants, require
additional length for puffing or blousing (see Figure 6-5). This additional
length may be added to the top or bottom of the garment, or both, and allows
the garment to stand away from the body. The amount of added length, the
contour of the edge, the ratio of gathered area to the flat control area, and the
direction the gathered seam is turned determine the character of the additional
fabric. The gathered area of a garment requires little pressing; the control area
requires careful pressing. All these factors need to be taken into consideration
when creating the illusions about the body underneath.

DRAPE
The success and fit of a draped area depends on the correct amount of tension
introduced to pliable fabric that is gathered, folded or flared on the bias (see
Figure 6-6). When an area of soft fabric is concentrated into gathers or folds at
a given point, the lack of ease within the area creates the desirable amount of
Figure 6-5 Full-rounded
tension and causes the folds to radiate outward to the garment area diagonally
gathers
opposite.
60 FITTING &> PATTERN ALTERATION

Only actual fitting of draped designs on the body during construction can
ensure a custom fit. The closeness of fit may vary slightly depending on the
figure type, fabric characteristics, and garment use. The shape of the pattern
edge for draped designs is unique. This edge must be strictly maintained
during construction: garments must be cut accurately and matched with
precision.

DARTS
Fashion garments may feature curved, straight, or angular darts such as the
French or English darts. A dart or a dart-equivalent seam will be a smooth
flowing line whether it appears on the body as a straight or curved line. A
single dart will point to the crown of the body bulge. Two or more darts may
be placed equidistant from the bulge or one may point to the crown while the
second (usually smaller and shorter) lies nearer the outer area (see Figure 6-7).
Two or more narrow darts are more attractive on a large body curve than is one
large dart. The darts should give a feeling ofbuoyancy, moving the eye upward.
They should not repeat or otherwise emphasize body variations. All other
standards that apply to basic darts also apply to fashion darts and their
equivalents.

COLLARS
For fitting purposes, collars may be classified according to the way they stand
or roll around the neckline: standing band, full roll, partial roll, or flat (see
Figures 6-8 and 6-9).
The collar stand should fit smoothly against the back of the neck. The
crease or roll line should be a smooth, continuous line. The stand of the collar
should be in proportion to the length of the individual’s neck. The outer edge
of a collar should lie smoothly against the garment and should cover the
seamline at the back of the garment neckline. The collar ends should lie
symmetrically against the chest. The roll of a lapel should taper to the level of
the top button or designated termination point. The collar and lapel should
balance both horizontally and vertically on the body. Style edges and lapels

Figure 6-7 Darts

RECOGNIZING CORRECT FIT
61

should be m proportion to the body and to the garment areas on which thev
ie’ ClosJ'fltting collars should provide sufficient ease to lie comfortably
around the neck. y

i When constructing a rolled collar, the outer layer of collars and lapels
s lould be slightly larger than the underlayers and should be eased into place
to prevent distortion of fabric and fit.
Variations in the slope of the shoulder will affect the fit of the collar.
Changes in the curvature of the collar neckline seam may be required If
changes are made on the garment neckline or the slope of the shoulderline
during fitting, the collar also must be changed. Otherwise it will not hug the
neckline nor roll or ripple as designed. For example, on someone with uneven
shoulders the point of the collar will lie lower on the low shoulder unless the
collar pattern is altered. Allowing this to occur will accent the lack of balance
caused by the asymmetrical figure variation.

POCKETS

Pockets may be applied to the garment surface, inserted into a slash, hidden in
a seam, or designed as part of a yoke (see Figure 6-10). They may be functional,
decorative, or both. They are a design detail that can be used to create a point of
emphasis or to divert attention from a figure variation.
The fitting of the garment precedes pocket application. The marks for the
position of the pocket are checked at the first fitting. Check placement and size
of the pockets as they relate to body size, and garment balance, proportion and

Pockets should lie smoothly against the body unless designed to extend
away from the body. If designed to extend away from the body, the line of the
pocket should relate to the contour of the body. When placed over a body
curve, the pocket should have sufficient ease to lie flat and smooth. The outer
layer of lined patch pockets and pocket flaps should be made slightly larger
than the under layers, then eased into place to prevent distortion of fabric and
fit. There should be sufficient ease in the circumference of the garment to allow
a vertical pocket opening to lie closed, or to prevent the outline of an interior
pocket from being visible.
Figure 6-10 Pockets

Figure 6-8 Comparison of

collar neckline curves
Partial roll Flat
1. Full roll
2. Partial roll Figure 6-9 Completed collars
3. Flat
..

>

'
 CHAPTER 7

A positive attitude and a desire to accomplish the task are keys to a successful
LEARNING
fitting experience. When coupled with a sound, dependable method of fitting
clothing, a seemingly impossible fit becomes possible. All too often fitting TO FIT A
becomes a negative experience because of poor surroundings, an untidy
personal appearance, or a lack of knowledge or low opinion of the value of fit.
GARMENT
This unpleasant experience is often assumed to be the fault of the garment, and
negative feelings develop about fitting or sewing in general. The positive
control of attitudes, surroundings and personal appearance can lead to a more
productive fitting experience op oneself or someone else, whether construct¬
ing the first basic fitting garment or a later fashion style. Attention to detail
makes the difference.

Fitting Area
A full-length ?nij /'or is essential. While being fitted in front of a mirror, you can
easily watch the fit of your garment develop, make suggestions to the fitter and
give immediate response to questions. The effect can be evaluated on the total
figure rather than on isolated areas only. A three-way mirror is ideal because it
reflects the back, front and side images simultaneously.
Adequate space to permit walking several steps toward or away from the
mirror gives you better perspective. It also allows you to check the fit from the
back, front, and side views while the body is in motion.
Good lighting helps the fitting progress more efficiently and effectively. It
can reveal fabric distortion and reduce visual strain. A source of light above or
to the side of the mirror prevents glare and shadows.
A chair allows you to observe both the figure and the garment when
seated. \ iew the garment while sitting in the usual positions appropriate for
the garment. A chair also permits the fitter to sit while adjusting your skirt or
pants and the fabric is seen at eye level. Needed change in fabric position is
more easily recognized when the fitter is looking straight ahead at the garment
rather than having to look down at it. Work progresses more quickly and with
less strain on both persons.
A counter, table, or tray at a convenient standing height is useful for
holding pins, tape, and other fitting equipment.
Proper ventilation is very important, especially when working with
several individuals in the room. A supply of fresh circulating air helps prevent
the person being fitted from feeling faint or nauseous when standing for long
periods of time.
A nearby closet or rack is very useful for hanging cut fabric sections,
garment units, or completed garments during the fitting and construction
process. Wooden or padded hangers help retain the shape of the garment.
Cloth or plastic garment bags help keep the clothing clean.
Ideally, room decor should be plain and in soft, neutral colors. Extreme
colors or patterns in wall, window and floor coverings detract from and
conflict with the garment color and style lines. They may also irritate some
individuals.

Personal Appearance
Personal cleanliness should be maintained at all times. When people must
work closety together, breath, body, or foot odor can be not only offensive but
nauseating.
An attractive hairstyle adds to a positive self-image. Hair length, however,
should not interfere with fitting. If your hair is shoulder length or longer, wear
it in a style that holds it off your neck and shoulders. Apply your usual
makeup. If you make your appearance as pleasing as possible, it contributes to a
more positive fitting experience for all concerned.
Choose well-fitted underwear. Each piece should provide proper support
for normal, excess, or sagging tissue and serve as a foundation for outerwear.

63
64 FITTING & PATTERN ALTERATION

Underwear should minimize, not emphasize figure variations or create addi¬

tional unnatural contours. Consider the effect of underwear seams and elastic.
They should not be visible through outer clothing. A waist-height panty and
one-piece slip are recommended. If bikini or hipline briefs are worn, the elastic
should be soft, smooth and wide enough to prevent a depression and bulge
across the hips. Wear the same underclothing styles during fitting that will be
worn with the finished garment. The same underwear styles should be worn
during each fitting session to avoid unnecessary changes in darts, waistline
position, and the amount of ease needed.
Shoes should be comfortable and allow you to stand for fairly long periods
of time during fitting. They should be of the proper heel height and style to be
worn with the garment. This will help to establish pleasing garment propor¬
tions and contribute to the overall harmony between the garment and figure.
Negative surprises and disappointments are prevented if the preceding hints
are followed.

Efficiency & Accuracy

Effective fitting begins long before making adjustments on the pattern or
garment. Some people are reluctant to put forth the time and effort required to
achieve a good fit. Others attempt to overlook errors by convincing themselves
that their sewing results are “just fine.” Rather than learn from reliable
instruction, some individuals learn only from sad experience and repeated
disappointment. Others give up sewing entirely or continue with consistently
substandard results and never achieve an attractive fit. Make the necessary
preparation that contributes to a successful fitting experience.

• Evaluate the figure and posture realistically (see Chapter 3).

• Assemble needed tools and equipment. Understand their role in pro¬
ducing good fit (see Chapter 2).
• Select a pattern in the most appropriate size, figure type, and brand (see
Chapter 4). A basic dress pattern should have a close-fitting neck,
standard armscye, waistline, and straight skirt. These features are
necessary so that the fabric requirements for the lengths and widths of
all body areas can be adequately determined. These areas include the
size of the neck, the slope and length of the shoulder, the width of the
back and chest, the fullness of the bust and thighs, the circumference of
the hip, and the lengths of the back and front of both the upper and
lower torso. The crux of creating well-fitted clothing is to begin with a
pattern that has the most potential to fit the given individual. The
standard % inch (1.5 cm) seam allowance and the given hem allowance
permit little room for adjustment. On the other hand, cutting an extra-
wide seam allowance on all edges creates problems at curved areas such
as the armscye and neck openings.
• Learn to use your patterns skillfully (see Chapter 5).
• Select and prepare fabric properly. Straighten the grain and preshrink if
necessary (see Chapter 8).
• Each aspect of garment production is interrelated and affects the final
fit Unskilled fabric selection, handling, construction, and pressing (or
ack of pressing) at any stage not only causes varying degrees of poor fit,
but starts a chain reaction that compounds the chance of poor fit in all
succeeding steps. Fitting the units separately saves time and effort.

During the fitting process the assistance of another individual is quite neces¬
sary for the novice. Choose an assistant who can be available when needed and
is observant, objective, reliable in judgment, and interested in fitting If at all
possible, your assistant should also be knowledgeable in clothing construction
processes.

Schedule short fitting sessions at close intervals to ensure continuity in

LEARNING TO FIT A GARMENT
65

the fitting procedure. This also helps avoid undue mental, emotional, or
physical fatigue and prevents loss of interest in the project.
Work quickly. Standing still too long often causes faintness because the
blood circulation is inhibited. Locking your knees will increase the possibility
of fainting. To help prevent feeling faint, wiggle your toes and relax your knees
occasionally. When the garment is on the body, pin-baste the adjustment only
enough to indicate the problem areas and the amounts of change required. The
complete adjustment can be made more quickly and accurately when the
garment unit is on the work table.
Make math work for you. If the length of one stitching line changes, the
length.of corresponding lines on adjoining parts must change an equal amount
For example, if a garment neck opening is made smaller, make the same
reduction in the neckline of the facing and the collar. A change in the length of
an ai mscye requires the same amount of change in the height of the sleeve cap
or an adjustment in the position of the top-of-cap mark. When the adjustment
of one stitching line involves only a change in position or in shape but not in
length, the adjoining stitching line requires no length change. For example, an
adjustment for sloping or squared shoulders only changes the pitch of the
shoulderline and height of the underarm. It does not change the size of the
armscye, therefore no sleeve adjustment is needed.

Fitting Guidelines
Attempt to solve each fitting problem on the basis of a few underlying
principles. Apply similar adjustment procedures to similar problems. Choose
the simplest, neatest procedure that corrects a problem without causing addi¬
tional ones. Multiple figure variations may require only a single alteration
procedure to correct several fitting problems.
Work from the simple to the complex. Begin fitting with the garment
section for the area of the body which has the least complicated contours. This
is usually a skirt, since the lower torso has fewer pronounced curves and
contours and the corresponding pattern has fewer pieces. Pants are next in a
logical fitting sequence. Principles and procedures for fitting a skirt apply
directly and proceed naturally to the pant. Pants require the same adjustments
as the skirt and for the same reasons. Additional fitting areas include the
inseam and crotch seam. Learning to fit pants at the crotch area has a direct
relationship to fitting the bodice armscyes. Fitting principles that, apply to
adjusting the length and shape of the crotch curve and the depth from front to
back also apply to adjusting the fit of the sleeves. Proceeding from the simple to
the complex makes the fitting of the armscyes a review instead of a new
challenge.
Begin to fit each garment unit at the largest area of the body where the
fabric touches the figure. Garment circumference must be adequate to encircle
the body and close without strain. To check the fabric adequacy for the lower
and upper torso, use the following formula.

• Measure the circumference of the waist, hip, and bust.

• Subtract the personal body measurements from the corresponding
standard measurements on the pattern envelope chart.
• Divide the difference between each set of measurements by four. (Four
seam edges are involved.)
• Add or subtract the divided difference parallel to the side seam of the
pattern or garment.
• Measure the arm circumference of the biceps and add 1 inch to 2 inches
(2.5 to 5 cm) for ease. Subtract this from the sleeve pattern about
2 inches (5 cm) below the capline. Divide the difference by two and add
or subtract this amount parallel to the underarm seam of the pattern or
garment.
66 FITTING & PATTERN ALTERATION

Fit the garment right side out since thfs is how the finished garment will be
worn. (If the garment is fitted wrong side out and then worn right side out
asymmetrical alterations will be on the incorrect half of the body.) Place the
garment on the body carefully to avoid stretching the unfinished edges. Pin the
closure together accurately. Match garment center lines or other closure
markings. All seam allowances and dart folds should lie smoothly against the
body and the fabric surface should be free from any distracting construction.
(An exception occurs when the dart-folds on a fashion garment lie on the
outside for design interest.)
Once the garment is on and closed, fitting problems involving length
should be adjusted first, before those involving circumference so that garment
shaping is level with the appropriate body contour.
While being fitted, stand away from but look straight ahead into the
mirror. Stand erect with body weight balanced in a natural stance. Assume this
posture during each fitting. A change in posture always produces a change in
fit. If the person being fitted turns to watch the fitting process, the body
automatically becomes asymmetrical and the garment twists out of its natural
alignment. (If the torso is asymmetrical, however, adjust the garment for
asymmetry [see Chapters 3 and 10]. If one leg is shorter, level the body by
placing a flat object under the foot of the shorter leg.)
In general, work from the top to the bottom of the individual garment unit
as you work on the most obvious problems first. Progress toward the lower
edge. The myriad of minor problems seen at first may become insignificant or
disappear altogether as your work progresses logically.
Always keep the garment centers in line with body centers and work
from side to side within the same area to achieve balance. It also prevents
incorporating too much ease on one side of the garment.
To achieve the illusion of pleasing figure proportions, work from the front
to the back of the garment. The position of the side or shoulder seamline can be
changed without increasing the total size of the garment. To make the front
appear smaller, move the seamline forward by letting out the back and taking
up the front an equal amount. Reverse the procedure to make the back appear
smaller. Portions that are more nearly equal create a feeling of balance.
Look for related variations, side to side, front to back, and top to bottom.
The body usually counterbalances itself. If an individual has rounded shoul¬
ders, the chest is usually hollow. A high hip on one side may be accompanied
with a high shoulder on the opposite side of the body. If the figure is
asymmetrical, determine which side of the body is causing the most distortion
in the fabric; adjust only that side of the garment when the figure differences of
the two sides are slight. If the figure difference is more extreme, adjust each
side of the garment as needed.
Adjust the position of the garment hemline last. Body contour, frame and
build help determine the appropriate positions that will enhance appearance.
The adjustment in hemline position is made an even amount at the hem edge of
the various garment pieces. Unevenness of a hemline is a signal that adequate
fit has not been accomplished, unless bias fabric areas are involved.

Fitting Procedure
Learn to evaluate the fit of the garment unit in relation to the body structure.
To determine whether a need for improvement of fit exists, be observant and
think analytically in terms of cause, effect and solution (review Chapter 6).

Figure Analysis
Analyze the body structure to determine the cause of an incorrectly fitted
pattern or garment area (see Chapter 3).

Fitting Analysis
Locate the wrinkles and identify their direction and character. If a garment
LEARNING TO FIT A GARMENT
67

area is too large, either loose horizontal or vertical folds form, the garment
stands away from the body, or sags against it depending on the fabric texture. If
a garment is too small, tension wrinkles form horizontally, vertically, or
diagonally over the tight area. Learning to evaluate wrinkles is a beginning step
in learning to fit. Removing wrinkles by preventing their formation is the
fitter’s goal.

• When horizontal tension wrinkles form, the garment circumference is

smaller than the body circumference at or below the wrinkled area (see
Figures 7-1, 7-2).
• When loose horizontal folds or soft wrinkles form, the garment is
longer than the body at the area of the fold or wrinkle (see Figure 7-3).
• When vertical tension wrinkles form, the garment is shorter than the
body area underneath the wrinkled area (see Figure 7-4).
• When loose vertical folds, diagonal folds or puffs form, the garment
length or width is excessive over a body bulge. The accommodating
dart is too wide (see Figures 7-5, 7-6).
• When tight diagonal wrinkles form, the garment length and width is
too small over the body bulge at the top of the wrinkles. The accommo¬
dating dart is too narrow (see Figures 7-7 to 7-9).
• Not infrequently, combined directional wrinkles form (see Figures
7-10 to 7-13).

Figure Requirement
Analyze the need for change in garment measurements. If a garment has the
same measurement and shape as the body plus enough ease for natural body
movement, the garment will fit smoothly. No change is needed. If a garment
has a different measurement or shape than the body plus ease, some part of the
garment must change in length or width.
When a flat piece of paper or fabric is formed into a tube and placed on
the body, the excess fabric lying at the edge of each body bulge or hollow forms
a dart. A dart-equivalent seam forms along each body slope, such as the
shoulders, sides of the rib cage, and hips. Dart-equivalent seams also join fabric
sections at natural body divisions. Darts and dart-equivalent seams add the
dimension of depth to the length and width of the garment. A darted garment
area that requires a change in length and/or width nearly always requires a
change in the size of the dart. The larger the body bulge or the greater the
body slope, the wider the fitting dart must be. The smaller the bulge or the less
the body slope, the narrower the fitting dart must be.
When the two halves of the body are asymmetrical, the lengths and
widths of the garment sections and the corresponding width of the dart must
differ accordingly. The tips of corresponding dart end on a line parallel to the
floor and the same distance from the garment center line.
When expressing needed changes in a garment area, use terms that
describe the size or shape of the body area. For example, “To fit larger-than-
average shoulder blades, increase the length and width of the fabric over the
shoulder blade area.” Using descriptive words in logical sequence makes
pattern alteration and future fitting a simpler task.

Garment Alteration
Choose an appropriate method to adjust the tissue pattern or fabric garment.
Two methods commonly used include the slash and spread or lap methods and
the pivot-slide method. See garment alterations for specific figure variations in
Part Two. Comparing body measurements plus ease to a garment or pattern is
a third method of determining where and how much adjustment is needed (see
Chapter 8, measurement method).
The slash method is limited to trial-fitting garments because the interior
of the garment is cut and increased with an inserted strip of fabric, or made
smaller by stitching a tuck to remove the excess. The pivot method involves
moving the stitching line and can be used on fitting of fashion garments.
68 FITTING <&= PATTERN ALTERATION

Figure 7-1 Broad upper back

Figure 7-4 Long torso

Figure 7-5
LEARNING TO FIT A GARMENT
69

Figure 7-8 Large elbow

Figure 7-10 Broad, square shoulders Figure 7-11 Narrow shoulders,

broad lower back
and large waist

Figure 7-13 Protruding

abdomen, full front thigh
and hyperextended calf

Figure 7-12 Rounded upper

back, sloped shoulders and
large waist
70 FITTING &> PATTERN ALTERATION

Evaluate the total fit of the completed garment. Move as you would when
the garment is in use. Stand, sit, walk, bend, and stoop. Swing your arms; raise
and lower them. When you are standing with your usual posture, the garment
should relax and return to a correctly fitted position without help. Refine the
fit as needed on any questionable area.

Pattern Alteration
Choose an appropriate method of altering the pattern. There is a direct
relationship between garment adjustment and pattern alteration. The slash
and pivot methods are accomplished in the same manner on the pattern as on
the garment. A new approach, the seam method of pattern alteration, is
introduced in this text. The seam method involves moving the seam allowance
to accomplish the change. (See Chapter 9 for general instructions and Part
Two for specific pattern alterations.)
 CHAPTER 8

This chapter discusses three fitting methods.

METHODS
• Pinned Pattern Method
• Thial Garment Method
OF
• Measurement Method FITTING
They have been tested in a variety of classroom situations. The procedures in
each method will produce accurate results if understood and applied correctly.
Each method may be used separately, or parts of the three may be combined on
the same pattern piece. The result is an artistic composition of fabric, garment
and figure.

Pinned Pattern Method

In this method, the paper pattern pieces are pinned together as though they
were the corresponding pieces of fabric. Units are then adjusted directly on the
body.
\\ hen assembling the pattern pieces, do not pin seam allowances facing
each other in the usual manner. Pinned so they extend away from the body, the
resulting wings are unattractive and make the body appear larger. Pinned
with seam allowances turned toward the body, these nonpliable, thickened
areas of paper use up ease and make the pattern appear tighter than it actually
is. In either case, curved seams with edges that do not curve identically are
strained and buckle, become lumpy, or tear. Instead, overlap the seam allow¬
ances and pin them together with stitching lines coinciding, or turn the one
seam allowance under (preferably the nondarted and the outwardly curved
edges) and pin in place on the corresponding pattern edge. In either procedure
the stitching lines must match. The pattern can then lie smoothly on the body
and units are easily reversed to try on either half of the body. Fit each garment
unit separately to avoid excess damage to the pattern.
Once mastered, this method has the following advantages:

• Pinning the pattern together can be done quickly and easily.

• Reliable results can be obtained for the primary fitting.
• Both unaltered and altered patterns can be pin-fitted successfully.
• People with limited time but determination can achieve an attractively
fitted garment.
• People who wish to work quickly with a minimum of detail can obtain
success.
• The garment can be worn sooner. Less time is spent fitting the garment
itself.
• The fashion fabric is not overhandled.
• Seeing the pattern pinned together provides motivation to complete
the garment.
• The sequence of construction is learned indirectly as the paper sections
are pinned together. (If the pattern guide sheet is to be used during
construction, the pinning sequence follows the guide. Notches on
adjoining seam allowance edges are numbered according to the
sequence shown on the guide sheet.)
• A preliminary check of fitting ease and the effect of the fashion ease can
be made quickly.
• This method is particularly efficient for easy-to-fit figures and simple or
loose garment styles.

The following limitations should be taken into consideration when learning

the pinned pattern method:

• An assistant is very helpful.

• The person being fitted must stand very still to prevent damage to the
pattern.

71
72 FITTING &> PATTERN ALTERATION

• The upper arm must be held away from the body; nonreinforced tissue
tears easily and may become wet at the underarm area.
• Gathered areas, pleats, and tucks must be pinned in place. This can be
very involved on some patterns.
® The amount of available ease may be difficult to determine, especially
by a beginner.
• Pattern tissue is semi-rigid. The corresponding fabric pieces are pliable
and fit somewhat differently according to the texture and other inher¬
ent characteristics of the fabric. However, minor differences are easily
adjusted during the refined fitting procedures if the pattern has been
appropriately fitted prior to cutting.
• Due to the rigidity of the paper, larger-than-average figure variations
will not cause grainlines to bow as in fabric but rather cause the pattern
area to appear tight and the edge to ripple.
• The asymmetric figure causes the fitting lines to tilt toward the higher
or fuller side. Duplicates must be made of the main pattern pieces so
that the left and right pattern pieces can be adjusted separately.

PREPARING THE PATTERN FOR FITTING

1. Cut pattern pieces apart, leaving generous margins along the side and
shoulder seam allowances.
2. Select the necessary pattern pieces.
3. Using a dry iron to prevent shrinkage, press the pattern pieces flat and
wrinkle free.
4. Reinforce the unprinted surface of the pattern, if desired. Use a light
press-on pattern backing or thin, fusible interfacing. These will rein¬
force paper patterns. Plastic-coated freezer wrap pressed onto paper
patterns gives additional firmness and durability. Keep the backing
material and the patterns totally wrinkle-free while reinforcing. If
possible, use a thick table cover that is firm but porous enough to

Figure 8-1 The pinned pattern illustrating the fitting units

 allow pins to be inserted. Such materials as a large piece of cardboard,
a sewing cutting board, or a cork-top table are convenient. Lay the
reinforcement material, fusing side up, over the table covering. An¬
chor to the cover. Lay the untrimmed pattern, labeled side up, over
the reinforcement material. Anchor to the reinforcement and the
table covering to prevent slippage. Keep both layers smooth and
produce a wrinkle-free pattern. Press the pattern area lightly with a
dry iron to fuse the layers. Begin at the center and work outward to
edges and corners. Press along the cut edge of the seam allowance but
not past the pattern margin. Use a disposable press cloth, if necessary,
to prevent fuse-agent residue from collecting on the iron; fusing agents
and plastic are difficult to remove. The fusing agent on interfacing and
pattern backing will adhere better if a strip of aluminum foil is placed
under the covering qf the pressing board. This reflects the heat back
into the pattern materials.
5. Trim the excess pattern tissue from the armscye, neckline, waistline,
and crotch seam allowances.
6. Fold hems and pin in place.
7. Lap darts closed. Pin through all thicknesses of paper near the base of
the darts.
8. Lap the seam allowances with stitching lines coinciding. Pin along the
seamline each 3 inches to 6 inches (7.5 cm to 15 cm). For safety and
efficiency, place pins either horizontally across the seam allowance or
pai allel to the stitching line with the tips pointing downward.

FITTING PROCEDURE FOR EACH UNIT

1. Pin pattern pieces together to form the major garment units such as
the skirt or bodice.
2. Place a narrow fitting band snugly around the body at the scyeline,
waistline, and fullest hipline, as needed for the unit you are fitting.
• Fold one end of each fitting band under and lap this over the other
end; pin closed.
• Mark along the endfold and again at the exact point where the fold
lies; unpin and remove the bands. Label the marks center front.
• Match the two marks on each band and fold the band in half; mark
the new foldline. Label the mark center back.
• Replace the bands on the appropriate body areas. Align the marks
on the bands exactly at center back and center front of the figure.
Fasten the bands to underclothing if necessary to keep them from
slipping while the pattern is fitted.
3. Place the pinned-together pattern unit on the body (see Figure 8-1).
For garments comprised of two or more units, fit the skirt first, then
the vest, bodice, or jacket, and the sleeve last. In this way you proceed
from units that are less difficult to those that require more complex
fitting.
For skirts and pants
• Pin the center back and center front of the pattern at corresponding
marks on the fitting bands for waist and hip. The waist stitching line
should lie even with the bottom of the band.
For the bodice
• Slide the arm through the pattern armscye. The person being fitted
should rest the back of her hand on her hip or raise her hands and
cup them around her jawline.
• Pin the center back and center front of the pattern at corresponding
marks on the fitting bands at the scyeline and waistline. The
stitching line at the pattern waistline should lie even with the
bottom edge of the band.
74 FITTING <&= PATTERN ALTERATION

For sleeves
• Leave the bodice pinned to both fitting bands at center back and
center front.
• Slide the sleeve onto the relaxed arm.
• Overlap the sleeve cap onto the bodice. Match the stitching lines and
pin at each set of notches. Pin the top of the sleeve to the bodice
shoulderline.
4. Determine the fitting adjustments required. Anchor the center front
and center back of the pinned units to the appropriate fitting band.
Using one or more of the following procedures, mark or make tempo¬
rary adjustments while the unit is on the figure.
• Indicate the amount of adjustment necessary with a pin or pencil
mark.
• Remove excess length and width by pinning tucks through the
interior of the pattern area.
• Increase pattern size by unpinning seam allowances and adjusting at
the edges, or cut through a too-small area and insert extra length or
width.

When cutting is necessary, slash as near the closest affected seamline

as possible to prevent large distortions in the pattern. Use marking or
cellophane tape to hold the opened adjustments in place or pin the cut
edges directly to underclothing. If necessary, make a note to indicate
the location and amount of adjustment.
• Evaluate hemline position, ensuring that it falls at an attractive place
on the figure.
• Coordinate hemlines on all pinned units. Adjust as necessary to
create pleasing, interrelated proportions for the entire garment.
5. When properly fitted, the garment will incorporate appropriate fit¬
ting standards (see Chapter 6).
• Vertical centers of pattern pieces coincide with body centers.
• Dartlines point toward but stop approximately 1 inch (2.5 cm) from
the fullest part of the body bulge.
• All other fitting lines and pattern edges are in proper position and
location.
• Pattern tissues lie smoothly against the body and are free from
distortion.

6. Remove the adjusted garment unit from the body and separate the
pattern pieces.
7. Alter each pattern piece as necessary.

• Use slash, seam, or pivot method for pin-marked or tucked adjust¬

ments.
• Use slash method to alter slashed-and-spread areas of the pattern.
Pin strips of tissue under opened areas or lightly fuse strips of
pattern backing underneath the pattern.
8. If necessary, pin the garment unit together again on the figure to
evaluate the alterations. Adjust as needed.
9. Perfect all edges and stitching lines. Permanently fuse pattern backing
to the tissue if desired.

TVial Garment Method

A trial garment teaches how to determine body areas that vary from standard
and how to adjust fabric to improve fit. This garment is often referred to as a
muslin. A fashion garment, or any unit of it, may be constructed on a trial basis
to assess the accuracy of fit and determine the effect of fabric texture.
 If learning to fit is the objective in making a trial garment, good quality
muslin or another solid-color fabric should be used. Select plain weave
medium-weight fabric with warp and filling yarns of the same size and a close’
balanced thread count. The texture should be pliable enough so that figure
variations can affect the fabric, yet firm enough to prevent distortion with
handling. Extra fashion fabric, or a less expensive fabric that duplicates its
texture as closely as possible, may be used for trial units.
If the purpose of a basic garment is to recognize figure variations or to use
itting principles and procedur.es, it is cut without any adjustments. Differ¬
ences in the amount of fabric needed and the effect of figure variations on the
fabric can then be determined. Differences in size and shape can then be built
into the basic pattern and will become a part of the garment area for every
commercial or self-designed pattern thereafter. A pattern for a trial fashion
garment should be adjusted as much as possible prior to cutting the fabric,
thus eliminating unnecessary handling of the fabric.
Markings are vital in the trial garment method. Mark all stitching lines on
the fabric. Always mark the center front and center back of a garment unit on
both pattern and fabric. It is helpful to mark crosswise lines at hip, chest,
blade, and sleeve cap. This procedure helps distinguish the amounts of adjust¬
ment needed while the garment is on the figure. Adjustments will be equal on
both sides for the symmetrical figure. By keeping the center back and center
front of the trial garment at the body center and perpendicular to the floor,
asymmetrical figure variations are more easily recognized. Amounts of differ¬
ence in the left and right sides of the garment are more effectively determined.
Fabric sections may be pin-, hand-, or machine-basted, depending on the
purpose of the garment, the complexity of the style, and the desired construc¬
tion procedure (mass production, custom, or couture). When basting by any
method, sewing lines must match exactly. Fitting time is saved if the units are
pin-basted foi the first fitting. Pin basting is quick and advisable for simple
styles with only a few large sections or in the preliminary fitting of any style,
including the basic muslin.
Hand-basting is very easily removed while the garment is on the figure;
use fastening stitches instead of knots to prevent snagging the fabric when
removing the basting. Fong thread ends also facilitate removal. Hand-basting is
advisable for complex styles, for styles with several small pattern pieces, and
for garments with seamlines that require easing to produce the desired shape.
Care must be used with machine-basting especially on trial fashion
garments. Needle size and condition, thread, fabric, and machine feed must be
controlled correctly to prevent fabric slippage or damage. The machine needle
must be sharp and its size appropriate for the weight of the fabric. Thread
should be a pastel color or white to prevent dye from rubbing (crocking) onto
the-fabric. If long lengths of thread are pulled through a synthetic fabric, stitch
marks are often heat-set into the fabric. Do not allow the machine foot to push
the top layer of fabric or the feed dogs to ease in the underneath layer. Each of
these actions distort the grain, and the ends of the seams will curve away from
the eased side of the fabric. Final fitting stitches should be done on the machine
or by hand rather than with pins.
Pressing is a vital part of fitting, regardless of the method of attaching
garment sections. Pressing produces a smooth garment and enhances its overall
appeai'ance. Feave the basic garment basted together so it may be stored for
future fittings as they become necessary.
The trial garment method is recommended for anyone with a desire to
produce well-fitted clothing, to determine figure variations for asymmetrical
and other difficult-to-fit figures, and to personalize basic patterns that will be
used repeatedly.
This method has the following advantages:

• The fabric of the finished garment lies as smoothly on the various

contours of the body as during the fitting process.
76 FITTING &> PATTERN ALTERATION

Figure 8-2 Marking grain and stitching lines on the fitting dress.
 METHODS OF FITTING
77

• 1 he interlaced yarns allow the fabric to move with the body so that
adequate ease is determined during fitting.
• Figure variations cause the fabric line and grain to tilt, bow, sag or
strain, thus revealing garment areas that need adjustment.
• Inexpensive fabric similar to the fashion fabric can be used to deter¬
mine drape and grain direction before cutting fashion fabric.
Amounts of ease and added fullness are easily recognized.
Stitching lines are easily changed to increase or decrease length or
width. f< °

The following limitations are associated with the trial garment method and
should be taken into consideration:

• Extra time and effort are required.

• Extra financial expense is often involved.
If the adjusted basic garment is cut apart along the stitching lines and
used as a pattern, a new trial garment must be constructed if the body
changes size and shape.
• If the trial garment is cut apart on the stitching lines then copied onto a
pattern material, the grain on each fabric section must be aligned
exactly as when cut or the copied pattern will be distorted and will not
fit. Identical fit is assured only if the fabric is grain perfect before the
initial cutting and after the separated garment pieces are placed onto
tracing paper.

PREPARING THE PATTERN

1. Cut apart the pattern pieces you will use for the garment. Leave
generous margins along all edges. These margins will be useful for
adjustments when the pivot method of alteration is used.
2. Using a dry iron to prevent shrinkage, press the pattern pieces flat and
wrinkle free.
3. Mark the lengthwise fitting lines at the center of each pattern piece
(see Figure 8-2).

• On a sleeve, fold the portion above the elbow in half lengthwise.

Extend the crease straight for the full length of the pattern. Mark
the crease.
• On pants, fold the leg portion in half at the knee. Extend the crease
on the grain the full length of the pant leg. Mark the crease.
• On bodices, vests, skirts, and jackets, mark the center front and
center back when the marked lines or seamlines are not at these
positions.

4. Mark the crosswise fitting lines along the hip, chest and blade lines,
and sleeve capline. Mark the hipline parallel to the hemline (see
Figure 8-2).

PREPARING THE FABRIC

1. Block the fabric grain with the yarns crossing at 90-degree angles.
Remember that tearing or cutting along one crosswise thread or one
row of knit does not straighten the grain; it only makes the ends
follow a single row of weave or knit.

• Fold the fabric in half lengthwise. Place the right sides of the fabric
inward if a fashion fabric is being used.
• Match the cut edges at one end so the fabric edges form 90-degree
angles at the corners and lie parallel to the table edges.
• Match the selvages in a straight line perpendicular to the pinned
end and parallel to the table edge.
78 FITTING &> PATTERN ALTERATION

• Match the fabric edges at the other end. Pull taut so the fabric
corners form 90-degree angles. If the table has a porous surface, pin
the fabric to the table.
• Using a steam iron, press the fabric smooth while following the
lengthwise grain. Work from the selvages toward the fold. Do not
press a crease at the fold.
2. Pin the trimmed pattern exactly on grain. Point pins diagonally
toward the pattern edges. This prevents bubbling of the pattern,
which could result in cut fabric pieces that are smaller than the
original pattern pieces. If the table has a porous covering, insert pins
vertically through the pattern and fabric into the covering. Place pins
about 2 inches (5 cm) away from the pattern cutting line to keep them
out of the way of the shears.
3. Cut around pattern pieces smoothly and accurately.
4. Use contrasting pen or pencil on trial fitting fabric or thread on
fashion fabric to clearly transfer all grainline and fitting lines, center
front and center back markings to the face of the fabric. On trial fitting
garments, mark all stitching lines. On fashion garments, transfer all
additional marks and lines for trimmings, casings, and other design
details.

JOINING THE FABRIC PIECES

1. Use either the unit method or the assembly-line method of construc¬
tion. In the unit method each garment section such as the skirt is
constructed independently. The completed units are then joined to
one another. In the assembly-line method, a specific construction
technique such as darting is completed on all garment pieces before
progressing to the next technique.
2. If possible, plan a center-front opening for fitting purposes.
3. To prevent fabric damage, use only sharp pins. Use a contrasting pastel
thread, somewhat lighter than the fabric. (On white fabric use a pale
blue thread.)
4. Join the pieces exactly on the stitching lines.
• Plan the marked surface as the outside of the garment to facilitate
fitting on the figure.
• To pin-baste, fold the fabric along one dartline and lay the fold even
with the other line. Pin through folded fabric. Fold one seam
allowance under along the stitching line (preferably the nondarted
or outwardly curved edge) and align it with the seamline on the
adjoining fabric section. Pin through folded fabric.
• To hand-baste, first pin as above. Then slip-baste along the folded
edge of fabric.
• To machine-bciste, stitch the darts and seam allowances so they lie
inside the garment. Pin dartlines and fabric sections together with
dart areas or seam allowances facing each other, as for regular
machine sewing. Machine baste using the longest stitch and bal¬
anced tension. Begin sewing seams and darts at the intersecting
seamline. Do not backstitch. Leave 2-inch to 3-inch (5-cm to 7-cm)
thread ends to facilitate removal later.
5. To maintain accuracy and a pleasing appearance, press all darts and
seams before crossing them with an additional line of stitching.

FITTING TRIAL GARMENTS

1. Beginning with the simplest unit,.fit each unit separately. Refine the
fit of each as necessary before joining to another unit (see Figure 8-3).
METHODS OF FITTING
79

2. Mark or make temporary adjustments while the unit is in place on the

figure. Depending on the use of the garment, choose an appropriate
method from the following procedures;
• Remove stitching from a too-tight area. Let out or take up darts and
seam allowances.
Pin tucks through the interior of the garment to remove excess
length or width.
• On a fitting garment, cut along the grain through a too-small area.
Cut near the garment edge to allow the garment to increase in size.
Insert a wide strip of scrap fabric under the slash. Allow the area to
spread as necessary and pin the slashed edges to the inserted fabric.
3. When it is properly fitted, the garment will incorporate the appropri¬
ate fitting standards:

^ ei tical centers of the patterns coincide with the body centers and
are perpendicular to the floor.
• Dartlines point toward the fullest part of the body bulge.
• All horizontal fitting lines are level.
All garment edges are in attractive and proper positions.
• There is appropriate ease for the figures. Fabric lies smoothly against
the body and is free from distortion and tightness.
4. Stitch the separately fitted units together, then refine the fit of the total
garment. Coordinate hem with horizontal seam positions to create
pleasing, interrelated proportions.
5. Perfect all stitching lines.
6. Using the slash, seam, or pivot method, transfer all adjustments to the
paper pattern if it is to be used again.

Figure 8-3 The trial fitting garment illustrating the fitting units
80 FITTING &> PATTERN ALTERATION

Measurement Method
Fitting by measurement is accomplished by comparing body measurements to
those of the pattern. After specific body measurements are taken, an ease
allowance is added to the measurements for the areas of the body that move or
expand. The total measurement or body-plus-ease is then compared to the
corresponding pattern measurement. Measurements may also be obtained by
measuring a basic garment or personalized basic pattern.
The measurement method for checking fit potential offers the following
advantages:

• Measurements can be taken quickly.

• Vital information is obtained by beginners or professionals with mini¬
mal cost in time or money.
• Basic information is easily recorded for further reference and refine¬
ment.
• Experienced seamstresses and tailors can cut to fit so little refined
fitting is needed.

The measurement method has several limitations that should be taken into
consideration:

• When only a minimum number of body measurements are taken,

more refined fitting is often required after the garment is cut.
• Practice in taking body measurements is needed to become an accurate
fitter.
• A body is slightly smaller in the morning than in the afternoon. This
sometimes results in inaccurate measurement.
• Soft body tissue may indent or expand with slight shifts in body stance.
If the individual being measured turns or bends as the measurements
are taken, mistakes result.

MARKING THE FIGURE FOR MEASUREMENTS

To facilitate taking body measurements, use marks, tapes, elastic, or other
similar means to locate and define the points from which measurements
originate and at which they terminate. Assemble the following: measuring
tape, chart for recording measurements, pen or pencil, a necklace, elastic,
straight pins, a flexible ruler, and a right angle or tailor’s square.

TAKING RECORDING
BODY MEASUREMENTS
The individual being measured should stand erect in a natural, relaxed
position and look straight ahead while measurements are being taken.
Measure the lower torso first, particularly if you are a beginner at taking
measurements. There are fewer complicated bulges and curves. Work quickly
and accurately so the person being measured does not become tired. A rest
may be taken after the lower torso has been measured. (Check the position of
waistline tape and other tapes before measuring is resumed.) Another rest may
be taken before the arm is measured.
The measurements that follow are listed in the same sequence as on the
Measurement Chart (Part Three). Remember to record the body measure¬
ment plus any indicated ease.

Lower Torso (for skirt or pants)

!• Centers: Measure from the waistline to the floor, beginning at the
bottom of the waistline tape. (See Figures 8-4a and 8-4b.)
2. Inseam: Take the measurement from the front of the figure, measur-
ing from the crotch straight down to the floor. The person being
measured may hold the end of the measuring tape at the crotch if a
tailor’s tape is not available. (See Figure 8-4c.)
82 FITTING & PATTERN ALTERATION

3. Knee position: Measure from the floor to the middle of the kneecap.
(See Figure 8-4c.)
4. Side seam: Measure over the hip from the waistline to the floor. Note
the variation in lengths if both sides are not the same. (See Figure
8-4c 1
5. Hip depth: Measure from the waistline down to the tape at the hip
joint level. Measure at center front, center back, and both sides. If
side hip depths are not the same, record variations on the chart. Also
note protruding hip bones or a rounded abdomen. (See Figures
8-4d, 8-4e, and 8-4f.)
6. Crotch length: Measure from the waistline at center front, through
the crotch, to the waistline at center back. (See Figure 8-4d.)
7. Waist circumference: Measure from center back to the tape at each
side and from center front to each side. Record back and front
measurements separately. (See Figures 8-4e and 8-4f.)
8. Hip circumference: Measure from center back to the tape at each side
and from center front to each side. Record back and front measure¬
ments separately. Note the conformation of the buttocks. Does the
area protrude more than standard or is it flat? Is the fullest part of the
buttocks curvature placed high or low in relation to the hip joint?
Record this information on the chart. (See Figures 8-4e and 8-4f.)
9. Thigh circumference: Measure around each leg at the fullest part
above the knee. Record the distance between the waist and the thigh.
Observe the conformation or shape of the thigh. Does the silhouette
extend beyond the abdomen? Do inner thigh muscles touch or rub
when walking, or is there a space between them? Record your
observations on the chart. (See Figures 8-4e and 8-4f.)
Optional Measurements (for close-fitting pants)
10. Knee circumference: Measure around the bent knee while the person
is seated (see Figure 8-4g). Observe the conformation or shape of the
knee area. When the person is walking or standing with the feet
slightly apart, do the knees touch? Is the area between the knees
greater or smaller than the area between the ankles when the person
is standing? Record the conformation on the chart. (See Figures 8-4e
and 8-4f.)
11. Calf circumference: Measure around each leg at the fullest part below
the knee. Observe the conformation of the calf. When viewed from
the side, do the legs bow to the back? If so, is the plumb line at the
side of the body in line with or near the front of the knee? When
viewed from front or back, is the calf width more than IVz times that
of the knee? When standing, is the area between the calves greater
than the area between the ankles? Record your observations on the
chart. (See Figures 8-4e and 8-4f.)
12. Heel-instep circumference: Measure around the foot diagonally from
the heel over the instep when toes are pointed downward. (See
Figure 8-4h.)
Upper Torso (for the bodice)
13. Body centers: Measure the back length from the center of the promi¬
nent neck vertebra down to the lower edge of waistline tape. Mea¬
sure the front length from the necklace or line at the top of the
collarbone down over the bustline tape to the lower edge of the
waistline elastic. Also record the distance from the waistline to the
maximum fashion neckline depth. (See Figures 8-5a and 8-5b.)
14. Full bodice length: Measure the back from the shoulder/neck point
straight down over the shoulder blade to the lower edge of the waist
tape. Repeat on the front over the bust. (See Figures 8-5b and 8-5c.)
15. Blade and bust height: Measure from the waist up to the tape at blade
and bust tip level. (See Figures 8-5a and 8-5b.)
METHODS OF FITTING
83

16. Side seam length: Measure from the underarm level or scyeline
3,/* inch to 1 inch (2 cm to 2.5 cm) below the level of the arm hinge to
the waistline. (See Figure 8-5c.)
17. Width of shoulders: Measure across the upper back from shoulder tip
to shoulder tip (between armscye elastics or marks). Repeat for the
front. (See Figures 8-5d and 8-5e.)
18. Shoulder slope: Measure each shoulder diagonally from the waistline
at center back over the shoulder blade to the shoulder tip. Repeat on
the front over the bust contour. (See Figures 8-5d and 8-5e.)
19. Length of chest and bust contour: This measurement is required for
empire waistlines and similar styles. Measure from the midshoulder
down over the contour of the bust to the rib cage at the under edge of
the bust. (See Figure 8-5f.)
20. Shoulder length: Measure from the side neck out to shoulder tip. (See
Figures 8-5g and 8-5h.)
21. Width across shoulder blade area or chest: At a level 1 inch to
114 inches (2.5 cm to 3 cm) above the arm hinges, measure across the
shoulder blades from arm crease to arm crease. Repeat for the front
across the chest from arm crease to arm crease. (See Figures 8-5g
and 8-5h.)
22. Distance between blade and bust tips: Measure from blade to blade
and from bust tip to bust tip. (See Figures 8-5g and 8-5h.)
23. Full bodice width: At scye level measure across the back from body
center to each side. At fullest bust level, measure across the front
from the body center to each side. Note that these measurements are
not taken at the same level on the body. Back measurement indicates
rib cage size while front measurement includes rib cage and bra cup
size. (See Figures 8-5g and 8-5h.)
84 FITTING & PATTERN ALTERATION

Arm (for the sleeve)

24. Underarm length: Thke this and following measurements with the
arm hanging in a relaxed position. Measure at the side at a level
3A inch to 1 inch (2 cm to 2.5 cm) below the arm hinges. Measure
down the inside arm, following the contour of the arm to the
wristline above the little finger. (See Figure 8-6c.)
25. Elbow tip position: Above the little finger, measure from the wristline
to the elbow tip. (See Figure 8-6a.) (The elbow divides the underarm
length approximately in half.)
26. Overarm length: Measure down the outer arm following the contour
from the shoulder tip across the elbow tip to the wristline above the
little finger. (See Figure 8-6a.)
27. Biceps circumference: Measure around the fullest part of the biceps.
(See Figure 8-6b.)
28. Elbow circumference: Bend the arm to form a right angle. Measure
around the arm diagonally from the elbow tip over the crease. Keep
tape measure out of the crease. Check for the possibility of inward
rotation of the elbow: relax the arms in a downward position with
the palms of the hand forward. Do the elbow joints curve toward the
waist and the wrists extend away from the hips 3 inches (12 cm) or
more? Record your observations on the chart. (See Figure 8-6b.)
29. Wrist circumference: With two fingers under the measuring tape,
measure around the arm at the wristbone. (See Figure 8-6b.)
30. Hand circumference: Place your thumb in line with your index finger.
Measure around the hand at the base of the thumb. (See Figure
8-6d.)

COMPARING BODY MEASUREMENTS

TO THE PATTERN
6a 6b
Work with a smoothly pressed, untrimmed pattern, the body measurement
chart, and a ruler, tailor’s square, or an accurate tape measure.
Use the body measurements-plus-ease in the sequence indicated in the
instructions below. Compare body measurements to the corresponding loca¬
tion on the pattern piece. Do not include in the measurements the seam or hem
allowances, button closures, or other extensions beyond the center; the area
enclosed in the darts, stitched pleats, and tucks; or other similar details. Width
must be allowed in addition to the body measurement for gathering, for
unstitched pleats, released darts or tucks, and flare.
Begin measuring the pattern from the location designated in the instruc¬
tions. With a pencil, mark the pattern where body measurements end or
where they extend beyond the pattern edge. Add tissue to extend the pattern
edge if necessary. In the following illustrations, when body measurement
varies from the pattern, the number of the measurement is circled.

Lower Torso (skirt) (Figure 8-7)

1. Compare center body lengths to the pattern centers from hemline to
6c waistline (see measurement 1 on chart).
2. Compare side body length to the pattern along side seam contour from
hemline to waistline (see measurement 4 on chart). Side length minus
Figure 8-6 l&king measurements desired hem level from the floor equals skirt length.
on the arm 3. Compare the hip depth of the body to the pattern as follows. Mark side
hip level on the pattern, 7 inches to 9 inches (18 cm to 23 cm) below
the waistline or 1 inch to 1(4 inches (2.5 cm to 4 cm) below the point
where the side seam becomes a straight line. Draw the hipline across
the pattern parallel to the hemline. Now use the body hip depth
measurement to measure up from hipline to waistline (see measure¬
ment 5 on chart).
 METHODS OF FITTING

Tb alter the pattern:

VhrtraSUremr 4 and 5 differ from ,he Patt<™ *e amount

change the pattern length above the hipline (Figure 8-8). If chart measure-
ments and 4 agree with the pattern but measurement 5 differs, change the
pattern length above the hipline then restore the pattern to its original length
at cut edge of hemline (Figure 8-9). If chart measurement 5 agrees with die
dl c n ™ea.surements 1 a"d 4 differ, change the pattern length at the cut
edge of hem (Figure 8-10). If chart measurements 4 and 5 differ from the

fal!rn IT' “’uT’ makli *he pa"CTn lenS*h chan«es for measurement
hem^the hlp me and *he chan8es for measurements 1 and 4 at the cut edge of

4. Compare the waistline circumference of the body to the pattern from

center-line to side seamline (see measurement 7 on chart- see
Figure 8-11). - ’
5. Compare the hipline circumference of the body to the pattern at hip
level from center line to side seamline (see measurement 8 on chart-
see Figure 8-11), ’
Tb alter the pattern:
If chart measurements 7 and 8 differ from the pattern an even amount make
pattern width change along the side seamline or at the marks indicating the
side seam position (Figure 8-12). When a side pocket is involved, make the
change between the pocket and the dart or tuck. If chart measurements 7 and 8
differ an uneven amount, make the change at the side seam, dart, or a style
seam near the side (Figure 8-13). If prominent thighs were noted at the side
add width at the side of the pattern. If thighs are prominent at the front’
increase the waistline curve by transferring part of the waist dart to the
hemline.

Lower Torso (pants) (Figure 8-14)

1* ComPare the inseam length of the body to the pattern front from
crotch seamline to hemline (see measurement 2 on chart). Where the
body measurement ends, mark a new hemline parallel to the original
one (Figure 8-15).
2. Compare the knee position of the body to the pattern front by
measuring up from the new hemline (see measurement 3 on chart- see
Figure 8-16).
3. Compare side body length to the pattern along the contour of the side
seam from the new hemline to waistline (see measurement 4 on chart-
see Figure 8-16).
Tb alter the pattern:
If chart measurement 3 differs from the pattern, change the kneeline on the
pattern if the pants leg is a fitted style. Retain the new hem length. If chart
measurement 4 differs from the pattern, change the pattern length above the
hipline (Figure 8-16).

4. Compare the hip depth of the body to the pattern as follows: Mark the
side hip level on the pattern 7 inches to 9 inches (18 cm to 23 cm)
below the waistline or 1 inch to lVz inches (2.5 cm to 4 cm) below the
point where the side seam becomes straight. Draw the hipline across
the pattern parallel to the hemline. Now use the body hip-depth
measurements to measure up from hipline to waistline. If the pants leg
is close fitting, there should be additional length 1 inch to 1% inches
(2.5 cm to 3.5 cm) above the depth measurement of the body at the
back waistline (see measurement 5 on chart; see Figure 8-16).
Tb alter the pattern:
If chart measurements 4 and 5 differ from the pattern the same amount,
s change the pattern length at the hipline (Figure 8-16). If chart measurements
86 FITTING & PATTERN ALTERATION

Figure 8-7 Body measurements indicate that skirt Figure 8-8 Body measurements indicate that skirt
lengths are correct and require no change. length requires alteration above the hipline to change
total length and hip depth.

Figure 8-9 Body measurements indicate that skirt Figure 8-10 Body measurements indicate that skirt
length requires alteration above the hipline to change length requires alteration below the hipline to change
hip depth at the center only. the position of the skirt on the leg.
METHODS OF FITTING
87

Figure 8-11 Body measurements indicate that skirt Figure 8-12 Body measurements indicate that the skirt
widths are correct and require no change. requires alteration at waist and hip side seams to change
the width of both.

Figure 8-13 Body measurements indicate that skirt

width requires alteration at the side to change the width
at hip and waistline.
88 FITTING PATTERN ALTERATION

Figure 8-14 Body measurements indicate that pant

lengths are correct and require no change. igure 8-15 Body measurements indicate that pant
length requires alteration below the crotch line to change
the leg length.

Figure 8-16 Body measurements indicate

that pant length requires alteration at or
above the hipline to change the hip and/or
crotch depth.
4 and 5 differ from the pattern an uneven amount, change the pattern length at
the waistline.

5. Compare the crotch length of the body to the pattern. Measure center
front and center back from the waistline seam down to inseam.
Combine front and back pattern measurements. To facilitate measur¬
ing, stand a flexible ruler or tape measure on edge along the seamline
(see measurement 6 on chart; see Figure 8-17).
If chart measurement 6 still differs after making length adjust¬
ments above the crotchline, make the adjustments for the remaining
crotch length difference at the crotch extensions. Divide the measure¬
ment difference into thirds. Alter the front extension equal to one-
third. Alter the back extension equal to the remaining two-thirds
(Figure 8-18).
6. Compare the waistline circumference of the body to the pattern
waistline from center line to side seamline (see measurement 7 on
chart; see Figure 8-19).
7. Compare the hipline circumference of the body to the pattern at hip
level from center line to side seamline (see measurement 8 on chart;
see Figure 8-19).
8. Compare the thigh circumference of the body to the pattern from
inseam to side seam approximately 1% inches to 2 inches (3.5 cm to
5 cm) below the crotchline (see measurement 9 on chart). Check the
conformation noted when taking measurements.
Tb alter the pattern:
If chart measurements / and 8 differ from the pattern an even amount, make
the pattern width change along the side seam or at the marks indicating the
side seamline position. When a pocket is involved at the side, make the change
between the pocket and dart or tuck (see Figure 8-19). Change the width of the
front extension one-fourth of the side change. Change the back extension one-
half of the side change.
90 FITTING <&= PATTERN ALTERATION

If chart measurements 7 and 8 differ from the pattern an uneven amount,

make the change at the side seam, dart, or style seam nearest the side. Change
the front extension one-fourth of the width change at side hip level. Change the
back extension one-half of the width change at the side hip level.
If chart measurement 9 differs from the pattern, make the pattern change
at the side seam and inseam. Only the degree of curve of the inseam may
require change instead of the width of the extension. If prominent thighs were
noted at the side, add width at the side of the pattern. If thighs are prominent
at the front, increase the waistline curve by transferring part of the waist dart
to the front extension.

Close-fitting Pants
9. Compare the knee circumference of the body to the pattern approxi¬
mately halfway between the hipline and ankle or at the marked knee
position (see measurement 10 on chart). Measure from inseam to side
seam of back and front and combine the measurement. Check the
conformation noted when measurements were taken.
10. Compare the calf circumference of the body to the pattern from the
inseam to side seam approximately 4 inches to 5 inches (10 cm to
12 cm) below the knee position (see measurement 11 on chart). Check
conformation of calf as noted on measurement chart.
11. Compare the instep circumference of the body to the pattern at the
hemline of full-length pants (see measurement 12 on chart).
7b alter the pattern:
If chart measurements 10 and 11 differ from the pattern, change the pattern by
even amounts along the inseam and side seam. Some pants have slits or plackets
at the hem to allow the foot to slide through. Check for this styling before
adding width.

Bodice Lengths (Figure 8-20)

12. Compare center lengths of the body to those of the pattern from
waistline to neckline. If a low neckline is featured, use the maximum
neckline depth measurement and measure from the waistline up to
the neckline (see measurement 13 on chart; see Figure 8-21).
13. Compare the full bodice length of the body to the pattern parallel to
the center line (see measurement 14 on chart; see Figure 8-21).
Measure from the waistline up to the shoulder/neckline point. If the
neckline is a widened style, extend the shoulderline toward the
center line then compare the body measurement to the pattern from
the waistline to the extended shoulderline. Measure about 2% inches
to 23A inches (6 cm to 7 cm) away from the pattern center and parallel
to it.
14. Compare the shoulder blade height and bust height to the pattern
(see measurement 15 on chart; see Figure 8-21). Measure along the
foldline of the waist dart if one originates at the waistline. If there is
no waist dart, measure along the pattern center from the waistline
and square a line out at the height of blade or bust. A princess line
usually passes near but not over the bust point. Often the middle of
an eased area on the center panel of the pattern may be used as the
indicator for bust height, or the fullest point of the curve on the side
panel may be used.
15. Compare the side seam length of the body to the pattern from the
waistline along the side seam (or the marks indicating the side seam
position) to the armscye (see measurement 16 on chart; see Figure
8-21). Side seams of sleeveless tops may rise higher at the underarm
than side seams of tops with sleeves. The side seams of jackets, coats,
jumpers, and vests have been lowered at the armscye to accommo¬
date blouses or other garments that are worn under such apparel. A
 garment also may be designed with a lowered armscye for fashion
purposes.

7b alter the pattern:

If chart measurements 13, 14, 15 and 16 dither from the pattern the same
amount make the change below the bustline (see Figure 8-21).

16. Compare the shoulder-tip width of the body to the bodice pattern
(see measurement 17 on chart; see Figure 8-22). Extend the pattern
center line, then square and measure across to shoulder-tip. Mark the
pattern level with the Shoulder-tip. Measure and mark again above or
below the tip, then draw a line through the two points. This line is
parallel to the center. The shoulder width of a jacket or coat is wider
than the basic bodice. For clothing styles with lowered, widened
necklines, remove the ease in width and length to allow the neckline
to lie smoothly against the body.
11. Compare the shoulder slope of the body plus shoulder pad height
and shoulder extension (see measurement 18 on chart; see Figure
6*22). Measure from the waistline at center, diagonally upward to the
shoulder tip. The body measurement plus pad height and shoulder
extension will touch the vertical line previously drawn through the
shoulder tip.

7b alter the pattern:

If chart measurement 16 agrees with the pattern but measurements 13, 14 and
18 differ the same amount, make the change between the scye and shoulder to
alter the armscye depth (see Figure 8-22). If chart measurements 13 and 14
agree with the pattern but measurements 16. and 18 differ, make the change at
the shoulder and underarm to raise or lower the armhole position (see Figure
8-23). If chart measurements 15, 16 and 18 agree with the pattern but
measurements 13 and 14 differ, make the change at the neck and shoulder to
alter center lengths and the shoulder slope (see Figure 8-24). If chart measure¬
ment 16 agrees with the pattern but measurements 13 and 14 differ the same
amount and 18 differs less, make the change at the fullest part of the bulge.
This will alter the size of the dart(s) in the area (see Figure 8-25).

18. On styles with empire waistlines and other similar styles, compare
the length of the chest and bust contour to the pattern from the
center of the shoulder down to the empire seamline below the bust
area (see measurement 19 on chart; see Figure 8-26).

7b alter the pattern:

If chart measurements 13 and 19 differ from the pattern but measurement 16
agrees, make the change on the upper bodice at the empire line (see Figure
8-26). If a princess line is involved, make the change at the bust level of both
pattern pieces.

Bodice Widths (Figure 8-27)

19. Compare the shoulder length of the body to the pattern from the
shoulder tip to the neckline (see measurement 20 on chart). Jackets
and coats extend Vz inch to % inch (1 cm to 1.5 cm) at the shoulder,
but their wider neckline may shorten the shoulder by Va inch (0.3 m)
or more. Check shoulder-tip width (chart measurement 17) as an
indicator of shoulder length for designs with extended shoulders or
for designs that do not extend to the body neckline.
20. Compare the width across the shoulder blades or chest to the pattern
at the narrowest point of the armscye if the armscye is standard (see
measurement 21 on chart). If the sleeve is raglan style, measure across
the bodice at the armscye notch nearest the side seam.
21. Compare the blade and bust-tip widths to the pattern at the line
marking the height of the blade or bust (see measurement 22 on
chart). Begin measuring from the center line.
92 FITTING &> PATTERN ALTERATION

Figure 8-20 Body measurements indicate that Figure 8-21 Body measurements indicate that
bodice lengths, and shoulder tip width and slope bodice length requires alteration below the
are correct and require no change.
bustline to change the midrifFlength and
correctly position bust darts.

Figure 8-22 Body measurements indicate that

Figure 8-23 Body measurements indicate that
the bodice length requires alteration between the
bodice length requires alteration at the shoulder
armscye and the shoulder to change the armscve
tip and underarm to raise or lower the armhole
depth.
position.
METHODS OF FITTING
93

Figure 8-24 Body measurements indicate that Figure 8-25 Body measurements indicate that
bodice length requires alteration at the neck and bodice length requires alteration through the bust
shoulder to change the center lengths. dart to increase size.

Figure 8-26 Body measurements Figure 8-27 Body measurements indicate that
indicate that bodice length and bodice widths are correct and require no change.
dart size require alteration at the
bust on fashion patterns.
94 FITTING &> PATTERN ALTERATION

Figure 8-28 Body measurements indicate that Figure 8-29 Body measurements indicate that
bodice width requires alteration at the armscye to the bodice width requires alteration at the neck
change the shoulder length. and armscye to change the neck and chest width.

Figure 8-30 Body measurements indicate that Figure 8-31 Body measurements indicate that
bodice width requires alteration at the side seam the bodice width and shoulder slope require
and lower armscye to change width through the alteration at the shoulder tip and armscye to
bust and rib cage. change the position of the shoulder and armscye
seams.
METHODS OF FITTING
95

22. Compare the full bodice width of the body to the pattern at scye level
in the back (see measurement 23 on chart). On the front compare the
body measurement from the center line toward the side seam at bust
level. There will be more ease in a jacket or coat to allow for the
blouses, etc., worn under them.
23. Compare the waist circumference of the body to the pattern along
the waistline seam or waistline mark at the narrowest part of the
pattern waistline area (see measurement 7 on chart). Jacket waistlines
are loose to allow for 9 skirt, etc., to be worn under them.
Tb alter the pattern:
If body measurements 17, 21, 22, 23 and 7 differ from the pattern an even
amount, make the change between the center line and the dart, and extending
through the shoulderline (broad or narrow body center).
If chart measurements 17 and 20 differ the same amount and 21 is less,
make the pattern change at the armscye unless that will make unpleasing
proportions for a yoke or princess line at the shoulder (see Figure 8-28).
If 20 agrees, but 17 and 21 disagree, make the change for 20 at the
neckline. Make the change for 17 and 21 at the armscye (see Figure 8-29).
If only chart measurement 22 differs from the pattern, change the
position of the dart or princess line.
If only chart measurement 23 differs from the pattern, make the change at
the side seam (see Figure 8-30). If the design features a yoke or princess line,
make the change on the side panel at the princess seam. If no length change
occurred on the center panel, the width adjustment must not change the
length of the side panel.
If chart measurements 22 and 23 differ from the pattern, make the
changes at the same time.
If only measurement 7 differs from the pattern, make the change at the
side and/or at the dart.

Sleeve Lengths (Figure 8-32)

24. Compare the underarm length to the pattern from the capline to the
wristline along the front underarm seam or from the marks indica¬
ting the seam position (see measurement 24 on chart).
96 FITTING &> PATTERN ALTERATION

Figure 8-34 Body measurements indicate that the

elbow position is correct but the sleeve length requires
alteration above the elbow.

Figure 8-35 Body measurements indicate that alteration

is required above and below the elbow to reposition the
elbow dart(s) and to retain or alter length.

Figure 8-36 Body measurements indicate that the sleeve

Figure 8-37 Body measurements indicate
length requires alteration above the capline.
that the sleeve width is correct and
requires no change.
METHODS OF FITTING
97

Figure 8-39 Body measurements indicate

that the sleeve width requires alteration above
the elbow.

Figure 8-40 Body measurements indicate that the sleeve Figure 8-41 Body measurements indicate
width requires alteration at the back dart level. that the underarm seam requires
repositioning and the dart size increased to
accommodate the elbow.
98 FITTING & PATTERN ALTERATION

25. Compare the height of the elbow to the pattern from the back
quarter of the wristline to the elbow mark or dart tip (see measure¬
ment 25 on chart). If there is no dart in a full-length sleeve compare at
approximately half the pattern underarm length.
1b alter the pattern:
If chart measurements 24 and 25 differ from the pattern by the same amount,
make the change below the elbow position (see Figure 8-33).
If only measurement 24 differs from the pattern, make the change above
the elbow position (see Figure 8-34).
If only measurement 25 differs from the pattern, make the change below
the elbow position and then restore the underarm length above the elbow (see
Figure 8-35).

26. Compare the overarm length of body to the pattern from the center
of the wristline to the shoulder mark (see measurement 26 on chart).
The height of the shoulder pad (if a shoulder pad is used) must be
added to the body measurement before making the comparison. On
a kimono or raglan sleeve a notch often designates the end of the
shoulder.
lb alter the pattern:
Adjust the height of the sleeve cap as necessary (see Figure 8-36).

Sleeve Widths (Figure 8-37)

27. Compare the biceps circumference to the pattern across the pattern
1 inch to lVz inches (2.5 cm to 4 cm) below the capline from
underarm seam to underarm seam (see measurement 27 on chart).
Jacket sleeves are wider than dress sleeves by 1 inch (2.5 cm), coat
sleeves by 2 inches (5 cm). Some dress designs are loose and therefore
have more than minimum sleeve ease.
28. Compare the elbow circumference to the pattern at the elbow dart
level from underarm seam to underarm seam (see measurement 28 on
chart). Jackets and coats will be larger here also. On full-length
sleeves without a dart, measure across the sleeve halfway between
the capline and the wrist. Was elbow rotation noted when taking
measurements?
29. Compare the wrist circumference to the pattern from underarm
seam to underarm seam along the wristline (see measurement 29 on
chart). Jacket and coat sleeves are wider than fitted dress sleeves. If a
wrist placket is not featured, compare the hand circumference (chart
measurement 30) with the pattern wristline or the sleeve-band
circumference.
Tb alter the pattern:
If chart measurements 27, 28, and 29 differ from the pattern by the same
amount, change the pattern at the center of the sleeve and at the underarm (see
Figure 8-38).
If only measurement 27 differs, make the change at the underarm seams
above the elbow (see Figure 8-39).
If only measurement 28 differs, change the width and dart size at the
back underarm seam (see Figure 8-40).
If elbow rotation was noted, swing the front underarm seam forward
until the wristline moves W inch to % inches (1.2 cm to 1.8 cm). Pivot at the
elbow level. Adjust the wrist and back seams so the dart increases no more
than the amount of the forward change (see Figure 8-41).
 CHAPTER 9

The alteration of a pattern is a fundamental step in achieving attractive and

METHODS OF
coi reetly fitted clothing. Information learned from a personal figure evaluation
and in a measurement or fitting experience can be easily incorporated into the PATTERN
paper pattern to ensure a better fit in a fashion garment. The variety of
methods presented in this chapter permit selection of a procedure most nearly
ALTERATION
suited to your needs, purposes, and ability. We will discuss the following
methods:
• Slash Method
• Seam Method
• Pivot Method

The advantages and disadvantages of these methods are identified to aid you in
selecting a suitable method. Each alteration procedure is either entirely new or
is an improvement over past methods; each is intended to be logical, reliable,
and complete. Consistent procedures have been used to define cause, effect,
and alteration solutions for the specific figure variations in Part Two. The
methods are equally effective for altering patterns for men, women, and
children.

Alteration Procedures
1. Assemble equipment needed in the alteration process.
2. Review the amounts of necessary change determined during fitting
or measurement.
3. Analyze each garment adjustment independently and as it relates to
other adjustments. Consider the alterations to be made on a single
pattern piece in order to plan for a series of alterations resulting from
multiple figure variations.
4. Choose the most appropriate pattern alteration method for a particu¬
lar adjustment or combination of adjustments.
5. Pattern preparation for all methods:

• Work with a pressed pattern. (Press with dry heat to prevent

shrinkage.)
• Work with a reinforced pattern (see Chapter 7).
• Work with the printed side of the pattern up and on top of the
alteration paper.
• Work over a flat, porous surface such as corkboard, a pattern cutting
board, or a large piece of corrugated cardboard so that pins may be
inserted to hold patterns firmly in place.
• Draw alteration lines in red to draw attention to them.

6. Incorporate the correct amount of fitting adjustment at each area

requiring a change on the pattern piece. Use a systematic procedure.

• Make those changes that evenly increase or decrease the length of the
pattern piece. (The width may be accurate when the pattern is
positioned correctly on the body.)
• Make those changes that involve uneven adjustments in the length of
the pattern piece.
• Make those changes that involve even adjustments in the width of
the pattern piece.
• Make those changes that involve uneven adjustments in the width of
the pattern piece.

7. Check all pattern pieces adjoining an edge that has been altered in
length or width. Changes must be in equal amounts at the stitching
line on all adjoining edges or the pattern pieces will not match during
construction.
8. Evaluate the accuracy of all alterations.

99
100 FITTING & PATTERN ALTERATION
♦

• The original style of the garment must be retained unless a change

was intentional.
• A pattern lies flat before an alteration; there should be no puckers,
puffiness, or wrinkles after the alteration is completed.
• Center front and center back seamlines on a basic pattern must be
kept straight.
• When the length change of a pattern involves the center front or
center back, the amount of change occurring at center front or
center back must be even for a distance of about 3 inches or 4 inches
(7.5 cm to 10 cm) from the centers. Seamlines that intersect the
center front or center back must lie at right angles on the basic
pattern.

• The hem corners of all basic skirt pattern pieces must form right
angles or the hemline will be uneven.
• Double check the accuracy of each change.

9. True the pattern edges and make necessary restorations.

• Use rulers and french curves to restore the accuracy of lines and
edges and to make them conform to the curves and planes of the
body.
• When a dart is altered in length, position, or size, its base shape and
the pattern edge will change too. Fold the dart into the closed
position and cut along the pattern edge. This will automatically
Figure 9-1 Establish slash
lines for even amounts of shape the dart base correctly.
change that affect the entire • Restore any original pattern markings disturbed during the altera¬
width or length (long or short tion process.
waist).

The Slash Method

The slash method is based on the traditional theory that pattern alterations
should he in the same area of the body requiring change. Alterations by this
method are made by cutting through the interior of the pattern in approxi¬
mately the same area that the body requires an adjustment for proper fit. The
slashed pattern piece is then spread to increase a pattern area or overlapped to
decrease an area.
The slash method offers the following advantages:

• The method is similar to slash adjustments in the fitting garment.

• Even amounts of change are readily accomplished for the specific body
area. J
Changes will neither be forgotten nor cut off when the fabric is cut
because alterations have been made in the interior of the pattern area.
• The original seam allowances remain intact on the pattern edge.

The slash method offers the following disadvantages:

• Distortion of dart size and pattern edge usually occurs when uneven
changes are made and when the slashed edge is slanted or curved.
Figure 9-2 Establish slash • Distortion increases in proportion to the distance the alteration is made
lines for uneven amounts of
from the pattern edge. (Resulting dart size is not in proportion to the
change that affect the length of
only one edge (broad or narrow amount of change when the alteration is too far from the edge.)
shoulders). • Exact duplication of all adjustments in the fitting garment cannot be
accomplished in paper patterns because fabric and paper do not re¬
spond identically. To keep the patterns flat and the edges smooth
additional procedures must be done.
• Multiple figure variations do not lend themselves to combined altera¬
tions; the slashed areas often overlap or cross each other and can lead to
confusion and increased pattern distortion.
Because of the flimsy texture of tissue patterns, the shape of the pattern
pieces may be difficult to maintain.
METHODS OF PATTERN ALTERATION
101

• The cut pieces may become a “jigsaw puzzle” and be lost or confused
during reassembly.
• Producing altered patterns that accurately fit most figure variations
may be too difficult for the novice.
Many illustrations in available references are either inaccurate, incom¬
plete, or cannot be reproduced as illustrated because the drawing is not
factual.
• The individual whose pattern has been altered may not feel good about
the self or the pattern, since the altered pattern looks appreciably
different from the original.

Approach the slash method of pattern alteration in the following sequence:

1. To keep distortions to a minimum, plan alterations near the edge that

requires change.
2. Establish guidelines for slashing the area where the figure variations
occur.

• When an even amount of change is to be made in the length or

width, a line will extend through the entire area to be altered,
crossing both pattern edges (see Figure 9-1).
• When the length of only one seamline is adjusted, one alteration
line crosses the seam to be changed and extends to another stitching
line at the point where the figure variation tapers to nothing; an
additional line is made to the corner in the area between the two
affected points (see Figure 9-2).
• When only the interior is adjusted without changing the length of Figure 9-3 Establish slash
any seamline, a line will extend from one stitching line to another lines for uneven amounts of
change that affect only the
within the affected area; additional lines are made as necessary to a
interior (large or small elbow).
corner, where the figure variation is the greatest, and through the
center of the darts in the area (see Figure 9-3).
• When the adjustment involves both an even and uneven amount of
change, one line will extend through the pattern edge needing a
length change and will end at another stitching line or corner where
the figure variation tapers to nothing. Lines are made to the corner
where the variation changes from an even to an uneven amount in
addition to the one through the center of darts in the area (see
Figure 9-4).

3. Establish clip lines across the appropriate seam allowance area to

form “hinges” on the stitching line (see Figure 9-5). These lines
should extend diagonally across seam allowances at corners or
straight across other seam allowances to meet the end of interior
slash lines. The hinges permit movement of the pattern sections and
allow the seam allowance to lie flat.
4. Place alteration paper under the affected area.
5. Cut the pattern along the established slash lines. Clip to, but not
through, the stitching line to form hinges.
6. Secure the edge of the unchanged pattern area to the alteration
tissue. Figure 9-4 Establish slash
7. Manipulate the loosened pattern areas to make the adjustment (see lines for even and uneven
amounts of change that retain
Figures 9-6 and 9-7).
the shape of the separated edge
• To increase an even amount of length or width, separate the pattern of the pattern (rounded or
overly erect back).
pieces a parallel amount.
• To decrease an even amount of length or width, overlap the pattern
pieces a parallel amount.
• To increase an uneven amount of length or width, pivot the pattern
edge away from the interior of the pattern.
• To decrease an uneven amount of length or width, pivot the pattern
edge onto the interior of the pattern.
102 FITTING & PATTERN ALTERATION

Figure 9-5 Clip across seam Figure 9-6 Manipulate the Figure 9-7 Manipulate the
allowance to form a “hinge” on pattern area for an even pattern area for an even and an
the stitching line (large bust). amount of change (large bust). uneven amount of change
(large bust).
 METHODS OF PATTERN ALTERATION
103

To accomplish an even and uneven amount of change, make the even

change first by separating or overlapping the affected area, then
pivot the remaining section(s) until the pattern edges align.

8. Secure the changed pattern area to the alteration paper.

9. True the original grain if affected by the pattern alteration (see
Figure 9-8).
10. True the pattern edges and make the necessary restorations (see
Figure 9-9).
*

The Seam Method

The seam method illustrates the theory that the closer the alteration is made to
the edge of the pattern, the less the pattern will be distorted. The process
involves cutting the affected seam allowance free from the point where a figure
variation begins to the point where it ends. The seam allowance is then moved
away from, or overlapped onto the pattern to alter the affected area. Although
the change is apparent only at the pattern edge, the adjustment is incorporated
at the area where the fitting adjustment is necessary. This is due to the strategic
placement of length changes and pivot points.
The seam method offers the following advantages:

• The method can be easily carried out by the beginner.

• Alterations for multiple figure variations can be accomplished in an
Figure 9-10 Establish pivot
efficient and logical manner.
points for an uneven amount of
• Alterations can be accomplished in a short time. .change (square or sloping
• The interior of the pattern remains uncut and the original seam shoulders).
allowance is retained.
• Distortion is minimal; tiny amounts occur only at altered corners and at
curved edges of seam allowances.
• The grainline does not become distorted.
• Tlicks, pleats, and other construction details in the affected area remain
undisturbed.
• The appearance of the altered pattern is more pleasing.
• The individual whose pattern has been altered is more likely to feel
good about the self and the pattern, since the altered pattern does not
look appreciably different from the original.

The seam method presents the following disadvantages:

• Because of the flimsy texture of typical commercial patterns, the shape

of seam allowances may be difficult to maintain.
• Small pieces of seam allowance may be lost or misplaced during the
alteration process.
• No known references other than this text contain directions for these
newly developed procedures.

Approach the seam method of pattern alteration in the following sequence:

1. Locate the appropriate stitching line affected by the figure variation. Figure 9-11 Establish clip
lines to create “hinges” at
2. Establish pivot points on the pattern stitching line as necessary (see
stitching lines (square or
Figure 9-10): sloping shoulders).

• at the point where the figure variation is greatest

• at the point where a figure variation diminishes to nothing
• where an adjustment changes from an even to an uneven amount
• at the base of affected darts
• at affected corners

3. Establish clip lines diagonally across the seam allowance at corners or

straight across other seam allowances to meet the pivot points (see
Figure 9-11).
104 FITTING & PATTERN ALTERATION

4. Place alteration paper under the affected area.

5. Free the affected seam allowance by cutting near the stitching line in
the garment area (see Figure 9-12).
6. Cut the designated clip lines across the seam allowances to create a
“hinge” on the stitching line at each pivot point (see Figure 9-13).
(Do not cut through the stitching line.) Hinges permit movement of
the seam allowance, and these clips permit the seam allowance to lie
flat.
7. Secure the pattern area to the alteration paper.
8. Move the seam allowance the appropriate amount and in the appro¬
priate direction (see Figure 9-14):

• To increase an even amount of length or width, slide the seam

allowance away from the pattern area.
• To decrease an even amount of length or width, slide the seam
allowance onto the pattern area.
• To increase an uneven amount of length or width, pivot the seam
allowance away from the pattern.
• To decrease an uneven amount of length or width, pivot the seam
allowance onto the pattern.
• To accomplish alterations of both even and uneven amounts, slide
the section of freed seam allowance that is to be moved evenly, then
pivot the remaining section.

9. Secure the changed seam allowance to the alteration paper.

10. True the pattern edges and make necessary restorations (see Figure
9-15).

The Pivot Method

The pivot method is based on the theory that regardless of where or how a
pattern or garment is altered, it is the contour of the outer edge that ultimately
changes. The method, however, does incorporate the change into the area of
the pattern where the fitting adjustment occurs because of the strategic

Figure 9-12 Free the Figure 9-13 Clip across Figure 9-14 Manipulate Figure 9-15 True the
seam allowances to seam allowances to form the loosened seam pattern edges and restore
reposition the stitching “hinges” on the stitching allowance for the uneven dart length (square
lines (square or sloping lines (square or sloping amount of change (square shoulders).
shoulders). shoulders). shoulders).
METHODS OF PATTERN ALTERATION

placement of the length changes and pivot points. The process involves
obtaining a duplicate of the affected pattern area. The pattern, a tracing of the
pattern, or a ruler which matches the pattern edge may be used. This duplicate
is then slid or pivoted over the pattern or tracing and retraced to incorporate
the amount of adjustment. The fabric will be cut according to the corrected
alteration line. Avoid confusing the two lines by consistently tracing the
corrected line—which is always the fabric cutting line—in red.
The pivot method offers the following advantages:

Multiple alterations fbrTigure variations that occur in combinations are

efficiently accomplished.
• Since the tracing is the new working edge of the pattern, the pattern
may be retraced when the body weight or size changes or when the
pattern is used by more than one person. Only decreased areas require
cutting the original pattern.
• Distortion of the pattern edges is slight.
• The grainline does not become distorted.
Tucks, pleats, and other construction details in the affected area remain
undisturbed.
• The process can be used to alter the pattern before the fabric is cut,
during the cutting process, during the construction process on the
garment or on ready-to-wear garments that have adequate seam
allowances.

The pivot method presents the following disadvantages:

• The shape of the cut edge may be difficult to trace accurately because of
the flimsy texture of commercial patterns.
• Unless a contrasting color is used for the new cutting line, alterations
may be unnoticed and habit may cause you to cut on the original
cutting edge of the pattern.
• Alterations which involve darts are rather advanced for beginners.
• Few sources are available that explain pivot procedures for more than a
few common figure variations or pattern shapes.

Approach the pivot method of pattern alteration in the following sequence:

1. Establish pivot points on the pattern stitching line as necessary (see

Figure 9-16):

• where the figure variation is greatest

• where the figure variation diminishes to nothing
• where a change is no longer an even amount
• where an affected dart stitching line meets the cutting line being
traced

2. Duplicate the pattern area to be altered by making a tracing or using a

ruler with the appropriate shape. For relocation purposes, make
matching marks on both the pattern and the duplicate. Use a black
pencil for the tracing (see heavier outline in Figure 9-17).
3. Duplicate the pattern edge by making a tracing or by using a ruler
which matches the original pattern edge.
4. Slide or pivot the duplicate of the pattern area the needed amount and
in the appropriate direction. Trace the new cutting line in red:

• To increase an even amount of length or width, slide the duplicate

beyond the pattern or traced area.
• To decrease an even amount of length or width, slide the duplicate
onto the pattern or traced area (see Figure 9-18).
• To increase an uneven amount of length or width, use the pivot
point(s) along the stitching line and pivot the duplicate away from
the pattern or traced area.
106 FITTING <&= PATTERN ALTERATION

Figure 9-16 Establish pivot points for an uneven Figure 9-17 Trace the affected area (sway back).
amount of change (sway back).

Figure 9-18 Slide and trace affected area for an Figure 9-19 Pivot and trace uneven amount of
even amount of change (sway back). change (sway back).
 METHODS OF PATTERN ALTERATION

• To decrease an uneven amount of length or width, use the pivot

point(s) on the stitching line and pivot the duplicate onto the
pattern or traced area (see Figure 9-19).
To accomplish alterations of even and uneven amounts, slide and
trace the duplicate in the area to be altered the even amount. Pivot
and trace the duplicate.
• To accomplish an even and uneven amount of change, make the
even change first by sliding the duplicate away from or onto the
pattern or tracing (see Figure 9-20). Then pivot and trace the
duplicate until th£ seams and darts are aligned (see Figure 9-21).
Mark the position of notches and the ends of the dartlines when
tracing the altered area (see Figure 9-22).

5. If a tracing was used, secure the tracing to the original pattern. Match
the first traced line (black) with the cutting line on the original
pattern (see Figure 9-23).
6. True the pattern edges to make the necessary restoration (see Figure
9-24). ' &
7. Cut along the corrected (red) line when cutting the fabric.

Alterations tor Asymmetrical Variations

When the left side of the body differs significantly from the right side, the
fitting pattern must be duplicated to have a pattern for each side of the body.
Each is then altered as necessary. On some figures, the original pattern may fit
one side of the body correctly, while the other side requires a change. It is also
possible that the original pattern will fit neither side correctly. For this figure
each half of the pattern must be altered according to need. This results in
different pattern outlines for each side of the body for the bodice, skirt, or
sleeve units. The two halves of the patterns must be identical in length at
center front and center back. The center pattern lines remain as straight lines.
The changes are tapered into each other at or near the center back and center
front (see Figure 9-25).
When altering only one side of a pattern, taper the increase or decrease in
size back to the original at the center back or center front so it may be joined
properly with the unaltered side.
When you alter both sides of a pattern, the increase or decrease on each
side must be tapered to create the same measurement at the center front or
center back to join the pattern at the appropriate angle.
Specific alteration procedures are not presented for all possible asymmet¬
rical figure variations. Essentially the procedures are accomplished in the same
manner as alterations for the symmetrical figure but are confined to the
appropriate half of the pattern.
To create a feeling of levelness and balance, the dart tips on both sides of a
front or back pattern are kept the same height from the floor (see Figure 9-26).
Maintain the same distance from the center front or center back to
corresponding dart tips and dart base seamlines (see Figure 9-27). (A signifi¬
cant difference in the size of one breast or shoulder blade would be an
exception to this advice.)
Be aware of related alterations. For example, waistline height added to the
skirt side seam to accommodate a high hip may require a reduction in the
length of the bodice side seam.
Even though more time and effort is involved in altering for the asymmet¬
rical figure, the results are worthwhile. When alterations are accomplished
correctly, differences between the right and left sides of the figure are less
easily detected, or at least minimized, depending on the degree of variation.
The wearer’s comfort is certain to improve. Major variations require increased
care in the selection of flattering styles so that, in combination with the pattern
alteration, the camouflaging effects may be utilized to the greatest degree. An
illusion of symmetry is generally the goal.
 FITTING & PATTERN ALTERATION

Figure 9-20 Slide and trace for an even amount of change (short arm joint and wide hips).

Figure 9-21 Pivot and trace for uneven amount of change (narrow waist and wide hips).
METHODS OF PATTERN ALTERATION
109

Figure 9-22 Level the pattern across the dart base to Figure 9-23 Pivot and trace to complete the uneven
maintain equal dartline length (sway back). amount of change (sway back).

Figure 9-24 Secure changes, true dart and pattern edges.

110 FITTING (S= PATTERN ALTERATION

Figure 9-2G Waist dart tips remain the same height

from the floor on asymmetric alterations.
 CHAPTER 10

Once the fitting adjustments have been completed in the trial garment and
general alteration procedures are understood, it is relatively easy to convert the
PERSONALIZED
fitting adjustments into pattern alterations. This procedure personalizes the PATTERNS &>
basic pattern.

Figure 10-1 illustrates the before and after appearance of a straight skirt SLOPERS
style modeled by a person whose figure has three symmetrical variations. The
lower torso area differs from the standard in hip circumference, center back
length from waist to hip, and length of the leg. Evaluate the appearance of the
unadjusted skirt. The fitting gr,ainlines are level and plumb. The skirt balance
is correct. The skirt, however, lacks adequate ease at the hipline and horizontal
wrinkles have formed around the body. The swayed posture is causing a loose
hoi izontal fold in the fabric across the “small” of the back below the waist. The
skirt length is too long in proportion to the leg length and creates an
appearance that may be seen as dowdy.
In the adjusted skirt, increased width has been added at the hip to restore
ease. The center back length was decreased above the hipline to smooth the
fabiic against the body. The skirt was shortened to create better proportions
between the figure and the garment.
Using the skirt adjustments illustrated in Figure 10-1 as an example,
practice converting the adjustments to pattern alterations. (Use half-scale
patterns if they are available.) The alteration procedures that follow are
intended to be a review and an application of the alteration methods presented
in Chapter 9. Separate procedures are explained and illustrated for each
pattern alteration method.
As a beginning step, analyze each one of the fitting adjustments both
independently and in relation to adjacent changes, then answer the following
questions.

• Is the adjustment an increase or a decrease in size?

• Is the amount of adjustment even, uneven, or a combination of the two?
• What are the total amounts of change for each adjustment?
• Are the adjustments identical or different for each side of the body?
• Does the adjustment affect one or more garment sections?
• Which of the adjustments will be the simplest to accomplish first?
• Which alteration method will be the simplest and easiest to use to
accomplish the adjustment?

Simplicity, efficiency and neatness usually result if the alterations in each

pattern piece are made in the following order.

Length adjustments
• Even amounts of change.
• Uneven amounts of change.
• Combined even and uneven amount of change.

Width adjustments
• Even amounts of change.
• Uneven amounts of change.
• Combined even and uneven amount of change.

Use,the following guides for completing the pattern alterations. Refer to figure
variations 23, 8, and 12, respectively, located in Part Two of this text.

1. EVEN LENGTH CHANGES:

Hemline Adjustment (back and front patterns)
Note whether the pattern has a marked hemline. Measure and mark the
finished length desired for the skirt. Determine the appropriate hem width for
Figure 10-1 Skirt illustrating
the garment style and the fashion fabric. This amount is an addition to the. poor fit and the adjustments
finished length. for proper fit.
Slash Method (see Figure 10-2): Determine the necessary length change
to establish the alteration lines, draw a crosswise slash line below the hipline.
112 FITTING <S= PATTERN ALTERATION

Draw a second line parallel to the slash line. The distance between the two lines
will be equal to the amount of change needed. Cut along the slash line then
slide the cut edge of the pattern to meet the second line. Keep center back and
center front line straight. Secure the lapped edges. True the side seam on the
lower portion of the pattern by extending the pattern edge of the upper
portion in a straight line to the hem edge. Repeat for the other pattern piece.
Seam Method (see Figure 10-3): If a hem allowance has not been drawn
on the pattern, mark the hemline parallel to the cut edge. Determine the
necessary length change. In the skirt area above the marked hemline, draw an
alteration line parallel to the hemline leaving a space equal to the amount of
change needed. Free the hem allowance by cutting in the skirt area just above
the marked hemline. Lap the hem area over the skirt area until the hemline
and alteration line meet. Keep the center back or center front straight. Secure
the lapped edges. True the side seam across the hem by extending the pattern
edge in a straight line to the hem edge. Repeat for the other pattern piece.
Pivot Method (see Figure 10-4): Mark the finished skirt length on the
pattern. Mark the new hem allowance width below this mark. Draw the new
hem cutting line parallel to the original edge of the hem. Cut along the new
hem edge. Cross out any original hem markings. Repeat for the other pattern
piece.

2. COMBINED EVEN & UNEVEN LENGTH CHANGES:

Waistline Contour (back pattern only)

Slash Method (see Figure 10-2): Establish the pivot points. Mark the
points on the waist stitching line where the adjustment changes from even to
uneven amounts. Mark another at the termination point of the uneven cnange.
Establish the alteration lines. Below the waistline, draw a crosswise slash
line from the center back toward the side seam until in line with the first pivot
point. Angle the line from this point up to the termination point. Draw a slash
line through the center of the dart near the side seam. Draw a lengthwise slash
line from the horizontal line up to the waist seamline at each pivot point.
Place the waistline area over alteration paper. Slash along the alteration
lines; cut along the crosswise line from the center back to the termination
point. Cut through the center of the dart near the side seam. Cut along each

Figure 10-2 Completed patterns altered by

slash method. Figure10-3 Completed patterns altered by
seam method.
PERSONALIZED PATTERNS & SLOPERS
113

vertical line up to the pivot points. At each pivot point, clip across the seam
allowance from the cutting line to the stitching line. Leave a tiny, uncut area at
the stitching line so that hinges form on the seamline.
Secure the unaffected portion of the pattern to the alteration paper.
Adjust the position of the slashed pattern; across the center back area, lap the
slashed edges to decrease the length evenly as needed. Keep the center back
line straight. At the pivot point nearest the center back, begin tapering and
decrease as needed to the second dart. Level the area across the dart base Timer
to nothing at the termination point. The adjusted dart width maintains the
waistline circumference. Keep all corresponding dartlines equal in length
Secure the cut edges to the alteration paper.
Seam Method (see Figure 10-3): Establish the pivot points. Mark the
point on the waist stitching line where the adjustment changes from even to
uneven amounts. Mark another at the termination point of the uneven change
Place alteration paper under the waistline area.
Fiee the affected seam allowance; cut near the stitching line just inside the
garment area. At each pivot point, clip across the seam allowance from the
cutting edge to the stitching line. Leave a tiny, uncut area at the stitching line so
that hinges form on the seamline. Cut through the center of the dart near the
side seam.
Secure the pattern area to the alteration paper. Adjust the position of the
freed seam allowance: across the center back area, lap the seam allowance over
the skirt area to decrease the length evenly as needed. Keep the center back
line straight. At the pivot point nearest the center back, begin tapering and
decrease the change as needed to the second dart. Level the area across the dart
base. Taper to nothing at the termination, point. The adjusted dart widths
maintain the waist circumference. Keep all corresponding dartlines equal in
length. Attach the cut edges to the alteration paper.
Pivot Method (see Figure 10-4): Establish the pivot points. Mark the
points on the waistline where the adjustment changes from even to uneven
amounts. Mark another at the termination point of the uneven change.
Establish the new cutting edge of the pattern. Use a duplicate of the
original contour of the waistline. Match the duplicate to the original pattern
edge. Mark the pivot points on the duplicate. Across the center back area, slide
the duplicate into the pattern area to decrease the length evenly as needed.

Figure 10-4 Completed patterns altered by pivot method.

114 FITTING &> PATTERN ALTERATION

Trace along the duplicate edge for a distance equal to the even adjustment.
Mark any dart ends in the traced area. At the pivot point nearest the center
back, pivot the duplicate up until the duplicate touches the original waistline
at the side seam. Trace the waistline between the two darts and mark the end of
the first dartline. Match the duplicate to the remaining original seam. From the
termination point, pivot the pattern down until the unmarked dart end is level
with the marked dart end. Trace the waistline and the dart end. The dart width
adjustment maintains the original waist circumference. True the dart base. All
corresponding dartlines should be equal in length. If a tracing was used for the
adjustment match the cutting lines of the original and the tracing. Secure the
tracing to the pattern.

3. COMBINED EVEN UNEVEN WIDTH CHANGES:

Hipline Circumference (back and front patterns)
Slash Method (see Figure 10-2): Establish the pivot points. Mark the
point on the side seamline where the adjustment changes from an even to an
uneven amount. Mark another at the termination point of the uneven change.
Establish the alteration lines. Draw a lengthwise slash line from the
termination point to the hem edge. Draw a crosswise slash line between the
lengthwise line and the pivot point at the hip area. Place the side area of the
pattern over alteration paper.
Slash along the alteration lines. Cut along the vertical slash line from the
hem edge to the termination point. Cut along the crosswise line over to the
pivot point. At each pivot point, clip across the seam allowance from the
cutting line to the stitching line. Leave a tiny, uncut area at the stitching line so
that hinges form on the seamline.
Secure the unaffected portion of the pattern to the alteration paper.
Adjust the position of the cut areas of the pattern; below the hipline, spread
the slashed edges to increase the width evenly as needed. At the hipline pivot
point, begin tapering and decrease to nothing at the termination point. Attach
the cut edges to the alteration paper. The side section will rise slightly at the
hem. True the distorted corner at the hem by continuing the hem edge and the
side seam cutting lines until they intersect. Repeat for the other pattern piece.
Seam Method (see Figure 10-3): Establish the pivot points. Mark the
point on the side seamline where the adjustment changes from an even to an
 PERSONALIZED PATTERNS & SLOPERS
115

uneven amount. Mark another at the termination point of the uneven change.
Place the side area of the pattern area over alteration paper.
Fiee the affected seam allowance. Cut near the stitching line just inside
the garment area. At each pivot point, clip across the seam allowance from the
cutting edge to the stitching line. Leave a tiny, uncut area at the stitching line so
that hinges form on the seamline.
Secui'e the pattern area to the alteration paper. Adjust the position of the
seam allowance. Below the hipline, move the seam allowance beyond the
pattern area to increase the width evenly as needed. At the hipline pivot point,
begin tapering and decrease to nothing at the termination point. Attach the cut
edges to the alteration paper. The seam allowance will rise slightly at the hem.
Time the distorted corner at the hem by continuing the hem edge and the side
seam cutting lines until they intersect. Repeat for the other pattern piece.
Pivot Method (see Figure 10-4): Establish the pivot points. Mark the
point on the side seamline where the adjustment changes from an even to an
uneven amount. Mark another at the termination point of the uneven change.
If the pattern edge has been trimmed, attach alteration paper to the side
of the pattern.
Establish the new cutting edge of the pattern. Use a duplicate of the
original contour of the side seam. Match the duplicate to the original pattern
edge. Mark the pivot points on the duplicate. Adjust the new cutting edge of
the pattern. Below the hipline, slide the duplicate beyond the pattern area to
increase the width evenly as needed. Trace along the duplicate edge from the
hem edge until even with the pivot point. At the hipline pivot point, pivot the
duplicate until it meets the original and is even with the termination point.
Complete the tracing. True the distorted corner at the hem by continuing the
hem and side seam cutting lines until they intersect. Repeat for the other
pattern piece.

Figures 10-2, 10-3 and 10-4 illustrate the appearance of the altered patterns.
Regardless of the methods used, the owner of the skirt pattern is assured that
fashion skirts will fit properly if made from this pattern or from one compared
and correlated to it. Sewing time is reduced. The fabric will remain new and
fresh during construction because of less handling. Poise and self-confidence
increase and a feeling of well-being is the end result.
Figure 10-5 illustrates the before and after appearance of a straight skirt
and pants modeled by a person whose lower torso area is asymmetric. It differs
from standard in the height of the left and right hip and in the amount of
fullness in the upper hip area.
Evaluate the appearance of the unadjusted skirt. The fitting grainlines are
neither level nor plumb. The skirt is out of balance and the hem is not level. On
this first evaluation, the ease at the hipline may appear to be adequate but the
skirt is binding against the full, high hip.
When the skirt is adjusted for the fuller hip, the front and back waistline
and the entire side seam on the left-hand side is released to permit the
crosswise fitting grain and hem to become level. In turn, this permits the
center lines to become plumb. The ease is restored across the fuller hip area.
This adjustment causes excess ease to appear in the fabric over the flatter hip;
the excess is then removed by taking in the side seam.
Figure 10-6 illustrates the patterns altered by a combination of methods.
Since commercial patterns are printed to represent the right-hand side of the
body, the original pattern area is altered to correspond to the right-hand fitting
adjustments. The pivot method is used for the alterations necessary for the left-
hand side.
When a pattern for an asymmetrical figure is cut from fabric, time is
saved and frustration is prevented by cutting duplicate garment pieces to
Figure 10-6 Completed patterns
correspond to the larger side of the body. After cutting, mark and trim the
altered by slash and pivot method.
v garment pieces for the smaller side according to the corresponding pattern.
116 FITTING &= PATTERN ALTERATION

Checking the Finished

Patterns for Accuracy
Basic patterns or slopers are only as effective as their internal accuracy permits.
Inaccuracy in either one will be duplicated in each altered or self-designed
fashion pattern. To prevent mistakes, check the following:

• Center back, center front and side seamlines should meet hemlines at
right angles (see Figure 10-7).
• Necklines and waistlines should meet center lines at right angles (see
Figure 10-8).
• The entire center back and center front edges should be straight (see
Figures 10-7 and 10-8).
• The skirt side edges below the fullest body bulge should be straight (see
Figures 10-7 and 10-8).
• Corresponding dartlines and seamlines should be the same length (see
Figures 10-7 and 10-8).
• Corresponding waistline areas of bodices, skirts, and pants should be
identical (see Figure 10-8).
• All cui ved edges should be smooth and free from bumps or indenta¬
tions (see Figures 10-9 through 10-12).
• The degree of flare on the skirt side seams below the fullest body bulge
should be identical on back and front (see Figure 10-7).
• The curved portions of the front and back crotch seamlines should
form a continuously smooth line where they intersect at the inseam
(see Figure 10-10).
• Waistlines should form a continuously smooth line where they meet at
the side seam line (see Figure 10-11).
• Necklines should form a continuously smooth line where they meet at
the shoulder (see Figure 10-12).
• Armscye seamlines should form a continuously smooth line where
they meet at the underarm and at the shoulder (see Figure 10-13).
• Waistlines of front and back skirt or pant pieces should be approxi¬
mately M inch (G mm) larger than the corresponding waistband areas
(see Figure 10-14).
• The spaces between the sleeve underarm seamlines and the notches
should be Vo inch to % inch (3 mm to 9 mm) larger than corresponding
areas on the bodice armscye (see Figure 10-15).
• Back and front sleeve cap seamlines should each be 3A inch to 1 inch
(1.2 cm to 2.5 cm) larger than the corresponding areas on the bodice
(see Figure 10-15).

Personalized basic patterns and slopers provide a record of an individual’s

measurements, size, and shape with a minimum of ease included (see Figures
10-16 and 10-17). Use them to compare the fit of fashion patterns, make
alterations and design new patterns. They are invaluable tools for individuals:

• who have a creative interest in clothing design.

• who desire or require simple design changes in commercial patterns,
who design and alter simultaneously during the process of patternmak¬
ing or cutting from fabric.
• who sew for anyone with significant figure variations, including them¬
selves.
• who live alone and have little or no access to help for fitting.

Preserving a Personalized Pattern

Press basic pattern pieces flat. Use a warm, dry iron. Excess heat shrinks
backing material containing polyester, and steam shrinks paper. If tape has
been used in the alteration process, do not touch tape with the iron.
PERSONALIZED PATTERNS & SLOPERS
117

Checking the finished pattern for accuracy.

Figure 10-7

Figure 10-9
118 FITTING & PATTERN ALTERATION
 PERSONALIZED PATTERNS &> SLOPERS
119

If the pattern has not previously been reinforced, do so now. You may
wish to consider a fusible material or plastic lamination, depending on storage
space. At this point, your personalized basic pattern is ready to use in checking
the potential fit of fashion patterns and for simple design projects.
^or m°re extensive design work, a sloper is needed. A sloper (master or
-block) is a basic pattern with seam allowances, hem allowances, and dart
interiors removed. The cut edges of the sloper are equivalent to stitching, fold,
or hem lines. A personalized sloper can be purchased only through a personal¬
ized fitting service. It can be made from a personalized basic pattern very
easily. '

If the basic pattern is to be an integral part of the sloper, it can be double-

laminated or adhered to a suitable material. Consider the following materials:
tagboard or lightweight cardboard, heavyweight nonwoven fabric, wallpaper
lining, window shade backing, heavyweight wrapping paper, craft paper,
smooth grocery bags, and plastic-coated freezer paper with two layers fused
together.

The material chosen should not damage working surfaces or fabric. It

should remain wrinkle-free and be able to retain the shape of the edges. Use
sheets large enough to cut bodices in one piece; skirts, sleeves, and pants in no
more than two or three pieces. When large pattern pieces are divided, leave a
Vig inch (2 mm) space between the separated jsections. Adhere a pliable, strong
tape along the joint on both sides of the material. This permits folding without
tearing or loosening the tape. A material that can be rolled is useful only if the
sloper will also unroll and lie flat for use.
Once the pattern is laminated or adhered to a material, trim away seam
and hem allowances, and cut out dart interiors with straight, not curved lines.
(Curved lines cannot be folded during the design process.) Darts may be
stitched as curved lines later, during construction.
If the basic pattern is to be kept as a pattern separate from the sloper,
anchor it temporarily to the sloper material. Trace stitching, fold, hem, and
dart lines. Use curved and straight rulers to aid accuracy.
To mark each notch on the sloper, draw a line through the center at right
angles to the pattern edge and extend it across the stitching line. Repeat for the
top-of-sleeve mark and any other marks used for matching garment sections.
Draw all darts using straight lines. Check sloper tracings for accuracy and true
any crooked lines. Make short, very narrow slits at each notch location on the
stitching lines, if desired.

Figure 10-16 A standard basic pattern and a standard Figure 10-17 A personalized basic and a personalized
basic sloper represent an average figure. sloper have been altered to fit the figure of a specific
individual.
120 FITTING & PATTERN ALTERATION

If separated sections of the adjusted fitting garment are to be used as the

shaping basis for the slopers, use a pencil to mark seam and dart stitching lines,
'center front, center back, and hemlines of each garment section. (The hemline
may be left stitched in place if desired. The folded edge is the finished
hemline.)
Cut the sections apart exactly on all marked lines, or carefully remove the
basting stitches. Do not pull or stretch the fabric. Press the separated sections
on the lengthwise grain. Again, do not pull or stretch the fabric off grain.
Anchor the pressed fabric section, right side up, to the material used to create
the sloper. Complete the slopers as instructed above.
Using separated sections of a fitting garment to produce slopers is rela¬
tively fast since you progress directly from the fitting of the basic trial garment
to making the sloper. Little knowledge of pattern alteration is necessary.
However, accuracy in size and shape is difficult to maintain. Fabric is pliable
and cut garment sections are easily distorted. In addition, the altered fitting
garment is no longer available to put on and adjust if and when figure changes
occur.

Label each completed sloper section. Record the location and amount of each
alteration on the appropriate sloper. (See pattern adjustment record at the end
of Part Two.) (This information is particularly helpful when altering a fashion
pattern that is identical in brand, size, and figure type.)
Store slopers appropriately, according to the sloper material used.
As wear and tear appear on the edges of a sloper, make a new working
copy. (Keep the original basic pattern for reference.) As figure changes occur,
adjust the fitting garment, basic pattern, and sloper to reflect the changes.

Using a Basic Pattern or Sloper to

Compare Fit &> Determine Alterations
If the fashion pattern is the same bi^and, size, and figure type as your basic
pattern, make the same adjustments in size and location. This retains the
fashion fullness and design lines the designer intended. Analyze design lines
and edges, such as the armscye and neckline. If they are different from the
basic pattern for reasons other than style, alteration may be needed in these
areas. For example a lowered neckline eliminates the need to alter for a low
neck base at center or for full collarbones. A widened neckline may eliminate
alteration for a high or low neck base. The fashion neckline depth may require
raising or lowering for personal preference.
If the armscye depth has been lowered, check the sleeve capline and
bodice bustline width for enough design ease for a loose fit. If the shoulder tip
width appears too narrow or too wide, check the fashion description for puffed
sleeves or an extended shoulderline. The shoulder tip will be higher to
accommodate the thickness of shoulder pads—check the notion list on the
pattern envelope.
If the fashion pattern differs from your basic pattern in brand, size, or
figure type, compare the two and alter the fashion pattern to conform to the
measurements of the basic pattern or sloper at specific body locations. Analyze
the design to determine how much fashion fullness the designer used and
where it was placed. Analyze design lines and edges, such as the neckline or
armscye. If they vary from the basic, alterations may be necessary in those
areas as described above.
To compare the fit of the two patterns, lay the fashion pattern over the
basic or sloper. Match the bodices at center front, center back, and at the
natural waistline. Match the skirts at the center front, center back, and at the
natural waistline. Match the sleeve cutting lines at the underarm extension and
at the vertical centers of the sleeve.
PERSONALIZED PATTERNS &> SLOPERS
121

Figure 10-18 Fashion patterns compared to the personalized basic or sloper.

Basic pattern only (clear). Fashion pattern only (gray). Fashion and basic pattern overlap (wide lines).

Fashion pattern overlap (narrow lines).

122 FITTING &> PATTERN ALTERATION

The outside edges of the two patterns may not coincide. However, the
following specific areas of the fashion pattern must be at least as large as the
basic or the fashion garment will not be large enough:

• Width from center back or center front to shoulder tip

• Shoulder slope
• Chest and blade width
• Length and width at bust level
• Armhole depth and width
• Back and front waist lengths
• Waist circumference
• Hip circumference
• Crotch depth and length
• Thigh circumference
• Skirt and pant length
• Elbow dart position
• Long sleeves length

When a single basic pattern piece is compared to a fashion pattern with two or
more pieces in the same area, match the corresponding stitching lines at the
bustline, hipline, and sleeve capline and check circumference. Manipulate
pattern pieces to match other for further comparison. See Figure 10-18.

Using a Basic Pattern or

Sloper to Design New Patterns
A basic pattern or sloper can be used as a tracing template to create new
patterns according to personal taste and need. Design features that can be
incorporated include:

Dart changes:
• Move darts from one seamline to another.
• Release dart for a loose fit.
• Change darted area into gathers, unpressed tucks, or pleats.
• Convert darts to design seamlines, such as yokes or princess seamline.

Added Fullness
• Add flare at lower edges.
• Add extra fullness for gathers, unpressed or pressed pleats or for tucks.

Finishing Details
•.Design facings, collars, yokes, pockets, and belts.

To pretest a design, make a small-scale pattern and construct a small-scale

garment. If available, critique the finished garment on a small-scale manne¬
quin. A disappointing design in small scale is more easily corrected or forgot¬
ten than a full-scale version. A successful design viewed in small scale may
provide the motivation to produce a full-scale version.
 part two

illustrated alteration guide

hip area
1 Long Lower Torso
2 Short Lower Torso
3 Large Waist
4 Small Waist
5 Prominent Hip Bones
G Prominent Abdomen
7 Flat Abdomen
8 Sway Back
9 Pelvis Tilts toward Back
10 Prominent Upper Hip Curve
11 Sloping Upper Hip Curve
12 Broad Hips
13 Narrow Hips
14 Cylindrical-shaped Torso (hip area)
15 Flattened Oval-shaped Torso (hip area)
16 High Buttocks Contour
17 Drooped Buttocks
18 Large Buttocks
19 Flat Buttocks
20 Prominent Pubic Area
21 Recessed Pubic Area
 1 long lower torso 126

BASIC FITTING THEORY

Figure Analysis
The pelvic cradle is longer than
average. The distance increases
between the waist and the fullest
part of the buttocks. The bone
structure has no effect on the
position of the abdomen curvature.

Fitting Analysis
The fabric is loose above the
hipline along the side seams and
below the back dart tips because
the fabric shaping is above the
corresponding body contour. On a
skirt, the hip fitting line remains
level. On pants, it bows downward
across the body centers because the
fabric binds against the crotch. The
pant fabric either pulls into the
crotch crevice or forms into
diagonal wrinkles from the crotch
to the hip bones and the buttocks.
The hem position may be too high.

Fabric Requirements for

Proper Fit
The longer torso area requires
more fabric length from the waist
to the buttocks and longer back
darts. The shaping of the longer
garment area aligns with the body
curvature. On pants, this relieves
the strain at the crotch and the hip
fitting line becomes level.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Increase the length above the
hipline or lower the curvature on
the side seamlines.

Slash Method—fitting garment

only
Slash around the entire garment
below the front dart tips. Cut
parallel to the waistline. Insert a
strip of fabric. To increase length,
spread the cut edges evenly until
the shape of the garment aligns
with the curvature of the body.
Adjust the hemline position as
needed to create good proportion
between the garment and the
wearer.
127
1 long lower torso

Pivot Method
To reposition the side seam curve,
release the side seams from the
waistline to the hipline. Thke in the
garment areas equally on the back
and front to remove the excess
fabric above the hipline. Blend into
the original seamline toward the
waist and the hipline. Mark the
dart tip positions for longer back
darts. For a fitting garment, mark
the new hipline.

On pants, increase the crotch depth

by lowering the crotch seamline:
Form a new stitching line below the
original. Across the inseams, mark
parallel to the existing seamline.
Blend into the original stitching
near the hipline on the back and
the front. Tfim the excess from the
widened seam allowance area.

Adjust the hemline position on

both skirts and pants as needed to
create good proportion between the
garment and the wearer.
 2 short lower torso 128

BASIC FITTING THEORY

Figure Analysis
The pelvic cradle is shorter than
average. The distance decreases
between the waist and the fullest
part of the buttocks. The bone
structure has no effect on the
position of the abdomen curvature.

Fitting Analysis
The fabric is snug at the hipline
along the side seams and across the
back darts because the body
contour is above the corresponding
fabric shaping. The buttocks may
lift the fabric into a horizontal fold
across the back darts. This causes
the hip fitting line to rise across the
center back and the side seams to
slant toward the back at the hem.
On pants the crotch seam is below
the body level. This inhibits
walking comfortably and causes
strain on the stitching of the crotch
seam.

Fabric Requirements for

Proper Fit
The shorter torso area requires less
fabric length from the waist to the
buttocks and shorter back darts.
The shaping of the shorter garment
area aligns with the body curvature
and the hip fitting line becomes
level. On pants, the crotch seam is
nearer the body surface. The
wearer can move their legs more
freely.

GARMENT &> PATTERN

ALTERATONS FOR
SYMMETRICAL FIGURES
Change Required
Shorten evenly above the hipline or
raise the curvature on the side
seamlines.

Slash Method—fitting garment

only
To reduce length, form a parallel
tuck around the entire garment
below the front dart tips. Adjust
the tuck width evenly until the
shape of the garment aligns with
the curvature of the body. Adjust
the hemline position as needed to
create a good proportion between
the garment and the wearer.
 2 short lower torso

Pivot Method
On pants, release the entire
waistline seam. To decrease the
crotch depth, lift the garment
evenly until the shape of the
garment aligns with the curvature
of the body. Clip the widened
waistline seam allowance at 2 inch
(5 cm) intervals to release the strain
and mark the new waistline. To
restore the waist circumference,
widen the darts and take in the
side seams as needed on the front
and back. Trim the widened seam
allowances. Adjust the hemline
position to create good proportion
between the garment and wearer.

On a skirt, realign the hipline

curve by releasing both side seams
from the hipline to the waistline.
Let out the seam allowances equally
on the back and front to release the
tightness and restore the proper
ease. Blend into the original
stitching near the waist- and the
hiplines. Shorten the darts as
needed. On a fitting garment, mark
the new hip fitting line.
 3 large waist 130

BASIC FITTING THEORY

Figure Analysis
The waist indents less than average
because of greater amounts of body
tissue, flaccid muscles or slumped
posture.

Fitting Analysis
Forcing the garment to close
constricts the body at the waist and
compresses the soft tissues. This
compression causes body tissues to
expand below and above the waist.
The force lifts the fabric into a
horizontal fold around the
waistline. The hip fitting line
remains level. The hem position
rises.

On pants, the fold is smaller or may

not form because the fabric binds
against the crotch. This strain
causes the fabric to pull into
diagonal wrinkles from the crotch
toward the hip bones. The hip
fitting line pulls downward at the
body centers. The taut fabric at the
crotch causes discomfort.

Fabric Requirements for

Proper Fit
The larger waist circumference
requires more fabric width at the
waistline. The wider garment area
relaxes and lowers to the correct
position over the body contour.
This figure variation also affects the
bodice waistline (see Upper Torso,
70 Large Waist).

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Widen the waistline area at the side
seams.

Slash Method—fitting garment

only
Mark each side seam at the place
above the hipline where the
tightness begins. Release the waist
seam across each side seam area. On
both the back and front, cut
through the waistline seam
allowance near each side seam.
Continue cutting diagonally to the
corresponding adjustment mark on
each side seam. Do not cut through
the side seam allowances. Insert
fabric strips. To gain the needed
width, spread each set of cut edges
equally at the waistline until the
garment fastens comfortably and
smoothly and the ease is
incorporated. Thper to nothing at
the side seams. Let out the
waistband or bodice side seam
131
3 large waist

allowance equal to the change in

the skirt or pants. See 70 Large
Waist.

Pivot Method
Release the waistline seam across
each side seam area. Release the
side seams from the waistline to the
place near the hipline where the
tightness begins. To increase width,
let out each seam allowance equally
at the waist so that the garment
fastens comfortably and sufficient
ease is incorporated. Blend into the
original stitching near the hipline.
Let out the waistband or bodice
side seam allowances equal to the
change in the garment. See
70 Large Waist.
 4 small waist 132

BASIC FITTING THEORY

Figure Analysis
The waist indents more than
average because of smaller deposits
of body tissue, taut muscles or
overly erect posture.

Fitting Analysis
The edges of the garment opening
lap beyond the closure line. When
fastened on the closure line, the
waist, hip and hem lines of the
garment drop below the
corresponding positions of the
body. As a result, the fabric near
the side seams is loose. The hip
fitting line remains level.

On pants, the crotch seam is below

the body surface. This inhibits
walking comfortably and causes
strain on the crotch seam. The
hemline position lowers.

Fabric Requirement for

Proper Fit
The smaller waist circumference
requires less fabric width at the
waistline. The narrower garment
area aligns with the waist and lifts
the fabric shaping to the correct
position over the body contour.
This variation also affects the
bodice waistline (see 71 Small
Waist).

GARMENT PATTERN
ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Narrow the waistline area at the
side seams.

Slash Method—fitting garment

only
Release the waistline seam across
each side seam area. Near each side
seam, on the back and front, form a
tuck through the waistline to
remove the excess fabric equally.
Retain enough ease for the fabric to
relax. Tkper each tuck to nothing
along the side seam where the
looseness ends. Thke in the
waistband or bodice at the side
seams equal to the change in the
skirf or pants. See 71 Small Waist.
133
4 small waist

Pivot Method
Release the waist seam. Release the
side seams between the waistline
and the place above the hipline
where the figure variation begins.
To decrease width, take in the side
seam areas equally at the waistline
to remove the excess fabric. Blend
into the original stitching near the
hipline. TTim the widened seam
allowance. Thke in the waistband or
bodice at the side seam equal to the
change in the skirt or pants. See
71 Small Waist.
 5 prominent hip bones 134

BASIC FITTING THEORY

Figure Analysis
The upper tips of the pelvic cradle
protrude more than average
because either the bone structure is
larger, more angular, or the
muscles over the areas are light and
taut. The abdominal area may
appear indented.

Fitting Analysis
The fabric is taut over the hip
bones. The strain causes diagonal
wrinkles to radiate toward the side
seams and the center front. The hip
fitting line may rise toward each
hip bone. A slight horizontal
wrinkle may form near the
waistline above each bone.

Fabric Requirements for

Proper Fit
The fullness of the bone structure
requires more fabric width and
length over the hip bone areas.
This results in wider front darts
which may require repositioning
and straighter stitching lines. Darts
nearest the center front may be
unnecessary but may be retained
and made very narrow or
converted to ease or gathers for a
more aesthetic appearance. The
larger garment areas relax and
lower to the correct position over
the body contour. The hip fitting
becomes level.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Lengthen and widen the area over
the hip bones.

Slash Method—fitting garment

only
Clip the garment near the waistline
halfway between the center front
and each side seam. Continue
cutting diagonally to the
corresponding side seam just above
the hipline. Insert fabric strips. To
gain width and length, spread each
set of cut edges equally at the dart
tips until the fabric relaxes. Thper
to nothing at the side seams and
the waistline. Reposition the darts
if needed.
5 prominent hip bones

Pivot Method
Release the side seams above the
hipline. Release the waist seam
above the hip bones. Reposition the
side darts, if necessary, and increase
their widths to relax the fabric over
the hip bones. To gain width and
length, let out the side seam
allowances of the front at the
waistline to restore the waistline
circumference. Blend into the
original stitching above the hip.
Lower the loosened waistline areas
until the fabric relaxes over the hip
bones and the hip fitting line is
level. Blend into the original
stitching near the center front and
at the side seams.
6 prominent abdomen 136

BASIC FITTING THEORY

Figure Analysis
The abdominal muscles lack tone
and permit the abdomen to
protrude more than average. Excess
fatty tissue and slumped posture
may intensify the roundness.

Fitting Analysis
The fabric is taut across the
abdomen. The side seam above the
hip curve bows forward. The strain
may cause a horizontal fold of
fabric to form at the front
waistline. At the center front the
skirt cups under the abdomen, the
hip fitting line rises and the
hemline protrudes. Diagonal
wrinkles pull from the abdomen to
the side seams and cause the seams
to slant toward the front at the
hem. Elasticized waistbands on
pants may curve downward at the
center front. Pants with fitted
waistbands bind uncomfortably
tight against the crotch and cause
diagonal wrinkles to form from the
crotch to the hip bones.

Fabric Requirements for

Proper Fit
The roundness of the abdomen
requires more fabric width and
length along the entire center
front. This results in wider darts.
The dart stitching lines bow toward
each other. The larger garment area
relaxes over the abdomen and
relieves the tightness at the pant
crotch. The skirt fabric hangs
straight from the abdominal curve.
Elasticized waistbands on pants
align with the waist above the
abdominal curve. The side seams
hang plumb and the hip fitting line
becomes level.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Widen the midfront area; lengthen
the upper center front area.

Slash Method—fitting garment

only
Release the center front seam or
slash along the center front fold
and insert a strip of fabric. To
increase width, spread the center
front edges evenly until the fabric
relaxes across the abdomen. Mark
the darts in their new position and
shaping.

To increase the center front length,

cut across the garment front just
below the dart tips. Insert a strip of
137
6 prominent abdomen

fabric. Spread the cut edges equally

across the center until the fitting
line is level. Thper to nothing at
each side seam.

Pivot Method
On a skirt, release the front waist
seam. To gain width, release either
the center front seam or both side
seams their entire lengths. Let out
the front seam allowances equally
until the fabric relaxes across the
abdomen. Stitch the new seamlines
parallel to the original ones. Widen
the darts to restore the waistline
circumference. Mark the correct
dart shaping. Restitch the darts.

For pants follow the same

procedure, but increase the width
only at the center front. Let out
both edges evenly as needed from
the waist to the hipline. Blend the
seamline back to the original
stitching at the crotch curve.

To increase the center front length,

let out the waistline seam
allowance evenly across the center
front area until the hip fitting line
is level. Blend into the original
stitching at the side seam.

The back waistline may be lifted

instead. On pants, the back crotch
curve may then need more depth.
See 17 Drooped Buttocks.
7 flat abdomen 138

BASIC FITTING THEORY

Figure Analysis
The abdominal area is flat because
of taut abdominal muscles, overly
erect posture or lack of fatty tissue.

Fitting Analysis
The fabric over the abdomen is
loose. Vertical folds hang below the
darts nearest the center front
because the darts create excess
shaping in the fabric. The hip
fitting line may drop across the
center front.

Fabric Requirements for

Proper Fit
The flatness of the figure requires
less fabric shaping over the
abdomen. The darts nearest the
center front may be eliminated for
some figures. Occasionally less
length is needed at the center
front. The very narrow darts
prevent excess shaping in the fabric
but maintain an aesthetic
appearance. The smaller garment
area lies smoothly against the body.

GARMENT PATTERN
ALTERATIONS FOR
SYMMETRICAL FIGURES

Change Required
Narrow the midfront area; shorten
the upper center front area.

Slash Method—fitting garment

only
To decrease the dart width and
center front length, form a parallel
tuck across the center front below
the dart tips. Adjust the width
until the hip fitting line is level.
Thper to nothing at the side seams.
Follow the crosswise grain.
 7 flat abdomen

Pivot Method
Release the front waistline seam
and the front darts. Release the side
seams above the hipline. To
decrease width, narrow the darts to
smooth the fabric across the
abdomen. Tike in the front areas
equally at both side seams to
restore the waist circumference. If
necessary, lift the fabric across the
center front to remove excess
length. THm the widened seam
allowances.

On pants, release the front waist

seam, the center front seam, and
the darts. Narrow the darts to
smooth the fabric across the
abdomen. Tkke in the excess width
equally at the center front. "Riper to
nothing at the hipline. If necessary,
lift the fabric evenly across the
center front to remove excess
length. Blend into the original
stitching at the side seams. If a
zipper is already at the center
front, the excess waist width may
be removed at the side seam as for
the skirt.
 8 sway back 140

BASIC FITTING THEORY

Figure Analysis
The pelvic cradle does not lie
plumb. As the top tilts forward, the
coccyx tilts outward and upward.
This causes the buttocks to
protrude and the groin to indent
more than average. The distance
increases from the fullest part of
the buttocks to the central axis of
the body. The distance decreases
from the hipline to the waist across
the center back area.

Fitting Analysis
On a skirt, a tapering, horizontal
wrinkle forms at the back waistline
because the garment area is too
long. The hip fitting line remains
level. On pants, the wrinkle may
not form because the fabric binds
against the crotch. The fabric under
the buttocks is taut and pulls into
wrinkles which slant toward the
inseams. When the variation is
extreme, the strain may pull the
waistband and hip fitting line
down across the center back area.

Fabric Requirements for

Proper Fit
On a skirt, the shorter body
measurement at the center back
requires less fabric length. For
pants, the increased profile depth
of the buttocks requires a wider
crotch extension. When the
variation is extreme, length may be
needed below the hipline. This
increases the dart created by the
slanted center back seam. The
adjustments in length and width
relax and smooth the fabric. The
hip fitting line becomes level.

GARMENT PATTERN
ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Shorten the upper center back
area; widen the back crotch
extension.

Slash Method—fitting garment

only
On a skirt, form a parallel tuck
near the waistline to remove the
excess fabric length. T&per to
nothing at or near the side seams.

If a pant waistband pulls down at

the center back, reposition the
back crotch length by widening the
back crotch extension.

Place one pant leg inside the other

so the garment is wrong side out.
Match and pin the inseams together
from the crotch to the kneeline.
141
8 sway back

About 2 inches (5 cm) away from

the inseam, cut vertically through
the back crotch extension and
follow the grain to the inseams.
Thm the pants right side out and
separate the legs. Lay each set of
cut edges over a fabric insert and
spread them equally at the crotch
to relax the fabric. Tkper to nothing
at the inseams.
If the variation is extreme, increase
the center back length also. Cut
across the entire back just below
the hip fitting line. Insert a strip of
fabric. Spread the cut edges evenly
across the center back area until
the hip fitting line becomes level.
Thper to nothing at the side seams.

Pivot Method
On a skirt, release the back waist
seam. To reduce the center back
length, lift the waistline evenly
across the center back area until
the fabric is smooth. Mark the new
waistline at the center back area.
Blend into the original stitching
near the side seams. THm the
widened seam allowance. Restore
the dart widths. Check for correct
dart length.
On pants, if the waistband pulls
down at the center back, reposition
the back crotch length by widening
the back crotch extension: release
the crotch seam across the inseams.
Release the inseams from the crotch
to the kneeline. At the crotch, let
out the back inseam allowances
enough to relieve the strain. Blend
into the original stitching near the
kneeline.
If a wrinkle now forms across the
center back, release the back waist
seam and the side seams to the
hipline. T&ke up the center back
seam at the waistline until the
fabric lies smooth. Blend into the
original stitching at the hipline. To
restore the waistline circumference,
let out the side seam allowances
equally at the back. Blend into the
original stitching near the hipline.
When seam allowance width is
minimal, release the waist seam
except at the center back area. Lift
the waistline evenly across the
center front area until the garment
is smooth. Blend into the original
stitching near the back darts.
Restore the dart widths and
lengths. The crotch seam may
require lowering equal to the
change at the waistline. (See 1 Long
Lower Torso.) THm the widened
seam allowances.
8 sway back 142

Basic patterns altered

to fit sway back.
8 sway back
9 pelvis tilts toward back 144

BASIC FITTING THEORY

Figure Analysis
The pelvic cradle does not lie
plumb. As the top tilts backward,
the coccyx rotates closer to the
central axis of the body and the
pubic bone moves farther away.
The buttocks protrude less than
average.

Fitting Analysis
The hem of a skirt hangs against
the back of the legs. The side seams
slant forward at the hem. Diagonal
wrinkles sag from the side seams
toward the center back.
On pants, the fabric sags diagonally
under the curve of the buttocks
and at the back creaselines. The
front of the pants may bind against
the crotch. The hip fitting line and
hemline drop in the back and rise
in the front.

Fabric Requirements for

Proper Fit
The flatness of the buttocks
requires less fabric length and
width at the center back area.
When the variation is extreme, the
longer front surface of the body
may require more garment length
across the center front. The
adjustments relax and smooth the
fabric. The side seams hang plumb.
The hip fitting line becomes level.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Shorten the upper center back
area; lengthen the upper center
front area, if necessary.

Slash Method—fitting garment

only
Across the upper center back, form
a parallel tuck to remove the excess
fabric length. Adjust the tuck
width until the hip fitting line is
level. Taper to nothing at the side
seams or near the front darts.
On pants, if horizontal wrinkles
now form under the buttocks,
deepen the back crotch curve also.
See 17 Drooped Buttocks.
9 pelvis tilts toward back

Pivot Method
Release the back waist seam and
the side seams to the hipline. To
decrease center back length, raise
the waistline evenly across the
center back until the hip fitting
line is level. Blend into the original
stitching near the side seams.
Narrow the dart widths, if
necessary. Check the dart lengths,
lb restore the waist circumference,
take up the back side seams equally
at the waistline. Tfim the widened
seam allowances.

On pants, if horizontal wrinkles

form under the buttocks, deepen
the back crotch curve. See
17 Drooped Buttocks.
10 prominent upper hip curve 146

BASIC FITTING THEORY

Figure Analysis
The upper tips of the pelvic cradle
flare wider than average. This
causes the sides of the torso to
curve out abruptly below the
waist. The upper hip area may be
wider than that at the level of the
hip joints.

Fitting Analysis
The fabric along the side seams is
taut over the upper hip area. On a
skirt, horizontal wrinkles form
across the side seams just below the
waistline. The hip fitting line bows
upward at the sides as the garment
rises to accommodate the
prominent bulges. On pants,
diagonal wrinkles form from the
upper hip areas to the crotch. The
hemline rises at the sides.

Fabric Requirements for

Proper Fit
The prominent hip contours
require more fabric in width and
length at the upper side seams
because the most prominent
curvature of the side contour
occurs near the waistline. The
larger garment area relaxes the
fabric over the hips. The hip fitting
line becomes level.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Widen the upper hip area at the
side seams; lengthen the side seams
at the waistline, if necessary.

Slash Method—fitting garment

only
Only the curvature and length of
the side seamlines require change.
Cutting the interior causes
unnecessary trueing of curved
edges. Follow Pivot Method.
10 prominent upper hip curve

Pivot Method
Release the waistline seam across
each side seam area. Release the
side seams above the hipline. To
increase width, let out side seam
allowances equally on both the
back and front until the fabric
relaxes across the hip curve.

To increase length, let out the

waistline seam allowance above the
side seams until the hip fitting line
becomes level. Blend into the
original stitching near the darts.

This figure variation may be more

easily accommodated by
purchasing a pattern and ready-to-
wear garment in the next larger
size. Reduce the waistline at the
side seams instead.
11 sloping upper hip curve 148

BASIC FITTING THEORY

Figure Analysis
The upper tips of the pelvic cradle
flare less than average and cause
this part of the hip structure to be
narrower than that at the level of
the hip joints. The sides of the
torso slope toward the waist instead
of curving.

Fitting Analysis
The fabric is loose along the side
seams near the upper hip areas.
The hip fitting line is not affected.

Fabric Requirements for

Proper Fit
The flatter body contours require
less fabric in width and length at
the upper side seams. The only
curvature along the side contour
occurs at the hipline.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Narrow the upper hip area at the
side seams; shorten the side seams
at the waistline, if necessary.

Slash Method—fitting garment

only
To flatten the side seam curvature,
pin a tuck along each side seam
where the looseness is greatest.
Thper the tuck to nothing toward
the waist- and hiplines.

If a decrease in length is necessary,

form a horizontal tuck near the
waistline across each side seam to
lift the fabric until it lies smooth.
Thper the tuck to nothing near the
darts at both back and front.
11 sloping upper hip curve

Pivot Method
Release the side seams above the
hipline. To flatten the side seam
curve, take in the curved area of
the side seam equally on both the
back and front until the fabric
becomes smooth.

If a decrease in length is necessary,

release the waistline seam across
the side seams and lift the garment
until the fabric is smooth. Blend
into the original stitching near the
darts at back and front. Tfim the
widened seam allowances.
 12 broad hips 150

BASIC FITTING THEORY

Figure Analysis
The bone structures forming the
pelvic cradle and the hip joints are
larger and wider than average.
Deposits of soft body tissues may
lack tone and may be softer or
more developed. The hip
circumference is larger than
average.

Fitting Analysis
The fabric pulls taut around the
fullest part of the hips. The strain
causes a skirt to rise gradually
when the body is in motion. A
horizontal fold forms around the
waist. The hip fitting line and
hemline position both remain level.
On pants, the fabric cannot rise at
the center front and center back
because it binds against the crotch.
Skirts and pants purchased by hip
size will be too large at the
waistline (see 4 Small Waist for
fitting procedures).

Fabric Requirements for

Proper Fit
The wider, fuller hip area requires
more fabric width and length at the
fullest hip level. This results in
longer side seams that are
noticeably curved near the hipline.
The larger garment area allows the
fabric to relax and to lower into the
correct position on the body.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Widen the side seam areas at the
hipline.

Slash Method—fitting garment

only
To determine the amount of fabric
needed, subtract the total body hip
measurement plus ease from the
corresponding garment
measurement. Divide the difference
by four (four side seam areas).
Release the waist seam across the
side seam areas.

On both the back and front near

each side seam, cut through the
waist seam allowance downward to
the hem, following the lengthwise
grain. Cut through the hem edge
on skirts and to the kneeline on
pants. Insert fabric strips.

To increase width, spread the cut

edges evenly along the entire slash
on skirts and from the waist to the
crotchline on pants. For the latter,
 12 broad hips

taper to nothing at the kneeline. At

the waistline, take in the side seam
areas equally to restore the waist
circumference. "hiper to nothing at
the hip.

Pivot Method
To determine the amount of fabric
needed, subtract the total body hip
measurement plus ease from the
corresponding garment
measurement. Divide the difference
by four (four side seam allowances).

On a skirt, restitch a new side seam

to release the calculated amount
evenly from the hem edge to
hipline. Gradually blend the
stitching back to the original
seamline at the waistline.

On pants, mark a new side seam

across the hipline area to release
the needed width. Gradually curve
back to the original seamline near
the waistline and below the
thighline. If a wider pant leg is
desired, continue the new line
parallel to the original from the
hipline to the hem edge.

When adjusting a six-gore skirt,

maintain pleasing proportions in
the garment. Let out the edges of
the center panel an even amount
equal to one-fourth of the
calculated adjustment. Let out the
side seams equal to three-fourths of
the needed amount.
12 broad hips 152

Basic patterns altered

to fit broad hips.
12 broad hips
13 narrow hips 154

BASIC FITTING THEORY

Figure Analysis
The bone structures forming the
pelvic cradle and the hip joints are
smaller and narrower than average.
Smaller amounts of soft body
tissues or more taut muscles may
also be present. The hip
circumference is smaller than
average.

Fitting Analysis
The fabric along the side seams is
loose at the fullest part of the hips.
The hip fitting line and hemline
position are not affected. Pants and
skirts purchased by hip size are too
small at the waist (see 3 Large
Waist for fitting procedures).

Fabric Requirements for

Proper Fit
The smaller, narrower hip area
requires less fabric width at the
fullest hip level. This results in
shorter side seams that are less
curved than usual at the hipline.
The smaller garment area smooths
the fabric against the body.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Narrow the side seam areas at the
hipline.

Slash Method—fitting garment

only
To determine the amount of excess
fabric, subtract the total body hip
measurement plus ease from the
corresponding garment
measurement. Divide the difference
by four (four side seam areas).
Release the waistline seam across
the side seam areas.

On both the back and front near

each side seam, form a parallel tuck
from the waist seam allowance
downward to the hem to remove
the excess fabric. Follow the
lengthwise grain. On skirts
continue the tuck through the hem
edge. On pants continue it evenly
to the crotchline then taper to
nothing at the kneeline. Let out the
side seams equally at the waistline
to restore the waist circumference.
Blend into the original near the
hipline.
 13 narrow hips

Pivot Method
To determine the amount of excess
fabric, subtract the total hip
measurement plus ease from the
corresponding garment
measurement. Divide the difference
by four (four side seam allowances).

On a skirt restitch a new side seam

to take in the calculated amount
evenly from the hem edge to the
hipline. Gradually blend the
stitching back into the original
seamline near the waistline. Tfim
the widened seam allowances.

On pants, mark a new side seam

across the hipline area to take in
the excess fabric. Gradually blend
the stitching line back into the
original near the waistline and at
the thighline. If a narrower pant
leg is desired, continue the new
line parallel to the original from
hipline to the hem edge. Tfim the
widened seam allowances.

When adjusting a six-gore skirt,

maintain pleasing proportions in
the garment. Tike in the edges of
the center panel an even amount
equal to one-fourth of the
calculated adjustment. T&ke up the
side seams equal to three-fourths of
the needed amount.
13 narrow hips 156
157
notes
14 cylindrical-shaped torso (hip area) 158

BASIC FITTING THEORY

Figure Analysis
The bone structure forming the
pelvic cradle is less oval than
average. The torso is narrower from
side to side and deeper from the
center front through to the center
back. The torso circumference does
not change.

Fitting Analysis
This figure variation usually affects
the fit only on pants. Tight
diagonal wrinkles pull through the
crotch area; they usually are more
apparent from the back. The fabric
may pull into the crotch crevice
when the wearer walks, sits, or
stoops. The strain pulls the
waistline and hip fitting line
downward across the center back.

Fabric Requirements for

Proper Fit
The greater body profile depth
requires wider crotch extensions.
The larger garment area allows the
fabric to relax and hang smoothly
between the legs.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Widen the back and front crotch
extensions.

Slash Method—fitting garment

only
Place one pant leg inside the other
so the garment is wrong side out.
Match and pin the inseams together
from the crotch to the knee line.
About 2 inches (5 cm) away from
the inseam, cut vertically through
the back crotch extension and
follow the grain to the inseams.
Thrn the pants right side out and
separate the legs. To increase
width, lay each set of cut edges
over a fabric insert and spread
equally at the crotch to relax the
fabric. Tkper to nothing at the
inseams. On the pant pattern follow
this process but add one-third of
the adjustment at the front inseam
and two-thirds at the back inseam.
cylindrical-shaped torso (hip area)

Pivot Method
Release the crotch seam across the
inseam allowances. Release both
inseams from the crotch to the
kneeline. To increase width at the
crotchline let out the back inseam
equal to two-thirds of the needed
amount. For the new front inseam
let out an amount equal to one-half
of the back adjustment. Blend the
adjustments into the original
seamline near the kneeline.
Restitch the crotch seam.
15 flattened oval-shaped torso (hip area) 160

BASIC FITTING THEORY

Figure Analysis
The bone structure forming the
pelvic cradle is more oval than
average. The torso is wider from
side to side and more shallow from
the center front through to the
center back.

Fitting Analysis
This figure variation usually affects
the fit only on pants. The fabric
between the legs hangs in loose,
vertical folds. The excess fabric is
an annoyance and restricts walking
and stooping.

Fabric Requirements for

Proper Fit
The more shallow body profile
depths require narrower crotch
extensions. The smaller garment
area prevents fabric bagginess
between the legs.

GARMENT &> PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Narrow the back and front crotch
extensions.

Slash Method—fitting garment

only
Release the seam along the back
crotch curve. On each pant leg
form a vertical tuck at the back
crotch curve to remove the excess
fabric width. Following the
lengthwise grain, taper the tucks to
nothing at the inseam. On the pant
pattern, follow this process but
subtract one-third of the
adjustment at the front inseam and
two-thirds at the back inseam.
15 flattened oval-shaped torso (hip area)

Pivot Method
Release the crotch seam across the
inseam allowances. Release both
inseams from the crotch to the
kneeline. At the crotch, take in the
back inseam area to remove two-
thirds of the excess fabric. T&ke in
the front inseam equal to one-half
of the back adjustment. Blend the
adjustments into the original
seamline near the kneeline. Trim
the widened seam allowances. Time
the front crotch curve. Restitch the
crotch seam.
 16 high buttocks contour 162

BASIC FITTING THEORY

Figure Analysis
The muscle development across the
center back waist area is slight. The
muscles forming the buttocks
curve are taut and develop at a
higher position than average. The
buttocks contour is prominent
because the shallow and full areas
meet abruptly. The distance
decreases from the waist straight to
the fullest part of the buttocks.

When the variation is extreme, the

depth increases from the fullest
part of the buttocks to the central
axis of the body. This causes the
hip fitting line to drop at center
back.

Fitting Analysis
On both skirts and pants, the fabric
near the tip of the darts or below
the yoke forms a loose horizontal
fold across the center back. The hip
fitting line remains level.

When the variation is extreme,

pants bind against the crotch and
the fabric forms into wrinkles that
slant from the buttocks toward the
inseams.

Fabric Requirements for

Proper Fit
The shorter, upper center back area
requires less fabric length above
the hipline. This results in a need
for shorter back darts. When the
variation is extreme, the greater
back profile depth requires a wider
back crotch extension. Wearing a
well-fitted girdle will minimize the
need for adjustment in most
clothing.

GARMENT &> PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Shorten the upper center back
area; widen the back crotch
extension, if necessary.

Slash Method—fitting garment

only
On both skirts and pants, form a
parallel tuck across the center back
just above the dart tips to remove
the excess fabric length. Tiiper to
nothing at the side seams.

When the variation is extreme,

widen the back crotch extension.
Place one pant leg inside the other
so the garment is wrong side out.
Match and pin the inseams together
from the crotch to the kneeline.
About 2 inches (5 cm) away from
163
16 high buttocks contour

the inseam, cut vertically through

the back crotch extension and
continue along the lengthwise
grain to the inseams. Thrn the
pants right side out and separate
the legs. Lay each set of cut edges
over a fabric insert, and spread
equally at the crotch to relax the
fabric and raise the hip fitting line
to a level position.

Pivot Method
Release the back waistline seam.
Lift the waistline evenly across the
center back area to remove the
excess fabric length. Blend into the
original seamline at the side seams.
Increase the back dart width to
restore the waist circumference.
Lfim the widened waist seam
allowance.
When the variation is extreme, let
out the back crotch extensions.
Release the stitching across the
inseams. Release both inseams from
the crotch to the kneeline. Increase
width of the back extensions as
necessary at the crotch. Blend into
the original seamline at the knee.
17 drooped buttocks 164

BASIC FITTING THEORY

Figure Analysis
The buttocks contour is less
prominent than average because
the muscles and connective tissue
forming the buttocks lose their
tone and the flaccid tissue droops.
This increases the crotch length
below the hipline.

Fitting Analysis
This figure variation affects the fit
only on pants. The fabric forms
into horizontal wrinkles below the
buttocks. The fabric may pull into
the crotch crevice. The waistline
and the hip fitting line drop across
the center back.

Fabric Requirements for

Proper Fit
The lowered contour of the
buttocks requires a deeper curve
along the back crotch seamline. In
turn, a less curved seamline is
required at the front crotch curve.
This prevents a “peak” from
forming at the inseam area in the
new crotch seamline. The deeper
curve in the back crotch seam
permits the fabric to rise and lie
smoothly under the buttocks.

GARMENT PATTERN
ALTERATIONS FOR
SYMMETRICAL FIGURES

Change Required
Deepen the curve on the back
crotch seamline; flatten the curve
on the front crotch seamline.

Slash Method—fitting garment

only
Pin a horizontal tuck at the
wrinkled area to indicate the
amount of adjustment.
17 drooped buttocks

Pivot Method
Place one pant leg inside the other
with the pants wrong side out.
Match and pin the inseams together
from the crotch to the kneeline.
Along the back crotch seam, mark
the midpoint between the hipline
and the inseam. Repeat for the
front. Below this point on the back
curve, mark % inch (1.2 cm) into
the pants area. At the midpoint on
the front, mark into the seam
allowance enough to form a smooth
curve. Begin the new seam near the
hipline at the back. Stitch a smooth
curve through the back adjustment
mark, then through the original
intersection of the crotch and
inseam. Continue stitching through
the front adjustment mark and
slope back to the original seamline
at the hipline. Clip the widened
seam allowance area.

Ify on the pants and repeat the

above procedure until the fabric
lies smooth under the buttocks.
Tfim the widened seam allowances.

If the back pant legs tighten across

the inside thigh, see 14
Cylindrical shaped Torso. Let out
only the back inseam allowance.
 18 large buttocks 166

BASIC FITTING THEORY

Figure Analysis
The muscles and soft tissues which
form the buttocks are more
developed than average and may
lack tone. This increases the hip
circumference. The distance
increases from the fullest part of
the buttocks to the central axis of
the body and to the waist.

Fitting Analysis
A basic garment pulls taut over the
buttocks. The strain causes the
fabric to cup under the abdomen.
The side seams curve toward the
back at the hipline and diagonal
wrinkles radiate from the buttocks
toward each side seam. On a skirt,
the hip fitting line and hemline
rise and the hem protrudes at the
center back. On pants, the
waistband and hip fitting line drop
across the center back area because
the fabric binds against the crotch.

Fabric Requirements for

Proper Fit
The larger tissue structure requires
more fabric length at the upper
center back area and more width
across the buttocks. The back darts
become wider and longer. For
pants, the greater back profile
Proper fit altered
depth requires a wider back crotch
to fit slash method.
extension. The adjustments in
length and width relax the fabric.
The hip fitting line and hemline
become level. On pants, the
waistband aligns with the body
waist.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Widen the back at the hipline;
lengthen the upper center back
area; widen the back crotch
extensions.

Slash Method—fitting garment

only
Release the back waistline seam
near the side seams. On skirts, cut
the back from the edge of the
waistline seam allowance
downward through the hem edge.
Follow the lengthwise grain. On
pants, cut from the waistline to the
kneeline. Insert fabric strips. To
increase width, spread the cut
edges evenly along the entire slash
on skirts. On pants spread the cut
edges evenly from the waistline to
the crotchline, tapering to nothing
at the kneeline. Increase the back
 18 large buttocks

dart widths on both garments to

restore the waistline circumference.

To widen the pant back crotch

extension, place one pant leg inside
the other so the garment is wrong
side out. Match and pin the
inseams together from the crotch to
the kneeline. About 2 inches (5 cm)
away from the inseam, cut
vertically through the back
extension and follow the grain to
the inseams. Tbrn the pants right
side out and separate the legs. Lay
each set of cut edges over a fabric
insert and spread equally at the
crotch to relax the fabric. Tiiper to
nothing at the inseams.

To lengthen the center back cut

across the entire back of the
garment just below the back dart
tips. Insert a fabric strip. Spread the
edges evenly between the dart tips
until the hip fitting line becomes
level, Thper to nothing near each
side seam. Reposition and lengthen
the back darts, as needed.

Pivot Method
For skirts, release the back
waistline seam and the side seams.
For pants, release the side seams
and inseams only to the kneeline.
On either garment, increase width
by letting out both back allowances
of the side seams evenly at the
hipline. Let out an even amount
from the waist to the hem on a
skirt, and from the waist to the
crotchline on pants. On pants,
blend into the original seamline at
the kneeline. Increase the back dart
widths to restore the waistline
circumference. Lengthen the darts
if necessary.

To increase the back crotch ease on

pants, release the crotch seam
across the inseam allowances.
Release the inseam from the crotch
to the kneeline. Let out the back
inseam allowances equally at the
crotch to relieve the strain on the
fabric. Blend into the original
seamline above the knee.

To lengthen the center back area,

let out the waist seam allowance
evenly across the center back until
the hip fitting line is level. Blend
into the original seamline at each
side seam.
18 large buttocks 168

Basic patterns altered

to fit large buttocks.
18 large buttocks
19 flat buttocks 170

BASIC FITTING THEORY

Figure Analysis
The muscles and soft tissues which
form the buttocks are less
developed than average. This
decreases the hip circumference.
The distance decreases from the
fullest part of the buttocks to the
central axis of the body and to the
waist.

Fitting Analysis
The garment is loose across the
buttocks. Loose diagonal wrinkles
droop from the upper side seam
areas toward the buttocks. The hip
fitting line drops across the center
back area. On pants, loose diagonal
wrinkles droop downward from
the side seams and inseams toward
the creaselines on each pant leg.

Fabric Requirements for

Proper Fit
The smaller tissue structure
requires less fabric length at the
upper center back area and less
width across the buttocks. The
back darts become narrower and
shorter. For pants, the more
shallow back profile depth requires
a narrower back crotch extension.
The adjustments in length and
width smooth the fabric against the
Proper fit altered
body. The hip fitting line becomes
to fit slash method.
level.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Narrow the back at the hipline;
shorten the upper center back area;
narrow the back crotch extensions.

Slash Method—fitting garment

only
Release the back waistline seam
near the side seams. To remove the
excess fabric on the garment back,
form a parallel, vertical tuck from
the waistline toward the hem
following the lengthwise grain. End
at the hem edge on skirts. On pants
begin tapering at the crotchline;
taper to nothing at the kneeline.
Decrease the dart widths to restore
the waistline circumference.
Shorten the darts as needed for the
smaller curvature.

To narrow the back crotch

extension on pants, release the
stitching along the back crotch
curve. To remove the excess fabric
width on each pant leg, form a
vertical tuck at the crotch.
Following the lengthwise grain,
 19 flat buttocks

taper the tuck to nothing at the

inseam.

Tb shorten the center back, form a

horizontal, parallel tuck across the
garment between the back dart tips
to lift the hip fitting line to a level
position. Tkper to nothing at the
side seams.

Pivot Method
Release the back waist seam and
the back waist darts. On skirts
release the side seams. For pants
release the side seams only to the
kneeline. To narrow the garment,
take in the back side seam an even
amount from the waist through the
hem on a skirt and from the waist
to the crotchline on pants. Tiper
the pant side seam into the original
seamline at the kneeline. Decrease
the dart length and width as
needed for the smaller curvature.

To reduce the back crotch looseness

on pants, release the crotch seam
across the inseam allowances.
Release the inseam from the crotch
to the kneeline.

Thke in the back inseam area

equally at the crotch to remove the
excess fabric. Tiper into the
original seamline above the
kneeline.

To shorten the center back area, lift

the waistline evenly across the
center back until the hip fitting
line is level. Blend into the original
seamline at each side seam.
19 flat buttocks 172

Basic patterns altered

to fit flat buttocks.
19 flat buttocks
20 prominent pubic area 174

BASIC FITTING THEORY

Figure Analysis
The pubic bone or flesh may be
more forward, lower, or larger than
average. This creates a more
abruptly curved contour at the
front crotch. The front surface of
the torso is vertical rather than
being slightly sloped.

Fitting Analysis
This figure variation affects the fit
only on pants. Wrinkles follow the
contour of the front crotch curve or
the fabric pulls into the crotch
crevice because the curve on the
front pants crotch is too shallow.
The vertical fitting lines may pull
toward each other at the front
crotchline when the variation is
extreme.

Fabric Requirements for

Proper Fit
The more prominent bone
structure requires a more abrupt
curve at the front crotch seamline.
When the variation is extreme the
front crotch extension on the pants
may need to be widened. The latter
increases the crotch length from
the hipline to the inseam.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Deepen the curve on the front
crotch.

Slash Method— fitting garment

only
Only the angle and curvature of the
center front and the crotch seam¬
line require change. Cutting the
interior causes unnecessary trueing
of sloped and curved edges. Follow
the Pivot Method.
prominent pubic area

Pivot Method
Place one pant leg inside the other
so the garment is wrong side out.
Flatten the center front area of the
pants and align the fabric grain. To
relieve the strain at the crotch
contour, draw a new, more
rounded front crotch seamline
beginning at the original center
front/hipline intersection. Blend
into the original crotch seamline at
the inseam. The seamline on the
back crotch curve may need to be
flattened slightly to prevent a peak
from forming at the inseam. TFim
the widened seam allowance after
stitching.
21 recessed pubic area 176

BASIC FITTING THEORY

Figure Analysis
The pubic bone or flesh may be
smaller or the area may set back
more deeply than average. This
creates a crotch with a more
sloping contour rather than
curved. The front surface of the
torso slopes noticeably.

Fitting Analysis
This figure variation affects the fit
only on pants. Thut horizontal
wrinkles pull across the seam at the
front crotch area. The vertical
grainlines pull toward each other at
the groin.

Fabric Requirements for

Proper Fit
The less prominent bone structure
requires a flatter curve in the
seamline at the front crotch.

GARMENT &> PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Flatten the curve on the front
crotch seamline.

Slash Method—fitting garment

only
Only the angle and curvature of the
center front and the crotch seam¬
line require change. Cutting the
interior causes unnecessary trueing
of sloped and curved edges. Follow
the Pivot Method.
21 recessed pubic area

Pivot Method
Release the lower half of the front
crotch seam. Put the pants on.
Along the crotch curve, mark the
place where the greatest amount of
increase is needed. Remove the
pants, and place one pant leg inside
the other so the garment is wrong
side out. Flatten the front area of
the pants and align the fabric grain.
To bring the stitching line closer to
the body surface, draw a new, less
curved front crotch seamline
beginning at the center front/
hipline intersection. Continue
through the adjustment mark and
blend into the original crotch
seamline at the inseam. The
seamline on the back crotch curve
may need to be deepened slightly
to prevent a peak from forming at
the inseam.
legs
22 Long Legs
23 Short Legs
24 Large Thighs at Inside
25 Shallow Thighs at Inside
26 Large Thighs at Front
27 Large Thighs at Sides
28 Outward Knee Rotation
29 Inward Knee Rotation
30 Hyperextended Calves
31 Large Legs
32 Thin Legs
22 long legs 180

BASIC FITTING THEORY

Figure Analysis
The leg bones are longer than
average. The additional length may
occur above or below the knee or
may be distributed equally.

Fitting Analysis
The hem position is too high on
the leg to create pleasing
proportions. On closely fitted
garments that flare near the knee,
the flare origin may be too far
above the knee to create pleasing
proportions for an aesthetic
appearance. On long tapered pants,
the hem circumference may appear
to be too small because it pulls taut
against the leg. The hip fitting line
remains level.

Fabric Requirements for

Proper Fit
The additional leg length requires
longer fabric areas below the
thighline. On closely fitted
garments that flare or taper near
the knee, the extra length may be
required either above or below the
kneeline or distributed equally.
Garments with ruffles, kick pleats,
and other such details may need
more length only in the garment
area, or both in the garment and
the detail. Proper adjustments in
length will enhance the harmony
between the garment and the
wearer.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Lengthen the skirt and pants
evenly below the thighline.

Slash Method—fitting garment

only
Cut around the entire skirt or both
pant legs below the thighline or
above the design detail. Insert
fabric strips. To increase the length,
separate the cut edges evenly.
Observe the proportions of the
body, garment, and the detail on a
fashion garment. Adjust each
garment area to enhance the
garment and wearer.
 22 long legs

Pivot Method
Release the hem and press it flat.
Mark the new hemline. If the
resulting hem width is not wide
enough for the style, fabric, or the
wearer, face the hem edge. Hems
that are too narrow appear skimpy
and “remodeled” and detract from
the total appearance.

Pants hems may taper V2 inch

(1.2 cm) higher at the front crease
to prevent excess “break” above
the instep. Tfim the hem allowance
to an even width after tapering.
On closely fitted garments that
begin to flare above the knee mark
the appropriate place along the side
and inseams for the flare to begin.
Stitch new seams from the original
seamlines at the hem edge to the
adjustment marks near the knee¬
line. Blend into the original
seamline in a slight curve.

Length also may be added to a skirt

by restyling it with a yoke: lower
the waistline and add a yoke wide
enough to correct the total garment
length. To adjust the garment
width at the yokeline, narrow and
shorten the darts, convert them to
ease, or eliminate them. Adjust the
side seam allowances as necessary.
23 short legs 182

BASIC FITTING THEORY

Figure Analysis
The leg bones are shorter than
average. The shorter length may
occur above or below the knee or
may be distributed equally.

Fitting Analysis
The hem position is too low on the
leg to create pleasing proportions.
Pants hems that touch the floor fray
quickly, hide the feet, and are
dangerous. On closely fitted
garments that flare near the knee,
the flare origin may be too far
below the knee for walking
comfort or to create pleasing
proportions for an aesthetic
appearance. The hip fitting line
remains level.

Fabric Requirements for

Proper Fit
The decreased leg length requires
shorter fabric areas below the
thighline. On closely fitted
garments that flare near the knee,
the length may need reducing
either above or below the kneeline
or distributed equally. Garments
with ruffles, kick pleats, and other
such details may need less length
only in the garment area or both in
the garment and the detail. Proper
adjustments in length will enhance
the harmony between the garment
and the wearer.

GARMENT PATTERN
ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Shorten the skirt or the pants
evenly below the thighline.

Slash Method—fitting garment

only
To adjust for the total appropriate
length, form a parallel tuck around
the garment below the thighline or
above the design detail. Observe
the proportions of the body,
garment, and detail for a fashion
garment. Adjust each garment area
to enhance the garment and the
wearer.
 23 short legs

Pivot Method
Release the hem and press it flat.
Mark the new hemline. Check the
resulting hem width and remove
the excess. Hems that are too wide
for the fabric, style or the wearer
are bulky and heavy and detract
from the total appearance.

Pants hems may taper upward

V2 inch (1.2 cm) at the front crease
to prevent excess “break” above
the instep. THm the hem allowance
to an even width after tapering.

On closely fitted garments that

begin to flare or taper above the
knee, mark the appropriate place
on the side and inseams for the
flare to begin both for fit and
walking comfort. Stitch new seams
from the original seamlines at the
new hemline to the adjustment
marks near the kneeline. Blend
into the original seamline in a
slight curve.

If a style detail is at the skirt hem,

length may be reduced at the
waistline instead: Release the waist
seam and lift the garment an even
amount until the hem position is
correct. To restore the waistline
circumference, form new darts,
widen and lengthen the original
darts or convert the increased
width to gathers or tucks. Adjust
the side seam allowances, as
necessary, to remove excess
fullness.
24 large thighs at inside 184

BASIC FITTING THEORY

Figure Analysis
The muscles and soft tissues
forming the contour of the inner
thigh areas are more developed
than average. The inner surface of
the legs may touch when the
wearer stands and rub together as
the person walks.

Fitting Analysis
This figure variation affects the fit
only on pants. The fabric is taut
across upper inseam and may rise
to form tight horizontal wrinkles
below the crotch. When the person
walks, the fabric on the back pant
leg pulls forward between the legs.

Fabric Requirements for

Proper Fit
The fuller thigh area requires a
wider front crotch extension and a
straighter front inseam from the
crotch to the knee. Excessive wear
occurs on the fabric at the inseam
area. Stable, closely-woven fabrics
with relatively smooth textures are
more durable and comfortable. Use
a shorter stitch or double stitching
on the crotch and upper inseams to
strengthen the seams.

GARMENT &> PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Widen the front crotch extensions.

Slash Method—fitting garment

only
Place one pants leg inside the other
so the garment is wrong side out.
Match and pin the inseams together
from the crotch to the kneeline.
About 1 inch (2.5 cm) away from
the inseam, cut vertically through
the front extension and follow the
lengthwise grain to the inseams.
Tbrn the pants right side out and
separate the legs. Lay each slashed
area over a fabric insert. To increase
width, spread the cut edges equally
at the crotch as needed to relax the
fabric. Thper to nothing at the
knee.

If the seamline along the upper

inseam area forms a curve, draw a
new, straighter inseam seamline.
Begin at the crotch/inseam
intersection and taper to nothing at
the knee.
24 large thighs at inside

Pivot Method
Release the crotch seamline across
the inseam allowances. Release the
inseams from the crotch to the
kneeline. To increase width at the
crotch, let out the front inseam
allowances equally at the crotch to
relieve the strain. Form the new
inseam seamline as a rather straight
line. Blend into the original
seamline above the kneeline. Check
for fit and comfort. Repeat for the
back crotch extension, if necessary.
25 shallow thighs at inside 186

BASIC FITTING THEORY

Figure Analysis
The muscles and the soft tissues
forming the contour of the inner
thigh areas are less developed than
average. When the person stands,
there is a definite, visible space
between the legs from the crotch
nearly to the knee.

Fitting Analysis
This figure variation affects the fit
only on pants. The fabric is loose
along the upper inseam and hangs
in loose vertical folds.

Fabric Requirements for

Proper Fit
The flatter inner thigh area
requires a narrower front crotch
extension. This results in a more
vertical inseam.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Narrow the front crotch extensions.

Slash Method—fitting garment

only
Release the seam along the front
crotch curve. To remove the excess
fabric width, form a vertical tuck
on each crotch extension about
1 inch (2.5 cm) away from the
inseam. Follow the lengthwise
grain, tapering the tuck to nothing
at the inseams just above the knee.
25 shallow thighs at inside

Pivot Method
Release the crotch seamline across
the inseam allowances. Release the
inseams from the crotch to the
kneeline. To remove the excess
fabric at the crotch, take up the
front inseam areas equally as
needed. Blend into the original
center front at the hipline. Form a
new inseam seamline as a rather
straight line. Blend into the
original seamline near the
kneeline.
26 large thighs at front 188

BASIC FITTING THEORY

Figure Analysis
The thigh muscles across the front
of the legs are fuller than average.
This creates the illusion that the
recess at the groin is deeper than
average.

Fitting Analysis
The fabric pulls taut across the
front surface of the upper thigh
areas and cups under the buttocks.
The side seams curve toward the
front. When the wearer walks, the
front fabric of a skirt rises to form a
horizontal fold at the groin. The
hemline rises across the center
front area. On pants, horizontal
folds form across each inseam near
the crotch and may cause the front
creaselines to curve toward each
other at the thigh and hang toward
each other at the hem.

Fabric Requirements for

Proper Fit
The thigh fullness requires more
fabric width at the midfront areas.
On a skirt, transfer the front dart to
the hem edge to place the flare over
the thigh. The wider garment area
relaxes and hangs smoothly below
the hipline. A-line, circular and
gathered skirts include more
fullness at the thigh level,
therefore, may require no alteration
and are more appropriate style
choices.
On pants the dart transfer also
increases the amount of fabric for
the thigh by widening the area
from the front creaseline to the
crotch extension.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES

Change Required
Widen the midfront areas.

Slash Method—fitting garment

only
On skirts, slash halfway between
each side seam and the center front
from the hem to waistline. Follow
the lengthwise grain. Insert fabric
strips. To increase the width,
spread the cut edges evenly from
the hem to the thighline. Tkper to
nothing at the dart tip area or at
the waistline as the body requires.
On pants, place one pant leg inside
the other so the garment is wrong
side out. Match and pin the
inseams together from the crotch to
the kneeline. About 1 inch (2.5 cm)
large thighs at front

away from the inseam, cut

vertically through the front
extension and follow the
lengthwise grain to the inseams.
Tbrn the pants right side out and
separate the legs. Lay each slashed
area over a fabric insert. To increase
width, spread the cut edges equally
at the crotch as needed to relax the
fabric. Tiper to nothing at the
inseams.

Release the side seam from the hip

to the kneeline. Let out the seam
allowance of the pants front until
the front creaselines relax and hang
plumb.

Pivot Method
On skirts, release the side seams
from the hip to the hem.
Determine the amount of width
increase needed at the thigh level.
Mark the new side seams parallel to
the original seams from hem to
thigh.
To transfer the waist dart to the
hem edge, release the remaining
side seam and the waistline to the
dart. Decrease the side waist dart
one-half of its width. When only
one dart is present, decrease the
width by one-third. To complete
the dart transfer, lengthen the side
seam at the waistline
(approximately one-half the width
change at the thigh). Taper back to
the original seam at the dart.
To restore the side length, shorten
the new side seam at the hem the
same amount it was raised at the
waist. Pin the side seams together
up to the thigh level. Put on the
skirt and taper the side seam to the
waist. Mark the new front hemline.
On pants release the side seam from
the hip to the kneeline, the
waistline, the center front and the
front crotch seam across the inseam
allowances. Release the inseam
from the crotch to the kneeline. Let
out the front seam allowances of
both the side and inseam as needed
to relax the fabric and to allow the
creases and side seams to hang
plumb. The longer crotch extension
may cause the fabric to sag against
the groin. Raise the waist across the
center front to remove the excess
fabric. Mark a new waistline
parallel to the original across the
center front. Thper to the original
at the side seam. The front crotch
curve may need to be flattened
slightly.
On the pattern, the increased
width of midfront is obtained by
transferring the dart to the center
and inseam of the pattern.
27 large thighs at sides 190

BASIC FITTING THEORY

Figure Analysis
The muscles and soft tissues across
the sides of the legs extend more
than average and may lack tone.
The greatest width and side
curvature are below the hipline.

Fitting Analysis
The fabric pulls taut across the side
seams at the thighline and cups
under the buttocks. When the
person walks, the garment rises
and forms a horizontal wrinkle
above each thigh. The hip fitting
line rises at the sides.
On pants the fabric also pulls taut
across the upper inseam area. The
front creaselines curve outward at
thigh level and slant away from
each other at the hems.

Fabric Requirements for

Proper Fit
The fullness at the side of the legs
requires more fabric width below
the hipline. The greatest curvature
along the side seam occurs at the
thigh level because the “dart”
concealed in the side seamlines
increases in width. The wider
garment area relaxes over the thigh
and the hip fitting line becomes
level. A-line, circular and gathered
skirts include more fullness at the
thigh level, therefore, these styles
may require no alteration and are
appropriate choices.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Widen the side seam areas at the
thighline.

Slash Method—fitting garment

only
Adjust both the front and back of a
skirt to keep the widths of the two
areas balanced. Release the waist
seam across the side seam areas. On
both the back and the front near
each side seam, cut from the edges
of the waist seam allowance
through the hem edge. Follow the
lengthwise grain. Insert fabric
strips. To gain the needed width,
spread each set of cut edges evenly
along the entire slash. Thke in the
side seams equally at the waist to
restore the waist circumference.
Thper to nothingjust below the
hipline.
27 large thighs at sides

Pivot Method
On skirts, release the side seams
from the hem past the hipline
where the tightness begins. At the
thighline, let out the back and
front seam allowances equally until
the fabric relaxes. Continue the
adjustment an even amount
through the hem edge. Blend into
the original seamline as required
above the hipline.
On pants, release the side seams
from hip to kneeline. Let out the
back and front seam allowances
equally at the thighline. Blend into
the original seamline near the ends
of the opened areas.
28 outward knee rotation 192

BASIC FITTING THEORY

Figure Analysis
The legs bow outward with the
greatest curvature occurring at the
knee. Often the toes point inward
to counterbalance the body.

Fitting Analysis
On pants the front creaselines bow
outward at the knees and slant
inward at the hems. At the
kneeline, the fabric is taut along
the side seams and loose at the
inseams. Diagonal wrinkles form
across the inseam at the kneeline.
The hemline rises at the sides.

Fabric Requirements for

Proper Fit
The outward curvature of the legs
requires more length at the side
seams and less at the inseams. The
adjusted seam lengths reposition
the fabric to relax and lie smooth.
The hemline becomes level. Flared
skirts and pants help to camouflage
the figure variation and may
require no adjustment.

GARMENT fv PATTERN
ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Lengthen the side seams; shorten
the inseams.

Slash Method—fitting garment

only
Near the thighline, cut across both
side seams. Continue cutting along
the crosswise grain to the front and
back creases. Insert fabric strips. To
increase the side seam length,
spread each set of edges equally at
the side seams until the fabric
relaxes and the front creaselines
straighten below the knee. To
shorten the inseams, continue
following the crosswise grain with
a tuck across each inseam to
remove an amount equal to the side
adjustment. Thper each adjustment
to nothing at the creases. For a
slight figure variation, decrease the
inseam length by forming a tuck
across each inseam at the thighline.
Adjust the tuck widths equally
until the front creaselines hang
plumb. Thper each tuck to nothing
at the side seams. On the pattern,
establish a new grainline parallel to
the original creaselines below the
knee.
28 outward knee rotation

Pivot Method
Release the entire waistline. The
center front and back areas require
lifting; clip the crotch seam
allowance at V2 inch (1.2 cm)
intervals across the inseam area.

Put on the pants. Lift the waistline

across the center front and back
and lower it at the sides until the
pant legs hang smoothly and the
front creaselines straighten below
the knee. Blend into the original
waistline near the sides. Clip at the
crotch to relieve any tightness.
Stitch the new crotch seamline
XA inch (O.G mm) below the ends of
the clips. "Riper into the original
seamline near the hipline. "Ifim the
widened crotch seam allowance.
For a slight figure variation, release
the back and front waistline across
the side seam areas nearly to the
centers. Lower the waist at the side
seams to relieve the strain at the
knee. Riper into the original waist
seamline near the center front and
back.
29 inward knee rotation 194

BASIC FITTING THEORY

Figure Analysis
The legs bow inward with the
greatest curvature occurring at the
knee. Often the toes point outward
to counterbalance the body.

Fitting Analysis
The figure variation affects the fit
only on pants. The front creaselines
bow inward at the knees and slant
outward at the hems. At the
kneeline, the fabric is taut along
the inseams and loose at the sides.
Diagonal wrinkles form from the
inner edge of each knee upward
toward each creaseline. The
hemline rises at the inseams. On
tight-legged pants, a loose
horizontal fold forms across each
side seam at the kneeline.

Fabric Requirements for

Proper Fit
The inward curvature of the legs
requires more length at the inseams
and less at the side seams. The
adjusted seam lengths reposition
the fabric to relax and lie smooth.
The hemline becomes level. Pants
that flare gently from the thighline
to the hem help to camouflage the
figure variation.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Shorten the side seams; lengthen
the inseams.

Slash Method—fitting garment

only
To decrease the side seam length,
form a tuck across each side seam
at thigh level. Adjust the tuck
widths equally until front
creaselines hang plumb. T&per each
tuck to nothing at the inseams.
If tightness is present along the
inseams at the knee area, release
the stitching from the thighline to
below the kneeline. Let out the
seam allowances equally at the
knee until the fabric relaxes. T^per
into the original seamline near the
crotch and hemline.
Check the hemline position and
adjust evenly to create a pleasing
proportion between the garment
and the wearer.
On the pattern establish a new
grainline parallel to the original
creaselines below the knee.
29 inward knee rotation

Pivot Method
Release the entire waistline except a
short distance across the center
front and center back. Lift the
waist at the side seams until the
pant legs hang smoothly and the
front creaselines are plumb below
the knee. Blend into the original
seamline near the center front and
the center back.
30 hyperextended calves 196

BASIC FITTING THEORY

Figure Analysis
The lower leg bones appear to bow
toward the back. The back
curvature may be the result of
tense, “locked” knees. Back muscle
development may be involved.

Fitting Analysis
On pants, the fabric forms a loose
horizontal fold above the calves.
The side seams may curve toward
the back at the calf level. The hip
fitting line remains level. The
hemline rises slightly across the
back.

Fabric Requirements for

Proper Fit
Decreasing the length of the fabric
across the upper center back area
lifts the fabric so it can hang
vertically from the buttocks
curvature. This variation may
require a deeper back crotch curve.
Pants styles with fuller legs will
camouflage this variation and may
need no adjustment.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Shorten the upper center back
area; restore the back crotch length
by lowering the crotch curve.

Slash Method—fitting garment

only
Below the crotchline, form a tuck
across the creaseline to lift the
fabric until it hangs smoothly and
away from the surface of the calves.
Thper to nothing at the side seams
and inseams.
hyperextended calves

Pivot Method
Release the back waist seam. Before
the center back can be lifted, clip
the crotch seam allowance each
V2 inch (1.2 cm) along the back
crotch curve. Put on the pants and
lift the waistline a parallel amount
across the center back until the
fabric hangs smoothly and away
from the surface of the calves.
Blend into the original seamline at
the side seams. Continue the clips
deep enough to relieve the strain at
the crotch. Stitch a new crotch
seam XA inch (O.G mm) below the
ends of the clips. Blend into the
original seamline at back and front
near the hipline.
31 large legs 198

BASIC FITTING THEORY

Figure Analysis
The leg bones may be larger than
average. The muscles and other soft
tissues are more developed and
may lack tone. The larger
development may occur along the
entire length of the leg or only over
that of the upper or lower portion.
Occasionally, excess soft tissues
create fullness at the ankle and
conceal the angularity of the bone
structure at the ankle.

Fitting Analysis
This figure variation affects the fit
of pants primarily. The fabric pulls
taut around each leg and forms
horizontal wrinkles at the
crotchline. The hemlines rise and
the upper part of the pants appears
loose and bloused. For skirts refer
to 12 Broad Hips and 27 Large
Thighs at Sides. A slightly flared
skirt with the hemline just above
the fullest area of the calves helps
to camouflage the fullness of the
legs and creates a more pleasing
proportion.

Fabric Requirements for

Proper Fit
The larger circumference of the
legs requires more fabric width
below the hipline on both the back
and front of the pants. The larger
pant legs permit the upper pants
area to lower to the correct
position. The bloused appearance
disappears. The larger leg areas
relax over the figure and hang free.
If a pants pattern is purchased in a
larger size to fit the legs, the
adjustment is simpler, the waistline
circumference is reduced instead
(see 4 Small Waist).

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Widen the back and front pant
legs.

Slash Method—fitting garment

only
Near the midfront and midback of
each pant leg, cut along the
lengthwise grain from the hem
through the hipline. Insert fabric
strips. From the hemline to the
kneeline, spread the cut edges
evenly to relax the fabric and
restore the ease. Tkper to nothing at
the hipline.
On the pattern, one fourth of the
increase should be added at each
 31 large legs

side seam and inseams to keep the

pant leg balanced.

Pivot Method
Release the crotch seam across the
inseam allowances. Release the
inseams from the crotch to the
kneeline. Release the side seams
from the hem to the hipline. From
the hemline to the kneeline, let out
front and back side seam
allowances evenly until the fabric
relaxes and the ease is restored.
Blend the side seam adjustments
into the original seamline at the
hipline. Let out the inseam even to
the knee. Thper the inseam to the
crotch. Decrease to one-half the
amount at the crotchline.
32 thin legs 200

BASIC FITTING THEORY

Figure Analysis
The leg bones may be smaller than
average. The muscles and other soft
tissues are firmer or less developed
than average. The smaller
development may occur over the
entire length of the legs or only
over the upper or lower portion.
The angularity of the ankle bone
structure is usually quite apparent.

Fitting Analysis
This figure variation affects the fit
on pants primarily. The entire
pants leg areas are loose and appear
too large. The fabric hangs in slight
vertical folds. The looseness begins
at the hipline but is most apparent
from the crotch to the kneeline.
Closely fitted pants and straight or
extremely full skirt styles will
emphasize the thinness of the
lower leg areas.

Fabric Requirements for

Proper Fit
The smaller circumference of the
legs requires less fabric width
below the hipline on both the back
and front of the pants. The
narrower pant leg areas lie closer to
the leg surfaces and enhance the
proportions between the garment
and the wearer.

GARMENT &> PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Narrow the back and front pant leg
areas.

Slash Method—fitting garment

only
Along each creaseline of both pant
legs form a parallel tuck from the
hem to the crotchline. Adjust the
tuck widths as needed to remove
the excess fabric. Thper to nothing
at the hipline. On the pattern, one-
fourth of the total decrease should
be removed at each side seam and
inseam to keep the pant legs
balanced.
 32 thin legs

Pivot Method
Release the crotch seam across the
inseam allowances. Release the
inseams from the crotch to the
kneeline. Along both the side
seams and the inseams take in the
back and front pant area evenly
from the hem to the kneeline to
remove the excess fabric. Blend the
side seam adjustments into the
original seamline at the hipline.
Keep the inseam adjustment even
to the knee, then taper to the
crotchline. Remove the original
stitching on the adjusted areas of
the side seams and the remainder
of the inseam.
neck
33 High Neck Base at Sides
34 Shallow Neck Base at Sides
35 Large Neck
3G Thin Neck
37 Forward Neck
38 Dowager Hump
33 high neck base at sides 204

BASIC FITTING THEORY

Figure Analysis
There is less than average
angularity where the neck edges
meet the shoulders. The heavier
muscles and body tissues that fill
this area create an illusion of
sloping shoulders.

Fitting Analysis
The front neckline is
uncomfortably tight. Diagonal
wrinkles pull from the neckline
toward the armscyes. A loose
horizontal fold of fabric may form
across the base of the neck. The
back neckline may rise at the
center back. The strain causes the
armscye edges to ripple, making
them appear too large. The chest
and blade fitting lines rise at the
body centers. A center front
opening will not close properly at
the neckline.

Fabric Requirements for

Proper Fit
The neck fullness requires longer
front neckline extensions and more
length at the upper center back
area. The back and front necklines
should be widened. The larger
garment areas relieve the tightness
at the front neckline and permit
the back neckline and the armscyes
to relax and align with the body
contours. The chest and blade
fitting lines become level.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Lengthen the front neckline
extensions and the upper center
back area; increase the neckline
width.

Slash Method—fitting garment

only
On the garment front, slash
through the neck seam allowance
near each shoulder seam. Continue
cutting across to each armscye
seamline. Insert fabric strips.
Spread each set of cut edges equally
at the neckline until the fabric
relaxes.
On the garment back, slash across
the upper blade area from shoulder
tip to shoulder tip. Insert a fabric
strip. Spread the cut edges evenly
below the neckline. Adjust until
the tightness is relieved and both
fitting lines become level. Thper the
adjustments to nothing at the arm¬
scyes. Widen the neckline opening
at the shoulder area, as needed.
high neck base at sides

Pivot Method
Release the shoulder seams. At the
neckline, let out the front and back
seam allowances equally to relieve
the tightness and to straighten the
chest and blade fitting lines. "Riper
to nothing at the armscyes.
Across the center back raise the
neckline seam equal to the change
at the shoulders. Blend into the
original at the new shoulder
seamline. Widen the neckline
opening at the shoulder area, as
needed.
33 high neck base at sides 206
33 high neck base at sides
34 shallow neck base at sides 208

BASIC FITTING THEORY

Figure Analysis
A definite angle is defined where
the neck edges meet the shoulders.
The shallowness caused by lighter
than average muscle development
and smaller deposits of soft body
tissues create an illusion of square
shoulders.

Fitting Analysis
The neckline is loose at the
shoulder area and may appear to be
too low at the center front. A loose
horizontal fold of fabric may sag
across the center front and center
back near the neckline. The chest
and blade fitting lines remain level.

Fabric Requirements for

Proper Fit
The shallow neck areas require
shorter front neckline extensions
and less length at the upper center
back. The back and front neckline
width may require adjustment. The
smaller garment areas lie smoothly
against the neck base at the back
and front.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Shorten the front neckline
extensions and the upper center
back area; decrease the neckline
width.

Slash Method—fitting garment

only
On the garment front form a tuck
through the neck seam allowance
near each shoulder seam. Keep the
shoulderline in the correct
position. Adjust the width of the
tucks until the excess fabric is
removed at the neckline. Thper to
nothing at each armscye.
Below the back neckline, form a
parallel tuck across the center back
area. Adjust the width of the tuck
until the fabric lies smoothly
against the body. T&per to nothing
at each armscye.
Narrow the neckline opening at the
shoulderline, as needed.
209
34 shallow neck base at sides

Pivot Method
Release the shoulder seams. At the
neckline, take up the back and
front seam allowances equally to
remove the excess fabric. Tkper to
nothing at the armscyes.
Across the center back, lower the
neckline seam equal to the change
at the shoulders. Blend into the
original at the new shoulder
seamline.

Narrow the neckline opening at the

shoulderline, as needed.
34 shallow neck base at sides 210
 34 shallow neck base at sides

Fashion patterns altered to fit shallow neck base at sides.

35 large neck 212

BASIC FITTING THEORY

Figure Analysis
The neck circumference is larger
than average because the neck
muscles are heavier and the
neckbones and concentration of
other soft tissues may be larger.
The muscles and soft tissues also
may lack tone.

Fitting Analysis
When the closure is forced shut,
the back neckline rises. The front
neckline tightens uncomfortably
and a circular wrinkle forms below
it. The edges of the front armscyes
may ripple, making them appear to
be too large. The lower armscye
areas on the front pull against the
arm hinges and cause discomfort.
The chest and blade fitting lines
rise at the body centers.

Fabric Requirements for

Proper Fit
The larger neck circumference
requires a neckline opening that is
wider at the sides and lower at the
center front. The larger opening
relieves the tightness so that fabric
can lie smoothly against the neck.
The chest and blade fitting lines
become level.

GARMENT PATTERN
ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Widen the back and front neckline;
lower the front neckline.

Slash Method—fitting garment

only
On the garment front, clip through
the neckline seam allowance at
Vz inch (1.2 cm) intervals across the
center front area. Extend the cuts
into the bodice area deep enough
to relieve the tightness. Continue
clipping the same depth around the
entire front neckline. Clip the back
neckline seam allowance as needed
near each shoulder seam. Draw the
new neck seamline along the line
formed by the ends of the clips.
Blend the new line into the original
near the center back. If only the
front is tight, see 37 Forward
Neck.
 35 large neck

Pivot Method
Proceed as stated in the Slash
Method.
36 thin neck 214

BASIC FITTING THEORY

Figure Analysis
The neck circumference is smaller
than average because the neck
muscles are lighter, and the neck
bones and concentration of other
soft tissues may be smaller.

Fitting Analysis
The garment neckline area is
smooth but does not reach the base
of the neck at the sides or the body
centers. There is poor proportion
between the larger opening of the
garment neckline and the smallness
of the neck. The chest and blade
fitting lines remain level.

Fabric Requirements for

Proper Fit
The smaller neck circumference
requires a neckline opening that is
narrower at the sides and higher at
the center front. The smaller
opening aligns with the base of the
neck and creates better proportions
between the size of the neck
opening and that of the neck.

GARMENT PATTERN
ALTERATIONS FOR
SYMMETRICAL FIGURES

Change Required
Narrow the back and front
neckline; raise the neckline as
needed at the body contours.

Slash Method—fitting garment

only
Leave the neckline seam allowance
extended toward the neck or lay
the front neckline over a fabric
insert. Align the grain of both
fabrics. Across the center front
raise the seamline position the
desired amount. Continue marking
the new neckline along the base of
the neck. At the shoulderline,
begin to blend the new line into
the original near the center back.
 36 thin neck

Pivot Method
Proceed as stated in the Slash
Method.
37 forward neck 216

BASIC FITTING THEORY

Figure Analysis
The head may tilt forward more
than average and rest in front of the
central axis of the body. The
forward thrust of the head
sharpens the angle where the neck
meets the chest. This increases the
front neck depth and lengthens the
upper center back area. The front
neck depth also increases due to
prominent neck tendons or excess
soft body tissue.

Fitting Analysis
When a basic jewel neckline is
worn, strain tightens the front
neckline and forms a fold of fabric
below it. The shoulderlines pull
forward at the edges of the neck.
The back neckline tightens or may
rise. The blade fitting line rises
across the center back. The chest
fitting line remains level. A
neckline worn open or designed
lower at the center front does not
require alteration.

Fabric Requirements for

Proper Fit
The fuller front neck area requires
a deeper front neckline. The length
adjustments relieve the strain and
permit the fabric to lie smoothly
below the neckline so that they can
align with the neck base. The blade
fitting line becomes level.

GARMENT PATTERN
ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Lower the front neckline.

Slash Method—fitting garment

only
On the garment front, clip through
the neckline seam allowance at
Vz inch (1.2 cm) intervals across the
center front area. Extend the cuts
into the bodice area deep enough
to relieve the tightness and to
permit the shoulder seam to align
with the shoulder. Continue with
shorter clips toward the
shoulderline as needed. Draw the
new front neck seamline along the
line formed by the ends of the
clips. Blend into the original
seamline near the shoulder.
 37 forward neck

Pivot Method
Proceed as for the Slash Method.
38 dowager hump 218

BASIC FITTING THEORY

Figure Analysis
An enlargement of the bone
structure and other tissues
develops high on the spine. The
width and length of the upper
center back area increases. This
figure variation creates the illusion
of rounded shoulders and usually is
accompanied with a forward head
position and/or a hollow chest.

Fitting Analysis
The garment pulls taut across the
back of the neck. The edges of the
back armscyes ripple. They appear
to be too large. The strain tightens
the front neckline and causes a fold
of fabric to form below it. The
blade fitting line and the back
waistline rise at the body centers.

Fabric Requirements for

Proper Fit
The fullness over the spine requires
more fabric length and width at the
upper center back area. Neckline
darts are necessary to shape the
fabric properly. The longer, more
shaped garment area relieves the
strain and permits both back and
front to lie smoothly against the
body. The chest and blade fitting
lines and waistline become level.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Lengthen and widen the upper
center back area.

Slash Method—fitting garment

only
Slash through the back neck seam
allowance at both mid-back areas.
Cut at a slight diagonal toward the
blade fitting line then continue
over to the armscye seamlines.
Insert fabric strips from each
armscye to the blade line. Spread
each set of cut edges evenly until
the armscyes align with the body
contour and the blade fitting line
becomes level.

Slash from one shoulder dart tip to

the other following the crossgrain.
Insert a fabric strip. Lift the
neckline section evenly until the
neckline rises to a comfortable and
attractive position. Tkper to
nothing at the dart tips.

Near the neckline slashes, form

darts of equal widths to remove the
excess fabric and create the shaping
for the body contour.
 38 dowager hump

If the front neckline remains too

high, follow the procedure for
37 Forward Neck. If excess fabric
length is present at the center
front, see 48 Hollow Chest.

Pivot Method
Release the back armscye, the
shoulder seams and the back
shoulder darts. Smooth the fabric
over the blade areas until the blade
fitting line becomes level. Retain
part of the shoulder dart as ease, if
needed. Lay the front shoulder
seamline in place over the extended
back shoulder seam allowances.
The original armscye lines and
necklines will no longer match but
the two sets of lines should align
similarly on each shoulder. Form
new neck darts of equal widths to
remove the excess fabric from the
back neckline. Across the
center back, draw a new neck
seamline at an attractive and
comfortable position. Blend
smoothly into the front neckline at
the shoulder. If the front neckline
is too high, follow the procedure
for figure variation 37 Forward
Neck.
shoulders
39 Broad Shoulders
40 Narrow Shoulders
41 Square Shoulders
42 Sloping Shoulders
43 Long Arm Joints (bodice)
44 Short Arm Joints (bodice)
45 Forward Arm Joints (bodice)
46 Prominent Collar Bones
39 broad shoulders 222

BASIC FITTING THEORY

Figure Analysis
The collar bones are longer than
average. The bone structure of the
spine, collar bones, and shoulder
joints may be heavier also. These
factors increase the body width and
its circumference at shoulder tip
level. The arm structure is not
affected.

Fitting Analysis
Horizontal wrinkles pull across the
armscye seamlines. The sleeve caps
pull upward and toward the body
centers. The sleeve caps appear to
be too tight and both the upper
and lower sleeve areas appear to be
too short. The ends of the chest
and blade fitting lines rise.

Fabric Requirements for

Proper Fit
The broadness of the shoulders
requires longer shoulder seamlines
on the garment. The added fabric
width at the upper blade and chest
areas permits the armscyes to align
with the body contour and relieves
the strain on the sleeves. They
lower to the correct position on the
arm and require no adjustment.
The fitting lines become level.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Lengthen the shoulder seamlines.

Slash Method—fitting garment

only
Release 2 inches (5 cm) of each
shoulder seam at the armscye areas.
Slash the opened shoulder seam
near each armscye and continue
diagonally down to the armscye
seamline at the arm hinge areas.
Insert fabric strips. To increase
width, spread the cut edges equally
at the shoulder until the armscye
seamlines align with the crest of
the shoulder curves. Thper to
nothing at the armscye. True and
restitch the shoulder seam using
the original slope of the neckline
portion as a guide.
223
39 broad shoulders

Pivot Method
If the sleeves are not attached,
mark the new armscye seamlines
from the shoulder to the arm hinge
areas. Set in the sleeves along the
new armscye seamlines.

If the sleeves are attached,, release

the sleeve caps down to the arm
hinge areas at front and back. Tlirn
under the sleeve cap seam
allowance along the eased seamline.
Move the sleeve cap outward along
the shoulderline until the seamline
is in a comfortable and attractive
position. Pin the sleeve in place and
stitch the armscye.
39 broad shoulders 224
 39 broad shoulders

Fashion patterns altered to fit fit broad shoulders.

40 narrow shoulders 226

BASIC FITTING THEORY

Figure Analysis
The collar bones are shorter than
average. The bone structure of the
spine, collar bones, and shoulder
joints may be lighter also. These
factors decrease the body width
and its circumference at shoulder
tip level. The arm structure is not
affected.

Fitting Analysis
The armscye seamlines drop off the
crest of the shoulder curves and lie
against the arms. The sleeve caps
sag and appear to be too large. The
garment fabric is loose at the chest
edges. The front armscye cuts
against the arm hinge. The ends of
the chest and blade fitting lines
droop.

Fabric Requirements for

Proper Fit
The narrowness of the shoulders
requires shorter shoulder seamlines
on the garment. The reduced fabric
width at the upper blade and chest
areas permits the armscyes to align
with the body contour. The sleeves
rise to the correct position on the
shoulder and require no
adjustment. The fitting lines
become level.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Shorten the shoulder seamlines.

Slash Method—fitting garment

only
Release 2 inches (5 cm) of each-
shoulder seam at the armscye areas.
Pin tucks of equal widths across the
opened seam areas near each
armscye seam. Adjust the width of
the tucks until the armscye
seamlines align with the crest of
the shoulder curves. Tfue and
restitch the shoulder seam using
the original slope of the neckline
portion as a guide.
40 narrow shoulders

Pivot Method
If the sleeves are not attached,
mark the new armscye seamlines
from the shoulder to the arm hinge
areas. Clip the widened seam
allowances, as necessary. Set in the
sleeves along the new armscye
seamlines.

If the sleeves are attached, release

the sleeve caps down to the arm
hinge areas at the front and back.
Tbrn under the sleeve cap seam
allowance along the eased seamline.
Move the sleeve inward along the
shoulderline until the seamline is
in a comfortable and attractive
position. Pin the sleeve in place and
stitch the armscye.
40 narrow shoulders 228

Fashion patterns altered to fit narrow shoulders.

40 narrow shoulders
41 square shoulders 230

BASIC FITTING THEORY

Figure Analysis
The collar bones slope less than
average because they meet the
vertical bone structure of the spine
more nearly at 90-degree angles.
The distance increases from the
waist up to the base of the arm
joints. The arm structure is not
affected.

Fitting Analysis
The fabric pulls into tight diagonal
wrinkles from the upper armscye
area to the bust, the blade, and the
biceps areas. The sleeves rise and
appear to be too short. The ends of
the chest and blade fitting lines
rise. The centers of the cap fitting
lines rise.

Fabric Requirements for

Proper Fit
The higher position of the shoulder
joint requires lifting the armscye
farther from the waistline. As a
result, the side seamlines lengthen
and the shoulder seamlines slope
less. The raised armscye position
aligns with the body contours and
relieves the strain at the neckline.
The chest and blade fitting lines
become level. The sleeves fit
correctly without any adjustment.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Lengthen each side seam at the
armscye to raise the armscye to a
higher position.

Slash Method—fitting garment

only
Remove the sleeves. Slash across the
armscye seam allowances about
Vz inch (1.2 cm) below the shoulder
seams on both the back and front.
Continue over to the neck
seamlines. Insert fabric strips. To
increase length, spread each set of
cut edges equally at the armscye
until the fabric lies smooth. Tkper
each slash to nothing at the
neckline. Mark the new higher
position of the armscye seamline
across the underarm seams to
restore the armscye depth. Blend
smoothly into the original seamline
at front and back. Reattach the
sleeves using the new armscye
seamline markings.
41 square shoulders

Pivot Method
Remove the sleeves. Release the
shoulder seams. Let out the
shoulder seam allowances equally
at the armscyes on both the back
and front until the fabric relaxes
and the chest and blade fitting lines
become level. Raise the lower
armscye seamline position to
restore the armscye depth. Blend
into the original seamline at the
arm hinge area. Attach the sleeves
using the new armscye seamlines.
41 square shoulders 232
233 -----
41 square shoulders
42 sloping shoulders 234

BASIC FITTING THEORY

Figure Analysis
The collar bones slope more than
average because they meet the
vertical bone structure of the spine
at wider angles. The distance
decreases from the waist up to the
base of the arm joints. The arm
structure is not affected.

Fitting Analysis
The sleeve caps sag off the crest of
the shoulder and appear to be too
large. The fabric along the arm-
scyes sags into diagonal wrinkles
from the neckline to the lower
armscye areas. The ends of the
chest and blade fitting lines droop.
The centers of the cap fitting line
also droop.

Fabric Requirements for

Proper Fit
The lower position of the shoulder
joint requires lowering the armscye
closer to the waistline. As a result,
the side seamlines shorten and the
shoulder seamlines slope more. The
lowered armscye position aligns
with the body contours. The chest
and blade fitting lines become
level. The sleeves fit correctly
without any adjustment.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Shorten each side seam at the
armscye to drop the armscye to a
lower position and increase the
slope of the shoulder.

Slash Method—fitting garment

only
Remove the sleeves. Clip the lower
armscye seam allowance at V2 inch
(1.2 cm) intervals to release the
tension. Remove the excess armscye
length equally with a tuck near the
shoulder seams on both the back
and front. Thper each tuck to
nothing at the neckline. Mark the
new lower position of the armscye
seamline across the underarm
seams to restore the armscye depth.
Blend smoothly into the original
seamline at front and back.
Reattach the sleeves using the new
armscye seamlines.
42 sloping shoulders

Pivot Method
Remove the sleeves. Clip the lower
armscye seam allowances at V2 inch
(1.2 cm) intervals to release the
tension. Thke in both the back and
front shoulder seam areas equally
at the armscye until the fabric is
smooth and the chest and blade
fitting lines become level. Tkper to
nothing at the neckline.

Mark the new lower position of the

armscye seamline to restore the
armscye depth. Blend into the
original seamline at the arm hinge
areas. Attach the sleeves using the
new armscye seamlines.
42 sloping shoulders 236

Fashion patterns altered to fit sloping shoulders.

237
42 sloping shoulders
43 long arm joints (bodice) 238

BASIC FITTING THEORY

Figure Analysis
The bones forming the joint
structure may be longer than
average or the “hinge” flesh
separating the arm from the rib
cage may form farther below the
joint than average. Either factor
increases the length from the
shoulder to the scyeline.

Fitting Analysis
The lower armscye binds against
the arm hinges. Diagonal wrinkles
pull from the blade and chest areas
to the underarms. A fold of fabric
may form below the scyeline. The
ends of the blade and chest fitting
lines may pull downward.

Fabric Requirements for

Proper Fit
The increased length of the
shoulder joint area requires a
longer armscye. This lowers the
armscye seamline under the arm
and shortens the side seamline. The
armscye contour aligns in a
comfortable position near the arm
hinges. The sleeve cap height must
be lengthened. See 73 Long Arm
Joints (sleeves).

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES

Change Required
Lengthen the depth of the armscye.

Slash Method—fitting garment

only
If sleeves are attached see 73 Long
Arm Joints (sleeves). Follow this
procedure to perfect the fit as
illustrated.
When sleeves have not been
attached use Pivot Method
discussed below.
long arm joints (bodice)

Pivot Method
Clip the seam allowance at Vz inch
(1.2 cm) intervals across the
underarm area to relieve the strain.
Mark a new seamline below the
original that will be a comfortable
distance below the arm hinge.
Across the side seams draw a line
parallel to the original armscye
seamline. Blend into the original
seamline at the arm hinge areas on
the front and back. Tfim the excess
fabric beyond the new seam
allowance.
44 short arm joints (bodice) 240

BASIC FITTING THEORY

Figure Analysis
The bones forming the joint
structure may be shorter than
average or the “hinge” flesh
separating the arm from the rib
cage may form nearer the joint
than is average. Either factor
decreases the length from the
shoulder to the scyeline.

Fitting Analysis
The seamline at the lower armscye
area is too far below the arm
hinges. Lifting the arm pulls the
sleeves tightly against the arm. The
arms cannot be raised comfortably.
The blade and chest fitting lines are
not affected.

Fabric Requirements for

Proper Fit
The decreased length of the
shoulder joint area requires a
shorter armscye. This raises the
armscye seamline nearer the arm
and lengthens the side seamline.
The strain is relieved on the sleeve.
The sleeve cap height must be
shortened. See 74 Short Arm
Joints (sleeves).

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Shorten the depth of the armscye.

Slash Method—fitting garment

only
If sleeves are attached see 74 Short
Arm Joints (sleeves). Follow this
procedure to perfect the fit as
illustrated.
When sleeves have not been
attached use Pivot Method
discussed below.
 44 short arm joints (bodice)

Pivot Method
At the underarm, mark a new
seamline above the original to lift
the armscye to a comfortable
position. Across the side seams
draw a line parallel to the original
armscye seamline. Blend into the
original seamline at the arm hinge
areas on the front and back.

Fashion patterns altered to fit short arm joints (bodice).

45 forward arm joints (bodice) 242

BASIC FITTING THEORY

Figure Analysis
The collar bones bow forward more
than average. This causes the arm
joint to be more rounded in the
front and flatter in the back; the
chest becomes narrower and the
blade area becomes broader. Thin
muscles and smaller deposits of
other soft tissues cause indented
areas next to the front edges of the
arm joints.

Fitting Analysis
At the armscye, the shoulder seams
lie behind the shoulder tips. The
garment front forms into vertical
folds of fabric against the arm
joints. The back armscye seams
pull toward the blade areas. The
front of the sleeve caps are taut
near the front of the shoulder crest
and loose at the back areas.

Fabric Requirements for

Proper Fit
The forward curvature of the collar
bones requires that the armscye
ends of the shoulder seamlines be
moved toward the front. This
shortens the depth of the front
armscye and lengthens the back
armscye. The narrowness of the
chest requires less fabric width in
front of the armscyes. The broader
upper back requires more garment
width at the upper armscye areas.
This figure variation affects the
contour of the sleeve cap. See 77
Forward Arm Joints (sleeves).

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Widen the blade area and raise the
back shoulder seam at the armscye.
Narrow the chest area and lower
the front shoulder seam at the
armscye.

Slash Method—fitting garment

only
Release the sleeve above the arm
hinge areas. Slash across the back
armscye seam allowances at the
arm hinge areas and cut diagonally
toward the point of each neckline
extension. Insert fabric strips. To
increase armscye length, separate
the cut edges at the armscye until
the shoulderline is in the correct
position. Across each front armscye
seam allowance at the arm hinge
areas, form a diagonal tuck to
remove the excess fabric. Adjust
the back and front changes until
45 forward arm joints (bodice)

the shoulder seamlines divide the

shoulder area evenly. Ttiper the
tucks and slashes to nothing at the
neckline extensions. Correct the
back arms eye distortions with a
new, straighter seamline from the
shoulder tip to the arm hinge area.
Correct the front distortion with a
curved line through the center of
the distorion. Blend into the
original seamline at the lower
armscye. For the sleeve cap
adjustment see 77 Forward Arm
Joints (sleeves).

Pivot Method
Remove the sleeve cap above the
arm hinge areas. Release the
shoulder seams for the armscye to
the neckline. Extend the seam
allowance of the back shoulder
toward the front. Thrn under the
front shoulder seam allowance at
the armscye until the fold divides
the shoulder and the arm evenly.
Secure the fold to the back
shoulder seam allowance. Clip the
seam allowance of the front
armscye at Vz inch (1.2 cm) intervals
along the mid-chest area to relieve
the strain. Draw a new, front
armscye seamline even with the
crease in the flesh at the arm hinge
areas. Blend into the original at the
shoulder and the lower armscye.
Let out the back armscye seam
allowance at the blade area to form
a straighter line. Blend into the
original seamlines at the shoulder
and arm hinge area. For the sleeve
cap adjustment see 77 Forward
Arm Joints (sleeves).
45 forward arm joints (bodice) 244
45 forward arm joints (bodice)
46 prominent collar bones 246

BASIC FITTING THEORY

Figure Analysis
The collar bone endings near the
center front are larger than
average. A bulged area forms at the
base of the front neck area.

Fitting Analysis
The center front lines on a front
closure do not meet. The fabric
near the neckline is taut across the
center front when the closure is
forced to stay closed. If the figure
variation is extreme, the strain
pulls the vertical fitting lines
toward each other at the upper
chest area and the front armscye
edges ripple. The neckline and
chest fitting lines may rise at the
center front.

Fabric Requirements for

Proper Fit
The enlarged bone structure below
the throat requires more fabric
width at the upper center front
area. The wider garment area
relieves the strain and permits the
neckline to close comfortably and
to align with the base of the neck.
The fitting lines become plumb
and level.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Widen and lengthen the upper
center front area.

Slash Method—fitting garment

only
If the fitting garment has no center
front seam, slash along the center
front line from the neckline seam
allowance to the waistline. Insert a
fabric strip. To increase width,
spread the cut edges enough at the
neckline to relieve the strain and
relax the vertical fitting lines. Draw
a new center front line down the
center of the fabric insert.
46 prominent collar bones

Pivot Method
If the garment has a center front
seamline, let out the seam
allowances equally at the neckline
to relieve the strain and to permit
the center front lines to meet.
T&per the new center front lines to
nothing at the waistline.

If the garment does not have a

center front seamline, release the
shoulder seams and the front of the
armscyes from the shoulders down
to the point where the strain no
longer pulls the sleeve away from
the armscye. Fold the back
shoulder seam allowance under
along the shoulder seamline. Lay
the fold onto the extended front
seam allowances. The front
neckline edges will move toward
the neck. Clip as needed to remove
strain at the neckline. Restitch the
shoulder seams. Continue the back
neckline and the armscye seamlines
into the original seamlines on the
front at the chest area.
rib cage
47 Prominent Sternum/Rounded Chest
48 Hollow Chest
49 Rounded Upper Back
50 Erect Upper Back
51 Prominent Shoulder Blades
52 Flat Shoulder Blades
53 Broad Chest/Upper Back
54 Narrow Chest/Upper Back
55 Wide Rib Cage
56 Narrow Rib Cage
57 Cylindrical-shaped Torso (rib cage)
58 Oval-shaped Torso (rib cage)
59 Long Upper Rib Cage
60 Short Upper Rib Cage
61 High Bust Position
62 Low or Pendulous Bust Position
63 Wide Bust Point Span
64 Prominent Bust
65 Large Bust
66 Small Bust
67 Flared Lower Ribs
68 Long Midriff
69 Short Midriff
70 Large Waist
71 Small Waist
 47 prominent sternum/rounded chest 250

BASIC FITTING THEORY

Figure Analysis
The upper portion of the sternum
is larger than average and
protrudes beyond the surface of the
ribs. When a rounded chest is
present, the chest wall curves
outward along the upper center
front. Both reasons for fullness
increase the length from the neck
to the scyeline area. The width
across the chest may increase.

Fitting Analysis
The fabric is taut at the upper
center front areas and pulls into
diagonal wrinkles from the
armscyes to the neckline. The
armscyes on a sleeveless dress may
ripple at the edges of the chest. The
chest fitting line rises at the center.

Fabric Requirements for

Proper Fit
The fullness at the center of the
chest requires more fabric length at
the upper center front area. The
longer garment area relieves the
strain at the neckline; the fabric
relaxes and the chest fitting line
becomes level. More width may be
needed at chest level. The fabric
will relax at the armscyes, and they
will align correctly with the body
contours.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Lengthen and widen the upper
center front.

Slash Method—fitting garment

only
Slash across the garment front from
one armscye to the other 2 inches
(5 cm) below the neckline; follow
the crosswise grain. Insert a fabric
strip. To increase length, spread the
cut edges evenly until the chest
fitting line is level. Thper to
nothing at each armscye.

If the fabric is taut across the

armscyes, follow the procedure for
Pivot Method.
251 47 prominent sternum/rounded chest

Pivot Method
Release the shoulder seams. To
increase length, let out the front
shoulder seam allowances equally
at the neckline until the chest
fitting line is level. Thper to
nothing at each armscye. Raise the
neck seamline across the center
front area to restore the neckline
circumference; blend into the
original near each shoulder.
Restitch the shoulder seams.

Check the armscye seamline

positions. If they pull toward the
center front, let out the armscye
seam allowances equally across the
chest area to form a straighter
armscye line. T&per into the
original seamline near each
shoulder and arm hinge area.
Attach the sleeves using the new
armscye seamlines.
48 hollow chest 252

BASIC FITTING THEORY

Figure Analysis
The chest wall is flat or concave.
The chest muscle development and
soft tissue deposits are minimal.The
arm joints appear to be larger than
average; the bust curvature appears
smaller and lower. The length
decreases from the neck to the
scyeline area. The width across the
chest contour may increase
between the shoulder tips. A
hollow chest is often in
combination with a rounded upper
back. See 49 Rounded Upper
Back.

Fitting Analysis
The fabric sags into diagonal
wrinkles from the shoulder tips to
the center of the chest. The chest
fitting line droops at the center
front.

Fabric Requirements for

Proper Fit
The shortness of the chest requires
less fabric length at the upper
center front area. This permits the
garment to lie smoothly against the
chest; the chest fitting line becomes
level.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Shorten the upper center front
area; widen the area at the
shoulder tips.

Slash Method—fitting garment

only
Below the front neck area, form a
parallel tuck wide enough to
remove the excess fabric and lift
the chest fitting line to a level
position. Follow the crosswise
grain. Tiiper to nothing at each
armscye.
253
48 hollow chest

Pivot Method
Release the shoulder seams. Clip
the neck seam allowance across the
center front area. To decrease the
garment length, take up the front
shoulders equally at the neckline
until the chest fitting line is level;
taper to nothing at each armscye.
To restore the neckline, mark a
new neckline position across the
center front area. Blend into the
original near the shoulders. Stitch
the shoulder seams using the new
front shoulder seamlines.
49 rounded upper back 254

BASIC FITTING THEORY

Figure Analysis
The upper portion of the spine
curves outward more than average.
The head may rest forward of the
central body axis. The length
increases from the neck to the mid¬
blade area. This figure variation is
often in combination with a hollow
chest. See 48 Hollow Chest.

Fitting Analysis
The fabric is taut at the back
neckline area. The strain pulls the
neckline below the center of the
neck vertebra. Diagonal wrinkles
pull from the armscyes to the
upper center back. Strain pulls the
blade fitting line and waistline up
at their centers. The front neckline
may appear to be too tight.

Fabric Requirements for

Proper Fit
The outward contour of the spine
requires more fabric length and
more fabric shaping at the upper
center back area. This relieves the
strain at the necklines; the blade
fitting line and the waistline
become level.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Lengthen the upper center back
area.

Slash Method—fitting garment

only
Slash across the garment back from
one shoulder tip to the other.
Follow the crosswise grain. Insert a
fabric strip. To increase the
garment length at the neckline
area, spread the cut edges evenly
until the blade fitting line is level.
Tkper to nothing at each armscye.
255 49 rounded upper back

Pivot Method
Release the shoulder seams. Let out
the back shoulder seam allowances
equally at the neckline until the
blade fitting line is level. Thper to
nothing at the armscyes. This
lengthens the shoulder seamline.
Widen the shoulder darts to
increase the garment shaping and
to restore the shoulder seamline
length. Draw new shoulder
seamlines in straight lines across
the widened darts. Mark a new
back-neck seamline above the
original at the center back equal to
the adjustment of the shoulder
seamlines. Stitch the shoulder
seams using the new back shoulder
seamlines.
50 erect upper back 256

BASIC FITTING THEORY

Figure Analysis
The upper portion of the spine
curves less than average. The head
may rest back of the central body
axis. The length decreases from the
neck to the mid-blade area. This
figure variation may be a result of
overly erect posture and is often in
combination with a prominent bust
or rounded chest. See 64
Prominent Bust or 47 Prominent
Sternum/Rounded Chest

Fitting Analysis
The fabric is loose over the
shoulder blades and sags into
horizontal folds across the center
back. The blade fitting line droops
at the center back.

Fabric Requirements for

Proper Fit
The straighter contour of the spine
requires less fabric length and less
shaping at the upper center back
area. This permits the garment area
to lie smoothly against the upper
back; the blade fitting line becomes
level.

GARMENT &> PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
*

Change Required
Shorten the upper center back
area.

Slash Method—fitting garment

only
Form a parallel tuck wide enough
to lift the blade fitting line to a
level position. Follow the crosswise
grain. Tkper to nothing at each
armscye.
257
50 erect upper back

Pivot Method
Release the shoulder seams. Tkke
up shoulder area equally at the
back neckline until the blade
fitting line is level. Let out the
shoulder darts to restore the
shoulder seam length. Draw each
new shoulder seamline in a straight
line across the narrowed dart.
T&per to nothing at the armscyes.

Mark the lowered neck seamline

across the center back equal to the
adjustment at the shoulders. Blend
into the original near each
shoulder. THm the excess width
from the neckline contour. Stitch
the shoulder seams using the new
back shoulder seamlines.
51 prominent shoulder blades 258

BASIC FITTING THEORY

Figure Analysis
The shoulder blades are larger and
protrude more than average. The
upper back muscle development
and soft tissue deposits may be
minimal. The body is recessed
along the upper area of the spine.
The length and width increase
from the center of each shoulder
seamline to the blade line and from
armscye to armscye, respectively.
Asymmetrical figures may have one
prominent and one flat blade.

Fitting Analysis
The angularity of the shoulder
blades pulls tight horizontal
wrinkles into the fabric between
the blades. Sleeveless armscyes
ripple. At each blade, diagonal
wrinkles radiate toward the
armscyes. The sleeve caps pull
toward the back. The blade fitting
line rises.

Fabric Requirements for

Proper Fit
The fullness of the shoulder blades
requires more fabric width and
length and increases shaping.
Wider darts result. This relieves
the strain and permits the armscyes
and sleeves to align properly over
the arm joints. The blade fitting
line becomes level. Adjustment of
the armscye size and the sleeve is
unnecessary.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Widen and lengthen the area oyer
the blades.

Slash Method—fitting garment

only
Slash diagonally from each neckline
extension to the corresponding
armscye at the arm hinge area.
Insert fabric strips. To increase
width and length, spread the cut
edges equally at the dart tips to
relax the fabric and restore the
ease. Thper to nothing at the
neckline and the armscyes.
259
51 prominent shoulder blades

Pivot Method
Release the shoulder and the back
armscye seams above the arm hinge
areas. Widen the back darts
equally until the garment is
smooth but relaxed over the
shoulder blades and at the armscye.
Curve and lengthen the darts as
needed. Let out the armscye seam
allowances to restore the length of
the shoulder seamlines. Blend the
new armscye into the original at
the arm hinge area. Draw each new
shoulder seamline in a straight line
across the stitched darts.
52 flat shoulder blades 260

BASIC FITTING THEORY

Figure Analysis
The upper portions of the shoulder
blades curve outward less than
average; the back may appear to be
erect. The width and length
decrease from armscye to armscye
and from the center of each
shoulder seamline to the blade line,
respectively. Asymmetrical figures
may have one prominent and one
flat blade.

Fitting Analysis
The fabric is loose over the
shoulder blades and may form
loose vertical wrinkles.

Fabric Requirements for

Proper Fit
The less-curved contour of the
shoulder blades requires less fabric
width and length and dart shaping.
The shoulder dart becomes
narrower. The smaller garment area
lies smoothly against the body.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Narrow and shorten the area over
the blades.

Slash Method—fitting garment

only
lb remove the excess fabric at the
tips of the back shoulder darts,
form diagonal tucks of equal
widths that point toward the neck
and underarm. Adjust the tuck
widths until the fabric lies smooth.
Retain sufficient ease. T&per to
nothing at the neckline and
armscyes.
52 flat shoulder blades

Pivot Method
Release the shoulder seams, the
darts, and the back armscye seams
above the arm hinge areas. Let out
the darts equally until the garment
is smooth but relaxed over the
shoulder blades. Straighten and
shorten the darts as needed. Draw
new armscye seamlines in the
garment area to restore the length
of the shoulder seamlines. Blend
the new armscye into the original
at the arm hinge area. Draw each
new shoulder seamline in a straight
line across the stitched darts.
53 broad chest/upper back 262

BASIC FITTING THEORY

Figure Analysis
The upper part of the rib cage is
fuller than average. The chest or
the upper back muscle
development and deposits of soft
tissues may be heavier. This
increases the width between the
arm joints. The structure of the
arm joints and the arms are not
affected.

Fitting Analysis
The fabric is taut from armscye to
armscye and forms tight horizontal
wrinkles. The sleeve pulls toward
the body centers causing the arm¬
scye to cut against the arm hinge.
The vertical fitting line on the
sleeve cap bows toward the
fullness. The chest and blade fitting
lines remain level.

Fabric Requirements for

Proper Fit
The increased chest or blade span
requires more fabric width at the
corresponding scyeline and
armscyes. This relieves the strain at
the underarm and chest (blade); the
sleeves and armscyes relax and
align without adjustment.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Widen the area across the chest or
the blades.

Slash Method—fitting garment

only
About 1 inch (2.5 cm) from each
armscye, slash from the
shoulderline to the scyeline along
the lengthwise grain. Insert fabric
strips. To increase width, separate
the cut edges equally at the chest
or blade line until the armscye
lines move to comfortable and
attractive positions. Thper to
nothing at the shoulders and the
scyeline.
263
53 broad chest/upper back

Pivot Method
Release the front of the sleeves.
Mark the new armscye stitching
lines in the seam allowance areas at
the edges of the chest (blade) so
that they lie in comfortable and
attractive positions. Thper into the
original seamlines near the
shoulders and lower armscye
curves. Attach the sleeves to the
armscyes using the new armscye
seamlines.
54 narrow chest/upper back 264

BASIC FITTING THEORY

Figure Analysis
The upper part of the rib cage is
smaller than average. The chest or
the upper back muscle
development and deposits of soft
tissues are minimal; the back may
appear to be erect. The width
decreases between the arm joints.
The structure of the arm joints and
the arms are not affected.

Fitting Analysis
The fabric is loose along the edges
of the chest or the blades and the
underarm areas. When the arms
are moved forward, the front
armscyes cut against the arm
hinges. When the arms are lifted,
the sleeves pull against the arm and
restrict movement. The chest and
blade fitting lines remain level.

Fabric Requirements for

Proper Fit
The decreased chest or blade span
requires less fabric width at the
corresponding scyeline and
armscyes. This permits the garment
area to lie smoothly and
comfortably against the rib cage.
The sleeves align properly with the
body contours without adjustment.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES

Change Required
Narrow the area across the chest or
the blade.

Slash Method—fitting garment

only
About 1 inch (2.5 cm) from each
armscye, form a vertical tuck to
remove the excess fabric.
Adjust the widths equally until the
garment area is smooth; retain
sufficient ease at the blade line.
Thper the ends of the tucks to
nothing near the shoulders and the
scyeline.
54 narrow chest/upper back

Pivot Method
Mark new armscye seamlines in the
garment area at the edges of the
chest (blade) so that they lie in
comfortable and attractive
positions. T&per into the original
seamlines near the shoulder and
the lower armscye curves. If the
sleeves have been set in, release the
front (back) areas from the
shoulders to the underarm areas
and proceed as stated above. Attach
the sleeves to the armscyes using
the new armscye seamlines.
55 wide rib cage 266

BASIC FITTING THEORY

Figure Analysis
The midsection of the rib cage is
fuller than average and increases
the body circumference at the scye
line. The side of the rib cage tapers
more than average. This lengthens
the side of the body between the
base of the arm joints and the
waist. The chest and blade fitting
lines remain level. The structure of
the arm joints and arms are not
affected.

Fitting Analysis
The fabric is taut under each arm
and forms tight wrinkles which
follow the curves of the armscye
seamlines. The tightness makes the
armscyes appear to be too tight and
the bust area of the garment appear
too small.

Fabric Requirements for

Proper Fit
The increased rib cage
circumference requires more fabric
width at the scyeline. This relieves
the strain and restores the ease in
the garment at the underarm areas.
The armscyes align properly with
the body contours. The adjustment
may be required on the back or the
front of the garment or on both
areas.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Widen the area near the underarm
extension.

Slash Method—fitting garment

only
Slash from the mid-armscye to the
waistline. Follow lengthwise grain.
Insert fabric strips. To increase
width, spread the cut edges equally
at the scyeline to relieve the tension
and restore the ease. Thper the end
of each slash to nothing at the
armscye and waistline.
267
55 wide rib cage

Pivot Method
Release the side seams and the
lower armscye seams up to the
corresponding blade or chest area.
Let out the side seam allowances
equally at the scyeline to relieve
the tension and restore the ease.
Restore the armscye seamline from
the new side seam position to the
original at the blade or chest area.
Draw a new side seam in a straight
line from the new position at the
underarm to the original at the
waistline. Repeat the procedure on
the front as needed.
 56 narrow rib cage 268

BASIC FITTING THEORY

Figure Analysis
The mid-section of the rib cage is
narrower than average and
decreases the body circumference
at the scyeline. The upper torso
area tapers less than average. This
shortens the side of the body
between the base of the arm joints
and the waist. The chest and blade
fitting lines remain level.

Fitting Analysis
The fabric near the lower armscye
areas hangs in vertical folds near
the armscyes on the front and back
The excess garment width inhibits
arm movement; the front armscye
cuts against the arm hinge. The
sleeves appear to be too tight when
the arms are lifted.

Fabric Requirements for

Proper Fit
The decreased rib cage
circumference requires less fabric
width at the scyeline. This permits
the armscyes to align with the
body contour and the arm to move
without constraint or discomfort.
The adjustment may be required
on the back or the front of the
garment or on both areas.

GARMENT PATTERN
ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Narrow the area near the underarm
extension.

Slash Method—fitting garment

only
Below the vertical portion of the
armscyes, form vertical tucks of
equal widths at the scyeline. Adjust
the widths equally until the excess
fabric is removed; retain sufficient
ease. Tkper the tucks to nothing at
the armscye and the waistline.
 56 narrow rib cage

Pivot Method
Release the side seams and the
lower armscye seams to the
corresponding blade or chest area.
At the scyeline, take in the sides
garment areas equally until the
excess fabric is removed; retain
sufficient ease. Restore the armscye
seamline from the new side seam
position to the original at the blade
or chest area. Draw a new side
seam in a straight line from the
new position at the underarm to
the original at the waistline. Repeat
the procedure on the front as
needed.
57 cylindrical-shaped torso (rib cage) 270

BASIC FITTING THEORY

Figure Analysis
The shape of the rib cage is more
round than average. The torso is
deeper from the center front
through to the center back. The
bone structures forming the arm
joints may be larger than average
also. These factors increase the
body depth from the front arm
hinge to that at the back.

Fitting Analysis
The armscye cuts against the arm
hinges. Diagonal wrinkles pull
from the blade and chest areas to
the underarm. A fold of fabric
forms below the scyeline. Sleeves
also pull at the underarm and may
be too tight around the arm. The
armscye seamlines pull toward the
arm at the front and back.

Fabric Requirements for

Proper Fit
The greater profile depth requires
more fabric width at the underarm
area on both the sleeve and the
garment. More armscye length also
may be required at the shoulder.
The wider armscye extensions on
the garment and the sleeve permit
the fabric to relax underneath the
arms and around the torso. The
armscyes relax and align properly
along the blade and chest.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Widen the armscye extension.

Slash Method—fitting garment

only
Near each side seam, slash the
garment from the armscye to the
waistline on both the front and
back. Insert fabric strips. To
increase width, spread each set of
cut edges equally at the scyeline to
relax the fabric and restore the
ease. Thper to nothing at the
waistline. See 75 Large Shoulder
Joints and 80 Large Upper Arms
for the sleeve adjustment.
57 cylindrical-shaped torso (rib cage)

Pivot Method
Release the side seams and the
lower armscye area if the sleeves
are attached. At the scyeline, let
out both front and back seam
allowances equally to relax the
fabric and restore the ease, Thper to
nothing at the waistline. See 75
Large Shoulder Joints and 80
Large Upper Arms for the sleeve
adjustment.
58 oval-shaped torso (rib cage) 272

BASIC FITTING THEORY

Figure Analysis
The shape of the rib cage is more
oval than average. The torso is
narrower from the center front
through to the center back. The
bone structures forming the arm
joints may be smaller than average
also. These factors decrease the
body depth from the front arm
hinge to that at the back.

Fitting Analysis
The garment hangs in loose vertical
folds near the underarm on both
the front and the back. The sleeve
appears to be too large. When the
arms are raised, strain pulls the
sleeves tightly against the arm, the
arms cannot be raised comfortably.

Fabric Requirements for

Proper Fit
The smaller profile depth requires
less fabric width at the underarm
area on both the sleeve and the
garment. Less armscye length also
may be required at the shoulder.
The narrower armscye extensions
on the garment and the sleeve
bring the fabric closer to the body
surface. The arms can be raised
easily and comfortably.

GARMENT PATTERN
ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Narrow the armscye extension.

Slash Method—fitting garment

only
Near each side seam, form a
vertical tuck at the scyeline on both
front and back. Adjust the widths
equally until the excess fabric is
removed but the ease is retained.
Thper the tucks to nothing at the
waistline. See 76 Small Shoulder
Joints and 79 Thin Arms for the
sleeve adjustment.
58 oval-shaped torso (rib cage)

Pivot Method
Release the side seams and the
lower armscye area if the sleeves
are attached. At the scyeline, take
in the garment areas equally until
the excess fabric is removed; retain
sufficient ease. "Riper into the
original at the waistline. See
76 Small Shoulder Joints and
79 Thin Arms for the sleeve
adjustment.
59 long upper rib cage 274

BASIC FITTING THEORY

Figure Analysis
The bones forming the upper rib
cage area are heavier than average.
The spacing between the adjacent
ribs may be greater. The length
increases from the shoulder to the
bustline. The length variation may
affect the space between the arm
hinge or the length of the arm
joints.

Fitting Analysis
The fabric is taut between the
shoulder seams and the waistline
and may form tight vertical
wrinkles. The darted area is too
high and creates the illusion of a
low bust position. The midriff and
waistline rise onto the larger body
areas and appear to be too small.
The armscye may cut against the
arm hinge. The chest and blade
fitting lines remain level.

Fabric Requirements for

Proper Fit
The longer rib cage areas require
more fabric length between the
shoulder seams and the bustline.
This relieves the strain at the chest
and upper back areas. The garment
shaping, the midriff, and the
waistline lower and align with the
body contours.

GARMENT &> PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Lengthen the appropriate area
between the shoulder area and the
bustline.

Slash Method—fitting garment

only
If the armscye pulls against the arm
hinge, cut across the front and back
of the garment through the
armscye. Follow crosswise grain.
Insert fabric strips. Separate each
set of cut edges evenly until the
armscye seamline lowers to a
comfortable position. The length
adjustment may not be equal on
both the front and back.

If the armscye length is correct but

the garment shaping is too high,
slash completely around the
garment about 1 inch (2.5 cm)
below the scyeline. Follow the
crosswise grain. Insert a fabric
strip. Spread the cut edges of the
garment evenly until the garment
shaping and the waistline align
with the bust and waist,
respectively.
59 long upper rib cage

If the length of the armscye and the

center front are correct but the
garment shaping is too full and the
center back is too short, lengthen
only the back. Release the side
seams across the side dart area.
Release the side darts. Cut across
the entire back area at the bustline.
Insert a fabric strip. To gain the
needed length, seperate the cut
edges evenly until the strain is
relieved and the waistline is level.
Let out the dart width as needed.
For additional front length, let out
the front waistline seam evenly.
Tfue the side seams across the
adjustments. See 66 Small Bust.

Pivot Method
If the armscye cuts against the arm
hinge, release the shoulder seams.
Let out both the back and front
seam allowances evenly on each
shoulder area until the lower
armscye seamline lowers to a
comfortable position. Adjust the
length change parallel to the
original seamlines until the
garment lies smooth but relaxes
over the chest and blade areas.

Restore the depth of the back and

front necklines. Raise the neckline
seam at center front and center
back equal to the length
adjustment at the shoulders. Blend
the new neckline into the original
near the shoulder areas.

If the armscye length is correct but

the garment shaping and the
waistline are too high, release the
side seam, the underarm dart, and
the waistline seam. Move the
underarm dart down until it aligns
with the fullest part of the bust.
Shorten both the back and front
waistline darts equal to the side
dart adjustment. Mark the new
waistline parallel to the original.
Restore the back and front
waistline circumferences. Remark
and stitch the new underarm
seamlines.

On a princess-style garment, release •

the seams across the bust area.
Reshape the side panel so that the
greatest curvature is at the bustline.
Correct the waistline as stated
above.

If only the back is too short and

the dart shaping is too large,
release the side seams and the side
darts. Narrow the darts until the
shaping is correct. Tface the side
seamlines in a straight line across
the closed darts. Stitch the side
seams. Mark the new back
waistline even with that of the
front. See 66 Small Bust.
60 short upper rib cage 276

BASIC FITTING THEORY

Figure Analysis
The bones forming the upper rib
cage area are lighter than average;
the spacing between the adjacent
ribs may be closer. The length
decreases from the shoulder to the
bustline. The length variation may
affect the length of the joints or the
space between the arm hinge and
the bustline.

Fitting Analysis
The fabric sags into a loose
horizontal fold at the bustline or
near the waistline. The armscye
may drop too far below the arm
hinge. The darted area is too low
and creates the illusion of a high
bust position. The midriff lowers
into the smaller body area and
appears too large. The chest and
blade fitting lines remain level.

Fabric Requirements for

Proper Fit
The shorter rib cage area requires
less fabric length between the
shoulder seams and the bustline.
This permits the garment area to
lie smoothly against the chest and
the upper back. The garment
shaping, the midriff, and the
waistline align with the body
contours.

GARMENT &> PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Shorten the appropriate area
between the shoulder and the bust¬
line.

Slash Method—fitting garment

only
If the armscye drops too far below
the arm hinge, make a parallel tuck
across the garment at the chest and
the blade lines. Follow the
crosswise grain. Adjust the size of
each tuck until the armscye
seamline rises to a comfortable
position. The length adjustment
may not be equal on both the front
and back.

If the armscye length is correct but

the garment shaping is too low,
form a parallel tuck completely
around the garment about 1 inch
(2.5 cm) below the scyeline. Follow
the crosswise grain. Adjust the
tuck width evenly to lift the
underarm dart into the correct
position.

If the armscye length and the

center front length are correct but
277
60 short upper rib cage

the garment shaping is too small,

and the center back is too long,
shorten only the back. Release the
side seams. Make a parallel tuck
completely across the back area at
the bustline to remove the excess
fabric length. Widen the dart equal
to the length adjustment. 'IY'ue the
side seams with straight lines across
the adjustment. See 65 Large Bust.

Pivot Method
If the armscye drops too far below
the arm hinge, release the shoulder
seams. Clip the front neck seam
allowance across the center front
area. Thke up both the front and
back shoulder seam areas evenly
until the lower armscye seamline
rises to a comfortable position.
Adjust the length change parallel to
the original seamlines until the
garment lies smoothly but relaxed
over the chest and blade areas.
Restore the depth of the front and
back necklines. Lower the neckline
seam at center front and center
back equal to the length
adjustment at the shoulders. Blend
into the original at the shoulder
areas.
If the armscye length is correct but
the garment shaping and the
waistline are too low, release the
side seams, the underarm darts,
and the waistline. Move the
underarm darts up to align with
the fullest part of the bust.
Lengthen both the back and front
waistline darts equal to the side
dart adjustment. Mark the new
waist seamline parallel to the
original. Restore the back and front
waistline circumferences. Remark
and stitch the new underarm
seamlines.
On a princess-style garment, release
the seams across the bust area.
Reshape the side panel so that the
greatest curvature is at the bustline.
Correct the waistline as stated
above.
If only the back is too long but the
dart shaping is too small, release
the side seams and the side darts.
Widen the darts until the shaping
is correct. Mark a new, front side
seam in a straight line across the
closed dart. Stitch the side seams.
Mark the new back waistline even
with that of the front. See 65 Large
Bust.
61 high bust position 278

BASIC FITTING THEORY

Figure Analysis
When associated with the youthful
figure, the bust level is higher than
that of the mature figure because
the breast tissues are still firm,
taut, and rounded. For other
figures, the position of the bust
contour is higher than average.
Erect posture and bras with tight
straps or firm support under the
cups also raise the crest of the bust
fullness. The distance from the
shoulders to the bustline is shorter
than average; the distance is greater
from the bustline to the waist.

Fitting Analysis
The fabric is taut across the fullest
area of the bust but is loose
underneath the bust because the
fabric shaping lies below the bust
contour. The bust fitting line
remains level.

Fabric Requirements for

Proper Fit
The change in length above and
below the crest of the bust requires
raising the tip of the side dart and
lengthening the front waist darts.
The adjusted positions of the dart
tips permit the fabric shaping to
align properly with the bust
contour.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Raise the tips of all the bust darts.

Slash Method—fitting garment

only
Only the dart stitching line
positions are affected. Use the
procedure indicated for Pivot
Method.
61 high bust position

Pivot Method
Mark the position for the new
underarm dart tips directly above
those of the original darts. Release
the side seams and the underarm
darts. Form new dart center folds
between the new dart tip mark and
the place where the original fold
meets the side seamline. Stitch each
new dart straight from the new tip
to the original dartline marking at
the side seamline. The side edges
will not match. Time the distorted
side seamline in a straight line
across the closed dart. Draw from
the original side seam markings at
the armscye and waistline. Stitch
the side seams.

Lengthen each waist dart by an

amount equal to the adjustment at
the underarm dart tip.

On princess-style garments, release

the seamline across the bust area.
Let out the seam allowance of the
side panel at the bust level enough
to relax the fabric and restore the
ease. Tkke in the side panel below
the bust level to remove the excess
fabric. Blend smoothly into the
original seamline above and below
the bust area. Stitch the seams.
62 low or pendulous bust position 280

BASIC FITTING THEORY

Figure Analysis
When associated with the mature
figure, the fullness of the breast
tissues rests below the area of
origin because the connective
tissues have lost tone. For other
figures, the position of the bust
contour is lower than average.
Slumped posture both emphasizes
and contributes to a lowered bust
contour. The distance from the
shoulders to the bustline is greater
than average, the distance is less
from the bustline to the waistline.
Properly fitted bras with adequate
support minimize the variation and
help to prevent further flaccidness
of the supporting tissues.

Fitting Analysis
The fabric is -taut across the fullest
area of the bust but is loose above it
because the fabric shaping is above
the crest of the bust contour. Tight
horizontal wrinkles pull across the
waist dartlines. The bust fitting
line remains level.

Fabric Requirements for

Proper Fit
The change in length above and
below the crest of the bust requires
lowering the side darts and
shortening the waistline darts to
permit the fabric shaping to align
properly with the bust contour.

GARMENT &> PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Lower the side bust darts parallel
to the original; lower the tips of the
waistline darts.

Slash Method—fitting garment

only
Only the dart stitching line
positions are affected. Use the
procedure indicated for Pivot
Method.
281 62 low or pendulous bust position

Pivot Method
Mark the position for new
underarm dart tips directly below
those of the original darts. Release
the side seams across the underarm
darts; release the underarm darts.
To form the new center folds, begin
at the new tip mark and fold the
fabric parallel to the original folds.
At the side seamlines, mark the
dart width equal to the original
width of the folded dart. Stitch the
new darts. Tfue the distorted, side
seamline in a straight line across
the closed dart. Stitch the side
seams.
Release the waistline seam across
the waistline darts. Shorten each
waistline dart by an amount equal
to the adjustment at the underarm
dart tips. Retain the dart width.
Stitch the new darts. Remove the
original dart stitching. Stitch the
waistline seam.

On princess-style garments, release

the seamline across the bust area.
At bust level, let out the side panel
enough to relax the fabric and
restore the ease. T&ke in the side
panel enough above the bust level
to remove the excess fabric. Blend
smoothly into the original seamline
above and below the bust area.
Stitch the seams.
63 wide bust point span 282

BASIC FITTING THEORY

Figure Analysis
The breast contours develop
further from the sternum than
average. This increases the span
between the bust points and
decreases the measurement from
the bust points to the sides of the
body.

Fitting Analysis
The waistline dart tips point
toward the center edges of the bust;
therefore, the fabric shaping is too
near the center front. Horizontal
wrinkles may form across the
center front at bust level. The
underarm dartlines extend onto
the bust curvature instead of
ending along the side edges of the
curves. This causes tight, vertical
wrinkles to pull across these
dartlines. The bust fitting line
remains level.

Fabric Requirements for

Proper Fit
The wider space between the bust
points requires that the waist dart
tips end farther from the center
front. The proportion of the figure
may require either changing the
slope of the waist darts or moving
the entire dart farther from the
center front. The narrowness of the
side areas requires shorter
underarm darts.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Reposition the waistline darts to
align the dart tips with the bust
points; shorten the underarm
darts.

Slash Method—fitting garment

only
Only the dart stitching line
positions are affected. Use the
procedure indicated for Pivot
Method.
283
63 wide bust point span

Pivot Method
Mark the new dart tip positions in
the correct location toward the side
of the original dart tips. Release the
waist and side seamlines across the
dart areas. Release the waistline
darts.

For each waistline dart, form a new

center fold from the new tip mark
to the place where the original
center fold meets the waistline.
Stitch the new darts from the tip to
the waistline. The waistline edges
will no longer be even. The entire
dart position may be moved toward
the side instead.

Shorten the underarm darts. Retain

the original center folds and stitch
straight from the new tip mark to
the original dart stitching lines at
the side seam.

Time the side seamlines with a

straight line across the closed darts.
Stitch the side seams and the waist
seam.
64 prominent bust 284

BASIC FITTING THEORY

Figure Analysis
The person assumes an erect stance
with an upward, forward thrust to
the rib cage. The breast tissues
form a lifted, conical contour. The
bust contour may be prominent
regardless of the amount of
development (cup size). If the cup
size is a “C” or larger the front
measurements at bust level increase
in length, width, and depth.

Fitting Analysis
The fabric is taut across the fullest
area of the bust because the fabric
shaping is too low. If the cup size is
a “C” or larger, the front of the
garment is too short and too
narrow. Diagonal wrinkles radiate
from the b.ust curves to the
garment edges. Buttoned front
closures gap at bust level. The bust
fitting line rises across the center
front area. The lower edges of an
unfastened, front closure overlap.
The waist and hemlines on loosely
fitted garments rise at center front.

Fabric Requirements for

Proper Fit
The lift of the bust contour
requires raising the front dart tip
positions. Figures with a cup size
larger than a “B” require more
width and length at bust level.
Wider, longer darts result. The
adjusted garment area lies smooth
but relaxed and aligns
appropriately with the body
contours. The lower edges of the
garment become level and the
closure edges lie plumb.

GARMENT PATTERN
ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Widen and lengthen the front at
the bustline as necessary; lengthen
the front darts.

Slash Method—fitting garment

only
To add width, slash the garment
front from the armscye to the
waistline near each side seam.
Insert fabric strips. Separate each
set of cut edges evenly to relax the
fabric and restore the ease at the
bustline. Thue the armscye
seamline across the adjustment.
Restore the armscye size with a
dart in each lower armscye area.
Tkper to nothing at the underarm
dart tips.
285 64 prominent bust

To add length, slash across the front

just below the underarm dartlines.
Follow crosswise grain. Insert fabric
strips. Between the waist dart tips,
separate the cut edges evenly until
the waistline becomes level. Thper
to nothing at the side seams. Mark
the new position for waist dart tips
if they require lengthening.
To restore the waistline size, release
the waistline from the dart to the
side insert; remove the waist dart
stitching. Widen each dart at the
side dartline to absorb the width
adjustment at the side seam. Move
the dart tip toward the side equal
to one-half this amount. Stitch the
new darts from the tip to the
waistline.
True the distorted seamline
contour in the lower armscye area
and across the waist dart areas.
Stitch the waistline.

Pivot Method
Adjust for width first. Release the
side seams. Let out the front seam
allowances equally at the bustline
as needed to relax the fabric and
restore the ease over the bust. Mark
the new side seamline position at
each underarm dart.
Widen the underarm darts equally
until the fabric lies smooth but
relaxed at the edge of the bust area.
Retain the original dart center
folds.
Draw each new side seamline
parallel to the original from the
waistline through the armscye
seam allowance. Restore the length
of the side seamline by measuring
equal distances into the armscye
and waistline seam allowances.
Mark the ends of the seamline at
the waistline and armscyes.
Draw new armscye seamlines from
the original seamline at the arm
hinge area to the end of the new
side seamline.
To restore the waistline size, release
the front waistline and the
waistline darts. Widen each waist
dart at the side dartline to absorb
the width adjustment at the side
seam. Move the dart tip toward the
side equal to one-half the dart
width adjustment. Stitch the darts.
Draw the new waistline parallel to
the original at the center front and
side seam areas and in a smooth
curve across the darts. Stitch the
side seamlines and the waistline
seam.
64 prominent bust 286

Fashion patterns altered to fit prominent bust.

287 64 prominent bust
65 large bust 288

BASIC FITTING THEORY

Figure Analysis
The bust development is larger
than the average which is a “B”;
cup; the circumference at the bust¬
line is greater. There is no
relationship between the
development of muscle and frame
size and that of the bust. However,
if excess fatty tissues develop, these
may accumulate in the breast
tissues also.

Fitting Analysis
The fabric is taut at the bustline;
this attracts undue attention to the
amount of bust development.
Diagonal wrinkles radiate from the
bust curves to the garment edges
and the center front. Deep ripples
form at the armscyes making them
appear too large. Buttoned, front
closures gap at bust level. The
underarm dart pulls onto the bust
curvature, the front waist and
hemlines raise the lower edges of
unfastened, front closures overlap.
The bust fitting line remains level.

Fabric Requirements for

Proper Fit
The larger bust circumference
requires more fabric width at the
bustline. Wider front darts result.
The larger garment area and the
fuller shaping relaxes over the
bust. The lower edges of the
garment become level. The center
front edges lie plumb. The armscye
size does not increase although the
shape changes. The size is
determined by the arm joint
structure and rib cage depth, not
the development of the breast
tissues.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES

Change Required
Widen the front at the bustline.

Slash Method—fitting garment

only
Near each side seam, slash the
garment front from the armscye to
the waistline. Insert fabric strips.
To increase width, separate each set
of cut edges evenly to relax the
fabric and restore the ease at the
bustline. Mark new underarm dart
tip positions, if necessary.
Restore the armscye size with a
dart in each lower armscye area.
T&per to nothing at the new
underarm dart tip positions. Tfue
the armscye across the adjustment.
 65 large bust

To restore the waistline size, release

the waistline from each dart to the
side seam. Remove the dart
stitching. Widen each dart at the
side dartline to absorb the width
gained at the side seam area. Move
the dart tip toward the side equal
to one-half this amount. Stitch the
darts. Tfue the waistline across the
dart areas. Stitch the waistline.

For a “C” and larger cup size, often

the center front length is correct
but the center back is too long.
Shorten only the back. Release the
side seams. Make a parallel tuck
completely across the back area at
the bustline to remove the excess
fabric length. Widen the dart equal
to the length adjustment. True side
seams in straight lines across the
adjustments.

Pivot Method
Adjust for width first. Release the
side seams. Let out the front seam
allowances equally at the bustline
as needed to relax the fabric and
restore the ease over the bust. Mark
the new side seamline position at
the underarm dart.

Release the underarm darts and

widen them equally at the upper
dartline until the fabric lies smooth
but relaxed at the edge of the bust
area.

Draw each new side seamline in a

straight line parallel to the original
from the waistline to the armscye
seam allowances. Restore the length
of the side seamline by measuring
from the waistline into the
armscye. Mark the ends of the
seamlines at the armscyes.

Draw new armscye seamlines from

the original seamline at the arm
hinge area to the end of the new
side seamline.

To restore the waistline size, release

the front waistline and the
waistline dart. Widen each
waistline dart at the side dartline to
absorb the width adjustment at the
side seam. Move the dart tip toward
the side equal to one-half the dart
width adjustment. Stitch the darts.
Time the waistline across the
adjusted darts. Stitch the side
seamlines and the waistline seam.
65 large bust 290
291 65 large bust
 66 small bust 292

BASIC FITTING THEORY

Figure Analysis
The bust development is less than
the average which is a “B” cup; the
circumference at the bustline is
smaller. There is no relationship
between the development of
muscle and frame size and that of
the bust.

Fitting Analysis
The garment is too loose at the
bustline. This attracts undue
attention to the smallness of the
contour. Loose vertical folds form
across the underarm dart. The bust
fitting line may droop at the center.
A loose horizontal fold may form
underneath the bust area. The
lower edges of unfastened, front
closures spread apart; the front
waist and hemlines droop.
Choosing to wear a padded “B” cup
bra may eliminate the need for
garment adjustment.

Fabric Requirements for

Proper Fit
The smaller bust circumference
requires less fabric width at the
bustline. Less length may be
needed along the center front area
at the bust level. Narrower darts
result. The smaller garment area
lies smoothly against the body. The
bust fitting line and lower edges of
the garment become level. The
edges of the front closure lie
plumb. The armscye size does not
decrease although the shape will
change. Its size is determined by
the arm joint structure and rib cage
depth, not the development of the
breast tissues.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Narrow the front at the bustline;
shorten the front, if necessary.

Slash Method—fitting garment

only
Near each side seam form a vertical
parallel tuck on the garment front.
Adjust the tuck widths equally
until the fabric is smooth but
relaxed at the bustline. Continue
the tucks an even width to the
armscye and the waistline. Mark
new underarm dart tip positions, if
necessary.

To restore the armscye size, slash

through the lower armscye area.
Continue to the new tip of each
underarm dart. Insert fabric strips.
293 66 small bust

Separate each set of cut edges

equally at the armscye to gain an
amount of width equal to the
adjustment at the side seam area.
Time the armscye across the
adjustment.

To restore the waistline size, release

the waistline across the darts.
Release the waist darts. Let out each
dart at the side dartline equal to the
amount of width adjustment at the
side seam area. Move the dart tip
toward the front equal to one-half
this amount. Stitch the darts.

If the center front area is too long

over the bust, form a horizontal
tuck at the bustline. Keep the tuck
parallel across the center front of
the garment. T&per the tuck to
nothing along the dartline at the
side seam, adjust the tuck width
until the fabric is smooth but
relaxed at the bustline and the
waistline aligns with the waist
contour.

Pivot Method
Adjust for width first. Release the
side seams. T&ke in the side seam
areas equally at the bustline to
remove the excess fabric. Retain
sufficient ease over the bust. Mark
the new side seamline position at
the underarm dart.

To correct the length, release the

underarm darts. Narrow both darts
equally at the upper dartlines until
the fabric lies smooth but relaxed
at the armscye areas. Draw each
new side seamline in a straight line
parallel to the original from the
waistline to the armscye seamlines.

To restore the waistline size, release

the front waistline and the
waistline darts. Narrow each
waistline dart at the side dartlines
to let out the width taken up at the
side seam. Move the dart tip toward
the center equal to one-half the
dart width adjustment. Stitch the
darts. Raise the waistline seam if
needed. Shorten the back an equal
amount. Thue the waistline across
the adjusted darts. Restore the
length of each side seamline by
measuring from the new waistline
toward the armscye. Mark the end
of each seamline at the armscye
areas.

Draw new armscye seamlines from

the original seamline at the arm
hinge area to the end of the new
side seamline. Stitch the side
seamlines and the waistline seam.
66 small bust 294

Fashion patterns altered to fit small bust.

295 66 small bust
67 flared lower ribs 296

BASIC FITTING THEORY

Figure Analysis
The front of the rib cage slopes
outward excessively from the chest
to the lower edge. The lower rib
contour protrudes more than is
average and increases the torso
circumference at that level. The
area over the diaphragm may be
recessed.

Fitting Analysis
The garment is taut across the
lower edge of the rib cage and at
the center front the fabric forms
tight horizontal wrinkles. The
strain causes the waist dartlines to
curve toward each other.

Fabric Requirements for

Proper Fit
The fullness at the lower edge of
the rib cage requires more fabric
width at the midfront areas. The
waist darts are sewn in straight
rather than curved lines. The
increase in garment width relieves
the strain and relaxes the fabric.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Release width from the front
waistline darts.

Slash Method—fitting garment

only
This method is not appropriate
because only the dartline contours
can be adjusted. Use the procedure
stated in Pivot Method.
297 67 flared lower ribs

Pivot Method
Release the waist seam across the
front waistline darts. Put on the
garment and let out both darts
until the darts and the fabric relax.
Stitch the darts and the waistline.
68 long midriff 298

BASIC FITTING THEORY

Figure Analysis
The lower ribs and vertabrae may
be heavier than average. The
spacing between the ribs may be
greater or the spine may be longer
than average in the area between
the waist and the lower rib cage.
These factors increase the body
length between the waist and the
bust and blade areas.

Fitting Analysis
The garment is taut at the waistline
and the fabric forms tight
horizontal wrinkles because the
garment waistline lies above the
waist level of the body. The higher
position of the waistline on a jacket
and other semi-fitted garments in
which the bodice and skirt are cut
in one may create unattractive
body proportions.

Fabric Requirements for

Proper Fit
The longer midriff area requires
more fabric length between the
waistline and the lower edges of the
bust and blade contours. The
longer garment area permits the
fabric to relax. The waistline aligns
with the contour of the body at the
waist.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Lengthen the midriff.

Slash Method—fitting garment

only
Slash around the entire garment
near the waistline. Insert fabric
strips. To increase length, separate
the cut edges evenly around the
garment until the waistline aligns
with the waist contour.
299 68 long midriff

Pivot Method
Release the entire waistline and
side seams. Mark the correct
waistline position in the seam
allowance across the center front.
Continue the new waist seamline
parallel to the original completely
around the garment. Extend each
end of the back and front waistlines
equally into the side seam
allowances to restore the waistline
measurements. Mark each new side
seamline from the original at the
armscyes to the mark on the new
waistline. Stitch the side seams and
the waist seam.
69 short midriff 300

BASIC FITTING THEORY

Figure Analysis
The lower ribs and vertabrae may
be lighter than average. The
spacing between the ribs may be
less or the spine may be shorter
than average in the area between
the waist and the lower rib cage.
These factors decrease the body
length between the waist and the
bust and blade areas.

Fitting Analysis
The fabric sags around the
waistline area and forms into a
loose horizontal fold at the
waistline. The lower position of the
waistline on jackets and other semi-
fitted garments in which the
bodice and skirt are cut in one will
drop below the waist level and may
create unattractive body
proportions.

Fabric Requirements for

Proper Fit
The shorter midriff area requires
less fabric length between the
waistline and the lower edges of the
bust and blade contours. The
shorter midriff area of the garment
fits smoothly against the body. The
waistline of loosely fitted garments
aligns with the contour of the body
at the waist.

GARMENT &> PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Shorten the midriff.

Slash Method—fitting garment

only
Form a parallel tuck near the
waistline completely around the
garment. Adjust the width of the
tuck until the waistline seam aligns
with the waist contour.

When stitching the tuck, place the

waistline area of the garment
uppermost on the machine.
301 69 short midriff

Pivot Method
Release the entire waistline and
side seams. Mark the correct
waistline position across the center
front. Continue the new waist
seamline parallel to the original
completely around the garment.
Mark the ends of the new waist
seamline at the side seam areas to
restore the waistline
measurements. Mark each new side
seamline from the original at the
armscyes to the mark on the new
waistline. Stitch the side seams and
the waist seam.
70 large waist 302

BASIC FITTING THEORY

Figure Analysis
The body indents very little at the
waist either because the muscles
lack tone, the posture is slumped
or the deposits of soft tissues are
larger than average in that area.
The circumference of the waist is
more nearly equal to that of the rib
cage and the hips. The sides of the
body are straighter and measure
slightly shorter than average from
the base of the arm joints to the
waist.

Fitting Analysis
The fabric pulls into taut
horizontal wrinkles near the waist.
This may cause the garment
waistline to rise. As a result, the
bodice may appear to be too long.
The lengthwise ease cannot
distribute itself properly below the
bust level.

Fabric Requirements for

Proper Fit
The larger waist circumference
requires more fabric width at the
waistline. The wider garment area
relaxes. The waistline lowers and
aligns with the contour of the
body.

GARMENT &> PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Widen the side seam area at the
waistline.

Slash Method—fitting garment

only
Near the side seams, slash through
the waistline on the back and front
of the garment. Continue cutting to
the armscye seamlines. Insert fabric
strips. To increase width, separate
each set of cut edges equally at the
waistline to relax the garment and
restore the ease. Thper to nothing at
the armscye.
303 70 large waist

Pivot Method
Release the side seams. Let out
equal amounts on the front and
back at the waistline on both side
seams to relax the fabric and
restore the ease. "Ihper each new
side seamline straight from the
original at the armscye to the new
waistline position. Stitch the new
side seams.
 71 small waist 304

BASIC FITTING THEORY

Figure Analysis
The body indents more than
average at the waist either because
the muscles are more taut, the
posture is overly erect, or the
deposits of soft tissues are smaller
than average. The circumference of
the waist is noticeably less than
that of the rib cage or the hips. The
indentation at the waist defines the
“hourglass” figure type. The sides
of the body are more sloped and
measure slightly longer than
average from the base of the arm
joints to the waist.

Fitting Analysis
The garment is baggy around the
waist area. The fabric at the
waistline forms loose vertical folds.

Fabric Requirements for

Proper Fit
The smaller waist circumference
requires less fabric width at the
waistline. The narrower garment
area lies closer to the body.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Narrow the side area at the
waistline.

Slash Method—fitting garment

only
Form tucks of equal width through
the waistline on the back and front
near the side seams. Adjust the
tucks equally until the excess fabric
is removed and the ease is retained.
T&per each tuck to nothing at the
armscye seamline.
305 71 small waist

Pivot Method
Release the side seams. Thke in
equal amounts on the front and
back at the waistline on both side
seams until the fabric is smooth
and the ease is retained. T&per each
new side seamline straight from the
original at the armscye to the new
waistline position.
arms
72 Arm Length Variations
73 Long Arm Joints (sleeves)
74 Short Arm Joints (sleeves)
75 Large Shoulder Joints
7G Small Shoulder Joints
77 Forward Arm Joints (sleeves)
78 Large Arms
79 Thin Arms
80 Large Upper Arms
81 Large Elbows
82 Large Forearms
83 Inward Rotation of the Elbow
84 Large Wrists
85 Small Wrists
72 arm length variations 308

BASIC FITTING THEORY

Long Upper Arm
Figure Analysis
The elbow position determines
upper and lower length variations.
The lengths of the upper and lower
arm bone areas develop
independently. Several length
variations may be observed. The
total length of the arms may be
average, but the upper area may be
shorter and the lower area longer
or vice-versa. The total length may
be shorter or longer than average,
the length variation may occur in
the upper arm, the lower arm or
both.

Fitting Analysis
The center of the darted or eased
area of the sleeve should align with
the elbow point. When the dart
shaping rises above the elbow, the
narrower, lower sleeve area lies
over the elbow and restricts
mobility. When the shaping drops
below the elbow level, the larger,
upper sleeve area lies over the
elbow; the sleeve may appear to be
too big. When the hemline of a
long sleeve lies above the
wristbone, the sleeve is
uncomfortably short; the wrist and
hand may appear too long and
thin. When the hemline lies below
the wristbone, the sleeves drag; the
hands appear short and stubby. Long Lower Arm

Fabric Requirements for

Proper Fit
A longer upper arm area requires
more fabric length between the
scyeline and the elbow line—a
shorter upper arm area requires
less fabric length. A longer, lower
arm area requires more fabric
length below the elbow—the
shorter, lower arm area requires
less fabric length. When both the
upper and lower arm areas vary
from ayerage, fabric length changes
are required both above and below
the elbow line.

Aligning the center of the darted

area with the elbow permits
comfortable elbow movement.
Aligning the hemline with the
wristbone creates attractive and
comfortable proportions between
the lower arm and sleeve areas.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Adjust the lengths of the upper and
lower sleeve areas so that the elbow
line crosses the elbow point and
the wristline is attractively near the
wristbone.
309 72 arm length variations

Slash Method—fitting garment

only
Align the center front and center
back of the body centers. Fold both
arms simultaneously across the
front of the body. Mark the
position of each elbow point on the
corresponding sleeve.

If the elbow position is above the

center of the darted area, remove
the excess length with a parallel
tuck around the upper sleeve area.
Follow the crosswise grain. Adjust
the tuck width until the center of
the darted area aligns with the
elbow point. If the elbow position
is below the center of the darted
area, slash and spread the upper
sleeve area evenly over a fabric
insert to gain the necessary length.
Follow crosswise grain.

Check the wristline position when

both arms are relaxed. If the
wristline lies too far above the
wristbone, slash and spread the
lower area evenly over a fabric
insert to gain the necessary length.
Cut parallel to the wristline. If the
wristline lies below the wristbone,
remove the excess length with a
parallel tuck around the lower
sleeve area. Make the tuck parallel
to the wristline.

Pivot Method
Align the center front and center
back of the bodice with the body
centers. Fold both arms
simultaneously across the front of
the body. Mark the position of each
elbow point on the corresponding
sleeve. Relax both arms. Mark the
position of each wristbone on the
corresponding sleeve or if the
sleeve is too short, make a note of
the additional length needed.

If the elbow position is above or

below the center of the darted area,
release the sleeve underarm seams
across the darts and raise or lower
the dart markings to align the
center of the darted area with the
elbow mark. Stitch the new darts
and the underarm seam areas if the
wrist length requires no change.

If the wristbone mark lies above or

below the hemline, take up or let
out the hem to align the finished
hemline with the wristbone mark.
Mark the new hemline parallel to
the original.

To restore the wristline

circumference, fold one lower
sleeve area along the seam. Flatten
the sleeve. Divide the original wrist
measurement by two. Measure
from the fold toward the seam on
both sleeves. Mark the ends of the
adjusted wristline. True the
underarm seamlines. Stitch each
new seamline in a straight line
from the elbow level to the end of
the new wristline.
72 arm length variations 310
 72 arm length variations

Basic patterns altered

to fit arm length variations.

i ? i

'/y///////////////,
'/////////////////a y////////A'/y
72 arm length variations 312

Fashion patterns altered to fit arm length variations.

'
 73 long arm joints (sleeves) 314

BASIC FITTING THEORY

Figure Analysis
The bones forming the joint
structure may be longer than
average or the “hinge” flesh
separating the arm from the rib
cage may form farther than average
below the joint. Either factor
increases the length from the
shoulder to the scyeline.

Fitting Analysis
Diagonal wrinkles radiate from the
top of the sleeve cap toward the
armscye seams at both the back and
front. The horizontal, cap fitting
line curves upward at the center.
The lower armscye area cuts against
the arm hinges and wrinkles form
in both the garment and sleeve.
The elbow dart shaping rises above
the elbow level. On a short sleeve,
the hemline extends outward from
the arm; the sleeve appears to be
too wide.

Fabric Requirements for

Proper Fit
The increased length of the
shoulder joint requires a longer
sleeve cap and armscye. The
increased length relieves the strain
at the top of the sleeve and
underarm. The fabric relaxes and
the sleeve shaping aligns with the
elbow. The cap fitting line becomes
level. To adjust the armscye depth
on the garment, see 59 Long
Upper Rib Cage.

GARMENT &> PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES

Change Required
Lengthen the sleeve cap.

Slash Method—fitting garment

only
If the garment armscye has been
corrected, lengthen the sleeve cap
before attaching the sleeve to the
garment. Follow Pivot Method.
If the sleeves are attached and the
armscye is too short, adjust the
sleeve cap height and the garment
armscye length simultaneously. Cut
across the sleeve cap about halfway
between the arm hinge area and
the top of the cap. Where the
sleeve slash meets the back and
front armscye, cut downward into
the garment. Follow the lengthwise
grain to a point 1 inch (2.5 cm)
below the scyeline. Cut across the
underarm area between the vertical
slashes. Lap the garment edges
below the armscye until the
315
73 long arm joints (sleeves)

armscye seamline is in a
comfortable position. Stitch across
the lapped fabric. Insert a fabric
strip under the slashed area of each
sleeve. Separate the cut edges equal
to the width of the lapped area at
the underarm. Join the vertical
slashes with multi-stitch zig¬
zagging or reinforce with fabric
strips.

This procedure may drop the dart

shaping below the elbow position.
To correct the length, make a
parallel tuck completely around
the sleeve above the elbow line. If
only the cap requires length, see
Pivot Method.

Pivot Method
If the garment armscye depth has
been corrected, lengthen the sleeve
cap before attaching the sleeves.
Across the top of the cap, mark
above the seamline at the center to
let out an amount equal to the
length adjustment of the garment.
Blend into the original seamline at
the front and back of the armscye.
Raise the sleeve balance marks
equal to the cap height adjustment.
Attach the sleeves to the garment
using the new markings.

If the sleeves are attached and only

the cap requires an alteration in
length, remove only the upper part
of the sleeves. Let out the sleeve cap
seam allowance as needed for the
arm joint. Blend into the original
seamline at the balance marks.
Stitch the sleeve to the garment.

If the sleeves are attached and both

the cap and the armscye require an
alteration in length, lower the
armscye seamline across the
underarm area. Draw a line parallel
to the original seamline below the
original armscye seamline to
indicate the correct amount of
adjustment. Blend into the original
seamline at the arm hinge areas.
Trim the widened seam allowances.
74 short arm joints (sleeves) 316

BASIC FITTING THEORY

Figure Analysis
The bones forming the joint
structure may be shorter than
average or the “hinge” flesh
separating the arm from the rib
cage may form closer to the joint
than is average. Either factor
decreases the length from the
shoulder to the scyeline.

Fitting Analysis
The seamline at the lower armscye
area lies too far below the arm
hinges. Lifting the arm creates
strain on the sleeve and makes it
appear too narrow and too tight.
The arm cannot be raised
comfortably or very high. The cap
fitting lines are not affected.

Fabric Requirements for

Proper Fit
The decreased length of the
shoulder joint requires a shorter
sleeve cap and armscye. The
decreased length brings the
armscye seamline closer to the arm
hinge and relieves the strain on the
garment and sleeve. The arm may
be raised comfortably and easily. To
adjust the armscye depth on the
garment, see 60 Short Upper Rib
Cage.

GARMENT &> PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Shorten the sleeve cap.

Slash Method—fitting garment

only
If the garment armscye has been
corrected, shorten the sleeve cap
before attaching the sleeve to the
garment. Fpllow Pivot Method.

If the sleeves are attached and the

armscye is too long, adjust the
sleeve cap height and the garment
armscye length simultaneously. Cut
across the sleeve cap about halfway
between the arm hinge area and
the top of the cap. Where the
sleeve slash meets the back and
front armscye, cut downward into
the garment. Follow the lengthwise
grain to a point 1 inch (2.5 cm)
below the scyeline. Cut across the
underarm area between the vertical
slashes. Lap the cut edges of the
sleeve until the lower armscye
seamline rises to a comfortable
position. Insert a fabric strip across
the underarm area. Separate the cut
edges evenly equal to the width of
the sleeve adjustment and stitch.
317 74 short arm joints (sleeves)

Join the vertical slashes with multi¬

stitch zigzagging or reinforce with
fabric strips. This procedure may
raise the dart shaping above the
elbow position.

To correct the length, slash

completely around the sleeve above
the elbow line. Separate the cut
edges evenly over a fabric insert
until the length is correct.

Pivot Method
If the garment armscye depth has
been corrected, shorten the sleeve
cap before attaching the sleeves to
the garment. Across the top of the
cap, mark below the center of the
seamline to take up an amount
equal to the length adjustment of
the garment. Blend into the
original seamline at the front and
back of the armscye. Lower the
sleeve balance marks equal to the
cap height adjustment. Attach the
sleeves to the garment using the
new markings.

If the sleeves are attached and the

sleeve length is correct, raise the
lower armscye seamline closer to
the arm hinges. Mark across the
underarm seam area above the
original armscye seamline to
indicate the correct amount of
adjustment. Blend the new
seamline into the original at the
arm hinge areas. Remove the
original stitching.

If the sleeves are attached and the

lower armscye needs no adjustment
but the top of the cap is too loose,
release the seam across the top of
the cap. Thke in the cap seamline
enough across the top of the cap to
remove the excess fabric. Blend
into the original seamline at the
front and back. Stitch the sleeve to
the garment.
 75 large shoulder joints 318

BASIC FITTING THEORY

Figure Analysis
The bones forming the joint
structure are larger than average.
The surrounding muscles and
other tissues may be heavier. These
factors increase the circumference
of the shoulder joint. A more
cylindrical rib cage may accompany
this figure variation.

Fitting Analysis
The armscye tightens against the
joint. Tight horizontal wrinkles
form across the armscye seams.
Arm movement is uncomfortable.

If the sleeves are over-eased or the

garment is eased to the sleeve, a
similar appearance and discomfort
is created because either factor
reduces the size of the armscye;
reset the sleeve properly.

Fabric Requirements for

Proper Fit
The larger joint circumference
requires a sleeve cap with more
width above the arm hinge. When
this variation is in combination
with a cylindrical torso, wider
armscye extensions are required on
the garment and the sleeve. See
57 Cylindrical-shaped Tbrso (rib
cage) and 80 Large Upper, Arms.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Widen the upper sleeve cap area.

Slash Method—fitting garment

only
Before attaching the sleeves adjust
the cap to correspond to the change
made in the garment. See Pivot
Method.
If the sleeves are attached, release
the armscye seam across the
shoulder area. Increase the armscye
length by slashing from the
armscye to but not through the
neckline near the shoulder
seamline. Insert fabric strips and
spread each set of cut edges equally
until the fabric relaxes.

Slash the sleeve cap vertically

through the center down to the
capline. Insert a fabric strip. Spread
the cut edges to equal the shoulder
adjustment. Itiper to nothing at the
capline. Stitch the sleeve across the
top. If the underarm area is tight
see 57 Cylindrical-shaped Tbrso
(rib cage) and 80 Large Upper
Arms.
319 75 large shoulder joints

Pivot Method
Before attaching the sleeves
increase each side of the cap
halfway between the notch and
shoulder an amount equal to the
change made in the garment. Blend
into the original seamline at the
shoulder mark and notches.

If the sleeves are attached and lack

cap ease, release the armscye seam
from the notch to within Vz inch
(1.2 cm) of the shoulder. Increase
each side of the sleeve cap until the
sleeve lies smooth across the upper
cap and the ease has been restored.
Blend into the original at shoulder
and arm hinge.

If the garment was not fitted

properly, increase the armscye
length at the shoulder seam and
taper to nothing at the neckline.
Adjust sleeves as directed above.
When the underarm area is tight
see 57 Cylindrical-shaped Torso
(rib cage) and 80 Large Upper
Arms.
76 small shoulder joints 320

BASIC FITTING THEORY

Figure Analysis
The bones forming the joint
structure are smaller than average.
The surrounding muscles and
other tissues may be lighter. These
factors decrease the circumference
of the shoulder joint. A more oval
rib cage may accompany this figure
variation.

Fitting Analysis
The sleeve cap is too wide at the
sides. The fabric forms loose
vertical folds at the armscye.

Fabric Requirements for

Proper Fit
The smaller joint circumference
requires a sleeve cap with less
width above the arm hinge. When
this variation is in combination
with an oval rib cage, narrow
armscye extensions are required on
the garment and sleeve. See
58 Oval-shaped Tbrso (rib cage)
and 79 Thin Arms.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Narrow the upper sleeve cap area.

Slash Method—fitting garment

only
Before attaching the sleeves adjust
the cap to correspond to the
shoulder area. Remove the excess
armscye length equally with a tuck
near the shoulder on both back
and front. Tkper to nothing at the
neckline. At the top of the sleeve
cap, form a lengthwise tuck equal
to the amount removed at the
shoulder. T&per to nothing at the
capline. Stitch the sleeve across the
top. If there is excess width at the
underarm see 58 Oval-shaped
Tbrso (rib cage) and 79 Thin
Arms.
321 76 small shoulder joints

Pivot Method
Before attaching the sleeves
decrease each side of the cap
halfway between the notch and
shoulder an amount equal to the
change made in the garment. Blend
into the original seamline at the
shoulder mark and notches.

If the sleeves are attached and have

excess ease, release the armscye
seam from the notch to within
V2 inch (1.2 cm) of the shoulder.
Decrease each side of the sleeve cap
until the sleeve lies smooth across
the upper cap. Blend into the
original at shoulder and arm hinge.

If the garment was not fitted

properly, remove the excess
armscye length at the shoulder
seam and taper to nothing at the
neckline. Adjust sleeves as directed
above. When there is excess width
at the underarm see 58 Oval¬
shaped Torso (rib cage) and
79 Thin Arms.
77 forward arm joints (sleeves) 322

BASIC FITTING THEORY

Figure Analysis
The bones forming the shoulder¬
line bow forward and cause the
shoulder joints to lie in front of the
central body axis. The joint is
noticeably rounded in the front;
the back is more sloped. When the
arms are relaxed, the elbow may lie
more toward the back to
counterbalance the forward
position of the joint.

Fitting Analysis
The front of the sleeve cap is taut
near the crest of the joint. The
strain causes diagonal wrinkles to
radiate toward the back of the
sleeve. The back of the cap is loose
along the upper armscye area. The
horizontal cap fitting line rises at
the front of the sleeve. The
lengthwise cap fitting line bows
forward over the center of the
joint.

Fabric Requirements for

Proper Fit
The shape of the shoulder joint
requires a corresponding change in
the shape of the sleeve cap. The
curve near the top of the cap must
be made rounder at the front to
relieve the strain and more sloped
at the back to remove the excess
fabric. The cap fitting lines become
level and plumb. This figure
variation also affects the shape of
the armscye. See 45 Forward Arm
Joints (bodice).

GARMENT &> PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Widen the upper front cap area;
narrow the central back cap area.

Slash Method—fitting garment

only
Only the edges of the cap are
affected. See Pivot Method.
323 77 forward arm joints (sleeves)

Pivot Method
Release the front area of the sleeve
cap from the shoulder mark to the
arm joint area. Let out the cap seam
allowance near the curve of the
joint until the fabric relaxes and
the fitting lines become level and
plumb. Thrn under the remaining
seam allowance and align the fold
with the adjusted armscye line on
the bodice.

Release the back cap area from the

shoulder mark to the arm hinge
area. Fold the arms in front of the
body. Thke in the cap area until the
looseness is removed. Align the
fold with the adjusted armscye
line. Mark the new shoulder and
balance points on the sleeves.
 78 large arms 324

BASIC FITTING THEORY

Figure Analysis
The bone and muscle development
is heavier than average. The arm
joints may be larger also. These
factors increase the arm
circumference at any point along
the entire arm.

Fitting Analysis
The entire sleeve pulls taut around
the arm. Tight horizontal wrinkles
form across the armscye seamlines
and the sleeves. The strained fabric
pulls both the front and back
armscye seamlines toward the arm
and prevents the elbow from
bending comfortably. Both the
upper and lower sleeves areas may
appear to be too short. The
tightness emphasizes the largeness
of the arms.

Fabric Requirements for

Proper Fit
The larger arm girth requires more
fabric width from the capline to
the wristline. This variation also
may affect the size of the armscye.
See 14 Cylindrical-shaped Ibrso
Chip area) and 75 Large Shoulder
Joints. The increased width
relieves the strain on both the
garment and the sleeves. The fabric
slides freely over the arm; the
elbows bend easily. The larger
sleeve creates a more pleasing
proportion between the arm and
the sleeve. The arms can be raised
without pulling the garment.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Widen the entire sleeve.

Slash Method—fitting garment

only
If the garment armscye was
increased at the underarm or the
shoulder, adjust the sleeve width to
correspond to this alteration before
attaching sleeves to the garment.
Follow the Pivot Method.

If the sleeves are attached and the

armscye size is correct, adjust only
the sleeve. Release the top of the
cap and slash from the cap edge to
the wrist. Follow the lengthwise
grain. Insert fabric strips. Separate
the cut edges equally at the
scyeline until the ease and comfort
are restored and the arm moves
freely. 'I&per as needed at the top of
the cap and at the wrist.
325
78 large arms

As an alternative procedure, keep

the insert parallel along the entire
sleeve length. Form a tuck in the
insert at the top of the cap and the
wrist to remove the excess width of
the insert. T&per each to nothing at
the scyeline and the elbow
respectively.

These procedures shorten and

widen the cap. If more cap height is
needed to restore the sleeve
armscye size, raise the cap seamline
across the shoulder area.

Pivot Method
If the garment armscye was
increased at the underarm or the
shoulder, adjust the sleeve width
evenly to correspond to this
alteration before attaching sleeves to
the garment.

If the sleeves are attached and the

armscye size is correct, adjust only
the sleeve. Remove the sleeves.
Release the underarm seam and the
darts. Let out the underarm seam
allowances equally at the scyeline
to restore the ease and comfort and
to permit the arm to move freely.
T&per toward the original at the
wrist as needed. Restore the width
and length of the darts.

To restore the sleeve armscye size,

decrease the cap height equal to
one-half the total width
adjustment. Widen each side of the
cap equal to one-fourth of the total
width increase. Blend into the
original near the top of the cap and
near the ends of the armscye
extensions.
 79 thin arms 326

BASIC FITTING THEORY

Figure Analysis
The bone and muscle development
is lighter than average. The arm
joints may be smaller also. The
concentration of soft tissues is
minimal. These factors decrease the
circumference of the arm at any
point along the entire arm.

Fitting Analysis
The fabric of the sleeves hangs in
loose vertical folds from the capline
to the wristline. The looseness
gives a baggy appearance to the
sleeve and emphasizes the thinness
of the arm.

Fabric Requirements for.

Proper Fit
The smaller arm girth requires less
fabric width from the capline to
the wristline. This variation also
may affect the size of the armscye.
See 58 Oval-shaped Tbrso (rib
cage) and 76 Small Shoulder
Joints. The decreased width brings
the fabric closer to the arm surface
and creates a more pleasing
proportion between the arm and
sleeve.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Narrow the entire sleeve.

Slash Method—fitting garment

only
If the garment armscye was
decreased at the underarm or the
shoulder, adjust the sleeve width to
correspond to this alteration before
attaching sleeves to the garment.
Follow Pivot Method.

If the sleeves are attached and the

armscye size is correct, adjust only
the sleeves. Release the top of the
cap. Form a tuck along the
lengthwise center of the sleeve to
remove the excess fabric and retain
the ease. F&per the tuck to a
narrower width, as needed, at the
top of the cap and at the wrist.

This procedure lengthens and

narrows the sleeve cap. If less cap
height is needed, lower the cap
seamline across the shoulder area.
 79 thin arms

Pivot Method
If the garment armscye was
decreased at the underarm or the
shoulder, adjust the sleeve width to
correspond to this alteration before
attaching sleeves to the garment.

If the sleeves are attached and the

armscye size is correct, adjust only
the sleeve. Remove the sleeves.
Release the underarm seams and
the darts. T&ke up enough of the
sleeve at each underarm seam to
remove the excess looseness. Mark
parallel to the original seamline
from the scyeline to the elbow line.
T&per toward the original at the
wrist as needed. Restore the width
and length of the darts. To restore
the sleeve armscye size, increase
the cap height equal to one-half the
total width adjustment. Narrow
each side of the cap equal to one-
fourth of the total width decrease.
Blend into the original near the top
of the cap and near the ends of the
armscye extensions.
80 large upper arms 328

BASIC FITTING THEORY

Figure Analysis
Heavier muscle development, bone,
and excess soft tissue affects only
the upper arm area. The arm joint
may be larger, also. The fullness
may be evenly distributed or may
occur mostly at the front, the back,
or underneath. It may be at the
biceps area only or continue to the
elbow. When the connective tissue
deteriorates and the muscles lose
tone, the soft tissues sag when the
arm is lifted.

Fitting Analysis
The sleeve is taut from the capline
to the elbow line. Horizontal
wrinkles form around the upper
sleeve area. The strain across the
armscye pulls the entire seamline
toward the arm and may pull the
sleeve shaping above the elbow tip.
The tightness restricts arm
mobility and the sleeve may appear
to be too short.

Fabric Requirements for

Proper Fit
The larger arm girth requires more
sleeve width at the capline and
perhaps at the elbow level. This
figure variation also may require a
larger armscye. See 57 Cylindrical¬
shaped Torso (rib cage) and
75 Large Shoulder Joints. The
added width relieves the strain on
both the garment and the sleeve;
each aligns properly with the body
structure. The sleeve slides freely
over the upper arm area.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Widen the sleeve at the capline.

Slash Method—fitting garment

only
If the garment armscye was
increased at the underarm or the
shoulder, adjust the upper sleeve
width to correspond to this
alteration before attaching sleeves to
the garment. Follow Pivot
Method.
If the sleeves are attached and the
armscye size is correct, adjust only
the sleeves. Release the top of the
cap and slash from the cap edge to
the elbow line over the affected
area. Follow the lengthwise grain.
Insert fabric strips. Separate the cut
edges enough at the capline to relax
the fabric and restore the ease.
Thper as needed at the top of the
80 large upper arms

cap and to nothing at the elbow

line. This procedure may change
the cap height.

If more cap height is needed, raise

the cap seamline across the affected
area.

If the adjustment was made at the

center of the cap, check the
distribution of fabric ease around
the arm. If uneven, release the
sleeves and rotate each as needed to
balance the ease over the arm
fullness.

Pivot Method
If the garment armscye was
increased at the underarm or the
shoulder, adjust the sleeve width
evenly to correspond before
attaching it to the garment.

If the sleeves are attached and the

armscye size is correct, adjust only
the sleeves. Remove the sleeves.
Release the underarm seams from
the capline to the elbow position.
Let out the underarm seam
allowance equally at the scyeline to
increase the circumference enough
to restore the ease and comfort and
to permit the arm to move freely.
'Riper into the original at the elbow
as needed.

To restore the sleeve armscye size,

widen each side of the cap equal to
one-fourth of the total width
increase. Decrease the cap height
equal to one-half the total width
adjustment. Blend into the original
near the top of the cap and near
the ends of the armscye extensions.

If the arm fullness is at the back

area only, remove the sleeves and
release the underarm seams. Let
out the back underarm seam
allowance as needed to restore the
ease. Widen the back cap area
equal to one-half of the width
adjustment. TLue the cap seamline.
If the arm fullness is at the front
area only, reverse this procedure.
 81 large elbows 330

BASIC FITTING THEORY

Figure Analysis
The bone and ligament structures
forming the elbow joint are heavier
than average. Excess soft tissues
may concentrate at the elbow area.
If the elbow does not straighten as
much as average when the arm is
relaxed, the semi-bent joint will
maintain a larger circumference
around the elbow area.

Fitting Analysis
The sleeve pulls taut around the
elbow and inhibits elbow
movement. Diagonal wrinkles
radiate toward the front of the
sleeve. A horizontal wrinkle pulls
across the sleeve front of the elbow
area. The strain causes the wristline
to rise; the sleeve appears to be too
short and the wrist opening too
small.

Fabric Requirements for

Proper Fit
The larger elbow girth requires
more fabric width and length over
the elbow area. Longer, wider darts
result. The increased shaping and
larger sleeve area relieve the strain.
The fabric relaxes and slides freely
as the arm is moved. The wristline
lowers to an attractive and
comfortable level at the wristbone.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Widen and lengthen the sleeve at
the elbow area.

Slash Method—fitting garment

only
Fold the arms against the front of
the body. Mark the position of the
elbow tip on each sleeve. On the
back of the sleeve, slash from the
end of the armscye extension
diagonally over to the elbow mark;
continue diagonally back to the
end of the wristline. Insert fabric
strips. Separate the cut edges at the
elbow level enough to restore the
ease and to permit the sleeve to
slide freely over the elbow. Tkper to
nothing at the scyeline and
wristline.
 81 large elbows

Pivot Method
Release the underarm seams and
the darts on both sleeves. Let out
the back seam allowance at the
elbow level enough to relax the
fabric and restore the ease for free
elbow movement. Blend into the
original at the capline and
wristline. Wider dart bases result.
Extend the new back seamline into
the wrist seam allowance area as
necessary to restore the length of
the seamline. T&per the new
wristline from the length
adjustment at the back into the
original near the front.
82 large forearms 332

BASIC FITTING THEORY

Figure Analysis
The heavier bone, muscle
development, and concentration of
soft tissues are larger than average
at the forearm area. These factors
increase its circumference.

Fitting Analysis
The lower sleeve area pulls taut
around the arm below the elbow
and forms tight horizontal
wrinkles in the fabric. The strained
fabric pulls the darted area
downward and prevents the arm
from bending freely. The sleeve
area above the elbow may pull into
tight vertical wrinkles.

Fabric Requirements for

Proper Fit
The larger forearm girth requires
more fabric width below the elbow
area. The increased circumference
relieves the strain. The fabric
relaxes and slides freely along the
entire arm. The sleeve shaping
aligns with the elbow point; the
elbow bends easily and
comfortably.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Widen the lower sleeve area.

Slash Method—fitting garment

only
Slash from the back quarter
position at the wristline up to the
capline. Slash parallel to the
underarm seam. Insert fabric
strips. Separate the cut edges
evenly along the lower sleeve area
enough to permit the sleeve to slide
freely over the arm. Tkper to
nothing at the capline.
 82 large forearms

Pivot Method
Release the underarm seams and
the darts on both sleeves. Let out
front and back seam allowances
evenly along the forearm enough to
restore the ease and permit the
sleeve to slide freely over the arm.
Tkper to nothing at the capline.
Narrow the darts. Shorten the new
back seamline at the wrist to
restore the length. Blend the new
wristline into the original near the
front seamlines.
83 inward rotation of the elbow 334

BASIC FITTING THEORY

Figure Analysis
When the arms are relaxed, palms
forward, the arm curves toward the
body more than average at the
elbow. The hand extends farther
from the body.

Fitting Analysis
A long sleeve twists when the arms
are relaxed. The underarm seam of
the sleeve aligns with the base of
the thumb instead of at the center
of the inside wrist area. The sleeve
pulls taut across the elbow. The
finished sleeve edge pulls up at the
prominent wristbone.

Fabric Requirements for

Proper Fit
The greater inward curvature at the
elbow joint requires increasing the
fabric length and width over the
elbow area and repositioning the
underarm seam at the wristline.
These adjustments result in wider,
longer elbow darts and more
curved underarm seamlines. The
wider darts increase the fabric
shaping to accommodate the more
curved arm structure at the elbow.

GARMENT &> PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Lengthen and widen the elbow
area; reposition the underarm seam
toward the back at the wristline.

Slash Method—fitting garment

only
Mark the seam position so it aligns
with the center of the inside wrist.
Remove the sleeves. Release the
underarm stitching from the wrist
past the darted area. At the elbow
level, slash across the sleeve from
the back to the front stitching line.
Insert strips of fabric. At the back,
spread the cut edges an amount
equal to the adjustment at the front
wristline. Tkper to nothing at the
front edge. Let out the back seam at
the dart area until the fabric
relaxes over the elbow. Increase the
darts equally to restore the
underarm length. Stitch the new
darts and the underarm seams.
83 inward rotation of the elbow

Pivot Method
Mark the position as it aligns with
the center of the inside wrist.
Remove the sleeves. Release the
underarm seam from the wrist past
the darted area. At the wrist, let
out the front seam by an amount
equal to the marked adjustment.
Thper to nothing at the elbow.
Increase the darts equal to the
forward adjustment made at the
wrist. Divide the increase evenly
between the darts. Adjust the
width at the elbow until the fabric
relaxes over the joint.

Restore the wrist circumference

and the underarm seam length.
Close the darts. Begin at the new
back underarm seamline at the
elbow line. Thper to nothing at the
capline. Thke in the back seam
width at the wrist until the
adjustment is equal to the increase
made at the front wrist. Begin at
the elbow line and draw into the
hem mark the end of the seamline.
Blend the new hemline into the
original at the front wrist. If there
is not sufficient hem width
remaining to finish the edge, face
the edge.
84 large wrists 336

BASIC FITTING THEORY

Figure Analysis
The bone and ligament structures
forming the wrist joints are heavier
than average. Soft body tissues may
concentrate along the wrist area.
The larger bone structure and
tissue deposits increase the
circumference of the wrist.

Fitting Analysis
The sleeve lacks sufficient ease at
the wristline. The fabric may pull
taut around the wrist area. When
the arm is bent the sleeve slides
upward and binds against the arm.
After straightening the arm, the
wristline remains too high and
becomes annoying.

Fabric Requirements for

Proper Fit
The larger girth of the wrist
requires more fabric width at the
wristline. To prevent enlarging the
sleeve at the elbow, part of the
elbow darting may be transferred
to the wristline and released.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES
Change Required
Widen the sleeve at the wristline.

Slash Method—fitting garment

only
Mark the back quarter of the sleeve
at the wristline. Slash from the
wrist to the tips of the elbow dart.
Cut parallel to the underarm seam.
Insert fabric strips. Separate the cut
edges equally at the wristline until
the sleeve moves freely and the
wristline lowers and aligns with
the wristbone when the bent arm
is straightened. Thper to nothing at
the elbow mark. This procedure
transfers part of the elbow darting
to the wrist edge.
 84 large wrists

Pivot Method
Release the underarm seam from
the wrist to the elbow line. Let out
the back seam allowance at the
wristline until the sleeve lowers
and aligns with the wrist when the
bent arm is straightened. Blend
into the original at the elbow line.

When the variation is extreme or a

looser fitting sleeve is desired, see
82 Large Forearms.
85 small wrists 338

BASIC FITTING THEORY

Figure Analysis
The bone and ligament structures
forming the wrist joints are lighter
than average. Deposits of soft body
tissue are minimal. The smaller
bone structure and tissue deposits
decrease the circumference of the
wrist.

Fitting Analysis
The wristline of the sleeve is too
loose to be attractive. The too-large
wrist opening creates an illusion of
a too-narrow sleeve area at elbow
level.

Fabric Requirements for

Proper Fit
The smaller girth of the wrist
requires less fabric width at the
wristline. To prevent narrowing the
sleeve at the elbow, some of the
wristline width may be transferred
into the elbow darting. The widths
of the existing darts may be
increased or an additional dart may
be formed.

GARMENT & PATTERN

ALTERATIONS FOR
SYMMETRICAL FIGURES

Change Required
Narrow the sleeve at the wristline.

Slash Method—fitting garment

only
Form a tuck along the back quarter
of the wristline. Adjust the width
to remove the excess looseness and
retain the ease. The sleeve should
lower and align with the wrist
when the bent arm is straightened.
T&per the tuck to nothing at the
elbow tip. This procedure increases
the amount of darting at the elbow.
 85 small wrists

Pivot Method
Release the underarm seam from
the wrist to the elbow line. Thke up
the back sleeve area at the wrist to
remove the excess looseness. Retain
the ease. Blend the new seamline
into the original at the elbow area.
part three
 measurement chart

Body Measurement + Ease Back Front Body conformation or other observations

LOWER TORSO & LEG R L R L

1. Center Length X X

2. Inseam Length X X

3. Knee Position X X

4. Side Seam Length / X X

5. Hip Depth X X

6. Crotch length + 1V2" (3.8 cm) X X

7. Waist Circumference + 1" (2.5 cm)

*

8. Hip Circumference + 2" (5 cm)

*9. Thigh Circumference + 1" (2.5 cm) X X

* 10. Knee Circumference + 1" (2.5 cm) X X

*11. Calf Circumference + 1" (2.5 cm) X X

* 12. Instep Circumference + 1" (2.5 cm) X X •

UPPER TORSO &> ARM

13. Center Length + M" (0.G cm) X X

14. Full Bodice Length + M" (0.G cm)

15. Blade 6= Bust Height

1G. Side Seam Length X X

17. Shoulder Tip Width + 14" (0.G cm) X X

18. Shoulder Slope

* 19. Chest Length & Bust Contour X X

20. Shoulder Length X X

21. Across Blade or Chest

22. Center to Blade &> Bust Tip

23. Full Bodice Width + 34" (2 cm)

24. Waist Circumference + 1" (2.5 cm)

(same as above)

25. Underarm Length X X

2G. Elbow Position X X

27. Overarm length + !4" (1.3 cm) X X

28. Bicep Circumference + VA" (3.8 cm) X X

29. Elbow Circumference X X

30. Wrist Circumference + 1" (2.5 cm) X X

*31. Hand Circumference X X

♦Optional measurements
Bust, Waist and Hip Measurements = Pattern Size Center Back Length = Pattern Tvne
adjustment record 342

Fitting and pattern alteration are simplified when one thinks in terms of where a
change is required and how much change is involved to accommodate a figure
variation. Use the following illustrations for recording changes in your personal fitting
garment and pattern. Each short line on the interior of a pattern piece or around the
perimeter indicates the location of a possible figure variation. The pattern pieces are in
quarter scale.

1. At each location of a personal fitting adjustment, draw an arrow on the line. Indicate
the direction the change should be made to increase or decrease, raise or lower the
area.
2. At each arrow, record the amount of the adjustment. Use full scale measurements.
Use a‘l + ”ora“- ” to indicate the result of the change.
3. Draw the.new cutting line in red.
343
acyustment record
adjustment record 344
 DATE DUE
MR 2 5 ’91

GAYLORO
PRINTED IN U S A-
 mhrygroue college l ibrary
Fitting & pattern alteration
646.4 L62

V
3 1TE7 ODOiaflTO 1

646.4
L62 Liechty, E. G.
Fitting and pattern al¬
teration, by Liechty and
others

646.4
L62