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Q1 . Explain the drafting method of bell sleeve, cap sleeve, leg of mutton
sleeve ?

A. Bell sleeve –
bell sleeve can actually take many forms, from the slight flare at the wrist shown at left, to a much
more extreme bell shape on a fitted bicep (think of a '60's bell-bottom pant leg, but worn on your
arm!).

The sleeves can be wide and flowy, or have an asymmetrical hem.  Costumes often use a bell sleeve, in fantasy
characters (a fairy princess or Snow White's Evil Queen) or in historical (mostly Medieval) costumes.

We'll be drafting a simple bell - where you want to take it from there is up to you!

Drafting the Bell Sleeve


 Start with your blouse sleeve block
(not the fitted sleeve from the original block).
 Draw vertical lines along the grainline (from shoulder point to hem), and again on each side of the grainline, dividing the
sleeve into four relatively even sections.
 Cut along those lines (we'll be using a "slash and spread" technique).

Spread the pieces apart with about 1" between each section (this can be easily adapted for more or less flare
when you make your muslin).

Then add about 1" on each side seam for a bit more flare. Mark a point roughly half way between the
underam and the hem (this is the elbow area) and draw a line flaring away from the side seam 1" at the hem.
(The red dashed line is the original side seam of the blouse sleeve).

This is part of what makes the sleeve a bell rather than just a wide sleeve.

The pattern now tapers to the elbow (although it also has just a bit more room through the bicep than the
blouse sleeve), then flares gently to the hem.

This sleeve is so simple yet so beautiful.  It makes the most basic blouse or dress a bit more special, and,
depending on the amount of flare you choose, can also add quite a lot of drama!

B. Cap sleeve A cap sleeve is more of a decorative detail than a true sleeve - but it's a great-looking
addition to what would otherwise be a simple arm-baring top.

This page shows you how to create a sleeve using your blouse block. Don't forget to finish with hems and
seam allowances!

Like its name implies, this sleeve consists of little more than the cap itself, and generally doesn't go all the
way around the armhole.

As a shoulder detail, it adds a bit of interest and coverage when you want something just a bit more than
sleeveless, but less than a typical short sleeve.

And it's easy to draft and to sew!

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Drafting the Cap Sleeve

You'll start with your blouse sleeve block (the sketch shows only the upper part of the block, since we're
making a very short item).

Start by shortening the cap itself by about 1/2".  This reduces (or almost eliminates) the ease at the cap; it's
not needed in this case.

2K+Save

Then mark a point on the grainline about 1 1/2" to 2" above the bicep line.  From there, draw a gentle curve to
each side of the cap, below the notches (the ends will be about 3/4" above the bicep line).  This is your
hemline.

C. Leg of mutton sleeve - This sleeve can be designed in two ways: One is the traditional way of
having two parts to the sleeve. The top sleeve which ends at the elbows is joined to a
separate tightly fitting sleeve portion from elbow to wrist. The other sleeve is in one portion and
this is the one described in this pattern tutorial

To draft this sweet sleeve which if designed rightly can look good on kids frocks and tops for adults you
will have to take a fabric folded diagonally ie the leg of mutton sleeve is better cut on a bias cloth.

Mark an ordinary sleeve pattern on a paper.

make a straight line 1″ below the armline of the sleeve and then make a line perpendicular to it from the
center of the top edge of the sleeve.Cut it out. Keep this pattern on another new pattern paper. Open it
out and spread it as shown in the picture below – this depends on how much gathers you want. For a very
exaggerated style of this sleeve you can increase the top portion even more than 10 inches.Draw your
new sleeve with this new dimension.Here is your new Leg of mutton sleeve

Keep your fabric pieces for the sleeves right sides together

Place this paper pattern on the fabric so that it is kept on the bias grain of the fabric.

Mark this new pattern. Make a mark at the center of the top edge – you can clip this – you want this to
align this point with the shoulder seam when you stitch the seam

To stitch this new sleeve finish the hem and finish the edges of the top edges with a serger if you want to.

Gather the top edge at the sleeve head with basting stitches. Make two lines of basting stitches for better
accuracy.
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Keep it right sides down on the shoulder seam, aligning the clip you made earlier with the shoulder seam.
Carefully start stitching from the center to both sides of the sleeve top edge. Sew the side seam.

Q2. Describe three variation of trousers, skirts, jacket.

Types of trousers

1. CORDUROY TROUSERS

Once strictly the preserve of fictional (and real) inhabitants of academia, corduroy is one of the
most underutilised materials in men’s style and, if worn correctly, can make for an indispensable
pair of trousers. There’s a 1970s revival going on in menswear , too, so there’s never been a
better time to cover your legs in cord.

Cord is a textile composed of woven, twisted cotton or wool, resulting in parallel lines (called
‘wales’). Wool corduroy is the most durable type and wears particularly well. So, as well as
bestowing a bit of superficial intelligence, cord trousers will withstand a fair bit of rough and
tumble. The Indiana Jones of legwear, if you will. They can get a bit warm, though, so it’s best to
save them for when the cold really starts to bite.

2. WOOL TROUSERS

A firm favourite of fashion bloggers (the kind who don’t dress like anime astronauts, that is) and art directors
the world over, wool men’s trousers offer a throwback to the days when jeans weren’t the de facto king of
legwear.

Perfect both for styling with other tailored separates or smartening a casual getup, the wool trouser has been
a mainstay amongst industry insiders for years – and their popularity isn’t showing any signs of waning.

While you’ll often see them dressed down with a pair of sneakers by arbiters of cool hanging outside loft
offices leisurely puffing on roll-ups, this type of pants work just as well styled in a more traditional way. For
inspiration, cast your eye to PittiUomo where they’re often grounded with a pair of brogues, Derbies or double
monks.

2. TWILL CHINOS

A good piece of workwear puts in a shift if you want to assert your old-school masculine
credentials. In twill chinos, quality craftsmanship meets reliability and style in a perfect ménage à
trews of cool that’s still exceptionally wearable.

Cut from heavyweight cotton, woven to create a surface comprising diagonal parallel ridges, twill
is a traditional material that, if invested in, will give excellent cost-per-wear calculations thanks to
its hardy nature.
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Plus, every scuff on a pair of twill chinos tells a story – even if the only ‘work’ you end up doing in
them is loafing about on Twitter. In twill the beleaguered chino also breaks out of the realm of
‘Ibiza lads on tour’ into an altogether more grown-up sense of place and tradition.

The style is still, strictly speaking, a casual trouser so wear them with an easy-going pair of shoes
(such as anything with a contrast Vibram sole), a T-shirt or piece of knitwear and top with an
overshirt or denim jacket for an effortlessly cool off-duty look.

Types of skirt

A-LINE SKIRT

The A-line skirt is a great skirt for the pear-shaped figure (that’s me!). This skirt is usually knee-
length and forms a triangular shape when laid flat. It is an easy to sew option and makes up
nicely in most fabric types.

The A-line skirt flares out gently from the waist and does not cling to the hips making it a
flattering skirt option. Because of its flared shape, it does not need slits in the side or back in
order to easily walk. A-line skirts are generally fitted at the waist and as such need shaping in the
form of darts or a gently curving waistband. The waistband can be high, lowers or even
elasticized.

BOX PLEAT SKIRT

The box pleat skirt is a variation of the pleat types of skirts. A box pleat is made by allowing the
two folds of the pleat to meet each other and form the box part of the pleat. The same pleat
pattern is continued round the skirt. Box pleat skirts are often made in thicker fabrics to give
volume and shape to the skirt.

BUBBLE SKIRT

The bubble skirt puffs out at the hem because the fabric of the hem is gathered onto a band
instead of a turned up hem. This band is kept under the skirt so the top of the skirt ‘bubbles’ over
the band.

Types of jacket

1. Bomber Jacket

A bomber jacket is a short and durable jacket featuring a fitted or elastic waist and cuffs. Also
known as a flight jacket, the style was initially worn by flight crew members of the US Air Force.
Today, however, the bomber is a favorite amongst men of all occupations thanks to its stylish and
casual appearance. Pick one up in leather, nylon, or wool for a rugged look that works perfectly
on the weekend

2. Biker Jacket

You don’t need a motorcycle to rock an awesome biker jacket. You just need the right attitude.
So, if you’re looking to showcase your rebellious spirit, try swapping you preppy blazer for a
rugged biker jacket instead. These short, close-fitting jackets are typically made from black
leather and feature silver hardware, such as zips and studs. So, they’re perfect for adding a little
edge to your look.

3.Trucker Jacket
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Made iconic by Levi’s, the trucker jacket has long been a favorite amongst men. The style, which
is short and fitted, is recognizable by its button front and double chest pockets. It is most
commonly featured in blue denim. However, other options do exist, such as different colors like
brown and black, suede styles, shearling-trimmed designs, and more. But, no matter which
option you choose, the trucker will always make an excellent casual jacket.

3. Name five different types of pocket, neckline and collars? Which

are different kind of collars use in jacket , which are types of
pocket used in jeans, trousers/ jeans ?
The pocket stands as one of the biggest sartorial landmarks in the history of clothing.
Allowing us to store and transport our personal effects safely and comfortably, we all use
pockets on a daily basis. But as well as their functional purposes, pockets form a large part of
a garment’s design process, meaning there is a whole host of pocket styles out there.

Patch Pocket — A pocket applied onto the outside of a garment.

Set-in Pocket — A pocket made by cutting an opening in the garment and stitching the
pocket bag to the inside of the garment so only the opening is visible.

Seam Pocket — A type of pocket in which the opening falls along the seam line of a garment.

Curved Inset Pocket

These pockets are typical examples of a set-in pocket that are famously featured on the
classic five-pocket jean and typically feature a curved opening.

Slash Pocket

Also known as ‘slant’ pockets, slash pockets commonly appear on pants, slacks, and jackets.
These pockets are set into the garment on an angle, allowing the wearer to slide their hands
in and out easily. On pants, slash pockets will typically start at the waistband and slash down
toward the outseam.

Flapped-Patch Pocket

Many patch pockets will feature a flap-closure for extra security. The flap can include a
fastening like velcro or a button.

Western Pocket

Western pockets are a form of patch pockets that feature ornate flap closures. Western
pockets typically feature snap button closures.

SawtoothPocket

Technically a form of western shirt pocket, but we thought we’d single out the sawtooth
pocket considering its application on western shirts by brands like The Flat Head, Iron Heart,
and Samurai. Sawtooth pockets are a form of patch pocket that features a flap that
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resembles the teeth of a saw. Each of the two points of the sawtooth flap has its own snap
button.

Jetted Pocket

The opposite of patch pockets, jetted pockets appear from the outside as nothing more than
a narrow, horizontal slit bordered by two thin strips of fabric or “welts” that act as an
opening for the pocket bag that is concealed inside the garment. Also known as a besom
pocket, the jetted pocket is a sleek and formal pocket that is mainly used for suit jackets and
other formal wear.

What Is Collar?

A collar is the part of a dress that closes around your neck securely. It can be attached to a
shirt, coat, blouse, etc. There are different styles of collars based on 3 basic types of collars.
Check out different women’s shirt collar designs and collarneck designs for blouses, Kurtis,
and dresses. There is a neckline on which the collar stands; know the types of necklines for
your collars once you know about the collars.

A collar is either permanently attached to the main body of the dress, or it can be
detachable. Let’s get into different types of collars with names.

1. Standing/stand-up

The standing collars fit around the neck with a stiff standing band, not lying on the shoulders.

2. Turnover

This type stands around the neck and then folds or rolls over.

3.Flat or falling

These lie flat on the shoulders, unlike standing collars. There are different types of flat collars
such as shawl collars, peter pan collars, etc.

4 Straight Collars

These are the basic shirt collar. A straight collar is the most used formal type of collar.
Straight collars are a type of necktie with a straight line in the middle. They were first
popularized by the British in the early 20th century.

5 Peter Pan Collars

These are round-edge collars. Mostly used for semi-formal occasions. The collar sits atop in
the button-down blouses.

Peter Pan Collars are a popular choice for many people who want to show that they have a
playful side.
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TYPES OF NECKLINES

ASYMMETRICAL (ONE SHOULDER) NECKLINE

This look is created by having one shoulder bare and one strap running across the opposite
shoulder to the underside of the armhole. It creates quite a fashion statement and is very
effective in a plain color fabric showing off the design.

TYPES OF NECKLINES

Types of necklines have always been an important feature of shopping, fashion design and sewing patterns.
Necklines create beautiful wedding gowns and add style and design to a variety of fashion garments.
Necklines show off beautiful shoulders and elegant necks, as well as enhance the way necklaces are worn.
There are numerous types of necklines and each of them adds value and individuality to the overall look of the
garment.

Types of necklines Pin

Types of Necklines

Contents [hide]

Types of Necklines

Asymmetrical (One Shoulder) Neckline

Boat Neck

Cowl Neck

Collared Neck

Halter Neck

High Neck or Turtleneck

Keyhole Neck

Illusion Neck

Off the Shoulder

Plunging

Queen Anne Neck

Round or Crew Neck

Scoop Neck
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Spaghetti Strap

Square Neck

Strapless Neck

Surplice Neck

Sweetheart Neck

V–Neck

Types of Necklines – In Conclusion

Related Articles

More Articles On Types Of Fashion

TYPES OF NECKLINES

Necklines can be simple or stylish. Choose the one that suits your garment and your body
shape.

The following list gives a comprehensive look at the different types of necklines available.
Starting with the trendy asymmetrical neck and moving all the way to the popular v neck
style.

There are more necklines to choose from than you could imagine. You could even create
your own combination after reading through this list of necklines.

ADVERTISING

ASYMMETRICAL (ONE SHOULDER) NECKLINE

This look is created by having one shoulder bare and one strap running across the opposite
shoulder to the underside of the armhole. It creates quite a fashion statement and is very
effective in a plain color fabric showing off the design.

BOAT NECK

This is one of the wider types of neckline. It is graceful and flattering to the neck area of the
wearer. It is sometimes called the ‘Bateau’ neckline. Boat necklines draw the eye to the
shoulders and lower neck of the wearer. It sits just below the collarbone and balances wider
hips or narrow faces. This is a complimentary neckline which is open and very feminine. The
boat neckline looks great with a simple necklace on top.
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COWL NECK

Looking for something soft and draped? The cowl neck has extra fabric in the cut to allow for
drapes in the neck area. The cowl neck flatters all sorts of body shapes when made in a soft
fabric. The drapes of fabric will fall according to the texture and weight of the fabric. This is a
style for stretch fabrics and sweater knits.

COLLARED NECK

The collared neck features a collar set into the neckline. It is a neckline that suits many
shapes and is a staple in most of our work wardrobes.

HALTER NECK

The halter neck flatters wide shoulders and creates a balance between broad shoulders and
well-toned arms. This neckline draws the eye away from the width of the shoulders to a
more central spot of the design.

TYPES OF NECKLINES

Types of necklines have always been an important feature of shopping, fashion design and
sewing patterns. Necklines create beautiful wedding gowns and add style and design to a
variety of fashion garments. Necklines show off beautiful shoulders and elegant necks, as
well as enhance the way necklaces are worn. There are numerous types of necklines and
each of them adds value and individuality to the overall look of the garment.

Types of Necklines

Asymmetrical (One Shoulder) Neckline

Boat Neck

Cowl Neck

Collared Neck

Halter Neck

High Neck or Turtleneck

Keyhole Neck

Illusion Neck

Off the Shoulder

Plunging

Queen Anne Neck

Round or Crew Neck

Scoop Neck
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Spaghetti Strap

Square Neck

Strapless Neck

Surplice Neck

Sweetheart Neck

V–Neck

Types of Necklines – In Conclusion

Related Articles

More Articles On Types Of Fashion

TYPES OF NECKLINES

Necklines can be simple or stylish. Choose the one that suits your garment and your body
shape.

The following list gives a comprehensive look at the different types of necklines available.
Starting with the trendy asymmetrical neck and moving all the way to the popular v neck
style.

There are more necklines to choose from than you could imagine. You could even create
your own combination after reading through this list of necklines.

ASYMMETRICAL (ONE SHOULDER) NECKLINE

This look is created by having one shoulder bare and one strap running across the opposite
shoulder to the underside of the armhole. It creates quite a fashion statement and is very
effective in a plain color fabric showing off the design.

BOAT NECK

This is one of the wider types of neckline. It is graceful and flattering to the neck area of the
wearer. It is sometimes called the ‘Bateau’ neckline. Boat necklines draw the eye to the
shoulders and lower neck of the wearer. It sits just below the collarbone and balances wider
hips or narrow faces. This is a complimentary neckline which is open and very feminine. The
boat neckline looks great with a simple necklace on top.

COWL NECK

Looking for something soft and draped? The cowl neck has extra fabric in the cut to allow for
drapes in the neck area. The cowl neck flatters all sorts of body shapes when made in a soft
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fabric. The drapes of fabric will fall according to the texture and weight of the fabric. This is a
style for stretch fabrics and sweater knits.

COLLARED NECK

The collared neck features a collar set into the neckline. It is a neckline that suits many
shapes and is a staple in most of our work wardrobes.

The collar detracts and draws the eye away from the bust area. Collars can be pointed,
rounded or even asymmetrical and can start at various heights. Most have a buttoned front but you can also

HALTER NECK

The halter neck flatters wide shoulders and creates a balance between broad shoulders and
well-toned arms. This neckline draws the eye away from the width of the shoulders to a
more central spot of the design.

HIGH NECK OR TURTLENECK

This neckline is best suited to a person with a long neck. It sits right up under the chin and
wraps around the neckline area. Turtle necks often have excess fabric that can be folded
down to your desired height. These types of necklines are great for keeping warm in Winter.

Shawl collars , peak lapel collar , notch lapel callarare often seen on coats, dressing gowns
and dresses. It’s a convertible collar type, folding over to form a foldline.

4-pocket: Normal configuration but there’s no small pocket for change.

5-pocket: This is the most widely used pocket configuration, with the fifth pocket being the
small coin pocket.

Fashion pocket: Embellished, decorated.

Flap pocket: Can be very flattering on a woman with a small rear.

Slash Pockets

This pocket is found at the front of pants, jeans or skirts. Slash pockets start at the waist and
follow a diagonal line to the side seam. The line may be straight or curved, but will always be
cut and sewn at a slant. It is also known as a cutaway pocket or a scoop pocket.

Q4. Why do we do grading of patt ern. what are diff erent methods
ANS- The main purpose of pattern grading is to proportionally increase or decrease the size of a pattern,
whilst also maintaining the same fit and shape of a garment. Historically, because of mass production,
andPattern grading is one of the most significant steps in the apparel manufacturing process. Pattern
grading allows fashion designers to create different sized patterns from the original pattern. To put it another
way, pattern grading leads to the creation of a variety of sizes for a single garment style. with the advent of
commercial patterns, the science of grading was developed in the 19th century. The purpose of the marker is
threefold: To make a layout for the cutter to allow. To place pattern pieces close together to avoid fabric
waste. To accommodate the cutting order (ensuring that the correct quantities of each size are cut).
There are three basic methods of pattern grading. There is not a superior method; they are all equally capable
of producing a correct garment grade. These include:
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Cut and spread: This is the easiest method, which acts as the basis of the other two methods. To perform this
method, you must cut the pattern and spread the pieces by a certain amount to grade up, or overlap the
pieces to grade down. The only tools you will need for this method are a pencil, tape, ruler, and scissors.

Pattern shifting: Pattern shifting involves increasing the overall dimensions of a pattern by moving it around at
a constant distance. After you move it, you redraw the outline in order to produce the same results as cut-and-
spread.

Computer grading: Computer grading is the most recent development in grading technology. It is also the
fastest method.[4] It takes the processes of the two former methods and digitizes them.

it's important that grades accurately reflect the quality of student work and that student work is graded fairly.
Grading with accuracy and fairness can take a lot of time, which is often in short supply for college instructors.

Q5. Draft step by step pattern of skirt, waist coat

and trousers?

ANS- Now that you have all the numbers, you can start by drafting a rectangle like thisNow that you
have all the numbers, you can start by drafting a rectangle like this
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Divide the rectangle vertically in half, right in the middle. That would be the side seam. Continue the
line 1,5cm / 0,59in above the rectangle.

Now it’s time to do some more calculations as we need to get to the waist measurement. First
calculation would be this:

1/2 hip measurement+ease minus 1/2 waist measurement

In my example 49cm – 36cm = 13cm OR 19,29in – 14,17in = 5,12in

That’s the quantity you have to get rid of to have the right measurement at the waist. You have some
alternatives depending on how much the difference is. This would be the most basic way:

First of all, draw lines from the side seam to centre front and -back. The idea would be to take off 2/3
of the difference on both sides of the side seam line. In my case 4cm OR 1,57in.

The remaining amount will go into the darts, which I placed in the middle of both the front- and the
back piece. The back dart will be larger than the front dart. The wider the dart is, the longer it will be
also. In the drawing, you can see how I divided the remaining cm/in between the darts.

If it looks like your darts will become too wide, you can also put two darts in the back.

Here’s an alternative way to divide the volume. It’s a bit more advanced.

I wanted to make the back dart a bit smaller and the side seam of the back piece a bit more straight
(which looks better). So I took that 1cm/ 0,39in off from the centre back instead. That’s usually a
hollow area, so it’s a good idea to take in some volume from that point anyways. Of course, if you
don’t want a back-seam, you can’t do this. Personally, I prefer the zipper at the back, so there has to
be a seam.
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Finishing touches

Whichever way you choose, the final step is to add some roundness to the pattern. Meaning the area
of the hips at the side seam and also the waistline. You should cut the waistline with the darts closed.

Now your basic skirt pattern block is ready. Make a toile to check the fit and correct the pattern
accordingly. You can add a straight belt using your waist measurement.

Waist coat

Step 1: Fold your pattern paper into equal halves and then place the front of your already-made
shirt (this could be t-shirts or polos) on it. This should also be folded into equal halves, with the
sleeves/ collars tucked in or cut off. Trace 1.5 inches away from all the sides. This is to
accommodate for ease, stitch and seam allowance. When done, remove your already made shirt.
Your front piece should look like this:

With the dotted lines indicating folding.

Step 2: Label out the various parts of the body which include Shoulder, chest, waist, lower
abdomen and hip.

Step 3: Fold another pattern paper into equal halves and place your old pattern 1.5 inches away
from the folded line. This is to accommodate for the front placket of the waist coat.

N:B Plackets are openings or slits in a garment, covering fastenings or for access to a pocket,
or the flap of fabric under such an opening. They used to fastening buttons to a front shirt,
jacket of coat.

And then trace all the sides of the old front pattern onto the pattern paper. Your new pattern
paper will look like this:

b) Making the back piece: Fold your third pattern paper into equal halves. Place the back of your
already made shirt, t-shirt or polo(which should also be folded into equal halves with the
sleeves/collars tucked in or cut off) and trace 1.5 inches away from all the sides. When you remove
your already-made shirt/tees/polos, your back piece will look like this:

c) Inserting darts: This section will be further divided into inserting darts (i) front piece (ii) back
piece.

i. Front piece: To insert darts for the front piece, measure 2 inches down from the chest level and
mark. This will be your dart level.
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From your dart level at the dotted line, measure (1/4 of your chest circumference). For the sake of
this tutorial, let’s assume I’m a man. My chest measurement is 34 inches.
¼ x 34 inches = 4.25 inches.
Therefore, measure 4.25 inches from the front of the dart level and mark.

Then make your dart lines towards the bottom of the front piece.

With your tracing wheel, trace the lines to the other side of your pattern paper.
ii. Back piece: Also at the chest level and at the folded area of your pattern, measure 4.25 inches
and mark. 

From this new point, measure 3 inches upwards and mark. 

Then draw your dart lines from this new point towards the waistline and mark. 

With your tracing wheel, trace this dart line to the other side of your pattern paper.

d) Adjusting for Waistcoat: So because a waistcoat ends at the abdomen level, we would have to
adjust both our front and back pieces to accommodate this. Thus this section will also be divided
into adjusting for waistcoat for (i) front piece (ii) back piece.

i. Front piece: At the neckline and at the front of the shoulder, draw a line to meet the chest level
at the placket. 

Then measure 3 inches upwards from the hip level and mark.
Then draw a line to join your new point and the dart point at the hip level.
Do the same also from the dart point at the hip level to the abdomen, as shown

And so, adjusting for the waistcoat for your front piece is done.

ii. Back piece: With your tracing wheel, trace the mark made at the placket from the hip level.
And then using your hip curve tool, draw a curve from the point to the lower abdomen as shown
below.

e) Inserting pockets: To insert pockets at the chest and at the waist, measure 2.5 inches from the
chest level and mark. 

Then at your new point, measure 5 inches and mark. Draw a horizontal line to join these two points
as shown below.

At the abdomen level, measure 2 inches above the level and mark. Then trace duplicate the 5
inches pocket at the chest level.

 
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Then with your tracing wheel, trace this pocket to the other side of the pattern paper.

Cut out what you have traced as well at the folded area of your plackets and your front pieces(now
two) will look like these
 

Unfold your back piece and it will look like this.

MAKING A FEMALE WAISTCOAT PATTERN

To make a female waistcoat pattern, repeat all the processes in how to make a male waistcoat but
use a female blouse pattern if you are making a pattern for a client (see here to learn how to make
a basic blouse pattern for clients). If you are beginner, simply use your blouse pattern as already
explained in Section A and B in how to make a male waistcoat pattern.
But unlike male waistcoat pattern where regular darts were used to add a little shape to the
pattern, in a female waistcoat, we are going to use one of the basic slash and reduce methods in
pattern-making to add shape to the waistcoat- Princess seam. See more on Slash and
Spread/Reduce here.
So to insert princess seam from the shoulders, at the bust level, measure (1/4 of your bust
measurement) and mark. Using me as an example, this will be 4.25inches.

Then measure the midpoint of your shoulder and mark.

Draw a line to join the mid point at the shoulder and the dart point the bust level.

Then at the dart point, draw a vertical line to the bottom of your blouse.

For the back piece, make a armhole princess seam, see how this is done here.

Then. follow the same procedures in Section D, to adjust your blouse to a waistcoat.
When done, also follow section E in how to make a male waistcoat to see how to insert pockets.

Then cut through your princess seams.

Trousers

 Outline the pants pattern.

The first step to take when drafting the pattern is to outline it. We are going to do that by
drafting a rectangle as follows:

 From point A to B, use half of the hips measurement (or 2 times 1/4 hips).

From B to C and from A to D, use the overall length.

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 Divide the rectangle in half so that you get two 1/4 hip-wide panels. Mark the points that

cross the horizontal lines as 1 and 2.

We work with a quarter hip because we are going to draft a front and a back panel. We use each
of them twice to cut two fronts and two back pieces of the pants (FIGURE 1). That gives us a total
of four details to work with.

 The next step would be to apply the hip depth. Starting from A and B, apply the hip

depth and mark points E and F. Connect them with a dotted line. Mark point 3 where the

new line crosses the vertical line in the middle.

 Again, starting from A and B down, apply the rise and mark points G and H. Connect

them with a dotted line. Mark point 4 where the new line crosses the vertical line in the

middle.

 Start from the bottom line and apply the knee level, marking points I and J. Mark

point 5 where the new line crosses the vertical line in the middle.

Now that we have the pattern outlined, let’s start

2.2. Drafting the front panel of the pants pattern.

 Start with measuring 1 inch (2.5 cm) down from point A to point D and mark point K.

 From point K, measure an inch (2.5 cm) towards the middle and mark it as point L.

 From point L, apply 1/4 waist measurement and draw a line that connects with the

horizontal line of the rectangle. Mark point M.

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 Connect M with 3, and 3 with 4.

 From point G, extend the line as long as we calculated the front crotch (using the formula

above) and mark it as point N.

 From point G, draw a ⅗ inch (1.5 cm) long line at a 45-degree angle and mark point  O.

 Connect points N and L, passing through the new points O and E to create the crotch

curve.

 Measure 1.2 inches (3 cm) from points 5 and 2 in (on both knee and hemline) and mark

points P and Q.

 Connect N–I–D and 4–P–Q to form the leg shape.

 Connect D and Q to finish the front panel at the hemline.

The last thing we need to do here is to make the lines more natural and smooth as we are used
to seeing them on patterns.

We are going to do this in the final step. For now, let’s begin

2.3. Drafting the back panel of the pants pattern

 Start by measuring 1 inch (2.5 cm) from B towards A and mark point R. From point R,

measure another inch (2.5 cm) straight up and mark point S.

 From point S, apply 1/4 waist measurement plus 1 inch (for the dart) and draw a line that

connects with the horizontal line of the rectangle. Mark point T. We are going to draft the

dart later. Connect T with 3, and 3 with 4.

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 From point H, extend the line as long as we calculated the back crotch and mark as

point V.

 Starting at point H, draw a  1 ¾ inch long line (4.5 cm) at a 45-degree angle.

 From point F towards B, measure an inch (2.5 cm) and mark point U.

 Connect points S and V, passing through the end of the 45-degree angle line and the new

point U to create the back crotch curve.

 Extend from point J out  ¾ inches (2 cm) and mark point W.

 Do the same from point C out and mark point X.

 Starting at points 5 and 2, measure 1/2 inch (1 cm) in and mark points Y and Z.

 Connect V–W–X and 4–Y–Z to form the leg.

 Connect Z and X to finish the back panel at the hemline.

Q6 Explain slash and spread method and pivot method

of dart manipulations?
The slash and spread method is a technique used to manipulate darts on patterns – usually around the bodice
but it can also be used on other pattern pieces that have darting.

Slashing and spreading darts is a simplified version of the second method of dart manipulation: pivoting. When
learning pattern making techniques, slash and spread is a great starting point for beginners, as there is less
possibility for errors – though it is important to note that once you have ‘slashed’ the pattern piece, it is not
reversible.

For this reason, you will want to create a copy of any pattern piece you plan to modify before manipulating the
darts using this technique.
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In this dart manipulation tutorial we will be transferring one waist dart on the bodice into another position –
the armhole. In upcoming tutorials, I will teach more varied techniques, from individual dart position tutorials
like the French dart, through to quite advanced dart manipulation techniques.

7. What all details should be kept in mind while constructing

garments and attaching lining also how can you define
goodfits of yourgarments?
Construction And Details

How a garment is made should be inconspicuous. You want to see clothing as a cohesive
whole, and not notice awkward construction details. Seams, where the edges of two pieces
have been sewn together, should be neat and uniform. All stitching should be straight and
well-executed, and the proper types of stitches should be used in respective areas. You
shouldn’t see loose threads or the remains of any basting stitches, temporary stitches that
hold pieces in place while a garment is being made.

Clothing should be made of quality materials. This includes the textiles, any decorative trim
like lace and ribbon, and any notions. Notions are the small items like buttons, zippers and
other fasteners. And the notions should be properly executed. Buttonholes should be the
proper size, well-placed and well-sewn, whether done by hand or by machine. Any buttons
should be securely fashioned. The same is true of zippers and other fastening devices.

Lining needs to be slightly smaller than your garment, so add ⅛” to your seam allowance
when sewing. To avoid the lining showing on hems, adjust the hem lining to be ½” to 1”
shorter than the garment.

If you’re using a pattern that does not provide instructions for installing a lining, consider
how the lining will be attached to the garment while still hiding the unfinished edges of the
lining. If the garment has a zipper or button closure, install the lining before adding the
closure, ideally at the neckband or waistband.

Five standards for good fit – Ease, line, set, balance and grain

Ease

Ease is the difference between the circumference measurements of the figure and of the garment. The
amount of ease should be sufficient for comfort and in keeping with fashion, the style and type of garment and
fabric used.

Very loose garments look clumsy. Insufficient ease in a garment is indicated by tight
horizontal creases or by the garment riding up on our figure. Excessive ease is indicated by
loose vertical folds.

Line
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Line refers to many aspects of fitting, the silhouette of the garment, the proportion of
garment to the figure and of various parts of the garment to each other, the shape of curved
lines and the placing of the details of the design.

When fitting for line, study the general appearance of the entire garment taking particular
note of the silhouette and proportion obviously. Silhouette varies according to fashion, but
good line is not determined by fashion and the rules apply constantly. The correct proportion
can only be found when actually fitting the garment on the figure, as it is dependent on
individual figure and on current fashion and is affected by every detail of design such as
placing of the seams and the width of the collar. Good proportion accents the attractive
points of the figure.

Set

Set refers to the way in which the fabric fits to the contours of the figure: the fabric should
be perfectly smooth and free of creases in all areas. In common with balance, the set will be
correct when the grain is correctly positioned, but as set is such many people prefer to fit by
observing and eliminating any creases, rather than by correcting the position of the grain.

Incorrect set is indicated by creases in the fabric which are caused by a curve or hollow of the
figure needing more or less width or length. Creases may be tight or loose, and vertical,
horizontal or diagonal. The following are general suggestions for the removal of creases
which apply to all areas of the garment, but which need to be interpreted according to
individual circumstances.

Tight horizontal creases indicate that the garment is riding up on the figure, due to the
circumference of the garment being too small in that area. They may be removed by letting
out the nearest vertical seam.

Loose vertical creases indicate that the circumference of the garment is too large in that
area, and may be removed by taking in the nearest vertical seam.

Loose horizontal creases indicate a fault in the balance between the front and back lengths,
and may be removed by shortening either the front or back length, according to the location
of the creases.

Tight vertical creases may be removed by tracing the creases to the curve at which they
originate, and providing more length, and width if necessary, to cover the curve.
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Tight diagonal creases may be removed by tracing the creases to the curve at which they
originate, and providing more width and length to cover the curve: by letting out the nearest
vertical seam and the nearest horizontal seam above the creases. Loose diagonal creases
may be removed by taking in the nearest seam above the widest part of the creases.

Balance

Balance is the relationship between the garment and the figure, and between various parts
of the garment. The balance is correct when the garment hangs equally either side of the
figure at all points when viewed from the front, back or side and with vertical seams
perpendicular to the ground.

Grain

Refers to the lengthwise and crosswise threads from which a woven fabric is constructed.
Although straight grain refers to either set of threads, the straight grain line on a pattern is
always placed parallel to warp threads. The warp threads which are thicker and stronger in
most fabrics than the weft threads take most of the strain and also ensure that garment
hangs attractively.

The warp grain should be perpendicular to the ground on the centre front and centre back
lines, and on the centre line of a sleeve. If any of these lines have seams which contain flare,
the straight grain line is usually positioned approximately midway between the centre and
side seams. The weft grain should be parallel to the ground on the front and back width lines,
the hip line and the top arm line of a sleeve.

8. How can you define upcycling in contex of garments?

Upcycling clothes is to take old, worn out or damaged clothing and transform it into
something new. Clothing that doesn’t fit any longer, is torn, stained or otherwise damaged,
can be refashioned into a new product.Also referred to as repurposed clothing, reused
clothing and recycled clothing, upcycled clothing is becoming increasingly popular in today’s
fashion industry.The current apparel industry model is extremely wasteful and massively
polluting.

At the moment, watchdogs estimate that the textile industry contributes around 10% of
global emissions – more than shipping and flights combined.

The World Wildlife Fund estimates that it takes 20,000 litres of freshwater to make one
kilogram of cotton; enough for a pair of jeans and a t-shirt! And with farming accounting for
70% of all freshwater use, we can expect to see dramatic changes to the industry in the next
10-20 years.
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The industry is basically a conveyer belt that takes enormous amounts of resources and
creates clothes which are only worn for a fleeting time before being dumped in landfills.

Upcycling clothes is a way to break the repetition of waste and environmental damage.

Focusing mainly on denim, vintage brand RE/DONE takes vintage denim apart at the seams
and repurposes it into new jeans – all without the use of harsh chemicals.

The company also try to keep the original stitching in place where possible, preserving the
years of history and stories stored in every pair of jeans.

The trend for upcycling clothes is taking off just in time, but there is still a long way to go.
That also means there is a lot of potential room for growth for a new business venture.

Whether you’re currently in the apparel industry and want to branch out into upcycling, or
you see a gap in the market you can join, then we can help.

With decades of experience in the industry, we work together with our clients,
manufacturers and distributors to ensure a fair and sustainable practice for everyone.

We take sustainability very seriously here and we are acutely aware that the current system
isn’t working. Something has to change.

Upcycling is a small, but important, step towards that change.