Patternmaking for Fashion Design, 5th Edition

832 Pages·2009·35.64 MB·English

by  Helen Joseph-Armstrong

PATTERNMAKING
for Fashion Design
Fifth Edition
HELEN JOSEPH-ARMSTRONG
Professor of Fashion Design
The Fashion Center
Los Angeles Trade-Technical College
Technical Illustrator
Vincent James Maruzzi
Fashion Illustrator
Kathryn Hagen
Prentice Hall
Boston Columbus Indianapolis New York San Francisco Upper Saddle River
Amsterdam Cape Town Dubai London Madrid Milan Munich Paris Montreal Toronto
Delhi Mexico City Sao Paulo Sydney Hong Kong Seoul Singapore Taipei Tokyo
Editor in Chief:Vernon Anthony Art Director:Diane Ernsberger
Acquisitions Editor:Jill Jones-Renger Text and Cover Designer:Rokusek Design
Editorial Assistant:Doug Greive Cover Art:Kathryn Hagen
Director of Marketing:David Gesell AV Project Manager:Janet Portisch
Marketing Manager:Kara Clark Lead Media Project Manager:Karen Bretz
Associate Managing Editor:Alexandrina Full-Service Project Management:Linda
Benedicto Wolf Zuk, WordCraft, LLC
Project Manager:Alicia Ritchey Composition:S4Carlisle Publishing Services
Senior Operations Supervisor:Pat Printer/Binder:R.R. Donnelley/Willard
Tonneman Cover Printer:Lehigh-Phoenix Color
Operations Specialist:Deidra Schwartz Text Font:Stone Serif
Credits and acknowledgments borrowed from other sources and reproduced, with permission, in
this textbook appear on appropriate page within text.
Copyright © 2010, 2006 Pearson Education, Inc., publishing as Prentice Hall, Upper
Saddle River, New Jersey 07458.All rights reserved. Manufactured in the United States of
America. This publication is protected by Copyright, and permission should be obtained from the
publisher prior to any prohibited reproduction, storage in a retrieval system, or transmission in any
form or by any means, electronic, mechanical, photocopying, recording, or likewise. To obtain
permission(s) to use material from this work, please submit a written request to Pearson Education,
Inc., Permissions Department, Prentice Hall, One Lake Street, Upper Saddle River, New Jersey 07458.
Many of the designations by manufacturers and seller to distinguish their products are claimed as
trademarks. Where those designations appear in this book, and the publisher was aware of a
trademark claim, the designations have been printed in initial caps or all caps.
Library of Congress Cataloging-in-Publication Data
Armstrong, Helen Joseph.
Patternmaking for fashion design / Helen Joseph-Armstrong; technical illustrator,
Vincent James Maruzzi; fashion illustrator, Kathryn Hagen. – 5th ed.
p. cm.
Includes bibliographical references and index.
ISBN 0-13-501876-5 (0-978-0-13-501876-7 pbk : alk. paper) – ISBN 0-13-606934-7
(0-13-978-0-13-606934-8 case : alk. paper) 1. Dressmaking–Pattern design. I. Title.
TT520.A74 2010
646.4'04—dc22
2009005377
10 9 8 7 6 5 4 3 2 1
10 9 8 7 6 5 4 3 2 1
Concealed Case Wire-O ISBN-13: 978-0-13-501876-7
ISBN-10: 0-13-501876-5
Case bound ISBN-13: 978-0-13-606934-8
ISBN-10: 0-13-606934-7
To the three persons I rely on when endurance is required.
This page intentionally left blank
Contents
A complete listing of the contents of each chapter appears on the chapter
opening page.
Preface vii
Acknowledgments ix
PART 1
1 Patternmaking Essentials for the Workroom 1
2 Form Measurements and Figure Analysis 22
3 Drafting the Basic Pattern Set 37
PART 2
4 Dart Manipulation (Principle #1) 68
5 Designing with Darts (Tuck-Darts,Pleats,Flares,
and Gathers) 98
6 Stylelines 121
7 Added Fullness (Principle #2) 132
8 Yokes,Flanges,Pin Tucks,and Pleat Tucks 144
9 Contouring (Principle #3) 158
PART 3
10 Collars 178
11 Built-Up Necklines 201
12 Cowls 208
13 Skirts/Circles and Cascades 230
14 Sleeves 301
15 Kimono,Raglan,Drop Shoulder,and Exaggerated
Armholes 332
PART 4
16 Buttons,Buttonholes,and Facings 361
17 Plackets and Pockets 369
PART 5
18 Dresses Without Waistline Seams (Based on Torso
Foundation) 384
v
vi Contents
19 Strapless Foundation and Interconstruction 405
20 Patternmaking for Bias-Cut Dresses 426
PART 6
21 Shirts 440
22 Women’s Jackets and Coats 458
23 Men’s Wear 491
24 Capes and Hoods 540
25 Knock-Off Copying Ready-Made Designs 552
PART 7
26 Pants 564
27 Knits—Stretch and Shrinkage Factors 626
28 Knit Top Foundations 632
29 Activewear for Dance and Exercise 640
30 Swimwear 658
PART 8
31 Introduction to Childrenswear 690
32 Drafting the Basic Pattern Set: Measurement Taking and
Standard Measurement Charts 695
33 Collars,Sleeves,and Skirts 706
34 Dresses and Jumpers 717
35 Tops 727
36 Pants and Jumpsuits 749
37 Bodysuits,Leotards,Maillots,and Swimwear 770
Appendix 779
Bibliographic Credits 803
Answers to Self-Evaluation Tests 805
Index 807
Preface
Welcome to the fifth edition of Patternmaking for Part II, Chapter 4, Principle 1. Dart Manipula-
Fashion Design! Continuing with the success of the tion is both a principle and a technique. A number
first four editions, this best-selling comprehensive of projects are given to reinforce understanding. The
patternmaking book proudly: slash and pivotal techniques are illustrated. A self-
evaluation test completes the chapter.
• Presents clear instruction, with corresponding Chapter 5. Basic darts are converted to “dart
easy-to-follow technical illustrations and up-to- equivalents.” A number of projects show the versa-
date fashion sketches that will stimulate the cre- tility of the dart and its excess by applying the slash
ative imagination of both technical and and pivotal methods.
design-oriented students; Chapter 6. Princess, Armhole Princess, Panel, and
• Serves as a reference for the professional pattern- the Empire are chosen as classic designs.Challenging
maker and designer; design problems are updated.
Chapter 7, Principle 2. Added Fullness is illus-
• Fills the need for basic foundation patterns; and
trated by using the slash/spread and pivotal meth-
• Provides a variety of instruction so that the mo-
ods. Design projects are provided for common and
tivated student will continue to learn long after
unusual areas for gathers. Challenging design prob-
the classroom experience.
lems are updated.
Chapter 8. This chapter covers yokes, flanges,
Based on the contributions of great patternmak-
pin tucks, and pleat tucks designed on all types of
ers of the past, this new edition adds innovations
garments.Challenging design problems are updated.
and concepts gained through years of experience in
Chapter 9, Principle 3. Contouring is a principle
the industry and classroom. It is comprehensive
and technique that allows the garment to fit the
enough to be a valuable tool now and in the future
contours of the bust and other areas of the figure.
regardless of fashion trends.
A measuring technique illustrates the development
The book offers a DVD covering a number of
of the Contour Guide Pattern for strapless, empire
topics, including:
styles including cutout necklines and armholes.
Part III, Chapter 10. Collar classifications are based
• Original design thought problems.
on two types: convertible (shirt, mandarin, collar/
• Draft of the basic pattern set developed by stand types), and non-convertible (sailor and peter-pan
TukaTech and narrated by Harry Wessel. types). Collars for stylized neckline. A test is provided.
• E-Simulation. Chapter 11. Discusses built-up necklines and in-
set bands. Design projects are provided.
Chapter 12. Begins with the theory of cowls.
Mixes of cowl design projects challenge the learner.
Organization of the Book
A test is provided.
To help facilitate instruction, the book is divided Chapter 13. Four skirt foundations and their sil-
into eight parts; New information is indicated in houettes are discussed. The sequence of the flare series
italic type,as follows: starts with the basic flare skirt and ends with the Radius
Part I,Chapter 1. Introductory information cov- Chart for Circular skirts and Cascades. Pleated skirts,
ers patternmaking tools, symbols, and definitions of tiers, and more are illustrated. Sewing techniques are
the grain, and darts, plus added tools and up-to-date included.New designs have been added. A test is provided.
advances in CAD—E-Simulation. A self-evaluation test Chapter 14. Sleeve theory and terms are dis-
is provided. cussed. Hemline, cuff choices, slit, and updated
Chapter 2. Discusses the ideal figure and standard placket are illustrated, including a sewing guide. A
measurements.Human variations are illustrated for com- test is provided.
parison. Personal measurements are taken and recorded. Chapter 15. Defines sleeve/bodice combina-
Chapter 3. An updated draft instruction for the ba- tions: Kimono, raglan, drop shoulder, deep cut arm-
sic patterns has been added. Fit problems and their so- hole. The gusset is included with sewing instruction.
lutions are included. Two tests are provided. New styles have been added. A test is provided.
vii
viii Preface
Part IV, Chapter 16. Button samples are shown are given for other forms and personal fit. The chapter in-
with sizes for comparison. Basic button styles and cludes a basic jacket foundation and a basic and two-
standard closures provide the patternmaker with piece sleeve. A design jacket, two shirts (dress and
choices. Facings are included: separate and all-in- casual), a trouser, and jean complete this section.
one types. Tests are provided. Chapter 24. Two cape foundations, flared and
Chapter 17. Plackets are methods for entry straight-line, allow for creating designs. Contour
when buttons are not desired. Several variations are and loose fitted hoods are illustrated.
illustrated. Pockets for skirts, pants, and other gar- Chapter 25. Several methods are offered for
ments are illustrated; the chapter also covers stitch- replicating designs by the rub-off and pin marking
on and inserted pockets with sewing instructions. methods.
A test is provided. Part VII, Chapter 26. Covers four pant founda-
Part V, Chapter 18. Introduces the torso founda- tions, which are the basis for all women’s pant de-
tion and three basic dress silhouettes. Popular signs.Fit problems and corrections are included.
styles—princess, panel and empire, tent, and special Chapters 27, 28, 29. These chapters cover im-
design drafts—complete the chapter. New styles have portant stretch and recovery factors of knits. A per-
been added. The ultimate tests are provided. centage stretch chart is helpful in selecting the
Chapter 19. Three strapless styles are included: correct knit for the use of the design. Three knit top
princess (two versions) and bra top. Discussion of foundations are illustrated in Chapter 28. A sewing
boning types, sewing instruction for the undersup- guide is given to attach ribbing. Chapter 29 covers
port, fitting problems, and corrections complete the Lycra stretchable knits for creating body suit and
chapter. Tests are provided. leotard foundations.
Chapter 20. This chapter introduces the theory Chapter 30. Swimwear can be cut in Lycra
of the bias cut and is an example of combining draft- stretchable knits and woven fabrics. The four basic
ing and draping of bias cut garments. foundations give the designer freedom to create any
Part VI, Chapter 21. Three basic shirt styles are swimwear garment of his or her imagination.
introduced: the basic yoke shirt, the casual, and the Part VIII, Chapters 31 through 37. These chap-
oversized shirt with sleeve modifications. Sleeve ters cover children’s wear 3 to 6X and sizes 7 to 14
hemlines, cuff, and slit variations are illustrated. (both boys and girls). The chapters have founda-
An updated placket and banding includes sewing instruc- tions for bodice, dress, skirts, sleeves, jacket, tops,
tions.A peasant blouse completes the chapter. leotards, bodysuits, and swimwear draft. Tests are
Chapter 22. The first part is devoted to female provided in Chapters 34and 35.
projects: jackets, collar/lapels, jacket, and sleeve
foundations. Discussion of the under support pre- Contact the author for comments, questions
cedes sewing instructions. andsuggestions: [email protected]. Fax:
Chapter 23. Draft measurements are based on the 1-310-322-6542.
2008 New York Company Forms. Measuring techniques
Acknowledgments
I wish to express my appreciation to the following and of Iva Sareen, the brains behind the creation of
persons, who contributed freely of their time to help the E-Fit S-Simulator (see DVD).They made their fa-
makePatternmaking for Fashion Designa better book. cilities available to me so that I could work more
Special appreciation goes to: efficiently.
A special appreciation to associate Harry Wessels,
• Kathryn Hagen, whose fashion sketches and R&D manager, of the CAD systems, for his work in
cover design give the revised edition flare. the computer draft of the basic five-piece pattern set
• Vincent James Maruzzi for his excellent techni- in which he narrated (see the DVD).
cal illustrations. The following persons, in one way or another,
were of help to me: Army Gonzalez, General Man-
• Mary Brandt-Njoku, for testing the women’s and
ager, for keeping track of my contacts; Emilio Divona,
children’s drafts; Hyein Kim, Fina Drebskaya,
Vice President; Antonio Caluza, for grading instruc-
and the teaching staff; Susie Lugo for her help in
tions; Kabeer Lai, director; Petro, for installing my
retyping lost manuscript. A special thanks to
laptop softwear; Boris Vishnevsky, for researching
Sharon Tate, who has always been there for me.
which laptop to buy; Raj Sareen, director; Jason
To Linda Melin, expert seamstress, along with
Delevan, for tracking down the perfect pictures for
Elaina Maruch and Nino Iapaolo for their ad-
the DVD; and Arua Compos, who cooked great
vice in the menswear chapter. To Marva Brooks-
meals every day for the associates at the company—
Allman, for her tireless efforts to complete the
of course that included me.
logsheet. And to Tessie Fernando and Carol
To the countless students over the years who
Anderson, the department chair of the Fashion
have found, as have I, the thrill and excitement of
Center at the Los Angeles Trade-Technical College,
exploring the wonderful world of patterns.
for their help in special ways.
I would also like to thank the following review-
• Michelle Lininger for her expertise in setting the ers: Andy Chan, Massachusetts College of Art;
grading rules for the measurement charts. Marlene Cooke-Evitt, Keiser University; Marilyn S.
• Jack Fingerman, noted designer and production Deighton, Niagara University; Hyein Kim, Los Angeles
patternmaker, for his insight and suggestions for Trade-Technical College; Luanne Mayorga, College
the jacket foundation and interconstruction of DuPage; Loan Morris, Lasell College; Peggy P.
development. Quesenberry, Virginia Tech; and Sherry Schofield-
• In memory of Kay Cleverly, whose encourage- Tomshin, Kent State University.
ment and good will helped me to forge ahead. Finally, a special appreciation to Vern Anthony
and to Jill Jones-Renger and her very able staff for
• A special thank-you to Joe Vecharelli of
their time and effort on behalf of the fifth edition,
Vecharelli Industry supplies, who has always
making Patternmaking for Fashion Design a beautiful
been a friend to the Fashion Center at the Los
presentation.
Angeles Trade Technical College.
HELENJOSEPH-ARMSTRONG
I appreciate the friendship of Ram Sareen, Presi-
dent of Tukatcch, TUKAweb, and the TUKA centers;
ix