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The Fashion Design Reference & Specification Book by Laura Volpintesta, Jay Calderin

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162 THE FASHION DESIGN REFERENCE + S PECIF ICATION BOOK
(Text)
Chapter 15: Patternmaking
Patterns are as invaluable to the fashion designer as plans are to the archi-
tect. Adding volume to a garment or eliminating fullness are the result of deci-
sions about fabric manipulation made during pattern drafting. Every restriction
and every bit of ease is built into the pattern. A creative individual armed with
a yardage of fabric and a few carefully placed pins can drape themselves into a
dress. Transferring this idea onto a at pattern, with all the information needed
to duplicate the process, is where the professional’s skill comes in.
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Couturier Hardy Amies in the workroom with Miss Beard, head  tter, 1952
Photograph by Popperfoto/Getty Images.
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Dress Forms
Dress forms are not mannequins. They provide a live-model fit but are a lot more forgiving of
pin stabs. The base of a dress form is composed of layers of cardboard heat-fused with plaster
paste; it is covered in layers of jersey, which are covered, in turn, in linen. A spring mechanism
between the shoulders allows the form to collapse, making the removal of garments easier.
These body doubles are available in most standard sizes and can also be custom ordered for
special clients who cannot always come in for fittings. They are helpful both for fitting a gar-
ment and for the original development of a draped pattern.
In the design studio, small variations in a size can be made with wide bias strips of muslin
wrapped around the form to generate a gradual increase in the area requiring modification.
Adjustable dress forms that change sizes with the twist of a dial might be convenient for home
use or in special circumstances, but do not offer the stability that is the industry standard.
Industry forms are height-adjustable so the designer can work at a comfortable level. Pants
forms, body with legs, children’s and men’s, as well as maternity forms are available. A good
form will last a lifetime if treated well.
Photograph by Popperfoto/Getty Images.
Photograph by Tracy Aiguier.
THE DRESS FORM
Side neck
Center-front neck
Back neck
Shoulder seam
Armhole plate
Princess line
Bust line
Waistline
Hip line
Center-front hip
Side hip
Center-front waist
Side seam at waist
Side seam at bust
Bust apex
Center-front bust
Shoulder tip
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16 4 THE FASHION DESIGN REFERENCE + SPECIFICATION BOOK
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Tool Kit
For the draping and drafting of patterns, the designer needs a set of tools to facilitate the col-
lection and transfer of measurements, along with cutting and sewing instructions, onto a map
that anyone can use to create a sample garment.
Armscye (armhole curve)
Awl
Cloth weights
C-thru ruler
Dotted paper
French curve
Hip curve
Hole punch
Iron and board
Long stapler
L-square
Mechanical pencil
Muslin
Needle point tracing wheel
Notcher
Oak tag paper
Pattern hooks
Pattern punch
Pencils (black, blue, red)
Rotary cutter and cutting mat
Scissors (fabric and paper)
Sewing gauge
Straight pins
Style tape
Tailor’s chalk or wax
Tape measure
Yardstick
Patterns and Hooks
Photograpshs by Tracy Aiguier.
Patternmaking tools
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