Thanks to Ebenezer Butterick of Sterling, Massachusetts, graded paper patterns have been rustling their way across our fabrics for nearly 150 years.1 Today’s multi-size tissue paper patterns have a lot going for them if used properly. In the fashion industry, production patterns are made from a heavier brown card, in single sizes. These are the patterns we use for our daily making and that we sell to our customers. In this chapter we guide you through understanding patterns, using paper or card patterns, and making basic pattern alterations for the very best fit.
Dressmaking patterns can be daunting but once you come to terms with the language, they do have all the information you need for use. Each pattern piece is marked with the number of pieces to be cut – normally one or two – and will also advise if a matching piece of interlining should be cut. Fabric is fluid whereas card and paper are not, so keep a constant eye out for puckers and distortion.
Patterns will give you layouts for different widths of fabric, so choose the one that suits. Some patterns will have a nap layout, which is important for fabrics prone to shading, such as velvet. The instructions will tell you whether a given pattern piece is to be used print side up or facedown so pay attention!
We always prefer to cut out with all our pieces facing the same direction on the fabric. This may use more cloth but bypasses those annoying panel mismatches arising from hidden nap that has a very slight difference in direction; even on non-pile fabric, this can lead to a shading effect on the final garment.
These are commonly called transfer markings because you will need to transfer many of them from your pattern to your cloth.
CUTTING LINE The edge of the pattern and the place to cut!
SEAM ALLOWANCE Shown on all patterns with a long broken line and usually 5/8 in/1.5 cm. Study the pattern pieces to see if this seam allowance changes anywhere, such as the underarm for example.
NOTCHES These are for matching seams, and they are essential for matching up your pieces correctly, particularly where there is ease in the seam, such as the sleeve head.
THE GRAIN LINE This line needs to be matched up to the grain direction of the fabric. The grain follows the selvage edge so the grain line needs to run parallel to this. Note that some patterns will be bias cut and the grain line will run across the grain. Some neck yokes will run at a right angle to the grain.
DARTS AND DOTS These are markings that show the position of the darts or other details, such as pockets. They need to be accurately and clearly marked with tailor’s tacks (see opposite) or chalk.
BUTTONHOLES These must be marked clearly with tailor’s tacks or chalk.
LENGTHEN AND SHORTEN LINES These two parallel lines are guide lines to where you can alter the garment length. (You cannot alter everywhere as this will affect the style or fit of the pattern.)
FOLD LINES These are marked on half pattern pieces, denoting where to position at the fold of your cloth. As they are only half the final shape it is most important you position these pattern pieces the right way up.
Whether you prefer to work with paper or card patterns, each type will lead to similar results but requires quite different techniques in use, as described below.
These are printed on tissue paper as one giant sheet for simpler designs, or more often, a set of sheets. They are typically provided in envelopes with fabulous, full-color drawings of the finished garment and are complete with a glossary and instructions, including a key to the pattern markings. The main challenge is to identify the correct line for your desired size and then to meticulously follow it with your sharp paper scissors.
In use, the pattern pieces are pinned to your cloth and cut around. Here are our top tips for working with paper patterns:
Tailor’s tacks are simply for marking. They are made through the tissue pattern and fabric layer(s) before unpinning the pattern piece. Use a knotted double thread to make several long loops through each pattern dot that needs to be marked (Fig 1).
FOR SINGLE-LAYER FABRIC Snip the top of the loops and very gently lift off your paper pattern (Fig 2).
FOR FOLDED FABRIC Gently start to separate the two layers of fabric. As you reach the tailor’s tack, snip it in half so that you have a half tack on both pieces of cloth (Fig 3).
We like card patterns as they behave better in use and can be used time and time again. They are more rigid and can be persuaded to lie perfectly still and flat. Our patterns are supplied in individual sizes and are already cut into a collection of pieces. They do not need to be pinned out but instead are weighted down onto the fabric with pattern weights (or handy tins of beans) and marked around with tailor’s chalk. All notches are snipped and all internal details such as darts or pockets are drilled out with holes ready to be marked with chalk.
Bodies come in all shapes and sizes and it really is quite amazing that a few pieces of paper can be manipulated to fit anybody at all. If you find yourself amongst the majority of us who were supplied with nonstandard bodies, you will need to make some adjustments to your patterns. Learning some basic techniques for manipulating standard patterns will open the door to a much better fitting self-made wardrobe.
A toile, or muslin, is a working mock-up of the final garment made from a cheaper fabric to check fit and styling details, and it informs the maker where to make changes. We recommend using calico for toile making; this comes in many different weights to allow for a good match to the cloth you are planning to use. However, any similar weight cloth to your intended cloth can be pressed into service for the toile.
When we create a new design for our company we will make many toiles. We will draw all over them and cut and unpick at them to give us what we want. We then transfer these changes to our pattern and alter it accordingly. At each stage, we make a new pattern, which allows us to always have an unchanged original as well as a card story of the design’s development. Don’t be alarmed; alterations to an existing pattern are considerably less daunting than developing a pattern from scratch. However, because things can get complicated, we strongly advise you to trace off your original pattern onto craft paper at the outset, so you can return to it should things go horribly wrong.
Even with a toile, it is often difficult to see exactly how the alteration can be successfully made on the final pattern. In the pages that follow, we explain a few simple adjustments that can be made to your pattern pieces.
While making pattern amendments may seem like a lot of hard work, rest assured that your industry will be rewarded, as you will achieve a more bespoke and professional look to your finished garments. The more you do it, the better you will become until you cannot imagine leaving a pattern alone! However, there are a few things you need to be aware of before you get underway with the pattern adjustments outlined on pages 45–48.
Blend in your reshaping to form a smooth sewing line. This must be done on all seams and on darts. Always alter from the sewing line, not the cutting line. Once you are happy with the alteration, draw on a new seam allowance.
BLENDING DARTS After the alterations and before trimming away the backing paper, fold and pin the darts along their sewing line. Fold the darts in the direction indicated in the pattern instructions and draw smoothly along the sewing line (Fig 1). Add on the seam allowance and trim back to the cutting line. This will give you the familiar point shapes to the dart cutting line (Fig 2).
There are just a few essentials you will need:
Bust alterations are amongst the most common. When you think of how many bra and cup size combinations there are, it’s hardly surprising.
Mark the position of your actual bust with a dot. Draw lines through the dart to the dot as follows: (1) at a right angle from the center front to the dot; (2) from the armhole notch to the dot; (3) from the waist to the dot parallel to the center front (Fig 3). Cut the dart line up to the dot but do not cut through. Cut from the waist to the dot. Cut from the center to the dot. Cut from the armhole notch to the dot.
Spread the underarm out and across. The dart will open up as you do this. Open up the side waist piece; the dart will open up some more. Move the bottom center front piece down and to the same level. Tape the pattern piece down onto backing paper (Fig 4).
Re-mark the dot in the center of the moved pieces. Re-mark the dart point about 1 in/2.5 cm away from the dot and draw in the new dart. Blend in the dart and seams (Fig 5).
This is the same principle as adjusting for a full bust but instead of opening up the pieces you will overlap them.
Draw lines through the dart to the dot following Fig 3 on page 45. Cut the dart line up to the dot but do not cut through. Cut from the waist to the dot. Cut from the center to the dot. Cut from the armhole notch to the dot. Close up the dart. This will force the underarm section and the side waist piece to rise and close. Tape the pattern piece down onto backing paper. Re-mark the bust dot in the center of the overlapped pieces. Draw in a new dart about 3/4 in/2 cm away from the new bust dot. Blend in the dart and seams (Fig 6).
This type of alteration is particularly useful for vintage patterns, which always seem to have an incredibly high bust.
Mark the position of your actual bust with a dot. Draw a box around the dart 3/8 in/1 cm wider on either side (Fig 7). Cut out this box and move it up or down to alter the position of the dart (Figs 8a and 8b). Tape the pattern piece down onto the pattern and backing paper.
The gaping armhole is a common problem that we encounter. Removing cloth to change the angle of the shoulder seam rectifies this. If it is serious, you may need to put a small dart in the armhole.
Lift out the excess through the front shoulder seam (Fig 9). Fold back the seam allowance on the shoulder seams and blend the two seams together to make a smooth line (Fig 10).
Taking out a little from the armhole and a little off the side seam is a simple fix. Make sure that you take off the same amount from the side sleeve seam (Fig 11).
Adding in a little to the armhole seam and the side seam will fix this. Make sure that you add on the same amount to the side sleeve seam (Fig 12).
This can be a particular problem for older women. Before you start, check the amount of ease in your sleeve head. To do this, measure the armhole minus seam allowances and compare it to the sleeve head measurement, again minus seam allowances. The difference between the two measurements is your ease.
Draw a line across the sleeve about 3/4 in/2 cm above the notch lines and at a right angle to the grain line. Draw another line about 3/4 in/2 cm below the underarm, again at a right angle to the grain line. Divide the area between the marked lines into three equal parts. Cut out the two outside pieces, leaving the middle section in place (Fig 13, page 48). Move the two cut out outside pieces away from the middle section to equal the extra width needed. Blend in with the top and side seams (Fig 14, page 48).
Now alter the bodice pieces to match. Measure the new sleeve head and check against the arms both front and back. Take off the ease allowance. There will be a small amount of adjustment needed to the shoulders and side seams (Fig 15). Keep the alteration to the shoulder smaller.
Raise the stitching line on the center front waist by up to 3/8 in/1 cm and then blend in the new stitching line with the darts (Fig 16). Add in up to 5/8 in/1.5 cm into the front side seam, and, to keep the waist measurement the same, take off the same amount from the back side seam.
Reduce the size of the darts. Take the difference of the original larger dart minus the new smaller darts off the side seam (Fig 17).
This is more common than one would think and will affect the way a center back zipper sits.
Lower the waistline from the center back seam by up to 3/4 in/2 cm. Blend in the darts and stitching lines (Fig 18).
1 Initially Butterick produced his patterns on heavy cardboard for rigidity but as a canny businessman, he moved to foldable paper for ease of distribution. Early patterns came without markings and in one size for the experienced seamstress to grade and adapt to her shape, and the printed-paper versions first appeared in 1948.