oe PATTERN MAGIC 2

: TomokoNakamichi

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PATTERN MAGIC 2
Tomoko Nakamichi

Available for the first time in English, Pattern

Magic 2 is the cult pattcrn-making book from
Japan, partner to the original title Pattern Magic.
Step-by-step projects show you how to create
stunning, sculptural clothes, using a creative
approach to pattern making.

All the information you need to start pattern

making is included, from the basic sloper to
measurements and scaling. Each project is
beautifully illustrated with clear diagrams and
photographs showing the stages of construction,
the muslins, and the finished garments,

With 200 color illustrations

“This book is fabulous. The English language edition

makes the techniques accessible to the novice and
students alike. My students will now be able to
incorporate the ideas into their coursework with
ease.”

Mary Gottlieb, Parsons, The New School for Design.

4 ao
 PeGic 2
TomokoNakamichi

i ey Laurence
King
Publishing
 Tomoko Nakamichi

Having served many years as a professor at Bunka Fashion College,

Tomoko Nakamichi currently delivers lectures and holds courses on
LAURENCE KING

pattern making, both in her native Japan and internationally. This book
Published in 2011 by Laurence King Publishing Ltd brings together the results of the research on garment patterns she has
361-373 City Road carried out to help instruct her students. She also enjoys creating the ball-
London EC1V 1LR
jointed fashion dolls that appear in the pages of this book.
United Kingdom
Tel: + 44 20 7841 6900

Fax: + 44 20 7841 6910

e-mail: [email protected]
www.laurenceking.com

Reprinted 2011 (three times), 2012

Pattern Magic 2 by Tomoko Nakamichi

Copyright © Tomoko Nakamichi 2007

Original Japanese edition published by Bunka Publishing Bureau, Bunka Gakuen

Educational Foundation.

This Englishedition is published by arrangement with Bunka Publishing Bureau, Bunka

Gakuen Educational Foundation, Tokyo, in care of Tuttle-Mori Agency, Inc., Tokyo.

Tomoko Nakamichi has asserted her right under the Copyright, Designs, and Patent

Act 1988, to be identified as the Author of this Work.

All rights reserved. No part of this publication may be reproduced or transmitted in

any form or by any means, electronic or mechanical, including photocopy, recording

or any information storage and retrieval system, without prior permission in writing

from the publisher.

F
A catalogue record for this book is available from the British Library.

ISBN: 978-1-85669-706-4

Photographer: Masaaki Kawada

Original design and layout: Tomoko Okayama

Englishedition design: Mark Holt

Typeface: Sabon and Syntax

Senior Editor: Sophie Page

Printed in China
Pattern Magic 2

Garments we design ourselves appeal to the emotions

as well as the eye.

Unexpected shapes and forms can be converted into flat

patterns and ultimately into garments. From this new ideas

develop, making the process a rewarding one.

I want to copy forms and details that I create unexpectedly

onto a flat surface to understand their structure as a pattern.

Patterns are like documents that describe a garment,

conveying its structure more eloquently than words.

They can even convey the thoughts of its creator.

Contents

Sprouting at the back

Usingthis book (nyokitto)
7 18 esbeecncevces
37
Fundamentals 36
8
Sproutingat the front
p ar £4 (nyokitto)
: with geometrics
Playing é 10
g saree 41
38 Secnasvasexan
40

Wearing a balloon

Wearing a square
34

The dress form used in this book is based on the standard Bunka-style sloper (block) for an adult Japanese female.
See page 100 for more details.

Ail patterns are for a size 9 Japanese adult female (bust 83cm, waist 64cm, centre back length 38cm).

The position of the cutting and opening out lines, and the amount to be opened out may vary according to garment size.

When using a half-scale body form, reduce to half all full-sized measurements and develop the pattern.
Part 2 Part 3
Decorative structures It vanished ...

A vanishing scarf

Different facings,
different looks
Bunka-style sloper for an adult woman
100

Bunka-style sloper for an

adult woman (Size M) (half-scale)
102

Application of the
cowl-neck design
 :

=
i

'

’ od
Y

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of

a i

q Ge ,

¥d
Ve,
rr
Using this book
A major objective when making garments for women is not only that they fit properly but also that they look
attractive. For this reason, garment design will always be important and fulfilling. I hope the pattern-making
method I introduce here is of use to you in turning an image into a silhouette or design detail, and that you learn
from the ideas in this book and then find new methods that work for you.
The pattern drafting and manipulation for the design of garments in this book are based on the Bunka-style sloper
(block) for adult women (Japanese ‘M’ size: bust 83cm, waist 64cm, centre back length 38cm), and a half-scale
dress form for the three-dimensional pattern manipulation. All the measurements on this dress form are half those
of a full-sized dress form; its surface area is scaled down to a quarter and its volume to one-eighth. Using a half-
scale dress form helps you to understand better the overall balance and look of a garment. As my objective was to
explain the construction of a pattern in an easy-to-follow way, I have omitted pattern markings such as the facing
lines used for actually constructing the garment and the amount of fabric required to make the garment.

Abbreviations used in Symbols used in pattern drafting

pattern drafting
Line that acts as a guide when drawing other lines.
BP Guide line Shown bya thin solid line.

Bust Point r Pee) ea = Lineindicatingthat one lineof a fixed length has been divided into
AH Sector line ——————_————_ | equal lengths. Shown by a thin broken line.

Arm Hole el hs t Lineindicatingthe finishedoutline of a pattern.

FAH Finishing line —— ——— ——_ | Shown bya thick solidline or a broken line.

Front Arm Hole Lineindicatingwhere the fabricisto be cut on the fold.

Cut on the fold Shown bya thick broken line.
BAH
k | Zs = PRONE | eee Pere!lt a Lineindicating
thepositionofthetopstitching.
Back Arm Hole Top stitching line Shown bya thinbrokenline.

B Lineindicatingthe positionwheregathersareto beinserted.

Bust Gathers YYYYYYY° 1 Shownbya thinsolidline.

W r Lineindicatingthe positionandsizeofa facing.

Waist Facing line —_—"—T "| Shownbya thickdot-dashline.

ae Hi ngpeangie Indicatesa right angle.

Shownbya thin solid
li
iP 4
marking 4 ndicatesa rightangle. Shown
by a thin
solidline.

H ie
Hip Markingto indicate
intersections of Indicatesthat the left and right linesintersect.
BL ; lines
Bust Line
Grain Indicatesthat the cross-wisegrainofthe fabricruns inthe direction
WL NGUENs of the arrows.Shownbya thicksolidline.
Waist Line
aeGr : Indicates the direction of the bias of the fabric.
HL Bias direction Shownbya thicksolidline.
Hip Line
EL Extension marking “—
>3 _| Indicatesthe partto bestretched.
Elbow Line
CF Ease marking x > «_| Indicatesthe partto beeased.

Centre Front

CB
Centre Back
Close and
cut open marking
Close
:"AM Indicatesthatthe paperpatternisto befoldedalongthe dotted
lines and cut open along the solid line.

Marking to cut
fabric with paper
pattern pieces
arranged
me Indicates that the paper pattern pieces are to be arranged
contiguously when cutting out the fabric.

contiguously
ao
@
PATTERN MAGIC 2
 |

rulddi ) q
TLIC |

Create Ln +tnree-dimensional
limancinnal farm
Torms

The Bunka-style sloper (block) used as the base for

pattern-making is fitted to the body with darts (bust
darts, back shoulder darts, waist darts). The first
chapter explains how to create a three-dimensional
form, not with darts, but with design lines inserted
freely into the pattern of a basic torso.
a 1cm
+2cm

Hy 0.5cm- 1cm
4 aa+0.5cm
+1cm
icm
@ Draft the pattern for the torso.

@ Finishsewing the bodice and add e markings at the end of the darts and on the waistline.
Draw lines in any way you want regardless of the position of the e markings. Insert alignment markings for when you sew the garment together.

PATTERN MAGIC 2
 ® !f you cut along the lines, the
pieces do not lie uniformly flat and
places at which they cross over can
occur as shown by @).

@ By folding @, | created some seam

allowance. At other points where the
pattern pieces do not lie flat, as shown
in ©, make slits in the fabric towards
the end of the darts. At points where
there is excess fabric and it is rising as
shown in ©), fold etc. to flatten.
When sewing together, stretch the
places you have folded and either ease
or flatten the three points where you
have made slits in the fabric.

@ A slit was made on piece @), but

because there is a large amount for
cutting and opening out, make slits in
the fabric in three places and distribute
the ease.

PATTERN MAGIC 2
'
Cut piece@)

(1) Place the fabric pattern (2) Do not forget to add (3) Machine-stitch with a (4) It fits to the chest even without darts.

on top of the fabric, add alignment markings. long stitch along the parts
seam allowances and cut. that have been cut and
opened out, and ease with
an iron.

@ Finish
sewing
tocomplete
The further the design linesare from the @markings,the more you willneed
to shape the fabric. Ifthey are too far away, it willbe impossibleto shape
the fabric (but that also depends on the fabric), so you may have to make
changes to the design such as by increasing the number of design lines.

10
PATTERN MAGIC 2
By way of further application, | inserted flare into th LU nenempee

@ Using the pattern in @, draw lines where @®Cut and open out the amount for the flare. Here, flare The pattern that was cut into two
you want to insert flare. has been inserted in the side seam of the bodice front. The pieces.
panels on the bodice back overlap and a one-piece pattern
is not possible. As they overlap to a large degree, seam
allowance cannot be created by folding the top. Change
the design by dividing the pattern into two pieces.

@ Finishsewing to complete
Depending on the way you insert the design lines,various changes to the
pattern willbe required. Alwaysbe flexiblein your thinking as you find
waysto complete
yourgarment.

11

PATTERN MAGIC 2
!
PATTERN WAGave

Part 1
Playing with geometrics

SinceI first began studying mathematics,

I have always loved the circle.

More than any other shape,

there is a simplicity about it.

I began making patterns for garments,

starting with the circle,

then the triangle and the square ...

When you wrap these shapes around you,

the excess fabric flares

or drapes elegantly.

I alsotried incorporating

artistic forms and details.

Geometric figures can produce beautiful shapes.

My aim is to rebuild patterns

using a variety of methods.

Wearing a balloon (Seepage27forins

13
PATTERN MAGIC 2
‘Wearing a circle :(See
page
28forinstructions)

14

PATTERN MAGIC 2
Wearing a circle (See
page
30forinstructions)
:

12)
PATTERN MAGIC 2
Wearing a triangle (See
page
32forinstructions)

6
PATTERN MAGIC 2
 17

PATTERN MAGIC 2
Sprouting at the back (myokitto) seepage
37forinstructions)

18
PATTERN MAGIC 2
 19

PATTERN MAGIC 2
Just like a stole (Seepage42forinstructions)

20
PATTERN MAGIC 2
 LASS

A ball-shapedaccord10 Ss ava

21

PATTERN MAGIC 2
 ‘S3

22 |
PATTERN
MAGIC2
: Circular sleeve (Seepage49forinstructions)
(See page 50 for instructions)

24

PATTERN MAGIC 2
 PATTERN

__ _Pattern-mal
the concept o:
with geometrics”
Wearing a balloon
| came up with this design after seeing a photograph of a balloon floating gently in the sky.
It's difficult to express a form that floats over the body using three-dimensional cutting but
by expanding the design lines | added to the sloper (block) and discovered ways to turn a beautiful balloon into
a garment.

Parallel to the neckline

BACK

Parallel to the neckline

CF
@ Close all the darts. 1.250m4T |oft
¢ Because the garment inflates from a point above the ' bodice
neckline, make the neckline 5cm higher than the original ©Extension
neckline and then copy the original neckline. (on the bias)
¢ Add 0.5—1cm each to the sides for horizontal
expansion and draw a smooth, continuous line.
¢ Because the centre front line is curved, the extension is cut on the bias. ;
¢ Where the lengths are not the same when the design lines created by
adding an amount for expansion are sewn together, correct the length by
easing or stretching the fabric. Where the difference in length is particularly
noticeable,adjustat the neckline. \

@ Draw well-balanced design lines on the sloper (block). 12cm

15cm

1 .25cm
il

© Widen the facing, as the area around the shoulders tends to stand up.

26

PATTERN MAGIC 2
Page 13: Wearing
a balloon
The large collar attached to the collar band gently
expands and becomes part of the bodice.

@ Closeallthedarts.
Because the collar expands from a point above the neckline, make
the neckline of @), ®, © and O all 5.5cm higher and then copy
the original neckline. ‘
e Add 0.5—1cm each to the sides for horizontal expansion and draw
smooth, continuous lines.

Finished Diagram
Collar

@ Draw well-balanced design lines on the sloper (block). Extend the

design line on the centre front side of ©) so it comes into contact with
the upper edge of the collar band, and draw a smooth, continuous
line passing through the BP.Draw the 4cm-wide collar band (that also
serves as a facing).

© Draft the pattern for the facing. ©

serves as both bodice front and facing.
Finally,align @)and © and sew up to
the end of the seam.

27
PATTERN MAGIC 2
Page 14: Wearinga circle
| tried joining two circular pieces of fabric
to gently enclose the body and
accentuate the curve.

@ Close *%of the armhole darts on the @ Drawa high neckline. As a shortage will ® Do the same for the back as for the front.
sloper (block). occur at the front neckline, add extra width at Drawa high neckline and measure @), which
the centre front. Determine the width of the is the same length as the front shoulder width.
‘ shoulders and mark it @). Extend the line from (@),and mark as ©) the
point where it comes into contact with the
centre back.

The folded garment.

28
PATTERN MAGIC 2
 End of
opening

© Draw a circle with a radius of 30cm. Measure 8cm from the @ For the bodice back, the pattern is two aligned semicircular pieces.
circumference on the diameter, and from there take @measurement to | made the centre back into a zipper opening.
mark@).Align@)on the bodicefront and back. Extend(@)-©)towards
the circumference of the circle. You may draw the line at any angle from

©, but here | have drawn it horizontally. Draw another line passing

through @), with equal angles between the horizontal line that passes
through (@)and the front shoulder line.

@ The pattern for the bodice front consists of three parts.

®: On the linebetween @)and ©, reverseas shown in the above
drawing and copy.
®: As the section that is concealed in the armhole of the bodice front is
required for coverage, add 4cm of width parallel to the armhole.

‘ 29
PATTERN MAGIC 2
Page 15: Wearinga circle
Here, the body emerges perpendicularly from the circle,
making the dress appear conical in shape.

The form changes according to the position and size of

the opening in the hem and the weight of the fabric.

FRONT

BP.

@ Decide where the body is to emerge, @ Closethe armhole darts and cut and open out. © In the same way as the bodice back,
measure body width and mark it @-©). measure body width measurement on the
bodice front.

The folded garment.

30
PATTERN MAGIC 2
© Drawa circle with a radius of 35cm, decide where you want the body to emerge on the centre
front, and mark the position (6). From (6) measure ¢ on the horizontal line and mark point @).
Align @-© and copy the bodice front and back.

@ The pattern consistsof bodicefront @and bodiceback@).Reversethe pattern for ®)on the @ Adjust the length of the opening on the
line@-©) and copy. underside of the garment with snaps or
buttons after trying it on.

i 31

PATTERN MAGIC 2
Page 16: Wearinga triangle
Byplacing triangular pieces of fabric over a dress form
| created a garment that resembles an objet d'art.

| made the triangles exceptionallysharp, and several

new shapes were created by placing the garment
on a three-dimensional form.

End of seam

25cm 25cm
100cm

@ Cut out two triangular pieces of fabric large enough to fit over your body. Here | cut
out an equilateral triangle of sides 100cm and made openings for the head and the hem.
A zipper opening would also be interesting. Adjust after completion.

O
a

@ Place the triangular pieces of fabric you have sewn together ona © Mark the positions of the armholes on the fabric.
ae—
dress form.

a2

PATTERN MAGIC 2
 The folded garment.

11.5cm
5cm

© With the position of the armhole as a standard, draft the pattern for
the sleeve. As the overall garment is a large shape, consider the overall
balance and make the sleeves longer or the angle of the bend in the
elbow larger to create an amusing objet d'art.

@ Insert a design line that runs from the bodice to the sleeve in the
pattern. You can decide on its position by considering the overall balance,
but be aware that as the line that connects (6) and ©) passes through the
base of the arm, your arm will not fit through if it is too high.
1. Connect points@)and ©).
2. From(6), drawa lineat a right angle to the centre front and mark
point @).
3. Drawthe front sleeve linepassingthrough @)and (6).
4. Drawthe backsleevelinethrough @)and ©.

The pattern is made from pattern pieces@)

and @).Reversepattern ®) so as to flipover
the sleeveat the line between (6)and ©),
and copy.

: 33

PATTERN MAGIC 2
 aring asquare
A pullovehatusesmostof asquarepieceoffabricandrequiresa minimum ofmeasurement
andsewing.
Aga mentmadewithsimplestraightseams. ee
It vouldbe interesting
to makeupthissimplegarmentina stretchfabric.
 i CF
End of opening

FRONT

@ Cutting guide.

© Fold the facing and attach the gore.

Drafting a pattern with

your own measurements

Sleeve length + 2cm

® Sew from the centre front hem to the end of the opening. Sew the
& underarm, the gore and the sides, and fold up the sleeve openings and
7 | the hem. Attach zipper to the length of the centre front and design the
j opening in any way you want.
ON ED
J
‘ From the centre front line, draw the shoulder measured at an angle of 45
degrees and the sleeve cap line. Place the front bodice sloper (block) here, and
q decide the ease in the bodice width, garment length and sleeve length, etc.

35
PATTERN MAGIC 2
Sprouting at the back (myokitto)
In this garment, a fold in the fabric protrudes froma fitted bodice.
The size of the protrusion can be changed by making the angle larger or smaller.
This intriguing design is more contemporary than a draped design but is equally elegant.

Make a nyokitto design from a flat piece of fabric

Valley fold

(@| | Mountain

@ Decide where you want to place @ Because the bodice left and right are
the protrusion (@-©-@)’). symmetrical,make onlyone side of the
pattern. Open out twicethe desiredheight of
the protrusion(@)}-©)with @)as the pivotal
point. Mark(6)' and connect(6)and (6)' with
a straightline.@-©-(@) isa rightangle.

As shown in the photograph, to cause ©)

to protrude at an acute angle, determine
the position of © on the mountain fold line
that has been extended beyond the line
connecting(6-6).

©)

To make the protrusion flat as shown in

photograph C, bring ©) closer to @)until
Mountain
the angle at ©) is a right angle. Various
fold
expressions can be created by moving the
position of ©).
©)

Mountain
fold

The fold protrudes at 90 degrees as shown in

photograph A, but if you use the bias on the
mountain fold, the result is a curved soft look.

36

PATTERN MAGIC 2
Page 18: Nyokitto at the back
| introduced a nyokitto on this bodice back.
Protruding from the back of a fitted bodice,
it looks like the beak of a bird.

@ Decide where you want to position the @ Close the shoulder darts, cut and open out ® Because the height will be insufficient,
nyokitto (@)-@). Move the shoulder darts and mark it (6Y'. open out again with @)as the pivotal
to the @)-() line. point. Closing the waist darts will make @)
—(6)'longer than @-(), but as it is only a
small amount, make it into ease along the
outside edge. Depending on the method for
determining the mountain fold line, either the
nyokitto A or B’shown above will form.

+ 37

PATTERN MAGIC 2
Nyo kitto at th e fro nt (See
page
40forinstructions)

This nyokitto rises from the bodice front.

The softly draped fabric, cut on the bias, adds impact to the subtle shape.
Choose any angle you want—it's up to you. Try combining angles for a more interesting look.
 ceat
aN

39
PATTERN MAGIC 2
Page 38: Nyokitto at the front
A nyokitto that protrudes at a right angle from the bodice front.

The fabric is cut on the bias.

Mountain
fold

@ Decide where you want to position the @ The (6)-(© measurement is insufficient ® With @ as the pivotal point, further cut
nyokitto (@)-()). even after closing all the darts. and open out the shortage (in this case,
16cm). Use the bias on the mountain fold.

Page 39: Nyokitto at the front

The nyokitto runs from the shoulder and frames the decolletage like
a necklace.

4.5cm 2cm

1cm

Mountain/ ti

\
\

Open out
horizontally

0.5m 0.5em 0.7em 0.7eM 9.50 0.5em

@ A blouse that has been slightly lengthened from the waistline. @ Close the armhole darts. Open out (6)-©) in a parallel line (in this
Insert cutting and opening out lines (@)-(6)-©)on the bodice front. case, 10cm) and mark the new line (6)'-©". Open @-© as well (in
Move the armhole darts to (6). this case, 10cm) and mark the new line @-)'.

{
40
PATTERN MAGIC 2
Page 19: Nyokitto at the front
A folded nyokitto that creates
the effect of a double-layered blouse.

You can make the fabric protrude

in any way you want according to
the position of the design lines
and the length of the mountain folds.

@ Draft the base pattern for the blouse.

@ Align the side seams of the bodice front and back and
close the armhole darts. Draw (@)-(6)-© where you want
to position the nyokitto.

Valley fold Valley fold

© With both @) and © as pivotal points, cut and open out

(in this case, 14cm). Use the bias on the mountain fold.

41

PATTERN MAGIC 2
Page 20: Just like a stole
A look where you appear to be wearing a stole
is created with one piece of fabric that protrudes
from the bodice along the shoulder.

Change the look of the stole by the way

you draw the cutting and opening out lines.

0.5cm

@ Close all the darts on the

bodice front and cut and open
out along the lines inserted
in step @. Alignthe shoulders
@ Draft the pattern. As the neckline is too high, trim it on the sloper. of the bodice front and back.
On the bodice front, draw cutting and opening out lines toward the Measure 2cm below the back
centre front horizontally from the bust point. neck point and mark it @). Draw
a smooth, curved cutting and
opening for the stole from @)
towards ().

® Move the shoulderdarts to the neckline. @ Extend(®-(6). From(6) take the same measurement
Alignwhat is left of the front and back shoulders. as @)-(6) on the extended line and mark the point ©). Cut
and open out with (®)as the pivotal point (in this case,
17cm), but make sure that ©) does not fall on the centre
back extension line. Draw a horizontal design line passing
through @), the end of the shoulder dart.

42
PATTERN MAGIC 2
 Mountain fold

\ | Valleyfold
\|

@A pattern for the bottom @ Close the shoulder darts with @) as the pivotal point @ If the neckline does not settle when the
point of the bodice back. until the extension line of the centre back crosses (©). garment is worn, either use interfacing or
Measure 1cm on the extension linefrom (©)and mark it ©. edge-stitch halfway along the valley fold
Sewalong@)}-(6)-@to forma dart. as a means of preventing stretching of the
neckline.

43

PATTERN MAGIC 2
I'll never forget the fun of playing with paper
when | was a child, folding it
to create different forms.

Youcancreatea ballbyfolding
severalsheetsof paperinalternating
crescent-moon shapes.

The sharp accents created

by the semicircular accordion shape
create delicate sleeve detail.
O With @ as the pivotalpoint, draw a @ With © as the pivotalpoint,draw a semicircleof radiusr.
semicircleof radiusr. © With @ as the pivotalpoint,draw a semicircleof radius1’.
@ With @ as the pivotal point, draw @ Drawa linedirectlyupwards from ®), and make the v
another semicircleof radius r'. point where it meets the perimeter of the outermost semicircle(6).
© Divide the perimeter of both semicircles © From(©, measure the predetermined fold width # and mark it @.
into the number of folds you are going to © Makethe pointwhere the r and r' semicirclesintersect@).
make in the sleeve. @ From @ measure the fold width of the inner semicircle ¢ on the perimeter of the semicircle r,
© Determine the width of each fold on both and mark it ©.
semicircles,then draw them in jagged lines to @ Findthe centre of the circle,the circumferenceof whichpassesthrough ©) and @),on the line
complete the cross-sectional diagram. directlydownwardfrom (8)and mark it ®).
©-O-" ©-@-« @®With @ as the pivotal point, draw an arc to make the crescent-moon shape. This crescent-
moon shape becomes the pattern for the jabara. As many pattern pieces as the number of folds
are necessary.

When opened out When folded When pulled diagonally

Sleeve
opening

Standard measurements for making this pattern

into a sleeve are indicated here. Measure 8cm
above (@)',and draw a line at a right angle from
that point to make the sleeve opening. The
sleeve is constructed with 16 pattern pieces of
the crescent-moon shape. Position the sleeve so
that it sits well on the arm.

45
PATTERN MAGIC 2
 Cy

A A'
(Face side (Back side
of the fabric) of the fabric)
@ With © as the pivotal point, make a circle ® Cut out circle @) of radius r on base A. © Draw another circle around circle @) at a
® of radius r. distance of 3cm. Mark as A’, the doughnut-
With ®) as the pivotal point, make circle ©)of shaped portion between the two circles. A’
radius r—2cm. becomes the underside of A.
With ®) as the pivotal point, make circle © of
radius r—4cm.
F

i © }o

()
B B’ Cc C'
(Face side VA, (Back side (Face side 3cm (Back side
of the fabric) som — of the fabric) of the fabric) of the fabric)
© Mark as B the doughnut- @ Draw another circle around @ Mark as C the doughnut- @ Draw another circle around
shaped portion between circle circle ®)at a distance of 3cm. shaped portion between circle circle © at a distance of 3cm. Mark
and the outer circumference Mark as B' the doughnut-shaped © and the outer circumference as C’the doughnut-shaped portion
of A’. portion between the two circles. of B’. between the two circles. C’
B' becomesthe undersideof @). becomes the underside of C.

@ A and A are sewn together and A’and B are sewn together along the outer circumference.
In a similar manner, B and B' and C and C’ are attached to construct the jabara.

46
PATTERN MAGIC 2
Page 22: Circular jabara
The circles in the vicinity of the back waist gradually become
smaller as they move towards the inside and eventually seem
to disappear into a tunnel. The effect is subtle and mysterious.

2cm
@ Draft a pattern for the bodice base. To make the bodice back
separate from the body, add ease by cutting and opening out.
The jabara design makes the bodice back heavy. To counter this,
raise the neckline at the centre front.

2cm
© Create a full silhouette by -® Fold the hem, open out at the
folding like a dart at the hem. sides and make into darts. Redraw
the hemline to make the length of
the bodice back the same as that
of the bodice front side seam.

© Connect the ends of the darts on the left and right bodice back
panels, and draw circles with A, B, C and D as their respective centres.
By moving the centres to the right each circle is moved to the right.
Draw a 10cm-radius circle with A at the centre; a 9cm-radius circle
with B at the centre; an 8cm-radius circle with C at the centre; and a ®
7cm-radius circle with D at the centre.
As each of these circles pass through the bust darts, the jabara takes @ Draw a 10cm-radius circle with A at the centre. Close the darts and
on a three-dimensional structure. cut and open out at the neckline.

i 47

PATTERN MAGIC 2
 (Back side
of the fabric)
\ f

@ Create the jabara like a facing on the underside of @). With A as

the centre, draw a 13cm-radius circle (3cm added as the depth of the
jabara), and mark it ®". Align the darts on @)’, cut and open out at
@ the bottom of the circle and make it the seam. Redraw the circle to
form a smooth curve. @)' becomes the underside of A.

@ Redrawthe circumferenceof the circle.Mark the bodice back as (A).

Ne
=
sy)
~~
ee =
fe ioe
“ —_—fw
Maa. Cs
—a
©} :
ul
1

S '
(Back side
if the fabri
fabric)

Open
I, (Back side
83cm of the fabric) oO
© Draw a 9cm-radius circle with B at the centre. To connect it to @)’ © Draw a 12cm-radius circle with B at the centre. Of that 3cm is the
on the underside, with A at the centre drawa circlethat has the same depth of the jabara. Make the pattern for ®)' in the same way as for @)’.
circumference (13cm-radius circle)as the outer edge of @)’.To make sure
the seams are not noticeable, place the joint in the sides. Align the darts and
correct the lines.

Opén 3cm of the fabric)

@ Make the pattern for © in the same way as in ©. @ Make the pattern for © in the same way as in ©.

a Vegas ( ee

— I — —

2 — © seeee <a as
AK = i
“
Open 3cm
Y
oO
(Back side
of the fabric)
oO
(Back side
of the fabric)
10cm

@®Make the pattern for ©) in ® Make the pattern for ©’ in the same way as in @. @®Drawa circlethat has the
the same way as in @. same circumference as the outer
edge of ©)’ and call it ©.

@ Tosew, turn @and @’, © and ®', © and ©’, and © and © insideout, sew the circleson the insideand turn back to the right side.
Next sew the outer edges of @)' and ®), ®)' and ©, © and ©, and © and ©).

48
PATTERN MAGIC 2
 Page 23: Circular sleeve
When placed horizontally the three-dimensional sleeve,
created from one large, one medium and one small
circle, will become a flat jabara resembling a cap
sleeve.

Connectseveralofthesecirclestogether
to make what looks like the arms of a robot.

Use a fabric that can withstand a permanent finish.

|| Close
| © \\. 2.5cm

|| © Calculatethe radius using ® Drawcircle®), whichwill

| | the formula below (2cm has form the outer edge of the
| | been added to the armhole for sleeve. Make it any sizeyou
@ Draft a pattern for the bodice. Becausethe design has a broad- See «Ilcmace) adlerdd ircl
circle eee it,but here ae
r'=12cm.
et)
@,.Thisbecomes the sleeve- Mark 2.5cm from point @)
shouldered look, make the armhole 2cm deeper. : ;
attachment line. on the underarm to get the r
r= (AH+ 2)/6.28 measurement.

an le
() (S) ()

@) @) @

© ©
© il i

iN
1cm 1cm
© Drawthe circle © for the @®Measure 1cm as seam © Mark the pattern comprisingcircles@)and ©)as @,, and the
sleeve opening. Calculatethe allowanceon either side of r and pattern comprisingcircles @)and © as @).
radius r" for circle©. connect to the circlecentre. The sleeve is made up of these two patterns.
r= (sleeveopening
measurement + 2cm (room) + :
2cm (seam allowance))/6.28
The sleeve opening @ @
ate esLaahae has A @ B The circularsleeve is made by attaching the
oS a 2 pelnt ae pow ® two patterns. The pattern isthe same as A,
oa ee. epentiiie.on ® but the @)pattern is made from three pieces
pe vouver line. and the (@)pattern is made from one. Asyou
increasethe number of pieces,you have to
considerthe width of the sleeve opening and
the positionof the sleeve-openingcircle.
A

= 49
PATTERN MAGIC 2
Page 24: Square jabara
Layered squares give this jabara
a sharp, well-defined look.

The way they become increasingly and regularly smaller,

as if they have been graded, shows off the beauty
of the garment even further.

0.5cm
0.5cm Close
4

FRONT

Close

@ Draft a pattern for the vest using a design that is fitted at the waist
and with a flare in the hem.

7 @ Fold the shoulder darts and chest darts and develop the pattern.

O The side piece on the bottommost

layer of the jabara will be the section
below the high waist. Make a U-
shaped opening in the centre and
® Make the jabara on the left mark it @).
bodice panel.

50

PATTERN MAGIC 2
 © Make ©, the second jabara that connects to @),0.5cm shorter and 0.5cm wider than @),and
mark the corner that is created (©).Connect @)and (6) witha straight line. Do the same on the
other side too. Make jabara © 0.5cm shorter than ®), and create a corner on the line@-©).
Then make jabara ©) 0.5cm shorter than ©).

(Back side (Back side

of the fabric) of the fabric)
(Face
side
of the
fabric) @ Fold and cut the side seams

of jabara(8), ©and © alongthe

hem,then cut and attach to make
3
one continuouspiece.
(Back side
of the fabric)
)
(Face side
(Back of the fabric) (Back
side side
of the of the
fabric) fabric)
(Back side
of the fabric)
@ The pattern for the uppermost
FACING jabara © is one continuous piece
with the part above the waist of
the bodice. Do not open holes as
in@, ® and©.

1cm 2cm
© Draft a pattern for the facing. © Make the sation oe the jabara on the right front edge. Mark the facing in@ as ©). In the
same way as the jabara on the left side, make the patterns for (E)and()so that they become
smallerthe higher they get. As©) and@)are to be sewn and then turned insideout, two pattern
pieces are required.

bil

PATTERN MAGIC 2
PAT PBN AWArGeie
\
\

Part 2
Decorative structures:

Twisting, catching, draping—

various methods with which

to capture different qualities of the fabric

and incorporate them into elegant garments.

Create the structure of the decorative

elements on the sloper (block) base first,

and then copy them onto the fabric.

This will allow you to change the design

in any way you want.

Knots (Seepage 64 for instructions) | x a .
Like a jungle (Seepage68forinstructions)

54
PATTERN MAGIC
Stars (Seepage70forinstructions)

Aahss i
ATL
uePOR
RE
aALR
a

3)5,
PATTERN MAGIC 2
Flip turn Gee page 74 for instructions)
Different facings, different looks (See
page
79forinstructions)

5
ATTERN MAGIC 2
 DRI
ik tape digg
Acme ted
i?

ae
Pasar

eases

Cowl neck (Seepage80forinstructions)

Application of the cowl-neck design (See
page
82forinstructions)

59

PATTERN MAGIC 2
Application of the cowl-neck design ec page
83forinstructions)

60

PATTERN MAGIC 2
 PATTERN MAGIC
PRA rast ty tay
zieaE
ey
Knots
The shape created from the act of “tying” is a beautiful method of decorating garments.
In this way a knotted pattern becomes a natural part of the garment.

Inserting a knot into the bodice

@ Prepare a strip of fabric (7cm in width) that has been sewn along the
sides and turned inside out. Measure the length of the fabric strip.
® Make a knot in the strip of fabric and measure the length. 2 = length of
the knot.
End of seam

End of seam

® Draft a pattern for the bodice front. © Close all the darts. From the position where @-(6)
Mark the positions of the knots @) and ©) has been divided into two equal sections, measure the
on the centre front. Measure 2cm from @) length of the knot 2 and the 7cm width of the fabric
and draw the neckline and the design lines. strip. Redraw the lines to make smooth, continuous lines.

62
PATTERN MAGIC 2
 Page 53: Knots
A knotted design for a bodice.

By bringing together several knots

that resemble tiny bells | have created
a unique garment that evokes the sound
of bells ringing.

1.5cem

93cm

@ Draft the pattern for the bodice. With © at the centre, draw the semicircular ® Mark the four sections on the right and left bodice
neckline with a radius of 10cm. Divide the neckline into four equal parts, and panelsas @),®), © and ©, and @’, @’, ©’ and © ¥
then divide the bodice into four corresponding sections. respectively.There are variousways of makingthe knots in 2
the chest area, but, to stabilizethe bodice,firstattach strips ry
of knotted fabric diagonally from the left and right. Then a
create knots wherever you want them to be placed and
fasten them in place. Firstlyconnect panels @)and © with
a strip of fabric. Insert a joint along @-(©) halfway down
the strip of fabric. To make the design symmetrical, connect
@ and © also in the same way.

64
PATTERN MAGIC 2
 5.5cm

© Calculate the length of fabric required for

the knots by actually tying strips of fabric as
shown in the drawing below.

i Sar
Because the knots are small, create -
two knots in the same place. 2

a a} :
15cm
Here, three such double knots have been made
to create volume. As the design is symmetrical,
cutting strip@)-C) with the right sides of the
fabric together willmake the pattern for strip
@-©.

@x2+15cm

© Close the armhole darts on @). Add 15cm

to make two double knots, and make the
pattern. Cutting out the pattern for @)with
the right sides of the fabric together will
create a pattern for 6)’.

® Make the pattern for © in the same way as for ®), adding the
length required for the knots. Cutting out the pattern for ©) with
the right sides of the fabric together willcreate a pattern for OY.

: 65
PATTERN MAGIC 2
After attaching the diagonal strips, place the
garment on a dress form, and closelyknot the
other four strips. Fasten the knots by sewing at
points that cannot be seen from the outside.

66
PATTERN MAGIC 2
 67
PATTERN MAGIC 2
 (

Page 54: Like a jungle

Adesign
wherelinescriss-cross
andoverlap
freely
on
thebodice
inawaythatisalmostorganic.

@ Cut off the dart allowances on the sloper (block).

@ Draw the first part. Draw lines in any way you want as if you © Draw the second part. Mark the end of the seam.
were drawing a picture. When a line crosses a dart, close the
particular dart and then draw the line.

© Draw the third part. Mark the end of the seam. @ Draw the fourth part. Mark the end of the seam.

68
PATTERN MAGIC 2
 '__ Tryingout different combinations of the pattern
"pieces isfun. Sew the right bodice only and then
move the strips around to find your preferred
balance for the left. When drawing the pattern
; parts, a variety of combinations are made
possible by shortening the distance between the
seam ends or making the gaps larger.
Pagei55; Stars
A design that is twisted in the chest area, fitting the garment to the body in the same way as a stretch fabric.
The overlapping of the fabric in a radial pattern in the front bodice creates a star shape.

@ Draft the pattern. As there will be excess in the neckline and the @ Mark panels ® and © on the left and right patterns respectively.
undérbust when fitted exactly to the body, move the excess to the On panel ©), mark as @)'and (©)'the points correspondingto @)and
bust darts. © on panel @.

@©
Closeallthedarts. @ Reversethe top and bottom of panel©). Alignpoint © of ® with
point@)'of ®), and point @)of @with point© of ©.

®
(Face side End of seam

0.2-0.3cm
(Face side (Back side
of the fabric) of the
fabric)

(Face side ® @
of the fabric) @

@ Drawthe necklineand the hemlinein smooth, continuous lines. @ Fold @towards the front. Edge-stitchbetween the bust pointsto |
Join the bust points of panels@)and ®), Mark the shoulder lineof emphasizethe crest of the fold when the fabricistwisted. Twist@)back- 7
as @),and the hemlineas @). wards. As it istwisted, the back side of panel @)appears on the front. AY

70

PATTERN MAGIC 2
 71

PATTERN MAGIC 2
Flip turn for
a draped effect
| increasedthe depth of the shadowsby rotatingthe fabric
and then flippingitover likethe fliptum of swimmersina pool.

Structure of the flip turn

epening A + 1cem—-i1cm
4 tee1cm
+1cm
@ Draft the pattern. Insert design lines in the bodice front pattern before making gathers. Firstly,mark panels @)and ©)and then draw panels ©
and © to extend along the length of @ and ®) in any way you want, as if you were drawinga picture. Insert waist darts in the design lines.

@ The picture shows how © is flippedover and connected to ©).

Ue

PATTERN MAGIC 2
@ Insert lines in @and ©) to @ Cut and open out both @ and
cut and open out for the amount ©, and align@)and (©).Adjust
required for the draped design. the linesto connect smoothlyso
Cut along line @-© to divide that panels@)and @)form one
into two parts. pattern piece.

@ Draw cutting and opening out @ Cut and open out both © and
lines for the draped design on Side ©, and align © and @).Adjust
panels (© and ©). Cut along line seam WL the linesto connectsmoothlyso
(©-@ to divideinto two parts. that panels © and © formone
pattern piece.

Order of sewing

@ Sew@and© asfarastheendofseam©).
@ Twistpanel © at ©-@, and sew panels © and © as far as end of seam (f). The underside
of panel ©) willappear on the top.
@®
Sew®)and© asfarastheendofseam©).
@ As the underside of section © will appear on top, be careful about your choice of fabric.

Ws)

PATTERN MAGIC 2
Page 56: Flipturn
A “flip turn" draped-design tie appears from the slit in
the front bodice for a complex and beautiful effect.

Endof ~
zipper
opening

@ Draft a pattern for the bodice back.

//

@ Draft a pattern for the bodice front. As the design has a very open neckline, close any excess in
the front neckline and add to the side darts.

74

PATTERN MAGIC 2
© Close all the darts. Draw the line of the asymmetrical neckline. © Draw the pattern for the tie from the waist towards the neckline
Mark the deepest part of the neckline @). and determine the position of the slit. Draw so that the tie fits well into
the slit when turned at the neckline. Draw a design line for the bodice
in a position that is concealed by the tie.

@ The bodice front is dividedinto panels @)and ©). From @)on panel @ Mark© 6cm above ©. Dividethe area between @)and ©) into
@, draw line@-© parallelto the edge of the tie. three equal sections,and draw the cutting and opening out linesof the
draped section, avoidingthe positionof the slit.

@ Open out 17cm between @)and ©) and draw the neckline.

75

PATTERN MAGIC 2
 19cm

mB+ 22-25cm

H 10.5cm
7h esas —H +1cm+icm
4

@ Draft the pattern for the skirt.

©
@ As the tie is sewn to @-© of the skirt
front, draft the pattern with the skirt pattern
as a base. It is structured to separate from the
bodice at the waistline, to turn at the neckline
and emerge from the slit. Add 22—25cm to
the measurement ® in @ for the length of
the tie above the waistline.

76

PATTERN MAGIC 2
 ero cs
Clee ey Ok
Attaching a varietyof necklinefacingsto a
similar-shaped bodice gives a range of options,
These invisiblefacings give each garment an
individualshape.

Basic bodice front

4.50om@

@ Draft a pattern .
for the bodice front. Draw ea
© Close all the darts and open .
at the neckline. Draw the facing on the neckline of the bodice
a round neckline and then draw a cutting Extend the neckline to the line that extends before you cut and open it.
and opening out line from the bust point at a upwards from the centre front till it becomes
right angle to the neckline. Mark the neckline measurement 2. To achieve a soft look, make
measurement 2. the grain on the centre front on the bias.

Hil

PATTERN MAGIC 2
The facing is square

4cm

Draw a square neckline. Make @)-(6)-©) into @measurement.

The facing is V-shaped

Draw a V-shaped neckline that measures 2 from @).

The facing is asymmetrical

Draw an asymmetrical neckline. Determine point (6) and make @)-(6)-@)’ into 2 x 2.
As the neckline on the bodice is stretched at (6), the fabric on the bodice left and right
appears to be intersecting at the neckline.

78

PATTERN MAGIC 2
Page 57: Different facings,
different looks

A gentle, asymmetrical drape of the neckline and the hemline which

recalls the elegance of a bygone age.

Becausethe shape of the necklineand the hemline changes according

to the facing, draft the pattern for the outer fabric after deciding on the
facing, to make the garment easierto shape.

® Draw the asymmetrical neckline

and mark the @)-(6)-©) neckline
measurement as &. So that the
fabric appears to be layered,
draw the hemline in reverse
asymmetry to the neckline.
@ Draft the pattern for the bodice front. Make the @-@)-() neckline
Move all the waist darts to the armhole darts. measurement &.

Zi or
1.5cem ry
© Draft the pattern for the bodice © Draft the pattern for the bodice front. Trim 41cm @© Close the armhole darts and cut and open
back. Move the shoulder darts to the off the neckline and 3cm at the hem along the out at @ so that the hemline measurement
neckline. (The facing for the bodice centre front. When you do this, make sure that the becomes %/2. Close the remaining armhole
back is omitted.) neckline and hem measurements are not more than darts and cut and open out at ©). Next cut
the e and ® measurements in ®, respectively. The and open out again at © so that the neckline
larger the difference, the greater the overlapping of measurement becomes 4/2. Draw the
fabric in the completed garment. neckline and the hemline.

79
PATTERN MAGIC 2
Page 58: Cowl neck
The fabric flows softly from both shoulders.

From the side, it appears that the drape is protruding from the fitted bodice.

The cowl neck is said to have originated in the high priest's robe of the Middle Ages.
Here it is incorporated into an elegant dress.

@ Draft a pattern for the draped design. As the draped design is created @ Add cutting and opening out lines on the neckline.
at the neckline, close all the darts and open out at the neckline.

6cm 8cm
45cm 25cm

——— SS
on=I3 = a ®g = a Coal
=y
yd
@Mountainfold—_-f?
Be eg ae | a
il
Valley
fold a aft
Ba
cae Mountainfold

© Cut and open out more at the centre than close to the shoulder line. @ On the pattern in @, add 5cm for the facing above the
Measure the shoulder width and mark (©).Drawa line from (6) to meet neckline @)-©) and roughly cut out the fabric. When you put the
the centre back line at a right angle and mark @).@-(©) becomes the garment ona dress form, the fabric will naturally drape, bringing the
back neckline. fold line lower to @6). A second mountain fold will also appear as
the neckline settles into position.

80
PATTERN MAGIC 2
Page 59: Application
of the cowl-neck design
Seen from the side the silhouette, with its gently opening neckline,
echoes the opening petals of a flower.

0.5cm

icm

BACK Open

@
|

Base point

© Close allthe darts and open at the © Open out the necklineat the
neckline.On the inside of the neckline, points where design linesand the
drawa large curve that passes through dashed lines intersect.
the bust point with a dashed line. This
dashed line is the position where the
neckline will start to open out, just like
the petals of a flower.

3cm
FACING

© Connect the pattern pieces and @ Draft a pattern for the collar.
redraw the neckline.

82
PATTERN MAGIC 2
Page 60: Application
of the cowl-neck design
The draped design is created by cutting and opening
out a large amount of the neckline. Byopening it
out only a little, | tried to create a shirt with a
silhouette that looks like the pout of a pigeon.
Itisevenmoreeffectivewhenyoumakeit witha firmfabric.

tiem
0.5cm 0.7cm 0.5cm

2cm

ie}

3cm
3cm
BP
2.5cm 2.5cm |

@ Draft a pattern. Close %4of the armhole darts and open at the neckline.
Make the remaining %4into darts.

0.7cm

6cm 1.5cem 8cm

SLEEVE
2cm

@ As wrinkles will form when you put on the shirt, add additional room in
the front and back neckline.

2cm

© Draft patterns for the collar

and the sleeve. To achieve a
balance with the unique bodice
design, make the sleeves slim and
slightly longer.

83
PATTERN MAGIC 2
 PATTERN MAGIC

Part 3
It vanished ...

Pattern Magic!

I thought it would be interesting to see

if Icould make part of the garment disappear

by manipulating the pattern.

Not a trick of the eye like trompe l’oeil,

but achieved by skilfully blending concept and pattern.

BUNKA.
A vanishing scarf (Seepage90forinstructions)

85

PATTERN MAGIC 2
 86

PATTERN MAGIC 2
A vanishing lapel
A vanishing pocket (See
pages
96and
97forinstructions)

88

PATTERN MAGIC 2
at “vanishes”
Page85: Avanishingscarf
The scarf wound around the neck
becomes part of the bodice,
and disappears!

eRe
aba
ee
etl
er
ia

End of
zipper
opening

@ Draft the pattern. Close the darts on the bodice back that are towards the side seams. ® On the bodice front, close the darts on both the
bust line and the neckline and cut and open out.

90

PATTERN MAGIC 2
 BP
BP

© Mark the pattern that is cut and opened out at the bust line as @) and the pattern that is cut and @ Attachthe placketabove the
opened out at the necklineas @). bust lineon pattern @).Markthe
bust point@).

1cm (seam allowance)

=
38cm
z ie
© 2cm
oe CF
© Draft the pattern for the collar.
End of
seam
Som

@ ©
© Draftthe pattern for the top bodicefront. pproximately 80cm
Placepattern ©)on top of the pattern in@.
isthe part of the bodice of which the scarf
becomes a part and then disappears. As
overlapping of the bodice and scarf willnot
take place when the scarf is attached, cut out
the overlapping portion and the placket as two
separate pieces. The triangular section @)(©)
and ©) isthe overlapping portion. As seam
allowances are necessary for sewing the side of
the triangle @)-©) to the bodice, add 1cm, and
move(6)to (6. Cut out (@)(6) © separately.

@ Pattern after connecting the scarf and bodice. @ For the lower bodice front, use
the bodice in @. Make the darts
shorter so that they are concealed
by the scarf.

91

PATTERN MAGIC 2
Page 86: A vanishing tie
Byclever design the point of the tie disappears into the shirt.

5cm

End of a

Open openin
ee

BACK Onen
prong
fastener

tom

5cm

icm
, © On the bodice front,
draw the section of the
@ Draft the pattern. Make a zipper opening at the centre back. 38cm tie below the knot. Draw
design lines on the bodice
to make the lower right of
the tie “vanish.” As the tie
section overlaps the bodice
right panel, divide the
5cm
bodice pattern into panels
@®and ®). Mark the point
at which the centre front
and the point of the necktie
intersect as @).
tem

1cm

120cm
TIE

© Made up of pattern pieces

@) and ©). With @ as the base
point, open out 1cm on pattern icm
©, so that the section below @ Draft patterns for the collar and the sleeve.
the knot of the tie will appear to @ As the length of the tie is determined during the final sewing, make
have a natural tuck. it slightly longer and adjust later.

92
PATTERN MAGIC 2
@ Tie the tie. @ Place the bodice on a dress form and attach the tie. Decide where
you want to position the knot in the tie but leave enough room for the
wearer's head to fit through.

@ Once you've decided on the position of the knot, cut off the section © Attach the top section of the tie to the collar, and insert the tie for
below the knot. What you have cut off the tie will not be needed. bodice panel ®) into the knot. Arrange the tie so that it looks natural,
and hem in such a way as not to be noticeable.

93
PATTERN MAGIC 2
Page 87: A vanishing lapel
The lapels of this tailored collar fade into the garment.

0.5cm

@ Draft the pattern. Close the darts on the bodice back, that are
towards the side seams.

@ Draw the cutting and

opening out line and mark the
point at which the neckline and
the cutting and opening out line
intersect as @).

allowance)

BP

© Closethe darts and draft the pattern for the @ Reverse the lapel with the line connecting @®Measure the seam allowance of the lapel.
tailored collar.Mark the position at which the © and the bust point as an axis, and copy. With the bust point as the pivotal point, move
lapel starts ©). Mark the point of the lapel ©). the point of the lapel to the position where
it opens out by 1cm, and mark the points
© and 6.

94
PATTERN MAGIC 2
@ Extend ©'-©) 2cm, connect to the
centre front and make it into the neckline.
Measure 6cm above the bust point and mark
the point @).Connect ©-@ and ©'-@).

@ So that the design lines of the bodice are

not obvious, leave only about 1cm for the
seam allowanceand move ©)-@)to @)-@).

© Reversethe triangle formed from

©'-©'-@". Align@©-@-© along the
line©'—@. As lines©'-@ and ©-@ are
of different lengths, drawa lineconnecting
(© and ©) The frhombus shape; made from Make any sections that are difficult to understand
aed tsoie Part Mak (>concealed in the drawing from notepaper first, in order to
in thelapel. make them easier to understand.

95
PATTERN MAGIC 2
Page 88: A vanishing pocket A
The pocket disappears into the garment
like a half-drawn picture.

The same advanced technique of closing darts

and opening out is applied here.

Pockets A, B, and C are decorative, not functional.

@ Draw the outline of the pocket, and with ® When fitting the pocket to a three-
an eraser rub out the places where you want dimensional dress form, you can use darts to
the corners of the pockets to “disappear.” delete the design lines. Make @)the point
where the dart ends, and try making the
pocket with just one of the design lines@-©).

Facing piece

© When the darts are closed, the base and @ Seam allowance is created by inserting a @ Add seam allowance to the design line.
the pattern overlap. Make a design line in the design line into the pocket opening. As the area around the pocket opening on
pocket opening. | made it measurement 2, the base (the base fabric below @)-©)
considering the amount for the seam allowance serves as the pocket facing piece, make it as
and a balanced position for the design line. large as possible.

96
PATTERN MAGIC 2
Page 88: A vanishing pocket B
Just as a sinking boat disappears beneath the water,
the left corner of the pocket seems to sink and vanish.

[L-Valleyfold

@ Decidewhere you want the pocketto “vanish” @ With © as the pivotalpoint, decidethe depth to
@-©-©. which the corner of the pocket isto sink (e) and connect
at right angles with @ and ©). @-(6)-© willbe a
valleyfold.

Position of pocket
ae. ©

© Add seam allowance to the pocket attachment @ Tothe pocket pattern add the amount required
position@)-(6)-©) of the base fabric. As the triangle for folding back the pocket opening, and the seam
surrounded by @)'—(6)'—©)is unnecessary,trim it. allowance.

97
Ja PATTERN MAGIC 2
Page 88: A vanishing pocket C
The corner of the pocket seems to vanish into the bodice.

@ Draw the outline of the pocket and with an © Frompoints @)and (©),draw design
eraser rub out the places where you want the lines@-@) and @-@). Aslong as they pass
corners of the pockets to “disappear.” through points @)and (6),you can position
points @)and (f) anywhere.

© Make two patterns, with the area @ Add seam allowance to the base fabric and the pocket.
surrounded by @)-(6)-@-©) duplicated on
the base fabric and the pocket.

98

PATTERN MAGIC 2
Thebasis
forpattern
development
isthe
Bunka-style sloper (block)
for an adult woman
The Bunka-style sloper (block), created for the body shape of the modern Japanese women, is constructed three-
dimensionally and fitted to the body with darts (bust darts, back shoulder darts, waist darts).
Bust (B), waist (W) and centre-back (CB) length measurements are required to draw the sloper (block). The
measurements for each part of the body are based on the bust measurement, and the size of each dart has been
calculated from the bust and waist measurements. Each waist dart is calculated by the formula—bodice —(W/2 +
3)—where 3cm is the amount of ease added. Precise calculations are required for a neat fit, but drawings will be
relatively easy if you refer to the quick reference table of measurements for each part of the body. Pages 102 and
103 feature half-scale slopers for each of the bust sizes (77, 80, 83, 86 and 89cm) for you to use.

Quick reference table of measurements for different parts of the body

(Unit: cm)

\ fm foe} Bk lee) Get | S| eed | one | ames| vee | se

ax B46 |8+197/2474/2 +83/8+62 a |£134=0| o+05 |(B-25)|o+02 o-08
7 | 445 | 201 | 170| 207 | 158| 24 6.6 74 16.8
78 | 45.0 20.2 17.2 23.9| 16.0 bale2.4 6.7 12 70 |
7 | 458 | 208| 478| eat.) te) |oee | ver 72 17.3
go | 4.0 | 204 | 174 | 249 | 162 2.5 6.7 72 |
| aes | aos | (75 | 248| 108 2.5 6.8
pe «| azo | a08 | an7 | ear | 108 2.6 6.8
68 | a76~|. 6 | i7e | e409| 106 2.6 6.9
‘es | 4a0 | 207 | 179| 251| 167 2.6 69 |
; 85 435 | 208 | 18.0| 253| 168 27 6.9ue
86 40 | 209| 182| 255| 17.0 27 7.0
Te?) aoe | sey) eg |) bey) Pam 2.7 7.0
es | s00 | 210 | 184 | 20 | 472 28 | 7A
Se ee (oa et — ——o —|-

fe: Vette ear eee nee) 17.3 NG

Waist dart measurement—Quick reference table

Total darts volume} __ f eel £

100% 7%, 18%

9 0.6 1.6

10 0.7 1.8
Bil ots eo

14 0.8 2

12 | 0.8 2.2
nn ES 2.3

100

PATTERN MAGIC 2
Making a drawing of a sloper (block)
Slopers (blocks) are made for both the bodice and the sleeve, but only the method of drawing a bodice sloper (block), used
throughout this book, is explained here.
Basicert lines = ® ©
©)
@m @
ae © 2)

@ -----O------. Back Chest @

> ns a width width FRONT B
ie tem "| tine line 5. + 8.3em
+ ‘
'»_13.7cm

Centre
~ back BL Firstlydraw the basic lines for the bodice.
fenigth Accuratelymeasureeach part of the body
Gente O) 32 Cones and draw linesinthe order of @to (4).The
back Side tb) front numbersin the guide table are alsoarranged
line seam line ® for readingfrom the left in order to helpyou
line proceedwith pattern draftingin that order.
WL
Bodywidth= ( = on)

Curved lines # +(2-0.8cm) B 4 3.40m=©

18° ca 2
® = 1.8cm %
ears is s i @+0.5cem
©+0.2cm Heanh O20 0.8m
0.5cm 0.5cm
is o) FRONT
BACK | tem, |4*°80M@
(=B - 2.5)
A+08cm 4
2cm
Bt f---——’——-- —1 et ~ BP Afterdrawingthe basiclines,draw the curved
© a © 1.5cm 2-3em linesof the neckline,shoulder,and armhole,
and finallythe darts.

WL
f e d Cc b a

Tips for moving darts

When you close the waist darts with @) as the pivotal point, the armhole opens. As it is only a small amount, consider it as ease in the
armhole. The waist darts on the sloper (block) are marked when used for pattern-drafting but have been omitted where not required.

Make the amount

that is opened
Open out into ease
Make the amount Y in the armhole
that is opened
out into ease
in the armhole —

101

- PATTERN MAGIC 2
Bunka-stylesloper(block)for an adult woman izem)(half-scale)
Copy at 200% on a photocopier to make the full-sized pattern.

PATTERN MAGIC 2
Bust (B) | Waist (W) |Back length

38cm

86cm 67cm

89cm 70cm

89cm 86cm 83cm 80cm 77cm

||

PATTERN MAGIC 2
 BayStateCollegeLibra
acai CL

30011665
One way to understand the makeup of clothing is to simply copy model pieces. One can easily

discover the mechanisms behind any piece of clothing by using various means to copy it, then

making a pattern from the recreated piece. When I copy a Dior garment, for example, I get a

fleeting insight into his sense of fun. With patterns, there is always more than meets the eye, and

giving shape to a garment after understanding the mechanisms at play is an even more profound

experience. I hope this book will help you enjoy the process of pattern-making.

Finally, I would like to take this opportunity to offer my heartfelt gratitude to Mrs Fujino Kasai

for the invaluable advice she gave me, as she did with my previous book, Pattern Magic, and to

all the other people who helped make this book a reality.

TT520 Nakamichi, Tomoko.

-N35 Pattern magic 2 /
2011

104
PATTERN MAGIC 2
 Having served many years as a professor at
Bunka Fashion College, Tomoko Nakamichi
currently delivers lectures and holds courses on
" pattern making, both in her native Japan and
internationally. This book brings together the
results of the research on garment patterns she
has carried out to help instruct her students.

\ tenes
Ifril ii
ibe