Preface
I have had the good fortune of finding a
career in the fashion industry that suited
my abilities, offered challenges and excite-
ment, and introduced me to many fine,
hard-working people. While a student at
the Fashion Institute of Design and Mer-
chandising in San Francisco, California, I
discovered that patternmaking was my
area of expertise. After a few years of work-
ing full-time in the fashion industry as a
patternmaker, I began teaching pattern-
making courses at West Valley College in
Saratoga, California, working concurrent-
ly as a professional patternmaker for
Marian Clayden Ine. My students appre-
ciated the handouts I created to supple-
ment my classes and suggested that I write
a patternmaking textbook. I discussed the
contents of the proposed book with stu-
dents, other instructors at the college, and
professional patternmakers, and, with
their input and my own knowledge and
experience as a pattern maker and instruc-
tor, undertook the project.
This textbook demonstrates how to
draft, drape, and flat pattern an array of
garment styles in a variety of textiles for
Misses', Junior's and Women's sizes.
Fashion styles are ever changing; there-
fore, whenever possible, classic styles are
shown in this text rather than up-to-the-
minute, trendy styles that will become
dated after one season. The styles shown
represent a range of pattern work, from
beginning to advanced.
The content in this book is organized
differently from other pattern books on
the market. I felt it was important to pro-
vide the theory of pattern making along
with detailed drawings of the patternmak-
ing process. Going through the steps
toward completing a pattern is effective
only if the student understands the
process, and how all of the pieces work
together in a finished garment. Most of
the styles are shown complete, including
facings and closures. This approach rein-
forces the fact that the patternmaker must
consider how garment pieces such as
bodice, sleeves, collar, and facings work
together as a unit, as well as how the gar-
ment is put on. Fitting tips are given for
several styles to correct fit problems before
the first sample garment is cut. Emphasis
is placed on the marking and labeling of
pattern pieces, and the listing of the pieces
and notions on pattern charts. Students
indicated that this approach was the most
effective, enabling them to understand the
pattern making process and apply what
they learned to patterns of their own
design. To further enhance students' edu-
cation, learning activities, practice prob-
lems, and a glossary are provided.
Women's bodies come in all different
shapes and sizes, and an effort has been
made to accommodate this variety with
detailed size charts and measurement
tables so that students are not limited to
designing for the "perfect" size-8 figure.
While preparing this book, I conducted
exhaustive research on the body measure-
ments of women of different weights,
heights, ages, and ethnicities. With this
information, I developed size charts that
reflect the average proportions of today's
women. These charts should be helpful
for pattern makers and manufacturers try-
ing to fit the modem-day publie. The gar-
ment styles are shown on drawings of a
Misses' size-12 body form, instead of an
elongated fashion figure, to give students
a more accurate idea of the actual propor-
tions of the finished garment in an aver-
age sIze.
My goals in writing this textbook are
to:
• Explain the techniques of patternmak-
ing and make them easy to understand.
• Include tips for improving fit.
• Include considerations of the manufac-
turing process.
• Include a wide variety of textile uses,
styles, and sizes.
• Help students attain their goals as pro-
fessionals in the fashion industry.
I hope I've achieved these goals and that
this book serves as a useful guide to those
seeking, or already possessing, careers in
the fashion industry as pattern makers.
Happy pattern making!
Acknowledgments
I would not have written this book with-
out the encouragement of many students
at West Valley College and my co-workers
at Marian Clayden Ine. Some of the
more vocal advocates include Justine Ly,
Trang DeHaesleer, Ginna Macaraeg,
Anu Godsey, Laura Brosius, Tina Bui,
LaRhonda Harris, Debbie Lewis, and
Maria Luisa Castillo De Gulick. I wish to
thank all of my students at West Valley
College, who peppered me with questions