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    Margarita Lopez Barrionuevo
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    dibujo plano de las diferentes tipologias de camisas, cuellos, bolsillos

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    dibujo plano de las diferentes tipologias de camisas, cuellos, bolsillos

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    1K views151 pages

    Diseño de Camisas

    Uploaded by

    Margarita Lopez Barrionuevo
    dibujo plano de las diferentes tipologias de camisas, cuellos, bolsillos

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    of 151
    Acknowledgments would like to thank my’better half, Joe, who has been dragged through one too many stores to tame my appetite for inspiration It did not go unnoticed T must also give thanks to all the designers out there whose creativity Ihave sketched and stored away for years. Without them, the fashion world would be dull and drab. ‘A very special thanks to Tina Skinnes, Jeff Snyder, and Schiffer Publishing for giving sme the opportunity toring this deat light. Meir insightful ideas helped set the tone and shape this book tobe the best resource out there. Finally, 1 would like to recognize all ofthe guest artists used throughout this book. They areal extremely talented Their creatvestyleseally brought this bok toife. Thankyou to (Chris Andersoa, Lori Nadaskay, Miki Gross, Don Neweomb, Owen Kells, Dennis Murpby, (Charles Youssef, Hyomi Lee, and Randi Katoman Library of Congress Catloging-in-Publienion Dats act, Malic, 1875 ‘Dees shi design Malic Rae. ISBN 978-0.7643.2723.0 (hardcover) Shire Meats 2- Meats lobiag: 1 Tie ‘Tr612R34 2008 mee TAA Oe. CARRY AOrBC (Copyright © 2007 by Malic Rae Alleight reserved, No prt ofthis work maybe reproduced or ‘sed in any form or by any means graphic eletronie or mechan {Sh including photocopving o information storage and retrieval ‘Ssiem+—withour writen permision fom the pubiser “The scanning uploading and distribution a this ook o any pact dere via the Internet or via anyother mans witb the ‘Permission ofthe publisher legal and punishable law Please purchase only authorized editions and do not pripae i o = ‘Sourage te eeetconi piracy of opsrighted material. "Schule, "Sefer Publishing Lid & Desig, andthe"Desien oman ink we we rete ademas of Shier Foi ing Ld Cover designed by: Brace Waters ‘Type et in Aldine 721 BT, Headings Futura Hy ISBN: 978-07648.2723.0 Printed in China Published by Schiller Publishing Lid "R80 Lower Valley Road ‘Aiglea, PA 18810 oonraeimion or the largest selection of ine reference books on this and rebated subjects, plea visi our eh ite a ww sehilflerbooks com ‘Were alway looking or people wo write books on new abd relate. subjects I you have an ides for a book pease oniat ws tthe hove address ‘This book maybe purchased from the pa Tce $498 for shiping Pleas uy your bookstore fst You may write for free catalog, Tn Barope, Shier books are distributed by ‘Bushmen Books 6 Makabury Ave ‘Kew Gardens Surrey TW9 JF Hagland Pome: 4 (0) 208392-8585; Fax: 440) 2033829876 E-mail info bushmoodboeks. co.uk Website: bustimonnboks 0k Free potage in the UK Europe ait mall at ost. Chapter 1 - Collars The shirt, whether casual or dressy, is the most important piece of clothing a man wears because it sets the tone for the rest of the look. Whether worn with a suit and tie or paired down with jeans, the dress shirt is still the main focal point of a man’s outfit. The collar is the most noticeable aspect of the shirt. It is the closest to the wearer’s face. It is the first thing you notice when shopping, whether the garment is hanging or folded. Even the packaging of folded dress shirts emphasizes this point. Folded dress shirts are usually packaged with plastic pieces that hold up the collar band and keep the collar nice and crisp looking. The consumer does make certain assumptions about a garment based on the style of collar used. They may assume a garment is intended for work, or perhaps for weekend casual. The following text will give a description and examples of when certain collars are usually worn. Thereare fiye basic coll Jes: the standard point, the button-down, the full spread, etal Menus kaah (Asie gecinto thé many different decorative collars you will discover more styles such as convertible collars, one- piece collars, and mandarin collars. I also included in this chapter inserts of four different ways to knot a tie, BASIC COLLARS ‘The standard point collar comes in various sizes and shapes. It is dressier than the button-down, and suitable for both business and social occasions. This collar has crisp, clean lines and looks best lightly starched and pressed. It is often worn with collar stays, which can bbe removable for laundering. There is another version of this collar called the pin collar, which is sophisticated and more formal look- ing. Some made-to-order dress shirts will have holes in the collars 10 accommodate the pin or accessory bar. However, the basic cut of the collar itself is stil the seme as the standard point. The button-down collar is the most classic. It is appropriate for business and casual. It is not suitable for formal affairs. This style can be worn with a tie. However, please take note of the sections provided ‘on the type of tie knot that is best used in this instance. There is aso the hidden button-down version, which provides the illusion of « point collar and the stability ofthe button-down. SX PLSD AIS buttor-down collar ‘The full-spread collar has wide points that are spread far apart. It is dressy and considered European-looking here in the States. It must ‘be worn with a wide knot tie. Please take note ofthe sections provided ‘on the type of tie knot that is best used in this instance. full spread collar BASIC COLLARS appearing to be more feminine. ‘The rounded collar provides a more elegant look. It does not suit everyone. It seems to have lost its popularity in recent decades, randed collar casual to formal elegance. There is no tie worn. However, as you will see, there are hybrid forms with tuxedo collar points, which can be ‘worn with the bow tie, ‘Now that you know the five basic collars, we can start to explore the collar library. I will, start off this chapter with the collar band because the band can be worn by itself or de- signed to be the basis for the collar. Collar bands come in various heights. One an easily change the entire look of a collar by changing the height or shape of the collar band. lease keep this in mind when browsing the collar library. You can also interchange the collars with the collar bands to create a unique look. Another thing to keep in mind when you look at the decorative collars is that many of the design details ean be used in other styles of collars. For example, ifyou see a pleated point collar sketch, there is nothing to say you cennot use that same detail ina fall spread ‘model. I purposely tried to not duplicate ideas. COLLAR LIBRARY rounded edge squared off edge notched edge with no COLLAR LIBRARY ‘The Bow Tie ‘The bow tie is most commonly worn for a formal af- fair. However, it can be worn with business attire. 1. Pull left end to extend 1 1/2" below right end. 2. Cross the long end over short end and pull up through loop from the back. Pull tight. 3, Fold short end to form front loop of bow. 4. Secure front loop with left hand, and pull long end down and across loop center. 5. Loop long end around right forefinger toward chest. 6. Push new loop through knot behind first loop. Pull ight and adjust evenly. <> thuxede collar points or “wha ts” tuxedo collar pants one piece collar band and cut out collar band points COLLAR LIBRARY In the Formalwear market you often see collar bands with just the points of a collar that crisply fold over the bow tie. This style is sometimes referred to as “wing tips”. As you can see from the sketches on these two pages, the “wing tips” can cither be cut as a one-piece collar and band, or cut as separate pieces and sewn together, To make matters even more complicated some designers will ccut the inside as one piece collar and band, and then cut the outside as separate pieves Another ingenious design detail found in Formalwear attire is to sew a second layer of fabric ‘onto the back of the collar band, thus encasing a tie or bow tie so that it is held in place and not seen from the back, Please see the sketches below. 4 back view if eed calar Z7, S an one piece collar band and tuxede collar bard and pots folded over and points with pleated trim stitched down at top of band encased collar band encased collar band and points COLLAR LIBRAI RY pes We ees 299 COLLAR LIBRARY ne skimy fold over collar notched band 0 clinny fold over car dable button extended band pleated trim skinny fald over collar COLLAR LIBRARY squared edge, buttons aligned notched comer. bu fed rthon tin traghmetd bb tm Lop doare daible oop dosive opening, snap closure DOE a COLLAR LIBRARY COLLAR LIBRARY COLLAR LIBRARY eo) COLLAR LIBRARY separate shirt piece sewn into closure on wearers’ Left. continues shader seam and armbole down asymmetrical placket collar band creates igh V neckline collar band designed to resemble loop ‘Now we begin the section ofthe library that concentrates on the collars themselves. Before we ‘move on I would like to take this time to speak more in depth about the differences in collars. ‘Trends can be a major influence on the measurements of a collar. Remember the 1970s butterfly collars? How about the ‘80s mini collars? There are two measurements that design influences most: collar length from point t point & the spread. The collar length point o points ‘measured from one point all the way around the back ofthe collar and to the point on the other side. This is not to be confused with the collar point measurement. The colar point is measured from the outside tip of the collar to the inside edge where it meets the collar band. The spread refers tothe distance from point to point in the front ofthe garment. The further the distance, the wider the spread. Some European spreads can be so wide that they appear to almost be completely horizontal! ‘To measure the neck properly, measure around the lower part ofthe neck at the point where the collar band button rests, The tape should not be pulled too tightly You want to leave enough cease so that when a tie is knotted it does not choke the wearer. ‘When selecting along sleeve dress shirt, there are two measurements the customer has to ider: the neck circumference and sleeve length. Generally, there are three sleeve lengths available for each neckband size. For example: A neck size of 16° will come 16/3031, 16/32-33, 16/34-36, There are neck circumference half sizes as wel. As you can seein the chart below these ‘measurements allow manufacturers to offer a garment in say 16/32-34 to the average male, and the same product in a 14 1/2) 36-37 toa slim, longer arm customer. Keep in mind that not all ‘manufacturers offer all combinations of measurements, and those who do certainly place orders based on customer demand, So, many measurements are hard to come by. The short seve dress shirt will be marked with just the neck cireumference size SS ee he collar ond ond apis WW she kt ken fi Seana eas vomeiatwael rare anager ead ol prac Bia ini ele saan ecient ala gua pk caweog om tg Pa ‘Repagotinvolacils usar tmondad when aw re hosighnc Tle apg gente aes we mon seaied Gaicee eter bees alten Sees eee Gee gees a Ped peri cma ee reenter ET Auaarron wncloaisnsens astro tercala eA iacTay erp o wa UT eceen rtregUs oe cis ey ate eee excise Ce ety oleae co thre renarie ts aac La a te Cp Taser eae Use ae ct as eat rT eek oe be cae vas Ramamtaaae ou ca tag ott aie RE calls sa peive sean cli Saar Wena eager eaanemoa ie are rr ee gece ane sa pin acre perce eet teat aa aed oad rand Tawvryooea Soaps COLLAR LIBRARY COLLAR LIBRARY 1. Place the wide end of the tie on wearer’ right 0 it hangs approximately 1 inches longer than the narrow end. 2 Wrap the long end over the short end, and then behind, finishing back on the right side. 3. Cross long end over the shor: end one ‘more time, finishing on the left side. 4. Pull long end through the back opening. 5. Slip point through front of knot and tighten 6. While pulling down the short end with. ‘one hand, use other hand to slide knot up ‘The Four-in-Hand Knot e ‘The four-in-hand is the longest knot and is pro: portioned for the button-down or standard point collar. Because this knot gives 2 longer finished tig, its ideal foro tall man who needs more length. | rE \ AC) IE I \ RB raw edge fold over Layered raw edge i> le> single folded tuck mii tucks ‘The Half Windsor 3 “The Half Windsor knot is more triangular in shape. Its best proportioned for the standard point collar 1. Place the wide end ofthe tc on wearer's ght so it hangs approximately 12' longer than the nazrow end. 2, Weap the long end behind the short end finishing on the right side. 43. Bring the long end through the opening toward the ches, and pall dwn toward thee é 4. Cross long end over knot 5. Pull long end through lop from the back. 6. Slip point carough front of knot and tight cn. While pulling down short end with ‘one hand, use other hand to slide knot up to neck snugly —- — =f F9 (___) to) ate 2] ae KEX| \ZEX| \~S seamed edge trm seamed edge trim seamed edge trim Smid Saas (— FA) (QZ) 2 ES Lie ZES perpendcular plecng perpendailar piecing “split collar at center back seamed collar {aid over from under collar COLLAR LIBRARY perpendicular piecing COLLAR LIBRARY ‘The pin collar is basically a point collar that has some form of closure ‘which draws the to points of the collar closer together: This isto give a cleaner, more reserved appearance. The pin caller ia more formal style col- la, but one that is acceptable for work. You might find a banker or lawyer dressed in this style Below are a few common pin collar looks. Please note that some pin collars come with smal pieces of fabric sewn onto the edge ofthe collar that have either snaps of other closures. If one chooses to take a regular point collar and make it into a pin collar they can purchase these pin accessories 4 variety of decorative styles. Some of these accessories give the wearer the ability to adjust the length ofthe pia, vencallar pin collar with snap closure pin collar with metal accessory pin collar with seap closure COLLAR LIBRARY DD Se? rounded spread collar aoe “ pirtde bean\ 5. contrast piecing at edge ‘slightly rounded spread collar contrast pecng at e pioing edge trim lar ‘The Windsor The Windsor knot is wider and triangular in shape. It is specifically for European spread collars. 1. Place the wide end of the tie on the wearer's right so i bangs approximately 12" longer than the narrow end. 2. Gross the long end over the short end and pull up through loop from the back 3. Bring long end down and wrap behind short end, finishing on the right. 4, Thread long end through loop, then pull down and wrap across front of knot 5, Thread through loop again 6. Slip point through front of knot and tighten. ‘While pulling down short end with one hand, use other hand to slide knot up to neck snugly pleats at fmt edge igh button-down placement on collar band bar tacking on collar band and ribbon trim COLLAR LIBRARY irregular button-down cdlar hidden button-down callar and collar band son collar band three bu COLLAR LIBRARY ‘To keep a collar looking crisp, many garments incorporate collar stays in the under colla. ‘These stays come in a variety of lengths and widths. Some are removable. Others are sewn into the collars and ean be laundered. The sketches below demonstrate the underside view of fout different ways to construct removable stays. calla with stay sewn into collar band ccdlar vith stay sewn into collar band COLLAR LIBRARY COLLAR LIBRARY The below button-down collars are unique in thatthe tothe knotted ti. They create a focal point. When th tie, the collars’ design will then frame the knot o this chapter) Note that several ofthe designs below are redesigned to give a special shape collar points are tucked beneath the tie. (Please refer 0 the tie sections of ed by Eric Glennie cat out deson cut aut design cat out design COLLAR LIBRARY ‘The convertible collar is a syle in which the collar and collar band are cut in one piece. The outside collar and collar band are two pieces, and the inside collar and collar band are fone piece, When this style is worn buttoned up it looks just like any other buttoned up shi However its design gives the wearer the alternative to wear it open for a more casual look. COLLAR LIBRARY ‘The camp collar is designed to be worn open Ic isa more casual style shirt, Theres no collar band. The inside facing of the placket i ut so that it extends upto the shoulder a the high point ofthe shoulder. This sso when the cola is worn open you do not sce placket seams or the back side ofthe fabric. Most classic camp styes will have a small oop close forthe top button, which is normally a smaller size. The remaining buttons ae placed normally own the center frat ofthe sarment. The following demonstrates different stitch details forthe camp collar styles, 0 COLLAR LIBRARY [efore we end this chapter, I felt it necessary to look back at our basic collars: the point collar, button-down collar, the rounded collar and the spread collar. As mentioned previously, all these collars can take on a different look just by changing up the proportions. Nothing demonstrates this point quite as well asthe “mini collar,” also known asthe “baby collar.” These collars barely cover the collar band! Though not the most commonly worn look, this style has come in and out of fashion, from time to time. Below are sketches ofthe basic mini collars and the basic mini camp versions. ceed oe oe Z GES ES és baby pont collar baby button-down callar bby rounded caller EF baby spread cellar baby point one piece cellar baby button-down one piece collar COLLAR LIBRARY baby point camp collar baby raunded camp collar baby mandarn collar baby point one piece camp collar COLLAR LIBRAR' Let us not forget that the back of a collar is a great place to add details to a garment, Many designers will place embroideries, prints, or decorative closures atthe center back of the collar, You can also use creative seam details, tab closures, or lockers loops at the back neck. These following images demonstrate just & few ideas to get you started. p button-down p mitered split collar cat out button-down Loop closure B cect out split collar overlapped split collar o tabbed button closure tabbed button closure » COLLAR LIBRARY bana stand om collar band barra stand om camp callar N / \ U contrast trim stitched down center back Locker Loop ‘bitkon-down tab ee eh cut out design pointed center back button-down cdlar p cat out design bias center back piecing Chapter 2 - Plackets The center front placket of the shirt plays an important role in the overall look of the garment. A designer can choose to make it a focal point or make it practically invisible! ‘There are four basic placket styles: lassie, French front, double bend back, and hidden button placket. As with the first chapter, one can change the look of the placket simply by using contrast color, contrast fabric, or contrast grain line direction. Please keep this in mind while browsing the placket library. You can_ use these techniques even if a sketch does not specify. Another way to achieve a tunique look is the use of different types of closures, be it buttons, snaps, loops, etc. Again, you can use these closures even ifa sketch does not specify one way or another. What follows are descriptions of the basic plackets. Next is the beginning of the placket libs For the: st part I kept sketch, witl the-sameshirt bation and aloe in Catala aca al CPE Oa the placket designs. Fashion trends usually dictate the width of the placket. For the purposes ofthis book I drew all the plackets to be the same width. BASIC PLACKETS The center front placket ofa dress shirt is where one places the closures, be it buttons, snaps, or otherwise. ‘There are four basic plackets: classic, double bend back, French front, and hidden placket ‘The classic placket, also known asthe “set in” placket ora “top center” plackes, is a separate pattern piece sewn on top of the garment. There is usually single or double needle stitching on either side to hold it in place ‘The double bend back placket is produced when the fabric is folded over twice at the edge end held down by the buttons. Each fold is equal width tothe finished placket. Note that a double bend ‘back can have stitching on either edge, but it is not necessary. It ‘can easly be confused with a French front placket. ‘The French front placket is folded in such a way that it gives the appearance of a double bend back placket. However, because cach fold is not equal in width to the finished placket it must be ‘A more modern style is the hidden button placket, where the edge of the fabrics folded to giveessentially two layers of plackets. The one in back is where the buttons would be placed, and the one on top hides the view of ‘the burtons. This is also sometimes referred to as “Aly front” placket, PLACKET LIBRARY top stitching ‘edge stitching top stitching cose to butts decorative placket extended pont placket PLACKET LIBRARY Loop closure placket Loop closure placket wrap Leop closure decorative dosure at top of placket PLACKET LIBRARY twisted placket ilustration courtesy of asthor YW inside placket decoration reverse dable bend back tiny dauble welt pockets Placket held down by buttons create button closures PLACKET LIBRARY decorative trim on center loose decorative trim decorative stitch etal. front placket decorative trim on top and decorative trim on bottom placket decorative edge trim on top and bottom placket bottom placket PLACKET LIBRARY dale breasted placket body of garment is one piece with callar placket is separate tap placket sewn to back of callar band to create a Loop PLACKET LIBRARY raw edge of beth top and both top and bottam plackets separate placket sewn on top bottam placket ae folded back and stitched of raw edge of garment showing raw edge raw adges of top placket are raw edge trin sewn into asymmetrical placket falded back and stitched toward top placket edge buttons, PLACKET LIBRARY y S bias placket mitered placket perpendcular placket Sh apy wp sh bias edge trim bias edge trim Piping on edge of bath tap and bottom placket PLACKET LIBRARY placket piece is folded back at asymmetrical pleats on one pleats on ether side of placket edge and stitched side of placket my: me vertical pleats on garment. ruffled placket decorative pleat trim on placket at edge of placket PLACKET LIBRARY parti. hidden button placket with pleats on the sides partia. hidden buttar-down placket partial hidden button down placket perpendcilar raw edge trim with pleated trim on the sides with pleated trim on the sides on sides of placket PLACKET LIBRARY hidden button placket hidden button placket with hidden button placket with con- bar tacking trast inside placket and edge trim wre reverse tidden placket reverse hidden placket with reverse tidden placket with bar tacking bar tacking PLACKET LIBRARY om S serichidden button placket ‘serihidden button placket with reverse seri-tidden button contrast under placket placket hidden button placket with extended extended contrast inside placket _ hidden button placket down center perpendcular inside placket ‘on reverse hidden button placket front with contrast edge trim PLACKET LIBRARY idden button placket with trim Pleated hidden button placket tidden button placket with pleats coum center front on sides and decorative cosure = =, ae idden button placket with hidden button placket with faci hidden button placket besiss contrast inside placket below second button PLACKET LIBRARY lustration courtesy of Owen Celly fidden button placket with layered hidden button placket with Fidden button placket with vest plechyg and decorative closire ‘pwede ruffle styling tusede be obyling PLACKET LIBRARY =f —— CI perpendcular cut extra Layer “SF shaped hidden button pont placket with inverted pleat of loose fabric over placket placket point placket on top with bb half placket with square bir half placket with piecing and hidden button placket below PLACKET LIBRARY GQ exposed zipper placket covered zipper placket placket with both zipper and buttons covered zipper placket covered Zpper. pil over covered haf zip pl over Chapter 3 - Pockets A pocket on a shirt serves both a decorative and functional purpose. When designing a garment, one must keep in mind what the customer will most likely be using the pockets for. A banker, for example, who wears a dress shirt to work every day, will probably put pens or business cards in his pocket, An engineer who works ata chemical plant, however, may need to store a cell phone, Blackberry, or other items. Therefore, his pockets may need to expand and be made more stable. A pocket is a pouch with a closed end that is sewn into or on top of a garment. Pockets are made in all shapes and sizes. There are two types of pockets: patch pockets and inserted pockets A patch pocket is any pocket that is stitched to the outside of the gar- ment. This “patch” creates the pouch of the pocket. In contrast, an inserted pocket is any pocket sewn into the seam of a garment with the pouch of the pocket located on the inside of the gar- Wier IAA 1 Aa/ Théte cam be two pieces 10 a pockét: the pocket and the pocket flap. You can change the look of a pocket by using different style pocket flaps As you go through the pocket library you will see that I have included different pocket flap designs with some of the pockets. Please keep in mind that you can interchange them with the different pocket styles to create unique looks. round pocket BASIC POCKETS ‘There ae five basic pockets found on a man's shirt. They are the square pocket, rounded pocket, point pocket, cargo pocket, and welt pocket. ‘These are seen in the sketches. The square pocket, round pocket, and point pocket are self-explanatory. Their names refer to the shape of the ‘pocket. You will see more versions ofthese later in the chapter. There are five basic pockets found on 2 man's shirt. They are the square pocket, the round pocket, the point pocket, the cargo pocket, and the welt pocket. ‘The following are descriptions of the basic pockets. ‘The rounded pocket is a type of patch pocket that has rounded edges on the bottom. They come in many shapes and sizes. ‘The square pocket isa type of patch pocket that is square or slightly rectangular in shape. ‘The point pocket isatype of patch pocket that has a least five points. ‘The sketch shown is a classic five-point pocket. BASIC POCKETS wat pocket ‘The argo pocket isa typeof patch pocket that has a band of fabric stitchec found the outside edge creating a box This box allows the pocket to ex ‘pand when used. You usually seea cargo pocket with some kind of sap 01 button down pocket flap. This is so the items are secured inside. ‘The sketch tothe left also demonstrates a bellow pleat A bellow isa box pleat. There are also inverted bellows where the pleat faces inward. The bellow gives a more utilitarian look and is often found on a cargo or ac cordion pocket. ‘The accordion pocket is version of the cargo where the extra strip of fabric around the edge i folded to create pleats. It expands to allow ‘more room to hold items. The accordion pocket is generally larger than the cargo. It too usually has a pocket flap to secure items. ‘A welt pocket, also called a Besom pocket, isa narrow strip sewn tothe pocket opening with the pouch falling onthe inside of the garment. This pocket can havea double welt or single welt, and can be designed with ‘or without a pocket fap, The welt pocket is an example of an inserted pocket. "Now that you are familiar with the basic pockets, we can begin to explore the pocket library. To avoid duplication, I have tried to show details only once. Remember & you can use any of the details on different style pockets. In addition, you can swap the pocket flaps with pockets to create a unique look POCKET LIBRARY cat aut notch bastion trough pocket basic rand pocket below pocket seam deta button though pocket button down Wester she pocket fla pocket flap ssmnmetrica button-down buttondown pocket flap 6s POCKET LIBRARY button hole for pens asmmetric. pocket button through double pocket inverted bellow pleat button hole for pens, edge trim inverted bellow pleat creates id button-down pocket flap mal. box double welt with button-down flap overlap button-down flap POCKET LIBRARY decorative pocket decorative decorative pocket fc with seamed hem catherad pocket with seamed her fad over button trough stration courtesy of aithor one piece fd over buttonedown pocket flap asymmetrical pocket flap and ber tacking button thraugh bb inverted peat with dable decorative stitching button through POCKET LIBRARY daibte pockets with semitidden buttondown pocket flap daibie pockets basic squre pocket ‘square pocket with 2pper squre pocket with zpper rsert insert and card pocket doable welt savare pocket with vertca btn down flap double pocket over comer with button though fad POCKET LIBRARY one piece fold over asyrmetrical pocket one pace fad ever packet with edge trim ad ber tacking extra ayer of raw edge fabric POCKET LIBRARY dable neede stitch edge tim basi fe pont pocket ‘seam detal cross over doible pocket cable pocket extended buttordown flap ‘seamed deta below pleat with seamed hem n POCKET LIBRARY bellow plest with seamed hem ore pece fed over button thrauh pocket decorative stitched trim button through tab inverted pleat ‘thraugh pocket Feld over raw edge. step packet flap contrast pieces asymmetrical shape pocket and fl n basic notched pocket bar tacked pocket flap bar tacked cage POCKET LIBRARY button-down flap and welt pocket bar tackad bellow cage pocket with button-down flap B Zener pocket with brn one piece fad over button rawch pocket inverted peat POCKET LIBRARY 4 POCKET LIBRARY Oo shale walt button though single wat double welt able welt with Lop closure double wilt with button dow flap double welt Shale welt with button-down fl advertca single welt Shale watt wth Lop closure and auch sitting ‘sngle watt with puch stitching ® POCKET LIBRARY sngle walt with Loop closure _2pper wal ith rangle brn Aopen wilt ith tren doble welt with Loop closure doxble welt with triangle Westem style single walt ‘rin for idden button theowh Chapter 4 - Shoulder Seams and Armholes ‘This chapter encompasses all details related to the shoulder area. Originally 1 tried to separate the armhole and the shoulder seam details into separate chapters. However, [found that many times these details overlap one another. ‘The beginning of this chapter starts with the armhole. There are two major types of sleeves that affect the styling of the armhole: the set in sleeve and the raglan sleeve, A set in sleeve is the most common style for a dress shirt. The sleeve iscut separately and follows the natural curve of the armhole. The raglan sleeve combines the sleeve with part of the shoulder area of the garment. ‘Next, we will look at the shoulder seam itself, and the many ways it can be designed, This will include epaulets, a common detail among uniforms. Finally, n SHOULDER SEAMS & ARMHOLE LIBRARY } single needle sttch on ante ard date reede stitch om amble and !! shadder seam fi shodder seam dale needle stich raw edges deceralive sbole aitch with ber tacking whe itching curd arnbole SHOULDER SEAMS & ARMHOLE LIBRARY SHOULDER SEAMS & ARMHOLE LIBRARY straight raglan sleeve randedraclan sleeve sadde shekder raglan sLeeve set in sleeve with ragln style pecing SHOULDER SEAMS & ARMHOLE LIBRARY ‘These two sketches demonstrate wique talorig techniques where one sie of the garment appears tobe asetinamivle sleeve ad the ather des a raglan sleeve ste. SHOULDER SEAMS & ARMHOLE LIBRARY ciple needle shader seam datbie needle shoulder seam contrast Shalder seam insert tole nzede shoulder 2eamn SHOULDER SEAMS & ARMHOLE LIBRARY | reverse shalder seam with 1] reverse shader seam and ambole [i dable needle held open with sbtching SHOULDER SEAMS & ARMHOLE LIBRARY buttondown point battar-down point with Looe button-down square vith box stitch button-down pant button-down angled square button-down pot with dale Loaps SHOULDER SEAMS & ARMHOLE LIBRARY decorative stithng station caurtesy of author extra Layer buttondown SHOULDER SEAMS & ARMHOLE LIBRARY epalet sevininte seams with lage ep sewn rho seams with box stitch "extended epadet bttordown "extended palit buttondown an onsteeve sleeve vith loop epalt from sleeve up onto extended rounded epaulet m ‘shoulder buttondown point with sleeve with Logo oop ‘SHOULDER SEAMS & ARMHOLE LIBRARY SHOULDER SEAMS & ARMHOLE LIBRARY bias et piecing with edge ping bas aut placng on shader extended stitcting om shalder piecing rap down extra layer on shoulder SHOULDER SEAMS & ARMHOLE LIBRARY inverted pleat at tp of piecing Wester style decoration shaped hg ech center ko gamant tic tah center nk of garnet SHOULDER SEAMS & ARMHOLE LIBRARY parpendeir pieces across chest shaved piecing across chest \Westam style piecing across chest SHOULDER SEAMS & ARMHOLE LIBRARY Ping deta that goes ite Western Wester atrle pecs style welt pocket pecs that gaeointa double welt packet Wester style pong en oy Chapter 5 — Short Sleeves ‘When most people think ofa dress shirt, they usually envision along sleeve shirt worn with a suit and tie, However, a short sleeve version can be justas flattering and appropriate. Plus, short sleeve model can bbe much more comfortable in certain climates and/or times of veat. ‘Trends may dictate the fit of the short sleeve as well as the length, However, for the purposes of this book we will focus strictly on the hhem, cufl, and design of the short sleeve, ‘Aclassicshort sleeve has a straight hem, Nice and simple. Ofcourse, the hem height can change, giving the sleeve a different appearance. However, 2s you are about to see, there are many more details that can be added to make this area of the garment a point of interes. Please note that many of the long sleeve cuff details found in the ‘next chapter can be used on the short sleeve model as well, and many coco sous mary sige cracni pe on he Ketel ed bedelameRorlodbadttetions« few of these examples in the later half ofthis chapter. However; I do not wish to duplicate the same concepts, so for more ideas please see chapters 3 & 6. A A contrast edge trin decorative stitching rvtched hem with contrast layer SHORT SLEEVE LIBRARY ‘ple needle hem etched hem SHORT SLEEVE LIBRARY (a perpendaikr insert dow center of sleeve pleated hem vertical in tucks down bias cut insert down carter conter of sleeve of sleeve SHORT SLEEVE LIBRARY basic euffed sleeve dade stitched cuff {ald over flange at top of hem perpendoda aff bas ait eft citered fF SHORT SLEEVE LIBRARY 200 contract edge trim at top of cuff contract nsert on hem fad over raw edge hem Pairtad aff ratehed eff flange af SHORT SLEEVE LIBRARY button trauch bab cet aut af with Loop closure contrast eds trin on shaped cuff had shoped eff shaped hem with perpendcdar cet aut af with rb insert ieert a SHORT SLEEVE LIBRARY ZX triangle fld over snap tab ener stration cutesy of Gates Youssef stitched down tab on hem button thaugh tab on cuff button tough tab on caf 98 SHORT SLEEVE LIBRARY oO a | snap ported aft decorative dab bithn caf soap cf wlth ing aw =a button trough sure aff bution thogh pote a bull thagh mand aff with flange tim SHORT SLEEVE LIBRARY decorative dale button aff LUustratin courtesy of aithor SHORT SLEEVE LIBRARY This is an example of a short sleeve in which ‘the fabric is folded over so that the button goes trough two Layers of button holes. creating a fad or pleat This is a button trough inverted bellow sleeve Its the same dea as dbove except this tine the pleat is done buice te create sm inverted bellowed lack 101 SHORT SLEEVE LIBRARY ‘The sketches on the right are of overlapping button thru cuff To the ight you see a short sleeve cuf with fad over date button thraugh pleat. 102 ‘SHORT SLEEVE LIBRARY a blow pect on hem paint pocket on sleeve bathondown pocket flap on sleeve pieced sleeve with paced sleeve with sewn pull traugh snap tab cosine pocket insert ~ eurded pocket for rounded pocket on sleeve 103 SHORT SLEEVE LIBRARY ip pocket with bellow. cuffed stration caurtesy of Derr Murphy pall through pecket flap pont packet with button ceaffd hem and walt packet ‘through flap Chapter 6 - Long Sleeve Cuffs & Cuff Plackets ‘The cuff helps to create a finished, well groomed look to the long sleeve shirt. The length of one’s cuis critical to the style ofthe gar- ‘ment. A shorter cuff is usually the sign of a sportswear shirt. Often the tlle the cul, the dressicr the garment isin appearance. However, these rules are not set in stone. Trends will dictate the popularity of certain cuff heights throughout time. For the neatest look in a euf it should fit the wrist timily. Gen cally, the width of the cuffs determined by the sleeve length. The longer a man’s arms, the lager his hands and wrists, usually. There- fore, he will need a wider cuff opening. In addition, many cufls today ‘come with two buttons placed horizontally so that one can adjust the fit of the cuff to their wrist i: a ‘This chapier, begins with thé basie ciufis and basic cuff plackets. This is followed by the cuff library, which shows intricate details on different cuff styles. Note that for each cuff styl (square, notch, rounded & French) there are examples of single button, double but- ton, and even triple button, Remember that you can interchange the design details found in one cuff ste with others 105 BASIC CUFFS ‘There ae six basic cuffs for along sleeve shirt. They are the squared euff, notched euff, rounded cuff, French cuff, Western style, and gauntlet. The sketches below demonstrate these basic cuit styles As you browse the cuf library you wll see there are many varationson these styles. You can interchange the design deals from one cuff style to another. For example, if you se a square cuff with edge rim you can choose to use that edge trim on, saya rounded cuff ora French cuft French cuff Westen style cuff ganilet cuff A ge ih | Td Wes (ef es RNS CUFF PLACKETS {A button on che cuff placket isthe mark ofa dress shirt although ics found today on many ‘casual sport shirts A buttoned cufplacket helps kep the sleeve shape trim. The below sketches fre the most common long sleeve cut plackets. {have drawn them using the rounded cu. However you can use any ofthe cuff tyes you wish, Cull plackets come ina variety of lengths sand widths, On the next page are examples of more fashionable cuff plackets. Note that it i possible to have more than one button ona cuff placket. This usually only done when the placket length is extended. However, for the purposes ofthis book Ihave drawn them all relatively he same length and width, idle button peinted cuff placket edge seam sleeve opering ~ edge seam sleeve opering biden button squared auf placket 109 CUFF LIBRARY (CUFF LIBRARY nitered stitch deta tuck pleat cuff S otikled af CUFF LIBRARY | ae fold over trim ~ fidden button cuff extended hidden button placket Ah CUFF LIBRARY pointed natch cuff nitered bi ported cuff CUFF LIBRARY (CUFF LIBRARY CUFF LIBRARY dae layer caf when folded back it appears tebe a French aiff double Layer cuff when flded back it appears tebe a double button French auff mn notched comer French ouff notched comer French cuff ‘seni French auf with comer button placement Chapter 7 - Back Yokes & Garment Shaping ‘The back yoke of a garment serves both a decorative and functional purpose. It can help to shape the garment at the shoul- ders and armhole. The most basic back yoke on a dress shirt is aclean straight seam running horizontal afew inches below the center back neck. Usually the fabric is turned perpendicular to the garment’s body fabric. Many times designers use tucks or pleats below the back yoke where it attaches to the back of the garment to help provide fullness. Iris hard to show one without the other. So, Ihave included them together in the sketches. Again, you can choose to swap the various pleats and such with the different style yokes found in the back yoke library ‘This chapter begins with the focus on the back yoke itself. There are many creative shapes, piecing ideas, and trim details, ‘that cari be sed 0 bring interese 10 this trea of the garment, Remember that you can use contrast color fabric, oF grain line direction even if the sketch does not specify. Simple stitch details can even help to change the appearance of these designs. Next, I demonstrated the different types of shaping to be used in conjunction with the back yoke. These include tucks, pleats, gathers, ete, However, notall dress shirts have buck yokes. ‘These garments still need to be shaped with the use of various tailoring techniques. So, inthe latter half of this chapter Thave demonstrated this s well 13 BACK YOKES LIBRARY horizontal back yoke slit back yoke bias back yoke bias spit back yoke bias back yoke Bias split back yee 124 BACK YOKES LIBRARY darted youe darted yoke perpendadr pieced yoke perpendatar pieced voke bias split notched yoke overlapped notched yoke BACK YOKES LIBRARY hariznta. yoke with bias insert bias yoke with horizontal insert bias split yoke with horizontal insert contrast insert raw edge yoke with stitch detal raw edge center back seam 126 randed yoke BACK YOKES LIBRARY randed yole 127 BACK YOKES LIBRARY Wester sible pointed yoke Westen style horizontal yoke Westam ste split yoee Western ste bins aplit yoo Wester style yoke wth bes insert Wester sie bias split yoke Ls BACK YOKES LIBRARY decorative ye gusset spit yoke asymmetrical yoke with angled grain Une asymmetica yoke with angled grin ne asmmetricd split yoke ~ soymmetrical slit yoke ne BACK YOKES LIBRARY Wester style bias yoke Westem styie mitered slit ye scalloped edge horzantal yoke scalloped adge bas vole Westem she yoke with stitch detat BACK YOKES LIBRARY Wester style horizontal yoke Western style horizontal yoke Wester style bias yoke BL GARMENT BACK LIBRARY Designers sometimes coordinate the back yoke with some sort of shaping technique such as seams, gathers, pleas, tucks, darts, etc. Pleas are often used to create more fllness, whereas tucks, darts, and seams can give a more slender appearance. “These next few pages demonstrate these concepts in conjunetion with the back yoke. T have ‘purposely used a basic back yoke in order to highlight these other features. However, you can interchange them as you wish. This page features the most common forms sen today. They are the side pleats (single or double) box plea, inverted pleat or gathers. side pleats - dable side pleats box pleat inverted pleat gathered center back ; sathered om sides 132 GARMENT BACK LIBRARY \ Nh i\ Tas iS. es Oe duabain cartes of LaiNsalay dable stitched conter back seam daible sttched center back seam 133 GARMENT BACK LIBRARY box pleat stitched at center back box pleat stitched down side pleats sauare piacng created by fold pleats dade box pleat at center back 134 GARMENT BACK LIBRARY loverted pleat with button-down tab inverted pleat hide of box pleat inverted pleat with tab ausoeted pleat n center back seam inverted pleat 135 GARMENT BACK LIBRARY bias inserts nitered risers Pieced hserts pieced inserts pieced rserts| peced inserts 136 GARMENT BACK LIBRARY bias piecing down center back mitered pecs down center back pecing down center back bias piecing back shoulder GARMENT BACK LIBRARY 138 A well constructed shire must be designed to allow for movement ofthe arms and shoulders. As you have ase thus fa, most dres shirts are made with a hack yoke and/or techniques such as pleats to cre= ate the desired fullness. Howeres, not all shirts are made with aback yoke. In this case the designer depends on the shaping of the pattern forthe correct it. For instance, the shoulder seam can be cut more squared, or tapered doven ‘he shoulder seam fora more refined look The shaping of the armbole is extremely important as wel Fora slimmer look the back ofthe garment can be brought in with the use of seams, tucks or darts ‘This later half ofthe chapter focuses on these tailoring techniques for shirts with no back yoke. We start of with the simpler designs, which have clean lines and are symmetrical. The pages that follow offer more artistic approach to modern design, center back seam princess seam princess seaminto amtale GARMENT BACK LIBRARY armhole dart and back tucks shoulder darts and back tuck» shader darts and princess seaninto arhule foressard Ai center back seam ard prncess armhole darts and back darts pieced back darts sean ito amide 139 GARMENT BACK LIBRARY dae stitched center back seam dade stitched center back ‘seam itered garment dable stitched center back sean dovble stitcned center back seam rtered garment edge stitched box pleat box pleat M0 GARMENT BACK LIBRARY contrast center back insert bias cit canter back pecng aribule darts ard contrast center back insert contrast center back pecing comrination tucks and derts combination darts and wlth guseet and decorative inverted pleats stitching “I GARMENT BACK LIBRARY point yee, asymmetrical back contination darts and seams combination tucks and darts seam and dart faa bias ait inserts comtination darks and seam combination darts, seams, and side pleats 142 shaped yoke with pleats and back tucks pincess sean nto arnhcle ae pieced yoke (GARMENT BACK LIBRARY i combination arts, gusset: and seams combivation darts and sears M3 Chapter 8 - Bottom Hems & Vents The bottom ofa man’s shirtis often overlooked. You usually see two styles, cither a shaped bottom ora straight bottom hem. The shaped bottom hem is the most common style for any shirt that is meant to be worn tucked in. The straight bottom hem is for a more casual style and is often worn untucked. Both styles have their own version ofa tail bottom, which is when the back ‘of the garment hangs lower than the front. Tail bottoms come in a variety of lengths. In addition to the hemline, many shirts also have vents on the bottom of the side seams. The side vents come in a variety of shapes and sizes. They ‘add a more casual feel to the straight bottom shirt. It is possible to have atail bottom with This chapter begins with the most common shapes ofa shirt bottom. These include straight bottom hems (with or without vents), shirt bottom hems ail boltOmn Henig and banded hortom< yy _(2Xs)/Y “What fotlows is the beginning of the bottom hem libraty, where I demon- strate different decorative details found on both the straight bottom hem and the shirt bottom hem, Please note that I have chosen to show these design details only on these two types of hems because they are the most popular. How- ‘ever, you can choose to use them with many of the other bottom hem styles, ‘The latter half of this chapter is devoted to different styles of side vents. vent. BOTTOM HEM LIBRARY stright bottom her traght bottom Frnt with shirt bottam tal shit bottom hem het bottom hem with ta shirk bottom fet wth straight bottom tal M45 BOTTOM HEM LIBRARY banded bettion basebal bottom gathered bottom bard straight front hem with

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