PATTERNMAKING

FOR FASHION DESIGNERS

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LORI A. KNOWLES
The Practical Guide to Patternmaking
for Fashion Designers
The Practical Guide to Patternmaking
for Fashion Designers

Juniors, Misses, and JiIlOmen

Lori A. Knowles

Fairchild Publications, Inc.

New York
Assistant Acquisitions Editor: Jaclyn Bergeron

Development Editor: Jason Moring

Associate Development Editor: Suzette Lam

Production Manager: Ginger Monaco

Associate Production Editors: Elizabeth Marotta and Beth Cohen

Copy Editor: Donna Frassetto

Photography: Matt Knowles, Aesthetic Design and Photography

Interior Design: Mary Neal Meador

All rights reserved. No part of this book covered by the copyright hereon may be reproduced or used in any

fom1 or by any means-graphic, electronic, or mechanical, including photocopying, recording, taping, or

information storage and retrieval systems-without written permission of the publisher.

Library of Congress Catalog Card Number: 2005920035

ISBN: 1-56367-328-2

GST R 133004424
Extended Contents vn
Preface xv

CHAPTER 1 Introduction to Pattern making 1

CHAPTER 2 Taking Measurements, Body Forms, and Live Models 19
CHAPTER 3 Drafting the Sloper Set 43
CHAPTER 4 Draping the Sloper Set 81
CHAPTER 5 Dart Manipulation for Bodices, Sleeves, and Skirts 105
CHAPTER 6 Collar and Neckline Theory and Development 135
CHAPTER 7 Sleeve Theory and Development 163
CHAPTER 8 Dart Equivalents As Stylelines, Gathers, Pleats, and Release Tucks 187
CHAPTER 9 Added Fullness and Flares, and Added Ease 225
CHAPTER 10 The Torso Sloper and Its Uses 257
CHAPTER 11 The Jacket Sloper and Its Uses 289
CHAPTER 12 The Coat Sloper and Its Uses 315
CHAPTER 13 The Dartless Jean Sloper and Its Uses 333
CHAPTER 14 Special Body Forms, Live Models, and Contoured Styles 351
CHAPTER 15 Patterns for Fabric Used on the Bias Grainline 369
CHAPTER 16 Patterns for Fabrics That Stretch 389
CHAPTER 17 Patterns for Fabrics That Shrink 415
CHAPTER 18 Linings 423
CHAPTER 19 Knockoff Pattern Techniques 439
CHAPTER 20 Production Pattern Techniques 447

ApPENDIX A Quarter-Scale Sloper Set for Misses' Size Twelve 455

ApPENDIX B Metric Conversion Chart 461
ApPENDIX C Fractions of Inches to Decimal Point Chart 462
ApPENDIX D French Curve 463
ApPENDIX E Sample Pattern Chart 464
ApPENDIX F Sample Specification Sheets .465

Glossary 467
Index 477
Preface xv
Acknowledgments xv

CHAPTER 1 Introduction to Patternmaking 1

Introduction 1
Pattern making for the Fashion Industry 2
Objective 3
Key Terms 3
Fabric Grainlines 3
Pattern Grainlines 4
Marker 4
Pattern Labeling 5
Seam Allowance 8
Hem Allowance 10
Pattern Marking 12
Grading a Size Range 13
Tools and Equipment Used in Pattern making 14
Notions 16
Summary 16
Questions 17

CHAPTER 2 Taking Measurements, Body Forms, and Live Models 19

Introduction 19
Objective 19
Checklist for Taking Measurements 20
Preparing the Body Form 20
Preparing Live Models 21
Upper Torso Measurements 23
Arm Measurements 28
Lower Torso and Leg Measurements 30
Size Charts for Junior's, Misses', and Women's Sizes 32
Summary 32
Questions 33
Learning Activities 33
CHAPTER 3 Drafting the Sloper Set 43
Introduction 43
Objective 44
Checklist for Drafting the Sloper Set 44
General Instructions 44
Drafting the Bodice for Junior's, Misses', and Women's Sizes 45
Drafting the Fitted Set-In Sleeve for Junior's, Misses', and Women's Sizes 52
Drafting the Two-Dart Skirt for Junior's, Misses', and Women's Sizes 56
Drafting the One-Dart Skirt for Junior's, Misses', and Women's Sizes 60
Drafting the Two-Dart Trouser for Junior's, Misses', and Women's Sizes 62
Drafting the One-Dart Trouser for Junior's, Misses', and Women's Sizes 68
Test Fitting the Sloper Set and Creating the Two-Dart Front Bodice 70
Summary 75
Questions 75
Learning Activities 75

CHAPTER 4 Draping the Sloper Set 81

Introduction 81
Objective 81
Checklist for Draping the Sloper Set 81
General Instructions 82
Preparing the Body Form 82
Blocking Muslin 82
Two-Dart Bodice for Junior's, Misses', and Women's Sizes 83
Two-Dart Skirt for Junior's, Misses', and Women's Sizes 94
Checking the Trued Bodice and Skirt Drapes on the Form 101
Transferring the Trued Drapes onto Paper 102
Final Truing of Bodice and Skirt for Junior's, Misses', and Women's Sizes 103
Summary 103
Questions 103
Learning Activities 103

CHAPTER 5 Dart Manipulation for Bodices, Sleeves, and Skirts 105

Introduction 105
Objective 107
Style 0501: Front Bodice with Shoulder Tip Dart and Center Front Waist Dart 107
Style 0502: Front Bodice with Two Waist Darts 110
Style 0503: Back Bodice with Neck and Waist Darts 112
Style 0504: Front Bodice with Converging Center Front Darts 114
Style 0505: Sleeve with Two Elbow Darts 116
Style 0506: Front Skirt with Inverted V Darts 119
Style 0507: Front Skirt with Horizontal Side Seam Darts 120
 Style 0508: Curved Dart Dress 722
Pattern Chart for Style 0508 737
Specification Sheets for Style 0508 732
Summary 734
Questions 734
Practice Problems 734

CHAPTER 6 Collar and Neckline Theory and Development 135

Introduction 735
Objective 737
Recreating the Proportions of a Design Sketch 737
Style 0601: Bateau Neckline, Bodice with Intersecting Curved Darts 738
Style 0602: Funnel Neckline, Bodice with Neck Darts . 740
Style 0603: Tie Collar, Bodice with Center Front Darts and Placket 744
Style 0604: Straight Rolled Collar, Bodice with Zip Front and French Darts 748
Style 0605: One-Shoulder Neckline, Bodice with Contoured Darts 752
Style 0606: Sailor Collar with Asymmetrical Button-Front Bodice 755
Pattern Chart for Style 0606 767
Summary 767
Questions 762
Practice Problems 762

CHAPTER 7 Sleeve Theory and Development

Introduction 763
Sleeve Theory 763
Objective 763
Dartless Sleeve Sloper 764
Style 0701: Petal Sleeve 766
Style 0702: Dropped Shoulder Sleeve and Bodice 768
Style 0703: Long Sleeve with Upper Cap Combined with Bodice
Style 0704: Square Armhole Sleeve and Bodice 774
Style 0705: Modified Kimono Bodice with Gussets 776
Style 0706: Dolman Sleeve, Dartless Wraparound Top 779
Pattern Chart for Style 0706 785
Summary 785
Questions 786
Practice Problems

CHAPTER 8 Dart Equivalents As Stylelines, Gathers, Pleats, and Release Tucks ... 187
Introduction 787
Objective 788
Style 0801: Bodice with Square Neckline and Release Tucks 788
 Style 0802: Bodice with Armhole Princess Styleline, Sweetheart Neckline,
and Cap Sleeves 192
Style 0803: Bodice with Yoke, Gathers, Shawl Collar, and Short Sleeves 196
Style 0804: Bodice with Stand Collar, Bare Shoulders, and Bust-Level Styleline 200
Style 0805: Bodice with Front Yoke, Back Pleats, Raglan Sleeves, and Convertible Collar 204
Style 0806: Skirt with Gathered Waist, Kick Pleat, Waistband, and Back Zipper 209
Style 0807: Skirt, Princess Line, Overlapped Waistband, Back Zipper, and Slit 211
Style 0808: Trouser with Stitched Pleats, Fly Front, Front Insert Pockets,
Back Double Piping Pockets, and Cuffs 215
Pattern Chart for Style 0808 222
Summary 222
Questions 223
Practice Problems 223

CHAPTER 9 Added Fullness and Flares, and Added Ease 225

Introduction 225
Objective 225
Style 0901: Top with Two Layers, Flared with Uneven Hem 226
Style 0902: Blouse with Gathered Front, Buttoned Placket, and Short Puffed Sleeves
with Control Lining 229
Style 0903: Blouse with Long Full Gathered Sleeves, Flared Cuff Flounces, Peplum,
and Collar 233
Style 0904: Flared Skirt, Waist Finished with Inside Facing 239
Style 0905: Circle Skirt and Waistband 241
Style 0906: Half-Circle Skirt 244
Style 0907: Pant, Pull-On with Low Crotch and Double Elastic Waistband 246
Style 0908: Jumpsuit, Double-Breasted, Wide Flat Collar, and Inverted Box Pleats 248
Pattern Chart for Style 0908 255
Summary 255
Questions 25fj
Practice Problems 256

CHAPTER 10 The Torso Sloper and Its Uses 257

Introduction 257
Objective 257
Torso Sloper 257
Style 1001: Shirt with Box Pleats and Sleeve Placket 262
Style 1002: Shirt, Oversized, with Hidden Button Placket, Buttoned Tabs, Belt,
and Inseam Pockets 267
Style 1003: Vest, Fitted, with Flat Collar 271
Style 1004: Skirt with High Waist and Insert Pockets 273
Style 1005: Dress with Short Kimono Sleeves and Empire Waist 277
Style 1006: Dress with Modified Cape Collar, Low Waist, and Handkerchief Hem 278
Style 1007: Traditional Kimono 282
 Pattern Chart for Style 1007 286
Summary 286
Questions 287
Practice Problems 287

CHAPTER 11 The Jacket Sloper and Its Uses 289

Introduction 289
Objective 289
Jacket Sloper: Front, Back, and Sleeve 290
Jacket Sloper, Separate Bodice, and Skirt 293
Style 1101: Bolero with Leg-of-Mutton Sleeves 293
Style 1102: Portrait Lapel Jacket, Panel Stylelines, and Front Ties 297
Style 1103: Bomber Jacket, Hidden Zipper Closure, Elastic-Cased Waist, Epaulets,
and Pouch Pockets with Flaps 302
Style 1104: Single-Breasted Jacket with Low Notched Lapel, Two-Piece Sleeves,
Welt Pockets, Vents, and Bound Buttonholes 306
Pattern Chart for Style 1104 314
Summary 314
Questions 314

CHAPTER 12 The Coat Sloper and Its Uses 315

Introduction 315
Objective 315
Coat Sloper: Front, Back, and Sleeve 315
Style 1201: Long Coat, Patch Pockets, Button Tabs, Back Vent,
and Modified Shawl Collar 318
Style 1202: Pea Coat, Double-Breasted, Modified Design with Flared Back
and Adjustable Back Belt 323
Style 1203: Cape with Over-the-Shoulder Yoke, Knife Pleats, and Loose Hood 326
Summary 330
Questions 331

CHAPTER 13 The Dartless Jean Sloper and Its Uses 333

Introduction 333
Objective 333
Dartless Jean Sloper 334
Style 1301: Runner's Shorts 338
Style 1302: Capri Pants with Low-Rise Waistline 341
Style 1303: Jeans with Slim Fit, Five Pockets, Tapered Legs, and Zippered Ankles 343
Style 1304: Sailor Pants 347
Summary 350
Questions 350
CHAPTER 14 Special Body Forms, Live Models, and Contoured Styles 351
Introduction 351
Additional Measurements Needed for Contoured Styles
Objective 351
Style 1401: Halter Top with Contoured Bra Cups 352
Style 1402: Gown, Flattened Bust with Boning in Bodice, and Three Separate Tiers
on Skirt 354
Style 1403: Gown, Off-the-Shoulder, Pleated Collar, Boning and Padding, Skirt
with Godets and Train 360
Summary 364
Questions 365

CHAPTER 15 Patterns for Fabric Used on the Bias Grainline 369

Introduction 369
Objective 370
Flat Patterned Bias Torso Sloper 371
Draped Bias Torso Sloper 373
Style 1501: Bias Camisole with Separate Cowl Front 376
Style 1502: Bias Top with Cowl Collar, Short Cowl Drape Sleeves, and Hip Band 378
Style 1503: Bias Skirt with Trumpet Hem 382
Style 1504: Bias Slip Dress with Low Back and Crisscross Spaghetti Straps 383
Summary 387
Questions 388

CHAPTER 16 Patterns for Fabrics That Stretch 389

Introduction 389
Objective 391
Knit Torso Sloper Flat Patterned: Front, Back, and Sleeve, for 50-Percent Stretch Fabric
in Width, Only 391
Knit Torso Sloper Drape: Front and Back, For 50-Percent Stretch Fabric
in Width, Only 391
Style 1601: Classic Tee Shirt with Crew Neck in Ribbing 395
Style 1602: Knit Shirt with Raglan Sleeves, Shoulder Pads, V Neck, and Cuffs
in Ribbing 395
Knit Full-Length Bodysuit Sloper Draft: Front, Back, and Sleeve
for 1OO-Percent Stretch Fabric in Width and Length 397
Knit Full-Length Bodysuit Sloper Drape: Front and Back for 100-Percent Stretch Fabric
in Width and Length 401
Style 1603: Mid-Thigh-Length Bodysuit with U-Front Neck, Racer Back,
and Empire Seam 404
Knit Legging Sloper Flat Patterned: Front and Back for 100-Percent Stretch Fabric
in Width and Length 405
 Style 1104: Single-Breasted Jacket, Including Lining, from Chapter 18 447
Pattern Chart for Style 1104 452
Summary 453

ApPENDIX A Quarter-Scale Sloper Set for Misses' Size Twelve 455

ApPENDIX B Metric Conversion Chart 461
ApPENDIX C Fractions of Inches to Decimal Point Chart 462
ApPENDIX D French Curve 463
ApPENDIX E Sample Pattern Chart 464
ApPENDIX F Sample Specification Sheets 465

Glossary 467
Index 477
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
that required me to come up with answers;
as well as those whose designs challenged
my skills, and those who shared their own
expertise from careers in the fashion
industry in other countries.
Sally Aitken and Kaee Min of the
Fashion Design and Apparel Technology
Department at West Valley College have
been very encouraging during my time as
an instructor, and they helped convince
me to write this book. Thank you for your
support, advice, and friendship, without
which I could not have completed this
project!
Thanks are also due to Marian and
Roger Clayden, who employed me for so
many years and provided a family atmos-
phere in which their employees could feel
comfortable and flourish. I learned so
much while under their wings, a great deal
of which went into this book. I can't
thank them both enough.
I wish to thank my wonderful hus-
band, Matt Knowles, whose professional
photography helped to illustrate this text,
and whose computer knowledge helped
me learn the programs necessary to com-
plete this textbook. Thank you, too, for
putting up with me during this very long
process!
I consider Mr. Hector Edward Lopez
to be my patternmaking and teaching
mentor. He was one of my instructors at
the Fashion Institute of Design and
Merchandising in San Francisco, Califor-
nia. I have tried to emulate his pattern-
making prowess and his engaging, profes-
sional manner as an instructor-but
don't think I'll ever be as suave as he is!
Fairchild Books has given me the
honor of having my work published, for
which I cannot thank them enough. Olga
Kontzias, Executive Editor, has been a
supporter since I first contacted Fairchild
and was instrumental in seeing this proj-
ect to fruition. Olga also put me in touch
with Beth Cohen, Joseph Miranda,
Elizabeth Marotta, and others at Fairchild
who have been there to keep me going,
help me stay organized, and pull me
through the most stressful times. Thank
you, all! Reviewers selected by the pub-
lisher were also velY helpful. They include
Missy Bye, University of Minnesota;
Betty Davie, Kent State University; and
Elaine Zarse, Mount Mary College.
To my family, friends and models,
thank you for your continued interest in
my project, for participating in size meas-
I urement research, and for listening to my
book updates with eagerness instead of
boredom. From now on I'll be able to
converse on a variety of topics rather than
just the contents of this and my menswear
book.
Introduction to Patternmaking 1

Patternmaking = pattern draft-

ing, pattern draping, and flat
patternmaking

Figure 1.1
Pattern drafting is a design process that
involves taking measurements from a per-
son's body or a body form, adding ease to
these measurements (usually), and then
transferring these measurements onto a
paper pattern. This is done using pencils,
tape measures, rulers, curves, scissors, and
tape. The finished paper pattern is placed
on top of fabric as a guide to cutting out
garment pieces.

Figure 1.2
Pattern draping is a design process that
involves pinning and marking pieces of
fabric that have been placed on a body
form, or a human body, into the desired
shape. These "draped" pieces of fabric are
then corrected and transferred onto paper
using tracing wheels, pencils, rulers,
curves, scissors, and tape. The finished
paper pattern is placed on top of fabric as
a guide to cutting out garment pieces.

Figure 1.3
Flat patternmaking is a design process in
which a base block, or sloper, is used to
create a pattern for a new style. The sloper
 front bodice
sloper
size 12
is traced, then set aside. The traced copy is
transferred into a new style using one or
more pattern making techniques. These
techniques include adding fullness, con-
touring, pivoting, and slash and spread.
Figure 1.4
Patternmaking has come a long way since
people first started cutting shapes out of
fabric instead of just wrapping large sec-
tions of it around themselves. As people
made clothing that conformed more close-
ly to the human body, they found that fab-
rics that do not stretch need to be shaped
by placing darts, pleats, gathers, or style-
lines at strategic areas, thus enabling the
fabric to ftt smoothly over the body's con-
tours. This is especially true of the adult
female form, which has many convex
(outward) and concave (inward) curves
throughout its three-dimensional shape.
Pattern making for
the Fashion Industry
Patternmaking techniques have devel-
oped over the centuries to convert fabrics
and animal skins into clothing to cover the
human body. In the previous and current
centuries, machines have been used to
create patterns. Before the advent of com-
puters, patterns were always made by
hand. The introduction of body scanners
to record minute detail about individual
body shape may revolutionize the way
clothing is produced. In the future, an
individual's measurements may be sent
directly to a clothing manufacturer, where
they will be used to create a custom pat-
tern that will guide the cutting of the gar-
ment-ail done by computer.
Currently, the majority of clothing
worn by people in industrialized nations is
mass produced in third world countries.
Clothing manufacturers often produce
garments offshore to reduce costs to the
manufacturer, which in turn reduces the
retail cost to the consumer. The fashion
industry has had its share of bad press
about the conditions under which its
products are made. Manufacturers should
do their utmost to ensure that their work-
ers and contractors are treated fairly and
with respect, as demonstrated by reason-
able compensation and hours, and decent
working conditions.
The patternmaking process starts
with the fashion designer's idea. A ftrst
pattern is drafted, draped, flat patterned,
or created on a computer. Next, a ftrst
sample of the new style is cut and sewn.
The first sample is fitted to a body form or
a live model. Changes are almost always
made to the first pattern, either to perfect
the fit or to adjust the style of the garment.
A second sample is then cut, sewn, and fit-
ted. Further changes may be made, and
more sample garments may be cut and
sewn, until the designer, patternmaker, or
in-house merchandiser and company
owner are satisfied. At this point, more
samples are made for in-house salespeople
and sales representatives who show the
garments to prospective buyers for retail
establishments; or, the manufacturer may
sell directly to the public. Once a style is
deemed worthy of going into production,
the pattern is sent to the production pat-
ternmaker, who prepares the pattern for
grading into a size range. The produc-
tion pattern must be as perfect as possible
so that errors are not transferred into pro-
duction garments, which number into the
hundreds or thousands for large compa-
nies. This is only one way of producing
patterns; each company has its own sys-
tem. In smaller companies, fewer employ-
ees may be responsible for more than one
part of the production process. Some
companies are so small that the designer
does all of the pattern work, and some-
times even the cutting and sewing!
sewing techniques is very valuable for a
patternmaker, but the beginning student
can be successfully taught patternmaking
and sewing simultaneously ifhe or she has
an aptitude for working with the hands
and is able to visualize patterns and gar-
ments three dimensionally.
You will need to be familiar with several
terms before you start the lessons in this
book. Terms included in the glossary
appear in boldface type at the first text
mention. Additional terms may require a
longer explanation or a visual example to
be fully understood. The explanation of
these terms comprises the rest of this
chapter.
Figure 1.5
It is important to understand and use fab-
ric grainlines correctly, otherwise your gar-
ments will hang improperly and will twist.
Have you ever bought a garment that had
sideseams that twisted toward the front or
back? Well, a good guess is that the gar-
ment was not "cut on grain." When fabric
is woven on a loom, the first yarns placed

Objective
This chapter introduces the student of
fashion design and patternmaking to the
industry terms, tools, and equipment.
Basic information about the type of paper
used for patternmaking, fabric grain-
lines, pattern labeling, seam allowance
and hem allowance, pattern marking,
grading a size range, and the names of the
body form parts prepare students to pro-
ceed through the rest of the chapters.
Students who have an extensive knowl-
edge of sewing using commercial pat-
terns will find that the fashion industry
has its own standards for widths of seam
allowance, pattern marking (such as
notches and punch holes), and timesav-
ing construction methods. For example,
the seam allowance depth on the neckline
of a pattern produced by a fashion manu
facturer is narrow, usually 1/4 inch, to elim-
inate the need to "grade" the seam
allowance by cutting the seam allowance
layers with scissors. A knowledge of

pattern grainlines
are always placed
parallel to the straight
grain and selvages
on the loom are called the warp yarns or
warp grain. Another name for these yarns
is the straight grain. These yarns run the
length of the fabric, so if you have 3 yards
of fabric, the warp grain yarns are 3 yards
long. The warp grain has the most
strength in a woven fabric and the least
amount of stretch, because there is tension
on the yarns when they are set in the loom.
In garments made of woven fabric, the
warp or straight grain usually runs up and
down the body. Garments hang well when
cut out of fabric this way as long as the pat-
tern pieces have been made correctly.
Cross Grainline
After the loom has been set with warp
yarns, the next step is to add or weave the
weft yarns or weft grain. Another name for
these yarns is the cross grain. These yarns
run across the width of the fabric from side
to side or "selvage to selvage" and are at a
90-degree or right angle to the straight
grain. The selvages are the tightly woven
edges that run along the outer length of a
bolt of fabric and are parallel to the
straight grain.
Occasionally a garment is cut with the
weft or cross grain running up and down
instead of around the body. This might be
done when a border design on one or both
edges of the fabric is featured at hems. A
fabric hangs differently if cut on the cross
grain, especially if there are gathers or
pleats. The gathers or pleats do not lay
flat; instead they puff out away from the
body. This is usually acceptable in skirts
but should be kept in mind when design-
ing with borders.
Bias Grainline
Another way to cut garments out of fabric
is to use the bias grainline. If a perfect
cross grain (torn edge or pulled thread) is
laid on a perfect straight grain (torn edge
or pulled thread), you will have a diago-
nal fold that is a perfect 45-degree angle
to the straight or cross grain. This 45-
degree angle line is called true bias. A
garment that is cut with the true bias run-
ning up and down on the body stretches
and clings to the body. This is one way to
make a garment size fit a wider range
of figure types, as knits do, but it uses
more fabric per garment and can be diffi-
cult to sew without ripples or stress lines
on the seams.
Figure 1.6
Grainlines are drawn on pattern pieces to
ensure that they will be placed on a fabric
in a way that enables the garment to be
cut properly. The grain line is drawn as a
straight line that runs from edge to edge
of the pattern piece. It includes arrows to
distinguish it from other lines on the pat-
tern. The grainline can be drawn in vari-
ous places on the pattern, depending on
whether the garment is to be cut on the
straight, cross, or bias grainline. When
placing the pattern on a piece of fabric,
the grain line drawn on the pattern piece is
always laid parallel to the straight grain
and selvages of the fabric.
Figure 1.7
Most fashion manufacturers expect to
make multiple copies of their designs,
and the patternmaker must remember
what goes into the production of such
garments. The fabric probably will be
stacked in several layers or "ply" (one
layer = 1 ply), with a marker on top. A
marker is a piece of paper the same width
as the fabric from edge to edge (selvage

to selvage) onto which pattern pieces
have been traced. The pattern pieces are
placed in such a way as to use the least
amount of fabric per garment. When you
draw grainlines on pattern pieces, be sure
the lines go from edge to edge. Then
when the pattern piece is placed on
marker paper, the grainline can easily be
lined up with the grid of letters and num-
bers on the paper.
When fabric is stacked in several lay-
ers with a marker on top and with pattern
pieces close together, cutting can be diffi-
cult. Special electric tools or computer-
ized cutters are used to cut through the
layers. Because of this, you should refrain
from making patterns with very odd
shapes, extremely sharp points, and
cutouts that would make the production
process difficult if not impossible.
Pattern Labeling
Pattern labeling helps the people who use
your patterns. Each pattern should have a
style number, which usually consists of 4
or 5 digits. These digits generally have
some significance; for instance, the first
number may indicate the year or season
for which the pattern is made; the second
number, whether the garment is a dress,
,=~..
~'j
- ~1
2.004 !
,0 I
top, or jacket; and the last two or three
numbers, the style itself.
When creating first patterns, it's best
to write the name of the pattern piece,
such as "bodice front" or "collar," on the
pattern for easier recognition. You should
also indicate the size of the garment, usu-
ally a number such as "12" with a line
under it, which means "cut." Beneath this,
you should note the number of pieces to
be cut, such as "1," followed by the word
for the type of fabric, such as "self." The
garment industry uses words such as "self'
or "lining" to designate different fabrics
without having to write the whole name of
the fabric, such as "wooljersey,"on each
pattern piece. Usually manufacturers
make up stamps with these words on them
for use in labeling pattern pieces. Each
pattern should be accompanied by a pat-
tern chart, also called a "pattern card" or
"face card," which acts as a legend or key
explaining these words. The pattern chart
also lists the individual pattern pieces so
that someone using the pattern knows
what they are and whether any are miss-
ing. Pattern charts usually list the notions
a garment requires and provide a sketch of
the garment to identify it. There are many
examples of completed pattern charts
throughout this book. You will also find a
 shirt may have a black collar and black
belt. Even if the grey and black fabrics
are from the same mill and have the same
fiber content, they are still different col-
ors on different bolts. The pattern pieces
to be cut from the grey fabric (self)
1002 1002 would be labeled "self' and the pattern
back shirt \ front shirt pieces to be cut from the black fabric
12 12 (contrast) would be labeled "contrast."
1- self on 2- self The word "contrast" is usually written in
the fold ~.0 blue ink. If another fabric were used on
the outside of the garment, such as a
white necktie, that pattern piece would
_0>
OJ C
0-0
-0 0
be labeled "contrast 2," and patterns cut
.:.: .-
o C from the black fabric would now be
o
Q.Q.
OJ ~.
OJ CD
~
o co - labeled "contrast 1" to indicate the use of
1002 more than one contrasting fabric on the
scarf garment. The words "contrast 2" can be
all sizes written in brown ink.
2- self
en ~
.-
;::+
Lining and Interfacing
Figure 1.10
1002 12
1002 riqht back belt 2- self Lining is any fabric used on the inside of a
sleeve I- .~ - , I
1002 12
garment that hides construction. Alter-
12 left back belt 2- self nately, it may be used to reduce bulk in a
2-=5elf
garment, such as under the collar or on
the back in the vest style shown here.
button 1002 Lining pattern pieces should be labeled
tab
stitchline
'"
~I~
collar tab
all sizes in red ink with the word "lining." You
c~ 2- self
OID c_ might use a stiffener fabric called inter-
N:JO=-'" g~ 1- int'!
o..o.EQ N:JO
OD.:! ~ facing inside pieces such as the collar or
aco. aco.
-IDID
"0-
-QJQJ
"0- the front to give them more body and
"00
:.c.c :.c..c;
"00
help them retain their shape. Pattern
pieces that are to be cut in interfacing fab-
ric should be labeled in green ink with the
abbreviation "int'f."

blank pattern chart in Appendix E that Interlining and Underlining

may be copied for your own patterns.
Self
Figure 1.8
To help the people who work with pat-
terns, a color code system is used by some
manufacturers. This helps to differentiate
the pattern pieces that are cut from differ-
ent fabrics. The fabric from which most of
the outer garment is cut is called "self' fab-
ric, and these pattern pieces are usually
labeled in black ink.
Contrast
Figure 1.9
If more than one fabric is used on the
outside of the garment, the other fabrics
are called contrast. For example, a grey
Figure 1.11
Some garments have an inner layer oflin-
ing, called an interlining, that is sand-
wiched between the self fabric layer and
the lining on the inside of the garment. An
interlining might be used to add extra
weight and stability to the garment and
provide a layer to which boning is
attached. Or, it might be used as insula-
tion in cold weather wear, such as batting
in a ski jacket. The word "interlining" is
color coded in orange ink. An underlin-
ing fabric layer might also be used in some
garments to add stability to a flimsy self
fabric, or to provide a layer to which inter-
facing is hand sewn in a tailored jacket.
The word "underlining" is color coded in
yellow ink.
Fashion manufacturers have devel-
oped their own systems for labeling and
 1002 1002
back shirt front shirt
12 12
1- self on 2- self
0' the fold
n:

_ OJ
Q) C
-D 'c
o Cll
0..0..
o

1002
scarf
all sizes
2- contrast 2

1002 12
right back belt 2- contrast 1
I , I
1002 12
le!t back belt 2-COntrast 1
I I
button 1002
collar tab
tab all sizes
1002 stitchline
2- contrast 1
sleeve tab ~ 1- int'!
all sizes ~
4- contrast 1
2- int'f

12
1003 2-imIng

~ 1003 12
~2-liiiiii9

1003
upper
collar
~
2- contrast
2- int'f
 the fabric layers
of this bodice
are as follows:
outermost layer = self
2nd layer = underlining
3rd layer = interlining
with boning sewn Figure 1.12
on seams First patterns or original drafts are usu-
4th layer = lining, which
is the layer that goes
ally drafted onto a lightweight paper that
next to the model's skin creases easily for truing darts or pleats.
First patterns may be "half' patterns, as
shown in the sketch. In this example, you
would draft one sleeve but write "2-self'
to cut a right and a left sleeve, and then
draft one half of a front bodice and write
"I-self on the fold." The sketch shows the
fabric folded with selvage edges together
color coding pattern pieces. A color code and the front bodice pattern piece placed
is provided below. You may customize with the center front against the fabric
your own color code system. fold. This results in a full front bodice
with right and left sides attached in the
center. To indicate this type of cut layout,
Standard Color Code System draw a foldline against center front.

Self = black ink or pencil

Contrast #1 = blue Contrast #1 =
Figure 1.13
Contrast #2 = brown Contrast #2 =
To enable garment pieces to be sewn
Contrast #3 = purple Contrast #3 = together, excess fabric, called seam
Contrast #4 = pink Contrast #4 = allowance, is provided beyond the stitch-
Lining lines. Seam allowance varies in width
Lining = red =
depending on how the seams are fin-
Interlining = orange Interlining =
ished. Most fashion manufacturers use
Underlining = yellow Underlining = 1/2 inch for average seams on garments.
Seam allowance of lj4 inch is used at
Interfacing #1 = green Interfacing #1 =
enclosed seams or very curvy seams such
Interfacing #2 = light green Interfacing #2 =
as necklines and facings. The pattern-
maker might allow a 3/4 inch seam
 -
L~

0)
U
C
<1l
;;:
.Q
ca
q
N
-0"
\
E "0
<1l
0)
~
(IJ

~

~ 1004
0)
u
"
0- back skirt
12
c
<1l
;;: 2- self
.Q
ca
E
<1l
0)
(IJ
=
~

y
"
0" ~
"
"0
co
~

allowance to make it easier to sew in a

zipper. Seam widths vary according to
both the type of machine used and the
type of fabric.
Figure 1.15
Garments that are sewn with three threads
on an overlock machine produce seams
that are 3/16 to 1/4 inch wide, so the pattern-
maker will probably leave 1/4 inch seam

Figure 1.14
If a garmen t is sewn together
using a five-thread overlock
machine, the patternmaker
might add 1/2 inch or 3/8
inch seam allowance. The
reason for this variance is
that the five-thread machine
sews a 3/8-inch wide seam
but it also has a blade that
trims fraying edges beyond
3/8 inch. The garment may
need 1/8 inch of fraying
threads trimmed while the
garment is sewn.
 seam allowance shaped
to be pressed back
allowance on edges to be sewn with this
type of machine. Three-thread overlock
seams are commonly used on knits. Knits
do not ravel, therefore, the raw edges do
not need to be trimmed by the blade.
Seam Allowance at Pattern Corners
The seam allowance shape at pattern cor-
ners can be determined by different factors:
Figure 1.16
1. To simplify the cutting process, seam
allowance shapes in the corners may
be extensions of the curves of the pat-
tern. The tool used to cut the garment
can continue its course.
Figure 1.17
2. To simplify the sewing process, seam
allowance corners may be folded and
shaped in the direction the seam will
be pressed or ironed.
~)
Figure 1.18
~, 3. Another option to simplify the sewing
process is to square the seams. In
I some instances, this will show the
depth of the seam allowance, reduc-
ing the need for seam allowance
notches. This method also matches
seams that sew to each other, from the
stitchline out to the edge of the fabric.
To finish the raw edges of fabric at the
outer edges of garments, such as the
bottom edge of a blouse, jacket, coat,
squared
seam corners
dress, or pants, hem allowance is added
beyond the finished edges of the gar-
ment. There are many different types of
hem finishings, and the measurement
of the hem allowance can vary accord-
ingly. Following are just a few types of
hem finishes. .
Figure 1.19
The narrowest hem finish is the roll hem,
which can be sewn with three threads
on an overlock machine by setting the
stitches very close together and tightening
the tension of the upper looper. Some
machines, such as those made by Merrow,
are designed to produce this type of deco-
rative overedge or pearl edge. Unless the
fabric frays, only 1/8 to 3/16 inch is used in
the hem depth. Fraying necessitates trim-
ming with the blade of the machine. With
sheer and very lightweight fabrics, roll
hems produce a ripple effect if the fabric is
stretched while being sewn.
Figure 1.20
Baby hems, which are also very narrow,
use from 3/16 to 1/4 inch in the hem depth.
They can be sewn using a straight-stitch
machine and a special presser foot
attachment, which rolls the fabric as it is
sewn. Like roll hems, baby hems can also
produce a ripple effect in sheer or light-
weight fabrics if the fabric is stretched
while being sewn.
Figure 1.21 Figure 1.23
Rolled hems that are 1/4 and 1/4 inch or To produce a more
1/2 and 1/2 inch are often used on casual expensive look for
clothing, especially at the bottom of a hem, use a blind-
shirts, full skirts, or jeans (1/2 and 1/2 stitch machine or
inch). These hems are sewn on a straight- hand sew the hem free
stitch machine and can be used on light- so that you do not hanging
to heavy-weight fabrics. see stitches on the lining
used on:
outside of the gar- coats,
ment. The hem capes,
depth should be 1 dresses,
Figure 1.22 ~ pants,
to 2 inches. ~ skirts
Knit fabrics may have hems that range in 3

depth from 1/2 to 2 inches, depending on Jacket and

the style and type of the garment. Usually
the raw edge of the fabric is folded to the
desired depth and then stitched. A cover-
stitch machine is used, which shows two
or three rows of straight stitches on the
outside of the garment and has an overcast
of stitches on the inside of the garment,
finishing off the raw edge.
Another way to finish knit fabrics is
to use a three-thread overlock machine
on the raw edges, turn up the hem the
desired depth, and use a straight-stitch
machine with woolly nylon thread in the
bobbin (so the stitchline will stretch).
This produces a similar effect to a CQver-
stitch machine.
Coat Hems
Figure 1.24
A jacket that has
a lining attached
should have a llj2- Figure 1.24
to 2-inch deep hem,
and the lining should finish 1/4 to 1/2 inch
shorter than the outer fabric. A coat,
cape, dress, pant, or skirt with a free-
hanging lining should have a 11/2- to 2-
inch deep hem, and the lining should Note: For full skirts with curved
finish 1/2 to 1 inch shorter than the outer hems, use shallow hem folds.
fabric. Otherwise, puckers will form
because the raw edge is too full to
lay flat.
 .....

N
-6.
\ '/ \ \
back
"0 patch
~ pocket

I>-
0807 0807 0807 0807
back side side front
skirt back front skirt
R skirt skirt 12
2-self 12 12 1:seif
2- self 2- self on the
fold
1303 punch holes apex or
I back pant
12
marked 112"
from dart points
bust point

"c- 2- self

~
;:;:

punch holes
marked l/s"
from stitchlines
at center of
double ended
darts

Figure 1.25
The fashion industry uses nonverbal com-
munication, in the form of notches, on
garments. Notches are clips or slices into
the seam allowance on a pattern or on a
garment piece. They tell the person
sewing the garment whether the garment
piece is intended for the front or back. If
several garment pieces look alike, notches
can indicate which pieces match together
and in what order (indicated by the addi-
tion of one more notch to each seam
going around the body).
Notches also mark the intake of a
dart, pleat, or tuck and can be used to con-
trol where gathers are placed. Notches
may be used to indicate seam allowance
width; however, not all manufacturers use
them for this purpose. It can be costly to
have several notches on each pattern
piece. Although one notch is cut through
all the layers at once, there is the danger of
the notches being cut too deep, so use
them sparingly.
Figure 1.26
Punch holes are tiny holes that may be
used to indicate pocket or dart placement.
They are marked in the fabric using an
awl. Because it is a hole in the garment,
the punch hole needs to be placed where it
will be hidden inside the garment. To
mark the placement of a pocket, draw the
pocket outline on the body piece and
mark punch holes 1/8 inch inside the pocket
outline. Punch holes are marked on pat-
tern pieces with a screwpunch, which cuts
out a tiny hole.
To mark a double-ended dart, the
middle section of the dart intake or dart
excess is marked with punch holes lj8 inch
from the dart stitchlines (or with one
punch hole 1/8 inch from the stitchline
and one punch hole at the dart's center).
The ends of the dart taper to sharp points
and are marked with the punch hole lj2
inch from the dart point. You must circle
the punch holes to differentiate them from
other dots or marks that may be on your
pattern.
 Grading a Size Range
Figure 1.27

Grading patterns makes it pos-

sible to offer a range of sizes to
your customers. Patterns can
be graded using a see-through
ruler.

Figure 1.28
A grading machine may also
be used to grade a size range.
It is faster and more exact than
the ruler method.

Figure 1.29
Some companies use com-
puters to grade patterns. Of
course this is much more
costly, but many manufactur-
ers have computer systems to
perform this function.
 \

I~(' 14
It

I
'-l
',<

20
lA, .'
-S",,\I,.t
~\o(cr 23
1:
~ttftf;
I>
'"

1. Heavy paper (manila paper) for slopers and production pat- 16. Screw punch, used to make tiny punch holes in paper patterns
terns when marking punch-hole placement
2. Muslin 17. Pushpins
3. Clear tape approximately lj2 inch wide 18. Weights, used to hold pattern pieces while being traced or to
4. Straight metal rulers of various lengths: 36,48, and 60 inches keep markers in place
5. Pattern paper: solid paper in white or other light colors 19. Marker paper: white paper having a grid printed on it with
6. Tissue paper: lightweight, pliable paper used to test the fit of letters and numbers; also called dot paper
patterns 20. Notcher
7. Pattern hole punch, which makes a 3/4-inch diameter hole 21. Hard pencils, which leave a finer line than soft ones
through which a pattern hook is put 22. Pattern snips, used to cut heavy pattern paper
8. Tape measure 23. Rotary cutter: used with a surface that can be cut on, such as
9. Straight pins, size #17 lj16-inch thick sheet of Styrene
10. Ninety-degree-angle metal ruler or L-square, the longer the 24. Colored pencils or pens for color coding and marking correc-
better tions on patterns
11. Hip curve, of metal or plastic, also called "vary form curve rule" 25. Fabric scissors: to be used only for fabric so that blades stay
12. See-through plastic ruler, 18 by 2 inches, with a lis-inch grid sharp longer
spacmg 26. Paper scissors: to be used only for paper, which dulls the
13. Pattern hooks, on which a completed pattern is stored, with a blades more quickly than fabric
pattern chart in front 27. Circle template, for drawing button or snap placement on pat-
14. Needlepoint tracing wheel terns
15. Awl, used to make tiny holes through fabric when marking 28. Plastic curves in various shapes
punch-hole placement 29. Triangle marked with degree angles
 that cover the lower limbs. If a body
form with legs is not available, you
Figure 1.31 will need to find a live model to fit
A body form or a person to act as a fit these styles.
model is necessary for patternmaking. It
is easier to work with a body form rather Parts of the Body Form
than a live person. You can't poke pins Figure 1.32 shows the front of the body
into a person, and their arms can't be form and Figure 1.33, a side view. Figure
removed to make certain patterns easier 1.34 shows the back of the body form.
to draft or drape. However, a live person
can tell you if something is uncomfort- Pattern Paper
able and can sit, walk, bend over, and Some pattern makers use marker paper
raise the arms-all very helpful when test for first patterns. A solid paper in white
fitting a garment to see whether someone or any other light color may also be
can move in it. If you want to design a used. A lightweight paper that enables
dress or bodice that pushes the breasts you to see marks through the paper
up and flattens them, then you'll need when it is folded is preferred.
a live fit model. Most dress forms cannot
flatten at the bust. Chapter 14 covers Tissue Paper
special body forms and live fit models This paper is very handy when testing
for contoured styles. It is best to use a the fit of a pattern draft before it is cut
body form that has legs so you can make in fabric. Because it is so pliable, it fits
pants, bodysuits, and other garments over curves almost like fabric. Figure 1.31

shoulder shoulder tip

tip
+- shoulder
0 +-armhole plat g bottom of 0
.8
(J)
~
.2 upper chest
.8 armhole blade level
Q; plate Q;
Q; n. -+ +-apex or n.
n. +- bust level +- bust level
n. n. bust level ~.
::J (largest part ::J 0- bust point ::J (largest part
(largest
of upper torso) part of '"
(Jl
+-rib cage of upper torso)
upper 'l>l"3 level
torso)
+-waist level
(smallest part
0 0 0
of torso)
.8
(J)

.8
(J)

.8
(J)

Q; Q; Q;
;;: ;;: ;;:
.Q +- hip level .Q +- hip level .Q .- hip level
(largest part (largest part (largest part
of lower torso) of lower torso) of lower torso)
J'
crotch
level

0
c
in
'3"
III

Q
) ( +-mid-knee (Jl
a: mid-knee
level level
'"
(Jl

calf
'3"
l>l
 straight grain and cross grain. It is used
Button Diameter Size in Inches and Line Number (1 line = .025") as a substitute for the fabric that will be
Note: There are differences between button vendors in line sizes. used in the final garment (fashion fab-
ric), to drape or test fit. Several

7Q 0 0 0
weights of muslin are available, to rep-

1/2h 5/Qh 3Q
(10 line) (12/13 line) (14/15/16 line) (18 r ) 1/2 I~ch 9/16 Inch 5/8 Inch
resent various weights of woven fab-
rics, but it cannot substitute for very
soft fabrics, especially when used on
the bias grainline. If your fashion fab-
Ine (20 line) (22 line) (24/25 line)
ric is one that stretches, such as a knit,
muslin cannot be a substitute.

000
11/16 inch
(27/28 line)
3/4 inch
(30 line)
13/16 inch
(32/33 line)
7/8 inch
(35/36 line)
15/16 inch
(37/38 line)
Buttons and zippers are some of the
notions used on garments. Figure 1.35
illustrates different types and sizes of
buttons. Figure 1.36 shows several
types of zippers.

Summary

The information in this chapter will

help prepare you as you begin your
training as a patternmaker. As you
work through the chapters in this text,
1 inch 1 1/16 inch 11/8inch you will take what you've learned in
1 3/16 inch
(40 line) (42/43 line) (45 line) this chapter and apply it to the pattern
(47/48 line)
styles you create. Because each chapter

o
and each pattern style in this text
builds on previously learned material,

~
dome
~O
quarter ball half ball
you should not skip chapters.
An important aspect of pattern-
making involves "what" or "who"
serves as your fit model. A pattern-
maker must have a full-scale body
form or a live fit model readily avail-
M
O o V 000
able for fitting patterns. The pattern-
maker's choice of fit model is crucial in
determining the garment's end use. To
become a custom dressmaker, he or she
may use a potential customer (live
model) as a fit model and may wish to
work with a variety of body shapes. If the
patternmaker wishes to work for a fashion
Heavy Pattern Paper
manufacturer that produces standard-
This paper has several names, including sized clothing, a fit model should be cho-
manila paper, tag board, oak tag, and sen with measurements that match a
hard paper. It comes in various widths and standard sample size so the garments fit as
weights, similar to a manila folder. It is many people as possible.
durable, with stiff edges that are easy to The size charts included in Chapter 2,
trace around. I t is used for slopers and Table 2.1, can help guide you in picking a
production patterns, which are traced to body form or a live model that reflects
make markers. realistic proportions for to day's average
woman. People have continued to grow
Muslin larger over the centuries, particularly in
Muslin is a lOO-percent cotton fabric with the past few decades. Women also wear
a weave that is easily seen, on both the different undergarments than they did in
 u
(ij
..c
Qj ~ell
0 0..
.8 E
~
.D OJ OJ
(ij C C
Qj 00 .~
s ~
E .~ roa.. roa..
Q) Q)
(/) (/)

years past, when pointy bras and waist-
cinchers or girdles were the norm. The
supposed "ideal" proportions of 36-inch
bust, 26-inch waist, 36-inch hip may be
pleasing to the eye but they do not reflect
today's average figure. Some women meas-
ure their hips across their "hip bones."
However, the largest circumference of the
hips and buttocks is often lower on the
body. You will need to find the largest cir-
Clt7Tiference of the lower torso for the correct
hip measurement.
Questions
1. When using a marker to cut out gar-
ment pieces, is the fabric folded in half
parallel to the selvages, and the
marker half the width of the fabric
from selvage to selvage?
2. What does the word "ply" refer to?
3. How may fabric that does not stretch
and that is cut with the straight grain
running up and down the body be
made to fit closely and smoothly over
the contours of the adult female body?
4. Will a fabric that does not stretch on
the straight grain, stretch at least a
small amount on the bias grainline?
5. Does the cross grain of a piece of fabric
run parallel or at a 90-degree angle to
the selvages?
6. Does the grainline drawn on a pattern
piece run parallel or at a 90-degree
angle to the fabric's selvages when it is
laid out to be cut?
Taking Measurements, Body
Forms, and Live Models
The ability to take accurate measure-
ments from body forms and live models
is an important skill that all patternmak-
ers must learn_ Working with a body
form is less complicated than working
with a live model. Body forms can be
pinned into, drawn on, are always avail-
able, and never gain or lose weight. Live
models must be treated gently, their
modesty needs to be respected, and they
may gain or lose weight; however, your
final garment is produced for a live per-
son to wear. Live models are velY valu-
able as fit models because they can move
about, sit, walk, bend, and tell you ver-
bally if the garment you have made is
comfortable and practical.
U sing the instructions in this chapter,
you will be able to measure fit models of
any Junior's, Misses', or Women's size.
The designs shown in this textbook are
drawn from a Misses' size 12 set of meas-
urements. However, some of the styles
shown may be appropriate for Junior's or
Women's sizes. The instructions in this
textbook will give you the knowledge to
proportion the pattern styles to the size
you are working with. Several charts of
measurements are included in Chapter 3
to help you draft or drape the size of your
choice. If your model's size is not
included in the charts, just look at the
increments between sizes and add or sub-
tract these to arrive at the measurement
for the size you need. Look at the size
charts included later in this chapter
before selecting a body form or live fit
model with which to work. If you wish to
2
be able to grade a range of average sizes
from your sample size, pick a fit model
that closely resembles one of the sizes in
the charts mentioned.
Note: For grading purposes, it is
best to work with a sample size
closest to the middle of the size
range you wish to offer. If you wish
to make custom clothing for a
client or for yourself, it doesn't
matter what size your model is.
A professional pattern maker must have a
full-scale model for fitting patterns and
garments. The pattern maker must take
very precise measurements from the fit
model and record them for future use.
These measurements are used to draft or
drape very basic pattern pieces called
slopers, which are the subject of Chapters
3 and 4. The slopers and the fit model
measurements are then used to make flat
patterns for almost unlimited styles.
Some styles or the textiles used to make
them require pattern draping, which is
covered in selected chapters. Measure-
ments must be taken from a body form or
live model carefully, so mistakes will not
be transferred into the patterns, causing
fit problems. If you wish to make pat-
terns to fit yourself, have someone else
take your measurements, because it is dif-
ficult to take your own measurements
accurately.
 Checklist for Taking
Measurements
1. Select a body form or live model as
your fit model. You will need a body
form with legs if you wish to make pat-
terns for such garments as pants,
shorts, swimsuits, and bodysuits, or
find a live model to measure for fitting
these items.
2. To prepare a body form for measuring,
you will need the following items:
straight pins, narrow ribbon or twill
tape, an accurate flexible tape meas-
ure, and rulers that are 48 to 60 inches
long or a carpenter's level (to check
horizontal levels).
3. To prepare a live model for measur-
ing, you will need the following:
straight pins, narrow elastic, thread
for tailor tacks or chalk, an accurate
flexible tape measure, and rulers that
are 48 to 60 inches long or a car-
penter's level (to check horizontal lev-
els). Your live model should wear
appropriate undergarments (a bra
and underpants that give the wearer a
natural shape for everyday clothing),
with either a full bodysuit or one that
reaches to mid-thigh, which may be
marked and sewn with elastic.
4. A copy of the measurements from this
chapter, to be filled in and saved for
future use. These measurements will
be referred to throughout the text-
book.
Note: Because panty hose or tights
usually have tight waistbands and
distort the waistline measurement,
your model should not wear them
during the measuring process.
Preparing the Body Form
Figure 2.1
1. Place a pin 1 inch below the armhole
plate at the side seam to mark the
underarm/side seam intersection.
Leave this pin in the form for refer-
ence.
Figure 2.2
2. Place a pin at the edge of the shoulder
tip/armhole intersection. This point is
located at the shoulder seam where
the shoulder tip just begins to curve
downward toward the armhole plate.
I t is not at the top edge of the armhole
plate, which is usually placed about
1/4 inch below the curve of the shoul-
der tip.
3. Place a pin directly across from the
screw in the armplate, measured 1/4
inch into the fabric away from the
plate-on the front, only-to mark the
front mid-armhole point.
Figure 2.3
4. Establish the bustlevel. On the front of
the form is the apex or bust point posi-
 tion. This is marked along the prin-
cess seam on the right and left sides of
the form at the fullest part of the bust
mound or curve, which is at the largest
circumference of the bustline. Place
pins at each apex/bust point and leave
them in the form. Be sure both pins
are the same height from the floor.
Next, take a length of narrow ribbon
or twill tape and pin it from apex to
apex without slack. Pin the ribbon
completely around the form, parallel
to the floor, to establish the bust level.
5. Establish the waistline. On most body
forms, the waistline is marked by a
woven tape. If your body form is not
marked, measure the form to find the
smallest circumference between the
bust and hips, and pin ribbon or tape
around the form at this level. Waist-
lines are not necessarily perfectly par-
allel to the floor. On adult females,
the waistline may dip a little at center
back. This is normal; however, you
should check that the waistline at the
side seams measures an equal distance
from the floor on the right and left
sides. The waistline seam is measured
at the center of the waistline tape.
6. Establish the hip level. Find the largest
circumference of the hips and but-
tocks by measuring at several levels of
the lower torso. Once you've found
the level of the largest circumference,
mark it with ribbon or tape parallel to
the floor to establish the hip level.
This level will not necessarily touch
the "hip bones"; it may be lower,
nearer to the crotch level.
Preparing Live Models
Your model should wear a bra and under-
pants under a full bodysuit that can be
marked, pinned, and sewn with elastic to
establish the bust level, waistline, and the
hip level. Panty hose and tights have snug
waistbands that distort the waist measure-
ment and should not be worn.
Figure 2.4
1. Place a pin, or use chalk or a tailor tack
(thread looped through fabric with
both ends sticking out) to mark a spot
1 inch below the model's underarm
along her body. The model should not
lift her arm when you mark this posi-
tion and also when measuring to this
point, because the underarm hollows
out as the arm lifts, which will distort
the measurement.
2. Place a pin below the model's under-
arm on her arm. This placement is used
for measuring the arm. The pin place-
ment for the arm is dropped less from
the underarm than the pin placement
for the body to enable the sleeve cap
area to fit into the armhole with the
correct amount of ease. Many women
have a large biceps circumference in
proportion to their bust circum-
ference. To fit a sleeve with the correct
amount of cap ease, the cap height
must be shortened at the underarm
area. Only on models with slender
arms or large bustlines, or both, may
the underarm mark on the arm match
the underarm mark on the body. For
average-sized women (see Table 2.1,
page 34), measure pin placement lj4
inch below the underarm on the
model's arm.
Figure 2.5
3. The model's shoulder/armhole inter-
section is found by pressing with your
thumb or a finger in this area to find a
dip between the bones. Mark this
point on the model's bodysuit with a
pin, chalk, or a tailor tack. This posi-
tion should be at the top of the shoul-
der curve. If you cannot feel the dip
between the bones, try to envision
where the armhole seam would natu-
rally meet at the model's shoulder and
mark this point.

Figure 2.6
4. Have the model raise her arm about 45
degrees from the floor and swing it
slightly toward the center front until a
crease forms, which marks where the
front mid-armhole will be. Mark this
point with a pin, chalk, or a tailor tack.
Figure 2.7
5. Establish the bust level. The apex or
bust point position is at the nipple.
The apex marks the fullest portion of
the bust mound. Mark the apexes
with chalk, tailor tacks, or pins. The
apexes should be the same height
from the floor. Pin a length of narrow
elastic from apex to apex without
slack. Continue pinning the elastic
around the model, keeping an equal
distance from the floor, to establish
the bust level. Sew the elastic onto the
model's bodysuit so this position does
not change for future fittings. Elastic
stretches as your model removes the
bodysuit.
Figure 2.8
6. Establish the waistline. Have your
model bend to the side at the waist.
A crease will form at the natural
waistline. Check that her underwear
is not creating a false waist position.
Mark the waistline first with a pin or
chalk, then pin narrow elastic around
the model's body. The waistline may
dip down in the back, which is nor-
mal for women. Sew the elastic onto
the bodysuit for future fittings.
Figure 2.9
7. Establish the hip level. Find the largest
circumference of the hips and but-
tocks by measuring at several levels on
the body. Once you've found the level
of the largest circumference, mark it
with elastic parallel to the floor to
establish the hip level. Sew the elastic
onto the model's bodysuit for future
fittings.
Figure 2.10
8. Establish the center back neck posi-
tion. This is found by pressing with
your thumb or a finger in this area to
find a dip between two prominent
bones, which are vertebrae. Mark with
chalk, a tailor tack or a pin.
Figure 2.11
9. To mark the crease in the back mid-
armhole, leave your model's arm hang-
ing down. First, establish the shoulder
blade level on the model. Measure the
center back from the neckline down
to the waist = _
then divide this measurement by 4:
_____ 7 -t = _
Using this final measurement, meas-
ure from the neckline down along
the center back and place a pin or
tailor tack at this point. A line
going through this point parallel to
the floor is called the shoulder blade
level. The back armhole seam runs
along the crease formed between
your model's body and arm with

the arm hanging down. The inter-
section of the shoulder blade level
and the armhole is called the back
mid-armhole.
Figure 2. 12
10. Establish the shoulder/neckline inter-
section. Visualize where the curve of
the neckline seam would be if your
model were wearing a collar that
hugged the neck. (The collar in this
photo is set too far from the natural
neckline seam; thus, the pin mark is
on the collar itself.) This position
should also intersect at the top of the
shoulder curve.
Figure 2.13
11. Establish the underarm/side seam
intersection. The side seam of your
model's body suit may not be in the
correct position, so you will need to
mark this intersection with a pin, tai-
lor tack, or chalk. This point should
line up in the center of the underarm
on the model's upper rib cage and
should intersect with the pin that is
placed 1 inch below the underarm.
Figure 2. 14
12. Establish the side seam/waist inter-
section. Again, keep in mind that the
side seam of your model's body suit
may not be in the correct position.
Visualize a straight line (or use a long
ruler) going halfway between the
front and back of the model's leg and
continuing straight up to the waist,
and mark this point.
Upper Torso Measurements
Avoid pulling the tape measure tightly
over the body as this will distort the meas-
urements. Be gentle. Do not let a live
model hold in her stomach or stand in an
unnatural position. The following steps
are shown on a body form, but the same
measurements are needed if using a live
model.
#1 (Figure 2. 15)
Total shoulder girth level = _
Measure all the way around the upper
arms and body with tape measure parallel
to the floor. If your body form does not
have arms, see Table 2.1 (page 34) to find
#5 Total waist level = _
the shoulder girth measurement that cor-
responds with the shoulder width and Measure all the way around the smallest
biceps circumference of your model. circumference of the torso. The waist level
may dip in the back.
#2 (Figure 2. 16)
Total upper chest level = _ #6 (Figure 2. 18)
Shoulder seam = _
Measure all the way around the upper
chest under the arms. The tape measure Measure from the high neck point out to
may dip down a little in the back. the shoulder/armhole intersection along
the top of the shoulder.
#3 Total bust level = _

Measure all the way around the largest cir- #7 (Figure 2. 19)
cumference of the bust, with the tape Half the front neckline = _
measure parallel to the floor. Measure from the high neck point around
to the pit of the neck.
#4 (Figure 2. 17)
Total rib cage level = _ #8 (Figure 2.20)
Measure all the way around the rib cage Center front neck to shoulder tip = .
directly under the bust mound, parallel to Measure from the pit of the neck to the
the floor. shoulder tip.
 Note: Some body forms have a
high center front neck position.
Check Table 2.1 (page 34) for a
neckline circumference measure-
ment that corresponds with your
model's size. Measure your
model's total neckline circumfer-
ence to see if the center front neck
needs to be dropped, and adjust it
before filling in #7.

Measure straight out from center front to

the mid-armhole point at the pin.

#10 (Figure 2.21)

Half the front upper chest =
Measure straight out from center front to
the side seam at the underarm, parallel to
the floor.
#11 Half the front bust level = _
Measure straight out from center front,
over the bust point to the side seam, paral-
lel to the floor.
#12 Half the front rib cage level = _
Measure straight out from center front,
directly under the bust mound to the side
seam.
#13 (Figure 2.22)
Bust span =
Measure from apex to apex for #13, then
divide by 2 for # 14.
_
Using the one-fourth measurement, meas-
ure down from the neck and mark at
center back for the shoulder blade level.
Obtain the "halfway across shoulder
blades" measurement by measuring from
center back over to the edge of the arm-
hole plate or the pin on your live model.
#19 Half the back upper chest = _
Measure from center back to the side seam
at the underarm. The tape measure may
dip down a little in the back.
#20 (Figure 2.25)
Half the back bust level = _
Measure straight out from center back to
_
the side seam, parallel to the floor.

#15 Half the front waist = _

Measure from center front waist over to

the side/waist intersection.

#16 (Figure 2.23)

Half the back neckline = _

Measure from the high neck point around

to the center back neck.

#17 (Figure 2.24)

Center back neck to shoulder tip = _

#18 Halfwav across shoulder blades = __ .

The shoulder blade level is found using

one-fourth of the center back measure-
ment from the neckline to the waistline.
 measure straight
Figure 2.26 across waist
circumference

#21 Half the back rib cage level = _ #24 (Figure 2.28)
Side seam length = _
Measure straight out from center back to
the side seam at the rib cage level, parallel Measure from the pin placed 1 inch below
to the floor. the underarm/armhole plate down to the
waistline.
#22 Half the back waist = _

Measure from center back waist over to #25 (Figure 2.29)

the side seam/waist intersection. High neck point to front side seam = __ .

Measure from the high neck point down

#23 (Figure 2.26) the front to the underarm/side seam inter-
Dart placement = _
section, which is marked with a pin.
Measure out from center front to the
princess seam on the body foml. #26 (Figure 2.30)
High neck point to back side seam = __ .
Figure 2.27 Measure from the high neck point down
To find dart placement for live models the back to the underarm/side seam inter-
or body forms without princess seams, section, which is marked with a pin.
measure straight (not curved) across the
waistline from side to side (diameter) = #27 (Figure 2.31)
______ and divide this number Center front length = _
by 4 = . Then use Measure from the pit of the neck down the
the chart below: front to the waist over the tape between
Add 3/8 inch if #5 total waist level is less the bust mounds.
than 25 inches = _ #28 Front total length = "
Or, add 1/2 inch if #5 total waist level is Measure from the high neck point over
between 26 and 30 inches = _
the bust to the waist. Do not contour the
Or, add 5/8 inch if #5 total waist level is tape measure in under the bust.
between 31 and 35 inches = _
#29 (Figure 2.32)
Or, add 3/4 inch if #5 total waist level is 36 Shoulder tip to center front waist = .
inches and up = _
Measure from the shoulder tip, over the
Use this final measurement in the space bust, and down to the center front waist.
for #23 where it says "Dart placement = Do not contour the tape measure in under
" the bust.
 #32 (Figure 2.34)
Center back length = _
#31 (Figure 2.33)
Bust radius = _
Measure from the back neck down to the
waist.
Measure from the apex along the princess
line to just under the bust mound at the #33 Back total length = ,
rib cage level. Measure from the high neck point down
the back to the waist.
#34 (Figure 2.35)
Shoulder tip to center back waist = .
the bottom of armhole plate and the
underarm along the arm allow some ease
Measure from the shoulder tip, over under the arm. If a sleeve is cut in fabric
the back, and down to the center back that does not stretch and it reaches all
waist. the way up to the underarm, it will be
very uncomfortable to wear.
Check Your Measurements
Add #10 (half the front upper chest) #35 (Figure 2.36)
Total arm length = _
and #19 (half the back upper chest)
together: + _ Measure from the shoulder tip down the
_____ . Now multiply by 2: arm and around the elbow tip to just
______ x 2 = _ below the wrist bone with the arm slightly
This number should equal #2 (total bent, hanging naturally.
upper chest level): . If not,
check your measurements again. #36 (Figure 2.37)
Underarm length = _
Add #11 (half the front bust level) and Measure from the pin that is 1/4 inch
#20 (half the back bust level) together: below your model's underarm, down to
------ + ------- just below the wrist bone with the arm
______ . Now multiply by 2: held straight.
_____ x 2= . This
number should equal #3 (total bust
level): . If not, check your
measurements again.

Add # 12 (half the fron t rib cage level)

and #21 (half the back rib cage level)
together: + _
_____ . Now multiply by 2:
_____ x 2= . This
number should equal #4 (total rib cage
level): . If not, check your
measurements again.

Add #15 (half the front waist) and

#22 (half the back waist) together:

______ . Now multiply by 2:

______ x 2 = _
This number should equal #5 (total
waist level): . If not, check
your measurements again.

The total arm length may seem short,

but sloper sleeves only reach to the wrist
bone as a landmark. As you use this
sloper to draft other sleeve styles, you
can add length to the sleeve so it falls
onto the hand if necessary. If you are
using a body form that does not have an
arm, check the instructions in Chapter 3
(see Table 3.1, page 77) to find a size that
matches your body form. The armhole
plate on the body form represents the
point where the arm connects to the
body. The marks that were dropped from
 )

ifJ~

#37 (Figure 2.38)

Forearm length = _
Measure from just below the wrist bone
up to the elbow tip with the arm bent.

#38 (Figure 2.39)

Biceps circumference = _
Measure the biceps at the largest circum-
ference, high up under the arm with the
muscle flexed, which will enlarge the cir-
cumference.

#39 (Figure 2.40)

Elbow circumference = _
Measure the elbow at the widest part with
the arm bent.

#40 (Figure 2.41)

Wrist circumference = _
Measure around the wrist joint.
 Note: Some female body forms are
too long waisted, so compare both
measurements.

#42 (Figure 2.43)

Total hip level = _
Measure all the way around the largest
circumference of the hips and buttocks
with the tape measure parallel to the
floor.

#43 Hip depth at center front = _

Measure from center front waist level

#41 (Figure 2.42)
down to the hip level.
Hand circumference = _

Measure around the hand at the largest #44 (Figure 2.44)

circumference. Hip depth at side seam = _

Measure from the side/waist down to the

hip level along the side seam.
Lower Torso and Leg
Measurements #45 Hip depth at center back = _

These steps are shown on a body form, Measure from center back waist level
but the same measurements are needed if down to the hip level.
using a live model. The live model
should not wear shoes for these measure- #46 (Figure 2.45)
ments. If you are measuring a body Half the front hip = _

form, it will not have feet, and it may not Measure from center front over to the side
have legs. Check Table 2.1 (page 34) to seam at the hip level.
find the lower torso and leg measure-
ments that correspond to your form's #47 (Figure 2.46)
size and height. Use your form's center Half the back hip = _
back length and high shoulder point to Measure from center back over to the side
bust level as a gauge to determine the seam at the hip level.
body form's total height.
 #52 Inseam to ankle = _
#48 (Figure 2.47)
Measure from the center of the crotch
Outseam/side seam to floor = _
down along the inner leg to just above the
Measure from the side/waist along the ankle bone.
side seam to the floor (no shoes).
#53 (Figure 2.49)
#49 Inseam to floor = _ Crotch length = _
Measure from the center of crotch down Measure from center front waist down
to the floor (no shoes). between legs and up to center back waist.
Do not pull tightly between the buttocks.
#50 Crotch depth = _

#54 (Figure 2.50)

#57
Find the difference between #48 and #49,
which gives you #50, the crotch depth. To Total thigh circumference = _
check this measurement with your live Measure all the way around the largest cir-
model, have her sit up straight on a flat cumference of the upper thigh. ~
surface, and measure from the surface (at
her crotch level) up to her waist level along #55 Total calf circumference = _

her side seam. Measure the largest circumference of the

upper calf.
#51 (Figure 2.48)
Outseam to ankle = _ #56 Knee level from waist = _
Measure from the side/waist down to just Measure from the side/waist down to the
above the ankle bone. middle of the knee.
 Size Charts for Junior's, Misses',
and Women's Sizes
The measurements shown in Table 2.1
(page 34) reflect results of research the
author conducted by measuring women
of different ages, ethnicities, weights, and
heights. Size charts from garment manu-
facturers and mail-order companies and
measurements taken for scientific studies
published on the Internet were also com-
pared. Obviously, it is impossible ta
develop a set of measurements that will fit
every woman's body perfectly, because
each woman has an individual shape.
However, after compiling research and
developing size charts, the author found
that she was able to match mast individu-
als with a size that fit reasonably well.
Misses' sizes are usually graded in
total circumference for the bust, waist,

size from size

and hips as follows: 1 inch between each
up to size 10, then 11/2
inches between each size from size 10 ta
size 16; after that there is a 2-inch grade
between each size from size 16 to size 18
(or up to size 26 for some manufactur-
ers). However, not all manufacturers
grade with these increments, which is
part of the reason that size measurements
vary so much from one company ta
another. It should be noted that commer-
cial clothing pattern companies have
their own size charts, which often vary
considerably from those for ready-to-
wear clothing sold in stores.
Measure from the middle of the knee
down to just above the ankle bone.
Note: The crotch depth measure-
#58 Total ankle circumference = _ ments may seem long; this is
Measure the smallest circumference of the because they are measured from
ankle just above the ankle bone. the side seam over the curve of
the hip, not from the center front.
#59 (Figure 2.51) This measurement corresponds
Foot circumference = _ with the pattern drafts of the pants
Have the model point her toes, then meas- and activewear included in this
ure around the widest part of her heel. textbook.

Check Your Measurements

Add #46 (half the front hip) and #47 (half
the back hip) together: +
_____ .Nowmul- Taking precise measurements from a body
tiply by 2: x 2 = form or a live model can be time consum-
________ . This number should ing but is well worth the effort. These
equal #42 (total hip level): _ measurements are used in Chapter 3 ta
If not, check your measurements again. draft a sloper set-a very basic set of pat-
tern pieces from which numerous other
styles are flat patterned. The accuracy of
these measurements will directly correlate
to the fit of the sloper set. Any errors
should be corrected when test fitting the
sloper set, so the errors will not be trans-
ferred to the rest of the styles flat patterned
from the sloper. The care you take when
recording these measurements will be
rewarded by better fitting patterns, saving
you time and hassle in future. It is impera-
tive for pattern makers to be detail orien-
tated. Always check your work so mistakes
won't get by you.
Questions
1. How do you find the bust point or
apex on a female body form?
2. How do you find the shoulder/arm-
hole intersection on a live model?
3. Why isn't the underarm/side seam
intersection marked directly at the
underarm on a live model or at the
bottom of the armhole plate on a body
form?
4. Is the widest area of the lower torso
always measured at a point touching
the front hip bones?
5. Does the waist level for an adult female
body form or live model usually dip
down in the front or the back?
6. How do you find the waistline on a
live model?
7. How do you find the waistline/side
seam intersection on a live model?
Learning Activities
1. Try taking the measurements of an eld-
erly woman. How do this person's
proportions compare with those of
"average" adults? Ask her how she
feels about the way clothing fits. How
can the fashion industry better serve
this customer? Which aspects of the
market are the most important for this
customer: fit, comfort, color, style,
price, quality, or availability?
2. Try taking the measurements of a
woman before and also during preg-
nancy. Besides the obvious, how does
her body change? How can the fash-
ion industry better serve this cus-
tomer? Which aspects of the market
are the most important for this cus-
tomer: fit, comfort, color, style, price,
quality, or availability?
Table 2.1

Body Measurements and Sizes

A. Junior's Average Sizes for 5'5" Height

Size 1-JA 3JA 5-JA 7-JA 9-JA llJA 13JA 15-JA 17JA
Bust circumference 32" 33" 34" 35" 36" 37.5" 39" 40.5" 42"
Waist circumference 25" 26" 27" 28" 29" 30.5" 32" 33.5" 35"
Hip circumference 35" 36" 37" 38" 39" 40.5" 42" 43.5" 45"

Center back neck to waist 15.375" 15.5" 15.625" 15.75" 15.875" 16" 16.125" 16.25" 16.375"
Back total length 16.5312" 16.6875" 16.8437" 17" 17.1562" 17.3125" 17.4687" 17.625" 17.7812"
Front total length 16.5312" 16.8125" 17.0937" 17.375" 17.6562" 17.9375" 18.2187" 18.5" 18.7812"
High shoulder point 9.875" 10.125" 10.375" 10.625" 10.875" 11.125" 11.375" 11.625" 11.875"
to bust level
Bust span, point to point 6.5625" 6.6875" 6.8125" 6.9375" 7.0625" 7.25" 7.4375" 7.625" 7.8125"

Upper chest circumference 31.5" 32.25" 33" 33.75" 34.5" 35.75" 37" 38.25" 39.5"
Rib cage circumference 27.5" 28.5" 29.5" 30.5" 31.5" 33" 34.5" 36" 38"
Bra size 32AA 32A 32B 34B 34B 36B 36C 38C 40C
Panty size 4 5 5 6 6 7 8 8 9

Across shoulders, shoulder 14.5" 14.75" 15" 15.25" 15.5" 15.875" 16.25" 16.625" 17"
tip to shoulder tip
Shoulder seam, 4.8125" 4.875" 4.9375" 5" 5.0625" 5.1875" 5.3125" 5.4375" 5.5625"
neck to shoulder tip
Shoulder girth 38.125" 39" 39.875" 40.75" 41.625" 42.75" 43.875" 45" 46.125"

Biceps circumference 10.75" 11.125" 11.5" 11.875" 12.25" 12.75" 13.25" 13.75" 14.25"
Arm, shoulder tip to wrist 22.375" 22.5" 22.625" 22.75" 22.875" 23" 23.125" 23.25" 23.375"
C.b. to shoulder tip, 29.625" 29.875" 30.125" 30.375" 30.625" 30.9375" 31.25" 31.5625" 31.875"
down arm to wrist
Wrist circumference 5.875" 6" 6.125" 6.25" 6.375" 6.5" 6.625" 6.75" 6.875"

Outseam, waist to 41.25" 41.375" 41.5" 41.625" 41.75" 41.875" 42" 42.125" 42.25"
floor at side seam
Inseam, crotch to floor 31" 31" 31" 31" 31" 31" 31" 31" 31"
Crotch depth, 10.25" 10.375" 10.5" 10.625" 10.75" 10.875" 11" 11.125" 11.25 "
outseam - inseam = depth
Crotch length, c.f. 25" 25.5" 26" 26.5" 27" 27.625" 28.25" 28.875" 29.5"
waist to c.b. waist

Waist to mid-knee 22.875" 23" 23.125" 23.25" 23.375" 23.5" 23.625" 23.75" 23.875"
at side seam
Waist to ankle at side seam 38.25" 38.375" 38.5" 38.625" 38.75" 38.875" 39" 39.125" 39.25"
Thigh circumference 20" 20.75" 21.5" 22.25" 23" 24" 25" 26" 27"
Mid-knee circumference, 13.625" 14.0625" 14.5" 14.9375" 15.375" 16" 16.625" 17.25" 17.875"
leg straight
Calf circumference 13.125" 13.5" 13.875" 14.25" 14.625" 15.125" 15.625" 16.125" 16.625"
Ankle circumference 7.875" 8.125" 8.375" 8.625" 8.875" 9.125" 9.375" 9.625" 9.875"

Neckline circumference 14.5625" 14.875" 15.1875" 15.5" 15.8125" 16.125" 16.4375" 16.75" 17.0625"
B. Junior's Petite Sizes for 5'1" Height

Size I-JP 3-JP 5-JP 7-JP 9-JP II-JP 13-JP 15-JP 17-JP
Bust circumference 32" 33" 34" 35" 36" 37.5" 39" 40.5" 42"
Waist circumference 25" 26" 27" 28" 29" 30.5" 32" 33.5" 35"
Hip circumference 35" 36" 37" 38" 39" 40.5" 42" 43.5" 45"

Center back neck to waist 14.375" 14.5" 14.625" 14.75" 14.875" 15" 15.125" 15.25" 15.375"
Back total length 15.5312" 15.6875" 15.8437" 16" 16.1562" 16.3125" 16.4687" 16.625" 16.7812"
Front total length 15.5312" 15.8125" 16.0937" 16.375" 16.6562" 16.9375" 17.2187" 17.5" 17.7812"
High shoulder point to 9.375" 9.625" 9.875" 10.125" 10.375" 10.625" 10.875" 11.125" 11.375"
bust level
Bust span, point to point 6.0625" 6.1875" 6.3125" 6.4375" 6.5675" 6.75" 6.9375" 7.125" 7.5"

Upper chest circumference 31.5" 32.25" 33" 33.75" 34.5" 35.75" 37" 38.25" 39.5"
Rib cage circumference 27.5" 28.5" 29.5" 30.5" 31.5" 33" 34.5" 36" 38"
Bra size 32AA 32A 32B 34B 34B 36B 36C 38B 40C
Panty size 4 5 5 6 6 7 8 8 9

Across shoulders, shoulder 14.5" 14.75" 15" 15.25" 15.5" 15.875" 16.25" 16.625" 17"
tip to shoulder tip
Shoulder seam, neck to 4.8125" 4.875" 4.9375" 5" 5.0625" 5.1875" 5.3125" 5.4375" 5.5625"
shoulder tip
Shoulder girth 38.125" 39" 39.875" 40.75" 41.625" 42.75" 43.875" 45" 46.125"

Biceps circumference 10.75" 11.125" 11.5" 11.875" 12.25" 12.75" 13.25" 13.75" 14.25"
Arm, shoulder tip to wrist 20.875" 21" 21.125" 21.25" 21.375" 21.5" 21.625" 21.75" 21.875"
G.b. to shoulder tip, 28.125" 28.375" 28.625" 28.875 " 29.125" 29.4375" 29.75" 30.0625" 30.375"
down arm to wrist
Wrist circumference 5.875" 6" 6.125" 6.25" 6.375" 6.5" 6.625" 6.75" 6.875"

Outseam, waist to floor 38.75" 38.875" 39" 39.125" 39.25" 39.375" 39.5" 39.625" 39.75"
at side seam
Inseam, crotch to floor 29" 29" 29" 29" 29" 29" 29" 29" 29"
Crotch depth, 9.75" 9.875" 10" 10.125" 10.25" 10.375" 10.5" 10.625" 10.75"
outseam - inseam = depth
Crotch length, c.f. waist 24" 24.5" 25" 25.5" 26" 26.625" 27.25" 27.875" 28.5"
to c.b. waist

Waist to mid-knee 21.375" 21.5" 21.625" 21.75" 21.875" 22" 22.125" 22.25" 22.375"
at side seam
Waist to ankle at side seam 36.25" 36.375" 36.5" 36.625" 36.75" 36.875" 37" 37.125" 37.25"
Thigh circumference 20" 20.75" 21.5" 22.25" 23" 24" 25" 26" 27"
Mid-knee circumference, 13.625" 14.0625" 14.5" 14.9375" 15.375" 16" 16.625" 17.25" 17.875"
leg straight
Calf circumference 13.125" 13.5" 13.875" 14.25" 14.625" 15.125" 15.625" 16.125" 16.625"
Ankle circumference 7.875" 8.125" 8.375" 8.625" 8.875" 9.125" 9.375" 9.625" 9.875"

Neckline circumference 14.5625" 14.875" 15.1875" 15.5" 15.8125" 16.125" 16.4375" 16.75" 17.0625"
Table 2. 1 (canL)

Body Measurements and Sizes

C. Misses' Average Sizes for 5'6" Height

Size 2-MA 4-MA 6-MA 8-MA 10-MA 12-MA 14-MA 16-MA 18-MA
Bust circumference 32.5" 33.5" 34.5" 35.5" 36.5" 38" 39.5" 41" 43"
Waist circumference 24.5" 25.5" 26.5" 27.5" 28.5" 30" 31.5" 33" 35"
Hip circumference 35.5" 36.5" 37.5" 38.5" 39.5" 41" 42.5" 44" 46"

Center back neck to waist 15.875" 16" 16.125" 16.25" 16.375" 16.5" 16.625" 16.75" 16.875"
Back total length 17.0312" 17.1875" 17.3437" 17.5" 17.6562" 17.8125" 17.9687" 18.125" 18.3125"
Front total length 17.0312" 17.3125" 17.5937" 17.875" 18.1562" 18.4375" 18.7187" 19" 19.4375"
High shoulder point 10.125" 10.375" 10.625" 10.875" 11.125" 11.375" 11.625 " 11.875" 12.1875"
to bust level
Bust span, point to point 6.6875" 6.8125" 6.9375" 7.0625 " 7.1875" 7.375" 7.5625" 7.75" 8"

Upper chest circumference 31.5" 32.25" 33" 33.75" 34.5" 35.75" 37" 38.25" 40"
Rib cage circumference 27.5" 28.5" 29.5" 30.5" 31.5" 33" 34.5" 36" 38"
Bra size 32A 32A 32B 34B 34B 36B 36C 38C 40C
Panty size 4 5 5 6 6 7 8 9 10

Across shoulders, shoulder 14.625" 14.875" 15.125" 15.375" 15.625" 16" ]6.375" 16.75" 17.125"
tip to shoulder tip
Shoulder seam, 4.875" 4.9375" 5" 5.0625" 5.125" 5.25" 5.375" 5.5" 5.625"
neck to shoulder tip
Shoulder girth circumference 38.375" 39.25" 40.125" 41" 41.875" 43" 44.125 " 45.25" 46.5"

Biceps circumference 10.75" 11.125" 11.5" 11.875" 12.25" 12.75" 13.25" 13.75" 14.5"
Arm, shoulder tip to wrist 22.875" 23" 23.125" 23.25" 23.375" 23.5" 23.625" 23.75" 23.875"
C.b. to shoulder tip, 30.1875" 30.4375" 30.6875" 30.9375" 31.1875" 31.5" 31.8125" 32.125" 32.4375"
down arm to wrist
Wrist circumference 5.875" 6" 6.125" 6.25" 6.375" 6.5" 6.625" 6.75" 7"

Outseam, waist to floor 41.75" 41.875" 42" 42.125" 42.25" 42.375" 42.5" 42.625" 42.75"
at side seam
Inseam, crotch to floor 31" 31" 31" 31" 31" 31" 31" 31" 31"
Crotch depth, 10.75" 10.875" 11" 11.125" 11.25" 11.375" 11.5" 11.625" 11.75"
outseam - inseam = depth
Crotch length, c.f. waist 26" 26.5" 27" 27.5" 28" 28.625" 29.25" 29.875" 30.875"
to c.b. waist

Waist to mid-knee at 23.125" 23.25" 23.375" 23.5" 23.625" 23.75" 23.875" 24" 24.125 "
side seam
Waist to ankle at side seam 38.75" 38.875" 39" 39.]25" 39.25" 39.375" 39.5" 39.625" 39.75"
Thigh circumference 20" 20.75" 21.5" 22.25" 23" 24" 25" 26" 27.5"
Mid-knee circumference 13.625" 14.0625" 14.5" 14.9375" 15.375" 16" 16.625" 17.25" 18.125"
leg straight
Calf circumference 13.125" 13.5" 13.875" 14.25" 14.625" 15.125" 15.625" 16.125" 16.75"
Ankle circumference 7.875" 8.125" 8.375" 8.625" 8.875" 9.125" 9.375" 9.625" 10"

Neckline circumference 14.5625" 14.875" 15.1875" 15.5" 15.8125" 16.125" 16.4375" 16.75" 17.1875"
 D. Misses' Petite Sizes for 5'2" Height

Size O-MP 2-MP 4-MP 6MP 8MP lO-MP 12MP 14-MP 16-MP 18-MP
Bust circumference 31.5" 32.5" 33.5" 34.5" 35.5" 36.5" 38" 39.5" 41" 43"
Waist circumference 23.5" 24.5" 25.5" 26.5" 27.5" 28.5" 30" 31.5" 33" 35"
Hip circumference 34.5" 35.5" 36.5" 37.5" 38.5" 39.5" 41" 42.5" 44" 46"

Center back neck to waist 14.75" 14.875" 15" 15.125" 15.25" 15.375" 15.5" 15.625" 15.75" 15.875"
Back total length 15.875" 16.0312" 16.1875" 16.3437" 16.5" 16.6562" 16.8125" 16.9687" 17.125" 17.3125"
Front total length 15.75" 16.0312" 16.3125" 16.5937" 16.875" 17.1562" 17.4375" 17.7187" 18" 18.4375"
High shoulder point 9.375" 9.625" 9.875" 10.125" 10.375" 10.625" 10.875" 11.125" 11.375" 11.6875"
to bust level
Bust span, point to point 6.5625 " 6.6875" 6.8125" 6.9375" 7.0625" 7.1875" 7.375" 7.5625 " 7.75" 8"

Upper chest circumference 30.75" 31.5" 32.25" 33" 33.75" 34.5" 35.75" 37" 38.25" 40"
Rib cage circumference 26.5" 27.5" 28.5" 29.5" 30.5" 31.5" 33" 34.5"" 36" 38"
Bra size 30A 32A 32A 32B 34B 34B 36B 36C 38C 40C
Panty size 4 4 5 5 6 6 7 8 9 10

Across shoulders, shoulder 14.375" 14.625" 14.875" 15.125" 15.375" 15.625" 16" 16.375" 16.75" 17.125"
tip to shoulder tip
Shoulder seam, neck to 4.8125" 4.875" 4.9375" 5" 5.0625" 5.125" 5.25" 5.375" 5.5" 5.625"
shoulder tip
Shoulder girth 37.5" 38.375" 39.25" 40.125" 41" 41.875" 43" 44.125" 45.25" 46.5"
circumference

Biceps circumference 10.375" 10.75" 11.125" 11.5" 11.875" 12.25" 12.75" 13.25" 13.75" 14.5"
Arm, shoulder tip to wrist 21.25" 21.375" 21.5" 21.625" 21.75" 21.875" 22" 22.125" 22.25" 22.375"
C.b. to shoulder tip, 28.4375" 28.6875 " 28.9375" 29.1875" 29.4375" 29.6875" 30" 30.3125" 30.625 " 30.9375"
down arm to wris t
Wrist circumference 5.75" 5.875" 6" 6.125" 6.25" 6.375" 6.5" 6.625" 6.75" 7"

Outseam, waist to 39.125" 39.25" 39.375" 39.5" 39.625" 39.75" 39.875" 40" 40.125" 40.25"
floor at side seam
Inseam, crotch to floor 29" 29" 29" 29" 29" 29" 29" 29" 29" 29"
Crotch depth, out- 10.125" 10.25" 10.375" 10.5" 10.625" 10.75" 10.875" 11" 11.125" 11.25"
seam - inseam = depth
Crotch length, c.r. waist 24.5" 25" 25.5" 26" 26.5" 27" 27.625" 28.25" 28.875" 29.875"
to c.b. waist

Waist to mid-knee 21.5" 21.625" 21.75" 21.875" 22" 22.125" 22.25" 22.375" 22.5" 22.625"
at side seam
Waist to ankle 36.625" 36.75" 36.875" 37" 37.125" 37.25" 37.375" 37.5" 37.625" 37.75"
at side seam
Thigh circumference 19.25" 20" 20.75" 21.5" 22.25" 23" 24" 25" 26" 27.5"

Mid-knee circumference, 13.1875" 13.625" 14.0625" 14.5" 14.9375" 15.375" 16" 16.625" 17.25" 18.125"
leg straight
Calf circumference 12.75" 13.125" 13.5" 13.875" 14.25" 14.625" 15.125" 15.625" 16.125" 16.75"
Ankle circumference 7.625" 7.875" 8.125" 8.375" 8.625" 8.875" 9.125" 9.375" 9.625" 10"

Neckline circumference 13.75" 14.5625" 14.875" 15.1875" 15.5" 15.8125" 16.125" 16.4375" 16.75" 17.1875"
Table 2. 1 (cant.)

Body Measurements and Sizes

E. Misses' Tall Sizes for 5'10" Height

Size 4-MT 6-MT 8-MT lO-MT 12-MT 14-MT 16MT 18-MT

Bust circumference 33.5" 34.5" 35.5" 36.5" 38" 39.5" 41" 43"
Waist circumference 25.5" 26.5" 27.5" 28.5" 30" 31.5" 33" 35"
Hip circumference 36.5" 37.5" 38.5" 39.5" 41" 42.5" 44" 46"

Center back neck to waist 17" 17.125" 17.25" 17.375" 17.5" 17.625" 17.75" 17.875"
Back total length 18.1875" 18.3437" 18.5" 18.6562" 18.8125" 18.9687" 19.125" 19.3125"
Front total length 18.3125" 18.5937" 18.875" 19.1562" 19.4375" 19.7187" 20" 20.4375"
High shoulder point 10.875" 11.125" 11.375" 11.625" 11.875" 12.125" 12.375" 12.6875"
to bust level
Bust span, point to point 6.8125" 6.9375" 7.0625" 7.1875" 7.375" 7.5625" 7.75" 8"

Upper chest circumference 32.25" 33" 33.75" 34.5" 35.75" 37" 38.25" 40"
Rib cage circumference 28.5" 29.5" 30.5" 31.5" 33" 34.5" 36" 38"
Bra size 32A 32B 34B 34B 36B 36C 38C 40C
Panty size 5 5 6 6 7 8 9 10

Across shoulders, shoulder 14.875" 15.125" 15.375" 15.625" 16" 16.375" 16.75" 17.125"
tip to shoulder tip
Shoulder seam, 4.9375" 5" 5.0625" 5.125" 5.25" 5.375" 5.5" 5.625"
neck to shoulder tip
Shoulder girth circumference 39.25" 40.125" 41" 41.875" 43" 44.125" 45.25" 46.5"

Biceps circumference 11.125" 11.5" 11.875" 12.25" 12.75" 13.25" 13.75" 14.5"
Arm, shoulder tip to wrist 24.5" 24.625" 24.75" 24.875" 25" 25.125" 25.25" 25.375"
C.b. to shoulder tip, 31.9375" 32.1875" 32.4375" 32.6875" 33" 33.125" 33.625" 33.9375"
down arm to wrist
Wrist circumference 6" 6.125" 6.25" 6.375" 6.5" 6.625" 6.75" 7"

Outseam, waist to floor 44.375" 44.5" 44.625" 44.75" 44.875" 45" 45.125" 45.25"
at side seam
Inseam crotch to floor 33" 33" 33" 33" 33" 33" 33" 33"
Crotch depth, 11.375" 11.5" 11.625" 11.75" 11.875" 12" 12.125" 12.25"
outseam - inseam = depth
Crotch length, c.f. waist 27.5" 28" 28.5" 29" 29.625" 30.25" 30.875" 31.875"
to c.b. waist

Waist to mid-knee at 24.75" 24.875" 25" 25.125" 25.25" 25.375" 25.5" 25.625"
side seam
Waist to ankle at side seam 40.875" 41" 41.125" 41.25" 41.375" 41.5" 41.625" 41.75"
Thigh circumference 20.75" 21.5" 22.25" 23" 24" 25" 26" 27.5"
Mid-knee circumference, 14.0625" 14.5" 14.9375" 15.375" 16" 16.625" 17.25" 18.125"
leg straight
Calf circumference 13.5" 13.875" 14.25" 14.625" 15.125" 15.625" 16.125" 16.75"
Ankle circumference 8.125" 8.375" 8.625" 8.875" 9.125" 9.375" 9.625" 10"

Neckline circumference 14.875" 15.1875" 15.5" 15.8125" 16.125" 16.4375" 16.75" 17.1875"
F.Women's Average Sizes for 5'6" Height

Size 18-WA 20-WA 22-WA 24-WA 26-WA 28-WA 30-WA

Bust circumference 45" 47" 49" 51" 53" 55" 57"
Waist circumference 37.5" 40" 42.5" 45" 47.5" 50" 52.5"
Hip circumference 48" 50" 52" 54" 56" 58" 60"

Center back neck to waist 16.75" 16.875" 17" 17.125" 17.25" 17.375" 17.5"
Back total length 18.25" 18.4375" 18.625" 18.8125" 19" 19.1875" 19.375"
Front total length 19.875" 20.3125" 20.75" 21.1875" 21.625" 22.0625" 22.5"
High shoulder point to bust level 12.5" 12.8125" 13.125" 13.4375" 13.75" 14.0625" 14.375"
Bust span, point to point 8.25" 8.5" 8.75" 9" 9.25" 9.5" 9.75"

Upper chest circumference 41.75" 43.5" 45.25" 47" 48.75" 50.5" 52.25"
Rib cage circumference 40" 42" 44" 46" 48" 50" 52"
Bra size 42C 44D 44D 46D 48D 50DD/E 52DD/E
Panty size 11 12 13 14 15 16 17

Across shoulders, shoulder tip 17.5" 17.875" 18.25" 18.625" 19" 19.375" 19.75"
to shoulder tip
Shoulder seam, neck to shoulder tip 5.75" 5.875" 6" 6.125" 6.25" 6.375" 6.5"
Shoulder girth circumference 47.75" 49" 50.25" 51.5" 52.75" 54" 55.25"

Biceps circumference 15.25" 16" 16.75" 17.5" 18.25" 19" 19.75"

Arm, shoulder tip to wrist 24" 24" 24" 24" 24" 24" 24"
C. b. to shoulder tip, 32.75" 32.9375" 33.125" 33.3125" 33.5" 33.6875" 33.875"
down arm to wrist
Wrist circumference 7.25" 7.5" 7.75" 8" 8.25" 8.5" 8.75"

Outseam, waist to floor at side seam 42.75" 42.75" 42.75" 42.75" 42.75" 42.75" 42.75"
Inseam, crotch to floor 30.875" 30.75" 30.625" 30.5" 30.375" 30.25" 30.125"
Crotch depth, 11.875" 12" 12.125" 12.25" 12.375" 12.5" 12.625"
outseam - inseam = depth
Crotch length, c.f. waist to c.b. waist 31.875" 32.875" 33.875" 34.875" 35.875" 36.875" 37.875"

Waist to mid-knee at side seam 24.125" 24.125" 24.125" 24.125" 24.125" 24.125" 24.125"
Waist to ankle at side seam 39.75" 39.75" 39.75" 39.75" 39.75" 39.75" 39.75"
Thigh circumference 29" 30.5" 32" 33.5" 35" 36.5" 38"
Mid-knee circumference, leg straight 19" 19.875" 20.75" 21.625" 22.5" 23.375" 24.25"
Calf circumference 17.375" 18" 18.625" 19.25" 19.875" 20.5" 21.125"
Ankle circumference 10.375" 10.75" 11.125" 11.5" 11.875" 12.25" 12.625"

Neckline circumference 17.625" 18.0625" 18.5" 18.9375" 19.375" 19.8125" 20.25"

Table 2. 1 (cont.)

Body Measurements and Sizes

G. Women's Petite Sizes for 5'2" Height

Size 18-WP 20-WP 22-WP 24-WP 26-WP 28-WP 30-WP

Bust circumference 45" 47" 49" 51" 53" 55" 57"
Waist circumference 37.5" 40" 42.5" 45" 47.5" 50" 52.5"
Hip circumference 48" 50" 52" 54" 56" 58" 60"

Center back neck to waist 15.75" 15.875" 16" 16.125" 16.25" 16.375" 16.5"
Back total length 17.25" 17.4375" 17.625" 17.8125" 18" 18.1875" 18.375"
Front total length 18.875" 19.3125" 19.75" 20.1875" 20.625" 21.0625" 21.5"
High shoulder point to bust level 12" 12.3125" 12.625" 12.9375" 13.25" 13.5625" 13.875"
Bust span, point to point 8.25" 8.5" 8.75" 9" 9.25" 9.5" 9.75"

Upper chest circumference 41.75" 43.5" 45.25" 47" 48.75" 50.5" 52.25"
Rib cage circumference 40" 42" 44" 46" 48" 50" 52"
Bra size 42C 44D 44D 46D 48D 50DD/E 52DD/E
Panty size 11 12 13 14 15 16 17

Across shoulders, shoulder tip 17.5" 17.875" 18.25" 18.625" 19" 19.375" 19.75"
to shoulder tip
Shoulder seam, neck to shoulder tip 5.75" 5.875" 6" 6.125" 6.25" 6.375" 6.5"
Shoulder girth circumference 47.75" 49" 50.25" 51.5" 52.75" 54" 55.25"

Biceps circumference 15.25" 16" 16.75" 17.5" 18.25" 19" 19.75"

Arm, shoulder tip to wrist 22.5" 22.5" 22.5" 22.5" 22.5" 22.5" 22.5"
C.b. to shoulder tip, down arm to wrist 31.25" 31.4375" 31.625" 31.8125" 32" 32.1875" 32.375"
Wrist circumference 7.25" 7.5" 7.75" 8" 8.25" 8.5" 8.75"

Outseam, waist to floor at side seam 40.25" 40.25" 40.25" 40.25" 40.25" 40.25" 40.25"
Inseam, crotch to floor 28.875" 28.75" 28.625" 28.5" 28.375" 28.25" 28.125"
Crotch depth, 11.375" 11.5" 11.625" 11.75" 11.875" 12" 12.125"
outseam - inseam = depth
Crotch length, c.f. waist to c.b. waist 30.875" 31.875" 32.875" 33.875" 34.875" 35.875" 36.875"

Waist to mid-knee at side seam 22.625" 22.625 " 22.625" 22.625" 22.625 " 22.625" 22.625"
Waist to ankle at side seam 37.75" 37.75" 37.75" 37.75" 37.75" 37.75" 37.75"
Thigh circumference 29" 30.5" 32" 33.5" 35" 36.5" 38"
Mid-knee circumference, 19" 19.875" 20.75" 21.625" 22.5" 23.375" 24.25"
leg straight
Calf circumference 17.375" 18" 18.625" 19.25" 19.875" 20.5" 21.125"
Ankle circumference 10.375" 10.75" 11.125" 11.5" 11.875" 12.25" 12.625"

Neckline circumference 17.625" 18.0625" 18.5" 18.9375" 19.375" 19.8125" 20.25"

,

H. Women's Tall Sizes for 5'10" Height

Size 18-WT 20-WT 22-WT 24-WT 26-WT 28-WT 30-WT

Bust circumference 45" 47" 49" 51" 53" 55" 57"
~
Waist circumference 37.5" 40" 42.5" 45" 47.5" 50" 52.5"
Hip circumference 48" 50" 52" 54" 56" 58" 60"

Center back neck to waist 17.75" 17.875" 18" 18.125" 18.25" 18.375" 18.5"
Back total length 19.25" 19.4375" 19.625" 19.8125" 20" 20.1875" 20.375"
Front total length 20.875" 21.3125" 21.75" 22.1875" 22.625" 23.0625" 23.5"
High shoulder point to bust level 13" 13.3125" 13.625" 13.9375" 14.25" 14.5625" 14.875"
Bust span, point to point 8.25" 8.5" 8.75" 9" 9.25" 9.5" 9.75"

Upper chest circumference 41.75" 43.5" 45.25" 47" 48.75" 50.5" 52.25"
Rib cage circumference 40" 42" 44" 46" 48" 50" 52"
Bra size 42C 44D 44D 46D 48D 50DD/E 52DD/E
I Panty size 11 12 13 14 15 16 17

Across shoulders, shoulder tip to 17.5" 17.875" 18.25" 18.625" 19" 19.375" 19.75"
shoulder tip
Shoulder seam, neck to shoulder tip 5.75" 5.875" 6" 6.125" 6.25" 6.375" 6.5"
Shoulder girth circumference 47.75" 49" 50.25" 51.5" 52.75" 54" 55.25"

Biceps circumference 15.25" 16" 16.75" 17.5" 18.25" 19" 19.75"

Arm, shoulder tip to wrist 25.5" 25.5" 25.5" 25.5" 25.5" 25.5" 25.5"
C.b. to shoulder tip, down arm to wrist 34.25" 34.4375" 34.625 " 34.8125" 35" 35.1875" 35.375"
Wrist circumference 7.25" 7.5" 7.75" 8" 8.25" 8.5" 8.75"

Outseam, waist to floor at side seam 45.25" 45.25" 45.25" 45.25" 45.25" 45.25" 45.25"
Inseam, crotch to floor 32.875" 32.75" 32.625" 32.5" 32.375" 32.25" 32.125"
Crotch depth, 12.375" 12.5" 12.625" 12.75" 12.875" 13" 13.125"
outseam - inseam = depth
Crotch length, c.f. waist to c.b. waist 32.875" 33.875" 34.875" 35.875" 36.875" 37.875" 38.875"

Waist to mid-knee at side seam 25.625" 25.625" 25.625" 25.625" 25.625" 25.625" 25.625"
Waist to ankle at side seam 41.75" 41.75" 41.75" 41.75" 41.75" 41.75" 41.75"
Thigh circumference 29" 30.5" 32" 33.5" 35" 36.5" 38"
Mid-knee circumference, 19" 19.875" 20.75" 21.625" 22.5" 23.375" 24.25"
leg straight
Calf circumference 17.375" 18" 18.625" 19.25" 19.875" 20.5" 21.125"
Ankle circumference 10.375" 10.75" 11.125" 11.5" 11.875" 12.25" 12.625"

Neckline circumference 17.625" 18.0625" 18.5" 18.9375" 19.375" 19.8125" 20.25"

Table 2. 1 (cont.)

Body Measurements and Sizes

Bra size is determined by three measurements:

the bust circumference
the upper chest circumference
the rib cage circumference

The number size relates to upper chest circumference, not to bust circumference.
The letter size or "cup" size relates to the difference between bust circumference and upper chest circumference.
Rib cage circumference should also be factored into the bra size, because some women have a wide upper chest with a narrow rib cage.

Bra sizes come in even number sizes only, which means that if the upper chest measures at an odd number, the measurement will fall
in between sizes. To verify which even number to round off to (lower or higher than the upper chest), consider rib cage circumfer-
ence compared with that of the upper chest. Example: if upper chest circumference measures 33" and rib cage circumference meas-
ures from 2.5" to 5" less, select bra band size 32. If upper chest circumference measures 33" and rib cage circumference measures the
same to 2lj4" less, select bra band size 34. However, if upper chest circumference measures 33.75" to 33.875", select bra band size
34, regardless of rib cage circumference.

The difference between bust circumference and upper chest circumference determines the letter size or "cup" size, as follows:
Bust circumference total 36.5" 37" 38" 39" 40" 41" 42" 43" 44" 45"
Upper chest 36" 36" 36" 36" 36" 36" 36" 36" 36" 36"
circumference total
Upper chest smaller up to 0.5" 0.5"-1.25" 1.5"-2.25" 2.5"-3.25" 3.5"-4.25" 4.5"-5.25" 5.5"-6.25" 6.5"-7.25" 7.5"-8.25" 8.5"-9.25"
than bust
Letter size or "cup " SIze AA A B C D DD/E DDD/F G H r
Bra size 36AA 36A 36B 36C 36D 36DD/E 36DDD/F 36G 36H 36r

Panty number sizes do not relate to Junior's or Misses' number sizes; they come in even and odd numbers and have a 2" circum-
ference grade between each size.
Panty Sizes XS S M L IX 2X 3X 4X 5X 6X 7X
Panty Sizes 4 5 6 7 8 9 10 11 12 13 14
Waist circumference 23"-24" 25"-26" 27"-28" 29"-30" 31"-32" 33"-34" 35"-37" 38"-39"40"-41" 42"-43" 44"-45"
Hip circumference 34"-35" 36"-37" 38"-39" 40"-41" 42"-43" 44"-45" 46"-47" 48"-49" 50"-51" 52"-53" 54"-55"

Hat size XS XS S S M M
Hat size 6lj2 65/8 63/4 67/8 7 71/8
Head circumference, where hat sits 20.5" 20.875" 21.25" 21.625" 22" 22.375"

Hat size (cont.) L L XL XL XXL XXL XXXL XXXL

Hat size (cont.) 7lj4 73/8 71/2 75/8 73/4 77/8 8 81/8
Head circumference (cont.) 22.75" 23.125" 23.5" 23.875" 24.25" 24.625" 25" 25.375"