One of the reasons that I got into sewing was that I’m picky. I would have a vision in my head of a garment, and I could never find exactly what I wanted in stores. At first I would alter commercial patterns, but soon I found that too constricting as well. Eventually, I went and got a BFA in fashion, which involved several semesters of patternmaking classes. However, you don’t need formal education to learn pattern making. In this post, I”m going to break down the things you need to know to get started on your pattern drafting journey so you can design your own sewing patterns.
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Overview of the Patternmaking Process: Inspiration to Finished Garment
The formality and rigidness of the garment design process vary. A home sewist can do pretty much whatever they want, while an employee at a fashion company will have to follow procedure pretty closely. Regardless, the basic design process is the same.
INSPIRATION and Planning: The Sketch
Before a pattern can be made, the pattern maker needs to know what they’re trying to make. This is usually communicated with some sort of sketch. This can be rough and artistic or take the form of a very detailed tech pack. The pattern maker will take this sketch and use it to create a rough plan for how they want to move forward. They’ll figure out what pattern pieces they need and decide what techniques they’ll use to make them.
At this point, I find it helpful to write out a pattern record card, that way I have a list of all the pieces I’m planning to make.
First Draft
Once they have a plan, the pattern maker will start creating the each individual piece they need, one at a time. This can be done using flat patternmaking or draping methods (described below). Professionals might also use patternmaking software, which can include 3D modeling.
The main pattern pieces are created first, and these are worked without any seam allowance. As I make each piece, I like to walk the seams, make sure all my markings are accurate, and evaluate my design choices. Other designers will wait until they’ve created all the main pattern pieces before walking and checking them.
Once the basic shapes are made, any facing, lining, or interfacing pieces are created. Next, seam allowance and hems are added as needed.
Sample
Once the initial pattern is made, it’s best practice to make a mockup using an inexpensive fabric to test the fit and proportions. Making this mockup also allows the pattern maker to check for any errors in the pattern and or in the order of operations used to assemble the pieces.
A one-off garment for yourself or a client will be fit on the intended wearer. A garment for mass production will be tested on a fit model.
Revisions (and More Samples)
Based on the information learned from the fitting, the pattern will be revised. The extent of the pattern changes will determine if another sample is needed. Sometimes patterns need to go through many rounds of fitting before they’re considered good enough.
Final Pattern
The final pattern will look different depending on the context within which it’s made. qaqww A final copy is usually made, with the pattern maker trying to adhere to any rules or standards that the company or client they work for has. The pattern may need to be graded (created in multiple different sizes) too and a marker (cutting layout) may be designed. Final copies of patterns are often traced onto oak tag. This heavier paper allows the same pattern to be traced out many times and stored long term without the pattern becoming degraded and rough around the edges.
Finished Garment
Once the pattern is finalized, the final garment can be made. Because the pattern has been tested thoroughly, the resulting garment should go together smoothly and fit as intended!
How Patterns Are Made: Flat Patternmaking vs. Draping
There are two main ways that you can create the first draft of a pattern: flat patterning and draping. While most patternmakers will prefer one technique over the other, in reality, a good patternmaking will understand and use both. Generally, flat pattern is learned first, because the techniques used to clean up and finalize draped patterns are also basic flat pattern techniques.
What is Flat Patternmaking?
With flat patternmaking, you usually start with a set of very basic patterns known as slopers. These are patterns in very simple shapes, meant to fit close to the body. They have no seam allowance and only the minimum of other markings like notches. Slopers can be drafted based on a set of specific body measurements or you can purchase pre-drafted sets, like this set of slopers designed to correspond to the measurements of a Wolf dress form.
These slopers are then manipulated in various ways to create the desired pattern. Techniques such as dart manipulation and slash-and-spread allow the pattern maker to change the shape of the pattern in predictable ways. Once they have the basic shape they desire, the pattern is cleaned up (“trued” and the edges “walked”) then seam allowance and any necessary construction markings are added on.
Flat pattern techniques are great for creating predictable fit for making changes to existing patterns. This is why flat techniques are used most to create patterns for mass production. If all patterns are developed using a single sloper or are variants of existing patterns, it’s possible to create clothing that has a consistent fit across a collection or even years. If you’ve ever been to a store and found everything fits you just right (or just wrong!) in the same way, one of the reasons is that the designs were developed using flat pattern techniques.
Flat Patternmaking Books and Classes
Patternmaking for Fashion Design by Helen Joseph Armstrong (Amazon/Bookshop) is a staple for a reason. It has clear diagrams and step-by-step instructions for how to flat pattern many, many different garment types and details. Over the years, I’ve gotten rid of a lot of books (multiple cross country moves will do that!), but my copy of the 4th edition still has a proud place on my shelf. It’s still the first book I reach for when I have a question and it’s the textbook used in just about every college level patterning class I know of.
How Patterns Work by Assembil Books (Amazon/Bookshop) is a fantastic book for anyone who is trying to better understand, well, how sewing patterns work. This book breaks down the basic concepts of patternmaking in a way I haven’t seen anywhere else. If you’re struggling to understand other patternmaking instructions, get a copy of this book!
Pattern Magic by Tomoki Nakamichi (Amazon/Bookshop) is part of a series of books showcasing how flat patterning can be used to create exciting and unexpected shapes. The instructions in this book and its sequels may seem a bit overwhelming to a novice patternmaker, but they also make for great inspiration material.
Fitting and Pattern Alteration by Elizabeth Liechty, Judith Rasband, and Della Pottberg-Steineckert is an absolutely necessary book for anyone planning on using their patternmaking skills to design custom garments. It walks you through all the pattern adjustments needed to account for the natural variations in the female body. This is really a great reference to have on hand once you reach the fitting stage of any project.
Sloper Series by Suzy Furrer (Craftsy) is a three set class where the instructor walks you through how to create pant, skirt, and bodice slopers. It’s a great place to start if you’re completely new to patternmaking. However, there are actually a surprising number of additional patternmaking classes on the Craftsy platform. They can be expensive if you buy them individually, but you can get a yearly subscription for 2.49$ that will give you access to all the classes.
Fashion Design Pattern Making by Nino Via (Skillshare) is part 1 of a multi-part course from the former Curriculum Development Coordinator of the Fashion Design program at FIDM (Fashion Institute of Design & Merchandising, LA). This series covers many facets of flat patternmaking and would be a great introduction to the process.
Pattern Making for Beginners by Caroline Barulius (Skillshare) is another multi-part course on the basics of patternmaking. Barulius is a veteran patternmaker with 20 years of experience and her course would also make for a great introduction. Because Skillshare is only available through an all-access subscription, you could access both this and Via’s course and then decide which instructor you prefer!
What is Pattern Draping?
When using draping to make a pattern, fabric is directly sculpted onto a dress form. This method can create beautiful, artistic shapes and is great for designers who like to work in a hands on method. The couture designer Madeleine Vionnet was known for designing beautiful bias cut garments by draping in half-scale.
To drape a garment, first any style lines or other edges are marked onto a dress form using thin twill tape or dressmaking tape. Then a piece of inexpensive fabric is prepared, this varies depending on what the designer is making, but at minimum this means tearing off a piece that is a few inches bigger than they suspect the finished pattern piece will be. Using pins, the fabric is manipulated into place. If needed the draping fabric is cut into to release areas of tension.
Once the designer is happy with the draped garment, the outline and any other markings (like the shape of darts) are marked onto the fabric and it is removed from the form. This shape is transferred onto paper using a tracing wheel, then the pattern is cleaned up just like one made using the flat pattern method would be.
Draping is the best technique for making expressive, interesting garments or producing one-off garments designed to fit a specific person. This is why draping is the preferred method of patterning in theatrical costume shops and often used in high end couture garments.
Draping Books and Classes
The Art of Fashion Draping by Connie Amazon-Crawford (Amazon/Bookshop) is my go-to draping reference. Once again, this is a book I first used an earlier edition of in one of my college fashion courses. Over the years, I’ve looked at other draping books, but this one is still my favorite. If you’re teaching yourself, I’d highly recommend getting an edition of the book that comes with Bloomsbury’s STUDIO access. The publisher has included dozens of videos demonstrating the techniques. So it’s basically like a video course and a text book in one!
Dressmaking Basics by Paul Gallo (Craftsy) is a great online video course that walks you through all the steps of draping a basic skirt and bodice. There’s also a second course that focuses on bias draping. Once again, I’d recommend getting the yearly subscription for 2.49$ so that you can have access to both for the best price.
Introduction to Moulage for Fashion Design by Isabel Sánchez (Domestika) is another video course, though this one is more focused. In this class, Sánchez teaches the basics of draping by having you make a simple puff sleeved blouse. The project is simple enough for a begging pattern maker and watching an experienced pattern maker like Sánchez work is interesting no mater where you are in your patternmaking journey.
Introduction to Fashion Draping: Create Custom Womenswear by Reagen Evans (Domestika) is the sort of course I like to take when feel in need of inspiration. It’s great to be able to be able to learn from someone like Evans, a high end designer with a strong aesthetic. However, you’ll get the most out of a course like this if you have some of the basics down first.
Pattern Drafting Tools and Supplies
Pattern drafting supplies can be bought individually or as a part of a student kit. As a new pattern maker, there is a bit of an upfront investment, however, most of these tools will last you decades. These are in addition to your basic sewing supplies. I’ve done my best to note which supplies you’ll need to get started and which you can hold off on or skip altogether if you’re just patternmaking for personal use.
Rulers and Curves
Rulers and curves are the most important pattern drafting tools. I use inches because I’m US based, but if you’re in a country that uses the metric system it shouldn’t be too hard to find equivalent measuring tools. These can either be bought individually or as part of sets.
At minimum, you need a clear plastic 2″ x 18″ grid ruler. The clear ruler is used for many, many things, including adding seam allowance onto your finished pattern. Ideally it should be made of thin, flexible plastic, not thick and rigid plastic.
A 12″ French curve is also essential for creating neckline and armhole curves. This can either be clear plastic or metal. You want to look for a French curve that is intended for drafting sewing patterns and not illustration.
Once you have these two essentials, additional curves and rulers are nice to have, but not essential. I find I get the most use out of my waist curve and my hip curve.
Awl
You will be surprised at how much this tool gets used! A nice, sharp awl is essential for many parts of pattern drafting, including the very important flat pattern skill of dart rotation. I like a straight awl (as opposed to tapered) with a wooden handle, like this one from Dritz.
Pens, Pencils, and Marking Tools
Patternmakers tend to have favorite tools for making and editing their patterns. Generally, when working on a draft of a pattern I like to use a mechanical drafting pencil, usually a Zebra M-301 with a 0.5mm point size. You can use any writing tool you like for drafts, but it should be very precise, not prone to smudging, and erasable.
When draping, I like to use a soft pencil (2B or above) to mark my fabric when it’s on the form. This ensure that my marks will be dark enough to see when I remove the muslin from the form and that they won’t bleed through onto my dress form like they would if I used pen.
For final patterns, you’ll want to have narrow felt tipped pens in black, red, green, and blue. In industry, black is used for pieces cut in your outer fabric, red for interfacing, green interlining, and blue for lining. You can, of course, get by without these, but it is nice to be able to easily differentiate between your pieces when you go to cut things out.
Shears
Bent handle shears are the best tool to accurately cut out your paper patterns. These don’t need to be expensive, but you shouldn’t use the same pair that you use to cut fabric, as paper dulls scissors faster than fabric. I’ve used the same pair of Mundial 8.5″ Knife scissors for decades now.
For fabric, I use a pair of 10″ Gingher shears. I personally love how big and heavy they are, though many people may prefer to go with the slightly smaller 8″ version. Whatever you use, keep it only for fabric cutting!
Pattern Notcher
A pattern notcher is super specific but necessary tool. It functions like a small hole punch that takes a small bite out of the edge of your pattern where the notches should be. In a pinch, you can cut small “V” where the notch should be, but this never ends up being as accurate.
Rabbit Punch and Pattern Hooks
If you don’t have a dedicated studio space, you may end up storing your patterns folded. This is fine for personal use, but In an ideal world, you’d store your patterns hanging. This is where pattern hooks and a rabbit punch come in.
A rabbit punch makes 3/4″ holes in patterns so that they can be hung. The punch needs to be strong enough to go through the tougher manilla paper (mentioned below), and deep enough to place the hole solidly to the inside of your pattern. Finding a budget version that gets deep enough into the paper is strangely difficult, with this 15mm punch being the best budget option I can find.
Once the patterns are punched, they’re hung on a clothing rack using pattern hooks. This ensure that the patterns don’t get creased or bent, even if they’re awkward shapes.
Paper
When you make patterns, you go through a lot of paper. It’s just the nature of the process. And there’s no reason you can’t start out by taping together pieces of newsprint to do your drafts. But getting a roll or two of large paper for patterning can make the whole process easier.
Most of the time, you just need a large roll of thin white paper for patternmaking. Ideally, you want something that you can easily see through and that is uncoated so your marks don’t smudge. Dotted marker paper can be great to work with, but can end up being a bit too pricey if you use a lot (and all pattern makers use a lot!). A better choice is a large roll of white Kraft paper or plotter paper.
For any patterns or blocks you know will get heavy use, you’ll want to transfer the final version to something sturdier. Manila pattern paper (also referred to as oak tag) is generally used for that. These patterns do need to be stored without folding, ideally by hanging, but you can roll them if you have no other choice.
Tape
During the drafting phase of patternmaking you’ll end up using tape and staples fairly frequently. You can and should use whatever tape you have on hand when you first start out. But when you need to buy more, look for something that you can easily see through and write on like this Scotch Paper Tape.
Fabric
Designing your own patterns does tend to use a lot of fabric. Creating at least one sample out of a waste fabric is pretty standard before making a final garment.
When making patterns using the draping technique, you’ll also need additional fabric to drape on the form. This fabric generally is discarded after the pattern has been transferred. While there are some designers and home sewists who directly drape their designs using their fashion fabric, this isn’t usually the most efficient or economic way to work.
Muslin, a plain woven cotton fabric, is the standard material for both draping and sewing samples. There can be significant variation in the quality and price of muslin. The width, density of the weave, and evenness of the yarn can all impact the price. Avoid the cheapest muslin, as this usually has lot of sizing added to it. Not only does this make the fabric really stiff, but some people find this finishing rubs off on their skin and causes irritation. For the best value, once you find a muslin you like, buy it by the bolt.
You can also use ugly deadstock or other waste fabric for samples and draping. Just make sure it has a similar body and drape as the final fabric you plan on using. It’s also helpful if you can easily see any markings you make.
Dress Forms
If you want to make patterns via draping, most techniques require a dress form. While there are some techniques that have the designer working straight on another body, most traditional draping requires you to pin fabric to your form, which isn’t practical on a live model.
I’ve written all about dress forms before, so check out that post if you’re planning on buying one.. If you’re buying a new dress form specifically to learn draping, consider getting a half scale form, as it will allow you to practice your technique while using less fabric and other materials. Also, avoid adjustable forms if you want to be able to make patterns by draping. The gaps make them almost impossible to use.
Draping Tape and Twill tape
When you’re draping a pattern, one of the first steps is to mark out any style lines on the form using either a lightweight, adhesive tape called draping tape or by pinning the lines on using narrow cotton twill tape. I like to use 1/8″ wide black tape, though 1/4″ twill tape works too. T
he goal with these tapes is to create a thin line that you can feel through your draping fabric. The tape needs to be bendable enough to create smooth curves where necessary. Adhesive tapes need to pull up easily without leaving a residue and twill tapes need to be tightly woven enough that they can be securely pinned to the form.
Pattern Tracing Wheel
This strange, spiky device is used to transfer the markings from your draped pattern onto the pattern paper. For patternmaking, you want the pattern wheel with sharp spikes on it, not a lightly bumpy wheel (these are used for marking with chalk paper or wax paper).
Pins
If you’re using twill tape to drape, you want some flat metal head pins. I like to use size #17 straight pins, also sometimes called silk or satin pins. This allows you to attach the tape without causing any bumps that will interfere with your draping. For the rest of the draping process, I tend to use my favorite glass head pins.
Wrist Pin Cushion
I absolutely love using a wrist pincushion when draping or fitting. It’s not an absolute must have, but it makes life much easier. There are all sorts of styles, ranging from utilitarian magnetic versions to a riff on the classic tomato pin cushion. Or, you can make your own!
Digital Patternmaking
As far as I know, there is no magic software that can make patterns without the user having a solid grasp on traditional pattern making methods and techniques. But once you have the basics down, learning digital patternmaking can streamline your process and make it easier to share and store your patterns.
Over the last decade or so, the landscape of digital pattern drafting has changed significantly. The high end options now have 3D modeling capabilities, there are affordable dedicated pattern drafting options on the market, and using vector graphic programs like Adobe Illustrator for small scale design has become common. Hiedi of Successful Fashion Designer has a great post comparing the different options.
If you’re interested in learning Gerber or one of the other systems used by the large fashion companies, but don’t want to get a full degree, I’d recommend looking at your local community colleges. Generally, community colleges admit everyone regardless of previous grades and without requiring a portfolio. However, you may need to pass perquisite courses or prove you have previous patternmaking experience to take a digital patternmaking class.
The less expensive pattern making softwares are said to be a bit easier to learn on your own and they’re cheap enough that
If you just want to work digitally on personal projects or to develop sewing patterns to sell for the home market, learning how to use a vector graphics software is usually the best method. This is essentially hand drafting, just on a computer screen. Because programs like Illustrator aren’t designed for pattern making, you’ll likely want take a class or look up some recent YouTube videos to learn the most efficient methods. Patterns made this way also will not play nice with any of the professional patternmaking software options out there.
Printing Your Patterns
Formatting a pattern to print on home printer can be done, but it can be a bit of a process. Exactly how and if it can be done depends on the software you’re using. In most cases, you’ll want to print using a large scale plotter that uses paper rolls. A 36″ printer will run you at least 1200$, while a 24″ version (the smallest you could conceivably go) can be found for around 700$. This upfront cost may be worth it if you’re a professional patternmaker, but isn’t practical if you’re a home sewist or just starting out.
Copy shops will sometimes have the ability to print out sewing patterns, however, the availability varies and it can get pretty expensive. I like to use an online service like PDF Plotting, which specializes in printing and shipping sewing patterns. They print and ship quickly and have reasonable prices.
Pattern Grading: Changing the Size of Your Sewing Pattern
Pattern grading is the process of taking an existing pattern and creating a range of sizes based on the size standards for a manufacturer or brand. This can be done manually or with digital pattern drafting software. If you find yourself needing to grade your patterns into multiple sizes frequently, that’s a sign you may be ready to upgrade to one of the professional pattern drafting software options mentioned above.
The most important thing to remember when grading patterns is that the grading process is both an art and a science. Bodies don’t get larger and smaller in perfectly linear ways. Adjustments need to be made to accommodate these natural variations. If you’re making patterns to fit a very wide size range, you may want to have fit models and make samples in more than one size so that you can avoid fit distortions at the far ends of your range
Grading Books and Classes
Concepts of Pattern Grading: Techniques for Manual and Computer Grading by Kathy K. Mullet (Amazon/Bookshop) is a thorough introduction to the concept of grading that covers both manual and digital grading techniques. This book is a little on the older side (2015) but the information still seems to be solid. The additional online Studio content isn’t that impressive, so feel free to skip that and choose a used copy of this one.
Create Any Size: Pattern Grading for Sewers by Kathleen Cheetham (Craftsy) is aimed at home sewists who want to be able to alter the size of commercial sewing patterns. However, it’s a good option for anyone who just wants to see the grading process in action. If you’re already thinking of watching the flat pattern and draping courses above, this class is also included with a yearly subscription for 2.49$.
Grading Pattern Making Manual by Caroline Barulis (Skillshare) is a brief course from an experience pattern maker. In the course Barulis demonstrates basic pattern grading techniques and goes over the fundamentals of pattern grading. This is included with your Skillshare subscription if you get one to watch the other patternmaking classes on that platform recommended above.
I hope this article has helped you get started on your patternmaking journey. Let me know if you have any favorite patternmaking resources in the comments below or over on Instagram!