Patternmaking for Menswear | Gareth Kershaw

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Patternmaking for Menswear
by Gareth Kershaw
Patternmaking for Menswear

Introduction 7
Pattern making in contemporary menswear 8

Chapter ONE
Preparation for
Pattern MAKING
Tools and equipment 18
Studio practice 20
MEasuring the male figure 24
taking measurements 26
Size charts 32

Chapter TWO
The Patternmaking process
Basic upper body SLOPER 40
Basic sleeve SLOPER 4 2
creating a master plan 48
how to trace off a pattern 50
grading 52
principles of Patternmaking 5 7
using technology 68

Chapter three
The patterns: shirts
long-sleeved collarless shirt 74
short-sleeved polo shirt 80
hooded sweatshirt 88
casual long-sleeved shirt 104
lumberjack shirt 116
short-sleeved safari shirt 126
bib shirt 138

Chapter FOUR
The patterns: PANTS
high-waisted PANTS 150
chinos 158
basic sweatpants 168
tailored shorts 176
cargo pants 186
jeans 196

Chapter five
The patterns: outerwear anorak 2 06
fitted denim jacket 220
trench coat 232
single-breasted jacket 252
double-breasted jacket 268
waxed jacket 288
parka 302
glossary 316
picture credits and acknowledgments 320

Contemporary menswear has evolved from a staple of traditional silhouettes and styles. The development of these styles has been directly influenced by social, economic, and cultural requirements, played out through the many roles men have inherited: formal clothing, workwear, leisure-, and activewear.

The boundaries of these styles are less clearly defined than in previous decades as trends move and change as quickly as seasons pass—from Fall/Winter to Spring/Summer. Again and again the cyclical nature of the fashion industry throws up reinterpretations of classic silhouettes.

Patternmaking as a craft is integral to the whole fashion production process, linking the designer’s concepts—a twodimensional illustration—with the three-dimensional realization of shape-making, proportions, and silhouettes. Very few people who study fashion end up specializing in pattern technology and many who practice it have come from other disciplines. The holistic nature of the fashion industry increasingly requires practitioners to have a broad understanding and experience of most, if not all, the stages involved in the creation of clothes. A designer or practitioner who can research and conceptualize ideas, cut patterns and identify their target sizing, construct and technically finish a garment, develop, market, and sell their product will be able to direct their team and product to a satisfactory conclusion. A broad skills base is needed to succeed in today’s fashion industry.

This book uses generic menswear garment styles to teach the principles of pattern construction that will be encountered throughout the fashion industry. Each pattern not only offers a selection of shapes and design hints but also explores the related techniques associated with its construction and development. Working your way through each section will build your knowledge, allowing you to further explore and adapt generic styles.

Most designers / labels work toward a set of predetermined body measurements (the target consumer) or an industryacquired size chart. These are used in conjunction with a human fit model or a size-specific dress form or mannequin. Chapter 1 discusses how to take measurements to create your own size chart or use the industry charts provided. It highlights the importance of developing visual awareness of the landmark points used for taking measurements, which correlate to the human body in relationship to fit. The chapter also outlines studio practices related to sizing and technological advancements through computer-aided design (CAD) and its applications.

The designs for a garment style can be developed quickly by using the basic sloper, or block, template described at the beginning of Chapter 2. Tracing off the sloper and transferring the design development onto it creates a master plan. The master plan serves as a blueprint for the development. This process uses only half of the pattern sloper, thus eliminating possible duplication errors, which would result in an unbalanced pattern—the human body is generally seen as equal in proportion but not symmetrical. Even if your design is asymmetric, copying over the drafted shape to create the other side is a quick way to achieve the desired pattern style. Where possible the different pattern pieces are kept proportional to one another but occasionally to show detail or to ensure that the text is readable this is not the case.

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