Fit to Flatter - The journey of the perfectly fitted dress

The commercial pattern companies and how they work.

Part 1

First of all, let's get to grips with the commercial pattern companies and how they work, then we can understand how to flatter. Then watch those beautiful dresses come to life! 💖

Ooooooh so here we are talking about Measuring, pattern adaptation, changing style lines to flatter, toile making, alterations and all of this covers one subject only; fitting.

If you can do this, and I know you can...and, then go on to create the garment. You really are quite amazing! Do you actually know how good you are?

Take it at your own pace in your own time. There are about to be some pretty awesome bespoke ‘Me Mades’ out there. So let’s go! 😍

WHAT YOU NEED TO KNOW!

All patterns within one company come from the same block. In other words, every pattern has the same starting point. If not the pattern sizes would be in chaos, so if one Vogue pattern fits you perfectly, they all will. Well, in theory, but here is where the problem lies.

The pattern cutters interpret a design and decide how it should be worn. E.g. loosely, semi-fitted, very fitted, etc., so they add to your measurements an amount of extra that they believe fits that category. Now you may not agree for various reasons. For example, a loosely fitted garment might be your measurements, plus 20”. That’s 20” of extra fabric. For one person, it might be perfect, and for another, far too much bulk.

I am only 5’2” and a size 10. I just couldn’t carry off an extra 20” in width. It certainly wouldn’t be flattering, that’s for sure!

Unfortunately, you do not know how much extra there is until the pattern is open in front of you. But then if you know it’s way too much you can remove some of it. Usually by wavering over the cutting lines into a smaller size.

So now this is where the measurement chart comes in handy. I have created a measurement chart along with tips. Please download for free!! You can find it in the heading box named files in our Facebook group "That's Sew Terry Fox".

The idea being if you work through the process carefully, step by step, you will have a perfectly fitting dress by the end of it. You are perfecting each step, then moving onto the next. It has to give you a much better garment than leaping in with scissors in hand, and your best piece of Linton Tweed waiting to be slaughtered on the cutting room table. STOP! A little extra planning will go a long way, and I am truthfully a person who doesn’t do any extra work if it’s not absolutely necessary.

The other thing to mention is with a few guidelines you soon become familiar with your shape and size and how it varies from what is considered to be standard. This is also where some of us favour certain pattern companies more than others. It is not because they are better. It is because their starting point happens to resemble more closely your own figure and style. Which, of course, makes us feel more standard. Dare I say...less different!!

I often hear people say, so and so’s patterns are wonderful. I don’t need to change a thing. They thoroughly recommend them. But then can you imagine for everyone that feels this way, how many hundreds will disagree.

So my approach...Any pattern is great. It doesn’t matter because you are are going to turn it into a perfect you anyway.

All of this measuring is not life-threatening. It’s quick, and it’s easy, it’s a start. You are working towards making a toile. This has to be big enough to put on so you can read it like a map.

You are just prepping up for the serious stuff. Trust me; you are just getting to know the lovely YOU! Once it becomes second nature, you won’t need to do this every time. You may not realise it, but you probably are already nearly there. It’s confidence-building and having someone to help along the way for support. Soon it will be instinctive just like your pattern pieces and fabric choice.

So relax and enjoy yourself. Have your measurement chart ready, and I will be back shortly with Part 2 of 'FIT TO FLATTER...The journey of the perfectly fitted dress.

I hope this all makes sense. It is a vast subject. But it is one to be enjoyed and not feared. Then you can start having fun with it.

Measuring yourself correctly for that perfect fit.

PART 2

So in Part one, we discussed how the pattern companies work behind the scenes. Hopefully, that gave you an insight into how the original pattern starts its life. You can then see how it would be impossible to suit all.

My plan is hopefully to give you an understanding of how to choose the correct size pattern to provide you with the best start.

So, first of all, I suggest you fill in your measurement chart mentioned in Part One. If you have any problems finding this in our Facebook group please feel free to let me know. It's under files in our "That's Sew Terry Fox" group.

I use this chart every time I fit and work with a client. I will have very little appointment time. So I need to work quickly. All additional styling, contouring, finalising. Can be done at the toile stage later.

You need to take measurements as a reference to use many times during the process. They don't need to be millimetre perfect. Because you will be able to correct later.

But you do need to be taking the measurements in the same place every time to keep your referencing consistent.

Ideally, if you can work with a friend that would really help. If like me, you work mainly alone. Use the clothes you already have that you like and measure them. For example, I have several dresses that I like the hem length of. I measure them, not me. Same with across the shoulders, mid-back and sleeve lengths etc.,

If you don't have any clothes already, or a handy friend, you are going to have to make an educated guess. Just as I did initially. At least until you do have a collection of successful samples, you can refer to later. The truth is you will never know until the dress is tried and tested, and you know it's an absolute winner. Then it's worth its weight in gold. The best reference tool you will ever own.

So, for now, you are only concerned with 3 measurements. These you will need to buy your pattern. Unfortunately, this alone doesn't guarantee the pattern inside is going to fit perfectly. But we have no choice until we can get hold of those pieces inside.

So now what you need is those 3 very important measurements in front of you. Everything is reliant on these.

So they are your bust, waist, and hips.

Here is a made-up example

BUST: 39"

WAIST: 32"

HIPS: 44"

NOTE: Remember the hip measurement needs to refer to the patterns hip measurements. So measure around your hips 9" below your waist.

You will now need to check these against the pattern companies measurements. These can be found online or in their catalogue before you purchase the pattern. They can also be found on the pattern envelope. See photo attached.

In my example, you can see I have a dilemma. All three measurements are over three different sizes. So which should I choose?

The truth is it's hard to know because I can't see in there and get my hands on those bits of paper. So here's what I am thinking.

1. HIPS: no problem. I have shown you on the chart how and where I measure for those. We are all so different. So whatever the pattern gives me and by the time I have added my measurements for 2" 4" 6" 8" 10" below the waist. We are going to adapt the sides and sort that one out quite easily.

2. WAIST: The same as above. A bit more on or off at the sides no problem.

3. BUST: ahhhhhhhnow look at how many things could go wrong here! A pattern is a jigsaw. All the parts are created to slot into another part, then another.

When the parts match. They add up to a dress - easy.

The more pieces we interfere with. The more chance of something going wrong. So let's keep this easy.

Let's make the bust measurement our priority (remember this is for a dress, another design may have a different priority)

NEXT QUESTION...

The bust is in between two sizes. Which should we choose?

So what information do we have? How is the dress described...loose fitting. Semi-fitted. Either way, that pattern will be bigger than its size. We just don't know how much.

You may think if I go a size smaller I have lost a 1" but when you get in the pattern has plenty of extra. Maybe it should have been 4" of extra, but you have stolen 1". But the remaining 3" is enough. What's the worst that can happen. You need to add another 1"

Please don't get confused. I intend to try and explain why we do get confused. And the most experienced do too. This is about knowing what to expect. And how to observe as much as you can from the outside to make an informed decision. Truth is only you have the right answers. Nobody knows better than you.

So decide and buy the pattern.

For my example, I would go for a size 16/18 if they are both in the envelope. If it was one size only. Probably 18. I really think I have it covered with that one.

So, at last, the next step is to get your hands on that pattern. Now we can really get started.

Have fun, and I hope you find some magical fitting fairies to help.

Opening the pattern envelope and getting familiar with our chosen design.

PART 3,

So now you have your pattern. Let’s get inside that envelope! ️

You have purchased this pattern because you have calculated the size is right for you. At least as a starting point anyway!

Now let’s get familiar with the pattern. It’s shape and design. We need to imagine how the pattern cutter visualised the finished design to be. Then switch places. You are the one that’s going to be wearing this dress. How do you want it to look?!

I always have a visual reference. A real one! Not just a sketch. So it could be an actual dress or one I have seen in a shop or magazine. My brain is saying ‘I want it to look like that!!

You really don’t know until it’s made. So if this is all new to you, I would strongly recommend you make a toile...a calico — a mock-up of the design to try on.

For my clients, I wouldn’t dream of making a dress without one. Yes, of course, a designer can imagine and visualise. But the reality is you never know exactly what the complete picture is until it’s on. This is how everyone in the industry works, including Chanel and Dior. If they need to go to such great lengths to get it right, then so do we.

Do I make toiles every time I make something for myself? Truthfully No. The reason being, I know what I like, what suits me, what size pattern I am, and how I vary from the pattern.

I know after 50 years of making these commercial patterns, I still differ in the same places. Although over the years the amount changes. But the position remains the same eg., smaller shoulders, bigger boobs, hollow back and lots more! Let's call these our uniqueness.

Over the last two years, I have lost three and a half stones in weight. But those same alterations are still there, just on a smaller size pattern. The only way I found this out was by making a toile for each and every style. And if today I were to make myself a very important dress or something that needed to be a perfectly fitted style line, then I would make myself a toile without hesitation.

So what we need to know before we can make our toile.

STEP 1

Check out your front dress pattern pieces first. Top and bottom. You are looking for the reference points for Bust, Waist and Hips.

Reference points can be found on the pattern, and are usually drawn as a circle , with the measurements of each size added underneath.

Write these down As the pattern reads for the size you think you are.

BUST...

WAIST...

HIPS...

PLEASE NOTE You may find the waist measurements are not on the pattern. In this case, you will need to measure the pattern yourself. In fact, you could measure any of these, but you must remember to measure at the same position as you did when filling in your personal chart.

STEP 2

Now check these against your measurements. So it doesn’t get confusing, let’s call the measurements on the pattern ‘Actual' and yours ‘Personal’.

Note them on a piece of paper side by side.

PERSONAL ACTUAL DIFFERENCE

BUST 34” 36” + 2”

WAIST 26” 28” + 2”

HIPS 37” 40” + 3”

STEP 3

Then make a note of the difference. Adding a plus or a minus sign, depending on if the actual pattern is bigger or smaller than you.

So for this example, I have used my measurements for my most recent make McCalls M7894. The pattern pieces look way more complicated than usual. But don’t forget it’s just a jigsaw puzzle when made up. They still add up to a dress that has a bust line, a waist, and a hip line.

The ‘actual‘ pattern is at least 2” bigger than me on the size 10. So looking at the style and the description is ‘Fitted’. I think that’s just right for me to go ahead and cut out.

PLEASE NOTE I am not concerned with my uniqueness yet. These will all be apparent when I make the toile.

So what if the actual measurements are way more than your personal?

Ask yourself, do you want it that loose? Is that how you like to wear your clothes? Does the style allow for this? Only you can answer this. Neither the pattern company or I will know what you prefer.

If you decide it is too much, but you are not sure by how much. Check the reference points on the pattern again for a smaller size. Maybe you need that size for this style. If you check all three reference points and they are all too big, It’s a pretty good indication you need to go down a size.

Or you may favour extra in specific areas such as the thighs, and this is where you start to cross over into different sizes. Not a problem, use your judgement, as long as it is bigger than you, you can’t go wrong. Keep checking!

If your ‘Actual’ measurements on the pattern are less than yours, you obviously need to add on. For example...

PERSONAL BUST 34” ACTUAL 32”

But don’t forget you need it to have extra so you can move and breathe, this is called wearable ease. So you need 2” to be you and then 2” more for comfort. So at least an additional 4” is necessary.

Use a marker pen to highlight which cutting lines you have decided on for the reference points. We now need to blend these into all other areas of the pattern. Such as across the shoulders, back, bodice length and skirt length.

NOTE

These are all width and length measurement. Nothing fancy. No overlapping, spreading, contouring. Those will come later. For now, take a tape measure, and quickly assess whether the bodice and skirt are wide enough and long enough to put on.

Don’t worry ’The Flatter‘ part comes later.

So I really hope this makes sense so far. I know I have said this before. But this is all about attitude. I am a realist. A reality maker! It’s not a science; it’s a passion. We will make these dresses fit!

For some of you, all that I have explained is obvious. For others, it’s frightening. The point is it doesn’t matter. We never make mistakes; we create experiences. The more you make now, the less you will have to come.

Just remember you are perfecting the fit each and every time you make something. I guarantee you are more knowledgeable than you think. It’s just about filling the gaps in the story.

There will come a day, and you will say ‘oh is that it’. Then you can share all your worldly knowledge with someone else who is new to our craft.

So let’s keep the creativity flowing and show that us stylish, fashion-loving, fabric hugging creators are right up there with the best of them.

In each section, we are building up a clearer picture of how the fitting process works. For this section, we are going to move on from cutting out your commercial pattern. With all, it's customised adaptations to making The Toile...Are you ready?

The Toile

PART 4

You should be feeling pretty good about your pattern and now quite familiar with your pattern pieces.

It’s funny, but they actually start to look like you. You begin to get a feel and recognise the cutting lines. You become more aware of where and how the cutting lines cross over the sizes. It basically all starts to make sense and you realise ‘of course’ this is how your pattern should look. This is the shape of your body.

Very few people are standard. How strange would that be? But the pattern companies create a standard pattern to help you - not to scare you. Where would we be without them? Ten steps behind having to make the complete pattern from scratch. Now you are just having to adapt it to you! Don’t worry if it’s not perfect...yet! It will be in time.

So you have taken the first steps. You have cut a paper pattern that is your personal size. With plenty of room (wearable ease) to be able to put it on. But what you haven’t done is allowed for your uniqueness your contours, your curves and lines and how they link together to create your body map...now try measuring them!..not easy!

This is why I work this way. I have measured everything I can so far on a flat pattern...2D.

The next part is our uniqueness (makes me smile every time I say that ️) This is our form. I am going to work this on the round...3D.

So what we need to do is cut out our pattern in a cheap fabric. I tend to use a calico, cotton sheeting or curtain lining.

You often hear people advising a fabric similar to the one you will eventually make the dress from. But this is really only necessary if you are to observe draping and design. Not fitting. Although a similar weight or thickness will help. For example, if my finished dress is to be in chiffon. I wouldn’t make my fitting toile in chiffon. I would if I was taking it a step further to see how the design and fabric fall. But it really needs to fit by then.

If I make my initial toile in chiffon, it’s too unstable to know if I have it fitting correctly. What I need is a stable weave. I may even choose ( and quite often do) use the toile as the actual pattern I lay on the fashion fabric to cut around. ( I will explain more about this later). You just couldn’t do this with an unstable fabric.

Also, I want to write on my toile. Make clear markings and notes to self. So I can pin, cut and adapt. This toile needs to be working hard for me. Sometimes this is all I have when my client isn’t there. I need to understand them and see them within those pieces. Stretch, unstable, loose fabrics simply won’t work.

So choose a plain, preferably white/natural cotton. Cut out the pattern and transfer your reference points to the toile. Bust, waist and hips!

Be consistent. If you measured your hips 9” below your waist. Then that’s where you Mark. Not 7” or anywhere else. Same for Bust and Waist.

Mark these reference points by drawing a horizontal line completely around the body of the toile. Also, mark The Centre Front and The Centre Back. Diagram 1

Also, add a generous seam allowance to the centre back. Approximately 2 1/2” in all. (1 1/4” each side). This gives you a bit to play with.

Make up the toile and put it on.

Well, how fabulous is that! This may not be perfect, but I bet it’s pretty good! If it’s way too big, or too small, too long or too short. You haven’t measured it correctly...that’s all. Check everything that is obviously not right by cross-referencing with the Paper pattern and alter. For example, if it’s too short in the body. Decide by how much and add to the pattern. Simple!

Don’t forget this is the first time you have been able to put this design on. It is more than likely you need to do some tweaking. But providing all the measurements were correctly taken I bet it’s looking pretty great! But now we need to make it perfect

Let’s check the horizontal markings at Bust, Waist and Hips. In a perfect world, they should be perfectly placed at the points they are meant to be and perfectly parallel to the floor. In other words, if the bust line isn’t straight and parallel to the floor and the line is going up at the front. The toile is telling us something. If you follow that visual line to the hem and the hemline is going up too. It’s quite obvious what is happening. What do you think is happening? See diagram 2

My guess is the bust is larger than the size of the pattern. But by measuring as we did last week, how can that be? Surely we allowed for this. Well, we did but...when areas are larger not only are they wider, the line that goes up and over ( the vertical line) is longer too. The fabric needs to travel further to go over the fuller bust than it would a smaller bust. So the fabric is being pulled up to try and find a comfortable place to sit. See diagram 3

A full bust behaves in the same way as full hips, full tummy, full bottom, etc., the same operation just a different area. Maybe a different angle. More likely different amounts. But the manoeuvre is the same. Extra fabric in the length is required. But it does need to go where it’s telling us to go, and not just stuck on in a convenient place. Which means you can only apply at the toile stage, and not when the fashion fabric has been cut out. That’s when we do a quick fix and it never really works.

See diagram 4

You fix the toile. That becomes the pattern. By the time you reach the fabric, it’s almost spot on! You still may need to tweak. But it has to be better than not doing any of this at all. Look how far you have come.

So now you need to check over the complete toile in the same way. Then pin to perfect. Start at the shoulders and work your way down.

Use the horizontal lines to help keep all the alterations localised. So if the bust line is going up and the hem isn’t, the alteration is in the bust area only. Same if the bust line is straight and the waistline is going up. The alteration is likely to be between bust and waist. See diagram 5

Read those lines. Use the information you have. Don’t fear what you see. If you tackle the obvious now. The rest of the struggle never even happens. I promise you this is the easiest route, the quickest option, creating the best results!

At this stage, I don’t want to go through every possible alteration there is. I know you have seen those before. Open any fitting book, and it will explain how to adapt for this, that, and the other.

I will return to show you various alterations in the future. But for now, I am going with my mantra... it’s all about attitude! Whatever you see on the toile...fix it !! If it’s too loose, or too big pin it and remove it. See diagram 6. If it’s too tight and the fabric is taut, slash it and see how much it opens up by. Position fabric underneath and stitch. See diagram 7

Remember it’s a jigsaw. As long as adjoining points still match. It’s all going back together again.

You will need to take your toile apart and fix these alterations. Then stitch back together and try again. Sometimes, depending on the amount of work. You may need to make a fresh, new toile. Do whatever is necessary to be happy with the results.

Finally, take the toile apart and press each piece. I would suggest all adjustments are transferred to your paper pattern. This way, you have a complete altered pattern that you should be very happy to use again without thinking.

With my clients, I use the calico as the pattern. I place it on the fabric to cut around it. It’s a ‘one-off’. It’s quick, and it works.

You are now ready to cut and make your dress.

But there is just one other thing to consider. Does it flatter? You can still have a good fit, but a bad cut which has a line that doesn’t flatter.

Now, this is a whole other subject. Let’s save this one for next week.️ ️

I hope this all makes sense. I know making a toile can seem like so much extra work. But actually, in the long run, it isn’t. It can be so rewarding, and it won’t take long before you are adjusting without even thinking. I suppose it’s similar to cooking. But THAT is something I can only imagine. I am better in my sewing room than in the kitchen.

SEAMS THAT FLATTER!

PART 5

I am so pleased to see we share the same passion for lovely fitted, fashionable clothes. It just takes a little extra effort in the beginning, and the all becomes second nature and an everyday part of what we do

In this section, we are going to discuss 'The Flatter’ part of the story. I love this bit because this is what turns an o.k dress into 'The Wow World of design!'

All those subtle lines that make up a style. The ‘not so obvious’ ...only to a trained eye. But it’s those lines that set McQueen, Dior and Channel above the rest.

Let’s take a look behind the cut of a pattern, and try to understand what this means to us.

First of all, a dress pattern usually has arms, bust, shoulders, neckline, a torso, hips, length, and so on. It’s a dress. So we are never going to stray far beyond this description in everyday life.

A designer interprets these essential requirements into a unique design. See diagram 1.

The pattern cutter then takes that sketch and creates a paper pattern.

Six different pattern cutters will put a slightly different slant on it. It’s creative. There’s no rules or law on precisely what to do!

Sorry to say this so many times. But now it’s a jigsaw pattern. You could cut it into ten pieces or thirty pieces. When it goes back together, it’s still a dress with a similar silhouette, just like a jigsaw puzzle. But the details within it will be varied. See diagram 2.

The detail is open for interpretation, and it’s not set in stone. The trained designer will play around with the details to create the most flattering and aesthetic cut for the client. They are turning these details into seams, darts, draping and embellishments. All with the intention of emphasis, detracting or highlighting the best of their features. Moving things around to adapt for every size and figure!!

So another mantra of mine ‘Seams Means Shape.’ We all know how different we are. So let’s move those seams to suit us individually. Or even create a seam if there isn’t one. So we can put more shape into it if we have to.

For example:- a simple Sheath style dress can work for everyone. But one with seams will be far more adaptable than one with just darts. This style of Sheath dress with seams is called a Princess line. See diagram 3

Let’s face it. How many of us are made up of straight lines? So by having a seam, you have somewhere you can add or take away from, we can move around the contours quite freely. A figure with a very curvy outline will really benefit from the princess line or someone with a larger bust or hips because you can add where needed.

I am over exaggerating this by using a ball as an example. Take a length of flat fabric. How do we shape it into a ball? See diagram 4

The point is to move all the seams to the best position for you! And if there isn’t a seam where you need one, make one! See diagram 5

You have now become both designer and pattern cutter. Don’t panic; you can do this. Play around with the patterns, make toiles. See what works for you. You now make the rules.

All we have discussed so far is the shape in width. Don’t forget to consider the length too. The longer the line or seam, the more the illusion of height you will gain. Which can also appear quite slimming. More than one seam shadowing the first will have twice the effect! See diagram 6

And finally, don’t forget the contour. Those seams that flow around the curves of the body creating movement. The ones you can’t help but admire.

So here are some goods points to observe:

1. Put seams where you need them most, this usually means if you are shapely in an overall area. Not just one line. Consider more seams than only one.
2. Be aware of the distance between seems and compare with length. For example, a common fault with strapless bodices is where the princess seams are wide apart. A bodice is short; This could result in the bodice looking square. Add more shapely seams. See diagram 7
3. Elongate seams to add height. Or shorten if necessary.
4. Curve seams and darts where you can.
5. Observe how the front detail relates to the back and let them flow together.
6. Do not forget the sides. You don’t see them we do!
7. Balance design features with the body. Collars, cuffs, belts, necklines etc. Nothing too delicate on a larger frame, and of course nothing too large on a smaller frame. You may be able to apply the same details but need to re-scale.
8. Watch out for those sneaky darts. No one (almost) has straight pointy boobs or hips.

Well, there are some pointers, forgive the pun.

I hope that helps to get you started looking at your "Make Me, Me Makes" with a third eye! Don’t be too critical on yourself. Sometimes it’s just good to know this stuff and does it really matter for everyday wear. Well, I will let you decide. Have lots of fun analysing all those designers dresses in the shops and magazines.

I have briefly covered the story on what to look for when creating a dress to fit to flatter. So next I am going to start with a series of tips that will help you gain a more flattering fit. And what better place to start than a simple curved dart!

Sew like you own it!