Questions

 I have a lower left shoulder, and I’ve built up the shoulder pad on that side to compensate for the difference.

My question is: If I use this method, do I also need to deepen the armhole, as you would when using the “pick up the shoulder” method?

And if so, how would I need to adjust the sleeve pattern to make sure the sleeve retains the same sleevehead shape and height as the other side?

P.S. Which method would you recommend for correcting a low shoulder: picking up the shoulder or building up the shoulder pad?

I’m aiming for a 1970s rolling stones style, inspired by tailors such as Tommy Nutter and Joe Morgan, with a strongly defined waist, a prominent chest, a large lapel, and beautifully shaped shoulders.

Would you recommend the Traditional Model or the Pagoda Model as a starting point for achieving this kind of silhouette? I’d appreciate any advice on which model would be better suited to this style.

Thank you!

I’m currently trying to draft a pattern to my own measurements so I can follow the YouTube course, gathering as best I can the information on the specific features of Reza’s patterns scattered throughout the videos and the forum. There’s one thing I’m still unsure about, and that’s the slant on the side panel (here it is on the traditional and pagoda model).

On Reza’s patterns, both the traditional model and the pagoda model, this slant is much more pronounced than in any other pattern-drafting methods I’m familiar with, and I’m not sure why it’s drawn that way (here's some examples of different side panel slants from tailoring books. Please ignore all other design elements, those photos come forme very different sources).

In the book Menswear Fundamentals by the Müller & Sohn school, this slant is mentioned briefly, but I find the explanation a bit unclear, and it’s treated a…

Hi everyone,

I'm in the process of getting my home studio set up a little better and finally getting around to making a proper surface for my table. I had previously been using a hard wooden surface for drawing and cutting out my patterns and for cutting cloth, but making do with a domestic ironing board for all my pressing.

I've got a large sheet of 3mm felt from Alpenwolle which I plan to cover with cotton moleskin, so everything as close to Reza's suggestions as possible.

What I want to know is; once the table surface is covered with felt and moleskin to make it "squidgy" for pressing, are we still supposed to able to draw lines on paper with a sharp pencil on the same table? I did a quick test and it seems like the softness of the felt means the paper sort of sinks into the…