Hello Millicent,

I don't recommend using my pattern for your son, regardless of our matching sizes. Our body figures might not be similar at all. And this can really make it hard for you to fit the pattern for him.

It's probably best to use a standard block pattern and adapt it for him than to try to adapt my pattern instead.

My comment might not be very helpful, but that's my best advice for now.

Reza

International School of Tailoring

Do you have notches on the side seams? If so, do this: 1. Mark a horizontal line 2" below the armhole. This line is perpendicular to your center front line. 2. If there is a side panel, match your side panel to the front panel on their corresponding seams by using the notches. 3. Run the front chest line over to the side panel side seam by a small amount, and use the grain line of the side panel to draw this line further towards the side seam that meets the back. 4. Match the back panel to the side panel on the side seams using your notches. 5. Run the side chest line over to the back side seam by a small amount, and use the grain line of the back panel to draw this line further towards the center back.

In other words: You are establishing a random chest line on the front panel. And this chest line is just below the armhole. And it's perpendicular to the center front. Each time, you run the chest line into the next panel after having matched the seams with the notches. You then use the grain line of that panel to complete the chest line towards the other seam which are then connected to the next panel that follows.

Reza

International School of Tailoring

Try two things:

1. Stretch the suppression area in the center back. OR 2. Reduce the center back suppression and take it from the sides instead (and stretch the sides) Let me know how things go.

Reza

International School of Tailoring.

Luciano,

First of all, congratulations on your very well formulated question with background info about the subject. EXCELLENT.

Now to answer your question: 1. The center back seam should never be drawn as your blue lined example. It will always be square to the back neck at the upper part before going into an angle towards the waist. When a center back is heavily suppressed at the waist, this kind of angle becomes inevitable. And yes it will result in a tilted chest line. 2. This kind of tilted chest line would not be a problem if it isn't your priority to have a perfectly horizontal chest line across the back panel. I can imagine this could be a priority when working with checks. Even then, most of the time, some tilt is perfectly acceptable. From a purely technical perspective, the position of a dart and its severity should be prioritised above pattern matching; the correct dart accurately shapes the cloth in the right areas and will naturally have consequences on the pattern design. Sacrificing the shape for the pattern design should be a conscious choice, knowing that it could compromise the shape of the garment and therefore the fit.

3. The change in the shoulder angle might seem to be happening but is not a reality. On a flat table with a flat pattern, yes, this seems to be happening. But in reality, the back hangs from the shoulders and the center back suppression really affects the hang of the lower part of the back; namely that the center back will move forwards like a forwards hip would do. The shoulders remain where they are. Just make a paper sample of a back with heavy suppression on the center back seam and make it stand up. You will see that the hip is position forwards in relation to the upper back. The shoulder will remain unchanged.

4. The first draft where the center back seam is perpendicular to the chest line is not accurate, for it seems to come to a sharp point right at the chest line. A sophisticated cutter would soften this line which will bring us to a line looking closer to the second draft which you included.

5. The suppression on the center back might affect the balance of the coat; the more severe it is, the shorter the back balance. Why? Very difficult to explain and understand; suppressed lines are concave lines, and concave lines on the edge of the fabric must be brought to the surface through an edge to surface transfer*. Why? Because the surface follows the shape dictated by the edge ONLY if the length of the suppressed line has been transferred to the surface. Otherwise the surface of the fabric will remain flat (a straight line) while the edge where the suppression is wants to be a hollow (a curved line). This discrepancy between the two results in a tension that will simply pull the cloth upwards which will give the appearance of a short balance. Yeah I know, sorry. Without an animation, I can't visualise this any clearer at the moment. 6. The right way to create a fitted back is by having some suppression on the center back, but taking the majority from the side seams. Of course there should be a balance between the two and it must be done in harmony with the figure of the individual.

Edge to fold transfer:

https://www.youtube.com/watch?v=1RIHknABXPg

I hope I have given enough pointers and a more thorough answer to your questions. I highly recommend doing the exercises in Lesson 14. You would ignore them at your own peril: https://www.youtube.com/watch?v=V6k6DLO0DGw&t=1230s

Reza

International School of Tailoring

Just to my naked eye this looks like a Rundschau draft, also possibly known as a M. Müller & Sohn or Kelner draft. Wouldn't be able to give you an exact book or place to look but I hope it gives you some direction.

If you look the slit on the pattern, that is where the placket is, roughly where the hindarm seam would be on a two piece sleeve.

Therefore on the front quarter of the pattern you will have the forward part of the arm, where the forearm seam would be.

On a two piece sleeve you can clearly see how because of the rotation the forearm run is always shorter than the hindarm run (measured both from the chest line down so it is apples to apples).

That is because the elbow only bends one way, you need more fabric in the back than in the front.

On a one piece sleeve there is no way of getting the curvature of the sleeve without extra darts or wedges, so you with that curvature you get a little bit of the two piece sleeve effect.

My experience is that with a sleeve cut straight the sleeve is never quite perfect, the client usually stays in front of the mirror for a while wondering if the sleeve is too long or if he needs the extra room for movement. With a curve sleeve bottom I get a much better balanced result.

It is comparable to having the correct angle on the hem of a pant. You don’t want a huge break but you want it to cover the shoe on the back, so you angle it a little.

Hope it helps