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Chapter 2: Shirt Pattern Drafting and Digital Toile Check (Part 2)

Following the first part, now that the torso length sloper (hereinafter referred to as the torso sloper) necessary for developing shirt patterns is complete, let's proceed with the explanation.

2. Development from the Torso Sloper

The term "torso" here refers to the "back," and the torso sloper is a generic term for the hip-length prototype. It is a highly versatile prototype that allows pattern development from the X-line, which narrows the waist, to the H-line, which does not narrow the waist.

Figure 9 shows the torso sloper pattern and its digital toile check. Waist darts are drawn on the bodice. However, if the waist is not narrowed, only the side seams are stitched. Let's check the swing and set of the sleeves, as well as the amount of ease allowance.

Chapter2(Part 2)_Figure9

Figure 10: Close the distinctive bust dart on women's clothing and disperse it to the hem and armhole.
Close the shoulder dart on the back bodice and disperse it to the armhole.
Rotate point ⓐ on the hemline around the pivot point, and open point ⓑ by 5mm.
Draw a perpendicular line connecting point ⓒ on the hemline to point ⓓ, the third notch, and open it parallel by 7 to 10mm.

The following is the principle of the back opening width being greater than the front opening width: The back opening width should be approximately 1.5 times the front opening width.

Chapter2(Part 2)_Figure10

Figure 11: Sleeves without front shoulder movement tend to shift backward (Ⅰ). Sleeves with front shoulder movement tend to fit to the front (Ⅱ), so adjust the shoulder line of the basic pattern ⓔⓕ forward.
The pattern with front shoulder movement is shown with black lines, and the pattern without front shoulder movement is shown with red lines. The back bodice is common(Ⅲ).

Chapter2(Part 2)_Figure11

3) The Third Pattern Adjustment Point

Figure 12: Attaching sleeves with dropped shoulders is an essential detail for a shirt. The sleeves, which almost reach the extension line of the shoulder, have a shallow set-in which allows for excellent mobility.

Chapter2(Part 2)_Figure12

Figure 13: Align the shoulder lines of the front and back body pieces and mark point ⓖ, which is 25mm below the shoulder point notch. Mark positions ⓗ and ⓘ, located 20mm below the bottom of the armhole, as reference lines, and draw parallel lines 30mm apart to create the sleeve width lines ⓙ to ⓚ in order to make the sleeve set-in shallow.
Draw the back sleeve cap line ⓖ to ⓛ by adding 5mm to the measurement of the back armhole line ⓖ to ⓗ.
Draw the front sleeve cap line ⓖ to ⓜ by adding 5mm to the measurement of the front armhole line ⓖ to ⓘ.
Set the sleeve length as 200mm from point ⓖ and complete the sleeve underarm line.

Chapter2(Part 2)_Figure13

Figure 14: Draw point 1 for the shirt collar to adjust the neckline of the body piece. Lower the side neck point by 5mm and the center neck point by 10mm.

Chapter2(Part 2)_Figure14

Figure 15: Draw the collar style line from point ⓐ to point ⓑ.
From the side neck point ⓒ, take 25mm for the collar waistline ⓓ and 40mm for the wing width ⓔ.
Draw an arc with a radius equal to the back collar attachment dimension ⓕ centered at point ⓓ.
Draw an arc with a radius equal to the back collar outer perimeter dimension ⓖ centered at point ⓔ.

Drawing point 2 for the shirt collar involves accurately drawing the design dimensions for each part.

Figure 16: Draw line ⓐ to ⓕ perpendicular to the collar centerline XY, intersecting it.
Complete line ⓕ to ⓖ at 37.5mm, ⓖ to ⓗ at 25mm, and ⓗ to ⓘ at 40mm for the collar attachment line, collar waistline, and collar outer perimeter line, respectively. All of these are reference dimensions.

Chapter2(Part 2)_Figure15Chapter2(Part 2)_Figure16

Figure 17: Align the drafted collar with the front neckline ⓐ, trace the curve of the neckline (Ⅰ), and adjust the collar attachment line accordingly (Ⅱ).

Chapter2(Part 2)_Figure17

Figure 18: As illustrated in Figure 15, the difference in collar appearance between patterns with (B) and without (A) neck edge insets is confirmed using digital toile. (A) shows slight looseness around the neck, causing the collar to touch, whereas (B) shows no contact due to the inset.

Chapter2(Part 2)_Figure18

Figure 19: Check the collar using digital toile.

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Figure 20: Check the silhouette of the completed shirt using digital toile.

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Figure 21: If desired, the dotted lines can be hidden.

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Masaharu Sekikawa

2002 - 2017: Principal at the International Total Fashion College

Currently retired as principal and serving as a part-time lecturer at the International Total Fashion College, specializing in apparel CAD education.

In June 2017, he published a book on digital toile research and simultaneously launched a website. Please see below.

Academic
Presentations

Delivered a presentation on "Pattern & 3D Simulation Verification of Women's Tailored Jackets Using 3D Toile" at the National Conference of the Fashion Business Society in 2016.

Delivered a presentation on “Practical Applications of Digital Toile” at the National Conference of the Fashion Business Society in 2017.

Website http://masa-cad.com/
Publications https://masacad.thebase.in/