Torso Foundation

Drafting the Torso Foundation from Basic Slopers

After drafting the basic sloper set, you can draft many different patterns which are based on it. One of the patterns is called, The Torso Foundation. This pattern instead of stopping at the waist, continues to contour the hip curve and has four contour darts down the front and the back of the garment and shoulder darts that connect across the shoulders.

My process in creating these patterns started with tracing the basic sloper front and back and then adjusting the pattern in specific ways to create a different pattern. For the torso foundation, you must also include the measurement for the hip arc, adding it to the end of the waist. The four contour darts are made by the slash and spread method, cutting from the center of the shoulder almost to the bust (creating a hinge) and from one dart leg almost to the bust. After you repeat this process for the back, you must also adjust the back  shoulder dart to connect with the newly made front shoulder dart.

Be sure to add any notches, proper seam allowance and the grainline as well as other information such as how many to cut, your name and the date.

Constructing the Torso Foundation 

The sequence for sewing the Torso Foundation is as follows:

- Prepare the fabric for patterns to be cut from it by laying out pieces for the appropriate amount and press it

- Pin, iron, baste and then sew for perfect darts

- Sew facings and torso backs and fronts at the shoulders

*Always press after every seam is made*

- Lay facing pieces and torso pieces right sides together and stitch around their armscyes

- Clip to, not through threads

- Understitch around armscyes

- Stitch around the neck hole and then clip and understitch

My finished garment is shown below and is left open in the back to be pinned on the dress form at 1" extension.

In the mid evaluation, I was able to identify a few mistakes I had made and a few adjustments to remedy them. I found that I didn't like the way the side seams curved because they didn't contour the waist properly so I dropped the curve slightly. I also needed to lower some of my dart points that were too high.

                                                                                                

 My patterns were successful because of the revisions that I made. Though these revisions seemed small, they changed the overall appearance of my garment considerably. Next time I make this pattern, I will make sure to match up my pattern with my dress form waist before cutting the pattern out of fabric.
 One alternative to the approach I took to drafting my patterns, is to not add seam allowance to my pattern and instead adding it on my fabric with a pencil. This is only useful if you are still in the process of fitting your garment and a finished pattern should include seam allowance.

The effort I spent on this project was comprised of many hours and critical thinking however, in hindsight I could have possibly tried to be more vigilant in every step of the way.


Lastly, the patterns and garment is evaluated by peers. This process is imperative to having a more informed perspective about your project.

This course has provided me with a skill set that is sought after in much of the garment industry. Being able to add pattern drafting as a skill to my resume is invaluable and gives me a career advantage in my industry.

Basic Sloper Set

Drafting The Patterns
Slopers are created to provide a pattern maker with a basic garment that can manipulated into many different designs. These slopers are for a bodice and they are created using a formula in which measurements taken from a dress form are applied. 
The measurements are specific and should be recorded carefully. The more fit you want a garment, the more measurements you must record. These measurements are of the many different planes of the body. In this circumstance, I have only recorded planes pertaining to the bodice (upper body including the neck, back, shoulders, bust, and waist.)

This process is completed by applying measurements to a formula (as stated above). Almost all patterns start with a a square or a 90 degree angle and unless one side of the garment is different from the other, patterns are almost always drafted to be cut on the fold of the fabric. From that 90 degree angle, the rest of the measurements plus ease (a  term used for the excess fabric on a garment so that the wearer is able to move freely) are mapped out into a usable pattern. This garment uses darts to fit the wearer and each dart leg should be marked with a notch as well as the front and back shoulders to ensure that every line matches. 

Constructing The Slopers into a Garment

After you have completed the drafting process, you can cut your sloper patterns out of fabric. I choose to add my seam allowance on to the fabric at the the time of cut out for the purpose of fitting. Marking the seam allowance with pencil right on the fabric allows me to see exactly where each plane sits in relation to the dress form. That way, I can be aware of any changes I need to make. I will further describe the fitting process later on. After you have added seam allowance, marked all dart placements and cut out your slopers, you are ready to sew the garment. Darts are the first part to be sewn. Since darts are a very important aspect of a fitted garment, I make sure that they are pressed before sewing them in. I will even hand baste them to make sure both legs match each other. After the darts are sewn in, I sew the shoulders together making sure to match notches. After the shoulders are sewn, I sew the side seams and leave the back open with a one inch extension. Now I am ready to try my garment on my dress form.

Fitting The Garment

When fitting the garment on the dress form, I encountered a few problems because although the formula is precise, bodies are not. I had to adjust the fit in the shoulders, the bust darts and the side seams. I did this by marking with a pencil on the fabric exactly where the seams should be sitting. I then picked all the seams out of the garment and transferred my markings to the paper pattern. After that I sewed a new garment and luckily it fit the second time. This is a process that sometimes takes much more time especially with a more complex garment but it is imperative to get a perfect fit for a sloper since every other garment is based off of it's shape.

My final patterns were successful due to vigilance and consistency in what specific measurements and planes were required by the formula. Fitting is a combination of flat patterning and draping so being consistent about how the pattern relates to the garment on the dress form is imperative. If I were to re do the project, I would have wanted to plan more time to get the fit just a bit more perfect. Everything in pattern drafting takes so much more time than I think.
Some alternatives to the approach I took vary from little techniques to an entirely different formula depending on your cultural background and education. One of  my personal techniques that differ from what I was originally instructed to do is to add the seam allowance to the fabric and not my patterns. I prefer this method because it allows me to more easily make changes to my pattern if needed. It also allows me to change the amount of seam allowance that I add to each garment if I choose to do so.
The effort I put into this project was more than I knew I had. The reward of having created a usable sloper is priceless.

Lastly, your slopers are evaluated by your peers. This process was surprisingly more worthwhile than I had anticipated. In most of my experiences with peer evaluations, they seemed rather useless. In these evaluations, my perspective was challenged by new ideas and valuable critique by my peers. This process is necessary to a well rounded knowledge of pattern making.

What I have learned in this class is an invaluable skill set that will give me an advantage in entering the fashion industry. I am now confident in my ability to tell a potential employer that one of my many skills includes hand pattern drafting.