The relationship between Designer and Pattern Maker is one of great trust being placed in the pattern makers hands.
I would like to describe some approaches to commercial fashion pattern development from several different designers approaches to handing over to a pattern maker. The relationship between Designer and Pattern Maker is one of great trust being placed in the pattern makers hands. I have seen great opportunity in developing good listening skills, as often some detective work is needed to technically produce what has been described in often very nebulous terms.
A good example of designing by interpretation is the description from a designer for staff uniforms. Designers often give description using very familiar terms leaving the Interpreting up to the pattern maker, for example: “conservative just below the knee” needs clarification and not assumption; this would be a conversation with client and tape measure in hand, using the tape measure to create a visual of how long and then an actual tape measure reading to confirm the measurement.
Having a long working relationship makes some of the brief simple, as often a client refers to basic blocks that have been developed tried and tested in production. This becomes the foundation for many successful patterns in a very short turnaround time.
In other circumstances it is useful to develop investigative and experimental approaches to design; where the client is an entrepreneur and not trained in the fashion industry the brief contains very little or no technical instruction. As an example of a kiddies’ collection where the designer pays an illustrator to draw the idea and the rest is done by the pattern development and sample construction.
The client was advised by me what base size to sample in, 3-4 years old. This size was in the middle of her size curve of proposed sizes the range would offer. Using the 3-4 years size would minimise distortion when grading the full range of 1-2 years, 3-4 years, 5-6 years, and 7-8 years. Also, the designer had a daughter that was in the 3-4 age groups meaning that the client had a fitting model on hand in the appropriate size. Existing kiddie’s blocks were used that I had already developed over the years as part of my block pattern repertoire. Fabric selection and suitability were discussed and advised, CMT’s specialising in kiddies clothing production were recommended and introduced to client. From first pattern to a fitting size range were done step by step with production and sewing specifications communicated between myself and the CMT. All the while empowering the client to learn the business trade and produce a saleable range.
Lastly, I use an example of a Sportswear collection where the client had studied Fashion Designing 2 decades earlier but had worked in corporate business to earn a stable income. He is in the financial position to follow his original dreams. The brief was to develop a Ladies Golfing range, taking into consideration the profile of the Golfing Ladies he was targeting was: Mature, corporate wives or business woman with an awareness of quality. Create a silhouette that creates a feminine fit, with sporty details.
Technically, the block for the T shirts would have the following:
· Create a base block with a set-in sleeve, and raglan sleeve. Two collar variations of a mandarin or one-piece collar.
· Enough lateral movement to accommodate a golf swing, an underarm gusset was developed to achieve this.
· Length of garment to tuck in, achieving a neat appearance during vigorous activity. With hem side splits to accommodate pear shape hips.
· Fabric selection to be effective in the conduction of sweat away from the body. Achieved by using knit wicking fabric specifically designed for use in sportswear and by cutting the underarm gusset in honeycomb gauze for further cooling and breathability.
· Construct sleeve length and width taking into consideration the client profile of older women and their concerns of “bingo arms”.
· Where necessary patterns would be slightly different than sketch taking into consideration fabric ratings and sewing construction techniques that were practical for larger production runs. Pattern maker would clearly communicate refinements to design and compromises would be approved before pattern construction was implemented.
· Each Pattern to have its own style number. Pattern pieces to be clearly marked indicating pattern panels using - main body of fabric, contrasting fabric and secondary contrast fabric.
· Guesstimate Ratings were supplied. Breaking down individual fabrics used on each garment. Here a valuable understanding of ratings and waste fabric lead me to suggest cutting more than one garment in production to use up the wasted fabric on the width in the rating.
· Grading was complex due to the number of panel cuts and style lines. Great consideration was placed on whether panels would remain all size so as not to distort. This is often overlooked, creating too narrow panel pieces in production on the smaller sizes or compromising the original integrity of the design.
· Further control was achieved in grading, having established the base blocks of sleeves and collar options. Grading could be scrupulously duplicated for each style by following a repetition of grading principals.
· Finally checking the grading quality by indicating seam allowance and tracking individual panel pattern pieces together checking pattern alignment and accuracy. This made sure that none of the diagonal dines distorted during grading and that graded sets nested accurately.
Hopefully this creates some clarity for what you can expect in a relationship with a pattern maker.
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