Lesson 1. From Idea to the Technical Brief

1.8. Practical recommendations

2. Product Range and Garment Types

2.1. What Product Range Means

2.2. Classification by Purpose

Main purpose groups:
▪ Everyday wear for daily use. 
Dresses, trousers, skirts, blouses, shirts, robes.
▪ Dressy wear for special occasions. 
Evening dresses, suits, blazers.
▪ Outerwear For protection from cold, wind, precipitation. Coats, raincoats, jackets, 
parkas.
▪ Homewear For rest and sleep. Robes, pajamas, nightgowns, home sets.
▪ Sportswear 
For sports and active leisure. Tracksuits, windbreakers, leggings, shorts.
▪ Workwear and uniforms 
For work and a standardized appearance. Medical scrubs, work coats, uniforms.

When developing a collection, avoid mixing garments that are too far apart in purpose within a small line.

2.3. Product range by Garment type

Main groups by garment type:
▪ Outerwear: 
Coats, raincoats, jackets, blazers. 
Typical: 
complex cutting, 
lining, interlinings, often insulation.
▪ Dress-and-blouse group 
Dresses, sundresses, blouses, tunics, tops.
▪ A variety of silhouettes; fabric and finishing play a major role. 
Trousers and skirts, Trousers, shorts, 
skirts of different styles. Key point: accurate fit at the waist and hips.
Suit group A set of two or more items (jacket + skirt, jacket + trousers). Construction and 
stylistic unity are important.
▪ Knitwear 
Jumpers, cardigans, knit dresses, sweatshirts.
▪ Elastic material, 
different fit and technology. 
▪ Home and lounge wear 
Soft, simply cut garments for home.
▪ Sports and functional clothing 
Require freedom of movement, durability, and easy care.

2.4. Product Range and Pattern Making Different product groups

Have their own focuses:
▪ In outerwear 
Consider lining/insulation thickness and the need for ease over other clothing.
▪ In dresses and blouses 
Balance, bust shape, waistline, and soft silhouettes matter.
▪ In trousers and skirts Accuracy at the waist and hips is critical, especially in classic styles.
▪ In sportswear and workwear Additional ease for movement, reinforced seams, durable fabrics.

2.5. Typical Beginner Mistakes with Product Range

3. Garment Silhouette

3.1. Definition of Silhouette

The silhouette of a garment is the outer outline of the clothing form on the body. It 
is created by the combination of:
▪ construction, 
▪ fabric,
▪ ease allowances. 
The silhouette determines the first visual impression of the model.

3.2. Purpose of the Silhouette

3.3. Main Types of Silhouettes

The main types include:

3.4 Degree of fit

3.5 Constructive expression of the silhouette

3.6. Fabric Influence on Silhouette

▪ Dense, shape-holding fabrics give crisp lines and geometric silhouettes.

▪ Soft, drapey fabrics give smooth lines and softer shapes.

▪ Thin draping fabrics suit loose and A-line silhouettes.

▪ Elastic materials allow more fitted shapes with smaller ease allowances.

3.7. Silhouette vs. Garment Purpose 

▪ Everyday wear — most often straight and semi-fitted silhouettes.

▪ Dressy wear — close-fitting, hourglass (X-shape), trapeze.

▪ Outerwear — straight, trapeze, voluminous.

▪ Sportswear — loose silhouette with increased ease.

3.8. Typical Mistakes

▪ Choosing a silhouette that does not match the fabric (soft fabric where a rigid form is

needed, and vice versa).

▪ Mismatch between silhouette and garment purpose

▪ Excessive ease allowances that break body proportions.

▪ Trying to get an “ideal fit” from a silhouette that is intended to be loose.

Designers often say: “Make it oversized so it’s loose and fashionable”

- At the fitting it turns out that:

– the shoulder has shifted,

– the armhole is too low,

– the figure is completely lost.

- A loose silhouette is not

- “Make everything wider”. It is the same 

calculations, ease allowances, and proportion control, just with a different design

solution.

4. Types and Purpose of Darts and Princess Seams

4.1. General Information

Darts and princess seams are the main construction

elements that allow you to turn flat fabric into a

three-dimensional shape that fits the human body.

They ensure:

▪ fit

▪ volume

▪ distribution over the body,

▪ stable balance,

▪ decorative paneling.

4.2. Darts: Purpose and Main Types

Purpose of darts:

▪ to ensure fit without unwanted folds;

▪ to shape volume at bust, waist, hips, shoulder blades;

▪ to preserve garment balance

Main types:

▪ Bust dart

Shapes bust volume. Can originate from the side seam, shoulder, armhole, neckline, or

waist.

▪ Waist dart

Provides shaping at the waistline on the front and back.

▪ Shoulder dart

Used in bodice blocks, especially for close-fitting silhouettes.

▪ Shoulder-blade dart

Adds ease in the shoulder-blade area, especially in dense fabrics

▪ Hipline darts in skirts and trousers

Shape fit at the hips

4.3. Princess Seams: Purpose and Types

Purpose of princess seams:

▪ replace several darts by distributing volume more smoothly;

▪ serve as both construction and decorative paneling;

▪ allow convenient placement of pockets, inserts, trims;

▪ improve fit in complex areas. Main types:

Princess seam:

▪ from the armhole

Often passes through bust and waist, replacing bust and waist darts.

▪ Princess seam from the shoulder

Passes through the bust point; used in shaped garments.

▪ Princess seam from the neckline

Occurs in styles without a shoulder seam or with emphasis on the neckline.

▪ Princess seam from the side seam

Creates additional volume; used in dresses and coats.

▪ Princess seams on the back

Shape the curve at the shoulder blades and waist.

4.4. Practical Notes

▪ It is preferable to run princess seams through key

shaping points (bust, waist, hips) for a clean fit.

▪ In dense or fraying fabrics, princess seams are often more convenient than

large darts: seams distribute tension more evenly.

▪ In light, thin fabrics, simple darts are often preferable: extra

seams can weigh the garment down.

▪ Typical mistake

“Let’s remove the darts — I don’t like seams; I want a smooth front”.

If you simply remove a dart:

– the fabric will pull across the bust,

– drag lines will appear from the armhole to the center,

– the garment will stop fitting properly.

▪ A dart can be transferred into a seam, gathers, or

draping, but its volume does not disappear. The body is still three-dimensional, even in

a “minimalist” design

5. Types and Placement of Fastenings

5.1. Purpose of Fastenings

A fastening is a construction element that:

▪ allows putting on and taking off the garment;▪ fixes the fit;

▪ affects the appearance and composition.

It should be:

▪ functionally justified,

▪ technologically feasible,

▪ consistent with the design.

5.2. Types of

Fastenings Most common types:

▪ buttons and buttonholes;

▪ zipper (invisible, standard, separating);

▪ snaps (metal/plastic);

▪ hooks and eyes;

▪ Velcro;

▪ ties, ribbons, cords;

▪ buckles and belts.

Each type has its own requirements for reinforcement and finishing.

5.3. Placement of Fastenings

Main options

▪ Center front seam

Dresses, blazers,

coats, shirts. Sets the

main vertical line of the model.

▪ Center back seam

Dresses and blouses with a

clean front. Most often an invisible zipper.

▪ Side seams

an auxiliary fastening for fitted silhouettes.

Allows a smooth front and back.

▪ Shoulder, collar, yoke More

common in children’s, sports, medical clothing — for convenience.

▪ Diagonal and shifted fastenings

Used as a design element (coats, jackets, asymmetric dresses).

Required special attention to grainline and symmetry.

From atelier life

A designer asks: “Make an invisible zipper on the side so the front is clean”.

▪ At the fitting:

– the zipper is hard to close,

16– it pulls in the bust area,

– the client can’t dress independently.

▪ Not every beautiful idea is comfortable to

wear. Sometimes an honest center-back or center-front fastening is better than an

“effective” but inconvenient side zipper.

5.4. Construction Features

▪ Any fastening requires an allowance and reinforcement (fusible) as needed.

▪ In thin fabrics, it is better to “hide” fastenings in the

finishing so as not to overload the garment.

▪ Outerwear often uses fronts with facings and windproof plackets.

5.5. Fastening and Model Composition

▪ A vertical fastening visually elongates the silhouette.

▪ A diagonal fastening adds dynamics and a modern character.

▪ A shifted fastening creates an accent and asymmetry.

▪ Any fastening decision should be made at the TB

stage, not “as we go” during sewing

6. Technical Flat

6.1 Purpose

A technical flat is a precise, flat drawing of the model from the front and back, without

perspective or emotion. (Figure 12)

It shows:

▪ Construction

▪ placement of seams, darts, princess seams, pockets, fastenings, trims.

It is used:

▪ in the technical brief,

▪ in the technical

▪ description, in internal documentation.

6.2. Difference from an Artistic Sketch

An artistic sketch conveys the idea and mood. A 

technical flat conveys construction and details. Artistic drawings may be approximate. In

technical flats, everything must be proportional and readable.

6.3. Requirements for a Technical Flat

▪ The image is flat and symmetrical about the center

▪ line. Proportions correspond to the real size.

▪ Show:

– all seams and darts;

– princess seams, yokes, pleats;

– pockets, plackets, belts;

– fastenings, buttonholes, buttons, zippers;

– sleeve length and shape, hem, collar.

Without these elements, a pattern maker cannot understand the model accurately.

Mini-dialogue

– “I drew a sketch

— isn’t that enough?”

– “A sketch shows mood. A technical flat show exactly what you want us to draft and sew."

6.4. Key Measurements of Lengths and Widths, Sizes of Small Details

1. garment length,

2. sleeve length, 

3. collar point, 

4. lapel notch, 

5. flap, 

6. Vent

7. chest pocket

8. Lapel length

9. neckline depth

10. shoulder

11. technical drawing

Technical drawing

7. Technical Brief (TB) for a Model

7.1 Purpose of the TB

A technical brief replaces verbal explanations. After

reading the TB, the pattern maker should:

▪ understand what garment is needed;

▪ know which fabric it will be

▪ made from; understand the expected fit and complexity.

7.2. TB Structure

1. General information

– model name;

– purpose (everyday, evening, business, etc.);

– base size and height.

2. Materials

– main fabric (Composition, type, features);

– lining;

– interlinings;

– notions and trims (types and quantities).

3. Construction features

– garment type and silhouette;

– main lines (princess seams, darts, yokes, pleats);

– sleeve type and length;

– neckline/collar type;

– fastening type and placement; –

pockets (presence and placement);

– hem shape and length.

4. Fit and fitting

– desired amount of ease (tight, moderate, loose);

– desired length (in cm or relative to the body);

– special wishes for shoulder, armhole, waistline.

5. Finishing

– general approach to finishing edges (overlock, hem, binding);

– topstitching;

– mandatory reinforcement

zones.

6. Attachments

– technical flat (front and back; details enlarged if needed);

– photo references and fabric swatch (if any).

Remember one phrase

A good TB saves time for everyone: 21

− designer,

− pattern maker, workshop.

− A poor

TB “saves” only at the beginning;

then come messages, alterations, and disputes about who “misunderstood”.

1. Technical Brief for Model Development

(TB for the Pattern Maker)

1. General Information

1.1. Client / brand: _______________________________

1.2. Date: ______________

1.3. Model name / code: __________________________

1.4. Garment type: (dress, blazer, trousers, coat, etc.)

1.5. Purpose:

☐ everyday ☐ office ☐ dressy ☐ outerwear ☐ other: __________

2.Sizing information Base

2.1 Size: ______

2.2. Height: ______

2.3. Measurement chart (if non-standard):

2.4. Planned size range:

□ every size: ________

□ every other size: ________

3. Silhouette and Fit

3.1. Silhouette:

☐ close-fitting ☐ Semi-fitted ☐ straight ☐ A-line ☐ oversize ☐ other: ______

3.2. Amount of ease:

☐ tight fit

☐ moderate ease

☐ loose / oversize

3.3. Garment

length: knee / midi / maxi / to hip line / other: __________________22

3.4. Special fit wishes (what is important):

4. Materials

4.1. Main fabric:

– name / composition (if known): __________________________

– color(s): __________________

– features: ☐ stretches ☐ no stretch ☐ with pile ☐ with print

4.2. Lining (if needed): __________________________

4.3. Fusibles (if already known):

4.4. Notions and trims (general

wishes): zipper / buttons / snaps / belt / buckle / topstitching / other:

5. Construction Wishes

(Here the designer draws or attaches the technical flat and photo references)

5.1. Technical flat:

☐ attached ☐ to be drawn from sketch / photo

5.2. Main lines:

– princess seams: yes / no / from where: __________________

– darts: bust / waist / other: _______________

– yokes / pleats / draping: _______________________

5.3. Sleeve: ☐ set-in ☐ raglan ☐ kimono

Length: ________

5.4. Collar / neckline:

type: __________________________________________

5.5. Fastening:

placement: ☐ center front ☐ center back ☐ side seam

type: ☐ invisible zipper ☐ standard zipper ☐ buttons ☐ snaps ☐ other: ______

5.6 Pockets:

☐ no pockets23

☐ patch ☐ in-seam ☐ welt ☐ flap / pocket with flap placement:

________________________________

6.Scope of Work

6.1. Needed :

☐ base size only (no grading)

☐ base + grading

☐ mock-up for fitting

☐ production pattern set

☐ technical description

6.2. Fitting:

☐ mandatory

☐ if possible

☐ no fitting, based on standard block

7. Additional wishes / comments

WOMEN’S SIZES – BASE HEIGHT 165 cm – EUROPEAN ANTHROPOMETRY

(EN 13402, bust measurement in cm)

Measurements are based on European anthropometric studies; the last update is 2018.