gr-patterns.pdf

Unders t anding the pa t t erns in

 ΰεϩϦ 

 Measurements 

T he patterns in Gosurori all use the metric system, and to make matters

You’ve seen a gorgeous

outﬁt in Gosurori , but don’t

read Japanese and have

no idea how to go about

making it. his article is to

help you make sense of the

pattern.

even simpler, all the measurements are in centimetres. The ﬁrst task is

to work out what size you are. Fig. 1 is the size chart translated in English

- all measurements are body measurements, not garment measurements. The

shaded rows are the ﬁgures converted into Imperial, rounded to the nearest

quarter inch. I’m not familiar with the Imperial system, so if you are, you might

want to get out your own calculator and check!

The ﬁrst thing you will notice is that they are all very small, and that

Japanese women seem to be about 10cm shorter than European women.

Bust Waist Hips Nape

Waist

to Hip

Body

Rise

Inside

Leg

Sleeve

Length

Wrist Height

76 60 84 37 17 25 63 50 15 152

30” 24” 33” 14½” 6¾” 10” 25” 20” 6” 5’ 0”

82 64 88 38 18 26 67 53 16 158

32¼” 25” 34½” 15” 7” 10¼” 26¼” 21” 6¼” 5’ 2”

88 70 94 39 19 27 70 54 17 163

34¼” 27½” 37” 15¼” 7½” 10½” 27½” 21¼” 6¾” 5’ 4”

94 76 98 39 20 28 70 54 17 164

37” 30” 38½” 15¼” 8” 11” 27½” 21¼” 6¾” 5’ 4½”

Figure 1: the Gosurori size chart, in English,

with Imperial conversions.

Taking your measurements:

Y ou will need a friend to help with this, and you should be measured in your

underwear. If you plan to wear, say, a particular bra with your outﬁt, put

that bra on. First of all, tie a piece of string or fasten a narrow belt around

your natural waistline. All horizontal measurements should be taken with the

tape measure parallel to the ﬂoor.

Bust: measure round the fullest part of the bust.

Waist: measure round the natural waistline.

Hips: measure round the widest part of the hips.

Nape to waist: measure vertically from the neck bone which sticks out at centre

back down to the waistline.

Waist to hip: This is a standard measurement, see ﬁgure 2.

Body rise: Sit the person being measured on a hard chair or stool, and measure

vertically downwards from the waistline to the seat of the chair.

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JODIFT z ♳z ♥z ♴z ♢z ♢z ♵z ♵z

Figure 2: Waist to hip measurement by dress size for women of medium height (160-172cm/5’ 3”-5’ 7”).

Inside Leg: You chose a good friend to help you out,

didn’t you? This one isn’t really very important unless

you are making trousers.

Sleeve Length: The person being measured should put

their hand on their hip and be measured from the

shoulder bone (this also sticks out, which helps),

along the arm, over the elbow and down to the wrist

bone.

the missing

pieces and

adjusting the

existing ones

are given in

graphical form in

the instructions.

The pattern

pieces will also

be used to draft

extra pieces for

facings, so if you

need to lengthen

your pattern, do

so before making

these extra

pieces.

To work out

if you need to

lengthen the

pieces, compare

your vertical

measurements

with the Gosurori

size chart (ﬁgure 1). If you have a bodice piece, compare

the nape-waist measurements and add in the difference

as shown in ﬁgure 5.

instructions can be found on

the page with the photograph

of the outﬁt you want to make.

It will be either underneath the

designer’s sketch, or in the

bottom outside corner. It will look

something like this:

4···83ϖʔδ 5···85ϖʔδ

ϖʔδis katakana, which

means it’s likely to be a loan word

from another language. In this case,

it’s “ pe–ji ”, or the English word

“page”. What it means is that the

instructions for design 4 are on

page 83, and those for design 5 on

page 85. Remember that the pages

are numbered in the opposite

direction to those of an English-

language publication.

Some of the patterns will be

found on the pattern sheet; others

you have to draft yourself following

an illustration. A few use a basic

pattern from the sheet and alter it.

You can see which patterns are on

the sheet thanks to a helpful table

of contents printed on the front of

it, as shown in ﬁgure 3.

Figure 4 shows more detail,

with the relevant parts highlighted

(by me, not in the magazine) in

different colours. a (green) is the

page number and design number—

design 13 on page 10 in this case.

b (pink) is a description of the item,

usually another loan word—“ wanpi–

su ” or “one piece”. The “Garments”

section of the glossary lists the

terms you are most likely to see. c (yellow) is the number

of pattern pieces there are and d (orange) indicates the

numbers of the pieces on the sheet.

The pattern sheet itself can be a terrifying sight to

behold, with the different pattern pieces printed over one

another. Fortunately, it’s printed in colour, and around

the edges are the piece numbers and names printed in

the same colour as the piece itself. All you need to do is

trace off the size closest to your own.

Figure 4: Detail from the pattern sheet contents

with useful information highlighted .

Figure 5: adding extra

length to a bodice piece.

Slash the pattern as shown.

Draw a pair of prallel lines

on another piece of paper as

far apart from each other as

the extra length you need.

Stick your pattern pieces

along these lines, making

sure that you do not move it

sideways at all. Redraw the

side seam and the dart. he

other pieces of the bodice

should be lengthened in the

same manner. Sleeves are

lengthened the same way.

Figure 3: the contents

of the pattern sheet for

Gosurori 4.

For skirts, draft the patterns as shown and then have

a good look at the picture to see where it comes down to.

Get your long suffering friend to measure you vertically

down from your waist to the same point on your legs.

Extend the centre and side seams to this length as shown

in ﬁgure 6 - this method will keep the proportions of the

skirt the same, but remember to allow extra fabric.

If you are nothing like the sizes in Gosurori , you will

be best using the instructions as a guide to drafting a

pattern to your own measurements. Buy yourself a good

pattern cutting book (I use Metric Pattern Cutting by

Winifred Aldrich), and/or ﬁnd an evening class, and you

will soon have clothes that ﬁt better than anything in the

shops.

The diagrams for the pieces you have to make from

scratch are pretty easy to follow. The measurements are

all in centimetres and are shown in alternating bold and

normal type for the four different sizes. You’ll need a

long ruler, something with a right angle and, ideally, a set

Making it all ﬁt.

Not all the pieces are on the sheet, and some of those

that are will need adjusting. The instructions for making

 Finding the pat t ern 

T he page number for the

Figure 6: lengthen-

ing a skirt pattern.

the table discussed in

the previous section. The

arrows and ﬁgures down

the sides indicate that

the illustration represents

between 150cm and

210cm of 106cm wide

fabric, which has been

folded. The bold double-

headed arrow shows

the grain of the fabric.

The dark shaded parts

represent the right side of

the fabric, and the white

the reverse (͏Β: back; ͓

΋ͯ: front). Each pattern

piece is labelled with

which piece it is—see

the glossary section on

garment parts for clues.

The pieces shaded a pale

grey are those pieces

which need to be cut out

in fusible interfacing too.

Normally, seam allowance

is not added to pieces

cut in fusible interfacing,

because it adds bulk to

the seams. No indication

is given as to whether

this is the case with the

Gosurori patterns (at least

not in Japanese simple

enough for me to work

out), but it would be a

good idea not to add any, and to position the interfacing

very carefully when you iron it on.

of French curves or similar. The double-headed arrows

represent the grain of the fabric, which is important when

laying the pattern pieces onto the fabric. A line of dots

and dashes represents pieces for facings, and circles

show where buttons go. Diagonal shading indicates areas

which will be pleated. Note that none of these patterns

include seam allowance. The seam allowance is shown on

the fabric layout diagram!

Seam allowances

If you want to add the seam allowance to your pattern

pieces now, go look at the layout (ﬁgure 7). The default

seam allowance is 1cm (it’s always given on the page,

but I’ve never seen it be anything other than 1cm). If it

is anything else, this is indicated on the layout diagram.

You will see some numbers with curved lines joining

them to the edges of the pattern pieces. This is the

seam allowance for the seams they are connected to.

Sometimes, the ﬁgure is zero which means not to add any

allowance to that seam.

Figure 7: A fabric layout diagram.

 Making up your clothes 

P utting the garments together is shown graphically,

instructions page is a large table. This contains a

list of the fabrics and haberdashery used, and the

quantities required for each size. See the glossary for

translations of common items in these charts.

If you see a number accompanied by a kanji character,

this is likely to be a counter. Japanese often applies

a sufﬁx to numbers which indicates what it is being

counted. The ones you are likely to see are ݸ‘small

round objects’ (such as buttons) and ຊ for cylindrical

objects, which apparently includes zips! ૊ is not a

counter, but for our purposes is best translated as “set”,

such as both parts of a hook and eye fastening.

and the illustrations are wonderfully clear (most of

the time). There is a chart showing the different

symbols used on the page after the size chart in the

magazine. I haven’t been able to ﬁnd examples of the

non-obvious ones in Gosurori . As long as you have made

a couple of garments before, you are unlikely to have

any problems—just remember the Japanese for ‘front’

and ‘back’. Pieces where fusible interfacing has been

ironed on are show in the same light grey tone as on the

patterns.

 The Big Fa t Hairy Glossary 

M any Japanese words for items of clothing, fabrics

 Cu t t ing out 

F igure 7 shows a typical fabric layout from Gosurori .

and dressmaking terminology are borrowed from

English and French and are written in katakana –

used for non-Japanese words. A lively imagination

is needed to work out what some of them are, but

remembering that the letter ‘u’ is hardly pronounced,

and that ‘r’ and ‘l’ are represented by the same sound

in Japanese helps! You will also ﬁnd quite a bit of kanji

There’s quite a lot of information on it.

The large A෍indicates that this layout is for

fabric A. Precisely which fabric this is can be found in

 Fabric and haberdashery 

O ne of the first things you will see when looking at the

(characters, originally borrowed from Chinese), and it

tends to mean something important.

A useful hir agana (used for Japanese words that

don’t have an appropriate kanji and for grammar ) to

recognise isͷ(no), which can either be the possessive,

or generally indicate a relationship between the two

nouns to either side of it, soεΧʔτͷϙϦπ( suka–to no

poritsu ) tells you the illustration is showing you how to do

the pleats on the skirt.

The following tables show the terms I’ve managed

to work out, one or two that stumped me completely

(indicated by a question mark—enlightenment welcomed),

plus one or two from the dictionary, in case they ever

show up.

Each table is arranged with the terms starting with

kanji ﬁrst (in no particular order), and then the kana

terms, in the order they come on the kana charts.

+BQBOFTF 3⒕NBKJ &OHMJTI

φΠϩϯ OBJSPO OZMPO

ϑϥϊ GVSBOP XPPMqBOOFM

ϑΣΠΫϑΝʔ GFJLVGBr GBLFGVS

ϕϧϕοτ CFSVCFUUP WFMWFU

ϙϓϦϯ QPQVSJO QPQMJO

ϙϦΤεςϧ QPSJFTVUVSV QPMZFTUFS

ϨʔϤϯ SFrZPO

SBZPO

Trims and haberdashery

+BQBOFTF 3⒕NBKJ &OHMJTI

߹ൽςʔϓ H⒕IJUFQV TZOUIFUJDMFBUIFS

UBQF

ΧΪϗοΫ LBHJIPLLV IPPLBOEFZF

Χνϡʔγϟ LBDIVrTIB IFBECBOEUIF

QMBTUJDUZQFXJUI

TNBMMUFFUI

ΫϩεϞνʔϑ LVSPTVNPDIJrGV DSPTTNPUJG

Ϋϩεύʔπ LVSPTVQBrUTV DSPTTTIBQFE

DIBSN

Fabrics

+BQBOFTF 3⒕NBKJ &OHMJTI

෍

OVOP

DMPUI

໖

NFO

DPUUPO

LJOV

TJML

ຑ෍

BTBOVOP

MJOFO

ΰϜςʔϓ HPNVUFrQV

FMBTUJDMJU

lSVCCFSUBQFz

ද෍

IZ⒕OVOP

MJUlTVSGBDF

DMPUIz$POUFYU

TVHHFTUTlPVUFS

GBCSJDz

DPODFBMFE[JQ

GBTUFOFS

εφοϓ TVOBQQV TOBQGBTUFOFS

QSFTTTUVE

τʔγϣϯϨʔε UPrTIPOSFrTV UPSDIPOMBDF

υοτϘλϯ EPUUPCPUBO QSFTTTUVETOBQ

CVUUPO

ϑΝεφʔ GBTVOBr GBTUFOFS

όοΫϧ CBLLVSV CVDLMF

ϋτϝϦϯά IBUPNFSJOHV FZFMFU

ϓϦʔπϑϦϧ QVSJrUTVGVSJSV QMFBUFEGSJMM

ϕϩτ༻෍ CFSVUPZ⒕OVOP CFMUXFCCJOH

Ϙλϯ CPUBO

LPOTIJr

SVGBTVOBr

ཪ෍

VSBOVOP

MJUlJOTJEFDMPUIz

JFMJOJOHGBCSJD

઀ணਊ TFUDIBLV

GVTJCMF

JOUFSGBDJOH

΢ʔϧ VrSV

XPPM

ΦʔΨϯδʔ PrHBOKJr

PSHBOEJF

Ϊϟό HZBCB

HBCBSEJOF

ΰεϩϦΦϦδφ

ϧϓϦϯτ

HPTVSJSJPSJKJOBSV

QVSJOUP

(PTVSPSJPSJHJOBM

QSJOUFEGBCSJD

LPrNBrCBrCBSJr DPNCFE

#VSCFSSZ

ίʔϚʔϒϩʔυ LPrNBrCVSPrEP DPNCFE

CSPBEDMPUI

CVUUPOT

ϚδοΫςʔϓ NBKJLLVUFrQV .BHJD5BQF

4JNJMBSUP7FMDSP

ϞνʔϑϨʔε NPDIJrGVSFrTV DVUMBDF

ϦϘϯ SJCPO

ανϯ TBDIJO

TBUJO

δϟΧʔυ KBLBrEP

KBDRVBSE

γʔςくϯά TIJrUJOHV

TIFFUJOH

SJCCPO

γϑΥϯ TIJGPO

DIJ⒎PO

Ϩʔε SFrTV

MBDF

δϟϯλϯ KBOUBO

ετϨονΤφ

ϝϧ

TVUPSFDDIJ

FOBNFSV

TUSFUDI17$

Garments

+BQBOFTF 3⒕NBKJ &OHMJTI

खା

ιϑτνϡʔϧ TPGVUPDIVrSV TPGUUVMMF

λʔλϯ UBrUBO UBSUBO

λϑλ UBGVUB UB⒎FUB

μϒϧΨʔθ EBCVSVHB[F EPVCMFHBV[F

νϡʔϧ DIVrSV UVMMF

νϡʔϧϨʔε DIVrSVSFrTV UVMMFMBDF

πΠϧ UTVJSV

UFCVLVSP

HMPWFT

ΫϦϊϦア〣ς

ʔϓ

LVSJOPSJOOP

UFrQV

DSJOPMJOFNBEF

PGUBQF

έʔϓ LFrQV

DBQF

ίʔτ LPrUP

DPBU

ίϧηοτ LPSVTFUUP

DPSTFU

UXJMM

εΧʔτ TVLBrUP

TLJSU

ίϯγʔϧϑΝε

φʔ

ίʔϚʔόʔό

Ϧʔ

+BQBOFTF 3⒕NBKJ &OHMJTI

υϩϫʔζ EPSPXBr[V

ESBXFST

CMPPNFST

+BQBOFTF 3⒕NBKJ &OHMJTI

ϙϦπ QPSJUTV

QMFBUT

ϛγϯ NJTIJO

NBDIJOFTUJUDI

PSTFXJOH

NBDIJOF

ωΫλΠ OFLVUBJ

OFDLUJF

όοά CBHHV

CBH

ύχΤ QBOJF

QBOOJFS

QFUUJDPBU

 Katakana charts 

K atakana is the name given to the set of syllables

ύϯπ QBOUTV

QBOUTUSPVTFST

ύϯπͷϕϧτ QBOUTVOP

CFSVUP

CFMUGPSUSPVTFST

used to represent words borrowed from languages

other than Japanese. The first table shows

the basic symbols, plus those which change their

pronunciation when two dashes (a bit like quote marks)

or a small circle are added to the top right. These follow

a pattern, and can be found in the coloured parts of the

table.

The table as a whole follows a standard order, and this

order is used in the tables in the glossary.

ϒϥ΢ε CVSBVTV CMPVTF

ϕϧτ CFSVUP CFMUXBJTUCBOE

ϔουυϨε IFEEPEPSFTV IFBEESFTT

Ϙϯωοτ CPOOFUUP CPOOFU

Ϛϯτ NBOUP NBOUMFDMPBL

Ϧετόϯυ SJTVUPCBOEP XSJTUCBOE

ϫϯϐʔε XBOQJrTV

POFQJFDF

ESFTT

Ξ Π ΢ Τ Φ

B J V F P

Χ Ω Ϋ έ ί

LB LJ LV LF LP

Ψ Ϊ ά ή ΰ

HB HJ HV HF HP

α γ ε η ι

TB TIJ TV TF TP

β δ ζ θ κ

[B KJ [V [F [P

λ ν π ς τ

UB DIJ UTV UF UP

μ ξ ρ σ υ

EB KJ [V EF EP

φ χ ψ ω ϊ

OB OJ OV OF OP

ϋ ώ ϑ ϔ ϗ

IB IJ GV IF IP

ό Ϗ ϒ ϕ Ϙ

CB CJ CV CF CP

ύ ϐ ϓ ϖ ϙ

QB QJ QV QF QP

Ϛ ϛ Ϝ ϝ Ϟ

NB NJ NV NF NP

Ϡ Ϣ Ϥ

ZB ZV ZP

ϥ Ϧ ϧ Ϩ ϩ

SBMB SJMJ SVMV SFMF SPMP

Parts of garments

+BQBOFTF 3⒕NBKJ &OHMJTI

਎ࠒ

NJHPSP

CPEJDF

କ

TPEF

TMFFWF

০Γ

LB[BSJ

EFDPSBUJPO

ޙΖ

VTIJSP

CBDL

ޙΖ࿬ VTIJSPXBLJ

TJEFCBDL

લ

[FO

GSPOU

લ࿬

[FOXBLJ

TJEFGSPOU

લ͖͋ [FOBLJ

GSPOUPQFOJOH

ݟฦ͠

GBDJOH

FSJ

DPMMBSOFDLCBOE

MBQFM

൒ۖ

IBSFSJ

UIFOFDLQJFDFPO

BLJNPOP

ଳ

UBJ

TBTICFMUPCJ

Χϑε LBGVTV

DV⒎T

ϑʔυ GVrEP

IPPE

ϕϧτ CFSVUP

CFMUXBJTUCBOE

Other terms

+BQBOFTF 3⒕NBKJ &OHMJTI

಺ܘ

OBJLBJ

JOTJEFEJBNFUFS

খ TI⒕ TNBMM

෯ IBCB XJEUI

໿ ZBLV BQQSPYJNBUFMZ

ؙΧϯ͖ͭ NBSVLBOUTVLJ JODPOUFYUBOE

HVFTTJOHlXJUI

BUUBDINFOUSJOHz

͏Β

VSB

CBDL

͓΋ͯ PNPUF

GSPOU

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