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of shaping fabric to the body a primitive cut. Though now a highly developed pattern, it still appears in its
primitive shape in stage costume designing, in baby wear, knit wear and at times in fashion wear.
The simplest shape of a kimono pattern, corresponding to the first arm position in the sketch
opposite, has absolutely no shouldr slope or any other shaping to the figure; it cannot fit, it can
only drape on the figure. Now and again fashion brings back this rather crude draped effect (e.g.
to achieve a 'chunky' Iine), and so revives the original simple cut wbich suis the styie, even if it
does not. strictly speaking, fit the figure.
But on the whole, under the influence of modern ideas of design and fit, the kimono has
undergone many changes and transformations and so has gradually become a complicated
pattern. In its more elaborate, sophicated shape it belongs
7
therefore, to advanced pattern
cesgning and when the kimono is in fashion, designers often aim at effects which can be
achieved only with great skiil and a thorough understanding of the various cutting and fitting
problerns involved.
The kimono appears nowadays in a great variety of styles whereas before the range was small
and change of style was limited almost entirely to decorative work. Now a whole technque of
special adjustments and manipulations has developed around it to 'improve' its cut and fit and to
increase its possibifities in fashion and style varation. It is as a resut of all this that it can no
longer be considered a simple pattern, though some versions of t are still simple enough.
Most of the improvements introduced into the kimono are directed towards making it fit more
like an ordinary bodice with set-in sleeves, yet without losing the atractive effect and smooth,
graceful line of the continuous shoulder and sleeve. This creates various problerns to the solving
of which are due the many difficulties of kimono pattern cutting. It is more important to under-
THE
KIMON
O



stand these difficulties and the reasons why they occur ithan to try and produce the perfect kimono pattern which
will fit all figures and suit all styles: this is hardly possible. As with collar cutting, kimono cutting is largely a
queston of arriving at good results through understanding the problems in volved and knowing how to deal with
them.
If one considers the sketches on the opposile page. it becomes clear that the arm position has an effect on the length
of the line A-B-C which is the Top line (NP to wrist) and the line D-E-F which is the underarrn (waist to wrist). In
the top sketch A- B-C is shortest and D-E-F is iongest. In the bottom sketch ABC is longest and D-E-F shortest. The
two middle figures show intermedate lengths. All this can be established and checked on the figure by direct
measurement.
Only a sleeve cut separately and sel into an armhole can adjust itself to this change of length and allow for
complete freedom of movement. As will be seen from FIG. 1 below. a set-in sleeve actually has some excess length
in each position: this appears as a 'fluting' fold above the shoulder when arm is raised or under the arm when arm is
held down (it shows better on a bodice laid flat on the table than on the figure). This adiustable reserve of length is
the result of the way the crown and armhole are shaped and joined.
It is impossible to have this automaic adjusment in a sleeve which is cut in one with the bodice, where there



is neither crown nor armhole, and so this becomes the central problem in kimono fitting. A correct choice of
sleeve position, i.e. sieeve slant has to be made in every case. If a position similar to the top sketch is .diosen,
then there is enough underarrn length to ailow ihe arm to move upwards comfortably, but the sleeve fus hadly
on the top as soon as the arm is lowered, developing creases and drags from SP and tightness over ihe Top arm
muscle. If, on the other hand, the sleeve is cut with a good 'slant' and a 'break' at SP as the lower sketches), it
will have a smooth fit along the top due to th extra length achieved by sianting, but will lose length under the
arm and feel uncomfortabie as soon as the ann is raised.
The problem is solved by first choosing a suitabe slant for the sleeve !o ensure its good fit on the top, and
then introducing extra length into the shortened underarrn by means of a 'gussef which releases the sleeve to
allow freedom of movement.
It must be noted that there are severa! suitabe slants to choose from for the top of the sleeve (basicaliy
representad by the two middle sketches on the right), and there exists quite a variety of 'gussets' to ease the
underarrn fit: both are varied according to fashion, styie, the fit aimed at, length of sleeve and texture of fabric.
The more slantcd kimono sleeve, particularly in the closei-fitting styles, usualy needs a 'break' at SP to
accommodate the shoulder bone, the angle of which becomes more pronounced as the arm moves down
(lowest sketch on the right). With some exceptions (mainly oose sleeves with large "armho'es'), kimono
sleeves fit better when there is a break at SP. Not only does this add length lo the Top iine of a kimono, but it
docs so at the right point, at SP, where it is needed, noi at the wrist where it would be useless.
The Kimono block is produced from the standard Bodice block and the Straight sleeve block. Before using
the bodice it is necessary lo adjust it to sui the specal requirements of a kimono fit:
(a)TV shoulder seam must be cemment since shoulder and sleeve are cut in one: this ensures a better line for
the kimono Top seam which must run down the middle of the arm.
(b)The bust with must be re-distributed to reduce differ-ence between back and front and to place side seam
well under the arm so that if runs smoothty r:to the sleeve seam.
(c)The Bust (Shoulder) dart must lose with to provide some ease for the front 'armhole part which in a kimono
drapes over the hollow and shoulder bone instead of motilding it.
d) The rest of the Shoulder dart must be moved to another position to faciltate kimono construccin
f) The Back shoulderblade dart must be used its ful! depth to tighen back 'armhole pan' which tends to sag
(unless shoulder padding is used. when dar! is less important).