Fitting the wedding bodice for a client who is not a pattern size

For a bodice with a bust dart, choose the size by high bust (upper chest), not full bust. The pattern's cup size is fixed at B, so its bust measurement already includes a set amount of bust volume. A woman with a full bust much larger than her upper chest needs that extra volume added in the front only; if you take the bust measurement as your size, the shoulders, neckline and armhole come out too big.

Client's high bust is 88 cm. Size 12 is drafted for a bust of 92 cm, which corresponds to roughly 87 cm high bust at a B cup; size 14 corresponds to about 91 cm high bust. So size 12 matches her upper chest; size 14 would give shoulders about 1 cm too wide each side and a gaping neckline and armhole.

Adjustments from size 12:

• Bust: pattern 92 cm, client 98 cm, so 6 cm must be added, all in the front bodice, i.e. a full bust adjustment adding about 3 cm on each front bodice piece, which also enlarges the bust dart and lowers the bust point.
• Waist: pattern 76, client 84, so 8 cm. Distribute it: 1 cm out at each of the two side seams (4 cm) and 1 cm at each of the four darts (4 cm).
• Hip: pattern 100, client 106, so 6 cm, i.e. 1.5 cm at each side seam on the skirt.
• Shoulder: client 11.0 versus pattern 11.5, so 0.5 cm off each shoulder tip, a minor change.
• Length: pattern for 1.68 m, client 1.62 m, so shorten about 3 cm, taken from the skirt length at the hem rather than the bodice.

Order matters because each alteration moves the landmarks the next one depends on.

1. Measure and compare everything to the pattern, recording the differences on the pattern envelope.
2. Do the full bust adjustment first. It changes the bust point, the dart size and position, the side seam length and the position of the waistline seam; doing waist or shoulder work first means redoing it afterwards.
3. Re-draw the side seams and darts for waist and hip, using the new side seam created by the bust adjustment as the reference.
4. Adjust the shoulder and neckline, because the bust adjustment can shift the armhole and the front neckline slightly; check the armhole does not cut into the front.
5. Shorten the skirt length, then true all seams so the front and back side seams are the same length and the waist seam is a smooth continuous curve.
6. Make a calico toile in a similar weight, wearing the same underwear, and fit it on the client before touching the good cotton. Mark all changes on the toile in pencil, transfer them to the paper pattern, then cut the fashion fabric.

Skipping the toile with 2.5 m and one week is exactly how a first bodice becomes a second, rushed one.

Checks on the toile, in this order:

• Grain: the centre front and centre back lines hang vertically and parallel to the floor; if they swing, the piece is off grain.
• Bust: the dart point sits about 2.5 cm to the side of and below the apex, never on it; the bust point matches the client's apex horizontally and vertically.
• Neckline and armhole: no gaping at the front neckline when she bends forward; the armhole does not cut into the front or dig under the arm; a sleeveless armhole needs about 1 cm extra hollowing and a well-fitted facing.
• Waist seam: horizontal, parallel to the floor all the way round, not dipping at the front over a full bust.
• Ease: about 1.5-2 cm at the bust and 2 cm at the hip for a fitted woven bodice; she should be able to sit, breathe and raise her arms without the waist seam riding up.
• Skirt: gathers evenly distributed, hem parallel to the floor.

Portfolio evidence: the measurement chart with client and pattern figures side by side, photographs of the tissue and toile fittings, the altered pattern pieces showing the slash-and-spread and the new seam lines, a short written note explaining each change and why, and the client's signed approval before cutting the fashion fabric. This shows the assessment of process, not only the finished dress.