We help designers create beautiful and functional garments
Pattern Cutting Studio is London’s premier destination for expert pattern cutting and garment development, blending 20 years of industry experience with innovative technology to bring designers’ visions to life. The company offers a transparent and reliable service, specialising in production-ready patterns, fabric markers, tech packs, and 3D garment rendering. In an interview with Fibre2Fashion, Founder Nailya Belkacemi talks about pattern cutting and its importance for designers.
What are some of the current trends or innovations in pattern cutting that you find most exciting or promising?
What I find most exciting is 3D pattern cutting. It is a hot topic for good reason: it streamlines the entire development process. We often work with highly creative designers showcasing their work at London, Paris, and New York fashion shows. These designers have innovative, sometimes experimental, ideas that do not easily translate into traditional pattern cutting. Traditional methods can be time-consuming and offer less visual guidance. With 3D pattern cutting, designers can instantly see a rendering of how their garment will look on a hanger or online. It is faster, more cost-effective, and simplifies the whole process for both pattern cutters and clients.
How has technology, such as computer-aided design (CAD) software, impacted the field of pattern cutting and its processes?
Five or six years ago, I might have said that a mix of manual and computer-aided pattern cutting was necessary, depending on the style being developed. Back then, manual methods seemed better suited for complex garments, especially those involving draping. However, technology has advanced so much that I no longer hold that view. Even complex drapes can now be easily produced on a computer. Similarly, with grading, while I used to think that manual methods were superior for complex designs, I have had to revise my opinion. Computer-aided design has become so advanced that it is not just time-effective and cost-effective, but also incredibly precise, even for complex garments. So, in short, technology has made pattern cutting far more streamlined and efficient.
In your opinion, what are the key skills or qualities that make a successful pattern cutter in today’s industry?
In today’s industry, it is not enough to just be proficient in CAD; a good pattern cutter also needs a strong foundation in traditional pattern cutting techniques. Understanding sewing processes is crucial as well. A skilled pattern cutter knows how to stitch the garment together and understands how different fabrics behave when pressed, steamed, or cut. It is a multifaceted discipline; you cannot excel merely by understanding the basics of garment construction. To create effective patterns, you need to understand every element of the process, from stitching to fabric behaviour. I always tell my team that you know you have created a good pattern when machinists can produce the garment without having to revert to paper patterns or tech packs, understanding all notches and other details directly from your digital pattern.
Are there any sustainability initiatives or practices being adopted in pattern cutting to reduce waste or promote ethical fashion?
Absolutely, 3D design itself is a significant step towards sustainability as it drastically reduces the need for physical prototypes or toiles. For less complex garments, we sometimes skip the toile stage and proceed directly to the sample. While some may argue that 3D design eliminates the need for physical samples altogether, I would disagree. Physical samples still have their place, but with advanced digital tools, we can get to that stage more efficiently, bypassing much of the waste typically generated in traditional pattern cutting.
How do you see the future of pattern cutting evolving, considering factors such as automation, artificial intelligence, and 3D printing?
The future of pattern cutting is incredibly exciting, although there is still a steep learning curve ahead. We have seen advancements in 3D software, but these programs are not yet fully tailored to the nuances of fashion manufacturing. For instance, some complex fabrics still do not behave in the digital realm the way they do in reality. I envision the next step to be the development of 3D software that truly captures the behaviour of all fabric types. There may also be simulations that cover the entire sewing process, potentially reducing the need for some physical samples.
Can you tell us about your journey as a pattern cutting expert and how you started the Pattern Cutting Studio?
I was formally trained as a pattern cutter and started a manufacturing company called Plus Samples in 2003. Pattern cutting and development have always been part of our DNA. Initially, we focused on high-end design and production. But with the advent of 3D technology, I saw an opportunity to expand our reach beyond UK-based designers by creating digital patterns that could be sent worldwide. That is why we established a separate business, Pattern Cutting Studio.
Previously, we charged an hourly rate, which was discouraging for designers who often faced unexpectedly high invoices. So, we shifted our business model to offer a more transparent, predictable pricing structure. This new approach does not just streamline pattern cutting services; it also educates designers on how to efficiently approach the pattern cutting process. Before taking any orders, we hold a discovery session to walk through the process, and we are also developing educational materials to help designers avoid common mistakes that lead to increased costs.
What inspired you to create a business specialising on pattern cutting?
The inspiration to create a business specialising on pattern cutting came from my desire to make the development process enjoyable for both designers and ourselves. Design is a creative process, and designers should be able to focus on their work without worrying about unexpected costs. On our end, we should be able to concentrate on the task at hand rather than fretting over whether we were exceeding the estimated hours for a project. Essentially, I wanted to create a space where everyone involved could focus on the joy of creation without the stress of unpredictable billing.
How does Pattern Cutting Studio differentiate itself from other resources or platforms available for pattern cutting?
What sets Pattern Cutting Studio apart is our transparent, set-cost approach, which eliminates unpleasant surprises for designers. If there is ever a discrepancy in the final price, the reasons are clearly communicated to the designer. Many talented designers struggle to move forward in the industry due to cash flow issues, largely because they are uncertain about how to cost their garments and processes. Working with UK-based pattern cutters and studios can be particularly expensive; the cost of developing a collection can easily reach £20,000 to £30,000. If we can reduce these costs by 30 to 50 per cent, it would make a significant difference for these designers.
Could you explain the key features and tools offered by your business?
One of the main features of our website is transparency. As soon as someone lands on our homepage, they can access our price list. This enables potential clients to estimate the cost of their garment even before they get in touch with us. We are also in the process of creating blog posts that lay out the steps involved in garment development. This helps those embarking on a development journey to have an idea of costs in advance, allowing them to make informed decisions before they even contact a manufacturer.
How do you ensure that learners receive adequate support and guidance while using Pattern Cutting Studio?
We have designed different packages to offer varying levels of support. For instance, our Gold Package provides three hours of complimentary support for designers developing more than 15 patterns with us. During these hours, we discuss a range of topics to help them better understand the nuances of garment creation.
It is essential for a pattern cutter to understand the target market and the kind of finishes the designer aims for. This influences not just the pattern cutting, but also the approach to garment finishes. For instance, a £40 garment would require a different approach compared to one retailing for £400 or more.
We also discuss the manufacturing process. Knowing the equipment that a manufacturer has is critical for the pattern to work effectively. For example, if a designer envisages a garment requiring specialised stitching or treatments, but the manufacturer lacks the equipment for it, then the pattern would not work as intended.
The journey does not start with making a sample; it starts right at the beginning with the development of your pattern. Therefore, it is crucial to invest time in understanding the objective of the garment and how best to achieve it.
Are there any specific skill levels or prerequisites required for someone to outsource pattern cutting on your platform?
No, there are no prerequisites. We have had people with diverse backgrounds, including those from banking and accounting, successfully transition into the fashion industry. Of course, if someone already has experience in fashion or design, their journey is likely to be easier.
Can you share any success stories or testimonials from individuals who have used your platform and achieved notable results?
Certainly. One of our earliest success stories involves a designer who initially worked with us through Plus Samples. She approached us with a unique bridal project that required adapting a pre-existing pattern to suit a bride’s specific body shape. What made this project particularly rewarding was its use of 3D design. This technology proved invaluable when the bride changed her mind after seeing the first draft of the dress, thereby saving both the designer and the bride considerable time and effort. This experience was so impactful that it motivated me to create a dedicated platform for pattern cutting.
What are your future plans for Pattern Cutting Studio? Are there any new features or courses in development?
We are currently working on a development calendar that designers can use to track their progress. This feature should be available by the end of the year. In addition to that, we are planning to add more courses and training modules to guide designers through the entire development process. Our primary focus, once the calendar is completed, will be to help designers accurately cost their garments. This will cover not just the development stage but also production. We aim to release more templates and detailed explanations to help designers understand the entire process better.
What is the level of rejection if, in case, a pattern or cutting goes wrong, and how do you rectify it?
n the 3D pattern-making process, there is a reduced risk of error if the correct steps are taken. At Pattern Cutting Studio, we carefully adhere to the designer’s specifications. We create 3D models that provide designers an opportunity to check both the fit and aesthetics of the garment. If adjustments are needed, we amend the pattern and create another 3D model or even make physical toiles. We also offer tech pack development and can help with fit sessions.
That said, errors often occur during the actual sampling stage. Many variables can affect the outcome: the fabric used, the cutting process, and the manufacturer’s expertise, among others. We strongly recommend that designers have their fabric in hand before pattern development starts. If an issue arises during the sampling stage, that is the time to rectify the pattern.
To give a real-life example, we recently had a client who switched fabrics in the middle of production. They initially used a lightweight crepe, but later opted for a heavier fabric. Because the garments were cut on the bias, this change drastically altered the fit, requiring us to adjust 15 different pieces in the collection. This kind of scenario illustrates why it is essential to sample in the correct fabric from the start.
How do you see yourself five years down the line?
Five years from now, I will likely still be doing what I love. I anticipate that advancements in technology will open new horizons for us. Perhaps I will even be in a position to develop my own software. However, the core of what I do—helping designers create beautiful and functional garments—will remain the same.
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