Lesson Notes By Weeks and Term v3 - Senior Secondary 2
Figure types
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Figure types
Download the Lessonotes Mobile Nigeria 2025 app for faster lesson access on Android and iPhone.
Subject: Garment Making
Class: Senior Secondary 2
Term: 1st Term
Week: 1
Theme: Figure Types And Garment Making
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Students should beable to state the three mainfigure types. identify the variationof the figure types.
Figure Types And Garment Making lower half, particularly around the hips and thighs.
Characteristics: Narrower shoulders and bust. Wider hips and thighs. Often a well-defined waist.
Garment Considerations: The goal is to balance the figure by drawing attention upwards and minimizing the hip area. Tops with details, bright colours, or patterns (e.g., puff sleeves, boat necks, embellished necklines) can broaden the shoulder line. Darker colours or straight/A-line cuts for bottoms, wide-leg trousers, or skirts that gently skim over the hips are generally flattering.
B. Variations of the Figure Types: Beyond the three main categories, individuals exhibit a wide range of specific characteristics or variations that influence garment choice and construction. These variations can occur independently or in combination with the main figure types.
1. Tall Figure: Description: Individuals with above-average height. Their limbs and torso are typically elongated.
Garment Considerations: Can carry voluminous styles. Horizontal lines (e.g., wide belts, colour blocking, horizontal stripes) can help to visually break up height. Longer hemlines, layered outfits, and garments with detail at the waist or hips are often suitable.
2. Short Figure (Petite): Description: Individuals with below-average height. Their limbs and torso are typically shorter in proportion.
Garment Considerations: Vertical lines (e.g., vertical stripes, V-necks, long necklaces) can create an illusion of height. Monochromatic outfits, shorter jackets, and higher waistlines can also be flattering. Avoid overly voluminous or bulky fabrics and excessive layering that can overwhelm a petite frame.
3. Slender/Slim Figure (Rectangle/Column Figure): Description: Characterized by a relatively straight up-and-down shape, with shoulders, waist, and hips having similar measurements. There is little waist definition. This figure type often has a lean build.
Garment Considerations: The aim is to create curves and add definition. Belts, peplum tops, ruffles, gathers, and strategic layering can add volume and shape. Styles with texture and patterns can also enhance the figure.
4. Stout/Plus-size Figure (Apple Figure - often considered a sub-variation): Description: Individuals with a fuller build, often carrying weight primarily around the mid-section (abdomen and waist). The shoulders and hips may be narrower in comparison to the waist.
Garment Considerations: Emphasis should be on creating a lean line and defining the waist if possible. Empire waistlines, A-line silhouettes, V-necks, and flowing fabrics work well. Avoiding excessive bulk or horizontal lines around the mid-section is advised. Structured fabrics and well-tailored pieces can also be flattering.
Note: While 'Apple' is often used as a main type, within the context of 'variations', it represents a common fuller figure characteristic.
5. Broad Shoulders: Description: Shoulders are notably wider than the rest of the upper body.
Garment Considerations: Raglan sleeves, V-necks, and soft fabrics can soften the shoulder line. Avoid shoulder pads or very structured shoulder designs.
6. Narrow Hips: Description: Hips are significantly narrower than the bust or shoulders.
Garment Considerations: Pleated skirts, full skirts, trousers with pockets or embellishments at the hips can add volume.
Example Application (Nigerian Context): Consider a client, Mrs. Amina, who wants a new boubou for a social event. She describes herself as "carrying her weight around her stomach" (a common description for an 'apple' or stout figure).
Analysis: This points to a Top-Heavy or Stout variation. Her waist is likely not well-defined, and her midsection is wider.
Design Recommendation: The teacher would guide students to consider a boubou with a flowing, A-line silhouette that skims over the midsection. A V-neck or boat neck could draw attention to the décolletage and shoulders. Sleeves could be wide but without excessive ruffles at the shoulder. Fabric choice would be soft, draping chiffon or silk, avoiding stiff, bulky materials that add volume.
3. Teaching and Learning Activities Phase 1: Introduction and Engagement (15 minutes)
Teacher Activity: Begins by asking students about their observations of different body shapes they see daily (e.g., family members, people on the street, celebrities). Initiates a discussion on why understanding these differences might be important for someone making clothes. Introduces the topic "Figure Types" and its relevance to creating well-fitting garments. States the lesson's performance objectives clearly.
Student Activity: * Participates in the discussion, sharing key flattering feature of a balanced figure.
2. Pencil skirts or straight-cut trousers: These follow the natural curves without adding unnecessary bulk, complementing the balanced proportions.
Commentary: The suggestions aim to accentuate the natural proportions and defined waist, which are the strengths of this figure type. --- Question 2: Chinedu, a young fashion designer in Lagos, is sketching a design for a new kaftan. He wants to ensure it flatters clients with "narrow shoulders and bust, but significantly wider hips and thighs." a) Which main figure type is Chinedu designing for primarily? b) What design elements should Chinedu incorporate into the kaftan to balance this figure type? Mention two elements.
Solution 2: a)
Main Figure Type: Bottom-Heavy (or Pear/Triangle) figure.
Commentary: The description clearly indicates a wider lower body compared to the upper body, which is the hallmark of a bottom-heavy figure. b)
Design Elements for Balance:
1. Embellishments or details around the neckline and shoulder area: This will draw attention upwards, broadening the perceived width of the shoulders and balancing the wider hips (e.g., embroidery, beadwork, a statement collar on the kaftan).
2. An A-line cut that gently skims over the hips and thighs: Instead of a tight or straight fit around the hips, an A-line silhouette will accommodate the wider lower half without accentuating it, creating a more harmonious overall look.
Commentary: The strategies focus on visually broadening the top and creating a smooth, non-clingy line over the wider lower body to achieve overall balance. --- Question 3: Mrs. Okoro needs a new outfit for a church dedication. She is a tall woman who feels her height is sometimes overwhelming in certain clothes, and she also carries some weight around her midsection. a) Identify two figure variations that describe Mrs. Okoro. b) Suggest one design strategy for her outfit that addresses both variations.
Solution 3: a)
Figure Variations:
1. Tall figure.
2. Stout/Plus-size (specifically, a tendency to carry weight around the midsection, often associated with an Apple-like variation).
Commentary: The prompt explicitly states "tall" and describes weight distribution consistent with a stout or apple-shaped variation. b)
Design Strategy: An empire-waist dress or top with subtle horizontal detailing/colour blocking and a flowing, non-clingy skirt/bottom: For Tallness: The horizontal detailing or colour blocking can visually break up the vertical line, making her appear less elongated. The flowing skirt provides volume without emphasizing height.
For Stout/Midsection Weight: The empire waist (just below the bust) draws attention away from the midsection and creates a flattering silhouette, while the flowing fabric of the skirt glides over the abdomen.
Commentary: This strategy simultaneously addresses both concerns: breaking visual height with horizontal elements and camouflaging the midsection with an empire waist and draping fabrics.
5. Independent Practice (Questions Only)
1. List the three main figure types discussed in garment making.
2. Describe the key characteristics of a "Top-Heavy" figure.
3. A tailor's client has shoulders and hips that are roughly the same width, but her waist is significantly larger than her bust or hips. Which figure type variation best describes her?
4. Explain how a "Short" figure differs from a "Tall" figure in terms of general body proportions.
5. Identify four variations of figure types that are not among the three main categories.
6. Why is it important for a garment maker in Nigeria to understand different figure types before designing an outfit?
7. Suggest two types of garments that would generally flatter a "Bottom-Heavy" figure.
8. A woman has a "Slender" figure. What is one common challenge in dressing this figure type, and how can it be addressed?
9. Imagine designing an Ankara dress for a client with "broad shoulders" and "narrow hips." What two design features would you consider to create a balanced look?
1
0. A client wants a new outfit for her Chieftaincy title ceremony. She is a "Stout" individual who prefers comfortable but elegant wear. Suggest a suitable garment style and one reason why it would be appropriate for her figure type.
6. Evaluation and Assessment Formative Assessment Strategies: * Class Discussion: Observe student participation and quality of responses during group work and whole-class discussions. or silk, avoiding stiff, bulky materials that add volume.
3. Teaching and Learning Activities Phase 1: Introduction and Engagement (15 minutes)
Teacher Activity: Begins by asking students about their observations of different body shapes they see daily (e.g., family members, people on the street, celebrities). Initiates a discussion on why understanding these differences might be important for someone making clothes. Introduces the topic "Figure Types" and its relevance to creating well-fitting garments. States the lesson's performance objectives clearly.
Student Activity: Participates in the discussion, sharing observations and initial thoughts. Listens attentively to the introduction and objectives, asking clarifying questions where necessary.
Phase 2: Content Explanation and Illustration (30 minutes)
Teacher Activity: Explains the concept of "figure type" using visual aids (e.g., simple diagrams drawn on the board, images of different silhouettes). Describes each of the "three main figure types" (Balanced, Top-Heavy, Bottom-Heavy) in detail, explaining their key characteristics. Uses examples relevant to Nigerian body types and clothing (e.g., how an iro and buba would fit differently on these shapes). Explains various "variations of figure types" (Tall, Short, Slender, Stout, Broad Shoulders, Narrow Hips), emphasizing how these modify the main types. For each type and variation, suggests general garment considerations for flattering the figure. Encourages students to ask questions and clarifies any misconceptions.
Student Activity: Takes notes on the definitions and characteristics of each figure type and variation. Observes diagrams and images, relating them to the descriptions. Asks questions for better understanding. Engages in short group discussions to identify examples of these figure types among well-known public figures or fictional characters (avoiding personal references to classmates).
Phase 3: Practical Application and Discussion (25 minutes)
Teacher Activity: Divides the class into small groups (e.g., 4-5 students per group). Provides each group with sketches or cut-outs of different garment styles (e.g., A-line dress, fitted blouse, wide-leg trousers, pencil skirt). Assigns a specific figure type or variation to each group and tasks them to discuss which garment styles would be most flattering for their assigned figure and why. Circulates among groups, providing guidance and answering questions. Facilitates a whole-class feedback session where each group presents their findings.
Student Activity: Works collaboratively in groups to analyze garment styles and match them to assigned figure types/variations. Justifies their choices based on the principles discussed. Presents their group's conclusions to the class, actively listening to other groups' presentations and engaging in constructive discussion.
Phase 4: Wrap-up and Assessment (10 minutes)
Teacher Activity: Summarizes the key concepts covered: the three main figure types and their variations. Administers a short oral quiz or quick written questions to check for understanding. Assigns homework or independent practice.
Student Activity: Participates in the summary and oral quiz. Completes quick assessment questions. Notes down homework assignment.
4. Guided Practice (With Solutions)
Question 1: A client visits a tailoring shop and describes her body as having "shoulders and hips of similar width, with a distinctly smaller waist." a) Identify the main figure type she most likely represents. b) Suggest two general garment styles that would typically flatter this figure.
Solution 1: a)
Main Figure Type: Balanced (or Proportional/Hourglass) figure.
Commentary: The description explicitly matches the defining characteristics of a balanced figure, which emphasizes equal shoulder and hip width with a defined waist. b)
Garment Styles:
1. Fitted dresses or blouses with defined waistlines (e.g., belted styles): These styles highlight the natural waist, which is a key flattering feature of a balanced figure.
2. Pencil skirts or straight-cut trousers: These follow the natural curves without adding unnecessary bulk, complementing the balanced proportions.
Commentary: The suggestions aim to accentuate the natural proportions and defined waist, which are the strengths of this figure type. --- Question 2: Chinedu, a young fashion designer in Lagos, is sketching a design for a new kaftan. He wants to ensure it flatters clients with "narrow shoulders and bust, but significantly wider hips and thighs." a) Which main figure type is Chinedu designing for