DRAPING A N D FLAT P A T T E R N M A K I N G

Wf
MARION S. HILLHOUSE
EVELYN A. MANSF|ELD
Michxgar: Stale College

H O U G H T O N MIFFLIN C O M P A N Y ATLANTA - SAN FRANCISCO CHICAGO - oALLAs BOSTON - NEW voax Eh: Rihctsihr Orts: Camhnbgr

asssnven; INCLUDING m: Rl.GHT' T0 msasos IN {IEPRODUCETHLS aoqx onpvprs

A

All, RIGHTS
_;.

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PRINTED

m m:

U.S.A.

TO ETHEL G. WEBB

Whose many years of analytical

and inspiring presentation of draping led to the writing of this book.

I. THE DRESS FORM

Part I.

Page: I-I5

The Dress Form Cover

Part 2.

Padding the Dress Form

2. BASIC BLOUSES
Part I.

Page: I6-59

Part 2.

Draping Basic Blouscs on the Dress Form The FIat Pauern Method oi Designing Blouses on the Master Block Paltern

3. BASIC SKIRTS
Part I. Part 2.

Page: 60-I I I

Draping Skins on the Dress Form The Fiat Pattern Method of Designing Skirts on a Master Pattern

4. SLEEVES
Part I.

Page: I l2-l92

Drahing and Fiat Pattern Designing Basic SetIn Sleeves

Part 2. Part 3.

Designing Set-In Sleeves from the Master Pattern One-Piece Sleeve Block
Sleeves Cut In One with the Bodice or a Part of the Bodice

5. FITTING
Part I.

Page: I93-246

Part 2. Part 3.

General Principles of Fitting Preparation of the Master Pattem for Fitting l-itting Problems of the BIouse

ibi-iiinsiiinln DESIGN:

i,

Qsuggestion 1U Developing Line Arrangements by

Suggestion

Suggestion

Sketchmg Studying the Fabiic Draping for General Effect

Suggestion

Suggestion
Suggestion

Suggestion Suggestion

Draping with Muslin for Details oi Design Interpreting Silhouettes as Complete Designs Molding the Fabric to the Form by Seams and by Concealed Darts Design Theme from Develodping the Variauons of Basic Darts Developing Unusual Skirt Cuts from the Basic Two- Fou-r-, and Six-Gore Pattems

Suggestion 9.
Suggestion 10. Suggestion 11. Suggestion 12.

Carrying One Piece of Fabric As Far As Possible without Cutting Deriving Unusual Effects from Asymmetric Cuts Designing from a Detail

Introducing Original Details into a Standard Commercial Pattern

INDEX

?M/M
The purpose of this book is t0 explain in dctail lhe principles of draping from masler Iabric on the dress form, thc principlcs o! Hat paucrn dcsignilng an on and the of successlul at blocks, paucrn dcpendencc paltern makmg linderslanding of draping. We havc devote-d thc enlirc book to the presentanon of thesc l w u systems in ordcr to show that a lacility in bolh frees the designer lo carry oul any original costumc with ease and condence. Although drapiixg is the (iltlesl method ol pattcrn designing, we have no whcre been ablc l0 lind a text lor our own collegc classes (hat shows in detail how t0 drape Hat labric l0 t the curves ol the body. Texts thal deal adequately with the Hat pauern syslem mcrely mcmion draping as a possible method but make no altempt 1o explain i1. We have therefore tricd to present draping as adequately and logically as the block system. From long experiencc in teaching both syslems of pattern making, we have also bccome convinced that one can work with greater underslanding, eiciency. and skill if able l0 use both. We should thereforc not want t0 present one system without the other. Each has many advantages, and only when one is able to use the system which beuer suits a particular situation, or even to use a combination of the (wo. can one derive the utmost satislaction and pleasure from Original costume designing. An understanding of each method helps to explain the other. For example, at pattern designs devclopcd from drafted patterns will be utterly cold, set, and lifeless unless one has had experience in working with fabric on the form. Such designs may be accurate, but they will lack the ner line placement gained through draping experience. We have, therefore, attempted to show the improvement in design quality (hat comes when blocking is founded on an understanding of draping. lt is too widely assumed that in order to prot from draping one must have a mysterious Iceling for fabric or a gift for line, and that draping at best is a kind of vague hin or miss procedure, too impractical 1o be generally used. This false assumption is undoubtedly due to the fact (hat draping has not previously been analyzed and systematizcd and that procedures easy to lollow have not bcen established. We are not attempting to prove that merely by leaming to drape, any one can bccome a professional designer. lndeed, we wish to make clear our conviction that a succcsslul professional dress designer must be born not nnly with an innate feeling [ u r line and tcxture, an intcrest in and an apof all the ans, but with a keen busincss sense as well (hat enables her precialtion to design the right clothes a1 the right time. Bul we do maintain that any student or homemaker Wllh elcmentary at her

command can learn dressmakingakills 1o. (lrape deftly anld accurately, and (hat lhls abilily will help her to dcsign Original and beauuful costumes. A1 the very least, she will Iearn through ex-

perience in draping to recognizc Lhe qualities of a well designed dress and to a good design from a poor one. Draping also teaches one not only to recogtell mze an ill-tting garment but to correct tting errors- a learning process that (altes years by the trial and error method. The chapter on tting (Chapter 5,) should be of great practical value to all clothing teachers as well as professional

dressmakers.

The designs illustratcd in this book have been chosen both because of their mtrinsically good lines and because they explain a principle of design or pattern making. They are not intended as fashions, and we hope that the students who use this book will not regard them so, but rather as illustrations of principles which no fashion change can inuence. lt should be obvious, then, (hat we have planned the book primarily as a laboratory text for college students and for students of clothing in technical schools of dressmaking and design students who have already learned elementary dressmaking techniques and are familiar with the rudiments of handling commercial patterns. lt should also serve as a practical reference for high school clothing teachers, clothing extension specialists, and teachers of adult evening classes who need help with problems in pattern making as well as with alteration of patterns for both design and t. This is not a suitable home economics text for high schools, nor is it intended for the homemaker who has never learned to sew. In short, it is primarily intended as a supplement to classroom teaching; yet we believe that the experienced home dressmaker, as well as the professional dressmaker, will nd that the detailed (lirections, and the profuse illustrations and diagrams, will be of value even without benet of classroom instruction, not only in making and tting basic patterns, but in designing costumes [hat are both individual and Original. We wish t0 express apprecialion to M. Rohr, Charles and Esther Kaplan, Harriet Pepin, Mabel Erwin, and Mary Evans for the help derived from their books on pattern making. We wish especially (o thank Shirley Hillhouse, the fashion illustrator, for so skillfully converting the rough drawings into nished illustrations. We also wish to give recognilion to the students whose draped designs in so many cases served as illustrations for Chapter 7. For the enof this book, we want t0 couragement which so greatly facililated the writing School of Home Economics at ol" the Marie Dean t0 Dye express appreciation Head of the Hazel to and Strahan, Department of TexMichigan State College, tiles, Clothing, and Relaled Arts.
MARION S. HILLHOUSE EVELYN A. MANSFIELD

/ % M 4 %
A (lrcss lorrn should a0 uccurutcly duplicutc thc si/e und shupc ol thc pcrson lor whoin it is Inudc lhut shc (SH! diupc clothcs on it und be ussured thut thcy will lit hci with littlc ultcration. Although thcrc ure scvcrul Lind; ol lorllls thut can cithcr be bought or mude at hoine. nonc ol thcin gives thc sutisluctimi ol u stundurd. incxpcnsivc connnercial lonn paddcd out with couon to ll u lubric covcr which follows thc mcusureincnts ol thc individuul with absolute prccision. The udvunlagcs ol lhla typc ol lorin urc muny. ll well puddcd. it is nn ycl resilicnt, und it (locs not resist pins u: do hard unpuddcd lorms. Nloreover, the two sitlcs urc cxuctly ulike, so thut u hull gurmcnt (iill bc duplicultd without the risk of dotibling the sizc ol cnors. Finully. il the gurmcnt is draped carelully. it will t will: only ininor ultcrations. Anolhcl (ype of lonn is made by sticking strips ol gunnncd lupc on u ganze vcst directly on thc ligure.
This typc thcorcticully duplicutes not only the individuuls nicusurcincnts but also her posture. Unlortunutcl) this l5 t r u c in thcory only. Actuully the model nnm stund sllll lor so long while thc tupe is being upplicd (hat hcr ligurc sugs und thc lorm too olten beconlcs u tilll(illlll'c ol her real posture. lt is thus discouruging both to scc und to usc. (lunncnts drapcd on lhcsc lorins urc bound to bc inuccurute, and the unuttructivc us it usuully is furnishes lonn, ilscll no inspirution to thc druper. Bccause this type ol lorm is less sutisluctory thun the labric-covered lorm describcd ubovc, the following discussion will be limitcd 1o the procedure for making und lting thc labric drcss lorm covcr und lor pudding out u stundurd comnierciul form to t the cover which you have made. The (liscussion includes the smallcst details of procedure in order to cnsure a lorm (hat will bc sutisfuctory.

THE DRESS FORM COVER

THE PATTERN STYLE

buthing without wrinkles or looseness. lt should lollow cvery curve ol the body so that. whcn it is lled out with pudding on lhc forni, i1 will exuctly duplicatc every nicusurcment ol thc gure. Dress lorins vury in length extcnd I2 to H generally inches below thc wuist. bin 1 hc _cover should be 2 or 3 inchcs langer thun this so (hat n can bc pullcd down und tacked t0 the wooden bracc undcrneath the lorm insecurely order to givc a tight and smooth surlace. The most satislactory pattern lor the cover is usually known us a Frenrh lining, a princess-style pattern with

Thc dress lonn covcr should In: u sniooth, lirm garment ued to the torso like a knitted suit

they ure not ulwuys available. directions ure given on puges 9 to l2 lor (lruwing thcm in si/cs I2, l4. l6, l8. und 20. 'l'hc directions are eusy to follow und the patterns can be (lruwn in a leu- ininulcs with u pencil ll you urc a buy reg. alule ilatztiltz: ;allOl renc Ist-plane.puttern. you Wlll t0 need (o snnply ining truc lt up accordmg t0 your own measurcnlents. ll you cannot buy und do not wish to draw u French

front, sidc lront, centcr back, und side back verticul puncls. The cight verticul scuins muke it possiblc lor thc covcr to lollow thc body curves exactly without thc nccd l'on u wuistline seam. Such patterns are soinctinics sold by puttcrn coinpanies; bul since
Center

o n s s s in e s

smaller thanlfrm waist t6hipfwy ulsing m; q pattem size and lettingi auf the seams from w; hip yqu will have t0 make very little adjusttngn the tting. "For class use, the instructor will nd that it wird! time to make up in advance muslin French lining j samples of all pattern sizes (12, 14, 15, 1s, 2o). The stqdent can then try them on and select the 0nd which ts her bes: above thc waistJ

'

Fig. l. Princess style drcss pattem, a possible Substitute for a reg-ulation French lining pattem.

l I l
l1,

l; 1|
l

umilllllllll

lining pattern, a regular princess-style dress pattern is a possible substitute (see Figure 1) . If you use a be necpattern of this type, several modications will on the marked line front center the rule First, essary. the for the extension off c u t and iront Center lap panel and lapel. Then alter the dress front slightly for a basic neckline, and c u t it off to a 36-inch bodice. Finally, draw the panel lines from the largest hip measuremem down absolutely vertically rather than outward on a slant, since a form cover must t skin-tight all the way to the lower edge.
THE PATTERN SIZE

Fig. 2. Checking cover sample.

panern size by trying on

a muslin form

Because the form cover must be skin tight, buy your smaller than the dress size you norpaltern one size size that will t the mally wear, or in the smallest the bust. Then, if necessary, add to the seams below alwaist to let out the hips. This requires much less teration than would be necessary to t o u t excess above nd the waistline. Fully half of the college students somewhat waist their proportions from shoulder t0

The sample models should be left open down the center back, and the neckline, armholes, and lower edge should be tumed under on the seam lines and stitched twice to prevent stretching. They should be kept in a closed box when not in use to prevent soiling, since they would shrink and be inaccurate after being washed or dry cleaned. For class use the teacher will also nd it convenient t0 cut several sets of each pattern size in tagboard without seam allowances. She should mark thc lengthwisc grain the full length of the pattem and mark or c u t nolchcs. and should put reinforced perforations in the top of euch piece and tie together the lour parts of each pattcrn sek.
1

THE

D R E S S

F O R M

H sann: ul lhc body Incnsnnrcnlcnls dillvxr lrom U105! ul (hc patu-In, lhcy ( a n bc :|uun|lcly' (hcrkl 51ml noml whm lhc Inuslin is lriul ( m . Figurt 2 SINN 3 muslin salllplr nn a Inmlcl who nccds unun- widlh fr_on| scaisl (o hip un lhc sidc und luuk wann. u-rtlral "Hu: scalms nlsu nccd l0 In: indcnlc-(I at n lnwer polnl l0 l lhc luwcr uuisllinc ol lhc hgurc shuwn. H onc linkes ( a u - l u l h (lclailrsd Imlcs un xmh (lillcwntcs. lllc ou-lIinr ul lht paucrxl ( a n In: allcrnl hclurc- (uuing. Thls wgn ul clltsxking si/c und pruporlinn Iun provcd t0 b6 qm} Lcr und nmrc clhcicnl lor u ( Iussroonl m shop lhan lhc Inclhuxl o! laknlg Inuny Incasurenlcius.

mmc ron m: COVER-OUALITY AND AMOUNT

"Hu- prindpal rcquilclllcnl ul Ihc lahric lor thc u n u I5 lnnnnwss Mlhoul sllllncss. llcuvy wcighl muslin m u lnnn (will, smh a: khnki. mvcrt,

shapc. Buy lorm Icnglhs (approxilnalcly ( w o yards) ol Sli-inxh Inalrriul Prcss lhc lnbric (o snmolh oul wrinklcs, bul usc no nloisture. 'l'hen strelch it diagonall) (o straighlcl: (he crossgrain as much as possiblc.
(wo

und rahil) pinrlcd. Im! il musl also In: Imu cnuugh l0 wilhsland lhc 51min ol bcing pullcd uvcr lllc paddctl lmm Wllllnlll slrcuhing, lur unlcss it is pullcd very lighl, lhc lmm will bc um soll (o rclam ils
(Iren

lighLwL-ighl clcnnn. lmny munn gnbardinc, m gnlutcn arc all satislauen}: Thc lalnn m m ! b4: pliablc In b4: cluscly llcd

LAYOUT AND MARKING

I. Fold a lwoyard piecc ol INS-inch labric crosswise lhrough (hcccmcr. (hus allowing a yard lcnglh lor lhe paucm picces und their (luplicales in thc under layer. 2. Placc lhe cenlcr back Iine ol lhc I inch pauem in lrom thc sclvage (o allow lor a lap. (Sincc thc (enlcr back is to bc left open. lhe it

Fig. 3. Dress lorm mvcr layoul. Doucd lincs indicate alteratiom lnr lowcr waistlinc and lct-out on side and back scams lmm waist (o hip.

Thc doued lines of Figur: 3 show how to alter lhe scam Iincs on thc labric l0 conform to the proportions ol lhc
(he side and back scams to provide extra width [ m m the waist to the broadest ol lhc hips. part ll thc bodice panern is less than 36 inches in length. rule vqrtical lines lrom the largest hip measurcment. approximalely 8%lo 9 inches bclow (he waisl. to the lower cdgc ol thc Iabric. Unless the paucrn has unusually wide shouldcrs. add 3/, inch to lhc end ol the from and back shoulder scams lor possiblc let-out or for unusually broad shoulders. (The broken lines in-

y, inch lowcr than lhe paucrn. and lherc should b: a let-out on

ligurc in thc skclch. Thc waistline should be

'

sclvagc prevcms lrom stretching.) 3. Allow 5/. inch lor seams on all other pauern edgcs. .4. Draw around the ccmer back pancl with a pencnl. Then placc the side back. side front. and Center lront panels a: shown in the layout diagram. Figur: 8. wilh (h:Iengthwisc of the pauerns on grain-marking lhe lengthwise grain o! lhc labric.

dicatc thc cuuing lines wilh % inch scams.) 5. Pcncil all notchcs on the cloth. paying spccia] anemion lo lhose on xhe side lrom and side back

.9
.. gP
_
.

pencilcd seam lines wand ctosswheel on achalk board or ngxgi usmga tracing to bon paper transfer them to lthe under layer.

n Gifte al.

Offabgtogether t6 prevent! an "i (duplicatefrbnx shifting in

Agssuauue m5

PATTERN

was

Pirl all seams except the cemer back, and machinehaste them for the rst tting.
Exception. When making a form cover at home without the help of a tter, leave the cemer front open
rather than the cemer back.
Fig.4. Method of pinning seams.

l. Pin the cemer front seam rst before separating Ehe two layers.

2. Pin the seam, joining the cemer panels to the side froms at about oneinch intervals over the bust
curve.

5. Press the cover throughout, but without giving any direction to the seams, as creases are a hindrance when making alterations.

Beginning at the shoulder, match the notches and distribute the ease evenly on the side front over the curve ol the bust. To join seam lines accurately, direct the pin the fabric through the penciled line of the top layer of and look to see that it comes through the penciled line on the under layer. Pick up with the pin only inch of the fabric directly on the seam line. lf you 1A will slip against the pick up more than this. one layer other and the seam lines will not match. (See Figure
3. After pinning side froms to cemer fronts and side backs to cemer backs, machine-baste all seams. 4. Pin and haste the underarm and shoulder seams. from neck For the rst tting, baste the shoulder seam to printo princess line and from annscye (armhole) seams. cca line to avoid stitching across the vertical the to machine longF01" basting, adjust the sewing in foot eu possible stitch and use a hinged prcsser or breaking the pins without blunting lordcr to
4.)

FIRST FITTING

Remove your slip to avoid snagging it with pins but wear a good foundation garment and then put on the form cover wrong side out in order to t it skin tight. Although this places the right half of the garment on the left half ol the body and vice versa, it is wise to ignore small variations in the two sides of the body and to make both sides of a dress form exactly alike, for tting clothes to minor gure irregularities emphasizes rather than conceals them. Fit only one side and duplicate all alterations on the other side alter taking the garment oll". Never trim oll" seam allowances, but use them to malch the two sides. lf the armscye and neckline are unusually high, the tter will need t0 Clip lhe seam allowances at these points before putting the garmem on. She should then pin

'

jump

fththtdlc.

the cemer back line, being carelul t0 nxatch the neckline and the four crossnlarkings. and should pull down the lower edge to scttle all Iines" imo pluce. lf the cover lails to settle down a1 thc collur bone and chest,

THE

DRESS
b

F O R M

llic nciklinc- um} ncul ncn inurc ilipping. w huci sll()lll(l ( l i c r k scu-ral iinpmtnill polnls bclnn" inaking im nlu-iuiions. "l lic (Clllcf lronl amil (einer lmik lincs sliuulil bc plau-(l un llu- ( c m 0 ! ul du ligurr. llic gninii-nt shuulil lx- sinnullily pullul dann, 4nd llu" \llUl|l(l('l piuls shunld lw |)l;I(((l ul lllc annluxlc- cml ul uuli shnulilci scuni. Shouldcr pzuls. ul unnw, au: zipuunnl; lml whcn lxmnd padded 3h()|ll(l('I\ um in mguc, il is lwllcr (o lit ovcr thcln lhan u; pin llu- pmls m llN: ilress lmin nn top ol Ihc cover und llllh (()II((.Il llic shoulilcr anil annscyc scaun lines so helplul wlicn iliuping.

FRONT 0F COVER (see Figure 5}

m-(L l0 ninmyr. ll ll is nui. scc ilini ilic guinicni is plupcll) niljualul nn llIC liguic- In-lnn- ullviing ihis line. Yuu inuy lind lhul il wir pull llic ( m c r (lown a! Ihr: ( e i n e r lrunl. llic \llUlIl(l('l' wann will lull whcrc i! bclongx wilhoul an) ullcinlion.

I. Shouldor zum (n) Puxiliun. l l l c wann \l|()l|l(l lnc ilirctlly on lop ol ilu- xliuulilci und sllullltl lnimunspiiiiiiiis ll()lll cilhcr lrunl 0|" lmik. ll slinuld hc a snziiglil lIIlC lIOIII

(h) shuulilci sciun \lI0l|l(l (ling (lusi-ly u) lhc bud) lruin iIIII|S(\(' l0 nuk. .\ shoulilcr pail usuall) iuiws lhc ncck und ul lhc si-ain abmc (lic bod)" w {hat il l|('('(l\ l0 In: ll()ll0\\('(l in unlil il (lings (o lhe shuuldcr.

I-"rl. Tlic

Fig. 5. First uing ul drcss lnrm cnvcrwrong sidc oul.

4. Nocllino Pin oul ol thc (Clllcr lroni scam Iine any cxcess width across thc lronl a! Ihr: base o!

lhe neck.

2. Undonrm nun linc Thc pcrson bcing ucd sllould raiye her arm enough so (hat ihc uer can pin oul any looscncss along the underarm scmn. Wilh a lcw lhc samc pins, amoum on lhc opposile undcrarni pick up scaun. This will serw: as a cherk on (ightncss and will also keep lhe ccnicr lines in position. 'l'hc nal underarm line, however. should be wpicd lrom the side rst pinncd.

5. Primus: Iinc
(a) Rip lhe scam lrom lhe poinl just below lhc busl to lhe waisilinc. (This invariably has l0 bc

donc.)

3. Amneyo (a) Clip Ihc seam allowancc in one or lwo along (h:lower half ol the annscye if it is (oo places high l0 sei smoolhly. (b) Pin a dar: from thc middle o! ihe armscye. directing in toward ihe busl to l thc hollow below die shoulder ball.

incrcases lhe curve on the sidc seclion.

(c) Follow (h1:

(b) Rciain ihr: original linc ol ihe Center from panel. bui iake in a deeper scam on lhe side front lo panel tighten thc form cover under the bust.

This

same method [mm waisl l0 {tlways kecp the center panel lhc same width 2nd hip. lake in or let out thc seam on ihe sidc section.
6. Conior front lino
l0

Place horizontal dans from thc Center front scam ihc poim o! ihe busl lo indem ihe spacc betwcen

sss o

sIe

N5

s 1nAcx o5 coven
I. Armscye Clip the armscye seam allowance if it binds when the arm 1s down. Pm a dart from the center of the armscye to the pomt of the shoulder blade if there is tooseness and wrinkling at the armscye when the arm
U

front princess lines below the bust before duplicati that alteration since more has been taken up on: side front panel than on the center front panel.

PREPARATION FOR THE SECOND FITTING

ts down.

2. Princess line Follow the same procedure as for the front if there 1s excess above or below the shoulder blades. However, the back princess line from shoulder to waist seldom needs alteration if a small enough pattern has been used.

1. Shorten the machine stitch and restitch all unchanged vertical seams directly on the rst stitching. Carefully re-pin and stitch the altered seams, but either hand-baste or pin very closely the exaggerated curve over the bust to keep the line accurate and t0 distribute properly the ease over the curve. Stitch the shoulder seams in a continuous line from armscye to
neck.

.
.
f.

3. Side seam The tter should stand away from the person being tted and observe the position of the side seam to determine whether or not the line is being pulled either forward or back. It should be as nearly as possible a plumb line from under the arm to the oor, but should divide the gure becomingly so that the seam itself is inconspicuous from either the back or from view.

2. Press open the Center front and underartn seams. Press the side front and side back seams toward the center and press the shoulder seams open. 3. Clip diagonally through all seam allowances at inch of the stitching. D0 the waistline to within 1A the same for the front seams of the princess lines below the bust and for the shoulder seams where they curve up to the neckline.
4. Trace the center back lines and crossmarkings t0. show on the right side of the fabric for accuracy in pinning the garment together for the second tting.
THE SECOND FITTING

MARKING AND D-UPLICATING ALTERATIONS

l. Remove the garment. 2. With a pencil, rcplace all pin markings with with pencil. short broken lines and crossmark all seams 3. Spread the garment on a table to smooth it out are and to true the alteration lines. lf the alterations extensive, rip o u t all bastings. a time, 4. Duplicate alterations on one panel at the seam carefully matching and pinning together a chalk on them before placing edges of the two layers the markings to the board or carbon paper to transfer fold the one beneath. lf the alterations are slight out on the center front seam and garment wrong side the left half of the garment into the right

Adjust the shoulder shoulder in the and seams correctly pads if they slip are to be used. Pin the center back, matching the four crossmarkings. Pull rmly on the lower edge of the garment both in back and front to settle all lines down on the body and to smooth o u t any horizontal wrinkles due to tightness. Ordinarily no further adjustments are necessary if alterations have been made carefully, but do not overlook any possible improvements of t
Put the eover on right side out.
at

th'is time. The chief purpose of the second tting is to mark basic lines on the form cover (see Figures 6 and 7) .
I. Neckline The prominent vertebra at the back of the neck is the center back point of the neckline, and the hollow of the neck establishes ils posilion ztt the Center

telescope

shoulder, and underarm along the ncckline, armscyc, the wax carand then placc the untted side against and tracc the alteration lines. Rip the

the two layers half. Pin togethcr thc raw edges of

bon paper

T H E DRESS F O R M

nl bam nccklinc; (b) Armuyc. Fig. 6. (a) Pusilimn

Ironl.

l5 kecping thc lllle narrowcst poim ol lhc ( u r w : 35 T0111 l0 lhc (einer slraiglu und ncarly parallel lar so (h4: annscyc Ollll. llll possiblc wilhout pulling lhan at lhc gonnlng rauher am: lhc ol on i1 rcsu lop lhis poim conllnuc ol lhc arm aml thc lxxly. Fron: l0 lllt llndalm uulward und lhc cunc (luwnwald should bc al least onc wann, lhc mp poim ol whith (i a und b) . Follow inch bcluw thc unnpil (scc Figurcs thc lxack annscyc lm ustublishing lhc saunc pnx ululc should bring her arm: liucd ( u r v c . Thc pcuun heilig width across is lorwanl (u Inakc surc lhal lhcnc cnough lhc armscyc ol undcr parl thc shuuldm bludcs. "lhc lhc ol lmausc tighlness mal narmw will bc a Iallncr e r cm lonn ol lhc

lhc lim: joining lhcse l w n puinls should lollow ol lhc Ihr: Inccling u! (In: nctk colunnn wilh lhe plane as lhe a: bc slmulll batk high (cnlcr "lllc slmuldcr. coursc. ol lronl. sidc ur slighlly Ilighcr. and lhc Lcnlcr is lhc luwcst poim. Thc hasic nccklinc musl bc high a lailorcxl or roll cnough u) scrvc aus lhc loundalion lur collar. ll il is nol. lhe roll linc ol thc collar will bucklc douln aboul its away lrmn lhe ncrk. ll you arc in raw cdgc loward thc (rmn inlcrvals al acruracy. nlip lhc m-(klmc und l u m (he raw cdgc under. 'Ihen mark Ihc linc [ m m Lcnlcr back l0 ccnlcr [ m m wilh soll lcad Chcck and rc. pcncil or pins (scc Figures 6a and b). cord lhc basc ol ncck mcasurcmcnt lrom ccnler back to lront 2nd also lhe Incasurennent ol the neck II/z inchcs abow: lhc basc. Use lhcse ( w o measurcmcuns whcn paddmg lhc lorm.

2. Armscyo (Annlnolo) Begin to form lhc linc a! lhe shouldcr scam. One Iine is way l0 eslablish the Iop poim o! lhe armscye lo measurc the length ol lhe shoulder scam of your most recent satislaclory dress or suit aml use thal measurcmem (o dclerminc thc shoulder scam lenglh lrom ned. l0 annscyc on your dress lorm. Another way xo poim ol the armscye is lo Iay a long eslablish thc lop the outside ol lhc upper arm and exagainst penul (end n a pcncil laid along thc shoulder scam. lomeel wherc lhesc ( w o pencils mecl indicales the The polnt nmersecuon o! the shoulder scam and Lhe armscye. a broad square-shouldered ellect is in fashion. Wllen wilhout dans or gathcrs should meel the sleeves plann Ihouldcr seam wilhoul being pulled inward. lineof thc From the top armscye curvc. mark a line Rom: dann to the pomt where the arm and body ioin (h:

Fig. 7. Sccond uing ol Ionn oovct-marking neckline. anmcye. bunt linc. waistlinc. hip Ievel and disunce (vom hip level (o oor.

3. Waisllino
The placemem o! this line as well as (hat of the armscye varies with lashion. Place and pin a tape measure around lhc waisl, adjusling it up and dem; unul you nd a position that is becoming from back,

DRESS DESIGN.
seams and center front
can

and front views. The waistline at the center back ould never be lower than the side, and the center 530m Should be as low as or lower than the side. PenVaround the lower edge of the tape from Center back to Center Irom. Check and record the waistline measurement (see Figure 7).

be quickly marked in thi

way. 4. Machine-stitch with regular thread thc Center back lines to stay them, as you will have to re-pin the center back line several times during the corse of padding the form.

4. Hipline
Place and pin a tape around the largest hip measurement. W ith a yardstick measure from the oor to the tape in order to level and t r u e the line. Mark clearly on the dress form the distance from the hip level line to the oor. This measurement may be used later to indicatc whether the dress form is level as well as t0 show whether i: is set at the correct height. Pencil around the lower edge of the tape and record the hip measurement at this level (see Figure 7) .
5.

DRAWING THE FRENCH LINING PATTERN

Busine

Place and pin a tape around the largest bust measurement, being sure that the tape is kept level. Pencil lightly around the lower edge of the tape and record the measuremem (see Figure 7). The recorded measurenlents of neck, bust, waist, and hip are checks on size when you pad the form.

Although it is usually possible to buy a French lining pattern which can be used in making a dress form cover, you may not always be able to" secure one readily. If you cannot get a pattern through commercial sources you can always make one of your own, and it takes but little time and few tools to do so. A large sheet of construction or wrapping paper, a tailor's square, and a well-sharpened pencil are all you need. Moreover, the task requires no special skill, though it does require accuracy in reading and in
marking the measurements correctly.

FINISHING THE DRESS FORM COVER

l. Remove the cover and duplicate line markings on the opposite half alter folding on the C e n t e r [ r o n t line and pinning the raw edges together along the neckline and armscye edges and along thc shoulder and underarm seams. 2. "Transfer all of the basic lines t0 the inside of the garmem, using a tracing wheel on carbon paper. 3. T0 makc lhe important basic lines permanent and easy t0 fcel even through heavy fabrics, couch cord or embroidcry oss along the penciled lines. To d0 this, wind the cord or oss on the machine bobbin but leave the corcl out of the bobbin tension. Then if the tension of the top lhread is loosened, it will loop down through the labric nvcr thc cord. Stitch all basic the line: with thc right side of thc cloth down against On lie will (eed dog so that thc cord [ m m thc bobbin basic to the the right side ol thc garment. ln addition shouldcr levcl lincs, and waist, hip
neckline, armscyc,

The following pages give you, in tabulated form, all the information you will need for the purpose. This consists of (1) a chart of measurements for the French lining pattern, in sizes l2, 14, 16, 18, and 20; (2) detailed pattern directions; (3) measurements for the four types of panel in each of the ve sizes given; and (4) an illustration showing the patterns for the panels and the typical measurements for each (see Figure 8). Before you begin making your own patt e r n , examine this material carefully. You should begin by checking the measurements of the live pattern sizes given in the chart against your own measurements. In doing so, select the size which coincides with your own measurenlents. Be sure to take your hip measure where it is largest, (hat is, 8 or 91/2 inches below the waist, rather than 7 inches below the waist, as is usually done in commercial patterns. Once you have determined the actual nleasurements you will use, the next slep is t0 Substitute these for the avcrage measurelncnts given in Figure 8. Finally, draw Lhe lincs of the pattcrn on the paper. F01" best results, connect all points which should be joined (see (lirections below) with ruled pencil lincs. Then draw curvcs lrcchaml whercver thcy are indicaled. The like panels ( a n thcn bc cut out and used prccisely commcrcial of u thosc patlem.

THE

DRESS F O R M

D E
F

o
F,
:

V
N

Wl

Ga/B"
Fig. 8. Sile l6
(lress

H.
[orm uwer dirccliuns.

. BusQ . . . . . Waisf . . . . . "w "w edse of paern) . . .

Sin

CHART OF MEASUREMENTS FOR FRENCH LINING PATTERNS . . . . I4 |6 I2 I8

34 36 26V; 28

38 30

40 32

20 42 34
45

PATTERN DIRECT|ONS Lengfhwise grain in all pieces is parallel lo fhe Iong side o5 fhe recfangle.

Lengfh of poern {vom base o neclx a9 cenfer fronf fo lower edge . .

363/. 39

41v. 43

E"."ZZT'Z?E. Ie

2' M
'

ex"? an
A 1o C

d d '

A l J

23l/4

23V; 23% 24

I fo H

24V.

D fo E

D R ES S
3. Join:

D E S I G N
8. Wi+I1 inward curve ioin +0 p0in+s marked in from
9. Join p0in+s squared in from F and G and connuer +0 H. |0. Join P +0 p0in+s squared in from N.M.L wi+h 00+ward curve. I I. Join p0in+ marked in from L +0 K wi+I| ruIer and +0 J wi+I1 0u+ward curve. cen+er 0+paneI. I2. Join J +0 H. +0uching Iine HI a+
v

H+0F F I Measure in V4 inch frorn p0in+ G (halfway be+ween H inward curve from H +0 F +hrough and F). Swing GP"'* 4. Draw neckIine B +0 J Beginning wi+ln righ+ angle a+ B and ending wi+I1 righ+ angle a+J.

J+0H

_E

B.C.D.E.F.

SIDE FRONT PANEL

I. C0ns+ruc+ rec+angIe 2. Measure and d0+: A +0 B A+oC A +0 D h) Measure up from G +0 nd p0in+ F. Square in from Iine AG +he given measuremen+s 0+ B.C. D. E. Measure and d0+:
o

CENTER BACK PANEL

I. C0ns+ruc+ rec+angIe 2. Measure and d0+: A +0 B

A +0 D

A+0P O+0N

8. 9 I0. H.
I2.

I3.
I4.

O+0M Square in Irom Iine OI +he given measuremen+s a+ M. L.J. I. Join P +0 p0in+s marlzed in from B.C. D, wi+I1 ou+ward curve. Join D +0 E wi+h inward curve. Join E +0 F wi+I| 0u+ward curve. Join F +0 H and H +0 I. Join P +0 N wi+h ruIer. Swing inward curve from N +0 +I1e poin+s squared in from M and L and 0n +0 K. Join K +0 J wifh sIIgI1+Iy inward curve. Join J +0 I wi+h sIigI1+Iy 0u+ward curve over hip.
C0ns+ruc+ rec+ang|e

O+oL O+oK O+0J

Square in +he given measuremenfs from Iine AF 0+ C. D.E, F. Measure and d0+: K+0J A +0 K J +0 I Join K +0 B. Join B +0 p0in+s squared in from Iine AF wi+I1 inward curve B +0 E, and ou+ward curve E +0 G. Draw neckIine K +0 I beginning wi+h righ+ angle a+ K and ending wi+h rigI1+ angle a+I.
Pa++ern Measuremen+s for

A b C

A55

Dress Form Cover

Size I2
Cen+er Fr0n+ PaneI
Cenfer Bock PaneI

ReCIngIe Wid+h __
Leng+I1
. . .

5"
.

Recfangle Wid+h
Leng+h A-B . . . .

SIDE BACK PANEL

2. Measure and dof:

A+0B

A+oC
A+oD

measuremen+s a+ Square in from Iine AH +he given B, C, D, E. F. G. Measure and d0+: OwM AwP

A+0E AIOF AIG

A-B A-C C-F A-D

25%"
.

SI/g"

.
.

ZI/g"

.
.

. . .
. . .

. . . .

I7I/4"
27/3"

A-C

25%" I73"
.

. .
. . .

. . .

. .
.

..

C
A-D

_
.
.

_
.

D-E .. A-J _ .

25%"
3I/4"

6" I" 9"

.....

D
A-E

I-H
G-

I%"
I3/3"

II/f
Ibyg" 2I/4"

E
J.K
J_|

. .

one-half 0+FH V4"

Side Fr0n+ PenoI

A-F...___...25%" F i374"

_ 2"

F?

O+oK QQON measuremen+s af Square in +r0m Iine OI +he given N. M, L, K. Measure up from I +0 J. Join P +0 p0in+ marked in from B. Use ruIer.
I0

P+0O

O+oL

Rec+angIe Widih
Leng+I1
.

5/8"

65/8"

Side Bach Panel

A-B

20/4"
7I/3"
7/3"

Rec+angIe Wid+h
Leng+h A-B

B
A-C

9%"
3/."

24" I" 15/."

5%"

THE
A-D

DRESS
2"

F O R M
A-P
O-N O-M

I03/,"
V3"

A-C

5'/4"

D
A-E

I57/g"
3/4" V4"

E
F-G A-P

C A.D D
A-E

4mm" " I1/4

E
AoF

0/4"

4%"

I%" 5%"
1%"
72/," '30"
I5I/"
I"

M
O-L

2"

55/,"
I 7/,

F
A-G

7%"

i535"

8-:
'

ggf a
w."
6%"
I 73" 77/3"

s-F
A-G

L 0-x
O-J

6%" "
s" l6" IV," 1/4"

G A-H
P-O O-N

24%" I 7/,"

O-L

G
A-H

J I

L
o-K

24"

N 0.54 M
O-L

47."
o"

3" 7/,"

s
l

'77? 2__

78

s
CA-M

P-o

max

s;
I
.4

L
0.x

.45,

L OK K LJ

473
6n/a

K
I-J
Sixe |6
Ccnicr Fron? Panol
Cgncgr Bgck ?..|

15V,

v4: '

v,
5'546"
.

_
Widfh Lengfh

Isl/s

W
3/2

|7

le ecffng Wndih
'

5'/4
4

"

Recfangle Widfh

'::;;:::;'.:'""
Widfh Lengfh
-B

A-C

26" 25/8"

5%"

':;;;:':;.:'"
A_B

2::
535e"

C" N0
A4 "H

3" 26"

"v."
"

A-C

255/" 'ys
61,8
9"

A-D D.E AJ I-H

26|)" 3;?" 1,4

W

'31,"
I%
H

AD

2
D.
A-E
.

II z"
9

C
A'D A-E

7/."
n

64min. oinf befwaenYFP d

'

i;
' '
I

|7|/gn
"
' '

l . f!

25%"
5/.
H

W5

17/

Ma
"m
Fron? Pancl

"/:"
W
756c"

s;
dRF*:::"<IJ|.:d .
I

53d;ecfangle

J_K

I:

E F

'

i353"
n

C 0C I rC H I 524:

2'}

wid

M B

"9

A-C

3
N5

24%" 7'/2" 7/!" 93/." 3s" i035"

Sidll-Ilacl Panol Recfangle Width Lengfh

A-B

s,

57/ 243/2"
W

"

2 C.
C

A.B

3:23

'
n

Recefnql.

M)"
D AE
F-G
A-P O-N
.
I

A-C

E G

'62:
>-

7/a"

36'

AD D ' AE

i
H" A"

2/ 4"

sl/I
| y

.. ..

75 loy... V2
'%
"/2" 5%" w
2|/|

"/4" 9%

7V 3
n

Lwldftlh "9 A-B

4 26g
'

"

in

B A: C M

'

- '

'

5'/4" 2%"
M.

"/8"

v
E

w."

"

'

A"

*5
AF

<

--

w;
I.

-v

_
I

7'/4"
1

.
-

_ 5"
-

5%"

0'" M

A-G

_
' ' '

'

--

G.
A-H
.

_. _ 8": .I6"

>

>

"

24%"

DRESS
O-L . . . . . . . . .. 6%"

DESIGN

L . . . . . . . . . . .. 2" O-K . . . . . . . . .. 8%" O4 . . . . . . . . . . I6|/4" J . . . . . . . . . . .. I73 I . . . . . . . . . . .. "/3"

P-O . . . . . . . . .. O-N . . . . . . . .. N . . . . . . . . . . .. O-M . . . . . . . . M . . . . . . . . . .. O-L . . . . . . . . ..

.

3" I

U/g"

45/3

6"

7,"
Sile 2
Center Front Panel
CGMOI 586k P571

'

'

' '

'

'

'

'

'

'

'

O-K

K --- 4 --
3

...... ..
3 3 3 3 3-

5/8

- 152/4 ----- '|/e /2

3-

s . a
Cenior Fron Panol
Cenier Sack Panel
. ..

Wid+h Lengfh A-B . . .

Recnngle
.

Recmgh
. . . . .
.

..

A'C
. ..

- -....

.
"

3" - |8
3

55/." 273/."
n

was.

. .

..

53/."
'

Lengfh A-B . . .

Recfangle Width .
A-B A-C
Leng+h
. .
.

. . .27" . . . . . .. 21/." . . . . . |8"

. .

53/."

Recfangle Widfh . . .
Leng+h

5V,"
263/10

C-F A-D
D-E
'
3

..
3

17%
3
3

3%

. . . .

4l/4"
8
H

A'C C A-D D

'

'

'

'

.. .....26:;: I.

.
'

'

'

- --3

b]
'51 9
4

--

A-B A-C

. . . . . .

c-|=
A-D 0-5 A".

. .

.
.

. . . . ..

.
'

.
'

.
'

......27" 4" . . . . 2"

..
' '

33/."

. . . . .
.

A-D

o
E F

. .
'

. . . . .. . . . . . . . . . . . . . . .. . . . . . . .. . . . . . . ..
A

|I/" 6"
"m" 9"

. .
3

-
3

..

"/2"

2-5
A-F
3

'

"

"

G-Halfway poim be+ween F 3nd

F
3/s

26%:
2 "3//2
l

33

'

'

'

LH "/4 GPomf Ha|fway befween F and . . . . H . 3/3"

' '

A-E

'

'

'

'

'

'

'

'

'

'

'

'

'

. .
3

_
'
3
3

13/," W4, n
|

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J-K
anQI. | e SHJ-Iak

Sidgiglgiel
Wid+h
. . .

4P
A

'

5/8

-F
. .

10 - - - 42:48"

.
A

. .

'

8"
25|

. . .

. . . . . . . .
.

Ia/a
277m"

Side Front Pnnel

J-K J-|

. . . . .

. . .
.

A.Bang
'

H
' '

Recfangle
wid
A

'

'

'

8/2

. .

. . .

7g"
N

'

'

'

L
i

fh
I

. .

zgu.
(3

65,
|

A-Beng

RecfangIe w... Lengfh

A-B
.

Side Back Panel

'

'

N52
V2"
'

_ _ 31/4" 253/16" .
A

Recftangle Wldfh
Leng+h

. .

C A

. . . . . ..

w,"

5
A-C

C
A-D

93/"
A

I37."

A-B

.. . . .

B
A-C

3/2"
. .

3.2'/2 .......5I/4"
3

..-24%, 7/."

69/16"

D"
2-5
F-G

D.
33

. .

.
'

.
'

. . .

l W4,

B A-C C
A-D

. .

2V,

5V

. . .

|o3/."
"A"

D E

C M"

. . .

. . . ..
3"

3.

33

u:
.

los/s"
.

o
E

'

3""
'

23/."

Q4;

.635, H7" 8 4?
3

V4"

23/3

"

AE
'

6V

f,
W3, .
4

V4,
V3"

A'E
A-F

25/.

'

'

'

F-G
A_p
V

'

'

'

"

55/8"
'

. . . . . .

2,
w"
275/4,
83/3 3/"
u

N. o w Ml

'

. .

J3 5;
2V4
3

I57"

i: FG
A_H

w, 3 "3
b

i
2

25346:.
A

s
s
_

o-|_

53/4"

0- M
O-L L OK 0.4
V

. . . . .
v

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'55" 5%"

2W
2"

F AG G

'

L
O-K O-J

Q"

W4"

P-O O-N

|7.
.

'

'

'

'

"

'

87:"

N
O-M

#4
.
.

"

'

6%"
85/3"

9g
0' N 0' M

.
"

"

-"

.
"

.
"

"

Iov."
.

|3 I 3|

'

'

. . .

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IbVz" IV," y,"

M
O-L

4%" '/2"
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.....
.

1%"

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w.

5/2 4/ " 4 1/

L 0-x K
|.J

w)
w." " I/ 3

. .

THE

DRESS

F O R M

PADDING THE DRESS FORM

SELECTlON OF THE DRESS FORM

form you prclei", niake ol" lonn prefer, as long as it has uy Buy any make over u a hcavy heavy iron base t0 prevent it from tipping a5 well as will serve scrve forni lonn An incxpensivc you easily. .\n it is well il" il one a high priccd pudded. padded. priCCd or three two w o 01' thc complcletl ("an try ll Il you (an coinpleled cover on [ u") Lhc can select size sizc own in lonns lorms you range, range, your Linpaddcd unpaddcd sliould bc space There should most ziccurately. size mosl the right uccurately. 'l'here righl sizc t0 thc cover lhc under Linder lor cnough givc give a resilient enough padding inost most The into. imo. to u) Ioundzuion pin louiulxuinm importunt iniportant measurewhere form at the level zuhere the lorm siLe of thc Lhe size check is Lhc (o chcck menL 1o ment of m6 8. . The waistline ol mm rover zuill m Ihe zumstline uvznslline uf Ihr u] the mver be exactly the right size, but if the lorm may bc thc the lorm [hat far below that marketl on the cover falls im waisllinc markcd waistline lf If not will serve thc lorm the you your purpose. point, poinl, lorm which is are exccplionally long-waisted, select a form exceptionally long-wvaisted, as small around the upper hip as your own waistline
measurcment. measurement.

widen it.

pinnecl to the shoulder of the form t0 Fig. 9. Cardboard pinned

PADDING
COVCI on the forni, lorm, pinning it the nished covcr First Lry try Lhc C e n t e r back openthe Center zu scveral at several points along together the cover tips Lhat [hat so seams shoulder the ing. Adjust Adjusl (hat the ancl so [hat thc front, t0 the lrom, and to the back nor to neither 1o how determine Then level. uwiistlinc waistline and hipline are level. the t0 back [o and lront the front l0 t0 add to acld much padding keep Lhe centered in position. side scams ccntered mosl padding as well (jhcck Chcck the places needing the most I)o this [his by reaching as those which need the least. Do or points on und chalking any lines m under uncler the cover and consicleration. at places which need special consideralion. the lorm form a: ol the basic neckline of the Also chalk the Lhe position of l'on incasuring 21s a guide for cover t0 servc serve as mcasuring down to the t0 the shoulder busl, bust, waist, and hip level and (lown to removc the cover. blades in the back. Then remove Carefully unroll Lhe cotton batting in preparation preparation for thc actual padding. padding. Throughout the entire process i1 in thin sheels, use it sheets, never in clumps, handling it t0 avoid matting it. Begin to pad by covering lightly [0 the entire lorni lorm with a thin layer, layer, letting each sheet extend as far as i1 il will, then smoothing the edges into imo thosc of ol" the adjoining sheet. By blending one layer imo another without usanother, you can pad the entire form wiLhout Even those places which need large ing any pins. Even amounts of padding can be built up without pins if the material is applied one layer at a time and if each layer is pressed carefully into the one underneath. Do not add any more than a rst thin layer of cotton for a radius of two Lwo or three inches around the base of the neck. For usually if you pull [he cover cgver down rmly in the nal adjtistment, adjustment, you need little padding around the neckline. neckline. Too much on the top of the shoulder near the neck raises the entire covering too

dress paltern An individual who wears a size l2 (lress pattern should usually choose a size 30 form; lorm; one who wears a If your waistwaislsize H, 16, a 34. lf l4, a 32 form; and a size l6, line is under 24 inches, use a size 28 form.
PADDING MATERIALS
Canon Cotton butting far Lhe the most satisfactory padbatting is by lar pad used but is much ding. Soft tissue paper can also bc used, slower and more awkward to t0 handle. Or Or, it is possible to use the lhe two together, rst lling out ouL with batting and then covering with tissue. Even newspapers are somelimes sometimes used for rst layers where a great deal ol of padding is required. Paper is often unsatisfactory, however, because it has to be pinned onto the form, pinned omo and unless the pins are well pushed into the form, the (he heads tend to the nished covering. punch through lhe on the other hand, batting, clings to the form Couon Cotton Wllh or no pinning if placed directly against the litltle lit.tle cotton Jersey the usual surface of a standard commercial form. Il the shoulders of the form are narrower than those the cover u t half circles of cut cover, c tagboard or other exible and tack or chem them to the dress form pin cardboard the shoulders as much as necessary before bewiden

'

of
t9

Smmng Slnmng l0

pad (see Figure 9).

illiolder high. 1g .

DRESS D E S | G N
. the elfect of the two can differ greatly if one is from side to side and the other thick from onitw: back. The form must round out exactly like the or garments draped on it will bang most disappoint-V ingly when tried on. Padding always puffs up much larger than a person: actual size before the covering compresses it. If the batting seems very bulky and diicult to manage; bind bias strips of muslin around the waist and hips and diagonally from the shoulder to the waist to hold it down. Check the various circumferences by pulling the tapeline tightly over the padding, and when the measurements check with your own, try the covering on the form. Do this carefully to avoid shifting the cotton. Place the shoulder seams correctly and see that the neckline is well up in the back and as much higher than the side of the neck as it appeared to be when you tried it on yourself. Pin the cover together every two or three inches down the center back. Then examine the form for aws. Ordinarily there will be many places which are still too soft and which need more padding. If so, remove the cover and make the nal corrections. Before putting the cover on for the last time, give it a thorough pressing, but still without

'

moisture.

from Fig. l0. Measuring bust and hip widths and thickness { m m to back.

As you pad, check the recorded measurements of bust, waist, and hip, and those from neck to waist, waist bust, and hip. Note the curve of the body from the padding on to hip a: the side and back, comparing If you are padthe form to the contour of the gure. in front of a fullding your own dress form, stand beside you, raised to your length mirror with the form tailor's two squares at the hip own height, and cross side to side as from width level to measure the hip tailors squares shown in Figure l0. Also cross of the thickness the determine to front to irom back with that of the body and compare this measurement check the form. The samc method should be used to and their side to side from width of bust and shoulders the hip thickness lrom front to back. Evcn though the same, of two differcnt gures may bc

measurements

The importance of placing the covering on the {cm1 correctly cannot be overemphasized. T0 avoid having it tip to the back, pull the fabric down rmly along the lower edge at the center front. Before pinning the Center back, also examine the shoulder seam, the neckline the waist, and the hipline for correctness of position. Begin to pin at the neck and work down, matching the four crossmarkings on the Center back line. Try to avoid pulling the garment downward in back as you pin. Pin the rst time with the seam allowance toward the outside. After making a nal check for errors, start re-pinning at the neckline, removing one or two pins at a time and lapping the right side over the left. Pin every half inch and bury all but the very head of each pin in the padding. Either leave the form pinned or slipstilch it together. Pull the lower cdge of the cover down rmly to smooth out all horizontal wrinkles and tack it securely to the wooden brace undcrneath the base of the form. If you expect t0 use the form lor a long time without impadding i1, it will be worth your whilc (o cover the armholc opening and add a shaped collar to the neck.

THE
THE ARMHOLE COVER

DRESS

F O R M
upper Neck Measurement 1/2 Upper

underarm seams. and underann

Place a piece of paper against the armhole openshape Crossmarking it at the shoulder ing and trace its shape,
1_
Cu t it out, and lay it on the 2. True the pattern, 2, pattern c fabriC labriC so that the lengthwise grain runs between the

is from the two crossmarks, that is,

shoulder seam to the

1/2/1

underarm seam.
3. Pencil around the pattern on the fabric and penCil the crossmarks. cil
4. Cut it with a 3/8 2%, inch seam. under and place the oval against the seam 5. Turn the armhole, aimhole, matching the Crossmarkings. Then pin pm the turned edge to the armscye line on the form Cover and nish by slipstitching.

d:

B. 1/2"_.i 1/2"_..
<_2 4_2
l

>
>

< C B ..

1/2 Base of Neck Measurement

Fig. l l . Dress form collar draft.

COLLAR
determined by The base of the neck is, of course, Course (letermined the neckline marked on the cover. The The measurement ol of the neCk neck 11/2 inches above the base (recorded at the tting) will be at least I inch and sometimes ll/_ 1% inches less than the base measurement. Pin the tape measure in a Circle circle equal to the Circumference circumference of the neck and drop it over the neck neCk of the form in upper neCk order to determine how much to pad the neck. Ordinarily the neck of a dress form is too erect at the back. lf your head tilts forward, it may be difcult diicult t0 to give the neck neCk of the form the same slant. Place all of the padding padtling on the sides and front of the upper neCk neck, neCk as building it up until it duplicates cluplicates your own neck nearly as possible. T0 draft the collar pattern, follow the directions below and see Figure l l . of the basic neckneCk. 1. Draw a rectangle the length ol line from lrom Center back to center Center front and 3 inches high. 2. On the center Center front line measure up 1/2 l/2 inch from the lower line of the rectangle. 3. On the Center back line measure down l/2 inch from from the upper line of the rectangle. 4. For the base of the collar follow the lower line

one-half its length and then swing up in an outward e n t e r front center l/2 inch up on the C point I/Z line (see Figure l l1). l). 5. Measure up at right angles from this base line 21/2 inches at Center front, C e n t e r back, and at a point halfway between. Beginning at the C e n t e r back, draw a line for the upper edge of the collar through these three points. Mark off along this line one-half the circumference of the upper neck measurement. Join this point to the end of the lower line for the Center Collar. front of the collar.
Curve to meet the curve

_
i

6. Cut out the pattern. PlaCe il it on the fabric with the Center 7. Place center baCk back on the lengthwise thread and allow a 3/8 inch seam on all 2%, edges. 8. Pin the two collar pieces together along the Center C e n t e r back and try it on before pinning it to the dress form. The collar should t Closely closely at the upper edge as well as at the base of the neCk, neck where it will sew to the basic neckline of the cover. Cover. The Center center front and back seams may need to be sloped more to t your neCk exactly. neck
9. Tu r n under the lower edge and pin it to the form cover Cover just above the Cord couched on the neCkneckline. Then slipstitch the collar to the cover at the base of the neck neCk and to the form at the Center center front and back seams. Tu r n the upper edge over the padding padding and slipstitch it to t0 the form. The dress form is now nished and should exactly duplicate your measurements and your body contours so that it will serve as a perfect model for all garments which you will design by draping.

The Fundamental Darf The systems of draping and at pattern design are both founded on a clear understanding of the purpose of the fundamental dart. When you rst began to sew, if you ignored the little v-shaped wedges marked on your commercial pattern, you probably wondered take why the dress did not t. Those wedges, or darts, convert the of outer the in pattern, edge up the excess ing a Hat piece of fabric t0 a rounded or conical shape that confonns to the contour of the gure. Darts alof the ways radiate outward from the highest point bust in front (Figure l) and from the shoulders and the shoulder blades in the back. A dart placed anywhere around the outside edge uf the blouse-front pattem will always point toward the bust (see Figure 2).

The necessity of shaping a pattern to t the body curves is the foundation of most of the best dress designs and certainly of the most functional ones. In the following pages, directions will be given for placing the basic dart on the shoulder, under the arm, and under the bust. This will be followed by a discussion of possible variations in design produced by handling the d'art or the fullness from the dart in a less conventional way. lt is therefore of rst importance t0 understand the function of the dart before even starting to drape, and to consider its possibilities for inspiration in design while draping the rst basic blouse out each patterns. lf the beginning draper will carry of the following practice problems she will not only gain a thorough understanding of draping principles but will also be able to apply them to the more diicult designs included in Chapter 7.

1 l
lhmt

w.
im
llm

il

w
Fig. 2. Possiblc
(lart

from the bust. Fig. 1. Darts radiating

positions) .

positions (heavy lincs shnw Standard

l6

BA SI IC A. S
'

BLOUSES
WAlST FRONT WAIST
Fronf Line Fronl Esmang The Fabric and Marking The Cenfer

'

For all practicc clrzxping usc light-weight unbleached practlce draping that is casy or u similar inexpexxsive inexpensive material [hat muslin o1" (lirections (Iirecnons the otherwisc statecl, stated, Unlcss othcrwisc 1o {o handle. a half lor draping pattern. given are for

(see Figure 3)
1. l. Measurc the dress form vertically from the highneck and est poinl es: point on thc shoulder (intersection of the the bust of curve the fullest over shoulder seam lines) lincs) walstline. Add 3 inches for seam allowances (l (1 to the waistline. the shoulder and 2 inches for the waistline). inch lor Lhe measurenlent will be approxiThe total lengthwise measurement 2l inches. mately 2! matcly
lorm horizontally from Nleasure the thc dress form 2. Measure thc fullest curve of the bust to Center C e n t e r front across the sezun and add 3 inches (l inch for ease underarnn underarm scznn . lCl-out seam under the arm) a large let-out 2 inchcs lor z: arm).

I Problem l
WlTH SHOULDER AND DRAPING THE BLOUSE WITH WAISTLINE DARTS
rst problem The rsl problcm is to drape a basic waist with is the dart comdarts. This i5 waislline dans. shoulder and waistline bination [hat makes Lhe best tting basic or foundato develop designs through _ tion pattern patten} from which t0 method. A foundation patlhe Hat pattern pauern blocking mcthod. _ the n l a s t e r pattern. See page 44 tern l e r n is commonly called a master for a complcte complete explanation of the master block patLern. The following directions for draping the basic lern. waist with shoulder and waistline darts explain not to place and pin the fabric, but also how to only how t0 alter they are draped check results and judge patterns after to predict their accuracy of t before trying in order t0 1 them on.
v

the the and For

'
l

a size l6 pauern this will total about 121/2 inches. puttern lhis in from the 3. Measurc lhe selvage of the fabric the Measure width widih medcd Center needed and mark the C e n t e r front with a pencil line on thc cxact exact straight lengthwise lcngthwise grain. Flguring Figuring thc the approxixnate amount unlount of material needed instead instead o1" ol" using [h6 the e x a c t C e n t e r of ol a 36 inch width helps you to acquirc acquire the habit of saving fabric. Obviously this can bccome become valuable practice whether the fabric you are workingwith is expensive or cheap (see Figure 4) . working" wiLh
|

Add

1w_

\|

\\ \\

\\
\\
S

"-2 C.F . O

Add 3"

3L
1B

S e I v a J g L U)

3) 3}

e 0 n 2

a: .2
Fold u

S e l v a

E
154:
L e n g t h w i s e .1

c a:

Add 2"

Wndth Of Wmth of 1/2 Blouse Front

5. Method of measuring for blouse. Fig. 3.

Fig.4. FiE-L Location of

center

front.

17

&

z
. .
'

#91419?

i. F? FGQEKISEVWhOU 333m 31' bei-lt Siuhesbdeep at the Center lwide'meufedhorizontally from er from to the neck end of the shoulder seam
.
L
V

"

.hozontally from the ccnter front to the neck end of the shoulder seam. The 4 inch depth includes a l inch
shqulder seam.

,5), Y. ori the muslin the necli oval, 4 inches deep thevcenter from and 21/2 inches wide. measured
1
i}

(a) AThe b the on the nxuslin should bea; " 5 Veiaxiqtt baue of onthe form. 6 (b) (C) Waisine- E353 the C10! 350V? 313513 P allow length for slight blousing and ior action.
V

'

'

'-

Ch

'

2. Draw a second line along which to cut. This should be 1/2 inch above the rst line at the Center inch seam. To allow for from in Order to allow a 1A a slight stretching of the fabric away from the center front a: you drape, mark the cutting line closer to the armer line as it nears the shoulder seam. The cut neckline should be about 11/2 inches wide a: the shoulder seam by 31/2 inches deep at the Center from.

_____.

3. Cut

o u t the

neckline on the upper pencil line.

f A
S e a m

nur-n:

1M
'd th 2 112" Neck WI

Fig. 6. Pinning the fabric to the form.

i
\r

s h o u l d e r

2. Start draping at the neckline. Smooth the fabric toward the slightly away from the center from and up shoulder seam, forcing the muslin to cling closely t0 i3 the side of the neck. Pin the cloth to the form as you {hat it ts more proceed and clip the neckline seam so
x

smoothly.
Depth
N e c k

3"

Fig. 5. Shaping the

neck.

Caution. Overstretching causes an ugly diagonal wrinkle and looseness at the chest. T00 little streichfrom neckline and ing causes looseness at the Center chest (see Figures 7 and 8). t0 3. Smooth the fabric across the chest and pin it threads the lling the form 1o support it so (hat {Ire Center from as far as the polnl the to perpendicular 05 h9 b-

18

BASIC

BLOUSES

to uver-stretched causes diagonal wrinkle (o 7. Neckline over-stretched Fig 7 bust. the bust. Ce en nt e r front. Fig. Fig, 8. Ncckline loose at c

'

underarm to support 4. Place another pin pin at the underarnl across the bust. Ease all threads the lling horizontally ward to provide looseness at the point of lorward fabric lon the labric busl. the bust. Note. (a) Acquire the habit of pinning the fabric little as necessary. Do this to gain speed to the form as liule would when being fabric hang to let the labric and l0 hang as it woultl worn. (b) lt is a general rule to pin at right angles to the is being bemg edgt: edge except when forming a line. When this 1s line. on the to head done, place pins point

Fig. 9. Shoulder and waistline darts placed tentatively.

C e n t e r front from the top to the bottom toward the center l0 shows a dart that has been l ) . Figure I0 (see Figure l Il)

carelessly placed.

'

Den (see Figure 9) Forming lhe Shoulder Darf clart laid excess at the shoulder in a dart Take the l. 'Iake up toward folded inward under with its smoothly edge the center Center front. Pin this dart to the form lightly with one or two pins at and near the shoulder end. Place it tentatively at rst so that you can experiment with .- i1 both its size and its position.

v.

'
'
7

2. Pin the rentaining rennaininlg excess under the bust into a tentative waistline dart. judge the size of each dart, z and if desirable, shift the [abric to divide the excess more suitably between the two. The size of the bust will, of course, determine the size of the darts, and the . position of the bust, low, may make it necesbust high or low the excess lrom from one dart to the other in sary to shift Lhe Order t0 to keep the crosswise grain at the bust line paral_lel to the lloor. 3. Pin Pin the shoulder dart accurately but leave the waistline waistline dart pinned in the approximate size. (a) Decide on the best position for the shoulder dart. The normal line is from the center of the dart. shoulder to the point of the bust and slants slightly sshotllder

dart position.

l0 and l l . lncorrect and correct c o r r e c t shoulder dart placeFigs. 10 place ment. Note that in Fig. Fig. l0, the dart line wavers and curls toward the neck, whereas Fig. ll shows the normal shoulder

Note. Since the direction of the dart changes somewhat with fashion, you should not consider the above statement a. a hard and fast rule. Your feeling for cont o u r will help you place this line to emphasize the fashion silhouette desired. In the l920's the line ran Center front (see Figure l3). practically parallel to the center Throughout the l940s it was fashionable to emphasize broad shoulders and a slender waistline by Starting the clart dart slightly farther o u t from the neck at the shoulder and pointing somewhat more sharply inward toward tomxrd the center front (see Figure 12) . But in spite ol of fashion, the direction varies so little that (hat the dart always points toward the Center of the bust. bust.

19

DRESS

D ESIGN
(c) Slip the ngers under the fabric near the peu); ol the dar: in order to stop it at zhe place desired, This should be belore it reaches the point of the busi. Doing this introduces some ease across the chcst; Avoid tting so tightly across the chest that the blouse caves in laetween the shoulder seam and the bust.

Placing fhe Shoulder Seam (see Figures |5. |6. I7) The Standard position of the shoulder seam (Figure 15) is from the cord at the base of the ear along the inch back of the top of the shoulder out to a point M bone at the tip of thc shoulder. The line slants slightly toward the back. lt should appear to be directly on
Figs. l2 and l3. lnuence of fashion silhouette on dart

-
'

d n m m g m c

not be visible from top of thc shoulder and should

_ . _ _ n

placemem.

(b) Fold the excess under toward the center front and pin the dart perpendicular to the edge. Slip the lingers under the cloth to prevem pinning into the form (see Figure 14). Caution. Never pin a dart wrong side out. It may be quicker, but it is impossible to form a good line by this method. Rule jor Establishing All Vertical Darts: Determine the position and line direction o] the dart rst. Fold on this line, sliding the excess toward the Center under the folded edge. Pin frequently, placing pins perpendicular to the folded edge.

either the direct front or back when viewed at the shoulder level. Follow the line already established on Lhe form if it appears to be a good one. The lollowing variations from the normal are duc to faulty posture or to a very large bust: (a) For round shoulders and forward head (see Figure 16) , move the o u t e r point of the shoulder line back slightly to minimize the defect; (b) For a large bust (see Figure l7), move the outer point of the shoulder line slightly forward to reduce the apparent bust size.
l. Standing at the side of the form, fold the fabric the excess forward along the shoulder line, turning over the right side (see Figure l8). Keep the cloth the taut along the shoulder line so that it bridges over hollow in front of the shoulder.

Fig l4 Shouldcr on the grain). dicate the ccct o! thc dar:

(lan

inaccuratcly pinncd (dottcd lines

im" threc difFigs. l5. l6, and I7. Shnuldcr scnm positinn senm. nf shouldcr fcrent gures. Fig. l5. Normal positinn end. nulcr zu bark Fig. l6. For round shoulders. move sczun (Hdu n t e r m furwnrd scnm Fig. l7. For largc busl. mnvc

20

BASIC

BLOUSES
width. Although shoulder widths vary, {ew sllouler w1se inchcs. lt 1s wnse, measurc less than 5 inches. scalns should measure ol of shoulder your own length nxcasure the t0 mcusurc however, to width Lhe the accordingly. and suit lavorile lavorite dress or suil gauge the tip narrowest 2. The poim of the chcst. From point the shoulder, thc armscye line curves slightly inward of lhc iL reaches the deepest until it [ m m umil deepesl center front the CCIIIEI Loward thc [bis point, the chest. T0 nd this a: curve the ol of point measure (lown 3 inches from the pit of the neck on from line and square out to the armscye. C e n t e r front the cemer {hat the line appears t0 curve is so slight that inward Thc The be almost straight when on the gure. If you adjust this curve so (hat it is practically parallel t0 the harmonize. [ w o lines will harmonize. Lhc two (lau line, Lhe shouldcr da11 shouldcl

few

folded loward righl side. Fig. l8. Shouldcr seam loldcd

fold-linle with the thumbnail and the fold-line 2. Crease thc t0 slrctch stretch the carelul not to form, being careful pin it t0 the lorm, fold. bias lold. l inch lor the the excess, allowing I Cut away lhe 3. Cul
seam.

the wrong s e a n ) allowance under to lhe Turn the seam 4. Tum fold lold turned lhe the und and side (sec perpenl9) pin Figurc I9) (see Figure at the ends lorm only aL Pin t0 to the form lhe edge. Pin dicular to thc TCHIOVCLl t0 slip later be removed as all pins must latcr of the seam, a5 the front. the back shoulder seam lorward under lhe

i /

4 *4 / 4

i, 7 77

Farming fhe Armscye Curve [see (see Figure 20) V

'

_ '
l

Shouldcr scam lolded (olded under and Fig. l9. Shouklcr

pinnled. pinnlad.

Fig. 20. Armscye curve.

' ' Three P oims serve as g in lormmg uide s m poims guides lorming a good armscye curve. (The terms armstye armstve and armhole are

synonymous.) l. The tip of the shoulder' which should be the LlThe lip ofthe shoulder, lme a: the juncStarting pomt. The gamma Poim. 'Ih_e line normally starts at t tion non ol of the plane ol the shoulder and the plane of the .a n " _ (see Chapter I lf shoulders broader than nor(Set: Cllaptfr l ) . sholxlders mal ma a"? are in m lashlon, [llls poinl lashion, move this point out the desired

i?

Caution. Do not stretch the fabric across the chest chesl when estabhshlng the lhe lme, line. establishing armscye S. Depth 3. Depth of the underarm curve. From the pin pin a: the narrowest point of the chest, chest curve the line outout. ward in a smooth arc toward the underarm. underarm. Deter. DezerWard t the underarm by measuring down Lhe linine fnme (h? depth of <.)l' ' 1n a stranght m (tllepth t verucal lme lrom the up strang shoumer tip oi the shoulder a di": s of 7 to 71/2 inches. mches. 'Ihen Then square out from arlce fhstaace t h_ 1s pomt thxs underarm seam um; poxnt to the underarm

'

i; e:

'

<

DRESS DESIGN
4. Armscye curve. Cut, allowing a 1A to 5A, inch seam for the lower half of the armscye. and a 3/4 inch seam for the upper half. Extra width on the upper half o! the armscye allows for a possible increase in the size of the shoulder dart or added length on the shoulder seam. A narrow seam allowance under the arm is necessary to prevem the armhole from binding
when the arm is down.

waistline and should curve ever so little inordeVi enter the waistline at a right angle (see Figur: 23) .. Form the waistline dart carefully, since you will u it later as basic paneling for blocking Original desigm lt will also determine the spacing of the skirt panel,

Placing {h0 Waisine Der} Before nally pinning the waistline dart examine the blouse around the armscye, especially toward the underarm. lf the fabric tends to gap at the side front of the armscye (see Figure 21) deepen the waistline
dart.

waistline.

since the two must coincide. If the dart line is allowed; to run parallel to the Center front from the bust to the waistline, it thickens the waist and makes the ure appear stocky. If the gure is slendcr, the dar! usually starts at a point about 25/4 inches from the center front and slants away from the center front about 1/, inch at its top end. If the gure is very heavy, the panel may be as wide as 31/2 inches at the

l. Push the muslin with the at of the hand downward and forward toward the Center from to t the armscye smoothly but not tightly (see Figure 22) . Pin the muslin to the form at the waistline on the side
seam.

Fig. 23. Waistline dart accurately pinned.

5, Push the excess fabric under the d'art line toward the front and pin it perpendicular to the edge.

if the grain is raised t o o high Fig. 21. The armscye may gap a: the underarm. in Fig. 2| may be corrected by Fig. 22. The fault shown tlle excess into the waistline lowering the gmin and pushing dart

2 Clip the extension below the waistline to make the waistline t closely.

Waistline 5 Smooth any excess ease along the toward the tcntatively pinncd dart.

should slam toward the

lt 4 Determine thc dart dircction and placement.

ccnter as it

approaches thc
22

Placing fhe Underarm Seam (see Figure 24) l. The line of the underarm seam should {all at the center of the gure from the underarm to the waist. Place it so [hat it is inconspicuous from either the back or the front view. ()n the average gure, it slants slightly lorwarcl, because the center ol the body at the armpit is usually slightly farther back Khan il is at the waistline. This is even t r u e ol a Standard dress lorm undcrarm line. ll your posturc is poor and you carry your shoulders either vcry lar back or very lar lorward, makc any Ilcccssary adjustment in the total undcrarn) line ulong the umleraml scanl line of the blousc. The arm will hang over this soction and will conccal cllectivcly any C()llC(ll()I1 due t0 lnulty posture.

BASIC
fOFm an (h6 fOTm lhe best location on Before draping mark the (h6 and the under the at one ( w o pins: top lop im two with rm arm waistlle. wvalstllne. the lhe on C e n t e r center the a1 at other ogher position poslllon {Old and fold 2, Stand directly at the side of the form 2. the Tu r n Turn established. eslablished. thus the fabric along the line horizontal no Leave side. sidc. the over right excess forward line outward to alslam the Iine ease at the waistline but slant thc top of the at aL the bust the over ease of case I inch l to low 5/, Iow 2% underarm seam. This excess forms a small vertical fold 1s down and from of the armscye when the arm is in front fmd for and chest body acuon. expansion supplies ease for 3. Crease the fabric without stretching it and pin i; perpendicular perpentlicular to the edge, but not into the dress form. foml.

BLOUSES
WAIST BACK
Esmang Esmang fhe Fabric (see Figure 25) bafk anrount of cloth needed for the back lhC amoum Estimalc the Estinnate t0 l0 front. fronl. the for dld expect you of the waist as you Ilf l'f two m back the c u t separate however, t the blouse blouse, eut Center. mch lap a! the Center1/1 mch pieces, allowing for a 1/2
LP
a

.
i

_.r _./ I
z

3"
plus

M e a s u r e m e n t

L m h e n i

hest Measurement Measurement plus 3" Chest H2" Lap at Center Back 1!2"Lap

estimate for half of the blouse back. back. Fig. 25. Fabric eszimatc

Fig. 24. Underarm seam.

>

'

4. Cut, allowing a 11/2 to 2 inch seam. The wide seam allowance provides for correcting errors and for Iet-out let-out when tting. 5. Turn the seam seaun allowance under to the wrong side sxde on the creased line and re-pin it. 6. Before nally pinning the fabric to the waistline of the form, push the material upward upward above the waistline from the dart to the sidc side seam. The slight blous ing lengthens the underarm seam enough to permit LTaising raising the arm easily (see Figure 24). Note. To T0 acquire acquir speed and deftness in draping Nore. do not attach the fabric to the form when 1leichnique. lgchrrlque, the armscye line darts, p mmng pmnmg line, or the underarm r. line except at the lower end. 2563m lme Vseam _ Leave the front of the blouse on the form and pro'

fhe Neckline Neclzline (see Fiqure Shaping the Figure 26) For a size l6, 1G, the back neckline without a seam allowance is 1/4, center e n t e r and 21/2 inches inchcs 1/2 inch deep at the C wide at the shoulder seam.
S e a m

S h o u l d e r

1rAr

\ L2

C.B. Lap

teed with the back. xteed

Fig. 26. Back neckline shapc. shape.

23

'

iii
-

wce-nter back _lap.

hefeis l/g incl: seam allowance _ "l vinch shoulder seam. and a 1/: theftxeck, a
now a

1.:

Fabric on fhe Form (see Figure 27) l. Fold under 2nd crease the 1/2 inch cemer back lap allowance. 2. Pin the fahric along the Center back am: (a) the

j shoulder sfni (see Eigrej27) (b). By plcing small" dartQtA thne back oi 5 f line (see Figure 28). (c) By placing a small dart at the CehtEr shoulder seam (see Figure 29) .

(a)

1nya;1;j;igg ;/.%{Ae g/gnch_ve_azsq' - a

'.

>

baseof the neck, (b) the shoulder blades, and (c) the waistline. The fabric should be eased above the pin

a: the waistline for blousing.

3. Clip the fabric to the basic neckline. Smooth i: slightly away from the center back and up toward the shoulder seam, forcing the fabric to cling closely to the side of the neck. As you do so, keep [he lling threads perpendicular to the center back and pin the cloth t0 the form as you proceed. 4. Pin the fabric t0 the form at the underarm seam level. just below the armscye to support the crossgrain
Fig. 29. Shoulder dart pinned and waistline dar: tenlatively placed.

rises slightly at arml-ig 27. Fabric placement (crossgrain xye) n n of shouldcr ease. Pi, 28, Neck dar: plus 1/, 4A;

The ease of M to 8%, inch along the back shoulder seam is always used. lf the shoulders are somewhat round, either method (b) or (c) is usually used in addition for extra shaping. A gure with at. erect shoulders, however, may need only the ease along the back shoulder of the pattern. 2. Shoulder easaThe amount of shoulder ease possible depends on the Hexibility and shrinking quality of the fabric. To keep the lling threads level, lift and swing the fabric from the end of the shoulder up and in toward the Center. This forms excess along the shouldcr which should be pinned into a temporary dart, latcr to be cased across the shoulder when the back is joined to the front. By kecpixlg the lling threads horizontal around thc underarm, you avoid

BASIC BLOUSES
CUFVC ocCurs at the lower Curve sometinles oCCurs which sometinxes the gapping whiclr baCk armscye. of the back at the dart 11i 3_ lf you also use method (b) place a 3, it and neCkline place neckline 28), the of Figure (see back woman The lorm. when pinning the neckline to the form. n more mature gure with a prominent bone hving a having her at the top ol the spinc, or the girl who Carries dart better the this nd will position. lorward, head e n t e r back Center Place it from 11/2 to 2 inches from the C to than be 21/2 t0 longer of the neckline. lt should not the Center to almost be parallel 3 inches and should inch at its outward not more than 1A M inCh back, slanting (xutward C e n t e r back under toward the Center lower end. Fold the dart undcr thc edge. and pin it perpcndicular perpendicular to the method ease you use method shoulder l0 to ll in addition 4. lf shoulder the at a dart (hat that ol of instcad instead is, (b), (c) seam (see Figure 29), this may be placed in line with both should start at about the lront dart, since both the front middle of the shoulder (see Figure 30) . The dart line should appear to be almost parallel to the C e n t e r back, aCtual measurement it should slope toward the but by actuul at its lower end, end. Keep the lling Center back slightly a1 threads horizontal at the lower armscye and swing swlng the form the dart at _ excess above this up and inward to lorm the shoulder line. Fold the fabric under toward the baCk and pin it perpendicular to the edge. Center back

tematively 21/2 t0 waistline dart tentatively 5. Place the waistllne t0 3 Flgback at the waistline (see Figlrom the Center baCk lnches from inChes back of ure 29). This is the main dart in the baCk the lme materlal under the dart llne excess material blouse. Push the exCess and point it toward the Center of the shouldenor shoulderor toward the shoulder dart if there is one. lf the warstfar outward toward tlle line dart tends to point too lar the Crosswlse indicates that the Crosswtse this the shoulder, of tip tlp raised too high at the outer tip of the grain has been raised shoulder. To Correct this, lower the grain at the end ol" the shoulder until the waistline dart points toward ol inCh lt is about 1/2 inch the C e n t e r of the shoulder, or until it at a: than the at line back Center C e n t e r the lrom from farther point
the lower end.

Placing fhe Shoulder Seam Line (see Figure 30)

neCkline and fabriC along the neckline 1. l. Smooth the fabric excess back over the right side, lold the exCess then fold shoulder, thcn ol" the fold ush against the edge of the with the edge of lront shoulder seam. front
2. Crease and Cut, allowing a l inch seam.

'

lt. over it.

3. Unpin Unpln and turn the back seam allowance forward, lapping the front edge of the shoulder seam

Note. Before establishing the shoulder seam line, check the ease over the shoulder blades. lf If the fabric to the form too lower the clings Clings Closely, lling threads closely, a llttle little from the outer end ol of the shoulder seam line.

4. Keep the fabric t a u t along the front shoulder line so that the blouse when tried on will bridge over the hollow in front of ol the shoulder seam.
5. Stand directly at the side of ol the form while pinning this seam. Pin rst the neck end, then the outer point. Then, leaving the ease along the back shoulder point. seam plnned pinned in, nish pinning plnning the shoulder seam, the placing pins perpendicular to the edge. Note. The shoulder seam should appear to be a The ehoulder t r u e strarght lme. Overhandling of the bias while straight line. Curve. This effect should be pinning may make it curve. avoided.

#5
9
k
Fig. 30. shoulder seam "u
turned back ready to be
cut.

fhe Armscye Curve (see Figure 3|) Forming the Two points of the back armscye Curve have already been determined by the blose frontthe shoulder point and the armscye annscye depth. Only one point i5 n. known, the point of the Curve where the back is narrowest.

l. 1. Start the line at the shoulder tip and form a smooth continuation Continuation of ol the front armscye Curve Plac PlacI n g the pins head to point, curve ing Curve the line

slightly

Fig. 3|. Armscye

'

dotted line indicates the narrowest point of the curve. 4 inches below center back of neck.

curve- upper

Fig. 32. Finishcd blouse hand pressed agajnst fomx t looseness around bust. Vertical folds form on each side
L

underann.

back line as it goes down toward the shoulder blades. 2. Find the narrowest point of the back by measuring down on the Center back line 4 inches (or oneIourth the length of the blouse at the center back) and saquam out at this level across to the armscye. Continue the curve from this point outward to the underarm, where it meets the lower end of the front armscyc

inward towaxd the

Center

stopped before it reaches the shoulder blades or blouse will t t o o closely at the point of the da11. 3. Check to see that the armscye clings closely. to the form. Any gapping along the side of the annscyq indicates (hat a larger dart is needed either at the
waistline or at the shoulder.

curve.

4. Clip the extension below the waistline in Order to t the waistline closely.

Notice the appearance of the armscye oval from the side view shown in Figure 52. To allow the arm to swing forward, the curve established between points curve on the (2) and (3) is somewhat higher than the front armscye between the same two points. 3. Cut, allowing a 1/3 to M;inch seam on the lower half of the armscye and increase the allowance to % inch Ior the upper half.

Placing fhe Underarm Seam (see Figure 32) l. Fold the excess fabric on the blouse back over toward the right side. Leave no ease at the waistline

but slant the line out at the top to allow 3/4 to l inch of ease. This makes a slight vertical fold behind the 7 armscye when the arm is down.

Placing fhe Waisine Darf (see Figure 3|) l. Smooth the fabric downward from the armscye area toward the side scam and tentatively pin it at the waistline (see Figure 29). Take up any excess the center back and the along the waistline between side seam by increasing the size of the waistline dart. 2. Pin the waistline dart, placing it accurately to in toward {arm good panel spacing. lt should taper slant outshould and the Center back at the waistline be lt should ward about '/2 inch at the top end.

2. Crease the fabric lightly and pin it perpendicular to the edge, but do not catch the pins into the form. 3. Cut allowing a 11/2 to 2 inch seam.
4. Before nally anchoring the fabric to the waistline at the side seam push the material upward above the waistlinc to blouse it slightly.

5. Remove the pins, lap the front over the back. and re-pin the seam perpendicular to the edge.

slip your hand inside the blouse when pinning the underarm seam.

Note. To avoid pinning into the form,

26

BASIC BLOUSES
THE BLOUSE ON THE FORM front and blouse. the lront The two basic sections of the blouse, certain Certain but complete, back, are now essentially Cornplete, the back, rnade before the blouse is must still be made adjustrnents adjustments lorm and a master pattern is made removed lrom the form

The Final Checking thc form, lorm, study lrorn the Belore removing the blouse from lrom stand Then 33. away frorn the lorm luorm away Figures 32 and the cheCk to check t0 lollowing pomts: lollowmg and view your draping lrom all 0L" the entire blouse from I. The general effect of l.

it. from il. {rom

Ease Around fhe Busf (see Figure 32) Press your ngertips against the draped blouse on the underarm seam to determine whether or not there is enough ease around the blouse at the bust level. A beginner tends to t t o o closely. When you press folds should two vertical {olds your ngers against the form, with the line in in one back. back, and front lront in one form, narrowest point of the armscye. Lack of ease around the bust makes the fabric draw and form diagonal folds from the bust to the underarm.

angles. slant 2. The direction of all darts. These should slaint waistwa1st< the to shoulder the from Center in toward the center
line.

ol the lines of shoulder and 3. The stralghtness straightness of underarm seams. be about 4. Ease through the bust. (This should l)e center Center the to front C e n t e r the center back.) 11/2 11/1 inches from 5. Ease in length above the waistline to allow for

Placing fhe Waisine (see Figure 32) followl. Place a line of pins along the waistline f0ll0w to see Check cover. form the lorrn ntarked on ing the line marked the above for is there that blousing adequate length
waistline.

reaching. blousing and reaching. 6. The shape of the armscye oval from the side view. 7. Finally, you should compare Compare your blouse with the illustrations.
MAKING A MASTER PATTERN FROM THE DRAPED BLOUSE

uraistline to seam allowance below the waistline Trim the scum 2. 'lrim ) r e s s Form Cover, Chapter 1, 2 inches. (See The IDress l, page uvaistline placement.) standard waistline 7, for the standartl

Farming Forming fhe Neckline Curve (see Figure 32) continuous line of pins along the Place a smooth Continuous neckline following follotving the line established on the dress form Cover. cover. (See The Dress Form Cover, Chapter l, page 6, for the basic neckline placement.)

The next steps in the procedure are to remove the to t r u e it blouse from the form to true it, and to transfer it t0 the opposite half.
lhe Blouse from fhe Form (see Figure 34) Removlng Removing fhe l. 1. Take 'Iake out the pins at the Center C e n t e r front and Center baCk back and wherever they have caught Caught into the form. Leave the shoulder and underarm seams, darts, neckline, armscye, and waistline pinned.
2. Mark all important lines. Use a soft pencil when with practice praclice material and colored thread nrorking n/orking lmes or Chalk when using dress fabric. fabric, dressmakes dressmaker's chalk Before truemg the pattern, mark with a broken line pattern and not too heavily the following lines: Both edges of all seams Crossmarks to (a) Both seams, with crossmarks match Correspondmg correspondmg edges. Crossmarks, sometimes also called Called balance points, are equivalent to [o notches on commercial patterns. There should be a crossCrossmarking at either end of ease and at either side of a. a, dart.

Finishcd blouse. front view. Fig. 53. Finished

27

-?"(a)
-

Nck1ihe {anarshouid-aer

3111.5.
A_

(b) Shgulqer dar: atrgcLshouVlgg; ggggn,__

(c) Shouldet seam and

armscye; (lif die

IUf

angle of the intersectin will bc Slightly Test degrees on the front and slightly more 011 the= (d) Armscye and underarm seam. (e) Underarm and waistline. (f) Waistline and each edge of the waistline d
(g) Waistline and Center front.

Fig.34. Blouse pattern aher removal from the formscatns marked and a-ossmarked.

(b) Both edges of darts. and waistline. (c) The arm curve, neck curve,
Trueing fhe Paern (see Figure 35) Even though pattems are carefully draped, all lines that should be straight must be ruled with a ruler, the and all curved lines must be either drawn with freehand. aid of a curve or smoothed up I}. Remove all pins from thc pencil-marked pattern. m ble "2 5111003 h3 Pawem m H V3 Pressing a ruler down rmly against the cloth on wie m! 0W":Olmwins 15'169 maihw"

Fig. 35. Method of trueing

panern.

"

'

5. True up thc following curves either freehand or . with a curved ruler:

'

fehle,
"

underarm scam.

(a) The neckline. This should enter the shoulder seam and the center Iront at a right angle. The curve should be close to thc neck at the side.

'

28

BASIC BLOUSES
ln the lront, front, this has its narrow(b) The annscye. In neCk of the neck inches down below the base ol est point 3 inchcs c5: narthe the In back, back, front. e n t e r lront. Center measured on the C measured neckline the below rowest point is 4 inches Center on the Center baCk. The line Curves toward the of the level the to t0 shoulder the from back or tip front fronl Chest the from from the Center fronl Chest Chest and Curves away lrom
to the underarm.

of the pattern is a smooth curve (c) The waistline ol between the right angles at the intersection of seams and darts. allowance on all 6. Mark lines to indicate the seam allowanCe C e n t e r back, Center and front lront the Center pattern edges except as follows:
inch, Clipped. 1/2 inCh, (a) Neck curve Shoulder l inch, Clipped near the neck end. (b) Shoulder inch lower half. inCh inch top half; 1/2 inCh 5% 2%, (C) Armscye
(C)

l v a g e S e

S e l v a g e

(d)
(e)

2 inches. Underarm 2 inChes Waistline Waistline inches, clipped. Clipped.

u: o: i .1 3 r: z ...
.1 .4

n0 DB

c zu

fo fhe Opposife Half PaHern lo the Paern Transferring fhe l. Smooth the pattern out with a warm dry iron. Press Carefully in the direction of the grain to avoid stretching. 2. Fold the pattern along the Center front line and to be sure that the fabriC Hat on a table t0 smooth the fabric threads run lling perpendicular to the lengthwise threads. Pin the two layers together. 3. Transfer all markings to the opposite half of the chalk pattern with a tracing wheel used on either Chalk Carbon paper. Trace against a ruler board or colored carbon wherever the lines should be straight. Press down hard on the ruler to keep the Cloth from slipping. 4. Open up the muslin pattern and trace all the lines through t0 to the right sidc side in order to mark the as well the as side. This is for Convenience right wrong when tting and is done only on muslin proof-a proofa muslin pattern that is to be basted and tried on to show (hat that it ts.

e n t e r front and of transCenter Fig. 36. Method of folding on C half of pattern by a tracing to opposite ferring markings Carbon papcr. wheel used on carbon

Problem 2
DRAPING THE BLOUSE WITH A HORIZONTAL UNDERARM DART

Note. This procedure of trueing should be followed with all master patterns. Laying the pattern at on the table lable and trueing it teaches you to observe pattern shapes in detail. The procedure for preparing a master {or a tting can be found in Chapter 5 . pattern for

The procedure for draping a blouse with a horizontal underarm dart is in many respects a repetition of [hor1. It Problem l. lt is therefore advisable to review thorStarting oughly the directions for Problem l before starting Problem 2. An underarm dart may be substituted for a shoulder dart, but is most suitable for the loosely tting blouse shown in Figure 41 4| or for a supplementary tting dart, because if as much muCh excess is tted out at the underarm as at the shoulder, the underarm dart runs all the way to the point of the bust (see Figure Figure 37). Figure 38
shows graphically why this is true. The distance from the underarm to the point poim of the bust is much shorter than from the shoulder seam to the point of the bust. The dart must therefore be smaller and shorter to taper out well. The longer dart is, of course possible

29

poible only -folf

_

dar: enough smaller and shorter so that i: will disapper atjthc front o! the armscye line and be concealed b, {im 3 , 1 m 111e emamder f h3 excess cm be Put imo a waistline dar: or can be worked into ease along the WIiSiIIC. ThC underarm darl C 3 D b6 successfully used as a concealed tting dart but never as an ornamental one. Figure 4| shows the nished blouse wilh thc underarm dart shortened and concealed by the deeve
?

_. m um W53 .P*m'_1: b i5 m05 unbecoming in a blouse that is to bewom. Only when it is used I o t a looselyvtted blouse is it possible to make the

to run to point of bust, allowed block

pattern.

b! v1 _._{-._n.i , and waistline. 2. Pin "a: the Chest neaxy": die armscgp. Thgs m? . threads should be level across the chest. 3. Pin around the neck as :Problem l.
A

_ ihn Piti a3. in Pro

.

es

Placing ihe Shoulder Seam Line l. Stand directly at the side of the dress fotm an fold the excess fabric above the shoulder forwardftd
{arm [he shoulder a m um;

fold

2. Pin und crease lightly to avoid stretching the bias

Cut leavmg a I mch

_ _

s"eam

allowance, and fold

[o

thls under4_ Rgpin fastening the fabric sccurgly a; each end of (h3 shoulder a ,

[he fofm

Fwmmg m, Armscye Cun, Proceed as in Problem 1.

distances of shoulCompau Iines show comparative bust point. Undcrarm dart. da and underarm daru ( m m without being divided into 314mg, anno: be shonened z? f gyqor more smaller dam.

m 33.

.4 i

Fig. 39. Underarm (lan shortened to disappear at front of armscye.

30

BASIC
37 and 39) Placing fhe Underarm Darf (see Figures a! the waistline edge of the the excess is now at All lhe that it is impossible demonslrated (hat Problem l demonstrated pattern. Problem paIterII. in one place and still dart basic entire to take up the emire obvious (hat an more is even lt out it smoothly. taper (hat underarm dart cannot take up all the excess and that between the underarm and a supmusl be divided betwcen it must dar: or galhers along the waistline (see plementary dart Figures 37 and 39). {hat the lling threads drop downward Notice that toward the underarm seam below the pin at the chest dar: (Figure on the armscye and above the underarm dart

BLOUSES
Waislline Darf Placing fhe Waisine l. l. Decide on the location as in Problem 1. excess for 2. Pin accuratcly, accurately, but save some of the Distrlbute Distnbute waistline. the tbe gathers gathers along tucks Flgure 40). (see evenly by picking up tiny pin
Seam Placing fhe Underarm Searn the fabric downward and forward under I. Smooth Lhe l. lt at the side on the waistline. the arm and pin it Tu r n the fabric forward over the right side and 2. Turn proceed as in Problem l.
WAIST BACK With this waist front use the back pattern pauern draped in Problem l, but since the front has ease for blousing waist lhe back waistalong the waistline, distribute part of the t0 unify the into gathers along the waistline to line dart inlo back and front designs. Figure 41 shows all of the excess on the waistline pur put into gathers. darl into two or of dividing one dart For the method o! more parallel darts, see Figures 42 and 43.

37).
Fold in a dart about I inch below the armscye 1. l. Fold and direct it toward the point of the bust.
2. Turn the fold upward and pin it tentatively to t0 taper to a see whether whether or not it is small enough to of the front the with in line armscye (see Figure point poim 39). 3. Take up the remaining excess in a waistline dart Problem l. This will be larger than the waistas in Problem line dart in Problem l unless part parl of the fullness is lhe waistline into gathers. distributed along the 4. Pin the underarm dart perpendicular t0 the it out in line with caper lt edge. lf it is impossible to taper into two or three smaller the armscye from, front, divide it imo [hat will taper out more smoothly (see Figure darts {hat 40).

Fig. 42. Procedure for dividing a dart into two or more parallel darts: Step l. Proccdure for dividing a dart into two or more Fig.43. Flg.43. Procedure parallel darts: Step Slcp 2.

Problem 3
DRAPING A FRENCH DART BOD|CE
'

40. Underarm darts dans divided dividcd and shortened, part of Fig. FigAO. put into waistline gathers. 41. Underarm dart concealed by sleeve. Waistline exFig. 4|. Cess ccss put into imo blousing.

excess

(see Figure 44) is formed by the Tlre Tbe French dart (see verucal shoulder and waistline darts. vertical meetmg meeung of the tlre The 1s is panel palttern pzrttern therefore in two parts, a Center pancl and a slde sude section. It lt is used for tight bodices

evening

31

DRESS

D ESIGN
Farming fhe French Dorf Lina (Figure 45) Place the French dart line where it is most becom" ' ing to the individual gure. The standard position from the center of the shoulder across the point of the " bust to the waistline. The line should slant in toward the center all the way from the shoulder to the waist. At the waistline end, it may be somewhat closer to the center front than is the waistline dart of the basic blouse. Note. If the line does not slant in enough it seems rather to tilt out and thus to thicken the waistline. If the bust is large, the French dart line will be more slenderizing if it begins out beyond the center of the shoulder seam in order to broaden the shoulders and reduce the apparent bust size. Figure 46 shows poor panel spacing. The line curves in toward the neck at
the top and is too far from the center at the bust. l. Fold under a half-inch tuck to establish a satisfactory French dart line (see Figure 45).

Fig. 44. Variation of French dart bodice.

and is also preferred by some designers as a foundation pattem. When tted with ease it also makes a basic pattern for tailored garments and is a fertile source of original design development (see Chapter 7 Suggestion 7) .

BLOUSE FRONT CENTER PANEL (ONE-HALF PATTERN) Proceed as in Problem 1.

Shaping fhe NecHine

Hollow o u t as for the basic waist in Problem l.

Placing the Fabric on the Form the l. Place the selvagc at the center front with below base of the neck in the fabric (marked 1/2 mch as marked the cut neck line) at the base of the neck on the form. the 2. Pin the labric a1: (a) the neckline, (b) above little a it chest, and (c) the waistline, easing the last pin. to anchor the 3. Place a fourth pin at the chest the lling threads fabric to the form and to support so that they are level. neckline. Smooth 4 Clip the seam above the basic as in Problem l. the labric around the neck exactly threads, pin the 5 In order to support the lling the neckline. near fabric to the form at the shoulder

Fig. 45. Formation of French dart line by folding a tuck.

2. Place pins through the two upper layers of the muslin only and at right angles to the edge of the tuck. 3. Tu r n the edge of the tpck back toward the center front in order to c u t off the seam allowance beyond the [olded edge. Allow M;to 3/, inch for the seam. 4. Clip the seam over the bust. The pins hold the tuck in position and at the same time turn under the seam allowance t0 the wrong side.

shoulder at n right angle. the curves slightly outward. lop of the Hench tlart line ll it did not, it would appcar to curl in toward the
Note. To unter the

32

BASIC

BLOUSES
inorc ease lront panel, the more (unter front toward the Center there ovcrdo this ll lf you overdo betweexi bust and shoulder. will be betwccn this, too o o much m blouse t however, you will tighten the howevcr, front ol" the armscye. lront t0 the form near the shoulder. labric to 3. Pin the fabric

labric back on itself along the French 4. Fold the fabric ol the side section just touchdart line with the edge ol" C e n t e r front panel. Pin it perpening the edge of the Center t0 the edge. dicular to l inch seam to allow for any ad5. Cut, leaving a I pin the which necessary when you pln may be neCessary justment section. front panel to the side seCtion. C e n t e r lront

"fapeline showing poor line formation. Fig. 46. Tapcline

a: it goes over the shoulder, as in Figure 46. neCk neck as French dart line also enters the waistline The normal French Curves slightly away from Center at a right angle and curves so. to do order in front from

Note. There should be more length on the side front curve. section than on the C e n t e r panel over the bust Curve. vermore the front lront is, center C e n t e r The narrower the panel the side on bust the over be should there ease tical front section. A small amount of horizontal ease curve. should also be allowed over the bust Curve.

SIDE FRONT SECTION

fhe Form (see Figure 47) Placing fhe Fabric on lhe fabriC on the form with the lengthwise l, l. Place the labric C e n t e r of the side front grain running up through the center (hat it is perpendicular to the waistline as section so that far up as the bust. Pencil the grain line on practice lar praCtiCe material. Hold the fabric in this position with the left hand and smooth it forward with the right hand to make sure that you have allowed enough material to meet the front panel and to provide a seam allowance as well. There also should be at least a l inch seam allowance above the shoulder.
Pin the vertical center 2. Pin Center grain line to the form at the bust level and again at the waistline as shown in Figure 47.
lront seCtion-grain Fig. 47. Side front section-grain perpendicular to waistline up to armscye and then forced forward {orward at Chest. chest.

Placing fhe French Darf Line (see Figure 47) l. Smooth the fabric forward and upward against 1. the edge of the center Center front section. 2. Smooth the lengthwise grain above the bust line tovtard tovrard the side front seam enough to force the maamiscye. The more you terial to cling around the armscye. direct the lengthwise grain above the bustline inward inward

6. Crease the turned line lightly with the thumbnail, nail unpin, unpin, and slip the seam allowance on the side section forward under the Center center front panel. Then re-pin to join the two sections. Starting at the top, top down toward the bust; then from the waistline, pin waistline ptn forces the ease over the bust pm up to the bust. This forCes
curve

(see Figure 48). 7. Clip the excess below the waistline to t the bodice very Closcly closely around the waist.

53

.39.

Esmangv fh 55555:. Seelwieiigesifitfo ollio Shaping fheiNeclxlinoe. See the

Ei

Placing fhe Fabric an fhe Form. See fho cenfer froqfp

Farming the French Darf Line l. The French dart line in the back of the is a continuation of the side front line. It shouh enter the shoulder pcrpendicular to it, should curve slightly inward over the shoulder blades and shouldi enter the waistline at a right angle. Figure 49 shou a good position for the back French dart line. 2. Study the slope of the line to nd the most be-_ coming position over the shoulder blades. If you exaggerate the inward curve, you will emphasizc round shoulders, as Figure 50 shows. Keep the shoulder area broad, but slope the panel in a: the waistline to slenderize it (see Figure 49) . 3. Follow the directions for pinning and cutting
A
q

Fig. 48. joining o! ccnter and side from: (I) Dotted lines show grain position; (2) Pins close together show position of ease.

Placing the shoulder Seam

l. Follow the directions for establishing the shoulder seam in Problem l. 2. Check the armscye to see that the fabric clings closely enough (o the form and yet does not draw too tightly. lf there is still looseness around the armscye, push it forward under the side front line.

Farming fhe Armscye Curve (see Figure 48) Follow the directions given in Problem 1. The French bodice should cling to the gure somewhat more closely than the basic blouse in Problem l.
Placing the Underarm Seam Line Follow the directions given in Problem I, except (hat (bis bodice should t somewhat more closely around the bust. Placing the Waisine l. Clip the fabric below the waistllne at the Center of the side from section so that it ts tightly along the waistline. A French dart bodice should have no esse whatevcr along the waistline. Between this seam, ease the fabric clippcd point and the underarm to allow extra length beupward above the waistline the arm (see Figure 48). low the armscye for raising 2. Mark the fabric with a line of pins following the waistline indicated on the form.

the from French dar: line.

Fig. 49. joining of center and side back: (l) Well placed French dart line a: back (compare with Fig. 50): (2) AIrows show grain position; (3) Pins close together show p0sition of ease. emFig. 50. Poor French dar: line. An exaggerated curve the across back the and narrows shoulder: round phasizcs bladcs. shoulder
.

34

BASIC
SECT|ON SIDE BACK SECTlON

BLOUSES
the garment that Lhe Observe the entire bodice to sec {hat Ohserve garmenl scam seam lme, line, and shoulder the thc neckline, necklitxc, the zu ls closely ts dar: bodice Frcnch dart waistline. Although thc French the waistlitne. ts dlSearlier disblouscs blouses two ol the eithcr ol" more closely closcly than either lhere should still bc 2 to 3 inches of ease cussed, there bunt lor action and breathing and thc cntlre emire bust around Lhc wrinkles around the bust when horizontal to avoid thc side of to err on the the blouse is worn. lt is better t0 little ease around the bust. rather than too liltle much rathcr too much lront and back Crossmark the French dart lines in front and shoulder bust the 1o distribute the ease over to

rhe side direclion for fhe Placing fhe Fabric on fhe Form. See direcon fronf.

fhe French Darf Seam Line (see Figure 49) Forming the 1. Smooth the fabric toward the Center back and I. up against the edge of the Center back panel.
2. Force the lengthwise grain above the shoulder 1o keep the fabric smooth blades inward enough to shoulders need this more Round the around armscye. overdone the than Hat ones, but if the lorcing is overdone, roundness will be exaggerated. Rather than overt t0 take up the round shoulders, shoulders use shoulder pads to
excess.
t0 the form near the Lhe side back section to Pin Lhc 3. Pin shoulder. fahric back on itself along the French 4. Fold the fabric seam line and follow the directions for pinning, dart seatn front French dart creasing, cutting, and repinning the {ront waistfor clipping the extension below the waist line and lor line.

blades.

fhe Paern (see Figure 5|) Marking and Trueing +he

Remove the pattern from the form. Renmve lines. Pencil all seam lines. [0 2. Pencil

l.

the shoulder seam, seam, (b) the Crossmark (a) Lhe 3. Crossntark ease (c) the dar: line above and below the ease, French dart underarnl seam. underarm
4. True the pattern, paltern, ruling all straight lines and lreehand. smoothing all curves freehand. ol the French dart bodice 5l shows the shape of Figure 5! it is Hat. Nolice the ease over the bust when Notice pattem pauern in the side front seclion. section.

fhe Shoulder Seam Line Placing lhe direclions for cstablishing Follow the directions cslablishing the shoulder l. in Problem seam givcn given
+he Armscye Curve Farming Farming fhe Follow the directions for establishing the armscye given in Problem l.

i Placing lhe Underarm Seam Line

l. Follow the directions given in Problem l. 2. Check the contour comour of the lhe blouse arountl around the bust. shoulder blade, and armscye while formlng forming this line. ttladg, side lront over the back. Sometimes raising _ Lap the SldC _ or lowering the crosswise grain of the front or back lhe snde side seam lme line improves the lines of the _along the
1

o
c s .5
G)

U G
G)

. ..

<9 0

n i

C .1:
C

g g
'62: ;

8 ._

.1 .92

A; blouse.

C 1U ..| .1

g 3

w 3
_l

<

Placing fhe Waisine l

Before marking the waistline, raise the side back Before to allow enough length below the Sllghtly 1o armscye so bslightly (hat the arm can be raised Vfthat easily.

J
French dar: dart bodice pattern, Fig.5l. French panem_

35

I?!
.

s K131i? EENGIH_ FRENCH

DART JACKET

mit; and offei-smany

a.popjllalestandarvxi pattem for jackets

sign "(see Chapter 7)..

and in defor Variation posibilities

establish the Frenchedart line from-the hip. The line should slant outward slightly from the Center front) from the waist to the lgt i -. . Figure 52).
)
e

2. Letthe, fabric drop from eihe-cliplfped. i;

PANEL-AFRONT OR BACK
Esmang ihe Fabric Lengfh Measure the length of the blouse from the highest im o: the shoulder over the bust in front and the shoulderblades in the- back to the waist and add to this measurement the length of the jacket below the waist.

SIDE PANELFRONT OR BACK

Draping from shoulder fo Waisine Follow all the directions for the waist length Freud} dar: blouse from shoulder to waistline except for establishing the waistline.
Draping from Waisine fo Lower Edge (see Figure 53) l. Clip through the seam allowance on bor the underarm and the French dart seams from a point l 4 , inch above the waistline downward diagonally to within 1A, inch of the waistline. 2. Let the fabric drop from the clipped points for extra width below the waist to t the hips smoothly or to produce a are.

Draping from shoulder fo Waisine Follow all the, directions for draping the center dart bodice given panels of the waist length French in Problem 3, except those for establishing the waistline.

section. Scam clipped from l inch m5. 52 Center from above wainline Io the waistline.

I Fig.58. Side front section. Seams a: waistline clipped both sides, front and side.

36

l C BASI

SE ES B L LO OU S
created by picking monk's hood. The cowl neckline is Created monks labnc and 3119Wol of fabnc a of corners two plece piece allowopposite up Cowls exempllfy t0 drop downward. C e n t e r to ing the Center Since the sense. SinCe its most literal sensc. beauty.of draplng draping in lts WhlCh matcrial m whnch material the ol textur e texture cowls COWlS depends on the between the as well as relationship they are interpreted curves, the most graceful fold-lines and the gure Curves the lold-lines Cowls are usually those which are draped on the form cowls material. directly in the dress material. can absorb all, part, or none of the A cowl neckline Can Laken up in a dart depending on the excess usually taken thc entire excess and lt absorbs the cowl. Cowl. of the depth labric to the gure only when it therefore shapes the fabric falls at least as low as the bustline. can be Although most exactly balanced designs Can must be a cowl lorm only, draped on one-half the form folds. on the the balance to balarlce t0 sides pull draped on both however, use one After draplng draping the cowl in this way, however sides will be two that the so a pattern as u side only a5 patterl) alike. exactly
A High Neckline Cowl excess and therefore reThis absorbs none of the exCess usual amount of the darting. quires l. I. Fold the fabric on a t r u e bias and place the bias at the c Pencil Ce en nt e r front of the form (see Figure 56) . PenCil this fold line on muslin or thread mark it on an actual
garment.

Fig.54. Completed hip length bodice, front view. inFig. 55. Completed hip length bodice, side view (are the at a! lroduced troduced back).

Crosswise [hat the waistline is on the crosswise to sce (hat Check t0 does not rise at either the underarm or the and (locs grain und French dart seam lines lines, and that the lengthwise grain Crosses the waistline at a ol" the section seCtion crosses Center ol a1 the center
right angle. lrom waist to hip 3. Pin the seams from 5. hip, lapping the over the side Center section ovcr center side, and the side front over the side back on the underarm seam. Figures 54 and 55 show the front and side views of FrenCh dart hip length jacket. the completed French

.
*
L

'

A seam at the center l . C e n t e r back of the French dart jacket adds still another line either for tting more smoothly below the waist or for introducing a are. To acquire an experimental to develop experimentell attitude and t0 - a feeling lor draping even while worklng i working with standard designs, designs. try out the minor variations in design suggested above. However, always follow exactly the . fundamental rules of grain position.
r

Note. The line from the waistline to the hip is alan outward slanting line. It is possible either to 3 ways t the gure smoothly at the hipline or to introduce some are on the peplum section by slanting the line out more than enough to t the hips (see Figure 55) .

'

Problem 5
DRAPING BLOUSES WITH WlTH COWL NECKLINES NECKLINESHlGH. HIGH. MEDIUM. AND LOW VARIATIONS The cowl is inherited lrom classic Greek drapery, is. inherited lrom i; : ut the term itself ltself is 1s (lerived denved from the drapery of a Tbut

l-ig. Fig. 56. Fabric folded for cowl neckline.

37

Center front line of C. llouldlcoitgeidevewigh the center front of the

shollidr-scaip

eL

Fig. 60. Measurement for cowl neckline

bust.
Center ( m m .

_ bias ro" Fig.6l. Fabric pinned at sides of neck. um

l0

epding

Fig. 62. Shoulder clipped tally.

distribute folds more honong

Fig57. Measurement for a high cowl neckline.

5. Pull the drapery down at the Center front. Since the Center front line of the fabric is bias, it is possible t0 adjust it imo small folds instead of one large one lower edge of (see Figure 58). Weights placed at the as the top fold help to retain the folds draped. Note. To spread the folds more horizomally, stretch the fabric along the shoulder seam from the neckline end toward the armscye in the following order: stretch, stab a pin through the shoulder line at a point l inch from the neck, and clip from the raw edge to the pin in order to give direction to the second fold (see Figure 59). Repeat for more folds if desired.

Folds {all from neck end of shoulder Fig. 58. High cowl. sezm. . dinnbutcd by chppmg shouldcr 123.59. High cowl. Foldsfrom neck. Jean: am! Itretching away

5W
__
38

A Cowl Ending Above fhe Bus} Line This absorbs some ol the excess usually taken up into (larts, the amount depending on the depth of the neckline. The Center front line of the fabric stands l away from the bust line of the form about inch. the depth of the though the amount increases with neckline. Follow all the steps for draping the high-neckline cowl except number 3, which gives the measurement. For this Substitute the following dircction: Measure 3 on the dress fonn the distance from the shoulder seam at the necklinle to the desircd neckline depth a: the Center front (see Figure 60). Figures 61 and 62 show the procedure for pinning and clipping to establish the desired folds.
%

'

A Deep Cowl from fhe Neckne

This absorbs most of the nccessary pattern shaping and therefore rcquires little darting. l. Follow steps l and 2 given in the procedure f0! draping the high neckline cowl. 2. With the fabric 3 inches above the highest poim of the shoulder seam, pin the Center front line marked on the fabric to the center front of the form at: (a) the waistline, and (b) a poim ve inches above the
" 7 :
n s g n a g .

waistline.

BASIC

BLOUSES
Center front excess fabric in toward the center 6. Pull the exccss from lolds folds three or falling vertically und and drop (lrop it into two intersection of the neckline and the shoulder from the intcrsection seam (see Figure 65). 65).

[rom neckline. lolds fall from necklinc. Slep cowl, folds Step 3 Dccp wwl, Fig. 63. Deep For steps 4 and 5, drape in the m form. lorm. l-"or of pinuing Method uf pinning to ol the armws. direction of cowl draped from the neckline. Fig. 64. Step 6Deep (i-Deep Cowl

Note. This neckline will probably be at least 5 C e n t e r front. inches below the base of the neck at the Center For a higher neckline, follow the same procedure, but from. C e n t e r front. decidedly toward the Center pivot the fabric less decicledly This leaves some ease below the bust line which must be taken up into a supplementary dart below the bust. C e n t e r front is on the bias, run the added Because the Center lrom the lower end of the side seam up toward dart ( l a r t from the bust. lt will then more nearly follow the grain and will press better when stitched than if it were on l)ias. Figure 66 shows the ( l a r t from the waistline. the bias.

center 3. To t the fabric to the form, begin at the C enter lront of the waistline and smooth the fabriC fabric upward from to the armscye at the side seam, following and outward t0 D0 not the direction of the arrows in Figure 63. Do bust. Leave ease. tighten the [abric around the bust.

4. Smooth the labric from the armscye up to the shoulder point, point, aeain [ollowing following the direction ol the arrows in Figure (55. 15l. Pin Pin the Clcth cloth t0 lorm at the to the form end of the shoulder.

5. Smooth the fabric from the end of the shoulder seam inward toward the neckline and pin it to the form. You have now transferred the basic dart t0 to the neCkline (see F neckline Figure igure 64).

Fig. 66. Cowl draped from shoulder and witn part of excess placed in a waistline dart. Cowl draped from the shoulder. Fig. Fig. 67. Deep cowl
Cess

A Deep Cowl from fhe Shoulder (see Figure 67) As in the cowl Cowl last discussed, this design transfers the emire entire dart into the center C e n t e r front from at the neckline. l. Follow steps l to 4 for a Cowl from the deep cowl neckline. neckline.
2. Smooth the fabric lrom from the armscye up to the Pin at this point and from the raw edge to the pin as indicated in Clip clip
outer end of the shoulder seam.

Fl8-55- Deep FlS-55: Folds

Cowl cowl draped from the shoulder. Step [all from the intersectitxt: intersectioxi of ol neck and shoulder.

7-

Figure 67. 3. Drop the grain from this pin in order to form a {old fold that runs toward the center Center front from at the bust level. level Adjust the fabric in the same wa on n th the e Opposue way y o opposite shoulder.

39

DRESS D E S | G N
4. Pin the fabric to the line of the shoulder seam a: a point halfway between the neckline and the umso/e. and Chp from the raw edge to this pin.
LAP D | R E C T | O N S FOR BUTTONS AND BUTTONHOLES AND BUTTONS AND LOOPS Although the correct method for making buttons and buttonholes, and buttons and loops is not, strictly f speaking, a draping problem it seems desirable to give directions for these procedures at this point since so involve the many of the blouses that you will make techniques required.
.

5. Drop the grain toward the Center front again from the C e n t e r of the shoulder seam to make a second fold. Adlust the opposite side in the same way. 6. Pin to the shoulder line at the neCk for the third and top fold, as shown in Figure 67. Figure 66 shows the Completed eRect from the side view when a small dar: has been retained at the waistline. Note. The amount which the grain is dropped toward the Center {ront from the outer end of the shoulder and the halfway point on the shoulder deterrnines "both the depth of each fold and the depth of the neckline.

A Deep Cowl from the Armhole Follow the same procedure, but start tilting the grain toward the Center front from a point halfway up the armscye. This directs a fold from the armscye
toward the
Center

front.

Cowl Yokes (see Figure 68)

Cowl yokes are often set into blouses to get deep Cowl folds and yet to retain a high neckline and avoid line. They are also used heavy folds over the bust the Iower when the bias would be unsatisfactory in a of because conspicuous half of the bodice either too tightly fabriC weave or because the bias draws and soft clinging. around the bust if the fabric is very

Buons and Buttonholes (see Figure 69) l. Mark a vertical Center front line on both the Buttons are atright and left halves of the pattern. tached to the exact Center line of the left half of the the right half of garment. Buttonholes are placed on inch to the garment; they begin 1/16 1A to the left of the Center line marking and extend back to the right side of the C e n t e r. Since the button slides to the very end of the buttonhole, the latter should extend by the only the thickness of the button shank beyond balthe to in order garment C e n t e r front line keep anced on left and right sides of the C e n t e r. 2. Decide on the width of the overlap that is, the amount of fabric on the buttonhole side from the Center line to the edge of the closing. Since one-half the width of the button will extend to the left of the of the bulC e n t e r, the overlap should equal the radius a for inch ton plus at least 1/, margin beyond the butbutton ton edge. Thus, a l inch requires at least a inch overlap. Rule a line to mark the edge of the M" overlap. 3. DCld on the width of the underlap, that is, the amount of {abric on the button side extending beyond
the
Center

line.

Fig. 68. Cowl yokc.

the under(a) If the fabric is transparent, extend as the line Center the lap the same amount beyond both on be exact symmetry overlap, so that there will sides of the C e n t e r (ront. the buttonholes are (b) If the fabric is opaqtle and so that it exlong, make the underlap wide enough tends at least as far as the opening of the buttonhole. Finish the edgcs of the overlap and underlap wilh ttcd lacings or with wide extensions cut in one with f0! the fronts. lf CXlCHSlOIIS arc used, cut the pattern thcm by [olding under along the lap line and cutting follows the top edge ol the under cxtension so that it . the trecklitre slmpe (sec Figure 69a)

40

BASIC

BLOUSES

Facnng Cut On

Rnght Half

u. F r o n t

9
L

U n d e r

D
U
I 0J

E;

f3
Len Left Half

=
O C e n t e r

s:
L m e F o l d J

E G)
.

g 2 D
d)
._

o.

F r o n t

L:

U n d e r a l p

E
Q

of 0
q)

3
C

f5 <9 k!

._ H

S
O v e r l a p

E d g e Lu

g?)

f n C e n t e r

[or buuons bunons und and buttonholcs. buttonholes. Either Fig. 69. Lap for

cut

{acing on as in (a) or cut facing [acing as a separate piece.

Buttons Exactly on C.F.

Loops

.c C
u.

S
w

F E E
U

5E s: 3 E o 3 5 : . "2 o 2 2 . 3 S 0 5 l : : 9 x58 f :
s Es

.....
:

LL-go ULL EO g: 3 c g ) 3 0

85 3E

3 c0 ) 3 33 u: O B0 O <>
D i) D
o
t H

butlons and loops. Fig. 70. Lap for buuons

41

ihclegps are extended more than this from the Center

line
I

ihhe Floops arejclosely spaeed rare extended Eton: therentcr Iine not more manch: lncrease the width of the underlap if
f
V

ncrapon thejleft half (xe buttdn

line. Allown extra width Vat the Center [tnt im t o n lap if_ the design requires one... .

side.

*4. Pate the underlap with a separately cut tted facing o: wich an extension folded back from its edge (o stay the buttons which are placed on the exact
Center

line.

Problem 6
DRAPING A BLOUSE WITH A YOKE
Instead of running darts to the outer edges of the blouse in order to shapc it, i: is possible to distribute pan or all of the excess along the edge of a yoke. A yoke in a blousc is a small scction of pattern around the neck or acmss the shoulders used to support the lower seaion o! the blouse, which is usually gathered along the yoke edge.

Designing fhe Lower Edge of fhe Yoke Before designing the lower edge there are points to consider in the spacing of a yoke (sce Figur; 71, 72. 73) . 1. Scale the yoke to the proportions of the gure A small yoke looks best on a small gure and a pr-j portionately larger one on a larger gure. 2. Whatever the size of the yoke on which you decide, place the line above the middle of the blouse to avoid dividing it horizontally into two equal parts. A half and half division is not only poor in design, but also cuts unbecomingly across the fullest curve o! the bust. A division above the Center is usually betten than one below because it. is less heavy in appearance. 3. To procluce the elfect of a straight yoke, curve the line slightly upward from the Center front to the armscye. This avoids a droopy effect. A line cut on
'
'

of yoke m lower section: (b) Yoke curvcs upward toward the ade!Pig. 71. Good yoke spacin? (a) Pleasing proponion Line divides the blouse imo equal parts horizontally:(b) Line droops downward tnwafd iig. 72. Poor yoke spacing: (a) but poor lme. Lme droops downward townrd thc sides. M9273. Good spzcing

42

BASIC
i
i

BLOUSES

t0 curve crosawise grain always seems to lhe straight crosnvise the an the il ncars the side of optical oplical gure, downward as it xhe curves of the gure. This Principle due to the principle illusion (lue ' (hat lines [hat ol all design lmes establishment ol" lhe establishnlent 1o the applies to horizontal. to be shoultl should appear of the yoke and cut, Iower edge ol Mark with pins the lower seam allowance. Then turn the seam 5%; inch leaving a 5A l0 the edge. i: perpendicular t0 . untler, pinning it allowance under, allowancc
'
'

WAlST FRONT WAIST

S E C T | O N (see Figure 74) LOWER SECTlON

'

Placing fhe Fabric on fhe Form l. Pin the straight lenglhwise I. lengthwise grain or selvage to lorm at the top of the section. thc lonn cemer lront of the the center the lower edgc above inch seam inch Allow a 5/, edge ol" the yoke. 5%
e n t e r front. center [h6 chest on the C Pin at the 2. Pin center on the Center front, easing waistline am Pin at the 3. for the fabric upward above this pin blousing. pin 4. Smooth the fabric across the bust line and pin [hat the crossgrain is level. at a: the bust so that

for draping blouse section below the Fig.74. Procedure lor

yoke.

Push waistline directly below the gathers in the yoke. Push the fabric upward slightly to provide greater length for blousing.
Yoke and Lower Secon fhe Yolre Joining +he the yoke edge over the lower section and pin it Lap perpendicular to the edge.
Forming fhe Lower Secon of fhe Armscye Line Continue the pin pin line from the yoke down to the underarm seam, seam following the directions given in Problem l for establishing the armscye line.

1o the form at a: the underarm to fabric to 5. Pin the labric so that it is the either level or very i support crossgrain arm. Ease the fabric forward to Lo nearly so under the arm. inch of ease. For full gathers along 2% provide p rovide at least 3/, the yoke edge a larger amount may be desirable. .
r

.
'

Disfribung fhe Excess Disiribung There will be excess fabric both above and below the bust as the a5 the tabric fabric is now pinned. Decide whether . t0 to force all ol of it upward to t0 the yoke cdge or t0 to divide ll between tucks or the gathers along yoke edge and a i: dart or ease along the lhe waistline. lt is probably wiser to t0 Edart Lhe bust -keep the grain nearly level across the keep bust, for if it it is liable to wrinkle diagonally from l rises very much il -the yokc yoke edge toward the underarm. l. Pinch up tiny tucks along the top of the lower I. section, 1o work in the fullness over the bust vsecuon, starting to and and continuing t0 to within 11/2 1%jnches inches of the armscye. distribute lullness across the entire line (ullness line, but Do not. not enter lt over the bust. Convert the tucks to unter gathers later when joining the seam. Work in as much fullness (ess as is becoming; underarm pin becoming, releasing the underarm pin if Ccessary to ease the fabric farther forward horizon horizonecessary .' ly. ' Take up the remaining excess into a tentative stline dart dan or distribute it s mstlme i: into imo pin tucks lucks along the
.
V
7

lem l.

Underarrn Seam Placing fhe Underarm Handle according to the directions given for Prob-

Do 1er

Farming fhe Waisine Trim the waistline seam, leaving a 2 inch extension. It is unnecessary to clip the extension below the waistline if the blouse is gathered at the waistline. If a waistline dart is used the blouse will t the waistline closely and the-extension below it must be clipped as explained in Problem l, page 22.
WAIST WAlST BACK

YOKE SECTION

Draping fhe Upper Lines of fhe Yolte Yoke as in Problem Proceeding l, page 24; l. Mark the center back. 2. Cut out oul the neckline.

43

DRESS
3. Pin to the form. 4. Form the shoulder line as in Problem l, except (hat ll is unnecessary to have a dart at the back of the neck or at the shoulder. The ease along the back edge of the shoulder is of course, necessary. 5. Establish the upper armscye line.

D E S I G N ;
Note. When using gatlters as a fonn of fultn; them throughout an entire design wherbvcr {u appears. Ncver mix gathers and pleats, or gathcrsi. tucks, in one design, as these various forms of {u are too unlike. Tucks and pleats, however, have. _ necessary similarity of line to harmonize with egd other. lf you do not want gathers at the waistli use a dart and press it so that it will be practicallyl;

Designing the Lower Edge of lhe Yolxe The back yoke should be approximately the same depth as the front so that it appears to continue the front line. The elfect is better, however if the back is slightly shallower than the front. The line of the yoke should curve upward very slightly as it goes across the shoulder blades toward the armscye. Mark the yoke line with pins from the C e n t e r back t0 the armscye and trim, leaving a 2% inch seam allowance. Tu r n this under and pin it perpendicular to the edge.
WAIST BACK

invisible.

3'

SUMMARY: PRINCIPLES OF DRAPING BASIC BLOUSES

l. lt is always necessary to take up excess at the outer edge of a pattern into darts, folds, or gathers in order to make Hat fabric conform to body curvcs.

z
i

LOWER SECTION

2. All darts, starting from whatever points around the outer edge of a pattern point toward the bust in front and toward the curve of the shoulders and shoulder blades in the back.
3. Always place the fabric on the form with the straight lengthwise grain at the Center unless the d0 sign demands t r u e bias as shown in cowl drapery. 4. Always drape with enough ease around the bust so (hat the fabric falls free at the front and back of the armscye and forms a small vertical fold. 1 5. Vertical design lines should usually slant toward 1 the center as they run from the shoulder down to the waistlixie in order to harmonize with the Silhouette ol the gure. 6. Horizontal design lincs should cut across the gure above or below the bust but never directly al its highest point, and should curve slightly upward as they approach the underarm in order to appear level.

excess to take up into gathers or in a waistline dart. lf the blouse is designed for active sports wear, push in e x t r a fullness, more than the amount needed for shaping, but not so much that the gure appears round shouldered. Whenever the design is to have gathers at the edge of a yoke, it is consistent to have gathers at the waistline edge as well. Always push the fabric up above the waistline for extra blousing length whenever there are gathers. Form the lower armscye line and the underarm line
of the back in the same way as for the lower section of the front. Lap the front over the back at the underarm seam.

Proceed as for the front, though there will be less

PART ll

THE FLAT PATTERN METHOD OF DESIGNING BLOUSES ON THE MASTER BLOCK

PATTERN

--

efore attempting to comparc the two systomspf drapmg and Hat pattern designmg pattern making understand thomughly the meanto it is essential

ing of the tcnns masler" bluck [ialrern and nt patlcrn blocking. The mustcr blofk puucrn is a foundation pattern mzulc b) Cithcr (lraping on the individual drCSS

44

1753.75. Mauer pattern blouse from with shoulder dar:

ungut, m a n n g
5_ Pins, 5_ 511e, 7, A sharp pencil. 8. Rulers, a triangle and curves if 9. A large at work table.

Fig. 76. Mastcr pattern blouse back.

possible.

Problem |
TRANSFERRING THE WAISTI-INE DART T0 THE SHOULDER (See Fiqure 77)

'

da:
I

I. BMW 3 Taigm mlcd um mm m Wim f he mutet da?! 10 ? hmde Pm' Rfad he di" cuuion o! shoulder dan location in Part I. DraPing Basic Blouses on the Dress Form (page 19)' ' ' ncnl lme, close thc basxc wanstline 2' Cut on the PC am! transfer it to the new position on the
-

gives ' a much better distribution of fullness in a M0030 (hat xsto be worn.

shoulder. Although the position of the dart and du: shape of the pattem have both been changed by thise Operation, the size and t have not been altered in any W37 3. Redraw the new dart, curving it so that it entersv the shoulder at a right angle (see Figure 78) True up, all vertical darls, following the side of the dar: next; to thc Center of the garment. As i: is originally drawn, the will be so large. (hat i: will run all the way m the point of the hast. This is not only unattractive but causes the blouse l0. t too closely. On the other hand, a single dar: in I f blouse front is too large to be shortened without bul": ing awkwardly at ins tip. Problem 2, illustrated 5!. Figure 79. shows the dar: divided. .a design whidl

am

46

B L O U S E S
a1 the waistline and shift part dart a: retain part of the dar: relain i1 [o of iL to the shoulder.

F o l

both darts to shorten them, following 3. Redraw bolh Center that is, the edge toward the center [hat the inside edge line of the garment. Never change the size of darts at the outside edge of (he the pattern paltern when trueing them up.

Problem 3
C J .

DIVIDING THE MASTER DART BETWEEN WAISTLINE AND UNDERARM (see Figure 80)

l Transfer Transfer waistline waislline dart 1o t0 shoulder. Fig. 77. Step I dart to 1o emer shoulder at a right Fig. 78. Step SlCp 2Curve dar: righz angle.

Problem 2
DIVIDING DlVlDlNG THE MASTER DART BETWEEN WAISTLINE AND SHOULDER (see Figure 79)

The preceding problem showed (hat that a blouse ts beuer if i1" the excess belter exccss is divided between two darts radialing from the bust outward to two different edges iating of the (he pauern, since two of ( w o smaller darts taper out more moothly when shortened than a single large one. l. Draw the pencil line and slash exactly as in the receding problem. 2. Pivot the pattern at a1 the point poim of the old dart to
V

The underarm dart is usually placed as high up under the arm as possible without interfering with the armscye scam. seam. This is done because iLis not. not at all decorative and is used only as a supplementary dan in conjunction dart and tting dart conjunclion with the waistline dar: occasionally with a small shoulder dart as well. The underarm underarnl dar: dart should always be invisible. (For further discussion, discussion, see Part I, Problem 2, Draping the Blouse with a Horizontal Underarm Dart, pages 2931.) 3|.)
l. Draw a line from the point of the waistline dart the location of the xhe projected new dar: dart under the arm. a r m , This should be I l to 11/2 lI/2 inches below the armscye seam.
1o

2. Partly close the old basic dart, pivoting it at its point to divide it between the two positions. poim 3. Redraw both darts to shorten shorlen them.

F e d l

v o m

m a n
I

Cf.

c.r .

dar: divided between shoulder shouldcr apd waist.79. Mastenr M astor . S; Dotted otted lme hne shows method melhod of trueing vertical darts. v i.

dar: divided between waistline and Fig. 80. Master dart underarm. Doued Dotted lmes hnes show method method of

shortening dans.

47

tie, a draped neckline with a clip transfer of a dart to the cemer and sann. Trhe a cowl. to put into gathers, tucks, or supplie: excess Jpced knots. along the center from. (See Chapter 7.: Suggestion 7, for further discussion of the use of the basic dart as a starting poim in working out new

{matt ayoke, a

darv-pointing to the neck "may be I l t i amy s vnumbennof ideas, such as gathers

de. Fig. 82. Dan transferred to neck to form a bow

designs.)
Prob|em

DlVlDlNG THE MASTER DART BETWEEN NECKUNE AND UNDERARM SEAM (see Figure 8|)
I. Draw a line from the point of the basic dart to the new position, the neck at the center front. 2. Slash the new line and close the old dart; or 3. Divide the dart, placing part of it at the underarm seam near the waislline. This placement gen-

erally harmonizes with folds radiating from the w to the bust. 4. Add fabric for a tie if the design calls for (see Figure 82) . 5. T0 add more ease around the bust than the basic dart provides, spread the pattern apart at the top afgthe basic dart (see Figure 83). A good foundation pattern ts very closely, Willi? dm. nearly all of the excess taken up in the basic block a makes This pattern from very satisfactory no includes it because superuous which to cut designs fullness. It usually ts too closely, however, to worn, and more ease should be allowed around thef bust. Figure 83 shows a blouse pattern with the entirtij

F a l d

L a n a m w s i e

E 5 " ! " " "

dividcd between the center from neckPi}. 81. Mauer dar: near lhe waistline. line and the underarm

Fig. B8. Method of adding

extra

width around the bust.

BASIC
III
i

BLOUSES
all pattern slashcd so (hat (a) Figure 87 shows a pattern t0 neck thc Lhc lrom fall to vertically folds will tend the lolds because littlc radiates fullness Thc very Lhe lhe waistline. the slashes are nearly vertical. Spreading the slashes intensies the curve of the waistline, and fullness therelore tends to spring from [hat curve. underarm seam. 1o the underaml (b) Figure 88 has slashes t0 t0 tends case this in The fullness spring from the more than outward radiatc lines the and underarm, in Figure 87. This design will be somewhat less

f!

ihm?
l

slenderizing.
t0 to the (c) Figure 89 shows slashes distributed both ralines fullness The t0 the armscye. underarm and to bust the thus and more still outward diate emphasize more emphatically. illustrations carefully, these three illustralions lf you compare Lhese [hat folds and that conclusion the to draw will be able you t0 run in the direction in which you gathers tend to {hat this will slash. Be cautious, however, in assuming (hat factor that (hat other is one there because always happen,

'

follows the direcFigs. 84, 85, and 86. Fullness generally tion ol slashcs.
to Lhe neck and with the point of the transferred t0 dar: translerred dart dart pivoted outward for e x t r a ease around the bust, (hat the but with the waistline the same size. Notice that incrcases as the dart point is pivoted waistline curve increases waisllinc outward.

rau F e l d

L n m w i s a u n g t h v r i s e

FM
F o u
L a n x t h w i s o n n m m s o

F o l d e

e n m i s a L n g w o

87. 88, 88. and 89. Gaihers or folds tend to run in thc direaion direuion ol slashes. Figs. 87, slaslies. In ln Fig. 87 (he {unness [uuness [ends u, w {an ' from verlicul vertical slashes' In Fig' 88' the fullness tends to radiate toward the under venically lrom vertically un derarm. arm. And in m Fig. F" t h e fullfu 1. l 89, the g .89, ness tends to 1o radiate toward the underarm and the armscye.
y
i

6. The factors lactors Lhat {hat control comrol the (lirection (lircction of folds or galhers slashes, and (2) igalhers are (l) the (lirection of the slashes the contour oI the gure. Note (hat that the three fmished nished cont.our_of 311e ouses in Figures blouses Figures 84, 85, and 86 have the same partial[hat the Lhe lines of lullness fall {all dilferently yoke design but that dierently In Figure 84 the lines of fullness lullness are nearly lln each. 'In ' lilgurc r verti zrfcill: 8:) they radiale 8a radiate outward oulward somewhat Inglire lnnhgtire ialn Limae, imorlfa e. and in Figure 86 they radiate out still more.

in

'

determines the Lhe direction of fullness lines the con. t o u r of the individual gure. Always take imo accoum the elfect of Lhe the curves of the body on Lhe the nal pag. tern. lt is safe sale to say (hat that body contour is the greattem: grealest single es: smgle factor in determining the direction [hat that fuu. full. lines will take. This, of course, is at course block. block why iiess mg cannot produce the same sureness of etfect elfect in design as does draping on the individual form.

49

uee-fjulluess_a1qpg. "the edgee oLa simulated Vyke.;=;thaecux_yes.upwarde anits quter end. you will "lhblh pattem pieces in the lower section the ;averlap yoke. This shortens the pattern so that it dnws at the outer corner of the yoke. T0 correct this, slash Qnce from the outer corner of the yoke line either t0 theunderann seam or to the armscye. When it is spread out, this one slash swings the yoke section up out o! the way of the vcrtically slashed lower section and lengthens the blouse enough at the outer end of the yoke line to t without drawing. This difculty arises only when you slash vertically, as in Figure 87, and when the yolte is both simulated and curves upward. (See Chapter 7 Figures 31-33, for a similar example applied to simulated yokes in skirts.)

an;

'

gxves you the legt Fromme sidekof the neck to a p J bust the fabric will fall into shallotigfold of the excess from the master dart (iee Figu
A

Inierpreng the Cenfer Fron? Darf af fhe Necltline a: o Cowl 1. Reread the directions for draping cowls pages

37-40
2. On a copy of the master pattern, draw a line from the point of the basic dart to the center front neckline. Cut this line and pivot the pattem at the dart to the neckpoint of the dart to transfer the basic
line at the center front.
NOCH D1991

4. Tovincrease the depth of the folds and of the neckline, it is possible t0 proceed in twog (a) Measure down from the side vof the neck e form the desired neckline depth. Placing an Lsq on the center front line, pivot the front patternn v. outward from the waistline until the center front fa a right angle with the cowl neck at the point of t h e sired neck depth (see Figure 91). Pivoting the pattern outward in this way in the intensity of the waistline curve and forces some the cowl drapery to spring from the point on the Waise; line where the pattern was pivoted. If you prefer a cowl that hangs heavily at the cen front, follow Method (b). (b) Pivot the L square (not the pattern) out {r the center front at the waistline so that the upper edge touches the neck end of the shoulder seam at the sired depth measurement of the cowl neck. Draw new center front line and the cowl neckline.
<

o! the master dar: 175g, 90 Cowl interpretation

transferred

so the

Center { m m

neckline.

Fig.9l. Deep cowl madc by pivoting outward the from pattern segmem.

mm

50

BASIC
lhe neckline, the heavier tne The (leeper deeper the the drapery the lhe and mature nlalure desngn appcurs more the (lignied dignied d and an deslgr} appcars fOr suitable for more is therefore, Cowl cowl is, The dee) m be, Th deep euxtaftle it also Since a for young girl. woman than foyr older wfonlarlx an beltier Smeelll it is most decidedly thickens the gure over the bust, 1t 1s mest gcjijedly short a For woman. slender tall t0 a to girl. becoming shert glrl, To T0 cowl is generally a better Choice. me the very shallow Cowl ciholce. retain part of block a shallow cowl (see Figure 92) retam lhe waistline. lt is probable that dart at the master dar: the masler at the all of these designs (lesigns need a little extra width at on the of Course, course, amount the lhe ughttightbust, depending, ness of the original master pattern.
Neck Deplh DeDlh

BLOUSES

m35

G m n a rm

h m v n s e

L n e n -

Cowl yoke: Procedure for blocking blocking the cowl Figs. 94 and 95. Procedurc dart to the thc from the dar: line a line and the Draw (1) yoke (l) cowl off the yoke and add Cowl of [he the yoke; (2) Cut o gdge edge (f (3) Spread the lower section for ease at the yoke drapery; (S) yeke dart t0 lo the undcrarm near the waistlinc. wanstlmc. edge and insert a d'art

Cowl with part of o! the master dart reFig. 92. Very shallow cowl tained at an the waislline. waistline. . . Fig.93. Cowl drapery in u a yoke.

Slep Stap l

'

5. PlaCe Place the Center front of the pattern on the true . bias of the fabric. This cowl automatically places the Cowl neck edge o! of the pattern on the bias. Lneck Cowl drapery in a yoke. This c Figure 93 shows cowl ut Cut folds and ihas _has deep yet ts more loosely around the bust because the Center center [ front r o n t of the lower section is on _bust y the the straight grain whereas the yoke section is Cut cut with ilhe the center Center front from on a true bias. Fabrics used for cowl Cowl draping draping should have grain which is very inconspicuous. Figures igures 94 and 95 show the procedure for blockus.a F cowl yoke. Figure 96 shows two steps in making fng " z Cowl cowl yoke with tted tled folds falling from points along e shoulder and with a seam at the Center center front of e yoke. Figure 97 shows the nished effect of this wl yoke. .Wl
r
'

Fig. 96. Covl yoke with a shaped seam at Center front: 2Slash and spread the Step l-Mark as shown. Step 2-Slash
pattern.

ng

Fig. 97. Cowl yoke with a seam at Center center iront. front.

Fig. 98. Spaced bow ties a: the

Center

front.

Problem 5
TRANSFERRING THE MASTER DART TOCTHE CENTER FRONT
This dart position should be used for designs that involveegathers along the Center front line, spaced bow knots at the Center front, or any design with dart interest at the Center front. Figure 98 shows a blouse with spaced knots.
l. Draw a horizontal line from the point of the basic waistline dart to the Center front. 2. Slash the line and transfer the Original dart to

placed froni the Center front to the undetar? and spread the pattern. Note. Always slash perpendicular to (her edge, if possible. 4. Place the grain indicator perpendicular waistline at the Center of the section. Figure 100 the placing of the gkain. Notice that, as a result of the slashing, the un u seam is curved and the armscye curve is inte The Center front is also an intense curve and therefcgae the grain must be placed at the Center of the
4
V

(ab)

Slash again a: point:

knots

perpendicular to the waistline. 5. To add width over the bust (see Figure I0 _ slash vertically from the point of the basic dart up t" the shoulder. Spread the slash over the bust but keep it closed at both ends. Thus the waistline and: shoulder line remain unchanged in length, but the; curve of each increases. Do not forget to trace the exact curve in the nal pattern.
f

in Fig. 98. Fig. I00. Pattern slashed to interpret design

dart 17i; 99, Transfer of the matter

to the Center front.

Fig. 10l. A verticnl slash spreatl for width around the b! (top and bottom cnds urc not sprcad).

*1

BASIC
lf you wish to convert the same pattern into Note. ll Note. one for a design with gathers distributed evcnly along e n t e r lront line, measure the original Center Original the entire C ol the master pattern and iront ol" C e n t e r lront the of length enough so that the then spread sprcad the horizontal slashes cnough Center cemer front length alter it is spread will cqual one tneasuretnent. titnes the original measurement. (Jnc-hall to two times and one-half onethat [hat rule lt is a general gathers reqtiire require one and galhers gcneral and to be is that lS of the half t0 two times the length space length fulldesired the on amount the depentling depending gathered, ness and also on the t e x t u r e and thickness of the fabric

BLOUSES

which is used.
" u . _

Problem 6
CONVERTING THE MASTER DART TO A FRENCH DART SEAM LINE
i

Darf Line Position French Dari

deterniine the French dart line, see the instrucT0 detcrmine ior draping the French dart ( l a r t (pages 3136) tions lor 3186) . First frorn the point of the waistline dart to the line from rule a linc shoulder position (see (sce Figure I02). Then, using the as a guide, redraw the line by hand, putting ruled line 21s in enough curve so that it enters the shoulder at a c e n t e r over the angle. curves slightly toward the Center right angle, .' bust, and enters the waistline at a right angle. The - line Inay coincide with the basic waistline dart (see may
l

I04. French dart line drawn closer to center front than Fig. 104. the master dart. u t on line drawn in Fig. cut Fig. pattcrn c Fig. 105. French dart pattern increased for ease over bust; (2) Dotted I04: 104: (l) Length (I) line indicates a more pronounced curve over bust.

Figure I02), although in some cases the spacing may be improved if the front panel is narrowed at the waistline (see Figure 104). I04). Place the master pattern Order against the form or hold it up against yourself in order to sketch in a l)ecoming becoming line.
I. Pencil the French dart line and crossmark it l. above and below the bust.

2. Cut the pattern apart along this line. 3. Add ease both lengthwise and crosswise, crosswise because the side front section of a French dart blouse always ts better if the ease is increased over the bust.
(a) For e x t r a length, slash from the point of the dart to the underarm and spread the pattern slightly at the bust (see Figure 103). I03). Spreading over the bust has the same effect eect as forcing the grain inward above the bust when draping the French dart.
master

G v a n i

(b) To provide e x t r a width and to smooth up the side front line, redraw it it, rounding the sharp point at the bust into a smooth curve . (see Figure

103)

ig. I02. French dart sFig.

103. French dart pattern with ease introduced ig. inuoduced over ig.l03. ee bust on the side front section (dotted line shows nal i.de front line) . i

master dart. master dan (line curves

line drawn as a continuation of the

slightly).

Mark the straight grain in the side front section perpendrcular to the waistline at the C perpendicular e n t e r. center. For a variation Variation in the position of the French dart 1in6, See Figure I04. Because a French dart bodice ts line, tightly and is frequently [requently used to provide contrast with a bouffant bouant skirt, the French dart line is sometimes widened at the shoulder and narrowed at the waist

4.

oasss
a: in Figure I04, where the line is closer to the centcr Both Lfmnt. the length and the width of the side front secuon can be mcreased by cutting the slivcr of pattern between the old and the new dart positions from the
Center

oEsv|s.Ns<

front panel and attaching it to the side front section (see Figure 105). This provides some of the ease which is required over the bust. Thc more the Center front panel is narrowed, however the more ease the side from panel needs t0 provide a smooth t over
the bust curve.

Problem 7
TRANSFERRING THE MASTER DART T0 A YOKE EDGE (see Figure I06)
A yoke is simply a combination of horizontal and vertical darts. lt acts as a support for ease or even for visible fullness over the bust as well as to introduce a line along which to shape the pattern. A dress with a yoke simply overlaid on a at pattern, with no transfer of the dart to its edge, is a serious mistake; not only because the dart positions are unrelated to the line of the yoke, but also because no ease is introduced along the edge joining the yoke to the body section. The design is therefore still, tight, and totally unrelated to the body contour. Figure 107 illustrates this error. F igure I08, on the other hand shows the transfer of part of the waistline dart to the yoke edge in
Fig. 108. (jorrect. Part of dart transferred t0 yoke edge. Fig. 109. Mastcr dar: entircly transferred to yoke edge and pattern pivoted outward lor e x t r a fullness.
l

order to introduce a little ease. Notice also the shap ing along both the lower and side edges of the yoke. This shows (hat the dart was really transferred from the wvaistline to the yoke edge. Figure 109 shows the same design except that gathers at the yoke edge have been obtained by transferring the entire waistline dart to the yoke edge and by spreading the pattern at the bust to let in even more fullness.
l. Draw the yoke line on the master pattern while holding the pattern up against the {onn in order t0 relate the yoke spacing to the gure. Do nol draw the line with a ruler but curve it slightly upward along its lower edge as i1 approaches the armscye. (See yoke spacing in Draping a Blouse with a Yoke,

pages 42-44.) 2. Crossmark and cul the yoke line.

3. Draw a line lrom the point of the basic dart to the yoke edge and slash it. 4. Pivot the paucrn oulward a1 lhe poim ol (h6 basit dar: to shift parl ol the waistline dar: to thc yoke. Figure 109 shows thc paltcrn pivoled and all Ol the ( l a r l translcrrcrl to thc cdgc ol lhc yoke. Retaining somc o!" thc wuisllinc dar: is optional. Tuch the gathcr, or casc thc cxccss along thc uppcr edge of lnwvr sccliun inlo Ihr: yoke. For 2| morc (onlpliculcd und unusual yoke design. scc (Jhuptcr 7, Figurcs 58 und 59.

Fig. I06. A yoke. shuuld bc lramlcrrcd H8, I07. lncorrcct. Dan

(o

yoke

edge.

BASIC
Problem 8
TRANSFERRING THE MASTER DART

BLOUSES
(In this pattcrn, (m overlapped design of the ovcrlapped pattern. Sketch in the dcsigti Ieft sidc only (see Figure IIO). The Ieft (Ilc right side sidc, the extension extcnslon umler thc under as the lhc thc should (IupIIcalc sidc shouId right (Iuplicatc Lhe overIap IeIt usuaIIy on the IeII right. overlap on the right. llSlHlIIy equals the

T0 TO AN ASYMMETRIC DESIGN WITH BALANCED FULLNESS (see Figures IIO and III)
{hat is, balailced blouse pattern, that An asymmetricully asymmetrically balanced oIf Center, may be either very easy [hat is balanccd off one that cut. u t . II", II, for example, the blouse or very complicuted compIIcaled to c sznne on the lhe right and Ieft sides, sides but has is exactly exactIy the same Ironl or surplice Ior the the a side Iront sUrpIICC opening, pattern for wiII Ior will bc for the left side even duplicated though right otf C ccnter. e n t e r. On the other hand, if for the opening is olf lhe design has gathers or drapery radiating example the Irom one shoulder and the other shoulder is smooth, smoolh, Ich sides ot of the pattem wiII be shaped _ the right and Icft panern will diffcrently and the pattern will be much more emireIy dilferently entirely u t . This Iatter type cut. complicated to c Lype of asymmetric l0. design will be discussed in Chapter 7, Suggestion I0. The method discussed here applies to t0 an asymmetri caIIy balanccd blouse with all the pattern edges alike on the right und IcIt Iclt sides but with the opening o ofI lt is blocked exactly Center. It balexactIy Iikc a symmetrically sylnmetrically anced one cxcept [hat it i5 is necessary to t0 draw the design except that on an cntire front Iront of 0I thc master mastet block pattern rather - than on a pullern Ior only pztttern onIy half the front. I. Make z: u paper copy of oI the entire front of the master pattern from clearly pauern with the C e n t e r front clearIy marked.
A

t0 the lhc basic waistline dart to oI thc 'l'rdnsfer most of 2. Transfer In addishoulder oI the yoke (see Figure I I I ) . cdge edgc over extra ease for e x t r a Ior the tion, sprcud slighlly puttenx pattern slightly sprcad T0 increase the gathers still more, pivot the the bust. To to spread the fuII cdge. edge. pattexn outward t0 pattem

at the Placc the lhe straight grain a1 3. Place around the tbe nal pattern.

Center

front. Draw

Problem ProbIem 9
DESIGNING BLOUSE BACKS ON THE MASTER BLOUSE BACK PATTERN

'

'

The principles oI of blocking designs on the back of the mastcr pattern are essenlially essentially the same as for the front. There arc, Iront. ure. however, a few points typical of bIouse backs only. Becausc blouse Because the curves of the gure a1 the back are divided between the a: ol" the shoulder top oI and the thc shoulder shouIder blades, the foundation master pat[ m has two darts t eC rn a very smaII small one either at the back of the neck or ur at zu the shoulder seam, and a second waistIine up to the shoulder Iarger one from the waistlinc blades. See draping procedure for Ior the Waist Back, Problem I, pages 23 -27 .

G u i n

u n m u L o n n h m s c

F C 1 .

"0IIO. master pattern [ r o n t with Iines drawn panern [ronl Collplete Coniplete asymmemc design. deslgn.

l l l . Right Fig. m. Right or overlapped side oI o! pattern with slashes spread for gathers at yoke edge.

n G r a i n

8 C e n t e r

E
F r o n t

55

o nEss oes

I. C.

fullness in gathers along the waistline. Genmuy should take your cue for the design of the blnuse from the front, and let the back carry oA mulifs expressed in the front. Very complicated blq backs, especially chose involving gathers. too o_ _ tend to round the shoulders and distort the gure fro/ the prole view. lt is generally wiser to keep the backt, of blouses comparatively simple and Hat for the sak of the complete silhouette.

'

--r"

Transferring fhe Blouse Baclt Darf: fo a Yoke Edge l. Draw the yoke line and c u t the pattem apart. (See the discussion of yoke spacing on pages 42- 44.)

Fig. l l 2 . Transfer of the shoulder dart to the waistline. The great size of the dar: increases the width across the
shouldcr blades.
C.l.

lt is possible to transfer all of the dart from the shoulder t0 the waistline. lt is seldom desirable to do so, however, because this throws a great deal of fullness over the shoulder blades and a tremendous amount at the waistline, and this is usually dilcult t0 control, as Figure H2 shows. lt is however, possible to transfer the basic shoulder or neck dart to a of the yoke edge or to change the dart at the back neck l0 a shoulder dart il this change improves the for design. Figures l l 3 and l l 4 show the procedure waistline the to (livide also lt is this transfer. possible dart into two or more smaller darts or to distribute the

ol Fig. l l 5 . Closing of shoulder dart and translcr of part dart t0 waistline yoke edge. waistline Fig. ll6. Pattern pivotcd ouxward at point ol dart l0 introducc lullncss m. yoke cdge. 2. (Jlose the shoulder dart. The lower edge ol the

dan transfcrrcd m ncck (dotted linc F g. I14 Shouldcr und shouldcr height correcshow: ncccssary ( l a n Icngth
tions)

lor thc Blauer blnusc back with hncs drawn ncck. thc m dan [ e r ol thc shouldcr
115g H5

trans-

of (h6 yoke is now slightly longer than lhc uppcr edge T0 reverse. gel SOHN body section and should bc the easc along thc upper cdge ol thc body section, translef a small part ol lhe waistlinc (lan up t0 it, as shown in Figurc H5. For actual gathcrs, completcly close ll the Lhe waistlinc da11. For still luller gathcrs. pivot i waistline ( l a u . a1 its point, as shown in Figure ll6. ll lhc ynkc scclion is (lccp, mnrc ol the shoulder ( l u r l shnuld In: Lranslcrrul t0 ils lowcr cdgc. But whe ull ol" thc shouldcr (lurt is trunslcrrcd u) lhc lower heuer l0 ctlgc ol n (Iccp ynkc. il Ins um lonscly. ll is lcmc 50m1 ul lhc ( l u r t ut 1h:- shuuldvr \s'hcrc it ca Im workcd in us casc ulong (lu- shnuldcl" scxnn. How(h8 cvcr. lhc pnrlinn nl lhv (lurt ul lhc luwor cdgc ol
'
'

5U

BASIC

BLOUSES
the jacket lowcr edge of lhe the lower linc lor lhc the line 3. Draw thc to 9 inches below t0 7 about and waistlinc the to parallel parallel there is a slight curve along the waist(hat lherc it. Noticc that thc master blouse and skirt patterns. linc of both the 21s it is, because no overblouse or curve as Leavc Lcavc this curvc scam should be tted as waistline without a jackcl jacket as a blouse with a sepwaislline waistline the around snugly waistline. waislline. at the atlached attached a r a t e pcpluln peplun) the dart in the back of the blouse is smaller Note. lf thc h a t at the back of the skirt, equalize them by that than { t0 the shoulder dart and transferring part of slashing to t0 the waistline. dart thc l a r t to the shoulder (

H7. Dccp yokc-part yokc- part of shoulder dart retained and Fjg. Fig. ll7. u) lowcr cdge Lranslcrrcd t0 cdgc of yoke, yokc. part translcrrcd

I17 l7 yoke yokc supplies casc lor arm movcment. Figure l umid tightness over the lhe shoulder shows this. l0 uvoid thcrc should always bc slightly more lenglh blades, thcre length on the lhc top edge cdge ol thc body section than on the lower 0| thc the yoke section. A deep yoke is not well edge ol for use in Sports adaplcd adapted sporls garments, for it obviously ' rcslricts rcstricts uction more than a shallow yoke with fullness lt. below it.
' '
'

G n n i
G v r a i n

L c n m w s ic

L e g h tw e L e n m i s e

|0 Problem I0

DESIGNING A HlP-LENGTH HIP-LENGTH JACKET PATTERN FROM THE MASTER BLOUSE COMBINED WITH THE TWO-GORE SKIRT
lt is possible to 1o convert the basic pattern for a blouse to a hip-lcnglh I18 l 8 a and b) hip-lcngth jacket (Figures l zwithout n ywithout a waistline seam by combining the basic blouse pattern with the top of the two-gore basic skirl. skirt. (For the two-gore skirt pauern, pattern, see pages 65 71 .) l. 'Irace Trace the outlines ol the basic waist pattern on construction paper. paper, 2. Place the waistline of ol the thc two-gore skirt against the waistline of the basic blouse Vthe walstline pattern. The darts 0f of the waist waisl and skirt are draped to t0 coincide but are in size. First draw equal around the center C e n t e r secn_0t 11.0! .uon ol the skirl skirt and then move the skirt uon pattern so (hat lthat the side slde section ts against the side section of _the blouse. the

118. (a) Front of master mastcr pattern Fig. l-ig. ll8. pattcrn hip-leugth hip-length jackct; jacket; ol master masler pattern hip-length (b) Back of jacket.

French Darf Dar? Hip-Lengfh Jacke}

Use this pattern for long torso lines (hat that t very I19 l 9 a and b) . Snugly (see Figures l I. l. Place the lengthwise center of the . lengthwise grain at the Center sxde SldC front and Slde side back sections so that it runs
l

the waistline perpendicular to it. 2. Slash the side lront secnon sectmn of the blouse horizontally from the bust to the underarm seam to t0 add ease over the bust. (See directions for the French French blocklng blocking dart waist, pages 53 54.)

across

stretching thb xuslin

L a m m .

(a)

(b)

Fig. 119. (a) Front of French dart hip-length jacket; (b) Bach o! I-rench da11. hip-length jacket.

2. "Pin "the pattm securely towcnxtrdctuio 3. Trace around the pattrn with a traci Hold the wheel tightly against a ruler whercvbf line should be straight. Trace curves freehand; the aid of a curved ruler. 4. Remove the muslin from the paper, and , all traced lines on the paper pattern to malte du clearer and more exact. 5. Cut out the paper pattern carefully. Cuty oul darts, cut away all seam allowances, and cut a markings wich little U-shaped cuts which pencil
A

3. lmensify thc curve over the bust to dene the bust line more sharply.
Fronch Darf Hip-Lengih Jacke} es a Princess Line Dress Paffem T0 adapt this bodice to a dress pattern, continue the rule the seam lines for the slope from waist t0 hip and and dcsired skin length. The lines are rulcr-straight, slam from the hip to the lower edge.

Blouse Erfended Below Waisine Eliminang Part of Waisine Seam of the basic Attach part o! the two-gore skirt to part waistline a blouse for dresses which have only partial are discussed in seam. Examples o! this combination Chapter 7.
PATTERN CUTTING A TAGBOARD MASTER FROM THE BLOUSE

be slippcd into. 6. Transfer the shoulder dart to the waistline. It was essential to drape the master blouse with a: both shoulder and waistline because a blouse i8) better when so draped. After Lhe pattern has tted, however, it should be prepared for use a: a3 master block by having all of the dar: transferred w? one place preferably the waistline. D0 this to simplify 2 the blocking procedures, even though the dm certainly look too wide at its lower end in relation " its length. shoulder dar! (a) Draw a line from the point of the bust. the to the point of the pattem t0 T; (b) Cut through this line and pivot it entirely t0} transfer close the shoulder dart and to the waistline. a (c) Redraw the waistline dart with ruler, carrr Follow {h0 bust. the of the to it highest poim ing up inside line of the dar: (the edge nearer to the Center
V V

line) when trueing il. (d) Cut out the dart.

pattern, Aue: experimenting with thc quarter-size the draped from duyour own master tagboard pauem

7. Place the brown paper pattem on tagboard. und the"; pencil around thc emire paper pattcnx, leuing
a

58

BASIC
run encil um pencil
bolh Lhe crossmarkixlgs into the crossmarkings and along both dart. n l a s t e r maslcr o1 Lhc large 01 {arge

BLOUSES
dan changes the o! thc dart lhc position shih in thc 2. Thc shilt pnsition o!" its size or t. All without wiLhouL changing dcsign puuem dcsigl] pauern the pattern. of the Lhe within lakes edges place changc
Lhe direction of lines of conlrol the 3. Two tactors comrol
fullness:

edges Lhe tagboard pattern (Jut oul the B. Cut 8. pattcrn without seam allowances. exactly Gut the back blouse pattern 9. Cut pattcrn in tagboard exaclly il was draped. as it Inasteu pattern Your nlastex pauern should be very similar t0 the Figures 75 and master l a s t e r pattern uarler sizc n Pa t t e r n shown in Figures q quarter
76.

direction of the slashes usually indicates (a) The direclion Lhe lines of fullness, but the direction of the

SUMMARY: PRINCIPLES OF DESIGNING BLOUSES ON A MASTER BLOCK PATTERN

I. I, Thc SySlCl system of designing on a master block patLhe transfer is founded on an understanding underslanding of the of the design detail, thereby thc location ot dar: l a r t 1o the 01' the ( of ornanxemal and functional. making the dart both ornanxental
tern lern

chicf determining Lhe chief (b) The body contour is the and will often upset all at-paper calculations. 4. Slashes should be made perpendicular if pos[hat is t0 to be gathered. sible to an cdge (hat it is easiest for blocking purposes to 5. Although i: concentrale concentrate all excess in one large master waist-front the bust, the dart in a to the point dart running t0 poim of Lhe blouse to be worn is usually divided into two or more smaller darts pointing toward the bust from two or more different edges of the pattern, because the smaller darts taper out more smoothly.
factor {actor

59

?wz25%w'
PART l

DRAPING SKIRTS ON THE

DRESS FORM
Draping skirts differs fundamentally from draping blouses in several respects. A blouse ts the gure on all of its edges and there is just enough ease to allow bending and reaching whereas a skirt may t the to gure from waistline to hips, but from there down from lines The the of free the hem, it swings body. without the established be therefore must hem to hip and to pin to follow comour lines 01' a dress form have enough against. T0 be beautiful, a skirt must freedom below the hipline to swing easily with the motion of the gure, and t0 do this it must widen as lt lengthens. Both gored and circular skirts increase in widlh a1 the lower edge, and il c u t with enough are t0 swing freely, are both comfortable to wear and within the is gracelul in motion if the llare placed and thighs. silhouette so (hat i1 slenderizes the hips

STRAIGHT SKIRTS Straight skirts have seams on the straight lengthwise thread, and hem and hipline on the straight crosswise thread. They include the all-around gathered (the dirndl, or peasant skirt) the all-around pleated, and the wrap-around skirt. Most childrcn try t0 make a straight skirt at some time or other, usually on their rst auempt at sewing for a doll. A child's natural procedure is t0 sew the the seams, put in a hem on the grain, and gather excess fabric at the top to t the waistline. This per-

Draped skirts, on the other hand, the lower edge, up t0 the waistline, [hus narrowing sometimcs so much

have fullness drawn

and they tend to restrict motion hem t0 allow the (hat they must be slashed at the is lt possible, however, to prowearer to movc at all. introducc enough fullness duce a peg-top eect, yet to move unhampered. al the lower edge l0 let the wearer be graceful in skirt a {hat so is lt important Becausc when the motion. it should always bc nally judged stands still. wearer movcs as wcll as whcn she the in lollowing pages arc The skirzs presented and (lraped, in circular, classicd as slraiglzt, gnred, lamilial with becomc lhe Order listed. So (hat wumay should ach (",3 3nd explorc ils possibilitics, you shown. the examples draping and blocking

be good fectly simple, natural procedure proves to should hem and seams The with one exception. waistline the but it is true, be on the straight grain, should not. The length from the waist t0 the hip Ievel the (a line approximately eight or nine inches below somewhat waist and parallel to the oor) is normally shorter in the { m m than in lhe back. On a gure with a very llat abdomcn but with a prominent back hip curve. this Llilferc-nce in length is very pronounced; whereas on u person with a prominent abdmxlen and al hips, quitc the opposite is t r u e . For illustrations t0 of the ellect pf posture (m skirt lenglh lrom waist hip sce Chaptcr 5V. Figurcs 2 c, d, e. and f.

Problem |
DRAPING THE STRAIGHT GATHERED SKIRT
'lhis skin hus bccnmc n spring pcrcnnial und is extrcnlcly pupulnr, cspcciully with lhc lccn-agc glll(i0

praclicc

BASIC

KIRTS

.
J.

o1 tcxlure lcxlure on silhoucne. silhouctte. -(a) and (b). Inllucncc o! Fig.l v(a)

nown as a dimdl, il is made in striped, plaid, and dirndl, it owcred fabrics of both stiff and soft, shiny and dull jiiowered : xtures, and is worn alike by the fat [ a t and the lean. lean, extures, e tall and thc the short. shorl. Because it is so easy to make : ilhout a pattern, it is attempted by both the skilled ithout d the unskilled seamstress, though not always with _d dirndl must be planned svccess, cccss, for like all designs, the dimdl t0 the silhouette it i: produces. This depends _ I relation to i} U n thc height 'pon heighl and slenderness of the wearer and v: ticularly upon her hip and waistline proportions, texture exture of the fabric, and the size and line direce t of the fabric pattern. A soft clinging material in _ ull texture and color without pattem may be gdull

'

silhouette.

is generally a1 its bcst on the over-tall, over-slixn over-sliln girl, girl [ o r it rounds out her sharp hip bones and for appears 1o her Liny waistline. Figgraceful when gathered in to ures I a and I) b show the inuence of texlure lexture on the

succcsslul even cven on a moderately plump girl but not a gluzed chintz chimz with a large glazed [arge Hower pattern. The dimdl

ihe Fabric Esmang Esiimang fhe

l. The average slraight wo two straight gathered skirt requires ( widths of 36 inch fabric, minus a straight atraight lengthwise band Laken o off next to the selvage for a belt.
(il

fairly

j-..___..":-2:v4a_---_--.-_

- - - _ - -

skin sliowing scams joined, hem turned, and gathering thread arthe hip le'vel.

Fix.2. Sdnaight
l

determme the length of cloth rcquxred, measure Irom the waistline the desired length and allow a hem on each piece.
*2. To

a Fig. 5. Straight skirt gather 8 or 9 inches below Ihcjf and pinned t0 the form at the hip level.

._

Calling a Waisfband

Cm 0E a straight lcnglhwise strip along the selvage twice the Widlh desiredFinishing Seams and Hems l. Pin and stitch the seams and press them open. lf there are two seams, plan to have one on each side, in linc with the side seams of the blouse. 2. Tu r n the hem on a straight crosswise thread.
fo Waisine Adiusng fhe Skirf from Hip .

5- Machinefadle the waisincv ng V3111 and m m _ at the Same threads 6. Draw all the gathering up time to make all of the rows equally tight. 7. Attach the skirt t0 a waistband. If the band i: n0 very narrow, use a straight lengthwise strip with shaping. However if it is more than 114 inches wide. it will t better if shaped slightly.
<

PWHW 2
DRAHNG THE STRNGHT ALLAROUND
PLEATED SKIRT

.h

b 1;. Uiltriltgcgesdgzgl; igllfdgrgaihetcglgnzlgara

(

d d_ 2' pmw the up.t hlpxgg lfngu: thgead m Km T12 e fnxggfor; gcsee gute s) h3 h? 1" Im? maf f m level See age 8 ' > e; m m 0 p (Fm a" e? 5- P1305 3 *3? armmd h3 Waismev mffhmg Wmmethe fullness up under i! t0 88i the COTTCC front to the 4 Mark the waistline from the center from the the skirt unter back wilh pins. Remove the markings transfer d an (am,smooth up the linc, to the opposite half.

aftmg ' (see F g m 2) .

1

t i;

__

This skirt can be estimatcd and made with Av KT; w rm in its bes: at lt is form. on the a d'ustment J (hat stays pleated, and when well made is justly popuwith trim neamess and is even belar for it hangs . . . . to a . wnh fanrly large hxps. gnrl comnng

seams except one. entire skirt by hand. stitch all of the . . msh the hem, and have the slurt pleated by a pro-

Note. Since it is a laborious

process

to

pleat

an

fessional pleater. Pressed pleats actually help to slenderize hips if the pleats are well scaled to the size 05 the gure. A plealed skirt is nol a good choicc, however. for a girl with a small waistline and a large hilf l9 line, as Figure 4 shows. For this type of gure. it lted a better to mount a pleated lower scction onto yokc.

7E

62

BASIC S KIRTS

. 14 4 -H a.

N\l\L\N>HLLLl*l \L-\xhll\l.l

t0 a o!" zidjusting adjusting a straight pleated skirt to Difculty ol Figxl. Fig.4. Diiculty waistline and large hips. waistlinc a small Wllll gure

Esmang fhe Fabric width ol the to have deep pleats, skin is t0 Ihc skirt l. lf thc pleats. the widlh the llie Limes be lhrce bc will largest hlp hip material rcquircd materiell reqtlircnl ts Limes ilIS thrce times measurcnlent, since each pleat measurement, plcal takes three inch a for 37 Thus hip own depth (sce Figure Figurc 5). lhree measurcnlent, the entire skirt width should be three measurcmem, lhrce inches plus the seam allowances and yards and Lhrce allowance for shrinkage. neccssary any plus

plus

a5 for a straight gathered Heasure the lenglh 2. Measure length as skirt. skirl.

skirt is adjusted PlCalCd skin adjusled a: hip level and each pleat Fig. Fig. 6. Plcated waistline. t0 the waislline. [ m m the hip to is tapercd tapcrcd lrom excess at waistline is tted All skin. skirt. nnade made 7. Poorly Fig. Fig. side scams (comparc with Fig. 6) . at sidc out a1

MLNHFLLL l\lNl\.lsl\hITl\l\l\

fhe Skirf from fhe Hip +0 fhe Waisine (see Adiusng ihe Adjusng
Figure b) lrom the top and t0 9 inches from I. Run a basting 7 to t0 form [orm parallel to to the line Pin this iL. Pin t0 il. to parallel the Hoor. oor.

of deep pleats is three times Fig. 5. The width requiremenlt requirement ol the deplh of the pleats. depth

seams.

Finishing Seams and Hem l. Pin and stitch all except one of the lengthwise

2. Taper each pleat slightly so [hat it enters the waislline waistline perpcndicular to it. lt is far easier to adjust adjusl l0 d0 it mathematically. lf there pleats on a form thah t0 is an 8 inch difference dierence between hips and waistline it among all of the pleats equally. Somedislribute distribute il times Limes in a cheaply made skirt the excess a: at the waistline is tted out at the side seams with the unfortunate eect effect shown in Figure 7. Conceal the seams at al the under-creases of the pleats.

2. Turn the hem on the straight crosswise thread, nish and press it. msh
skin skirt pleated. lndicale the kind and .3.oiHave the _3. snze size ol pleats desired.

4. After it has been pleated, rip back the hem on After each sxde side of the open seam and join the last seam. 5. Turn the hem over the seam, nish nish, and press it.

3. Baste and edge-stitch the pleats from waistline to t0 hips. 4. Mark the waistline, following the waistline marked on the dress form. The waistline should not be on the crossgrain but should curve downward a: a! the Center front for a normal gure. 5. Moum Mount the skirt skirl on a waistband cut on the Lhe lengthwise grain.

63

 H
to the hem.

Fig. 9. Procedure for draping a straight wrap-around with the hem on lhe crossgrain and the hip level parallel

Fig. 8. Straight wrap-around skirt.

Problem 3
DRAPING THE STRAIGHT WRAP-AROUND SKIRT (see Figure 8)
When there is a vogue for the very narrow, stemlike skirt, the wrap-around often comes into fashion. lt is a skirt c u t in one piece which is wrapped closely around 111e hips as its namc suggests. This style gives a narrower from and back silhouette than the two-gore at the sides. For skirl, which Hares almost entirely this reason it is often used for a suit skirt, particularly in line with when the jacket opcns at the side Iront skirt may, of the wrappcd cdge of thc skirt. The at the side back instead coursc, be wrapped to open also a lavorite cut for is o! a: the side from. lt and acbordered matcrials, since the border follows the shows 12 pattern cems the wrapped line. Figure

F lg. l0. Adjustment of straight wrap-around skirt from hip to waistline (excess Laken up into darts). side lront, and 5 Fig. l l . Wrap-around showing darts at side. side back.
l

l. Decide on the amount of overlap at the left of Center front, mark the center front the desired distance back from the overlapped cdge, and pin the Center front securely at the hip level. Keeping the crosswise around to grain parallel to the oor, continue to pin the Center back at the hip level (see Figure 9).

shape.

on fhe Form (see Figure 9) Adiusling fhe Fabric skirt (m the form. As the nal Dmpe Lhe wholc makc the adjuslment from hip szep in thc procedure, w waist, a9 lor all straight skirts.

Adiusng fhe Skir+ from Hip fo Waisf (see Figure l0) l. Fit out the excess with darts from hip to waistlt is usual to place darts at the side of the gure in line with the underarm seam o! the blouse, at the side back in the normal panel position, and a! the side front to balance the line of the opening. Slanl (h6 off the line o1 the overlapped cdge slightly from waistline to the hem so { h a t it harmonizes with tht nmterial i5 hip silhouette. ll a bordered or slriped used, it is bettcr t0 keep the cdge straight on the gri all the way from waist to hem. The less differen there is hetween the sizc ol the hipline and Lhe waistund line ol the form which is being used. the {ewer will them smaller thc darts will be, and thc less slant be on the ovcrlapped cdge.

64

BASIC S KIRTS
Problem 4
DRAPING THE TWO-GORE SKIRT
()ne skirt is composcd ol two gores. One This skirl malaes maltes sklrt. the Ski"of ol back entire the one and front lront the entire from which t0 (lesigtl (lesigrl other lountlation lrom lt serves as a loundation It servcs and melhod, 3nd skirts through the llat-pattern blocking method master a makes pattern together with the basic waist nrakes de from which to dcsign the complete body of any deW C ? "W63"l0 skirl Sklrt a howevcr, however, lt is not, good sired costume. toward the are is certain to swing towvard since most ol the Harc ol the skirt tends to side seams, and since the back ol of any becatlse ol the lack ol thc hips hip: becausc cup under the gering reason lt 1s this l-or For back. ol" thc Center at the C e n t e r or side of the heavy, broadclloice lor thc unlortunate choice an espccially especizrlly unfortunate of Fitting", General Principlcs o!" Principles gure (see hipped ligure for conreuson reason Another . 193-196 193-196. 5, pages Chapter lt" a tw0il" that is master the to tlte its use pattcrn ning is wearer Standing, gore skirt ts smoothly whcn the secms uncomlortably it ottetl olten seems uncornlortably tight when she is sitting. sonretimcs used as a suit skirt, it Although it is also sometimcs is not particularly well adapted to this purpose. lt howevcr, as a master block pattern. serves very well well, howcver, look at the diagram skirt 100k Beforc drapirlg twugore sklrt draping the two-gore o! sec the shape of ol ol the pattern shown in Figurc Figure 22 to sce to are the gorcs that going drape. gores you

C . F Cf .

6 . 8 . ( 2

L n ie

a p L L a p

Nomn unc HomuLino

Fig. l2. The

wrap-amund skirt pattern. wrap-around

front frorn center from 2. Mark the waistline wrth pins from l to center back. Figurc to Figure ll shows the side view. from the lorm and transfer all Remove the skirt lrom 3. with a tracmg half the to tracing wheel used opposite ilines glines board. a chalk on or carbon Ln paper

lon

tskirt.

the top on a band. 4. Mount thc [ o r the wrap-around l2 shows the pattern lor Figure I2

Draping a gored skirt diers fundamentally from skirt and since the gored skirt is lraping a straight skirt, Idraping y far the most important type, this difference should by v thoroughly understand. In all straight skirts the be ams, hiplevel, and hem run parallel to the grain, \ams nd are either gathered, pleated, or darted to t the rnd istline. All gored skirts aistlinc. f: a skirts, on the other hand hand, are l mposed of wedge-shaped pieces (called gores) _mposed the hip, . 5 hich are always wider at the hem than at d wider at the the than at waistline. A 3 hip gored l irt ts the waistline and f hipline smoothly and ares utward utward toward the hem line so (hat that the seams never i: n on the same lengthwise thread lor for their entire ngth, and the hem hem line and hip level are never on ' e same crosswise threads. Because a gored skirt is o1 wedges that t the waistline and hip line, mposed ol mposed can can be adjusted to Hare are at any desired point and " be made to take on almost any silhouette. lt It is e; lt is so stly tly the most popular of all skirts because it ptable not only to all fashion silhouettes but also ivaptable i all gure proportions.
y

'
E:

GORED SKIRTS

FRONT OF SKIRT
Esmang Esmang fhe Fabric (see Figure |3) 1. Measure from the waistline the desired skirt sklrt and add 5 inches for inches a hem allowlength (3 ance plus 2 inches for curving dnwn the waistline from the side seam to the center C e n t e r front) .

sweep should be about 50 inches. 3. To nd the center lront, measure horizontally from the selvage one-half onehall the estimated width of the skirt from front at the hemline (see Figure l4) l4).. Mark the center from front line clearly. Use a pencil if you are workWorkif ing with practice material and thrqad thread markings you are draping the actual dress fabric. The center front line should be on the straight lengthwise grain.

2. Estimate the probable width at the lower edge and allow for a wide scam plus a little e x t r a to experL experiment with as you drape. Plan to make the circumlerence ol" the skirt at the lower edge somewhat less ference than one and one-half times the hip measurement. For instance, il if the hips measure 36 inches hem inches, the hem

65

173.13; Fabric estimate for

front gore.

length tapers up t0 "the side seam position. curve equals the waistline measurement of the form from the Center front to the side seam.

indhes below the top and cut a freehand curve that 1% of the The

the Waisilbine (see Figure |4) the shears perpendicular to the

center front

Fix. l4. (1)

Center fold

position: (2) Shape o! waistline.

Adiusng H10 Fabric on ihn Form l. Pin the Center irom line marked on the fabric of 1o the Center from of the form, with the top edge waistline. the inch above the cloth about V3 2. Pin the center front at the hip level. Check to see that the center front hangs in a plumb line.

An t he

the side view. Ideally, Study the dress form from of the the side seam should {all through the Center to line a in plumb waist and the ccnter of the hip i: that so oor. lt should be directly on the side, the or {ront i: not noticeable ( m m either the straight fall to should perpendiclt appear direct back view. and hem line, to perpendicular (o the oor from hip to hip. waistline from waist the to als: throws the waistgure has a sway back which mme adjustment in Sieiine orward and the hip: back.

and b)

|5 a Esiablishing ihn Side Saum Posion (see Figures

m:

'

with 300d Fig. l5. (a) Side seam poaition for a gure posture; (b) Side senm adjustnxcrxt for n sway-backed 50l"-

66

BASIC S KIRTS
t0 suvitrg scam will tend to thc tlic side scani swing toward this skirt for the To T0 baCk. the the back. posture, poslurc, tilt the zldjust udjust C e n t e r of the hip Center the from lrom lorward searn seam "side iside slightly meets the underwherc it n1eets ol" the waistline where . t0 to the Center of OH the U, 0 * arm Figure l5 b). U, arm seam of the blouse (sec (see Figurc the and in are back, fother other hand, the hips prominent seam 593m side the is Hat, of the front ifront vcry P1366 place gure SlZC. larther back to reduce the apparent hip slightly farther hip 1s relailf is lf the hips are Hat in back and the abdomen atidomen Inne slightly forward. ltively large, move the side seam line tively I ln In general, however, place the line at about the Center inost becoming to ."lof of the hip, but always where it is most -the individuul gure being gthe heing tted.

rnecessary or lnecessary

0|

-_

'

af fhe Hip Level (see Figure |6) lAdiusng fhe Grain a1

The Character or fall" of two-gore skirts is ConCrosswise grain is lowered amount the crosswise along along the hip level toward the side seams. The more level, the more the you -you lower the grain at the hip level at and ares the hem; conversely, the less you igore gore i: the less it ares. llares. The are falls from the lower l o w e r it al which you lower the grain. .points fvpoints zu

Ltrolled by the trolled

Showing grain adjustment at the lwn-gore skirt, showing Fig. l6. Two-gore hip level.

l. Smooth the fabric from the Center front toward

the side seam along the hip level line marked on the fthe ifonn. iorm. Check the lengthwise grain to make sure that vit 'it stays perpendicular to the Hoor at the Center front of the skirt. Supporting the Crosswise grain level for of about 3 inches from the Center C e n t e r front, pin the Cloth cloth about lorm to the [orm at This this should done be because point. to lowering the grain directly dircctly at the Center front throws lowering at the Center Hare a: C e n t e r of the gure. an awkward are 2. with _ Experiment lowering the grain from the established in l ipin '_:pin step to the side seam. NotiCe that if jif the grain drops enough to t the form smoothly at both waist and hip, an undesirable are falls near the both side seam. This are can aide Can be reduced by lowering the ain to grain just enough produce an easy straight-hanging f "ne from the hip to the lower edge at the side seam. Jine D0 i o not worry about the excess from hip to waist at

1/, 1/2 inCh of ease from the C e n t e r front to the side seam. This should be done because the total hip measurement of the skirt around the hips should be at least 2 inches larger than that of the body. The hip expansion when one is sitting determines the exact amount of ease needed.

an

bthis g 1s stage. 3. In order to retain the silhouette as draped, i e pin form along the hip level line, 1e fabric to the {orm line bening 3 inches from the Center front and ending at nning If the hip measurement of the dress in 3- side seam. lf prm exactly corresponds to your own, ease slightly tween the pins until the skirt has tween approximately

fhe Side Seam (see Figure I7) Adjusng +he Adiusng l. Fold Fold the fabric [abric back over itself so that it drops in a line perpendicular to the oor from the hip level to the lower edge. [old will be the side seam line. edgc. This fold 2. Place a pin in the fold at the lower edge. Holdpin Crease it carefully ing the fold taut, crease Carefully without stretching, and pin the lold fold perpendicular to the edge. 3. Judge ol the front gore from the Center judge the width of Center front to the side scam at the lower edge of the edgc gore. Since this distance is approximately one-fourth the Circumference of the entire skirt, it should probably be about I2 |2 to l3 inches for a 35 inch hip measurement.

possible changes Changes anCe tting. Wide Wtde seams are especially necessary if it is the rst time you have used your dress form in draping a skirt of this type.

4. Cut the side seam with a generous seam allowance (I (l 1/, 1/2 to 2 inches) at the mches) for possible

67

. -_ _ ..... .

17. side seam adjustment, side view.

Fng. I8. Back gore showing grain adjustmem at 1h: level.

re-pin it. Leave the skirt unnished from hip

line.
Note. The

5. Tu r n the seam allowance to the wrong side and

to waist-

ptocedure for draping all gored skirts is the in Lhe samc {ollowing details: (l) The line from that from hip level t0 hem should be adjusted, and the entire until unnished hip to waist should be left all seams. at (2) character of the skirt is established The side seam from hip level to lower edge should be a straight line slanting outward.
BACK OF SKIRT
the front Esmang fhe Fabric. See directions for

gore.

directions for the front Sluping fho Waisino. See gore. See directions for Adiusng ihn Fabric on H10 Form. the irom gore. Level (see Figure |8) Adjmng fbo Grn cf fho Hip t0 Before draping the back of the skirt frnm hi_p of the relauonshxp 11cm, i! in necessary to understand the to proportions of the gure vertical hip dar: outward 1nd 1o the skirt silhouette. Because of the

hips at the back the excess at the top the skirt of pattern has to be taken up into dans. edge The more the grain is dropped at the side of the hip to increase the fullness at the lower edge, the smaller these darts will be. Conversely, the narrower the skirt is a: the lower edgg the larger the darts will be. The size of the dart also increases with an increase in the f, difference between waistline and hipline sizes. l. Smooth the fabric toward the side seam across i Lhe hips, keeping the crosswisc grain level at the hip f line from the center back for a distance of 31,5 m4 inches, the approximate end of the hip dart, and pin the fabric t0 the form at this point. 2. Lower the crosswise grain toward the side seam enough for a slender skirt that neither cups under in short, for l the hips nor ares out at the side satisfactory silhouette for a foundation master skin. 3. Pin the fabric to the form at the hip level in one or two places from the point of the dar: to thc sidt seam (see Figure l8) to retain the established S" j houette. Remcmber that any lowering or raising 0E Lhc crosswise grain at the hip cntirely changes the f! _ of the skirt. 4. Fold lhc excess above lhc hip inlo a dart runnin from waist to hip and pin it temporarily.
curve of the
L_

z ': . c . x . \

68

BASIC
+0 Hem (see Figure Hlp fo Adiusng Adiuging fhe Side Seam from Hip
l

S K I R T S

5|9)
v

from Lhe hip level un itself [rom thc labric ovcr on I. l, Fold Lhe it il falls free, when This line. frce, should line, lowcr cdge. to the lowm" u should are und lloor and t0 the enough > be perpcndicular perpcndictnlar lrom edge lhc lront . to mcet the [o mcel easily. cdgc casily. lold slightly Lhc 101d stretching it. slighlly without slretching _ 2. Crcasc thc t0 the hip, holding it t a u t the hem hem 1o lThen Then pin it from lhe do so. as you d0 as of 11/2 oH thc lhc exccss. 'I'rim o" excess, allowing a seam ol 3. Trim 5. Il/g t0 " . 2 inches.

.
l

C1
je
Fig. Fig. 20.
|

l-

_ _ L _

dart. Positilm of hip dan. Position

'

Lhe side seam at 4. Pencil a clear cmssnxarking crossxnarking on the levcl. This is the balance point of the side Ievel. comrols the hang of the skirt. seam and controls seam

llhe hip lhe

lhC back edge of the seam and slip 5. Unpirl sllp the Unpin the from edge. Re-pin allowance lorward lorward under the front seam allowvance lhe seam lrom hip t0 hem, matching the balance the

poims exactly. points

l

1o > 10

lhc seam t0 scc {hat (hat it is perpendicular 6. Chcck thc (i. Check t0 the lrom Lhe hip l0 Lhe lower edge. thc lloor 1mm

the skirt The dart in lhe waisl ( l a r t mects it. Thc VVlICTC the waist whcrc t0 the contour of the hip. should carelully conform to dillerence in size between waistline The greater the Lhe dierence lhis outward slant should be. and und hipline, [hC greater this hiplinc, Lhc Too much much outward slant incrcases the apparent width of the hips. On the other hand if the lhe dart is parallel hand, i1 nr center back, the waistline apor nearly parallel to the Lhe Center to place the dart dar: where heavy and blocky. Lcarn [o pears heavy it will be most beconlinlg i: becoming to the gure, and always make it lt appcar cominue the vertical dart at the appear to continue back of the blouse.

l. Fold the dart dar: line, pushing the excess at the waistlinle waistline under toward the Lhe C e n t e r back (see Figure 20) 20)..

2. Pin the dart carcfully. The pins should be perpcndicular to the edge, and the dart should be long [o take up all excess enough to smoothly. That is, it should bc 6 to 71/1 inches 71/2 long.

{ m m hip t0 hem. Fig. I9. Side seam from Flg.

of fhe Hip Dari Darf in fhe Skirf Skir? Bach Bacl: (see Figure osilion {Position
y

mward lams Inward toward the waistline, conforming to g t0

the ntour of body. The dart in the back of the skirt Vntour 1 of n; r slams inward, slants mward, and meets the waistline a: the point

20) n. that ants the waist dart in the back 0E of the blouse Notilce Nollce
(hat

Front Waisine Darf (see Figure 2|) Placing fhe Side Fronf u s l bc ease or There m must t0 shape the fabric (larling darting to over the hip bones just in from front of the side seam. Figures with hips which are small in comparison to t0 the waistllne waistline need only a very small side front dart and may need none at all. Normally, however, a twosknrt Iront from wnhout without a dart dar: has t gorc gore skirl o o much too much ease from waist t0 hip. Although ease along the side seam lrom can be worked in reasonably well, a skirt which is to servc as a master pattern is more satisfactory satlsfactory if the excess 1s is taken up into a dart. Some master excess Laken pattern pattem skm Iroms place the Lhe dart dar: near the side seam so that (hat km fronts from hlp pomts toward the front hip bone, especially if the hnp bone 1s sharp and exaggerated. For the normal lhe dart in the skirt should be gure. gurtx however, the placed m line with that (hat in the blouse front in order to form lor the master block good panel spacing for pattern. pauem,

69

Mark the waistline with pin: from the cemg: to the Center back, following the waistline of thg?
usually retained along the waistline above the bone at the side from.

v3.21.

side

front dan and side seam from

hip m waist.

l. Smooth the lengthwise grain upward from the waistline at a hipsso that it is perpendicular to the and the side point halfway between the front dart this at form the to fabric the point. seam. Pin

Marking fhe Hem Line l. Check to see that the form is level and that it adjusted to exactly the correct height. 2. Mark with pins measuring with a tailofs squaxej from the oor, or for speed, measuring from one pin to the next at not more than 3 inch intervals.

2. Work the excess between the pin and the center front imo the dart, and the excess between the pin and the side seam into the shaping of the side seam. 3. Lay a dart which coincides with the blouse dart to and which slopcs slightly outward from the waist center the hip. Push the excess under toward the This dart from, and pin it perpendicular to the edge. and is back the at one the Khan i: much smaller 4 to 5 than more not therefore shorter. lt is usually inches in length.
from Hip fo Waisf (see Farming fhe Side Seam Line Figure 2|) o! the This line should be a smooth continuation but usually line {rom the hip to the lower edge, waistline the enter to curves slightly [orward in ordcr

a: a right angle. from waist I. Tum under the iront seam allowance but not w hip and pin it pcrpendicular to the edge the
imo the form. Be careful not
to

stretch

slight

GING.

Checking fhe Skirf Before removing the skirt from the form. check i! 1 for the following points: 1. The Center front and center back lines should L hang perpendicular to the oor. 2. The side seam line should divide the gure becomingly at the waistline and hipline. 3. The side seam should fall perpendicular t0 the oor [rom hip t0 lower edge. 4. The side seam should enter the waistline pefpendicular to it. 5. Crossnnarkings or hip balance poims on the sidc seams should match exactly. 3nd (i. The back dart should be bccomingly placed in Iinc with the blouse dart. be 7. The side seam o! the from gorc should {mm *5 slighlly cascd t0 the side seam o! the bnck gofe hip l0 wuist ovcr the hip bone.

<

70

TS S I RT SKI BASIC S

"markcd with pins.

waiatlinc and the hem line should bc clearl} Thc waistlinc clearh S. The 8.

lrom und free from shottlrl hang straight struight and _ 9. Thc skirt should or back in o1" ot" trace tmce without cupping any hip to hem 1 front the at lhe awkward suddcn without anv wilhout and llaring Haring fronl, any 1' side.

'

Cvossgraln ."._"."1-

PREPARING THE MASTER PATTERN FROM THE

v

PaHern -Mar|ting Marking fhe Paern the skirt [rom the form, Laking Remmc Lhc l. Removc taking out only form. to attached the which are few lew those pins

table. jtable.

sxm DRAPED TWO-GORE SKIRT

S e l v a g e J5

S e w a n e

3-

.2 u u f

2 E o

crossmztrk the seams. 2. Mark and crossmurk material with pencil and all Mark (a) practice malerial . fubric with colorcd thread lines or sharpened other fabric ; olher sharpelted that hold the seams rhalk chalk beforc removing the pins [hat w together. _ (b) Mark the cdge of cach seam and each balance clear lines, lines, and crossmark once below and poim point with C1621! ; [wice twice above the [h6 bakmcc balance poim level. [hc hip 1eve|_ point at the the Mark lhe and hem line. waistline (c)
V

T =

n l n l n l u l u l n l u l n l m

a g e r skirt. the two-gore master 5kg 22. nueing Trueing [he [wofmre m Fig. Figr 22

a Pms (d) Remove all pins.

When smchmg lme stitching the dart, curve the line inward toward the fold to taper the point and slightly tu bridge over the w [he hollow of the [h6 back.
Note.

iTrueing vTrueing fhe PaHern (see Figure 22) I. Smooth both sections of the skirt out at on the 1.

2. Draw a smoolh smooth curve am at the waislline, waistline, starting Starting 5 to the Lhe center C e n t e r front and ccnter back and perpendicular perpendicular l0 erPendicular to the side sidc seams. .endin P perpendiclnlar jending 3. Smooth up the curves from the waistline to t0 the hipnnt ipline. [rom the balance point > 4. Rule the side seam lines from poim {h6 hem_ hem. Press press the ruler der down against the [h6 fabric im the f von do so [0 prevent Slipping. you d0 so, to slipping. Rule. Eule. Gore edges in a all gored skms skirts must be straight, traight, outward-slanting lines from the point on the p at which the skirt breaks away from the body to hip ._ e hem line. Always mark these edges with a ruler. _the 5, 5. True Trug p a dart dar; ms lines Wim with a ulen ruler. The back up all an as pinned is usually a slight outward curve that glatt n phasizes the hollow of the back. Replace this curve fmphasizes th ruler lmes. lines. v 1th

True 6. Tr u e the hem hem line Iine by squaring out with the lhe Lcenter C e n t e r [ront front and from fmm the side seam until the two lines intersect. intcrsect. On each of these lines nd the halfway mark between the intersection imcrsection and the Starting at center front C e n t e r and side seam. join starting poim point Join the lhe two halfway points with the ruler. Then redraw the line by hand i: smoothly (see Figure 22). hand, curving it

from the Lhe square Irom

l0

"w M'ki"9 fo fhe Opposife Hd of f Transferring Tramfarring the Markings b OPPSH Half Fronf and Bock Back Gores I. Fold both I bom [h6 the front Cm and back gores 0E the h3 skirt Ski" 30m5 of on the center lines. lmcs. The crosswise grain must be kept cgnter t0 the Lhe lengthwise perpendicular to lenglhwise grain in both layers Rerpendlbculfu since it n 1s is liable hable to slip out of positicn in the under layer. 11:91::
2. pm Pin um 2' the two W0 layers 137 together. Ogether3. Trace around the trued up pattern with a tracmg ing wheel on carbon paper or chalk board to transfer all a seam "85 lines and crosslnarks Cmssmarks to m the h6 under und" layer. 1374. Cut with wiLh seam and hem allowances.

71

.1 aslxioxiiyinithe

Et dmnges

l5.
A

the grace; and individuality und. will not. bte

V

placirxginearly all of the Bare over the knees. thus producing {elender side silhouette, lt is a graceful skirt,
she move;
n0: onlylfwhen the
A

Stlle" decrease tlte width of the hips by

wearer stands still, but also when
l

typed. This is never moreitn-xe (hininxdm since each one is certain to show the individualn the draper.
Esmang fhe Fabtic Because the top and bottom edges both curve, extra length to shape them when guring the lengj of iabric required. Measure from waistline to hell line and add the hem width plus an allowance 0U inches for the curves a: the top and bottom.
V

sbkirt, consider the following points on panel spacing and study Figures 23, 24. 2nd 25. (l) Always avoid equal spacing (see F igure 25). The Central pancl is usually wider than the two side ones unless Lhe gure is very slight or the design requires a narrow Central panel.
i

Beforeeliping the six-gore

\_L/

Panel divides skirt into 175x13, Poor panel spacing: (I) is parallel to center m ; equal spaces; (2) Central panel (mm. (I) Panel dmdes 5km be1753.24. Good panel spacing: at waistline. ' comingly; (2) Panel lapers does not taper mto and wide too is Central 25, pancl Ei; waisxline.

_ _

Draping fhe Center Fron} Panel (see Figure 26) l. For a half muslin pattern, smart with the selvage at the center front; for an entire skirt to wear estimate the approximate width of the Center panel atthe hem line (the widest part of the panel) and add a generous seam allowance on each side. l-lere the directions are given for a half muslin pattern only so thal they may be kept as simple as possible. 2. Pin the selvage at the Center front of the form at both waist and hip, allowing about l inch above Lhe waislline. 3. Smooth the fabric across the waistline and hip line. Pin i1 t0 the [orm at the waistline 21/, t0 3 inches from the center front in order to hold the muslin in position while you drape the skirt. 4. Decide how far below the waistline the Haft should begin. Thc poim where the skirt begins l0 swing away from the body is called the break. Note. The placing of the break is an imperial factor in establishing the nal silhouette of the 5km Although oftcn at the hip level. it may be placed abojle or below that line at lhe poim where the seanx begms to slope outward more sharply. 5. Mark lhe panel width at lhe break poim and also at the hem line.

72

BASIC

SKIRTS

S n m e a m

e S i d c

skirl. Fig. 26. Center lmnt pancl, panel, six-gorc skirt.

[ront panel is draped from the side seam forFig. Fig. 27. Side front m e e l the cenler lrom panel. to meet center lmnt ward t0 wartl

belwcen these two points, 6. Crease a lme line betwcen holding points. holtling without stretching it. t u u t withotit lhe labric tuul the

exacl amount anlount exact

if it is not easy t0 see, so [hat (hat the the straight grain, graiti, il ol" outward slant can be checked.

_ 7. Cut with a generous seam allowance (II/Z 0% inches) f r o m the lOWCI lOWCT cdgc u; the Lhe waistlinc. 'I'hc panel lrom tvaistline. The edge to pnnel nari rows lrom from the thc hip lcvel lcvcl t0 the uuiistlinc. 111c wuisllinc. Adjust the :.rows nt thc the waistline waislline later. ; panel spncing spacing ut 8. Either Eithcr take takc the panel olf o the lorm form to truc t r u e it up 1o Iower from hip l0 lower edge or t (u um m thc the seam allowance i1 perpendicular t0 (rease and pin it _under on the crcase l0 the ll while it i: still is on Lhe the lorm. ietlge edge

(see Figure 27] 27) lt would bc l JOSSllC t0 >in to the thc strai ht len possible l pin straight 8thwise lengthwise torm at zu the centcr ol ol thlS this panel to gram to the lorm egrain panel and t0 outward in both directions, drape direclions, but it is easier, and drape oumard it savcs fabric, to start at it an the side seam and work forward to the side lront. ward

l Fron? Panel Draping fhe Side Front Draping

_g

2. Crease and pin the fold. 3. Place it at the side scam position so {hat that it falls t0 thc i1 rmly t0 the lloor, to the form Iloor, Pin it perpendicular perpentlictilar to in two [ w o places a1 at the hip and again above it (see . Figure 27) 4, Smooth the fabric lorward a: 4. at the hip level and pin it to Support support the crosswise grain in a practically level level position position for about 3 inches from the side seam. From this point let the grain drop toward thc the side lront to t0 introducc introduce the Lhe Hare. arc. Continue Cominue t0 pin and drop the grain slightly t0 to the side lront front seam.

I. Eslablish Establish the side seam line before placing the fabric on the form. To fabric T0 do d0 this, lold under the seam allowance, puuing llowance, lhe desired Hare from hip to putting in the em. For a narrow Silhouette, hem. silhouette, do not slope out the side seam more than ll/Z "de 11/2 inches at the hem line. For slender gure and for a very narrow, stem-like skirt Thouette, an increase of y, "lhouette, 3/4 inch from hip to hem may enough. To save fabric, use the slanting edge just V ut t from the cemer center front from panel and reverse it. Pencil
7

Note. Il the grain drops at once [rom lrom the side seam it Lhrows throws the llare toward the side. By Supporting the supporting o r at least 3 inches, lor grain level [ Hare tends t0 inches, the are to fall am ut the side front lrom rather than a: at the side seanl. seam.

n. Fold the fabric back on itself, slanting it forward enough so (hat that the panel hangs perpendicular to t0 lhe the Hoor and so that [hat it lt imroduces introduces the right amoum amount of Hare at the side front seam line. 6. Mark the width of the panel panel at the lower edge ol the skirt with a pin and crease the line ol" carefully between the break brcak point poim and the pin pin at the lower edge. 7- Cul. Cut, leaving a 11/2 1%inch seam allowance.

73

be done with a seamllowance o! 11/, i 5. Clip the seam allowance at the break VA within a few threads of the seam line in order the panel fall perpendicular to the oor even u the are is pronounced. The panel should be enough at the lower edge to ripple, but not so
{

to;

die 154m6 whtdgl;

toistart

mag 28.

Jqining oi cemer from and side from panels. 8. Crossmark clearly at the break poim. 9. Tum the side. front seam allowance forward and lap the cemer section ovcr it. Join the two (see Figure break 28) v,pinning perpendicular to the edge from the point down to the hem line. Note. Both the side seam and the side front seam should fall perpendicular to the oor from hip to hem. lf either does not, lower or raise the crosswise grain a: the hip umil the seam is a plumb line, and then re-mark the seams. Leave the skirt unnished from hip to waist and proceed to drape the back.
wifh a Low-Placed Flora Draping a Cenfer Bock Panel (see Figure 29) the six-gore skirt is Ordinarily, draping the back of thc iront. But in order largely a repetition of draping we give the prohere, to imroduce a new problem the cedure for adding a low-placed rippling are at in used be not ares of may side back. The two kinds as far as design ehe aame skirt, but there is no reason are a have not should skirt a slight i; concerned why back. at the a! the front and a decided ripple follow the I. Pin the cemer line, which should to the center back of the

that the are is heavy and clumsy. 6. Tum the fabric back over itself to gct a . slanting line from the point of break to the lower then crease and pin the fold perpendicular to . edge (see Figure 29). 7. Cut with a wide seam allowance (11/4 to 1%. inches) to allow {or let-dut. 8. Fold under the seam allowance and repin carefully without stretching the bias line. Figure 30 shows the panel when it falls free.
l

_
"

'

su-aight lengthwise grain, [arm at both waist and hip. it to 2. Smooth the fabric across the hip and pin
74

Fig. 29. Center back panel llaring low. after Fig. 30. Panel [alling perpendicular t0 the oor seam i: clipped.

IhC

BASIC

S I RTS S KI
falls into a deep unpressed on each side ol the seam or lalls o1" pleat. fold or between Fold the fabric back on itself and pin it CIWCC" 7. Fold lower the and break of the point ol edge. seam allowance. inch inch to B. Cut with a 11A 8. 11/2 11/,
to the hem, 9. Pin the scam from the break point t0 of the direction the in this time with pins running stitched. were it il iL if as falls that the seam so ripple [0 make it hang perpendicthe seam slightly t0 Stretch thc

J,

J! 3 Y I

f
L WOI
q

Hin

'

f- 4.,

H001". ular t0 to the oor.

Note. Since a bias line tends to bow out in the when it is stretched, straighten this line with a centcr c e n t c r whcn when trueing up the pattern after removing ruler long it from the form.
hat}; pancl is draped lrom the side seam toto Sldc back Fig.3l. Side to the c e n t e r back panel ward the side back and pinned t0 t0 hem. from hip to from

Draping fhe Side Back Panel (see Figure 3|) a m e way as the side samc _ l. Start the side back gore the S - front one. F01" For a slender side Silhouette, slant out the side seam about lI/g side 11/2 inches from hip to lower edge. Foltl und pin the side seam scam line to t0 the lorm in two [wo lFoltl at the and above it. The should line _ again places, hip fall against the side seam edge of the skirt front. lall 2. Smooth the fabric across the form toward the Center center back. Support the grain ncarly level for about 3 inches, thcn drop the grain toward the Center c e n t e r back panel panel to introduce llare at the lower edge. 3. Pin the side scction against the C ce en t e r back panel at the point ol break. The point of break on the side back and centcr back panels must exactly coincide. back {rom the waistline to the point _ 4. Trim the scam from f break, leaving of leavmg an allowance of ll/z 11/2 inches. At the reak, clip the seam allowance as you clipped the reak, enter panel. f enter 5. Let the grain drop from this point for a ripple . u a l to that [hat of the Center panel. _ - G. 6. Place a pin at the lower edge to indicate the anel ares anel width. The seam usually hangs better if it ares on both edges. However, if you ually place more ually 0" the Center panel panel, a one-sided ripple swings i 9 0D F"? the seam from the center back. An F" away rt 0_V 01/61" el' ahzed are, on the other hand, hand balances the ripple -ualnzed

Caution. When you drape the side section of a easy to become confused and c u t in gored skirt, it is eas_v a: at the lower edge of the side section. on the grain Since every gore cdge must always be an outward Sincc carelully before cutting thc slanting line, check this carefully of the side gore. cdge edge

Skirf from Hip lo fo Waisine (see Adiusng fhe Skirl (See Figures 32 and 33)
waistline, its character has by this stage been com-

Although the skirt is still unnished from hip to

pletely established.

.3

32. Six-gore skirt front completed. completcd. F1g.35. Fxg. 53. Six-gore skirt back completed.

Frg. Flg.

75

grain in both the side fmnt-i-antlside back plnels up toward the waistline so that itlis perpendicular t0 it at the Center of each gore. the wajstline seam above these points and pin the fabtic 1o the form a: the waistline. I5. Froui the Center of each side gore, work the excea fbric toward the Center front and back, and lap at (heoemer panels over the side ones pinning right angle: 1o the edge. 6. From the Center of each side gore, push the excess toward the side seam and pin to the form at the waistline. D0 not stretch the waistline seam, but do not leave any ease. 7. Lap the front edge of the hip seam over the baok, it to the back, easing the front slightly as you attach and pin it a: close imervals. (See directions for pinskirt, page 70.) ning the hip seam of the two-gore line with 8. Mark both the waistline and the hem

(a)
(b)

Fig.34. (a) Poor. Side pleats laid on the grain formt panel which appears narrower a: the hem; (b) BettenSlC pleats gored out slightly harmonize with the contour also increase the hem width.

pins.
A DRAPING THE SIX-GORE SKIRT WITH
PLEAT IN THE GORE

62-63 was a The pleated skirt explained on pages A side pleat around. all straight skirt and was pleated if laid on in a gorcd skirt, however, hangs awkwardly if the grain, and the Center panel absolutely parallel w the center front appears narrower at the lower edge line lhan a: the hips. This is because the silhouette to {rom hip o! the skirt ares outward all the way the same remains line hem, whereas the center panel The 34a. optical illusion width a: shown in Figure with heavy hips anal inevcn morc apparem on a gure

meC7: thighs and a relatively small waistline, since a 5km of the shape always unconsciously compares Another panel with the silhouette of the gure. son for goring the pleat line slightly outward (See; so that (h: Figure 34b) is to widen the lower edge a press bei? pleat will not spread apart and will hold contributc : 1er. Pleats popping open a1 the lower edge it is, But since nothing t0 neatness and slenderness. far olf th!) are (hat to very press pleats impossible ol IhC_ undercrease the at a seam grain, there must be or two of a man is group pleat, and wherever there o undercrease the at pleats, there must be a seam each one. Otherwise each pleat lolded imo the C1011? takes on more bias than the one before and nenhd; presses nor hangs well. Ski; The ber and weave ol" labric for a pleated not only must also be considered. 'lhe labric should stand many p? should take and hold creases but choicc best the unlesv ings. A rm wool is obviously l0 it is too bulky or heavy. Pleats in heavy tweed. 1h at seams 1 example, stand out awkwardly, and the 5 and thick are undercreases clumsy.
M

m:

76

BASIC
Pleat in fhe wilh a Side Pleaf Center Panel wifh the Cenler Draping the Fron? Seam (see Figure 35) Side Fronf 21s lor the Center front same procedure as the samc l. Follow thc but add to its skirt, a ol six-gore rcgulation panel allowance. a seam ol the pleat plus iwidth lwidth the depth (lepth ol waist and hip 2. Pin the panel to the lorm at the wvaist front. center Center on the 3. Measure the width of the panel at the hip and 3A also at the hem. lt should not increase more than 5/, to [o l inch at the lower edge, which is just enough to ol of amount The be to the straight. make panel appear Silhouette ol the inincreasc varies slightly with the silhouette dividual Figure. dividual gure. 4. Mark with pins the panel width at hip and hem. 5. Dccide on the top point of the pleat.
G. Decidc on the depth (width) ol the pleat. 6. torm and rule the 7. Removc the panel from the form its then, linc marking line edge, parallel to it the line Inarking of the the [llC pleat. marking marking depth 8. Cut with a seam allowance, fold on the panel line, and pin. line,
p

KIRTS

3}
l

c.r .

S e a m

S n d s i d e
l

b
u n d

m
6

"e."

* \ w s \ x e x \ . " * N x \ . \

lront panel Showing allowance for pleat. pancl slrowing Fig. 36. Side [ront front panel and pleat to center lront lront front Side 37. joined t0 Fig.37. Fig. dotted at undercrease line). by (shown pinned
P|ea+ in lhe fhe wifh a Side Pleal the Side Panel wilh Draping fhe From Seam (see Figure 36) Side Fronf l. Follow the same procedure as for the side front ol" a iegulation regulation six-gore skirt, but add the depth panel ol seani allowance to the side front of the pleat plus a seam edge. 2. Establish the side seam position and pin it to und pin it to the form again at a polnt the lorm, and point about three tllree inches inclies in from lrom the side scam. seam. Then lower the crosswise grain tront to introduce graixl slightly toward the, lront just enough width on the side section so that the pleat will stay closed. A sudden dropping of ol grain would a which would be inconsistent with the produce ripple sharply shurply pressed pleat edge next to it. Anchor the side section to the form along the hip level up to the point where it Ineets meets the center C e n t e r panel edge. 3. Mark the width of the panel at the lower edge. 4. Fold Fold the [abric fabric back on itself between the hip und the hem, and pin the fold. 5. Mark the top of the pleat in line with the markmg ing on the Center Center panel, and measure back from the fold the depth of ol the pleat plus the seam allowance. . Trink Trim. leaving a 11/, 11/4 inch seam allowance.

9. Replace the panel on the lorm and pin it along und agaiti the Center center front line at waistline and hip, and the agair} at the side front at the hip to support the crosswise rain.

l
Cf.

4 1/0
'

.35. Center .35. ;_' nt nt seam.

lront front pancl with a side pleat in the side

77

':7'I;I2?4>"

n rn e s s n e s.
7. Crossmark the break point carefully. Unpin the seam to and lap the front over the side frobm hip hem, the pmning pleat edge o! the Center panel to front: lhe side section (see Figurc 37) Later. when trueing up Lhe side from panel rule the line on which the pleat crease falls and crossmark it between hip and hem. Always match the pleat ctease with this line beforc pinning the seam at the back of the pleat.

8. Finish the top from hip to waist exactly as for die top of a standard gored skirt. Note. The fabric is more nearly bias on the side front panel at the pleat line than on the center front pleat crease, as Figure 37 shows. This is the principal advantage of a side pleat over an inverted or box pleat in a side gore. The side pleat allows plenty of room over the thighs at the side front, and yet the pressed edge is nearly straight and therefore holds a crease. Figure 38, on the other band, shows an inverted box pleat which must be pressed on both edges. Hence the grain at the side front edge must also be nearly is straight. Try both kinds and you will see that this
true.

skirt. Fig. 39. The lines of a plaid curve in a four-gore

When stitching is objectionable across the top of a the pleat pleat (for example in a soft crepe) , carry be it can that so waistline supported at the up to the as far as you down be stitched then belt line. lt can avoid to order in top stitching. wish on the wrong side

Problem 6
DRAPING THE FOUR-GORE SKIRT
The four-gore skirt with Center front and back seams can be adapted to either tailored or soft styles dependit _ ing on the amount of are introduced. Since hasonly d the possibility one seam in front and one in back, outward is seams the are slanting by introducing must come very limited, and any pronounced ripple toward primarily from lowering the crosswise grain the seams. This produces a softer, more circular type l of skirt than one that is gored out at the seams. be inlroducda any appreciable amount of are is t0 to be so mufh have seams Lhe Center fronz and back for fabrl suitable not on the bias that the design is fabrl such since {hat are loosely woven or stretchy, need more seams to stay" them. The pattern ol this YPC fabric must also be considered in choosing for examplt (will. a of lines The skirt. of diagonal and bld appear mismatched at the bias Center { m m seams. and slripcs and plnids take on curving diagonal lincs such as shown in Figure 39. But for a rm, S? 5km fabric without pronounccd pattcm. thc four-gorf lhC deslgn is a good choice ol cut, espccially when the drcss locuscs interest at thc ccmer o! the gurfv

box plcat in a side Fig 38. An invertcd

{mm

gore. Pleals

are apt

t0

spread apart.

78

l
lov Flan Lenzth in: Flnu Lcngm

B A S I C
y p

S KIRTS

w:ist Sea m Wmsl seam

1/2 Front Hlpwndlh wlorFlare Hlpwndlh o Ulorave

n n S n l n tl

S e u s e a m

H n p M a n

fhe Form (see Figure 4|) fhe Fabric on the Adjusng Adiusng the Lhe side seam line before placing the 1. Establish Establish the l. Fold the seam allowance under, fabric on the form. Fold under. 51lhem for a narrow silfrom inch l inch Out o u t hip to hem sloping at houette. On a selvage, fold the fabric back l lCh inch the lower edge and 2 inches at the hipline, and pm the fold perpendicular to the edge. at the creased fold against theform 2. Place the Creased theiform to the it falls perpendicular that i: side of Lhe the hip so (hat perpendlcular hem. oor from hip to hem. 3. Pin the fold to the form once at the hip level that and again 2 or 3 inches above the hip level, so (hat a for hem, the seam will not shift. Except generous the excess length should all be above the waistline.
Cenfer Front Fron} (see Figures 4| the Center af fhe the Flure Flare a? Adiusng Adjusng fhe and 42) l. Smooth the crosswise grain along the hip Ievel 1. level C e n t e r front. De Deline lrom from the side seam toward the Center a: what point you wish the rst are to cide at Cide t0 fall. This will usually be over ovcr the knee and about 5 inches in from the rhe side seam toward the front. Pin the fabric l0 the form at this t0 lhis point on the hip line. Above this smoolh smooth the that it is pin, lengthwise grain upward upward so {hat to the Then waistline. the fabric perpendicular pin 1o the form at the waistline. lf to If the lengthwise grain is not anchored perpendicular to the waistline at this point, the are will swing out toward the side seam. poim, 2. To T0 drop the grain from [rom this point toward the C e n t e r lront, front, slash through the excess fabric above the waistline (lown down t0 to within 1/2 inch inch of ol the waistline seam (see Figure 41). 41) . 3. Drop the grain at the hip Ievel level lor for Lhe the Center Center from front are and pin to the form along this line to the C e n t e r front (see Figure 42) . 4. Smooth the fabric up to Lo the waist and pin along the waistline toward the center C e n t e r front, stretching the fabric slightly. 5. Trim the waistline seam to inch. 1/2 Note. A very slight drop in grain produces a practically straight skirt, whereas a decided drop creates a circular, ared effect. eect. However, there is a limit t0 to the amount {hat that you can lower the grain and still t the gure closely Closely from hip to waist. The greater the are, the higher up it i: must begin. A skirt which ares

Donth Deut}:

Harn Horn

Fig. 40. Fabric estimate for four-gore skirt.

fhe Fabric (see Figure 40) mang the Bmang

rom the waistline 1mm

l. To determine the length length of the panels, measure to the hem line and add a hem alowance and a waistline seam plus approximately 4 inches for lowering the grain to produce are at the nches 5 ower edge. ower
.
V

2. Measure around the hips from the Center front r back to (o the side seam and add at least 5 inches for at the lower edge. As the lhe Hare are increases iare extra increases, the extra are for lowering the grain must also be increased. englh lor ength

-4

_
4

Set.--

1
4
S d ie s le a m

3'

_
C

FigAl. Four-gore-adjustment on the lhe form.

F1

79

hsp cum. even iugh ztgaskinhmrnix hips t0 wahr;

'
*

are-fallsi

Follqw 15KG; 98m

a;

'

41-4-

w
4

173.42. Four-gore -aiTangement of the ares. directly fmm Athe waistline should more properly be

dassied as a circular skirt. See directions for draping Lhe circular skirt, pagc 85 . lt i: also true that the more the skirt ares the more curved the waistline becomes, which makes i: necessary to clipand stretch rhe waistline to t the gure closely
above the hips.
and placeStudy the skin contour for both amount far out ares the ment o! are. Guard against placing a: the area at a toward the side of the gure, leaving broadsame the then have C e n t e r, for the ares would wide a a: effect panel. Yet if you place all of ening out lhe are at the Center front seam, the Hare swings that ares so to awkwardly from the body. Try place all from angles. the silhouette is good

Adiusng fhe Sidc Salm vom Hip b Wckino 1. Smooth the fabric from the center of the; toward the side seam line. Pin the waistline ito form a: the side seam and trim the excess abov side seam nur 3/4 inch. Allow a more generous a since let for waistline out, prominent hip boi side curvc on the Ag decided a or the side front, osct (bis it i: To side. throws the are to the near die waistline the sary to lower the grain a: from seam the seam and to ease the excess into hip to the waist. 2. Fold the fabric back upon itself and trim seam to leave an allowance of about 11/4 inches. 3. Crease the folded seam line, turn the f: under to the wrong sidc on the crease, and lap front over the back, pinning it perpendicular to edge. Caution. Crossmark clearly the hip level balm points.
_
v

Marling fhe Cenfer Front Line (see Figure 42) to the oor l. Mark with pins a line perpendicular from waistline to hem. allowance. 2. Trim the seam with a 11A, inch

Mnrlzing and Truoing fho Paern (see Figure 43) 1. On the side seam, crossmark the back and! w a: the hip level and twice above it, in order tovdir tribute ease along the front edge. Rule the side from the widest poim of the hip curve to the hem-

Martin; fho Homlino l. Adjust the form to the correct height. 2. Mark the hem line with pins. inches, a: 5. Cugallowingagenerous hem (4 the least). raise grain to I! die ares are roo exaggerated, T his reduces the hem rcmove some of Lhe fuilness. but shortens the skirt.

maep

2. The waistline should be marked clearly und! thc curately. Since the curve of this line controls aifect __ tion of the ripples, any Variation in it will l S on waistline the skirt. the Support hang of waistband to preserve the curve exactly before t the skirt. 3. Since the center front and Center back selmii are on a sharp bias, stretch them slightly. Th even ! 3 though necessary, bows o u t the bias line
_ . ' \ s _
. _

80

B A S I C

S K I R T S
O t0 i5 |1 1s i! Keeping in mind this one variable, posslble s PO-jib? all of gored gore summarize g u n n n a r l z e the prmclples drapmg draping principles siuirls. snr posltlon (the pOSItIOD The factors determining the character Charncter 8T?! sklrts arei o1" Hare) and amount o!" are) of all gored skirtS side of the gore l. The amount and the xide 1. towztrd towaird llne is Crosswise grain whiCh which the crosswise hnp line dropped at the hip

within the gore.

out slanled 0U m o u n l that the seam edges are slanted amount 2. The a from the point of the break to the lower edge and the low placement of the break point. high or Iow location of body curves, that is, is 3. The size and location the contour Contour of the gure itself.

Shape of Gore Edges

1. l. All gored skirts have ruler-straight outward slanting lines at all seam edges from the point of the break {all perpendicular to the oor if down, clown, and the seams fall the fabric is soft and clinging. The seams e n t e r the hem line perpendicular to it. 2. The lines of the skirt from the point of the break to the waistline are all straight lines slanting inward a: at all edges except whiCh is curved. Curved. All exCept the side seam, which seams enter the waistline perpendicular to it. 3. The waistline waistliixe and hem line are curves meeting the sides of the panels at right angles.

center front from seam bends _Fig.43. Line a shows how the Center Fig.45. when stretched. Line b shows the center outward whcn Center front from outward

trucd with a trued

ruler. Line c shows the Center center front line after

tension is relaxcd.

bowed eect, follow the directions below (see Figure bowed 43) : 43)
Cross(a) Lay the pattern Hat on the table with the crosswise threads at ut (o to the threads. right angles lengthwise fwise

it originally appeared to be straight. To

correct correCt

this

(b) Stretch both biases. lbiases.

Center

front and Center center back

ew straight lines.

o! these lines and chalk Chalk (c) Lay a yardstick on each of

.-UMMARY: UMMARY: PRINCIPLES OF DRAPING ALL R RED SKIRTS

; After you have '_ two-, four- four-, and sixgore draped a two- i irt irl and have introduced weil as ares into pleats as well . e gores, the draping of eight, ten, ten or even more res presents few {ew new problems. The _res principles and are always very much muCh the same with one [ocedures focednres '- ceptlon. Ception. As the gores increase in number and Concon Q uently become narrower, the ares must be intro_uently ced more by slanting out the edges of the gores than nced 3 lowering the grain within the A_ gores.

Position Posion of fhe Lengiwise Lengfhwise Grain l. 1. Drape Center c e n t e r gores for two- two-, six- and ten-gore skirts with the straight lengthwise grain at the Center of the gore. 2. Drape all gores which whiCh have evenly balanced ares with the lengthwise grain at the center. Center. 3. Drape side gores and those with more are at one edge than the other by establishing the less ared edge rst between the hip and the hem line. The minimum are should be 3% 5/, to 11/2 inches.

CIRCULAR SKIRTS
The hem sweep of a circular Circular skirt is determined for the the by am 01o;- c mtensity u f y e o; mtenslty of the an; cuwe of mo-st molst Part the waistlme walstlme of the slurt skirt m in relauon relation to the waistline

81

liawi Lgenerally am; from level or lowgr, but the full circular skirt statt: (0 ilafe theiwaistlihe or immediately below it. Cirtular skirts arei of four general kinds, according to the amount of sweep a: the hem line. These may
'

The 30kg:;

..

be called:

(I) the normal, (2) the less-than-nonnal, (3) the greater-than-nonnal, (4) the maximum. l. The Normal Circular Skirt (see Figures 44 a and b) ts the waist and hip lines smoothly. The hem sweep is determined by the dilference between the 'waistline and hipline measurements of the individual gure. That is the greater the difference between the waist and hip sizes of the individual, the greater the

q} on a few but in the back, ally cided curve on the side of the hip; H. you careu number of dilferent gures and 4nd in waist them dilferences between hip. ments, it is easy to understand why normal skirts vary so much in the amount of hem sw in the location of the are. 2. The Less-Than-Normal Circular Skirt (see, ure 45) ts the hips smoothly but has less are 5E hem than would ordinarly result from the dilf between waist and hip measurements. The hem s is controlled either to t the limitations of a u: fabric or to get a particular silhouette. An example this is a skirt designed with a very Hat, plain freut" order to contrast with a bustle back. Such con; is essemial to relieve the atness of the contour. skirt seldom has a side seam. Instead, the fabric usually carried beyond the side toward the back the limit of its width. Darts must be used at the matt; line to dispose of thc excess above the hips, and eitel: a peplum or girdle drapery is used to conceal the d m ;

arked diff ren b:

w:

3. The Greater-Than-Normal Circular Skirl (auf Wahl-i Figure 46) is the typical one. lt ts only at the line ancl ares from well above the hips. The lowcxf edge may have any sweep desired. The relation of thci, waistline size t0 the sweep of the hem will determinem the fullness over the hips. This c u t is usually limiwil to evening dresses, hostess gowns. and skating 8nd; ballet skirts, and is at its best on a slim-waistcd gulta lt may, however, be used to camouage broad hips: the waistline is small and the fabric is still enough give the illusion (hat the extension around the hipsi? due to folds in the fabric rather than to hip size. T! 3 greater-than-normal circular skirt can be interprtld in both still and soft fabrics. and its silhouette is 1hdirect result of thc character of the fabric chosen.

m:

(a)

(b)

circular skirt. The waistline of thc Fig. 44. (a) Normal to thc hips: (b) Normal Cifclaf gure i: small in relation the o! gure is large in relation 1o the 1km. The waistline

4. The Alaximzun Circular" Skirt is a complete Cifd i l with a hole cut in (h6 Center t0 t the waisuiuxe. ares straight out to thc hem without tling the W7 C0 at all below the lcvel ol the waaist. Although this 1h? is called "maxinuun," it is possible (o increase J 3 sweep still lurlher. ll thc cumplete circle has d;

hips.

82

KIRTS
Problem 7 SKlRT DRAPING THE NORMAL CIRCULAR SKIRT 48] (see Figures 47 and 48)
which the remember, is the skirt in wllich This, you will remember dlfferece diffefene the of the hem is controlled largely by sweep between the waist and hip measurements and by the of the body. contour ol body. The following directions are for o! madraping a half-pattern hall-pattern in muslin. The estimate of _ma desired terial required required will depend largely on the deslred length of the skirt.

fhe Fabric on fhe lhe Form (see Figure 47) Adiusng Adiusling lhe I. Place the selvage of the muslin at the center front l. ot of the lorm lonn with the top at least 21/2 inches above [h9 the waistline. Use the excess above the waist to drop the crosswise crossivisc grain gmin toward the side seam and to allow for
a 1/2 seam. inch waistline seain.
Note. Since this is a half-pattern, center front half-pattern, the Center should be placed on a lengthwise fold when you cut cut the pattern pattem from actual dress fabric.

s}

i545. Less-than-normal circular skirt, Showing ig.45. showing excess out ol waistline. i! rted oux a1 Fignl. Greatenthan-normal circular skirt that ts only at \ig.46. e waistline. he waisilinc. ut l in the centcr C e n t e r to L0 t not the entire waistline but
ust the waistline front, ust lront, and this circle is slashed from

..ee center Center

to the outer edge and seamed to a circle ts the back, there will be twice as much much fullness. ts, marquisettes, and chiffons, unless buoyed up by ie ets nusual lullness, hang limp and appear to be Inusual skimpy. l he he fold upon fold o! of these exaggerated circular cuts "lso deepens the color of transparent fabrics. The lso bouant elfect at the upper edge of the skirt can ulfy boulfant iuy ien be increased by cutling ven e n t e r of center cutting the hole at the C circle larger than the waistline of the gure in er t0 gather it. Flares that come so close irder together d start at the waistline are small becoming to petite, smallCisted gures only, and their exaggerated extension taisted ust be contrasted ust slender, closely tted bodices by slender t dene a tiny waistline. Without t"his jgat this contrast the ole elfect is bulky and clumsy. hole

I.

2. Pin the cloth t0 to the form on the center front at the waist and hip with the selvage falling in a plumb line to the oor. Clip the selvage if it draws or curls.

a! _ . at g

Adiusng Adiusling fhe Crossgrain the crosswise grain from the center Center front Drop thc from toward the sidc seam enough to t the waistline snugly and the hips with slight ease. case. l. Pin the fabric at the waistline about 2 inches from the c e n t e r lront, center front, keeping the crosswise grain level.
2. Clip through the excess above the waist to the pin. 3. Drop the grain from the pin outward just enough to t the waist closely and the hips with slight ease.

iNow (hat that we have seen something of the gNow general of ol circular skirts, and the principles on which 1:0 lare designed. let us examine the procedures for y_are ing them. 1pmg

w.

edge.

Place a second pin at the waist level two inches farther toward the side and in the same manner con tinue to pin, clip, and drop the grain to the side seam. Stretch the fabric Iabric slightly to (o make it t more tightly at the waistline and to throw more are are at the lower

83

Dummen-vs LEss-THAN-NORMALA

_
K.
&

49 and 501 CIRCULfR SKIRT (see Figures

hips and by a specied hem width.

Adiusng fhe Fabric on H10 Form (see Figure 49) l. Place the selvage on the center front or cen: back line cf the form with the top edgc less mm7
inches above the waistline. 2. Pin the cloth to the center front or center v of the form at the waist and hip with the sel {alling perpendicular l0 the oor. As in Problem this is a half-pattern.

c -

skirt. Fig.47. Draping procedure { o r the normal cnrcular 55.48. Side seam adjustmem tot the normal circular
slin.

Adiusng {h0 Side Seam Line (see Figure 48) 1. T u m the fabric back on itself and pin a line to the hem. perpendicular to the oor from the waistthis outward continue circular skirt, In thc normal curve from the hip to the hem line with a straight ruled line slanting outward. 2. Cut with a 11/4 inch seam allowance. 3. Crease the edge,. remove the pins, t u m the seam it perpendicular to the L0 the wrong side, and re-pin the seam can be placed a: edge. Hthe fabric is wide, if the side back and concealed under a are or fold doing so improves the design.
Duping fbe Skirf Bach I. Drape the back like the front. the 2. Pin the from and back together, lapping { m m over the back.
V

Adiusng fhe Crossgrain l. Determine the width a: the hem line accordi to the silhouette effect desired and mark the h width with a pin. Drape from hip to hem line mL since these are the two determining circunlferenees 2. Smoolh the fabric over from the Center front the cemer back to the side seam along the hip lev allowing the crosswise grain to drop just enough _ the desired hem sweep. (Marked by a pin in step L); Note. A Variation of this method is given at the CM! of the directions for this problem. 3. Anchor the fabric to the form at the hipline 9 that the side seam falls perpendicular to the 1100H " from hip to lower edge. 4. T o t the waistline, take up the excess abOVC d: mg; 0T hipline into darts placed 1o nxeet the dar: lines blouse a: the waistlitle.

84

BASIC

TS S K I I RT

(see Figure 5|) Adiusng fhe Fabric on fhe Form [see the Center Lhe muslin on tne l. Placc the selvage of the 1. Center muslin_on fabric exfrom line of the fonn, form, with the t0? front top of the rabrIC exwaistline, dependrng depending tending 5 to 7 inches above the warstllne, amount of Hare to be introduced. When actuon thc amoum 68m6! the C enter ally cutting the skirt from dress goods, goodis, place fold. [ m m of the pattern on a lcngthwlse front lcngthwise front of the form center from to the Center xnuslin t0 2. Pin the muslin (he it hangs und hip, and check to see (hat n. a: the waist and at oor. l0 the Hoor. perpendicular perpcntlicular t0

or

c. C

F. L

S e a m

Na o
n d S i d e

Q i0 0 * " '

desired depth.

Mefhod of Draping Flares t0 [h6 lhe waistline waislline at a point 2 inches I. 1. Pin thc lhc fabric l0 the C e n t e r from center front, from, away keeping the crosswise level. grain 2. Clip the Lhe excess above thc waistline down to the pm. pin. 3. Drop the grain enough t0 produce a are of the

M
49. g.49.
L

Lcss-than-normal Less-than-normal circular form. 50. Lcss-than-ntirmul Lcss-lhan-nonnul Lirculur Lirculnr the side sidc back and a dzm (lzirt Zced at lhe aced
.

D -5

Q\\\

Q \ n & \

g \ @ \ \

skirt skin-udjustment udjustmermt on

vurizuinn. A scam is varintiun. subsmutcd [or subslitutcd for the hip

.50.
r

m.

und Hemline Waisiline and rking fhe Waisine rling Mark with Mark wilh pins whilc the fabric is on the form. 1 Note. Variation beginning wilh with step 2 under Note. idjusling the Crossgrain." Because Bccause this skirt skirL is very djusting lhe ow, the side seam may be omitted and the front rrow. 1o the side back as far ;el may be carried around to nel the widlh width of the fabric will allow. This places the 22th: u a! the side back and substitutes 3.x a long curved for the seam at al the sideof Lhe the hip (see Figure 50) .

Problem 9
SKIRT "(cm-AR 5K|RT VCIRCULAR

DRMNG DRAHNG THE GREATER-THAN-NORMAL (see Figures 5|. 52. and 53)

e formed by the waisuine waistline chairacter of this skirt is {ormed chfnracter mhnc arcs. tniline _

5|. Bull l-ull circular skirt Fig. 5J. umform, adjustment on the skin-adjustment mm1.

4D

85

a!
*

m am
v,
1

just gletexmined axidjio place Stmtdtgthe "fbric along the Awaistline slm mooth immediacely below in, nd 75ipjan 1cm": the grain to the side

the waistlhine vto support

Fig. 53. Full circular back view. Note the position Auff grain.
'

Note. If the ares are at all deep and the oor length, the fabric will be too narrow a: lower edge to reach the side seam without pi -v This is undesirable in any fabric that shows the ' ing, so that it is advisable when using such mit to place seams at the side { m m and back as weil

directly on the side. See Figures 52 and 53. 5. Mark the side seam as for a normal circular

Sfandards for Draping Circular Skirfs

In draping circular skirts, the following thme P0i should always be kept in mind: H l. Becoming placemem of ares. If placed o! far on the _sides they broaden and shorten the bod 2. Correct size of Hares [ e r the texture of the w: S" and the heighl of the wearer. 3. Consistency in depth of all Bares.
.

dloim

um \ am M.

with aeams a: side from and side back. m5, 52. Full circular

86

B A S I C

SKI RTS

6N
0,00
W | l ! T | l T F T l I W m l n l m I m l n n n n m v m m m
l

. .

m m u u m m u m L

Skirf Paern n9 ng fhe Grain on a Circular Slxirf Paern -

Fig. 54. Three possible grain positions in a full circular skirl: Fig.54. (1.) _(l _) L.inc Linc a.sh0ws n'shows the Skirl 55 (a); (2) Linc grain position in Skirt Line b shows shnws thc grain pnsiuon in Sklrt Skirt 55 (b) pnsumn m (f2): the grain position in Skirt 55 (c). (5) Line c shows zhe (8) dotled line lme shows the posmon (c) . (The dmted cf piecing for narrow fabric, i! of if lhC thc Center c e n t c r frnm { m m is placed nn lhC grain.) silhoucues produced by thc thrce grain pnsitions Fig. 55. Three silhoucttes laositions diagramed in Fig. 54.

the grain g be placed in a full circular skirt. The one you oose widlh of the oose should depend on the width thc dress fabric are using and the Lhe silhouette silhoueue you desire. 5 lf If the fabric Es is wide enough to lo accommodate the e skin skirt front, from, place the cemer Center front ol ol the circular patlern on the lengthwise fold. In ln some fabrics, lengthwisc lold. nspicuous piccing can be made at spicuous a1 the thc lower edge the side seam by joining along a lenglhwise lengthwise both the main panel and the d d on bolh piecing. Alpiece in the direction of the wale of a piquc pique or oats of a satin weave. lloats
5

re are three possible ways in which Tberc

. ;u

3. Follow the Lhc procedure given in step 2, but place the lengthwise grain t0 the waistline at pcrpendicular to a point poinl about 3 inchcs in from Lhe the side seam at the {hat the grain is hip levcl, so (hat nearly straight at the side of ol the body and at the practically on a true bias a: center Center from. Figure 55 a, b, and c show three variaent e nt

_
'

tions in Silhouette broughl brought about by the three differways of placing the grain.
PEPLUMS

ter of the pattern mer pattem section perpendicular to Lhe the e so (hat ne that the cemer center from seam will be on the r "partially partially on the bias.

When you use a separate width for each half half of n "rt front, place the lengthwise at grain-marking an

Peplums should be draped in much Lhe the same manner as circular skirts. One (hat { h a t ts the at both waislline and hipline should be treated gure uvaistlinfa like the exactly scction of thc normal top section circular skirt, and one (hat that ripples should be draped like the upper part of a greater-than-normal circular skirt.

87

i; given {o} xyhat from the

stahdard.

iFaliiric on H19 Form (see Figure 56) 1L Plate the fabric on {Ehe form wich the straight inches above the grain "a: the center front, allowing 21A waistline for dropping the grain and for hollowing out the waistline. 2. Pin the fabric at the center front at waistline und hipline.
Adiusng the Crossgrain side l. Smooth the cloth downward toward the to the waistline. seam, clipping from the top edge lower edge to the allow to Drop the grain enough stand slighlly away irom the gure. 2. Pin the waistline at the side seam.

ure a-shows d: cemgy backf am}, placed a: the Center Bach o! the. the fabric all the-i: Procedure C. smooth the fabricdo To back. this, center waistline and pin, clip, anddrop the croxswise around to the Center back. Multiple ripples p ' center back seam on a bias beyond the therefore the waistline will be a deep arc.
V

'

PEPLUM BACK WITH A S|DE SEAM (see Figuro5

Placing fhe Fabric on fhe Form l. Place the fabric on the form with the s at the side grain perpendicular to the waistline form. bei dress rather than a: the center back of the that poinl. at least 3%inches above the waistline at 2. Pin the straight grain t0 the form at the waxst line and hipline, and clip the excess above the Wulstline down to the pin. 3. Work outward from the pin towand the oen thereis back, clipping and dropping the grain until enough are at the Center back.
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"

Marking the Center Back Line Mark with pins and cut with a seam allowance.

o! the fabric. 1:58, 55, Peplums- placcment m the side back. carried amuncl Fig. 57. Fabric back panel. bias at centcr back. Center 58. 35g,

Adiusng the Side Seam Lino l. Smooth the [abric from the pin at the Center lt m17 the back section forward toward the side seam. improve the effect to drop the grain slightly l0W3'de__ the side seam. I 2. Form the side seam line and trim it with inch seam allowance. m:bachii 3. Pin the seam, lapping the ( m m over und 0W Force any looseness out of the waistline strelch il slightly.

1W

88

BASIC

KIRTS
the the bias wherever lhe frmn plncing resull lroun placing lhe 2. Flures result are should lall. o1" llare greatest amount ol" grealest the thc 3. Flares will always tend to (all oulwal outwarcl fronx frorn the fnll 0* 51d? Ol Sld the lhe o1 ol the back hlps, the body ol" lhe curves ol front. sidc side the Lhe at a: bone the hips hips, and the hip

DRAPING "DRAPED" SKIRTS

the term draping" Up to this point we have used on the dress lorm. labric fabric or lnean Inodeling to mean t0 shapixig modeling shaping draped" applied to skirts, means Literally the word (lraped" more points ol suspento one or nmre the grain up L0 raising Lhe at the skirt aL of the skln the width ol slon, sion, Lhereby thereby reducing Lhe at in size either skirts t0 to equal lower cdge edge in contrast the at or o1 bottom und and larger Lhe the top (straight skirts) bottom than at the top (gored and circular skirts) . A the gure to Lhe gtire sometiules as far "draped" skirt clings 1o down as the lhiglls thighs or even the ankles, is actually draped" "draped" or pulled in against the legs and has fullfolds at the top. The ness drawn up into gathers or lolds was its worst am at skirl skirt pulled in so excessively draped that it was called in ridicule a unkles [hat around the ankles hobble "hobble skirt" an awkward and ungainly cut that to at the cemer center front t0 lo be slashed to the knees a: had (o skirts But at all. move to wearer the allow draped can be lovely. Their beauly beauty depends largely on the skill ol the draper in handling soft pliable fabrics so {hat that they lorm dcep deep folds that dene the gure without restricling restricting motion. Iegtop Peg-top skirts, cowl skirt folds, and lunnel hip pockets all belong in the category of that they are "draped" draped" skirts, and can be handled so {hat to allow moveLhe front lower edge t0 wide enough at the ment with ease and freedom. When worn by a person who is ls slender and well proportioned below Lhe the waist, waist the draped Silhouette denes the slender waistline and und its lolds tolds emphasize the play of light on a hips and hips, lustrous silk or rayon. Although individual directions for draped skirts of course, would would, ol course differ somewhat with each change in design, the example given is a conservative and wearable version Version {hat that explains the principles underLhe the lying manipulation of all draped skirts. Before the skirt in muslin muslin, experiment directly with draping the fabric [abric to be used to see what lines lt it takes and l0 to get the feel" of the cloth without cutting into it. (See Chapter 7 suggestion 3.)

u59. .59.

back toward hip LlC bad; Sltlt. lrmn m m Sl Back pcplum (lrapetl (lraped [ buck. c m e r buck. CCUICI loward ( and toward

atking fhe Lower Edge arking to of pins parallel (o Mark the lower edge with a line ol Mark waistline in order to produce a level effect if the the Hoor cdge on a level with Lhe Hplum is short. Pin the edge plum lhun hip level and is actually the vlhe peplum is longer thzm full< shorl peplum with denite full are ol of a short nic. The Hure unic. ' if the lower be more emphatic a! the back will bc s at emphzrtic t0 Center Center lronl C CCHICI e n t e r lront to vge curves downward from ge lorm the lower howcver. lonn lck. You should always, howcver, ck. lincs which dethe other lines ge line in harmony with lhc 2 ine the coslume. of the costume. design

Waisine fhe Waisiline rling lhe inrking

Mark the waistline from Mark "th 'th pins.
center Center

lront to front t0 center cemer back

iPLUMS FORMED BY EXTENDING THE BLOUSE PLUMS LOW THE WAlSTLINE WAISTLINE (see Figure 55, Chapler Chapfer 2. a Hip-Lengw French Darf Jacke?) 37. ge Draping Hip-Lengfh Ege

MMARY:

MARY: PRINCIPLES OF o|= DRAPING CIRCULARS

formulate three general t is possible _t Possible to formulate the of the are: Hare:

rules for lrollmg _atrolling position Flares result from dropping the grain at any (i Flares result point. This changes the waistline curve.

v.

89

Qnlhluat

1.3ddW\* v m top least Qjnches-aat

*

lus

ihr:
"Ging

l. Startihgfat theside seam, place the fabric up the foim at the hip level and pin it at least 5 inches in froni the selvage, allowing at least 2 inches above (h: waistline. The 5 inch extension at the side provides { o r slanting out the seam at the lower edge. The more you draw the fabric up from the bottom, the more biased the side seam eventually becomes. 2. Smooth the fabric forward along the hip level 4 line, supporting the crosswise grain level for about this at form the t0 point. inches. Pin the cloth this above pin and 3. Smooth the fabric upward anchor it 1o the form at the waistline (see arrow, Figure 61) .
Feld: from fhe Waisine foward fhe Side Seam (see Figure 60)

and the . of inches of 4 25cm a-total length this allowance for a more

'

.4};

-4 -4
o

Fhle on ihn Form (see Figure 60)

q <

the waisdinc Fig. 60. The draped skin folds [ m m sidc seam. the pin sup v Fig. 6 | . The draped skirt folds from grain at the waistlinc t0 the center front. either draw too tightly against the legs or they not be drawn tightly enough t0 keep the side I from wavering. To get the ellect of low side drape it is sometimes necessary to auach it as a sepa one thing i piece to avoid just this diiculty. lt is and qun drape beautilul {olds on a piece of statuary motion in is (hat a skirt another to drape graceful
l

from l. Draw these folds fonvard and downward waistline. the above thc excess beside the hlipline and Do not shift the grain along the hip level. side seam at 2. Clip through the excess beyond the the fabric to the outer end of the lowest fold, stretch in to the make the (old cling to the gure, and pin form a: the side seam. the excess beyond the side seam a:

Forming fhe Waisine from fhe Feld: fo fhe Side 500ml 1. Smooth the [abric along the waistline to the seam, clipping the excess above the waistline.

2. Pin the clolh waistline.

l0

lhe [orm at the side seam onllR

3. Clip through above the lowest one. the outer end of the second fold and pin it to stretch the fabric again t0 make it cling, slash. the fom: a: the end of the second level or above Bolh these folds point toward the hip seam much the side i1. lf they were directed toward the as low as thighs, for instance below the hip level to diicult manage. They would tbey would be very

{h9 Ccnhr h Laying fhe Folds from fhe Side Front fo (see Figure 6|) l. Lay a fold at the sidc { m m which runs from waistline toward the lower edgc at or near the seam. T0 get this lold, lift the crosswise grain im: ll the boltom so that the lold radiatcs outward. disappear a llule below thc hips. 50W 2. Draping toward the Center (rom, lay a lower [old an the waisllilne dircctexl lowalxl thc
l

90

BASIC S KIRTS
bc< lhc lold clisappears (hat Lhc the grain so Lhat just bedisappears just. "ing ing lhe been been has cmsuvise cromvise Thc hem. lhe reachc: the il reachcs grain re it ' rudiate. The sectolds rudiatc. l0 nlakc makc Lhesc 101d: L: d noticeably noliceably t0 rsl. thc m. [Iran Ihc _d '_- fold should go lower than wuistline still closer t0 lhc waislline a: thc kold 21l Lay a third told ;3. u Center from, timc lhis front, this kcepirlg the grain level. keepirlg lowcr edge because the the 111e falls onc bis one thruugl: his raised. not was In ain [rom either C e n t e r front 1mal" the center another fold ncar" :_4. Lay anothcr 4. Loward it im or thc grain levcl slightly toward dropping slighlly ping the fold if a from cemer Center running Lhrough deep very dcep ie lower edgc edge innproves the design. V lhe ccnter front, this noL dropped lf lhe grain is not 3 Llropped at the fabric. Lhe iabric. e can be placed on a lengthwise fold of lhc because in works well _ - is procedure rayon crepc crepe rayon very ihis i1" Lhc grain is dropped "fall." However, if its hcavy "f ils heavy fall." Center front seam C e n t e r (mm, little toward the center fronl, the centcr little hem sweep and 7 Islam slant outward, producing a wider hem ill Lhe t e x t u r e more graceful [ a l l of fabric, especially if the ;more one. a n ot not <_ very clinging

" re
'
-

Marking fhe Hem Line hem line with an L-square and pins while Lhc hem Mark Lhe Nlark the form. skirl is on thc Lhe skin the

3.

<

'

The Back of fhe Skirf as Hat and closely be a skirt should bc ol the skirl The buck o1" Thc cect cffect of the t0 otfset Offset as 21s Lhickening ucd possiblc narrow of a back The front. from. the at six-gore drapery withoul cupping it ts closely without skirl is a good choice, as iL skirt under the hips. o! a draped skirt is the The greatest disadvantage disadvanlage 0k Lhickcn thickcn the gure over Lo to above-mentioned tendency Lendency Lhe abdomen from the prole view. T0 counteract the l0 attach the draped folds t0 a iL is possible to this effcct, it thc curve of the down over lhe folds the or to stitch t0 yoke, abdomen. Some such device usually Llsually improves lhe apLhe gure is unusually Hat ol" the skin skirt unless Lhc pearance of abdomen. For variations of the and slender across lhc abdornen. S. skirt sec ChapterChapter 7, Suggestion 8. druped draped skin
b2) Marking and Trueing fhe Paffern (see Figure 62)
scam seam lines, lines,

Fron? Seam Line (see Figure 6|) llrking arHng fhe Cenfer From b!) L0 hem. l. Mark with pins from waistline t0 ;l. < [o a ll/g 2. Trim t0 11/2 inch seam allowance. N

I. Remove thc paltern [vom the lhe form and mark all pattern [rom the waistline, and the hem line with a

pencil.

1l. l. w

Figure b0) 60) Fold the excess fabric beyond the seam forward the lowest clipped poim [0 the hem 1o to form a point to _-om umb linc. line. lumb

Seam Line (see ming fhe Side Seem rming

the edge and trim it t0 a inch seam allowance. ll/z 11/2 fave 3. Form the line from the hips up (o L0 the waistline S. s Streich g,marking it with pins stabbed into the form. Stretch

2. Pin it perpendicular to v? f2.

>

toward t0 make the folds and the seam Lo to l inch. Ing. .1 .0 1s s seam line will be a decided inward curve (see
'_ re 62). Qgure

e fabric slightly the side v: g. Pencil lhis line and trim

fhe Waisine farking nrking ihn 'n i n a line following the waistline of the form, clipthe excess above the waistline. Then smooth the -vthe aboye 1c toward the Lhe sidc snde seam beside the folds t0 to elimie any ease along the waistline. (The grain tips ard sharply toward the C e n t e r front Center from in this space e the side seam.) de
y

_
ve

skirt pauern Fig. 62. Draped skin pallern with folds and edgcs edges trued up.

91

'

5, Trug
PART

and Qpace evenly up

"f.

II

THE FLAT PATTERN METHOD OF DESIGNING SKIRTS ON A MASTER PATTERN

With one fundamental dilference, the general principles of designing waist pattems from a master block apply to the designing of skirts from a foundation pattern. The difference is that the skirt hangs free of the body Erom the hip t0 the lower edge and is therefore shaped to t the gure only irom hips l0 waistline. Thcrefore you should always draw the hip level on the pattem block to indicate the extent of this tted area. Notice too (hat the curve from hip to waist on the side seam is a signicant part of the skirt shaping. You draped it to-duplicate your side hip curve exactly. Hence any change in the degree of this curve made by at the waistline taking in or letting out the side seam skin. Increasing the hip will alter the hang of your curve lengthens the seam and allows it to sag; letting out o: straightening the hip seam shortens it and allows it to are sidewise. All of the four main kinds of skirts and their variations can be blocked from the two-gore master pattern, but since it is so easy (o Inake patterns for straight skirts either on paper or cloth from gure measurein mems, and sincc (hat has already been explained here Part l of (bis chapter, the examples of blocking circular, and draped to given will be conned gored,
dart in the front gore but it makes a much betten m19 ter block pattem if lt has one. The dar: takes up (h: ease between hip and waist at the side seam edge the pattern and makes it possible to t the skirt with little side are below the hips. Then, too, indenil:
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v

ease along a pattern edge is undesirable in a master block pattern. Results are more certain when all ol the excess is taken up imo a denite dart. Althougll the skirt-front dar: falls naturally above the hip bone well around toward the side seam, for convenienoe in 1 blocking, place it to form panel spacing which coin the of dart cides with the spacing of the basic waistline

blouse.

skirts.

Infroducing a Waisine Darf cf fhc Front of lhe Muhr Peem (see Figures 63 and 64) lf you have draped your master pattern without a dart at the walstline it is possible to lmroduce 011 to take up the ease at the side of the pattern between hips and waistline by following the directions below: l. Compare the measurements { m m the balanoe und point a: lhe hip t0 the waistline on both the back the front of the skirt u) determine the amount of e150 on the skirt lrom. In other wortls, nd out exlctly how much longer the front edge is than the back 5mm hip to waist.

p u r n -

j =

i,

ms TWOORE MASTER PATTERN saom BLOCK

or may The uandard lwo-gore master pattern may waistline vcrtical not hzve been draped with a small

2. Draw a horizontal linc on the skirt pattern im? Itparallel to the waistline and about 5 inches below

8. Draw a vertical Iine

{mm

a point on the waisl a

B A S I C

S K I R T S
(i5 and 66) urcs ures 65 (i6) and delay using the the

the princnples prlnclples tof bloekpattern unul you understand blockmg sltlrt ing skirts. The supplies required for bloclung listed for blockmg patterns are the same as those twotwo. blouses (page (Page 45). Cut many duplicates of the brown in back and front heavy skirt patterns gore paper in preparation for this practice.

size master S126 lnll Tut

nf

Problem I
DESIGNING FOUR-GORE SKIRTS ON THE TWO-GORE MASTER PATTERN
There are many possible variations in the Silhouette It may have more or less are of the four-gore skirt. lt at the hem line, depending on the fashion and the are may also start at a high of the skirt. The llare style ol" or low break point, and may be either concentrated or evenly distributed, as you discovered when you draped
four-gore skirts.

v. n which matches the spacing of the blouse dart to f.

master pattcrn '. 63. lntroduction of a dart into a maslcr g. pattern draped thout one. Step l Draw the dar! dart linc line and the linc lrom fron: to the side seam. point of the dart t0 e; 64. Step 2 Pin the hip ease into a tuck and open the r istline dart. istline

e e t the horizontal line. Slant it slightly outward (l/z (l/Z eet v'ch from waist to hip) . Slash this vertical line. 4. Fold in a dart on the horizontai horizontal line, taking up ease 5' easc on the of side seam the skirt and taper the Ei ld to end at the vertical slash. The vertical slash f opens automatically, thus transferring the ease 5m the side seam to the new vertical waistline dart. iom

ch

en

f45. 5. ll lf you wish to reduce the width at the hem. hem ash the vertical dart line on through the lower edge ash ; the skirt and overlap the slashed pieces a little at c hem line. Let the pattern pieces touch at the point e _ the waistline dart and spread apart a little more g the waistline, thus increasing the size of the waiste dart. However, the waistline dart should be kept - . (See pages 69-70.) all. 6. Smooth the pattern at the point on the side seam 2 the dart was pinned in. lt is now ready to use here ere 1a master block pattern. A: convenience and speed in practicing the rsx rst 81:01" ior problems, trace the quarter-size two-gore skirt 1 c Problems, 1c em placed in the book for that purpose (see v-tlern Fig-

A.

" '

Narrow Skirf Fronf wifh Waisine Darf Relained Refained (see Figure 67) This narrow four-gore style with the small waistline dart retained is excellent for the skirt of o!" a tailored suit made ol o1 a rm labric. fabric. What little are there is should be distributed between the Center C e n t e r front Iront and the side seam, but slightly more are should be thrown toward the C e n t e r lront center tront (see Figure 68) . l I h e only change in the master pattern pattcrn that needs to be made is to shift the C e n t e r front [ront (grain position grain position lrom the ccnter on a master pattern) to t0 a new position that will throw the skirt are Hare more toward the center Center than toward the side. To do this, proceed according to the following directions which apply 1o l0 establishing establislting the grain in all skirts that more an on one xide side of the gore gored are are than lhan an on the other side.
l. Mark a point at the center ccnter of the gore at the hip level and measure from that point to the side which is to Hare are less. (This is almost the side

'

invariably seam.) 2. At the lower edge of the same side, measure in the same samc distance and add to it the amount of are are desired a t least 5/4 at inches- and place a sec3/4 to lI/z sec. 1%inches 0nd point.
93

front. Fig. 65. Mastcr pauern nkirt

Fig. 66. Muster paztern skirt back.

94

BASIC SKIRTS

C . F .

G n m

C.
Hut

a n B u c k n ig

P l o ! H u t

lour-gnrc Fig. 67. Very narrow four-gorc lnur-gore Fig. 68. Vcry narmw lour-gnrc intmduce llare w imroduce gruin gmin shiftcd m Fig. 69. Very narmw lour-gnrc
(CHICT LCDICI
l

skirt. skirtskirt mastcr pauern pattern with a: at Center front. lront. invcrted box pleat with invcned plcal at

from. lmnt.

l.3. Connect the two points l0 establish the line which the grain will run and continue the line f; ong wllich waistline. ough to the waistllne. The advamage of this skirt over the two-gore skirt advantage ol ith no Center front seam has already been explained "f i e Draping the lhe Four-Gore Skin, To Skirt, page 78 ). T0 78). l tain a very narrow silhouette silhouetle and yet providc enough proviac ' dlh lor idth for walking, you can add an inverted box pleal pleat the center Center front iront seam (see Figure 69). ;

__
I
M

n
'

e g e

ghy Wider Four-Gore Skirf llighlly

0).

Fron} (Darf Transferred) Figures Figuras 70 and 7|) l. Draw a ruled pencil line lrom the point of the l_ i1. to the lower edge and slash the line (see Figure

3e

Closc the dar: Close dart at a: the waistline and transfer it i: .2. 22. the lower edge. This skirt will still t closely (see (h: e 71). gute 71) .

3. Follow the Lhe procedure given glven on page 93 for placthe grain in a gore that Bares more morc on one side on the other.
95

"

70. Flg. F

Line drawn from { m m end of ol dar: dart t0 m lower edge. cdge. 71. Dart closed and translerred 1g. 7|. Fng. lranslcrrcd t0 1o lower edge.

--__j l

Fig. 72. Four-gore wider at lower edge. Pattem overlaps slightly at waistline, touchcs a: break-line, and spreads at lower edge. Font-Bon Slirf Fron} wifh Greaier Sweep (see Figure 72) All gored skirts should t exactly at the waistline and as far below as desired.

l. At the level at which the are is to start breaking away from the gure draw a line parallel to the waistline. For this skirt place the break-line high, ahout 5 inches below the waistline, since the fullness is to statt above the hip level. 2. Slash from the end of the dart through the hem line and pivot the pieces at the break-line so that they overlap a: the waistline, touch at the break-line, and spread at the lower edge (see Figure 72). Notice that the waistline is now a more intense arc, and that a ripple will probably fall at the point where the pieces overlap, since this is the sharpest point of the arc. H the hip bone a: the side from is very prominent, however, the ripple may tend to { a l l from that bulge t o o lar around at the side. As already explained, the than the pattern body curves are even more importam fabric. This is the of {all the shapes in determining Hat in pattem designing. the unknown quamity

Font-Gare Slirf Front wifh Hiqh Mai-Eile; W5 i a? Horn Lino. und Plan cf {In Sich (See Figure 73l l. Raise the break-linc so that it is not more n 2 or 21/2 inches below the waistline and parallel i (see Figure 74). 2. Slash from the end of the dar: through the kam and proceed as for the previous skirt. Let the just touch at the high break-line and spread apart below it. This spreads the lower end of the dm. 3. Because this skirt is to are at the side as well as at the center front, placc the lengthwise grain petpendicular to the waistline at the Center of the galt. _ dividing the are about equally between the seams z: the center front and the side. Notice (hat the xkin ares almost from the waistline and (hat the waistline arc is more intense than in the design previously described. Because it is so sharply curved and will stretch, the waistline should be shortened slightly
V

Gr .

3. Overlapping the pieces has decreased the waistline size. Correct this by placing the basic pauern the necessary agaimt the new waistline and adding be not more should This from. center width a: the

Ihre. Fig. 73. Fnungorc wilh widc hcm sweep and side und break-Iinne Fig. 74. Wide lour-gorc llarc smns m a high seam. side and i: dividcd cvcnly bclwccn ccnler lrom

B A S I C

S K I R T S

G n n i

ur-Gore Skirf Fron? wifh Sltirf Front wiih a Low Placed Flare (see FigTour-Gare

re 75) ure 1 This skirt should t the hips, but very low around thc e are should ripple out noticeably around the hem Zthe linc a! at the cemer I;'ne C e n t e r front and side front, producing a eect. fvery ery slenderizing effect. i l. Mark the break-line from 7 to 9 inches below e waistline. the
'
>

e - begins low. Fig. 75. Four-gorc Fourgore a r c low placed are a5 indilSlash - S l a s h lines for Iow Fig. 76. Step l cated by dotted lines. Cuted Fig. 77. Step 2Spread slashes and overlap pattem pattern at waistline.

4. Correct CorreCt the waistline sizc by adding l0 to the Center Center [ront the amount subtracted when the dar: from dart was overlapped. Rule a new C e n t e r front line from the corrected poim to the point of break. point at the waist t0

darl thxough -V2. Slash from the point poim of the dart through the and the ower so that Jower edge, edge pivot pieces they chey will a: the break-line, vpread break-line, overlap at the waist3pread slightly at je,and spread at the lower edge. Figure 76 shows ine, tep 7ep l. C e n t e r front, _'3. Slash again, this time nearer the center u the lower m 3 edge up to the break point. Swing this 3. z" 1 em ent out in order to provide are along the Center m Center front rom seam. This produces a ripple at the center the side from. ; d another at Lhe front, and yet the skirt ts ly from hips to waist (see F ugly igure 77). Figure

5. Mark Lhe the posilion the position of the grain according to lhe [ o r a gore {hat that ares more procedure given on page 93 for on one side than on the other. This insures a slim side silhouette and throws practically all o1" of the Hare a! at or near the C Center e n t e r front.

Problem 2
DESIGNING SlX-GORE SKIRTS ON THE TWO-GORE MASTER PATTERN
The following examples of six-gore skirt blocking show how to develop both tailored and silrippling houettes. They also clarify the draping of the six-gore skirt (see Figures 23, 24, and 25 for Silhouette skirl silhouette effects
and panel spacing).

97

v;

. ,2;

..

_
sixeaffa-susrcrwssnap;
A

draw a lind that follows its inner edge and oontinues to the Iower edge of the skirt. The ccjntelsection is now compllete except for the straight
fold of the fahric.

y,

Plane the center front on a lengthwise

Sich am Stellen (see Figure 79) l. Plane a ruler along the dart edge at the top of the side iront section and cominue the line to the Iower edge. Slanting the line out in this way adds are to the side from section and eliminates the bulge on the side from edge a: the poim of the dart. Both seam edges of the gores that are to be auached should slam outward about equally. The are does not necessarily have (o be equalized, but it is easier to handle if i: is.

It has already been explained that the gored skirt is produced (I) by dropping ie. toward the Center of the gure or toward bogh und Center, and (2) through increasing the ou slant at the seam line. Too much of eithcr is n0: visable, because exaggerated lowering of gnin duces a circular skirt rippling from the waistline, too much are at any one seam produces heavy b ness at the seam. A little o! each makes a much o a graceful four- or six-gore skirt with more at distribution of ease.

Low Brnkfoint (see Figures Slanc)

Cenfer Panel (see Figure 80)

1. Draw in the line to indicate the height of da: break, placing it 8 or 9 inches below the waist (er; closely tted hipline. 2. Draw a ruled line from the point of the was! linc dart to the Iower edge parallel to the Center Eton and cut the pattern apart on Lhis line. Slope the linc out from the break poim t0 the hem the amount. Clip the seam allowance a1 the break point3. Mark the grain at the Center from to be placed on a fold.

"l

F e d l

G n i n

3. :
'.

CF .

l Fig. 78. Nanow six-gore. Step

: 4 : : :
|

wr pauern.

add are a: side front, and Fig. 79. Step 2 Slash pauerns, malt the grain in both scctiom.

Draw slash lines on man-

Sido Front Secon (see Figure 8|) 1. On the side from. section draw a line from was! line to hem at about the center of the section or Wild ever a are is desircd, and slash it. 2. Pivot the pieces so that they (auch at the blk line, overlap a: the waistline, and spread for a smi} m ripple at the hem. Then draw around thc pieces F this position. This slashing and spreading pfodu an extra ripple which corresponds to the one created to 4 inche! j by dropping the grain from a poim about 3 in from the side seam when you draped.

98

IC

S KI I R T S S K
t/Ie patlem P0i"! Slash and pivot lhe Rule. Rute. Slusl: pattem at a given P0571! to dropresull result a to produce when bIoc/ung comparable t0 blocking t0 ehe grain [rom draping. from a given giverx point when drapmg. ping the [h6 side gore, draw fronl edge of the 3. Along thc side from that slants irom the break to the lower edge [hat a line from side edge thc as samt degrce Lhc szunc a: about lhc outward am Hare at lhe seam. o1 the ccnler cenier gore. This introduces liare Clip the seam allowance at the break point. to the side 4. (Jorrect the Lhe waistline size by adding Lo the restore (o to of the ot" Lhe tront edge iront Original original gore enough waislline waistline measurement. 5. Mark the lengthwise lenglhwise grain with a minimum oi" Hure Lhe side seam, thus throwing most amount amoum of ( l a r e at the ironl. o! ol" the Hare toward the side front.

Fig. 80. i580.

4 -

aster

a1 the l0 add arc Harc an me side ig.8l. Step 2Spread puuern pauern w ;ig.si. m seam and also within wilhin thc sidc gorc. rom

ne. J7?-

[or pauern pattern for

1- Draw slash 5135|, lines 1m on n six-gore. Slcp Rippling sjxgore, Sxcp l-Draw two ripples starling irom a low Iow break breakstarting from

wifh Side Fron: Fron? Lap (see Figure 82) Gored Skirf wi+h from lap may be used A .\ gored skirl skirt with a side front (h: opening at the side harmonizes with the dewhen lhc sign ol" the costume, or when you wam a side-lapped a: the lower edge than the straight wrapskirt wider at 3S for f0! the around. lulld. The procedure is iS exactly the same as that the entire (hat. skirls discussed, already except gored used and the front from of the master pattern pattem must be used from line must be clearly marked (see Figures cemer c e n t e r front 83 and 84).

G m n

v c

.
u

U n d e r D

s?
E
L a .p 4

C v F -

.4 L i n e u F o l d
L _ v y _ _ -

a1 sidc side front. from. U-18-83. SIX-gore Six-gore skirt with side front lap. Step Mark l-Mark Stcp I Inne to balance cemer p Inne cenler panel. j b
5

J2. Six-gore skirt lappcd .582. Six-gore

Fig. 84. Lap allowance and placket plackct should be added a: left [eh side from.

99

'

the grain position so that Center seams and shift of each Center section

f." bin addare Aa; "the Center front_and

.how_ jiexattly

Figures):

e middle

(see

the dart is closed the pattem automatiically. the point of the dart to the hem. This

hip width slightly at the break-linc. 4. Slant the edges of the gores outward s break-line to the lower edge (see Figure 88). 5. Mark the grain position on each section
lows:

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W m l n m

(hin

(a) On the cemer front section, the Center v line should come on a fold. (b) On the side front sections, the lengthwise should be perpendicular to the waistline at the u-w of the panel, with equal are on each edge. (c) On the side panels there should be l to l; inches of slope from hip to hem, thus throwing m of the are at the front edge.

added to cemer front of sixFig. 85. Eight-gore-Flare of cemer panel. middle at gore and grain placed

The Ton-Gare Slrf (see Figures 86. 87. und 88) As it is usually monotonous to divide the hip width into ten equal spaces, space the center panel somewhat wider than the two side front panels, or so that the three form a group in the center of the skirt. The side panels should be somewhat wider than the side close to front sections, bccause panel lines placed too curves and the side seams are judged against the hip with the harmonize to too straight always appear to be comour o! the gure. inches below I. Draw in a low break-line, about 9

In this skirt almost all of the are comes from shm that ing out the edges of the gores. Notice also seam. side the all on are ares I15: edges except equal is also possible to obtain a different kind of rippleif by adding a large are on one edge of each seanl. KCCP l ing the other edge (airly straight. This man: II gores bang; sided ripple that falls over the seam. more are on one edge of a seam than on the the M! always place the edge with more are on nearer the center so that the ripples curl outvild: rather than toward the cemer.
GORED SKIRT PATTERNS FOR FABRICS WITH GEOMETRIC DESIGNS
When a six- or eight-gore skirt is to be mide m} be mm6 stripe, a check, or a plaid, two points must 0 are ercd. First. introducc the by sloping seams rathel lhan by lowerinur the cmss-wist 8"?

the waistline.

I00

C o ls e d

D a r !

G m G n n i
G a rm

Fron! Panel Slde SIde Fmnl

C F Panel

Panal Sud: Side Pnnel

_'6.

Draw slash 7. Slep _7. Stcp I

skin. The ten-gore len-gore skirl.

lines on nn master pattcrn. paucrn.

[hat (hat the Lhe horizontal

Fig. 88. Slep Step 2

Cut panels apart and add llares a!

edges.

should be done so
{s f.ion of
3 g

lines ol of

lfabric fabric pattern appear parallel I,

to t0 the lloor oor rather

This should be 7 to 9 inches below the waistline for a narrow skirl. skirt.

ow Six-Gore Skirf SIIirf Bach Bock he he directions for cutting a pattern pauern for the back of skm are given in detail because the larger back I; 5km makes Ihe the procedure dilferent dierent ( from m m that (hat for the V "t imont. iront.
T

A
r

ollow lollow the same procedures for blocking the backs ms ins as lor [or the fronts, introduce more ease a: but imroduce at froms, buI. a skirt is ugly when it ts too closely or as back, b ack, v "v u in under the hips.

. _
1
' "V

thus avoiding conlusion in the di dilipped down, lhus lines. Second, in order to 1o match lhe the stripes adjoining adjoining seam lines, equalize the angle of slope . ach seam edge. ieach

2. The panel spacing at the hip and waistline usuusu [hat on the master pattern and coincides ally follows that wiIh with Lhe lhe spacing on the blouse.

Problem 4
i:
I I

DESIGNING DESIGNING THE BACKS OF GORED SKIRTS ON THE TWO-GORE MASTER PATTERN

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a:
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Panol Panel (see Figure 89) Draw in lhe the level desired for the break points.
l

skin hack. Step l-Draw Fig. 89. Narrow six-gore skirt lDraw slash line for Center cemer back panel. panel.

lOl

Fig; 90. Step 2 (n) Incorrect. Bulge a: point of dart has been oompletely taken out, but Bare is t o o wide a: lower edge: (b) lnconect. Lower edge width is correct, but

---_l

(b)

o-

waislline size correction i: too large: (c) Berner Bulge at dar: point has not been completely taten waistline correction is reasonably small.

'

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3. Draw a line following the inner edgc of the dar: (edge next to Center) and continue it to the hem line. 4. Crossmark and cut the pattern apart on this line. The Center section of the pattem is now complete. Mark the grain with the center back line on a lengtlr wise fold of the cloth.

Side Bad: Secon (see Figures 90 a. b. und c) There will be a decided bulge a: the end of the dart on the side back section compared to the very small one on the lrom. This bulge varies in prominence with the size o! the dart. A gure with a small waistline and Iarge hips requires an unusually [arge dart and will therelore have a pattem with a very prominent bulge at the

end of lhe dart. lf the dart is small, i1 is possible to follow the side o1 it and cominue the line down to the hem in the same way as on the front. But if the dart is large wo much are falls at the side back edge (see Figure at the peak of the bulge, 90a). lf it does, place a ruler on the cemer panel, that tilt i1 umil the Hare equals same the angle up to the 3nd then continue the line at the size of Lhe was (see Figure 90b). This reduces the waistline too large. original da11, (hereby making l0 M;inch) Can b6 A mlall amoum of the excess (1/4

subtracted from the waistline along the side but if too much correction is necessary this me n will not prove satisfactory. Look at Figur: 90c n?shows a compromise correction. The waistline w less correction and a little of the bulge at the point the dart still remains. This proves to be the best solation of the problem of adapting the bacl: of a V81 narrow six-gore skirt to a person who requires a Im! dart at the back of her master pattern. To summarize the three proccdures: dm edgt 1 (a) The dotted line exactly lollows the the lovllr l0 dart entire i: transfers thc in other words, side the on are sectioll edge, producing too much _ 90a). (see Figure N410" are. (b) The line wilh the right amoum ol tinued straight up to lhe waistline. eliminales the f bulge at the peak of the dart, but enlarges thc sld at corrected be it cannot that line so much seam (see Figure 90b). the top 161V? (c) The compromise correction at a liule bulge in the side line which rcduces the amovmegk of waistlitne correction so that it can easily b6 3W tracwd lrom the side seam (see Figure 90C). 93d Note. When stitching the side seam and thC

l seam seam shown in Figure 90c, avoid strelching stretching them to the curve lo to waist. Ease lrom curve the i; hip i;
arises only when an altempt attempt is to adapt a narrow six-gore skirt, or one which l0 "a out tled hipline, to a gure o u t from a very closely tted gtire i. a small waistline ivaistline and prominent back hips. A hem sweep and higher break-line is what wider hern 5 iewhat waist (o a gure with lhese these particular wvaist i becoming t0
i

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e
*

B A S I C

TS S I R T S K I
t0 see the best held held up vertically on the form in order to the it out to gure mechamcally. mechanically. proportion rather than t0 proporlion thc pattern Cut the 2. Cum pzxuern along the yoke line and close lhc the Original dart, thereby Lhereby transferring it to the lower Lhe of the ol 91). yoke (see Figure 9|). edge

u it from sagging and cupping under the hips.

"

isis whole problem

hip hip proportions.

Problem 5

ESIGNING ESIGNING A
'

GORED SKIRT WITH A YOKE

Sltirf Secon (see Figures 92 a. b and c) The Lower Skirf l. To T0 add a circular ripple to the edge joining the yokc yoke (see Figure 93): (a) Slash and spread the lower section at the lower edge. The upper and lower skirt sections will t skirt will are at the the joining, and the skirl exactly a: lhe
henL hem.
that mosl most of the bias is at the (b) Place the grain so (hat to 11/; lront with a slope at the side seams of l t0 front 11/2 from hip 1o inches {rom to hem. 2. To add gathers or folds to the edge joining a yoke (see Figure 94), slash in the same way, but spread [h6 pieces at a: both top and bottom. They may be the spread equally, or Lhey they may be spread more at one Lhan a1 at the other, depending on Lhe the desired effect. cdge than F at igure 95 shows how the folds may be spread more a: Figure tllc amthe bottom to produce a modied pegthe lop than at top thun lhe center Center folds running through the hem hem l o p with the top and lhe the side front {ront folds slopping before reach stopping they
Center

ON THE TWO-GORE MASTER PATTERN

Yolre Line (see Figure 9|) {Yolre

7 Draw in lhe the desired yoke line on the two-gore r block patlern pattern and crossmark it. Space the skirt .(er to other lines of the dress. As with I" Vin relation t0 i the lower se edge should never be a perfectly yokes, 3center front, 'ght ght cross line perpendicular to the cemer it is vif is, it appears to curve (lownward as i1. (lowmmrd 21s it apif il ches the sicle side seams. Moreover, skirt yokes should l e d to 1o the size of the gure and should be shalaled lor for short women and deeper for tall ones. lt is lhis line with the pauern ays pattern lys prelerable to design this

ches

_
_
s x
\ s

the hem. lhe

\ s

--\

. y _

. . . .

" m lr m lm l
*

_ . _ . . _ . |
D 1 C

1. Gored skin skirt with a n yoke and fullness {ullness in the lower l. g:_Step SCP I.

- -. . . \ . _ . _ . . \

_ . _ _ _ _ _ _ _ _ _ _ _ _ _ _ & .. --. --. -> -

(a) - _

- - -

- - -

I03

Fig. 92. The lower skirt scction scctinn is sprcad in (a) { o r circular for circujar l" (b) f0 " 83m9. "PPICS 'lPPl'-5 i 831'193 3nd in (f) for lor draped folds.

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n
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section spread for circular ripples. Fig. 93. Dart closed and slashes in lower and bottom for straight Iolds nr gathers. Fig.94. Lower section spread equally at top folds. Fig. 95. Lower section spread at top for draped

4J

_I

-L. -L.-I

-.'.-L
I

I I I I I

LL-

Problem 6

AT DESIGNING FOUR-GORE SKIRT WITH SEAMS THE SIDE FRONT AND SIDE BACK ON TWO-GORE MASTER PATTERN
of the Seams are commonly found at the exact sides curves most on the side and gure, because the gure Sometimes over the requires the most tting lines of hips. decostume the however, the other design and front side the mand that the seams be placed at When the side back instead of at the side of the hip. an outward gored line is straight grain instead of the skirt is liable to draw tigluly placcd at the side, and httle legs and to dene every against the thighs is omitted, seam side Thus if the bulge and hollow. over the hip must be substituted dart a deep curved to waist, and on for it in Order to t the skirt from hip The following directhe lcft Iide, to aerve a: a placltet. the pattem. tiom will explain how to cut Two-Gore Master Procedure, Using a Copy of the Pattem (see Figure 96) front against the l. Platze the side edge of the skirt lowest point o! the sich edge oI the sltirt baclt lrom the

the two witlI hIp curve to the lower edge, and attach Scotch tape. II there is too much are along the sidc seam of the master pattern, overlap the front and back patterns slightly at the hemline. but decrease thc level. This is i overlap until it disappears at the hip done to malte the side silhouette of the new skirt the oor. hang straight and perpendicular to the 2. Draw a line Ior the break parallel to and desired depth below the waistline. basic 3. Follow Ihe panel spacing established by the I0 darts at the side Iront and side back. and continue rule the lines down to the lower edge. 4. Slash these lines to {orm the center panels. Ad the 51d! are lrom the break line to the hem on both lront and side back panels. 5. Mark the center Iront and center back plntl 3 lines to be placed on lengthwise Iolds (see 5811" Im 97 a and c), or gore o u t the seam at the center Ior extra are, as illustrated in Figur: 97 b. I 6. Place tlIe straight lengthwise grain indicator ; whIch the side seam position, that is, the line on 95lIront and back pattems are joined (see Figum
>

I.

1
I

I04

Lhc complctcd When you draw around the pattern, completed pattern. a: the side from hip t0 [o waist, retaining lhe dart at ce ce the will neccasarily curve exactly. lt wvill ncccssarily be a very large on most dart i n; gures. g ;' lways slope the front and back cdgcs edgcs of the side - outward [hat will so {hat meet the Center center enough they : U \nt n! and back panels easily. Be sure to allow for ye are as well. .4

.
.

B A S I C

SKIRTS
intensied by placing the bias where the ares should intensied fall.) to the summary of prunThe student should refer t0 prmall gored Skmss skirts, page to the of a common Page draping Of ciples for shaping edges of gores and placing the grain 8| , tor 81 ol ot the cloth. The same rules apply whethcr the patL e r n is drapcd or blocked. Lern

Paffern Gore Masfer Paern _'o-Gore

I.

into a gored skirt by any may be introduced imo ares lares three methods: of lhree
u

4mary: Principles of Designing Gored Skirfs on a

Problem 7
DESIGNING DESlGNlNC-I- CIRCULAR SKIRTS ON THE TWO-GORE MASTER PATTERN

. Transferring the waislline waistline dart to the lower edge. if;. Slashing the

. 3 body

outward from the breakSlaming Slanting the seam line oulward to the lhe lower edge. e je lo introduced but can be greatly (Flares cannot be imroduced [Flares

.
es

[hat the [ w o pallern vertically so {hat pattern the waislline, a: the break breakwaistline, touch at and am the a: hem hem line. y e, j spread apart sprcad llare within withix) the pattern (Melhods pauem (Methods l and 2 imroduce (lare Lend t0 to fall es where there is no seam. Flares tend lhc pattern is slashed, but are always inuenced ere Jere the

tions overlap at itions

contour.) comour.)

ol the gure are the greates! Since the proportions greatest proporlions o! factor in producing attractive attractlve circular dctermining tactor i1 seems reasonable [hat the most graceful circureasonablc (hat Hares, it Iar lar skirts will always be Lleveloped developed by draping rather than by Hat llat pattem alter some expattern blocking. However, after perience in draping circular skirts and in observing their effectivcness effectiveness on particular to panicular gures, it is possible t0 cslimate estinlate with considcrable considerable certaimy succertainty the probable suc< cess ol ol" any punicular clrcular c cut u t when you use the at Hat particular circular pattem pattern blocking method. Thc principlc The ol cutting any circular skirt from the principle of masler pattem is founded lounded on (l) the transfer Lransfer two-gore masten"

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G n I n > G n n l

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4 ? l

v
_ "

' - o - - - . | _ Z

Gored skin at side front and back gored skirt with seams al Iim: show scam lmcs seam position) .

l L-

(b) (b;

(c)

ol center from; Fig. 97. (a) Pattcrn of front; (b) Center Cemer back panel with seams on both ed edges; ges: (c) Center back pancl panel on a fold. placed nn

I05

arcs of Qaisuxin 3nd hipiiue.

the master pattern from Iletqgetfethe line fromhip to lower du the side seam so that it connects dlp points, and rule from the hip lower edge. Aelgh go-rthe Iren; seam isdesired, place the grain __l_E.a of i; au; Center the pattem (halfway between the side seam and the Center front) perpendicular to the waistline. li you do n01 want a cemer seam, place the Center front on a fold. (See Placing the Grain on a Circular Skirt Pattern, page 87.) 5." For an evening skirt, continue the ruled seam lines to Boot length.
S.11; Seaxftof
L
A

The Loss-fhan-Normal Circular Skirf. Olonly Hilfe! Front hat van. a Doeidod Flora cf H Sack (so: 99 a and b) 1. Place together the front and back hip

center back to form good panel spacing. the darts a: the sidc front and at the side, and enlarge them by slashing [rom the dart points thro the lower edge and overlapping the skirt at the lo edge if necessary in order to cut the pattem in piece from 39 inch fabric.

the

C U V IF M F IO H

(B)
i n . . .

F.

.5.--c-"

skin. from #71, 98. Nnrmal circular

two-gorc.

a: w! Fig. 99. Less-thnn-mtmal circulnr skin with arc ndded Halt. fnr scrtion spread (a) Slash lines dmwn: (b) (Zcntcr back
I06

BASIC SKIRTS
make few slaslies 3 greal slashes and spread the patlern a 3mm deal paltfrn in one place, lhe i m o a few large the fullncss will break into ares. II If you make many slashes and spread slashef sprfad absmall aismall amoum a: at each one, Wlll break into Hares will inlo npples one the llares around the entire skirt. emire skirl.
4. Place the slraighl Lhe least slraight grain where the lciaast amou'nt amouilt of llarc Harc should lall. (See Placing the Crain Gram on a CHCir-

G r n i n m

cular Skirt Skirl Pattern, page 87 .) 5. True up [h6 the side seam (see dotted line, line Figure olf the curve from hip to waistline. waistline, The I00), cutting o side seam ol of a greater-than-normal circular skirt does not need to curve since the skirt does not t the gure over lhe the hip.
Note. Do not ignore or smooth over the abrupt changea in line direction along the waistline arc, as the ares Hares fall from those Lhose poims. points.

Add to the center back panel enough to equal marked on the lhe diagram by the dotled space dotted line. r,

are Hare to give contrasl comrast 1o [O the thc (see Figure 99 b). A peplum or lt drapery to conceal the front drapery can be used (o irom ( l a r l as Llart t0 relieve the l as to the lront. lrom. The silplainness ol" lhe is usually more eective, ette ette ls effeclive, too, if there is a bias center back to {v at the cemer (0 emphasize lurther the conwbetween the Hat at front and the pronounced back
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r
V

'l00. 100. Greater-than-normal Greatcr-than-normal circular skirz skin (dotted (dmted linc s the lhe hip seam with hip curve removcd) .

I01 shows a circular skirt with a maximum Figure l0l are, in which one-lourth one-fourth of a skirt pattem pattern equals one-lourth one-fourth of a circle.
Sldc Salm

1er pattem to form a circular wedge which intro(er pauern

1 s an emphalic Vs emphatic back ess of ol the front Iront

_
vp

C ------- --7

"

rI " " "

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Slash and spread the

Center

back section of the

ll

G m n i

m: on

F n b r i c

"

Greafonfhan-Normal Sliirf Greofer-fhan-Normal Skirf (see Figure I00) Slash from the lower edge to the lhe poim point of the tline ine dan. dart. Close the dar: and spread the lower

. 2 . u v c i u

F. C. v.

f!Draw additional lines from the waistline to the edge wherever you wlsh wish to 1o introduce ares. Slash diese lines t0 to the zhe waistline and Slash these n outward from the waistline arc. pivot the The more ttern spreads a: at the hem the more intense the tlem e
7
arc becomes, and an: yct yet the two arcs (waistline cm line) will always remain parallel. If you

"

"""
a

___-"
_'

0 l . Maximum circular skirt. 10l. Fig. l One fnurth fourth skirt pattern founh circle. equals one fourth

l07

D R RE ES SS S D

DESIGN D ESIGN

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...

.....
1
1

... ... Fig. I 02. Front peplum.

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i ! I

Fig. I03. 103. Back peplum: peplum : (a) (a) Step Step lI Draw - Draw are flare lines; Jines; (b) (b) Fig. Step Spread flare grain. 2 slashes for are and mark Step Spread grain.

up into one's lap. lap. To To achicve achieve this effecj, effect, sprg spread t up " center from front along along its entife entire I": length nearest the Center slash nearest It may may even be spread spread more a: at the bottom man than at th lt top desired . Spread (or slashes) if desired. the next slash top Spread (er slagh" top but not at at the lower edge. edge. These fo folds a the top run through j directed toward the hem but do not tun point of the the dart intersects this 91:13h; slash Ii Since the point pivot to spread of the dart to it close and increase the pivot spreadg at the waist. Spread Spread the slash towa toward slash line at eh at the top top edge edge only. only. Spread Spread all the s shash side seam at equally at at the waistline, so that all the folds will' equally depth. of the same depth.

'
a.

Pe plums Peplums
peplums in the same way way as you you would block Block peplums edge of the peplum peplum circular skirts, but mark the lower edge on the master master pattern pattern and cut cut the pattern pattern off on on that on line. Figures Figures 102 and 103 a a and b show the procedure. procedure.

Center Fronf Front Cenfer Either mark the cemer center from. front to to be placed placed on lengthwise fold, or place the straight grain perpendi A._; lengthwise fold or place straight grain pe ular to to the waistline over the hip hip in from front of die! the si drapery. This places places the side seam almost 0m? on drapery. straight grain and places some flare at the are a! (he cen straight grain places front. The side seam sometimes even cuts cuts in _: on from. grain at edge peg-top if the effect i 3" a: the lower edge peg-top grain pronounced. pronounced.

Problem 8 "DRAPED" SKIRTS ON THE DESIGNING "DRAPED" TWO-GORE MASTER PATTERN

(See the the discussion discussion of the characteristics of this (See classification, I of this chapter, chapter, Draping, Draping, pages pages classication, in Part l

.
I

I
I

I I

I I

I
I

' ' ......... ' ...... ' ' ' ...... '' ' ... '' ' ',
I

' ',

-92 .) 92 .) 90 -

Placing fhe the Folds (see (see Figure Figure I04) I04) Placing l . On On the the master master pattern pattern waistline, space space the numl. ber of of folds desired. desired .
2. Draw Draw radiating radiating lines Jines downward from the points points 2. the near are which on the waistline. those From on the waistline. from and center front draw Jines to edge, lower the to edge, Center from draw lines nearer the the side, side, direct the lines toward the side side those nearer those (hat Remember seam at and above the hip that level. hip seam at and above slashes directed too the the side seam where the on low t o o directed slashes waver. to seam side the skirt should fall free to waver. cause will [ r e e fall 5km should

. . . .
I

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I

.
I
I

I I

. . ..
I

I I

I I

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. .

the 3. Slash Slash along all of the fold-lines, and spread the 3 along slashes according according to to the effect desired (see Figure slas.hes I 05) . A skirt is always more graceful graceful if there is is enough 105) A skirt is always unmove can one that fullness at the lower edge move unso h 1 edge hampered ein; and Srexzithout sit without having the skirt balloon balloon a Lulylyrggjiet
v

n Fig. 104. I 04. Draped Draped skirt. Step Step 1 - Draw slash lines on m Fig. pattern. pattern. Fig. 105. Step 2 dart spread equally Fig. 105. Step 2 Close dar: and spread slashes eq waistline.

108

B A S I C

S K I R T S

Fig. I06. Skirt draped inm a side fmnt fold. 1;}. { m m vertical fold. Fig. I07. Skirt draped into a side fmnt Stcp l Draw drapery (lrapery lines and side front opening. npening.

Do not fail to follow exactly the inward hipline. T0 straighten the curve A3 mcrely add bulk and destroy the draped effect. is blocked pattern for a draped skirt is almost is e act duplicate of the draped example, but when act effect at each step is perIng on the form, the eect ing clear. Flat pattern designing, on the other hand, hand es more ability to visualize an idea and is likely ires _.done with more feeling for {or contour comour when it folexperience in draping. experience

ulion. ution.

the the Center [rom front to 1o an opening on the :- ere is more ithere space for them than when they end cemer front. Asymmetrie x vCenter Asymmetric balance is often more sct than formal ful _l and less set symmetry but must 'ed throughout the entire costume. Thus, if ied i: denite emphasis on the side front of the _v_ skirt, n metrical eu-ical motif should be repeated in another f the garment so {hat that the total design will have

from opening (see yith folds caught into a side fronL Veyith e .

-Skirf d Sd _' ' wifh a Side Front Opening

vinteresting interpretation inlerpretation

106) 106). When the folds are carried from a side across

a
V

_
"

i along the e

Side Fronf Fron? Line

l. Auach the right and left master pattern skirt [roms {roms at the C e n t e r front.

2. Draw in the line of the side opening on the left side front. This line should slant outward Ieft slightly from the waistlinle 1o to the hem line and should probably continue in the same direction from the inner edge of the waistline dart.
3. Draw a second vertical line to the hem nearer the lhe C e n t e r front in order t0 to form the Lhe vertical panel shown in Figure 106.

of the draped" "draped" skirt

Fold Lines (see Figure I07) l. Draw lines where the (o radiate draped folds are to Irom from the fold a: at the edge of the vertical at the panel left side front, to l0 the right hip seam, fanning out the lines from points very close together at the left side to poims points farther apart along the Lhe right hipline. Do not noL draw any fold-lines much below the hip level level, 9 inches below the waist. 2. Draw another [old-line (o the lower Draw edge near the side sxde seam but not running through the lower edge. S. 3. Slash along these lines, 1o to the side seam to t0 the

109

(a) Skin draped into side front vertical fold. Sie]! 2 Spread slashes for folds.

F3. IM

Fig. I08 (b). Left side front section.

lower edge, and all the way through the vertical foldline that mm through the hem line. 4. Close lhe waistline dar: when you spread the
5. Spread the slashes directcd toward the hip and the hem at the left side from only, but spread the and lengthwise slash through the hem at both top bottom edges, {anning out the lower edge slightly more tban lhe upper one to malte the vertical fold
top slash.

line shows where it was cut.

decper.
Connor FroM Place lhc straight lengthwise grain marking at the the hem line up to Center from o! the pattern irom Lhc lowest diagonal slash line.

2. Rule down 1o the lower edge following the. 1.. of the dart. This takes out the bulge a! the point. Then add the same depth of vertical fokl the pattern edge as that added to the side front on right side (see Figure I08 b). 3. Place the grain with a minimum are at the seam.

DESIGNING A "DRAPED" PEPLUM ON A

TWO-GORE MASTER PATTERN
Follow the same procedure as for desigi"! draped" skirt on a master pattem. l. Mark on the master pauern the lower the peplum and cut the pauern oif along this Inne 2. Close the dann. lf the end o! the dart
'

Luft Sido Froni

f;

hause all o! the [olds are on the right side from, and left side: are very pauem shapes for lhe right

falls

H0

wa
METHOD OF DESlGNz DRAFTING
The principle of shaping a at piece of fabric to the contour of the body by darting or easing applies as well to the sleeve pattern as to the blouse or skirt. the The arm has two main points of articulation of these At each ball. elbow and the shoulder points, darts or ease must provide shaping {or the sleeve. The am: must be free to move forward and upward, and even when relaxed, to bend slightly at the elbow. Only when rigid does the arm form one straight axis from shoulder to wrist. Therefore, a dart must be provided for the elbow on the back edge of a long tted sleeve. And since the shoulder ball rounds outward at the top of the arm, ease must be supplied across the top of the cap of all set-in sleeves to shape them ovcr this curve. The trunk of the body moves a comparatively little, whereas the arm performs great The kinds. a of number of movements great many accommoto have must adaptability which the sleeve date the arm in these positions makes it the most abcomplicated of all pattern shapes and requires solute accuracy of line. A method must be chosen to develop a basic master sleeve pattern {hat ts smoothly and yet gives {reedom. One method commonly used but not generally tted (wo-piece muslin satisfactory is to pad a tightly sleeve to duplicate the arm at ease, and then to drape accurate sleeves on this form. But draping is not results and the sleeve. of demands enough lor the Anothcr individual each draper. vary widely with a also unsatislactory and generally method, common a at, foldcd of cardboarcl a replica cut to heavy one, is ovcr this at board. t0 (wo-piece long slecve, and drape also vurics with The success achievcd by this method nds {hat her the drapcr, and even the same pcrson slccvc. to resulls will (liffer lrom sleevc

Drafting, the method of developing a pattem u body measurements, is really the one reliable eyen for a. beginnen", to make a master slceve pa that proves to t exactly each part of the arm inall positions. Since the master sleeve involves no probl of design and no choice in the placing of dans antl curves but rather hinges on the problem of meticulolag accuracy of shape, the drafting method is obviously}
J

most

suitable. From the drafted master sleeve, allol the more unusual cuts can be speedily derived Lhrough blocking. Sleeves so designed will t with the samt I'll? precision as the Original drafted master sleeve. to minul draping of sleeves can best be relegated alterations in design and t.

.5?

{KQ

Fig. l. The scl-in slccvc. 1mmFig. 2. The slccvc cm in nnc with lhC

dress sleeve, allpw ig l4 to throngh the girth, elboiv, and m; Mm height to the cap to allow tot shulder dress and to provide a deeper armscye. The i measuremem for a coat sleeve should not bei r high under the armpit as for (h:dress sleevc; there will be a greater dierence between an and overarm lengths.
Metier Sloeve Draff. Sin I6
(b)

z
(a)

The following draft is for a basic sleeve with elbow dart in a standard size 16. To understand procedure for sleeve drafting and to avoid erro. tice drafting the standard size l6 before pattern from your own measurements.
The list of supplies required is as follows: l. Smooth unwrinkled construction or n paper, approximately 27 inches long 1nd inches wide

'

Fig. 3 (a) and (b). Measurements for sleeve draft.

Note. Use this measurement only to check the accuracy of the comparative overarm and underarm measurements. The cap height of the draft is really determined by the difference betweeix the two. Takarm bem too ing the overarm measurement with the much increases the dierence between it and the underarm length and gives a false cap height. The indicate that the overcap height measuremem may arm and underarm measurements should be taken again to correct the error. The cap height for a dress with a normal armhole and thin shoulder pads varies from 5%to 61/4 inches. individual Variation, Although there is a great deal of increase 1/4 inch between sizes cap heights generally I2 and l4, l4 and 16, and so on. with 5. Elbow. Measure around the elbow poim the am: bem sharply. This measurement normally is added e uals the exact girth size. but since no ease the than less inches two girth bc w lt, the elbow will

A tailors L square, A well sharpened pencil (a fuzzy line is too accurate for satisfactory drafting) 4. An eraser. For accuracy. poim the pencil in against the edge in drawing ruled lines.
'

The measurements for sample size I6 sleeve I13 follows: 1. Overarm 28 inches

2. Underami 173/4 inches l3 inches ( l l 3. Girth

plus2inches0f

4. Elbow

ll

inches
inches

in the slceve dran.

5. Wrist

114

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-'

S L E E V E S
EDURE FOR DRAFTING (See (see Figures 4-8)
G
A

t Draw a line 23 inches long down the Center of inches above the lower Vpaper paper, ending at least 2 inChes
t

Measuremenfs I Measuremenf: cal

u z 3/4" 3/4

J 3/4,; 3,4m

f square Square
. =

" r Measure up from point B the underarm Iength, length,

i inches, and mark

out in both directions from the Center a: a! the top point A and the bottom point B.

c C 3/490 3/4QD 1" L x K

' Measure down on the Center line 3/, f 2/, inch below
Center

point C.

d mark

l).

zu point D for the girth Square out ut

F

i;
-'

h (one-half the length from C to B). Measure

F. Square out at F for the inch from E and mark I". line.

Mark E, the halfway point of the underarm

.5!

..
u.

1e" 1 E

/
x
(I)

a3

nfal ronfal

'

Measuremenfs Measuremenis Measure from F onefourth onefourth of the elbow

meas-

each side of the C ent, or 2% e n t e r line. Center ent, 21/, inches, on eaCh
_ 3

lines the points marked on I and 2. Continue these lines girth in steps 1 th top and bottom horizontals. (Check for equal a: A and B.) 3 ces on each side of the Center line at "nces
l

with straight y join and

eent n t , or 31/4 31 inches, on each

e.Measure from D one-fourth of

the girth measside of the Center line.

s B
Fig. l-ig. 4. Locate the sleeve measurements.

Sleeve Cap Cap iSloevo Divide the vertical sides of the Cap into halves, 7,Dividc halves ocate a dot 3% inch above eaCh each halfway point. locale 2% I and j ] on these dots. Divide each half half of the top line squared out A into imo halves and mark points G G and H. Divide the lower line on the front of the Cap into b. marlt K. I: I! i: customary l0 to draft a sleeve g and mark the [mm t0 the left Iran! edge to _ l0 CHI: Ieft and the back edge 1o ght. t . Mark point L on the lower line of the baCk back of the Ch from the Center line. inch Connect these points with ruled lines as shown rc 4 to provide guidc . re guide lines for drawing the of the Lhe sleeve cap. vof
J

Cap Curves
l. On the upper half of the front, follow the guide line up from [ m m I for slightly over half the distance to G before curving Curving toward the Center line at A.

"
>

iA

2. On the upper half of the back, draw a curve {rom A that touches the from guide line H ] M, H] 1A; inch below its halfway point. On the upper half, half, the back curve is slightly atter than the front. 3. For the lower half of the Cap, cap follow the guide lincs lines 1K [K and 1L down one-half their length before Curving curving in toward the underarm at point C.
The Open Sleeve The sleeve is now essentially Complete but is i5 in a folded position position with the underann underarm seam at the Center line.

115

bis; linve " t o w r x g t d

line { m m elow 1o wrist which front of the Original wrist point.
'

5.,

aronicf-thcWVpiivibtedL

inFig. 5. Feld on arrowed lines and trace to ptoduce lines dicaled by dotted lines.

l. Feld the paper under and crease it exactly on the { m m lengthwise line. With a tracing wheel, follow the lines of the lower half of the sleeve cap, the Center line, the girth, the elbow, and the wrist lines. Then opcn the paper again and you have the outside lines of the sleeve front. The center line becomes the underarm seam line on the newly traced pattem.

2. Rcpeat direction l
Elbow

{or

the back.

Wrisf Nidfh Corrocon und Revision for Bonding {In

1. Measure the sleeve a: the wrist and subtract { m m it the correct wrist size. The lower edgc of the sample sleeve measures 81/, inchcvs. The wrist measures 7 nde, so thc dierence shows w, inches of excess. Divide the exceu into halves and oubtract one-half

Im l-ig. 6. Correct ror wrist size. an shown by dotted

I16

SLEEVES
Balance Poinfs on Seams (Mafching (Maiching Marks or Nofches) l. On the front line, measure up 21/, 21/2 inches from (o the elbow to from inches Lhe elbow and down 2% the 21/2 mark the balance poims. points. To obtain corresponding markings on the back 2. T0 seam line, measnnre front seam from the measure down on the fronl underarm t0 Lhe the top balance poim point and up from the bottom bottom to the lower balance point and mark both poims a: the same distances down from the underarm and up from the wrist on the back seam. This places the extra length at the elbow on the back seam line between thc between the two notches if the dart dar: is t0 to be put in as ease. Elbow ease should never go above or below these two poinls.

F r o n t U-

3
G r a l n

F1

-----. __.- -_
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H e i g h t

Cap

E? E75- f-5

( D

__L

dar: one-third onethird of the point poim of the dart from the back seam line and halfway _' n the Original elbow line on the sleeve draft _f e Lhe Lraced traced seclion. section. This is the thc elbow line on the dar! lcngth _Ll _t dart length for pattern blocking, though the not be more than one-fourth the _" dfut should not dfm wxdth at the ("wndth Lhe elbow. a line from the point of the dart to the Draw Dmw elbow line on the back seam at a: F 2. easure the IMeasure of the 1 the samelength upper dart edge and [ o r the lower length for 50H loff edge. Rule same_length Irom from the lhe wnst wrist to this point in order to clear i) there may be on the back edge lfatever excess Lhere Wlftever Ist to t0 elbow.

the _Be_gin Begin Wldth wldth in

g:

_
|bow Darf Ibow Dar}

lhe elbow clbow dart. dan. Fig. 7. Making the

5
'

3- The one-piece masler Fig. Fig- 8. master sleeve dran,

_
V

'

FtorttAC8p__Q-ligher
b

4_

h.

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g

4

Front Cap Lower

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3
--o

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Same Cross Thread

C15_....-_:' _....

--n--

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Same Slope Elbow to Girth on Front and Back

.9

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2

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Back Edge

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B1

:
(oldccl

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on center line (elbow and wristline Im.9. Slccve folded m , h h; am; i; clmed).

winh [ m m and back Im?! m on center linc (dntted linc indicntcs slcevc opened hat):

Fig. l0. Slccvc

H8

SLEEVES

i. The curvc on the lrom :. lronl ol" ol the lhc cap should rise [o 1o abovc above {hat [hat of the back at the 0/5 % inch) u): (I/ d}: lronl of the cap dips slightly in f the sleeve. The front 'nch) nch) below the back curve at the underarm.

These comparisons ol of from front and back Conconto the needs of the average arm. From the der seam forward, lorward, the arm has a rounder and "r curve than lrom from the shoulder seam back. The lunderarm underarm curve should be hollowed hollowed out less than ront one, [hat it will be possible t0 one so (hat [o Swing swing the Iorward comfortably without wilhout ripping forward ripping the back e sleeve from the garment. A deeper curve is v, a on the from .o front underarm so that (hat the armscye will not not bind bind when the lhe arm swings forward.
1

1e. 1e,

'

G r a n i

5} will enable you to dctermine determine lhe the actual height In dislance from lrom A to (o C. lt is incorrect cap the distance cap, f imate the of the (hc cap by measuring from timate height ol g a straighl straight girth line drawn across the opened C1 to C2. efrom C110

"
'

nfer Line (see Figure infer

o Folded so fhaf Fronf Fron? and Bock Bacl: Seam Lines Meef
I0) l0)

i. Opened 1o Flaf (see Figure I0) Openad Fiat

dralted, the lower half of the forward to give the necessary pivoted lorward at the back lor : v a: for the elbow dart. This usually the front seam line from elbow to ._. t0 wrist to slope rdd slightly more than it does from girth to elbow. l ld be to draw this as a straight line from uld wrong 1o o wrist, because the front f to lront slope lrom girth to slopc from l would then no longer be the same as the back f and the sleeve would tend to ; Lo twist when back 9a m seam edges were joined. L m

mwas

en en the sleeve was

l . Front and H. und lnuk Fig. l back undcrarm Fig. underarm seams straightened so that [ h a t slopc { fmm m m ginh girth m elbow is continucd mntinucd from elbow to t0 WTlSl. wrist.

LONG FITTED iR

bell, and slraight-hanging straight-hanging sleeves. You will hnd this a convenient procedure for changing a long tted sleeve in a commercial dress pattern, or in reversing your cut-out master sleeve pattern to its Original drafted form before it was altered t0 dralted to t from elbow t0 wrist.
l. To eslablish establish the Lhe lengthwise Center line, fold the sleeve so (hat the front and back seam lines coincide from girth to elbow, crease the fold lrom the Center along line from the top of the sleeve to the and rule wrist, il. im.

Problem 2

SLEEVE PATTERN MODIFIED BLOCKING SLEEVES LOOSE AT THE LOWER EDGE (see Figures I II3) I43)

with the basic lines . not available, you can easily modify w; ; sleeve with an elbow dart and a tted wrist '- a workable block for the designing of 0E pattted Irom from elbow to wrist. fsjv lted wrist, such as bishop

sleeve draft eeonOriginal it is

2. Trace the sleeve and the center line on a second sheet of paper. 3. To establish straight back and front underarm 563m seam n65. lines, place a ruler on the from girth to elbow and with a Original seam line pencil, continue this Lhis line to the wrist (see Figure ll) .

H9 119

along the sides o! the patterri, and pen(a) quarter divisions. Foldf g i l d lines to showzthe and the indicates the
L_

the to p, is corrected or 111e elbobw. befdte wst size

rfut

ng

(b) Trqgce lhe lower armscye curve. (e) Rufe a line across the bottom of the sleeve perpendicular t0 the Center line to get the correct slope { e r the lower edge. _ 7. Open the sleeve and use it for blocking (see

undeidepf

top Slgcvignin this way the sleeve when it is worn.

..
" n a h m .

' x/
. u

I-igure l3)

Fig. l4. Bishop slccvc. sleeve. Fig. |5. Bach n! arm mcasurcnlcnl fnr bishop

in order to dctermine sleeve Fig. I2. Slccve [olded m center, and correct lower edge. basc, quarter division Iines, cap and spreading. Fig. |5. Sleeve ready for slashing

l4;

Meihod A: From Maxtor Paorn Sloper (see Fiqum I6 and I7)

l. Draw around the sleeve sloper. 0131 lower armscye curve and the Center lme. 2. Detcrmine the depth o! the cu and mir 1s 2 this anxount on the Center line. The cu

Problem 3
PATTERN THE BISHOP SLEEVE FROM MASTER (see Figure l4)

''

0L!"

deep on the sleeve illustrated.

irom its clerical The bishop sleeve derives its name

lFor the gcneral methuds uscd in the slecve d?! followa. the nuthors wish m makc gratcful acknowl. to M. Rohr, author u! Paucrn Dramg and (Smdv

I20

SLEEVES

"i- 2. This added length is needed on any sleeve imo a tight band L0 t0 aHow ered into _ered allow for reaching and T: "i o u t in both directions Irom sing. Square out from the ter l e r line to establish the construction line of the er edge of the sleeve (see F igure 16) er _: I6).. lncrease the sleeve width by measuring forward x e wrist line one-half the amoum desired on the 111e 1 hall half of the sleeve. Figure 16 l6 shows che Lhe wrist extended I inch at the front edge of the sloper. rase lwice twice (bis this amount at a: the back. The diagram s 2 inches. Always maintain maimain this proportion. join the poims marked markcd on the wristline to the points ints of the front irom and back edges of the ?poims sloper

l6. Bishop sleevc from { m m mastcr paucrn pancrn slopcr. Lines are n for inaease increase in width nf o! wrist. wn . Measure down 5% y, inch from the point poim marked in
mustcr
l

..

Fold &

& Trace Fold 8. Pancrn is folded lolded undcr nn the Fig. l7. Paucrn [h8 dotted lincs of Fig. and thc sides und l6, I6, und und luwer lower cdgc lraccd. traccd.

Trace Trace

't

7. Rule a line joining the lengthened back line of the sloper t0 to the front from line of the sloper a: at the wrist construction linc. line. The lower edge of the sleeve will be perpendicular to lo the C e n t e r line between the original lincs ol of the sloper and the newly drawn lines at the back and front. fronl.
8. Fold Lhe pauern the new lront pattem under on Lhe from line and the { r o n t lower armscye, the Center {rom line, and the wrist line to complete Lhe shaped wrisl the front half of the
trace

and also on the newly ncwly drawn back line. The additional back length provides lor for the dierence between Lhe the measurement measurenlent over the back of the arm when held held bem at aL the elbow (see straighl straight and when bent Figure 15) l5).. Add more than lhan l I inch lor for exaggerated blousing.

armscye. annscye.

the back of Lhe the sleeve l inch by dropwn that amount on the Lhe back edgc eown lhat iedge of the sloper

_. Lengthen

sleeve (see Figure l7) l7).. 9. Repeat the same procedure for the back.

l2l

'

4;
l

back slash twice _ t0 the paper. the sie s. Jazxgend melength 1 inch on both edges of the back Lslash t0 allow for bending the elbow. 6; Rule a wst line joining the lengthened inner edge of tbe back slash to the inner edge of the front slash.

da} afxd the bottom. Sptead the front slash 11/, t0 2 inchqs

engthwnse, grain line of the paitem

a! the that amount. Pin

bjottvom lixie

the

Problem?
THE BISHOP SLEEVE WITH AND LENGTH FOR BLOUSING (see Figures l9 und 20)

A Long Sloevo In a slecve which is very full all across the the arm, the entire spread should not be at th front and side back edges of thc central addition, vertical slashes should be made througi); Center section and a small amount of ame sho imroduced at each slash. However, even w fullness so distributed, the slash at the side should be spread more than the others, becan silhouette is more elfective il the are and bl are most pronounced on the outside of the arm n I the back. As the width of the sleeve increascs length must also increase in order to produoe b1 _ ing at the lower edge. The width of a sleeve can be successlully inae through spreading at the side front and side . slashes up to the point where the width at the l0 l0 the wiclen lf you edge equals that at the girth. 5nd! edge much morc than this, it is usually more the on top o? tory t0 introduce some ol the width so arm by slashes at the center ol the sleeve. thit sleeve will retain a column shape rather than lf tened two dimensional shape arintg entirely 1" side front and side back ol the arm.

ou

'

' 2"

2"

[ m m opcncd master pauern (shown Fig l8. Bishop slcevc should equal center linc BF. CE 3nd in 111g, |5). AD

A Threo-Ouarhr-Longlh Sleovo This sleevc lenglh is suimble for the mature since it does um have thc childish silhoueuc of l

122

SLEEVES
has already been introduced. (See Problem 4 concernalreatly been Problent coocernto t0 which a slecve can satisfactorily the extent satislactonly be ing To reduce the from and side back.) T0 widened at side front are, slash and lap out along these same lines from the bottom of the [he sleeve to the armscye. 2. Check the lower edge of the pattem to see that Hoor when the arm the sleeve will be parallel to the lloor hangs at the side of the body. Since the bell sleeve for blousing added lhe allowance {or free, remove the hangs lree. of t0 the bishop sleeve, but retain the to the lower edge at the side back of the sleeve one inch ol of added length a: ol the elbow. You may the bend to over Lhe go necessary even increase this length as you increase the bell are. 3. The nish for the lower edge depends on the amount of shaping necessary. If the bottom of the amoum sleeve has t0 to be shaped t0 to hang gracefully, nish the lower edge with a dccp deep shaped lacing. Trace the the facing { lrom m m thc the lower section of the patlern lor lhc pattern slcevc, Lhe slceve, matchiilg matching the grain exaclly. exactly. However, if the sleevc sleeve is a column shapc, 01' is only very slightly shzipe, 01 hem hangs more softly. For the hem llared, Hared, a deep hcm lold the Lhe pattern, pattcrn, papex" paper pattern under at the hemline and trace the side seams t0 to the top of the hem.
THE CORRECT METHOD FOR INCREASING OR DECREASING SLEEVE WIDTH

f l9 and 20.
i

ullness distributed evcnly the sleeve fullness cvcnly all across the top of lhe
e xtra extra

"53 1.6

K and and therefore broadens (hem. them. Procced as lor for the long full-length sleeve. E Proceed N Measure up from the wrist for lor the desired sleeve
g

. .

_
.

sleeve. Fig. 2U shows Exaggcratcd bishop slceve. Exaggeratcd

blouse added on lhC the back. back.

of the arm below the elbow is a: at thc the level ol of the 1.ol

sleeve. However, (hat falls at the However blousing that

out-

lcngth. length. Cut o 0E the bishop sleeve already designed on lines cxactly exactly parallel to the lower edge.

Problem 5

i- out -_- l

lhe "he bell sleeve, a Variation

of the bishop sleeve, like a bell, wider at the lower edge than at irth. lt is exactly like the bishop sleeve except girlh. the lower edge which hangs free. Sleeves that the (hat in a straight tubular column from shoulder to x S; are also often loosely classied as bell sleeves, A arc though they may be the same size at girth and or cven Aor even slightly narrower at the wrisl. wrist.

_
'

THE BELL SLEEVE

_Check Check the drafted bishop sleeve for correct wrist '73 T0 Jv To increase the are still further, slash and in a! the side front and side back where fullness

The correct method for increasing or decreasing sleeve width (see Figures 21 a, b, and c) is t0 to slash the sleeve where wherc the alteration alteralion is to be made and either eithcr spread to widen the sleeve or lap to narrow it. The rst sleeve (Figure 21a) has the usual shape of a master masler sleevc pattern before belore being adjusted to wrist size. The seam lines slope inward from girth t0 to wrist. Dotled Dotted lines indicate the height ol of the cap and show the position position of the underarm half of the sleeve when it is lolded folded in to the cemcr. centcr. This diagram illustrates (hat if the lront front and back seam lines slope inward from the girth to (o the wrist wrist, the girth points at the lront and back when brought together will meet above a straighl straight horizontal line drawn between them when the paltern is laid Hat. lt also follows [hat that the bottom bottom edge of this sleeve must curve upward at the Center center and down at the seam lines in order to appear straight when the seam is joined. The dotted underarm underarm seam lines and the overlapping on the quarter division

123

(b)

__l

(c)

s -* _

-_

Fig. 21. Correct method of increasing or decreasing width of sleeve at lower edge: (l) Cap same height in each case; (2) Lower edge automatically correctcd; (3) Flare falls at sides of arm rather than a: underarm seam. (a) Slashing and overlapping at quarter division lines; (b) Slashing-and spreading a: quarter division lines; (c) Slashing and sprcading at quarter division lines.

lines show the correct method for decreasing the sleeve width. The cap height of the sleeve which has been narrowed in this way remains the same as in the original master sleevc. The second sleeve (Figure 21b), made correctly the master pattern, shows by slashing and spreading seam lines at right angles to the girth line. They therefore fold in to the Center on a straight horizontal drawn from the front to the back. The bottom edge is also a straight line when the sleeve is open. The third sleeve (Figurc 2| c) also made correctly the master pattern, slopes by slashing and spreading The outward along the seam lines irom girth to wrist. the in to folded irom and back seam lines when line drawn horizontal a straight Center, mcet below back girth points when the between the lront and also curves downttem is laid Hat. The bottom edge when the ward a: the center in order to appear straight
{ m m and

in F igures 2lb and 21c have risen with the spreadil: of the slashes in the sleeves. they will fold in m m at the original points, and the cap will remain same correct height in all three. The width added the sleeve hangs exactly where the pattern was sl and spread, {hat is below the points at the { m m back of the armscye where the slash has increased intensity ol the armscye curve. ln comrast, note what has happened to the cye curves in F igures 22a, b, and c. These illustratiollft show why increasing or decreasing sleeve width is in simply redrawing the underarm seam line the with lf you compare each ol lhese sleeves notlce will sponding one in the correcl group, you the wrong method causcs lhe lollowing errors:
k

__ m:

um
'

back seam lines are joined. in Figure Since the front and back ginh comers those since and zhe lapping, 21a have droppcd with

l. The armscye line is not autonmtically chafkldl in correspotnd 1o lhe new slope ol the seam lines 0rd; t0 relain the Original cap height. lnward slopm

the seam lines shorlens the Cap height (FiguN and outward sloping increases it (Pigums 22b and 5 (See Fitting Problems ol thc Sleeve. Chaptcl 232-4.)

I24

SLEEVES

I
I I I

I I
I
I I

I
l I
I
I

I
I

| I

I l

(b) I

n I I

| _ _ _ _

L---

sleeve for thc the lower erlge :2. The correclion lor j2. (Ilge of the slecve un lhus lht: n01 Lhe sleeve will hang unindicited, and thus Lnot indicuted, _ nly when on the arm. enly

3. 3.
"

al e arm at

lhe dangers turther emphasizes nchanging sleeve size further gchangmg Llungers emphasizcs the (m patlem Igel Most (M, Filtering on (umges should be paltem edges. um. changes V-altering de wl-hin wilhin lIIe m, patlern. d pauent ,7

._ _
ole. o le.

_
.'Ih1s comparlsnn

sleeve nf IIIIrcIIsIIIg methnd uf Imurrul IIICIhIId (lerreusing slccvc innrezxsing nr (lccrcnsirIg Fig. 22. lnmrreu dezu sleevc a: slccvc a1 lnwer lnwcr edge: wvidth at width edges edgcs dcNnrnwving cdgc: (n) Nnrrnwing sleeve zu cdgcs crcascs creases cap hcight: cdges increascs widcIIiIIg slccvc" (b) widening height: (h) ut nur nnly increascs slccvc l l l cdgcs Widening sleeve edges nnt height: (r) WidCniIIg cap height; Hure zu i l l underarm. undcrnrnl. but thmws all Ilzrrc height. hut cap IICigIIt.

width added to 1o the slecve undcrneath The widlh sleeve hamgs hangs underneath the sleeve cominucs continues t0 lhe seam line, and the Lhe slcevc column 21l u: thc und lop o1" of lhe Lhe lhe sidex sides and g in a narrow colunm

the u change is made. lhc line. When such a the urmsgyc ol o! thc armscye linc. of lhe ot the widlh the wxdth 21s lhe as ol" the Lhe cap decreuses decreases cap height oI Lhe armscye length Lhe girth increases. but the and of Ihe constam remains remalns constant.

PI occdu re. Prucedu

I. 'l'ruee 'l'racc the l l a s l c l slecve lhe Inxaster sleeve pauern, paltern, including the Center line linc and Lhe the quarlcr quarter division lines (sce (see points

_ o1_right _ und wrong methods This comparison of nght und

B und U on and 1) Lhe armscye) On um armscyc) . 2. Draw lines lmes Irom lronl the Center top ol the sleeve cap tup o1" 1o (o the lront and und back girth points, points, lines AC and Cli (see Figure 23a) .

Problem 6

3. Slash lrom A and E t0 to the cap edge an a1 the cemer Center C. top, Lop,
I. l. Slash on lhe the quarler from line AC up quarter divisions Irom from line CE up to point D on the side point poim B and Irom o! OI the lhe armscye.
l0 1o

5 MASTER SLEEVE MODIFIED FOR CAP HEIGHT HE|GHT _E f; I,Lowor-fhan-Normal Cap Heighf (see Figures 23a. b, c) short sleeves and ancl those for sports or working ery aery w ents shorter than normal require a cap which is shoner er to provide freer arm movement. The master rder n sleeve bIock ern block can be nnodied modied to t0 decrease the t of the Ihe cap without changing the measurement Ineasurenlent

ents

h!

arm.

5. Spread along Lhc thc slashes A t0 C and E 1o to C t0 Lhc thc underarnl seanI seam lines about h4 lenglhen Ienglherm II/_ inches. with the amount (hat you wish the (This may vary wiLh to be shortened.) The more the underarm underann scam seam cap t0 is lengthened and lhe thc cap thus shortened, lhe the more Lhe the bottom edge oI of Lhe the sleeve extends away Irom from the

(a)

I arrnscye altered. The loss in cap neigmghas beien to increased girzh. This patcem is suited tlo short sleeve pictured in Figure 24a. Figure24b

slcievdgpatiem. oiffhe Jnew liue bis of the

Note.

The length

..

a
1 s 112"

'21

\
\
\
\

3
1\m
s
'1 1

l 1 l
I
I
(b)

a sleeve with a shortened cap, but. with the ihre usually swings away from the top of the arm taten; show: by lapping on the center line. (Figur: 25 underarm how procedure.) Figure 24c illustrates also reduce the are at the center top. The" i tailored shirtwaist (see Figure 26). has a shon. so that the arm can be raised comfortably wi Dresses (or aL pulling the blouse and skirt apart. are other uniforms nurses Sports, smocks, and lt is v _ amples of garments using the shorter cap. times used in very bouant puffed sleeves because its tendency t0 are more than the normal sleevewl a deeper cap.

(a)

and (c). Dccrcasing thc normal cap height m;25 (a) (b) Aoin the mzmcr slcevc.

less-thanFig. 24 (n), (b). and (e). Sleeves with cap hcight.

126

S L E E V E S

zon

Center

Pattem fnr Fig. 24 (b). Top nf arm Hare line of sleeve.

lapped

(b) (a) nf cap hcight lor shoulder pads: (a) Fig. 27. Extension of Fig.27 height {or Slash lines (lrnwn; (lrawn; (b) Slash lines sprcad spread and cap pushed up.

Procedure.

l. Place a pencil mark at the exact I. exaCt base of ol the cap on the lhe Center ccntcx linc ol" thc lhe master mzister slecve sleeve pattern.

2. Draw a wedge-shaped piece at the Lhe the slccvc sleeve cap (see top ol" thc (sce Figurc Figure 27a) .

exact C e n t e r

.26. Shirtwaist sleeve. Less-than-normal cap height .26.

s free arm movemem. movement.

_
v

al-

d l bl b)
g

Higher-fhan-Normal Cap Heighf (see Figures 27a

he normal cap height of a foundation sleeve may gThe too too short for lor shoulder padding padding, and obviously, the er the padding the higher the cap needs to be. Cker f 7 eck the height ol of the master sleeve cap accurately Center beIolding olding the underarm seam lines to the center Center measuring from the base of the cap at the center p; v the top (see Page I19.) t0 119.)
j

3. Draw lines lrom a point on the side seams just below the base ol" the cap up to [o the lower corners of this lhis wcdge wedge (dotted (doued lines in Figure 27a). 4. Slash along the lines drawn in step 3 to the side slep seam and push up the wedge to t0 get the necessary height. height. 5. To T0 raise the height ol the cap without distorting the lhe underarm curve Curvc ol of the tlie armscye line, line make additional slashes at a: the Lhe back and lront lronl. to t0 the lhe armscye line just below the midpoint between the top C e n t e r ol the armscye and the base ol the Can then cap. You can raise the top ol the cap without lop half ol appreciably liftCurve (see ing the underarm curve (sce Figure 27b). 6. For gathers held right at the Lhe top of the sleeve, use the same method, but push the wedge up still higher. This increases the height of the cap and the width also to some extent, but adds very little width at al the girth ginh linc.

DR RE ES SS S D DESIGN D ESIGN

Problem 7 7 Problem THE MASTER SLEEVE MODIFIED FOR A A DEEPERDEEPERTHE MASTER SLEEVE MODIFIED FOR THAN-NORMAL ARMSCYE ARMSCYE !see Figures Figures 28 28 and and 29 29 THAN-NORMAL
a and and b) o

front and back edges of the underarm seam of the blouse. blouse.

(see

b)

From time time t0 to time time fashion fashion emphasizes designs havFrom emphasizes designs having armsqes deeper than than normal, normal, and and at at such such times times ing armscyes deeper this slee\e variation adapted to all types of costhis sleeve Variation is adapted to all types of cos tumes. lt It is is especially desirable for coats coats and and suits suits tumes. especially desirable for m Order order t0 to allow allow {or lor easy fitting over over dresses dresses and and in easy tting blouses. blouses.

Figure 29a). 3. Trace Trace the the sleeve sleeve master master pattem pattern and and dran draw i 3. horiLOntal line extending through the front and back horizontal line exlending through the Eton: and g 1 corners of the girth line. corners of the girth line. 4. Extend Extend the the sleeve sleeve girth girth line line a: at from front and and back back an I 4. amount equal to to the the increase increase in in the the length o! of (Es the amount Iength equal

(see

Redraw the the underarm underarm curve curve (or for {mm front and back 2. Redraw (see dotted dotted line line in in Figure 29a).
'

.47

blouse armhole. armhole. With \V ith a a exible flexible ruler, ruler, measnre measure the blouse armscye ol o( the the blouse blouse front front from from A A lo to B, B, and and submd subtract armscye lrom this the measurement from A to C. Repeat for lrom this the measurement from A to C. Repcatfo: the back. the back.

ll)

-.
L 9 4

(.)
()

Fig. 28. Sleeve with deeper-than-normal armscye. Fig. 28. Slecvc with (lceper-than-normal armscye.

The main main problem in in designing designing and and uing fitting aa set-in set-in The problem sleeve with a deep armh ole is to provide the necessary the sleeve with a (leep armhole is t0 provide necessary lreedom lor lor raising the the arm, arm, especiall y in a. garment garment freedom especially in a. raising fitted snugly a t the waistline. Il the cap of the sleeve tted snugly a1 the waistline. ll the cap of the sleeve is lengthened to correspond to the additiona l depth is lengthened l0 correspond to the additional depth ol the the armhole, armhole, the the top ol of the the sleeve sleeve will will lorm form a a vise vise ol top that holds the arm down at the side. Any attempt to side. ai the down {hat holds lhe arm Any attempt to raise the arm causes the garment to pull up at the at the t0 raise lhe arm causes the garment pull up waistline, because the lower armhole has shortened waistline, because the lower armhole has shortened the underarm underarm seam seam ol of the the blouse. blouse. Lengthening Lengthening the th e lhe unde101m seam uf th e sleeve an amount equal to underarm seam o] the sleeve an amount equal t0 that lost on the side seam of the blouse overcomes (hat lost on the side seam of the blouse overcomes these dilculties. difficulties. these I. Measure Measure down down the the new new armhole armhole depth depth on on the the I.

(b)

Fig. 29. (a) Blouse armhole deepened; (b) Sleeve 3mm armsC1; Fig. 29. (a) Blouse armhole deepened: (b) Sleeve 0 a nd undetarm seam lengthened to fit deeper armhole armholf t and underarm seam lengthened t0 deeper

blouse. blouse.

128

. .

{l
i

SLEEVES

f armscye.

inches. At minimum of 2 inChes. of the sleeve girth a nlininluln ers ol t0 ( h e m to them extend and e r c c l perpendiculars ercCt . perpentliculars points

front and back Measure in from the original Original lront

.
_

front and Cul out the sleeve, slash in from the from Cut

to the perpendiculars corners t0 k girth Corners perpendiculurs and up to wedge-shaped pieces to armscye. Pivot up the tvedge-shaped as much as the blouse underarnl seam 21s en the underarm Lhen lowered. been has hole hole . Retrace the sleeve. Draw a new underarm line, corrler inward and raised girth Corner it from the raised ing il ' nward to meet the old sleeve seam at a point 2 or corner. the Original ches below the position of lhe original girth Corner. 3

to Center Folded (o

Folded to Center

MODIFlCATION OF SLEEVE LENGTH _ MODlFlCATlON O Above the PaHern Cuf OFF fhe Elbow er Sleeve Paern u Figure 3o) 1 30) oulline, trace the line at the '_ . On a sleeve pattern pallern outline, the cap and the Center of lhe C e n t e r lengthwise grain line g; the master pattem. pattern.

bter section. Eiter "7 0te. This method for trueing the lower line by the untlerarm seams in to unclerarm lo the Center Cannot cannot be I. 'ng "ng "o for a sleeve which has been derived by slashing center section, lullness seclion, since the fullness spreading the Center l e under and upper sections of the sleeve are not Ihe not "Esame. same. However However, if the lower edge of the sleeve l is correct correct, the slashed and spread parts will autocorrect lower line of the new ally "cally indicate the CorreCt

_
. .
.
r *

(he elbow. clbow. abnve the n a sleeve above cutling nff Fig. 30. Method of Cutting

Problem 8

lhe on each seam, lhe Center, the side lront, and the at the seanl, al t0 l0 line a with back. Connecl. these points side back. Connect. thcse pencil poims ol the form the lower edge ol" Lhc sleeve.

a} Three-Quarfer OH a! Sleeve Cuf O5 Three-Ouarfer Lengfh (see Figure 3|) tlle wrist lroln the distallce up lrom desircd tlistancc tlle desired l. Measure the

be parallel t0 lhis line whiCh which should bc 2. Cut Cul along this the wrist line.
t o o curved Curved t0 have a hem Note. This edge edgc is always too and should therefore therelore be nished with seam ribbon or a shalned shaped lacing.

'. Measure down the desired sleeve length from the lhe Center 3- of the Cap center line line, and square out cap on the of the Lhe sleeve. gfu this point. This is the lower edge ol en the lhe pattern is opened out. this line will slant out, lhis ward toward the underarm nward underarnl seam seanl lines a: at the to l0 the in the line lhe 1 and will be parallel parallel girth
'

u
i: ;

n line. inline.

Fold the seam lines in to the lhe

center Center

lengthwise

in

en

._ e.

To add a hem to the sleeve, measure 2 inChes inches [rom from the lower edge to provide the hem depth ipattern. Fold the hem up and re cutting off the pattem. lhe the side the lhe side of the sleeve line edges against E er to duplicate Lhe the exact side edges of the sleeve. _' T: e can be successfully hemmed only when it is a: the lower edge. t Call) cally straight at
_ ; _

_.

quarter quaner length.

3|. Method of Cutting off Fig.3l. Fig. slcevc t0 to the thc three culting olf a long sleeve

129

RE ES SS S D DESIGN DR ESIGN

Problem 9
CUTIING 0F OF CUFFS THE CUTTING (see Figures 32 a, b, c. c, and d) d) 32 b. a, (see Figures
L M M IM S C G M I

Cuff Band Narrow Cu A narrow culf cuff band ol of l 1 to to 1% 1Y2 inches lengthwise piece folded at the lower edge. at lengthwise piece edge. and 33.) 33.) 32a and

is a straight straight (See Figures (See Figures

(a) (3)

Q M M

(b)

i I

Fig. 34. (a) cuff pattern pattern cut cut from lower edgcd edge of Fig. (a) Wider cuE sleeve; (b) (b) Cu Cuff cut cut in one piece, piece, with a buttoned buttoned closing sleeve; dem and a free upper upper edge. edge.

32 (a), (a), (b), (b), (c), (c), and (d). (d). Culf Cuff variations. Fig. 32 Fig.

Flared Cuff (see (see Figure Figure 32d) 32d) Use the cu cuff pattern pattern made according according to the the dimdirecshaped culf, cuff, draw slash lines Jines lrom from tions in B for the shaped upper edge edge to to the wrist for the ares, flares, slash and and the upper spread (see Figure 35). pattern, Cut the new curved spread (see Figure 35). panem, straight lengthwise lengthwise grain grain to coincide and mark the straight center lengthwise lengthwise grain grain of the sleeve. with the Center
I

lenlf:hw1se Gnln Grain Lenhwm

''

Fig. 33. Narmw Narrow cuff band. band. Fig.

Cuff Wider Than Two lnches Inches (see (see Figures Figures 32b and c] c) Cu pattern from the lower part part of the oneoneTake the pattern piece master (see Figure 34a). tightly fitted For a master sleeve tted (see Figure 34a). tightly piece master pattern pattern with a vertical dart (see (see cuff, use use the master cu, page I 35 for the pattern). top of cuff on Cut the ol culf on a the top pattern). pagel35 curve parallel to the wrist edge of the master pattern curve parallel to edge pattern grain running running in the same direction as and mark the grain sleeve, {hat that is, is, along along the C center line. When you you e n t e r line. in the sleeve, closing, place place it at at the vertical dar: dart use a buttoned closing, use line. If cuff is t0 to be lree free at at the upper upper edge, e<;lge, cut the lf the cu pattern apart apart along along Lhe the vertical dart line and join join the pattern two sections on the underarm seam line so that the cull cuff [hat Iine two sections can be c cut piece and retain retain the grain grain Iine line itself can u t in one piece itself marked from the sleeve (see (see Figure 34b). for Allow lor a marked 34b). Figure lap on on the placket placket line. A cuff sewed to to the sleeve lap along its its upper upper edge edge retains the underarm seam (see (see along Figure 32c). 32c). Figure
130

Fig. 3E). 3:i. Flared cu. cuff. Fig.

Problem 10 I0
TWO-PIECE SLEEVE SLEEVE DRAFT FROM FROM MASTER MASTER ONE-PIECE COAT SLEEVE SLEEVE (see (see Figures 36-42) Figures 36-42]

Draft cut one-piece sleeva sleere, n Drall and c u t out a pattern lor a one-piece pattem for using measurements for coat jacket and al andal the a measurements lor a coat or using jacket lowing no elbow dart. A dierence difference of 1% be lowing 1%inches b! girth and elbow will be be more satisfactory satisfacwry Im than tween girlh the lwo-inch two-inch difference difference usually used for sleel'e 1 Lhe lor a dress sleevt usually used (see Figure 37) . (see Figure 37).

Division Lines Division

Figure 38 should be followed followed carefully carefully in peom perform Figure ing steps I through l 6. ing steps through

S L E E V E S
from quarter of lhe front I. l. Draw line B R O 1o t0 divide the the sleeve, ACNP, in half. inch toward the 2. On the girth 5A; inch ginh line, measure 5/8 {rom the back quarter division line, EK, back edge from und mark X.

3. On lhe the elbow line, measure back quarter line and mark V.

% inch 1A

from the

4. Rule Rulc a line connecting X and V and extend i1 through the armscye at F.
From the wrist measurement this one-piece 5. Fron) measurenlent of lhis sleeve draft, subtract the desired wrist measurement for the Lhe new two-picce two-piece sleeve, and mcasure one-half of the (lierence difference on each side of the back quarter line EK at thc lhe wrist, marking L and j. 6. Draw lhe the lines VL and V].

D
Fig. 36. Two-piece sleeve.
C

B
A|

l l

\
l l
n i G r a

RS

l
i

| i l \

l
p p
2

N O N O

37c 7- One-piece sleeve from coat or suit measurement. u.

M LKJ To Remove Excess] Exces width Width a! at was;

LKJ,

Fig. 38. Division lines.

l3!

RE ES SS S D DESIGN ESIGN DR
Separating the the Paern Pattern an on Vercal Vertical and and Horizonfal Horizontal Linos Lines Separang I. Cut Cut on on lines lines BRO, BRO, FXVL, F XV L, and V] V} (see (see Figure Figure l. 39) . 39). 2. Cut Cut through through the the elbow elbow line line VUTSR l ' UTSR to to the the new new 2. front edge at R (see Figure 40) . front edge at R (see Figure 40) .

Slash the the front front quarter quarter line line CS CS from from the the elbow elbow to to 3. Slash the edge edge 0E of the the cap cap at at C. C. the 4. Slash Slash the the back back quarter quarter line line UE VE from from the the elbow 4. up to the cap at E. up to the cap a: E.
Upper Secon Section o? of Sleeve (see (see Figure Figure 4|) 41) Upper
I. N Now, on a a second second sheet sheet of o[ paper, paper, draw draw a a straight straight l. ow on line the the length length of of the the sleeve sleeve plus plus 4 4 or or 5 5 inches. inches. Mark Mark line it D), DY, and and on on this this line line place place the the center center lengthwise lengthwise it grain of of the the upper upper section. section. grain 2. Draw Draw a a second second line line parallel parallel to to this this and and to to the the 2. left of it the distance between the center line and the left of it the distance between the Center line and the front corner corner B B of o[ the the girth girth line. line. front
D D

3. Pin Pin the the cemer center line line of of the the sleeve sleeve grauem pattern mm, from D 3. to T T to to the the line line DY. DY. Place Place the the irom front girth girth comggi corner B to of the the panem pattern against against the the parallel parallel line. line. of 4. The The front front edge edge of the the sleeve sleeve in in the the crook crook o! of the 4. _ elbow shuld should be be s/ o/s inch inch or or more more lrom from the the pzral parallel elbow line depending depending on on the the amount amount of of shaping shaping desiredin desired in line the sleeve (Figure 41 shows Vs inch.) Overlap the two the (Figure 41 shows 7A; inch.) Overlapthetwo, sectiom along the front quarter line CS to indent line sections along the lront quarter line CS to indem li BR the the desired desired distance distance from from the the vertical vertical line. BR 5. Pivot Pivot the the back back quarter quarter line, line, EU, EU, out out at at the the el elbow 5. to add add the the amoum amount subtracted subtracted in in the the front front a! at points. point S. t0 6. Pivot Pivot the the lower lower section section down down to to add add a! at least least h}; 6. inches of length at the elbow point. Along the inches ol" length at the elbow point. Along the bacl edge of of the the upper upper section, section, make make the the distance distance betwe between edge and V1 Vl 1/2 V2 inch inch longer longer than than the the distance distance betweea between V and these poims points on on the the back back edge edge of ol the the underarm underarm secsecthese l . . . provide . . tion. This will extra ease over the elbow. over the uon. lhlS wrll e x t r a ease elbow. provnde
'

D D

c C

i
wX x W

r F1

B1 3
-"l

1
J

\c
1
H

1 U V r----.1 V H

Q 1

R1

u U
U1

v1

v1 v

P
L M J p 0 N P01 Fig. 39. Pattern separation.

OI0

Fig. 59. Pauern separation.

L L Fig. 40. 40. Separation on on vertical vertical and and horizontal horizontal lmeslines. Fig. Separation

'
A

132

S L E E V E S
T7.

v t he lengthwise lhe lenglhwise grain w er paper. der 1,. y

mark (he the pattern lhe paltern Pencil around the paltern pattern and murk D) on the l0 follow lollow the line DY

the front section

AB1O1P. AB1OlP.

Ler Secon of Sleeve ler sheet of paper, rule a straight line . On a second sheel under seclion section plus 2 or 3 inches. ol the of f: I length (bis line AZ. > '_l this i: and t0 [h8 1o iL the right Rule a second line parallel parallel t0 p, A to from l0 B along the girth line. distance v (hat A rests on the line . . Place section ABIOIP so that

(i. sections lorward below the elbow 6. Pivot the [ w o seclions inch, inClL l/z at V1 about 5/4 t0 the elbow line 1/2 llne 3A poinl point a1 open the opening on the top section. inch less than Lhe

. A! the elbow point R1, R1, indem the front section 4. line inch. The indentaIine at a: least the
>

[o

and B1 on the parallel

line.

5' n 1/2 parallel lhe crook of the elbow on the under seclion section is Iin the A,

5. 5.

(hat on the top section. Lhan that seclion. slighlly slightly less than F1 Place the narrow back sectlon, section, FIGI], GI], up agamst agalnst

lhe lengthl m c e the and lrace Draw around the pattern und 7. Dran from the line AZ on the under paper. wise grain lrom paper. (See l2 lor the nal pattern.) Figure 42 secS. Mark notches on the back line FL ol upper seo 8. below inches and V above inches tion at points l% 1% 11/, poims 11/4 o an 1o upper nolch, V1. Measure from F [o notch, and mark off equal number of inches from F1 on under section for Measure from L to the lower nolch. Nleasure the matching notch. distance from j o" an equal Llislance notch and mark Inark oll" ] on under section for the matching notch. The 1/2 inch excess (o the lower seclion on the upper scctlon scction will be eased to notches. ( w o notches. between between these [
the sharp corners and straight lines 9. Round o lhc with slighl curves. slight

o D

E
F

x x1

N...5
(5

s1

B1

s
12 R1 +L) G r a u n

v f;{ v1 v1
s g

= V
H

E E

2
I

11/4"

(g

-" L e n g h tw u s e

a n: g ...
G r a n n

.1:

L e n g t h w u s e .1

D0 c u;

.3 3
4C

E 3
J:

so
C

3
J

: C

L e n g h l w s i e

IP

8-9iE-il. Top section and underarm section o! of sleeve.

1 o1 0 1

h / O Rv x/w/ON

J Y L 42. Completed pattern for Fig.42. Fig. sleeve_ two-piece lwo-piece sleeve,

133

DRESS DESIGN D RESS D ESIGN PART II II PART

SLEEVES DESIGNING SET-IN SET-IN SLEEVES DESIGNING PATTERN FROM THE THE MASTER MASTER PATTERN F BLOCK ONE-PIECE SLEEVE BLOCK ECE SLEEVE

The procedure for developing designs from theoneoneThe procedure fordeveloping designs from the piece master sleeve pattern is similar in principle to piece master sleeve pattern is similar in principle to that used in designing from the master blouse and that used in designing from the master blouse and skirt. ln In all all sleeve sleeve patterns, the the ease ease (at least least 1Y2 skirt. (at patterns, 11/, inches) at at the the top of of the the master master pattern should should be be inches) top pattern retained for for fitting over over the the curve curve at at the the top of of the the retained tting top arm, but but the the elbow elbow dart dart can can be be shifted shifted at at will will to to proarm, produce changes in the design. duce changes in the design. For convenience convenience and and speed in in practicing sleeve deFor speed practicing sleeve design, trace trace the the quarter-size pattern from from Page I36 136 and and sign Page quarter-size pattern proceed as as for for blocking blouses blouses and and skirts. skirts.

line of of ornamental ornamental buttons buttons at at the the little little finger 'line, aa line ngen gathers blousinginto into aa simulated simulated cuff, cuff, or oreven evenaam mod. n5 gathers blousing with the the dart dart material material ha hanging erately loose loose sleeve sleeve with erately .;4.;; free. The The vertical vertical dart dart is is longer than thanaa horizontal horizontal a one free. s. longer andcan can be beused used for foraa sleeve sleevethat thatshould shouldt fit very.4 closely and very from elbow elbow to to wrist, wrist, or or to to t fit an an arm arm unusually large from unusually 13,- below the elbow but with a small wrist. below the elbow but with a small wrist.

Procedure (see Figures 44 und and 45) Procedure 45) (see Figures 44

proceed

blocking

Problem II Problem TRANSFER OF OF THE THE HORIZONTAL HORIZONTAL ELBOW ELBOW DART DART TRANSFER TO A VERTICAL ONE (see Figure 43) ONE TO A VERTICAL (see Figure 43)
The elbow elbow dart dart is is often often transferred transferred in in this this manner manner The in designs with the principal interest between the in designs with the principal interest between the elbow and the wrist. This may take the form of elbow and the wrist. This may take the form of

I. Draw Drawaa line lineirom from aa point markingthe theback back third v I. point marking of the elbow width to a point marking the back n of the elbow width to a point marking the back t'third of the the wrist wrist width width (see Figure 44). The position on of (see Figure 44). The position the arm arm is is approximately from from elbow elbow to tolittle little finger. the

'

approximately

ngen".

..

2. Slash Slash along the the new new line line and and close close the theold olddann dart. 2. along 3. Redraw Redraw the the dart dart to to stop it it before before it it reaches reaches the n! 3. stop elbow (see Figure 45), but not much below this point elbow (see F igure 45) but not much below this po because the the dart dart is is so so large. Taper it off equally on because equally large. Taper it oII both edges by placing a point directly below the the end both edges by placing a point directly below of the slash and ruling lines to that point. of the slash and ruling lines to that point. Note. Part Part of of the the horizontal horizontal dart dart of of the the masler master Note. sleeve pattern can be transferred to the wrist width wrist widlh the to sleeve pattern can be transferred for a casual sleeve with wrist circumference I for a casual sleeve with wrist circumference large enough to slip over the hand without a placket. Fol enough to slip over the hand without a placket. F055 low the the directions directions for for the the transfer transfer of of the the horizon horizontal low to the vertical dart, but instead of completely closing to the vertical dart, but instead of complelely closin the horizontal dart, close it just enough to spread the the horizontal dart, close it just enough to spread IM sleeve at the wrist for the additional width desired. sleeve at the wrist for the additional width desired.

Problem 2 2 Problem THREE-QUARTER-LENGTH SLEEVE WITH GATHERS THREE-OUARTER-LENGTH SLEEVE WITH eATHERS RADIATING FROM FROM ONE ONE OR OR TWO TWO VERTICAI. VERTICAL RADIATING SLASHES SLASHES Gathers Radiating from from One One Vertical Vertical Slash Slash Line Line Gafhers Radiaiing
The same same procedu re applies also also t0 to aa The Iull-lellglh procedure applies sleeve, but the design seems to be particu larly 5U suited sleeve, but the design scems to be particularly to th e three-qua rter length (see Figure 46a). to the 46a).

Fig. 48. Vertical placket dart. Fig. 48. Vertical placket dart.

lhree-quartcr Iength (see Figure

134 I34

SLEE EVES

G r a m

13 Elbow Wndtn Wadtn

'Length of lLength
Stltcned Stitcned Dart

Corrected

Dart Length

'
.

. . 45. Transfer ol of horizontal horizontal t0 (o verucal Figs 44 and 45 vertical dart. To transfer Figs.44 transler a horizontal dart to a vertical d l'k (hat dart like h T0 honzonlal shown in Fig. 43, 43. lines are drawn for transferring the dar! dart (Fng. hown vertical dar: dart |s is sprca velnca; an and t lhe larthl 1e horizontal on Zotm: (Fig. 44) and the verucal sprcad dar: closed closcd (Fig. 45). Klar! 45) .
'

l0

'

47a).
(a)

l. Cut off o the full-length master sleeve pattern at the threequarter three-quarter length. Remember always to c ut cul t0 the lower edge. parallel to 2. Decide on the position of the vertical line from position ol which the fullness is to radiate. radiate. lt would never do to place i: it at the back of the sleeve, as this would throw the fullness lullness under the arm. Place it at the center or even in front ol the Center, and draw it perpendicular to the lower edge of the sleeve. Do D0 not continue lt it much above. the elbow (see Figure

3. Draw lines from this vertical slash line to the back edge of the sleeve and slash to the back seam

l 46 (a)

3 " '

and (b). Sleeves with Wim gathers (b)_ man mm galhers radiating radiang [rom or er rwo two vertical slashes.

4. Close the horizontal elbow dart dar: and thus automatically transfer it forward to the vertical slash line. (see Figure (See Flgure 47b). 47b) '

edge.

135

DRESS D RESS

DESIGN D ESIGN

Grain

u?

Master pauern pattern fnr for nne-piece one-piece sleeve.

I36

SLEEVES

>

G r a i n

< -

*1

l
w

lincs arc (lrawn tlrawn (as indicatcd 47 (a). Slash lines inditatctl by the a rmw arrnw u; "'- pendicular t0 the lhC lower edge ndicular to of the slcevc) (b) eclge ol (b).. Shows

an cach side of a vertical Fig, 48. Slashes spreatl Fig. spread for gathers nn band. band.

nn the cdge slashes spread on m be bc gathered. edge tn

lrom the back etlge eclge : r gathers but leaving the length of the underarm "am line unchanged. For gathers moderalely moderately full, one-half times the Lhe length ol of the vertical low one and one-hall n lull gathers, at g t; lor full al least twice (wice the Lhe length.

-' 5. f Spread the slashes, pivoting plvotlng

principle employed for a sleeve with thers hers radiating radiatlng from one vertical slash line may %\. o be t0 a sleeve with lullness applied to radiating in i: from two vertical cuts that 7: directions [rom {hat form the of a band or panel (see Figure ges [es ol 46b) . 4l. On the three-quarter-length sleeve pattern pattern, draw llnes perpendicular to 1o the lhe lower edge and "oparallel lines ning up to but not much above the elbow. Place nnlng ese lines not more than l to 11/2 Li 1%inches apart, one at u: the lhe center Center of the sleeve and one in front y from of ( e r (see F mer Figure igure 48) . .2. Draw lines perpendicular to the vertical slashes * ning ning out in both directions to the underarm seam > =

. s h sh > The same

Line

ber: Radiang from Each Side Slde of a ber:

Double Vercal

The

'.
f4.
. _ _

Both edges spread Fig, Fig. 49. Both sprcad equally for gathers. Gathers lie lic parallel and effect is heavier.

av es.

es.

b. Slash to each underarm seam 3. Close the

to

underarm dart. Spread equally at the edges to be gathered, addLr: enough mugh length to cqual equal at least one and one-half - the w vcnical slash lengLh. vcrtical length.

. 5a

line.

Since the underarm seams have not been increased in length, length, both the seam edges and the gathered edges have become decided arcs. Another possible design using this principle is achicved achieved by slashing through the underarm seam lines and spreading the pattern pattem at both ends of the slashes for gathers running across the underarm seam. The eect, however, is heavier and more effect, because "clothy," the fullness lines lie parallel and tend to t0 look at and crushed (see Figure Figurc 49) .

I37

D R RE ES SS S D DESIGN D ESIGN
Problem 3 3 Problem
'will be be the the correct correct position pos1t1on for for thc the platte: placket opening will the little finger line. Add a lap if buttons and but'. the little Enger line. Add a lap i! buttom and: tonholes are are to to be be used. used. tonholes. 4. Slash Slash vertically vertically a: at the the side side back back and and side" side from 4.
'

SLEEVE WITH WITH SIMULATED SIMULATED CUFF CUFF SLEEVE (see Figures Figures 50, 50, Sla 51 a und and b) b) (see
This sleeve sleeve illustrates illustrates another another way way to to introduce introduce This deta il at at the the lower lower edge. edge. It It is is similar similar in in silhouette silhouette to to detail bishop sleeve, sleeve, but but has has the the cuff cuff and and sleeve sleeve cut cut all all in in the bishop the one piece piece (see (see Figure Figure 50) 50) . . one . l. I. On On the the master master pattern pattern sleeve, sleeve, draw draw in in the the design design lme of the cuff. That is, measure up from the lower line of the cu. That is measure up from the lower the depth of the cuff and draw a line parallel to edge edge the depth of the cuff and draw a line parallel to the lower lower edge edge, but but extend extend it it only only through through the the center center the of the the sleeve, sleeve, not not out out to to the the underarm underarm seam seam lines. lines. of Start the the line line approximately approximately II inch inch from from the the back back Start and end it approximately 2 inches from the front edge and end it front 2 inches from the edge approximately edge (see (see Figure Figure 51a). 51 a) . edge 2. Transfer Transfer the the elbow elbow dar: dart to to a a vertical vertical dart dart on on the the 2. little finger line. (See directions for the transfer of the for transfer of the little ngen line. (See directions the horizontal to the vertical dart, Page 135) . horizontal to the vertical dart, Page 135) . 3. Slash Slash across across the the design design line line of of the the cuff cuff to to the the 3. marked points. The line on which the cuff has opened marked points. The line on which the culf has opened

from the ends of the design line of the cuff to the tap

of the the sleeve. sleeve. Draw Draw these these slash lines lines equidistam equidistant from of the center center line line to to keep keep the the sleeve balanced. balanced. the Spread the the pattern pattern equally equally t0 to add add fullnm" fullness at 5. Spread the lower ends of the two slashes. These slashes, n? the lower ends of the ( w o slashes. These slashes, plus the spread spread derived derived from from the the transler transfer of of zhe the elbow elbow dart the to the the lower lower edge edge, will will supply supply enough enough fullneso fullness (one to and one-half onehalf to to two two times times the the length length of of the slash slash for and the cuff). cuff) . The The sleeve sleeve will will be be lullest fullest toward toward die the bad the A because two two of of the the three three poinls points spread spread are are back of because back.' the Center center of of the the cu cuff (see (see F Figure 51 b). the igure 51b).

x;
i

6. Redraw Redraw the the line line to to be be gathered, gathered, curving curving i: it d down n 6. . ward lor for enough enough extra extra length length toward toward the the back back to. to allow ward lag. the arm arm to to bend bend sharply. sharply. the Figure 52 52 shows the the same same idea idea adapted adapted I0 to a lh three a. Figure quarter-length sleeve with curved line detail on the quarter-length sleeve wich curved line detail on 2 simulated cuff. cuff. simulated

I I
I I I
I
I

" i!

0:

Clos

"'
I

Dart

I
,'
I
I I

I I
I I

I I
I

'---'Pllckct UM

(a)

(b)

Figs. 50, 50, 51 5 1(a) (a) and a nd (b) (b) .. Sleeve Sleeve with wi th blnused bloused lullness fulln ess above above Figs. 50 shows bloused fullness a bove a a simula ted cuff. Fig. above a 50 shows blnuscd lullness cu. a simulated Fig. cuff. ln In Fig. Fig. 5| 5 1(a) (a) , slasli slash lines lines are a re drawn: drawn ; and a nd in in simula ted cu. simulatcd Fig. 5| 5 1 (b) (b), the slashes slashes are are spread spread lor fo r blnusing blousing and and thc the lull full the Fig. section is is lengrhened le ngthened (see (sec dotted do tted line) Ii ne) . section

138 I38

SLEEVES

ig.52. ig.52.

Simulated cuff cu on thiiee-quaner-length thrcc-quarter-length sleeve.

Lantern sleeve. Fig. 53. Lamern

Problem 4
EVE WITH WIDTH BELOW THE ELBOW AND lEEVE A FITTED WRlST WRISTLANTERN LANTERN SLEEVE (see Figures 53. 54a and b)

he he following directions explain how to t0 design a one horizontal horizontal seam below the w. _w. lt is easy to overdo intricate seaming. The ive is a very small part of the entire garment, and smoother and less cut c u t up it is, _ is the better the geneffect will be. Silhouette is far more f Vl elfect important importam Lhe design will be less fussy and detail, and the lly bctter if made with few seams rather ralher than
v!

cm sleeve with jem

ve

Ioud

_ parallel to the lower edge. This line divides the e e into imo upper and lower sections. lt It should be it 51/2 inches up from the wrist or any other disdis e that produces good f proportion. Crossmark the line. i Rule lines from the top of the cap and parallel parallel 1: Center center line down to the division line established l. Make Malte the lines equidistant from the center. p p 1. a Continue the same lines drawn in step 3 through ower (hat they are Ofver section so that perpendicular to st st

=On the one-piece master sleeve ; pattern draw a -

77'

i
'

(b)

edge.

Fig.54. Fig. 54. (a) Slash lines drawn (dottcd (dotted line). (b) Slashes spread. The matching edges of both sections must be the same length.

139

DRESS DESIGN
5. Cut the upper upper and lower sections apart. apart. to a vertical 6. Close the elbow dart and transfer it to at the poim point of the dart. slash line at 7. Slash the vertical lines of the upper upper section and 7. spread at enough to produce produce the them at the lower end spread enough to at the lower edge edge (see (see Figure Figure 54b) 54b). desired width at . tip over 8. Measure the arm from the shoulder tip the sharply sharply bent elbow to to the wrist (see (see Figure Figure 15). 15). Since the total sleeve length length over the back back of the arm equal this measurement, measurement, at at least 1% l V2 inches must must equal be added to to the upper upper section. Drop Drop the bottom line be upper section to to lengthen lengthen it it at at the vertical dart of the upper position at back, up at the then curve the line up side and back, position toward the back seam so (hat that it it emers enters the seam at at a right angle. angle. The dotted line line in in Figure Figure 54b indicates right shape this line should take. the shape 9. Slash the vertical lines in the lower section and spread at the upper upper edge edge umil until it it exactly exactly equals equals the spread at edge of the upper upper section. The lower lower curved edge section now has has a sharply sharply curved wrist line, and its upper edge is a far more rounded curve than the lower upper edge edge of the upper upper section. edge

1.

Fig. 55 (a). (a) . Sleeve Wllh with three parallel parallel daru darts at at lhe the topl top. Fig.

line.

3. Rule from D, D, E, E, and F to to point point Q Q on the girth ;. . (the halfwa) n. (the Repeat Repeal. tilt

I inch down from point point C 4. Measure l point ) B. and mark A and between E) point measurement from G to to H. H. measurement

Jines from B to to Q Q and H to to Q. Q. 5. Draw lines to Q; Q; from Q Q to to P; from Q Q toR. to R. 6. Slash from E to 7. 8. Slash from Q Q to to B; B; from Q Q to to H. Slash from D and F to to point point Q.

Problem 5
SLEEVE WITH PARALLEL DARTS AT AT THE TOP SLEEVE OF THE CAP (see (see Figure Figure 55a) 55a) OF
Use the basic master master pattern pattern for a tted fitted sleeve Use with an elbow dart, dart, but for a bell, bishop bishop, or or other with sleeve basic sleeve at edge, change the lower the at wide sleeve edge, change into the desired style slashing spreading and before into the desired style spreading slashing it for a daned darted cap. cap. it

Note. The direction slash to means cut cut 1o to a cer certain Note. point through point. that not but through poim. point

on a second sheet oi of pa, paper 9. Rule a vertical line on : place the Center center lengthwise lengthwise grain grain line of the sl slee1e and place pattern along this line. pattem along

Sleeve will: with Three Parallel Darf: Darts (see (see Figures Figures 55 b. b, c. c, d. d, Sleeve e). and e).
I. Trace Trace and cut cut out out the master master sleeve patlern. pattern. InInI. the clude Jines marking the center lengthwise grain, C e n t e r lhe clude lines marking lengthwise grain, girth, and vertical quarter quarter division lines. 2. According According (o to the placing placing given given in in Figure Figure 55b, 2. mark the dart positions: E, center of cap; 2V2 mark the positions: E, C e n t e r 0E cap; D, 21/; inches forward forward from E along along the armscye armscye curve; F, inches measurements is 2V2 inches (This of of series E. behind (This 2% inches variable.) variable.)

girth,

l 0. Decide Decide on on the new cap cap height height before spre spreading I0. "u the slashes. Lhe Note. Cap Cap heights heights vary vary with fashion and de depend i on the prevailing prevailing Silhouette silhouette and the length length of of the on w seam of of the blouse. blouse. F Figure shoulder seam igure 55c shows the cap height of of the foundation sleeve increased 13/4 1% in '** height Since the original height cap 5 inches, 11 was of the the Since 51/, inches. cap Original height is now 7 inches high. high. 11. Spread vertically vertically between between Q Q and [O JO l I inch, and l l . Spread t between J0 JO and and KN KN % inch. Notice that thesl the slashes between 5% in "f to from ] to B and 0 to H make it possible w increase it possible from j to B and O to H the height height without overincreasing overincreasing the width of the Lhe lower part of of Lhe the cap. The outer outer doued dotted line indicll indicato lower cap. part "i" 3nd t0 the cap shape to ] , and the B I from slash without the the cap shape inner dotted line shows the Original or iginal armscye.
4

0F

140

SLEEVES

Original
Armscye

Determine La -_ gainst against zto the

Fig. 55. (b) Stcps Steps 1-5.

l2. 2.

the width of the darts. Push secllon section section BDK to t0 estimate the distance from 510 E, Lhe amoum amount added to the length of the armann; line. Repeat on the opposite half for the distance E2 E2 to E. Figure 55c shows a total spread of 3% les from E1 to E2. Sincc Since darted daned slceves sleeves do not rees the 35/, easing over the top of the cap, add to Lhe 3% g excess the amount of ease allowed in the master cmsleeve (the dierence difference in measurement between 1cm 3 eeve armscye and Lhe the dress armscye) . The founlsleeve in sleeve in Figure 55b had 11/4 11A inches of ease. t0 the spread of 3%inches on the sleeve {kadded to ides iides 5 inches to be divided among the three darts. r each will be 1%inches wide. Draw the Center dart SUT lI/a 1%inches long (see

Fig. 55. (c) Steps 6- l2.

15. l5. Measure 11A 1%inches on line VW and mark poim W.

_e

I6. Measure along the armscye line and mark the dart width from V to X. dar:

on
A

dart.

l7. 17. Join join X and W. Then mark the correct dart length 11A, 11/3 inches on this line by measuring from W and ending at X1. Note that making darts parallel narrows the sleeve cap. l9. Follow the same method in placing the third

g 55d). Measure Measure from the

4

Center

u VW Ish parallel to SU.

dart dar: 21/2 2% inches to

to make the corners right angles as shown from S to V and T to Y in Figure 55c.

20. Dip the armscye line slightly between the darts

14l

21. To shape the cap edge fold the dann edgc darts in before cutting along the correctly, armscye.

DESIGN RE ES SS S D DR ESIGN

s 1 5/8}

Fig. 55. (d) (d) Steps Steps 13-19. Fig.

Fig. 55. (e) ( e) Steps Steps 20.21. 20-21. Fig.55.

Sleeve wifh with Five Parallel Darf: Da rts (see (see Figures Figures 56 a. a , b. b, and c) c) Sleeve
I. Trace Trace and cut cu t out the one-piece one-piece master sleeve 1. pattern. lnclude Include lines marking marking the C center lengthwise e n t e r lengthwise pattern. grain line a! a t F, F, the girth, gir th, TU TUV, q uarter and vertical V, quarter grain divisions at at C and I (see (see Figure Figure 56a). 56a) . divisions

w to X. X. Slash on on the girth girth line from U to to T and from to to V; V; from X to to W Wand to Y. Y. and from X to U t0
to B; B; from U to to]. 7. Slash from U to ]. 8. Slash Slash from from points points D, D, E, E, G, G, and H to point point U. 8. For ease in handling spreading sections, avoid sections. the and in Forease handling spreading lri the cutting through point order to keep triangu to In! U in Order keep cutting through point U. Jar pieces together at their tip point lar pieces together at tip point 9. Spread along the horizontal slash lines to 9. Spread along lengthen the C center of the sleeve 1/2 V2 inch a.aboit e n t e r line of lengthen mal X, Vz inch above U , 4 points marked above inch and inch above U, pomts X, 1/2 3/, Land L and S.

"'

2. Mark the position position of the darts: 2. of the the cap; cap; E 11/2 1Vz inches forward from of from E; E; G 11/2 l Vz inches back from F; F; H from

at the Center center F at F; D I14 11f2 inches F; I Vz inches from 11A

G. G. 3. Rule Rule from from D, D, E, E, F, F, G, G, and H to to U on the girth girth 3. line. 4. Measure Measure 1 I inch down from point point C and mark 4. I to from B. Repeat to nd find]. ]. measurement this B. Repeat 5. 5. 6. 6. and and Draw lines from B and j] to to U. Draw Draw a a line WXY parallel parallel to to the girth girth line TUV TUV Draw F from at least least 1 I inch below it. Slash through U at

'

1 1 d 10. Follow Follow the the same same procedure procedure in placing placing 1 the .artl l0. i as in the sleeve with three height The darts. cap as in the sleeve should nov. not be over over 7 7 inches for this sleeve and mal may be should t0 even less. Determine the amount of to divide excess amount o1 even less. Detennine 55 among the the darts. darts. The The darts shown in in Figure Figure 56c art among I inch inch long. long. l

"
1

142 I42

S L E E V E ES S S

o a; D
C :
._
k

E s

G
H

M L
'

oPQ N0 N
U X

I 1" ' '

b?! J

f
E E

<9 (5

x
w"

Sleeve with ve parallel dans darLs at the top. (a)j Sleeve

55 (b). Fig. 56

Fig. 56 (c).

5
v7,

Problem 6

.5 wm-c A SEAM SEAM ACROSS THE ms TOP OF pslA THE CAP PARALLEL THE ARMSCYE ARALLEL 1o m: (see Figure s7) ,1 57)

Ifprptation of .fthe ._l_1e_ square-shouldered silhou'

{

hatgout of the ordinary is the sleeve with curved over the top und and parallel to the '_i: Ehe squarest of all uhoulder shoulder lines and lf_n of the squareintegfesting Variation an whgnever such asilhpuette silhouette is in

"

l. Mark a line around the center 1. C e n t e r of the top Lop of the basic sleeve parallel to 1o the curve of the top edge and about 11A inches below it. Extend Extend this line about 3 to 4 inches to the front and to the back of the center Center of the sleeve. 2. Draw lines, spaced about 11/2 inches apart, from the top edge to the inner curve and to perpendicular (o it.

and b).

3. Cut around the inner curve, then slash out on each line marked in point 2, up to but not through the outside edge except at the Center top. Cut the Center slash clear through the top edge.

I43 143

D R E S S DESIGN onessossnen

j;

Spread these slashes along along the inside edge until 4. Spread cap edge edge runs runs up up t0 to form a straiglu straight venical vertical band the cap (see Figure 58b). (see Figure 58b) 5. Since Since i: it has had 1%inches cm cut Iren: from the 191g," top, the 5. cap now is too short, and must be increased IV, inches cap 1 at thc the top top center to meet the band-Ekel band-like section over at top of the sleeve cap cap without drawing drawing dann: down (sec the top Figure 58b) . Figure 58b). 6. The central curve is also narrow and poinml pointed unless some width is added to the cap at the lower end a: to Iower less cap step l. I. T0 To do Iltis, this, rule of the inner curve marked in step of lhe the curve down ( tooa :point lines from the lower ends ol f: on the underarm seam below the armscye. armscye. Slaslxsj Slash and on spread to to increase cap cap width (see (see F Figure 58b). igure 58b). spread

da;
'

"

. _

Problem 7

SLEEVE SHORT PUFF SLEEVE

Fig. 57. 57. Sleeve with a dart parallel parallel Fig. square-shouldered effect) effect) . square-shouldered

to the t0

armscye (very (very armscye

v! There are three kinds of puff puff sleeves, and each ru be developed from the same slash lines. puft The lines. v! be developed may be all at the shoulder and may fit closely at the a: t at be closely may may edge, i: it may may be lull full a: at both the top top and bottom lower edge, edges, or may fit smoothly at the top puff at Lhe at t it or top and pl smoothly may edges, 1 edge. Figures Figures 59a, 59a, b, and c show the three the lower edge. sleeves developed developed from the same pattem pattern but will! with the sleeves i. obtain to slashes spread ways the different in three slashes spread ways . nished three effects. Place the gathers finished sleeve the in three effects. gathers

v:

'

..

(b)

(cl

Fig. 58. (a) Slash lines drawn; drawn ; (b) (b) Slashes spread spread and cap 175g, 58. (a) Slash of the elbow Part center increased in height elbow width. and height center increased width. dart is transferred to wrist wrist the dart is transferred to

Fig. 59. Short p u ff sleeves: Fig. 59. Short pu sleeves: (b) Fullness on top edge; (b) Fullness on mp edge: edges. bottom edges.

(a) (a) (c) (c)

"" Fullness on bottom bottom edge Fullncss Fullness on both both l0? top and
-

144

S L E E V E S
lhe slashes e the lhere
*

come, (hat is, through the Central come noL spread basic pattern. panern. They should not the top of the cap for more than 3 inches on each ".4r (he e of lhe shoulder seam. Never allow gathers to "nue to the underarm. Notice also the dotted lines lntinue l Lhe cap {hat indicate an increase in the e top of the . As a sleeve increases in width for fullness, it also increase in length or height correspondingly ide blousing or pufng, as a full gathered galhered sleeve provide out u! height enough for pufng at the top will draw arm. wnat against the arm. An extremely extremely abbreviatedpuff sleeve is expressive uth, and is suitable for a child or a slender girl. youth, sleeves in general, have exuberant youthful lpulf xpuff sleeves,

'*'on lion of the

'

es.

lor pu Fig. 60 (b). Spread slashes for pu zu lower edge (increase l0 width). length in proportion proporlion to

res 60a, b, c, and d should be studied carefully xgures nection with the following directions. connection Cut o off the master pauern L Cm pattern sleeve the desired method for off a short sleeve, _ culting o cutting gth. (See 129.) Draw mwlines through the central Central section of the er slceve sleeve paltern t0 the lower edge. pauern from the top l0 ead the slashes in any of the three ways preSpread Lhe effect eect desired. sly explained, depending on lhc d all l slashes equally to keep the sleeve balanced balanced ch Side side oi of the Center. C e n t e r.

Draw around the edge of the pattern pattem exactly, exactly, - the ncrease length or the height directly below or

ppints where

the slashes are spread in prowidth. Increase the height 'ore upward pufng, and determine the ;he silhouette desired and the texture of
(h: increase in

at top edge (increase Fig. 60 (c). Spread slashes for pu pu" a: height heighl in proporlion proportion t0 width) .

21l

H: Dran slash lines.

and (1511);: auf! lower edgsfead edges.

F . 60 (d).. Spread slashes evenly m Fig. for Pu at bmh both upper puff m

I45

RE ES SS S DR

DESIGN N

o e s ne

,, , ,,

-- - -..... ' ...

'

\
I

I I I

I
I I

Si
I

1
I

I
I

I I
I

(a)

Fig. 61. 61. Leg Leg dmutton o'mutton sleeve. Fig.

(b) (b)

...

Problem 8
LEG 0' O' MUTTON MUTION SLEEVE (see (see Figures Figures 6|. 6 1, 62a and b) b) LEG

Fig. 62 (a). (a) . Draw slash lines. Fig. Fig. 62 (b) . . Spread Spread slashes, slashes, add height, height, and shape shape wrisl wrist dan Fig. 62 (b) to curve down over hand. to being sure sure to to balance lhe the fullness evenly evenly on each side being of the center. Do lengthen seam underarm sej the not C e n t e r. D0 of lengthen
Imes. lines.
"

This is is a long long tted fitted sleeve with an an extreme pulf puff This extending bolh both upward upward and outward at at the shoulder. extending lt is is a a type type of sleeve which comes into fashion from lt time to time, usually usually to to accent a very very tight tight bodice and time to time, a bouant bouffant skirt. skirt. Often it is effective to to combine the a exaggerated puff over Lhe the top top of the arm with a verpuff exaggerated tical elbow dart, provides lap for a line which tical elbow dart, provides both a lap to of buttons and opportunity to shape the shape the line of buttons opportunity down over the hand (see Figure 6 1). down over (see Figure 61). I. Transfer the horizontal elbow dart to to the standl. Transfer to Plan ard vertical vertical position position (see page page I35). 13 5 ). to button ard the line line nearly nearly lo to the elbow, elbow, and shape shape it it so (hat that il it the exactly follows follows the curve ol of the arm.

4. Draw a new line over the the top, top, extending extending i! it upward at at the Center center for puing puffing the cap. cap. The ex extent at least one-fourth the Original original heighl height of should be at cap. the cap. Notice {hat that the seam lines now slant outw outward Notice f oul sharply elbow, supplying outward extreme the above elbow, supplying sharply s this ex tension to the top t/11s sidt Follow of the sleeve. extension to the top . seam line lme exactly exactly a5 as it is. Do not smooth over thr seam el the a! change in the direction of the seam at elbow lines of change in fit the elbow. or the sleeve will not t To extend extend the sleeve sleeve downward over the hand 5. To 5. below the the normal normal wrist line, line, add a curved exle extension below below this this line line as as indicated by by the doned dotted 1in0 line in below Figure 62a, 62a, and and curve curve thc the sides ol of the wrist da dart as Figure shown in Figure 62b. 'otice that extension Rares extension the [ h a t shown in Figure 62b. Notice hand. out at its lower point to fit over the out at point to t

'

exactly 2. Slash Slash horizontally horizontall y from the point point of the elbow 2. dart straight across the (see 62 b) sleeve (see Figure 62b)dart straight across 3. Draw Draw vertical vertical slash lines a: at the side front and 3. back and also al the center running Center running from the elbow back and also at slash to the top of the sleeve. Spread Spread them at at the top, slash to Lhe top of

146 I46

SLEEVES
Problem Prob|em
I

iRT SLEEVE LAPPED ACROSS THE TOP OF THE WITH THE UNDERARM SEAM ELIMINATED W|TH (see Figures 63, 64a and 64b)
6

e p
'

e pattern for this very short sleeve lapped Iapped across underarnl can be madc without an underarm arm the of 2V. x- The sleeve can be lapped either toward the or toward the back and can be lapped as much u wish but probably not morc than 3 inches C e n t e r of the sleeve. side of the Center gide Lhe Mark on the basic one-piece sleeve pattern Mark patterrl the it from continue and lower desired the for edgc l nter at the lower edgc up to the top curve of the _nter Iine as you wish the cap as far past the C e n t e r line the overlapped portion Then be. to l0 duplicate ap p 1 o! the lhC Center line. This othcr side of linc on the other j- line under extension. the i} gCut the pauern pattern along the lower edge of the fCul

(a)
Top o! Sleeve

0' Sleeve 51" 1" Top n!

CuL (b). Step 2 Cut Fig. Fig. 64 (a). Step l Draw slash lines. sleeve aparnjoin underarm seanLand slecve seamand take out a little width slashes at a1 side [ront and back. back. by overlapping slasltes

Problem I0

LONG

sccond piece of Rule a straight vertical line on a second Ilule

r

WITH COWL FOLDS AT THE SLEEVE W|TH SHOULDER (see Figures 65, 65. 66a and b)

oi the underarm the back edge of Place irPlace

t this line and trace the back half 6l e under extension drawn in step slep v:

r o n t edge of the underLhe [ from lace the sleeve with the Place V

"m half of f,

'

seam

of the sleeve 1.

This sleeve slceve has dignity (lignity and should be made of soft fabric such as transparent velvet or rayon clinging labric [or very dressy afternoon crepe. lt is appropriatc approprialc Ior wear or for a long formal dinner gown.

am against the traced back section and trace the sleeve plus the overlapped part E in step l. you wish to tighten the sleeve at the lower ash the basic pattern at the side front and side foverlapping the lower edge (see Figure 21a,
4).

Fig. 65. Long sleeve with cowl folds.

4%

DRESS DESIGN D RESS D ESIGN

principle of blocking blocking this sleeve is exactly exactly the The principle as for blocking blocking the cowl foIds folds at at the neck of a same as at the center center falls down on the blouse. Excess added at into cowl drapery drapery (see (see Figure Figure 65). 65). outside of the arm imo center lengthwise lengthwise grain grain line on a duplidupliI. Draw the Center master pattem pattern and rule the the cowl fold lines cate of the master from the top top of the armscye armscye curve to to the Center center (see (see [rom Figure 66a). Figure 66a). point of o( 2. Draw a line across the sleeve from the point to the opposite opposite side. the elbow dart to along these lines (see (see Figure Figure 66b) 66b) and pivot pivot 3. Slash along pattern outward, outward, separating separating the two sides of the the pattem upper sleeve section. Spread Spread the top top of o[ the sleeve upper depth of the fold (hat that hangs hangs from the tip tip twice the depth of the shoulder. The fold can can have a hem allowance added lo to the top top edge edge and can { fall open to to show the a l l open arm. 4. Draw a straight straight line lengthwise lengthwise through through the center place this line on the true bias. C e n t e r of the sleeve and place practicing these typical typical cuts cuts you you will see posposAfter practicing applying the same principles principles of designing designing sibilities for applying on a master master pattem pattern to to any any other set-in sleeves that you you on may choose to try. to try. may

Fig. 66 66 (a). (a). Step Step I - Draw slash lines. (b). (b). Step Step 2-Spread Fig. slashes for for cowl cowl drapery. drapery. at the Iop. top, and A hem is added a1 slashes the lower lower edge edge is curved down over the band. hand. the

L
2-5
)

Ill PART III

WITH SLEEVES CUT IN ONE WITH OF THE BODICE BODICE OR A PART OF THE

THE BODICE

Sleeves c cut as a pan part of the bodice are frequently frequently u t as Sleeves classified as a form of the kimono cut, there is a but cut, classied as a form of the distinction between the raglan type, which retains distinction bctween raglan type, and the identity of armscye idcntity o!" the lower armscye of the sleeve, true kimono kimono type, type, which loses the Original original curve of lrue the lower armscye. the Iower armscye.

1 Problem I

THE RAGLAN RAGLAN SLEEVE (see Figure Figure b7) 67) SLEEVE (see THE
The raglan raglan sleeve sleeve is fundamentally different from The fundamentally dierenl the true kimono t ype in that it retains original its 0F the L r u e kimono type in that i: lower armscye armscye line. line, whereas kimono and dolman Iower sleeves complelely completely Iose lose the Iower lower armscye armscye curve m; in the sleeves blending of of the the sleeve sleeve with the bodice. Becaus Because the blending il raglan does retain the lower armscye it fits the raglan does retain lhe Iower armscye curve, ls unde underarm more exactly fewer underart11 Iewer with and more underarnm exactly folds than than the the kimono type. type. II If the depth depth of the ann (i . folds 35 scye is is normal, normal, lhe the raglan raglan falls falls in lhe the same man! manner scye

_ M

RAGLAN TYPE RAGLAN

This includes (I) (I) the raglan, raglan, (2) (2) (h6 the Cpaulet epaulet (07 (or This includes strap) sleeve, sleeve, (3) (3) the sleeve cut in one with a yoke, yoke, strap) and (4) the the sleeve sleeve set set on on (o to the drop drop shoulder line. and (4)

148

SLEEVES
Procedure for Designing a Raglan Sleeve (see Figure 68a. b)
masler sleeve pattern and l. 1. Trace around the master at mark the lengthwise C e n t e r and quarter divisions a: block the master and bottom. Remove pattcrn top and rule the vertical lines.

Note. Figure 68a shows the master sleeve block for at the lower edge. The regular designing sleeves loose a: dart should be used master pattern with the elbow dar:

for tted sleeves.

line, from the back shoulder line 2. Transfer the dart lrom but leave 1/, inch of ease on the shoulder seam.
the points where the raglan Detennine and mark Lhe 3. Detemiine the front line swings into the normal annscye armscye line on Lhe and back blocks.

Fig. 67. Raglan sleeve.

erarm produce
'

the arm some wrinkling when Lhe o1 the body. Only in loose hanging gs at the side of ': s which are free to rise with the movements movemems of am is it possible to l0 use a raglan sleeve with a low cye cye and long sleeve cap rather than a lengthened erarm sleeve seam. Since the raglan sleeve curves erarm from lhe lrom the underarm to form the upper shoulder v j of the blouse, the armscye is often deepened for re gracelul ore graceful transitional line between blouse and i e. The raglan with both the normal and the { rr-than-normal -than-normal armscye will be explained in the ions which follow. use the raglan is really a modication of the ar set-in sleeve, let us analyze the basic difference xeen the two. The normal serin ween set-in sleeve has 11/2 11/3 1'. inches indies of ease distributed over the upper half e cap. But when the upper section of the sleeve l": 3 ltt in one with the blouse, there is no overarm along which to distribute the ease. The raglan 0te employs a shoulder line dar: 0m dart as a means of '. in a part of this ease. :

o1 the sleeve, but also the of the lhe underarm seam of of o1 the girth, so that (hat the arm can be raised raised ening of iening width 'Ihis This added and at the Jortably. length fortably.

e beyond the normal requires not only the lengthenC

Set-in sleeve. However, set-in

thc tne

ol the armdeepening ot

4. Measure on the blouse front armscye the lhe distance from the thc underarm undcrarm seam to the point marked in step 3. Measure Measurc this same distance on the Lhe sleeve armscye from the thc underarm I1 the Linderarm seam and mark a poim. point. lf inlo the normal sleeve armscye line linc raglan line swings into above the halfway point between the top of the sleeve lop and the underami underann seam, add I, inch before marking 1A the point on the sleeve armscye and work this in when 1o the bodice. bodice. joining the sleeve to

5. Repeat for the back.

G. 6. Place thc front blouse block against the from front of o1 the sleeve, matching the points on the armscye. Reback. peat for the back.
I. Match thc armscye curve of the bodice front to 7. lront of the front o1 thc the sleevc cap as [ar lar a5 as the curves will blend without overlapping. lf the shoulder corner ol" the of thc blouse is I4 inch above the slecve sleeve cap, the lhe raglan will have about the same cap height as the master Inaster sleeve. Ti l t this corner in or out lrom 1mm the sleeve cap according to the cap height on your Original master sleeve and according to 1o the increase you wish on the cap height of the new sleeve.
-

am f i:
V

"v

"

__ '
i?
i

8. Repeal Repeat for the back, adjusting it to match the front in distance of shoulder corner from sleeve iront cap. 9. Draw the shoulder dart lines. Rule from the neck end of the shoulder seam to a point 1/2 % inch below the top of the sleeve.

149

DRESS D DESIGN DRE-SS ESIGN

Below Top of

Cap

R
Fig. 68 (a). (a) . Raglan R aglan sleeve draft. Dotted lines at at sleeve Fig. girth and lower part part of bodice armscye armscye indicate changes changes i! it girth deeper armhole is (see Figs. (a) (b) for and 29 desired (a) (b) (see Figs. deeper deepened armscye). armscye) . sleeve with deepened

Note. This dart removes a small wedge wedge from the Note. some of the top center cap to top Center of the sleeve cap to eliminate excess on on the sleeve ordinarily ordinarily eased into the upper upper excess half of of the blouse armhole. The length length and width of half the dart dart increase as the shoulder corners of the from front the the from and back blocks pivoted away farther are away and back pivoted in the sleeve cap. This is chief drafting variable chief the drafting sleeve cap. of the the raglan raglan sleeve, sleeve, and you you may may need Lo to experiment experiment of before producing a sleeve in which the dart has the before producing correct length length and width. As the dar: dart increases in correct length and and width, width, the sleevetxtends sleeve extends farther out and length broadens shoulders. the broadens
to taper the the dart and t0 to curve the sleeve down over to taper

the sleeve sleeve is to to t fit like. like. a set-in sleeve, i: it should cross lhe from the bodice into the sleeve at at a point point not much from lower than halfway halfway down the armscye. armscye. The raglan lower F1" line is usually a compound (see Figure Figure 68a). curve line is usually (see compound Place crossmarkings. crossmarkings.

"

IO. Modify Modify the straight straight dar: dart lines drawn in step step 9 l0. Begin near the Center center 0E of the from front Begin curve into lhe the point point as shown in

12. Place Place a new sheet of paper paper under the drail draft and I2. i |6 trace off the sleeve, the area marked by Jeuen the trace sleeve. by PLBCDEFKQRSP. Place a second sheet under the PLBCDEFKQRSP. Im draft and trace trace off the the from front and back of the bodice. draft the areas areas A ABLMNOA GHl]KFG respeclively respectively (set E BLMNOA and GHIJKFG the lra Figure 68b). Include crossmarkings tracings. all on g lnclude crossmarkings Figure 68b). If \4 inch of of excess was was Ich left on on the from front and bad If 1/, i: armscye sleeve, at or bodice at: the into it ease of the sleeve, armscye above the halfway halfway poim point 0E of the blouse armscye. above 13. Slash Slash the sleeve pattern pattern from the lower l3. up t0 to points L and K and spread spread as much as as d desired poims up i should at the the lower lower edge edge of the sleeve. This step step be a: in drafting drafting a tted fitted sleeve. omitted in

w.

the top of of the the arm. arm. the top and back lines and back lines and

Figure 68a. Figure 11. Draw the raglan raglan line. This may may vary, but if l l . Draw

150

SLEEVES

_
allen A wer er fhe Armscye iw
x
i

traccd and cut c u t apart (dottcd Fig, Fig. 68 (b) . Raglan dralt traced (clntted lincs indicate Variation for deep dcep armscye).

erform the rst ten steps in the standard Standard procedure erform
the raglan sleeve slecvc outlined just above. abovc. Then follow the directions below. Vdirections

I inch on the underarm seam _ Drop the armhole l he front lront and back of the bodice and redraw a lle th th curve into this lowered point (see Figure 68b). ; lncrease thc sleeve girth by ruling a line L through 1mm and back girth points and extending it until sfmnt "increase in the sleeve armscye equals that in the increase ! ole ol the 3 bodice. You can determine the inin the length of the bodice armhole by measurthe lower curve of the Original thc blouse original armscye L to M and subtracting it from the new length

urmhole in the bodice is lowered (see Figurc Figure 68b).

cated by the dotted line in Figure 68a. 5. After tracing the slecve slecvc pattern from the draft, slash the lines lincs (lrawn in step 3 and raise the wedges to lengthen the undcrann underarm seam 5% I inch. The 2/, to l tmtlerarm seam should be lengthened as much as the tinderarm

underarm seam by an inward curving line as indi-

Rule a horizontal line in from the new front and girth points of the sleeve I14 h4 inches plus the t added in m step 2. lf a softer underarm drape ired. the ll/4 ired, 11/4 inch measurement can be increased. 3 Perpendicular from the end ol this line to the perpendicular N.
>_
n h

_
f

'

'

68a). Connect the new girth end points to the original

15l

e line (sce (see Figure

Variation B Variaon To fransfer parf fhe shoulder darf fo +0 ease along fhe parf of the lhe sleeve where iif raglan line of fhe 1 curve: curves info fhe normal line. begin wifh fhe nished raglan sleeve draff armscye line, and perform fhe following sfeps: l. Slash irom { m m the point on the lront of the sleeve where the raglan raglan line swings into the normal armscye, point L, (see Figure 68b) to the end of the dart D. Repeat at the back of the sleeve. 2. Spread the front lront and back edges of ol the sleeve to introduce % to 1/2 inch of ol ease which will partially close the shoulder line dart. Thc amount of ease that is possible to work imo into the curve of the sleeve depends on the shrinking quality ol the labric. This Variation transfers some of the cap width from the top away C e n t e r of the arm to the side of the arm and improves improves the contour of the sleeve.

DESIGN RE ES SS S D ESIGN DR
Variation C Variaon transfer part part of the shoulder dar? dart fo to fullness along along To iransior To the raglan line of the slaava sleeve abova above Hin the poinf point when where i? it the raglan curves into the normal armscye line (see Figures 69a, b , tnfo ihe orrnseye Iino (see Figures 69a. b. and C: c): 6U enges) R epeat step step l 1 in Variation B or or make several severa l I. Repeat slash es spaced spaced for distributing distributing gathers gathers or or darts. slashes

Spread at at the [front edges of the sleeve r o n t and back edges 2. Spread only along edge you prefer a smooth (or if front the edge you prefer (or only along line) to to partially partially close the shoulder dart. back lme)

(a) (a)

3. Take up up the excess into gathering gathering along along a corded seam lme line or as decorative darts.

x, I
|

\
\

r
.

Variation D
To fransfer transfer parf part of fhe the shouldar shoulder darf dart fo to fullness af at the To center bishop sleeve: of a confer bishop
1. Slash Slash from the C center o f the lower edge edge of of the e n t e r of I. sleeve to the of dart. the shoulder of end sleeve to 2. Spread Spread the sleeve at at the Center center line and partially partiall y 2. close the shoulder dart line. close 3. Lengthen Lengthen the sleeve below the Center center of the bot3. tom line line in proportion proportion to to the increase in in width. lom
l

-"-}
l
o"

w
I

11;

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f,

I, ll/

k" >
Y
l
l

l L _ _

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4

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1'

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N ote. The The transfer tra nsfer of the shoulder dart d art to to the Note. center of of the the sleeve sleeve is suitable su ita ble only o nly for sleeves gathered gathered Center at the lower edge, flare swi ng out would are the since swing lower at the edge, loose sleeve in a. top a awkwardly arm the of the from top awkwardly and slash to the lower edge. It may necessary to at be lt necessary at the lower edge. may spread the the sleeve sleeve on on the th e vertical lines which wh ich divide spread the sleeve sleeve into into fourths fo urths in order to to balance balan ce the addithe sleeve. the tion al width at the center of Center tional width at
Variation E Variaon To fransfer transfer pan part of the slioulder shoulder darf dart +0 to widfh width a1 at fhe the To top cenfer center line line of of fhe the sleeve in orcler order io to creale create a barrel barrel fop silhouette (see (see Figure Figure 70a): 70a): silhouee Slash as as in in Variation Variation D and sec see Figures Figures 70b and c. c, Slash the at width which show two methods removing at of whiCh show two methods lower part ot ot the sleeve: the one by by a shaped shaped seam line lower part the sleeve: a long dart from as on the top of the arm which serves on the top of the arm the elbow; above well the top of the wrist to a point elbow; point the top of the wrist to elbow the above and the t he other other by by a horizontal slash and wrist the at which when when overlapped overlapped reduces the width at wrist which in sleeve the length length o! of the top top of the in by shortening the by shortening seam. underarm relation to the length seam. the of relation to the length

(b)
Stepl

G n n i

"'

(cl
Step 2 51:02

dartl Fig 69. (a) Raglan sleeve part dart trans 5 Fig 69. (a) Raglan sleeve with part of shoulder [erred into fullness along the raglan line; (b} Step l: line: ) Stepr (b front the fullness into raglan ferred along (c) Step Step 2. (c)

152 IQ Q3

SLEEVES

c: W w

(a)

vTHE EPAULET OR SHOULDER

'

h: epaulet Ehe

varies little from the normal set-in e except that i: is cut in one with a narrow strip 9o t the he lop top of the shou-lder. The regular shoulder is omitted, but seams at a1 the front and back of I vstrap are substituted for it. Decorative detail on i ftrap Iepaulet focuses imerest on it, especially if the Lepaulet i5 continued into a is P HP high neckline or a collar. Ihe l he edge of the strap can serve as a yoke line to gathers or folds {olds in the bodice from. front. Its horizon_phasis phasis tends to broaden the shoulder line and to lhc lhe height by holding interest a: at a point poim high C gure gure.

_
__
Problem 2
STRAP SLEEVE

Fig. 70 (a). Raglan sleeve with barrel Silhouette having dar: transfcrred transfcrrcd to C cemer e n t e r line. part of shoulder dart {rom lower part of slceve removed from slcevc by Fig. 70 (b). Width rcmovcd c e n t e r dotled Center doued lines. lowcr part of o! sleeve sleevc by Fig. 70 (c). Width removed from lower ncar girth. overlapping on horizontal line near overlznpping

(see Figures 7|a and b)

_'e

_
'

Fig. 71 (a). Epaulet sleeve.

153

D R E S S D DESIGN ESIGN DRiSS

on Curve on Blouse Not Blouse-Not on Strap Strap on

Follow Dotted Curve From Blouse to to

Steeve Cross Cross Sleeve Marking Markmg

Fig. 7l 71 (b). (b). Draft for epaulet epaulet sleeve. Fig.

lront and the back bodice blocks with I. Trace the front l. seam lines meeting. meeting. Fold out the ease in the the shoulder seam back shoulder seam line. 2. Rule a straight straight line t0 to extend the shoulder seam from thc the armscye armscye the length length of of the sleeve. [rom cente1 lengthwise lengthwise grain grain line of the 3. Place the center S. sleeve on 011 the line drawn in step 2 with the [rom front half half sleeve slep of the sleeve {acing facing the bodice front. The highest highest of point of of the the Center center of the sleeve should touch the armpoint scye end of the shoulder seam. Overlapping Overlapping them reof scye duces the cap height and should only {or for be done only duces cap height sport sleeves. (The armscye shows a sleeve sport slecves. (The dotted armscye line cap that Louches touches at at Lhe the front and back strap strap lines and cap overlaps at at the Center, center, thcreby thereby reducing reducing the Original original overlaps height cap.) sleeve the of cap.) height Draw the strap design on the back back. and front of 4. 4. Draw the strap design the bodice. At the armscye not extend more it should thc bodice. A1 armscye in back or than 101 inches either in or back of the front than lI/

w seam, since lhere there is no no opportunity opportunity to lO ease shoulder seam, 1 the sleeve armscye armscye imo into the armhole of the dress a across thc strap area. area. Draw a smooth curved Iine line exlen. extending the strap upper part part of the cap cap to to meet the strap strap line on the upper front of of the bodice. Do nol not rule s straight the back and Iront -7V lines Lo to lhe the edge edge of of the the sleeve cap. cap. The extension extenswn m must be an on the tlte sleeve.

5. Mark front und and back notches on both lhe the s1 sleeve '_ * thef lines, on on thc the strap, strap, and on the front and dress armscye Iines, of the bodice. and back of
L

"i On the Iront front and back oi of the bodice. bodice, curve the 6. On H. adjoining the strap strap 1A Ys inch outward frolll seam lines adjoining 7' the slrap strap a1 at a point point haltway hallway between lhe the neck and the lhe armscye in order t0 to allow more ease below the sl strap armscye line. D0 Do not not change change thc the line on on the strap strap itself.
<

Place the draft over over another sheet of p3p" paper and 7. Placc 7. trace oH off thc the sleevc sleeve and the connecting connecting strap. strap. Tract trace front und and back of the bodice separately. separately. the trom
'

"

154 4

fhe Ends of fhe Sfrap (see Figures 72a. b, and c) ihe , en very broad shoulders are in vogue, extend the imo the head of the sleeve slecve by means of darts at p edges (see Figure 72a).

V Variation wifh Darfs f Variaon Darf: Exfending info fhe Sleeve

_ ends of the Lhe strap. slrap.

SLEEVES

Normal Sleeve Cap

o o
31l
?

"72 "172 (a). (a) . Epaulet Epaulct

g-

sleeve slecxe with darts cxtcnding into imo sleeve

G r a i n

f b.
v

Tracc off the strap sleeve previously described, Trace o described. Draw in the following slash lines:

; slash N0. ,2 Without spreading the slashes, pin the slashed Without cemer glcrn to a new piece of paper, placing the center l: wise grain line on a vertical line drawn on the I: rpaper. Raise the strap section from the base of the a! the girth, N0, NO, the amount the strap is to cxtended tended thc annscye line, in other words L beyond the of o! the dar: 3th length to 13/4 inches). j (usually 11/4 1%1o

_
t

cemer Center line. Extension of lines at front, N, and back, c) strap Iines rc) v the o lhe girth line. line. d) Lines from the front and f!) th_e extended strap to the from underarm seam Ilines lines a: points M and L, 3 inches f; underann f; 4. the girth. (o poims ) Lines from the girth to points B and D on the t and back armscye halfway between the edge of f-strap istrap and the girth (see Figure 72b for placemem _'e slash lines). aSlash along lines HN and I0; slash NM. and 0L e underann underarm seam; slash NB and OD to the arm-

a) Center lengthwise line. a: right angles l0 to v) Girth line at (b)

Fig. 72 (b). Slash lines drawn on epaulet sleeve.

I

1:
A:

. .
W

_e

Fig. 72 (c). Slash lines spread and darts drawn.

I55

D R RE ES SS S - DESIGN D DESIGN
Compare thearmhole the armhole measurement measurement of the dress 6. Co'mpare strap to. to the underarm underarm seam at back and and from the sttap front with the sleeve armscye armscye measurements. measurements. The froh: cap appears appears smoother if there is no more than sleeve cap Y2 Y2 inch on the front. inch of ease on the back and 1/2 1/2 remaining excess in the dart width. Place the remaining 7. Spread Spread the pattern pattern for the increased height height and 7. cap as shown in Figure Figure 72c. Rule the width of the cap darts, following following the strap strap edge edge for the inner dart edge. edge. darts, edge of the dart from ] j to to P and Measure the inner edge outer edge edge the same length. length. make the ouler Note. The slashes B to to N in the front and D to to O 0 Note. provide a higher higher cap cap without overlifting overlifting m the back provide armscye (see (see Figure Figure 72c). 72c). the lower curve of the armscye
Problem 3
I. Draw the yoke yoke line on the master pattcm pattern b blouse. 1.

2. Measure the front bodice armhole {mm from the 2. seam to to the yoke. yoke. underarm scam amount on the sleeve armscyc 3. Measure the same amoum ampq point. and mark this point. 4. Repeat Repeat both measurements fot for the back. paper, leaving leaving room room for the 5. Trace the sleeve on paper, yoke to to the upper upper cap cap a: at both both fro ... addition of the yoke {am and back.

6. Place the from front and back yoke yoke against against the sind; sleeve at the points marked in steps 3 and 4. However, if the at However, i! points marked steps yoke line is above the halfway point on the sleeve siei5; halfway poim yoke armscye, leave some some ease on the sleeve. The s! sleel'e armscye, armscye underarm to yoke inch longer can be underarm t0 inch from 1/, yoke longg armscye than the dress armhole.
_

IN ONE (see (see Figures Figures 73a and b) b) YOKE AND SLEEVE CUT IN
Many interesting interesting designs designs can be developed developed by by cut cutMany ting the sleeve in one with the yoke, making thus lhe yoke, one making the ting yoke a more important space division. Eliminating Eliminating important space yoke the top top half half of of the armscye armscye seam gives gives continuity continuity to to space without sacricing sacrificing the advantages advantages of the the space neatness of of a set-in sleeve at at the lower armscye. armscye. neamess The lower lower half half of the armscye armscye conlrols controls the freedom The with which lhe the arm can can be moved, and Lherefore therefore the with yoke line should not enter below the armhole the enter yoke center armscye. C e n t e r of the armscye.

edge of the yoke yoke so so (hat that it 7. Place the armhole edge curve of the upper upper half of the slecve sleeve cap follows the curve yoke (tlfq (the but with the shoulder seam corner of the yolte point where the armscye line and seam the shoulder and armscye point come together) together) rising rising 1/, inch above the sleeve cap. cap. l It cap height height as the masle: master then has about the same cap To shorten cap, let the shoulder cornero! corner of shorlen the cap, sleeve. To yoke dip dip down imo into the sleeve. D0 Do this {or for aclivj active the yoke sports which need To increase incre T0 freedom. arm need dresses sports the height height of the cap, cap, let the shoulder corners of of the the ' yoke rise above curve cap V2 the sleeve of the curve cap 1/2 inch. yoke Do this if the n1aster master sleeve does not have enough enough cap. cap D0 height to go over shoulder padding, or designing in padding, designigq height to go over coats and jackets jackets which need need extra extra shoulder room room to coats slip over dresses and blouses with pued puffed or pad padded slip sleeves. 8. Draw Draw the the shoulder line dart as for the raglan 8. sleeve. am 9. Trace Trace lhe the new new sleeve and yoke yoke pattern pattern on onragl] a sec 9. ond sheet of paper. 0nd paper. I 0. Trace blouse {rom front and back and crossmatlii crossmark I0. Trace the blouse the yoke yoke and the lower sections of the bodice. 1 the
'

Fig. 73 73 (a). (a) . Yoke and sleeve cut in one. slcevc cut Fig. 156 I56

Note. See variations of raglan draft (pagmf (pages 151 of the raglan See variations Note. 152) if, if, aer after trying trying out out a muslin proof. proof, you you nd find m. that 152) the shoulder too much of sleeve cap the much t o o dart holds thc shoulder sleevf 9P width at the top center arm. Variation A See arm. of the widlh at the top Center VarianoAunder the Raglan Sleeve (page 151) instructions instructlo for under the Raglan Sleeve (page 15l) on lowering armscye. lowering the armscye.

'

SLEEVES

Blouse
1 4 4" Above

Sleeve sleeve at Shoulder Comers Corners

Line

C e n t e r

S l e e v e

aight-hanging sleeve.) Plan grain placemem carefully. The lengthwise the Center of the sleeve places the C Center enter through rough lhe nd Center back of the yoke on the bias or semisemi a: the Center front of the yoke traight grain at Slraight Lhe Center line of the sleeve on the bias and i} the ter back on the crosswise grain or on the semi1er pending on the angle of the shoulder line dart. u a! the center line of the sleeve S: provides more ities for Lhe the placemeni of the grain, but the l be matched at the Center usl center line of the sleevc sleeve Iran! and back halves if such a seam is used. from
u

Drah for sleeve cut in one with yoke. (Slceve (b). Draft bccn spread cemer e n t e r and quarter verticals for a (Sleeve block has bccn sprcad on C s

Problem 4

WlTH nnor SHOULDER (see Figures 74a. b. und c)

V

l e

shoulder provides another way of carryLshonlder lines of the dress drcss imo into thc the sleeve, some-

Fig. Fig. 74 (a). Sleeve with a drop shoulder.

157 I57

RE ES SS S D DESIGN DR ESIGN
yoke or a French French dart line, line, times as an extension of a yoke extension of the blouse into a and sometimes as an extension yoke. This c cut lrequently used to emsimulated yokc. u t is frequently phasize gracelul evening dresses a in evening shoulder line phasize graceful 01 hostess gowns with an extremely full lull gathered or or gowns extrcmely gathered cartridge-pleated mounted it, sleeve moumed on the tubular it, cartridge-pleated lolds on the sleeve contrasling contrasting wilh with the close ning fitting folds shoulder line.
I . Trace around the master master sleeve pattern pattern on a l. sheet ol ol paper paper large large enough enough for the front and back of the blouse as well as the sleeve.

3. Repeat Repeat for thc the back. S. armscye edges edges o! of die. the {mm front am! and back 4. Place the armscye 3 against those o! of the slecve, sleeve, m1. matching of the blouse against the marks on the sleeve t0 to poims points marked marked {o1 for 1," lhe lhe i" dropped shoulder on the line bodice. dropped 5. Match the curve of thc the blouse front rmhoh armhole lo the curve of ot the sleeve cap, cap, so (hat that the shoulder shoulder cor n: ner of the bodice exlends extends above the sleeve sleeve cap no czpw Ye to to 1/, \4 inch, but without overlappiug overlapping lhe more than 1A upper sleeve cap. cap. sides of the upper
It must be taken into accoum account that the Note. lt F; shoulder ex amount which the corner of the bodice shoulder sleeve cap cap depends depends on several condi a tends above the slecvc lions. Direction 5 is for a master sleeve with correct o tions. ior master height, ready read y to to use without alteration. alteration. For more more cap height, height to lo go go over thicker shoulder pads, pads, the shoul shoulder height corner ot oi the bodice may may extend 1/, V2 inch inch abovc above the comer v cap. If the dropped dropped cap cap is to to t fit the sho shoulden sleeve cap. am closel y without padding, padding, overlap overlap lhe the sleeve somcw somewhat. closely

2. Mcasure Measure the blouse from. front armscye armscye from the 2. underarm seam to the point chosen for the lower edge edge underarm to poim ol the drop shoulder line (see Figure 74b). Measure of (see Figure 74b). drop If the drop drop shoulder the same amount on the sleeve. lf the halfway halfway poim, point, add 1/4 y.t to to 1/2 V2 inch line is above thc to the measurement measurement of the sleeve to to ease in when setsetto ting and sleeve Crossmark the it into the armhole. ting blouse front.

um

Fig. 74 (b). (b) . Dm Draft lincs lines dmwn. drawn. Fig.

158

S L E E V E S

B 0

Fig. 74 (c). (r) . Complcted Cnmpleted pattern.

z. Pivot

the armscye of the back bodice into posiposi gainst the sleeve keeping the same relationship against een en shoulder of bodice and sleeve cap as on the

KIMONO TYPE
Kimono sleeves are cut in one with the bodice, and therelore lose the Original original curve of the lower armscye.

Measure the bodice armscye from the shoulder to o the drop shoulder line. Mark this same discenter line of the sleeve. measuring from on the Center t on the center line even with the back and nt shoulder corners (see Figure 74b). Draw a center e n t e r line of the th j o curve from this point on the C t0 the front and back armscyes to t0 establish the ge to f line of the drop shoulder. This line may dip ard at the cemer, ward center, but the directions given pro levcl line. alevcl Establish a shoulder dart line as for the raglan gEstablish *7 but continue it through the drop shoulder as
rossmark front and back halves of the drop ossmark the lront er line and the poim point of the shoulder line dart. Trace Trace the sleeve on another sheet of paper. paper.

Problem 5
THE DRAFT FOR BASIC KIMONO SLEEVE l I WITHOUT A GUSSET Drall fhis Sleeve Use the Masfer Paorn To Draff Paern Sloeve Sleove wifh an Elbow Darf
l. Figure 75 illustrates the method of establishing I. a new center c e n t e r line on the sleeve block. Line AB is the Center center of the normal sleeve only {rom the top of the sleevc curves forward lorward at cap to the elbow, since the sleeve this point. Because the shouldor shoulder line usually continues into a seam down the top ol" a kimono sleeve. the line AB should be replaced by a new vertical division line which falls down the C e n t e r top ol the arm all the way t0 to the wrist. The procedure for establishing this line is as follows:
C e n t e r of the wrist line, (a) Mark the center point C. Measure inch from lrom C toward the back seam (b) 5A 5/3 line and mark D.

"Trance Trance the bodice front and back. back, including the ulder section. Crossmark. oulder

Gut the back and iront ( r o n t apart on the center Center line
ve. CCVC.

Ulf the drop shoulder section is to t smoothly, (lspread the sleeve alter after making the draft if " spread lness in the lower sleeve section. Howinllness fullness is to bang from the top of the arm, Tllhens sleeve from which to draft, so that ripples nygles in the cap area as well as in the

ment of the top seam

(c) Rule a line from A to D to establish the placeline of the kimono sleeve.

cn.

Note. For a tted kimono sleeve without a top seam, or for a straight loose sleeve with a seam top but wnthout without a horizontal elbow dart (see the dotted lines in Figure 75), use the original Original Center line AB rather than AD in drafting.

D R RE ES SS S D DESIGN D ESIGN
A

up (o to mag}; meet the corner M. Extend the sleeve line ML up at 0. 0. Line M0 MO should be 11/, 1Y2 inchg. inches. 3. side seam a1

;_

remove the 6. Trace around the blouse front and removei: pattern. pauern.

Note. The 1% 1Y2 inches between the side seam seam cf of the Note. girth comer corner of the sleeve providg provide the blouse and the girth length required required on the underarm underarm seam . minimum extra lcngth 1:? to raise raise Lhe the arm comfortably comfortably in a long long tted fitted sleeve lo gusset. without a gusset.

Q) Q) Q)

>

.s
geeve

S l e e v e

Vi

S e t n i n

en
Q)

7. Measure the distance between N and 0 on on the 7. front of the blouse and an equal equal amount amount on on the side Irom to H. H. side seam of the back from I to

for c
K i m o n o

.E
"' c.' 5
Q)

-2 for

...

Grain

c :.J Line

Q)

"' "j
..i.::

Extend the back seam line of the sleeve (K (Kl) 8. Extend up to point 1 Y2 girth corner ], to a inches above the up point 1% girth comer point H on the side seam of the blo" blouse and mark point relation to back. This balances the back and front in relatioIi-__ " the slceve. sleeve. corner D until it touches the uT 9. Pivot the shoulder corner top cap. the of the sleeve The measurement between top cap. point a: at D and the sleeve Center center line back shoulder point YZ need not equal equal the corresponding corresponding space space on on the YZ i" front. Individual blocks vary. vary.

Oo
c Q)

2 c
C e n t e r

_J L e n g t h w i s e

Q)

N e w

Q)

!I:

I"

v5 I 0. Trace around the blouse back and remove the I0. pattern. pauern.

Center of
Wrist

cD

I lI.. Mark poim point P on the side seam of the b blouse l. l ' front 6 inches above the waistline. Square Square out out 3/4 Iront P, and mark P1. Pl. from P,
'

Fig. 75. 75. Establishing Establishing top top center center seam line of of kimono sleeve. Fig.

2. On On pattern pattern paper, paper, rule a line, line, YZ, length of 2. YZ, the length the sleeve plus plus l0 I 0 l0 to l2 12 inches (see (see Figure Figure 76). 76). lhc 3. Place Place the Center center line on on lhe the sleeve, AD, AD, to to coin3. cide YZ. line with cide 4. Trace Trace around the master master sleeve and remove it. 4. Label lhe the { front girth corners, corners, M M and j, ] , and m m and back girth Label the front eltiow points, L respecL and elbow K, back and the front respecpoims, tively. The lauer latter points points should be 8 inches below the tively. girth poims. points. girth s. Place Place the blouse front with the outer end of the 5. shoulder, B, against against the top top of the sleeve cap, cap, % V2 inch shoulder, B, from the center line of the sleeve, Pivot the blouse YZ. sleeve, from lhe center the that the side seam is I \4 inches above girth so girth so that the side seam "/2 160

I2. Rule Rule lines trom from Q Q to to P1 p1 and P1 p1 to to L Lat a: the el 12. bow. Square y.j at point halfway between a in inch at bow. 1/, point halfway betw Square and L. Q Pl, at a point halfway p1 P1 between and at and P1, point halfway Q final underarm line slightly slightly concave by Make the nal curving in at at these halfway halfway poinls. points. Use the origi. original curving . ruled seam line (not a curved line) setting in when seam line) (not gusset (pagesl65-l66). (pages 165-166 ). a gusset
A

13. Repeat Repeat the procedure procedure in stcps steps 1| 11 and l2 12 for l3. "f! the back underarm line FGIK. FGlK. 14. along the Center center line H, Measure down 3 inches along top of lhe the cap cap and mark CC. of the sleeve from the top
' 15. Draw Draw the the shoulder shoulder seam seam une on the blouse front l5. blousff by [ollowing following the original original line from A A to to withm within r; by begin t0 to curve upward upward l0 to a Pmx Po101 inches of B. Then begin Ys inch out out from B and round off t0 to C. 1/8

D R E S S DESIGN nness oesieui

Fig. 77. Variation of basic kimonn kimono sleeve t0 to provide provide more ease over over back hack of uppcr upper arm. Fig.

Problem 6
SLEEVES W|TH WITH DRAFTS FOR BASIC KIMONO SLEEVES (Basic Kimono Sleeves 2. 2, 3. 3, 4) 4) GUSSETS (Basic
fitting kimono sleeves without excesFor smoother tting wrinkling under the arm, arm, place place the bodice [ lront ront sive wrinkling and back blocks against against the girth girth corners of the sleeve, sleeve, or even even overlap overlap them t0 to reduce re<luce the area between the or armscye ol the blouse and the armscye armscye of the sleeve. lhe armscye ol" necessary t0 to set set a diamond shaped shaped This makes it necessary wedge, gusset , to give give seam to into the underarm a called gusset, wedge, extra ease and length. length. extra The procedure procedure for drafting drafting basic kimono sleeve sleeves The 2, 3, and essentially the that for the basic same as (hat lhe 4 is 2, 3, essentially kimono draft without gusset. a kimono gusset.

I this point point varics, varies, however, however, wilh with the fullness fullnes!> desi desired lhis cap o! of the sleeve. !>leeve. You can can even move lhe the f hoot in the cap n": shoulder seam seam at at point point B as much as 1 lrom the I inch Fron! i center l'Z, thereby thereby increasing increasing the sleeve will width C e n t e r line YZ, the top top by by making making lhe the d'art dan BCD BCLJ larger. larger. across lhe

2. Place the blouse side seam .V Q so so that il it (auch touches side seam NQ !>leeve girth girth corner corner M, M, and an<l mark poim point O 0 w where the sleeve ) they touch. they Measure N0 NO on on the side side seam seam of the blouse I" front. 3. Nleasure i This is a distance of ll/g 1\1 inches inches on lhe the diagram. diagram, but = it may may vary vary with individual blocks. Mark H H the same on the side seam of the back. distance down from I on
I
A

v
i

i 4. Place Place H /-1 againsl against lhe the girth girth corner corner] sleeve. ] of the sl

5. Pivot U at the shoulder point point to to touch touch the sleev sleeve.= l) at 6. Measure Measure up up Irom from the from front waistline point point Q P. the length desired for the side seam and mark P. Th The l'on seam lhe lcngth side seam seam can can be be any any length length extending extending between Q3 Qand

Basic Kimono Sleeve 2 (see (see Figure Figure 78) 78) Basic I. Place Place the blouse front lront shoulder point point B 5% Vs inch l. lrom the center ol placing of YZ. The the slecve of line Center lhe trom placing 01'
162 I62

SLEEVES

Draft for lor baslc basic knmono kimono slecve Number 2 with a Fig. Fig. 78. Dralt

gusset. gussel.

'

{zittern shown in Figure 78, Q to P measures es, whlch allows 1/4 inch extension on the line lhe blouse and l4 neof the inch on the sleeve 1A these two lines will meet a1 a: P1. To widen l t ghese decrease the lenglh endecrease lurgher, length of the side seam blpuse or increase the space between the "im B and the sleeve center line YZ, YZ. i, B Q to P1 and P1 to L. D0 not curue the ding a gusset.
'

Shoulder line t0 to point C. "ccompleted (teil shoulder w C 6W: point C moved ihbved t0 to within I inch o! ol
5
.

an moved or down Clown from the top up ppgor " the "curve of o! the Center seam w top center

"

Basic Kimono Sleeve 3 (see Figure 79) ln this draft the girlh In ol the bodice and the girth corner oi sleeve overlap to l0 reduce the excess between the armscye ol of the blouse and slceve still further, lurther, as shown by the smaller open space belween between BN and BM in the lront, front. and D1 and D] in the back. Follow the same procedure for this thls draft as for the one, with the possible variations in space previous one. between lhe the bodlce bodice shoulder seams and the Center line of the sleeve. Balance thc the back and from front of the bodice Lhat the front underarm seam from evenly so {hat t0 P Q to equals the back from F to G, and so (hat that M0 on the from ol Iront of the sleeve equals jH [H on the back. In Figure 79. QP is 61/2 inches and M M0 O is 1%inches. Basic Kirnono Kimono Sleeve 4 (see Figure 80)
This dralt dran praclically exccss between practically eliminates the excess the sleeve and blouse armscyes armscycs and will t almost as sei-in sleeve, but will smoothly as a set-in require a larger underarm underarm gusset to 1o free the arm. In Figure 80, the underami seam QP is 5% inches underann inches, and M0 i: is 2%. 21/2.

the s 1h: nnderarm seam

idens.

53a from B y, inch

and spaces between A and

length

168

DESIGN RE ES SS S D DR ESIGN

Fig. 79. Draft for basic kimono sleeve Number 3 with a Fig. gusset. gusset. with a for basic kimono sleeve Number 4 wiih Draft for Fig. 80. Drall Fig. gusset. gusset.

Comparison of Kimono Draffs Drafts (see (see Figure Figure 8|) 81) Comparison The kimono kimono sleeve drafts illustrate a progressive progressive The of the seam decrease in length underarm the of the in decrease length the sleeve and a sharpening a ngle between the of angle sleeve and sharpening Whenunderarm ol the Whensleeve. the and blouse underarm seam of ever this this angle angle is sharper sh arper than a right right angle, angle, it will ever be necessary necessary to to set set in in some lorm ol of gusset gusset so that the be arm can can be be raised raised comfortably comfortably without pulling pulling up up the arm waistline. As As the angle angle sharpens sharpens, the underarm length waistline. ol the sleeve shortens, length rerethe overarm length whereas of the sleeve shortens, the on maim constant. Therefore, on figure, seen when gure, mains constant. Therelore, the overarm overarm length length appears appears longer longer in comparison comparison t0 to lhe more drait the underarm, and with each succeeding draft succeeding the underarm, nearly rcsembles resembles the comparative comparative arm measurements nearly when the the arm arm hangs hangs at at the side. The diagonal diagonal wrinkles when falling from top of the toward the underarm falling irom the top of lhe arm seam which characterize typical the characterize Lypical kimono are alseam which and 4. The japanese. most eliminated in sleeves Japanese. 3 sleevcs in most eliminated

z or unshaped, fits smoothly w when arm smoothly ls lhe kimono or unshaped it is held at a right angle to the body. sel The lhe to a: it is body. right angle in sleeve, the opposite extreme, fits smoothly when in sleeve, opposite extreme, ls smoolhly the arm is is down al at the side. Thus wrinkles ap. appear the on the top, or in the overarm length, of a set-in sel-in slee1e overarm length, on the top, or in when the the arm arm is is held out, out, whereas wrinkles appear when at the underarm of a kimono sleeve when the ann at hangs down. hangs Because of of this shortness of of the overarm me measureBecause l ment as compared to underarm, the fitted the to the underarm, long mem as compared lrom kimono sleeve tends to pull the away from the blouse lhe away kimono sleeve tends to pull l T0 side of the neck when the arm is To olfsel lowered. neck side ol this, lhe the C center top line oi of the sleeve can be cm cul on e n t e r top this, the bias bias t0 to let let the fabric fabric give give with the lenglhenif lengthening the of the the top of of the arm arm as it it drops drops 1o to the side. The of top 10 greater on top the (as shown )hown "y" greater the slope on the lop of lhe sleeve (as l8 l a marked marked degree in Sleeve 4), 4), the less the sleeve tends a degree in Sleeve to pull down from from and away line shoulder the to pull down from the side of of the neck.
'

v:
>

w
l

'"

164

S L E E V E S

.81. .81. Comparison of basic

s.and 4). l2. S. 4) .

drans (Sleeves kimono slecve dratts

L
x

on n front gusset line when dress is o 82. Marking fmnt Fig.82. Fig. Methnd A. Nletlmd Fig. 83. Marking Fig. NIarkiIIg back gusset line.

Problem 7
GUSSETS
y
4

lhe directions below for cutSleeve 3, follow the Using Sleevc ikUsing in a and ; setting gusset. The same procedure g to all plies patterns patlerns requiring gussets. plies 5 ( w o ways of determining the slash l. There are two l. in for the gusset (see Figure 82). Method A should used in designing a garment for an individual, and used klhod B should be used in working with standard fclhod pattern blocks.

i!

=
F

Iength (d) With slashes made, determine the exact length raised needed in the gusset so that the arm may be raised above the head without pulling up the waistline. A l ) and DC gussel set in. A1) Figurcs 84 and 85 show a gusset Figures line. The disof slash front sides the the represent the to raise thc lance lrom A t0 (o C is the spread needed needcd t0 tance arm.

.A

(a)_ Try on the muslin proof with your arm hang-

fyour side. 53Mark a pin line from the underarm seam up e inner edge of the natural fold which forms from and back of the sleeve along the normal e from e o! lhe the body (see Figures 82 and 83). Slash from the underarm underarm at the junclure juncture of the and 111e the side seam along the line marked in "for approximately pproximately 3 to 4 inches, the length Lhe tightness when the arm is raised. "hg on lhe him set imo h twhen into the garment will fall with I the gfold and be inconspicuous when the
'

Fig. 84. Gusset set in. AD and DC represent represem edges of front slash. Fig. 85. Gusset concealed by front and back fold { o l d lines whcn when arm is down.

165

RE ES SS S D DESIGN DR ESIGN

A\ '\[7'
c
E L F .

_.
g-j

Fig. 86. Marking Marking gussct gusscl line on on a pattcrn. pallern. Fig.

Method B (see (see Figure Figure 86) 86) Melhod (a) Measure over from the lhe basic neck poim poim along along (a) lhe shoulder seam I V2 on lhe from and front blouse on the inches Lhe l 2 inches on blouse back lO determine point Y. Y. This t0 2 inches on poim gives the correct slope lo lhe slash line X Y for a gusset gussel XY the to correct slope gives imet, if the underarm depth d epth is approximately approximalely 2 inches inches inset, below the normal scye scye line (see (see pages162-3)As pages 162-3). As you you below lower the underarm (leplh. d eplh , the slash line line will will be lower

moved farther fanh er toward wward the armscyc anmcye end of o l the shoulder shou lde1 moved seam as by dolled x1y1_ X1Y1. line dotted illustrated as seam by (b) Rule Rule slash slash lines XB XR and XD XU which are directed (b) toward the point armscye begins begins l0 to normal the where loward lhe puint armscye curve unde; 1111de1 lhe the arm. runle 2. Mark Mark lhe the seam seam line on on either side of the slash 2. lor a a seam seam allowance o1" of at al least 1/, y.j inch tapering lapering t0 to lor B. n oth ing at points D R . and I.) at nolhing points
;!. To 1 o draw draw the gussel gusset pauern, pattern, rule a vertical line 3. tlie length required lrom ,J to C, and rule a horizonhoriwn.4 l0 die length required tal line BU through the cemer of perpendicand AC perpendictal line B!) lhrough ular lo to it. it. Place Place a ruler on on poim point C and extend it ular wward the lhe horizontal line, line, louching wuching it at at a poim point (hat thal toward will make DC equal lO the seam line marked along t0 DC make will equal the slash slash XD. XD. Then rule C (o to B in the same way. [h6 Join poinls A A l0 to D and A to to B.

Nute. When making making the actual acLUal garment, garmenl, mal" machine Note. 1' gusset before stitch the seam lines marked for the gusset n4; m slashing lrom the underarm to points B. This D B. to and poims slashing from stays the narrow seam allowance and lhe the still we weaker stays w corners. Slitch before joining the underarm seams searm in corncrs. Stitch joining x lO handle lhe the blouse blouse Hat. flat. Nexl Next slash the lhe gusset order to -_ h alfway between the lwo two stitching slitching lines and 'i join line halfway seam of sleeve and a nd blouse. Tum Turn u under the underarm seam lhe seam seam allowance along a long the slashed lines so so that the stitching is concealed, and lap lap the garment garment edge the stilching "H gusset. Pin and basle baste on the clearly clearly mar marked . over the gusset. seam lines. Slip-baste you using plain seam. a are if lines. seam using plain Slip-haste you If you you are are top-stilching, wp-stitching, stitch stilch exaclly exactly on lhe the edge. edge. ll
*'

u
v

1.7 Bodice lnsefs Insets es as Subslules Substitutes for Gasse}: Gussets (see (see Figure: Figures 87 . 88) and 88) Variously shaped bodice in ets ingeniously lengthen insets ingeniously lengt Variously shaped the kimono blouse under the arm. The T he two lWO types. lypes of the insets here presented presented explain explain the lhe general general princi principles insets I involved. The The insel inset may may either be shaped shaped l0 to ha harmon involved. "i iLe wilh with lhe design design of lhe the garmem, garment, or or il it may m: merelv iu: be an an inconspicuous inconspicuous strip strip under the arm. be

join poinls -L Place Place the the gussel gusset on on the lhe lengthwise lengthwise grain grain of the 4. and width AC labric as indicated, so that the length width thc (hat length labric as indicaled, seam inch a DB will be on the true bias. Cul % seam with bias. (Jul 3%; DB will be on lhe allowance. allowance.

KIMONO BLOUSE WITH STRAIGHT UNDERARM UNDERARM KIMONO INSET (see (see Figures Figures 87a. 87a, b, and c) c) lNSET
The The width, width, bodice bodicc
2 straight underarm underarm inset inset may may vary vary somewhal in slraight emers it but will be less conspicuous enters the if but will be less conspicuous '. " armscye not not more more than 11/2 101 to 2 inches f from t0 armscye

166 I66

S L E E V E S

. Kimono blouse with a straight undcrnrnx insct. 7 (a) slraight undcrnrm (a).
ils purpose. than this, it fails to serve iLs 3.; re 87b shows draft 3 of the basic kimono sleeve. lt draft 2 when more ease is l0 use dralt heller, however, to Ibener, ed around the rcd armscye.
A

riginal underarm seam line. However, if narpriginal

"

lnr kimono kimnno blousc with wilh straight Fig. slraight underFig. 87 (b). Drall [or insct. arm inset.

3A,

inch 1%

l. Trace ACZLPVRTA. 4. ACZLPFRTA. There should be at least belween FR and RT for seam allowances. between VR

Eslablish Establish lines RT and SU for the edges of the a m ) inset by measuring in lrom from the Lhe side seam 42m1 1F 11/2 NQ and IF 1%, inches. Draw the from front sleeve armscye line from R t0 to the lhe back from S W. to The V curve from R to I _ of the front blouse from equal the lenglh length annscye armscye that from S to W should equal the N, N, and (hat lhe length length i back blouse 7back blousc armscye Iine Sl. SI. l'o 'l'o provide seam annscye line es on both edges, the curve must nces musl [ a l l at least u within Lhe lhe inset seam lines drawn from [rom R in d S in back. F of d8 Figurc igure 87b shows an increase ol 1 on n the length of the sleevc underarm seam front and back girth corners M and ]. egfront j. end both the front and the back underarm 1F l inch for additional underarm Q and H" NQ 'should equal RN and SX2 3x2 should equal "huld
K

5. Trace the back, to see back, ECZKGWSUE, checking t0 is a: least 5A, inch inch between SW and SU as in 3A front.
(hat there Lhere

d ld
'

6. Trace the insert inserl lrom from the from front RTQXIR and back SUFX 2S. join the original SUFX2S. front and back underOriginal lront arm seam lines QXI and 17X2, FX cutting the insert in one piece (see Figure 87c). Note. Before slashing the actual garment between lines VR and RT or WS and SU, machine-stitch from to R and down on RT lor V t0 for 3 inches. Repeat on the lhe back. This reinforces a 15/16 5V, inch seam line. RV joined to RXI and SW joined to 5X? SX? form the gusset-like gussel-like extension on the underarm line. Either a wider inset insel or the use of sleeve draft dralt 2 would allow more extension on the sleeve armscye above M and ], _I and would make it unnecessary to add to the length of the underarm underann inset above N and I (see Figure 87b).

I67

DRESS DESIGN D RESS D ESIGN

x' 2
R S

i ...
T

.)

.,; 0

u_ _ __,__ _
U

Fig. 87 87 (c). (c) . Complete Complete pattern pattern for kimono blouse with with Fig. straight underarm inset. straight

KIMONO BLOUSE WITH SHAPED UNDERARM SIDE (see Figures Figures 88a. 88a, b. b, c) c) SECTION AND DEEP ARMSCYE (see
Figure 88b shows the same draft layout layout as that for Figure straight underarm inset inset, but the side the blouse with straight begins 11/3 I V2 inches above the intersection of sleeve inset begins and bodice armscyes. armscyes. Greater length length above the front and back girth girth corners M M and ] j of the sleeve makes it possible t0 to increase the length length of of the sleeve underarm possible a lmost 2 inches. The sleeve seam needs greater greater seam almost length armscye is is lowered. as the bodice armscye length I. Measure (lown down l I inch from N and I on on the front l. seam to to points points X1 X 1 and X2, X 2, and back bodice underarm seam and draw new curved lines Jines for bodice armscyes armscyes RX RX' and and 5x2. sx2. 2. Extend horizontal lines through through the front and 2. back girth corners M and } . Draw new curved lines back girth corners M j. sleeve armscye armscye lrom from points points R R and S equal equal to to for the sleeve RX i and sx2, touching the horizontal lines at points at points RXI and 3x2, touching V and W. 3. Draw Draw vertical lines from the front and back 3. armscyes at R R and S S 1o to intersect the horizontal lines armscyes at through the sleeve girth. girth. through 4. Trace Trace the C center bodice, e n t e r front section of the bodice 4. 1 ACZLPVRTA, QT RX 1 Q. ACZLPVR TA, and the side front section, QTIRXIQ. 5. Trace Trace the bodice C center section, ECZKGWe n t e r back section 5. 1 SX2F. SUE, and the side FU FU1SX2F. back side section, thc SUE, and

horizontal line from V I' up up to R a and 6. Slash the horizontal up to to S. Swing up girth V and from W up the corners V a Swing up girth W to to within 5%; Ys inch of lines RT RT and SU to incr increase W length oi of the sleeve underarm underarm seam (see (see Figure Figure 88c). the length 7. Redraw the sleeve underarm seam lines! lines from
V and W. W. V

Fig. 88 (a). (a). Kimono blouse with with slmped shaped underarm underarm sides side sec Fig. tion and (leep deep armscye. armscye. tinn

168 I68

SLEEVES

L I n e

C e n t e r

Fig. 88 (b). Draft for kimono blouse with shaped underFig.88 arm ann side section and deep armscye.

I69

D R RE ES SS S D DESIGN D ESIGN

'
'

u . a u . 'e . l : . i

u
r'
Q

Fig. 88 88 (c). (c). Draft cuL cut apart apart and sleeve underarm seam Fig. lengthened. lengthened.

Problem 8
DRAFT FOR KIMONO BLOUSE WITH BELL OR DRAFT BISHOP SLEEVE
Use lhe the bishop bishop or or bell sleeve block (see (see Problem 3, Use pages 120-122). Set-In Sleeves, Set-In Sleeves, pages 120-122). Study Figure 89 and follow lo llow the general general procedures procedures Study Figure 89 for the basic kimono. This produces draft for the basic produces a sleeve very roomy over the upper arm because the blouse very roomy over lhe trpper shoulder points B placed approximately approximately 1 shoulder points B and D are placed znch [rom from the I he Center center line lzne YZ. inch I. Place Place the the sidc side seams seams of lhe the front and back of I. the bodice I inch from girth corners "1 j in order M and ] the bodice l inch girth to give additional additional undcrarm underarm lcngth length to lo the sleeve. to give 2. 2. side side Place [h8 the back back 01' ol the bodice so [hat that IH I H on on the Place of side the seam of the back equals NO seam on N0 scam of the back equals front. the Iront. 170 I70

3. Measure up up 6 fi inches from thc the waistline on on I] 3. front tmderann underarm seam to point P. t0 seanx poim 4. Square out to p1 join Q Q_ to P1. fl. P1 and join 4. Square out 5/, inch to

5. Measure 8 inches inches down lhe the sleeve from lhegi the girl Measure 8 5. point M M and mark L. poim 6. Rule the line P1 p1 to lo L. 6.
V

7. Curve Curve underarm line of blouse and sleeve asi as i 7. Problem Problem I.

For a sleeve gathered nt al the wrist, wrist, increasc increase 1 tt sleeve gathercd For a a! M length lor blousing above the cuff band. at lea Add thc culf lcngth tor blousirlg I V2 l0 to 2 2 inches below points points R, R, T and U, and I il inc T., und bclow inches 11/3 o!" line below S S and and Z. z. Sincc Since thc the underarm underarm and and lhe the ovt bclow an the the elbow elbow of of the the sleeve sleeve slip up farther an when [arther the slip up sleci the is raised or bent top center sleev of Center the than is raised or bent top add Inore more length al these points. points. length at

SLEEVES

c.-

l
l

__
P

-1
\

\ \
\

\ \

Kl

S i e e v e U)

O L

D.

B s i h o m m of s

s Line _J

d!

G r a i n (D

Z L/_L\Z LRg- d" L x * 1" 1.1/2" / -- - L L! L/

m

- \ \ - .

4 _ _ r

121/2"

l2 L

-4

Z 111/2"

Fig. 89. Draft for kimono blouse with bell or bishop sleeve.

DRESS DESIGN D RESS D ESIGN

Problem 9 9 Problem

DRAFT FOR FOR THE THE KIMONO KIMONO BLOUSE BLOUSE WITH WITH A A YOKE YOKE DRAFT (see Figure 90a, b, and c} (see Figure 90a. b. and c)
Combining a a yoke yoke with with a a kimono kimono cut cut offen-s offers the the adadCombining vantage of of a a smooth smooth hanging hanging sleevewith sleeve with one one denite definite vantage fold at at the the front front and and one one at at the the back back of of the the armscye armscye fold and a a clean-cut clean-cut close-tting close-fitting shoulder shoulder line, line, because because the the and needed length at the underarm seam can radiate from from can radiate needed length at the underarm seam a point point at at the the lower lower yoke yoke edge edge rather rather than than from from the the a

line of of the the shoulder shoulder seam. seam. lt It also also olfers offers the the Opporopporline tunity to increase the overarm sleeve length by lowersleeve to incrcase the overarm length by lowertunity ing the grain slightly at the top center line of the arm. line of the arm. C e n t e r at the the top ing grain slightly This, however, increases the difficulty of raising the of the increases This, however, raising the diiculty arm unless the sleeve is quite wide at the top. at the wide arm unless the sleeve is quite top. Follow the the general general procedure procedure for for the the kimono kimono laylayFollow out (see (see Figure Figure 90b). 90b). out I. Place the front corner corner of of the the bodice bodice shoulder shoulder at at from. Place the l. point B, B, l1 inch inch from from the the center center line line of of the the sleeve YZ, YZ, point and thc the girth girth comer corner of of the the bodice bodice against against the the sleeve. and Trace the the blouse blouse front. front. Trace 2. Repeat for the back, back, making making IH I H on on the the side 2. Repeat for the seam line of the back equal to NO on that of the the of that N0 on to seam line of Lhe back equal front. from. 3. Draw Draw the the style-line style-line of of the the yoke, yoke, R R to to C C and and S S to to 3. the C. Figure 90b shows a yoke extending down on the on down C. Figure 90b shows a yoke extending center line of of ihe the sleeve sleeve 31/2 3Yz inches inches to to point point C. C. C e n t e r line 4. Draw Draw the the shoulder shoulder seam seam lines lines ABC ABC and EDC, EDC, 4. the following the the original seam seam lines. lines. Do Do not increase the increase not Original following height a: at B B and and D. D . Draw Draw convex convex curves curves ending ending at at height point C. C. point 5. Measure up from from the the waist waist on on the the front front side side 5. Measure up the on down seam 6Yz inches and mark P. Measure down on the Measure P. mark seam 61/2 inches and P and to sleeve 8 inches from M and mark L. Join Q to P and L. mark Join Q sleeve 8 inches from M and P t0 to L. L. P 6. Repeat for for the the sleeve sleeve line line of of the the back back t0 to join join . Repeat F, G, G, and and K. K. F, 7. To place the slash slash lines lines that that are are to to be be spread spread 7. T0 place the at the underarm in order to increase its length, measits increase to length, measat the underann in order shoulder the ure I Y2 inches over from the neck on the shoulder on neck ure lI/ inches over from the seam and and mark mark I V on on the the front front and and W on on the the back. back. seam Mark Then rule rule lines lines from from P P and and G G to to lhese these points. points. Mark Then points T T and and U U where where these these lines cross cross the the yoke. (See poinls marking slash lines for gussets, Problem Problem 7, 7, Figure Figure 86, 86, marking slash lines for gussets, page 166.) 166.) . page section. 8. Crossmark the yoke and the lower sect10n. lower the and the 8. Crossmark yoke

Fig. 90 (a) (a) .. Kimono Kimono blouse blouse with with a a yoke. yoke. F ig. 90 9. Trace Trace the the from front and and back back of of the the yoke, yoke, A561? ABCTR 9. and EDCUSE. Trace the lower front and back of and EDCUSE. Trace Lhe lower front and back oif. "t blouse, RTCZLPQR RTCZLPQR and and SUCZKGFS. SUCZKGFS. blouse, I0. Slash Slash the the line line from from P P to to point point T T and and spread? spread 1 l0. inches at P (see Figure 90c). F inches at P (see igure 90c). 11. Repeat for for the the back. back. I l. Repeat

Note. You You will will notice notice that that a a sharper sharper arc arc has has r i Note. produced at at T T in in front front and and U U in in back. back. This in inwa '; produced curve when attached to the yoke RC and RC lines the to auached curve when andS yoke causes a definite fold to radiate points T from radiate causes a denite fold to poims and and to fall along the normal armscye line. and to lall along the normal armscye line. 12. Heighten Heighten the the cap cap of of the the sleeve sleeve slightly slightly all) at poi 12. C if you wish to increase the overarm length. overarm the increase C if you wish to length. T ' will reduce the diagonal wrinkling from the top cent the from will reduce the diagonal wrinkling topuf". of the sleeve and deepen the fold hanging at the fro a1 1;" of the sleeve and deepen the fold hanging the " and back back of of the the armscye. armscye. and Note . Figure Figure 90a 90a shows shows a a very very conservative conservative a amou Note. of drapery from the one at the front the a: slash line one from of drapery lrom lhe back. F01" For alternoon afternoon or or evening evening gowns gowns of of jene jersey back. soft crepe (see Figure 91 ), slash the basic pattern basic soft crepe (see Figure 91), slash the patlem on. about l Yz inches lower on the side seam and a. seam and about 11/2 inches lower on the i underarm seam, and and d1r. I Yz inches from the 11/2 inches from the sleeve underarm seam, both slashes slashes to to points on the yoke yoke edge edge from from wh bolh points on the folds should should tall. fall. lf If you you wish wish t0 to obtain obtain gathe gathers folds thc in the lower blouse section, spread the slash blouse section. lower the folds in spread along the the edge joining the the yoke yoke as well well as at at thelf the L eclge joining along arm. See See Figures 92a and b b for still another another V8113 vanau arm. Figures 92a and .' simul of a kimono sleeve with fullness held by simulat a of a kimono sleeve with fullness held by yoke line line a1 at the the upper upper armscye. armscye.

v.
M

yoke

172

r
R
I

SLEEVES

_ __-:
\

n
\
\
\

A *3.
I

71V

G?

/\\x

, T7.
l

B
x

L
\
\

7k \
\

IOM
Px
\
\

\
\

<

x
L

E G)

c7:

Fig. 90 (b). Draft for kimono blouse with a yoke.

Patlem for kimono blouse with a yoke. (TransI-ig. 90 (r) Fig. (t) Pattex-n fer master blouse dart to yoke edge. For I-or Fig. 91, 91. spread sprcad slash lines indicated by arrowed dotted lines under the

arm.)

173

DRESS DESIGN ES I G N D RESS D

(a)

(b)

Fig. 9|. 91. Kimono Kimono blouse blouse with soft drapery drapery falling falling {rom from yoke yoke Fig. line.

Fig. 92 (a). Kimono blouse with simulated yoke yoke I line o F ig. 92 (a). Kimono upper armscye supporting fullness. sleeve upper armscye supporting Fig. 92 (b). Pattern illustrated in Fig. 92 (b). Pattern for kimono blouse illustraled '_ 92 (a) . Waistline dart transferred to and s am! shoulder to transfened dart Waistline 92 (a). made along along upper upper annscye armscye to to separate separate blouse and sl made ' Sleeve slashed for fullness. Sleeve

'

10 Problem I0

DRAFTS FOR FOR SHORT KIMONO SLEEVES DRAFTS

The short short kimono kimono sleeve can be made by by following The line shoulder simple steps. First, several the redraw First, several simple steps. on the the original basic master master pauern pattern by by ruling a line on Original from the neck end through point to l inch above a from the neck end through point 3/, to the arm3cye end of the Lower the seam. shoulder the armscye end of armscye at at least least 11/2 1Yi! t0 to 2 inches at at the underarm seam seam armscye the at line and increase the blouse width at top point top line and increase sleeve The of the underarm seam at least 3/4 inch. at seam 2%, underarm the of underline may or or may not not be be curved to to give give it it a short line may may front with the arm seam. Figure the blouse the shows 93 arm seam. Figure possible sleeve sleeve lines, lines, EDC, EDC, EDF, EDF, and EDGF. In In draftdraftpossible ing the back, use the same measurements for shoulder ing the back, use the line, underarm underarm line, and sleeve. line, A more more accurate accurate {oundation foundation block for developing developing A original short short sleeve sleeve designs designs can be be made from any Original one of of the the basic basic kimono kimono drafts given given in Problems 5 5 one and 6, pages l59-l64. 159-164. you use this method, When you and 6, pages choose a a dral: draft that that allows enough enough ease to to raise raise the the choose arm in in the the particular sleeve being being designed. For a a arm particular sleeve ex tremely short, short, for one left open open on on the the top sleeve extremely of the arm, or for one that very loose at at the lower lower of the arm, or for one {hat is very edge, choose choose a a draft draft with the minimum underarm underarm

96a indicate a few of the possibilities for block'

The shorl short sleeves sleeves shown in Figurcs Figures 94a, 956.; 95a, The

original designs designs from the kimono draft. original

A A

4"

If

1l

To
2"

fG O C n n . . u D .. -.. i
l"
I

'/ ...
I

1! u
'h n _ . _ . 5

1!

Ii

c..)

u..:

: . . ' .

cdge, length. length.

sleeve. Fig. 93. Draft for short Fig.93. Draft for short kimono

174

SLEEVES

* 1 ;

ve

for Basic Kimono o r [Basic drah [ design. dcsign. use lhe (halt underarnl underarm Extra 163. I63. 2, page length lenglh is not it is either ared or Hared sleevc because this slecvc in lhis ssary ssary aL the lhe top. t0 hang open at wed Zwed to

.
;

Sleeved Kimono Blouse wifh Simulafed Yoke

(bis

or zor

{h6 R1C1 t0 the front from edge RIC 7. Slash the blouse from slash each and slecve UT, lower edge ol Lhe sleeve UT spread Lhe back. twice the lhe depth deplh of each fold. Repeat for the

a: P and the underarm corners at 8. Round off lhe

( J. (J.

'

Kimono Sleeve wifh Fullness af fhe Yoke Edge (see 3res 94a and b) tront and back shouldcr seams of (he the Place Place thc lront will extended arcextentled are whcn meet u [hat ( h a t so se thcy they "a lhc sleeve. lhC top xlecve. Lop point poim of thc 3C, 7 1/2 %inch below the

9. Follow the dotted lines indicated from R1 to X, if a Lighter tighter lower sleeve edge produces a more effective live drape.

. A.

v.
\

Jand

RC5. lor Lhe simulatcd simulated yoke RCS. linc for Draw a Iinc Draw lines for the lower edge of the short sleeve,

TV.

[rom the Lhe yoke . Draw lines from . yvoke i

sleeve for folds.

oul lhe blouse from front and back. back. u t the Cul o V Cut front and back yoke lines from Slash along the from t0 S, and cominue to t0 slash from R and rough C to ihrough of the darts in order Order (o transwaistline lhe point j the poinl their fullness [ullness t0 to the yoke edge. "mosl the edgc. Note thc most of lheir drawn above R1 and S1 to join to yoke (see Figure Figurc

.
"
Ji).

to the lower edge of

slecve with fullncss a! simulated fullness at Fig. J4 (a). Short kimono sleeve Cdge. ynkc edge. yokc

u 1
.-

For F Flared Iared

z)

j-

Sleeve

n n e L m

C e n t e r

Fig. 94 (b) . Slash lines drawn on kimono sleeve Draft 2 { o r short sleeve blouse with simulated yoke. shon

175 I75

RE ES SS S D DESIGN DR ESIGN

c1

Fig. 94 (c) (c) . Pattern slashed and spread spread for fullness at at yoke yoke line. Fig.
Short Kimono Sleeve wifh with Flared LoweriEdge Lower Edge (see (see Figure Fig ure Shorf

95a ) 95a)

Use the draft d raft for Basic Kimono Sleeve 2. Continue the yoke yoke line in back back to to produce produce a separate separate section, not a yoke. Figure 95b yoke and the yoke shows not a simulated yoke. Figure center back cut together and the sleeve and side back center back cut together cut together. together. The T h e yoke yoke could also have been separated separated cut from the lower blouse. The transfer o! of the waistline from dart t0 to a large large shoulder dart in front makes it it possipossidart ble to to block block a ared flared sleeve line in one one piece piece with the ble blouse, but bu t since there is no no large large shoulder dart in blouse, back, the section flared sleeve must be cut ared the with section back, apart from from the yoke. yoke. Cut the front bodice in in one apart piece. The The space space between the center front and side piece. front sections sections merely merely indicates extra ease over the bust front in addition to provided by by the master pattern pattern in addition to that provided line. dart. Crossmark Crossmark the yoke yoke edge edge at at each slash dart. I. Slash Slash from from the lower edge edge of the sleeve to to the l. edge joining the yoke. yoke. Figure Figure 95b shows a 11/2 I Y:! inch edge joining spread between of the dart transtranswidth of spread between slashes. The of amount ferred to the shoulder spread the limits shoulder spread ferred to for are flare as as shown shown where point point C1 Ci curves back almost for to the yoke yoke line RC. RC. to

Fig. 95 95 (a). (a). Short Short kimono kimono sleeve with ares flares a! at 10W lower Fig. radiating from simulaled simulated yoke yoke line. radiatirlg

'

176 I76

SLEEVES

95 (b). Pattern Pattcrn slashcd slushcd and und spread for Hare Fig.95 arc a: Fig. a1 Iower lower shorl sleeve. edge of short

2. 2. just v_ Just below point R, taper the width between lines RC and RIC! R101 to nothing. Measure down mpoint C on line RC approximately 4 inches and v
l

"

u R

Shorf Kimono Sleeve wilh wifh Fullness Draped from Bofh Bo+h fhe Under and Overarm Info info fhe Yoke Edge (see Figure 96a)
Use the draft for basic kimono sleeve 2, and follow Figure 96b.

rkk X. Mark a point X1 the same distance down C1R1. 1. Draw a convex curve from X1 to W, _mC1 on CIR inches below R. The Thc space between XIW X 1W and dart will give the blouse "R1 not taken up in the dar: blousc nttslightly 1W is X1W slightly more ease. Since the new line X ; r than X W, ease the convex curve XIW between v; between _nts W and X when pinning the dart. Draw a smooth convex curve for the lower Iower edge sleeve from U to T and from V to esleeve the l0 T, and round corners at a: P and G. '_ l underarm comers Add a 5% 3Ainch seam allowance on lines CXR VCIXIW when cutting the pattern in fabric. Mark pattem Lhe fabric the inward curved lines such j m tely on the tcly U which control the ares Xl L ares, and clip the seam alcc so lhat (hat the ares will {all [ a l l in denite clean lrom the yoke edge. (mm

I63I page I63,

. .
.-

ms

_
_;

l. Draw lines Hnes for the simulated yoke, RC and CS. C3. 2. Draw lines for the lowcr Iower edge of the sleeve, U UT T and TV.

3. Rule lines from the yoke to the side seam at the underarm and to the sleevc sleeve underarm for the folds.
4. Crossmark the yoke edge at each slash line line, and also draw horizontal lines lincs WW1 WWI and XXI across thc the {rom and back group of slash lines. from

5. Cut out the blouse iront front and back. 6. Slash along the yoke line CR and CS. Extend Extend each yoke line slash to the point o! of the waistline dart dar: in order to lo transfer most of the dar: dart to t0 the yoke edge.

I77

S L E E V E S
5. Rule a horizontal line across the sleeve at right to the Center c e n t e r line YZ to keep the sleeve slashes angles t0 in line when they are spread.
o1 o1 lhe the
t0 the poim (i. Rule lines from the front neckline to 6. point dart. waistline waislline

7. Trace the blouse from front and back. Cut the patt0 line of the sleeve to of the blouse on the straight lengthwise grain. 8. Slash through the vertical lines on the sleeve t0 spread for lor the pu pauern pattern lo pu". 9. Rule a vertical and a horizontal line on a sec0nd sheet sheel o! ol paper 1o to serve as guide lines in placing thc the vertical slashes.
center t e r n apart along the Lhe top Center Lhe center from front and back place the

Kinmnn blnusc wilh with ahnn shnrt pu slccvc. slceve. (u). Kinmno Fig. 97 (a).

3. Rule slash lines from the neckline t0 the lower o! the sleeve. edge of bdge lines on both both back and front from the 4. Rule lincs at the poim whcre the sleeve and the side underarm a: nderarnn point where to z: a poim l inch fronl from the Center trom kann intersect t0 tront kam point I of the neck, neck intersecting the new nd back at the base o! h neckline, from front and back at W and X. Slash and antl t0 these to lines introduce imroduce e x t r a extra on the read jread length length nderarm for freedom to raisc raise the arm comforlably ; nderarm comfortably s at the lower edge. V3: a short sleeve which is tight a:
*

|0. Slash l0. slabh line PW PH/ in from m and GX Gx in back t0 the nccklmc Spread neckline. at the underSlashes 3 inches mches m under" these slashes Spmad the: arm.

I l. Slash the three lines drawtt drawn from the front neckline Lhrough the of the waistline dart, and through point poim dart 5/, to I inch at the poim for extra or e xtra spreati the durt spread 5%[0 point { {ullness ztlong fullness the bust line. Iine. Spreading illong Lhe Sprcading the neckline slashes (loses closcs the tlart dart at the Lhe waistline.
Drnw ncw l2. Drzm new unclerarm underarttr curves a: at I P and G, and draw slightl) comcx convcx Iines lincs for the neck and lower edge slighll} ol 111e the pull slecve. pu sleevc.

L m e

C e n t e r

--

T op

Snvead vor Snveaa Mmm Sleeve Tnght Alm

a! Lowev Edge

MIN

S l e e v e

-1 -|

.-

Fig. 97 (b) . Draft for kimono blouse with short puff pu slceve.

179

Kimono Blouses with Cowl Sleeves - Short Sllorf Cowl Cbwl Sleeve Sleeve Klmono Blousos will: Covvl Sleeves mlh Feld: Produced by with Folds the Basic the Basic by Slashing Slnhing and Spreading Spreading Kirnono Kimono Paffern Pattern (see and c) 98a. b, b. and (see Figures Figures 98a, c)

D RE ES SS S DR

DESIGN DESIGN

anct RlT RtT and PY and P1). PtY. Figure Figure 98c shows a fo ana and PY v, ahowsi: inch spread. spread. Repeat Repeat exactly back, si since ior the back, exactly for and from front seam joined man must dra back and scam lines when joined piece of labric. fabric. as one picce

6. fi. Spread R folds between bez Spread twice the depth depch of the folds -_
<

Use Use the draft for basxc basic kimono pages 163 kimono sleeve 3, 3, pagesl63I64 and and follow Figure 164 98b. Figure
l. I. Draw the line for the lower edge edge of the sleeve, UC UC and and CV. CV.

l inch from R 7. R to point Won 7. Measure I t0 poim W an the fro side seam and from S to point X on the side scam S the side: b point X seam.
to U 8. 8. Draw a convex curve from W W t0 U in front, a from X X to V back. The remove v from V in back. T he curve should should removef points Rl R1 and and U, S1 and V. little at points V. U, s1
A folds A convex v o m / e x curve curue is essential tu to allow cowl f0 fall into position, since the line TRt will fall on TRI will fall an. T 2 fall into position, and yp1 will fall on YP. On each cowl and YPl YP. cowl line, (hat line, theed of the fold fold must be longer than the line that /al of langer than inside the fold. fold. inside

2. Draw the cowl lines, Jines, R RT bodice front and T on the bodice ST1 on the back. The illustration shows the cowl line STI entering the side seam at at R R and and S S 3V2 entering 3%inches above the shoulder seam at the waistline, at T T waistline, and entering entering and Tl Vi! inches from the armscye and T1 1 from end. 11/2 armscye

Short Shorf Cowl Cowl Sleeve on a True Bias Fold Feld

This sleeve shows way of producing shows another way producing; co drapery which also applies to co\\-ls in other p parts also t0 cowls drapery applies the costume. costume. The may begin begin as low as The cowl may as the wa line or up part part way way on the side seams, as line or up as shown sho Figure 99a. Figure Figure for a a co illustrates the pattern u. layout for Figure 99b illustrates pattern layout sleeve with the underarm underarm on the true t r u e bias.
"

_; w:

I. line YZ YZ on a sheet of paper. l. Rule a vertical line paper. b 2. front a 2. Measure up up from the waistline on the fronil ' Vi! inches in the sleeve illustrat back side seams (2 illus slecve (21/2 and mark K. K. 3. Place the front and on the ve .' seams on and back side seams K. cal line YZ so that they will intersect al K. at YZ intersecl they

from kimono fig. kimono sleeve cowl sleeve designed designed from (a) . Short c.owl Fig. 98 (a) block.

normal 3. 3. Draw a second cowl line following following the normal B is [rom armscye in the draft layout, that is from P through {hat through B layout, armscye to Y and from G through to Y. The line passes Y. D t0 G through t0 Y passes about halfway between the armscye about halfway armscye of the blouse and the armscye of the sleeve.
4. and back (see [ront and Figure Cut out the blouse front (see Figure 4. Cut 98c).. 98c)
at points 5. to the shoulder line at Slash the cowl lines to 5. Slash points D B T at Y B and D (see Figure Y above points and at Figure T1 and and Tl T and points 98b). 98b) .

4. Pivot outward the corners H and C on the. the si i. YZ. seams of the front from line YZ. from. and back equally equally amount pivoting determines the depth co ol pivoting amoum of depth of the the" ' drapery. In Figure 99b, H and C are each 30! inch H 31A Figure drapery. from YZ. [rom line YZ.
K

5. Draw around the blouse back and front. and front.

From here on you From here on you may may copy copy the pattern pattern 1llustral nllustra v in ord drawing lines as indicated. indicated. But in *_ drawing in the cowl Jines to a little, cut the pattern in muslin, lea c u t 1o experiment little, panern cxperiment ing drawn between the en ing 2 inches above the line drawn B and of sealns at B ol the front and back shoulder seams 33d?G. Place YZ ruled on the muslin. > YZ on a true bias line ruled

l.

180 I80

SLEEVES

slccvc Dran Drah 3 Ior [or Fig. 98 (b). (b) . Slash lines drawn on kimono slcevc Fig. slcevc. short cowl sleeve.

iolds. (c) . Slashes spread for cowl folds. Fig. 98 (c).

18l I81

DRESS DESIGN
Experimental draping with the approximztc p: bring: out many possibilitics for handling m;

and sleeve cowl. After blocking this patticulzr u %. the designer did not carry the cowl liuc in (um: to the shoulder point as she had planned, Im it a: the corner N by makihg a neclnline slaah

the center front. She then raised the section above T slash to form an open necklinc. As this section u upward, the inner cdge of the cowl linc, B Io N, f into a deeper fold. The back cowl line ftom C (o5: continued up to the shoulder as planned. 5b: 2-: revised the Center from line and from waistline by draping to repeal the curve o! the necklinc. addcd an inset to the waistline area below edge M" and KP since lhe cowl began above thc waislline.

'

Fig. 99 (a). Kimono bias fold.

use with short cowl sleeve on t r u e

Bias

Slash 8. Raus: upper Sectio"

wilh umlcmrm un lruc bias. Fig. 99 (b). Pattcm layuul for cowl slccvc

I82

SLEEVES
Problem II ll
DOLMAN SLEEVE DRAFTS

slccvc with a deep urmhole and a The dolman, a sleeve (lccp armhole to thc kimono group Silhouette, belongs [o wing-like silhouelle, thc under annscye curve ol of bgcause because it retains none of the sleeve. slceve. But sei-in Hut unlike set-in unlikc the t r u e true kimono. kimono. normal (h5 ghe and blouse arc znrc cut in ( two w o separate the dolman sleeve 3nd du: fmm the lollowing illuslrations scc from illustrations junjts, nni. You will see it possible [o to lengthen ahnt lahm this makes i: lcngthcn the underarm sleeve section without the ol altcring the t of allcring igam kam the ol blouse. the overarm length main Also, part the E {the dolman sleeve slcevc ( can a n bc made matle than {hat Lhan that of longer Eolthe true kimono.
l

Dnlman slccvc slccw: cul tut in onc um: with yoke front. Fig. I00 (u). Dolman
t0 prevent of the normal sleeve slccve armscye above point poim ] to it from pulling out when the deep armhole. wllen set sei into thc a m e length lrom D t0 same The new line lroni 1o (i should be the S on the edge und the blouse. thc sleeve slccve und edgc ol both the

"Elbe Fthe

Yoke Fron} Fronf und and wifh a Dolman Sleeve Cuf in One wifh a Yolie Dolman Line in Back Armscye (see Figure Dggp IOOa) Dnp sleevc 2, Use the dralt lor basic kimono sleeve l 2. page I63, l inch [rom u t place the shoulder poims hat lrom points B and D I e center line ol the sleeve YZ. Place C, 2% inches the '- low Y, the lop center point of the sleeve (See in top Center (see Figure
100b). _ l. Draw the dolman style-line from R to P on the vc ' o ce front. ce lront. in j
2 2. Draw the back armscye line {rom D to G to i espond to the depth o! F: of the from front armscye. Figure lH jH shows a dolman underarm line 6 inches above
V

7. Establish vertical slash lines Iines to the sleeve sleevc girth PC from PG the U on and from V, W, f1, front, [mm S, T, J1, X on the back. back. These lines lincs will be slashed and spread t0 to raise the lower armscye annscye curve when you lengthen the lront and back underarm slecve sleeve seams.
EDGFE. EDGFE.

8. Trace 'l'race the blouse from, front, RSPQR, and the back,

I: waistline. f

hont and back of the sleeve, to the sleeve points L lhonl

1;-

l;5. D5.

Rule down from P and G, the girth points at

9. Slash lrom the line PG PC up to points U, T, and S on the front. Slash lrom line PC PG up to t0 points poims V, W, . ]1 [1, and X on the back (see Figure 100c) 100c). l(). l0. Spread the slashcs to lengthen lcngthen the underarm sleeve seam between P and P1 the same amount (hat the armhole was lowered on the blouse. Figure 100b shows the armhole line lowered 2%inches. Repeat to spread the back slashes.
l l . Draw lines {rom from P1 and G1 to the elbow. These lines should be the same length on the front and back, PlL and GlK G1K are arc dilferent. different. although the angles on P1L l2. I2. Measure toward the back 2 inches from D at the top center dart on the slceve sleeve back, back, and slash to point C, the end of the dart. Spread the slash 1A inch to convert pan l0 dart width into ease over the part of the dar: upper back armscye of the sleeve.

>.

K. Draw a new girth line from lrom P to G. Find F ind the R and P on the between A. halfway poim point man slylc-line style-line on the blouse front and mark S. The needcd for the underarm will radiate i length needed this point. Draw an inward curve from S to P for the sleeve ye. kceping v f ye, keeping it the same length as the line S to P e blouse section. The inward curve on the sleeve lmach to the bodice without bulk along this edge, laattach fullncss of the sleeve upward jwill direct the fullness jwill upward from

V in w:

A N
l

kam line. mm

Draw a new back armscye line on the sleeve ynraw D t0 l0 G, adding 3/3 inch or about one-third of 3A

between the Original armscye line of the d the im! lhe sleeve. Raise the sharp inward curve

l3. Complete by tracing around the slashed and spread pattern. pattem. Note. The blouse lrom iront will be softer and prettier if you slash from S and from points l inch above and below S to the point of the waistline dart and spread line SP partially closing the waistline waistlinc dart. This introduces fullness iullness along the cdge edge of the yoke.

183

DRESS DESIGN

Z
mono sleeve Draft 2 for dolman cut wilh yoke
[ronl

Fig. 100 (c)

Puttcrn parts

("ut

und slnsh linos sprcad.

184

S L E EVES
a. an Sleeve wifh Deep Square Armhole (see Figure 01a) In) ior designing this lhe method for illustrates the gure 101b illustrales draft kimono sleeve 2. it on i: vc ve, basing w | Draw style lines BRP and DSG for the dolman 1. i i vc front and back of the bodice. Figure ve on the iront dolman line entering the side seam at the lb "lb shows above the waistline. inches x. G, 41/2 and 41/1
The procedures outlined in the Iollowing following steps are iilustraled illustrated in Figure 101c. W) (see Figure 5. Slash the sleeve on line VT and W1 seam 2 inches underarm sleeve the and 101b), 101b) spread at I and W.
lhe sleeve at B 6. Add 7A, 7/3 inch to the center top of the and D and mark U. Gradually curve down to points corners. The 7A; inch increase T and Y to l0 avoid sharp comers. 101d at VT and on the overarm length deepens the fold W1 and reduces the tendency toward wrinkling from WY the top of the sleeve cap.
at the Center C e n t e r top of the sleeve 7. Either use the Lhe dart a1 as it is, converl it to ease along the cap edge by is or convert t0 the Lhe point 01' of the dart dar: 2 inches down from slashing to Siashing do1and D. (See direclions for this under previous dolB und man sleeve Variation.) Note. The single slashes in the [rom front and back (V to T und m Y) give a c1eancut t0 and 1V W t0 a: the front clean-cut fold 101d at arm. For additional folds, slash from and back o1 of lhe 111e arm. [rom o1 1 l and W to Cilhcl side ol l0 points above and poinls on eilhcr poillls below T and Y.

. "
'

Lhe sleeve girth and Measure down 8 inches from the for the underk points L and K. Draw a curve [or 31k G to K on che 1mm and from (h8 the front L on L0 P l0 n from

ach.

'
i
5

to introduce extra x t r a length on 1ines t0 imroduce e lines at the half halfunderarm seam. Mark poims T and Y a: underarm S B on front and and R and the betwcen between j points Y [rom and the from T to underlines n the back. Rule Iines i " . fn between the Original 39- points V and W, halfway i Ie seam and the blouse side seam.

Draw slash i," Dmw

from, ABTRPQA: the back, f. Trace the bodice front, . SGFE; and the dolman sleeve, BTRPVLZKWGSback,

B. Crossmark the dolman style-line as indicated. CB.

. Dolman sleeve with deep square armhole. Fig. 101 (a) (a).

185

D R E S S DESIGN

M a s t e r s l e e v e

of
Line

G r a i n

L e n g t h w i s e

C e n t e r

drawn (m kimono Drall 2 tor Fig. I01 (b). Design lincs with dolmun slccvc dccp squarc armhole.

181i

. x . _ . _ .

SLEEVES

3g)

cut apart

and slash lines spread.

D R E S S DES-IGN
Deinen Show wiih StyIo-Lino Nur ihn Normal Armscyo (sog Figur l02a) Use the for Basic Kimono Sleeve 2, page 163, and follow droft Fngures 102b, e. d, and e in carrying out the following directions.
order to revise the bulging convcx armscye linc the blouse between BRP and DSG to a sligluly cave liue for the lower part of the sleeve arm Place P1 in the from and G1 in the back so (hat touch the horizontal lines extending lrom the gin comers at the front and back o! the slecve. Shift the position of the entire slashed section BR and DSG1 so that the armscye line of the sleeve slightly separatcd from the armhole line of the bl This will get rid of a part of the excess between armhole of the blouse and the annscye of the sle Avoid a deep, sharp curve on the lower part of
l
b

sleeve armscye, especially on the back, as it would when the sleeve is set imo the deepened armhole the blouse. Pencil carefully around the new armscye line o! sleeve.

-.
u

3. Rule lines from P1 and G1 to the elbow a: L a K.

back,

4. Trace the bodice front, ABRPQA; the bodi EDSGFE; and the sleevc, BR1P1LZKG1S1O

Fig. I02 (a). Dolman sleeve with style Jine near normal annscye.

I. Draw the slyle line for the armscyc on the front o! the blouse, BRP, and on the back, DSG. Figure I02b shows the armscye depth lowered 17/8 inches below the normal scye line at N and I.

5. Rule the sleeve girth, P1G1 (sce Figure 102d) Erect perpendiculars from the line P1G1 to points and T on the front armscye of the sleeve, and to and W on the back. Slash and spread to increase n underarm sleeve length (see Figure 102c).

6. Raise P1 in front and G1 in back a: least as m

v7

from the girth line as the blouse armhole has v (leepened. Figure 102e shows these points raised 2 W inches for easier arm movement and for in
*

2. Establish the sleeve armscye line (see Figure 102c). On a second sheet of paper under the draft, trace the section BRPB, the front, and DSGD, the back (see F igure l02b) . Cut out these traced sections. Slash from the BP edge to the BRP edge of the front, and from the D0 to the DSG edge of the back. Superimpose the slashcd sections on the corrcsponding sections o! the draft and spread the BP and DG edges in

drapery at the underarm. Note. In order to eliminate diagonal wrinkli '_ from the top of the sleeve, add 5%, inch to the ove length il" necessary. 7. Trace around the slashed sleeve to complete <
4

pattem.

8. Place YZ on the true bias.

I88

S L E E V E S

0 5 2 m

.232

o
0:3

E20

3 5 5 m g ;

Eig. 102 (b). Design lines drawn on kimono sleeve Draft 2 ncar normal armscye. fr dolman gmh with stylg style line near

DRESS DESIGN

.102

Scclinns

BRPB

und DSGI)

("ul

nul.

slnshcd.

sprcad tn cstahlish slvevc armscyc.

I90

SLEEVES

Girth Line

Pattern paru lines drawn. Fig. 102(d). (d). Haltern. pans cut and slash lincs

Fig. 102 (e) Dolman sleeve slashed and spread to increase length of underarm seam.

PART I

GENERAL PRINCIPLES OF FITTING

' and although thc master pattern is the gard; 3owhich all Lhe the references are made, the solution for each problem is equally applicable to any garment, whether it is in the process of being garmem, that requires altera'30! is a ready-made garmem (hat

this chapter the general principles of tting uing

are arc

n a s t e r pattern serves careful tting of the Imaster >careful one, of course, is to propurposes. The chief one, t0 develop other designs master block on which to at pattern blocking method. Every correcat wever small, vyhich '_ perfects this pattem is imwhich perfccts because any aw in the master pattern enters _ d blocked from it. design esign blockcd of the master pattern is of value even ning t block, because its t. nevcr used for a master block, _ up inaccuracies in the padding of the form . in draping. To determine the cause of an alter the master pattern back on the form after alter this alteran tted and corrected. lf, If, after ts the lhe form correctly, then draping dress ls was to blame. But if it does not t, then bwas thc gure should be changed to duplicate the another serves the master Fitting pattern pattem leam learn to h excellent lt an way well. provides "Will. Lhat are t0 be wom, es of tting dresses that lof worn, confusion o! {confusion of intricate details of design. leamed how to t a form _ "have already learned that in no uscd for {hat the methods m1)", l1)", to be worn (hat is of a garment _ ttting block to which tgern from designs. The {mm

..
l

'

Zu

requircs greater skill to make them. Ademust be provided without producing wrinkles or bulkiness in any pan part of the garment. Each because of ils its particular gure, becatnse panicular proportions and pos[o the tter. Pert u r e , prescnts a dierent problem (o of lit goes far beyond [cction lcction ot comfort mere and wearbeyond Harter the gure by ability. For a good tter will atter Hat skilllully skillfully bridging across the too narrow or too at area imo 0 0 broad or rounded one, thus into the tlie ( too making making both lcss less noticcablc. noticeablc. She will injcct stylc and smartinject style ness as well as comlort imo into a design. A basic pattern carefully draped on a personal dress form usually ts ls with liltle little or no alteration. However, women whose posturc posture varies from that of the Standard standard dress form may n01 not be able to t0 duplicate their variations by padding. And some may nd it more 1o buy master patterns made convenient t0 by a commercial panern l0 pad forms and drape paltern company than to pad their own. Therefore, Therelore, it seems worthwhile to analyze the causes and corrections of tting faults. to place the lengthwise and crostr Knowing where 1o crosswise grain on the body eliminates much of the guesswork from tting. The Center from [ r o n t and back are, of course, the vertical balance lines and must hang pert0 the oor. lloor. Less well known are the horipendicular 1o zontal balance lines of o! the blouse and skirt. The scye thc balance line of the blouse line, the blouse, is a level line 1/1
east quate casc

make, and it

lincs ol a drcss musl lines must hung both when hung {recly freely and casily easily both one is aclive active and inactive, whercas whereas thc the form cover must t skin-Light. w o m requires t0 be worn skin-tight. Fitting Fitting a garment garmem to lar kecncr lur kecner judgnxlcnt to determinc dctermine whal what alterations to t0 judgmem l0

193

DRESS DESIGN
lach below the armpit when the arm is down a: the side and i: the lowest point ol the annhole. lt crosses just above the largest circumference of the bust and wer the shoulder blades. In draping the basic pattern (Figure I). you will remember that the same crosswise thread was kept on the scye line. This was done by taking up the excess above the bust and shoulder blades in shoulder darts and the excess below this line in waist or underann darts. In order to maintain this balance when irregularities in body proportions or posture cause variations in length from shoulder to scye line. make adjustmems above this line, at the armscye,
In the skirt thc balance line i: a! the hip level. alterations should be made above i: to keep du wisc grain equally balanced in the lower pan o: skirt on the lelt and right sides of the cemer line at the back and from of the sidc seam. Figuren h, b, c, d, e, and f show various postures to illustrate hat the same body measurements may present quite du. ferent balance problems. On the rst gure, wich m. rect posture, the waistline and hip level appeat panl. lel 1o the oor, and a vertical line through the Center of the side hip also passes through thc Center ol (h:
side of the waistline, thc Center of the knee, (h:ankle bone and up from the waistline through the Center ol the shoulder and ear. On each of diese gures die shoulder and arm havc becn thrust back to show (h: side of the waist and hip and are therefore not in a natura! position. The third gure leans back at the waistline; thus the cemer back of the waistlinc is

the shoulder, or along the neck edges; or through darts {rorn these edges.

Fig. l. Fitting the master

I

panern.

lowered and the center front is liftcd. The lounll leans back from the hips in a position which lengthem the Center from and shortens the center back. The fth gure leans back from the knees, stretching oul i the length along the front of the leg up to the Center from of lhe waist, and shortening the lenglh ol the leg in back. On each of these three gures (2c d, and e), the center front is longer than the center back lrom the waist to the hip level, and a skirt madc lor a gure with correct posture will swing forward a! the center front and cup under thc hips in back. To correct the hang of such a skirt on one of these gul. ,1 III: you must start a: the hip level and rst restore there dowll. lrom lines to the lengthwise perpendicular and then adjust the skin to the individual Variation! . from hip to waist by working lrom the hip level np to the waistline. For the postures shown in Figulel 2c, d, and e, extra length should be provided lroln IM center front ol the hip level to the center front o! tllt waistline, and some length should be removed al 1h!
A

'

on the entire scyc line Placing the samc crosswise thread fabric the to balance grain of the masler palgiveo cxccllent bctween shoulder and dimibuted is ease dar: tcm whcn the cannm lollow thread crosswise same thc But waistline. is not thus ease the dart ummgh 1h: entire scye linc whcn The signicant point dimibuzed abovc and below the bust. have thal a; gqnembcr in correct lling is thal you should the lnr intcndcd was scyc linc level o! the garmem which ttcd. ol the pcrson bcing (gn an the tmc ncye line

the hip level and the wstFigure 2f tilts lorward lrom lhe hip to lhe and back from the waist to the shoulder. This Im: the back hips and consequcntly shortens lhe SP1? belween the waist and the hips at the back. TUN. combincd with a backward tilt lrom waist to shollldl produces a vcry cxaggcrated sway back. Swinging the sklf hips up in lhc back lihs lhe hip level ol the Ski ol line back ccnnten the und causcs Lhe back
center back between
z

I94

IT TT TII N6 NG FI

xa/xa

i
(z)

3%
l

{N ). 3

x2

(C)

San m
<>

1x

K J

S
(h)

Corrcct posturc; bnck Fig. 2. (a) and (b) Corrcu Figurc lcans back pusturc; (c) l5igurc Irom from the waist; (d) Figure back { m m thc hips; (e) Figurc leans bnck m m thc from the knecs; knccs; (f) The sway-backcd gFigure leans back [ tilts lorward. lbrward. ure; (g) Overly c r c c t pusturc; poslurc; (h) Plczul tills

out

lt a!

from the body. The adjustment for this irom the hip level to the also be made from

tailed discussion is given under Htting etailed Fitting o} the Shirnpages n] Skirtpages 219-229, but this example t skirt tting proceeds from a hip balance to the thc level t0 the waistline and from the hip levcl lt also shows that a posture which causes the hip "tion from thc the usual length from thc rllon e waistline will make tting alterations vthe
l

2g and h illustrate postures which produce blems in the blouse. On the over-erect blems ovcr-erect re 2g), C e n t e r back the from the Center gute 2g). length to the scye line is shortened. Also, the v the Center back of the neck to the bust ' ased, a Variation which will be especially n on a jacket with a high collar, " trying maltes makes the jacket hike up in the front out at the lower front edge. The stoopH at-chested gure with the forward and )V has the opposite tting problem. 2h), necltlines fnecklines push up in front and pull 1nd and proper balance in the blouse can
*

from the scye be restored only by adjusting the length {rom Iine to the shoulder in back and front. This may line changcs in the front and back armscye length, length, require changes shoulder seanls, ncckline. All variations in the seams, and ncckline. length ol the blouse which occur below the scye line lenglh should be adjusted at the waistline. A balanced garment garmcnt sets comlortably comfortably and does not shift out of position when one moves. Even a jacket shilt worn unbuuoned, unbuttoned, if it is correctly balanced, tilts neither forward nor back, rctains the proper posiback, but retains tion at the shoulder and neckline. More detailed alteration instructions for Figures 2g and h are given under Fitting Problems o] the Blouse, pages 198-218. When you begin a tting, study the entire garment from front, back, and side views and make a careful beiore ripping a single analysis of any possible aws before seam. To T0 learn to t successfully, one must observe the gure keenly and study the relationships among its contours just as a sculptor would do. One must become conscious of grain in order Lo to know where and when to adjust it. And one must learn to trace wrinkles and unwanted bulges to their origin in order to know whether they are caused by gure irregularity, irreg-ularity, mistake in pattern shape, or posture.

I95

DRESS DESIGN
e

several seam lines on the gure is, in fact, drnping o! the most dilcult type. Since the body is never entirely motionless and there is little Chance to anchor the fabric in position, i: takes skill and deft handling to pin accurately and without pricking the model. In addition to basic skill needed in handling, tng also demands an understanding of pattern shapes. Curves in a pattern edge do not necessarily indicate that a cumed seam line will appear in the garrnent but may denote a are or simply ease over a rounded part of Lhe body. To t without an underStanding of this relationship between pattern shape and body contour, and to work simply on the pattern edges. is to assume that the body is a at board. The

mag

which requires the readjustment and repinl-itting of

being tted. The second metlfod requircs im o:Im; persons involved. For alterations can simply b; m. dicated during the tting by pinning up dam and
tucks where there is excess; marking lines for slashmg and spreading where more case or arc is desired; and marking in new lines with pins where a seam or a dm line is poorly placed but the t is corrcct. This i: really tting through blocking and has the double advantage of requiring less of thc ttcfs time and o! being easier for the amateur t0 do. Therc is also leu chancc o! losing the lines that are already corrcccan advamage of no small value. The changes are transferred to a paper pattern which is then altem! and used in remarking the correct lines on the dress. Both methods are shown in the diagrams (hat accompany the discussion of tting problems in the blouse, skirt, and sleeve. To avoid repeating dircctions, the general procedure for changing a pauem through blocking is given on page 197. During all ttings the model should stand before a

bulge or wrinkle, may unwittingly create another that is even more serious. lt would take years of practice in tting by trial and error t0 gain an understanding of pattern shapes equal 1o that acquired by a short study of draping and pattern blocking. lt is this understanding o! pattern shapes and grain that gives one mastery of the principles of tting. There are two possible tting procedures, and both have their advamages. The rst one is to open the seam lines and "redrape" the section requiring alteration. This method is useful when some experimenting is necessary in order to determine what changes will improve the t and even the design of the garment. lt is also a good procedure for an alteration involving only a short seam line. But for a complicated alteratiomit requircs not only skill in draping on the part of the tter but also tiresome standing for the person

amaleur, in her zeal to remove one

mirror so [hat the tter may see her results withoul having t0 move away from the model. Watching the progress of the tting also encouragcs the model lo keep her head up and face forward. The toocurious _ person who insists on twisting around to sec whal is happening is the tters bane. The tter should stand or sit as she works, whichever position brings lhe parl requiring adjustment to her eyc level. All tting should be done with the garmenl right side out, and g lt should be done on only one side. All changcs should be transferred to the other half ol the garmenl 4 after the tting.

PARTII

PREPARATION OF THE MASTER PATTERN FOR FITTING

I. Mark fhe iollowing wifh clear pencil Iines:
Blouse and Skirt I. All seams, darts, and crossmarkings. 2. Neckline, armscye, neck placket line a: center back, and placket linc in Ich side of skirt and
blouse,

3. Center from and back. 4. Hemliuxe.

Sleeve (prepare only one) 1. Underarm seam. 2. Armscye linc. S. Center lcngthwise grain.

l 96

NGG T I N F F I I TT

Ginh Girth _
,

t0 lengthwise (should be a right angle to

rain). ;gragn)_ and dart. Elbow line und Elbow and 3Wrisl :Wrist placket line.

Cente {h8 center Wilh the lhe gure with 3. Adjust thc garmcnt ganncnt on the cemer of the a1 the exact center iront lront and back lincs at

h (machine-basfe):
scams ol bluusc, blouse, skirt, skirl, and sleeve. But nderarm seams tvnderarm ol the skirt; at zu Ielt side of 6 the lelt inch skirl; a eave leave placket plackel

blouse. skirt, and sleeve. am in blousc, Darts

and thc neckline into correct position. posmon. Loo high; and clip if it is too cllp the 4. Clip the neckline il [ront lront and back of the armscye if it binds beol a large seam allowance. cause of

the oor. gure and pcrpendicular to Also oor. A.lS0 (e Walstlmethe waistlme smooth the shoulder seam lines, lmes, fhe

4 inch placket l3_4

at the left side of the blouse; blouse: wrist of the sleeve. Lhc wrisl d a 2 inch placket at the d houlder seams. But Ieave leave a I0 l0 blouse. But e Center back of the blouse. he at the ncckline. ch placket a1 Tu r n under the e waistline (hand-baste). (band-haste) . 'lurn and Iap waislline seani, i1. und rt waistlitie m seam, top-buste top-bastc it, lap it over I c waistline ol Center front e n t e r lronl of the blousc, blouse, mutching c Caution. Cuulion. Since and und darts. darls. side d scunis, seams, _ back, buck and front, be sinnlan- in back ve skirt appears similar I
y

lf you are tting your own master pattern, Note. lt" t0 place the opening down the center you may prefer to a: the Lhe center back. ol the blouse rather than at front from ol"

ALTERlNG A PATTERN BY THE PROCEDURE FOR ALTERING BLOCKING METHOD AFTER MARKING CHANGES
r e s l of to he be altered lrom the rest l. Separate the lhe part t0 I. the garnlcnl. garnient.
m" bulge witli n u pcncil: (a) a wrinkle m Mark with 2. Nlurk a tuck; (b) thc position 21s a in a5 zi (lzirt or 21 dart posilion of pinned pinned slashes lor for sprcading or lapping slaslles lupping the pattern; pattern: (c) the (lart. ol a seam or a dart. reviscd rcviscd linc ol

lront C e n t e r front lo reverse it. Match the Center reful eful not t0 the c ccnlel" c n t e r lrom lront of the zu thc lhe skirt carelully t0 the

o, ouse.
i.

hemline (use long hand-basting e skirt hemlitic hemline and edge-baste; Tu r n on the heniline . tches) ktches). hem. te the upper edge ol the hem. aste 'lurn and edgee wrist edge ol the sleeve. 'lurn le hand.' ste hand. te by

lhe pattern, r a c e a copy of the over papcr Lrace 3. Place OYCX paper and t lhe outer ouler contour including all inncr lines as well as the scam allowanccs.) lines. (Du nol include inclutle seam (1)0 not allowances.) 4. Make lhC the aItei-utions l. alteratlons on thc paper patlern. pattern.

n. Placc the altcrcd allercd paper pattcrn back over lhe the match the grain lines. 'lrace Trace the lhe reviscd Original und mzitch lhc muslin pattern. lines on thc
p

e muslin muslin pattern well in order to check the the accurately and to obscrve the silhouette moislure in pressing ore gorc carefully. Never use moisture pattcrns.
Ion ton garmenfs
foundation garment and wear a slip.
0

Note. 'lhe 'lhe same procedure proccdure applies to tting an aclual dress that (hat is to be worn, tual [hat tailor's chalk, worn, except (hat lines should be used instead IhTCEKl lincs instead of ol pencil pins, or thread pins

fhe person master mashr paern on the

t0 catch pins into the slip. otto
W

neck and side plackets plackels closely, being

". oulder pads into place if they are in of the dress. d alte are to be a part o!

master pattern. pattern, which has merely served conveniently as a garment simple enough to be readily analyzed. agarment lt will also be valuable to 1o you in tting actual garments to be worn and should be used for this purpose.

markings. markings. The rcmnintlci rclnaindcr ol this chaptcr intended primarily chapter is intended as rclcrcnce rcfercnce malerial material which you can consult when tting problems arise. Consequently you will best understand the lollowing pages if il you use them when you are making some direct application of the procedures they discuss to a specic problem. Do not by any means limit the use o! of this chapter to the thc tting of the

197

DRESS DESIGN
PART III

FITTING PROBLEMS OF THE BLOUSE

Some o! the commonest tting problems in the blouse, and some of those which require greatest care. come in the neckline area. Others come a: the armscye, the shoulder. the underarm seam, the bust Iine the shoulder blades, and the waistline. In the following pages, prciblems arising in connection with each oI diese areas will be taken up in t u r n .
FAULTS IN _THE NECKLINE AREA

Variation A. Figure 3a shows noticeabIc Iooseng; at the cemer front extending from thc neckline down t0 the waistline, where it tapers oIf (o nolhing. To correct this fault by blocking, Iollow the directions given below (see Figure 3b) . L Pi lhe exccss in, a long da [ m m m8 m! w the waisuine (See gute 3a)

Problem I

_ _ smemnes h3 fabnc buckles

LOOSENESS N FRONT NECHJNE

m
o

at or near the center front of the neckline. This fault indicates loo much width across the neckline from shoulder seam t0 shoulder seam. Either the dress [orm was too heavily padded across the collar bone, or the fabric was not pushed away from the Center [rom enough when it was pinned around the neckline.

appears m56

2. Use this dart Iine as a new Center front linc, and a paper pauern from the muslin fronl followthe gcneral procedure for altering a paltern by ing the blocking method (see page I97 ).Figure 3b shows that the sinlplc procedurc of bringing the cenler dar! line of the papcr pattern to lhe Original center [rom line of thc Inuslin pattern revises cvery cdge and inside line in a single Operation. lt is simple t0 reblock the pattern, but t0 rcdrape il on the model wouldbe edious and mighl bc inaccuram
trace

/ 7
5
5 4

? Line ?

C o n e c t i o n

Fig. 3. (a) Fahric is loosc zu ccntcr Imnl ul" nctkliuc: excess tnpers nII at wuisllinc; (b) (Jurrcuicm linc pimtcd (u ccmcr fmnt t0 rcmovc cxccss. Dmtul linos indiuuc pauu-rn bcIore ullcration.

I98

FI lT TT TI I N6 N G
loosencss near 1a shows looscncss ncar the lhe Varmlzon B. Figurc 1a -.lva1 which toward nccklixic the nccklinc thc Ihc n! nl points hom (er "nur ll'()lll not cxlcnd bclow it. ducx n01 5s: but (lUCS i.
i

9 2. from the neckline along the Smoolh the excess lrom shoultlei shouldcr scam Iinc inlo thc lhc shoilltlci" shoulder (lart, keeping line into fronl and Lhe lhe crosswise grain Icvel a: Lhe lhe scye lcvel at scyc line in front back. back. 3. Re-Inark Re-mark the lhe shoulder seam, crossmarkings, and

[ m m neckline. lront

(a). 4

lmnl nccklinc: zu Cclllcr ccnlcr lmni Ilccklinc: cxccss Fabric is loosc a1 of slmuldcr shuuldcr darl. anend ol o a: .4 off

lions below. ctions

o correct by blocking o

(see (scc Figure 4b) follow the

Pin lhe exccss into u diagonal (liagonal durt tapcring ol the shoulder the entl cnd 0| a neur lhe l0 neck lhe the n} poinl poim then pinch up an and lhen as shown in Figure 4a, und to rctain rclain the balthc oppositc oppnsitc sidc t0 a; amount on the al lo guard ugainst chcst und l0 eacross the chcsl ugainsl over-tting. oventting. front the lront on paper, tracc and trace o Take oll lhe blouse paper, I; ncck to bust. dart from corrcction dan thc the uding Slash Slash through of thc Original shoulder iLlhrough thc C e n t e r ol l0 the point of the bust. bust. i: __to

'

dart to of the new neck dar: lhe inner edge ol j Slash the 5 the Ihr: and dart [o lhe shoulder dar: or (o the busl, bust, lap 1o! 10l ( w o lines of lcorrection dart by bringing the two correction togelher, thereby increasing the size of Llogcther, :I der dart. ldcr

._ z
p
v

'

the out the the

Cnrrectinn (lun ( l u r t clnscd a1 ncLklinc ncckline and transFigni Fig.4 (b). Correuinn Ierred shnuldcr ( dnrl. Dnttcd linc shnws pauern bclorc lerred t0 slmuldcr l n r l . Duttcd bcfore alteralion. alteration.

Retrace the paper pattern the muslin master fRetrace pauern on thc

this change involves only the neckline, the to [I r dart, and the shoulder seam from neck (o der n dart, (hc thc alteration can also be made on the bythe following draping procedure (see Figure iby
_ce

i pattem.

er

in lhe shoulder seam Irom lrom the neck to the '_)- dart. 437l. "f4 (Opening only part of the seam in this f, ovcr causes less danger of losing the correct t over C3088; lders.)

transferred into shoulder dart. Fig. 4 (c) . Excess a: neckline Lransferred

I99

DESIGN
Probhm 2DIAGONAL WRINKLE FROM NECKLINE
A diagonal wrinkle radiates from the side of a too ught neckline toward the lower poim of the shoulder dar! er toward the waistline dart. This fault, the exact opposite of that in the preceding problem is caused by lctting the crosswise threads drop frorn the center
2. Mark and crossmark both sides o! the new dm Q a and trace a paper panern from the blouse from, S. Slash through the cemer of the shoulder dm f i to the poim of the bust. 4. Slash one side of the correction dart and lap out the excess, thereby reducing the size of the shoulder dart (see Figure 5b). 5. Re-mark the muslin from the altered pattem. lt is also possible (o correct this fault by draping. This is donc simply by reversing the procedure illus
l

trated in Figure 4c. 1. Open the shoulder seam as lar as the shoulder dart.

Fig.5 (a). A wrinkle radiating from neckline to the end o! the shoulder dart.

[rom to the armscye during the draping. The curve of the blouse neckline then becomes sharper than the curve of the neck, and this forces ease to radiate from Lhe neckline when it is stretched around the neck. This same fault appears when a persons neck is larger around the base than is the neckline of the pattern. lf the dierence i5 only slight, correct the fault by clipping the neckline, or retain a high neckline by letting out lhe neckline end of the shoulder seam. (D0 nol confuse this problem with the one in which wrinkles radiate from the intersection of the neckline

2. Open the shoulder dart and readjust it so that the crosswise grain is levcl from the Center from 1o the shoulder dart. This lifts the side of the dart nearer the C e n t e r. Reduce thc depth of the shoulder dan until the diagonal wrinkle from the neckline disappears. Then repin the dart. 3. Push the excess along lhe shoulder seam toward the neckline. The from edge o! the shoulder seam a: the neckline is now higher than the back cdge. 4. Re-pin the shoulder seam and crossmark i1.
5. Re-mark the front neckline.

and shoulder seam, a fault usually caused by sloping "shoulders, or by too little shoulder padding in the costume, if the pattern allowed for padding.) Variation A. Figure 5a shows a wrinkle radiating from the neckline t0 the end of the shoulder dart. The crosswise grain drops from the: Center front of lhe ncckline toward the shoulder dart but is level at the

scye line. T0 correct by blocking (see Figure 5b), pmceed as fallows. I. Pin (h:cxcess into a dar: tapering [rom the encl o! (h2 ohoulder dar: to necklinc as shown in Figure 5a.

Fig. 5 (b). Corrcction dart closcd to remove excess below shoulder dart. Stcp l Mark corrcclion dar! m show excess. Step 2 Bring AB m AC. Dottcd Iiuc shows D10050 bclore altcration.

Variation B. Figurc 6a shows u sinnilar but hr3 wrinkle which runs to a point below (Ire bust. ThC

200

F I | T F TT
ise W155 k, _

NG N6
is loose, occur most frequemly frequently on a round-shouldered, chcst is concave beIlaL-chcstcd Ilat-chcstctl pcrson. pcrson, bccausc her chest Lhe front, and in lhe line lhe shonltlcrs tween the ihOllldCYS und the scye scyc nnakes the blouse too bnck conunn CUHLULII is convex. This nlakes her buck Iront above the scye level. By leveling the long in front crosswisc grain at the scye line, you can push up the crosswise lhe scye line from betweexi belween Lhe excess lcngth in the blouse front und and thc base o!" the neck. The 'l'hc horizontal wrinkles due the armhole or may l0 cxcess Cxccss length through lhe Iength may run lhrough o to Lo nothing therc. T0 get rid of them, pin a Lapcr oH tapcr the upper part of the chest horizontal tuck dan across thc und corrccl (sec (see lgurc by blocking. Figure 7c Figure 7b), shows how l0 u) changc the Lhc change putlcrn. pattcrn. the gure, rip the T0 'Io t out oul Lhe the cxccss exccss length lenglh on lhe until the crossfront m m edgc scam und ruisc raisc the [ shoulder scznn edge umil i5 levcl level and the blouse ts wisc grain at a! the scyc line is to lhc shoulder. Pin m m thc scyc line from Iine up t0 smoolhly { slnoolhly lhe new shoultlcr scam and mark a new fronl neckline.

from thc Lhe Imticcublc (lrop froxn gruin shows u noticcublc drop line. thc below bclnw xidc 1o thc scyc front l0 m [er [ront proceed as 6b), lgure 6b) (see Figure correcl b) blocking (scc ffo ffo correct ilows. lows. aL the poinl da11 bcginning at a darl excess into u point lhc exccss Pin thc '| '|_ u . ) nothing at the t0 und (Jan da11 tapering tupering w aistline waistline me um kkasshown lgurc 6a. as shown in Figurc illustrated in Figure 5a. Follou the procedure PTUCCUTC _ ",2. Follow to correct be bc . would lt impractical t0 Figure 6b). fjgure lhe model. on the model. thc patterrl pattcrrx fault by rcdxuping rcdnaping

" '
v

.6(a). Large wrinklc radialjrxg 1mm neckline below the bust. m bclow _int
v

t0 1o

below the base of wryinklcs horizonlally bclow 7 (a). Blousc wr-inklcs Fig. Fig.7 chcstcd gurc. lhe neck on a Hat chcslcd shoulder and scye linc pinned bctween shouldcr Fig.7 Fig. 7 (b). Excess between out in a horizontal tuck.

Iine. . line.

"5 (Ionection dan dar: closed to remove excess below (b). Conection 5(6).

V OSE CROSS
A

Problem 3
BASE

OUSE FRONT

W|TH HONZONTAL WR|NKLES WRINKLES 0F OF NECK (see Figure 7a)

Correction tuck lapped out to shorten center Fig.7 (c). Con-ection front above scye line. This also tightens neckline slightly.

onzontal wrinlkles in the blouse from, sometimes Jonzonlal wrinkles I 3 Crosswnse Crosswlse fold near the bust line if thc the neckline

20l

DRESS D E S I G N
Problem 4

Problem 5
NECKLINE PULLED DOWN AT CENTER BACK AND TOO HlGH AT CENTER FRONT
l

ILOUSE IACK WITH HORIZONTAL WRINKLES ACROSS BASE 0F NECK (see Figure 8a)

gure with shoulders and head arried far back will have a shorter-than-normal back scye depth. and the excess blouse length in back will push up into a neckline which is too high or into horizontal wrinltles just below the neckline. Or if it does not push above the scye line, it may sag into Wrinkles across the lower back with the crosswise grain dropping noticeably at the center back. When these irregularities occur, t the garment in exactly the same way as in the preceding problem (see Figures 8b and c).
over-erect

The

(see Figures 9a and b)

This fault is related to the one illustrated in Figur: 7a, which shows horizontal wrinkles across the [mm neckline. The round- or stoop-shouldcred posture lengthens the back scyc depth so that eithcr the Center Q back of the neckline pulls down or the Center back of the waistline pulls up. The more forward the head, the longer the back scye depth needs to be. Otherwisc the shoulder seams pull toward the back. Also, the back of the blouse will be too nanow between the .3 armscye lines since the rounded back brings the zum: forward and increases the width needed between the back armscye lines.
this fault by blocking, Iollow these steps: l. Pull down the crosswise grain at thc center bacl f until the blouse scye line is lcvel. Then measure thc amount needed to raise the neckline to its proper height.
correct

To

(8)

Fig. 8 (a). Blouse back wrinkles horizontally acmss the base o! the neck on an over-erect g-ure. Fig. 8 (b) . Excess pinned out into a horizontal tuck or d a r t in order to malte the scye line level.
r-__

(b)

F ig. 9 (a) and (b). Round shouldcrs and forward-tilting hcad cause wrilnkling at lhe lront ol thc neck and pulling down at thc back uf thc neck.

2. Mark a line across the blouse where the shoulclers show the most [lromilment bulge. Or if you am usmg a muslin pattern. slush und sprcad it along lhlS lme (see Figure 9c) . 3. 'lrzuc a papcr copy ol thc blouse back.

g s (c). Pattcrn corrected. Dotted line shows shapc of blouse bcfote alteration.
202

4. Figurcs lld and c illustratc thc mcthml ol nlarlting thc papcr pattcrn and ol slashitxg and sprcadln-

FITT

N6 NG

Spread

ws: "ws:

S p r e+ ad \\\\\\\
Jul: 5:3: E9 Im 545; g I:... Eis, . t3 J2v 22? U)
C . B . C.

5 _3.

o correct the same fault

der seam allowance. ider

R lincs from the spread pattem. Re-mark e-mark the blouse lines pattern.
from

corrcction by slashing. Fig9 Fig.9 (c). Shows correction

(c)

4. 4

..
I

_
b: f; uJ
(u

by draping, proceed as

v crosswise iOpen the shoulder seams and level the crosswvise

seanls

..

'

at a!

the scye line, thereby reducing the back

7: at the neckline and increase Pin in u small dar: a: Pin

Pattcrn sprcad t0 incrcase increasc Iength Fig.9 (e). Pattern length of the scye und width und u'idlh of o! the uppcr blouse.

se or the size of the shoulder dart. kase

R e-pin the shoulder seam. Re-pin to add width as Mark a ncw line a: the armscyc armscye t0 wn as necessary.

T0 make makc mund round or stooped obvious, slooped shoulders less obvious t the entire back of the blouse with plenty of room. To counteract T0 countcract the round-shouldcred round-shouldcred 100k, there lhere must be ease on all sides of the shoulder bladesabove, bladesabove dar: and und shoulder ease; beside, through through a neck dart ease along the unnscyc held up by shoulder pads or shrunk out zu a1 the lowcr lnwcr armscye curve; and below, below o! using a long by blousing blousing above the waistline instead of darl. gurc-tting waistline dart. lf the entire back is somewhat tight, slash the paltern pattem Iengthwise through the shoulder and waistline darts and spread t0 1o introduce width as well as to increase . scye length (see Figure 9e) 9e).

FAULTS IN THE SHOULDER AREA

es marked for slashing and spreading a l-ines or round shoulders. f0! round

Since faulls faults in uing tting between the bust line and the shoulders, front or back, requirc corrections involving the shoulder seam, any changes in the shoulder seam line itself should be made only aftcr aiter carefully the and smoothness of t through ease. ease, grain, grain checking the bust, chest, and armscye. If lf the t proves satisf faults observed near details, any {aults factory in all these delails, the shoulder seam must be due to a lack of adjustmenf between the shoulder seam line of the garment and the shoulder line of the body.

203

DRESS DESIGN

Prgblgm 5

SHOULDER

AM UNE SLOPES T00

SHARPLY

A Person Wim very square shoulders will very 0mm lind that there is_ too much shoulder slope in readymade clothes and in commercial patterns. This fault may also appear in a master blouse draped on a personal dress [orm if the shoulder pads used at the tting are thicker than the shoulder padding on the dress form. When shoulders are very square and the blouse shoulder seam slopes too much for them, tting problems of two different kinds arise. A distinction must be made between the two types of faults. One kind occurs when the back or front of a blouse ts contctly from the scye line up Io the armscye end of the shoulder seam but is too long from the scye line to the neckline" end of the seam (see Figure 10a) . The

To correct the blouse shown in Figur: 10a, decrem the slope of the garment shoulder by uing 100mm: out o] the neckline end o] the shoulder seam as shown by the pinned scam on the right side o! the gure. Do not make the mistake of letting out the armscye cnd

I I I

5}
EI

J
I

second, and the more serious kind of fault arises when the blouse is too short from the scye line to the armscye cnd of the shoulder seam, thereby pulling the entire blouse from waist to shoulder out of line (see Figure 10b). Pattems in Figures l l a and l l b show the dilfcrence in these two tting problems.

.:|

_ -..J. -7
3
/

-'I I

I 5

f?

4g
is too long [ m m scyc line I0 ncck cnd scam. (See Figurc ll (a)). o nannte: . III loo short from scyc lmc In armscyc Blume pi, |0 (b). Mumm a m v (See Figur, 1| (5)) ' of n

173.10 (a). Blouse

II
j

(b)

am

Fig. ll (a) und (b). Shoulder slupc wroli-

204

v":

l N G FIT TT T I

i e shoulder sczun with thc the idcu idca [hat that the neck would scam wilh

i seule settle
the

this alteration make lhis imake

t0 to the scye line. on a ready-made garment garmem the exccss length imo into a tuck ch has a collar, pin thc o1 center C e n t e r lront to a point on the Center back o1" {u cemer in i it ts correctly. ln this way, lder lder seam line whcre i1 wvay, ing and changes in pattern shapes can come alter ing

lrom lhc the shoulder it too long from mg i! ing

(Iown (lown to t the body. bod}. This would merely to droop by whole top half of the garment [0

to have the person being tted level level as well. lt helps t0 hold the cemer center front in position near the chest and the tter smooths the fabric up neckline area while Lhe and establishes one shoulder seam from the scye line front seam edge rst, turning Pin the at time. a edge under the raw edge and pinning it as in draping. lrom the scye line, slip the Then smooth the back up from back seam under the lront, front, and pin the two together.

_;tting. tting. I:o correct the blouse illustrated illustratcd in Figure 10b, i is too [ o 0 short from the scye line to the top of the the armscye decrcase the slope by Ietting u f ole, decrease letting out tlze shoulder seum seam until the crosswisc crosswise grain the shuulder o] lhe t0 bc levcl a: at the scye line. See thc the corCorenough l0 a of halt ol l0b. halt" the blouse in 10b. lt would _ Figure right to straighten the shoulder by rong in this case t0 the neckline end of the shoulder seam, be beg in Lhe that hat would raise the scye line ol the entire blouse t he position for which it was intended. Since the this error in tting can not always be sults ol lhis results c m immediately to their source, let us look again at f: half of the blouse in Figure 10b. This scction eft section downward at the armhole cnd end of the shoulder The crosswise grain pulls upward from the r back waistline (or Center center lrom lront as the case may ward ward lhe the armhole end cnd of ol the shoulder seam, and lorm in this direction. 5 able diagonal wrinkles form aistline at the side, side. and the ease from =waistline pulls up of the waistline dart strains toward the end nd nd s houlder seam away from the shoulder blade shoulder blade, " i: was intended to be. Figure l l b analyzes a i! back pattem pattern which has this fault in tting. litting. lleration is simple enough in a muslin pattern, Vleration omplicated in a ready-made garment by the complicated the sleeve. y of retting ty relting lhe

Problem 7
SHOULDER SEAM LINE LOOSE AT THE OUTER END. DIAGONAL WRINKLES FROM NECK TO ARMSCYE

p:

i. 1e

>e i

l2 shows a shollld) shoultler seam loose at the armFigurc I2 falling from the neckscye end, with diagonal wrinkles [alling Iinc end cnd ol lront of the line ol" the scam imo into lhe the hollow in front is arm. Similzir fsimilai wrinkles lall toward the back. This i5 because bccatise the shoulders shouldcrs slopc morc than the Lhe shoulder seam ol the garmcm. wrinkles garmcnt. Sometimcs similar utrinkles occur when the Lhe shoulders are narrow and the unsupbone ported length |)e\0nd beyond the end of the shoulder bonc into lhe armscye. diagonal lines along the Lliagonal drops armscyc. \\hen a broad-shouldcrcd Silhouette is in lashion. corCorsquare broad-shouldered rect lhese (lrooping rcct thickncss to the drooping lines by adding thickness outer edge ol o! the shoulder pads. l'o ouler lit the slope ol 'lo t of the shoulder, reverse the procedure outlined in ProbG (see Figure 10b). That is lem 0 is, take up the armscye end of the shoulder seam until the crosswise grain at the scye line is level (see the corrected right a: shoulder seam in Figure l2).

Saum Shoulder Seam may ay mistakenly believe that the alteration of e? seam is an easy matter, but if you rip it V ol the most diicult apart. apart, it is actually one of im amateur t0 an to re-pin accurately. It lt is imthis seam to balbalance in order correctly sck and front scye length, and yet when the Ack In is completely ripped, the whole blouse from and Center front laoe. Not only must the center laoe. the crosswise ntered on the body. "oentgred body, but die held atye iline front and back must be held acye
H10 H10
i
v

at a1

Fig. l2. A gure with sioping shouldcrs has excess excca length sloping shoulders armscye end o! shoulder scam. armscyc

205

DRESS DESIGN
E

Preblcm 8
SHOULDER SEAM STANDING ABOVE HOLLOW AT CENTER OF SHOULDER

Figure 13a shows a shoulder seam which ts at both ends but fails to settle down into the hollow at the oenter of the shoulder. Thick shoulder pads exaggerate this fault. If the shoulder position and t are otherwise correct, simply pin a small tuck across the hollow along the seam line without ripping the seam. l! the fabric appears looser in front than in back, pin more of the tuck out of the blouse front. It is also Vpossible that the shoulder seam is properly curved but has a wide unclipped seam allowance that keeps it from stretching out l0 its full length. In other words, the raw edge o! the seam may be tighter than the seam line. T0 correct this, clip the seam allowance (see Figure 13b) .

moved forward and trace along the new pinnecl Im; with the wrong side of the blouse next to the catbon paper or chalk board. Then tum the seam allowance out of the way to transfer the line to the wtong sidc of the blouse front.

Fig. l4 (a) . Shoulder seam line is in an unbecoming position.

(a)
(b)

Fig. l5 Fig. l3 (b). Tight curve.

(a) .

Pinning along curve in shoulder seam. seam edges must be clipped above a

Problem 9
SHOULDER SEAM IN UNBECOMING POSITION

When a shoulder seam line ts smoothly but needs the proper appear1o be moved forward or back for to rip Lhe seam. is it unnecessary ance of the garmem, line with pins .(see Figure 14a) . Simply mark the new to transfer thns new.l1ne to the Figur: 14b shows how foldmg so that undcr layer of fabric by tracing, then linc. Turn the lhis m, w edges will comc along is m be line the if am allowance toward the from

bul Fig- l4 (). Shouldcr seam uuwcd forward. rctainctl, by lracing ulnng pin linc.

sann

l-

206

F I T T I NG
l0 Problem I0

II Problem l
SHOULDERS OF GARMENT TOO NARROW FOR BROAD-SHOULDERED. ANGULAR FIGURE

'
p
i

DRAWING AT NECKLINE END OF

SHOULDER SEAM

3.. u. generally falls

occurs, the neckline end of the shoulder en this occurs _ hen t0 t smoothly because the base is f e neck unusually broad and slopes up the side Center of the shoulder (see Figure 15a). . la). A _: the cemer z. wilh a broad base requires a denite upward f. e a! the neckline end of the shoulder seam. Clip the curve belore before tting the lshoulder shoulder seam along lhe i - 2s as explained in Problem 8.

The angular gure with large bones should have (hat h a t give the illusion of rounded conroomy garmems { the chest and tours. lf the (he shoulders are broad but lhe bust line are rather Hat and narrow, the blouse should narrow a: the have a denite vertical fold of fabric beginning at upper half of the armscye and tapering to nothing at the waist (see Figure l6a). This will act as a transitional line belwcen belween the broad shoulder and the narrow chest. D0 not t this gure closely at the underarm. Broad shoulders Support so much e x t r a width {hat the Broad (hat lhe dar: in back shoulder dart in fr_ont thc waistline darf. gont and (he can be somewhat reduced, letting cxcess letling part of the excess go into looseness a: the sides of the gure. (See Figlb and c for altering the pattern.) ures 16b

E15. (a) Broad neck base-the pattern draws a1 the l the shoulder seam. (b) Neckline end of shoulder Hhe and slde side of neck seam let Iet oul out for broad broad neck base.
' i

(a)

relieve Lhe tightness ing the neckline seam to relicve to this problem, because dedly not the answer 1o dedly -of f the neckline should come above the broadmeasurement to make the base of the neck measuremem er and to minimize the difference between !"upper part of the neck. Another reason upper pan line the (h: that roll collars attached high is (hat qg 110m neckline will buckle away from [rom the 40v t o! of the neck. "tpart e? . ckline eckline for a looser yet higher line, rip f thb shoulder seam for at d of a: least 11/, 11/2 cllcenter einer front line in place and smooth 3rd die front from the shoulder, letA the lhe frqnt seam allowance. fr_ont shoulder scam hich follows the side of the ziemlich lhe am e "mw l n w edgc t0 this new line in edge to this procedure kupeat Chi: ptocedure for the mm _and mark a new side hat-max]:
l
l
p

(b)

(C)

change.

l6. (a) Venical Vertical {old fold a: armscye softem Fig. I6. soens line between broad broad shouldets shoulders and narrow nanow chest. (b) shoulder Shoulder line widened and waistline waistlinc dart reduccd. (c) shoulder Shoulder line 1in4: widened; wldened; waistline dart not reduced.

207

DRESS D E S | G N
Problem l2
SHOULDER SEAM LINE T00 IROAD FOR NA&ROW-SHOULDERED FIGURE WITH

Problem |3
ARMSCYE GAP CAUSED

IY INADEOUATE DARTING:

LARGE IUST

This ptoblem again is one o! equalizing body proportions. I! the shoulders can be made to appear broader through the use of shoulder pads, the bust line will appear less heavy and the ease needed by the lge bust will be more becomingly supported above

die hollow usually present in front of the arm. Instand of cutting olf the extra shoulder width, use i: t0 increase the depth of the dart. In garments other Ihm a master pattem. this width is often placed in a [ m m and back dart on the armscye line (see Figure 17).

'

Variation A. Figure l8a shows looseness a: an lower curve of the back annscye tapering toward ehe"; upper end o! the waistlinc dart. The crosswise grain i1. level a: the upper back line but rises noticeably toward; each side seam from the waistline up (o the armscye, where it gaps. The pouch at the armscye was produced by an attempt to t Lhe waistline by pushing the excess over toward the underarm seam instand of taking up a large enough waistline dart. This also raised the crosswise grain toward the side seams. Tot eliminate the excess a: the armhole 3nd 1o providp more ease at the lower point of thc shoulder blade. pin the excess into a dart running from thc armscye to the point of the waistline dart. Remove the blouse and alter the pattem by the standard procedure. Transfer the excess at the armscyc into a larger waistline dart (see Figure 18b for the pauern change).
1
W

between narrow shoulFig. l7. Dar: along armscye bridges ders and [arge bust.

FAULTS

m ms ARMSCYE AREA

Because any tting changes near the bust or shoulder blades probably involve the armhole, observe the ease around the scye and bust line before tting line should t with armscye faults. The armscye move freely without l0 arm me cnough ease to allow at the fronl or binding, but also without gapping trace a gapping bgck armscye cdges. You can usually the shoulder blades for darting 1o armscye inadequatc from. The armin the back or for the bust in the even when the darting is adeye m3,: ggp, however, will bc discussed in me, Corrections for this fault 1h: iollowing problems.

. .-

(b)

n}

'___

-__J

0" Fig. l8. (a) Exccss a1 lowcr curvc 0E annscyc pinned lowcr armscye an "am" Excess dan. corrcction into (b) lmclott. lcrred imu waistlinc darl. Doucd line shows paucm alteration.
'

208

FITT

NG

Figure ariatiun B. Figur: "Variation

looseness at the xhows loosexxess l9a shows 19a the crosswise with back the armscye V.- part ol Vper the center lrom neckline the dropping n I; near this correct T0 line. dilhculty, ztrmhole dillicttlty, urmhole the to ,6i thicker using the by length supcrlluous superuous up the on thc dart to a it translcr transfcr larger der puds, or ulder At neckline. the neckline. at a dart and seam u shoulder dart a into the pointing pouch annscye, pin i: upper armscye, -i|pper side the top of the shoulder blades (sce the right l9a) . Agure igure 19a)

translerred to darts at the b6 transferred The excess should be l9b and shown in Figure as Fxgure 19b shoulder und shouldcr neckline and bclow. below. described ncck dart inlor the neck l. Draw a short vertical line for thc cnd ol lrom from tersecting a horizontal line (lrawn
the pouch. 2. Draw a line through the centcr of the shoulder meet the horizontal correction dart. dart to IIICCL line from the end of the 3. Slash the horizontal linc dart. neck ol the pouch to the end ol
t0 to

'

(a)

" Overuzzm1II/I/l/I/l/l/I//WW' oVel ...mmu/I/z/I/I/MIIW: Iapped

darts and spread ncck and shoulder darls Slash the neck 4. Slanh ln order to sprcad the correction dart. In closc the corrcction neck dart, also spreatl slightly along the horizontal the Center dart to thc [rom the tlart Redraw the neckline lrom line. Redraw back. back. enter Center Variation C. Figure 20a shows a pouch at the C lrom the point of the of the lront armhole radiating [rom excess at the armscye into a dart the cxccss Pinch up thc bust. Pinch Figurcs 20b and c nothitrg at the bust. Figures tapering to nothing the shoulder translcr this excess eqtrally show how to transler equally to thc dart. waistline waistlinc the to and waistlinc darts or entirely cntircly mcthod that keeps Choose thc method Choosc kccps the crosswise grain line. A third method the scyc lcvel at thc more ncarly lcvcl scye linc. at the translcr the excess is to translcr armscye into a horizontal l t0 to 11/2 seam approximately 1 underarm scam dart at the underarnn lI/z inches below the armscye (see Figure 20d). Figure Variations A, dcscribed in Varlations thc faults laults described ll you correct the B, and C by tting the garment directly on the person, seam lines to open and revise from determinc which scanx determine the (liagranns pattcrn changes. diagrams showing the pattem

ab;

at upper nmscye armscye pinned out imo at upper armscye transferred B) Excess 35s

at front lront annscyc Fig. 20 (a). Exccss ut armscyc pinned pinncd out into correction recuon dart.

209

DRESS

D ESIGN
Problem |4
ARMSCYE GAP CAUSED BYEXCESS LENGTH FROM SCYE LINE TO SHOULDERS
The round-shouldered and at-chested gure may have too much length from the scye line to the j shoulders in the front of the blouse. lf so, corrcct .3 this defect according to the directions givcn in tting 3 problems in the Neckline Area, Problem S, page 20l. The over-erect gure may have excess length from the scye line to the shoulders in the back of the blousc and this should be handled as explained in tting problems in the Neckline Area, Problem 4, page 202. ; The very slope-shouldered gure may have excess length from the scye line to the shoulders in the back or front and the difculty may be corrected according to the directions given in tting problems in thc Shoulder Area, Problem 7, page 205.

Fig. 20 (b). Correction dar: at armscye transferred imo

larger shoulder and waistline darts.

darl. 1511520 (d). lixwss trnnslI-rrcd inm umlcrnrnx

pgg 2o (c)

Lxwss

transferrcd

inm waislline dan.

2N)

F I I TT F T T I NG NG
I5 Problem |5

wuom excess wmTH f" SCYE GAP CAUSED BY EXCESS MSCYE A AT UNDERARM
shows a km3 21a | Shows A. "8""? 07l Ation triangular long "iangular Figure 2 t0 a poim near lower armscye taping the 10W" a: lhf tapcring m P9i "e?" crosswise 3mm dart. a " Thc Cmsswlse of h6 the d end f 1in9 9! 'tline grain side seam seam. T0 1o m the Side Lhc da" durt O from m m h5 oticeably 663m) [ darl dart a into excess the long tapering (bis, is, pin f}. armscye to nothing at the waistline as shown 1te 21b, and change the pattern as indicated in
v

vertical (analzun B. Figure 22a shows an almost vemCal Variation and the a1 Lhe tapering fold staning with excess armscyc armscye lhe side seam. Thf: ncar the thc waistline near l0 nolhing to Imthixlg at Lhe Th? lold in this case is more nearly verpdireclion of the [old dircction vergcrosswise gram Lhe crosswlse Lhan in lhe previous one since the cal lhan scanl. Either change the patthe side scam. palrises less toward [h6 corrcclion darl (see Figure tern t e r n by overlapping the correction fronl over the undcrarnl seam, lap , or rip the underarnl Iap the [ront 22b) Iower the back Iakc in the back seam, and lower back to takc
C l l TVC. armscye HTUISCYC curva

'

t. 21c.
\

.
E

B. B. C C.

ed p
p

rla
O v e r l a p p e d Ove

I / II / I / I / l/ I l / f / I l ! .

m u r / n u x / I / l M / m

(a)

(b)

l-Ixccss width in blouse back near ncar underarm Fig. 22. (a) Exccss scam seam pinncd out nut in corrcction dart; (b) Correction dar! dart

GB.

overlapped.

Problem I6 |6
ARMSCYE GAP CAUSED BY INCORRECT BALANCE OF BACK AND FRONT UNDERARM
SEAMS
.

___

(c)

at u m loosens at causes looseness m underarm ih i w - . out. (im Cor(c). Co! pinned mit (b). Excess ad oi hlouse blouse at under torence width-of
'

See tting uing problems of the underarm seam. pagts pages 212-215 for instructions to be followed in correcting 21221.5 thxs this dnfculty. diicully.

21l

DRESS D E S | G N
Problem I7
UNCOMFORTAILE annome AT ARMHOLE
Cate

Tightness in the armhole does not necessarily indithat the armhole should be lowered at the undersenm. In fact, lowering i; may even add to the Ix1n dxscomfon of the blouse. The armhole size depends on several things: rst, the length from the scye line to the armhole end of the shoulder seam asetermined by the slope from the neck to the armhole end o! the shoulder seam; and second, the amount of width under the arm which can be taken in or let out by the underarm seam (see Figure 23). The armhole line may be uncomfortable for any one of a half dozen dierent reasons.
I. The shoulder seams may be too sloping. See tting problems of shoulder seams, page 204. 2. There may be inadequate width in the side of the garmem from the point of the bust to the side seam and from the shoulder blades to the side seam. See tting problems of the underarm seam, pages .713214. for changing the underarm width. 3. The lowest point of the armhole may be marked above the L r u e scye line, which should be 11/2 inches below the armpit when the arm is raised. 4. The seam allowance on a sharply curved armhole may not have been clipped enough to let it (hat the spread lhe length of the seam line. Remember amount the as increases curve intensity of the armhole of darting increases (see Figure 24).

5. Even if the armhole circumference i: adequateff its lower curve may push up a1 (he armpit because slope of the underarm seam from the annscye m waistline has been increased. See tting problems the underarm seam, pages 213 214. 6. There may be overdarting in the blousa, Ar; excessively large waistline dart will excrt a downwarci: pull on the lowest point o! the armhole, and shoulder dart, i! too large, will cxen an upward pulfa on the armscye line.

Clip

C.

F.

Fig. 24. Seam edge is shorter than seam line on sharply

curved armhole.

FITTING PROBLEMS OF THE UNDERARM SEAM

Figures 25a through j show how changing thc slopc; of the underarm seam b) laking in the waistline a! the side automatically alters lhc line and t a! bolh the armscye and the waistline. Figure 25a shows the back and [ront seam lines balanced correctly. Herer the crosswise grain a1 lhe scye line is level and the; lowest point of the armscye curve is approximalely when the 11/3 inches below the C e n t e r of the annpit arm is raised.
V

Problem |8
ARMSCYE AND WAISTUNE PUSH UPWARD UND. THE ARM AFTER WAISTLINE HAS BEEN FITIED IN AT SIDE SEAMS (see Figure 25b)
Fig. 23.

The line which ionnerly Fell a1 thc normal annhl? the walsl depth now riscs above it zu the urmpn. and

212

F I T T I NG N G
Lhe garmcnt rises ubovc abovc Lhc t On the Lrru ue e waistmarked on garincnL risc-s line markcd ng
502m1. The urinscyc underarrn 5021m, circumferaL Lhc undcrarm urmscye circuinfer{ine ne at nOL changc, buL Lhc length ce does not lengLh which previously gnce undci lhc Lhc armpit n O w hangs away frOm armpiL now awuy fmm hung ung down Linder thc lowcr curvc ol the Lhc Iowcr Ol Lhe armholc. a! aL urmholc. e body " i To correci on thc Lhc gurc, mark inark in a u new ncw lower corrccL this On IOwer lhe normal Lhe armholc arinholc t0 zmd let out Lo and leL Out give depth (lcpth cye ye a1 thc wuistline at Lhc sidc seum t0 side seam Lo lower e lront and back waistline ieiront on [h6 Lhe side of Of the lhC blousc. blOuse. Sharpening i; ; e e waistline On Shurpening lhe side ol" Lhe on cziuscs On cuuscs Lhe lower scain, scuin, course, eslant eslanL LO bang lrOm the Lhe body, hang away from irmscye body, and if rmscye curvc t0 rcvrse the Lhc lincs Of the lines of Lhc i; is is undcsirably undcsirably exaggcratcd, exaggcrutcd, rcvise smaller waistline waisLline by taking l0 t Lhe sinallei" louse t0 Laking up larger

|9 Problem l9
GAP ON FRONT OR BACK ARMSCYE BECAUSE FRONT AND BACK SEAMS TAKEN IN UNEOUALLY
Lhe front frOnL seam whcn the whaL happens when shows what Figure 25c Shows is Laken in al crossmarksaine crossinarkaL Lhe and the Lhe same lllC waistline waisLline und frOnL the Lhe front on muiched. The greutcr ings arc still malched. greatcr slope cuuses lhe Lhc lront armscye edge ol Lhe scam cziuses arinscye and waistline l0 rise, Lhe back armrise, und pushe pushen a pouch out on the scye. Show: whaL whcn the Lhc back seam whut happens Figurc 25d Shows Figure happcns when is Laken in at aL [ Lhc l l c wuisllinc wuistlinc und und [llC crOssmarkLhe original Original crossmarkarc still sLiIl rnutchcd. the back inutchcd. Tlie The grealci ings am g l f a l c l slopc slope on Lhe seam Cdgc: lUYCCb Lhc lhc back arinscyc Lhe waistline wuistlinc cdgcs lorccs arinsqc und the l0 rise und pushcs t0 u pouch inLo the Lhc front lront annscyc. armscye. pushes a pOuch into 213e und l show show (hat LhaL il" the Lhe murc m O r c sloping Figures 25 sidc is lillcd liltcd ubuvc ubovc the Lhe Original crossmarking, lhen iL Lhen crossinarking, it is Lhc lhc sidc (hat [hat gaps aL a1 thc Lhc arniscye. annscye. Thc lault: laulls ZlTC urc Cxaggeralcd Lhc illustrations to Lo cxuggeratcd in lhe OuL out Lhat (hat C \ c n excn Lhc smallesl of o! the cros5crosspOinL point shilting wise graiir Of the Lhe underarm seams has an grain or sloping ol inllucncc On Lhc balancc of the on the Lhe blouse. blouse. importam inlluencc iniportant

u: am
IV

'

rLs.

T0 correct the size of the waistline by the blocking 'ethod, pin lhc cxcess at the sidc of the waistline into darL (apering L0 nothing uL [hc Lhc point vertical dar: Lapering to noLhing a: pOinL where t0 Lo curve under the Lhc arm (see Figure ; earmscye begins ouL the Lhe dar: darL width in thc Lhc pattern Jux Then lap out patiern reLuin the Lhe Original Figure 26b). This method will retain a waisLlinc. The crosswvise crosswise grain will _ scye deplh depLh and waistlinc. llow the Lhe scye line of the Lhe body to Lo the Lhe point where llow is darted excess darLed buL but will from rise lrom Lhere Loward there toward ouL out, snexcess

i
A

"

A:

side seam.

257(4). 753.25 (a). Front and back underarm seam correclly Waistline ttcd in at corrcclly balanced. (b). Waislline a1 thc Lhe sidc side scam. seam. Front underarm seam taken Laken in at uL waistline maLched. (d). Back underarm underarm seam taken crossmarking matched. Laken a: waistline and LTOSSWlSC tvvllistline illiltlihe crossmarking matched. (e) . Front underarm seam Laken in t crosswise g-rain grain Back undenrm undetarm seam taken Laken in at a: waislline waistline and crosswise grain lifted. G) (T) Bach

(b)

(d)

(e)

(f)

DRESSDESIN

in the amoum of looseneac an the fromme armscye - that in, in the shape o! the umlaute a}? hangs away from the body. I! the side mm i f } halance correctly, the person being nal shou "A" : her arm no more than necesury for the na- co the armscye end of the seam. The modcl u m ; her arm at a right angle to the side of her body ( is, pointing neither back nor from, bat araigln A e in order to avoid uneven strain on the back and . scye lincs. The tler should determine the {mm
e

..
.
x
e

(a)

rst, and should not attempt (o establish both u and front lines a: the same timc. The model shou hold the Center front line of the blouse in a: lhe waistline. lf i: is neccssary t0 correct this man; smooth the fabric along thc waist over Io (I16 siky seam line and pin t0 thc foundation gaermem m3 anchor the position of the cloth after lihing or lower." ing the crosswise grain an the waistlinc cnough to keepiv thc scye line of the blouse level. Observe the t around: the armhole. Then establish a straight seam line {mm1 the lower point of the armscye 1o the point pinned at the waist, and turn under the raw edge, pinning a: a right angle 1o the edge as in draping. Repeat this= procedure to establish the back seam line. Lap die. front over the back, pinning at the armscye and Ihe__
waislline. Check the balance a! lhe scye line, and check the shape of the armhole in back and from. Then pin betweenn thcse two points from armscye I n : waist.

f--..

(b)

into a vertical dart Fig. 26 (a). Excess at waistline pinned a: olf armscye. tapering the underarm width of Fig. 26 (b) . Proper method altering and side back. front side of the blouse by overlapping the causes the seam side the Dotted line shows why altering to push upward. armscye and waistline

Problem 20

sAeelNe 0F

THE UNDERARM SEAM

ALTERATION OF THE UNDERARM SEAM

Since the underarm seam, like the shoulder seam conlrols the balance of the from and back scye lines, front and lhe tter must be able t0 see the set" of the She lincs. seam ' k f thc armhole as she pins the than rather sit uiually nd i1 more convenient bto 1h . b k and 1 h and f0 dddllatn lfrrlcfeaartfmrxll ieghtl; asfy {im the the prouucc pouchmg' When ' aromnsngzuenoughgzo y u be must thcrc conslstency sxdc. dress is viewed from the

2;;

i:

-_

'

(hat Figures 27a and b show an underarm seam seam lhe sags imo wrinkles below the armscye. When 10060. sags in this manner, thc blouse is probably l o o under the arm and there is almosl ccrtainly too linle blades. darting for the bust in front m for the shoulder n0?insulcient darting t0 due Thc in back. pouch GOW mally shows up in lhe armhole but may (lrop blonst the wrinkles below lhe armpit into diagonal is looae undcr the arm. Althougln the fault is pur-e m l1 posely exaggeratcxl in Figures.. 27a am! b, m37 lh: checks huer quently be overlookul unless the underarm seam ( m m thc side vicw with the lllodeh arm slightlv Hfwd- Stutly thc crosswise grn a h0 "nin1e umcthcr lhe excess should t CH Im: 10 t l: Scye 1'

2M

FITTING
puxhcd up imo the shotnldcr dart or down imo the waistline dart and also t0 sce whether b0! 530k ld front havc too little dartitlg or whelher the fault exists only in the blousc back or in the blouse lront. To correct the error. push the excess into thc armscye and then transler it to the shoulder or waistline dart according to the procedures given undcr tting problems in thc Annscye Arca. Problems I3, l4. and I5, pages 2082| l. lf the sagging occuns on the front only before Iltaking the above corrections, raise the crosswise grain ol the lront seam above that on the back. H thc sagging occurs on the back. reverse the procedure.
FITTING PROBLEMS AT THE BUST LINE AND SHOULDER BLADES

Problem 2|
BULGE IN BLOUSE FRONT BETWEEN SHOULDER AND WAISTLINE DARTS CAUSED DY OVER-DARTING

shoulder dart.

Figurc 28a shows (larls too Iarge to t the small bust smoothly. with the rcstnlt that there is puiness between the points ol thc shoulder dart and the waistline dart. Thc Center lront ol thc blousc also pulfs o u l . because it is loo long bclween the base ol the neck and the waistline. (Ovcrdarting sometimes shows up sinnply in excessive Center front length.) T0 subtract thc cxcess length and width which bulges out lrom thc bust line. make the (larts smaller. T0 do this. follow thc procedurc outlinetl below. l. Pin the excess width imo a tuck lrom the point of the shoulder dart to the point o! the waistline dart. 2. Pin the excess length imo a horizontal tuck from the center front to the bust point. meeting the vertical tuck betwcen the two darts (see Figure 28a). 3. After removing the blouse, pencil along each side of the pinned tucks and crossmark thcm. 4. Following Figure 28l), lracc the blouse pattern on paper and draw lines from both sides o! the horizontal tuck at the bust poinl to a point along (h: amnscye where it begins to curve under the arm. 5. Slash the pattern along the inner o! the

edge

..

i'm . '__._ Lau-ggf t ""-:.:(f=."""4"li-'{:'.'-L '. -.

__ __
'-

'

--. _. .___ _
x

__
..

DRESS D E S I G N

C.F .

Overlap

""43 jf///////x///x/

2
_ -

(a) (b)

Fig. 28 (a). Overdarting produces a bulge between shoulder and waistline darts-Excess should be pinned imo. vertical and horizontal tucks. (b). Correction tuck lines marked to indicate excess in length and width. (c). Overlapcorrection lines eliminates of the bulge by reducing the size of the shoulder and waistline dans. Dotted Iine ping shows pattern before revision.

6. Slash along the upper edge of the horizontal tuclt from the bust poim to the armscye and t0 the
Center

Center

from.

7. Lap the two sections to shorten the pattern. 8. Lap out the excess width and match the crossmarkings (see Figure 28c). 9. Close the dart from the bust poim to the armscye. With (he partial closing of the shoulder and waistline darts, the curve of the armscye is now also less imense.
Problem 22

back of the blouse is also too long between t neck and the waistline. The right side of the gu shows the bulge pinned out on a line tapering fr _ the end of the waistline dart to the armscye. Figu g
t

IULGE IN BLOUSE BACK AT END OF WAISTLINE DART CAUSED BYOVERDARTING

The Ich side of Figure 29a indicates Lhe cffect o! thus giving morc overdarting a: lhe waistline and is necded. Thc lhan eine over Lhc shoulder bladcs

size. When thc darl. is made smaller, the bulge a! shoulder blade drops down imo excess length a! th waistline. Re-nlark the waistline from the Center b to the inner edge of the waistline dart so [hat it " responds t0 the length lapped 0m of the ouler of the dart. Figure 29c shows how to lap out a bulge along line poinling t0 the juncture of the neck and shoul scam lines. This bulge occurs whenever the cross grain bcgins to drop from a poim as high as the n' line end of the shoulder seam. Follow the samt cedure for correcling this us ( e r correcting a
V

'

pointing toward the armscye.

b:
'

FITT l N G

_
-

hludcs (zum-d In making ( o ) . Bulge al shoultlcr Extcss u: armscyr shnuld hc dal1: I00 largc I imo a dm.

(a) (a)
(n t u lnwcr hust linc. (a) Fig. 30. AIIL-ring hlnusc { m m und sprcatl Bus! pninl Inurkt-(l: (b) Bluusc lrnnt slushcd durl. slmuldcr o! ln { m m wuisllinc|mim

_l:')-_I7 and rt-lcr givcn in Problcnn 2| und J2. pagcs llul lhc pattern b. und 29a und h I0 Figurca 28a und lhnn Iappcd rulhcr casc intmdurcIn hc should splcntl 1o unkc il nul. ()n lhc buck ol lhc blousc. you may wish l0 cxlcnd thc slnsh (o lhc IICClLllIIC in ordcr (o cslabllsh u nccklinc" dal1, und lhrough thc C e n t e r ol Ihr: slluuldcl in oulcx lo incrcasc lhc ShOlIldCr easc.

Problem 24
h . . . 1 i

(b)

) und (t). Excess overlappcd in blouse bark pat. 'nale bulging above dan and um much lcngth

BUST LINE OF GARMENT PLACED TOO HlGH

(his lnull appcurs in lting a cummcrcial lt may bc (luc u) an unusually low busl line pallcrn. in lhc nuxlel. ll i1 xhows up in a pauem (lrapcd on a personal drcss lonn, lhc bunt padding may haw: bccn a placexl too high. m lhc modL-l nmy huvc worn diercm slyle ol brassicrc whcn lhe drcss lorm covcr was ued lrom (hat worn whilc uilng thc I n a s l c r pallcrn. See Figurcs 30a und b lor lowcring thc busl linc.

Whcn

hoch.

Problom 23
OVER BUST AND SHOULDER BLADES USE 0F TOO LITTLE DARTING

E.- the t o} a blouse which pulls loo tightly

'

blades, increase thc size the ease at the from retain Vin order it i: needcd. Letting o u t the side incteases the width ol the blouse under t does not revise the pattern shape in the ease (o the curve o! the ' D m : pointing toward a body ' 1h und lenglh over (hat pan
1o
'

- and shoulder

_v

[ollow the directions

I. Mark on lhe blousc lhc poim ol lhe busl and delermine how much more width is ncedcd lor comlonable ease along the aclual busl linc. L. Malte a paper copy ol lhc blousc lronl und slash it from the waistline darl (o (hc poinl ol lhc shoulder dar: (w:Figure 30b). 3. Open lhe waislline ( l a r l to sprcad it a1 the poinl ol (h:busl. This will parlially closc lhe shoulder dart. Re-mark the dans.

ms1

r
7

6x; n31] ggsnag the jstbcedxre

tcrcorrect curves placed too iwioij_shulerblades.

dm purpm should"ibeje (mal the curve so tha-t die paucmi:

'

<

(n)

(b)

(a)

(n)

Altering blouse fmnt m t a higher bust line. (a) 3:1. point marked: (b) Blouse front slashed and

mfnshoulder seam to point of waistline dan.

spread

lo

Fig. 32 (a) and (b). Dan im a luw bust point Hans! shouldcr.

*4

Imporfance of Marlxing fhe Poinf of Busf und Mode on fhe Masfer Paffern

h i: nccessary to know the exact point of the body vcunvc in Order to keep the pattern constant in width (h: broadest part of the bust or the most vrounded part of the shoulder blades when darts are itramferrcd from one position to another. Figures 32a and 33a show two patterns of the samc size, but on one du: waistline dar: is marked for a high bust point, and an the other, [er a low bust poim. Notice the differcnce in pancrn shape when the waistline dart is transfcrred 1o a shoulder dart. (See Figures 32b and 33b.)

C.

vrmggu:
10110

H34 the poim of the bust been marked too high for Imv bun line, the width a: the low bust line would bc inadequate when the darting was transferred ohoulder. lt is not accurate simply to assume mp point o1 a stiwhcd dart is the lrue point of

m
m shoulder.

(b)
"

Fig. 33 (a) am! (b). Dar: Iota high busl puim traust:

A.

218

F I T T | N G
PART IV

FITTING PROBLEMS OF THE SKIRT

tting problems o! skirts are gcnerally less ( o m than thuse o! blouses. But becausc the skirt supported edges, since the cmire area below '- swings free, the slightcsl fault in the balance n i: at once made obvious by the way the 7.3 Postures which dier from a normal posi;- ntly requirc alteration o! the skirt pattcnl _.- 194-195 and Figures 2r d, e, and I). Bony k-j l l d weighl distributioln must also be conIactors in uing. since they too can change ' ';_ of a skirt. Keep in mind (hat the outward "the body lilt the crosswise grain. and therev tends to jut out below these curves unlcss da11: or ease to hold in enough lenglh and t aatisfactorily at these points. to the tting of skirts is found in observof the fabric and in knowing when the f gnin should be lifted and when dropped. why leaming to drape skirts also pre3 so t skirts. Review the discussion o! the ) the balanoe Iine for skirt tting (pages

'

'

Problem

n
The

stmns OUT AT cemsn rnom

nun: for either o! several reasons.

hat from hips to shoulders. or the be [arge and protuberant. : The gure leans back from hips to
u

ihn which stand: o u t at center a against the calf o! the leg in back Jean: back (rom the hips to the hip Ievel. the crosswise grain drops und riaes at the side seams. The the Center ( m m and drops an the pitches the side aeams forward slitt in lge enough, but r-The ' the Incl o: the hips, am:

Fig. 34 (a) and (b). Skirt alteration (or gurc which lcans back from hips to shoulders,

Raise the Center back by pinning a tuck just below thc waistline, tapering il [rom the center back to the side seam (see Figure 34b). lf lifting the center back fails to correct the side seam, lower the center front a Iittle at the waistline. Then remove the skin, pencil each side of the correction dart, and trace a paper copy of the oorrected part. Lap out the horiwntal dar: and Iay the pattem again on the muslin skirt to

219

that the Center

larly.
ment
0.1

a: thehip leye] api-e-pgh 13i: hiptohem. _

s. Anclfrie im

. 4. Then pin i: from hip w cess length along the {vom scam up F; and over from the side gcam into du Note. Maternity skins 1o be worn with lang jackets are cut out over the rounded btlomen pulling the Center front lines o! the skin so ward and to allow them to bang perpend

(c)

(d)

skirt at Fig.A34 (c) and (d). Pattem alteration shortens waistline. and level unter back between hip

re-mark the waistline and the upper part of the side seam line. T0 make the adjustment on the person, raise the waistline across the back and readjust it at in die side seam. (See Figures 34c and d for change panem shape.) (b) Reason: A large abdomen. stands out at the Figure 35a shows a skirt which

which oenter front because of a prominent abdomen, the on front hip Iifts the crosswise grain at the cemer out the emire and swinging level, thereby shortening hem. The armer front line of the skirt from hip t0

extra length from the center large abdomen requires front of the Irom of the hip level up to the center the largacross width waist, together wilh additional from front skin hip es: pan of the curve so (hat the line. a in can plumb bang Ievel 1o hem slash through the Center of the a shows 35b Figure another along the waistline dart to the hemline, and to the side seam. level (rom the Center front

(b)
(a)

hip around the abdomen Theo: Jlashes increase the width center from. am} du: length a: the a person, redrape as follows: on skirl T0 alter this the skin is tighl, the l. Rip the side ncam. lf
220

lihs grain Fig. 35 (a). Large abdomen front. a widens and lengthens sk Fig. 35 (b). Pauern alteration between hip level and waistlinne.

crosswise

a: ce


Problem 2

FITTING
the hip lcvel (scc Figurc 36b), Thc hip level line remains constant am! the spread begins below it.

currme

UNDER

m: HIPS IN BACK

(see Figure 36a)

'

Reason: The crosswise grain has not been lowgh Irom the tlart at the sidt: back toward the

two-gore master pattern skirt, the crosswise the back hip level should drop toward the n slightly in ordcr to provitle sonne are at ' II the crosswisc threads along the hip level dropped as they approach the side seam, the ' threads at the center back, which should dicularly to the oor. will cling against Corrccl the hang of the skirt by slashing from l poim ol the dart through the hem and trans_ pan o! the dar: to width at the hem. This the cupping i! the skirt is not too narrow at

(b) Reason: The skirt i5 tight across hips which are prominent in back ruthcr than wide lrom side to side. ll the hips t-urve o u t morc at the back than at the side. introducc width at the back rather than at the side seam linc, This may be done by either of two methods: (l) Slasl) lrom the hem t0 a point on the waistline just outside the dart, and spread the skirt from waistline t0 hcln. ( ) r (2) slash through the waistline durt and continuc through the hem in order to spread the centcr antl side sections apart as much as is needcd at the hip level (see Figures 36c and d).

u-

----

"

-JI

I -

_ . .

(c)

(d)

x . v 2 . 1 n . > ; J . x "

_ _
-

Fig. 36 (c). Skirt slashcd and spread lrom hem to waist lor hips prominent in back. FigJG (d). Skirt slashed and sprcad from hcm through dart for hips prominent in back.

-.-.-.J

Both methods introducc case at the back where it i: needed. Also see Figur: 35b for still another treat- over the ment, which -introduccs length and width curve a body by combining vertical slash with a horizontal one at the hip level. Since the dan at the waistline may be made deeper In ways producing q.uite dilfcrent resulu. Iet u: both Fnrst, to retain the same size a! examrne the Iup leuel, tnethods. pwot the dart [rom in lower poim and

w?

22l

v
x

am, Fasan-mm.
_

i9 G!

56m2 (h:wistiirexgd the 1mm and spread the

L

<

add the necessary width to itself (see Figure 36c). lt should be rehowever, that the two-gore is unattering in ihis gun. since it does not are from back to front 1.3! all 2nd such are is needed to counterbalance the _

men

sn have a denite cufve on the side beam! hip line.

'

(bis gure,

juta Garant} frdm wist ta<hm. die hip level a: the ein so that aiskftfwhich.t: hips often wnkles hqriimlta line, since the hip levd bii 3k the hip Ievel of thegure.

__ an
2,

>

back and the width from side t0 side. This type of skirt should therefore be avoided by persons with gures of this sort; Note. A slight cupping under at the back may be tnrrccted by raising the waistline at the center back is notice2s shown in Problem I, but not if the skirt

frm

( r o n t to

ably tight across the hips.

(e)

to skin a: side scams B i 86 (e)- Width added widciram pidetoside.

[or

hips

causcs skirt to swing oul t Fig. 37 (a) Sway-backetl gure center back.

222

FITT
lhe hipline and llu- waistline (an bc rcmoved wing oul lhe waisllinc an lhc u-mer buck or by oul lhe side seam bclwccn ivaist und hip until i5 loose enough u) drop Iuwer on the gurc. y-back is pronounced howewer, lhc Center u die side seam line: will still n01 hang perrly, and i: will be nccessar} l0 raisc ihe grain along the hip lcxel lrom the ( e i n e r

N6

4'

sides.

e lhis correclion on lhe person. lollow the

outlined below.

zua skirt wilh the c o r r e c l hip lcvel

'

sile:

u from umil the C e n t e r back falls perpendicuxpin lhe back l0 lhc lronl a! the hip level in _rctain the correctcd balance belwecn back and anchor lhe skirt securely t0 the foundaw

n the side seam and raise thc back edge

l.

j- (he

back waistline seam as far as the dan in "nahe up the amount which has been let o u t '- seam into a deeper dan. the uing time. open the side seam from lo lhe hip level. Lift the grain on ihe o! the side seam and take up the excess fu- a horizontal dart that tapcrs to the end L wnistlixie dan. Re-mark the back hemline. {h skin and malte a paper pauern copy [ m m mcing in ihe lines o! the pinncd horinLap oul. die horizontal dar: which spreads dar! and thereby revises the side section zum. die waisl dann, and lhe upper neun (so: Figur: 37b).

_
i

the side seam from hip lo hcm. die scam from hip l0 waisl, Ieuing oul lhe ancc on thc back as you smooth the excess

Fig.37 (b). Allcraliml lor skin lila! swings oul .1! bnck hcm line. w i l l ) side seams (hat swing u) (hc back. Fig 37 (r). Allemann (u widcn hipliile and l0 corrcct backward swing ol skin.

Problem 4
SKIRT WHICH CUPS UNDER THE ABDOMEN

(see Figure 38a) (a) Rmsun: 'l'hc (rosswisc grain has not been Iowered enough a: lhc hip Icvcl lrom thc center front to thc side scam. (This corrcsponds l0 the fault in the skirt back discussed in Problem 2a, pagc 22l.) Becausc Lhe crosswise grain is not Iowcred enough at lhc lront side seam, the lowcr skirt width is transferred up above the hip levcl, where i1 is taken up inlo too large a waistlixie dart. Thc skirl has thc appearance o! being smallcr below lhe hips lhan abovc them. To rel lhis on lhc pcrson, rip lhe side seam, lhc waistline from the side seam to lhe dart, and the waislline dart. Drop lhe crosswise grain a! lhe from sidc seam until the cemer front hangs perpendicular to the oor. Anchor the lrom and back at the hip level. Pin thc side seam lrom hip to hem. lemng out the from seam allowance 1o givc ease below the hip level. Malte a new smallcr dan a: the waistline. Re-pin the sidc seam from hip to waisl, taking in a larger front seam allowancc. Re-mark the waistline from the dar: to the sidc seam.

too narrow acmss the hip level:

iaemaswcllasby nisingthe
'

m thchip level by letting o u t the

lhtnlerhacktoiesideaeum.

223

D R E S S DESIGN
and the side man): are perpendiculu m f: Then slip the exeeu up au: o! alle deepening the curve at the wainlinc. Note. This simple alteration man die f In; i: is not too exaggerated; otherwise u 1mm ' in 1o the m rected according procedures given

-.

'

Problem 5
SKIRT FLAT

IN FRONT AND IACK WITH 700; MUCH OUTWARD SWING AT SIDES (see Figures 39a and b)

Cf.

lrom hip to hem. swi slnin the too out much, slants seam lf the side out a: the sides. Alter the pattern for a straight houette by reducing the slope from hip lo hem u the side seam forms a line perpendicular t0 the um circu hem the After making this alteration, increase to hem the if slashing from

slant out too (a) Reason: The side seams

ference

(b)

darts at the front and back and translerring somc v._ m the dar: to the hem width. For an example o! alteration, see Figure 38b.

necessary by

abdomen. Fig. 38 (a) . Skirt cups under into wider skirt from translerred dar: of P a n Fig. 38 (b). bip m hem. the T0 make (bis correction more simply, slash from is skirt the while dart the hem 1o the Iowcr point of the umil section lower on lhe person, and spread the to the oor. ConCenter from hangs perpendicular muslin trol lhe amount of the spread by inserting skirt the When the pattern for strips or gummed tape. section partially from is laid Hat, the spread lower closes the waistline dart (see Figure 38b). a: the back. (b) Reason: Hips prominent to the cause given for the tting

This corresponds in Problem 3. The fault in the skirt back discussed the hip level at easc and are which should fall below and the backward the Eton: is drawn to the back, w what indicates extent this swing of the side seams lront is the correct size, but has happened. The skirt side seams pulls the fabric lhe drawing back ol the the thighs (see Figunder the abdomen and over

tight

ures 57b and c). at the crosswise To correct this fault, lift lheumil lhe gram cemer front level ccmer front on the hip

ol the skirt is too I w f (b) Reason: The waistline When the waistline does n01 t, it drops lower the Center from. and back than at the sides. wheref. is supported by the hip bones. The crosswise grai: and r at the hip level drops toward the center n are lhe away toward the side seams. swinging the Center o u t toward the sides. This fault may in u corrected by laking up deeper darts or by laking it. side seams at the waistline in order 1o tighten c a high (c) Reason: A gure with pronounced, _'. on the side of the hip. curve on the Figures 39a and b show a (lecided waislline. the below ol the hip beginning just crosswise the grain n v lilting the side seam so that side. not drop enough lrom lhe cemer t0 lhe l0 the * [ skirt throws the Hare lrom the Center ul the lo of the gure. T0 correct this broad silhouette. 1 thc allow the crosswise grain a! the side seam t0 on the of instead directly to fall a1 the side lront hack a v; ll the outward swing is equal on both the waistline ._ lront edges ol the side seams. rip the and let i! * back from the side lront to the side to the l1 side seam
4
A

until the ll the skirt ls

too

drops perpemlicular seam l suugly. let out the side

224

F I T T I N6

_ . . . _ _

(I)

(C)

_
'

(b). S l i n bang: at au cemer irom and out too mach a: lhe sides. _h_ip level up Io the waistline. lf the allowance is too narrow a: the sides to the crosswise grain by raising the ter [ m m and back. Im die altention 1o lengthen the a high curve on the side of (h:hip. on the side seam where the hip up to a poim on the waist" halfwiy between the cemer Eton; erthe sich a: die side seam
A

Fig. 39 (c). Side seams lcngthencd lor a very curved side hip.

'

"

in Figure 39a, but the silhouette still appears at a! the cemer irom and wide from side to side. To narrow the silhoueue, allow ease above or beside the hip bone, or both above and beside i1, and place most or all oi the from dar! above the bone rather Khan in the usual posilion close to the Center front. To increase the length along the side of the front hip bone. rip the side seam Irom the waist to the hip level and ease the from seam on to the back aeam. See Figure 40 for the pauern alteration. l-or additional width, let oul the front edge of the side seam, tapering i: irom die wainline to the hem. Pin in the ease at the waistline directly above the hip bone. Re-pin the side
seam. On the mutet pattem, carefully re-cronmatk

levelandthewtilhandmarktheaaanmnnhtoi
euetogoinlothcwaiaine.

fromtheirontsideneamtothebackbetweenthehip

woolnhrinkintlteeane.

"m: Fig.41 (a). Side seams cup in below the 11ips, P . diagonal wrinkles.

'
.

FigAO. Pattern alteration to provide increased length and width over hip bone.

Problem 6
SKIRT CUPPING BELOW THE HIPS ON THE SIDE SEAM (see Figure 4Ia)

nun...

.-.''2-

0J.

(a) Reason: The side seam of the skirt bows out between the hip and the hem. Bowling out between the hip and hem on the side seam of a skirt pattern where it should be ruler uright malten the seam line longer than the area directly in {vom and in back of the seam, and the extra length sags, forming diagonal wrinkles. Figur: 41b illustrates how the side seam should be ruled nraight from hip t0 hem if lhe skirt is too loose, and 41c illustrates how it should be ruled from a F Iow hipne i! che skirt i: too tight.
'

a.a.cw
(b) (E)
[

Fig.4l (b). Curved side am ruletl straight { m m hip

hem. if skirt ia too loose. FigAl (c). Curved side senm mled stmight fmm n I hipline. i! akirt i: tight ovcr thighs.

FITTING
)
V

Reason;

Thc sidc scam i:

lo

tun

..

lhe waist

"
.

l0 hip (lrops below levcl imo a sagging seum. This happens if j seam is ( o 0 sharply curved m m lhc hips l0 t _ re. Since the e x t r a Icngth i: nut held up by '\v u o hip linc, il drops (Iown below the hip level. r diicully ariscs i! lhc curved seam hom hip . is stretchcd in handling. For Ihis rcason. 7 stitching, und prtssillg o! lhc curvcd part of ahould be donc wilh lhc utmost rare. (See - 63 and 64 in Chapter 3 for the method of excess lengll) betwccn hip and waisl imo ing ' line dart.)

lhe hip. much Iength hmn waisl

sharply curved

_>'p

hip lcvcl is lost or ignored, the extra Icngth which should bc rctaineti uhovc Ihc hip level drops bclow lhe hips, producirlg lhc curved seam line shown in Figure 42a. To corrcct lhe direction of the seam Iine, rip thc seam from lhe hip level to lhe hcm and raise lhe fronl crosswisc grain from lhc C e n t e r Irom t0 lhe side al the hip level until thc side seam hangs perpendicularly. Put the cxcess nn lhe Irom edge above lhe hip levcl imo eusc, or lransfer i! I0 lhe waistline dar: as shown in Figurcs 63 and 64, Chapler 3 .

Problem 8
FRONT SIDE SEAM CURLED TOWARD THE BACK NEAR THE HEMLINE
This occurs when lhe from edge of lhe side seam has becn cascd onto thc back. In Figure 43 lhe from scaun was cascd m thc back I n c a r the lower edge of the skin so (hat lhe labric just in from of thc seam is langer than Ihc seam itself. and therefore sags, causing lhc scam Iine 1o curl luward lhe back. Mark the poim where lhc seam begins m curl. Rip and re-pin lhis porlion o! lhc seam on thc person, sincc lhe error

Problem 7

EDGE OF SIDE SEAM CURVED TOWARD E FRONT AND SAGS INTO DIAGONAL

WRINKLES (see Figure 42a)

occurs when thc hip level crossmarking on zhe dge o! lhe sidc seam is dropped bclow lhe corv ing marking on the back edge. This happens on the lront than on thc back bccause the ohcn \' usually eased to the back from hip l0 waislFigur: 42b), and i! lhe crossmarking a! the

FigAS. Front side scams cascd to back near lowcr cdge. Senm curln.

Muss nassen
lying In working with a slippery ctepe, alle statt: higher, it will be more acwxie m fgmnply indicate the position of the cm und aodmy re-pinning and basting with the skirt on
'
*
b

thun when the nkirt is

..

ble ber: seam-line markings on the wrong side _unsbe

Problom 9
THE CENTER FRONT LINE
T|LTED

SIDEWISE

(see Figure 44a)

II thc skirt was c u t o-grain, or if the model has hip higher than the other, the skirt is likely to tilt sidewise in (bis manner. Figure 44b shows that when the crosswise threads fail to match in both the upper and under layers o! fabric, the crossgrain tilts diagonally across the gure, causing the center front line of the skirt to swing toward one side. The skirt
one
cannot bang correctly until it is recut with the grain

with one hip higher than the other, let out the waistline scam allowance on the side of the higher hip until thc crosewise grain at the hip level drops equally "on the left and right sides of the skirt center line.

balanccd. To halance the two sides of the skirt for a gure

and right sides of

Fig. 44 (b). Crosswise threads must exactly manch on C e n t e r (o produce balanced skirt lines.

Ich:

Problem I0
SKIRT PULLS TIGHT OVER HEAVY THIGHS

da:

f]

44 (a). Crouwise grain i5 n01 balanccd on lcft and oidea o! cenwr ( m m . Skirt tilu sidcwisc.

m
Wkkk

\\\

'.\

A narrow skirt cannot be adapted to a ligure wi hcavy thighs, since the e x t r a width needed on |k lower level exceeds the amoum needed along the In, line. And when a person sits, the lhighs round up o the front of the leg, and take up much morc ease lha Q when she stands. lf width is merely let inlo the si seam. the skirt will still be tight over the front of r a leg. lnstead, a are must be introduced in front a l l the side seann. See Figure 45b [ o r the pattern tion. Slash the skirl front [rom lhe hem l0 lhe waist line betwecn thc waist dan and the side seam so the added are will fall over the fullest part of thigh. When altering (luring the tting, drop crosswisc grain at the waistlinc from the dar! 1.0 side sealn, and then re-pin thc side sealu. Thls only incrcases the width but throws are over
o

_
v

u:

thighs (sce Figure 45a).

FITTING

hip Ievel.

Skin (or gure wun heavy lhighs necds somc

Fignis (b). Pallcrrl nllcralion (or a skirl Iurgc lhighs.

(00

(igh! ovcr

'

_
_lhe
_

PART V

FITTING PROBLEMS OF THE SLEEVE

skirl,

master

lf errors previously overlooked show postpone pinning in the sleeve umil been oonected.

panern blouse and

[arm into the sleeve. re-checl

lhe

'

an the blouse. Determine the a: the shoulder seam. By

khponibletocan-ythelineof

kann! the normal shoulder tip

intenected by n venial

ehe upper arm. A in { m m o!

lt also conccals lhe bulge of a eshy upper arm, gives the elfcct o! auening wing-like shoulder blades. and makes less noticeablc a large bust line. Fashions vary the standard for shoulder width, however. and the Iines on the masler paucrn musl be consistent with thc prevailing silhoueue. The depth of the armscye for a normal sei-in sleeve is approximately 1V, inches below the center of the armpit whcn the arm i: extended, which is the samc as 1/, inch below the armpit when the ann is down. Viewed from above, the armscye Iine should appear to be a straight continuous line over the lop of the shoulder, 2nd viewed { m m the center from and cemer back it should look like a

nnight line almost parallel to the Center of the gure a: far down an the chest line, where i: gradually curvea toward the underarm seam. The line from a broad

DRESS D E S I G N
q,

57 the chest actually slopes in slightly Wink at the point whete the body and arm Ihevnunhole must not t so closely under the . o! the seam allowance be so wide at the side "the arm rises, that horizontal wrinkles form when d1: arm i: down. lf, in spite of plenty of ease thfough fhe scye and [bust line. wrinkles form when the 1s down. the armscye seam allowance should be afm

im

dlpped at the point where the underarm curve begins. A! the front and back of the armhole there should be a fold of fabric from the chest line down (See page 27). which continues the upper half of the annscye line and hides the underarm curve. For diiculties involving the blouse armscye, see tting problems of the ArmscyArea, pages 208-212
Finning the Sleevo Info {In Merker Paffern Prepare the sleeve according to the directions under Preparation of the Master Pattern for F itting, pages 196-197. Check the measurements of a personal sleeve draft or of a commercial pattern before tting it into the blouse. (See sleeve measurements, Chapter 4 pagts 113-114.) The armscye line of the sleeve should be I t0 2 inches longer than the armhole of the blouse in Order to t smoothly over the outward curve of the upper a m l . Clip the sleeve armscye seam allowance a: the back and from where the outward curve over
the top meets the inward curve under the arm. When having a sleeve pinned into a dress stand in Irom of a mirror so that the tter can see how it hangs in { m m or back even when she is working at the side. Relax your arm so (hat she can move it up, forward, or back without moving the rest of your body because a slceve musl t in many dierent positions. Slip the arm into the sleeve aer checking it carefully to see that it is the correct one for the arm.

Fig. 46. Step l

Pin slcevc

at shoulder seam.

2. Pin fhe sleeve af fhe underarm seam W ith the arm of the model held straight oul a: the I side, the tter should pin the underarm seam of the; sleeve to the underarm seam of the blouse. The twai match if the blouse underarm seam dividcs the front-r and back equally at the scye line (see Figure 47).

PINNING INVTHE SLEEVE

I. Pin the sloevo fo the dress cf fhe shoulder seam Iine Ordinarily the cemer of the sleeve meets the shoulder t0 % inch in front of it. T0 (leterminc seam or in 1A the exact position, adjusl the slecve until the lengthwise grain line from the shouldgr t0 th? clbow hangs Perpendicular t0 the oor (scc FI g u r c 4b).

l-"ig. 47. Slcp 2

lin slccvt at umlcrarln.

230

F I T T I NG
{In sleeve fo fhe dress a? fhe chesf line

up the sides of lhe slecve armsqc and lift the u - from equally so (hat thc crosswisc grain a: o! lhe sleeve is Icvcl, wixh thc 5168W: hanging nded column, and pin i: in lhis posilion, g o poinls, in back am! 1mm, should be ap-

ly halfway betweex! thc ahoulder seam a! iand lhe underann seam a: the bouom (see

Fig. 45|. Slcp 4

- Pin slccve alnng I mm underarm

along
H19

5. Pin fhe

s|eove
SO)

(see Figure

bock anderem! es in sfop 4

froh? undonnn

poinu established, begin a conAthe sleeve seam allowagmbole neun, pin i:

mm

around

H3.50. Sczp 5 Pin oleevc along batk undcnm. (Pinning den; cop inalso indicated.)

(y

J
J

_
.

_
t0

li petptndicular to the oor, islevel a: the girth, and that immun oease ieft in the sleeve for the { m m and back of the shoulder tip.
_ .

sections of the curvc at the side from Bad: (See Figures 50 and 51).

ease the top curve for at least l to side of the shoulder seam because across the top, but work ease along

Fig. 51. Step

7. Pin {h9 mit? ploclef When pinning the sleeve armscye imo the dress in mind (hat lifting or lowering the crosswise of the sleeve. If you remember grain mntrols the hang in a smooth rounded (hat a sleeve well set in hangs to decide whether to colunm, you will nd it easier or down. If there are 345mg (h: cromvisc grain upfrom the girth of thc wrinkles pointing is too shorl an?! am w mp of the cap, the cap at the h, down top unul be pulled (h: ohne should k! disa ar. dup l zaenuconsiggprzd the fault of the sleeve
o

P in sleeve over the top.

Chocking fhe Slicvoifqo} After pinning the sleeve into the blouse m8, i. ing it for appearance when the arm: bang: a1 1h test it also for comfort in all positions. Theta be enough width across the back o! the blouse am! the back of the sleeve cap so that it is possible to s the arms forward and place the hands on shoulders or elbows without slraining the back o! dress. lt should be possible to reach above the h with no restriction at the arm girth. There should r enough length and width to bend the arm withou tightness at the elbow or strain from the back of tlta v armscye to the elbow point. After completely checking the sleeve, mark auf variations in the armscye line on both the blouse an the sleeve. Crossmark the blouse and sleeve annholesi at the shoulder seam, the underarm seam, the bachj and front of the chest line, and at a poim halfwaygf between the chest line and the shoulder seam on bollx 3 back and front. lf the underarm seam lines of the blouse and sleeve do not match, re-mark the 0 m : ; which seems to be o center at the underarm seam l and then trace a new line without changing the tq (See directions for moving the shoulder seam position. 1; page 206.) The sleeve girth is used to check the balance or "sei." of the sleeve just as the scye line is used in the blouse i and the hip level line in the skirt.

'
A !

Problem I
7

CROSSWISE GRAIN AT GIRTH PULLED UP AT CENTER

paar?!

ln Figure 52a the sleeve has diagonal wrinkles pointand from ing from the shoulder seam toward the back of the armhole line. The crosswise grain over the lop of the arm should be levcl in a normal set-in sleeve. When it rises at the Center. lhis indicates that the i sleeve cap is too short. 'lo correct this fault. let out the seam allowance over the lop half of the sleeve? of (h: armscye until the crosswise grain at the Center
V

'

232

F I T T I NG
for increasing cap height.) For a large alteration of this (ype, changc thc paucrn according to lhc procedure shown in Chapter 4 Figures 27a and b. Note. lf you allcmpl l0 tighlen llle slecve a: the elbow. ewen lhough yuu do not takc in any width a: lhc ginh, lhis chungc will shorlen thc hcight of the cap und causc diagonal wrinkles. T0 tighlen a sleeve a: lhe clbow mukc thc alteration on the vertical quartcr divisions (scc Cllaplel 4 pages l..l-l25).

Problem 2

f Flg. 52 (a). Slecvc cap Es m0 shon.

l el.

lf the seam allowance a! the top of the lel out. rip lhe armhole seam arm 1o a point abom 2 inches below tlle i i: u seam, and lower the undcrarm curve o! l. mmcye (o increase lhe heighl of (h8 cap. fault in this second way, however, makes the cap nanower. (See Figures 52b and c
u

CROSSWISE GRAIN AT GIRTH PULLED UPWARD AT FRONT OF ARMSCYE

The slecvc shown in Figurc 53a has (he lengthwise grain line tilted [urward lrom the shoulder (o the elr reasons. bow lur um: of lhe followin b
(a) A prominent shoulder ball needs more height on thc lronl ol thc slccvc cap than at any other point. ln lhc normal dran, lhe highesl poim is a1 the center o! the slecvc, and sumc slcevc pauerns round up higher along lhc back armscye curve than along the front. 'l'o increase lhc height thc required amount. lel out lhc slccvc armscye scam allowance in front of the shouldcr seum unlll the cap ls over the prominent bonc and thc grain seules down t0 a level line a! lhe girth (sec Figure 53b).
n " n

nartow to

Fig. 53 (4).. Front o! slaeve ap i: shon; (b) Addition made t0 ap heught in from o! oemct line o! Ileeve for n promj. nem uhoulder ball.

m: iuxslilefvol. lioltErS tlirownlak

"

xesleeve soothat the lengthdiclii- to the oor, move the -jlnEront of the shoulder seam.
l

im! the echter line of the sleeve

l.

cut so crosswise the not follow does line grain. ie-gil it. to re-cut is correction pbasible
j

slevmay have been carelessly

7A

Problem 3
A

(a)

(b)

ROSSWISE GRAIN AT GIRTH PULLED UP AT BACK OF ARMSCYE

made v" Fig. 54 (a). Back of sleeve cap is short: (b) Addition to cap height in back of center line of sleeve for square erect

The sleeve shown in Figure 54a has the lengthwise to elbow for one grain line tilted back from shoulder of the following reasons. at the top back (a) lf the sleeve cap is too short for equarc, erect shoulders, it pulls in the opposile in Problem 2. Let out way from the one described line the seam allowance on the cap behind the cemer of the sleeve until the grain is level at the girth (see F 131m: 54b). line of the sleeve is (b) If the Center lengthwisc it wo iar forward at the top of the armhole, move back until thc girth line is level. and at chest require a longer (c) Round shoulders the front. armhole an the back of the blouse than a: is perTo sct thc sleeve so that thc lengthwise grain of the line center the move ndicular (o the oor, The scam. height of the sleeve behind thc shoulder need to be then in { m m of the Center line may

shoulders.

Problem 4
SLEEVE

DRAWS ACROSS

UPPER ARM

WHEN

ARM |5 RAISED (see Flgure 55a)

too low, sel. the (a) ll Lhe armscye of the blouse is umlerann o! the at armscye line ol" the sleeve higher the blouse. the cap width (b) lf the sleeve cap is too long rather than the sleeve girth will bind across the arm. . when it is lifted. For this reason sports dresses and with f shirts have short sleeve caps. (See the Sleeve

.
'

Lower-Than-Normal Cap Heighl, Chapler 4 pages N 125-127 .) To correcl lhis fault, increase the width of i a! i? the cap by letling out the armscye seum allowance lessen
lhe sides ol the cap, und Llecrease lhe height by curve. thus de- f ing lhe (lepth ol the sleeve underarnl zmn (sec Figure creasinlg the sealn ullowancc under the

cap

55b).

of the sleeve may have been cut (d) The girth line result that lt will slant in the g au: grain, with the thc sleeve described in Problem 2. oppogiu: way from

is l/ t0 1/3 inch ( o 0 (c) ll" lhe girth ol" the sleeve t0 elbow. small, let out the undcrurun seums [ m m ginh wnh a Bul for a largc incrmse, rctlrall thc pauem
ncw

o.

u w, a n ab: sleeve.

girth

mcasurclneut.

234

F I T T I NG
Problem 6
PULL5 SLEEVE PULLS

AT BACK CF ARMSCYE WHEN ELBOW IS BENT (see Figure 56a)

a1 the oul zu Lhe buck, back, t0 back armscye L0

t o o deeply hollowed annscye may be too (a) The sleevc armscye lhus shortening the length from the out the the elbow poim. point. lf so, let oul add t0 lo necessary seam allowance on the back armscyc

(see Figure 56b). Iength (See length too cither t o o high be either dart may bc high or too (b) The elbow dar: lhe lhe point where the a: the low l0 provide ease exactly exaclly at lhe dart. the posilion clbow elbow bends. H so, change lhe position of Lhe
loo small t0 provide da11 may nlay be too (c) The elbow dar! slush from H so, slasl} H lor bcnl elbow. Im" bcnt lhe lcngll} cnough lcnglh o1 thc lhc slceve, m Lhc (lau u) lhc front edgc o!" slcevc, and lhc clbow (laut ol thc lhc dnrt dart (sce Figure l0 incrcasc lhc sizc o1 incrcnsc thc l5igure 56c). sprcud 1o splfld

(b)

whcnn arm is acmss upper arm WIICII Slceve draws across 55 (a). Sleeve scam lct uuL nur n) u; inDotted lines show armscye seam ; (b) Doued decrease cap hcight. width and to dccreasc cap widlh

lhc underunn scznn ullowance. unclenunu scam

lnr Im Hexing Hcxing lhc zum, incrcase it a liule by letting out

is [ U 0 0 small Hlhc clboxs clbow circulnlcleaxcc cinuunlcrexxu- i5 (d) lf

[o 1o

allow

Problem Prob|em

VE E PULLS WHEN ARM IS BROUGHT FORWARD

(hat nf the lhe sleevc and that annscyc ol ) lf the back lower armscyc Lhc e dress are hollowed out too deeply, rip thc 311e Inotlel the armscye. Havc the model the back of lhc along ilong " her er arm forward and re-pin the sleeve, leuing letting the the blouse and lhe e seam allowance on both lhe the

'

lf the blouse armscye is too low, 71i t the underann. a: underarm.

set

the sleevc sleeve

[hin II I the sleeve girth is too narrow, remedy (bis dircctions in (c) of Problem 4 y following {ollowing lhe dircclionls

(a)
a1 the Lhe back nf of Lhc thc armscye whcn Fig. 56 (a). Slccvc pulls zu lhe c-lbow lhc clbow is bcnt. bcm.

f wrinkles (hc armscye of the Tinkles show only in thc i k. not of the sleeve, the armscye of the dress. lhe (lress. small for the back armhole of the toow! ] Ior size of the sleeve armscye by letting letling out sIceve underarm underarm seam. The letI the sleeve Wpf to elbow. For anven even amount from girth ginh t0 f making this alteration. alteration, increasing tod o! incrcasing ; and spreading, see pages 123-125. ishing

Problem 7
ELBOW OF SLEEVE DRAWS WHEN ARM IS BENT AND SLEEVE PULLS u? UP FROM WRIST
Problem 5 (). PTOICI" (b). (C), (f), (d)

diicully. difculty.
(J1

deals with wich this tting

[0

Add Length

at

Elbow

x}
516(11);
Problem B

(b)

A back armscye that i: too deeply curved t0 the elbow. horgens the sleeve from the armscye

and spreadi Fig. 56 (c) Dar: size increased by slashing front the to edge. from the elbow dart

_ . _ I _ . u . A 5

TOWARD THUMB WHEN ARM |5 BENT (see Figure 57)

on the at The Irom seam line, as i: would appear the center toward in too much pattem, probably slopes front The wrist. o! the sleeve from the elbow t0 the with an elbow seam line in a normal sleeve pattern and the dar: should be almost on the straight grain, the sleeve is being normal position of the seam when the palm. Correct of vom i: on a line with the ccnter the front seam (he seam direction by straightening back seam edge and making the edge o! the pattern

SLEEVE SEAM FROM ELBOW

T0 WR|ST TWISTS

"more bias.

the thumb: Fig. 57. Seam twists toward is 100 bias.

[ront

edgc of scam

236

FIT TT TII NG NG
Problem 9
EVE SEAM FROM ELBOW TO WRIST TWISTS LEEVE T ARD THE LITTLE FINGER WHEN ARM lS |S BENT (see Figure 58)

When this happens either the elbow dar: is t o o 0o 0 sharply biased, since to "y lor the back seam edge is [ and the dar: dart the lhe of size size degree of the bias on the 5 edge of the seam must correspond if the seam ol the palm. (See at the Center cemer of held a: t0 be held is to 118-1l9.) Sleeve, pages 118-119.) r ysis of Master One-Piece Sleeve to the elbow dar: does not point elbow, make poim t0 )) If the dart to have the back part of the sleeve o so in order t0 [hat part of n elbow to wrist equal the length of (hat bem. bent. when
. ) Fa)
'
V

\
l |

G r a n i

I
/

| l

I l
| l | I I l

l
I |

| l

|I

'- I..-

dan is Hule nger; elbow dar: 68. Seam twists toward the liule e n t e r of the t0 the C center I to bring back seam edge in 1o Imall

Girth increased, increased. without increasing Fig. 59. Ginh incrcasing width of cap.

Problem I0

orVEDRAWS OVER oven MUSCLE AT BACK OF vs

uns ARM NEAR GIRTH G|RTH LINE

often requires extra width A large upper arm ohen h over the back girth muscle but no extra v; h, baclt armscye line. Figure 59 shows a the _ {h _ liback ad and nd spread to increase girth width cap width. Slash the sleeve along " wise i m : grain line from girth to top of i 2o wrist. yvrist. Slash along the girth line ' the Center to allow thc mally a: the center 1in6 without changing line 5 ehe Kap. Redraw the top of thc
b

seam line.

to eqtlal armscye l0 equal the Original cap height. Figures 60a and b show a slceve slashcd slashed on the back quarter division and through the elbow dart. The elbow dart is then spread in order to allow thc the back part of lhe the sleeve to widen and lengthen. ll lhe the lower part of ol the sleeve armscye line is (b) lf Loo straight, the slceve too sleeve falls tight over the large muscle at a: (he the back of (hc the arm. Figure 61a 6la shows that an inward arc swings fullness into imo the area below it whcn when the arc is joined to a straighter straightcr line. When this sleeve is set into the armhole of the dress, thc the area falling below the armscye seam between the poims X and X will actually bc be fuller than Lhe the seam line. Figure 61b shows (hat a slraight forces no fullness to fall straight line forccs below it. This sleeve will be approximately as tight in the area falling below Lhe the points poims X and X as the

237

1-3g.AAso;(q)-.
"
V

armscye retnains unchanged. GOI-(). Sleeve folded. The {old will not fall on the lengthwise thread.

9E

b F. Width inaeasea for the elbow arid back upper

_
r

a r t Reduced
G r a i n

(a)

curve on sleeve m11. pm5| (a) und (b). Eect of armscye neu below armscyc. curve (x-x) when stretched out 1755,51 (a). An inward below i: (xi-xi). area the toten fullneu into line (x-x) forces no fullalmon straight 1:58 51 (b). An neu w hang benow n (ad-xi)-

but small elbowFig. 62. Alteration for arm wich large girth

238
4 . 4 4 .

F I T T I N G
I Problem I II

ProbIem I2
SLEEVE FALLS IN HORIZONTAL WRINKLES UNDER

VEFALLS IN LOOSE FOLDS AT FRONT OF

ELBOW
around Lhe lhe girth but 5mal] small around an arm is Iarge amund an

THE ARM JUST BELOW ARMSCYE LINE WHEN IS DOWN (see Figures 64a and b) THE ARM |5

bow, a sleeve may t the ginh girth correctly but be glbow, elbow 1o the wrist. t0 t Lrimly trimly from the eIbow n to {loose nlethod Ior reducing lhe the width widlh of e 63 shows the method I oI Lhc Lhe slecve. sIeeve. Slash SIash verlically n! quarter of V onl vertically on the division wrist (Iivision fronl Irom wrisl the t0 the armscye quarter this division on the eIbow on horizontally horizonlaIIy gain gain o the Imnt front seam edgc. lhe eIbow slash edge. Spread the out. verin n: quarter division Iine in order to Iap out Widlh in the Irom half of the sleeve the excess width sIeeve Iinc. Correcl Lhe eIbow Iine. Correct lhc 2nd below the the Iower and that any change in the slope indicated. Notice (hat E the sleeve must be accomunderarm seam of Lhe an alteration of the kann by armscye curve.

f
_ . -

_
f
I

than the armhole of the II lt Lhe the sIec-m sleevc cup cap is shorter Lhan underarm seam, u) thc Lhc underann bIouse seam, the excess blouse from Irom the chest m lhe the sleeve scanl of underarm scam produces Iength on thc underarnl length lhe al Lhe the underann. underarm. Some e x t r a length Iength on Lhe blousing bIousing zu lhe arm, espeIor raising the sIeeve underarm is needed for sleeve blouses. But if the blousing bIousing is cially ciaIIy in lighlly (ightly ued blouses. front Lhe from i: shows as Iwrizontal horizontal wrinkles aL the excessive, excessivc, it this difT0 correct and back just below thc To und lhe armpit. armpil. nol but not rcducc lhc underarnx Lmderarnl seam length, Ienglh, bul cull), cully, rcclucc arm. to it (o raise lhe t0 Inake UIICOIIIIOTIHDIC muke uncounforlable cnough enough
NUN. Xolc. Scc See Figurc 64v (Mr Ior correcting thc reverse of corrccting lhe this lhis problcnn. 100 loo Iinlc underarln IitlIc underarm Ienglh. problcnn, Iength.

(C)

o r Ieuing for 145.64 (a). Position { I-ig.64 under. lening out or taking up undey. arm Iength on sleeve and blouse. Sleeve with too much much underarm Iength Fig. 64 (b). Slecve the length for thc normal sek-in sei-in sleeve. Alteration of o! underarm length. Fig. 64 (c) Afteration

t! imFa: .:_-..:

-..

a,.

u um mag xeihe slope on the { m m is-nor um hielt. the {vom atind back girthvcomers will "nogmatch wen the sleeve is Eolded uhless thertomers fare fmsced

[W

tdgether, and this causes the sleevg t0 twist. Figur: 66a Shows d slceve with greater slope anVtlie blclithan 0a the Eton: and Figures 66b and c shnw what happens when this sleeve is folded. Compare l-igm-e 66d. which illustrates a folded sleve with the same sIope on Incl and {vom underarm seam edges. Remove a den: which twists and check it for accuracy oi cut according to the directions on pages 118-119.

n
i
1

Fig. 65. Sleeve miss [ m m nrmpit 1o elbow.

lw,

mal?

758-56 match. am! ( m m wam lines do not oleeve with correct Ilope.

(a) '

31?

mm and back seam

o! 58d COTHET-l {an m meet, because slopes Iines are mismatchcd. (b) Girlh manch. 1o (d). Folded back and (mm.girth comers arc [orced (W Slecve twisls whcn

(b)

(c)

240

FITT I N G

_
i
n),

l4 Problem I4
HIGH OF SLEEVE UNCOMFORTABLY H|GH SCYE 0F

I6 Problem Prob|em |6

WRIST SLEEVE TOO LARGE AT WR|ST

size. e binding is due to the blouse armhole size, of the Area 208the blouse, blouse Armscye pages ng g
rrge g e fhe sleeve armscye: tout the seam allowance over the top curve o the width and height of the cap.

* tout tlout the underarm sleeve seam to increase the

'
l

wrisl size, pin out the excess on the T0 reducc the wrist the seam only. Remove the sleeve and back edge o!" 111e to {rom elbow t0 line against the front from back fold the makes more back the wrist. Slantixmg intensely edge Slanting {hat a new a: the wrist line, so (hat from am i: it slide above the front dart elbow the wrist line must be marked. lncrease back the on thc e x t r a length t0 take up Lhc (o edge. measurement, reverse this proT0 enlarge the wrist measurement. for both Chimges5C Figme cedure. See du? changes. Figure 67 f0

length lenglh along the underarm curve, but do this short -the 1h: underarm curve of the sleeve is too shon blouse. derarm curve of the blouse. nderarm
(her ther

wilh wider ginh and redraft the sleeve with and or slash spread the pattern. p, p,

I5 Problem |5

o; E E ARMSCYE EXCEEDING LENGTH OF

uss USE ARMHOLE

m: USUAL BEYOND THE | TO T0 2 INCHES 0

H10 fho blouso Neun : ges 208-2|2).

armscye (see Hing of armscye

- w ihn sloovo armscye fho sleeve armscyo by:

4

v thc sides ning the seam allowance along the pening r edge of the sleeve cap.

under pg the seam allowance of the underpening sleeve girth is too large. 1h:aleeve the

with a narrower girth and "ng the sleeve wich ting Tharrower cap.
'

ich: girth measuremem measurement exceeds the elbow thc more than the usual 2 inches, the by and too wide a Aue large very cap willghave "

mm

Doued section is pivoted back to reducc reduce dart dar: and Fig. 67. Dotted Wider! Wrist. widen wrist, forward to increase dar: and narrow wrist.

Marking fhe Balance Lines (see Figure 68) After tting the master pattern, mark the balance lmes the scye line in the blouse and the hip level line in the skirt, as well as any other lines which will be helpful in designing patterns on the master block. Platze a tape measure around the body under the arms so (hat its upper edge just touches the armhole at the side seams. Adjust it at the center back, center front, and sides so that it is level. Pencil the muslin blouse amund the lop edge of the tape, and mark the most prominent point of the shoulder blades. Place a sec0nd tape across the bust line in the front, but raise it to the scye line at the back. Pencil the upper edge of the tape across the front 'only and mark the point of the bust. Measure down 3 inches from the base of the neck on the center front line, and place a level Lapeline from this point to the armscye. Pencil this line. Measure down 4 inches from the base of neck on the Center: back (or farther if necessary to match the chest line in the from) and mark a level line. This line, when canied across the sleeve to match the line in front, should be level all around the chest. Pin a tape around the largest hip measurement, 7 center (o 9 inches below the waist, and adjust it at the it is level. until sides and (See front, Center back, Pencil 8 .) marking the hip level. Chapterl page the upper edge of the tape. lf special darting is re-

quired for prominent 5111p h?

D a

All marking of balgnce _ efnuw til a second tting ifeiimpriant alte a change of grain are xnde t
4

_L

Making Alferaons in fhe Manier Paifern andRe-cbech fhe Dress Form _ Take 0E the mastei pattem and mari all a l t tions indicated at. the tting. lf therc are man): impq t a n t changes, duplicate them on the opposite half . prepare the garment for a second tting. This usually not necessary when it has been carefu draped on a well padded personal form. lf the master pattern did not t well, re-checlc dress form by placing the altered master pattern on th form again, readjusting the padding, or re-marking th _ basic lines to conform to the tted pattern. If 1h tted master pattern ts the dress form, a review o the changes that were made during the tting w help explain t0 the beginner her mistakes in drapi or her posture variations from the standard dress form See Chapters 2, 3 and 4 for suggestions in check ing the accuracy of the at pattern pieces of the blouse skirt, and sleeve. Mark and measure the basic lines on the pattern pieces as shown on the following charts.
e

'

242

F IT N G FI TT TII N G

Fig. 68. The marking of balance lines.

DRESSDESIGN.
MASTER PATTERN MEASUREMENTS

BLOUSE

I. Shouldsr soam (fronf) Esse on Bock 2. Basic neckline Q; o 9 n d ,

.. ... . .... ....... C.F. fo shou|der . . . . . .

WIDTHS

_ _ __ _ _ _ _ _ _ __ ___ ___ __ _
.
a|ouse 935k

. . .

.. .. .. ...

. . (total) .

I. Conhr_ bes: cf noch 9o am Conior hnck

2. Shoulder soamjas noch) fo waisi ' ' Fmnf ' ' ' ' '
Bacl:

Lznems

c"*" w '

...........
u

; L,

'

'

'

'

'

'

'

3 ch.(3dwn oncF) ' ' ' ' ' ' . 4. Upper becl (4" down C.B.) . . 5. . . . . . (fofa|) e circumference . . . sqc_a_ *0 ade a m . . Cf. o sich a m . . . . . . . . (fofal) 6. Bus? circumference . . ' ' C.F. fo side seam 7. Weist circumference . . . . . . . . . (fofal) C.F.fosidesearn......... C.B.fosideseam.........

.. .. .

..

3.

4. Scye Iine fo upper edge cf blouso c Bk_"k h n" ' ' Bad Shoulder af nock fo scye Shoulder a? armscyo fo scye Fronf- C. F. neck fo scye Shoulder a? necl f0 scye Shoulder af armscye fo scye 5. Armscye Iengfh .

.... ......... Underarm seam . . . . . . . . . . .

'

'

'

'

'

Back.............
Fronf.............
Blouse Front

.... . . . . ...... . .. . . . . . . . . . . . . . . . (inkl)

'

'

'

JJW M T
Upper

I.

5
m. v
.

>

.3 3'

g 5
g c

f"

S"

a
O

i}

I!
3

\
244

{V

F TT TI IN NG F I | T
MASTER PATTERN MEASU REMENTS SKIRT
LENGTHS

"sine circumference . . . nisine B. fo side seam . . . . C.B. f0 side seam . . . . F. fo C.F. p Ievel circumference (falten rf of hip Iine) line) . . . . . . f0 side seam . . . . . i0 C3. .F. fo side seam . . . . CF. im sweep . . . . . . . fo side seam . . . . . +0 C3. io side seam C.F. fo

WIDTHS

. . . . . (fofal) . . . . . . . . . .
over largesf

I. Waisf fo hem

. . . . . . . . . . . . . . .

. . . . .

. (fofal) (fatal) . . . (fofal) (ich!) .

Center Cenfer back . Cenier Center fronf . Side seam .

Cenier back . Cenfer Cenfer Center fronf . Side seam .

level {o hip Ievel 2. Waisf +0

Skirt Back

Skirt Front

L) 5 . .

[ L e v e l {

"O
"d

He
Cap

ight

Elbow

Len

U n d e r a r m

_
Wrlst

246

ol collars lthough this chuptcr, on thc (lesignEIIg clcsigning ol" Although to dcul (lcul with busic cuts, lt it hus necklincs, is thc last t0 d necklines, becutxsc its importance been placcd lcust; pluccd last becuuse inuportuncc is least; ol the difhculty ul thc subjcct. The becausc of Thc rather because (lifhculty ol kline or collur acts us u buckground lor the luce, lucc, C0llSl(lCI'C(l the most therefore bc considercd nlost important should therelore iunportunt 1 . of the entire COSlUmC. sllould bc givcn curccostuxnc. lt should lrom thc point of vicw of ol lushion lushiorl v;thought lhought both {rom ol individuul becolningness, slmuld always g of becunningncss, und should ulwuys of the COSllllIlC. costmnc. an integral part purt ol lor thc the busic lmslc typcs of ncckn this chapter, puttcrns Im" Iwckand collars are develupctl dcvclopcd both through druping (lruping llat puttcrn blocking mcthod. ln u through lhrough the Hat Gases, where ucctxrucy cases, ucctlrucy is of prinnury ixnpurtunce, impnrtutlce, directions are given. ()f tdirections ()[thc three thrce methods, mcthods, drapolfers the most opportunity offers lor creuting Original npportunity for originul becuusc n0 no purt ol" thc the dress (lress requircs nmrc morc but becutnsc "sion of t than thc the neckline, it is cssential cssentiul that dress form necklinc be paddcd dress pucldctl und shaped to

.
A

licate your own precisely.

d:

i"

RS
explanation me y employed in
'

'

ol the terminology comhere o! discussions of collars will save 'tion in the [ollowing lollowing problems. The following e principal terms used: le-line denotes the frce outsidc outside edge of the collar to the neckline edge sewed to the garmcnt. poscd t0 garment. d refers rclers to the height of the collar roll, usually nount the collar rises above the basic neckline to lis is attached. lt is (hat part of the collar which from the neckline to the roll-line.
l

or fold x01
vovt

ot the stand.

is the tuming line of the collar along

slides

lold to fold thc lupel begins t0 Break is lllc point i5 thc puint whcrc the break-line und und ol" ol buck from thc fronn Lhe the cdgc cdgtgunncnt. tailorcd ol thc lapel luld-linc of rclcrs to thc lold-linc lapcl und the tuilorcd collur thcil various ( l o l l u r s urc (lussilictl (lussillcd Mcording Collurs uccording to their ol outside outsidc cdgc, neckCharucleristics churuacristics w idth, shupc ol" width, unost importunt line shupe, und roll. The lhc most inlportunt ol these (llillzlCtCl'l5llC5 i5 i thc wuy thc collur rolls lrtnn lrmn the neck neckclluructcristics linc cdgc, und this thi is lurgely rela(lClCTHllHCd by the rcla lurgcly (lctcrxnincd ol" thc the nccklinc t0 the nccknccklixxc cdgc ol thc collur to tionship ol ol thc gunncnt. For line ol" F01 instunce, if il" the thc collar necklinc hus thc sumc ( uu r lhc gunnent rv v c us thc ganncnt necklinc, it il" thc lies llut; il the collur Ilccklnme ncckline is lcss curvcd (or evcn even convcx cunvcx )it lllC collur neckline inlmcklinc is more in. ) i t mlls; und il" thc ("urvcd u n c d (or more morc concave) wurdly ( concuve) it ripples. lt is u) think of thc the collur collar roll as rcsulting Ihm, tu essentiul, thcn, lrom lroxn thc rclutionship ol ol" thc the two shupcd lincs which ure joincd the necklinc nccklinc of ol the garment und and that ol of collur. thc collar. lf u collur cullur is not not cntirely cnlirely Hat, its width also inlluenccs thc hcight ol" ol thc roll. That 'Ihat is, thc the stand incrcuses as 21s thc crczlses the collar widcns. A collur lluttcns out until it nds im in its own Circumlcrence circumlcrencc on the body. For exil its circumlcrcncc circumlcrcrlcc 2 inches inchcs lrom the thc basic zmnplc, unnplc, il necklme necklinle is only us a5 grcut as the circuxrllcrencc l body circunllerencc hody inch from thc basic busic nccklinc, ncckline, thcrc is thut that e x t r a inch of collar width to go into a soft roll around the neckol line, giving the collar u a 1/2 l/_ inch stand. A straight struight strip scwed to the basic neckline produces a stand one-half its width, since its circumlercnce at the outside edge is the same as that ol the basic ncckline. neckline. A concavc collar neckline providcs a greater circumlerence circumference on the outslde edge of the collar, and stands less than onc-half its width, width since the outside cdge cdgc of the collar

out on the shoulders {arthcr larthcr from the basic neckline. As the collar neckline takes on a more innecklixle.

DRE

ward curve, the circumference oI: the outside edgein. and therelore the proportion of ; widgh #751895. l n t goes o the stand decmases. T? Imeness or tighlness of the coIIar along

s:
'

um

94mg the netkline; nach an ure l4. page 25}, hat: iqldqgqg_grgig 5 the circumierenceiothe m51:
I

"fgigg

mll-lnne 1s important Iactor in determining anothef the collar style. Smce the upper pan of um d ; i, smaller than the base, a close tting roll-line must be the as the basic neckline or even shorter, san_1e length and thls can be achieved only by a straight line or a curve on the neckline. Figure 68, page 272, convex showmg a diagram of a wide tailored collar with a reverse curve gives a graphic explanation of the relationship between Lhe shape of the neckline and the

length ol the fold-line. A collar with an inward curve

easy toll thax Amndiiaaqiretpm. xe 1.. the rolled Peter Pan Collr, Figureg, pggf255 By learning to usc thethree types of lings; wa concave, and convex, for ceIIar necklines, you an a sign an innite vaxiety o! collars adjusting 131176 the right degree or conibining line difcctions m. you produce thc exact effcct you wish. In all co designing, check the t on the model by using (h: entire collar, not one half. Thc pull across the of the neck by the opposite side vis essential in deterf mining the fold-line of the collar.
. V
b

PART I

DRAFTING AND FLAT PATTERN DESIGN

In this chapter, we shall consider the drafting and at pattem designing o! collars and necklines before we discuss the relevant draping procedures. This is done because the subtle modications achieved by than precede, the draping Iogically follow, rather
draing process.

Problem I
THE BUILT-UP NECKLINE (see Figure I)
Fig. l.

5 I w lv m .

The buiIt-up necklinc.

Before building up the neckline of a master pattern basic neckline. As it is, blouse, you must revise the the basic blouse has Iengthwise threads very slightly the arc slrelched away from the Center Irom to make Lhe than or curve of the neckline somewhat sharper of the circumIerence curve of the neck itself. The I inch above the extended be could blouse area which too small to t the basic ncckline would therefore be neck. For this rcason, the sizc of thc upper part of the incrcased, and also basic neckline must be slightly so that the lcngthwise 1h: grain must hc shiftcd, than necklme thc m ratIuer Pm mm4; are perpendicular IP07" 5L (See Dralm ligmly stretched away Necklinc, Flgures l8-2I.) cccILm: Ior thc uiIt-tup

BLOUSE FRONT
For your convenience. have blocks for the from a w" back of the blouse with built-up necklines ready t0 use:
I

whenever you design dresscs wilh nccklinles high than the basic one. The following directions explai how to make these blocks.

Slash lines (see FIgure 2) I. Cut a copy of thc master pattern blouse froh (m und on it draw a Iine Irom thc halIway poim, I, Sla 1 D. (lart. waist basic the necklinc to lhc cml oI Irom _Ito D.

COLLARS
N

A N D

NECKLINES
(o AL. in Order l0 doucd line A1,. u lhc thc IICW ncw sloping AB, m slopinlg doned this in thc posxPOSIshill shilt the thc grain slightly. Keep pattern pancrn lhc xelnaining lion lhroughuut Icmaining slcps. throughonnt thc (o ]. " j. of lhe pattcrn lhC cdge uf 2. Dran Draw zalong paucrn from A t0 along the

Lhc hultway linc lrom the Draw a line hullway point. K, on the 2, o!" thc busic hasic waistline dart, u: lhe cnd ul dan, 5021m, m a. ulder ulder sczun, from 1) u) K. ' Slash hom

am guide (see Fiqure Figure 3)

l, Draw around the master pattern on another oul. Draw a dotted um cul it out. of paper, but du not _ tof to point lhc front of Lhc from ccmer C e n t e r the neckline, A, t0 Irom e CCIIICT [ m m of the waistline. 0m lrom the center out inch 1/2 the shoulder seam from the Measure 1/2 inch on thc 72. Measurc a2.

end and mark M.

-ading Jding
to increase the lhe pattern panern on the slash lines 1o pread the Spread and shih Lhe lhc grain (see ckline ckline size und (sce Figure Figurc 4). lhc pauern shown in I5igure l. l. Place thc Figurc 2 over the lhc Center front, 3, ern shown in Figure tem malching Figurc matchixlg the

incrcusc the size of the l0 increuse alash jl) (u thc slash 3. Sprcad the corner I louches point M. shouldcl comer Ileckline Ilecklinc until the {h}: shouldel zu amthe neck. Draw a inch 51:15h [hc 51:13h 3/5 This sprcuds / sprcads thc the pattern follou f0llo\x' thc I und linc 1mm j cuned line curved ] Ihrotngh lhrough 1o K. edge lhc widlh at the umil thc 21l 1) l) unlil DK aL lhc 51:15h slush Dlx 4. Sprcud thc thc Original ol lhc sidc seum, scum. ( (i, i , cquals the unnsqe unnsqc cnd o1 sizc. siLc. puucrn pultern markcd by the scion Inarkcd Lhe pauern 5. Druw around lhc Dmw amund paltcrn scclion Thc inner edge of the waistline I(H(.'I<"lil)1. The poinls KHGI-El. DIC to C1 to dem DIC remains the same. Extend D1C dart and B. The C1 Connect (Lonnect ol of DIE. the thc lcngth length Cqllkll equul ncw remuins AB. The [ m 0 lm4( e i n e r ("rnler pattern is [mm1 pallern [mal [runt [um] AIi(I'l)lfF(.'HKI]/I. 4B(.11)'liF(.'HKI]/l.

I :
I

'

A
|

n
|

I
u;
C.F .

| I |

'
|

u
|
| |

l
I n

z
| |
|

'
I n
|

a
| | | |

'
|

'
l
I |

:
|

.| ...| 3 B L

CY.-' c

B-L

Fig. 2. x

Slash lines. Sluh um.

guidc with tcnnpnrary Fig. 3. Pattern guide lemporary C e n t e r front fmm line AL. center

1o shi shift grain Fig. 4. Slash lines spread m and Iincrcase n c r c a s c ncckline sizc. size.

249

"

afpoilit; l itzxch up_ nght angle: 1/2 inch to "asur. necklme etid of Ehe shoulder seam. Labql
w
.

d: mr. gpar:
L

edge bf the neckline, N to O, neckline. Basic eLtqvfhe

stitched. _ f? " S. Draw a line ffom K Ltonntte line dart, D. 4. Slash from ] to K to D, and spread 54' i neckline, tapering off to nothigg a; D. 5. Draw around the new pattern, ABCDHEFGHIJE:
l

L_

for a built-up neckline, Tsytgvjs the blouse ' back ' kl d imm:
{

IA-

"whicheamstifelxgsxetiroslgffy
|

S; Pi:

for die 6. Dmw the new da. fouowing um . 1 lme Malte K11 inner edge and K] for the outer Edge. K]. equal

7/f

|0

I
I s l JN
A A

F.

C.

E-
neckline drawn. Pig. 5. BuiIt-up
dart Fig. 6. Part of waistline t0 small ncckline dart.

transferrcd

und dar! Fig. 7. Built-up necklinc drawn.

250

COLLARS

A N D

NECKLINES
thc Center back a: the xwckline at Lhe necklixie lrum the Measurc Nleasurc lrom the collar, and of width the sezuns seams shoulder und at the collar), [h6 slyle-line (the outer line of the collar). draw in the in the neckline lor a low at collar for Note. Design a Hat front blouse the on same way, but chunge the neckline the collar. block belbre you and back before
z). 5.

necHine on fhe nal paHern (see Qhe builf-up buHf-up neckline awing fhe gwing

gure 7) Hgure

l. E].

Extend the C e n t e r back line up through A and k a point l inch above it, L. linc from the shoulder corner, l, I, par par2, Extend a line i1 a point l 1 inch up l0 the C e n t e r back; mark on it l to Lo inch to a! a right angle 5% nwasure in at 2% I; and measure Label of the shoulder seam. end neckline the blish t0 M to t0 complete the shoulder seam. i"; M. Join join I to I, to t0 M parlhe neckline llCCkHnC L 3. B. Draw the upper edge of the necklinc. el to the basic neckline. el
thc line linc very LM, sloping the vcry slightly away ;kline edge, LM interscct line from linc Rule a back. center the 11 to intersect i. 3lhe same point. a: the g neck edge at
a line from ] T0 complete the dart, darl, rule u 4. f4. To
lhe to the

Problem 2
FLAT COLLARS DESIGNED FROM THE MASTER PATTERN

Huf Collar. owHai now CoHar. Nof Wider fhan 3 lnches (see Figure 8)

l.

masler pauern Place the shoulder seams of the master pattern (hat they touch at use back and front together so that neckline neckline and overlap 1/2 inch at the armhole. The tne lcsscns the of the thc shoulder lessens rlapping a: the end o[ rlapping i neckline curve across the shoulder seam. p ccntcr e n t e r front of T0 remove the sharp curve at the C lhe neckline inch below the a dot w, I/2 _ neckline, place ". e center front, from, and another on the neckline halfbetween the shoulder seam and the center front. curvc. This insmomh curve. "Vthesc these two pointswith a smooth 'about inch es es the neckline 1A on each half length pattern. gc pattern. g To remove the excess length, draw the nal line the neckline 1A inch above the original neckline gthe 1,

'l /8 Raisel Raise /8" ToITighte Ingme

1-

_
5e

\ \1/2" er?

Lower

u-

"e. ; E.

I-or a slight roll to cover the seam joining the For r and the dress, subtract 1A inch from the center Center w,inch [rom the of f the collar and the same amount Irom front. A collar should usually be 1/4 inch from. t0 center back to than the dress neckline from Center Mthan must roll collar the attest iront. enough _nt. (Even - the the seam.)

. frum mm Fng. 8. Flat collar sloper designcd Fig. dcsigncd [ blouse.

c

'

"

mastcr

paucrn

25l

nness oalsnenl
Mio Hai 0ull|t-B_er+he" (see Figure 9)
l. Platze the back und front of the master pattern so that the shoulder seams touch at both the neckline und the armscye but do not overlap. 2. Remove the sharp curve on the center front of

the neckline as you did lor the narrow at collar.

3. Remove the" length thzc this alddn anyan the narrow at collar. 4. To keep the collar Hat in the back, incrucase che f circumference ol its outer edge by sloping au: in * center back line 1/, inch. This tiglnem the am zt the i cemer back and prevents the neckline from rolling up when a wide at collar is preferred. The looser omer edge of the collar makes it fall morc gracefully over the shoulder blades. For still more easc, or even lor a rippling edge, slash from the outer edgc of the pattem

to the neckline at a point at least l incl: from die

'

Center

back.

Extend 1/8"

5. Draw the style-line as you wish. . Note. Wide collars sometimes have shoulder scannt so (hat the width beyond the armscye can curve down over the arm (see Figure l0). Also see the lay-out plan for the sleeve with a dropped shoulder line Chapter

4 pages 157-158.

Shoulder Seams
Touch

seams.

Fig. l0.

Wide collar. Curved over arms with shoulder

Problem 3
COLLARS DESIGNED FROM THE COLLAR PATTERN SLOPER

collar designed lrom y - g Wide at

mnsrlcr

puncrn.

Rippled Collar (see Figure I I) in To design rippled collars lrom the sloper made Problem 2, rst draw lines from lhe outside edge perwhcre the ares will b6 pendicular to the necklinle ol the demosl Hattering and consistent with the rest ol the t0 sign. T hen slasvh anal sprcad producc ripples and the placcmem size (lcsired. Figure l2 shows that I0 must he cnnsixlcred in relation llarcs the lor sprcznd The thc number and posilion ol seznns in the collar. seanl m one in Figure |2 rcquires eilhcr a shoulxlcn a u scam or opcning down lhe ccntcr lmck. 'lo prcxlufe neckhnc. collar (hat ripplcs cvcnly urmuul thu cmirc

with u small inner circle cach wilh circles, euch complete Lircles, (lctcnnincs thc (legree Hure, are cut and r whose si/c size (ictermincs (lcgree of Hure. [ i m seams on the lengthwise 1sgwed togethex togelher with {in} V \ grain. gram.
'.4

C O L L A R S
j

A N D

NECKLINES
C0113! 3 collar Of a lhc pauern shape of 27 for thc Note. See Figure Z7 paucrn Hat at the Center llBS hes but back the thc in rolls high which mlls front.

man): many

_/

0
3, l3. Fig. Fig. l

Rollcd Peter Pan collar.

Fig. l l .

[ m m mllar Lollur slopcr. dcsignctl fmm Rippled collar designed

Shoulder Seam

Flal cullar Lollar sloper slashcd zmd and overlappcd { o r rolled Fig. l4. Flut slupcr slashed ovcrlappcd for Peter Pan collar. Problem 4 Probiem

DRAFT FOR A HlGH-ROLL HIGH-ROLL COLLAR (see Figure I5)

I52. Flat collar sloper slashed and spread fnr for ripplcd .12.

ar.

-Peter Pater Pan Collar (see Figure I3)

Collar
W
l

This i: sometimes referred t0 to as a fullroll full-roll collar 3 is use i: rolls from C center e n t e r back to center front. The " Pan an collar, although often thought of as simio the e at collar, actually has a soft roll which mm the side of the neck unlike the highaivay from fold-line. To design brgwhich hidh dings clings along the foldoline. slash and a slish overlap copy of the collar in Figure l4. Keep the roll soft and shown ul-igure m slash a: the Lhe eback by placing the rst byplacing pemer cemer A siraight Man. A straight line across the Center close-tting toll. .ga.high. ogqtting

To appcar appcax smarlly tailored, a high-roll collar should to a1 the C e n t e r back and sides. Since 1o the neck ncck at cling the neck is smaller at the ("old-line fold-linc than at a! the base, a collar cut cul Irom from a slraighl lends t0 to slraight slrip strip of material tends buckle along the lhe fold-Iine. fold-line. Howcvcr Howevcr a convex curve at the neckline edge of the collar increases the length length so that (hat it ts comfortably a: at the base and yet clings at the fold-Iine. fold-line.
Note. Never attempt to 1o make a high-roll collar widc. wide. This collar can be so easily drahed drafted from the neckline measuremenls measurements (hat that draping directions will not be given. lf you wish to drape it, follow the directions for the die narrow standing collar (pages 262463 262-263 and Figures Figuren 36 and 37) but introduce less convex curve. 37),

253

112p

cohr pamnv _
.3
'

mp5.

Hfgh toll conar;

back soCenter front. For a coat or jacket, a gannent. over Ineasme out from A the collar widthi- not more 2. dtlan twice the height of the stand. 3'. Continue AC down 1/2 inch to D. 0.4. Square out irom D 21/, inches. If the curve on die ncckline begins closer to the center back than this. it will ovenighten the outside edge of the collar. at A5. Draw a line from D through E to AB, ending of the neckline poim. F. This line will be the length minus front center to 11/4 inches. from Center baclr.
echter
M

Figur} 15a) Dnw a line AB the length of the basic neckline

A

0C o
A
( . _ _ _ _ >

2 1/4"

Neck Edge
.

(I)

_Add1/4"

\
-u-Fond o
h-

Line-->

G. Fallow thc slraight line AB for Lhe last 11/4 Thc original/point B will be slightly too far am heause the line curves from D. Move point B hast toward F so lhat line DEFB equals the neckline measnremenu from cemer back t0 cemer from.
>

Neck Ed 6
(b)

7. Square out from C. line at 8. Squate out from B, cuuing the top poim G.

l Spread 1/4" l

||_spead

V4

collar. 9. Finish the cenler from line of the indem the Center front (a) To shonen ihe fold-line, inch nearer the neckng B6 1/, inch a: H, a point 2%, B and G. jom line B man the haliway point between

Btol-I. lhc outer or free edge, draw a line (b) To lengthen H t0 intersect line CG trau: the unter front at poim M,inch beyond G. side and cmout the J0,Duplicate for thc opposite
254

Fig. l6.

for Drall for hngh toll collar. (a) Dran of paucm scmn: the collar; (b) Undcr-collar o! wml cum with (In (c) Top collar o! wool coat.

'

I
(c)

C O L L A R S
Problem 5

A N D D

NECKLI lNES
lrom F the curve from makc the curvc (3 und and make line drawn in stcp 6 break t0 the Center n e brcak the necklirle lrom t length ol the necklitle ( u n t e r lront neckline point G. lront. Lubel Label the cctttcr ol the collar and llCCkllllC ol Note. This cotnplctes complctes thc ncckline i5 is lt curve. curvc. it a possiblc possible t0 draw a gives tompotxnd compourld t0 the break-line bilfk back ( C H I C ! ccntcr lrom the line struight straight (1. HowI to (i. shown lrom I" as showtx und and then thcn cunc upward upwartl 21a which u collar a Irecklinc pmduccs evcr a stmight pulls pmduces straight trecklinc 21 curved line. than one with a outsitle cdge edge thun tighter tighler on ils Ulllsltlc

_ FTFOR A CONVERTIBLE COLLAR (see Figure I7) Converble Collar) (See also fhe Drapinq of a Converlible
"ven below: iven nter back to center front along the basic neckline. nter back to shoulder seam. nter t0 break-line. break-line. nter back to nter for stand. desired eight [ m m fold-line to outer edge at center llar width { and shoulders.

easurements needed for the drafting of this collar

ol the collar, perform T0 construct the style line of perlorm the follmving following steps.
and ol the stand und C thc the hcight l. leastzrc Alcasurc up lrom (I hcighl of [hat an are t0 tu bc worn under suits. H. ln In blouscs thztt suits, mark H, and it can sela silll>l;t(l0l'y i nbout about 3/, inch, n inch. und salislnctory stand is dom bc highcl" than n; lI/Q inchcs. highcr tlmn

ol the collar, follow these o construct the neckline of o

Ions. ions.

'_L Draw horizontal line

nter

AB one-half the length of from neckline, or the length of the measurement lrom neckline, Center back to the Center front.

At A, erect a perpendicular, perpendicular, line AI. Measure up from A 3/, 5/, inch and mark C. This ishes the depth lishes center deplh of the inward curve at the Center
to line AB, Draw a smooth curve lrom point C t0 lt the length of the neckline from the center ng it ng o the shoulder seam t0 plus l inch. Mark point E.

of the stand Front H II IIICJMIIC 2. Fron: mcasurc up twice twicc the height nf thc und and nmrk mark I. Sincc [IICIC therc is an inward curve on the necklinc ol 3/, inch at (cnlcr lhe collar will tend ccnler back, back. the t0 stand onc-thirtl ul ol its width and lall lwo-thirds two-thirds ol its width. ll" the trccklitle Irccklirle is constructed 21s as a straight across thc line acmss the back, lrom C to H and the hack, the stand from lall lrom H l0 1o I must hc bc madc made equal.
a linc 3. Sqttarc mm 1 line { lrorn I thc the lcngth Square u length of AB. 4. l. Squurtlronl AB at point E. Measure up Square out lrom from E [f on this linc line the lcngth of centcr back, or from C lo w l, rnark point j. I, and mark
z). Follow out lrom point I l on IK about half the lrom I to j belore curving in t0 distance distancc lmm to point ].

'

Continuc on line AB the length of the neckline Continuc E l5 (the point. point l inch in front of the shoulder to o the break-line of the lapel at point F. w a line 1/, inch above and parallel to AB in Dtaw for the o u t Blltablish the approximate rise ior koAestablish curvc at the end of thc the collar. convex rnvex curve

m:

convex curvc [rom F up to the parallel

6. Draw a u line through (.' (i parallel t0 to the Center back. The collar may cnd on end this line, or it may slope nnay out lrom G (i and end lI/z ll/2 inches or more beyond it for a collar both both longer the pointed ends. longcr and wider at thc
K l/K

3/01
A

3/4": c P

g.

2 1/4"

In 1M

n
.

Shoulder Seam

l7. Duft for a convertible collar. F15. F13. l7.

255

D R E S 8 Di 5164M
TARTII

DRAPING
Problem I
DRAPING PROCEDURE FOR THE BUILT-UP NECKLINE

A neckline that curves up agalnsx the side of the neck is usually more becoming than one that stops abruptly at the base ol the neck, since it forms a softer tmnsitional line. Moreover, i: creates an impression of height in the gure and slenderizes a short heavy neck (See Figure l).
Fron! cf Garmenl I. Placing the cemer front line marked on the fabric 1o coincide with the center front of the form, and with the top edge of the cloth 11/2 inches above the sholder line, pin it at the following points (see Figure I8): (a) Base of neck. (b) l incl: above base. (c) Bust line. (d) Waistline. 2. Pin the fabric to the lorm again 3 to 4 inches from the cemer base ol the neck at the chest level to to the cemer supporl Lhe crosswise grain perpendicular
lrom.

slash point. This eases the fabrlic ahovg neck and avoids a tight upper edge man would da1; "d down and form horizontal wrinkles around m:lower part of the neck. Note. The diagonal slash at the shouldet and noch intersection is not only important but necessai-y, since it makes it possible t0 pull forward the lengthwise threads above the basic neckline into a, positiotrmote nearly perpendicular to the neckline. lt is impossiblc to achieve an absolutely smooth t over thc ( w o plane: (the horizontal area around the collar bone and the vertical plane of the neck) with one uncut or undarted piece of material unless thc fabric has some exibility. Soft-textured wool is ideal because the lengthwise
>

_ . _ . . ; . L ; v . _ v

4 . -

threads above the basic neckline can be forced out o! their normal position perpendicular to the crosswise threads by stretching and shrinking. 6. Pencil the neck end of the shoulder seam line inch seam allowance (see Figure and cut it with a 2% seam allowance and pin it the under Turn 19). perpendicular to the edge. 7. Measure up from the base of the neck the desired neckline height, usually between l/z and l inch. Mark
and c u t it with a
inch seam. 1A

S. Pin around the base of the neckline marked on thc Iorm from the cemer front to the shoulder seam hand ahead of smoothing with the thumb of the lelt hand. (he pins, which should be placed by the right to lines Pencil the basic neckline with short broken the blouse correctly when guidc you later in placing you t in. it with a 4. Pencil the shoulder seam line. Cut end inch seam allowance, cutting lrom the armscye 2% a a: o! the shouldcr toward thc neck and slopping thc neckline t0 slash diagonally poim 1%inches lrom line and the ncckto the intcrsection ol thc shoulder line (m:Figure I9). scam linc ab0V 5. Belorc marking lhe shoulder above the base nach base, pull thc lcngthwisc thrcads lmnl lrom the toward lhc ccnlcr

/ 7 // M w w -

o! (h: ncck lorward

ncckliuc. Front Fig. l8. Draping proccdurc Im" huilt-up 3. l t0 ol garmml. steps Fig. l9. Stcps 4 l0 7.
25l)

COLLARS COLLARS
m

AND A N D

NECKLINES NECKLINES

Back of of Garment Garmeni Sack I. r ic with the m arked center fabric marked center back I. Place the fab back the center b ack of the form a nd wi th the top line at and with line top J gdge above edge IV:! inches a bove the sh o ulder line; the n pin shoulder line; then 11/2 pin it at the following following points points (see ure 20) : a! (see Fig Figure 20): 0| neck. (a) of neck. Base (a) (b) I bove base. inch a above l inch (b) (c) Shoulder blade. (c) (d) Waistline. Waistline. (d)
t0 the basic neckline I 2. Pin Pin again l inch from the again to center back. Do not a llow the crosswise grain grain to allow to drop, unter drop, keep it perpendicular perpendicular t0 to the C cente but keep e n t er r back. but

de8. Measure p from e thc neck the d basc of the from the base Nleasure u up seam sired neckline t, a nd mark a nd t r im the seam to mm and und neckline heigh height, m atch the fro n t. match front.
No te. If sed , it provides lf a center Note. Center back seam is u used, provides lhe line a nd can even be substituted for the a nother fitting substituted bc another und can line tting sm all neck dart. small

3. small 3. Place a sma ll neckline neckline dart V:! inches from dar: about I 11/2
'

4. Continue to to pi n the fabric to t he basic neck4. to the pin ing a head of the pins pins and keeping the line, smooth ahead and keeping ne, smoothing
crosswise grain grain level until unti l you ulde r reach the sho shoulder you reach Aosswise seam.
-*

the Center center back. ll It should inch eep should be from {rom Vs inch d 1A, to y.; 1A deep atJthe the base of the neck a nd should taper off to nothing and t0 taper nothing both upper edge neck line and 2 inch es h near the upper inches edge of the neckline below neckl ine. low the neckline.

Fig. m 8. Fig. 21. Back of garment, garment, steps steps 5 to

as you you did d id the lro nt (see (see F igure 2 1). front Figure 2]).

Pencil the sh o ulder seam lin e a nd cut y 5. Pencil 5; shoulder seam line and c u t it exactl exactly

(i. 6. Force Force the lengthwise leng thwise th reads from the point point of threads " the slash toward the Center center back before before m a rking lash toward marking the bove the base of the neck. shoulder above ylder seam line a

Figu re 22, ra ting a var ia tio n of the Variation 22. illust the built-up Figure illustrating built-up neck line, shows t hat d arts o r yokes e nte ring eckthat darts or neckline, neckyokes entering the n line ine make ma ke it possible possib le to neckline even 1 t0 fit t the built-up neckline even built-up ore closely nd offer interesting esig n possibilities possibilities m more and closely a interesting d design as well.

7. Finish Finish the shoulder e by by slipping shouldcr seam lin 7. line slipping the back seam allowa nce forward unde r the front a nd pinpin 7; allowancc forward under and ningt it perpendicular perpe ndicular to the edge. _vI._; edge.

Fig. 22. Built-up art varia tio n. neckline with d dar: Fig. Variation. Built-up neckline

Problem 2

DRAPING PROCEDURE DRAPING PROCEDURE FOR FOR THE FLAT FLAT COLLAR COLLAR
(see 23a. b, (see Figures b. and and c) Figures 23a, c)

Fig. 20. Back of garme nt, steps I to 4.

sa tility. satxlny.

A A at Aat collar is p articula rly suited ild suited to a a. young child particularly young ch a woman or a young woman with sma ll , d e licate fea tures. It wuh small. young delicate feagures, h <_>r 1s a is a basic collar form, form, however, nd since it can be and howevcr, a since it ean he interpreted in m a ny differe nt ways, it as g reat v. dilferent i: h many has greax verintfefpreted

257

(b)

(c)

Figs.23 (a), (b), (c). Flat collar with variations.

I. Find the Center back line on the fabric by measuring from the selvage the planned width of the collar from the Center back to the outside edge at the shoulder plus 2 inches. Pencil the Center back line on the lengthwise grain. The approximate lengthwise measurement is the depth of the collar plus 9 inches.

9. Remove from the form and smooth and true- the inch above the one lines. Mark the nal neckline 1A marked on the form in order to introduce a slight roll that covers the scam line when the collar is attached to the garment.
l0. Fold the fabric on the Center back line and duplicate the other half of the collar (o try on.

2. Pin to the form the Center back line marked on the muslin allowing the collar depth at the Center baclt to bang below the basic neckline. Clip on the Center back line from the basic neck up 6 inches or more (see Figure 24a). 3. Trace a Crosswise thread along the neckline for a! least l inchlrom the Center back to prevent the grain from dropping. Pin the muslin to the neckline of the dress form 11/2 inches from the Center back. 4. Beginning at the Center back, Cut along the neCkline 11/2 inches, allowing a 2%, inch seam. Clip inch of the neckline at this point. w within 1A
5. Continue to smooth and pin the fabric toward the shoulder seam, clipping the seam allowance at intervals of I inch. Keep the Crosswise grain from the Center back t0 the shoulder seam almost level. Lowerand lifting the ing the grain loosens the lower edge, the collar to lower the causing edge, grain tightens roll. 6. Smooth the muslin over the shoulder to the and the lower Center { m m so that both the neckline (lirections for Variaedge of the muslin lie Hat. (See and to Continue Clip at onc-inch inter-

Variaiion A (see Figure 23a) Since a Hat collar is so extremely uncompromising in line that it is usually too harsh and at for an adult, it is generally wise to take advantage o ! the many interesting variations that are almost bound to happen accidentally when you are draping. For instance, by clipping to the neckline at a point about 5/, inch in front of the shoulder seam line and ipping the fabric over above the neckline you will have a lapel on top of the Hat Collara rolling transitional line more attering to the neck and lace than the Hat collar. A crisp fabric will interpret this as a half standing lapel. The pattern shape for this Variation is illustrated in Figure 25a.

Lon

|".._ 'J" "W33.

v.

r
u

pin necklinc slightly. cut it 7. Pencil the outsidc edge of the collar and directions fnr Variation B). (sec Figur: 24b and crossmark at the H Pcncil the basic necklinc and shoulder seamgiun

vals, strelching the

A.)

(a)

(b)
l0

| Fig. 24. Draping proccdurc lor Hat mllur. (a) Stcps 6; (b) Steps 7 and B.

258

COLLARS
aon B (see Figure f aon

A N D

NECKLINES

23c) Curve markcd enter thc curvc Inarkcd for the C Center fabric within the he Iabric The a5 a bc interpreted as cut uway, is not tut may be away, muy t, t, if it i5 in in shown the indicated inclicated puttern pattern shape Ijabot,

Fig, Fig. 26.

( J u l l a r mlls (lullar

fmnt. in's Hat in from. buck. hcs higl) in bznck.

5. i5.

Jo ul l u r variations. (u) ( L Flat collar variatiuns. for Fig. 23 (1). , (b) Collar pattern {or (r). _j);

[ur Fig. Fig. pnttcrn pzlttcrn {or

Problem 3
IGH ROLL IN BACK AND GH i
WITH A PING PROCEDURE FOR A COLLAR wm-a FLAT AT CENTER FRONT (see Figure 26)

ars that roll up against the neck in back are llars becoming and give a more tailored appearance reveal the base of the ume than those which reveal tostume the back. the
o! this dtape a collar of drape
kind, proceed as outlined
Pattern shztpe (nllznr shnwn shuwn in l-"ig. Fig. 27. Pattcrn shnpe fnr Cullar Fig. 26.

5 t o off a strip of muslin with the lcngthwise Cut lengthwise collar at the C center measured enter asured the depth of the Collar 4' inches. (For a collar which comes to a lus u; 4 lt "the the Center center front, add several more inches.) rain of the strip should equal _ossgrain direction o! I v rement ement of the neckline planned for the garus 2 inches for manipulation. cil center back line on the lengthwise cll the Center the e muslin. f
l

4. Pin the muslin to t0 thc the form with the 4 inch allowance hanging bclow below the base of the neck and with hanging the Center C e n t e r back line on the C center e n t e r back of the form. Pin Pin at the basc of the neck and abovc the base the desired height of the stand (see Figure 28).
5. Pin along the neckline from the the shoulder seam.
Center

back to

o u t from this point (Euter back line and square out e length from the Center back to the e conar with a high roll in back has seam, e; A collar i not a curved, back neckline (see the pattern 27), .
'

easure r e up from the crossgrain edge 4 inches

6. Clip from the bottom edge up to the base of the thc C155? ncck. (lhus neck. far the Collar collar is turned up against the (Thus lar neck of the form.)

7. Pin the Iabric [abric t0 to the form abovc above the basic neck at the shoulder line the desircd desired height uf of the Collar collar stand.

!0

Fia- 23: Draping procedure for collar that rolls high in bacl. lies at at C e n t e r front. Steps l to 7.
Fig. 29. Step

s.

8. Fold the muslin ovcr on itself and anchor the outside edge to the form at the center back so that it will not shift (see Figure 29). Pencil the outside collar edge from the C e n t e r back to the shoulder, and clip from the raw edge to the penciled line.

man
oness na-sneu
.
Problem 4
THE USE OF BIAS FOLDS

Fig. 30. Step 9. shows marking for lxoth basic and V-neck- ; lines. Fig. 31. Step 9, shows outside cdge marking

IN COLLAR DESIGNING
'

Caution. Keep the collar anchoretl at the back so [hat the Center back marking remains perpendicular t0 the ncckline, and pin the fold-line at the side.

9. Finish the collar from shoulder line to center front (see F igure 30). (a) F o r a V-neckline, [old the fabric back from the shoulder t0 the lowest point ol" thc center front and mark the outside edge ol the collar. Then ip the fold up out of the way t0 maxfk the ncckline edge of the collar. muslin back from (b) l"or a basic neckline, fold the neck. This rethe of base the the shoulder, but follow the to quires an inward curve at the neckline preventfold the collar from buckling away at the side. Flip the line followup out of the way and mark tentatively form. the on neck the Clip to within ing the base of the check and again tlte t_of 3/4 inch o! this line, 1s sauscurve the collar along the {old-line. When factory, mark the outside edge (see Figure 31). I0. Remove the pattern [ m m the form alter cross the shoulcler seam. marking thc point which matches Tme the pattern lines and duplicate the opposlte

side.

Alter the neckline ol the collar lrom the shoulder w the ccntcr front is cslablishcd, any changc scam will in the width ol the collar at the shoulder thc also change the stand. For instuncc, nnrrowing vcrsa. vicc und the stand, ("31- ag this point will lowcr
Note

Many collars can be made from bias folds. Because it is pliable, cloth cut on the bias curves morc subtly and gracefttlly than a shaped piece of fabric. When attached to a high neckline, a roll collar made from a straight strip c u t on the grain rises half its width. whereas one made from a bias lold stretchcs along its outer edge and thus reduces the height of its stand. Vary the amount of roll by varying the amount you ease or stretch the neck edge of the bias when you attach it to the garment. For example, to force a collar t0 roll up very close t0 the neck (see Figure 32a), stretch the neck edge of the bias fold when you attach it to the neckline of the garment. Always handle the double thickness of cloth c u t on the bias as il" it were one layer. That is, never separate the two when you join the fold to the garment. For a Hattet collar (see Figure 32b), stretch the outside or lolded edge of the bias and ease the neck edge when you join it to the dress. The success of the Hattet collar will depend on the pliability of the fabric. You can steam a bias fold of wool into a curved shape before apply: ing it (see Figure 33). Bias lolds are cllective arountl necklines of lowrut cvening bodices, since the fold rolls gracelttlly over i the seam and clings or llarcs along the lme edge according to the way you manipulute it. and according to the inward or outward curve ol the neckline to which you apply it (scc Figurcs 32a am! d). lluth widc and narrow shawl collars (scc Figitfe j mudc lmm btas -1 32:2) can ollen bc Inurc succcsslully loltls than lrom shapml picccs with scams m1 the nut26l)

COLLARS COLLARS

AN D A N D

N ECK LIN ES NE CKL INE S

'11) avoid seams at at the ends ide edges. edges. To cnds of the collar, side collar, 1 curve the neckline edge to the fold edge (see back to fold cdge edgc (see 1 Figure 34a), and ea.se ease edge and Figure 34a), and then stretch the fold edge the Ileckline neckline t0 to straighten igslraighlen the convex curve (see (see F Figt0 o1" make ure 34b), or even to make it concave (see Figure 34c). ure 34b), (see Figure 34c). is especially The bias shawl collar is when especially satisfactory satisfactory when cxcellcnt shrinking made of wool because of the excellent shrinking qualqualz ity of of lhis this material. material.

'

T ie collars (see raight Tie (see Figure Figure 32/), 32f), although although usually usually st straight u t on the lengthwise cut grain, can also be made bands c made lengthwise grain, ( a n either t0 of folds, to get a soft roll line around bias of around the the get play up laid neck or to play or up the diagonal diagonal line of a p plaid or stripe.

m:

Fold

Bias

Fig. Fig. 33.

To T o shape fo ld by nd pressing. pressi ng. and shape a bias fold by steaming steammg a

I I

I
I I

I
1
I

:
I
I
Pull PulI Up Up

' '

|
| I

I I

0/

u?

(f)

/\

2. Bias folds Fig. 32. folds und used in colla r designing. designing. (a) High bias bias collar (a) High roll (biaranczglxcd (bias stretched at neckline) ; (b) (b) Low bias roll (bias a; neckline); Low bias roll (bias taJed atnecklinc); at neckline) ; (c) (c) Bias ares Hares when auacbed attached to to outoutward thwe: curve; (d) (d) Bias clings clings when actached attached (o to inward inward curve; curvc; (t) Bias shaped for ashawl a shawl collnr; collar; (f) (I) Bias for for a high roll roll a high hpd iot collar Cading ending in a a tie. tie.

l
/
(b) (b)

Thread Line Lme

(c) (e)

in

34. To To shape the end Fig. Fig. 34. end ol o! a a bias fold fold shawl shawl collar. collar. (a) shapf: (a) Cm off 0E end end of of bnas Cut bias collar in a convex curve; (b) curve; (b) Stretch Sttetch fold shrink neck edge t fold edge, edge shrink t0 bring neckline into edge to into a a straigh bring neckline straight, line; to neckline to proline; (c) further and (c) Shrink still further and ease ease 1o neckline to produce a concave concavc curve curve
261

DRESS D E S I G N
Problem 5
2. Pin the center back line to the u n t e r back o! ; iorm, leaving a 9/, inch seam allotvancibelow m: * basic neckline (see Figure 36). 3. Pin the strip to the basic necklinee {mm die inches following the m i t ; center back over at least 1% this poim drop thc crosswise thread. From slightly, so that the collar will cling to the side of die neck. At the point where the collar crosses the shoulder inch above thc f seam, the neckline marking may be 1A crosswise thread on which the Center back was started. ;

Dumas mocsnune von A NARROW

STANDING COLLAR (see Figure 3S)
collar, commonly called the Ehe narrnw standing or Mandarin Chinese, collar, is particularly mllttary, when the neck is slender without

enther extremely long or short, and when the column o! the neck is straight. This type of collar must be made o! a [abric rm enough to hold its shape.

becomlng

being

Fig. 35. Narrow standing collar.

time ts closely along its free edge and at the same measthe comfonably at the base of the neck. Since urement around the base of the neck is at least 11/4 inches langer than (hat 1 inch above thc base a at the upper edge. straight strip ol [abric would gap must have a concollar a T0 t both circumferences, vex curve on the lower edge. basic l. Cut a strip of fabric crosswise equal t0 the neckline measurement plus 2 or 3 inches. Make the width ol the strip the collar height plus 18/, inches. Mark the center back line on the lengthwise grain. inch above the lower Pencil the crosswise grain line 3% inches from the center back edge for a distance of 1% 38 beforc placing the muslin on the form. Figure m 0 h3 Pmmm hape f0 bis C0113"
In

The collar must be shaped so that it ts the neck

Draping procedure for narrow standing collar. Fig. 36. Steps 1 to 3. Fig. 37. Steps 4 and 5. 4. Clip from the raw edge o! the seam allowance in toward the basic neckline, so that the muslin can be smoothed around the neck to t both lcircumferences. The closer the upper edge of the collar should t, the more the crosswise grain should be lowered. The sharpest (lrop in the grain should begin aboul 2 inches from the center front. The lower edge o! the collar at the center front should be somewhere beal tween 5A; and 1%inches above the crosswise thread the Center back (see Figure 37). 5. Mark the center front line perpendicular t0 the neckline edge; mark the upper edge of the collar: and mark the neckline edge. Crossmark at the shoulder

l
'

4'

"

seam line.
Remove the pauem { m m the 50mm True lines and cut the duplicate half.
6_

m:

l2 3/4"

1 1/4" m: o
: = _ :

1"

Basic Neckline

M0915

Shoulder Seam

Fig. 38.

Pattcrn lor narrow standing cnllar.

262

C O L L A R S

A N D

NECKLINES

a?
l

Neckline Edge

Fign). Fig. 39. collar.

Fig. 40.

narrow Standing cnllura Villlllnn variannn ol the nzirrow \\'ing cnllur-a

lur Lollur Lollzlr shuwn in Fig. Pattcrn shapc Fig. 39. sllapc lor

Variation (see Figure 39) Wing Collar Variaon The wing collar is one which ts snugly around the 111e w _ k and sides of the neck, rolls ovcr slightly along turns down at u upper edge at the side front, lront, and turns 5 narrow standof ol thc Variation the a lt front. is from. Center e I but samc S a m e the Follow collar. procedurc, draping procedure, r; T}; I er the grain somewhat less from the shoulder to Center [ r o n t to avoid overtightening the roll along center [ront upper edge. Figure 40 shows the pattcrn shape this I collar.

RAPING PROCEDURE FOR THE COLLAR CUT IRAPING J x IN ONE WITH THE BODICE FRONT 4|-50) (see Figures 4I-50)
l"

as an extension of oi the bodice front . the dcsigner designer many opportunities to vary her ar eects, ellects, and because it is cut all in one piece, piecc. _ avoids the risk of cutting up her design. When c ollar is interpreted freely, it leads l0 collar to invention and the both the shoulder use above of-excess 3ugh the neck area as explained in m Chapter 7.

_ *

i7 iiin s
._'

_
collar
c ut cut

will: the 5 inch form with the lonn 2. Plucc lhc uunlin Illllallll on thc 2, Placc thc cxtcnsion ubovc nbovc thc shouldcr scam, cxlcnsion sezun, and match the lines (scc (unter lront lincs 41). Anchor the muslin (sce Figure ll). of the neck and also nt thc t0 thc hont zu the base ol l0 lhc ccntcr ccmcr lmnt the base. to the form at I incl: mch almw abmm lhc baxe. lin Pin lhC the cloth t0 thc bust und und waist. wnist. lin it to t0 the lorm at the chest lllc busl crussnvisc grain level when the pins linc 1o kccp thc crosswisc t0 turn at ut thc the nccklinc ure later Iater rcmovcd to { u m back the nccklirlc um collar or lapcl. lapel.
3. lin thc the lubric t0 thc neckline marked on the lonn lorm lroin lrom thc lhc centcr lront to t0 the shouldcr, smoothlhumb ol the thumb ol thc the lelt left hand ahead of the pins, ing with thc which should be bc placcd the right hand. It lt is implaced by tllc to t0 avoid too much but the neckIooscitess, lOOSCHCSS, portant line cannot t 21s as snugly aus us the basic neckline of your ntastcr pattcrn nxastcr t0 roll eeceffecpattern und still allow the collar to

Problem 6

tively.

' the Center center front to provide the desired width for *from the center Japd or collar which turns back lrom apel *' to the sel_t. Mark the center front line parallel t0 for the length for Iength of the blouse front plus 5 or 6 {or which will extend above the shoulder line lor ack of the collar.
V

. Determine how far the fabric must extend be-

288-293.

Fix. Fig. 4|.

Draplng procedure lor collar Draping
cut

in one with bodice iront. lront.

263

DRESS DESIGN
shoulder line i 31ml um engl; ahovxnce e
the
and cut it with a 3/, (see Figure 42). Begin to cut at t oulder and proceed toward the neck. A pomt 11,5 mches [rom the neckline, slash diagom ally t9the intersection of the shoulder line and the _ necklme.

under the shoulcler seam allowance and pm perpendicular to the edge. Pin the muslin to form a1 the intersection of the shoulder and necktlme lme. Finish the basic lines of the blouse marking the amiscye, waistline dart, side seam, and so forth. The blouse should be shaped up before the outside edge of the collar is established. This should be done so that you will be able to see the relationship of the collar shape to the background area of the blouse.

should decrease il the collar i: Ioding tojbelneck along the fold-line. 8. Pencil the outside edge of the collar 1mm,keeping the roll in the collar pinned against the side o! the neck. Cut along the pencil line to the shouldri .2 allowing a generous seam so (hat the shapc can beri. }
5

z;
M ?

.5. n Turn

6. Check to see (hat the fabric is still correctly anchored to the lorm at the upper chest level and then remove the pins around the neckline. 7. Tu r n the muslin back on the fold-line desired for the collar or lapel (see Figure 43), delermining at (bis point the Widlh of the center from lap (see the lower Lap Directions, page 41 ). Determine and buuon, begin it at poim of the fold-line by the top will infold-line the the edgc of the lap. The height of there and acase until it reaches the shoulder seam, neck the i: should be pinned up against the side of The to match the height of the collar stand in back. of stand can vary from % to l inch but as the height collar of the back the of width the roll increases, the

altered later on. 9. Carry the extension around to the back of the neck, continuing the fold-line from the from so that the stand a1 the center back equals the stand at the shoulder seam (see Figure 44). Smooth the under layer of muslin against the neckline, stretching and pinning it to the iorm. Notice that the amount of lilting or dropping ol the grain along the basic neckline lrom the shouldcr seam to the ccnter back determines the height ol the collar roll and the tightness along the edge of the lold. _ The higher the roll, the more the fabric must be form. dropped below the basic neckline ol the l0. Turn the muslin back on the lold-linc and establish the cemer back and lower edge, slashing in .. ; from the raw edge l0 allow the collar t0 set smoothly. of muslin 1o pen(see Figure 45). Lift. the upper Iayer
'

cil the Center back line on the under Iayer. the l l . Remove the pattern from the form, smooth
lines, and c u t the

duplicate half. neckNote. This type of collar ts bes! when the the as as cul is high line end of the shoulder seam the when and basic neckline or even 1A, inch higher, as shoulder seam is moved as far forward possible.

Fig. 44.

Fig. 45.

264

COLLARS

A N D

NECKLINES
46 46c indicuted in Figure 2. Producc the higher roll indicated Fig.ure neckthe dropping more of the fabric belou: by clropping baC bzislc 41 4/ for the line of o1" the lhe form at the back. (See (bee Flgure F1g_ure fold-lme EH). collar pattern G D E F with the fold-line

Collar (see Figures 46a. b, and c. c, Roll of fhe CoHar -wyying fhe Ro|| ivgyying MA lnd 47) lhe Center C e n t e r back and outside f l. Before establishing the decide whether you the Lhe across collar back, the i ee of m a collar which is Hat in front, as in Figure 46a, 7 one, as in Figurc curled one f: a curlcd Figure 46b. T0 produce thc outside cdge rl along the free edge, Icngthen lcngthen the outside i the collar. Pull the t0 thc front from untxl umil you Lhe collar to smoolh the lhc fabric falnic across then amooth lhe desired curl, and thcn vl the fold-Iine slightly Lhe hcight of the {old-Iine fu back, reducing the sligh) thc new Center back Iinc. linc. necessary. and establish the necessary, outside the thc outsidc of from the back line center Center c edgc unorc when the outside outsitle [old-line slzmts slants mure lo the fold-line l l a r t0 llar l0 the thc Center back seam at 1: e is lengthened. lenglhened. Clip to . fold-line. fold-line. See Figure 47 for the collar pattern paucrn Im thc collar shown in fold-Iine BH for "1 "A A B F with the fold-line wilh the Ihc re 46 a and the collar pnttem puuern G A B C with jgure 41i b. I1. lhc collar shown in Figurc 46 for the ld-line BH [or id-line

v: e

..

Fig. 47.

Pattern Pauern lor lnr Figs. 46(a) 46 (a)

(b), and (c) . (b).

Fit und Shape of fhe Collar Paern Checlring Checking fhe Fif l. The Center bark back scam of the collar should not be made a straight line Iinc unlcss it is so marked when on Iorm. A linc sloping in from the neckline seam the form. 1o thc l0 lhc fold-line, t0 the outside edgc, foId-line, and out again to edge, ohen improvcs the often lhe t of the collar at the center Center back and allows the lhe e x t r a length needed on the outside edge o! thc collar with a rolling eect of eccl as in Figures 46b and c.
curve near

wilh bodice front. u t in one with of collar c cut _ Vixfying toll o! "Vlrying in bact, Iront; (b) Collar curls bacl, becomes at in front; from. Gollar toll: high high in back and front. In) Collnr

2. The neclcline neckline seam may have a slight convex the center back. This produces a close t IoId-line and prevents the cemer Center back of along the [old-linc lhe collar [rom standing away [rom the from the lhe neck. This precaution is espccially necessary for a pcrson with a prccaution slighlly forward head (see Figure 48). slightly

collar fold-line Fig. 48. Use convex curve AG to tighten without tightening neckline.

3. The angle formed by the shoulder seam and the neckline seam for a collar with a high roll (about 5/, l0 I inch) should be a right angle. A neckline which mcets the shoulder to form less than a 90 (legree angle gives a lower stand.
4. Collar allerations. to the neck along (a) lf the collar does not cling back when thc cemer the to side the the fold-line from in a dart which excess out muslin blouse is tted, pin This autoneck. the of base at lhe tapers to nothing shoulder the from matically corrects the pattern shape shows which seam to the center back (sec Figure 49, illustrated collar for the (bis alteration on the pauern line shows thc altered dottcd The in Figure 50). has been collar alte: the dar: a: the shoulder position

Fig. 49. Collar alleralion to tighten upper cdge. the from oI Fig. 50. Variation o! collar cut in one with the bodice. See collar pattern, Fig. 49. of the shoulder seam (altes up the excess at thc neckline without destroying the easy toll o! the collar. Such a dart is frequently needed to improve the t of a collar of this type whcn it fastens high al the oonceal Center front. The collar or lapel rolls over to inside. the it on the dart line and the iacing covers

Problem 7
DRAPING PROCEDURE FOR A CONVERTIBLE COLLAR (see Figures Slo und b)
be A convertible collar as its name intplies, can worn open like a lailored collar or closed as a highroll collar. Howcver. a collar with enuugh lenglh cannot pusalong its outer edge t0 closc comfonably mrve as cunvcx much as sibly havc a neckline with band. a tailored collar. Neither can it bc a slraight ncck thc o! Side lhc [or this would stand away [ m m whcn line fold and would buckle at lhc whcn

pinned in.

{ollows thc basic neckline posi(b) A dar: which cemcr [ m m (nr somclimcs the cion beginning ncar u; nathing in from and

a: (h:Center

from)

tapcring

open

266

COLLARS
l

A N D

NECKL LI INES

e closely to the side of the neck both when open 1e " closed, some convex curve is needed on the neck)' [rom the point poim where edge of a convertible collar from cdge ets the break-line of the lapel to the point poim where C e n t e r front of the garment. d 5 at the center d5
*

Therefore, in order to make the collar cling

. ..

Fig. 52. collar.

Figs. 52-56.

convcrtible Procednre for draping Procedure drupirxg convertible

(n)
y

Fig. 51. Convertible collar. (a) closed (b) opened

0m In the Center back to the point poim where it meets "cak-line rcak-line of the lapel, the collar neckline may be Lhat stands half its jtraight ight to produce a collar that a: the center back and sides when it is worn at However, it will be more exible and will t i! I! it is cut with a compound curve curve-that that is is, ard curve lrom from the center ward cemer back to a point poim l 7mfront of the shoulder seam, followed by a line to the break-line of the lapel, and then vex curve to the center front. F igure l7 nvex I7 shows for a convertible collar. _nshape Ior tern vertible wen-ble collar should be joined to a dress 5 Standard Center back tandard basic neckline at the center The lap width of the dress (see Chapter wie detennine the size oi of the lapel 4.1) will determine lapcl notch. line oi of the lapel at the top button or bfeak-line k it { m m the lap edge to a point sMark from poim on least 11/, tront of the hatleast 1%to 2 inches in front

I inch from leasure up on the Center C e n t e r back line l 3. Mcasure for the lower edge. 01 O1 this, SA 3/, inch is the allowance foi the depth o1 of the inwurd inward curve across the back, and 1/, 1/4 inch is lor for the seam.
4. Square l. Sqtlare out l inch lrom the Center back at the mcastnred in stcp 3, since a curve beginning expoint measured ut the ( u n t e r mukes ccnter xnukes the collar stand away from actly at
the
center Center

'

back of the neck.

_
l

5. Pin the ( ccnter u n t e r back buck linc line marked on the muslin CCHICI back ol thc Ionn, CCHICI form, nlatching matclting the line drawn in step l 4 to l0 the basic necklinc (see Figure 53). lrom the lowcr lower edge l0 the pin. Clip from cdge up to
to the

6. Pin to the form again 8/, inch above the neck2% line to hold the muslin levcl. Ievcl. This pin will come at of the stand. approxiixiately the hcight approximately height o!

7. Pin along the basic neckline ncckline l inch over from {rom the center back point. The raw cdgc of the muslin edge ol should be l inch below the basic neckline. Clip to t0 the pin.

'

resst.front Erom, showing clearly the center necltline, the lap edge, and the 1233i; basiic neckline. aee Figure 52). elnpel (see
v

'

for the collar are as follows: uycjmentsfforthe n) neckline length plus 4

b

points.

M) about 5 inches.
Fig. 53.

oness t r i s t e n
I-rfxm the? point pinned in step 7, lift the crossunul the raw edge of the muslin is only 3/4 grau: 3ms: the base of the neck at the shoulder seam. "ichand belovf chp. Do this to produce an inward curve and Pln. to mcrease the ease on the upper edge of the collar. .9. Turn the lapel up against the neckline before pmmng the collar from the shoulder seam to the Center front (see Figure 54). to pin the muslin to the neckline, lift. |0. Proceedso the mg grain that at a point l inch in Eront of the shoulder seam, the raw edge is only 1/, inch below the neddine.
_8.

14. Fold the muslin over on itself (tue Figufe 55), u! The strip is too wide for the blouac collar a: the Center , back and sides since it stand: a: least IIA inches} Clip V the outside edge of the collar at xhe cemcr back um shoulder until the collar seules down to the dcsired width and stand.
.a,

s.

Fig. 55.

Fig. 54.

15. Tu r n the lapel and collar back a! the centet front to see that it sets smoothly in this position, (hat it clings at the center back and sides and yet does m: draw or pull on the outside edge (see Figure 56). 16. With the collar open, mark the outer edge and check it again when you fasten it a: the base o!
the neck.

l l . Continue on the same crosswise thread (IA inch above the raw edge) to the breakJine of the lapcl. Pin and clip. I2. A: the break-line, reverse the procedure and to produce an outbegin 1o drop the crosswise grain the ward curve and to tighten the upper edge of collar. muslin l3. A! thc Center front, the raw edgc of the inch below the neckline, i.e. the giraiu should be 2A mch a should drop w,inch and there should be seam allowance. to guide the Note. The above measurements help or tightness of t mu_st beginnen but the looseness which the crosswise gram amoum really determine the the collar bulges away i9 t0 be lifted or lowercd. lt have raised the crossfrom the neck a: any point, you an inward too wise grain too much and crealed if great collar the for true pul.ls wyye, Thc reversc is also the gram have droppcd from, Center you dght near the wo much,

17. Cut the outside edge with a 1/, inch seam allowance.

l8. Pencil the neckline of the collar and crossmark it at the shoulder seam, at the point meeting the break-line of the lapel, and at the center front. 19. Remove the fabric from the form and duplicatc the other half.

268

COLLARS
Problem Prob|em 8

A N D

NECKLINES

'NG PROCEDURE 7
l

FOR A TAILORED COLLAR (see Figure 57)

front line on muslin 3 to 4 center Center from from the lengthwise edge. This distance ined by width of lapel (see Figure 58). fmined l inch (he form, allowing a I lace Place the fabric on the base of front aL the a: the Center cemer and er seam, f3": pin 5. k. k. the bust, and the waistline.

"Pencil encil the

and Lapel

back

mllar. tailored collar. for a narrow lailored o r draping .1 Proccdure { Fig. 58. Procedure Fig. l t0 to 7. Sleps Steps 1 u) l1. Slcps 8 In Fig. Fig. 59. Stcps

Thc foId cdgc bebrcak) line from the lap fold (or break) Iap edge (a) The back of t0 u) thc Center lhc low Ihr: huuon lhc mp cominuing continuing lop thc collar.
Nanow tailored lailored colIar collar. Fig. 57. Narrow

of collar and lapel. u! m1! (or stand) o! (b) Height Heighl o! I Iwck is 2/, stand a1 side of thc ncck thc sidc Thc averagc lhC uvcragc 3/, to 1
inch.
dislunce [mm the shoulder t0 the shuulder seam to (c) The dnsiance break-Iine o] lhe of the collar joins the pomt where the break-line poinl break-hne u] lhe Iapel. This usually Ineasures nleasures about 2 inchcs on Lhe lhe nccklinc Ilccklinc seann. scan).

the usual shoulder dart many tailored jackets, Lhe ierred to the neckline, as shown in F Figure igure 58. the bust, swing the exthe grain level across Lhe vc ve the bust line into a ncckline dart. The a d lapel will almost completely complelely hide it. t0 the basic neckline of lhe the form, the fabric to xhe form. o! the pins. ngahead of chest line so thal the pins a: the also {so a: the chesl 'e neck can be removed later withoul without having o! position. shilt Shift out of shoulder seam, armscye, the dan. annscye, waistline dart. L_e (h: the basic lines of o! the jacket sigompleting mpleting ' ; with the Iapel. lapel. thc lapgdge in the lapgdge from the beginning of lower e edge of the jacket. IOWC! glhe ' the fold, or break-Iine, ck on 1h: break-line, the Pin fold-line 59). igure {ieggure seam 1o it line hold i: Qhenxhoulder phoulder
'
y

line CD.

slanl of the thc visible porlion o] (d) The Ienglh {engt/t and 511ml portion of lhe the seam juining joining the collar and the lapel. Pencil lhe

'

(m:the (h: details

.

o! a nished of 59 : indicated indicated in Figure 59:

widlh and shape o! lhc thc Iapel nolch. Pen Pen(e) The width cil the upper cdge edge of the lapel, lapcl, BC. lhe lapel as it i1 continues cominues o] the (I) The size and shape of (rom the notch [rom nolch to the lhe lap edge. Pencil the linc line BA. |0. Draw the lhe enlire entire line of the lapel from the lap Lhe lapel resLs rcsLs against edge (o the poim whcrc the againsl the at D. Cut on lhc seam line neck a1 linc along lhe lap Iap edge and lapel edge up to 1o the poinl o! the notch at C (or where the collar joins the lapel). H. Mark heavily the visible portion of the seam l1. .M'ark CD joining jonmng the collar and the lapel. lf this line does nol show through to the wrong side, place pins through the line and mark on the wrong side as well.

269

the remainder ot the neckline (see Figure 60). malt Tlus must as a basic neckline at the shoulder

l2.

Tum the lapel up against the neck in order to

begln seam und must follow the basic neckline as faras possible in Order to swing gradually imo the line previously marked for the visible portion of the notch seam. lf this line is marked too fai" above the basic neckline, lt tends to come up above the fold-line o! the collar. Ixave a 1/4 inch seam allowance on the neckline from the shoulder seam to the poim of the
notch.

l3. Drape the jacket back with a basic neckline.

base of the neckline and l inch above the buntem ing a 1/4 inch seam allowance helow the umhin: the bulk of the collar fabric above 1h: necldine. 3. Carry the samc crosswise thread alng the line for approximately 2 inches, o1 to a point I inch back of the shoulder seam. Then begin to drop the grain so that the collar will t the. basic neckline yet cling to the neck a: the fold-line. This gives the nackline of the collar a convex curve. 4. To drape and pin the collar to thg front o! the jacket, keep the lapel turned up at against the Iran: of the neck rather than rolled over (sce Figure 62). Continue to drop the grain on the collar all the wzy to the point of the notch so that the muslin ts above the basic neckline with neither strain nor excess. A smooth, gradual curve is formed on the collar neck- l. line, swinging from behind the shouldcr seam poim to the end of the collar.

Fig. 60. Step l2.

Narrow Tailored Collar wifh Convex Curve 4 inches wide, with the l, Begin with a strip about gram 4 inch measurement parallel to the lengthwxse the from form the on and twice the length measured the Pencil the of lapel. Center back to the notch thread Figure (see cemer back line on the lengthwise
6|)
gamma Gmn a:c.a.

Fig. 62. Step 4.

:
t0

the out- l 5. Fold the collar back on itsell and mark side edge. At the cemer back, the collar Fge should fall at least 1/4 inch below the basic necklnne (see Figure 63).

n, s ] ,

Tailored collar, Stcps l

3-

Fig. 63. Step 5.

270

COLLARS

A N D
at

NECKLINES
wilh Reverse Curve Wide Tailored Collar wifh 3 In 8 collar should be draned The wide tailored Collar draped a on slnce since narrow thc one, the way from slightly dilferent n'a) lhe convex neckline, the with a slraight or Convex Collar collar Wllh land siland A stand hlghel as lhe lhC width increases. .\ rises a5 or roll rlses stand higher lhe (h6 l inch is apt to t0 seem uncomfortably hlgh lhan 1 than high wmter a back of lhe the ncck in am excepl heavy any garment gannent except T0 collar especially high for warmth. _T0 COal coal with a Collar collar wide with less roll (Figure 67), a slight make the Collar sllghl of back ol Curve will be needed across the baCk Concave concave curve (h6 lhe lrom a polnt Curve from into a convex Curvc necklinc. revcrsing imo neckline, from collar {T0111 the Collar To keep lhe ot (h8 the break-line. T0 back of Conconthe at lhe an the neck ncck side, [roni lhe [rom the carry Carry gapping away linle bcyond the shoulder seam. cavc curve Curve only a little Cave seani. until alinost slraight unul that point Inake inake the line almosl From (hat Curve. a Convex curve. it imo convcx lt reverses into

'
1

the break-llne break-line of oulder seam and also where Lhe jhoulder of the lapel meels the break-line ol llar meets joollar lapcl (see Flgure Figure " Pencil the Collar collar lold-line fold-line from lrom the Center back

collar neckline necklinc and Crossmark crossinark it Pencil the Collar

break.

a? a1

Remove the Collar collar and jacket from the lorm Remove form and lines. Iines. The of thc collar the Collar jhe le shape pauern patlern is illusU u in Figure Figurc 65 and the pattern for the undercollar g re 66.

.
5

Fig. 64.

Step 6.

Fig. 67.

Wide tailored Collar. collar.

Break or Fold Line Llne

L _ .. _ ..

-TShouIder -fshoulder
Pattcrn Ior Pattern [ o r typical tailored zailored suit suil Collar collar (add m, inch nch 1A, i allowances nllowances to all pattern cemer back pauern edges exccpt Center ting upper Collar) ning collar) .
'

d
Indent 6.8. 1/16" Indem

Break Line

y y

l I

_ ___ _ ___ _ _ _. J I
e r undcr Collar Pancrn { tot Pattex-n collar (note grain posizion). posilion).

l. Bcgin with a slrip labric the width of the Bcgin wlth strip of fabric nished collar Collar plus lhe the scam seam allowances and about l inch for the Concave inCh concave curvc. lt will be helplul helpful to rule a line on the muslin ll4 inchcs lrom the lower edge I14 inchCs on Lhc thc Crosswisc CrOSSWlSC grain. Then rulc thc C e n t e r back line. a1 thC 2. Start a: the Center back and pin thc Lhc muslin at of the the base ol lhe neckline and l inch above the base. Allow lI/j 11/4 inches of width below Lhe neckline. 3. To avoid producing a point at 3 a: the Center cemer back, crosswise thread along the neckline for carry the same Crosswise l inch. Clip lrom from the raw edge up 1o the basic ncckneckline and begin to lift the Crosswise [o lilt linc. The crosslcrosswise line. wise line drawn on the muslin shows clearly how much the graln lifted and Lhe resulting amount ol grain is lilted of inward curve. The amoum amount the grain is lifted will be determined by the width of the Collar collar and the height

na es s o z
'

o! the stand. In the collar sketched, the crosswise gnin was lifted only 1,; inch to give the necessary inward curve beiore reversing the line into a convex Vary the curve until you obtain the desired l. 4. The remaining steps are like those given for the narrow tailored collar. Figur: 68 illustrates the pattem shape. Note. vBy studying the shape of a collar with a reverse curve, one can plainly see that its length a:

thefolgl-i-ineV

T.

collar 1in5. T? s A. and B g? the necklinl: .59 und D i: lest man neckline i: concave; F i: greater man that curve is convex. A am. tionship betwegn the Ihn length of the fOld-linegy with the exact degree of au.
.

Ulm

o Reverse Curve on Neckline E :

2

wide tailored collar shown in Fig. 67. Fig. 68. Pattern for

272

7%ZL%4ZW
THE BACKGROUND FOR DESIGNING

i !

.
M

the principles and techniques of and standard patterns, Student ing blocking Standard pauerns, thc student l0 apply her inlormaxion able to beable be information t0 to the [h6 design(lCSlgIImorc unusual and complicated o! more conlplicated cuts. Although ying principles of carrying out intricate denderlying ? are o r slandard for standard paucrns, i: is exactly the same as [ pauerns, it urse necessary to t0 practicc praclicc cutting patterns for designs ol varying degrces of difculty dilculty before develops the condence and abilily ability required 1o (hat she may want. want. f: any pattern pauern {hat studenl can hope not only 1o to interimaginative studem f: imaginalive the designs of others olhers but also to (o create creale new ones. ji/the women have a secrct urge 1o design LlCSlgH clothes for them for anyoxie ;- lves whether they lhey design lhem anyone else bul the lhe urge is often stied by fear of ol crilicism. i1but crilicism, pf condence, and lack of skill. So much pleassatisfaclion can be satisfaction bc derived from creating orig(hat that jiesigns anyone who wants to do it should fen as much help and encouragemem encouragement as possible. Lhere are denite and langible ways of ac therc ly, the necessary background for designing as of developing the ability 1o l0 use source material . ely. any student to suggest where she should look (any for dress design, and her answer will be im. e and without hesitation in fashion magnop windows and the clothes of recognized leadexs. I: leaders. lt is doubtful, howcver, however. whether she plan beyond looking for one particular idea iplan can copy exactly, or a: most, adapt t0 to her

iter maslering mastering

nd
>

The same student will probably be of using current familiar cunent _ iar with the method o! a warne-cf is saure: of backg-round (V513 h background information on
i

lushion lashion trcnda trenda und (iCtillls (lelnils ol" ol cul. c u t . Every woman, whuhci" whctlier a slutlcnt ol drcss slutlcnl ol (lrcss (lcslgll (lcsign m" not, will glance lashitm muga/incs withoul witliout prompting. lhrough tashion ihrough prompting. Bul ol dies: suulcnls sludcnls ul (o (llcss (lcsign l0 l0 recognize nccd bc (lcaign tuught luughl lo lhc llic clitlcrcnccclillcrcnnc l)L'l\\'LCll bcnvccn rcuding rcucling im" cusual enjoymenl enjoyment und u z: rcnll} acrious sludy o! lushions. lcull) scrloll: suuly 0|" .A\ uuulxl-hc .\ xmulxllic dcsignci" scrutinizc carelully lhe the (lL-sigiici" should scrulini/c bcsl ( b0b! u n c n l luslliun Luncnt lusliiun nlugzi/incs, nol with any mugu/incs, not uny thoughl ol copyinu, nl bul iutlu-i iulhci wilh with lhc Ihc intention ol of saluraling (uliylng, Im: saturating her mind iniml will: with gcncml ol" lashion trends. lrends. gcncrul imprcssioiis 01' loo Tuu nlu-ix ulu-n n 2| nmiw sccs lricks (hat haponly thc cute tricks unly m nppcnl licr luncy ut M. lhe Lhe monlenl, und too pcn pcn u; moment, and nppcul m hcr olwn olien slic sllc (locs nol not puusc to look a1 u clesign am pause design il somc slllilll small dctuil ( l c l u i l ul n i n01 |1 ls um what Wllal shc personally likes. The howcvcr, m u s l look lor more than pulcnliul (lesigncr, (lcsigilci, howcver, minor (luails minur (lclilllb und und (lolllcs (lOIlICS { h a t suiL her tlial hcr own taste. She nlusl musl consciously cultivalc culiivalc an awareness of currenl amxreness o! currem (Ullsclollsly lashion silhoucllcs silhoucttcs and und Inusl musl anulyzc the subtle sublle lashion fashion [hat inllucncc inlltlcncc lhcm. She must observc chungcs (hat observe and (lelails ol ol auch euch line linc and c Cul u t in order (o analyzc lhc Lleuiils analyze t0 u z: (und uf lashion and slylc information. Conlund nl acquire acqixire slam stam obscrvaiioxi obscrvzllion of currcm currem lashions supplies one basis lor rccognitiun for ul intriixsically rccogniticm ol [hat intriiisicully good lincs. lhose (hat are ccrlain ccrtain 1o to last, und o1 ol distinguishing lhem them [rom lrom dislinguishing the fads and tricks of the momenl. momcnt. T0 be sure, lhis is noL To not by any means the unly neceslor dcsigning. The studcnt sary background for Student should take for lor gramed (hat she will also need the granled {hat general ans (hat [ h a t will enable her to training Lraining in the ne arts apply the principles of design to a: rst conevcry costume, at sciously, but alter long experience, expcrience, instinctively. Thc rst steps, then, are to steep one's mind in current fashion inlormation, to 1o develop an understanding of principles of design principlcs ol design, and to acquirc acquire the technical skill in draping and blocking which makes it possible

73

to carry

can a stu

a!

???
c o es.

design through to completion. Only then ent feel condent that she hat acquired the background {or designing really beautiful

Suggolow-d "_
DEVELOPING LINE An-RANesMmIvf
i

SOURCES 0F INSPIRATION

lt is impossible to saturate one's mind with fashion without being stimulated to creative acinformation uvity. A le of clippings of the best designs of each year furnishes an imaginative mind with endless suggestions. This is obviously the most readily available material, but there is a danger in relying on aource it exclusively, for it is so simple and easy to transfer an idea { m m one costume to another that the source than used may unwittingly be merely copied rather of a invention the to t0 stimulate the imagination

new idea. Another source of inspiration closely related to current fashions, and only slightly less familiar to the national costume. beginnen is historic, peasant, and become thormust Every student of costume design learn to apand source oughly acquainted with this it is almost as But preciate its value to the designer. a medieval or a Grecian easy to interpret t o o exactly from a current magagown as it is t0 copy a clipping t o o all it is merely to transfer also easy zine, since here And dea basic idea from one costume to another. from such sources will be signs taken too literally nor appropriate to a modern setting.

Sketching, the most obvious mediitm ( o : an idea, has long been used by deiignero an in": s the quicltest way of embodying in tangible form. Some ability t0 get an down on paper quickly beforc it i: "lost i: asset to the designer, and the sketch i: usually step in working out a design already in mind. You can also use sketching. playing with paper, to create new designs. Starting with l gure (see Figure l), a sheet of transparent wich no wg: paper, a pencil, and an eraser, but b" u can work in mind, you idea for a design create many designs by merely using a certain - lines in various arrangements. To creatc tlle the and 5, designer illustrated in Figures 2, 3, 4, over tl|e lay ?_ of a sheet tracing paper placed drew a costume silhouette, and then placed the within the silhouette. In each casc she used thc combination of two horizontal and two vertical

.
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an excellent basic design because it olfers so She let the

i

neither original countries Unless costumes from past eras or foreign for the suitable can be used to inspire new designs at all. used be not should present time and place, they familiar so both are Currem and historic costumes ol inspiration sources as used be to that they are sure there are so many without lurther urging. Moreover, (hat have scarcely olher prolic sources oi inspiration the suggestions in the folbeen explored at all, that ol fabric texture to lowing pages are limited problems labric through drapand to the many ways of handling authors The present blocking. ing and at pattern that the condence with sources these less lamiliar will not only stimulate carelul study ol each exercise will also lcad her to but the studcnt: imagination, oi innumerable other investigate the possibilities [ o r herself. that she will invcnt

two possibilities for Variation. line and the line: of dart French the represent structural lines di gore skirt panels as these into silhouette pleasing spaces; and she thought horizontals as yokes, pockets, Eton jackets, or merely as abstract space divisionaTry this y' The rst step is to draw the verticals and v:

_ _

within the silhouette. Figure 2 shows where the n place them and incidentally points up ol up designing does not consist solely thinking und an involves rather but idea, and different lor form. a ing of design principles and leeling place lines to produce interesting shapes the gure but acce "77 only Hattet the lines ol harmonize with thc costume Silhouette already CA when lines ate Figure 2 shows what happens for good space mechanically, without rcgard and without consideration ol either the curves line ol the costume. ligtire or the silhouette the von Sketch, thc (lesigner intentionally drew shoulder one continuous straight line lrom the when what show to happens line in ordcr waistline is ignored. Thef ing of thc gure at lhc

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techniques

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"l l

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Monumnous spacing. Fig. 2. Monmnnous S. The Thc samc linc llnc combinations combinznlirms as Fig. 3. ns in Fig. wlth ITlg. 2, but with thc spacing improved. the imprnved.

1o design with transparent Lay Figur: Figure on which to

panex stilf and blocky. die Center panel not only looks am blocky, ": to ilsiuiete slenderize thc the waisdine; waistline; and because maight, _ ispetfcctly the straight, it exaggerates to thc l onion the curve over the side of the hip. 1h: 1th:iptlfmnula horizontals. The upper one cuts
l

mm exacdy balfwayb halfway between the shoulder

Nexl, Next, notice the sleeve. slceve. The contour lines should be parallel, and thcy bc if il the lhcy will not be lhc sleeve alecve is wider a: a1 the top lhan than a: the lower cdge. the reverse. cdge, or thc Look at the sleeve length lcngth t0 lhc elbow an exaclly to exactly awkward half half and half division (livision as well as a s a length uncomfortable to lo wear. The Thc emire cntire spacing of this gure gurc shows just how badly badly a promising set ol of lines can
nol not

spacing.

and und lhc thc waisllinc. walsllinmc. This Tllls is lhc most HIUSI. HIUIIOIODOUS nmnotonous spac21ml besidcs, lng possiblc, ing posslble, and bcsidcs, lhc horizontal falls exactly zu lhe a1 thc highcsl point ol lhc bust, a cross line poinl of linc (hat [hat should avoidcd in costume always bc avoided coslumc (lesign bccause i! it overovcr(lcsign becausc thc curve of lhe emphasizcs emphaslzcs the lllc bust. lxust. The Thc lower horizontal cuts culs the Ihr: skirt skirl exaclly in half monotonous always monolonous

275

DRESS D E S I G N
zum o u t when the principles of design have been i5. and no has been shown for the relationfeeling noied shlp ot structural lines to the silhouette itself. Nw mm) Figure 3. The designer used exactlv the same basic combination of lines here as in Figure 2, but with completely different results. This time the verticals emphasize the width of the shoulders and tile slenderness of the waist. That is, they repeat the silhouette, and thereby strengthen its effect. MoteOVCF. the skirt paneling divides the width at the hips into three unequal parts and thus avoids the monotony of exact repetitioii. The paneling is narrower a: the waist than at the hip and it ares out toward the hem to strengthen the lines of the Silhouette. Both
the blouse and skirt horizontals have been raised to

G?

form an interesting relationship between the area of the yoke and the lower section of the waist and between the peplum and the lower section of the skirt. Notice also that both yoke and peplum vary in depth. Next, 100k at the sleeve, which this time is three quarter length instead of the awkward elbow length shown in Figure 2. So much for the spacings. The next step, aftcr placing lines to break up the contour into interesting spaces is to convert the design from an abstract set of crisscrossed lines to a real dress with style and originality. First of all, there are Erase obviously too many lines crossing one another. full have play some of them and let your imagination in deciding which ones to rub out. By erasing across various connections you can develop many different 4 and 5, dcsigns from the same set of lines. Figures for instance, show two entirely (lifferent conceptions combination of developed from precisely the same lines. The dress shown in Figure 4, geometric and whereas tailored, might be interpreted as a wool dress the lines oi Figure 5 suggest a soft afternoon dress, possibly of rayon crepe. be These examples serve merely to show what can set of lines. donc by dierent intcrpretations of one the exhaust to possibilObviously, they do not begin how see the over lay gure, itiaes. On tracing paper set same this [rom invent can many other clesigns you of for proporbeauty of lines. Then analyze thcm Even for wcaraluility. course, of per_son 2? tion and, to be hersell consitlcretl ummagmawho has always czin tive will nd that [ m m lhis Harting pmnt she Will vcry qulckly. Shf: crcate innumcralylc dcsigns t0 l r a l n hCT also discovcr that it is an exccllcnt way

L73

//\i

u Fig. 4. Geometrie, tailored interpretation o! two _ and two vertical lines. ' Fig. 5. Soft, curved interpretation o! the same sions as in Fig. 4.

eyc to an awareness of good proportion, unily. and balance. A beginner may consider it futile to draw I n through the design both vertically and h when perfectly well aware thal she is going some segments oi them. But this is not a time. Drawing lines through the emire c iorces you t0 think of it as a whole instead" hcterogcneous mass of dctails. In other words, t0 keep the design unied. lt has the second [or alth tage ol" lining up darts and seams. the a of line, section eyc picklz. muy erasc n this w. again on the samc axis. ll" you prnctice
"V

cunscientitntisly thcse points will bcconte

cvide

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0 F 0F

DESIGN D ESIGN

After cxhausting exha usting the the possibilitics possibilities ol of this this combinacombinaAlter tion of lines, try o thers, a lways rcal it ing, however, ol othcrs, lines, try ulways rcali/ing, however, tiou that you must group several lines to form scvcral lincs to must lorm (hat you enouglt group spaces to to suggcst suggest itleas. ideas.. For For cxmnple, ex.ample, onc one vcrtical v:rt1ca l spaces nd o ne horizonta l !me a t the waist are center line a centei line and onc horizontal linc at the waist are meager to stimulate the imaginatio n very effec100 meagcr to stinmlate the imagination very ellecm0 tively; and. and, asiclc aside from from the the fact fac t that th at such a designt design (ively; could not possibl y have much interest, it have much it not would be intercst, could possibly impossible to to t fit a gannent ga rment with so so lew few seams, seams. impossible After lormulating ideas ideas into clear clear pencil pencil Sketches, sketches, cut cut l Al-terlormulating patterns l'on for the the (lesigxts designs from from the the master m aster block block to to test test patterns ' iheir practicality. practica lity. their

Suggestion 2 2 Suggeson STUDYING THE THE FABRIC FABRIC STUDYING Texture, Surface Inferesi. Interest, and and Body Body Texture. Give a a student with with little little (lraping draping experience experience a Give dress length length of of expensive expensive fabric, fabric, tell tell her her to to drape dra pe and and dress cut it it on on the the form, form , and and she will will probably probably be be too too territerricm fied 1o to get get either a a goocl good idea idea or or to to apply apply the the prinprin"ed nples she has learned and with good reason. But has she learned and with reason. But good "ples actually working with the fabric on the form reveals with the labric on the form reveals ually working the "feel" or or texture texture of of it it and and its draping draping quality. quality. It It r e"feel" - possible to is to experiment without cutting into the experiment without cutting into the possible at all all and and to to Substitute substitute muslin muslin for for dress dress fabric fabric tpiece c e at when draping to cut. _en draping to c u t . The lollowing following qualities qualities of of fabric fabric are are of of utmost utmost imim_ The portance to consider when designing.

that must m mt bc be Luken ta ken into in to considcration consid era tion when designing designing thut cos tume. A A diago na l twill wcave weave in in partictllar particula r a costtxlnlc. a (liagonlal Presen ts scvcral severa l pro bl ems. lt It has a right right and and wrong wrong sId side, sents problcnls. to lelt a nd in wool fa b ric the usuall y lef. t to from runs twill the labric und in wool usually right, whereas whereas in in cotton cotton und a nd rayon rayo n it it runs runs from right right right. to lelt, left, regardless regardl ess ol" o f whicl} which end is used for the . to thetof). T he o nl y way to cha nge d irection of the twlll twill 1s is 'Il1e only way t0 change the (lirection to use the material h ori zontall y in some areas. Moreto use the material ltorizontally Moteover, any a n y changc change in in the the direction of of the th.e grain grain is quxte quite over, conspicuo us, und and is is likely likely t0 to causc cause a mismatched effect conspicttotns, seams, such such 21s as the French dart line !me or or the the a t certain certa in seams, at center sea m of a four-gore . skirt. C e n t e r scam ol lour-gore ribbed weaves wea ves generally generall y suggest suggest straight straight T wills and a nd ribbed 'Iu'ills lines ruther ra ther than than soft soft curves curves or or draped draped effects.

Fabrics Patterned Fabrics

Patterned fabrics, fabrics, such such as as checks, checks, plaids plaids, stripes, stripes, and Patternetl floral motifs, rnotits, present present many many more more problems problems for for the deoral signer than do two preceding groups. than do of the two either signer preceding groups. pa ttern ol of a a fabric may may be be the the chief chief inspiration inspiration The pattern for a partictllar particular design. design. lndeed, Indeed, you you must must take take the the cue for structural lines from the pattern of the fabric lor lines the pattern of the fabric whenever you select a material with a dominant patwhenever you select nlaterial a pattern. tern.
SjJaced Floral F/o1'{il Prints. Prints. Large Large spaced spaced oral floral prints prints spaced suggest softly gathered effects, dressy for suitable suggest softly gathered elfects, dressy afteror formal formal evening evening wear. wear. It It must must also also be be rerenoon or membered (hat that every every c cut through a large floral design membered u t through a large oral design will be be very very conspicuous. conspicuous. And And because because it it is is not not poswill possible to to match match oral floral patterns, patterns, obvious obvious seams seams and and cuts cuts will utterly utterly destroy destroy the the effectiveness of of the the gown by will gown by chopping up the motif. should be to to hide hide the motif. The aim should be chopping up as many many as as possible possible of of the the necessary necessary joinings joinings in in soft soft as tullness, and and to to place place seams, seams, if at at all feasible, feasible, under under fullness, arm, where where they they are are least least evident. evident. In Jn short, short, the the the arm, pattern of the fabric, whenever it is an important one, of the fabric, whenever it is an important one, pattern always take take precedence precedence over over the the cut cut of of the the should always design. Tiny checks, polka dots, and fine florals, on design. Tiny checks, polka dots, and fme orals, on other hand hand, should be handled handled almost almost like like fabrics fabrics the other no pattem pattern at at all. all. with no

Texture Interest Without Pattern

Mate/asses, Boucles, Ratines, and all Nubbed Surfaces. For a fabric with definite surface interest, such

as a matelasse, matelasse, a a coarse coarse boucle, boucle, or or a nub nub weave, weave, plan plan ja

the design design so that that it it does does not not competc compete for for attention attention with the the fabric fabric itself. itself. Compose Compose it it of of large large unbroken unbroken areas mhcr rather than than intricate intricate ne fine details. details. Flat Fl at crepe, in crepe, in direct mnlrast contrast to to thcse these pronounced pronounced textures, textures, has has a a surfacerso so lacking lacking in in interest interest that that it it needs needs to to be be given given texture a appeal by the addition of stitching, embroidthe of addition embroid ppeal by stitching, ery, self-cordings, and so so an. on. But But never never use use such such apmildings, and applied design on matelass matelasse or or on on any any othcr other nubby nubby textexture which is not not suited suited to to surface surface decoration. decoration. r-n i:

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on

Twilled prv or Rilibed Ribbed Fabrics. Fabrics. Twills, Twills, reps, reps, herring herringbones and piques liorm form aa sgmnd second dass class of of fabrics fabrics with with definite diagonal, horizontal, horiLOntal, or or vertical vertical line line effects effects

Figure 6 is is a a design design suitable suitable for for a a large oral print. Figure large floral print. lt It has no no Center center front or or center center back back seam, seam, but but if if such such seams were were necessary necessary the design design should should be be changed so so changed that there would be be fullness fullness over over the the joinings t0 to make make joinings them less less noticeable. noticeable. The sleeves sleeves are are lapped an on top lapped ol of the arm to to avoid avoid a seam, scam, and and the the side side seam seam of of m? the the skirt is is concealed in in gathers. gathers. Thu; Thus the the underarm underarm

277

59MG ior Drnpcry

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i

Fig. 6. Design suitable ior a large, oral print.

Mag?
I

Fig. 7. Pattern for Fig. 6. There an: four picces in dress.

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blouse seam, the only seam that appears mismatched, is fairly well covered by the arm. F igure 7 shows (hat lhe pattern for the entire dress has just four pieces. The larger the motif, the more limited is its use, And very large ones are generally suitable only for oor-Iength evening gowns since they require Iong skins l0 provide space for enough repetitions of the are at their best pattem. Obviously, too, large patterns never and women appear to advanon tall slender
tage

on short, stocky, or rotund gures. Plaids. A plaid is another type of patterned fabric that demands special designing. Here again the pat in the tem of the cloth musl be lhe dominant factor the design for a choice of the design. But whereas for a plaid that oral should be soft and Howing, in harmony with should be brisk and staccato 1o be the geometric lines of the pattern. Pressed pleats is reshould be substituted for gathers where fullness of in should be uscd place quired, and straight lines matched but visible carefully bc curves. Seams should to in both directions. Another problem peculiar plaid lines with the in the need of coordinating angular skill and natura! curvcs o! the gure. This requires the rug designers cha.nge ingenuity. Navajo lndian a wnthout to shapes

qualm, since weaving technique requires angularity but a dress designer cannot eliminate a woman curves so easily! Her alternative is to adapt the h oppositional lines of a plaid to the soft curves oft gure by using the plaid diagonally. In (bis way makes a transition between gure curves and an an lar pattern. A woven plaid is o! course on the when used diagonally, and in most fabrics tends t ' stretch and thus produce soft curves instead of angl Figure 8 shows a dress designed especially for plai Notice that in the skirt the pressed pleats [ollow lines of thc plaid, since it is better to lay the ple b straight along a dominant line of the plaid than n? hal \ gore out at the pleat edge. The left and righl will) in one cut each are piece of the blouse front the ; deep dart running t0 the neck. This throws the and dart diagon on the bias above the repeats line over the hip in the side sections o! the skin. biased slecve with a matched seam on top of the = _ silhou completes the eect of the bias along the in caution of regard 7 lines of the gure. A word Order in of sense a maintain cuttirig zmy plaid: costume by carefully matching the plaids zuall se T0 d0 this. Hare both edges o! a goved scam t0
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gurcs in their patterns

angular

sinne

degree.

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DES D E S IG IGN

Fig. 8. 5.8. plaid.

V

Structural lines (hat tha t cmphasi1e of emphasizc the character of

pose limitations limitations on the way way in which the cloth can be mit, cut, plaid plaid is often used merely merely to is einen 1o accent accent a solid color. example, a straight straight pleated pleated skirt of plaid plaid _ For example, with a jncket jacket ol avoids the problem problem of of a solid solid color avoids shaping plaid over thc the curve of the bust. '_g plaid m:i5 Plaid is notorious for enlarging apparent size enlarging the apparent of 111e the gulc figure and and because of its strong, straight-line strong, straight-line character its opposition opposition to curves, r and its curves, for overemphaoveremphasizing a a pleasancly, pleasantly ronndcd rounded gure. figure. Large, Large, angular angular patterns are are: a: at their bes: best an on girls girls with very subtle wilh very subtle curves, m! and 56cm seem to to be particularly particularly harmonious with o Amntions the sudden motions und and lively lively manner manner of adolescents. adole-scents.

es of the silhouette are so obvious and also imcurves l

Since Since ehe the difficulties handling plaid plaid around diiculties of handling around the

3h
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Stnpes. well as a5 plaids 21s weil plaids need specla! deStripes as Slripes. Stripes signing perhaps more w1d:ly und handling. They are perhaps handling. They signing and wldoly 1nused lhan than any other kind of patterned kind othcr patterned fabric and. any and. 111Unless volve the designer in many problems. stripes stnpes (lesigrlcr many problems. are very very interestingly and very widc, they they tend very wide, intcrestingly spaced spaced and to to run in the same direct0 be monotonous Inonolonuus il if allowed u) tion throughout at the same time, costume; at throughout a costume; t'hey direCtIOS seem confused conlused if il" allowed ullowed to go many directions go in too many in a single Likc plaids, suggest usually suggest stripes usually singlc design design.. Like plaids, stripes and yet unlike plaids, they straight-line costumes; unlike costumes; plaids, they are yet sLraighL-line more not oppositional or static and are, therefore, nol therefore, are uppositional versatile in interpretation. For example, Figure example, Figure 9 interpretation. shows a design a very fine stripe, perhaps in cotton for ne design vcry stripe, perhaps chambray rayon crepe. enough chambray or rayon crepe. The fabric is soft enough to gather runs both both horizontally horiwntally t0 and the stripe gathcr well and stripe runs and insignificant and vertically. lndeed, it would be very vertically. Indeed, very insignicant i: did if it not. A Liny, tiny, unimportant stripe benefits from did noL. from benets unimportant stripe a good deal of interest in cut. deal inlerest good Figure 0 very wide stripe hand-woven l( ) shows a very Figure I stripe in a hand-woven suiting. The object here is to play down interest in is the suiling. object play the garment order to set off to advantage the cut of thc in l0 0E advantage garment the dominant important to use donlinant stripe, is far too [ 0 0 importam stripc, which is in more than one direction too important direction - in fact, fact, too important to to repeat repeat again to adjust stripes Lhe skirt. Try again in the Try adjust wide stripes on the form form so [hat that they they come at becoming at the most becoming positions on the figure ; and lso try match the palpatand a also positions gure; try to match t e r n ac.ross across the sleeve, tern and body body of slccve, so that the sleeve and the jacket is an 21s one onc unbroken unbroken unit. unit. This is jacket appear appear as advanced problem problem in designing, designing, for although there although must be darts to to fit t the jacket, jacket, they invisible. they must be invisible. In this Lhis example Jn example three small darts under the arm, arm, in addition to a horizontal horiwntal one along along the waistline, waistline, fit t the jacket jacket without being noticeable and lilt the grain lift thc being grain of the peplum sag peplunl so that the lower stripe stripe does not sag toward toward the side seam. seam. Stripes Stripes need not be used to emphasize emphasize a straight-line straight-line effect. In when effect. lact, diagonally, stripes, like used diagonally, fact, stripes, like tend to take curves. The takc on the effect of curves. plaids, tend The striped taffeta evening evening bodice (see (see F Figure striped taeta shows igure 11) I1) shows effect. Not only does the stripe conform to such an effect. conform only t0 stripe of the gure the curves ol figure when it is used diagonally, is used diagonally, but more active and but it it is is far more than when when used used and dynamic dynamic than or horizontally. horizontally. lt perhaps unnecessary vertically or It is perhaps unnecessary to caution the student to match two sides match the two sides exactly exactly at the center Center so that the lines slope down at the the same same at the. slope down at angle from each side. angle from When When draping designs for plaids plaids or stripes, the stu draping designs stripex, the studem should Should work in muslin, lining dent off with pencil it lining off With picil to get the effect effcct of the fabric to to be be umL used.

279

m:

41% ' lllllllll lllllllllllllllllllllll I1 \ \\\ >\\\\\\\% z/W/(f/Ml m,/im4

" m l h n l n m u m i f m

and inneres: in the cosFig. 9. Fine stripcs need variety tume design.

m use in more Fig. l0. A wide stripe is too dominant one direction. to cunle around Fig. l1. Diagonally used stripes appear
gure.
n the effect it will produce. A little cxperimenlal about ing will very quickly answer your questions sort of silhouette a fabric will give. lf you look at Figure l l you will notice that the fabric has stiness of a talleta or it would not produce Ihm silhouette. The ne striped unaterial shown in i 9 obviously has not only a soll texture bin also
[hat

Aside from the general effect of oral pattems, of are still other plaids, and stripes, there Woven or problems printed plaids, fabric pauem t0 considcr. to see examined be should slripes, and oral pauerns and a if they have an up and down direction, right side le side o! the pattern, and a right am! wrong adds to of the fabric. Any one of these characteristics all thc problems o! handling, and a labric possessing avoid. to of thcm i: one for an inexperienced person

Thicknus 1b Iody cf fho Fabric: Sness. Weiglw end and clarication, Except {or purposes of explanation the considerai: is, o! ooune, impossible to separate a fabric into neat iion o! 1h: various characteristics of that you examine linde catcgories. At the samc time you will thc Iize and dominancc of a fabric pauern, determine texture that also consider the qualitics of

lacks bulkiness. an: entstand Rayon jersey and moss crepe close to the examples of fabrics that fall so as to be fairly liquid, and yet in spite of an. all. Th weight have no bulkiness or buoyancy said Ihn the quality generally mcam when it is lach material A may labric poasesses drape." bulkiness, wirinesa. quality because of stiness, silk llat cmpe or l0 A unweighted buoyancy. in weig even though thin and soft, is too light
l

280

fabric thc u ncut (Ircss length m lcnrn the Fig. I2. Drapc entire the nf a meinte and m wnrk ( n r quick imprcssion

for quick eect. To a taufen: lightly Ig. l3.mDrupe Ileetllcs am! only w wilh i! thc lahmt,
lnjury

pin

necessary.

dcoign.

SOURCES
(her ther

OF O F

D E S I G N

lllc llic wuiallinc, Limlci Llic lhc pepluin waisllinc, pushcd puxhccl iL u ] : undci" u]; peplinn i1 liung u; am] lct it thc lloul und (h4: ll0o1' ull all ol [lll>\\'l(l1 [llis Will]liang slash. loicover, alle Liscd uscd \ c n lcw van g cuuing loicovei, shc cuuiilg c w n a slzisll. [hat the labric would nol not be l)C injtncd. f! so [hat injuicd. Fignrc Figinc tallcla Lliuped a bustle zu a: Lhe shows a still (allem shows [lle Lliaped up np into u slarlcd starlcd ( e r back. Herc tlic (lesigncr thc (er (lcsigncr b) (lruping (lrziping by ot Ihc thc lubric lalnic uL ai thc Center CCIHCI lront lmnt of the cing "cing onc end ol" l i1 uround around l0 [0 thc buck, back, diuped ; then shc pulled pulled it (liaped it lct il it lull [all m u) Ihr: thc llom llour into lincs nutural 2nd lcl natural t0 [o and 7 talfeta. She Lhcn threw thrcw zhc oppositc cnd ol thc thc shouldcr lrom llOIIl lhc lront eta over lllC lmni und ancl (lrupcd (lrapccl vbodice lroin lrom lhc wuistlinc waistlinc up Lowuid l()\\'2ll(l Ihc Ilic shouldci". shoultlci. e in handling the tulletzi tallcta she hud had Io u) l)L l)L' cspccially to pin und and crush as cruah it us ileful liltlc a lcful l0 Iiulc u pin possililc, posslblc, shc slcel nccdlcs lur lui pin: slituted steel stituted and uscd usccl \c1'_\ lcw ol pins und M1) lew
a!

pery,

eta

i
l

Suggeson 4
PlNG WITH MUSLIN MUSLlN FOR DETAILS OF DESIGN

fo Produce Flares and Ripples hing "Accidenfally" lo aller inuking any ideas develop only alter l0 inaking a slash to I se se the excess lubric labric bcyond scani posibcyontl the normal sczun This lype ol accidentuV accidenlaV ( cul u m will oltcn inspirc rson with any imuginatitm am ull all 1o u) imaginatitm a1 recogni/c recognizc ibililies for lhe the (levclopmcnt of u a good detuil (letail m" (levelopmcnt ol fr the entire theme of ol u a (lrcss. drcss. But lhe experi. n fur T} Ztcan be frecly when (lruping lrecly indulgcd in only whexi (lraping u o! muslin, niuslin, lor then an error CITOI in judgmcnt, scraps ol judgmcnl. in the wrong placc, involvcs nothing more lhun lhan nozhing inore sh h start stark wilh with a secoml second scrup ol pructicc maicrial. scrap of practicc inutcriul. fears ol of cuning lar or in the ihampcred hampered by lears thc cutting too lur i" g places. places, the expcrimenter can work with Will) specd speed Jet et ideas develop LlCVClOP as they will. hen a slash is made through thc exccss beyond thc hen the to a seam line, the thc fabric falls over and forms ry whicl} can be handled in an endless vuriely variety i! is possible to Moreover, it l0 analyze this ys. ys. lhis "acci" l" occurrence und and to make malte it i: happen at will. by this method those who are in the habit ol elfects can learn to injcct uncing stereotyped eects or even gor evcn Original ideas idcas imo their dcsigns. which seams or which points can you expect u bilities for ideas to occur? possibilities Principally, they (hey lop a! points of articulation, or structural on n seams suitable for design emphasis. If you above the shoulder to the u v lhe intersection inlersection of .

'

. 'x

'

i}

lall al cascadc ol (lmpcry sliouldci sllullldt! und nuk, u a cuanudc(liapcrlv will lull al inlor llic nul; loral im" (lic u lmul nL-(l; a xci) (lcsigil (lcsign 1nlogicul \ci_\ logical puinl lclcsl. ll you (Cltsl. (o IlIC lhc shouldcr u : [o cuL ilic intcrscction intcrstcclion ol lllC um ( sciilll und (hc stulll m m the outer fall { lmm outei lhc unnsc} annsc} c. diupciy (lrapciy will lull cnd ul ol lhc thc slloulder. cul u t horizontully slioulxlei, guin. horizontally Again, il you c llic wuistlinc loward tlie uaistlinc [min lmni ll1C lhc sidc scum scam towurd lhe ulung alung Lhc (u c nt le c r lront, o n i inlo into u a pcplum. lalnic will ripplc oul l i o n t , 111c lubric pcplnm. 01' il you slilsll Or slnsll Lowurd Lowanl Ihc thc CCHICI buck back ulong lhe waist2ilong the a lluic llaic will spring [min linc, u lroin 111c lhc cnd ol" Lhc end ol lllC slush. slash. A! AI whutexcr whalexci point you slash, from beyond a scam seam toward slush, lrom an intclscdioll, un IllC lulnic lalnic will curl ('Ul'l uwuy lrom lhc [hc iniciscuiuii, Ihc away lroni lllC l l c shcun slicai und lull lall inm imo u a circulur circulai cuscude or cascade m point puint ul [ ll i: i cusy am u) scc wliut what u a xuricd \illl('(l source ol inripplc. iipplc. lt lllis uuion (HIlUll ul ol ( l o l l l ( "aa n bccomc. (lulll spiraliun lllls spirution illusziatus llurc llarc pioduccd t0 thc Figurc H illuslrulcs produccd by a slash l0 iniciscitiun nl Ihc inlciscsuirni ilic nuk ncck und and Ihc (h0 shouldcr. shonldcr. The ellect ellcct shuwn (ould (Ulll(l only liuuliau- hccn l)CCll pruduccd protluccd by b) (lruping, (lraping, simc ullcx alici" tlic lllc lnst lilsl slusll slash wus was mudc, Olllcl idcas niadc. muny inany olhcr llJHC lcsllllctl. rc-snlicil. Thc llic unly knmvn lucl lacl wilh which xnight niight lnnc nnly known Ihc lllL (lxupL-i" slailul wus was lhul lliat sonlc sonic sort sorl ol ol" dctail ( l c l a i l would (liapcr slunvd lmm llUIIl lllc ilic c u c ( H 0 5 5 labiic lulnic abovc ulmvc die thc shouldcr. (lmclop (lcxclop Whcn 5 \\'hcn u(ll u 5U(ll a giawlul circului ripple lcll oul of ol the lhe gxutchil Clltlllin du: l, sl1L' (laut, sl1('(;Il'll('(l uniicd lllC ilic cllcu still lunhci lanlici" by (lroppinf; lhe the dropping ai pulnls llic shouldci slmuldci" lo giuin giain ul t0 rcpeat puinis alung ulmlg thc rcpcat lhe lfm und I I; show slmw thc druping iipplcs. Figurcs Flgurcs 15a (lraping proccaml l-iguw (llll'(' und LllIH. lli thc ihc puucrn l-iguic Hi paucrn shapc, sliupc, which produced this tliis cllcu. cllL-(l. In ln lhis iliis (usc casc in il sccmcd SCCIHCd intcrcsting t0 (o conlinuc lhc tinuc llic llnrcs llaics uround amuiinl thc llic unn ann u) 1o lllC llic buck back armscye urmscye linc. 'll1ix lhis onc unc (lcluil (lClllll would wuuld In: cnough Cllollgll u) lurnish intcrcsl lor un l c l c s l lm an cntiic cmiic ( o s u n n c . Thc (usiuinc. 'l'hc skirt und and slecvc ( can "an llicn scrvc nicicly lllcn us l)i.l( lnu kground lur lor lllc thc shouldci" shouldcr lrill, mcicly 2h or in u a subllc sllllllc wu)" it by rcpetition, way ( aa n vinphusi/c vinphasizc il rcpelilion, so us as llic icpclilinns lllc urc kcpl subordinulc. long lung rL-pctilions arc suborclinatc. ll lt is ncvci HCYCI wisc u; m slruin slrain lur l0! niurc murc lliun llian onc good idea at a (inne. liine. ll u a sccond scmnml onc ( m c uccurs uuurs l0 you, kccp i1 it lor a second cosllnnc. costuinc. Thc bcauiy nl bcuuly ol uny any Llcsign (lcsigil (lcpcnds (lepends on thc the dcvclopincnt inain llicnic. dcvelopnicm ol onc niuin lhcmc. und on playvarialions ol that lhut thcmc rathcr ing up vurialions rauher than introdixcing ducing a compcting unc. This one examplc example illustrates that anyone who is lor an idca ought 1o cut groping for cxcess fabric away excess with thc Lhc uunost caution und and alcrtncss, alcrtness, particularly when approuching structural localions approaching Lhosc struclural locations wherc treatment is most likely t0 original Original treatmem to develop. One should also cxpcriment experiment with thc labric beyond lhc thc normal seam line lme 1o to see how many details searn may develop from any piece of cxccss excess labric. fabric.

283

a u s : oesnsn

Fig. l4. Ripples produced by slashing of neck and shoulder.

t0

the intersection

Fig. l5.(a)(b).Draping pmcedure Fig. l6. Pattex-n for Fig. l4.

[or

eect shown in Fig. I

cut

Figure I7 shows the result of another accidemal" a horizontal slash along the waistline from the side seam toward the cemer front but stopping short o! that poim. The fabric fell from the point of the shears into a rippling are later interpreted as a peplum. The diagonal line from the end of the slash to the side hip repeats the motif of the diagonal dart to lhe neck and gives it emphasis. Whenever you make such slashes and separate the two edges, you must use an inset to ll in the space. The inset may be frankly a space ller, or i1 may be so carefully designed that i: adds interest to lhc entire costume. In this case, the inset is really the back of the peplum extended atound 1o the from, as Figure I8 shows. The diagram also shows (hat there was no separation ol the pattern sections along the waistline until the peplum front dropped downward imo a are. l9 was achieved by The design illustrated in Figure a of effect the obtain T0 a very similar proccdure. across seam waistline a without perky peplum are was i1 ncccssary to slash along the back, ccntet (h: l0 separate waistline away lrom the Center back ancl Ich a triThis (h: two edges o! the slash sharply. waistline thc of across the cemcr back

angulsr space

w Fig. 17. Rippling peplunn { m m a horizontal slash the waistline.

284

SOURCES S O U R C E S

0 F OF

DESIGN D ESIGN

E
CJ) S e a m

"'

Ql

c._j C. F .

....:

t:'
Or

"'' 8

-g I

Q a _ r t _ C _ I o 5 e d

"''

_ c._j

Fig. l9. 19. Rippling Rippling Marc fl are produccd produu:d byslzlshing bv a lo ng wnistwaiHFig. alnng line a! a t CCUICI cen ter back. bac.k.

CJ) S e a m

"O

CJ) S h a p e d

"' ., a. "'
Ql

====--

a:i

Fig. i8. 18. Pattern fur for Fig. Fig. l7. Ii. Fig.

It would have been possible in. lt possible to set in a plain plain Lriangle, triangle, but the pair pair o! of scrolls shown in Figure i9 19 scrve serve um not only only as the necessary necessary inset but slgure become the decorative costume as well well, Lhc feature of the dccorative costume gmc and whcu when repeated repeated at thc the front 01' of thc the neck, neck, give give bal ance and cmphasis emphasis m to thc the whole design. design. Figure Figure 20 20 am! is the pattern fpr for thc the dcsignl design illuslrald illustrated in in Figure Figure l9. I 9. cpauem

that had had t0 to bc be llcd filled M!!!

I I I
I

Frg. 20. I-ng.

Pattern diagrann diagram Im for Fig. l9. 19. Pauern Fig,

I l

285

 R E S S

DESIGN

Fig. 2 | . Peplum rippling {rom a vertical slash down to the waistline.

Figure 2| shows the results when a vertical slash was made to the point on the waistline where the basic dar: nonnally falls. When the slash was spread apart at its lop end, a striking are rippled into a peplum below lhe waistline end of the slash. Figure 22 shows the pauern [or this design. Center Figure 23 illustrates a peplum Hared at the bark somcwhat sinlilar in character to that shown in the ripple is so Figure I9. The melhod of producing mention it Warrants (hat special dierem, however, will illustrations, two the you here. lf you compare of no is lhere l9 way possible note thal in Figure without back centcr the al are creating the sudden the imroduction of an insel into the waistlinc slash. othcr The back oI thc jacket shown in Figure 23,011 the seams curved the long, haml, is cut completcly apart by bclow the waist. to shouldcrs Ihe just below from nxakcs it possible to Cuuing o the side back sections un these sections in that drop nhe grain very suddenly whcre lhc

"h-..

Fig. 22. Pattem for Fig. 2|.

slwrt space Iran! the points an thc curves where lines (auch the waistlinc down w thc point thc thcy intrurhtccs aring This Iine. nlcet the Center back Thc back. cemcr problem Ihe circular {olds across out rulhor thzm to was t0 induce Ihr: folds lo ripple

been dropped from the point wherc the rst fold introducetl. 'lhcre was also the problem of keepi the waistline cIose-tting. Dropping the grain onl along the downward curve below the waistlinte in! the Center accomplished this. Study Figure 24. lh nished block pattcm, which shows that the tanpres folds sprcad mnre at the lower edgc than a! the t0 This is a blocking procedtnre with results (tontparab to lhose ol lowcring the grain whcu draping.
r

286

S O U R C E S

OF

DES

w e

a: Flare a1 3. Flarc

CEHICI back pmduu-d hy luwcring center lht lowcrirxg thu lhe waistlinc waisllinc m lhc (Cllltf from the ( u n t e r bzuk |):l(k scmn ul duscunl u! (lum.

nolher poim other point

5e
'
x

4W
/
V

(hat may bc puuling is lhc prcscncc lhe sidc cdges ot the thc ccnlcr (cnlcr scction. scction, ctlges ol along the eas ease is usually Lhc cdgc of thc lhC Llsually found along Lhe . seclion. section. The reason for { o r lhis rcvcrsul i; that reversal is {hat thc {er back section is very widc und Ihr: thc C cuL wcll l l l falls well and outside oulside the lhe point ol thc lhC basic busic waistline waisllinc dart. durl. poinl of ease ase helps to curve thc_ labric around thc form lhe_ fabric will ill nol not bc be visible if thc scum sann is curelully joined. joincd. u will rennember renlember that (hat lhc lhe blouse shown in Figure lustraled ustraled one way o1 ol producing ripples at the der. e r. And an a: rst glance, glnnce, the cect shown in Fig5 may appear similar, for here too there is a _ Ver frill. But there the der cossimilarily cnds. The cos similarity illustrated lustraled in Figure 25 is an asymmetric design ' [abric hing g two opposite ways of handling [abric it {olds along the rst half g up into draped folds shoulder oulder length, length, and then reversing the procefrom there in ordcr order to by lowering thc gvrain grain (rom Ihre: the lower edge. The method of gares along lhis one i" ing the pattern dierent, as this patlern is also diercnt, blocked and tially lly partially draped. Starting 0E the main body o! of (mjefully ly blocked pattem pattern o! which thc the draped folds {olds to the shoulder on which the dnpenadded ed, die of draper added a fairly Iairly large pieoe picce o! t: t0 aee what eect she could get by drap-

-5.
_ _ C i o g d

Dir: 951cm

_ G r a i n

Fig. 24. Fig.

Pullcrn lnr Ior dcsigun Puucru shnwn in Fig. 23. dcsign shown

"

Hares spring. Bares

the shoulder arca on the thc form. lorm. By slashing ing Lhe slashirlg lhrough thmugh the excess exccss above thc shoulder l0 u) thc shoulder shouldcr scam, and then by dropping lhc thc grain, grailw, she nally dcveloped the circular frill. lrill. There was somc doubt doubl whether to t0 lhe circular [olds folds thruugh the shoulder scam cdge, lay the througl: thc edge, or just to it; i1; but the experimental experimcntal draping quickly decided that xhat issue. Leuing the ripplc lines run t0, l0, but not lhruugh, the shoulder shouldcr seam scam created creatcd a Iighter, lighter, morc buoyant more buoyam eect. T he diagram of the completcd completed pauern that the shoulder edge pattem (sec (see Figure 26) shows (hat beyond the drapery is a sharp arc from which the

DRESS D E S I G N

Drancd Folds

km

r . T; l ; I

circular Flam
.

o"

Fig. 25. Draped shoulder.

{olds

and circular ripples combined

a1 the

Fig. 26. Pattern diagraln for garment shnwn in Fig. 25 with draped folds and circular Hares.
7

The diagrams of the patterns for all of these dealso signs show thc lrued up, blocked patterns. They blockwith o! show the advamages combining draping ing. After you havc (Ievcloped ideas by experimenting on the {orm with scraps of practice fabric, the blockbccomes a fairly quick ing of the accurale pattern the design t0 process and makes it unneccssary drape
t0

gathering the Iree edgc of the slash or draping il into

folds.

complction.

Lines 9o Disfribung Gaben und Feld: Along Slash Produco Drapory This experimcm is smncwhat sinlilar to the previous of droponc o! slashing to producc arcs, but instcad is to try timc this aim thc (In: grain for a ripplc,

ping

Figurc 27 shows a shoulder ( l a r t converted inlo. drapcry with an extensiol) carried around 1o the back. lt also illustrates Lhe eect ol slashing the dart line und distributing guthers alonxg it. lf the fabric i3 . soft and heuvy, the lincs of the (lesignl are as uid and rhylhmical as in the illustration. Although lhis idea f scems complicated, you can readily block it t0 perfect the pzutern shapc. The (liagrann o! the at pauem (seo Figures 28a und b) shows that the Center iront; linc hus bccomc u sharp arc, am! thc separation o! thc Lwo sides nf the slash shows the Iocation) and 5in0 0|" lhc dart.

SOURCES S O U R C E S

0 F OF

DESIGN D E S I G N

<.i

...... ,

' ' ... ' ' ' ' \ \ ' \ \

\
\
I

g, G-

{C065 * 5
\

| |

''|I

\
\

' \
\
\

-- --..
I

\
\

\
\

''

''
'

Gamer

'

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.. .... ... __

\
\

\ \

A
|

t
\
\

es

u; v

gw
I
|

:
I

(a) (a)

Fr

(b)

u" Fig. 27. Shoulder dar: dart converted imo into drapery drapery and slashed slashed Fig. u l9 to push push in gathers. gathers.
Simulated yokes yokes (see (see Chapter Chapter II, II, pages pages 000-000) 000-000) Simulaled employ this method of slashing to push in gathers or of slashing to push employ (bis gathers or folds along the cut line. A more unusual version of version of _:U0_s along thc c u t this Same same basic basic techniquc technique is shown in the asymmetrical asymmetrical M: bodice design design in Figure Figure 29. Two slashes running running to to jgicne " neck at lhe the the side front Support support gathers gathers radiating radiating h ard (h: toward the shoulder on on one side and toward toward the underv" arm on on the the 0111er. other. After thc the design design is is devcloped developed in in a a rough by draping, draping, the pattern pattern should be be trued trued h form by up by exact blocking. blocking. For blocking blocking not not only only estabestab[y exact lishes1h: the grain grain line correctly, correctly, but also insures insures a a patpattern wilh with ushoulder, shoulder, armscye, armscye, and underarm underarm seams seams of of exactly the same length even though of the same Same evcn not of the same ly lcngth though shapean on bmh both sides. Scudy Study Figures Figures 30a 30a and and b, b, which which show -cwo two m steps in producing the f:lat pattern. p 3 in producingthe at pattem.

Fig. 28. (a) (a) Slash lines lines drawn [or for dcsign design shown shown in in Fig. Fig. 27: 27 : Fig. (b) spread for folds gathers. Slashes [or [olds and (b) spread gathers.

'

'

'

m:

Another method of of developing developing folds, folds, as we have have alalready to vertical slash. is to introduce them seen, into a vertical slash. ready One way way of using using this technique technique was illustrated illustrated in in a a skirt (see (see Chapter Chapter 3 page pagel09), and similar methods similar methods 109), were shown in two sleeves, sleeves, one with with a simulated simulated cu cutf vertical slash slash bebe(see page page 138). 138), and the other with a vertical low the elbow along along which gathers gathers were were distributed distributed (see page page 134-137.) 134-137.) (see A graceful skirt design design (see (see Figure Figure 31) 31) shows shows this this same principle principle of slashing slashing back to to push push in in gathers. gathers. Thc The skirt has a yoke yoke wich with a crossed simulated simulated belt. belt, edges of which gathers have have heen been along the lower edges gathers worked in. The seam at at the Center center fmnt front is is concealed concealed in in the gathers of the skirt. Figure Figure 32 32 shows shows the the method method of slashing slashing and spreading spreading used used to to obLain obtain (bis this cug, cut.

289

a.-m.
v.-

DRESS

n 5 5 | G N

Fig. 29. Asymmetrical bodice slashed a: the neck m push in gathcrs.

Spvead fov
Deep Armscye

0 2 1 2 0 5 3 1 -

Ihr lnlds und guthcrs: (b) (a) Slash lincs drnwn seams arc Slashcs sprcad. Undcrarm, armscyc. und shnultlcr hnlvcs. Ich und m: right in Icngth

Fig. 30.

equal

290

SOURCES S O U R C E S

0 F O

DESIGN D ESIGN

.5)

ggf:

Fig. 32. Fig.

Pattern for (Iress dress shnwn shown in Fig. Fil{. 31. 3 1. Pauern

h
(a)
_./

Fig. S]. 31.

Slashing back bac.k along a long a skirt ynke yoke t0 to push in gathers. Slashing push in gathers.

(a) When slashed and spread. spread, the full full edge can Fig. 33. (a) edge can be easily easily gathered inm into a dcscending descending yoke yoke line; line : (b) When (b) When slashed and spread, sprea<l, the full edge edge will not not push back into push hack into an an ascending ascending ynke yoke line line without without pufng puffing a1 at the the comer. corner.

(b)

Slashes should be made to to the side seam, seam, but tapered tapered "bes should to nothing nothing a1 at the point point on on the the hip hip where where the belt belt end. If It a suggestion suggestion of of draping draping toward thc thC' appears to cnd. msm side hip i5 is desired, desired, however, however, the slashes slashes should should be be tapered to a small dart rather than to a fine point.
A

Figures 33a and b illustrate an important technical point nonccrning concerning thc the shape shape of of sinnulated simulated skirt yokes. yokes. 4 you make a When a slash from the seam edge of the you man slash from the scam edge of the pattern (whida (which is is a; at the center center front front in in thc the skirt skirt discussion) (lpwnward as in in F Figure 33a, as as you you under gmmign) downward as igure 38a, you gain gain man: more and more more lenglh length on on spread eVpxttem the pattern you

m:

Lhe the gathered edge edge to to t fit back into the the shorter shorter yoke yoke line. But study study the diagrams diagrams of the ( two yoke segmentf.. w o yoke Segments. If If you slash in the opposite opposite direction, direnion, that that is, is, from from the seam edge upward, upward, you you will have trouble, trouble, because because gathered edge edge which which is is shorter shorter a: at you must push a gathered the the center center front lront up up into an ascending ascending yoke yoke edge. BeBeedge. cause cause you must must raise the grain grain of the the gathered gathered edge edge as as you draw up up the fullness, fullness, the skirt skirt gathers gathers tend ten<l t0 to curl curl and puff puff from the o outer of the the yoke yoke line line ininu t e r end of stead stead of falling falling into slraight straight vertical vertical lines. lines. (See also (See also 2 on Chapter 2 simulated yokes for an explanation of Chapter simulaxed yokes for an explanation of the the same principle principle applied applied m to blouses.)

blouses.)

291 29l

.
.0

DRESS

ESIGN

Manaus: o. vonai ho NormaICuHlng Linn

Da;

Eine

expenmenting to see what interestIng nec}: tfeatments may be offen-ad by the excess fabric both wnthm the curve of the neck and up beyond the shou_lder seam. Figures 84 and 35 show two ways of Ioldmg excess to [orm necklines which are unusual and lf you can accomplish the feat o! _becoming. cmeatnng pleasing lines around the face. then you will have made considerable progress in designing. The remaining costume lines may take their cue from the

never Ongshould cu} along the base of the neckwnhout rst

necldine detail, or may be used merely as a foil to the neck design by being kept severely plain. Figure 34 Shows a striking neckline set off by the simplicity of the other lines of the costume. whereas Figure 35 shows how the neckline may serve as inspiration for the peplum detail. When the designer draped the jacket illustraled in F igure 35, she turned the excess under below the waistline at the from, draped it up to the waistline a: the back, and terminated it in a cascade. This peplum illustrates another way of producing a striking eifect by folding off excess.

Fig. 85. Thc fold of excess a1 ncckline inspired the fold o! excess below the waistline.

Again in Figure 36 the waistline detail illustrates ' what may be achieved by folding back the excess Ich i: g beyond the Center from line. Another possibility and the of lower the at the excess to leave peplum edgc fold it up to form a pocket. In fact, lhere is no limit i t0 the number of interesting variations that can be 5 baclL developed from the single expediem of folding all and normal the the excess beyond pattem edge t0 will the and idea the experimem. one needs besides muslin. of a {ew is a dress form and scraps

Fix. M. Fnldins n"

extcns

m fnrm a Inc-mmin "d"'

Fig. 36. Folding back cxccss beyond

(einer

(mm.

SOURCES
info Knols or Bows ng Excess inlo ing
,0

OF

D E S I G N
fabric wrappetl ol labric extensiorl of 3U llluslrulcs illustruies an extension Figure 39 uxound Ihr; the wuistline wziistline 1o lonn a sollly znound soltly draped (lruped girdle. To inuke "I1; muke the die pultern Figurc 40). puuem lor this design (see Figure e a r the lront n near c e n t e r front lmsic durl dar: 1o [o ihe die Center translei ihc lllc l);I3l( irunslei (ul i! out. oul. lnstead, slash the u t it waistline. Im: lmi du do nol noi c waisilinc. f0r labric forand draw the lzibric [T01]! A u) B und edge ol thc da11 lrom und bius. Thc The doued line wunl u) Lo lonn u sush >u>ll cul on the Ihe bizis. shows the top not cut but folded lolded sliow: which is n0: dann, wliich lop ol thc (lzirl. to in. Add an cxlcnslon t0 cxicnsioi) CDl-J under the (lrnpcry drnpery lorm u supporl lor ihe skin an a: ihc Center lronl as us shown lllt slilll center front sllppull Im Lhe dollcd line. linc. Tlic The ends ( can tied a! at the back " a n be lied In b} lllC o1" i m" nun u n tlnough a bucklc buckle or ring. Oncc your e(\c to look for lhe becomes [Ydllll t0 the source trained eyc ol n PSITIlClIlLII ul see ideu, you will repealedly design ideal, purliciilui tlcslgn repeatedly secol {hat idcu, l(lCi| und will constaxitly npplicuiions ol" upplicnlions constanlly bc made uware ol niure ziwnre more und niorc inore possibililies growing oul out ol slash. blilall. ol lhe buck, or tying of cvery pnssiblc cxcry pussiljlc lolding back, lulding llllnlt. .\ml lill)ll( And you will soon c colnc o i n c (o sec see inany olher many olhei
l0 t0

sznnc poslllons n general, thc samc .In [hat are a i e advantageous posltiuns (hat m lor or loi ('.\(ss um ulao suitable urc alao r slaslling suilable lor slashing lolding cxccss - ng il it into knots kllols or lmws. buws. lhus it is possible t0 "h cxccss above the shoulder h vertically Lhrough lllC extcss ahoulder lllrougll the i: inlo into (lecoralixc T. decoraiixc knols on un Lop of the g t0 tie i1 lup ol i1 was explained how to u l d e r. ln Chaplei l0 tie ulder. Chaptei 2 it excess from lroni u a dart zu lhe cxcess durt ui the C e n t e r lront centcr lronl ol [h6 (h6 neckie into inlo a bow, and also how to plan lor knots tied several points along the ccnler 5several ccnter front lrom linc. Not only 1 ol shaping the Lhe labric, but it ll ilymg ymg a decoralive wuy way of o v serves the ol of it i: is Xloreover, Moreover, purpose laslening. lastening. to end l: of the simples: and most natural ways wa): 1o
i

"c

PYPCTY" lhc exccss cxccss licyond igure 37 shows how tlic Iicyunnl the normal m and back shoulder seuni m seznn lincs cun bc iied llL'(l in ordcr function both funclion both 21s zi Llosing und zu u u: u 21 (lC('()l'illl\C dccorulivc neck iletk atment. lmenl. 'lics Tics also ollcr u a Chance 1o m introilucc inlroduce ( onConol lhc cntls, if (hat ( l e t luil cmls, il ting color in lhc lming ting lzuing nl t0 inlprove Ihr: ms l0 the coloi cnlur lizirinony. 7ms hunnony. shows lhc lhe soll lolda lolils lroni lroin tlic llic l)ilsl( l)2l5l(' Willstwaisl_ igure 38 sliows gure e dar! und lhc thc peplum LlHlWH "c dmwn lugclllcl 2U. ihc lhc CCIHCI _ ccnlcr logcthci zu m and tied. lncidentznlly. \\l1{ll('\'(.'l you lncitlcnially, \\'l)CllC\'CI' um usc lies fasten aslcn drapery, ( u ! lhcin thcm in onc 0 m : pierc Wllll wilh the inuin drapcry, ("ut piecc the pattcrn in onler order u; (o avoid 2| u cluinsy y ol lhe clunnsy seam
'

<

i-xcess ( a n l)( bc manipulated order N i l } : in \\'lll(ll c-xccss W21}: nmnipulateil in Order clliecls. produw oiiginul und striking pruducc (niginul slriking cllects.

lhe knot. der thP knol. der

Bias Draped Sash

. a n becoming neckline. 5mm necklinc. Fulda from ( m m basic waistline Feld: waisdine dart dar: ticd. tied.
t

Excess from shoulder shouldcr dar: dan and above thc shoulder Extra:

..

39- Thc Yin Fig. 39. i408 intcrprctcd tying idca wizle girdle. FEBinlerprclcd in a wide 40. Pancrn Pattern for lor clress shuwn Fig. 4oFix. shown in Fig. 39.

293 293

bness
Suggestion 5
INTERPRETING SILHOUETTES A5 COMPLETE
DESIGNS

DESIGN
only those seam: und darts that contribute 1o m ing of the contour are o! vital importance. l ing out this exercise, you will become in conscious of this fundamental principle anthvi to work more and morc for complete eect rauher"
"
V

Fach year fashion magazines present new trends pnmarily as silhouettes. for the shape, of course, is the most important characteristic of every costume.
lndeed, if you were not interested in cutting a pattern for a garment. the sllhouette would show all you would need to know about lashion and style. lt shows, for example, the current breadth of shoulder; the shape o! sleeves; whether bodices are rib-tting or bloused; whether waistlines are nipped in or wide; whether skirts are pencil-slim or bell-shaped, short or

long, ared at the side front, or back. lt also shows whether there is a vogue for peplums, whether or not they are, and just where they are. In short, almost the only important thing the Silhouette falls to show is the location o! the structural seams and darts required to produce its distinctive outlines. lt is, therefore, a challenge to try to interpret a certain silhouette by placing the seam and dart lines within the contour not only to produce the desired deshape, but also to introduce harmonious seaming dart and seam are There tail. usually many possible how many inpositions, and it is good practice to see All designing make. can teresting arrangements you and ol silhouettes, is fundamentally interpretatioi}

for minute detail. The central sketch in Figure 4| illustrates a typi fashion silhouette but shows no seams. Obv there must be seams somewhere to produce the r tting bodice and the sharply llared peplum. S113i rounding this Central silhouettcd gure are four w sible intcrpretations of the design, each one with almost the same contour. But the various cuts couW; not possibly have exactly the same grain locationv through the are. Hence the elfect of each would vary". slightly, though not much. When placing lines withi the Silhouette, always observe the laws o! good spacc division, and place seams where they will harmonilc with the lines of the Silhouette. The simples: way (o arrive at any ol the four interpretations is to draw lhc structural lines on transparent tracing paper laid overv the silhouetted gure, and then to bloclt each inter- . pretation from the master pattern. Figures 42a, b, c, and d show the pattcrns for each oi the four interpretations of the Silhouette shown in Figure 41. This one example of Silhouette interpretation should stimulate you to interpret in a variety of ways 4 many others of your own choosing.
i

show [nur interprel-ig 4| Sketches (a), (b), (c). (d) (unter ul thv illustations of thc silhnuctte shown ut thc

(b)

tmtion.

294

SOURCES S OURCES

0 F OF

D E S S DE

N IG GN

'" g
.:;
..:
<..i

...
,u
I

C>

" i!

" "

11,i ,o

(b)

I I
I

'

I'

,. '

''

I I

'

'I

....
(c)

___ - - -- ---':..

__

__,
(d)

Fig. 42. (a) Paucrn for Fig. 4 1 (a) ; (b) Pauern for Fig. 41 (b) ; (1') l'aucrn for Fig. 41 (t') : (d) Paucrn for Fig. 4 1 (d).

295

DRESS DESIGN
Suggaon 6 HOLDING THE FABRIC T0 THE FORM IY SEAMS AND BYCONCEALED DARTS Holding by 50cm: The purpose of this experiment is to achieve a
The three following examples illuscrme fr principle but show that the lines cm tun in directions. The blouse in Figure 43, a variaml?

smooth, form-tting costume which takes its inspiration not from a costume silhouette but rather from the contour of the gure itself. To do this, mold the fabric to the form through seams that run from one edge o! the pattern t0 the other, rounding the fabric lo the {cm1 not only along seam lines but also in the unbroken areas between Lhem. A soft pliable woolen with good shrinking quality is essemial for such a design. ll you place seams to form the design detail of the costume they will thereby serve the double role of shaping and decoration. The French dart is a [amiliar example of a Iine that cuts clear through the pattern, and you have already observed that it molds more elfectively than any pair of short darts. If you double or even triple a continuous line, the pattern curves to the contour of the gure as if sculptured.

French clart, repeats the vertical linc t0 character of the dcsign and to give a secand Jim which to shape the fabric. In the design Show Figure 44, lines radiate outward from the nach. the bust to the underarm. And the conume illum in Figure 45 is shaped through horizontal seami" ln the rst two o! these, the radiation o! the Ii improves the spacing and avoids the monotony of pur; allels. As shown in Figure 42, radiation can also {mit attention on broad shoulders and a slendcr waistlitle or, as in Figure 44, on the neckline, which i: arm memed by a heavy metal chain. In the dress shown, in Figure 45, although the lines are parallel, the spac are graduated in size to give variety. The panem diagrams for all three designs (see Figures 46, 47, and 48) illustrate how t0 distribine the shaping between two seams rauher than all at one. T0 achieve this effect, the seams musl be placed so that F no nne of thcm falls exactly at the poim of the bust.
k

y,

Es)

1u:}i;\n u

thrcc ways n! nurklinx a 85" Figs 43 44. and 45. lllustrntc ancmss the gurc through scams that cul cntirely man: the pancrn.

u;

296

S O U R C E S
Iwticc {hat Lhat in lhe (he lhc pzillcms. ynu will noticc sind) (he pztllclns, wu study 1o [o [ w thc ( o I3, 43, Figuic Figurc design) design corresponding of thc lhc busl point, and eithcr side o! und Lhe the ease easc on Io n either both cdges. buted thc pauern uled along bolh cdgcs, In lhc patlern for 1o lhc Lop lhe section nexl l0 lulls (lirectly the 44, directly wp Ialls Lhc easc i: divided (livided betwecn belwecn the thc bust, and lhe The sectioxl of lower section o! the d lhe lower edgcs. edges. e wn wn in Figure l5, 45, which spans a wider spare space ' u! the mosl o1 lhe ease eusc along busl, has most ulorlg ils upper v a narrower scclion been d bccn uscd used ovcr the Lhe ahnost equally divided would havc becn almost ol (hat scclion. section. In 'upper upper and lower edges o1 lhree designs, e lhrce ease could have designs. all of the easc

OF

DESIGN
wherc it naturally uns cdge where nalurally {ell bccn bcc-n pluccd on thc one und the pattern wa: closed and dzm was basic dar: Lhe busic when [h6 pauenl was have would lhis this lincs. However, on thc lhc new neu" lines. slashed un the excess Lhe in (o t0 ease dithcult il more invisibly. madc it take advanlage l0 Luke haxe failerl to and would ha\e advantage of the opporor mold the section and lhe the ease t0 clixidc to dixide cup tunin} lllllil} o! lhe the busl. This is cune of the curve [hat lalls (hat talls direcll} dircctl} over (he more than one seam o! o1 structural advanlage thc sllllrai uaing using advantagc u matter of a than is morc line. Holding, Imwevcr, hnwever, Holding. takes on shape becnlire blouse Lakes scnm lines. scnlll lincs, und lhc entire Ihc curves along the o1 lhc intensilicalioll of thc lhc intensiliration cause ( a u s e oi lhc shaping (iislribttlcs i i s l r i b u l c : thu shuping over the whole cdgcs which (

"
v

puuern. PJIUCFH.

Fix. 46._ lstern

43. m; m: 51g. Faxe 1-13. 4s. idiagnm the along boxh cdga of Ehe

[mm dar: Central cemral tection, section.

umam m.

oness

DESIGN

SSht Pouch

44. Fig. 47. Paucrn clingnun fnr Fig. fnr I-"ig. 45. Nlnst u! lhc cusc falls Patu-rn 48. (liagnun Fig. thc busl. Nmv (hc a1 Ihr mp nf Ihc scnixm clirutly undcr spmul alnng othcr section cdges.

JJJS

1..
u.

S O U R C E S 0F
t0

DESIGN

lhe Conopcn lhe und lhe edgc of uppcr lop (fction lowest section in onlcr l0 shape lhe bluuse outwurd smoolh convex runc lrom shouldcr (u busl am! from bust to waistline. H lhc small seclion m; direclly over thc bust is cupped cxcessivcl} on

Olher additional seaxuing

gh r of er edge of lhe

nol neccssary" u: shape lhc [abric t0 lhe busl, docs Iuakc i! pussiblc 1o

emphasizc lhe dcsign.

edge. lhe hust contour bccomcs ( o 0 prononnncccl. especially t r u e il lhe busl i: largc. T0 adjlul

lhe individuell hgure, slush und pivol the edges atlached u) lhe busl sccliun. as 75m Pigure 48. 3." ttern for thc dress shuwn in Figulc 4:: (scc also clears up anolhcr (lifcult prublcm fahric across the waislline whcn (h: wuisthave becn closed in bolh hlousc und j lhis is done. bolh waisxlines bccmnc in with lhc result (hat lhere is cxccss vcrticul the waistline at the side (rom. Eilhcr b break and blousc slightly a! the waistline, die [abric slightly Irorizomally to rcducc _ThC|I t o u t lhe cxcess width by indemlhe doued lines across , k a m a: shown by in Figur: 48. Seam lape held slightly n Ehe waislline o! lhc dress, and invisibly III: wrong side. will reduce the width deine lhe waislline. Ease the dress just }: bone where grcater width is necded be-

_ng (o

_
I
n

Fig. 49.

Molding thc

[alpric

lhmugh daru umtcalcd undex

(h:duign lines.

design with a long S scroll runto n curve below the waislline. yn u: ure out how to hide lhc dmnoch und waislline scrolls so man van-pure o! uing the fabric 1o u :so impomnt umthe imrophil: l0 them would not only venea. but would give the o! a uneless addcd detail. "In: how Ihe dar! on the purpooe nlthough i: in 57h: dm: a! hoch nides
__a

'
*

the one shown in Figurc-49 which mun moldaed without visibgc [ullness along thc design lt llnef. uakes Iar-lcss slull and ingcnuity 1o put um enurc baue m one place and distribute it imo dfm lhan n does to gct rid o! i: subtly, a: m; gathen

n has gathers falling (rom. simulated shoulder yokes and soft fullness fepeated m lhc skirt. Designs wilh galhen auch a: Lhls one has arc technically deceplivc. They seem an (im glancc w be complicaled and dilbut actually lhey causc less lroublc than culf to cut, hke
deugns

waistline. ul lhis would have crcalcd loo much easc lo shrink out rcadily. lt also scemed to improve lho: dusign lo balance lhc waistline ( l a r l on lhc righl side Wllh thc small shouldcr dar: on lhe Ich. These two small darts am: scarccly visiblc when carefully pressed. This idea can bc dcvelopcd eithcr by draping or blocking, bul eventually the dcsign should be blockcd to the pauern and lo balancc lhe darts. true. up Figur: 5|. on the othcr hand. depicts a design much softer in characler than that shown in Figure 49, for

ue

molded garment requires.

Dnass D E S I G N

Panttcrn fur Fig. 49. Dar! lines drawn: Fig. 50. (a) (above) whcrc (lnrts arc mnteadcd. (b) Pattcrn spread u) show undcr yokc cdgc. cnnccalled Fig. 5|. (bclow) Shaping

300

S O U R C E S 0F
Suggoslion 7
DEVELOPING THE DESIGN THEME FROM VARIATIONS OF BASIC DARTS

DESIGN
dann. Any ul thcsc idcas muld haw bccn devcloped lrom draping on (hc loi m, und an)" one ol them could hure becn rst clurilied in a skelch and lhen blocked. Thc nlelhcxl used l0 (levelop lhe design nlakes liltle dilfcrence aml varics lrom onc individual l0 anolhcr und [ m m one (lcsign to nnolhcr. All uf lhe dcsigns illustratcd lurnish good piuctice problcms 1o be analyzcd lor design (lualit) und paucrn makiug. In working them, you will gain assurancc in designing as well as lechnical skill.

"ng could
(o

E;

' 11ern. Bu! long belore you become adepl a! -"ning, you will discover lhat the vertical
lr

French dans

De nmrc stercolyped or Lmimaginause the basic (larls the shoulder. vxaist-

cxactly as (hey

are

used in a

d waistline dan posilions are ( w o of the e localions for darls lrom lhe poim of " ingness. What could bc more reason than to shape lhC pauern a: these rtions. and a: the same lime 1o cemcr n c so that lhe desigxl is both imaginan 11g? lt is nol necessary 1o slrain yuur hard l0 invcnl innumerablc Variation: and in so doing to explore anolher

-x

inspiration.

nicht Dorf i; an exceptionally good position for 7iCenlcring auemion high makes the and also focuses imerest around eecls are always desirahle. und: iletchcs in Figur: 52 illuslrales a lnterprctaxions of the shouldcr

Varioliom of ve Waislline Darf .-\ waisllinc dann. cilllcr lhc slandard verlicnl one or a (liagunul onc slanling upward lrom the side scam toward (hc busl, will be lound in most blouses. regurcllcss ol olhcr da11 loralions. in order lo t lhe wuistlinc mou: clusel} und lu retain some ease over lhc lowcr ( u n s : ol (hc busl. ll well placcd, (he verlicul wuisllinc durl tapcrs 1o dcne (hc waislline becunlingl). ll is good praclice l0 play up lhis dar! posilion aml l0 makc i: thc cemer ol intcresl ol the coslunlc as wcll a5 a slnndard localion lor lting. Thc group ol skclchcs in Figurc 53 shows several possible ways lo l r c u l lllc cxucss lronl ihis dart in Order l0 makc a (lcsign bolh unusual und inlercsting. T0 gain expcricncc, you shuuld prauicc blucking thc pauern Im" cach ol lhcsc dcsigm.

DESIGN

Fig. 53. Six possible variations of the standard waistline dann.

Variaons of fho French Darf Several of the illustrations have already pointed up

the fact that the French dart line, because it cuts clear through the pattem from one edge to the other, offers a heuer opportunity for molding the fabric to the gure than any combination of short darts. For this reason it is a favorite in hip length jacket designing out over the bust, in at where adcquate shaping lhe waistline, and out again at the hipline requires a continuous seam rather than a series of short darts. Because the inward slanting line from the shoulder [0 a narrowed waistline is universally becoming, regardless of individual gure faults, the French dar: should be fully cxploited so (hat you may see how man_y unusual variations of the line can be devised.

The group of sketches in Figure 54 shows the um . of the French dar: in both tailored and soft desiglu, and one example even shows its eectiveness whcly used for a close-tting evening bodicc with a contrasE-l ing bouant skirt. For practice, you should see how many variations of this theme you can contrive, and} should either block or drape the pattem for each. experimenting with variations of these three [amili dart locations, you can develop any number o! good

designs. The prime requisites are the necessary shap-L line ing, a clear understanding of generally becoming for a in alerlness con-_ locations, and Seeing possibility theme fot; verting a conventional darl into an Original a design.

dan into the design thcnxc ol thc costulnnc. for cnnvcrting a standard French Six 54. Iuggcntitnns Fig.

302

SOURCES
Variation: of lhe Mosfer Der? ough the shotildcr und waistline urc generall) u t advantugeous durt posiliuns lroni the point o! becottiittgness. there are lrequent Opporfor play on Iines (hat n i n lrom thc bust tb r lront at the tietkline, to the ( e i n e r lront '_ chest, and to the underann seani neur the or Ior that matter, to an) point un the lront blouse pattern. D0 not ignore thesc other f _possible centers of inlercsl C\LIl though less generully becoming u; all lypes ol

OF

DESIGN
"l u thapc it. pin the struight graut at the Center front. and then wmk lront the waistline up and outward tuwunl lhe shuultler. swlllglllg the entire excess in lrom the shoultlel point towartl the center as in the cmvl necklint- procedtirc. The bias at the neckline will stretth atlutntngcottsly tu ding to the sides of the tu-ck. The durt lrom thc busl tuward the tmderarnt at the
n l o s t mnunonly usetl nierely as a supplelitting durt. but inay also serve to a minor e x t e r n an the stiurcc nl an idea. For example, the line n u r ) llt slushctl bucL und guthers ntay be pushed in ulmrg lls tippt! cdge, or it may hure a sash cxtension zu thc tinderanti to bc carried around the waist to the lmtk. whme it ( a n bc tied or bucklcd. T0 most stutlents, this will tnulotibtetll) be a familiar use ol this datt. Hgtire .36 how; a more tinustral interpretation of the undcutarni (laut. On the lront of the blouse. the 51:13h lurllls u slllllllaltd bolero line. which is attached nt the tintlexunn scam to a real bolero jackct back. Ute mttetn diagram (scc Figurc 57) shows how the cxccss lrom lhe dart was lclt to slide up under thc Ioose edgc u-hcrc it was uttached to a support extending to the slunlldcl. This desigll is casual, looks elfortlcss, und yet takes carelul planning.

'

"

.
V

waistline is

mental)

the bust to the Center lmnt ut the _a be used sparingly, sintc its tnuul w i1: the size of the busl b) slantiirg die bust and inward toward the neck. u} crush the excess [ m m thc tlart and for a tie at thc center front o! the attering foltls are lormed which J3 the inward pull of thcse lines. excess with a striking ornamcnt drape it over a necklace to givc Suit blouses take advantage ol dart position with great success
x

'

to the center front line at the to vary the theme of horin ted along the vertical center dart position should be used the tendency ol horizontal uce apparent height and to _paition. however, like the Iy good choioe for dressy
,

in the jucken opening i: illultnted in Figur: 55 f ohviously appropriate

'

fr; drein.

5 nlmgle tnmfer o! M19" "WM!

_ k"twith the

D R E S S DESQIGN
back of the blouse, though to a mach man extent. since any design that seems to drittel: round out the back over the shoulder blank! sbonb be avoided. Because of this, back dam uaually an purpose better if placed a: about thc samel tlleir uon as in the master pattern, that is, with thev divided between the shoulder and the waistline. plainness of the back may be relieved by button lines; by waistline sashes, or by details which add intercai; to the silhouette, such as bows, peplums, and drape} effects centered at the hollow of the waistline. There i; fore, whilc designing around the basic back darg offers good practice and is often valuable experir mentally, waist backs in general can betten serve the purpose of carrying to completion the idea startet! in the front. Never forget (hat any motil, howevet, interesting, clever, or unusual, must bc avoided i! it distorts the gure. lmricacy of dctail for its own sake ._ does not make good design. lt is the beauty o! thc costume silhouette from all angleslront back, am! sides- (hat really matters.
i_

._).

Variaons of Standard Yolxes

related technique and therefore should be memioncd. here. A yoke, as its name indicates, is a segment of a pattem used to support gathers or lolds, and is usually. placed at the shoulder in the blouse and from the waisl to the hips in the skirt. Although yoke cuts arc fre quently used to shape and mold the fabric to the form without visible fullness beneath the edg 1h: following example will deal solely with a yoke u conventionally as a meaxis ol support lor visible In!
A

G r a i n

Although the conversion of a dar: to a yoke is not properly a Variation of the basic dart, it is a closely

4:
Support

ness.

lor Fig. 56. Arrows show slash Fig. 57. Pzuern diagram under the line and undcrarm dar! which is Ich 1o slide up bolern and be auachcd to the iuppmt.

poaibililicn.

of the The suggestions hcre oered for Variation lhe t0 basic daru in the lrom ol lhc hlnusc produce thc of many themc o! thc costumc are only a lcw the to bc can idea samc applicd The

ln Chapter 2 the lechniques of both draping a ex! blocking a simple horizontal shoulder yoke were t plained. lt is possible to vary this standard yoke ide of the produce many other more unustnal versions shoulder a crossed with a yok shows 58 design Figure armsc the loward radiate the 1 The fact that gathers wh but the lrom disappear and thc undcrarm yoke, for their gracc! accoums seam lines, the reach they soltness and lack ol hcaviness. Figures 59a and b sho._' the pattem shapes lor lhis blouse and illustrate t Thc First of th important poinls in yoke designing. concerns the placing ol the yoke. lt should be cut the cu ("all across lhe gure cither above the bust, il
L

'

304

SOURC ES SOURCE
L ends to be horizomal , or no closer Lhe the underarm underarm horizontal, lends l l seam than Lhan Lhe of Lhe the curve is is more lhe point ol" the bust, bust. if lhc
t0
u) ( l o s e r LO

0 OFF

DESIGN DESIGN

n1gathers t0 bust. If, hand, the [ a l l over the bust. lf, on the other hand, gathers to fall yoke line across figure beside or below the cuts the Lhc gure yoke

nearly vcrtical. vertical. Either way, there will be bc space way, lhcre nearly space for the

poinl

bust, then ease falls lhe bust, 7point "im of Lhe falls on the yoke yoke edge edge raLher than on the edge edge (hat that should should be gathered. fqther gathered. The

effect is very if gathers puff ou t too close to th e out the Elfen very poor poor i! gathers pulf underar m, or in the case of a horizontal horizontal line, nderarm, line below, below, rather tha n a bove the bust. than above bust. "ther

___\,
I

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------

--\

'\
\
\
\

----- ---

... .-\,

''

''

''

'
-

Skirt Segment

(a) (a)

Fig. 58.
l

Crossed shoulder yoke.

(b)
E

(b)

ig. 59.

Pattern a? for 558? Fig. >.'i8.i

(a) : (b) (b) Pa ttern cut d sprea d lor gathers. 513531 lines m?! drawn Panzern (a) Slash drawn: cut on on yoke line and me an yo ke 1 spread for gathers

305

DRESS D E S | G N
The second poim t0 observe is that the gathen radiate and disappear before reaching the underarm seam. l! the slashes for gathers had been cut completely through the underarm seam and if both edges hnd been spread evenly, then the lines of Eullness would have been parallel, horizontal, and altogether laclning the animation of gathers that spring from curved seams like the underarm and armscye seams shown here. This example illustrates the generalizaon previously made, [hat gathers and folds are infall into variably more animated and less inclined to outradiate heavy, "clothy parallel folds when they

DEVELOPING UNUSUAL sxm cm5 man BASIC 1wo-. Foum. AND smeona mmlnsi

Suggnon O

ward ftom an arc; that is, when only one edge of the pattem is spread for fullness. Yokes with suspended fullness are a favorite means of introducing softness to emphasize gure contour its and yet of controlling the fullness so that it serves t of closeness where out purpose without billowing other have yoke designs is essemial. Hence various been illustrated earlier in this book.

In Chapter 3, the principles of both draping am! 9km: blocking standara gored, clrapcd, und circular 6xnow so diicult be not wefe explaixxed. lt should more thc of and blocking perimem with the (lraping unusual variations of these basic skirt forma. skirt Figure 60 shows the back view of a two-gore (wostandard the [ h a t does not even remotcly resemble form a two-gore skin gore cut. Although in its usual is most unsatislactory for anything except a master and draped Variation: pattern, in its many gathered it can be very effective. This particular designghows l;
l

_
'

4L
f;

a:
was

n 50 111e uandard (wo-gute paucr { m m stamlard. far is ein; (bis skirl, whicb i" 9E

used m den

skirt pattem was Fig. 6|. The basic lour-gore

vaned

prnduce this design. dress shuwn in Fig. 6|. Fig. 62. Pattcm lnr

306

SOURCES
U.

'

0F

D E S | G N
In urdcl u; gcl lhc pruisc ccu ol lhc lunnel pockel drapcry" shuwn in Figurc (i3. (hc (lcsigncr cul lhe skirt as u unrialiun 0| lhc aix-gorc slylc. First she cut lhe bclt cunc hnm (hc maslez (wu-gorc skirt pauern: lhcn shc ( u l lhc rcnucindcr u! lhc puttcrn inlo pauels zus ahmvn in l-igurc 6-1. Shc nexl slashed lhe ccmer lronl xuliun. sprcud i! Im gulhcra. und udded lhc lunncl pmLu ahupc u) cudl cdgc o! lhe sidc fronl. wann. Shuping thc sidc { m m seam ducs away with [Julhng lxclow lhc pockels.

drawn up omo u um! a1 lhc unter buck. The o! lhe blouse 1mm shmvs a rcpctitior) of lhis ui! t0 lorm a kcyhulc Ilccklinc. Notice {hat ' l all fullness diwucd loward thc hips dis.3 0te il reachcs lhc sidc scmns. 111i: radiales and also ls lhc skin smuolhl) al lhc hip

_ _ '

nhows onc o! (hc counllcss surialious of z: and Figurc (32 shmvs Ihr: mclhod uscd 5 uern for lhis dcsign.
n

* '. . 9 '2 s 9 _

Fold

F.

C.

DRESS DESIGN
Figur: 65 shows another skirt variation, this time wnh a cowl drapery on the side of the hip. The pattem, illustrated

in Figures 66a and b, shows how to the seam on the bias and how to spread the place hip (vom. and back sections of the skirt a: the top, thus eliminating the side seam through the drapery. Some o! the blousing at the hem on the side seam was taken o u t by making a diamond-shapetl dart. To cut the side seam section above the folds, follow Figure 66a, but extend the side section down to meet the under edge of the top fold. This is an extremely complicated design, and one which will most certainly need some adjusunent either on the form or on the model,

since cowl folds fall differently in Figure 67; showing a skirt with a sepaftd fabric set into the seam to form a semblanac drapery, illustrates the point that setaendtaixw usually inferior in design to drapery cut of the pattern. In this case, the Basic skitt 597 Hat and plain to besuddenly swathed in foldi wir? appear to Abe stuck on rather than draped imov {o design. However, the diiculty of draping cowl such as those illustratcd in Figur-e 65 cxplzim whyr swathe draped cowl folds are often added as a bias of th cut the not and by in Figure (i7, produced
v

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paltern.

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Fix 66.

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cowl fulds produccd b7 yiwgg, Decp neams an lhc bias. plaring the hip

(lmwn. (a) Design lines

308

SOURCES

OF

DESIGN

Deeo Bvas

Fa! Out Dnamond To Reduce Blousme

Fig. 67. (Jowl (olds addcd to a basic skirt. The design Incl: (h: rhythm ol Fig. 65.

DRESS D E S I G N
Suggestion 9
CARRYING ONE PIECE 0F FABRIC AS FAR AS POSS|ILE WITHOUT C U T T | N G is not by any means a new idea. Under Sug Tilns gesnon I. lleveloping Line Arrangements by Sketchlng. you dnscovered that erasing crisscrossed lines smoothed up the design and matle it continuous instead of cut-up and choppy. This idea has permeated all of the other experiments described in this chapter, because continuity, rhythm. and smooth ow of line fundamental t0 good design. The costume shown are m Figure 27 (page 289)is an outstanding illustration of this rhythmical quality, especially the folds to the shoulder which are carried across the shoulder seam line around to the Center back instead of being ended abruptly at the shoulder. The blouse illustrated in Figure 39 (page 293). with smooth curved lines that merge into a girdle tied around the waist, is another particularly good example of continuity of line. F igure 68 shows a dress with both the right and left halves of the front c u t in a single piece from shoulder to hem. lt avoids the usual crosslines at the waistline and yoke and as a result has unbroken rhythm and an elfect of uncluttered simplicity of the kind that characterizes the most expensive clothes. lt appears to be kind of plansimple and yet requires the most careful while seams retaining a smooth uing 1o avoid obvious
t. This cxperiment brings out another and more technical point. Regardless of the method used to develop an idta, it frcquently happcns that in the nal blocksee small pattern pieces ing ol the pattern you will to altach can (hat you larger sections in order to cut thcm all in one piece and thus to climinate unnecthe reverse to essary seams. ()r you may discover just the pattern o u t Hat, you bc true. When you spread seam along the waistline, lor may nd that a hidden saves material, and examplc, simplics the cutting, Exerlels you place the grain more advantagcously. value cisc your own judgment as to the comparative of or concealing of cutting a pattern all in one piece is to rcmembcr to main Thc point scams sltillftilly. to hidenccworlt to get thc ecct of continuity and bc nouced. ncvcr will that well so thcy cssary joinings

a aeam and in distributing the einem! waist dart cf the master patgern in the smooth, molded elfect o! the illuraiw. complish this, the designer distributgd around three sides ol the bust, easilig amount (but not enough to (man: gaben} under edge of the lower horizontal tuck Gans", also easing a very little at the center man} t0 shape thc fabric over the bust and take the amen of the pattern. But the biggest part cf the dar: transferred to the underann, and divided it inkl smaller darts concealed under the arm. Molding the fabric across the waistline was possi _. because the shaped center front line helped to d"; up the arc between waist and skirt pattems. v l also that the bias runs vertically across the waistl and that it will therefore mold the fabric to the as it hangs. Any excess left at the waistline can taken o u t at the tting by stretching lhe waislli u horizontally. The waistline as well as the Center f le correct the A; seam should be taped to stay each This front pattem plus the threequarter sleeves n
out
i

'_
i

*-

and a lour-gore skirt baclt for the design can all be v from two shoulder to hem lengths of fabric, leavi x for. only the blouse back and lacings to provide 3 cut is therefore not an extravagant one.
J

Suggesiion I0

DERIVING UNUSUAL EFFECTS FROM ASYMMETRIC CUTS

The design balanced at the side lront or side bat: has always enjoyed the reputation ol being more sub in ellect than thc one with the two sides absolute alike. The asynmtetric design is less formal and stat but the balance, although not so obvious, must nev theless be present and must be "lelt." The desig must possess much more than skill in pattern malti il" shc is to recognize o1 leel" the right location oft lines so that thc two unlike sidcs will secm to have t same weight and importance in spite ol their di encc in size antl shape. T0 (lcsign an asyntmetricall balancetl costume, especially il it is a complicated 0 well as more tra' '. rcquircs mme natural talent as ol linesthan t1 ing and experience in thc placing one cxactly balaitccd at thc Center.
J
i

the puttcrn lor If you study Figurc (i9, which shows notice that will Ihe (lrcss illustrute-(l in Figurc (i8, you a1 difcultics thc sltirt lolds larcncm nu puttcrn-niaking

dcsign

310

S O U R C E S

0F OF

DESIGN

m hem an in one

the blome (h: blouse am! and also of o!

Paucrn {or for Fig. 68. Notice the l-ig. 69. Panem Fig. thc method o! shapmg shapnng waistlinc. indcming indencing thc wainline.

onsss D E S I G N
In Figure 70, the larger plain area on the n.c balfmce. ade of the blouse balances the smaller but more rlghf detanled left snde. The fr_ont line swings in cominuous of the collar to the hip. from the Pomt movemelft lmes at the side front of the skirt The smught vfmca}! sllhouette stabilize the design and and the_ slu_n oi [umnsh relnef lrom the activity of curves and gathers. The { m m lines of the costume shown in Figure 71 are almost all curves, the upper one from shoulder to waist forming lhe loose simulated bolero which is balanced by the reverse curve of the peplum. The 71 straight-hanging sleeves in both Figures 70 andand from drapery, gathers, supply necessary relief curves. In all designing, some plain areas and strong. to the more destraight lines shoukl be used as foils tailetl or curvcd seclions. In both these dresses, a the eye effortlessly rhylhmical ow of line carries side to the other one from costume entire through the and from shoulder t0 hem. Two sleps in the development of each blouse patare so comtern have been shown because the cuts to The corresponding Figure 70 (see

Fium 70 and 7| show two examples of asymmet-

(s: a f:

a
A

I- -- isit.

plicated.

illustrates the point that the Figures 72a and b) seams must be exshoulder, amxscye, and underarm they vary greatly actly the same length even thoughmentioned before, although This in shape. point, it is very likely to cannol be overcmphasized, because the disastrous result be forgolten by lhe beginner, with on opposite sides. (hat lhe pauern varies in size 7U pmves to On analysis, the dress shown in Figure F in igure 71, because be far easier to make than that side front are left the in the iormer, the gathers at of line joining. The alcached t0 thc right sidc at the shows a loose, second costume, on the other hand, must have not only a deep taciree, bolero eect (hat set unclerbody in order to a the ing but also complete not only complncates weil (see Figure 73c). I'his because of construction but makes the dress expensive h. would spml the [arge amount o! material required. reduce ecct, however, to the gracelul, Iree-owing bolero edge. the by sewing down um rcquirement both and to an intricale dcsxgr} malfe This indecidedly for the mexperlenced one; and it i5 not

pattem

!4

Fig. 70.

an gxpgngive dremmker.

The smaller gathered spitze Asymmetrie design. 5 balances the larger plain area. balance is achieved through oppml 1 Fig. 71. Asymmetrie folds. curves and through radiating
<

312

S O U R C E S

OF 0F

DES

G N

Concealed Dart

.885

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C U G I O I I

5 5 W " i

n8- 70-

(0)

D558" Im S135?! es dmwn: (b) Slashes spread and dann transferrcd

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v-Eas

W0 Facingp- v
(b)

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Sash Added tothe Back

F1.I)

am um rm m md en U n mm 3a 7U B7
...

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mm
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314

SOURC ES SOURCE S

0 OFF

DESIGN DESIGN

II Suggestion I Suggeslion I
DESIGNING A DETAIL FROM A DESIGNING FROM

a t0 design a The usual procedure procedure when one plans plans to fashion is to make a preliniinary preliminary examination examinatitm of fash10n dress is 1o study orcler to magazines ready-to-wear clothes in order magazines or ready-to-wear You details of design as well as silhouettes. You can obdelails design serve details with two entirely different purposes m dierent purposes in entirely mind. You can aim merely to copy them exactly, in t0 exactly, copy merely designs will sh ow a complete which case your show complete lack of your designs Lhem as a source imagination. to use them Or you you can plan plan t0 imagination. Or inspiration for an original design, of inspiration Original design, which is a very For exaniple, way to stimula te na tion. For good inlagination. your imagi good way t0 stimulate your a detail d etail used at the shou lder may suggest shoulder may suggest a similar a: idea to to be used at at the Center center back of the waistlinc, waistline, or idea even to be turned turned upside u pside d own. Sh oe and h a ndbag Shoe down. even handbag b uckles, even folds that designs may straps, or have buckles, straps, designs may re theme for dress or suit. There is suggest enti a a an entire suggest to the way way in which ideas can be ada pted in no limit t0 adapted shion if you you culti vate the h abit o f seeing habit of cultivate fashion this fa seeing possipessiother you observe. On the oth er hand, h and, On Lhe bilities in everything everythiilg you fund amental image never forget never image forget that silhouette is the fundamental harmind, and that d etail which does not not ha rto keep keep in mind detail and (hat w , no should never be used used, monize with the silhouette should matter how good good it is in itself. matter

o?-

lrom Figure 74 develop from might develo.p design might Figurc 74 shows how a design that a ess along Noti ce that lullness edge. Notice along each edge. a curve curve holding holding fulln a very the detail in this instance was a ol the detail sourcc of Lhe source fullness with a curve supporting fullness along dressy shoe, along supporting dressy shoe, with she (hat both edges. It occu rred to the dress designer that t0 occurred both cclges. cou ld use this detail for a simulated belt holdmg holding deiail lor COUl(l usc then She lower edges. Sh gathers at both its upper a n d lower e the n und an upper gathers eecwould cuff u lated wou ld effecd ecided that a slecve with simulated Wllll a sim decided The motif. T tively t and he shoulder und strengthen strengthen the motif. tivcly repea rcpeat run which r the yoke t u rther uses the nd th e gathers which un and thc curves a lurther yoke its at into it, there are ga thers a t Its up.per ed ge up no arc edge thcre but into upper im, gathers up the on much t o o since the esign er felt that too m uch emph.as1s on (hat lelt Lhc d cmphasis designcr nal elfect. The basic ld destroy T he fin al d esig n design would idca wou basic idea destroy the effect. shoe lhe no t possibly be ca lled a mere cop y of the. sh oe could called could not possibly copy il But d etai l. the two uses are so different. Bu t 1( the are (wo (letail. sincc similar and n from nothe r a nd simil ar belt, idea another lrom a taken had been bcen take idea had considcred or'.gina th e design no t strictl y be considered l. 0: could n the Original. strictly design could or an R ather, it wou ld h ave t0 to be called n ad aptation o r called a have would adaptation Rather, varia tio n ol" of th e Original original form . form, the Variation iagra mming the pa u ern (see T he two.steps The Fig(see Figpattern Lliagraniining twostcps in d of ures 75a a nd /J) sh ow all-in-one cut o f the peplum all-intone the and show peplum,, b) ted belt, and lower blouse section . Smoothness simula section. lowcr und simulated belt, and set sei it and continuity design and continuity of line mark this design (hat sleeves apan fro m more ordinary jackets a nd sleeves that are and ordinary jackets apart from and etely aro und the waistline a nd upper edge cut compl upper edge of completely around the cuff.

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(b)

Fig. 74. Design developed {mm from a simjlar similar idea used in a shoe in a deyclopcd design. As used in. in die the dran; dress, che the design design naturally naturally shows variations.
'

315 315

Fig. Pattern for blouse shown shown in Fig. 75. Pattex-n in Fig. 74. (a) Fig. 74. (a) Design Design and slash lines lines drawn; (b) Pattern cut on design Pattern cm on (b) lines and am} design lines slashes spread gathers. for gathers, spread for

D R E S S {assnan
Suggmion |2
INTRODUCING ORIGINAL DETMLS INTO A STANDARD COMMERCIAL PATTERN
Probably a womans commonest wish in regard to pauem making is ( o r enough skill to change commercial pattem designs to suit her own taste. She may have seen or thought up a design for which she is unable to buy a pattem or she may like to design her own clothes and yet may Fmd it convenient to use a commercial pattern, especially if her gure confonns t0 standard pattern sizes, The problem in this case is to change lhe design without altering the size or t o! the pattem, and this is no different in principle from designing on a basic draped master patlem. lt the changes are at all intricate, however, the process may be somewhat involved. and FigFigure 76a shows a Standard tailored suit,

a arme. less with softer, tailoredlina. severely style was chosen intentionally here to illustren" thaltibii .. wiser to leave the carefully drafted collzt, Iapelg. introduce t0 and design sleeve unchanged, Iheinew " detail on the body of the jacket only. To design the new paucrn, {ollow au: steps beidwi and study the accompanying diagrams (Figuresi77a and b). l. Cut a duplicate of Lhe commercial pattern so that for [ u t u r e use. you can keep the Original one intact 2. Pin in. the darts and draw the ncw design lines on the Original pattern, with the pauern eithef pinned up on the dress form or held up on yourself. 3. Remove the pattern from the form and mark the it frorn thc grain in the yoke section beforc detaching body of Lhe jacket. ln thc yoke, place the grain parure 76b shows one convcrtcd to

_
j

allel to the center front.

(b)

on a mmmercial pattcm. (a) Fig. 76. Designing dcvvlnpcd { m m me standard paucrn. (b) lmlividual design
C

Standard tailnred suit:

316

SOURCES SOURCES 4. Draw in new dart lines from [rom the point point of the bust t0 to the yoke yoke edge and to the two new vertical to edge Divide large shoulder dart evenly waistline darts. shotllder the (larts. large into three tuck darts which can be eased into the yoke yoke darls imo edge to to form form softness rather than visible darting. "edge
seam. 5. Draw a waistline seam.

0 OF F

DESIGN DESIGN

lines 6. Cut the pattern design lines along the new design apart along pattern apart new dart lines so that it will dar: the and slash it along along along the waistline for an inconspicuous fiat. Hat. Cut lie inconspicuous along partially hidden pocket flaps. seam partially hidden by Z-pseam aps. by the pocket 7. Examine of various sections. the Examine the shapes "7. shapes There is still too much excess left from the old to ease it shoulder dart below the new shoulder yoke yoke to in invisibly. Transfer to two waistline darts new the gin invisibly. Iransfer enough of this to get rid of the superfluous ease at the superuous nnough lhis [0 get yoke edge but leave just enough for soft shaping over shaping yoke edge just enough the bust (see (see Figure b for the method method of doing this). 77b doing this). Figure 77 lihe directions above illustrate a design The direclions change design change is about as complicated complicated as one would expect which is which expect make commercial pattern. Frequently a change to a malte on change pattern. Frequently gllo from a standard pattern involves nothing nothing more difz-tom Standard pattern ficult Khan, than, for instance, leaving a of extra block extra fabric instance, leaving Tncuil

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Waistline Seam
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(b) EWS! Des1g.. 611911895 made on 1"?

Fig. 77 .. (a) (a) TaiJored suit patlern pattern before the changes 771715 changes were made; made; pattern of suit shown (a). shown in in fig. pattgrn I-ig. 76 76m)

_ Tmjored
.

"
c

(b) (b)

317 317

LfLI

s; w; s

s.

a: da:

when you cut. out the so you can into hier Chi: material on the furm whatever Im matment you may want. Becareful. if you I15. t0 drape the new design lines in harmony mmthe other Iines of thc costume. (See Figur: 78b for a suggested change Erom Figure 78a, and for one dm Es very mach easigr to drape than to block.) Another change that it is often necessary to make in a commercial pattern is to add fullness at a yoke edge whele no fullness previously existed. or to increase the (ullness where the amount allowed by the pattern might seem skimpy for a particular fabric texture

um

d?

m-gurea I20 nnakcghi for translerring thg im c du; 2. pages 54.57 . Thewi. u

1Eyou have trigd iaithiu m: suggestions in this chgpiuxgygo am! creztive yauij1 ingenuity your where to the you point ing pendent ot others for suggestionb . but also self-reliant in guring au: how t0 pattern. From this point on, how well entirely on how well you apply what to your own individual needs am! problems,

3 a

Fig. 7s.

(a) v (b)

Suggested

neckline 1o individual features. change to adapt the

NBLIOGRAPHY
Erwin, Mabel.

Macmillan Co. i940. and Dress Design. Ann Arbon Evam, Mary. Draping Brothers, lnc. 1935. Michigan. Edwards and Esther. Principles and'Problems Kaplan, Charles t0 Women's Apas o] Pauern Making Applied

Practical Dress Design.

N6:w York, The

or Slopers." 1940. Bock l, "Foundation Pattems Patterns. Revised Edition. Bock l l , Style Art: o] Cosnune und Morton, Grace Margaret. The and Personal Appearance. New York, john Wiley Sons, lnc. 1943. Paltern Design. New York Pepin. Harriet. Modern Funk and Wagnalls Connpany. 1942.

parel.

New York. Streimin Studio,

l265 Broadway.

und GTOding. Rohr, M. Pattern Drafting 240 W- 98th St. 1944. MROI. Edition. New York.

Revised

318

zyr
1 ABDOMEN,

ABDOMEN, tting fitting skirt for. for, 220, 220, skin skirt cups cups under, 223-224

BELT, 62 BELT, COLLAR, blocking blocking of, 252 BERTHA COLLAR, BIAS : collars and folds at at neckline, neckline, 260-261; 260-261 ; cowl sleeve in BIAS: blouse, 180; position of, in cowl necklines, 50; kimono blouse, 180; position position of, of, in cowl skirts, skirts, 308-309; 308-309; position position of, in in position sleeves, 161 kimono sleeves, BINDING, of too too Light tight armhole, armhole, 212 BINDING, SLEEVE, 120-123: blocking blocking o1, of, { from master sloper, sloper, m m master BISHOP SLEEVE 120; blocking blocking o1, of, {rom from 0pened" "opened" pattern, pattern, 122: 122; blousing blousing 120; exaggerated, 122-123; in in kimono b1ouse blouse, 170-171; 170-171; exaggcrated, measurements for, for, 120; 120; with raglan raglan armscye armscye 1in2, line, 152; 152; measurcmems with simulated cuff, cuff, 138 wilh BLOCK, MASTER: MASTER : quarter quarter size blouse to to trace, trace, 46; 46; quarter quarter BLOCK, si1.e skirt m to trace. trace, 94; 94 ; quarter quarter size si1e sleeve 1o to trace, trace, 136 size BLOCKING : dened, de fined, 45; 45; mcthod method o1 of pattern pattern alteration, alteration, 197; 197; BLOCKING: of designing d esigning b1ouses blouses, 44-59; 44 -59; method of designing designing method o1 251 -253 ; method of designing designing sleeves c cut in one one collars, 251-253: u t in 148-192 ; method of of designing desig ning skirls, skirts, 92-111; 92-111; with bodice, 148-192; of designing designing set-in sleeves, sleeves, 134-148 method o1 BLOUSES, 16-59; blocking blocking o1, of. 44-59; 44-59; draping draping of, of, 16-44; 16-44 ; drapBLOUSES dtapo1 ing of blouse, 16-27 ; fitting problems of, 198-218; 198-218; master 16-27; tting problems o1, ing for master master pattern, pattern, 244 244 measurements Ior BODY, of fabric, fabric, discussion of, of, 277 277 BODY . of

ALTERATION : masler master pauern, pattern, b1ouses blouses, 198-218; 198-2 18; collars, collars, 266; 266; aALTERATION: of, blocking blocking skirts, 219-229; 219-229; slecves, sleeves, 229-241; 229-241; methods o], skirts. a nd draping draping compnred, compared, 196; 196; blocking, blocking, gcneral general proproand cedure for, for, 197: 197; cf of sleeves, sleeves, cap cap height, height, 125-127; 125-127; cap cap cedure wi!.lth, 123-125; 123-125; see see also Fitting Fitting width. ANALYSIS, master sleeve pattern, pattern, 118-119 HANALYSIS, ANGLE, o1 of seam imerseotion, interseetion, 28 SZANGLE,

' CS, hemline and waislline, ARCS, waistline, 106-107

ARMHOLE, 7; 7; see also Armscye Armscye RMHOLE, ARMSCYE : o] of blouxe, blouse, deeper deeper than nnrmal, normal, 128-129; 128-129; dress RRMSCYE: 208-214 ; formation forma tion o1, of, 7, 7, 21: 21 ; cover, 7; 7; ning fitting o1, of, 208-214: form cover.
2

of gapping gapping a att, 208-211 ; side view illustralion illustration correction 01' , 208-211; of, 26, Fig. Fig. 31: 31 ; causes o1 of m0 too tight, tight, 212: 212; o] of sleeue, sleeve, back, back, of, fitting 235 ; d eep, kimono, 168-169; deep, in 235: of, kimono, 168-169; uing deep. deep, in deep. square square dolman, dolman, 185-187: 185- 187; dolman raglan, 151; deep. raglan, cut in in one one with yoke yoke front. front, 183-184: 183-184; eect effect 0 on, of ning fitting n o1 girth, 237-238; 237-238; master master pattern, pattern, 118-119; 118-119; nmdifying modifying girth, length o1", of, 241; 241; raglan, raglan, 148-149 length

cm

ARTICULATION RTICULATION

POINTS, emphasis emphasis o1 of in design, design, 283-288 POINTS

ASYMMETRICAL BALANCE, in blouses alikc alike an on opposite opposite SYMMETMCAL BALANCE,

sides, 55; in in blouses blouses unalike on on opposite opposite sides, sides, 311-313; 311-313; sides, in a a draped draped skirt, 109; 109; equalizing equalizing o1 ol seam seam Iengths, lengths, 290 290 in

BACKGROUND, for designing. designing, 273-274 273-274 I.C1(GRGUND for

BALANCE LINES, horizontal horizontal and and vertical, vertical, 193; 193; marking o1, LANGE LINES, marking of, master panern, pattern, 242-243; 242-243 ; of of b1ouse blouse, 193-194: 193-194 ; o1 of skirt, skirt, on master

.
:
i
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1

BALANCE, blouse, 213, 213, Fig. Fig. 25, 25, 273-274; 273-274 ; in skirt, skirt, 22s; 228 ; in in ANCE. in blouse,

sleeve pinned pinned inm into garmem, garment, 231-232 231-232 512cm:

BODY CURVES CURVES, pmvided provided for by by darts: dans: abdomen, abdomen, 220; 220; back back hips, 68; 68 ; back o1 of shoulder, shoulder, 24; 24; bust, bust, 16; 16; elbow, elbow, 116; 116; 11ips hip bone, front, 70; hip, side, 70; shoulder blades, side 111p hip, side. 70; shoulder blades, 26
BOLERO, draped, draped, 312-314 BOLERO BOWING, o1 of a seam, seam, 81, 81, Fig. Fig. 43 43 BOWING, BREAK-LINE, o1 of a collar, dened, defined, 247; 247; of of collar, 267: 267 ; o1 of a 1ape1 lapel, 269; o1 of a tailored tailored Collar.

of slecve, sleeve, 232 232 194; of 194;

BALANCE POINTS, 27; 27 ; on on skirt seams, seams, 59, 69, Fig. Fig. 19; 19; See ue alxo also 111cc 901m5, BASIC BLOUSES, 11159 16-59
_D1\RTI'S

__
F

Crossmarks Ciwmaiks

BASIC DARTS, variations variations o1, of, 301-306 301 -306 BASIC SET-m SET - IN sLesvss. SLEEVES, 115-133 113-133 BASIC SKIRTS, 511111 60-111

BELL SLEEVE, 1 blocking of, 12s; 123; in in kimono kimono blouse, blouse, 170-171 170-171 11mm; et,

a convejble convertible a eollar, 269 collar, 269

of a gored gored skirt, skirt, dened. defined, 72: 72; o1 of a a six-gore BREAK-POINT, o1 six-gore back, 75; 75 ; placcd placed high. high, 96; 96; placed placed low low, 97. 97, 98 98 bck.
BU|LT-UP BUILT-UP NECKLINE, draft for, for, 248-251: 248-251 ; draping o1, 256 draping of, 256

BUOYANCY or OF FABRIC, FABRIC, eect effect on on handling, 280 handling. 280 t provision draft provision for, in master master pattern. pattern, 16; 16; ease ease around, BUST, draf around, pattern, 48, 48, Fig. 83 83 in master pattern, Fig.

319

u;
s

B081

dran form cover. 8: tting o! 1ten. 215-218; too "81! in panern. 217: too low in pauern, 21s BUST man-r. marklng of, in patlem, 21s
40 UUTTUNHQLES. placement o1,
C85. o1 sleeve. drawing o! curves, 115
CAD HEIGHT. o1 sleeve: alteration of, 233-235: highemhan. relation 2o daned lop, 140-144; in renofmal. 127: in lauon m sleeve width, 124-125; lower-than-normal, 125-

Coklxscfnou cm1. u:

a-l

h: COUCHING. cowL FOLDS: bloclzing of, in mm3 kimono blouse, 180-182; lhoultler

148: Ikin drapery, 308-3119170849, general principle in designingix f lines, 37-40

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o.

127: normal, 114

CENTER FRONT DART VARIATIONS, 303
CHALK BOARD, 4
CHEST, narrow poim of blouse back. 26; narrow point of blouse front, 21

5 a: hip level, 69 caossmmxs, meaning of, 4: mismatcbod ... skirvc

CROSSMARKING,

227

CROSSWISE GRAIN. See Grain

currs; bands, 130; cutting of, 138; wide, 130

CUPPING or 5mm", a!

m;

ated,

m; simumdgi

m: back, 22|; under abdomen,

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CHINESE COLLAR, draping o1. 262

224
CURVES OF BODY effcct on bang o! skin, 219

CIRCULAR SKIRTS: blocking of, 105-107; the greater-thannormal, less-than-normal, maximum, and normal, 105107; hem line and waistline arcs of, 106-107; principles of, I11; draping of, 81-87; ares 85; grain placement, 87; the greater-than-nonnal, less-than-normal, and normal circular. 82-87; principles of, 89; standards for, 86

CLIPPING SEAM ALLOWANCES: for armscye, too tight, 212; lor cowl folds, 39; for draped folds, 90; for are in Franch dan jacket, 36; for low are in gored skirt, 74; of shoulder, 206-207; waistline oi blouse, 22; waistline waistline 90; skirl, of circular skirt, 85; waistline draped o1 {our-gore skirt, 79

130-133 COAT SLEEVE, measuremems for, 114; two-piece, COLLARS: bias, 260-261; blocking of Hat, 251-252; blocking of rippled, 252-253; blocking o1 toll, 253-254; classication of, 247; drahing o1 built-up neckline, 248-251; o1 high m11, 253dralting o1 converlible, 255; drafting o1 convenible, 254; drafting o1 Peter Pan, 253; draping front, 263bodice with 266-268; draping of, cul in one 259; in front, at 266; draping of, high roll in back, l305 262-263: draping of narrow standing, 258; draping10T. 25|, of, patterns ored, 269-272; at. variations 01 Heck" 255; 259, 261-263, 265-266. 271-272; relationship or stand, determinaline (o garment necklinc, 247; toll 251; at, narrow slopers, wide Hat. gion o1, 247; slopers, 252: terminology (of, 247

DART: basic, fundamental, or master, 16; conccaled under 1 design, 299; division of, 47; general [unction of, I6; 'method o1 making parallel, 31; function o1", in sleevcs, 112; shift or transfer of, 46; standard positiom in blouse front and other possible locations. I6, Fig. 2; usc in . correction of tting faulls, 199; vaiiations o! basic. 301-306; vertical, rule for cstablishing, 20; in blouse, back, neck, 25, 250; shoulder, 24; waistline, 26; in ; blouse, front, shoulder, 19; underann, 29; waistlinc, 22; in xkirt, back, 68, 69; side from, 69, 92. 93; in sleevex, epaulet cap, 155-156; horizontal elbow. 117; parallel at top of cap. 140-143

DARTING: armscye gapping, correction of, 208. 209, 210; 1correction, 196, 198-201, 208-211; dress form cover, lexcessive ting o1, 5; excessive in blouse back, 216217; and _ back blouse in in blouse 1mm. 215-216; inadequale front, 217
DESIGN. principles. as backgrounct 273:
Sburces.

273-318

on. 316-317 COMMERCIAL PATTERNS, design changes basic CONTROL DART. See Dart. dra for, 255; draping of, 266-268
CONVERTIBLE COLLAR,

DESIGNING: avoiding unnecessary seams. 310; background on comIor, 273-274; basic dart variations, 301-306; 315; a source, as used detail 316-317; mercial pauerns. without 318; a on draping panern, draping changes 277: folding back excess cuuing. 281-283; labric study. 277-281: interpretalabrics. labric, 292: for pauerned 1mm master sleeves set-in tion o1 silhouene, 294-295; t the deto dans 148; shaping one-piece slceve, I34, structural seamsign, 299: skelching, 274-277; thruugh ing. 296-299

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320

IN ND DE EX X I
EXCESS FABRIC, use of in designing, 283-293 EXCESS FABRIC, use of in designing. 283-293 FABRIC : body, meaning of, 280-281; for cowl drapery, 5 1; FABRIC: body. meaning of, 280-281; for cowl drapery. 51: for drapingmaster master patterns, 17;for for makingdress dress form for {cm1 making draping pauerns, 17; cover, 3; patterned, designing for, 227-281; study of, cover, 3; pauerned, designing for, 227-281; studf-of, before designing, 277 ;use use of,as as d esign inspiration, 274 before of, design inspiration, 274 designing, 277; FABRIC ESTIMATE FOR : dress form cover, 3; master blouse FABRIC ESTIMATE FOR: dress form cover, 3; master blouse back, 23; master blouse front, 17; skirts: four-gore, 79; back, 23; master blouse front, 17; skins; four-gorc, 79; pleated, all-around, 63; six-gore, 72; straight gathered, pleated, all-around, 63; six-gore, 72; straight gathered, 6 I ; two-gore, 65 6|; two-gore, 65 FACING, fitted, cutting of, 40-42 FACING, tted, cutting of, 40-42 FASH ION , influence on d art lines, 19-20; trends, study of, FASHION, inuence on dart lines. 19-20; trends, study of, 273 273 FIGURE, as design inspiration, 296-299 FIGURE as design inspiration, 296-299 FILLING THREADS, 18; see also, Grain, crosswise FILLING THREADS, 18; see also, Grain, crosswise FINISH, in relation to fabric, 281 FINISH, in relation to fabric, 281 FITTING, adjustment{or for faulty posture, 194-195; blocking FITTING, adjustmem faulty posture, 194-195; blocking method of, 197; draping method of,. 196; fitter, position method of, 197; draping method of, 196; tter, position of, 196; general principles of, 193-196; preparation of of, 196; general principles of, 193-196; preparation of master pattern for, 196-197 master pattern for, 196-197 FITTINGPATTERN: PATTERN : blouses, 198-218; bust line and shoulder FITTING blouses, 198-218; bust Iine and shoulder blades, 215-218; for for abdomen, large, 220; for armscye blades, 215-218; abdomen, large, 220; for armscye area, 208-214; hip area, 221-228; n eckline area, 198area, 208-214; hip area, 221-228; neckline area, 198203; shoulder area, 203-208; skirts, 219-229; sleeve 203; shoulder area. 203-208; skirts, 219-229; sleeve shoulders, 233-234; sleeves, 229-241 ; underarm seam of shoulders, 233-234; sleeves, 229-241; underarm seam of blouse, 212-215

DETAILS, of design introduced on commercial patterns, 3161DETAILS o1 (iesign introduced on commercial patterns, 316317; draping of, 283-293; source of design, 315 317; draping of, 283-293; sourcc o1 design, 315 DIRNDL. See Straight Skirts, gathered See Straight Skirts, gathered fDIRNDL. DOLMAN SLEEVE, cut in one with yoke front, 183-184; definiDOLMAN SLEEVE, cut in one with yoke front, 183-184; denition of, 183; deep square armhole, 185- 187, Fig. IOla; tion o1. 183; deep square armhole. 185-187, Fig. 101a; drafts for, 183-192; style line line near near normal armscye, drafts for, normal armscye, 183-192; style 188-192 188-192
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DRAFTING, collars, 248-250, 253-255; defini tion of, 112; -_AFT|NG collars, 248-250, 253-255; denition of, 112; dolman sleeves, 183-192; basic kimono sleeves, 159-164; dolman sleeves, 183-192; basic kimono sleeves, 159-164; master o ne-piece sleeve, 11 3-119; master two-piece sleeve, master one-piece sleeve, 113-119; master two-piece sleeve, 130-133; raglan sleeves, 148-153; short kimono sleeves, 130-133; raglan sleeves, 148-153; short kimono sleeves, 174-182

174-182

DRAPE, of fabric, meaning of, 280 '

PE, of labric, meaning of, 280

DRAPED SKIRTS, asymmetrica ll y balanced, 109; blocking APED SKIRTS, asymmetrically balanced, 109; blocking of, I 08-1 I I ; blocking, summary of principles, 1 I I ; drapof, 108-111; blocking, summary of principles, 11 l ; draping of, 89-92

ing of, 89-92

DRAPERY, gathersand andfolds folds a long slash lines, 288-291 ; in APERY, gathers along slash lines, 288-291; in kimono sleeve with yoke, 174, Fig. 9 I ; in short kimono kimono sleeve with yoke, 174, 171g. 91; in short kimono sleevewith with simula ted yoke, 177-178, Fig. 96a sleeve

simulated yoke. 177-178. Fig. 96a

DRAPING, combined with blocking, 288; details, 283-293 ; P1NG combinedwith blocking, 288; details, 283-293:
to introduce design change, 3 I 8; without cutting, prom imroduce design 318; without cutting, procedure for, 281-282change, cedure for, 281-282

'

DRESSFORM: FORM : armhole, cover for, 15; collar draft, 15; d ejESS armhole, cover for. 15; collar draft, 15; design inspiration,usc use as, 28 1; kinds of, I ; padding of, as, 281; kinds of, 1; padding of, sign inspiration, 13-14 ; selection of, 13

13-14; selection of, 13

DRESSFORM FORM COVER,fabric fabric for, 3; making of, 3-8; pattern COVER, for, 3; making of, 3-8; pattern selection for, 1-8

selection for, 1-8

blouse, 212-215

DROP SHOULDER SLEEVE, 157-158 SHOULDER SLEEVE, 157-158 EASE : around bust, 27; around hips, 67; at back edge of : around bust. 27; around hips, 67; at back edge of shoulder, 24;division division of, between two seams, 297-298; ihouider, 24; of, between two seanls, skirt, front hip seam edge, 70; around armscye297-298; of set-in front _fhip seam edge, 70; around armscye of set-in sleeve comparedwith with raglan, 149; around elbow, 116; lggvc qompared raglan, 149; around clbow, 134; girthof of sleeve, 113; over top of sleeve, 116; .- aroundgirth sleeve, 113; over top of sleeve, 134; whensleeve sleeveisis pinned into garment, 230-232; upper Silben into garment, 230-232; upper pinned arm, over back of,in kimono draft, 161 ; at waistline _ lind. of, inkimono draft. 161; at waistline of blouse, 27

IN : four-gore skirt, low placed, 97; short kimono FLARE IN: FLARE four-gore skirt, low placed, 97; short kimono sleeve, 176; six-gore skirt, low placed, 74 ; six-gore skirt, sleeve, 176; six-gore skirt, low placed. 74; six-gore skirt, minimum atside side seam, 73; two-gore skirt, 67 minimum a:

seam, 73; two-gore skirt, 67

FLARES, circular, draping of, 85; formed by slashing, 283-288 FLARES, FLAT- CHESTED FIGURE, pattern alteration for, 201 FLAT-CHESTED FIGURE, pattern alteration for, 201

circular, draping of, 85; formed by slashing, 283-288

.ELBOW, ease in sleeve over, 116; measurement of, for sleeve den: ovcr. 116; mcasurement of, for sleeve draft, 114; pullingof sleeve from, 235-236; width of I'll; jnling ofnleeve from. 238-239 width o1 sleeve, decreasing and increasing of, 235-236;

! 27 EDGES OF A PATTERN, danger of altering, 125 PATTERN, danger cf altering, 125

nur

FLAT COLLAR, drafting of, 251-252; draping of, 257-259 FLAT COLLAR, drafting of, 251-252; draping of, 257-259 FLAT PATTERN BLOCKING, definition of, 44-45; method of FLAT PATTERN BLOCKING, denition of, 44-45; method of designing: blouses, 44-59; collars, 251-253; cuffs, 130; designing: blouses, 44-59; collars, 251-253; cus. 130; kimono blouses, 170-192; set-in sleeves, 134-148; skirts, kimono blouses, sei-in 92-111 92-111

170-192;

sleeves, 134-148; 35m;

1 dumm;und inaeasing of, 233239

u; er 51'143. 235 PAULET SLEEVE, drafting of, 153-154; with darts, 155-156

LBOW DART, increasing size of, 236; introduction in masiggcnsing hize of. .236; introduction in master sleeve, 117; transferred to vertical placket, 134-135; I17 mnsfcmed to vertica1 plackct, 134-135; wrong location or size, 235

FLORAL PATTERNS, designing for, 277-278 FLORAL PATTERNS, designing for, 277-273 FOLDING BACK EXCESS, use in designing, 292 FOLDING BACK EXCESS. use in designing, 292 FOLD LINE, of tailored collar, 270 FOLD LINE, of tailored collar, 270 FOLDS: drapingof, intoaa_ slash line, 289-291; in draped draping of'.into slash line, 289-291; in dtaped FOLDS, skirts,9o: 90; placmgof. of,in m draped skirts, 108; radiating, placins draped skim, 108; draping of, 287-288

o 153-154; wich daru, 155-156

ms,

draping; of, 287-288

radiam.
A

321

161.. 1-1341.

MIWATDN: lahme unter dann. 46; 1km mm1 p . Sultane m m 6 : purem, | 3 ; 9"- Notkina 61.; 93.97: dnping o1. 16.61: a u :ade 1mm und lach. 104-105: varinion of. 806-307 n 9 19N.zu:am:111m. I3; varintiom in design, 302 m 0 1W 1 DQDICE. 8166x111; o1. 55; draping o1, 31-56;

w?

Gossen

66111111161:

vatious 1111110110 16:. 165-166

461,-;
A

nii-r
H

HANDLE. o1 a fabric, 2806281

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1,1

panel fonnanon. 82-34

HNDLING. inuence o!
HEM

FRENCH

PART dnpmg of. 36

HIP-LENGTH JACKET. blocking cf. 57-58:

FRENCH

meauremcm chart, 9

LINING. denition o1, 1; drawing pattern, 3.12;

FULLNESS. direction contro1 49; 101d: in draped skirt, 90; I5 entlie. 61: a: pleats. 62: gathen in pu sleeves, 144-145; gathets in raglan sleeves, 152; radiation of, 49
GAPPING,

on uleeve lower edge. l29zswepfd parison o1 sweep in citculat and goml HIP LEVEL. adjustment at, in suaight skiro, 60; of, in tting, 194; in two-gore 811118, on dress form cover, 8; marking o1, on matter 245

.3e

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6 7 :
A
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HIPS,

o1 armscye, 208

tting problems: when bones are prominent. when broad or prominent in lach, 221-222; curve on side 1shigh, 224, 225; when uneven, 228

GATHERS. along a slash line in blouse and skirt, 288-291; for in along a slash line in sleeve, 154-137; allowance use skin, 61; allowance for in sleeve, 137; appropriate o1, 44; radiaon o1, 306
GATHERED SKIRT, straight, 60-62

HISTORIC COSTUME, as source

o1design274

INSET, 165-166; at waistline Center back, 284-285; underarm, 168-170; straight underamx, 166-168; Je: als
A

1111-.

Gusset
INSPIRATION, for designing, 273-318
JACKET, master hip-lengtln pattem, 57

C-EMETRIC FABRIC PATTERNS, designing

for,

278-280

a: back o1, GIRTH 0F SLEEVE, balance line 232; drawing for increase t0 113; 237-238; measutement for drafz, Iarge upper arm. 237-238"
81-105; GORED SK|RTS. blocking o1 four, s1x- multi-gore, 105; comparison with blocking principles. summary o1, and six-gore, 65-81; iour-, nnight, 65; draping o1 two- of,

wi KIMONO BLOUSE, with hell or bishop sleevc, 170-171; 16Bshaped underarm side section and deep amxscye. a -sleevcs short with 170; wich short pu sleevc, 179; im: Q underann wixh straighl simulated yoke. 175-178: "t
<

draping, general procedure, 81

68;

draping, principles

81 GORES, denition o1, 65; shape of,

GKAIN,

67; adjustment o1 at adjustmem o1, a: hip level, 3; 5. sboulder bladaes. 25; crosswise and lengthwisc. Fig. 75, 108; uing signicance cuuing in on, in 11111-1 gorc. ior: circular 11711121, 53; lowering, 52, indicator. o1, 219; in gored skirts, 67; raumg, 85; cowl lolds. 5940; 111m2: Im "dnped" 9111m, 90 o1 slecvc, 252-234: in a 13101186. Q M M POSITION: anginh varioun pmsibilitien for; 87; m I94; in circular 7111m, sleeves, 148: m fowl am! ncctlin. 37-40; in cowlin with equalnzed a n ; in kimono blousel, 180; garen 81; in gored am. Ihre: 96; in gom wixh unequal

with yoke, 172.174 vaiaxi. i KIMONO SLEEVE, denition 01, 1411.159; dolman wi 183-192; drafts, comparison o1, 164, 165; drafts a gusset. 159-162: 1in1 without draft 162-164: gussels, {nr short kimono, 174-182
166-168;

LANTERN SLEEVE. blocking o1. 139 41. l-ig. LAP . allowance 1er bunons und buttonholes. allowan 70: allowance 1m buttons and loops. 42. Fig. seams. whe for. in side 1mm skirt. 99; direction o1 37 direction. seam draping 1111m. 76; vertical tailored collar. 269 LAPEL. o1 convenible collar. 267; o1
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LAPPED SLEEVE. blucking 01. 147

LAY FIGURE. 275. Fig. 1

322

I N D EX IND
146 LEG O O' MUTTON MUTTON SLEEVE, SLEEVE blocking of, 146 106o1, 106LESS-THAN- NORMAL CIRCULAR SKIRT, SK|RT blocking of, S-THAN-NORMAL 107 ; dra ping of, o1. 84-85 107; draping
274-277
LINE, continuity of, o1, 276 YINE, continuity LOOPS, 41. 41 , _-ps.
i
See 136: see trace. 136; to trace, ONE-PIECE SLEEVE, quarter size pattern to size pattern ONE-PIECE SLEEVE. quarter also Sleeves in 164-165; in underarm, 164-165; OVERARM LENGTH, compared with underarm, OVERARM LENGTH, compared 113 draft, sleeve dolman sleeve, 183; measurement for sleeve draft, 113 185; measuremem

" LINE INE ARRANGEMENTS,

70 Fig. Fig. 70

dolman sleeve,

2. o1 blouse for, 195, Fig. 2, OVER- ERECT POSTURE, alteration of OVER-ERECT POSTURE. 202
64 skirt. 64 0" wrap-around OVERLAP, aP-around skirt, of, 40-42; on denition of, OVERLAP definition
o1 72: of PANELING blouse, 22, 32. 34; of six-gore six-gore skirt, 72; 22. 32, of blouse, PANELING. of 21; 70. Fig. 21; front. 70, skirt back, 69, 69, Fig. 5km back, Fig. 20; of skirt front,

L-SQUARE, square 14, 50; see also Tailor's square JSQUARE, 14,
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MACHINE CHINE BASTING, 4

252 MANDARIN COLLAR, 262 NDARIN COLLAR,

masler patMARKING : balance lines, Jines, 242; measuremenls measurements on master RKING: tern, 244 ; seams, 28, 29; with carbon paper, paper, 6; with tern, 244; seams, 28. 29;

..

274-277 sketched sketched in designing. designing, 274-277

geomelrics

277-278; PATTERNED ; orals, florals, 277-278; 277-281; for, 277-281 FABRlC designing designing for, PATTERNED FABRIC, 278-280 geometrics - plaids and stripes, I 00, 278-280 100, and slripes. plaids

chalk board, 4
242; MASTER BLOCK PATTERN : balance balance Jines, marking of, 242 ; lines, marking PATTERN: __-STER blouse, dxaping draping of, fitof, 16-29; completion blouse, completion of, 242-246, tting, preparation preparation for, for, 196-197 ; quarter 196-197: quaner size blouse, 46; ling. 156; reasons quarter size skirt, 94; quarter size sleeve, 136; 94: skirt, quarter quarter 193; skirt, draping of, 65-71 ; sleeve, analysis for fitting, 65-71: analysis I93; skin, for tting, draping 125of, 118-119; cap varied, 125sleeve, one-piece, 118-119; sleeve, height o1, cap one-piece, modi127; sleeve, one-piece, draft for, 113-119; sleeve, for. 113-119: sleeve, 127: sleeve, one-piece, 128-129 fication of armscye armscye depth. depth, 128-129 cation
4 MATERNITY "; TERNITY SKIRTS, 220

foundaPATTERNS, basic, founda197; basic, of, by blocking, 197; alteration of. by blocking, PATTERNS, alteration 259. tion, or master, 17; for collars, 251-255, 259, 261-263, co11ars tion, or master, 17; 196; Jee contour, 196; 265-266, 271-272; in relation relation to body contour, see to body 265-266, 271-272; also ]\faster pattern, blouse, skirt, sleeve skirt, blouse. block also Master pattern,
11| PEG-TOP blocking of, 108, l 108, 11 PEG-TOP SKIRT, SKIRT 89; blocking
110-111; PEPLUMS, blocking of. blocking of, ll0-111; 108: "draped," of, 108; PEPLUMS, blocking draped," blocking 11l draping of, 87-89; girdle draped all-around, 11 l all-around, 87-89; of, girdle draped draping

70 PERPENDICULAR FLOOR, skirt seam position, T0 FLOOR, PERPENDICULAR TO position, 70

PETER PAN COLLAR, 253 PETER PAN COLLAR blocking blocking of, 253 PINNING : method of seams, general method when draping, l9; o1 PINNING: general draping, 19; method, 4, into armscye when uing, fitting, o1 sleeve into 4, Fig. mechnd, arrnscye when Fig. 4; of 230-232; 282-283, Fig. l3 230-232; of taffeta, 282-285. Fig. 13 PIVOTING, of pattern point of dart, dart, 96; pattern pieces, o1 pattem at point 96; of PIVOTING, o1 pieces, pattern at 99; to introduce elbow dart, 116-117 116-117 o1 pattern t0 inlroduce dan, 99; of panern PLACKET, one-piece 109; vertical, venical, in one-piece PLACKET, in skirt side front, 109; sleeve, 134-135 134-155 PLAIDS, im", 278-279 PLAIDS designing designing for, PLEATED PLEATED ALL-AROUND STRAIGHT SKIRT, 62 62 PLEATS, allowance for in PLEATS allowance for in gored skirt, 77; 77: allowance gored skirt, straight skirt, 63, Fig. 5; inverted box, inverted skirt. 33. 63, box 78, 78, Fig. straight Fig. p5g_ 38; side pleat in a gore, 76, Fig. 34b; tapering of into o; in, gore, Fig, mpering 51d? Qleat waistline, 63 walslhne, 63 PLUMB position of PLUMB LINE, o1 skirt seams, UNE. position 70 seams, 70 POSTURE, for, 194-195; correct and POSTURE. adjustment for. and incorrect, 194-195; correct incon-ect, adjustmem 195, 194; forward head, 195. Fig. eect on balance lines, Fng. 2; effect lines, 194; forwatd hqad over-erect, sway back, 195 round shoulders, over-erect, round shoulders, sway back, 195 PRINCESS, line, 58; pattem, pattern, 2, l PR'NCE55 1in8, 2, Fig. Fig, 1 PROOF, muslin, 45 45 PROOF, muslin,

MEASUREMENTS: chart of, form cover, 9; of arm, o1, for dress form EASUREMENTS: chan arm, for master one-piece one-piece for bishop bishop sleeve, sleeve, 120; o1 arm, [er 120; of o1 sleeve, with tailor's squares, 14; of 1ai1ors o1 body 113-114; of sleeve, 113-114: squares, body body with tape tape line, line, 9; of cowl neckline deplh. depth, 38; body of master master pattern skirt, 245; marked marked on master pattern, o1 pattern, pattem skirt, 244 MILITARY COLLAR, 262 i1L1TARv COLLAR, MOLDING FABRIC, through through seaming, ms FABRIC. seaming, 296-299

1 MULTI-GORE SKIRTS, bloc.king of, JOO 100 71-56315 smars, blocking

MUSLIN PROOF, 45 45 LIN PROOF, NECK BASE, broad, broad, pattern pattern alteration alteration for, 207 ; back of, 207; o1, 23, K BASE. 24; front of, 18 ( m m 18 24: of, NECKLINE, built-up, design variation of, builto1, 257 257,, Fig. Fig. 22; 1mm. design Variation H-LINE. built-up, up. dran draft for. for, 248-251; built-up, built-up, draping draping of, 256-257 ; of, 256-257; 311p, curve, on collars garments, 247 ; designing colla-rs and garmems, 247; 292; cwe. designing of, 292; fitting of, 198-203 198-203 ning

'

NOTCH, of mnVibi convertible 5011313 collar, 267; of tailored collar, E. 01 269 collar, 269 OTCHES, Crossmarks -" 1 4; 4; see also Crossmatks

323

"

144-145

WMTION. o1 101d: in dupt cap-gr- um, 9o MGUNfII-EEVES. 14115:; chuacteristics o1. 11s; 311m1"
dassncntnon, 148

and unequalizedfn RIPPLES. Circ111u.283-288; equalized 74: see also Fluren gores: In sIx-gore um, 74;

80H. NL. genau! method for drafting 10H.

master

8160W. 113: method for drafting bishop sleeve. 120

one-piece

smeoas sxmr, blocking of, 97-99H1rapingah- .. :

ations o1 design, 307
'

m.291

blouse. 50: yoke. asccnding 1in3

ROU- UNE. 01 Collar. denition of. 247: 247; of collar cut in one wich hodice, Variation: o1, 265 ROUND SHOULDERS. alteration of blouse for, 202-205: a1teration of sleeve for, 234 SAMPLE MODELS. o1 dress form covers, 2
SCROLLS, 285, Fig. 19

S1<ETCHING source of design. 274-277

chmication o_f so. Fiuing a)? SKIRTS, 50.111; classication 22l whcn cut 011 grain, 228; when cups undet when cups in on sides, 226: 226; when standaout a: front, 219-220; when stand: out at center 1:31:11, 222-229 when stands o u t at sides.224-225; when Ihighs am 229. Measurements 1o! master panem. 245; vanauou
9

"

SCYE LINE, denition of. 193-194; importance of, in tting, 194; marking of, on master pattem, 244 SEAM ALLOWANCE, on master blouse, 29; on master skirt,

of basic cuts. 306-509

SLANT inward compared with

oulward. 75: sie

Slqpg

67
to SEAMING, decorative, in s1eeves 139; to mold fabric

SLASHING, t0 but not through use of, in designing, 283-288

SLEEVE, lting

an edge, cxplaincd. 287;

body, 296-299
SELVAGE, 17, Fig. 4

SET-IN SLEEVES, designcd from master block, 134-148

SHAPING, bias folds ior collars, 261

problems of. 2251-241; armscye too" 111511. 241; sleewe im cap height alteration, 133-135; pinning of blouse on wearer, 230-232; underann seam edges mismatched, 240; underarm seam twists elbow In vnist. 236-237
124-125, higher and lower than normal. 125-127. musurement for draft, 113; cutting 011 above und below elbow, 129; decreasing or increasing width, 12l 125;, size 16. 114-117; drafting o1, 118-119; draiting standard marked on 246: measuremems, 129; o1, hem, cutting 1er im:size methods o1 making compared, 112: quanet 154-185 184-185 dart, ing, 136; with vertical plackct

SLEEVE, master

pamern; analysis o1. 118-119: cap height.

SHAWL COLLAR, 260-261

SHORT CAP IN SLEEVE, uses o1, 126 of, in SHOULDER BLADE, tting over, 216-217; marking

pattern, 218 SHOULDER DART. variations of, 30l 127 SHOULDER PADS, inuence on cap height,
SHOULDER SEAM,

alteration of, 206: dar: in raglan slceve. method, When lting, 205: 150; length, 21; pinning 15. 15 17 placcmcm o1, 20, Figs. bmad, 207; narrow. 208; 205-203: bmad, SHOULDERS, uing o1, 205-208;
laping, 205; square, sl-RINKING. bias {olds [ o r
aeam thzt cm1, 227
204;

SLEEVES: classication o1, 113. Cul-in-one-wilh-boditc, block [ o r drafting. Fig. 2, 148-188: himono type, 159-192: cut wi u 160; cowl in kimono blouse. 180182; dolman 185armholc. yoke. 183-184; dolman with deep squate 188-192; near line armscye, 187; dolman with style

I12.

Iquared by sleeve c u l , 143

261

collan,

510i SEAM 0F SKIRT, altemion

o1, 226-227; pnsition 01. 55:

also Kimono blouse und Kimono sleeve; raglan typc 148-153. cm in one with yoke, 156-157; drop shoulder 157-158: epaulet, 153-154: raglan with barrel silhouetle 152-158. Set-in, 112, F13. 1. coat pauen: nxeasuremen 1101 114: deriued [vom mascer one-piece block, 134-148: shoulder, 147-148 123; bishop. 120-123: cowl folds at

an

824

lNDEX
128-129: horizontal gathers armhole, 128-129; gathcrs below elbow, deep armhnle, 147; lantcrn Silhouette, silhoucue, 139; lapped across lop, 147: 134-137; lanzern loose a: a1 sleeves 10056 master 111011; block for slccves u t m n , 146; mastcr muuon, lcg leg o m darLs a1 a: top, lower edge, 119-120; parallel darts 111p, 140-143; simulaled Lu, shouldered, cu, 138; square shouldcred. pu, 144-145; simulated puff, 143; lwo-piece dm/t, dra/I, 130-133
of a seam, 299. 299, 310 TAPlNG o1 TAPING,

of. 100 TEN-GORE SKIRT, blocking o1,

13 o1 in designing, TEXTURE. designing. 277, 282, Figs. 12, l3 TEXTURE imponance importance of of skirt 101, for, 228-229 THIGHS, large, alteration o1
TRAClNG TRACING WHEEL, 4

see also o1 shoulder scam, 204; of gored skirt, 67, 68; See seam, 204: E, of SLOPE, Slant Slam

o1 master skirl, skin. blnuse, quaner SLOPER, ER, of master blouse, quarter sizc, 46; of of master slceve, slccvc. quancr sizc, 136; o1 quancr size, 94; o1 quaner size, o1 master collar, widc matter wide master collar, narmw Hat, 251; 25l: o!

01' darts in skirts, 95; darts in blnuses, of dnns blouses, 54, 56; of TRANSFER, o1 n1 ( dar! l u r t in slecvc. sleeve, 134-135; of pattern pauem markings, 29, 71
o1, 273 TRENDS. sludy (11. TRENDS,
{or skirl, {or blousc, TRUEING OF A PATTERN, for 28: for blouse, 28; skirt, 71

11m. 252 at.

0

OF IDEAS, RCES 0F ICES IDEAS. discussion

'

o1, 273-274 of,

TURTLE NECK, biss, bius. 261

of sklrl skirt panels, 72; o1 2: o1 monolonous, 275, Fig. 72: o1 CNG. monmonous, AC1NG Fig. 2; ol. 274-276 yokes, 42; study 01. yokes.

lor, 277 TWILLS, (lcsigning (lesignning fnr.

TWO-GORE SKIRT, draping 306-307 o1, 306-507 Llraping o1, 65-71; variations of,
l r a 01'. 130-133 dralt TWO-PIECE SLEEVE, SLEEVE (

slecves for, 125-126 TSWEAR, EAR, sleeves

ARE ERECT SHOULDERS, SHOULDERS ning Ior, 234 uing slccves for,
A"

5E

UARE SHOULDERED

SLEEVE, 143

TY1NG usc in (lcsigning, TYING designing, 293

of a seam, seam. 299, 310 N6. o! -AYING.

o1 collan. denixion denilion 01. 01 tailorcd lailorcd cullnr. of, 247; o1 269 collor, 209 .1ANDofco1lars

UNDERARM. UNDERARM,

measurcmerlt mcusurcnncnl lor for

slecve draft, 113 slccvc

_
1
'

UNDERARM DART, variations 01, 303-304 DART, varin1iu11s

UNDERARM INSET, in kimono kimnnu blouse, blouse, 166-168; 166-168: siLlc sidc scuinn, scclion, 168-170

on handling, 280 cect an fabtic. effect of Iabric. fFNESS

shaped as

waist curvc, 103 TCHING, curve, I03 111p 1o waisl 1146. o! hip
IGHT SIURTS, SKIRTS. 60-65: 60-65; all-around plculcd, 62: gathcrcd, pleated, 62; galhc-red, 60; wnp-amund, wrap-around. 64
V

'

-KLEE/E, 153-154; see also Epaulct SLEEVE, 153.154; Epaulet

xce
'

UNDERARM SEAMS: n] blouse, tting for exccss o] blouxe, o1, 212-215, excess 212-215. lor uing o1. {er sagging o1, width. 211. widlh. 211, for 01, 214-215; pinning mcthod, method, 214; taking in o1. o1, 213. 213, Fig. 25; o] xleeues, comsleeues,
o1 in kimonos kimonns and nnd in dolman, 163-165, parison pnriwn n1 165-165, 183; o1. lor dccp lcngthening Icnglhcning 01, dcep armscyc, armscye, 128; lengthcning lcngthcning in dolman, 187. 187, Fig. 101c: lcngthening lengthening or shortening shortcning in blouse and sleeve, blousc cccl o1, 239 slecvc, ccrt 259

length,

lNG COLLARS. from bias folds, 261

for, 279-280 designing fot, 1'985, daignlng o!f a co1lar247 uns. o oollar. 247

0F: blocking circular skiru. 11; blocking draped skirts, 1 11l: 1_ RYG: dmpcd = 111: i1: blocklng I05: dmping skim, 105; blocking gnred gored skiru, draping circular 89; dnping 81 8.9; skins. a1 goned skirls, draping gored
u cowl Substitute, bin. und a: Rat. 308-509 substitute, 303309 altention o! skin for, EACK. lltenon of tot. 222-223
HEM, 80-82. 96

UNDER COLLAR, o1 high ro11 roll type, 254; of tailored type, typc. 254:

UNDSII 271

UNDERCREASE OF A PLEAT, 76

UNDERLAP . denition UNDERLAPdenililm o1, lor buuons 01. 40; for bultons and buuonholes and buuons and loops, 1oops 41-42
UPPERRM. large, UPPERARM, sleew: alteration for, large. sleeve 257-238 (or, 237.238

52 wmsremo, 62 WAISTBAND,
dar: in i 51005 wNUNE- da WAISTLINE, blouse back. back, 26; dar: dart in blouse front, da" varlations i" 22; 22: dan in de": 501-302; design. 301-302; dress position on dfesg 10m1. 10m1, 7; 7: vamnf of m in gored skirls, shape o1 skim, 66
WAX CARBON PAPER, e 6
01' fabric in relation WGHT. WGHT. o1 relaon to 1o draping, 280 draping 250

45; anng master blouse, blouse. 58 cuning o1. for mutet

Innen, 259271; 5mm. 269271: wide, wide, 271-272
3

e. 14.

See alxo
'

uaqme

i000 vainline, skin panels, 41.156. 63; panell. 72 53111.11!

ivi .

..