This book follows very closely a course of lessons given over many years at the Katinka School of Dress Design- ing, @ course dealing mainly with the fundamental prin- ciples of Cut and Fit on which is based all pattern con- struction, even the most advanced and modern. From this basic course, under the influence of ever- changing fashion, developed the technique of advanced patter designing practised at the school It may, therefore, be useful to say a few words about the origin and development of the methods described in this book, methods which are the result of many years of research and experimenting with patterns, carried out through many changes of line and fashion. Originally the Katinka School methods of pattern cut- ting on the flat were based directly on results obtained by ‘modeling patterns on the figure or the dress stand. Thus, draping on the figure, or French Modelling (moulage) as itis sometimes called, lies at the root of the whole basic idea that every type of pattern, from the simplest to che most elaborate, can be evolved quite correctly on the flat from a foundation representing the figure, provided ‘tain important principles, discovered through direct modeling, are never lost sight of in the process. ‘The method can therefore be described as ‘modelling on the flat’, the part of the dress stand being taken by a foundation pattern (or ‘block’) of advanced shape and of considerable adaptability. ‘As these methods originated from direct modelling, they were from the very beginning based on the recogni- tion of several important facts clearly demonstrated by modelling, Pethaps the most important of these is the fact that since the figure is three dimensional, a garment aust also be constructed in three dimensions ic. it must be thought of as having length, width and depth. In this vay the shape of the figure and its circumferential size, ther than a non-existent flat size, become the basis for the construction of a patiera, even though the pattern itelfs still worked out on a fat piece of paper, i. in two dimensions only Tkwas always considered essential that students should te made aware of this important fact from a very early stage, that they should be taught to recognize its signfi- cance in elation to good fit, and be trained to visualize the ft of garment on the three-dimensional figure, with allits curves and hollows, while actually working in only two dimensions. Once this mental adjustment has been achieved, pro- ‘ress io learning pattern designing is usually much more INTRODUCTORY rapid, and itis not necessary to have years of fitting ex- perience in order to learn fo see what one is aiming at, ive. to have a clear mental picture of the shape, line and fit of the style on the figure, while still at the stage of cutting the pattern, What this means in terms of added confidence, fore- sight, good judgement and speed, every cutter of experi- ence knows only too well. Yet with some drafting systems involving numerous abstract deductions and complicated calculations, to think ahead of the result, ie. of the finished garment on the figure, is no easy matter, particu- larly for an inexperienced cutter. While concentrating on mastering the system (and this may take considerable time), he can hardly think of anything else, let alone control in advance the line and ft ofthe style on the figure this has to be left to the fitting. For years the two stages may remain little connected, and only considerable practical experience finally brings them together, giving the cutter the habit of planning ahead by visualizing the result on the figure, and by adjusting his now familiar system accordingly. ‘The recognition of the fundamental link between modelling and ‘fat cutting’ has from the very beginning hhad a decisive influence on the choice of practical methods adopted at the Katinka School, for it became important not to lose sight ofthis connection, so helpful for practical pattern designing, and so useful in teaching; nor to allow it to be overlaid with too much theory. This led, for instance, to the checking and discarding of some well established methods of drafting and block adaptation because, when checked by direct modeling on the stand, they were found to be either unreliable or simply in- correct (e.g. some methods of introducing darts into bodices and skirts, inconsistent with the outline of the pattern—see Chapter II, sec. 10 and Chapter XD). It also led to preference for simpler methods and to greater reliance on average’ proportions, when it became evident in practice that certain individual details of the figure could not be controlled successfully by any system of measuring and calculation, however clever in theory, but only by fitting, ie. ‘modeling’ on the figure. Since such Aificulties could not easily be solved except by direct fitting, it was found to be simpler to work on a good ‘average’ basis and to allow for adjustment on the figure, if necessary. Finally, it led to accepting as correct only that which could be proved to be correct on the stand (or onthe figure), and it became a matter of routine to test all patterns cut