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62 Gentlemen’s Garments

The “Draped” Style of Jacket

Diagram 17

I t is difficult to trace the origin of this style of cut—

that is, with any certainty. For many years Jackets and
coats cut and made in the West End of London have had
Satisfactory production of the “draped” style depends
upon the efficient co-operation of cutter and tailor. The
cutter must know how to cut and manipulate his pattern
about them a certain “easiness,” noticeable particularly in order to infuse the style features; the tailor must be
at the front and back scyes. Such a feature was in skilled in the art of interpreting the cutter’s ideas, and in
existence there a long time ago; and similar garments putting the garment together so that correct form and
made in Continental countries and in the United States shape are given to it.
were designed in very much the same way. Whether the It is not possible, by means of the written word and
West End set the fashion, or whether America and the by diagrams, to give anything like a complete picture
Continent brought it into being, it is next to impossible of the work involved in the cutting and making of the
to ascertain. “draped” style of coat. But a book of this kind would not
In recent years the so-called “draped” style has been be serving its purpose fully if something of an attempt
adopted by tailors in other parts of London and in the were not made to convey at least some of the principles
Provinces. It might be described as a generally larger involved in the creation of the style. It is hoped that
type of garment. Not only are the front and back scyes the following particulars will be useful as a guide—
arranged in such a way as will produce a vertical fold especially to younger cutters who wish to enlarge their
of material at their location, but the whole coat is built knowledge of present-day style trends.
on full, easy lines. Its length is ample; it has a longer In the diagram shown here the dotted outlines are
waist line; and the suppression of its actual waist girth those of a lounge jacket cut on the method already
is relatively slight. Further, there is a full-chested effect. explained; it is designed on the measures used for the
The style is practically confined to lounges, reefers, first lounge draft in this section of the book. The solid
and certain types of semi-fitting overcoats. Body- outlines show the contours of the “draped” model.
coats do not lend themselves to quite the same amount Let it be said at the outset that the style indicated is
of “enlargement” ; though some cutters infuse greater moderate in character: this is an endorsement of what
widths at the across-chest and across-back positions of was stated earlier. There are some very extreme and
these garments. exaggerated examples of “draped” coats to be seen in
wear; but they cannot be considered good models.

Instructions for Drafting

The numbered points occupy the same positions as their counterparts on the first lounge draft. Back and
forepart are laid out separately, about 2” apart.
Strike the chest line across from 1. A strip of linen, about ½” wide, should be sewn from 16 to a point
At the waist, the upper horizontal line is located at the natural waist just below 18. It must be only very slightly tighter than the cloth
position, as indicated by the measure. at that part. No drawing-in should be done.
The line from 2 is the dropped waist line for the “draped” style. The centre back seam is drawn straight down from top to bottom,
6–C shows the increased length. as indicated.
With B (on the new waist line) as a pivot, sweep forward ¾” beyond Continue the sweep from 18 until it contacts the top of the forepart
normal pattern at 18; D from B is 1½”. side-seam. Extend the forepart a full ½” beyond the normal (see
dash lines), and run it into N, which is 1¼” below 33; continue
Mark the “step” at 18 and draw the side-seam from this to D, as
from N through 34 to F, as shown.
Adjust the balance marks accordingly in order to preserve the
(In some cases a fuller back waist may be desired; this is shown by
amount of hack to he cased in from 18.
the dot-dash line running through X to Y.)
23 indicates the normal position of the neck-point line; for the
Continue the side-seam down from D through 19 to C.
“draped” style 24 is advanced ¾” (or more, if a fuller effect is
16 is raised slightly above its normal position. required at front scye).
Connect 16 to 18, as shown.
Jacket And Coat Cutting 63

Locate 26 in the usual way and curve the new scye, as indicated. The effect is to throw the front part of the forepart forward, as
The under-arm dart, 38, is moved forward about 1¼”. and is is shown by the solid-line contour of the front edge. The dash
terminated at M. 1½” down from the chest line. contour is that of the normal pattern.
The front dart, 39, is placed in very much the same position as It win be seen, too, that the centre line automatically changes. The
that on the normal draft. In this case it is represented as being solid line squared from 22 is the normal one; the dot-dash line
taken right through to the bottom edge—a frequent feature in passing from 22 through 30 is the new centre line, 30 having been
this style, especially when it is desired to keep the edge close. The dropped to the “drape” waist line.
best way of doing this is to slit the pattern up from the bottom
to P, about 1” from 24, and to open out in the manner indicated
by the dot-dash lines. The solid lines between these show the
adjustment of the dart for seaming. (Fuller description of this
pattern manipulation will be given later.)

64 Gentlemen’s Garments

Pattern Manipulation
Diagram 18
Section A Section B

H ere is a typical forepart pattern, on which are

shown the method and result of a particular form of
manipulation. The under-arm dart is represented as having
This section illustrates another method of
manipulating the pattern, which produces a result
similar to the one just described—without taking the
been taken through to the scye; but it may be forwarded and front dart right through. It is particularly useful when
made to terminate below the scye, if desired, as indicated in dealing with striped or checked cloths; there will be no
the “draped” draft. In the present instance, the front dart is distortion of the cloth design below the pocket mouth,
located a little farther back than in the previous draft; it is, which is sometimes a trouble when the front dart is
however, taken through to the bottom edge. extended.
In some cases, even when a moderately “draped” style In this second method it is essential to carry the
is desired, the termination of the under-arm dart below under-arm dart through the scye. The dart is marked in
the scye is not entirely satisfactory. There is always the the usual way at top and waist, and is earned down in a
tendency, during making-up, for material to be pushed straight line from the pocket position to the bottom edge.
back under the scye. This will cause a kind of bunching at
that part—a very unsightly effect. Type of figure and quality
of workmanship available will determine the cutter’s plans
in this matter.
Instructions for Drafting

Section A Section B
Point 1 is located about 1½” back from the neck point. Cut the pattern through from 1 to 2, as shown. (The rear section
Point 2 is about 9” from the bottom of side-seam. will remain as cut.)
Draw a line from 1 to 2. On the front section, cut along the pocket mouth (already marked)
The pattern is now cut; up along the line from 2 to 1. from 3 to 4; then cut up from 4 to E, the latter point, in this case,
being ¾” back from the neck point. The section is now in two
Now move the front part forward at the bottom (placing the finger
at 1) until point 2 comes to point 3—1” in this case.
With the finger at E, move the rear piece from 4 to 5 and from 3 to 6.
The dot-dash lines show what happens when this is done. The
opening at 2–3 may be increased or decreased according to taste. This movement will cause 1 to pass up to 7 and will produce the
outline indicated by the dot-dash lines.
Now mark the standard front dart, making its suppression about
the same amount as shown on earlier drafts, as at 4 and 5. The front dart is now suppressed in the usual way, as at 8. The
dotted lines are those in which the dart will be cut, seams having
Advance ¼” at 2 and 3 and extend the dart down, as indicated by
been allowed so that the two edges of pocket mouth are the same
the solid lines.
length after the dart has been sewn up.
It will be seen that the across-chest contour has been increased,
This operation is done first, when the coat is being made. The
the front section of the divided forepart having come forward at
rear section of the forepart is then sewn on to the front. Balance
the lapel crease line and the front edge; the solid line contour at
marks should be put in at A and B, for the contour of 7–6 must be
gorge, lapel point, and right down the front being the new outline
exactly the same as that of 1–9; below the pocket mouth 3–2 on
of the forepart.
the front section will sew to 9–2 on the rear section.
If it is not desired to open the bottom of dart as much as is shown
Again, a certain amount of additional chest contour has been
in this diagram, the front portion can be drawn in the dotted line.
produced; at the same time, the bottom edge has been shortened.
Note: The pocket mouth is shown as it will be marked after the The latter effect is often asked for as a style feature.
extended dart seam has been sewn up.

Note On The Drafts

It is to be understood that the actual marking out of the front edge and dart of Section A, and of the extended
under-arm dart pocket and front dart of Section B, will be done on the material at the time of cutting. In short, the
changed contours are marked from the manipulated pattern.
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