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

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
BOSTON - NEW voax —
CHICAGO - oALLAs -ATLANTA - SAN FRANCISCO
Eh: Rihctsihr Orts: Camhnbgr
 m:
A

All, RIGHTS asssnven; INCLUDING Rl.GHT' T0

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{IEPRODUCETHLS aoqx onpvprs

msasos IN <
.

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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 Page: I-I5

Part I. The Dress Form Cover

Part 2. Padding the Dress Form

2. BASIC BLOUSES Page: I6-59

Part I. Draping Basic Blouscs on the Dress Form
Part 2. The FIat Pauern Method oi Designing Blouses
on the Master Block Paltern

3. BASIC SKIRTS Page: 60-I I I

Part I. Draping Skins on the Dress Form
Part 2. The Fiat Pattern Method of Designing Skirts
on a Master Pattern

4. SLEEVES Page: I l2-l92

Part I. Drahing and Fiat Pattern Designing Basic Set-
In Sleeves
Part 2. Designing Set-In Sleeves from the Master Pat-
tern One-Piece Sleeve Block

Part 3. Sleeves Cut In One with the Bodice or a Part

of the Bodice

5. FITTING
Page: I93-246
Part I. General Principles of Fitting
Part 2. Preparation of the Master Pattem for Fitting
Part 3. l-‘itting Problems of the BIouse
 ibi-‘iiinsiiiüflönflln DESIGN: »

„ i,
Qsuggestion 1U Developing Line Arrangements by
Sketchmg
Suggestion Studying the Fabiic
— Draping for General Effect
Suggestion
Suggestion Draping with Muslin for Details oi De-
sign
Suggestion Interpreting Silhouettes as Complete
Designs
Suggestion Molding the Fabric to the Form by
Seams and by Concealed Darts
Suggestion Develodping the Design Theme from
Variauons of Basic Darts
Suggestion Developing Unusual Skirt Cuts from the
Basic Two-‚ Fou-r-, and Six-Gore Pat-
tems

Suggestion 9. Carrying One Piece of Fabric As Far As

Possible without Cutting
Suggestion 10. Deriving Unusual Effects from Asym-
metric Cuts
Suggestion 11. Designing from a Detail
Suggestion 12. 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
Iabric on the dress form, thc principlcs o! Hat paucrn from masler
dcsignilng an
paucrn blocks, and the dcpendencc of successlul flat paltern makmg on
linder-
slanding 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 confidence.
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 fit 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, efliciency.
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, flat 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 finer 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
profit from draping one must
have a mysterious Iceling for fabric or a gift for line, and that
is a kind of vague hin or miss procedure, too draping at best
impractical 1o be generally used.
This false assumption is undoubtedly due to the fact (hat
draping has not pre-
viously 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 ap-
of all the ans, but with a keen busincss
precialtion sense as well (hat enables her
to design the right clothes a1 the
right time. Bul we do maintain that any student
or homemaker Wllh
elcmentarydressmakingakills at her
command can learn
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 recog-
tell
mze an ill-fitting garment but to correct
fitting errors- a learning process that
(altes years by the trial and error method. The
chapter on fitting (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 influence.
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 elemen-
tary 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 fit. 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 find that the detailed (lirections, and the profuse illustrations
and diagrams, will be of value even without benefit of classroom instruction,
not only in making and fitting 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 finished
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 en-
couragement which so greatly facililated the writing
of this book, we want t0
express appreciation t0 Dean Marie Dye ol" the School of Home Economics at
of Tex-
Michigan State College, and to Hazel Strahan, Head of the Department
tiles, Clothing, and Relaled Arts.
MARION S. HILLHOUSE
EVELYN A. MANSFIELD
 / % Ü 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 stund-
urd. incxpcnsivc connnercial lonn paddcd out with
couon to fill u lubric covcr which follows thc mcusure-
incnts ol thc individuul with absolute
prccision. The
udvunlagcs ol lhla typc ol lorin urc muny. ll well
puddcd. it is finn 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 fit will: only ininor ultcrations.
Anolhcl’ (ype of lonn is made by sticking
strips ol
gunnncd lupc on u ganze vcst directly on thc ligure.
THE DRESS FORM COVER
THE PATTERN STYLE
Thc dress lonn covcr should In: u sniooth, lirm
gar-
ment fiued to the torso like a knitted suit
buthing
without wrinkles or looseness. lt should lollow
cvery
curve ol the body so that. whcn it is filled out with
pudding on lhc forni, i1 will exuctly duplicatc every
nicusurcment ol thc figure. Dress lorins
vury in length
bin generally extcnd I2 to H inches below thc wuist.
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
known us a Frenrh lining, a usually
princess-style pattern with
This typc thcorcticully duplicutes not only the indi-
viduuls nicusurcincnts but also her posture. Unlortu-
nutcl) 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 till‘l(‘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
lonn, ilscll —— —
unuttructivc us it usuully is furnishes
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 lim-
itcd 1o the procedure for making und filting thc labric
drcss lorm covcr und lor pudding out u stundurd com-
nierciul form to fit the cover which you have made.
The (liscussion includes the smallcst details of
proce-
dure in order to cnsure a lorm (hat will bc
sutisfuctory.
Center front, sidc lront, centcr back, und side back
verticul puncls. The cight verticul scuins muke it
siblc lor thc covcr to lollow thc pos-
body curves exactly
without thc nccd l'on’ u wuistline seam. Such
are soinctinics sold by
patterns
puttcrn coinpanies; bul since
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
renc Ist-plane.puttern. you Wlll t0
ilatztiltflz: ;allOl‘fi alule buy reg“.
‘ ining snnply need (o
truc lt up
accordmg t0 your own measurcnlents.
ll you cannot buy und do not wish to
draw u French
 o n s s s—in e s I M

smaller thanlfröm waist t6hipfwßy ulsing m; q

pattem size and lettingi auf the seams from w;
hip‚ yqu will have ‘t0 make very little adjusttngn ’

the fitting.
"For class use, the instructor will find 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 i

which fits her bes: above thc waistJ

l;1|
lIl
l1,

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

lining pattern, a regular princess-style dress pattern

is a possible substitute (see Figure 1) . If you use a
pattern of this type, several modifications will
be nec-
essary. First, rule the center front line marked on the
Center iront panel and c u t off the extension for the lap
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 measure- a muslin form
Fig. 2. Checking panern size by trying on
mem down absolutely vertically rather than outward cover sample.
on a slant, since a form cover must fit skin-tight all
the way to the lower edge.
1 The
sample models should be left open down the center
back, and the neckline, armholes, and lower edge should
THE PATTERN SIZE be tumed under on the seam lines and stitched twice to pre-
vent stretching. They should be kept in a closed box when
Because the form cover must be skin tight, buy your not in use to prevent soiling, since they would shrink and
paltern one size
smaller than the dress size you nor- be inaccurate after being washed or dry cleaned. For class
size that will fit the
mally wear, or in the smallest use the teacher will also find it convenient t0 cut several
bust. Then, if necessary, add to the seams below the sets of each pattern size in tagboard without seam allow-
al-
waist to let out the hips. This requires much less ances. She should mark thc lengthwisc grain the full length
teration than would be necessary to fit o u t excess above of the pattem and mark or c u t nolchcs. and should put re-
find inforced perforations in the top of euch piece and tie to-
the waistline. Fully half of the college students
waist somewhat gether the lour parts of each pattcrn sek.
their proportions from shoulder t0
 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' (hcrkfll 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 fil
lhc luwcr uuisllinc ol lhc hgurc shuwn. H onc linkes
( a u - l u l h (lclailrsd Imlcs un xmh (lillcwntcs. lllc
Iinr ul lht‘ paucrxl ( a n In: allcrnl hclurc- (uuing. Thls
ou-l-
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 mus-
lin m u lnnn (will, smh a: khnki. mvcrt,
lighLwL-ighl
clcnnn. lmny munn gnbardinc, m gnlutcn arc all satis-
lauen}: Thc lalnn m m ! b4: pliablc In b4: cluscly fillcd
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 shapc. Buy
(wo (Irenlorm Icnglhs (approxilnalcly ( w o
yards) ol
Sli-inxh Inalrriul Prcss lhc lnbric (o snmolh oul
wrinklcs, bul usc no nloisture. 'l'hen strelch it
diag-
onall) (o straighlcl: (he crossgrain as much as possiblc.
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.
LAYOUT AND MARKING
Thc doued lines of Figur: 3 show how to
I. Fold a lwoyard alter lhe
piecc ol INS-inch labric crosswise scam Iincs on thc labric l0 conform to
the proportions
lhrough (hcccmcr. (hus allowing a yard lcnglh lor lhe ol lhc ligurc in thc skclch. Thc waistline should be
paucm picces und their (luplicales in thc under y, inch lowcr than lhe paucrn. and lherc should b:
layer.
2. Placc lhe cenlcr back Iine ol lhc a let-out on (he side and back scams to
pauem I inch provide extra
in lrom thc sclvage (o allow lor a width [ m m the waist to the broadest
lap. (Sincc thc part ol lhc hips.
(enlcr back is to bc left ll thc bodice panern is less than
open. lhe sclvagc prevcms it 36 inches in length.
lrom stretching.) rule vqrtical lines lrom the
largest hip measurcment.
3. Allow 5/. inch lor seams on
all other pauern approximalely 8%lo 9 inches bclow (he waisl. to the
edgcs. lower cdgc ol thc Iabric. Unless the
paucrn has un-
usually wide shouldcrs. add 3/, inch to lhc end ol the
.4. Draw around the ccmer back pancl with a pen-
cnl. Then placc the side
from and back shoulder scams lor
' back. side front. and Center for unusually broad shoulders. possiblc let-out or
lront panels a: shown in the (The broken lines in-
layout diagram. Figur: 8. dicatc thc cuuing lines wilh
wilh (h:Iengthwisc
grain-marking of the pauerns on % inch scams.)
lhe lengthwise grain o! lhc 5. Pcncil all notchcs on
labric. the cloth. paying
anemion lo lhose on xhe side spccia]
lrom and side back
 l

.9 Offabfigtogether ‚t6 prevent!»

‚.. gPä an "i (‚duplicatefrbnx shifting in
_ .
pencilcd seam lines wand ctoss-
‘n ‘Gifte ‘al.
ngxgi usmga tracing
wheel on achalk board or
bon paper to transfer them to lthe under layer.

; l

‘Agssuauue m5 PATTERN was

Pirl all seams except the cemer back, and machine-
haste them for the first fitting.
Exception. When making a form cover at home
without the help of a fitter, leave the cemer front open Fig.4. Method of pinning seams.
rather than the cemer back.
l. Pin the cemer front seam first before separating 5. Press the cover throughout, but without giving
Ehe two layers. any direction to the seams, as creases are a hindrance
when making alterations.
2. Pin the seam, joining the cemer panels to the
side froms at about one—inch intervals over the bust
curve. shoulder, match the notches
Beginning at the FIRST FITTING
and distribute the ease evenly on the side front over
the curve ol the bust. Remove your slip to avoid snagging it with pins‚
To join seam lines accurately, direct the pin but wear a good foundation garment and then put on
the fabric
through the penciled line of the top layer of the form cover wrong side out in order to fit it skin
and look to see that it comes through the penciled
tight. Although this places the right half of the gar-
line on the under layer. Pick up with the pin only ment on the left half ol the body and vice versa, it is
1Ainch of the fabric directly on the seam line. lf you wise to ignore small variations in the two sides of the
more than this. one layer will slip against the
pick up body and to make both sides of a dress form exactly
other and the seam lines will not match. (See Figure alike, for fitting clothes to minor figure irregularities
4.) emphasizes rather than conceals them. Fit only one
3. After pinning side froms to cemer fronts and side and duplicate all alterations on the other side
side backs to cemer backs, machine-baste all seams. alter taking the garment oll". Never trim oll" seam
allowances, but use them to malch the two sides. lf
4. Pin and haste the underarm and shoulder seams.
from neck the armscye and neckline are unusually high, the fitter
For the first fitting, baste the shoulder seam
to prin- will need t0 Clip lhe seam allowances at these points
to princess line and from annscye (armhole) before putting the garmem on. She should then pin
cca line to avoid stitching across the vertical seams.
the the cemer back line, being carelul t0 nxatch the neck-
F01" basting, adjust the sewing machine
to long-
a foot in line and the four crossnlarkings. and should pull down
eu possible stitch and use hinged prcsser
the lower edge to scttle all Iines" imo pluce. lf the
lordcr to jump the pins without blunting or breaking
'

cover lails to settle down a1 thc collur bone and chest,

fÄththfltdlc.
 THE DRESS 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 b

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}

I. Shouldor zum
(n) Puxiliun. l l l c wann \l|()l|l(l lnc
ol ilu- xliuulilci und sllullltl ln-
ilirctlly on lop
imunspiiiiiiiis ll()lll
cilhcr lrunl 0|" lmik. ll slinuld hc a
snziiglil lIIlC lIOIII
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.
(h) I-"rl. Tlic shuulilci sciun \lI0l|l(l (ling (lusi-ly u) Fig. 5. First fiuing ul drcss lnrm cnvcr-
wrong sidc oul.
lhc bud) lruin iIIII|S(’\’(' l0 nuk. .\
shoulilcr pail
usuall) iuiws lhc ncck und ul lhc si-ain abmc (lic 4. Nocllino
w {hat il l|('('(l\ l0 In: ll()ll0\\’('(l in bod)"
unlil il (lings (o Pin oul ol thc (Clllcr lroni scam
lhe shuuldcr. Iine any cxcess
width across thc lronl a! Ihr: base o!
lhe neck.
2. Undonrm nun linc 5. Primus: Iinc
Thc pcrson bcing fiucd sllould raiye her arm
so (hat ihc fiuer can enough (a) Rip lhe scam lrom lhe
pin oul any looscncss along the busl to lhe waisilinc. poinl just below lhc
underarm scmn. Wilh a lcw (This invariably has l0 bc
pins, lhc samc donc.)
amoum on lhc opposile undcrarni pick up
scaun. This will
serw: as a cherk on
(ightncss and will also keep lhe (b) Rciain ihr: original linc ol ihe Center
from
ccnicr lines in
position. 'l'hc final underarm line, panel. bui iake in a deeper scam on lhe
lo
side front
however. should be wpicd lrom the side first panel tighten thc form cover under the bust. This
pinncd. incrcases lhe curve on the sidc seclion.
3. Amneyo (c) Follow (h1:
same method [mm waisl l0
(a) Clip Ihc seam allowancc in one
or lwo {tlways kecp the center panel lhc same width 2nd hip.
lake
along (h:lower half ol the annscye if it is (oo places in or let out thc seam
on ihe sidc section.
sei high l0
smoolhly.
6. Conior front lino
(b) Pin a dar: from thc middle o! ihe
directing in toward ihe busl to fil thc hollowarmscye.
below
Place horizontal dans from
thc Center front scam
die shoulder ball. l0 ihc poim o! ihe busl lo
indem ihe spacc betwcen
 . o R sss o E sIe N5
s 1nAcx o5 coven front princess lines below the bust before duplicati
that alteration‚ since more has been taken up on:
I. Armscye side front panel than on the center front panel.
Clip the armscye seam allowance if it binds when
the arm 1s down. Pm a dart from the center of the
PREPARATION FOR THE SECOND FITTING
armscye to the pomt of the shoulder blade if there is
U

tooseness and wrinkling at the armscye when the arm

ts down.
2. Princess line
_
Follow the same procedure as for the front if there
1s excess above or below the shoulder blades. How-
ever, the back princess line from shoulder to waist
seldom needs alteration if a small enough pattern has
been used.
3. Side seam
The fitter should stand away from the person being
fitted 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 pos-
sible a plumb line from under the arm to the floor,
but should divide the figure becomingly‚ so that the
seam itself is inconspicuous from either the back or
from view.
1. Shorten the machine stitch and restitch all un-
changed vertical seams directly on the first stitching. .
Carefully re-pin and stitch the altered seams, but —.
either hand-baste or pin very closely the exaggerated
f.
curve over the bust to keep the line accurate and t0 a
‘ä
distribute properly the ease over the curve. Stitch the
shoulder seams in a continuous line from armscye to
neck.
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
the waistline to within 1Ainch of the stitching. D0
the same for the front seams of the princess lines be-
low 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 fitting.

MARKING AND D-UPLICATING ALTERATIONS THE SECOND FITTING

l. Remove the garment. Put the eover on right side out. Adjust the shoulder
2. With a pencil, rcplace all pin markings with seams correctly and slip in the shoulder pads if they
short‚ broken lines and crossmark all seams
with pencil. are to be used. Pin the center back, matching the four
crossmarkings. Pull firmly on the lower edge of the
3. Spread the garment on a table to smooth it out
and to true the alteration lines. lf the alterations
are garment both in back and front to settle all lines down
on the body and to smooth o u t any horizontal wrinkles
extensive, rip o u t all bastings. due to tightness. Ordinarily no further adjustments
4. Duplicate alterations on one panel at
a time,
are necessary if alterations have been made carefully,
the seam but do not overlook any possible improvements of fit
carefully matching and pinning together
before placing them on a chalk at th'is time.
edges of the two layers to the
board or carbon paper to transfer the markings The chief purpose of the second fitting is to mark
basic lines on the form cover (see Figures 6 and 7) .
fold the
one beneath. lf the alterations are slight‚
out on the center front seam and
garment wrong side
left half of the garment into the right
telescope the the two layers I. Neckline
half. Pin togethcr thc raw edges of The prominent vertebra at the back of the neck
shoulder, and underarm‚
along the ncckline, armscyc, the wax car- is the center back point of the neckline, and the hol-
and then placc the unfitted side against low of the neck establishes ils posilion ztt the Center
bon paper and tracc the alteration lines. Rip the
6
 T H E DRESS F O R M
narrowcst poim ol lhc ( u r w :
—— kecping thc lllle
‘T0111
l5
35
l0 lhc (einer
slraiglu und ncarly parallel lar
possiblc wilhout pulling
(h4: annscyc so
Ollll. llläl
on ol lhc am: rauher lhan at lhc gonnlng
i1 rcsu lop
lhis poim conllnuc
ol lhc arm aml thc lxxly. Fron:
und uulward l0 lllt’ llndflalm
lhc cunc (luwnwald
wann, lhc mp poim ol whith
should bc al least onc
(i a und b) . Follow
inch bcluw thc unnpil (scc Figurcs
lm ustublishing thc lxack annscyc
lhc saunc pnx ululc
( u r v c . Thc pcuun heilig
liucd should bring her arm:
is width across
lorwanl (u Inakc surc lhal lhcnc cnough
undcr ol lhc armscyc
thc shuuldm bludcs. "lhc parl
narmw mal lmausc ol lhc tighlness
will bc a Iallncr
nl bam nccklinc; (b) Armuyc. cm
Fig. 6. (a) Pusilimn ol lhc lonn e r ‘

Ironl. lhc lim: joining lhcse l w n puinls should lollow

ol lhc
Ihr: Inccling u! (In: nctk colunnn wilh lhe plane
"lllc batk slmulll bc a: high as lhe
slmuldcr. (cnlcr
sidc ur slighlly Ilighcr. and lhc Lcnlcr lronl. ol coursc.
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
al inlcrvals (rmn thc raw cdgc loward
acruracy. nlip
lhc m-(klmc und l u m (he raw cdgc under. 'I‘hen 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
way l0 eslablish the Iop poim o! lhe armscye
Iine is
lo measurc the length ol lhe shoulder scam of your
most recent satislaclory dress or suit aml use thal meas-
urcmem (o dclerminc thc shoulder scam lenglh lrom
ned. l0 annscyc on your dress lorm. Another way xo
eslablish thc lop poim ol the armscye is lo Iay a long
penul against the outside ol lhc upper arm and ex- Fig. 7. Sccond fiuing ol Ionn oovct-marking neckline.
(end n
lomeel a pcncil laid along thc shoulder scam. anmcye. bunt linc. waistlinc. hip Ievel and disunce (vom
wherc lhesc ( w o pencils mecl indicales the hip level (o floor.
The polnt
nmersecuon o! the shoulder scam and Lhe armscye.
a broad square-shouldered ellect is in fashion. 3. Waisllino
Wllen The placemem o! this line as well as (hat of the
plann sleeves wilhout dans or gathcrs should meel the
Ihouldcr seam wilhoul being pulled inward.
lineof thc armscye varies with lashion. Place and pin a tape
From the top
Rom:
dann to the pomt
armscye curvc. mark a line
where the arm and body ioin (h: — measure around lhc waisl, adjusling it up and dem;
unul you find a position that is becoming from back,
 DRESS DESIGN.
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. Pen-
Varound the lower edge of the tape from Center back
to Center Irom. Check and record the waistline meas-
urement (see Figure 7).
4. Hipline
Place and pin a tape around the largest hip meas-
urement. W ith a yardstick measure from the floor 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 floor. 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. Pen-
cil around the lower edge of the tape and record the
hip measurement at this level (see Figure 7) .
5. Busfline
Place and pin a tape around the largest bust meas-
urement, 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.
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 floss along the penciled lines. To
d0 this, wind the cord or floss 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
thc bobbin will lie On
(eed dog so that thc cord [ m m
the right side ol thc garment. ln addition to the basic
levcl lincs, shouldcr
neckline, armscyc, waist, and hip
seams and center front can be quickly marked in thi 7
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 coürse of
padding the form.
DRAWING THE FRENCH LINING PATTERN
Although it is usually possible to buy a French lin-
ing 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 commer-
cial 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.
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 five 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 pat-
t 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
thosc of u commcrcial patlem.
 THE DRESS F O R M

D
E
F

äo
:
ä’
F,’

. V
N
ä‘
ä

Wl
Gfia/B"
H.
‘l f H
Fig. 8. Sile l6 (lress [orm uwer dirccliuns.

CHART OF MEASUREMENTS
FOR FRENCH LINING PATTERNS PATTERN DIRECT|ONS
Sin . . . . . I2 I4 |6 I8 20 Lengfhwise grain in all pieces is parallel lo fhe Iong side
BusQ . . . . . 34 36 38 40 42 o5 fhe recfangle.
Waisf . . . . . 26V; 28 30 32 34
"w "w edse of °E"."“ÄZZT‚'„Z?ÜEÄ‚.„ Ie
paflern) . . .
Lengfh of poflern
363/. 39 41v. 43 45
2' M
' 3
d d° '
{vom base o‘ neclx ex"?° ‘an A l° J
a9 cenfer fronf fo A 1o C I fo H
lower edge . . 23l/4 23V; 23% 24 24V.‘ D fo E
 D R ES S D E S I G N

3. Join: 8. Wi+I1 inward curve ioin +0 p0in+s marked in from

J+0H H+0F B.C.D.E.F.
F I° 9. Join p0in+s squared in from F and G and confinuer
_E
Measure in V4 inch frorn p0in+ G (halfway be+ween +0 H. v
i

H F). Swing inward curve from H +0 F +hrough |0. Join P +0 p0in+s squared in from N.M.L wi+h 00+-
‘and
P°"'* G- ward curve.
4. Draw neckIine B +0 J Beginning wi+ln righ+ angle a+ I I. Join p0in+ marked in from L +0 K wi+I| ruIer and +0
B and ending wi+I1 righ+ angle a+J. J wi+I1 0u+ward curve.
SIDE FRONT PANEL I2. Join J +0 H. +0uching Iine HI a+cen+er 0+paneI.
I. C0ns+ruc+ rec+angIe CENTER BACK PANEL
2. Measure and d0+: I. C0ns+ruc+ rec+angIe
A +0 B A+oC 2. Measure and d0+:
A +0 D A +0 B A +0 D
h) Measure up from G +0 find p0in+ F.
o A b C A55
Square in from Iine AG +he given measuremen+s Square in +he given measuremenfs from Iine AF 0+
0+ B.C. D. E. C. D.E, F.
Measure and d0+: Measure and d0+:
A+0P O+oL A +0 K K+0J
O+0N O+oK J +0 I
O+0M O+0J Join K +0 B.
Square in Irom Iine OI +he given measuremen+s a+ Join B +0 p0in+s squared in from Iine AF wi+I1 in-
M. L.J. I. ward curve B +0 E, and ou+ward curve E +0 G.
Join P +0 p0in+s marlzed in from B.C. D, wi+I1 ou+- Draw neckIine K +0 I beginning wi+h righ+ angle a+
ward curve. K and ending wi+h rigI1+ angle a+I.
8. Join D +0 E wi+h inward curve.
9 Join E +0 F wi+I| 0u+ward curve. Pa++ern Measuremen+s for Dress Form Cover
I0. Join F +0 H and H +0 I. Size I2
H. Join P +0 N wi+h ruIer. Cen+er Fr0n+ PaneI Cenfer Bock PaneI
I2. Swing inward curve from N +0 +I1e poin+s squared ReCIüngIe Recfangle
in from M and L and 0n +0 K. Wid+h __ 5" Wid+h . .
SI/g"
I3. Join K +0 J wifh sIIgI1+Iy inward curve. Leng+I1 . . . . 25%" Leng+h . 25%"
I4. Join J +0 I wi+h sIigI1+Iy 0u+ward curve over hip. A-B . . .
ZI/g" A-B . . . . . . ‚ . .‚
I73"
SIDE BACK PANEL A-C ‚ . . . . . . . . .
I7I/4" A-C . . . . . . . . . . 6"
C0ns+ruc+ rec+ang|e C-F . . . .. 27/3" C . . . . I"
2. Measure and dof: A-D . _ _ 25%" A-D . 9"
A+0B A+0E D-E .. ..... 3I/4" D . II/f’
A+oC AIOF A-J _ . . . .
I%" A-E Ibyg"
A+oD AI°G I-H I3/3" E . . . . . _ . . 2I/4"
measuremen+s a+
Square in from Iine AH +he given G—-— A-F...___...25%"
B, C, D, E. F. G. one-half 0+FH V4" F i374"
Measure and d0+: Side Fr0n+ PenoI J.K _ 2"
AwP OwM Rec+angIe J_| g 4
5/8"
P+0O O+oL Widih 65/8" Side Bach Panel
QQON O+oK Leng+I1 .
20/4" Rec+angIe
Iine OI +he given measuremen+s af A-B 7I/3" Wid+h 5%"
Square in +r0m B 24"
N. M, L, K. 7/3" Leng+h
A-C 9%" A-B I"
Measure up from I +0 J.
F?‘ Join P +0 p0in+ marked in from B. Use ruIer.
c 3/." s 15/."
I0
 THE DRESS F O R M

A-D I03/," A-C 5'/4" A-P 4mm" E l

D V3" C 2" O-N I1/4
"
AoF 7%"
A.D 0/4" O-M 55/," F 0
A-E I57/g"
E 3/4" D I%" M 2" A-G i535"
F-G V4" A-E 5%" O-L 6%"" G
A-P 4%" E 1%" L I 7/, A-H 24%"
0-x s" P-O I 7/,"
8-: '
ggf
a s-F 72/,"
'30" O-J l6" O-N
N
3"
M w." A-G I5I/‚" J IV," 7/,"
O-L 6%" G I" I 1/4" 0.54 47."
L I 73" A-H 24" M
o-K 77/3" P-o max O-L o"

s“ '77?»
2__
s“ s;
I .4

.45’,
L
0.x 15V,
v4:'
l 78 K
“CA-M 473” I-J v,
m 6n/a
Sixe |6
L
OK _ W„
Isl/s„
Ccnicr Fron? Panol
R
ecffng
le
Cgncgr Bgck ?.„.|

Recfangle
K |7 Wndih
"
Widfh 5'546"
LJ 5'/4
3/2„
'
4 - . II z"

°'::;;:::;'.:'""
Widfh 5%"
°':;;;‚:':;.:'°"
Widfh 535e"
2:‘:
A-D
'31,"
26|)"
2°
AD l„
9
D.
. ’

26" .‚
Lengfh Lengfh 255/" D.E 3;?"
Ä-B 25/8" A_B 'ys„ AJ 1,4 A-E “f!”
A-C "v." A-C 61,8 I-H I% |7|/gn
W5
H

i;
W

C" 3" C 7/." 64min. oinf '

N0 26" A'D 9" befwaenYFP d 25%"

‘ ' '
"
' '

"
‘I

A4 17/ A-E n
s; 5/.”
"H "/:" E dR°F*’:::"‘<IJ’|.:d C 0C I rC H ‘I
524“:
Maß“ b° - '
i353" . I

I:
w
‘F n
.
"m W l ‘ ’ 3:23‘ Recefnql. H

Fron? Pancl
53d;ecfangle
J_K ‘ ‘ ’ 2'} A.B ’ '
7V
3”
n
Lwldftlh
"9 26g
4 "

2C.
_‚
s,‘ A-B „in“
"/4"
n

widfl‘ 756c" Sidll-Ilacl Panol C B "/8"

“"9” 24%" Recfangle 9%„ ' '

M 7'/2" Width 57/

"
M)" 75 A‘:
C
- - 5'/4"
2%"
B 7/!" D loy... ' '

A-C 93/." A-B

Lengfh 243/2" I
I

V2 M’
v
M.
w."
..‚ ..
‚W AE
c 3s" a g ‘*5
w;
--—
3° i 7'/4"»
" ' A"

* < »
»

i035"» A-C
-v

sl/I’ F-G '%„ E I.

c
w»

„
4 - -

_
- -
2/4" A-P
.
. . _ 5" A—F _. _ 8"’:
N5
E
'62: AD fl
O-N ‘-
"/2" A-G
.
_
. .
.I6"
>-
7/a" D | y‘ 0'"
’

“G 36' AE
H" A"
I - 5%"w G. ' ' ' ‘
A
1»
M
"

--
'
5%" ' 2|/| A-H _ _ 24%"
I > >
. ‚ ‚ „
 DRESS DESIGN

O-L . . . . . . . . .. 6%" P-O . . . . . . . . .. U/g"

L . . . . . . . . . . .. 2" O-N . . . . . . . .. 3"
O-K . . . . . . . . .. 8%" N . . . . . . . . . . .. I”
O4 . . . . . . . . . . I6|/4" O-M . . . . . . . . .
45/3”
J . . . . . . . . . . .. I73” M . . . . . . . . . .. 7,"
I . . . . . . . . . . .. "/3" O-L . . . . . . . . .. 6"
Sile 2°
L ' ' ’ ' ' ' ' ' ' ' ' '
Center Front Panel CGMOI’ 586k P571“
5/8„
O-K ...... ..
Recnngle Recfimgh
K --- - - 152/4” Wid+h was». . 53/."
.. 55/." . ..
«

----- '|/e„
3 3 3 3 3-

. . . . . .

‘4 -- - 3
/2 3-

Lengfh . 273/." Lengfh

s . “ ‚a A-B . . . . . . 3" . A-B . . . .....26:;‚:
‚ ..
I”. .

A'C - - -- - |8 A'C
Cenior Fronfi Panol
Recfangle
Cenier Sack Panel
Recfangle C-F
"

n
C
'

- ---
' ' ' ' ' ‘ '

A
'

- b] H

3%” 9'51“
3 3 3

Width . . _ . .. 53/." Widfh . . . . .. 5V," A-D .... .. 17% A-D

D
3 3 3 3 3 3

„
. . .27" 263/10” D-E 4l/4" - - --
Leng+h Leng+h . . . .
"/2"
»
. .
3 3
3 3 3 3 3 3

A-B . . . . . . . .. 21/."
. A-B . . . . . . . . .. |I/‚" . . . .. 3 3 3

A-C . . . . . . |8" ‚ A-C . . . . . . . . . . 6" ' 3 3 3 -— 3 3

8
H
2-5 ' " "
4
c-|= . . . . . . . . .. 33/." c . . . . . . . . . . .. "m" G-Halfway poim‘ A-F 3 —-
26%:
A-D . ......27" A-D . . . . . . . .. 9" be+ween F 3nd F 33

o H J-K 2"3//2
0-5 . . . . . . . . 4" .. . . . . . . . . . . .. 13/," . -.
3/s”
. 5/8
s”
A". 2" A-E ‘W4,’n 4P
' l

‘ ' ' ' ' ' ' ' ' ' ’ A ' ' ' ' ' A

„ Sidägäiglgiäel SHJ-Ißafik anQI.

LH "/4 E ‘ . ' ' ' . . _ '
| | e

8"
4
' ' ' '

Wid+h
'

Recfangle
' '

.
G—Pomf Ha|fway Ä-F - - - 42:48"
10
. . . . .
„ „
widfl‘
» 3 3

H‘
3 3 3 3

F L 25| A A ' H
65,
befween F and
’ '

Ia/a”
4 A

. . . . . . . . . .
A.Bang zgufi.
. .
8„/2 L fh . . Ü (3
J-K
' ‘
277m"
'

H . . . . . 3/3" . . . . . . . . . . . .
‘
I „ A-Beng |„
J-|
’
i

' ' '

7g"
' ' '

Side Front Pnnel . . . . . . . . . .

B
‚

Side Back Panel

' ' ‘
N52„ I

2V‘,„
RecfangIe C A-C 5V
w“... _ _ 31/4"
. . . . . . ‚ . V2" . . . ‚ . .

D.
‚

A b

Recftangle N A l W4’, C 23/3”„

Wldfh
D"
N i ’ ‘ b

253/16"
' ' '

Lengfh .
. .
69/16" A-D 6V
V4"
„f,
" - 3

..-24%,
3

A-B w," Leng+h

- - 3 3 -

. . . . . ..
.

A-B 7/." .635, D -

AE
3

5
33

I37." ..

2-5 W3,
B 3.2'/2” H7"
8„
' ‘

‘.‚
A-C 93/" . . . ‚ . . .

i‘:
3

A-C .......5I/4" F-G

C A

3/2" 4?” 4 ä
C
F-
3

|o3/." . . . ..
i
33

A-D .
3 3.

. . .
. .
23/." Q4; 0
D "A" M"
o
3"

3”""„ N. I57"
J3 ‚w, 3 "„‚3 s
‚u: o „w
3»

los/s"
3 3 3 3 3

. „„
25/.’ 2
. . 5‚;„ G W
A'E
M-
b u
4 ' u h

E . . ‘V4’, ‘ ' ' ’ ' ' '

A_H 25346:.
E 2V4„
2,
l ß

F-G V3" ‘ ' ' ' "

„ o-|_ P-O |7.” s

A-F . . . . . . .
3 3 3

53/4"
A_p 55/8" O-N 3„ _
83/3” L W4" .
V

F
A

‘ M

'55"
Q"

o“ '
‘ ' ’

3/" O-K 87:" N #4”

AG w"
' ' '

0-“ - - 5%" ’ ' " '

O-J IbVz" O-M 4%"

M
O-L
- v "
2W
6%"
G
-
"

-
'

|3 u
J
‚ ' . . . IV," M . '/2"
-
" -"

O-L el/z"
V

9g‘ 275/4, '

y," .

2"
'

. . n
L .
„I“ L y
‚

. -

3|
V

0'”
b

O—K . 85/3" " " - " "

„ 0-x w’)
Iov." N
0.4 . K w.""
3 3 3

. .

J
u
.....
.
.

.
1%"„
w.
0'“
M 3
3
'

3
5/2„
4/’
1/4
" |.J - . I/3
 THE DRESS F O R M

PADDING THE DRESS FORM

SELECTlON OF THE DRESS FORM

Buy any make

ßuy niake ol" lonn prefer, as long as it has
form you prclei",
over
heavy iron base t0 prevent it from tipping
ua hcavy
An incxpensivc forni
lonn will serve
scrve you as well a5
easily. .—\n
a high priccd
priCCd one il"
il it is well padded.
pudded.
ll
Il you (‘an
("an try coinpleled cover on [two
thc complcletl
u") Lhc
or three
w o 01'
lonns
lorms in your own size
sizc range,
range, you can select pinnecl to the shoulder of the form t0
Fig. 9. Cardboard pinned
Linpaddcd
unpaddcd
righl sizc
the right size mosl
most ziccurately. There should
uccurately. 'l'here sliould bc space widen it.
lor cnough
enough padding under
Linder lhc
thc cover t0 give a resilient
givc
louiulxuinm
Ioundzuion pin to
u) imo.
into. The most
inost iniportant measure-
importunt PADDING
ment
menL 1o check is Lhc
(o chcck siLe of thc
Lhe size form at the level zuhere
the lorm where
rover zuill m m mm68 .. The waistline ol of First Lry the finished covcr
try Lhc lorm, pinning it
COVCI‘ on the forni,
Ihe zumstline
Ihr uvznslline uf u] the mver
be exactly the right size, but if the zu
at several
scveral points along the n t e r back open-
Center
C e
thc lorm may bc
the lorm together
marketl on the cover falls im‘
waisllinc markcd
waistline far below that[hat ing. ‚Adjust
Adjusl the shoulder seams so Lhat
[hat the cover tips
thc
the lorm will not serve If
lf neither 1o to the back nor to t0 thethc front, ancl so [hat
lrom, and (hat the
point,
poinl, your purpose. you
lorm which is waistline and hipline are level.
uwiistlinc level. Then determine how
are exccplionally long-waisted, select a form
exceptionally long-wvaisted,
as small around the upper hip as your own waistline much padding to
t0 acld
add l0 the front
lront and back t0
[o the
keep Lhe
measurement.
measurcment. centered in position.
side scams ccntered
dress paltern
An individual who wears a size l2 (lress Chcck the places needing the most
(jhcck mosl padding as well
pattern
should usually choose a size 30 form;
lorm; one who wears a as those which need the least. Do I)o this
[his by reaching
If your waist-
16, a 34. lf
l4, a 32 form; and a size l6,
size H, waisl- uncler the cover and
under und chalking any lines m‘ or points on
line is under 24 inches, use a size 28 form. form a:
the lorm at places which need special consideralion. consicleration.
Also chalk the Lhe position of ol the basic neckline of the
cover t0 servcserve as 21s a guide for mcasuring down to the
l'on’ incasuring
PADDING MATERIALS bust, waist, and hip level and (lown to
busl, t0 the shoulder
blades in the back. Then remove removc the cover.
Canon batting is by lar
Cotton butting the most satisfactory pad-
far Lhe pad— Carefully unroll Lhe cotton batting in preparation preparation
ding. Soft tissue paper can also bc used, used‚ but is much for thc actual padding.
padding. Throughout the entire process
slower and more awkward to t0 handle. Or‚Or, it is possible use iti1 in thin sheels,sheets, never in clumps, handling it
to use the lhe two together, first filling out ouL with batting
lightly [0t0 avoid matting it. Begin to pad by covering
and then covering with tissue. Even newspapers are the entire lornilorm with a thin layer, layer, letting each sheet
somelimes
sometimes used for first layers where a great deal ol of extend as far as i1 il will, then smoothing the edges into imo
padding is required. Paper is often unsatisfactory, thosc ofol" the adjoining sheet. By blending one layer
however, because it has to be pinned pinned omoonto the form, imo another‚
another, you can pad the entire form wiLhout without us-
and unless the pins are well pushed into the form, Even those places which need large
ing any pins. Even
the
(he heads tend to
punch through lhe the finished covering. amounts of padding can be built up without pins if
Couon
Cotton batting, on the other hand, clings to the form the material is applied one layer at a time and if each
Wllh
litltle
lit.tle
cotton Jersey
mercial form.
—
or no pinning if placed directly against the
— the usual surface of a standard com-
-
'
layer is pressed carefully into the one underneath.
Do not add any more than a first thin layer of cotton
for a radius of two Lwo or three inches around the base
Il the shoulders of the form are narrower than those of the neck. For usually if you pull [he cover cgver down
of
ible
the cover‚ u t half circles of
cover, ccut
and tack or
tagboard or other flex- firmly in the final adjtistment,
adjustment, you need little padding
‚cardboard pin chem
them to the dress form around the neckline.
neckline. Too much on the top of the
t9 widen
the shoulders as much as necessary before be- shoulder near the neck raises the entire
covering too
Slnmng l0
Smmng pad (see Figure 9). illioälder
1g .
high.
 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 fionitüw:
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 diflicult 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 flaws. Ordinarily there will be
many places which are still too soft and which need
more padding. If so, remove the cover and make the
final corrections. Before putting the cover on for the
last time, give it a thorough pressing, but still without
moisture.
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 firmly along
the lower edge at the center front. Before pinning the
from Center back, also examine the shoulder seam, the neck-
Fig. l0. Measuring bust and hip widths and thickness
{ m m to back. line‚ the waist, and the hipline for correctness of posi-
tion. Begin to pin at the neck and work down, match-
As you pad, check the recorded measurements of ing the four crossmarkings on the Center back line. 1
bust, waist, and hip, and those from neck to waist, Try to avoid pulling the garment downward in back
waist as you pin. Pin the first time with the seam allowance
bust, and hip. Note the curve of the body from
the padding on toward the outside. After making a final check for
to hip a: the side and back, comparing
the form to the contour of the figure. If you are pad- errors, start re-pinning at the neckline, removing one
in front of a full- or two pins at a time and lapping the right side over
ding your own dress form, stand the left. Pin every half inch and bury all but the
beside you, raised to your
length mirror with the form
own height, and cross two tailor's squares at the hip very head of each pin in the padding. Either leave the
form pinned or slipstilch it together.
level to measure the hip width from side to side as
Pull the lower cdge of the cover down firmly to
shown in Figure l0. Also cross tailor’s squares
of the smooth out all horizontal wrinkles and tack it securely
irom back to front to determine the thickness
with that of the to the wooden brace undcrneath the base of the form.
body and compare this measurement check the If you expect t0 use the form lor a long time without
form. The samc method should be used to
width of bust and shoulders from side to side
and their impadding i1, it will be worth your whilc (o cover
to back. Evcn though the hip the armholc opening and add a shaped collar to the
thickness lrom front neck.
bc the same,
measurements of two differcnt figures may
 THE DRESS F O R M

upper Neck Measurement

1/2 Upper
THE ARMHOLE COVER

1_ Place a piece of paper against the armhole open-

shape‚ Crossmarking it at the shoulder
ing and trace its shape,
underarm seams.
and underann
d‘:
Ö
w B.
—>
——>

1/2"_‚.i
1/2"_.‚.
pattern‚ cCu t it out, and lay it on the
2. True the pattern,
2,
labriC so that the lengthwise grain runs between the
fabriC
is‚ from the
two crossmarks, that is,
underarm seam.
shoulder seam to the 1/2/1 v 1/2 Base of Neck Measurement
l
<_2
4_2
r
<—CB
..

3. Pencil around the pattern on the fabric and pen-

Fig. l l . Dress form collar draft.
Cil the crossmarks.
cil
2%, inch seam.
4. Cut it with a 3/8 one-half its length and then swing up in an outward
Curve to meet the
curve e n t e r front
l/2 inch up on the Ccenter
5. Turn the seam under and place the oval against point I/Z
line (see Figure ll1).
l).
aimhole, matching the Crossmarkings. Then pin
the armhole, pm
the turned edge to the armscye line on the form Cover 5. Measure up at right angles from this base line
and finish by slipstitching. 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
COLLAR three points. Mark off along this line one-half the
circumference of the upper neck measurement. Join
The base of the neck is, of course, determined by
Course‚ (letermined this point to the end of the lower line for the Center
the neckline marked on the cover. The The measurement Collar.
front of the collar.
of the neCk
ol neck 11/2 inches above the base (recorded at the 6. Cut out the pattern.
fitting) will be at least I inch and sometimes ll/_‚ 1%
inches less than the base measurement. Pin the tape PlaCe il
7. Place it on the fabric with the Center back on
center baCk

_
measure in a Circle circumference of the
circle equal to the Circumference the lengthwise thread and allow a 3/8 2%, inch seam on all
neck and drop it over the neck
upper neCk neCk of the form in edges.
order to determine how much to pad the neck. Ordi- 8. Pin the two collar pieces together along the
narily the neck of a dress form is too erect at the back. e n t e r back and try it on before pinning it to the dress
Center
C
lf your head tilts forward, it may be difficult
difiicult t0to give form. The collar should fit Closely
closely at the upper edge
the neck
neCk of the form the same slant. Place all of the as well as at the base of the neCk,
neck‚ where it will sew to
padtling on the sides and front of the upper neCk‚
padding neck, the basic neckline of the cover.
Cover. The Center
center front and
building it up until it duplicates
cluplicates your own neck neCk as back seams may need to be sloped more to fit your
nearly as possible. neck
neCk exactly.
T0 draft the collar pattern, follow the directions
below and see Figure l l . 9. Tu r n under the lower edge and pin it to the
form cover
Cover just above the Cord couched on the neCk- neck-
. 1. Draw a rectangle the length ol of the basic neck-
neCk- line. Then slipstitch the collar to the cover at the base
line from
lrom Center back to center
Center front and 3 inches of the neck
neCk and to the form at the Center
high. center front and
2. On the center
Center front line measure
l/2 inch
up 1/2 back seams. Tu r n the upper edge over the
padding
padding
i‘ from the lower line of the
rectangle. and slipstitch it to
t0 the form.
The dress form is now finished and should
3. On the Center back line measure down exactly
l/2 inch
from
from the upper line of the
rectangle.
duplicate your measurements and your body contours
‘
so that it will serve as a perfect model for all
4. For the base of the collar follow the lower line garments
which you will design by draping.
The Fundamental Darf
The systems of draping and flat pattern design are
both founded on a clear understanding of the purpose
of the fundamental dart. When you first 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 fit. Those wedges, or darts,
up the excess in the outer edge of the pattern,
convert—
ing a Hat piece of fabric t0 a rounded or conical shape
that confonns to the contour of the figure. Darts al-
of 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 any-
where around the outside edge uf the blouse-front pat-
tem will always point toward the bust (see Figure 2).
The necessity of shaping a pattern to fit 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 plac-
ing 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 con-
ventional way. lt is therefore of first importance t0
understand the function of the dart before even start-
ing to drape, and to consider its possibilities for in-
spiration in design while draping the first 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 difli-
cult designs included in Chapter 7.

1
1
w‘.
‘l
:
lähmt“

il‚„ „im
llm w»
Fig. 2. Possiblc (lart positions (heavy lincs shnw Standard
from the bust. positions) .
Fig. 1. Darts radiating
l6
 B AA.SSII C BLOUSES

For all practicc clrzxping usc light-weight unbleached WAlST FRONT

WAIST
practlce draping
'
V

muslin o1" that is casy

inexpensive material [hat
or u similar inexpexxsive
Fronf Line
Fronl’
'
{o handle.
1o otherwisc statecl,
Unlcss othcrwisc stated, the (lirections
(Iirecnons Esfimafing The Fabric and Marking The Cenfer
given are for
lor draping a half pattern. (see Figure 3)
l. Measurc the dress form vertically from the high-
1.
neck and
es: point on thc shoulder (intersection of the
est poinl
Problem lI shoulder seam lines)
lincs) over the fullest curve of the bust
WlTH SHOULDER AND walstline. Add 3 inches for seam allowances (l
to the waistline. (1
DRAPING THE BLOUSE WITH
WAISTLINE DARTS the shoulder and 2 inches for the waistline).
inch lor Lhe
measurenlent will be approxi-
The total lengthwise measurement
2l inches.
mately 2!
The firsl problcm is to drape a basic waist with
first problem matcly
v

shoulder and waistline darts. This i5

waislline dans. is the dart com- lorm horizontally from
thc dress form
Nleasure the
2. Measure the
bination [hat makes Lhe best fitting basic or founda- thc fullest curve of the bust to
C e n t e r front across the
Center the
patten} from which t0
_ tion pattern to develop designs through underarnn
underarm scznn sezun and add 3 inches (l inch for ease and
_ the
lhe Hat pattern method. A foundation pat-
pauern blocking mcthod. 2 inchcs lor z: arm)..
lCl-out seam under the arm)
a large let-out For
ltern n l a s t e r pattern. See page 44
e r n is commonly called a master a size l6 pauern this will total about 121/2 inches.
puttern lhis
4

complete explanation of the master block pat-

for a complcte
' Lern. The following directions for draping the basic
lern.
3. Measurc
width
Measure in from the
needed and mark the C
widih medcd
lhe selvage of the fabric the
e n t e r front with a pencil
Center
waist with shoulder and waistline darts explain not
line on thc cxact
exact straight lengthwise
lcngthwise grain. Flguring
Figuring
only how t0 to place and pin the fabric, but also how to
l

check results and judge patterns after alter they are draped
thc
the approxixnate amount unlount of material needed instead instead
‚
in order t0 to predict their accuracy of fit before trying
ol" using [h6
o1" ol a 36 inch width helps you
the e x a c t C e n t e r of
1 them on. acquire the habit of saving fabric. Obviously this
to acquirc
become valuable practice whether the fabric you
can bccome
with is expensive or cheap (see Figure 4) .
working" wiLh
are working-

Add 1w_‚ | I
\|
\\
\\
\\
\\‚
S

"-2
O
C.F.

Add 3" 3L
1B
0e ä
u‘
Fold
2 n a:
o 2 .2
U)
SeIvaJgL
8
Selva E
3)
3} 154‘:
c
a:
.1
Lengthwise

Add 2"

Wmth of 1/2 Blouse Front

Wndth Of

Fig. 3.
5. Method of measuring for blouse.
FiE-‘L Location of
Fig.4. center front.

17
 &

z #91419? »
. (a) AThe‘ b
" 5 Veiaxiqtt baue of
"
. ' _ on the nxuslin should beßa; the
'
’

i. F‘? FGQEKISÜÄEVWÜhOU‘ 333m 31' «onthe form.

V
’ ' ‘
'- L

‚. '

Ch
L

bei-lt Siuähesbdeep at the Center

(b) 6“’
V _
lwide'meääufe‘d«horizontally from
er from to the neck end of the shoulder seam (C) Waisfline- E353 the C10“! 350V‘? 313513“ P
allow length for slight blousing and ior action.
i},5), „
1 ‚
*

Y. ori the muslin the» necli oval, 4 inches deep

thevcenter from and 21/2 inches wide. measured
.—hofizontally from the ccnter front to the neck end of
the shoulder seam. The 4 inch depth includes a l inch
shqulder seam.
‘

„2. Draw a second line along which to cut. This

- 4

„‚___‚__‚.
should be 1/2 inch above the first line at the Center
from in Order to allow a 1Ainch seam. To allow for
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.
Af
Seam

nur-n: 1M
Fig. 6. Pinning the fabric to the form.
'd th 2 112"
Neck WI i
I shoulder

2. Start draping at the neckline. Smooth the fabric

x

\r
slightly away from the center from and up
toward the
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 fits more
proceed and clip the neckline seam so
smoothly.
Depth
Caution. Overstretching causes an ugly diagonal
Neck wrinkle and looseness at the chest. T00 little streich-
from neckline and
3" ing causes looseness at the Center
chest (see Figures 7 and 8).
3. Smooth the fabric across the chest and pin it
t0

the form 1o support it so (hat the filling threads {Ire ß:

far as the polnl
perpendicular to the Center from as
05 ‘h9 b““-
Fig. 5. Shaping the neck.

18
 BASIC BLOUSES

Fig 7 uver-stretched causes diagonal wrinkle (oto

7. Neckline over-stretched
bust.
the bust.
Fig, 8. Ncckline loose at cCeennt e r front.
Fig.

4. Place another pin pin at the underarnl

underarm to support
the filling threads horizontally all across the bust. Ease
the labric
fabric lon ward to provide looseness at the point of
lorward
the bust.
busl. Fig. 9. Shoulder and waistline darts placed tentatively.
Note. (a) Acquire the habit of pinning the fabric
little as necessary. Do this to gain speed
to the form as liule C e n t e r front from the top to the bottom
toward the center
and l0 hang as it woultl
fabric hang
to let the labric would when being l ) . Figure I0
(see Figure lIl) l0 shows a dart that has been
worn. carelessly placed.
(b) lt is a general rule to pin at right angles to the
edge except when forming a line. When this 1s
edgt: is being
bemg
'

done, place pins head to point on the line.

Forming lhe Shoulder DarfDen‘ (see Figure 9)

l. 'I‘ake up
Take the excess at the shoulder in a dart
clart laid
with its under folded inward toward
'

smoothly edge
Center front. Pin this dart to the form lightly with
the center
one or two pins at and near the shoulder end. Place
’

Figs. 10
l0 and l l . lncorrect and correct
c o r r e c t shoulder dart place-
place—
.- i1
it tentatively at first so that you can experiment with ment. Note that in Fig.
Fig. l0, the dart line wavers and curls
both its size and its position.
’ toward the neck, whereas Fig. ll shows the normal shoulder
2. Pin the rentaining dart position.
rennaininlg excess under the bust into a
tentative waistline dart. judge the size of each dart,
z Note. Since the direction of the dart changes some-
and if desirable, shift the [abric to divide the excess
‘ what with fashion, you should not consider the above
more suitably between the two. The size of the bust
statement a. a hard and fast rule. Your feeling for con-
will, of course, determine the size of the darts, and the
t o u r will help you place this line to
. position of the bust, low, may make it neces-
bust‚ high or low‚ emphasize the
v. fashion silhouette desired. In the l920's the line ran
' sary to shift Lhe
Order t0
the excess lrom
from one dart to the other in
to keep the crosswise grain at the bust line paral-
_lel to the lloor.
practically parallel to the center
Center front (see Figure l3).
Throughout the l940’s it was fashionable to emphasize
broad shoulders and a slender waistline
3. Pin
Pin the shoulder dart accurately but leave the by Starting
’ the clart
dart slightly farther o u t from the neck at the
waistline
waistline dart pinned in the approximate size.
'

shoulder and pointing somewhat more sharply inward

(a) Decide on the best position for the shoulder tomxrd the center front (see Figure 12) . But in
toward
spite
7

‘dart. The normal line is from the center of the

Ädart. of fashion, the direction varies so little that
ol (hat the dart
shoulder to the point of the bust and slants slightly
sshotllder always points toward the Center of the bust.bust.

19
 DRESS D ESIGN’

(c) Slip the fingers 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 fitting 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
dnmmgmc

toward the back. lt should appear to be directly on

not be visible from
top of thc shoulder and should
„.__‚_n‚

either the direct front or back when viewed at the

Figs. l2 and l3. lnfluence of fashion silhouette on dart
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 first. Fold
on this line, sliding the excess toward the Center under
the folded edge. Pin frequently, placing pins perpen-
dicular to the folded edge.
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 mini-
mize the defect; (b) For a large bust (see Figure l7),
move the outer point of the shoulder line slightly for-
ward 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
taut along the shoulder line so that it bridges over
the
hollow in front of the shoulder.

im" threc dif-

Figs. l5. l6, and I7. Shnuldcr scnm positinn
Normal nf shouldcr senm.
fcrent figures. Fig. l5. positinn
shoulders. move sczun bark zu nulcr end.
in- Fig. l6. For round
accuratcly pinncd (dottcd lines m
Fig l4 Shouldcr
(lan busl. mnvc scnm furwnrd u n t e r (‘Hd-
on the grain). Fig. l7. For largc
dicate the cflcct o! thc dar:
20
 BASIC BLOUSES

width. Although shoulder widths vary, {ew slloulfler

few
scalns should measure
inchcs. lt 1s wnse,
measurc less than 5 inches. w1se‚

however, to nxcasure the

t0 mcusurc shoulder length ol
of your own
lavorite dress or suil
lavorile suit and gauge the
Lhe width accordingly.
the tip
2. The narrowest poim of the chcst. From
point
the shoulder, thc armscye line curves slightly inward
of lhc
Loward thc center front
the CCIIIEI‘ until it
[ m m umil iL reaches the deepest
deepesl
ol
of the curve a: the chest. T0 find this [bis point,
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
The
Thc inward {hat the line appears t0
curve is so slight that
folded loward righl side.
Fig. l8. Shouldcr seam loldcd
be almost straight when on the figure. If you adjust
fold-linle with the thumbnail and
the fold-line
2. Crease thc this curve so (hat it is practically parallel t0 the
form, being careful stretch the
t0 slrctch
carelul not to shouldcr da11
shouldcl‘ (lau line, Lhe
Lhc two harmonize.
[ w o lines will harmonize.
pin it t0 the lorm,
bias lold.
fold.
the excess, allowing Il inch lor the
Cut away lhe
3. Cul
seam.
4. Tum s e a n ) allowance under to lhe
Turn the seam the wrong
side (sec
(see Figure l9)
Figurc I9) und
and pin the
lhe turned fold
lold perpen-
lhe edge. Pin
dicular to thc Pin t0
to the form at the ends
lorm only aL
as all pins must latcr
of the seam, a5 later be removed
TCHIOVCLl t0 slip
the back shoulder seam lorward under lhe the front.

i/
4
ä*4
4
/ä
4ä
ä‘i,77
7»

_'
l

Fig. l9. Shouklcr

Shouldcr scam lolded
(olded under and pinnlad.
pinnled.
Fig. 20. Armscye curve.
b

VFarming fhe Armscye Curve [see

(see Figure 20)
' —
Caution. Do not stretch the fabric across the chest
- chesl
Three Poims serve as gguides
poims uide s m
''
in lormmg
lorming a good arm- when estabhshlng
establishing the
lhe line.
lme,
armscye
»

scye curve. (The terms armstye

armstve and armhole are 3.
S. Depth
Depth of the underarm curve. From the pin pin a:
synonymous.) the narrowest point of the chest, chest ‚ curve the line out-
out.
l. The tip of the shoulder' which should be the ward in a smooth arc toward the underarm.
LlThe lip of‘the ‘shoulder, underarm.
Starting
non ol
tion 'Ih_e line normally starts at
pomt. The
‘gamma’ Poim. lme a: the junc- Ward
linine
fnme
i;e:
(h? depth of
t
-
the underarm by measuring down
Lhe
-
Deter.
Dezer-
of the plane ol the shoulder and the plane of the
a <.)l'
t

’ m
1n a stranght(tllepth
' '
‘.a n "
‘_ strang t verucal lme lrom the up tip oi the shoulder
shoumer
(see Chapter Il ) . lf shoulders broader than nor- a di": s '
of 7 to 71/2 inches.
(Set: Cllaptfr mches.
<

sholxlders fhstaace
arlce Then
'Ihen square out from
a"? are
ma
mal m lashlon,
in lashion, move this point out the desired
[llls poinl tthxs
i? poxnt to the underarm
h_1s pomt underarm seam um;
 DRESS DESIGN

4. Armscye curve. Cut, allowing a 1Ato 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.
Placing {h0 Waisfline Der}
Before finally pinning the waistline dart‚ examine
waistline and should curve ever so little inordeVi
enter the waistline at a right angle (see Figur: 23) .Ä.
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,
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 figure is slendcr, the dar!
usually starts at a point about 25/4 inches from the
center front and slants away from the center front

the blouse around the armscye, especially toward the about 1/‘, inch at its top end. If the figure is very
underarm. lf the fabric tends to gap at the side front heavy, the panel may be as wide as 31/2 inches at the
of the armscye (see Figure 21) deepen the waistline waistline.
dart.
l. Push the muslin with the flat of the hand down-
ward and forward toward the Center from to fit 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.

Placing fhe Underarm Seam (see Figure 24)

l. The line of the underarm seam should {all at the
if the grain is raised t o o high center of the figure from the underarm to the waist.
Fig. 21. The armscye may gap
a: the underarm. Place it so [hat it is inconspicuous from either the back
in Fig. 2| may be corrected by or the front view. ()n the average figure, it slants
Fig. 22. The fault shown
tlle excess into the waistline slightly lorwarcl, because the center ol the body at the
lowering the gmin and pushing
dart armpit is usually slightly farther back Khan il is at
the waistline. This is even t r u e ol a Standard dress
2 Clip the extension below the waistline to make lorm undcrarm line. ll your posturc is poor and you
the waistline fit closely. carry your shoulders either vcry lar back or very lar
5 Smooth any excess ease along the
Waistline lorward, makc any Ilcccssary adjustment in the total
toward the tcntatively pinncd dart. undcrarn) line ulong the umleraml scanl line of the
lt blousc. The arm will hang over this soction and will
4 Determine thc dart dircction and placement.
ccnter as it approaches thc conccal cllectivcly any C()l‘l‘C(‘ll()I1 due t0 lnulty posture.
should slam toward the
22
 BASIC BLOUSES

lhe best location on fOFm

an (h6 fOTm WAIST BACK
Before draping mark the
( w o pins: one at the under the and (h6
. with
„im two top
lop firm
arm
i

other
ogher at
a1 the center
C e n t e r position
poslllon on lhe
the waistllfle.
wvalstllne. Esfimafing fhe Fabric (see Figure 25)
Esfimafing
anrount of cloth needed for the back
lhC amoum
Estimalc the
Estinnate bafk
2, Stand directly at the side of the form
2. and fold
{Old
dld for the fronl.
front. expect l0
t0
the fabric along the line thus established.
eslablished. Turn
Tu r n the of the waist as you
the back
l'fm you
Ilf two
sidc.
side. Leave no horizontal fit the blouse‚
blouse, however, c u t separate
excess forward over the right eut
line outward to al-
slam the Iine pieces, allowing for a 1/2 mch lap a! the Center-
1/1 mch Center.
ease at the waistline but slant
I
l inch of ease
case over the bust at thc top of the
aL the
2

2%
low 5/,
Iow to P
L-
_.’r
_.’/
I

underarm seam. This excess forms a small vertical fold a

z

from of the armscye when the arm is 1s down and

in front fmd
.
supplies ease for chest expansion and for body acuon.
3. Crease the fabric without stretching it and pin
perpentlicular to the edge, but not into the dress
’

i; perpendicular 3"
foml.
form.
plus

Measurement

Len
mifih

„e
Measurement plus 3"
hest Measurement
Chest
H2" Lap at Center Back
1!2"Lap
back.
estimate for half of the blouse back.
Fig. 25. Fabric eszimatc
Fig. 24. Underarm seam.
Shaping the
fhe Neckline
Neclzline (see Fiqure
Figure 26)
4. Cut, allowing a 11/2 to 2 inch seam. The wide For a size l6,
1G, the back neckline without a seam al-
>

seam allowance provides for correcting errors and for lowance is 1/4,
1/2 inch deep at the C inchcs
e n t e r and 21/2 inches
center
let-out when fitting.
Iet-out wide at the shoulder seam.
5. Turn the seam
seaun allowance under to the wrong

-’
V
side
sxde on the creased line and re-pin it.
6. Before finally pinning the fabric to the waistline
of the form, push the material upward
Seam

’
upward above the waist-
line from the dart to the sidc
side seam. The slight blous- Shoulder
Ar
1r-
‚ ing lengthens the underarm seam

LTaising
‘

raising the arm easily (see Figure 24).

enough to permit
L2\ ‚ Q fi
- Note. To
Nore.
T0 acquire
acquirö speed and deftness in draping
' 1leichnique.
r.
lgchrrlque,
p mmng
pmnmg
do
darts,
not attach the fabric to the form when
the armscye line‚
line, or the underarm
line except at the lower end.
2563m lme
Vseam C.B. Lap
_ Leave the front of the blouse on the form and pro-
'

äteed with the back.

xteed Fig. 26. Back neckline shapc.
shape.
23
 '

(a)
_ _ hefeis now ‚a l/g incl: seam allowance
theftxeck, a "l vinch shoulder seam. and a 1/:
1ny’a;1;‚‘j„;ig‚g ;/.%{Ae„ ‘g/gfinch_ve_azsq—'
shoulder sfääni’ (see Eigürej27) '.
j - a

iii wce-nter back _lap.

line (see Figure 28).
a
(b). By pläcing small" dartQätA thne back oi 5
f r
>

“ ‘

-
1.: Fabric on fhe Form (see Figure 27)
l. Fold under 2nd crease the 1/2 inch cemer back
(c) By placing a small dart at the CehtEr‘
shoulder seam (see Figure 29) .
*

lap allowance.
2. Pin the fahric along the Center back am: (a) the
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 filling
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: tenla-
tively placed.

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 figure with flat. erect
[

shoulders, however, may need only the ease along the

back shoulder of the pattern.
2. Shoulder easaThe amount of shoulder ease pos-
sible depends on the Hexibility and shrinking qual-
ity of the fabric. To keep the filling 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
rises slightly at arm- dart, latcr to be cased across the shoulder when the
l-‘ig 27. Fabric placement (crossgrain back is joined to the front. By kecpixlg the filling
xye)’ n n
of shouldcr ease. threads horizontal around thc underarm, you avoid ‚g
Pi‘, 28, Neck dar: plus 1/, 4A;
 BASIC BLOUSES

which sometinxes ocCurs at the lower Curve

sometinles oCCurs CUFVC
tematively 21/2 t0
waistline dart tentatively
5. Place the waistllne t0’ 3
the gapping whiclr inChes lrom the Center baCk
lnches from back at the waistline (see Fig- Flg-
of the backbaCk armscye.
ure 29). This is the main dart in the baCk back of
dart 11i at the
the
3_ lf you also use method (b) place a
3, blouse. Push the exCess materlal under the dart llne
excess material lme
neckline
neCkline 28), and place it
back of the (see Figure and point it toward the Center of the shouldenor shoulderor
when pinning the neckline to the form. lorm. The woman
toward the shoulder dart if there is one. lf the warst-
bone
häving an more mature figure with a prominent her
having line dart tends to point too lar far outward toward tlle the
at the top ol the spinc, or the girl who Carries this indicates that the Crosswtse
Crosswlse
tip
tlp of the shoulder,
head lorward, will find this the better dart position. grain has been raisedraised too high at the outer tip of the
e n t e r back
Place it from 11/2 to 2 inches from the CCenter shoulder. To Correct this, lower the grain at the end
of the neckline. lt should not be than to
21/2 t0
longer ol" the shoulder until the waistline dart points toward
ol’
3 inches and should be almost parallel to the Center
lt is about 1/2 inch
inCh
the C e n t e r of the shoulder, or until it
outward not more than 1A
back, slanting (xutward inch at its
M inCh the than a:
at
farther lrom
from the Center
C e n t e r back line at point
lower end. Fold the dart undcr under toward the Center C e n t e r back
the lower end.
perpendicular to the
and pin it perpcndicular thc edge.
4. lfll in addition to
l0 shoulder ease you use methodmethod Placing fhe Shoulder Seam Line (see Figure 30)
(c) instcad
instead of
ol (b), that
(hat is, a dart at the shoulder l. Smooth the fabric
1. neCkline and
fabriC along the neckline
seam (see Figure 29), this may be placed in line with excess back over the right side,
lold the exCess
then fold
shoulder, thcn
lront dart, since both
the front both should start at about the ol" the fold flush against the edge of the
with the edge of
middle of the shoulder (see Figure 30) . The dart line lront shoulder seam.
front
'

should appear to be almost parallel to the C e n t e r back, 2. Crease and Cut, allowing a l inch seam.
aCtual measurement it should slope toward the
but by actuul
Center back slightly a1 at its lower end, end. Keep the filling Unpln and turn the back seam allowance for-
3. Unpin
threads horizontal at the lower armscye and swing swlng the ward, lapping the front edge of the shoulder seam
_ excess above this up and inward to lorm form the dart at over it.
lt.
the shoulder line. Fold the fabric under toward the 4. Keep the fabric t a u t along the front shoulder
Center backbaCk and pin it perpendicular to the edge. line so that the blouse when tried on will bridge over
Note. Before establishing the shoulder seam line, the hollow in front of
ol the shoulder seam.
check the ease over the shoulder blades. lf If the fabric 5. Stand directly at the side of
ol the form while pin-
clings
Clings to the form too closely,
Closely, lower the filling threads ning this seam. Pin first the neck end, then the outer
little from the outer end ol
a llttle of the shoulder seam line. point. Then, leaving the ease along the back shoulder
point.
seam plnned
pinned in, finish pinning
plnning the shoulder seam,

#5
placing the pins perpendicular to the edge.
Note. The shoulder seam should appear to be a
‘The ehoulder
lme. Overhandling of the bias while
straight line.
t r u e strarght
pinning may make it curve. Curve. This effect should be

9k
avoided.
fhe Armscye Curve (see Figure 3|)
Forming the
Two points of the back armscye Curve have already
been determined by the bloüse front—the shoulder
point and the armscye
annscye depth. Only one point i5 „n.
known, the point of the Curve where the back is nar-
rowest.
1. Start the line at the shoulder
l.
tip and form a
smooth continuation
Continuation of
ol’ the front armscye Curve Plac
Plac-
"u
Fig. 30. shoulder seam turned back ready to be cut. n g the pins head to point, curve
Iing Curve the line slightly
Fig. 3|. Armscye curve- upper dotted line indicates the
narrowest point of the curve. 4 inches below center back of
'
neck.
inward towaxd the Center back line as it goes down
toward the shoulder blades.
2. Find the narrowest point of the back by measur-
ing down on the Center back line 4 inches (or one-
Iourth the length of the blouse at the center back)
and saquam out at this level across to the armscye. Con-
tinue the curve from this point outward to the under-
arm, where it meets the lower end of the front armscyc
curve.
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 Waisfline 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
{arm good panel spacing. lt should taper
in toward
the Center back at the waistline and should slant
out-
end. lt should be
ward about '/2 inch at the top
26
—
Fig. 32. Finishcd blouse hand pressed agajnst fomx t L
looseness around bust. Vertical folds form on each side
underann.
stopped before it reaches the shoulder blades or
blouse will fit 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.
4. Clip the extension below the waistline in Order
f
to fit the waistline closely.
Placing fhe Underarm Seam (see Figure 32)
l. Fold the excess fabric on the blouse back over Ä
toward the right side. Leave no ease at the waistline f
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.
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 finally anchoring the fabric to the waist-
line 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.
Note. To avoid pinning into the form, slip your
hand inside the blouse when pinning the underarm
seam.
 BASIC BLOUSES

The Final Checking

THE BLOUSE ON THE FORM
front and Belore removing the blouse fromlrorn the
thc form,
lorm, study
blouse. the lront
The two basic sections of the blouse,
but certain
Certain Figures 32 and 33. Then stand away frorn the lorm
away
lrom
luorm
back, are now essentially Cornplete,
the back, complete,
cheCk
check the
rnade before the blouse is and view your draping to
t0 lollowing pomts:
lollowmg
must still be made
adjustments
adjustrnents lrom all
lorm and a master pattern is made 0L" the entire blouse from
I. The general effect of
removed lrom the form l.
{rom it.
from il. angles.
2. The direction of all darts. These should slaint
slant
Ease Around fhe Busf (see Figure 32) in toward the center
Center from the shoulder to the waist-
wa1st<
Press your fingertips against the draped blouse on line.
the underarm seam to determine whether or not there ol the lines of shoulder and
straightness of
3. The stralghtness
is enough ease around the blouse at the bust level. underarm seams.
A beginner tends to fit t o o closely. When you press
folds should
two vertical {olds 4. Ease through the bust. (This should l)e be about
your fingers against the form, front the
form, one in lront
front and one in back.
back, in line with the 11/1 inches from
11/2 the center
C e n t e r to center
Center back.)
narrowest point of the armscye. Lack of ease around 5. Ease in length above the waistline to allow for
the bust makes the fabric draw and form diagonal blousing and reaching.
reaching.
folds from the bust to the underarm.
6. The shape of the armscye oval from the side
view.
Placing fhe Waisfline (see Figure 32)
follow-
l. Place a line of pins along the waistline f0ll0w— Compare your blouse with
7. Finally, you should compare
the lorrn
form cover. Check to see the illustrations.
ing the line marked
ntarked on
that there is adequate length for blousing above the
waistline.
MAKING A MASTER PATTERN FROM
Trim the scum
2. 'l‘rim uraistline to
seam allowance below the waistline THE DRAPED BLOUSE
2 inches. (See The IDress
) r e s s Form Cover, Chapter 1,
l, page
7, for the standartl uvaistline placement.)
standard waistline The next steps in the procedure are to remove the
blouse from the form to true it, and to transfer it t0
t r u e it‚ to
Forming fhe Neckline Curve (see Figure 32)
Farming the opposite half.
continuous line of pins along the
Place a smooth Continuous
follotving the line established on the dress
neckline following Removing fhe
Removlng ‘lhe Blouse from fhe Form (see Figure 34)
cover. (See The Dress Form Cover, Chapter l,
form Cover. 1. Take
l. 'I‘ake out the pins at the Center
C e n t e r front and Center
page 6, for the basic neckline placement.) back‚ and wherever they have caught
baCk‚ Caught into the form.
Leave the shoulder and underarm seams, darts, neck-
line, armscye, and waistline pinned.
2. Mark all important lines. Use a soft pencil when
with practice
praclice material and colored thread
n/orking
nrorking
lmes or
dressmaker's chalk
dressmakefis Chalk when using dress fabric.
Before truemg the pattern,
fabric,
pattern‚ mark with a broken line
and not too heavily the following lines:
Both edges of all seams‚
(a) Both seams, with crossmarks
Crossmarks to
match Correspondmg
correspondmg edges. Crossmarks, sometimes
also called
Called balance points, are equivalent to
[o notches
on commercial patterns. There should be a cross- Cross-
marking at either end of ease and at either side of a. a,
Finishcd blouse. front view.
Fig. 53. Finished dart.

27
 = ’Nöck1ihe {anarshouid-aer 3111.5’.
«-?"(a)

(b) Shgulqer dar: atrgcLshouVlgg; ggggn,__ A_

-
(c) Shouldet seam and armscye; (lif die
angle of the intersectiön will bc Slightly Test
degrees on the front and slightly more 011 the=
(d) Armscye and underarm seam.
(e) Underarm and waistline.
‘IUf (f) Waistline and each edge of the waistline d
‘

(g) Waistline and Center front.

Fig.34. Blouse pattern aher removal from the form-

scatns marked and a-ossmarked.

(b) Both edges of darts.

and waistline.
(c) The arm curve, neck curve,

Trueing fhe Paflern (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
aid of a curve or smoothed up freehand.
Fig. 35. Method of trueing panern.
I}. Remove all pins from thc pencil-marked pattern.
"2 5111003‘ ‘h3 Pawem m“ H“ °" m‘ ‘üble’ 5. True up thc following curves either freehand or .
with a curved ruler:
V3 Pressing a ruler down firmly against the cloth on
'

fehle, wie m‘! 0W":‘Olmwins 15'169“ maifihw" (a) The neckline. This should enter the shoulder
seam and the center Iront at a right angle. The curve
'
L

should be close to thc neck at the side.

*
" '

underarm scam.
28
 BASIC BLOUSES

front, this has its narrow-

(b) The annscye. In
ln the lront,
inches down below the base ol
est point 3 inchcs
c5:
of the neck
neCk
front.
e n t e r lront. In the back,
back, the nar-
measured on the CCenter
rowest point is 4 inches below the neckline measured
on the Center baCk. The line Curves toward the
Center

front or back from the shoulder tip to

t0 the level of the
fronl
from
from the Center fronl the Chest
Chest‚ and Curves away lrom
Chest
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
the Center front
lront and e n t e r back,
Center
C
pattern edges except Selvage

as follows: Selvage
o:
u:

(a) Neck curve

— 1/2 inCh,
inch, Clipped.
.1’i’
3
z‚...
r:

(b) Shoulder
—
Shoulder— l inch, Clipped near the neck end.
DB
n0
c
zu

(C) Armscye
(C)
—
——
2%,
inch lower half.
ß inCh
inch top half; 1/2
5%inCh
.1
.4

(d) Underarm ——2 inches.

(e)
—2 inChes‚
Waistline——
Waistline inches, clipped.
Clipped.

Transferring fhe
the Pafiern fo fhe Opposife Half
PaHern ‘lo
l. Smooth the pattern out with a warm dry iron. Fig. 36. Method of folding on C e n t e r front and of trans-
Center
Press Carefully in the direction of the grain to avoid ferring markings to opposite half of pattern by a tracing
stretching. Carbon papcr.
wheel used on carbon

2. Fold the pattern along the Center front line and
smooth the fabric
fabriC Hat on a table t0 to be sure that the
filling threads run perpendicular to the lengthwise
threads. Pin the two layers together.
3. Transfer all markings to the opposite half of the
pattern with a tracing wheel used on either Chalk chalk
board or colored carbonCarbon paper. Trace against a ruler
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 side in order to mark the
to the right sidc
right as well as the wrong side. This is for Convenience
when fitting and is done only on muslin proof-a proof—a
muslin pattern that is to be basted and tried on to
show (hat
that it fits.
Note. This procedure of trueing should be followed
with all master patterns. Laying the pattern flat on
the table
lable and trueing it teaches you to observe pattern
shapes in detail. The procedure for preparing a master
{or a fitting can be found in Chapter 5 .
pattern for
Problem 2
DRAPING THE BLOUSE WITH A HORIZONTAL
UNDERARM DART
The procedure for draping a blouse with a horizon-
tal underarm dart is in many respects a repetition of
lt is therefore advisable to review thor-
Problem l.1. It [hor-
oughly the directions for Problem l before starting
Starting
Problem 2.
An underarm dart may be substituted for a shoulder
dart, but is most suitable for the loosely fitting blouse
shown in Figure 414| or for a supplementary fitting dart,
because if as much
muCh excess is fitted 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
 V _ ‘ihn’ .

-
Piti’ a3. in Pro
and waistline.
A
v1 es _._{-‚._n.i , f
b!
‚
V

. 2. Pin "a: the Chest neaxy": die armscgp. Thgs ‚m‘?

threads should be‘ level across the chest.
3. Pin around the neck as ü:Problem l.
allowed to run to point of bust,
Placing ihe Shoulder Seam Line
pofiible only -folf
block pattern.
_. _ l. Stand directly at the side of the dress fotm an
m “um” “W53 .P*m°'_‘1: b“ i5 m05‘ unbecoming
in a blouse that is to bewom. Only when it is used
fold the excess fabric above the shoulder forwardftd
V
{arm [he shoulder „ a m um;
I o t a looselyvfitted blouse is it possible to make the
2. Pin und crease lightly to avoid stretching the bias
dar: enough smaller and shorter so that i: will disap- L

peär atjthc front o! the armscye line and be concealed

b, {im 3 , 1 m 111e ‚emamder „f ‘h3 excess cm be Put
fold
_ _
Cut‚ leavmg a I mch s"eam allowance, and fold
imo a waistline dar: or can be worked into ease along thls under-
the WIiSÜiIIC. ThC underarm darl C 3 D b6 successfully 4_ Rgpin’ fastening the fabric sccurgly [o [he fofm
used as a concealed fitting dart but never as an orna- a; each end of (h3 shoulder „ a , “
mental one. Figure 4| shows the finished blouse wilh
thc underarm dart shortened and concealed by the Fwmmg m, Armscye Cun,
deeve‘ Proceed as in Problem 1.
?

.4
’
da and underarm
314mg, anno: be
daru ( m
i
Compau Iines show comparative
m‘ 33.
shonened
m bust
without
distances of shoul-
point. Undcrarm dart.
being divided into Fig. 39. Underarm (‘lan shortened to disappear at front of
z? armscye.
f gyqor more smaller dam.
30
 BASIC BLOUSES

Placing fhe Underarm Darf (see Figures

37 and 39) Waislline Darf
Placing fhe Waisfline
the excess is now ata! the waistline edge of the l. Decide on the location as in Problem 1. l.
All lhe
that it is impossible
demonslrated (hat
Problem l demonstrated accurately, but save some of the
excess for
pattern. Problem
paIterII. 2. Pin accuratcly,
entire
to take up the emire basic dart in one place and still
gathers along the waistline. Distnbute
Distrlbute tbe gathers
it out smoothly. lt is even more obvious (hat an evenly by picking up tiny pin
tucks (see Flgure 40).
taper
underarm dart cannot take up all the excess and that (hat
between the underarm and a sup-
musl be divided betwcen
it must Placing fhe Underarm Searn
Seam
dar: or galhers along the waistline (see
plementary dart the fabric downward and forward under
I. Smooth Lhe
l.
Figures 37 and 39). the arm and pin it lt at the side on the waistline.
{hat the filling threads drop downward
Notice that
toward the underarm seam below the pin at the chest Tu r n the fabric forward over the right side and
2. Turn
on the armscye and above the underarm dart dar: (Figure proceed as in Problem l.
37).
WAIST BACK
Fold in a dart about I inch below the armscye
l. Fold
1.
and direct it toward the point of the bust. With this waist front use the back pattern
pauern draped
in Problem l, but since the front has ease for blousing
2. Turn the fold upward and pin it tentatively to lhe back waist-
waist—
t0 taper to a along the waistline, distribute part of the
whether or not it is small enough to
see whether t0 unify the
into gathers along the waistline to
line dart inlo
poim
point in line with the front of the armscye (see Figure back and front designs. Figure 41 shows all of the
39).
put into gathers.
excess on the waistline pur
3. Take up the remaining excess in a waistline dart For the method o! darl into two or
of dividing one dart
Problem l. This will be larger than the waist-
as in Problem more parallel darts, see Figures 42 and 43.
line dart in Problem l unless part parl of the fullness is
distributed along thelhe waistline into gathers.
4. Pin the underarm dart perpendicular t0 the
caper ltit out in line with
edge. lf it is impossible to taper
into two or three smaller
front, divide it imo
the armscye from,
[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.
Flg.43. Procedure
Fig.43. Proccdure for dividing a dart into two or more
Slcp 2.
parallel darts: Step

Problem 3
DRAPING A FRENCH DART BOD|CE

40. Underarm darts

'
Fig.
FigAO.
excess
dividcd and shortened, part of
dans divided
Tbe French dart ‘(see
Tlre (see Figure 44) is formed by the
.
put into waistline gathers. meeung of the
meetmg tlre vertical
verucal shoulder and waistline darts.
41. Underarm dart concealed by sleeve. Waistline ex-
Fig. 4|. The is
pzrttern therefore in two parts, a Center pancl
1s
ccss put into
Cess imo blousing. palttern
and a slde
panel
sude section. It lt is used for tight
evening bodices
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 figure. 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
Fig. 44. Variation of French dart bodice. reduce the apparent bust size. Figure 46 shows poor
panel spacing. The line curves in toward the neck at
and is also preferred by some designers as a founda- the top and is too far from the center at the bust.
tion pattem. When fitted with ease‚ it also makes a l. Fold under a half-inch tuck to establish a satis-
basic pattern for tailored garments and is a fertile factory French dart line (see Figure 45).
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
mch below
base of the neck in the fabric (marked 1/2 Fig. 45. Formation of French dart line by folding a tuck.
the cut neck line) at the base of the neck
as marked
on the form. 2. Place pins through the two upper layers of the
the muslin only and at right angles to the edge of the tuck.
2. Pin the labric a1: (a) the neckline, (b)
chest, and (c) the waistline, easing
it a little above 3. Tu r n the edge of the tpck back toward the center
the last pin. front in order to c u t off the seam allowance beyond the
to anchor the [olded edge. Allow M;to 3/, inch for the seam.
3. Place a fourth pin at the chest
fabric to the form and to support
the filling threads 4. Clip the seam over the bust. The pins hold the
so that they are level. tuck in position and at the same time turn under the
neckline. Smooth seam allowance t0 the wrong side.
4 Clip the seam above the basic
as in Problem l. Note. To unter the shoulder at n right angle. the
the labric around the neck exactly
curves slightly outward.
threads, pin the lop of the Hench tlart line
5 In order to support the filling ll it did not, it would appcar to curl in toward the
near the neckline.
fabric to the form at the shoulder
32
 BASIC BLOUSES
inorc ease
lront panel, the more
(unter front
toward the Center there
betweexi bust and shoulder.
will be betwccn ll
lf you overdo
ovcrdo this‚
this,
o o much m
blouse ttoo
however, you will tighten the
howevcr,
front ol" the armscye.
lront
t0 the form near the shoulder.
labric to
3. Pin the fabric
4. Fold the fabriclabric back on itself along the French
dart line with the edge ol" ol’ the side section just touch-
C e n t e r front panel. Pin it perpen-
ing the edge of the Center
dicular to t0 the edge.

5. Cut, leaving a Il inch seam to allow for any ad-

justment which may be neCessary necessary when you pln pin the
front panel to the side seCtion.
C e n t e r lront section.
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.
"fapeline showing poor line formation.
Fig. 46. Tapcline
The narrower the center
C e n t e r lront
front panel is, the more ver-
neCk a: it goes over the shoulder, as in Figure 46.
neck as tical ease there should be over the bust on the side
French dart line also enters the waistline
The normal French front section. A small amount of horizontal ease
Curves slightly away from Center
at a right angle and curves should also be allowed over the bust Curve.curve.
front
from in order to do so.

SIDE FRONT SECTION

fhe Form (see Figure 47)

Placing fhe Fabric on lhe
fabriC on the form with the lengthwise
l. Place the labric
l,
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 allow-
ance as well. There also should be at least a l inch
seam allowance above the shoulder.
2. Pin
Pin the vertical center
Center grain line to the form at Fig. 47. Side front
lront seCtion-grain
section-grain perpendicular to waist-
the bust level and again at the waistline as shown in line up to armscye and then forced forward chest.
{orward at Chest.

Figure 47. 6. Crease the turned line lightly with the thumb-
nail, unpin, and slip the seam allowance on the side
nail‚ unpin,
Placing fhe French Darf Line (see Figure 47) section forward under the Center
center front panel. Then
1.
l. Smooth the fabric forward and upward against re-pin to join the two sections. Starting at the top,
top‚
the edge of the center
Center front section. pin down toward the bust; then from the waistline,
waistline‚
ptn
2. Smooth the lengthwise grain above the bust line pm up to the bust. This forCes
forces the ease over the bust
curve (see Figure 48).
tovrard the side front seam enough to force the ma-
tovtard
terial to cling around the armscye.
amiscye. The more you 7. Clip the excess below the waistline to fit the
direct the lengthwise grain above the bustline inward
inward bodice very Closcly
closely around the waist.

53

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 figure 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 fit somewhat more closely
around the bust.
Placing the Waisfline
l. Clip the fabric below the waistllne at the Center
of the side from section so that it fits 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 underarmallow extra length be-
upward above the waistline the arm
to
low the armscye for raising (see Figure 48).
2. Mark the fabric with a line of pins following
the waistline indicated on the form.
34
‚.39.
Esfimafingv fhö 55555:. Seelflwieiigesflfiiäfäitfo
Shaping fheiNeclxlinoe. See the ollflio Ei‚
Placing fhe Fabric an fhe Form. ‘See fho cenfer froqfpä‘
Farming the French Darf Line
A
l. The French dart line in the back of the
is a continuation of the side front line. It shouhfl
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 shouü q
a good position for the back French dart line.
2. Study the slope of the line to find the most be-_
coming position over the shoulder blades. If you
i
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
the from French dar: line.
‘a
Fig. 49. joining of center and side back: (l) Well placed
French dart line a: back (compare with Fig. 50): (2) AI‘-
rows show grain position; (3) Pins close together show p0-
sition of ease.
Fig. 50. Poor French dar: line. An exaggerated curve
em-
round shoulder: and narrows the back across the
phasizcs
shoulder bladcs.
.
.a.„ue.‚_„«‚-;
 BASIC BLOUSES

Observe the entire bodice to sec {hat that Lhe

the garment
SIDE BACK SECTlON
SECT|ON
Ohserve garmenl
fils closely
fits zu the necklitxc,
neckline, thc
the shoulder seam
scam line, and
lme,
waistline. Although thc French
the waistlitne. dar: bodice
Frcnch dart
‘rhe side
direclion for fhe fits
Placing fhe Fabric on fhe Form. See direcfion ol’ the
eithcr ol" two blouscs
blouses earlier dis-
dlS-
fronf. closcly than either
more closely
lhere should still bc 2 to 3 inches of ease
cussed, there
around Lhc thc cntlre bunt lor action and breathing and
emire bust
fhe French Darf Seam Line (see Figure 49)
Forming the
to avoid horizontal wrinkles around the bust when
1. Smooth the fabric toward the Center back and
I. the blouse is worn. lt is better t0 thc side of
to err on the
up against the edge of the Center back panel. little ease around the bust.
rather than too liltle
much rathcr
too much
2. Force the lengthwise grain above the shoulder Crossmark the French dart lines in front lront and back
blades inward enough to 1o keep the fabric smooth 1o distribute the ease over
to the bust and shoulder
around the armscye. Round shoulders need this more blades.
overdone‚ the
than Hat ones, but if the lorcing is overdone,
roundness will be exaggerated. Rather than overfit fhe Paflern (see Figure 5|)
Marking and Trueing +he
t0 take up the
shoulders‚ use shoulder pads to
round shoulders,
l.Remove the pattern from the form.
Renmve
excess.
Pencil all seam lines.
2. Pencil
[0 lines.
Pin Lhc
3. Pin t0 the form near the
Lhe side back section to
shoulder. Crossmark (a) Lhe
3. Crossntark seam, (b) the
the shoulder seam,
ease‚ (c) the
dar: line above and below the ease,
French dart
fahric back on itself along the French
4. Fold the fabric
underarnl seam.
underarm
seam line and follow the directions for pinning,
dart seatn
front French dart
creasing, cutting, and repinning the {ront paltern, ruling all straight lines and
4. True the pattern,
for clipping the extension below the waist«
line and lor waist- lreehand.
smoothing all curves freehand.
line. 5l shows the shape of
Figure 5! ol the French dart bodice
pauern
pattem when it is Hat. Nolice
Notice the ease over the bust

.
fhe Shoulder Seam Line
Placing ‘lhe section.
in the side front seclion.

‚
Follow the directions cslablishing the shoulder
direclions for cstablishing
. seam givcn
given in Problem l.

Farming fhe
Farming +he Armscye Curve
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.

1
2. Check the contour
comour of the
lhe blouse arountl
around the bust. o
...
‚E
‘U
G

shoulder blade, and armscye while formlng

forming this line. ._8
G)
ttladg, s.5c gg
_ Lap the SldC
‚ side lront over the back. Sometimes raising ‘i’
n C
.1:
0<9 ‘ü;
_ or lowering the crosswise grain of the front or back
'62:
G) C

_‚along the side seam lme

lhe snde line improves the lines of the .92
.1’
3g
3w
_l

A; blouse. ä
‘ä
C
<
1U
Ü
.1
..|

l’Placing fhe Waisfline

Before marking the waistline, raise the side back
‘Before J w
to allow enough length below the
‚ Sllghtly 1o
»bslightly
(hat the arm can be raised
Vfthat easily.
armscye so
French dar:
Fig.5l. French dart bodice pattern,
panem_

35
 2. Letthe, fabric drop from eihe-cliplfped. ‘i’;
I?! ‘s K131i? ‘EENGIH_ FRENCH DART JACKET establish the Frenchedart line from-the )

hip. The line should slant outward slightly

a.popjllalestandarvxi pattem for jackets
and ‚from the Center front) from the waist to the lügt
.

mit; and offei-smany poäsibilities for Variation in de- Figure 52).

e

. - i -.

sign "(see Chapter ‘7)‘..

SIDE PANEL—FRONT OR BACK

PANEL-AFRONT OR BACK
Esfimafing 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
Draping from shoulder fo Waisfline
Follow all the directions for the waist length Freud}
dar: blouse from shoulder to waistline except
for establishing the waistline.
Draping from Waisfline fo Lower Edge (see Figure 53) „

waist. l. Clip through the seam allowance on boflr the

underarm and the French dart seams from a point l 4 ,
Draping from shoulder fo Waisfline inch above the waistline downward diagonally to Z

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 waist-
line.
within 1A, inch of the waistline.
2. Let the fabric drop from the clipped points for
extra width below the waist to fit the hips smoothly
or to produce a flare.

I‘
section. Scam clipped from l inch Fig.58. Side front section. Seams a: waistline clipped
m5. 52 Center from both sides, front and side.
— above wainline Io the waistline.
36
 B A S Il C LO
B L O U SS EE S

monk's hood. The cowl neckline is Created

monk’s created by picking
two corners of a piece
plece ol labnc and 3119W-
of fabnc allo’w-
up opposite
t0 drop downward.
C e n t e r to Cowls exempllfy
ing the Center
its most literal sensc. Since the
sense. SinCe
draping in lts
draplng beauty.of
COWlS depends on the
cowls texture
textur e ol the matcrial m whnch
material WhlCh
as well as the relationship between
they are interpreted
fold-lines and the figure Curves‚
the lold-lines curves, the most graceful
Cowls are usually those which are draped on the form
cowls
material.
directly in the dress material.
A cowl neckline Can can absorb all, part, or none of the
excess usually taken Laken up in a dart‚ depending on the
depth of the cowl.
Cowl. lt absorbs the thc entire excess and
Fig.54. Completed hip length bodice, front view. therefore shapes the fabric labric to the figure only when it
Fig. 55. Completed hip length bodice, side view (flare
in- falls at least as low as the bustline.
can be
troduced Although most exactly balanced designs Can
lroduced at
a! the back).
draped on one-half the form lorm only, a cowl must be
to sce (hat
Check t0 Crosswise
[hat the waistline is on the crosswise
draped on both sides to
t0 balance
balarlce the pull on the folds.
grain und does not rise at either the underarm or the
and (locs
draping the cowl in this way, however‚
After draplng however, use one
lines, and that the lengthwise grain
French dart seam lines‚
side only a5 as u a pattern
patterl) so that the two sides will be
ol" the section
Center ol
a1 the center Crosses the waistline at a
seCtion crosses
exactly alike.
right angle.
3. Pin the seams from
5. hip, lapping the
lrom waist to hip‚
A High Neckline Cowl
Center section ovcr
center side, and the side front over
over the side‚
This absorbs none of the exCess excess and therefore re-
the side back on the underarm seam.
quires the usual amount of darting.
Figures 54 and 55 show the front and side views of
the completed French
FrenCh dart hip length jacket. I. Fold the fabric on a t r u e bias and place the bias
l.
at the cCeennt e r front of the form (see Figure 56) . PenCil
Pencil
Note. The line from the waistline to the hip is al-
this fold line on muslin or thread mark it on an actual
an outward slanting line. It is possible either to
'

3 ways

.
‘*
fit the figure smoothly at the hipline or to introduce
some flare on the peplum section by slanting the line
out more than enough to fit the hips (see Figure 55) .
garment.

l.—A seam at the center

C e n t e r back of the French dart jacket
—adds still another line either for fitting more
L

smoothly
r
below the waist or for introducing a flare.
‘
To acquire an experimental
experimentell attitude and t0 to develop
- a
i feeling lor draping even while worklngworking with stand-
ard designs,
designs. try out the minor variations in design
'

suggested above. However, always follow exactly the

. fundamental rules of grain position.

Problem 5
DRAPING BLOUSES WITH WlTH COWL NECKLINES—
NECKLINES-
HlGH.
HIGH. MEDIUM. AND LOW VARIATIONS
The cowl is inherited lrom classic Greek
inherited
i;: ut the termis.itself lrom drapery,
ltself is denved from the drapery of a
1s (lerived
‘Tbut Fig. 56. Fabric folded for cowl neckline.
l-‘ig.

37
 shollidfir-„scaip eL“ Center front line of
“C. ällouldlcoitgeidevewigh‘ the center ‘front of the

Fig. 60. Measurement for cowl neckline epding

bust. _ —
Fig.6l. Fabric pinned at sides of neck. um bias ro"
Center ( m m .

Fig. 62. Shoulder clipped l0 distribute folds more hofinong

tally.

Fig‚57. Measurement for a high cowl neckline. A Cowl Ending Above fhe Bus} Line
5. Pull the drapery down at the Center front. Since This absorbs some ol’ the excess usually taken up
the Center front line of the fabric is bias, it is possible into (larts, the amount depending on the depth of the %

t0 adjust it imo small folds instead of one large one
lower edge of
(see Figure 58). Weights placed at the
the top fold help to retain the folds as 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 Fig-
ure 59). Repeat for more folds if desired.
neckline. The Center front line of the fabric standsÜ
away from the bust line of the form about inch.
l
amount increases with the depth of the
though the
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 ä

5W
'

the desired folds.

A’Deep Cowl from fhe Neckfine

This absorbs most of the nccessary pattern shaping
"7:

and therefore rcquires little darting.

l. Follow steps l and 2 given in the procedure f0!‘ ‚ünsgnag‘.

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
Folds {all from neck end of shoulder
Fig. 58. High cowl.
sezm. .
dinnbutcd
123.59. High cowl. Foldsfrom neck.
__
by chppmg shouldcr
on the fabric to the center front of the form at: (a)
the waistline, and (b) a poim five inches above the g

waistline.
Jean: am! Itretching away

38
 BASIC BLOUSES

Center front
excess fabric in toward the center
6. Pull the exccss ‘from
(lrop it into two
and drop
und or three lolds
folds falling vertically
intersection of the neckline and the shoulder
from the intcrsection
seam (see Figure 65).
65).
Note. This neckline will probably be at least 5
inches below the base of the neck at the Center C e n t e r front.
l

For a higher neckline, follow the same procedure, but

C e n t e r front.
decidedly toward the Center from.
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.
Because the CenterC e n t e r front is on the bias, run the added
lrom the lower end of the side seam up toward
l a r t from
(dart
the bust. lt will then more nearly follow the grain

Fig. 63. Deep cowl, folds

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

3. To fit the fabric to the form, begin at the Ccenter

enter
fabric upward
lront of the waistline and smooth the fabriC
from
and outward t0to the armscye at the side seam, following
the direction of the arrows in Figure 63. Do D0 not
tighten the [abric around the bust.
bust. Leave ease.
4. Smooth the labric from the armscye up to the
shoulder point,
point, aeain [ollowing
following the direction ol the
arrows in Figure (55. Pin the Clcth
15l. Pin cloth t0
to the form
lorm at the
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 Fig. 66. Cowl draped from shoulder and witn part of ex-
neckline
neCkline (see F cess placed in a waistline dart.
Cess
Figure
igure 64).
Fig. 67. Deep cowl
Fig. Cowl draped from the shoulder.

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 from at the neckline.
C e n t e r front

l. Follow steps l to 4 for a

deep cowl
Cowl from the
neckline.
neckline.
2. Smooth the fabric lrom
from the armscye up to the
outer end of the shoulder seam.Pin at this point and
from the raw edge to the pin as indicated in
clip
Clip
Figure 67.
3. Drop the grain from this
pin in order to form a
fold that runs toward the center
{old
‚-Fl8-55- Deep
FlS-55-
: Folds
cowl draped from the shoulder.
Cowl
[all from the intersectitxt:
intersectioxi of
Step
ol neck and shoulder.
7-
Center front
Adjust the fabric in the same wa
from at the bust level.
onn th
wayy o
level
’
thee Opposue
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.
5. Drop the grain toward the Center front again
from the C e n t e r of the shoulder seam to make a sec-
ond 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 de-
terrnines "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
front.
toward the Center
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
half of the bodice either because of a conspicuous
fabriC weave or because the bias draws
too tightly
fabric is soft and clinging.
around the bust if the very
Fig. 68. Cowl yokc.
40
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.
Buflons and Buttonholes (see Figure 69)
l. Mark a vertical Center front line on both the
Buttons are at-
right 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
the garment; they begin 1/16 to 1Ainch 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
C e n t e r front line in order to keep the garment
bal-
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 bul-
C e n t e r, the overlap should equal the radius
ton plus at least 1/, inch for a margin beyond the but-
ton edge. Thus, a l inch button requires at least a
M"inch overlap. Rule a line to mark the edge of the
overlap.
3. D€Cld€ on the width of the underlap, that is, the
amount of {abric on the button side extending beyond
the Center line.
the under-
(a) If the fabric is transparent, extend
the Center line as the
lap the same amount beyond
on both
overlap, so that there will be exact symmetry
sides of the C e n t e r (ront.
the buttonholes are
(b) If the fabric is opaqtle and
so that it ex-
long, 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
fittcd 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
the top edge ol the under cxtension so that it follows
the trecklitre slmpe (sec Figure 69a) .
 BASIC BLOUSES

H
Facnng Cut On

E; „
f3
C
Rnght Half 9 ‘ä o. g Left Half
Len
u.
Front D
Under
g L:
Front
=‘
s:
U d)

‘E
G)
L
a’
E
I
0J

L‚J
me-Fold
2
D
Underlap

of
»._
0
q)
3
-<9
C
f5 k‘!

Oenter
C Q
g?) 8
“. _ . S Edge
Lu

G
H

O
2
Overlap
fnCenter

Fig. 69. Lap for bunons und

[or buuons and buttonholcs.
buttonholes. Either cut {acing on as in (a) or cut facing
[acing as a separate piece.
Buttons Exactly on C.F.

Loops

.....
5E
ää
„ s:
:3» 3
E
-
.-
„
c
°
C
S’
u.
5
o .
»
‚3 .0 " 2lo 22
‘ S 5 ::
9“ x
f :
58
“ö E
F» s :
‘E Es
ä
w 3E
85
ULL
U
EO
LL-go
g:
3
„ 3-
c ‘ g0
)
3 33ä‘
3 u:c 0
)
B0
„O
<>
O
D
D
i)

“H
“t
o
Fig. 70. Lap for buuons
butlons and loops.

41
 .
näcrapon thejleft half (fixe buttdn
f ihhe Floops arejclosely spaeed line. Allown extra width Vat the Center [tönt im‘
‚rare extended Eton: therentcr Iine not more
V

t o n lap if_ the design‘ requires one... .

v

manch: lncrease the width of the underlap if

ihclegps are extended more than this from the Center Designing fhe Lower Edge of fhe Yoke
line I side.
Before designing the lower edge there are
*4.‘ Pate the underlap with a separately cut fitted
points to consider in the spacing of a yoke (sce Figur;
e

facing o: “wich an extension folded back from its edge 71, 72. 73) .
'
'

(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.
1. Scale the yoke to the proportions of the figure
A small yoke looks best on a small figure and a prö-j
portionately larger one on a larger figure.
2. Whatever the size of the yoke on which you de-
cide, 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 spacinß? (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 BLOUSES
i

crosawise grain always seems to t0 curve

i lhe straight crosnvise
the
downward as itil ncars the side of the figure, an optical
oplical
xhe curves of the figure. This Principle
due to the
illusion (lue principle
' establishment ol"
lhe establishnlent
1o the lines [hat
ol’ all design lmes (hat
applies to
should appear
shoultl to be horizontal.
Iower edge ol
Mark with pins the lower of the yoke and cut,
5%; inch
leaving a 5A
'
seam allowance. Then turn the seam
. untler, pinning it
allowance under,
allowancc
'
i: perpendicular t0l0 the edge.

i WAlST FRONT
WAIST —
— LOWER SECTlON
S E C T | O N (see Figure 74)

Placing fhe Fabric on fhe Form

'

lengthwise grain or selvage to

l. Pin the straight lenglhwise
I.
cemer lront of the
the center lorm at the top of the section.
thc lonn for draping blouse section below the
Fig.74. Procedure lor
‘
5%
Allow a 5/, inch
inch seam above edge ol" the yoke.
the lower edgc
yoke.
2. Pin [h6 chest on the C
Pin at the e n t e r front.
center
Push
waistline directly below the gathers in the yoke. Push
3. Pin am
at the waistline on the center
Center front, easing
the fabric upward slightly to provide greater length
»

the fabric upward above this pinpin for blousing. for blousing.
4. Smooth the fabric across the bust line and pin
Yoke and Lower Secfion
fhe Yolre

.
a: the bust so that
at [hat the crossgrain is level. Joining +he
5. Pin the labric 1o the form at
fabric to a: the underarm to Lap the yoke edge over the lower section and pin it
i support crossgrain
r
the so that it is either level or very perpendicular to the edge.
'

arm. Ease the fabric forward to

nearly so under the arm. Lo
Forming fhe Lower Secfion of fhe Armscye Line
2%inch of ease. For full gathers along
rovide at least 3/,
pprovide
the yoke edge a larger amount may be desirable. pin line from the yoke down to the
Continue the pin
.
seam‚ following the directions given in
underarm seam,
. Disfribufing fhe Excess
Disiribufing Problem l for establishing the armscye line.
There will be excess fabric both above and below
thethe bust asa5 the tabric
fabric is now pinned. Decide whether Placing fhe Underarm
Underarrn Seam
to force all ol
. t0 of it upward to t0 the yoke cdge or t0 to divide Handle according to the directions given for Prob-
ll lem l.
‘i: between tucks
dart or ease along the
or gathers along the yoke edge and a
Edart lhe waistline. lt is probably wiser to t0
Farming fhe Waisfline
V

-keep the grain nearly level across the

keep bust, for if it
Lhe bust‚
l rises very much ilit is liable to wrinkle diagonally from Trim the waistline seam, leaving a 2 inch extension.
-the yokcyoke edge toward the underarm. It is unnecessary to clip the extension below the waist-
l. Pinch up tiny tucks along the line if the blouse is gathered at the waistline. If a
I.‘
7

top of the lower waistline dart is used the blouse will fit the waistline
section,
vsecuon, starting to 1o work in the fullness over the bust
and continuing t0
‚and to within 11/2 closely and the-extension below it must be clipped as
1%jnches
inches of the armscye.
not‘
„Do not.
.
Do
distribute lullness across the entire line‚
(ullness
enter lt over the bust. Convert the tucks to
unter
1er
‘later when joining the seam. Work in as much full-
line, but
gathers
explained in Problem l, page 22.

WAIST
WAlST BACK —
— YOKE SECTION
(ess as is becoming;
ness becoming, releasing the underarmunderarm pin pin if
Ccessary to ease the fabric farther forward horizon— Draping fhe Upper Lines of fhe Yolte
Yoke
‘ecessary horizon-
.' ly. Proceeding as in Problem l, page 24;
'‚
s mstlme
.»
Take up the remaining excess into a tentative
stline dart
dan or distribute it i: into
l. Mark the center back.
imo pin tucks
lucks along the 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.
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 allow-
ance. Tu r n this under and pin it perpendicular to the
edge.
WAIST BACK — LOWER SECTION
Proceed as for the front, though there will be less
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 figure 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 under-
arm seam.
PART ll
THE FLAT PATTERN METHOD
OF DESIGNING BLOUSES
ON THE MASTER BLOCK
PATTERN
ßefore attempting to comparc the two systomspf
—— drapmg and Hat pattern designmg
--
pattern making
it is essential to understand thomughly the mean-
44
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 egdfiä
other. lf you do not want gathers at the waistli
use a dart and press it so that it will be
practicallyl;
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 z
in order to make Hat fabric conform to body curvcs. i
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.
i
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 figure.
6. Horizontal design lincs should cut across the
figure 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.
ing of the tcnns masler" bluck [ialrern and flnt patlcrn
blocking. The mustcr blofk puucrn is a foundation
pattern mzulc b)’ Cithcr (lraping on the individual drCSS
 1753.75. Mauer pattern blouse from with shoulder dar:
„ungut“, m „ a n fi n g Fig. 76. Mastcr pattern blouse back. «

5_ Pins, shoulder. Although the position of the dart and du:

5_ 511e,“ shape of the pattem have both been changed by thise
7, A sharp pencil. Operation, the size and fit have not been altered in any
8. Rulers, a triangle and curves if possible. W37‘
9. A large flat work table. 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;
Problem |
to thc Center of the garment.
TRANSFERRING THE WAISTI-INE DART T0 THE As i: is originally drawn, the am will be so large.
SHOULDER (See Fiqure 77) (hat i: will run all the way m the point of the hast.’
This is not only unattractive but causes the blouse l0.
I. BMW 3 “Taigm mlcd um’ ‘mm m‘ Wim °f ‘he fit too closely. On the other hand, a single dar: in I f
mutet da?! 10 Ü‘? ‘hmflde’ P°’m°“' Rfifad ‘he di" blouse front is too large to be shortened without bulß":
cuuion o! shoulder dan location in Part I. DraPing ing awkwardly at ins tip. Problem 2, illustrated 5!.
Basic Blouses on the Dress Form (page 19)- Figure 79. shows the dar: divided. .a design whidl’
*

2'
-’
C ut on the PCncnl
'
lme,
-close thc
' '
basxc wanstline gives ' a much better distribution of fullness in a M0030
the (hat xsto be worn.
‘da:I am! transfer it to the new position on
Q
'

46
 C B L O U S E S

retain part of the dar:

relain a1 the waistline and shift part
dart a:
of iL to the shoulder.
i1 [o
both darts to shorten them, following
3. Redraw bolh
the inside edge —
that is, the edge toward the center
[hat Center
line of the garment.
Never change the size of darts at the outside edge
Fol of (he paltern when trueing them up.
the pattern

Problem 3
CJ.
DIVIDING THE MASTER DART BETWEEN
WAISTLINE AND UNDERARM (see Figure 80)

The underarm dart is usually placed as high up

— waislline dart 1o
Transfer waistline
Fig. 77. Step Il —Transfer t0 shoulder. under the arm as possible without interfering with
SlCp 2—Curve dar:
Fig. 78. Step 1o emer shoulder at a right
dart to righz seam. This is done because iLis not.
the armscye scam. not at
angle. all decorative and is used only as a supplementary
dan in conjunction
fitting dart conjunclion with the waistline dar:
dart and
Problem 2 occasionally with a small shoulder dart as well. The
DlVlDlNG THE MASTER DART BETWEEN
DIVIDING underarnl dar:
underarm dart should always be invisible. (For fur-
WAISTLINE AND SHOULDER (see Figure 79) ther discussion,
discussion, see Part I, Problem 2, Draping the
Blouse with a Horizontal Underarm Dart, pages 29-
‘
The preceding problem showed (hat that a blouse fits 31.)
3|.)
beuer if
belter exccss is divided between two darts ra-
i1" the excess l. Draw a line from the point of the waistline dart
dialing from the bust outward to two different edges
iating 1o the location of the
xhe projected new dar: dart under the
of the
of (he pauern, since two
( w o smaller darts taper out more arm.
a r m , This should be Il to 11/2
lI/2 inches below the armscye
moothly when shortened than a single large one. seam.
l. Draw the pencil line and slash exactly as in the 2. Partly close the old basic dart,
V

pivoting it at its
receding problem. point to divide it between the two positions.
poim
2. Pivot the pattern ata1 the point
poim of the old dart to 3. Redraw both darts to shorten
shorlen them.

Fed
l
vom

man
I

Cf. c.r.

.79.
. S;M astor
Mastenr
Dotted
dar: divided between shoulder
hne shows method
otted lme
shouldcr apd waist- Fig. 80. Master dart
dar: divided between waistline and
under-
‘v
i. melhod of trueing vertical’ darts. arm. Doued
Dotted lmes
hnes show method
method of shortening dans.
47
V

I l t i amy
s vnumbennof
darv-pointing‘ to’ the“ neck "may be
ideas, such as gathers
v
{matt ayoke, a tie, a draped neckline with a clip‚
a cowl. and ‘sann. Trhe transfer of a dart to the cemer
Fig. 82. Dan transferred to neck to’ form a bow
de.
supplie: excess to put into gathers, tucks, or
Jpäced knots. along the center from. (See Chapter erally harmonizes with folds radiating from the w
7.: Suggestion 7, for further discussion of the use of to the bust.
the basic dart as a starting poim in working out new
4. Add fabric for a tie if the design calls for
designs.)
(see Figure 82) .
Prob|em 4 5. T0 add more ease around the bust than the basic ‚

dart provides, spread the pattern apart at the top afg-

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 under-
arm seam near the waislline. This placement gen-
the basic dart (see Figure 83).
A good foundation pattern fits very closely, Willi“?
nearly all of the excess taken up in the basic
dm.
This makes a very satisfactory block pattern‘ from
which to cut designs because it includes no superfluous
fullness. It usually fits too closely, however, to
worn, and more ease should be allowed around thef
bust. Figure 83 shows a blouse pattern with the entirtij

Fald

Lanamwsie

E5"!""“"°“

dividcd between the center from neck-

Pi}. 81. Mauer dar: near lhe waistline. Fig. B8. Method of adding extra width around the bust.
line and the underarm
 BASIC BLOUSES
all
III‘
(a) Figure 87 shows a pattern pattern slashcd so (hat
neck
i

folds will tend

the lolds to fall vertically lrom thc
Lhc t0

‚f! lhe waistline.

Lhe Thc fullness radiates very littlc because
the slashes are nearly vertical. Spreading the slashes
intensifies the curve of the waistline, and fullness there-
lore tends to spring from [hat curve.

(b) Figure 88 has slashes t0 underarm seam.

1o the underaml
The fullness in this case tends t0 spring from the
underarm, and the lines radiatc outward more than
in Figure 87. This design will be somewhat less
ihm?
slenderizing.
to the
(c) Figure 89 shows slashes distributed both
t0
l

underarm and to t0 the armscye. The fullness lines ra-

follows the direc-
Figs. 84, 85, and 86. Fullness generally
'

diate outward still more and thus emphasize the bust

tion ol slashcs.
more emphatically.
dar: translerred
dart to Lhe neck and with the point of the
transferred t0 lf you compare Lhese illustrations carefully,
these three illustralions
dart pivoted outward for e x t r a ease around the bust, you will be able to draw the conclusion [hat folds and
that
but with the waistline the same size. Notice that
(hat the gathers tend to t0 run in the direction in which you
incrcases as the dart point is pivoted
waistline curve increases
waisllinc slash. Be cautious, however, in assuming (hat {hat this will
outward. always happen, because there is one other factor that
(hat

rau
Feld

unngm
L thvwriseisa
FM Fou

Lnann
xthm
m wsoiso
Fo
eld

Lenngmwisoa

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

6. The factors
lactors Lhat comrol the (lirection
{hat control (lircction of folds or
igalhers are (l) the (lirection of the slashes‚
galhers slashes, and (2)
determines the Lhe direction of fullness lines
t o u r of the individual figure.
the con. —
—
the contour oI the figure. Note (hat Always take imo accoum
cont.our_of that the three fmished
finished the elfect of Lhethe curves of the body on Lhethe final pag.
blouses
311eouses in Figures
Figures 84, 85, and 86 have the same
in partial- tern. lt is safe
tem: sale to say (hat
that body contour is the great-
greal-
yoke design but that [hat the
Lhe lines of lullness fall
{all dilferently
difierently es: smgle factor in determining the direction [hat
est single that fuu.
full.
lln each. '‘In
- In Figure 84 the lines of fullness
‘lilgurc - lullness are nearly lines will take. This, of course,
course‚ is flat block.
block—
“zrfflcill:
verti ‚ '
8ar
8:) they radiale
radiate oulward
outward somewhat
iiess why
‘imorlfa
Lima‘e, ‘ialn
e. Inflglire
lnnhgtire
and in Figure 86 they radiate out still more. '
mg cannot produce the same sureness of etfect elfect in de-
»1 sign as does draping on the individual form.

49
 '
„an; t
uee-„fjulluess_„a1qpg. "the „edgee oLa ‚simulated
Vyke.;=»;‚thae„cux_yes.upwarde anits quter end. you will
"lhflblhß pattem pieces in the lower section
;averlap the 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 fit without drawing. This difficulty
arises only when you slash vertically, as in Figure 87,
and when the yolte is both simulated and curves up-
ward. (See Chapter 7 ‚ Figures 31-33, for a similar
example applied to simulated yokes in skirts.)
Inierprefing 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 neck-
point of the dart to transfer the basic
line at the center front.
NOCH D1991
o! the master dar: transferred
175g, 90 Cowl interpretation
so the Center { m m neckline.
50
gxves you the «legt
Fromme sidekof „the neck to» a p
A
J
bust‚ the fabric will fall into shallotigfold
of the excess from the master dart (iee Figu
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
’
V
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.
w‘
Fig.9l. Deep cowl madc by pivoting outward the mm“
from pattern segmem.
 BASIC BLOUSES

deeper the
The (leeper lhe neckline, the heavier tne the drapery
the
lhe
andd
an the more mature
nlalure and (lignified
dignified deslgr} appcars
desngn appcurs
m be, Th The dee) cowl
Cowl is
is, therefore, more suitable forfOr
deep euxtaftle
an beltier woman than foyr
older wfonlarlx for young girl.
a Since it also
Smeelll
it is most
decidedly thickens the figure over the bust, 1t 1s mest
ägcjijedly
slender woman. For a short girl.
becoming to
t0 a tall
shert glrl, m35

me
the very shallow Cowlcowl is generally a better Choice.
ciholce.
T0
To
block a shallow cowl (see Figure 92) retam retain part of
dart at the
master dar:
the masler lhe waistline. lt is probable that
(lesigns need a little extra width at‘
all of these designs at the
bust, the
lhe amount depending, of course,
Course, on the tight-
ught-
ness of the original master pattern. Gm
an
rm

hm
vnse
DeDlh
Neck Deplh

Lenn-

blocking the cowl

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

_ _ _

‘
Fig. 92. Very shallow cowl
Cowl with part of
o! the master dart re-
Stap l
Slep
‘
an the waislline.
tained at waistline.
.. Fig.93. Cowl
drapery in ua yoke.
Fig. 96. Covl yoke with a shaped seam at Center front:
Place the Center front of the pattern on the true
5. PlaCe
Step l-Mark as shown. Step 2—-Slash
2—Slash and spread the
. bias of the fabric. This
r
cowl
automatically places the Cowl pattern.
'

'
neck edge o!
Lneck of the pattern on the bias.
‘ Figure 93 shows cowlCowl drapery in a yoke. This cCut ut
ihas
_has deep folds and yet fits more loosely around the

‘
bust
y_bust because the Center
‘ the
r o n t of the lower section is on
center [front
the straight grain whereas the yoke section is Cut
the center
ilhe Center front
cut with
from on a true bias. Fabrics used for cowl Cowl
‘draping should have grain which is very inconspicu-
draping
us.a Fcowl
‘ous. Figures
igures 94 and 95 show the procedure for block-
fng ng
"z‘ Cowl yoke. Figure 96 shows two steps in making
cowl yoke with fitted
fitled folds falling from points along
e shoulder and with a seam at the Center center front of
e yoke. Figure 97 shows the finished effect of this
.Wlwl yoke.
Fig. 97. Cowl yoke with a seam at Center front.
center iront.

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
to the Center front.
dart
17i; 99, Transfer of the matter
Fig. I00. Pattern slashed to interpret design
in Fig. 98.
(ab) Slash again a: point: knots
placed froni the Center front to the undetarfi?
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. 4
Notice that, as a result of the slashing, the un u
seam is curved and the armscye curve is inte V
The Center front is also an intense curve and therefcgae
the grain must be placed at the Center of the
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 final pattern.
f
Fig. 10l. A verticnl slash spreatl for width around the b“!
*1‘
(top and bottom cnds urc not sprcad).
ßäfim
r hdggü.}
.
 BASIC BLOUSES

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
the entire CCenter Original
length of the ol the master pattern and
iront ol"
C e n t e r lront

sprcad the horizontal slashes cnough

then spread enough so that the
cemer front length alter it is spread will cqual one
Center
(Jnc-hall to two times
and one-half titnes the original measurement.
tneasuretnent.
lt is a general
gcneral rule that
[hat require one and
gathers reqtiire
galhers and
one-
half t0 two times the length length of the space that is
lS to be
l

gathered, the amount depentling

depending on the desired full-
ness and also on the t e x t u r e and thickness of the fabric
which is used.
"-—u-._

Problem 6
CONVERTING THE MASTER DART TO A I04. French dart line drawn closer to center front than
Fig. 104.
FRENCH DART SEAM LINE the master dart.
Fig. 105. French dart pattern u t on line drawn in Fig.
pattcrn ccut Fig.
i

Darf Line Position

French Dari I04:
104: (l)
(I) Length increased for ease over bust; (2) Dotted
line indicates a more pronounced curve over bust.
deterniine the French dart line, see the instruc-
T0 detcrmine
tions lor
ior draping the French dart 3186) . First
( l a r t (pages 3136) Figure I02), although in some cases the spacing may
rule a linc
l
frorn the point of the waistline dart to the
line from be improved if the front panel is narrowed at the
shoulder position (see
(sce Figure I02). Then, using the I04). Place the master pattern
waistline (see Figure 104).
ruled line 21s
as a guide, redraw the line by hand, putting against the form or hold it up against yourself in order
Order
in enough curve so that it enters the shoulder at a to sketch in a l)ecoming
becoming line.
angle. curves slightly toward the Center
right angle, c e n t e r over the
I. Pencil the French dart line and crossmark it
l.
.' bust, and enters the waistline at a right angle. The
- line above and below the bust.
Inay coincide with the basic waistline dart (see
may
t

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
fits better if the ease is increased over the bust.
(a) For e x t r a length, slash from the point of the
master dart to the underarm and spread the pattern
slightly at the bust (see Figure 103).
I03). Spreading over
the bust has the same effect
eflect as forcing the grain in-
Gvan
i
ward above the bust when draping the French dart.
(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)
4.
Mark the straight grain in the side front section
perpendrcular to the waistline at the Ccenter.
perpendicular e n t e r.
ifig. I02. French dart
sFig. line drawn as a continuation of the For a variation
Variation in the position of the French dart
master dart.
master dan (line curves line,
1in6, See Figure I04. Because a French dart bodice fits
slightly).
ig. 103. French dart pattern with ease introduced
ig.l03.
ee bust on the side front section
inuoduced over tightly and is frequently
[requently used to provide contrast with
i.’de front (dotted line shows final a bouffant
bouflant skirt, the French dart line is sometimes
i line) . widened at the shoulder and narrowed at the waist
 oasss oEsv|s.Ns<’

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 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 fit 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 Fig. 108. (jorrect. Part of dart transferred t0 yoke edge. l

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 flat pattern, with no trans-
fer 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 unre-
lated to the body contour. Figure 107 illustrates this
error. F igure I08, on the other hand‚ shows the trans-
fer of part of the waistline dart to the yoke edge in
Fig. I06. A yoke.
shuuld bc lramlcrrcd yoke
H8, I07. lncorrcct. Dan
(o
edge.
Fig. 109. Mastcr dar: entircly transferred to yoke edge and
pattern pivoted outward lor e x t r a fullness.
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 figure. 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. Retain-
ing somc o!" thc wuisllinc dar: is optional. Tuch»
gathcr, or casc thc cxccss along thc uppcr edge of
the
lnwvr sccliun inlo Ihr: yoke.
For 2| morc (‘onlpliculcd und unusual yoke design.
scc (Jhuptcr 7, Figurcs 58 und 59.
 BASIC BLOUSES

Problem 8 (In this pattcrn,

(m design of the ovcrlapped
pattern. Sketch in the dcsigti overlapped
sidc only (see Figure IIO). The Ieft
(Ilc right side
sidc, the Ieft
TRANSFERRING THE MASTER DART should (IupIIcalc
sidc shouId thc
lhc right as thc
the under
umler extension
extcnslon
(Iuplicatc
TO AN ASYMMETRIC DESIGN WITH
T0 on the IeII llSlHlIIy equals the
IeIt usuaIIy overlap on the right.
Lhe overIap right.
BALANCED FULLNESS (see Figures IIO and III)
lhc basic waistline dart to
oI thc
'l'rdnsfer most of
2. Transfer t0 the

balailced blouse pattern, that cdge

edgc oI the shoulder yoke (see Figure I I I ) . In addi-
asymmetrically balanced
An asymmetricully {hat is,
over
[hat is balanccd off
one that oIf Center, may be either very easy tion, sprcud
sprcad the puttenx slighlly
pattern slightly Ior
for extra
e x t r a ease

or very complicuted II’, for example, the blouse the bust. ToT0 increase the gathers still more, pivot the
compIIcaled to ccut. u t . II",
sznne on the lhe right and Ieft sides, sides‚ but has pattexn outward t0 to spread the fuII cdge.
edge.
exactIy the same
is exactly pattem
a side Iront
Ironl or surplice
sUrpIICC opening, the pattern forIor the 3. Place lhe straight grain a1
Placc the at the Center front. Draw
right side will
wiII bc duplicated Ior
for the left even though tbe final pattern.
around the
the opening is olf otf C e n t e r. On the other hand, if for
ccnter.
example the lhe design has gathers or drapery radiating
Irom one shoulder and the other shoulder is smooth,
Problem
ProbIem 9
smoolh,
_ the right and Icft Ich sides ot’ panern will
of the pattem wiII be shaped DESIGNING BLOUSE BACKS ON THE
’
entirely
A
diffcrently and the pattern will be much more
emireIy dilferently MASTER BLOUSE BACK PATTERN
complicated to ccut. u t . This Iatter type Lype of asymmetric
design will be discussed in Chapter 7, Suggestion I0. l0. The principles oIof blocking designs on the back of
The method discussed here applies to
'

t0 an asymmetri- the mastcr pattern are essenlially

essentially the same as for the
‘
caIIy balanccd blouse with all the pattern edges alike Iront.
’
front. There arc, ure. however, a few points typical of
on the right und IcIt Iclt sides but with the opening ofl ofI bIouse backs only. Becausc
blouse Because the curves of the figure
Center. Itlt is blocked exactly
exactIy Iikc a symmetrically bal- a:
a1 the back are divided between the
sylnmetrically top oI
ol" the shoulder
anced one cxcept
'

[hat it i5
except that is necessary to t0 draw the design and the shouIder blades, the foundation master pat-
thc shoulder
on an cntire front
‘
Iront of0I thc mastermastet‘ block pattern rather t eCr nm has two darts
[ ——
— a very smaII
small one either at the
- than on a
pullern Ior only
pztttern onIy half the front. back of the neck or zu the shoulder seam, and a second
ur at
I. Make z: u paper copy of oI the entire front of the Iarger one from the waistlinc
waistIine up to the shoulder
pauern with the C e n t e r front
master pattern from clearly
clearIy marked.
blades. See draping procedure for Ior the Waist Back,
Problem I, pages 23 -27 .
Ä

Ö
Guin
Grn
ain

un
Lonm

F.
C1
nhmscu
E
Front

ä
8Center

‚
4

"0-
IIO.
Fig. m.
master pattern
panern [ronl
[ r o n t with Iines drawn
Coniplete‘
Coflllplete‘
asymmemc design.
l l l . Right
Right or overlapped side oI
o! pattern with slashes
deslgn. spread for gathers at yoke edge.

55
 o nEss oes I

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 figure fro/
I.
C. the profile view. lt is generally wiser to keep the backt,
of blouses comparatively simple and Hat for the sak
of the complete silhouette.

Transferring fhe Blouse Baclt Darf: fo a Yoke Edge

‘-—-r"
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.
l. Draw the yoke line and c u t the pattem apart.
(See the discussion of yoke spacing on pages 42- 44.)
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 full-
ness over the shoulder blades and a tremendous
amount at the waistline, and this is usually dilficult
t0 control, as Figure H2 shows. lt is‚ however, pos-
sible 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
this transfer. lt is also possible to (livide the waistline
dart into two or more smaller darts or to distribute the ol
Fig. l l 5 . Closing of shoulder dart and translcr of part
waistline dart t0 yoke edge.
Fig. ll6. Pattern pivotcd ouxward at point ol
waistline
dart l0 introducc lullncss m. yoke cdge.
2. (Jlose the shoulder dart. The lower edge ol the
of (h6
yoke is now slightly longer than lhc uppcr edge
body section and should bc the reverse. T0 gel
SOHN

easc along thc upper cdge ol thc body section, translef

a small part ol lhe waistlinc (lan up t0 it, as shown 1
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 whefl

lor thc
ull ol" thc shouldcr (lurt is trunslcrrcd u) lhc lower
Blauer blnusc back with hncs drawn
trans-
heuer l0
115g H5
m thc ncck. ctlgc ol’ n (Iccp ynkc. il Ins um lonscly. ll is
[ e r ol thc shouldcr dan lcmc 50m1‘ ul lhc ( l u r t ut 1h:- shuuldvr \s'hcrc it ca“
m ncck (dotted linc
F’‚g. I14 Shouldcr dan transfcrrcd Im workcd in us casc ulong (lu- shnuldcl" scxnn. How-
show: ncccssary ( l a n Icngth
und shouldcr height correc-
cvcr. lhc pnrlinn nl lhv (lurt ul lhc luwor cdgc ol
(h8
tions) .
5U
l BASIC BLOUSES

3. Draw thc linc lor lhc

the line lowcr edge of lhe
the lower the jacket
to the waistlinc and about 7 to 9 inches below
t0
parallel
parallel
it. Noticc that there is a slight curve along the waist-
(hat lherc
linc of both the thc master blouse and skirt patterns.
Lcavc this curvc
Leavc curve as 21s it is, because no overblouse or

jacket
jackcl without a waistline scam should be fitted as
snugly around the waistline
waislline as a blouse with a sep-
a r a t e pcpluln
peplun) attached
atlached at the waistline.
waislline.
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
than {that
slashing tot0 the shoulder dart and transferring part of
the shoulder (dart
thc t0 the waistline.
l a r t to

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

yokc supplies casc lor arm movcment. Figure lI17

yoke l7
shows this. l0 uvoid lhe shoulder
umid tightness over the
thcrc should always bc slightly more lenglh
blades, thcre length on
the cdge ol thc body section than on the lower
lhc top edge Gvrain
Gnn
i

edge ol the yoke section. A deep yoke is not well

0|’ thc
‘'

adapted
adaplcd for use in Sports
sporls garments, for it obviously
' rcslricts
Lcnmwsic
'

rcstricts uction more than a shallow yoke with fullness Leenm

L ghtwisee

lt.
below it.
'

Problem I0
|0
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

i blouse to a hip-lcnglh
hip-lcngth jacket (Figures lI18 l 8 a and b)
zwithout na waistline seam by combining the basic
ywithout 118. (a) Front of master
l-‘ig. ll8.
Fig. mastcr pattern
pattcrn hip-leugth
hip-length jackct;
jacket;
blouse pattern with the top of the two-gore basic (b) Back ofol master
masler pattern hip-length
jacket.
skirl.
skirt. (For the two-gore skirt pauern,
pattern, see pages 65
71 .)’

French Darf
Dar? Hip-Lengfh Jacke}
l. 'I’race
Trace the outlines ol the basic waist pattern on Use this pattern for long torso lines (hat
that fit very
Ä

‚ construction paper.
‚

paper, Snugly (see Figures lI19

l 9 a and b) .
2. Place the waistline of ol the
thc two-gore skirt against I.
l. Place the lengthwise
. . ‘lengthwise grain at the Center
center of the

.
‚

the waistline of the basic blouse sxde

l

SldC front and Slde

Vthe walstline pattern. The darts side back sections so that it runs across
of the waist
»0f waisl and skirt are draped to t0 coincide but are the waistline perpendicular to it.
11.0!
n_0t equal in size. First draw around the center
C e n t e r sec- 2. Slash the side lront secnon
.uon ol the skirl sectmn of the blouse horizon-
uon skirt and then move the skirt
pattern so tally from the bust to the underarm seam to
lthat the side
(hat slde section fits against the side section of t0 add ease
over the bust. (See directions for
the
_the blouse. blocklng
blocking the French
French
dart waist, pages 53
54.)
 stretching thb fixuslin
2. "Pin "the pattäm securely ‘towcänxtrdctuio„
3. Trace around the pattärn with a traci
Lamm.
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 Ä,
all traced lines on the paper pattern to malte du‘
clearer and more exact.
5. Cut out the paper pattern carefully. Cuty
darts, cut away all seam allowances, and cut
(a) (b) oul
cuts which a pencil
Fig. 119. (a) Front of French dart hip-length jacket; (b) markings wich little U-shaped Ö5
Bach o! I-‘rench da11. hip-length jacket. be slippcd into. V
A

6. Transfer the shoulder dart to the waistline.

3. lmensify thc curve over the bust to define the
It was essential to drape the master blouse with
bust line more sharply.
a: both shoulder and waistline because a blouse i8“)
better when so draped. After Lhe pattern has
Fronch Darf Hip-Lengih Jacke} es a Princess Line
fitted, however, it should be prepared for use a: a3’
Dress Paffem
master block by having all of the dar: transferred w?
T0 adapt this bodice to a dress pattern, continue the one place‚ preferably the waistline. D0 this to simplify 2
rule the seam lines for the
slope from waist t0 hip and and the blocking procedures, even though the dm
dcsired skin length. The lines are rulcr-straight, certainly look too wide at its lower end in relation "
slam from the hip to the lower edge. its length.
(a) Draw a line from the point of the
shoulder dar!
Blouse Erfended Below Waisfline Eliminafing to the point of the bust.
Part of Waisfline Seam the pattem t0 T;
Attach part o! the two-gore skirt to part
of the basic (b) Cut through this line and pivot
a waistline close the shoulder dart and to transfer it entirely t0}
blouse for dresses which have only partial in the waistline.
discussed
seam. Examples o! this combination
are V

(c) Redraw the waistline dart with ruler, carrr

a
Chapter 7. bust. Follow {h0
ing it up to the highest poim of the
inside line of the dar: (the edge nearer to the Center
PATTERN line) when trueing il.
CUTTING A TAGBOARD MASTER
FROM THE BLOUSE
(d) Cut out the dart.
7. Place the brown paper pattem on tagboard. und
Aue: experimenting with thc quarter-size
from
pattern,
the draped pencil around thc emire paper pattcnx, leuing
the";
duyour own master tagboard pauem a

58
 BASIC BLOUSES

shih in thc
2. Thc shilt lhc position dan changes the
o!’ thc dart
pnsition o!"
run
encil um
pencil into the crossmarkings and along both
Lhe crossmarkixlgs bolh
dart. pauern
puuem dcsigl]
dcsign without
wiLhouL changing its size or fit. All
edges o1 Lhc large
01 {arge maslcr
n l a s t e r
changc lakes place within Lhe
the edges of the pattern.
(Jut oul the
B. Cut
8. Lhe tagboard pattern pattcrn without seam al-
3. Two tactors comrol Lhe direction of lines of
conlrol the
lowances.
fullness:
Gut the back blouse pattern
9. Cut pattcrn in tagboard exaclly
exactly
as it
il was draped. direction of the slashes usually indicates
(a) The direclion
Lhe lines of fullness, but
the direction of the
Your nlastex‘ pauern should be very similar t0 the
Inasteu‘ pattern
uarler sizc nmaster Figures 75 and
Pa t t e r n shown in Figures chicf determining
Lhe chief
qquarter l a s t e r pattern
(b) The body contour is the
76. factor
{actor and will often upset all flat-paper calculations.
4. Slashes should be made perpendicular if pos-
[hat is t0
sible to an cdge (hat to be gathered.

SUMMARY: PRINCIPLES OF DESIGNING 5. Although i:it is easiest for blocking purposes to

BLOUSES ON A MASTER BLOCK PATTERN concentrate all excess in one large master waist-front
concentrale
dart running t0to the point the bust, the dart in a
poim of Lhe
I. system of designing on a master block pat-
I, Thc SySlClfl blouse to be worn is usually divided into two or more
tern
lern is founded on an understanding Lhe transfer
underslanding of the smaller darts pointing toward the bust from two or
01' the (dar:
of l a r t 1o the of the design detail, thereby
thc location ot’ more different edges of the pattern, because the
making the dart both ornanxental
ornanxemal and functional. smaller darts taper out more smoothly.

59
 ‚ ?wz2’5%w'ä
PART l

DRAPING SKIRTS ON THE

DRESS FORM

STRAIGHT SKIRTS
Draping skirts differs fundamentally from draping
blouses in several respects. A blouse fits the figure on Straight skirts have seams on the straight length-
all of its edges and there is just enough ease to allow wise thread, and hem and hipline on the straight
bending and reaching‚ whereas a skirt may fit the crosswise thread. They include the all-around gathered
figure from waistline to hips, but from there down
to
(the dirndl, or peasant skirt) ‚ the all-around pleated,
the hem, it swings free of the body. The lines from and the wrap-around skirt.
without the Most childrcn try t0 make a straight skirt at some
hip to hem must therefore be established
comour lines 01' a dress form to follow and to pin time or other, usually on their first auempt at sewing
against. T0 be beautiful, a skirt must have enough for a doll. A child's natural procedure is t0 sew the
freedom below the hipline to swing easily with the seams, put in a hem on the grain, and gather
the
motion of the figure, and t0 do this it must widen as excess fabric at the top to fit the waistline. This per-
lt lengthens. Both gored and circular skirts increase fectly simple, natural procedure proves to
be good
in widlh a1 the lower edge, and il c u t with enough with one exception. The seams and hem should
flare t0 swing freely, are both comfortable to wear and be on the straight grain, it is true, but the waistline
is
gracelul in motion if the llare placed
within the should not. The length from the waist t0 the hip Ievel
the
silhouette so (hat i1 slenderizes the hips and thighs. (a line approximately eight or nine inches below
have fullness drawn waist and parallel to the floor) is somewhat
Draped skirts, on the other hand, normally
up t0 the waistline, [hus narrowing
the lower edge, shorter in the { m m than in lhe back. On a figure
and they tend to restrict motion
—
sometimcs so much with a very llat abdomcn but with a prominent back
hem t0 allow the
(hat they must be slashed at the hip curve. this Llilferc-nce in length is very pronounced;
wearer to movc at all. lt is possible, however,
to pro- whereas on u person with a prominent abdmxlen and
duce a peg-top eflect, yet to introducc enough fullness flal hips, quitc the opposite is t r u e . For illustrations
of the ellect pf posture (m skirt lenglh lrom waist
move unhampered. t0
al the lower edge l0 let the wearer
be graceful in
Becausc lt is so important {hat a skirt hip‚ sce Chaptcr 5V. Figurcs 2 c, d, e. and f.
when the
motion. it should always bc finally judged
stands still.
wearer movcs as wcll as whcn she Problem |
arc
The skirzs presented in the lollowing pages
and (lraped, in DRAPING THE STRAIGHT GATHERED SKIRT
classificd as slraiglzt, gnred, circular,
becomc lamilial‘ with
lhe Order listed. So (hat wumay 'l‘his skin hus bccnmc n spring pcrcnnial und is ex-
ach (",3 3nd explorc ils possibilitics, you should
the examples shown. trcnlcly pupulnr, cspcciully with lhc lccn-agc glll-
praclicc draping and blocking
(i0
 BASIC S KIRTS

.
‚J.

nown as a dimdl,
-(a) and (b). Inllucncc o!
Fig.l v(a)
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
‘extures, [ a t and the lean.
lean,
lcxlure on silhoucne.
o1 tcxlure silhouctte.

succcsslul even
a gluzed
glazed
cven on a moderately plump girl
chimz
chintz
—
but not
[arge Hower pattern. The dimdl
with a large
is generally a1 its bcst on the over-tall, over-slixn
over-sliln girl,
girl‚
‚ä:e tall and thc the short.
shorl. Because it is so easy to make [ o r it rounds out her sharp hip bones and
for

_
appears
ilhout a pattern, it is attempted by both the skilled
„ithout graceful when gathered in to 1o her Liny waistline. Fig-
_‘dd the unskilled seamstress, though not always with ures I a and I)b show the influence of texlure
lexture on the
cccss, for like all designs, the dimdl
svccess, dirndl must be planned silhouette.
I relation to
i}
_‘ t0 the silhouette it
i: produces. This depends
'pon
v»: ’
U n thc heightheighl and slenderness of the wearer and
ticularly upon her hip and waistline proportions,
‚e ttexture
exture of the fabric, and the size and line direc-
Esiimafing fhe
Esfimafing ihe Fabric

l. The average slraight

straight gathered skirt requires (two
wo
n‚_ of the fabric pattern. A soft clinging material in widths of 36 inch fabric, minus a straight
atraight lengthwise
'

ull texture and color without pattem may be

„gdull band Laken ofl
off next to the selvage for a belt.
fairly

(il
 j-..___..":-2:v4a—_---_--.-_ - - - _ - -

Fix.2. Sdnaight skin sliowing scams joined, hem turned,

l ._
_ _ Fig. 5. Straight skirt gather 8 or 9 inches below Ihcjf
a
and gathering thread arthe hip le'vel.
l
and pinned t0 the form at the hip level. ‚

determme the length of cloth rcquxred, meas-

*2. To
5- Machinefadle‘ the waisflincv “fing “V3111”
ure Irom the waistline the desired length and allow a
and m m ‘ _
hem on each piece.
6. Draw all the gathering threads up at the Same
Calling a Waisfband time to make all of the rows equally tight. <

Cm 0E a straight lcnglhwise strip along the selvage 7. Attach the skirt t0 a waistband. If the band i:
very narrow, use a straight lengthwise strip with
n0
twice the Widlh desired-
shaping. However‚ if it is more than 114 inches wide.
Finishing Seams and Hems it will fit better if shaped slightly.
l. Pin and stitch the seams and press them open. PWHW‘ 2
lf there are two seams, plan to have one on each side,
in linc with the side seams of the blouse. DRAHNG THE STRNGHT ALLAROUND
PLEATED SKIRT
2. Tu r n the hem on a straight crosswise thread.
fo Waisfline This skirt can be estimatcd and made with Av
Adiusfing fhe Skirf from Hip KT;
- k
.
1
.h 1
a d'ustment
J on the form. lt is at its bes: in firm
(hat stays pleated, and when well made is justly popu-
w

b 1;. Uiltriltgcgesdgzgl; igllfädgrgflaihefltcglgnzlgarafläfi lar‚ for it hangs with trim neamess and is even be-
( ' (see F g“ m 2) .
°aftmg
2' pmw the
1

up.t° t “i;
__ d d_
comnng
. to a . wnh
gnrl
. . .
fanrly large hxps.
Note. Since it is a laborious process to pleat a n ’ A
hlpfixägg lfngu‘:
m‘ ‘Km
‘h3 h‘? 1°" Im‘?
thgead
e fänxggfor; gcsee “gute s)
T12’ - entire skirt by hand. stitch all of the
. .
seams except one.
fimsh the hem, and have the slurt pleated by a pro-
(Fm a" e“?
maf °f m level’ See age 8 ' >
e“;“ m m 0 ” p
5- P1305 3 *3?“ armmd ‘h3 Waisflmev mf°°fhmg
_ fessional pleater. Pressed pleats actually help to slen-
derize hips if the pleats are well scaled to the size 05
the fullness up under i! t0 88i the COTTCC‘
Wmflme- the figure. A plealed skirt is nol a good choicc, how-
ever. for a girl with a small waistline and a large hilf‘ 7E
. front to the
4 Mark the waistline from the center from the
the skirt line, as Figure 4 shows. For this type of figure. it
l9
unter back wilh pins. Remove the markings better to mount a pleated lower scction onto a filted
an d transfer
(am,smooth up the linc,
yokc.
to the opposite half.
’
62
 BASIC S KIRTS

a.4-H. 14-
t0 a
Difficulty ol
Fig.4. Difliculty
Figxl. adjusting a straight pleated skirt to
o!" zidjusting
Wllll a small waistline and large hips.
waistlinc
figure

Esfimafing fhe Fabric

skin is t0
Ihc skirt
l. lf thc to have deep pleats, width ol the
pleats. the widlh
material rcquircd
materiell reqtlircnl will bc
be lhrce Limes llie
the hip
largest hlp
measurcnlent, since each pleat
measurement, Limes ilIS
thrce times
plcal takes three ts

Figurc 5).
own depth (sce Figure Thus for a 37 inch hip „MLNHFLLL
‘l\lNl\.lsl\hITl\l\l\ \L-\xhl„l\l.l«
N\l\L\N>HLLLl*l‘
measurcnlent, the entire skirt width should be three
measurcmem, lhree Fig. PlCalCd skin
Fig. 6. Plcated adjusled a: hip level and each pleat
skirt is adjusted
lhrce inches plus the seam allowances and t0 the waislline.
[ m m the hip to waistline.
yards and Lhrce tapcrcd lrom
is tapercd
allowance for shrinkage. Fig.
Fig. 7. Poorly nnade
made skin.
skirt. All excess at waistline is fitted
plus
plus any neccssary
side scams (comparc with Fig. 6) .
at sidc
out a1
Heasure the lenglh
2. Measure a5 for a straight gathered
length as
skirt.
skirl. fhe Skirf from fhe Hip +0 fhe Waisfline (see
Adiusfing ihe
Adjusfing
Figure b)
I. Run a basting 7 to lrom the top and
t0 9 inches from

parallel to
t0 il.
iL. Pin
Pin this line to the [orm parallel to
form t0
floor.
the Hoor.
2. Taper each pleat slightly so [hat it enters the
waistline perpcndicular to it. lt is far easier to adjust
waislline adjusl
pleats on a form thah t0 l0 d0 it mathematically. lf there
is an 8 inch difference
diflerence between hips and waistline
of deep pleats is three times
requirement ol
Fig. 5. The width requiremenlt distribute il
dislribute it among all of the pleats equally. Some-
the deplh
depth of the pleats. Limes in a cheaply made skirt the excess a:
times at the waist-
line is fitted out at the side seams with the unfortunate
Finishing Seams and Hem
eflect
effect shown in Figure 7.
l. Pin and stitch all except one of the lengthwise Conceal the seams at al the under-creases of the pleats.
seams.
3. Baste and edge-stitch the pleats from waistline to
t0
2. Turn the hem on the straight crosswise thread,
finish and press it.
fimsh hips.
4. Mark the waistline, following the waistline
.3.oiHave thedesired.
_3.
size ol
snze
skirt pleated. lndicale the kind and
skin marked on the dress form. The waistline should not
pleats be on the crossgrain but should curve downward a: a!
4. After it has been pleated, rip back the hem on the Center front for a normal figure.
After
each sxde
side of the open seam and join the last seam.
5. Moum
Mount the skirt
skirl on a waistband cut on the Lhe
5. Turn the hem over the seam, finish‚
finish, and press it. lengthwise grain.

63
 ‘ H ’
Fig. 9. Procedure for draping a straight wrap-around
with the hem on lhe crossgrain and the hip level parallel
to the hem.
F lg. l0. Adjustment of straight wrap-around skirt from hip‘
to waistline (excess Laken up into darts).
Fig. 8. Straight wrap-around skirt. Fig. l l . Wrap-around showing darts at side.
side lront, and 5
l

side back.
Problem 3
l. Decide on the amount of overlap at the left of
DRAPING THE STRAIGHT WRAP-AROUND SKIRT
Center front, mark the center front the desired distance
(see Figure 8) back from the overlapped cdge, and pin the Center
front securely at the hip level. Keeping the crosswise
When there is a vogue for the very narrow, stem- around to
like skirt, the wrap-around often comes into fashion. grain parallel to the floor, continue to pin
the Center back at the hip level (see Figure 9).
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 Adiusfing fhe Skir+ from Hip fo Waisf (see Figure l0)
skirl, which Hares almost entirely
at the sides. For l. Fit out the excess with darts from hip to waist-
this reason it is often used for a suit skirt, particularly lt is usual to place darts at the side of the figure in
when the jacket opcns at the side Iront in line with line with the underarm seam o! the blouse, at the
the wrappcd cdge of thc skirt. The
skirt may, of side back in the normal panel position, and a! the
coursc, be wrapped to open
at the side back instead side front to balance the line of the opening. Slanl
(h6
o! a: the side from. lt is also a
lavorite cut for off the line o1’ the overlapped cdge slightly from
and ac- waistline to the hem so { h a t it harmonizes with tht
bordered matcrials, since the border follows nmterial i5
cems the wrapped line. Figure
12 shows the pattern hip silhouette. ll a bordered or slriped
used, it is bettcr t0 keep the cdge straight on the grflifl
shape. all the way from waist to hem. The less differenü
on fhe Form (see Figure 9) there is hetween the sizc ol the hipline and Lhe waist-
Adiusling fhe Fabric line ol the form which is being used. the {ewer
und
skirt (m the form. As the final will
Dmpe Lhe wholc smaller thc darts will be, and thc less slant them
makc the adjuslment from hip
szep in thc procedure, be on the ovcrlapped cdge.
w waist, a9 lor all straight skirts.
64
 BASIC S KIRTS

Problem 4
DRAPING THE TWO-GORE SKIRT
skirt is composcd ol two gores. One
This skirl ()ne
maltes
malaes
the entire front
lront and one the entire back of
ol sklrt.
the Ski"-
lountlation lrom
serves as a loundation
It servcs
lt from which t0 (lesigtl(lesigrl other
skirts through the llat-pattern blocking method‚ melhod, 3nd and
Cf
C.F.

together with the basic waist nrakes makes a

(62.8. Ln
ie
master pattern
‘La
L ap
p from which to dcsign the complete body of any de- de—

sired costume. lt is not, howevcr,

however, a good skirl
Sklrt l0 W63"-
W C ? "-

since most ol the Harc flare is certain to swing towvard toward the
side seams, and since the back ol’ ol‘ the skirt tends to
Nomn unc becatlse ol the lack ol
hip: becausc
thc hips of any
cup under the
HomuLino
gering
at the C e n t e r or side of
Center ol" thc back. l-‘or
For this reason lt 1s
unlortunate choice
especizrlly unfortunate
an espccially clloice lor thcthe heavy, broad-
Fig. l2. The wrap-amund skirt pattern.
wrap-around “General Principlcs o!"
Principles of Fitting",
figure (see
hipped ligure
Chapter 5, pages 193-196
193-196. . Another reuson
reason for con-
frorn center from
2. Mark the waistline wrth pins from front
the
tlte is that il"
lt" a tw0-
fining its use to master pattcrn
Figure ll shows the side view.
l to center back. Figurc
to
gore skirt fits smoothly whcn the wearer is Standing,
’ 3.
from the lorm and transfer all
Remove the skirt lrom olten seems
it ottetl uncornlortably tight when she is sitting.
secms uncomlortably
to the opposite half tracing wheel used
with a tracmg Although it is also sometimcs sonretimcs used as a suit skirt, it
ilines
glines
Ln
‚lon carbon paper or on a chalk board. is not particularly well adapted to this purpose. lt
the top on a band.
4. Mount thc serves very well‚ howevcr, as a master block pattern.
well, howcver,
[ o r the wrap-around
l2 shows the pattern lor draping the two-gore
Beforc drapirlg twugore sklrtskirt 100k
look at the diagram
Figure I2 sec the shape of o!
tskirt. ol the pattern shown in Figurc
ol’ Figure 22 to sce
the gorcs
gores that you are going to drape.

_
GORED SKIRTS
FRONT OF SKIRT
y Draping a gored skirt diflers fundamentally from
lraping a straight skirt,
‚Idraping skirt‚ and since the gored skirt is Esflmafing fhe Fabric (see Figure |3)
Esfimafing
‚y far the most important type, this difference should
by 1. Measure from the waistline the desired skirt sklrt
be
‘v thoroughly understand. In all straight skirts the
length and add 5 inches (3 inches for a hem allow-
\ams‚ ams, hiplevel, and hem run parallel to the grain, ance plus 2 inches for curving dnwn the waistline
rnd‘nd are either gathered, pleated, or darted to fit the C e n t e r front) .
from the side seam to the center

_
f: a istline. All gored skirts‚
aistlinc. skirts, on the other hand‚
hand, are

’ l
mposed of wedge-shaped pieces (called gores)
_mposed
‘.5 hich are always wider at the hem than at

3l d wider at the hip than at the waistline.

the hip,
A gored
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
ment with as you drape. Plan to make the circum-
ference
lerence ol" the skirt at the lower edge somewhat less
experi-

f irt fits the waistline and hipline smoothly and flares than one and one-half times the hip measurement.

’
utward
‚utward toward the hem line so (hat that the seams never
i: n on the same lengthwise thread lor for their entire if the hips measure 36 inches‚
For instance, il inches, the hem hem
Ü ngth, and the hem hem line and hip level are never on sweep should be about 50 inches.
E:
„' e same crosswise threads. Because a gored skirt is
o1 wedges that fit the waistline and hip line,
3. To find the center lront, measure horizontally
mposed ol
mposed from the selvage one-half
onehall’ the estimated width of the
can be adjusted to Hare
can flare at any desired point and skirt from
front at the hemline (see Figure l4)
’

" be made to take on l4).. Mark the

e; almost any silhouette. ltIt is front line clearly. Use a pencil if you are work-
center from Work-
fltly the most popular of all skirts because itlt is so
stly ing with practice material and thrqad if
thread markings you
' ptable not only to all fashion silhouettes but also
‚iivaptable
all figure proportions.
are draping the actual dress fabric. The center front
line should be on the straight lengthwise grain.
65
 173.13; ‘Fabric estimate for front gore.

the Waisilbine (see Figure |4)

Fix. l4. (1) Center fold position: (2) Shape o! waistline.
the shears perpendicular to the center front
curve that
1%indhes below the top and cut a freehand
The of the
tapers up t0 "the side seam position. length
curve equals the waistline measurement of the form
from the Center front to the side seam.

Adiusfing H10 Fabric on ihn Form

l. Pin the Center irom line marked on the fabric
1o the Center from of the form, with the top edge
of
the cloth about V3 inch above the waistline.
2. Pin the center front at the hip level. Check to
see that the center front hangs in a plumb line.
|5 a
Esiablishing ihn Side Saum Posifion (see Figures
and b)
the side view. Ideally,
Study the dress form from
the side seam should {all through the Center of the
waist and the ccnter of the hip in a plumb line to
i:
m:floor. lt should be directly on the side, so that
or the
i: not noticeable ( m m either the straight
{ront
fall perpendic-
direct back view. lt should appear to
and perpendic-
'

ular (o the floor from hip to hem line,

als: to the waist from waistline to hip. with 300d
Ant he figure has a sway back which throws the waist-
mme adjustment in
Fig. l5. (a) Side seam poaition for a figure
posture; (b) Side senm adjustnxcrxt for n sway-backed 50l"-
Sieiine’ fiorward and the hip: back.
66
 BASIC S KIRTS

rnecessary or
lnecessary thc
0|‘ scam will tend to
tlic side scani swing toward
t0 suvitrg

the
the back.
baCk. T0
To udjust
zldjust the skirt for this poslurc, tilt the
posture, -_
"side
‚iside seam
searn lorward from
lrom the n t e r of the hip
Center
C e
slightly
ol" the waistline where
to the Center of
. t0 meets the under-
wherc it n1eets
*arm
arm seam of the blouse (sec Figure l5 b). U, OH the
U‘, 0“
(see Figurc
fother
Äother hand, the hips are prominent in back, and the
ifront
front of the figure is vcry Hat, place
P1366 the side seam
593m
larther back to reduce the apparent hip
slightly farther‘ hip SlZC.
ilflf the
hips are Hat in back and the abdomen is
1s rela-
atidomen
ltively large, move the side seam line
Ätively Inne slightly forward.
I ln
In general, however, place the line at about the Center
'

of the hip, but always where it is most

."lof inost becoming to
-the individuul figure being
gthe heing fitted.

af fhe Hip Level (see Figure |6)

lAdiusfing fhe Grain a1’
The Character or “fall" of two-gore skirts is Con-
trolled
Ltrolled by the Crosswise grain is lowered
amount the crosswise _ _
along the hip level toward the side seams. The more
«along
-you lower the grain at the hip level‚
you level, the more the Fig. l6. Two-gore Showing grain adjustment at the
’l‘wn-gore skirt, showing
igore
’gore flares at the hem; and conversely, the less you hip level.
‚lower llares. The flare falls from the
i: the less it flares.
l o w e r it
1/2 inCh of ease from the C e n t e r front to the side seam.
1/‘,
fvpoints zu
.points al which you lower the grain.
This should be done because the total hip measure-
l. Smooth the fabric from the Center front toward ment of the skirt around the hips should be at least
the side seam along the hip level line marked on the
fthe 2 inches larger than that of the body. The hip expan-
ifonn.
iorm. Check the lengthwise grain to make sure that sion when one is sitting determines the exact amount
vit
'it stays perpendicular to the Hoor at the Center front of ease needed.
’

of the skirt. Supporting the Crosswise grain level for

‘of
about
about 3 inches from the Center C e n t e r front, pin the Cloth
cloth
fhe Side Seam (see Figure I7)
Adjusfing +he
Adiusfing
toto the lorm
[orm at this point. This should be done because
Fold the fabric
l. Fold [abric back over itself so that it drops
lowering the grain directly
‘lowering dircctly at the Center front throws
an Hare a:
‚an awkward flare C e n t e r of the figure.
at the Center in a line perpendicular to the floor from the hip level
to the lower edge. [old will be the side seam line.
edgc. This fold
_ 2. Experiment with lowering the grain from the
established in l 2. Place a pin
pin in the fold at the lower edge. Hold-
ipin
'_:pin step to the side seam. NotiCe that
if
jif the grain drops enough to fit the form smoothly at ing the fold taut, crease
Crease it carefully
Carefully without stretching,
and pin the lold
fold perpendicular to the edge.
both
‘both waist and hip, an undesirable flare falls near the
aide
Äside seam. This flare can Can be reduced by lowering the 3. Judge
judge the width ofol the front gore from the Center
Center
ain
grain just enough produce an easy straight-hanging
to front to the side scam at the lower edge of the
f "ne from the hip to the lower edge at the side seam.
Jine
edgc gore.
Since this distance is approximately one-fourth the
D0
i o not worry about the excess from hip to waist at Circumference of the entire skirt, it should probably
g 1s stage.
bthis be about I2|2 to l3 inches for a 35 inch
hip measure-
i‘ e3. In order to retain the silhouette as draped, pin ment.
v
1e fabric to the {ormform along the hip level line,
line‚ be- 4. Cut the
‘side seam with a generous seam allow-
ning 3 inches from the Center front and ending at
‘nning ance (I 1/2 to 2 inches)
(l 1/, mches) for possible
possible changes at the
anCe Changes fitting.
in
3- side seam. lfIf the hip measurement of the dress Wide
Wtde seams are especially necessary if it is the first
prm exactly corresponds to your own, ease slightly time you have used your dress form in
draping a skirt
tween the pins until the skirt has
„tween of this type.
approximately

67
 .-__.....‚-.‘

17. side seam adjustment, side view. Fng. I8. Back gore showing grain adjustmem at 1h:
level.

5. Tu r n the seam allowance to the wrong side and
re-pin it. Leave the skirt unfinished from hip to waist-
line.
„Note. The ptocedure for draping all gored skirts is
Lhe samc in the {ollowing details: (l) The line from
curve of the hips at the back‚ the excess at the top
edge of the skirt pattern has to be taken up into dans.
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
L_

that from is a: the lower edgg the larger the darts will be. The
hip level t0 hem should be adjusted, and size of the dart also increases with an increase in the f,
waist should be left unfinished until the entire
hip to difference between waistline and hipline sizes.
character of the skirt is established at all seams. (2)
level to lower should be l. Smooth the fabric toward the side seam across ‚i
The side seam from hip edge
Lhe hips, keeping the crosswisc grain level at the hip f
a straight line slanting outward.
line from the center back for a distance of 31,5 m4 Ä
inches, the approximate end of the hip dart, and pin
BACK OF SKIRT
the fabric t0 the form at this point.
Esfimafing fhe Fabric. See directions for
the front 2. Lower the crosswise grain toward the side seam
enough for a slender skirt that neither cups under
—
V

gore.
the hips nor flares out at the side in short, for l
directions for the front
Sluping fho Waisflino. See satisfactory silhouette for a foundation master skin.
gore. 3. Pin the fabric to the form at the hip level in one
See directions for
Adiusfing ihn Fabric on H10 Form. or two places from the point of the dar: to thc sidt
the irom gore. seam (see Figure l8) to retain the established SÜ" j
houette. Remcmber that any lowering or raising 0E
Adjmflng fbo Grün cf fho Hip
Level (see Figure |8)
Before draping the back of the skirt frnm hi_p
the
t0
of
Lhc crosswise grain at the hip cntirely changes the f!“ _
of the skirt.
b
-
*

11cm, i! in necessary to understand relauonshxp

4. Fold lhc excess above lhc hip inlo a dart runninß
’
vertical hip dar: to the proportions of the figure
outward from waist to hip and pin it temporarily.
.':z„«.‚c.x\

1nd 1o the skirt silhouette. Because of the

«

68
 BASIC S K I R T S

+0 Hem (see Figure

Adiuging fhe Side Seam from Hip
Adiusfing Hlp fo
5|9)l

thc labric ovcr on

l, Fold Lhe
I. from Lhe hip level
un itself [rom
— to the lowm"
lowcr cdge.
v
This line.
line, when it
il frce, should
falls free,
‘u und
and should flare
the lloor
.
> be perpcndicular enough
t0
perpcndictnlar
. to
[o mcel lrom edge
lhc lront
mcet the easily.
cdgc casily. C1
_ 2. Crcasc thc Lhc 101d stretching it.
slighlly without slretching
lold slightly je | I I I l-

Then pin it from lhe

lThen the hem
hem 1o t0 the hip, holding it t a u t __L_

do so.
as you d0
‚as Fig. 20.
Fig. Positilm of hip dan.
Position dart.
l

3. Trim
5. 'I'rim ofl"
oH‘ thc excess, allowing a seam ol
lhc exccss. of 11/2
Il/g t0 the skirt
" VVlICTC the waist
whcrc The dart in lhe
waisl ( l a r t mects it. Thc
. 2 inches.
should carelully conform to t0 the contour of the hip.
4. Pencil a clear cmssnxarking Lhe side seam at
crossxnarking on the The greater the dillerence in size between waistline
Lhe diflerence
lhe
llhe hip levcl. This is the balance point of the side
Ievel. und hipline,
and [hC greater this
hiplinc, Lhc lhis outward slant should be.
comrols the hang of the skirt.
seam and controls Too much
much outward slant incrcases the apparent width
'

A
‘seam
lhC back edge of the seam and slip of the hips. On the other hand‚ hand, i1’ lhe dart is parallel
if the
Unpin the
5. Unpirl sllp the
seam allowvance lorward under the front
allowance lorward from edge. Re-pin or nearly parallel to the
nr center back, the waistline ap-
Lhe Center
‘lhe seam lrom hip t0 hem, matching the balance
the heavy and blocky. Lcarn [oto place the dart
pears heavy’ dar: where
it will be most beconlinlg
i: becoming to the figure, and always
poims exactly.
points
make it lt appcar cominue the vertical dart at the
appear to continue
Chcck thc
(i. Check
6. (hat it is perpendicular
lhc seam t0 scc {hat
l

back of the blouse.

‚>1o
10 thc lloor 1mm
lrom Lhe hip l0 Lhe lower edge.
t0 the
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 per-
pcndicular 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
71/2 inches long.

Placing fhe Side Fronf

Front Waisfline Darf (see Figure 2|)
There mmust
u s l bc ease or
darting to
(larling t0 shape the fabric
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 two-
gorc sknrt Iront
gore skirl without a dart
from wnhout dar: has ttoo much ease
o o much
along the side seam lrom from waist t0 hip. Although ease
can be worked in
reasonably well, a skirt which is to
servc as a master pattern is more
Fig. I9. Side seam from
Flg. { m m hip t0 hem. satlsfactory if the
satisfactory
excess 1s
is taken up into a dart. Some master
ex‘cess Laken pattern
pattem
of fhe Hip Dari skm Iroms place the Lhe dart
dar: near the side seam so that
osilion Darf in fhe Skirf
Skir? Bach äkm ‘fronts (hat
’ants
{Position
y

Nollce
Notilce that
(hatthe waist dart in the
Bacl: (see Figure
back 0E
of the
20)
blouse
n. pomts toward the front from hlp
hip bone, especially if the
hnp bone 1s sharp and exaggerated. For the normal
lams
g mward
Inward toward the waistline, conforming to
t0 the figurtx however, the
figure. lhe dart in the skirt should be
ntour of body. The dart in the back of the skirt
1n;Vntour m line with that placed
of‘ (hat in the blouse front in order to form
r slants
‘vslams inward,
mward, and meets the waistline a: the
point good panel spacing for lor the master block
pauem,
pattern.

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.

hip m waist. Marking fhe Hem Line

v3.21. side front dan and side seam from
l. Check to see that the form is level and that itß
l. Smooth the lengthwise grain upward from the adjusted to exactly the correct height.
waistline at a
hipsso that it is perpendicular to the 2. Mark with pins‚ measuring with a tailofs squaxej
the side
point halfway between the front this and
dart
from the floor, or for speed, measuring from one pin
seam. Pin the fabric to the form at point. 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 Checking fhe Skirf
and the side seam into the shaping of the side seam. Before removing the skirt from the form. check i! 1
3. Lay a dart which coincides with the blouse dart for the following points:
and which slopcs slightly outward from the waist
to
1. The Center front and center back lines should ‘L
the hip. Push the excess under toward the center
This dart hang perpendicular to the floor.
from, and pin it perpendicular to the edge. 2. The side seam line should divide the figure be-
»

is
i: much smaller Khan the one at the back and
therefore shorter. lt is usually not more than 4 to 5 comingly at the waistline and hipline.
inches in length. 3. The side seam should fall perpendicular t0 the
floor [rom hip t0 lower edge.
from Hip fo Waisf (see 4. The side seam should enter the waistline pef-
-
Farming fhe Side Seam Line
Figure 2|) pendicular to it.
o! the
This line should be a smooth continuation 5. Crossnnarkings or hip balance poims on the sidc
but usually
line {rom the hip to the lower edge, seams should match exactly.
in ordcr to enter the waistline
curves slightly [orward
<
3nd
(i. The back dart should be bccomingly placed
a: a right angle. in Iinc with the blouse dart.
from waist
I. Tum under the iront seam allowance but not 7. The side seam o! the from gorc should
be
to the edge
w hip and pin it pcrpendicular to the
stretch slight slighlly cascd t0 the side seam o! the bnck gofe
{mm *5

imo the form. Be careful not hip l0 wuist ovcr the hip bone.
GING.

70
 B A S I C SS K II R TT SS

Thc waistlinc
S. The
8. clearh
waiatlinc and the hem line should bc clearl}
"markcd with pins.
'

.
_ 9. Thc skirt should
hip to hem
„

1 front
1'
fronl,
‚ side.
and
shottlrl hang straight
without
wilhout
without
any
anv
any
tmce
trace
suddcn
ot"
o1" cupping
awkward
in back
llaring
Haring at
lrom
und free from
struight and
or
lhe
the
°."’.“_"."1‘-
Cvossgraln

—
ÄPREPARING THE MASTER PATTERN FROM THE
v

Marking fhe Paflern

-Mar|ting
n

‘
l. Removc
those few
lew
PaHern
Remmc Lhc
pins
sxm
DRAPED TWO-GORE SKIRT

the skirt [rom the form, Laking

which are attached to
taking out only
the
crossmztrk the seams.
2. Mark and crossmurk
form.
2
ä
J5
Selvage
S
3
3-
Sewane
u

z
2E
.2
u’
„f
U
o

. (a) Mark material with pencil and all

practice malerial
other fabric
; olher fubric with colorcd thread lines or sharpened
sharpelted
rhalk
‘chalk beforc removing the pins [hat that hold the seams =
T
lnlnlnlululnlulnm’

w together.

V
_ (b) Mark the cdge of cach seam and each balance Figr 22
Fig. 22. «nueing the two-gore
Trueing [he [wofmre m a g e r skirt.
master 5kg“
point with C1621!’
poim lines, and crossmark once below and
clear lines,
twice above the
; [wice [h6 bakmcc
balance poim
point at the level.
[hc hip 1eve|_ Note. When smchmg
stitching the dart, curve the line lme
slightly inward toward the fold to taper the point and
(c) Mark the
lhe waistline and hem line.
w [he hollow of the
tu bridge over the [h6 back.
(d) Remove all
a“ Pms’
pins. 6. Tr hem line
u e the hem
True Iine by squaring out with the lhe L-
‚vTrueing fhe PaHern (see Figure 22)
iTrueing square Irom
from the
Lhe front and from
C e n t e r [ront
center fmm the side seam
until the two lines intersect.
intcrsect. On each of these lines‚
I. Smooth both sections of the skirt out flat on the
1. find the halfway mark between the intersection imcrsection and
‘table.
jtable. the Starting at front and side seam. join
starting poim
point center
C e n t e r Join
2. Draw a smoolh
smooth curve am at the waislline,
waistline, starting
Starting the
lhe two halfway points with the ruler. Then redraw
5
perpendicular
perpendicular l0 to the C e n t e r front and ccnter back and
Lhe center the line by hand‚
hand, curving it i: smoothly (see Figure 22).
.‘endin Pperpendiclnlar
jending erPendicular to the side sidc seams.
3. Smooth up the curves from the waistline to t0 the Tramfarring the
Transferring "w M°'ki"9‘
Markings bfo fhe Opposife Hd‘ of
OPP°SH° Half °f
-
hipnnt Fronf and BockBack Gores
ipline.
> 4. Rule the side seam lines from [rom the balance point I. Fold both
I‘ “Cm and back gores
the front
bom [h6 0E the
30m5 of ‘h3 skirt
Ski"
poim
l0
‘im the hem. Press
{h6 hem_ press the ruler
„der down against the [h6 fabric
on the center lines.
cgnter
perpendicular to
lmcs. The crosswise grain must be kept
t0 the
Lhe lengthwise
you d0
‘f’ von do so’
so, to
[0 prevent Slipping.
slipping. Rerpendlbculfu‘ lenglhwise grain in both layers
Rule.
Eule. Gore edges in a“
since itn 1s
is liable
hable to slip out of positicn in the under
skirts must be
all gored skms
layer.
straight,
„hip
traight, outward-slanting lines from the point on the
p at which the skirt breaks away from the body to
11:91::
2' Pin um
2. pm
_
the two 137°“ together.
‘W0 layers ‘Ogether-
._ e hem line. Always mark these edges with a ruler.
_the 3. Trace around the trued
up pattern with a trac-
5. True
5, Trug „p
up all dar; “ms
a“ dart lines Wim with a ‚ulen
ruler. The back ing wheel on carbon paper or chalk board to transfer
mg
an as pinned is usually a slight outward curve that
_
7

glatt a“ seam “"85

all lines and crosslnarks m the
Cmssmarks to und" layer.
‘h6 under 137°‘-
v 1th
V
n
fmphasizes
th ruler lmes.
lines.
_
phasizes the hollow of the back. Replace this curve 4. Cut with
wiLh seam and hem allowances.

71
 l5.’
Et dmnges
.1 aslxioxiiyinithe
A

the
grace; and ‚individuality ‚und. will notß. büßte
typed. This is never moreitn-xe (hin„inxdm
V
since each one is certain to show the individualn
the draper.
Ställe" decrease» tlte width of the hips by
l

placirxginearly all‘ of the Bare over the knees. thus pro- Esfimafing fhe Fabtic
«ducing {elender side silhouette, lt is a graceful skirt,
V

n0: onlylfwhen the wearer stands still, but also when Because the top and bottom edges both curve, Ä
she moveä; A
l

extra length to shape them when figuring the lengflj

of iabric required. Measure from waistline to hell
‚

Beforeeliäping the six-gore sbkirt, consider the fol-

line and add the hem width plus an allowance 0U
lowing points on panel spacing and study Figures 23,
inches for the curves a: the top and bottom.
i

24. 2nd 25.

(l) Always avoid equal spacing (see F igure 25). Draping fhe Center Fron} Panel (see Figure 26)
The Central pancl is usually wider than the two side f
l. For a half muslin pattern, smart with the selvage
ones unless Lhe figure is very slight or the design re-
at the center front; for an entire skirt to wear‚ esti-
quires a narrow Central panel. mate the approximate width of the Center panel atthe
hem line (the widest part of the panel) and add a
\Ä_‚L/ generous seam allowance on each side. l-lere the direc-
tions 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“
Panel divides skirt into factor in establishing the final silhouette of the 5km
175x13, Poor panel spacing: (I)
Central panel is parallel to center Although oftcn at the hip level. it may be placed abojle
m “ ; equal spaces; (2)
(mm.
1753.24. Good panel spacing: (I)
„ _ _
Panel dmdes 5km be-
or below that line at lhe poim where the seanx begms
to slope outward more sharply.
at waistline.
comingly; (2) Panel lapers ' 5. Mark lhe panel width at lhe break poim and
25, Central pancl is too wide and does not taper mto
Ei; also at the hem line.
waisxline.
72
 BASIC SKIRTS

Senam
m

Sidce

[ront panel is draped from the side seam for-

Fig. 27. Side front
Fig.
Fig. 26. Center lmnt pancl,
panel, six-gorc skirt.
skirl. ward t0
wartl center lmnt
m e e l the cenler
to meet lrom panel.

6. Crease a lme belwcen these two points,

line betwcen holding
points. holtling graiti, il
the straight grain, if it is not easy t0 see, so [hat
(hat the
. lhe labric tuul
the without stretching it.
t u u t withotit exacl amount
exact anlount ol" outward slant can be checked.
_ 7. Cut with a generous seam allowance (II/Z 0% inches) 2. Crease and pin the fold.
r o m the lOWCI‘
‚ flrom lOWCT cdgc u; the
edge to tvaistline. The
Lhe waistlinc. pnnel nar-
'I'hc panel 3. Place it at the side scam position so {hat that it falls
i rows lrom
:.rows from the
thc hip lcvel
lcvcl t0 the uuiistlinc.
wuisllinc. Adjust the 111c
perpentlictilar to
perpendicular the lloor,
t0 thc i1 firmly t0
Iloor, Pin it to the form
spacing ut
; panel spncing
‚ nt thc waislline later.
the waistline in two
[ w o places—
—— at the hip and again above it (see
a1
8. Either
Eithcr take
takc the panel olf ofl the lorm t r u e it up
form to truc Figure 27) .
from hip l0 lower edge or t
1o Iower (u the seam allowance
u mm thc
‘
4.
4, Smooth the fabric lorward a: at the hip level and
_under on the crcase (‘rease and pin it i1 perpendicular t0 l0 the
while it
ll is
i: still on the
Lhe lorm. pin it to Support
support the crosswise grain in a practically
ietlge
edge level position
level position for about 3 inches from the side seam.
From this point let the grain drop toward thc
lDraping
Draping fhe Side Front
Fron? Panel (see Figure 27]
27) t0 introducc
lront to
the side
introduce the flarc. Continue
Lhe Hare. Cominue t0 pin and drop
_
lt would bc lpossible
gram to the lorm
egrain torm at
l>in
to pin
JOSSlÖlC t0 thc strai
the
zu the centcr ol
ht len
straight
ol’ thlS
_g 8thwise
lengthwise
this panel
b

panel and t0to

the grain slightly t0to the side lront
front seam.
Note. Il the grain drops at once [romlrom the side seam
‘drape outward in both directions,
drape oumard direclions, but it is easier, and it Lhrows
throws the llare toward the side. By Supporting the
it‚it savcs fabric, to start at
an the side seam and work for- supporting
‘ward
ward to the side lront. grain level [lor
o r at least 3 inches,
inches, the flare
Hare tends t0
to fall
am
ut the side front
lrom rather than a: at the side seanl.
seam.
I. Eslablish
Establish the side seam line before placing the
n. Fold the fabric back on itself,
7

fabric on the form. To

‚fabric T0 dod0 this, lold under the seam slanting it for-
ward enough so (hat
that the panel hangs perpendicular to
ällowance,
allowance, puuing
putting in the
lhe desired Hare from hip to t0
lhe
the Hoor and so that lt imroduces
[hat it introduces the right amoum
hem.
em. For a narrow Silhouette,
silhouette, do not slope out the amount of
Hare at the side front seam line.
"de
side seam more than ll/Z11/2 inches at the hem line. For
slender figure and for a very narrow, stem-like skirt
t
6. Mark the width of the
panel at the lower edge
panel
Thouette, an increase of y,
"lhouette, 3/4 inch from hip to hem may ol the skirt with a pin and crease the line
ol"
carefully
‘V
ut „
ä enough. To save fabric, use the slanting edge just
„t from the cemer from panel and reverse it. Pencil
center front
between the break
7- Cul.
brcak point
poim and the pin
Cut, leaving a 11/2
pin at the lower edge.
1%inch seam allowance.
73
 tÄo; die 154m6 whätdgl; toistart‘
be done with a seamällowance 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 floor even u»
the flare is pronounced. The panel should be {

mag 28. Jqining oi cemer from and side from panels.

8. Crossmark clearly at the break poim.
enough at the lower edge to ripple, but not so
that the flare 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

9. Tum the side. front seam allowance forward and
l

.
edge (see Figure 29).
lap the cemer section ovcr it. Join the two (see Figure 7. Cut with a wide seam allowance (11/4 to 1%.
break
28) v,pinning perpendicular to the edge from the
inches) to allow {or let-dut.
‘

point down to the hem line.

8. Fold under the seam allowance and repinä
Note. Both the side seam and the side front seam
should fall perpendicular to the floor from hip to hem. carefully without stretching the bias line. Figure 30 '

shows the panel when it falls free.

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 unfinished 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 the pro-
to imroduce a new problem here, we give
the
cedure for adding a low-placed rippling flare at
used in
side back. The two kinds of flares may not be
ehe aame skirt, but there is no reason as far as design
i; concerned why a skirt should not
have a slight flare
at the back.
a! the front and a decided ripple
follow the
I. Pin the cemer line, which should
to the center back of the
su-aight lengthwise grain, Fig. 29. Center back panel llaring low.
v

after IhC
[arm at both waist and hip. Fig. 30. Panel [alling perpendicular t0 the floor
it to seam i: clipped.
2. Smooth the fabric across the hip and pin
74
 BASIC S KI
I R T SS

on each side ol the seam or lallsfalls into a deep unpressed

fold or
o1" pleat.
l l

E Fold the fabric back on itself and pin it ÖCIWCC"

7. Fold between
J! and the lower
3 Y of
the point ol’ break edge.
J, I
f B. Cut with a 11A
8. 11/, to 11/2 inch
inch seam allowance.
Hin '
LWOI
9. Pin the scam from the break point t0 to the hem,
q
f- 4.,
this time with pins running in the direction of the
seam so that the ripple falls as il
if iL
it were stitched.
[0 make it hang perpendic-
the seam slightly t0
Stretch thc
H001".
to the floor.
ular t0
Note. Since a bias line tends to bow out in the
centcr
c when it is stretched, straighten this line with a
e n t c r whcn
long ruler when trueing up the pattern after removing
it from the form.
Caution. When you drape the side section of a
Fig.3l. Side hat}; pancl is draped lrom the side seam to-
Sldc back to— easy to become confused and c u t in
gored skirt, it is eas_v
ward the side back and pinned t0 to the c e n t e r back panel on the grain a:
at the lower edge of the side section.
from t0 hem.
‚from hip to Since every gore cdge must always be an outward
Sincc
carelully before cutting thc
slanting line, check this carefully
Draping fhe Side Back Panel (see Figure 3|) of the side
cdge
edge gore.
_ l. Start the side back gore the Ssamc a m e way as the side
- front one. F01" For a slender side Silhouette, slant out the Adiusfing fhe Skirl
Skirf from Hip ‘lo
fo Waisfline (see
(See Figures 32
‘side
side seam about lI/g 11/2 inches from hip to lower edge. and 33)
lFoltl
‘Foltl und pin the side seam scam line tot0 the lorm in two [wo
Although the skirt is still unfinished from hip to
_
‘ places, at the hip and again above it. The line should
waistline, its character has by this stage been com-
‘lall
fall against the side seam edge of the skirt front.
pletely established.
2. Smooth the fabric across the form toward the
center back. Support the grain ncarly level for about
Center

_
.3
3 inches, thcn drop the grain toward the Center c e n t e r back
panel to introduce llare at the lower edge.
panel
3. Pin the side scction against the Cc een 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

_ 4. Trim the scam from {rom the waistline to the point

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,

‚f enter
enter panel.
5. Let the grain drop from this point for a
. u a l to that
_ [hat of the Center panel.
ripple

‚- G.
anel
6. Place a pin at the lower
edge to indicate the
anel width. The seam usually hangs better if it flares fiares
on both edges. However, if you
’ually
ually 0" the Center
place more
i’ 9 0D
F"? panel, a one-sided ripple swings
panel‚
F"
rät 0_V el'
01/61"
the seam away from the center back. An 32. Six-gore skirt front
ahzed flare, on the other hand,
«ä-ualnzed hand‚ balances the ripple Flg.
Frg. completed.
completcd.
Fxg. 53. Six-gore skirt back completed.
F1g.35.

75
 f grain in both the side
fmnt-‘i-antlside bafick pälnels 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.
(a)
I5. Froui the’ Center of each side gore, work the ex- - —
cea fäbric toward the Center front and back, and lap (b)
at
(heoemer panels over the side ones‚ pinning right
angle: 1o the‘ edge. Fig.34. (a) Poor. Side pleats laid on the grain formt
6. From the Center of each side gore, push the ex- panel which appears narrower a: the hem; (b) BettenSülC ’

cess toward the side seam and pin to the form at the pleats gored out slightly harmonize with the contour
also increase the hem width.
waistline. D0 not stretch the waistline seam, but do
not leave any ease. thighs and a relatively small waistline, since
meC7:
of a 5km
7’. Lap the front edge of the hip seam over the baok, always unconsciously compares the shape
easing the front slightly as you attach
it to the back,
for pin-
panel with the silhouette of the figure.
Another
outward
m:
and pin it a: close imervals. (See directions son for goring the pleat line slightly (See;
skirt, page 70.) is to widen the lower edge so that (h:
ning the hip seam of the two-gore Figure 34b)
a press bei?
8. Mark both the waistline and the hem
line with pleat will not spread apart and will hold contributc :
1er. Pleats popping open a1 the lower edge
pins. But since it is,
nothing t0 neatness and slenderness.
far olf th!)
impossible to press pleats (hat are very ol IhC_
DRAPING THE SIX-GORE SKIRT WITH
A grain, there must be a seam at the undercreaseor
of two man’
pleat, and wherever there is a group
PLEAT IN THE GORE be a seam at the undercrease o‘
pleats, there must
62-63 was a each one. Otherwise each pleat lolded imo the C1011?
The pleated skirt explained on pages takes on more bias than the one before and nenhd;
all around. A side pleat
straight skirt and was pleated if laid on presses nor hangs well.
in a gorcd skirt, however, hangs awkwardly The fiber and weave ol" labric for a pleated
Ski“;
the grain, and the Center panel if absolutely parallel must also be considered. 'l‘he labric should
not only
w the center front appears narrower at the lower edge
M

line take and hold creases but should stand many p“?
lhan a: the hips. This is because the silhouette to choicc unlesv
the ings. A firm wool is obviously the best
o! the skirt flares outward all way {rom hip l0‘
l
hem, whereas the center panel line remains
width a: shown in Figure 34a. The optical
the same
illusion
it is too bulky or heavy. Pleats
example, stand out awkwardly, and the
in heavy tweed.
seams at 1 1h‘ 5
5
undercreases are thick and clumsy.
inevcn morc apparem on a figure
with heavy hips anal ä
1

5
76
3
ä
 BASIC S KIRTS

Center Panel wifh

the Cenler Pleat in fhe
wilh a Side Pleaf
Draping ‘the
Fron? Seam (see Figure 35)
Side Fronf
21s lor the Center front
i

l. Follow thc same procedure as

the samc
ol a rcgulation six-gore skirt, but add to its
panel a seam allowance.
lwidth the depth
iwidth ol’ the pleat plus
(lepth ol 4

2. Pin the panel to the lorm at the wvaist waist and hip c.r.

on the center
Center front. 3} l

3. Measure the width of the panel at the hip and Seam

also at the hem. lt should not increase more than 5/, 3A sSindde
l
.
[o l inch at the lower edge, which is just enough
to to b

make the panel appear to be straight. The amount of

ol und

Silhouette ol the in-

increasc varies slightly with the silhouette „m“

‘dividual
dividual Figure.
figure. 6
"e."
4. Mark with pins the panel width at hip and hem.
5. Dccide on the top point of the pleat.
‘
A
G. Decidc on the depth (width) ol the pleat.
6. \*‘"«*N
wx
\sx\»
e.\„x\“.‚

7. Removc the panel from the form torm and rule the
line
linc marking
Inarking its edge, then, parallel to it‚ the line Fig. 36. Side [ront
lront panel Showing allowance for pleat.
pancl slrowing
of the Fig. 37.
Fig.37. Side front
lront joined t0 front panel and pleat
to center lront
‚marking
marking the
[llC depth pleat.
pinned at undercrease (shown by dotted line).
8. Cut with a seam allowance, fold on the panel
fhe
p

line, and pin.

‚line, the Side Panel wilh
Draping fhe P|ea+ in lhe
wifh a Side Pleal’
9. Replace the panel on the lorm and pin it along From‘ Seam (see Figure 36)
Side Fronf
the Center
the und agaiti
center front line at waistline and hip, and agair} l. Follow the same procedure as for the side front
at the side front at the hip to support the crosswise regulation six-gore skirt, but add the depth
ol" a iegulation
panel ol
rain. of the pleat plus a seam seani allowance to the side front

edge.
2. Establish the side seam position and pin it to
‘l the lorm, andund pin it to the form again at a polnt point about
three inclies in from
tllree inches lrom the side scam. seam. Then lower the
Cf. crosswise grain
graixl slightly toward the, lront tront to introduce
just enough width on the side section so that the pleat
will stay closed. A sudden dropping of ol’ grain would
a
produce ripple which would be inconsistent with the
shurply pressed pleat edge next to it. Anchor the side
sharply
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 mark-
I
ing on the Center
mg Center panel, and measure back from the
4 1/0’ fold the depth of ol the pleat plus the seam allowance.
.35. Center
‚'
;_'nt.35.
nt seam.
lront
front pancl with a side pleat in the side
Trim. leaving a 11/,
Ö. Trink
Ö- 11/4 inch seam allowance.

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,
pmning the 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 Fig. 39. The lines of a plaid curve in a four-gore
skirt.
is
straight. Try both kinds and you will see that this
true. Problem 6
When stitching is objectionable across the top of’ a
the pleat DRAPING THE FOUR-GORE SKIRT
pleat (for example‚ in a soft crepe) , carry
at the
up to the waistline so that it can be supported The four-gore skirt with Center front and back seams ‚

belt line. lt can then be stitched down as far as you

can be adapted to either tailored or soft styles depend-
wish on the wrong side in order to avoid top stitching. it
ing on the amount of flare introduced. Since hasonly _
one seam in front and one in back, the possibility d
is
introducing flare by slanting the seams outward
must come
very limited, and any pronounced ripple
toward
primarily from lowering the crosswise grain
circular
l

the seams. This produces a softer, more type

of skirt than one that is gored out at the seams.
l‘
be inlroducfida
any appreciable amount of flare is t0
Lhe Center fronz and back seams have to be so mufh
on the bias that the design is not suitable for fabrlü
{hat are loosely woven or stretchy, since such fabrlü
i

pattern ol
them. The Ü“
need more seams to “stay"
fabric must also be considered in choosing this ‘YPC
of skirt. The diagonal lines of a (will. for examplt»
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 firm, S?“
5km
fabric without pronounccd pattcm. thc four-gorf
is a good choice ol cut, espccially when lhC deslgn°
box plcat in a side {mm gore. Pleals
Fig 38. An invertcd the drcss locuscs interest at thc ccmer o! the figurfv
are apt t0 spread apart.
78
l B A S I C S KIRTS

Lenzth in:
Lcngm Flnu
lov Flan
fhe Fabric on the
Adiusfing the
Adjusfing fhe Form (see Figure 4|)
py
1. Establish
l. Establish theLhe side seam line before placing the
w:ist Sea
Wmsl seamm
fabric on the form. Fold Fold the seam allowance under,
under.
Hlpwndlh o Ulorflave
1/2 Front Hlpwndlh wlorFlare sloping Out
o u t l inch
inch from hem for a narrow sil-
hip to hem 51l-
houette. On a selvage, fold the fabric back l lflCh at
inch
the lower edge and 2 inches at the hipline, and pm the
fold perpendicular to the edge.
creased fold against theform
2. Place the Creased at the
Slnnnntl
theiform to the
sSeeaum
the hip so (hat
side of Lhe it falls perpendicular
that i: perpendlcular
Hn
Map
n floor from hip to hem.hem.
3. Pin the fold to the form once at the hip level
and again 2 or 3 inches above the hip level, so (hat that
the seam will not shift. Except for a generous hem,
the excess length should all be above the waistline.
Horn
Harn
Donth
Deut}:
Adjusfing fhe
Adiusfing the Flure
Flare a? the Center
af fhe Cenfer Front Fron} (see Figures 4|
Fig. 40. Fabric estimate for four-gore skirt. and 42)
l. Smooth the crosswise grain along the hip Ievel
1. level
fimafing the
Bfimafing fhe Fabric (see Figure 40)
from the side seam toward the Center
line lrom C e n t e r front. De—
De-
l. To determine the length
.
length of the panels, measure Cide
cide at a: what point you wish the first flare to t0 fall. This
rom the waistline
1mm to the hem line and add a hem al-
will usually be over ovcr the knee and about 5 inches in
owance and a waistline seam plus approximately 4
from the rhe side seam toward the front. Pin the fabric
inches for lowering the grain to produce flare at the
nches
l0 the form at this
5ower edge. t0 lhis point on the hip line. Above this
ower
V pin, smoolh
smooth the lengthwise grain upward upward so {hat that it is
2. Measure around the hips from the Center front perpendicular to the waistline. Then the fabric
pin
r
r back to(o the side seam and add at least 5 inches for 1o the form at the waistline. lf
to If the lengthwise grain
are
iare at the lower edge. As the
lhe Hare
flare increases‚
increases, the extra
extra is not anchored perpendicular to the waistline at this
englh lor
ength for lowering the grain must also be increased.
point, the flare will swing out toward the side seam.
poim,

_
2. To T0 drop the grain from [rom this point toward the
-4 front, slash through the excess fabric above the
C e n t e r lront,
waistline (lown
down t0 to within 1/2 inch
inch of ol the waistline seam

_ 4
Set.--
(see Figure 41).

from
41) .
3. Drop the grain at the hip Ievel level lor
front flare and pin to the form along this line to the
for Lhethe Center
Center
1 3' ü-C

C e n t e r front (see Figure

42) .
4. Smooth the fabric up to Lo the waist and pin
4 along
the waistline toward the center
Sdiesleam C e n t e r front,
stretching the
fabric slightly.
5. Trim the waistline seam to
ß inch.
1/2
Note. A very slight drop in grain
produces a prac-
tically straight skirt, whereas a decided drop creates

FigAl. Four-gore-adjustment on the

F1
lhe form.
a circular, flared effect.
the amount {hat
the figure closely
eflect. However, there is a limit t0
that you can lower the grain and still fit
Closely from hip to waist. The greater the
flare, the higher up it i: must begin. A skirt which flares
to

79
 Follqw 15KG; 98m
are-Üfallsi a; _
hsp cum. even fliöugh ztgaskinhmrnix»
'
- *
'

hips t0 wahr; r

-
Adiusfing fhe Sidc Salm ‘vom Hip b Wckflino
41-4‘- 1. Smooth the fabric from the center of the; _‚

w‘ toward the side seam line. Pin the waistline ito

form a: the side seam and trim the excess abov
i
v

3/4 inch. Allow a more generous

4 «
173.42’. Four-gore —-aiTangement of the flares.
directly fmm Athe waistline should more properly be
side seam nur
waistline for let out, since a prominent hip boi
the side front, or a decided side curvc on the A„g
throws the flare to the side. To ofisct (bis it i:
‘

dassified as a circular skirt. See directions for draping

Lhe circular skirt, pagc 85 . sary to lower the grain a: the waistline near die
“

lt i: also true that the more the skirt flares the more
i

seam and to ease the excess into the seam from‘

curved the waistline becomes, which makes i: necessary hip to the waist.
to clipßand stretch rhe waistline to fit the figure closely 2. Fold the fabric back upon itself and trim i

above the hips. seam to leave an allowance of about 11/4 inches.

and place-
Study the skin contour for both amount 3. Crease the folded seam line, turn the f:
ment o! flare. Guard against placing the flares far out
a: the under to the wrong sidc on the crease, and lap
toward the side of the figure, leaving a flat area
front over the back, pinning it perpendicular to
C e n t e r, for the flares would
then have the same broad-
Yet if you place all of edge.
ening effect a: a wide panel. out Caution. Crossmark clearly the hip level balm
lhe flare at the Center front seam, the Hare swings
to flares so that points.
awkwardly from the body. Try place
is
the silhouette good from all angles.
Mnrlzing and Truoing fho Pafiern (see Figure 43)
Marling fhe Cenfer Front Line (see Figure 42) 1. On the side seam, crossmark the back and! w
to the floor a: the hip level and twice above it, in order tovdir
l. Mark with pins a line perpendicular
tribute ease along the front edge. Rule the side
from waistline to hem. from the widest poim of the hip curve to the hem-
allowance.
2. Trim the seam with a 11A, inch 2. The waistline should be marked clearly und!“
thc
curately. Since the curve of this line controls
Martin; fho Homlino tion of the ripples, any Variation in it will aifect __
skirt. the waistline on l S“
l. Adjust the form to the correct height. hang of the Support
waistband to preserve the curve exactly before fit“
2. Mark the hem line with pins. the skirt.
inches, a:
5. Cugallowingagenerous hem (4 the least). 3. Since the center front and Center back selmii‘
I! die flares are roo exaggerated,
raise grain to
T his reduces the hem are on a sharp bias, stretch them slightly. Thß»
rcmove some of Lhe fuilness. though necessary, bows o u t the bias line
even ü! 3
skirt.
maep but shortens the _.'„\s_

80
.—_
e‘

„M
M

.
L
 B A S I C S K I R T S

i! i5
|1 1s t0
‘O
Keeping in mind this one variable, posslble s
summarize
g u n n n a r l z e the prmclples of draping all PO-‘jibfi?
gored
gore
principles drapmg snr
siuirls.
The factors determining the character (the pOSItIOD
Charncterarei posltlon
and amount o!" flare) of all gored skirtS
o1" Hare) sklrts 8T?!
l. The amount and the xide
1. side of the gore
towztrd
towaird
which the crosswise
whiCh Crosswise grain is dropped at the hip hnp line
llne
within the gore.
m o u n l that the seam edges are slanted
2. The aamount slanled 0U‘
out
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,
3. The size and location is‚
Contour of the figure itself.
the contour

Shape of Gore Edges

l. All gored skirts have ruler-straight outward slant-
1.
ing lines at all seam edges from the point of the break
_Fig.43. Line a shows how the Center
Fig.45. from seam bends
center front down, {all perpendicular to the floor if
clown, and the seams fall
outward
outward whcn
when stretched. Line b shows the center from
Center front the fabric is soft and clinging. The seams e n t e r the
trued
trucd with a ruler. Line c shows the Center
center front line after hem line perpendicular to it.
tension is relaxcd.
2. The lines of the skirt from the point of the break
it originally appeared to be straight. To correct
correCt this to the waistline are all straight lines slanting inward
’bowed eflect, follow the directions below (see Figure
bowed a:
at all edges except
exCept the side seam, which
whiCh is curved.
Curved. All
43) :
43) seams enter the waistline perpendicular to it.

(a) Lay the pattern Hat on the table with the cross-
Cross- 3. The waistline
waistliixe and hem line are curves meeting
wise
fwise threads ut
at right angles to
(o the lengthwise threads. the sides of the panels at right angles.
(b) Stretch both Center front and Center
center back
biases.
‘lbiases. Posifion of fhe Lengfliwise
Position Lengfhwise Grain
(c) Lay a yardstick on each of
o! these lines and chalk
Chalk 1. Drape Center
l. c e n t e r gores for two-‚
two-, six-‚ and ten-gore
ew straight lines. skirts with the straight lengthwise grain at the Center
of the gore.
2. Drape all gores which whiCh have evenly balanced
UMMARY: PRINCIPLES OF DRAPING ALL
.-UMMARY: flares with the lengthwise grain at the center.
—
R RED SKIRTS
Center.
3. Drape side gores and those with more flare at
one edge than the other
; After you have
'_ by establishing the less flared
draped a two-‚ four-, and six—gore
two-, four-‚
edge first between the hip and the hem line. The
irl and have introduced
i irt
pleats as well
weil as flares into
e
.

‘
e gores, the draping of eight, ten,
res presents few
_res {ew new problems. The
ten‚ or even more
principles and
minimum flare should be 3% 5/, to 11/2 inches.

[ocedures are always very much

muCh the same with one
focednres
'- ceptlon. CIRCULAR SKIRTS
Ception. As the gores increase in number and Con- con-
Q uently become narrower, the flares must be intro-
Ä_uently
The hem sweep of a circular
Circular skirt is determined for
ced more by slanting out the edges of the gores than
nced the the
3 lowering the grain within the molst Part
mo-st by mtenslty of the an;
mtensity am 01- u f y e o;
o;- ccuwe of
A_ gores. the waistlme
walstlme of the slurt
skirt m
in relauon
relation to the waistline

81
 .. liawflifl ßflüfl
.
'
»

The 30kg:; Lgenerally am; from ‘w:

‘arked diff renöö b:
o

level or lowgr, but the full circular skirt “statt: q}

‘

(0 ilafe” theiwaistlihe or immediately below it. ally in the back, but on a few
Cirtular skirts arei of four general kinds, according cided curve on the side of the hip; H‘. you
i

to the amount of sweep a: the hem line. These may number of dilferent figures and carefiu
be called: dilferences between them in waist 4nd hip. u
ments, it is easy to understand why normal
(I) the normal, skirts vary so much in the amount of hem sw
(2) the less-than-nonnal, in the location of the flare.
(3) the greater-than-nonnal, 2. The Less-Than-Normal Circular Skirt (see,
(4) the maximum. ure 45) fits the hips smoothly but has less flare 5E
hem than would ordinarly result from the dilf
l. The Normal Circular Skirt (see Figures 44 a and
between waist and hip measurements. The hem s
b) fits the waist and hip lines smoothly. The hem is controlled either to fit the limitations of a u:
sweep is determined by the dilference between the fabric or to get a particular silhouette. An example
'waistline and hipline measurements of the individual this is a skirt designed with a very Hat, plain freut"
figure. That is‚ the greater the difference between the order to contrast with a bustle back. Such con;
waist and hip sizes of the individual, the greater the is essemial to relieve the flatness 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 ;
3. The Greater-Than-Normal Circular Skirl (auf
Figure 46) is the typical one. lt fits only at the
Wahl-i
line ancl flares 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 figulta
lt may, however, be used to camouflage broad hips“:
the waistline is small and the fabric is still enough m:
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 1h‘-
direct result of thc character of the fabric chosen.
4. The Alaximzun Circular" Skirt is a complete Cifd‘ i
l‘
with a hole cut in (h6 Center t0 fit the waisuiuxe.
(a) (b) flares straight out to thc hem without fitling the W7
at all below the lcvel ol’ the waaist. Although this ä
C0‘
circular skirt. The waistline of thc
Fig. 44. (a) Normal is called "maxinuun," it is possible (o increase ‘J
1h‘?
to thc hips: (b) Normal Cifcülaf
figure i: small in relation
sweep still lurlher. ll thc cumplete circle has “d”;
in relation 1o the 3
1km. The waistline o! the figure is large
hips. 82
 KIRTS

Problem 7
DRAPING THE NORMAL CIRCULAR SKIRTSKlRT
(see Figures 47 and 48)
48]

which the
remember, is the skirt in wllich
This, you will remember‚
sweep of the hem is controlled largely by the diffefenfle
dlffereflce
between the waist and hip measurements and by the
contour ol body. The following directions are for
of the body.
hall-pattern in muslin. The estimate of
draping a half-pattern o! ma-
_ma—
required will depend largely on the deslred
terial required desired
length of the skirt.

fhe Fabric on fhe

Adiusling lhe
Adiusfing ‘lhe Form (see Figure 47)
I. Place the selvage of the muslin at the center front
l.
of the lorm
ot’ 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
ß inch waistline seain.
a 1/2 seam.

Note. Since this is a half-pattern,

half-pattern, the Center
center front
should be placed on a lengthwise fold when you cut cut
s} the pattern
pattem from actual dress fabric.
i545. Less-than-normal circular skirt, Showing
ig.45. showing excess 2. Pin the cloth t0
to the form on the center front at
i’! rted oux
out ol waistline. the waist and hip with the selvage falling in a
plumb
Fignlö. Greatenthan-normal circular skirt that fits only at
\ig.46. a1 line to the floor. Clip the selvage if it draws or curls.
e waistline.

—
he waisilinc.
ut l in the centcr L0 fit not the entire waistline but
C e n t e r to
‘
ust the waistline front,
‘ust lront, and this circle is slashed from
Adiusling fhe Crossgrain
Adiusfing
‘..ee center
Center to the outer edge and seamed to a’ circle Drop thc
the crosswise grain from the centerCenter front
from
g._‘ at
a! fits the back, there will be twice as much
much fullness. toward the sidc seam enough to fit the waistline
snugly
I.
i eets‚
ts, marquisettes, and chiffons, unless buoyed up by and the hips with slight ease.case.
nusual lullness, hang limp and appear to be
Inusual l. Pin the fabric at the waistline about 2 inches
Ä
l he
skimpy.
he fold upon fold o! of these exaggerated circular cuts from the ccenter front, keeping the crosswise grain
e n t e r lront,
"lso deepens the color of transparent fabrics. The
lso level.
bouflant elfect at the upper edge of the skirt can
ulfy boulfant
iufly
ien be increased by cutling 2. Clip through the excess above the waist to the
ven cutting the hole at the Ccenter
e n t e r of
e circle larger than the waistline of the figure in pin.

‚ ‘

er t0 gather it. Flares that come so close

irder
d start at the waistline are
together
becoming to petite, small-
Cisted figures only, and their exaggerated extension
taisted
ust be contrasted
small—
3. Drop the grain from the
pin outward just
enough to fit the waist closely and the hips with slight
ease.
ust slender, closely fitted bodices
by slender‚
‚-
jgatt define a tiny waistline. Without t"histhis contrast the Place a second pin at the waist level two inches
ole elfect is bulky and clumsy.

‚
hole farther toward the side and in the same manner
con
iNow (hat
gNow that we have seen something of the tinue to pin, clip, and drop the
general grain to the side seam.
1:0‘ of
ol circular skirts, and the principles on which Stretch the fabric
Iabric slightly to
(o make it fit more
tightly
w. lare designed. let us examine the procedures for
y_are at the waistline and to throw more
fiare
flare at the lower
ing them.
1pmg edge.
a

83
 .
h _
K’.
&
a
„Dummen-vs LEss-THAN-NORMALA
CIRCULfifR SKIRT (see Figures
49 and 501
V

hips and by a specified hem width.

Adiusfing fhe Fabric on H10 Form (see Figure 49)

l. Place the selvage on the center front or cen: x

c - fl
p „u 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
Fig.47. Draping procedure { o r the normal cnrcular
skirt. of the form at the waist and hip‚ with the sel «
circular {alling perpendicular l0 the floor. As in Problem
55.48. Side seam adjustmem tot the normal
‘
this is a half-pattern.
slin.

Adiusfing {h0 Side Seam Line (see Figure 48) Adiusfing fhe Crossgrain
l. Determine the width a: the hem line accordi
1. T u m the fabric back on itself and pin a line
to the hem. to the silhouette effect desired and mark the h
perpendicular to the floor from the waistthis outward width with a pin. Drape from hip to hem line fimL
In thc normal circular skirt, continue
since these are the two determining circunlferenees
curve from the hip to the hem line with a straight
ruled line slanting outward. 2. Smoolh the fabric over from the Center front
the cemer back to the side seam along the hip lev
2. Cut with a 11/4 inch seam allowance.
allowing the crosswise grain to drop just enough _
3. Crease the edge,. remove the pins, t u m the seam the desired hem sweep. (Marked by a pin in step L);
L0 the wrong side, and re-pin
it perpendicular to the
the seam can be placed a: Note. A Variation of this method is given at the CM!‘
edge. H’the fabric is wide, if of the directions for this problem.
the side back and concealed under a flare or fold
doing so improves the design. 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.
Duping fbe Skirf Bach
I. Drape the back like the front. 4. T o fit the waistline, take up the excess abOVC d“:
0Tm‘g;
the hipline into darts placed 1o nxeet the dar: lines
2. Pin the from and back together, lapping blouse a: the waistlitle.
‘

V
{ m m over the back.
84
 BASIC K I
I RT
TSS

Adiusfing fhe Fabric on fhe Form [see

(see Figure 5|)
l. Placc the selvage of the
1. Lhe muslin on tne the Center
muslin_on Center
front form, with the t0?
from line of the fonn,
tending 5 to 7 inches above the warstllne,
or fabric ex-
top of the rabrIC
depending
waistline, dependrng
ex-
amount of Hare to be introduced. When actu-
on thc amoum
the C 68m6!’
ally cutting the skirt from dress goods,
goodis, place
enter

[ m m of the pattern on a lcngthwlse

front lcngthwise fold.
2. Pin the muslin to the Center
xnuslin t0 front of the form
center from
(‘he
und hip, and check to see (hat n.
a: the waist and
at it hangs
perpcntlicular t0
perpendicular floor.
l0 the Hoor.

L
F.
c.
C -
Seam

Nao
Snidde
Mefhod of Draping Flares
1. Pin thc
I. lhc fabric l0
t0 [h6 waislline at a point 2 inches
lhe waistline
away from the center
C e n t e r front,
from, keeping the crosswise
grain level.
Lhe excess above thc waistline down to the
2. Clip the
pin.
pm.
3. Drop the grain enough t0 produce a flare of the
Qfli00*"“‘'

desired depth.
\Qn&«\

‘Q\‘\\

g.49.
49.
M -5
„D
Less-than-normal circular
Lcss-than-normal skirt—
\g\@\

udjustmermt on
skin-udjustment
L
form..

.50.
50. Lcss-than-ntirmul
Lcss-lhan-nonnul Lirculur
Lirculnr vurizuinn. A scam is
varintiun.
the side
Zced at lhe
aced sidc back and a dzm
(lzirt subslitutcd for the hip
subsmutcd [or
r
m.

rking fhe Waisfline

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

the hip (see Figure 50) .

Problem 9
DRÄMNG
DRAHNG THE GREATER-THAN-NORMAL

4D
"(cm-AR 5K|RT
ÄVCIRCULAR SKIRT
(see Figures 5|. 52. and 53)
e
chairacter of this skirt is {ormed
chfnracter formed by the waisuine
waistline
mhnc arcs.
_„tniline
Fig. 5J. l-ull circular skirt
5|. Bull
skin-adjustment umform,
—adjustment on the mm1.
85
 a! ‘the ‘waistlhine vto support
just gletexmined axidjio place
*
Stmtdtgthe "fäbric along the Awaistline
m am
v,

slm ämooth‘ immediacely below in, änd

75äipjanä 1cm": the grain to the side
1

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

grain.

Note. If the flares are at all deep and the

floor 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 flares. If placed o“!
far on the _sides‚ they broaden and shorten the bod .

I
2. Correct size of Hares [ e r the texture of the flw‘:S"
‘fldfllflofiiflm \ am um and the heighl of the wearer.
“M.
3. Consistency in depth of all Bares.
with aeams a: side from and side back.
m5, 52. Full circular
86
 B A S I C SKI RTS

6N

!l|Wl|TflTFIlTWlmlnImlmnnnnmvmmm„
0,00 l

. mmuummumL‘

Fig. 54. Three possible grain positions in a full circular skirl:

Fig.54.
grain position in Skirt
Skirl 55 (a); (2) Linc
Line b showsshnws thc grain pnsiuon _(l Linc
_) L.inc
(1.) n'shows the
a.sh0ws
pnsumn m in Sklrt
Skirt 55 (b)
(5) Line c shows zhe
(8) the grain position in Skirt 55 (c). (c) . (The dmted
dotled line
lme shows the posmon
(f2):
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.)
Fig. 55. Three silhoucttes
silhoucues produced by thc thrce grain pnsitionslaositions diagramed in Fig. 54.
-fl
‘ng fhe Grain on a Circular Slxirf
‘n9 Skirf Pafiern
Paflern 3. Follow the
Lhc procedure given in
step 2, but place
‚Tberc
re are three possible ways in which the grain the lengthwise grain t0 the waistline at
pcrpendicular to
g’ be placed in a full circular skirt. The one you a point
poinl about 3 inchcs in from Lhethe side seam at the
oose
‘oose should depend on the width
5
widlh of the
thc dress fabric hip levcl, so (hat
{hat the grain is
nearly straight at the
are using and the silhoueue you desire.
Lhe silhouette side of
ol‘ the body and
practically on a true bias a:
at the
5 lf .
If the fabric Es
is wide enough tolo accommodate the Center from.
center Figure 55 a, b, and c show three varia-
‘
;u
e skin
skirt front,
from, place the cemer
Center front ol’
ol the circular tions in Silhouette broughl
brought about by the three differ-

’_
patlern on the lengthwise fold. In ent
e ntways of placing the grain.
lengthwisc lold. ln some fabrics,
nspicuous piccing can be made at
spicuous a1 the
thc lower edge
the side seam by joining along a
lenglhwise
lengthwise
d d on bolh
both the main panel and the
piecing. Al- PEPLUMS
piece in the direction of the wale of a piquc‘
pique’ or
lloats
oats of a satin weave. Peplums should be draped in much Lhe the same man-
When you use a separate width for each half ner as circular skirts. One (hat
{ h a t fits the at both
‘n
"rt front, place the lengthwise
half of waislline and hipline should be treated figure
grain-marking an
at uvaistlinfa exactly like the
mer
'

ter of the pattern top section

scction of thc normal
circular skirt, and one (hat
pattem section perpendicular to Lhe
the that
nee so (hat
that the cemer
center from seam will be on the ripples should be draped like the
upper part of a
r "partially
partially on the bias.
‚
greater-than-normal circular skirt.

87
 ure öa-shows d: cemgy ‘backf am},
i; given {o}
V

'

placed a: the Center Bach o! the.

xyhat from the stahdard. Procedure C. the’ fabric all the-i:
center back. To do this, smooth the fabric- A

_
waistline and pin, clip, anddrop the croxswise
around to the Center back. Multiple ripples p '
center back seam on a bias beyond the ’
iFaliiric on H19 Form (see Figure 56) therefore the waistline will be a deep arc.
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 hollowing out
for PEPLUM BACK WITH A S|DE SEAM (see Figuro5
the waistline.
2. Pin the fabric at the center front at waistline Placing fhe Fabric on fhe Form
und hipline. l. Place the fabric on the form with the s
at the side
grain perpendicular to the waistline
rather than a: the center back of the dress form. bei
Adiusfing the Crossgrain waistline at that
side at least 3%inches above the poinl.
l. Smooth the cloth downward toward the
to the waistline. 2. Pin the straight grain t0 the form at the waxst‘
seam, clipping from the top edge
to allow the lower edge to line and hipline, and clip the excess above the Wulst-
Drop the grain enough
stand slighlly away irom the figure. line down to the pin.
2. Pin the waistline at the side seam. 3. Work outward from the pin towand the oen
-
back, clipping and dropping the grain until
thereis
'

enough flare at the Center back.

Marking the Center Back Line

Mark with pins and cut with a seam allowance.

Adiusfing 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.

2. Form the side seam line and trim it with
I 1W
l o! the fabric.
inch seam allowance.
3. Pin the seam, lapping the ( m m over
m:bachii
und 0W“ Ä
1:58, 55, Peplums- placcment m the side back.
amuncl Force any looseness out of the waistline
Fig. 57. Fabric
carried
back panel. bias at centcr back. strelch il slightly.
35g, 58. Center
88
 BASIC S KIRTS

the bias wherever lhe the

resull lroun
2. Flures result placing lhe
frmn plncing
flare should lall.
o1" llare
greatest amount ol"
grealest
3. Flares will always tend to (‘all thc
the
frorn theoulwafll
outwarcl
the body
ol" lhe
curves ol —— ——
the back
fnlllhe
o1
ol the
fronx
hlps, 0*
51d? Ol
Sldfi
bone a:
at the
Lhe sidc
side front.
hips, and the hip
the hips‚

DRAPING "DRAPED" SKIRTS

Up to this point we have used

the term
“draping"
to mean
t0 or
modeling shaping
lnean Inodeling shapixig fabric
labric on the dress lorm.
“draped‚" applied to skirts, means
Literally the word “(lraped‚"
raising Lhethe grain up L0 to one or nmre more points ol‘ suspen-
u59.
.59. Sltlt.’
m m Sl
(lraped [lrmn back toward hip
LlC bad; the width ol of the skln at the
skirt aL
Back pcplum (lrapetl thereby reducing Lhe
sion, Lhereby
slon,
loward (CCUICI”
and toward buck.
c m e r buck. skirts either equal in size at
lower cdgeedge in contrast to
t0
the top
Lhe und
and bottom (straight skirts) or
o1‘ larger at the
atking fhe Lower Edge
arking bottom than at the top (gored and circular skirts) . A
Mark the lower edge with a line ol
‚Mark of pins parallel (o to "draped" skirt clings 1o to Lhe figtire sometiules as far
the figure
waistline in order to produce a level effect if the down as the lhigllsthighs or even the ankles, is actually
‘Hplum is short. Pin the edge
plum cdge on a level with Lhe the Hoor "draped" or pulled in against the legs‚ and has full-
“draped"
vlhe peplum is longer thzm
„the lhun hip level and is actually ness drawn up into gathers or lolds folds at the top. The
unic. flare ol
nic. The Hure shorl peplum with definite full«
of a short full< draped skirt
skirl am
at its worst was pulled in so excessively
' a! the back will bc
s at ‚
be more emphatic
emphzrtic if the lower around the ankles that it was called in ridicule a
unkles [hat
vge curves downward from
‚ge lronl C e n t e r lront to
CCHICI‘ t0 Center
Center "hobble skirt" — an awkward and ungainly cut that
“hobble
ck.
lck. You should always, howcver,
howcver. lonn lorm the lower had (olo be slashed to the knees a: center front t0
at the cemer to
ge line in harmony with lhc the other lines lincs which de- allow the wearer to move at all. But draped skirts
’

2 ine the
design of the coslume.
costume. can be lovely. Their beauly beauty depends largely on the
skill ol the draper in handling soft pliable fabrics so
i
inrking fhe Waisiline
rling lhe Waisfline that they lorm dcep
{hat deep folds that define the figure with-
Mark the waistline from
Mark center
Center lront to
front cemer back
t0 center restricting motion. I’eg—top
out restricling Peg-top skirts, cowl skirt folds,
and lunnel hip pockets all belong in the category of
'th pins.
"th
“draped" skirts, and can be handled so {hat
"draped" that they are
wide enough at the Lhe front lower edge t0 to allow move-
iPLUMS FORMED BY EXTENDING THE BLOUSE ment with ease and freedom. When worn by a person
„PLUMS
‘
LOW THE WAlSTLINE
WAISTLINE (see Figure 55, Chapler
Chapfer 2. who is ls slender and well proportioned below Lhe the waist,
waist‚
ge 37. Draping a Hip-Lengflw
Hip-Lengfh French Darf Jacke?) the draped Silhouette defines the slender waistline and
Ege
hips‚ and
hips, und its lolds
tolds emphasize the play of light on a
i
lustrous silk or rayon.
Although individual directions for draped skirts
would, ol
would‚ of course,
course‚ differ somewhat with each change
in design, the example given is a conservative and
MARY: PRINCIPLES OF
o|= DRAPING CIRCULARS
MMARY: wearable version
Version {hat
that explains the principles under-
t is possible
_t formulate three general
Possible to ‘formulate rules for lying
draping
the
Lhe manipulation of all draped skirts. Before
the skirt in muslin‚
muslin, experiment directly with
the
lrollmg
_atrolling of the flare:
position Hare:
the fabric
[abric to be used to see what lines lt it takes and l0 to
v. Flares result from dropping the grain at any
(i Flares result
point. This changes the waistline curve.
get the “feel" of the cloth without cutting into it.
(See Chapter 7 ‚ suggestion 3.)

89
 l

lus
V
v mleast Qjnches-aat
Qnlflhlfi‘uat
1.3“d“d°W\*
*

‚
top
‚
and
the
.
'
y
‚.

a-‘total of 4 25cm inches of ‚length .4};

ihr: this allowance for a more
-4

"Ging _ Fühle on ihn‘ Form (see Figure 60)

l.» Startihgfat theside seam, place the fabric up
‘the foim at the hip level and pin it at least
-4
—-o

-q-—<

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. Fig. 60. The draped skin
— folds [ m m the waisdinc l

The more you draw the fabric up from the bottom, the sidc seam.
-— the pin sup v
more biased the side seam eventually becomes. Fig. 6 | . The draped skirt folds from -
the front.
grain at the waistlinc center
A

t0
2. Smooth the fabric forward along the hip level
line, supporting the crosswise grain level for about
4 either draw too tightly against the legs or they L

inches. Pin the cloth t0 the form at this point. not be drawn tightly enough t0 keep the side «I»
from wavering. To get the ellect of low side drape
3. Smooth the fabric upward above this pin and it is sometimes necessary to auach it as a sepa’
anchor it 1o the form at the waistline (see arrow,
piece to avoid just this difliculty. lt is
one thing «i
Figure 61) . drape beautilul {olds on a piece of statuary
and qunß
another to drape a skirt (hat is graceful in motion
Feld: from fhe Waisfline foward fhe Side Seam (see Fig-
ure 60)
Forming fhe Waisfline from fhe Feld: fo fhe Side 500ml
l. Draw these folds fonvard and downward
from
and above the waistline. 1. Smooth the [abric along the waistline to the
thc excess beside the hlipline
seam, clipping the excess above the waistline.
Do not shift the grain along the hip level.
side seam at 2. Pin the clolh l0 lhe [orm at the side seam onllR
2. Clip through the excess beyond the waistline.
fabric to
the outer end of the lowest fold, stretch
the
in to the
make the (old cling to the figure, and pin Laying fhe Folds from fhe Side Front fo
{h9 Ccnhr h“
form a: the side seam. (see Figure 6|)
the side seam a:
3. Clip through the excess beyond l. Lay a fold at the sidc { m m which runs from
fold above the lowest one.
the outer end of the second waistline toward the lower edgc at or near the
it and pin it to
stretch the fabric again t0 make cling, seam. T0 get this lold, lift the crosswise grain im:
slash.
the fom: a: the end of the second ll
l

the boltom so that the lold radiatcs outward.

Bolh these folds point toward the hip level or above
disappear a llule below thc hips.

— ——
i1. lf they were directed toward
below the hip level as low as
the side seam much
the thighs, for instance
difiicult to manage. They would
2. Draping toward the Center (rom, lay a
[old an the waisllilne dircctexl lowalxl thc
50W“
lower
tbey would be very
90
 BASIC S KIRTS

"re ing lhe

"ing the grain so Lhat (hat Lhc lhc lold clisappears
Thc cmsuvise
cromvise
disappears just. just be-
has been
been
bc< Marking fhe Hem Line
hem line with an L-square and pins while
'
_d
re it reachc: the
il reachcs
L:' d noticeably
lhe
noliceably t0
hem.
makc Lhesc 101d:
l0 nlakc

'_- fold should go lower than

grain
rudiate. The sec-
tolds rudiatc.
thc fim.
[Iran Ihc firsl.
the
Lhc hem
Mark Lhe
Nlark
skirl is on thc
Lhe skin the form.

The Back of fhe Skirf

;3. 3. Lay a third told
u Center from,
kold 21l wuistline still closer t0
lhc waislline
a: thc
as Hat and closely
front, this
lhis timc kcepirlg the grain level.
keepirlg Thc
The buck o1" skirt should bc
ol’ the skirl be a»

- ‘bis one
his
‘ain In
onc
was
falls
not
thruugl:
raised.
the
111e lowcr edge because the fiucd
drapery
as
21s
at
possiblc
the
t0
front.
from.
skirl is a good choice, as iL
skirt
otfset
Offset
The
the
back
Lhickening
of a narrow
it fits closely without
cffect of
cfiect
six-gore
withoul cupping
„4. another fold ncar"
:_4. Lay anothcr [rom either
C e n t e r front
1mal" the center
thc grain levcl or it
im slightly toward
Loward under the hips.
»

ping the dropping slighlly

o! a draped skirt is the
ie cemer
‘Ü Center from if a very dcepdeep fold running Lhrough disadvanlage 0k
The greatest disadvantage
e3—V
edge innproves the design.
lower edgc
lhe ccnter front, this
above-mentioned tendency Lendency to
Lo thickcn the figure over
Lhickcn
Lhe abdomen from the profile view. T0 counteract
the
lf lhe grain is not Llropped at the
noL dropped
this effcct, itiL is possible tol0 attach the draped folds t0 a
< e can be placed on a lengthwise fold of lhc Lhe iabric.
fabric.

’-_- is procedure
ihis
"f ils
little
its hcavy
works very
"fall." However, if
heavy “fall."
little toward the center
7 Islam
Üill
well

slant outward, producing a wider hem

in rayon crepc
rayon crepe
i1" Lhc grain is dropped
because

Center front seam

fronl, the centcr
C e n t e r (mm,
hem sweep and
yoke, or to
t0 stitch the folds
abdomen. Some such device usually
pearance of
down over lhe

skirt unless Lhc

ol" the skin
thc curve of the
Llsually improves lhe ap-
Lhe figure is unusually Hat
abdomen. For variations of the
and slender across lhc abdornen.
more graceful [ a l l of fabric, especially if the
;„more Lhe t e x t u r e druped Chapter 7, Suggestion 8.
skirt sec Chapter-
draped skin S.
<_ very clinging
not
n ot a one.
'

Marking and Trueing fhe Paffern (see Figure 62)

b2)
arHng fhe Cenfer From‘
llrking Fron? Seam Line (see Figure 6|)
b!) I. Remove thc paltern lhe form and mark all
[vom the
pattern [rom
;l.l. Mark with pins from waistline t0L0 hem. seam lines,
scam lines,the waistline, and the hem line with a
<2. Trim t0[o a ll/g
N 11/2 inch seam allowance.
pencil.

_
ming fhe Side Seem
rming Seam Line (see Figure b0)
60)
l.1wl.
Fold the excess fabric beyond the seam forward
the lowest clipped poim [0 the hem 1o
to form a
_-om point to
Ääumb
lumb linc.
line.
v?
2. Pin it perpendicular to
f2. the edge and trim it t0
favevea ll/z
11/2 inch seam allowance.
>S.3. Form the line from the hips up (oL0 the waistline
‘s marking it with pins stabbed into the form. Stretch
g, Streich
v:
e fabric slightly the side
toward
g. Pencil lhis line and trim
and
t0 make the folds
to l inch.
the seam Lo
Ing.
.1
s seam line will be a decided inward curve (see
.0 1s
‘

'_ re 62).
Qgure

nrking ihn
‘farking fhe Waisfline
i'nn a line following the waistline of the form, clip-
-v‘the the excess above the waistline. Then smooth the
1c toward the
aboye
snde seam beside the folds t0
Lhe sidc to elimi-
e any ease along the waistline. (The grain tips
y

ard sharply toward the C from in this space

e n t e r front
Center
e the side seam.)
de
Fig. 62. Draped skin
skirt pauern
pallern with folds and edgcs
edges trued up.
91
 Y

.
' l
Ü. "f.
5, Trug upand Qpace evenly

PART II
THE FLAT PATTERN METHOD
OF DESIGNING SKIRTS ON
A MASTER PATTERN
With one fundamental dilference, the general prin- dart in the front gore‚ but it makes a much betten‘ m19 '

ter block pattem if lt has one. The dar: takes up (h:

ciples ‘of designing waist pattems from a master block
apply to the designing of skirts from a foundation pat- ease between hip and waist at the side seam edge _
tern. The difference is that the skirt hangs free of the the pattern and makes it possible to fit the skirt with v

body Erom the hip t0 the lower edge and is therefore
shaped to fit the figure only irom hips l0 waistline.
Thcrefore you should always draw the hip level on
the pattem block to indicate the extent of this fitted
area. Notice too (hat the curve from hip to waist on
the side seam is a significant 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
little side flare below the hips. Then, too, indefinil‘:
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 definite 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-
cides with the spacing of the basic waistline dart of the Ä “

at the waistline blouse.

taking in or letting out the side seam
will alter the ‘of your skin. Increasing the hip
hang
curve lengthens the seam and allows it to sag; letting Infroducing a Waisfline Darf cf fhc Front of lhe Muhr
out o: straightening the hip seam shortens it and al- Pefiem (see Figures 63 and 64)
lows it to flare sidewise. lf you have draped your master pattern without a f
All of the four main kinds of skirts and their varia- dart at the walstline it is possible to lmroduce 011€
tions can be blocked from the two-gore master pattern, to take up the ease at the side of the pattern between
‘

but since it is so easy (o Inake patterns for straight hips and waistline by following the directions below:
skirts either on paper or cloth from figure measure-
‚prun-

in l. Compare the measurements { m m the balanoe

mems, and sincc (hat has already been explained point a: lhe hip t0 the waistline on both the back
und j
Part l of (bis chapter, the examples of blocking here of e150 =
the front of the skirt u) determine the amount
will be confined to gored, circular, and draped
given on the skirt lrom. In other wortls, find out exlctly i,
skirts. how much longer the front edge is than the back 5mm
hip to waist.
ms TWOßORE MASTER PATTERN saom BLOCK 2. Draw a horizontal linc on the skirt pattern im?‘
It-
or may parallel to the waistline and about 5 inches below
The uandard lwo-gore master pattern may 8. Draw a vertical Iine a point on the waisl‘ a
vcrtical waistline {mm
not hzve been draped with a small
 B A S I C S K I R T S

(i6) and delay using the size master

S126
urcs (i5 and 66)
ures 65 the lnll
Tut“
pattern unul you understand
the princnples
prlnclples tof bloek- nf
ing skirts. The supplies required for bloclung
blockmg sltlrt
patterns are the same as those
listed for blockmg
(Page 45). Cut many duplicates of the
blouses (page two.
two-
skirt front and back patterns in heavy brown
gore
paper in preparation for this practice.

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 flare
of the four-gore skirt. lt
at the hem line, depending on the fashion and the
flare may also start at a high
of the skirt. The llare
style ol"
or low break point, and may be either concentrated or
'. 63. lntroduction of a dart into a maslcr evenly distributed, as you discovered when you draped
‘g.
—
—
master pattcrn
pattern draped

‚
thout one. Step l Draw the dar!

—
dart linc
line and the linc lrom
to the side seam.
point of the dart t0
fron:
four-gore skirts.

v.
e; 64. Step 2 Pin the hip ease into a tuck and open the
istline
r istline dart.
Narrow Skirf Fronf wifh Waisfline Darf Relained Refained
(see Figure 67)
f.n which matches the spacing of the blouse dart to This narrow four-gore style with the small waistline
e e t the horizontal line. Slant it slightly outward (l/z
eet (l/Z dart retained is excellent for the skirt of o!" a tailored suit
v'ch from waist to hip) . Slash this vertical line.
ch
’‘

5'
‘Ei
4. Fold in a dart on the horizontai
ease
easc on the side seam
horizontal line, taking up
of the skirt and taper the
made ol fabric. What little flare there is should
o1’ a firm labric.
be distributed between the Center Iront and the side
C e n t e r front
seam, but slightly more flare should be thrown toward
f»
ld to end at the vertical slash. The vertical slash the Ccenter tront (see Figure 68) . lI h e only change in
e n t e r lront

en the master pattern

pattcrn that needs to be made is to shift the
opens automatically, thus transferring the ease
5m the side seam to the new vertical waistline dart.
‘iom grain position lrom the ccnter C e n t e r front
[ront (grain position
on a master pattern) to t0 a new position that will throw

‚
f45.
5. lllf you wish to reduce the width at the hem.
hem‚ the skirt flare
Hare more toward the center Center than toward the
ash
ash the vertical dart line on through the lower edge
side. To do this, proceed according to the following
; the skirt and overlap the slashed pieces a little at directions which apply 1o
e‚c hem line. Let the pattern pieces touch at the point establislting the grain in all
l0 establishing
gored skirts that fiare
flare more on one xide
an side of the gore
"'
_ the waistline dart and spread apart a little more
g the waistline, thus increasing the size of the waist-
e dart. However, the waistline dart should be kept
than
lhan an
on the other side.
l. Mark a point at the center
ccnter of the gore at the
hip

‘
- . (See pages 69-70.)
A.
'

all. level and measure from that point to the side which
A

6. Smooth the pattern at the point on the side seam is to Hare

flare less. (This is almost the side
2 invariably
here the dart was pinned in. lt is now ready to use seam.)
ere
1a master block pattern.
A: 2. At the lower edge of the same side, measure in
flior
81:01" convenience and speed in practicing the firsx
first samc distance and add to it the amount of flare
the same fiare
1 c Problems,
1c problems, trace the quarter-size two-gore skirt desired — a t least 5/4
——at 1%inches—
3/4 to lI/z inches- and place a sec-
sec.
em placed in the book for that purpose (see
v-tlern 0nd point.
Fig-

93
 front. Fig. 66. Muster paztern skirt back.
Fig. 65. Mastcr pauern nkirt

94
 BASIC SKIRTS

C.F.

Gnm

C.

Hut

acnkn
Bu ig

Plo
H ut!

Fig. 67. Very narrow four-gorc

lour-gnrc skirt.
Fig. 68. Vcry narmw lour-gnrc
lnur-gore skirt- pattern with
skirt—— mastcr pauern
gmin shiftcd m
gruin w imroduce
intmduce llare a: lront.
at Center front.
Fig. 69. Very narmw lour-gnrc with invcned
invcrted box pleat
plcal at
LCDICI’
(‚CHICT lmnt.
from.

l.3. Connect the two points l0 establish the line

l

which the grain will run and continue the line

f; ong wllich
n ough to the waistllne.
waistline.

‘-
I’
M

The advamage of this skirt over the two-gore skirt

advantage ol
"fith no Center front seam has already been explained
__
i e Draping the lhe Four-Gore Skin,
Skirt, page 78 ). T0
To
'

78).
l tain a very narrow silhouette
silhouetle and yet providc
proviac enough
'
‘dlh lor
idth for walking, you can add an inverted box pleal
pleat
t; the Center front
center iront seam (see Figure 69).

ghfly Wider Four-Gore Skirf

llighlly Fron} (Darf Transferred)
‘ee
g‘ Figuras 70 and 7|)
Figures
l_
i1.
l. Draw a ruled pencil line lrom the point of the
to the lower edge and slash the line (see Figure
0).
.2.
22.(h:
Closc the dar:
Close a: the waistline and transfer iti:
dart at
3ethe lower edge. This skirt will still fit closely (see

.
‘gute 71) .
e 71).
3. Follow the
Lhe procedure given
glven on page 93 for plac-
the grain in a gore that Bares more
morc on one side 70. Line drawn from
{ m m end of
ol dar:
"

m lower edge.
dart t0
on the other. Flg.
F cdge.
Fng. 71. Dart closed and translerred
1g. 7|. lranslcrrcd t0
1o lower edge.

95
 Font-Gare Slirf Front wifh Hiqh Mai-Eile; W5 i V

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 be-
low it. This spreads the lower end of the dm.
3. Because this skirt is to flare at the side as well
--__j ‘l l as at the center front, placc the lengthwise grain pet-
Fig. 72. Four-gore wider at lower edge. Pattem overlaps pendicular to the waistline at the Center of the galt. _“
slightly at waistline, touchcs a: break-line, and spreads at dividing the flare about equally between the seams z: Ü’
lower edge.
Font-Bon Slirf Fron} wifh Greaier Sweep (see Figure 72)
the center front and the side. Notice (hat the xkin s
flares almost from the waistline and (hat the waistline
All gored skirts should fit exactly at the waistline arc is more intense than in the design previously
and as far below as desired. described. Because it is so sharply curved and will
stretch, the waistline should be shortened slightlyß
l. At the level at which the flare is to start break-
ing away from the figure‚ 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 Gr.
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
the fabric. This is
shapes in determining the {all of
the unknown quamity in Hat pattem designing.
3. Overlapping the pieces has decreased the waist-
line size. Correct this by placing the basic pauern
Ihre.
Fig. 73. Fnungorc wilh widc hcm sweep and side
the necessary m a break-Iinne und
agaimt the new waistline and adding be not Fig. 74. Wide lour-gorc llarc smns high
i: dividcd cvcnly bclwccn ccnler lrom and side seam.
width a: the center from. This should more
 B A S I C S K I R T S

Gnn
i

Fig. 75. Four-gorc

Fourgore fl a r c e - begins low.
Fig. 76. Step ll——Slash low placed flare a5 indi-
- S l a s h lines for Iow
Cuted
cated by dotted lines.
Fig. 77. Step 2—Spread slashes and overlap pattem pattern at
waistline.

’
'
ur-Gore Skirf
Tour-Gare
‚urere 75)
Sltirf Front wiih a Low Placed Flare (see Fig-
Fron? wifh CorreCt the waistline sizc by adding l0
4. Correct
[ront the amount subtracted when the dar:
from
to the Center
Center
dart was over-
1 This skirt should fit the hips, but
very low around thc lapped. Rule a new C e n t e r front line from the cor-
‚Zthee flare should ripple out noticeably around the hem point at the waist t0
rected poim to the point of break.
‘linc a!
I;Ä'ne at the cemer
C e n t e r front and side front, producing a 5. Mark Lhe
the posilion
position of the grain according to lhe the
ery slenderizing effect.
fvery eflect. procedure given on page 93 for [ o r a gore {hat
that flares more
i
>
l. Mark the break-line from 7 to 9 inches below on one side than on the other. This insures a slim side
the e waistline. silhouette and throws practically all o1" of the Hare a!at or
near the C e n t e r front.
Center
-V2. Slash from the point
‘ poim of the dart
darl thxough
through the
ower
Jower edge,
edge‚ and pivot the pieces so that chey will
they
vpread a: the break-line,
3pread slightly at break-line, overlap at the waist-
Problem 2
je,and spread at the lower edge. Figure 76 shows
ine,
7ep l.
’tep DESIGNING SlX-GORE SKIRTS ON THE
;
‘_'3. Slash again, this time nearer the center
C e n t e r front, TWO-GORE MASTER PATTERN
3»
3. mu the lower edge up to the break point. Swing this
z" 1 em
ent out in order to provide flare The following examples of six-gore skirt
along the Center blocking
m’

rom seam. This produces a ripple at the centerCenter front

show how to develop both tailored and
rippling sil-
; d another at Lhethe side from. houettes. They also clarify the
front, and yet the skirt fits draping of the six-gore
ugly ly from hips to waist (see FFigure skirl
skirt (see Figures 23, 24, and 25 for Silhouette
silhouette effects
igure 77).
and panel spacing).

97
. ,2;
v; .. e _
draw a lind that follows its inner edge sixeaffa-susrficäfirwsfisnap; A
y,

Low Brnkfoint (see Figures Sfllancflfl)

and oontinues to the Iower edge ’of the skirt. The
ccjntelfisection is now compllete except for the straight
Plane the center front on a lengthwise
fold of the fahric.
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
flare 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 flare does not ne-
cessarily have (o be equalized, but it is easier to handle
if i: is.
"l Fed
l
Gnin
It has already been explained that the
gored skirt is produced (I) by dropping flie.»
toward the Center of the figure 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 flare at any one seam produces heavy b
ness at the seam. A little o! each makes a much o
graceful four- or six-gore skirt with more flat
a
distribution of ease.
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 fitted 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 point-
3. Mark the grain at the Center from to be placed
»

3.
: CF.
on a fold.

Sido Front Secfion (see Figure 8|)

'. 1. On the side from. section draw a line from was!
z line to hem at about the center of the section or Wild‘
:
Ü

Ü
ever a flare is desircd, and slash it.
4 2. Pivot the pieces so that they (auch at the blflk‘
:
|
line, overlap a: the waistline, and spread for a smi}
: m
ripple at the hem. Then draw around thc pieces F
: —Draw slash lines on man-
this position. This slashing and spreading pfodu“
Fig. 78. Nanow six-gore. Step
l an extra ripple which corresponds to the one created
wr pauern.
—
Fig. 79. Step 2 Slash pauerns,
malt the grain in both scctiom.
add flare a: side front, and by dropping the grain from a poim about 3
in from the side seam when you draped.
to 4 inche! j

98
 IC S K
S K II R T S

Slash and pivot lhe

Rute. Slusl:
Rule. t/Ie patlem P0i"!
pattem at a given P0571!
when bIoc/ung
blocking t0 to produce a resull
result comparable t0 to drop-
ehe grain [rom
ping the giverx point when drapmg.
from a given draping.
3. Along thc side from fronl edge of the[h6 side gore, draw
irom the break to the lower edge [hat
a line from that slants
outward am a: about lhc Lhc szunc
samt degrce as thc side edge
cenier gore. This introduces liare
o1 the ccnler Hare at lhe seam.
Clip the seam allowance at the break point.
4. (Jorrect the Lhe waistline size by adding Lo to the side
tront edge
iront of
ot" the
Lhe gore enough to
(o restore the Original
original
waislline
waistline measurement.
5. Mark the lengthwiselenglhwise grain with a minimum
amoum of
amount Lhe side seam, thus throwing most
( l a r e at the
oi" Hure
ol" the Hare toward the side front.
o! ironl.
Gored Skirf wi+h wifh Side Fron’:
Fron? Lap (see Figure 82)
.—\ gored skirl
A from lap may be used
skirt with a side front
when lhc (h: opening at the side harmonizes with the de-

: sign ol" the costume, or when you wam a side-lapped

‘i580.
Fig. 80. Sxcp l-Draw
six-gore. Slcp
Rippling sjxgore, 1- Draw slash 1m“ on
5135|, lines „n skirt wider at a: the lower edge than the straight wrap-
-4- aster pattern for
pauern [ortwo ripples starling Iow break—
irom a low
starting from break- fllüulld. The procedure is
around. iS exactly the same as f0!‘ the
3S for
ne.
J7“?- gored skirls already discussed, except that
(hat. the entire
;ig.si. pauern w
ig.8l. Step 2—Spread puuern Harc an
l0 add flarc me side
a1 the from of the master pattern
front pattem must be usedused and the
rom m seam and also within
wilhin thc sidc gorc. cemer from line must be clearly marked (see Figures
c e n t e r front
83 and 84).

I E l

.
u
vc
Gmn D
Under
E
s?
ö
E.4
LineuFold
CvF- L-_vy»_-_-——-
2
‚La
.p
4

J2. Six-gore skirt lappcd side front.

a1 sidc from.
‚.582.
5

‘U-Ü-
Six-gore
18-83. SIX-gore
Six-gore skirt with side front lap. Step
Inne to balance cemer
Stcp Il-Mark
Mark — Fig. 84. Lap allowance and placket
plackct should be added a: left
[eh
j ‚bp „Inne
‚
cenler panel. side from.

99
 -
‚ .how_ jiexattly‘
bin addflare Aa; "the Center front_’and
‚
‘ '

. f."
the dart is closed the pattem automatiically.
grain position so that
Center seams and shift oftheeach the point of the dart to the hem. This
t h e middle
Center section
’
(see
hip width slightly at the break-linc.
Figuresö): A

4. Slant the edges of the gores outward s

break-line to the lower edge (see Figure 88).
1

5. Mark the grain position on each section '

lows:
(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

T“
“Wfimlnm
(hin
of the panel, with equal flare 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 flare at the front edge.

In this skirt almost all of the flare comes from shm

ing out the edges of the gores. Notice also
that
flares are equal on all edges except the side seam. I15:
is also possible to obtain a different kind of ripplfieif
by adding a large flare on one edge of each seanl. KCCPÄ
added to cemer front of six-
ing the other edge (airly straight. This man:
l
Fig. 85. Eight-gore-Flare
at middle of cemer panel. the seam. II
gore and grain placed sided ripple that falls over gores bang;
more flare on one edge of a seam than on the
The Ton-Gare Slürf (see Figures 86. 87. und 88) always place the edge with more flare on
the M!’
As it is usually monotonous to divide the hip width nearer the center so that the ripples curl outvild:
into ten equal spaces, space the center panel some- rather than toward the cemer.
what 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 GORED SKIRT PATTERNS FOR FABRICS WITH
close to
front sections, bccause panel lines placed too GEOMETRIC DESIGNS
the hip curves and
the side seams are judged against
always appear to be too straight
to harmonize with the When a six- or eight-gore skirt is to be mide m}
be mm6‘
comour o! the figure. stripe, a check, or a plaid, two points must 0“‘
inches below ercd. First. introducc the flare by sloping
I. Draw in a low break-line, about 9
seams rathel‘ lhan by lowerinur the cmss-wist 8“"?
the waistline.
I00
 Colsed

Dar!

Gm
Gnin
Ga
rm

Slde Fron! Panel

SIde Fmnl
Sud: Panal
Side Pnnel
C F Panel

_'6. The ten-gore —

——
_7. Stcp I —
7. Slep ——
len-gore skirl.
Draw slash
skin.
nn master pattcrn.
lines on paucrn.
Step 2
Fig. 88. Slep Cut panels apart and add llares a! edges.

should be done so Lhe horizontal

(hat the
[hat lines ol
of This should be 7 to 9 inches below the waistline for
I,‘lfabric
fabric pattern appear parallel t0 the lloor
to floor rather a narrow skirl.
skirt.
g3 thus avoiding conlusion in the di«
lipped down, lhus di-
2. The panel spacing at the hip and waistline usu-
usu—
f.ion oflines. Second, in order to
1o match lhe
the stripes

._
{s
ally follows that
[hat on the master pattern and coincides
‘adjoining
Üadjoining seam lines, equalize the angle of slope wiIh
with Lhe
lhe spacing on the blouse.
ieach
. ach seam edge.

Problem 4
1

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

i:
I
ollow
lollow the same procedures for blocking the backs
I
|\
ms
ins as lor
[or the fronts, but imroduce
froms, buI. introduce more ease a:at
I
|I

v’back,
b‚ack, as a skirt is ugly when it fits too closely or
"vu in under the
lI
|I
I|
hips. I
|I

‘
I
Il
T
ow Six-Gore Skirf
SIIirf Bach
Bock |I
I
|I
he
he directions for cutting a pattern
pauern for the back of
a:

»
V
A‘
skm are given in detail because the larger back
I; 5km
makes Ihe
the procedure dilferent
diflerent (from (hat for the
m m that
|I
I
lI
|I
I
l
iront.
"t imont.
r
I
|I

Panol
Panel (see Figure 89)
l‘
I
|
.
I
n

Draw in lhe Fig. 89. Narrow six-gore skirt

skin hack. Step l-Draw
l—Draw slash
the level desired for the break points. line for Center
cemer back panel.
panel.

lOl

Fig; 90. Step 2 (n) —---_‚l
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
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: Secfion (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 figure with a small waist-
line and Iarge hips requires an unusually [arge dart
and will therelore have a pattem with a very promi-
nent bulge at the end of lhe dart.
lf the dart small, i1 is possible to follow the side
is
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 flare falls at the side back edge (see Figure
at the peak of the bulge,
90a). lf it does, place a ruler
tilt i1 umil the Hare equals that on the cemer panel,
to the
3nd then continue the line at the same angle up of Lhe
This reduces the size
was“ (see Figure 90b).
the waistline too large.
original da11, (hereby making
l0 M;inch) Can b6
A mlall amoum of the excess (1/4
(b)
o-
waislline size correction i: too large: (c) Berner ' '
Bulge at dar: point has not been completely taten
waistline correction is reasonably small.
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 sola-
tion 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
in other words, i: transfers thc entire dart l0 the lovllr
edge, producing too much flare on the side sectioll‘
(see Figure 90a). Ä_
N410"
(b) The line wilh the right amoum ol flare.
tinued straight up to lhe waistline. eliminales
the “f”
bulge at the peak of the dart, but enlarges sld
line so much that it cannot be corrected thc at
seam (see Figure 90b).
the top 161V‘?
(c) The compromise correction at
a liule bulge in the side line which rcduces the amovmegk
easily b6 3W
of waistlitne correction so that it can
tracwd lrom the side seam (see Figure 90C).
93d‘
Note. When stitching the side seam and thC
 _
l seam
i;i;
i‘

e
_‚
the curve lrom hip

isis whole problem

to waist.
stretching them
seam shown in Figure 90c, avoid strelching
Ease the curve lo
u it from sagging and cupping under the hips.
to

attempt is
arises only when an altempt
to adapt a narrow six-gore skirt, or one which
l0
B A S I C S K I
I R T

"
edge of
ol
TSS

held up vertically on the form in order to

held
proportion rather than t0
proporlion

Lhe
the
to figure it out
t0 see the best
the
mechanically.
mechamcally.
pzxuern along the yoke line and close
thc pattern
Cut the
2. Cum
Lhereby transferring it to the lower
the Original dart, thereby
lhc
91).
yoke (see Figure 9|).

-
A
"a out fitled hipline, to a figure
o u t from a very closely fitted figtire
ivaistline and prominent back hips. A
i. a small waistline Sltirf Secfion (see Figures 92 a. b and c)
The Lower Skirf
5iewhat
what wider hernhem sweep and higher break-line is
T0 add a circular ripple to the edge joining the
l. To
i becoming t0
*

(o a figure with lhese waist

these particular wvaist
yoke (see Figure 93):
yokc
‚ hip proportions.
hip
(a) Slash and spread the lower section at the lower
Problem 5 edge. The upper and lower skirt sections will fit
exactly a: lhe skirt will flare at the
the joining, and the skirl
ESIGNING
ESIGNING A GORED SKIRT WITH A YOKE henL
hem.
'

ON THE TWO-GORE MASTER PATTERN

(b) Place the grain so (hat most of the bias is at the
that mosl
lront with a slope at the side seams of l t0

_
Center front to 11/;
11/2
Yolre Line (see Figure 9|)
{Yolre inches {rom
from hip 1oto hem.
7 Draw in lhe the desired yoke line on the two-gore 2. To add gathers or folds to the edge joining a
.(er
r block patlern
pattern and crossmark it. Space the skirt yoke (see Figure 94), slash in the same way, but spread
I"Vin relation t0to other lines of the dress. As with the
[h6 pieces ata: both top and bottom. They may be
i3-se yokes, the lower edge should never be a perfectly they may be spread more at one
spread equally, or Lhey
„ght cross line perpendicular to the cemer
'ght center front, Lhan a1
cdge than the desired effect.
at the other, depending on Lhe
Äif il
vif it is‚
is, it appears to curve (lownward
(lowmmrd 21s it ap-
as i1. F igure 95 shows how the folds may be spread more a:
Figure at
ches
ches the sicle side seams. Moreover, skirt yokes should tllc top thun
the lop amthe bottom to produce a modified peg-
than at
i’
_‚ aled
l e d to
lor
1o the size of the figure and should be shal-
for short women and deeper for tall ones. lt is
lys prelerable to design this
‘ays lhis line with the pauern
pattern
o p with the
ltop
and lhe
lhe
lhe center
Center folds running through the hem
the side front
the hem.
{ront folds slopping
stopping before they
hem
reach

s\
s\
sx

‘
‘

“\
‘
W’ ---\
--------.y_‘

- - - - -

--.---.--.-.‚

"mü
l rm
l ml
*

_-.--_-.--.-_.|
D
1
C
—
- --
-.-.- -.-_
-.--._---.-\-.\ -.-.--.---.-->„ -—-._-_________‚_____& -(a) - _ - - - - - - -
1. Gored skin
skirt with an yoke and fullness
{ullness in the lower
Fig. 92. The lower skirt scction
scctinn is sprcad in (a) {for
o r circular
SÜCP I.
g:_Step l.
l" (b) f0’
circujar
'lPPl'-’5— i“
"PPICS Ü" 83m9”.
831'193» 3nd in (f) forlor draped folds.
I03
 I I
jI I I.‘ I-
i’ I
' I.
‘I
I I
I
1
‘I .1
l l I I
I I
' I
I
l. I I
I . _ I I I I
I
'
‘

I I I
I
I
I I I
‚‚
I
I
I
I
I
I
I
I
I
I
I I I I
I
I
I I I I I I
I
I I I I I
‘
n
I I
I I

-L-.'.- LL-
I I I
‘
I

-L. -L.--I
I
I I
. _I
4J
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
the two witlI
Problem 6 hIp curve to the lower edge, and attach
Scotch tape. II there is too much flare along the sidc
DESIGNING FOUR-GORE SKIRT WITH SEAMS
AT seam of the master pattern, overlap the front and
SIDE FRONT AND SIDE BACK ON THE back patterns slightly at the hemline. but decrease thc >

TWO-GORE MASTER PATTERN level. This is i

overlap until it disappears at the hip skirt
done to malte the side silhouette of the new
of the
Seams are commonly found at the exact sides hang straight and perpendicular to
the floor.
curves most on the side and I.

figure, because the figure Sometimes‚ 2. Draw a line Ior the break parallel to and
the
over the
requires the most fitting lines of hips. the costume de- desired depth below the waistline.
however, the other design
I

3. Follow Ihe panel spacing established by the

front and basic
mand that the seams be placed at the side and continue I0
of the When the darts at the side Iront and side back.
side back instead of at the side hip.
is
I

an outward gored line rule the lines down to the lower edge.
straight grain instead of
placcd at the side, andthe skirt is liable to draw
tigluly 4. Slash these lines to {orm the center panels. Afld 1
the thighs legs and to define every httle flare lrom the break line to the hem on both
the 51d! I

against
Thus if the side seam is omitted, lront and side back panels.
bulge and hollow. must be substituted
a deep curved dart over the hip 5. Mark the center Iront and center back plntl 3
for it in Order to fit the skirt from hip to waist, and on lines to be placed on lengthwise Iolds (see 5811"’
the lcft Iide, to aerve a: a placltet.
The following direc- Im‘
the pattem. 97 a and c), or gore o u t the seam at the center
tiom will explain how to cut Ior extra flare, as illustrated in Figur: 97 b.
Two-Gore Master I‘
Procedure, Using a Copy of the 6. Place tlIe straight lengthwise grain indicatorü“
;
the side seam position, that is, the line on
Pattem (see Figure 96) whIch
front against the Iront and back pattems are joined (see Figum 95l-
l. Platze the side edge of the skirt
lowest point o! the
sich edge oI’ the sltirt baclt lrom the
I04
 .
ce
„in;g
. When you draw around the

curve exactly. lt wvill

dart on most figures.
Lhc complctcd
completed pattern.
a: the side from hip t0
lhe dart at
ce the
pattern,
[o waist, retaining

ncccssarily be a very large

will neccasarily
B A S I C SKIRTS

intensified by placing the bias where the flares should

intensified
fall.)
The student should refer t0
ciples common to the
to the summary of prun-
draping ‚Of all gored Skmss
‚of a“
prm-
skirts, page
Page
_
;' lways slope the front and back cdgcsedgcs of the side 81 for shaping edges of gores and placing the grain
8| , tor
U: -
- outward
enough so [hat
{hat they will meet the Center
center ot the cloth. The same rules apply whethcr the pat-
ol
n! and back panels easily. Be sure to allow for
\nt e r n is drapcd or blocked.
Lern
L
‘ye flare as well.
.4
Problem 7
4mary: Principles of Designing Gored Skirfs on a
‘ Gore Masfer Paflern
_'o-Gore Paffern DESlGNlNC-I- CIRCULAR SKIRTS ON THE
DESIGNING
TWO-GORE MASTER PATTERN
may be introduced imo
into a gored skirt by any
’lares
flares
I.

‚u of lhree
three methods:
proporlions o!
Since the proportions ol the figure are the greates!
greatest
i-. Transferring the waislline
waistline dart to the lower edge. factor in producing attractive
dctermining tactor attractlve circular
f;. Slashing the pallern vertically so {hat
pattern [hat the [ w o Hares, iti1 seems reasonable [hat the most graceful circu-
reasonablc (hat
itions
‘tions overlap at the waislline,
waistline, touch ata: the break«
break- Iar
lar skirts will always be Lleveloped
developed by draping rather
j ‚
e, and sprcad
spread apart am
a: the hem
hem line. than by Hat pattern blocking. However, after
llat pattem alter some ex-

.
y

‘(Methods l and 2 imroduce (lare

„(Melhods llare within
withix) the pattern
pauem perience in draping circular skirts and in observing
es
«es where there is no seam. Flares tend to fall
Lend t0 their effectivcness
effectiveness on particular
panicular figures, it is possible t0
to
‘ere lhc pattern is slashed, but are always influenced
Jere the estinlate with considcrable
cslimate considerable certaimy
certainty the probable suc<
suc-
3 body
.’ contour.)
comour.) cess ol‘
ol" any punicular
particular circular
clrcular ccut
u t when you use the flat
Hat
pattern blocking method.
pattem
Slanting the seam line oulward
Slaming outward from the break-
Thc principlc
The ol’ cutting any circular skirt from the
‘e to the
je lo lhe lower edge. principle of
masler pattem is founded
two-gore masten" lounded on (l) the transfer
Lransfer
(Flares cannot be imroduced
[Flares introduced but can be greatly

1
I
I
I
I
I
I
I
a
I
I
I
I
I —————>

I
I
1
I G n—
GnIn-—ln—>
a

.
I

+i
I
n
r
I 4-?-
I
I
a
I
I
v

L-
l
I

Gored skin
v
_-"
l
' ° - o - - - . | _ Z
(b)
(b; (c)

’ gored skirt with seams alat side front and back Fig. 97. (a) Pattcrn of
ol’ center from;
front; (b) Center
Cemer back
lmcs seam position) .
Iim: show scam
panel with seams on both ed ges: (c) Center back pancl
edges; panel
placed nn
on a fold.

I05
 ’

arcs of Qaisuxinä 3nd hipiiue.

the master pattern from The Loss-fhan-Normal Circular Skirf. Olonly‘ Hilfe!
S.11; Seaxftof
Iletqgetfethe line fromßhip to lower
du the side seam so that it connects
Front hat van. a Doeidod Flora cf H» ‘Sack (so:
99 a and b)
_
‘dlfip ‘points, and rule from the hip
L

1. Place together the front and back hip

Aelgh go-rthe’
lower edge.’ A

__l_E.‚a Iren; seam isdesired, place the grain

i; au; Center of the pattem (halfway between the side
seam and the Center front) perpendicular to the waist-
line. 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—
the back to form good panel spacing.
center
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 ß
V

piece from 39 inch fabric.

lines ‘to Boot length. \

CUV
IFMF
IOH

(B)
i n . . .
u F’.
‚-
—.5’.--c-"
Fig. 99. Less-thnn-mtmal circulnr skin with flarc ndded
a: w!“
skin. from
#71‘, 98. Nnrmal circular two-gorc.
(a) Slash lines dmwn: (b) (Zcntcr back scrtion spread fnr Halt.

I06
 BASIC SKIRTS

make few slaslies 3mm deal

slashes and spread the patlern a3 greal
paltfrn
in one place, lhe
the fullncss will break into
i m o a few large
flares. II
If you make many slashes and spread
amoum a: at each one,
slashef sprfad
Wlll break into
Hares will
aismall
absmall
one‚ the llares inlo npples
around the entire
emire skirl.
skirt.
4. Place the slraighl
slraight grain where the
Lhe least
of llarc
amouilt
lciaast amou'nt
Gram on a CH‘-
Harc should lall. (See Placing the Crain Cir-
cular Skirt
Skirl Pattern, page 87 .)
5. True up [h6 the side seam (see dotted line,
line‚ Figure
Gm
rnin
I00), cutting ofl waistline, The
olf the curve from hip to waistline.
side seam ol
of a greater-than-normal circular skirt does
not need to curve since the skirt does not fit the
figure
over lhe
the hip.
Note. Do not ignore or smooth over the
abrupt
changea in line direction along the waistline arc, as
the flares
Hares fall from those
Lhose poims.
points.
I01 shows a circular skirt with a maximum
Figure l0l
“x flare, in which one-lourth
one-fourth of a skirt pattem
pattern equals
Ä one-lourth
one-fourth of a circle.
'l00.
100. Greater-than-normal
Greatcr-than-normal circular skirz
skin (dotted
(dmted linc

.
‚rs the
lhe hip seam with hip curve
removcd) .

_
Sldc Salm
Add to the center back panel ------- --7C - "
rI
'" " "
enough to equal
r‘, space marked on the
lhe diagram by the dotled
dotted line.
Slash and spread the Center back section of the
1er
(er pauern
pattem to form a circular wedge which intro-
s an emphalic
1Vs emphatic back flare
Hare to give contrasl [O the thc
Ä ess of
'

ol the front
comrast 1o l—l
Iront (see Figure 99 b). A peplum or
m:
Gmn
i

lt drapery
drapery can be used (oto conceal the front irom (Llart
l a r l as on
‘l as to
t0 relieve the
plainness ol" lhe
the lront.
lrom. The sil-
ette is usually more eflective,
‘ette ls effeclive, too, if there is a bias
Fnbric

{v at the cemer
center back to(0
emphasize lurther the con-
wbetween the Hat
i

flat front and the pronounced back

Greafonfhan-Normal Sliirf
"
“Greofer-fhan-Normal

ine dan.
tline
V
Skirf (see Figure I00)
Slash from the lower edge to the
dart. Close the dar: and
point of the
poim lhe
„.uv2ciu.
F.
v.
C.

vp
spread the lower

f!Draw additional lines from the waistline to the

edge wherever you wlsh
wish to
1o introduce flares.
Slash
‘Slash these
diese lines t0 zhe waistline and
to the
n outward from the waistline arc. pivot the
’

The more
ttern spreads a:
‘tlem at the hem the more intense the """ a ___‚——-"
e 7" arc becomes, and
an:
yet the two arcs (waistline
_'

cm line) will alwaysyct

remain parallel. If you Fig. l10l.
0 l . Maximum circular skirt.
One fnurth
fourth skirt pattern
equals one fourth
founh circle.

l07
 D
D R
REES
SSS D ESIGN
DESIGN

up into one's lap.

up lap. To
nearest the Center
slash nearest
To achicve
achieve this effecj,
center from
front along
effect, sprg
spread t
entire I":
along its entife length
"
'
spread more a:
may even be spread
ltIt may at the bottom manthan at th

... ...
... .....
·-.
-
'

top
top if
the top
desired.
desired .
top but not at
Spread
Spread the next
at the lower edge.
directed toward the hem but do not tun
slash (or slashes)
(er slagh"
edge. These fo folds a
run through j
“

H
Fig. I 02. Front peplum.
Since the pointpoint of the‘ slash Ii
the dart intersects this 91:13h;
I
I
I
I
1
1
pivot
pivot the dart to
to close it and increase the spread
spreadg of
: I: Ii
I
slash line at at the waist. SpreadSpread the slash towatoward‘eh
J ! ! :i side seam at at the top
top edge
edge only.
only. Spread
Spread all the sshash
U I

i :I I: •, 0
I ai equally
equally at
at the waistline, so that all the folds will'

-
O
I i !I of the same depth.
depth.
I
I
I

Center Fronf
Cenfer Front
Fig. I03.
Fig.
Step
103. Back peplum:
2 —
- Spread
peplum : (a)
slashes
(a) Step
for
Step lI —Draw
flare and
- Draw flare lines;
grain.
Jines; (b)
(b) Either mark the cemer
lengthwise fold, or
center from.
place the
front to
to be placed
straight grain
placed on
‚ A._;
perpendi
a.
Step Spread mark grain. lengthwise fold‚ or place straight grain pe
ular to
to the waistline over the hip front of die!
hip in from the si
Pe plums
Peplums drapery. This places
places the side seam almost 0m? on
drapery.
peplums in the same way
Block peplums way as you
you would block straight grain
straight grain and places
places some flare at
a! the
(he cen
circular skirts, but mark the lower edge
edge of the peplum
peplum front. The side seam sometimes even cuts
from. cuts in _:’
on
on
on the master pattern
master pattern and cut
cut the pattern off on that
on grain a:
grain at the lower edge
edge if the peg-top
peg-top effect i 3 "
pattern
Figures 102 and 103 aa and b show the procedure.
line. Figures procedure. pronounced.
pronounced.
Problem 8
' ' .........
' ......
.
I
"DRAPED" SKIRTS ON THE
DESIGNING "DRAPED" I
' ' ' ......
\
TWO-GORE MASTER PATTERN I I
I '' ' ...
I
I
I ''
I
I
I
' '•,
(See the discussion of the characteristics of this
the discussion I
(See I
I
' ',
classification, in Part lI of this chapter,
classification, chapter, Draping,
Draping, pages
pages \
-
90 -92 .)
92 .)
\I \
'
. .
I
I I
I I
I

. .
\
Placing fhe
Placing the Folds (see
(see Figure
Figure I04)
I04) \

l.l . On
On the
the master
master pattern space the num-
pattern waistline, space \I
I
I
ber of of folds desired.
desired . \
2. Draw
Draw radiating Jines downward from the points
radiating lines points
.
I
I
I
I

.. .
I I
2. I I
I
on the waistline.
on the waistline. From those which are near the I
I
I

center front draw

Center from draw lines
those nearer the
Jines
side,
to
to
direct
the
the
lower
lines
edge,
edge, and from
toward the side
side
.
I
I
I
\
I

those nearer the side, I

I '·
I
seam at
seam at and
and above
above the hip hip level. Remember (hat
that I
I
\
..
I
slashes directed too low on the side seam where the
the I I
slashes directed t o o I
I
I

skirt should fall

fall free will cause the side seam to
to waver.
waver. I

5km should [ r e e •
Slash along all of the fold-lines, and spread the
33. Slash the —
along Fig. 104.
Fig. I 04. Draped Step 1 - Draw slash lines on m
Draped skirt. Step n‘
slashes according
according to to the effect desired (see Figure
slas.hes pattern. ‚
105) ‚ A skirt is always
fullness at the lower edge
graceful if there is
I 05) . A skirt is always more graceful
so that one can
is enough
move
move un-
un-
pattern.
Fig. 105. Step 2 Close dar: and spread slashes eq
Fig. 105. Step 2 - dart spread equally —
h 1 edge v
waistline.
hampered ein‘; sit without having the skirt balloon
and Srexzithout balloon
a
Lulylyrggjieät
108
 B A S I C S K I R T S

1;}.
Fig. I06. Skirt draped inm a side fmnt fold.
Fig. I07. Skirt draped into a side fmnt
{ m m vertical fold.
—
Stcp l Draw drapery
(lrapery lines and side front opening.
npening.

ution.
ulion. Do not fail to follow exactly the inward Side Fronf
Fron? Line
ei along the hipline. T0 straighten the curve l. Auach the right and left master

_
A3
Ä mcrely add bulk and destroy the draped effect. pattern skirt
{roms at the C e n t e r front.
[roms
isis blocked pattern for a draped skirt is almost
2. Draw in the line of the side
act
e act duplicate of the draped example, but when opening on the
left side front. This line should slant outward
Ieft
Ing on the form, the efiect
ing effect at each step is per- slightly
ß" clear. Flat pattern designing, on the other hand,
hand‚
from the waistlinle 1o
to the hem line and should
prob-
ires es more ability to visualize an idea and is likely ably continue in the same direction from the inner
_.done with more feeling for comour when it fol-
{or contour edge of the waistline dart.
experience in draping.
experience 3. Draw a second vertical line to the hem nearer

d-Skirf
‘Ä
the
lhe C e n t e r front in order t0
to form the
Lhe vertical panel
_' Süd
' wifh a Side Front Opening
shown in Figure 106.
‘vinteresting interpretation
inlerpretation of the “draped"
"draped" skirt Fold Lines (see Figure I07)
yith folds caught into a side fronL
Veyith from opening (see
a»
e .
106). When the folds are carried from
106)
side across
the l. Draw lines where the
draped folds are to
(o radiate
a the Center [rom
front to
1o an opening on the from the fold a:
Irom at the edge of the vertical
panel at the
:-‘ ere is more left side front, to
ithere space for them than when they end l0 the right
hip seam, fanning out the
“x cemer front. Asymmetrie
v‘Center Asymmetric balance is often more lines from points very close
together at the left side
ful
_l and less set sct than formal
symmetry but must to poims
points farther apart along theLhe right hipline. Do
'ed throughout the entire costume. Thus, if
V

ied noL draw

not any fold-lines much below the hip level‚
i: definite emphasis on the side front of the level, 9
‘_v_‘ n skirt, inches below the waist.
eu-ical motif should be repeated in another
metrical
2. Draw another [old-line (o the lower
f the garment so {hat
‚
that the total design will have ‘Draw
the side
sxde seam but not edge near
running through the lower edge.
S.
3. Slash along these lines, 1oto the side seam‚ tot0 the

109
 F3. IM .
(a) Skin draped into side front vertical fold. Fig. I08 (b). Left side front section.
Sie]! 2 —Spread slashes for folds.

lower edge, and all the way through the vertical fold-
line that mm through the hem line.
line shows where it was cut.
4. Close lhe waistline dar: when you spread the
2. Rule down 1o the lower edge following the. 1..
top slash. of the dart. This takes out the bulge a! the
5. Spread the slashes directcd toward the hip and
point. Then add the same depth of vertical fokl
the hem at the left side from only, but spread the the pattern edge as that added to the side front on
and
lengthwise slash through the hem at both top right side (see Figure I08 b).
bottom edges, {anning out the lower edge slightly
3. Place the with a minimum flare at the
more tban lhe upper one to malte the vertical fold grain
seam.
decper.

Connor FroM
DESIGNING A "DRAPED" PEPLUM ON A
Place lhc straight lengthwise grain marking at the TWO-GORE MASTER PATTERN
Center from o! the pattern irom
the hem line up to
Lhc lowest diagonal slash line. Follow the same procedure as for desigfli"! ‚-
'

“draped" skirt on a master pattem.

Luft Sido Froni
l. Mark on the master pauern the lower
hause all o! the [olds are on the right side from, the peplum and cut the pauern oif along this Inne
and left side: are very
pauem shapes for lhe right
‘

‚f;
2. Close the dann. lf the end o! the dart falls
H0
 äwa
METHOD OF DESlGNz DRAFTING Drafting, the method of developing a pattem u
body measurements, is really the one reliable
The principle of shaping a flat piece of fabric to eyen for a. beginnen", to make a master slceve pa ««
J

the contour of the body by darting or easing applies that proves to fit exactly each part of the arm inall
as well to the sleeve pattern as to the blouse or skirt. positions. Since the master sleeve involves no probl
The arm has two main points of articulation — the of design and no choice in the placing of dans antl
elbow and the shoulder ball. At each of these points, curves‚ but rather hinges on the problem of meticulolag
darts or ease must provide shaping {or the sleeve. The accuracy of shape, the drafting method is obviously}
am: must be free to move forward and upward, and most suitable. From the drafted master sleeve, allol
even when relaxed, to bend slightly at the elbow. the more unusual cuts can be speedily derived Lhrough
Only when rigid does the arm form one straight axis blocking. Sleeves so designed will fit with the samt
I'll?
from shoulder to wrist. Therefore, a dart must be precision as the Original drafted master sleeve.
be to
provided for the elbow on the back edge of a long draping of sleeves can best relegated minul
fitted sleeve. And since the shoulder ball rounds out- alterations in design and fit.
ward 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
number of movements of a great many kinds. The
to accommo-
adaptability which the sleeve must have
date the arm in these positions makes it the most
complicated of all pattern shapes and requires ab-
solute accuracy of line.
A method must be chosen to develop a basic master
sleeve pattern {hat fits smoothly and yet gives {ree-
dom. One method commonly used but not generally
satisfactory is to pad a tightly
fitted (wo-piece muslin
sleeve to duplicate the arm at ease, and then to drape
sleeves on this form. But draping is not
accurate
of the sleeve. and results
enough lor the demands
vary widely with
each individual draper. Anothcr
common method, and also a generally unsatislactory
of a flat, foldcd .5?» .
one, is to cut a heavy cardboarcl replica
Q

ovcr this flat board.

(wo-piece long slecve, and drape
t0
also vurics with {KQ
The success achievcd by this method
the drapcr, and even the same pcrson
finds {hat her Fig. l. The scl-in slccvc. _
1mm“-
Fig. 2. The slccvc cm in nnc with lhC
resulls will (liffer lrom sleevc to slccvc.
 dress sleeve, allpw ig l4 to
throngh the girth, elboiv, and «m; Mm
height to the cap to allow tot shöulder
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 diflerence between an
and overarm lengths.

Metier Sloeve Draff. Sin I6

(b)
The following draft is for a basic sleeve with
z’ elbow dart in a standard size 16. To understand
procedure for sleeve drafting and to avoid erroß.
tice drafting the standard size l6 before
'

(a)
pattern from your own measurements.
Fig. 3 (a) and (b). Measurements for sleeve draft.
The list of supplies required is as follows:
Note. Use this measurement only to check the ac- l. Smooth unwrinkled construction or n‘
curacy of the comparative overarm and underarm paper, approximately 27 inches long 1nd
measurements. The cap height of the draft is really inches wide‚
determined by the difference betweeix the two. Tak- A tailor’s L square,
arm bem too
ing the overarm measurement with the
much increases the diflerence between it and the A well sharpened pencil (a fuzzy line is too„ '

underarm length and gives a false cap height. The accurate for satisfactory drafting) ‚
indicate that the over-
cap height measuremem may 4. An eraser.
arm and underarm measurements should be taken For accuracy. poim the pencil in against the
again to correct the error. edge in drawing ruled lines.
The cap height for a dress with a normal armhole
and thin shoulder pads varies from 5%to 61/4 inches. The measurements for sample size I6 sleeve I13
l

individual Variation,
Although there is a great deal of follows:
increase inch between sizes
cap heights generally 1/4
1. Overarm 28 inches
I2 and l4, l4 and 16, and so on.
with 2. Underami 173/4 inches
5. Elbow. Measure around the elbow poim
measurement normally 3. Girth l3 inches ( l l plus2inches0f
the am: bem sharply. This
the exact size. but since no ease is added inches
e uals girth
the
4. Elbow ll
w lt, the elbow will bc two inches less than girth
5. Wrist 7 inches
in the slceve dran.
114
 S L E E V E S

' -'‚ EDURE FOR DRAFTING (See

(see Figures 4-8) G A H

I Measuremenf:
‘

‘cal Measuremenfs
t Draw a line 23 inches
t
long down the Center of
uz
A
J
3,4m
3/4,;
paper, ending at least 2 inChes
V„paper‚ inches above the lower 3/4"
3/4”

f‘ square cC
Square
«.= out in both directions from the Center
3/490
3/4QD

/
‘a:
a! the top point A and the bottom point B. xK 1" L
"r Measure up from point B the underarm Iength,
length,
i‘ inches, and mark point C.
f' Measure down on the Center line 3/,
2/, inch below
Center
d mark l). zu point D for the girth
Square out ut

i;
‚ Mark E, the halfway point of the underarm
h (one-half the length from C to B). Measure
F
’“
11e"
.5!
-'
inch from E and mark I".
F. Square out at F for the ..„ E
x
’
line. ä
‘ä
u.
ä
a3
(I)

L
nfal
r‘‚onfal - Measuremenis
Measuremenfs
' Measure from F onefourth
one—fourth of the elbow meas-
ent, or 2%
‘ent, 21/, inches, on eaCh
each side of the C e n t e r line.
Center

e.Measure from D one-fourth of the girth meas-

n t , or 31/4
eent‚
_‘3 31„ inches, on each side of the Center line.
y join
l with straight lines the points marked on
„wand girth in steps 1I and 2. Continue these lines sB
‘th top and bottom horizontals. (Check for equal
3 ces on each side of the Center line ata: A and B.)
"änces l-‘ig. 4. Locate the sleeve measurements.
Fig.

Sleeve CapCap Cap Curves

iSloevo
J
l. On the upper half of the front, follow the
7,Dividc
Divide the vertical sides of the Cap into halves,
halves‚ line up from
guide
[ m m I for slightly over half the distance to G
flocate a dot 3%
locale 2%inch above eaCheach halfway point.
Ü I and j] on these dots. before curving
Curving toward the Center line at A.
Divide each half
half of the top line squared out 2. On the upper half of the back, draw a curve
from
{rom A that touches the
iA A into
imo halves and mark points G‘ G and H. guide line H 1A; inch below
H]] M,

"’
its halfway point. On the upper half, half, the back curve
b’.
Divide the lower line on the front of the Cap into is slightly flatter than the front.
g» and mark marlt K. I:
I! i: customary l0
to draft a sleeve
3. For the lower half of the Cap,
_«
CHI: the [mm
Iran! edge to
t0 the left
Ieft and the back edge 1ol0 cap‚ follow the guide
lincs
lines 1K
[K and 1L down one-half their
‘ght. length before
t
. Mark point L on the lower line of the baCk
curving in toward the underarm at point C.
Curving
back of the
Ch from the Center line.
‚flinch The Open Sleeve
>

Connect these points with ruled lines as shown The sleeve is now
rc 4 to provide guidc
. re guide lines for drawing the essentially Complete but is
i5 in a
folded position
position with the underann
underarm seam at the Center
of the
vof Lhe sleeve cap.
line.

115
 5., aroünicf-thcWßVpiivibtedL A

bis; ‘linve " t o w r x g t d

line { m m ‘elöow 1o wrist which
front of the Original wrist point.
' ‘ ’

l 1
in-
Fig. 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, fol-
low 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 {or the back.

Wrisf ‘Nidfh Corrocfion und Revision for Bonding {In

Elbow
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
finde, so thc diflerence shows w, inches of excess. Im“
Divide the exceu into halves and oubtract one-half l-‘ig. 6. Correct ror wrist size. an shown by dotted

I16
 SLEEVES

(Maiching Marks or Nofches)

Balance Poinfs on Seams (Mafching
21/2 inches from
l. On the front line, measure up 21/‘,
the
Lhe elbow and down 2% 21/2 inches from the elbow to
(o

mark the balance poims.

points.
To obtain corresponding markings on the back
2. T0
front seam from the
measure down on the fronl
seam line, measnnre
underarm t0 Lhe point and up from the
the top balance poim
bottom to the lower balance point and mark both
bottom
poims a: the same distances down from the underarm
and up from the wrist on the back seam. This places
S
the extra length at the elbow on the back seam line
a

ä 3
Graln
between the two notches if the dart
between thc to be put in as
dar: is t0
Front
U-
ease. Elbow ease should never go above or below these
two poinls.

F1 |
----——-.
__.- -_
\
\ l
\ i I
\ I
|
|\\ ' I
I
Height

i‘
'’
I
‘I \\ 1
‘u
Cap

n ‘l
I

I
\ I
ä’ f-5
E’75-’
E? (‘D
\ l
|
‚| u
3
I
/
nn. I‘ L
„__L

_
Fig. 7. Making the
lhe elbow
clbow dart.
dan.

Ibow
|bow Darf
Dar}

Begin
_Be_gin
the poim of the dart
point dar: one-third
onethird of the
g:wldth in
Wldth
_'‚
from the back seam line and halfway
_fen the Original elbow line on the sleeve draft
Ä elbow line on the
‘v traced seclion.
Lhe Lraced section. This is the
thc
_t dart
_Ll dar! lcngth
length for pattern blocking, though the
5 dfut should not
_"dfm
wxdth at the
("wndth
not be more than one-fourth the
Lhe elbow.
»Draw a line from the point of the dart to the
Dmw
'
elbow line on the back seam at a: F 2.
easure
IMeasure the
1 the samelength of the upper dart edge and
loff
50H length for
same_length [ o r the lower
edge. Rule
_
i)
Irom
from the lhe wnst
wrist to this point in order to clear
lfatever excess Lhere
Wlfätever there may be on the back edge
Fig- 8.
Fig. 3- The one-piece masler
master sleeve dran,
Ist to
t0 elbow.
 [

V
_ h
'

FtorttAC8p‚__Q-ligher
‚b ‚
4_ h.

.. \
‘ 'I a ‘
' [
v » .
'

j
.
L

g’
‘

Front Cap Lower 3 \

‘ -
\\ a’
. ‚
—-———-n-—-‘
C1‘5’_....-_—:'
’ ’

‘K
4

Same Cross
Thread
_....————
‘t --o 3'
\
i
‚g Same Slope Elbow | „.9 |'
ä
O
to Girth on Front and Back \ Ü

2 l
\
‚'
a
\‘| “m '
{ä
-
x

3 ‚F‘
n2 i
?>.J
‘s
2
°ä I‘
a '
I 7
I
I I l
I | I
Back Edge '| I

r-FfOnf
|
I
’I

|
| |
|
l

fl‘ - '‘|
B1
: " ‘ s
I
.1
'

E2-
Fig. l0. Slccvc winh [ m m and back «Im?! m
Slccve folded on center line (elbow and wristline
(oldccl
'

Im.9. on center linc (dntted linc indicntcs slcevc opened hat):

„ m “ ,„ h “ ‚h; am»; i; clmed).
H8
 SLEEVES

:.i. The curvc on the lrom

lronl ol"
ol the
lhc cap should rise
d}: 0/5
u): (I/ä 1o
[o % w
inch) above
abovc [hat
{hat of the back at the
‘in
f the sleeve. The front
lronl of the cap dips slightly
'nch)
nch) below the back curve at the underarm.
1e.
1e,These comparisons ol of from
front and back Con-
con-
to the needs of the average arm. From the
1

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 swing the
[o Swing
Äforward
Iorward comfortably without
wilhout ripping
ripping the back
e sleeve from the garment. A deeper curve is
’
v,»
’.oa on the from
front underarm so that(hat the armscye
Ä will not bind when the
not bind lhe arm swings forward.
Grain

‘o Folded so fhaf Fronf

Fron? and Bock
Bacl: Seam Lines Meef
infer
nfer Line (see Figure l0)
I0)

"
5} will enable you to dctermine
In
e cap‚ the distance
cap,
timate
f imate the
determine lhe
dislance from
lrom A to
of the
height ol
the actual height
(o C. lt is incorrect
(hc cap by measuring from
‘g a straighl
straight girth line drawn across the opened
‘efrom C110
C1 to C2.

1o
i. Opened
Openad Fiat
Flaf (see Figure I0)
äenen the sleeve was dralted, the lower half of the
“mwas pivoted lorward
forward to give the necessary
‘I
: v a:
Ä at the back lor
for the elbow dart. This Fig. lH.
Fig. l . Front and back undcrarm’
und lnuk underarm seams straightened so
usually
'

._. the front seam line from elbow to t0 wrist to slope that
[ h a t slopc {fmm girth m elbow is continucd
m m ginh mntinucd from elbow to
t0
rdd slightly more than it does from girth to elbow. wrist.
WTlSl.
l ld be
uld to draw this as a straight line from bell, and slraight-hanging
wrong 1o straight-hanging sleeves. You will hnd this
i‘ o wrist, because the front
‚f‘ to lront slope
slopc from
lrom girth to a convenient procedure for
changing a long fitted
l would then no longer be the same as the back sleeve in a commercial dress
pattern, or in reversing
;f and the sleeve would tend toLo twist when back your cut-out master sleeve pattern to its
9a m seam edges were joined.
L m dralted
drafted form before it was altered t0 Original
to fit from elbow t0
wrist.

_‘
i RLONG FITTED
Problem 2
SLEEVE PATTERN MODIFIED
BLOCKING SLEEVES LOOSE AT THE
LOWER EDGE (see Figures I
I43)
I—I3)
l. To eslablish
establish the
Lhe lengthwise Center line, fold the
sleeve so (hat the front and back seam
from girth to elbow, crease the fold
lrom
line from the top of the sleeve to the
il.
im.
lines coincide
along the Center
wrist, and rule

2. Trace the sleeve and the center

eeonOriginal
it is
sleeve draft
with the basic lines sheet of paper.
line on a second
.
not available, you can
easily modify 3. To establish
»; sleeve with an elbow dart and a fitted wrist
w; straight back and front underarm
'- a workable block for the designing of seam “n65.
563m lines, place a ruler on the
0E pat- from girth to elbow and with a Original seam line
fsjv filted
tted Irom
from elbow to wrist.
wrist, such as bishop‚ line to the wrist (see pencil, continue this
Lhis
Figure ll) .
119
H9
 ’

(a) along the sides o! the patterri, and pen- to the äräfut ‘p,
L_

lines to showzthe quarter divisions. Fold- ‘befdte wüst siz‚e

is corrected or 111e elbobw.
fgild indicates the and the
Slgcvignin this way
“

fing top
V

the sleeve when it is worn.

undeßidepf
(b) Trqgce lhe lower armscye curve.
(e) Rufe a line across the bottom of the sleeve per-
’

pendicular t0 the Center line to get the correct slope

_{ e r the lower edge. "nahm.
..-„

7. Open the sleeve and use it for blocking (see

I-‘igure l3) .
' ‘x/

.u„‚

Fig. l4. Bishop slccvc.

sleeve.
Fig. |5. Bach n! arm mcasurcnlcnl fnr bishop

Meihod A: From Maxtor Paflorn Sloper‘ (see Fiqum

I6 and I7)
l4; m
in order to dctermine sleeve l. Draw around the sleeve sloper. 0131““
Fig. I2. Slccve [olded m center,
basc, and correct lower edge. lower armscye curve and the Center lme.
quarter division Iines, cap
and spreading.
2. Detcrmine the depth o! the cufl‘ and mir
0L!"
Fig. |5. Sleeve rea for slashing
dy
this anxount on the Center line. The cufl
1s 2 '“'
Problem 3
deep on the sleeve illustrated.
PATTERN
THE BISHOP SLEEVE FROM MASTER
lFor the gcneral methuds uscd in the slecve d?!“ ‘
(see Figure l4)
followa. the nuthors wish m makc gratcful acknowl.
irom its clerical to M. Rohr, author u! Paucrn Draflmg and (Smdvfiß
The bishop sleeve derives its name
I20
 SLEEVES

..
Fold &

‚.
‘ l6. Bishop sleevc from
wn
‘ n for inaease
{ m m mastcr paucrn
increase in width nf
mustcrpancrn slopcr. Lines are
o! wrist.
Trace
Trace

Fig. l7. Paucrn

l6,
Pancrn is folded
& Trace
Fold 8.
lolded undcr nn the
and thc sides und
I6, und und luwer
[h8 dotted lincs of Fig.
lower cdgc lraccd.
traccd.
‘. Measure down 5%
l y, inch from the point
poim marked in and also on the newly
ncwly drawn back line. The addi-
"i- 2. This added length is needed on any sleeve tional back length provides lor
for the diflerence between
_ered
‚ered into imo a tight band L0 allow for reaching and
t0 aHow Lhe
the measurement
measurenlent over the back of the arm when held held
"i
T’:
sing. Square out o u t in both directions Irom
from the straight and when bent
bem at
ter
l e r line to establish the construction line of the
straighl aL the elbow (see
l5)..
Figure 15)
Add more than
lhan lI inch lor
for exaggerated
_: er edge of the sleeve (see F igure 16)
‘er blousing.
I6).. 7. Rule a line joining the lengthened back line of
lncrease the sleeve width by measuring forward the sloper t0
to the front
from line of the sloper a:
x e
at the wrist
111e wrist line one-half the amoum desired on the construction linc.
line. The lower edge of the sleeve will
't 1 hall
»
half of the sleeve. Figure 16 l6 shows che
extended I inch at the front edge of the
Lhe wrist
sloper.
be perpendicular to
inal lincs ol
lo the C e n t e r line between the
of the sloper and the
orig-

‘L rase lwice
twice (bis
this amount at
s 2 inches. Always maintain
join the poims
points
a: the back. The diagram
maimain this proportion.
markcd
marked on the wristline to the
the back and front.
fronl.
8. Fold Lhe pauern
pattem under on Lhe
newly drawn lines at

the new lront

from line and
tracethe {{rom
r o n t lower armscye, the Center
ints of the front line, and the
l

?poims irom and back edges of the

sloper shaped wrisl
wrist line to complete Lhe the front half of the
annscye.
armscye.
- l7)..
sleeve (see Figure l7)
_. Lengthen the back of Lhe
the sleeve l inch by drop- 9. Repeat the same procedure for the back.
‚‚i- wn that amount on the
‘eflown lhat Lhe back edgc
edge of the sloper

l2l
 ‘l
engthwnse, grafiin line of the paitem
'

da} afxd the bottom.

bjottvom lixie
. M

4; Sptead ‚the ‘front slash 11/, t0 2 inchqs a! the

‚
l

_ t h e backt0 slash twice that amount. Pin

the sifle paper. the
s. Jazxgend melength 1 inch on both edges of the
back Lslash t0 allow for bending the elbow.
6; Rule a wüst line joining the lengthened inner
edge of tbe back slash to the inner edge of the front
slash.
Problem?
THE BISHOP SLEEVE WITH
AND LENGTH FOR BLOUSING Ä
(see Figures l9 und 20)
A Long Sloevo
In a slecve which is very full all across the ou
the arm, the entire spread should not be at thfi
front and side back edges of thc central
addition, vertical slashes should be made througi);
Center section and a small amount of flame sho
imroduced at each slash. However, even w
fullness so distributed, the slash at the side
should be spread more than the others, becanfi
silhouette is more elfective il the flare and bl I»

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
edge equals that at the girth. lf you wiclen the
much morc than this, it is usually more 5nd!‘
edge
tory t0 introduce some ol the width on
arm by slashes at the center ol
sleeve will retain a column shape
the
rather
the top o?
sleeve.

tened two dimensional shape flarintg entirely 1"

so thit
than lf
Ü*
.
side front and side back ol the arm.

o ' 2" 2" A Threo-Ouarhr-Longlh Sleovo

This sleevc lenglh is suimble for the mature
[ m m opcncd master pauern (shown
Fig l8. Bishop slcevc center linc BF. since it does um have thc childish silhoueuc of l
in 111g, |5). AD 3nd CE should equal
122
 SLEEVES

has already been introduced. (See Problem 4 concern-

alreatly been Problent coocern-
ing the extent to satislactonly be
t0 which a slecve can satisfactorily
widened at side frontfrom and side back.) T0 To reduce the
flare, 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
the sleeve will be parallel to the lloor Hoor when the arm
hangs at the side of the body. Since the bell sleeve
free, remove the
hangs lree. lhe allowance {or for blousing added
to the lower edge
t0 of the bishop sleeve, but retain the
one inch olof added length a: at the side back of the sleeve
necessary to go over Lhe
the bend ol the elbow. You may
even increase this length as you increase the bell flare.
3. The finish for the lower edge depends on the
amoum
amount of shaping necessary. If the bottom of the
sleeve has t0 to be shaped t0 to hang gracefully, finish the
lower edge with a dccp

_
deep shaped lacing. Trace the
patlern lor lhc
pattern the facing {lrom the lower section of the
m m thc

.
‚f l9 and 20. Exaggcratcd bishop slceve.
Exaggeratcd
ullness distributed evcnly
sleeve. Fig. 2U shows
sleevc
matching the grain exaclly.
slceve, matchiilg
slcevc,
sleeve is a column shapc,
exactly. However, if theLhe
01' is only very slightly
shzipe, 01‘
fullness
i

cvcnly all across the top of lhe

the sleeve
e xtra
extra blouse added on lhC back.
the back. Hared, a deep hcm
llared, hem hangs more softly. For the hem
pattcrn,
pattern, lold the
Lhe paper pattern under at the hem-
papex"
sleeve. However, line and trace the side seams t0 to the top of the hem.

‚.
"53 However‚ blousing that
(hat falls at the out-

..
1.6
1.olof the arm below the elbow is a:at thc
’ the level ol
of the
K and
and therefore broadens (hem.
them.
E‘ Proceed
Procced as lor
for the long full-length sleeve. THE CORRECT METHOD FOR INCREASING OR
N Measure up from the wrist for lor the desired sleeve DECREASING SLEEVE WIDTH
length.
lcngth.
g Cut ofl
0E the bishop sleeve already designed on The correct method for increasing or decreasing
lines cxactly
exactly parallel to the lower edge. 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
eithcr spread to widen the sleeve or lap to narrow it.
either
Problem 5 The first sleeve (Figure 21a) has the usual shape of
a master
masler sleevc pattern before
belore being adjusted to wrist

_‘
THE BELL SLEEVE
size. The seam lines slope inward from girth t0 to wrist.
Dotted lines indicate the height ol
Dotled of the cap and show
"he bell sleeve, a Variation
lhe of the bishop sleeve,
the position
position of the underarm half of the sleeve when
i- out
-_-» like a bell, wider at the lower edge than at
it is lolded
folded in to the cemcr.
centcr. This diagram illustrates
irth. lt is exactly like the bishop sleeve except
l

girlh. (hat if the lront

front and back seam lines slope inward
the
the lower edge which hangs free. Sleeves that (hat
from the girth to (o the wrist‚
wrist, the girth points at the
x«S; in a straight tubular column from shoulder to lront and back when brought together will meet above
A arc are also often loosely classified as bell sleeves,
a straighl
straight horizontal line drawn between them when
though they may be the same size at girth and the paltern is laid Hat. lt also follows [hat
or cven
even slightly narrower at the wrisl. that the bottom
bottom
'
—«
Aor wrist.
edge of this sleeve must curve upward at the Center center
Ä _Check
Check the drafted bishop sleeve for correct wrist and down at the seam lines in order to
'73 T0
‚Jv To increase the flare still further, slash and when the seam is joined. The dotted underarm
appear straight
underarm seam
in a! the side front and side back where fullness 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 sprcad-
ing 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 orig-
inal 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
in F igures 2lb and 21c have risen with the spreadißlfi:
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 m:
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
k

the master pattern, slopes
by slashing and spreading
irom girth to wrist. The
outward along the seam lines
folded in to the
irom and back seam lines when
simply redrawing the underarm seam line
lf you compare each ol lhese sleeves with the
sponding one in the correcl group, you will
notlce um
'

the wrong method causcs lhe lollowing errors:

Center, mcet below a straight
horizontal line drawn
when the l. The armscye line is not autonmtically chafklfidlfi’
between the lront and back girth points in
ttem is laid Hat. The bottom edge
also curves down- correspotnd 1o lhe new slope ol the seam lines 0rd‘;
when the t0 relain the Original cap height. lnward slopmß‘
ward a: the center in order to appear straight
{ m m and back seam lines are joined. the seam lines shorlens the Cap height (FiguN V

Since the front and back ginh comers

in Figure and outward sloping increases it (Pigums 22b and
since those 5»
21a have droppcd with zhe lapping,
and (See Fitting Problems ol thc Sleeve. Chaptcl‘ 2

232-4.) R

I24
 SLEEVES

I
I
I
I
I
I
I
I
I
I
l
I
I
I
I
I
I
I|
Il
In
I
L---
(b) I
| _ _ _ _

Imurrul IIICIhIId
Fig. 22. lnmrreu methnd uf innrezxsing nr (lccrcnsirIg
nf IIIIrcIIsIIIg sleeve
(lerreusing slccvc
wvidth at
width lnwcr edge:
a1 lnwer cdgc: (n) Nnrrnwing
Nnrnwving sleevc
slccvc zu
a: edges de-
edgcs dc-

_
creases cap hcight:
crcascs height: (h)
(b) widening sleeve zu cdgcs
widcIIiIIg slccvc" cdges increascs
height: (r) WidCniIIg
cap height; slccvc lutl l cdgcs
Widening sleeve nur nnly increascs
edges nnt
height. hut
cap IICigIIt. Hure zu
but thmws all Ilzrrc undcrnrnl.
i l l underarm.

:2. The correclion lor

j2. for thc (‘Ilge of the slecve
the lower erlge sleeve o!‘ thc
ol line. When such au change is made. lhc
armscye linc.
the urmsgyc the
n01 lhus lht:
indicited, and thus
Lnot indicuted, Lhe sleeve will hang un- un— height oI Lhe cap decreuses
ol" the decreases as
21s lhe
the widlh
wxdth ot
of lhe
the cap
_ nly when on the arm.
‚enly and of IheLhe girth increases. but theLhe armscye length
remains constam‘
remalns constant.
3.
3. width added to
The widlh 1o the slecve undcrneath
hangs underneath
sleeve hamgs

._ _
e arm atal the
lhe seam line, and the
Lhe slcevc
sleeve cominucs
continues t0 PI occdu re.
Prucedu
"

g in a narrow colunm u: thc

column 21l lhe sidex und lop o1"
sides and of lhe
Lhe
I. 'l'ruee
'l'racc the l l a s l c l ‘ slecve
lhe Inxaster sleeve pauern,
paltern, including the
_ o1_right
_ und wrong methods
‚ß

‘ Center line
linc and Lhe
the quarlcr
quarter division lines (sce (see points
o le.
ole. This comparison of nght und
.'Ih1s comparlsnn B und On um
U on
and 1) Lhe armscye)
armscyc) .
nchanging sleeve size further
gchangmg turther emphasizes lhe dangers
emphasizcs the Llungers _
‘2. Draw lines
Ä

lronl the Center top

lmes Irom
_
ol the sleeve cap
tup o1"
Filtering on
V-flaltering (m patlem „Igel Most (‚umges should be
paltem edges. ‘um.’ changes (M,
d‘ de wl-‚hin
wilhin lIIe
‚m, patlern. 1o und back girth points,
(o the lront and
points, lines AC and Cli
,7 pauent
(see Figure 23a) .
to the cap edge an
3. Slash lrom A and E t0 a1 the cemer
Center
Problem 6 top,
Lop, C.
5_EMASTER SLEEVE MODIFIED FOR CAP HEIGHT HE|GHT «l. Slash on lhe
«I. quarter divisions Irom
the quarler from line AC up
f; l0
1o poim B and Irom
point from line CE up to point D on the side
I,Lowor-fhan-Normal Cap Heighf (see Figures 23a. b, o!
OI the
lhe armscye.
c) 5. Spread along Lhc
thc slashes A t0 C and E 1o to C t0
ery short sleeves and
ancl those for sports or working thc
Lhc underarnl seam lines about h4
aery Ienglherm
lenglhen seanI II/_‚ inches.
ents
w ents
require a cap which is shoner
shorter than normal (This may vary wiLh
with the amount (hat you wish the
er to provide freer arm movement. The master
Örder to be shortened.) The more the underarm
cap t0 underann scamseam
n sleeve bIock
ern block can be nnodified
modified to
t0 decrease the is lengthened and lhe
thc cap thus shortened, lhe
the more
h!
t of the
Ihe cap without changing the measurement
Ineasurenlent the bottom edge oI
Lhe of Lhe
the sleeve extends away Irom
from the
arm.
 oiffhe Jnewof the
Q

slcievdfigpatiem.“

(a)
Note. The length liue bis
arrnscye
altered. The loss in cap neigmghas beien
to increased girzh. This patcem is suited tlo’
..I

short sleeve pictured in Figure 24a. Figure24b

o a sleeve with a shortened cap, but. with the ihre
usually swings away from the top of the arm taten;
show:
s by lapping on the center line. (Figur: 25
a 24c illustrates how underarm
procedure.) Figure
“

‚s‘ 112"
1 “'21 also reduce the flare at the center top. The" i
tailored shirtwaist (see Figure 26). has a shon.’
l so that the arm can be raised comfortably wi
\ Dresses (or aL
pulling the blouse and skirt apart.
\ 3 1
Sports, smocks, and nurses‘
uniforms are other »
lt is v _
\ l amples of garments using the shorter cap.
times used in very bouflant puffed sleeves because
«

\ I
I its tendency t0 flare more than the normal sleevewl
\
‘ s’ (b)
a deeper cap.

1\m
'11

(a)

o
Fig. 24 (n), (b). and (e). Sleeves with
less-than-
‚ and (c). Dccrcasing thc normal cap height
m;25 (a) ‚ (b)slcevc. cap hcight.
Aoin the mzmcr

126
 S L E E V E S

Pattem fnr Fig. 24 (b). Top nf arm Hare lapped

zon Centerline of sleeve.

(a) (b)
Fig. 27. Extension of
Fig.27‚ nf cap hcight lor shoulder pads: (a)
height {or
Slash lines (lrnwn; spread and cap pushed up.
(lrawn; (b) Slash lines sprcad

Procedure.
I.
l. Place a pencil mark at the exactexaCt base of
ol the cap
on the
lhe Center
ccntcx‘ linc ol" thc mzister slecve
lhe master sleeve pattern.
2. Draw a wedge-shaped piece at the Lhe exact C e n t e r
top ol" thc
the slccvc
sleeve cap (see Figure 27a) .
(sce Figurc
3. Draw lines lrom a point on the side seams just
below the base ol" the cap up to [o the lower corners
lhis wcdge
of this (doued lines in Figure 27a).
wedge (dotted
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.
.26. Shirtwaist sleeve. Less-than-normal cap height
.26. al- 5. To
T0 raise the height ol the cap without
distorting
s free arm movemem.
movement. the
lhe underarm curve
Curvc ol
of the
tlie armscye line,
line‚ make addi-
a: the
tional slashes at Lhe back and lront
lronl. to
t0 the
lhe armscye
‚
Higher-fhan-Normal Cap Heighf (see Figures 27a line just below the midpoint between the
top C e n t e r
v‘

dl bl
b) ol the armscye and the base ol the
cap. You canCan then
he normal cap height of a foundation sleeve may
gThe raise the top
lop half ol
ol’ the cap without
appreciably lift-
too
g too short for
lor shoulder padding‚
padding, and obviously, the ing the underarm curve
Curve (see
(sce Figure 27b).
f’
Ckerer the padding the higher the cap needs to be. 6. For gathers held right at the
7 Lhe top of the sleeve,
eck the height ol
of the master sleeve cap accurately use the same method, but
push the wedge up still
j olding the underarm seam lines to the center
Iolding Center be- higher. This increases the height of the cap and the
measuring from the base of the cap at the center
Center width also to some extent, but adds
very little width
p; v the top (see Page I19.)
t0 119.) al the girth
at ginh linc.
 DD RR EE SS SS DDESIGN
ESIGN
Problem 77
Problem front and back edges of the underarm seam of the
THE MASTER
THE MASTER SLEEVE
SLEEVE MODIFIED
MODIFIED FOR FOR A A DEEPER-
DEEPER- blouse.
blouse.
THAN-NORMAL ARMSCYE
a and b)
o and b)
!see Figures
THAN-NORMAL ARMSCYE (see Figures 28 and 28 and 29
29 Redraw the
2. Redraw
(see dotted
dotted line
the underarm
line in
underarm curve
curve (or
in Figure 29a).
for {mm
.47
front and back
'

(see Figure 29a).

3. Trace the sleeve
3. Trace the sleeve mastermaster pattem
pattern and and dran
draw i
From time
time t0to time
time fashion
fashion emphasizes designs hav-
From emphasizes designs hav- horiLOntal line extending through the front
horizontal line exlending through the Eton: and „g and back
ing armsqes deeper than than normal,
normal, and
and atat such
such times
times
ing armscyes deeper corners of
of the
the girth line. 1
this slee\e variation adapted to all types
this sleeve Variation is adapted to all types of cos— of cos- corners girth line.
tumes. It is especially desirable for coats
tumes. lt is especially desirable for coats and suitsand suits 4. Extend
4. Extend the
the sleeve
sleeve girth
girth line
line a:
at from
front and back anI
and back i

m Order
order t0to allow
allow {or
lor easy fitting over amount equal to the increase in the length of (Es
the
in easy fitting over dresses
dresses and
and amount equal to the increase in the Iength o!
blouses.
blouses. blouse armhole.
blouse armhole. With
\V ith aa flexible
flexible ruler,
ruler, measnre
measure the
armscye ol
o( the
the blouse
blouse front
front from
from AA loto B, and submd‘
B, and subtract
armscye
lrom this the measurement from A to
lrom this the measurement from A to C. Repcatfo: C. Repeat for
the back.
the back.

-.
ll)

(.)
‘L94
()

Fig. 28. Sleeve with deeper-than-normal armscye.

Fig. 28. Slecvc with (lceper-than-normal armscye.
The main
The main problem in in designing
designing and and fiuing
fitting aa set-in
set-in
problem
sleeve with a deep armh ole is to provide
sleeve with a (leep armhole is t0 provide the necessary the necessary
lreedom lor lor raising the the arm,
arm, especiall y in
freedom raising especially in a.a. garment
garment
fitted snugly a
fitted snugly a1 the t the waistline.
waistline. Il
ll the
the cap
cap of
of the
the sleeve
sleeve
is lengthened to correspond
is lengthened l0 correspond to the to the additiona
additional l depth
depth
ol the
ol the armhole,
armhole, the the top olof the
the sleeve
sleeve will
will lorm
form aa vise
vise
top
{hat holds lhe arm down ai the side. Any attempt toto
that holds the arm down at the side. Any attempt
raise lhe
raise the arm
arm causes
causes the
the garment
garment t0to pull pull upup atat the
the
waistline, because the lower armhole has shortened
waistline, because the lower armhole has shortened
the underarm
lhe underarm seam seam ol of the
the blouse.
blouse. Lengthening
Lengthening the th e
unde101m seam uf
underarm seam o] the sleeve th e sleeve an
an amount
amount equal t0to
equal (b)
that lost
lost onon the
the side
side seam
seam of of thethe blouse
blouse overcomes
overcomes
(hat
these dilficulties.
these difficulties. 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
and underarm seam lengthened t0 fit deeper armholf
I.I. Measure
Measure down
down the
the new
new armhole
armhole depth
depth on
on the
the
blouse.
blouse.
128
.. ‚

.—-- points eercCt

f armscye.
{l
front and back
Original lront
Measure in from the original
inches. At
minimum of 2 inChes.
of the sleeve girth a nlininluln
ers ol
perpentliculars and extend them
r c c l perpendiculars
SLEEVES

( h e m to

Cul out the sleeve, slash in from the from

Cut
t0

front and

.
i‘
k girth Corners
corners t0 perpendiculurs and up to
to the perpendiculars
wedge-shaped pieces to
armscye. Pivot up the tvedge-shaped
Lhen
hole
_ underarnl seam 21s
en the underarm
has been lowered.
as much as the blouse
hole

‘’
. Retrace the sleeve. Draw a new underarm line,
ing il
' nward
corrler inward and
raised girth Corner
it from the raised
to meet the old sleeve seam at a point 2 or
to Center
Folded (o Folded to Center

3‚ ches below the position of lhe

the Original corner.
original girth Corner. nfl a sleeve above
cutling nff
Fig. 30. Method of Cutting clbow.
(he elbow.
abnve the

_
Problem 8 Sleeve Cuf O5
OH‘ a’! Three-Ouarfer Lengfh (see Figure 3|)
a} Three-Quarfer
MODIFlCATION OF SLEEVE LENGTH
_ MODlFlCATlON desircd tlistancc
tlle desired
l. Measure the distallce up lrom tlle wrist
lroln the
er Sleeve Paflern Ofi Above the
PaHern Cuf OFF fhe Elbow on each seam, at the
seanl, al lhe
lhe Center, the side lront, and the
1u Figure 3o)
30) side back. these points
Connect. thcse
back. Connecl. poims with a pencil line t0
l0

..
.
'_ . On a sleeve pattern oulline, trace the line at the
pallern outline,
form the lower edge ol" Lhc sleeve.
ol the
of lhe
the cap and the Center
*r
C e n t e r lengthwise grain line 2. Cut which should bc
lhis line whiCh
Cul along this be parallel t0
g; the master pattem.
pattern. the wrist line.
Fold the seam lines in to the
lhe center
Center lengthwise edgc is always too
Note. This edge Curved t0 have a hem
t o o curved
_ n line.
„inline. therelore be finished with seam ribbon or
and should therefore
u
'
'«. Measure down the desired sleeve length from the
‚3- of the Cap
a shalned
shaped lacing.
cap on the
lhe Center line, and square out
center line‚
in
gfu this point. This is the lower edge ol of the
Lhe sleeve.
en en the
lhe pattern is opened out. this line will slant
out, lhis
;
i: ward toward the underarm
nward underarnl seamseanl lines a:at the
1 ‚ and will be parallel
parallel to
l0 the girth line in the
lhe
bter section.
Eiter

.
:
"7 0te.
This method for trueing the lower line by
‘
‘I. 'ng
"ng the untlerarm seams in to
unclerarm lo the Center Cannot
"o for a sleeve which has been derived
cannot be
by slashing
spreading the Center seclion, since the fullness
center section, lullness
lIhee under and upper sections of the sleeve are not not
"Esame. However, if the lower edge of the sleeve
‘Äsame. However‚
l is correct‚
correct, the slashed and spread parts will auto-
._e.
"cally indicate the CorreCt
ally correct lower line of the new
‚

‚
Äi-
To add a hem to the sleeve, measure 2 inChes
from the lower edge to provide the hem depth
[rom
inches

‘re cutting off the pattem.

pattern. Fold the hem up and
the
lhe side

‘_.
_;_
E edges against lhe side of the sleeve line
the
_' er to duplicate Lhe
the exact side edges of the sleeve.
T:
e can be successfully hemmed only when it is 3|. Method of Cutting off
Fig.
Fig.3l. culting olf a long sleeve
slcevc t0 thc three
to the
t Call)’ a: the lower edge.
cally straight at quaner length.
quarter
129
 D RR EE SS SS D ESIGN
DESIGN

Problem 9
CUTIING 0F
THE CUTTING OF CUFFS
(see Figures
(see Figures 32
32 a, b, c.
a, b. c, and d)
d)
LMM
I MSCGM
I

Cuff Band
Narrow Cufi ‘

1Y2 inches
QMM
A narrow culf
cuff band ol
of l1 to
to 1% is a straight
straight
lengthwise piece
lengthwise piece folded at
at the lower edge.
edge. (See Figures
(See Figures
32a and
and 33.)
33.) (b)
iI
(a)
(3) 1
Fig. 34. (a)
Fig. cuff pattern
(a) Wider cuE pattern cut
cut from lower edgcd
edge of
sleeve; (b)
sleeve; Cuff cut
(b) Cufl cut in one piece,
piece, with a buttoned
buttoned closing
dem‘
and a free upper
upper edge.
edge. v
Flared Cuff (see
(see Figure
Figure 32d)
32d)
cuff pattern
Use the cufl pattern made according
according to the dim-direc-
cuff, draw slash lines
shaped culf,
tions in B for the shaped from
Jines lrom‘
upper edge
the upper edge toto the wrist for the flares,
flares, slash and
and
spread (see Figure 35).
spread (see Figure 35). Cut the new curved pattern,
panem,
Fig. 32 (a),
Fig. 32 (a), (b), (c), and (d).
(b), (c), Cuff variations.
(d). Culf straight lengthwise
and mark the straight lengthwise grain
grain to coincide
with the Center
center lengthwise
lengthwise grain
grain of the sleeve.

''
lenlf:hw1se Gnln
Grain
Lenflhwm V
I

Fig. 33. Narmw

Fig. Narrow cuff band.
band.

Cuff Wider Than Two lnches

Cufl‘ Inches (see
(see Figures
Figures 32b and c] c) Fig. 3E).
Fig. 3:i. Flared cufl.
cuff.

Take the patternpattern from the lower part part of the one- one-
piece
piece master
master sleeve (see Figure 34a).
(see Figure 34a). For a tightly
tightly fitted Problem 10
I0
cuff, use master pattern
use the master pattern with a vertical dart (see (see
i
cufl, TWO-PIECE SLEEVE
SLEEVE DRAFT FROM MASTER
FROM MASTER
page
pagel35I 35 for the pattern).
pattern). Cut the top
top ol of the culf on a
cuff on SLEEVE (see
(see Figures 36-42)
ONE-PIECE COAT SLEEVE Figures 36-42]
curve parallel
curve parallel to to the wrist edge
edge of the master pattern
pattern
and mark the grain grain running
running in the same direction as Draft
Drall and ccutu t out a pattern
pattem for one-piece sleeva
lor a one-piece sleere, n
sleeve, {hat
in the sleeve, that is,
is, along
along the C center line. When you
e n t e r line. you using measurements for coat jacket andal’
and al· Ä
using the measurements lor a coat or a jacket
use a buttoned closing,
use closing, place
place it at at the vertical dar: dart lowing difference 1% inches b!‘
line. Iflf the cufl
cuff is t0to be lree
free at
at the upper
upper edge,e<;lge, cut the
lowing no elbow dart. A diflerence of 1% be· Ä
girth and elbow will
tween girlh will be satisfacwry Im“
be more satisfactory than
pattern apart
apart along
along Lhe the vertical dart line and join join the the lwo-inch
two-inch difference
difference usually used for
pattern Lhe usually used lor a dress sleevt
sleel'e 1
two sections
two sections on the underarm seam Iine [hat the cull
line so that cuff (see Figure 37) .
(see Figure 37).
itself can be ccut
itself can piece and retain
u t in one piece retain the grain grain Iine
line
marked from the sleeve (see
marked (see Figure
Figure 34b).34b). Allow for
lor a Division Lines
Division
lap onon the placket line. A cuff sewed to
the placket to the sleeve
lap Figure 38 should be followed
followed carefully
carefully in peflom’
perform·
along itsits upper
upper edgeedge retains the underarm seam (see (see Figure
along ing steps I
l through 6.
Figure 32c).
32c).
ing steps through
Figure
130
 S L E E V E S

t0 divide the
l. Draw line B R O 1o
I. from quarter of
lhe front
the sleeve, ACNP, in half.
2. On the girth
ginh line, measure 5/8 inch toward the
5A; inch
{rom the back quarter division line, EK,
back edge from
und mark X.
3. On lhe
the elbow line, measure 1A
% inch from the
back quarter line and mark V.
Rulc a line connecting X and V and extend i1
4. Rule
through the armscye at F.
From the wrist measurement
5. Fron) this one-piece
measurenlent of lhis
sleeve draft, subtract the desired wrist measurement
two-piece sleeve, and mcasure one-half of
Lhe new two-picce
for the
difference on each side of the back quarter line
the (liflerence
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| G

l
l
\
l
l
RS T N

Grain Q
|
l
i
|
i
l
\
l
OO NN M
pp
To Remove
LKJ,
LKJ

width Excesü
Excess]
at was;
Width a!
u.37c7- One-piece sleeve from coat or suit measurement.
2
Fig. 38. Division lines.

l3!
 D
D RR EE SS SS D ESIGN
DESIGN

‘
Separating the
Separafing the Pafiern
Pattern an
on Verfical
Vertical and
and Horizonfal
Horizontal Linos
Lines 3. Pin
3. Pin the
the cemer
center line
line of the sleeve
of the sleeve grauem
pattern mm,
from D
Cut on
l.I. Cut on lines
lines BRO,
BRO, FXVL, and V]
F XV L, and (see Figure
V} (see Figure to T
to T to the line
to the line DY.
DY. Place
Place the
the front
irom girth comggiB
girth corner
39) . of the pattern against the parallel
of the panem against the parallel line. line.
39).
2. Cut
2. Cut through
through thethe elbow line VUTSR
elbow line to the
l ' UTSR to the new
new 4. The
4. The front
front edge
edge of the
the sleeve
sleeve in
in the
the crook
crook o!of the_
o/s ”
front edge
front edge at R (see
at R (see Figure 40) .
Figure 40) elbow shöuld be s/„ inch
elbow should be inch or
or more from the
more lrom the pzral parallel
line depending
line depending onon the
the amount
amount of of shaping
shaping desiredin
desired in
Slash the
3. Slash the front
front quarter
quarter line
line CS from the
CS from the elbow
elbow to
to
the edge
edge 0E
of the
the cap
cap at
at C.
C.
the sleeve (F
the (Figure Vs inch.)
shows 7A;
igure 41 shows inch.) Overlapthetwo,
Overlap the two
the
sectiom along
along the
the lront
front quarter
quarter line
line CS to indem
CS to indent liline
'

sections
4. Slash
4. Slash the
the back
back quarter
quarter line
line UE from the
VE from the elbow
elbow the desired
BR the
BR desired distance
distance from
from the
the vertical
vertical line.
up to
up to the cap a:
the cap at E.
E.
5. Pivot
5. Pivot the
the back
back quarter
quarter line,
line, EU, out at
EU, out at the
the el
elbow ‘ ‘

t0 add the amoum subtracted

to add the amount subtracted in
in the front at point
the front a! points.S.
Upper Section o?
Upper Secfion of Sleeve (see
(see Figure
Figure 4|)
41)
6. Pivot
6. Pivot the
the lower
lower section
section downdown to to add
add a!
at least
least h};
l.I. NNow, on aa second
ow‚ on second sheet
sheet of
o[ paper,
paper, draw
draw aa straight
straight
inches ol"
inches of length
length atat the
the elbow
elbow point.
point. Along the bacl’
Along the
line the length of the sleeve
line the length of the sleeve plus plus 4
4 or
or 5
5 inches.
inches. Mark
Mark
edge of
edge of the
the upper
upper section,
section, makemake thethe distance
distance betwe
between‘
it DY, and on this line place the center
it D)’, and on this line place the center lengthwise lengthwise
grain of of the
the upper
upper section.
section.
V andand V1 V2 inch
Vl 1/2 inch longer
longer than than the
the distance
distance betweea
between
grain these poims
these points onon the
the back
back edge edge ofol the
the underarm
underarm sec-sec-
2. Draw
2. Draw aa second
second line
line parallel
parallel to
to this
this and
and to
to the
the .
tion.
uon. ‚ . .
This . provide
will
lhlS wrll
.
extra
e x t r a ease
ease over
over the
the elbow.
elbow.
l
provnde
left of
left of itit the
the distance
distance between
between the
the Center
center line
line and
and the
the D
D
front corner
front corner B o[ the
B of the girth
girth line.
line.
D
D
c
C
i r F1

A B1 3
—-——"‘l
w Xx
W
\c .

1
Q u
U J
R1 H
S T
1
U V r----.1
V H
1
U1
v1
v1
v
„1

P OI0 N '
M J
P01
p 0 N
M L
Fig. 39. Pattern separation.
J
Fig. 40.
LL
40. Separation on
on vertical
vertical and horizontal lmes-
and horizontal lines. A

Fig. 59. Pauern separation. Fig. Separation

132
 S L E E V E S

T7. ‚ . mark (he

pattern and murk
lhe paltern
Pencil around the the pattern
paltern the front section AB1OlP.
AB1O1P.
‘vtlhe
„w he lengthwise
lenglhwise grain lollow the line DY
l0 follow D)’ on the sections lorward below the elbow
6. Pivot the [ w o seclions
(i.
der
y1,. er paper. llne
line t0 open the elbow point a1
poinl 3Ainch,
at V1 about 5/4 inClL l/z
1/2
the opening on the top section.
inch less than Lhe
ler
Ler Secfion of Sleeve Draw around the pattern und
7. Dran’ lhe length-
l m c e the
and lrace
. On a second sheel
sheet of paper, rule a straight line from the line AZ on the under paper.
wise grain lrom paper. (See

‚_
f:I length of
ol the section plus 2 or 3 inches.
under seclion «l2 lor the final pattern.)
Figure 42
>'_l this
(bis line AZ.
S. Mark notches on the back line FL ol upper seo
8. sec-
p,distance
Rule a second line parallel
parallel t0 i: and t0 [h8
1o iL the right[o
tion at points 11/,
poims 11/4 inches above V and l%
1% inches below
v from l0 B along the girth line.
A to V1. Measure from F [o notch, and mark off
1o upper nolch, ofl an
Ä.’. Place section ABIOIP so that(hat A rests on the line equal number of inches from F1 on under section for
‚
’ and B1 on the parallel line.
notch and mark
Measure from L to the lower
nolch. Nleasure
the matching notch.
distance from j] on under
ofi" an equal Llislance
Inark oll"
4.. A!
>

R1, indem the front section

the elbow point R1,
a: least section for the matching notch. The 1/2 inch excess
n
5'» theparallel Iine at
line 1/2 inch. The indenta-
scction will be eased to
on the upper scctlon (o the lower seclion
I»in the
A’, section is
lhe crook of the elbow on the under seclion
notches.
Lhan that between these [( w o notches.
between
slightly less than
slighlly seclion.
(hat on the top section.

5.
5.
“
Place the narrow back sectlon,
o
D
F1
section, FIGI],
GI], up agamst
agalnst
9. Round ofl lhc
with slighl
slight
the sharp corners and straight lines
curves.

F‘ A 3
F

x x1
N..- s1 B B1

.5
(5
s
E
‘E
= V R1 L’)
Graun

v f;{ + -12- 3— E
m
H R 2 an:
v1 v1
Grann

‘(g
g
T
I 5
-"
Lenghtwuse
...
.1:
D0
c
‚s u;
g
Ü
11/4" .1
Lengthwuse

.3
3
E»
3
4C J:
‘so
C
ü:
C
3 3
Lenglhwise

0o1
1

‘-
L
J
z
IP
4 h / O Rv
x/w/ON
1

Y L J
iE-il. Top section and underarm section o!
‘8-9- of sleeve. Fig. 42. Completed pattern for
Fig.42. sleeve_
lwo-piece sleeve,
two-piece
133
 DDRESS
R E S S DDESIGN
ESIGN ‚.

PART II
PART II

DESIGNING
DESIGNING SET-IN SLEEVES
SET-IN SLEEVES
FROM
F THE MASTER PATTERN
THE MASTER PATTERN
ONE-PIECE BLOCK
SLEEVE BLOCK
ECE SLEEVE

The procedure for

The procedure fordeveloping
developing designs from
designs from the theone-
one- aa line
line of
of ornamental
ornamental buttons
buttons atat thethe little
little finger 'line,
fingen‘
piece master sleeve pattern is similar in principle toto
piece master sleeve pattern is similar in principle gathers blousinginto
gathers blousing into aa simulated
simulated cuff,
cuff, or
oreven
evenaam mod.n5
that used
that used inin designing fromfrom thethe master
master blouse
blouse andand erately loose
loose sleeve with the
sleeve with the dart
dart material
material ha hanging
designing erately .;4‚.;„;
skirt. In all sleeve patterns, the ease (at
skirt. ln all sleeve patterns, the ease (at least 11/, least 1Y2 free. The
free. The vertical
vertical dart
dart isis longer than
thanaa horizontal
horizontal a»one
longer s.
inches) atat the
the top of of the
the master
master pattern shouldshould be be andcan
and can bebeused
used for
foraa sleeve
sleevethat
thatshould
shouldfit fit very.4closely
inches) top pattern very
retained for fitting over the curve at the
retained for fitting over the curve at the top of the top of the from elbow
from elbow toto wrist,
wrist, or
or toto fit
fit an
an arm
arm unusually large
unusually 13,-“
arm, but
arm, but the
the elbow
elbow dart
dart can
can be
be shifted
shifted atat will
will toto pro- below the
below the elbow
elbow but
but with
with aa small
small wrist.
wrist.
pro-
duce changes in the
duce changes in the design.design.
Procedure (see Figures
For convenience
For convenience and and speed in
speed
in practicing sleeve
practicing sleeve de- de- Procedure (see Figures 44
44 und
and 45)
45)
sign, trace
sign‚ trace the
the quarter-size pattern from
quarter-size pattern
from Page I36
Page
136 and
and Drawaa line
I.I. Draw lineirom
from aa point markingthe
theback
back third '
..
v“
proceed as as for
for blocking blouses
blouses and
and skirts.
skirts. point marking
proceed blocking of the elbow width to a point marking the
of the elbow width to a point marking the back t' nback third
of the
the wrist
wrist width
width (see Figure 44). The
of (see Figure 44). The position
position on
the arm
the arm is is approximately from elbow to little finger.
from elbow to little
Problem II approximately fingen".
Problem
2.2. Slash
Slash along the
along
the new
new line
line and
and close
close the
theold olddann
dart.
TRANSFER OF
TRANSFER OF THE
THE HORIZONTAL
HORIZONTAL ELBOW
ELBOW DART
DART
TO A VERTICAL ONE (see Figure 43) 3.3. Redraw
Redraw the the dart
dart toto stop itit before
stop
before itit reaches
reaches the n!
TO A VERTICAL ONE (see Figure 43) elbow (see Figure
elbow (see F igure 45) ‚ 45), but
but not
not much
much below
below this
this point
po’
because the
because the dart
dart isis so
so large. Taper itit oII off equally on
The elbow
The elbow dart
dart isis often
often transferred
transferred in
in this
this manner
manner large. Taper equally
both edges by placing aa point directly below
both below the the end
in designs
in designs with
with the
the principal interest
interest between
between the
the edges by placing point directly
principal of the slash and ruling lines to
of the slash and ruling lines to that point. that point.
elbow and the wrist.
elbow and the wrist. This may This may take
take the
the form
form of
of
Note. Part
Note. Part ofof thethe horizontal
horizontal dartdart ofof the
the masler
master
sleeve pattern can be transferred to
sleeve pattern can be transferred to the wrist widlh the wrist width
for aa casual
for casual sleeve
sleeve withwith wrist
wrist circumference
circumference Ilarge
enough toto slip over
over the the hand
hand without
without aa placket. F055
enough slip placket. Fol·
low the directions for
low the directions for the transferthe transfer of
of the
the horizontal
horizon
to the vertical dart, but instead of completely
to the vertical dart, but instead of complelely closinß closing
the horizontal dart, close it just enough to spread IM
the horizontal dart, close it just enough to spread the
sleeve at the wrist for the additional
sleeve at the wrist for the additional width desired.width desired.

Problem 22
Problem
THREE-QUARTER-LENGTH SLEEVE WITH GATHERS
THREE-OUARTER-LENGTH SLEEVE WITH eATHERS
RADIATING FROM
RADIATING FROM ONE
ONE OR
OR TWO
TWO VERTICAI.
VERTICAL
SLASHES
SLASHES

Gathers Radiating from

Gafhers from One
One Vertical
Vertical Slash
Slash Line
Line
Radiaiing
The same
The same procedu re applies also
also t0to aa
procedure applies Iull-lellglh
sleeve, but the design seems to be particu larly 5U“
sleeve, but the design scems to be particularly’ suited
Fig. 48. Vertical placket dart. to th
to the e three-qua rter length (see Figure 46a).
46a).
Fig. 48. Vertical placket dart. lhree-quartcr Iength (see Figure
134
I34
 EVES
SLEE

Gram

13
Elbow Wndtn
Wadtn

r Dart
'Length of
lLength Length
Corrected
Stitcned
Stltcned
Dart

'
.
Figs 44 and 45
Figs.44 45. Transfer ol .
of horizontal
horizontal t0
.
vertical dart. To transfer
(o verucal
'
transler a horizontal dart to a vertical d '
dart like
l'k (hat
h
‘shown in Fig. 43,
flhown 43. lines are drawn for transferring the dar! T0‘
dart (Fng. honzonlal
(Fig. 44) and the verucal
vertical dar:
l0
veälnca;
dart |sis sprca
sprcad an larthl
and tlhe on Zotm:
1e horizontal
Ä dar: closed
Klar! 45) .
closcd (Fig. 45).

l. Cut offofl the full-length master sleeve

pattern at
the threequarter
three-quarter length. Remember always to ccul ut
t0 the lower edge.
parallel to
2. Decide on the position
position ol
of the vertical line from
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
47a).
(a) 3. Draw lines from this vertical slash line to
the
back edge of the sleeve and slash to the back seam
edge.
4. Close the horizontal elbow dart
dar: and thus auto-
l 46 (a) (b)_ man“
and (b). Sleeves with
Wim gathers ‘mm matically transfer it forward to the vertical slash line.
er rwo
or radiaüng [rom
galhers radiating
»

two vertical slashes. (see Figure

(See
3"'
Flgure 47b).
47b) '

135
D RESS
DRESS D ESIGN
DESIGN

Grain u?

pattern fnr
Master pauern for nne-piece
one-piece sleeve.

I36
 SLEEVES

——>

Grain

<—-

*1

‚u; lincs arc (lrawn

47 (a). Slash lines tlrawn (as indicatcd
inditatctl by the a
arrnw
rmw
.
"'- pendicular
ndicular to lhC lower edge
t0 the eclge ol
of the slcevc) (b)
(b).. Shows
Fig, 48. Slashes spreatl
Fig.
band.
band.
spread for gathers nn
an cach side of a vertical

l w
slashes spread on
nn the cdge m be
edge tn bc gathered.
f-' 5. Spread the slashes, pivoting
plvotlng lrom the back etlge
eclge
r gathers but leaving the length of the underarm
Ä’:
m
"am line unchanged. For gathers moderalely
moderately full,
low one and one-hall
one-half times the
Lhe length ol
of the vertical
ng t; lor full
lull gathers, at
al least twice
(wice the
Lhe length.

über: Radiafing from Each Side

über: Slde of a Double Verfical
>
Ü.ssh
h
‘The same
Line
„The principle employed for a sleeve with
thers radiatlng from one vertical slash line may
Ähers radiating
%\.o be t0 a sleeve with lullness
applied to radiating in
7: directions [rom
i‘: from two vertical cuts that
{hat form the
[es ol
ges of a band or panel (see Figure
46b) .
4l. On the three-quarter-length sleeve pattern‚
pattern, draw
"oparallel lines
llnes perpendicular to
1o the
lhe lower edge and
nnlng v
ning up to but not much above the elbow. Place
ese lines not more than l to 11/2
‚Li
1%inches apart, one at Fig. 49. Both
Fig, Both edges spread
sprcad equally for gathers. Gathers lie
lic
y» u: the
lhe center
Center of the sleeve and one in frontfrom of parallel and effect is heavier.

'.( e r (see F
mer igure 48) .
Figure
.2. Draw lines perpendicular to the vertical slashes
>=* ning
ning out in both directions to the underarm seam
Since the underarm seams have not been increased
in length,
length, both the seam edges and the gathered edges
have become decided arcs.
‘av es. es.
Another possible design
using this
3.
‘b. Slash to each underarm seam
to line. achieved by slashing through the underarmprinciple
achicved
is
seam lines

.
‘f4.Close the
5a
._—_
underarm dart.
Spread equally at the edges to be gathered, add-
flmugh length to cqual
Lr: enough
and spreading the pattern
pattem at both ends of the slashes
for gathers running across the underarm
eflect, however, is heavier and more
effect,
seam. The
"clothy," because
equal at least one and one-half the fullness lines lie parallel and tend to
w» -« the
vcrtical
vcnical slash lengLh.
length.
t0 look flat and
Figurc 49) .
crushed (see Figure

I37
 D
D R
R EE S
SSS D ESIGN
DESIGN

Problem 33
Problem will be the
will be
the little
the
the correct pos1t1on for
correct position
line. Add
finger line.
little Enger
for thc
the platte:
lap i!
Add aa lap if buttom
buttons and“:
V
placket opening'-

and but'.
SLEEVE WITH
SLEEVE WITH SIMULATED CUFF CUFF tonholes are
are to
to be
be used.
used.
tonholes. —
'

(see Figures
(see Figures 50,
50, 51
Slaa and
und b)
b) 4. Slash
4. vertically a:
Slash vertically the side
at the side back
back and
and side"
side from
This
This sleeve
sleeve illustrates
illustrates another
another wayway to
to introduce
introduce from the ends of the design line of the cuff to the tap
detail
deta il at
at the
the lower
lower edge.
edge. It is similar
It is similar in
in silhouette
silhouette toto of the
of the sleeve.
sleeve. Draw these slash lines
Draw these lines equidistam“
equidistant from
the bishop
the bishop sleeve,
sleeve, but
but has
has the
the cuff
cuff and
and sleeve
sleeve cut
cut all
all in
in the center line to keep the
the center line to keep the sleeve balanced.
balanced.
one piece
one piece (see
(see Figure 50) ..
Figure 50) 5. Spread
5. Spread thethe pattern
pattern equally
equally t0 to add
add fullnm"
fullness at
. l.I. On
On the
the master
master pattern
pattern sleeve,
sleeve, draw
draw in in the
the design
design the lower
the lower ends of of the w o slashes. These
the (two These slashes,
slashes, plus
n?‘
line
lme of of the
the cufl.
cuff. That
That is‚is, measure
measure up up from the the lower
lower the spread
the spread derived
derived from
from the
the transler
transfer ofof zhe
the elbow
elbow dart
edge the the depth
depth of of the
the cuff
cuff and
and draw
draw aa line
line parallel
parallel toto to the
to the lower
lower edge‚
edge, will
will supply
supply enough fullness x;
enough fullneso (one
edge and one-half
one·half toto two
two times
times thethe length
length of slash for
of the slash
the
the lower
lower edge‚
edge, but but extend
extend itit only
only through
through the the center
center and
of the
of the sleeve,
sleeve, notnot out
out toto the
the underarm
underarm seam seam lines.
lines. the cuff).
the cuff) . The
The sleeve
sleeve will
will be
be lullest
fullest toward
toward diethe bad
‚A
because two
because two of
of the
the three
three poinls
points spread
spread areare back of
Start the
Start the line
line approximately
approximately II inch inch from
from the the back
back back.'
the Center
center of
of the
the cufl
cuff (see
(see FFigure 51 b).
i

edge and
and end
end it
it approximately 2
2 inches
inches from
from the
the front
front the igure 51b).
edge approximately
edge (see
edge (see Figure
Figure 51a).
51 a) . 6. Redraw
6. Redraw thethe line
line to
to be
be gathered,
gathered, curving
curving i:it ddown·n’
2. Transfer
Transfer thethe elbow
elbow dar:
dart to
to aa vertical
vertical dart
dart on
on the
the ward for enough extra length toward the back
ward lor enough extra length toward the back to. lag. to allow
.
2.
little finger line. (See directions for the transfer of the the arm
the arm to
to bend
bend sharply.
sharply.
little fingen‘ line. (See directions for the transfer of the
horizontal to
horizontal to the
the vertical
vertical dart,
dart, Page 135) ..
Page 135) Figure
Figure 5252 shows the same
the same idea
idea adapted
adapted I0 to aa lh a.
three·
quarter-length
quarter-length sleeve
sleeve with
wich curved
curved line
line detail
detail on
on the
2
3. Slash across
3. across the
the design
design line
line of
of the
the cuff
cuff to
to the
the simulated cuff.
cuff.
simulated
marked points.
marked points. The line
line on
on which
which the
the culf
cuff has
has opened
opened

I
I
0:
I "i! Clos•
Dart
I
I "'
I
I
I
I
I I
I ,'
I I
I I
I I
I :
I I

'---'-
Pllckct UM
(a) (b)

Figs. 50,
Figs. 50, 51 5 1(a)
(a) and (b) .. Sleeve
a nd (b) Sleeve with
wi th blnused
bloused lullness
fulln ess above
above
aa simulated
simula ted cufl.cuff. Fig. 50 shows
Fig. 50 shows blnuscd
bloused lullness
fullness above
a bove aa
simula ted cufl.
simulatcd cuff. lnIn Fig.
Fig. 5|
5 1(a)
(a) ‚, slasli
slash lines
lines are
a re drawn:
drawn ; and
a nd in
in
Fig.
Fig. 5
5| 1 (b),
(b) ‚ the
the slashes
slashes are
are spread
spread fo
lor r blousing
blnusing and
and the
thc full
lull
section is
section is lengrhened
le ngthened (see(sec dotted Ii ne) .
do tted line)

138
I38
 SLEEVES

ig.52.
ig.52. Simulated cuff
cufl on thiiee-quaner-length
thrcc-quarter-length sleeve. Fig. 53. Lamern
Lantern sleeve.

Problem 4
EVE WITH WIDTH BELOW THE ELBOW AND
lEEVE
A FITTED WRlST—
WRIST—LANTERN
LANTERN SLEEVE
(see Figures 53. 54a and b)
hehe following directions explain how to
v‘!
t0 design a
‘cm sleeve with
jem horizontal seam below the
one horizontal
w.
_w. lt is easy to overdo intricate seaming. The
veive is a very small part of the entire
garment, and
_«smoother and less cut
c u t up it is,
is‚ the better the gen-
‚f‘ effect will be. Silhouette is far more
Vl elfect
important
importam
n detail, and the
Lhe design will be less fussy and Ioud
lly bctter if made with few seams rather ralher than
7'
7-
;=- On the one-piece master sleeve pattern draw a
_ parallel to the lower edge. This line divides the
‘ee into
imo upper and lower sections. lt It should be
i’t 51/2 inches up from the wrist or any other dis- dis—

‘
‘fe that produces good proportion.
i‘
Crossmark the line.
i Rule lines from the top of the cap and parallel
parallel
(b)

1: Center
center line down to the division line established
a‚pp 1.l. Make
Malte the lines equidistant from the center.
Fig. 54. (a) Slash lines drawn (dottcd
i

Continue the same lines drawn in Fig.54.

'

step 3 through (dotted line). (b) Slashes

ower
i
spread. The matching edges of both sections must be the
Ofver section so that (hat they are
perpendicular to same length.
‘st
st edge.
139
 DRESS DESIGN
5. Cut the upperupper and lower sections apart. apart.
6. Close the elbow dart and transfer it to to a vertical
slash line
line at
at the poim
point of the dart.
7.
7. Slash the vertical lines of the upper upper section and
spread
spread them at
at the lower end enough
enough to produce the
to produce
desired width at at the lower edge
edge (see
(see Figure 54b)..
Figure 54b)
8. Measure the arm from the shoulder tip tip over
the sharply
sharply bent elbow to to the wrist (see (see Figure
Figure 15).
15).
length over
Since the total sleeve length over the back of the arm 1.

equal this measurement,

must equal measurement, at at least 1% l V2 inches must
be
be added to to the upper
upper section. Drop Drop the bottom line
upper section to
of the upper to lengthen
lengthen it it at
at the vertical dart
position
position at
at the side back,
back, and then curve the line up up Fig. 55 (a).
(a) . Sleeve Wllh
with three parallel
parallel daru
darts at
at lhe
the topl
top.
Fig.
toward the back seam so (hat that it
it emers
enters the seam at at a
right angle.
right angle. The dotted line Figure 54b indicates
line in Figure D, E,
3. Rule from D, to point
E, and F to Q on the girth
point Q ;. ‚.
shape this line should take.
the shape line.
9. Slash the vertical lines in the lower section and 4. Measure lI inch down from point
point C (the halfwa)
(the n.
spread
spread at at the upper
upper edge
edge umil
until itit exactly
exactly equals
equals the point
point between A and £)
E) and mark B. Repeat
Repeal. tilt»
lower curved edge edge of the upperupper section. The lower measurement from G to
measurement to H.
H.
section now has sharply curved wrist line, and its
has a sharply Jines from B to
5. Draw lines Q and H to
to Q Q.
to Q.
upper edge
upper edge is a far more rounded curve than the lower
upper section.
edge of the upper
6. Slash from E to Q; from Q
to Q; Q to
to P; from QQ toR.
to R.
edge
7. Slash from QQ to
to B;
B; from QQ to
to H.
H.
8. Slash from D and F to point Q.
to point

Problem 5 Note. The direction slash to means cut

Note.
point but not through that point.
to a cer
cut 1o certain ‚
point through poim.
SLEEVE WITH PARALLEL DARTS AT
SLEEVE AT THE TOP
9. Rule a vertical line onon a second sheet oiof pa,
paper
(see Figure
OF THE CAP (see Figure 55a)
55a)
place the Center
and place center lengthwise grain line of the sl
lengthwise grain slee1e:
pattern along
pattem along this line.
Use the basic master
Use pattern for a fitted sleeve
master pattern
with
with an elbow dart,
dart, but for or other
bishop, or
a bell, bishop‚ l 0. Decide
I0. Decide on
on the new cap height before spre
cap height spreading "u
sleeve wide
sleeve wide at
at the lower edge, change
edge, change the basic sleeve the slashes.
Lhe
into the desired
into the desired stylestyle before slashing and spreading
spreading Cap heights vary with fashion and de
heights vary depend
slashing Note. Cap
length of
i’
itit for a daned
darted cap.
cap. on the prevailing
on prevailing Silhouette
silhouette and the length of the
w"
seam of
shoulder seam of the blouse.
blouse. FFigure
igure 55c shows the cap
Sleeve will:
Sleeve with Three Parallel Darf:
Darts (see Figures 55 b.
(see Figures c, d.
b, c. d,
height of the foundation sleeve increased 13/4
height of 1% in '**
and e).
e). Since
Since the original height
Original height of the cap
cap was 5 inches, 11
51/, inches.
4

I. Trace
I. Trace and cut
cut out
out the master
master sleeve patlern. pattern. In-
In- is now 7 inches high.
high.
clude Jines marking
clude lines marking the
lhe Ccenter
e n t e r lengthwise grain,
lengthwise grain, the l11. Spread vertically
l . Spread vertically between
between Q JO lI inch, and«
Q and [O
girth, quarter division lines.
girth, and vertical quarter between JO and
between J0 and KN 5% KN % inch. Notice that thesl
the slashes
‘t

2. According
According (oto the placing
placing given given in Figure 55b,
in Figure from j] to
from to B and O
B and to H
0 to possible to
H make it possible in "f
w increase
2.
mark the
mark the dart positions:
positions: E, e n t e r 0E
E, Ccenter of cap; 2V2
cap; D, 21/; the height
Lhe
lower part of of Lhe
overincreasing the width of the
height without overincreasing
the cap. The outer dotted line indicll
outer doued
0F
indicato
inches
inches forward
forward from E along
along the armscye
armscye curve; F, lower part cap.
2V2 inches behind E. (This series of
of measurements is the cap shape
the cap shape without the slash
slash from B t0
to I»
] , 3nd
and the"i"
2% inches (This
inner dotted line shows the Original
or iginal armscye.
variable.)
variable.)

140
 SLEEVES

Original
Armscye

—
l2.
2.
-_
‘
‘_‚

on
Determine
L aagainst
gainst
zto the
Fig. 55. (b) Stcps

section BDK to
510 E, Lhe amoum
Steps 1-5.
the width of the darts. Push secllon

easing over the top of the cap, add to Lhe

3cmsleeve (the diflerence

1cm
in sleeve in Figure 55b had 11/4
{kadded to
section
t0 estimate the distance from
amount added to the length of the arm-
; 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
‘es
_e
Since darted
daned slceves
ann-

sleeves do not re-

the 35/,
‘g excess the amount of ease allowed in the master
difference in measurement between
eeve armscye and Lhe
lsleeve the dress armscye) . The foun-
3%

11A inches of ease.

t0 the spread of 3%inches on the sleeve
iides 5 inches to be divided among the three darts.
ides
‘r

‘
each will be 1%inches wide.
Draw the Center dart SUT lI/a
17. Join
l7.
Fig. 55. (c) Steps 6- l2.
l5. Measure 11A
15.
W.
1%inches on line VW and mark poim
I6. Measure along the armscye line and mark the
dar:
dart width from V to X.
join X and W. Then mark the correct dart
11/3 inches on this line by measuring from W
length 11A,
and ending at X1. Note that
narrows the sleeve cap.
l9. Follow the same method in
dart.
20. Dip the armscye line
making darts parallel

placing the third

slightly between the darts

A
1%inches long (see to make the corners
right angles as shown from S to
g 55d). 4
V and T to Y in Figure 55c.
Measure
Measure from the Center dart 2% inches to
dar: 21/2 21. To shape the cap edge
edgc fold the dann
darts
‚Ishu VWparallel to SU. in before cutting along the correctly,
armscye.
14l
 D RR EE SS SS D ESIGN
DESIGN

‘ s 1 5/8}

Fig. 55. (d) Steps 13-19.

(d) Steps Fig.55. ( e) Steps
Fig. 55. (e) Steps 20.21.
20-21.
Fig.
with Five Parallel Darf:
Sleeve wifh Da rts (see a , b.
Figures 56 a.
(see Figures b, and c)
c) to X.
to on the girth
X. Slash on girth line from U to w
to T and from
Sleeve
to V;
U t0 V; from X to
to W
Wand
and from X toto Y.
Y.
Trace and cut
I. Trace
1. one-piece master sleeve
cu t out the one-piece
pattern. lnclude
Include lines marking
marking the Ccenter lengthwise
e n t e r lengthwise 7. Slash from U to B; from U to
to B; to].
].
pattern.
grain line a!
grain a t F,
F, the girth,
gir th, TU
TUV,
V, and vertical q uarter
quarter 8. Slash
8. Slash from
from points
points D, D, E,E, G,G, and H to pointpoint U.
divisions at
divisions at C and I (see(see Figure 56a) .
Figure 56a). For ·ease in handling
Forease in handling and spreading
spreading the sections.
sections, "'
avoid
cutting through point U in order to keep the lri
triangu·
position of the darts: F at
2. Mark the position
2. at the Center
center cutting through point U Order to keep In!“
Vz point U.
'
of the cap; E
of the cap; 11/2 1 inches forward from F;
F; D 11f2
I14 inches Jar pieces
lar pieces together
together at at their tip tip point
from E; l Vz inches back from F;
E; G 11/2 F; H 11AI Vz inches from 9. Spread along lines
from 9. Spread along the horizontal slash a.-to
G.
G. lengthen the Ccenter
lengthen e n t e r line of of the sleeve 1/2 V2 inch aboit
3. Rule
3. Rule from
from D, D, E,
E, F, G, and H to
F, G, to U on the girthgirth X,
X, 1/2Vz inch
inch above
above U
U, , and ¥4
3/, inch above points mal
pomts marked

"«
line. Land
L and S.
4. Measure
Measure 1I inch down from point point C and mark 10. Follow
l0. Follow the same same procedure
procedure in placing
placing 1the
11€ d.artl
4. i“
B. Repeat this measurement from I to find
to find].
]. as in the
as in the sleeve sleeve with three darts. The cap height
B. Repeat
should
should nov. not be over
over 7 7 inches for this sleeve and may
malbe
5.
5. Draw lines from B and j] to
Draw to U. even less. Determine the amount of excess t0 divide
even less. Detennine amount o1 to
6.
6. Draw aa line WXY parallel
Draw parallel to girth line TUV
to the girth TUV among the the darts.
darts. The The darts shown in 55‘
Figure 56c art
in Figure
among
1

and
and at least 1I inch below it. Slash from F through U
at least Il inch long.
long.
142
I42
 S
S L E E V E
ESS

F
sE G
o
a; D H
C
Ü‘: I 1"
'‚
'
._
N0
N
oPQ b‘?!J
k
M R
L S
x U
'
X

E
E
<9
(5

x
w"

.
Sleeve with five parallel dans
(a)j Sleeve darLs at the top. Fig. 56
55 (b). Fig. 56 (c).

5
«v7, Problem 6 1.
l. Mark a line around the center
C e n t e r of the
Lop of the
top
basic sleeve parallel to
1o the curve of the
.5 wm-cpslA
A SEAM
SEAM ACROSS THE ms TOP OF about 11A inches below it. Extend
top edge and
ARALLEL 1o m:
THE CAP PARALLEL THE ARMSCYE Extend this line about 3
to 4 inches to the front and to the back of
the center
’

,1(see Figure s7)

57) of the sleeve.
Center

Ififprptation of .fthe
'

._l_1e_ square-shouldered silhou-

2. Draw lines, spaced about
‚h
‘ { 11/2 inches apart, from
hatgout of the ordinary is the sleeve with
" the top edge to the inner curve and
’

to
perpendicular (o
curved over the top und “
and parallel to the
„
it.
'_i: Ehe squarest of all uhoulder
‘

shoulder lines and 3. Cut around the inner curve, then slash out
‘integfesting Variation
lf_n« of the square-
l

on
each line marked in point 2,
an whgnever such aÖsilhpuette
silhouette is in up to but not through the
outside edge except at the Center
top. Cut the Center
“and b). slash clear through the top
edge.
I43
143
 onessossnen
D R E S S DESIGN j;
4. Spread along the inside edge until
Spread these slashes along
to form a straiglu
da; ‘

the cap edge runs

cap edge runs up
up t0 venical’
straight vertical band
(see Figure 58b).
(see Figure 58b) .
5. Since i:
5. it has had 1%inches cm cut Iren: top, the
from the 191g,"
cap
cap now is too short, and must be increased IV, inches '1
at thc
at top center to meet the band-Ekel
the top band-like section over
top of the sleeve cap
the top cap without drawing
drawing dann:
down (sec
”
Figure 58b)
Figure 58b). .
6. The central curve is also narrow and poinml pointed un-
.„_

less
less some width is added

lines from the lower ends ol

to
to
of the inner curve marked in step
the cap a:
cap at
step l.I. T0
the lower end
Iower
To do Iltis,
this, rule
the curve down (tooa:point
of lhe «f:
"
on the underarm seam below the armscye.
on armscye. Slaslxfisj
Slash and
spread to
spread to increase cap (see F
cap width (see Figure 58b).
igure 58b).

Problem 7
SHORT PUFF SLEEVE
SLEEVE

Fig. 57.
57. Sleeve with a dart parallel
parallel to the
t0 armscye (very
armscye (very There are three kinds of puff puff sleeves, and each ru v!
Fig.
. developed from the same slash lines.
be developed lines. The puft
square-shouldered
square-shouldered effect)
effect) . be
may
may be
be all at
at the shoulder and may
may fit closely
closely a:
at
v»!
the '
edge, i:
lower edge, it may full a:
may be lull top and bottom
at both the top v:
edges, or
edges, or it may
may fit smoothly
smoothly at at Lhe top and pflfll
the top puff at
the lower edge.
sleeves
edge. Figures
developed
sleeves developed
Figures 59a,
from the
b, and c show the three
59a, b,
same pattern
pattem but will!
with
1

the
„
slashes spread
slashes spread in three different ways
ways to obtain i’.
the
three effects.
three effects. Place the gathers in
gathers in the finished sleeve
. ‘
..

(cl
(b)

"ü"
Fig. 59. Short p u ff sleeves: (a) Fullness on bottom
bottom edge
Fig. 58. (a) Slash lines drawn; spread and cap
(b) Slashes spread
drawn ; (b) Fig. 59.‘ ‘Short pufl sleeves: (a) Fullncss
175g, 58. (a) Slash (b) Fullness on top edge; (c) Fullness on bothboth l0?
top and «-

center increased
center increased in height
height and width. Part of the elbow
elbow (b) Fullness on mp edge: (c)
dart is transferred to the wrist
wrist width. edges.
bottom edges.
dart is transferred to

144
 S L E E V E S

lhe slashes
lheree the come, (hat is, through the Central
come‚
*
'*'on
lion of the basic pattern.
panern. They should not noL spread
the top of the cap for more than 3 inches on each
".4r (he
’
e of lhe shoulder seam. Never allow gathers to
lntinue
"nue to the underarm. Notice also the dotted lines

.
l
’e top of the
the Lhe cap {hat indicate an increase in
. As a sleeve increases in width for fullness, it
t
also increase in length or height correspondingly
‚

provide .
ide blousing or puffing, as a full gathered
galhered sleeve
u! height enough for puffing at the top will draw
out
wnflat against the arm.arm.
extremely abbreviatedpuff sleeve is expressive
An ‘extremely
uth, and is suitable for a child or a slender girl.
‚youth,
Fig. 60 (b). Spread slashes for pufl zu lower edge (increase
lor pufl
'

sleeves‚ in general, have exuberant youthful

xpuff sleeves,
lpulf
es. length in proportion
proporlion to
l0 width).

res 60a, b, c, and d should be studied carefully

xgures
“nection with the following directions.
connection
L CmCut ofloff the master pauern pattern sleeve the desired
gth. (See
‚_ method for culting ofl
cutting off a short sleeve,
‘

129.)
mwlines through the central
Draw Central section of the
er slceve
sleeve paltern
pauern from the top l0 t0 the lower edge.
’ x

ead the slashes in any of the three ways pre-

Spread
sly explained, depending on lhc eflect desired.
Lhe effect
d alll 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,
ncrease- the length or the height directly below or
ppints where the slashes are spread in pro-
Fig. 60 (c). Spread slashes for pufl
pufl" a:
at top edge (increase
(h: increase in width. Increase the height proportion t0 width) .
heighl in proporlion
height
'ore upward puffing, and determine the
’;he silhouette desired and the texture of

21l

Fig.. 60 (d).. Spread slashes evenly m‘

F’
puff m
for Pufl at bmh
both upper
H‘: Dran slash lines. auf! lower edägsfead
and (1511);: edges.

I45
 D
D R
REES
SSS o e s ne
N
DESIGN

,, , -- - -..... ' ...

, , ,, ' \
\
I \
I
I \
I
I
I
I
I
I
I
I
I £1
Si I
I
I

I
I
I
I
I
I
I
I

(a)

Fig. 61.
Fig. 61. Leg
Leg dmutton
o'mutton sleeve. ,
(b)
(b) I
... -
,

Fig. 62 (a).
Fig. (a) . Draw slash lines.
Problem 8 Fig. 62
Fig. 62 (b)
(b) .. Spread
Spread slashes,
slashes, add height,
height, and shape
shape wrisl
wrist dan
to
to curve down over hand.
LEG 0'
LEG O' MUTTON (see Figures
MUTION SLEEVE (see 6 1, 62a and b)
Figures 6|. b)
"
being sure
being sure toto balance lhe evenly on each side
the fullness evenly
This is
This long fitted sleeve with an
is a long an extreme pulf
puff of
of the center. Do
C e n t e r. D0 not lengthen
lengthen the underarm sej
seam
extending bolh both upward
upward and outward at at the shoulder. Imes.
lines.
extending
ltlt is type of sleeve which comes into fashion from
is aa type extending i!
top, extending it up-
'
4. Draw a new line over the top,
time to
time to time,
time, usually
usually to
to accent
accent a very tight bodice and
very tight at the Center
center for pufiing
puffing the cap.cap. The ex extent
ward at
aa bouflant
bouffant skirt.
skirt. Often it is effective to to combine the at least one-fourth the Original height of
original heighl“
should be at
exaggerated puff over Lhe top of the arm with a ver-
the top
exaggerated puff cap.
the cap.
tical elbow
tical elbow dart, provides both a lap
dart, which provides lap for a line that the seam lines now slant outw
Notice {hat outward
Notice
of buttons
of buttons and the opportunity
opportunity to
to shape the line
shape sharply above the elbow, supplying
elbow, supplying extreme outward
oul f
sharply
down
down over over the hand (see Figure 6
(see Figure 61).1). ex tension to the
extension to the top top of the sleeve.
sleeve. Follow this
t/11s s’
sidt
Transfer the horizontal elbow dart to
l.I. Transfer to the stand- seam line
seam lme exactly as it is. Do not smooth over thr
exactly a5 .
ard vertical
vertical position
position (see page 13 5 ). Plan to
page I35). to button change in the direction of
of the seam lines at
a! the el
elbow
ard change in
the line
the line nearly
nearly loto the elbow, shape it
elbow, and shape that il
it so (hat it or the sleeve will not fit the elbow.
follows the curve ol
exactly follows of the arm. 5. ToTo extend sleeve downward over the hand
extend the sleeve
exactly 5.
2. Slash
Slash horizontally point of the elbow
horizontall y from the point below the
below the normal line, add a curved exle
normal wrist line, extension
2.
dart straight across
dart straight across the sleeve (see Figure 62b)-
(see 62 b) · below
below this
this line
line as
as indicated by
by the doned
dotted 1in0
line in
vertical slash lines a:at the side front and Figure 62a,
62a, and
and curve
curve thc of the wrist da“
the sides ol dart as
3. Draw
3. Draw vertical Figure
back and also al the Center running from the elbow
center running shown in Figure 62b. 'otice
shown in Figure 62b. Notice [ h a tthat the extensionfl
extension Rares
back and also at out at
at its lower point to fit over the hand.
point to
slash to the top of
to Lhe Spread them at
of the sleeve. Spread at the top, out
slash top

146
I46
 SLEEVES

Problem
Prob|em 9

iRT SLEEVE LAPPED ACROSS THE TOP OF THE

6

WITH THE UNDERARM SEAM ELIMINATED

I‘

W|TH
(see Figures 63, 64a and 64b)

ep‘e pattern for this very short sleeve lapped

2V. of the arm
Iapped across
underarnl
can be madc without an underarm (a)
Top n!
1°" 51"”
0' Sleeve
x- The sleeve can be lapped either toward the Top o! Sleeve

or toward the back and can be lapped as much

'

u
‘u wish but probably not morc than 3 inches
C e n t e r of the sleeve.
side of the Center
gide
‘Mark
Mark on the basic one-piece sleeve pattern Lhe
patterrl the

‘
l for the desired lower edgc and continue it from
‘nter at the lower edgc up to the top curve of the
_nter
cap as far past the C e n t e r line
be. Then
Iine as you wish the
the overlapped portion
—
Fig. 64 (a). Step l Draw slash lines.
Fig. (b). Step 2 Cut ——
—
CuL
ap
‘p to
l0 duplicate sleeve aparnjoin underarm seanLand
slecve seam‚and take out a little width
1“
j- line othcr side of
linc on the other lhC Center line. This
o! the a1 side [ront and back.
back.
by overlapping slasltes
slashes at
i} the under’
extension.
Problem I0
pattern along the lower edge of the
gCut the pauern
fCul
LONG WITH COWL FOLDS AT THE
SLEEVE W|TH
65. 66a and b)
SHOULDER (see Figures 65,
Ilule
Rule a straight vertical line on a second
r
sccond piece of
9
slceve has dignity
This sleeve (lignity and should be made of soft

-
‘Place
irPlace oi the underarm
the back edge of seam
fabric such as transparent velvet or rayon
‘ clinging labric
6‚lt this line and trace the back half of the sleeve
crepe. lt is appropriatc
approprialc Ior
[or very dressy afternoon
v:e under extension drawn in step slep 1. wear or for a long formal dinner gown.
VPlace
lace the sleeve with the r o n t edge of the under-
Lhe [from
am against the traced back section and trace
f,»
"m half of 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%
D RESS D
DRESS ESIGN
DESIGN

The principle
principle of blocking
blocking this sleeve is exactly
exactly the
same as
as for blocking
blocking the cowl foIdsfolds at at the neck of a
blouse. Excess added at at the center
center falls down on the
outside of the arm imo into cowl drapery
drapery (see(see Figure
Figure 65).
65).
I. Draw the Center
center lengthwise
lengthwise grain
grain line on a dupli-
dupli-
cate of the master
master pattem
pattern and rule the the cowl fold lines
from the top
[rom top of the armscye
armscye curve to to the Center
center (see
(see
Figure 66a).
Figure 66a).
2. Draw a line across the sleeve from the point point of
o(
the elbow dart to to the opposite
opposite side.
along these lines (see
3. Slash along (see Figure
Figure 66b)
66b) and pivot
pivot

L
pattern outward,
the pattem outward, separating
separating the two sides of the
upper sleeve section. Spread
upper Spread the top top of
o[ the sleeve
twice the depth
depth of the fold (hat that hangs
hangs from the tip tip
of the shoulder. The fold can can have a hem allowance
added lo
to the top
top edge
edge and can {fall open to
a l l open to show the
arm.
straight line lengthwise
4. Draw a straight lengthwise through
through the
center
C enter place this line on the true bias.
of the sleeve and place
practicing these typical
After practicing typical cuts
cuts you
you will see pos-
pos-
sibilities
sibilities for applying
applying the same principles of designing
principles designing Fig. 66
Fig. 66 (a). —
Step I - Draw slash lines. (b).
(a). Step Step 2-Spread
(b). Step 2-5“
on a master
on master pattem
pattern to
to any
any other set-in sleeves that you
you slashes for
slashes for cowl
cowl drapery.
drapery. A hem is added a1at the Iop.
top, and
may choose to try.
to try. the lower
the lower edge
edge is curved down over the band.
hand.
may

PART III
Ill

SLEEVES CUT IN ONE WITH

WITH
THE BODICE OR A PART OF
THE BODICE OF
THE BODICE

Sleeves ccut
Sleeves as a pan
u t as part of the bodice are frequently
frequently Problem I1
classified as a form
classified as a form ofof the kimono cut,
cut, but there is a
distinction bctween
between the raglan type, which retains the
raglan type, THE RAGLAN SLEEVE
THE RAGLAN SLEEVE (see Figure b7)
(see Figure 67)
distinction
identity of armscye and the
idcntity o!" the lower armscye of the sleeve, The raglan
The raglan sleeve
sleeve is fundamentally different from
true kimono type, which loses the original
Original curve of fundamentally diflerenl“
lrue kimono type,
the lower armscye.
the Iower armscye.
the Ltrue
the kimono t ype in
r u e kimono type
in that
that i:
it retains its 0F _
original
lower armscye
Iower
sleeves complelely
line, whereas kimono and dolman
armscye line.
completely Ioselose the Iower armscye curve m‘;
lower armscye
M
in the
sleeves
blending of of the sleeve with the bodice. Becausfl
the sleeve Because the
RAGLAN TYPE
RAGLAN blending )

raglan does retain the lower armscye il

it fits the
raglan does retain lhe Iower armscye curve, fils‘
underarm more
underarnm more exactly exactly and with fewer
Iewer unde
underart11
This includes (I)
This includes (I) the raglan,
raglan, (2)
(2) (h6
the Cpaulet
epaulet (07
(or
folds than
folds than thethe kimono type.type. II depth of the ann·
If the depth (i .
strap) sleeve, (3) the sleeve cut in one with a yoke,
sleeve, (3) yoke, 35
strap) scye is
is normal,
normal, lhe
the raglan
raglan falls the same man!“
falls in lhe manner
and (4) the
and the sleeve
sleeve set
set on drop shoulder line.
on (oto the drop scye
(4)
148
 SLEEVES

Procedure for Designing a Raglan Sleeve (see Figure

68a. b)
1. Trace around the master
l. masler sleeve pattern and
mark the lengthwise C e n t e r and quarter divisions a:
at
top and bottom. Remove the master pattcrn block
and rule the vertical lines.
Note. Figure 68a shows the master sleeve block for
at the lower edge. The regular
designing sleeves loose a:
master pattern with the elbow dar:dart should be used
for fitted sleeves.
from the back shoulder line‚
2. Transfer the dart lrom line,
but leave 1/, inch of ease on the shoulder seam.

the points where the raglan

Detennine and mark Lhe
3. Detemiine
the front
armscye line on Lhe
line swings into the normal annscye
and back blocks.
4. Measure on the blouse front armscye the
lhe distance
undcrarm seam to the point marked in step 3.
thc underarm
from the
Measure
Measurc this same distance on the Lhe sleeve armscye
Fig. 67. Raglan sleeve.
from the
thc underarm
Linderarm seam and mark a poim.point. lfI1 the
set-in
Set-in sleeve. However, tne
thc deepening ot
ol the arm- linc
inlo the normal sleeve armscye line
raglan line swings into
e beyond the normal requires not only the lengthen-
C above the halfway point between the toplop of the sleeve
‘of lhe underarm seam of
of the o1 the sleeve, but also the and the underami
underann seam, add I, 1Ainch before marking
ening of
iening (hat the arm can be raised
o1 the girth, so that raised the point on the sleeve armscye and work this in when
Jortably.
fortably. 'I‘his
This added length and width at the 1o the bodice.
joining the sleeve to bodice.
erarm produce some wrinkling when Lhe the arm
o1 the body. Only in loose hanging 5. Repeat for the back.
‘gs at the side of
'
': s which are free to rise with the movements movemems of 6. Place thc front blouse block against the from
G. front of
o1
am am is it possible to l0 use a raglan sleeve with a low
the sleeve, matching the points on the armscye. Re-
f»
i:
erarm
cye and long sleeve cap rather than a lengthened
cye
erarm sleeve seam. Since the raglan sleeve curves peat for the back.
back.
‚-
v’lrom
from lhe the underarm to form the upper shoulder 7.
I. Match thc armscye curve of the bodice front to
j of the blouse, the armscye is often deepened for lront of
the front o1 thc
the sleevc cap as [ar as the curves will
lar a5
ore re gracelul
graceful transitional line between blouse and blend without overlapping. lf the shoulder corner
w
V

{i e. The raglan with both the normal and the

"
of thc blouse is I4 inch above the slecve
ol" the sleeve cap, the
lhe raglan
"v
__
rr-than-normal
-than-normal armscye will be explained in the will have about the same cap height as the master Inaster
ions which follow. sleeve. Ti l t this corner in or out lrom
1mm the sleeve cap

' use the raglan is really a modification 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
indies of ease distributed over the upper half
1'.“ inches
11/3
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.
’
e cap. But when the upper section of the sleeve 8. Repeal
Repeat for the back, adjusting it to match the
l":
3ltt in one with the blouse, there is no overarm front in distance of shoulder corner from sleeve
iront
cap.
J
along which to distribute the ease. The raglan 9. Draw the shoulder dart lines. Rule from the
i? 0te employs a shoulder line dar:
0m
i

:'. in a part of this ease.

dart as a means of neck end of the shoulder seam to a point 1/2
% inch be-
low the top of the sleeve.

149
 DRE-SS
DRESS D ESIGN
DESIGN

Below
Top of
Cap

_
R

Fig. 68 (a).
Fig. (a) . Raglan
R aglan sleeve draft. Dotted lines at at sleeve
girth and lower part
girth part of bodice armscye
armscye indicate changes
changes i!
it
deeper armhole is desired (see
deeper (see Figs.
Figs. 29 (a)
(a) and (b)
(b) for
sleeve with deepened
deepened armscye).
armscye) .

Note. This dart removes a small wedge

Note. wedge from the
some of the
the sleeve
lhe sleeve is to like. a set-in sleeve, i:
to fit like.
from the bodice into the sleeve at point not much
at a point
"
it should cross

top Center of the sleeve cap to eliminate

top center cap to
excess on ordinarily eased into the upper
on the sleeve ordinarily upper lower than halfway
lower armscye. The raglan
halfway down the armscye.
excess F1"
half of
of the blouse armhole. The length and width of line is usually
line is usually a compound
compound curve (see Figure
(see Figure 68a).
half length
the dart
the dart increase as the shoulder corners of the from
front crossmarkings.
Place crossmarkings.
and back
and back blocks are pivoted away from the
pivoted farther away 12. Place
I2. Place a new sheet of paperpaper under the drail w.
draft and
sleeve cap.
sleeve cap. This is the chief
chief variable in the drafting
drafting trace
trace off the sleeve,
sleeve. the area marked by
by the |6 i‘
Jeuen
of the raglan sleeve,
of the raglan sleeve, and you may
you may need to
Lo experiment
experiment PLBCDEFKQRSP.
PLBCDEFKQRSP. Place a second sheet under the
before producing a sleeve in which the dart has the
before draft and trace
draft trace off the
the from Im’
front and back of the bodice.
producing
correct length and width. As the dar:
correct length dart increases in the areas
the areas A
ABLMNOA
BLMNOA and GHIJKFG GHl]KFG respeclively E’
respectively (set
length andand width, sleeve ·extends farther out and
width, the sleevetxtends Figure 68b).
Figure 68b). Include
lnclude crossmarkings
crossmarkings on all g‘
tracings.
lra
length
broadens the shoulders.
broadens If \4 inch of
If 1/, of excess was
was Ich
left on front and bad
on the from i:
IO. Modify
Modify the straight step 9
dart lines drawn in step
straight dar: armscye
armscye of the sleeve,
sleeve, ease it into the bodice at:at or
l0.
to taper the to curve the sleeve down over
the dart and t0 above the halfway
above halfway poim
point 0E
of the blouse armscye.
to taper
the top of
the of the
the arm.
arm. Begin center 0E
Begin near the Center of the from
front 13. Slash
l3. pattern from the lower
Slash the sleeve pattern
top
and back
and back lines
lines and curve into lhe point as shown in
the point up t0to points L and K and spread as d
spread as much as desired
up poims
Figure 68a. at the
a: the lower
lower edge step should be
edge of the sleeve. This step i
Figure ‘

may vary, but if omitted inin drafting

drafting a fitted sleeve.
l11. Draw the raglan
l . Draw raglan line. This may

150
 SLEEVES

_
allen A
iw er fhe Armscye
wer
Fig. 68 (b) . Raglan dralt traced
Fig,
indicate Variation for deep

erform the first ten steps in the standard

erform
„the raglan sleeve
the
directions below.
Vdirections
x
Standard procedure
slecvc outlined just above.
abovc. Then follow

_ Drop the armhole lI inch on the underarm seam

he front
lle
th
lront and back of the bodice and redraw a
‚th curve into this lowered point

increase
(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
3
Ü’! ole ol the
bodice. You can determine the in-
traccd and cut
dcep armscye).
(clntted lincs
c u t apart (dottcd

underarm seam by an inward curving line as indi-

cated by the dotted line in Figure 68a.
5. After tracing the slecve
slash the lines
slecvc pattern from the draft,
lincs (lrawn in step 3 and raise the wedges
to lengthen the undcrann
tinderarm
underarm seam 5% 2/, to lI inch. The
tmtlerarm seam should be lengthened as much as the
urmhole in the bodice is lowered (see Figurc
Variation B
Variafion
To fransfer parf
raglan line of fhe
armscye line,
parf of ‘the
Figure 68b).

fhe shoulder darf fo

lhe sleeve where iif

and perform fhe following sfeps:

l. Slash irom
+0 ease along fhe
curves info fhe normal
1’ curve:
line. begin wifh fhe finished raglan sleeve draff

{ m m the point on the lront of the sleeve

in the length of the bodice armhole
i

by measur- where the raglan raglan line swings into the normal armscye,
'
the lower curve of the Original
„thc
L to M and
original blouse armscye point L, (see Figure 68b) to the end of the dart D.

_
subtracting it from the new length
f
Repeat at the back of the sleeve.
Rule a horizontal line in from the new front and 2. Spread the front lront and back edges of ol the sleeve
w
>_
to introduce % to 1/2 inch of ol ease which will
girth points of the sleeve I14
h4 inches plus the partially
hn
mt added in step 2. lf a softer close the shoulder line dart. Thc amount of ease
underarm drape that

‘
is possible to work imo into the curve of the sleeve
ired. the ll/4
ired, 11/4 inch measurement can be increased.
on the shrinking quality ol the labric. This depends
3 Perpendicular
perpendicular from the end ol this line to the Variation
‚N.
e line (sce transfers some of the cap width from the top
(see Figure
68a). away
C e n t e r of the arm to the side of the
'

Connect the new girth end points to the arm and improves
improves
original the contour of the sleeve.

15l
 D
D R
REES
SSS D ESIGN
DESIGN

Variation C
Variafion
To iransior
To part of the shoulder dar?
transfer part dart fo
to fullness along
along
‘the
the raglan line of the slaava abova Hin poinf when i?
sleeve above the point where it
raglan
into ihe
curves tnfo armscye Iino
the normal orrnseye line (see
(see Figures 69a, b.
Figures 69a. b,
and
enges)
6U c):
C:
step l1 in Variation B or
R epeat step
I. Repeat or make several
severa l
slash es spaced
slashes spaced for distributing
distributing gathers
gathers oror darts.
Spread at
2. Spread at the [front edges of the sleeve
r o n t and back edges
(a)
(a)
(or only along
(or only along the front edge if you prefer a smooth
edge you prefer

\ ‘
_
back lme)
line) to partially close the shoulder dart.
to partially
3. Take up
up the excess into gathering along a corded
gathering along 4
r a
line or as decorative darts.
seam lme I
‚x‘,
. I
I
l 0
| '
Variation D ‘L _ _
r’ 1'
To fransfer
To
center of a
part of fhe
transfer parf
bishop
the shouldar
sleeve:
shoulder darf
dart fo at the
to fullness af
‚l
l
-"-‘}
I, ß
>‘k" \ Y’
l
r

a’
„4
.x
’
1
v
o \
'
confer bishop ll/ l I
Slash from the Ccenter
1. Slash of the
edge of
o f the lower edge w f,’ ’)
I. e n t e r of o" ///‚’
sleeve to the end of the shoulder dart. 11;’
sleeve to of I
—:- 4
2. Spread the sleeve center line and partially
at the Center
at partiall y
2. Spread
close the shoulder dart line.
l
l
u

\ ’‚'
close
3. Lengthen
3. Lengthen the sleeve below the Center center of the bot-
E
tom line
lom line in proportion
proportion to to the increase in in width. ä r

N ote. The
Note. tra nsfer of the shoulder dart
The transfer d art toto the (b)
center of
Center of the
the sleeve
sleeve is su ita ble
suitable o nly
only for sleeves gathered
gathered Stepl
at the
at the lower edge, since the flare would swing
lower edge, swi ng out
awkwardly from the top of the arm in a.
a sleeve loose
awkwardly top
at the lower edge.
at the lower edge. lt may It may be necessary
necessary to
to slash and
spread thethe sleeve
sleeve on on the wh ich divide
th e vertical lines which
spread
the sleeve
the sleeve into
into fourths
fo urths in order to balan ce the addi-
to balance
tion al width at
tional center of the sleeve.
at the Center

Variation E
Variafion
To fransfer
To transfer pan‘ shoulder darf
part of the slioulder to widfh
dart +0 at fhe
width a1’ the
top cenfer
center line the sleeve in orcler
of fhe
line of create a barrel
to creale
order io barrel
fop
silhouette (see
silhouefle (see Figure
Figure 70a):
Slash as in Variation D and sec
Slash as in Variation Figures 70b and c.
see Figures c, c

which show two methods of removing width at

at the e
whiCh show two methods Gnn
i
"'
lower part ot ot the sleeve: the one by shaped seam line
by a shaped
lower part the sleeve:
on the top of the
on the top of the arm arm which serves as a long dart from
the top ofof the
the wrist to point well
to a point above the elbow;
elbow; (cl
the top
and t he other
other by a horizontal slash above the elbow Step 2
51:02
and the by dartl
Fig 69. (a) Raglan sleeve with part of shoulder
which when overlapped reduces the width at
when overlapped at the wrist
wrist Fig 69. (a) Raglan sleeve part dart trans·
which [erred into fullness along the raglan line:
line; ) Stepr
(b}
(b Step l:
5
by shortening the length o!
the length top of the sleeve in
of the top in ferred into fullness along the front raglan
by shortening seam. Step 2.
(c) Step
relation to the length of the underarm seam. (c)
relation to the length
152
IQ
Q3
 SLEEVES

‘c: „ ‚ W w

(a)

Fig. 70 (a). Raglan sleeve with barrel Silhouette having

part of shoulder dart transfcrrcd to Ccemer
dar: transfcrred e n t e r line.
Fig. 70 (b). Width rcmovcd

_—
removed from
{rom lower part of slceve slcevc by
doued lines.
c e n t e r dotled
Center
Fig. 70 (c). Width removed from lower lowcr part of o! sleeve
sleevc by
overlapping on horizontal line near
overlznpping ncar girth.

__
Problem 2
vTHE EPAULET OR SHOULDER STRAP SLEEVE
‘
(see Figures 7|a and b)
'

Ehe
h: epaulet varies little from the normal set-in
e except that i: is cut in one with a narrow
strip
9o tthe he lop
top of the shou-lder. The regular shoulder
„I
‘v-
is omitted, but seams at a1 the front and back of
iftrapstrap are substituted for it. Decorative detail on
Iepaulet focuses imerest on it, especially if the
‚
Lepaulet
‚‚P
i5 continued into a
is

_
HP high neckline or a collar.
lIhe
he edge of the strap can serve as a
gathers or folds
'

lhc
{olds in the bodice from.
yoke line to
front. Its horizon-
phasis tends to broaden the shoulder line and to
_phasis
lhe height by holding interest a:
at a point
‚_
_
_

‘ C figure‘
L poim high
figure.
_'e Fig. 71 (a). Epaulet sleeve.

153
 D R E S S D ESIGN
DESIGN
DRfiiSS

Curve on
on
Blouse-Not
Blouse·· Not
on
on Strap
Strap

Follow Dotted Curve

From Blouse to
to
Sleeve
Steeve Cross
Cross
Marking
Markmg

Fig. 7l
Fig. 71 (b). epaulet sleeve.
(b). Draft for epaulet

lront and the back bodice blocks with

l.I. Trace the front seam, since lhere
shoulder seam, there is no
no opportunity
opportunity tolO ease
w’

shoulder seam meeting. Fold out the ease in the

seam lines meeting. the the sleeve armscye
thc into the armhole of the dress aacross
armscye imo 1

back shoulder seam line. strap area.

the strap area. Draw a smooth curved Iine line exlen.’
extending
upper part
the upper part of the capcap to strap line on
to meet the strap
2. Rule a straight
straight line t0
to extend the shoulder seam
from thc
[rom the armscye
armscye the length
length of
of the sleeve.
the back and Iront
front ofof the bodice. Do nol -7V
not rule sstraight
lines Lo
to lhe
the edge
edge of
of the
the sleeve cap. extenswn m
cap. The extension must
S. cente1 lengthwise
3. Place the center grain line of the
lengthwise grain on the
be an tlte sleeve.
sleeve 011 the line drawn in step 2 with the [rom
sleeve on slep front half
half
and back notches on both lhe
5. Mark front und the s1
sleeve
'_
of
of the sleeve facing
{acing the bodice front. The highest
highest lines, on
and dress armscye Iines, on thc strap, and on thef
the strap, *
the front L

point ofof the center of the sleeve should touch the arm-
the Center
point of the bodice.
and back of
scye end of
scye Overlapping them re-
of the shoulder seam. Overlapping
"i
duces
duces the cap height and should be done only
only {or
for On the Iront
6. On front and back oi bodice, curve the
of the bodice.
cap height
sport sleeves. (The armscye shows a sleeve adjoining the strap
seam lines adjoining Ys inch outward frolll
strap 1A H.
sport slecves. (The dotted armscye line the strap at a point hallway the neck and 7'
the
cap that Louches
touches at the front and back strap
at Lhe strap lines and lhe slrap a1 point haltway between lhe
cap armscye in order t0 to allow more ease below the sl strap <

overlaps at at the Center,

center, thcreby reducing the Original
thereby reducing original armscye
overlaps line. D0
Do not
not change
change thc
the line on strap itself.
on the strap
height
height
4.
of
Draw
the sleeve
the strap
cap.)
cap.)
4. Draw the strap designdesign on the back back. and front of 7. Place the draft over
7. Placc over another sheet of p3p"
paper and "
'

the bodice. At the armscye it should not extend more trace oH

trace off thc
the sleevc
sleeve and the connecting
connecting strap.
strap. Tract
thc bodice. A1 armscye
101 inches either in front or
than lI/‚
than back of the
or in back front und
the trom and back of the bodice separately.
separately.

154
4
 ‘V

Ü
’
-_
Variation wifh Darfs
f Variafion Darf: Exfending info fhe Sleeve
fhe Ends of fhe Sfrap (see Figures 72a. b, and c)
Ü,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).
SLEEVES

Normal
Sleeve Cap

o o
31l
«Ä?

‚-
"72 (a) . Epaulet
"172 (a). Epaulct sleeve
slecxe with darts cxtcnding into
imo sleeve Grain

‘g- ends of the

Lhe strap.
slrap.

fb. Tracc
Trace ofl
off the strap sleeve previously described,
described.
v
Draw in the following slash lines:
Fig. 72 (b). Slash lines drawn on epaulet sleeve.
a) Center lengthwise line. I
H
v) Girth line ata: right angles l0to
(b) Center line.
cemer
rc)
c) Extension of lines at front, N, and back,
strap Iines

_
t
ov the
lhe girth line.
line.
f!)
d) Lines from the th_e extended strap to the from
front and
underarm seam Ilines
f; underann lines a: points M and L, 3 inches
4. the girth.
f;
) Lines from the girth to points B and D on the
(o poims

1:
‚t and back armscye halfway between the edge of
istrap and the girth (see Figure 72b for placemem
f-strap
_'e slash lines).
A:

„aSlash along lines HN and I0; slash NM. and 0L

e underann
underarm seam; slash NB and OD to the arm-
.
; slash N0.
,2
».
‘. Without spreading the slashes, pin the slashed
Without
glcrn to a new piece of paper, placing the center cemer
‘l: wise grain line on a vertical line drawn on the
I: rpaper.
W
Raise the strap section from the base of the
% _e a! the girth, N0,
NO, the amount the strap is to
L tended
cxtended thc annscye line, in other words‚
beyond the
j 3th
length o!
of the dar: 1%1o
(usually 11/4 to 13/4 inches).
Fig. 72 (c). Slash lines spread and darts drawn.

I55
 D
D R
REES
SSS - DESIGN
DESIGN

Compare thearmhole
6. Co'mpare the armhole measurement
measurement of the dress yoke line on the master pattcm
I. Draw the yoke
1. pattern b
blouse. ä

from the sttap

strap to. underarm seam at back and
to the underarm and 2. Measure the front bodice armhole {mm
2. from the
froh:
front with the sleeve armscye
armscye measurements.
measurements. The seam to
underarm scam to the yoke.
yoke.
ß

sleeve cap
cap appears
appears smoother if there is no more than
Y2 inch of Y2 inch on the front.
ease on the back and 1/2 amount on the sleeve armscyc
3. Measure the same amoum
1/2 ampqä
Place the remaining
remaining excess in the dart width. and mark this point.
point. ‘

4. Repeat
Repeat both measurements fotfor the back.
7.
7. Spread
Spread the pattern
pattern for the increased height
height and
width of the capcap as shown in Figure
Figure 72c. Rule the paper, leaving
5. Trace the sleeve on paper, leaving room
room for the
darts, following
following the strap
strap edge
edge for the inner dart edge.
edge. addition of the yoke to the upper
yoke to cap a:
upper cap at both
both fro ...
darts,
edge of the dart from ]j toto P and and back.
{am
Measure the inner edge
make the ouler
outer edge
edge the same length.
length. 6. Place the from
front and back yoke
yoke against
against the sind;
sleeve
Note. The slashes B to
Note. to N in the front and D to to O
0 at
at the points marked in steps
points marked steps 3 and 4. However,
However, i!if the
provide a higher
m the back provide higher cap
cap without overlifting
overlifting yoke line is above the halfway
yoke halfway poim
point on the sie
sleeve
i5;
armscye (see
the lower curve of the armscye (see Figure
Figure 72c).
72c). armscye,
armscye, leave some
some ease on the sleeve. The sleel'e
s! _‚

armscye from underarm

armscye underarm t0to yoke
yoke can be 1/, inch
inch longg
longer
than the dress armhole.
Problem 3 7. Place the armhole edge
follows the curve
edge of the yoke
yoke soso (hat
upper half of the slecve
curve of the upper
that it
sleeve cap
ü
IN ONE (see
YOKE AND SLEEVE CUT IN Figures 73a and b)
(see Figures b)
but with the shoulder seam corner of the yolte yoke (tlfq
(the
Many interesting
interesting designs
designs can be developed
developed by by cut—
cut- point
point where the armscye
armscye line and
and the shoulder seam
Many come together)
together) rising
rising 1/, inch above the sleeve cap. cap. lIt
ting
ting the sleeve in one
one with the yoke,
lhe yoke, thus making the
making
yoke a more important important space
space division. Eliminating
Eliminating then has about the same cap height as the masle:
cap height master
yoke To shorten cap, let the shoulder cornerofi!
corner of
the toptop half
half of the armscye
armscye seam
seam gives
gives continuity
continuity to to sleeve. To shorlen the cap,
space without sacrificing advantages of the
sacrificing the advantages yoke dip
the yoke dip down imo into the sleeve. D0Do this {or
for aclivj
active
the space '

neatness of of a set-in sleeve atat the lower armscye.

armscye. sports dresses which need
need arm freedom. To
T0 incre
increase
neamess sports
The lower half armscye controls
conlrols the freedom the height
the cap, let the shoulder corners of
height of the cap, of the
The lower half of the armscye
with
with which the
lhe arm can
can be moved, and therefore
Lherefore the yoke
yoke rise above the curve of the sleeve V2 '

cap 1/2 inch.

cap
yoke line should not enter the armhole below the Do this if the n1aster
D0 master sleeve does not have enough
enough cap. cap
yoke enter
height to go over
height to go over shoulder padding,
padding, or in designing
designiflgq
center
C armscye.
e n t e r of the armscye.
coats and
coats and jackets
jackets which need extra shoulder room
need extra room to
slip
slip over dresses and blouses with puffed or
pufled pad padded
sleeves.
8. Draw
8. Draw the
the shoulder line dart as for the raglan
sleeve.
9. Trace
9. Trace lhe
the new
new sleeve and yoke pattern on
yoke pattern am‘
onraglfl]
a sec·
ond sheet of paper.
0nd paper. _
II0.
0. Trace
Trace the blouse
blouse {rom
front and back and crossmatlii
crossmark
yoke and the lower sections of the bodice.
the yoke
the 1
Note. See
Note. variations of
See variations (pages 151·
raglan draft (pagömf
of the raglan
152) if,
if, afler
after trying
trying out
out a muslin proof. you find “m.
proof, you that
152)
the shoulder
thc shoulder dart holds too
t o o much
much of the sleevf 9P“
sleeve cap
width at the top
widlh at the top Centercenter of the arm. See Variation
VarianoflA- A
under the Raglan Sleeve
under the Raglan Sleeve (page 15l)(page 151) for instructlofl’
instructions
on lowering
lowering the armscye.
armscye.
Fig. 73
Fig. 73 (a).
(a) . Yoke and sleeve cut in one.
slcevc cut

I56
156
' SLEEVES

Blouse
1 4”
4" Above
Sleeve
sleeve at
Shoulder
Comers
Corners

u
s
(b). Draft
Drah for sleeve cut in one with yoke. (Slceve
aight-hanging sleeve.)
Plan grain placemem carefully. The lengthwise
the Center of the sleeve places the CCenter
rough lhe
through
nd Center back of the yoke on the bias or semi-

i} the
a: the Center front of the yoke
traight grain at
Slraight
Lhe Center line of the sleeve on the bias and
enter
semi—
—-
Line

Center

Sleeve

(Sleeve block has bccn

bccn spread
sprcad on C
cemer
e n t e r and quarter verticals for a

ter back on the crosswise grain or on the semi-

1er
‚ 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
usl l be matched at the Center
center line of the sleevc
sleeve
Iran! and back halves if such a seam is used.
‘from

Problem 4 =

WlTH nnor SHOULDER (see Figures 74a.

b. und c)
shoulder provides another way of carry-
V

Lshonlder
l e lines of the dress
drcss imo
into thc
the sleeve, some- Fig. 74 (a). Sleeve with a drop shoulder.
Fig.

157
I57
 D RR EE SS SS D ESIGN
DESIGN

times as an extension of a yoke

yoke or a French
French dart line,
line, S. the back.
Repeat for thc
3. Repeat
and sometimes as an extension of the blouse into a
4. Place the armscye edges o!
armscye edges of die.
the {mm and back3
front am!
simulated yokc.
yoke. This ccut lrequently used to em-
u t is frequently against those o!
of the blouse against sleeve, m1.
of the slecve, matching
phasize a gracelul
phasize graceful shoulder line evening dresses
in evening the marks on the sleeve t0
lhe to poims
points marked
marked {o1for 1,"
lhe
or
01 hostess gowns with an extremely full
gowns extrcmely lull gathered or
gathered dropped shoulder line on the bodice. i"

cartridge-pleated mounted on dropped

cartridge-pleated sleeve moumed it, the tubular
it,
lolds on the sleeve contrasling
folds contrasting wilh
with the close fining
fitting 5. Match the curve of thc the blouse front ärmhoh
armhole lo
shoulder line. ot the sleeve cap,
the curve of cap, so (hat n:
that the shoulder cor·
extends above the sleeve cap no
ner of the bodice exlends czpw
I . Trace around the master
l. pattern on a
master sleeve pattern more than 1AYe to \4 inch, but without overlappiug
to 1/, overlapping lhe
sheet ol’
ol paper
paper large
large enough
enough for the front and back of upper sleeve cap.
sides of the upper cap.
the blouse as well as the sleeve.
Note. lt It must be taken into accoum um
account that the F’;
2. Mcasure
2. Measure the blouse from. front armscye
armscye from the amount which the corner of the bodice shoulder shoulder ex·
underarm
underarm seam to
to the point
poim chosen for the lower edge
edge tends above the slecvc
sleeve cap
cap depends
depends on several condi·a

drop shoulder line (see

ol the drop
of (see Figure
Figure 74b).
74b). Measure lions.
tions. Direction 5 is for a master
ior master sleeve with correct
o

the same amount on the sleeve. lf If the drop

drop shoulder height, ready
height, read y to
to use without alteration. more cap
alteration. For more
line is above thc the halfway
halfway poim,
point, add 1/4y.t to V2 inch
to 1/2 height to
height lo go
go over thicker shoulder pads, pads, the shoul
shoulder
to the measurement
to measurement of the sleeve to to ease in when set-set- corner ot
comer oi the bodice may may extend 1/‘,V2 inch
inch abovc
above thev
ting it into the armhole. Crossmark the sleeve and cap. If the dropped
sleeve cap. dropped capcap is to
to fit the sho
shoulden
am
ting
blouse front. closel y without padding,
closely padding, overlap
overlap lhe
the sleeve somcw
somewhat.

Fig. 74 (b).
Fig. Draft lincs
(b) . Dmfl drawn.
lines dmwn.

158
 S L E E V E S

“B0

(r) . Complcted
Fig. 74 (c). Cnmpleted pattern.
‘z. Pivot the armscye of the back bodice into posi-
posi— KIMONO TYPE
gainst the sleeve‚ keeping the same relationship
against
en shoulder of bodice and sleeve cap as on the
‚een Kimono sleeves are cut in one with the bodice, and
original curve of the lower armscye.
therelore lose the Original
Measure the bodice armscye from the shoulder
too the drop shoulder line. Mark this same dis- Problem 5
on the Center
center line of the sleeve. measuring from
THE DRAFT FOR BASIC KIMONO SLEEVE lI WITHOUT
ntt on the center line even with the back and
shoulder corners (see Figure 74b). Draw a A GUSSET
‚ th
j o curve from this point on the C e n t e r line of the
center To Draff
Drall’ fhis Sleeve Use the Masfer Pafiorn Sleove
Pafiern Sloeve
ge tot0 the front and back armscyes to t0 establish the wifh an Elbow Darf
f line of the drop shoulder. This line may dip I.
l. Figure 75 illustrates the method of establishing
ard at the cemer,
ward center, but the directions given pro-
“ a new center
c e n t e r line on the sleeve block. Line AB is the
alevcl
levcl line.
center of the normal sleeve only {rom the
Center
Establish a shoulder dart line as for the raglan
gEstablish top of the
cap to the elbow, since the sleeve sleevc curves forward
lorward at
‚
*7 but continue it
through the drop shoulder as this point. Because the shouldor shoulder line usually con-
tinues into a seam down the top ol" a kimono sleeve.
‘ossmark the lront
rossmark front and back halves of the drop the line AB should be replaced by a new vertical divi-
er line and the poim
point of the shoulder line dart. sion line which falls down the C e n t e r
top ol the arm
‘Trace
Trace the sleeve on another sheet of paper. all the way t0 to the wrist. The procedure for establish-
paper.
ing this line is as follows:
"Trance
‘Trance the bodice front and back.
back, including the
oulder
ulder section. Crossmark. (a) Mark the center
C e n t e r of the wrist line,
point C.
’

Gut the back and iront

( r o n t apart on the center
Center line (b) Measure 5Ainch from
5/3 lrom C toward the back seam
ve.
‚CCVC.
line and mark D.
Ulf the drop shoulder section is to fit smoothly, (c) Rule a line from A to D to establish the place-
the sleeve alter ment of the top seam line of the kimono sleeve.
„(l«spread after making the draft if
" spread
lness in the lower sleeve section. How-
inllness Note. For a fitted kimono sleeve without a
fullness is to bang from the top of the arm,
Tüllhens top
seam, or for a straight loose sleeve with a seam
sleeve from which to draft, so that but wnthout
top
without a horizontal elbow dart (see the dotted
nygles in the cap area as well as in the
ripples lines in Figure 75), use the original
Original Center line AB
ääcfiön. e

rather than AD in drafting.

 D RR EE SS SS D ESIGN
DESIGN

A corner M. Extend the sleeve line ML up

side seam a1 0. Line M0
at 0.
up (o
to mag};
meet the
1Y2 inchg.
MO should be 11/, inches. 3.‘
;_
6. Trace around the blouse front and removefii:
remove the
pattern.
pauern.
Note. The 1%
Note. 1Y2 inches between the side seam cfof the
blouse and the girth corner of the sleeve providg
girth comer provide the
minimum extra lcngth
length required underarm seam
required on the underarm 1:? .

to raise
lo raise Lhe comfortably in a long
the arm comfortably ‘
long fitted sleeve ‘

Vi
Q)
>
Q)
Q)

Sleeve
.s
without a gusset.

7.
side Irom
gusset.

7. Measure the distance between N and 0 on

front of the blouse and an equal
side seam of the back from I to
equal amount
to H.
H.
on the
amount on
on the
‚‘
geeve
-
en
Q)
Setnin Extend the back seam line of the sleeve (K
8. Extend (Kl)
.E
for up
up to
to a point 1Y2
point 1% inches above the girth corner
girth comer‘ ],
c
point H on the side seam of the blo"
and mark point blouse
...
Kimono
c.'"'5
Grain back. This balances the back and front in relatioIi-_‚_
relation to
-2
for
Q)

the slceve.
sleeve.
"

Q) "j"'
c ..i.::

_
:.J Oo corner D until it touches the
Line
cQ) 9. Pivot the shoulder corner uT
2c _J
Lengthwise top
top of the sleeve cap.
cap. The measurement between the :
I"
Q)
u
Center point a:
back shoulder point at D and the sleeve Center
center line

z
!I:
Q) YZ
YZ need not equal
equal the corresponding space
corresponding space on i"
on the
New
front. Individual blocks vary.
vary.
I 0. Trace around the blouse back and remove the
I0. ‘v5

pattern.
pauern.
Center cD B point P on the side seam of the b
lI lI.. Mark poim l.
blouse
of ' '
front 6 inches above the waistline. Square
Iront Square out
out 3/4
Wrist
from P, Pl.
P, and mark P1.
Fig. 75.
75. Establishing
Establishing top
top center
center seam line of
of kimono sleeve.
Fig.

2. On
2. On pattern
pattern paper,
paper, rule a line,
line, YZ, length of
YZ, the length
I2. Rule
12.
bow.
Q and
Rule lines trom
bow. Square
Square
Pl, and
in
at
from Q
y.j
1/,
a
Q to
inch
point
at
at
p1 and P1
to P1
a point
halfway
p1 to

between
to L
Lat
halfway
point halfway betw
P1
p1
a: the el·
between
and L.
’
Q and P1, at point halfway A

the sleeve plus

lhc sleeve plus I
l00 to
l0 12
l2 inches (see Figure 76).
(see Figure 76). Make thethe final underarm line slightlyslightly concave by
curving in at
curving at these halfway points. Use the origi.
halfway poinls. original
3. Place
3. Place the Center
center line on
on lhe
the sleeve, AD, to coin-
AD, to
ruled seam
seam line (not
(not a curved line)
line) when setting in.
cide
cide with line YZ.
gusset (pagesl65-l66).
a gusset (pages 165-166 ).
4. Trace
4. master sleeve and remove it.
Trace around the master
13. Repeat
l3. Repeat the procedure
procedure in stcps 11 and l2
steps 1| 12 for
"f!
Label
Label the
lhe front
{ m m and back girth corners,
girth corners, MM and j,] , and
the back underarm line FGIK.
FGlK.
the front
the front and back eltiow
elbow points,
poims, L
L and respec-
K, respec-
tively. The latter points
lauer points should be 8 inches below the 14. along the Center
H, Measure down 3 inches along center line
tively.
cap and mark C-
’
girth poims.
points. of the sleeve from the top
top of lhe
the cap C.
girth
'
s. Place
5. Place the blouse front with the outer end of the Draw the
15. Draw
l5. the shoulder
shoulder seam
seam une
une on the blouse front
blousff
shoulder, against the top
B, against V2 inch
cap, %
top of the sleeve cap, by following
by [ollowing the original
original line from A to withm
A to within r;
shoulder, B,
from the center
from lhe center line of the sleeve,
sleeve, YZ. Pivot the blouse inches of B. Then beginbegin t0
to curve upward
upward l0 Po101
to a P°mx
so that
so that the
the side seam is "/2I \4 inches above the girth
girth Ys inch out
1/8 out from B and round off t0 to C.

160
 nness oesieui
D R E S S DESIGN

Fig. 77. Variation of basic kimonn

Fig. kimono sleeve t0
to provide
provide more ease over
over back
hack of uppcr
upper arm.

Problem 6 this point

lhis point varics,
varies, however,
however, wilh
with the fullness
fullnes!> desi
desired
I
in the cap cap o!
of the sleeve.
!>leeve. You can
can even move lhethe fhoot
n":
SLEEVES W|TH
DRAFTS FOR BASIC KIMONO SLEEVES WITH
shoulder seam seam atat point
point B as much as 1I inch Fron!
lrom the
‘i’
(Basic Kimono Sleeves 2.
GUSSETS (Basic 2, 3.
3, 4)
4)
center
C l'Z, thereby
e n t e r line YZ, increasing the sleeve will
thereby increasing width
fitting kimono sleeves without exces- across lhe the top
top byby making
making lhe
the d'art
dan BCD larger.
BCLJ larger.
For smoother fitting
sive wrinkling
wrinkling under the arm, arm, place
place the bodice [lront
ront 2. Place the blouse side seam .V
side seam Q so
so that il
it (auch
touches
NQ
and back blocks against
against the girth
girth corners of the sleeve,
sleeve, the sleeve
!>leeve girth
girth corner
corner M, an<l mark poim
M, and point O0 w where
)
I

or even
or even overlap
overlap them t0 to reduce
re<luce the area between the they touch.
they
armscye ol"
armscye ol the blouse and lhe the armscye
armscye of the sleeve.
3. Nleasure
Measure N0 on the side
NO on side seam front.i
seam of the blouse I"
necessary t0
This makes it necessary to set
set a diamond shaped
shaped
1\1 inches
This is a distance of ll/g inches on lhe diagram, but‘
the diagram.
wedge,
wedge, called a gusset
gusset, , into the underarm seam to give
to give
=
it may
may vary
vary with individual blocks. Mark H H the same A v
extra
extra ease and length.
length. distance down from I on on the side seam of the back. i

The procedure
The procedure for drafting sleeves
drafting basic kimono sleeve
2, 3,
2, 3, and 4 is essentially
essentially the
lhe same as that
(hat for the basic against lhe
/-1 againsl
4. Place H the girth
girth corner
corner]] of the sl
i
sleeve.
kimono
kimono draft without a gusset.
gusset.
5. Pivot U at the shoulder point
l) at point to
to touch sleeve.=
touch the sleev
Basic Kimono Sleeve 2 (see
Basic (see Figure
Figure 78)
78) 6. Measure
Measure upup Irom
from the from point Q
front waistline point
l.I. Place
Place the blouse front Vs inch
point B 5%
lront shoulder point the length
lhe lcngth desired for
l'on‘ the side seam
seam and mark P. Th
P. The
lrom
trom the
lhe center
Center line ol
of the slecve YZ. The placing of
placing 01' side seam can
can be any
any length
length extending Qand
extending between Q3“

162
I62
 SLEEVES

Fig. Draft for

Fig. 78. Dralt basic knmono
lor baslc kimono slecve Number 2 with a gusset.
gussel.

{zittern shown in Figure 78, Q to P measures Basic Kimono Sleeve 3 (see Figure 79)
es, whlch allows 1/4 inch extension on the In
ln this draft the girlh
neof the
line lhe blouse and l4 girth corner oi
ol the bodice and the
1Ainch on the sleeve sleeve overlap to
l0 reduce the excess between the
armscye
these two lines will meet a1
l t ‘ghese a: P1. To widen of the blouse and slceve still further,
ol
'
lurther, as shown by the
lurgher, endecrease
decrease the lenglh
length of the side seam smaller open space belween
between BN and BM in the lront,
front.
blpuse or increase the space between the and D1 and D] in the back.
"imi, B
'

B and the sleeve center line YZ,

YZ. Follow the same procedure for thisthls draft as for the
Q to P1 and P1 to L. D0 not curue the one, with the possible variations in space
previous one.
flding a gusset. between lhe
the bodlce
bodice shoulder seams and the Center line
of the sleeve. Balance thc
the back and from
front of the bodice
evenly so {hat
Lhat the front underarm seam from t0 P
Q to
equals the back from F to G, and so (hat that M0 on the
"ccompleted Shoulder line t0
ß (teil shoulder to point C.
from ol
Iront of the sleeve equals jH
[H on the back. In Figure
w ‘C
6W: point ihbved t0
C moved to within I inch o!
ol 79. QP is 61/2 inches and M M0O is 1%inches.
movedan
up or down
Clown from the top Basic Kirnono
Kimono Sleeve 4 (see Figure 80)
.
ppgor
5
wthe " "
"curve o!
of the Center seam
top center This dralt
dran praclically
practically eliminates the excess
exccss between
53a from B y, inch and the sleeve and blouse armscyes
armscycs and will fit almost as
the spaces between A and
s 1h: nnderarm seam
smoothly as a set-in
sei-in sleeve, but will
underarm gusset to
underarm
require a larger
length 1o free the arm. In
Figure 80, the
idens. underami seam QP is 5% inches‚
underann inches, and M0 i: is 2%.
21/2.
168
 D RR EE SS SS D ESIGN
DESIGN

Fig. 79. Draft for basic kimono sleeve Number 3 with a

Fig.
gusset.
gusset.
Draft for
Fig. 80. Drall with a
for basic kimono sleeve Number 4 wiih
Fig.
gusset.
gusset. z
or unshaped‚
or unshaped, kimono fils fits lhe arm smoothlysmoothly w’ when
Comparison of Kimono Draffs Drafts (see
(see Figure
Figure 8|)
81) it is held at
a: a right angle to the body. The sel·
it is right angle to lhe body.
'

Comparison
The kimono sleeve drafts illustrate a progressive
The kimono progressive in sleeve,
in sleeve, the opposite extreme, fits
opposite extreme, fils smoolhly smoothly v:
when
decrease in the length of the underarm seam of the the arm is
the is down al at the side. Thus wrinkles ap.‘ appear
decrease in length
sleeve and
sleeve and a sharpening
sharpening of the a ngle
angle between the on the
on the top, or
top,
or inin the overarm length, length, of a sel-in U
set-in slee1·e
>

underarm
underarm seam of ol the blouse and the sleeve. When-
When- when the
when the arm
arm is is held out,out, whereas wrinkles appear w
ever this
this angle
angle is sharper
sh arper than a right angle, it will
right angle, at the underarm of a kimono sleeve when the ann
at
l

ever
be necessary
be necessary toto set in some lorm ol
set in gusset so that the
of gusset hangs down.
hangs
arm can
can bebe raised comfortably without pulling
raised comfortably pulling upup the Because of
Because of this shortness of of the overarm me measure-
arm fil
waistline. As the angle sharpens, the underarm length ment as compared
mem as compared to to the underarm,
underarm, the
the long fitted
waistline. As angle sharpens‚
kimono sleeve tends
kimono sleeve tends to pull lhe to pull the blouse away
away lrom
from the
ol the sleeve shortens,
of the sleeve shortens, whereas the overarm length re-
length re-
maim constant. Therefore, when seen on
on the figure, side
side olof the neck
neck when the arm is lowered.
lowered. T0
To Ü“
olfsel l

mains constant. Therelore,

the overarm
overarm length
length appears longer in comparison
appears longer comparison t0 to this, lhe
this, the Ccenter top line oi
e n t e r top of the sleeve can be cm cul on l’
lhe
the bias
bias t0
to let
let the fabric
fabric give
give with the lenglhenif
lengthening
the underarm,
the underarm,
nearly rcsembles
nearly
and with each succeeding
succeeding
comparative arm measurements
resembles the comparative
drait
draft more the
of the
of the top of
top
of the arm arm as it it drops
drops 1o to the side. The
10
„
when the
the arm
arm hangs
hangs at diagonal wrinkles
at the side. The diagonal greater
greater the slope on
on the top
lop of the
lhe sleeve (as shown
(as )hown "y"
when
falling irom
falling
seam which
seam
from the toptop of
which characterize
the arm toward the underarm
of lhe
characterize the Lypicaltypical kimono are al-
aa marked
to
marked degree in
pull
degree in Sleeve
down
to pull down from from
Sleeve 4),
the
4), the less the sleeve tends
shoulder line and away
l8
'"
from
l

most eliminated in sleeves

sleevcs 3 and 4. The japanese.
Japanese. the side of the neck.
most eliminated in
164
 S L E E V E S

‘.81. Comparison of basic

.81. kimono slecve dratts
drans (Sleeves Fig.82.
Fig. onn—
front gusset line when dress is o
82. Marking fmnt -
s.and 4).
l2. S. 4) . Nletlmd
Methnd A.
L
Fig. NIarkiIIg back gusset line.
Fig. 83. Marking
x

Problem 7 (d) With slashes made, determine the exact length

Iength
needed in the gusset so that the arm may be raised raised
GUSSETS
above the head without pulling up the waistline.
Figurcs 84 and 85 show a gusset
Figures A l ) and DC
gussel set in. A1)
‘y
ikUsing Sleeve 3, follow the
Using Sleevc lhe directions below for cut-
the sides of the front slash line. The dis-
i! g;
4
and setting in a gusset. The same procedure represent
(o C is the spread needed
lance lrom A t0
tance needcd t0to raise thc
the
all

=
plies
plies to patlerns requiring gussets.
patterns
5Ül.
l. There are two ( w o ways of determining the slash
arm.
in for the gusset (see Figure 82). Method A should

‘
used in designing a garment for an individual, and
Äused
klhod B should be used in working with standard
‘fclhodi

pattern blocks.

.A
(a)_ Try on the muslin proof with your arm hang-
fyour side.
53‘Mark a pin line from the underarm seam up
F
e inner edge of the natural fold which forms
‘from
‚efrom and back of the sleeve along the normal
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
"hg on lhe Lhe tightness when the arm is raised.
Fig. 84. Gusset set in. AD and DC represent
h twhen him set imo
into the garment will fall with represem edges of front
slash.
I the
«gfold and be inconspicuous when the Fig. 85. Gusset concealed by front and back fold
{ o l d lines whcn
when
arm is down.

165
 D RR EE SS SS D ESIGN
DESIGN

A\
'\[7'
c
ELF.

_.
gfl-j

Fig. 86. Marking

Fig. Marking gussct
gusscl line on
on a pattcrn.
pallern.

Method B (see
Melhod (see Figure
Figure 86)
86) Nute. When making
Note. making the actual
acLUal garment, mal"
garmenl, machine
stitch the seam lines marked for the gusset gusset before
1' n4;
(a) Measure over from the
(a) lhe basic neck poim
poim along
along
slashing lrom
slashing from the underarm to points
to poims D and B. This
B. m
lhe
Lhe shoulder seam I
lßV2 inches on lhe
on the blouse front
from and stays the narrow seam allowance and lhe the still weä
weaker Ü
2 inches on blouse back determine point Y.
Y. This stays
2 inches on lO
t0 poim corners. Stitch
corncrs. joining the underarm searm
Slitch before joining seams in w
gives the correct
correct slope lo
to lhe
the slash line XY
X Y for a gusset
gussel
gives slope
imet, if the underarm depth approximalely 2 inches
d epth is approximately inches
order to the blouse
lO handle lhe blouse Hat. Next slash the
flat. Nexl -_
lhe gusset
x
inset, h alfway between the lwo
line halfway slitching lines and join
two stitching 'i
below the normal scye
below

moved farther
moved fanh er toward
scye line (see
lower the underarm (leplh.
lower
wward the armscyc
(see pages162-3)‚As
pages 162-3). As you
d eplh , the slash line
o l the shoulder
anmcye end of shou lde1
you
will be
line will
the underarm seam
lhe seam
the
seam of sleeve and
seam allowance along
a nd blouse. Tum
Turn uunder
a long the slashed lines so
stitching is concealed, and lap
the stilching lap the garment
so that
garment edge "H
’u
seam as illustrated
seam as illustrated by by dolled
dotted line X1Y1.
x1y1_ gusset. Pin and basle clearly mar
baste on the clearly marked
over the gusset. ‘.

(b) Rule
Rule slash
slash lines XB XU which are directed
XR and XD seam lines. Slip-baste
seam lines. Slip-haste you if you are using a plain
using plain seam.
*'
v‘
(b)
toward the point
loward lhe puint where the normal armscye begins
armscye begins l0
to If you
ll you are
are top-stilching,
wp-stitching, stitch exactly on lhe
stilch exaclly the edge.
edge.
curve unde;
runle the arm.
1111de1 lhe
2. Mark
Mark lhe
the seam
seam line on on either side of the slash Bodice lnsefs
Insets es
as Subsfilules
Substitutes for Gasse}:
Gussets (see
(see Figure:
Figures 871.7
2.
lor aa seam
seam allowance o1" of at y.j inch tapering
al least 1/, lapering t0
to 88)
and 88) .
lor
n oth ing at
at points
nolhing points D
I.) and B.
R . Variously shaped
Variously shaped bodice insets
in ets ingeniously
ingeniously lengt
lengthen »V
the kimono blouse under the arm. The
the T he two
lWO types.“
lypes of
;!. To
3. ·1 o draw
draw the gussel pattern, rule a vertical line
gusset pauern, insets here presented
insets presented explain
explain the
lhe general
general princiä
principles
tlie length required
die length required lrom ,·J to C, and rule a horizon-
.4 l0 horiwn- involved. The
involved. The insel
inset may
may either be shaped
shaped l0 to ha
harmon·
I‘

tal line BU through

tal line B!) lhrough the cemer of AC and perpendic-
perpendic- with lhe design
iLe wilh
iu: design of lhe garment, or
the garmem, it may m:
or il "i
merelv
ular lo
ular it. Place
to it. Place a ruler on point C and extend it
on poim be an
be an inconspicuous strip under the arm.
inconspicuous strip
wward the
toward lhe horizontal line, wuching it at
line, louching at a poim
point (hat
thal
will make
will make DC
DC equal
equal lO
t0 the seam line marked along
the slash
[h6 slash XD.XD. Then rule C (oto B in the same way. KIMONO BLOUSE WITH STRAIGHT UNDERARM
KIMONO UNDERARM
Join poinls A to D and A to
A l0 to B. INSET (see
lNSET (see Figures 87a, b, and c)
Figures 87a. c)
join poinls
-L Place
4. Place the
the gussel
gusset on
on the
lhe lengthwise grain of the
lengthwise grain
The straight underarm vary somewhal in2
labric as indicated,
labric as indicaled, so (hat thc length
that the length AC and width
width The slraight underarm inset
inset may
may vary
conspicuous if it emers
"‘'.
will be
DB will be on
on lhe true bias.
the true a
Cul with 3%;
bias. (Jul % inch seam
seam width, but
width, but will
will be
be less
less conspicuous enters the
DB bodice armscye notnot more 101
more than 11/2 to 2 inches ffrom
t0
allowance. bodicc armscye
allowance.
166
I66
 S L E E V E S

(a).. Kimono blouse with a straight

7 (a) undcrnrnx insct.
slraight undcrnrm Z

riginal underarm seam line. However, if nar-

priginal Fig. 87 (b). Drall [or
Fig. kimnno blousc with
lnr kimono slraight under-
wilh straight
"
than this, it fails to serve iLs
ils purpose. arm inset.
insct.
‘ A

ltIbener,
_
3.; re 87b shows draft 3 of the basic kimono sleeve.
draft 2 when more ease is
l0 use dralt
heller, however, to
«l. Trace ACZLPVRTA.
4. ACZLPFRTA. There should be at least
rcd
‘ ed around the
armscye.
1%inch
3A, FR and RT for seam allowances.
between VR
belween
5. Trace the back,
back, ECZKGWSUE, checking t0 to see
Establish lines RT and SU for the edges of the
Eslablish
(hat there
Lhereis a: least 5A, inch between SW and SU as in
3Ainch
a m ) inset by measuring in lrom
42m1 from theLhe side seam
—NQ and IF front.
1F 11/2
1%, inches.
K
inserl lrom
6. Trace the insert from the from
front RTQXIR and
Draw the from front sleeve armscye line from R t0 to
back SUFX
SUFX2S.
2S. join the original front and back under-
Original lront
d _ the
lhe back from S to W. The curve from R to I’
V arm seam lines QXI and 17X2,
FXÄ cutting the insert in one
ld '
equal the lenglh
length of the front
from blouse armscye
annscye
piece (see Figure 87c).
N,N, and (hat
i‘
that from S to W should equal the lhe length
length
back blouse
7back blousc armscye Note. Before slashing the actual garment between
annscye line
Iine Sl.
SI. ’l'o
'l'o provide seam
nces es on both edges, the curve must musl [ a l l at least lines VR and RT or WS and SU, machine-stitch from
Ü u within Lhe lhe inset seam lines drawn from [rom R in to R and down on RT lor
V t0 for 3 inches. Repeat on the
lhe
d S in back. FFigurc back. This reinforces a 15/16
5V“, inch seam line.
‚d8 igure 87b shows an increase ol of
n the length of the sleevc underarm seam RV joined to RXI and SW joined to 5X?
i

1 on SX? form the

front and back girth corners M and ].
„egfront j. gussel-like extension on the underarm line. Either a
gusset-like
x
wider inset
insel or the use of sleeve draft
dralt 2 would allow
end both the front and the back underarm
more extension on the sleeve armscye above M and ], _I‚
NQ Q and H"1F l inch for additional underarm
'-"ähöuld and would make it unnecessary to add to the
should equal RN and SX2 3x2 should equal length
of the underarm
underann inset above N and I (see Figure 87b).

I67
 D RESS D
DRESS ESIGN
DESIGN

x' ·· 2
R S

...i .)

.,;
T u 0

u_ _ __,__ _
U

Fig. 87
Fig. 87 (c).
(c) . Complete
Complete pattern
pattern for kimono blouse with
with
straight underarm inset.
straight

KIMONO BLOUSE WITH SHAPED UNDERARM SIDE horizontal line from V

6. Slash the horizontal up to R aand
I' up
SECTION AND DEEP ARMSCYE (see
(see Figures 88a, b.
Figures 88a. b, c)
c) from W up up to
to S. Swing up
Swing up the girth
girth corners V aand
V
W to
W Ys inch of lines RT
to within 5%; RT and SU to incrincrease
Figure 88b shows the same draft layout
Figure layout as that for the length
length oi
of the sleeve underarm
underarm seam (see Figure 88c).
(see Figureflü
straight underarm inset‚
the blouse with straight inset, but the side
lines from
7. Redraw the sleeve underarm seam lines!
I V2 inches above the intersection of sleeve
begins 11/3
inset begins
V and W.
V W.
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
possible to increase the length
length of
of the sleeve underarm
a lmost 2 inches. The sleeve seam needs greater
seam almost greater
length
length as the bodice armscye
armscye is
is lowered.
l.I. Measure (lown
down lI inch from N and I on on the front
and back
and back bodice underarm seam
seam to
to points X 1 and X2,
points X1 X 2,
and draw new curved lines armscyes RX’
Jines for bodice armscyes RX'
sx2.
and 5x2.
2. Extend horizontal lines through
2. through the front and
back girth corners
back girth corners MM and }
j. . Draw new curved lines
armscye lrom
for the sleeve armscye from points
points R equal to
R and S equal to
RX i and
RXI sx2, touching
and 3x2, touching the horizontal lines atat points
points
V and W.
3. Draw
3. Draw vertical lines from the front and back
armscyes at R
armscyes at R and S to intersect the horizontal lines
S 1o
through the sleeve girth.
through girth.
4. Trace
4. Trace the C center
e n t e r front section of the bodice‚ bodice,
ACZLPVRTA, QT 1 RX 1 Q.
ACZLPVR TA, and the side front section, QTIRXIQ.
5. Trace
5. Trace the bodice center
C e n t e r back section,
section‚ ECZKGW- Fig. 88 (a).
Fig. with slmped
(a). Kimono blouse with shaped underarm
underarm sides
side sec·‚

SUE, and the side

SUE, and thc side back section, FU 1 SX2F.
FU1SX2F. tion and (leep
tinn deep armscye.
armscye.

168
I68
 SLEEVES

LIne

Center

Fig. 88 (b). Draft for kimono blouse with shaped under-

Fig.88
ann side section and deep armscye.
arm

I69
 D
D R
REES
SSS D ESIGN
DESIGN

'
'

.ua-.u-.'el-.:flifl

i
4
u

Q
r'

Fig. 88
Fig. 88 (c). cut apart
(c). Draft cuL apart and sleeve underarm seam
lengthened.
lengthened.

Problem 8 3. Measure up
3. the waistline on
up 6fi inches from thc on I]
front tmderann
underarm seam to point
seanx t0 poim P. ‘r

DRAFT FOR KIMONO BLOUSE WITH BELL OR

DRAFT
4. Square out Q_ to P1.
BISHOP SLEEVE 4. Square out 5/, inch to
to p1
P1 and join
join Q fl.

Use lhe
Use the bishop
bishop or (see Problem 3,
or bell sleeve block (see 5. Measure
5. 8 inches
Measure 8 inches down lhe
the sleeve from lhegifi
the girl
Set-In Sleeves, pages 120-122).
Set-In Sleeves, pages 120-122). point M
poim M and mark L.
Study Figure 89 and followlo llow the general
general procedures
procedures
Study Figure 89 p1 to
6. Rule the line P1
6. lo L.
for the basic
for the basic kimono. This draft produces a sleeve
produces
very roomy over the upper arm because the blouse
very roomy over lhe trpper 7. Curve
7. Curve underarm line of blouse and sleeve asi
as i
shoulder points B approximately 1
points B and D are placed
placed approximately V

shoulder Problem
Problem I.
znch from he center
inch [rom the Center
I line
lzne YZ.
For
For aa sleeve gathered nt
sleeve gathercd al the wrist, increase 1
wrist, increasc tt
I. Place
I. Place the
the sidc
side seams the front and back of
seams of lhe length lor blousing above the cuff band. Add at
a! M
lea
the bodice I inch from girth corners M and ]j in order
"1 lcngth tor blousirlg thc culf
the bodice l inch girth I V2 l0 2 inches
to 2 inches below points
bclow points R,
R, T and U, and I ilfl
T., und inc
to give additional
additional undcrarm
underarm lcngth lo the sleeve.
length to 11/3
to give below S
bclow S and z. Sincc
and Z. Since thc
the underarm
underarm and the line o!"
and lhe ovt
2. Place [h8
the back
back 01' that IH
ol the bodice so [hat on the
I H on the elbow
the elbow ofof the
the sleeve
sleeve slip
slip up farther when the an
up [arther an
2. Place the sleci
side seam of the back equals NO
N0 on the side seam of is raised or
is raised or bentbent than the top
top center
Center of sleev
side scam of the back equals
add Inore
add more length
length al
at these points.
points.
front.
the Iront.

170
I70
 SLEEVES

A
c.‘-

l
l
\
\
B

__ P
-„1
\
\
\
o
:
N

\
\
\
\
‘
Kl
ü)
ä
L 2
U)
Sieeve
D.
O
L
‚E
m
Bishom

s
of
d!
‚s
Line
_J

s
s
(D
Grain

LRg-‘ß
L„/_L\Z
s
d" Z
Ll2
„
- „L
--„ L1" Z111/2"
x““ * -
“
m
1.1/2" /
; L’!
L/ - \ \ ‘ -“
‘».„ 121/2" -4
— 4 _ _ r ”

Fig. 89. Draft for kimono blouse with bell or bishop sleeve.
 D RESS D
DRESS ESIGN
DESIGN

Problem
Problem 9
9

DRAFT FOR
DRAFT FOR THE
THE KIMONO
KIMONO BLOUSE
BLOUSE WITH
WITH A
A YOKE
YOKE
(see Figure 90a, b, and
(see Figure 90a. b. and c)c}

Combining a yoke
Combining yoke with
with aa kimono
kimono cut offers the ad-
cut offen-s ad-
vantage
vantage of
of a
a smooth
smooth hanging
hanging sleeve
sleevewith with one
one definite
definite
fold at
fold at the
the front
front and and oneone at at the
the back
back of of the
the armscye
armscye
and a clean-cut close-fitting shoulder
and a clean-cut close-fitting shoulder line, because the line, because the
needed length at the underarm
needed length at the underarm seam can radiate from seam can radiate from
aa point
point at at the
the lower
lower yokeyoke edgeedge rather
rather than than from from thethe
line of
line of the the shoulder
shoulder seam. seam. ltIt also also olfers
offers the the Oppor-
oppor-
tunity to
tunity to incrcase
increase the the overarm
overarm sleeve sleeve lengthlength by by lower-
lower-
ing
ing the
the grain slightly
grain slightly at
at the
the top
top Ccenter
e n t e r line
line of
of the
the arm.
arm.
This, however, increases
This, however, increases the difliculty the difficulty of
of raising the
raising the
arm unless the sleeve is quite wide at the top.
arm unless the sleeve is quite wide at the top.
Follow the
Follow the general
general procedure
procedure for for the the kimono
kimono lay- lay-
out (see(see Figure
Figure 90b).90b). FFig.
ig. 90 (a) .. Kimono
90 (a) Kimono blouse
blouse with
with aa yoke.
yoke.
out
I. Place
l. Place the from.the front corner
corner of of the bodice shoulder
the bodice shoulder at at 9. Trace
9. Trace thethe from
front andand back
back ofof the yoke, A561?
the yoke, ABCTR
point B, B, l1 inch
inch fromfrom thethe center
center lineline of the sleeve
of the sleeve YZ,YZ, and EDCUSE. Trace
and EDCUSE. Trace Lhe the lower
lower front
front and
and back of
back oif.
point "t
and thc
and the girth
girth comer
corner of of the
the bodice
bodice against
against the the sleeve. RTCZLPQR and
blouse, RTCZLPQR
blouse, SUCZKGFS.
and SUCZKGFS.
Trace the
Trace the blouse
blouse front.front. I0. Slash
l0. Slash the
the line from PP to
line from to point
point TT and spread 1
and spread?”
2. Repeat
2. Repeat for for thethe back, making IH
back, making I H on on the the side inches at (see Figure
inches at P (see F igure 90c).
P 90c). -

seam line of Lhe back equal to N0 on that of

seam line of the back equal to NO on that of the
the
I11. Repeat for
l. Repeat for the
the back.
back.
front.
from. Note. You You will
will notice that aa sharper
notice that sharper arc arc has
has r i
Note.
3. Draw
3. Draw the the style-line
style-line of of the yoke, R
the yoke, R toto C and S
C and S toto produced at at TT inin front
front andand U U in back. This in
in back. inwa';
the produced
C. Figure 90b shows a yoke extending down on
C. Figure 90b shows a yoke extending down on the curve when attached
curve when auached to the yoke lines to the yoke lines RC
RC and’S
and
center line of
e n t e r line of ihe
the sleeve
sleeve 31/23Yz inches
inches to point C.
to point C. causes a definite fold to radiate from points T and
C causes a definite fold to radiate from poims
4. Draw the
4. Draw the shoulder shoulder seam
seam lines
lines ABC
ABC and EDC,
EDC, and to fall along the normal
and to lall along the normal armscye line. armscye line.
following the the original seam seam lines.
lines. Do Do not
not increase
increase the
the 12. Heighten
Heighten the the cap
cap of of the
the sleeve
sleeve slightly
slightly all)at poi
following Original 12.
height a: at BB andand D. D . Draw
Draw convex
convex curves curves endingending at at
ß

height C if you wish to increase the overarm length. T '

C if you wish to increase the overarm length.
point C.
point C. will reduce
will reduce the the diagonal
diagonal wrinkling
wrinkling from from the
the topuf".
top cent
5. Measure
5. Measure up up from
from the waist on
the waist on the front side
the front side of the
of the sleeve
sleeve and
and deepen
deepen the the fold
fold hanging
hanging a1 at the
the fro
1;"
seam 6Yz inches
seam 61/2 inches and mark P. and mark P. Measure
Measure down
down on
on the
the and back
and back of of the
the armscye.
armscye. "
sleeve 88 inches
sleeve
L.
PP t0to L.
inches from from M M and mark L.
and mark L. Join Join Q to P
Q to P and and
of
Note . Figure
Note.
drapery
Figure 90a
from
90a shows
the
shows aa very
of drapery lrom lhe one slash line a:
one slash
conservative aamou
very conservative
line the from
at the front
v.
6. Repeat for
ö. Repeat for thethe sleeve line of
sleeve line the back
of the back t0to join
join back. F01" alternoon or evening gowns of jene
back. For afternoon or evening gowns of jersey
F, G,
F, G, and K.
and K. soft crepe (see
soft crepe (see FigureFigure 91), the basic
91 ), slash the basic patlem
pattern on. M
7. To place the slash
slash lines
lines that
that are
are to to be
be spread
spread about 11/2
about l Yz inches
inches lowerlower on on thethe side seam and and a.
7. T0 place the
at the underarm in order to increase its
its length, meas-
length, meas- I Yz inches
inches fromfrom thethe sleeve underarm
underarm seam,seam, and and d1r.
i
at the underann in order to increase 11/2
Y2
ure lI/ä inches over from the neck on
ure I inches over from the neck on the
the shoulder
shoulder both slashes
bolh slashes to to points on
points on the the yoke edge from
yoke edge from wh•
seam and and mark
mark I’ V onon the
the front and W on
front and the back.
on the back. folds should
folds should fall.
tall. If
lf you
you wish
wish to
t0 obtain
obtain gathers
gathe
seam in the lower blouse section, spread thc
the slash
Then rule
Then rule lineslines from
from PP and
and G
G‘ to
to lhese
these points.
points. Mark
Mark folds in the lower blouse section. spread
points T T and
and UU where
where these cross the
these lines cross the yoke. (See along the the edge joining the the yoke
yoke as well as at
as well the L
at thelf
poinls along eclge joining
arm. See See Figures 92a and bb for still another
marking slash
marking
slash lines
lines for gussets, Problem
for gussets, Problem 7, Figure 86,
7, Figure 86, arm. Figures 92a and for still another V8113vanau
.'
of a kimono sleeve with
of a kimono sleeve with fullness held by fullness held by a simul
simulat
166.)
page 166.)
page .
8. Crossmark the yoke and the lower
lower section.
sect10n. yoke lineline a1 at the
the upper
upper armscye.
armscye.
8. Crossmark the yoke and the yoke
172
r SLEEVES

R
I
_ __‚-—’: A ‘*3.
n
\ 71V
\ I
\ I
\
x
G? ’ ’/\\x , I
‘L
z
f
‘ ’’ B
. ‚‚I T7.
l
\
\
\
x
7k‘
\
\

/
I
IOM
Px
\
\

Q \
\
i \
w
< x 2
°
L

c7:
E
G)
o

Z
Fig. 90 (b). Draft for kimono blouse with a yoke.

I-‘ig. 90 (r)
Fig. .
Patlem for kimono blouse with a yoke. (Trans-
(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
 D RESS D
DRESS ES I G N
DESIGN

(b)
(a)

Fig.
F 92 (a). Kimono blouse with simulated yoke
ig. 92 (a). Kimono
yoke Iline o
upper armscye supporting
upper armscye supporting sleeve fullness.
Fig. 92 (b). Pattern for kimono blouse illustraled
Fig. 92 (b). Pattern
illustrated '_
in

Fig. 9|.
Fig.
line.
91. Kimono
Kimono blouse
blouse with soft drapery
drapery falling
falling {rom
from yoke
yoke
92 (a) . Waistline
92 (a). Waistline
made along upper
dart
dart transferred
transfened
armscye
made along upper annscye
Sleeve slashed for fullness.
Sleeve
to
to
to
to
separate
separate
shoulder
blouse
am!
and
and sl
'
s
'
10 The shorl
The short sleeves Figures 94a, 956.;
sleeves shown in Figurcs 95a,
Problem I0
96a indicate a few of the possibilities for block'
DRAFTS FOR
DRAFTS FOR SHORT KIMONO SLEEVES designs from the kimono draft.
original designs
original
A
A 4"
The short
The kimono sleeve can be made by
short kimono by following C F
several simple steps. First, redraw the shoulder line
several simple steps. First,
on the original
on the Original basic basic master
master pattern
pauern by by ruling a line
from the neck end through point to
to l inch above If
from the neck end through point 3/, a
the arm3cye end
the armscye end of of the shoulder seam. Lower the Ii
armscye at
armscye
at least 1Yi! t0
least 11/2 to 2 inches at at the underarm seam seam 1!
line and
line
of the
of the
increase the blouse width at
and increase
underarm
underarm seam
seam at
at least 3/4
at
inch.
the top point
top
The sleeve u
1!
'/...
2%,
line may or
line or may not
not bebe curved to give it
to give it a short under- 'hn-._._—5

may may
arm seam. Figure 93 shows the blouse front with the the 1l ••CnfG
arm seam. Figure n.‚.uO
possible sleeve
sleeve lines,
lines, EDC,
EDC, EDF,EDF, and EDGF. In In draft-
draft- To .. -..D i
possible
ing the back, use the same
ing the back, use the
same measurements for shoulder
underarm line, and sleeve.
line, underarm
u..:
c..)
2"
l" I
line,
:
..
AA more
more accurate foundation block for developing
accurate {oundation developing I

designs can be made from any

original short
Original
one of
one of the
short sleeve
the basic
sleeve designs
kimono drafts given
basic kimono
be
given in Problems 55 .'
159-164. When you
and 6, pages l59-l64. you use this method,
and 6, pages
choose aa dral’:
draft that enough ease to
that allows enough to raise
raise thethe
choose
arm in in the
the particular sleeve being designed. For aa
being designed.
arm particular
open on on the
sleeve extremely short, for one left open
sleeve ex tremely short, the top
of the
the arm, or or for
for one
one {hat very loose at
that is very at the lower
lower
of arm,
edge, choose draft with the minimum underarm
choose aa draft underarm
cdge, Fig. 93. Draft for short sleeve.
Fig.93. Draft for short kimono
length.
length.
174
 SLEEVES

Sleeved Kimono Blouse wifh Simulafed Yoke front from edge RIC‘
7. Slash the blouse from R1C1 t0 the
{h6

.
lower edge ol Lhe sleeve
slecve UT,
UT‚ and spread each slash
or
zor dcsign. use lhe (halt
design.
(bis drah [for Basic Kimono
o r [Basic
*1;
Lhe back.
ve 2, page
in lhis
this
163.
I63. Extra
sleevc
slecvc
underarnl
underarm
because it is
lenglh is not
length
either Hared
flared or
twice the deplh of each fold. Repeat for the
lhe depth
8. Round off lhe a: P and
the underarm corners at ((J.
J.
‘ssary
ssary
wed
Zwed tot0 hang open at aL the
lhe top. 9. Follow the dotted lines indicated from R1 to X,
tighter lower sleeve edge produces a more effec-
if a Lighter
Kimono Sleeve wifh Fullness af fhe Yoke Edge (see
‚
tive
live drape.
3res 94a and b)
.
A. tront and back shouldcr seams of (he
Place thc lront
Place
h a t whcn thcy arc-
u"ase so ([hat
the
extended they will meet
are extentled
J v‘.
\

%inch below the

7 ‚ 1/2
3C, lhC top
Lop point xlecve.
lhc sleeve.
poim of thc

‚;
—Jand
Draw a Iinc

TV.
linc for simulated yoke RCS.
lor Lhe simulatcd RC5.
Draw lines for the lower edge of the short sleeve,

ß.. Draw lines from

‚.
i’ [rom the
Lhe yoke
yvoke to the lower edge of
‚sleeve for folds.
lhe blouse from
u t the
Cul ooul
V Cut back.
front and back.
‚
'
Slash along the fromfront and back yoke lines from

" rough C to
ihrough
j the
lhe point
poinl
most of lheir
"mosl
t0 S, and cominue to
of the waistline
their fullness
t0 slash from R and
darts in order
Order (o trans-
to the yoke edge.
[ullness t0 edgc. Note thc
the
ynkc edge.
yokc Cdge.
slecve with fullncss
Fig. ‘J4 (a). Short kimono sleeve a! simulated
fullness at

Ä drawn above R1 and S1 to join to yoke (see Figure

Ü Figurc
J-
i).

1u
For F
j-
z)’
Flared
Iared
Sleeve
.-

Ln
mne

Center

Fig. 94 (b) . Slash lines drawn on kimono sleeve Draft 2 { o r

short sleeve blouse with simulated yoke.
shon

I75
175
 D RR EE SS SS D ESIGN
DESIGN

c1

Fig. (c) . Pattern slashed and spread

Fig. 94 (c) spread for fullness at
at yoke
yoke line.

Shorf with Flared LoweriEdge

Short Kimono Sleeve wifh (see Figure
Lower Edge (see Fig ure
95a )
95a)
Use the draft
d raft for Basic Kimono Sleeve 2. Continue
the yoke
yoke line in back to to produce
produce a separate
separate section,
not a yoke.
not a simulated yoke. Figure Figure 95b shows yoke and
the yoke
center back cut
center together and the sleeve and side back
cut together
cut together.
cut together. The yoke could also have been separated
T h e yoke separated
from the lower blouse. The transfer o!
from of the waistline
dart t0
dart large shoulder dart in front makes it
to a large it possi-
possi-
ble to
ble to block
block a flared sleeve line in one
one piece
piece with the
blouse,
blouse, butbu t since there is no
no large
large shoulder dart in
back,
back, the section
section with the flared sleeve must be cut
apart from
from the yoke.yoke. Cut the front bodice in in one
apart
piece. The space between the center front and side
The space
piece.
front sections
front merely indicates extra ease over the bust
sections merely
in addition
in addition to to that provided
provided by by the master pattern
pattern
dart.
dart. Crossmark
Crossmark the yoke edge
yoke edge at
at each slash line.
l.I. Slash
Slash from edge of the sleeve to
from the lower edge to the
edge joining the yoke. Figure 95b shows a 11/2
yoke. Figure I Y:! inch
edge joining
spread between width ofof the dart trans-
trans-
spread between slashes. The of
ferred
ferred to to the shoulder
shoulder limits the amount spread
spread
for flare
flare as
as shown
shown where point Ci curves back almost
point C1 Fig. 95
Fig. 95 (a).
(a). Short
Short kimono at 10W
kimono sleeve with flares a! lower
for '

yoke line RC.

to the yoke RC. radiating from simulaled
radiatirlg simulated yoke
yoke line.
to

I76
176
 SLEEVES

Fig. 95 (b). Pattern

Fig.95 Pattcrn slashcd
slushcd and flarc a:
und spread for Hare a1 Iower
lower
edge of short
shorl sleeve.

v_
2.2. just
l
Just below point R, taper the width between Shorf Kimono Sleeve wilh
wifh Fullness Draped from Bofh
Bo+h fhe
"
lines RC and RIC!
R101 to nothing. Measure down Under and Overarm Info
info fhe Yoke Edge (see Figure 96a)
mpoint C on line RC approximately
«‚u
‘v 4 inches and
rkk X. Mark a point X1 the same distance down Use the draft for basic kimono sleeve 2,
and follow Figure 96b.
I63I
page I63,
‘

’
_mC1 on CIR C1R1.1. Draw a convex curve from X1 to W,
inches below R. The Thc space between XIW X 1W and l. Draw lines
Hnes for the simulated yoke, RC and CS.

..
C3.
R‘
"R1 not taken up in the dar: dart will give the blouse
blousc
.-
nttslightly
slightly more ease. Since the new line X 1W is
X1W
2. Draw lines for the lowcr
Iower edge of the sleeve, U
UTT

_
‚v;; r than X W, ease the convex curve XIW between and TV.
between
ms
_nts W and X when pinning the dart. 3. Rule lines from the yoke to the side seam at the
Draw a smooth convex curve for the lower Iower edge underarm and to the sleevc
sleeve underarm for the folds.
esleeve
‚the sleeve from U to T and from V to l0 T, and round 4. Crossmark the yoke edge at each slash line‚
l underarm comers
'_ a: P and G.
corners at line, and
also draw horizontal lines
lincs WW1
WWI and XXI across thc the
Add a 5% 3Ainch seam allowance on lines CXR from
{rom and back group of slash lines.
VCIXIW when cutting the
Ä pattern in fabric. Mark
pattem 5. Cut out the blouse iront
j m tely on the
tcly Lhe fabric the inward curved lines such front and back.
‘Xl
U“ which control the flares‚
flares, and clip the seam al- 6. Slash along the yoke line CR and CS.
L
Extend
Extend
_;cc so lhat
(hat the flares will {all
[ a l l in definite clean each yoke line slash to the point o!
of the waistline dart
dar:
lrom the yoke edge.
‚ (mm 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

c e n t e r line YZ to keep the sleeve slashes
to the Center
angles t0
in line when they are spread.
6. t0 the poim
(i. Rule lines from the front neckline to point
o1 lhe
o1’ the waistline
waislline dart.
front and back. Cut the pat-
7. Trace the blouse from
t e r n apart along the
Lhe top Center
centerline of the sleeve to
t0
place the front and back
Lhe center from of the blouse on the
straight lengthwise grain.
8. Slash through the vertical lines on the sleeve
pattern lo
pauern lor the pufiÄ
t0 spread for pufl".
9. Rule a vertical and a horizontal line on a sec-
0nd sheet
sheel o! to serve as guide lines in placing
ol paper 1o
‘ the vertical slashes.
thc
(u). Kinmno
Fig. 97 (a). Kinmnn blnusc wilh
with ahnn
shnrt pufl slccvc.
slceve. l0.
|0. Slash PH/ in from
slabh line PW Gx in back t0 the
„ m “ and GX
3. Rule slash lines from the neckline t0 the lower neckline.
nccklmc’ Spread these slashes
Spmad the“: mches m
Slashes 3 inches at the under-
under"
o! the sleeve. arm.
edge of
bdge
I l. Slash the three lines drawtt
drawn from the front neck-
*

lines on both
4. Rule lincs both back and front from the
underarm a: at the poim line Lhrough
through the poim
point of the waistline dart, and
ünderarnn point where
whcre the sleeve and the side
kann intersect t0
‘kam point Il inch fronl
a poim
to z: from the Center tromtront spreati the durt
spread 5%[0to I inch at the poim
dart 5/, point {for extra
or e xtra

nd back at the base o! of the neck,

neck‚ intersecting the new fullness
{ullness ztlong the bust line.
illong Lhe Iine. Spreading
Sprcading the neckline
h neckline, from front and back at W and X. Slash and antl slashes (loses
closcs the tlart
dart at the
Lhe waistline.
read
jread these lines to
t0 introduce
imroduce extra
e x t r a length
length on the l2. Drzm
Drnw ncw underarttr curves a:
new unclerarm P and G, and
at I’

—-
‘; nderarm for freedom to raisc
’nderarm raise the arm comforlably
comfortably draw slightl)’
slighll} comcx
convcx Iines
lincs for the neck and lower edge
V3: a short sleeve which is tight a: at the lower edge.
s ol 111e pufl sleevc.
the pull slecve.

.-
-1
-|
Lme

Center

-‘-
Top

Snvead vor
Snveaa
MIN
Mmm Sleeve Tnght
Alm
a! Lowev Edge
Sleeve

Fig. 97 (b) . Draft for kimono blouse with short puff

pufl slceve.

179
 D RR EE SS SS
D DESIGN
DESIGN

Klmono Blousos will: Covvl Sleeves

mlh Feld: Produced by
with Folds by Slashing
— Sllorf Cowl
Kimono Blouses with Cowl Sleeves - Short
Slnhing and Spreading
Cbwl Sleeve
Spreading the
the
Sleeve
Basic
Basic
6.
ana
Spread twice the depth
fi. Spread
anct RlT and PY
RtT and
depch of the folds
PY and P1)’.
PtY. Figure
folds between
Figure 98c shows
bez
a fov,
ahowsi:
R
-_
Kirnono
Kimono Paffern
Pattern (see
(see Figures
Figures 98a, b. and
98a. b, and c)
c) inch spread.
spread. Repeat
Repeat exactly ior the back,
exactly for back, si
since ‘
<

Use the draft for basxc

Use kimono sleeve 3,
basic kimono pages 163·
3, pagesl63-
and from
back and scam lines when joined
front seam
piece of labric.
as one picce fabric.
joined man
must dra _
I64 and
164 and follow Figure
Figure 98b.
7. Measure Il inch from R
7. R to W an the fro
point Won
t0 poim
l.
I. Draw the line for the lower edge
edge of the sleeve, side seam
scam and from S
S to point X
point X on the
the side
side: b
UC and
UC and CV.
CV. seam.

2. Draw the cowl lines,

Jines, R
RTT on the bodice
bodice front and 8. Draw a convex curve from W
8. W t0 U in front, a
to U
ST1 on the back. The illustration shows the cowl line
STI from X
from X to VV in back. T he curve should
back. The remove v
should removef
entering the side seam at
entering and SS 3V2
R and
at R 3%inches above points Rl
little at points R1 and U, s1
and U, S1 and V.
V.
the waistline,
waistline, and entering
and Tl
and
entering
Vi! inches from
T1 111/2
the
from the armscye
shoulder
end.
seam at
at TT A convex
A curue is essential tu
v o m / e x curve to allow cowl f0 foldsl
armscye fall into position,
fall into position, since the line TRI will fall an. T2
TRt will fall on
and yp1
and YPl will fall on YP.
YP. On each cowl line,
cowl line, theed
(hat
of the fold
of fold must be longer than the line that /al
langer than
inside the fold.
inside fold.

Shorf Cowl
Short Feld
Cowl Sleeve on a True Bias Fold
shows another way
This sleeve shows way of producing
producing; co
drapery
drapery which also
also applies
applies to
t0 co\\-ls
cowls in other p parts„
the costume. The cowl may
costume. The may begin
begin as low as as the wa· _;
line or
line up part
or up part way
way on the side seams, as sho ·
as shown w:
"
Figure
Figure 99a.
Figure
Figure 99b illustrates
illustrates the pattern
pattern layout for aaß co
layout for u.
sleeve with the underarm
underarm on the truet r u e bias.

I.
l. Rule a vertical line YZ on a sheet of paper.
line YZ paper. b—
2. up from the waistline on the fronil
2. Measure up front a
'
back side seams (2 Vi!
(21/2 inches in the sleeve
slecve illus
illustrat
and mark K.K.

3. Place the front and

and back side seams on the ve.'
seams on
cal line YZ
YZ so that they
they will intersect
intersecl al
at K.
K.

_
Fig. 98 (a)
fig. (a) . Short c.owl
cowl sleeve designed from kimono
designed from kimono sleeve
block. 4. Pivot outward the corners H and C on the. the sii’.
seams of the front
from. and back equally
equally from line YZ.
YZ.
3.
3. Draw a second cowl line following normal
following the normal
armscye in the draft layout,
layout, that
{hat is
is from
[rom P through
through BB
amoum of
amount pivoting determines the depth
ol pivoting the"
depth of the'
co
armscye
K

drapery.
drapery. In Figure
Figure 99b, H
H and C are each 30!
31A inch
to
t0 YY and from G through
G’ through D to
t0 Y.
Y. The line passes
passes from
[rom line YZ.
YZ.
about halfway between the armscye
about halfway armscye of the blouse and
the armscye of the sleeve. 5. Draw around the blouse back and front.
and front.
From here
From here on
on you
you may
may copy copy the pattern
pattern 1llustral
4. Cut
4. Cut out the blouse front and back (see
[ront and (see Figure
Figure nllustra
drawing
drawing in the cowl Jines
lines as indicated.
indicated. But in in ord
v
*_
98c)..
98c) to
1o experiment
cxperiment a little,
little, cut
c u t the pattern
panern in muslin, lea l.
5. at points ing
ing 2 inches above the line drawn drawn between the en
5. Slash
Slash the cowl lines to
to the shoulder line at points
B D of
ol the front and back shoulder seams B and
sealns at B 33d?G.
T and Tl
T and T1 and at YY above points
and at points B and D (see Figure
Figure
Place YZ
YZ on a true bias line ruledruled on the muslin. >
98b) .
98b).

180
I80
 SLEEVES

(b) . Slash lines drawn on kimono slcevc

Fig. 98 (b).
Fig. Drah 3 Ior
slccvc Dran [or
A short cowl sleeve.
slcevc.
Y

(c) . Slashes spread for cowl folds.

Fig. 98 (c). iolds.

I81
18l
 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 use with short cowl sleeve on t r u e

bias fold.

Bias

Slash 8. ‘Raus:
upper Sectio"

wilh umlcmrm un lruc bias. g

Fig. 99 (b). Pattcm layuul for cowl slccvc

I82
 SLEEVES

Problem II
ll
DOLMAN SLEEVE DRAFTS

The dolman, a sleeve slccvc with a deep(lccp armhole

urmhole and a
wing-like silhouelle,
Silhouette, belongs [o to thc kimono group
because it retains none of the
‚bgcause thc under annscye curve ol of
‚(h5
ghe normal set-in
sei-in sleeve.
slceve. Hut
But unlike
unlikc the true
t r u e kimono.
kimono.
the dolman sleeve 3nd
‚du: and blouse arc znrc cut in (two w o separate

flnniß. You will see

junjts, fmm the lollowing illuslrations
scc from illustrations
lahm this makes i:
ahnt it possible [o lcngthcn the underarm
to lengthen Fig. I00 (u). Dolman
Dnlman slccvc um: with yoke front.
tut in onc
slccw: cul
kam
igam ol the sleeve section without altcring the fit of
allcring
l

main ol the blouse. Also, the overarm length of the normal sleeve
slccve armscye above point
poim ] to
t0 prevent
äthe part
E {the dolman sleeve
slcevc (cana n bc made
matle Lhan that of
than {hat it from pulling out when
wllen set the deep armhole.
sei into thc
‘Eolthe longer
true kimono. The new line lroni
lrom D t01o (i should be the S same
a m e length
Fthe
"Elbe on the edge slccve und
thc sleeve
edgc ol both the und the blouse.
‚Dolman Sleeve Cuf in One wifh a Yolie
Dolman Yoke Fron} and wifh a
Fronf und 7. Establish vertical slash lines sleevc girth
Iines to the sleeve
Dnp
Dggp Armscye Line in Back (see Figure IOOa) PC from
PG [mm S, T, U on the front, J1, X
and from V, W, f1,
l„ Use the dralt lor basic kimono sleevesleevc 2,
2. page I63, on the back. lincs will be slashed and spread
back. These lines
u t place the shoulder poims to raise the lower armscye
t0 annscye curve when you lengthen the
’hat points B and D Il inch [romlrom
the
Ä e center line ol the sleeve YZ. Place C, 2% inches lront and back underarm slecve
sleeve seams.
'- low Y, the lop
in center point of the sleeve (See
top Center (see Figure 8. Trace
'l'race the blouse from,
front, RSPQR, and the back,
100b). EDGFE.
EDGFE.
_ l. Draw the dolman style-line from R to P on the 9. Slash lrom the line PG
PC up to points U, T, and S
jinovc '‘ce
ce front.
lront. on the front. Slash lrom line PC
PG up to poims V, W,
t0 points
2 2. Draw the back
V
armscye line {rom D to G to 100c)..
[1, and X on the back (see Figure 100c)
]1‚
F:
i» espond to the depth o!
of the from
front armscye. Figure l0. Spread the slashcs to lengthen
l(). lcngthen the underarm
lH
jH shows a dolman underarm line 6 inches above sleeve seam between P and P1 the same amount (hat
fI: waistline. the armhole was lowered on the blouse. Figure 100b
l;5.
D5. Rule down from P and G, the girth points at shows the armhole line lowered 2%inches. Repeat to
hont and back of the sleeve, to the sleeve points L
‘lhonl
Ü‘ spread the back slashes.
1;- K. Draw a new girth line from lrom P to G. l l . Draw lines {rom
from P1 and G1 to the elbow. These
>.
A. F ind
Find the halfway poim
point between R and P on the
style-line on the blouse front and mark S. The
„man slylc-line
lines should be the same length on the front and back,
PlL and GlK
although the angles on P1L G1K are
arc dilferent.
different.
V i length needed
needcd for the underarm will radiate I2. Measure toward the back 2 inches from D at
l2.
w:
in this point. the top center dart on the slceve
sleeve back,
back, and slash to
A Draw an inward curve from S to P for the sleeve point C, the end of the dart. Spread the slash 1Ainch
‘f’ ye,
‘v keeping it the same length as the line S to P
ye. kceping l0 part of the dar:
to convert pan dart width into ease over the
‘N e blouse section. The inward curve on the sleeve
‘lmach to the bodice without bulk along this edge,
upper back armscye of the sleeve.
‘laattach l3. Complete by tracing around the slashed and
jwill direct the fullness
jwill fullncss of the sleeve upward
upward from spread pattern.
pattem.
mm
kam line. Note. The blouse lrom
iront will be softer and
prettier

-
Draw a new back armscye line on the sleeve if you slash from S and from points l inch above and
l

ynraw
D t0l0 G, adding 3/3 inch or about one-third of
3A below S to the point of the waistline dart and
between the Original armscye line of the spread
line SP‚ partially closing the waistline
waistlinc dart. This in-
d the
„im! lhe sleeve. Raise the sharp inward curve troduces 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 following steps are
The procedures outlined in the Iollowing
illustrated in Figure 101c.
iilustraled
In)
01a)
illustrates the
figure 101b illustrales lhe method for
ior designing this 5. Slash the sleeve on line VT and W1’
W)’ (see Figure

".‚
‘wvc‚ve, basing i:
it on kimono sleeve draft 2. 101b)
101b), ‚ and spread the sleeve underarm seam 2 inches
at I’ and W.
1.|‚ Draw style lines BRP and DSG for the dolman
i vc
i
front and back of the bodice. Figure
ve on the iront 6. Add 7A, lhe sleeve at B
7/3 inch to the center top of the
lb"lb shows the dolman line entering the side seam at and D and mark U. Gradually curve down to points
„and x. G, 41/2
41/1 inches above the waistline. T and Y to corners. The 7A; inch increase
l0 avoid sharp comers.

Lhe sleeve girth and on the overarm length deepens the fold 101d at VT and
Measure down 8 inches from the

„'
31kk points L and K. Draw a curve [or
„n from
ach.
P l0
L0 L on the 1mm
front and from
for the under-
G to K on che
(h8
W1’ and reduces the tendency toward wrinkling from
WY
the top of the sleeve cap.
7. Either use the C e n t e r top of the sleeve
at the Center
Lhe dart a1

'i," Dmw
Draw slash
Üunderarm
j points
1ines t0
lines

betwcen
between R and
imroduce eextra
to introduce
underarm seam. Mark poims T and Y a:
B on the
x t r a length on

front and S
half-
at the half—
and
as it is,
slashing to
Siashing
converl it to ease along the cap edge by
is‚ or convert
Lhe point 01'
t0 the dar: 2 inches down from
of the dart
and D. (See direclions for this under previous dol-
B und
man sleeve Variation.)
do1-
". n the back. Rule Iines
if‘n from T and Y to the under-
lines [rom
39- points V and W, halfway
between the Original Note. The single slashes in the [rom front and back (V
iI’e seam and the blouse side seam. to T und
t0 and 1V W t0m Y) give a c1ean—cut
clean-cut fold a: the front
101d at
‘.‘f.SGFE;
Trace the bodice front,
from, ABTRPQA: the back, back, and back o1
poinls on eilhcr
arm. For additional folds, slash from
111e arm.
of lhe
Cilhcl‘ side ol’ l’ and W to
o1 1’ l0 points above and
[rom

i and the dolman sleeve, BTRPVLZKWGS- poillls

below T and Y.
5 B. Crossmark the dolman style-line as indicated.
ÜCB.

(a).. Dolman sleeve with deep square armhole.

Fig. 101 (a)

185
 D R E S S DESIGN

Mastersleeve

of

Line

Grain

Lengthwise

Center

drawn (m kimono Drall 2 tor

Fig. I01 (b). Design lincs
dolmun slccvc with 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.
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.
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. Super-
impose the slashcd sections on the corrcsponding sec-
tions o! the draft and spread the BP and DG edges in
I88
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
l
Place P1 in the from and G1 in the back so (hat
touch the horizontal lines extending lrom the ginfl
comers at the front and back o! the slecve. b
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 «„
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.
3. Rule lines from P1 and G1 to the elbow a: L a «u-
K.
4. Trace the bodice front, ABRPQA; the bodi
back,EDSGFE; and the sleevc, BR1P1LZKG1S1OÄ
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 v
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
‘ *
drapery at the underarm.
Note. In order to eliminate diagonal wrinkli '_
from the top of the sleeve, add 5%, inch to the ove 4
length il" necessary.
7. Trace around the slashed sleeve to complete <
pattem.
8. Place YZ on the true bias.
 S L E E V E S

052m

.232

„o
0:3

E20

355mg»;

Eig. 102 (b). Design lines drawn on kimono sleeve Draft 2

für dolman gmh style line near
with stylg ncar normal armscye.
 DRESS DESIGN

.102 Scclinns BRPB und DSGI) ("ul nul. slnshcd.

sprcad tn cstahlish slvevc armscyc.

I90
 SLEEVES

Girth Line

Fig. 102(d).
(d). Haltern. pans cut and slash lincs
Pattern paru lines drawn.
 .
Fig. 102 (e) Dolman sleeve slashed and spread to increase
length of underarm seam.
 PART I

GENERAL PRINCIPLES OF
FITTING

this chapter the general principles of fitting

fiuing are
arc lincs ol a drcss musl
lines must hung freely and casily
hung {recly both when
easily both
d;' and although thc master pattern is the gar- one is aclive
active and inactive, whercas the form cover must
whereas thc
the references are made, the solution
‘ 3owhich all Lhe fit skin-Light. Fitting a garment
skin-tight. Fitting garmem to t0 be worn
w o m requires
for each problem is equally applicable to any lur
lar kecncr
kecner judgnxlcnt
judgmem l0 what alterations to
dctermine whal
to determinc t0
garment, whether it is in the process of being
garmem, make, and it requircs greater skill to make them. Ade-
'30! is a ready-made garmem (hatthat requires altera- quate casc
east must be provided without producing
wrinkles or bulkiness in any pan part of the garment. Each
careful fitting of the Imaster
>careful n a s t e r pattern serves because of ils
figure, becatnse its particular
panicular proportions and pos-
purposes. The chief one,
»
one, of course, is to pro- t u r e , prescnts a diflerent problem (o [o the fitter. Per-

master block on which to t0 develop other designs lcction ot’

[cction of lit goes far beyond
beyond mere comfort and wear-

..
‘flat
flat pattern blocking method. Every correc- ability. For a good fitter will flatter Harter the figure by
'_wever small, vyhich perfects this pattem is im-
which perfccts skillfully bridging across the too narrow or too flat
skilllully Hat
because any flaw in the master pattern enters area imo tlie (too
into the 0 0 broad or rounded one, thus
making
making
_ d design blocked from it.
esign blockcd both lcss noticeablc. She will injcct
less noticcablc. inject stylestylc and smart-
fining of the master pattern is of value even ness as well as comlort imo into a design.
l

nevcr used for a master block, block, because its fit. fit A basic pattern carefully draped on a personal dress
_ up inaccuracies in the padding of the form form usually fits fils with liltle
little or no alteration. How-
. in
draping. To determine the cause of an ever, women whose posturc posture varies from that of the
the master pattern back on the form after alter standard dress form may n01
Standard not be able to t0 duplicate their
n fitted and corrected. lf, alter this altera-
If, after variations by padding. And some may find it more
dress fils
fits the
lhe form correctly, then draping convenient t0 1o buy master patterns made
by a com-
was to blame. But if it does not fit, then
bwas mercial panernpaltern company than to l0 pad
pad forms and drape
‚ should be changed to duplicate the thc figure their own. Therefore,
Therelore, it seems worthwhile to analyze
l

.
Fitting the master pattem
pattern serves another the causes and corrections of fitting faults.
"Will. h
lt
well. provides an excellent way to leam
learn Knowing where 1o to place the lengthwise and crostr cross-
' eslof Lhat are t0 be wom,
of fitting dresses that worn, wise grain on the body eliminates much of the guess-
confusion o!
{confusion
l
of intricate details of design. work from fitting. The Center from [ r o n t and back are, of
Ä"have _ leamed how to fit a form
already learned course, the vertical balance lines and must
hang per-
l1)",
m1)", the methods uscd for {hat that in no pendicular 1o t0 the floor.
lloor. Less well known are the hori-
tfitting
_ of a garment (hat is to be worn zontal balance lines of o! the blouse and skirt. The
scye
designs. The line, the thc balance line of the blouse‚
i

tgern from
{mm which to block blouse, is a level line ß 1/1
Zu

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 cross-
‘
wise thread was kept on the scye line. This was done
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
l

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 pos-
ture cause variations in length from shoulder to scye
line. make adjustmems above this line, at the armscye,
the shoulder, or along the neck edges; or through
the same body measurements may present quite du.’
ferent balance problems. On the first figure, wich m.
rect posture, the waistline and hip level appeat panl.
lel 1o the floor, 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 7

darts {rorn these edges. the shoulder and ear. On each of diese figures 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 figure leans back at the
waistline; thus the cemer back of the waistlinc is
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
fifth figure 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 figures (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
figure with correct posture will swing forward a! the
center front and cup under thc hips in back. To cor-
rect the hang of such a skirt on one of these figulfl. ,1
you must start a: the hip level and first restore
III:A

lengthwise lines to the perpendicular lrom there dowll.

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 l

center front ol the hip level to the center front o! tllt

waistline, and some length should be removed al 1h!
Fig. l. Fitting the master panern. center back between the hip level and the wüst-

on the entire scyc line Figure 2f tilts lorward lrom lhe hip to lhe
I
Placing the samc crosswise thread and back from the waist to the shoulder. This Im:
fabric grain of the masler pal-
giveo cxccllent balance to the
z

shoulder and the back hips and consequcntly shortens lhe SP1?’
tcm whcn the dar: ease is dimibuted bctween
thread cannm lollow belween the waist and the hips at the back. TUN.
waistline. But thc same crosswise
whcn the dart ease is not thus combincd with a backward tilt lrom waist to shollldlß
ummgh 1h: entire scye linc
ß

dimibuzed abovc and below the bust. The significant point produces a vcry cxaggcrated sway back. Swinging
the sklflf‘
a; gqnembcr in correct filling is thal you should
have thal hips up in lhc back lihs lhe hip level ol
which was intcndcd lnr the scyc linc Lhe back und causcs the ccnnten‘ back line ol the Ski“
level o! the garmem
line ol the pcrson bcing fittcd.
(gn an the tmc ncye
I94
 F II TT TTII N6
NG

{N
Ü

3%
: ä). 3
l x2

i
‚
xa/«xa»
i
(C)
m
San <°>
1x K’ “J (z)
S (h)

Fig. 2. (a) and (b) Corrcu

Corrcct posturc; Figurc lcans back
pusturc; (c) l5igurc bnck
Irom
from the waist; (d) Figure
Figurc leans bnck
back { m m thc hips; (e)
Figure leans back [from
m m thc knccs; (f) The sway-backcd fig-
the knecs;
poslurc; (h) Plczul tills
ure; (g) Overly c r c c t pusturc; tilts lorward.
lbrward.

out from the body. The adjustment for this from the scye
be restored only by adjusting the length {rom
a!lt also be made from
irom the hip level to the Iine to the shoulder in back and front. This may
line
changcs in the front and back armscye length,
require changes length,
tailed discussion is given under Htting
etailed Fitting ncckline. All variations in the
seams, and ncckline.
shoulder seanls,
o} the Shirnpages
n] Skirt‚pages 219-229, but this example length ol the blouse which occur below the scye line
lenglh
t skirt fitting proceeds from a hip balance should be adjusted at the waistline.
the waistline and from the hip levcl to the
level t0 thc A balanced garment comfortably and does not
garmcnt sets comlortably
lt also shows that a posture which causes shift out of position when one moves. Even a jacket
shilt
"tion from thc
‚rllon the usual length from thc
the hip unbuttoned, if it is correctly balanced, tilts
worn unbuuoned,
vthee waistline will make fitting alterations neither forward nor back,
back, but retains
rctains the proper posi-
l
tion at the shoulder and neckline. More detailed al-
2g and h illustrate postures which produce teration instructions for Figures 2g and h are given
blems in the blouse. On the over-erect
blems ovcr-erect under Fitting Problems o] the Blouse, pages 198-218.
re 2g),
gute 2g). the length from the n t e r back
Center
C e When you begin a fitting, study the entire garment
to the scye line is shortened. Also, the from front, back, and side views and make a careful
v the Center back of the neck to the bust analysis of any possible flaws before
beiore ripping a single
'

n
*
‚
ased, a Variation which will be especially
on a jacket with a high collar,
seam. ToT0 learn to fit successfully, one must observe
the figure keenly and study the relationships among
" trying
‚

makes the jacket hike up in the front

maltes its contours just as a sculptor would do. One must
out at the lower front edge. The stoop-
‘

become conscious of grain in order Lo to know where

and
H flat-chested figure with the forward and when to adjust it. And one must learn to trace
)V’ has the opposite fitting problem.
2h), wrinkles and unwanted bulges to their origin in order
necltlines
fnecklines push up in front and pull to know whether they are caused by figure
irregularity,
irreg-ularity,
and proper balance in the blouse can
1nd mistake in pattern shape, or posture.

I95
 DRESS DESIGN
‘l-‘itting which requires the readjustment and repin-
mag ofseveral seam lines on the figure is, in fact,
drnping the most dilficult type. Since the body is
o!
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,
fitüng 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 flare or simply ease over
a rounded part of Lhe body. To fit without an under-
Standing 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 flat board. The
amaleur, in her zeal to remove one bulge or wrinkle,
may unwittingly create another that is even more
serious. lt would take years of practice in fitting by
trial and error t0 gain an understanding of pattern
shapes equal 1o that acquired by a short study of drap-
ing and pattern blocking. lt is this understanding
o! pattern shapes and grain that gives one mastery of
the principles of fitting.
There are two possible fitting procedures, and both
have their advamages. The first one is to open the
seam lines and "redrape" the section requiring altera-
tion. This method is useful when some experimenting
is necessary in order to determine what changes will
improve the fit 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 altera-
tiomit requircs not only skill in draping on the part
of the fitter but also tiresome standing for the person
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,
l 96
e
being fitted. The second metlfod requircs im o:Im;
persons involved. For alterations can simply b; m.
dicated during the fitting by pinning up dam and
tucks where there is excess; marking lines for slashmg
and spreading where more case or flarc is desired; and
marking in new lines with pins where a seam or a dm
line is poorly placed but the fit is corrcct. This i:
really fitting through “blockingfl and has the double
advantage of requiring less of thc fittcfs time and o!
being easier for the amateur t0 do. Therc is also leu
chancc o! losing the lines that are already corrccc-
an 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 ac-
company the discussion of fitting problems in the
blouse, skirt, and sleeve. To avoid repeating dircc-
tions, the general procedure for changing a pauem
through blocking is given on page 197.
During all fittings the model should stand before a
mirror so [hat the fitter may see her results withoul
having t0 move away from the model. Watching the
progress of the fitting 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 fitter’s bane. The fitter should stand
or sit as she works, whichever position brings lhe parl«
requiring adjustment to her eyc level. All fitting
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 fitting.
i
3. Center from and back.
4. Hemliuxe.
Sleeve (prepare only one)
1. Underarm seam.
2. Armscye linc.
S. Center lcngthwise grain.
 F
F I
I T TT I N
NGG

ganncnt on the Wilh the

lhe figure with {h8 center
Cente‘
‘_Ginh
Girth (should be a right angle to
t0 lengthwise 3. Adjust thc garmcnt
cemer of the
a1 the exact center
lront and back lincs at
iront
;gragn)_
rain).
the floor.
„Elbow
,
and dart.
Elbow line und figure and pcrpendicular to
(e floor.‘ A.lS0
Also
smooth the shoulder seam lines, Walstlme-
the waistlme‚
3Wrisl
:Wrist and placket line. lmes‘, fhe
and thc neckline into correct position.
if it is too
4. Clip the neckline il
posmon. _
cllp the
Loo high; and clip
h (machine-basfe): lront and back of the armscye if it binds be-
[ront
am in blousc,
Darts blouse. skirt, and sleeve. ol a large seam allowance.
cause of
nderarm seams
tvnderarm scams ol bluusc, skirl, and sleeve. But
blouse, skirt,
Note. lt"lf you are fitting your own master pattern,
leave
eave a 6 inch plackel
placket zu
at the Ielt side of
lelt ol the skirt;
skirl;
you may prefer to t0 place the opening down the center
l3_4
4 inch placket blouse:
at the left side of the blouse;
ol’ the blouse rather than at
from ol"
front Lhe center back.
a: the
dd a 2 inch placket at the wrist of the sleeve.
Lhc wrisl
houlder seams.
‘ blouse. But
hee Center back of the blouse. leave a I0
But Ieave l0 ALTERlNG A PATTERN BY THE
PROCEDURE FOR ALTERING
’ at the ncckline.
ch placket a1 BLOCKING METHOD AFTER MARKING CHANGES
e waistline (hand-baste). Tu r n under the
(band-haste) . 'l‘urn
m y
waislline seani,
rt waistlitie i1. und
top-bastc it,
seam, top-buste lap it over
and Iap I. lhe part t0
l. Separate the r e s l of
be altered lrom the rest
to he
I c waistline ol of the blousc,
blouse, mutching cCenter front
e n t e r lronl the garnlcnl.
garnient.
d
_ back, side seams,
scunis, und
and darls.
darts. Caution.
Cuulion. Since
2. Nlurk witli nu pcncil: (a) a wrinkle m‘
Mark with m" bulge
“ve skirt appears similar buck and front, be
sinnlan- in back
I‘
lo reverse it. Match the Center
eful not t0
reful lront
C e n t e r front pinned
pinned in 21s
a5 a dart
zi (lzirt or 21 posilion of
a tuck; (b) thc position

the zu thc
lhe skirt carelully t0 the cccnlel" lront of the
c n t e r lrom
slashes lor
slaslles for sprcading or lapping pattern: (c) the
lupping the pattern;
reviscd ol a seam or a dart.
rcviscd linc ol‘ (lart.
o, ‚ouse.
over papcr
3. Place OYCX‘ r a c e a copy of the
paper and tLrace lhe pattern,
i.
e skirt hemlitic
hemline (use long hand-basting
tches)
ktches). . Tu r n on the heniline
hemline and edge-baste; including all inncr lines as well as the lhe outer
ouler contour
astete the upper edge ol the hem.
hem. lines. (Du
(1)0 not inclutle seam
nol include scam allowanccs.)
allowances.)
lee wrist edge ol the sleeve. 'l’urn
'l‘urn and edge- the aItei-utions
4. Make lhC
«l. alteratlons on thc paper patlern.
pattern.
ste
‚te by hand.'
hand.‘
allercd paper pattcrn back over lhe
n. Placc the altcrcd the
p

match the grain lines. 'l‘race

Original und mzitch lhe reviscd
Trace the
lines on thc
lhc muslin pattern.
thee muslin
muslin pattern well in order to check the 'l’he same procedure
Note. 'l‘he proccdure applies to fitting an ac-
accurately and to obscrve the silhouette lual dress that
tual (hat is to be worn, [hat tailor's chalk,
worn, except (hat
ore moislure in pressing
gorc carefully. Never use moisture pins‚ IhTCEKl lincs
pins, or thread lines should be used instead
instead of
ol pencil
‚pattcrns. markings.
markings.
The rcmnintlci’
rclnaindcr ol this chaptcr
chapter is intended
intended primarily
as rclcrcnce material which you can consult when fit-
rcfercnce malerial
Ifion
‘tfion garmenfs ting problems arise. Consequently you will best under-
foundation garment and wear a slip. stand the lollowing pages if il you use them when you
are making some direct application of the procedures
they discuss to a specific problem. Do not by any
0 fhe person
mashr paflern on the
master means limit the use o!
of this chapter to the
thc fitting of the
neck and side plackets
plackels closely, being pattern, which has merely served conveniently
master pattern.
otto
W
t0 catch pins into the slip. as a garment simple enough to be readily analyzed.
a‘garment
". oulder pads into place if they are in lt will also be valuable to
1o you in fitting actual
gar-
d alte
are to be a part o!
of the dress. ments to be worn and should be used for this
purpose.

197
 DRESS DESIGN

PART III

FITTING PROBLEMS OF THE

BLOUSE
Some o! the commonest fitting problems in the Variation A. Figure 3a shows noticeabIc Iooseng;
I

blouse, and some of those which require greatest care. at the cemer front extending from thc neckline down
t0 the waistline, where it tapers oIf (o nolhing.
i

come in the neckline area. Others come a: the arm-

scye, the shoulder. the underarm seam, the bust Iine‚ To correct this fault by blocking, Iollow the direc- .

the shoulder blades, and the waistline. In the follow- tions given below (see Figure 3b) .
ing pages, prciblems arising in connection with each oI
diese areas will be taken up in t u r n . the waisuine (See “gute 3a) _
L Pi“ lhe exccss in“, a long da“ [ m m m8 m!‘ w

2. Use this dart Iine as a new Center front linc, and

FAULTS IN _THE NECKLINE AREA
Problem I
LOOSENESS ‘N FRONT NECHJNE
_ _
s°memnes ‘h3 fabnc buckles m“
trace a paper pauern from the muslin fronl follow-
ing the gcneral procedure for altering a paltern by
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 in-
o‘appears ‘m56
side line in a single Operation. lt is simple t0 reblock
the pattern, but t0 rcdrape il on the model wouldbe
=

at or near the center front of the neckline. This fault ‘edious and mighl bc inaccuram
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
f
[rom enough when it was pinned around the neckline. ä/
ä7
ä5
54
ä
ä4
? Line
?

Conection

Fig. 3. (a) Fahric is loosc zu ccntcr Imnl ul" nctkliuc: ex-

cess tnpers nII at wuisllinc; (b) (Jurrcuicm linc pimtcd (u
ccmcr fmnt t0 rcmovc cxccss. Dmtul linos indiuuc pauu-rn
bcIore ullcration.
I98
 FI
lTT TT II N6
N G

Varmlzon B. Figurc 1a 1a shows looscncss

loosencss near
ncar the
lhe 2.
9 from the neckline along the
Smoolh the excess lrom
i

-.lva„‘„„‚„1
hom
"nur ll'()lll
„(er n!
nl Ihc
thc nccklinc
nccklixic which points toward the shoultlei‘
shouldcr scam Iinc inlo thc
line into shoulder (lart, keeping
lhc shoilltlci"
i.5s: but (lUCS not cxlcnd bclow it.
ducx n01 lhe crosswise grain Icvel
Lhe a: Lhe
lcvel at lhe scye fronl and
scyc line in front
back.
back.
3. Re-Inark lhe shoulder seam, crossmarkings, and
Re-mark the
[lront
m m neckline.

4Ä (a). zu Cclllcr
Fabric is loosc a1 lmnl nccklinc:
ccnlcr lmni Ilccklinc: cxccss
anend ol
ofl a:
„.4 off shuuldcr darl.
of slmuldcr

o‘o correct by blocking (scc Figure 4b) follow the

(see
Älions below.
ctions
l Pin lhe exccss into u diagonal(liagonal durt tapcring
n} the
lhe neck l0 a poim
poinl neur the entl
lhe ol the shoulder
cnd 0|’
' as shown in Figure 4a, und then pinch up an
and lhen
al
a‘; amount on the oppnsitc sidc t0
thc oppositc rclain the bal-
to rctain
chcst und l0
“eacross the chcsl ovenfitting.
ugainsl over-fitting.
lo guard ugainst

I; Take ofl
oll lhe blouse and tracc
trace the front
lront on paper,
paper,
uding thc
the corrcction dan
dart from ncck to bust.
iL-Slash
Slash through of thc Original shoulder
lhrough thc C e n t e r ol
l0 the point of the bust.
bust. Cnrrectinn (lun ( l u r t clnscd a1 ncLklinc
ncckline and trans-
i:
__to Fig.4 (b). Correuinn
Figni
shnuldcr (dnrl.
lerred t0 slmuldcr
Ierred Dnttcd linc shnws pauern bclorc
l n r l . Duttcd bcfore
5j Slash the of the new neck dar:
lhe inner edge ol dart to the
alteralion.
alteration.
10l
1o! the
Ihr: shoulder dart
dar: or [o
(o lhe
the busl,
bust, and lap out
lcorrection dart by bringing the two
correction ( w o lines of the
'
Llogcther,
togelher, thereby increasing the size of the

._
ldcr
:I der dart.

Retrace the paper pattern

fRetrace
‘i pattem.
p“

z
_ce
the muslin master
pauern on thc
this change involves only the neckline, the
v

[I r dart, and the shoulder seam from neck (oto

„der
er
“n dart, (hc
thc alteration can also be made on the
bythe following draping procedure (see Figure
‘‚iby

in lhe shoulder seam Irom

'_)-‘ lrom the neck to the
"f4
f,“ dart.
437l. (Opening only part of the seam in this
causes less danger of losing the correct fit over
‘C3088;
‚
ovcr Fig. 4 (c) . Excess a: neckline Lransferred
transferred into shoulder dart.

lders.)

I99
 DESIGN
Probhm 2-
DIAGONAL 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
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 person’s neck is larger
around the base than is the neckline of the pattern.
lf the diflerence i5 only slight, correct the fault by
clipping the neckline, or retain a high neckline by let-
ting 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
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.
200
2. Mark and crossmark both sides o! the new dm Q
and trace a paper panern from the blouse from, a’
l
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
trated in Figure 4c.
1. Open the shoulder seam as lar as the shoulder
dart.
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 disap-
pears. Then repin the dart.
3. Push the excess along lhe shoulder seam toward
the neckline. The from ‘edge o! the shoulder seam v
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.
Fig. 5 (b). Corrcction dart closcd to remove excess below
———
shoulder dart. Stcp l Mark corrcclion dar! m show ex- .
cess. 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
 F
F I
| TT T NG
N6

Imticcublc (lrop froxn from thc

Lhe frequently on a round-shouldered,
is loose, occur most frequemly
k,
„_W155
„ise gruin shows u noticcublc drop
thc line. pcrson, bccausc her chest
Ilat-chcstctl pcrson.
IlaL-chcstcd chcst is concave be-
m
[er [ront front l01o thc xidc below
bclnw scyc
Lhe front, and
in lhe
correcl b)‘ blocking (scc
ffo correct
ffo lügure 6b)
(see Figure 6b),‚ proceed as tween the ihOllldCYS und the scye
lhe shonltlcrs scyc line
her buck CUHLULII is convex. This nlakes
bnck conunn nnakes the blouse too
ilows.
lows.
da11 bcginning at aL the poinl Iront above the scye level. By leveling the
long in front
'|‚ excess into ua darl
lhc exccss
Pin thc point
'|_um
me w aistline
waistline da11
(Jan und tapering
tupering ut0. ) nothing at the
crosswisc grain at the scye line, you can push up the
crosswise
excess lcngth in the blouse front belween Lhe
from betweexi lhe scye line
‘kkasshown lügurc 6a.
as shown in Figurc and thc base o!" the neck. The
und 'l'hc horizontal wrinkles due

"'
‘
‘_
v.
Follou‘ the procedure
",2. Follow
Figure 6b).
fjgure
PTUCCÖUTC
lt would
rcdnaping
fault by rcdxuping thc
illustrated in Figure 5a.
bc
be impractical t0
pattcrrx
patterrl on the
lhe
to correct
model.
model.
l0 cxcess
Cxccss length
Lapcr oH
tapcr ofi to
horizontal tuck dan across thc
through lhe
Iength may run lhrough the armhole or may
Lo nothing therc. T0 get rid of them, pin a
the upper part of the chest
(sec Figure 7b),
(see lügurc und corrccl by blocking. Figure 7c
shows how l0 u) changc
change Lhc
the pattcrn.
putlcrn.
'I‘o fit out
T0 oul Lhethe cxccss lenglh on lhe
exccss length the figure, rip the
scam und ruisc
shoulder scznn raisc the [front
m m edgc until the cross-
edge umil
wisc grain at a! the scyc line is level and the blouse fits
i5 levcl
smoolhly {from
slnoolhly Iine up t0
m m thc scyc line to lhc shoulder. Pin
lhe new shoultlcr scam and mark a new fronl neckline.

.6(a). Large wrinklc radialjrxg 1mm neckline

v
t0
1o a
below the bust.
‘m bclow
_int

Fig.
x
Fig.77 (a). Blousc wr-inklcs below the base of
wryinklcs horizonlally bclow
lhe neck on a Hat chcslcd
chcstcd figurc.
Fig. 7 (b). Excess between
Fig.7 shoulder and scye linc pinned
bctween shouldcr
out in a horizontal tuck.

"55(6).
(b). Conection dar: closed to remove excess below
(Ionection dan
. line.
Iine.

Problem 3
V
OÜSE
A
OUSE FRONT
ÄCROSS BASE
W|TH HONZONTAL WR|NKLES
0F
WRINKLES
OF NECK (see Figure 7a)
onzontal
‘Jonzonlal wrinkles
wrinlkles in the blouse from, sometimes Correction tuck lapped out to shorten center
I3 Crosswnse
Fig.7 (c). Con-ection
the neckline
Crosswlse fold near the bust line if thc front above scye line. This also tightens neckline slightly.

20l
 DRESS D E S I G N
Problem 4
ILOUSE IACK WITH HORIZONTAL WRINKLES
ACROSS BASE 0F NECK (see Figure
8a)
The
over-erect figure 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, fit the garment in
exactly the same way as in the preceding problem (see
Figures 8b and c).
—
(8) .‚
(b)
Fig. 8 (a). Blouse back wrinkles horizontally acmss the base
o! the neck on an over-erect fig-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—-__
fi g s (c). Pattcrn corrected. Dotted line shows shapc of
blouse bcfote alteration.
202
Problem 5
NECKLINE PULLED DOWN AT CENTER BACK
AND TOO HlGH AT CENTER FRONT
l
(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, ä
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.
To this fault by blocking, Iollow these steps:
correct
ä
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.
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 t
show the most [lromilment bulge. Or if you am usmg
a muslin pattern. slush und sprcad it along lhlS lme
(see Figure 9c) .
3. 'l‘rzu‘c a papcr copy ol thc blouse back.
4. Figurcs lld and c illustratc thc mcthml ol nlarlt-
ing thc papcr pattcrn and ol slashitxg and sprcadlnß-
 FITT N6
NG

Spread
S p r e +a d\\\\\\\» .

- -..
I
5 _3.’ _
5:3:
Jul:
E9
545°;
Im
‚g I:...
f;
““
‘b’:
(u
uJ
Eis,
t3 .°°
J2“-
22°‘?«v
U)
C.B.
C.
44.
(c) corrcction by slashing.
Fig.9 (c). Shows correction
Fig‚9
»RRe-mark lincs from the spread pattem.
e-mark the blouse lines from pattern.
o correct the same fault by draping, proceed as
"ws:
‘
ws:
vi’Open the shoulder seams and level the crosswvise
seanls crosswise

'
..‚
ider
at
a! the scye line, thereby reducing the back
der seam allowance. length of the scye
increasc Iength
Pattcrn sprcad t0 incrcase
Fig.9 (e). Pattern
7:Pin
‘ Pin in u small dar: a:
at the neckline and increase
se or the size of the shoulder dart.
kase
und
und width

T0 make
o! the uppcr blouse.
u'idlh of

makc mund
round or stooped
slooped shoulders less obvious‚
obvious,
‘_Re-pin the shoulder seam.
Re-pin fit the entire back of the blouse with plenty of room.
To counteract
T0 countcract the round-shouldcred
round-shouldcred 100k, there
Mark a ncw line a: the armscyc to add width as lhere must
armscye t0 be ease on all sides of the shoulder blades——above,
wn as necessary. blades—above‚
ä.
through a neck dart und shoulder ease; beside, through
dar: and
ease along the unnscyc held up by shoulder pads or
shrunk out zu a1 the lowcr
lnwcr armscye curve; and below,
below‚
blousing above the waistline instead of
by blousing o! using a long
figurc-fitting waistline dart.
darl.
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

Since faulls
faults in fiuing
fitting between the bust line and the
shoulders, front or back, requirc corrections involv-
ing the shoulder seam, any changes in the shoulder
seam line itself should be made only aftcr aiter carefully
checking the grain,
grain‚ ease.
ease, and smoothness of fit through
the bust, chest, and armscye. If lf the fit proves
satisf
factory in all these delails, faults observed near
details, any {aults
the shoulder seam must be due to a lack of adjustmenf
es marked for slashing and spreading a
fil-ines between the shoulder seam line of the garment and
or
f0!’ round
round shoulders. the shoulder line of the body.

203
 DRESS DESIGN

Prgblgm 5 To correct the blouse shown in Figur: 10a, decrem

the slope of the garment shoulder by fiuing 100mm:
“

“AM UNE SLOPES T00

I

SHOULDER
„

SHARPLY out o] the neckline end o] the shoulder seam as shown

A Person Wim very square shoulders will very 0mm by the pinned scam on the right side o! the figure. Do
not make the mistake of letting out the armscye cnd
lind that there is_ too much shoulder slope in ready-
made clothes and in commercial patterns. This fault
may also appear in a master blouse draped on a per- I
sonal dress [orm if the shoulder pads used at the fit- I
ting are thicker than the shoulder padding on the I
dress form. When shoulders are very square and the
blouse shoulder seam slopes too much for them, fit- ‚J
ting problems of two different kinds arise. A distinc- 5}
tion must be made between the two types of faults. I
One kind occurs when the back or front of a blouse fits ‚EI
contctly from the scye line up Io the armscye end of
Ü
i
the shoulder seam but is too long from the scye line
to the neckline" end of the seam (see Figure 10a) . The
second, and the more serious kind of fault arises when
the blouse is too short from the scye line to the arm-
scye 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 fitting problems.

.:|
“I
5
-'I

_-..J. -7 I

3 /
E‘
„f?
4g’
I
I

173.10 (a). Blouseis too long [ m m scyc line I0 ncck cnd

II j
J (b)
o‘ ‚nannte: scam. (See Figurc ll (a)). .
loo short from scyc lmc In armscyc
pi‘, |0 (b). Blume III Fig. ll (a) und (b). Shoulder slupc wroliß-
am of nMumm „ a m v (See Figur‘, 1| (5)) '
204
 F I TT TT I
l N G
v":

i e shoulder sczun to have the person being fitted

‚
‘i seulescam wilh the idcu
with thc idca [hat
that the neck would level as well. lt helps t0
level
settle bod}. This would merely
(lown to fit the body.
(Iown center front in position near the chest and
hold the cemer
the whole top half of the garment [0to droop by neckline area while Lhethe fitter smooths the fabric up
lrom lhc
it too long from
mg i!
ing the shoulder to the scye line.
t0 from the scye line and establishes one shoulder seam
‘imake
Ömake lhis
this alteration on a ready-made garment
garmem edge at a time. Pin the front seam edge first, turning
‘ch has a collar, pin thc the exccss length imo into a tuck under the raw edge and pinning it as in draping.
«in Center back o1"
{u cemer C e n t e r lront to a point on the
o1‘ center Then smooth the back up from lrom the scye line, slip the
n’
i’
lder seam line whcre i1
lder it fits correctly. ln this way,
wvay, front, and pin the two together.
back seam under the lront,
ing and changes in pattern shapes can come alter
‘ing
_;fitting.
fitting. Problem 7
I:o correct the blouse illustrated illustratcd in Figure 10b,
SHOULDER SEAM LINE LOOSE AT THE OUTER
ii
[ o 0 short from the scye line to the top of the
is too
END. DIAGONAL WRINKLES FROM NECK
„f ole, decrease
„u letting out tlze
decrcase the slope by Ietting the armscye
TO ARMSCYE
o] lhe the shuulder crosswise grain
seam until the crosswisc
shoulder seum
p: .
‚_-
a
enough l0
right
t0 bc levcl a:
halt"
halt’ of
ol the
at the scye line. See thc
blouse in Figure 10b.
l0b. lt
the cor-
Cor-
would Figurc I2 shoultler seam loose at the arm-
l2 shows a shollldß)‘
scye end, with diagonal wrinkles [alling
falling from the neck-
rong in this case t0 to straighten the shoulder by
Iinc end
line cnd olol" the scam imo the hollow in front
into lhe lront of the
‘i. “
g in Lhe the neckline end of the shoulder seam, be« be-
fsimilai‘ wrinkles lall toward the back. This i5
arm. Similzir is
hat would raise the scye line ol the entire blouse
that
because
bccatise the shoulders
shouldcrs slopc morc than the Lhe shoulder
1e he position for which it was intended. Since
tthe
garmcnt. Sometimcs similar utrinkles
seam ol the garmcm. wrinkles
this error in fitting can not always be
sults ol lhis
‚results
occur when the Lhe shoulders are narrow and the unsup-
m
«c
immediately to their source, let us look again at
f: half of the blouse in Figure 10b. This scction
eft section beyond the end of the shoulder bonc
ported length |)e\0nd bone
downward at the armhole cnd end of the shoulder drops into Lliagonal lhe armscye.
diagonal lines along the armscyc. \\’hen a
The crosswise grain pulls upward from the broad-shouldcrcd Silhouette is in lashion. cor-
square broad-shouldered Cor-
rect lhese (lrooping
rcct thickncss to the
drooping lines by adding thickness
r back waistline (or Center lront as the case may
center lrom
outer edge ol
ouler o! the shoulder pads. ’l'o lit the slope ol
'l‘o fit of
Äward ward lhe the armhole end cnd ofol the shoulder seam, and
the shoulder, reverse the procedure outlined in Prob-
5 able diagonal wrinkles form lorm in this direction.
lem 0G (see Figure 10b). That is‚
aistline at the side. and the ease from
side, is, take up the armscye
=waistline pulls up end of the shoulder seam until the crosswise grain
nd
nd of the waistline dart strains toward the end
>e
‘i ’"
sshoulder
houlder seam away from the shoulder blade‚
i: was intended to be. Figure l l b analyzes a
i!
blade,
a:
at the scye line is level (see the corrected right
shoulder seam in Figure l2).
back pattem
pattern which has this fault in fitting. litting.
lleration is simple enough in a muslin pattern,
‘Vleration
omplicated in a ready-made garment by the
‘complicated
tyy of refitting the sleeve.
refilting lhe

Shoulder Seam
‘H10
H10 Saum
v
mayay mistakenly believe that the alteration of
e? seam is an easy matter, but if you rip it
apart, it is actually one of
‘V ol the most diflicult
„apart.
an
im amateur t0 lt is im-
to re-pin accurately. It
‚s- balance this seam correctly in order to bal-
ck and front scye length, and yet when the
Ack
In is completely ripped, the whole blouse
i

laoe. Not only must the center

‚laoe. Center front
from and
ntered on the body.
"oentgred
v
the crosswise
body, but die Fig. l2. A figure with sioping shouldcrs has excess
sloping shoulders excca length
atye iline front and back must be held
acye held at
a1 armscye end o! shoulder scam.
armscyc
205
 DRESS DESIGN
E

Preblcm 8 moved forward and trace along the new pinnecl Im;
with the wrong side of the blouse next to the catbon
SHOULDER SEAM STANDING ABOVE HOLLOW
AT CENTER OF SHOULDER 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.
Figure 13a shows a shoulder seam which fits at both
ends but fails to settle down into the hollow at the
oenter of the shoulder. Thick shoulder pads exag-
gerate this fault. If the shoulder position and fit 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
Fig. l4 (a) . Shoulder seam line is in an unbecoming position.
Figure 13b) .

(a)
(b)

Fig. l5 (a) . Pinning along curve in shoulder

seam.
above a
Fig. l3 (b). Tight seam edges must be clipped
curve.

Problem 9
SHOULDER SEAM IN UNBECOMING POSITION

When a shoulder seam line fits smoothly but needs

1o be moved forward or back for
the proper appear-
ance of the garmem, it is unnecessary to rip Lhe seam..
line with pins .(see Figure 14a)
Simply mark the new
14b shows how to transfer thns new.l1ne to the
Figur:
foldmg so that
undcr layer of fabric by tracing, then linc. fil-
bul
Fig- l4 (Ü). Shouldcr seam uuwcd forward.
sann‘
lhis Turn the
m, „w edges will comc along if the line is m be rctainctl, by lracing ulnng pin linc.
„am allowance toward the from
206
 F I T T I NG

Problem I0
l0 Problem lI I
DRAWING AT NECKLINE END OF SHOULDERS OF GARMENT TOO NARROW FOR

'
p

SHOULDER SEAM BROAD-SHOULDERED. ANGULAR FIGURE

_ hen occurs, the neckline end of the shoulder

en this occurs‚ The angular figure with large bones should have
u. generally falls
3.. t0 fit smoothly because the base roomy garmems {(hath a t give the illusion of rounded con-
f e neck unusually broad and slopes up the side
is (he shoulders are broad but lhe
tours. lf the the chest and
Ä». i
Center of the shoulder (see Figure 15a).
‚’_:„ the cemer löa). A bust line are rather Hat and narrow,
narrow‚ the blouse should
z‘. wilh a broad base requires a definite upward have a definite vertical fold of fabric beginning at a: the
f. e a! the neckline end of the shoulder seam. Clip upper half of the armscye and tapering to nothing at

„.
shoulder seam along lhe
‘lshoulder
i’ - 2s
the curve belore
as explained in Problem 8.
before fitting the the waist (see Figure l6a). This will act as a transi-
belween the broad shoulder and the narrow
tional line belwcen
chest. D0 not fit this figure closely at the underarm.
Broad
Broad shoulders Support so much e x t r a width {hat(hat lhe
the
shoulder dart in fr_ont
figont and (he dar: in back
thc waistline darf.
can be somewhat reduced, lettingletling part of the excess
cxcess
go into looseness a: the sides of the figure. (See Fig-
ures 16b
löb and c for altering the pattern.)

E15. (a) Broad neck base-the pattern draws a1 the

i'
Hhe
l the shoulder seam. (b) Neckline end of shoulder
and slde
side of neck seam let out for broad
Iet oul (a)
broad neck base.

ing the neckline seam to relicverelieve Lhe tightness

dedly not the answer 1o
dedly to this problem, because
-of
f the neckline should come above the broad-
measuremem
measurement to make the base of the neck
er and to minimize the difference between
Ü!"upper
upper pan part of the neck. Another reason
qg the
(h: line high is (hat
that roll collars attached
110m
40v neckline will buckle away from[rom the
"tpartt o!of the neck.
e?. ßckline
eckline for a looser yet higher line, rip
d off thb shoulder seam for at a: least 11/,
l

11/2
einer front line in place and smooth
cllcenter
3rd
l
A the
die front from the shoulder, let-
l
lhe frqnt seam allowance.
fr_ont shoulder scam l
o
am’
p
ziemlich
hich follows the side of thelhe (b) (C)
e "mw t0 this new line in
edge to
l n w edgc
Fig. I6.
l6. (a) Venical fold a: armscye softem
Vertical {old soflens line between
this procedure
“äkupeat Chi: ptocedure for the broad shouldets
broad shoulders and narrow
nanow chest. (b) shoulder
Shoulder line
mm _and
l
mark a new side
hat-max]: widened and waistline
waistlinc dart reduccd. (c) shoulder
Shoulder line
1in4:
change. wldened; waistline dart not reduced.
widened;

207
 „DRESS D E S | G N
Problem l2 Problem |3
SHOULDER SEAM LINE T00 IROAD FOR ARMSCYE GAP CAUSED IY INADEOUATE DARTING:
NA&ROW-SHOULDERED FIGURE WITH
LARGE IUST Variation A. Figure l8a shows looseness a: an’
lower curve of the back annscye tapering toward ehe";
This ptoblem again‘ is one o! equalizing body pro- upper end o! the waistlinc dart. The crosswise grain i1.
q

portions. 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
lüge bust will be more becomingly supported above
die hollow usually present in front of the arm. In-
stand of cutting olf the extra shoulder width, use i:
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 pro-
duced by an attempt to fit Lhe waistline by pushing
the excess over toward the underarm seam instand
of taking up a large enough waistline dart. This also 1

t0 increase the depth of the dart. In garments other raised the crosswise grain toward the side seams. Tot
Ihm a master pattem. this width is often placed in a eliminate the excess a: the armhole 3nd 1o providp
[ m m and back dart on the armscye line (see Figure 17).
'

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. W

Transfer the excess at the armscyc into a larger waist- »

line dart (see Figure 18b for the pauern change).

between narrow shoul-

Fig. l7. Dar: along armscye bridges
ders and [arge bust.

FAULTS m ms ARMSCYE AREA

Because any fitting changes near the bust or
shoulder blades probably involve the armhole, observe
the ease around the scye and bust line before fitting
line should fit with
armscye faults. The armscye .‚-.--

l0 move freely without

cnough ease to allow me arm at the fronl or
binding, but also without gapping trace a
bgck armscye cdges. You can usually
the
gapping
shoulder blades (b)
n} '‚___‚
—-__J
for
armscye 1o inadequatc darting the from. The arm- 0“"
in the back or for the bust in Fig. l8. (a) Exccss a1 lowcr curvc 0E annscyc pinned
even when the darting is ade- into corrcction dan. (b) Excess an lowcr armscye "am"
„ye m3,: ggp, however, will bc discussed in lcrred imu waistlinc darl. Doucd line shows paucm
lmclott.
‚me, Corrections for this fault alteration.
'

1h: iollowing problems.

208
 FITT NG

l9a shows
19a looseness at the
xhows loosexxess The excess should be translerred to darts at the
b6 transferred
ariatiun B. Figur:
"Variation Figure
und shouldcr
shoulder as l9b and
Fxgure 19b
shown in Figure
the back with the crosswise neckline and
„V.- part ol
‘Vper armscye
described bclow.
below.
“n neckline lrom the center
I; near the dropping
,6‚i‘ to the ztrmhole
urmhole line. T0 correct this dilhculty,
dillicttlty, l. Draw a short vertical line for ncck dart in-
lor the neck
thicker lrom
from thc cnd ol
‘i up the supcrlluous
superfluous length by using
dart the
on thc
tersecting a horizontal line (lrawn
I
ulder der puds, or
seam
translcr
transfcr
and a
it to
dart
a
at
larger
the neckline.
neckline. At
the pouch.
u» shoulder 2. Draw a line through the centcr of the shoulder
‚i:-i|pper annscye, pin the pouch into a dart pointing
upper armscye, meet the horizontal correction dart.
dart to IIICCL
side
„the top of the shoulder blades (sce the right line from the end of the
3. Slash the horizontal linc
Afigure l9a) .
igure 19a) neck dart.
pouch to the end ol’
ol the
‚' ncck and shoulder darls
Slash the neck
4. Slanh darts and spread
n to
t0 correction dart. In
closc the corrcction ln order to sprcad the
neck dart, also spreatl slightly along the horizontal
Redraw the neckline lrom
line. Redraw‘ [rom the tlart the Center
dart to thc
back.
back.
Variation C. Figure 20a shows a pouch at the C Center
enter
of the lront armhole radiating [rom lrom the point of the
Pinch up thc
bust. Pinch excess at the armscye into a dart
the cxccss
(a) tapering to nothing Figurcs 20b and c
nothitrg at the bust. Figures
translcr this excess eqtrally
show how to transler the shoulder
equally to thc
and waistlinc darts or entirely
cntircly to the waistlinc
waistline dart.
Choose thc method
Choosc mcthod that keepskccps the crosswise grain
more ncarly lcvcl the scyc
lcvel at thc line. A third method
scye linc.
translcr the excess
is to translcr‘ at the armscye into a horizontal
underarm scam
dart at the underarnn seam approximately 1l t0 lI/z
to 11/2
inches below the armscye (see Figure Figure 20d).
ll you correct the laults described
thc faults dcscribed in Varlations
Variations A,
B, and C by fitting the garment directly on the person,
‚„uzzm1II/I/l/I/l/l/I/flfl/WW' oVel
..‚.‚„mmu/I/z/I/I/MIIW: Over—-
" determine
determinc which scanx seam lines to open and revise from
Iapped diagrams showing the pattem
the (liagranns pattcrn changes.

ab; armscye pinned out imo

at upper nmscye Fig. 20 (a). Exccss ut
at front
lront annscyc pinncd out into cor-
armscyc pinned
at upper armscye transferred
B) Excess 35s rection
recuon dart.

209
 DRESS D ESIGN

Problem |4
ARMSCYE GAP CAUSED BYEXCESS LENGTH
FROM SCYE LINE TO SHOULDERS

The round-shouldered and flat-chested figure 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 fitting 3
problems in the Neckline Area, Problem S, page 20l.
The over-erect figure 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 fitting
problems in the Neckline Area, Problem 4, page 202. ;
The very slope-shouldered figure may have excess ä
length from the scye line to the shoulders in the back
or front and the difficulty may be corrected according
to the directions given in fitting 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

Lxwss transferrcd inm waislline dan.

pgg 2o (c)

2N)
 F
F I T T I NG
I TT NG

(‘analzun B. Figure 22a shows an almost vemCal

Variation vertical
Problem |5
I5
fold staning with excess a1 the
Lhe armscyc
armscye and tapering
f"
MSCYE
A’ AT UNDERARM
excess wmTH
SCYE GAP CAUSED BY EXCESS wuom to Imthixlg at Lhe
l0 nolhing lhe side seam. Thf:
ncar the
thc waistline near Th?
dircction lold in this case is more nearly verp-
direclion of the [old verg-
Lhan in lhe previous one since the
cal lhan crosswise gram
Lhe crosswlse
07l A-
tion Figure 2
A. "8""? 21a shows a km3
| “ Shows long "iangular
triangular scanl. Either change the pat-
the side scam.
rises less toward [h6 pal-
a: lhf tapcring m
lower armscye tapfling
the 10W" t0 a poim near
P9i“ "e?" e r n by overlapping the correction
ttern corrcclion darl (see Figure
end °f
1in9 9“‘!
'tline the d
of ‘h6 a " Thc Cmsswlse
dart. crosswise 3mm
grain fronl over the
Iap the [ront
undcrarnl seam, lap
22b) ‚, or rip the underarnl
Lhc da"
m m ‘h5
663m)’ [from
oticeably durt ‘O the Side
1o m“ seam. T0
side seam‘ Iakc in the back seam, and lower Iower the back
back to takc
is, pin
(bis, the excess into a long darl
dart tapering HTUISCYC curva
v

armscye C l l TVC.
f}. armscye to nothing at the waistline as shown
1te 21b, and change the pattern as indicated in
'
21c.
t‘.
\

„1
„. E

.
B.
B.
C.
C
ed
p
p
rla I/II/I/I/l/Ilfi/ffi/I‚lfl!‚.

Ove
Overlapped
‚„mu/rnu/xl/Ifl/Mflm

(a) (b)

Fig. 22. (a) Exccss

l-Ixccss width in blouse back near
ncar underarm
v
scam nut in corrcction dart; (b) Correction dar!
seam pinncd out dart
GB.
overlapped.

Problem I6
|6
ARMSCYE GAP CAUSED BY INCORRECT
BALANCE OF BACK AND FRONT UNDERARM
SEAMS

.
___ (c) See fitting
fiuing problems of the underarm seam. pagts
pages
212-215 for instructions to be followed in correcting
ih i‘
atw underarm
- . “causes looseness m
u m loosenßs at 21221.5
this dnfficulty.
thxs diflicully.
(b). Excess ad
'
pinned mit (c). Co!‘
out. (im Cor-
torefince width-‘of
oi hlouse
blouse at under
s

21l
 DRESS D E S | G N

Problem I7 5. Even if the armhole circumference i: adequateff

its lower curve may push up a1 (he armpit because
UNCOMFORTAILE’ annome AT ARMHOLE slope of the underarm seam from the annscye m
waistline has been increased. See fitting problems
Tightness in the armhole does not necessarily indi- the underarm seam, pages 213 214.
Cate that the armhole should be lowered at the under-
6. There may be overdarting in the blousa,‘ Ar;
senm. In fact, lowering i; may even add to the
Ix‘1n excessively large waistline dart will excrt a downwarci»:
dxscomfon of the blouse. The armhole size depends
on several things: first, the length from the scye line pull on the lowest point o! the armhole, and
shoulder dart, i! too large, will cxen an upward pulfa
to the armhole end of the shoulder seam asfleter-
on the armscye line.
mined 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 diflerent reasons. Clip
I. The shoulder seams may be too sloping. See
fitting problems of shoulder seams, page 204.
F.
2. There may be inadequate width in the side of C.

the garmem from the point of the bust to the side

seam and from the shoulder blades to the side seam.
See fitting problems of the underarm seam, pages ‘.713-
214. 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. Fig. 24. Seam edge is shorter than seam line on sharply
curved armhole. 7
4. The seam allowance on a sharply curved arm-
hole may not have been clipped enough to let it FITTING PROBLEMS OF THE UNDERARM SEAM
(hat the
spread lhe length of the seam line. Remember amount
intensity of the armhole curve increases as
the Figures 25a through j show how changing thc slopc;
of darting increases (see Figure 24). of the underarm seam b)“ laking in the waistline a!
the side automatically’ alters lhc line and fit a! bolh‘
the armscye and the waistline. Figure 25a shows the V

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‘
11/3 inches below the C e n t e r of the annpit
when the”d

arm is raised.

Problem |8
ARMSCYE AND WAISTUNE PUSH UPWARD UND“.
THE ARM AFTER WAISTLINE HAS BEEN FITIED
IN AT SIDE SEAMS (see Figure 25b)
The line which ionnerly Fell a1 thc normal annhfllfi?
the walsl“
Fig. 23. depth now riscs above it zu the urmpn. and
212
 F I T T I NG
N G

marked on
‚line markcd
fing On the
Lhe garmcnt rises ubovc
garincnL risc-s abovc Lhc tLrruuee waist-
502m1. The urinscyc
Problem l9
|9
fine at
{ine underarrn 5021m,
aL Lhc undcrarm urmscye circuinfer-
circumfer-
ce does not
‘gnce nOL changc, buL Lhc lengthlengLh which previously GAP ON FRONT OR BACK ARMSCYE BECAUSE
hung undci‘ lhc
ung down Linder Lhc armpit
armpiL now n O w hangs awayawuy’ fmm
frOm FRONT AND BACK SEAMS TAKEN IN UNEOUALLY
am
u:
"
e body
i To correci
aL
a! thc
Lhc lowcr
Iowcr
corrccL this Onon thc
curvc Ol
ol the
Lhc figurc, mark
urmholc.
Lhe armholc.
inark in au newncw lower
IOwer whaL happens when whcn the frOnL seam
Lhe front
Figure 25c Shows
shows what
IV ye
cye t0
Lo give lhe
Lhe normal arinholc
armholc depth
(lcpth zmd
and let
leL out
Out is Laken in alaL Lhe waisLline und
lllC waistline and the Lhe same crossmark-
saine crossinark-
ieiront wuistline at
e lront and back waistline Lhc sidc
a1 thc side seam
seum t0Lo lower muiched. The greutcr
ings arc still malched. greatcr slope on the frOnL
Lhe front

'i;
; ee waistline On

eslant
eslanL on
On

rmscye curvc t0
irmscye
lhe
Lhe
Lhe side of
on [h6
side
LO bang
scain,
scuin, ol"
hang away from
lhC blousc.
Of the blOuse. Sharpening
course,
lrOm the
Shurpening
cuuscs Lhe lower
cziuscs

body, and if
Lhe body,
edge ol Lhe scam cziuses
line l0 rise,
scye.
cuuses lheLhc lront armscye
pushen a pouch out on the
rise, und pushe»
arinscye and waist-
Lhe back arm-

i; is is undcsirably
undcsirably‘ exaggcratcd, rcvrse the
exaggcrutcd, rcvise Lhc lincs
lines of
Of the
Lhc Figurc 25d Shows
Figure Show: whaL whut happens
happcns when whcn theLhc back seam
louse t0l0 fit Lhe sinallei" waisLline by taking
smaller waistline Laking up larger is Laken in at wuistlinc und
l l c wuisllinc
aL [Lhc und [llC Original crossmark-
Lhe original crOssmark-
rLs. ings am
arc still
sLiIl rnutchcd.
inutchcd. Tlie The grealci‘ slope on Lhe
g l f a l c l ‘ slopc the back
T0 correct the size of the waistline by the blocking lUYCCb Lhc
cdgcs lorccs
seam Cdgc: arinsqc und the
lhc back arinscyc wuistlinc
Lhe waistline
'ethod, pin lhc cxcess at the sidc of the waistline into l0 rise und pushcs
t0 pushes au pouch inLo the
pOuch into Lhc front
lront annscyc.
armscye.
darL (apering
vertical dar: Lapering to noLhing a:
L0 nothing Lhc point
uL [hc pOinL where 213e und l show
Figures 25€ LhaL il" the
‚show (hat Lhe murc
m O r c sloping
; earmscye begins
Lo curve under the
t0 Lhc arm (see Figure sidc is lillcd ubovc the
liltcd ubuvc iL Lhen
crossinarking, it
Lhe Original crossmarking, lhen
‘Jux Then lap out ouL the darL width in thc
Lhe dar: Lhc pattern
patiern lhc sidc (hat
is Lhc [hat gaps aL Lhc arniscye.
a1 thc annscye.
i Figure 26b). This method will retain
" v

reLuin the
Lhe Original Thc lault: urc Cxaggeralcd
laulls ZlTC cxuggeratcd in lhe Lhc illustrations to Lo
depLh and waistlinc.
a_ scye deplh waisLlinc. The crosswvise
crosswise grain will point
pOinL OuL
out Lhat
(hat excn
C \ c n Lhc smallesl shilting o!
of the cross-
cros5-
llow the
llow Lhe scye line of the
Lhe body to Lhe point where
Lo the wise graiir
grain or sloping ol Of the
Lhe underarm seams has an
A
Üexcess
snexcess is darLed
darted out,
ouL‚ buL
but will rise from
lrom Lhere Loward
there toward importam inlluencc
iniportant inllucncc On on the
Lhc balancc of the blouse.
Lhe blouse.
‘A: side seam.

(b) (d)
_ (e) (f)
257(4).
753.25 (a). Front and back underarm seam correclly
corrcclly balanced. (b). Waislline
Waistline fittcd in at
— Lhe sidc
a1 thc side scam.
seam.

—
Front underarm seam taken
Laken in at
uL waistline maLched. (d). Back underarm
crossmarking matched.
ifilliltlihe crossmarking matched. (e) . Front underarm seam Laken in ät
tvvllistline
underarm seam taken
a‘: waistline and LTOSSWlSC
Laken
crosswise g-rain
.
(T) Bach
G) undetarm seam taken
Back undenrm a: waislline
Laken in at waistline and crosswise grain lifted.
grain
 DRESSDESIÜN

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 final shouß "A" :
’
e

her arm no more than necesury for the fina- co

the armscye end of the seam. The modcl u m ; x

her arm at a right angle to the side of her body ( ‚

is, pointing neither back nor from, bat araigln A
in order to avoid uneven strain on the back and .„‚e .
scye lincs. The fitler should determine the {mm
first, and should not attempt (o establish both u»
and front lines a: the same timc. The model shou e

hold the Center front line of the blouse in

(a) a: lhe waistline. lf i: is neccssary t0 correct this man;
smooth the fabric along thc waist over Io (I16 sikyä
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 fit 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.‘
f--..‚
Then pin betweenn thcse two points from armscye I n :
(b) waist.
x
‚111

into a vertical dart Problem 20

Fig. 26 (a). Excess at waistline pinned
tapering olf a: armscye. sAeelNe 0F THE UNDERARM SEAM
the underarm width
Fig. 26 (b) . Proper method altering
of
of the blouse‚ by overlapping the side front and side back.
Figures 27a and b show an underarm seam
(hat
Dotted line shows why altering the side seam causes the seam
When lhe
and waistline to push upward. sags imo wrinkles below the armscye.
armscye 10060.
sags in this manner, thc blouse is probably l o o
under the arm and there is almosl ccrtainly too linle
ALTERATION OF THE UNDERARM SEAM blades.
darting for the bust in front m‘ for the shoulder
in back. Thc pouch due t0 insulficient darting n0?-
Since the underarm seam, like the shoulder seam‚ GOW“
conlrols the balance of the from and back scye lines, mally shows up in lhe armhole but may (lrop
below lhe armpit into diagonal wrinkles ü the blonst
front and
lhe fitter must be able t0 see the “set" of the
'
k f thc armhole as she pins the seam lincs. She is looae undcr the arm. Althougln the fault is pur-e
posely exaggeratcxl in Figures.. 27a am! b, m37 lh:
l1
_ m‘
2;; -_ H
h 1‚
sit rather
uiually find i1 more convenient b 1h . b k and
to than
quently be overlookul unless the huer
*
checks A

lllodeh’
f0“and dfiddllatn lfrrlcfeaartfmrxll flieghtl‘; asßfy {im the
‘i: underarm seam ( m m thc side vicw with the
’
arm slightlv Hfwd- Stutly thc crosswise grün a‘
y u
aäroämnsngzuenoughgzo
- prouucc pouchmg' When
'
'
must be conslstency
the
Scye 1'
-
t CH"nin1e umcthcr lhe excess should
Im: 10 t l‘:
h0
dress is viewed from the sxdc. thcrc
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 arm-
scye and then transler it to the shoulder or waistline
dart according to the procedures given undcr fitting
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

Figurc 28a shows (larls too Iarge to fit the small bust
smoothly. with the rcstnlt that there is pufliness be-
tween the points ol thc shoulder dart and the waist-
line 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 hori-
zontal 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
shoulder dart.

.. i'm .‚
'__.‚_ ‚Lau-ggf ‚t‘
__
__
""-:.:(‚f=."""4"l‘i’-'{:'.'-L Ä‘ '. -. '-
‘
' __ ..
_. ‘.___ „ ‚_
x
--.
 DRESS D E S I G N

g C.F.
äE 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). Overlap-
ping of the correction lines eliminates bulge by reducing the size of the shoulder and waistline dans. Dotted Iine
shows pattern before revision.

6. Slash along the upper edge of the horizontal Centerback of the blouse is also too long between t
tuclt from the bust poim to the armscye and t0 the neck and the waistline. The right side of the figu t

Center from. shows the bulge pinned out on a line tapering fr _

the end of the waistline dart to the armscye. Figu g
7. Lap the two sections to shorten the pattern.
8. Lap out the excess width and match the cross-
markings (see Figure 28c).
9. Close the dart from the bust poim to the arm-
scye. With (he partial closing of the shoulder and
waistline darts, the curve of the armscye is now also
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
-- V

"Ä
responds t0 the length lapped 0m of the ouler
'

less imense.
of the dart.
Problem 22 Figure 29c shows how to lap out a bulge along I

line poinling t0 the juncture of the neck and shoul

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
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 b“:
'

shoulder bladcs lhan is necded. Thc pointing toward the armscye.

eine over Lhc
 FITT l N G

_
-
( o ) . Bulge al shoultlcr
dal1: I00 largc
1

—
(a)
hludcs (zum-d In making
Extcss u: armscyr shnuld hc
(a)

(n fit u lnwcr hust linc. (a)

I imo a dm. Fig. 30. AIIL-ring hlnusc { m m
Bus! pninl Inurkt-(l: (b) Bluusc lrnnt slushcd
und sprcatl
{ m m wuisllinc- ln |mim o! slmuldcr durl.

‘_’l:')-‘_’I7 and rt-lcr

givcn in Problcnn 2| und ‘J2. pagcs
I0 Figurca 28a und h und 29a und b. llul lhc pattern
should hc In intmdurc- casc rulhcr lhnn Iappcd
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
(b)
BUST LINE OF GARMENT PLACED TOO HlGH
h.-.---.i1

) und (t). Excess overlappcd in blouse bark pat.

'nale bulging above dan and um much lcngth Whcn (his lnull appcurs in filting a cummcrcial
« hoch.
pallcrn. lt may bc (luc u) an unusually low busl line
in lhc nuxlel. ll i1 xhows up in a pauem (lrapcd on
Problom 23
a personal drcss lonn, lhc bunt padding may haw: bccn
placexl too high. m lhc modL-l nmy huvc worn difier-
OVER BUST AND SHOULDER BLADES a
USE 0F TOO LITTLE DARTING cm slyle ol brassicrc whcn lhe drcss lorm covcr was
fiued lrom (hat worn whilc fiuilng thc I n a s l c r pallcrn.
‘E.- the fit o} a blouse which pulls loo tightly See Figurcs 30a und b lor lowcring thc busl linc.
' - and shoulder blades, increase thc size I. Mark on lhe blousc lhc poim ol lhe busl and
Vin order retain the ease at the from
1o delermine how much more width is ncedcd lor
« it i: needcd. Letting o u t the side comlonable ease along the aclual busl linc.
incteases the width ol the blouse under
L’. Malte a paper copy ol lhc blousc lronl und slash
'

t does not revise the pattern shape in

the ease (o the curve o! the it from the waistline darl (o (hc poinl ol lhc shoulder
'
D m : pointing toward a body dar: (w:Figure 30b).
_v
'
1h und lenglh over (hat pan 3. Open lhe waislline ( l a r l to sprcad it a1 the poinl
ol (h:busl. This will parlially closc lhe shoulder dart.
f
[ollow the directions Re-mark the dans.

ms1
 7
r
‘

6x; n31] ggsnag the jstbcedfixre

dm purpm should"ibejße (mal '

tcrcorrect curves placed too the curve so tha-t die paucmi:

„Q

_»iüw»ioij_shöulfler’blades.

<

— (n)
; (b) (a) (n)

3:1‘.point
Altering blouse fmnt m fit a higher bust line. (a)
marked: (b) Blouse front slashed and
Fig. 32 (a) and (b). Dan im‘ a luw bust point Hans!
loshouldcr.
spread
‘fimfnshoulder seam to point of waistline dan.

Imporfance of Marlxing fhe Poinf of Busf und

A
*4 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 F‘
*

itramferrcd from one position to another. Figures 32a C.

and 33a show two patterns of the samc size, but on one vrmggu:
du: waistline dar: is marked for a high bust point, and 10110‘

an the other, [er a low bust poim. Notice the differ-

cnce in pancrn shape when the waistline dart is trans-
fcrred 1o a shoulder dart. (See Figures 32b and 33b.)
H34 the poim of the bust been marked too high for
Imv bun line, the width a: the low bust line would m (b)
bc inadequate when the darting was transferred
ohoulder. lt is not accurate simply to assume
ß

Fig. 33 (a) am! (b). Dar: Iota high busl puim traust: A.
"
mp point o1’ a stiwhcd dart is the lrue point of m shoulder.

218
 F I T T | N G

PART IV

FITTING PROBLEMS OF THE

SKIRT

fitting 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 difler 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 con-
Iactors in fiuing. since they too can change
'
';_ of a skirt. Keep in mind (hat the outward
"Üthe body lilt the crosswise grain. and there-
v tends to
jut out below these curves unlcss
'
da11: or ease to hold in enough lenglh and
t aatisfactorily at these points.
to the fitting of skirts is found in observ-
'
of the fabric and in knowing when the
f ‘gnin should be lifted and when dropped.
why leaming to drape skirts also pre-
»

3 so fit skirts. Review the discussion o! the

) the balanoe Iine for skirt
fitting (pages

4
. Problem n
* stmns OUT AT cemsn rnom

nun: for either o! several reasons. The

- u hat from hips to shoulders. or the
be [arge and protuberant.
: The figure leans back from hips to

a”ihn which stand: o u t at center Fig. 34 (a) and (b). Skirt alteration (or figurc which lcans
against the calf o! the leg in back back from hips to shoulders,
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
r-The slitt in lüge enough, but
the Incl o: the hips, am:
'
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.
s. Anclfärifie‘ im
ment a: thehip leye] apäi-e-‘pgh 13i:
_
.

hiptohem. _ y

0.1 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 äbtlomen
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
unter back between hip level and waistline.

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
die side seam. (See Figures 34c and d for change
in
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 hip
Iifts the crosswise grain at the cemer front on
out the emire
level, thereby shortening and swinging The
hem.
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
waist, together wilh additional
width across the larg-
front from hip
es: pan of the curve so (hat the skin line.
Ievel 1o hem can bang in a plumb
slash through the Center of the (b)
Figure 35b shows a along the
waistline dart to the hemline, and toanother
the side seam.
(rom the Center front (a)
.
hip level around the abdomen crosswise a: ce
Theo: Jlashes increase the width grain
lihs
Fig. 35 (a). Large abdomen
am} du: length a: the
center from. front.
widens and lengthens sk
a
as follows: Fig. 35 (b). Pauern alteration
T0 alter this skirl on a person, redrape between hip level and waistlinne.
the skin is tighl, the
l. Rip the side ncam. lf
220
— '

„
’
currme
Problem 2
UNDER m: HIPS IN BACK
(see Figure 36a)

Reason: The crosswise grain has not been low-

gh Irom the tlart at the sidt: back toward the

two-gore master pattern skirt, the crosswise

the back hip level should drop toward the
FITTING

the hip lcvel (scc Figurc 36b), Thc hip level line re-
mains constant am! the spread begins below it.
(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
in ordcr to provitle sonne flare at
' IIslightly
n
waistline durt and continuc through the hem in order
.»

the crosswisc threads along the hip level to spread the centcr antl side sections apart as much
‘‚ dropped as they approach the side seam, the as is needcd at the hip level (see Figures 36c and d).
'
threads at the center back, which should
dicularly to the floor. will cling against
Corrccl the hang of the skirt by slashing from
l poim ol the dart through the hem and trans-

u-
_ pan o! the dar: to width at the hem. This
the cupping i! the skirt is not too narrow at

---- ‘\

" ‚ -J-
‘

—I-

._.
u (c) (d)

Fig. 36 (c). Skirt slashcd and spread lrom hem to waist lor
hips prominent in back.

__
x.‚v„2.„1‚n.>;-J.x«-"

„i“
-—
-
FigJG (d). Skirt slashed and sprcad from hcm through
dart for hips prominent in back.

Both methods introducc case at the back where it i:

needed. Also see Figur: 35b for still another treat-
- ment, which -introduccs length and width - over the
-—.-.-.J curve
body a
by combining vertical slash with a hori-
zontal one at the hip level.
Since the dan at the waistline may be made
deeper
In
w? ways producing q.uite dilfcrent resulu. Iet u:
both Fnrst, to retain the same size a!
the Iup leuel, tnethods.
examrne
pwot the dart [rom in lower poim and

22l
 _ 56m2 (h:wäistiifirexgd‘
‚i9 G! the 1mm and spread the
vx
.

am, Fasan-mm._
L
< A i
“ a m
juta‘ Garant}
frdm wäist ta<häm. __
’

snü have a definite cufve on the side be- die hip level “a: the ‘ein
an
2,

'

ümen am! «hip line. so that aiskfiffitfwhich.fit“: ‘

‘ >

‘
add the necessary width to
(bis figure, hips often wfinkles hqriimltafl
itself (see Figure 36c). lt should be re- line, since the hip levd bifli 3k
. however, that the two-gore is unfiattering the hip Ievel of thefigure.
‚in ihis figun. since it does not flare from back to front
_’1.3! all 2nd such flare is needed
to counterbalance the
fröm back and the width from side
( r o n t to
t0 side. This type of skirt should therefore be avoided
by persons with figures this sort;
of
Note. A slight cupping under at the back may be
‚tnrrccted by raising the waistline at the center back
2s shown in Problem I, but not if the skirt
is notice-
ably tight across the hips.

(e)
.
Fig. 37 (a) Sway-backetl figure
causcs skirt to swing oul t
to skin a: side scams [or hips
„B i’ 86 (e)- Width added center back.
widciram pidetoside.
222
 FITT N6

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 figurc.
y-back is pronounced howewer, lhc Center
u die side seam line: will still n01
A hang per-
rly, and i: will be nccessar} l0 raisc ihe
grain along the hip lcxel lrom the ( e i n e r
4' ‘K
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:

'» n the side seam and raise thc back edge
u‘ from umil the C e n t e r back falls perpendicu-

xpin lhe back l0 lhc lronl a! the hip level in

«_rctain the correctcd balance belwecn back
and anchor lhe skirt securely t0 the founda-
‘
Fig.37 (b). Allcraliml lor skin lila! swings oul .1! bnck
w l. hcm line. w i l l ) side seams (hat swing u) (hc back.
the side seam from hip lo hcm. Fig‚ 37 (r). Allemann (u widcn hipliile and l0 corrcct back-
ward swing ol skin.
i‘ die scam from hip l0 waisl, Ieuing oul lhe
ancc on thc back as you smooth the excess Problem 4

_
SKIRT WHICH CUPS UNDER THE ABDOMEN
j- (he back waistline seam as far as the dan in (see Figure 38a)

-
"nahe up the amount which has been let o u t
'- seam into a
deeper dan.
the fiuing time. open the side seam from
lo lhe hip level. Lift the grain on ihe
l
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 hori-
nLap oul. die horizontal dar: which spreads
i
(a) Rmsun: 'l'hc (‘rosswisc grain has not been Iow-
ered 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 trans-
ferred up above the hip levcl, where i1 is taken up inlo
too large a waistlixie dart. Thc skirl has thc
appear-
ance o! being smallcr below lhe hips lhan abovc them.
To refil lhis on lhc pcrson, rip lhe side seam, lhc

dar! and thereby revises the side section

‘
« zum. die waisl dann, and lhe

neun (so: Figur: 37b).

upper
too narrow acmss the hip level:
‚mthchip level by letting o u t the
flifiaemaswcllasby nisingthe
'
‘lhtfinlerhacktofliesideaeum.
waistline from the side seam to lhe dart, and the waisl-
line dart. Drop lhe crosswise grain a! lhe from sidc
seam until the cemer front hangs perpendicular to
the floor. 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.

223
 D R E S S DESIGN‘
and the side man): are perpendiculu m’
Then slip the exeeu up au: o! alle f:
deepening the curve at the wainlinc.
Note. This simple alteration man die f
i: is not too exaggerated; otherwise u 1mm
rected according 1o the procedures given in '
In;
m -. '

Problem 5
SKIRT FLATIN FRONT AND IACK WITH 700;“ ‘

MUCH OUTWARD SWING AT SIDES .

(see Figures 39a and b)

Cf.
slant out too
(a) Reason: The side seams
lrom hip to hem. ‚

lf the side seam slants out too much, the slnin swi
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
»

After making this alteration, increase the hem circu

um

ference if necessary by slashing from the hem to

darts at the front and back and translerring somc’ v«._
the dar: to the hem width. For an example o!
mfi
(b) Ä
alteration, see Figure 38b.
(b) Reason: The waistline
ol the skirt is too I w f
Fig. 38 (a) . Skirt cups under
abdomen. When the waistline does n01 fit, it drops lower
the Center from. and back than at the sides. wheref.
translerred into wider skirt from

—
38 (b). P a n of dar:
Fig.
bip m hem. is supported by the hip bones. The crosswise grai:
at the hip level drops toward the center
and r’
the
T0 make (bis correction more simply, slash from
4

n’

toward the side seams. swinging lhe flare away

skirt is
hem 1o the Iowcr point of the dart while the the Center o u t toward the sides. This fault may
the
on lhe person, and spread the lower section umil corrected by laking up deeper darts or by laking
in u
to the floor. Con- it. „ß
Center from hangs perpendicular
muslin side seams at the waistline in order 1o tighten
trol lhe amount of the spread by inserting high c
(c) Reason: A figure with pronounced,
When the pattern for the skirt a
strips or gummed tape. section _'.
from is laid Hat, the spread lower partially on the side of the hip. A

curve on the
closes the waistline dart (see Figure 38b). Figures 39a and b show a (lecided
ol the hip‚ beginning just below the waislline.
a: the back.
h

(b) Reason: Hips prominent lilting the side‘ seam so that the crosswise grain n v
to the cause given for the fitting side.
This corresponds not drop enough lrom lhe cemer t0 lhe
fault in the skirt back discussed
in Problem 3. The ul the skirt l0 the * [
throws the Hare lrom the Center
below the
easc and flare which should fall and thehip
level at
backward of the figure. T0 correct this broad silhouette. 1
lo w
the Eton: is drawn to the back, w what the crosswise grain a! the side seam t0 allow thc
indicates extent this
swing of the side seams lront is the correct size, but
on the
to fall a1 the side lront instead of directly
has happened. The skirt the hack a v;
ll the outward swing is equal on both
lhe drawing back ol the
side seams pulls the fabric waistline ._ *

lront edges ol the side seams. rip the

the abdomen and over the thighs (see Fig-
tight under
ures 57b and c). crosswise
To correct this fault, lift lheumil lhe gram
_
at the
from the side lront to the side back
until the side seam
ll the skirt fils too
and let i! *
drops perpemlicular
to the l1
suugly. let out the side
seam l r

level cemer front

ccmer front on the hip
224
 F I T T I N6
_-...—_—_——
(I)
(b). S l i n bang: flat 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
A
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.
z
on the side seam where the hip
"ß "
up to a poim on the waist-
halfwiy between the cemer Eton;
erthe sich a: die side seam
(C)
Fig. 39 (c). Side seams lcngthencd lor a very curved side
hip.
in Figure 39a, but the silhouette still appears flat a!
the cemer irom and wide from side to side. To nar-
row 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 in-
crease 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
fromtheirontsideneamtothebackbetweenthehip
levelandthewtilhandmarktheaaanmflnnhtoi
euetogoinlothcwaiafline.
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 nun... .———-—.'——'2-—

SKIRT CUPPING BELOW THE HIPS ON THE

SIDE SEAM (see Figure 4Ia) 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
uräight malten the seam line longer than the area a——.a—.————c——w
directly in {vom and in back of the seam, and the
extra length sags, forming diagonal wrinkles. Figur: (b) (E) [

41b illustrates how the side seam should be ruled Fig.4l (b). Curved side «am ruletl straight { m m hip ü!
—
nraight from hip t0 hem if lhe skirt is too loose, and hem. if skirt ia too loose.
F’ 41c illustrates how it should be ruled from a FigAl (c). Curved side senm mled stmight fmm n I
L

Iow hipüne i! che skirt i: too tight. hipline. i! akirt i: tight ovcr thighs.
 FITTING

) Reason; Thc sidc scam i: tun sharply curved hip lcvcl is lost or ignored, the extra Icngth which
V

lhe waist lhe hip.

lo should bc rctaineti uhovc Ihc hip level drops bclow lhe
.. much Iength hmn waisl l0 hip
(lrops below hips, producirlg lhc curved seam line shown in Figure
_>'plevcl imo a sagging seum. This happens if 42a. To corrcct lhe direction of the seam Iine, rip thc
j seam is ( o 0 sharply curved m m ’ lhc hips l0 fit seam from lhe hip level to lhe hcm and raise lhe fronl
_ re. Since the e x t r a Icngth i: nut held up by crosswisc grain from lhc C e n t e r Irom t0 lhe side al

"'\v u o hip linc, il drops (Iown below the

hip level.
r diflicully ariscs i! lhc curved seam hom hip
. is stretchcd in handling. For Ihis rcason.
the hip level until thc side seam hangs perpendicu-
larly. Put the cxcess nn lhe Irom edge above lhe hip
levcl imo eusc, or lransfer i! I0 lhe waistline dar: as
7

’
_
stitching, und prtssillg o! lhc curvcd part of
ahould be donc wilh lhc utmost rare. (See
shown in Figurcs 63 and 64, Chapler 3 .
Ü- 63 and 64 in
Chapter 3 for the method of Problem 8
.
ing excess lengll) betwccn hip and waisl imo
'
line dart.) FRONT SIDE SEAM CURLED TOWARD THE BACK
NEAR THE HEMLINE
Problem 7
This occurs when lhe from edge of lhe side seam
- EDGE OF SIDE SEAM CURVED TOWARD has becn cascd onto thc back. In Figure 43 lhe from
E FRONT AND SAGS INTO DIAGONAL scaun was cascd m thc back I n c a r the lower
WRINKLES (see Figure 42a) edge of the
skin so (hat lhe labric just in from of thc seam is
langer than Ihc seam itself. and therefore sags, caus-
occurs when thc hip level crossmarking on zhe
ing lhc scam Iine 1o curl luward lhe back. Mark the
‘dge o! lhe sidc seam is dropped bclow lhe cor- poim where lhc seam begins m curl. Rip and re-pin
»
v
ing marking on the back edge. This happens lhis porlion o! lhc seam on thc person, sincc lhe error
ohcn
\'
on the lront than on thc back bccause the
usually eased to the back from hip l0 waisl-
Figur: 42b), and i! lhe crossmarking a! the

FigAS. Front side scams cascd to back near lowcr

Senm curln. cdge.
 Muss nassen
thun when the nkirt is
lying
'
*

In working with a slippery ctepe,

Üfifiwxflifie‘malle statt: higher, it will be more ac-
fgmnply indicate the position of the cm und
aodmüy re-pinning and basting with the skirt on
..
b

üble über: 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 ofl-grain, or if the model has
one 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 figure, causing the center front
line of the skirt to swing toward one side. The skirt
cannot bang correctly until it is recut with the grain
balanccd.
To halance the two sides of the skirt for a figure
with one hip higher than the other, let out the waist-
line scam allowance on the side of the higher hip
until thc crosewise grain at the hip level drops equally Fig. 44 (b). Crosswise threads must exactly manch on
"on the left and right sides of the skirt center line. and right sides of
C e n t e r (o produce balanced skirt lines.
Ich:

Problem I0
SKIRT PULLS TIGHT OVER HEAVY THIGHS

A narrow skirt cannot be adapted to a ligure wi u:

hcavy thighs, since the e x t r a width needed on |k
lower level exceeds the amoum needed along the In,’
_
o

line. And when a person sits, the lhighs round up o v

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 -

‘m
leg. lnstead, a flare must be introduced in front
a’
Wkkkää“ the side seann. See Figure 45b [ o r the pattern a l l

\\\ tion. Slash the skirl front [rom lhe hem l0 lhe waist
line betwecn thc waist dan and the side seam so
the added flare will fall over the fullest part of
thigh. When altering (luring the fitting, drop
'.\ f
crosswisc grain at the waistlinc from the dar! 1.0
side sealn, and then re-pin thc side sealu. Thls
f] 44 (a). Crouwise grain i5 n01 balanccd on lcft and only incrcases the width but throws flare over
da: oidea o! cenwr ( m m . Skirt tilu sidcwisc. thighs (sce Figure 45a).
 FITTING

Fignis (b). Pallcrrl nllcralion (or a skirl (igh! ovcr

- Skin (or figure wun heavy lhighs necds somc
3 (00
7 v
hip Ievel. Iurgc lhighs.

_
PART V

FITTING PROBLEMS OF THE

SLEEVE
'
_lhe master panern blouse and skirl, lt also conccals lhe bulge of a fleshy upper arm, gives
„_
lf errors previously overlooked show the elfcct o! flauening wing-like shoulder blades. and
‚ postpone pinning in the sleeve umil makes less noticeablc a large bust line. Fashions vary
‘been oonected. 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
[arm into the sleeve. re-checl lhe below the center of the armpit whcn the arm i: ex-
an the blouse. Determine the tended, which is the samc as 1/, inch below the armpit
'
»
a: the shoulder seam. By when the ann is down. Viewed from above, the arm-
khponibletocan-ythelineof scye Iine should appear to be a straight continuous
kann! the normal shoulder tip line over the lop of the shoulder, 2nd viewed { m m
intenected by n venial the center from and cemer back it should look like a
ehe upper arm. A nnight line almost parallel to the Center of the figure
in { m m o! 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
57 the chest actually slopes in slightly
q,’ ü! Wink at the point whete the body and arm
‘Ihevnunhole must not fit so closely under the
fiflfl. o!‘ the seam allowance be so wide at the side
“im "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
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 difliculties involving the blouse armscye, see
fitting problems of the ArmscyäArea, 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 fitting it into Fig. 46. Step l —
Pin slcevc at shoulder seam.

the blouse. (See sleeve measurements, Chapter 4 ‚

pagts 113-114.) The armscye line of the sleeve should 2. Pin fhe sleeve af fhe underarm seam
be I t0 2 inches longer than the armhole of the blouse
in Order to fit smoothly over the outward curve of the W ith the arm of the model held straight oul a: the I’
side, the fitter should pin the underarm seam of the‘;
upper a m l . Clip the sleeve armscye seam allowance
a: the back and from where the outward curve over sleeve to the underarm seam of the blouse. The twai
match if the blouse underarm seam dividcs the front-«r
the top meets the inward curve under the arm.
and back equally at the scye line (see Figure 47).
When having a sleeve pinned into a dress‚ stand in
Irom of a mirror so that the fitter 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 fit in many diflerent positions. Slip the
arm into the sleeve afler checking it carefully to see
that it is the correct one for the arm.

PINNING INVTHE SLEEVE

I. Pin the sloevo fo the dress cf fhe shoulder seam Iine

Ordinarily the cemer of the sleeve meets the shoulder
seam or in 1At0 % inch in front of it. T0 (leterminc
the exact position, adjusl the slecve until the length-
wise grain line from the shouldgr t0 th? clbow hangs
Perpendicular t0 the floor (scc FI g u r c 4b). l-"ig. 47. Slcp 2 —
l‘in 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
’g column, and pin i: in lhis posilion,
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

5. Pin fhe s|eove along H19 bock anderem! es in sfop 4

(see Figure SO)

V
- froh? undonnn
poinu established, begin a con-

Athe sleeve seam allow-

h
agmbole neun, pin i:
1 mm around

—
H3.50. Sczp 5 Pin oleevc along batk undcnm. (Pinning
den; cop inalso indicated.)
(y
 ‚ J
J

Chocking fhe Slicvoifqo}

After pinning the sleeve into the blouse m8, i.
li petptndicular to the floor,
„_.
ing it for appearance when the arm: bang: a1 1h

_
islevel a“: the girth, and that
immun ofiease ieft in the sleeve for
_ _ the { m m and back of the shoulder tip.
. t0 ease the top curve for at least l to
side of the shoulder seam because
_ ‚
across the top, but work ease along
sections of the curvc at the side from
i
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 u
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

Bad: (See Figures 50 and 51).
enough length and width to bend the arm withou
tightness at the elbow or strain from the back of tltaÄ
armscye to the elbow point. v’
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 Ä
blouse and sleeve do not match, re-mark the 0 m : ;
which seems to be ofl center at the underarm seam l
and then trace a new line without changing the fitq
(See directions for moving the shoulder seam position. 1;
page 206.)
The sleeve girth is used to check the balance or "sei."
'
A‘!

of the sleeve just as the ‘scye line is used in the blouse

i
and the hip level line in the skirt.
Fig. 51. Step P in sleeve over the top.
Problem I
7. Pin {h9 mit? ploclef
CROSSWISE GRAIN AT GIRTH PULLED UP AT
When pinning the sleeve armscye imo the dress‚ CENTER 7

in mind (hat lifting or lowering the crosswise

of the sleeve. If you remember
grain mntrols the hangin ln Figure 52a the sleeve has diagonal wrinkles point-
(hat a sleeve well set hangs in a smooth rounded and from
to decide whether to ing from the shoulder seam toward the back
colunm, you will find it easier of the armhole line. The crosswise grain over the lop
or down. If there are
V

345mg (h: cromvisc grain upfrom the girth of thc of the arm should be levcl in a normal set-in sleeve.
o
wrinkles pointing When it rises at the Center. lhis indicates that the i
the cap is too shorl an?!
„h“, w ammp of the cap, sleeve cap is too short. 'l’o correct this fault. let out
be pulled down at the top unul
ß

(h: ohne should ’ the seam allowance over the lop half of the sleeve“?
du‘‘p l k! disa ar. of (h: '

armscye until the crosswise grain at the Center

zaenuconsiggprzd the fault of the sleeve
paar‘?!
232
 F I T T I NG

for increasing cap height.) For a large alteration of

this (ype, changc thc paucrn according to lhc pro-
cedure 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 quar-
tcr divisions (scc Cllaplel’ 4 ‚ pages l‘.’.‘l-l25).

Problem 2
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 el-
bow lur um: of lhe followin br reasons.
Ä ‚Ö
f Flg. 52 (a). Slecvc cap Es m0 shon. (a) A prominent shoulder ball needs more height
on thc lronl ol thc slccvc cap than at any other point.
l‘ el. lf the seam allowance a! the top of the ln lhc normal dran, lhe highesl poim is a1 the center

i
—
nartow to
tlle arm
lel out. rip lhe armhole seam
1o a point abom 2 inches below
i: u seam, and lower the undcrarm curve o!
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.

u‘
-
l.’ mmcye (o increase lhe heighl of (h8 cap.
fault in this second way, however, makes
the cap nanower. (See Figures 52b and c
lel out lhc slccvc armscye scam allowance in front of
the shouldcr seum unlll the cap fils over the promi-
nent bonc and thc grain seules down t0 a level line
a! lhe girth (sec Figure 53b).
n " n

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. l

b
lioflltErS tlirownläaök

m äxesleeve soothat the length-

dicülii- to the floor, move the
-„jln„Eront of the shoulder seam.
im! the echter line of the sleeve

släevämay have been carelessly cut so

l

l.
the crosswise
J

ifie-gilfi line does not follow

j

grain.
pbasible correction is to re-cut it.

7A

Problem 3 (a) (b)

ÖROSSWISE GRAIN AT GIRTH PULLED UP AT

A

Fig. 54 (a). Back of sleeve cap is short: (b) Addition

made v"
BACK OF ARMSCYE to cap height in back of center line of sleeve for square erect
shoulders.
The sleeve shown in Figure 54a has the lengthwise
to elbow for one
grain line tilted back from shoulder Problem 4
of the following reasons.
SLEEVE DRAWS ACROSS UPPER ARM WHEN
at the top back
(a) lf the sleeve cap is too short ARM |5 RAISED (see Flgure 55a)
for equarc, erect shoulders, it pulls in the opposile
in Problem 2. Let out too low, sel. the
way from the one described (a) ll Lhe armscye of the blouse is

.
line
the seam allowance on the cap behind the cemer armscye line ol" the sleeve higher at the umlerann
o!
the
of the sleeve until the grain is level at girth (see the blouse.
F’131m: 54b). (b) lf the sleeve cap is too long
the cap width
line of the sleeve is will bind across the arm.
(b) If the Center lengthwisc it
rather than the sleeve girth
wo iar forward at the top of the armhole, move sports dresses and
.
when it is lifted. For this reason
back until thc girth line is level. shirts have short sleeve caps. (See the Sleeve with f
and flat chest require a longer Lower-Than-Normal Cap Heighl, Chapler 4 pages ‚N .
(c) Round shoulders 125-127 .) To correcl lhis fault, increase the width of i
armhole an the back of the blouse than a:
the front.
a! i?
is per- the cap by letling out the armscye seum allowance
To sct thc sleeve so that thc lengthwise grain
'

lessen—
line of the lhe sides ol the cap, und Llecrease lhe height by
ndicular (o the floor, move the center curve. thus de- f
sleeve behind thc shoulder scam.
The height of the ing lhe (lepth ol the sleeve underarnl -
zmn (sec Figure
in { m m of the Center line may then
need to be creasinlg the sealn ullowancc under the
cap 55b). J
is l/‚ t0 1/3 inch ( o 0
of the sleeve may have been cut (c) ll" lhe girth ol" the sleeve
(d) The girth line result that lt will slant in the small, let out the undcrurun seums [ m m ginh t0 elbow. o.
„g au: grain, with the described in Problem 2. Bul for a largc incrmse, rctlrall thc pauem
wnh a
oppogiu: way from thc sleeve ncw mcasurclneut.
girth
u w, „ a n ab: sleeve.
234
 F I T T I NG

Problem 6
PULL5
SLEEVE PULLS AT BACK CF ARMSCYE WHEN
ELBOW IS BENT (see Figure 56a)

t o o deeply hollowed
annscye may be too
(a) The sleevc armscye
oul zu
a1 the
Lhe buck,
back, lhus shortening the length from the
back armscye L0
t0 the elbow poim. out the
point. lf so, let oul
seam allowance on the back armscyc t0
lo add necessary
(see Figure 56b).
Iength (See
length
(b) The elbow dar: be either
dart may bc high or too
cither t o o high too
low l0 provide ease exactly lhe point where the
a: the
exaclly at lhe
the posilion
elbow bends. H so, change lhe
clbow lhe dart.
position of Lhe
(c) The elbow dar! loo small t0 provide
nlay be too
da11 may
lcngll}
cnough lcnglh Im"
lor lhe bcnt
bcnl elbow. H so, slasl}
H‘ slush from
lhc clbow (laut m Lhc
(lau u) o1’ thc
lhc front edgc o!" slcevc, and
lhc slceve,
l0 incrcasc
sprcud 1o
splfäld incrcnsc thc ol thc
lhc sizc o1 dart (sce Figure
lhc dnrt l5igure 56c).
clbow circulnlcleaxcc
H‘lhc clboxs’
(d) lf is [ U0 0 small
cinuunlcrexxu- i5 1o
[o allow
(b)
lnr Hcxing lhc zum, incrcase it a liule by letting out
Im‘ Hexing‘
unclenunu scam
lhc underunn scznn ullowance.
acmss upper arm WIICII
Slceve draws across
55 (a). Sleeve whcnn arm is
Dotted lines show armscye seam
; (b) Doued nur n)u; in-
scam lct uuL
decrease cap hcight.
width and to dccreasc
cap widlh
Problem
Prob|em 5
E PULLS WHEN ARM IS BROUGHT FORWARD
VE

) lf the back lower armscyc lhe sleevc and that

nf the
annscyc ol (hat
311ee dress are hollowed out too deeply, rip thc Lhc
ä"
ilong
'
along the back of lhc
the armscye. Havc the modelInotlel
er arm forward and re-pin the sleeve, leuing
her letting
e seam allowance on both lhe
the the blouse and lhethe
o

lf the blouse armscye is too low,

71i set the sleevc
sleeve
a:t the underann.
underarm.
III the sleeve girth is too narrow, remedy (bis
[hin (a)
y following dircctions in (c) of Problem 4
{ollowing lhe dircclionls Fig. 56 (a). Slccvc pulls zu
a1 the
Lhe back nf
of Lhc
thc armscye whcn
lhc clbow is bcnt.
lhe c-lbow bcm.
f wrinkles
Tinkles show only in thc (hc armscye of the
i“ k. not of the sleeve, the armscye of the
toow!small for the back armhole of the
ü] Ior dress.
lhe (lress. Problem 7
‘
size of the sleeve armscye by letting
letling out ELBOW OF SLEEVE DRAWS WHEN ARM IS BENT
WpfI the sleeve underarm seam. The let-
sIceve underarm AND SLEEVE PULLS u?
UP FROM WRIST
anäven
even amount from girth to elbow. For
ginh t0
tfiod o!f making this alteration.
alteration, increasing
incrcasing Problem 5 (Ü).
PTOIÜCI" (b). (C),
(f), (d) deals with
wich this fitting
iääshing; and spreading, see pages 123-125. diflicully.
difficulty.
[0 (J1
 Add Length
at
Elbow

(b)

x}
A back armscye that i: too deeply curved
.
Fig. 56 (c) Dar: size increased by slashing
and spreadi
516(11); t0 the elbow. from the elbow dart to the front edge.
ühorgens the sleeve from the armscye

Problem B
_._I_.-„u.-A5

SLEEVE SEAM FROM ELBOW

T0 WR|ST TWISTS
TOWARD THUMB WHEN ARM |5 BENT (see Figure 57)

on the flat
The Irom seam line, as i: would appear
in too much toward the center
pattem, probably slopeselbow t0 the wrist. The front
o! the sleeve from 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 of the palm. Correct
vom i: on a line with the ccnter the front seam
(he seam direction by straightening back seam the thumb: edgc of scam
Fig. 57. Seam twists toward
the edge [ront
and making
edge o! the pattern is 100 bias.
"more bias.

236
 F I TTTTII 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)

-
. )
Fa)When this happens either the elbow dar: is t o o
"y lor the back seam edge is [t o0o0 sharply biased, since
‚size of the
‘Üsize dart and the degree of the bias on the
lhe dar:
5 edge of the seam must correspond if the seam
'

held a:
t0 be held
is to cemer of
at the Center ol the palm. (See
Gran
i
r ysis of Master One-Piece Sleeve‚ 118-1l9.)
Sleeve, pages 118-119.)
dar: does not point
)) If the dart poim t0 to the elbow‚
elbow, make
o so in order t0 to have the back part of the sleeve
‚n elbow to wrist equal the length of (hat
V
[hat part of
\
when bent.
bem. l|
I
l|
lI
l| I
I|
lI
l
I|
l|
|I
'-——
I..- /

Fig. 59. Ginh increased. without increasing

Girth increased, incrcasing width of cap.
68. Seam twists toward the liule
Hule finger; elbow dar: dan is
ImallI to bring back seam edge in 1o
t0 the C e n t e r of the
center
armscye l0 equal the Original cap height. Figures 60a
to eqtlal
and b show a slceve slashcd
slashed on the back quarter divi-
sion and through the elbow dart. The elbow dart is
Problem I0 then spread in order to allow thc the back part of lhe
the
oven MUSCLE AT BACK OF
VEDRAWS OVER or- sleeve to widen and lengthen.
flvs
ARM NEAR GIRTH uns
G|RTH LINE (b) lfll lhe
the lower part of ol the sleeve armscye line is
Loo straight, the slceve
too sleeve falls tight over the large muscle

.
‚ ÜAlarge upper arm ohen often requires extra width a: (he
at the arm. Figure 61a
the back of (hc 6la shows that an in-
h over the back girth muscle but no extra
v; h, ward arc swings fullness into imo the area below it whcn
when
the baclt armscye line. Figure 59 shows a
_ ‘liback
_ {h the arc is joined to a straighter
straightcr line. When this sleeve
ad and nd spread to increase girth width is set into the armhole of the dress, thc the area falling
"
cap width. Slash the sleeve along below the armscye seam between the poims X and X
wise
i m : grain line from girth to top of will actually bc
be fuller than Lhe
the seam line. Figure 61b
b
i 2o
' yvrist. Slash along the girth line
ö wrist. shows (hat a slraight
straight line forccs
forces no fullness to fall
mally a: the center the
Center to allow thc below it. This sleeve will be approximately as tight
5ehe
i’
1in6 without changing
line in the area falling below Lhe the points
poims X and X as the
Kap. Redraw the top of thc seam line.

237
 _‘F’. r ‘b’

‚1-3g.AAso;(q)-.
"
Width inaeasea‘ for the elbow arid back upper
9E
armscye retnains unchanged.
GOI-(ä). ‘Sleeve folded. The {old will not fall on the
V

lengthwise thread.

a r t Reduced

Grain

(a)

but small elbow-

curve on sleeve m11. Fig. 62. Alteration for arm wich large girth
pm5| (a) und (b). Eflect of armscye
neu below armscyc.
curve (x-x) when stretched out
1755,51 (a). An inward i:
toten fullneu into the area below (xi-xi).
An almon straight line (x-x) forces no full-
1:58 51 (b).
neu w hang benow n (ad-xi)-
238
„.444.

„u.
 F I T T I N G

Problem IIII ProbIem I2

VEFALLS IN LOOSE FOLDS AT FRONT OF SLEEVE FALLS IN HORIZONTAL WRINKLES UNDER
ELBOW THE ARM JUST BELOW ARMSCYE LINE WHEN
IS DOWN (see Figures 64a and b)
THE ARM |5
an arm is Iarge amund
‚an lhe girth but 5mal]
around Lhe small around
‘glbow,bow, a sleeve may fit the ginh girth correctly but be II the sIec-m
lt‘ Lhe sleevc cup than the armhole of the
cap is shorter Lhan
n“ to
{loose t0 fit Lrimly
trimly from the eIbow elbow 1o the wrist. bIouse Irom the chest m
blouse from Lhc underann
u) thc seam, the excess
underarm seam,
f nlethod Ior reducing lhe
e 63 shows the method widlh of
the width underarm scam
Iength on thc underarnl
length scanl of lhe
the sleeve produces
V’I
n! quarter of
onl sIeeve. Slash
Lhe slecve.
oI’ Lhc SIash verlically
vertically on the bIousing zu
blousing underarm. Some e x t r a length
the underann.
al Lhe Iength on Lhe
lhe
‚
quarter division Irom
(Iivision fronl the wrist
wrisl t0 the armscye sIeeve underarm is needed for
sleeve Ior raising thelhe arm, espe-

„_
_.-

‘in
gain
gain on
o the Imnt
this division
front seam edgc.
horizonlaIIy
horizontally
edge. Spread the
‚n: quarter division Iine in order to Iap out
on the eIbow
lhe eIbow slash
out. ver-
cially
excessivc, it
excessive,
und
horizontal wrinkles aL the
i: shows as Iwrizontal
and back just below thc lhe armpit.
armpil. To
T0 correct
bIousing is
blouses. But if the blousing
(ightly fiued blouses.
ciaIIy in lighlly
front
Lhe from
this diffi-
f
‘I
the excess width
Widlh in the Irom half of the sleeve
Iinc. Correcl
sIeeve cully, rcclucc
cull), Lmderarnl seam length,
rcducc lhc underarnx Ienglh, bulbut not
nol
and
2nd below the Lhe eIbow Iine. Correct lhc
the Iower cnough
enough to
t0 muke
Inake it uncounforlable
UIICOIIIIOTIHDIC (o raise lhe arm.
E
indicated. Notice (hat that any change in the slope
underarm seam of Lhe the sleeve must be accom- (Mr Ior correcting
See Figurc 64v
Xolc. Scc
NUN’. thc reverse of
corrccting lhe
‘kann by an alteration of the armscye curve. lhis problcnn.
this problcnn, 100
loo IitlIc
Iinlc underarm
underarln Ienglh.
Iength.

(C)

145.64 (a). Position {for

I-ig.64 lening out or taking up undey.
o r Ieuing under.
arm Iength on sleeve and blouse.
Fig. 64 (b). Slecve
Sleeve with too much
much underarm Iength
length for thc
the
sei-in sleeve.
normal sek-in
Fig. 64 (c) Afteration
Alteration of
o! underarm length.
 -.. „
„fit! im„Fa: „.‚„:_„-..:
V

»‚„a,.

u umslope on the { m m is-nor ummag ‘äfläfixeihe [W

hielt. the {vom atind back girthvcomers will "nogmatch

wen» the sleeve is Eolded uhless thertomers fare fmsced
tdgether, and this causes the sleevg t0 twist. ‘Figur:
66a Shows d slceve with greater slope anVtlie bälclithan
0a the Eton: and Figures 66b and c shnw what hap-
pens when this sleeve is folded. Compare l-‘igm-e 66d. I
which illustrates a folded släeve with the same sIope on I
Incl and {vom underarm seam edges. Remove a l
n
den: which twists and check it for accuracy oi cut i
according to the directions on pages 118-119.
1

Fig. 65. Sleeve miss [ m m nrmpit 1o elbow.

lw”,

„mal?“

(c)
(b)
o! 58d
seam Iines are mismatchcd. (b) . Girlh COTHET-‘l {an m meet, because slopes
‘m ‘mm and back 1o manch. (d). Folded
758-56 (a) ' 31°?“ do not match. (W Slecve twisls whcn back and (mm.girth comers arc [orced
am! ( m m wam lines
oleeve with correct Ilope. 240
 FITT I N G

_
i Problem I4
l4 Problem
Prob|em |6
I6

OF SLEEVE UNCOMFORTABLY H|GH

SCYE 0F HIGH SLEEVE TOO LARGE AT WR|ST
WRIST
n)’,

size.
e binding is due to the blouse armhole size, T0 reducc the wristwrisl size, pin out the excess on the
ng
g the Armscye Area of the blouse‚
blouse, pages 208- the seam only. Remove the sleeve and
back edge o!" 111e
line against the front from {rom elbow t0 to
ü

fold the back

wrist. Slantixmg
Slanting the back edge more intensely makes
from am
it slide above the front
i: {hat a new
a: the wrist line, so (hat
g e fhe sleeve armscye:
rrge the elbow dart
wrist line must be marked. lncrease
tout the seam allowance over the top curve t0 take up Lhc
(o thc e x t r a length on the back edge.
o the width and height of the cap. measurement, reverse this pro-
T0 enlarge the wrist measurement.
‘*tout
tlout the underarm sleeve seam to increase the
“du”?
cedure. See Figure 67 f0‘
5°C Figme for both Chimges-
changes.
lenglh along the underarm curve, but do this
'
length
1h: underarm curve of the sleeve is too shon
-the l
short
derarm curve of the blouse.
nderarm blouse.
wilh wider ginh and
redraft the sleeve with
l

ther
(her
p,p, or slash and spread the pattern.

I5
Problem |5
‘E o;
E ARMSCYE EXCEEDING LENGTH OF
uss
USE ARMHOLE m: USUAL
BEYOND THE
T0 2 INCHES
0| TO

Neun
fho blouso
H10 armscye (see fiHing of armscye
ges 208-2|2).
:

- «w‘ihn
’

fho sleeve
4
sloovo armscye
armscyo by:

-
v
pening
r edge of the sleeve cap.
thc sides
ning the seam allowance along the

pg the seam allowance of the under-

pening under
1h:aleeve
fithe
»
sleeve girth is too large.

ßting
'
with a narrower girth and
"fing the sleeve wich
Tharrower cap.

ich: girth measuremem

measurement exceeds the elbow
by more mm
a
than the usual 2 inches, the
wide and too
thc
willghave
Aue very cap large Fig. 67. Dotted
Doued section is pivoted back to reducc
reduce dart
dar: and
" wrist, forward to increase dar: and narrow wrist.
Wider! Wrist.
widen
Marking fhe Balance Lines (see Figure 68)
_—After fitting 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 sec-
0nd 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
(o 9 inches below the waist, and adjust it at the
center
front, Center back, and sides until it is level. (See
Pencil
marking the hip level. Chapterl page 8 .)
the upper edge of the tape. lf special darting is re-
242
quired for prominent 5111p h?
All marking of balgnce
D a ‘
a change of grain are xnäde ät
efnuw 4
til a second fitting ifeiimpöriant‘ alte ä“
fi
_
_L 4
‘L
y
A
Making Alferafions in fhe Manier Paifern andRe-cbech
e
fhe Dress Form _
’
‚ '
Take 0E the mastei‘ pattem and mari all a l t
tions indicated at. the fitting. lf therc are man): impq
t a n t changes, duplicate them on the opposite half .
prepare the garment for a second fitting. This
usually not necessary when it has been carefu ”
draped on a well padded personal form.
_
lf the master pattern did not fit 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 fitted pattern. If 1h‘
fitted master pattern fits the dress form, a review o
the changes that were made during the fitting 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 flat pattern pieces of the blouse
skirt, and sleeve.
Mark and measure the basic lines on the pattern
pieces as shown on the following charts.
 FI
F TTTIINNG
IT G

Fig. 68. The marking of balance lines.

 DRESSDESIGN.„
MASTER PATTERN MEASUREMENTS

BLOUSE ;
I. Shouldsr soam (fronf)
Esse on Bock . ...
WIDTHS
.. .. ....
....
.
.
I. Conhr_— bes: cf noch 9o «am
Lznems

........... u
’
L,

___ ______
Conior hnck
2. Basic neckline ...... .... . (total) c°"*" “w” ' ' ' ' ‘ ' ' ' ‘ ‘ v '
5
”
Q; ‚o 9 n d “ , 2. Shoulder soamjas‘ noch) fo waisi
‘
C.F. fo shou|der . . . . . .... . Fmnf ' ' ' ' ' ' ' ‘ ' ' ' ' '
Bacl:.... .........
3‘ ch.ü(3„d°wn oncF) ‘ ' ' ' ‘ ' ' ‘ ' ‘ 3. Underarm seam . . . . . . . . . . .
4. Upper becl (4" down C.B.) . . .. . ..
_
4. Scye Iine fo upper edge cf blouso
5. e circumference .
sqc_a_ *0 ‘ade “ a m
Cf. ‚o sich „ a m . .
_ ________
.. .
. . _
. . . . . (fofa|)
__
. .
Bad‘ c‘ B°°k_"“k h n" ' '
Shoulder af nock fo scye
Shoulder a? armscyo fo scye
Fronf- C. F. neck fo scye
....
. . . .
......
' ' '

6. Bus‘? circumference . . .
. . . . . . (fofal) . .. .
C.F. fo side seam ' '

7. Weist circumference . . . . . . . . . (fofal)

Shoulder a? necl f0 scye
Shoulder af armscye fo scye
5. Armscye Iengfh . . . . . . .
. . . .
. . . . (inkl) ‚
C.F.fosidesearn......... Back.............
C.B.fosideseam......... Fronf.............

a|ouse 935k Blouse Front

JJW
T M
I.’

ä-
Upper

>

5 g5
‘.3
3'
g S"
. f"
m. c
v a
O
i}
ä
ä’
I!

v ‘ 3

\ {V V

244
 F
F I
| TT TT II NN G

MASTER PATTERN MEASU REMENTS

SKIRT

WIDTHS LENGTHS
"sfline circumference . . .
nisfline . . . . . (fofal) I. Waisf fo hem
‚B. fo side seam . . . . . . . . . Cenfer back .
Ä

‘‚C.B. Center
C.F. f0 side seam . . . .
‚F. fo . . . . . Center fronf .
Cenier
p Ievel circumference (falten over largesf Side seam .
line) . . . . . .
rf of hip Iine) . . . . . (fofal)
(fatal)
C3.. i0f0 side seam . . . . . . . . . level
{o hip Ievel
2. Waisf +0
.F. fo side seam . . . .
CF. . . . . . Cenier back .
Cenfer
im sweep . . . . . . . . . . . . (fofal)
(ich!) Center fronf .
Cenfer
C3.. +0fo side seam . . . . . . . . . Side seam .
.
C.F. foio side seam

Skirt Front
Skirt Back
‘
L L) 5 ..

[ L e v e l
{ W

"O
"d
 ight
He
Cap

Elbow l
Len

Underarm

_———
Wrlst

246
 lthough this chuptcr, on thc (lesignEIIg
‘Although ol collars
clcsigning ol" Break is i5 thc puint whcrc the
lllc point thc lupel begins t0 lold
to fold
necklincs, is thc last t0
d necklines, (lcul with busic cuts, lt
to dcul it hus buck from fronn Lhe the cdgc
cdgt- ol
ol" thc gunncnt. und
und break-line
been placcd becutxsc its importance
pluccd last becuuse inuportuncc is least;
lcust; rclcrs to thc lold-linc luld-linc of ol thc lapel lapcl und the tuilorcdtailorcd
becausc of
rather because ol the difhculty
(lifhculty ol ul thc subjcct. TheThc collur
kline or collur acts us u buckground lor the luce, lucc, ( l o l l u r s urc (lussilictl
Collurs uccording to their
(lussillcd Mcording thcil‘ various
should therelore
therefore bc considercd
C0llSl(lCI'C(l the most
nlost important
iunportunt churuacristics
Charucleristics ——
— w idth, shupc ol"
width, outsidc cdgc, neck-
ol‘ outside

.
1 . of the entire COSlUmC. sllould bc givcn curc-
costuxnc. lt should lhc most
line shupe, und roll. The inlportunt ol these
unost importunt
v;thought
lhought both {rom lrom thc point of vicw of lushiorl
ol lushion clluructcristics
(‘llill’zlCtCl'l5llC5 i5 i» thc wuy thc collur rolls lrtnn neck-
lrmn the neck—
g of ol individuul becolningness,
becunningncss, und should slmuld always
ulwuys linc cdgc, und this thi» is lurgely (lClCTHllHCd by the rcla—
lurgcly (lctcrxnincd rela-
an integral part
purt olof the COSllllIlC.
costmnc. tionship ol‘ ol" thc nccklixxc cdgc ol thc collur to
the nccklinc t0 the ncck-
A
n this chapter, puttcrns Im" the busic
lor thc lmslc typcs of ncck-
Iwck- line ol" ol’ thc gunncnt. For F01‘ instunce, if il" the
thc collar neck-
and collars are develupctl
dcvclopcd both through druping (lruping linc hus thc sumc ( ‘uurrvv c us thc ganncnt necklinc, it
lhc gunnent
lhrough the Hat
through llat puttcrn blocking mcthod. ln u lies llut; il il" thc ncckline is lcss curvcd (or evcn
the collur Ilccklnme even
Gases, where ucctxrucy
cases, ucctlrucy is of prinnury ixnpurtunce,
impnrtutlce, cunvcx )it
convcx ) i t mlls; und il" thc lmcklinc is more in.
lllC collur neckline in-
tdirections
directions are given. ()f thrce methods,
()[thc three mcthods, drap- wurdly (("urvcd u n c d (or moremorc concave)
concuve) it ripples. lt is
olfers the most opportunity
offers npportunity for lor creuting Original
originul essentiul, thcn, Ihm, tu u) think of thc the collur
collar roll as rcsulting
\ ‚ but becutnsc
becuusc n0 no purt ol" thc
"sion of fit than thc
the dress
(lress requircs nmrc
the neckline, it is cssential
morc lroxn thc rclutionship ol
lrom
—
the two shupcd lincs which
ol" thc
cssentiul that ure joincd nccklinc of
the necklinc ol the garment und and that ol of
dress
dress form necklinc be paddcd pucldctl und shaped to thc collar.
collur.
licate your own precisely.
d:
lf u collurcullur is not cnlirely Hat, its width also inllu-
not cntirely
i"
enccs thc hcight ol" ol thc roll. That 'I‘hat is, thc the stand in-
RS crcuses as
crczlses the collar widcns. A collur lluttcns out until
21s thc
in
it finds im its own Circumlcrence
circumlcrencc on the body. For ex-
me explanation
‘y employed in
here o!
ol the terminology com-
discussions of collars will save
unnplc, il’
zmnplc, il its circumlcrcncc
necklinle is only us
necklme
circumlcrcrlcc 2 inches
a5 grcut as the
inchcs lrom the thc basic
circuxrllcrencc l
body circunllerencc
hody
'
'tion in the [ollowing
lollowing problems. The following inch from thc basic busic nccklinc,
ncckline, thcrc is thut that e x t r a inch
e principal terms used: of collar width to go into a soft roll around the neck-
ol
'
le-line denotes the frce outsidc
outside edge of the collar line, giving the collar ua 1/2 l/_‚ inch stand. A straight struight strip
‘

poscd t0 to the neckline edge sewed to the garmcnt.

garment.
scwed to the basic neckline produces a stand one-half
its width, since its circumlercnce at the outside
d refers
rclers to the height of the collar roll, usually edge
is the same as that ol the basic ncckline. neckline. A concavc
nount the collar rises above the basic neckline to collar neckline providcs a greater circumlerence
is attached. lt is (hat part of the collar which
lis circumference on
l

the outslde edge of the collar, and stands less than

from the neckline to the roll-line.
onc-half its width, width‚ since the outside cdge cdgc of the collar
or fold
x01‘ is the tuming line of the collar along slides out on the shoulders {arthcr
larthcr from the basic
ot the stand.
vovt neckline. As the collar neckline takes on a more in-
necklixle.
 . DRE
ward curve, the circumference oI: the outside edgein.
s:
94mg the netkline; nach an "fgigg
#751895.
and therelore the proportion of ü; widgh um ure l4. page 25}, hat: iqldqgqg»_grgig
goes l n t o the stand decmases.
I

the circumierenceÜiofithe m51: 5

T“? Imeness or tighlness of the coIIar ‘along '

easy „toll thax Amndiiaaüqiärefitpm. fixe

1..
mll-lnne 1s important Iactor in determining the rolled Peter Pan Collär, Figurefigfl, pggf255‚
anothef
the collar style. Smce the upper pan of um„ d ; i, By learning to usc thethree types of lings; wa
smaller than the base, a close fitting roll-line must be concave, and convex, for ceIIar necklines, you an a —.V

the
san_1e length
as the basic neckline or even shorter, sign an infinite vaxiety o! collars adjusting 131176
and thls can be achieved only by a straight line or a the right degree or conibining ‘line difcctions ‘m.
curve on the neckline. Figure 68, page 272, you produce thc exact effcct you wish. In all co‘
«
convex fit on the model
b

showmg a diagram of a wide tailored collar with a designing, check the by using (h:
reverse curve‚ gives a graphic explanation of the re- entire collar, not one half. Thc pull across the
lationship between Lhe shape of the neckline and the of the neck by the opposite side vis essential in deterf
length ol’ the fold-line. A collar with an inward curve mining the fold-line of the collar.’

PART I

DRAFTING AND FLAT

PATTERN DESIGN

In this chapter, we shall consider the drafting and

flat pattem designing o! collars and necklines before
we discuss the relevant draping procedures. This is
done because the subtle modifications achieved by
than precede, the
draping Iogically follow, rather
drafling process.

Problem I 5Iw
l vm„-.‚„

THE BUILT-UP NECKLINE (see Figure I) The buiIt-up necklinc.

Fig. l.

Before building up the neckline of a master pattern BLOUSE FRONT

blouse, you must revise the
basic neckline. As it is,
the basic blouse has Iengthwise threads very slightly For your convenience. have blocks for the from a w"
the arc
slrelched away from the Center Irom to makethan Lhe back of the blouse with built-up necklines ready t0 use:
or curve of the neckline somewhat sharper of the whenever you design dresscs wilh nccklinles high
curve of the neck itself. The
circumIerence than the basic one. The following directions explai
I inch above the
blouse area which could be extended
I

how to make these blocks.

small to fit the
basic ncckline would therefore be
too
neck. For this rcason, the sizc of thc
upper part of the incrcased, and also
Slash lines (see FIgure 2)
‘
basic neckline must be slightly I. Cut a copy of thc master pattern blouse froh‘
1h: grain must hc shiftcd,
so that
‘the lcngthwise
than und on it draw a Iine Irom thc halIway poim, I,
(m
m thc necklme Sla 1
“mm4; are perpendicular ratIuer Pm‘
IP07" 5L (See Dralmflä
necklinc to lhc cml oI the basic waist (lart. D.
‚ligmly stretched away Necklinc, Flgures l8-2I.) Irom _Ito D.
cccILm: Ior thc ßuiIt-tup
 COLLARS A N D NECKLINES
N

hullway point. K, on the

Lhc hultway
linc lrom the AB, m u» lhc ncw sloping
thc IICW AL. in Order l0
doucd line A1,.
slopinlg doned
(o
2,‚ Draw a line
5021m, m
u: lhe cnd ul
o!" thc busic
hasic waistline dart,
dan, shilt the
shill thc grain slightly. Keep thc pancrn
pattern in this posx-
POSI-
‘a. ulder
ulder sczun,
from 1) u) K.
'‚ Slash hom throughonnt thc
lion lhroughuut lhc xelnaining
Icmaining slcps.

’ am guide (see Fiqure

Figure 3)
l,‚ Draw around the master pattern on another
"2. Dran’ along the
Draw zalong
3. Sprcad the
Ilecklinc until the
Ileckline
51:15h
paucrn from A t0
of lhe pattcrn
lhC cdge uf (o ].
j.
incrcusc the size of the
alash jl) (ul0 increuse
thc slash
corner I louches point M.
shouldcl‘ comer
{h}: shouldel‘
inch amthe neck. Draw a
zu
_ tofof paper, but du not um cul it out.
oul. Draw a dotted sprcads thc
This sprcuds [hc 51:13h 3/5
ß/ö
the ccmer front
from of Lhc
lhc neckline, to point
A, t0 cuned line
curved linc 1mm j] Ihrotnghlhrough I und f0llo\x' thc
follou’ the pattern
„e Irom C e n t e r
inch 0m lrom the center
out CCIIICT [ m m of the waistline. edge 1o K.
1/2
y

the shoulder seam from the 4. Sprcud thc DK aL

slush Dlx’
lhc 51:15h 21l 1) umil thc
l) unlil lhc widlh at the
Measure 1/2 inch on thc
72. Measurc
a2.
end and mark M. unnsqc cnd o1
unnsqe ol lhc sidc seum,scum. ((i, i , cquals the
thc Original
puucrn
pultern sizc.
siLc.

-ading
Jding
Dmw amund
5. Druw around lhc
I(H(.'I<"lil)1. The
poinls KHGI-‘Elfi.
Lhe pauern scflion Inarkcd
paltcrn scclion markcd by the
Thc inner edge of the waistline
pread the
Spread lhe pattern to increase the
panern on the slash lines 1o dem DIC remains the same. Extend D1C
dart DIC to C1 to
ckline size und
‘ckline and shih Lhe
lhc grain (see Figurc 4).
(sce Figure equul
Cqllkll the
thc lcngth
length of
ol DIE. Connect
(Lonnect C1 and B. The
l. Place thc
‚l. Figurc 2 over the
lhc pauern shown in I5igure [um]
[mal ("rnler
( e i n e r [mm1
[runt lm4-
[ m 0 remuins AB. The ncw pattern is
pallern
ern shown in Figure
tem Figurc matchixlg the
3, malching lhc Center front, AIi(I'l)‘lfF(.'HKI]/I.
‚4B(.‘11)'liF(.'HKI]/l.

J
l A
a A
' I

:
I’ |
l
n
‚
|
I I| |
'
I
a
I’
u;
o
|
‘l
u
nI
z|
C.F.
'‘
|
|
|
|
|
a
:
|
In
'
|
'
|
l
|
|
|
I| |
.|
...| |
B 3B L E
CY.—-' B-‘L
c

fix
Fig. 2. Sluh um.
Slash lines. guidc with tcnnpnrary
Fig. 3. Pattern guide lemporary Fig. 4. Slash lines spread m shift grain
1o shifl
center fmm line AL.
C e n t e r front and Iincrcase
n c r c a s c ncckline sizc.
size.

249
 "
d’: fiömär. gpar:
w
.
afpoilit; l itzxch up_
nght angle: 1/2 inch’ ‚to
a
L

"öasur. 1
necklme etid of Ehe shoulder seam. Labql’ stitched. _ f?
l

ü“
"
edge bf the neckline, N to O,
_
line dart, D.
K
S. Draw a line ffom Ltonäntfifite‘
*
. ’

eLtqvfhe Basic neckline.

V

4. Slash from ] to K to D, and spread 54' V

neckline, tapering off to nothigg a; D. i L_

5. Draw around the new pattern, ABCDHEFGHIJE: ‘ ‘

. IA-
K
.

6. Dmw the new da”. fouowing um

‘Tfisytgvjsä the blouse ' back for a built-up neckline, die
‘im’‘m: {
'
kl’ d Malte
.forK11
lme
"whicheamflstiäffielxgäfisxfietflirfioslägfiffy S; Pi: inner edge
equal K].
and K] 1 for the outer Edge.

|
|0 I
7/‘f I
s‘ l
JN A
A

F.
C.

9 F
E—-—— C E
und dar!
dart transferrcd Fig. 7. Built-up necklinc
neckline drawn. Fig. 6. Part of waistline
Pig. 5. BuiIt-up t0 small ncckline dart. drawn.

250
 COLLARS A N D NECKLINES

necHine on fhe final paHern (see Measurc Lhe necklixie

lrum the
„Nleasurc lrom xwckline at thc Center back
a: the
awing fhe
gwing buHf-up neckline
Qhe builf-up 5.
z’).
und at the shoulder seams
sezuns the width of the collar, and
gure 7)
Hgure [h6 slyle-line (the outer line of the collar).
draw in the collar),
»l.
E]. Extend the C e n t e r back line up through A and
neckline in the
k a point l inch above it, L. Note. Design a Hat lor a low
flat collar for
same way, but chunge the neckline on the blouse front
2, Extend a line linc from the shoulder corner, l, I, par»
par-
and back before
belbre you block the collar.
l0 the C e n t e r back; mark on it
l to i1 a point l1 inch up
nwasure in at
I; and measure a! a right angle 5% 2%inch toLo
blish the neckline end of the shoulder seam. Label
i"; Join
M. join I to
t0 M to
t0 complete the shoulder seam.

the lhe neckline

of the llCCkHnC L t0 M par-
I, to
3.
‘B. Draw upper edge
el necklinc.
el to the basic neckline.
4. a line from ]
darl, rule u
T0 complete the dart,
f4. To to the
lhe
thc line
LM, sloping the
Ü;kline edge, LM‚ linc very
vcry slightly away
i.
3- the center back. Rule a linc
line from 11 to intersect
interscct
g neck edge ata: the
lhe same point.

Problem 2
FLAT COLLARS DESIGNED FROM THE
MASTER PATTERN
r
“now CoHar. Nof Wider fhan 3 lnches (see Figure 8)
Huf Collar.
owHai Raise 'l /8”
Raise’l /8"
ToITighte
Ingme
l. Place the shoulder seams of the master
masler pauern
pattern
1- use back and front together so that (hat they touch at
neckline
neckline and overlap 1/2 inch at the armhole. The

’
‘rlapping a: the end o[
rlapping
i neckline curve across the shoulder seam.
p
lcsscns the
thc shoulder lessens
of the tne
Lower
\ \1/2"
er’?
u-

_’
‚_ neckline, place a dot w,
I/2 inch below
e n t e r front of
T0 remove the sharp curve at the Cccntcr
lhe neckline
the

‘
"Vthesc
'-
« es
es the
from, and another on the neckline half-
". e center front,
between the shoulder seam and the center front.

neckline length about w

curvc. This in-
smomh curve.
these two points‘with a smooth
inch
1A on each half
5e
gc pattern.
pattern.
‘g’ To remove the excess length, draw the final line

1, the neckline 1Ainch above the original neckline

gthe
; E.
"e.
‘

’
I-‘or a slight roll to cover the seam joining the
For
r and the dress, subtract 1A w,inch
inch from the center
Center
off the collar and the same amount Irom [rom the
front. A collar should usually be 1/4 inch
from.
than the dress neckline from Center
‚Mthan center back to
t0 ' " e -
iront. the flattest collar must roll .
enough
c

_nt. (Even Fng. 8. Flat collar sloper designcd

Fig. dcsigncd [frum
mm mastcr paucrn
-» the blouse.
‚the seam.)

25l

‘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 flat collar.
Extend 1/8"
Shoulder Seams
Touch
collar designed lrom
y - ‘ g Wide flat
nness oalsnenl
3. Remove the" length thzc this alddn anyan
-
the narrow flat 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 l
when a wide flat collar is preferred. The looser omer
edge of the collar makes it fall morc gracefully over Ä
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.
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.
Fig. l0. Wide collar. Curved over arms with shoulder
seams.
Problem 3
COLLARS DESIGNED FROM THE COLLAR
PATTERN SLOPER
Rippled Collar (see Figure I I)
in
To design rippled collars lrom the sloper made
Problem 2, first draw lines from lhe outside edge per-
whcre the flares will b6
pendicular to the necklinle ol the de-
mosl Hattering and consistent with the rest
ol the
sign. T hen slasvh anal sprcad producc ripples and
t0
size (lcsired. Figure l2 shows that the placcmem
he cnnsixlcred in relation I0
sprcznd lor the llarcs must The
thc number and posilion ol seznns in the collar.
m‘
one in Figure |2 rcquires eilhcr a shoulxlcn‘
seanl
a
u scam or opcning down lhe ccntcr lmck. 'l‘o prcxlufe
neckhnc.
puncrn. collar (hat ripplcs cvcnly urmuul thu cmirc
mnsrlcr
 C O L L A R S A N D NECKLINES

_-
— — j

circles, euch with u small inner circle

cach wilh Note. See Figure ‘Z7 lhc pauern shape of
27 for thc Of a3 collar
C0113!’
'.4
many
man):complete Lircles, paucfirn Hat at the Center
Hure, are cut and rolls high
which mlls in thc
the back but hes
llBS
size (ictermincs
r whose si/‚c (lcgree of Hure.
(lctcnnincs thc (legree
togelher with {in}
‘1sgwed togethex’ [ i m seams on the lengthwise front.
‚V\ grain.
gram. „_/

Fig. ll3.
Fig. 3, Rollcd Peter Pan collar.

Fig. l l . Rippled collar designed

dcsignctl fmm Lollur slopcr.
[ m m mllar

Shoulder Seam

Flal cullar
Fig. l4. Flut Lollar sloper slashcd zmd
slupcr slashed and overlappcd { o r rolled
ovcrlappcd for
Peter Pan collar.
Probiem
Problem 4
DRAFT FOR A HlGH-ROLL
HIGH-ROLL COLLAR (see Figure I5)
.12.
I52. Flat collar sloper slashed and spread fnr
for ripplcd
To appcar
ar. appcax‘ smarlly tailored, a high-roll collar should

-Peter
’

Pater Pan Collar (see Figure I3)

Collar
cling to
1o ncck at
the neck a1 the C e n t e r back and sides. Since
the neck is smaller at the ("old-line
fold-linc than ata! the base,
This3 is
i: sometimes referred t0 full-roll collar
to as a full—roll cul Irom
a collar cut from a slraighl strip of material tends
slraight slrip lends t0
to
use i: rolls from C e n t e r back to center front. The
center buckle along the lhe fold-Iine.
fold-line. Howcvcr
Howevcr a convex curve
"Pan W

an collar, although often thought of as simi- at the neckline edge of the collar increases the
length
length
(hat it fits comfortably a:
so that
V

o thee flat collar, actually has a soft roll which at the base and yet clings
at the fold-Iine.
fold-line.
l

aivay frommm the side of the neck unlike the high-

hidh dings
bärgwhich fold-line. To design
clings along the foldoline. Note. Never attempt to1o make a high-roll collar widc.
wide.
‚ slish
slash and a
overlap copy of the collar This collar can be so easily drahed
drafted from the neck-
in Figure l4. Keep the roll soft and
shown ul-‘igure line measuremenls that draping directions will not be
measurements (hat
pemer eback byplacing
by fim slash a: the
placing the first Lhe given. lf you wish to drape it, follow the directions for
Man. A A ‘siraight
straight line across the Center cemer die narrow standing collar (pages 262463
the 262-263 and Figures
Figuren
ä
close-fitting toll.
.ga.high. flogqfitting 36 and 37)
37),‚ but introduce less convex curve.

253
 112p coflhr pamnv _ „

'
‚.3‘

mp5. Hfgh toll conar;

‘

Figur} 15a) A o0C

Ü Dnw a line AB the length of the basic neckline
echter back soCenter front. For a coat or jacket,
Ineasme over a gannent. A
2. out from A the collar widthi- not more Neck Edge
L

( . _ _ _ _ >
dtlan twice the height of the stand. 2 1/4" .

(I)
3'. Continue AC down 1/2 inch to D.
0.4. Square out irom D 21/, inches. If the curve on _Add1/4"
die ncckline begins closer to the center back than this. \
it will ovenighten the outside edge of the collar. \
A5. Draw a line from D through E to AB, ending
at
of the neckline
poim. F. This line will be the length ‘ä-u-Fond
Line-->
from Center baclr. to center front minus 11/4 inches. o
M
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
h- —
— Neck Ed 6
hast toward F so lhat line DEFB equals the neckline (b)
measnremenu from cemer back t0 cemer from.
l’ ——Spread 1/4" |‚|_sp‚ead
7. Square out from C. l
V4„

8. Squate out from B, cuuing the top line at |

poim G.

'
collar.
9. Finish the cenler from line of the
indem the Center front
(a) To shonen ihe fold-line, inch nearer the neck-
fing B6 1/, inch a: H, a point 2%,
B and G. jom
I
line B man the haliway point between
Btol-I.
lhc outer or free edge, draw a line
(b) To lengthen
(c)
H t0 intersect line CG
‚_
trau‘: the unter front at poim
M,inch beyond G.
side and cmout the
Fig. l6. Drall for hngh toll collar. (a) Dran of paucm
the collar; (b) Undcr-collar o! wml cum with (In
for
scmn:
J0,“Duplicate for thc opposite (c) Top collar o! wool coat.

254
 C O L L A R S D
A N D NECKLI
lNES

line drawn in stcp 6(3 und and make makc the curvc lrom F the
curve from
Problem 5 break t0 the Center
n e brcak
length ol the necklitle
necklirle lrom tthe
( u n t e r lront neckline point G.
Label the cctttcr
lront. Lubel
_ FTFOR A CONVERTIBLE COLLAR (see Figure I7)
(See also fhe Drapinq of a Converlible
Converflble Collar)
complctes thc ncckline
Note. This cotnplctes llCCkllllC ol’ol the collar and
gives it a tompotxnd
compourld curve.
curvc. lt i5
is possible t0 draw a
possiblc
easurements needed for the drafting of this collar struight
straight line lrom the ccntcr
( C H I C ! bilfk
back t0 the break-line
"ven below:
iven und
and then
thcn cunc upward shown lrom I"
as showtx (1. How-
I“ to (i.
upwartl 21a
nter back to center front along the basic neckline. evcr a stmight Irecklinc pmduccs a
u collar which
straight trecklinc pmduces pulls
nter back to shoulder seam.
nter than one with a21 curved line.
tighler on ils Ulllsltlc
tighter edge thun
outsitle cdge
nter back to
nter break-line.
t0 break-line.
l

ol the collar, perform

T0 construct the style line of perlorm
eight desired for stand.
the follmving
following steps.
llar width {[ m m fold-line to outer edge at center
- and shoulders. l. Äleastzrc
Alcasurc up lrom (I C thc
the hcight ol the stand und
hcighl of and
mark H, H. ln In blouscs thztt tu bc worn under suits.
are t0
[hat an’ suits,
. «o
o construct the neckline of
ol’ the collar, follow these
and it can sel-
v
ions.
Ions. salislnctory stand is
na silll>l;t(’l0l'y i» nbout inch. und
about 3/, inch,
dom bc highcl" than n;
highcr tlmn lI/‚Q inchcs.
'_L Draw horizontal line AB one-half the length of
2. Fron: II IIICJMIIC
Front H twicc the height nf
mcasurc up twice of the stand
‘
neckline, or the length of the measurement lrom
neckline, from
and nmrk
und therc is an inward curve on the
mark I. Sincc [IICIC thc
V nter
Center back to the Center front.
necklinc ol 3/, inch at (‘cnlcr lhe collar will tend
back. the
ccnler back,
‚
At A, erect a perpendicular,
perpendicular, line AI. t0 stand onc-thirtl ulol its width and lall lwo-thirds
two-thirds ol
‘
Measure up from A 3/, 5/, inch and mark C. This its width. ll" the trccklitle
Irccklirle is constructed 21s
as a straight
ishes the depth
lishes deplh of the inward curve at the Center
center across thc
line acmss the back, lrom C to H and the
hack, the stand from
lall lrom H l0 1o I must hcbc madc
made equal.
Draw a smooth curve lrom point C t0 to line AB, 3. Sqttarc line {lrorn
Square ua linc mm 1I thc length of AB.
the lcngth
lt the length of the neckline from the center
ng it
‘ng 4.
«l. Squurt- lronl AB at point E. Measure up
Square out lrom
t0o the shoulder seam plus l inch. Mark point E. from E line the lcngth of centcr back, or from
[f on this linc
Continuc on line AB the length of the neckline
Continuc w l,I, and mark
C lo rnark point j.
'
l5 (the point.
E point l inch in front of the shoulder z). Follow out lrom point Il on IK about half the
too the break-line of the lapel at point F. distancc lmm
distance lrom I to j belore curving in t0
to point ].
«
Dtaw w
w a line 1/‘, inch above and parallel to AB in 6. Draw au line through (.' (i parallel t0to the Center
Blltablish the approximate rise ior
koAestablish for the o u t - back. The collar may cnd
end on this line, or it may slope
nnay
convex curvc at the end of thc
rnvex curve the collar. out lrom G‘ ll/2 inches or more beyond it for
(i and end lI/z
.« m: convex curvc [rom F up to the parallel both longer
a collar both longcr and wider at thc the pointed ends.

l / ‚ KK

3/4":
c P
3/01
C 1 g. _
‘ *
4
2 1/4"

„
A n
In
1M
. Shoulder Seam
l7. Duft for a convertible collar.
F13. ‘l7.
F15.

255
 D R E S 8 Di 5164M

TARTII
DRAPING

Problem I slash point. This eases ‚the fabrlic ahovg

DRAPING PROCEDURE FOR THE BUILT-UP
NECKLINE
A neckline that curves up agalnsx the side of the
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
>

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 figure and slenderizes a short heavy
neck (See Figure l).
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 fit over thc ( w o plane:
(the horizontal area around the collar bone and the
._._-.„;—.‚„;L.v_v„

.4-

Fron! cf Garmenl vertical plane of the neck) with one uncut or undarted
I. Placing the cemer front line marked on the piece of material unless thc fabric has some flexibility.
Soft-textured wool is ideal because the lengthwise
fabric 1o coincide with the center front of the form, threads above the basic neckline can be forced out o!
and with the top edge of the cloth 11/2 inches above
their normal position perpendicular to the crosswise
the shoülder line, pin it at the following points (see threads by stretching and shrinking.
Figure I8):
6. Pencil the neck end of the shoulder seam line
(a) Base of neck. inch seam allowance (see Figure
and cut it with a 2%
(b) l incl: above base. seam allowance and pin it
(c) Bust line. 19). Turn under the

(d) Waistline. perpendicular to the edge.

2. Pin the fabric to the lorm again 3 to 4 inches 7. Measure up from the base of the neck the desired
neckline height, usually between l/z and l inch. Mark
from the cemer base ol the neck at the chest level to
supporl Lhe crosswise grain perpendicular
to the cemer and c u t it with a 1Ainch seam.
lrom.
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
(he pins, which should be placed by the right hand.
broken lines to
Pencil the basic neckline with short
the blouse correctly when
guidc you later in placing
you fit in.
it with a
4. Pencil the shoulder seam line. Cut
lrom the armscye end
2%inch seam allowance, cutting a: a
o! the shouldcr toward thc neck and slopping
thc neckline t0 slash diagonally
poim 1%inches lrom line and the ncck-
to the intcrsection ol thc shoulder
/7//Mww—-

line (m:Figure I9).

scam linc ab0V€ ncckliuc. Front
5. Belorc marking lhe shoulder Fig. l8. Draping proccdurc Im" huilt-up
above the base ol garmml. steps l t0 3.
nach base, pull thc lcngthwisc thrcads lmnl lrom the Fig. l9. Stcps 4 l0 7.
o! (h: ncck lorward toward lhc ccnlcr
25l‘)
 COLLARS
COLLARS A N D
AND NECKLINES
NECKLINES
m———

Back of
Sack Garmeni
of Garment 8. Measure
Nleasure uup p from
from the base thc neck the dde-
basc of the e·
I. Place the fab
I. fabric
r ic with the m arked center
marked center back
sired neckline
neckline heigh
height, t, a nd
und mark and
a nd mm
t r im the seam
seam to
line at the center bback
ack of the form and
a nd with
wi th the top match
m atch the fro n t.
front.
line top
edge IV:!
J gdge 11/2 inches above
a bove the shoulder line; then
sh o ulder line; the n pin
pin it No te. If
Note. lf a center
Center back seam is u sed , it provides
used, provides
at the following
‘a! following points
points (see
(see Fig ure 20)
Figure 20):: nother fitting
aanother fitting line
line a nd
und can
can even bc
be substituted
substituted lhe
for the
(a)
(a) Base 0|’
of neck.
neck. small
sm all neck dart.
inch aabove
(b) Il inch
(b) bove base.
(c)
(c) Shoulder blade.
(d)
(d) Waistline.
Waistline.
2. Pin
Pin again t0 the basic neckline Il inch from the
again to
center back. Do not aallow
«unter llow the crosswise grain
grain to
to drop,
drop,
‘but keep it perpendicular
but keep to the C
perpendicular t0 cente
e n t err back.

‘ 3.3. Place a sma

small
ll neckline dar: about I11/2
neckline dart V:! inches from
center back. ll
the Center should be from
It should 1A, to y.;
{rom Vs 1Ainch
inch ddeep
eep
'

the base of the neck aand

atJthe nd should taper
taper off to
t0 nothing
nothing
w
’bothh near the upper
low the neckline.
below
4.
neckl ine.
4. Continue to
to pi
edge of the neckline
upper edge neck line and 2 inch es
inches

pinn the fabric to t he basic neck-

to the
„ne,
line, smooth ing aahead
smoothing head of the pins
pins and keeping the
and keeping Fig.
Fig. 21. Back of garment,
garment, steps m 8.
steps 5 to
Aosswise grain level until
crosswise grain unti l you
you reach
reach the sho ulde r
shoulder
seam. Figu
Figure 22. illust
re 22, ra ting a var
illustrating ia tio n of the
Variation the built-up
built-up
-*
5. Pencil
5; shoulder
Pencil the sh o ulder seam lin e aand
seam line nd cut
c u t it exactl
exactlyy neck line, shows tthat
neckline, h a t ddarts
arts oorr yokes
yokes entering the nneck-
e nte ring eck-
‚— you did
as you d id the lro
front
nt (see
(see F igure 22]).
Figure 1). 1line
ine make
ma ke it possible
possib le to t0 fit the built-up
built-up neckline
neckline even
even
6. Force
(i. Force the lengthwise
leng thwise th reads from the point
threads point of more
m closely aand
ore closely nd offer interesting
interesting ddesign
esig n possibilities
possibilities
"
lash toward
the slash toward the Center
center back before
before m as well.
marking the
a rking
ylder seam line aabove
shoulder bove the base of the neck.
7.7. Finish
Finish the shoulder
shouldcr seam lin
linee by
by slipping
slipping the
allowancc
back seam allowa
7;” forward under
nce forward unde r the front aand
nd pin-
pin·
ningfit
_vI‚._; it perpendicular
perpe ndicular to the edge.
edge.

Fig. 22. Built-up

Fig. Built-up neckline
neckline with ddar:
art varia tio n.
Variation.

Problem 2
DRAPING PROCEDURE
DRAPING PROCEDURE FOR
FOR THE FLAT
FLAT COLLAR
COLLAR
(see
(see Figures
Figures 23a, b. and
23a. b, and c)
c)
A
A flat
Aat collar is pparticularly suited to aa. young
articula rly suited
young ch ild
child
or a
a young
young woman
woman wuh
with small.
sma ll , delicate
d e licate fea tures.
feagures, It
h
<_>r
1s a
is a basic collar form,
form, however,
howevcr, aand nd since it can
since it eanß hebe
interpreted in m
intfefpreted many dilferent
a ny differe nt ways, it i: hhas
as g reat v“.
greax ver-
Fig. 20. Back of garme nt, steps I to 4. sa tility.
satxlny.

257
 (b) (c)

Figs.23 (a), (b), (c). Flat collar with variations.

I. Find the Center back line on the fabric by meas-
uring 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 length-
wise measurement is the depth of the collar plus 9
inches.
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
w within 1Ainch of the neckline at this point.
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. Lower-
and lifting the
ing the grain loosens the lower edge,
the collar to
grain tightens the lower edge, causing
9. Remove from the form and smooth and true- the
lines. Mark the final neckline 1Ainch above the one
marked on the form in order to introduce a slight
roll that covers the scam line when the collar is at-
tached to the garment.
l0. Fold the fabric on the Center back line and
duplicate the other half of the collar (o try on.
Variaiion A (see Figure 23a)
Since a Hat collar is so extremely uncompromising
in line that it is usually too harsh and flat 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 flipping the fabric
over above the neckline‚ you will have a lapel on top
of the Hat Collar—a rolling transitional line more
flattering 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 v.
|".‘._
"W33. —'J—"
r
u

roll.
6. Smooth the muslin over the shoulder to the
Center { m m so that both the neckline
and the lower
for Varia-
edge of the muslin lie Hat. (See
(lirections

giun A.) Continue to pin and Clip

at onc-inch inter-
vals, strelching the necklinc slightly.
cut it
7. Pencil the outsidc edge of the collar and (a) (b)
directions fnr Variation B).
(sec Figur: 24b and | l0
crossmark at the Fig. 24. Draping proccdurc lor Hat mllur. (a) Stcps
H Pcncil the basic necklinc and 6; (b) Steps 7 and B.
shoulder seam-
258
 COLLARS A N D NECKLINES

’
afion B (see Figure
f ‘afion 23c)
The fabric within the
he Iabric thc curvc Inarkcd for the C
Curve markcd Center
enter
is not tut
t, t, if it i5 cut uway,
away, muy a5 a
bc interpreted as
may be
Ijabot, indicated
inclicated in the pattern shape
puttern shown in

Fig. 26.
Fig, ( J u l l a r mlls
(lullar higl) in bznck.
buck. hcs fmnt.
in's Hat in from.

i5.
5. Flat collar variatiuns.
variations. (u) ( LJ ou l l u r pnttcrn [ur Fig.
pzlttcrn {or Fig.
for Fig. 23 (1).
_j);, (b) Collar pattern {or (r).

Problem 3
PING PROCEDURE FOR A COLLAR wm-a WITH A
„GHIGH ROLL IN BACK AND FLAT AT CENTER
i”
FRONT (see Figure 26)

_‘
ars that roll up against the neck in back are
llars
becoming and give a more tailored appearance
tostume
ume than those which reveal
reveal the base of the
the back.
the
V

dtape a collar of
drape o! this kind, proceed as outlined

Fig. 27. Pattcrn

Pattern shztpe
shnpe fnr Cullar shuwn in l-"ig.
(‘nllznr shnwn Fig. 26.
5 t ofl
Cut off a strip of muslin with the lcngthwise
lengthwise
asured the depth of the Collar
measured collar at the C
center
enter
4. Pin the muslin to t0 thc
the form with the 4 inch al-
u‘; 44' inches. (For a collar which comes to a
lus
lowance hanging
lt "the
the Center hanging bclow
below the base of the neck and with
center front, add several more inches.)
C e n t e r back line on the C
the Center e n t e r back of the form.
center
rain
_„ossgrain direction o! of the strip should equal
Pin at the basc of the neck and abovc the base the
Pin
ement of the neckline planned for the gar-
I’ v rement
desired height of the stand (see Figure 28).
us 2 inches for manipulation.
5. Pin along the neckline from the Center back to
cll the Center
cil center back line on the lengthwise
the shoulder seam.
f e
l

the muslin.
6. Clip from the bottom edge up to the base of the
thc
easure
Ü r e up from the crossgrain edge 4 inches C155?
ncck. (lhus
neck. far the Collar
(Thus lar collar is turned up against the
(Euter back line and square out
'

o u t from this point

neck of the form.)
ee length from the Center back to the
e; A collar
seam, conar with a high roll in back has 7. Pin the Iabric to the form abovc
[abric t0 above the basic neck
i
not a curved, back neckline (see the pattern at the shoulder line the desircd
desired height uf
of the Collar
collar
x
27), . stand.

!0
 man
oness na-sneu

Fia- 23: Draping procedure for collar that rolls high in Fig. 30. Step 9. shows marking for lxoth basic and V-neck- ; „
bacl. lies flat at C e n t e r front. Steps l to 7. lines.
Fig. 29. Step s. Fig. 31. Step 9, shows outside cdge marking .
8. Fold the muslin ovcr on itself and anchor the Problem 4
outside edge to the form at the center back so that it l

will not shift (see Figure 29). Pencil the outside collar THE USE OF BIAS FOLDS IN COLLAR DESIGNING
edge from the C e n t e r back to the shoulder, and clip
from the raw edge to the penciled line. Many collars can be made from bias folds. Because '

it is pliable, cloth cut on the bias curves morc subtly

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).
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.

(a) F o r a V-neckline, [old the fabric back from the Vary the amount of roll by varying the amount you
shoulder t0 the lowest point ol" thc center front and
ease or stretch the neck edge of the bias when you
attach it to the garment. For example, to force a
mark the outside edge ol the collar. Then flip the
collar t0 roll up very close t0 the neck (see Figure
fold up out of the way t0 maxfk the ncckline edge of
the collar. 32a), stretch the neck edge of the bias fold when you
attach it to the neckline of the garment. Always
(b) l"or a basic neckline, fold the
muslin back from
handle the double thickness of cloth c u t on the bias
the shoulder, but follow the base of the neck. This re-
to prevent the
as il" it were one layer. That is, never separate the two
the neckline
quires an inward curve at
when you join the fold to the garment. For a Hattet
collar from buckling away at the side. Flip the fold collar (see Figure 32b), stretch the outside or lolded
the line follow-
up out of the way and mark tentatively edge of the bias and ease the neck edge when you join
the form. Clip to within
ing the base of the neck on it to the dress. The success of the Hattet collar will
and again check the fit_of tlte
3/4 inch o! this line, depend on the pliability of the fabric. You can steam
collar along the {old-line. When the curve 1s saus- a bias fold of wool into a curved shape before apply-
factory, mark the outside edge (see Figure 31). ing it (see Figure 33). :
I0. Remove the pattern [ m m the form alter cross— Bias lolds are cllective arountl necklines of lowrut
marking thc point which matches
the shoulcler seam. cvening bodices, since the fold rolls gracelttlly over i
Tme the pattern lines and duplicate the opposlte the seam and clings or llarcs along the lme edge ac-
side. cording to the way you manipulute it. and according
to the inward or outward curve ol the neckline to
Note Alter the neckline ol the collar lrom the
which you apply it (scc Figurcs 32a am! d).
shoulder w the ccntcr front is cslablishcd, any changc lluth widc and narrow shawl collars (scc Figitfe j
scam will
in the width ol the collar at the shoulder mudc lmm btas -1
thc 32:2) can ollen bc Inurc succcsslully
also change the stand. For instuncc, nnrrowingvcrsa. loltls than lrom shapml picccs with scams m1 the nut-
the stand, und vicc
(„"31- ag this point will lowcr

26l)
 COLLARS
COLLARS A N D
AN D N EECK
N C K LLIN
I N EES
S

„
ide edges.
side edges. To '11) avoid seams at cnds of the collar,
at the ends collar,
1 curve the neckline edge edgc back to
to the fold edge (see
fold cdge (see
1 Figure 34a),
Figure 34a), and then stretch the fold edge edge and ease
and ea.se
the Ileckline
neckline t0 to straighten
slraighlen the convex curve (see (see FFig-
ig-
ure 34b),
ure 34b), or
o1" even to
t0 make
make it concave (see Figure 34c).
(see Figure 34c).
The bias shawl collar is is especially
especially satisfactory
satisfactory when
when
made of wool because of the excellent
cxcellcnt shrinking
shrinking qual-
qual-
z
ity ofm:
of lhis material.
this material.
T ie collars (see
Tie (see Figure
Figure 32/),
32f), although
although usually
usually st raight
straight
u t on the lengthwise
bands ccut grain, can
lengthwise grain, ( a n also be made
made
'
of
of bias folds, either to
t0 get
get a soft roll line around
around thethe
neck or to play
1
play upup the diagonal
diagonal line of a pplaidlaid or
or Fold
stripe.
Bias

Fig.
Fig. 33. Too shape
T shape a bias fold
fo ld by
by steaming
steammg aand
nd pressing.
pressi ng.

I ' I

I ' |
I
n :‚ I
|
I

I
I
‚I
1
I
I
I

II
Ü
I
u?
0/

Öl

/\ ‚ /
PulI Up
Pull
/
Up
(f)
(b) Thread Line
Lme
(b) (c)
(e)
2. Bias folds
’

Fig. 32. folds und

used in colla
collarr designing.
designing. (a) High bias
(a) High bias
roll (biaranczglxcd
(bias stretched at neckline) ; (b)
a; neckline); (b) Low bias roll
Low bias (bias
roll (bias 34. ToTo shape the end
Fig. 34.
Fig. end ol
o! aa bias fold
fold shawl
shawl collar.
collar. (a)
taJed atnecklinc);
at neckline) ; (c)(c) Bias flares
Hares when auacbed
attached toto out-
out- Cm off0E end shapf:
end of
of bnas (a)
Cut bias collar in a convex curve;
curve; (b) Stretch
(b) Sttetch
ward thwe:
curve; (d)
(d) Bias clings
clings when actached
attached (o
to inward
inward curve;
curvc; fold shrink neck edge
edge‚ shrink
fold edge, edge to
t0 bring
bring neckline
neckline into
into aa straigh t
“in ßhflpfld iot
(t) Bias shaped for ashawl
a shawl collnr;
collar; (f) for aa high roll
(I) Bias for
high roll line;
line; (c) further and
(c) Shrink still further ease 1o
and ease to neckline
straight,
to pro-
ending in a
collar Cading a tie.
tie. neckline to pro-
duce a concave
concavc curve
curve
261
 ‚ DRESS D E S I G N
Problem 5
Dumas mocsnune von A NARROW
STANDING COLLAR (see Figure 3S)
collar, commonly called the
Ehe narrnw standing
Chinese, or Mandarin collar, is particularly
mllttary, when the neck is slender
becomlng 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 firm enough to hold its shape.
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 äthe strip to the basic necklinee {mm die
center back over at least 1%inches following the m i t ;
crosswise thread. From this poim drop thc
being slightly, so that the collar will cling to the side of die
neck. At the point where the collar crosses the shoulder
seam, the neckline marking may be 1A inch above thc f
crosswise thread on which the Center back was started. ;

Draping procedure for narrow standing collar. Fig. 36. ‘V

Fig. 35. Narrow standing collar. Steps 1 to 3. Fig. 37. Steps 4 and 5.

The collar must be shaped so that it fits the neck 4. Clip from the raw edge o! the seam allowance n‘
time fits in toward the basic neckline, so that the muslin can
closely along its free edge and at the same l
of the neck. Since the meas- be smoothed around the neck to fit both lcircumfer-
comfonably at the base
'

urement around the base of the neck is at least 11/4 ences. The closer the upper edge of the collar should 4'

inches langer than (hat 1 inch above thc base‚ a fit, the more the crosswise grain should be lowered.
at the upper edge. The sharpest (lrop in the grain should begin aboul 2
straight strip ol [abric would gap
"

a collar must have a con- inches from the center front. The lower edge o! the
T0 fit both circumferences,
curve on the lower edge. collar at the center front should be somewhere be-
vex
tween 5A; and 1%inches above the crosswise thread
al
l. Cut a strip of fabric crosswise equal t0 the
basic
the the Center back (see Figure 37).
neckline measurement plus 2 or 3 inches. Make
inches. 5. Mark the center front line perpendicular t0 the
width ol the strip the collar height plus 18/,
neckline edge; mark the upper edge of the collar: and
Mark the center back line on the lengthwise grain. mark the neckline edge. Crossmark at the shoulder
Pencil the crosswise grain line 3% inch above the lower
inches from the center back seam line.
edge for a distance of 1% m:
beforc placing the muslin on the form. Figure 38 6_ Remove the pauem { m m the 50mm True
m 0 “ ‘h3 Pmmm ‘hape f0’ ‘bis C0113" lines and cut the duplicate half.
l2 3/4"
In

m:
o
1 1/4" 1"

: = _ : L
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?
o

Neckline Edge

Fig. 39.
Fignfi‘). cnllur—a Vilflllllnn
\\'ing cnllur-a narrow Standing
variannn ol the nzirrow
collar.
Fig. 40. Pattcrn shapc Lollzlr shuwn in Fig.
lur Lollur
sllapc lor Fig. 39.

Variation (see Figure 39)

Wing Collar Variafion Placc thc
2. Plucc
2, lhc uunlin the lonn
Illllallll on thc will: the 5 inch
form with
nbovc thc shouldcr scam,
cxtcnsion ubovc
cxlcnsion sezun, and match the
111e
The wing collar is one which fits snugly around the
w_ k and sides of the neck, rolls ovcr slightly along
lines (scc
(unter lront lincs 41). Anchor the muslin
(sce Figure —ll).
u‘ upper edge at the side front, turns down at
t0 thc
l0 lhc ccntcr hont zu
ccmcr lmnt the base ol
nt thc of the neck and also
lront, and turns
5Ie Center front. the narrow stand- mch almw
I incl: abmm lhc baxe. l’in
the base. Pin lhC to the form at
the cloth t0
from. lt is a Variation of ol thc
lllc busl
thc bust und wnist. l’in it to
und waist. t0 the lorm at the chest
r; collar. Follow the samc
T}; procedure, but
S a m e draping procedurc,
crussnvisc grain level when the pins
linc 1o kccp thc crosswisc
I er the grain somewhat less from the shoulder to at nccklirlc um
the nccklinc
ut thc Iater rcmovcd to
ure later { u m back the
t0 turn
Ü Center [ r o n t to avoid overtightening the roll along
center [ront
e upper edge. Figure 40 shows the pattcrn shape
collar or lapcl.
lapel.

_
I’ collar.
Ü this the lubric t0 thc neckline marked on the
3. l’in thc
lonn lrom thc
lorm lroin lhc centcr lront tot0 the shouldcr, smooth-
ing with thc lhumb ol’
the thumb ol thc left hand ahead of the pins,
the lelt
Problem 6 which should be bc placcd the right hand. It
placed by tllc lt is im-
portant to
t0 avoid too much Iooscitess,
lOOSCHCSS, but the neck-
RAPING PROCEDURE FOR THE COLLAR CUT
IRAPING line cannot fit 21s us the basic neckline of your
as snugly aus
J
IN ONE WITH THE BODICE FRONT
l"

x
pattern und still allow the collar to
ntastcr pattcrn
nxastcr t0 roll eflec-
effec-
(see Figures 4I-50)
4|-50)
tively.
collaras an extension of
c ut
cut oi the bodice front

‚_* . the
designer many opportunities to vary her
dcsigner
ar eflects,
ellects, and because it is cut all in one piece,
°_ avoids the risk of cutting up her design. When piecc.
ollar is interpreted freely, it leads l0
ccollar to invention
i7»
3ugh the use of-excess both above the shoulder and
iiin
‘
s
the neck area as explained inm Chapter 7.
288-293.
. Determine how far the fabric must extend be-
*‘-' the Center
._'
center front to provide the desired width for
Japd or collar which turns back lrom
flapel from the center
*'
_‚t. Mark the center front line parallel t0 to the sel-
‘for
for the length
Iength of the blouse front plus 5 or 6
V
which will extend above the shoulder line lor
{or Fix.
Fig. 4|.
‘ack of the collar. Draplng procedure lor collar
Draping cut in one with bodice iront.
lront.

263
 DRESS DESIGN I»

iumengl‘;
31ml
shoulder line
“the
and cut it with a 3/,
(see Figure 42). Begin to cut at
should decrease il the collar i: Ioding tojbelneck»
along the fold-line.
5
z;
‘ . t e
_
ahovxnce
oulder and proceed toward the neck.
A‘ pomt 11,5 mches [rom the neckline, slash diagom
8. Pencil the outside edge of the collar 1mm,keep-
ing the roll in the collar pinned against the side o!’ Ü
M‘?

ally t9the intersection of the shoulder line and the
necklme. _
under the shoulcler seam allowance and
.5. n‘Turn
pm perpendicular to the edge. Pin the muslin to
form a1 the intersection of the shoulder and neck-
tlme
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
the neck. Cut along the pencil line to the shouldärfii .2
allowing a generous seam so (hat the shapc can beriÜ. }
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.
'

you will be able to see the relationship of the collar
shape to the background area of the blouse.
6. Check to see (hat the fabric is still correctly
anchored to the lorm at the upper chest level‚ and then
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
‘

remove the pins around the neckline.

form.
dropped below the basic neckline ol the
7. Tu r n the muslin back on the fold-line desired
l0. Turn the muslin back on the lold-linc and es-
for the collar or lapel (see Figure 43), delermining
tablish the cemer back and lower edge, slashing in ..
at (bis point the Widlh of the center from lap (see
from the raw edge l0 allow the collar t0 set smoothly.
;
the lower
Lap Directions, page 41 ). Determine of muslin 1o pen-
and begin it at (see Figure 45). Lift. the upper Iayer
poim of the fold-line by the top buuon,fold-line
A

of the will in- cil the Centerback line on the under Iayer.
the edgc of the lap. The height
the
acase until it reaches the shoulder seam, and there l l . Remove the pattern from the form, smooth
i: should be pinned up against the side of the neck lines, and c u t the duplicate half.
to match the height of the collar stand in back. The neck-
Note. This type of collar fits bes! when the
stand can vary from % to l inch‚ but as the height of line end of the shoulder seam is cul as high as the
collar
the roll increases, the width of the back of the basic neckline or even 1A, inch higher, and when
the
shoulder seam is moved as far forward as possible.

Fig. 44. Fig. 45.

264
 COLLARS A N D NECKLINES

Collar (see Figures 46a. b, and c.

Roll of fhe CoHar indicuted in Fig‘ure
2. Producc the higher roll indicated 46c
46€
fl-wyying fhe Ro||
ivgyying c, Fig.ureneck-
dropping more of the fabric belou: the
lnd 47)
‘MA by clropping baflC
bzislcfor the
lhe form at the back. (See
o1" the
line of (bee Flgure 41
4/
‘f l. Before establishing the C e n t e r back and outside
lhe Center F1g_ure
collar pattern G D E F with the fold-line
fold-lme EH).
i’ ee of the collar across the
Lhe back, decide whether you
t
7‚ m a collar which is Hat in front, as in Figure 46a,
curled one‚
f»: a curlcd Figure 46b. T0 produce thc
one, as in Figurc
lcngthen the outside
rl along the free edge, Icngthen outside cdge
i the collar. Pull the Lhe collar tot0 thc frontfrom untxl
umil you
v’l the then amooth
lhe desired curl, and thcn smoolh the lhc fabric
falnic across
fu’ back, reducing the Lhe hcight of the {old-Iine
fold-Iine slightly
slighfl)
v:
„e
necessary. and establish the
necessary,
c center
Center back line from
thc new Center back Iinc.
thc
the outside
outsidc edgc of
linc.
the

..
llar [old-line slzmts
lo the fold-line
l l a r t0 unorc when the outside
slants mure outsitle
1: e is lengthened.
lenglhened. Clip to thc Center back seam at
l0 the
. fold-line. See Figure 47 for the collar pattern
fold-line. paucrn
"1"A fold-Iine BH for
A B F with the fold-line Im’ thc collar shown in
jgure puuern G A B C with
re 46 a and the collar pnttem wilh theIhc
id-line
ld-line BH [or lhc collar shown in Figurc 46
for the 41i b.
I1.

Fig. 47. lnr Figs. 46(a)‚

Pauern lor
Pattern 46 (a) ‚ (b), and (c) .
(b).
Fit und Shape of fhe Collar Pafiern
Checking fhe Fif
Checlring
l. The Center bark
back scam of the collar should not be
made a straight lineIinc unlcss it is so marked when on
Iorm. A linc sloping in from the neckline seam
the form.
l0 lhc fold-line,
1o thc foId-line, and out again to t0 the outside edgc,
edge,
ohen improvcs the
often lhe fit of the collar at the center
Center back
lhe e x t r a length needed on the outside edge
and allows the
o! thc collar with a rolling efiect
of eficcl as in Figures 46b
and c.
2. The neclcline
neckline seam may have a slight convex
curve near the center back. This produces a close fit
IoId-line and prevents the cemer
along the [old-linc Center back of
_"Vlrying of collar ccut
Vixfying toll o! wilh bodice front.
u t in one with lhe collar [rom standing away [rom
the from the
lhe neck. This
in bact,
bacl, becomes flat in front;
Iront; (b) Collar curls precaution is espccially necessary for a pcrson with a
prccaution
In) ‘Collnr high in back and front.
Gollar toll: high from. slighlly forward head (see Figure 48).
slightly

Fig. 48. Use convex curve AG to tighten
collar fold-line
neckline.
without tightening
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.
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 neck-
line without destroying the easy toll o! the collar.
Such a dart is frequently needed to improve the fit
of a collar of this type whcn it fastens high al the
Center front. The collar or lapel rolls over to
oonceal
’

the dart line and the iacing covers it on the inside.

4. Collar allerations.
to the neck along
(a) lf the collar does not cling thc Problem 7
the fold-line from the side to the cemer back when
which
muslin blouse is fitted, pin out excess in a dart DRAPING PROCEDURE FOR A CONVERTIBLE
at lhe base of the neck. This auto- COLLAR (see Figures Slo und b)
tapers to nothing
from the shoulder
matically corrects the pattern shape
seam to the center back (sec Figure 49, which shows A convertible collar‚ as its name intplies, can
be
(bis alteration on the pauern
for the collar illustrated worn open like a lailored collar or closed as a high-
thc altered
in Figure 50). The dottcd line shows roll collar. Howcver. a collar with enuugh lenglh
has been
collar alte: the dar: a: the shoulder position along its outer edge t0 closc comfonably
cannot pus-
neckline with as much cunvcx mrve as
pinned in. sibly havc a
band.
{ollows thc basic neckline posi-
a tailored collar. Neither can it bc a slraight
(b) A dar: which [ m m (nr somclimcs [or this would stand away [ m m lhc
Side o! thc ncck
cion beginning ncar the cemcr whcn open and would buckle at lhc fold line
whcn
and u; nathing in from
tapcring
a: (h:Center from)
266
 COLLARS A N D L II N E S
NECKL

*
l
. Therefore, in order to make the collar cling
1ee closely to the side of the neck both when open
Ü" closed, some convex curve is needed on the neck-
)'
edge of a convertible collar from [rom the point
poim where

...
cdge
ets the break-line of the lapel to the point
poim where
C e n t e r front of the garment.
5 at the center
dd5

‚ |
Fig. 52. Figs. 52-56. Procednre for draping
Procedure convcrtible
drupirxg convertible
collar.

3. Mcasure C e n t e r back line lI inch from

Äleasure up on the Center
(n) the lower edge. 01‘ 3/, inch is the allowance foi‘
O1‘ this, SA for
y

the depth o1 inward curve across the back, and 1/,

of the inwurd 1/4
‚Fig. 51. Convertible collar. (a) closed (b) opened inch is lor
for the seam.

‘In the Center back to the point

0m poim where it meets Sqtlare out l inch lrom the Center back at the
4. Square
«l.

-rcak-line of the lapel, the collar neckline may be

"cak-line mcastnred in stcp 3, since a curve beginning ex-
point measured
'

ight to produce a collar that

jtraight Lhat stands half its ut the (ccnter
actly at xnukes the collar stand away from
u n t e r mukes

a: the center back and sides when it is worn

at the center
Center back of the neck.
However, it will be more flexible and will fit 5. Pin the (ccnter
u n t e r back line marked on the muslin
buck linc
i!
I! it is cut with a compound curve curve-that
—that is‚
is, to the CCHICI’ back ol thc Ionn,
CCHICI‘ matclting the line
form, nlatching
ard curve lrom
ward from the center
cemer back to a point
poim l

_
drawn in step l4 tol0 the basic necklinc (see Figure 53).
7mfront of the shoulder seam, followed by a
i Clip from lower edge
lrom the lowcr cdge up tol0 the pin.
line to the break-line of the lapel, and then
6. Pin to the form again 8/,2%inch above the neck-
nvex
vex curve to the center front. F igure l7 I7 shows line to hold the muslin levcl.
Ievcl. This pin will come at
tern _nshape Iorfor a convertible collar.
approxiixiately the hcight
approximately of the stand.
height o!
vertible
‘wen-üble collar should be joined to a dress
tandard basic neckline at the center
5 Standard Center back 7. Pin along the basic neckline
ncckline l inch over from
{rom
‘wie
The lap width of the dress (see Chapter the center back point. The raw cdgc of the muslin
edge ol
4.1) will determine
l

detennine the size oi

of the lapel
lapcl notch. should be l inch below the basic neckline. Clip to
t0
«line oi
‚bfeak-line of the lapel at the top button or the pin.
sMarkk it {from
m m the lap edge to a point
poim on
‘hatleast 1%to 2 inches in front
least 11/, tront of the
'

‘flresst.front‚
Erom, showing clearly the center
1233i;
v

'
necltline, the lap edge, and the
basiic neckline.
aee Figure 52).
elnpel (see
for the collar are as follows:
uycjmentsfforthe
n) neckline length plus 4
b äpoints.
M’) about 5 inches.
Fig. 53.
 oness t r i s t e n
s.
_8. I-‘rfxm the? point pinned in step 7, lift the cross- 14. Fold the muslin over on itself (tue Figufe 55), Ä‚u!
.
The strip is too wide for the blouac collar a: the Center ,
.a,

3ms: grau: unul the raw edge of the muslin is only 3/4
"ichand
belovf
the base of the neck at the shoulder seam. back and sides since it stand: a: least IIA inches} Clip V’
Pln. chp. Do this to produce an inward curve and the outside edge of the collar at» xhe cemcr back um
to mcrease the ease on the upper edge of the collar. shoulder until the collar seules down to the dcsired’
the lapel up against the neckline before width and stand.
.9. ‘Turn the collar from the shoulder seam to the
pmmng
Center front (see Figure 54).

. |0. Proceedsotothat pin the muslin to the neckline, lift-

mg the grain at a point l inch in Eront of the
shoulder seam, the raw edge is only 1/, inch below the
neddine.

Fig. 55.

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!
Fig. 54. the neck.
l l . Continue on the same crosswise thread (IA 17. Cut the outside edge with a 1/, inch seam al-
inch above the raw edge) to the breakJine of the lowance.
lapcl. Pin and clip. l8. Pencil the neckline of the collar and cross-
I2. A: the break-line, reverse the procedure and mark it at the shoulder seam, at the point meeting
to produce an out- the break-line of the lapel, and at the center front.
begin 1o drop the crosswise grain
ward curve and to tighten the upper edge of the 19. Remove the fabric from the form and duplicatc
collar. the other half.
muslin
l3. A! thc Center front, the raw edgc of the
the
should be 2Ainch below the neckline, i.e.‚ giraiu
should drop w,inch and there should be
a w mch
seam allowance.
to guide the
Note. The above measurements help
or tightness of fit mu_st
beginnen but the looseness which the crosswise gram
really determine the
amoum
i9 t0 be lifted or lowercd. lt
the collar bulges away
have raised the cross-
from the neck a: any point, you an inward
wise grain too much and crealed if great
too
true for the collar pul.ls
wyye, Thc reversc is also
from, you have droppcd the gram
dght near the Center
wo much,
268
 COLLARS A N D NECKLINES

Problem
Prob|em 8

‚'NG PROCEDURE
Ü‘ FOR A TAILORED COLLAR
7 (see Figure 57)
l

and Lapel
encil the
"Pencil front line on muslin 3 to 4
Center from
center
”back from the lengthwise edge. This distance
fmined ined by width of lapel (see Figure 58).
ÜPlace the fabric on the
lace (he form, allowing a Il inch
a: the base of
fi

f3":
er seam, and pin the cemer front aL
Center
k. the bust, and the waistline.
5. ‚k.

Fig. Proccdure {for

Fig. 58. Procedure o r draping .1 tailored collar.
a narrow lailored mllar.
to 7.
Steps 1l t0
Sleps
u) l1.
Slcps 8 In
Fig. 59. Stcps
Fig.

(a) The
Thc foId brcak) line from the lap
fold (or break) cdgc be-
Iap edge
low Ihr:
lhc mp
lop huuon continuing
cominuing t0
u) lhc
thc Center back of
thc collar.
Heighl o!
(b) Height of collar and lapel.
u! m1! (or stand) o!
Fig. 57. Narrow
Nanow tailored
lailored colIar‚
collar.
Thc averagc
uvcragc stand a1 thc
lhC sidc
side of thc ncck
Iwck is 2/, I
3/, to 1
many tailored jackets, Lhe the usual shoulder dart inch.
ierred to the neckline, as shown in FFigure igure 58. t0 the
shuulder seam to
dislunce [mm the shoulder
(c) The dnsiance
the grain level across Lhe the bust, swing the ex- break-Iine o]
of the collar joins the
lhe
pomt where the break-line
poinl
ve the bust line into a ncckline dart. The
vc break-hne u] lhe Iapel. This usually Ineasures
nleasures about
da lapel will almost completely
complelely hide it. 2 inchcs on Lhe Ilccklinc seann.
lhe nccklinc scan).

the fabric to
xhe t0 the basic neckline of lhe form.
the form,
(d) The Ienglh slanl of the
thc visible porlion
{engt/t and 511ml portion of
o]
ngahead of o! the pins. lhe
the seam juining
joining the collar and the lapel. Pencil lhe
{so a: the chesl
'

also chest line so thal the pins a: the line CD.

y
'e neck can be removed later withoul
“
without having
(e) The width
widlh and shape o! lhc Pen-
thc Iapel nolch. Pen—
shilt
Shift out of o! position. cil the upper cdge
edge of the lapel,
lapcl, BC.
theL_e shoulder seam, armscye,
annscye, waistline dart.
dan.
(I) The size and shape of lhe lapel as it
o] the i1 continues
cominues
mpleting
„sigompleting the basic lines of
(h: o! the jacket (rom the notch
[rom nolch to the
lhe lap edge. Pencil the linc
' line BA.
; with the Iapel.
lapel.
|0. Draw the entire line of the lapel from the lap
lhe enlire
in the thc lapgdge
lapgdge from the beginning of edge (o the poim whcrc the Lhe lapel resLs againsl the
rcsLs against
glhee lower
IOWC!‘ edge of the jacket. neck a1at D. Cut on lhc seam line linc along lhe lap
' Iap edge
‘
ck on 1h:
the fold, or break-Iine,
break-line, and lapel edge up to 1o the poinl o! the notch at C
{iegflfigure
igure 59). Pin the fold-line (or where the collar joins the lapel).
phoulder
“Qhenxhoulder seam line 1o hold i:
it

-
H. Mark heavily the visible portion of the seam
l1’. .M'ark
CD joining
jonmng the collar and the lapel. lf this line does
(h: details
(m:the o! a finished
of nol show through to the
'

wrong side, place pins

v

. indicated in Figure 59:

indicated 59 : through the line and mark on the wrong side as well.

269
 l2. Tum the lapel up against the neck in order to
the remainder ot the neckline (see Figure 60).
malt
Tlus must begln as a basic neckline at the shoulder
seam und must follow the basic neckline as faras
possible in Order to swing gradually imo the line pre-
viously 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 alöng the
line for approximately 2 inches, o1’ to a point I inch ‘Ä
back of the shoulder seam. Then begin to drop the Ä
grain so that the collar will fit the. basic neckline yet
cling to the neck a: the fold-line. This gives the nack-
line of the collar a convex curve.
4. To drape and pin the collar to thg front o! the
jacket, keep the lapel turned up flat 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 fits 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

l, Begin with a strip about
4 inches wide, with the
4 inch measurement parallel to the lengthwxse gram‚
measured on the form from the
and twice the length Fig. 62. Step 4.
Center back to the notch
of the lapel. Pencil the
cemer back line on the lengthwise thread (see Figure 5. Fold the collar back on itsell and mark
the out- l
6|)’ side edge. At the cemer back, the collar Füge should
gamma Gmn a:c.a.

ü: fall at least 1/4 inch below the basic necklnne (see Fig-
4

ure 63).

3- Fig. 63. Step 5.

n‘, s], Tailored collar, Stcps l t0

270
 COLLARS A N D NECKLINES

'
1
necklinc and Crossmark
collar neckline
Pencil the Collar crossinark it at Wide Tailored Collar wifh wilh Reverse Curve
‘jhoulder
oulder seam and also where Lhe break-line of
the break-llne The wide tailored Collar collar should be draned draped
In 83
joollar of the lapel
meels the break-line ol’
llar meets lapcl (see Flgure
Figure thc
the narrow one, slnce
since on a
" Pencil the Collar way from
slightly dilferent n'a)’
collar lold-line
fold-line from
lrom the Center back with a slraight or Convex
collar Wllh
Collar convex neckline, the lhe
break. äland
siland
lhC width increases. .—\ A stand hlghel‘
rises a5
or roll rlses as lhe stand higher lhe
(h6
lhan 1
than l inch is apt to t0 seem uncomfortably hlgh
the ncck in am“
back of lhe a
high a?
a1
wmter
excepl heavy
gannent except
any garment
collar especially high for warmth. _T0
coal with a Collar
COal T0
collar wide with less roll (Figure 67), a slight
make the Collar sllghl
Curve will be needed across the baCk
concave curve
Concave back olof
lhe
(‘h6
necklinc. revcrsing imo
neckline, into a convex Curvc lrom a polnt
Curve from
back of ot (h8
the break-line. T0 To keep lhe from
collar {T0111
the Collar
gapping away [rom
[roni the
lhe neck
ncck an
at the
lhe side, carry
Carry the con-
Con-
Curve only a little
cavc curve linle bcyond the shoulder seam.

.
Cave
seani.
alinost slraight unul
inake the line almosl
that point Inake
From (hat until
imo
lt reverses into
it a convcx
Convex curve.
Curve.

Fig. 64. Step 6.

„Remove
Remove the Collar
collar and jacket from the lorm
form and
flle
jhe Iines.
lines. The shape of thc
the collar
Collar patlern is illus-
pauern
Uu in Figure
‚Ü
Figurc 65 and the pattern for the undercollar
g re 66.

Fig. 67. Wide tailored Collar.

collar.
Break or Fold Line
Llne
l. Bcgin
Bcgin wlthwith a slrip labric the width of the
strip of fabric
L_.._..
finished 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
5
-fshoulder
-TShouIder a line on the muslin ll4 inchcs lrom the lower edge
I14 inchCs
Pattern
Pattcrn Ior zailored suit collar (add m, on Lhc
thc Crosswisc
CrOSSWlSC grain. Then rulc thc C e n t e r back line.
[ o r typical tailored suil Collar 1A, iinch
nch
nllowances to all pattern
allowances cemer back
pauern edges exccpt Center 2. Start a: the Center back and pin thc
a1 thC Lhc muslin at
collar) .
ting upper Collar)
ning the base ol of the
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,
d carry the same Crosswise
crosswise thread along the neckline for
Indent 6.8. 1/16"
Indem . Il l inch. Clip lrom from the raw edge up 1o the basic ncck- neck-
Break Line y‘y I
line and begin to lift the Crosswise
[o lilt
wise line drawn on the muslin shows
lcrosswise line.
linc. The cross-
clearly how
_ ___ _ ___ _ __. J
I much the gralngrain is lilted
lifted and Lhe resulting amount ol of
inward curve. The amoum amount the grain is lifted will be
Pancrn {tot
Pattex-n e r undcr Collar
collar (note grain posizion).
posilion). 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 thefolgl-i-ifineV
gnin was lifted only 1,; inch to give the necessary in- collar 1in5. T?‘ s“
ward curve beiore reversing the line into a convex A. and’ B g?
.

Vary the curve until you obtain the desired the necklinl: .59
T. l.
A

und D i: lest man

neckline i: concave;Ulm
4. The remaining steps are like those given for the F i: greater man that
narrow tailored collar. Figur: 68 illustrates the pat- curve is convex. A am. m
tem shape.
tionship betwegn the ‘Ihn
Note. vBy studying the shape of a collar with a length of the fOld-linefigyflä
reverse curve, one can plainly see that its length a: with the exact degree of ‚au.

Reverse Curve on Neckline Eo

:
o
2
S

wide tailored collar shown in Fig. 67.

Fig. 68. Pattern for

272
 .
i! 7 M ‚

7%”‘ZL%4ZW
THE BACKGROUND FOR DESIGNING lushion
lashion trcnda trenda und (iCtillls (lelnils ol" ol cul.
c u t . Every woman,
whuhci"
whctlier a ‚slutlcnt slutlcnl ol ol’ drcss (lcsign m" not, will glance
(lrcss (lcslgll
iter maslering
mastering the principles and techniques of lhrough tashion
ihrough lashitm muga/incs withoul prompting. Bul
witliout prompting.
ing and standard patterns,
blocking Standard Student
pauerns, thc student sludcnls ul
suulcnls ol dies:
(llcss (lcsign
(lcaign nccd l0
(o bc luughl lo
tuught l0 recognize
be able to
beable information t0
l0 apply her inlormaxion to the
[h6 design-
(lCSlgII- llic clitlcrcncc-
lhc clillcrcnnc l)L'l\\'L‘Cll
bcnvccn rcudingrcucling im" cusual enjoymenl enjoyment
o! more morc unusual and complicated
conlplicated cuts. Although und uz: rcnll}
lcull) scrloll:
acrious sludy
suuly 0|" o!’ lushions.
ying principles of carrying out intricate de-
nderlying .A\ uuulxl-hc
.\ xmulxllic dcsignci"(lL-sigiici" should scrulini/‚c
scrutinizc carelully lhe the
»? are
exactly the same as [for
o r slandard pauerns, iti: is
standard paucrns, bcsl (Luncnt
b0b! u n c n l luslliun
lusliiun nlugzi/incs,
mugu/incs, not nol with any uny thoughl
Üurse necessary to praclicc cutting patterns for
t0 practicc nl (uliylng, Im:
ol copyinu, iulhci wilh
bul iutlu-i with lhc Ihc intention ol of saluraling
saturating
‚w designs ol varying degrces of difficultydilficulty before her mindiniml will:
Tuu nlu-ix
with gcncml
gcncrul imprcssioiis 01' ol" lashion trends.
lrends.
develops the confidence and abilily ability required 1o loo ulu-n n 2| nmiw sccs
only thc cute tricks
unly lricks (hat hap-
«f: any pattern (hat she may want.
pauern {hat want. pcn u;
pcn m nppcnl
nppcul m hcr licr luncy ut M. lhe
Lhe monlenl,
moment, and und too
f: imaginalive studenl can hope not only 1o
imaginative studem to inter- olwn
olien slicsllc (locs nol not puusc
pause to look am design il somc
a1 u clesign
the designs of others
ji/the olhers but also to creale new ones.
(o create slllilll ( l c l u i l ul n
small dctuil um what
i» n01
|1 ls Wllal shc personally likes. The
women have a secrct urge 1o design LlCSlgH clothes for howcvcr, m u s l look lor more than
(lcsigilci, howcver,
pulcnliul (lesigncr,
;- lves whether they lhey design lhem
them for anyoxie
anyone else minur
minor (luails
(lclilllb und und (lolllcs
(lOIlICS {tlial
h a t suiL herhcr own taste. She
„i1but bul the
lhe urge is often stifled by fear of ol crilicism.
crilicism, musl consciously
nlusl (Ullsclollsly culiivalc
cultivalc an awareness
amxreness o! of currenl
currem
pf confidence, and lack of skill. So much pleas- lashion silhoucllcs
silhoucttcs and und Inusl
musl anulyzc the subtle sublle lashion
fashion
nd satisfaction
satisfaclion can be bc derived from creating orig- chungcs (hat [hat inllucncc
inlltlcncc lhcm. She must observc observe and
jiesigns that
(hat anyone who wants to do it should analyzc lhc Lleuiils
analyze (lelails olol‘ auch
euch linelinc and cCul u t in order (o t0
i
fen as much help and encouragemem
encouragement as possible. acqixire
acquire u
z: lund
(und uf lashion and slylc information. Con-
nl
‘ly,‚ therc
Lhere are definite and langible ways of ac- obscrvzllion of currcm
stam obscrvaiioxi
slam currem lashions supplies one basis
>
the necessary background for designing as for
lor rccognitiun
rccogniticm ol ul intriixsically
intriiisicully good lincs. lhose (hat [hat
of developing the ability 1o l0 use source material ccrtain 1o
are ccrlain to last, und o1 ol distinguishing lhem
them lrom
dislinguishing [rom
. ely. the fads and tricks of the momenl. momcnt.
‚any student to suggest where she should look
(‚any To
T0 be sure, lhis is noL not by any means the
unly neces-
.
e and without hesitation —
—
for dress design, and her answer will be im-
in fashion magn-
op windows‚ and the clothes of recognized
sary background for
take for lor gramed
granled {hat
lor dcsigning. The studcnt
(hat she will also need the
Student should
general
V

Lraining in the fine arts

training ans (hat[ h a t will enable her to
apply
leaders.
leadexs. I: lt is doubtful, howcver,
however. whether she the principles of design to a: first con-
evcry costume, at
plan beyond looking for one particular idea
iplan sciously, but alter long experience, expcrience, instinctively.
can copy exactly, or a: most, adapt t0 to her Thc first steps, then, are to steep one's mind in cur-
The same student will probably be
i

rent fashion inlormation, to 1o develop an

understanding
H
i

_ iar with the method o!

«familiar of using current
cunent of principles
principlcs ol’ of design‚
design, and to acquirc acquire the technical
(V513 h
Üis a warne-cf
saure: of backg-round
background information on skill in draping and blocking which makes it
possible

73
to carry Only then
a!design through to completion.acquired
can a stu ent feel confident that she hat the
beautiful
Suggofllow-d "_
DEVELOPING LINE An-RANesMmßIvf
i

-
background {or designing really
ä???
c o es.
Sketching, the most obvious mediitm ( o :
an idea, has long been used by deiignero” „
SOURCES 0F INSPIRATION the quicltest way of embodying an in": s
in tangible form. Some ability t0 get an .‚
lt is impossible to saturate one's mind with fashion down on paper quickly beforc it i: "lost i‘:
.
i

without being stimulated to creative ac- asset to the designer, and the sketch i: usually
informationA file of clippings of the best designs of each step in working out a design already in mind.
uvity.
You can also use sketching. playing with

year furnishes an imaginative mind with endless sug-
gestions. 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
t0 stimulate the imagination to the invention of a
_
paper, to create new designs. Starting with’ l
figure (see Figure l), a sheet of transparent
wich no wg:
paper, a pencil, and an eraser, but b"
idea for a design in mind, you can work u»
create many designs by merely using a certain
lines in various arrangements. To creatc tlle
-»
'

new idea. illustrated in Figures 2, 3, 4, and 5, the designer

tl|e lay ?_
Another source of inspiration closely related to cur- placed a sheet of tracing paper over ‘l

drew a costume silhouette, and then placed the

rent fashions, and only slightly less familiar to the
"

within the silhouette. In each casc she used thc

national costume.
beginnen is historic, peasant, and horizontal and two vertical
Every student of costume

preciate its value to the

design
oughly acquainted with this source
designer.
must

But
become thor-
and learn to ap-
it is almost as
combination of two
—an excellent basic design She
possibilities for Variation. let the
and the
-
because it olfers so’
two
line: of
‘-
i‘

‘__

Grecian or a medieval represent the French dart line

a
easy to interpret t o o exactly
from a current maga-
gown as it is t0 copy a clipping to transfer
zine, since here also it is all t o o easy merely
another. And de-
a basic idea from one costume to
from such sources will be
signs taken too literally
nor appropriate to a modern setting.
neither original
Unless costumes from past eras or foreign
can be used to inspire new designs suitable
countries
for the
should not be used at all.
present time and place, they are both so familiar
Currem and historic costumes
sources ol inspiration
that they are sure to be used as
-
gore skirt panels as these
structural lines di
silhouette into pleasing spaces; and she thought
horizontals as yokes, pockets, Eton jackets,
or merely as abstract space divisionaTry this y'
The first step is to draw the verticals and v:
within the silhouette. Figure 2 shows where
—
place them and incidentally points up
ol
the n
designing does not consist solely thinking up
and different idea, but rather involves an und
a lor form.
ing of design principles and leeling
place lines to produce interesting shapes
«

there are so many

.
without lurther urging. Moreover, the figure but acce "77
(hat have scarcely only Hattet the lines ol
olher prolific sources oi inspiration in the fol- harmonize with thc costume Silhouette already CA
the suggestions
been explored at all, that Figure 2 shows what happens
when lines ate
ol fabric texture
lowing pages are limited problems
to for
labric through drap- mechanically, without rcgard good space
and to the many ways of handling authors present and without consideration ol either the curves
The
ing and flat pattern
blocking.
these less lamiliar sources
with confidence that the
will not only stimulate
carelul study ol each exercise will also
ligtire or the silhouette
line ol the
Sketch, thc (lesigner intentionally drew
one continuous straight line lrom
costume.
the von
shoulder
‚.
but lcad her to the
the studcnt’: imagination, oi innumerable other line in ordcr to show what happens when V

is
waistline ignored. Thef
investigate the possibilities [ o r herself. ing of thc figure at lhc
techniques that she will invcnt

274
 SOURCES OF F
O D E S I G N

"l
l l

.
1

//\{ \\;
\\_‚: //\

‚a
z‘

Fig. 2. Monmnnous
Monumnous spacing.
Fig. 3. Thc samc linc
S. The llnc combinations
combinznlirms as
ns in Fig.
ITlg. 2, but with
wlth
the
thc spacing improved.
imprnved.
und lhc
and thc waisllinc.
walsllinmc. This
Tllls is lhc most
HIUSI. HIUIIOIODOUS
nmnotonous spac-
ing posslble, and
lng possiblc, 21ml besidcs,
bcsidcs, lhc horizontal falls exactly
zu lhe
a1 thc highcsl point
poinl of
ol lhc bust, a cross line
linc (hat
[hat should
always bc avoided
avoidcd in costume (lcsign becausc
coslumc (lesign bccause i!it over-
ovcr-
emphaslzcs the
emphasizcs thc curve of lhe
lllc bust.
lxust. The
Thc lower horizon-
Figure on which to
Lay Figur: 1o design with transparent tal cuts Ihr: skirt
culs the skirl exaclly in half —
——always monolonous
monotonous
spacing.
Next, notice the sleeve.
Nexl, slceve. The contour lines should
Ü panex
die Center
l

panel not only looks am

stilf and blocky.
blocky, not
nol be parallel, and thcy
lhcy will not be bc if
il the
"ü: to ilsiuietüe
slenderize thc lhc sleeve
alecve is
the waisdine;
waistline; and because wider a:
a1 the top lhan
_ ispetfcctly
onionl
1h:
Ä maight,
straight, it exaggerates to thc
the
the curve over the side of the hip.
Look at the sleeve length
awkward half
lcngth
half and half division
—
than a: the lower cdge.
— cdge, or thc
the reverse.
t0 lhc elbow‚ an
exaclly to
exactly
(livision as well as
a s a length un-
1th:‘iptlfmnula
horizontals. The upper one cuts comfortable to
lo wear. The
Thc emire
cntire spacing of this figure
mmexacdy balfwayb
halfway between the shoulder shows just how badly
badly a promising set ol’
figurc
of lines can
275
au}:
‚.

DRESS D E S I G N
zum o u t when the principles of design have been
i5. G“?
noied and no feeling has been shown for the relation-
shlp ot structural lines to the silhouette itself.
N°w 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. Mote-
OVCF. the skirt paneling divides the width at the hips
into three unequal parts and thus avoids the monot-
ony of exact repetitioii. The paneling is narrower a:
the waist than at the hip‚ and it flares out toward the
hem to strengthen the lines of the Silhouette. Both
the blouse and skirt horizontals have been raised to
form an interesting relationship between the area of
the yoke and the lower section of the waist and be-
tween the peplum and the lower section of the skirt. „ L73
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 //\i
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 de-
sign from an abstract set of crisscrossed lines to a real
dress with style and originality. First of all, there are
obviously too many lines crossing one another.
Erase
some of them‚ and let your imagination have full play
in deciding which ones to rub out. By erasing across
various connections you can develop many different Fig. 4. Geometrie, tailored interpretation o! two _
u
4 and 5,
dcsigns from the same set of lines. Figures and two vertical lines. '
for instance, show two entirely (lifferent conceptions Fig. 5. Soft, curved interpretation o! the same -
from precisely the same combination of sions as in Fig. 4.
developed
lines. The dress shown in Figure 4, geometric and
tailored, might be interpreted as a wool dress‚
whereas eyc to an awareness of good proportion, unily.
afternoon dress, and balance.
the lines oi Figure 5 suggest a soft
A beginner may consider it futile to draw I’ n
possibly of rayon crepe. be through the design both vertically and h
These examples serve merely to show what can when perfectly well aware thal she is going

of
donc by difierent intcrpretations of one
set
exhaust the possibil-
Obviously, they do not begin to
itiaes. On tracing paper over the lay figure, see how
can invent [rom this same set
many other clesigns you
_
lines.
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"
"V

of propor- hcterogcneous mass of dctails. In other words,

of lines. Then analyze thcm for beauty t0 keep the design unified. lt has the second
Even
tion and, of course, for wcaraluility. be 2?per_son tage ol" lining up darts and seams.
[or alth
who has always consitlcretl hersell’
to
‘ummagma-
that lhis pmnt muy erasc n section of a line, the eyc picklz.
tive will find [ m m Harting ‘she Willczin this w“.
dcsigns vcry qulckly. again on the samc axis. ll" you prnctice
crcate innumcralylc Shf:
t0 l r a l n hCT cunscientitntisly thcse points will bcconte cvide
also discovcr that it is an exccllcnt way
276
 S O U R C E S
SOURCES 0 F
0F D ESIGN
DESIGN
_ _ —

After cxhausting
Alter exha usting the the possibilitics
possibilities ol of this
this combina-
combina- that must
thut m mt bc be Luken
ta ken into
in to considcration
consid era tion when designing
designing
tion of lines, try o thers, a lways rcal it ing, however, a cos tume. A diago
a costtxlnlc. A (liagonlal na l twill weave
wcave in
in partictllarr Pre-
particula
tiou ol lines, try othcrs, ulways rcali/‚ing, however,
that you must group several lines to form sen ts severa l pro
sents scvcral problcnls. bl ems. It
lt has a right and
and wrong sId€‚
side,
(hat you must group scvcral lincs to lorm enouglt right wrong
spaces to suggest ideas.. For ex.ample, one v:rt1ca l a nd in wool fa b ric the
und in wool labric the twill usually twill usuall y runs from lelt
lef.t to
to
spaces to suggcst itleas. For cxmnple, onc vcrtical
center line a nd onc
line and o ne horizontal
horizonta l linc
!me at a t the waist
waist are
are right, whereas
whereas in in cotton
cotton und a nd rayon
rayo n it runs from right
it runs right
centei‘ right.
meager to stimulate
stinmlate the
the imaginatio n very effec-
ellec- to lelt,
to left, regardless
regardl ess ol" which end is used for the .
o f whicl}
100
m0 meagcr to imagination very
T he o nl y way t0 to change
thetof‘).
d irection of the twlll
cha nge the (lirection twill 1s is
tively; and.
(ively; and, asiclc
aside fromfrom the
the fact
fac t that
th at such a designt
design 'I‘l1e only way
could
could not
not possibl y have
have much
much interest,
intercst, it
it would be to use
to use thethe material
material ltorizontally
h ori zontall y in some areas. areas. More-
possibly Mote-
impossible to to fit
fit a gannent
ga rment with so so lew
few seams,
seams. over, any
over, a n y changc
change in in the
the direction of of the grain is quxte
th.e grain quite
impossible
After lormulating ideas
l Al-terlormulating ideas into clear
clear pencil
pencil Sketches,
sketches, cut
cut conspicuo us, und and is is likely
likely t0 cause a mismatched effect
to causc
conspicttotns,
patterns l'on’
for the
the (lesigxts
designs from the the master
m aster block
block to
to test
test at certa in seams,
a t certain seams, suchsuch 21sas the French dart line !me oror thethe
patterns center sea m of a four-gore skirt. .
'
iheir practicality.
‘their practica lity. C e n t e r scam ol lour-gore
T wills and
'I‘u'ills a nd ribbed
ribbed weaves
wea ves generally
generall y suggest
suggest straight
straight
lines ruther
lines ra ther than
than soft curves
curves or or draped
draped effects.
Suggestion 22
Suggesfion
STUDYING THE
STUDYING THE FABRIC
FABRIC Fabrics
Patterned Fabrics
Patterned fabrics,
Patternetl fabrics, such
such as
as checks,
checks, plaids‚
plaids, stripes,
stripes, and
Texture, Surface Inferesi.
Texture. Interest, and Body Body
floral rnotits, present many more problems
fioral motifs, present many more problems for for the de-
Give aa student with
Give with little
little (lraping
draping experience
experience a signer than do either of the two preceding groups.
signer than do two preceding groups.
dress length of
of expensive
„dress length expensive fabric, fabric, tell
tell her
her to drape
to dra pe and
and The pattern
pa ttern ol
of aa fabric may
may bebe the
the chief
chief inspiration
inspiration
cut
‘cm it
it on
on the
the form
form, , and
and she will
will probably
probably be
be too
too terri-
terri- for a partictllar
particular design.
design. lndeed,
Indeed, you
you must
must take
take the
the cue
fied 1o
"ed to get
get either aa gooclgood idea idea oror to
to apply
apply the
the prin-
prin- for structural lines
lor lines from thethe pattern
pattern of the the fabric
nples she has
"ples she has learnedlearned — - and with good reason.
and with good reason. But But whenever you
whenever you select a nlaterial
material with a dominant pat- pat-
actually working with the fabric on
ually working with the labric on the form reveals the form reveals tern.
tern.
thee"‘feel"
‘r "feel" or or texture
texture of of itit and
and its draping
draping quality.
quality. ItIt
-is possible to SjJaced Floral
spaced F/o1'{il Prints. Large spaced
Prints. Large spaced floral
floral prints
prints
possible to experiment
experiment without without cutting
cutting into
into the
the
suggest softly gathered effects, suitable for
tpiece
c e atat all
all and
and to to Substitute
substitute muslin
muslin for for dress
dress fabric
fabric suggest softly gathered elfects, dressy after-
dressy
noon or formal evening
noon or formal evening wear. It wear. It must also be
also be re-
re-
when draping
_en draping to to ccut.
ut.
membered that every cut through a large
membered (hat every c u t through a large floral design floral design
The lollowing
_ The following qualities
qualities of of fabric
fabric areare of
of utmost
utmost im-
im-
very conspicuous.
will be very conspicuous. And And because
because itit is is not
not pos-
portance to consider when designing. pos-
sible toto match
match floral patterns,
patterns, obvious
obvious seams seams and and cuts
cuts
will utterly
will utterly destroy
destroy the the effectiveness of of the
the gown by
Texture Interest Without Pattern gown by
chopping up
chopping up the
the motif.
motif. The aim should should be be toto hide
hide

_
Mate/asses, Boucles, Ratines, and all Nubbed Sur- as many
many as as possible
possible of of the
the necessary
necessary joinings
joinings in in soft
soft
as
faces. For a fabric with definite surface interest, such tullness, and to place seams, if at all feasible, under
fullness, and to place seams, if at feasible, under
as a matelasse,
ja matelasse, aa coarse
coarse boucle,
boucle, or
or aa nub
nub weave,
weave, plan
plan
_
the design
design so that
with the
the fabric
that itit does
fabric itself.
does not
not competc
itself. Compose
compete for
Compose itit of
for attention
of large
attention
large unbroken
unbroken
arm, where
the arm,
pattern of
where they
the
they are
fabric,
are least
least evident.
whenever
evident. In
it is an
pattern of the fabric, whenever it is an important one,
Jn short,
short, the
important
the
one,
always take precedence
should always precedence over over thethe cutcut of of the
the
areas mhcr
rather than
than intricate
intricate fine
fine details.
details. FlatFl at crepe, in
crepe, in design.
design. TinyTiny checks,
checks, polka
polka dots,
dots, and
and fine
fme florals,
florals, on on
direct mnlrast
contrast to to thcse
these pronounced
pronounced textures,
textures, has
has aa other hand‚
the other hand, should be handledhandled almost almost likelike fabrics
fabrics
surface‚rso
so lacking
lacking in in interest
interest that
that itit needs
needs toto be
be given
given no pattem
pattern at at all.
all.
with no
texture aappeal
ppeal by by the
the addition
addition of
of stitching, embroid-
stitching, embroid— Figure 6 is aa design
design suitable for
for aa large floral
ery, self-cordings,
mildings, and and soso an.
on. But
But never
never use
use such
such ap-
ap-
Figure large floral print.
print.
ltIt has no center front or
no Center or center
center back
back seam,
seam, but
but if
if such
such
' on
plied design on ‚matelassö
r-n i‘:is not
ture which
matelasse or
not suited
suited to
or on
on any
any othcr
to surface
other nubby
surface decoration.
nubby tex-
decoration.
tex-
seams werewere necessary
necessary the design
design should
should be be changed so
changed
so
that there would be be fullness
fullness over
over the
the joinings t0to make
make
'
Twilled prv
or Rilibed
Ribbed Fabrics. Twills, reps,
Fabrics. Twills, reps, herring—
herring- joinings
them lessless noticeable.
noticeable. The
The sleeves
sleeves are
are lapped anon top
form a-
bones and piques liorm a sgmnd
second dass
class of
of fabrics
fabrics with
with of the arm to
ol’ to avoid
avoid a seam,
scam, and
and the
the side
lapped
side seam
seam ofof m?
the
the
definite diagonal, horizontal,
horiLOntal, or
or vertical
vertical line
line effects
effects skirt isis concealed in gathers.
gathers. Thu;
Thus the the underarm
underarm

277
 S
I

—s
59MG ior Drnpcry

Fig. 6.
iMag? I

Design suitable ior a large, floral print.

Fig. 7. Pattern for Fig. 6. There an: four picces in
dress.
(im

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
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
figure by using the plaid diagonally. In (bis way J

makes a transition between figure curves and an an

floor-Iength evening gowns‚ since they require Iong
skins l0 provide space for enough repetitions of the lar pattern. A woven plaid is o! course on the '
when used diagonally, and in most fabrics tends t
7

are at their best

pattem. Obviously, too, large patterns
stretch and thus produce soft curves instead of angl
'
on tall slender women and never appear to advan-
on short, stocky, or rotund figures. Figure 8 shows a dress designed especially for plai
tage
Plaids. A plaid is another type of patterned fabric Notice that in the skirt the pressed pleats [ollow a:
lines of thc plaid, since it is better to lay the ple b
that demands special designing. Here again the pat—
tem of the cloth musl be lhe dominant factor
in the straight along a dominant line of the plaid than n?
hal \
choice of the design.
floral should be soft
But
and
should be brisk and staccato
whereas
Howing,
1o

the geometric lines of the pattern.

be
the
that
in
design
for
harmony
Pressed
a
for a
plaid
with
pleats
gore out at the pleat edge. The left and righl
of the blouse front are each cut in one piece will)
deep dart running t0 the neck. This throws
on the bias above the dart and repeats
o!
the
the
the ;
diagon
skin.
’‘
is re- line over the hip in the side sections
should be substituted for gathers where fullness of
A

biased slecve with a matched seam on top of the = Ä_

should be uscd in place
quired, and straight lines
bc visible but carefully matched completes the eflect of the bias along the
silhou
curves. Seams should A word of caution in regard 7
to lines of the figure.
in both directions. Another problem peculiar plaid
L

maintain a sense of Order in

lines with the cuttirig zmy plaid:
in the need of coordinating angular costume by carefully matching the plaids zuall se
natura! curvcs o! the figure. This requires
skill and
the T0 d0 this. Hare both edges o! a goved scam t0
«
ingenuity. Navajo lndian ‘rug designers cha.nge
to angular shapes wnthout a sinne degree.
figurcs in their patterns
278
 S O U R C E S
SOURCES OF
0 F D E S IG
DES IGN

Stnpes.
Slripes. Stripes
Stripes as 21s weil
well as plaids need specla! de-
a5 plaids
signing
signing and und handling.
handling. They They are perhaps perhaps more w1d:ly
wldoly
used lhanthan any other
othcr kind
kind of patterned
patterned fabric and. 1n-
any and. 111-
volve the designer
(lesigrlcr in many problems.
many problems. Unless stripes
stnpes
are veryvery interestingly
intcrestingly spacedspaced and and veryvery wide, they tend
widc, they
t0 be monotonous
to Inonolonuus il if allowed u)to run in the same direc-
tion throughout
throughout a costume; costume; at at the same time,
t'hey
seem confused
conlused if ullowed to go
il" allowed go in too many direCtIOflS
many directions
in a single
singlc design
design.. Like Likc plaids,
plaids, stripes
stripes usually
usually suggest
suggest
straight-line
sLraighL-line costumes;
costumes; and yet
yet unlike
unlike plaids, they are
plaids, they
not oppositional
nol uppositional or static and are,
are‚ therefore,
therefore, more
versatile in interpretation.
interpretation. For example,
example, Figure 9Figure
shows a design design for a very
vcry fine stripe, perhaps in cotton
stripe, perhaps
chambray
chambray or rayon crepe. The fabric is soft enough
rayon crepe. enough
to gather
t0 gathcr well and and the stripe runs both
stripe runs both horizontally
horiwntally
and
and vertically. lndeed, it would be very
vertically. Indeed, insignificant
very insignificant
if iti: did not. A Liny,
did noL. tiny, unimportant
unimportant stripe stripe benefits from
from
a good
good deal
deal of interest
inlerest in cut.
Figure
Figure Il (0) shows a very very wide stripestripe in a hand-woven
hand-woven
suiting.
suiling. The object
object here is
is to play
play down the interest in
the cut of thc the garment
garment in order to
l0 set 0E advantage
off to advantage
the dominant stripc, which is
donlinant stripe, is far too important to use
[ 0 0 importam
in more than one direction —
direction - in fact, too important
fact, too important
to repeat
to again in the
repeat again Lhe skirt. Try Try to adjust
adjust wide stripesstripes
on the form form so [hat that they
they come at at the most becoming becoming
positions on the figure
positions figure;; and
and aalsolso try
try to match
match the pal- pat-
ttern across the sleeve,
e r n ac.ross slccve, so that the sleeve and and body
body of
the jacket
jacket appear
appear as 21s one
onc unbroken
unbroken unit. unit. This is is an
advanced problem problem in designing,
designing, for although although there
must be darts to to fit the jacket,
jacket, they
they must be invisible.invisible.
In this
Jn Lhis example
example three small darts under the arm, arm, in
- 1 addition to a horizontal horiwntal one along
jacket without being
the jacket
along the waistline,
waistline, fit
5.8.
Fig. 8. Structural lines (hat
tha t cmphasi1e of
emphasizc the character of being noticeable and lilt the grain
lift thc grain
plaid. of the peplum peplunl so that the lower stripe
stripe does not sagsag
toward the side seam.
toward seam.
Since ehe
‘Since
V

difliculties of handling
the difficulties handling plaid
plaid around
around the Stripes need not be used to emphasize
Stripes
es of the silhouette are so obvious and also im- emphasize a straight-line
straight-line
curves
«l effect.
effect. In lact,
fact, when used diagonally,
diagonally, stripes, like
pose limitations
‘
limitations on the way way in which the cloth can stripes, like
plaids, tend tend to take takc on the effect of curves. curves. The The
be mit,
cut, plaid
plaid is is einen
often used merely
merely to 1o accent
accent a solid striped tafleta
striped evening bodice (see
taffeta evening (see F Figure
igure 11) I1) shows
shows
_‚ For example,
color. example, a straight
straight pleated
pleated skirt of plaid
plaid such an effect. effect. Not only only does the stripe
stripe conform
conform to
t0
3h
with a jncket
ä
jacket ol solid
of a solid color avoids
avoids the problem
problem of the curves ol of the figure
figure when it is used diagonally,
is used diagonally,
plaid over thc
'_g plaid
shaping
'

the curve of the bust. but it

but is far more
it is more active and and dynamic than whenwhen usedused
m:i5
Plaid is notorious for enlarging
dynamic than
enlarging the apparent
apparent size vertically or or horizontally.
horizontally. lt It is perhaps
perhaps unnecessary
unnecessary
of 111e figure and
the figulc and because of its strong, straight-line
strong, straight-line to caution the student to match match the two two sides
sides exactly
exactly
characterr and its its opposition
opposition to curves,
curves, for overempha-
overempha- at
at thethe center
Center so that the lines slope down
slope down at the same
at the. same
sizing ‘a pleasantly ronndcd
a pleasancly, rounded figure.
figure. Large,
Large, angular
angular angle from
angle from each side.
patterns „areare: a: best an
at their bes: on girls wilh very
girls with very subtle
subtle When
When draping designs for plaidsplaids or stripes, the
curves, m!and 56cm
seem toto be particularly
particularly harmonious with dem should
draping designs
Should work in muslin, lining
stripex, the stu- stu
dent it off with
lining off With pflicil pencil
the sudden o Amntions
motions undand lively
lively manner
manner of adolescents.
adole-scents. to get the effect effcct of the fabric to to bebe umL
used.
279
 ‚m:
»
,

41%
'
lllllllllllllllllllllll I1lllllllll ‚

\‘
\\\ >\\\\\\\%z/Wß/(f/Ml
„m, /im4

"mfllhnlnmumfiif‚m„

Fig. l0. A wide stripe is too dominant

m use in more
one direction.
to cunle around
and inneres: in the cos- Fig. l1. Diagonally used stripes appear
Fig. 9. Fine stripcs need variety
tume design. figure.
n
the effect it will produce. A little cxperimenlal
Aside from the general effect of floral pattems, about
are still other of ing will very quickly answer your questions
plaids, and stripes, there Woven or problems sort of silhouette a fabric will give. lf you look
fabric pauem t0 considcr. printed plaids,
should be examined to see at Figure l l ‚ you will notice that the fabric has
slripes, and floral pauerns a and stiflness of a talleta or it would not produce Ihm
if they have an up and down direction, right side silhouette. The fine striped unaterial shown in i“
lefl side o! the pattern, and a right am! wrong 9 obviously has not only a soll texture bin‘ also
adds to
of the fabric. Any one of these characteristics all [hat lacks bulkiness.
’
thc problems o! handling, and a labric possessing an: entstand
to avoid. Rayon jersey and moss crepe m

of thcm i: one for an inexperienced person

l

close to the
examples of fabrics that fall so
1b Iody cf fho Fabric: Sfifiness. Weiglw end
Thicknus as to be fairly liquid, and yet in spite of
an. all. Th
and clarification, weight have no bulkiness or buoyancy said
Except {or purposes of explanation the considera- the quality generally mcam when it is Ihn
i: is, o! ooune, impossible to separate labric poasesses “drape." A material may lach
a fabric into neat
iion o! 1h: various characteristics of that bulkiness, wirinesa.
you examine quality because of stiflness, silk
linde catcgories. At the samc time A llat unweighted cmpe or l0
thc Iize and dominancc of a fabric pauern, you will buoyancy. in weig
texture that determine even though thin and soft, is too light
also consider the qualitics of
280
 for quick eflect. To a
thc u ncut (Ircss length m lcnrn the
fabric Ifig‘. l3.mDrupe‘ taufen: lightly
i! wilh Ileetllcs am! only w
Fig. I2. Drapc nf the entire lnjury thc lahmt, pin
meinte and m wnrk ( n r quick imprcssion
a
necessary.
dcoign.
 SOURCES OF
O F D E S I G N

Äther
(her lllc
llic wuiallinc, puxhccl iL uu];
waisllinc, pushcd
a! ] : undci" lhc pepluin
Limlci‘ Llic peplinn sllullldt‘! und nuk, ua cuanudc-
sliouldci‘ cascadc’ ol (lmpcry (liapcrlv will lull lall al
‘al
pery, am] lct it
und i1 liung
liang u; thc
(h4: ll0o1'—
lloul’ —— ull
all ol [llis Will]-
[lll>\\'l(l1— llic nul;
(lic ——
nL-(l; —— ua xci‘) logicul
\ci‘_\ logical lmul
loral puinl im"
lor (lcsign 1n-
(lcsigil in-
‘g cuuing slash. Äloicover,
cuuiilg c w n a slzisll. Äloicovei‘, shc alle Liscd
uscd \van c n lcw lclcsl. ll you
(Cltsl. ‘um (cuL (o IlIC
u : [o ilic intcrscction
intcrstcclion ol lllC lhc shouldcr
[hat the labric would nol
f! ‚ so [hat not be l)C injtncd.
injuicd. Fignrc Figinc sciilll und (hc
stulll lhc unnsc}
annsc} c. diupciy(lrapciy will lull fall {lmm m m the outer outei‘
shows
“shows a still (allem
tallcla Lliuped
Lliaped up np into ua bustle zu a: Lhe
[lle cnd ul ol lhc thc slloulder.
slioulxlei‘, „Äguin. Again, il you ccul u t horizontully
horizontally
(er ( e r back. Herc tlic (lesigncr
(lcsigncr starlcd
slarlcd thc (lruping
(lrziping by b)‘ alung Lhc
ulung llic wuistlinc
uaistlinc [min lmni ll1C lhc sidc scum scam towurd loward tlie lhe
"cing onc end ol"
cing ot Ihc
thc lubric
lalnic uL ai thc Center
CCIHCI‘ lront
lmnt of the (uc ntle l i o n t , 111c lubric
c r lront, lalnic will ripplc oul into u
o n i inlo a pcplum.
pcplnm.
l

‚ ; then shc pulled

‚ and
2nd lcllct il
pulled it
[all m
it lull
7 talfeta. She Lhcn threw
i1 uround
around l0
u) Ihr:
thc llom‘
[0 thc buck,
llour into lincs nutural
thrcw zhc oppositc cnd ol thc
(liaped it
back, diuped
natural t0 [o
01' il you slilsll
Or
linc, ua lluic
whutexcr
slnsll Lowurd
Lowanl Ihc
llaic will spring [min
whalexci‘ point you slash,
thc CCHICI‘ buck
lroin 111c
slush, lrom
lhc cndend ol
from beyond a scam
2ilong the
back ulong
ol" Lhc
lhe waist-
slash. A!
lllC slush.
seam toward
AI

eta
eta over lllC thc shouldcr lrom llOIIl lhc lront lmni und ancl (lrupcd
(lrapccl un
an intclscdioll,
iniciscuiuii, Ihc IllC lulnic‘
lalnic will curl away lroni
('Ul'l uwuy lrom lhc [hc
v‘bodice lroin lrom lhc wuistlinc
waistlinc up Lowuidl()\\'2ll(l Ihc
Ilic shouldci".
shoultlci. puint ul [lllC
point slicai» und lull
l l c shcun lall inm imo ua circulur
circulai‘ cuscudecascade m‘ or
i e in handling the tulletzi tallcta she hud had Io u) l)L‘
l)L' cspccially iipplc. ltll i:i» cusy
ripplc. am u) scc wliut what u a xuricd
\ill‘l('(l source ol in-
ileful
lcful l0to pin
pin und
and crush
cruah it as
us Iiulc
liltlc u»
a» posslblc, shc
possililc, spiraliun lllls
spirution (HIlUll ul
lllis uuion ol ((‘lulll
l o l l l ( "aa n bccomc.
slituted steel
stituted slcel nccdlcs lur lui pin:
pins und
and uscdusccl \c1'_\
M1’) lewlcw ol Figurc H illuslrulcs illusziatus llurc produccd by a slash l0
llarc pioduccd t0 thc
inlciscsuirni
iniciscitiun nl Ihc ilic nuk
ncck und and Ihc shonldcr. The ellect
(h0 shouldcr. ellcct
L Suggesfion 4 shuwn (ould (Ulll(l only liuu- liau- hccn l)CCll pruduccd
protluccd by (lraping,
b)‘ (lruping,
i’ PlNG WITH MUSLIN
MUSLlN FOR DETAILS OF DESIGN
simc ullcx alici" tlic lllc lnst slash wus
lilsl slusll was mudc,niadc. muny inany olhcr Olllcl’ idcas
niight lnnc
xnight rc-snlicil. Thc
llJHC lcsllllctl. llic unlynnly known knmvn lucl lacl wilh which
l

lllL‘ (lxupL-i"
Ihc (liapcr slunvd slailul wus was lhul lliat sonlc
sonic sort sorl ol‘ol" dctail
( l c l a i l would
hing "Accidenfally" lo fo Produce Flares and Ripples
(lmclop
(lcxclop lmm
llUIIl lllc
ilic c
( ‘ uH c
0 5» lulnic abovc
5 labiic ulmvc die thc shouldcr.
‚ any ideas develop only alter aller inuking
inaking a slash to l0 Whcn 55U(ll
\\'hcn u(ll u a giawlul

'-.
gxutchil Clltlllin‘
circului‘ ripple lcll oul of ol the
lhe
I sese the excess lubric
'

labric bcyond
bcyontl the normal sczun scani posi- du:
(laut, l, sl1L' uniicd lllC
sl1('(;Il'll('(l ilic cllcu still lunhci‘ lanlici" by (lroppinf;
dropping‘ lhe
the
This lype ol “accidentuV
“accidenlaV (cul u m will oltcn
inspirc giain ul
giuin ai pulnls
puinis alung ulmlg thc llic shouldci‘
slmuldci" lo rcpcat lhe
t0 rcpeat
rson with any imuginatitm
imaginatitm a1 am ull
all 1o
u) recognizc
recogni/c iipplcs. Figurcs Flgurcs 15a lfm und I» I; show
slmw thc druping (lraping procc-
ibililies for lhethe (levclopmcnt
(levelopmcnt ol of ua good detuil
(letail m" LllIH‘. aml l-‘iguw
(llll'('‚ und l-‘iguic Hi lli thc
ihc puucrn
paucrn shapc, sliupc, which produced
. n fur
für the entire theme of ol ua (lrcss.
drcss. But lhe experi- tliis cllcu.
this cllL-(l. In ln lhis casc in
iliis (‘usc il sccmcd
SCCIHCd intcrcsting t0 (o con-
T}Ztcan be freclylrecly indulgcd in only whexi when (lruping
(lraping linuc lhc
tinuc llic llnrcs
llaics uroundamuiinl thc llic unn ann u)1o lllC llic buck
back armscye urmscye
u
scraps olo! muslin,
niuslin, lor then an error CITOI‘ in judgmcnt, lhis onc
linc. 'l‘l1ix unc (lcluil
judgmcnl. wuuld In: cnough
(lClllll would Cllollgll u) lurnish in-
in the wrong placc, involvcs nothing more lhun
nozhing inore lhan c l c s l lm’
lor un an cntiic
cmiic ((usiuinc.
ltcrcsl o s u n n c . Thc 'l'hc skirt und and slecvc (can "an
h start
sh stark wilh
with a secoml
second scrup
scrap ofol pructicc maicrial.
practicc inutcriul. lllcn
llicn scrvc nicicly us l)i.l(
lnu kground lur
x

mcicly 2h lor lllc

thc shouldci"
shouldcr lrill,
ihampcred
hampered by lears fears olof cuning
cutting too lur lar or in the thc or in ua subllc sllllllc wu)" vinphasizc il
way ( “aa n vinphusi/c it by rcpetition,
i"g places.
v
places, the expcrimenter can work with Will) specd
rcpelilion, so
i

speed long us
lung as lllcllic icpclilinns
rL-pctilions arc urc kcpl subordinulc.
suborclinatc. ll lt is
Jet
et ideas develop
LlCVClOP as they will. HCYCI wisc u; m slruin
slrain lur
ncvci murc lliun
l0!‘ niurc llian onc good idea at
‘hen
hen a slash is made through thc exccss beyond thc
4 the liine. ll ua sccond
a (inne. scmnml onc uuurs l0 you, kccp i1
( m c uccurs it lor a
to a seam line, the thc fabric falls over and forms second cosllnnc.costuinc. Thc bcauiy nl
bcuuly ol uny any Llcsign
(lcsigil (lcpcnds
(lepends
ry whicl} can be handled in an endless vuriely variety on thc the dcvclopincnt
dcvelopnicm ol onc niuin inain llicnic.
lhcmc. und on play-
ys.
ys. Moreover, it i! is possible to l0 analyze thislhis "acci- varialions ol that
"
l" occurrence und ing up vurialions lhut thcmc rathcr rauher than intro-
and to makemalte it i: happen at will. ducing a compcting unc.
dixcing
by this method those who are in the habit ol This one examplc
elfects can learn to injcct un- example illustrates that anyone who is
cing stereotyped eflects groping for lor an idca ought 1o cut
or even
gor evcn Original ideasidcas imo their dcsigns. away excess
cxcess fabric
with thc Lhc uunost caution und and alcrtncss,
alcrtness, particularly
which seams or which points can you when approuching
expect approaching Lhosc struclural structural localions locations wherc
u ‘bilities for ideas to occur?
possibilities Principally, they(hey original
Original treatmem treatment is most likely t0
'
to develop. One
lop a! points of articulation, or structural should also cxpcriment experiment with thc labric beyond lhc
n seams suitable for design
‘ o’n thc
emphasis. If you normal seam line lme 1o to see how many details
u v. above the shoulder to the lhe intersection
inlersection of searn
from any piece of cxccss may develop
i} *
excess labric.
fabric.

283
 a u s : oesnsn

Fig. l4. Ripples produced by slashing t0 the intersection Fig. l5.(a)‚(b).Draping pmcedure [or eflect shown in Fig. I
of neck and shoulder. Fig. l6. Pattex-n for Fig. l4.

Figure I7 shows the result of another “accidemal"

cut —— 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 flare later interpreted as a pep-
lum. 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 fill in the space. The inset may be frankly
a space filler, 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 flare. l9 was achieved
The design illustrated in Figure by
T0 obtain the effect of a
a very similar proccdure.
without a waistline seam across
perky peplum flare was
(h: ccntet back, i1 ncccssary to slash along the
waistline away lrom the Center back ancl Ich
l0 separate
This a tri- Fig. 17. Rippling peplunn {mm a horizontal slash w
(h: two edges o! the slash sharply.
cemcr back of thc waistline the waistline.
angulsr space across the
284
 S O U R C E S
SOURCES 0 F
OF D ESIGN
DESIGN

E
"'

_
Ql
SCJ)
eam
-g I
....:
c._j
C.F.
8•"''

-
t:'
Or
"''
Qa_rt_C_Io5ed

Fig. l9.
19. Rippling
Rippling Marcfl are produccd
produu:d byslzlshing
bv a lo ng wnist-
waiH-
Fig. alnng
a t CCUICI‘
line a! cen ter back.
bac.k.

E
"'
Ql
SCJ)
eam

.,a.
"O

"'
SCJ)
haped

====--
a:i
c._j

Fig. i8.
Fig. 18. Pattern fur
for Fig. Ii.
Fig. l7.

that had
M!!! had ‚t0
to bc
be fillcd
filled in. ltIt would have
have been
been possible
possible
to set in
in a plain
plain Lriangle,
triangle, but the pair
pair o!
of scrolls shown
in Figure i9
Äslßfigure serve um
19 scrve not only
only as the necessary
necessary inset but I
become Lhcthe dccorative
decorative feature of the costume
costume as well‚
well, I
gßmc I
Mand whcu
when repeated
repeated at thc
the front 01'
of thc
the neck,
neck, give
give bal- I
ance‘ am! emphasis m
and cmphasis to thc
the whole design.
design. Figure
Figure 2020 I
Il
ficpauem
is the pattern fpr
for thc
the dcsignl
design illuslralfid
illustrated in
in Figure
Figure l9.
I 9. Frg. 20.
I-‘ng. Pattern diagrann
Pauern diagram Im
for Fig. l9.
Fig,
19.

285
 Ü 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 flare rippled into a peplum
below lhe waistline end of the slash. Figure 22 shows
the pauern [or this design.
Figure 23 illustrates a peplum Hared at the
Center

bark somcwhat sinlilar in character to that shown in

Figure I9. The melhod of producing
the is
ripple so
diflerem, however, (hat it Warrants special mention
here. lf you compare the two illustrations, you will
note thal in Figure l9 lhere is no possible way of "h-..
back without
creating the sudden flare al the centcr Fig. 22. Pattem for Fig. 2|.
the imroduction of an insel into the waistlinc slash.
The back oI thc jacketshown in Figure 23,011 the othcr
curved seams been dropped from the point wherc the first fold
haml, is cut completcly apart by the long,
bclow the waist. introducetl. 'l‘hcre was also the problem of keepi
from below Ihe shouldcrs to just
sections nxakcs it possible to the waistline cIose-fitting. Dropping the grain onl
Cuuing ofl the side back
these sections in that along the downward curve below the waistlinte in!
drop nhe grain very suddenly
un
an thc curves whcre lhc the Center accomplished this. Study Figure 24. lh .
slwrt space Iran! the points finished block pattcm, which shows that the tanpres
where
lines (auch the waistlinc down w thc thcy
r

point
back Iine. This intrurhtccs thc flaring folds sprcad mnre at the lower edgc than a! the t0
nlcet the Center
This is a blocking procedtnre with results (tontparab
Thc
circular {olds across Ihe cemcr back. rulhor problem
thzm to to lhose ol lowcßring the grain whcu draping.
out
was t0 induce Ihr: folds lo ripple
286
 S O U R C E S OF DES

I‘
3. Flarc a:
Flare a1CEHICI‘ back pmduu-d hy luwcring
center lowcrirxg thu
lht‘
ew from the waisllinc m lhc (Cllltf
lhe waistlinc ( u n t e r bzuk scunl u!
|):l(k scmn ul du-
(lu-

-_
m.

‘other
nolher poim
point (hat may bc puuling is lhc prcscncc
along the
lhe sidc cdges
'
5e ctlges ol ot the
thc ccnlcr
(‘cnlcr scction.
scction,
eas ease is usually
x

Llsually found along Lhe Lhc cdgc of thc lhC -5.“

. seclion.
section. The reason for reversal is
{ o r lhis rcvcrsul i; that
{hat thc
__Ciogd

{er back section is very widc und Ihr: l l l falls well

thc CcuL wcll Dir:
951cm

4W ease
oulside the
and outside lhe point
poinl of
ase helps to curve thc_
busic waistline
lhC basic
ol‘ thc waisllinc dart.
durl.
Grain

lhe_ fabric
labric around thc form
‘willill nol
/
not bc
be visible if thc scumsann is curelully joined.
joincd.
u will rennember
V

renlember that lhe blouse shown in Figure

(hat lhc
lustraled
ustraled one way o1 ol producing ripples at the
e r. And an
der. a: first glance,
glnnce, the cflect shown in Fig-
_V5 may appear similar, for here too there is a Fig. 24.
Fig. Puucru
Pullcrn lnr
Ior dcsigun
dcsign shown
shnwn in Fig. 23.
derer frill. But there the similarity
similarily cnds. The cos— cos-
illustrated
lustraled in Figure 25 is an asymmetric design
'
hingg two opposite ways of handling [abric —
— the shoulder arca on the
ing Lhe
the excess
thc form.
lorm. By slashing
slashirlg lhrough
thmugh
‘

_
g it up into draped folds
shoulder
oulder length,
[abric
{olds along the first half
exccss above thc shoulder l0
and then by dropping lhc thc grain,
u) thc shoulder
shouldcr scam,
grailw, she finally dcveloped
length, and then reversing the proce- the circular frill.
lrill. There was somc doubtdoubl whether to t0
by lowering thc gvrain grain (romfrom there in ordcr order to lay the
lhe circular [olds
folds thruugh the shoulder scam cdge,
througl: thc edge,
Ihre:
"

gflares along
i" ing the pattern-the lower edge. The method of
patlern is also diflercnt,
diflerent, as this lhis one
or just to it;
decided that
i1; but the experimental
experimcntal draping quickly
xhat issue. Leuing the ripplc lines run t0, l0,
tially
lly blocked and partially draped. Starting but not lhruugh, the shoulder
shouldcr seam creatcd a Iighter,
scam created lighter,
(mjefullyly blocked pattem
pattern o! 0E the main body o! of morc buoyant
more buoyam eflect. T he diagram of the completcdcompleted
‚ on ‚which
which thcthe draped folds{olds to the shoulder pauern (see Figure 26) shows (hat
pattem (sec that the shoulder edge
the dnpenadded
ed, ‚die draper added a fairly picce o!
Iairly large pieoe of beyond the drapery is a sharp arc from which the
fit: t0 aee what eflect she could get by drap- Hares spring.
Bares
 DRESS D E S I G N

‘
‘ Drancd Folds

I
l
I
‚km
r .
Ü
l
T;
circular Flam
. .

1 I ‚;

o"

Fig. 25. Draped {olds and circular ripples combined a1 the Fig. 26. Pattern diagraln for garment shnwn in Fig. 25
shoulder. with draped folds and circular Hares.
7

The diagrams of the patterns for all of these de-
also
signs show thc lrued up, blocked patterns. They
show the advamages o! combining draping with block-
ing. After you havc (Ievcloped ideas by experimenting
gathering the Iree edgc of the slash or draping il into
folds.
Figurc 27 shows a shoulder ( l a r t converted inlo.
drapcry with an extensiol) carried around 1o the back.
lt also illustrates Lhe eflect ol slashing the dart line
’

on the {orm with scraps of practice fabric, the block-

bccomes a fairly quick und distributing guthers alonxg it. lf the fabric i3 .
ing of the accurale pattern soft and heuvy, the lincs of the (lesignl are as fluid and
process and makes it unneccssary t0 drape the design Ä

t0 complction. rhylhmical as in the illustration. Although lhis idea f

scems complicated, you can readily block it t0 perfect
Lines 9o the pzutern shapc. The (liagrann o! the flat pauem‘
Disfribufing Gaben und Feld: Along Slash
Produco Drapory (seo Figures 28a und b) shows that the Center iront‘;
linc hus bccomc u sharp arc, am! thc separation o!
This experimcm is smncwhat sinlilar to the previous thc Lwo sides nf the slash shows the Iocation) and 5in0’
of drop-
onc o! slashing to producc fiarcs, but instcad 0|" lhc dart.
a thc aim this timc is to try
ping (In: grain for ripplc,
 S O U R C E S
SOURCES OF
0 F DESIGN
D E S I G N

1
<.i ...... ,

' '
... ' ' ' ' \ \
' \ \
\ \
G-g,
{C065 ‘ * 5
‚ \
\
''|I
|
|

n
I

I
\
'
\
-- --.. I

\ \ I

\ \
\ \
\ '' Gamer
' s‘
\
\
'' \
' \
' \

'' ... .. .... ... __

\
\
\

A t *

\
\
| S
I
I
I
n
‚es
gw
u; I
v
:
|
I

(a)
(a) Fr (b)

u"Fig.
Fig. 27. Shoulder dar:
dart converted imo
into drapery
drapery and slashed
u l9 Fig. 28. (a)
(a) Slash lines
lines drawn [or
for dcsign
design shown in
in Fig.
Fig. 27:
27 :
to push
push in gathers.
gathers. (b) Slashes spread
spread [or
for [olds
folds and gathers.
gathers.
(b)
Simulaled
Simulated yokes
yokes (see (see Chapter
Chapter II, II, pages
pages 000-000)
000-000) Another method of of developing
developing folds,
folds, as we have
have al-
al-
employ
employ this
(bis method of
of slashing
slashing to
to push
push in gathers
gathers oror ready seen, is to
ready to introduce them into a vertical
vertical slash.
slash.
folds along
_:U‚0_s along the
thc cut
c u t line. A more unusual version
version ofof One wayway of using
using this technique
technique was illustrated
illustrated in in aa
this
„M: same
Same basic techniquc
basic technique is shown in the asymmetrical
asymmetrical skirt (see Chapter 3 ‚ page
(see Chapter pagel09),
109), and similar methods
methods
bodice design
fljgicne design in Figure
Figure 29. Two slashes running running to to were shown in two sleeves,
sleeves, one with a simulated
simulated cufl cutf
" neck at lhe
the the side front Support
support gathers
gathers radiating
radiating 138), and the other with a vertical
page 138). vertical slash
slash be-
be-
(see page
h „ard (h:
toward the shoulder on on one side
side and toward
toward the under- low the elbow along
v" '
arm on on the
the 0111er.
other. After thc the design
design is is devcloped
developed in in aa (see page
(see
along which gathers
page 134-137.)
134-137.)
gathers were
were distributed
distributed

roughh form by draping,

by draping, the pattern should be
pattern should be trued trued A graceful skirt design
design (see
(see Figure
Figure 31)31) shows
shows this
this
up by exact blocking.
[y exact blocking. For blocking
blocking not not only
only estab-
estab- same principle
principle of slashing
slashing back to to push
push in in gathers.
lishes1h:
'
'
the grain
grain line correctly,
correctly, but also insures
insures aa pat-
pat- Thc
The skirt has a yoke yoke wich
with a crossed
crossed simulated
gathers.
simulated belt.
belt,
tern wilh
with ushoulder,
shoulder, armscye,
armscye, and underarm
underarm seamsseams of of along the lower edges of which gathers have been
along edges gathers have heen
exactly m:
ly the Same
same lcngth
length evcn
even though
though not of of the
the same
same worked in. The seam at at the Center
center fmnt
front isis concealed
concealed
shapean both sides. Scudy
on bmh Study Figures
Figures 30a30a and
and b,b, which
which in
in the gathers of the skirt. Figure
Figure 32
32 shows
shows the
the method
method
two m
show -‘cwo steps
p3 in producing
producingthe the f:lat
flat pattern.
pattem. 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

\‚ —
—
-
02120531-

Ihr lnlds und guthcrs: (b)

Fig. 30. (a) Slash lincs drnwn
Slashcs sprcad. Undcrarm, armscyc. und shnultlcr seams arc
equal in Icngth m: right und Ich hnlvcs.

290
 S O U R C E S
SOURCES 0 F
O D ESIGN
DESIGN

.5’)

ggf‘:

Fig. 32.
Fig. Pattern for (Iress
Pauern dress shnwn
shown in Fig.
Fil{. 31.
3 1.

“h
(a) (b)
Fig. 33. (a)
(a) When slashed and spread.
spread, the full
full edge can
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
will not
not push back
push hack into
into
_./

Fig. S].
31. Slashing back
Slashing bac.k along
a long a skirt ynke
yoke t0
to push in
push in gathers.
gathers. an
an ascending
ascending ynke
yoke line
line without puffing
puffing a1
at the
the comer.
corner.

"bes should
Slashes should be made to to the side seam,
seam, but tapered
tapered Lhe
the gathered edge
edge to
to fit back into the the shorter
shorter yoke
yoke
to ‘ßnothing
nothing a1at the point
point on
on the
the hip
hip where
where the belt
belt line. But study
study the diagrams
diagrams of the (two yoke segmentf..
w o yoke Segments.
A
msm
appears to cnd.
end. If suggestion of
It a suggestion of draping
draping toward thc
thC' If
If you slash in the opposite
opposite direction,
direnion, thatthat is,
is, from
from
side hip i5is desired,
desired, however,
however, the slashes
slashes should
should be
be the seam edge upward,
upward, you
you will have trouble,
trouble, because
because
tapered to a small dart rather than to a fine point. you must push a gathered
gathered edge edge which
which is is shorter
shorter a: at
the center front
the center up into an ascending
lront up ascending yoke
yoke edge. Be- Be-
Figures 33a and b illustrate an important technical edge.
cause must raise the grain
cause you must grain of the the gathered
gathered edge
concerning thc
point nonccrning the ‚shape
shape of
of sinnulated
simulated skirt yokes.
yokes.
as edge
as you draw upup the fullness,
fullness, the skirt
skirt gathers
gathers tend
ten<l t0
to
you man
When4 you make aa slash
slash from
from the
the ‚scam
seam edge
edge of
of the
the
curl
curl and puff
puff from the oouter of the
the yoke
yoke line
line in-
in-
.„ (which is a;
pattern (whida
” discussion) (lpwnward m:
at the center
center front
front in thc
the skirt
skirt
stead
u t e r end of
stead of falling into slraight
straight vertical
vertical lines.
lines. (See also
under gmmign) downward as as in
in F
Figure 33a, as
igure 38a, as you
you (See also
the pattern you
spread fieVpxttem you gain
gain man:
more and moremore lenglh
length onon Chapter 22 on simulaxed
simulated yokes
yokes forfor an
an explanation of
explanation of
the
the same principle applied m
principle applied to blouses.)
blouses.)
29l
291
 . - DRESS ESIGN
Manaus»: o.vonai ho NormaICuHlng Linn
.0 Da”;
cu} along the base of the neck-
never
‘ Ongshould
wnhout first
Eine expenmenting to see what interest-
Ing 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
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 pro-
ducing 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
to leave the excess at the lower edgc of the peplum and
fold it up to form a pocket. In fact, lhere is no limit i
t0 the number of interesting variations that can be 5
developed from the single expediem of folding
the excess beyond the normal pattem edge
——
baclL
and all
one needs besides the idea and the will t0 experimem. ‘
‚
is a dress form and a {ew scraps of muslin.

(mm.
Fig. 36. Folding back cxccss beyond
(einer
m fnrm a Inc-mminß “"d‘“"°'
Fix. M. Fnldins n" extcns
 SOURCES OF D E S I G N

‘ing
’ng Excess inlo
info Knols or Bows Figure 39 extensiorl of
illustruies an extension
3U llluslrulcs ol labric
fabric wrappetl
,0

Ü.Inn general, thc samc

sznnc poslllons [hat are uxound Ihr;
znound wziistline 1o lonn a sollly
the wuistline (lruped girdle.
soltly draped
posltiuns (hat a i e advantageous
‘r slaslling
slashing or
m‘ lor
loi ('.\(€ss um
lolding cxccss ulao suitable
urc alao suilable lor To inuke
"I1; muke the puuem lor this design (see Figure
die pultern Figurc 40).
- ng ilit into knots buws. lhus it is possible t0
kllols or lmws. translei ihc
irunslei lmsic durl
lllc l);I3l( dar: 1o die Center
[o ihe lront n
c e n t e r front e a r the
near
"h
h vertically Lhrough waistline. Im:
waisilinc. lmi du do nolnoi c u t it
(‘ul oul. lnstead, slash the
i! out.
lllrougll the
lllC extcss
cxccss above the shoulderahoulder
‚T. edge ol thc da11 lrom [T01]! A u) B und and draw the lzibric labric for-
f0r—
‘g t0 tie i1 i: inlo
into (lecoralixc
decoraiixc knols on un Lop
lup olof the
wunl u)
“und Lo lonn u sush >u>ll cul on the bius. Thc
Ihe bizis. The doued line
ulder.
u l d e r. ln Chaplei
Chaptei 2 it i1 was explained how to l0 tie
excess from
cxcess lroni ua dart zu lhe
durt ui the C e n t e r lront
centcr lronl ol [h6
(h6 neck-
shows the top
sliow: which is n0:
dann, wliich
lop ol thc (lzirl. not cut but folded lolded
‘ie into
inlo a bow, and also how to plan lor knots tied in. Add an cxlcnslon
cxicnsioi) CDl-J under the (lrnpcry drnpery lorm
to
t0
u supporl
sllppull Im skin an
lllt’ slilll
lor ihe a: ihc Center
center front lronl asus shown
15several
several points along the ccnler ccnter front
lrom linc. Not only
ymg a decoralive wuy
ilymg way of ol shaping the Lhe labric, but it ll In Lhe dollcd line.
b} lllC The ends (can
linc. Tlic " a n be lied at the back
tied a!
“ ov serves the
i’

of
ol it
i: is m" nun
o1" i u n tlnough a bucklc buckle or ring.
purpose lastening.
laslening. Xloreover,
Moreover,
"c
l: of the simples: and most natural ways wa): 1oto end Oncc your e(\c eyc becomes trained
[Ydlllfll t0to look for lhe the source
PCTY-PÜY-
ul
ol n PSITIlClIlLII ideu, you will repealedly
design ideal,
purliciilui tlcslgn repeatedly sec- see
"
igure 37 shows how tlic lhc exccss
cxccss licyond npplicuiions ol"
upplicnlions l(lCi|‚ und will constaxitly
ol {hat idcu, constanlly bc made
Iicyunnl the normal
'

m m and back shoulder seuni seznn lincs cun bc iied llL'(l in ordcr uware ol niure
ziwnre more und niorc inore possibililies growing oul out ol
funclion
function both
both 21s
u: uzi Llosing und zu u21 (lC('()l'illl\’C
dccorulivc neck iletk cxcry pussiljlc
cvery pnssiblc blilall.
slash. lolding back,
lulding buck, or tying of ol lhe
lmenl. 'l‘ics
atment.
< Tics also ollcr ua Chance 1o m introilucc
inlroduce (Con- on-
llllnlt. .\ml
lill)ll(‚ And you will soon ccolnc o i n c (o sec see inany olher
many olhei’
ting color in lhc lming
ting lzuing nlol lhc cntls,
cmls, il if (hat ( l e tl u i l N i l } : in \\'lll(ll c-xccss
W21}: bc manipulated
i-xcess ( a n l)(‚’
nmnipulateil in Order
order t0
l0
7‘msms l0t0 inlprove Ihr:
the coloi‘
cnlur lizirinony.
hunnony. produw oiiginul und striking
pruducc (niginul clliecls.
slriking cllects.
igure 38 sliows
_flfigure shows lhc
lhe soll lolda
lolils lroni
lroin tlic llic l)ilsl(’
l)2l5l(' Willst-
waisl-
_"ce dar! und lhc
i
thc peplum LlHlWH
dmwn lugclllcl’
logcthci’ zu lhc CCIHCI’
2U. ihc ccnlcr
m and tied. lncidentznlly.
i

lncitlcnially, \\'l)CllC\'CI' ‘um usc lies

\\’l1{‚‘ll('\'(.'l‘ you
fasten
aslcn drapery,
drapcry, ("ut thcm in onc
( u ! lhcin 0 m : pierc
piecc Wllll
wilh the inuin
y ol lhe
the pattcrn in onlerorder u;
(o avoid 2| u cluinsy
clunnsy seam
der
der thP
lhe knot.
knol.

Bias Draped Sash

Excess from shoulder

Extra:
t

5mm .. shouldcr dar:

. an becoming neckline.
dan and above thc shoulder
necklinc. FEB-
39- Thc ‘Yinß
Fig. 39. tying idca
40. Pancrn
Fig. 4o-
Fix. Pattern for
i408 intcrprctcd
inlerprclcd in a wide
lor clress shuwn
wizle girdle.
shown in Fig. 39.
Fulda from
‘Feld: ( m m basic waistline
waisdine dart
dar: ticd.
tied.
293
293
 bness
Suggestion 5
INTERPRETING SILHOUETTES A5 COMPLETE
DESIGNS
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-fitting or
bloused; whether waistlines are nipped in or wide;
whether skirts are pencil-slim or bell-shaped, short or
long, flared at the side‚ front, or back. lt also shows
whether there is a vogue for peplums, whether or not
they flare, and just where they flare. In short, almost
the only important thing the Silhouette falls to show
is the location o! the structural seams and darts re-
quired to produce its distinctive outlines.
lt is, therefore, a challenge to try to interpret a cer-
tain silhouette by placing the seam and dart lines
within the contour‚ not only to produce the desired
de-
shape, but also to introduce harmonious seaming
tail. There are usually many possible seam and dart
how many in-
positions, and it is good practice to see
All designing
teresting arrangements you can make.
is fundamentally interpretatioi} ol silhouettes, and
(b)
l-‘ig 4| Sketches (a), (b), (c). (d) show [nur interpre-
tations of thc silhnuctte shown ut thc
tmtion.
294
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 eflect rauher"
for minute detail. V
The central sketch in Figure 4| illustrates a typi
fashion silhouette but shows no seams. Obv’
there must be seams somewhere to produce the rflß
fitting bodice and the sharply llared peplum. S113i
rounding this Central silhouettcd figure are four w i’
sible intcrpretations of the design, each one with al-
most the same contour. But the various cuts couW;
not possibly have exactly the same grain locationv
through the flare. 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 figure, 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 interpre-
tations 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.
v
(unter ul thv illus-
 S OURCES
SOURCES 0 F
OF DE
D E S
S I GG N
N

...
'"•g "i!
C>
,u

""
11,i
.:; ,o
I
..:
<..i

(b)

,.'
I'
•'
I 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
Suggafion 6
HOLDING THE FABRIC T0 THE FORM IY
SEAMS AND BYCONCEALED DARTS
Holding by 50cm:
The purpose of this experiment is to achieve a
smooth, form-fitting costume which takes its inspira-
tion not from a costume silhouette but rather from
the contour of the figure 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 figure as if sculptured.
thrcc ways n! nurklinx a 85"‘
Figs 43 44. and 45. lllustrntc
man‘: u; the figurc through scams that cul cntirely ancmss
the pancrn.
296
The three following examples illuscrme für
principle but show that the lines cm tun in
directions. The blouse in Figure 43, a variafimlä?
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. ß
k
the bust to the underarm. And the conume illum
in Figure 45 is shaped through horizontal seami"
ln the first 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.
y, Es)
1u:}‚i;\ß‚ß„‘‚„n
u‘ ‚
 S O U R C E S OF DESIGN

bcc-n pluccd on thc one

bccn uns cdge where wherc it naturally
nalurally {ell
sind) (he
study pztllclns, wu
lhc pzillcms. ynu will noticc Lhat in lhe
Iwticc {hat (he
i
1o 43,
«I3, thc when [h6 Lhe busic dzm was
basic dar: wa: closed and und the pattern
pauenl was
corresponding [o Figurc
Figuic [
( w o design)
design
of thc
eithcr side o!
‘ I oonn either lhc busl point, and und Lhe easc
the ease slashed un neu" lines.
lhc new
on thc lincs. However, this
lhis would have
buted
uled along bolh cdgcs, In lhc
both cdges. patlern for
thc pauern madc it il more dithcult t0
(o ease in the
Lhe excess invisibly.
44,‚ thelhe section nexl l0 1o lhc Lop lulls (lirectly
wp Ialls directly‘ and would ha\e haxe failerl to l0 Luke advantage of the oppor-
take advanlage
‘ bust, and lhe Lhc easc i: divided dixide
clixidc the
lhe ease and or mold the section
"
d lhe lower edgcs.
edges. The lower
belwecn the
(livided betwecn
sectioxl
section of
o!
thc
the
lllllil}
tunin}
[hat lalls
(hat
to
t0
dircctl} over (he
talls direcll}
o!
o1
cup
cune of
the curve
more
the busl. This is
o!’ lhe
than one seam
e wnwn in Figure «l5,45, which spans a wider spare space structural advanlage
thc slfllflllrai advantagc using
uaing
'
v
busl, has most
mosl o1u! the
lhe ease
eusc along
ulorlg ils upper line. Holding,
Holding. Imwevcr,
hnwever, is morc than au matter of
dv a narrower scclion been bccn uscdused ovcr the Lhe lincs, und lhc entire
scnm lines.
scnlll cnlire blouse Lakes takes on shape be-
would havc becn almostahnost equally divided o1 lhc
a u s e oi
cause
( intensilicalioll of thc
lhc‘ intensiliration Ihc curves along the
upper and lower edges o1
'upper section. In
ol (hat scclion. i i s l r i b u l c : thu
cdgcs which ((iislribttlcs shuping over the whole
lhc shaping
e lhrce designs. all of the easc
lhree designs, ease could have puuern.
PJIUCFH.

Fix. 46._ lästern idiagnm m: 51g. 43. m;

1-13. 4s. Faxe
along boxh cdga of Ehe
the
[mm m.
umam
dar:
cemral tection,
Central section.
 oness DESIGN

SÜSht Pouch

44.
Fig. 47. Paucrn clingnun fnr Fig.
fnr I-"ig. 45. Nlnst u! lhc cusc falls
Fig. 48. Patu-rn (liagnun
scnixm undcr thc busl. Nmv (hc
a1 Ihr mp nf Ihc clirutly
spmul alnng othcr section cdges.

‘JJJS
 S O U R C E S 0F DESIGN

.
1..
u.
Olher additional seaxuing
gh
r of
t0

lhe busl, docs Iuakc i! pussiblc 1o

emphasizc lhe dcsign.
lhe Con-
nol neccssary" u: shape lhc [abric t0
opcn lhe
er edge of lhe
lop ‘(fction und lhe uppcr edgc of
lowest section in onlcr l0 shape lhe bluuse outwurd

-
’

F‘ 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
v

‘edge. lhe hust contour bccomcs ( o 0 prononnncccl.

especially t r u e il lhe busl i: largc. T0 adjlul

-
_ng (o lhe individuell hgure, slush und pivol
the edges atlached u) lhe busl sccliun. as
75m Pigure 48.
" ttern
3.-
for thc dress shuwn in Figulc 4:’: (scc
’

also clears up anolhcr (lifficult prublcm

fahric across the waislline whcn (h: wuist-
have becn closed in bolh hlousc und
j « lhis is done. bolh waisxlines bccmnc in-

_
ä ‘with lhc result (hat lhere is cxccss vcrticul
I the waistline at the side (rom. Eilhcr
b break and blousc slightly a! the waistline,
‚die [abric slightly Irorizomally to rcducc
n

_‘ThC|I fit o u t lhe cxcess width by indem-

, k a m a: shown by
lhe doued lines across
in Figur: 48. Seam lape held slightly
n Ehe waislline o! lhc dress, and invisibly Fig. 49. Molding thc [alpric lhmugh daru umtcalcd undex
(h:duign lines.
III: wrong side. will reduce the width
“deine lhe waislline. Ease the dress just waistline. ßul lhis would have crcalcd loo much easc
Ü}: bone where grcater width is necded be- lo shrink out rcadily. lt also scemed to improve lho:

dusign lo balance lhc waistline ( l a r l on lhc righl side

__adesign with a long S scroll run-
to n curve below the waislline.
yn‘ u: fiure out how to hide lhc dm-
’ true. up
noch und waislline scrolls so man
van-pure o! fiuing the fabric 1o
‚ u :so impomnt umthe imro-
'
phil: 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
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 block-
ing, bul eventually the dcsign should be blockcd to
the pauern and lo balancc lhe darts.
Figur: 5|. on the othcr hand. depicts a design much
softer in characler than that shown in Figure 49, for
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 dilfi-
culf to cut, but actually lhey causc less lroublc than
deugns hke the one shown in Figurc-49‚ which mun
ue moldaed without
llnef. lt visibgc [ullness along thc design
uakes Iar-lcss slull and ingcnuity 1o put um
enurc baue m one place and distribute it imo
lhan
dfm
n
gathen does to gct rid o! i: subtly, a: m;
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
Fig. 5|. (bclow) Shaping
cnnccalled undcr yokc cdgc.

300
 S O U R C E S 0F DESIGN

Suggoslion 7 dann. Any ul thcsc idcas muld haw bccn devcloped

lrom draping on (hc loi m, und an)" one ol them could
DEVELOPING THE DESIGN THEME FROM
VARIATIONS OF BASIC DARTS hure becn first clurilied in a skelch and lhen blocked.
Thc nlelhcxl used l0 (levelop lhe design nlakes liltle
"ng could De nmrc stercolyped or Lmimagina-
Ä

use the basic (larls ——

the shoulder. vxaist-
dilfcrence aml varics lrom onc individual l0 anolhcr

E’;
(o
French dans ——
cxactly as (hey are used in a
und [ m m one (lcsign to nnolhcr. All uf lhe dcsigns
illustratcd lurnish good piuctice problcms 1o be an-
' 11ern. Bu! long belore you become adepl a!
‘ -"ning, you will discover lhat the vertical alyzcd lor design (lualit) und paucrn makiug. In
working them, you will gain assurancc in designing
d waistline dan posilions are ( w o of the

--
as well as lechnical skill.
e localions for
" ingness. Whatdarls lrom lhe poim of
‘lr

could bc more reason- Varioliom of flve Waislline Darf

‚ than to shape lhC pauern a: these
„rtions. and a: the same lime 1o cemcr
«n c so that lhe desigxl is both imagina-
nx
11g? lt is nol necessary 1o slrain yuur
hard l0 invcnl innumerablc Variation:
‚ and in so doing to explore anolher
inspiration.
“nicht Dorf
.-\ 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. re-
gurcllcss ol olhcr da11 loralions. in order lo fit lhe
wuistlinc mou: clusel} und lu retain some ease over
lhc lowcr ( u n s : ol (hc busl. ll well placcd, (he ver-
licul wuisllinc durl tapcrs 1o dcfine (hc waislline be-
cunlingl). ll is good praclice l0 play up lhis dar!
posilion aml l0 makc i: thc cemer ol intcresl ol the

_‚
i; an exceptionally good position for coslunlc as wcll a5 a slnndard localion lor
filting. Thc
‚

7iCenlcring auemion high makes the
and also focuses imerest around
und: eflecls are always desirahle.
iletchcs in Figur: 52 illuslrales a
lnterprctaxions of the shouldcr
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.

Variafions 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
figure than any combination of short darts. For this
reason it is a favorite in hip length jacket designing
where adcquate shaping — out over the bust, in at
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, regard-
less of individual figure faults, the French dar: should
be fully cxploited so (hat you may see how man_y un-
usual 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 eflectiveness whcly
used for a close-fitting evening bodicc with a contrasE-l
ing bouflant 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
and alerlness in a
Seeing possibility for con-_
locations,
theme fot;
verting a conventional darl into an Original
a design.

ol thc costulnnc.
54. Six for cnnvcrting a standard French dan into the design thcnxc
Fig. Iuggcntitnns
302
 SOURCES OF DESIGN

Variation: of lhe Mosfer Der? "l u thapc it. pin the struight graut at the Center front.
and then wmk lront the waistline up and outward
ough the shotildcr und waistline urc generall)
u t advantugeous durt tuwunl lhe shuultler. swlllglllg the entire excess in
‘ posiliuns lroni the point lrom the shoultlel point towartl the center as in the
'
.
o! becottiittgness. there are lrequent Oppor-

" for 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\L‘Il though
V
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
waistline is n l o s t mnunonly usetl nierely’ as a supple-
mental“) litting durt. but inay also serve to a minor
e x t e r n an the stiurcc nl an idea. For example, the line

less generully becoming u; all lypes ol

n u r ) llt’ slushctl bucL und guthers ntay be pushed in

x
the bust to the Center lmnt ut the ulmrg lls tippt’! cdge, or it may hure a sash cxtension
zu thc tinderanti to bc carried around the waist to the
_‚a be used sparingly, sintc its tnuul
‘w’ i1: the size of the busl b) slantiirg lmtk. whme it ( a n bc tied or bucklcd. T0 most stu-
’

-
u}die bust and inward toward the neck.
crush the excess [ m m thc tlart and
for a tie at thc center front o! the
v
tlents, this will tnulotibtetll) be a familiar use ol this
datt.
Hgtire .36 ‚how; a more tinustral interpretation of

-
‚ flattering foltls are lormed which
J3 the inward pull of thcse lines.
‚
excess with a striking ornamcnt
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.

-
drape it over a necklace to givc
Suit blouses take advantage ol
'
dart position with great success
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 extend-
ing to the slunlldcl‘. This desigll is casual, looks
elfortlcss, und yet takes carelul planning.
to the center front line at the
‘
c

, ‚ to vary the theme of hori-

‘n 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
' ’
„für; 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! sbonflb“
be avoided. Because of this, back dam uaually an’
tlleir purpose better if placed a: about thc samel
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 drapeä}
effects centered at the hollow of the waistline. ThereÄ i;
fore, whilc designing around the basic back darßgä
offers good practice and is often valuable experir
mentally, waist backs in general can betten’ serve the i_

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 figure. lmricacy of dctail for its own sake ._
does not make good design. lt is the beauty o! thc
costume silhouette from all angles—lront‚ back, am! i

sides- (hat really matters.

l

Variafions of Standard Yolxes

._).
Although the conversion of a dar: to a yoke is not
properly a Variation of the basic dart, it is a closely
related technique and therefore should be memioncd.
Grain

4: 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»
Support
quently used to shape and mold the fabric to the
form without visible fullness beneath the edg ‚ 1h: A

following example will deal solely with a yoke u

conventionally as a meaxis ol support lor visible In!
ness.
ln Chapter 2 the lechniques of both draping a
blocking a simple horizontal shoulder yoke were
ex!

plained. lt is possible vary

to this standard yoke t
versions of the ide
produce many other more unustnal
Figure 58 shows a design with a crossed shoulder yok
The fact that the gathers radiate loward the armsc 1
lor Fig. 56. Arrows show slash and thc undcrarm lrom the yoke, but disappear wh
Fig. 57. Pzuern diagram
is Ich 1o slide up under the
L

'

which
line and undcrarm dar! they reach the seam lines, accoums for their gracc!
bolern and be auachcd to the iuppmt. soltness and lack ol‘ hcaviness. Figures 59a and b sho._'
The suggestions hcre oflered for Variation
of the the pattem shapes lor lhis blouse and illustrate t ‘

Thc First of th
’

basic daru in the lrom ol lhc hlnusc t0 produce lhe important poinls in yoke designing.
a lcw of thc many concerns the placing ol the yoke. lt should be cut
themc o! thc costumc are only the il the cu
The samc idea can bc applicd to the ("all across lhe figure cither above bust, i

poaibililicn.
304
 S O U R C EE S
SOURC OFF
0 DESIGN
DESIGN

ll’ lends
Lends to be horizomal
t0 horizontal,, or no closer
lhe point ol"
Lhan Lhe
seam than bust. if lhc
the bust,
of Lhe
Lhe
the underarm
underarm
( l o s e r LO
the curve is
u)
is more
poinl
nearly vcrtical.
nearly way, lhcre
vertical. Either way, bc space
there will be space for the
n1gathers t0
gathers to fall
[ a l l over the bust.
bust. If,
lf, on the other hand,
hand, the
yoke
yoke line cuts across the figure
figure beside or below Lhc
the I
7point
"im of Lhelhe bust, falls on the yoke
bust, then ease falls yoke edge
edge _,""" I
\
raLher than on the edge
fqther edge (hat
that should
should be gathered.
gathered. The ___\,
Elfen
effect is very poor i!
very poor if gathers puff ou
gathers pulf outt too close to th
thee I
I
underar m, or in the case of a horizontal
nderarm, horizontal line,
line‚ below,
below, \
'\
"ther than
rather tha n aabove
bove the bust.
bust.
------ --\

... .-\,
\

----- --- \
\
\

''
''
''
'
——-—————’

(a)
(a)
Skirt Segment

Fig. 58. Crossed shoulder yoke.

l

(b) (b)

E’
ig. 59. Pattern ‘a?’
for 558?
Fig. >.'i8.i (a)
(a) Slash
513531 lines
“m?! drawn
drawn:: (b)
(b) Pa ttern cut
Panzern cut on yo ke 1·
on yoke line d sprea d lor gathers.
and
me an 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 Suggnfion O
seam. l! the slashes for gathers had been cut com-
DEVELOPING UNUSUAL sxm cm5 man
pletely through the underarm seam and if both edges BASIC 1wo-. Foum. AND smeona mmlnsi
hnd been spread evenly, then the lines of Eullness
would have been parallel, horizontal, and altogether In Chapter 3, the principles of both draping am!
laclning the animation of gathers that spring from blocking standara gored, clrapcd, und circular
9km:
curved seams like the underarm and armscye seams wefe explaixxed. lt should not be diflicult now so 6x-
shown here. This example illustrates the generaliza- and of thc more

_
perimem with the (lraping blocking
üon previously made, [hat gathers and folds are in-
l

fall into
unusual variations of these basic skirt forma.
variably more animated and less inclined to Figure 60 shows the back view of a two-gore (wo-
skirt
.

when radiate out-

heavy, "clothy‚“ parallel folds they [ h a t does not even remotcly resemble the standard
ward ftom an arc; that is, when only one of
edge the form a two-gore skin
l

gore cut. Although in its usual

pattem is spread for fullness. is most unsatislactory for anything except a master
Yokes with suspended fullness are a favorite means
'

and draped Variation:

pattern, in its many gathered
of introducing softness to emphasize figure contour it can be very effective. This particular designghows l;
and yet of controlling the fullness so that it serves
its
where closeness of fit
purpose without billowing out have
is essemial. Hence various other yoke designs
been illustrated earlier in this book.

4L
a:
skirt pattem was vaned
m den Fig. 6|. The basic lour-gore
paucrn was used
50 111e uandard (wo-gute stamlard. prnduce this design. dress shuwn in Fig. 6|.
f;
is far { m m Fig. 62. Pattcm lnr
„ein; (‚bis skirl, whicb
i" 9E
306
 SOURCES 0F D E S | G N

U—. drawn up omo u um! a1 lhc unter buck. The In urdcl u; gcl lhc pruisc cflcu ol lhc lunnel pockel
‘
o! lhe blouse 1mm shmvs a rcpctitior) of lhis drapcry" shuwn in Figurc (i3. (hc (lcsigncr cul lhe skirt

—
u- i! t0 lorm a kcyhulc Ilccklinc. Notice {hat as u unrialiun 0| lhc aix-gorc slylc. First she cut lhe
'
l all fullness diwucd loward thc
'

hips dis- bclt cunc hnm (hc maslez (wu-gorc skirt pauern:
‘

.3‘ 0te il reachcs lhc sidc scmns. 111i: radiales
and also fils lhc skin smuolhl)’ al lhc hip
„__
'
nhows onc o! (hc counllcss surialious of z:
and Figurc (32 shmvs Ihr: mclhod uscd
‚n
5» uern for lhis dcsign.
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.

°°*' .°.9' 2s9_

Fold

F.
C.
 DRESS DESIGN
since cowl folds fall differently in
‘Figur: 65 shows another skirt variation, this time
wnh a cowl drapery on the side of the hip. The pat- Figure 67; showing a skirt with a sepafätd
tem, illustrated in Figures 66a and b, shows how to fabric set into the seam to form a semblanac“ v’

place the hip seam on the bias and how to spread the
(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
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
'

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
design. However, the difliculty 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
'

edge of the top fold. This is an extremely compli- the cut

cated design, and one which will most certainly need in Figure (i7, and not produced by
some adjusunent either on the form or on the model, paltern.

.uhunmmnui„„f
'

|
|
I
.2:
—u Ln
ie___—
‚
. —-

._|

ä"
tLI
__'
‘ä"ä
n];
°'
u;

_I Jg
m| U1‘-
0|
|
“f”
l
l
I
|
n
s I

-
g
w
|
.9
|
'
| 3: I
|
| |
| |

I
2

(a) Design lines

(lmwn.
Fix 66.
cowl fulds produccd b7’
yiwgg, Decp bias.
plaringthe hip neams an lhc
308
SOURCES OF DESIGN

Deeo Bvas

Fa! Out Dnamond

I 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
Tilns is not by any means a new idea. Under Sug—
gesnon „I. lleveloping Line Arrangements by Sketch-
lng. you dnscovered that erasing crisscrossed lines
smoothed up the design and matle it continuous in-
stead of cut-up and choppy. This idea has permeated
all of the other experiments described in this chapter,
because continuity, rhythm. and smooth flow 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 char-
acterizes the most expensive clothes. lt appears to be
kind of plan-
simple and yet requires the most careful
uing 1o avoid obvious seams while retaining a smooth
fit.
This cxperiment brings out another and more tech-
nical point. Regardless of the method used to develop
an idta, it frcquently happcns that in the final block-
see small pattern pieces
ing ol the pattern you will
(hat you can altach to larger sections in order
to cut
climinate unnec-
thcm all in one piece and thus to
the reverse to
essary seams. ()r you may discover just
bc true. When you spread the pattern o u t Hat, you
seam along the waistline, lor
may find that a hidden
saves material, and
examplc, simplifics the cutting, Exer-
lels you place the grain more advantagcously.
as to the comparative value
cisc your own judgment
of cutting a pattern all in one piece or of concealing
to is to
rcmembcr
scams sltillftilly. Thc main point
worlt to get thc eflcct of continuity and
to
hidencc-
so well that thcy will ncvcr bc nouced.
cssary joinings
If you study Figurc (i9, which shows
the puttcrn lor
will notice that
Ihe (lrcss illustrute-(l in Figurc (i8, you
difficultics a1
thc sltirt lolds larcncm nu puttcrn-niaking
310
out a aeam and in distributing the einem!
waist dart cf the master patgern in
the smooth, molded elfect o! the illufiraßiw.
complish this, the designer distributgd
around ‘three sides ol the bust, easilig
amount (but not enough to (man: gaben}
'_
i
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 flamen
i
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 fi
as it hangs. Any excess left at the waistline can
taken o u t at the fitting by stretching lhe waislli
horizontally. The waistline as well as the Center f
u
seam should be taped to stay each the correct le A;
This front pattem plus the threequarter sleeves n
*-
and a lour-gore skirt baclt for the design can all be v
from two shoulder to hem lengths of fabric, leavi
for. x
only the blouse back and lacings to provide 3‘
J
cut is therefore not an extravagant one.
Suggesiion I0
DERIVING UNUSUAL EFFECTS FROM
ASYMMETRIC CUTS
The design balanced at the side lront or side bat: v J
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
i n
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 lines———than t1'.
ing and experience in thc placing
one cxactly balaitccd at thc Center.
dcsign
S O U R C E S 0F
OF DESIGN

m‘ hem an in one l-‘ig. 69. Panem

Fig. Paucrn {or
for Fig. 68. Notice the
thc method o! shapmg
the blome
(h: blouse am!
and also of
o! shapnng
indencing thc wainline.
indcming waistlinc.
 onsss‘ D E S I G N

_Fifium 70 and 7| show two examples of asymmet-

In Figure 70, the larger plain area on the (s:
a
n.c balfmce. F
a» f:
A
ade of the blouse balances the smaller but more
rlghf
detanled left snde. The fr_ont line swings in cominuous
from of the collar to the hip.
movemelft ‘the Pomtat the side front of the skirt
The smught lmes
vfmca}!sllhouette stabilize the design and
and
‘oi the_ slu_n
[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
supply necessary relief from drapery, gathers,
curves. In all designing, some plain areas and strong.
to the more de-
straight lines shoukl be used as foils
tailetl or curvcd seclions. In both these dresses, a
the eye effortlessly
rhylhmical flow of line carries to the other
side
through the entire costume from
one
and from shoulder t0 hem. w
I-‚-- ‘isiät.
Two sleps in the development of each blouse pat-
are so com-
tern have been shown because the cuts ‘\
The
plicated. corresponding to Figure 70 (see
pattem
that the
Figures 72a and b) illustrates the point
shoulder, amxscye, and underarm
seams must be ex-
they vary greatly
actly the same length even thoughmentioned before,
in shape. This point, although to
it is very likely
cannol be overcmphasized, because
the disastrous result
be forgolten by lhe beginner, with
(hat lhe pauern varies in size on opposite sides.
7U pmves to
On analysis, the dress shown in Figure
in Figure 71, because
be far easier to make than that
the left side front are
in the iormer, the gathers at
line of joining. The
alcached t0 thc right sidc at the shows a loose,
second costume, on the other hand,
iree, bolero eflect (hat
must have not only a deep tac-
set
a unclerbody in order to
ing but also complete not only complncates the
weil (see Figure 73c). ’I'his
construction but makes the dress expensive because of
h. would spml
the [arge amount o!’ material required. reduce
!4
eflcct, however, to
the gracelul, Iree-flowing
um rcquirement by sewing
down the bolero edge.
intricale
This indecidedly both an i5 not fordcsxgr}
to
malfe
and
Fig. 70. Asymmetrie design. The smaller
balances the larger plain area.
gathered spitze

balance is achieved through oppml 1

5
_
the mexperlenced Fig. 71. Asymmetrie folds.
<

an gxpgngive one; and it curves and through radiating

dremmker.

312
 S O U R C E S 0F
OF DES G N

Concealed Dart

.885

c3
°"_.‘:".?E°.°..

CUIGIOI

5 5 W " i“ n8- 70- (0) D558" Im‘ S135?! “fies dmwn: (b) Slashes spread and dann transferrcd
 --.v-""

v-Eas’
- .. ._ .‚

W0 Facingäp- «v

(b)

Sash Added tothe Back

F1.“I’) 7Un mm
3a
‚Au en
B7md
Ufl am
um
rm „m
...
70B
00|
mJm mm
Pm.
‘I’! 0P...-
e9|0 F:N) nin steF. 2.

314
 S O U R C EESS
SOURC OFF
0 DESIGN
DESIGN

Figure 74 develop from lrom

Suggeslion IIII
Suggestion Figurc 74 shows how a design design mightmight develo.p
that
aa curve
curve holding
holding fullnlullnessess along
along each edge. edge. NoticeNoti ce that
DESIGNING
DESIGNING FROM A DETAIL
FROM A the
Lhe source
sourcc of detail in this instance was aa very
ol the detail
dressy shoe, with a curve supporting
supporting fullnessfullness alongalong
a dressy shoe, with
The usual procedure
procedure when one plans plans to t0 design a both edges.
both cclges. It occurred
occu rred to
t0 the dress designer (hat
that she
dress isis to make a preliniinary
preliminary examination fashion
examinatitm of fash10n cou ld
COUl(l usc use this detail
deiail lor for a simulated belt holding
holdmg
magazines ready-to-wear clothes in order
magazines or ready-to-wear orcler to
1o study gathers at an both its upper aund lower edges. Sh
n d lower Shee thethen n
upper
details of design
delails design as well as silhouettes. You
You o?-
can ob-
gathers
ecided that a slecve with
ddecided Wllll a sim simulated
u lated cuff would eflec-
wou ld effec-
serve details with two entirely entirely diflerent
different purposes in
purposes m tively
tivcly repea
rcpeatt and und strengthen
strengthen the motif. motif. T Thehe shoulder
mind. You can aim merely merely to
t0 copy
copy them exactly,
exactly, in yoke tlurther
u rther uses the thc curves aand nd ththee gathers which which rrun un
which case your designs will sh show
ow a complete
yoke
your designs complete lack of up
up into
into it,
im, but there
thcre are
arc no ga thers
gathers at
a t its
Its up.per
upper edge
ed ge
imagination.
imagination. Or Or you
you can planplan t0 Lhem as a source
to use them since the much on the
Lhc ddesigncr
esign er felt
lelt that
(hat too too m uch emph.as1s
cmphasis on
inspiration for an original
of inspiration Original design, which is a very
design, basic elfect. The final
a l ddesign
basic idea
idca wou would ld destroy
destroy the effect. T he fin esig n
good way t0 stimulate your
good way to stimula te your imagi For exaniple,
na tion. For
inlagination. could no t possibly be ca lled
called a mere cop y of lhe
the. shoe
sh oe
could not possibly copy
a detail
d etail used at a: the shou
shoulder may suggest a similar
lder may suggest d(letail.
etai l. sincc the two (wo uses are
are so different. But
Bu t il
1( the
idea to
idea to be used at at the Center waistline, or
center back of the waistlinc, idea nothe r aand
lrom aanother similar
idea hadhad been bcen take
taken n from nd simil ar belt,
even to be turned
even u pside ddown.
turned upside own. Sh Shoe
oe and hhandbag
a ndbag th e design considcred or'.gina
designs may straps, b uckles, or even folds that
the design could could nno0 :t strictl
strictlyy be considered Original. l.
designs may have straps, buckles, R ather, it wou would ld hhave
ave t0 called aann ad
to be called aptation oorr
Rather, adaptation
suggest
suggest an enti
entire re theme for a dress or a suit. There is varia tio n ol"of th
thee Original
original form form,.
Variation
no limit t0 to the way way in which ideas can be ada pted in
adapted T he two.steps in d iagra mming the pa u ern (see
The twostcps Lliagraniining pattern (see Fig-
Fig-
this fa shion if you
fashion you culti
cultivate abit ooff seeing
vate the hhabit seeing possi-
pessi- nd /J) of
ures 75a aand b) sh ow
show the all-intone
all-in-one cut o f the peplum
peplum,,
bilities in everything
everythiilg you you observe. On
On the
Lhe other
oth er hand,
h and, simula
simulated ted belt,
belt, and
und lower
lowcr blouse section.
section . Smoothness
never forget that silhouette is the fundamental
never forget fund amental imageimage
continuity of line mark this design
and continuity design and and setsei it
w keep in mind‚
to keep mind, and that ddetail
and (hat etail which does not not hahar-
r-
apan fro m more ordinary jackets and
a nd sleeves
sleeves that
(hat are
should never be used apart from ordinary jackets
monize with the silhouette should used,, no cut compl etely aro und the waistline aand
nd upper
matter how good good it is in itself. completely around upper edge of
edge
matter the cuff.

': L.-:
, . . .,,..r - :- \
:
I
I
I
I I
I I
I
I
I

_—
I
! .....
,...
4

._-—-_—‚_-
(b)
Fig. 74. Design developed {mm
ödeyclopcd from a „simjlar in aa shoe
similar idea used in Fig. 75. Pattex-n
Fig. shown in
Pattern for blouse shown in Fig.
Fig. 74.
74. (a)
(a) Design
in die
design. As used ‘in.
'
the dran;
dress, che
the design
design naturally
naturally shows Design
and slash lines
lines drawn; (b)
(b) Pattern
Pattern cm
cut on
on design
design lines
lines and
am}
variations. slashes spread
spread for gathers.
‚for gathers,
315
315
 D R E S S {assnan
Suggmion |2
INTRODUCING ORIGINAL DETMLS INTO A
STANDARD COMMERCIAL PATTERN
Probably a woman’s commonest wish in regard to
pauem making is ( o r enough skill to change com-
mercial 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 figure con-
fonns t0 standard pattern sizes, The problem in this
case is to change lhe design without altering the size
or fit o! the pattem, and this is no different in prin-
ciple from designing on a basic draped master pat-
lem. lt the changes are at all intricate, however, the
process may be somewhat involved.
and Fig-
Figure 76a shows a Standard tailored suit,
O
on a mmmercial pattcm. (a)
Fig. 76. Designing
dcvvlnpcd { m m me standard paucrn.
(b) lmlividual design
316
ure 76b shows one convcrtcd to a arme.’
style with softer, less severely tailoredlina. _
was chosen intentionally here to illustren" thaltibii
j
wiser to leave the carefully drafted collzt, Iapelg. ..
sleeve unchanged, and t0 introduce Iheinew design"
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
the
body of Lhe jacket. ln thc yoke, place grain par-
allel to the center front.
(b)
Standard tailnred suit:
C
n
 SOURCES
SOURCES OF F
0 DESIGN
DESIGN

4. Draw in new dart lines from [rom the point

point of the
bust t0to the yoke
yoke edge
edge and to
to the two new vertical
waistline darts.
(larts. Divide the large
large shotllder
shoulder dart evenly
into
imo three tuck darts
darls which can be eased into the yoke
yoke
edge to
"edge form softness rather than visible darting.
to form
5. Draw a waistline seam.
seam.
6. Cut the patternpattern apart
apart along
along the new design lines
design lines
and slash it along the new dart
dar: lines so that it will

__
along
Ä lie fiat.
Hat. Cut along
along the waistline for an inconspicuous
inconspicuous
Z-pseam partially hidden
seam partially hidden by by the pocket
pocket flaps.
flaps.
7. Examine
"7. Examine the shapes shapes of the various sections.
V
There is still too much excess left from the old
shoulder dart below the new shoulder yoke yoke to to ease it
in invisibly. Transfer
gin invisibly. ’I‘ransfer to the two new waistline darts
enough of
„nnough lhis [0 get this to get rid of the superfluous
superfluous ease at the
yoke
yoke edge edge but leave just enough
just enough for soft shaping
shaping over
‘lihe
the bust (see (see Figure
Figure 7777bb for the method
method of doing this).
doing this).
y
directions above illustrate a design
The direclions design change
change
which
which is complicated as one would expect
is about as complicated expect
to
gllo make
malte on a commercial pattern. Frequently
pattern. Frequently a change
change
from a standard
z-‘fitom pattern involves nothing
Standard pattern nothing more dif-
ficult Khan,
than, for instance,
instance, leaving
leaving a block of extra
extra fabric
Tnficuil

o5e5|___._——

Waistline Seam
\
c: \
I
I I
\
\ , I

''
I I

---
I I
I I

"’ (b)
(b)
•
—
1715
.
77-.. (a)
Fig. 77
_ •c
(a) TaiJored suit patlern
Tmjored
‘ Ü

pattern before the changes

changes were made;
made;
1"?
(b) EWS!

.
Des1g.. 611911895 made on
.
pattern
pattgrn of suit

317
317
shown
shown in
in fig.
I-‘ig. 76 (a).
76m)
 LfLI V
s;s»
«w; „s.

. a: da: ‘when you cut. out the so um

you can m-figurea» ‘I20 nnakcghi
hier Chi: material on the furm into whatever for translerring thg im c du;
Im» matment you may want. Becareful. if you 2. pages 54.57 . Thewi. u
1Eyou have trigd iaithiu m:
d? “I15. t0 drape the new design lines in harmony
mmthe other Iines of thc costume. (See Figur: 78b suggestions in this chgpiuxgygo ‚

for a suggested change Erom Figure 78a, and for one your creztive ingenuity am! yauij- 1
dm Esvery mach easigr to drape than to block.) ing to the point where you
Another change that it is often necessary to make in pendent ot‘ others for suggestionb‘ .
a commercial pattern is to add fullness at a yoke edge but also self-reliant in figuring au: how «t0
pattern. From this point on, how well
L

whele no fullness previously existed. or to increase the ‚

(ullness where the amount allowed by the pattern entirely on how well you apply what
to your own individual needs am! problems,
might seem skimpy for a particular fabric texture

a3

change to adapt the

neckline 1o individual features.
Fig. 7s. (a) v (b) v Suggested

or Slopers."
1940. Bock l, "Foundation Pattems
Revised Edition. Bock l l , “Style Patterns.
NBLIOGRAPHY
Morton, Grace Margaret. The Art: o] Cosnune und
Practical Dress Design. N6:w York, The and
Erwin, Mabel. Personal Appearance. New York, john Wiley
Macmillan Co. i940. Sons, lnc. 1943.
and Dress Design. Ann Arbon Paltern Design. New York
Evam, Mary. Draping
Brothers, lnc. 1935. Pepin. Harriet. Modern
Michigan. Edwards Funk and Wagnalls Connpany. 1942.
and Esther. Principles and'Problems Rohr, M. Pattern Drafting
und GTOding. Revised
Kaplan, Charles as
o] Pauern Making Applied
New York. Streimin Studio,
_
t0 Women's Ap-
l265 Broadway.
M-ROÖI‘. 240 W- 98th St. 1944.
Edition.’ New York.
parel.
318
 ßzßyr
fitting skirt for.
ABDOMEN, fitting for, 220,
220, skin
skirt cups
cups under, 223-224 BELT, 62
BELT,
1‘ ABDOMEN,

master pauern,
ALTERATION : masler
aALTERATION: blouses, 198-218;
pattern, b1ouses‚ 198-2 18; collars,
collars, 266;
266; blocking of, 252
COLLAR, blocking
BERTHA COLLAR,
skirts, 219-229;
skirts. 219-229; slecves,
sleeves, 229-241;
229-241; methods o], blocking
of, blocking
BIAS : collars and folds at
BIAS: at neckline,
neckline, 260-261;
260-261 ; cowl sleeve in
a nd draping
and draping compnred,
compared, 196;196; blocking,
blocking, gcneral
general pro-
pro-
blouse, 180;
kimono blouse, position
180; position of, in cowl necklines, 50;
cedure for,
cedure for, 197:
197; cf
of sleeves, cap height,
sleeves, cap height, 125-127;
125-127; cap
cap
position
position of,
of, in cowl skirts,
skirts, 308-309;
308-309; position of, in
position in
wi!.lth, 123-125;
width. 123-125; see Fitting
see also Fitting
sleeves, 161
kimono sleeves,
master sleeve pattern,
ANALYSIS, master
HANALYSIS, pattern, 118-119
too Light
BINDING, of too
BINDING, tight armhole,
armhole, 212
of seam imerseotion,
ANGLE, o1
SZANGLE, interseetion, 28
SLEEVE, 120-123: blocking
BISHOP SLEEVE‚ blocking o1,
of, {from master sloper,
m m master sloper,
' CS, hemline and waislline,
ARCS, waistline, 106-107 120; blocking
120; blocking o1,
of, {rom
from “0pened"
"opened" pattern,
pattern, 122:
122; blousing
blousing
exaggerated, 122-123; in
exaggcrated, in kimono b1ouse‚
blouse, 170-171;
170-171;
7; see also Armscye
ARMHOLE, 7;
ÄRMHOLE, Armscye
measurements for,
measurcmems for, 120;
120; with raglan
raglan armscye
armscye 1in2,
line, 152;
152;
RRMSCYE:
2
of blouxe,
ARMSCYE : o] deeper than nnrmal,
blouse, deeper normal, 128-129;
128-129; dress with simulated cuff,
wilh cuff, 138
cover, 7;
form cover. 7; fining
fitting o1, 208-214 ; formation
of, 208-214: forma tion o1,
of, 7,
7, 21:
21 ;
BLOCK, MASTER:
BLOCK, quarter size blouse to
MASTER : quarter to trace,
trace, 46;
46; quarter
quarter
correction 01'of gapping
gapping aatt,, 208-211;
208-211 ; side view illustralion
illustration
of, 26, Fig. 31 ; causes of too tight, 212; of sleeve, back, si1.e skirt m
size trace, 94;
to trace. 94 ; quarter si1e sleeve 1o
quarter size to trace,
trace, 136
136
of, Fig. 31: o1 m0 tight, 212: o] sleeue, back,
fitting
fiuing of, 235
235: ; d eep,
deep. in kimono, 168-169; deep,
kimono, 168-169; deep, in in BLOCKING: de fined, 45;
BLOCKING : defined, 45; mcthod
method o1of pattern
pattern alteration,
alteration, 197;
197;
raglan,
raglan, 151; deep. square
deep. square dolman,
dolman, 185- 187;
185-187: dolman method o1of designing
d esigning b1ouses‚
blouses, 44-59;
44 -59; method of designing
designing
cm
cut inin one
one with yokeyoke front.
front, 183-184:
183-184; eflect
effect 0on, of fining
n ‚ o1 fitting collars, 251-253:
251 -253 ; method of designing
designing sleeves ccut in one
u t in one
girth, 237-238;
girth, 237-238; master
master pattern,
pattern, 118-119;
118-119; nmdifying
modifying 148-192 ; method of
with bodice, 148-192; of designing
desig ning skirls,
skirts, 92-111;
92-111;
length o1",
length of, 241;
241; raglan,
raglan, 148-149 of designing
method o1’ designing set-in sleeves,
sleeves, 134-148
‘RTICULATION
ARTICULATION emphasis o1
POINTS, emphasis
POINTS‚ of in design,
design, 283-288 BLOUSES, 16-59; blocking
BLOUSES‚ blocking o1,
of. 44-59;
44-59; draping
draping of,
of, 16-44;
16-44 ; drap-
dtap-
alike an
on opposite
opposite ing
ing o1
of master blouse, 16-27 ; fitting problems of, 198-218;
16-27; fitting problems o1, 198-218;
SYMMETMCAL BALANCE,
ASYMMETRICAL BALANCE, in blouses alikc
sides, 55; in
in blouses
blouses unalike on
on opposite
opposite sides,
sides, 311-313;
311-313; measurements Iorfor master
master pattern,
pattern, 244
244
sides,
in
in aa draped
draped skirt, 109;
109; equalizing
equalizing o1
ol seam
seam Iengths,
lengths, 290
290 of fabric,
BODY,. of
BODY fabric, discussion of,
of, 277
277

for designing.
designing, 273-274
273-274 BODY CURVES‚ provided for by
CURVES, pmvided by darts:
dans: abdomen,
abdomen, 220;
220; back
back
I.C1(GRGUND‚ for
BACKGROUND,
11ips‚ 68 ; back o1
hips, 68; of shoulder,
shoulder, 24;
24; bust,
bust, 16;
16; elbow,
elbow, 116;
116;
ANCE. in blouse,
BALANCE, blouse, 213,
213, Fig.
Fig. 25,
25, 273-274;
273-274 ; in skirt,
skirt, 22s;
228 ; in
in hip bone, side front, 70; hip,
111p hip, side.
side, 70;
70; shoulder
shoulder blades,
blades,

.
sleeve pinned
512cm: pinned inm
into garmem,
garment, 231-232
231-232 26
horizontal and
and vertical,
vertical, 193;
193; marking o1,
BALANCE LINES, horizontal
‚LANGE LINES, marking of, draped, 312-314
BOLERO, draped,
BOLERO‚
on master
master panern,
pattern, 242-243;
242-243 ; of
of b1ouse‚
blouse, 193-194:
193-194 ; o1
of skirt,
skirt,
of slecve,
194; of sleeve, 232
232 BOWING, o1
BOWING, of a seam,
seam, 81,
81, Fig.
Fig. 43
43
: 194;

-
BREAK-LINE, o1
'

111cc 901m5, 27 ; on
on skirt seams,
seams, 59,
69, Fig.
Fig. 19;
19; See
ue alxo
also of a collar, defined,
defined, 247;
247; ofof aa convefljble
convertible

__
BALANCE POINTS, 27;
1

Crossmarks
Ciwmaiks Collar. 267:
collar, 267 ; o1
of a lapel,
1ape1‚ 269; of a tailored
o1 tailored eollar, 269
collar, 269
‘i’
F 16-59
BASIC BLOUSES, 11159 BREAK-POINT, o1 of a gored
gored skirt,
skirt, defined.
defined, 72:
72; o1’
of aa six-gore
six-gore
bflck.
back, 75;
75 ; placcd
placed high.
high, 96;
96; placed
placed low‚
low, 97.
97, 98
98
variations o1,
BASIC DARTS, variations of, 301-306
301 -306
_D1\RTI—'S‚
BUILT-UP NECKLINE, draft for,
for, 248-251:
248-251 ; draping o1’,
SET - IN sLesvss.
BASIC SET-m 113-133
SLEEVES, 115-133
BU|LT-UP
draping of, 256
256
BUOYANCY or effect on
on handling, 280
60-111
BASIC SKIRTS, 511111
FABRIC, eflect
OF FABRIC,
handling. 280
’
BUST, draf
draftt provision
provision for, in master
master pattern.
pattern, 16;
16; ease
ease around,
around,
BELL SLEEVE, 1blocking of, 12s;
11mm; et, 123; in
in kimono
kimono blouse,
blouse, 170-171
170-171 in master pattern,
pattern, 48,
48, Fig. 83
83
Fig.
319
 u;
5

B081’ dran form cover. 8: fitting o! 1ten. 215-218; too Coklxscfnou cm1’. u: afi-lfi
‘"81! in panern. 217: too low in pauern, 21s
BUST man-r. marklng of, in patlem, 21s
COUCHING. s ‘h: - _
cowL FOLDS: bloclzing of, in ‚mm3‘
UUTTUNHQLES. placement o1,
40 kimono blouse, 180-182; lhoultler
148: Ikin drapery, 308-3119170849,
C85’. o1 sleeve. drawing o! curves, 115 general principle in designingfiiflx»
lines, 37-40 f o.
'

CAD HEIGHT. o1 sleeve: alteration of, 233-235: highemhan. ‘

a: hip level, 69 5
nofmal. 127: in
relation 2o daned lop, 140-144; in re- CROSSMARKING,
lauon m sleeve width, 124-125; lower-than-normal, 125-
caossmmxs, meaning of, 4: mismatcbod .‚.. skirvc’

-
127: normal, 114
‘

227
CENTER FRONT DART VARIATIONS, 303 CROSSWISE GRAIN. See Grain
CHALK BOARD, 4 currs; bands, 130; cutting of, m; flated, m; simumdgi’
CHEST, narrow poim of blouse back. 26; narrow point of 138; wide, 130 ‚

blouse front, 21 CUPPING or 5mm", a! m: back, 22|; under abdomen, '

i
CHINESE COLLAR, draping o1. 262 224

CIRCULAR SKIRTS: blocking of, 105-107; the greater-than-
normal, less-than-normal, maximum, and normal, 105-
107; hem line and waistline arcs of, 106-107; principles
of, I11; draping of, 81-87; flares‚ 85; grain placement, 87;
-
CURVES OF BODY‚ effcct on “bang” o! skin, 219
DART: basic, fundamental, or master, 16; conccaled under
design, 299; division of, 47; general [unction of, I6; '- 1

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 flare in
Franch dan jacket, 36; for low flare in gored skirt, 74;
of
shoulder, 206-207; waistline oi blouse, 22; waistline
circular skirt, 85; waistline of draped skirl, 90; waistline
o1 {our-gore skirt, 79
COAT SLEEVE, measuremems for, 114; two-piece,
130-133
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 fitting 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

COLLARS: bias, 260-261; blocking of Hat, 251-252; blocking
of rippled, 252-253; blocking o1 toll, 253-254; classifica-
tion of, 247; drahing o1 built-up neckline, 248-251;
DARTING: armscye gapping, correction of, 208. 209, 210; 1-
correction, 196, 198-201, 208-211; dress form cover, fil-
excessive
ting o1, 5; excessive in blouse back, 216217;
‚

o1 high m11, 253- in blouse 1mm. 215-216; inadequale in blouse back and _
dralting o1 converlible, 255; drafting
254; drafting o1’ Peter Pan, 253; draping o1 convenible, front, 217
266-268; draping of, cul in one with bodice front, 263- 273-318
roll in back, flat in front, 259; DESIGN. principles. as backgrounct 273: Sburces.
266; draping of, high
05 l3“-
262-263:
draping of narrow standing, 258; draping10T. 25|, DESIGNING: avoiding unnecessary seams. 310; background
on com-
ored, 269-272; flat. variations of, patterns Ior, 273-274; basic dart variations, 301-306; A

265-266. 271-272; relationship 01 Heck" mercial pauerns. 316-317; detail used as a source, 315;
255; 259, 261-263, '
determina- without
line (o garment necklinc, 247; toll
or stand,
draping changes on a panern,
318; draping
247; narrow flat, 251; slopers, wide Hat. cuuing. 281-283; labric study.
277: folding back excess
gion o1, slopers,
252: terminology (of, 247 labric, 292: for pauerned labrics. 277-281: interpreta-
tion o1‘ silhouene, 294-295; set-in sleeves
1mm master .

on. 316-317 fit the de-

COMMERCIAL PATTERNS, design changes one-piece slceve, I34, 148; shaping
dans to V

structural seam-
CONTROL DART. See Dart.
basic sign, 299: skelching, 274-277; thruugh ‘

ing. 296-299
CONVERTIBLE COLLAR,
drafl for, 255; draping of, 266-268
320
 II NN DDEEXX
1
DETAILS, of design introduced on commercial patterns, 316- EXCESS FABRIC, use of in designing, 283-293
1DETAILS‚ o1 (iesign introduced on commercial patterns, 316- EXCESS FABRIC, use of in designing. 283-293
i 317; draping of, 283-293; source of design, 315
317; draping of, 283-293; sourcc o1 design, 315
FABRIC : body, meaning of, 280-281; for cowl drapery, 5 1;
DIRNDL. See Straight Skirts, gathered
fDIRNDL. See Straight Skirts, gathered FABRIC: body. meaning of, 280-281; for cowl drapery. 51:
for drapingmaster
for master patterns, 17;forfor makingdress
dress form
DOLMAN SLEEVE, cut in one with yoke front, 183-184; defini- draping pauerns, 17; making {cm1
DOLMAN SLEEVE, cut in one with yoke front, 183-184; defini- cover, 3; patterned, designing for, 227-281; study of,
Ä

tion of, 183; deep square armhole, 185- 187, Fig. IOla; cover, 3; pauerned, designing for, 227-281; studf-of,
tion o1. 183; deep square armhole. 185-187, Fig. 101a; before designing, 277 ;use
use of,asas d esign inspiration, 274
drafts for, 183-192; style line
line near
near normal armscye, before designing, 277; of, design inspiration, 274
drafts for, 183-192; style normal armscye,
188-192 FABRIC ESTIMATE FOR : dress form cover, 3; master blouse
188-192 FABRIC ESTIMATE FOR: dress form cover, 3; master blouse
back, 23; master blouse front, 17; skirts: four-gore, 79;
DRAFTING, collars, 248-250, 253-255; defini tion of, 112; back, 23; master blouse front, 17; skins; four-gorc, 79;
-‘_AFT|NG‚ collars, 248-250, 253-255; definition of, 112; pleated, all-around, 63; six-gore, 72; straight gathered,
'
dolman sleeves, 183-192; basic kimono sleeves, 159-164;
dolman sleeves, 183-192; basic kimono sleeves, 159-164;
pleated, all-around, 63; six-gore, 72; straight gathered,
6 I ; two-gore, 65
master o ne-piece sleeve, 11 3-119; master two-piece sleeve, 6|; two-gore, 65
master one-piece sleeve, 113-119; master two-piece sleeve,
130-133; raglan sleeves, 148-153; short kimono sleeves, FACING, fitted, cutting of, 40-42
130-133; raglan sleeves, 148-153; short kimono sleeves, FACING, fitted, cutting of, 40-42
174-182
174-182 FASH ION , influence on d art lines, 19-20; trends, study of,
FASHION, influence on dart lines. 19-20; trends, study of,
DRAPE,
' of fabric, meaning of, 280 273
PE, of labric, meaning of, 280 273
DRAPED SKIRTS, asymmetrica ll y balanced, 109; blocking
APED SKIRTS, FIGURE, as design inspiration, 296-299
of, I
asymmetrically balanced, 109; blocking
08-1 I I ; blocking, summary of principles, 1 I I ; drap- FIGURE‚ as design inspiration, 296-299
of, 108-111; blocking, summary of principles, 11 l ; drap-
ing of, 89-92 FILLING THREADS, 18; see also, Grain, crosswise
FILLING
ing of, 89-92 THREADS, 18; see also, Grain, crosswise
DRAPERY, gathersandandfolds
folds a long slash lines, 288-291 ; in FINISH, in relation to fabric, 281
APERY, gathers along slash lines, 288-291; in FINISH, in relation to fabric, 281
kimono sleeve with yoke, 174, Fig. 9 I ; in short kimono
kimono sleeve with yoke, 174, 171g. 91; in short kimono FITTING, adjustment{or for faulty posture, 194-195; blocking
sleevewith
with simula ted yoke, 177-178, Fig. 96a FITTING, adjustmem faulty posture, 194-195; blocking
sleeve simulated yoke. 177-178. Fig. 96a method of, 197; draping method of,. 196; fitter, position
method of, 197; draping method of, 196; fitter, position
’P1NG‚ combinedwith
DRAPING, combined with blocking, 288; details, 283-293 ;
blocking, 288; details, 283-293:
of, 196; general principles
of, 196; general principles of, of, 193-196; preparation
193-196; preparation of
of
introduce design change, 3 I 8; without cutting, pro-
mtoimroduce master pattern for, 196-197
design 318; without cutting, pro- master pattern for, 196-197
cedure for, 281-282change,
cedure for, 281-282 PATTERN : blouses, 198-218; bust line and shoulder
FITTINGPATTERN:
FITTING blouses, 198-218; bust Iine and shoulder
FORM : armhole, cover for, 15; collar draft, 15; d e-
DRESSFORM: blades, for abdomen, large, 220; for armscye
215-218; for
jESS armhole, cover for. 15; collar draft, 15; de- blades, 215-218; abdomen, large, 220; for armscye
sign inspiration,uscuse as, 28 1; kinds of, I ; padding of, area, 208-214; hip area, 221-228; n eckline area, 198-
sign inspiration, as, 281; kinds of, 1; padding of, area, 208-214; hip area, 221-228; neckline area, 198-
'
13-14 ; selection of, 13
‚
13-14; selection of, 13 203; shoulder area, 203-208; skirts, 219-229; sleeve
203; shoulder area. 203-208; skirts, 219-229; sleeve
DRESSFORM fabric for, 3; making of, 3-8; pattern
FORM COVER,fabric shoulders, 233-234; sleeves, 229-241 ; underarm seam of
shoulders,
COVER, for, 3; making of, 3-8; pattern 233-234; sleeves, 229-241; underarm seam of
selection for, 1-8 blouse, 212-215
selection for, 1-8 blouse, 212-215
DROP
‘ SHOULDER SLEEVE, 157-158 IN : four-gore skirt, low placed, 97; short kimono
FLARE IN:
FLARE
SHOULDER SLEEVE, 157-158 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,

_
EASE : around bust, 27; around hips, 67; at back edge of
‚ : around minimum a:atside
minimum side seam, 73; two-gore skirt, 67
‚ bust. 27; around hips, 67; at back edge of seam, 73; two-gore skirt, 67
shoulder,
ihouider, 24; division of, between two seams, 297-298;
24;division
of, between two seanls,
seam edge, 70; around armscye297-298;
FLARES, circular, draping of, 85; formed by slashing, 283-288
FLARES,
‘_f-
skirt,front
front hipseam of set-in circular, draping of, 85; formed by slashing, 283-288
hip edge, 70; around armscye of set-in
. sleeve comparedwith
‚lggvc qompared
with raglan, 149; around elbow, 116;
raglan, 149; around clbow, 134;
FLAT- CHESTED FIGURE, pattern alteration for, 201
FLAT-CHESTED FIGURE, pattern alteration for, 201
.- aroundgirth girthofof sleeve, 113; over top of sleeve, 116;
sleeve, 113; over top of sleeve, 134; FLAT COLLAR, drafting of, 251-252; draping of, 257-259
FLAT
whensleeve
Silben sleeveisis pinned into garment, 230-232; upper COLLAR, drafting of, 251-252; draping of, 257-259
into garment, 230-232; upper
pinned kimono
_ arm, nur
over
of blouse, 27
back of,ininkimono
lind. of, draft, 161 ; at waistline
draft. 161; at waistline PATTERN BLOCKING, definition of, 44-45; method of
FLATPATTERN
FLAT BLOCKING, definition of, 44-45; method of
ü! 27 designing: blouses, 44-59; collars, 251-253; cuffs, 130;
designing: blouses, 44-59; collars, 251-253; cufis.
kimono blouses, 170-192; set-in sleeves, 134-148; 130;
skirts,
EDGES OF A PATTERN, danger of altering, 125
PATTERN, danger cf altering, 125 kimono blouses, 170-192; sei-in sleeves,
92-111 134-148; 35m;
.ELBOW, ease in sleeve over, 116; measurement of, for sleeve
92-111
den: ovcr. 116; mcasurement of, for sleeve FLORAL PATTERNS, designing for, 277-278
draft, 114; pullingofof sleeve from, 235-236; width of FLORAL PATTERNS, designing for, 277-273
I'll; jnflling nleeve from. width o1
sleeve, decreasing and increasing of, 235-236;
238-239
1 «dumm;und inaeasing of, 233239 BACK EXCESS, use in designing, 292
FOLDINGBACK
FOLDING EXCESS. use in designing, 292
ter sleeve,
,
LBOW DART, increasing size of, 236; introduction in mas-
iggcnsing hize of. .236; introduction in mas-
’ 117; transferred to vertical placket, 134-135;
FOLD LINE,ofof tailored collar, 270
FOLD LINE, tailored collar, 270
‘I17’ mnsfcmed to vertica1 plackct, 134-135;
wrong location or size, 235
u; er 51'143. 235 FOLDS: drapingof,
draping of'.into
intoaa_ slash line, 289-291; in draped
slash line, 289-291; in dtaped
FOLDS,‘
PAULET SLEEVE, drafting of, 153-154; with darts, 155-156 ‚ms, 90; placmgof.
skirts,9o:
placins of,inm draped skirts, 108; radiating,
draped skim, 108;
oß 153-154; wich daru, 155-156 draping of, 287-288
draping; of, 287-288 radiam.
A

321
* 161.. 1-1341. 7

MIWATDN: lahme unter ‚dann. 46; 1km mm1 p “ .

Sultane m m 6 : purem, | 3 ; 461,-;
Gossen 66111111161:
w“? 9"“- Notkina 61.; 93.97: dnping o1. 16.61:
a u :ade 1mm und lach. 104-105: varinion of. 806-307 vatious 1111110110
16:. 165-166 A

nii-‘r
“ n 9 19N“.zu:am:111m. I3; varintiom in design, 302 H
1

HANDLE. o1 a fabric, 2806281

‘ m 0 1W 1 ’ DQDICE. 8166x111; o1. 55; draping o1, 31-56;
'
1,1

panel fonnanon. 82-34 HÄNDLING. influence o!

.3e
FRENCH HIP-LENGTH JACKET. blocking cf. 57-58: HEM‚ on uleeve lower edge. l29zswäepfdfi
PART parison o1 sweep in citculat and goml
dnpmg of. 36 '

HIP LEVEL. adjustment at, in suaight skiro, 60; _

FRENCH LINING. definition o1, 1; drawing pattern, 3.12;
meauremcm chart, 9 of, in fitting, 194; in two-gore 811118, 6 7 :
on dress form cover, 8; marking o1, on matter A
'

FULLNESS. direction contro1‚ 49; 101d: in draped skirt, 90; 245 „

I5 entließ. 61: a: pleats. 62: gathen in pufl sleeves,

144-145; gathets in raglan sleeves, 152; radiation of, 49 HIPS, fitting problems: when bones are prominent.
when broad or prominent in lach, 221-222;
curve on side 1shigh, 224, 225; when uneven, 228
GAPPING, o1 armscye, 208
HISTORIC COSTUME, as source o1design‚274
GATHERS. along a slash line in blouse and skirt, 288-291;
for in
along a slash line in sleeve, 154-137; allowance INSET, 165-166; at waistline Center back, 284-285;
1111-.
skin, 61; allowance for in sleeve, 137; appropriate use underarm, 168-170; straight underamx, 166-168; Je: als’
306
A

o1, 44; radiaüon o1, Gusset

GATHERED SKIRT, straight, 60-62 INSPIRATION, for designing, 273-318
C-‘EMETRIC FABRIC PATTERNS, designing for, 278-280
JACKET, master hip-lengtln pattem, 57
GIRTH 0F SLEEVE, balance line‚ 232; drawing
a: back o1,
for 113; t0 increase for wi
237-238; measutement drafz, KIMONO BLOUSE, with hell or bishop sleevc, 170-171;
<

237-238" side section and amxscye. 16B-

Iarge upper arm. shaped underarm deep
short sleevc, 179; with short sleevcs a -’-
81-105; 170; wich pufl
GORED SK|RTS. blocking o1 four, s1x‚- multi-gore, im: Q
o1, 105; comparison with simulated yoke. 175-178: wixh straighl underann
blocking principles. summary 166-168; with yoke, 172.174
"t
o1 two-‚ iour-, and six-gore, 65-81;
nnight, 65; draping
68; of,
draping, principles KIMONO SLEEVE, definition 01, 1411.159; dolman
vaiaxi. ‘i
draping, general procedure, drafts wi
81 183-192; drafts, comparison o1’, 164, 165;
a
without gusset. 159-162: 1in1
81 gussels, 162-164: draft
GORES, definition o1, 65; shape of, {nr short kimono, 174-182
67; adjustment o1 at
adjustmem o1, a: hip level,
GKAIN,

cuuing in on, in 11111-1 gorc.

o1, 219; indicator. 52, 53;
75, 108;
lowering,
fiuing
5.
sboulder bladaes. 25; crosswise and lengthwisc. Fig.
significance
3;

ior: circular 11711121,

LANTERN SLEEVE. blocking o1. 139
LAP. allowance 1er bunons und buttonholes. allowan
allowance 1m‘ buttons and loops. 42. Fig.
41. l-‘ig. ‚
70:
-
‘
in gored skirts, 67; raumg, seams. whe
85; cowl lolds. 5940; 111m2: for. in side 1mm skirt. 99; direction o1
Im‘ "dnped" 9111m, 90 vertical seam direction. 37
draping 1111m. 76;
o1 slecvc, 252-234: in a 13101186. tailored collar. 269
Q M M POSITION: anginh LAPEL. o1 convenible collar. 267; o1
I94; in circular 7111m,
varioun pmsibilitien for; 87; m '

sleeves, 148: m fowl LAPPED SLEEVE. blucking 01. 147

am! ncctlinfl. 37-40; in cowlin with equalnzed
“ a n ; in kimono blousel, 180; garen 81; in gored LAY FIGURE. 275. Fig. 1
flam.
Ihre: 96; in gom wixh unequal
322
 IIND
N D EX

ONE-PIECE SLEEVE, size pattern

quarter size pattern toto trace, 136: see
trace. 136; See
146 ONE-PIECE SLEEVE. quarter
LEG O‘
O' MUTTON SLEEVE‚ blocking of, 146
MUTTON SLEEVE,
also Sleeves
SK|RT‚ blocking of,
LESS-THAN- NORMAL CIRCULAR SKIRT, 106-
o1, 106- OVERARM LENGTH, underarm, 164-165;
compared with underarm, in
164-165; in
ÄS-THAN-NORMAL OVERARM LENGTH, compared
107;; dra
107 o1. 84-85
ping of, sleeve draft, 113
draping 185; measuremem
dolman sleeve, 183;
dolman sleeve, measurement for sleeve draft, 113
"LINE
‘INE ARRANGEMENTS, 274-277 OVER- ERECT POSTURE, alteration of
OVER-ERECT POSTURE.
2.
o1 blouse for, 195, Fig. 2,
LINE, o1, 276
continuity of,
YINE, continuity 202
64
skirt. 64
“aP-around skirt,
LOOPS, 41.
_-ps. 41 , Fig. 70
Fig. 70 OVERLAP‚ definition
OVERLAP, definition of,
of, 40-42; on
0" wrap-around

i
14, 50; see also Tailor's square
JSQUARE, 14,
L-SQUARE, square 72: of
o1’
PANELING. of
PANELING blouse, 22,
of blouse, 32. 34; of six-gore
22. 32, six-gore skirt, 72;
skirt back, 69,
5km back, 69, Fig.
Fig. 20; of skirt front, 70. Fig. 21;
front. 70, 21;

..
'

MACHINE
CHINE BASTING, 4 274-277
sketched
sketched in designing.
designing, 274-277
MANDARIN
NDARIN COLLAR, 252
COLLAR, 262 277-281;; florals, 277-278;
PATTERNED FABRlC‚ designing
PATTERNED FABRIC, designing for,
for, 277-281 florals, 277-278;
.
MARKING Jines, 242; measuremenls
‘RKING:: balance lines, masler pat-
measurements on master geomelrics —
geometrics - plaids
plaids and
and stripes,
slripes. 100,
I 00, 278-280
278-280
tern, 244 ; seams, 28, 29;
tern, 244; seams, 28. 29; with carbon paper, 6; with
paper, founda-
PATTERNS, alteration
PATTERNS, alteration of.
of, by
by blocking, 197; basic,
blocking, 197; basic, founda-
chalk board, 4 tion, or master, 17; for collars,
co11ars‚ 251-255, 259.
259, 261-263,
tion, or master, 17;
MASTER BLOCK PATTERN balance Jines,
PATTERN:: balance lines, marking 242;;
marking of, 242 265-266, 271-272; in relation
265-266, 271-272; relation to body contour,
to body 196; Jee
contour, 196; see
__-STER
blouse, dxaping
blouse, draping of, completion of, 242-246, fit-
of, 16-29; completion also ]\faster
also Master block pattern,
pattern, blouse.
blouse, skirt,
skirt, sleeve
ting, preparation
ling. preparation for, for, 196-197
196-197:; quarter
quaner size blouse, 46; PEG-TOP
PEG-TOP SKIRT, blocking of, 108,
SKIRT‚ 89; blocking 11|l
108, 11
quarter size skirt,
skirt, 94;
94: quarter
quarter size 156; reasons
sleeve, 136;
quarter
for fitting,
for fitting, 193;
I93; skirt,
skin, draping
draping of, 65-71:
65-71 ; sleeve, analysis
analysis PEPLUMS, blocking of.
PEPLUMS, blocking 108: "draped,"
of, 108; “draped," blocking 110-111;
blocking of, ll0-111;
of, 118-119;
o1, 118-119; sleeve,
sleeve, one-piece,
one-piece, cap
cap height varied, 125-
125- draping of,
of, 87-89;
87-89; girdle draped
girdle draped all-around,
all-around, 11l
11 l
draping
127; sleeve, one-piece,
127: sleeve, one-piece, draft for. 113-119: sleeve,
for, 113-119; sleeve, modi-
PERPENDICULAR
PERPENDICULAR TO FLOOR, skirt seam position,
T0 FLOOR, 70
position, 70
fication of armscye
armscye depth. 128-129
depth, 128-129
PETER COLLAR‚ blocking
PAN COLLAR,
PETER PAN 253
blocking of, 253
"‚; TERNITY SKIRTS, 220
MATERNITY
4

chart of, PINNING:: method

PINNING method when draping,
draping, 19; of seams, general
l9; o1’ general
MEASUREMENTS:
‘EASUREMENTS: chan o1, for dress form
form cover, 9; of arm,
for bishop
[er bishop sleeve, 120; of
sleeve, 120; arm, for master one-piece
o1 arm, one-piece
method, 4,
mechnd, 4, Fig.
Fig. 4; of
o1 sleeve into arrnscye when
into armscye when fiuing,
fitting,
sleeve, o1 230-232; of taffeta, 282-285.
230-232; 282-283, Fig. l3
Fig. 13
113-114; of
sleeve, 113-114: o1 body
body with 1ai1or’s
tailor's squares,
squares, 14; of
body with tape
tape line,
line, 9; of cowl neckline deplh.
depth, 38; of pattern o1 pattem
body PIVOTING, o1
PIVOTING, pattern at point of dart,
at point dart, 96;
96; of pattern pieces,
pieces,
of master
o1 master pattern skirt, 245; marked
pattem skirt, marked on master pattern,
pattern, 99; of
99; o1 pattern to introduce
inlroduce elbow dart,
dan, 116-117
116-117
panern t0
244
PLACKET, in skirt side front, 109;
PLACKET, venical, in one-piece
109; vertical, one-piece
MILITARY COLLAR, 262
i‘1L1TARv COLLAR, sleeve, 134-135
134-155
‚ms FABRIC.
MOLDING FABRIC, through seaming, 296-299
through seaming, PLAIDS‚ designing
PLAIDS, designing for,
im", 278-279
1
71-56315 smars, blocking
MULTI-GORE 100
SKIRTS, bloc.king of, JOO 62
PLEATED ALL-AROUND STRAIGHT SKIRT, 62
PLEATED
'
MUSLIN 45
PROOF, 45
‘LIN PROOF, PLEATS‚ allowance for in gored
PLEATS, gored skirt, 77: allowance
skirt, 77; allowance for in
straight
straight skirt,
skirt. 63,
63, Fig.
Fig. 5; inverted
inverted box, 78, Fig.
box‚ 78, p5g_ 38;
33.
NECK broad, pattern
BASE, broad,
K BASE. pattern alteration
alteration for, 207
207;; back of,
o1, 23, side pleat in a gore,
51d? Qleat gore, 76, Fig.
Fig, 34b; tapering
mpering o;
of into
in“,
24:
24; front
( m m of,
of, 18
18 waistline,
walslhne, 63
63

NECKLINE, built-up, design variation of,

design Variation o1, 257 Fig. 22; 1mm.
257,, Fig. built- PLUMB LINE,
PLUMB UNE. position o1 skirt seams,
position of seams, 70
70
‘H-LINE. built-up,
up. dran
draft for.
for, 248-251; built-up,
built-up, draping
draping of,of, 256-257
256-257;;
‚
311p, POSTURE. adjustment for.
POSTURE, for, 194-195; correct and
194-195; correct and incorrect,
incon-ect,
curve, on collars
„cüwe. colla-rs and garmems,
garments, 247
247;; designing
designing of, 292;
292; ‘adjustmem
195. Fig.
195, eflect on balance lines,
Fng. 2; effect 194; forward
lines, 194; head,
forwatd hqad
flning 198-203
fitting of, 198-203
over-erect, round shoulders,
over-erect, round sway back,
shoulders, sway back, 195195
E“. 01
NOTCH, of mnVflflibiß
convertible 5011313
collar, 267; of tailored collar,
collar, 269
269 PRINCESS, line, 58; pattem,
PR'NCE55‚ 1in8, pattern, 2,
2, Fig. l
Fig, 1
i’
OTCHES, 4; see also Crossmatks
-‘°" «1 4; Crossmarks PROOF, muslin, 45
PROOF, muslin, 45

323
 " 144-145

-
«cap-gär- ‚um, 9o
WMTION. o1 101d: in “duptä”
MGUNfII-EEVES. 14115:; chuacteristics o1. 11s; 311m1"
dassnficntnon, 148
RIPPLES. and unequalizedfn
8

Circ111u.‘283-288; equalized blouse. 50: yoke. asccnding 1in3

goresflä: In sIx-gore um, 74;
74: see also Fluren
m.291 «
».
10H“.
80H“. NL. genau! method for drafting master
one-piece smeoas sxmr, blocking of, 97-99H1rapingah- .. : ‘

8160W. 113: method for drafting bishop sleeve. 120

A 1 1

' ’
ations o1 design, 307
247; of collar cut in one
ROU- UNE. 01 Collar. definition of. 247:
S1<ETCHING‚ source of design. 274-277
wich hodice, Variation: o1, 265 -
chmification o_f‚ so. Fiuing a)?‘
SKIRTS, 50.111; classification
9

ROUND SHOULDERS. alteration of blouse for, 202-205: a1-

teration of sleeve for, 234
whcn cut 011 grain, 228; when cups undet
when cups in on sides, 226:226; when standaout a:
22l
"
front, 219-220; when stand: out at center 1:31:11, 222-229‘
SAMPLE MODELS. o1 dress form covers, 2 when stands o u t at sides‚.224-225; when Ihighs am
SCROLLS, 285, Fig. 19
229. Measurements 1o!’ master panem. 245; vanauou
of basic cuts. 306-509 j

SCYE LINE, definition of. 193-194; importance of, in fitting,

SLANT‚ inward compared with oulward. 75: ‚sie Slqpg
194; marking of, on master pattem, 244
SLASHING, t0 but not through an edge, cxplaincd. 287;
SEAM ALLOWANCE, on master blouse, 29; on master skirt,
67 use of, in designing, 283-288

SEAMING, decorative, in s1eeves‚ 139; to mold fabric

to SLEEVE, filting problems of. 2251-241; armscye too" 111511. 241;
cap height alteration, 133-135; pinning of sleewe im‘
body, 296-299
blouse on wearer, 230-232; underann seam edges mis-
SELVAGE, 17, Fig. 4 matched, 240; underarm seam twists elbow In vnist.
SET-IN SLEEVES, designcd from master block, 134-148
236-237

SHAPING, bias folds ior collars, 261 SLEEVE, master pamern; analysis o1. 118-119: cap height.
124-125, higher and lower than normal. 125-127. mus-
SHAWL COLLAR, 260-261 urement for draft, 113; cutting 011 above und below
elbow, 129; decreasing or increasing width, 12l 125;,
SHORT CAP IN SLEEVE, uses o1, 126 size 16. 114-117;
drafting o1, 118-119; draiting standard
of, in marked on‚ 246:
SHOULDER BLADE, fitting over, 216-217; marking hem, cutting o1, 129; measuremems,
methods o1 making compared, 112: size 1er im:-
pattern, 218 quanet
154-185
184-185
ing, 136; with vertical plackct dart,
SHOULDER DART. variations of, 30l
I12.
127 SLEEVES: classification o1, 113. Cul-in-one-wilh-boditc,
SHOULDER PADS, influence on cap height, block [ o r drafting.
Fig. 2, 148-188: himono type, 159-192:
alteration of, 206: dar: in raglan slceve. 160; cowl in kimono blouse. 180182; dolman cut wi u
SHOULDER SEAM,
method, When filting, 205: armholc. 185-
150; length, 21; pinning yoke. 183-184; dolman with deep squate 188-192;
placcmcm o1, 20, Figs.
15. 15‚ 17 187; dolman with style line near armscye, an
bmad, 207; narrow. 208; also Kimono blouse und Kimono sleeve; raglan typc
205-203: bmad,
SHOULDERS, fiuing o1’, 205-208; 148-153. cm in one with yoke, 156-157; drop shoulder
‚laping, 205; square,
204; Iquared by sleeve c u l , 143 157-158: epaulet, 153-154: raglan with barrel silhouetle
collan, 261 152-158. Set-in, 112, F13. 1. coat pauen: nxeasuremen
sl-RINKING. bias {olds [ o r
114: deriued [vom mascer one-piece block, 134-148:
1101
o1, 226-227; pnsition 01. 55: 147-148
510i SEAM 0F SKIRT, altemion 123; bishop. 120-123: cowl folds at
shoulder,
aeam thzt cm1», 227
824
 lNDEX

gathcrs below elbow,

128-129: horizontal gathers
armhole, 128-129;
deep armhnle, TAPING, of a seam, 299.
TAPlNG‚ o1’ 299, 310
134-137; lanzern silhoucue, 139; lapped across lop, 147:
lantcrn Silhouette, 147;
of. 100
TEN-GORE SKIRT, blocking o1’,
leg o’ mmuuon,
lcg block for slccves
master 111011;
u t m n , 146; mastcr loose a:
sleeves 10056 a1
lower edge, 119-120; parallel darts darLs a1a: top,
111p, 140-143; TEXTURE. importance of
TEXTURE‚ imponance o1 in designing, 13
designing. 277, 282, Figs. 12, l3
pufl, 144-145; simulated
puff, cufl, 138; square shouldcred.
simulaled Lufl, shouldered,
THIGHS, large, alteration o1 for, 228-229
of skirt 101,
dra/I, 130-133
143; lwo-piece dm/t,
TRACING WHEEL, 4
TRAClNG
’ E, of
SLOPE,
Slam
Slant
seam, 204:
o1’ shoulder scam, see also
204; of gored skirt, 67, 68; See
TRANSFER, o1 of dnns 01' darts in skirts, 95;
blouses, 54, 56; of
darts in blnuses,
ER, of master blouse,
ÄSLOPER,
1
blnuse, quaner o1 master skirl,
quarter sizc, 46; of skin. n1 (dar!
l u r t in slecvc. pauem markings, 29, 71
sleeve, 134-135; of pattern
of master slceve,
quancr size, 94; o1 slccvc. quancr sizc, 136; o1
quaner size, o1, 273
TRENDS. sludy (11.
TRENDS,
master collar, narmw Hat, 251;
matter o1 master collar, widc
25l: o! wide
flat.
11m. 252 TRUEING OF A PATTERN, for
{or blousc, 28: for
blouse, 28; skirt, 71
{or skirl,

0 ICES
RCES 0F
OF IDEAS,
IDEAS. discussion o1, 273-274
of, bius. 261
TURTLE NECK, biss,

CNG. monmonous, 2: o1 skirt panels, 72;

of sklrl 72: o1’
o1 lor, 277
(lesignning fnr.
'

AC1NG‚ Fig. 2;
monolonous, 275, Fig. TWILLS, (lcsigning
ol. 274-276
yokes, 42; study 01.
yokes.
Llraping o1, 65-71; variations of,
TWO-GORE SKIRT, draping 306-307
o1’, 306-507
EAR, sleeves
TSWEAR, slecves for, 125-126
SLEEVE‚ (dralt
TWO-PIECE SLEEVE, l r a fl 01'. 130-133
5E
ARE ERECT SHOULDERS, fiuing slccves for,
SHOULDERS‚ fining Ior, 234
TY1NG‚ usc in (lcsigning,
A" TYING‚ designing, 293
‘UARE SHOULDERED SLEEVE, 143

fl-AYING. of a seam,
N6. o! seam. 299, 310 UNDERARM.
UNDERARM, mcusurcnncnl lor
measurcmerlt for slccvc
slecve draft, 113

o1‘ collan. definixion

definilion 01. 01 tailorcd
of, 247; o1 lailorcd cullnr. 269
collor, 209 UNDERARM DART,
DART, varin1iu11s
variations 01, 303-304
.1AND‚ofco1lars‚

_
1

fFNESS‚‚ of Iabric. UNDERARM INSET, in kimono

kimnnu blouse, 166-168:
fabtic. effect
cflect an
on handling, 280 blouse, 166-168; shaped as
sidc scuinn,
siLlc scclion, 168-170
1146. o! hip
TCHING, waist curvc,
111p 1o waisl 103
curve, I03
UNDERARM SEAMS: n] blouse, fitting
o] blouxe, fiuing o1. 212-215. lor
o1, 212-215, excess
for exccss
IGHT SIURTS,
SKIRTS. 60-65:
60-65; all-around plculcd, 62: gathcrcd,
pleated, 62; galhc-red, width. 211.
widlh.
V

211, for
{er sagging o1,
01, 214-215; pinning mcthod,
method,
wrap-around. 64
'

60; ‘wnp-amund,
' ‘
-KLEE/E, 153-154; see also Epaulct
SLEEVE, 153.154; Epaulet xce
214; taking in o1.
pnriwn n1
parison
o1, 213.
213, Fig. 25; o] xleeues,
o1’ in kimonos
kimonns and
sleeues,
nnd in dolman, 163-165,
com-
length,
165-165, 183;
lcngthening o1. lor dccp
Icnglhcning 01, dcep armscyc, lcngthcning in
armscye, 128; lengthcning
lNG COLLARS. from bias folds, 261 dolman, 187.
187, Fig. 101c: lcngthening
lengthening or shortening
shortcning in
for, 279-280 blouse and sleeve,
blousc cflccl o1, 239
slecvc, cficrt 259
1'985, daignlng
designing fot,
uns. oo!f a co1lar‚247
oollar. 247
'
UNDER COLLAR, o1 high ro11
roll type,
typc. 254:
254; of tailored type,

1‚_ RY‘G’:

8.9;
-
0F: blocking circular skiru.
i1: blocklng
= 111:
blocking gnred
89; dnping
draping gored
skirts, 1
skim, 105;
gored skiru,
skins. a1
goned skirls, 81
11; blocking draped
11l:
I05: dmping
dmpcd
draping circular
UNDSII
271
UNDERCREASE OF A PLEAT, 76

UNDERLAP-. definition
UNDERLAP definililm o1, lor buuons
01. 40; for bultons and buuonholes
‘Rat.
bin. und a:
u cowl Substitute,
substitute, 303309
308-509 and buuons and loops,
1oops‚ 41-42
EACK. lltenüon of
altention o! skin for,
tot. 222-223 UPPERARM, large. sleeve
UPPERÄRM. large, sleew: alteration for,
(or, 237.238
257-238
HEM, 80-82. 96
wmsremo, 62
WAISTBAND, 52

cuning o1’. for mutet

45; anfing blouse. 58
master blouse, wNflUNE- da“
WAISTLINE, dar: in
i“ 51005€
blouse back.
back, 26; dar:
dart in blouse front,
da" varlations i"
22: dan
22; in deflß":
design. 301-302;
5mm. 269271: wide,
Innen, 259271; wide, 271-272 10m1. 7: vafim°nf
10m1, 7; of m
shape o1’
501-302;
in gored skirls,
skim, 66
position on dfesg
dress
e. 14.
3

See alxo
- i000 vainline,
'
uaqme
41.156. 63; skin panels,
53111.11! panell. 72
WAX CARBON PAPER, e

WÜGHT. o1
WÜGHT.
6
01' fabric in relation
relaüon to draping 250
1o draping, 280
 ivi’‘.
..
i