Garment Cutting 1

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Early 1940'sLadies' Garment Cutting and Making

by F. R. Morris
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Chapter IBasis of the System for Coat Construction

You may select a topic from this lesson
WE must first realize that pattern production in its entirety cannot be based upon a mathematical formula. Calculations and measurements derived from the breast size will provide a working basis for obtaining the general outline of the pattern in accordance with the figure shape, but only practical knowledge and experience of modelling a garment to the figure give a scientific method of approach for the attainment of perfection of fitting qualities. The impracticability of attempting to define a section of the figure by fractional calculations of the breast size until we have proved the principles
involved to be scientifically correct applies with equal force to the principles that govern the fitting qualities of a garment. The question of balance of a garment is distinct from that of fit. Balance implies the relation of the garment in harmony with the form of the wearer. It is the principle of construction that decides whether a garment is suited to the figure form and attitude. For obvious reasons a garment perfectly balanced in relation to a proportionate figure would be hopelessly out of balance and harmony when placed upon a figure of stooping or erect attitude. We are able to decide the balance and calculate the sectional values of heights and widths in terms of geometry in relation to an accepted standard of proportion, after which experience and reasoning ability are the governors of whether the operator of a system is successful or the reverse. There is no royal road to success in garment cutting, yet many students expect to learn their job and earn a good salary as qualified cutters after a period of three or six months at a cutting or technical school. Knowledge of the constructional points of a cutting system is of small use, for it is only the foundation of knowledge. Knowledge of how to lay a foundation is of no use to a builder if he cannot continue with the work and erect his house on top! The ability to adapt our system to meet the fitting demands of varying figures cannot be taught, yet it may be attained by an intelligent use of a knowledge of form growth and practical modelling experience. The author mentions modelling experience because the scientific school of cutters deprecate the method; but in his opinion a student should learn to model before attempting to assimilate a flat-cutting system, for modelling teaches us why we cut as we do. It is much more practical from a student's point of view to see clearly what he is aiming at and also what is necessary in order to obtain a good-fitting garment than to spend hours juggling with fractions of an inch and a mass of, to him, often unintelligible lines. There are cutting systems that purport to locate every fitting and constructional point by direct scientific calculations derived from the breast measure, treating the figure as of regular and static proportions and applying definite laws of construction thereto. But the human frame is not of rigid and precise dimensions in regularity of shape; instead it is irregular, though possessing a relative regularity in each section. Geometry cannot be applied to the human figure in all its aspects, but there are sections of precise definitions and dimensions of proportion in relation to the breast girth and
height, and when a cutting system is being evolved it must be scientific only to the degree that definite scientific calculations are applicable to the human figure.
Constructional Basis for the Location of the System Points

In the production of patterns for coats, two methods of calculating the dimensions of the various sections of the pattern are advocated and practised by cutters. One method is that of deductional calculations based upon divisions of the bust girth in conjunction with the actual height of the figure. The second method is that of taking "short direct" measurement from one section of the figure to another, with the intention of definitely fixing the dimensions of the pattern by evidence of the inch-tape. Each of these two methods has its advocates and exponents and neither method is perfect. As the author has previously mentioned, only practical experience and intelligent reasoning ability will decide whether we become successful cutters or not. There are four sections of height and width for which provision must be made. They are (1)
THE BACK DEPTH,
usually termed "the depth of scye," though this
expression is rather erroneous as the scye level is not in a constant position, being governed by style in its location. (2)
THE FRONT DEPTH OR BALANCE.
This factor relates more to balance than
actual depth. While the depth factor for a normal given figure may be arrived at by deductional calculations or by direct measurements of the figure, the balance of the coat for such a figure's attitude or stance may frequently contradict the predetermined depth factor and necessitate an increase or decrease of front and back depths. For example, a figure of stooping attitude requires relatively more back depth and less front depth in comparison with a figure of normal build to obtain a correctly balanced garment. The opposite applies for an erect figure. Therefore, the front depth as well as the back depth is governed by figure stance and balance adjustment. The provision of contour shape and length in relation to the form of the section to be covered is also a function of the front depth factor.
(3)
THE FRONT OF SCYE OR ACROSS-CHEST WIDTH.
This relates to the location of
the armhole or scye in its relation to the width of back and front sections. Some systems locate the "front of scye" by applying a measure from the centre back forward to a point in advance of the arm socket and allowing a quantity for ease of movement in the draft. Other systems use the "acrosschest" measure, based on a direct measure taken from the front of the armhole at one side to the other, or, alternatively, a calculation based upon a division of the breast measurement. (4)
THE SHOULDER CAPACITY OR THE OVER-SHOULDER MEASURE.
This factor
decides the requisite amount of material required to cover the size and shape of the shoulders. The method of estimating constructional points by calculations based upon divisional fractions of the breast girth and height factor is adopted by experienced craftsmen, but in the hands of students or inexperienced operators it often fails to give them the perfection they expect; so many cutters prefer to use the "direct measure system," a method which purports to define constructional points by short direct measures taken on the figure. They are called "short" measures because the body is divided into four smaller or shorter sections of the whole. They are called "direct measures" because the four sections are assumed to be defined by these "short" measures taken direct on the body instead of by divisional calculations. The measures thus obtained are then applied to the pattern draft to locate the constructional points directly. This method, however, is fraught with inaccuracies and places too much responsibility on the necessity for correct measurements. The tape-measure in the hands of any but experienced craftsmen can be very unreliable when registering "short direct" measures. It must be plainly understood that, when measuring from one section to another on the figure, a measure of contour is registered, which has to be applied to a flat plane on the pattern draft. Obviously if we measure over a curve and apply the distance on our draft in a straight line, we are acting unscientifically and without logic. Yet the operation of taking and applying direct measures is identical with this. Customers, too, are notoriously in the habit of altering their natural attitude when the tape is being passed over them, with the result that our direct measures of the figure, in which we place so much faith, may be just the record of an unnatural position.
Yet cutters place abject faith in the infallibility of direct measures obtained in this way, after having tried the "divisional system" and found it wanting in respect of giving automatic adjustment of balance for varying figures. The direct-measure system professes to give this automatic adjustment for cutters to work by and may be compared to a safeguard against lack of experience and reasoning ability. It is not the fault of the divisional system if, in the hands of some cutters, it fails to give satisfaction. Instead, condemn the reasoning power which fails to realize that human beings are not all of perfect proportions and consequently require adjustment of system points and balance in accordance with the variation from normal build. For obvious reasons a garment cut to fit a figure of 5 feet in height would prove inadequate to cover the increased depth or height factor of a figure 5 feet 10 inches. There would be an insufficiency of shoulder depth and covering capacity in proportion to the increase in height even though the breast measured the same. Inexperienced cutters using the divisional system give the same depth allowances for the tall as for the normal figure. A depth factor based only on the breast girth cannot obviate this; here is where a knowledge of figure construction and form growth indicates why an increase of depth is necessary. With the divisional system we cannot run before we can walk. A complete mastery of the scientific principles underlying this method is necessary, for to expect a system to be self-adjusting without any brainwork on the part of the cutter is foolish. It is the knowledge of the shortcomings of the system used, whether divisional or direct measure, that places the intelligent craftsman above his fellow who is but a blind imitator of direct measurements or divisional aliquot parts. Experience guides the user of a divisional system past the snares and pitfalls in cutting, while direct measurements, by reason of their very rigidity, more than often fail us if we let the inch-tape think for us, instead of reasoning out whether the measurements as obtained are correct for the figure or not. Direct measures may be put down as unreliable in general, though an experienced cutter using a divisional system may take them as a counter to his own calculations. For gentlemen's garments direct measurements are
reliable on the whole, but they are more easily obtained than in the case of ladies' garments.
The Divisional System

The divisional system is the basis of the foundation drafts following, and all constructional points are located by deductional calculations from the breast girth and height factor. To use the system scientifically and rationally, it is necessary to take as a basis a standard approximating to the conception of a normal proportionate figure. Only by comparison with such a standard can we estimate for varying proportions and figure attitudes. The figure that approximates nearest to the conception of normal proportions is that of a woman of 34 inches breast girth and 5 feet in height measured without shoes. With this figure, the front and back depth factors show their relative differences to a proportionate degree, and the height is an average standard in relation to the breast measurement. Referring to the scale of proportionate measures, we find the chest size (measured above the bust prominence) is 32 inches. Waist Measure equals 25 inches. Hip Measure equals 38 inchesa proportionate increase of 4 inches over the bust size. Back Width equals 13 inches. This measure is one that relates to style rather than a quantity which influences and bears upon the system. The Natural Waist Length from the nape of neck to waist equals 15 inches. The Front Waist Measure from the nape of neck to the waist line at the front equals 20 inches. This is a check measure to determine the variation of the front depth for figure attitudes other than normal.
The Back Depth or Depth of Scye

The back depth or depth of scye quantity is determined by two factors, namely, the height of the figure and the bust girth. The important factor is the height, for, providing we can ascertain the back depth quantity for the
proportionate height, calculations can be made for increases or decreases of stature. The author calculates the depth of scye from a division of the total height. It is an accepted theory of scientists and artists that the height of the head of a figure divides into the total height eight times, thereby dividing the figure into eight equal sections. This theory is centuries old, dating from Egyptian times, and is one of the few geometrical principles of measuring the human frame that is directly applicable to scientific pattern construction. Fig. i illustrates a figure measured on the basis of the eight-heads theory. For our purpose, the second and third divisions are considered, namely, from the nape of the neck to the base of the arm, and from this section to the waist level. Now on examination of the figures, the line of measurement passes inside the form and is not a value of the contour shape of the centre back. This is why the system is based on a normal 34-inch bust girth, for in this size the contour increase over the direct division of the height is negligible. To be logical a slight value should be given, but in practice it has been found that one-eighth of the total height for the depth of scye is sufficient. The depth of scye or back depth factor from the nape of the neck to the base of the armpit is equal to one-eighth of the total height for a proportionate 34-inch bust figure 5 feet in height. Therefore The value of the depth of scye = 1/8 of height 5 feet (60 inches) = 7 inches. The natural waist length being equal to a value of two heads of the actual height, from this the measure of 15 inches is computed. Applying this calculation to larger sizes, we have to take into account the proportionate increase in height, so, when dealing with a woman with a 42-inch bust, the proportionate height would be 5 feet 4 inches. Therefore, 1/8 of 5 feet 4 inches (64 inches) = 8 inches. As stated previously, the value of the back contour shape is negligible for the base model of a 34-inch bust, but it must be obvious from Fig. 1 that
the greater the breast girth, the greater must be the distance of the perpendicular line taken through the figure, from the centre of the back; so from practical experience, and taking into account the fact that one-eighth of the height is a linear measure possessing no contour value, provision must be made for the increasing contour of the back. Fig. 1A Figure Measured on the Basis of the EightHeads Theory The addition for the increase of back depth over one-eighth of the total height for bust sizes over 34 inches is calculated as 1/8 inch for every 2-inch increase of bust size. Therefore 1/8 of 5 feet 4 inches = 8 inches, plus 1/8 inch increase for every two-inch increase in bust size from 34 to 42 inches = in. This gives us 8 inches from the nape of neck to the depth of scye. Similarly, taking into account the increasing proportionate heights in conjunction with the increase of breast size, the depth of scye factors may be computed for all bust sizes. We have only dealt with figures of proportionate height, but for figures of taller or shorter stature, the corresponding increase or decrease of scye depth may be easily calculated, as the depth factor is computed as oneeighth of the height. So for every inch increase or decrease in the total height, irrespective of the actual breast size, the depth of scye factor must correspondingly increase or decrease 1/8 inch for every inch of variation. For example, a 34-inch bust figure with an increase of height to 5 feet 8 inches would require an addition of 1/8 inch for every inch of increase in height from the normal stature. Therefore

Normal height for 34 inch bust = 60 inches. Increase of height = 8 inches. Increase of depth of scye, one-eighth of 8 inches = 1 inch.
Add this inch to the normal scye depth of 7 inches and we have the required depth for an increase of height to 5 feet 8 inches.
Another example is the type of figure of very short and thick stature, having a 46-inch bust yet measuring only 4 feet 11 inches in height. Calculating on the above method

Normal height for 46-inch bust = 66 inches. Normal depth of the scye, one-eighth of 66 inches = 8 inches. Normal depth of the scye plus inch of contour value = 9 inches. Decrease in height = 7 inches. Decrease of depth of scye, one-eighth of 7 inches = 7/8 inch.
From this calculation the depth of scye for a woman having a 46-inch bust and measuring 4 feet 11 inches in height is 9 inches less 7/8 inch = 8 1/8 inches. It has been shown how to compute the depth of scye factor for normal and abnormal variations of breast and height quantities from calculations based on the normal height, but for simplicity in practice, however, it is found to be more satisfactory to estimate this quantity by a division of the "working scale" based upon the bust girth. This division of the scale must necessarily provide the same increment of scye depth for a proportionate figure as the calculation based upon the height of the figure and the bust size.
The Working Scale

The working scale is a means of comparison whereby we are able to compute the relative values of the depth and width factors in their relation to the bust girth. Though, in the first instance, the height and width factors are calculated from the height of the figure, for practicability it is advisable to have a standard with which the various factors may be relatively compared. Therefore, we must evolve a scale that agrees with the proportionate increase or decrease of height and width quantities from the normal 36-inch bust size. For bust sizes of 36 inches and under, the working scale is calculated as half the bust measure. This is workable down to a 30-inch bust, but, under this size for juveniles and children, a
new scale must be devised to allow for the extra ease of fitting qualities essential to this class of trade. The computation of the working scale as half the bust size is true only for the sizes mentioned, and for busts of more than 36 inches an adjustment must be effected. The relative proportions of the figures of more than 36-inch bust girth do not increase regularly in relation to the increase in bust size, but, instead, when we come to a woman of, for example, 48-inch bust or over, the height quantity and back depth factor become constant and show no proportionate regular increase to compensate for the irregular figure development at that size. A 48-inch bust figure would require a garment cut relatively larger in shoulder size in comparison with 36-inch bust proportions, and a disproportionate increase of front length from the nape of the neck over the shoulder to the bust point to allow for the increased development of bust prominence. At the back, the scye depth would in all probability be decreased, but this type of figure is invariably of rather less than average height, thick through the shoulders and a trifle short in the neck. Therefore, to cope with this general evidence of disproportion in the larger sizes than the 36-inch breast, we must devise a scale which does not increase proportionately, but with a decreasing ratio between the fundamental constructional factors. The working scale for all sizes over the 36-inch bust is therefore calculated as follows: one-third of the breast girth plus 6 inches. For a 48-inch breast size, the scale calculated by this method will give a quantity of 22 inches, whereas on the principle of obtaining the scale by taking half the breast measure net, the quantity would be 24. The former method of finding the scale gives the essential decreasing ratios of depth quantities which are necessary in the larger sizes. The above principle of defining the scale is a well-known method and thoroughly reliable in practice. But the mere fact of
finding a cutting scale is only a small step towards cutting progress. There are almost as many methods of finding the scale as there are cutting systems. For the following bust girths, the working scales are calculated as one-third of the bust measure plus 6 inches.

38-inch bustone-third of the breast measure plus 6 inches = 18 inches. 40-inch bustone-third of the breast measure plus 6 inches = 19 inches. 42-inch bustone-third of the breast measure plus 6 inches = 20 inches. 44-inch bustone-third of the breast measure plus 6 inches = 20 inches. 46-inch bustone-third of the breast measure plus 6 inches = 21 inches. 48-inch bustone-third of the breast measure plus 6 inches = 22 inches. 50-inch bustone-third of the breast measure plus 6 inches = 22 inches.
The object of evolving a working scale is to calculate the depth and width factors without recourse to deductions based upon the actual figure height and breast girth. To calculate the depth of scye or back depth from the working scale, the calculation must agree with the scye depth estimated as one-eighth of the actual height plus the addition for the contour of the back. The calculation from the scale which agrees with the back depth based on the height and breast girth of a normal figure is: one-third of the scale plus 1 inches in all sizes. Depths of scye quantities for the following breast sizes are calculated from the working scale as follows

30-inch breastone-third of the scale plus 1 inches = 6 inches. 32-inch breastone-third of the scale plus 1 inches = 7 1/8 inches.
34-inch breastone-third of the scale plus 1 inches = 7 inches. 36-inch breastone-third of the scale plus 1 inches = 7 inches. 38-inch breastone-third of the scale plus 1 inches = 8 inches. 40-inch breastone-third of the scale plus 1 inches = 8 inches. 42-inch breastone-third of the scale plus 1 inches = 8 inches. 44-inch breastone-third of the scale plus 1 inches = 8 inches. 46-inch breastone-third of the scale plus 1 inches = 9 inches. 48-inch breastone-third of the scale plus 1 inches = 9 inches. 50-inch breastone-third of the scale plus 1 inches = 9 inches.
The scye depth calculated by a division of the scale must be used in conjunction with the figure height, and every increase or decrease of height automatically is adjusted on the pattern by increasing or decreasing the depth of scye by 1/8 inch for every inch of variation.
Fig. 2
Fig. 2Depth and Width Factors Applied to a Draft Basis Fig. 2 shows the application of the depth and width factors to the construction of a draft basis. The constructional points are defined and allocated as they are indicated and described in the following text.

Draw the construction line X to 2. X is the nape of the neck.
1 from X = the depth of scye, one-eighth of the total height 5 feet, or one-third of the scale plus 1 inches = 7 inches. 2 from X = the length to natural waist, 15 inches. Square out from these points to 3 and 4. 3 from 1 = the half-bust measure plus 2 inches.
The allowance of 2 inches over the half-bust measure is estimated as follows: inch for two seams at the underarm seam, 1 inch allowance for ease and linings, and inch is lost under the blades when the back panel seam is sewn out. It is always advisable to ascertain the height of the client when measuring in all cases, but as a general rule all figures tall in aspect require treatment for more length of back depth, while those of short stature need a reduction of depth. The back depth or depth of scye having been allocated, the next factor to consider is the width of the back neck and the location of the shoulder seam.
The Back Neck Width

The back neck width is determined by two factors, one being style, and the other the actual neck size. The question of style enters because the back neck width also governs the position of the shoulder seam. It is good style to have the shoulder seam placed well on top of the shoulder, instead of slanting over the back. Too much attention cannot be given to the question of seam placement and run, as the whole subject of good style and line is governed by the run of seams, to a greater extent than actual fit. A perfectly fitting and tailored garment is not necessarily one of good style unless the seam placements are in harmony with the figure shape of the wearer.
If we are good cutters with an eye for line, we do not give a bottle-shouldered woman a coat with the back shoulder seam running down from the neck to half-way down the back shoulder. Nor do we emphasize the squareness of a stocky woman by placing her shoulder seam right on top of the armhole. In short, we must cultivate an eye for line and study the body-shape of the customer in order to place seams in the most advantageous style position. A shoulder seam placed well up on the shoulder is also an asset from the fitting point of view. A seam that slopes over the back invariably causes bad creases in the hollow of the front shoulder, while the high run of seam permits the seams to be shaped to the hollow run. There is only one width of back neck that is correct for the given bust size, unless the neck size shows some disproportionate increase or decrease of size. Obviously, if we are cutting a garment to fit round the neck, we must consider the factor of neck size. Yet many cutters and system makers calculate the back neck width from everything except the neck size.
Fig. 3
Fig. 3Problems of Back Neck Width Fig. 3 shows problems of back neck width considered in relation to the front balance and front shoulder. No system has been given for the location of the various width and height factors mentioned, but they are shown as an example of the principles underlying the calculation of the back neck width in relation to the front shoulder.
(A) illustrates the perfect example of back neck width run in harmony and balance with the front balance. X, the centre back neck, is never moved from the fixed position. The front shoulder and neck point are governed in their location by the back neck; therefore, as point X is fixed allocated points in front are carried towards it. It must be obvious that there are only one width of back neck and one position of front neck point to give perfect balance, and to be scientifically correct these must be calculated from the neck size. Points 2 and 3 are identical, while 4 coincides with 5.

1 from X = the correct back neck width. 2 from 1 = the amount the back neck run is raised to curve round the neck. 3 is the correct location of the front neck point. 4 and 5 from 2 and 3 are the back and forepart shoulder widths. 6, 7, and 8 are the centre front and breast line balances. The breast line 6 to 8 remains in one position on the figure.
(B) shows an example of the effect a wide back neck width has on the balance of the front shoulder. The back neck width from X to 1 is cut inch too wide in proportion to the neck size of the figure. The front neck point at 3 remains in the same location as normally. We can now see the effect on the balance that a back neck cut too wide has. As X is always in the same location, point 2 is also immovable; when the shoulder seams are sewn together point 3 is pulled back to point 2. Supplementary effects are: as point 3 sews to 2 points, 7, 8 and 5 are also moved back with
it, but as line 6 to 8 does not move from its position on the figure, an excess amount of material is forced down to the front of the scye. An angular neck run is caused by the back neck being cut too wide. (C) shows the reverse effect a narrow back neck width has on the front balance and depth. From X to 1 is cut inch less than normal. The front neck point is located as normally. As X to 2 remains in a constant position, the front neck point must sew to point 2. Obviously, from the diagram there is a discrepancy between 2 and 3, and when the shoulder seams sew together this discrepancy must be dragged up from the fronts. But as 8 to 6 are fixed, there will be diagonal drags from the front of the scye to the neck point as the shortness of material becomes apparent. (D) shows examples of variation of seam placement. If a wider back neck width and higher shoulder seams are desired for style reasons, as in the case of raglans, the best plan is to cut the pattern on the lines of construction described and then lay the back and forepart shoulder seams together as shown. Points X, 1, 2, 3, 4 and 5 are the normal shoulder-seam location. 10 and 11 show a shoulder seam inch higher on the shoulder than normally. 12 and 13 show a shoulder seam placement in accordance with an effect sometimes desired for blouse styles. This method of marking the shoulder seams eliminates any inaccuracies in estimating the varying back neck widths in accordance with the change of seam placement. So we arrive at the
following conclusions for calculating the back neck width based upon the neck size and shape. The width of back neck must be taken into consideration with the location of the front neck point position and balance. Any divergence of either factor has been proved to be detrimental to the balance of the shoulders. There is only one basic width of back neck that is correct for the given bust and neck size, though variations of seam placement are permissible. Too often do we see ladies' coats the fit of which is ruined simply because the width of- back neck is cut too wide. These atrocities are "distinguished" by the indications of the collar standing away from the back neck, and the shoulder and sleeve seams hanging down over the arm in a "drop-shoulder line." Sufficient to say the back neck width is of great importance, bearing on the scientific construction of coat patterns. A sectional view of the neck shape is shown superimposed upon the constructional draft, Fig. 2. This section is based upon the neck size in proportion to a 34-inch bust, and illustrates the principle of obtaining the back neck width. The position of the shoulder seam is the deciding factor and governs the back neck width by its location on the neck curve. For a normal position of shoulder seam point 6 is most satisfactory in practice. This is located at 2 inches from B on the diameter line from X to A through the neck section. B up from X equals 1 inch.
The neck size for a normal 34-inch bust figure is 12 inches; therefore, we must calculate in what degree the back neck width of 2 inches is related to 12 inches. One-fourth of the neck circumference less inch is the division most scientific in practice for all neck and proportionate bust sizes. Therefore, a fourth of 12 inches equals 3 1/8 inches, which, less inch, equals 2 5/8 inches. This quantity may be made 2 inches in practice to counteract any stretching of the seam in making. In Fig. 2, 5 from X equals a quarter of the neck circumference, 12 inches, less inch. 6 from 5 equals 1 inch. The curve from 6 to X is the sectional run of the neck shape. It is not always possible to obtain the neck size, so we must again utilize the working scale as a basis of comparison. The width estimated from a division of the working scale must agree with the computation from the actual neck size. The division most effective is one-sixth of the scale less inch. With a 17 working scale this equals one-sixth of 17 less inch = 2 inches. A scale of back neck widths in comparison with bust girths are derived from the working scales as follows

34-inch bust (scale 17)one-sixth of the scale less inch = 2 inches. 36-inch bust (scale 18)one-sixth of the scale less inch = 2 inches. 38-inch bust (scale 18)one-sixth of the scale less inch = 2 7/8 inches. 40-inch bust (scale 19)one-sixth of the scale less inch =3 inches. 42-inch bust (scale 20)one-sixth of the scale less inch = 3 1/8 inches.
44-inch bust (scale 20)one-sixth of the scale less inch = 3 inches. 46-inch bust (scale 21)one-sixth of the scale less inch = 3 3/8 inches. 48-inch bust (scale 22)one-sixth of the scale less inch = 3 inches. 50-inch bust (scale 22)one-sixth of the scale less inch = 3 5/8 inches.
The next consideration is the factor of the front depth and balance.
The Front Depth

This factor determines the correct balance of the garment on the wearer in accordance with the figure attitude. In a similar manner to the back depth, it is governed in quantity by the demands of the bust girth and total height. The contour of the breast form has to be taken into account when deciding this factor. For obvious reasons the front depth cannot be equal to the direct linear measure of oneeighth of the height and, when deciding this factor, it should be noted that the length required to cover the contour of the breast is greater than the back depth in every normal instance. As a basis we have the back depth measure, to which must be added a certain quantity for the additional contour shape of the front balance in comparison. For the normal 34-inch bust figure, after the width of the back neck has been taken into consideration, the estimated increase of front balance for the increased contour capacity is 1 3/8 inches. This quantity is
naturally governed by the back neck width, for any increase or decrease of this factor will affect the front depth. For a bust of more than 34 inches this quantity must increase in a greater ratio to accommodate the increase in bust development and additional contour capacity required in the larger figures. To reduce this quantity to practical proportions, it is estimated that one-twelfth of the working scale equals the addition for contour shape of the front depth over the back depth. For a bust under 34 inches the development of the bust is not so pronounced, and one-twelfth of the scale gives the decreasing ratio necessary. Referring again to our basic constructional draft, Fig. 2, the front depth has been estimated as the back depth quantity plus an addition for the increase of contour; therefore, 7 from 3 = the back depth from X to 1; 8 from 7 = one-twelfth of the working scale, 17 = 1 3/8 inches approximately. The location of the front neck point is the next factor to contend with.
The Front Neck Point

The location of the front neck point is one of the most controversial questions in cutting. There are many systems that scientifically locate the neck point. Some cutters find the position at a distance forward from the front of the scye, while others decide the location at a distance back from the front centre line.
It has been previously stated that the function of the front balance is to provide contour shape and capacity as well as length. In the bust prominence, we have a localized factor to consider that cannot be covered by a flat plane of material. If the neck point is located at a distance forward from the front of the scye, when the front shoulder sews to the back neck an uncontrollable amount of material is thrown forward on to the breast. On the other hand, if the neck point is found at a distance back from the centre line, the fit down the front of the breast will be clean, but the front of the scye will show an excess of material which must be worked away to provide for the bust contour shape and to clean the front of the scye. From this it is obvious there must be a location of neck point that eliminates the disadvantages of either method described above. The prominence of bust is the deciding factor, and provision for this is the function of the front depth controlled by the neck point. To provide for the contour shape of the bust, the two principles are necessary; therefore, a neck point located at a distance back from the centre line provides for a clean front, and a supplementary point placed at a distance forward from the front of the scye provides for a clean front of the latter. With regard to the location of the front neck point, the same principles apply to this as to the back neck point, that is, it must be based upon the size of the neck to be scientifically correct. Referring to the sectional view of the neck in Fig. 2, it will be seen that B to 6 is
slightly less than the widest diameter of the across section. So, as the back neck width is calculated as a quarter of the neck size less inch, the distance from 8 to 9 is estimated as a fourth of the neck size less inch. If this increase were not made there would be a shortage of material forward from the neck point to the centre front when the front shoulder is sewn to the back. The increase of distance allows the front neck curve to take a natural position in accordance with the sectional shape from X, 6, to A in Fig. 4. The front neck point never moves from its scientifically located position in relation to the centre line, as long as the neck size remains reasonably constant, except in an up-and-down direction. This statement requires a little clarifying. Cutters will immediately say that for stooping and erect figures the neck point must be altered. Admittedly, an alteration from the normal draft is necessary, but this is more a question of balance below the breast line than above it. The neck point in question we are discussing always remains in the same position simply because the neck size from which the neck point is derived does not alter its circumference; so, obviously, why should any change be made elsewhere for variation of figure attitude? For perfect balance the front and back neck curves should sew together in harmony with the actual shape of the neck section.
Fig. 4
Fig. 4Location of the Front Neck Point and Front of Scye Fig. 4 shows the back-shoulder section cut out and laid in alignment with the sectional neck shape and the front-shoulder section, thus illustrating the function of the neck point and the means of providing for the bust prominence.

9 from 8 = a quarter of the neck size, 12 inches, less inch. A from 8 = 3 inches, as shown on the neck section from A to B in Fig. 2
The neck point 9 is in true perpendicular balance with the back neck curve, so the provision for bust prominence is made apart from this point. The location of the second neck point forward from the front of the scye for the provision of bust capacity brings us to the question of the position of the scye on the draft.
The Front of the Scye

There are two means of determining this factor of width. One is the front-ofscye measure taken from the centre back under the arms to a point in front of the scye, and applied to the draft plus an allowance for ease and seams. The other method is to measure across the chest from the front of one arm to the other and apply direct to the draft as a net measure.
Both of these methods have their advocates. The author prefers the "across-chest" measure based on a division of the working scale and applied direct from the centre of the front back to the front of the scye. It must be thoroughly understood that though this measure is called the "across-chest" measure, actually this is not perfectly true. The bust prominence is the widest part of the front that we have to cover; therefore, the "across-chest" width must be the width of the widest part, i.e. over the bust, approximately two inches below the chest line. On the actual chest line the bust dart reduces the material over the chest to the actual "across-chest" width, and also provides contour capacity for the bust prominence. The actual location of the scye by means of the working scale is as follows. For the normal 34-inch bust figure, the front of the scye is located by a division of the scale 17 equal to half the scale less 1 inch, i.e. half scale 17 less inch = 7 inches. This division is applicable when the scale is equal to half of the bust size, as is the case with a 36-inch bust and all sizes below. For sizes of bust above 36 inches, to allow for the increased amount of material for the increase of bust contour, the author disregards the working scale and, instead, uses the bust measure as a basis for calculation. Therefore, point 10 in Figs. 2 and 4 is located by a division of the scale as above.
The location of the front of scye or across-chest measure for the following bust sizes is as follows

30-inch busthalf scale 15 less inch = 6 inches. 32-inch busthalf scale 16 less inch = 7 inches. 34-inch busthalf scale 17 less inch = 7 inches. 36-inch busthalf scale 18 less inch = 8 inches. 38-inch busta fourth of bust less inch = 8 inches. 40-inch busta fourth of bust less inch = 9 inches. 42-inch busta fourth of bust less inch = 9 inches. 44-inch busta fourth of bust less inch = 10 inches. 46-inch busta fourth of bust less inch = 10 inches. 48-inch busta fourth of bust less inch = 11 inches. 50-inch busta fourth of bust less inch = 11 inches.
The position of the neck point forward from the front of the scye for a normal 34-inch bust figure is onesixth of the scale. This is shown in Fig. 4 at 11.
12 from 11 = from 3 to 8 less inch to allow for the natural slope of the shoulder.
From the diagram it must be apparent that if the front shoulder is to sew to the back, the front is too wide by the amount of 9 to 12.
Therefore, this amount must be reduced, and a dart equal to the quantity is taken out of the shoulder at 12 to 13, and so contour shape for the bust is provided.

14 is midway of 3 to 10. 15 from 14 = 2 inches. Join 15 to 13 and 12. Half the bust measure (17 inches) = 8 inches. Half the chest measure (16 inches) = 8 inches. Reduce the difference of inch from the shoulder dart at the breast-line level.
This reduction in size is necessary as the breast above the prominence, on the chest line, is smaller and corresponds with the actual chest measure and not the bust circumference. There are cutters who make this distance inch or more less than the allocation stated for the position of the neck point, but in the author's experience of present-day figures, a straighter-cut coat is necessary. The possibility of complications caused by moving the neck point was shown when dealing with the width of the back neck. The same principles apply and the same defects will be
experienced if we tamper with the front neck point. One-sixth of the scale is the most satisfactory position for obtaining a good-fitting shoulder and front of scye. The quantity stated applies to bust sizes under 36 inches only; for bust sizes over 36 inches the neck point remains constant at 3 inches forward from the front of the scye at 10. By making this point constant at 3 inches we provide for an increasingly greater quantity to be taken out of the bust dart from 13 to 12, for the across-chest measure increases while the neck point remains in one position. Consequently, with busts above 36 inches the distance between the front neck point 9 and the point 12 becomes greater in an increasing ratio as the bust becomes larger and more prominent with the need for increased contour provision.
Shoulder Size and Capacity

The remaining factor to be considered is that of shoulder size and capacity. It is possible to allow for this quantity on an average basis only, as style and figure development have an important bearing on the
amount necessary. A direct measure taken from the centre back over the shoulder to the front of the scye is very useful if taken accurately, but in the author's opinion it is better to work on an average of what is successful for the majority of figures. One thing to remember is that an easy armhole is not gained by piling an excess of material on the shoulder top; instead, a deeper and wider scye is indicated. Fig. 2 gives an indication of the method of deciding the shoulder slope and capacity.
17 from 1 = the back width plus a inch seam = 6 inches. 18 is midway of 17 to 10. 19 from 18 = one-third of the scale plus inch. Join 19 to 6 and 12 for the shoulder slope.
The basic constructional points for the estimation of the sectional heights and widths have now been defined for a normal figure and are ready to be applied to drafting proper. It may be thought that too much time has been given to the calculation of the points enumerated. It is absurd,
however, to give a student a draft saying that so-andso is such-and-such of the scale. Half the time what is meant by the "scale" is a mystery. One cannot expect students of either sex to understand technical phraseology without it being carefully explained. To explain definitely how we arrive at each quantity clears up what is just a mass of unintelligible lines and quantities to most students. There is one point of which mention must be made. That is the application of the nape of neck to the front waist measure. This measure is a useful check on the length of the front balance for estimating the extra length required and also, in instances of disproportionate figures, a means of arriving at the necessary quantity by which to increase or decrease the front depth factor.
Summary of the Constructional Points

(a)
THE WORKING SCALE.
Calculated as one-third of
the breast size plus 6 inches for all sizes over a 36-inch bust. For a 36-inch bust and under the scale is equal to half the bust size. (b)
THE DEPTH OF SCYE.
Calculated as one-third of the scale plus 1 inches. (c)

THE WIDTH OF THE BACK NECK.
Calculated as
one-sixth of the scale less inch. (d)

LENGTH OF THE FRONT BALANCE AND DEPTH.
Calculated as equal to the depth of the scye plus onetwelfth of the scale. (e)
LOCATION OF THE FRONT NECK POINT FROM THE CENTRE FRONT LINE.
Calculated as one-sixth of the scale. (f)

FRONT OF SCYE MEASURE.
Calculated as half
the scale less inch for a 36-inch bust and all sizes under. Over a 36-inch bust the calculation is onefourth of the bust measure less inch. (g)
THE SCYE. POSITION OF THE NECK POINT FROM THE FRONT OF
Calculated as one-
sixth of the scale for a 36inch bust and all sizes under. For sizes over a 36inch bust the measure is constant at 3 inches.
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by F. R. Morris
Chapter IIThe Art of Measuring and Scales of Proportionate Measurements

As scientific garment cutting is based upon measurements of the human form, it is essential that accurate measures are always taken as a delineator of the general build of the figure to be fitted; they are the first need towards drafting a correct pattern. To endeavour always to obtain accurate measurements cannot be sufficiently impressed on the student or cutter; the finest cutting system in existence would be an abject failure if the measurements used in conjunction with it were inaccurate. Constant practice will give proficiency in this direction, and it is stressed that an identical degree of closeness or looseness in applying the tape-measure should be observed as much as possible on all occasions. We cannot expect a cutting system to give uniform results if a different degree of tension in measuring is adopted on some occasions and not on others, for obviously, as the allowances for ease and seams in the system are fixed, varying degrees of fitting quality will result if this factors not observed. It is always advisable to take the measurements in a definite sequence. Some cutters arrange the measurements in one order, others differently, and if a salesman or saleswoman is taking these figures instruct them in the desired arrangement and method of measuring. Accuracy in the act of measuring the client is of first importance, and there must also be cultivated the art of observing and tabulating in the mind the little peculiarities of the figure as the tape is passed over. A skilled cutter mentally allocates dimensions of height and width and, one might almost say, drafts the pattern in his mind's eye as he measures. Cultivating the faculty of recognizing any little deformities is of great assistance later when at the cutting board. Having had a great experience of cutting garments to measures and figure descriptions supplied by other people, and knowing the weird and wonderful shapes they sometimes visualize in their minds, the author advocates that the client should be measured personally. Always keep in mind the dimensions of a proportionate figure, and when the tape registers an increase or decrease of quantity note the position of the variation from normal. Most tailors have a code of their own for tabulating
peculiarities of form growth by marginal notes in the order-book when they encounter a difficult figure whose characteristics of build are abnormal. The advantages of such a code are obvious, for, in addition to acting as a refresher to a flagging memory, if the cutter is not able to deal with the job for a day or two, when the first clear-cut impressions of the figure have become indefinite, they are of great value on future occasions if the client is unable to call to be re-measured.
Abbreviations
The following are the abbreviations mostly used, though if more are needed it is a simple matter for anyone to invent suitable codes.

S.R.B.Slightly round back. R.B.Round back. H.B.Hollow back waist. P.S.Prominent seat or hips. Sl. Sh.Sloping shoulders. Sq. Sh.Square shoulders. S.N.Short neck. L.N.Long neck. D.R.S.Drop right shoulder. D.L.S.Drop left shoulder.
When applying the tape to the figure, measures must be taken on the close side, for suitable allowances for ease are made in the working of the system. All measures should be taken on the left side of the figure. The reason for this is that, usually, the right shoulder is the lower of the two, and if the garment is cut to fit the left shoulder it is quite a simple operation to take-in the right shoulder and deepen the scye; whereas, though the left shoulder could be let out, we cannot decrease the depth of the scye.
The Measures
It should be specially noted that, in taking the measures, a waist belt or cord should be placed round the waist, in order to
determine the natural waist position for the purpose of establishing a balance. In Fig. 5 (a) and (b), the measurements should be made as follows (1) From A at the nape of the neck to the natural waist line, defined by the waist belt at C. (2) From A to D, the desired length of the garment for short coats. (3) The full length of the dress or coat taken from the nape of the neck at A to E. (4) From C to E, the skirt length at the back. (5) The width of the back measure taken from F to G. This quantity may be regulated by a division of the scale when drafting, but it is advisable to take this measure on the figure as a guide to any pronounced development of the blade section. (6) The sleeve length, continuing from F and G to H at the elbow and on to the wrist at J. Two alternative measures are advocated by many craftsmen. They are the measure from the seam of the sleeve head to the wrist, as shown from points 1 to 2 in Fig. 5 (a), or a forearm measure from the front pitch to the wrist. Either of these two alternatives is but an approximation of the correct measure, as in each instance a variation of crown height or a higher run of seam on the shoulder than that of the garment measured would affect the finished length. (7) The chest girth, taken over the dress, blouse or jumper with the tape well up on the blades at B (Fig. 5 (b)) on the back and passing round the figure to above the prominence of the bust in front as in Fig. 5 (a). With the tape still held in position at the back, lower in front to cover the bust prominence. This measure must be taken closely and accurately with observation as to the degree of development of the bust.
Figure 5Taking the Measurements (8) The waist measure, taken very tightly as for a skirt measure. Additions are made in the working of the system for ease when using this quantity for the drafting of coats or dresses. (9) The hip measure, taken over the most prominent part of the hips, approximately 8 inches below the natural waist. (10) The skirt length at the front taken, as decreed by the fashion of the moment, from L to M and N. The side skirt measure is taken from O to Q. (11) The front waist length from the nape of the neck at A, over the shoulder to the bust prominence at T, continuing to the front waist at L. This measure is very useful as a delineator of balance when the figure is erect or stooping in attitude.
Direct Check Measures

The foregoing are the standard measures that are always taken; other shoulder or balance measures may be obtained as a check on the deductions calculated from the working scale when drafting the pattern. These additional measures are termed "direct measures," and are intended to define by direct measurement on the figure its relative shape and attitude. Undoubtedly, if these quantities are carefully taken a great deal of benefit is derived, but, on the other hand, it is not always possible to ensure accuracy unless they are taken over a very well-fitting garment. To take direct measures on the figure, place a square under the arm as shown in Fig. 6 (a). Mark the level of the scye at the sideseam, and then mark a point at B on the centre back seam horizontal with the scye level. At the front of the armhole at G (Fig. 6 (b) ), make a balance mark, taking care that the square remains horizontal. The following measures are then taken
Figure 6Taking Direct Measurements (1) The depth of the scye, or the back depth to the base of the armhole, from the nape of the neck at A to B (Fig. 6 (a)). (2) The natural waist length from A to C (Fig. 6 (a)), continuing to D, the most prominent part of the hips. It is no use when drafting to measure the hip prominence at 8 inches below the natural waist line, apply to the draft at 7 inches below the waist and then wonder why the garment is too large on the hips. (3) The over-shoulder measure from B (Fig. 6 (a)) at the centre back to E on the shoulder, thence to G (Fig. 6 (b)) at the front of the scye. (4) The front shoulder measure, taken from the nape of the neck at A (Fig. 6 (b) ), over the front shoulder to G at the front of the scye. (5) The across-chest measure, taken above the bust prominence from the seam of the sleeve at one side to the other. (6) The front waist measure from the nape A (Fig. 6 (b)) over the shoulder to H at the front waist, the prominence of bust length being also noted in addition. The above measures are those usually taken and found to be most practicable for general use. When taking direct measures it is well to remember that such measures are only approximations even if the utmost accuracy is observed in their recording, and as such their use must be tempered with common sense. The author has had direct measures given to him to work by that would produce for a 36-inch bust figure a garment suitable in every respect of scye and shoulder size to a 48-inch or 50-inch bust. How some of these measures are obtained is a mystery, but a shrewd guesser would say that the garment measured over had an armhole down in the waist somewhere. Maybe the depth of the scye had been measured from the top of the collar!
Scale of Proportionate Measurements and Working Tables

Tables of proportions are always of use as a means of comparison with measures registered on the figure and as a guide to where the variation of development in abnormal figures is apparent. For instance, if we measured a woman and the back width quantity was 6 inches for a bust girth of 38 inches, obviously the increase in size must be located disproportionately as the back width is only equal to a 32-inch bust girth. In this instance, the increase would be all at the front in the across-chest width. Some useful tables, together with one showing aliquot parts of the scale or breast measure, are given below.
Scale of Proportionate Measurements

Bust Inches 24 26 28 30 32 34 36 38 40 42 44 46 48 50 52 54 Waist Inches 24 24 24 24 24 25 27 29 31 33 34 35 36 37 38 39 Hips Inches 24 26 29 32 36 38 40 42 44 45 47 49 51 52 54 56 Waist Length Inches 10 11 12 13 14 15 15 15 16 16 16 16 15 15 15 15 Across Back Inches 4 5 5 6 6 6 6 7 7 7 7 8 8 8 8 9 Half of Forearm Length Elbow Sleeve Length Inches 17 20 23 25 27 28 29 29 30 30 30 30 29 29 29 29
Table of Aliquot Parts

The following table of aliquot parts will give fractions of the scale or breast measure from one-ninth to two-thirds
Inches 11 12 13 14 15 Scale or Breast Measure 16 17 18 19 20 21 22 23 24
1/9 1 1 3/8 1 3/8 1 1 5/8 1 1 7/8 2 2 1/8 2 2 3/8 2 2 5/8 2
1/8 1 3/8 1 1 5/8 1 1 7/8 2 2 1/8 2 2 3/8 2 2 5/8 2 2 7/8 3
1/7 1 5/8 1 1 7/8 2 2 2 3/8 2 2 5/8 2 2 7/8 3 3 1/8 3 3/8 3
1/6 1 7/8 2 2 2 3/8 2 2 2 7/8 3 3 3 3/8 3 3 3 7/8 4
1/5 2 2 3/8 2 5/8 2 7/8 3 3 3 3/8 3 5/8 3 7/8 4 4 1/8 4 3/8 4 5/8 4 7/8
2 3 3 3 3 4 4 4 4 5 5 5 5 6
1/3 3 4 4 3/8 4 5 5 3/8 5 6 6 3/8 6 7 7 3/8 7 8
5 6 6 7 7 8 8 9 9 10 10 11 11 12
2/3 7 3/8 8 8 9 3/8 10 10 11 3/8 12 12 13 3/8 14 14 15 5/8 16
Scales for Shorts

Girl's Shorts
Inches Bust Waist Hip Leg Rise Knee 21 18 23 3 7 16 22 19 24 3 8 17 23 20 25 3 8 18 24 21 27 3 8 18 25 22 28 4 8 19 26 23 29 4 9 19 27 24 30 4 9 20 28 25 31 4 9 21 29 26 33 5 10 22
Woman's Shorts
Inches Bust Waist Hip Leg Rise 32 24 35 4 11 33 25 36 4 11 34 26 37 4 11 35 27 38 4 12 346 28 39 5 12 37 29 40 5 12 38 30 41 5 12 39 31 42 5 13 40 32 43 6 13
Knee
22
23
23
23
24
24
24
24
25
Small Woman's Shorts

Inches Waist Hip Leg Rise Knee 22 29 3 9 19 23 30 3 9 20 24 31 3 9 20 25 32 4 9 21 26 34 4 10 22 27 35 4 10 22 28 37 5 11 22
Scale for Trousers

Inches Waist Hip Leg (Plain Bottom) Rise Knee Bottom 24 35 29 11 24 22 26 37 29 11 24 23 28 39 30 12 25 23 30 41 30 12 25 24 32 43 30 12 25 24
Scale for Girls and Maids

Inches Length Bust Hips Across Back Sleeve 16 22 22 4 8 18 23 23 4 8 20 24 24 4 9 22 25 26 5 10 24 26 28 5 11 27 27 29 5 3/8 12 29 28 30 5 12 32 29 31 5 13 36 31 33 6 14 39 32 35 6 15
American Scales for Junior Miss Sizes

Bust 33 34 36 37 39
Waist Hips Length to Waist Sleeve Underarm Skirt Length Size
26 36 15 17 25 12
27 37 15 17 26 14
29 39 15 18 27 16
30 40 16 18 27 18
32 42 16 18 28 20
Juvenile Costumes
Size 2 3 4 5 6 7 8 9 Neck to Waist 10 11 11 12 13 14 14 15 Coat Length 17 18 18 19 20 21 21 22 31 32 33 34 35 36 37 38 Bust 22 22 23 24 25 25 26 27 Waist Hips 33 34 35 36 36 37 38 40 Across Back 11 11 12 12 12 13 13 13 Inside Sleeve 12 13 14 15 16 16 17 17
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Vintage Sewing Main Page > 1940's > Ladies' Garment Cutting and Making > Chapter III Search | Subscribe | Support

by F. R. Morris
Chapter IIIConstruction of Patterns for Short Coats

THE following diagrams and text form the basis of the system. All standard arrangements of seams are dealt with, and the systems described are applicable to style variations as they are encountered. The variations for figure attitude and disproportionate shape are the general basis of alterations and can be equally applied to all diagrams, though, for the sake of simplicity, they are applied to one style of coat only. Seams are allowed round the scye and shoulders and on the underseams, for in the author's experience it is more advisable to allow seams on all panels and extra seamings when cutting from the material. The system is simplified when there is a standard allowance over the bust size, no matter whether the design has two seams or twenty-two. It is impossible
to allow seams when the design has horizontal lines in addition to vertical ones. We will now proceed with the preliminary constructional lines and points for the draft of a lady's short coat.
The Basic Draft (Fig. 7)

The system is based upon the following measures

Bust = 34 inches. Waist = 27 inches. An addition of 2 inches is made to the tight waist measure for ease. Hips = 38 inches. This is a proportionate increase of 4 inches over the bust size. Waist length =15 inches. Full length = 24 inches. Half-back width = 6 inches. Normal height = 5 feet. Working scale = half the bust size =17 inches.
To draft Commence by drawing line X to X, the full length of coat.

1 from X = the depth of scye = one-third of the scale plus 1 inches. 2 from X = the natural waist length = 15 inches. 3 from 2 = 8 inches down for the hip level. 4 from X = the back neck width = one-sixth of the scale less inch = 2 inches. 5 from 4 = 1 inch always. 6 from 1 = the half-back width plus inch = 6 inches. Square out from all the points from X to X as shown. Square a line upwards from 6 to 7. 8 from 1 = the half-bust measure plus 2 inches for ease and seams. Square up and down from this point. 9 from 8 = the depth of the scye from X to 1 on the back.
10 from 9 = the increase of front balance to agree with the additional contour length necessary, namely, one-twelfth of the scale = 1 3/8 inches. 11 from 10 = the location of the front neck point = one-sixth of the scale = 2 inches. 12 from 8 = the front of scye or across-chest measure = half the scale less inch = 7 inches. 13 from 12 = the location of the neck point that provides contour shape for the bust prominence. Square up from 13 to 14 equal to inch less than 8 to 10. Join 14 to 11; this amount is taken out of the bust dart to provide contour capacity for the bust shape. The position of the sideseam is located midway of the scye at 15. Square up and down from 15. 16 from 15 for the angle of the shoulder slope is one-third of the scale plus inch = 6 inches. Line from 16 to 5 and 14. 17 is located on the line squared up from 6 and intersected by line 16 to 5. 18 from 17 = inch. 19 from 14 = the front shoulder width equal to the back shoulder 5 to 18 less inch.
The necessity for cutting the front shoulder inch less than the back is explained by the fact that a badly-fitting shoulder will result if the back shoulder is not eased on to the front shoulder by this amount. The reason for this manipulation is that approximately 2 inches back from the centre of the shoulder is the curve of the shoulder-blade prominence which requires more length to cover than the hollow of the shoulder on top. Therefore, if the extra length is not infused into the shoulder seam and pressed back over the blade, then the blade prominence will take the extra length it needs and drag up the shoulder with it, causing a number of diagonal creases to appear in the front shoulder. Easing on the back shoulder to the front gives the extra length at the blade prominence and also improves the fit of the
front shoulder. It might be added that nine out of every ten badly-fitting shoulders are caused by insufficient back shoulder being eased on. It is a common occurrence for cutters to meet with drags and creases in the front shoulder, and to alter, rip the shoulders and repin into position. But this would be unnecessary in the majority of instances if sufficient length had been eased on. The tailor is to blame to an equal degree. The author is familiar with the cutter who allows inch for easing on, and gives the job to the tailor who promptly proceeds to stretch the front shoulder by anything up to inch! The tailor thereby has inch of front shoulder to ease on to the back shoulder! The author does not believe in stretching the front shoulder; that is an out-of-date practice to counteract the mistake of the cutter. The easing on of the back shoulder gives the hollow front shoulder effect that formerly the tailor endeavoured to obtain by stretching. To continue with the draft after this digression
In order to shape the scye, 20 from 12 = one-sixth of scale.
This is a check measure for the scye run, and it must be stressed that the good cutter should endeavour to achieve a clear run without such automatic aids.

21 from 6 = 1 inches. Complete the shape of the scye as shown. 22, 23, and 24 are squared down from 8. Square down from 15 to 25 and 26, 27. The quantity of hip overlap at 26 is governed by the hip size and the additional amount required for seams and ease. Two inches over the bust size are allowed for seams and ease, of which inch will be lost under the blade at 28, which will be explained later. This leaves 1 inches for seams and ease.
Now on the hip overlap, inch of ease plus two seams is ample for a modern coat; so at 26 we must overlap half the difference between the bust and hip measures less inch. The author calculates this quantity as follows
From 1 to 8 = half the bust measure plus two inches. Therefore, if we add the hip surplus at 26, we would have half the hip size plus 2 inches. But as we want only 1 inches over the hip measure for ease and seams, the amount at 26 is reduced by inch, and inch is also taken out at a point approximately at 29. The total reduction is therefore inch. The 1 inches of surplus at 26 is added equally at 30 and 31. The waist is suppressed 3/8 inch at 32 and 33.
This amount is standard for all coats, and the reason for this quantity is explained logically in the chapter on Waist Suppression.

Join 15 to 32 and 31. Join 15 to 33 and 30. Lower the bottom edge inch from 24 to 34 to compensate for the working-up of the fronts, and join to 27.
The basis draft of the system is completed. Waist suppression will be dealt with in the following draft with improved run of seams.
Panel Back Basis Draft (Fig. 8)

The panelled coat is the most perfect example of fitting quality, and shows the application of cutting principles to the finest degree of exactitude. With this style arrangement of seams, waist suppression and hip overlap are in their fundamentally correct locations, and all other variations of style seams are a compromise with the positions of seamings as shown with this style. The measures and working scale are identical with those of the previous draft.
To draft

Commence by drawing line X to X, the full length of the coat. 1 from X = the depth of the scye = one-third of scale plus 1 inches. 2 from X = the natural waist length =15 inches. 3 from 2 = 8 inches down for the hip level. 4 from X = the back neck width = one-sixth of the scale less inch = 2 inches. 5 from 4 = 1 inch always. 6 from 1 = the width of the half-back measure plus inch = 6 inches. Square out from all the points from X to X as shown. Square a line upwards from 6 to 7. 8 from 1 = the half-bust measure plus 2 inches for seams and ease. Square up and down from this point. 9 from 8 = the depth of the scye from X to 1 on the back. 10 from 9 = the increase of front balance necessary to agree with the additional contour length, namely, one-twelfth of scale = 1 3/8 inches. 11 from 10 is the location of the front neck point = one-sixth of scale = 2 inches. 12 from 8 = the front of scye or across-chest measure = half the scale less inch = 7 inches. 13 from 12 = the location of the neck point that provides contour shape for the bust prominence. Square up to 14 equal to inch less than 8 to 10. Join 14 to 11. This amount is taken out of the bust dart to provide contour capacity for the bust shape. The position of the sideseam is located midway of the scye at 15. Square up and down from 15. 16 from 15 for the angle of the shoulder slope is onethird of the scale plus inch = 6 inches.
Line from 16 to 5 and 14. 17 is located on the line squared up from 6 and intersected by line 16 to 5. 18 from 17 = inch. 19 from 14 = the front shoulder width equal to the back shoulder width, 5 to 18, less inch. 20 from 12 = one-sixth of the scale = 2 inches. 21 from 6 = 1 inches. Complete the shape of the scye as indicated on the diagram. 22, 23 and 24 are squared down from 8. Square down from 15 to 25, 26, and 27. The hip overlap at 26 = half the difference between the bust and hip measures less inch, as described, added equally at 30 and 31. The waist is suppressed 3/8 inch at 32 and 33. Join 15 to 32 and 31, and to 33 and 30. Lower the bottom edge run from 24 to 34 to compensate for the working-up of the fronts and join to the end of the front sideseam. Points 1 to 34 are identical with those in Fig. 7.
We have now to apportion the waist suppression in its proper location and position. The quantity of waist suppression shown on the draft represents the standard amount for a proportionate figure with a 34-inch bust, a 27inch waist, and 38 inches round the hips. The back-waist measure on the average woman is approximately 2 inches smaller from sideseam to sideseam than the front; therefore, the greater amount of suppression must be taken from the hollow of the back waist. Two-thirds of the surplus is taken from the back, and one-third from the front waist.
On the draft, however, we have fixed the under-seam suppression of inch as standard, so this quantity must be added to the allowances for ease and seams over the half-waist measure before the amount for back and front suppression can be estimated. For ease and seams 2 inches are allowed over the half-waist measure, and, to obtain the required amount of back and front suppression, measure back from the centre line at 22 to B the half-waist measure plus 2 inches, and the addition of the underarm suppression of inch, totalling 2 inches in all. Therefore, as 22 to 2 equals the half-bust measure plus 2 inches the difference from 2 to B equals 2 inches.

Half the bust measure plus 2 inches = 19 inches. Half the waist measure plus 2 inches = 16 inches.
Difference = 2 inches.
Of this amount, two-thirds, approximately 1 inches, have to be placed at the back waist and one-third, approximately 1 inch, at the front waist, thus making the total suppression equal to 2 inches. For the sake of an example and to apply the principle of allocating the quantity of waist suppression to a figure of less proportionate development, let us take a figure type with less difference between bust and waist, i.e. with a 44-inch bust and a 40inch waist, assuming, of course, that the figure shows a proportionate increase of 4 inches between the bust and hip measures. Therefore, applying the same principles
Half the bust measure plus 2 inches = 24 inches.
Half the waist measure plus 2 inches = 22 inches.
o Difference = 1 inches. Two-thirds of 1 inches = inch approximately.

One-third of 1 inches = inch approximately. Total suppression =1 inches.
The back panel receives inch and the front panel or dart inch. For the reverse type of figure, let us take as an example a woman of very slender proportions having a 33-inch bust, with an extremely small waist of 23 inches. Calculate in the same way as described

o Difference = 4 inches. Two-thirds of 4 inches = 2 inches.

One-third of 4 inches = 1 inches.
But very few cutters would care to suppress a coat by this amount; in any case, a woman of these measurements does not usually care to be too closely fitted in the waist for fear of accentuating the comparative largeness of the hips. We can safely add inch to the allowance for ease over the half-waist measure, making this quantity 3 inches instead of the normal 2 inches.
The amended suppression calculation will now be

Difference = 3 inches.
Two-thirds of 3 inches = 2 inches. One-third of 3 inches = 1 inches.
The back panel therefore takes 2 inches of suppression and the front panel or dart 1 inches. It may be added that with figures of this build, the hip factor is invariably less than the proportionate 4 inches of difference; on the woman whose measurements are enumerated above the hip size was only a bare 35 inches, instead of the usual 37 inches. Therefore, the increased amount taken from the suppressions is not so excessive comparatively as might be first thought. An extra sidebody would be an advantage when dealing with a figure of these measurements, to distribute the waist suppression more evenly. To continue with the draft, we have decided that the back panel takes 1 inches of waist
suppression and the front panel 1 inch. To shape the back panel seams

28 from 1 = one-sixth of the scale plus 1 inch. 35 from 2 = one-sixth of the scale plus inch. 29 from 3 = one-sixth of the scale plus inch. 36 from 35 = the back waist suppression = 1 inches. 37 from 28 = inch, as described in the text of the basis draft. 38 from 29 = inch. This has also been mentioned in the description of the basis draft. 39 from 5 = 2 inches, or 14 to 11 plus inch. Suppress at this point inch for blade contour provision. Shape the back panel seam as shown on the diagram.
No seams are allowed on the back and front panels, as the author prefers to add these when cutting to save confusing the student by adding varying quantities over the bust size for extra or fewer seams.
42 from 22 = 3 inch or onesixth of the scale plus 1 inch. 40 from 14 = the bust dart provision 14 to 11 located by
sweeping from 41, a point midway of 8 to 12.
43 from 23 = 4 inches or onesixth of the scale plus 1 inch. 44 from 41 = the difference between one-fourth of the bust size and one-fourth of the actual measure chest. Shape the run of the bust dart to 45, 1 inches below 41, keeping the line 44 to 40 slightly hollowed so that, when the seam sews to 14 and 45, a certain amount of length is given for the prominence of the shoulder bone in front.
The 1 inch of front suppression is taken out diagonally in the dart at 46, which point is located at one-third of 25 to 22. The author prefers the dart to run diagonally as shown, for the contour shape made is then forced over the bust and hip-point prominences.
47 from 10 = one-sixth of the scale. Shape to 11, as shown, for the neck curve.
This completes the base model for panel coats. As this system in its entirety is the standard with which all the variations of seam placement are compared, it is essential to have complete familiarity with and mastery of the constructional points.
It is worthy of mention that the placement and widths of the panel seams are not standardized, but are subject to variation; the measurements allocated to them in the draft are those of good style and line. Good style and line are of paramount importance in the cutting and designing of ladies' garments. There are no standardized rules of style and line to follow when drafting a pattern except the knowledge conveyed through one's own eye and feeling for line. If a woman is of large proportions, the widths and dimensions of the design should not increase proportionately to the increase in the figure size; otherwise we would only be making a copy of the wearer's form instead of endeavouring by the judicious placement of seams to convey an optical illusion of a slimmer build. On the other hand, a slender figure with narrow shoulders may have the appearance of breadth conveyed by the wider spacing of seams at the shoulders, tapering to a narrower width at the hip line. Definite rulings cannot be laid down, and only the guidance of good taste and
artistic proportion can be relied upon. Always when we endeavour to clothe the human figure, we should try to improve on Nature's little deformities and inexactitudes if possible, by our cutting skill and artistic perception. It is to ladies' garment cutting that the "art of cutting" is most applicable. A man may master a system, calculate to the nearest fraction of an inch, and produce a perfectly fitting garment. Yet the finished article lacks a certain "something," that is line and style, and the garment on the wearer is "dead" and lifeless, instead of moulding the form of the figure into harmonious lines. The fault is that the seam runs are probably at variance with the shape and construction of the figure. Line can only be achieved by a study of the shape and form of a woman's figure, and then by our perception endeavour to transpose to the pattern draft this same shape, making our seam runs accentuate one part or minimize and disguise another. Courage and imagination are necessary to diverge from the lines laid down by the foundation draft; it must be understood that the
system is the slave of man and not the master. We use the basis system as we will, or, if necessary, cast it totally aside. The system-bound cutter, who never thinks apart from the lines and dimensions laid down in the system, will not advance far, from the artistic viewpoint; his mental outlook is in proportion to the rigidity and limitations of the system he uses.
Sidebody Coat Basis Draft (Fig. 9)

The base model of the sidebody coat is the next in importance to the panel coat draft. In practice, there are not many designs to which the basis draft of either a panel or a sidebody coat is not applicable. It is not advisable to depart from the basic system points laid down in the base drafts, as they represent all that is essential for the attainment of perfection in fitting quality and style. Measures are as given previously.
Draw line X to X. The basic constructional points are identical with those in Fig. 7, the draft basis. The sidebody takes the place of the back panel as a means of creating shape and length at the side-seam to enable the coat to assume the natural contour shape of the figure. To draft the sidebody seam

35 from 6 = 2 inches. 36 from 1 = 6 inches. 37 from 2 = 4 inches. 38 from 3 = 5 inches. 39 from 36 = inch. 40 from 37 = the waist suppression = 1 inches. 41 from 38 = inch.
Shape the sidebody seam from 35, 36, 37, to 38 and from 35, 39, 40 to 41. Though the sidebody seam may appear to some to be too far towards the back, this, in the author's opinion, is a good style position, and the converging seams give a slender appearance to the hip line. Good style is the
main object of the system, and if anything is done that clashes with stereotyped ideas it may not necessarily be incorrect. Stereotyped ideas of seam placements tend towards a stodgy outlook and uninspired cutting. The departure from set ideas and standards makes for refreshing variety in life; if everyone went about in clothes bearing the same lines and characteristics, uniformity of design would make the world a very dull place. Individuality of line is an attribute of genius in a cutter; some have that genius, others most manifestly have not. The cutter who aspires to rise above his fellows should master a system and then develop a "line" of individuality and keep to it, with the knowledge that all the garments he cuts will bear the stamp and hall-mark of his personality. An effective plan when dealing with larger sizes is to increase the width of the panel or sidebody seams by inch for every 2-inch increase of bust size,
though no hard and fast rule can be applied. The fronts show a variation from the panel seam front, the bust dart finishing instead at a point just below the breast line at 43. No seams are allowed on this dart, so the maker must either sew in the marks or cut a inch inside the lines from 14 to 43 and 44 to 43. Costume coats of a "lounge" variety are cut from the principles laid down for the basis sidebody system, as the sideseam placed under the arm is essential for perfection of fit. The author always advises the use of the sidebody in coats of this character, in preference to the model that has no underarm seam, similar to a gentlem an's lounge jacket.
Basis for Singleseam Coat (Fig.
10)
The basis for this style is identical in respect of constructional points with Fig. 7, with the exception of darts in the back to take the place of panel or sidebody seams. This basis is usually adapted to the cutting of sports jackets, blazers, and cardigans, so there is not the need for such a degree of close fit, and we do not take the standard quantity of suppression from the back in the darts. The back suppression may be reduced by to of an inch as desired. The front suppression is left unchanged, for women like a clean-fitting coat at the front under the bust. Two darts placed close together at the back waist displace the surplus material.
Variation from the Normal for Erect and Stooping Figures (Fig. 11)
A measure of the success a cutter achieves is the ability to alter his system to fit all the multitudinous shapes and sizes of customers who pass through his hands and under his tape. The knowledge of a system in itself is of small value in the hurly-burly of active cutting practice; in fact, no sooner have we assimilated a normal system when we are required to ignore it or vary the procedure in dealing with a figure of disproportionate characteristics. So in addition to our knowledge of how to cut for women of proportionate development, we must also be armed with a rational and systematic method for meeting the needs of the awkward figures of people who depend on our cutting skill to minimize or disguise their peculiarities of build. The two most common alterations are those for stooping and erect carriage. Though not so pronounced in a woman
as a man, the stooping attitude nevertheless presents difficulties to the cutter, as the "round" is more a case of very prominent blades than a general curvature. The erect figure is a different proposition. Here we have the prominence of the bust to take into account, and an increase in bust development coincides with an extra erectness of carriage as a result. The consequent treatment for one alteration has the effect of likewise proving judicious for the other. As a guide to the extent of variation from the normal basis for either stooping or erect figures, it is absolutely essential that the front waist measure is taken with the utmost accuracy. Without this valuable check measure, we can only estimate the variation and alteration required by a close study of the figure while measuring.
The Stooping Figure

The chief characteristics of this type
of figure are a wider back stretch than normal, a correspondingly narrower front width across the chest, and prominent shoulder bones at the front of the scye. We will work on the basis draft for a 34-inch bust for ease of calculation, as the same principles apply to larger or smaller sizes. Apply the front waist measure to B1 from W, less the width of back neck 1 to 2. The discrepancy from normal indicates the amount of shortness in the front depth measure, and the neck point is lowered from A to B by this amount. It will be noted that the neck point remains in the same vertical line as the normal one. The neck size from which the neck point is calculated remains constant in spite of the change of figure attitude; therefore, the location of the neck point from the centre front line remains constant at one-sixth of the scale. Figures of this type are flat on the chest and
usually undeveloped in the bust, requiring a forward scye and less provision of contour capacity for the bust prominence. The quantity taken out of the bust dart decreases for a stooping figure by virtue of the shallower bust prominence; therefore, the neck point that governs the bust provision A1 is closed forward from A1 to B1, equal to the amount B is lowered below A. A decreased quantity, B1 to B, is then taken out of the bust dart from B1 to B3, pivoted from E. Check up the shoulder width from B1 to B2 and reshape the scye, advancing inch in front of the normal run. The reduction of the quantity taken out of the bust dart also provides for ease over the shoulder point in front by passing material back from the neck point. The back is treated in the following manner. Increase the depth of the scye at 5 and 6 from1 and 2, by the difference shown between the normal and stooping waist lengths plus
inch, i.e. inch increase.

8 from 7 = inch. 9 from 4 = inch. 7 from 3 = from 6 to 2 less inch. 8 from 7 = the amount of disproportion A to B plus inch which is the normal quantity taken out of the back panel at 3.
Shape the back scye run as shown, increasing the back width by approximately 3/8 inch or to a special measure taken at 15. It is not always advisable to reduce the waist suppression at the back waist for a stooping figure, as a close fit in this section only accentuates the "round," and as our mission is to endeavour to minimize or disguise the deformity, the back suppression may be decreased at 17 and 18 by inch of each panel. This is the basis method of altering from the normal for a stooping figure. If the
front-waist measure is not taken or is thought to be inaccurate, the difference must be estimated and the alteration to the pattern made in a manner identical with the above method.
The Erect Figure

This type is a combination of an erect attitude of figure and development of the bust prominence. The characteristics of the figure attitude are the inclination to walk with the shoulder blades held well back, a narrow back width and a hollow back waist. Coats cut on a normal basis invariably have folds of surplus material in the hollow of the back waist, with diagonal creases from the side waist to the bust prominence and front of the scye. An excess of material in the back waist is caused by, primarily, too long a back balance and, secondly, too short a front depth
factor. Consequently, as the coat on the figure takes up the extra front depth to compensate for the erect attitude, the side waist is pulled upwards out of position and with it the back waist. The measure from the nape of the neck to the front waist will delineate the increase of front depth over the front depth of a normal figure, for, no matter whether the waist line is placed high or low, the increase will be reflected in the difference of the front balance. From the front waist balance measure, the amount of erectness is estimated as inch. In Fig. 11 (b) the front neck point A is raised to C by the amount of erectness, inch, the neck point being kept in the same vertical line of onesixth of the scale from the centre line.
The provision for the increase of bust prominence is greater than normal owing to the erect attitude; therefore, the shoulder dart must be enlarged to provide for the extra breast shape. Sweep back from A1 to C1 equal to A to C, pivoting from point D. The distance from C to C1 therefore becoming greater, this creates the extra bust capacity. Make up the shoulder width from C1 to C2 when the back section has been reconstructed. By increasing the quantity taken out of the bust dart, which might be termed "crookening" the neck point, we keep the front of the scye clean and snug to the figure. At the back and shoulder, 10 and 11 from 1 and 2 are equal to the amount shown at C to A less inch. The back panel seam is overlapped at 12 to 13 by inch instead of inch being taken out as
normally. Consequently, the back shoulder point is narrowed inch from 4 to 14 to counteract the effect of overlapping the shoulder seams inch. A reduction of inch of back width takes place at 16, in accordance with the relocation of the shoulder end and the requirements of the figure. The back suppression is not altered, as the normal amount is ample for the figure requirements; the shortening of the back depth and the lengthening of the front eliminate the excess of material in the back waist hollow. It is always advisable when altering for disproportionate figures to err on the safe side and not make drastic alterations from the normal. The degree of perfection we can instill into our cutting is necessarily governed
by discernment and knowledge of the requirements of varying figures coupled with the practical supplementary knowledge of correct measurements. The ability to sum up a figure while measuring and mentally decide and allocate the depth and width quantities comes from constant practice and cannot be acquired in a short while, but we can always try to take measures as correctly as possible. We must not, however, become a slave to the inch-tape. We need always to keep our sense of the proportionate values of the human figure, and if our tape-measure registers a quantity which better judgment based upon experience regards with suspicion it is better to doubt the infallibility of the tapemeasure and let our experience take command.
Accurate direct measures are a great help and guide to cutters if implicit faith is not placed in them and their use is tempered with judgment. The human figure is not a body of definite regular shape, so that measures mechanically recorded at one moment may be disproved by similar measures taken when the body is in a dif fer en t att itu de .
Ba sis of Provision for Bust Development (Fig. 12)

The basis draft for dealing with figures of more than proportionate development of bust prominence is based upon the normal 34inch bust figure of which the
measurements were given at the commencement of the chapter. For the sake of convenience they are enumerated again, together with the additional measurements necessary

Chest = 32 inches. Bust = 34 inches. Waist length =15 inches. Full length = 24 inches. Front-waist measure = 19 inches. Half-back width = 6 inches. Waist = 27 inches. Hips = 38 inches. Normal height = 5 feet. Working scale = half the bust size = 17 inches.
These measures are those of a perfectly proportioned figure. A figure, however, may conform to the 34-inch bust standard at the
back depth and width, yet the bust may be so developed that the over-bust measure registers 2 to 3 inches more. Women of this build and type are by no means rare; especially are they more prevalent in working-class districts, where practically every woman from her early childhood wears some form of corset, with the consequence that the bust is held firmly up in position and shape on the figure. The waist is usually thicker: through in proportion, while corseting keeps the hip size in conformity, with the normal bust size. So for the purpose of the examples we will use the following measures
Chest = 32 inches.
Bust = 34 inches (normal 2 inches of increase over the chest measure). Bust = 37 inches (developed from 34-inch bust plus 3 inches of increase). Waist =28 inches. Hips =38 inches.
The other measures are as for the proportionate figure, with the exception of the front-waist measure, in which an increase of inch is recorded. This type is also welldeveloped in the region of the biceps muscles, and requires a slightly easier scye than for a normal figure.
The method is based upon the fact that a figure type of this build will require a back balance equal to a normal 34inch bust figure and a front balance and depth equal to the increased bust size of 37 inches. Therefore, we base our system on two scales, 17 for the back balance and depth and onethird of a 37inch bust plus 6 inches for the front depth and balance, i.e. scale 18 . Obviously the increase does not all take place at the front at the bust prominence. The figure is generally thicker under
the arms to the waist, and so it is not logical to add all the difference from the normal on the fronts as in the case of some methods. The need for an easier scye takes up some of the increase, and we can safely say that the enlargement is from the underarm seam forward to the centre front. The drafting of the system will be described in full to show the variations from the normal draft.
Scale for the back depth =17 inches. Scale for the front depth = 18 inches.
Draw a line from X to X, the full length of coat.
1 f r o m X = o n e t h i r d o f t h e s c a l e ( 1 7 i n c h e s ) p
l u s 1 i n c h e s = 7 i n c h e s .
2 f r o m X = t h e l e n g t h t o w a
i s t = 1 5 i n c h e s .
3 f r o m 2 = 8 i n c h e s f o r t h e h i p l e v e l .
4 f r o m X = o n e s i x t h o f t h e s c a l e ( 1 7 i n c h e s ) l e s s i
n c h .
5 f r o m 4 = 1 i n c h .
S h a p e t h e b a c k n e c k c u r v e f r o m
5 t o X .
6 f r o m 1 = t h e h a l f b a c k w i d t h p l u s a i n c h s e
a m .
S q u a r e u p f r o m 6 t o 7 o n t h e li n e s q u a r e o u t f r o m X .
8 f r o m 1 = h a l f t h e b u s t g i r t h p l u s 2 i n c h e s .
9 f r o m 8
= o n e t h i r d o f t h e f r o n t b a l a n c e s c a l e ( 1 8 i n c h e s ) p l
u s 1 i n c h e s .
o
T h i s d i s t a n c e i s a t v a r i a n c e w i t h t h e n
o r m a l d r a f t i n w h i c h t h i s q u a n t i t y i s m a d e a s X t o 1
. T h e i n c r e a s e d f r o n t b a l a n c e l e n g t h i s t h e r e f o r e p r
o v i d e d b y t h e u s e o f t h e l a r g e r s c a l e .
1 0 f r o m 9 =
o n e t w e l f t h o f t h e s c a l e ( 1 8 i n c h e s ) .
1 1 t o 1 0 = o n e -
s i x t h o f t h e s c a l e ( 1 8 i n c h e s ) .
1 2 f r o m 8 = t h e a c r o s
s c h e s t w i d t h . A s the bust girth has increa sed to 37 inches from the norma l propo rtion of 34 inches to 32 inches chest girth, the increa se in the across -chest width must
be in exces s of the norma l width for the 37inch bust circu mfere nce since the width of back and scye remai ns propo rtiona te for the 34inch bust circu mfere nce. Theref ore, the 3 inches of dispro
portio n are mainl y at the front, thoug h not all this quanti ty is added to the across -chest width. Three inches in the overal l girth indica tes 1 inches on the draft, and this quanti ty added to the norma l across -chest width for
the 34inch bust would give an increa sed across -chest width of 9 inches (7 plus 1 inches ), equal to the across -chest width for a 40inch bust figure. The increa se is not as great as this, howev er, and this
quanti ty is calcul ated as follow s. C ompar e the norma l across -chest width for a 34inch bust girth with the norma l for a 37inch bust girth, and find the differe nce betwe en the two widths .
A c r o s s c h e s t w i d t h f o r a 3 7 i n c h b u s t = 8 i n c h e s
A c r o s s c h e s t w i d t h f o r a 3 4 i n c h b u s t = 7 i n c h
e s .
T w othi rd s of th e dif fer en ce be tw ee n th e
tw o ac ro ss ch es t wi dt hs is ad de d to th e ac ro ss ch es t wi dt h for a no r m al 37 in ch bu
st gir th to gi ve an ac ro ss ch es t wi dt h eq ua l to 8 in ch es pl us in ch , i.e .9 in ch es , w hi
ch in di ca te s th at th e de gr ee of pr o mi ne nc e at th e bu st in fro nt is eq ua l to th e no r m al de
ve lo p m en t for a 39 in ch bu st fig ur e.
T h e r e f o r e , 1 2 f r o m 8 , t h e a c
r o s s c h e s t w i d t h = 9 i n c h e s .
1 3 f r o m 1 2 = o n e s i x
t h o f t h e s c a l e ( 1 7 i n c h e s ) .
1 4 f r o m 1 3 = 8 t o 1 0
l e s s i n c h .
1 5 i s l o c a t e d m i d w a y o f 6 t o 1 2 .
1 6
f r o m 1 5 = o n e t h i r d o f t h e s c a l e ( 1 7 i n c h e s ) p l u s
i n c h .
J o i n 1 4 t o 1 6 f o r t h e f r o n t s h o u l d e r a n g
l e o r s l o p e .
J o i n 5 t o 1 6 f o r t h e b a c k s h o u l d e r s
l o p e .
1 7 i s l o c a t e d w h e r e t h e l i n e s q u a r e d u p f r o
m 6 i s i n t e r s e c t e d b y t h e l i n e f r o m 1 6 t o 5 .
1 8 f
r o m 1 7 = i n c h .
S h a p e t h e b a c k s h o u l d e r s e a m f r o
m 1 8 t o 5 a s s h o w n .
1 9 f r o m 1 4 = 5 t o 1 8 l e s s i
n c h t o f i n d t h e f r o n t s h o u l d e r s e a m w i d t h .
2 0 f r o
m 1 2 = o n e s i x t h o f t h e s c a l e f o r t h e f r o n t o f s c y
e s h a p e .
2 1 f r o m 6 = 1 i n c h e s .
C o m p l e t e t h e s h a p
e o f t h e s c y e f r o m 1 9 t o 2 0 , 1 5 , 2 1 , a n d 1 8 .
S q u a
r e f r o m 1 5 t o 2 5 , 2 6 , a n d 2 7 .
N o w w e c o m e t o
t h e q u e s t i o n o f t h e h i p o v e r l a p w h e n t h e
b u s t g i r t h i n c r e a s e s d i s p r o p o r t i o n a t e l y
a t t h e f r o n t . A s t h e s y s t e m i s d r a f t e d
t o a 3 7 i n c h b u s t g i r t h o n t h e b r e a s t l i
n e , t h e h i p o v e r l a p a p p l i e d i n t h e u s u a l
p r o p o r t i o n o f 1 i n c h e s a t t h e s i d e s e a m
s w o u l d g i v e a n i n c r e a s e o f h i p g i r t h t o
4 1 i n c h e s i n p r o p o r t i o n t o a 3 7 i n c h b u
s t . T h e h i p g i r t h d o e s n o t s h o w a n y i n c r
e a s e i n p r o p o r t i o n t o t h e b u s t i n c r e a s e
a n d r e m a i n s c o n s t a n t t o t h e p r o p o r t i o n f
o r a 3 4 i n c h b u s t ; t h e r e f o r e , a s t h e d r a
f t i s b a s e d o n a 3 7 i n c h b u s t , t h e r e w i l
l b e 3 i n c h e s o f s u r p l u s h i p s i z e t o b e
r e d u c e d , i . e . 1 i n c h e s o n t h e d r a f t .
P r o
p o r t i o n a t e h i p s i z e f o r a 3 7 i n c h b u s t = 4 1 i n c h e s
P r o p o r t i o n a t e h i p s i z e f o r a 3 4 i n c h b u s t = 3 8 i
n c h e s .
T h e p r i n c i p l e i s
t o c o m p a r e t h e a c t u a l h i p s i z e w i t h t h e
p r o p o r t i o n a t e m e a s u r e m e n t f o r t h e i n c r e
a s e d b u s t s i z e t o f i n d t h e q u a n t i t y t o b
e r e d u c e d , o r , i n r a r e i n s t a n c e s , t o b e
a d d e d . I n t h i s i n s t a n c e , a s s t a t e d , t h e r
e a r e 3 i n c h e s o r 1 i n c h e s o n t h e d r a f t
t o b e r e d u c e d . T h e p o s i t i o n s w h e r e t h e
r e d u c t i o n t a k e s p l a c e t o t h e g r e a t e s t e x
t e n t a r e a t t h e f r o n t s , a s i t i s u n d e r s t
a n d a b l e t h a t a n i n c r e a s e i n t h e b u s t p r o
m i n e n c e d o e s n o t e x t e n d b e l o w t o t h e w a i
s t a n d t h e h i p s . T h e r e f o r e , t h e h i p s i z e
i s r e d u c e d b y t h e d i f f e r e n c e b e t w e e n t h
e n o r m a l a n d i n c r e a s e d a c r o s s c h e s t w i d t
h s , i n t h i s i n s t a n c e 8 i n c h e s l e s s 7 i
n c h e s , o r i n c h . I t i s n o t a d v i s a b l e t o
r e d u c e t h e h i p s i z e b y t h e e x t r e m e d i f f
e r e n c e b e t w e e n t h e a c r o s s c h e s t w i d t h s o
f 1 i n c h e s , a s t h i s w o u l d u n d u l y s t r e s
s t h e b u s t p r o m i n e n c e a n d d r a g t h e f r o n t
s b a c k i n w e a r . A t t h e f r o n t p a n e l , r e d u
c e i n c h f r o m t h e s u r p l u s h i p s q u a n t i t y
o f 1 i n c h e s ; t h e r e m a i n i n g i n c h i s r
e d u c e d e q u a l l y f r o m t h e s i d e s e a m , a s t h e
i n c r e a s e i n t h e d r a f t s i z e t a k e s p l a c e
f r o m t h i s p o i n t t o w a r d s t h e f r o n t s a n d n
o t i n t h e b a c k s e c t i o n . T o g i v e a n o t h e r
p r a c t i c a l e x a m p l e o f t h e p r i n c i p l e o f a p
p l y i n g h i p o v e r l a p w h e n d e a l i n g w i t h a n
i n c r e a s e o f b u s t p r o m i n e n c e d i s p r o p o r t i o
n a t e f r o m . n o r m a l , t h e a u t h o r h a s c u t g a
r m e n t s f o r a w o m a n w h o i s e x t r e m e l y w e l l
d e v e l o p e d i n t h e b u s t a n d v e r y s l i m i n
c o m p a r i s o n r o u n d t h e h i p s . H e r m e a s u r e s
a r e u n i q u e , 4 0 i n c h c h e s t , 4 6 i n c h b u s t ,
a n d 4 2 i n c h e s r o u n d t h e h i p s , s u r e l y a
g o o d e n o u g h e x a m p l e o f d i s p r o p o r t i o n a n y
o n e c o u l d w i s h f o r . T o d r a f t , w o r k i n g o n
t h e p r i n c i p l e s d e s c r i b e d p r e v i o u s l y , w e
c o m m e n c e b y c o m p a r i n g t h e c h e s t g i r t h o
f 4 0 i n c h e s w i t h a p r o p o r t i o n a t e b u s t s i
z e o f 4 6 i n c h e s . T h i s i n d i c a t e s a n i n c r e
a s e o f b u s t p r o m i n e n c e o f 4 i n c h e s , t h e
d i f f e r e n c e b e t w e e n a 4 2 i n c h n o r m a l b u s t
a n d 4 6 i n c h e s a c t u a l m e a s u r e m e n t . T h e p
r o p o r t i o n a t e h i p g i r t h f o r a 4 2 i n c h b u s
t w o u l d b e 4 6 i n c h e s , a n d f o r a 4 6 i n c h
b u s t t h e h i p s w o u l d m e a s u r e 5 0 i n c h e s . T
h e r e f o r e , t h e r e i s a d e c r e a s e i n t h e h i p
s i z e o f 4 i n c h e s f o r t h e n o r m a l 4 2 i n c h
b u s t g i r t h , a n d n o l e s s t h a n 8 i n c h e s i
n c o m p a r i s o n w i t h t h e p r o p o r t i o n a t e h i p
g i r t h f o r a 4 6 i n c h b u s t f i g u r e . T o m a k e
t h e h i p s i z e c o r r e c t f o r t h e n o r m a l 4 2 -
i n c h b u s t , t h e d r a f t a t t h e h i p s m u s t b e
r e d u c e d 4 i n c h e s i n a l l o r 2 i n c h e s o n
t h e h a l f . H e r e w e h a v e a n i n s t a n c e o f d i
s p r o p o r t i o n a t e h i p s i n c o m p a r i s o n w i t h t
h e b u s t , a n d t h e r e d u c t i o n o f 2 i n c h e s t
a k e s p l a c e a t t h e s i d e s e a m s a n d b a c k p a n
e l , a s t h e d e c r e a s e o f g i r t h i s g e n e r a l
a n d n o t c o n f i n e d t o o n e p a r t i c u l a r s e c t i
o n . S o i n s t e a d o f t h e u s u a l s i d e s e a m o v e
r l a p o f 1 i n c h e s , t h i s i s r e d u c e d b y t w
o t h i r d s o f t h e s u r p l u s h i p s i z e , i . e . 1
i n c h e s a p p r o x i m a t e l y , a n d t h e s i d e s e a m
o v e r l a p b e c o m e s a b a r e i n c h i n s t e a d o
f 1 i n c h e s , w h i l e t h e r e m a i n i n g i n c h
o f s u r p l u s i s t a k e n f r o m t h e b a c k p a n e l
s e a m s . T h i s m a k e s t h e h i p g i r t h e q u a l t o
t h e a c t u a l s i z e f o r t h e p r o p o r t i o n a t e b
u s t s i z e o f 4 2 i n c h e s , b u t w e n o w h a v e t
o t a k e i n t o a c c o u n t t h e i n c r e a s e i n t h e
b u s t s i z e t o 4 6 i n c h e s , w h i c h i n d i c a t e s
t h a t t h e d r a f t h a s a n o v e r a l l i n c r e a s e o
f s i z e b y 2 i n c h e s , t h e d i f f e r e n c e b e t w e
e n t h e t w o h a l f b u s t m e a s u r e m e n t s . T h e r e
f o r e , t h e r e i s t h e n e c e s s i t y f o r a n o t h e r
2 i n c h e s o f r e d u c t i o n o f t h e h i p s i z e .
W o r k i n g o n t h e p r i n c i p l e s d e s c r i b e d f o r
a l l o c a t i n g t h e d e g r e e o f i n c r e a s e i n t h e
a c r o s s c h e s t w i d t h , w e h a v e t h e f o l l o w i
n g c a l c u l a t i o n s
w o t h i r d s o f t h e d i f f e r e n c e i s
a d d e d t o t h e a c r o s s c h e s t w i d t h f o r a 4
6 i n c h b u s t t o g i v e a n a c r o s s c h e s t w i d t
h o f 1 0 o f i n c h e s p l u s 5 / 8 i n c h , t h e t
o t a l b e i n g 1 1 3 / 8 i n c h e s , a n i n c r e a s e o f
1 3 / 8 i n c h e s o n t h e a c r o s s c h e s t w i d t h
f o r t h e 4 2 i n c h b u s t d r a f t o n w h i c h t h e
h i p s i z e h a s b e e n c o r r e c t e d .
a l f o f t h i
s q u a n t i t y i s r e d u c e d f r o m t h e f r o n t p a n
e l a n d t h e r e m a i n d e r f r o m t h e s i d e s e a m s .
A t t h e s i d e s e a m s t h e r e i s n o w a s u p p r e s
s i o n o f 5 / 8 i n c h , c a l c u l a t e d b y t h e o v e r
l a p o f i n c h b e i n g r e d u c e d b y 7 / 8 i n c h .
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Vintage Sewing Main Page > 1940's > Ladies' Garment Cutting and Making > Chapter IV Search | Subscribe | Support

by F. R. Morris
Chapter IVThe Principles of Waist Suppression

The Correct Location of Waist Suppression

THE governing factor for balance and fit of a garment is the correct allocation and distribution of waist suppression. This factor is of major importance in the cutting of coats, as the influence for good or bad is felt throughout. The extreme variations of comparative size between bust, waist, and hips, and diversity in shape in each of these sections, call for a specialized cutting and modelling knowledge before the natural shape and contour of the human frame can be satisfactorily fitted.
Scientific allowances for waist suppression are of no value unless the fundamental truth is realized that suppression in one location must always have the object of creating a closer fit elsewhere in conjunction, other than to influence the garment only in the location operated upon. To be skilful cutters, we cannot go on mistakenly doing things without endeavouring to reason why defects occur, when according to system they should not do so. On the vital question of correct waist suppression, we must get down to essentials. The principle involved is that a curve is longer than a straight line between two given points; this being so, length must be allowed and provided to enable the garment to follow the natural curves of the figure. Once this fundamental truth is realized, we are progressing in the right direction. From his experience of modelling on a stand, and on a figure direct, the author has found that for the purpose of suppression, the human figure from the bust to the hip level may be divided into four distinct sections; which means that there are four distinct "flats," and four "bends" of the trunk, where the garment may be suppressed to the shape of the figure curves. Suppression is only practicable and permissible on the "bends"; on the "flat" sections it is quite out of the question. For confirmation of these statements, examine the sectional views of the figure in Fig. 17. These sectional views represent the shape of an actual figure, and the measurements denote the positions where the body shape has the "bends" upon which suppression is possible and practicable. Figure 17Sectional Views of the Figure Illustrating Waist Suppression Measuring on the model as Fig. 17 (a), the width of the chest level is approximately 8 inches before the back curves round under the arms to the side. At the waist line, the width is 7 inches, increasing to 9 inches at the hip level, which brings us to Fig. 17 (b) showing a side view of the model.
Now many cutters are misled by the apparent shape of the figure from A to B and C. This shape, they imagine (as the author was inclined to think once), is the shape of the centre back seam, and they endeavour to infuse this curve into their drafts, believing that the centre seam so drawn agrees with the profile view of the figure at A, B and C. The profile view is not the shape of the centre back; it is the profile back "flat," which extends from the blades to the hip. If the centre back had a ridge or "bend" down it like the profile shape, suppression of the centre back seam would be correct, but, in this instance, the profile is the shape of the back at a point towards the side where the figure curves to the underarm section. Therefore, as this back plane is to all intents and purposes flat, a flat piece of material laid over and following the curves of the body would fit perfectly, within the bounds of the plane section. It is obviously incorrect and impracticable to suppress at the centre back seam in an endeavour to obtain the shape of the figure between A, B, and C in Fig. 17 (b), yet there are literally hundreds of scientific cutters who use this practice of shaping the centre seam to conform to the profile shape of the back. In Fig. 17 (b) there is a fiat section under the arms from the breast line to the waist line, in width approximately 8 inches at the top and 5 inches at the waist level. Below the waist line to the hip level, the hip prominence shows an increase of size and angle from the "flat" immediately above. From Fig. 17 (a) it will be noticed that the side hip projects beyond a vertical line from the breast line under the arms from A to B. To the author's mind this indicates that the quantity of hip overlap and increase of size must all be placed at the sides on the underarm seams. Now it is a common point in systems to place the hip increase partly at the sideseams and partly on the panel seams at the back. Examination of Fig. 17 (b) indicates that a vertical line from A to C just touches the hip prominence at the back, so, from this fact, hip overlap at the back is deemed to be incorrect except in the case of over-development of this section. The author finds from modelling experience that the increase of size is all placed at the underarm seam, and the shape of the section immediately above must be reviewed in conjunction. Figure 17Sectional Views of the Figure Illustrating Waist Suppression (continued)
It is apparent from Fig. 17 (b) that there must be suppression to the figure curve at A, B and C, which is the "bend" of the trunk for which the measures are given in the description of Fig. 17 (a). For all practical purposes, and to keep the breast line straight, no suppression can be taken from the underarm seam from D to E. This whole section under the scye from the breast line to the waist line is approximately a "flat" plane, and there is no angle or bend of the body from D to E upon which we can suppress our coat to the figure. Coming to the front section Fig. 17 (c), there is a plane bounded by the centre of the bust prominences at each side, and by the hip points in front. Apart from the provision of bust capacity and contour, the front section presents least difficulty from the cutting standpoint. The dart for waist suppression under the bust runs in a diagonal line from the hip prominence to the bust point. These sectional views of the figure can almost give an indication of the lines the system will follow if the "bends" of the figure are visualized as seam runs.
Effect of Incorrect Suppression

Let us examine the result of endeavouring to fit the figure shape without scientific thought to the location of waist suppression, and its effect on the balance of the garment elsewhere. Figure 18Draft Illustrating Incorrect Waist Suppression Fig. 18 shows a coat cut with an underarm seam only for suppression, with no darts or panels. This draft will never fit, but is extremely informative as to how the fundamental principles behind good cutting are arrived at. There have been 2 inches or more taken out of the sideseams, and the hip overlap is placed at the sides as shown. Take the back separately; it is not necessary to baste the sideseams, and endeavour to mould it to the figure or stand. After a little time, it becomes apparent that, if the back fits into the waist curve, the underarm seam will not come round to the figure shape, and vice versa, if the underarm seam is in position at the side waist, there will be a loose amount of material thrown into the hollow of the waist and diagonal creases from the side waist to the blade and hip prominences.
There must be a reason for this. The pattern in actual size of bust, waist, and hips conforms to the measurements of the figure. So either in the first instance there is insufficient length at the side to allow the underseam to follow the curve of the figure, or, alternatively, if the sideseam is correct there is too much material at the centre back. This is what is actually taking place. We all know and understand that if a hollow seam sews to a straight seam, a flare effect is produced. This is a principle of cutting flare effects well known to the trade generally. When we suppress an underseam in the manner shown in Fig. 18, we do so contrary to the shape of the body at this section as outlined in Fig. 17 (b) from D to E and the hip level. It has been stated that there is no scientific reason why the underarm seam may be suppressed, as this section is a flat plane and suppression can only be taken out on a "bend" of the figure. By suppressing this seam as shown, a flare effect is produced.
Fig. 19
Figure 19The Effect of Extreme Waist Suppression Figure 20Further Illustration of Incorrect Waist Suppression Examine Fig. 19, which shows the back and forepart laid together, with the underarm seams at the hip line in the sewing position. There is a waist suppression of approximately 3 inches to 4 inches, where no suppression except that caused by the overlapping of the seams at the hips is permissible. So it is easily understood that when the seams are sewn together an effect takes place as in Fig. 20. An uncontrollable quantity of length is thrown to the back and front waist, the balance of the chest line being absolutely upset. Yet cutters draft garments in this way time after time, simply because they imagine the shape of the underarm seam is the profile view of the body from A to B in Fig. 17 (a).
Fig. 21
Figure 21Fitting the Figure Contours Fig. 21 shows what actually occurs when we endeavour to fit the back to the figure. Pin the back at the nape of the neck to the blouse or dress and down the centre back to the waist and hip level, following the natural curve of the trunk. Coming round to the underseam, it must be obvious that, when taking the "bend" of the body from A to B in Fig. 17 (b), a straight piece of material will be deflected upwards as indicated. A simple test on any stand or figure will verify this fact. The breast and waist lines are raised from their normal horizontal balance positions as shown in Fig. 21, and an additional reaction of this "bending" of the trunk on the pattern is the consequent displacement of the shoulder end and back scye from the normal locations to pass further back on the shoulder, causing a certain amount of uncontrolled material to appear in the centre of the shoulder. If the section below the waist to the hip is studied, it will be noticed that an identical reaction takes place in the reverse plane, i.e. the balance is deflected in a downward angle as the coat follows the "bending" of the body from B to C in Fig. 17 (b). The chief points to notice are the dislocation of the hip-line balance, an excess quantity of material in the skirt below the hips to the hem line and a deficiency at the sideseam below the hip level.
Fig. 22
Figure 22The Effect at the Sideseam A study of Fig. 22 gives the clue to waist suppression. It is obvious that the coat, to fit closely to the curve of the trunk from centre back to side waist, must have an extra amount of length at the underarm seam, equal to the quantity the underarm seam shows a deficit at the sideseam, which is caused by the straight balance lines taking opposing angles as they pass round the bends of the body. This is the crux of the matter, and the secret of fit. There must be a comparative extra amount of length infused into the underarm seam, to enable the coat to follow the opposing curves of the trunk round to the
sideseam, with consequent adjustments of other sections in their correct positions.
Fig. 23
Figure 23Remodelling the Back Pattern Let us examine our original pattern of the back in a flat plane, with the knowledge acquired from modelling the back to the figure. In Fig. 21 an apparent deficiency is seen at the sideseam, equal to approximately 1 inches. Therefore, from this, the waist line or seam must be lowered inch on the above waist section, and raised inch on the section below the waist as indicated by the dash lines in Fig. 23. A wedge must be let in at the waist line from 1 inches at the underarm seam to practically nothing at the "bends" of the body represented in Fig. 17 (b). The shoulder section on the model indicated how the breast balance line was raised out of position in Fig. 22 to show an excess amount of material in the centre of the shoulder, after the shoulder end had been passed back. To correct the deflection of the breast-line balance, and reduce the length of the underarm seam to the waist, the breast line must be lowered and re-marked from the point where commencement of the deflection becomes apparent. Therefore, in Fig. 23 the breast line is lowered from A to 7, making 7 to 5 equal the original side seam from 1 to 6. Following up this reasoning, owing to the re-marking of the breast line from A to 7, the back-width construction line must be re-squared from this line, to relocate the shoulder end in its correct position, after it has been passed back. There still remains the quantity of excess material at 3 to 4, but, at the moment, in the light of further knowledge, this amount will not be taken into account. In dealing with the section below the waist, the hip balance line has become lowered and distorted, consequently throwing excess material into the skirt, with a deficiency of side skirt at the underarm seam below the hip point.
To reconstruct the hip section, the hip balance line has to be relocated in distance from the waist line; so 9 from 11 is made equal to 6 to 8, and the hip balance line is raised from C to 9, parallel with B to 11. By squaring from C to 12, and C to 13, the amount of excess material in the skirt is located, for when the re-marked hip line becomes a straight line as the natural shape of the figure from the waist to the hips in Fig. 22 deflects the balance lines into their horizontal straightness, the quantity 12 to 13 becomes unnecessary at this point, yet is required to be added (at the sideseam) to make up the deficiency from 14 to 15.
Fig. 24
Figure 24Reconstruction of the Pattern Examine the reconstructed pattern in two sections as shown in Fig. 24 (a) and (b). We can now manipulate the pattern to eliminate the faults shown by the shaded sections. The upper section is split up from B to A, and from where the excess material in the centre of the shoulder terminates at D. This quantity, 3 to 4, is reduced until the reconstructed breast line once more becomes a straight line as shown in Fig. 24 (b) from A to 7. By resquaring down from A to 7 to E, it is apparent that the underarm seam waist suppression has become practically nil, instead of the 1 inch or more on the original draft, whilst at the "bend" of the back from D, A, to B, a large quantity has been suppressed, bearing out the author's contention that suppression is only correct at the "bends" of the body, and not on the flat sections at the back, nor under the arms. To adjust the balance of the skirt section to horizontal hip and waist construction lines, the excessive material in the skirt from 12 to 13 must be reduced by splitting up the pattern from B to C, and overlapping 12 to 13. This quantity has been added at 14 to 15, so the skirt width is as originally drafted, but instead of the excessive round over the hip of the seam at 9, we have a very gradual run of seam that fits perfectly, while at the "bends" of the back from B to C, there is a suppression equal to the amount shown at B on the above-waist section. It must now be conceded that suppression is scientifically incorrect at the underarm section; the only true position for suppressing to the figure is
at the "bends" of the trunk on the back panel seam. Also exaggerated hip runs are out of keeping with the shape of the body from the waist to the hip; there is an increase of prominence beyond the vertical line from under the arm, yet by no stretch of imagination is there such a "round" to need some of the seam runs the author has observed drafted for covering. The underarm seam must always remain in its drafted position and equal in length to the other sections. Equal length is stated, but as it has been proved that extra length is needed, this may be a trifle confusing. What is really meant is that a comparative increase of material is created by an operation elsewhere, to provide length for enabling the curving round of the body to be covered without distortion. Comparatively more length of the underarm seam is required to allow the back section to come to the figure, and, as the coat passes round the opposing inclines of the body, our created extra length is taken up in fitting the underarm section shape. Many systems indent at the centre back seam at A and B in Fig. 17 (b), an endeavour being made, when the seam is sewn out, to create extra length in the underarm seam at D to E. Cutters following this practice do not take into account the extra length thrown up at A, and the disturbance of the breast line to an angle, instead of being a straight line.
Suppression at the Front Waist

At the front of the figure, waist suppression takes a subsidiary place in proportion to the greater problems of bust contour capacity and the location of the neck point. There is need for suppression under the bust, to create length at the sideseam, in harmony with the back; but this need is not so great, as there is nothing approaching the hollow curve of the back, in the shape of the front waist. From practical experience of measuring many women, the author finds that the back waist width is generally about 2 inches smaller than the front width, measured from a point central on the waist line under the arms. Therefore, the front-waist suppression is of insignificant importance in comparison with the back-waist requirements.
With the average figure we have under review, the hip prominence lies practically beneath a vertical line down from the waist point, and the waist may be suppressed to the extent of inch to clear the material between the two prominences, and create a certain amount of extra length at the underarm seam in the waist hollow. In the case of extreme development of the bust, apart from the size of waist and hips, a vertical line taken from the bust point will show the front waist and hip points to have receded; therefore, the material under the bust needs reducing before a close-fitting front is achieved. This point is fully dealt with by the basis diagram and system for Development of Bust Prominence from Normal (see Fig. 12). The question of waist suppression having been scientifically decided, it may be said that all coats are not panelled, and what then? Quite right! but in the author's opinion, waist suppression and fit are of more importance than the question of seam placement. We must have suppression, if we require a good-fitting coat, and it is the height of impracticability to ignore the factor of suppression if we cannot apply it to the design as a panel seam. Design must be fitted to the system, and not the system to the design. It has been said by some cutters, "The design does not permit waist suppression, so we must do without." What a great lack of scientific thought! They are deliberately sacrificing the fit of their garments, and knowingly doing so. We cannot say that the design does not permit suppression, that the design is too intricate. There obviously must be waist suppression if the coat is to be closefitting. Design is subsidiary to fit, and suppression is as necessary when there are two seams in a panel back as in the case of an intricate design of ten or so pieces. Admittedly, as the design becomes more cut about, the suppression presents more difficulties, but that, in itself, is not a good enough reason for shirking the issue altogether. In the opinion of the author, if he dared to do so, the ghosts of those missing suppressions would haunt him for a long time! When we are given a design for a close-fitting coat, suppression is essential, so one must become a "manipulative" cutter, operating on the
pattern draft to gain the effect from the knowledge obtained from modelling experience. One might drape a model to fit perfectly on a stand or the human figure, and mark thereon an intricate design, the design being transposed afterwards to a flat plane by being traced off on to pattern paper. One would then have the sure knowledge that no matter what the design, suppression would be taken out, to create the needed extra length at the sidearms for covering the figure contours correctly. It is necessary to transmit this knowledge to a flat plane when drafting a pattern, and if we bear in mind always the need for creation of length at the side-seam by back-waist suppression, we will begin to achieve the perfection for which we all strive. This factor is of major importance. It is a sorry point that many of our scientific cutters argue for hours on neck points and balance, yet have the foggiest ideas or methods for defining the waist, preferring to adjust matters at the "try-on." In the author's opinion, every garment should leave the cutter's hands and shears in a "cut to finish" state, as though a "try-on" was an impossibility. It is the knowledge that accidents can be rectified later, at the fitting, which lowers the standard of cutting. If every cutter had to cut his job for a "finish," a much-needed overhauling of systems would follow, and a consequent raising of the standard of cutting.
Fitting the Figure Contours

These days, women are very particular about the fitting qualities of their garments, particularly in the waist section. The present trend of fashion and design calls for a high standard of cutting ability, for garments either have to fit perfectly or else faults are glaringly exaggerated, for the notion of a good fit in the minds of women these days is extreme to the point of faddiness. They do not appreciate a surplus amount of material in the back waist, or a little "round" for ease over the hips. Too often complaints are made that their coats wing away from the front as they walk, yet having ample material over the hip size, or else the coat will not go into the waist at the sides, or if pulled into position sets up a flared-skirt effect at the back and diagonal creases from the side waist to the blades and front of the armhole. These two instances are caused by incorrect allocation of the waistsuppression factor with resultant lack of length at the side waist to enable
the other sections of the bodythe prominences of bust, blade and hipsto take up material for covering without causing stress or strain from the side waist. It is that little amount of created length at the sideseams which enables a well-cut coat to fit the curves of the figure naturally and evenly without distortion and, even if the garment is worn open, still retain the original shape. On the wearer, as each section of the coat becomes adjusted to the body, the balance of the garment is adapted to the needs of the figure and there is actually no more length at one section than another, though each has sufficient length for the purpose of following the curve of the body. Coming back to the statement that all coats are not panelled and so suppressions based upon this style do not always apply when cutting other styles, a panel coat is the criterion of fit; the waist suppressions are in their logically correct positions, and are fixed and unalterable. The systems described are based on the panel-coat system as being correct; therefore, we must adapt all seam placement variations to this basis of suppression. It has been stated that indenting the centre seam for waist suppression is unscientific to the degree that prevails in practice, and not in accordance with the shape of the figure at this section. Another point is the question of hip overlap. This factor has been definitely located as a surplus on the draft at the underarm seam only. If an underarm seam is not required, however, is it logic to move this surplus side quantity towards the back approximately 4 inches? This is the general practice, but there is only one definite position for this quantity, and to endeavour to transpose this factor elsewhere is to cause complications as shown by Fig. 16 (a). This change of location results in a shortness from the side hip to the bust and blade prominences, and it is directly the cause of many ill-fitting garments. It is quite obvious that a loss of 1 inches over the most prominent part of the hip at the side will be reflected in the fit elsewhere. We might as well allow for increased contour capacity for the bust by an addition at the sideseam only. The author thinks that all ladies' coats should be cut with an underarm sideseam, but if there is reason to change this ruling, let us at least be logical and adhere to the basic principles of construction, which explains why the forepart of a block-fronted coat is opened to allow for the hip overlap at the side as in the basis draft for panel coats.
Cutters are chary of darts as a means of improving fitting quality. But we have only to see the extensive use French designers make of darts to achieve their effect to realize that in the attainment of a good-fitting garment darts are as essential as panel seams, in as much as if we cannot have one, we must have the other for obtaining style and closely-moulded line. Those elusive qualities, style and line, which are recognizable in a garment, making it alive and part of the living form in wear, are characteristics that all cutters may infuse into their productions if a study of the human-figure construction is made. To be a good cutter, one must be also something of an artist with a working knowledge of form in order to visualize the line he is imparting to his pattern in its relationship to the body. A famous English designer once remarked, "I do not care whether a dress or coat looks anything or not on a hanger or stand, but it must become alive and move with the movement of the body when worn." That is the secret of style and linethe harmonious blending of seams with the actual shape of the figure. There should not be any excuse for unharmonious line if we keep the form and proportions of the wearer in mind when drafting out the pattern. We endeavour to impart an illusion of curves and shapeliness to the too slender by curving seamings instead of angles or vertical lines; in like manner we try to give the appearance of slenderness to possessors of unwieldy proportions by accentuating height with vertical seams and cutting across width with sharp angles of design. A high-closing neck line or narrow lapels are attributes of slimness in relation to the well-built person, and similarly the slender woman may wear square-cut revers and shoulders with assurance and confidence that her appearance is considerably enhanced by the breaking up of a too elongated silhouette. Design in dress is akin to design in architecture and interior decoration. At the moment, the general influence is for purity of line over "fussiness of detail," which means that, with less detail and trimming to distract the attention, the actual fitting qualities of the garment will be in the limelight. To compensate for the simplicity of the design, perfect fitting is necessary so that the garment is moulded to the form and takes to itself a character that is individual and one with the wearer. In the days of loosely-fitting garments, design had to take the place of line and good fit, the opportunities for imparting individuality were limited and cutting was not so difficult from the cutter's standpoint.
The straight up-and-down knee-length coats and dresses worn in the middle 'twenties relied entirely upon intricate and fussy design to achieve an effect, so the requisite cutting skill necessary was directed to the interpretation of design instead of the achievement of a close fit. Loosefitting styles of to-day are not easy to cut, and to imagine that their straight character simplifies cutting problems is quite erroneous; the lack of fit has to be nullified by an attainment of "swing" or "swagger" in the cut and hang of the back from the shoulders.
Analysis of Waist Suppression

Figure 25Analysis of Waist Suppression Principles Fig. 25 illustrates very clearly the adverse effects of reducing waist suppression from the sideseams only in preference to the correct locations at side back and front. Point X is the back neck as usual, and the sideseams are indicated in firm lines with the standard quantity of waist suppression indicated from 1 to 2; 1 from 2 equals inch. Point 3 is the bust prominence and point 4 the front neck point. Now as the quantity of waist suppression taken out, as points 1 to 2, is correct for the figure, a certain length must be registered from the sideseam at 2 to the bust prominence at 3 and continued to 4. Similarly, at the back, the length from 1 to X over the blade prominence is the correct length required to cover the contour shape of the back from the nape of the neck to the side waist. If the sideseams are suppressed more than the standard quantity, as 6 to 5, 1 inch each side from the centre line, the length from 5 to 3 and 4 will therefore be less than from 2 to 3 and 4. At the back, the distance from 6 to X over the blades from the side waist will be less than 1 to 2. As a result of this reduction in length from the waist to the back and front neck points, when the garment is placed on the figure, this shortage will cause diagonal creases from the side waist to the blades and bust prominence as there will not be sufficient length to enable the side waist to assume its correct position on the figure. As the waist cannot lie smoothly in the side hollow, there will be an excess of size over the hips and loose
material in the back waist hollow drawn up by the shortness of length from the bust prominence to the side waist. This is the effect of attempting to take an excessive quantity of material from the sideseams in an endeavour to obtain a fitting garment. On the other hand, study the effects of taking the waist suppression from the garment in the correct positions. 7 from 8 indicates a similar quantity to 2 to 5, being reduced only under the bust prominence at the front panel seam; 9 from 10 indicates a quantity of 1 inches taken from the back panel seam, a quantity incidentally in excess of the suppression indicated from 1 to 6. Now it must be obvious that whatever quantity is reduced from 9 to 10, the length over the blade prominence from the back neck to the side-seam at 1 remains unchanged, so that this length ensures a correct balance of the sections, while the fitting quality is achieved by suppression in the correct location at the side back panel. A very hollow-waisted figure still requires as much length over the blade prominence from the side to the centre back neck as a figure of more stolid build. By retaining this length correctly, we are able to suppress the garment to the figure at the back panels and obtain a perfectly balanced and fitting shape. At the fronts, the side length from the waist over the bust prominence to the neck point remains of constant dimension no matter what quantity is reduced from the front waist in the panel seam or by darts. By this length, the waist goes to the figure at the side, the garment over the hips wraps closely to enable the front wrap-over to hang without winging away, and fitting quality is achieved without the expense of a disturbed balance. It is only possible to suppress a larger quantity at the sideseams than indicated when the material is cut on the bias, and then the natural pliability of the bias is intended to assume the shape of the figure.
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by F. R. Morris
Chapter VSleeve Cutting

Basic System for Sleeves

THE basis for drafting sleeve styles is divided into two sections, firstly the two-piece type with seams at the fore and hindarm, and secondly the one-piece variety having a seam underneath the sleeve to run with the sideseam of the coat or alternatively a seam at the forearm; in either instance there is no hind-arm seam.
For strictly tailored styles of costume jackets or long coats, the usual rule is to utilize the two-piece basis for the shapely run of seams, and slim line is more in keeping with the general restrained and neat effect of the ensemble. The one-piece basis will be found advantageous for adaptation to present-day sportswear and dressy styles, with their unorthodox pleated or darted sleeve effects. In a hindarm in one piece without a seam the plain character of the sleeve permits of easier manipulation and variation of shape than the more definite lines of the two-piece basis. No decided seam runs are definite for either sleeve, while manipulation of the pattern by cutting open or transposing seams to meet the needs of the sleeve design is necessary to gain the requisite effect. For example, a "cartridge-pleated" sleeve has no definite fixed size or shape, but depends upon the number of pleats or amount of material taken up in the pleating for the alteration in shape from the original one-piece draft; a sleeve with fullness above the elbow may be based upon a two-piece draft with the seam at the hindarm above the elbow eliminated, and the whole upper-arm section cut in one piece, whilst the forearm is in two pieces for the attainment of a shaped cuff. Manipulation of the basis pattern by splitting open and opening out for darted and pleated effects is essential in the cutting of modern sleeves; we cannot expect a system to adapt itself to all the varied and intricate designs that are in vogue without departing from the orthodox principles governing the original draft. Modern sleeves cannot be cut by a systematic draft basis; the effect is more of drapery than cutting, so knowledge of where to manipulate a pattern to obtain a pouched or pleated effect is of more importance than attempting to achieve the same result by a straightforward draft system. The ability to visualize a design in its component parts before being sewn together, where length or width has been added to arrive at the finished effect, can be attained by experimenting with muslin, for there are set principles governing this manipulation which become familiar with a little experience. Elsewhere in the book an endeavour will be made to indicate the general methods adopted by the author for the production of pouched and draped sleeve effects. In deciding the dimensions and constructional points necessary for the basis sleeve draft, there are two factors to consider
(1) The height, width and total circumference of the scye or armhole into which the sleeve must sew. (2) The balance or "hang" of the sleeve in the scye, in accordance with the figure attitude, to give a maximum of freedom of movement in wear. The balance or "hang" of the sleeve varies with different figure attitudes inasmuch as a stooping figure requires adjustment of the sleeve to a more forward "hang," while for erect figures, a rebalancing of the sleeve backwards will be needed. Sleeves for special purposes also need adjustment of constructional points, for a garment used for golfing, motoring or riding exclusively to any other consideration will require a sleeve in accordance with the position of the arms for the majority of the time. The sleeve in the scye must be so balanced that a good "hang" is obtained when the arm is in the natural position at the side and also to give essential freedom in movement to the greatest extent and radius. Therefore, a point on the back scye and a point at the front scye, called the back and front pitches, decide the balance of the sleeve in the scye. With a normal sleeve raising or lowering of each of these pitches will result in a forward or backward hanging sleeve. The back pitch is decided by the position of the hindarm seam in two-piece sleeves, for a wider top-sleeve would need a lower pitch and vice versa. The front pitch decides the "hang" of the sleeve in the scye, for the sleeve hinges at this point, and sewing round to the back pitch locates this point on the basis of width across the sleeve head. After the location of the pitches the next factor to consider is the height of the sleeve in the scye above the back pitch, to cover the shoulder cap and meet the shoulder seam. This height is decided by the position of the shoulder end (from the back pitch and the breast line level) when the shoulder seams are sewn together. The width of the sleeve from the front seam to the back one is decided by the actual measure between the front and back pitches round the circumference of the scye. This measure is applied diagonally on the sleeve draft from the front pitch to the back one, thereby giving a workable allowance for the easing-in of the sleeve over the shoulder cap.
Measurement of the actual scye circumference is the only practical method of assessing sleeve width in direct relationship with the needs of the scye. A sleeve system based upon the working scale does not provide automatic adjustment for variation in size or shape of the scye. Often we find the needs of a figure in armhole size are in direct contrast to the build; the big woman often does not require a scye much in excess of that applicable to a woman 4 inches or so smaller in the bust girth. By basing the sleeve system on actual scye measurements, we are sure of a sleeve that is equal to all the demands of the particular armhole irrespective of bust size.
Two-piece Sleeve Basis Draft (Fig. 26)

Figure 26Basic System for Two-piece Sleeve Cutting Fig. 26 shows the main constructional points superimposed upon the 34-inch bust basis draft. The front pitch A is located at inch up from the breast line. This is the fixed position for determining the forward "hang" of the sleeve in the scye. The back pitch B is found at half the depth of scye quantity X to 1, up from the breast line. As the sleeve hinges from these two pitches, the height of the sleeve in the scye is determined by the sewn-together position of the shoulder seams. This quantity is called the "crown height," and is found as follows. Make a sweep from a point C1, a seam below the front shoulder end, pivoting from the front pitch A. A similar sweep made from C2, a seam below the back shoulder end, is pivoted from the back pitch B, intersecting the front sweep at D. The height of the point where the two sweeps intersect at D from the line squared across from B to X equals the crown height in accordance with the requirements of the scye when the shoulders are in position on the figure. The back is laid in position for showing how the measurement between the back and front pitches is applied to determine the width of the sleeve diagonally from A to B.
The sleeve is shown drafted in to the scye direct as an indication of how the measures derived from the scye are applied. To draft

1 from A = inch, or two seams. Square up from 1 to X, and from B to X. X from the breast line is therefore the same distance as point B. 2 from 1 = the distance round the top-scye from A to B, the measure between the back and front pitches = 8 inches. 3 from 2 = one-third of the distance 1 to B plus inch. 4 from 3 = the crown height as previously found = 1 inches.
Point 3 is located at one-third of 1 to B, plus inch, because the highest point of the scye is at the junction of the shoulder seams which is approximately one-third of the scye circumference between the back and front pitches.
5 is midway X to 3. Shape the sleeve crown run from 1 to 5, 4 and 2. 6 from 2 = the sleeve length less the half-back width applied from 2. 7 from 6 = 1 inches square out from this point. 8 from 7 = inch. Join 8 to 1.
This point controls the forward "hang" of the sleeve in conjunction with the front pitch location. It is safer in practice to cut the sleeve to hang forward than to rely on the tailor to pitch it always correctly.
9 from 8 for the standard width of the cuffs = one-third of the total scye circumference less inch.
By basing the cuff width on the size of the armhole, we always have this width in proportion to the sleeve.
Join 9 to 6 to find point 10. 11 is equal to half 1 to 10 for the position of the elbow. Square out from 11 to 12, 13 and 14. 12 from 11 = 1 inches. Join the forearm construction lines from 1 to 12 and 10. 13 is found on the line squared out from 11. 14 from 13 = 1 inches. Join 2 to 14 and 9 for the hindarm constructional lines.
15 from 1 squared by line 1 to 8 = one-sixth of the scale. 16 from 1 diagonally = the distance round the under-scye between the pitches A to B = 7 inches. Shape the run of the under-sleeve from 1, 15 to 16. Complete the hindarm seam run from 16 to 14 as shown.
The basis draft for two-piece sleeves is completed. Variations of seam placements do not affect the general principles described herein.
Separate Draft of the Two-piece Sleeve Basis System (Fig. 27 (a))

Figure 27Two-piece Sleeve Basis Drafted Away from the Scye To produce the sleeve draft away from the scye, the following quantities derived from the measurement of the scye are necessary (1) The height of the back pitch from the breast line, 3 inches. (2) The height of the sleeve crown above the back pitch, 1 inches. (3) The width of the top sleeve measured between the two pitches in a straight line, 8 inches. (4) The width of the under-sleeve measured between the pitches round the under-scye, 7 inches. (5) The total scye circumference, 16 inches. To draft

Square from X, the starting point. 1 from X = the height of the back pitch from the breast line less inch. 2 from 1 = the top-sleeve width, measured between the pitches and applied diagonally from 1 to the line squared from X.
3 from 2 = one-third of the distance from 1 to 2 plus inch. 4 from 3 = the crown height as found in the basis draft = 1 inches. 5 is located midway 3 to X. 6 from 2 = the sleeve length measure applied diagonally from 2, less the width of the back. 7 from 6 = 1 inches. Square up and down from this point. 8 from 7 = inch always. Join 8 to 1. 9 from 8 = one-third of the total scye circumference less inch. Join 9 to 6 to locate 10. 11 is midway 1 to 10 for the position of the elbow. By line 1 to 8 square from this point. 12 from 11 = 1 inches. Join 2 to 9 to locate point 13. 14 from 13 = 1 inches. Join 12 to 14 and 10.
This completes the location of the basic constructional points for drafting the sleeve away from the scye.
Fig. 27 (b)
Here the seam runs are shown superimposed upon the constructional lines and points.
Shape the crown of the sleeve from 1 to 5, 4 and 2 as indicated.
The forearm is slightly hollowed as marked from 1, 12 to 10, and a slight amount of round is added on the hindarm seam from 2 to 14 and 9.
Fig. 27 (c)
To draft the under-sleeve section, measure up the under-scye between the back and front pitches, A to B in Fig. 26.

15 squared from 1 by line 1 to 8 = one-sixth of the working scale. 16 from 1 diagonally = the measure round the under-scye applied direct. Shape from 1, 15 to 16, and from 16 to 14 to complete the under-sleeve draft.
The above system will provide a good "hanging" sleeve for the majority of figures, without an excessive amount of fullness to ease-in over the shoulder point, as this section of the sleeve is kept fairly flat from the front of the scye up to the crown.
Basic Draft for One-piece Sleeves (Fig. 28)

The standard basic draft for cutting one-piece sleeves is illustrated by Fig. 28. Identical measures are taken as for the two-piece styles, with two additional measures, namely, the distance from the front pitch to the underarm seam and the distance from the back sleeve pitch to the same point. The following are the scye measures (1) The height of the back sleeve pitch from the breast line, 3 inches. (2) The crown height above the back pitch, 1 inches. (3) The width of the top-sleeve measured between the pitches in a straight line, 8 inches. (4) The width of the under-sleeve measured between the pitches round the under-scye, 7 inches. (5) The total scye circumference, 16 inches. (6) The distance from the front sleeve pitch to the underarm seam, 2 inches. (7) The distance from the back sleeve pitch to the underarm seam, 5 inches. To draft
The one-piece sleeve basis is shown drafted in the scye to illustrate clearly the constructional method. A is the front sleeve pitch, inch above the breast line. Commence the sleeve draft from point 1, inch in advance of point A.

Square up from 1 to X equal to the height of the back sleeve pitch above the breast line less inch. Square across from X to B, and then apply the top-scye width measure from 1 diagonally to 2 on the line from X to B. 3 from 2 = one-third of 1 to 2 plus inch. Square up from 3 to 4, the crown height, 1 inches. 5 is midway X to 3. Shape the sleeve head from 1 through 5 to 4 and 2. 6 from X = the height of the back sleeve pitch above the breast line. Square out from 6 towards the centre of the sleeve. Square down from 3 to 7 the full sleeve length applied from 2 less the half-back width; square each way from 7. 8 from 7 = inch. 9 and 10 from 8 = the cuff width, one-third of the total scye circumference less inch. 11 from 9 = inch. 12 from 10 = inch. Shape from 11 through 8 to 12. Apply the front under-scye measure from point 1 to 13 on the line squared out from 6. Join 11 to 1. By the line joining 11 to 1, square across from 13 to 14, making 14 from 1 equal to 1 to 13. 15 from 11 = one-third of 11 to 12 for the position of the sleeve seam. By the line from 1 to 11, square across from 15 to 16, making 16 from 9 equal to 9 to 15.
Measure round the back scye from the back sleeve pitch to the underarm seam and apply this quantity from point 2 to 17 plus inch.
Join 17 to 15. Square down from 2 to 18, level with point 12. 19 from 18 = 18 to 12. By the line joining 2 to 18, square across from the inside sleeve seam at 15 to 20, making 20 from line 18 to 2 equal to 15 from the same line. By line 2 to 18, square from 17 to 21 and 22. 23 from 18 = 8 inches. Shape out the wrist dart from 12 and 19 to 23. Shape the under-sleeve from 2 to 22 and from 22 to 20. Shape from 20 to 19 and complete the sleeve draft.
Outline of the One-piece Sleeve (Fig. 29)

Fig. 29 illustrates the outline of the completed one-piece sleeve draft. Instead of squaring across from the lines joining 1 and 11 and 2 and 18 on the basis draft in order to locate the lines joining 14 to 16 and 22 to 20, another method is to fold over the pattern paper in the former lines and then trace through the inside sleeve seams 17 to 15 and 13 to 15. The outline will then be the same as though these lines were drafted across. This method is perhaps more accurate than by squaring, but it all depends on the individual accuracy of each worker; in any case, it is a simple method for producing the under-sleeve sections, back and front.
One-piece Sleeve without a Wrist Dart (Fig. 30)
To draft a one-piece sleeve without a wrist dart, proceed as follows The scye measurements necessary for this sleeve variation are identical with those of the basis draft. To draft Square from X.

1 from X = the height of the back sleeve pitch from the breast line. 2 from 1 = inch. 3 from 2 diagonally = the top-scye width measured from the front of the back pitch in a straight line. 4 from 3 = one-third of the top-scye width plus inch. 5 from 4 = the crown height = 1 inches. 6 is midway X to 4. Shape the sleeve head from 2 to 6, 5 and 3. Square down from 4 to 7 the full sleeve length less the half-back width applied from 3. Square each way from 7. 8 from 7 = inch for the forward "hang" of the sleeve. 9 and 10 from 8 = the cuff width = one-third of the scye circumference less inch. 11 from 9 = inch. 12 from 10 = inch. Shape from 12 to 11. Join 2 to 11 and 3 to 12. 13 from 2 on the line squared out from 1 = the distance round the under-scye from the front sleeve pitch to the underarm seam. By the line joining 2 to 11, square across from 13 to 14, making 14 from 1 equal to 13 from 1.
15 from 11 for the position of the underarm sleeve seam = one-third of the distance from 11 to 12. By the line joining 2 to 9, square across from 15 to 16, making 16 from 11 equal to 15 to 11. Shape from 14 to 2 and 14 to 16.
Measure round the back-scye from the sleeve pitch to the underarm seam and apply this quantity plus inch direct from 3 to 17.
Join 17 to 15. By the line joining 3 to 12, square across from 15 to 18, making 18 from the line equal to 15 from 10. By the line joining 3 to 12, square across from 17 to 19 and 20. 20 from 19 = 19 to 17. Shape the under-sleeve run from 3 to 20 and from 18 to 20. Shape from 12 to 18 to complete the sleeve draft.
If a narrower sleeve is required, the inside sleeve seams may be hollowed inch from the straight at the elbow width.
Manipulation of the Draft to Produce a Wider Sleeve at the Elbow (Fig. 31)
Fig. 31 illustrates the adaptability of the sleeve draft for producing a wider sleeve at the elbow, with a narrow cuff width and the sleeve perfectly balanced when sewn together. Measurements for the draft are as for the previous examples. To draft Square lines from X.
1 from X = the height of the back sleeve pitch from the breast line. 2 from 1 = inch. 3 from 2 = the top-scye width applied diagonally. 4 from 3 = one-third of the top-scye width plus inch. 5 from 4 = 1 inches. 6 is midway X to 4. Shape the sleeve head from 2 to 6, 5 and 3. Square down from 4 to 7 the full sleeve length less the half-back width applied from 3. Square each way from 7. 8 from 7 = inch. Join 4 to 8. 9 and 10 from 8 = the cuff width = one-third of the scye circumference less inch. 11 from 9 = inch. 12 from 10 = inch.
Measure round the under-scye from the front sleeve pitch to the sideseam and then apply this quantity from the sleeve pitch 2 to 13 on the line from 1.
Then by line 2 to 11, square across from 13 to 14, making 14 from 2 equal to 13 from 2. 15 is one-third of the distance from 12 to 11 from 11. By the line joining 2 to 11, square from 15 to 16, making 16 from 11 equal to 11 to 15. Estimate the elbow width required and then square out from 10 to 18, the required increase of width. 18 from 10 = 6 inches. Join 3 to 18.
In order that the inside sleeve seam will agree with the position of the seam at 17 to 15, the reconstructed
inside seam must be squared by line 3 to 18 so that it turns back to lie with the original line of the seam. Therefore, square from 12 to 19 by line 3 to 18, making the distance from 18 to 19 equal to 18 to 12.
20 from 18 = 8 inches. Shape from 12 to 20 and 19 to 20. Square from line 3 to 18 to 17 and locate point 21 and then square from 21 to 22, making 22 from 21 equal to 21 to 17. Square from line 3 to 18 to 15 to locate point 23 and then square back from 23 to 24, making the distance from 23 to 24 equal to the distance from 23 to 15. Shape from 19 to 24 and from 24 to 22. Shape from 3 to 22 for the under-sleeve to complete the sleeve draft.
The constructional variations for all increases of width in the sleeve at the elbow and wrist are similar to those in the above description; in all instances, it is possible to produce the sleeve outline by tracing through the inside seams on to the folded pattern paper and then re-laying out to obtain an identical outline as that achieved by drafting direct. This drafting method is the only practical system which furnishes us with a sleeve pattern in which the inside sleeve seams will be in alignment for sewing together. Very often, one-piece sleeve systems give a wellbalanced sleeve without a wrist dart or with moderate elbow width, but are useless for obtaining a sleeve with abnormal elbow or wrist width, for the seams may not lie perfectly together for sewing and may need adjustment in length of either seam.
The one-piece sleeve is very useful for drafting intricate sleeve designs, as the retention of only one seam allows for more latitude for designing on the base pattern outline.
Seam Displacement in a Two-piece Sleeve (Fig. 32)

Displacement of seam runs is a feature of ladies' sleeves, and Fig. 32 (a) shows a useful sleeve draft in which the forearm seam is placed further under the arm and the hindarm seam is treated in a like manner. The back pitch is lowered on the coat 1 inches or more to taste to agree with the lowering of the seam on the sleeve. This type of sleeve will be found useful for inserting in sidebody coats where the sidebody seam finishes in the scye approximately 2 inches or more up from the breast line; whereas the basis draft is in harmony with the seam runs of a patrol or similar panel-back coat when the back seams finish at the normal back pitch location. To draft Square from X.

1 from X = the height of the back pitch from the breast line less inch. 2 from 1 = the distance round the top-scye between pitches A and B in Fig. 26 = 8 inches. 3 is one-third of the distance 1 to 2 plus inch.
4 from 3 = the crown height = 1 inches. 5 is midway 3 to X. Complete the shape of the sleeve crown from 1, 5, 4 to 2. 6 from 2 = the sleeve length applied diagonally from 2 less the half-back width. 7 from 6 = 1 inches. 8 from 7 = inch; join to point 1. 9 from 8 = one-third of the total scye circumference less inch. Join 9 to 6 to locate point 10. 11 is midway 1 to 9 for the position of the elbow. 12 from 11 = 1 inches. By line 1 to 8 square out from this point. Join 2 to 10 to locate point 13. 14 from 13 = 2 inches; inch more than the basis draft is added to move the seam at the elbow further back in alignment with the variation of the sleeve head by lowering the back pitch. 15 from 14 = inch, to keep the sleeve width at the elbow correct to measure. 16 from 2 = the amount the back pitch has been lowered from B in Fig. 26. Shape from 16, 14 to 10 for the hindarm seam run of the sleeve. 17 from 1 = one-sixth of the scale squared out from line 1 to 6. 18 from 1 = the distance round the underscye between the pitches = 7 inches less the quantity the back pitch is lowered. Sweep from 14 and 16 to locate 18 definitely. Shape the top of the under-sleeve and hindarm seam as indicated.
For the displacement of the forearm seam further under the
arm, called "three-quartersleeve finish or false forearm," reduce the under-sleeve inch at 1 to 19, 21 from 12 and 23 from 9 and re-mark the seam run.
Add inch to the top-sleeve from 1 to 20, 12 to 22 and 9 to 24 and then reshape the seam run. The new forearm seam will require stretching in the hollow of the elbow at 22, to enable the seam to lie flat against the underseam from 6, 21 to 19, and make up the slight difference in length between these two seams.
Fig. 32 (b) shows a useful one-piece sleeve draft with a variation of the underseam to the forearm position. In all respects, this sleeve has the shapely run of the two-piece basis with the additional advantage in construction of being all in one piece above the elbow without a hindarm seam. A three-quarter finish to the forearm is shown. Square from X.

1 from X = the back pitch height less inch. 2 from 1 = the distance round the topscye between the pitches = 8 inches. 3 from 2 = one-third of 1 to 2 plus inch. 4 from 3 = the crown height. 5 is midway 3 to X. Shape the sleeve crown from 1, 5, 4 to 2.
6 from 2 = the sleeve length applied as described previously. 7 from 6 = 1 inches. Square out from this point. 8 from 7 = inch. Join 9 to 1. 9 from 8 = 1 inches. 10 is midway 1 to 9 for the location of the elbow position. 11 squared up from 10 = 1 inches. B from 1 = the distance round the under-scye between the pitches = 7 inches. 12 from 2 = half the distance B to 2. Square down to point 13. 14 is squared from 10 and 11. 15 from 8 for the width of cuff = onethird of the total scye circumference less inch. 16 from 1 = one-sixth of the scale. Shape the top of the under sleeve from 1 to 16 and 12. Add inch to the forearm seam at 18, 20 and 22 from 1, 11 and 9. Reduce the under-sleeve inch from 1, 11 and 9 to 17, 19 and 21, point 21 coinciding with point 6. Shape the the forearm seam runs of the top- and under-sleeve as shown.
Increase or decrease of elbow width is obtained by moving point 13 up or down on the line squared from 7.
Fig. 32 (c) illustrates the sleeve as it appears when laid open. This draft is very useful for the cutting of pouched or pleated sleeves, when the design necessitates a hindarm without
a seam in addition to a close degree of shape from the elbow to the wrist.
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Vintage Sewing Main Page | 1940's | Ladies' Garment Cutting and Making | Chapter VI Search | Subscribe | Support

by F. R. Morris
Chapter VIThe Construction of Patterns for "Classical" Short Jackets

THERE are standard designs of tailored costumes that do not vary, year in and year out, excepting for seasonal changes in length of coat or skirt or width at the hem line. These costumes have earned the title of "classical" in the trade, due no doubt to the unending popularity of these styles over the more "effervescent" modes that live and die in one season. We have a similar parallel in music, the tunes that live for a moment and the "classical" melodies for which there are always adherents. Women are attracted by the volatile in fashion, yet the "well-dressed" appeal of a costume is an unfailing antidote to the more "dressy" styles if they are unsuited to the wearer. Tailored garments always have a warm place in the hearts of English women, for their type is suited to the trim, refined appearance of a well-cut suit as no other women in the world. A well-known woman explorer and globe-trotter once wrote: "Into a room full of beautiful women clothed in gorgeous gowns, nonchalantly strolled an Englishwoman clad in a tailored suit bearing the unmistakable imprint of Bond Street cut and 'line.' Amid a murmur of approval she was acclaimed as the best-dressed woman in the room." Yet it could only be a comparison of types. The Englishwoman looks her best in clothes of conservative design, where, in similar circumstances, women of any other nationality would look quite inconspicuous. At any time of the year and especially in the Spring, a tailored suit is the essence of chic, made in a way only possible by English tailors and tailoresses. The standard designs are few in number yet of undiminishing popularity in vogue. In a world of constantly changing fashion we do know the coming style in tailored suits will be very little different from that of the past. Panelled jackets with either single- or double-breasted fronts are perhaps most in demand; the slimming effect of this design ensures its continued success. Next, we have the sidebody jacket sometimes with a centre seam at the back or, alternatively, a back cut on the fold of the material. A link-button front often accompanies this style, cut away sharply or straight-fronted, thus emulating a man's dinner jacket. Jeatted pockets, slanting or straight, may terminate a seam from the shoulder or a waist dart
under the bust. A "lounge" style cut on masculine lines is adaptable to sportswear and severely tailored designs with the accompaniment of suitable restraint in the accessories worn. Each season sees variation in the "run" of seams and the length of the jacketvery infinitesimal variation perhaps, but the reader of the most informative of fashion periodicals keeps au fait with the changes. Panel seams may break off from their destination at the shoulder and be diverted into the back of the armhole for a square-shoulder effect, or, to gain an impression of smoothness over the shoulders and achieve a sloping-shoulder effect, the "drop-shoulder" line may be utilized. Points of design to break up the straight line of a seam or as an aid to a slim effect do not change the generally static design of costume jackets, so that in applying the system to the drafting of tailored styles we need only attend to the interpretation of designs always in vogue. When interpreting the following designs, the system will be based upon varying measures and figures to illustrate more clearly, if necessary, the working in practice. A degree of ease in fit will be in accordance with the requirements of the majority of women; it would be futile to base systems on the exaggeratedly close fit that a minority of women desire. The "plastered" look may suit a woman of very good figure, but, on the whole, the attainment of a shapely garment without strain should be our aim. A few months ago the public were treated to an announcement of a new material that promised no more badly fitting garments. But the point was that in order to produce a good fit, the garment had to be cut too small! Otherwise with bad cutting the same faults would be ever apparent. If a very close-fitting garment is required by the client, a reduction of the addition to the bust size for ease and seams by inch will make the necessary difference throughout the system.
Single-Breasted Link-fronted Jacket (Fig. 33)

The link-fronted jacket with panel seams at back and front is generally accepted as one of the most fashionable and neat designs worn. Peaked lapels are an attribute of style, culminating in a gracefully cut-away front below
the single link button. Jeatted pockets set on the straight are shown, with a waist dart above terminating under the bust prominence. For the purpose of refreshing the memory, the system as applied to this design will be based upon the normal 34-inch bust basis; in succeeding styles the system will be applied to larger and smaller figures based upon actual measurements to which the author has cut. To draft the link-fronted jacket the following are the measures necessary

Chest above bust prominence = 32 inches. Bust prominence = 34 inches. Skirt waist = 25 inches. Hips = 38 inches. To natural waist = 15 inches. Full length = 22 inches. Half-back width = 6 inches. Sleeve length = 29 inches. Working scale = half the bust measure = 17 inches.
Commence by drawing line X to X, the full length of the jacket, 22 inches.

1 from X = the depth of the scye = one-third of the scale plus 1 inches. 2 from X = the natural waist length = 15 inches. 3 from 2 = 8 inches for the hip level. 4 from X = one-sixth of the scale less inch. 5 from 4 = 1 inch always. Shape the back neck curve from 5 to X as shown. 6 from 1 = the back width measure plus inch seam. Square up from 6 to 7 on the line squared from X. 8 from 1 = half the bust measure plus 2 inches. 9 from 8 = X to 1. 10 from 9 = one-twelfth of the scale = 1 3/8 inches.
11 from 10 = one-sixth of the scale = 2 inches. 12 from 8 = half the scale less inch. 13 from 12 = one-sixth of the scale = 2 inches. Square up to 14 from 13 equal to 8 to 10 less inch. 15 is midway 6 to 12. 16 from 15 = one-third of the scale plus inch. Join 5 to 16 and 14 to 16. 17 is located upon the line joining 16 to 5 and 6 to 7. 18 from 17 = inch. 19 from 14 = the front shoulder width equal to 5 to 18 less inch. 20 from 12 = one-sixth of the scale. 21 from 6 = 1 inches. Complete the shape of the scye as shown. 22, 23, 24 are square from point 8. Square from 15 to 25, 26 and 27. 28 from 1 = 4 inches. 29 from 2 = 3 inches. 30 from 3 = 3 inches. 31 from 28 = inch. 32 from 29 = the normal back waist suppression = 1 inches. 33 from 30 = inch. 34 from 5 = inch more than 14 to 11 on the front shoulder. Shape the run of the back panel seams from 34, 28, 29, 30, and 34, 31, 32, to 33 and the bottom edge. Suppress inch at 35 and 36. Overlap on the hips at 37 and 38 from 26, half the difference between bust and hip measures less inch = 1 inches. Complete the shape of the underseams as indicated. 39 is midway 8 to 12. 40 from 22 = 3 inches. 41 from 23 = 3 inches.
42 from 24 = inch. Join to the front sideseam for the run of the bottom edge as shown. 43 from 39 = 2 inches for the level of the bust prominence. Sweep 44 from 14, pivoting from 43. 44 from 14 = 14 to 11. Add on inch at 45 for the linked-front. 46 from 42 = one-sixth of the scale. Shape the run of the front edge from 45 to 46 as indicated. 47 from 11 = 1 inch. Mark the crease line from 47 to 45 as shown. 48 from 10 = one-sixth of the scale. Shape the neck curve from 48 to 11 as marked. 49 from 48 for the point of the lapel equals 2 inches. Complete the shape of the lapel from 45 to 49. Take out inch of suppression from the waist dart at 50.
To complete the draft, mark the pocket 11 inches down from the breast line and 5 inches in width. THE SLEEVE DRAFT The front pitch is inch up from 12, and the back pitch B is half the depth of the scye up from 6. For this draft the back pitch is lowered 1 inches to point C.

Total scye circumference = 16 inches. Top-scye circumference = 8 inches. Under-scye circumference = 7 inches.
To draft (bottom diagram) Square from X.

1 from X = the height of the back pitch B from 6 (top diagram) less inch. 2 from 1 diagonally = the top-scye circumference = 8 inches. 3 from 2 = one-third of 2 to 1 plus inch.
4 from 3 = the crown height = 1 inches. 5 is midway 3 to X. Shape the sleeve crown as shown from 1, 5, 4 to 2. 6 from 2 diagonally = the sleeve length less the width of half the back. 7 from 6 = 1 inches. 8 from 7 = inch. Join 8 to 1. 9 from 8 = the cuff width = one-third of the scye circumference less inch. Line from 9 to 6 and 10. Join 2 to 9 to locate point 13. 11 is midway 1 to 10 for the position of the elbow. Square up from 11 and 12 to 13 on line 2 to 9. 12 from 11 = 1 inches. 14 from 13 = 2 inches. 15 from 2 = the distance the back pitch is lowered from B to C (top diagram). Shape from 15, 14 to 9. 16 from 14 = inch. 17 from 1 = the distance round the under-scye less the amount the back pitch has been lowered from B to C (top diagram). 18 from 1 = one-sixth of the scale. Shape the under-sleeve from 1, 18 to 17 and from 17 to 16 and 9. Reduce the under-sleeve inch at 19 from 1, 20 from 12, and 21 from 10, and add this quantity to the top-sleeve for the three-quarter-sleeve finish.
Single-Breasted Cut-away Jacket (Fig. 34)

A single-breasted jacket style with panel seams at back and front converging into the scye forms the subject of the
following draft. The fronts are sharply cut away from the single-button fastening to the bottom edge, jeatted pockets on the hips follow the run of the fronts, and another method of transposing the shoulder dart to another seam is described. This type of design with curving seams as a feature is very flattering and suitable to the slender figure, by giving an illusion of curves and rounded shape. For the purpose of the draft, a figure of 32-inch bust measurement has been chosen. Complete measures are as follows

Chest = 30 inches. Bust = 32 inches. Waist = 24 inches. Hips = 36 inches. Natural waist length = 14 inches. Full length = 22 inches. Half-back width = 6 inches. Sleeve length = 28 inches. Working scale = half the bust measure = 16 inches.
To draft Commence by drawing line X to X, the full length of the jacket, 22 inches.

1 from X = one-third of the scale plus 1 inches. 2 from X = the natural waist length = 14 inches. X from 2 is the position of the actual hip line, 8 inches below the waist line. 3 from X = one-sixth of the scale less inch. 4 from 3 = 1 inch. Shape from 4 to X for the back neck run. 5 from 1 = the half-back width plus inch. 7 from 1 = half the bust measure plus 2 inches.
8 from 7 = from X to 1 at the back. 9 from 8 = one-twelfth of the scale. 10 from 9 = one-sixth of the scale. 11 from 7 = half the scale less inch. 12 from 11 = one-sixth of the scale. Square up from 12 to 13 equal to 7 to 9 less inch. 14 is midway of the scye at 5 to 11. Square up from 14 to 15 one-third of the scale plus inch. Join 15 to 4 and 15 to 13. Point 16 is located where line 15 to 4 is intersected by line 5 to 6. 17 from 16 = inch. Shape the back shoulder as indicated. 18 from 13 = 4 to 17 less inch. Complete the shape of the scye as illustrated by the draft. Square from 7 to 19 and 20 for the centre line. Square down from 14 to 21 and 22. Suppress inch at the sideseams at 21 to 23 and 24, 3/8 inch each side. Overlap at the hips half the difference between the bust and hip measures less inch at 25 and 26 from 22. 27 from 5 = half the distance X to 1 for the position of the curved panel seam. 28 from 1 = 3 inches. 29 from 2 = 3 inches. 30 from X = 3 inches. Shape the curved panel seam from 27, 28, 29 to 30 at the bottom edge. 31 from 2 = half the waist measure plus 2 inches. The tight skirt waist measure of 24 inches has 2 inches added before being applied to the draft. 32 from 28 = inch.
33 from 29 = two-thirds of the difference shown at 31 to 19. 34 from 30 = inch. Shape the panel seam from 27, 32, 33 and 34. 35 is midway 11 to 7. 36 from 19 = 3 inches. 37 from 20 = 3 inches. 38 from 11 = the same distance 27 is from 5. Shape the front panel from 38, 35, 36 to 37. Sweep from 13 to 39, pivoting from point 35. 39 from 13 = 13 to 10.
The bust dart is then closed out until point 39 is adjacent to 13, and the shoulder section is cut in one piece with the provision for the bust shape transferred to the seam from 38 to 35.
Add on 1 inches at 40 for the single-breasted front edge. 41 is midway of 19 to 20. Shape the front run from 40 to 41 and 25. 42 from 10 = 1 inch. Mark the crease line of the lapel from 42 to 40. 43 from 9 = one-sixth of the scale. 44 from 43 = 2 inches or to taste. Shape the neck curve and the shape of the lapel from 44 to 10 and 44 to 40. At the front dart at 45, suppress one-third of the quantity shown at 31 to 19.
The pocket is placed 11 inches down from the breast line and 5 inches in width. The back pitch is located at 27 and the front pitch at A, inch up from point 11.
The sleeve to suit this design is identical in constructional points with the basis draft in Fig. 27.
Single-Breasted Sidebody Jacket (Fig. 35)

A standard sidebody design is illustrated by the draft shown in Fig. 35. The fronts are single-breasted with revers and fasten single-breasted with either two
or three buttons. A seam-back is shown and at the front a shoulder dart takes the place of the panel seam for providing contour shape for the bust. Jeatted pockets at the hip are set on the slant with a waist dart above for additional shapeliness. Measures

Chest = 32 inches. Bust = 34 inches. Tight skirt waist = 25 inches. Hips = 38 inches. Natural waist length = 15 inches. Full length = 24 inches. Half-back width = 6 inches. Sleeve length = 29 inches. Working scale = half the bust girth = 17 inches.
To draft Commence by drawing line X to X, the full length of the jacket.
1 from X = one-third of the scale plus 1 inches. 2 from X = the natural waist length = 15 inches. 3 from 2 = 8 inches for the hip level. 4 from 2 = inch. 5 from 3 = inch. 6 from X = one-sixth of the scale less inch. 7 from 6 = 1 inch. Shape from 7 to X for the back neck run. 8 from 1 = the half-back width plus inch. Square up from 8 to 9 as shown. 10 from 1 = the half-bust measure plus 2 inches. 11 from 10 = from X to 1 at the back. 12 from 11 = one-twelfth of the scale. 13 from 12 = one-sixth of the scale. 14 from 10 = half the scale less inch. Square up from this point. 15 from 14 = one-sixth of the scale. Square up to 16 equal to 10 to 12 less inch. 17 is midway of 8 to 14 for the position of the sideseam. 18 from 17 = one-third of the scale plus inch. Join 18 to 7 and 16. 19 is located where the line from 7 to 18 is intersected by line 9 to 8. 20 from 19 = inch. Shape the back shoulder run from 20 to 7 as indicated. 21 from 16 = the back shoulder width 7 to 20 less inch. Square down the front centre line from 10 to 22, 23 and 24.
Square down from 17 to 25, 26 and the hem line. 27 and 28 from 25 are each 3/8 inch. Overlap at the hips from 29 and 30 by the half difference between bust and hip measures less inch, 1 inches. Shape the sideseams from 17 to 27 and 30, and from 17 to 28 and 29. 31 from 2 = the waist measure (after 2 inches have been previously added) plus 2 inches = 16 inches. 32 from 8 for the top of the sidebody seam = 2 inches. 33 from the centre back seam = 6 inches in this instance. 34 from 4 = one-third of the scale less 1 inch. 35 from 5 = inch more than 34 to 4. Shape the sidebody seam from 32, 33, 34 to 35 and the bottom edge. 36 from 24 = two-thirds of the quantity 31 to 22 less the inch taken from the centre back seam. Shape the front sidebody seam from 32, 36 to 35 and the bottom edge, suppressing inch at 33. 37 from 10 = half 10 to 14. 38 is swept from 16, pivoting from point 37, equal to the quantity 16 to 13. Shape the bust dart to 37. Add on 1 inches at the front edge at 39 for the single-breasted fronts. 40 from 24 = inch. Join to the sideseam for the run of the bottom edge. 41 from 13 = 1 inch. Join to a point 1 inch above 39 for the crease line of the lapels. 42 from 12 = one-sixth of the scale.
Shape the neck curve from 42 to 13 as shown. Square down 1 inches from 13 and line through 42 to 43. 43 from 42 = 2 inches. Complete the shape of the lapels, as illustrated, to 39.
The width of the lapels is a matter of personal taste, though for the strictly tailored styles it is not advisable to cut them too wide. Take out the remainder of the waist surplus shown at 31 to 22 from the dart at 44.
THE SLEEVE DRAFT The front pitch is located at inch up from 14 and the back pitch B at half the scye depth up from 8. For this draft the top of the sidebody seam forms the actual style pitch, 1 inches below B.

To draft (bottom diagram)
1 from X = the height of the back pitch B from point 8 (top diagram) less inch. 2 from 1 diagonally = the top-scye circumference = 8 inches. 3 from 2 = one-third of the distance 1 to 2 plus inch. 4 from 3 = the crown height = 1 inches. 5 is midway 3 to X. Shape the sleeve crown as indicated from 1, 5, 4 to 2.
6 from 2 diagonally = the full sleeve length less the width of the half-back. 7 from 6 = 1 inches. 8 from 7 = inch. Join 8 to 1. 9 from 8 = the cuff width = onethird of the scye circumference less inch. Line from 9 to 6 and 10. Join 2 to 9 to locate point 13. 11 is midway 1 to 10 for the position of the elbow. Square up from 11 to 12, 13 and 14. 12 from 11 = 1 inches. 14 from 13 = 2 inches. 16 from 14 = inch. 15 from 2 = the distance the back pitch is lowered from B to point 32 (top diagram), the top of the sidebody seam. Shape from 15 to 14 and 9. 17 from 1 = the distance round the under-scye from A to B less the distance from B to 32 (top diagram). 18 from 1 = one-sixth of the scale. Shape the under-sleeve from 1, 18 to 17 and from 17 to 16 and 9. Reduce the under-sleeve inch at 19 from 1, 20 from 12 and 21 from 10 and add this quantity to the topsleeve for the three-quarter sleeve finish. Points 21 and 6 are identical.
SingleBreasted Link-
button Jacket (Fig. 36)

Fig. 36 shows the "lounge" basis system in practice. The design chosen for the purpose of illustrating how the system works has single-breasted fronts, cut straight and fastening with one link-button, single-breasted revers with the bust dart transferred to under the lapel and a back without a centre seam. The sideseam position is similar to that of the masculine "lounge," and a dart takes the place of the customary underarm seam. It is not advisable to use this basis draft for figures of larger hip increase over the bust size than the proportionate 4 inches, for provision for the hip girth cannot be adequately applied without a sidebody seam or panel back. Measures

Chest = 32 inches. Bust = 34 inches. Tight waist = 25 inches. Hips = 38 inches. To the natural waist = 15 inches. Full length = 23 inches. Half-back width = 6 inches. Sleeve length = 29 inches. Working scale = half the bust girth = 17 inches.

1 from X = one-third of the scale plus 1 inches. 2 from X = the natural waist length. 3 from X = one-sixth of the scale less inch. 4 from 3 = 1 inch. Shape the back neck run from 4 to X. 5 from 1 = the half-back width plus inch. Square up from 5 to 6. 7 from 1 = half the bust measure plus 2 inches. 8 from 7 = half the scale less inch. 9 is midway 5 to 8 for the original position of the underseam. Square down from 9 to 10 on the hip line. 11 from 10 = half the difference between the bust and hips measures less 1 inch, as described in the basis draft. 12 and 13 are located on the waist line as the construction line moves from 10 to 11. By line 9 to 11, square to 14 equal to 9 to 7. Square down from 14 to 15 and 16 on the
reconstructed waist and hip balance lines.
17 from 14 = X to 1 at the back. 18 from 17 = one-twelfth of the scale. 19 from 8 = one-sixth of the scale. 20 from 19 = 14 to 18. 21 squared from 9 = onethird of the scale plus inch. Join 21 to 4 and 21 to 20. 23 from 22 = inch. Shape from 23 to 4. 24 from 20 = 4 to 23 less inch. Shape the scye as shown from 24, A, round to 23. 25 from 2 = the half-waist measure plus 2 inches, plus the amount shown at 12 to 13. 26 from 5 for the top of the sideseam = 2 inches. 27 from 1 = 6 inches, or in similar ratio to agree with other breast sizes. 28 from 2 = one-third of the scale less inch. 29 from X = 2 to 28 plus inch. 30 from 28 = two-thirds of the waist surplus shown at 25 to 15. Overlap the sideseam at 31 from 29 by inch, the amount previously
deducted from the hip overlap at 10 to 11.
It is customary to suppress the sideseam inch at the hip line, but, as inch has to be added at this section, a resultant overlap of inch at 31 from 29 is effected.
32 from 16 = inch. Join to 10 for the run of the bottom edge. Suppress at 33 from 13 and 34 from 12 the usual bare 3/8 inch sideseam suppression. Shape the underarm dart as shown from 9 to 33 and 34, terminating at the pocket mouth. Add inch at 35 for the front edge and shape to 32.
Detailed instructions for obtaining the gorge dart have been previously given, but to simplify the method and do away with manipulating the pattern, the following systematic variation is necessary. The result is identical in both instances; the advantage of gaining the required effect without
cutting up the original pattern is that of timesaving and simplicity.

36 is midway 8 to 14. Square down to 37, 2 inches for the point of bust prominence. Join 37 to 18. 38 from 18 = onetwelfth of the scale. 39 from 37 = onefourth of the scale. This distance is governed by the length of the gorge dart, so that it is covered by the lapel. Join 38 to 39 as shown for the gorge dart. 40 from 18 = onesixth of the scale. Square from 40 to 41 on line 18 to 39. 42 from 39 = 41 to 39. Complete the shape of the neck curve from 42 to 20. 43 from 20 = 1 inch. Mark the lapel crease line from 43 to 35, breaking on the dart as indicated. 44 from 40 = 1 inches, or the width of lapel to taste. Shape from 44 to 35 to complete the shape of the lapel.
Suppress, at the front dart 45, one-third of 25 to 15.
Mark the top welt pocket 3 inches wide and the bottom flaps 5 inches in width to complete the draft. THE SLEEVE DRAFT An open pointed cuff is the feature of the sleeve chosen to harmonize with this design of jacket. Another interesting point is the displacement of the forearm seam from the elbow to the wrist instead of a complete three-quarter sleeve finish, the necessity of stretching the forearm seam in the hollow of the elbow thereby being avoided. The back pitch is lowered to the top of the side-seam at 26, 1 inches from the normal back pitch at B.
Total scye circumference = 16 inches. Top-scye circumference = 8 inches.
Under-scye circumference = 7 inches.
To draft (bottom diagram) Square from X.
1 from X = the height of the back pitch B from 5 (top diagram) less inch. 2 from 1 = the top-scye circumferenc e from A to B (top diagram) = 8 inches. 3 from 2 = one-third of the distance 1 to 2 plus inch. 4 from 3 = the crown height as found previously. 5 is midway 3 to X. Shape the sleeve head from 1 to 5, 4 and 2. 6 from 2 diagonally = the sleeve length less the width of the halfback.
7 from 6 = 1 inches. 8 from 7 = inch. Join to point 1. 9 from 8 = one-third of the scye circumferenc e less inch. Join 9 through 6 to locate 10. Join 2 to 9 for the location of 13. 11 is midway 1 to 10 for the position of the elbow. Square up from 11 to 12, 13 and 14. 14 from 13 = 2 inches. 15 from 2 = the distance from B to 26 (top diagram). 16 from 9 = 2 inches. Shape the top-sleeve hindarm seam from 15 to 14 and 16. 17 from 9 = inch. Line
through from 16 and 17 to 18, inch from 17.
Join 18 to 10 for the run of the sleeve end. 19 from 14 = inch. 20 from 1 = the underscye circumferenc e less the distance from 2 to 15. 21 from 1 = one-sixth of the scale. Shape from 1 to 21 and 20 and from 20 to 19 and 16 for the shape of the undersleeve. 22 from 10 = inch. 23 from 10 = inch. Shape from 12 to 22 and 23 to complete the sleeve draft.
D o u b l e B r e asted Panel Jacket (Fig. 37)

The double-breasted panel jacket is the most popular of all tailored jackets and gives a well-dressed appearance on all occasions. A slender effect may be achieved by narrow spacing of the panels and a narrow button spacing, or slender lapels, whilst an appearance of width and wide shoulders can be infused by judicious seam runs and bold lapels. It is not
advisable to space the buttons too far apart, as this tends to give a widening appearance to the waist which is contrary to the general slender effect at which we are aiming. For the purpose of this draft, a figure of full bust and hip development has been chosen. The full measures are as follows
Chest = 34 inches. Bust = 38 inches. Waist = 30 inches. Hips = 42 inches. Natural waist length = 15 inches.
Full length = 24 inches. Halfback width = 7 inches. Sleeve length = 30 inches.
The proportionat e bust girth to agree with a chest measure of 34 inches is 36 inches. Therefore, the working scale for the back depth and width factors equals half the bust size, i.e. 18 inches. The scale for the front depth and width factors equals onethird of the 38 inches bust measureme
nt plus 6 inches, i.e. approximate ly 18 inches. To draft Comme nce by drawing X to X, the full length of the jacket.
1 fro mX = the bac k dept h= one thir d of the scal e (18 inch es) plus 1 inch es. 2 fro mX = the nat ural
wais t leng th = 15 inch es.
3 fro m2 =8 inch es for the hip leve l. 4 fro mX = one sixt h of the scal e (18 inch es) less inch . 5 fro m4 =1 inch for the heig ht of the
bac k nec k. Sha pe fro m5 to X for the nec k curv e.
6 fro m1 = the half bac k widt h plus inch . Squ are up fro m6 to 7. 8 fro m1 = the half bust girt h plus
2 inch es.
9 fro m8 = one thir d of the scal e (18 inch es) plus 1 inch es. 10 fro m9 = one twel fth of the scal e (18 inch es). 11 fro m 10 = one sixt h of the
scal e (18 inch es).
12 fro m8 = one four th of bust mea sure men t (38 inch es) less inch , plus two thir ds of the inch incr eas e of pro min enc e fro m the nor mal acro
ssche st widt h= 8 inch es plus two thir ds of inch =9 inch es app rox. Nor mal acro ssche st widt h= 8 inch es for a 36inch bust .
13 fro m 12 = one sixt h of the scal
e (18 inch es).
14 fro m 13 = inch less tha n8 to 10. 15 is mid way 6 to 12 for the posi tion of the side sea m. 16 fro m 15 = one thir d of the scal e (18 inch es) plus
inch .
Join 16 to 5 and 14. 17 is loca ted whe re the line fro m 16 to 5 is inte rsec ted by line 6 to 7. 18 fro m 17 = inch . Sha pe the bac k sho ulde r sea m run fro m
18 to 5.
19 fro m 14 =5 to 18 less inch . Sha pe the scye as sho wn by the diag ram . Squ are dow n fro m8 to 20, 21 and 22 for the cent re line of the fron ts.
Squ are dow n fro m 15 to 23 and 24. Sup pres s at 23 3/8 inch eac h side to 25 and 26.
No w we come to an interesti ng point. The normal hip size for a proporti onate 36-inch bust figure is 40 inches, so an increase
of 2 inches is noted which indicates a promine nt develop ment of the hips at the side and back. Wh en the hip girth is 4 inches larger than the breast, the basis draft gives an overlap of 1 inches at the sidesea ms and inch suppress ion at the back panel seam. When the
figure has a promine nt bust, however , we have to take into account the reductio n of size at the front panel under the bust to remove the extra material which has been added to the front width for accomm odation of the increase in bust promine nce. Co mpare the hip size with
a proporti onate 4 inches of increase to calculate the amount to be added or reduced, and then add to this quantity the amount reduced from the front panel seams. To the normal acrosschest width of 8 inches for a 36inch bust an extra inch has been added, and half
of this quantity is reduced from the front panel at the waist and hips in accorda nce with the basis system draft. In the case of this draft, the hip size is proporti onate with the increase in the breast promine nce, so the hip overlap at the sidesea m remains at 1 inches plus the
quantity taken from the front panel seam. Sid eseam overlap = half the differenc e between breast and hip measure ments less inch, plus half of the increase across the breast width = 1 inch, plus 3/8 inch = 1 7/8 inches.
2 7 f r o m
2 4 = 1 i n c h .
2 8 f r o m 2 4 = 7 / 8 i n c h . S h a p e t h e s i d
e s e a m s f r o m 1 5 t o 2 5 a n d 2 8 a n d f r o m 1 5 t o 2 6 a n d
2 7 .
2 9 f r o m 2 = t h e h a l f w a i s t m e a s u r e m e n t a f t e r
2 i n c h e s h a v e b e e n a d d e d , p l u s 2 i n c h e s a n d t h e
i n c h a d d e d a t t h e f r o n t s , 3 i n c h e s i n a l l .
3 0 f
r o m 5 = 3 i n c h e s f o r t h e c o m m e n c e m e n t o f t h e b a c k
p a n e l s e a m .
3 1 f r o m 1 = 4 i n c h e s .
3 2 f r o m 2 = 4
i n c h e s .
3 3 f r o m 3 = i n c h m o r e t h a n 3 2 t o 2 .
S h
a p e t h e b a c k p a n e l s e a m f r o m 3 0 t o 3 1 , 3 2 , 3 3 a n d
t h e b o t t o m e d g e .
3 4 f r o m 3 1 = i n c h .
3 5 f r o m 3 2
= t w o t h i r d s o f t h e w a i s t s u r p l u s 2 9 t o 2 0 .
3 6 f r
o m 3 3 = i n c h .
S h a p e t h e p a n e l s e a m f r o m 3 0 t o 3
4 , 3 5 , 3 6 a n d t h e b o t t o m e d g e .
3 7 i s m i d w a y 1 2 t o
8 .
3 8 f r o m 3 7 = 2 i n c h e s f o r t h e p o i n t o f b u s t p
r o m i n e n c e .
3 9 f r o m 2 0 = 4 i n c h e s .
4 0 f r o m 2 1 = 4
i n c h e s .
4 1 f r o m 4 0 = 3 / 8 i n c h , i . e . h a l f t h e i n c r
e a s e i n t h e a c r o s s b u s t w i d t h o v e r t h e n o r m a l .
4 2
f r o m 3 9 = 3 / 8 i n c h o r h a l f t h e f r o n t w i d t h i n c r e a
s e o f i n c h .
4 3 f r o m 1 4 = i n c h f o r t h e p o s i t i o
n o f t h e f r o n t p a n e l s e a m .
I t is advis able to keep the front pane l sea m towa rds the neck point
with fullbrea sted figur es from the point of view of style , as a wide spaci ng of the sea ms from the bust to the shou lders woul d tend to creat e an impr essio n of grea ter widt
h at the bust.
4 4 f r o m 4 3 = 1 4 t o 1 1 , p i v o t i n g f r o m p o i n t 3 8
S h a p e t h e f r o n t p a n e l s e a m s f r o m 4 3 t o 3 8 , 3 9 a
n d 4 0 , a n d f r o m 4 4 t o 3 8 , 4 2 , 4 1 a n d t h e b o t t o m e d
g e .
T a k e t h e r e m a i n d e r o f t h e w a i s t s u r p l u s f r o m
t h e f r o n t d a r t a t 4 5 .
A d d o n 3 i n c h e s a t 4 6 d o w n
t h e f r o n t s f o r t h e d o u b l e b r e a s t e d o v e r l a p .
4 7 f
r o m 2 2 = i n c h . S h a p e t h e b o t t o m e d g e r u n f r o m 4 7
t o t h e f r o n t s i d e s e a m b e l o w 2 7 .
4 8 f r o m 1 0 = o n e
s i x t h o f t h e s c a l e ( 1 8 i n c h e s ) . S h a p e t h e n e c k c
u r v e f r o m 4 8 t o 1 1 .
4 9 f r o m 1 1 = 1 i n c h . M a r k t h e
c r e a s e l i n e o f t h e l a p e l s f r o m 4 9 t o 4 6 .
S q u a r e
d o w n f r o m 1 1 e q u a l t o 1 i n c h e s . T h e n l i n e f r o m t h
i s p o i n t t h r o u g h 4 8 t o 5 0 .
5 0 f r o m 4 8 = 1 i n c h .
5 1 f r o m 5 0 = 2 i n c h e s . C o m p l e t e t h e s h a p e o f t h e
l a p e l s a s s h o w n .
T h e b u t t o n s a r e s p a c e d 5 i n c
h e s a p a r t , w h i c h i s q u it e w i d e e n o u g h f o r a j a c k e t
s t y l e , a n d s h o u l d n o t b e e x c e e d e d . T H E S L E E V E D R
A F T
T o t a l s c y e c i r c u m f e r e n c e = 1 6 i n c h e s .
T o p s c
y e c i r c u m f e r e n c e = 9 i n c h e s .
U n d e r s c y e c i r c u m f e r
e n c e = 7 i n c h e s .
T o d r a f t ( b o t t o m d i a g r a m )
S q u a r e f r o m X .
f r o m X
= t h e h e i g h t o f t h e
b a c k p i t c h B
f r o m 6 ( t o p
d i a g r a m ) l e s s
i n c h .
f r o m 1
= t h e d i s t a n c e
b e t w e e n t h e p i t c h e s A a n d
B ( t o p
d i a g r a m )
= 9 i n c h e s .
f r o m 2
= o n e t h i r d
o f t h e d i s t a n c e 1 t o 2 p l u s
i n c h .
f r o m 3
= t h
c r o w n h e i g h t
1 i n c h e s .
5 i s
m i d w a y 3 t o X .
f r o m 2 d i a g o n a l l y
= t h e s l e e v e l e n g t h l e s s t h e
i d t h o f t h e h a l f b a c k .
f r o m 1
1 i n c h e s .
8 f r
o m 7
i n c h . J o i n t o p o i n t 1 .
f r o m 7
= o n e t h
i r d o f t h e t o t a l s c y e
c i r c u m f e r e n c e l e s s
i n c h .
L i n e
f r o m 9 t h r o u g h 6 t o 1 0 .
J o i n 2 t o 9 t o l o c a t
e 1 3 .
1 1 i s
m i d w a y 1 t o 1 0 f o r t h e p o s i t i o n o f t h
e l b o w .
S q u a r e u p
f r o m 1 1 t o 1 2 , 1 3 a n d 1 4 .
1 4 f
r o m 1 3
1 i n c h e s .
S h a p e
f r o m 2 t o 1 4 a n d 9 f o r
t h e t o p s l e e v e
h i n d a r m
s e a m .
1 5
f r o m 1 d i a g o n a l l y
= t h e u n d e r s c y e
m e a s u r e .
1 6
f r o m 1
= o n e s i x t h
o f t h e s c a l e .
S h a p e
f r o m 1 t o 1 6 a n d 1 5 a n d
f r o m
1 5 t o 1 4 f o r t h e u n d e r s l e e v e t o p a n d
h i n d a r m r u n s
R e d u c e t h e u n d e r s l e e v e
i n c h
f r o m 1 7 , 1 8 a n d
1 9 , a n d a d d t h i s
a m o u n t t o t h e t o p s l e e v e a t 2 0 , 2
1 a n d 2 2 t o
c o m p l e t e t h e s l e e v e d r a f t . P o i n t s 1 9 a
n d 6 a r e i d e n t i c a l .
S i n g l e B r e a s t e d P a n e l J
a c k e t ( F i g . 3 8 )
A p l e a s i n g d e s i g n i s d e p
i c t e d b y F i g . 3 8 . T h e f r o n t s a r e s h a r p l y
c u r v e d a w a y f r o m t h e t w o b u t t o n f a s t e n i
n g , a n d a f r o n t p a n e l s e a m t e r m i n a t e s i n
a c u r v e d p o c k e t r u n n i n g i n t o t h e s i d e s
e a m . D o u b l e b r e a s t e d l a p e l s a n d a p a n e l
b a c k a r e o t h e r s t y l e d e t a i l s , w h i l e t h e
s l e e v e h a s a r o u n d e d c o r n e r t o t h e c u f f .
T h e m e a s u r e s a r e a s f o l l o w s
o d r a f t
o m m e
n c e b y d r a w i n g l i n e X t o X , t h e f u l l l e n
g t h o f t h e j a c k e t = 2 1 i n c h e s .
http://vintages
replay
20071024163825 Go
AUG
OCT
16 captures
30 Jul 04 - 26 Apr 09
24
2006 2007
Vintage Sewing Main Page | 1940's | Ladies' Garment Cutting and Making | Chapter VII Search | Subscribe | Support

by F. R. Morris
Chapter VIIThe Construction of Patterns for Long Coats

THE system used for drafting long-coat patterns is identical in constructional points with the short-coat basis with the exception of increased armhole size, a slightly wider sleeve and additional ease if the garment is required for special purposes. Design in long coats may be divided into two sections, the "dressy" type of town coat, lavishly trimmed with fur and elaborately designed, and the strictly tailored styles comprising plain panelled coats, heavier belted ulster wrap coats in nap or camel-hair cloth, and loose-fitting garments of the raglan and drop-shoulder type. The "dressy" styles are usually worn over a dress and may be closer in fit than the other type, which may on some occasions serve as a covering for a costume, therefore necessitating an addition of size for the needed roomier accommodation, though all women seem to expect a coat sufficiently easy to enable them to wear a cardigan or short jacket underneath in the cold weather. The "tailored" long coat of the old days has very nearly disappearedat any rate, among the trade catering for the younger generationexcept in the sense that "tailored" is more a description of the workmanship than a delineator of style. To-day, design is all-important, not fussy trimming effect, but design that has line and emphasizes the good points of the figure. The old conception of a "tailored coat" was something after the style of an elongated costume jacket, yet to-day the younger generation are critical of stereotyped designs and enthusiastic over new ideas. They demand originality of style and are quick to appreciate line and good cutting, even if the design is restrained in character. A severe line, well cut, is considerably more flattering to the wearer than a style overburdened with fancy strappings and trimmings that are the "latest" fashion. A greater effect can be achieved by simple means than by elaboration; a perfect fit needs no intricate designing in order to attract notice. Women generally do not mind a severe or plain design as long as there is some redeeming feature such as ultra-modern lapels, an original front fastening or a sleeve with an original cut. To-day they are catered for as never before; the interest in sports has introduced a new element into line. Special clothes for spectators at sports meetings have a "line" and style all
their own, very suitable to the young, and flattering to the women of advancing years. It is not proposed to illustrate many designs in this chapter, only the styles that are sure of being repeated every year and remain static in design. The first design will be a plain panelled coat with heavy lapels and a deep collar. Slanting pockets are placed on the hips, and the fronts fasten with three buttons. The length may either be full length or seven-eighths; the latter length is the more fashionable at the moment.
Double-Breasted Panel Long Coat (Fig. 45)

The draft is arranged to agree with the measures of a 34-inch bust figure as a preliminary example. Full measures are as follows

Chest = 32 inches. Bust = 34 inches. Waist = 25 inches. Hips = 36 inches. Natural waist length = 15 inches. Full length = 45 inches. Half-back width = 6 inches. Sleeve length = 29 inches. Working scale = half the bust girth = 17 inches.
To draft Commence by drawing line X to X, equal to the full length of the coat, i.e. 45 inches.

1 from X = one-third of the scale plus 1 inches. 2 from X = the natural waist length = 15 inches. 3 from 2 = 8 inches down for the hip level. 4 from X = one-sixth of the scale less inch. 5 from 4 = 1 inch. Shape from 5 to X for the back-neck run.
6 from 1 = the half-back width plus inch. Square up from 6 to 7. 8 from 1 = half the bust measure plus 2 inches. 9 from 8 = 1 to X at the back. 10 from 9 = one-twelfth of the scale. 11 from 10 = one-sixth of the scale. 12 from 8 = half the scale less inch. 13 from 12 = one-sixth of the scale. Square up from 13 to 14 equal to 8 to 10 less inch. 15 is midway 6 and 12. 16 from 15 = one-third of the scale plus inch. Join 16 to 5 and 14. 17 is located where the line from 16 to 5 is intersected by line 6 to 7. 18 from 17 = inch. Shape the back shoulder seam from 18 to 5 as shown. 19 from 14 = 5 to 18 less inch. Shape the scye as shown, lowering inch below the breast line level at 20 and 21. Square down from 8 to 22. 23 from 22 = inch. Mark the front centre line from 8 to 23, 24 and 25.
The addition of this extra at the fronts is to give stride room and prevent the coat from winging away.
Square down from 15 to 26, 27 and 28. 29 and 30 from 26 = 3/8 inch each. Overlap at 31 and 32 from 27 half the difference between the bust and hip measures less inch. 33 from 28 = 27 to 32 plus 1 inches. 34 from 28 = 31 to 27 plus 1 inches. Shape the sideseams from 15 to 30, 31 and 34, and from 15 to 29, 32 and 33. 35 from 2 = half the waist measure plus 2 inches. 36 from 5 = 3 inches. 37 from 2 = one-sixth of the scale plus inch.
38 from 1 = 37 from 2 plus 1 inch. 39 from 3 = 37 to 2 plus inch. 40 from X = 37 to 2 plus 1 inch. Shape the back panel seam from 36 to 38, 37, 39 and 40. 41 from 38 = inch. 42 from 37 = two-thirds of the waist surplus shown at 35 to 22. 43 from 39 = inch. 44 from 40 = inch. Shape the back panel seam from 36 to 41, 42, 43 and 44. 45 is midway 12 to 8. 46 from 45 = 2 inches. 47 from 23 = 4 inches. 48 from 24 = 4 inches. 49 from 25 = 4 inches. Shape the front panel seam from 14 to 45, 46, 47, 48 and 49. 50 from 14 = 14 to 11, pivoted from 46. Shape from 46 to 50 as shown for the bust dart. Add on 4 inches to 51 and 52 for the double-breasted front overlap. 53 from 25 = inch. Shape the bottom edge run from 53 to the sideseam at 34. 54 from 11 = 1 inch. 55 from 51 = 2 inches. Mark the crease line of the lapel from 55 to 54. 56 from 10 = one-sixth of the scale. Shape the neck curve from 56 to 11. 57 from 11 = 1 inches. Line through 56 from 57 to 58. 58 from 56 = 1 inches. 59 from 58 = 3 inches for the step of the lapel. Complete the shape of the lapel from 59 to 55. Suppress at the front dart 60 one-third of the waist surplus shown at 35 to 22 to complete the draft.
Double-Breasted Sidebody Wrap Coat (Fig. 46)

Fig. 46 shows a useful draft with a sidebody seam under the arms and plain fronts with a shoulder dart terminating at the bust point. A wide wrap-over is provided at the fronts, and the lapel is a suitable shape for adapting to a fur collar. The draft is arranged for a figure of increased hip girth over normal proportion. Full measures are as follows

Chest = 40 inches. Bust = 42 inches. Waist = 32 inches. Hips = 48 inches. Natural waist length = 16 inches. Full length = 46 inches. Half-back width = 7 inches. Working scale = one-third of the bust girth plus 6 inches = 20 inches.
To draft Commence by drawing line X to X, the full length of the coat, i.e. 46 inches.

1 from X = one-third of the scale plus 1 inches. 2 from X = the length to the natural waist = 16 inches. 3 from 2 = 8 inches for the hip level. 4 from X = one-sixth of the scale less inch. 5 from 4 = 1 inch. Shape the back neck run from 5 to X. 6 from 1 = the half-back width plus inch. Square up from 6 to 7. 8 from 1 = the half-bust measure plus 2 inches.
9 from 8 = X to 1 at the back. 10 from 9 = one-twelfth of the scale. 11 from 10 = one-sixth of the scale. 12 from 8 = one-fourth of the bust girth less inch. 13 from 12 = 3 inches always for all sizes of bust over 36 inches. Square up from 13 to 14 equal to 8 to 10 less inch. 15 is midway 6 to 12. Square up from 15 to 16 one-third of the scale plus inch. Join 16 to 5 and 14. 17 is located where the line from 16 to 5 is intersected by the line from 6 to 7. 18 from 17 = inch. Shape the back shoulder seam from 18 to 5 as shown. 19 from 14 = 5 to 18 less inch. Shape the scye from 19 to 18, hollowing inch below the breast line to 20 and 21 from 6 and 12. Square down from 8 to 22. 23 from 22 = inch. Mark the centre front line from 8 to 23, 24 and 25. Square down from 15 to 26, 27, and 28. 29 and 30 from 26 are each 3/8 inch respectively.
The hip disproportion over the normal equals 2 inches or 1 inch on the draft; therefore, of this quantity, two-thirds are added at the sideseams and one-third at the back panel.
Overlap at 27 the usual normal 1 inches plus two-thirds of 1 inch, say 5/8 inch, totalling 2 1/8 inches in all. 31 from 27 and 32 from 27 are each 1 inch. 33 from 28 = 27 to 32 plus 1 inches. 34 from 28 = 31 to 27 plus 1 inches. Shape the sideseams from 15 to 30, 31 and 34 and from 15 to 29, 32 and 33. 35 from 2 = half the waist measure plus 2 inches.
36 from 6 = 2 inches. 37 from 2 = one-third of the scale less inch. 38 from 3 = 2 to 37 plus inch. 39 from X = 2 to 37 plus 1 inch. Shape the sidebody seam from 36 to 37, 38 and 39. 40 from 37 = two-thirds of the waist surplus shown at 35 to 22.
As one-third of the hip increase is placed at the back panel, the usual inch suppression becomes an overlap of 1/8 inch.
42 from 39 = 1 inch. Shape the sidebody seam from 36 to 40, 41 and 42. 43 is midway 12 to 8. 44 from 14 = inch. Join 44 to 43 and pivot to 45 equal to 14 to 11 for the bust dart. 46 from 10 = one-sixth of the scale. Shape the neck curve from 46 to 11 as shown. Add 4 inches at 47 for the front edge overlap, and line from 47 down the fronts. 48 from 25 = inch. Shape the bottom edge run from 48 to 34. 49 from 11 = 1 inch. Mark the crease line of the lapel to 47. 50 from 11 = 2 inches. Line through 46 to 51. 51 from 46 = 4 inches or the desired width of the lapel. Shape from 51 to 47 to complete the draft.
It will be noticed that the front dart has been eliminated as it is not essential for a wrap style. Just in case the principle of applying the increase of hip girth is not understood, we should bear in mind that a normal increase of girth is 4 inches, and therefore for every 1 inch increase on the draft two-thirds is placed at the sideseams and one-third at the back panel or sidebody seams.
Double-Breasted Chesterfield (Fig. 47)

The Double-breasted chesterfield style as depicted by Fig. 47 may be fairly classed as a standard ladies' garment. Unlike many designs introduced for women every season, it is one that with very slight variation is repeated in fashion more often than any other wrap coat. In line and construction, the outlines are identical with those of its masculine counterpart with adaptation to the requirements of the feminine figure. A centre back seam is included, with the sideseam placed at the back scye and the hip overlap wedged in at the original location of this increment. Provision for the bust shape is made by a dart in the gorge under the lapel. The full measures are as follows

Chest = 32 inches. Bust = 34 inches. Waist = 25 inches. Hips = 37 inches. Natural waist length = 15 inches. Full length = 45 inches. Half-back width = 6 inches. Working scale = half the bust girth = 17 inches.
To draft Commence by drawing line from X to X equal to the full length of the coat, 45 inches.
1 from X = the back depth = one-third of the scale plus 1 inches.
2 from X = the natural waist length = 15 inches. 3 from 2 = 8 inches for the hip level. 4 from 2 = inch. 5 from 3 = inch. Shape the centre back seam from X to 4, 5 and X at the bottom edge. 6 from X = one-sixth of the scale less inch. 7 from 6 = 1 inch. Shape the back neck run from 7 to X. 8 from 1 = the half-back width plus inch. Square up from 8 to 9. 10 from 1 = the half-bust measure plus 2 inches. 11 from 10 = half the scale less inch. 12 is midway 8 to 11. Square down from 12 to 13 on the hip line. 14 from 13 = half the difference between the bust and hip measures less 1 inch. Line from 14 to 12 to locate 16. Re-square the bust, waist and hip balance lines by the line 12 to 14. Square down from 17 to 18 and 19 on the new balance lines. Continue lines 12 to 13 and 12 to 14 to 20 and 21 at the bottom edge. 22 is squared from 21. 23 from 17 = X to 1 at the back. 24 from 23 = one-twelfth of the scale. 25 from 11 = one-sixth of the scale. 26 from 25 = 17 to 24. 27 from 12 = one-third of the scale plus inch. Join 27 to 7 and 26 as shown. 28 is located where the line from 27 to 7 is intersected by the line 8 to 9.
29 from 28 = inch. Shape the back shoulder seam run from 29 to 7. 30 from 26 = 7 to 29 less inch. Shape the front shoulder seam as indicated. 31 and 32 are each inch below 11 and 8 respectively. Complete the shape of the scye. 33 from 18 = inch. Draw the centre front line from 17 to 33 and 34. 35 from 34 = inch. 36 from 2 = half the waist measure plus 2 inches and the quantity shown at 15 to 16, 3/8 inches. 37 from 8 = 2 inches for the top of the sideseam. 38 from 1 = one-third of the scale plus inch. 39 from 4 = one-third of the scale less inch = 5 inches. 40 from 5 = inch more than 4 to 39. 41 from X = 1 inch more than 5 to 40. Shape the back sideseam from 37 to 38, 39, 40 and 41. 42 from 39 = two-thirds of the waist surplus shown at 36 to 18 less the inch taken out from 2 to 4. Overlap at 43 from 40 the inch that is reduced from the hip overlap placed at the side. 44 from 41 = 2 inches. Shape the sideseam from 37 to 42, 43 and 44, suppressing inch at 38. The underarm dart is advanced inch more forward from line 12 to 45. 46 from 45 = 11 inches. Shape the underarm dart, taking out at 47 the constant inch of underseam waist suppression plus the amount shown between 15 to 16. Take out at 48, in the front dart, the remaining onethird of waist surplus. Add on 4 inches at 49 from 33 and 50 from 35 for the double-breasted front overlap. Shape from 50 to 35 and 44 for the bottom edge run.
51 from 25 = half 11 to 17. 52 from 51 = 2 inches. Join 52 to 24. 53 from 24 = one-twelfth of the scale. 54 from 52 = one-fourth of the scale. Join 54 to 24 and 53 for the gorge dart. 55 from 26 = 1 inch. Mark the crease line of the lapel from 55 to 49 as shown. 57 from 24 = one-sixth of the scale. Square to 57. 58 from 54 = 57 to 54. 59 from 26 = 1 inches. Shape from 58 to 26. 60 from 56 = inch. 61 from 60 = 2 inches. Shape the lapel from 61 to 49 to complete the chesterfield draft.
Single-Breasted Panel Coat (Fig. 48)

Fig. 48 illustrates a very smart singlebreasted panel coat cut on modern lines. The lapels are extreme in shape to accentuate the square-shouldered effect achieved by the front and back panel seams diverging at angles into the armhole. Slanting jeatted pockets are shown, with a dart for the waist shape above. The draft has been arranged to show how to vary for a decrease in hip girth from normal. Full measures are as follows

Chest = 36 inches. Bust = 38 inches. Waist = 28 inches.
Hips = 40 inches. Natural waist length = 15 inches. Full length = 46 inches. Half-back width = 6 inches. Working scale = one-third of the bust girth plus 6 inches = 18 inches.
To draft Commence by drawing line X to X, the full length of the coat, 46 inches.

1 from X = the back depth = one-third of the scale plus 1 inches. 2 from X = the natural waist length = 15 inches. 3 from 2 = 8 inches for the hip level. 4 from X = one-sixth of the scale less inch. 5 from 4 = 1 inch. Shape the back neck from 5 to X. 6 from 1 = the half-back width plus inch. Square up from 6 to 7. 8 from 1 = the half-bust measure plus 2 inches. 9 squared up from 8 = 1 to X at the back. 10 from 9 = one-twelfth of the scale. 11 from 10 = one-sixth of the scale. 12 from 8 = one-fourth of the bust girth less inch. 13 from 12 = 3 inches. Square up from 13 to 14 equal to 8 to 10 less inch. 15 is midway 12 to 6. 16 from 15 = one-third of the scale plus inch.
Join 16 to 5 and 14. 17 is located where the line from 16 to 5 is intersected by line 6 to 7. 18 from 17 = inch. Shape the back shoulder seam from 18 to 5. 19 from 14 = 5 to 18 less inch. 20 and 21 below the breast line are each inch from 12 and 6 for the base of the scye. Square down from 8 to 22. 23 from 22 = inch. Draw the front centre line from 8 through 23 to 24. Square down from 15 to 25, 26 and 27. 28 and 29 from 25 are each 3/8 inch.
As there is 2 inches decrease in the girth, the 1 inch on the draft is reduced by two-thirds at the sideseams and one-third at the back panels. Therefore, instead of the normal 1 inches overlap at 26, we have 1 inches less 5/8 inch, i.e. 7/8 inch.
32 from 27 = 30 to 26 plus 1 inches. 33 from 27 = 31 from 26 plus 1 inches. Shape the sideseams from 15 to 28, 31 and 33 and from 15 to 29, 30 and 32. 34 from 2 = half the waist measure plus 2 inches. 35 from 6 for the position of the back panel seam where it terminates at the scye is half 1 to X. Mark out 2 inches to 36. 37 from 1 = one-sixth of the scale plus inch = 4 inches. 38 from 2 = one-sixth of the scale plus inch.
39 from 3 = one-sixth of the scale plus inch. 40 from X = one-sixth of the scale plus inch. Shape the back panel seam from 36 to 37, 38, 39 and 40. 41 from 37 = inch. 42 from 38 = two-thirds of the waist surplus shown at 34 to 22. 43 from 39 = the usual inch suppression plus one-third of the hip decrease of 1 inch = 5/8 inch. 44 from 40 = inch. Shape the side panel seam from 36 to 41, 42, 43 and 44.
The back panel seams are spaced narrowly as a slim effect is thereby achieved.
45 is midway 12 to 8. 46 from 23 = one-sixth of the scale plus inch = 3 inches. 48 from 24 = 46 to 23 plus inch. 49 from 45 = 2 inches. 50 from 14 = 14 to 11, pivoted from 49. Mark the bust dart from 49 to 45 and 50. 51 from 12 = 35 from 6. Mark from 51 to 52, 4 inches up from 45. Square across from 52 to 53. 54 from 46 = inch. Shape the front panel seam from 52 to 49, 54, 47 and 48. Take out a -inch dart at 55, above the pocket mouth. Add on 2 inches to 56, for the singlebreasted front edge, all the way down. 57 from 24 = inch. Shape the bottom edge run from 57 to the sideseam at 32.
58 from 11 = 1 inch. Mark the crease line from 58 to 3 inches above 56. 59 from 10 = one-sixth of the scale. Shape the neck curve from 59 to 11 as shown. 60 from 11 = 1 inches. Line from 60 through 59 to 61 inch from 59. 62 from 61 = 3 inches. Complete the shape of the lapel from 61 to 62 and the top button.
Lancer-front Coat (Fig. 49)

The design shown by Fig. 49 is that of a lancerfront town coat, with a perfect degree of fit and slim line achieved by a sidebody with a centre back seam and a front panel running from the front of the scye to the hem. The author recently cut a coat to this design and the draft is an exact reproduction of his pattern. The garment had a very slim line, and fitted perfectly without any alteration. On the original, a collarless neck line was included in the design, but, alternatively, a scarf, stand or "Prussian" collar may be added. The following are the actual measurements of the figure

Chest = 30 inches. Bust = 32 inches. Waist (tight waist measure) = 23 inches. Hips = 35 inches.
Natural waist length = 14 inches. Full length = 46 inches. Half-back width = 6 inches. Working scale = half the bust girth = 16 inches.

1 from X = the back depth = onethird of the scale plus 1 inches. 2 from X = the natural waist length = 14 inches. 3 from 2 = 8 inches for the hip level below the waist. 4 from 2 = inch. 5 from 3 = inch. Shape the centre back seam from X to 4, 5 and X at the bottom edge. 6 from X = one-sixth of the scale less inch. 7 from 6 = 1 inch. Shape the back neck run from 7 to X. 8 from 1 = the half-back width plus inch. Square up from 8 to 9. 10 from 1 = half the bust measure plus 2 inches. 11 from 10 = X to 1 at the back. 12 from 11 = one-twelfth of the scale. 13 from 12 = one-sixth of the scale. 14 from 10 = half the scale less inch.
15 from 14 = one-sixth of the scale. 16 squared from 15 = 10 to 12 less inch. 17 is midway 8 to 14. Square up from 17 to 18 one-third of the scale plus inch. Join 18 to 7 and 16. 19 is located where the line from 18 to 7 is intersected by line 8 to 9. 20 from 19 = inch. Shape the back shoulder seam from 20 to 7. 21 from 16 = 7 to 20 less inch. 22 and 23 are each inch below the breast line at 14 and 8 for the base of the scye. Shape the scye as shown. Square down from 10 to 24. 25 from 24 = inch. Draw the centre front line from 10 to 25, 26 and 27. Square down from 17 to 28, 29 and 30. 31 and 32 are each 3/8 inch from 28 for the normal waist suppression.
The hip measure shows 1 inch decrease, or inch on the draft, so the sideseam hip overlap is reduced from 1 inches normal to 1 inch. Therefore 33 and 34 from 29 are each inch, making 1 inch overlap in all.
Shape the sideseams from 17 to 32, 33 and 34A. 34A from 30 = 33 to 29 plus 1 inches.
Shape the sideseam from 17 to 31, 34 and 35. 35 from 30 = 29 to 34 plus 1 inches. 36 from 2 = half the waist measure plus 2 inches (waist 23 inches plus 2 inches for ease). 37 from 8 = 2 inches. 38 from 1 = one-third of the scale plus inch. 39 from 4 = one-third of the scale less 1 inches = 4 inches. 40 from 5 = 39 to 4 plus inch. 41 from X = 5 to 40 plus 1 inch. 42 from 39 = two-thirds of the waist surplus shown at 36 to 24 less inch taken out at 4 to 2. 43 and 40 are at the same point, as the usual inch of hip suppression has been taken out at the centre back at 5. 44 from 41 = 1 inch. Shape the sidebody seams from 37, 38, 39 to 43 and 41 and from 37 to 42, 43 and 44. 45 from 14 = 1 inches for the position of the front panel seam. 46 from 24 = 4 inches. 47 from 26 = 4 inches. 48 from 27 = 4 inches. Shape the front panel seam from 45 to 46, 47 and 48. 49 from 46 = the remaining third of the waist surplus shown at 36 to 24. 50 is midway 14 to 10.
51 from 16 = inch. Mark the bust dart from 51 to 50, and pivot from 51 to 52 the quantity 16 to 13. 53 from 12 = one-sixth of the scale. Shape the neck curve from 53 to 13 as shown. 54 from 25 = 3 inches for the front edge quantity at the waist line. 55 from 27 = 1 inch more than 25 to 54. 56 from 27 = inch. Shape the bottom edge run from 56 to 34A at the front sideseam. 57 from 13 = 2 inches. Line from this point through 53 to 58. 58 from 53 = 4 inches. Shape the front edge from 58 to 54 and 55, to complete the draft.
The front waist suppression is taken from the panel for preference as the design is not suited in line to the introduction of a dart under the bust. Though practically all the designs shown have a waist dart, this is by no means compulsory in the position indicated. The author does not, in practice, believe in suppressing the front panel seam, as this operation tends to disturb the balance and fit of the fronts. He would much rather omit the front waist suppression altogether if the dart he advocates could not be used. But after all, the finished effect is what we are interested in, and so darts should be used whenever possible.
Double-Breasted Travelling Coat (Fig. 50)

Fig. 50 illustrates the draft of a typical ulster or travelling coat. Cut on easy-fitting lines, an all-round belt confines the coat to the figure and is assisted by a slight amount of shape at the sideseams. Such coats are often cut with absolutely straight sideseams, but, if the material is at all heavy and of thick texture, a slight shaping of the sideseams is an advantage. Slanting or straight welt pockets are usual, but, as an alternative, patch pockets are often included. Full measures are as follows

Chest = 38 inches. Bust = 40 inches. Waist = 32 inches. Hips = 45 inches. Natural waist length = 15 inches. Full length = 45 inches. Half-back width = 7 inches. Working scale = one-third of the bust girth plus 6 inches = 19 inches.
To draft
Commence by drawing line X to X, the full length of the coat, 45 inches.

1 from X = one-third of the scale plus 1 inches. 2 from X = the natural waist length = 15 inches. 3 from 2 = 8 inches for the hip level. 4 from X = one-sixth of the scale less inch. 5 from 4 = 1 inch. Shape the back neck from 5 to X. 6 from 1 = the half-back width plus inch. Square up from 6 to 7. 8 from 1 = half the bust measure plus 2 inches. 9 from 8 = X to 1 at the back. 10 from 9 = one-twelfth of the scale. 11 from 10 = one-sixth of the scale. 12 from 8 = one-fourth of the bust less inch. 13 from 12 = 3 inches for all sizes over a 36-inch bust. 14 from 13 = 8 to 10 less inch. 15 is midway 6 to 12. 16 from 15 = one-third of the scale plus inch. Join 16 to 5 and 16 to 14.
17 is located where the line from 16 to 5 is intersected by line 6 to 7. 18 from 17 = inch. Shape the back shoulder seam from 18 to 5. 19 from 14 = 5 to 18 less inch. 20 and 21 from 6 and 12 are each inch below the breast line for the base of the scye. Complete the shape of the scye as shown. Square down from 8 to 22. 23 from 22 = inch. Draw the front centre line from 8 through 23 to 24. Square down from 15 to 25, 26 and 27. 28 and 29 from 25 are each 3/8 inch. Overlap at 26 to 30 and 31 half the difference between the bust and hip measures less inch, i.e. 2 inches. 32 from 27 = 30 to 26 plus 1 inches. 33 from 27 = 32 to 27. Add on 4 inches to 34 and 35 for the front edge overlap. 36 from 24 = inch. Shape the bottom edge through 36 to 32 at the front sideseam. 37 from 10 = one-sixth of the scale. Shape the neck curve from 37 to 11.
38 from 34 = 2 inches. 39 from 11 = 1 inch. Shape the crease line from 39 to 38. 40 from 11 = 1 inches. Line from 40 to 41, 1 inches from the crease line. 42 from 41 = 4 inches. Complete the shape of the lapels. 43 is midway 12 to 8. 44 from 14 = 14 to 11, pivoted from 43. Shape the bust dart as shown from 14 and 44 to 43.
A Collarless Coat (Fig. 51)

Fig. 51 shows the application of waist suppression to a design without panel or sidebody seams. The principles involved in the manipulation of the pattern to approximate to the effect of panel-seam suppression is illustrated by the following Fig. 51. A dart under the arm at the sideseam is included in the system and used in conjunction with the front waist suppression.
The design has a curving waist seam from the front edge to the sideseam and ends in two panel seams at the back. Full measures are as follows

1 from X = the back depth = one-third of the scale plus 1 inches. 2 from X = the waist length = 15 inches. 3 from 2 = 8 inches for the hip level.
4 from X = onesixth of the scale less inch. 5 from 4 = 1 inch. Shape the back neck curve from 5 to X as shown. 6 from 1 = the half-back width plus inch. Square up from 6 to 7. 8 from 1 = half the bust measure plus 2 inches. 9 from 8 = X to 1 at the back. 10 from 9 = onetwelfth of the scale. 11 from 10 = one-sixth of the scale. 12 from 8 = half the scale less inch. 13 from 12 = one-sixth of the scale. Square up to 14 equal to 8 to 10 less inch. 15 is midway of 6 to 12. Square up from 15 to 16 onethird of the scale plus inch. Join 16 to 5 and to 14. 17 is located where the line
from 16 to 5 is intersected by line 6 to 7.
18 from 17 = inch. Shape the back shoulder seam from 18 to 5. 19 from 14 = 5 to 18 less inch. 20 and 21 are each inch below the breast line for the base of the scye. Shape the scye as shown. Square down from 8 to 22. 23 from 22 = inch. Draw the front centre line from 8 to 23, 24 and 25. Square down from 15 to 26, 27 and 28. 29 and 30 from 26 are each 3/8 inch. Overlap at the hips the difference between half the bust and half the hip measures less inch. Therefore, 31 and 32 from 27 are each inch. 33 from 28 = 27 to 32 plus 1 inches.
34 from 28 = 31 to 27 plus 1 inches. 35 from 2 = half the waist measure plus 2 inches. 36 from 2 = the width of the back panels from each other = one-sixth of the scale plus inch. 37 from 3 = onesixth of the scale plus inch. 38 from X = onesixth of the scale plus 1 inch. 39 from 36 = two-thirds of the waist surplus shown at 35 to 22. 40 from 37 = inch. 41 from 38 = inch. Shape the back panel seam from 39, 40 to 41.
The das h line s fro m 36 to 43, 44 and 42 and fro
m 39 to 44 sho w the sup pres sion that has to be take n fro m the bac k to give the clos e fit.
As the widt h of the bac k pan el fro m2 to 36 is deci ded first , all sup pres sion s take n out afte
rwa rds do not affe ct this widt h.
45 from 10 = one-sixth of the scale. Shape the neck curve from 45 to 11. 46 from 11 = 1 inches. 47 from 45 = 4 inches. Line from 46 to 45 and 47. Shape from 47 to 45. 48 from 23 = 3 inches. 49 from 25 = 4 inches. Shape the front edge as shown from 49 to 48 and 47. 50 from 25 = inch. Shape the run of the bottom edge through 50 to 34. 51 from 48 = 5 inches. Shape the front waist seam from 51 to 30 at the sideseam. 52 is midway 8 to 12. 53 from 52 = 2 inches.
54 from 14 = inch. 55 from 54 = 14 to 11 pivoted from point 53. Mark at 56 onethird of the waist surplus shown at 35 to 22 as the necessary amount of front waist suppression. Mark out a similar quantity from the skirt at 57 to 58 a n d 5 9 .
Mani pulati on of the Patte rn to Produce Waist Suppression (Fig. 52)

Fig. 52 shows how the pattern is split up and manipulated to create the extra length at the sideseams, which enables the garment to fit round the "bends"
of the figure. As stated previously, if a fitting coat is desired, waist suppression must be taken out in similar proportion to that of a panelled-coat draft, even if the design is without panel or sidebody seams. We mark on the pattern the suppressions that are needed and then endeavour to fit the design to them. In this instance, the panel seam from the waist downwards permits of the usual waist suppression, but, above, the back is cut in one piece without seams of any description; so first the width of the panel seams apart is determined, and then the standard amount of suppression in accordance with the requirements of the figure is marked out, as 36 to 39 on
the draft in Fig. 51. That suffices for the skirt section below the waist line, the above-waist section being ignored for the moment. The panel seams are then continued above the waist line to the shoulders in the usual way. These are invisible suppression lines and not seams. They indicate the amount of suppression to be taken out to make the above-waist section agree with the below-waist section. We cannot take out seams, so the pattern is split up from 36 and 39 to 44, the point where on a panel draft the waist suppression disappears, and from 42 at the back shoulder to 44. The suppression 36 to 39 is then closed out, pivoting from
44, and the back pattern re-marked as shown by the solid construction lines in Fig. 52 (a). A similar effect is now gained by taking out a panel seam to the waist, and the lowering of points 15 and 29 is in accordance with the principles of waist suppression described in Chapter IV. It will be seen that the back shoulder seam has increased slightly in length. This is not a fault; extra length for easing to the front shoulder is essential for a clean-fitting shoulder, so this result of the pattern manipulation may be discounted. Fig. 52 (b) shows the manipulation of the front pattern to produce a whole shoulder and the customary waist suppression. As the
shoulder is required without a bust dart and there is no possibility of a gorge dart when the fronts button up without a collar, we must resort to the underarm dart as a means of providing bust provision. Therefore, the shoulder dart from 55, 54 to 53 and the waist dart from 56 to 53 have to be eliminated and transferred to the underarm dart. Split the pattern from 55 and 54 to 53 and from 53 to 60. Close 55 to 54, pivoting from 53, which causes 53 to 60 to open. Remark the new shoulder and scye shape as shown, then split up the pattern from 56 to 53 and close out the waist suppression. The bust dart will then open to 61. Mark two seams inside
60 and 61 and shape the bust dart to 62, 4 inches from the sideseam. Fig. 52 (c) indicates the process of altering the skirt to agree with the need for waist suppression. The waist seam must be equal in length to sew to 30 and 51, so the suppression at 57 is closed out by splitting up the skirt pattern from 57 to 58 and from 59 to 58. If the slight increase in the quantity of material in the skirt is deemed unnecessary, reduce the sideseams back to 34 after the waist dart has been pleated out, and check up the length of the sideseams to agree with 30 to 34. The operation of splitting up the pattern and closing out the necessary
suppressions achieves in a block design the same fitting results as the insertion of seams, even though the processes involved may appear "unscientific." But science has not the elasticity to cope with all the demands of design; at times a somewhat more effective and practical knowledge is needed to apply the science rationally to pattern designing. Science tells us that such overlap and suppression are necessary, yet does not or cannot lay down concrete ways and means of applying these factors. The abler a cutter becomes, the less he adheres to static rules of cutting. He keeps in his mind the fundamental requirements of the system to produce a good-fitting garment and
operates until the finished pattern has incorporated therein all the knowledge that scientific principles and practical modelling have taught. We cannot always cut our coats with panel seams; if we could, cutting would be less of difficulty and more of monotony. The constantly changing designs in the fashion world keep the brain keen and alert, while always endeavouring to fit designs to definite suppression factors teaches us that system is too rigid to be more than a basis for commencement. The basis drafts lay down definite points which always have to be adhered to, though the methods of doing so differ with practically every varying design, and
any attempt to systematize these methods is doomed to failure by the very prolificacy of fashion styles. All we can do is to master the general methods of approach and keep in mind the everpresent need of waist suppression at the back and front to create an additional amount of sideseam length, without which the fit of any garment is im po ssi ble .
Do ub leBr easted Travelling Coat with Pleated Back (Fig. 53)

A travelling coat is shown by Fig. 53 with the pleated back and half-belt similar to a "Guards" back.
Patch pockets are shown as well as wide lapels of the "ulster" shape. The draft is founded upon the singleseam basis as described by Fig. 47. Measures are as follows

1 from X = the back depth = onethird of the scale plus 1 inches. 2 from X = the natural waist length = 15 inches. 3 from 2 =8 inches for the hip level. 4 from X = onesixth of the scale less inch. 5 from 4 =1 inch. Shape the back neck curve from 5 to X. 6 from 1 = the halfback width plus inch.
Square up from 6 to 7. 8 from 1 = the half-bust measure plus 2 inches. 9 from 8 = half the scale less inch. 10 is midway 6 to 9. Square down from 10 to 11 at the hip line. 12 from 11 = half the differenc e between the bust and hip measure s less 1 inch. Line from 10 through 11 to locate 13 and 15. Line from 10 through 12 to
locate 14 and 16.
Resquare the bust, waist and hip balance lines from the construc tion line 10 to 14, 12 and 16. 17 from 9 = 8 to 9. Square down from 17 to 18, 19 and 20 on the bottom base line squared from 16. 21 from 17 = X to 1 at the back. 22 from 21 = onetwelfth of the scale. 23 from 22 = onesixth of
the scale.
24 from 9 = onesixth of the scale. Square up from 24 to 25 equal to 17 to 22 less inch. 26 from 10 = onethird of the scale plus inch. Join 26 to 5 and 25. 27 is located where the line from 26 to 5 is intersect ed by the line 6 to 7. 28 from 27 = inch. Shape the back shoulder seam from 28 to 5. 29 from 25 = 5 to 28
less inch.
30 and 31 are each inch below the breast line for the base of the scye. Shape the scye as shown. 32 from 18 = inch. Mark the centre front line from 17 to 32 and 33. 34 from 2 = half the waist measure plus 2 inches and the amount 13 to 14. 35 from 6 = 1 inches. 36 from 2 = onethird of the scale.
37 from 3 = onethird of the scale plus inch. 38 from X = onethird of the scale plus 1 inch. Shape the back sidesea m from 35 to 36, 37 and 38. 39 from 36 = twothirds of the waist surplus shown at 34 to 32. 40 from 37 = inch overlap. 41 from 38 = 2 inches. Shape the front sidesea m from 35 to 39, 40 and 41. 42 from 10 = inch.
43 from 14 = 1 inch. 44 from 42 = 13 inches. Shape the underar m dart from 42 to 44, suppress ing the usual inch plus the amount 13 to 14. 45 is midway of 9 to 17. 46 from 25 = 23 to 25 pivoted from 45. Shape the bust dart as shown. Add on 4 inches at 47 from 32 for the doublebreasted overlap. Square down from 47 to 48.
49 from 33 = inch. Shape the bottom edge run as shown to 41. 50 from 47 = 2 inches. 51 from 23 = 1 inch. Mark the crease line of the lapels from 51 to 50. 52 from 22 = onesixth of the scale. Shape the neck curve from 52 to 23. 53 from 23 = 1 inches. 54 from 52 = 1 inch. Line from 53 to 52 and 54.
Shape the point of the lapel from 54 to 55, i.e. 4 inches. Shape from 55 to 50 as shown. Add a pleat on the centre back line as marked, making the width of the pleat 4 inches at the top and 6 inches at the bottom edge.
The breast pocket is made 5 inches by 5 inches wide and the hip pockets are 6 inches by 7 inches. The back belt is made 2
inches in width and fastens with two holes and buttons.
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by F. R. Morris
Chapter VIIIThe Construction of Patterns for Raglans

IN recent years the raglan coat style has found great favour with designers and the public generally. No longer does the mention of a "raglan" bring to mind a garment of rain-proof style and stereotyped design cut on loose-fitting lines; instead, to-day an entirely different outlook is held. Raglans are now made with line and style; the sleeve is inserted for its value in design rather than for utility. Another innovation is the use of raglan sleeves with other than loose-fitting styles, for looked upon as having design value they may be adapted to either close- or loose-fitting garments. There seems to be an atmosphere of difficulty surrounding the cutting of raglan sleeves. Admittedly, the variations of these sleeves, which are required without a seam over the shoulder, present difficulties which can be met only by a compromise. The material used also must be considered; a close weave gives less to the shoulder than a looser texture, and adjustment in the sleeve must be made accordingly.
The principal point to keep in mind is the position of the shoulder seam. For raglans and all garments of this character, including split-sleeve and drop-shoulder designs, the seam must be exactly on the top of the shoulder. Loose-fitting garments are intended to hang from the shoulders as an essential feature of their design, and the effect of the design is ruined if the shoulder seam slopes back over the shoulder to give an impression of fallingaway from the figure. With raglan sleeves the location of the shoulder seam right in the centre of the shoulder enables the raglan seam runs to be balanced equally each side. Too often we see raglan coats with creases from the back to the front shoulder caused by the retention of a similar back neck width to a chesterfield style with the result that all the seams are placed too far back from the front. Another point to note is the necessity of easing-in the back shoulder seam to the forepart seam. While this operation may be faithfully carried out when making set-in sleeve shoulders, it is often neglected in the making of raglans. Obviously, what is correct and necessary for one style applies with equal force to the other. A lot of the trouble experienced with raglan sleeves and shoulders is caused by this small factor. Failure to ease the shoulder to the front does not help in the need for spring over the shoulder point in front, over which, in raglans, there always seems to be tightness. The draft basis as described hitherto provides for the shoulder seam on the top of the shoulder at the scye; it is therefore necessary to adjust this seam at the neck further towards the front. The adjustment required is inch, and, in this book, drafts embodying raglan, drop-shoulder or splitsleeves will be described with the necessary adjustment made.
Variation of the Shoulder Seam Position (Fig. 54)

For the purpose of clarity the system will be described for the shoulder construction in full as usually drafted, and then the variation superimposed thereon. The draft is based upon the normal 34-inch bust standard, scale 17 inches. To draft
Commence by drawing line X to 2, the length to the natural waist.

1 from X = the back depth = one-third of the scale plus 1 inches. 2 from X = the waist length from X. 3 from X = one-sixth of the scale less inch. Square up from 3 to 4 1 inch. Shape from 4 to X for the back neck curve as shown. 5 from 1 = the half-back width plus inch. Square up from 5 to 6 as indicated. 7 from 1 = half the bust measure plus 2 inches. Square up from 7 to 8 equal to X to 1 at the back. 9 from 8 = one-twelfth of the scale. 10 and 9 = one-sixth of the scale. 11 from 7 = half the scale less inch. 12 from 11 = one-sixth of the scale. Square up from 12 to 13 equal to 7 to 9 less inch. 14 is midway of 5 to 11 for the position of the sideseams and shoulder slope determination point. Square from 14 up to 15 one-third of the scale plus inch. Square down from 14 to 16. Join 15 to 4 and 13. 17 is located where the line from 15 to 4 is intersected by the line from 5 to 6. 18 from 17 = inch. Shape the back shoulder seam run from 18 to 4 as indicated. 19 from 13 = 4 to 18 less inch. 20 and 21 are each inch below the breast line for the base of the scye. This quantity is used when the raglan design is intended to be cut fairly close up. Square down from 7 to 22 at the front centre line. 23 from 9 = one-sixth of the scale. Shape the neck curve as shown from 23 to 10. 24 is midway of 11 to 7.
25 from 13 = 13 to 10 pivoted from 24. Shape the bust dart from 24 to 13 and 25 as indicated.
The variation from the normal draft is as follows

Continue the back neck curve inch from 4 to 26. Square down from 26 to 27. 27 from X = one-sixth of the scale net for the difference of construction. Shape the back shoulder seam from 26 to point 18. At the front shoulder, 28 is lowered the same quantity below 10 that 26 is raised above 4. 29 from 13 = 3/8 inch, or the extent of the variation of the back shoulder seam at this point. 30 from 29 = 29 to 28 pivoted from 24. Reshape the front shoulder seam from 28 to 29 and from 30 to 19 to complete the variation of the shoulder seams.
The Raglan Seam Positions (Fig. 55)

There are many positions for the raglan seams on the shoulder, all of which are a matter of style and do not interfere with the basic constructional method as presented herewith. From the point of view of style, it is always advisable to keep the seam runs fairly high on the shoulders to obviate the tendency of this style to give a sloping-shoulder appearance. Quite often, however, fashion decrees a sloping-shoulder silhouette at one season and a square effect the next, and it is up to the designer to keep au fait with the current mode. From the making point of view, it is essential that the raglan seams at the neck do not converge to practically nothing. It does not give either the cutter or the tailor much chance of success if there is not sufficient distance between the two horns of the sleeve to permit ease of sewing-out. The author believes
in allowing for the horns of the sleeve to be each inch wide at the collar seam; in addition to ease of making, an improved appearance is thereby gained. It has also been found from experience that a raglan coat does not require a back width in proportion to the normal apart from any variation of seam placement. To make the variation for the raglan seam runs proceed as follows

Points X to 30 are as described in Fig. 54, with the exception that the constructional lines of the normal shoulders are omitted. Therefore 9 from 8 = one-twelfth of the scale less inch. A is the front sleeve pitch, inch up from the base of the scye line at 20. B is the back pitch, half X to 1 up from point 5. To draft the back raglan seam run, mark back to 31 from 26 inch, the width of the sleeve horn at the collar seam. 32 from the back pitch B = 3/8 inch. Join 32 to 31 by a construction line. Shape the seam run from 32 to 31 as shown, adding inch of curve between the two points. Continue the seam run from 32 to finish at the back scye 1 inches below pitch B. At the front shoulder 33 is inch below 29 for the sleeve-horn width. Join the constructional line from 33 to the front pitch A as shown. Shape the seam run between these points, adding inch of curve.
The bust dart has now to be taken into account. To mark the complete seam run to terminate at the frontneck point, 35 from 29 equals the distance from 34 to 30.
36 from 30 = 37 from 29. 38 from 28 = the distance 33 is below 29. Shape the seam run from 38 to 35, and when the bust dart is sewn out 38, 35 and 34 to the front pitch will be one seam.
If the garment is cut with a gorge or underarm seam dart, the raglan seam run will be as marked from the front pitch to 33, except, of course, that the height of 33
from the breast line will be automatically increased by the working out of the different systems.
This completes the shaping of the raglan seams on the shoulders.
The Shoulder Sections (Fig. 56)

Fig. 56 indicates the shoulder sections cut away from the pattern and ready to be superimposed upon the normal sleeve draft. In the author's opinion, the most accurate method of cutting raglan sleeves is to cut the shoulder sections away and lay them upon the sleeve draft to obtain the shape of the horns. Many cutters use this method in practice in preference to the principle of obtaining the factors of construction by measuring the lengths of the raglan seams and transposing them upon the sleeve draft by sweeps and pivoting. The latter method may be quicker in practice, so it is advisable first to understand thoroughly the method of superimposing the shoulder sections on the sleeve, and then evolve a system to give equal results without the necessity of always cutting away the shoulder parts. Fig. 56 also shows how the two sections of the front shoulder appear when the dart has been closed. Now with regard to the seams to be allowed and accounted for, the back shoulder seam run is now the shape of the raglan seam run 31 to 32 and C, and has a seam allowed for in the construction of the system. Therefore, no seams are allowed round the shoulder section at 26 to 18 and 31 to 32 and C. Similarly, at the front shoulder a seam is allowed from 38 to 35 and 34 to the front pitch A and all round the scye. Seams are required from 19 to 28 and from 38 to 35 and A on the shoulder section.
The two lower diagrams indicate how the seams are added to the cut-away shoulder sections.
Preliminary Sleeve Construction (Fig. 57 (a))

Fig. 57 (a) illustrates the method adopted of superimposing the shoulder sections upon a normal sleeve draft. For raglan sleeves, it is advisable to cut them slightly wider than set-in sleeves from the point of view of ease in wear. For the purpose of the draft, the necessary scye measures are derived from the shoulder section of Fig. 55.

To draft Square from X.

1 from X = the height of the back pitch from the base of the scye line less inch. 2 from 1 = the top-scye circumference applied diagonally. 3 from 2 = one-third of the diagonal measure 1 to 2 plus inch. 4 from 3 = the crown height, 1 inches, as may be found by sweeping from a inch seam below the back and front shoulder ends and where these sweeps intersect to the level of the back pitch from the breast line. 5 is midway of 3 to X. Shape the sleeve crown as shown from 1 to 5, 4 and 2. 6 from 2 diagonally = the required sleeve length less the half-width of the back. 8 from 6 = 1 inches. Square out from 7 to 8 and 9. 8 from 7 = inch. Join 8 to 1.
9 from 8 = one-third of the total scye circumference net. Join 9 through 6 to locate point 10. 11 for the position of the elbow is midway 1 to 10. 12 from 11 = 1 inches always. Join 2 to 9 to locate point 13 on the line squared up from 11. 14 from 13 = 2 inches. Shape from 14 to 9 for provisional sleeve construction. Add inch to the top-sleeve at 15, 16 and 17 for the three-quarter sleeve finish.
It is always advisable to cut all raglan sleeves in this way, so that the seam is well out of sight tinder the arm. Take the front shoulder section before the seams have been added and place in position upon the sleeve crown.
18 from 1 on the diagonal line 1 to 2 is a inch seam, for, as a seam is allowed round the scye at this section, there is only the need for one seam to be allowed at 18 on the shoulder section. Overlap the shoulder section below the sleeve crown inch or two seams at 19. The reason for this is that there is not an over-shoulder sleeve seam in a raglan and the shoulder and sleeve are cut in one piece.
After the shoulder section has been superimposed upon the sleeve, mark the seams to be allowed as shown by the solid lines. The back shoulder section is laid upon the sleeve in like manner.
20 from 2 on the diagonal line from 1 to 2 equals inch or two seams; the difference from the front seam construction is explained by the fact that, where the back section overlaps the sleeve, seams are allowed on both parts; hence the need for the reduction of inch. 21 is overlapped inch in a similar manner to the front shoulder section. Mark the necessary seam round the back horn of the sleeve as shown. Shape from 27 to 14 to complete the preliminary sleeve draft.
For drafting the raglan sleeve without cutting away the shoulder sections, we must obtain
our data from the superimposition of the sections as described.
Raglan Sleeve Standard Basis (Fig. 57 (b) )

The sleeve system described is identical in shape and construction with the sleeve systematized by Fig. 57 (a), and is obtained by a method of direct measurements of the scye and shoulder sections. In order to give an explanation of the method, reference will be made to Fig. 55 in the constructional matter. Scye measures are as enumerated for Fig. 57 (a). To draft Square from X.

1 from X = the height of the back pitch above the base of the scye line less inch. 2 from 1 = the top-scye circumference applied diagonally. 3 from 2 = one-third of 2 to 1 plus inch. 4 from 3 = the crown height = 1 inches. 5 is midway of 3 to X. Shape the sleeve crown from 1 to 5, 4 and 2. 6 from 2 = the sleeve length applied diagonally from 2 less the width of the half-back measure. 7 from 6 = 1 inches. Square out from 7 to 8 and 9. 8 from 7 = inch. Join 8 to 1 as shown. 9 from 8 = one-third of the total scye circumference net. Join 9 to 6 to locate point 10. 11 is midway of 1 to 10 for the elbow position. 12 from 11 = 1 inches. Square up from 12 to 13 and 14.
13 is located where the line from 2 to 9 is intersected by line 11 to 14. 14 from 13 = 2 inches.
To draft the raglan shoulder sections now proceed as follows

Measure from the front pitch A to point 38 in Fig. 55. Apply this quantity plus inch from 1 on the sleeve draft in an arc as 15. Measure round the front scye from A to 19 in Fig. 55 and apply this quantity from 1 round the crown of the sleeve to 16 plus inch. Make a sweep from 16 to intersect the arc 15 at 17 equal to the front shoulder width less two seams. 18 from 17 = the width of the sleeve horn, inch, plus inch seam. 19 from 17 = inch seam. Join 19 to 1 and hollow the sleeve run between these points inch to agree with the shape of the raglan shoulder on the body part. Take the measure from B to 26 in Fig. 55 and apply in an arc from 2 to 20. Measure round the scye from B to 18 in Fig. 55 plus inch, and apply this quantity round the sleeve crown from 2 towards the centre of the sleeve head.
In this case the measure locates a point identical with 4; so to simplify the draft the latter point is substituted.
Take the back shoulder width from 26 to 18 and apply this quantity less two seams from 4 to intersect the arc 20 at 21. 22 from 21 = the width of the sleeve horn, inch, plus inch seam. 23 from 21 = inch seam. 24 from 2 = inch. Join 24 to 22 and hollow the sleeve seam run inch between the two points.
25 from 24 = 1 inches. Shape the hindarm sleeve seam run from 25 to 14 and 9. Shape the inside of the sleeve horns from 23 and 18 to 26. 27 is midway of 12 to 14. 28 is midway of 6 to 9. Shape the overarm sleeve seams from 26, overlapping inch for seams at 27 and 28. 29 from 1 = one-sixth of the scale. Measure up the under-scye from the front pitch A to the lowered back pitch C in Fig. 55, and apply this quantity from 1 to 30 plus inch. Sweep from 25 to 30, pivoting from 14. 31 from 14 = inch. Reshape the under-scye from 1 to 29, 30 and 31 for the shape of the under-sleeve.
Add inch to the top-sleeve at 32, 33 and 34 and reduce the undersleeve seam a similar quantity at 35, 36 and 37 to complete the sleeve draft.
Single-Breasted Raglan (Fig. 58)

A smart loose-fitting raglan is shown in Fig. 58. Loose-fitting designs have had a new lease of popularity and are very suited to the modern woman. A full skirt is usually cut when the coat is worn without a belt, and a variation of style may be introduced by the "swing" or "box" back effect. The author always endeavours, when cutting loose-fitting styles, to have the front sideseam running backwards from under the arm; in other words, to allow more "spring"
on the front sideseam than on the back. The effect so obtained is much more stylish than the reverse and contributes to the loose, swinging appearance desired. The fronts are fastened with three buttons, and a "Prussian" collar finishes the neck. Novel pockets are indicated, consisting of a sewn-on patch with a jeatted pocket inset. Full-length coats do not look fashionable in loose-fitting styles; the latter should be worn either seven-eighths or three-quarter length. Full measures for the draft are as follows

Chest = 32 inches. Bust = 34 inches. Hips = 38 inches. Natural waist length = 15 inches. Full length = 40 inches. Half-back width = 6 inches. Working scale = half the bust girth = 17 inches.
Square from X.

1 from X = the back depth = one-third of the scale plus 1 inches. 2 from X = the natural waist length =15 inches. 3 from 2 = 8 inches for the hip level. 4 from X = the full length of the coat = 40 inches. 5 from X = the back neck width = onesixth of the scale net.
6 from 5 = 1 3/8 inches. Shape the back neck curve from 6 to X. 7 from 1 = the half-back width plus inch. Square up from 7 to 8. 9 from 1 = the half-bust measure plus 2 inches. 10 from 9 = X to 1 at the back. 11 from 10 = one-twelfth of the scale less inch. 12 from 11 = one-sixth of the scale. 13 from 9 = half the scale less inch. 14 from 13 = one-sixth of the scale. Square up to 15 equal to 9 to 11 less inch. 16 is midway of 7 to 13. Square up from 16 to 17 one-third of the scale plus inch. Join 17 to a point inch below 6 and to 15. 18 is located where the line from 17 to 6 is intersected by line 7 to 8. 19 from 18 = inch. Shape the back shoulder seam run from 19 to 6. 20 from 15 = the back shoulder width 6 to 19 less inch. Square down from 9 to 21. 22 from 21 = inch. Line down the front centre line from 9 to 22, 23 and 24. 25 from 24 = inch. 26 from 13 and 27 from 7 are each inch below the breast line for the base of the scye. 28 from 7 = 1 inches for the position of the sideseam.
Square down from 28 to 31, 32 and 33. 29 from 28 = inch for the top of the back sideseam. 30 from 28 = inch for the top of the front sideseam. 34 and 35 from 32 = half the difference between the bust and hips measures less inch. 36 from 35 = 1 inch. This quantity may be increased or decreased in proportion to the amount of width in the skirt. 38 from 34 = inch. Draw the front sideseam from 30 to 36 and 37. Draw the back sideseam from 29 to 38 and 39. Shape the bottom edge run from 25 to 37 as shown. 40 from 11 = one-sixth of the scale less inch. Shape the neck curve as shown from 40 to 12. Add 2 inches at 41 from 40 all down the fronts to 42 for the single-breasted front edge. 43 is located midway of 13 to 9. 44 from 15 = 15 to 12 pivoted from 43. Mark out the bust dart as shown. The back pitch B is located at half the back depth X to 1 up from 7. 45 from 6 = inch. 46 from B = 3/8 inch. Join 46 to 45 and add inch of curve to the shoulder seam as shown. 47 from 15 = inch. Join 47 to the front pitch A and add inch of curve to the seam.
48 is located where the seam from 47 intersects the bust dart. 49 is located where the construction line from 47 to A is intersected by the bust dart. 50 from 15 = 44 to 48. 51 from 15 = 44 to 49. Complete the shape of the front raglan seam by joining to 52 inch below 12.
The pocket is placed 9 inches below the front of the scye and is made 8 inches in length by 2 inches in width.
Provision for Increase of Width in the Skirt (Fig. 59)

Fig. 59 shows how to infuse extra width or "drapery" in the skirt of a loose-fitting garment. The "swing" or "box" back is achieved by splitting up the pattern from a point vertically below the back pitch C and opening out approximately 2 to 4 inches at the bottom edge. If the extra width is not required at the sideseams under the arms the author reduces at this part half the amount let in for the "box" effect. Care must be taken that the back sideseam does not run forward after the adjustment has been made. The author checks this up by laying the pattern in the "square" after recutting
and, if necessary, reduces the back seam and adds this quantity to the front sideseam. For style the author has often added front drape when cutting this type of "swagger" coat. In fact, these days loose-fitting garments possess a chic of their own that to the older generation is inexplicable. To them a raglan is just another loose coat and easy to cut, yet therein lies the snag. What is apparently easy to cut must have "line" of some sort infused therein to give style to such a straightforward design, and style features, like "swing" backs and draped fronts, are a boon to the cutter of intuition. The fronts are opened up from a point 3 inches up from the front pitch vertically to the bottom edge, and approximately the same amount is inserted as at the back.
Raglan Sleeve with Dart Shoulder (Fig. 60)

Many raglan sleeves for ladies' coats are cut without a seam over the forearm, but instead have a dart only from the neck to the shoulder end. For the purpose of the sleeve draft, measurements are derived from Fig. 55.
Total scye circumference = 16 inches.
Top-scye circumference = 9 inches. Under-scye circumference = 7 inches.
1 from X = the height of the back pitch above the base of the scye less inch. 2 from 1 = the top-sleeve width applied diagonally from 1. 3 from 2 = one-third of the measure 1 to 2 plus inch. 4 from 3 = the crown height = 1 inches. 5 is midway of 3 to X. 6 from 2 diagonally = the sleeve length less half the width of the back measure. 7 from 6 = 1 inches. Square out from 7 to 8 and 9. 8 from 7 = inch. 9 from 8 = one-third of the total scye circumference net. Line from 9 to 6 to locate 10 on the line joining 1 to 8. 11 is midway of 1 to 10 for the position of the elbow. 12 from 11 = 1 inches. Square out from 11 to 13 and 14. 13 is located where the line from 11 is intersected by a line from 2 to 9. 14 from 13 = 2 inches.
Measure the distance from the front pitch A to 36 plus 37 to 38 in Fig. 55, and apply this quantity in an arc from 1 to 15 plus inch. Measure round the front scye from A to 19 in Fig. 55, and apply this quantity round the crown of the sleeve from 1 to 16 plus inch. Measure the width of the front shoulder seam from 19 to 30 plus 29 to 28 in Fig. 55 and sweep an arc from 16 to 17 less inch. 18 from 17 = the width of the sleeve horn plus inch, inch in all. 19 from 17 = inch seam. Join 19 to 1 and hollow the seam inch to match the run of the shoulder seam at this point. Measure from the back pitch B to 26 in Fig. 55, and apply this quantity from 2 in an arc to 20. 21 from 2 = the measure from the pitch B to the shoulder end at 18 plus inch applied round the sleeve crown. Measure the width of the back shoulder seam from 26 to 18 in Fig. 55 and sweep this quantity less inch from 21 to intersect the arc 20 at 22. 23 from 22 = inch. 24 from 22 = inch seam. 25 from 2 = inch. 26 from 25 = the distance the back pitch C is below B in Fig. 55 less inch.
Join 25 to 23 and hollow inch between the two points to agree with the shape of the back-shoulder seam. Shape from 26 to 14 and 9 for the hindarm seam run. Shape the shoulder-seam sections of the sleeve horn from 18 to 16 and 27 and from 20 to 21 and 27. 28 from 1 = one-sixth of the scale. 29 from 1 diagonally = the distance round the under-scye plus inch less the distance the back pitch is lowered to C in Fig. 55. 30 from 14 = inch. Complete the shape of the under-sleeve from 1, 28, 29 and 30 to 9.
DoubleBreasted Ulster Coat (Fig. 61)

A typical belted ulster travelling coat is illustrated by Fig. 61. The fronts are doublebreasted with a storm collar and heavy lapels, slanting or patch pockets and a twobutton fastening. An all-round belt confines the garment to the figure, and, to ensure that there is not too much material under the belt, the sideseam overlap is reduced from the
allowance made for the loosefitting raglan. A gorge-cut is placed under the lapel for bust-shape provision. Full measures are as follows

Chest = 34 inches. Bust = 36 inches. Hips = 40 inches. Natural waist length = 15 inches. Full length = 45 inches. Half-back width = 6 inches. Working scale = one-third of the bust girth plus 6 inches = 18 inches.
1 from X = the back depth = one-third of the scale plus 1 inches. 2 from X = the natural waist length = 15 inches. 3 from 2 = 8 inches for the hip line. 4 from X = one-sixth of the scale. 5 from 4 = 1 3/8 inches.
Shape from 5 to X for the back neck curve. 6 from 1 = the halfback width plus inch. Square up from 6 to 7. 8 from 1 = half the bust measure plus 2 inches. 9 from 8 = the back depth 1 to X. 10 from 9 = onetwelfth of the scale less inch. 11 from 8 = half the scale less inch. 12 from 11 = onesixth of the scale. Square up from 12 to 13 equal to 8 to 10. 14 is midway of 11 to 6. Square up from 14 to 15 one-third of the scale plus inch. Join 15 to 16 inch below 5 and 15 to 13. 17 is located where the line from 15 to 16 is intersected by the line from 6 to 7. 18 from 17 = inch. Shape the back shoulder seam from 18 to 5 as shown. 19 from 13 = 5 to 18 less inch. 20 and 21 are each inch below the breast
line for the base of the scye.
Square down from 8 to 22. 23 from 22 = inch. Mark the front centre line from 8 to 23, 24 and 25. z6 from 6 = 1 inches for the position of the sideseam. Square down from 26 to 27, 28 and 29. 30 and 31 from 28 = half the difference between the bust and hips measures less inch. 32 from 26 = inch. 33 from 27 = inch. 34 from 30 = inch. 35 from 29 = 28 to 34 plus 1 inch. Shape the sideseam from 32 to 33, 34 and 35. 36 from 26 = inch. 37 from 27 = inch. 38 from 31 = inch. 39 from 29 = 28 to 38 plus 1 inch. Shape the sideseam from 36 to 37, 38 and 39. 40 is midway of 8 to 11. 41 from 40 = 2 inches.
Join 41 to 10. 42 from 10 = onetwelfth of the scale. 43 from 41 = onefourth of the scale. Join 43 to 42 for the shape of the gorge dart as shown. 44 from 10 = onesixth of the scale less inch. Square from 44 to 45. 46 from 43 = 43 to 45. 47 from 13 = 1 inch. Shape from 46 to 13 as shown. Add 4 inches from 23 to 48 for the doublebreasted front overlap. 49 from 25 = 4 inches. Line from 48 to 49 as shown, drop the bottom edge inch to 50 from 25 and complete the shape of the bottom edge as indicated. 52 from 44 = 3 to 4 inches. Complete the shape of the lapel as indicated. 51 from 13 = 1 inch. Shape the crease line from 51 to 2 inches above 48. 53 from 13 = inch. Join to the front pitch A and add inch of
round between the two points.
54 from B = 3/8 inch. 55 from 5 = inch. Join 54 to 55, and add inch of round between the two points.
The slant pocket is placed 9 inches below the front of the scye to complete the draft.
Twopiece Sleeve Basis Draft (Fig. 62)

Fig. 62 illustrates the draft of a two-piece sleeve with a seam over the shoulder and under the arm. This draft is based on the standard formula for the construction of onepiece sleeves, with the alteration for the raglan shoulders superimposed. Scye measurements used are derived from Fig. 61.
To draft Square lines from X.
1 from X = the distance from the back pitch B in Fig. 61 to the base of the scye at 21 on the back. 2 from 1 = inch. 3 from 2 = the top-scye circumferenc e measuremen t applied from 2 diagonally to 3. 4 from 3 = one-third of the distance from 2 to 3 plus inch. 5 from 4 = the crown height = 1 inches.
6 is midway of X to 4. Shape the sleeve head from 2 to 6, 5 and 3. Square down from point 4 to 7 the full sleeve length less the halfback width applied from 3. 8 from 7 = inch. Square each way from 8. 9 and 10 from 8 = the cuff width = one-third of the scye circumferenc e. 11 from 10 = inch. 12 from 9 = inch. 13 from 12 for the position of the underarm seam at the wrist = onethird of the distance from 12 to 11. Measure round the front scye on the coat from
the pitch to the underarm seam and apply this quantity from 2 to 14.
Join 2 to 12 and then by this line square across from 14 to 15, making 15 from 2 equal to 14 to 2. By line 2 to 12, square across from 13 to 16, making 16 from 12 equal to 12 to 13. Measure round the under-scye on the coat from the back sleeve pitch to the underseam and then sweep this quantity from 3 to 17 plus inch. Join 17 to 3 and 13. Square down from 3 to 18, level with point 11. 19 from 18 = 18 to 11.
20 is squared from 13 by line 3 to 18, and 20 from this line equals the distance from the line to 17. Square by this line from 17 to 21, making 21 from the line an equal distance from the line to 17. Shape the bottom edge run of the cuff from 16 to 12, 8, 11, 19 and 20. To construct the shoulder sections, measure from the front pitch A to 53 in Fig 61, and apply this quantity plus inch in an arc from 2 to 22 as illustrated. Measure round the front of the scye from the pitch A to the shoulder end at 19 in Fig. 61 and apply this
quantity round the sleeve crown from 2 to 23 plus an additional inch.
Measure the width of the front shoulder seam from 19 to 13 in Fig. 61 and apply this quantity in a sweep from 23 to 24 less two seams, inch. 24 is located where the two arcs intersect. 25 from 24 on the arc from 23 = inch. 26 from 24 on the arc from 2 = one seam or inch. Join 2 to 26 and hollow the raglan shoulder seam of the sleeve by a quantity of inch to agree with the run of the shoulder seam on the coat.
Measure the back shoulder seam from B to 5 in Fig. 61, and apply this quantity in an arc from 3 to 27. Measure round the back scye from B to the shoulder end at 18 in Fig. 61 and apply this quantity round the sleeve crown from 3 to 28 plus inch. Measure the width of the back shoulder seam from 18 to 5 in Fig. 61 and apply this quantity less inch in a sweep from 28 to intersect the arc from 3 at point 29. 30 from 29 on the arc from 28 = inch. 31 from 29 on the arc from 3 = inch. 32 from 3 = inch. Join
32 to 31 and hollow the raglan shoulder seam inch to agree with the run of the seam on the back part.
Shape the run of the under-sleeve from 32 to 21, hollowing inch. Shape the front raglan shoulder seam from 25, through 23, 4 and inch or a seam behind the line from 4 to 8. Shape the back shoulder seam from 30 through 28 to 4 and inch in front of the centre line from 4 to 8.
When shaping the shoulder seams down the centre of the sleeve, make sure that the width of the sleeve is not reduced below
point 4 by overlapping the sleeve seams too low, for with a raglan sleeve the fullness that is usually infused into the sleeve for a setin style is necessarily eliminated, but there is still the need for the same width of sleeve over the m u sc le .
O n e pi ece Sleeve Basis Draft (Fig. 63)

Fig. 63 illustrates the draft of a onepiece raglan sleeve with a dart shoulder and a plain hindarm without a wrist dart.
This type of sleeve is generally utilized for weatherproof coats and is preferable to the sleeve which is absolutely plain in construction without either a shoulder dart or overshoulder seams. It is impossible to cut a satisfactory raglan sleeve without provision for the shape of the shoulder by means of a dart or overshoulder seams; the plain-shoulder sleeve type always has a tendency to drag on the shoulder point in wear. Scye measurements for the sleeve draft are identical with those given
previously for Fig. 62. To draft Square from X.
1 from X = the height of the back sleeve pitch B from the base of the scye at 21 in Fig. 61. 2 from 1 = inch. 3 from 2 diagonall y = the distance round the topscye between the front pitch A and the back sleeve pitch B in Fig. 61. 4 from 3 = onethird of the distance from 2 to 3 plus inch.
5 from 4 = the crown height = 1 inches. 6 is midway of X to 4. Shape the sleeve head from 2 to 6, 5 and 3. Square down from 4 to 7 the full sleeve length applied from 3 less the halfback width. Square each way from 7. 8 from 7 = inch. 9 and 10 from 8 = the cuff width = onethird of the scye circumfe rence.
11 from 9= inch. 12 from 10 = inch. Shape from 11 through 8 to 12. Join 1 to 11 and 3 to 12. Measure round the underscye on the coat from the front pitch A to the sidesea m in Fig. 61 and apply this quantity from 2 to 13. By the line joining 2 to 11, square across from 13 to 14, making the distance from 2 to 14 equal to 2 to 13.
The underar m seam of the sleeve is located at 15, onethird of the cuff width from 11. By the line joining 2 to 11, square across from 15 to 16, making the distance from 15 to 11 equal to 11 to 16. Shape from 16 to 11. Measure round the underscye from the back sleeve pitch B to the underar m seam in Fig. 61 and apply this quantity
from point 3 to 17 plus inch.
By the line joining 3 to 12, square across from 18 to 15, making 18 from 10 equal to 10 to 15. To construc t the shoulder section, measure from the front sleeve pitch A to 53 in Fig. 61, and apply this quantity in an arc from 2 to 19 plus inch. Measure round the front scye from the front pitch A to the shoulder
end at 19 in Fig. 61 and apply this quantity plus inch round the sleeve head from 2 to 20.
Measure the width of the shoulder seam from 19 to 13 in Fig. 61 and apply this quantity in an arc from 20 to 21 less two seams or inch. 21 is located where the arc from 2 is intersect ed by the arc from 20. 22 from 21 on the arc from 2 =
inch or a seam.
23 from 21 on the arc from 20 = inch. Join 2 to 22 and hollow the sleeve seam run inch to correspo nd with the run of the shoulder seam between these points. Measure the distance from the back sleeve pitch B to 5 in Fig. 61, and apply this quantity from 3 to 24 in a sweep. Measure round the back scye from the
pitch to the shoulder seam at 18 in Fig. 61 and apply this quantity round the sleeve head from 3 to 25 plus inch.
Measure the width of the back shoulder seam and apply this quantity less inch in a sweep from 25 to 26. 26 is located where the sweep from 3 is intersect ed by the arc from 25. 27 from 26 = inch.
28 from 26 on the arc from 3 = inch. 29 from 3= inch. Join 29 to 28 and hollow the seam inch between these points to agree with the run of the seam on the back at this section. Shape the shoulder dart from 23 to 20 and 4 and from 27 to 25 and 4. By the line joining 3 to 12, square across from 17 to 30, making the
distance from 30 to line 3 to 12 equal to the correspo nding distance from 17 to the same line.
Shape the undersleeve from 29 to 30, hollowin g inch as shown. Shape the undersleeve seams from 30 to 18 and 14 to 16 to complet e the sleeve draft. Shape from 12 to 18 at the wrist.
A C l o s e f i tting Raglan Coat (Fig. 64)

A close-fitting raglan coat is illustrated by Fig. 64. The fronts have a lancer-front effect and an overwrap fastening with one button at the shoulder and three at the waist. A sidebody seam is inserted to gain waist shape, the seam runs harmonizing with the shoulder
seams, and the neck may be either collarless or finished with a scarf or stand-andfall collar. For fitting raglans, the scye should not be cut too deep, otherwise the balance of the garment will be disturbed and free movement of the arms restricted. The draft is arranged in accordance with the measureme nts of a woman of 36-inch bust girth. Full measureme
nts are as follows
Che st = 34 inch es. Bust = 36 inch es. Wai st = 29 inch es. Hips = 40 inch es. Nat ural wais t leng th = 15 inch es. Full leng th = 46 inch es. Half bac k widt h= 6
inch es.
Wor king scal e= one thir d of the bust girt h plus 6 inch es = 18 inch es.
To draft Co mmence by drawing line X to X, the full length of the coat, 46 inches.
1 r f r o m
X = o n e t h i r d o f t h e s c a l e p l u s 1 i n c h e s .
2 f r o m
X = t h e n a t u r a l w a i s t l e n g t h = 1 5 i n c h e s .
3 f r o
m 2 = 8 i n c h e s b e l o w f o r t h e h i p l e v e l .
4 f r o m X
= t h e b a c k n e c k w i d t h = o n e s i x t h o f t h e s c a l e .
5 f r o m 4 = t h e h e i g h t o f t h e b a c k n e c k = 1 3 / 8 i n c
h e s .
S h a p e t h e b a c k n e c k r u n f r o m 5 t o X a s s h o w n
6 f r o m 1 = t h e b a c k w i d t h .
S q u a r e u p f r o m 6 t o
7 a s s h o w n .
8 f r o m 1 = t h e h a l f b u s t m e a s u r e p l u s
2 i n c h e s .
S q u a r e u p f r o m 8 t o 9 e q u a l t o X t o 1
a t t h e b a c k .
1 0 f r o m 9 = o n e t w e l f t h o f t h e s c a l e
l e s s i n c h .
S q u a r e o u t f r o m 1 0 t o 1 1 o n e s i x t h
1 2 f r o m 8 = o n e f o u r t h o f t h e b u s t
s i z e l e s s i n c h .
1 3 f r o m 1 2 = o n e s i x t h o f t h e s
c a l e .
S q u a r e u p f r o m 1 3 t o 1 4 e q u a l t o 8 t o 1 0 l e
s s 3 / 8 i n c h .
1 5 i s m i d w a y o f 1 2 t o 6 .
S q u a r e u p f
r o m 1 5 t o 1 6 o n e t h i r d o f t h e s c a l e p l u s i n c h .
J o i n 1 6 t o p o i n t 1 7 i n c h b e l o w 5 a n d t o 1 4 .
1 8
i s l o c a t e d w h e r e t h e l i n e f r o m 1 6 t o 5 i s i n t e r s e c
t e d b y t h e l i n e f r o m 6 t o 7 .
1 9 f r o m 1 8 = i n c h .
S h a p e t h e b a c k s h o u l d e r s e a m f r o m 1 9 t o 5 a s s h o w
n .
2 0 f r o m 1 4 = 5 t o 1 9 l e s s i n c h .
2 1 a n d 2 2 a r
e e a c h i n c h f r o m 1 2 a n d 6 f o r t h e b a s e o f t h e s c
y e .
S h a p e t h e s c y e a s s h o w n , l o c a t i n g t h e b a c k p i
t c h B a t h a l f t h e b a c k d e p t h u p f r o m 6 a n d t h e f r o
n t p i t c h i n c h u p f r o m 2 1 .
S q u a r e d o w n f r o m 8 t o
2 3 .
2 4 f r o m 2 3 = i n c h . L i n e t h e c e n t r e f r o n t l
i n e f r o m 8 t o 2 4 , 2 5 a n d 2 6 .
S q u a r e d o w n f r o m 1 5
t o 2 7 , 2 8 a n d 2 9 .
3 0 a n d 3 1 a r e 3 / 8 i n c h f r o m 2 7
f o r t h e w a i s t s u p p r e s s i o n .
O v e r l a p o n t h e h i p s f r
o m 2 8 t o 3 2 a n d 3 3 h a l f t h e d i f f e r e n c e b e t w e e n t h e
b u s t a n d h i p s m e a s u r e s l e s s i n c h .
3 4 f r o m 2 9 a
n d 3 5 f r o m 2 9 a r e e a c h e q u a l t o 3 2 t o 2 8 p l u s 1 i
n c h e s .
S h a p e t h e s i d e s e a m s f r o m 1 5 t o 3 0 , 3 3 a n d
3 5 a n d f r o m 1 5 t o 3 1 , 3 2 a n d 3 4 .
3 6 f r o m 2 = t h e
h a l f w a i s t m e a s u r e p l u s 2 i n c h e s ( w a i s t 2 9 i n c h e s
p l u s 2 i n c h e s f o r e a s e ) .
3 7 f r o m 6 f o r t h e t o p o
f t h e s i d e s e a m = 2 i n c h e s .
T h e
h i n d a r m
s e a m
o f
t h e
s l e e v e i s
l o c a t e d
a t
3 7
i n
t h e
c o n s t r u c t i o n
o f
t h r e
e p i e c e
s l e e v e
t o
a g r e e .
3 8 f r o m 1 = o n e t h i r d o f t
h e s c a l e p l u s i n c h .
3 9 f r o m 2 = o n e t h i r d o f t h
e s c a l e l e s s i n c h .
4 0 f r o m 3 = o n e t h i r d o f t h e
s c a l e l e s s i n c h .
4 1 f r o m X = o n e t h i r d o f t h e
s c a l e .
S h a p e t h e s i d e b o d y s e a m f r o m 3 7 t o 3 8 , 3 9 ,
4 0 a n d 4 1 .
4 2 f r o m 3 9 = t w o t h i r d s o f t h e w a i s t
s u r p l u s s h o w n a t 3 6 t o 2 3 .
4 3 f r o m 4 0 = i n c h .
4 4 f r o m 4 1 = i n c h .
S h a p e t h e s i d e b o d y s e a m f r o m
3 7 t o 4 2 , 4 3 a n d 4 4 .
4 5 f r o m 1 0 = o n e s i x t h o f t
h e s c a l e l e s s i n c h .
4 6 f r o m 4 5 = 4 i n c h e s .
4 7
f r o m 2 4 = 2 i n c h e s .
4 8 f r o m 2 6 = 2 i n c h e s .
S h a p e
t h e f r o n t e d g e r u n f r o m 4 6 t o 4 7 a n d 4 8 a s i n d i c a
t e d .
4 9 f r o m 2 6 = i n c h . S h a p e t h e b o t t o m e d g e r
u n f r o m 4 9 t o t h e s i d e s e a m a t 3 4 .
5 0 i s m i d w a y o f
1 2 t o 8 .
5 1 f r o m 1 4 = 1 4 t o 1 1 p i v o t e d f r o m 5 0 .
S h a p e t h e b u s t d a r t f r o m 5 0 t o 1 4 a n d 5 1 .
5 2 f r o m
1 4 = i n c h .
J o i n 5 2 t o t h e f r o n t p i t c h A a n d a d
d i n c h o f c u r v e t o t h e s e a m b e t w e e n t h e s e p o i n t s
5 4 f r o m 1 4 = 5 3 f r o m 5 1 .
5 6 f r o m 1 4 = 5 5 f r o m 5
1 .
5 7 f r o m 1 1 = i n c h .
J o i n 5 6 t o 5 7 a n d s h a p e f
r o m 5 7 t o 5 4 .
5 8 f r o m t h e b a c k p i t c h B = 3 / 8 i n c h
5 9 f r o m 5 = i n c h .
J o i n 5 8 t o 5 9 a n d a d d i n c
h o f c u r v e t o t h e s e a m b e t w e e n t h e s e p o i n t s .
T he slant
ing pock et is locat ed at 11 inch es belo w the front of the scye to com plete the draft .
The Dee pscye Ragl an Slee ve

A t the mom ent desig ners are featu ring
to a grea t exte nt the deep scye sleev e in eithe r ragla n or mag yar form . In addit ion to its use in conj uncti on with loose fittin g style s, it is also exte nsive ly used
in close fittin g garm ents as a mea ns of provi ding widt h and fulln ess abou t the shou lders in com paris on with a slen der waist and hip line. F rom the point of view
of style , this type of sleev e is bein g reco gniz ed as a decid ed asset to the "spor ty" type of coat worn by the youn ger gene ratio n and is entir ely divor ced from its origi
nal purp ose, that of a sleev e only suita ble for sacq ue slipon rainproof s. T he drap ed effec ts of "dres sy" coat s also lend them selve s to harm onizi ng with this type
of sleev e, for a certa in amo unt of fulln ess is alwa ys met with in cons truct ion owin g to the need for allow ing for freed om of mov eme nt. If the sleev e were cut to
pres ent an absol utely clean appe aran ce at the front and back scye whe n the arm is dow n, it woul d be impo ssibl e to lift the arm with out disco mfor t bein g felt; so that whe n
this sleev e is bein g draft ed provi sion must be mad e for freed om of mov eme nt, and to attai n this end the sleev e is so cons truct ed that what amo unts to a "gus set" is
adde d to the unde rsleev e .
A l t e r a t ion of the Scy e for a Dee pscye Ragl an (Fig. 65)

F ig. 65 show s the alter ation mad e to the
basis draft for a deep scye ragla n style . It is nece ssar y to say that the scye shou ld not be deep ened too extre mely in view of the impa ired freed om of mov eme nt to the
sleev e; at the most an incre ase in dept h of 3 inch es from the brea st line is allow able. The basis draft illust rate d by Fig. 65 show s the sides eam cons truct ion of a loose fittin
g garm ent and to this end is exte nded to the hip level . For the purp ose of the syste m, the basis draft is arra nged upon a 36inch bust girth ,a halfback widt h of 6
inch es, and hip girth of 40 inch es, while the work ing scale equa ls onethird of the bust girth plus 6 inch es. T o cons truct the draft , com men ce by draw ing the
cons truct ion line from X to 1, the back dept h, whic h is onethird of the scale plus 1 inch es.
2 f r o m X = t h e n a t u r a l
w a i s t l e n g t h = 1 5 i n c h e s .
3 f r o m 2 = t h e h i p l e
v e l = 8 i n c h e s b e l o w t h e w a i s t l i n e .
4 f r o m X = t h
e b a c k n e c k w i d t h = o n e s i x t h o f t h e s c a l e .
5 f r o
m 4 = 1 3 / 8 i n c h e s .
S h a p e t h e b a c k n e c k c u r v e f r o
m 5 t o X a s s h o w n .
6 f r o m 1 = t h e h a l f b a c k w i d t h
p l u s i n c h . S q u a r e u p f r o m 6 t o 7 .
8 f r o m 1 = t
h e h a l f b u s t g i r t h p l u s 2 i n c h e s .
9 f r o m 8 = X t o
1 a t t h e b a c k .
1 0 f r o m 9 = o n e t w e l f t h o f t h e s c
a l e l e s s i n c h .
1 3 s q u a r e d o u t f r o m 1 0 = o n e s i x
t h o f t h e s c a l e .
1 4 f r o m 8 = o n e f o u r t h o f t h e s c
a l e l e s s i n c h .
1 5 f r o m 1 4 = o n e s i x t h o f t h e s c
a l e .
S q u a r e u p t o 1 6 f r o m 1 5 e q u a l t o 8 t o 1 0 l e s
s 3 / 8 i n c h .
1 7 i s m i d w a y o f 6 t o 1 4 .
S q u a r e u p f r
o m 1 7 t o 1 8 o n e t h i r d o f t h e s c a l e p l u s i n c h .
J o i n 1 8 t o a p o i n t i n c h b e l o w 5 a n d t o 1 6 .
1 9 i
s l o c a t e d w h e r e t h e l i n e f r o m 1 8 i s i n t e r s e c t e d b y
t h e l i n e f r o m 6 t o 7 .
2 0 f r o m 1 9 = i n c h . S h a p e
t h e b a c k s h o u l d e r s e a m 2 0 t o 5 .
2 1 f r o m 1 6 = 5 t
o 2 0 l e s s i n c h .
2 2 a n d 2 3 a r e e a c h i n c h b e l o w
t h e b r e a s t l i n e f o r t h e b a s e o f t h e s c y e .
S q u a r e
d o w n f r o m 1 7 t o 2 4 a n d 2 5 .
2 6 a n d 2 7 f r o m 2 5 = h
a l f t h e d i f f e r e n c e b e t w e e n t h e b u s t a n d h i p s m e a s u
r e s l e s s i n c h .
2 8 f r o m 1 7 = i n c h .
2 9 f r o m 1 7
= i n c h .
3 0 f r o m 2 7 = i n c h . S h a p e t h e b a c k s i d
e s e a m f r o m 2 9 t o 3 0 t o l o c a t e 3 1 o n t h e w a i s t l i n e
3 2 f r o m 2 6 = 1 i n c h . S h a p e t h e f r o n t s i d e s e a m f
r o m 2 8 t o 3 2 t o l o c a t e p o i n t 3 3 o n t h e w a i s t l i n e
3 4 i s m i d w a y o f 1 4 t o 8 .
3 5 f r o m 1 6 = 1 6 t o 1 3
p i v o t e d f r o m 3 4 .
S h a p e t h e b u s t d a r t f r o m 3 4 t o 1
6 a n d 3 5 .
3 6 f r o m 1 6 = i n c h . J o i n 3 6 t o t h e f r o
n t p i t c h A a n d a d d i n c h o f c u r v e t o t h e s e a m b e t
w e e n t h e s e p o i n t s .
3 7 i s l o c a t e d w h e r e t h e b u s t d
a r t i s i n t e r s e c t e d b y t h e r a g l a n s h o u l d e r s e a m f r o
m A t o 3 6 .
S i m i l a r l y 3 8 i s f o u n d w h e r e t h e b u s t d
a r t i s i n t e r s e c t e d b y t h e c o n s t r u c t i o n l i n e f r o m A
t o 3 6 .
3 9 f r o m 1 6 = 3 7 f r o m 3 5 .
4 0 f r o m 1 6 = 3 8
f r o m 3 5 .
4 1 f r o m 1 3 = i n c h . S h a p e f r o m 4 1 t o 3 9
T h e b a c k p i t c h B i s l o c a t e d a t h a l f t h e b a c k d e
p t h , X t o 1 , u p f r o m t h e b r e a s t l i n e a t 6 .
4 2 f r o
m B = 3 / 8 i n c h .
4 3 f r o m 5 = i n c h . J o i n 4 3 t o 4 2
a n d a d d i n c h o f c u r v e t o t h e s e a m b e t w e e n t h e s e
p o i n t s .
4 4 f r o m 1 7 f o r t h e d e p t h o f s c y e = 3 i n
c h e s . S q u a r e f r o m 4 4 t o l o c a t e p o i n t s 4 5 a n d 4 6 f o
r t h e c o m m e n c e m e n t o f t h e s i d e s e a m s .
M a r k i n a
i n c h s e a m a t 4 5 a n d 4 6 , a n d s h a p e f r o m 4 5 t o 4 2 a n
d 4 3 a s s h o w n .
S h a p e f r o m 4 6 t o t h e f r o n t p i t c h A
t o c o m p l e t e t h e b a s i s d r a f t o f a d e e p s c y e r a g l a n
T w o p i e c e R a g l a n S l e e v e C o n s t r u c t i o n ( F i
g . 6 6 )
T h e s h a p e o f t h e s c y e o f d e e p s c y e r a g l a n
s d o e s n o t p e r m it a s l e e v e t o b e c u t o n t h r e e p i e c e
li n e s a s a t o p a n d u n d e r s l e e v e w it h a n o v e r s h o u l
d e r s e a m , e x c e p t i n t h e c a s e o f a p i v o t s l e e v e . I n
s t e a d , a ll d e e p s c y e s l e e v e s a r e c o n s t r u c t e d f r
o m t h e s t a n d a r d o n e p i e c e s l e e v e b a s i s t o p e r m
it t h e s h a p e o f t h e u n d e r s c y e s e a m s o f t h e b o d y p a
r t t o b e i n c o r p o r a t e d w it h t h e s l e e v e d r a ft i n s i m il
a r s e a m r u n s . I f t h e s l e e v e i s d r a ft e d a s d e e p a s
t h e s c y e o f t h e c o a t , t h e f r e e d o m o f m o v e m e n t i n
t h e s l e e v e w il l b e s e ri o u s l y c u r t a il e d . T o o v e r c o m
e t h i s a n d t o p r o v i d e a m a x i m u m o f e a s e c o m m e n s u
r a t e w it h t h e s t y l e o f g a r m e n t , t h e s l e e v e b a s e c o
n s t r u c ti o n i s l o w e r e d f r o m t h e b r e a s t li n e b y o n l
y h a lf t h e a c t u a l d e e p e n i n g o f t h e s c y e . T h e s c y e
m e a s u r e s f o r t h e c o n s t r u c ti o n o f t h e b a s i s d e e p -
s c y e s l e e v e d r a ft a r e a s c e r t a i n e d f r o m F i g . 6 5 .
T o t a l s c y e c i r c u m f e r e n c e = 1 7 i n c h e s .
T o p s c y e c
i r c u m f e r e n c e = 9 i n c h e s .
T o d r a f t S q u a r e f r
o m X .
f r o m X
= t h e h e i g h t o f t h e b a c k p i t c h B f
r o m t h e b a s e o f t h e s c y e a t 2 3 i n F i g . 6 5 l e s s
n c h .
f r o m 1
= h a l f t h e d i s t a n c e
f r o m 1 7 t o 4 9 t
h a t t h e s c y e h a s b e e n d e e p e n e d i n F i g . 6 5 .
f r o m
1 d i a g o n a l l y
b e t w e e n t h e b a c k a n d
f r o n t p i t c h e s A a n d B i n F i g . 6 5 .
f r o m 3
= o n e -
t h i r d o f t h e d i s t a n c e
f r o m 1 t o 3 p l u s
i n c h .
t o 5
= t h e
c r o w n h e i g h t
1 i n c h e s .
6 i s
m i d w a y
o f X t o 4 .
S h a p e t h e s l e e v e h e a d
f r o m 2 t o 6 , 5 a
n d 3 .
S q u a r e
d o w n
f r o m 4 t o 7 t h e f u l l s l e e v e l e n
g t h l e s s t h e h a l f b a c k
w i d t h a p p l i e d
f r o m 3 .
S q u a
r e e a c h
w a y
f r o m 7 .
f r o m 7
i n c h .
f r o m 8 a
n d 1 0
f r o m 8
= t h e c u f f
c o m p l e t e
w i d t h
= o n e t h i r d
o f t h e s c y e
c i r c u m f e r e n c e o r t o s t y l e .
1 1
f r o m 1
i n c h .
1 2
f r o m 9
i n c h .
S h a p e
f r o m 1 2 t o
1 1 .
M e a s u r e r o u n d t h e u n d e r s c y e
f r o m A t o t h e s i
d e s e a m a t 4 6 i n F i g . 6 5 a n d a p p l y t h i s q u a n t i t y f r
o m 1 t o p o i n t 1 3 .
J o i n 1 t o 1 2 a n d b y t h i s l i n e s
q u a r e a c r o s s
f r o m 1 3 t o 1 4 ,
m a k i n g t h e d i s t a n c e f r
o m 1 3 t o 1 e q u a l t o 1 t o 1 4 .
T h e u n d e r s l e e v e s e a
m i s l o c a t e d a t 1 5 , o n e t h i r d o f t h e c u f f
w i d t h f r
o m 1 2 .
B y l i n e 1 t o 1 2 , s q u a r e a c r o s s
f r o m 1 5 t o
1 6 ,
m a k i n g 1 6
f r o m 1 2 e q u a l t o 1 2 t o 1 5 .
S q u a r e d
o w n
f r o m 3 t o 1 7 f o r t h e
w i d t h o f t h e
w r i s t d a r t .
1 8 s q u a r e d b a c k
f r o m 1 7
f r o m 1 7 t o
1 1 .
B y t h e l i n e j o i n i n g 3 t o 1 7 , s q u a r e a c r o s s f r
o m 1 5 t o 1 9 ,
m a k i n g 1 9
f r o m 1 7 e q u a l t o 1 7 t o 1 5 .
S h a p e t h e
b o t t o m e d g e o f t h e c u f f
f r o m 1 8 t o 1 9 .
M e a s u r e r o u n d t h e u n d e r s c y e
f r o m B t o t h e s i d e s e a
m a t 4 5 i n F i g . 6 5 a n d a p p l y t h i s q u a n t i t y p l u s
i n c h
f r o m t h e s l e e v e p o i n t 3 t o 2 0 .
B y t h e l i n e j
o i n i n g 3 t o 1 7 , s q u a r e a c r o s s
f r o m 2 0 t o 2 1 ,
m a k i n
g t h e
t w o d i s t a n c e s
f r o m t h e l i n e e q u a l .
J o i n 2 1
t o 1 9 a n d s h a p e t h e u n d e r
s e a m ,
h o l l o w i n g
i n c h a
t t h e
e l b o w .
J o i n 1 4 t o 1 6 a n d s h a p e t h e f r o n t s l
e e v e
s e a m ,
h o l l o w i n g
i n c h t o a g r e e
w i t h t h e h i n d
a r m
s e a m r u n .
T o c o n s t r u c t t h e s h o u l d e r s e c t i o n ,
m e a s u r e t h e d i s t a n c e
f r o m t h e f r o n t s l e e v e p i t c h A
t o 3 7 p l u s 3 9 t o 4 1 i n F i g . 6 5 a n d a p p l y t h i s q u a
n t i t y p l u s
i n c h i n a
s w e e p
f r o m 1 t o 2 2 o n t h e s
l e e v e d r a f t .
M e a s u r e r o u n d t h e f r o n t o f t h e s c y e
f r o m t h e s l e e v e p i t c h A t o 2 1 i n F i g . 6 5 a n d a p p l y
t h i s q u a n t i t y r o u n d t h e s l e e v e h e a d
f r o m 1 t o 2 3
p l u s
i n c h .
M e a s u r e t h e
w i d t h o f t h e f r o n t s h o u l
d e r
s e a m
f r o m 2 1 t o 3 5 a n d 1 6 t o 1 3 i n F i g . 6 5 a n d
s w e e p t h i s q u a n t i t y
f r o m 2 3 t o i n t e r s e c t t h e a r c
f r o m 1 a t 2 4 .
2 5
f r o m 2 4 o n t h e a r c
f r o m 1
i n
c h .
2 6
f r o m 2 4 o n t h e a r c
f r o m 2 3
i n c h .
J o i n
1 t o 2 5 a n d
h o l l o w t h e
s e a m
b e t w e e n t h e s e p o i n t s
i n c h t o a g r e e
w i t h t h e r u n o f t h e r a g l a n s h o u l d e r
s e a m o n t h e c o a t .
S h a p e
f r o m 1 4 t o 1 f o r t h e u n d
e r s l e e v e .
M e a s u r e
f r o m t h e b a c k s l e e v e p i t c h B t
o t h e s h o u l d e r a t 5 i n F i g . 6 5 a n d a p p l y t h i s q u a n
t i t y i n a n a r c
f r o m 3 t o 2 7 .
2 8
f r o m 3
= t h e d i s t
a n c e
f r o m t h e b a c k s l e e v e p i t c h B t o t h e s h o u l d e r
e n d a t 2 0 i n F i g . 6 5 p l u s
i n c h .
M e a s u r e t h e
w i d
t h o f t h e s h o u l d e r
s e a m
f r o m 5 t o 2 0 i n F i g . 6 5 a n
d a p p l y t h i s q u a n t i t y l e s s
i n c h i n a n a r c
f r o m 2
8 t o l o c a t e p o i n t 2 9 o n t h e a r c 2 7 .
3 0
f r o m 2 9 o n
t h e a r c
f r o m 2 8
i n c h .
3 1
f r o m 2 9
i n c h o n
t h e a r c
f r o m 3 .
3 2
f r o m 3
i n c h .
J o i n 3 1 t o 3
2 a n d
h o l l o w t h e
s e a m
i n c h
b e t w e e n t h e p o i n t s t o
a g r e e
w i t h t h e s h o u l d e r
s e a m r u n .
S h a p e t h e f r o n
t r a g l a n s h o u l d e r a n d s l e e v e
s e a m
f r o m 2 6 t o 2 3 , 4
a n d o n e
s e a m b e h i n d t h e c e n t r e l i n e
f r o m 4 t o 8 .
S h a p e t h e b a c k s l e e v e
s e a m
f r o m 3 0 t h r o u g h 2 8 t o 4
a n d
i n c h i n a d v a n c e o f t h e c e n t r e l i n e o f t h e s
l e e v e .
T h e
w r i s t d a r t i s
m a d e 8 i n c h e s i n l e n g t h
f r o m 1 7 t o 3 3 .
S h a p e o u t t h e d a r t
f r o m 1 1 a n d 1 8
t o 3 3 .
S h a p e t h e u n d e r s l e e v e
f r o m 3 2 t o 2 1 , h o l l
o w i n g
i n c h a s
s h o w n t o
c o m p l e t e t h e s l e e v e d r a f t
C o m p a r i s o n b e t w e e n S l e e v e D e p t h s i n R
e l a t i o n t o t h e S c y e D e p t h ( F i g . 6 7 )
F i g .
6 7 i l l u s t r a t e s c l e a r l y t h e c o m p a r a t i v e
r e l a t i o n s h i p b e t w e e n t h e d e p t h o f t h e c o
a t s c y e a n d t h e s l e e v e . T h e d e e p s c y e s l
e e v e a s d r a f t e d i n F i g . 6 6 i s s u p e r i m p o s
e d u p o n t h e r a g l a n b a s i s d r a f t i n t h e p o
s i t i o n w h e r e t h e s h o u l d e r s e a m s s e w t o g e
t h e r a t t h e p i t c h e s . S q u a r e e a c h w a y f r o
m 4 5 a n d 4 6 t o 8 A a n d 7 A . M e a s u r e t h e d i
s t a n c e f r o m t h e f r o n t p i t c h A t o t h e s i d
e s e a m a t 4 6 a n d s w e e p f r o m 4 6 t o 7 A . M a r
k f r o m 7 A t o t h e f r o n t p i t c h A . M e a s u r e
f r o m t h e b a c k p i t c h a t 4 2 r o u n d t h e u n d e
r s c y e t o 4 5 a n d s w e e p t h i s q u a n t i t y t o
l o c a t e p o i n t 8 A . S h a p e f r o m 4 2 t o 8 A . T h
i s s l e e v e d r a f t s h o w s t h e d e p t h o f t h e s
l e e v e b a s e c o r r e s p o n d i n g w i t h t h e s c y e b
a s e . N o p r o v i s i o n f o r f r e e d o m o f m o v e m e n
t i s m a d e . T h e s l e e v e a s d r a f t e d i n F i g .
6 6 i s i n d i c a t e d b y t h e s o l i d l i n e s t o 7
a n d 8 , s h o w i n g a n a d d i t i o n o f 1 i n c h e
s i n l e n g t h o f t h e u n d e r s l e e v e s e a m f o r
e a s e o f m o v e m e n t . T h e b a s e o f t h e s l e e v
e i s n o w l o c a t e d a t h a l f t h e t o t a l d e p t h
o f t h e s c y e f r o m t h e f r o n t p i t c h . F o r a
d d i t i o n a l l e n g t h t h e b a s e o f t h e s l e e v e
m a y b e r a i s e d t o r u n t h r o u g h t h e l e v e l o
f t h e p i t c h A ; 7 B i s p i v o t e d f r o m A a n d
4 6 a s i n d i c a t e d ; 8 B i s p i v o t e d f r o m 4 5 a
n d 4 2 . A n i n c r e a s e o f l e n g t h i n t h e u n d e
r s l e e v e s e a m e q u i v a l e n t t o t h e a c t u a l q
u a n t i t y t h e s c y e h a s b e e n d e e p e n e d i s n o
w a p p a r e n t . W e c o u l d c o n t i n u e p r a c t i c a l l
y i n d e f i n i t e l y w i t h t h e r a i s i n g o f t h e s
l e e v e b a s e l i n e u n t i l w e h a d a p i v o t s l e
e v e w i t h u n l i m i t e d f r e e d o m o f m o v e m e n t a
n d u n l i m i t e d c r e a s e s a n d f o l d s o f s u r p l u
s m a t e r i a l t o o ! T h e r e f o r e , w h e n d r a f t i n g
s l e e v e s f o r d e e p s c y e c o a t s t h e f i r s t e
s s e n t i a l i s p r o v i s i o n f o r m o v e m e n t , a n d ,
s e c o n d l y , a s l e e v e t h a t i s r e a s o n a b l y f
r e e f r o m u n s i g h t l y f o l d s o f m a t e r i a l u n d
e r t h e a r m . T h e s l e e v e b a s e a t h a l f t h e
t o t a l d e p t h t h e s c y e h a s b e e n p r e v i o u s l y
l o w e r e d g i v e s a r e a s o n a b l e a m o u n t o f s a
t i s f a c t i o n t o b o t h o f t h e t w o r e q u i r e m e n
t s . F o r a c o a t w i t h a c l o s e f i t a t t h e w
a i s t , f r e e d o m i n t h e s l e e v e i s i m p e r a t i v
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t o f p o s i t i o n f r o m t h e w a i s t w i t h e v e r y
m o v e m e n t o f t h e a r m s , a n d t h e s l e e v e b a s
e m a y b e j u d i c i o u s l y r a i s e d t o o n e f o u r t
h o f t h e a m o u n t t h e s c y e h a s b e e n l o w e r e
d .
S i n g l e B r e a s t e d D e e p s c y e R a g l a n ( F i g
. 6 8 )
A s i n g l e b r e a s t e d d e e p s c y e r a g l a n
i s s h o w n i n F i g . 6 8 . T h e f r o n t s b u t t o n
u p t o t h e n e c k , a n d t h e d a r t f o r t h e b u s
t s h a p e i s t r a n s f e r r e d f r o m t h e s h o u l d e r
t o t h e g o r g e a n d r u n s f r o m a p p r o x i m a t e l
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o i n t . T h e c o l l a r i s a s t a n d a n d f a l l t y p
e a s w i l l b e d e s c r i b e d i n t h e c h a p t e r o n
C o l l a r C u t t i n g . F u l l m e a s u r e s f o r t h e d
r a f t a r e a s f o l l o w s
o d r a
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o m m e n c e b y d r a w i n g l i n e X t o X , t h e
f u l l l e n g t h o f t h e c o a t , 4 0 i n c h e s .
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Vintage Sewing Main Page > 1940's > Ladies' Garment Cutting and Making > Chapter IX Search | Subscribe | Support

by F. R. Morris
Chapter IXSkirt Cutting

Provision for Pleats
THERE is to-day a great variety of skirt styles in vogue, for the participation of women in sport in growing numbers means the designing and making of suitable garments for sports wear, and the skirt style is an important factor in the design of every sports suit.
Far from having only the status of a part of a costume, skirts are now designed specially for golfing, motoring, hiking and beach-wear. For golfing and motoring purposes, we have the divided trouser-skirt ideally suited to either pursuit and, in addition, for tennis wear. The beach-wear wrap skirt for wearing over shorts, and the shorts-skirt embodying the features of both garments, are examples of the adaptability of the skirt to present-day needs. Skirt design generally tends towards simple effects, with more attention paid to perfection of cut and line than to intricate design. Skirts are narrow at the hem line with pleats or slit openings to provide stride room in the case of skirts buttoning down the front or back. The gored skirt with four or more panels has a slight flare at the hem from the knee level downwards, but with this style very little flare must be added, for, unless the material used is very pliable, the hang of the skirt will be distorted. Pleats at the back and front centres disguise the division in a divided sports skirt, and only an expert should be able to tell the difference between this style and an ordinary skirt in wear. For beach wear or cruising, a wrap skirt with a centre front or side button fastening is an indispensable item as it may be worn either as part of a suit or over sports shorts and swimming suit. Many designers feature complete sports suits comprising a jacket with a wrap-skirt and shorts to match. Skirt-shorts, as their name denotes, are a combination of shorts and skirt with the freedom of the former and the appearance of the latter achieved by the use of pleats and flares. These garments may be made either separately from the body part or in one piece with an opening down the centre front fastened with buttons, or, alternatively, cut with a backless bodice and have buttons down the sideseam to the side plaquet. Apart from the adoption of the skirt for sports wear, there is little to be said of its use as part of a costume, excepting, perhaps, the vogue of wearing a skirt of contrasting hue under a short or three-quarter length loose-fitting coat. With regard to the successful cutting of skirts, many of the thoughtless or hasty thinkers imagine this to be a simple operation. In comparison with the cutting of a body garment with the need for fitting two opposing surfaces of the figure form, skirt-cutting may be simple, but only comparatively so. The same principles of waist suppression apply to a skirt with equal force, only the need for providing a covering in harmony with the figure form
is confined to the waist downward to the hips. In the chapter on Waist Suppression, the author described the need for curving the waist and hip balance lines as the garment follows the bending of the trunk from the centre back round to the sides and front. The reason why waist suppression must be systematically applied only at the "bends" of the figure was pointed out, with stress laid upon the fact that suppression at the sideseams must be only moderate in quantity and the majority of the excess surplus between the bust, waist and hip measures be reduced from the "bend" of the figure midway between the sideseam and the centre back. All these points are applicable to skirt cutting and the author bases his skirt system upon the knowledge obtained from cutting close-fitting coats.
Preliminary to the Basic Principles of Skirt Construction (Fig. 87)

The basis of all skirt systems is the section of the figure from the waist to the hip level. Width of the hem line is of secondary consideration to the need for allocating the waist suppression in its correct location to harmonize with the shape of the figure. Once the waist suppression factor is decided, the alteration for style reasons of the width at the hem line will affect this factor only comparatively. For instance, a perfectly straight-hanging skirt will appear to have a larger quantity of material taken from the waist darts than a skirt of ample width. The increase is illusionary, for the proportion of suppression taken out at each section remains identical in each case. Fig. 87 (a) illustrates the waist-to-hip section with correct allocation of waist suppression applicable to the section in the square. For the purpose of examining the cutting of skirts with an analysis of the fundamental principles, the following measures are necessary The Waist Measure, taken tightly over the dress or skirt. The Hip Measure, taken at a point 8 inches below the waist line. The Skirt Length, at the front, side and back, taken from the waist level to the desired length.
The following drafts illustrating the principles of skirt cutting are based upon the following measures

Waist = 25 inches. Hips = 38 inches. Front length = 27 inches or to fashion. Side length = 27 inches. Back length = 27 inches.
In the chapters on coat cutting the author has stressed the point of suppressing the waist at the sideseam by a standard quantity of inch. This is all that is necessary to agree with the contour of the figure at this region, as there is no pronounced bend or "round" from the waist downwards to the hip line. The back waist suppression is decided as two-thirds of the difference between the bust and waist measures, and the front suppression as the remaining one-third. The indentation of the back hollow is far greater in comparison with the front, and needs twice as much extra created length of the sideseam at the side waist to enable the garment to follow the bending of the figure from the centre back to the side and front. Therefore, when cutting skirts the author adheres to the basic principles of the allocation and proportions of waist suppression as described for coats, with the amendment of an additional increase of inch to the back waist quantity as the need for greater suppression at the back waist hollow becomes apparent with the need for a closer fit to the figure. The closer a garment is required to be fitted to the figure, the greater will be the extent to which the waist and hip balance lines will curve, owing to the increase of suppression taken out. To construct the draft section from the waist to the hip level as depicted by Fig. 87 (a) Square from X.

1 from X = 8 inches down from the waist for the hip level. Square out from these points.
2 from 1 = the half-hip measure plus inch for two seams at the sideseams.
No addition has been made for ease of any description, as the author has found that, for modern skirts, measuring over a dress or skirt gives the necessary amount of freedom and ease throughout the draft. Seams are only allowed at the sideseams and at the top of the skirt to simplify cutting when difficult and cut-about designs are required. All additions can then be made for any variation of style without affecting the basic construction of the skirt draft.
Square up from 2 to 3 to agree with the front construction from X to 1.
The position of the sideseam may be variably placed either at exactly half the hips circumference or slightly in advance of this point. For skirts that have the same design at back and front the exact sideseam position is correct, while for other styles the sideseam is placed 1 inch in advance of the exact half of the hip measure. This is necessary in order to bring the plaquet fastening towards the front.
4 from 1 = half the measure from 1 to 2 less 1 inch. Square from 4 to 5 on the waist line. Measure up the waist from 3 to 6, adding inch for two seams at the sideseams.
Now, as the suppression at the side waist for coats is 3/8 inch, the actual suppression to be taken out of the waist to the hip for a skirt is the 3/8 inch plus the half of the hip overlap which for a normal figure equals inch. Therefore, the total suppression at the sideseams for the figure size as described equals inch plus 3/8 inch, 1 1/8 inches in all, and 2 inches taken out completely. This amount is decided as one-third of the total waist surplus from 6 to X, and is indicated by the position of 7 from 6. 7 from 6 is equal to one-third of 6 to X. The back waist suppression has been decided as two-thirds of the waist surplus plus inch and is indicated by the position of 8 and 7. 8 from 7 is equal to two-thirds of 7 to X plus inch. The front waist suppression is decided as the remaining third of the surplus and is indicated from 8 to X. When the front waist suppression falls below inch, the author disregards the quantity and reduces a little more accordingly from the side-seams to make up the difference.
o o
9 and 10 from 5 = the side waist suppression, as shown from 6 to 7. Shape the sideseams from 9 and 10 to the hip point at 4. 11 from 3 for the position of the first dart from the centre back = onesixth of the half-hip measure.
Square down from 11 to 12. 13 from 11 for the position of the second dart equals the same quantity. Square down from 13 to 14. 15 and 16 from 11 = half of the quantity from 7 to 8. Shape out the dart from 15 and 16 to 12. 17 and 18 from 13 = the remaining half of the quantity from 7 to 8. Shape out the dart from 17 and 18 to 14. 19 from 5 = one-sixth of the hip measure for the position of the front waist dart. Square down from 19 to 20. 21 and 22 from 19 = the quantity as shown from 8 to X. Shape out the dart from 21 and 22 to 20.
Fig. 87 (b) shows the hip section after the darts have been sewn out. The curving of the waist and hip balance lines enables the hip section to follow the bending of the figure without distortion.
The Extent of the Curvature of the Balance Lines (Fig. 88)

Fig. 88 indicates the extent of the curvature of the waist and hip balance lines; at the back yoke the curvature is 1 inches from the waist line and 2 inches from the hip line. The front yoke does not show so great a curving of the balance lines, as from the waist to the hips is practically a straight line without waist indentation. At the waist line a curving of inch is indicated, and at the hip line the curvature is inch. To establish a reliable skirt system to give automatic adjustment of the quantities taken from the waist darts as the width of the skirt increases or decreases, we must calculate from one extreme to another, that is to say, we must estimate the quantities of waist suppression in proportion to the varying skirt widths from the point where the skirt shows no increase of
width from the straight to where the waist shows no suppression to be taken out in darts and a skirt width in proportion. Therefore, the system is based upon the hip yoke shape after the darts have been sewn out, giving a full-width skirt with the extra increase of hem circumference in the correct locations as decided by the closing out of the waist darts as shown by Fig. 88.
The System Basis for Skirts (Fig. 89)

Fig. 89 shows the hip yoke with the waist darts sewn out. The point numbers are repeated from the preceding text and draft description.

Square out from 1 to 6 the half-hip measure plus inch. Line from 5 and 4 to locate point 7 as half the distance 1 to 6 less 1 inch from 1. Sweep from 6 to 2 and join 2 to 4 as shown. Square up from 2 to 8 by point 7. 8 from 2 = 8 inches, equal to the distance from X to 1. Continue the construction line up from X to 9. 9 is squared from 8 by line X to 1. 10 from 8 = one-third of the quantity X to 9. Line from 10 to follow the angle of the centre back from 3 to 2. Continue the sideseam line from 4 and 5 up to intersect the line from 9 to 8 at 11, locating this point at half the distance 9 to 10 less 1 inch from 9. Join X to 3 to locate point 12; 5 is definitely located as one-third of the distance X to 9 to complete the systematizing of the draft.
Application of the System Basis in Practice (Fig. 90)
As a further elucidation of the skirt system in practice, Fig. 90 shows the application of the basis draft to the construction of a hip yoke with only a moderate skirt width. To draft Square from X.

1 from X = the hip level = 8 inches down from X. Square out from 1 to 2 half the hips measure plus inch. 3 from 1 is half the distance from 1 to 2 less 1 inch. Pivoting from 3, sweep up from 2 to 4 1 inches. Join 4 to 3, and square up from 4 to 5 the same distance as 1 is from X. Square back from 5 to 6 on the line continued up from X. 7 from 5 = one-third of the distance from 6 to X. Line from 7 through 4 for the centre back line. 8 coincides with 7 and is 8 inches from 4. Join X to 8 to locate point 9. 9 is half X to 8 less 1 inch from X. Join 9 to 3 for the sideseam run. 10 from 9 = one-third of the distance X to 6. Shape the waist seam run of the tops from X to 10 and 8 as shown. Measure from 8 to 11 half the waist size plus inch. 12 from 11 = one-third of the surplus quantity shown from 11 to X. 13 from 12 = two-thirds of the surplus quantity shown from 12 to X plus inch. For the position of the first back dart, 14 from 4 = one-sixth of the scale plus inch (the half-hip measure). Square down from the waist line to this point, and suppress the dart at 15 and 16 one-half of the distance from 12 to 13. Shape the dart for a distance of 7 inches from 15 and 16 to 14. 17 from 14 for the position of the second back dart = onesixth of the scale.
Square down from the waist line to 17. Suppress half the distance from 12 to 13 at 18 and 19. Shape out the dart from 19 and 18 to 17 7 inches in length. 20 and 21 from 10 = the quantity shown from 11 to 12. Shape out the sideseam dart from 20 and 21 to 3. 22 from 3 = one-sixth of the scale. Square down from the waist line to 22 and suppress the front dart by the quantity shown from 13 to X. Shape out the front dart from 24 and 23 to within 2 inches of 22.
The front dart should not be made too deep. The amount of suppression taken out is not excessive and for style reasons a lengthy dart is unsightly.
This completes the construction of the hip section for a skirt with a narrow-width hem.
A Narrow-width Skirt (Fig. 91)

The accompanying draft is that of a skirt with straight lines and no increase of width in the hem line over the half-hip quantity. Pleats will be required to be inserted for walking room, either in the form of sewn-in godets or down the centre front and back seams. Measures are as follows

Waist = 25 inches. Hips = 38 inches. Front length = 27 inches. Side length = 27 inches. Back length = 27 inches.
Square from point X.
1 from X = 8 inches down for the hip level.
Square out from X and 1. 2 from 1 = the half-hip measure plus inch. Square up from 2 to locate point 3 on the line from X. 4 from 1 = half the distance 1 to 2 less 1 inch. Square up from 4 to 5. 6 from X = the full front length of the skirt plus inch seam. 7 from 3 = the full back length of the skirt plus inch. 8 from 5 = the side length plus inch. Shape the bottom edge run from 6 to 8 and 7. Measure up the waist from 3 to 9 plus inch. 10 from 9 = one-third of the distance from 9 to X. 11 from 10 = two-thirds of the distance plus inch from 10 to X. 12 from 2 for the position of the first back dart = one-sixth of the half-hip quantity. Square up from 12 to 13. Suppress the dart at 14 and 15 from 13 by half the quantity shown from 10 to 11. Shape out the dart from 14 and 15 to 12, making the dart 7 inches in length. 16 from 12 = one-sixth of the half-hips quantity for the second back dart. Square up from 16 to 17. Suppress the dart at 18 and 19 from 17 by half of the quantity shown at 10 to 11. Shape out the dart from 18 and 19 to 16, making the dart 7 inches in length. Suppress at the sideseams from 20 and 21 to 5 by the quantity shown at 9 to 10. Shape out the sideseams dart from 20 and 21 to 4, making the run of seams gradual in line.
23 from 4 = one-sixth of the half-hip quantity. Square up from 22 to 23 for the position of the front waist dart. 24 and 25 from 23 = the quantity shown from 11 to X. Shape out the front dart from 24 and 25 to within 2 inches of 22.
The godet pleats may be inserted in the skirt at the positions indicated by the lines 26 to 27 in the front and 28 to 29 at the back.
26 from 6 = 3 inches. 28 from 7 = 4 inches.
If godet pleats are not required, inverted pleats may be added at the front and back centres with a seam above.
The length of the pleat should be approximately the same as the godet pleat from 6 to 30. 31 from 30 = 1 inches. 32 from 6 = 3 to 4 inches. Square up from 32 to 33, making this length equal to 6 to 31; 34 indicates the crease of the pleat and is equal in length to 6 from 30. Shape the pleat from 31 to 34 and 33 as shown.
The top of the pleat is shaped in this manner, so that in wear there are more support for the pleat and less tendency towards opening than is the case if the pleat is cut square with 30.
The back pleat is drafted in a similar manner to complete the skirt draft.
Standard-width Skirt Draft (Fig. 92)

Fig. 92 illustrates the draft of a skirt most suitable in width for present-day design. The width of the hem line as drafted forms the basis upon which all variations of seams and designs are superimposed in the following drafts.
Measures are as for Fig. 91. To draft Square from X.

1 from X = 8 inches down for the hip level. Square out from 1 to 2. 2 from 1 = the half-hip measure plus inch. 3 from 1 = half the distance from 1 to 2 less 1 inch. 4 from 2 = 1 inch. Join 3 to 4 and square up from 4 to 5 the same distance as 1 is from X. Square from 5 to 6 on the construction line from X. 7 from 5 = one-third of the distance from 6 to X. 7 from 4 = 8 inches. Line from 7 to 4. Measure down the front skirt length from X to 8 plus inch. Join X to 7 to locate point 9. 9 from X = half the distance from X to 7 less 1 inch from X. 10 from 9 = one-third of the distance from 6 to X. Shape the waist level of the top from X to 10 and 7 as shown. Line down from 10 to 11 through 3 the side skirt length plus inch. 12 from 7 = the back skirt length plus inch. Shape the bottom edge run from 8 to 11 and 12. Measure from 7 to 13 half the waist size plus inch. 14 from 13 = one-third of the distance from 13 to X. 15 from 14 = two-thirds of the distance from 14 to X plus inch.
Suppress the sideseams from 10 to 16 and 17 by the quantity shown from 13 to 14. Shape from 16 and 17 to 3 in a gradual run. 18 from 4 = one-sixth of the half-hip measure for the position of the first back dart. Square down from the waist line to 18 from 19. 20 and 21 from 19 = half the quantity shown from 14 to 15. Shape out the back dart from 20 and 21 to 18, making the dart 7 inches in length. 22 from 18 = one-sixth of the half-hip measure. Square down from the waist line at 23 to 22. 24 and 25 from 23 = half the quantity shown from 14 to 15. Shape out the back dart from 24 and 25 to 22, making the dart 7 inches in length. 26 from 3 = one-sixth of the scale. Square down from the waist line to 26 and suppress the front dart by the quantity shown from 15 to X at 27 and 28. Shape out the dart from 27 and 28 to within 2 inches of 26 to complete the standard draft for skirts.
For increased width in the hem, point 4 is deviated further from 2, the distance from 3 to 4 always remaining the same. Point 4 cannot be at a greater distance from 2 than half the difference between the waist and hip measures, otherwise the waist girth would be smaller than the measure. In the drafting of skirts with full-width hems, it will be found, on measuring up the waist from 7 to 13, that after one-third of the surplus has been applied, there is nothing left for the back darts. This is a correct state of affairs, for the increase of width in the hem
line takes place at the back and front of the skirt before the sides are affected, since the closing out of the back darts gives the extra width from the hip level at the back to the hem without affecting the sideseams. Only when a very flared skirt is required is flare added to the sideseams by closing out the side waist suppression as indicated by the hip section in Fig. 89.
Panel Skirt Draft (Fig. 93)

Fig. 93 illustrates the draft of a panel skirt. This style has perpetual popularity and is repeated every year in fashion as a basis upon which to vary design by pleats, flares or fancy and diverted seamings. The draft shows a skirt with six gores; in some instances, the sideseam may be dispensed with and the skirt cut with four gores and four panel seams. A straight skirt line is given by the draft, and, to counteract the effects of perspective upon the panel seams, they are slightly wider at the hem than at the hip level. If they were spaced equally all the way down from the hip level to the hem line, a narrowing effect would be apparent as the panels approached the bottom edge. Measures for the draft are as follows

Waist = 27 inches. Hips = 40 inches. Skirt length at front = 28 inches. Skirt length at side = 28 inches. Skirt length at back = 28 inches.

1 from X = 8 inches down for the hip level. Square out from 1 to 2 the half-hip measure plus inch. 3 from 1 = half the distance from 1 to 2 less 1 inch. 4 from 2 = 1 inch. Join 4 to 3 and square up 8 inches from 4 to 5. Square back from 5 to locate 6 in line with points X and 1. 7 from 5 = one-third of the distance from X to 6. 7 from 4 = 8 inches. Join X to 7 to locate point 8. 8 from X = half the distance from X to 7 less 1 inch. 9 from 8 = one-third of the distance from X to 6. Shape the waist line of the tops from X to 7 through 9. 10 from X = the front skirt length plus inch. Line from 9 through 3 to 11 the side skirt length plus inch. 12 from 7 = the back skirt length plus inch. Shape the bottom edge run of the skirt from 10 to 11 and 12. Measure from 7 to 13 half the waist measurement plus inch. 14 from 13 = one-third of the distance from 13 to X.
15 from 14 = two-thirds of the distance from 14 to X plus inch. 17 and 16 from 9 = the quantity shown from 13 to 14. Shape out the sideseams from 17 and 16 to 3 at the hip level and continue down to 11.
The width apart of the back panel seams is a matter of personal taste, but it is preferable that the width of the back panel from seam to seam does not appear too wide in comparison with the width of the two side panels. For the best effect, the back panel should be slightly wider than the side panels, and so the author calculates as follows. Measure up the distance from 4 to 3 and double the quantity, which gives the width of the back from sideseam to sideseam. Divide the amount registered by three to find the equal widths and then subtract 1 inch from each of the two side panels and add to the centre panel. For systematic purposes the back panel from 4 to 18 is made equal to one-sixth of the half-hip measure plus 1 inch.
Square down from the waist line at 19 to 18. 20 and 21 from 19 = half the quantity shown from 14 to 15 plus inch. Shape out the back dart from 20 and 21 to 18.
As a seam is included in the design from 20 and 21 to 18, the suppression may be taken to the hip level at 18, for there is not the
necessity to taper the seam gradually away as in the case of a dart.
22 from 18 for the position of the side dart = 3 inches. Square down from 23 on the waist line to 22. Suppress at 24 and 25 from 23 the remainder of the quantity registered from 14 to 15. Shape out the dart from 24 and 25 to 22, making the dart 7 inches in length as usual.
It will be noted that an extra amount has been taken from the first back dart. This is advisable when the design has a seam at this point, for the suppression can then be gradually tapered to the hip level.
26 from 1 for the width of the front panel = one-sixth of the half-hip measure plus inch. Square down from 27 on the waist line to 26. 28 and 29 from 27 = the quantity from 15 to X. Shape out the front panel seams from 29 and 28 to 26, gradually tapering the seam runs. The back panel seam at the hem line is made equal in width to the distance from 18 to 4 plus inch. Shape from 18 to 30 as shown to complete the back section. The width of the front panel seam at the hem is made equal to the distance from 26 to 1 plus inch. Shape from 26 to 31 to complete the front panel seam run.
The widths given are subject to variation as the width of the hem line increases and, in all cases, are governed by the proportion between the centre and side panels as described previously.
Six-gored Skirt with Flared Panel Seams (Fig. 94)

At the present time, the gored skirt with a low-flare effect is very popular and will in all probability continue so for quite a long while. A minimum of flare should only be added to each panel if the material used is tweed of unpliable texture, and not more than 3 inches should be added in any case for tweed skirts. For skirts made of silk, linen or otherwise pliable materials the amount of flare added may be increased up to 5 inches. In all instances the extent of flare is guided by the design and style tendencies of the moment. Measures for the draft are as follows

Waist = 26 inches. Hips = 39 inches. Front skirt length = 27 inches. Side skirt length = 27 inches. Back skirt length = 27 inches.

1 from X = 8 inches down for the hip level. 2 from 1 = the half-hip measure plus inch. 3 from 2 = 1 inch. 4 from 1 = half the distance from 1 to 2 less 1 inch. Square up 8 inches from 3 to 5, squaring from line 4 to 3. Square from 5 to 6 in line with points X and 1. 7 from 5 = one-third of the distance from 6 to X. 7 from 3 = 8 inches. Join X to 7 to locate point 8. 8 from X = half the distance from X to 7 less 1 inch. 9 from 8 = one-third of the distance from 6 to X. Shape the waist line from X to 9 and 7. 10 from X = the front skirt length plus inch. Line from 9 through 4 to 11 the side length of the skirt plus inch. Line from 7 through 3 to 12 the back length of the skirt plus inch. Shape from 10 to 11 and 12 for the bottom edge skirt run. Measure from 7 to 13 half the waist measurement plus inch.
14 from 13 = one-third of the distance from 13 to X. 15 from 14 = two-thirds of the distance from 14 to X plus inch. 16 from 3 for the position of the back panel seam = onesixth of the half-hip measure plus 1 inch. Square down from 17 on the waist line to 16. Suppress at 18 and 19 from 17 half the quantity shown from 14 to 15 plus inch. Shape out the back panel seam dart from 18 and 19 to 16, tapering gradually as shown. 20 from 16 = 3 inches. Square down from 21 to 20. 22 and 23 from 21 = the remainder of the quantity shown from 14 to 15. Shape out the side dart from 22 and 23 to 20, making the dart 7 inches in length. Suppress the sideseams from 24 and 25 at 9 by the quantity shown from 13 to 14. Shape out the sideseam runs from 24 and 25 to 4 and 11. 26 from 1 for the width of the front panel = one-sixth of the half-hip quantity plus inch. Square down from 27 on the waist line to 26. Suppress at 27 to 28 and 29 the quantity shown from 15 to X. Shape the front panel seams from 28 and 29 to 26.
The width of the back panel at the hem equals inch more than the width from 3 to 16 on the hip line. The front panel width from 10 to 31 = the width of the panel from 1 to 26 plus inch. Join 16 to 30 and 26 to 31. The flare in the skirt panels commences at approximately 14 inches up from the bottom edge at 32, 33 and 34.
To add the flare effect, pivot from 32 the length to 31 and sweep from 31 to 35 and 36, making the distance from the vertical to the requirements of the design; in this instance 1 inches have been added. The sideseam and back panel seam are treated in a similar manner to complete the skirt d r a f t .
Wrap Skirt Draft (Fig. 95)

Fig. 95 shows the draft of a one-piece wrap skirt. Such
skirts are usually cut the full width of the material, and the wrap-over depends upon what the difference is between the half-hip measure in comparison with the width of the material used. A wrap-over of approximately 12 inches is necessary, and when the hip size is so great that this amount is not obtainable from the material width, the insertion of a sideseam is then necessary. Wrap-over skirts for beach wear usually are cut away under the wrap, just sufficient being left for a button-stand for fastening, but with a costume skirt there is no fastening of any description, so that ample wrap is essential. Measures are as follows

Waist = 27 inches. Hips = 40 inches. Front skirt length = 28 inches. Side skirt length = 28 inches. Back skirt length = 28 inches.
Square out from 1 to 2 the half-hip measure plus inch.
It is necessar y to mention that the eliminati on of the sidesea m should mean a reductio n of the inch added for seams from the overall hip quantity, but, as this type of skirt depends upon the size round for success, the inch is added as usual. A skirt without a definite fastening to keep it in place always needs to be cut easier to size, otherwis e every moveme
nt will cause a wingingaway of the fronts.
Square up from 2 to intersect the line squared from X at 3. 4 from 1 for the position of the side dart = half the distance from 1 to 2 less 1 inch. Square up from 4 to 5. Measure from 3 to 6 half the waist measurement plus inch. 7 from 6 = one-third of the distance from 6 to X. 8 from 7 = two-thirds of the distance from 7 to X plus inch. 9 from 2 for the position of the first dart = one-sixth of the half-hip measure. Square up from 9 to 10. 11 and 12 from 10 = half the quantity shown from 7 to 8. Join 10 to 9 and shape out the back dart from 11 and 12 to 9, making the dart 7 inches in length. 13 from 9 = one-sixth of the half-hip measure.
Square up from 13 to 14 at the waist line. 15 and 16 from 14 = half the quantity shown from 7 to 8. Shape out the dart from 15 and 16 to 13, making the dart 7 inches in length. 17 and 18 from 5 = the quantity shown from 6 to 7. Shape out the side dart from 17 and 18 to 4.
A seam is allowed each side of this dart, but on each of the other darts no provision has been made for seams, and the darts are sewnout in the marks.
19 from 4 = one-sixth of the half-hip measure. Square up from 19 to the waist line.
In this case the point squared coincides with
point 6, so, to eliminate unneces sary addition al figures, the front waist suppress ion will be taken from each side of point 6. Therefor e, shape out the dart from 20 and 21 by the quantity shown from 8 to X to 2 inches above 19.
Line down from X to 22 the front skirt length plus inch. 23 from 3 = the back skirt length plus inch. Shape the bottom edge run of the skirt from 22 to 23. 24 from 3 = 1 inches less than the full width of the material. 25 from 23 = the full width of the material.
Line from 24 to X and to 25 for the wrapover. Line from 25 to 22 to complete the skirt draft.
In the makingup, the edge of the skirt from 24 to 25 should be slightly drawn in to prevent as much as possible the wingingaway of the fronts, a fault common to wrap s k i r t s .
The Corsl et Skirt (Fig. 96)

Skirts with high waist-line effects are very fashionable and smart in wear for they
accentuate the height and slender appearance of the wearer and permit the wearing of a belt, either of leather or of the same material as the skirt or blouse. The extent the waist line is raised from the natural position should never exceed 3 inches as, after this distance, the figure commences to increase in girth rapidly to the bust, and consequently there is need for increase of circumference at the skirt top. Included in the draft are instructions on allowing for knife pleats in the back and front panel seams. Measures are as follows

Waist = 28 inches. Hips = 40 inches. Front skirt length = 28 inches from the natural waist level. Side skirt length = 28 inches taken as above.
Back skirt length = 28 inches taken as above.
1 from X = 8 inches down for the hip level. Square out from 1 to 2 equal to the half-hip measure plus inch. 3 from 2 = 1 inch. 4 from 1 = half the distance from 1 to 2 less 1 inch. By line 4 to 3, square up 8 inches from 3 to 5. Square from 5 to locate 6 in line with points X and 1. 7 from 5 = one-third of the distance from X to 6. 7 from 3 = 8 inches. Join X to 7 to locate point 8.
9 from 8 = one-third of the distance from X to 6. Shape the natural waist line from X to 9 and 7. Line the front length of the skirt from X to 10 plus inch. Line the side length of the skirt from 9 through 4 to 11 plus inch. Line the back length of the skirt from 7 through 3 to 12 plus inch. Shape the bottom edge run from 10 to 11 and 12. Measure from 7 to 13 half the waist measuremen t plus inch. 14 from 13 = one-third of the distance from 13 to X. 15 from 14 = two-thirds of the distance from 14 to X plus inch.
16 from X = the amount the waist line is required to be raised = 2 inches. 17 from 9 = 2 inches. 18 from 7 = 2 inches. Shape the top of the skirt from 16 to 17 and 18. Shape out the side darts from 9 to 20 and 19 by the quantity shown from 13 to 4. Shape from 20 and 19 to 22 and 21, making these two points inch less apart than 19 from 20. 23 from 3 = one-sixth of the half-hip measure plus inch. Square down from 24 on the natural waist line to 23. Suppress the back panel seams at 25 and 26 from 24 by half
the quantity shown from 14 to 15 plus inch.
27 from 28 = inch less than the distance from 25 to 26. Shape out the back panel dart from 27 to 25 and 23 and from 28 to 26 and 23. 29 from 23 = 3 inches. Square down from 30 to 29 for the position of the second back dart. 31 and 32 from 30 = the remainder of the quantity shown from 14 to 15. 33 and 34 are inch less apart than the distance from 31 to 32. Shape out the back panel dart from 33 and 34 to 31 and 32 to 29,
making the dart 7 inches in length from 30.
35 from 1 = one-sixth of the half-hip measure plus inch. Square down from the waist line at 14 to 35. Suppress 36 and 37 from 14 equal to the distance from 15 to X. 38 from 39 = inch less than the distance from 36 to 37. Shape out the front panel dart from 38 and 39 to 36 and 37 to 35 as shown. 40 from 10 for the width apart of the front panel seams at the hem line = inch more than the distance from 1 to 35. 41 from 12 for the width apart of the back panel
seams = inch more than the distance from 3 to 23.
Join 35 to 40 and 23 to 41. 42 from 40 for the length of the front pleat = 14 inches. Mark up from 42 to 43 1 inches. 44 from 42 = 2 to 3 inches for the depth of the pleat. Square down from 44 to 46. 45 from 42 = the same quantity as 42 to 44. Square down from 45 to 47 and complete the pleat from 44 and 45 to 43.
T h e b a c k p l e
a t i s m a r k e d f r o m 4 9 t o 5 0 , 5 1 , 5 2 a n d 5 3 i n a n i d e n t
i c a l m a n n e r a s t h e f r o n t p l e a t .
S e a m s a r e r e q u i r e d t
o b e a d d e d a t t h e f r o n t a n d b a c k p a n e l s e a m s a n d p l e a
t s .
S k i r t D r aft with a Hip Yoke (Fig. 97)

The following draft illustrates the treatment of a skirt design with a hip yoke required in one piece without waist darts. The design chosen has a 6-inch hip yoke terminating in a point at the front centre with an inverted pleat set in the front seam. Measures are as follows
Waist = 27 inches.
Hips = 39 inches. Front skirt length = 28 inches. Side skirt length = 28 inches. Back skirt length = 28 inches.
1 fro mX =8 inch es dow n for the hip leve l. Squ are out fro m1 to 2 the half -hip
mea sure plus inch .
3 fro m2 =1 inch . 4 fro m1 = half the dist anc e fro m1 to 2 less 1 inch . By line 4 to 3, squ are up to 5 fro m3 8 inch es. Squ are bac k fro m5
to loca te 6 in line with poin ts X and 1.
7 fro m5 = one thir d of the dist anc e indi cate d by 6 to X. 7 fro m3 =8 inch es. Join 7 to 3. Join X to 7 to loca te poin t 8. 8 fro mX =
half the dist anc e fro mX to 7 less 1 inch .
9 fro m8 = one thir d of the dist anc e fro mX to 6. Sha pe the wais t line fro mX to 9 and 7. Line dow n fro mX to 10 the fron
t skirt leng th plus inch .
Line dow n fro m9 to 4 and 11 the side skirt leng th plus inch . Line dow n fro m7 thro ugh 3 to 12 the bac k skirt leng th plus inch . Sha pe the bott
om edg e run fro m 10 to 11 and 12.
13 fro m7 = the half wais t mea sure plus inch . 14 fro m 13 = one thir d of the qua ntit y fro m 13 to X. 15 fro m 14
= two thir ds of the qua ntit y fro m 14 to X plus inch .
Sup pres s the side sea ms fro m9 to 16 and 17 by the qua ntit y sho wn fro m 13 to 14. Sha pe the side sea ms
fro m 16 and 17 to 4 and cont inue to 11 at the hem line.
19 fro m 17 = 6 inch es. Squ are fro m 19 to 20 6 inch es, and mar k dow n to 18, inch belo w poin t 1. 22 fro m7 =
6 inch es. Mar k the bac k yok e fro m 21 to 22.
23 fro m 22 = one sixt h of the half -hip mea sure . 24 fro m 23 = one sixt h of the half -hip qua ntit y. Squ are dow
n fro m 25 to 23 fro m the wais t line.
Squ are dow n fro m the wais t line at 26 to 24. Sup pres s the first bac k dart fro m 25 to 27 and 28 by half the qua ntit y sho wn
fro m 14 to 15.
Sha pe out the bac k dart fro m 27 and 28 to 23 as sho wn. Sup pres s the wais t dart fro m 26 to 29 and 30 by half the qua ntit y sho wn fro m 14 to 15.
Sha pe out the dart fro m 29 and 30 to 24 as sho wn. Squ are dow n fro m 31 at the fron t wais t to 20 whe re the yok e sea m is dive rted to the cent re fron t sea m. Sup pres s
the fron t dart equ al to the dist anc e fro m 15 to X, and sha pe out to 20 as sho wn.
The cent re fron t plea t is mad e 14 inch es in leng th fro m 10 to 34. 35 fro m 34 for the
exte nsio n of the plea t as a mea ns of kee ping it in posi tion = 1 inch es.
The widt h of the plea t is mad e fro m 3 to 4 inch es. 37 fro m 35 = 10 to 36. 38 is mid way of 35 to
37 and 39 is mid way of 10 to 36.
C o m p l e t e t h e d r a f t b y m a r k i n g t h e c r e a s e o
f t h e p l e a t f r o m 3 8 a n d 3 9 a n d f r o m 3 8 t o 3 5 a n d 3 7 .
T o c u t t h e h i p y o k e i n o n e p i e c e , c u t o u t t h e f r o n t h
i p s e c t i o n f r o m X t o 1 7 , 1 9 , 2 0 a n d 1 8 , a n d t h e n c l o s
e o u t t h e f r o n t d a r t a s s h o w n b y t h e s m a l l e r d i a g r a m
T r e a t t h e b a c k s e c t i o n i n a s i m i l a r m a n n e r b y c u t t
i n g f r o m 1 6 t o 7 , 2 2 a n d 2 1 , a n d t h e n c l o s e o u t t h e f
i r s t a n d s e c o n d d a r t s a s i n d i c a t e d b y t h e s m a l l e r d i a
g r a m .
W h e n c u t t i n g f r o m t h e m a t e r i a l , i t i s n e c e s s a r
y t o a d d s e a m s r o u n d t h e b a c k a n d f r o n t h i p y o k e s f r o
m 2 2 t o 2 1 a n d 1 9 t o 2 0 a n d 1 8 .
A d d a s e a m o n t h e s k
i r t s e c t i o n f r o m 2 2 t o 2 1 a n d f r o m 1 9 t o 2 0 a n d 1 8 . A
d d a s e a m d o w n t h e f r o n t c e n t r e s e a m f r o m 1 8 t o 3 5 a n
d f r o m 3 7 t o 3 6 .
A n o t h e r Exampl e of Hipyoke Constru ction (Fig. 98)

Fig. 98 illustrate s an example of skirt construc tion with a hip
yoke cut in one with the panels, instead of being a separate factor. The skirt panels have a slightly flared effect at the hem line, and, for the purpose of designs where the back and front panels are required to be of equal shape and size, the sideseam is placed exactly in the centre of the
draft; otherwis e with the sidesea m in the usual position, the widths of the panels would necessar ily be of unequal proporti ons. Me asures are as follows
W a i s t = 2 5 i n c h e s .
H i p s = 3 8 i n c h e s .
F r o n t s k i r t l e n g t h = 2 7 i n c h e s
S i d e s k i r t l e n g t h = 2 7 i n c h e s .
B a c k s k i r t l e n g
t h = 2 7 i n c h e s .
T o draft S quar e from X.
1 f r o m X = 8 i n c h e s
d o w n f o r t h e h i p l e v e l .
S q u a r e o u t f r o m 1 t o 2 h
a l f t h e h i p m e a s u r e p l u s i n c h .
3 f r o m 2 = 1 i n c
h .
4 f r o m 1 = h a l f t h e d i s t a n c e f r o m 1 t o 2 l e s s
1 i n c h .
B y t h e l i n e 4 t o 3 , s q u a r e u p f r o m 3 t o 5
t h e d i s t a n c e f r o m X t o 1 .
S q u a r e b a c k f r o m 5 t o
6 .
7 f r o m 5 = o n e t h i r d o f t h e d i s t a n c e f r o m X t o
6 .
7 f r o m 3 = 8 i n c h e s .
J o i n X t o 7 t o l o c a t e p o
i n t 8 .
8 f r o m X = h a l f t h e d i s t a n c e f r o m X t o 7 l
e s s 1 i n c h .
9 f r o m 8 = o n e t h i r d o f t h e d i s t a n c e
f r o m X t o 6 .
S h a p e t h e w a i s t l i n e f r o m X t o 9 a n d
7 .
1 0 f r o m X = t h e f r o n t s k i r t l e n g t h p l u s i n c
h .
L i n e f r o m 9 t h r o u g h 4 t o 1 1 t h e s i d e s k i r t l e n
g t h p l u s i n c h .
L i n e f r o m 7 t h r o u g h 3 t o 1 2 t h e
b a c k l e n g t h p l u s i n c h .
S h a p e t h e b o t t o m e d g e r u
n f r o m 1 0 t o 1 1 a n d 1 2 .
1 3 f r o m 7 = t h e h a l f w a i s
t m e a s u r e p l u s i n c h .
1 4 f r o m 1 3 = o n e t h i r d o f
t h e d i s t a n c e f r o m 1 3 t o X .
1 5 f r o m 1 4 = t w o t h i r d
s o f t h e d i s t a n c e f r o m 1 4 t o X p l u s i n c h .
S u p p r
e s s t h e s i d e s e a m s f r o m 1 6 a n d 1 7 f r o m 9 b y t h e q u a
n t i t y s h o w n a t 1 3 t o 1 4 .
S h a p e t h e s i d e s e a m s f r o m
1 6 a n d 1 7 t o 4 .
1 8 f r o m 3 = o n e s i x t h o f t h e h a l
f h i p m e a s u r e p l u s i n c h .
S q u a r e d o w n f r o m 1 9 o n
t h e w a i s t l i n e t o 1 8 , a n d s u p p r e s s t h e b a c k d a r t
a t 2 0 a n d 2 1 f r o m 1 9 b y h a l f t h e q u a n t i t y s h o w n f r
o m 1 4 t o 1 5 p l u s i n c h .
2 2 f r o m 1 8 = 3 i n c h e s .
S q u a r e d o w n f r o m 2 3 o n t h e w a i s t l i n e t o 2 2 , a n d s
u p p r e s s t h e b a c k d a r t b y t h e r e m a i n d e r o f t h e q u a n
t i t y r e g i s t e r e d f r o m 1 4 t o 1 5 .
f r o m 2 4 a n d 2 5 t o t e r m i n a t e o n t h e h i p y o k e s e a m
2 6 f r o m 1 = o n e s i x t h o f t h e h a l f h i p m e a s u r e p
l u s i n c h .
S q u a r e d o w n f r o m 1 4 o n t h e w a i s t l i n e
t o 2 6 , a n d s u p p r e s s t h e f r o n t d a r t a t 2 7 a n d 2 8 f
r o m 1 4 b y t h e q u a n t i t y s h o w n f r o m 1 5 t o X .
S h a p e
o u t t h e d a r t f r o m 2 7 a n d 2 8 t o t e r m i n a t e a t t h e p o
i n t o f t h e h i p y o k e .
2 9 f r o m 1 6 = 3 i n c h e s .
3 0 f
r o m 1 4 = 6 i n c h e s .
3 1 f r o m 1 7 = 3 i n c h e s .
3 2 f r
o m 1 9 = 6 i n c h e s .
S h a p e t h e h i p y o k e s e a m s f r o m
3 0 t o 2 9 a n d 3 1 t o 3 2 .
3 3 f r o m 1 0 = t h e w i d t h o f
t h e p a n e l s e a m a t t h e h e m l i n e = i n c h m o r e t h a n
1 t o 2 6 .
3 4 f r o m 1 2 = i n c h m o r e t h a n t h e d i s t a n
c e f r o m 3 t o 1 8 . L i n e f r o m 3 4 t o 3 2 .
T h e T r o u s e
r s k i r t ( F i g . 9 9 )
F i g . 9 9 il l u s t r a t e s t h e d r a ft o
f a n e w s t y l e o f s p o r t s s k ir t , t h e t r o u s e r s k ir t .
T h i s g a r m e n t , a s it s n a m e i m p li e s , i s a c o m b i n a ti o n
o f a s k ir t w it h a t r o u s e r l e g e ff e c t . F o r a s u c c e s s f
u l t r o u s e r s k ir t , t h e r e m u s t b e a m p l e e a s e o f s t ri
d e r o o m f o r w a l k i n g s o t h a t t h e f a c t o f t h e g a r m e
n t b e i n g b if u r c a t e d i s n o t t o o a p p a r e n t . P l e a t s
a r e u s u a ll y i n s e r t e d a t t h e c e n t r e b a c k a n d f r o n t
t o d i s g u i s e t h e b r e a k o f t h e l e g s a n d , i n t h e m a k i
n g , s h o u l d b e s ti t c h e d d o w n t o b e l o w t h e f o r k l e v
e l. T h e m o s t i m p o r t a n t p o i n t t o k e e p i n m i n d i s t h e
n e e d f o r a m p l e f o r k w i d t h t o g i v e e a s e o f m o v e m e n
t , o t h e r w i s e t h e t r o u s e r s k ir t i s b a s e d u p o n t h e
s t a n d a r d s k ir t b a s i s w it h a d d it i o n a l o v e r a ll e a s e .
T o e li m i n a t e a c e n t r e f r o n t s e a m d o w n t h e f r o n t s
f r o m t h e w a i s t li n e , a s h o r t h i p y o k e i s i n c l u d e d
i n t h e d e s i g n a t b a c k a n d f r o n t . F u ll m e a s u r e s a r
e a s f o ll o w s
W a i s t = 2 5 i n c h e s .
H i p s = 3 8 i n c h e s
F r o n t a n d b a c k s k i r t l e n g t h = 2 7 i n c h e s .
A n a
d d i t i o n a l m e a s u r e t o b e t a k e n i s t h e h e i
g h t o f t h e b o d y r i s e . T h i s i s t a k e n w i t h
t h e w e a r e r s e a t e d u p o n a c h a i r a n d m e a s
u r e d f r o m t h e s e a t l e v e l t o t h e p o s i t i o n
i n t h e w a i s t l i n e w h e r e t h e s k i r t i s r e
q u i r e d t o b e w o r n . F o r a n a v e r a g e f i g u r e
, t h e h e i g h t o f t h e b o d y r i s e v a r i e s f r o
m 1 1 t o 1 2 i n c h e s . I n t h i s i n s t a n c e , a
r i s e o f 1 1 i n c h e s i s t a k e n . T o d r a f t
S q u a r e f r o m X .
f r o m X
= 8 i n c h e s
b e l o w f o r t h
e h i p l e v e l .
S q u a r e o u t 1 t o 2 h a l f t h e h i p
m e a s u
r e p l u s 1 i n c h , a n i n c r e a s e o f
i n c h o v e r t h e s k i
r t b a s i s .
f r o m 2
= 1 i n c h .
f r o m 1 f o r t h e p o s
i t i o n o f t h e
s i d e s e a m
f r o m 1 t
o 2 l e s s 1 i n c h .
B y l i n e 4 t o 3 , s q u a r e u p 8 i n c h
e s
f r o m 3 t o 5 .
S q u a r e b a c k
f r o m 5 t o l o c a t e 6 i n
l i n e
w i t h p o i n t s X a n d 1 .
f r o m 5
= o n e t h i r d o
f t h e d i s t a n c e
f r o m 6 t o X .
J o i n X t o 7 t o l o c a t e
p o i n t 8 .
f r o m X
f r o m X t o
7 l e s s 1 i n c h .
f r o m 8
= o n e t h i r d o f t h e d i s t a n
c e
f r o m 6 t o X .
S h a p e t h e
w a i s t l i n e
f r o m X t o 9
a n d 7 .
L i n e
d o w n
f r o m X t o 1 0 t h e s k i r t l e n g t h p l
u s
i n c h .
L i n e
d o w n
f r o m 9 t h r o u g h 4 t o 1 1 t h e s
i d e s k i r t l e n g t h .
L i n e
f r o m 7 t h r o u g h 3 t o 1 2 t h e
b a c k s k i r t l e n g t h .
S h a p e t h e
b o t t o m e d g e r u n f r o
m 1 0 t o 1 1 a n d 1 2 .
1 3
f r o m X
= t h e b o d y r i s e l e n g
t h
1 1 i n c h e s p l u s
i n c h .
1 4
f r o m 1 3
i n c h
L i n e
d o w n
f r o m X t o
1 4 a n d 1 5 .
B y l i n e X t o 1 5 , s q u a r e u p
f r o m 1 4 t o
1 6 o n e s i x t h o f t h e h a l f h i p
m e a s u r e p l u s
i n c h .
S h a p e t h e c e n t r e f r o n t
s e a m a n d f o r k r u n
f r o m X t o
1 6 a s
s h o w n , c u r v i n g t h e f o r k r u n t o
w i t h i n 2 i n c
h e s o f 1 4 .
1 7
f r o m 1 5
= 1 4 t o 1 6 p l u s
i n c h .
S h a
p e
f r o m 1 7 t o 1 5 a n d t h e i n s i d e l e g
s e a m
f r o m 1 6 t
o 1 7 .
1 8
f r o m 7
= t h e b o d y r i s e
m e a s u r e e q u a l t o
X t o 1 3 a t t h e f r o n t .
1 9
f r o m 1 8
i n c h .
L i n e f
r o m 7 t h r o u g h 1 9 t o 2 0 .
2 0
f r o m 1 9
= t h e l e g l e n g
t h a s a p p l i e d
f r o m 1 8 t o 1 2 .
S q u a r e u p
f r o m 1 9 t o
2 1 , s q u a r i n g
f r o m l i n e 1 9 t o 2 0 o n e s i x t h o f t h e
h a l f h i p
i n c h .
2 2
f r o m 2 1
2 i n c
h e s
a l w a y s .
2 3
f r o m 2 0
= 1 9 t o 2 2 p l u s
i n c h .
2 3
f r o m 2 2
= 1 9 t o 2 0 .
S h a p e t h e b a c k
s e a m a n d f o r k
r u n
f r o m 7 t o 2 2 a s
s h o w n ,
h o l l o w i n g t h e f o r k r u n
t o
w i t h i n
2 i n c h e s o f p o i n t 1 9 .
S h a p e t h e i n s i d
e l e g
s e a m
f r o m 2 2 t o 2 3 a n d
f r o m 2 3 t o 2 0 .
M e a s u
r e
f r o m 7 t o 2 4 h a l f t h e
w a i s t
m e a s u r e m e n t p l u s
i n c h .
2 5
f r o m 2 4
= o n e t h i r d o f t h e d i s t a n c e
f r o m
2 4 t o X .
2 6
f r o m 2 5
t w o t h i r d s o f t h e d i s t a n c e
f r o m 2 5 t o X p l u s
i n c h .
2 7
f r o m 3 f o r t h e p o s i
t i o n o f t h e f i r s t b a c k
w a i s t d a r t
= o n e s i x t h o f t
h e h a l f h i p
m e a s u r e
f r o m 3 .
S q u a r e
d o w n
f r o m 2 8 o
n t h e
w a i s t l i n e t o 2 7 .
S u p p r e s s t h e d a r t
f r o m 2 8
t o 2 9 a n d 3 0 b y h a l f t h e q u a n t i t y
s h o w n
f r o m 2 5 t
o 2 6 .
S h a p e o u t t h e b a c k d a r t 6 i n c h e s i n l e n g t h
f r o m 2 9 a n d 3 0 t o
t e r m i n a t e a t t h e h i p y o k e .
3 1 f
r o m 2 7
= o n e s i x t h o f t h e h a l f h i p
m e a s u r e .
S q u a r
d o w n
f r o m 3 2 t o 3 1 .
S u p p r e s s t h e d a r t
f r o m 3 2 t
o 3 3 a n d 3 4 b y h a l f t h e q u a n t i t y
s h o w n
f r o m 2 5 t o
2 5 .
f r o m 3 3 a n d 3 4 6 i n c h e s i n
l e n g t h t o
t e r m i n a t e a t t h e h i p y o k e .
S u p p r e s s t h
s i d e s e a m s
f r o m 9 t o 3 5 a n d 3 6 b y t h e q u a n t i t y s h
o w n
f r o m 2 4 t o 2 5 .
S h a p e t h e
s i d e s e a m s
f r o m 3 5 a n
d 3 6 t o 4 a n d 1 1 a t t h e
b o t t o m e d g e .
S u p p r e s s , t h
e f r o n t d a r t a t 3 7 t o 3 8 b y t h e q u a n t i t y
s h o w n f r o
m 2 6 t o X .
T h e h i p y o k e i s
m a d e 6 i n c h e s i n d e p t h
f r o m 7 t o 3 9 , 3 5 t o 4 0 , 3 6 t o 4 1 a n d
6 i n c h e s f r
o m X t o 4 3 .
4 2
f r o m 4 1
6 i n c h e s , a n d i s
3 i n c
h e s
f r o m t h e
w a i s t l i n e .
S h a p e t h e y o k e
f r o m 4 3 t
o 4 2 a n d 4 1 , a n d
f r o m 4 0 t o 3 9 .
T h e f r o n t d a r t f r
o m 3 7 t o 3 8
t e r m i n a t e s a t t h e y o k e
s e a m a t p o i n t 4
4 .
T h e A d d i t i o n o f P l e a t s ( F i g . 1 0 0 )
T h e
a d d i t i o n o f p l e a t s a t t h e f r o n t a n d b a c
k c e n t r e s e a m s i s i l l u s t r a t e d b y F i g . 1 0
0 . T h e s u c c e s s o f a d i v i d e d t r o u s e r s k i r
t d e p e n d s m a i n l y u p o n t h e p l e a t s s e t i n
a t t h e c e n t r e f r o n t a n d b a c k , w i t h o u t w h
i c h t h e g a r m e n t w o u l d b e a r n o r e s e m b l a n c
e t o a s k i r t a n d a p p e a r a s a w i d e l y c u t
p a i r o f s h o r t t r o u s e r s ! T h e p l e a t s a r e a
c t u a l l y i n s e r t e d w h e r e t h e f o r k s e a m c o m
m e n c e s t o c u r v e u n d e r t h e b o d y , a n d i n w
e a r r e s e m b l e i n v e r t e d p l e a t s . T h e p a t t e r
n i s n o w c u t t h r o u g h d o w n t h e c e n t r e f r o
n t f r o m t h e p o i n t w h e r e t h e f r o n t y o k e t
e r m i n a t e s a t p o i n t 4 3 , a n d a q u a n t i t y o f
8 i n c h e s i s l e t i n t o f o r m o n e h a l f o f
t h e p l e a t . F i g . 1 0 0 s h o w s h o w t h i s t a k e s
p l a c e , a n d t h e t o p o f t h e p l e a t i s s h a p
e d t o a p o i n t t o e n a b l e i t t o b e s e w n i n
w i t h t h e y o k e s e a m . T h e p l e a t i s f o l d e d
b a c k f r o m 4 3 t o 4 3 a n d 1 5 t o 1 5 , a n d a
g o o d p l a n i s t o e d g e s t i t c h t h e f o l d s o f
t h e p l e a t t o s t o p t h e m f r o m c o m i n g o u t
o f s h a p e . A f t e r b o t h s i d e s o f t h e f r o n t s
h a v e b e e n t r e a t e d a s a b o v e , t h e f o r k s e
a m f r o m 4 3 t o 1 6 i s t h e n s e w n t o g e t h e r ,
a n d t h e t w o e d g e s o f t h e p l e a t s a s i n d i c
a t e d b y l i n e 4 3 t o 1 5 a r e s e w n t o g e t h e r
f o r a d e p t h o f a p p r o x i m a t e l y 6 i n c h e s o r
t o j u s t b e l o w t h e c o m m e n c e m e n t o f t h e l
e g s e a m . T h e f r o n t y o k e d a r t i s c l o s e d o
u t f r o m 3 7 t o 3 8 a n d 4 4 ( F i g . 9 9 ) a n d i s
s h o w n i n t h e f i n i s h e d p o s i t i o n r e a d y f o
r a d d i n g a s e a m f r o m 4 1 t o 4 2 a n d 4 3 . A
s e a m i s a l s o a d d e d t o t h e s k i r t f r o m 4 1
t o 4 2 a n d 4 3 . T h e b a c k s k i r t i s t r e a t e d
i n a s i m i l a r m a n n e r t o t h e f r o n t ; t h e b a
c k w a i s t d a r t s f r o m 2 8 a n d 3 2 t o 2 7 a n d
3 1 r e s p e c t i v e l y a r e s h o w n i n a c l o s e d o u
t p o s i t i o n r e a d y f o r t h e a d d i t i o n o f s e a
m s , a n d 4 i n c h e s h a v e b e e n a d d e d t o f o r m
t h e b a c k c e n t r e p l e a t f r o m 3 9 t o 2 0 . T h
i s p l e a t i s f o l d e d o v e r a n d s e w n t o g e t h e
r i n e x a c t l y t h e s a m e w a y a s t h e f r o n t ,
a n d , w h e n t h e s k i r t i s f i n i s h e d , n o s u s p
i c i o n o f a b r e a k i n t h e s k i r t f r o n t o r b
a c k s h o u l d b e a p p a r e n t . T h e s k i r t s h o u l d
f i t a n d h a n g a s w e l l a s a n o r d i n a r y s k i
r t . T h e f o r k s h a p e a n d l e n g t h f r o m f r o n t
t o b a c k g i v e s t h e n e c e s s a r y e a s e f o r w a
l k i n g a n d m o v e m e n t g e n e r a l l y .
P a n e l f r o n
t S k i r t w i t h I n v e r t e d P l e a t s ( F i g . 1 0 1 )
F i g . 1 0 1 s h o w s t h e d r a f t o f a p l a i n c o s t
u m e s k i r t w i t h a f r o n t p a n e l w i t h i n v e r t
e d p l e a t s s e t i n t h e s e a m s . T h e d r a f t a l
s o i l l u s t r a t e s t w o m e t h o d s o f c u t t i n g i n
v e r t e d p l e a t s f r o m t h e m a t e r i a l .
M e a s u r e
s f o r t h e d r a f t a r e a s f o l l o w s
o d r a f t
q u a r e f r
o m X .
http://vintages
replay
20071012031800 Go
AUG
OCT
21 captures
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2006 2007
Vintage Sewing Main Page < 1940's < Ladies' Garment Cutting and Making > Chapter X Search | Subscribe | Support

by F. R. Morris
Chapter XDress Cutting

THERE is a noticeable lack of systematic dress-cutting knowledge available to the trade in textbook form in comparison with the many works upon tailored garment cutting. This is no doubt due to the fact that the available cutting books have been written by craftsmen of the tailoring school who, with due credit to their abilities, possibly have had very little practical experience of dress designing, cutting and making. Anyone with cutting knowledge can evolve a system to cut any type of garment, but the opportunity of verifying the system by practical experiment may be lacking. In any case, the meagre knowledge to hand is of little use for the cutting of modern day and evening dresses with their demand for extreme closeness and perfection of fit.
The modern form-fitting dress requires as much (or, in the author's opinion, more) cutting knowledge and skill as tailored garments, for the designer is limited in the matter of the number of seams. Many seams are permissible in the cutting of coats that are impossible to incorporate with a dress design. In addition, a coat has good tailoring, canvases and linings to give it "body" and shape as well as the foundation of a dress underneath, whilst a dress is required to fit perfectly over the underslip foundation and there is no tailoring to improve the cutting effort. In short, dress cutting demands sufficient skill in the cutter to produce a garment to fit perfectly without any outside aid in the form of skill in making; that is why the author considers that dress cutting requires more knowledge and ability in comparison with tailored garment cutting.
Factors Influencing Fashion Tendencies

Modern dresses are designed to follow the figure form, and a looselyfitting waist or hip in a dress is not appreciated by average women. They read in fashion journals like Vogue and Harper's Bazaar the news that dresses will be form-fitting this season and do not understand the cutter and dressmaker who makes them a dress differing in style from the current mode. It is useless to attempt to instruct clients these days on the fashion tendencies of the moment; they probably know more about the subject than the dressmaker and the cutter, for the increase in the number of fashion periodicals on sale is not due to an increase of interest by the trade, but by the general public. Then we have the influence of the cinema upon fashion in dress. Film dress styles are admitted to be more advanced in style character than those even of Paris, and to the interested woman are a forecast of what is likely to be worn in the future. This means that hundreds and thousands of women who go to see a "smart" film are "dress-conscious" and, by studying the dresses shown on the screen, they possess an absolute knowledge of the latest styles. Women, too, endeavour to dress in a similar manner to that of their screen prototype; we had an example of this with the "Garbo" coats of a few years back and, more recently, the effect on current design of the many period films of the Tudor days. So it is not difficult to understand that our clients often know as much as, or more than, the dressmaker and cutter about style, which brings us back to the point that cutters must be prepared and skilful enough to cut intricate and difficult designs from which the
average ladies' tailor would flinch and which would be designated by him as "impossible to cut." Dress cutting and making is a subject apart from tailoring and a more intensive cutting ability is needed to cope with the demands of fashion, always assuming that the aim of the cutter is to achieve a perfectly fitting garment. We have also the complication of cutting dresses to measure down to anywhere in the region of a 25-inch waist with a hips size of 37 inches and a bust of 34 inches, with the proviso that the waist must measure this size and not 3 to 4 inches larger. The function of a waist belt these days is not to draw material to the figure as some people suppose. Dresses must fit in the waist without the artificial aid of a belt; evening dresses in particular are rarely seen with belts or sashes, yet the closely-fitted waist effect must be there. The "Princess" line is an example of a fitting beltless evening dress which requires a high degree of cutting skill to make successfully.
Bias Cutting
Bias cutting is another problem outside the scope of the tailoring fraternity. This operation is not so easy as just laying the pattern on the material on the cross; nowhere nearly as simple, for alteration to the pattern as made for straight layout cutting is needed when cutting on the bias; otherwise the weight of the material on the cross will pull the dress out of position at the waist, and no amount of reducing of waist size will achieve a close fit unless the hip size is reduced to less than the actual circumference first. But more on this subject at the proper time and place.
Manipulation of the Outline Pattern

The art of manipulating and cutting about of the outline pattern for close-waisted and draped effects is carried out to a greater extent in dress cutting than any other garment cutting, for successful dress cutting is impossible from a purely scientific, systematic point of view and is entirely dependent upon manipulation of the basic outline pattern for achieving results. The author has had a great deal of experience of modern dress cutting and has studied the subject apart from tailored garment cutting. By constantly designing, cutting and making day and evening dresses he has eliminated the causes of the majority of defects common to dress cutting and, in the process, evolved a cutting method that gives satisfaction in nine
instances out of ten; the exception may be due more to the fallibility of the human element than to any defect in the working of the system. No one can truthfully say that he or she never makes mistakes. The author has spent many sleepless nights over little incidents that have been due to the absence of concentration at the moment of cutting and he can say that a complete absence of trouble would turn garment cutting into a very dull job; although not everybody cares for troubles that by their magnified immensity seem to indicate the need for a complete reorganization of the cutting system! That is by the way, but the author can state that he rarely needs to alter a dress at the try-on stage, and very often dispenses with a fitting altogether as he believes that all garments should be cut as well as possible in the first instance as though a try-on were impossible. It is the thought that alterations can be made at the try-on that lowers the standard of cutting, and, as has been stated before, if all cutters had to cut garments to finish a higher standard of craftsmanship would result. The perfecting of the dress system was only possible after extensive practical experiment, the fact that the best was not good enough always being kept in mind. The advent of the very close-fitting dresses presented a big stumbling block, for the necessity for achieving a really close-fitting waist with the suppression correctly allocated so as not to disturb the balance of the dress by creases and folds from the waist to the centre back was not an easy problem to solve. The author found that if he waisted the dress at the sideseams only, as was the general principle advocated by the majority of cutters at the time, a number of creases and folds appeared at the back waist hollow, giving a very unsightly appearance to the dress which was not at all approved of by the wearer. These creases naturally had to be eliminated, and, by pinning out the surplus material, something like a fit was gained. The resultant effect on the pattern of this alteration seemed to indicate the presence of more length at the sideseams than was required at the centre back waist hollow, which ultimately led the author to experiment on the lines laid down in the chapter on Waist Suppression. The author is now confident enough to cut a dress to measure up, say, with 8 inches difference between the waist and bust measures with the sure knowledge that it will fit the figure perfectly. He believes that modelling knowledge is of importance to the dress cutter, and scientific, systematic cutting knowledge to the modeller. The combination of the two makes for a
skilled craftsman, for, while modelling teaches us why we cut as we do, scientific cutting knowledge enables the foundation work to be laid easier and more accurately. We produce our basic outline by scientific means and then use our modelling knowledge in the manipulation of the basic pattern to produce the contour shape of the figure, for manipulation of the outline pattern is inseparable from successful dress cutting; it is impossible to cut a really close-fitting style by a systematic allocation of constructional points. A cutter who attempts to systematize cutting to such a degree is obviously without practical knowledge of making; the two go hand-in-hand. It would only be necessary for a cutter to shape a dress to the figure by taking in the sideseams indiscriminately, and then endeavour to press open the seams when sewn, to open his or her eyes to the necessity for providing length at the sideseams in the waist to enable the dress to conform to the shape of the figure without stress or strain. Waist shape in either a coat or a dress can only be obtained by shaping the garment to the figure on the "bends" of the body and not by reducing the size indiscriminately in the first region that suggests itself.
The Dress System

The dress system is founded upon the basic constructional points derived from the working scale constituting the basic system for coats, with alterations necessarily dictated by the closer fit required and the absence of a foundation garment. The allowance for seams on a dress draft is not advocated, as the variable textures of the materials in use demand judgment in the matter of provision for seam allowances. For example, a lace dress would absorb anything up to inch or inch seams, while a tweed of firm texture would need only inch allowances. Dress cutting and making is very different from tailoring. Dressmakers often prefer to leave a fair margin of seam allowance for letting-out purposes, whilst the tailor, when he cuts a dress, will persist in the tailoring habit of allowing inch seams and an inlay down one side of the sideseams only. It is a general rule amongst dress cutters to leave an equal amount down each sideseam in view of the necessity for matching the design in the event of an alteration involving the taking-in or letting-out of the sideseams. If an inlay is left on one sideseam only, it is impossible to match the design when an alteration takes place.
The reduction of seam allowances from the basic draft affects the back width and across-chest width in addition to the allowances made over the bust, waist and hip measures. The author does not make any allowance for ease over the hip measure when cutting the pattern. In these days the fit of the dress at this part must be perfectly close, though, of course, the type of woman dealt with must decide the degree of closeness or otherwise. But, taking into account the fact of the hip measures being taken over another dress or skirt while the dress will be actually worn over an underslip, the addition to the hip circumference thus made will provide the amount of ease necessary. For example, the author has measured women over a tweed skirt about 1 inch larger in circumference than a similar measure taken over a silk dress, which, from the practical point of view, would be equal to a measure taken over the underslip. Therefore, for the average woman he does not make any allowance for ease over the hip measure taken over a dress or skirt. This hip measure, incidentally, is taken on the figure in the position where he is going to apply it on the pattern draft. The system-makers who measure the hips at 8 inches below the waist on the figure, and apply this quantity on their draft at a standard 7 inches down, should not wonder why their garments are always too large over the hip. There is a decrease of nearly 2 inches in circumference in the short space from 8 inches to 7 inches below the waist line. So take all measures on the figure where they will be applied on the draft. The allowance for ease over the tight waist measure depends upon the actual measure, and also a factor that may be thought immaterial and inconsequent is the ability of the wearer to get into the dress. This may seem rather of small importance to the cutter who is only interested in the cutting of garments to size, but it is an important fact that some women are more skilful at getting into dresses than others. The flexibility of their limbs is one of the factors governing this. The author has a friend whose dresses are made 24 inches in size at the waist; her bust size is 33 inches and her hip size 37 inches. Her dresses are made without an opening at the side waist, yet she contrives to wriggle into them without any apparent effort. The author does not know how this is achieved; he only knows that it happens. How anyone can contrive to pass a circumference of 24 inches over another circumference of 33 inches is a mystery. This is an example of the importance of the human element in dress cutting; so cut all dresses to a predetermined standard of ease, for all women are not so expert. In contrast to the above, there are women who find difficulty in getting a dress over their shoulders when the waist is only 3 inches or so less than the bust size
and with a side opening as well. It is something unexplainable, a fact which dress cutters who are practical know and appreciate, for whenever possible the author does not believe in opening the sideseam of a dress as a means of providing for ease; this sideseam opening does not improve the fitting qualities of a dress. The author usually allows 3 inches over the tight waist measure as an average quantity for ease, the amount depending to a certain extent upon the texture of the material used. Some tweed and silk materials allow the dress to be cut closer in fit than others. For instance, a crepe silk of crinkly texture can be cut closer than a plain weave, for the elasticity of the former will give to the figure and return to shape when in place, while a plain weave will sooner split than give an inch. If the material is cut on the bias, the waist may be cut down to practically the net measure and the dress will stretch as the wearer gets into it, which makes it possible to cut dresses without a waist seam or a side opening for perfect fit. The bust size needs very little addition for ease, unless a loose-fitting bodice effect is aimed at. The author allows inch of ease over the half-bust measure. This is sufficient for dresses, as they are cut to-day, as a basic quantity. As with the hips, the fact of the bust measure being taken over the dress or blouse naturally affects the amount of ease to be allowed. The shoulder slope, or the allowance of material needed to cover the contour shape and size of the shoulders, is reduced in quantity, owing to the need for a closer fit on the shoulder and the absence of padding of any description. There is a slight variation of the system from the coat basis for obtaining the angle of the shoulder slope on dresses. The variation is made for simplicity and does not affect the constructional points of the system elsewhere. For practicability the system is based upon the hip measure and drafted to the hip size; that is to say, there is no hip overlap shown on the draft, and the bust circumference is reduced to size by the side-seams being suppressed by the difference between the half-hip measure and the half-bust measure after a suitable allowance for ease has been made to this quantity. This principle of construction is advocated in order to eliminate the overlapping of the sideseams at the hip, which implies the ability to draft design seams without having to consider their position in relation to the overlap and consequent crossing of the drafting lines making the pattern extremely difficult to cut out without recutting the back and front side panels
twice. By drafting the dress without hip overlap, the design can be carried out on the flat from back to front, and design lines on the hip are continuous and not overlapped. When the bust circumference in comparison with the hip girth is such that no reduction of size takes place at the sideseams between the bust and hip measures, the dress is drafted to the bust measure and the hips correspondingly reduced to measure. This factor occurs in the drafting of patterns for prominent development of the bust.
Basic Construction of the Dress System (Fig. 105)

The basic system for dress cutting is illustrated by Fig. 105. For convenience the system is based on the normal 34inch bust girth, as the divisions of the scale should be familiar by now. Full measures are as follows

Chest = 32 inches. Bust = 34 inches. Waist = 25 inches, plus 3 inches for ease. Hips = 38 inches. Natural waist length = 15 inches. Full length = 43 inches. Half-back width = 6 inches. Working scale = half the bust girth = 17 inches.
No seams are allowed on the draft. To draft Square from point X.
1 from X = the back depth = one-third of the scale plus 1 inches.
It will be noted there is a reduction of inch in the backdepth quantity in comparison with the basis draft for coats. This takes place owing to the need for a slightly shallower armhole with dresses than for coats, and to the fact that the dress lies closer to the back of the figure, whereas the coat requires more length to lie over the dress.
2 from X = the natural waist length = 15 inches. This balance line is placed higher or lower to agree with the vagaries of fashion.
3 from 2 = 8 inches down for the hip level.
The position of the hip balance line never varies on the draft. Even if the fashion waist line is raised or lowered, the hip balance line remains in the same position, i.e. the position decided by its relationship to the normal waist. The author finds it an advantage to take a direct measure on the figure of the exact position of the hip line from the nape of the neck and to apply this measure to the draft irrespective of the location of the waist position.
4 from X = the full length of the dress = 45 inches, or to taste. Square out from the above-named points. The width of the back neck from X to 5 is made the same as for coats, i.e. one-sixth of the scale less inch. 6 from 5 = inch. A reduction of inch takes place at this point, as a dress lies flat to the neck and not over another garment. Shape the back neck run from 6 to X. 7 from 1 = the half-back width applied net without a seam. Square up from 7 to the construction line squared from X to locate point 8. Measure out on the hip balance line from 3 to 9 the half-hip measure net. This width is the basic constructional factor of the dress system. Square the front centre line from 9 to locate points 10, 11, 12 and 13. 14 from 11 = the back depth from X to 1 plus one-twelfth of the scale. Square out from 14 to 15 one-sixth of the scale. The across-chest width from 11 to 16 is the quantity as described for coat cutting reduced by inch, as the inch seam that is allowed round the armhole is eliminated in a system using net measures. Therefore 16 from 11 = half the scale less 1 inch instead of less inch. Square up from 16 to the balance line squared from X. 17 from 16 for the position of the neck point for providing the bust dart = one-sixth of the scale less inch. This reduction of inch from the position of the neck point is explained by the reduction by inch of the width from 11 to 16. 17 from 16 is the same quantity as for coats. The alteration to the location of point 17 does not affect the position of 16. Square up from 17 to 18 equal to 11 to 14 less inch.
The position of the sideseam is located by point 19, midway between 3 to 9 on the hip level. The sideseam is placed in this position in order to simplify the designing of dresses with
panels and seamings of identical shape and width at back and front.
Square from 19 to 20, 21 and 22. 23 from 16 = one-sixth of the scale. The shoulder slope is decided by the position of point 24 below 8. 24 from 8 = 1 inch always. Square out from 24 to 25 inch for the shoulder seam end. Join 25 to 6 and shape the shoulder seam. Join 18 to 26 and 25.
26 from 18 = the shoulder seam length equal to 6 to 25 less inch only. Additional ease for the back shoulder seam is provided when the back waist suppression is manipulated, as will be explained in the next draft.
Square down from 26 to 27 1 inch always. Shape the shoulder seam from 18 to 27. Measure from 11 to 28 half the bust measurement plus 1 inch.
It has been previously mentioned that the allowance for ease over the half-bust measure is inch, but as inch is lost at the back under the shoulder blades as described in the coat systems this must be added to the overall addition.
29 and 30 from 21 = the surplus amount from 1 to 28 divided equally each side of point 21. Shape the scye from 29 to 25 and 30 to 27, hollowing slightly in advance of the line. Square down from points 29 and 30 to locate 31 and 32 on the waist line.
In the chapter on Waist Suppression, the inadvisability was stressed of suppressing the sideseams of any garment to a great degree, as it is unpractical and not in accordance with the demands of the figure shape at this section. Emphasis was laid on the need for length at the sideseams and suppression on the "bends" of the body, and to this end the sideseams were suppressed only 3/8 inch each side. For a dress the author normally increases this quantity to inch.

33 from 32 = inch. 34 from 31 = inch as above.
For stride room from the hips to the knees, the sideseams are overlapped at the hem line from 22 to 35 and 36 by 1 inch each side. Shape the sideseams from 29 to 34, 19 and 35, and from 30 to 33, 19 and 36, making gradually curving seam runs as shown. 37 from 14 = one-sixth of the scale for the neck curve. Shape from 37 to 15 to complete the basis draft for dresses.
With this draft no attempt to show waist suppression is made. In the description of the following diagram this will be dealt with fully.
Continuation of the Dress System Construction (Fig. 106)

Fig. 106 shows elaboration of the system in order to allocate the waist suppression factors in their correct positions. The back waist is allocated two-thirds of the surplus quantity after the sideseams have received their quota; the remaining third is taken from the front under the bust prominence. The measures for the draft are identical with those for Fig. 105. To draft Square from X.

1 from X = one-third of the scale plus 1 inches. 2 from X = the natural waist line = 15 inches. 3 from 2 = 8 inches down for the hip level. 4 from X = the full length = 45 inches or to style. 5 from X = the back neck width = one-sixth of the scale less inch. 6 from 5 = inch. Shape the back neck curve from 6 to X. 7 from 1 = the half-back width net.
Square up from 7 to 8. Square out from 3 to 9 the half-hip measure net. Square the front centre line from 9 to 10, 11 and 12 and 13 at the hem line. 14 from 12 = one-twelfth of the scale. 15 from 14 = one-sixth of the scale. 16 from 11 = half the scale less 1 inch. 17 from 16 = one-sixth of the scale less inch. Square up from 17 to 18 the distance from 11 to 14 less inch. 19 is located midway of the distance 3 to 9 for the position of the sideseams. Square up from 19 to 20 and 21 and down to 22 at the hem line. 23 from 8 = 1 inch always. Square out from 23 to 24 inch, and shape the back shoulder seam from 24 to 6. Shape the back-scye from 28 to 24 as indicated. Join 18 to 24 for the front shoulder slope angle. 25 from 18 = the front shoulder length equal to 6 to 24 less inch. Square down from 25 to 26 1 inch always, and shape the front shoulder seam from 18 to 26. Complete the shape of the front of the scye from 26 to the breast line, advancing inch in front of the scye line squared up from 16. Measure from 11 to 27 half the bust measurement, plus 1 inch. 28 and 29 from 21 = the difference between the half-bust and half-hip measures as shown by 1 to 27. Square down from 28 and 29 to 30 and 31. Measure from 2 to 32, adding 3 inches to the tight waist measurement (i.e. 25 inches plus 3 inches = 28 inches). 32 from 22 = half the dress waist measure of 28 inches = 14 inches.
33 from 32 = the distance from 31 to 30 plus 1 inch. This 1 inch is the total sideseam waist suppression from 30 and 31. 34 from 33 = two-thirds of the distance from 33 to 10. Suppress the sideseams from 31 to 36 inch, and from 30 to 35 inch. The total distance from 35 to 36 = the distance from 32 to 33. Shape the sideseams from 28 to 36, 19 and 37 1 inch from 22, and from 29 to 35, 19 and 38 1 inch from 22.
The position of the back waist suppression at 39 from 2 = one-sixth of the scale. This quantity is a variable amount and is subject to alteration with differing style needs.
40 from 39 = the back waist suppression quantity as determined by the distance from 33 to 34. 41 from 3 = one-sixth of the scale plus 1 inch. Square down from 41 to 42. 43 from 6 = 2 inches. Mark out the back waist suppression from 43 to 39 and 41, and from 43 to 40 and 41, suppressing inch below the blade at the breast line level 44. 45 from 10 = one-sixth of the scale plus 1 inch. Square down from 45 to 46 and 47. 48 from 45 for the length of the waist suppression = 4 inches. Shape out the front waist suppression equal to the quantity shown at 34 to 10. 49 is midway of 11 to 16. Sweep 50 from 18, pivoting from 49, equal to the distance from 18 to 15. Shape out the bust dart from 49 to 18 and 50. 51 from 14 = one-sixth of the scale. Shape the neck curve from 51 to 15.
The waist suppression as indicated is suitable for a dress with panel seams in the skirt. Flare is added to the skirt at the panels if a flared skirt is required and pleats may be inserted otherwise. Enough width is added at the
sideseams for the needs of stride room, and if a plain skirt is required the author does not increase this width. The suppressions as marked are reduced from the draft immaterially to the style of the design, and are essential to the requirements of a clean waist fit. Even if the dress has a perfectly plain skirt and bodice, these suppressions must be taken out and the following diagram will illustrate the author's method of cutting a dress with a closely-fitting waist line without darts or panel seams. This draft will be the basis for interpreting intricate styles and will illustrate the principle of taking out the suppressions before the design is drafted. When cutting any garments, the requirements of fit, such as waist suppression, hip overlap, bust darts, must be satisfactorily settled, and then the design is made to harmonize and agree with the construction.
Manipulation of the Pattern for Waist Suppression (Fig. 107)

Fig. 107 shows the manipulation of the outline pattern by closing out the waist suppressions to obtain a whole back and forepart pattern. The interpretation of design is facilitated by the provision of a whole pattern instead of arranging the design on the draft and then endeavouring to take out the necessary suppression. The back is manipulated by closing out the waist suppression from 39 to 40 by cutting up the pattern from 39 and 40 to a point at the blade where the waist suppressions terminate, and by cutting down the back shoulder from 43 to the same point on the blade and then, pivoting from the blade point, closing out the suppression to obtain a pattern outline as indicated by X to 24, 28, 36 and 2. This manipulation will result in the back shoulder width being increased by approximately
inch, thus making up the inch more length of back shoulder than at the front for the requirements of easing-in. It is essential to ease the back shoulder in to the front for the attainment of a clean shoulder free from creases. The closing-out of the waist suppression gives the curved waist seam, without which it would be impossible for the back section to fit closely into the waist as it passes round the figure to the side. The back skirt section is manipulated by closing out the waist suppression from 39 to 40, and, pivoting from point 41 on the hip line, opening out the skirt width at the hem line as shown. Re-mark the skirt pattern to agree with the effect of reducing the waist suppressions. When the skirt is required to be perfectly plain in design without panel seams, the author does not cut the skirt width any wider than the amount indicated from 13 to 38 plus 4 to 37 in Fig. 106, unless the design calls for extra flare or width. But as the closing-out of the waist suppression gives an increase of skirt width at the hem line, to counteract this extra width, he drafts his basic pattern without the addition of the overlap from 22 to 38 and 37, and makes his sideseams as 19 to 22 for both the back and front skirt. If a panel back and plain front design is needed, he does not add the overlap on the front skirt and retain it on the back. Panel skirts generally do not require manipulation of the pattern as described; the suppressions are reduced direct from the seams or from a hip yoke, and the sideseam overlap is retained as drafted. Pleats or flare may be added to the panel seams as a supplement to the skirt width, but for a narrow skirt width the author does not increase the width above the circumference indicated. The front bodice shows the manipulation of the bust dart and the front waist suppression to obtain a whole front with an underarm sideseam dart for bust shape. Join up the bust dart and the waist suppression by continuing the bust dart down to 48, and then cut the
pattern through from 18 and 50 to 48 and from 45 to 48. Cut the pattern from a point 3 inches below the breast line at 29 to link up with 48. Close out from 50 to 18 and at 45 the waist suppression which opens the underarm bust dart as shown. Mark the dart 4 inches in length as indicated. The front skirt section is manipulated by closing out the front waist suppression at 45, and by pivoting from point 46 on the hip line to open the skirt width at the hem line from 47 to 47 and 38; and, if the skirt is required to be cut in one piece, the side-seam is reduced by the quantity of overlap shown from 22 to 38 in Fig. 106. This completes the principles of manipulating the basic outline pattern for obtaining waist suppression in a dress without darts or panel seams.
Drafting Dress Patterns in Two Parts (Fig. 108)

Fig. 108 is recommended as an alternative system to Fig. 106, and is useful for the cutting out of dresses with an all-round waist seam. The first system described is utilized when the dress is cut in one piece without a waist seam, and in addition for waist seam designs. A feature of the system to be described is the provision for drafting the skirt waist to the exact finished size required with the extra width of the skirt hem line automatically adjusted. The overlapping of the sideseams from the hip line downwards is eliminated and the skirt section based upon a method similar to the basic skirt system. The measures for the draft are as follows

Hips = 37 inches. Natural waist length = 15 inches. Full length = 42 inches. Skirt length = 27 inches. Half-back width = 6 inches. Working scale = half the bust girth = 17 inches.
Square lines from X.

1 from X = one-third of the scale plus 1 inches. 2 from X = the natural waist length = 15 inches. 3 from X = one-sixth of the scale less inch. 4 from 3 = inch. Shape the back neck curve from 4 to X. 5 from 1 = the half-back width. Square up from 5 to 6 on the construction line squared out from X. 7 from 1 = the half-bust measure plus 1 inch. Square up and down from 7 to 8 and 9. 10 from 9 = one-twelfth of the scale. Square out from 10 to 11 one-sixth of the scale. 12 from 7 = half the scale less 1 inch. 13 from 12 = one-sixth of the scale less inch. Square up from 13 to 14 equal to the distance from 7 to 10 less inch. 15 from 6 = 1 inch. Square out from 15 to 16 inch. Join 16 to 4 and hollow the back shoulder seam as shown. Join 14 to 16 to locate point 17. 17 from 14 = the distance from 4 to 16 less inch. 18 squared down from 17 = 1 inch. Shape the front shoulder seam from 14 to 18 and complete the shape of the scye from 18 to 16,
hollowing inch in front of the line squared up from 12.
19 for the position of the sideseam = half the distance from 1 to 7. Square down from 19 to 20. 21 and 22 from 20 are each inch. Shape the sideseam from 19 to 21 and 19 to 22. Measure from 2 to 23 half the waist measure (after the usual 3 inches have been added to the full quantity) plus the distance from 22 to 21. 24 from 23 = two-thirds of the distance from 23 to 8.
The back waist suppression is taken out from 25 to 26, and as a general guide to the width from 2 to 25 this quantity is made equal to one-sixth of the scale.
26 from 25 = the distance shown from 23 to 24. Mark out the standard back waist suppression from 25 and 26 to 27 and 28. 27 from 4 = 2 inches approximately. At 28 on the breast line, inch is suppressed from the pattern, and the waist suppression terminates at a point on the blade level half the back depth from X to 1. The front waist suppression is taken out at a point one-sixth of the scale plus inch from 8 to 29. 30 from 29 = the distance from 24 to 8. Shape out the front waist dart from 30 and 29 to 31, making the dart 4 inches in length. 32 is midway of 12 to 7. 33 from 14 for the bust dart = 14 to 11. Sweep 33 from 14, pivoting from 32, and shape out the bust dart from 32 to 33 and 14. 34 from 10 = one-sixth of the scale for the neck curve. Shape from 34 to 11 to complete the bodice top of the dress.
The Skirt
Square lines from X.

1 from X = 8 inches for the hip level from the waist. Square out from 1 to 2 the half-hip measure net. 3 is midway of 1 to 2. 4 from 2 = 1 inch. Join 4 to 3 and square up from 4 to 5. 5 from 4 = 8 inches. 6 is midway of X to 5. 6 from 3 = 8 inches. Line down from X to 7 the full skirt length, making up the total dress length. Line down from 6 and 3 to 8 equal to the distance from X to 7. Line down from 5 and 4 to 9 the same length as X to 7. Shape the bottom edge run from 7 and 8 to 9. Measure up the back waist and front waist seams on the bodice and make X to 10 on the skirt equal to 8 to 21 on the bodice; 5 to 11 on the skirt is made equal to 2 to 22 on the bodice. Shape from 10 and 11 to 3 for the continuation of the sideseams. Measure from 5 to 12 half the waist measure (28 inches) plus the distance from 11 to 10. 13 from 12 = two-thirds of the distance from 12 to X. 14 from X = the distance from 8 to 29 on the bodice. 15 from 14 = the distance from 13 to X. 16 from 5 = the distance from 2 to 25 on the bodice. 17 from 16 = the distance from 12 to 13. 18 from 4 = one-sixth of the half-hip measure plus inch.
19 from 9 = the distance from 4 to 18 plus inch. Shape out the back panel seam from 16 and 17 to 18 and 19. 20 from 1 = one-sixth of the half-hip measure plus inch. 21 from 7 = the distance from 1 to 20 plus inch. Join 20 to 21 and shape out the front panel seam from 14 and 15 to 20.
The skirt draft as shown is suitable for the construction of dress patterns with panelseam and hip-yoke effects, and, by closing out the waist suppressions, a skirt section in one piece may be obtained. In the following drafts will be indicated the methods of adjusting the size of the waist to agree with the skirt hem line width.
Reducing the Waist Measure to Size (Fig. 109)

The reduction of the waist measure to finished size is attained in the following manner. Fig. 109 depicts the draft of the skirt section of a dress, with the usual suppressions marked out by panel seams. To eliminate the closing out of the waist suppressions and opening of the skirt hem width for obtaining a skirt section in one piece, we must endeavour to arrange the drafting alteration to give a similar effect to that attained by the usual manipulation. The draft is based on the same measures as previous examples, and, with the
exception of 12 and 13, points X to 21 are drafted as described by the text appertaining to Fig. 108. It has been established that the front waist suppression takes one-third of the waist surplus quantity over the hip measure and the back waist suppression takes two-thirds. These quantities are marked on the draft from 14 to 15 and 16 to 17 respectively. Now the problem is to reduce the waist to the finished size and obtain a whole front and back pattern without cutting up the pattern in the process. The result must be the same in both instances. It has also to be pointed out that the width of the skirt at the sideseams must be reduced for a whole front and back skirt pattern. By the system shown, the usual overlap at the sideseams is included, and the constructional principles establish the skirt width in agreement with this factor. To proceed, the front waist seam is required to agree with the distance from X to 10 less the quantity shown at the front waist suppression from 14 to 15. Establish point 20 on the hip balance line as a pivoting point. Then sweep an arc from 10 to 22. Measure from X to 22 equal to the previously determined front waist measure less the front suppression. Curve the waist seam from 15 to 22 as shown. From X to 1 is 8 inches, the hip level down from the waist. The next step is to correct the depth of the hip level at the sideseam; this is necessary owing to the consequent raising of the side waist level by the action of reducing the waist to the finished size. Therefore, measure down from
22 to 23 the hip level distance, 8 inches; 23 is pivoted from 3 with the pivoting point at 20. Mark from 20 to 23 for the reconstructed hip balance line. Previously it has been stated that, in the case of plain skirts, the customary sideseam overlap from the hip level to the hem line is omitted, and the sideseams are marked down square from the hip line. Therefore, to reconstruct the skirt sideseam to agree with the elimination of the front waist suppression, square down from 23 to 24 equal to the distance from 3 to 8 on the original draft. Referring to the original draft, we find that point 8 is not squared down from 3, for the standard sideseam overlap quantity is included in the construction of the draft; so, by re-squaring the sideseam with the reconstructed hip balance line, the elimination of the sideseam overlap is effected. Shape the hem line from 7 and 21 to 24 to complete the alteration to the front skirt and the reduction of the waist size to the finished measure. The back skirt section is treated in a similar manner. The back waist seam is required to agree in length with the distance from 5 to 11 less the back waist suppression from 16 to 17. To proceed with the reconstruction, establish point 18 on the hip line as a pivoting point. Next sweep an arc from 11 to 25, pivoting from 18. Measure up the waist size from 5 to 25 equal to the predetermined distance from 5 to 11 less 16 to 17. Shape the waist seam from 5 to 16 and 25 as shown.
Pivoting from point 18, sweep from 3 at the side-seam to locate point 26, 8 inches from 25 as described for the front skirt construction. Mark from 18 to 26 for the reconstructed hip balance line and shape the side-seam from 25 to 26. Square down from 26 and 18 to 27 the distance from 3 to 8 for the sideseam. Shape the hem line from 9 and 19 to 27 to complete the draft. The reconstruction of the skirt pattern to provide for a whole front and back skirt without manipulating the original basic pattern gives exactly the same result as by manipulation and may be preferred in practice. It is not always convenient to cut the pattern about to obtain the finished article, and the following basic system will provide for any variation of the waist size, and consequent skirt hem width to correspond, without the necessity for manipulating the basic pattern.
Two-piece Skirt Basis System (Fig. 110)

The following system gives the resultant skirt shape, as illustrated by Fig. 110, in a simple form, enabling all variations of the skirt waist size to be made without involving manipulation of the pattern. Measures for the draft are as follows

Waist measure = 25 inches increased to 28 inches for dress drafts. Hip measure = 37 inches. Full skirt length = 27 inches.

1 from X = the hip level = 8 inches down from the waist. Square out from 1 to 2 half the hip measure net. The position of the sideseam at 3 is made half the distance from 1 to 2. 4 from 2 = 1 inch, pivoted from 3. Join 3 to 4, and then square up from 4 to 5 the hip level distance from the waist line, 8 inches. Square back from 5 to the line squared from X. 6 is midway of X to 5. Line down from X to 7 the full skirt length. Line down from 6 to 3 and 9 the same distance as X to 7. Line down from 5 and 2 to 8 the full skirt length as X to 7. Shape the hem line run from 7 to 9 and 8. Measure up the waist size from 5 to 10 half the waist measure (28 inches). The sideseam suppression quantity = one-third of the distance from 10 to X to locate point 11. The back waist suppression = two-thirds of the distance from 11 to X to locate point 12. The front waist suppression is indicated from 12 to X, the remaining one-third of the waist surplus from 11 to X. The sideseam waist suppression is marked out from 6 to 13 and 14 equal to the distance from 10 to 11.
Locate the pivoting point on the front hip line at one-sixth of the half-hip measure plus inch from 1. By pivoting from point 15, sweep from 13 to 16, making from X to 16 equal to the distance from X to 13 less the quantity shown at X to 12. Shape the front waist seam from X to 16 as shown. By pivoting from 15, sweep from 3 to 17 equal top 8 inches from 16. Mark the hip balance line from 15 to 17 and shape the sideseam from 16 to 17. By line 15 to 7, square down the sideseam from 17 to 18 equal to the length of the original sideseam from 3 to 9. Shape the hem line run from 7 to 18. The pivoting point at the hip line on the back skirt is located by one-sixth of the half-hip measure plus inch from 4. By pivoting from point 19, sweep from 14 to 20, making from 5 to 20 equal to the distance from 5 to 14 less the quantity shown from 11 to 12. Shape the waist seam from 5 to 20 as shown. By pivoting from 19, sweep from 3 to 21 equal to 8 inches from 20. Mark the hip balance line from 19 to 21, and then square down the back sideseam from 21 to 22, making 21 to 22 equal to 3 to 9. Shape the hem line from 8 to 22 to complete the skirt draft.
The amount taken out from the waist from 10 to X, or the degree to which the dress is required to fit, will naturally affect the amount of curve added to the waist seams and
additionally the increase of width to the sideseams, and, therefore, the tighter the waist is required the greater will be the curving of the waist seams and consequent addition to the skirt width at the sideseams. The preceding systems comprise the basis of all dress designing and cutting, and practical application of the systems to the interpretation of various typical styles will be shown in the following pages.
Flared Skirts and Flare Effects (Fig. 111)

While at the moment skirts for day and evening wear are very close in cut as regards the hem-line width, no doubt, in the future, skirts will once more be full in width and flared generally. The principle of adding flare and width to a skirt hem line is based upon manipulation of the basic pattern by cutting up and opening out to obtain the required hem-line width. Fig. 111 shows the back skirt section of a dress from the waist line to the hem with the usual back waist suppression marked to be closed out. For the purpose of illustrating the method of flare cutting, the design incorporates a plain hip yoke from the
waist to the hip level and a plain flared skirt appended.

1 from 2 = the hip level = 8 inches down from the waist. 3 from 1 = the skirt length = 27 inches. 4 from 2 = the half-hip measure net. 5 from 3 = the distance from 2 to 4 plus 1 inch. 6 from 1 = the back waist width = 2 to 4 less 1 inches. Shape the sideseam from 6 and 4 to 5 and the hem line from 5 to 3. 7 from 1 = one-sixth of the half-hip measure. 8 from 7 = the back waist suppression = 1 inches. 9 from 2 = one-sixth of the half-hip measure plus inch. Mark out the back waist suppression from 7 and 8 to 9. Shape the hip yoke from 2 to 4.
For the provision of extra width in the skirt, the pattern is cut through from 10, 11 and 12 to 13, 14 and 15 and opened out to allow for the increase of width at the hem line.
Divide the skirt hem from 3 to 5 into four divisions as shown, and square up to the hip balance line. Cut through the hip-yoke pattern from 7 and 8 to 9 and close out the suppression as shown by the diagram. Then cut
up from 10 to 13, 11 to 14 and 12 to 15 and insert the required increase of width until the desired skirt hem width is obtained. The shaded portions show where width has been added by opening out the basic pattern; in this case, an increase of 3 inches takes place at each line of opening. For extra width, the pattern may be opened to agree with the extent of increase needed, and, if necessary additional opening lines may be inserted to give a gradual curve to the hip line. With regard to the shape of the hip line where it sews to the hip yoke when the skirt has been opened out the required quantities, it will give an angular run to the seam which is shaped in a gradual curve as indicated to give a very even "fall" to the flare of the skirt. On the other hand, if a skirt is desired in which the flare hangs in distinct points instead of a gradual line, it will be necessary to retain the shape of the hip seam as found by the opening out of the skirt without re-curving of the waist seam. Then the skirt fullness will hang from the hip-yoke seam in distinct points.
Second Example of Flare
Cutting (Fig. 112)

Fig. 112 illustrates the addition of flare at a low level in the skirt. The design chosen has a panel seam from the hip level diverging towards the centre front of the skirt and then turning back to terminate at the sideseam below the knee level. Flare is required to be inserted in the skirt at a low level to give a slim-skirt effect with a full hem line. Fig. 112 shows the draft of the front skirt section. Points 1, 2, 3 and 4 indicate the outline; 5 from 3 for the commencement of the panel seam equals 3 inches. Shape the panel seam 14 inches towards the centre front and then divert the seam into the side-seam at point 7, 12 inches up from the hem line at 4 The seam from 6 to 7 is then cut through, and the pattern cut up from three points from the hem line as shown by 8 to 11, 9 to 12, and 10 to 13. These three lines are the flaring lines and are opened out to resemble the reconstructed skirt section as shown by the second draft. Pivoting from point 11, 3 inches of extra width is inserted in the skirt from 8 to 8. Pivoting from point 12, the same quantity of extra width is inserted at 9 to 9; pivoting from point 13, insert an identical amount from 10 to 10 to obtain the reconstructed shape of
the skirt from 11 to 7 and 4 to 10, 9, 8 and 2. When the curved seam from 6 to 11, 12, 13, and 7 sews to the straight skirt seam from 6 to 7 as shown on the first draft, a soft fluting effect in the lower skirt section will be obtained. All flares are cut by these basic principles, as are also basque effects, frills, flared shoulder capelets, etc. It is now time to commence dress pattern cutting to designs, necessarily of simple construction at first for showing the application of the principles of waist suppression and its consequent effect upon the design.
A Simple Dress Design (Fig. 113)

The first example chosen has a simple line of design that is very slim and effective in wear. The design is one that is repeated every season, and its chief characteristics are a high waist line effect achieved by a curving front waist seam and a slender skirt effect obtained by a panel seam diverging from a high hip level at the sideseams.
The measures for the draft are as follows

Chest = 32 inches. Bust = 34 inches. Waist = 25 inches (increased by 3 inches for a dress draft). Hips = 38 inches. Natural waist length =15 inches. Full length = 43 inches. Half-back width = 6 inches. Working scale = half the bust girth = 17 inches.
To draft Commence by drawing line X to X, the full length of the dress.
1 from X = one-third of the scale plus 1 inches for the back depth. 2 from X = the natural waist level. 3 from 2 = the hip level = 8 inches down from the waist line. Square out from the above points. The width of the back neck from X to 4 = one-sixth of the scale less inch. 5 from 4 for the height of the back neck curve = inch. Shape the back neck curve from 5 to X.
6 from 1 = the half-back width. Square up from 6 to 7. 8 from 3 on the hip line = the half-hip measure applied net. Square from 8 to 9, 10, and 11. 12 from 10 = the back depth X to 1. 13 from 12 = one-twelfth of the scale. Square out from 13 to 14 one-sixth of the scale. 15 from 10 = the acrosschest width = half the scale less 1 inch. Square up from 15 to the line squared from X to 12. 16 from 15 = one-sixth of the scale less inch. Square up from 16 to 17 equal to the distance from 10 to 13 less inch. 18 from 7 = 1 inch on the line from 7 to 6. 19 from 18 = inch. Join 19 to 5 and hollow the shoulder seam as shown. 20 from 17 = the back shoulder width from 5 to 19 less inch. 21 squared down from 20 = 1 inch. Shape the front shoulder seam from 17 to 21.
The location of the sideseam is at 22, midway of 3 to 8. Square up and down from 22 to 23, 24 and 25. Add the sideseam overlap from 25 to 26 and 27 and shape to 22. Measure from 10 to 28 half the bust measurement plus 1 inch. Reduce the surplus from 28 to 1, at 29 and 30 from 24. Shape the scye as shown from 29 to 19 and 30 to 21, hollowing inch in advance of the line from 15. Square down from 29 and 30 to 31 and 32 on the waist line. 33 from 32 = inch. 34 from 31 = inch. Shape the sideseams from 29 and 34 to 22 and from 30 to 33 and 22. Continue to the hem line, adding 1 inches of flare from 26 to 35 and 27 to 36, commencing from a point 14 inches from the hem on the overlap sideseam lines from 22 to 26 and 27. Measure from 2 to 37 half the waist measure (28 inches) plus the distance from 34 to 33. 38 from 37 for the quantity of back waist suppression = two-thirds
of the surplus quantity shown from 37 to 9.
The first step towards the interpretation of the design is to mark out the necessary waist suppressions, and then mark the design to agree with the constructiona l suppression lines.
Mark out the back waist suppression as follows 39 from 2 = one-sixth of the half-hip measure. This quantity is variable and must not be taken as a fixed division. 40 from 39 = the back waist suppression, as shown from 37 to 38. 41 from 3 for the width of the panel seams on the hip level = one-sixth of the half-hip measure plus inch. Square down from 41 to 42 at the hem line. Mark out the back waist suppression from 39 and 40 to 41. 43 from 5 = 2 inches. Mark from 39 to 43 and from 40 to 44 at the blade level. Mark out the front waist suppression from 9 to 45
one-sixth of the half-hip measure.
46 from 45 = the quantity shown from 38 to 9. 47 from 8 for the width of the front panel seam equals the same distance as 41 is from 3 at the back. Square down from 47 to 48 for the line of the front panel seam. Mark out the bust dart from 17 to 49 equal to the distance from 17 to 14. 50 is located midway of 10 to 15. 51 from 50 = 2 inches. Shape out the bust dart from 17 and 49 to 50 and 51 to join up with the front waist suppression from 45 and 46 to 51. The termination of the skirt panel seams at the sideseams is made 3 inches down from the waist line. 52 from 33 = 3 inches. 53 from 34 = 3 inches. 54 from 47 = 1 inches. 55 from 41 = 1 inches. Shape from 52 to 54 and 47 and from 53 to 55 and 41. Shape the front panel seam from 47 to 56 and 57, adding 2 inches of flare to the seams from 48 to 56 and 57.
Shape the back panel seam from 41 to 58 and 59, adding 2 inches of flare to the seams from 42 to 58 and 59. The V-neck line is made 8 inches in length from 14 to 60; join 14 to 60 and hollow inch.
It is essential that the neck opening is not made less than 22 inches in size all round, otherwise the wearer will find difficulty in getting her head through the opening. Now we come to the interpretation of the design on the draft. The front waist seam curves to a point 6 inches above the natural waist line at 61 from 9, and at the sideseam is 1 inches above the waist line.
Shape the high waist seam from 61 to 64 1 inches above 33, and where the seam intersects the front waist suppression at 62 and 63 mark the waist seam to intersect the suppression lines at rightangles, so that when the
waist suppression is closed out for the pattern the high waist seam will run in one continuous line as 62 to 45 will be equal to 63 to 46.
This is the principle of applying design to all waist suppression lines; where the design intersects the waist suppression lines, a "break" is made in the line of the design to enable the design line to become continuous when the suppressions are taken out. If this "break" was not made and the design line taken straight through the suppression lines, when suppression was taken out the design line would be broken instead of continuous.
56 from 34 = 1 inches. Shape the high waist seam to terminate at the natural waist line at 2.
66 and 67 show where the high waist seam is broken at the back waist suppression, so that when the suppression is closed out of the skirt and the back sections the waist seam will continue in one line.
The front has a seam through the waist from 33 to 9 to enable the suppression to be taken out. At the back waist, the high waist seam is sufficiently near the natural waist level to dispense with a through w a i s t s e a m .
Applicatio n of the Waist Suppression (Fig. 114)

The manipulation of the outline pattern to eliminate the waist suppression quantities and
produce shape in the dress is illustrated by Fig. 114. The back section is indicated by (a). Cut up the pattern from 66 and 67 to 44 and from 44 to 43. Then, pivoting from 44, close out the back waist suppression from 66 to 67 to open the shoulder at 43. Re-mark the outline of the pattern after the suppression has been closed out to agree with the outline as indicated by the solid lines from X to 5, 43, 19, 29, 65, 67 and 2. The increase of width in the back shoulder seam given by the closing out of the suppression makes up the usual inch extra width in comparison with the front shoulder seam which is essential if a clean shoulder is desired. As the author has repeatedly stressed, the majority of creases in shoulders are caused by neglect of this very small detail of making. The back skirt section is indicated by (b).
The waist suppression is shown by the dash lines from 66 and 67 to 55. Close out the waist suppression by cutting through the pattern from 66 and 67 to 55 and, by pivoting from 55, close 66 to 67 to obtain the outline as shown by points 2, 67, 65, 53, 55 and 58 to X. The flare added to the panel seam is indicated in the diagram from 55 to 58. The side panel is illustrated by (c). One panel only is shown, for the front panel is made equal in shape and size to the back. It is always advisable to aim at uniformity in design, instead of cutting the back design a different size from that of the front. The front bodice section is illustrated by (d). With this design, a bust dart through the shoulder is not required, and provision for the bust shape is made by easing the top section into the high waist seam either in the form of darts or by a drawing-in of the extra
width caused by the opening of the bust dart, in the form of gathers. Cut through the pattern from 17 and 49 to 50 and 51 and from 63 and 62 to 51. By pivoting from 51, close out the bust dart from 17 to 49 to open the waist seam at 62 and 63 as shown. The extra length thus obtained in the waist seam from 60 to 62 and 64 is either darted or gathered out under the bust prominence in the waist seam. From 14 to 60, 61, 62, 64, 30, and 21 indicates the outline of the bodice pattern after manipulation and elimination of the bust and waist darts. The waist section is indicated by (e). Close out the waist suppression from 62 to 63 and 45 to 46 to obtain the outline shape as shown by the solid lines from points 61 to 9, 45, 33, 64, and 62. The front skirt section is indicated by (f). Cut through the pattern from 45 and 46 to
54 and close out the front waist suppression by pivoting from 54 to obtain the outline as indicated by the points 9, 11, 57, 54, 52, 33 and 45. The closing out of the waist suppressions gives the necessary curve to the waist seams, without which it would be impossible for a dress to fit perfectly into the waist round the curves of the figure.
A Dress Design without a Sideseam from Hip Level to Hem Line (Fig. 115)
The following example of design illustrates a smart dress cut without a sideseam from the hip level to the hem line. The fronts of the dress fasten high to the throat with an opening down the centre to the bust level and are fastened with buttons so as to enable the wearer to get into the dress. From the bust level a yoke is marked from the front to end at the centre back, 3 inches
above the natural waist line. The skirt has a similar yoke design carried out in the form of a curving seam from the centre front of the skirt, terminating in panel seams from the hip level downwards at the back skirt. A centre front seam is shown, with an inverted pleat inset. Pockets are inserted in the hip yoke each side, and the skirt from the centre front to the panel seams at the back is cut in one piece without a sideseam. This is a very slim design, for the skirt is intended to hang straight from the hips with the inverted pleat giving the necessary stride-room. With regard to the cutting of the skirt without a sideseam, this is achieved by first cutting the pattern in the usual way and then laying the sideseams together and recutting in one piece. The front skirt is designed without panel seams; so, when the waist suppression is closed out, the skirt is opened out at the hem line. Therefore, the sideseam normal overlap
must be reduced on the outline pattern, while, at the back skirt, it is included as usual. Measures for the draft are as follows

Chest = 33 inches. Bust = 35 inches. Hips = 39 inches. Waist = 27 inches, increased to 30 inches for the dress draft. Natural waist length = 15 inches. Full length = 42 inches. Half-back width = 6 inches. Working scale = half the bust girth = 17 inches.
To draft Commence by drawing line X to X, the full length of the dress.
1 from X = the back depth = one-third of the scale plus 1 inches. 2 from X = the natural waist length = 15 inches. 3 from 2 = 8 inches down for the hip level.
The back neck width from X to 4 is made one-sixth of the scale less inch. 5 from 4 = inch. Shape the back neck curve from 5 to X. 6 from 1 = the half-back width applied net. Square up from 6 to 7 on the line squared out from X. Square out from 3 the hip level line, and apply half the hip measure net from 3 to locate point 8. Square from 8 to 9, 10, 11 and 12. Square up from 12 to 13 onetwelfth of the scale. Square back from 13 to 14 onesixth of the scale. Square back from 10 to 15 the across-chest width, i.e. half the scale less inch. 16 from 15 = one-sixth of the scale less inch. Square up from 16 to 17 equal to
the distance from 10 to 13 less inch.
18 from 7 on the line from 7 to 6 = 1 inch. 19 from 18 = inch. Join 19 to 5 and shape the back shoulder seam run between these points as shown. 20 from 17 = the back shoulder width from 5 to 19 less inch for the width of the front shoulder seam. 21 from 20 = 1 inch. Shape the front shoulder seam from 17 to 21. The sideseams are located at half the distance from 3 to 8 at 22. Square up and down from 22 to 23, 24, and 25.
The fron t skirt side sea m is as 22 to 25, for, owi ng
to the ope ning of the fron t skirt by the closi ng out of the wais t sup pres sion and con seq uen t incr eas e of widt h in the hem line, no addi tion of skirt widt h by the usu al side sea m ove rlap is nee ded.
The back sideseam from 22 is overlapped 1 inch from 25 to 26. Measure from 10 to 27, making this quantity equal to half the bust measure plus 1 inch. Reduce the surplus quantity from 1 to 27 at the sideseams from 24 to 28 and 29. Square down from 28 and 29 to 30 and 31. 32 from 31 = inch. 33 from 30 = inch. Shape the sideseams from 28 to 33 and 22 and from 29 to 32 and 22. Measure from 2 to 34 half the waist measure (30 inches) plus the distance from 33 to 32. The back waist suppression = two-thirds of the waist surplus from 34 to 9 as shown from 34 to 35.
From 35 to 9 = the front waist suppression. Shape out the back waist suppression from 2 to 36 one-sixth of the half-hip measure. The width of the back panel seam from 3 to 37 = one-sixth of the half-hip measure plus inch. Square down from 37 to 38 for the run of the back skirt panel. Shape out the waist suppression from 36 to 39 equal to the quantity shown from 34 to 35. Mark from 36 and 39 to 37 and from 36 to 40 2 inches from 5. Shape from the blade level at 41 to 39 to complete the construction lines indicating the quantity of back waist suppression to be reduced. Shape out the front waist suppression from 9 to 42 equal to one-sixth of the half-hip measure.
43 from 8 = onesixth of the halfhip measure plus inch. Square down from 43 to 44 at the hem line. 45 from 42 = the front waist suppression. Shape from 42 and 45 to 43 and make the dart end in the yoke seam. 46 is midway of 15 to 10. Shape out the bust dart from 17 to 47 equal to the distance from 17 to 14. 48 from 46 = 2 inches. Shape from 48 to 17 and 47. The front yoke commences inch below the breast line at point 49. Square out from 49 to 50 3 inches or a similar quantity in proportion to the increase or decrease in bust girth. 51 from 32 = 3 inches. Shape the yoke seam from 49 to
50 and curve to 51.
52 from 33 = 3 inches. Square across from 52 to 53, 54 and 56 3 inches from 2. Shape the front waist dart from 45 and 42 to terminate at the yoke seam from 50 to 51. 57 from 13 = one-sixth of the scale for the neck curve. Shape from 57 to 14. Add on from 57 to 58 inch for the button-hole side of the front neck opening, and from 58 to 59 inch extra for the buttonstand side. Square down from 58 and 59 to intersect the continuation of the line from 49. The skirt yoke commences 2 inches below the natural waist line at 60 from 9. 61 from 60 is made equal to the distance from 49 to 50.
62 from 43 = 5 inches. Shape the hip yoke seam from 61 to 62, breaking squarely at the front waist suppression as marked at 62 and 63, making 62 from 43 equal to 63 from 43. 64 from 32 = 6 inches. Shape from 63 to 64. 65 from 33 = 32 to 64. Shape the back panel seam from 65 to a point 1 inch above 37. Shape the back panel seam from 37 to 66 and 67, adding 1 inch of flare to each seam. The front inverted pleat commences at 17 inches from the hem line at 68 from 11, and 4 inches are allowed for the pleat from 68 to 69 and 70. Mark the pleat as shown, notching 1 inches in from 68 to 69. Square down from 69 and 70 to 72 and 71 for the completion of the draft.
The fron t skirt is cut on the crea se fro m 70 to 71 to obvi ate the nec essi ty for cutti ng the plea t une qual ly on eac h side of the fron t s .
R ec o ns tr uc tion of the
Outline Pattern (Fig. 116)

Fig. 116 illustrates the manipulation of the outline pattern to reduce the waist suppressions from the draft and to cut the skirt section in one piece without a sideseam. The back is illustrated by (a). Cut up the pattern from 36 and 38 to the blade at 41 and from 40 to this point. By pivoting from 41, close out the back waist suppression from 36 to 38 to open the back shoulder seam from 40. Point 53 closes back to 54, and the outline of the reconstructed pattern is indicated by points X to 5, 40, 19, 28, 33, 36 and 2. The high waist seam is shaped from 52 to 54 and 56, and, though curved in
appearance on the pattern as it is now drafted, when on the figure and following the natural curves of the body it assumes a straight line. The back skirt section is illustrated by (b). Cut through the pattern from 36 and 30 to 37, and, by pivoting from 37, close out the waist suppression from 30 to 36 as shown to obtain a pattern outline as indicated by points 2 to 36, 33, 65, 37, and 66 to X. The front bodice section is illustrated by (c). The reconstruction of the front bodice section is simple, as the waist suppression and the bust dart both terminate at the dividing seam instead of cutting through it.
Cut through the outline pattern from 17 and 47 to 50 and close out the bust dart from 17 to 47 to obtain a pattern outline as 14 to 57, 58, 59, 49, 50, 48, 51, 29, and 21. Cut through the waist dart from 42 and 45 to the yoke seam and close out the suppression from 42 to 45 to obtain the pattern outline as indicated by points 49 to 50, 48, 51, 32, 42 and 9. The skirt yoke is illustrated by (d). Cut through from 62 to 42 and 63 to 45 and close out the waist suppression as shown, obtaining the outline indicated by 9 to 60, 61, 62, 64, 32, and 42. It will be noticed that the hip-yoke seam from 61 to 62 and 64 becomes a
continuous run when the suppression is reduced, in comparison with the broken run shown on the draft originally. A facing must be allowed from 61 to 62 and 64 for the pocket when cutting from the material. The front skirt section is illustrated by (e) and (f). Cut through the pattern from 62 and 63 to 43 on the hip line and up from 44 to 43. By pivoting from point 43, close out the waist suppression from 63 to 62 until the run from 62 to 61 and 64 becomes continuous. The skirt hem width will increase from 44 to 44A, but as a reduction of width has taken place at the sideseam by the elimination of the usual sideseam overlap, this increase is
necessary for stride-room. A pocket facing will require to be allowed for on the hip seam from 61 to 64, equal in length to the desired pocket mouth length. To cut the front skirt in one piece with the back panel, all that is required is the laying together of the back and front sideseams as show n.
A Panel led Dress Desig n (Fig. 117)

Fig. 117 illustrates the draft of a panelled dress design in which panel seams at the back and front terminate on the shoulders in the armhole, and on
the skirt end in knife pleats. With a design of this character, waist suppression can be taken out direct without any manipulation of the outline pattern by cutting up and closing out the necessary suppressions. A centre-front opening to the waist level is shown, fastening with buttons, and as this cannot be allowed for in one piece with the skirt section, a seam must be run through the waist between the two front panel seams; otherwise, the bodice and skirt of the dress are cut through without a waist seam from back to front. Measures for the draft are as follows

Chest = 36 inches. Bust = 38 inches.
Waist = 29 inches, increased to 32 inches for the dress draft. Hips = 41 inches. Natural waist length = 15 inches. Full length = 44 inches. Half-back width = 6 inches. Working scale = onethird of the bust girth plus 6 inches = 18 inches.
To draft Commence by drawing line X to X, the full length of the dress, i.e. 46 inches.
1 from X = the back depth = onethird of the scale plus 1 inches. 2 from X = the natural
waist length = 15 inches.
3 from 2 =8 inches down for the hip level. The back neck width from X to 4 = onesixth of the scale less inch. 5 from 4 for the height of the back neck curve = inch. Shape the back neck curve from 5 to X as shown. 6 from 1 = the halfback width. Square up from 6 to 7 on the line squared
out from X.
Square out from 3 to 8 half the hip measure applied net. Square up and down from 8 to locate points 9, 10, 11 and 12. 13 from 12 = onetwelfth of the scale. Square out from 13 to 14 onesixth of the scale.
T h e a c r o s s c h e s t
w i d t h f r o m 1 5 t o 1 0 f o r a l l s i z e s o f b u s t g i r t h o v e r
3 6 i n c h e s e q u a l s o n e f o u r t h o f t h e b u s t m e a s u r e l e s s
1 i n c h .
16 from 15 = 2 inches for all sizes of bust girth over 36 inches. Square up from 16 to 17 equal to the distance from 10 to 13 less inch. 18 from 7 on the line from 7 to 6 = 1 inch. 19 from 18 = inch. Shape the back shoulder seam from 19 to 5. 20 from 17 = the front shoulder width = 5 to 19
less inch.
Square down from 20 to 21 1 inch, and shape the front shoulder seam from 21 to 17 as shown. The sidesea m is located at 22, half the distance from 3 to 8. Square up and down from 22 to 23, 24 and 25. Add the sidesea m overlaps from 25 to 27 and 26, 1 inch in each instance unless a wider skirt is desired. Measure from 10
to 28 half the bust measure ment plus 1 inch.
Reduce the surplus shown by 28 to 1 from the sidesea ms at 24 to 29 and 30 31 and 32 from 23 = 29 and 30 from 24. 33 from 32 = inch. 34 from 31 = inch. Shape the sidesea ms from 29 to 34, 22 and 26 and from 30 to 33, 22 and 27. Measure from 2 to 35 half the waist
measure (32 inches) plus the distance from 34 to 33.
The back waist suppress ion is indicated by twothirds of the distance from 35 to 9 in order to locate point 36. From 36 to 9 indicates the front waist suppress ion. The width of the panel seam at the back waist from 2 to 37 = onesixth of the halfhip measure .
T h e w
i d t h o f t h e p a n e l s e a m a t t h e h i p l e v e l s h o u l d b e s l i
g h t l y i n c r e a s e d t o a c c e n t u a t e t h e s l e n d e r e f f e c t a t t
h e w a i s t , a n d i n c h i s a d d e d t o t h e d i s t a n c e f r o m 2
t o 3 7 w h e n d e c i d i n g t h e w i d t h o f t h e h i p p a n e l f r o m 3
t o 3 8 .
When pleats are inserted in the panel seam it is advisabl e to spring the panel seam out slightly from the hip line to the hem. Therefor e, 39 from X = 3 to 38 plus inch. 40 from 37 = the back waist suppress ion as indicated by the quantity from 35 to 36. Shape out the back
waist suppress ion from 37 and 40 to 38 and 39.
41 from 6 for the terminat ion of the panel seams in the armhole = half the back depth from X to 1. Mark back from 41 to 42 2 inches, and lower the seam run inch. Shape the waist suppress ion from 37 to 42 and from 40 to 42, suppress ing inch on the breast line at 43.
T h e w i d t h o f t h e f r o n t p a n e l i s m a d e i d e n t i c a l w i t h t
h e w i d t h o f t h e b a c k p a n e l . T h e a u t h o r a l w a y s a d v o c a t
e s , w h e n c u t t i n g a n e v e n d e s i g n , h a v i n g t h e b a c k a n d
f r o n t s e a m r u n s e q u a l i n s i z e a n d s h a p e i f p o s s i b l e ;
o t h e r w i s e , a l a c k o f h a r m o n y a n d l i n e b e c o m e s a p p a r e n
t . F o r i n s t a n c e , i f t h e w e a r e r o f a p a n e l l e d s e a m d r e
s s w a s a t a l l w e l l d e v e l o p e d o n t h e h i p s , t o m a k e t h e
b a c k p a n e l s g r e a t e r i n w i d t h t h a n t h o s e a t t h e f r o n t
w o u l d t e n d t o e x a g g e r a t e t h e i n c r e a s e o f g i r t h r a t h e
r t h a n m i n i m i z e i t , w h i l s t , b y m a k i n g s e a m r u n s o f e q
u a l s i z e , t h e a t t e n t i o n i s f o c u s e d e l s e w h e r e , a n d a n
a p p e a r a n c e o f e q u a l i t y i n s i z e a t b a c k i n c o m p a r i s o n
w i t h t h e f r o n t i s g i v e n .
Therefor e, from 9 to 44 equals the same distance as 2 to 37, i.e. onesixth of the halfhip measure . The front waist suppress ion from 44 to 45 = the quantity shown from 36 to 9.
46 from 8 = onesixth of the halfhip measure plus inch. 47 from 11 = onesixth of the halfhip measure plus 1 inch. Both these two measure s are equal in size to the back panels. 48 is midway of 15 to 10. Shape out the bust dart from 17 to 49 equal to 14 to 17. 50 from 48 = 2 inches, shape out the bust dart and the front
waist suppress ion from 17 to 48, 50, 44, 46 and 47 and from 49 to 50, 45, 46, and 47.
51 from 48 for the divergin g of the panel seam into the armhole = 3 inches. Square across from 51 to 52, making 52 from 50 equal to 51 from 50. Shape the terminat ion of the panel seam into the armhole from 52 to 53, making 53 from 15 equal
to 41 from 6.
The high neck line at the front is made onesixth of the scale down from 13 to 54. Shape the neck curve from 54 to 14. Add inch on the front edge from 54 to 55 and an addition al inch from 55 to 56 for the buttonstand side. Square down from 55 and 56 to 57 and 58 on the waist line. The front and back
knife pleats are added from nothing at the kneelevel to 3 inches in width at the hem line.
59 from 47 = 17 inches. Add the pleat to the centre front and side panel by marking from 59 to 60 and 61, making each point from 47 equal to 3 inches. 62 from 39 = 17 inches. Add the pleat to the centre back and sidepanel seams from 62
to 63 and 64, making each point 3 inches from 39 to complet e the draft.
The bust dart is closed out of the shoulder from 51 to 52 and 17 to 49 to complete the manipulatio n of the pattern; otherwise, the draft is straightforw ard in character. The centre back panel is cut whole from neck to hem as also are the two side panels. A seam must be placed through the waist from
44 to 58 to enable a centre front button fastening to terminate in the waist l i n e .
A D r e ss with Draped Bodice and Skirt (Fig. 118)

The dress illustrated by Fig. 118 is a typical example of a smart town dress with draped effects at the neck line, under the bust, and at the centre front of the skirt.
The neck line is cut in at each side by two seams, permitting the neck to be gathered-in to form the draped effect, while the bodice is designed with a panel effect to allow for the waist to be well shaped to the figure. A threequarter sleeve is shown in the design with a gathered-in effect at the elbow. Measur es for the draft are as follows
Che st = 34
inch es.
Bust = 36 inch es. Wai st = 28 inch es, incr eas ed to 31 inch es for the dres s draf t. Hips = 39 inch es. Nat ural wais t leng th = 15 inch es. Full leng th = 42 inch es.
Half bac k widt h= 6 inch es. Wor king scal e= half the bust girt h= 18 inch es.
To draft Co mmence by drawing line X to X, the full length of the dress, i.e. 42 inches.
1 f r o m X
= t h e b a c k d e p t h = o n e t h i r d o f t h e s c a l e p l u s 1
i n c h e s .
2 f r o m X = t h e n a t u r a l w a i s t l e n g t h = 1 5
i n c h e s .
3 f r o m 2 = 8 i n c h e s d o w n f o r t h e h i p l e
v e l .
T h e b a c k n e c k w i d t h f r o m X t o 4 = o n e s i x t h
o f t h e s c a l e l e s s i n c h .
5 f r o m 4 = i n c h . S h a p
e t h e b a c k n e c k c u r v e f r o m 5 t o X .
6 f r o m 1 = t h e
h a l f b a c k w i d t h .
S q u a r e u p f r o m 6 t o 7 o n t h e l i
n e s q u a r e d o u t f r o m X .
S q u a r e o u t f r o m 3 t o 8 t h e
h a l f h i p m e a s u r e a p p l i e d n e t .
S q u a r e u p a n d d o w n
f r o m 8 t o 9 , 1 0 , 1 1 a n d 1 2 a t t h e h e m l i n e .
1 3 f
r o m 1 1 = o n e t w e l f t h o f t h e s c a l e .
S q u a r e o u t f r o
m 1 3 t o 1 4 o n e s i x t h o f t h e s c a l e .
1 5 f r o m 1 0 f o r
t h e a c r o s s c h e s t w i d t h = h a l f t h e s c a l e l e s s 1 i n
c h .
1 6 f r o m 1 5 = o n e s i x t h o f t h e s c a l e l e s s i n
c h .
S q u a r e u p f r o m 1 6 t o 1 7 e q u a l t o t h e d i s t a n c e
f r o m 1 0 t o 1 3 l e s s i n c h .
1 8 f r o m 7 o n t h e l i n e
f r o m 7 t o 6 = 1 i n c h .
1 9 f r o m 1 8 = i n c h . S h a p e
t h e b a c k s h o u l d e r s e a m f r o m 1 9 t o 5 a s s h o w n .
2 0
f r o m 1 7 = t h e b a c k s h o u l d e r w i d t h f r o m 5 t o 1 9 l e
s s i n c h .
S q u a r e d o w n f r o m 2 0 t o 2 1 1 i n c h , a n d
s h a p e t h e f r o n t s h o u l d e r s e a m f r o m 1 7 t o 2 1 .
T h e
s i d e s e a m i s l o c a t e d a t h a l f t h e d i s t a n c e f r o m 3 t o
8 .
S q u a r e u p a n d d o w n f r o m 2 2 t o 2 3 , 2 4 a n d 2 5 a
t t h e h e m l i n e .
2 7 f r o m 1 0 = h a l f t h e b u s t m e a s u r
e p l u s 1 i n c h .
R e d u c e t h e s u r p l u s q u a n t i t y s h o w n
f r o m 2 7 t o 1 a t t h e s i d e s e a m s f r o m 2 4 t o 2 8 a n d 2 9
S q u a r e d o w n f r o m 2 8 a n d 2 9 t o l o c a t e p o i n t s 3 1
a n d 3 0 o n t h e w a i s t l i n e .
3 2 f r o m 3 0 = i n c h .
3 3
f r o m 3 1 = i n c h . S h a p e t h e s i d e s e a m s f r o m 2 9 , 3 2
a n d 2 2 a n d f r o m 2 8 t o 3 3 a n d 2 2 .
A d d 1 i n c h e s o
f f l a r e t o e a c h s i d e s e a m f r o m 2 5 t o 3 5 a n d 3 4 t o c
o m p l e t e t h e s h a p i n g o f t h e s i d e s e a m s f r o m 2 2 .
M e a
s u r e f r o m 2 t o 3 6 , m a k i n g t h i s d i s t a n c e e q u a l t o h
a l f t h e w a i s t m e a s u r e ( 3 1 i n c h e s ) p l u s t h e d i s t a n c
e f r o m 3 2 t o 3 3 .
T h e b a c k w a i s t s u p p r e s s i o n e q u a l
s t w o t h i r d s o f t h e s u r p l u s s h o w n f r o m 3 6 t o 9 .
T h e f r o n t w a i s t s u p p r e s s i o n t a k e s t h e r e m a i n i n g t h
i r d o f t h e s u r p l u s .
3 8 f r o m 2 f o r t h e p o s i t i o n o f
t h e f i r s t d a r t = o n e s i x t h o f t h e h a l f h i p m e a s u r
e .
3 9 f r o m 3 8 f o r t h e s e c o n d d a r t = 1 i n c h e s .
S u
p p r e s s t h e d a r t s b y t h e q u a n t i t y s h o w n f r o m 3 6 t o
3 7 e q u a l l y d i v i d e d .
M a r k b a c k f r o m 1 4 t o 4 0 = 2 i
n c h e s f o r t h e p o s i t i o n o f t h e s h o u l d e r d a r t .
4 1 f
r o m 4 0 = t h e q u a n t i t y s h o w n b e t w e e n 1 7 t o 1 4 .
S h a
p e o u t t h e b u s t d a r t f r o m 4 0 a n d 4 1 d o w n t o 4 2 , m a
k i n g p o i n t 4 2 a p p r o x i m a t e l y 3 i n c h e s f r o m t h e f r o
n t e d g e a n d 2 i n c h e s b e l o w t h e b u s t l i n e .
T h e e d g
e o f t h e d r a p e d n e c k l i n e i s s h o w n f r o m 1 4 t o 4 3 .
4 3 f r o m 1 4 = 6 i n c h e s a n d a b o u t 3 i n c h e s i n s i d e t h
e c e n t r e f r o n t l i n e .
4 4 f r o m 1 3 = 3 i n c h e s f o r t h
e d e p t h o f t h e n e c k l i n e .
4 5 f r o m 1 4 = 2 i n c h e s .
M a r k a c r o s s f r o m 4 4 t o 4 5 .
4 6 f r o m 9 = 4 i n c h e s .
M a r k o u t 4 i n c h e s f r o m 4 6 t o 4 7 f o r t h e t o p o f t h
e w a i s t p a n e l .
4 8 f o r t h e l o w e r e d g e o f t h e w a i s t
p a n e l i s 6 i n c h e s d o w n f r o m p o i n t 9 .
S q u a r e a c r o
s s f r o m 4 8 t o 4 9 e q u a l t o 4 6 t o 4 7 .
S q u a r e u p f r o
m 4 9 t o 4 7 t o l o c a t e p o i n t 5 0 o n t h e w a i s t l i n e .
5 1 f r o m 5 0 = t h e f r o n t w a i s t s u p p r e s s i o n q u a n t i t y
s h o w n b e t w e e n p o i n t s 9 a n d 3 7 .
S h a p e o u t t h e w a i s
t d a r t f r o m 4 9 t o 5 1 a n d 4 7 .
A d d 1 i n c h f r o m 4 6 t
o 5 2 a n d 1 i n c h f r o m 4 8 t o 5 3 a n d t h e n j o i n t h e s e
t w o p o i n t s f o r t h e f r o n t e d g e o f t h e b u t t o n f a s t e n
i n g .
5 4 f r o m 1 5 = 1 i n c h e s . S h a p e f r o m 4 7 a n d 5 4
f o r t h e d i a g o n a l b u s t s e a m .
M a n i p u l a t ion of the Bodi ce Patt ern
(Fig. 119 (A) )

F ig. 119 (A) illust rates the mani pulat ion of the bodi ce patte rn to prod uce the drap ed neck line and waist . F irstly , cut roun d the patte rn from
46 to 44, 45, 14, 40, 41, 21, 54, 47, and back to 46. T hen close out the bust dart from 40 to 41, pivot ing from 42 to open the bodi ce at 47. T he solid outli ne indic
ated from 41 to 21 and 47 is the resul t of the mani pulat ion. C ut dow n from 45 to 43 and then split acro ss the patte rn at two point s belo w 44 to 45. Wed ge the patte
rn open until it appr oxim ates the posit ion of 45A and 44A. 44A is 2 inch es up from 44 and abou t 1 inch es from the origi nal centr e line. M ark out from 46 to
46A for the nece ssar y adde d fulln ess acro ss the top of the waist pane l. M ark from 46A to 44A for the reco nstru cted centr e line of the front .
Man ipul atio n of the Skir t Patt ern (Fig. 119 (B) )
F ig. 119 (B) illust rates the mani pulat ion of the skirt part of the patte rn to prod uce the front drap ery.
M ark out from 48 to 48A the esti mate d quan tity of front fulln ess equa l in this exa mple to an addit ion of 3 inch es, maki ng 6 inch es in all acro ss the centr e front to be gath
ered into the front waist pane l. A dd 3 inch es from 12 to 12A and then join 12A to 48A. E xtra flare at the hem line may be adde d by open ing out the patte rn at the
hem line as illust rate d by the dash lines and obtai ning the outli ne as show n by point s 48A and 12B. T he front edge of the skirt is cut on the sea m edge from 48A
to 12B, or on the fold edge as desir ed, but if the draft with more flare is used , the front edge must be on the sea m .
T h e L o w Cow l Nec k
Line (Fig. 120 )

N o dres s syste m woul d be com plete with out instr uctio ns on the cutti ng of cowl or halte r neck lines by syste m. This impo rtant style featu re has
been in vogu e for som e time now and rightl y so, for a drap ed neck line of this char acter is very beco ming to ever y wom an. Ther e are man y varie ties of cowl neck lines ,
som e drap ed high abou t the thro at or low on the brea st in a deep open ing. Othe rs are twist ed or loop ed in appe aran ce; not strict ly cowl neck lines , yet inclu ded in the desc
riptio n. Cowl neck lines may eithe r be cut in one with the dres s or inset . Som etim es, the neck line is just a trian gular piece of mate rial inset in a deep Vpoint in the dres
s front or, at othe r time s, may be inset in a desig n or cut in one with the dres s bodi ce. The high cowl is most popu lar at the pres ent time, espe cially for even ing
dres ses, and whe n cut all in one with the dres s it pres ents diffic ulty to man y dres s cutte rs. F ig. 120 (a) illust rates a cowl neck line cut in one with the bodi ce of
the dres s. A sea m is place d thro ugh the waist of the dres s to enab le the front of the cowl to be cut on the fold of the mate rial. Point s1 to 8 show the nor mal front patte
rn from the shou lders to the hip line. 8 from 1 equa ls the lengt h of the front neck open ing as desir ed to finis h. The next step is very simp le; in fact, all cowl and
drap ed neck line cutti ng is simp le, once the point is reali zed that ther e must be both an incre ase of lengt h of mate rial in addit ion to more widt h to enab le the drapi ng
effec t to take place . Whe neve ra drap ed effec t is seen , it is obvi ous how the addit ion of lengt h and widt h gives the effec t. B y pivot ing from point 1, swee p
from 8 to 9 until 9 and 4 are at a right angl e. This raisi ng of point 8 to 9 gives an incre ase of lengt h to fall and drap e back to the origi nal centr e front line and also
extra widt h from 8 to 10, whic h all falls softl y in a drap e whe n the front sews to the back shou lder. T he auth or usua lly adds 2 inch es of extra lengt h from 9 to 11 in
orde r to form a turnback to the cowl inste ad of a singl e edge . Shap e from 11 to the neck point at 1 to com plete the draft . The auth or has cut coun tless num bers of cowl
neck lines in this man ner and has neve r expe rienc ed any diffic ulty in obtai ning a perfe ct cowl by syste mati c cutti ng. F ig. 120 (b) show s how the cowl is
form ed by cutti ng from 11 to 4 on the fold of the mate rial, prefe rably on the bias, as this way of the mate rial drap es muc h bette r. Whe n the front neck point s sew to
the back shou lders at 5, it must be obvi ous that the mate rial betw een 1 and 1 will be thro wn forw ard in the centr e front , to drap e dow nwar ds. From 1 and 1 to 4
show s the trian gle of mate rial whic h man y dres s cutte rs usua lly inser t inste ad of cutti ng all in one with the bodi c e .
T h e H i g h
Cow l Nec k Line (Fig. 121 )

T he high cowl neck line is a differ ent prop ositi on from the low type. It is usua lly cut all in one with the bodi ce of the dres s and with
out inset ting at the waist sea m and, in addit ion, the drap ery is requi red only at the base of the neck with elimi natio n of any extra widt h acro ss the ches t. The auth
or has expe rime nted with this neck line, and the only meth od he has foun d satis facto ry in pract ice is as follo ws T he first esse ntial is to obtai na whol e shou lder patte
rn by closi ng out the shou lder dart and formi ng an unde rarm bust dart. How to effec t this has been show n else wher e, so that the reco nstru cted shou lder secti on will be show n
with out any expl anat ory cons truct ion lines on provi ding the bust dart. P oints 1 to 11 show the nor mal bodi ce patte rn with the unde rarm dart mark ed from 9 and
10 to 11. P oint A is the front pitch , inch up from the brea st line. T he point to bear in mind is the provi sion of lengt h to form the drap e at the base of the
thro at only. Any extra widt h acro ss the ches t from A to 4 is defin itely incor rect. Ther efore , to achie ve this aim, the shou lder is split up from 1 and B to A and open ed
out until the shou lder sea m and front of the armh ole appe ar as show n by point s 12 and 13. The amo unt of open ing depe nds upon the heig ht of the cowl ; som e cowl neck
lines are very close to the thro at, while othe rs, altho ugh not as low as the previ ous exa mple , are lowe r in cut than the pres ent type. In addit ion, with a high cowl the amo
unt of drap ery must be redu ced, as the area over whic h it is distri bute d is muc h less than in the case of a low cowl. Ther efore , the dista nce from the front centr e line to 12
is neve r more than 6 inch es. Squa re back from 12 to the front centr e line at 14 and add 1 inch of extra lengt h for the turnback . F ig. 121 (b) show s the high cowl
neck -line front place d in posit ion for sewi ng to the back neck . Whil e it will be seen that an incre ase of lengt h is appa rent to ensu re drap ery belo w the neck , the widt h
acro ss the brea st from A to 4 and A rema ins unch ange d. T o simp lify cutti ng and obvi ate cutti ng up the patte rn to reco nstru ct the shou lders , point s 12
and 13 may be pivot ed from the front pitch A to deter mine their corre ct posit ions, and the front of the armhole and the front shou lder remark ed as show n. This cowl is cut
all in one with the bodi ce and skirt of the dres s as the centr e front line rema ins in a conti nuou s strai ght l i n e .
T h e Inse t Cow l Nec
k Line (Fig. 122 )

I nset cowl s shou ld alwa ys be cut on the bias of the mate rial; othe rwise , the drapi ng prop ertie s of the neck line will be dimi nish ed.
T hese cowl s may be eithe ra trian gular piece of mate rial set in the bodi ce in a point or som e form of desig n. In any case, the sam e princ iples of cons truct ion are
appli ed. I n Fig. 122 (a) point s1 to 10 illust rate the nor mal forep art draft with a Vneck open ing. An inset cowl is requi red in the desig n and is mark ed from 11 to
12 and from 12 to 2 and 3 for the acco mmo datio n of the bust dart. The front s are cut whol e with the centr e front edge from 11 to 9 and 8 dow nwar ds on the fold of the
mate rial. Then proc eed by pivot ing from 1 and 10, and swee p 10 to 13 until 1, 13 and 11 are formi ng a right angl e. M ark up from 13 to 14 2 inch es and shap e the top
edge run of the cowl neck line. The line from 1 to 2, 12, 11, and 14 form s the inset cowl. The cowl may be incor pora ted with varia tions of the bodi ce desig n or from a high waist
line run and, in all insta nces, the cons truct ional princ iples are appli ed as desc ribed abov e. F ig. 122 (b) show s how the cowl is form ed by the sewi ng toget her of
the back and front neck point s .
D r e s s w i th a Cow l Fron t (Fig. 123 )

T he desig n chos en for the follo wing draft has man y
point s of tech nical inter est for the cutte r. In the first insta nce, the skirt is perfe ctly plain in char acter , yet requi red to be a perfe ct fit at the waist . To this end, the skirt is draft
ed sepa ratel y from the bodi ce in a finis hed shap e with out the nece ssity for mani pulat ion of the patte rn to obtai n supp ressi on at the waist . T he bodi ce has
a cowl neck line cut in one with the front s, and a sea m runs from the shou lder to the bust and diver ges to the sides eam abov e the waist line, to be repe ated on the back
in a simil ar man ner. M easu res for the draft are as follo ws
C h e s t = 3 4 i n c h e s .
B u s t = 3 6
i n c h e s .
W a i s t = 2 6 i n c h e s , i n c r e a s e d t o 2 9 i n c h e s
f o r t h e d r e s s d r a f t . H i p s = 3 9 i n c h e s .
N a t u r a l w
a i s t l e n g t h = 1 5 i n c h e s .
F u l l l e n g t h = 4 3 i n c h e s
H a l f b a c k w i d t h = 6 i n c h e s .
W o r k i n g s c a l e = h a
l f t h e b u s t g i r t h = 1 8 i n c h e s .
T o d r a ft C o m m e n c
e b y d r a ft i n g f r o m X t o 1 , t h e b a c k d e p t h , o n e t h ir
d o f t h e s c a l e p l u s 1 i n c h e s .
2 f r o m X = t h e n a t
u r a l w a i s t l e n g t h = 1 5 i n c h e s .
3 f r o m X = t h e b a
c k n e c k w i d t h = o n e s i x t h o f t h e s c a l e l e s s i n c h
4 f r o m 3 = i n c h . S h a p e t h e b a c k n e c k c u r v e f r
o m 4 t o X .
5 f r o m 1 = t h e h a l f b a c k w i d t h .
S q u a r e
u p f r o m 5 t o 6 o n t h e c o n s t r u c t i o n l i n e s q u a r e d f
r o m X .
7 f r o m 1 = h a l f t h e b u s t m e a s u r e p l u s 1 i n
c h .
S q u a r e u p a n d d o w n f r o m 7 t o l o c a t e p o i n t s 8
a n d 9 .
1 0 f r o m 9 = o n e t w e l f t h o f t h e s c a l e .
S q u a
r e b a c k f r o m 1 0 t o 1 1 o n e s i x t h o f t h e s c a l e .
1 2
f r o m 7 = o n e f o u r t h o f t h e b u s t m e a s u r e l e s s 1 i n c
h .
1 3 f r o m 1 2 = o n e s i x t h o f t h e s c a l e l e s s i n c
h .
S q u a r e u p f r o m 1 3 t o 1 4 e q u a l t o t h e d i s t a n c e
f r o m 7 t o 1 0 l e s s i n c h .
1 5 f r o m 6 o n t h e l i n e f
r o m 5 t o 6 = 1 i n c h .
1 6 f r o m 1 5 = i n c h . S h a p e t
h e b a c k s h o u l d e r s e a m f r o m 1 6 t o 4 .
T h e f r o n t s h o
u l d e r w i d t h f r o m 1 4 t o 1 7 = i n c h l e s s t h a n t h e b
a c k s h o u l d e r w i d t h f r o m 4 t o 1 6 .
1 8 f r o m 1 7 = 1 i
n c h . S h a p e t h e f r o n t s h o u l d e r s e a m f r o m 1 4 t o 1 8 .
S h a p e t h e s c y e t o i n c h i n a d v a n c e o f t h e l i n e f r
o m 1 2 .
T h e s i d e s e a m i s l o c a t e d a t 1 9 , h a l f t h e d i
s t a n c e f r o m 1 t o 7 .
S q u a r e d o w n f r o m 1 9 t o 2 0 .
2 1
f r o m 2 0 = i n c h .
2 2 f r o m 2 0 = i n c h .
S h a p e t h e
s i d e s e a m s f r o m 2 1 a n d 2 2 t o 1 9 .
M e a s u r e f r o m 2 t
o 2 3 h a l f t h e w a i s t m e a s u r e p l u s t h e a m o u n t f r o m 2
2 t o 2 1 .
T h e b a c k w a i s t s u p p r e s s i o n i s i n d i c a t e d
b y t w o t h i r d s o f t h e d i s t a n c e f r o m 2 3 t o 8 .
T h e f
r o n t w a i s t s u p p r e s s i o n i s i n d i c a t e d b y t h e r e m a i n i
n g q u a n t i t y f r o m 2 4 t o 8 .
S h a p e o u t t h e b a c k w a i s
t s u p p r e s s i o n f r o m 2 t o 2 5 o n e s i x t h o f t h e h a l f h
i p m e a s u r e .
2 6 f r o m 2 5 = t h e b a c k w a i s t s u p p r e s s i
o n , t h e q u a n t i t y s h o w n f r o m 2 3 t o 2 4 .
3 3 f r o m 4 =
2 i n c h e s .
J o i n 3 3 t o 2 5 a n d s h a p e f r o m 2 6 t o 3 4
a t t h e b l a d e l e v e l .
2 7 f r o m 8 = o n e s i x t h o f t h e
h a l f h i p m e a s u r e .
2 8 f r o m 2 7 = t h e f r o n t w a i s t s
u p p r e s s i o n .
2 9 i s m i d w a y o f 7 t o 1 2 .
J o i n 2 9 t o 1
4 f o r t h e r u n o f t h e b u s t d a r t a n d s h o u l d e r d e s i g n
s e a m .
C o n t i n u e d o w n f r o m 2 9 t o 3 0 2 i n c h e s , a n d
t h e n s h a p e t h e s e a m f r o m 3 0 i n t o t h e s i d e s e a m a t 3
2 , 2 i n c h e s u p f r o m 2 1 .
3 1 f r o m 1 4 = 1 4 t o 1 1 . S
h a p e o u t t h e b u s t d a r t f r o m 3 0 t o 3 1 .
3 5 f r o m 1 1
= t h e f r o n t n e c k o p e n i n g .
T o o b t a i n t h e c o w l f r o n
t , b y p i v o t i n g f r o m 1 1 , s w e e p t h e d i s t a n c e 1 1 t o 3
5 t o 3 6 , m a k i n g 1 1 , 3 6 a n d 8 a r i g h t a n g l e .
A d d 2
i n c h e s f r o m 3 6 t o 3 7 f o r t h e t u r n b a c k o f t h e c o w
l a n d c o m p l e t e t h e d r a f t b y s h a p i n g f r o m 1 1 t o 3 7
a n d 8 .
T h e r e p e a t b o d i c e d e s i g n i s m a r k e
d o n t h e b a c k t o a g r e e w i t h t h e f r o n t a f
t e r t h e b a c k w a i s t s u p p r e s s i o n h a s b e e n
c l o s e d o u t . T h e s k i r t i s d r a f t e d a s f o l l
o w s S q u a r e f r o m X .
f r o m X
= t h e h i p l e v e l
8 i n c h e s
d o w n
f r o m X .
S q u a r e o u t
f r o m 1 t o 2 h a l
f t h e h i p
m e a s u r e a p p l i e d n e t .
T h e p o s i t i o n o f t h
s i d e s e a m i s l o c a t e d b y h a l v i n g t h e d i s t a n c e
f r o m
1 t o 2 .
P i v o t i n g
f r o m 3 ,
s w e e p
f r o m 2 t o 4 1 i n c
h .
S q u a r e u p
f r o m 4 t o 5 8 i n c h e s t o a g r e e
w i t h t
h e d i s t a n c e
f r o m X t o 1 .
J o i n X t o 5 t o l o c a t e p o
i n t 6 , a t h a l f t h e d i s t a n c e
f r o m X t o 5 .
f r o m 3
= 8 i n c h e s .
f r o m X
= t h e f u l l s k i r t l e n g t h .
L i
n e
d o w n
f r o m 6 t o 8 e q u a l t o X
f r o m 7 .
L i n e
d o w n
f r o m 5 t o 4 a n d 9 e q u a l t o X
f r o m 7 .
M e a s u r e
f r o m
5 t o 1 0 h a l f t h e
w a i s t
m e a s u r e .
1 1
f r o m 1 0
= o n e
t h i r d o f t h e d i s t a n c e
f r o m 1 0 t o X .
1 2
f r o m 1 1
t w o t h i r d s o f t h e d i s t a n c e i n d i c a t e d b y 1 1 t o X .
T h e d i s t a n c e
f r o m 1 2 t o X
= t h e q u a n t i t y o f f r o n t
w a i s t s u p p r e s s i o n .
1 3
f r o m 1
= o n e s i x t h o f t h e h
a l f h i p
i n c h .
1 4 a n d 1 5
f r o m 6
= t
h e s i d e
w a i s t s u p p r e s s i o n a s
s h o w n
f r o m 1 0 t o 1 1 .
P i v o t i n g
f r o m 1 3 ,
s w e e p
f r o m 1 4 t o 1 6 ,
m a k i n g
f r o m
X t o 1 6 e q u a l t o t h e d i s t a n c e
f r o m X t o 1 4 l e s s t
h e q u a n t i t y
s h o w n
f r o m X t o 1 2 .
S h a p e t h e
w a i s t s
e a m
f r o m X t o 1 0 a n d 1 6 .
B y p i v o t i n g
f r o m 1 3 ,
s w e
e p
f r o m 3 t o 1 7 t o
m a k e 1 6 t o 1 7 e q u a l t o 3 t o 1 4
S q u a r e
d o w n
f r o m 1 3 a n d 1 7 t o 1 8 ,
m a k i n g 1 8 f r o
m 1 7 e q u a l t o t h e d i s t a n c e
f r o m 3 t o 8 .
S h a p e t h e
b o t t o m e d g e r u n o f t h e f r o n t s k i r t
f r o m 7 t o 1 8 .
1 9
f r o m 4
= o n e s i x t h o f t h e h a l f h i p
i n c h .
B y p i v o t i n g
f r o m 1 9 ,
s w e e p
f r o m 1 5 t o 2 0
m a k i n g 2 0
f r o m 5 e q u a l t o t h e d i s t a n c e
f r o m 5 t o
1 5 l e s s t h e q u a n t i t y
s h o w n
f r o m 1 1 t o 1 2 .
S h a p e
t h e b a c k
w a i s t
s e a m
f r o m 5 t o 2 0 ,
h o l l o w i n g a s s h o
w n .
P i v o t i n g
f r o m 1 9 ,
s w e e p
f r o m 3 t o 2 1 ,
m a k i n g
2 1
f r o m 2 0 e q u a l t o 1 5
f r o m 3 .
B y l i n e 1 9 t o 2 1 ,
s q u a r e
d o w n t o 2 2 ,
m a k i n g 2 2
f r o m 2 1 e q u a l t o 8 f r
o m 3 .
S h a p e t h e
b o t t o m e d g e r u n
f r o m 9 t o 2 2 a s s
h o w n t o
c o m p l e t e t h e s k i r t d r a f t
R e c o n s t r u c t i
o n o f t h e P a t t e r n ( F i g . 1 2 4 )
T h e r e c o n s t
r u c t i o n o f t h e b o d i c e p a t t e r n f o r t h e p r
o v i s i o n o f w a i s t s u p p r e s s i o n a n d d e s i g n i
n g o f t h e b a c k s h o u l d e r s e a m i s c a r r i e d
o u t i n t h e f o l l o w i n g m a n n e r T h e b a c k p a
t t e r n i s i l l u s t r a t e d b y F i g . 1 2 4 ( a ) . C u
t t h e b a c k w a i s t s u p p r e s s i o n l i n e s f r o m
2 5 a n d 2 6 t o 3 4 a n d f r o m 3 3 o n t h e b a c k
s h o u l d e r s e a m t o t h e s a m e p o i n t . R e c u t t
h e p a t t e r n b y c l o s i n g o u t t h e w a i s t s u p p
r e s s i o n f r o m 2 5 t o 2 6 b y p i v o t i n g f r o m 3
4 a n d o p e n i n g t h e s h o u l d e r s e a m f r o m 3 3
i n c h . M a r k r o u n d t h e p a t t e r n t o o b t a i n
t h e o u t l i n e a s X t o 5 , 3 3 , 1 6 , 1 9 , 2 2 ,
2 5 , a n d 2 .
W h e n t h e p a t t e r n h a s b e e n r e c
u t , m a r k t h e s e a m d e s i g n t o a g r e e w i t h t
h a t o f t h e f r o n t s . 3 8 f r o m 2 2 = t h e s a m e
d i s t a n c e a s 3 2 i s f r o m 2 1 .
M a r k u p f r o m
3 8 t o 3 9 6 i n c h e s , m a k i n g 3 9 f r o m t h e s
h o u l d e r s e a m e q u a l i n l e n g t h t o 3 0 f r o m
1 4 a t t h e f r o n t . T h e t e r m i n a t i o n o f t h e
s e a m i n t h e s h o u l d e r i s i n d i c a t e d b y p o i
n t 4 0 , w h i c h i s l o c a t e d a t t h e s a m e d i s t
a n c e f r o m 1 6 a s 1 4 i s f r o m 1 8 . S h a p e f r o
m 3 8 t o 3 9 a n d 4 0 . F i g . 1 2 4 ( b ) i l l u s t r a
t e s t h e f r o n t b o d i c e . T o r e c o n s t r u c t t h e
f r o n t b o d i c e p a t t e r n , c u t t h r o u g h t h e b
u s t d a r t f r o m 3 1 a n d 1 4 t o 3 0 a n d c l o s e
o u t t h e d a r t t o o b t a i n t h e p a t t e r n o u t l i
n e a s i n d i c a t e d b y t h e s o l i d l i n e s f r o m
3 0 t o 3 2 , 1 9 , 1 8 , 1 4 , a n d 1 1 . C u t t h r o u g
h t h e w a i s t s u p p r e s s i o n f r o m 2 7 a n d 2 8 t
o 3 0 a n d c l o s e o u t t h e d a r t t o o b t a i n t h
e o u t l i n e p a t t e r n a s s h o w n b y t h e s o l i d
l i n e f r o m 1 4 t o 1 1 , 3 7 , 8 , 2 8 , 2 1 , 3 2 , a
n d 3 0 . T h e p a t t e r n o u t l i n e i s c u t t h r o u g
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Vintage Sewing Main Page > 1940's > Ladies' Garment Cutting and Making > Chapter XI Search | Subscribe | Support

by F. R. Morris
Chapter XISleeves for Dresses

THERE is a saying in the trade at the moment that "the sleeve makes the dress." Of recent designs this is certainly true, for sleeves have had the attention of designers concentrated upon them exclusively to the end of added interest in the design as a whole. It is certainly true that the addition of an intricate sleeve to a dress minimizes the need for a great deal of design in the body part, and so we have pouched, pleated, gathered and leg-of-mutton sleeves featured with recent dress styles. The majority of intricate sleeve designs can be evolved from a basic one-piece sleeve pattern with manipulation, though in the majority of instances it is practically impossible to obtain a sleeve pattern by straight drafting. A certain amount of cutting about of the basic pattern is necessary before the desired result is achieved. Dress sleeves are based upon the same principles as coat sleeves, with amendment to the draft for the requirements of the smaller armhole, and consequent less quantity of fullness in the sleeve crown in addition to the general narrower cut in the sleeve width at the elbow and cuff. From the basic one- and two-piece sleeve patterns, any sleeve design with darts, pleats or pouched effects can be cut in a few moments providing the basic principles of manipulating and cutting about of the outline pattern are thoroughly understood. So the author will show the basic drafts for one-
and two-piece sleeves in their outline form and illustrate how to cut the many sleeve design variations in vogue at the moment.
Basic Draft (Fig. 125 (a))

The draft of the scye is as follows, based upon a 36-inch bust size. To draft Square lines from X.

1 from X = the back depth = one-third of the scale plus 1 inches. 2 from X = the natural waist length = 15 inches. 3 from X = the back neck width = one-sixth of the scale less inch. 4 from 3 = the back neck height = inch. Shape the back neck curve from 4 to X as shown. 5 from 1 = the half-back width. Square up from 5 to 6 on the line from X. Square out from 1 to 7 half the bust measure plus 1 inch. Square up and down from 7 to 8 and 9. 10 from 8 = one-twelfth of the scale. Square back from 10 to 11 one-sixth of the scale. The across-chest width from 12 to 7 = half the scale less 1 inch. 13 from 12 = one-sixth of the scale less inch. Square up from 13 to 14 equal to the distance from 7 to 10 less inch. 15 from 6 = 1 inch. Square out from 15 to 16 inch, and shape the back shoulder seam from 16 to 4. 17 from 14 = the front shoulder width equal to the back shoulder width less inch. 18 from 17 = 1 inch. Shape the front shoulder seam from 18 to 14. Shape the scye from 18 to 19 and 16, hollowing inch in advance of the line from 12 to the line from X to 8. 19 is located at half the distance from 1 to 7.
The front sleeve pitch is located at A, inch up from the base of the scye line at 12. The back pitch B is located at half the back depth from X to 1 up from 5. The following measures derived from the scye outline are necessary (1) The height of the back sleeve pitch from the breast line to calculate the base of sleeve depth. (2) The sleeve crown height, derived from the position of the shoulder seams in their relation to the height of the back pitch from the breast line after they have been sewn together. (3) The circumference measure round the top-scye from the front pitch A to the shoulder end at 18 and from the back shoulder end at 16 to the back pitch B. (4) The circumference measure of the under-scye, measured from the back pitch B round the under-scye to 19 and the front pitch A. (5) The total scye circumference, combining the top- and under-scye measures. (6) The full sleeve length, measured either from the centre back to the elbow and wrist or alternatively from the sleeve seam at the shoulder end to the wrist over the forearm. These days dress sleeves are worn very long instead of the normal length, to crease over the hand at the wrist and to act as a safeguard to the sleeve shortening up the arm in wear, which is a fault in tightly-fitting dress sleeves.
One-piece Sleeve Basis Draft (Fig. 125 (b))

Fig. 125 (b) illustrates the onepiece sleeve draft. The following measures are derived from the scye
The back pitch height from the breast line = 3 inches. The crown height = 1 inches. The top-scye circumference = 8 inches. The under-scye circumference = 7 inches. The total scye circumference = 15 inches. The sleeve length from the centre back to wrist = 29 inches.

1 from X = the height of the pitch B from the breast line in Fig. 125 (a). 2 from 1 = inch. 3 from 2 = the top-scye circumference applied diagonally less inch. 4 from 3 = one-third of the distance from 2 to 3 plus inch. 5 from 4 = the crown height = 1 inches. 6 is located at midway of X to 4. Shape the sleeve crown from 2 to 6, 5 and 3. Square down from 4 to 7 the full sleeve length applied diagonally from 3 to 7 less the width of the halfback measure. 8 from 7 = inch. Square each way from this point at right angles with the line from 4 to 7. The width of the sleeve at the wrist for an average 36-inch bust woman should be approximately 8 inches, so to systematize the cuff width it is calculated as half the total scye circumference. Therefore 9 from 8 = one-eighth of the total scye circumference. 10 from 8 = one-eighth of the total scye circumference. 11 from 9 = inch. 12 from 10 = inch. Shape from 11 through 8 to 12. 13 from 11 = one-third of the distance from 11 to 12. Measure round the under-scye from the front pitch A to the underseam at 19 in Fig. 125 (a) and apply this quantity from 2 to locate point 14 on the line squared out from 1.
By line 2 to 11, square across from 14 to 15, making 2 to 14 equal to 2 to 15. By line 2 to 11, square across from 13 to 16, making 16 to 9 equal to 13 to 9. Shape from 2 to 15 and from 11 to 16 and join 15 to 16 for the underseam of the sleeve. Measure up the under-scye from the back pitch B round the scye to 19 in Fig. 125 (a) and apply this quantity from 3 direct to locate point 17 on the line squared from 1 to 14. Join 3 to 12 and by this line square across from 17 to 18 and 19. 19 from 18 = 18 to 17. Shape the under-sleeve shape from 3 to 19 as shown. By line 3 to 10, square across from 13 to 20, making 13 to 10 equal to 10 to 20. Shape the sleeve cuff from 12 to 20 to complete the sleeve draft.
Two-piece Sleeve Basis Draft (Fig. 126 (a))

The scye measures are as enumerated for the one-piece sleeve draft. The hindarm seam is displaced towards the underneath of the sleeve, and a three-quarter sleeve finish to the forearm seam is also included in the draft outline. To draft Square lines from X.

1 from X = the height of the back pitch from the breast line less inch. 2 from 1 diagonally = the top-scye circumference measure less inch. 3 from 2 = one-third of the distance from 1 to 2 plus inch. 4 from 3 = 1 inches. 5 is midway of X to 3. Shape the sleeve head from 1 to 5, 4 and 2.
Line down from 1 to 6 and apply the sleeve length less the width of the half-back measure diagonally from 2 to 6. 7 from 6 = 1 inch. Square out from 7 to 8 and 9. 8 from 7 = inch. 9 from 8 = one-fourth of the total scye circumference. Line from 9 to 6 to locate point 10. 11 for the position of the elbow is located at half the distance from 1 to 6. Square out from 11 to 12 1 inches. Join 2 to 9 to locate point 13 on the line squared out from 11, 14 from 13 = 1 inches. 15 from 14 = inch. 16 from 2 = the quantity the back pitch is lowered on the scye. Shape the hindarm seam from 16 to 14 to 9. Measure up the under-scye from the front pitch A to the back pitch B in Fig. 125 (a) less the quantity the back pitch is lowered from 2 to 16. Shape the under-sleeve seam from 17 to 15 and 9. 18 squared out from 1 = one-sixth of the scale. Shape from 1 to 18 and 17 as shown for the under-sleeve run. Add inch from 1 to 19 and reduce the under-sleeve a similar quantity from 1 to 20. 21 and 22 are each inch from 12, and 23 and 24 are each inch from 10, point 24 coinciding with 6. Shape the forearm sleeve seams as shown.
One-piece Sleeve (Fig. 126 (b))

Fig. 126 (b) illustrates the draft of a one-piece sleeve for dresses, with the seam at the forearm instead of at the underarm.
This sleeve is very suitable for cutting pouched effects at the hindarm, as it is cut on the fold of the material at this section. The scye measures are derived from Fig. 125, and are as follows

The back pitch height from the breast line = 3 inches. The crown height = 1 inches. The top-scye circumference = 8 inches. The under-scye circumference = 7 inches. The total scye circumference = 15 inches. The sleeve length from the centre back to wrist = 29 inches.

1 from X = the back pitch height from the breast line less inch. 2 from 1 diagonally = the top-scye circumference less inch. 3 from 2 = one-third of the distance from 1 to 2 plus inch. 4 from 3 = the crown height = 1 inches. 5 is located midway of 3 to X. Shape the sleeve head from 1 to 5, 4 and 2. Apply the under-scye circumference measure from 1 to locate point 6. 7 is midway of 6 to 2 to ensure that the hindarm line from 7 is exactly midway of the full width of the sleeve. Square up from 7 to locate point 8 on the crown of the sleeve Square down from 1 to 9 the full sleeve length, less the width of the half-back measure, applied diagonally from 2 to 9. 10 from 9 = 1 inch.
11 from 10 = inch. Line from 1 to 11. 12 from 11 = one-fourth of the total scye circumference. Line from 12 to 9 to locate point 13 on the line from 1 to 11. 14 is midway of 1 to 13 for the position of the elbow. 15 from 14 = 1 inches. Shape the forearm seam run from 1 to 15 and 13. Square out from 14 and 15 to 16 which is located by squaring down from 7 and 8. Shape the hindarm run from 8 to 16 and 12 as shown. 17 from 1 = one-sixth of the scale. Shape from 1 to 17 and 8 for the under-sleeve seam run.
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Fig. 126 (c) illustrates the shape of the sleeve when opened out. An increase of width in the sleeve may be achieved as shown by the dash line in Fig. 126 (b) in which the hindarm line from 8 to 16 is widened 2 inches to locate point 18.
Line from 8 to 18 and 19 approximately 3 inches below 18, and then shape from 20 8 inches above the wrist to 19 as shown. The sleeve at the hindarm is cut on the fold of the material from 8 to 18 and 19 and then seamed from 19 to 20 and 12 as Fig. 126 (c).
The Raglan Sleeve (Fig. 127)

Raglan sleeves for dresses are deservedly popular at the moment, for they are definitely possessed of greater style value than the plain
set-in sleeve, in addition to their ability to harmonize with practically any bodice or skirt design. Though the raglan sleeve with the overarm seam is not used to a great extent, it is always advisable to adhere to the shoulder construction embodying a dart from the neck to the shoulder end in preference to the shoulder construction giving a whole raglan shoulder sleeve without the dart. The shoulder section of Fig. 127 is constructed to agree with the measurements in accordance with the proportions of a 36-inch bust figure, and the working scale is 18 inches. To draft Square lines from X.

1 from X = the back depth = one-third of the scale plus 1 inches. 2 from 1 = the natural waist length. 3 from X = the back neck width = one-sixth of the scale less inch. 4 from 3 = the back neck height = inch. Shape from 4 to X. 5 from 1 = the half-back width. Square up from 5 to locate point 6 on the line squared out from X. 7 from 1 = the half-bust measure plus 1 inch. Square up and down from 7 to locate points 9 and 8. 10 from 9 = one-twelfth of the scale. Square out from 10 to 11 one-sixth of the scale. 12 from 7 = one-fourth of the bust measure less 1 inch. 13 from 12 = one-sixth of the scale less inch. Square up from 13 to 14 equal to the distance from 7 to 10 less inch.
15 from 6 = 1 inch. Square out from 15 to 16 inch, and shape from 16 to 4 for the back shoulder seam run. Join 14 to 16. 17 from 14 = the back shoulder width from 16 to 4 less inch. 18 squared down from 17 = 1 inch. Shape the front shoulder seam from 18 to 14 as shown. Shape the scye from 18 to 19 and 16, hollowing inch in front of the line from 12. 19 is located at half the distance from 1 to 7. Square down from 19 to 20 at the waist line. 21 is midway of 7 to 12. 22 from 14 for the shoulder dart equals the distance from 14 to 11. Shape out the bust dart from 21 to 14 and 22 as shown. 23 from 10 = one-sixth of the scale. Shape the neck curve from 23 to 11 as shown. To construct the raglan shoulder seams 24 from 14 = 1 inch. This quantity is variable and dependent upon the design of the dress. In some instances, the width of the raglan sleeve horn is wider than others, while, at other times, the seams run away to practically nothing at the neck.
In this draft, the author has arranged for the raglan sleeve seams to be 1 inch apart when finished. The advantages of facilitating making-up are deciding factors in the width advocated. As 24 is located on the line from 14 to 13, the bust dart intersects the raglan shoulder seam, and this must be taken into account so that, when the bust dart is sewn out, the raglan seam continues in a similar run to that marked from 24 to the front pitch A.
Join 24 to the pitch A, and shape the seam from 24 to A, adding inch of run to the seam between these points. 25 from 11 = the distance 24 is from 14, i.e. 1 inch. 26 is located where the construction line from 24 to A intersects the line of the bust dart from 21 to 22. 27 is located where the seam from 24 to A intersects the same bust dart line. Therefore, to reproduce the shape of the raglan shoulder seam, allowing for the bust dart through the shoulder, square across from 26 to 28 and 27 to 29. 28 from 21 = the same length as 21 to 26. 29 from 21 = the same length as 21 to 27 to ensure that when the bust dart is sewn out, 26 will agree with 28 and 27 with 29, making the raglan shoulder seam run from 25 to 29, 27 and A continuous. Join 25 to 28 and shape the shoulder seam from 25 to 29. 30 = half the distance from 25 to 11.
The raglan shoulder construction allows the back sleeve horn to be inch in width to agree with the width of the front sleeve horn from 25 to 30. The reduction of 1 inch from the front shoulder ensures the centre seam of the raglan shoulder being placed exactly on the top of the shoulder at 30.
The back pitch B is located at half the back depth, from X to 1, up from point 5. Square back from point B to 31 inch. Join 31 to 4 and add inch of curve to the raglan shoulder seam between these points.
It is advisable to keep the back width for a raglan style rather on the narrow side; otherwise, there is a tendency for the sleeve
to cause creases at the back of the armhole when the arm is at the side. The author prefers to think of raglan sleeves as a part of the bodice instead of a separate entirety, and to systematize the construction on a magyar sleeve basis, varying the seam runs irrespective of the outline of the normal scye. Individuality of design is not achieved by adhering to the set outlines of conventional ideas, but by courageously departing from the stereotyped lines and drafting our seams to obtain the artistic appreciation of good style and line. To do this we must always think of the sleeve and bodice as a whole and add to one the quantity taken from the other.
The Raglan Sleeve Draft (Fig. 128)

For the object of illustrating the construction of the raglan sleeve shoulders, a one-piece sleeve basis draft has been adopted. The constructional points described are equally applicable to any other type of sleeve, so it is unnecessary to describe more than the application of the systematic principles to one type of sleeve. The method of constructing the raglan horns on the one-piece sleeve base is the principle of measuring the shape of the displaced sections of the shoulders and applying these quantities to the sleeve head to obtain the shape of the raglan shoulders on the sleeve in a similar manner to cutting away the shoulder sections and laying them
in position on the sleeve head as described in Chapter VIII (Fig. 57). If an intricate shoulder seam design is intended, it is necessary to cut the shoulder sections from the body part and then lay in position on the sleeve draft in a similar way to the cutting of drop-shoulder line sleeves. The scye measurements are as follows

The height of the back pitch from the breast line = 3 inches The crown height = 1 inches The top-scye circumference = 8 inches The under-scye circumference = 7 inches The total scye circumference = 15 inches The sleeve length from the centre back to the wrist = 29 inches

1 from X = the back pitch height from the breast line less inch. 2 from 1 = inch. Square out from X and 2. 3 from 1 diagonally = the top-scye circumference less inch. 4 from 3 = one-third of the distance from 1 to 3 plus inch. 5 from 4 = the crown height = 1 inches. 6 is midway of X to 4. Shape the sleeve head of the normal sleeve from 1 to 6, 5 and 3 as indicated by the dash lines. Square down from 4 to 7 the full sleeve length applied from 3 to 7, less the width of the half-back measure.
Square across from 7 to 8 inch. 9 from 8 and 10 from 8 together equal one-fourth of the total scye circumference. Join 9 to 1. 11 from 9 and 12 from 10 are each respectively inch. Shape the cuff run from 11 to 12. Measure round the under-scye from the front pitch A to the underarm seam at 19 in Fig. 127 and apply this quantity from point 1 to 13 on the line squared out from 2. Measure round the back-scye from the back pitch B to the underarm seam at 19 in Fig. 127, and apply this quantity from point 3 direct to 14 plus inch for ease. The position of the underarm of the sleeve is located at 15, one-third of the distance from 12 to 11 from 11. By line 1 to 9, square across from 15 to 16, making 16 from 11 equal to 11 to 15. Shape from 16 to 11. By line 1 to 9, square across from 13 to 17, making 17 from 2 equal to 13 from 2. Shape from 17 to 1 for the underseam of the sleeve from the front pitch to the sideseam. Square down from 3 to locate point 18. 18 is squared from 12. 18 to 19 = 18 to 12. By line 3 to 18, square across from 15 to 20, making the distance from 20 to 18 equal to the distance from 18 to 15. 21 from 18 = 8 inches for the wrist dart.
Shape from 12 and 19 to 21 for the dart and from 19 to 20 for the completion of the cuff shape. By line 3 to 18, square across from 14 to 22 and 23, making 23 from 22 equal to 22 to 14. Shape the hindarm seam run from 23 to 20.
The construction of the raglan shoulders is as follows
Measure the distance from the front pitch A to 26 plus 28 to 25 on the front shoulder in Fig. 127, and apply this quantity in a sweep from 1 to strike an arc at 24. Then measure the width of the front shoulder seam from 18 to 22 plus 14 to 11 in Fig. 127, and sweep this quantity in an arc from point 5 to intersect the arc from 1 at point 25.
Now, as the length of the raglan shoulder seam has been taken from A to 27, 29 and 25 in Fig. 127, the width of the sleeve horn from 25 to 30 must be applied from 25 to 26 in Fig. 128 in an upward direction on the sweep from 5 to 25, because the triangle formed by the distances from 5 to 25 and 1 on the sleeve corresponds with the triangle on the shoulder formed by the distances from A to 25 and 18 in Fig. 127.
Therefore, mark from 25 to 26 on the sweep from 5 equal to the distance from 25 to 30 on the shoulder section.
Similarly, if the point 25 were lower than 1 inch from the neck point, the measurements taken and applied as above would give an accurate shape of the front shoulder section for adapting to the sleeve head. The back sleeve horn is constructed in a like manner.
Measure the distance on the back shoulder from the back pitch B to 4 in Fig. 127, and apply this quantity in a sweep from 3 to strike an arc at 27. Measure the width of the back shoulder seam from 16 to 4 in Fig. 127 and sweep this quantity in an arc to intersect the arc 27 at 28. The triangle formed by the distances from B to 4 and 16 on the back shoulder is represented on the sleeve by the triangle formed by the distances from 3 to 28 and 29. Therefore, as there is the width of the back sleeve horn to take into account as represented by the distance from 11 to 30 at the front shoulder in Fig. 127, the addition of this quantity must be made in the direction of 29 from 28 on the shoulder width arc from 5 to 28. The reduction of the back width from B to 31 in Fig. 127 is transposed to the sleeve from 3 to 30. 30 from 3 = B to 31 on the back. Join 30 to 28 and hollow the seam between these points to
agree with the run of the seam between 31 and 4 on the back shoulder in Fig. 127.
Join 1 to 25 and hollow the seam to agree with the seam run from A to 27, 29 and 25 in Fig. 127. Shape the shoulder dart from 26 and 29 to point 4, hollowing inch at point 5. Shape the underseam run of the sleeve from 30 to 23 to complete the sleeve draft.
In the event of a seam being required over the arm from the shoulder in true raglan style, the shoulder dart seams will be continued down the sleeve on the construction line from 4 to 8. It is necessary to allow seams when sewing out the shoulder dart from 26 and 29 to 4; also, when the seams are continued down the sleeve, provision must be made. When shaping the raglan seam runs on the front and back shoulders it is not advisable to add too much curve to the seams. They should be shaped to curve inside the prominence of the shoulder bone in the front; for, if the seam is curved over the prominence, a constriction on the shoulder will be felt and the sleeve will drag badly over
the muscle as the arm is mo ved for war d.
The Dro psho ulder Line (Fig. 129)

Sharing the popularity of the raglan sleeve is the dropshoulder line sleeve. As the name indicates, the shoulder sleeve seam is lowered from its usual position to further over the arm on the sleeve, and, in some instances, the normal sleeve seam over the shoulder is dispensed with altogether and the sleeve and body part cut completely in one piece. The drop-shoulder line sleeve allows many variations of design to be interpreted; the slopingshoulder effect may be achieved or, alternatively, the seam run of the lowered shoulder line may suggest a square appearance to the shoulders. The principle of cutting away the shoulder sections and superimposing them on the normal set-in sleeve
pattern is identical in principle with the cutting of raglan sleeves. For the purpose of illustrating the drafting of the drop-shoulder line and reconstruction of the sleeve to agree with the lowered shoulder, a design has been chosen that embodies a square-cut front and back yoke with the need for the yoke seams on the shoulders to run over the arm and for a similar design on the sleeve. Measurements for the shoulder section draft in Fig. 129 are based upon a normal 36-inch bust figure. To draft Square lines from X.
1 from X = the back depth = one-third of the scale plus 1 inches. 2 from X = the natural waist length = 15 inches. 3 from X = the back neck width = one-sixth of the scale less inch. 4 from 3 = the back neck height = inch. Shape the back neck curve from 4 to X. 5 from 1 = the half-back width = 6 inches.
Square up from 5 to 6 on the line squared out from X. Square out from 1 to 7 half the bust measure plus 1 inch. Square up and down from 7 to 8 and 9. 10 from 9 = one-twelfth of the scale. 11 squared from 10 = one-sixth of the scale. 12 from 7 = one-fourth of the bust measure less 1 inch. 13 from 12 = one-sixth of the scale less inch. Square up from 13 to 14 equal to the distance from 7 to 10 less inch. 15 from 6 = 1 inch. Square out from 15 to 16 inch, and shape the back shoulder seam from 16 to 4 at the neck. 17 from 14 = the front shoulder width, equal to the distance from 16 to 4 less inch. 18 from 17 = 1 inch. Shape the front shoulder seam from 18 to 14. Shape the scye as shown from 18 to inch in front of the line squared up from 12 round to the back shoulder end at 16. 19 is located at half the distance from 1 to 7. Square down from 19 to 20.
21 is located at half the distance from 7 to 12. The bust dart from 14 to 22 = the distance from 14 to 11. Shape out the bust dart from 21 to 14 and 22. 23 from 10 = one-sixth of the scale. Shape the neck curve from 11 to 23. To draft the front and back shoulder yokes, 24 from 7 = inch. Square out from 24 to 25 3 inches. Square up from 25 to 26 3 inches. The position of the yoke seam where it terminates at the scye is decided as 3 inches up from 12 to 27. Mark the shoulder yoke seam from 27 to 26, breaking at the bust dart as indicated, so that 28 from 21 equals 21 to 29 and, when the dart is closed out, the seam run from 26 to 29, 28 and 27 will be a continuous run. The front pitch is located at A, inch up from the line at 12. The back pitch B is located at half the back depth from X to 1 up from 5. Shape the back yoke seam from B to 30 as shown, making B to 30 4 inches.
Square down from 30 to 31 3 inches, and then square from 31 to 32 at the centre back line.
Cut away the front yoke from 23 to 24, 25, 26, 28, 27, 18, 22, 14, and 11, and close out the bust dart from 28 to 29 and 22 to 14. The remainder of the bust dart shown on the bodice from 28 and 29 to 21 should be eliminated by opening out the sideseam and forming an underarm bust dart in the usual manner. Cut out the back yoke from B to 30, 31, 32, X, 4, and 16 to B.
The Dropshoulder Line Sleeve Construc tion (Fig. 130)

Fig. 130 shows the addition of the cut-away shoulder sections to the sleeve pattern in accordance with the general principles of
superimposing the scye on the sleeve draft. Measurements of the scye are derived from Fig. 128, and are as follows
The height of the back pitch from the breast line = 3 inches. The crown height = 1 inches. The top-scye circumference = 8 inches. The under-scye circumference = 7 inches. The total scye circumference = 15 inches. The full sleeve length = 29 inches.
1 from X = the height of the back pitch from the breast line less inch. 2 from 1 = inch. 3 from 1 diagonally = the top-scye circumference less inch. 4 from 3 = onethird of the
distance from 1 to 3 plus inch.
5 from 4 = the crown height = 1 inches. 6 is located midway of X to 4. Shape the sleeve head from 1 to 6, 5 and 3 as shown by the dash lines. Square down from 4 to 7 the full sleeve length applied from 3 to 7 less the width of the half-back measure. Square out from 7 to 8 inch. 9 and 10 from 8 are totally onefourth of the total scye circumference. 11 from 10 and 12 from 9 are each inch. Shape the cuff run from 12 to 11. Measure round the under-scye from the front pitch A to the sideseam at 19 in Fig. 129 and apply this quantity from 1 to 13 on the line squared from 2. Measure round the back-scye
from the back pitch B to the sideseam at 19 in Fig. 129 and apply this quantity plus inch from 3 to locate point 14 on the line squared out from 2.
The position of the under-sleeve seam at the wrist is located at 15, one-third of the distance from 12 to 11 from 12. By line 1 to 12, square across from 15 to 16, making 16 from 12 equal to 12 to 15. Shape from 16 to 12 to agree with the seam run from 12 to 15. By line 1 to 12, square across from 13 to 17, making 17 from 1 equal to 13 from 1. Shape the undersleeve seams from 17 to 1 and 17 to 16. Join 3 to 11. By line 3 to 11, square across from 15 to 18, making 18 from 10 equal to 15 from 10.
By line 3 to 11, square across from 14 to 19, making 19 from the line 3 to 11 equal to the distance 14 is from this line. Shape the undersleeve seam from 3 to 19 as shown and complete the standard sleeve draft by joining 19 to 18. To reconstruct the sleeve to form the continuation of the front and back shoulder yokes over the sleeve, take the front yoke which has already been cut away from the bodice and place into position on the sleeve head as shown. Firstly measure from the front pitch A on the front scye to 27 in Fig. 129, and apply this quantity plus inch for sleeve ease from 1 to 27 on the sleeve draft.
The addi tion of inch
for eas e is ess enti al for a perf ectl y han ging slee ve; the n lay the fron t yok e in posi tion so that 27 on the yok e agr ees with 27 on the slee ve hea d. The fron t sho ulde r end at 18 touc hes
the slee ve cro wn, sea m to sea m, as sho wn by the sing le poin t indi cate d by 18.
Nex t, take the bac k sho ulde r yok e and lay into posi tion on the slee ve cro wn. In this inst anc e, the bac
k pitc hB in Fig. 129 is the sea m com men cem ent of the yok e and ther efor e is laid in posi tion on poin t 3. The bac k sho ulde r end at 16 touc hes the slee ve cro wn as sho wn at poin t 16. Sha
pe out the sho ulde r dart fro m 11 to 18 and 4 to 16 to ter min ate at 4.
Shape the continuation of the shoulder yoke over the sleeve from 27 to 20, 21, 22, 23, and 3, making the shape of the sleeve yoke agree with the shape of the back and front shoulder yokes. Cut away the shoulder section from the sleeve and, when cutting from the material, add seams to the sleeve from 27 to 20, 21, 22 and 23 to 3 in addition to all round the sleeve.
The preceding method illustrates the general
principle of interpreting dropshoulder and similar shoulder lines with attendant sleeve reconstruction. It is not essential always to take the shoulder seams over the sleeve; in the example described, the shoulder yokes at the back and front could be cut in one piece with the entire sleeve without the oversleeve continuation.
Intricate Sleeve Designs

The following style diagrams will illustrate how to cut many examples of intricate sleeve designs, in addition to showing the methods adopted for interpreting designs to harmonize with the requirements of waist suppression. The designs chosen will have undoubted style value, for they will illustrate
important style features of recurring interest. The tendency to choose styles of which there are no features that present technical difficulty will be avoided as far as possible; and each design will, in addition to showing intricacy of sleeve cutting, enhance general cutting knowledge by extending the principles of cutting to a wider range a n d s c o p e .
A Raglan Sleeve Dress (Fig. 131)

The first example takes the form of a smart town dress with raglan sleeves smooth over the
shoulders and at the wrist gathered into a narrow cuff band. The design shows a wrap-over bodice effect draped into a shaped waist seam, while the skirt is also gathered into the hip yoke at the centre front and back. At the back, the waist yoke seam runs across straight from sideseam to sideseam and the skirt has a slight flare infused by pattern manipulation. Measures for the draft are as follows

Chest = 34 inches. Bust = 36 inches. Waist = 27 inches. Hips = 40 inches.
Natural waist length = 15 inches. Full dress length = 45 inches. Half-back width = 6 inches. Full sleeve length = 29 inches. Working scale = half the bust girth = 18 inches.
To draft Commence by drawing line from X to X, the full dress length, i.e. 45 inches.
1 from X = the back depth = onethird of the scale plus 1 inches. 2 from X = the natural waist length = 15 inches. 3 from 2 =8
inches down for the hip level.
4 from X = the back neck width = onesixth of the scale less inch. 5 from 4 = inch. Shape the neck curve from 5 to X. 6 from 1 = the halfback width. Square up from 6 to 7 on the line squared out from X. Square out from point 3 half the hip measure net to 8. Square up and down from 8 to 9, 10,
11, and 12.
13 from 11 = onetwelfth of the scale. Square back from 13 to 14 onesixth of the scale. 15 from 10 = onefourth of the bust measure less 1 inch. 16 from 15 = onesixth of the scale less inch. Square up from 16 to 17 the distance from 10 to 13 less inch. 18 from 7 on the line from 7 to 6 = 1 inch.
19 from 18 = inch. Shape the back shoulder seam from 19 to 5. 20 from 17 = the front shoulder width equal to the distance from 5 to 19 less inch. 21 from 20 = 1 inch. Shape the front shoulder seam from 21 to 17. Shape the scye from 21 to inch in advance of the line from 15 round to the back shoulder end at 19. The sidesea m is
located at 22 half the distance from 3 to 8.
Square up and down from 22 to 23, 24 and 25. 26 from 10 = the half-bust measure plus 1 inch. Reduce the sidesea ms from 24 to 28 and 27 equal to the surplus quantity shown from 26 to 1. Square down from 27 and 28 to 29 and 30. 31 from 30 = inch. 32 from 29 = inch.
33 from 25 = 1 inch. 34 from 25 = 1 inch. Shape the sidesea ms from 27 to 32, 22 and 34, and from 28 to 31, 22 and 33. 35 from 13 = 6 inches down for the shape of the neck run. 36 from 9 = 2 inches. 37 from 9 = 2 inches. 38 from 32 = 2 inches. 39 from 32 = 2 inches. 40 is 5 inches up from the waist line and 4 inches
back from the centre front line for the bust point and terminat ion of the waist yoke point.
Square down from 40 to 41, making 41 from the waist line equal to 40 above the waist line. 42 from 2 for the back waist dart = 3 inches. 43 from 3 = 4 inches. Square down from 43 to 44. 45 from 2 = 2 inches.
46 from 31 = 2 inches. 47 from 2 = 2 inches. 48 from 31 = 2 inches. 49 for the front point of the wrapover front equals the same outline as from 36 to 40. Measure from 32 to 50 half the waist measure ment plus the distance from 2 to 31. The back waist suppress ion is decided by twothirds of the distance from 50 to 9, indicated
by 50 to 51.
The front waist suppress ion is illustrate d from 51 to 9. Complet e the shape of the back waist suppress ion dart by suppress ing the back waist from 42 to 52, the suppress ion quantity being as from 50 to 51. Shape the panel seam from 52 to 43 to run with the seam from 42 to 43 and 44. 53 is the blade level where
the pivoting point for closing out the back waist suppress ion from 42 to 52 is located.
54 from 5=2 inches. Mark out the waist suppress ion from 52 and 42 to 53, suppress ing inch at 55. The back pitch B is located at half the back depth from X to 1 up from 6 on the breast line. 56 is inch squared back from point B.
Join 56 to 5 and shape the raglan shoulder seam from 56 to 5, adding inch of round. 57 is half the distance from 10 to 15. 58 from 17 for the bust dart = from 14 to 17. Shape out the bust dart from 17 and 58 to 40. Shape out the front waist suppress ion from 59 to 60, making the suppress ion quantity equal to the quantity
from 51 to 9.
61 for the slope of the front raglan seam = 1 inch. Join 61 to the front pitch at A and add inch of round to the raglan shoulder seam, intersect ing the line from 58 to 40 at 62 and 66. By pivoting from point 40, sweep from 62 to 63 and 66 to 65. 64 from 14 = 1 inch. Shape the raglan seam from 64 to 65 and 66 to A.
Points 67, 68, 69 and 70 are located where the back waist seam intersect s the back waist suppress ion lines. Point 71 is located where the front waist suppress ion dart terminat es on the hip line and 72 is squared down from 71.
This completes the draft of the dress and the following diagrams will show the pattern manipulatio n.
T H E S L E E V E D RAFT (FIG. 132) The following sleeve measures are derived from the scye of Fig. 131
The heig ht of the bac k pitc h fro m the brea st line = 3 inch es. The cro wn
heig ht = 1 inch es.
The topscye circ umf eren ce bet wee n the pitc hes A and B= 8 inch es. The und erscye circ umf eren ce bet wee n the pitc hes = 7 inch es. The tota l scye circ umf
eren ce = 15 inch es.
The half bac k widt h= 6 inch es. The full slee ve leng th = 29 inch es.
To draft Squ are lines from X.
1 f r o m X = t h e
h e i g h t o f t h e b a c k p i t c h f r o m t h e b r e a s t l i n e l e s
s i n c h .
2 f r o m 1 = i n c h .
A p p l y t h e t o p s c y e c
i r c u m f e r e n c e f r o m 1 t o 3 l e s s i n c h .
4 f r o m 3 =
o n e t h i r d o f t h e d i s t a n c e f r o m 1 t o 3 p l u s i n c h
5 f r o m 4 = 1 i n c h e s .
6 i s h a l f t h e d i s t a n c e f r
o m X t o 4 .
S q u a r e d o w n f r o m 4 t o 7 t h e s l e e v e l e n
g t h a p p l i e d f r o m 3 t o 7 l e s s t h e h a l f b a c k w i d t h .
S q u a r e f r o m 7 t o 8 i n c h .
9 a n d 1 0 f r o m 8 = t h e
s l e e v e w i d t h a t t h e w r i s t = o n e f o u r t h o f t h e t o t a
l s c y e c i r c u m f e r e n c e .
1 1 f r o m 1 0 = i n c h .
1 2 f r o
m 9 = i n c h .
S h a p e f r o m 1 2 t o 8 a n d 1 1 .
M e a s u r e
f r o m t h e f r o n t p i t c h A r o u n d t h e u n d e r s c y e t o 2 7
i n F i g . 1 3 1 , a n d a p p l y t h i s q u a n t i t y f r o m 1 t o 1 3
o n t h e l i n e s q u a r e d o u t f r o m 2 .
M e a s u r e r o u n d t h e
b a c k s c y e f r o m t h e b a c k p i t c h B t o t h e s i d e s e a m a
t 2 8 i n F i g . 1 3 1 , a n d a p p l y t h i s q u a n t i t y p l u s i
n c h f r o m 3 t o 1 4 o n t h e l i n e s q u a r e d o u t f r o m 2 .
T h e u n d e r s e a m o f t h e s l e e v e i s l o c a t e d b y p o i n t 1 5
, o n e t h i r d o f t h e d i s t a n c e f r o m 1 2 t o 1 1 f r o m 1 2
J o i n 1 t o 1 2 a n d b y t h i s l i n e s q u a r e f r o m 1 5 t o
l o c a t e p o i n t 1 6 .
1 6 f r o m 1 2 = 1 2 t o 1 5 .
S h a p e f r
o m 1 6 t o 1 2 a s 1 2 t o 1 5 .
B y l i n e 1 t o 9 , s q u a r e f
r o m 1 3 t o 1 7 , m a k i n g 1 7 f r o m 1 e q u a l t o 1 t o 1 3 .
J o i n 3 t o 1 1 a n d , b y t h i s l i n e , s q u a r e f r o m 1 4 t o
1 8 , m a k i n g 1 8 a n d 1 4 f r o m l i n e 3 t o 1 1 e q u a l .
B y
l i n e f r o m 3 t o 1 1 , s q u a r e f r o m 1 5 t o 1 9 , m a k i n g t h
e d i s t a n c e f r o m 1 9 t o 1 0 e q u a l t o 1 0 t o 1 5 .
S h a p e
t h e u n d e r s l e e v e s e a m f r o m 1 9 t o 1 8 a n d f r o m 1 9 t
o 1 1 .
M e a s u r e f r o m t h e f r o n t p i t c h A t o 6 6 , a n d 6
5 t o 6 4 i n F i g . 1 3 1 , a n d s w e e p t h i s q u a n t i t y f r o m
1 t o s t r i k e a n a r c a s 2 0 .
M e a s u r e t h e w i d t h o f t h
e f r o n t s h o u l d e r s e a m f r o m 2 1 t o 5 8 p l u s 1 7 t o 1 4
i n F i g . 1 3 1 , a n d s w e e p t h i s q u a n t i t y f r o m 5 t o i n t
e r s e c t t h e a r c f r o m 1 t o 2 0 a t 2 1 .
O n t h e a r c f r o
m 2 1 t o 2 2 , m e a s u r e u p i n c h , t h e w i d t h o f t h e f r
o n t s l e e v e h o r n .
J o i n 1 t o 2 1 a n d c u r v e t h e s e a m
b e t w e e n t h e s e p o i n t s t o a g r e e w i t h t h e s h a p e o f t h
e r a g l a n s h o u l d e r s e a m f r o m A t o 6 7 , 6 8 a n d 7 0 i n
F i g . 1 3 1 .
M e a s u r e t h e d i s t a n c e f r o m t h e b a c k p i t c
h B t o t h e b a c k n e c k p o i n t a t 5 i n F i g . 1 3 1 , a n d s
w e e p t h i s q u a n t i t y f r o m 3 t o s t r i k e a n a r c a s 2 3 .
M e a s u r e t h e w i d t h o f t h e b a c k s h o u l d e r s e a m f r o m 1
9 t o 5 i n F i g . 1 3 1 , a n d a p p l y t h i s q u a n t i t y f r o m 5
i n a n a r c t o i n t e r s e c t t h e a r c f r o m 3 a t 2 4 .
O n
t h e a r c f r o m 5 , m a r k u p f r o m 2 4 t o 2 5 i n c h , t h e w
i d t h o f t h e b a c k r a g l a n s h o u l d e r h o r n f r o m 1 4 t o 7
1 i n F i g . 1 3 1 .
S h a p e t h e s h o u l d e r s e a m s f r o m 2 2 a
n d 2 5 t o 4 a s s h o w n .
2 6 f r o m 3 = t h e d i s t a n c e f r o
m t h e b a c k p i t c h t o p o i n t 5 6 i n F i g . 1 3 1 .
J o i n 2 6
t o p o i n t 2 4 a n d c u r v e t h e s e a m b e t w e e n t h e s e p o i n
t s t o a g r e e w i t h t h e s h a p e o f t h e r a g l a n s h o u l d e r
s e a m f r o m 5 6 t o 5 i n F i g . 1 3 1 .
S h a p e t h e u n d e r s l
e e v e f r o m 2 6 t o 1 8 t o c o m p l e t e t h e r a g l a n s l e e v e b
a s i s d r a f t .
M a n i p u l a t ion of the Slee ve Patt ern for the Wris t Full ness (Fig. 133 )
T he sleev e
basis outli ne requi res mani pulat ion to provi de for the extra widt h of cuff to pouc h over the wrist . Fig. 133 indic ates the ragla n sleev e outli ne as draft ed by the syste
m illust rate d by Fig. 132. T o add the extra widt h of cuff prop ortio natel y roun d the sleev e, take the patte rn and mark from point 4 squa rely dow n to the cuff at A. A is
the centr e of the cuff. By pivot ing from point 4, open out the sleev e patte rn so that point sB and C are each 2 to 3 inch es from A, depe ndin g on the amo unt of fulln ess
requi red at the cuff. This oper ation reco nstru cts the sleev e patte rn as point s 17A, 16A, 19A, and 18A. T he sleev e shou ld be gath ered into a narr ow wrist band abou t8
inch es in lengt h and 1 inch in widt h. The wrist band may be eithe r finis hed as a tie or faste ned with pres sstud s or a butt onho l e .
M a n
ipul atio n of the Bodi ce for Full ness (Fig. 134 )

T he bodi ce patte rn is mani pulat ed to prod uce the drap ed effec t as follo ws. Cut the bodi ce part away from the patte
rn roun d point 49, 64, 65, 66, 27, 39, 40 and 36, and then close out the bust dart from 65 to 66, pivot ing from 40 as show n. T he patte rn is then wed ged up from
two point s betw een 36 and 49, pivot ing from betw een 65 and 64, and is open ed out the requi red amo unt of fulln ess, whic h is 3 inch es in this exa mple .
T he reco nstru cted patte rn is illust rate d by point s 64A and 49A. The fulln ess shou ld be gath ered even ly into the yoke sea m both on top and unde rnea th, and for the edge
finis h an inlay shou ld be adde d dow n from 64A to 4 9 A .
D r e s s with a Dart ed Sho ulde r Line (Fig. 135 )

T he smar t dres
s illust rate d by Fig. 135 has a uniq ue shou lder line and sleev e cut. The sleev e is inser ted at the shou lder in the shap e of a squa re yoke , formi ng a squa re open
ing at the back and front neck , with darts acro ss the yoke from the neck open ing to the shou lder end, givin g fulln ess in the uppe r sleev e from the shou lder to the
elbo w. Belo w the elbo w to the wrist , the extra sleev e widt h is gath ered into a shap ed cuff to form a pouc hed effec t at the hind arm. T he dres s has a wrap -
over front faste ning with two butt ons, and a point ed hip yoke on the skirt at the front to term inate the conti nuati on of the high bodi ce waist sea m from the back waist . The desig
n gives a good illust ratio n of how to achie ve back waist supp ressi on with out the aid of eithe r pane l or acro sswaist sea ms. A sligh t flare is adde d to the centr e
front and sides eam s to give walki ng room , and as an aver age the widt h of the skirt at the hem line shou ld in all insta nces be 1 yard s or more . M easu res for the
draft are as follo ws
C h e s t = 3 1 i n c h e s .
B u s t = 3 3 i n c h e s .
W a i s t
= 2 5 i n c h e s , i n c r e a s e d t o 2 8 i n c h e s f o r t h e d r a f t
H i p s = 3 7 i n c h e s .
N a t u r a l w a i s t l e n g t h = 1 4 i n
c h e s .
F u l l d r e s s l e n g t h = 4 3 i n c h e s .
H a l f b a c k w i
d t h = 6 i n c h e s .
F u l l s l e e v e l e n g t h = 2 7 i n c h e s
W o r k i n g s c a l e = h a l f t h e b u s t g i r t h = 1 6 i n c h e
s .
T o d r a ft C o m m e n c e b y d r a w i n g li n e f r o m X t o X
, t h e f u ll d r e s s l e n g t h .
1 f r o m X = t h e b a c k d e p t h
= o n e t h i r d o f t h e s c a l e p l u s 1 i n c h e s .
2 f r o m
3 f r o m
2 = t h e h i p l e v e l = 8 i n c h e s b e l o w t h e w a i s t l i n e
S q u a r e o u t f r o m t h e a b o v e p o i n t s .
4 f r o m X = t h
e b a c k n e c k w i d t h = o n e s i x t h o f t h e s c a l e l e s s
i n c h .
S q u a r e u p f r o m 4 t o 5 i n c h f o r t h e h e i g h t
o f t h e b a c k n e c k c u r v e .
S h a p e f r o m 5 t o X f o r t h
e s h a p e o f t h e b a c k n e c k c u r v e .
6 f r o m 1 = t h e h a
l f b a c k w i d t h = 6 i n c h e s .
S q u a r e u p f r o m 6 t o 7
o n t h e l i n e s q u a r e d o u t f r o m X .
S q u a r e o u t f r o m 3
t o 8 h a l f t h e h i p m e a s u r e n e t .
S q u a r e u p a n d d o w
n f r o m 8 t o l o c a t e p o i n t s 9 , 1 0 , 1 1 a n d 1 2 b y i n t e
r s e c t i n g t h e l i n e s f r o m X , 1 , 2 , a n d X a t t h e h e m
l i n e .
1 3 f r o m 1 1 = o n e t w e l f t h o f t h e s c a l e .
S q u a
r e b a c k f r o m 1 3 t o 1 4 o n e s i x t h o f t h e s c a l e .
1 5
f r o m 1 0 = h a l f t h e s c a l e l e s s 1 i n c h .
1 6 f r o m 1 5
= o n e s i x t h o f t h e s c a l e l e s s i n c h .
S q u a r e u p f
r o m 1 6 t o 1 7 e q u a l t o t h e d i s t a n c e f r o m 1 0 t o 1 3 l
e s s i n c h .
1 8 f r o m 7 = 1 i n c h .
1 9 f r o m 1 8 = i n
c h . S h a p e t h e r u n o f t h e b a c k s h o u l d e r s e a m f r o m 1
9 t o 5 .
2 0 f r o m 1 7 = t h e f r o n t s h o u l d e r w i d t h = 5
t o 1 9 l e s s i n c h .
2 1 f r o m 2 0 = 1 i n c h . S h a p e t h
e f r o n t s h o u l d e r s e a m f r o m 1 7 t o 2 1 .
T h e s i d e s e a m
i s l o c a t e d a t 2 2 , h a l f t h e d i s t a n c e f r o m 3 t o 8 .
S q u a r e u p a n d d o w n f r o m 2 2 t o 2 3 , 2 4 a n d 2 5 .
A d d
t h e s i d e s e a m s k i r t o v e r l a p f r o m 2 5 t o 2 6 a n d 2 7 , a
d d i n g 1 i n c h e s a s u s u a l .
M e a s u r e f r o m 1 0 t o 2 8 h
a l f t h e b u s t m e a s u r e m e n t p l u s 1 i n c h .
R e d u c e t h e
s u r p l u s q u a n t i t y s h o w n f r o m 2 8 t o 1 a t t h e s i d e s e a
m s f r o m 2 4 t o 2 9 a n d 3 0 , r e d u c i n g e q u a l l y e a c h s i d
e o f p o i n t 2 4 .
S q u a r e d o w n f r o m 2 9 a n d 3 0 t o 3 1 a
n d 3 2 a t t h e w a i s t l i n e .
S u p p r e s s t h e s i d e s e a m s a
t t h e w a i s t f r o m 3 2 t o 3 3 a n d 3 4 f r o m 3 1 b y i n c h
i n e a c h i n s t a n c e .
S h a p e t h e f r o n t s i d e s e a m f r o m
3 0 t h r o u g h 3 3 t o 2 2 a n d 2 7 .
S h a p e t h e b a c k s i d e s e
a m f r o m 2 9 t o 3 4 , 2 2 , a n d 2 6 .
M e a s u r e f r o m 2 t o 3
4 a n d a p p l y t h i s q u a n t i t y f r o m 3 3 t o 3 5 , m a k i n g t h
i s q u a n t i t y h a l f t h e w a i s t m e a s u r e m e n t .
T h e b a c k
w a i s t s u p p r e s s i o n i s i n d i c a t e d f r o m 3 5 t o 3 6 , t w o -
t h i r d s o f t h e q u a n t i t y f r o m 3 6 t o 9 .
3 7 f r o m 2 =
3 i n c h e s f o r t h e p o s i t i o n o f t h e b a c k w a i s t s u p p r e
s s i o n d a r t .
3 8 f r o m 3 7 = t h e q u a n t i t y s h o w n f r o m
3 5 t o 3 6 .
3 9 f r o m 3 = f r o m 2 t o 3 7 p l u s i n c h .
S q u a r e d o w n f r o m 3 9 t o 4 0 .
4 1 f r o m 5 = 2 i n c h e s .
S h a p e o u t t h e b a c k p a n e l d a r t f r o m 4 1 t o 3 7 a n d 3 8
a n d f r o m 3 7 a n d 3 8 d o w n t o 3 9 .
4 3 f r o m 1 7 = t h e
q u a n t i t y t a k e n o u t o f t h e b u s t d a r t a n d t h e a m o u n t
f r o m 1 4 t o 1 7 i s r e d u c e d f r o m t h e d a r t .
J o i n 4 3
a n d 1 7 t o 4 4 f o r t h e s h a p e o f t h e b u s t d a r t .
4 4 i
s 2 i n c h e s b e l o w t h e b u s t l i n e a n d a b o u t 3 t o 4 i
n c h e s f r o m t h e c e n t r e f r o n t l i n e . S q u a r e d o w n f r o m
4 4 t o 4 5 o n t h e w a i s t l i n e a n d d o w n t o 4 6 , 6 i n c h
e s b e l o w 4 5 .
S h a p e o u t t h e f r o n t w a i s t s u p p r e s s i o
n a t 4 5 = t o t h e q u a n t i t y s h o w n f r o m 3 6 t o 9 .
4 7
f r o m 3 3 = 3 i n c h e s f o r t h e p o s i t i o n o f t h e y o k e a
t t h e s i d e s e a m , a n d 4 8 o n t h e b a c k s i d e s e a m i s a s
i m i l a r d i s t a n c e d o w n f r o m t h e w a i s t l i n e a t 3 4 .
S h a p e t h e f r o n t y o k e f r o m 4 7 t o 8 a s s h o w n a n d t h e
b a c k y o k e f r o m 4 8 t o 3 8 a n d b a c k t o 4 9 , 2 i n c h e s
a b o v e 3 4 .
5 0 f r o m 3 3 = 4 9 f r o m 3 4 o n t h e b a c k s i
d e s e a m .
5 1 f r o m 9 o n t h e c e n t r e f r o n t l i n e f o r t h
e s h a p e o f t h e w a i s t s e a m = 7 i n c h e s .
S h a p e f r o m
5 1 t h r o u g h 5 2 t o 5 0 .
5 3 f r o m X = 1 i n c h e s .
S q u a r
e o u t f r o m 5 3 , 2 i n c h e s t o 5 4 f o r t h e s h a p e o f t h
e b a c k n e c k r u n . J o i n 5 4 t o 5 t o c o m p l e t e t h e b a c k
n e c k o p e n i n g .
5 5 f r o m 1 9 = 2 i n c h e s .
5 6 i s m i d w
a y 5 5 t o 1 9 .
5 7 i s m i d w a y 5 4 t o 5 .
J o i n 5 5 t o 5 4 ,
5 6 t o 5 7 f o r t h e s e a m l i n e s o f t h e d a r t e d s h o u l d e
r l i n e .
5 8 i s 2 i n c h e s d o w n f r o m 1 4 .
5 9 f r o m 1 3
= 5 i n c h e s f o r t h e s h a p e o f t h e f r o n t n e c k o p e n i n
g .
6 0 i s m i d w a y 1 4 t o 5 8 .
6 1 f r o m 1 7 = 1 4 t o 6 0 .
6 2 f r o m 6 1 = 6 0 t o 5 8 .
6 3 f r o m 4 3 = 1 7 t o 6 1 .
6 4
f r o m 6 3 = f r o m 6 1 t o 6 2 .
6 5 f r o m 2 1 = f r o m 4 3 t o
6 3 .
6 6 f r o m 6 5 = f r o m 6 3 t o 6 4 .
S h a p e d a r t e d s h o u
l d e r s e a m l i n e s a c r o s s f r o m t h e a b o v e p o i n t s .
T h
i s c o m p l e t e s t h e d r a f t o f t h e d r e s s a n d
m a n i p u l a t i o n o f t h e p a t t e r n t o p r o d u c e w
a i s t s u p p r e s s i o n i s a s f o l l o w s A f t e r t h
e s c y e m e a s u r e m e n t s h a v e b e e n a s c e r t a i n e
d f o r t h e p u r p o s e o f d r a f t i n g o u t t h e s l
e e v e , t h e b a c k a n d f r o n t s h o u l d e r y o k e s
s h o u l d b e c u t a w a y f r o m t h e b o d i c e i n t h
e l i n e s f r o m 6 6 t o 6 4 a n d 5 8 a n d f r o m 5 5
t o 5 4 . A s e a m i s p l a c e d a c r o s s t h e w a i s
t f r o m 9 t o 3 3 a n d t h e f r o n t w a i s t s u p p r
e s s i o n i s c l o s e d o u t b y c u t t i n g t h r o u g h
t h e p a t t e r n f r o m t h e f r o n t w a i s t d a r t a t
4 5 d o w n t o 4 6 a n d c l o s i n g t h e e d g e s o f
t h e w a i s t d a r t t o g e t h e r . A b o v e t h e w a i s t
l i n e , t h e w a i s t s u p p r e s s i o n i s c l o s e d o
u t i n a s i m i l a r m a n n e r , b y c l o s i n g t h e t w
o e d g e s o f t h e d a r t t o g e t h e r a t 4 5 p i v o t
i n g f r o m 4 4 . T h e m a n i p u l a t i o n o f t h e b a c
k w a i s t s u p p r e s s i o n i s a s f o l l o w s . C u t o
u t t h e s i d e w a i s t s e c t i o n f r o m 4 8 t o 3 8
a n d 4 9 , t h e n s p l i t u p t h e p a t t e r n f r o m 3
7 a n d 3 8 t o 4 2 a n d 3 9 . C l o s e o u t t h e b a c
k w a i s t d a r t f r o m 3 7 t o 3 8 , b y p i v o t i n g
f r o m 3 9 a n d o p e n i n g o u t t h e w i d t h o f t h e
s k i r t a t 4 0 . C l o s e o u t t h e b a c k w a i s t s
u p p r e s s i o n a b o v e t h e w a i s t b y p i v o t i n g f
r o m 3 7 t o 3 8 a n d 4 2 a n d o p e n i n g o u t t h e
s h o u l d e r s e a m a t 4 1 . T H E S L E E V E D R A F T ( F i g
. 1 3 6 ) T h e f o l l o w i n g a r e t h e s c y e m e a s u r e
m e n t s d e r i v e d f r o m F i g . 1 3 5
T h e h e i g h t o f
t h e b a c k p i t c h
f r o m t h e b r e a s t l i n e
= 3 5 / 8 i n c h e s
T h e t o p s c y e
c i r c u m f e r e n c e
8 i n c h e s .
T h e u n d
e r s c y e
= 7 i n c h e s .
T h e
c r o w n h e i g h
1 i n c h e s .
T h e t o t a l s c y e
1 5
i n c h e s .
T h e f u l l s l e e v e l e n g t h
2 7 i n c h e s .
T o
d r a f t S q u a r e l i n e s f r o m X .
h e y o k e s e c t i o n s o f t h e b
o d i c e a r e c u t a w a y f r o m t h e s h o u l d e r s a n
d n o w p l a c e d i n p o s i t i o n o n t h e s l e e v e h
e a d .
t i s e s s e n t i a l t o h a v e e a s e i n t h e
s l e e v e f o r a g o o d h a n g i n g s l e e v e ; t h e r e
f o r e , t h e p o s i t i o n w h e r e t h e s h o u l d e r y o
k e i s p l a c e d o n t h e s l e e v e h e a d i s d e c i d
e d b y t h e n e e d f o r a s l i g h t a m o u n t o f e a
s e i n t h e s l e e v e f r o m t h e f r o n t p i t c h A
i n F i g . 1 3 5 t o w h e r e t h e y o k e i s j o i n e d
t o t h e s l e e v e h e a d .
e a s u r e r o u n d t h e f r
o n t s c y e f r o m t h e f r o n t p i t c h A t o t h e t
e r m i n a t i o n o f t h e s h o u l d e r y o k e s e a m f r o
m 6 4 t o 6 6 a t t h e s c y e , a n d a p p l y t h i s q
u a n t i t y r o u n d t h e s l e e v e h e a d f r o m 1 t o
2 4 p l u s i n c h t o i n c h f o r e a s e .
h e n
p l a c e t h e f r o n t s h o u l d e r s e c t i o n i n p o s i
t i o n o n t h e s l e e v e h e a d b y p l a c i n g p o i n t
6 6 i n F i g . 1 3 5 t o a g r e e w i t h p o i n t 2 4 a
n d p o i n t s 6 5 a n d 2 1 t o r u n w i t h t h e s h a p
e o f t h e s l e e v e c r o w n a s i n d i c a t e d .
e a s
u r e f r o m t h e b a c k p i t c h B t o t h e y o k e a t
5 5 i n F i g . 1 3 5 a n d a p p l y t h i s q u a n t i t y
f r o m 3 t o 5 5 o n t h e s l e e v e h e a d a s i n d i c
a t e d . P l a c e t h e b a c k s h o u l d e r y o k e s e c t i
o n i n p o s i t i o n o n t h e s l e e v e h e a d s o t h a
t 5 5 a n d 1 9 r u n w i t h t h e s l e e v e c r o w n .
h a p e o u t t h e o v e r s h o u l d e r d a r t f r o m 5
a n d 1 4 t o 1 9 , 2 1 a n d 4 .
F i g . 1 3 7 ( A ) a n d
( B )
i g . 1 3 7 ( A ) i l l u s t r a t e s t h e s h a p e
o f t h e s l e e v e b e f o r e m a n i p u l a t i o n . M a r k
d o w n f r o m 1 7 t o 2 0 a n d 2 0 t o 2 3 t h e t h r e
e q u a r t e r s l e e v e l e n g t h .
u t t h e s l e e v e
p a t t e r n t h r o u g h f r o m A t o 6 5 a n d C t o 5 6
p r e p a r a t o r y t o o p e n i n g o u t t h e s l e e v e d
a r t t o p r o d u c e t h e s h o u l d e r f u l l n e s s .
g . 1 3 7 ( B ) s h o w s t h e s l e e v e p a t t e r n a f t e
r m a n i p u l a t i o n . A f t e r t h e m a n i p u l a t i o n l
i n e s h a v e b e e n c u t t h r o u g h i n t h e m a n n e r
a s d e s c r i b e d a b o v e , c o m m e n c i n g a t t h e f
o r e a r m o f t h e s l e e v e , o p e n o u t t h e s h o u l
d e r d a r t f r o m 6 0 t o 6 5 a n d i n s e r t 1 i n c h
o f e x t r a w i d t h a s i n d i c a t e d b y t h e s h a d
e d l i n e s . T h e p i v o t i n g p o i n t o f t h e a b o v
e o p e r a t i o n i s p o i n t A o n t h e c u f f e d g e
o f t h e s l e e v e , w h i c h r e m a i n s c o n s t a n t i n
i t s p o s i t i o n .
t t h e h i n d a r m a n d b a c k s
h o u l d e r y o k e , o p e n o u t t h e s h o u l d e r d a r t
f r o m 5 7 t o 5 6 a n d i n s e r t a s i m i l a r i n c r
e a s e o f w i d t h i n t h e s l e e v e t o t h e f r o n t
a l l o w a n c e f r o m 6 0 t o 6 5 . T h i s o p e n i n g o
u t t h e s h o u l d e r d a r t i s p i v o t e d f r o m p o i
n t C o n t h e s l e e v e c u f f .
h i s c o m p l e t e s
t h e m a n i p u l a t i o n o f t h e s l e e v e p a t t e r n t
o p r o d u c e t h e d a r t e d s h o u l d e r f u l l n e s s .
A d d 1 i n c h e s f o r a h e m a t t h e c u f f e n d
o f t h e s l e e v e .
F i g . 1 3 8 ( A ) a n d ( B )
i g .
1 3 8 ( A ) s h o w s t h e b o d i c e p a t t e r n c u t a w
a y f r o m t h e s k i r t a n d s h o u l d e r s e c t i o n s
o f t h e p a t t e r n , a n d F i g . 1 3 8 ( B ) i l l u s t r
a t e s t h e m a n i p u l a t i o n o f t h e p a t t e r n t o
e l i m i n a t e t h e s h o u l d e r d a r t a n d p r o d u c e
f u l l n e s s o v e r t h e b u s t i n t h e f r o n t h i g h
w a i s t l i n e s e a m .
u t t h r o u g h t h e p a t t e r
n d o w n t h e s h o u l d e r d a r t l i n e s f r o m 6 2 a
n d 6 4 t o 4 4 a n d u p f r o m 5 2 t o 4 4 .
l o s e
p o i n t 6 2 t o 6 4 , p i v o t i n g f r o m 4 4 t o o p e n
5 2 t o 5 2 A . J o i n 5 2 t o 5 2 A t o c o m p l e t e t
h e s h a p e o f t h e w a i s t s e a m .
f a d d i t i o n a
l f u l l n e s s i s r e q u i r e d o v e r t h e b u s t , t h
e p a t t e r n s h o u l d b e w i d e n e d b y p i v o t i n g
f r o m p o i n t 6 4 / 6 2 a n d o p e n i n g a t 4 4 t h e r
e q u i r e d a m o u n t .
D r e s s w i t h a D r o p s h o u l d
e r L i n e ( F i g . 1 3 9 )
s u m m e r d r e s s i s d e p
i c t e d b y F i g . 1 3 9 , a n d s t y l e n o t e s a r e a
s f o l l o w s : T h e s k i r t i s v e r y p l a i n i n c h
a r a c t e r w i t h a b a c k w a i s t d a r t t o a c h i e v
e s u p p r e s s i o n , a n d , i n t h e f r o n t s k i r t ,
a p o c k e t i s i n s e r t e d i n a s e a m r u n n i n g s
q u a r e l y f r o m t h e w a i s t t o t h e s i d e s e a m s
a b o v e t h e h i p l e v e l . A n i n v e r t e d p l e a t g
i v e s w a l k i n g r o o m t o a n o t h e r w i s e p l a i n ,
t i g h t f i t t i n g s k i r t . T h e b o d i c e h a s a d
r o p s h o u l d e r e f f e c t w i t h a c e n t r e f r o n t
o p e n i n g f a s t e n e d w i t h b u t t o n s , w h i l e , a t
t h e b a c k , t h e d r o p s h o u l d e r l i n e t e r m i n
a t e s i n a p o i n t i n t h e c e n t r e .
h e d r a f t
i s b a s e d u p o n m e a s u r e m e n t s d i s p r o p o r t i o
n a t e i n s i z e t o n o r m a l , f o r i n t h i s i n s t
a n c e t h e h i p c i r c u m f e r e n c e i s s m a l l e r t h
a n t h e b u s t g i r t h a f t e r t h e 1 i n c h f o r e
a s e h a s b e e n a d d e d . T h e r e f o r e t h e d r a f t
m u s t b e b a s e d o n t h e b u s t c i r c u m f e r e n c e ;
o t h e r w i s e a n o v e r l a p p i n g o f t h e s i d e s e a
m s a t t h e b u s t l e v e l w o u l d b e n e e d e d .
a s u r e s f o r t h e d r a f t a r e a s f o l l o w s
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Vintage Sewing Main Page > 1940's > Ladies' Garment Cutting and Making > Chapter XII Search | Subscribe | Support

by F. R. Morris
Chapter XIIEvening Gowns

THE adaptation of the standard dress basis system to the cutting of evening gowns presents no difficulties. Apart from the extra length, not affecting constructional points, the system for evening gowns is identical with the basic dress system with modification of ease allowances. Modern evening gowns are form-fitting and are required to mould to the figure without any superfluous ease at the waist and hips. Occasionally the bust is draped loosely by the bodice, but, generally speaking, evening gowns are mostly cut to show a minimum of fullness or drapery in the bodice. At the moment, modern evening gown design varies between the Romantic ideal and the severely Classical line, depending entirely upon the material in which the gown is made up. For instance, chiffons, organdies, organzas or similar materials are intended for designs frivolous in character for the young girl, stressing femininity with wide flaring flounces and frills about the shoulders and hem line or streamer frills cascading round the skirt from waist to hem line. The heavier materials such as satin, crepe, marocain, and the like are designed on svelte lines, with the slender silhouette always emphasized. Usually the slender line is carried down the skirt to the knee level, thence to flare softly to the width at the hem line. Decolletages are alternatively draped high, cut square or slashed down in a deep V at the front; occasionally the off-shoulder line is seen. At the back, the decolletage is invariably cut low to the waist line or, if high, slit to show the back. A few evening dress designs are shown with sleeves, either close-fitting to the wrist or with top fullness. The neck line at the front is draped high about the throat, the back line is low, and a straight, clinging skirt ends in a slight train. These are a few of the highlights of evening dress design at the moment, and, as all designs are evolved from each other, in the following drafts and designs the author will endeavour to illustrate the basic principles of cutting evening gowns which show style tendencies calling for detailed explanation.
As the majority of evening gowns are designed without shoulder covering except a narrow shoulder strap, it is necessary to eliminate the shoulder dart from the system to simplify construction when drafting. The elimination of the shoulder dart does not imply that the need for bust shape in the bodice is ignored, but, instead, the dart is transferred to the underarm sideseam and standardized in this position.
Elimination of the Shoulder Dart (Fig. 150)

There is always need for bust shape in the bodice of a dress, and, to obtain this shape, the shoulder dart is the most scientific medium; but if the shoulder is of such a width that a dart is impossible, the required bust shape must be achieved by other means giving a similar effect to that of the shoulder dart. The author always prefers the underarm dart for dresses except in the case of a figure with a very prominent bust; then he uses two darts, the shoulder dart and an additional dart at the sideseam, giving extra length over the bust prominence in addition to the shape created by the shoulder dart. The shoulder dart creates shape, but not length, and, when cutting for women with abnormal development of the bust, the author has found that the shoulder dart alone is unsatisfactory, for there is an apparent need for length as well as shape over the bust. Adding length by increasing the front shoulder depth does not meet the demands of the figure shape, and so a sideseam dart, formed by adding a quantity of extra length at the hem line, must be taken out. After this divergence from the subject, to eliminate the shoulder dart and subsequent transfer to the sideseam examine Fig. 150 (a). Fig. 150 (a) illustrates the bodice front as drafted by the basic system for dresses, showing the shoulder construction incorporating a dart from the shoulder to the bust for bust-shape provision. Based upon a 36-inch bust girth, the constructional points are found in the following manner

Square from 1 which represents the centre front at the breast line. 2 from 1 = one-fourth of the bust girth plus inch. Square up from 1 to 3 one-third of the scale (18 inches) plus 1 inches.
4 from 3 = one-twelfth of the scale. Square out from 4 to 5 one-sixth of the scale. 6 from 1 = the across-chest measure = one-fourth of the scale less 1 inch. 7 from 6 = one-sixth of the scale less inch. 8 from 7 = the distance from 1 to 4 less inch. Join the construction line from 8 to 9 to the back shoulder point as described in the basis dress system and make the distance from 8 to 9 equal to the width of the back shoulder seam less inch. 10 from 9 = 1 inch. Shape the front shoulder seam from 10 to 8. Shape the front of the scye from 10 to 2, hollowing inch in advance of the line squared up from 6. 11 is midway of 1 to 6. Join 8 to 11 and continue down 2 inches to 12. 13 from 8 = the width of the bust dart = 8 to 5. Join 13 to 12 to complete the shape of the shoulder dart. 14 from 2 for the position of the sideseam bust dart = one-sixth of the scale = 3 inches. Join 14 to 12 for preliminary construction. 15 from 4 = one-sixth of the scale. Shape the neck curve from 15 to 5.
The draft of the front bodice is now completed, and to reconstruct the shoulder section without the dart, cut through from 14 to 12 and from 8 and 13 to the same point. Fig. 150 (b) illustrates the procedure adopted for obtaining an underarm sideseam dart. After the pattern has been cut through from 13 and 8 to 12 and from 14 to 12, eliminate the shoulder dart by closing 13 to 8 to open the line from 14 to 12. The solid lines from 5 to 8, 10, 2, and 14A show the reconstructed bodice shape. From 14 to 14A is the quantity to be reduced from the sideseams in the dart from 14 and 14A to 16. This dart is made from 3 to 4 inches in length, varying according to the quantity taken out of the dart. As the shoulder dart is closed out from 13 to 8, there is a loss of across-chest width at it of approximately inch, or the width apart of the bust dart lines at this point, which brings points 6 and 7 nearer to the centre front. But as the actual across-chest width is smaller than a similar measure taken over the bust, the reduction is
correct in the cutting of a shoulder section without the shoulder dart. The neck-point construction line from 7 coincides with the position of the front neck point at 5. Therefore, to reconstruct the shoulder section without a shoulder dart, we must embody the shape of the reconstructed shoulder by system direct, without manipulation. To do this, it is necessary to estimate the quantity to be taken from the sideseam dart and to construct the shoulder section in its closed-out shape as illustrated by the solid lines of Fig. 150 (b).
Reconstruction Draft of the Shoulder Section (Fig. 151)

Fig. 151 illustrates the standard shoulder construction for the drafting of evening-dress patterns. It will be seen that the construction line finding the neck point from the one-sixth of scale position in advance of the front of the scye is eliminated from the draft.

Square from point 1 at the centre front. 2 from 1 = one-fourth of the bust measure plus inch, the usual side seam position. 3 squared up from 1 = one-third of the scale plus 1 inches. 4 from 3 = one-twelfth of the scale. Square out from 4 to 5 one-sixth of the scale. 6 from 1 = the across-chest width = one-fourth of the bust measure less 1 inches.
A reduction of inch takes place to make up for the quantity lost when the bust dart is closed out at point 11 in Fig. 150 (b).
7 is midway of 1 to 6. 8 from 2 = the estimated quantity to be taken from the sideseam bust dart by closing out the shoulder dart. This quantity is calculated as onetwelfth of the scale less inch. Join 7 to 8 as shown. Pivoting from 7, sweep from 6 to locate point 9 on the line from 7 to 8. Join 5 to the back shoulder end in the usual manner to find the front shoulder slope.
10 from 5 = the back shoulder width less inch. 11 from 10 = inch. Shape the front shoulder seam from 11 to 5. 12 from 8 = inch. Shape the front of the scye as shown, hollowing inch in advance of the line squared up from 9. 13 from 12 = one-sixth of the scale. Shape from 12 to 13. 14 from 13 = the quantity taken from the bust dart as indicated by 2 to 8. Shape out the sideseam bust dart to 15 3 inches in length to complete the bodice draft.
The shoulder construction as described will be incorporated in all the evening-gown drafts, unless the shoulder design shows a dart, in which case the standard basis system must be utilized.
Standard Evening Dress Basis System (Fig. 152)

In the successful cutting of evening dresses there is the need for specialized knowledge of cutting to a finished measure without ease or fullness. The allowance of ease over the half-bust measure usually allowed for dresses is reduced by inch, for evening dresses must always fit snugly round the edges of the decolletage. Waist suppression is reduced to practically the net measure, and a sideseam opening is provided for the wearer to get into the dress. Whenever possible, an all-round waist seam should be incorporated in the draft to achieve a perfectly fitting waist without the disadvantages of surplus material at the back waist hollow. For the construction of the basic draft, the following proportionate measures, in this case based on a 36-inch bust girth, are necessary

Chest = 34 inches. Bust = 36 inches.
Waist = 27 inches, increased by 2 inches for ease. Hips = 39 inches. Natural waist length = 14 inches. Full dress length = 52 inches. Half-back width = 6 inches. Working scale = half the bust girth for all sizes under 36 inches and one-third of the bust girth plus 6 inches for all sizes over 36 inches. Scale = 18 inches for a 36-inch bust girth.
To draft Commence by drawing line X to X, the full dress length.

1 from X = one-third of the scale plus 1 inches. 2 from X = the natural waist length. 3 from 2 = the hip level = 8 inches down from the waist line. Square out from the above points. 4 from X = the back neck width = one-sixth of the scale less inch. 5 from 4 = the back neck height = inch. Shape from 5 to X. 6 from 1 = the half-back width. Square up from 6 to 7 on the construction line squared out from X. 8 from 3 on the hip balance line = half the hip measure net. Square up and down from 8 to locate points 9, 10, 11 and 12. 13 from 11 = one-twelfth of the scale. Square back from 13 to 14 one-sixth of the scale. The sideseam is located at 15, half the distance from 3 to 8. Square up and down from 15 to 16, 17 and 18 at the hem line. Overlap the sideseams at 19 and 20 from 18 1 inches each side. Join 20 and 19 to 15 for the sideseam outline runs. Measure up from 10 to 21 half the bust measure plus inch. Reduce the surplus quantity shown by 1 to 21 from the sideseams at 22 and 23 to 17 equally.
24 from 10 = half the scale less 1 inches. 25 is midway of 10 to 24. Square up from 22 to 26 one-twelfth of the scale less inch. By pivoting from 25, sweep from 24 to 27 on the line joining 25 to 26. 28 from 26 = inch. The back shoulder slope from 7 to 29 = 1 inch. 30 from 29 = inch. Shape the back shoulder seam from 30 to 5. Join 14 to 30 as shown. 31 from 14 = the width of the back shoulder seam from 30 to 5 less inch. 32 from 31 = inch. Shape the front shoulder seam from 32 to 14. Shape the front-scye from 32 to 28, hollowing inch in advance of the line from 27. Shape the back-scye from 23 to 30. Square down from 22 and 23 to 33 and 34 on the waist line. Suppress the sideseams at 33 and 34 to 35 and 36 by inch in each instance. Measure down from 28 to 37 one-sixth of the scale for the position of the sideseam bust dart. 38 from 37 = the quantity taken from the bust dart, equal to the distance from 22 to 26. Shape out the dart, as shown, 3 inches in length. Measure up from 2 to 39 half the waist measure (29 inches). 40 from 39 = the distance from 35 to 36. The back waist suppression takes two-thirds of the surplus shown from 40 to 41. The front waist suppression takes the remaining third of the surplus from 41 to 9. Mark out the back waist suppression from 2 to 42 by one-sixth of the scale plus inch. This distance is comparative and varies with different designs in its position.
43 from 42 = the back waist suppression as decided by the distance from 40 to 41. 44 from 3 = the distance from 2 to 42 plus inch. The centre of the back shoulder seam is located at 45.
The shoulder-strap width for all evening dresses is decided at this stage and the width is divided equally each side of this point.
Mark out the back waist suppression from 42 and 43 to 45, terminating the suppression at point 46, level with the shoulder blade.
The waist suppression lines from 42 and 43 are mainly utilized to reduce the back bodice width at the top edge to measure and the need for closing out the back waist suppression only extends to the same edge of the back decolletage.
The front waist suppression is indicated by point 47, one-sixth of the scale plus inch from 9. Again this distance is comparative and subject to the demands of fashion. 48 from 47 = the front waist suppression, as indicated from 41 to 9. Mark out the waist suppression in the form of a dart to 49 7 inches from points 47 and 48. 50 from 48 and 47 = 4 inches. Shape out the waist suppression as shown.
This completes the basic draft for evening-dress patterns.
A Dinner Dress Design (Fig. 153)

The dinner dress design illustrated by Fig. 153 has interesting treatment of the bodice with a brassiere effect over the bust to give fullness, shaped yoke seams over the hips at back and front to keep the hip line slim, and a moderately straight skirt effect.
Long sleeves are shown, darted to give width and fullness at the shoulders and tapering to a close fit at the wrist. This design would be very successful carried out in lace over satin, crepe or similar plain contrasting materials. The draft is arranged to the following measures

Chest = 34 inches. Bust = 36 inches. Waist = 27 inches, increased to 29 inches for the draft. Hips = 39 inches. Natural waist length = 14 inches. Full dress length = 52 inches. Working scale = one-third of the bust girth plus 6 inches = 18 inches.
To draft Commence by drawing line from X to X, the full dress length, i.e. 52 inches.

1 from X = one-third of the scale plus 1 inches. 2 from X = the natural waist length =14 inches. 3 from 2 = the hip level = 8 inches down from the natural waist line. Square out from the above numbered points. 4 from X = one-sixth of the scale less inch. 5 from 4 = inch. Shape the back neck curve from 5 to X. 6 from 1 = the normal half-back width = 6 inches. Square up from 6 to 7 on the construction line squared out from X.
The marking-out of the half-back width and back neck curve is necessary for the correct location of the shoulder straps.
8 from 3 = half the hip measure net.
Square up and down from 8 to locate points 9, 10, 11 and 12 at the hem line. 13 from 11 = one-twelfth of the scale. 14 from 13 = one-sixth of the scale. The sideseams are located at point 15, half the distance from 3 to 8. Square up and down from 15 to locate points 16, 17 and 18 at the hem line. 19 from 18 = 1 inches. 20 from 18 = 1 inches. Join 19 and 20 to 15 for the sideseam overlap. Measure from 10 to 21 half the bust measurement plus inch. The surplus quantity shown from 21 to 1 is reduced at the sideseam from 17 to 22 and 23 equally. Square down from 22 and 23 to 25 and 24 on the waist line. Suppress the front sideseam from 24 to 26 by inch. Suppress the back sideseam from 25 to 27 by inch. Shape the sideseams from 22 and 27 to 15 and from 23 and 26 to 15. The across-chest width from 10 to 28 = half the scale less 1 inches. 29 is midway of 10 to 28. 30 from 23 on the continuation of the construction line from 23 and 24 = one-twelfth of the scale less inch. Join 29 to 30. By pivoting from 29, sweep from 28 to locate point 31 on the line from 29 to 30. 32 from 30 = inch. Shape from 32 into the sideseam run from 23 to 26. 33 from 7 on the line from 7 to 6 = 1 inch.
34 from 33 = inch. Shape the back shoulder seam from 34 to 5. Join 14 to 34. 35 from 14 = the front shoulder width equal to the width of the back shoulder from 5 to 34 less inch. 36 from 35 = inch. Shape the front shoulder seam from 36 to 14. Shape the front scye from 36 to 32, hollowing inch in advance of the line from 31. Measure from 2 to 37 half the waist measure plus the distance from 27 to 26. The back waist suppression takes two-thirds of the surplus shown from 37 to 9, and the front waist suppression takes the remaining third as shown from 38 to 9.
The width of the back panels apart is decided as 6 inches at the waist line, and therefore from 2 to 39 = 3 inches, or for larger or smaller bust sizes, one-sixth of the scale.
40 from 39 = the back waist suppression. 39 is 4 inches from 2. 41 is 5 inches from 3. Square down from 41 to 42 on the hem line. 44 is 2 inches from 5 on the shoulder seam. Shape out the back waist dart from 39 and 40 to 41 and from 39 and 40 to 44, terminating the dart at 43, 4 inches above the bust line. 45 from 26 = the front waist suppression quantity shown from 38 to 9. The front waist suppression is taken out at the sideseam as there is no waist seam across the front waist that suppression can be taken out on. 46 from 32 = 3 inches for the commencement of the bust seam running up into the neck line. Shape out the bust seam and neck run, making 47 from 10 equal to 4 inches at an angle of 45 degrees. 48 from 46 = 4 inches.
49 from 48 = the bust dart quantity shown from 23 to 30. Shape out the waist seam from 49 across to 10 as illustrated. Point A is 6 inches for the position of the first bust dart. B is 1 inches from A, C is 1 inches from B. 50 is 1 inch below 8. 52 is 3 inches below 45. Join 52 to 50 and make 51 midway. Shape out the hip yoke seam as illustrated. 53 is the same as 52 down from the waist line. 55 from 3 = 1 inch. Shape the hip yoke seam across from 55 to 54 and 53, making the shape of the seam identical with the front yoke seam. Cut through the waist line from 2 to 27, and then manipulate the waist suppression by closing point 39 to 40 by pivoting from 43 and from 39 to 40 by pivoting from point 41, to open out the skirt hem width at 42. 56 from 18 = 5 inches. 57 from 18 = 5 inches. Shape out the sideseams from 56 to 15 and 57 to 15.
This completes the draft of the dress.
Manipulation of the Back and Bodice Patterns (Fig. 154)

Fig. 154 illustrates the manipulation of the back and bodice patterns in order to allow for darts or gathers over the bust in the bodice and suppression at the back waist in a dart.
Cut round the back pattern from X to 5, 34, 23, 27, 53, 54 and 55. Then close the waist suppression lines together at 54, pivoting from 43, this operation reducing the waist suppression at 39 to 40, which is taken out in a dart 8 inches in length as marked. Alternatively the suppression quantity can be taken out in two smaller darts so as to spread the effect more equally across the back waist. Cut round the bodice pattern from 47 to 10, 48 and 46. Then mark up the dart lines at A, B and C to D, E and F. Cut through these dart lines and then wedge the pattern open at A, B and C to D, E and F, opening out each dart to 1 inch, depending on the amount of fullness required over the bust. The fullness may be either reduced in the form of small tucks or gathered smoothly at the centre of the panel seam between 48 to 10 from A to C.
Evening Dress with Flared Shoulder Flounces (Fig. 155)

The design illustrated by the draft has interest in the low skirt flare and the shoulder flounce flared to fall in soft folds over the shoulders from the low front V neck line to run down the edge of the deep V opening to the back waist. The bodice front is perfectly plain in cut from the waist line to the shoulders; at the back the bodice is cut away at the back of the armhole under the shoulder flounce. A seam is placed through the waist from front to back to facilitate the fitting of the dress. The sideseam ends at a
point below the hip level and, from this point, is eliminated, and the skirt is cut in four sections with panel seams at the side, front and back. Measures for the draft are as follows

Chest = 32 inches. Bust = 34 inches. Waist = 25 inches, increased to 27 inches for the draft. Hips = 38 inches. Natural waist length = 14 inches. Full dress length = 53 inches. Working scale = half the bust girth =17 inches.
To draft Commence by drawing a line from X to X, the full dress length, i.e. 53 inches.

1 from X = the back depth = one-third of the scale plus 1 inches. 2 from X = the natural waist length = 14 inches. 3 from 2 = the hip level = 8 inches down from the waist line. 4 from X = one-sixth of the scale less inch. 5 from 4 = inch. Shape the back neck curve from 5 to X. 6 from 1 = the normal half-back width = 6 inches. Square up from 6 to 7 on the construction line squared out from X. 8 from 3 = half the hip measure net. Square up and down from 8 to locate points 9, 10, 11 and 12 at the hem line. 13 from 11 = one-twelfth of the scale. 14 from 13 = one-sixth of the scale.
The sideseam is located at 15, half the distance from 3 to 8. Square up from 15 to 16 and 17. Measure up from 10 to 18 half the bust measure plus inch. Reduce the surplus from the sideseams at 17 to 19 and 20, divided equally each side of point 17. Square down from 19 and 20 to 21 and 22 on the waist line. Suppress the front sideseam at the waist from 22 to 23 by inch. Suppress the back sideseam from 21 to 24 by inch. Shape-the sideseams from 19 to 24 and 15 and from 20 to 23 and 15. The across-chest width from 10 to 25 = half the scale less 1 inches. 26 is midway of 10 to 25. 27 from 17 on the line squared up from 20 = one-twelfth of the scale less inch. Pivoting from 26, sweep from 25 to 28 on the line joining 26 to 27. 29 from 7 = 1 inch. 30 from 29 = inch. Shape the back shoulder seam from 30 to 5. Join 14 to 30. 31 from 14 = the front shoulder width equal to the width of the back shoulder from 30 to 5 less inch. 32 from 31 = inch. Shape the front shoulder seam from 32 to 14. 33 from 27 = inch. Shape the sideseam from 33 to the line from 20 to 23. Measure from 2 to 33A half the waist measure plus the distance from 23 to 24. The back waist suppression takes up twothirds of the surplus quantity from 33A to 9.
The front waist suppression takes up the remaining one-third of the surplus as indicated by 34 to 9. Square down from 15 to 35 6 inches for the shape of the centre of the sideseam inset panel. 36 from 15 = 4 inches. 37 from 15 = 4 inches. Square down from 36 to 38. Square down from 37 to 39. 40 from 38 = 4 inches. 41 from 38 = 4 inches. Shape the skirt flare as shown, commencing from a point on the line from 36 to 38, 9 inches below the hip level. 42 from 39 = 4 inches. 43 from 39 = 4 inches. Shape the skirt flare as shown, commencing from a point 9 inches below the hip level on the line from 37 to 39. Square up from 37 to 44. Reduce equally each side of point 44 the back waist suppression quantity derived from 33A to 34. Square up from 36 to 45 and reduce equally each side of this point the front waist suppression quantity as indicated from 34 to 9. Continue the waist suppression up to 46, 4 inches from 45. 47 from 33 = one-sixth of the scale. Mark out the sideseam dart from 47 to 48 equal to the distance 27 is from 20. Shape out the bust dart to terminate at 46. 49 from 2 = one-sixth of the scale. 50 from 49 = the back waist suppression as indicated from 33A to 34.
51 is midway of 5 to 30 for the centre of the shoulder strap. Join 50 to 52 and shape out the back waist suppression from 49 to terminate on the line from 50 to 51 at 52, the blade level. Make the shoulder strap 1 inches in width and divide the width equally each side of point 51 to 53 and 54. 55 from 2 = 2 inches. Shape the back opening from 55 to 53 as shown, hollowing the seam inch. 56 from 19 = inch. 57 from 56 = 4 inches. Shape from 56 to 57 and from 57 to 54 in the manner indicated. 58 is midway between 14 and 32 in the front shoulder for the position of the front shoulder strap. 59 and 60 from 58 constitute the width of the back shoulder strap from 53 to 54. Shape the front of the armhole from 60 to inch below point 33 to agree with the shape of the back side-seam at 56. The front neck opening from 59 to 61 is made 8 inches in length. Shape from 61 to 59 to complete the dress draft.
The manipulation of the pattern is as follows Cut through the waist line from 9 at the front to 2 at the centre back. The back section of the bodice is cut through from 49 and 50 to 52 and from the centre of the shoulder at 51 down to 52. Close out the back waist suppression by closing 49 to 50, pivoting from point 52. Re-shape the shoulder-strap width to the required size after the shoulder has opened with the suppression closed out. On the back section of the skirt, close out the back waist suppression at 44 and re-shape the
skirt section from 2 to 44, 24 and 35. Similarly, close out the front waist suppression at the front skirt from 45 to 36 and re-shape the skirt section as 9 to 45, 23 and 15. The front bodice section is manipulated by closing out the front waist suppression at 45, pivoting from 46 to open the bust dart from 47 and 48 to 46. Remark the bust dart 3 inches in length from 47 and 48 to 46.
The Shoulder Flounce (Fig. 156)

The flared shoulder flounce is cut by taking the back and front bodice sections and laying the back and front shoulder seams together from 30 to 32 and 50 to 53. Shape the flounce from 61 to 55 as indicated, making the width over the shoulders to taste; in the draft the width is 9 inches. Cut out the flounce in pattern paper and mark four manipulation lines from 1, 2, 3, and 4 to 5, 6, 7 and 8, each manipulation line being 3 to 4 inches apart. Mark round the flounce pattern from 61 to 1 and 5, then cut through the line from 5 to 1 and insert a 1-inch wedge from 5 to 9, pivoting from 1. Mark from 1 and 9 to 6 and 2 the shape of the original flounce pattern, then cut through the line
from 6 to 2 and insert a 1-inch wedge from 6 to 10, pivoting from 2. Mark from 2 to 3 and 10 to 7 the shape of the original flounce from 6 to 7 and 2 to 3. Similarly insert 1 inches of flare at 7 to 11 and 8 to 12 and mark round the reconstructed shape of the flounce.
Evening Dress with a "Cowl" Neck Line (Fig. 157)

The "cowl" neck line is always a fashionable addition to an evening dress, and is very flattering to every type of figure. There are a variety of "cowl" neck lines, e.g. plain, high, or draped to one side. For the example given a plain, deep "cowl" is chosen, emanating from a high curving waist seam. The back of the dress has a novel treatment with a centre strap from a band round the back neck, while the sides of the bodice at the back are cut away from under the arms. The waist is confined to the figure by darts back and front, while the skirt is flared widely from a seam running from the centre front to a low point at the centre back. The measures for the draft are as follows

Chest = 30 inches. Bust = 32 inches. Waist = 25 inches, plus 2 inches always for ease.
Hips = 35 inches. Natural waist length = 14 inches. Full dress length = 52 inches. Working scale = half the bust girth = 16 inches.
To draft Commence by drawing line from X to X, the full dress length.

1 from X = the back depth = onethird of the scale plus 1 inches. 2 from X = the natural waist length = 14 inches. 3 from 2 = the hip level = 8 inches below the waist line. 4 from X = the back neck width = one-sixth of the scale less inch. 5 from 4 = inch. Shape the back neck curve from 5 to X. 6 from 1 = the half-back width = 6 inches. Square up from 6 to 7 on the line squared out from X. 8 from 3 = the half-hip measure net. Square up and down from 8 to 9, 10, 11 and 12. 13 from 11 = one-twelfth of the scale. 14 squared back from 13 = onesixth of the scale. The sideseam is located at 15, half the distance from 3 to 8. Square up from 15 to 16 and 17 and down to the hem line. Overlap the front and back sideseams 1 inches to 18 and 19 from the construction line squared down from 15.
Measure from 10 to 20 half the bust measure plus inch. Reduce the surplus quantity shown from 1 to 20 at the sideseam from 17 to 21 and 22. Square down from 21 and 22 to 24 and 23 on the waist line. Suppress the sideseams inch from 24 to 25 and from 23 to 26. 27 from 10 = half the scale less 1 inches. 28 is half 10 to 27. 29 from 22 on the line squared up from 22 and 23 = one-twelfth of the scale less inch. Join 28 to 29. Sweep from 27 to 30, pivoting from 28. Square up from 30 for the front scye line. 31 from 29 = inch. Shape the sideseam from 31 into the seam from 22 to 26. 32 from 7 = 1 inch. 33 from 32 = inch. Shape the back shoulder seam from 33 to 5. Shape the back scye from 21 to 33. Join 14 to 33. 34 from 14 = the front shoulder width equal to 5 to 33 less inch. 35 from 34 = inch. Shape the front shoulder seam from 35 to 14. Measure from 2 to 36 half the waist measure (27 inches) plus the distance from 25 to 26. The back waist suppression is indicated by 37 from 36, two-thirds of the surplus from 36 to 9.
The front waist suppression is the remaining one-third from 37 to 9. The centre of the back shoulder strap is found at 38, half the distance from 5 to 33. The circular shoulder strap is made 1 inches in width, i.e. inch each side of 38 to 39 and 40. 41 from X = 1 inch. Shape from 39 to 41 as shown. The back panel is made 4 inches in width; therefore, from the centre line to 42 and from 2 to 43 are made 2 inches in width respectively. Shape from 40 to 42, making the strap 1 inches in width. Shape from 42 to 43. The centre of the front shoulder strap is located at 44, half the front shoulder width from 14 to 34. The length of the neck opening from 45 to 47 = 6 inches. The high waist seam terminates at point 48, 6 inches up from 9. 49 from 26 = 1 inch. 50 from 25 = 1 inch. The back waist dart is located at 51, one-sixth of the scale plus inch from 2. 52 from 51 = the back waist suppression as indicated from 36 to 37 at the front. Shape out the back dart from 51 and 52 to 53 7 inches in length. Join 51 to 39 and shape out the back waist suppression from 52 to 54 at the blade level.
Shape the waist seam from 50 to 2, breaking at 55 and 56 as shown, so that the dart seams are equal in length from 55 and 56 to 53. 57 from 21 = inch. 58 from 43 = 2 inches. Shape from 57 to 58, breaking at 59 and 60 to enable the waist suppression to be closed out equally. 61 from 26 = 2 inches. Shape out the front waist suppression at 61 to 62 and 63, making the dart 5 inches in length. Shape up from 61 to the termination of the bust dart at 63. 64 from 31 = one-sixth of the scale. 65 from 64 = from 22 to 29. Shape out the bust dart from 64 and 65 to 63. Pivoting from point 45, sweep the front neck opening length from 45 to 47 to 67, making 48, 45 and 67 a right-angle. Line through from 48 and 67 to 68 2 inches from 67. Shape from 68 to 45 for the top edge of the "cowl" neck line. The commencement of the skirt seam is at 69, 1 inch below point 8. 70 is 9 inches down from 15 on the line from 15 to the bottom edge. Square across from 70 to 71 and 72 on the sideseams. 73 from 3 = 12 inches. Shape from 69 to 71, hollowing the seam 1 inch from the straight. Shape from 72 to 73 to complete the dress draft.
A from 69 = 4 inches. Mark four manipulation lines from A, B, C and D to the hem line at E, F, G and H, these lines being 1 to 2 inches apart. On the back skirt, M from 73 = 3 inches. Mark four manipulation lines from M, L, K and J to the hem line at N, O, P and R. These lines are 1 to 2 inches apart. Complete the shape of the back bodice by closing out the back waist suppression from 56 and 59 to 60 and 55. Close out the front waist dart at 61 and, by pivoting from 63, open the bust dart from 64 to 65. The "cowl" front is cut on the direct bias of the material from 48 to 68.
Manipulation of the Skirt Section (Fig. 158)

Cut round the front skirt section from 69 to 71 and from 71 to 19 at the hem line, thence to 12 and back to 69 in Fig. 157. Cut through the lines from E to A, F to B, G to C and H to D and, by pivoting from points A, B, C, and D, insert 2 inches of extra width at each of the manipulation lines. Add 2 inches of spring at the sideseam from 19 to 19A from 71 as shown in Fig. 158. Re-mark
round the reconstructed pattern from 69 to 71 and from 12 to 19A. If an even flare is desired in the skirt, the seam from 69 to 71 should assume a gradual curve, but, if the skirt is required to hang in definite points of flare, the seam between the above points should be drafted in a series of angles instead of an even curve, and then the skirt will show flare at each of these points only. Cut out the back skirt section from 72 to 73 and X to 18 in Fig. 157. Cut through the lines from R to M, P to L, O to K and N to J and insert 2 inches of extra width at each of the manipulation lines at the hem line as in Fig. 158. Remark round the outline of the reconstructed skirt pattern and add 2 inches of sideseam spring from 72 and 18 to 18A. Skirt flares of this character should always be cut on the direct bias of the material to ensure their even "hang" or "drape." The straight edge from 12 to 69 should be placed to the fold of the bias edge. Similarly, from 73 to X is placed to the bias fold when cutting out.
Evening Dress with Sleeves (Fig. 159)
Fig. 159 shows an eveningcum-dinner dress that can be worn on any formal or informal occasion. The sleeves make it adaptable for use for cinema wear without being out of place. The bodice of the dress has buttons down the front from the neck opening to waist and is fitted very closely to the figure. This accentuates the appearance of the very fully flared and panelled skirt. The skirt is cut with six gores so that a close fit is retained over the hip line in contrast to the very full hem. The sleeves are short (or may be full length) and pleated into the shoulder. It is advisable to keep the shoulder seam on the narrow side so that the sleeves stand well up from the shoulders and accentuate their square appearance. Measurements for the draft are as follows

Chest = 33 inches. Bust = 35 inches. Hips = 37 inches. Natural waist length = 15 inches. Full dress length = 60 inches. Working scale = half the bust measurement 17 inches.
THE BODICE DRAFT
To draft Commence from X.
1 from X = the depth of scye, one-third of scale plus 1 inches. 2 from X = the natural waist length 15 inches. Square out from 1, 2 and X. 3 from 1 = half the bust measurement plus 1 inches.
inch extra has been added over the bust measurement as the garment has sleeves and a very close fit round the bust is not so essential as in the case of a sleeveless evening dress.
4 from 3 = one-fourth of the bust measurement less 1 inch. 5 from X = one-sixth of the scale less inch for the back neck width. Square up inch from 5 to 6. Shape the back neck run from 6 to X. 7 from X for the back shoulder slope = 1 inch. Square out from 7 to 8, the half back width 6 inches.
9 from 8 = inch. Shape the back shoulder slope from 9 to 6. Square down from 8 to 10. 11 from 4 = one-sixth of scale. Square up from 11 to 12, equal to the back depth plus one-twelfth of scale less inch. 13 from 3 = from 11 to 12 plus inch. 14 from 13 = one-sixth of scale. Join point 12 to 9 and then measure the width of the back shoulder seam from 9 to 6 and apply this quantity less inch from 12 to 15 for the width of the front shoulder seam. 16 is 1 inch below 15. Shape the front shoulder seam as shown. Shape the scye as shown to complete the draft of the shoulder part. 17 is midway 1 to 3 for the position of the sideseam. Square down from 17 to 18 on the waist line. 19 and 20 are each inch from 18. Measure back from the centre front line to 21 less the distance from 19 to 20 and make this quantity half the waist measurement plus 1 inch for ease. 22 from 21 = two-thirds of the suppression quantity shown from 21 to 2. This amount is taken out of the
back waist and the remainder out of the front waist suppression.
23 is 3 inches from the centre line for the position of the front waist dart. 24 from 23 = the front waist suppression as shown from 22 to 2. 25 from the centre line is 3 inches and 2 inches below the bust line. 26 from 14 = 2 inches. 27 from 26 = the quantity of bust dart shown from 12 to 14. Shape the front panel seam and bust dart as shown. The back waist suppression is taken out in two darts in the positions marked at the back waist, making the edge of the first dart 2 inches from the centre back line. 30 from 14 = 4 inches. 31 from 13 = 6 inches. 33 is inch below 32. Shape from 33 to the sideseam at 19 for the waist seam run. 34 from 32 = 1 inches. 35 from 3 = 1 inches. Shape the front edge and neck run as illustrated to complete the draft of the bodice.
THE SKIRT DRAFT To draft
Square from X.

1 from X = 8 inches down for the hip line. Square out from 1 to 2 = half the hip measurement net. Square up from 2 to 3 to intersect the line squared out from X. 4 is midway 1 to 2. Square up from 4 to 5. Square down from X to 6, the full skirt length. Square down from 3 to 7, the full skirt length. Measure out from 3 to 8 = half the waist measurement plus 1 inch. 9 from 8 = one-third of the distance from 8 to X. 10 from 9 = twothirds of the distance from 9 to X. 11 from 1 on the hip line = 3 inches. 12 from 2 = 3 inches. Shape out the sideseam suppression indicated from 8 to 9 at 13 and 14 from 5. Shape out the front waist quantity at 16 = to 10 to X.
Square down from 11, 4 and 12 to 17 and 18 and 19. Add 6 inches of flare on each panel seam, commencing from the hip level to complete the draf t of the skir t.
THE SLEEVE DRAFT (Fig. 160 (A)) To draft the sleeve, measurements for the scye are as follows
Height of back sleeve pitch from breast line = 3 inches. Height of sleeve crown = 1 inches. Width of the top scye between the pitches = 9 inches.
To draft Commence from X.
1 from X = the depth of the pitch less
inch, 3 inches.
2 from 1 = inch. 3 from 2, diagonally = the top scye circumferenc e less inch. 4 from 3 = one-third of the distance from 2 to 3 plus inch. 5 from 4 = the crown height of 1 inches. 6 is midway 4 to X. Shape the sleeve head from 1 to 6, 5 and 3 as shown. Measure round the under scye from the front pitch A to the top of the sideseam at 17 and apply this quantity from 1 to 7. Measure round the under scye from B to the top of the back sideseam at 17 and apply
this quantity direct from 3 to 8.
Square down from 8 to 9 and 7 to 10 the undersleeve length as desired. 11 from 10 = 1 inch. These two quantities may be increased if a closer-fitting sleeve is required. Square down from 12 to 13 and 11 to 14, a distance of 4 inches for the sleeve cuff turnup. Shape out the underarm seams of the sleeve as shown.
Sleeve Manipulation (Fig. 160 (B))

Fig. 160 (B) shows how to obtain the sleeve head fullness necessary to form the pleats.
Fold the sleeve part down the centre and then sweep out from point A to B a distance of 2 inches. Join C to B at the cuff and then make D from C equal to 2 inches. E from B = 1 inch to keep the square of the centre line of the sleeve in relation to the cuff. Measure across from G to H at the sleeve length finished position, and then make from E to F equal to this quantity, so that when the sleeve cuff is turned up it will lie fairly without distortion. Shape the reconstructed sleeve head, making J from A
1 inches and K from J inch. The sleeve may either be pleated or gathered into the armhole, and if pleated four pleats should be taken out with about 1 inches in e a c h p l e a t .
Dress with a Shoulder Cape, showing Treatment of Uneven Skirt Design (Fig. 161)
The dress depicted by Fig. 161 illustrates the drafting of patterns to designs when
the line is not the same each side of the skirt and bodice. It is necessary to trace off from the draft a duplicate side and mark the design on the whole back or front. The design illustrated has many points of style worthy of close attention. The centre seam of the fronts develops into a very high "cowl" neck line at the base of the throat, while at the hem it is slit up a distance of 14 inches for a split-skirt effect. At the back across the shoulders the front "cowl" becomes a shoulder capelet, fastening with three buttons and holes.
The skirt design shows a seam running from each sideseam to cross at the natural waist and overlap in the manner indicated, diverging back to the centre of the skirt and forming a low flare to the hem line. Panel seams traverse the front skirt from the sideseams above the waist to the centre, thence flare down towards the hem line from the knee level. Measureme nts for the draft are as follows
Hips = 39 inches. Natural waist length = 15 inches. Full dress length = 52 inches. Working scale = onethird of the bust girth plus 6 inches = 18 inches.
To draft Comme nce by drawing a line from X to X, the full dress length, i.e. 52 inches.
1 fro mX = the bac k dept h= one
thir d of the scal e plus 1 inch es.
2 fro mX = the nat ural wais t leng th = 15 inch es. 3 fro m2 = the hip leve l= 8 inch es belo w the wais t line. Squ are out fro m the abo
ve poin ts.
4 fro mX = the bac k nec k widt h= one sixt h of the scal e less inch . 5 fro m4 = the heig ht of the bac k nec k curv e, inch . Sha pe fro m5 to X
for the bac k nec k curv e.
6 fro m1 = the nor mal half bac k widt h= 6 inch es. Squ are up fro m6 to 7 on the line squ ared out fro m X. Squ are out fro m3 to 8 half the hip
mea sure appl ied net.
Squ are up and dow n fro m8 to 9, 10, 11 and 12 at the hem line. 13 fro m 11 = one twel fth of the scal e. 14 squ ared bac k fro m 13 = one sixt
h of the scal e.
15 fro m7 on the line fro m7 to 6 =1 inch . Squ are out fro m 15 to 16. 16 fro m 15 = inch . Sha pe the bac k sho ulde r sea m fro m 16 to 5.
Join 14 to 16. 17 fro m 14 = the fron t sho ulde r widt h= 5 to 16 less inch . 18 dow n fro m 17 = inch . Sha pe the fron t sho ulde r sea m fro m 18 to 14.
The side sea m is loca ted at 19, half the hip mea sure fro m 8. Squ are up and dow n fro m 19 to 20, 21 and 22 at the hem line. 23 fro m 22 = 1 inch es. 24 fro m 22 = 1
inch es.
Join 23 and 24 to the hip poin t 19 for the side sea m over lap. Mea sure fro m1 to 25 half the bust mea sure men t, plus inch . Red uce the surp lus sho wn bet wee n 10 and 25 fro
m the side sea m at 21.
26 fro m 21 = half 10 to 25. 27 fro m 21 = half 10 to 25. 28 fro m 10 = one four th of the bust mea sure less 1 inch es. 29 is half 10
to 28.
30 squ ared up fro m 27 = one twel fth of the scal e less inch . By pivo ting fro m 29, swe ep fro m 28 to 31 on the line joini ng 29 to 30. Sha pe the fron t of
the scye fro m 18 to inch in adv anc e of the line squ ared up fro m 31 to finis h at the fron t side sea m inch in adv anc e of poin t 30.
Squ are dow n fro m 27 to 32 and 26
to 33.
34 fro m 32 = the fron t side sea m wais t sup pres sion . 35 fro m 33 = the bac k side sea m wais t sup pres sion . Sha pe the side sea ms fro m 26 to 35 and
19 and fro m 27 to 34 and 19.
Mea sure fro m2 to 37 half the wais t mea sure (27 inch es incr eas ed to 29 inch es for eas e) plus the dist anc e fro m 34 to 35. The bac k wais t
sup pres sion is calc ulat ed as two thir ds of the surp lus fro m 37 to 9.
The fron t wais t sup pres sion take s the rem aini ng thir d of surp lus fro m 38 to 9. Mar k the fron t
pan el sea ms as follo ws
39 fro m9 = one sixt h of the scal e plus inch = 3 inch es. 40 fro m 39 = the fron t wais t sup pres sion as indi cate d by the qua ntit y at 38
to 9.
41 fro m 34 = 4 inch es for the com men cem ent of the fron t pan el sea m at the side sea m. 42 fro m8 = the dist anc e fro m 39 to 9 plus inch . 43 fro m
12 = 42 to 8 plus inch .
Sha pe the pan el sea ms fro m 40 and 39 to 42, and cont inue the pan el con stru ctio n line dow nwa rds fro m 42 to 43. 44 fro m the top of the side
sea m at 30 = one sixt h of the scal e for the posi tion of the bust dart .
45 fro m 44 = the qua ntit y take n fro m the bust dart as indi cate d by the dist anc e 30 is fro m 27.
46 up fro m 39 and 40 = 4 inch es. Mar k out the wais t sup pres sion and con nect up with the side sea m dart fro m 44 and 45. 47 fro m 14 = the size of the fron t nec k ope
ning =6 inch es.
By pivo ting fro m 14, swe ep the nec k ope ning leng th up fro m 47 to 48, mak ing 14, 48 and 10 a righ tangl e. 49 fro m 48 = 1 inch es for the turn bac k of
the "co wl" nec k line.
Sha pe fro m 49 to 14 and fro m 49 into the cent re fron t sea m at 10. The flare on the fron t pan el sea m com men ces at 50, 10 inch es belo w the hip
leve l at 42.
52 fro m 43 =2 inch es. 51 fro m 43 =2 inch es. Sha pe the fron t pan el sea ms fro m 42 to 50 and 52 and fro m 42 to 50 and 51. The flare on the cent re
fron t sea m com men ces at 55, 10 inch es dow n fro m 8.
Add 1 inch es of flare to 56, and rou nd off the cent re fron t slit fro m 56 to the hem line at 43 as sho wn. The slit is
mad e 12 inch es in leng th fro m the hem line as indi cate d by poin t 57.
T o p r o d u c e t h e c r o s s o v e r d e s i g n
o n t h e b a c k , i t i s n e c e s s a r y t o t r a c e o f f t h e o u t l i n
e o f t h e b a c k f r o m X t o 5 , 1 6 , 2 6 , 3 5 , 1 9 , 5 3 a n d X a
t t h e h e m l i n e .
The trac edoff bac k is indi cate d by poin ts 58, 59, 60, 61, 62 and 63 at the hem line. Mar k out the bac k wais t sup pres sion befo
re draf ting the desi gn.
64 fro m2 = one sixt h of the scal e plus inch . 65 fro m 64 = the bac k wais t sup pres sion equ al in qua ntit y to the dist anc e fro m 37 to 38.
66 fro m3 = inch mor e tha n the dist anc e fro m2 to 64. Squ are dow n fro m 66 to 67 at the hem line for the skirt man ipul atio n line for wais t sup pres sion . 68 fro m5
=2 inch es.
Join 64 to 68 and mar k out the bac k wais t sup pres sion fro m 64 and 65 to 69, leve l with the blad e. 70 fro m 58 =5 to 68. 71 is iden tical with poin t 69 on the
righ t side of the bac k.
72 fro m2 = 65 to 2. 73 fro m2 =2 to 64. 74 fro m3 =3 to 66. 75 fro mX =X to 67. Sha pe out the bac k wais t sup pres sion fro m 73 and
72 to 71 and 74.
76 fro m 26 = inch . 77 fro m 60 = inch . 78 fro m2 =2 inch es. Sha pe the bodi ce sea m fro m 76 to 78, brea king squ arel y at the sup pres sion line
s to loca te poin ts 79 and 80.
Sha pe the bodi ce sea m fro m 77 to 78, brea king squ arel y at the sup pres sion line s to loca te poin t 81. Con tinu e the line fro m 77 to 78 thro ugh to
poin t 64 for the cros sover effe ct of the bac k skirt sea ms.
82 fro m3 =10 inch es. Sha pe the sea m fro m 64 to 82 in a dire ct line. 83 fro mX = 3 inch es of flare . 84 fro
mX = 3 inch es of flare . Sha pe the cent re bac k sea m fro m 82 to 83 and 84.
Sha pe the cap elet at the bac k as follo ws 85 fro mX = 4 inch es. 86 fro mX =
inch es.
Sha pe fro m 86 thro ugh 85 9 inch es dow n to 87. 88 fro m 85 = 85 to 87. The poin t whe re the cap elet runs over the arm tow ards the fron t of the arm hole is loca ted at
89, 2 inch es up fro m 6.
90 is iden tical with 89. Sha pe fro m 87 to 89 and 88 to 90.
The capelet overlaps at 85 and X the amount added from 85 to 86. The capelet commen ces at the front of the armhole, 2
inches up from p o i n t 3 1 .
M anipula tion of the Skirt Pattern for Waist Suppre ssion (Fig. 162)
As the design does not show a seam through the natural waist level from back to front, the
question of infusing the necessar y waist suppress ion becomes more difficult. A variation of the usual procedur e takes place, and we reduce as much as possible of the suppress ion by closing out in the lines marked, and the remainin g surplus is reduced by a small dart at each
sidesea m. Clo se out the back waist suppress ion by cutting through from 79 and 80 to 64 and 65 and 66, and up from 67 to 66 in Fig. 161. Piv ot from point 66 and close 79 to 80 to open the skirt hem line from 67 to 67A. The differenc e shown between 64 to 65 is taken out in the dart
as shown. Sim ilarly, the left side of the skirt is manipul ated to produce the outline s h o w n .
M a n i pulatio n of the Bodice and Shapin g of the Should er Capelet (Fig. 163)
Cut round the
capelet from 14 to 86 and 87 to 89 and 16. Lay the back section in position against the front bodice by placing the shoulder seams together from 5 and 16 to 14 and 18. Sha pe the edge of the capelet from 91 to 92 and 89. A seam may be placed through the capelet from 16
to 92 if the material has a promine nt design. Clo se out the front waist suppress ion by cutting through from 39 and 40 to 46 and from 44 and 45 to 46 in Fig. 161. Close 40 to 39, pivoting from 46 to open the bust dart from 45 to 45A. Mark the dart 3 inches in length from 45A to
46 as shown.
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Vintage Sewing Main Page > 1940's > Ladies' Garment Cutting and Making > Chapter XIII Search | Subscribe | Support

by F. R. Morris
Chapter XIIICollar Construction for All Coats

THE construction of collar patterns is governed by the shape and type of collar required, the length of the lapel turn, the measurement of the neck circumference of the coat gorge, and lastly the necessity or otherwise for manipulation by shrinking and stretching in making. The necessity for manipulation can be diminished if the collar is cut to agree with the particular shape and size of the gorge run to which it is required to sew. In the majority of instances where collars require an excessive amount of manipulation the fault is due to the practice of leaving collar cutting either to the tailor or tailoress, who cannot be expected to have practical knowledge of adjusting the shape of the collar to agree with differently shaped neck curves and usually adapts one standard collar pattern
for every coat. Collars should be cut when the coat is cut, and not at some later time. The standard tailored collars for ladies' coats are the Step Collar, the Double-Breasted Collar, the Double-Breasted Ulster or Storm Collar, the Stand Collar, the Stand-up Storm Collar, sometimes called the Broadway Collar, and, for loose-fitting raglans or swagger coats, the Circular or Prussian Collar. There are two points to note with regard to the effect of the length of the lapels on collar construction. If a low-turning lapel is required, the collar will need less length of "fall" edge than in the case of a high-turning lapel. As the turn of the lapels becomes higher and closer to the neck, the necessity for length at the fall edge of the collar increases until the maximum is reached with the circular Prussian collar. The step collar is so-called because the distance the collar-end is from the end of the lapel forms a "step" and may be from 1 to 1 inches in any single-breasted coat. The stand of the collar is that part which fills up the neck of the coat to the desired height. Owing to the shape of the neck it is not possible to add this extension satisfactorily to the coat back neck curve, though many designs at the moment are showing the collar and coat cut in one. The height of the stand depends on the shape of the neck and varies with long- or short-necked figures from 1 inches in the first instance to inch in the latter. The fall of the collar is that part which falls over or turns back from the edge of the stand down over the shoulders. The width of the fall is governed by the type of collar and by the distance traversed by the fall edge over the shoulders. At a certain width of collar fall, a similar distance round the upper shoulders is covered, and consequently the wider the fall the correspondingly greater the distance over the shoulders covered by the fall edge. The author always takes a check measure of the shoulders where the collar edge will lay when sewn to the neck as a guide to the length of fall edge required in the collar. This can be easily accomplished by marking the shape of the lapel on the shoulder of the coat, measuring round the shoulders from the step of the lapels to the centre back seam of the coat at a distance down estimated by
calculating the stand height up from the back neck curve, and then measuring down the length of fall. The crease edge of the collar is the line or edge where the collar stand becomes the fall by being creased over to run with the crease line of the lapel. Though it is the general practice to mark the crease line of the collar when it is cut, this line does not always tally with the crease line of the lapel, and consequently readjustment of the crease lines is needed to make a continuous run. The author always makes a point of not creasing the collar until it is sewn to the neck, and then he marks a crease line to agree with the lapel crease.
The Step Collar, giving the Basic Principles of Collar Construction (Fig. 164)
Fig. 164 shows the forepart of a single-breasted coat with a lapel turning to fasten at the waist line.

The step of the lapel is 1 inches. The stand height is 1 inch. The fall depth is 1 inches. Point 1 is the commencement of the lapel turn at the waist line. 2 is the front neck point. 3 from 2 = the stand height = 1 inch as established in the coat basis draft. Rule the crease line of the lapel from 1 through 3 to 4. 4 from 3 = the width of the back neck curve plus inch.
The addition of inch to the back neck width obviates any tendency of the collar to come up short in the sewing to the neck curve, and provides for a certain quantity of length for easing in round the gorge between the crease of the lapel and the neck point.
Point 5 is located where the crease line of the lapel cuts through the gorge. Pivoting from 5, sweep from 4 to 6 inch. Shape the crease of the collar from 5 to 6 in a straight line.
The crease is marked in a straight line because the old saying that "a straight line is the shortest distance between two points" is very applicable to the construction of collar patterns, as the crease edge of the collar must be kept as short as possible, which can only be achieved by drafting this line straight.
Square back from 6 to 7 the stand height plus one seam, i.e. 1 inches.
If the under-collar is felled to the coat, there will be no need to make the addition for seaming, and the collar stand must be cut to finished width.
By line 5 to 6, square up from 6 to 8 the fall depth plus inch, i.e. 2 inches.
The addition is made for a seam round the fall edge, though, in most instances, the author always cuts the collar slightly wider than the required width to allow for the slight narrowing of the collar under manipulation, and to give the worker a fair chance to turn out a wellshaped fall.
9 from 8 = inch. Shape from 9 to 6. 10 is the end of the lapel. 11 from 10 = the length of the step plus a -inch seam to be reduced from the lapel edge, i.e. 1 inches. 12 from 11 = the fall end of the collar = inch from 11 to allow for the reduction of a seam in making.
Therefore, from the above, the principle for step or stand collars is to measure back from the edge of the lapel the required length of step, which automatically allows for a seam to be reduced from both lapel and collar ends, resulting in the finished step length being identical with the preliminary length marked.
13 from 12 = two seams, one to be reduced from the collar and one from the lapel gorge. 14 from 5 = two seams. Shape the sewing edge of the collar from 13 to 14 and 7. 15 from 13 = the width of the collar fall edge at the step plus two seams, i.e. 1 inches plus inch = 1 inches. Shape the fall edge from 15 to 9 to complete the shape.
This draft represents the foundation collar system from which all adjustments for Double-breasted collars, short lapel turns and deeper falls are made. Very often the under-collar is made of a thin melton to enable the collar to be felled to the gorge on the raw edge for thinness. This is the method adopted in the best class of trade, but, in the author's opinion, this procedure is not essential if the collar is properly cut and seamed to the coat. If a melton is used, a seam must be reduced from the sewing edge from 13 to 14 and 7, the stand being made a 1 inch finished width to fell over a small inlay left on round the back and front gorge curve. It is the leaving of this inlay to which the author objects, for it is the source of many shoulder creases and defects when workers persist in sewing out shoulders and inlay in one run, instead of ceasing the seam of the shoulder at the commencement of the inlay.
The Double-Breasted Collar (Fig. 165)

Fig. 165 shows the reproduction of a collar suitable for double-breasted lapels and turn. The lapel turns to a low fastening at the waist, and the gorge is cut without a V cut.

Point 1 is the end of the lapel crease line. 2 is the front neck point. 3 from 2 = the stand height = 1 inch. Mark through the lapel crease line from 1 to 3 and 4. 4 from 3 = the back neck width plus inch. 5 is located where line 1 to 3 intersects the gorge run from 2 to the step of the lapel. Pivoting from 5, sweep from 4 to 6 inch. Shape the crease edge of the collar from 5 to 6 in a straight line. Square back from 6 to 7 by line 5 to 6 the stand height plus a inch seam, i.e. 1 inches. Square up from 6 to 8 the fall depth plus a inch seam, i.e. 2 inches. Spring out inch from 8 to 9, and shape from 9 to 6 and 7 for the centre seam of the collar. 10 is the commencement of the lapel peak. 11 from 10 = the length of the peak. 12 from 10 = two seams, i.e. inch. 14 from 5 = two seams, i.e. inch. Shape from 12 to 14 and 7. 13 from 11 = inch and two seams below the edge of the lapel peak. From 12 to 13 is made two seams below the lapel peak, so that when a seam is reduced from the lapel from 10 to 11 and a seam from 12 to 13, the finished shape of the collar and lapel will meet edge to edge at 12 to 13. The short distance down from 10 to 15 illustrates where the lapel peak is nipped in for turning out the collar and lapel, and, when seams are reduced from the collar and gorge, point 15 will be the corner of the lapel and collar.
The Double-Breasted Ulster or Storm Collar (Fig. 166)
Height of the collar stand = 1 inch. Depth of the fall = 3 inches.
The need for an additional amount of length round the fall edge of the collar where it covers the shoulders is greater as the fall width becomes wider, and, to allow for this extra length, the crease line of the collar from 5 to 4 must be deflected or bent further back to lengthen the fall edge. As a guide to the amount of bending of the crease line, subtract the stand height, 1 inch, from the required fall depth, 3 inches, giving a residue of 2 inches, which represents the diverging of the crease line from the straight for the specified fall depth to allow for sufficient edge length to lie smoothly over the upper shoulders.

Point 1 is the commencement of the lapel turn. 2 is the front neck point. 3 from 2 = the collar stand height = 1 inch. 4 locates the intersection of the crease line joining 1 to 3 with the gorge run from 2 to the peak of the lapels. Rule the crease line up from 1 and 4 through 3 to 5. 5 from 3 = the back neck width plus inch. By pivoting from point 4, sweep back from 5 to 6 the difference between the stand height and the fall depth, i.e. 2 inches. Join 4 to 6 in a straight line for the crease of the collar. By line 4 to 6, square back from 6 to 7 the stand height plus inch, i.e. 1 inches. By line 4 to 6, square up from 6 to 8 the fall depth plus a seam, i.e. 3 inches. Spring out from 8 to 9 inch, and shape the centre seam of the collar from 9 to 6 and 7. 10 is the commencement of the peak of the lapel and the end of the gorge. 11 is the end of the lapel peak. 12 is inch, or to taste, back from 11 and two seams below the line of the lapel from 11 to 10. 13 from 10 = inch. Shape from 13 to 12 and the fall collar edge from 12 to 8 and 9.
14 from 4 = inch. Shape the collar stand from 13 to 14 and 7 to complete the draft.
The collar shape drafted allows for the end of the collar to meet flush with the lapel peak when made up. The same construction applies for other types of ulster collar which show a gap between the end of the collar and the lapel peak at 11 and 12.
Ulster Collar by Direct Measurement of the Length of Fall Required (Fig. 167)
To estimate the actual length of collar fall edge required to agree with varying fall depths, it is necessary to measure on the actual shoulders of the coat where the collar edge will lie and then transfer this measurement to the collar draft. Fig. 167 shows the drafting of an ulster collar by this method.

Point 1 is the position of the turn at the top button. 2 is the front neck point. 3 is the usual collar stand width, 1 inch. 4 is located where the crease line from 1 to 3 intersects the gorge run from 2 to the commencement of the lapel peak. The back of the coat is shown by dash lines and numbered from 5 at the centre back neck to 6, the shoulder seam and 7 at the shoulder end. The back is laid in position against the front shoulder so that 6 and 2 are touching, and 7 overlaps the front shoulder by inch. 8 is the end of the gorge run from 2 and 4. 9 from 8 = the length of the lapel peak. Mark the shape of the lapel and gorge run on the shoulder part of the coat as indicated by 8A and 9A. The fall depth is 3 inches; therefore, measure down from 5 to 10 this quantity less the stand height of 1 inch, i.e. 2 inches. Similarly, 11 from 2 and 6 = 2 inches. 12 back from 9A = the width of the collar fall at the lapel end = inch.
The distance from 12 to 11 and 10 represents the length of the collar fall edge in the finished collar draft. 13 from 3 = the back neck width from 6 to 5 plus inch. By pivoting from 4, sweep from 13 to 14 equal to the distance from 5 to 10. Square back from 14 to 15 the stand height plus inch, i.e. 1 inches. 16 from 4 = inch or two seams. 17 down from 8A = inch or two seams. 18 from 12 = inch or two seams. Square out from 14 to 19 the fall depth plus inch, i.e. 3 inches. Apply the length from 12, 11 and 10 from 12 less inch to locate the position of 20 above 19. Shape the fall edge of the lapel from 18 and 12 to 19 and 20. Shape the stand edge of the collar from 18 to 17, 16 and 15 to complete the shape of the ulster collar.
The collar will require a slight amount of straining with an iron where it lies over the shoulder seams; otherwise, the outside fall edge length is sufficient for the requirement of covering the shoulders of the coat at the collar depth stated.
The Roll or Shawl Collar (Fig. 168)

Fig. 168 illustrates the draft of a roll or shawl collar. The under-collar is cut in the usual manner, but, in place of the usual topcollar, the facing is carried right round to the back neck and seamed down the centre back to form the top-collar and the facing in one. As the collar seams at the gorge do not show, the shape of the gorge may be varied from the basic draft instructions and lowered from the crease line to the lapel edge, so facilitating the sewing together of the collar and lapel.
1 is the first button position.
2 is the front neck point. 3 is the usual stand height from 2 = 1 inch. Rule the crease line through from 1 to 3 and 4. 4 from 3 = the back neck width plus inch. 5 is located where the crease line from 1 to 4 intersects the gorge run from 2 to the end of the lapel. 6 from 4 = inch. Join 5 to 6 in a straight line for the crease line of the collar. 7 squared back from 6 equals the stand height plus inch = 1 inches. Square up from 6 to 8 the depth of the fall required, 1 inches plus inch, i.e. 2 inches. 9 from 8 = inch of spring. Shape from 9 to 6 and 7. 10 is the lapel end. 11 from 10 = two seams or inch. 12 from 5 = two seams or inch. Shape the stand edge from 11 to 12 and 7. Shape the fall edge from 11, 8 and 9. The dash lines from 1 to 13 and 10 indicate the shape of a smart roll lapel as cut at the moment.
The facing and top-collar combined are cut to follow the shape of the lapel and collar from 1 to 10 and 9, plus a suitable allowance for making-up purposes and turning out the facing.
Cut the centre back seam of the facing identical with the collar from 9 to 6 and 7. Shape from 7 to 14 identically with the collar stand and continue the facing run back from 14 to 15 on the breast line down to 16, 17 and the bottom edge to complete the shape of the facing.
Ulster Stand Collar (Fig. 169)

The ulster stand or "Broadway" collar is a rather difficult collar to cut, for, being required to stand up at the back neck and curve round to lie flat on the shoulders at the front, the necessity for a
great deal of length round the fall edge is apparent. The collar described fulfils all the requirements stated and is recommended for the ulster type of coat. A collar constructed on the usual storm-collar lines would not remain standing at the back owing to insufficient length of fall edge, and would curl over in wear.

1 is the position of the top button and the commencement of the lapel run. 2 is the front neck point. 3 from 2 = the usual stand height = 1 inch. 4 is the intersection of the crease line of the lapel with the gorge run from 2 to the commencement of the lapel peak. Continue the crease line of the lapel up from 1 and 4 through 3 to 5. 5 from 3 = the back neck width plus inch. By pivoting from 4, sweep from 5 to 6 4 inches. 7 is two seams below 4. Join 7 to 6 and by this line square up from 6 to 8 the height of the collar, i.e. 3 inches plus two seams. 9 from 8 = 1 inches. Shape from 9 to 6. 10 is the end of the lapel peak. 11 is the commencement of the lapel peak and the end of the gorge run from 2 and 4. 12 from 11 = two seams or inch. Shape the sewing edge of the collar from 12 to 7 and 6, hollowing inch between 7 and 6 as indicated. 13 from 12 = the width of the collar at the peak end = 3 inches plus two seams. Shape from 12 to 13 and from 13 to 9 for the collar edge to complete the shape of the stand collar.
Cut the collar on the fold of the material from 9 to 6 for both top and under-collar, and it is advisable to add an extra thickness of canvas across the centre back of the collar as shown by the shading to aid the collar to remain standing.
The Circular Collar (Fig. 170)

The vogue of loose-fitting and swagger coats has introduced the highclosing circular neck line to the majority of women. These coats usually have a round collar of either Prussian or flat, circular type. The Prussian collar, as its name implies, is designed on uniform lines to stand up on the neck with a circular fall of 2 or more inches, whilst the circular collar, sometimes called the "Peter Pan" collar, is not cut with a stand and simply lies flat round the neck and shoulders. Many juvenile coats are shown with collars of this type. The first essential is to fill up the neck opening of the coat inch at the back and sides. Take the back and forepart patterns and lay the shoulder seams together, overlapping 1 inch at the shoulder end between points 2 to 4.

Points 1 and 3 are identical. 5 is the centre of the front at the neck opening. Fill up the neck of the coat inch from X to A, 1 and 3 to B, tapering away to nothing at 5. Mark down from 5 to 6 the depth of the collar fall at the centre front, i.e. 2 inches. 8 from A = the depth of the collar at the centre back plus two seams = 2 inches. 7 from B = the width of the collar at the shoulder seams = 2 inches. Shape the collar edge from 5 to 6 and 6 to 7 and 8. Cut this collar on the fold of the material from A to 8 and with the bias at 7 where the collar passes over the shoulders to the front.
The following draft will show a circular collar which has the virtue of possessing a stand effect at the centre back with the advantage of laying
perfectly flat on the front shoulder. The usual Prussian collar needs a good deal of stretching of the stand where it sews to the gorge over the shoulders to prevent a "kicking off" at the crease edge, but the collar described requires very little manipulation and is designed to sew straight to the gorge.
Circular Stand Collar (Fig. 171)

This collar has a stand appearance at the back neck with the flat "Peter Pan" effect at the front neck. Firstly, it is necessary to mark in the usual crease line of the lapel as for a single-breasted coat.

1 is the first button position for a buttoned coat. 2 is the front neck point. 3 from 2 = the usual collar stand height = 1 inch. Join 1 to 3 to locate point 4 on the gorge run from 2 to the centre front fastening. Join 4 to 2, and continue up from 2 to 5 half the back neck width plus inch. From 4 to 2 and 5 is the crease line of the collar. Square back from 5 to 6 the required fall depth plus one seam, i.e. 2 inches. Square back from 5 to 7 the stand height plus inch, i.e. 1 inches. Spring back from 6 to 8 inch, and shape the centre seam of the collar from 7 to 5 and 8. 9 is the centre front opening. Mark down from 9 to 10 the length of the collar fall at the centre front, i.e. 2 inches. Shape the fall edge from 10 to 6 and 8. 11 from 4 = inch. 12 from 3 = inch seam. Shape the sewing edge of the collar from 9 to 11, 12 and 7.
This collar will require slight stretching over the shoulders in the position marked and also between 11 and 12 at the stand seam.
The Plain Stand Collar (Fig. 172 (a))

Fig. 172 (a) shows the draft of a plain stand collar suitable for cardigan suits, golf coats and any coats with the necessity for a collar to stand at the back from 1 to 2 inches in width. Over this width, adjustment must be made for increased top edge length as indicated by Fig. 172 (b).
Measure round the circumference of the gorge and then rule a straight line from X to 1, making it the circumference length plus inch seam. 2 is half of X to 1. 3 from 1 = inch. Shape from X to 2 and 3. 4 from X = the height of the stand collar plus inch = 1 inches plus inch, i.e. 2 inches. Square up from 3 to 5 the same distance as 4 from X. 6 from 5 = inch to inch, depending on the shape of the gorge run. 7 from 2 = from 4 to X. Shape the top edge from 4 to 7 and 6 and from 6 to 3.
The Straight Stand Collar (Fig. 172 (b))

For all collar widths over 2 inches the stand collar is cut perfectly straight.
Square from X.

1 from X = the circumference length of the collar. 2 from 1 = the height of the collar, 2 inches plus inch for seams = 3 inches. 3 from X = the distance from 1 to 2. Shape from 1 to 2 and X to 3. Shape from 3 to 2 to complete the draft.
This collar is suitable for the lancer-front type of coat in place of the turn-down circular collar.
The Prussian Collar (Fig. 172 (c))

The Prussian collar is drafted on similar lines to those of the circular stand collar described by Fig. 171, with the exception that the stand is carried right round to the centre front instead of disappearing at the front gorge, to enable the collar to lie flat to the centre fastening. This collar requires well manipulating to produce a good result. The crease line must be shrunk in, and the seam of the stand requires well stretching at the point where it sews to the gorge in proximity to the shoulder seams of the coat. Square lines from X.
1 from X = the circumference of the gorge plus inch.
Pivoting from X, sweep from 1 to 2 5 inches. Join X to 2. 3 is half of X to 1. 4 is half of X to 2. Join 3 to 4 to locate point 5 midway of 3 to 4. Shape the crease edge of the collar from X to 5 and 2. 6 from X = the height of the collar stand at the centre back, 1 inch, plus a inch seam = 1 inches. 7 from 5 = the height of the collar stand at the shoulder point, 1 inch, plus a inch seam = 1 inches. 8 from 2 = the height of the collar stand at the centre front opening, inch, plus a inch seam = 1 inch. Shape from 6 to 7 and 8 for the collar stand sewing-edge seam. 9 from X = the depth of the fall, 1 inches plus a inch seam = 2 inches. 10 from 5 = the same distance as 9 is from X. 11 from 2 = from 9 to X. Spring out 1 inch to 12 from 11, and shape the fall edge of the collar from 9 to 10, 11 and 12 round to 2.
The stand requires stretching between 6 and 8 at 7 until the length of this seam approximates to the length of the fall edge at a similar distance up from X, 5 and 2. Cut the collar on the fold of the material for both top- and undercollars, with the bias of the material at 10 and 7.
Fur Collar Shapes

Town coats are usually distinguished by fur collars, and it is not always possible for the tailor to copy the shape of the made-up outer fur collar exactly without a lot of trouble and uncertainty. Therefore, it is advisable to work on standard block patterns of collar shapes and make the necessary adjustments of size and shape. On the other hand, the continued popularity of imitation fur fabrics means that both the outer and under-collars can be cut and made to a definite shape instead of being left to the fur-collar maker's idea of style. Imitation Persian lamb and astrachan are two favourite imitation fur fabrics always in vogue, and some are nearly indistinguishable from the real article. With regard to the actual cutting of fur collar shapes, generally speaking, these cannot be systematized to order, but, instead, an outline is given to a standard size, and adjustments must then be made to agree with the dimensions of the neck curve and lapel width.
Ruck Collar Shape (Fig. 173)
The accompanying draft illustrates a ruck collar shape. This collar is very suitable for making up in astrachan and, in conjunction with ultra-heavy revers, combines to present a very smart appearance. The success of the collar depends to a great extent on the direction of the darts, and the correct locations and angles are indicated in Fig. 173. When making this collar, use an interlining of collar canvas and also pad the fall with double-ply wadding. Square from X.
1 from X = the length measured round the gorge from the centre back point to the commencement of the step, 10 inches, plus 4 inches =14 inches. 2 from X = the desired depth of the collar from the neck seam to the fall edge = 12 inches. Square from 2 to 3 equal to X to 1. Join 1 to 2. 4 from 1 = 7 inches. 5 from 1 on the line joining 1 to 2 = 3 inches. Shape from 4 through 5 to X. 6 from X round the sewing-on edge = the length round the gorge = 10 inches applied net. 7 from 5 = 2 inches of the difference shown between 6 and 4. 8 from 5 = 4 inches. Join 7 to 8 for the dart.
9 is midway of 5 to 4 on the line from 7 to 4. Take out 1 inches of the difference remaining between 6 and 4. Shape the dart from 10 and 11 to 12, 3 inches in length from 9. 13 from 3 = inch. Take out a -inch dart at 3 and shape to 14, 5 inches in from 3. Take out three inch darts at 15, 16 and 17, each dart being 4 inches in length and 1 inch apart on the collar. 18 from 2 = 1 inches. Take out a -inch dart and shape to 19, 4 inches from 18. 20 from 3 = 6 inches. Take out a -inch dart at 20 and shape it to 21, 4 inches from 20.
All the darts are sewn out in the indicated marks with the exception of the three darts from 15, 16 and 17, which should be cut out and then seams taken. When sewing out the darts in imitation astrachan, allow for inch seams to minimize the risk of the seams fraying out in making.
Roll Collar Shape (Fig. 174)
The roll collar shape is one of the most useful for adapting to coats, for the shape of the lapel is not considered, the collar sews all round the gorge and down the fronts to the first button, and the lapel proper is cut away from the coat fronts in the crease line. Fig. 174 (b) illustrates how the lapel is cut away from the fronts, leaving the crease line running down from the neck point to the button position. To draft the collar shape, proceed as follows Square from X.
1 from X = the width of the back neck curve from the centre to the shoulder seam. 2 from 1 = 2 inches. 3 from X = the length down the crease line of the lapel from the back neck centre down the fronts to the first button position. 4 from X = 5 inches. Square up from 4 to 5 5 inches, and shape from X to 5. 6 from X = 1 inches. Square up from 6 to 7 8 inches. 8 squared out from 4 = 14 inches. Join 7 to 5 and to 8.
Shape from 7 to 5, adding 1 inch of round to the seam. Shape from 7 to 8, adding inch of round to the seam. By line 7 to 8, square back to 9 6 inches, the required depth of the collar at the back. Square out from 1 to 10 14 inches. 11 is midway of 1 to 3. 12 from 11 = 1 inch. 13 from 11 = 8 inches. Shape from 3 to 12, 2 and X for the sewing edge of the collar. 14 from 3 = two seams. Shape the fall edge from 14 to 13, 10 and 9. Shape from 9 to 8. From X to 5 is cut on the fold of the material.
For a roll collar shape to sew to a cut-on lapel, the collar lapel section must be cut away from the back part in the marks indicated.
By pivoting from 9, sweep from 13 to 15 1 inches or the distance round the gorge and lapel from the centre back neck plus 1 inches for collar ease. Join 15 to 2 and add 1 inch of round to the seam between these points.
Join 15 to 10 and add inch of round between these points.
Line with wadding and canvas to give "body" to the collar and, when sewing to the crease line, slightly ease in the collar to the gorge at the shoulder seam point so that the collar does not lie too clo sel y to the he ad.
The New Bolster Roll Collar (Fig. 175)

Fig. 175 illustrates the new bolster roll type of fur collar shape as now worn with the wide lapels and shoulders of the current mode. This style of collar stands well up in the neck in a deep double fold, and in wear the head of the wearer is hidden inside the protective depth of the fall. The total width of the collar is 15 inches before being folded, the outer edge is covered with fur, and the
inside fold lined with the same kind of self tweed used for the garment or with a lining to tone. A low-cut and wide lapel is necessary to take the extra length of this collar style, and this adjustment must be noted in the coat draft. To draft Square from X.

1 from X = 19 inches. 2 from 1 = 1 inches. 3 from X = 10 inches. Shape the sewing edge from X through 3 to 2. 4 from X = half the full depth of collar required = 7 inches. Square 13 inches from 4 to 5. Join 5 to 2 and add inch of round to the seam between these two points. Take four small darts out of the sewing edge and the fall edge at 6, 7, 8 and 9. Each of these darts should be inch in depth and 2 inches long. The collar should be eased on to the lapels in the region of 3 to 2 as marked on the draft.
From 5 to 2 is seamed and also from 5 to 4 on t h e f o l d o f t he material.
Fancy Roll Collar (Fig. 176)

The fancy roll collar illustrated by Fig. 176 is a fashionable shape at the moment on varying coat styles, as it can be adapted to practically any type or shape of lapel. The diagram shows the shape drafted. Darts are taken out to achieve the desired shape and effect, the largest dart making a decided peak in the collar opposite the chin. All darts should be sewn out in the marks or, alternatively, allow seams when cutting. To draft
Square from X.

1 from X = 17 inches. 2 from X = 14 inches. 3 from 2 = 15 inches. H from X = 1 inches. 5 from X = 6 inches. 6 from 5 = inch. Shape from H through 6 to 7. 8 from 2 = 10 inches. Square 9 from 8 equal to 2 to 7. 10 from 1 = 3 inches. 11 from 10 = 1 inch. Shape from 11 round to H as shown. 12 from 10 = 2 inches. Square up 6 inches from 12 to 13. 14 from 1 = 7 inches. Join 14 to 3. Add on inch of round between 14 and 3. Shape 3 to 7 as shown through 9. Join 14 to 13 and 13 to 11 as shown. Take out a 1-inch dart at 15 and make
the dart 4 inches in length.
Take out a 1-inch dart at 16 and make this dart 4 inches in length. Take out inch in the dart at 17 and make the dart 3 inches in length to complete the collar d r a f t .
Larg e Boat Coll ar (Fig. 177)

Fig. 177 illustrates the drafting of a large boat collar. A separate stand of cloth is utilized to fill in the stand of the collar below the fur edge at the back of the neck, a method of making that simplifies the operation and also requires less fur in the collar. This collar shape may be adapted to the majority of lapel shapes. To draft
Square from X.

1 from X = 4 inches. 2 from 1 = inch. 3 from X = 7 inches. 4 from 3 = 1 inches. 5 from X = 12 inches. 6 from 5 = 6 inches. 7 squared from 4 = 1 inches. 8 from 3 = 1 inch. Shape from 6 through 7 to 8 and 2. Shape from 7 and 8 to 9, making the dart 3 inches in length. Shape from 1 and 2 to 10, making the dart 3 inches in length. 11 from X = 10 inches. Shape from 6 to 11, adding 1 inches of round.
This completes the shape of the actual collar. The separate
stand lining must now be drafted. The stand takes the shape of the under-collar stand section after the darts have been seamed out. To draft Square from X.

1 from X = 4 inches. 2 from X = 10 inches. 3 from 2 = 5 inches. Shape 3 to 1 as shown. 4 from X = 5 inches. Join 4 to 3 to complete the draft of the stand s e c t i o n .
S t and Fur Collar (Fig. 178)
The accompanying draft illustrates the cutting of a stand fur collar designed to stand up in the neck to form a deep double fold. When the darts round the outer edge of the collar shape are sewn out, the fold and shape of the collar are formed, and a separate piece of material is then sewn in to make up the stand deficiency. To draft Square from X.
1 from X = 12 inches. 2 from X = the length round the gorge and lapel of the
coat to where the collar is intended to finish on the lapel.
3 from 2 =2 inches. Square up from 3 to 4 equal to the length from X to 1. 5 from 3 =5 inches. Join 5 to 2. 6 from 1 =6 inches. Join 6 to 5. 7 from 5 = 4 inches. 8 from 7 = 4 inches. 9 is midway of 7 to 8. Square from 9 to 10 3 inches.
Join 7 to 10 and 8 to 10. Shape from 8 to 1 as indicated . 11 from 8=2 inches. 12 from 11 = 2 inches. 13 is midway of 11 to 12. Square from 13 to 14. Join 11 to 14 and 12 to 14, making the dart 3 inches in length. When the darts are seamed out, the collar will appear as points 15 to 16 and 17. The piece from X to 15, 16
and 17 forms the filled-in stand at the back of the neck, and, when this section is being cut, two seams should be allowed round each sewing edge.
The darts are all sewn out in the indicated marks. Line the collar with canvas and wadding to obtain a stiff foundation for the stand.
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Vintage Sewing Main Page > 1940's > Ladies' Garment Cutting and Making > Chapter XIV Search | Subscribe | Support

by F. R. Morris
Chapter XIVBlouses, Waistcoats, Magyars and Capes

Bolero Coatee Draft
BLOUSES
IN recent seasons the blouse has had a renewed popularity owing to the advent of the very popular sportswear suits combining three-quarter or jacket length coat and skirt with a blouse or jumper to give colour contrast. Modern blouses are far removed from the "shirt blouse" style; instead of that shapeless creation they are feminine in design with draped collars and "puff" sleeves, trimmed with edgings of pleating and generally much more fitting to the figure. Very often blouses can be cut from the dress basis system to satisfy all the requirements of ease, and the fitting waistcoat styles, worn outside the skirt at the waist and fastening down the fronts with buttons, are definitely cut as close in fit as a dress. The basic drafts for blouses will indicate the cutting of both close- and loose-fitting designs to cover the subject completely. The basis for loosefitting blouses will be given first.
Basic Draft for Loose-fitting Blouses (Fig. 179)

Constructed to the measurements as follows, the system does not allow for seams; all parts are cut net.
Chest = 34 inches.
Bust =36 inches. Waist = 27 inches. Natural waist length = 15 inches. Half-back width = 6 inches. Working scale = one-third of the bust girth plus 6 inches = 18 inches.

1 from X = the back depth = one-third of the scale plus 1 inches. 2 from X = the natural waist length = 15 inches. 3 from 2 = 5 inches allowance for ease and tucking under the skirt waistband. Square out from the above points. 4 from X = the back neck width = one-sixth of the scale less inch. Square up from 4 to 5 the height of the back neck point, i.e. inch. Shape the back neck curve from 5 to X. 6 from 1 = the half-back width plus inch for ease. Square up from 6 to 7 on the construction line squared from X. 8 from 1 = the half-bust measure plus 2 inches for ease. Square down from 8 to 9 and 10 on the lines from 2 and 3. Square up from 8 to 11 on the line squared out from X. 12 from 11 = one-twelfth of the scale. Square back from 12 to 13 one-sixth of the scale. The across-chest width from 8 to 14 = half the scale less inch.
The addition of inch to the across-chest width in variation with the dress basis draft is made for a draped effect at the front of the armhole and to give extra width across the chest for ease of movement of the arms.
15 from 14 = one-sixth of the scale plus inch.
The addition of inch to this quantity is explained by the increase of the across-chest width subsequently affecting this point.
16 from 15 = the distance from 8 to 12 less inch. 17 is located on the line squared from 6 to 7. 17 from 7 = 1 inch. 18 from 17 = inch.
Shape the back shoulder seam from 18 to 5 as shown. Join 16 to 18. 19 from 16 = the back shoulder width from 5 to 18 less inch for back shoulder seam ease. Square down from 19 to 20 1 inch. Shape the front shoulder seam from 20 to 16. The sideseam is located at midway of the armhole between 6 and 14 at 21. Shape the front scye as shown, hollowing inch in advance of the line from 14 when shaping from 20 to 21. Shape from 21, to 18 as shown. Square down from 21 to 22 and 23 on the lines from 2 and 3. 24 from 23 = 1 inch. 25 from 23 = 1 inch. Shape the sideseams from 21 to 24 and 25, overlapping as indicated. 26 from 21 = the position of the underarm sideseam dart = one-sixth of the scale from 21. 27 is midway of 14 to 8. 28 from 27 = 2 inches. 29 from 16 = the distance from 16 to 13. Mark the bust dart line from 26 to 28 and shape out the shoulder dart from 28 to 16 and 29. For a round neck line, 30 from 12 = one-sixth of the scale for the size of the neck opening. Shape from 30 to 13. For a V-neck opening make the distance from the back neck X to the front opening at 31 equal to half the total neck opening of 22 inches.
This completes the basic draft for loose-fitting blouses, and the draft for close-fitting blouses and fancy waistcoats will be given next.
Basic Draft for Close-fitting Blouses (Fig. 180)

Measurements for this draft are as for the loose-fitting basis draft.

1 from X = the back depth = one-third of the scale plus 1 inches. 2 from X = the natural waist length = 15 inches. 3 from 2 = 5 inches. Square out from the above points. 4 from X = the back neck width = one-sixth of the scale less inch. Square up from 4 to 5 the height of the back neck curve, i.e. inch. Shape the back neck curve from 5 to X. 6 from 1 = the half-back width net = 6 inches. Square up from 6 to 7 on the construction line squared out from X. 8 from 1 = the half-bust measure plus 1 inch for ease. Square down from 8 to 9 and 10 on the waist and hip lines. Square up from 8 to 11 on the line squared from X. 12 from 11 = one-twelfth of the scale. 13 from 12 = one-sixth of the scale. The across-chest width from 8 to 14 = half the scale less 1 inch as described in the dress basis draft. 15 from 14 = one-sixth of the scale less inch. 16 squared up from 15 = the distance from 8 to 12 less inch. 17 is located on the line squared from 7 to 6. 17 from 7 = 1 inch. 18 from 17 = inch. Shape the back shoulder seam from 18 to 5 as shown. Join 16 to 18. 19 from 16 = the back shoulder width from 18 to 5 less inch. Square down from 19 to 20 1 inch. Shape the front shoulder seam from 20 to 16. The sideseam is located at 21, midway of 6 to 14. Square down from 21 to 22 and 23 at the waist line and hip line respectively. Shape the scye from 20 to 21 and 18, hollowing inch in advance of the line squared up from 14.
25 from 22 = inch. 26 from 22 = inch. Shape the sideseams from 21 to 25 and 23 and from 21 to 26 and 23. Measure from 2 to 27 half the waist size (27 inches plus 3 inches for ease). 28 from 27 = the distance from 25 to 26. 29 from 28 = the quantity taken out in darts or panel seams from the back waist = two-thirds of the distance from 28 to 9. From 29 to 9 is taken out at the front waist under the bust for suppression. 30 from 21 = the position of the sideseam dart = one-sixth of the scale down from 21. 31 is midway of 8 to 14. 32 from 31 = 2 inches. Mark the sideseam dart line from 30 to 32. Shape out the shoulder dart from 32 to 16 and 33, making the distance from 16 to 33 equal to 13 to 16. The round neck opening from 12 to 34 = one-sixth of the scale. Shape from 34 to 13. For a V-neck opening, make the distance from the back neck X to the front opening at 35 equal to half the total neck opening of 22 inches. Shape from 35 to 13 to complete the draft.
For the purpose of familiarizing the reader with the workingout of the system as applied to style-reading, the following drafts will illustrate typical blouse designs as now worn which may be taken as perennial styles.
Blouse with a Yoke Front and Back (Fig. 181)

The blouse depicted by Fig. 181 has an inset yoke at the front and a straight yoke across the back shoulders. The blouse fastens down the fronts with holes and buttons, and the draft illustrates the correct allowances to be made for the
opening to permit the buttons to run centrally down the front. The basic system of this draft is the loose-fitting method illustrated by Fig. 179. Measurements for the draft are as follows

Chest = 34 inches. Bust = 36 inches. Natural waist length = 15 inches. Half-back width = 6 inches. Working scale = one-third of the bust girth plus 6 inches = 18 inches.

1 from X = the back depth = one-third of the scale plus 1 inches. 2 from X = the natural waist length = 15 inches. 3 from 2 = 5 inches. 4 from X = the back neck width = one-sixth of the scale less inch. 5 from 4 = the back neck height = inch. Shape the back neck curve from 5 to X. 6 from 1 = the half-back width plus inch for ease = 7 inches. Square up from 6 to 7 on the line squared out from X. 8 from 1 = the half-bust measure plus 2 inches. Square down from 8 to 9 and 10 on the lines from 2 and 3. Square up from 8 to 11 the distance from X to 1. 12 from 11 = one-twelfth of the scale. 13 squared back from 12 = one-sixth of the scale. 14 from 8 = the across-chest width = half the scale less inch. 15 from 14 = one-sixth of the scale plus inch. Square up from 15 to 16 the distance from 8 to 12 less inch. 17 from 7 on the line from 7 to 6 = 1 inch. 18 from 17 = inch.
Shape the back shoulder seam from 18 to 5. Join 16 to 18. 19 from 16 = the front shoulder width equal to the back shoulder width from 5 to 18 less inch. Square down from 19 to 20 1 inch. Shape the front shoulder seam from 20 to 16. Shape the scye as shown, hollowing inch in front of the scye line up from 14. The sideseam of the blouse is located at 21, half the distance from 6 to 14. Square down from 21 to 22 and 23. 24 from 23 = 1 inch. 25 from 23 = 1 inch. Shape the sideseams from 21 to 24 and 25. 26 is half the distance from 8 to 14. Square down from 26 to 27 2 inches. 28 from 16 = 16 to 13. Shape out the shoulder dart from 27 to 16 and 28. 29 from 12 for the neck opening = one-sixth of the scale = 3 inches. Shape from 29 to 13. The front yoke terminates 3 inches above the waist line at 30. 31 from the breast line = 3 inches and 3 inches back from the centre line from 8 to 29. 32 from 14 = 4 inches. Shape the yoke shoulder seam from 31 to 30 and from 31 to 32, breaking at the shoulder dart lines as indicated at 33 and 34. 33 from 16 = 34 from 28, and when the shoulder dart is closed out the seam run from 31 to 33, 34 and 32 will be continuous. For the front opening, allow inch from 29 to 35 and 30 to 36. Mark the edge from 35 to 36 and then allow an extra 1 inches from 35 to 37 and 36 to 38 for the facing-back of the buttonstand. 39 from 6 = half the back depth from X to 1 for the shape of the back shoulder yoke.
Square across from 39 to 40 at the centre back.
After the shoulder dart from 33 and 16 has been closed to 34 and 28 there will be a surplus quantity in the bodice seam from 31 to 32 indicated at 33 to 34. This quantity may be either gathered or tucked out to agree with the length of the shoulder yoke from 31 to 32 or else reduced as indicated by the dash lines from 41 to the front yoke seam running round to 30.
This completes the draft of a blouse with front and back shoulder yokes. A circular collar of the " Peter Pan" type is usually sewn to the neck.
Shirt Blouse with Raised Shoulder Seams (Fig. 182)

As an example of diverting the position of the shoulder seam to allow the front shoulder of the bodice to be gathered into the seam, Fig. 182 shows a blouse design that will always be fashionable. Cut on severe lines, the front neck opening is formed by an inset button-stand and catch similar to those of a sports shirt. The blouse is fairly close-fitting at the waist, and this effect is achieved by means of front and back waist darts and is drafted by the system illustrated by Fig. 180. Measures for the draft are as follows

Chest = 32 inches. Bust = 34 inches. Waist = 26 inches, increased to 29 inches for the degree of looseness over the tight waist measure. Natural waist length = 14 inches. Half-back width = 6 inches. Working scale = half the bust girth = 17 inches.

1 from X = the back depth = one-third of the scale plus 1 inches. 2 from X = the natural waist length = 14 inches. 3 from 2 = 5 inches. Square out from the above points. 4 from X = the back neck width = one-sixth of the scale less inch. 5 from 4 = the back neck height = inch. Shape the back neck curve from 5 to X. 6 from 1 = half the back shoulder width net. Square up from 6 to 7 on the line squared out from X. 8 from 1 = the half-bust measure plus 1 inch. Square down from 8 to 9 and 10 on the lines squared out from 2 and 3. 11 is squared up from 8 on the line squared out from X. 12 from 11 = one-twelfth of the scale. 13 squared back from 12 = one-sixth of the scale. 14 from 8 = the across-chest width = half the scale less 1 inch. 15 from 14 = one-sixth of the scale less inch. Square up from 15 to 16 the distance from 8 to 12 less inch. 17 from 7 on the line from 7 to 6 = 1 inch. 18 from 17 = inch. Shape the back shoulder seam from 18 to 5. Join 16 to 18. 19 from 16 = the front shoulder width equal to the back shoulder width from 5 to 18 less inch. Square down from 19 to 20 1 inch. Shape the front shoulder seam from 16 to 20. Shape the scye as shown, hollowing inch in front of the scye line squared up from 14.
The sideseam is located at 21, half the distance from 14 to 6. Square down from 21 to 22 and 23 on the waist and hip lines respectively. 24 from 22 = inch. 25 from 22 = inch. Shape the sideseams from 21 to 24 and 23 and from 21 to 25 and 23. 26 is half the distance from 14 to 8. Square down from 26 to 27 2 inches. 28 from 16 = 16 to 13. Shape out the shoulder dart from 16 and 28 to 27 as shown. The neck opening is made one-sixth of the scale from 12 to 29. Mark back inch from 29 to 30 and shape from 30 to 13. The front opening is made 10 inches in length from 29 to 31. Mark back from 31 to 32 inch as indicated. 33 from 31 = 31 to 32. 34 from 29 = inch. Shape from 33 to 34.
This strapping is cut treble and sewn to the front in exactly the same manner as the opening on a sports shirt.
Measure from 2 to 35 half the waist size (29 inches). 36 from 35 = the quantity of suppression reduced from the sideseam at 24 to 25. The back dart suppression takes two-thirds of the surplus from 36 to 9. The front dart takes the remaining one-third from 37 to 9. 38 from 2 = 3 inches. 39 from 38 = the back waist suppression indicated from 36 to 37. 40 from 38 and 39 = 6 inches. 41 from 3 = 4 inches.
Shape out the back waist dart from 41 to 38, 39 and 40, suppressing inch at 41.
The dart is without a seam allowance, so that it must be sewn out as marked or, alternatively, a seam is cut inside the lines from 41 to 38, 39 and 40.
42 from 9 = 3 inches. 43 from 42 = the front waist suppression, as indicated from 37 to 9. 44 from 43 and 42 = 4 inches. Shape out the waist dart from 42 and 43 to 44 and 45 at the bottom edge line. Sew out the dart in the marks.
The reconstruction of the shoulder section takes place by transferring the back shoulder seam 1 inches more forward over the shoulder.
46 from 13 = 2 inches. 47 from 16 = 2 inches. 48 from 28 = 2 inches. 49 from 20 = 2 inches. Shape from 46 to 47, 48 and 49, and then cut this section of the shoulder away from the front bodice and place it in position against the back shoulder seam from 18 to 5 as indicated by points 50 and 51 and the dash lines. The quantity indicated from 47 to 48 is gathered in to the shoulder seam from 50 to 51.
This completes the draft of a shirt blouse.
WAISTCOATS Double-breasted Blouse Waistcoat (Fig. 183)

Fig. 183 illustrates the draft of a doublebreasted blouse waistcoat cut to waist length and finished with
a narrow waistband fastening with a hole and button. The lapels are single-breasted in shape and finished with a tailored collar. Front and back darts suppress the blouse to the waist, and the shoulder dart is eliminated to provide for a sideseam dart under the arms. Measures for the draft are as follows

Chest = 30 inches. Bust = 32 inches. Waist = 26 inches, increased to 28 inches for the degree of ease required. Natural waist length = 14 inches. Working scale = half the bust girth = 16 inches.
To draft Square lines from. X.

1 from X = the back depth = one-third of the scale plus 1 inches. 2 from X = the natural waist length = 14 inches. 3 from 2 = 1 inch for a slightly pouched effect. 4 from X = the back neck width = one-sixth of the scale less inch. 5 from 4 = the height of the back neck curve = inch. Shape from 5 to X for the back neck curve. 6 from 1 = the half-back width = 6 inches applied net. Square up from 6 to 7 on the line from X. 8 from 1 = the half-bust measure plus 1 inch. Square down from 8 to 9 and 10 on the lines squared out from 2 and 3. Square up from 8 to 11 equal to the distance from X to 1. 12 from 11 = one-twelfth of the scale.
13 squared back from 12 = one-sixth of the scale. 14 from 8 = half the scale less 1 inch. Square up from 14 to the line squared out from X. 15 from 14 = one-sixth of the scale less inch. Square up from 15 to 16 equal to the distance from 8 to 12 less inch. 17 from 7 on the line from 7 to 6 = 1 inch. 18 from 17 = inch. Shape the back shoulder seam from 18 to 5. Join 16 to 18. 19 from 16 = the front shoulder width equal to the back shoulder width from 18 to 5 less inch. 20 from 19 = 1 inch. Shape the front shoulder seam from 20 to 16 as indicated. Shape the scye, hollowing inch in advance of the scye line squared up from 14. The sideseam is located at 21, half the distance from 14 to 6. Square down from 21 to 22 and 23. 24 from 22 = inch. 25 from 22 = inch. Shape the sideseams from 21 to 24 and 25, continuing to 26 and 27 on the bottom edge line from 3 to 10. Measure from 2 to 28 half the waist measure plus the distance from 24 to 25. The back waist suppression takes two-thirds of the surplus from 28 to 9, and the front waist suppression takes the remaining third from 29 to 9. 30 from 2 = 3 inches. 31 from 30 = the suppression quantity as indicated from 28 to 29. Square down from 30 and 31 to 32 and 33. 34 from the waist line for the dart length = 6 inches.
Shape out the back waist dart from 32 and 33 to 30, 31 and 34.
The dart is sewn in the marks indicated or, if cut out, a seam must be allowed as shown by the dash lines, and the dart gradually tapered away.
35 from 9 = 3 inches. 36 from 35 = the front waist suppression quantity as shown from 9 to 29. 37 from 35 and 36 = 3 inches. 38 from 10 = inch. Shape from 38 to 27 to locate the termination of the front dart at points 39 and 40. Shape out the front waist dart as shown from 39 and 40 to 35, 36 and 37. Add 3 inches from the centre line to 41 and from 38 to 42 for the double-breasted overlap and shape from 42 to 38. 43 from 13 = -inch collar stand. Line the crease of the lapel from 43 to 41. 44 from 12 = one-sixth of the scale. 45 from 13 = 1 inches. Join 45 to 44, and continue out to 46 the width of lapel required. Shape the gorge run from 46 to 13 and the lapel edge from 46 to 41. 47 is half the distance from 8 to 14. Square down from 47 to 48 2 inches. 49 from 21 = the position of the sideseam dart = one-sixth of the scale from 21. 50 from 16 = 16 to 13. Join 49 to 48 and shape out the bust dart from 48 to 16 and 50.
Manipulate the shoulder dart in the usual manner to produce the sideseam dart by closing 16 to 50 to open the sideseam at 49, pivoting from 48. Mark the dart so obtained
3 inches in length and sew out in the marks.
The draft of the double-breasted waistcoat is completed by drafting the waistband equal in length to the seam from 3 to 42 after the darts have been sewn out, and in width 1 inches plus seams. The collar for this draft is constructed as described for single-breasted lapels in the chapter on Collar Cutting.
Single-breasted Waistcoat Draft (Fig. 184)

The singlebreasted waistcoat drafted in Fig. 184 is very useful for wearing with any two-piece suit. It has a circular collar and plain one-piece sleeves with buttons fastening the fronts down to cut-away points similar to a man's single-breasted waistcoat. Four welt pockets are incidentals, and the waist suppression is achieved by two darts at the front and back and a slotted belt running across the back waist from sideseam to sideseam. Measures for the draft are as follows

Chest = 32 inches. Bust = 34 inches. Waist = 26 inches, increased to 28 inches for ease. Natural waist length = 14 inches. Waistcoat length from the back neck over the shoulder to the front point = 23 inches.
Half-back width = 6 inches. Working scale = half the bust girth = 17 inches.

1 from X = the back depth = one-third of the scale plus 1 inches. 2 from X = the natural waist length = 14 inches. 3 from 2 = the back length from the waist line = 3 inches. Square out from the above points. 4 from X = the back neck width = onesixth of the scale less inch. 5 from 4 = the height of the back neck curve = inch. Shape from 5 to X for the back neck curve. 6 from 1 = the half-back width = 6 inches net. Square up from 6 to 7 on the line squared out from X. 8 from 1 = the half-bust measure plus 1 inch. Square down from 8 to 9 and up from 8 to 10. 11 from 10 = one-twelfth of the scale. 12 squared back from 11 = one-sixth of the scale. 13 from 8 = half the scale less 1 inch. Square up from 13 to the line from X. 14 from 13 = one-sixth of the scale less inch. Square up from 14 to 15 the distance from 8 to 11 less inch.
16 from 7 on the line from 7 to 6 = 1 inch. 17 from 16 = inch. Shape the back shoulder seam from 17 to 5. Join 15 to 17. 18 from 15 = the front shoulder width equal to the back shoulder width from 5 to 17 less inch. 19 from 18 = 1 inch. Shape the front shoulder seam from 19 to 15 as shown. Shape the scye, hollowing inch in front of the scye line from 13. The sideseam is located at 20, half the distance from 13 to 6. Square down from 20 to 21. 22 from 21 = inch. 23 from 21 = inch. 24 from 22 = 3 inches. 25 from 23 = 22 to 24 less inch. Shape from 24 to 3 and from 24 to 22 and 20 for the back sideseam run. Shape from 25 to 23 and 20 for the front sideseam run. 29 from 11 = one-sixth of the scale. Shape the neck curve run from 26 to 12. 27 from 26 = inch button stand. 28 from 9 = inch and 1 inch below the waist line. Measure the back neck width from 5 to X, place the quantity at 12, and apply the waistcoat length measure from 12 to 29. 29 is 1 inches back from the centre line from 26 to 9.
Shape the bottom edge run from 29 to 25, hollowing inch between the two points, and join 29 to 28. Measure from 2 to 30 half the waist measure plus the distance from 22 to 23. The back waist suppression takes twothirds of the surplus from 30 to 9 as indicated by point 31 from 30. The front waist suppression takes the remaining surplus from 31 to 9. 32 from 2 = 3 inches. 33 from 32 = half the quantity shown at 30 to 31. 34 from 33 = 1 inch. 35 from 34 = half the quantity shown from 30 to 31. 36 and 37 are each 5 inches from the waist line for the length of the darts. 38 and 39 are squared down from the waist line. Shape out the two back darts as shown. 40 from 9 = 4 inches for the position of the front dart. 41 from 40 = 2 inches. 42 from 40 = 3 inches. 43 from 41 = 3 inches. Shape out the first dart from 40 to 42, suppressing half the quantity shown from 31 to 9. Shape out the second dart from 41 to 43, suppressing the remaining half of the distance from 31 to 9, and continue each dart to terminate at the bottom edge from 29 to 25 at the points shown. 44 is half the distance from 8 to 13. Square down from 44 to 45 2 inches. 46 for the position of the sideseam bust dart = one-sixth of the scale from 20.
47 from 15 = the distance from 15 to 12. Join 46 to 45 for the dart line and shape out the shoulder dart from 45 to 15 and 47 preliminary to manipulation for producing the sideseam dart by closing 15 to 47, this being achieved by cutting through from 46 to 45 and pivoting from this point. 48 from 2 = 2 inches for the position of the slot in the back waist for allowing the belt to pass under from sideseam to sideseam.
The belt is made 1 to 2 inches in width and is in three parts, being fastened at each sideseam by a hole and button. Mark the top welt 3 inches in length and the bottom 4 inches after the darts have been sewn out. The darts are sewn out in the marks, and should not be cut but p r e s s e d o u t flat.
Bolero Coatee Draft (Fig. 185)

The following draft illustrates a bolero coatee cut very much on the lines of a uniform mess jacket with roll lapels and a link-button fastening.
Though not a blouse, it is worn under a costume jacket and may be classed as a waistcoat. At the back, a side-body seam curves from the shoulder to terminate in a point below the waist in the style of a page-boy's jacket, and this garment may be made without sleeves for wearing over a blouse. Measures for the draft are as follows

Chest = 36 inches. Bust = 40 inches. Waist = 32 inches, increased to 34 inches for ease. Natural waist length = 15 inches. Back length = 19 inches. Half-back width = 6 inches.
The figure chosen for this draft shows an increased prominence of the bust over the normal 2 inches increase, so that two scales are necessary for drafting the pattern. Firstly, ascertain the normal bust girth in proportion to the chest size and calculate the scale of the back shoulder section as usual. In this instance, the normal proportion will be based on a 38-inch bust, and the scale one-third of 38 inches plus 6 inches, i.e. 18 inches. The scale for the front shoulder section to provide for the increased bust prominence is based on the actual bust girth of 40 inches; therefore, one-third of the bust (40
inches) plus 6 inches finds the front shoulder scale as 19 inches.

Working scale (back) = 18 inches. Working scale (front) = 19 inches.
1 from X = the back depth = one-third of the scale (18 inches) plus 1 inches. 2 from X = the natural waist length = 15 inches. 3 from X = the full coatee length =19 inches. 4 from X = the back neck width = one-sixth of the scale (18 inches) less inch. 5 from 4 = the height of the back neck curve = inch. Shape the back neck curve from 5 to X. 6 from 1 = the half-back width of 6 inches net. Square up from 6 to 7 on the line squared out from X. 8 from 1 = the half-bust measure plus 1 inch. Square down from 8 to 9 on the waist line. Square up from 8 to 10 onethird of the scale (19 inches) plus 1 inches. This shows an increase of length to provide for the increased contour capacity of the bust prominence.
11 from 10 = one-twelfth of the scale (19 inches). 12 from 11 = one-sixth of the scale (19 inches).
The next consideration is that of the across-chest width. The across-chest width for a normal 38-inch bust girth is one-fourth of the bust measure less 1 inch, i.e. 8 inches. The across-chest width for a normal 40-inch bust girth is one-fourth of the bust measure less 1 inch, i.e. 9 inches. The across-chest width of a figure showing a 4-inch increase of bust girth over the actual chest girth is greater than the width for a normal 40-inch bust girth as the increase to 40 inches does not take place proportionately throughout the circumference of the figure; instead, it is greater at the front, as delineated by the half-back width remaining the same as for a 38-inch bust. On the other hand, the across-chest width does not increase the total increase of the half-bust circumference,
namely, 1 inch; otherwise, the scye width would remain the same as for a normal 38inch bust girth. The author calculates the increase over the normal across-chest width for a 40-inch bust girth to be two-thirds of the difference between the normal width for a 38-inch bust and the normal width for the increase in bust circumference to 40 inches, added to the normal 40-inch bust width. For clarity, this is indicated on the draft as follows
13 from 8 = the normal across-chest width for a 38-inch bust circumference = 8 inches. 14 from 8 = the acrosschest width for the increased bust girth of 40 inches = 9 inches. 15 from 14 = two-thirds of the difference shown between 13 and 14. 16 from 15 = 3 inches less inch for all sizes of bust over 36 inches. 17 from 16 = the distance from 8 to 11 less inch. 18 from 7 on the line from 7 to 6 = 1 inch.
19 from 18 = inch. Shape the back shoulder seam from 19 to 5. Join 17 to 19. 20 from 17 = the front shoulder width equal to the back shoulder seam from 19 to 5 less inch. Square down from 20 to 21 1 inch, and shape the front shoulder seam from 21 to 17. Shape the scye as shown, hollowing inch in advance of the line from 15. The sideseam is located at 22, half the distance from 15 to 6. Square down from 22 to 23. 24 and 25 are each inch from 23. The termination of the sidebody seam at the back scye and also the back-sleeve pitch are located at 26, half the back depth from X to 1 up from point 6. 27 from 2 = one-eighth of the scale or the width of panel desired. 28 from 1 = 1 inch more than 2 to 27. 29 from 27 = inch less than 2 to 3. Shape the sidebody seam from 3 to 29 and from 29 to 27, 28 and 26 in a graceful curve.
Measure from 2 to 30 half the waist measure plus the distance from 24 to 25. 31 from 30 = half the distance from 13 to 15 which is reduced below the bust prominence in the panel seam.
The surplus quantity shown between 31 and 9 is divided up by the back waist suppression taking twothirds of the surplus, and the front waist suppression the remaining one-third from 32 to 9.
33 from 27 = the back waist suppression equal to the distance from 31 to 32. 34 from 33 = 27 to 29 and is inch nearer 29 than 33 is from 27. 35 from 25 = 1 inches. 36 from 24 = 1 inches. Shape the sideseams from 35 to 25 and 22 and from 36 to 24 and 22. Shape from 35 to 34 and from 34 to 33 and 26, suppressing inch at 28.
37 is half the distance from 8 to 15. 38 from 17 = inch. 39 from 9 = 4 inches for the position of the front panel seam at the waist line. 40 from 39 = half the quantity shown between 13 and 15. 41 from 38 = the distance shown between 17 and 12. Shape out the bust dart and panel seams from 38 to 37 and 39 to 44 and from 41 to the bust point 2 inches below 37 and 40 to terminate at 45 on the bottom edge run from 43. Add inch for the front edge from 9 to 42, 1 inches above the natural waist line. 43 from the waist line = 4 to 5 inches and 1 inch back from the centre line. Shape the bottom edge run from 43 to 44, 45 and 36, breaking at the suppression lines as shown. 46 from 11 = one-sixth of the scale. Shape the neck curve from 46 to 12. 47 from 12 = inch collar stand. Draw the crease line of the lapel from 47 to 42.
48 from 12 = 1 inches. Line from 48 through 46 to 49, making the width of the lapel to taste. Shape the lapel from 42 to 49 and the gorge run from 49 to 46 and 12. Take out the remaining third of suppression from the dart at 50 3 inches from the sideseam and 4 inches in length to 51. Shape out the dart to the bottom edge at 52 to complete the draft.
The facing for the lapels is cut as indicated in the chapter on Collar Cutting, i.e. in one piece with the collar, and seamed at the centre back neck, whilst the under-collar is cut in the usual manner.
MAGYARS The Magyar Problem and Its Relation to Blouse Design

The magyar design is an exceedingly popular vogue at all seasons, and in recent months this feature has been very much to the fore of fashion owing to the square-shouldered styles necessitating width about the shoulders.
For dresses and blouses, the magyar cut is intensely feminine and productive of a very chic effect by accentuating with width and drapery about the shoulders the comparative slenderness of a closely-moulded hip line. The author has designed many dresses with the magyar bodice and sleeve and with a perfectly plain skirt, giving an extremely slender effect to the figure. He does not wish to quote film fashions as an example of style, but we know that the finest designers in the dress world are designing for the screen, and he has noticed that the magyar style is featured to a great extent. No doubt it is like many other style features of the old days, and is taking on a new and more fashionable lease of life under modern treatment and cut. With the improvement in cutting knowledge, many of the styles of our mothers and grandmothers would present an unrecognizable chic effect cut and made
by modern methods and also, more important, worn by the typically smart modern woman. The folds at the front and back of the armhole inseparable from magyar design are welcomed by the wearer these days as part of the attractiveness of the dress, and she would not have them removed to obtain more of a closer-fitting sleeve. A fitting magyar is an impossibility, and rightly so, for the charm of a magyar lies in the draped effect presented by the sleeves when the arms are at the side. The problem in magyar design is to provide for movement of the arms above the horizontal position when the arms are outstretched from the shoulders. With some magyar designs provision for movement can be allowed by the insertion of what amounts to a "wedge" or "gusset" at the sideseams under the arms, but if a true magyar sleeve and shoulder are required this cannot be achieved.
When designing dresses of this character, the author always endeavours to have a seam running from the shoulders to under the arm at the sideseam where the sleeve terminates, so as to allow extra length in the underpart of the sleeve for movement of the arms. Maybe the result cannot be called a true magyar as defined by the rule that a magyar consists of the bodice and sleeve in one whole piece, but in his opinion the design of the garment is more important than adherence to a standardized idea of what constitutes a magyar. The magyars of the old days were shapeless monstrosities with no redeeming features of design, and the modern idea of adding seams purely for their effect is a feature whereby the ability of the cutter is taxed to the utmost in the interpretation of intricate designing. In considering the drafting of a magyar base pattern, the first essential
is to find the centre of the shoulder to ensure that the shoulder seam of the bodice is in this position; for the centre of the shoulder is exactly the centre shoulder seam of the sleeve, and to balance the sleeve perfectly the sleeve should be divided equally each side of the shoulder seam. The location of the shoulder seam exactly in the centre of the shoulder applies equally to coats, dresses and blouses and forms the standard var iati on.
Th e Ma gy ar Ba sis for Blouses and Other Garments (Fig. 186)

To illustrate the magyar basis draft, a blouse bodice is used and the reconstruction of the shoulder section superimposed thereon. Drafted to a 36-inch bust
girth, the subsidiary measures are as follows

Chest = 34 inches. Bust = 36 inches. Natural waist length = 15 inches. Half-back width = 6 inches. Working scale = half the bust girth = 18 inches.
1 from X = the back depth = one-third of the scale plus 1 inches. 2 from X = the natural waist length = 15 inches. 3 from 2 = 5 inches for the full length from X.
In the drafting of magyars, the half-back width is of little importance, but, to prevent any misunderstanding, the construction line is indicated.
4 from 1 = the half-back width plus inch as for blouses.
Square up from 4 to 5 on the construction line from X. Square out from 1 to 6 half the bust measure plus 2 inches. This allowance of 2 inches over the half-bust measure is the standard addition for loose-fitting blouses. Square down from 6 to 8 and 9 and up from 6 to 7 on the line squared out from X.
To locate the centre of the shoulder to make the sleeve exactly balanced, the position of the back neck curve must be considered with the location of the front neck point and the height of the front shoulder neck point from the breast line.
The addition of 3/8 inch to the height of the back shoulder and a reduction of 3/8 inch from the front shoulder neckpoint height locate the centre of the shoulder in the draft for a 36inch bust girth. Practically speaking, the centre of the shoulder is located by the difference between the height of the back neck point and the height of the front neck point from the breast line when the back and forepart are laid together. The height of the back neck point from the neck balance line is always inch for dresses and blouse drafts and 1 inch for coats, while the front
neck point is always onetwelfth of the scale above the same neck balance line. Therefore, the centre of the shoulder must be half the difference between inch and one-twelfth of the scale above the neck construction line. The raising of the back neck point necessitates an increase in the width of the back neck curve and a reduction in the width of the front neck curve. An addition of 1/8 inch to the back neck curve width and 1/8 inch reduction of the front neck curve width are made.
Therefor e, 10 from X = onesixth of
the scale less 1/8 inch.
11 from 10 = the usual back neck height of inch. 12 from 10 = the usual addition of onetwelfth of the scale made to the length of front shoulder. 13 from 12 is half 11 to 12 for the position of the centre of the shoulder. Shape the back neck curve from 13 to X. 14 from 7 = the distance from 10 to 13. 15 squared back
from 14 is equal to the distance from X to 10.
16 from 14 = onesixth of the scale less 1/8 inch for the front neck curve. Shape the front neck curve from 16 to 15. The acrosschest width does not count for much value as the sleeve and bodice are cut in one piece. Square up from 17 to 18.
It is necessary to have the sideseam exactly in
the centre of the draft so that the sleeve is balanced, i.e. equal in width from the centre of the shoulder to the centre of the underarm.
Squa re up from 19 to 20 and dow n from 19 to 21 and 22. The shou lder slop e is locat ed at 23, onethird of the scale plus inch from 19.
T h e s h o u l d e r s e a m f r o m 1 5 t o 2 3 w i l l l i e e x a c t l y o v e r
t h e s h o u l d e r s e a m f r o m 1 3 t o 2 3 w h e n t h e p a t t e r n i s
c u t t h r o u g h f r o m t h e s i d e s e a m a n d o v e r l a p p e d .
Point 24 indic ates the dang
erpoint abov e whic h the unde rpart of the sleev e shou ld not be raise d.
This complete s the basic outline of the magyar d r a f t .
C o ntinuati on of the Magyar Basis Draft
(Fig. 187)
To draft Squ are from X.
1 f r o m X = t h e b a c k d e p t h = o n e t h i r d o
f t h e s c a l e p l u s 1 i n c h e s .
2 f r o m X = t h e n a t u r a l w
a i s t l e n g t h = 1 5 i n c h e s .
3 f r o m 2 = 5 i n c h e s f o r t h e
f u l l l e n g t h o f t h e b l o u s e .
4 f r o m 1 = t h e h a l f b a c k
w i d t h p l u s i n c h .
S q u a r e u p f r o m 4 t o 5 o n t h e c
o n s t r u c t i o n l i n e f r o m X .
6 f r o m 1 = h a l f t h e b u s t g i
r t h p l u s 2 i n c h e s .
S q u a r e u p f r o m 6 t o 7 o n t h e l i
n e s q u a r e d o u t f r o m X a n d d o w n t o 8 a n d 9 o n t h e l i
n e s f r o m 2 a n d 3 r e s p e c t i v e l y .
1 0 f r o m X = o n e s i x
t h o f t h e s c a l e l e s s 1 / 8 i n c h .
1 1 f r o m 1 0 = o n e t w e
l f t h o f t h e s c a l e l e s s 3 / 8 i n c h .
1 2 f r o m 7 = t h e d i
s t a n c e f r o m 1 0 t o 1 1 .
1 3 f r o m 1 2 = o n e s i x t h o f t h e
s c a l e l e s s 1 / 8 i n c h .
1 4 f r o m 6 = o n e f o u r t h o f t h e
s c a l e l e s s i n c h .
S q u a r e u p f r o m 1 4 t o 1 5 .
1 6 i s
m i d w a y o f 1 t o 6 .
S q u a r e u p f r o m 1 6 t o 1 7 a n d d o w n
f r o m 1 6 t o 1 8 a n d 1 9 .
2 0 f r o m 1 6 = o n e t h i r d o f t h e
s c a l e p l u s i n c h .
L i n e t h e s h o u l d e r s e a m a n d s l e e
v e f r o m 1 3 t o 2 0 a n d 1 1 t o 2 0 .
2 1 f r o m 1 6 = 1 i n c
h e s .
L i n e t h e s h o u l d e r t h r o u g h f r o m 1 3 t o 2 0 a n d o u
t t o 2 2 t h e f u l l s l e e v e l e n g t h .
L i n e t h r o u g h t h e b a c
k s h o u l d e r a n d s l e e v e s e a m f r o m 1 1 t h r o u g h 2 0 t o 2 4
e q u a l i n l e n g t h t o t h e s e a m f r o m 1 3 t o 2 2 .
S q u a r e
b a c k f r o m 2 2 t o 2 3 , t h e c u f f w i d t h , o n e f o u r t h o f t h e
s c a l e .
S q u a r e b a c k f r o m 2 4 t o 2 5 o n e f o u r t h o f t h e
s c a l e .
D r a w t h e u n d e r s l e e v e c o n s t r u c t i o n l i n e s f r
o m 2 1 t o 2 3 a n d 2 1 t o 2 5 .
2 6 f r o m 2 1 = 2 i n c h e s .
S h
a p e t h e u n d e r s l e e v e s e a m s f r o m 2 6 t o 2 3 a n d 2 5 , h o
l l o w i n g i n c h b e t w e e n 2 1 a n d 2 3 a n d 2 1 a n d 2 5 .
S h
a p e t h e s i d e s e a m s f r o m 2 6 t o 1 9 a n d , i f m o r e f u l l n e s
s i s r e q u i r e d , s p r i n g t h e b a c k s i d e s e a m o u t t o 2 7 a n
d t h e f r o n t s i d e s e a m o u t t o 2 8 .
2 9 f r o m 1 2 = o n e s i x
t h o f t h e s c a l e l e s s i n c h .
S h a p e t h e f r o n t n e c k c u
r v e f r o m 2 9 t o 1 3 t o c o m p l e t e t h e d r a f t .
M a g y a r
Draft in Onepiece Form (Fig. 188)

T o draft the magy ar showi ng the back and forep art sectio ns of the bodic e overl aid with the shoul der seam s in align ment, proce ed as
follow s. M easur emen ts for the draft are
C h e s t = 3 4 i n c h e s .
B u s t = 3 6 i n c h e s
N a t u r a l w a i s t l e n g t h = 1 5 i n c h e s .
S l e e v e l e n g t h
f r o m n e c k t o w r i s t o v e r t h e s h o u l d e r = 2 6 i n c h e s
W o r k i n g s c a l e = h a l f t h e b u s t g i r t h = 1 8 i n c h e s
T o dr aft S qu ar e lin es fr o m X.
1 f r o m X = o n e t h i r d o f t h e
s c a l e p l u s 1 i n c h e s f o r t h e b a c k d e p t h .
2 f r o m
3 f r o m
2 = 5 i n c h e s f o r t h e f u l l b l o u s e l e n g t h .
4 f r o m X
= o n e t w e l f t h o f t h e s c a l e .
5 f r o m X = i n c h o r
t h e h e i g h t o f t h e b a c k n e c k p o i n t .
6 i s m i d w a y o
f 5 t o 4 .
S q u a r e o u t f r o m 6 t o 7 o n e s i x t h o f t h e
s c a l e l e s s 1 / 8 i n c h .
S q u a r e o u t f r o m 1 t o 8 o n e -
f o u r t h o f t h e b u s t g i r t h p l u s i n c h .
S q u a r e d o w n
f r o m 8 t o 9 a n d 1 0 o n t h e l i n e s s q u a r e d o u t f r o m
2 a n d 3 .
S h a p e t h e b a c k n e c k c u r v e f r o m X t o 7 .
1 1 f r o m 8 = o n e t h i r d o f t h e s c a l e p l u s i n c h .
L i n e t h r o u g h t h e s h o u l d e r a n d s l e e v e f r o m 7 t o 1 1
a n d 1 2 t h e f u l l s l e e v e l e n g t h , i . e . 2 6 i n c h e s .
1 3
f r o m 8 = 1 i n c h e s .
S q u a r e b a c k f r o m 1 2 t o 1 4 o n
e f o u r t h o f t h e s c a l e .
J o i n 1 3 t o 1 4 a n d s h a p e t h
e s l e e v e f r o m 1 4 t o 1 5 2 i n c h e s b e l o w p o i n t 1 3 , h o
l l o w i n g i n c h .
1 6 f r o m 9 = i n c h .
S h a p e t h e s i d
e s e a m f r o m 1 0 t o 1 6 a n d 1 5 .
1 7 f r o m 6 = o n e s i x t h
o f t h e s c a l e l e s s i n c h .
S h a p e t h e n e c k c u r v e t
o c o m p l e t e t h e d r a f t .
T h e b a c k w a i s t s u p p r e s s i o n t a k e s t w o t h i
r d s o f t h e s u r p l u s f r o m 1 8 t o 2 a s i n d i c a t e d f r o m
1 8 t o 1 9 .
T h e f r o n t w a i s t s u p p r e s s i o n i s i n d i c a t e
d f r o m 2 t o 1 9 .
T h i s c o m p l e t e s t h e d r a f t i n
g o f t h e m a g y a r b l o u s e i n a n o v e r l a p p e d
f r o n t a n d b a c k f o r m .
M a g y a r B l o u s e B a s i s
D r a f t w i t h a S e a m f r o m S h o u l d e r t o S i d e
s e a m ( F i g . 1 8 9 )
M o d e r n m a g y a r d e s i g n u s u
a l l y i n c o r p o r a t e s a s e a m f r o m t h e s h o u l d
e r t o t h e s i d e s e a m t o e n a b l e a n e x t r a a m
o u n t o f " l i f t " t o b e i n f u s e d i n t h e s l e e
v e . T h i s s e a m t a k e s t h e f o r m o f d e s i g n r
a t h e r t h a n a n y s p e c i f i e d p o s i t i o n a n d m a
y b e d i v e r t e d a t w i l l , t h o u g h a l w a y s t e r
m i n a t i n g a t t h e s i d e s e a m t o d e f i n e t h e a
c t u a l s c y e l e v e l . F i g . 1 8 9 i l l u s t r a t e s t
h e d r a f t o f a m a g y a r b l o u s e s h o w i n g t h e
a d d i t i o n o f m o r e " l i f t " i n t h e s l e e v e . T
h e d e s i g n i s v e r y p l a i n , y e t s m a r t , a n d
t h e a u t h o r h a s s e e n n u m b e r s o f b l o u s e s m
a d e u p i n t h i s m a n n e r . T h e s c y e i s l o w e r
e d h a l f w a y t o w a r d s t h e w a i s t l i n e f o r a
d e e p s c y e e f f e c t , a n d t h e f r o n t s f a s t e n
a l l t h e w a y d o w n t o t h e b o t t o m e d g e w i t
h h o l e s a n d b u t t o n s . M e a s u r e s f o r t h e d r
a f t a r e a s f o l l o w s
C h e s t = 3 4 i n c h e s .
B u s t =
3 6 i n c h e s .
N a t u r a l w a i s t l e n g t h = 1 5 i n c h e s .
F u l l
b l o u s e l e n g t h = 2 0 i n c h e s .
S l e e v e l e n g t h f r o m t h
e n e c k t o t h e w r i s t = 2 7 i n c h e s .
W o r k i n g s c a l e =
h a l f t h e b u s t g i r t h = 1 8 i n c h e s .
T o d r a f t S q u
a r e f r o m X .
h e
b a c k i s c u t o n t h e f o l d a n d s t r a i g h t o f
t h e m a t e r i a l , a n d t h e s l e e v e i s c u t w i t
h o u t a s e a m o v e r t h e a r m i n o n e p i e c e . I
t i s q u i t e a g o o d p l a n t o c u t t h e s l e e v e
o n t h e b i a s o f t h e m a t e r i a l a s i t w i l l
f a l l m u c h m o r e s o f t l y a n d p r o v i d e m o r e f
r e e d o m o f m o v e m e n t t h a n i f i t i s c u t o n
t h e s t r a i g h t .
M a g y a r D r e s s w i t h a n I n s e t
S l e e v e ( F i g . 1 9 0 )
h e a c c o m p a n y i n g d r a f
t i l l u s t r a t e s a s m a r t m a g y a r d r e s s d e s i g
n i n c o r p o r a t i n g a s e t i n m a g y a r s l e e v e w
i t h d a r t s a t t h e w r i s t t o g i v e a p o u c h e d
e f f e c t a t t h e e l b o w . A " c o w l " n e c k l i n e
i s i n s e t a t t h e f r o n t f r o m a h i g h w a i s t
s e a m , a n d p a n e l s e a m s o n t h e s k i r t h a r m
o n i z e i n d e s i g n w i t h t h e s h a p e o f t h e s l
e e v e s e a m s f r o m t h e s h o u l d e r t o t h e s i d e
s e a m s . F u l l n e s s i n t h e s k i r t i s a c h i e v e d
b y m e a n s o f k n i f e p l e a t s , c u t i n o n e w i
t h t h e p a n e l s a n d s t i t c h e d d o w n t o t h e k
n e e l e v e l .
e a s u r e m e n t s f o r t h e d r a f t a r
e a s f o l l o w s
o d r a f t
q u a r
e f r o
m X .
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Vintage Sewing Main Page > 1940's > Ladies' Garment Cutting and Making > Chapter XV Search | Subscribe | Support

by F. R. Morris
Chapter XVTrousers, Shorts, Plus-Fours, Ski-ing Trousers, and Riding Breeches
THE increased popularity of trousers arid shorts for sports, holiday, and general wear has focused much attention on these nether garments. In the lay Press many professed critics have given their views on the suitability or otherwise of bifurcated garments when worn by the feminine figure. In the majority of comments, emphasis has been laid on the rather untidy appearance presented at the back of these garments over the hips in comparison with a well-cut skirt. Now there is a reason for this criticism, and it is justified by the majority of the garments seen. The suggestion of untidiness which has called forth unfavourable comment is the fault of the cutter, and the cutter alone. This may seem rather a hard statement, but it is fully justified. We have only to look around at trousers in general, apart from those cut for women, to see in these garments an equally untidy appearance at the seat. Like every other section of garment cutting, trousers cutting is still carried out on the same lines as those applicable perhaps ten to twenty years ago. With men's trousers cutting, this may not be such a mistake, but in cutting ladies' trousers and shorts, or for that matter any garments of this character, we have to take into account the remarkable change in the contours of the feminine figure in the last few years. The change may not be so pronounced in elderly women, but in those most likely to wear shorts and trousers, in other words the younger generation, the change of figure is very pronounced. The author has a cutting book and in it the proportionate hip size for a 26-inch waist girth is given as 42 inches. Another cutting book gives a waist girth of 24 inches to agree with a hip circumference of 40 inches. The modern woman in proportion to the former example would probably at the most measure 37 inches over the hips, and, in the latter instance, most of the women of 24 inches waist circumference the author has measured have been about 35 to 36 inches over the hips. These are not isolated instances; in the majority of cases hip measurements these days are from 3 to 5 inches less in proportion to given waist girths than those appertaining fifteen to twenty years ago. Obviously, a cutting system arranged for the former proportions would be seriously out of gear when adapted to the modern proportions, but, as well as this inexactitude, there is a fallacy in the minds of cutters that ease of
movement in shorts and trousers or similar garments can only be achieved by the addition of ample folds of material wedged into the seat seam over the hips, to be kept in reserve for all possible movements of the trunk and legs! One would visualize women as continually stooping to pick up pins from the floor by the exaggerated allowances of material infused into shorts and trousers. The modern woman is, however, becoming more conscious of the appearance presented by her garments in wear, and over matters of style she knows as much or more than the tailor or dressmaker. She usually knows what she wants and expects the maker to interpret her wishes to the letter. The days are past when the tailor or dressmaker could lead the client away from "sticky" points; the author, for one, is pleased over this, for nothing acts more as a spur to endeavour than the attaining of an apparent impossibility. He has been told that it is impossible to have freedom of movement in trousers and shorts without this surplus untidy mass of material lying over the hips. He must disagree with this idea, and his designs of the trouser-skirt and shorts-skirt prove definitely that it is possible and, what is more, practical to cut these garments without all this excessive reserve of material. Old ideas die hard and this allowing for stooping is one of the oldest and hardiest. Admittedly, it is advisable to allow a slight increase of length in the seat seam, but nowhere nearly as much as usually allowed, and it is pleasing to see that some of the brighter and perhaps younger members of the trade are experimenting with much less provision allowances than they have been taught to make. Experience is only of use if it is modern and consonant with the times. We can admire an elderly cutter who really is not afraid to scrap all his established ideas and branch out in new paths, but unfortunately the majority of cutters are slow to learn new systems and prefer to practise outof-date methods and have the painful necessity of making alterations than to learn from the younger generation. Recently the author was in conversation with a stranger on the top of an omnibus. He was an elderly man of perhaps sixty or so years, and, as most men do when talking to someone considerably younger than themselves, he spoke of the terrific increase of movement of the modern world in comparison with that in his young days. But the gem of his conversation was that he remarked, more or less as follows: "I just can't stand men of my age who will insist on talking about their many years of experience when
speaking to a younger man. They just bore me, and I am glad to get away from them, for their trouble is that the experience they are so proud of is really many years old and quite out of touch with modern ideas. After all, experience is of no value unless it is up with the times, and I, for one, am glad I am living in these days, for there is always something new coming out." But the final touch was perhaps the most amusing; he remarked that "in all probability when he was buried he would be wrapped up in a shroud of some new-fangled cut!" A refreshing outlook for a man of his years and one very welcome in these days when the tendency is for age to decry youth. But to return to the more serious subject after this diversion. The factor that governs free movement is that of stride-room or length from back to front between the insides of the thighs. If there is insufficient distance from back to front in the fork quantity no amount of surplus material in the seat seam will allow the garment to permit the wearer either to walk or to bend freely; every time the legs moved forward, restriction would be felt round the thighs. Providing we have sufficient allowance in the fork quantity for stride-room, we can practically ignore making additions of surplus material in the seat seam for walking or stooping. The looseness of the fork provides for both actions of the trunk and legs. In the drafts of trouser-skirts and shorts-skirts no provision has been made for stooping by allowing a surplus quantity in the seat seam; only when the garment is required to fit very closely round the thighs is an addition of extra length really indispensable. In the days when men's trousers were cut very tight at the thigh, knee and bottom edge a greater addition of surplus length in the seat seam was essential; whereas to-day, with the wide-cut legs, less surplus length is needed, and the garments do not restrict the free movement of the limbs to such an extent. The width of the legs to which modern trousers and shorts are cut permits of free movement of the legs almost independently of the garment, which fits at the waist only. In the author's opinion, the fault lies in the adaptation of breeches systems to the cutting of trousers and shorts, owing to these garments being a modern innovation, with the result that they are in a trial-by-experiment stage. In the cutting of breeches and jodhpurs, the allowance for stooping has a definite purpose, for the position of the rider on
the horse approximates to a stooping position all the time, and it does not matter greatly how the breeches appear when the rider is off the horse. The allowance for stooping added to the length of the seat seam is called the "seat angle," which means the angle of divergence from the perpendicular of the seat seam which, when returned to the perpendicular, produces a certain quantity of length and contour shape in a similar manner that the bust dart produces contour shape over the bust. The seat angle is bound up with waist suppression, for the reduction of the waist by means of darts produces contour shape in a similar manner to the seat-angle principle. But darts only produce shape and not length, and to provide for more length in the seat seam this must be added to the shape provided by the closing-out of the waist darts.
Fig. 198 (a)

Fig. 198 (a) represents the back section of the trouser-skirt basis draft with three darts marked to reduce the waist correctly to the finished size. Now it must be seen that to increase the length of the seat seam from 1 to 4 and 2, it will be necessary to insert a wedge of material in the line from 4 to 5 and 6, the most prominent part of the seat. Again, if the back waist suppression darts are scientifically correct, and they are closed out by the pattern being cut through from 4 to 6 and 7, the resultant wedge of material inserted at 4 to nothing at 7 will be the same, no matter whether three or one dart is closed out of the waist seam. Therefore, the waist suppression governs the seat angle to a great degree in its fundamental principles. If we do not close out all the darts at the waist, a consequent reduction of length in the seat seam will be manifest, while, conversely, if all the darts are closed out, the increase of length in the seat seam will be at its greatest extent. The point is that a varied number of seat angles are available, from the "straight" angle giving less length but more contour shape by larger waist darts, to the more "crooked" seat angle giving most length but less shape as there are no darts to infuse the same; or else a reduction of the length of the waist darts would give a correspondingly easier-fitting garment over the seat, as the inset wedge would be placed higher up in the seat seam. The correct seat angle can be determined by
practical experiment and the size of the waist governs this angle; a larger waist than normal would, by reducing less from the back waist darts, produce a seat angle less acute than that of a waist circumference disproportionately smaller than normal in comparison with the seat girth. The seat angle ultimately decided as correct is subject to variation for special purposes, as when adapted for breeches or jodhpurs to give an increased quantity of length for the position in which the wearer is usually seated. For obvious reasons, a garment cut to present a clean appearance at the seat when the wearer is standing will be unsuitable if the wearer spends most of her time in a seated position. One might just as well state that an ordinary set-in sleeve is suitable and the nearest to perfection for a person addicted to strap-hanging in tube trains! Cutting is not a matter of rigid adherence to rules, but an adaptation of system to the purpose of creating garments to agree with the use to which they are put and to present an appearance of fit at the same time.
Figs. 198 (b), (c), and (d)

Figs. 198 (b), (c), and (d) show respectively the effect of closing out two waist darts, all the darts, and one slightly larger dart to obtain correspondingly three different seat angles, each, however, pivoting from an identical point on the vertical seat seam from 1 to 2 at 4. Now if a line is taken through 1 to 4, it will intersect the horizontal seat line from 3 to 2 at point A in Fig. 198 (b). In Fig. 198 (c) the intersection will be higher up at B from A, giving a greater angle and more length from 4 to 4, whereas in Fig. 198 (d) the reverse is seen and the intersection is at C. The point where the line intersects the vertical from 3 to 2 is denoted by X in each of the above illustrations. Consequently, if the waist size is smaller or, in other words, the quantity reduced by the back waist darts is greater, the angle in each instance will be more acute; the converse follows in the event of a disproportionately larger waist circumference. Therefore, if point A remains constant, to achieve the greater angle for a smaller waist girth, point X must recede more towards point 3 and, conversely, to decrease the angle and to allow for a greater waist girth, reducing less from the back waist darts, point X must be placed at a greater distance from 3.
Of the three different diagrams, Fig. 198 (b) is the most effective in practice, giving a clean-hanging garment with ample freedom of movement achieved by the easy fork allowance. The fork quantity is that amount necessary to cover the insides of the thighs between the legs. It is an addition to the overall seat girth and is derived from the seat circumference. For additional ease of movement the fork quantity is increased from the required amount at the top of the leg seam to run into the original leg seam in a gradual curve. Separate from the fork quantity is the addition made for stride-room. We could cut a garment fitting the figure perfectly by making no provision for stride, and this garment would be satisfactory until the wearer moved and then it would restrict the pivoting movement of the legs immediately. So an addition to the close fork quantity is made for stride-room. Of course, if the garment is not in close proximity to the limbs, a certain amount of freedom can be obtained without stride provision, but when the garment is close to the limbs it is necessary to have this quantity in direct proportion to the freedom desired. As has been stated previously, modern trousers and shorts do not restrict the limbs by being close-fitting at the thigh and knee, so the strideroom factor becomes also useful as a means of providing ease throughout the garment in wear.
TROUSERS CUTTING Preliminary Trousers-cutting System (Fig. 199)

The preliminary trousers system illustrates the drafting of the topsides. The tops are plain without pleats, but with a dart suppressing the waist over the prominent hip bone in front. The measures for trousers are taken by seating the customer on a chair and then measuring up from the chair seat to the point where the tops of the trousers are required in the waist. The sideseam length is taken from the same point at the waist to the length desired, and the difference between the two measurements is calculated as the length of leg. Waist and seat measures are taken in the usual manner, the waist fairly tightly and the seat measure easy. Widths of leg at the knee and the bottom are a matter of style and subject to variation each season.
Measures for the preliminary draft are as follows

Waist = 26 inches. Hips = 37 inches. Sideseam length = 40 inches. Body rise, measured from the chair level to the waist line = 11 inches. Leg length is the difference between the body rise and the sideseam length = 28 inches. Knee width = 25 inches. Bottom width = 24 inches.
The last two measures are ample in width for all ladies' trousers except for, perhaps, beach pyjamas.
Working scale = half the hip measure = 18 inches.
To draft Commence by drawing the construction line from X.

1 from X = the body-rise quantity plus inch for turning in the tops. 3 from X = the total sideseam length = 40 inches plus inch. The knee position is located at 2, half the distance from 1 to 3 plus 2 inches from 3. Square out from the above points. 4 from X = the hip level = 8 inches below the waist line. 5 from 1 = one-fourth of the seat measure plus inch for two seams. Square up from 5 to 6 to intersect the line squared out from X. The front fork quantity from 7 to 5 = one-sixth of the scale plus inch. 8 from 5 = inch. Join 8 to 6. 9 from 5 = one-sixth of the scale. Square down from 9 to locate points 10 and 11 on the knee and bottom lines. 12 from 10 = one-fourth of the knee measure net. 13 from 11 = one-fourth of the bottom measure. 14 from 11 = one-fourth of the bottom measure.
15 from 10 = one-fourth of the knee measure. Line from 4 to 16. Measure from 6 to 17 one-fourth of the total waist circumference plus inch for seams. 18 from 17 = inch for a dart at the front waist. 19 from 6 = inch.
The above are the construction points of the top-sides and to superimpose the lines proceed as in the second diagram in Fig. 199.

Shape the fork run from 19 to 7 in a gradual curve, making point 20 from 8 equal to half the distance from 5 to 7 as a guide point. Shape the inside leg seam from 7 to 15 and 14 and the bottom edge run from 14 to 13. Shape the sideseam from 18 to 4 and continue down to 12 and 13 from 4. Shape the waist line from 18 to 19 and reduce the quantity shown from 17 to 18 from the dart at 21, making the dart 6 inches in length to point 22.
This completes the draft of the trousers topsides. THE UNDERSIDES To produce the draft of the undersides (Fig. 200), the location of the seat angle is decided and fixed as onefourth of the waist measure up from 5 on the line from 5 to 19.
23 from 5 for the seatangle location = one-fourth of the waist measure = 6
inches.
For trousers intended
for walking and
smart wear, point 24 is located at one-third the distance from 5 to 7. This point requires variation to suit the different purposes for which bifurcated garments are intended, as will be seen in the future drafts of riding breeches and jodhpurs.
25 is located from point 26, which is one-fourth of the waist measurement plus 2 inches from the seat angle line, the 2 inches of increase being taken up by two -inch seams plus 1 inches for the back waist dart. 25 is 1 inch above the waist line from 6 to 18 (Fig. 199). 27 from 26 = one-sixth of the scale for the position of the back waist dart. Reduce the quantity allowed for the dart equally each side of point 27 to 28 and 29. Square down from 29 to 30 6 inches. Shape out the back dart from 29 to 30 and 28 to 30. 31 from 23 = half the hips measure plus 2 inches for ease and seams, i.e. 20 inches, less the distance from 4 to 16. Shape the sideseam from 26 to 31 and in a gradual run to meet the topside seam run at 12. 32 from 25 = inch of seat seam spring. By pivoting from point 15, sweep from 7 to 33 the stride-room quantity of 2 inches. 34 from 15 = 1 inch for the four seams necessary. 35 from 14 = 1 inch. Shape the inside leg seam from 33 to 34 and 35. Shape the seat seam from 32 to 23 and 33 as shown to complete the drafting of the undersides for plain-top trousers.
Both darts are to be sewn out in the marks or otherwise a seam is cut inside each sewing line.
Trousers with Pleated Tops (Fig. 201)

Smart trousers for sports and beach wear are usually made with four pleats and a top waistband and are tailored like their masculine counterparts. The waistband is usually made narrow in width and is often slotted at the back waist to allow back straps to function from inside the sideseams.
Pleated trousers must be cut wider over the seat and thigh measures than plain trousers to allow the pleats to function without gaping open in wear. Measures for the draft are as follows

Waist = 26 inches. Hips = 37 inches. Body rise = 11 inches. Sideseam length = 40 inches. Leg length, calculated by deducting the body rise from the sideseam length = 28 inches. Knee width = 25 inches. Bottom width = 24 inches. Working scale = half the hip measure = 18 inches.
To draft Square lines from the construction line from X to the trousers bottom.

1 from X = the body-rise length plus a seam for turning in the tops. 2 from 1 = the leg length = 28 inches. The knee point is located at 3, half the leg length up from 2 plus 2 inches. 4 from X = 8 inches from the waist line for the hip level. Square out from the above points. 5 from 1 = one-fourth of the hip measure plus inch for seams. Square up from 5 to 6 the distance from 1 to X less the width of waistband required. 7 from 1 = 5 to 6. 8 from 5 = inch. Join 8 to 6. 9 from 5 = one-sixth of the scale plus inch. Shape the fork seam run from 9 to 6 as shown. 10 from 5 = one-sixth of the scale.
Square down from 10 to 11 and 12 on the lines squared out from 2 and 3. 13 from 11 = one-fourth of the knee width. 14 from 11 = one-fourth of the knee measure. 15 from 12 = one-fourth of the bottom measure. 16 from 12 = one-fourth of the bottom measure. Shape the inside leg seam from 9 to 14 and 16. Square out from 4 to 17. 18 from 4 = to 1 inch for the allowance for ease and pleats. 19 from 6 = one-fourth of the waist measure plus inch for seams. 20 from 19 = the allowance for pleats = 2 to 3 inches. Point 20 coincides with point 7. 21 from 6 = one-sixth of the scale = 3 inches approximately. 22 from 21 = half the distance from 19 to 20. 23 from 19 = half the distance from 19 to 20.
Mark each pleat as indicated to complete the draft of the topsides. THE UNDERSIDES To draft the undersides

24 from 5 = one-fourth of the waist measure. Line through the seat angle from 25, 24 to 26. 26 is 1 inch above the line from 6 to 20. Square back from 26 to 27 on the back waist line one-fourth of the waist measurement plus 2 inches for two -inch seams and 1 inches for the back waist dart. 27, it will be noticed, lies inside the topside line from 18 to 20, which is accounted for by the increase in width of the topsides at the waist for pleats. 28 from 27 = one-sixth of the scale.
Reduce the 1 inch dart allowance from 28 to 29 and 30. Square down from 29 to 31 5 inches. Shape out the back waist dart from 29 to 31 and 30. Measure up the hip line from 17 to 18 and apply this quantity from 24 to 32, making the total length equal to half the hip measure plus 3 inches for seams and ease. Shape the sideseam from 27 to 32 and 13. 33 from 26 = inch of spring. Pivoting from 14, sweep from 9 to 34 the stride quantity, i.e. 2 inches. 35 from 14 = 1 inch. 36 from 16 = 1 inch.
Shape the inside leg seam of the undersides to complete the draft. The waistband is cut the half-waist measure in length, and in width the required quantity plus two seams as indicated by points 1 to 4.
SHORTS CUTTING
There are many designs of shorts to be seen on the market these days, from the perfectly plain boyish cut to the multi-pleated, one-piece shorts dresses combining shorts and bodice in one. Other shorts are cut on the skirt principle and resemble a flared skirt in wear, while others have pleats at the side and centre front to disguise the shorts appearance. The addition of hip yokes from which emanate knife and inverted pleats is a feature of interest, and the author proposes to describe shorts cutting from the plain styles to the one-piece designs.
Shorts are one of the offending garments from the fitting point of view. Unless they are really well cut, they can present an extremely inelegant appearance, and the author, for one, must heartily concur with the expressions of disapproval heard. The. fact remains, however, that shorts can be cut to hang perfectly straight at the back and front from the waistband without a surplus quantity of loose material at the seat seam, and also cut to disguise almost entirely the fact that the garment has legs.
Shorts Basis System (Fig. 202)

The basic system is derived from the trousers system, and therefore the majority of the points are familiar. Measures for the draft are as for the trousers system:

Waist = 26 inches. Hips = 37 inches. Body rise = 11 inches. Sideseam length = 18 inches. Leg length, calculated by subtracting the body-rise length from the sideseam length = 9 inches. Width of bottoms = 24 inches. Working scale = half the hip measure = 18 inches.
To draft
Square from X.

1 from X = the body-rise length = 11 inches plus a seam. 2 from X = the sideseam length plus a seam = 18 inches. Square out from the above points. 3 from 1 = one-fourth of the hip measure plus inch. Square up from 3 to 4 on the line squared out from X. 5 from 3 = inch. Join 5 to 4. 6 from 3 = one-sixth of the scale plus inch. Shape the fork run from 4 to 6. 7 from 3 = one-sixth of the scale. Square down from 7 to 8, intersecting the line from 2. 9 from 8 = one-fourth of the bottom width less inch. 10 from 8 = one-fourth of the bottom width less inch. 11 from 4 = one-fourth of the waist measure plus inch. 12 from 4 = inch. Shape from 11to 12. 13 from X = 8 inches for the hip level. Square out from 13 to 14 and shape the sideseam from 11 to 13 and 10.
Shape the inside leg seam from 6 to 9 to complete the drafting of the topsides. THE UNDERSIDES The outline of the topsides is indicated by the dash lines. To draft the undersides
15 from 3 for the seat angle = onethird of the waist measure. 16 from 3 = 1 inch. Line the seat angle through from 16 to 15 and 17. 17 is 1 inch above the waist line from 11 to 4. 18 from 17 = one-fourth of the waist measurement plus 2 inches for two -inch seams and 1-inch back waist dart at 20 to 21. From where point 18 is located, square back to locate definitely point 17 on the seat-angle line. 19 from 18 = one-sixth of the scale. 20 from 19 = inch. 21 from 19 = inch, making up the 1 inch allowed for the dart. Shape the dart from 20 and 21 to 22 5 inches in length. 23 from 15 = half the hips measure plus 2 inches for ease and seams, i.e. 20 inches, less the distance from 13 to 14. 24 from 10 = 1 inch. Shape the sideseams from 18 to 23 and 24. By pivoting from 9, sweep from 6 to 25, making the distance 2 inches. 26 from 9 = 1 inch. Shape the inside leg seam from 25 to 26.
A side plaquet opening is inserted in either the left or both sideseams, fastening with holes and buttons or a zip-fastener.
S h o r t s w ith Pleats at Back and Front (Fig. 203)

The most fashionable shorts are cut with knife or inverted pleats at back and front to give a semblance to a very short pleated skirt. These pleats may be set in from a hip yoke or from a waistband; in either case, the principles are identical in construction. The measurements for the draft are as follows

Waist = 26 inches. Hips = 37 inches. Body rise = 11 inches. Sideseam length = 18 inches. Leg length, calculated by subtracting the body-rise length from the sideseam length = 9 inches. Working scale = half the hips measure = 18 inches.
1 from X = the body rise plus one seam = 11 inches.
2 from X = the sideseam length plus one seam = 18 inches. 3 from X = 8 inches down for the hip level. Square out from the above points. 4 from 1 = one-fourth of the hip measure plus inch for seams. Square up from 4 to 5 equal to the distance from X to 1. Measure out from 5 to 6 onefourth of the waist measurement plus inch for two seams. 7 from 6 = inch for the front waist dart. Shape the waist seam from 7 to a point inch below 5. 8 from 4 = inch. Join 8 to 5 and then extend down to the hem level. From the line drawn from 5 to 8, square out from 8 to 9 one-sixth of the scale plus inch. Square out from 3 to 10. 11 from 8 = one-sixth of the scale plus inch for the centre front line. Square down from 11 to 12 equal to the distance from 1 to 2 on the sideseam. Square down from 9 to 13 equal to the distance from 11 to 12. 14 from 12 = 12 to 13. Shape the hem line from 13 to 12 and 14. 15 from 5 = one-sixth of the scale plus inch for the
position of the front waist dart and first pleat.
16 and 17 from 15 = the front waist dart quantity indicated from 6 to 7. 18 from 15 for the front dart length = 4 inches. Connect 18 with points 11 and 12.
This completes the draft of the front of the shorts and additional pleating lines may be marked in at will as is illustrated by the dash lines. THE UNDERSIDES To continue
20 squared out from 9 = 2 inches for the back fork and ease allowance. 21 is squared out from 13 equal to the distance from 9 to 20. Shape the back seat seam from 1 inches above 10 on the centre back line to 20, allowing inch between the front and back fork lines. 22 is located at the same point as on the fronts, inch below point 5. 23 on the waist line = one-fourth of the waist measure plus 2 inches for two -inch seams and 1 inches for the back waist dart. Measure up the hips from 10 to 3 and then apply this quantity from 10 to
24 equal to half the hip measurement plus 2 inches for ease and four -inch seams.
25 from 14 = the distance from 3 to 24. Shape down the sideseam from 23 to 24 and 25 and then join 25 to 14, 19, 13 and 21 for the hem line. 26 from 22 = 4 inches for the position of the back waist dart and first pleat. 27 from 10 = the distance from 22 to 26 plus inch for the position of the pleat line. 28 and 29 from 26 = 1 inches, the dart quantity indicated by the allowances made from 22 to 23. Shape out the back waist dart from 28 and 29 to 30, 4 inches below point 26 on the line joining 26 to 27. Extend downwards from 26 and 27 to 31 on the hem line for the pleating line.
This completes the drafting of the undersides of the shorts and the following drafts will illustrate the method adopted for allowing for pleats of various types from the basis pattern.
A l l o w i n g for the Pleats (Fig. 204)

The general principles of pleat allowances in shorts are as follows Cut through from 22 to 19 at the bottom edge. Fig. 204 illustrates the procedure. Allow 6 inches for the front inverted pleat from 22 to 22A and from 19 to 19A as shown, and then divide the distances from 22 to 22A and 19 to 19A by half to find points 19B and 22B and to mark the inside crease line of the inverted pleat. The centre front pleat should be sewn down to a point level with the fork line to achieve a completely divided skirt appearance, and then should be stitched on each side of the centre front seam to keep the
pleat in position and give a "finish" to the fronts. The front side inverted pleat is inserted from 16 and 17 to 18 and 12 by opening out the pattern and inserting 5 to 6 inches of extra cloth as required by the width of the pleat. The dart from 16 and 17 to 18 and 18A should be machined out and then the pleat halved to form the invert, and the two edges of the pleat from 16 to 18 and from 17 to 18A should be sewn out from the inside downwards for a distance of 8 inches. After the pleat has been divided into halves at the back, it should be secured on the outside by stitching through on each side of the seams to the same distance down as the inside has been stitched.
T h e U n d e r sides Pleat Allowances (Fig. 205)

Cut through the pattern from 22 to 19 and then allow 6 inches from 22 to 22A and from 19 to 19A for the centre back inverted pleat. Mark the centre crease line of the pleat from 19B to 22B as illustrated. Cut through the pattern from 28 and 29 to 27 and 31 and then allow 6 niches from 27 to 27A and from 31 to 31A for the side back inverted pleat. Find the centre of the distance from 28 to 29 to locate point 28B. 27B is located midway between 27 and 27A and 31B is located at midway between 31 and
31A for the centre of the side inverted pleat. It is always advisable to carry the pleats at centre and side all the way up to the waistband as this gives far greater support to the pleat and prevents the inside edges of the pleat dropping below the level of the hem line. This completes the method of allowing for the pleats, and similarly any additional pleats may be added to the shorts in positi ons wher e desir ed.
One piec e Shorts Dress (Fig. 206)

The one-piece shorts dress is cut by adding the shorts outline pattern to a suitable bodice pattern outline, a seam being placed through the back waist. The fronts of the bodice may be cut in one
piece with the topsides of the shorts and reduced to the waist by darts or manipulation as described in the chapter on Dress Cutting. In view of the fact that the garment is stepped into, it is advisable not to cut the waist to fit the figure tightly as for shorts; in any case, a "sporty" garment of this character needs ease for freedom of movement. The waist measurement of the bodice governs the reduction by darts and suppression of the waist of the shorts section. If the bodice waist is cut easier, the effect will be that the seat angle will become less acute as the proportion of the waist size increases over the normal hip measurement. This becomes automatically adjusted as the seat angle is governed by the waist circumference in its definition. Measurements for the draft are as follows

Bust = 36 inches. Waist = 28 inches, increased to 30 inches for the draft.
Hips = 40 inches. Natural waist length = 15 inches. Length of sideseam from the waist level to the full length of the leg = 20 inches. Body rise = 11 inches. Leg length, calculated by subtracting the bodyrise length from the sideseam length = 9 inches. Half-back width = 6 inches. Working scale = half the bust girth for the bodice and half the hip girth for the shorts section.
To draft Commence by drawing a construction line from X.
1 from X = the back depth = one-third of the scale plus 1 inches. 2 from X = the natural waist length = 15 inches. 3 from 2 = the hip level = 8 inches below the waist line.
4 from 2 = the body-rise length = 11 inches. 5 from 4 = the leg length = 9 inches. Square out from the above points. 6 from X = the back neck width = one-sixth of the scale less inch. 7 from 6 = the height of the back neck curve = inch. Shape the back neck curve from 7 to X. 8 from 1 = the half-back width = 6 inches. Square up from 8 to 9 on the line squared out from X. Square out from 3 to 10 the halfhip measure plus inch for ease.
Thi s allo wa nce of inc h for eas e on the
dire ct line fro m 3 to 10 equ als 1 inc h wh en me asu red in a dia gon al ma nne r as is usu al in taki ng me asu res for sho rts or tro use rs.
Square down from 10 to 11 and 12 and up to 13 and 14 on the lines squared from the back construction line from X to 5. 15 from 14 = the back depth from X to 1.
16 from 15 = one-twelfth of the scale. Square back from 16 to 17 one-sixth of the scale. 18 from 14 = one-fourth of the scale less 1 inch. Square up from 18 to the line squared out from X for the front of the scye line. 19 from 18 = one-sixth of the scale less inch. Square up from 19 to 20. 20 from 19 = the distance from 14 to 16 less inch. 21 from 9 = 1 inch on the line from 9 to 8. 22 from 21 = inch. Shape the back shoulder seam from 22 to 7. Join 20 to 22. 23 from 20 = the front shoulder seam width equal to the width of the back shoulder seam from 22 to 7 less inch.
24 from 23 = 1 inch. Shape the front shoulder seam from 24 to 20 as shown. Shape the scye from 24 to 22, hollowing inch in front of the scye line squared up from 18. Measure from 14 to 25 half the bust measure plus 1 inch. 26 is half the distance from 3 to 10. Square up from 26 to 28 and 29 and down to 27. 30 from 29 = half the distance from 1 to 25. 31 from 29 = half the distance from 1 to 25. Square down from 30 and 31 to 33 and 32 on the waist line. 34 from 32 = inch. 35 from 33 = inch. Shape the sideseams from 31 to 34 and 26 and from 30 to 35 and 26. A from 27 = 1 inches.
B from 27 = 1 inches. Shape the sideseams from 26 to A and B. Measure from 2 to 36 half the waist measure (30 inches) plus the distance from 34 to 35. The back waist suppression is indicated by twothirds of the surplus from 36 to 13. The front waist suppression is indicated by the remaining onethird from 37 to 13. Reduce the back suppression by two darts at 38 and 39 equal in quantity to the distance from 36 to 37. 38 from 2 = onesixth of the scale. 39 from 38 = 2 inches. Shape out the darts to 5 inches in length from 38 and 39. 40 from 13 = one-sixth of the scale. 41 from 40 = the front waist
suppression quantity indicated by the distance from 37 to 13.
Shape out the front dart to 4 inches in length from 40 and 41 in the bodice. 42 from 11 = inch. Join 42 to 13. 43 from 11 = one-sixth of the scale plus inch. Join 43 to 13 for the fork run as indicated. Square down from 43 to 44 on the line from 5 to 12. Shape the inside leg seam from 43 to 44 and from 44 to 12. 45 from 4 at the back fork section = the distance from 11 to 43. 46 is half the distance from 4 to 45. 47 from 4 = seat-angle location = onefourth of the waist measure (30 inches).
Line through from 46 to 47 and 48. 48 is located by squaring back from 35 to the seat-angle line and is 1 inch above the waist line. 49 from 48 = one-sixth of the scale plus inch for the position of the back knife pleat. Square down from 49 to 50 and 51 at the bottom edge. 50 from 49 = 6 inches for the length of the back waist dart.
The qua ntit y red uce d fro m the bac k wai st dar t is calc ulat ed by me asu rin g
the wai st sea m of the bod ice fro m 2 to 35 less the qua ntit y tak en out by the two dar ts. Thi s lea ves inc h to be red uce d fro m the bac k wai st dar t at 49.
Shape the front dart from 40 and 41 down to 52, 6 inches below.
Square down from 52 to 53 for the front knifepleat line. 54 from 41 = 1 inches for the position of the second knife pleat. Square down from 54 to 55. 56 from 45 = 2 inches. Square down from 56 to 57 the leg length of 9 inches. Shape from 57 to 5. Shape the seat seam from 48 to 47 and 56. Add 1 inch from 14 to 58 and down the front for the button fastening terminating at 59, 4 inches below the waist line. Shape up from 59 to 60 1 inch. 61 from 16 = 2 inches. Shape the neck curve from 61 to 17. 62 from 17 = inch. Shape the crease line from 62 to 58 and complete the shape of the lapel to 63 and 58, making 63
from 61 equal to 1 inches.
Complete the draft by marking out two darts in the shoulder equal in total width to the distance from 20 to 17. These darts should be sewn out to form a small pleat at the end and not tapered off.
Allo wan ce for Plea ts (Fig . 207 )

Cut through the manipulation lines from 41 and 40 to 53 and from 54 to 55. Cut through from 12 to 59 for allowing a quantity of extra fullness at the front fork.
Wedge 1 inches of extra width from 12 to 12A, pivoting from 59. 53A from 53 and 52 from 52A equal 3 inches for the pleat allowance. Mark the pleat as indicated, making 40A from 40 and 41A from 41 equal to the width of the pleat from 52 to 52A so that from 40A from 41A equals the original width of the front waist dart. Mark the centre of the pleat from E to D. Open out the construction line from 55 and 54 to 55A and 54A by a quantity of 3 inches for the second pleat allowance. Mark the centre of this pleat from B to C to complete the reconstruction of
the front section for pleats. The second diagram in Fig. 207 shows the back section with pleats added. Cut through the pleat line from 49 to 50 and 51 and insert 3 inches for the knife pleat as indicated by 50A from 50 and 51A from 51. At the waist seam, shape the back waist dart from the pleat allowance to agree with the quantity taken from the original dart. Mark the centre of the pleat from E to F. Cut through the line from 47 to 5 and open out 1 to 2 inches for extra width to disguise the break of the legs. The draft is without seam
allowance for the convenience of allying the bodice of a dress with the shorts system. Therefore, when cutting from the material, provision must be made for all seam allowances, except in the matter of darts, which, as usual, are sewn out in the marks. The collar for this garment is drafted in a similar manner to the single-breasted collar for jackets, with the exception of a narrower stand. Very often one-piece shorts dresses are cut away at the front and back shoulders in a similar manner to a backless tennis dress. The same system is used, but care must be taken to ensure the top edge of the bodice at the back being a close fit to the
figure, and, to that end, the usual suppression lines from the back waist are tapered out to the blade as described for closefitting dress cutting.
PLUS-FOURS OR GOLFING KNIC KERS Fig. 208

T houg h not greatl y in vogue for golfing wear, plus-four knickers have become very fashionable for skiing and winter sports wear as an alternative to long ski-ing trousers. With plus-fours are worn knitted gaiters and ski-ing boots. Pleats are inset in the tops, and an all-round waistband allows for openings at
both sideseams. The bottoms are pleated into a narrow band cut to fit the small of the leg and fastening with a patent fastener as used for men's plusfours. The measures for the draft are as follows

Waist = 26 inches. Hips = 37 inches. Body rise = 11 inches. Full sideseam length = 40 inches. Leg length, calculated by subtracting the body-rise length from the sideseam length = 29 inches. Width of the small of the leg, taken below the knee in the hollow = 12 inches. Working scale = half the hip
measure = 18 inches.
1 from X = the bodyrise length plus a seam = 11 inches. 2 from 1 = half the total leg length = 14 inches. 3 from 2 = the quantity allowed for the overlap = from 8 to 10 inches accordin g to style length. Square out from the above points. 4 from X =8 inches for the hip level.
5 from 1 = onefourth of the hip measure plus inch. Square up from 5 to 6 the length from X to 1 less the width of the waistban d (1 inches). 7 from 6 = onefourth of the waist measure plus inch for seams. Square back from 6 to 7 and 8 on the line from X to 1. Add 2 inches for pleats from 7 to 8 and shape the run of the tops from 8 to 6.
9 from 5 = inch. Join 9 to 6. 10 from 5 = onesixth of the scale plus inch. Shape the fork run from 6 to 10. 11 from 5 = onesixth of the scale. Square down from 11 to 12 and 13, intersecti ng the lines from 2 and 3. 14 from 13 = onefourth of the small measure plus 1 inch allowanc e for darts. 15 from 13 = onefourth of the small
measure plus 1 inch allowanc e for darts.
16 from 14 = inch. Join 16 to 15 and add inch of round to the shape of the edge from 16 to 17 and 15. 18 from 12 = one-third of the scale or onefourth of the required knee width. 19 from 12 = one-third of the scale or onefourth of the required knee width. Shape the inside leg seam from 10
to 19 and 15.
21 from 4= inch. Shape the sidesea m from 8 to 21, 18 and 16. Mark out four inch darts as indicated from 16 to 15, each dart being sewn out in the marks. Square across from 21 to 20. 22 from 6 for the first pleat position = onesixth of the scale. 23 from 22 = 1 inches of the 2 inches pleat allowanc e.
24 from 7 = the remainin g 1 inch for the second pleat.
Mark the pleats as shown to complete the drafting of the topsides. THE UNDERSIDE S To continue
25 from 5= onefourt h of the wais t mea sure for the seat angl e. 26 is half the dista nce from 5 to 10.
Line the seat angl e from 26 thro ugh 25 to 27. Meas ure up from 27 to 28 equa l to onefourt h of the wais t mea sure plus 1 inch es. 29 from 28 = onesixth of the scale . 30 and 31 from 29 = 1
inch as allow ed for the dart.
32 from 29 = 5 inch es. Shap e out the back wais t dart from 30 and 31 to 32. 33 from 25 = half the hips mea sure plus 3 inch es, i.e. 21 inch es, less the dista nce from 20
to 21.
Shap e the sides eam from 28 to 33 and 2 to the bott om edge at 16.
H a l f a n i n c h e x t r a i s a l l o w e d f r o
m 1 8 t o t h e u n d e r s i d e s i d e s e a m w h i c h , i n t h i s i n s t a n c
e , c o i n c i d e s w i t h p o i n t 2 o n t h e c o n s t r u c t i o n l i n e .
Pivot ing from 19, swee p from 10 to 34 2 inch es for the back fork quan tity. Shap e the seat sea m from 35, inch in front of 27, to 25 and 34 as show n. 36 from 19 = 1 inch. 37 from 15 = 1 inch.
Shap e the insid e leg sea m from 34 to 36 and 37. Shap e the bott om edge of the unde rside s in a strai ght line from 37 to 16 and redu ce the sam e num ber and size of darts as indic ated on the topsi des.
The waistban d is marked half the waist measure plus inch in length, and the width 1 inches plus two seams. The knee band is cut half the small measure in length and from 1 to 2 inches in width plus seams. This complete s the drafting of the undersid es.
As an alternativ e to the darts at the small, the surplus quantity may be gathered in to the knee band.
SKI-ING TROUSE R S F i g . 2 0 9
S ki-ing trousers are cut in a similar manner to plusfours, which they
resemble in an elongate d fashion, though perhaps not so extreme in width. They are cut with pleats at the tops in a waistban d, and at the ankle are either pleated or gathered in to a band of the same material or to a band of knitwear which will stretch as the wearer's foot is inserted. The se
garments fasten just above the ankle and, if they are cut to the full leg measure, sufficient will be allowed for the turnover. The ankle measure is required as an addition to the usual set of measure ments. Mea surement s are as follows
W a i s t = 2
6 i n c h e s .
H i p s = 3 7 i n c h e s .
B o d y r i s e = 1 2 i n c h e s .
S i d e s e a m l e n g t h = 4 1 i n c h e s .
L e g l e n g t h , c a l c u l a t e d
b y s u b t r a c t i n g t h e b o d y r i s e l e n g t h f r o m t h e s i d e
s e a m = 2 9 i n c h e s .
W i d t h a t k n e e = 2 5 i n c h e s .
A n k l e m
e a s u r e = 9 i n c h e s .
W o r k i n g s c a l e = h a l f t h e h i p m e a
s u r e = 1 8 i n c h e s .
T o draft S quare from X.
1 f r o m X = t h e b o d y
r i s e l e n g t h p l u s o n e s e a m = 1 2 i n c h e s .
2 f r o m X
= t h e s i d e s e a m l e n g t h p l u s o n e s e a m .
3 i s h a l f t
h e l e g l e n g t h f r o m 1 t o 2 p l u s 2 i n c h e s f r o m 2 .
4 f r o m 2 = 5 i n c h e s .
5 f r o m X = 8 i n c h e s d o w n f o r
t h e h i p l e v e l .
6 f r o m 1 = o n e f o u r t h o f t h e h i p
m e a s u r e p l u s i n c h f o r s e a m s .
S q u a r e u p f r o m 6 t
o 7 t h e l e n g t h o f t h e b o d y r i s e f r o m X t o 1 l e s s 1
i n c h e s , t h e w a i s t b a n d w i d t h .
S q u a r e b a c k f r o m 7
t o t h e c o n s t r u c t i o n l i n e f r o m X t o 1 .
8 f r o m 7 =
o n e f o u r t h o f t h e w a i s t m e a s u r e p l u s i n c h f o r s
e a m s .
9 f r o m 8 = 2 i n c h e s f o r p l e a t s .
S q u a r e f r o
m 5 t o 1 0 .
1 1 f r o m 6 = i n c h .
J o i n 1 1 t o 7 .
1 2
f r o m 6 = o n e s i x t h o f t h e s c a l e p l u s i n c h .
S h a p
e t h e f o r k r u n f r o m 1 2 t o 7 a s i n d i c a t e d .
1 3 f r o m
6 = o n e s i x t h o f t h e s c a l e .
S q u a r e d o w n f r o m 1 3
t o l o c a t e p o i n t s 1 4 , 1 5 a n d 1 6 o n t h e l i n e s s q u a r e
d o u t f r o m 3 , 4 a n d 2 .
1 7 f r o m 1 6 = o n e f o u r t h o f
t h e a n k l e m e a s u r e p l u s i n c h f o r p l e a t s .
1 8 f r o
m 1 6 = o n e f o u r t h o f t h e a n k l e m e a s u r e p l u s i n c h
f o r p l e a t s .
1 9 f r o m 1 4 = o n e f o u r t h o f t h e k n e e
w i d t h .
2 0 f r o m 1 4 = o n e f o u r t h o f t h e k n e e w i d t h
2 1 f r o m 1 5 = i n c h l e s s t h a n 1 4 t o 1 9 .
2 2 f r o m
1 5 = i n c h l e s s t h a n 1 4 t o 2 0 .
A d d i n c h o f r o
u n d t o t h e e d g e f r o m 1 7 t o 1 8 .
S h a p e t h e i n s i d e l
e g s e a m f r o m 1 2 t o 2 0 , 2 2 a n d 1 8 .
2 3 f r o m 5 = i
n c h .
S h a p e t h e s i d e s e a m f r o m 9 t o 2 3 , 1 9 a n d 2 1 t
o 1 7 .
S e a m o u t f o u r d a r t s e a c h 3 / 8 i n c h i n w i d t h
f r o m 1 7 t o 1 8 w h e n m a k i n g u p t h e b o t t o m e d g e .
T h i
s c o m p l e t e s t h e d r a f t i n g o f t h e t o p s i d e s .
M a r k t h
e t o p p l e a t s a s f o l l o w s
2 4 f r o m 7 = o n e s i x t h o f
t h e s c a l e .
2 5 f r o m 2 4 = 1 i n c h e s .
2 6 f r o m 8 = 1
i n c h .
T H E U N D ER SI D ES T o co nti nu e
2 7 f r o m 6 = o n e f o u r
t h o f t h e w a i s t m e a s u r e f o r t h e s e a t a n g l e .
2 8 i s
m i d w a y o f 6 t o 1 2 .
L i n e t h r o u g h f r o m 2 8 t o 2 7 a n
d 2 9 .
M e a s u r e f r o m t h e s e a t a n g l e l i n e a t 2 9 t o 3
0 h a l f t h e w a i s t m e a s u r e p l u s 1 i n c h e s .
S q u a r e b
a c k f r o m 3 0 t o l o c a t e 2 9 d e f i n i t e l y .
3 1 f r o m 3 0 f
o r t h e p o s i t i o n o f t h e b a c k w a i s t d a r t = o n e s i x t h
3 2 a n d 3 3 f r o m 3 1 = t h e 1 i n c h a l l
o w e d f o r t h e b a c k d a r t .
M a r k o u t t h e d a r t f r o m 3 2
a n d 3 3 t o 3 4 5 i n c h e s i n l e n g t h .
3 5 f r o m 2 7 = h a
l f t h e h i p s m e a s u r e p l u s 3 i n c h e s f o r e a s e a n d s e a
m s , i . e . 2 1 i n c h e s , l e s s t h e d i s t a n c e f r o m 1 0 t o
2 3 .
S h a p e t h e s i d e s e a m f r o m 3 0 t o 3 5 a n d i n t o t h e
t o p s i d e s e a m a t 1 9 t o 2 1 a n d 1 7 .
B y p i v o t i n g f r o
m 2 0 , s w e e p f r o m 1 2 t o 3 6 t h e b a c k f o r k q u a n t i t y o
f 2 i n c h e s .
3 7 f r o m 2 0 = 1 i n c h .
3 8 f r o m 2 2 = 1 i
n c h .
3 9 f r o m 1 8 = 1 i n c h .
S h a p e t h e i n s i d e l e g s e
a m f r o m 3 6 t o 3 7 , 3 8 a n d 3 9 .
S h a p e t h e b o t t o m e d g
e o f t h e u n d e r s i d e s f r o m 1 7 t h r o u g h t o 3 9 .
T h e w
a i s t b a n d i s m a d e h a l f t h e w a i s t m e a s u r e
p l u s i n c h i n l e n g t h , a n d 1 i n c h e s p l u
s s e a m s i n w i d t h . I t i s s o m e t i m e s u s e f u l
t o c u t t h e w a i s t b a n d m u c h w i d e r t h a n 1
i n c h e s t o f o r m a h i g h w a i s t l i n e e f f e c t
a n d g i v e a d d i t i o n a l s u p p o r t t o t h e f i g u
r e i n w e a r . I t s h o u l d b e n o t e d t h a t a s m
a l l v e n t i s a l l o w e d f o r i n t h e s i d e s e a m s
f r o m 2 1 t o 1 7 . T h e a n k l e b a n d i s m a d e 2
i n c h e s i n w i d t h p l u s s e a m s a n d a b u t t o n
s t a n d a l l o w a n c e o f 1 i n c h . T h e d a r t s a t
t h e b o t t o m o f t h e t r o u s e r s a r e s e w n o u t
a n d s h o u l d n o t b e c u t , w h i c h a l s o a p p l i
e s t o t h e b a c k w a i s t d a r t .
R I D I N G B R E E C H
E S F i g . 2 1 0
I n d r a f t i n g r i d i n g b r e e c h e s ,
w e h a v e f i r s t l y t o t a k e i n t o c o n s i d e r a t
i o n t h e n a t u r a l p o s i t i o n o f t h e r i d e r o n
t h e h o r s e a n d , s u b s e q u e n t l y , p r o v i s i o n
f o r t h e c h a n g e o f p o s t u r e i n t h e d r a f t .
T h e n a t u r a l p o s i t i o n o f t h e r i d e r i s e q u
i v a l e n t t o a s t o o p i n g p o s i t i o n w h e n c o n s
i d e r e d i n c o m p a r i s o n w i t h t h e n o r m a l s t a
n d i n g f i g u r e , a n d c o n s e q u e n t l y a n i n c r e a
s e o f l e n g t h i n t h e b a c k b a l a n c e a n d a r
e d u c t i o n o f l e n g t h a t t h e f r o n t a r e i n d i
c a t e d . T h e b a c k b a l a n c e i n c r e a s e i s o b t a
i n e d b y m e a n s o f a n a d j u s t m e n t o f t h e s e
a t a n g l e t o g i v e a n i n c r e a s e d a m o u n t o f
l e n g t h a n d i n f u s e d c o n t o u r s h a p e w h e n t h
e s e a t s e a m s a r e s e w n t o g e t h e r . T h e l o w e
r i n g o f t h e f r o n t b a l a n c e i n p r o p o r t i o n
i s s i m p l y e f f e c t e d b y a r e d u c t i o n o f t h e
f r o n t r i s e l e n g t h a t t h e c e n t r e . T h e s e
c o n d f a c t o r t o c o n s i d e r i s t h e f i t t i n g o
f t h e s h a p e o f t h e l e g f r o m t h e k n e e t o
t h e s m a l l a n d c a l f a n d , s u p p l e m e n t a r y t o
t h i s , t h e q u e s t i o n o f s e a m p l a c e m e n t . I
n t h e o l d e r s t y l e s o f r i d i n g b r e e c h e s e m
p h a s i s w a s p l a c e d o n t h e n e c e s s i t y f o r e
a s i n g t h e t o p s i d e s t o t h e u n d e r s i d e s o v e
r t h e k n e e t o g i v e t h e r e q u i r e d l e n g t h f
o r t h e b e n d i n g o f t h e k n e e . T h e s e d a y s ,
h o w e v e r , t h e r u n o f t h e l e g s e a m o v e r t o
w a r d s t h e c e n t r e f r o n t o f t h e l e g g i v e s
a n e x t r a q u a n t i t y o f l e n g t h o v e r t h e k n e
e w h i c h c a n n o t b e o b t a i n e d w i t h t h e o l d
s t y l e o f s e a m p l a c e m e n t a t t h e s i d e s . I n
a d d i t i o n , a v a l u a b l e b i a s s e a m i s o b t a i
n e d b y t h e n e w s e a m p l a c e m e n t , w h i c h c o n
t r i b u t e s g r e a t l y t o t h e s u c c e s s o f t h e k
n e e f i t t i n g . F i g . 2 1 0 s h o w s t h e s t a n d a r d
r i d i n g b r e e c h e s d r a f t w i t h a c e n t r e k n e
e f a s t e n i n g a n d a s i d e p l a q u e t . T h e b r e e
c h e s e x t e n d t o b e l o w t h e c a l f i n l e n g t h ,
a n d a r e c u t t o g i v e f r e e d o m i n w e a r w i t
h a r e a s o n a b l e f i t t i n g a p p e a r a n c e a t t h e
s e a t s e a m . M e a s u r e m e n t s f o r t h e d r a f t a
r e a s f o l l o w s
W a i s t = 2 6 i n c h e s .
H i p s = 3 7 i n
c h e s .
B o d y r i s e h e i g h t = 1 2 i n c h e s .
F u l l s i d e s e a m
l e n g t h f r o m t h e w a i s t t o t h e h e e l = 4 1 i n c h e s .
L e g l e n g t h , c a l c u l a t e d b y s u b t r a c t i n g t h e b o d y r i s
e h e i g h t f r o m t h e s i d e s e a m l e n g t h = 2 9 i n c h e s .
T h
e f o l l o w i n g m e a s u r e s a r e t a k e n o v e r t h e
l e g i n a b e n d i n g p o s i t i o n
f t h e b r e e c h e
s a r e r e q u i r e d t o b e l o n g e r i n l e n g t h t h
a n t o t h e c a l f , a n a d d i t i o n a l m e a s u r e m u
s t b e t a k e n t h e b o t t o m s i z e = 1 1 i n c h e s
o d r a f t
q u a r e f r o
m X .
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Vintage Sewing Main Page > 1940's > Ladies' Garment Cutting and Making > Chapter XVI Search | Subscribe | Support

by F. R. Morris
Chapter XVIDressing-Gowns and LingerieBias Cutting

IT is quite a new departure in works on cutting to describe the drafting of nglig garments, including underslips, dressing-gowns, knickers and tailored cami-knickers. The term "tailored lingerie" is a true one in the sense that it indicates that the garments are as well cut as a tailored garment, in contrast to the more shapeless, ill-fitting articles of clothing on the market. This chapter is concerned only with "tailored" undergarments, and the systems described for the cutting of nglig garments have been used with great success. The extreme interest modern women take in the faultless cut and fit of their day and evening ensembles is reflected in their leisure-hour attire, for no longer are they content with shapeless garments, preferring instead perfect fit and style. Especially is this the case since the advent of the streamline mode for day and evening, for every crease or wrinkle of the foundation garments shows under the closely-fitting dress if the
undergarment is not as perfectly fitting as the outer garments. The foundation garment is really the "foundation" of a smart appearance, and must be well cut. Dressing-gowns have graduated from the wrapper stage to become imbued with design in many diverse ways. The Russian influence is shown by high-closing neck lines, wide revers and decorative sleeves contributing their quota of style, while the standard roll-collar dressing-gown is a perennial favourite. Underslips are cut on the moulded line to fit the figure without any wrinkles or surplus material by means of bias cutting. A curving waist seam or panel seams assist the cutter in achieving the desired close fit, and darts to the bust keep the top edge close to the figure and provide a brassiere effect. The author cuts knickers and cami-knickers on the shorts principle, with the fork section cut in one with the body part, instead of the usual method of insetting a triangular gusset between the legs. This method gives a much better all-round fitting garment, and, in the opinion of the majority of women, a much more comfortable garment. Bed and beach pyjamas are cut on the trousers principle, with either elastic or a shaped hip yoke at the waist.
DRESSING-GOWNS Dressing-gown Draft (Fig. 215)

The system for drafting the dressing-gown is that used for dresses, with a slightly greater allowance over the half-bust measure for additional ease. No seams are allowed in the draft, but when the garment is being cut from the material inch provision should be made for lapped seams. The draft illustrates the graceful lines of a modern dressing-gown designed in the roll-collar style. The roll collar may be stereotyped, but the effect of the fronts wrapping over a greater distance at the hem than at the waist resembles the "swagger" lines of a military uniform. The waisted cut is another feature, being defined in excess of most notions. But if the dressing-gown is made to measure, it is absurd to cut the garment as though it were intended to fit anyone varying inches in size. In
the wholesale trade, such allowance for fitting many wearers is permissible, but if the garment is specially cut to a particular figure, the author believes in interpreting the term "tailored dressing-gown" as meaning a fitting dressinggown. Measures for the draft are as follows

Chest = 34 inches. Bust = 36 inches. Waist = 28 inches. Hips = 40 inches. Natural waist length = 15 inches. Full gown length = 50 inches. Sleeve length = 29 inches. Half-back width = 6 inches. Working scale = half the bust girth = 18 inches.
Square from X

1 from X = the back depth = one-third of the scale plus 1 inches. 2 from X = the natural waist length = 15 inches. 3 from 2 = 8 inches down for the hip level. 4 from X = the full gown length. 5 from X = the back neck width = one-sixth of the scale less inch. Square up from 5 to 6 the height of the back neck curve i.e. inch. Shape from 6 to X. 7 from 1 = the half-back width net. Square up from 7 to 8 on the line squared out from X. 9 from 1 = the half-bust measure plus 1 inches. Square up from 9 to 10 and down to 11. 12 from 10 = one-twelfth of the scale. 13 from 9 = half the scale less inch. 14 from 13 = one-sixth of the scale. Square up from 14 to locate point 15 on the line squared out from 12. This procedure is the same as described for coats when a shoulder dart is not used.
16 is midway of 9 to 13. 17 from 16 = 2 inches. Line from 17 to 12. 18 from 12 = one-twelfth of the scale to determine the quantity to be reduced from the gorge dart. 19 from 17 = one-fourth of the scale. Join 19 to 18. 20 from 8 = 1 inch. 21 from 20 = inch. Shape the back shoulder seam from 21 to 6. Join 15 to 21. 22 from 15 = the front shoulder width equal to the back shoulder width from 21 to 6 less inch. Square down from 22 to 23 1 inch, and shape the front shoulder seam from 23 to 15. 24 from 7 for the position of the sideseam = 2 inches. Square down from 24 to 25, 26 and 27 at the hem line. 28 from 25 = 3/8 inch. 29 from 25 = 3/8 inch. Overlap at the hip line from 26 to 30 and 31 by half the difference between the bust and hip measures less inch. 32 from 27 = 26 to 31 plus 1 inches. 33 from 27 = 26 to 30 plus 1 inches. Shape the sideseams from 24 to 29 and 30 and from 24 to 28 and 31, then continuing down to 32 and 33 at the hem line. Deepen the scye inch from 7 to 34 and 13 to 35 and shape the scye, hollowing inch in advance of the scye line squared up from 13. 36 from 11 = inch. Shape the centre line from 9 through 36 to 37 at the hem line. 38 from 36 = 4 inches for the front edge overlap. 39 from 37 = 6 inches for the front edge overlap at the hem line. 40 from 39 = 3 inches. 41 from 37 = 1 inches. Shape the cut-away bottom edge run from 40 to 41 and 32 at the forepart sideseam.
42 from 15 = 1 inch collar stand. Shape the crease line from 42 to 38 at the waist line, breaking squarely at the gorge dart from 12 and 18 to 19. 43 from 12 = one-sixth of the scale. Shape the gorge run from 43 to 15 as shown by lining through from 44, 1 inches below 15. 45 from 43 = 2 inches. 46 from 9 = 5 inches for the shape of the lapels. Shape from 38 to 46 and 45. 47 from 2 = 4 inches. Mark out a 1 inch suppression dart at 47 8 inches in length. 48 from 29 = 4 inches. Mark out a inch dart at 48 6 inches in length.
The draft of the dressing-gown is now completed. It is not necessary to include a sleeve system. The basic system will satisfy the needs of the deeper scye if the drafting principle of measuring the depth of the scye from the back pitch to the scye base and then subtracting inch for the sleeve depth is adhered to. The facing and collar for this design are cut as described in the chapter on collar cutting under the heading of "The Roll or Shawl Collar."
LINGERIE Draft of an Underslip (Fig. 216)

The draft illustrated by Fig. 216 is that of a slim-fitting underslip, designed with a curving waist seam and a plain bias-cut skirt. The fronts are vandyked to strap positions for sewing, and at form the shoulder the back the top
edge may either be straight-cut or cut away to a low back line. The manipulation of the pattern is necessary to produce a perfect garment and this must not be neglected. From his experience, the
author knows that it is impossible to cut a fitting garment by reducing the waist to a close measure at the sideseams only, and the little extra work entailed by cutting up the outline pattern and closing out the waist suppression is amply repaid in the finished garment. The system allows for the top of the underslip to fit just under the arm level so as to permit lace edgings to be overlaid. In any case, it is a simple matter to adjust the top-edge level on the wearer. Measures for the draft are as follows

Bust = 34 inches. Hips = 37 inches. Waist = 26 inches. Full length from the waist line to the hem = 30 inches. Working scale = half the bust girth = 17 inches.
Square from X at the breast line.

1 from X = 7 inches for the natural waist level. 2 from 1 = 8 inches for the hip level. 3 from 1 = the slip length measured from the waist line = 30 inches. Square out from the above points. 4 from 2 = half the hip measure net. Square up from 4 to 5 and 6 and down from 4 to 7 at the hem line. 8 is half 2 to 4. Square up from 8 to 9 and 10 and down from 8 to 11. Measure from 6 to 12 half the bust measure plus inch. Reduce the surplus shown at 12 to X from the sideseams at 13 and 14 from 10. 15 from 14 = one-twelfth of the scale less inch. 16 from 6 = one-sixth of the scale. Join 16 to 15. Square down from 13 to 17 and 14 to 18. 19 from 17 = inch. 20 from 18 = inch. 21 from 11 = 1 inches.
22 from 11 = 1 inches. Shape the sideseams from inch inside 15 to 20, 8 and 22 and from 13 to 19, 8 and 21. 23 from 1 = half the waist measure (26 inches) plus 2 inches for ease plus the distance from 19 to 20. Square up from 16 to 25 2 inches for the shoulder-strap point. 26 from 15 = inch. Shape from 6 to 25 and from 25 to 26. Shape down from 26 to 27 one-sixth of the scale for the position of the bust dart. 28 from 27 = the quantity indicated from 14 to 15. Shape the bust dart 4 inches in length from 27 and 28 to 29. 30 from 5 = 3 inches. 31 from 20 = 3 inches for the position of the front waist suppression lines. 24 from 23 = two-thirds of the distance from 23 to 5 for the back waist suppression. Shape out the front waist suppression from 31 to 29, and shape the high waist seam from 30 to the sideseam at 20, breaking at the suppression lines at 32 and 33. 34 from 1 = one-sixth of the scale plus inch for the position of the back waist suppression. Reduce the suppression quantity indicated from 23 to 24 at 35 and 36 from 34. Square up from 34 to the top edge line and down to 37 at the hip level and 38 at the hem line. 39 is where the line squared up from 34 touches the breast line. Square down from 31 to 40 and 41 for the manipulation lines on the front skirt.
This completes the draft of the underslip style with a high back line. For a low back

42 from 26 = inch. 43 from 13 = inch.
44 from 1 = 2 inches. Shape the low back line from 43 to 44, breaking at the suppression lines as indicated at 45 and 46.
Manipulation of the Outline Pattern for Waist Suppression

Cut through the waist seam from 19 to 1 and up the manipulation lines from 35 and 36 to 39. Close out the waist suppression and re-mark round the outline of the back pattern to give a reconstructed bodice for both high and low back lines. Cut down the manipulation lines from 35 and 36 to 37 and up from 38 to 37. Close out the waist suppression from 36 to 35 to open the skirt width at the hem line and reconstruct the back skirt section. The front of the underslip may have the bust dart only, or the contour shape so provided may be transferred to the waist seam or down from the top edge of the fronts, by cutting through from 32 and 33 to 29 or from A to 29. If the dart is required at A, close out both the side dart and the waist suppression to open the dart line from A to 29. Similarly, if darts are required in the waist from the seam upwards, close out the sideseam dart from 27 to 28 to open the suppression lines from 29 to 32 and 33. The quantity indicated at 32 to 33 by this manipulation may be reduced by two or three darts instead of a single large dart and a smart effect will be achieved. Close out the skirt waist suppression by moving point 32 to 33, pivoting from 40, and thereby causing the skirt to open at the hem line from 41.
Panelled Underslip (Fig. 217)

The panelled underslip is a great favourite among women, for the fitting qualities could not be bettered by any other style.
Measures for this draft are as before

Bust = 36 inches. Hips = 39 inches. Length from the waist to the hem line = 30 inches.

1 from X = the waist level = 7 inches. 2 from 1 = 8 inches down for the hip level. 3 from 1 = the full length taken from the waist to the hem line. Square out from the above points. 4 from 2 = half the hip measure net. Square up from 4 to 5 and 6 and down to 7 at the hem line. The sideseam is located at 8, half the distance from 2 to 4. Square up from 8 to 9 and 10 and down to 11. Measure from 6 to 12 half the bust measurement plus inch. Reduce the surplus quantity shown from X to 12 from the sideseams at 13 and 14 from 10. Square down from 13 and 14 to 16 and 15 on the waist line. 17 from 15 = inch. 18 from 16 = inch. 19 from 11 = 1 inches. 20 from 11 = 1 inches. Shape the sideseams from 13 to 18, 8 and 19 and from 14 to 17, 8 and 20. Measure from 1 to 21 half the waist size plus the distance from 17 to 18. The back waist suppression takes two-thirds of the surplus quantity from 21 to 5 as indicated by 22 from 21.
The front waist suppression takes the remaining one-third from 22 to 5. 23 from 6 = one-sixth of the scale plus inch. Square up from 23 to 24 and down from 23 to 25 and 26. Reduce the front panel seam inch at 24, and the front waist suppression quantity indicated from 22 to 5 at 25, and shape the panel seams from 25 and 26. Square down from 26 to 27. 28 from 27 = 1 inch. 29 from 27 = 1 inch. Shape the panel seams from 26 to 28 and 29. 30 from 1 = one-sixth of the scale plus 1 inch. Square up to 31 and 32 and down to 33 and 34 at the hem line. 32 from 31 = 1 inches. 35 from 34 = 1 inch. 36 from 34 = 1 inch. Shape the panel seams from 32 to 31, suppressing the back waist suppression, quantity at 30, and continue down through 33 to overlap at 35 and 36. 37 from 14 = inch. 38 from 13 = inch. 39 from X = 1 inch. Shape the top-edge run from 6 to 24, 37, 38, 32 and 39.
The shape of the top is to the finished length. This completes the draft of a panelled seam under-slip.
Draft of Cami-knickers (Fig. 218)

The cami-knicker draft presented is intended as a basis for variation of design, and no pretence has been made to
elaborate the system or to describe a definite style. As a basic outline, this draft can be adapted to any style of cami-knickers cut with the fork extension in one with the skirt section. A hip yoke is included in the basic draft to demonstrate a characteristic style feature, and the skirt sections below are cut on the bias of the material without a sideseam. Measures for the draft are as follows

Bust = 34 inches. Waist = 26 inches, increased to 28 inches for the draft. Hips = 37 inches. Body-rise length = 11 inches. Sideseam length from the waist = 16 inches, allowing for a 5-inch leg seam.

1 from X = 7 inches down for the natural waist level. 2 from 1 = 8 inches down for the hip level. 3 from 1 = the body-rise length = 11 inches. 4 from 1 = the sideseam length = 16 inches. Square out from the above points. 5 from 2 = half the hip measure plus 1 inch for ease. Square up from 5 to 6 and 7 and down to 8. The sideseam is located at 9 half the width from 2 to 5. Square up from 9 to 10 and 11 and down to 12. Measure from 7 to 13 half the bust measure plus inch for ease. 14 from 15 = the distance from 2 to 3.
15 from 14 = one-sixth of the hip scale (18 inches) plus inch. Square down from 15 to 16 equal to the length from 14 to 8. 17 from 3 = the length from 14 to 15. 18 from 17 = the back fork quantity of 2 inches. Square down from 18 to 19 equal to the length from 3 to 4. Shape the bottom edge of the skirt from 19 to 4 and 16 to 8. Reduce the surplus shown at the back from X to 13 from the sideseams at 20 and 21 from 11. Square down from 20 and 21 to 23 and 22. 24 from 22 = inch. 25 from 23 = inch. 26 from 12 = 1 inches. 27 from 12 = 1 inches. Shape the sideseams from 20 to 25, 9 and 26 and from 21 to 24, 9 and 27. 28 from 7 = one-sixth of the scale plus inch. Square up 2 inches from 28 to 30. 29 from 21 = one-twelfth of the scale less inch. Join 28 to 29. 31 from 29 = inch. Shape the top edge of the fronts from 7 to 30 and 31. Measure from 1 to 32 half the waist girth plus the quantity from 24 to 25. The back waist suppression takes two-thirds of the surplus from 32 to 6 as indicated from 32 to 33. 34 from 1 = one-sixth of the scale plus 1 inch for the position of the back waist suppression manipulation lines. Square up from 34 to 35. 36 from 34 = half the quantity from 32 to 33.
37 from 34 = half 32 to 33. Mark the waist suppression from 36 and 37 to 35. 39 from 3 = 1 inches. 38 from 3 = one-fourth of the waist measure. Shape the seat-angle line through 39 to 38 and up to 40. 40 from the waist line = 1 inches. Shape the waist seam of the knicker section from 25 to 40. Shape the seat seam from 40 to 38 and 18. 41 from 25 = 2 inches for the commencement of the hip yoke at the sideseams. 42 from 24 = 41 from 25. 43 from 6 = the depth of the hip yoke at the centre front. Shape from 43 to 42 and from 41 to 38 as shown. 44 from 24 = 3 inches for the position of the front waist suppression. Shape out the waist suppression as indicated from 33 to 6 from the dart at 44 to 45. 46 from 31 = one-sixth of the scale for the position of the sideseam dart. 47 from 46 = the length from 21 to 29. Shape out the dart from 46 and 47 to 48 4 inches in length.
The lower draft illustrates the placement of the back and front skirt sections together at the sideseams from 26 to 27 and 41 to 42, to enable the entire section to be cut in one piece on the bias of the material. Cut through the waist seam from 6 to 24 and close out the suppression from the bodice section and from the front hip yoke. If a greater amount of flare is required in the skirt section, this should be cut through and opened
out as described in the drafts of dresses with flared skirts.
Draft of Cami-knickers with a Brassiere Top (Fig. 219)

The following draft of cami-knickers was taken from an actual drafted pattern which gave extreme satisfaction. The brassiere top is very suitable for evening underwear, giving support to the bust with the minimum of material. Measures for the draft are as follows

Bust = 32 inches. Waist = 25 inches, increased to 27 inches for the draft. Hips = 36 inches. Body-rise length = 11 inches. Sideseam length = 16 inches. Leg length = 5 inches. Working scale = half the bust girth = 16 inches.

1 from X = the natural waist length from the breast line = 7 inches. 2 from 1 = 8 inches for the hip level. 3 from 1 = the body-rise length = 11 inches. 4 from 3 = half the hip measure plus 1 inch for ease. Square up from 4 to 5, 6 and 7.
8 from 4 = one-sixth of the hip scale plus inch. Shape the fork run from 8 to the centre front line at 6. 9 from 6 = the sideseam length = 16 inches. Square down from 8 to 10 equal to 4 to 9. 11 from 1 = the sideseam length = 16 inches. Square out from 3 to 12 equal to the length from 4 to 8. 13 from 12 = the back fork quantity = 2 inches. Square down from 13 to 14 the leg length of 5 inches. The sideseam is located at 15, half the width from 2 to 5. 16, 17, 18 and 19 are squared from 15. Measure from 7 to 20 half the bust girth plus inch for ease. Reduce the surplus quantity shown from X to 20 from the sideseams at 21 and 22 from 17. Square down from 21 to 23 and 22 to 24. 25 from 23 = inch. 26 from 24 = inch. Shape the sideseams from 21 to 25, 15 and 1 inches in front of 19. Shape the front sideseam from 22 to 26, 15 and 1 inches behind 19. Measure from 1 to 27 half the waist measure plus the distance from 25 to 26. The back waist suppression takes twothirds of the surplus quantity shown from 27 to 6 as indicated from 27 to 28.
The front waist suppression takes the remaining one-third as shown from 28 to 6. 29 from 3 = 1 inch. 30 from 3 = one-fourth of the waist measure. Line through the seat angle from 29 to 30 and 31 1 inches above the waist seam. 32 from 1 = one-sixth of the scale plus 1 inch for the position of the back waist suppression manipulation lines. 33 and 34 from 32 = the suppression quantity indicated from 27 to 28. Square up from 32 to 35 and mark out the back waist suppression manipulation lines from 33 and 34 to 35 Shape the waist seam from 25 to 31. 36 from 22 = one-twelfth of the scale less inch. 37 from 7 = one-sixth of the scale plus inch. Join 37 to 36. Square up 2 inches to 38 from 37. 39 from 36 = inch. Shape the top-edge run from 7 to 38 and 39. 40 from 7 = 1 inch. 41 from 26 = 4 inches. Shape the under-seam of the brassiere top from 40 to 41 as shown. Reduce the quantity added from 22 to 36 plus inch from 39 to 41 in two darts as indicated at 42 and 43, each dart being 3 inches in length. 44 from 21 = inch, the amount added to the quantity reduced from the bust darts.
45 from 1 = 2 inches to define the depth of the top-edge run at the centre back waist. Shape the top edge of the bodice at the back waist from 44 to 45, breaking squarely at the suppression lines as indicated by points 46 and 47. If a small dart is required at the front of the brassiere seam, reduce the sideseam inch at 48 and inch at 49 to nothing at 15. Mark out a inch dart at 50, 2 inches back from 40. Shape the hip-yoke seam from 51, 2 inches down from 26 to 52, 6 inches down from 6. 53 from 25 = the distance from 26 to 51. Shape the back yoke seam from 53 to 30.
After the back waist suppression has been closed out from 33 to 34 and 46 to 47, the bodice section from 45 to 1, 31 and 30 may be cut in one piece with the hip-yoke section, indicated by points 31 to 25, 30 and 53, on the fold of the material. The lower draft shows the skirt sections laid in position to be cut without a sideseam from 53 and 51 to 25 and 26. To obtain a skirted effect at the centre front and back, cut through the pattern from 9 to 52 and 11 to 30 and insert a 1-inch flare wedge at each point. The skirt section should be cut on the bias of the material for a slim-line effect.
It will be noticed that the front waist suppression quantity has been ignored on this draft, but it is not advisable to cut garments of this type too close-fitting; otherwise, they will be found difficult to get into without a side opening, unless they are cut entirely on the bias.
Knickers Fitted at the Waist (Fig. 220)

Figs. 220 (a) and (b) show the drafting of pantie knickers cut in the fashionable abbreviated line and fitted at the waist. Fig. 220 (a) shows knickers with small tucks at the front and back waist to gain the required fit, while Fig. 220 (b) has a shaped hip yoke at the front waist and is gathered in at the back waist by elastic. The former style is cut with a side-seam and a side opening on the shorts principle, and the latter style is cut to resemble a skirt without a seam at the side. Measures for Fig. 220 (a) are as follows

Waist = 26 inches. Hips = 37 inches. Body-rise length = 11 inches. Sideseam length = 16 inches. Leg length = 5 inches. Working scale = half the hip measure = 18 inches.

1 from X = 8 inches down for the hip level. 2 from X = the body-rise length calculated by subtracting the leg length from the sideseam length = 11 inches. 3 from 2 = the leg length = 5 inches. Square out from the above points. 4 from 2 = one-fourth of the hip measure plus inch. Square up from 4 to 5 and 6 on the lines squared out from 1 and X respectively. 7 from 6 = one-fourth of the waist measure plus inch for two seams. 8 from 7 = 1 inches for two small tucks at the front. 9 from 4 = one-sixth of the scale plus inch. Shape the fork run from 6 to 9. Square down from 9 to 10 for the inside leg seam. 11 from 6 = 3 inches. 12 from 11 = 1 inches for the position of the two front tucks. Shape the sideseam from 8 to 1 and 1 inch in front of 3. Shape the bottom edge run from the sideseam to 10, adding inch of round.
THE UNDERSIDES To draft the undersides
13 is half 4 to 9 for the seatangle location. 14 from 4 = one-fourth of the waist measure. Line the seat angle from 13 through 14 to 15, 1 to 2 inches above the waist line. 16 from 9 = 2 inches. 17 from 10 = 2 inches. Shape the seat seam from 15 to 14 and 16 and the inside leg seam from 16 to 17. Measure from 15 to 18 onefourth of the waist measure plus 2 inches for seams and tucks; inch is taken up in the seams. Measure from 1 to 5 and apply this quantity from 14 to 19 equal to half the hip measure plus 2 inches for ease and seams. 20 from the front sideseam = 2 inches. Shape the under sideseam from 18 to 19 and 20 and the bottom-edge run from 20 to 17, adding inch of round at the fronts. 21 from 18 = 3 inches for the position of the first -inch tuck. 22 from 21 = 1 inches for the position of the second tuck. Mark each tuck 5 inches in length to complete the draft of Fig. 220 (a).
As previously indicated, the draft in Fig. 220 (b) is
based on an adaptation of the skirt basis system. Measures for the draft are as for Fig. 220 (a). To draft Square from X.

1 from X = 8 inches down for the hip level. 2 from X = the body-rise length = 11 inches. 3 from 2 = the leg length = 5 inches. Square out from 2 to 4 the front fork quantity, i.e. one-sixth of the scale plus inch. Square down the inside leg seam from 4 to 5 equal to 2 to 3. Shape the front fork run from X to 4. Square out from 1 to 6 half the hip measure plus 1 inch for ease. 7 is half the distance from 1 to 6 less 1 inch from 1. Pivoting from 7, sweep back from 6 to 8 3 inches to obtain the flared width in the legs. Join 7 to 8 and square up from 8 to 9 8 inches, the distance from 1 to X. Join 9 to X and square back from 9 to 10 on the extension of line X to 1.
11 from X = half the distance from X to 9 less 1 inch from X. 12 from 11 on the line joining 11 to 7 = onethird of the distance from 10 to X. 13 from X = one-fourth of the waist measure plus inch for seams. 14 from 12 = the distance from 12 to 13. Shape the side opening from 13 and 14 into the line from 12 to 7, making the opening 6 inches in length. On the line joining 8 to 9, continue down from 8 to 15 the body-rise length, and from 15 to 16 the inside leg length of 5 inches. 17 square from the line from 9 to 16 = the front fork quantity from 2 to 4 plus 2 inches for the back fork addition. Square down from 17 to 18 the leg length of 5 inches. 29 from 15 = the distance from 2 to 4. 10 is half the distance from 15 to 19. 21 from 15 = one-fourth of the waist measure for the seat-angle location. Line the seat angle through from 20 to 21 and up to 22, 1 inches above the waist line from 9 to X.
Shape the seat seam from 22 through 21 to 17 and the back waist from 14 to 22. Shape the bottom edge of the legs from 5 through 3 to 16 and 18, making the length at the sideseam equal to the length from X to 3. 23 from 13 = 2 inches. 24 from X = 5 inches. Shape the hip-yoke seam from 23 to 24 as shown.
When cutting from the material, if the yoke from X to 24 is cut on the fold of the material, reduce a seam at the front so that the length from 23 to 24 on the yoke is equal to 23 to 24 on the leg section after a seam has been sewn away from 24 to 4.
Pyja mas (Fig. 221)

Fi gs. 221 (a) and (b) show the drafting of two varieties of pyjamas. The first draft illustrates pyjamas cut without a sideseam on the
crease of the material and loose-fitting at the waist, elastic being relied on to draw the surplus material to the figure. This style of pyjama is made without a sideseam opening, so that the waist must be sufficiently large to enable the garment to pass over the hip line. The second draft is cut on modern pyjama lines. The waist is fitted by small darts at the front and back, and a sideseam with an opening makes possible more shape in the legs. Measures for Fig. 221 (a) are as follows

Waist = 28 inches. Hips = 40 inches. Body-rise length = 12 inches. Inside leg length = 29 inches. Knee width = 24 inches. Bottom width = 26 to 28 inches. Working scale = half the hip measure = 20 inches.
Fig. 221 (a)

To draft
Square from X.
1 from X = 8 inches down for the hip level. 2 from X = the body-rise length = 12 inches. 3 from 2 = the inside leg length = 29 inches. The position of the knee on the draft is located at 4, half the inside leg length plus 2 inches up from 3. Square out from the above points. 5 from 2 = onefourth of the hip measure plus 1 inch. Square up from 5 to 6 and 7 on the lines squared out from 1 and X. 8 from 5 = onesixth of the scale plus inch. Shape the front fork run from 8 to 7 as indicated. 9 from 4 = onehalf of the knee width less inch. 10 from 3 = half the bottom width less inch.
Shape the inside leg seam from 8 to 9 and 10 to complete the draft of the topsides.
THE UNDERSIDES

11 = half of 5 to 8. 12 from 5 = one-fourth of the waist measure. Line the seat angle through from 11 to 12 and 13 2 inches above the waist line. 14 from 8 = 2 inches. Shape the seat-seam run from 13 through 12 to 14 as shown. Shape the back waist seam from X to 13. 15 from 9 = 1 inch for seams and to make up the knee width. 16 from 10 = 1 inch for seams and to make up the bottom width.
Shape the inside leg seam from 14 to 15 and 16. Shape the bottom-edge run from 3 to 10 and 16, adding inch of round to complete the draft.
Fig. 221 (b)

Measures are as for Fig. 221 (a). To draft Square from X.
1 from X = the hip level = 8 inches down from the waist. 2 from X = the bodyrise length = 12 inches. 3 from 2 = the inside leg seam length = 29 inches.
The position of the knee is located at 4, half the leg length plus 2 inches up from 3. Square out from 2 to 5 onefourth of the hip measure plus inch. Square up from 5 to 6 and 7 on the lines squared out from 1 and X. 8 from 7 = onefourth of the waist measure plus inch for seams. 9 from 8 = 1 inches for two -inch front waist darts. 10 from 7 = one-
sixth of the scale for the position of the first dart.
11 from 10 = 1 inches for the position of the second dart. Shape out the darts at 10 and 11 as shown. 12 from 5 = onesixth of the scale plus inch. Shape the fork run from 12 to 7. 13 from 4= inch. 14 from 3=1 inch. Shape the sidesea m from 9 to 1, 2, 13 and 14.
15 from 13 = half the knee width measure . 16 from 14 = half the bottom width measure . Shape the inside leg seam from 12 to 15 and 16.
This completes the drafting of the topsides. THE UNDERSIDE S
17 is mid way of 5 to 12. 18 from 5= onefourt h of the wais t
mea sure.
Line the seat angl e thro ugh from 17 to 18 and up to 19. 19 from the wais t line =2 inch es. 20 from 19 = onefourt h of the wais t mea sure plus 2 inch es for sea ms and two back wais t
darts .
21 from 20 = onesixth of the scale for the posit ion of the first wais t dart. 22 from 21 = 1 inch es for the posit ion of the seco nd wais t dart. Shap e out each dart, as show n, 5 inch es in
lengt h.
Meas ure from 1 to 6 on the topsi des and appl y this quan tity from 18 diag onall y to 23, maki ng the total dista nce half the hip mea sure plus 2 inch es. 24 from 13 = inch. 25 from 14 = inch.
Shap e the sides eam from 20 to 23, 24 and 25. 26 from 12 = the back fork quan tity of 2 inch es. Shap e the seat sea m from 19 to 18 and 26 as show n. Meas ure up the full knee widt h from 13 to
15, and appl y this quan tity plus 1 inch for sea ms from 24 to 27.
Meas ure up the full bott om widt h from 14 to 16, and appl y this quan tity plus 1 inch for sea ms from 25 to 28. Shap e the insid
e leg sea m from 26 to 27 and 28.
Shap e the bott om edge from 25 and 14 to 16 and 28, addi ng inch of roun d.
This complete s the pyjama draft.
LINGERI E CUT ON THE BIAS
B i a s c u t C amiknickers (Fig. 222)

The draft of camiknickers here presente d is suitable for bias cutting only, for the waist suppressi on is reduced entirely from the sideseam s in contradis tinction to usual standard s, and it is only
possible to do this when the garment is so cut on the cross, which enables the material to assume the shape of the figure without any drags or folds of surplus material. It is advisable , when designing bias-cut garments , to keep all the design seams at an angle of fortyfive degrees from the vertical,
so that, when the pattern outline is placed on the bias of the material, these design seams will all be on the "straight" and twisting of the various sections will be minimize d. The design of these camiknickers embodie sa brassiere -top effect and diagonal seams from the sideseams to
the centre front and back. Mea sures for the draft are as follows
W a i s t = 2 6 i n c h e s .
H i p s = 3 7 i n c h e s .
S i
d e s e a m l e n g t h f r o m t h e w a i s t t o t h e l e g = 1 6 i n c h e
s .
I n s i d e l e g l e n g t h = 5 i n c h e s .
B o d y r i s e l e n g t h =
1 1 i n c h e s .
W o r k i n g s c a l e = h a l f t h e h i p m e a s u r e =
1 8 i n c h e s .
T o draft S quare from X.
1 f r o m X = t h e l e n g t h f r o
m t h e b r e a s t l i n e t o t h e w a i s t = 7 i n c h e s .
2 f r o
m 1 = t h e h i p l e v e l f r o m t h e w a i s t l i n e = 8 i n c h e s
d o w n .
3 f r o m 1 = t h e b o d y r i s e l e n g t h = 1 1 i n c h
e s .
4 f r o m 3 = t h e l e g l e n g t h = 5 i n c h e s .
S q u a r e
o u t f r o m t h e a b o v e p o i n t s .
5 f r o m 2 = h a l f t h e h i
p m e a s u r e p l u s 1 i n c h f o r e a s e .
S q u a r e u p f r o m 5
t o 6 a n d 7 a n d d o w n t o 8 .
9 f r o m 8 = t h e f r o n t f o
r k q u a n t i t y o f o n e s i x t h o f t h e s c a l e p l u s i n c h
S h a p e t h e f o r k r u n f r o m 9 t o 6 .
S q u a r e d o w n f r o
m 9 t o 1 0 t h e i n s i d e l e g l e n g t h o f 5 i n c h e s .
M e a s
u r e f r o m 7 t o 1 1 h a l f t h e b u s t m e a s u r e n e t .
N o ad dit
io n ha s be en m ad e fo r ea se ov er th e bu st m ea su re as th e au th or fin ds th at wi th bi as cu t
ga r m en ts th ey ne ed to be cu t to th e ex ac t siz e, ot he rw is e th er e is a te nd en cy fo r th e w
ei gh t of th e ga r m en ts to dr op an d pu ll th e bo di ce pa rt ou t of po sit io n. C ut tin g th e ga
r m en t to th e ex ac t siz e or ev en sli gh tly s m all er ca us es th e bi as to str et ch ou tw ar ds in st ea
d of dr op pi ng do w n w ar ds .
T h e s i d e s e a m i s l o c a t e d a t 1 2 , h a
l f t h e d i s t a n c e f r o m 7 t o X .
R e d u c e t h e s u r p l u s q
u a n t i t y f r o m X t o 1 1 f r o m t h e s i d e s e a m s a t 1 2 t o
A a n d B .
S q u a r e d o w n f r o m 1 2 t o 1 3 a n d 1 4 o n t h e
l i n e s s q u a r e d o u t f r o m 1 a n d 2 .
S q u a r e d o w n f r o m
A t o 1 5 .
1 6 f r o m 1 5 = 1 i n c h e s .
S q u a r e d o w n f r o m
B t o 1 7 .
1 8 f r o m 1 7 = 1 i n c h e s .
S h a p e t h e f r o n t
s i d e s e a m f r o m A t o 1 6 a n d t h e b a c k s i d e s e a m f r o m
B t o 1 8 .
1 9 f r o m 3 = t h e d i s t a n c e f r o m 8 t o 9 .
2 0
f r o m 1 9 = t h e b a c k f o r k q u a n t i t y o f 2 i n c h e s .
S q u a r e d o w n f r o m 2 0 t o 2 1 t h e i n s i d e l e g l e n g t h o f
5 i n c h e s .
2 2 f r o m 3 = 1 i n c h .
2 3 f r o m 3 = o n e f o
u r t h o f t h e w a i s t m e a s u r e .
2 4 f r o m t h e w a i s t l i n e
= 1 i n c h e s .
L i n e t h e s e a t a n g l e f r o m 2 2 t h r o u g h
2 3 t o 2 4 .
2 5 f r o m 2 4 = t h e l e n g t h f r o m 1 t o 1 8 .
S h a p e f r o m 2 5 a n d 1 6 t o 1 4 f o r t h e s i d e s e a m s .
2 6
f r o m B = i n c h .
S q u a r e a c r o s s f r o m 2 6 t o 2 7 f o r
t h e t o p e d g e .
2 8 f r o m 7 = o n e s i x t h o f t h e s c a l e
p l u s i n c h .
M e a s u r e u p 2 i n c h e s f r o m 2 8 t o 2 9 .
S h a p e f r o m 7 t o 2 9 .
3 0 f r o m 1 6 = 3 i n c h e s .
S h a p e
f r o m 3 0 t o 7 .
S h a p e t h e t o p e d g e o f t h e b r a s s i e r e
s e c t i o n f r o m 2 9 t o A , a n d t h e n r e d u c e t h e d i f f e r e
n c e b e t w e e n t h e s i d e s e a m a t t h e b a c k b y a b u s t d a
r t a t 3 1 3 i n c h e s d o w n f r o m A , m a k i n g t h e d a r t 3 i
n c h e s i n l e n g t h .
3 2 f r o m 1 6 = 3 i n c h e s .
3 3 f r o m 6
= 6 i n c h e s .
S h a p e t h e y o k e s e a m f r o m 3 2 t o 3 3 .
3 4 f r o m 2 5 = 3 i n c h e s .
3 5 f r o m 2 4 = t h e s a m e d i s t
a n c e a s 3 3 f r o m 6 .
S h a p e f r o m 3 4 t o 3 5 .
S q u a r e d o
w n f r o m 1 4 t o 3 6 .
3 7 f r o m 3 6 = 1 i n c h e s .
3 8 f r o m
3 6 = 1 i n c h e s .
C o m p l e t e t h e s h a p i n g o f t h e s i d e
s e a m s f r o m 1 4 t o 3 7 a n d 3 8 .
W h e n c u t t i n g f r o m
t h e m a t e r i a l , t h e t o p b o d i c e s e c t i o n f r
o m 2 7 t o 1 , 2 4 a n d 3 5 i s c u t i n o n e w i t h
t h e h i p y o k e s e c t i o n f r o m 2 4 t o 2 5 , 3 4
a n d 3 5 , o n t h e f o l d o f t h e m a t e r i a l . C u t
t h e g a r m e n t f r o m t h e m a t e r i a l o n t h e b i
a s a s s h o w n b y F i g . 2 2 3 .
C u t t i n g o n t h e
B i a s ( F i g . 2 2 3 )
F i g . 2 2 3 i l l u s t r a t e s t w o
m e t h o d s o f c u t t i n g t h e c a m i k n i c k e r s o n
t h e b i a s o f t h e m a t e r i a l . F i g . 2 2 3 ( a )
s h o w s a l a y o u t t a k i n g 1 y a r d s 1 6 i n c h e s
o f 3 6 i n c h w i d t h s i l k w i t h a l l s e c t i o n s
o f t h e g a r m e n t c u t t h e s a m e w a y o f t h e
m a t e r i a l o r p a t t e r n . T h e d i a g o n a l l i n e s
i n d i c a t e t h e t r u e b i a s o f t h e g r a i n , a n d
t h e v a r i o u s p a r t s o f t h e g a r m e n t s s h o u l
d b e p l a c e d t o r u n e x a c t l y i n a l i g n m e n t
w i t h t h e b i a s l i n e s , o t h e r w i s e t w i s t i n g
w i l l o c c u r i n t h e m a k i n g u p . T h e f r o n t s
k i r t o r l e g s e c t i o n s h o u l d b e m a r k e d o u t
f i r s t w i t h 1 i n c h a d d e d d o w n t h e i n s i d e
l e g s e a m f o r t h e l e g f a s t e n i n g . A l l o w s
e a m s a l l r o u n d t h e p a t t e r n b e f o r e c u t t i n
g o u t ; i n c h i s t h e u s u a l s e a m a l l o w a n c
e , w h i c h g i v e s s u f f i c i e n t m a t e r i a l f o r e
i t h e r F r e n c h o r p l a i n s e a m s . T h e b r a s s i e
r e s e c t i o n i s t a k e n o u t i n t h e c o r n e r b e
l o w t h e b o t t o m s o f t h e l e g s a s i n d i c a t e d
, w i t h i n c h a l l o w e d f o r s e a m s a t e a c h
e d g e . F u r t h e r u p t h e l e n g t h , t h e b a c k a n
d f r o n t s o f t h e b o d y p a r t a r e m a r k e d o u t
. T h e f r o n t s a r e i n d i c a t e d b y t h e d a s h l
i n e s a n d a r e t a k e n f r o m t h e s i n g l e w i d t h
e i t h e r a b o v e o r b e l o w t h e b a c k p a r t . A l
l o w i n c h s e a m s r o u n d e a c h p a t t e r n e d g e
, a n d t h e n c o m p l e t e t h e l a y o u t b y p l a c i n
g t h e b a c k l e g s e c t i o n a b o v e t h e b o d y p a
r t t o w a r d s t h e e n d o f t h e l e n g t h . A d d 1
i n c h d o w n t h e i n s i d e l e g s e a m f o r t h e l e
g f a s t e n i n g , a n d a d d i n c h s e a m s t h r o u g
h o u t . F i g . 2 2 3 ( b ) i l l u s t r a t e s a n o t h e r l
a y o u t f o r b i a s c u t t i n g , i n w h i c h t h e f r o
n t a n d b a c k l e g s e c t i o n s a r e c u t i n o n e
p i e c e w i t h o u t a s i d e s e a m . T h e s a m e a m o u n
t o f m a t e r i a l , 1 y a r d s , i s u s e d a n d , t o
c o m m e n c e , t h i s l e n g t h i s f o l d e d e n d t o
e n d s o t h a t t h e s e l v e d g e s a r e l e v e l a n d
w e h a v e a l e n g t h y a r d b y 3 6 i n c h e s i n
w i d t h . T h e p a r a l l e l l i n e s s h o w t h e e x a c t
b i a s , a n d t h e l a y o u t i s a s f o l l o w s . P l a
c e t h e b a c k a n d f r o n t b o d y p a r t s i n t h e
l e f t c o r n e r o f t h e l e n g t h , a n d m a r k o u t
t o t h e i r f u l l w i d t h s o t h a t o n e s e c t i o n
c a n b e t a k e n f r o m t h e t o p l a y e r o f m a t e r
i a l a n d t h e o t h e r s e c t i o n f r o m t h e u n d e r
l a y e r . P l a c e t h e s i d e s e a m s o f t h e b a c k
a n d f r o n t l e g s e c t i o n s t o g e t h e r , a n d t h e
n m a r k o u t o n t h e l e n g t h a s i n d i c a t e d . A
l l o w i n c h s e a m s a t a l l s e a m e d g e s a n d
1 i n c h a t e a c h i n s i d e l e g s e a m f o r t h e l
e g f a s t e n i n g .
D r a f t o f a F o u n d a t i o n f o r
a N i g h t g o w n o r a n U n d e r s l i p ( F i g . 2 2 4 )
T h e f o l l o w i n g d r a f t i l l u s t r a t e s a f o u n d a
t i o n f o r a d a p t i n g t o n i g h t g o w n o r u n d e r s
l i p c u t t i n g o n t h e b i a s o f t h e m a t e r i a l .
B a s e d o n t h e d r e s s s y s t e m , t h e d r a f t i l
l u s t r a t e s t h e r e d u c t i o n o f w a i s t s u p p r e s
s i o n w i t h o u t m a n i p u l a t i o n . M e a s u r e s f o r
t h e d r a f t a r e a s f o l l o w s
B u s t = 3 6 i n c h e s .
W a i s t = 2 8 i n c h e s .
H i p s = 3 9 i n c h e s .
N a t u r a l w a i s
t l e n g t h = 1 5 i n c h e s .
F u l l l e n g t h = 5 2 i n c h e s .
W o
r k i n g s c a l e = h a l f t h e b u s t g i r t h = 1 8 i n c h e s .
T o
d r a f t S q u a r e f r o m X .
h i s c o m p l e t e s t h e
f o u n d a t i o n d r a f t f o r e i t h e r a n i g h t g o w n
o r a n u n d e r s l i p .
h e n c u t t i n g f r o m t h e m
a t e r i a l o n t h e b i a s , i t w i l l b e n e c e s s a r
y t o c u t t h e s k i r t s e c t i o n w i t h a c o r n e r
p i e c e j o i n e d o n , a s i t i s i m p o s s i b l e t o
t a k e t h e l e n g t h o u t o n t h e b i a s o w i n g t
o t h e m a t e r i a l u s e d b e i n g o n l y 3 6 i n c h e s
a p p r o x i m a t e l y i n w i d t h . I t i s t h e u s u a l
p r a c t i c e t o m a k e t h i s j o i n a t t h e s i d e s
e a m o n o n e s i d e o n l y .
F i g . 2 2 5
h e l a y o u
t f o r b i a s c u t t i n g i l l u s t r a t e d b y F i g . 2
2 5 i s u s e f u l f o r t h e g e n e r a l m e t h o d o f p
l a c i n g t h e p a t t e r n s e c t i o n s o n t h e s i l k
t o t h e b e s t a d v a n t a g e . T h e l a y o u t t a k e s
2 y a r d s o f 3 6 i n c h w i d t h s i l k , a n d t h e
s k i r t s e c t i o n s a r e c u t w i t h o u t s i d e s e a m
j o i n s .
I f y o u e n j o y V i n t a g e S e w i n g . i n f o , t
h e r e a r e s e v e r a l w a y s y o u c a n s u p p o r t t h i s s i t e . P l e a
s e r e a d o u r P r i v a c y & A c c e s s i b i l i t y P o l i c i e s
C o m m e n t
s t o o u r s t a f f : c o m m e n t s @ v i n t a g e s e w i n g . i n f o
C o p y r i g h
t 1 9 9 7 2 0 0 4 V i n t a g e S e w i n g R e f e r e n c e L i b r a r y , I n c .
A n o n p r o f i t p u b l i c b e n e f i t c o r p o r a t i o n
http://vintages
replay
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AUG
18 captures
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2005 2007
Vintage Sewing Main Page > 1940's> Ladies' Garment Cutting and Making > Chapter XVII Search | Subscribe | Support

by F. R. Morris
Chapter XVIIPattern Grading and Designing by Block Patterns

To draft a special pattern for every client would be bordering on the impractical and a serious waste of time for the busy cutter. It depends entirely on whether the client is a regular customer as to whether we keep a special pattern cut to her measurements; but, in these days, designs change so quickly that to cut a special pattern for every garment would be of no avail, for very few women ever like to have more than one garment cut in the same style. A special block pattern for each client is exceedingly useful for adapting to the different designs, as one cannot always be certain of infusing an identical cut in different garments cut to the same measurements. It is a well-known fact that some garments seem to be perfect from the first cut of the shears, while others "misfire" even with the best efforts. The solution of the problem of retaining consistency of design and line lies in the use of standard block patterns for cutting the special patterns or cutting direct from the cloth. These block patterns should be cut as perfectly as possible, well balanced and brought right up to date by constant observation of small alterations met with in fitting-on. The possession of such a set of block patterns ranging from a 30-inch breast to a 46-inch breast would ensure a consistency of style and production not obtainable by the old-
fashioned method of cutting special patterns by drafting out by system. For intricate designs, more attention can be given to the study of line and the actual designing and placement of seams if we possess a pattern which we can manipulate while retaining all the essential fitting qualities. In the basic systems for jackets arid long coats, the author advocated a standard position for the sideseam, sidebody seams and panel seams, and by the use of block patterns for all variations of seam placement, cut in a range of sizes, we can be certain of retaining in every garment produced the identical characteristics of line and fitting quality possessed by the original proved pattern. The designing of model coats is materially assisted by the use of a block pattern, for the waist suppression and hip overlap factors are decided and automatically become incorporated in the reconstructed design.
Types of Block Patterns

With regard to the most useful number and style of block patterns to cut, we need a set capable of adaptation to any variation of style and seam placement. To this end, the following patterns will be required (1) Plain outline block, consisting of back and forepart with an underarm sideseam only. (2) Sidebody block, with underarm and sidebody seam. (3) Panel back and front block. (4) Lounge or chesterfield block, with a sideseam at the back of the scye and an underarm waist dart. These block patterns permit of all the usual variations of seam placement in "classical" tailored jackets and long coats. For instance, we could have a plain back with a panel front, a plain front with a panel back, or a sidebody back with a panel front, as well as the seam placements of the original block patterns. In addition, any extra seams of design could be marked within the compass of the block pattern outline seams or by incorporated parts of the pattern being joined together and the design continued from one section of the block to another.
Sleeve blocks should be cut in two styles, the two-piece and the onepiece. The two-piece sleeve cut with a displaced hindarm seam and a threequarter sleeve finish at the forearm seam, and the one-piece sleeve with a wrist dart to the elbow as in tweed coat sleeves, do not require to be too closely fitted. The lounge and chesterfield blocks will be suitable for all designs with this arrangement of seams, but, by reason of this seam placement, the blocks are not adaptable to the other designs and form a section of their own.
Cutting and Grading Block Patterns

All block patterns are produced on the lines laid down in the basic systems and must be accurately drafted out and cut with every constructional point determined for grading purposes. Each block for jackets and long coats should be cut to the centre line of the fronts only, with the gorge run marked and cut to the size described in the basic systems, so that any style of fronts can be added when cutting out the special design or cutting direct from the material, whether single- or double-breasted, lancerfronted or linked. Each block should be cut with a bust dart from the shoulder seam, the dart being outlined with punch-holes for ease of marking on the material, and, additionally, a manipulation line for obtaining a gorge dart if necessary should be punch-marked down from the gorge in the usual position. Breast, waist and hip lines should be notched and clearly marked as with the back and front sleeve pitches. The next step is to produce from the single tested block pattern a set or range of sizes for each distinct style, each additional size to retain the characteristics of style and fit of the original pattern so as to ensure uniformity throughout the range. While it may be possible to draft each pattern separately, the most accurate method of production of a range of sizes is by grading up and down from an intermediate size. Grading ensures uniformity, for each pattern increases or decreases in size an equal amount all through the pattern outline. Grading must give the dimensions as found by direct drafting for the shoulder sections and retain the line and run of seams of the original. Therefore, to make sure that the graded patterns are proportionately correct
throughout the range, the best plan is to cut the smallest size, the intermediate size and the largest size for a range extending from a 30-inch breast to a 46-inch breast. If we are grading only about four patterns, one size for the basic pattern will suffice, but when a large number of patterns, extending from a small breast size to an extremely large one, are required it is advisable to grade from more than one basic pattern for greater accuracy. Therefore, cut three patterns, a 30-inch breast, a 38-inch breast and a 46inch breast, each to be as alike as the proverbial two peas, and then obtain the intermediate sizes by joining up the constructional points of the three patterns and dividing the distance between the points into the number of patterns required.
Plain Coat Block Patterns

Dealing with the plain coat block range first, draft and cut the three sizes as described in the basic systems, and then on a clean sheet of pattern paper mark carefully round the outline of the largest size. Mark in the breast, waist and hip balance lines and the sleeve pitch. This should be done very accurately in a thin line, by pencil in preference to chalk. Then take the 38inch breast pattern, lay over the 46-inch breast outline and mark round in a similar manner, with the breast line and depth of scye accurately superimposed over the same balance lines of the larger outline. Carefully mark the waist and hip balance lines and the sleeve pitch. The smallest size, the 30-inch breast, is then laid on the pattern paper with the breast balance line superimposed over the original balance line of the 46-inch breast pattern. Mark the waist, hips and sleeve balance points as above. We now have the outlines of the three sizes on one sheet of pattern paper and can produce from this a range of sizes for every 1-inch or 2-inch increase in the breast size from 30 to 46 inches. We have the constructional points of the two outside patterns and the middle size, and by joining these points by grading lines we can obtain the dimensions and shape of the intermediate sizes.
Fig. 226
To grade the back, firstly join the centre back line between the three points to find the depth of the scye for the patterns to be produced. Then join the back neck points with a grading line running from the largest to the smallest size.
Similarly, connect up the shoulder ends by a grading line and the three sleeve pitches in a like manner. Extend the breast line between the 30-inch breast sideseam to the 46-inch breast sideseam, and then connect up the three waist balance marks and the three hip balance marks to determine the increase in the waist and hip levels from the breast line. Now if even sizes are required, we have to obtain sizes 40, 42 and 44 inches above the 38-inch breast outline, or, if odd and even sizes, 39, 40, 41, 42, 43, 44 and 45 inches. For even sizes, the distance between the middle and largest outlines will be required to be divided by four to give three points for the three sizes as indicated on the depth of the scye line. For uneven sizes, the distance will be divided by eight to give seven constructional points. For even sizes, the new constructional points will be each inch apart, as defined by the system, which gives an increase of inch in the depth of the scye for every 2-inch increase in the breast girth. Similarly, divide the distance separating the shoulder point of the middle size from the shoulder point of the largest size by four, to give the shoulder points of the intermediate sizes. The back neck points are joined and divided by four to give the middle constructional points. At the sideseam on the breast balance line, divide the distance between the outer and inner outlines by four to find the three intermediate sizes, and in a similar manner divide the distances separating the waist and hip balance marks. The length of the coats should be increased to agree with the lengths required and continued to the sideseams to intersect these lines. This completes the grading above the middle size, and for producing the sizes from a 38-inch breast down to a 30-inch breast it is necessary to divide the distance separating the 38-inch breast outline from the 30-inch breast outline by four to give three even sizes, or by eight to give seven odd and even sizes. A point arises with regard to the odd sizes from a 31-inch to a 45-inch breast; it is much more accurate to draft another three odd sizes and make a separate grade than to endeavour to grade these with the even sizes, for when dealing with eighths of an inch, it is depending too much on accurate marking and cutting for the production of the sizes, and a little inaccuracy will also affect the even sizes adversely. Divide up the depth of scye line joining the 30-inch breast and the 38inch breast into four parts, locating the constructional points of three sizes, 32, 34 and 36 inches. In a similar manner, divide the distance separating the
back neck points by four and the shoulder points by four to give the new constructional points of the 32-, 34- and 36-inch breast sizes. Connect with a grading line the sleeve pitches and divide by four in similar manner to the above. The distance between the sideseam points of the 30-inch and 38-inch breast outlines is divided by four to locate the sideseam commencement of the three intermediate sizes. Similarly, divide the grading lines joining the waist and hip balance points of the middle and inner sizes to define the waist and hip lines in their proportionate relationship to the breast line for the decrease in breast girth. Mark the lengths of the three patterns by dividing into four the distance between the middle and smallest jacket lengths, obtaining three lengths. When all the points have been obtained the next thing to do is to join them all up to produce the outlines of the additional pattern blocks. Carefully connect up each point to the other, making sure to retain the same outlines by ensuring that the lines are an equal distance apart throughout. The connecting of the waist points will automatically define the waist line for all the intermediate sizes in relation to the breast and hip balance lines. The length of the jacket blocks is immaterial for this factor is one of style only and governed by the client's wishes. The grade of the back shows a slight increase in length from a 38-inch breast to a 46-inch breast.
The Grade of the Foreparts

Fig. 227 illustrates the grade of the foreparts. Firstly, on a clean sheet of pattern paper, mark round the outline of the 46inch breast block pattern. Make sure of marking the breast line clearly and accurately and, most important, the front of scye location point from which the scye line is squared up. This point is important because the similar points on the middle and smaller sizes are superimposed on this point to determine the increase of the grade at the fronts and shoulders. The across-chest measure for all patterns is taken forward from this point, which means that for any decrease or
increase of the across-chest width by reason of decrease or increase in the breast girth, the distance of the centre line at the fronts from this point will define the extent of the variation. To continue with the grade layout, mark the waist and hip balance points and the termination of the bust dart on the breast line. Do not mark the shoulder dart, but only define the quantity taken from the dart by leaving this space clear on the shoulder seam. After the 46-inch breast size has been marked accurately, take the 38inch breast forepart and carefully superimpose over the 46-inch outline, with the front of scye point exactly on the 46-inch breast point. The breast line of the 38-inch breast pattern should be in alignment with the 46-inch breast line, and when the pattern is accurately placed in position mark round the outline and indicate the waist and hip balance points and the termination of the shoulder dart at the breast line. The quantity taken from the shoulder dart is indicated by the space between the seams on the shoulder. We have two outlines marked out and, to complete the foundations of the grade, place the 30-inch breast block pattern over the outlines of the middle and largest sizes and mark round, indicating the waist and hip balance lines in addition to the termination of the shoulder dart. The front of scye point is placed as usual over the same point on the two other sizes, and the breast balance lines are continuous. When the three outlines are marked on the pattern paper, to complete the grade and obtain the outlines of the intermediate sizes, join all the constructional points as follows. Firstly, join the gorge points at the front centre lines to make a continuous run, and to obtain the three intermediate sizes from the 46-inch breast to the 38-inch breast and the 38-inch breast to the 30-inch breast, divide the distance between the three points by four in each case, giving the gorge points for 32-, 34-, 36-, 40-, 42-, and 44-inch breast sizes. From the basic system we know that the across-chest width increases by inch for every 2 inches increase in bust girth, so that the increase on the fronts is automatically decided as this quantity when the distance is divided between the three centre lines. Mark in the centre lines of the intermediate sizes by dividing the distance between the 38-inch breast centre line and the 46-inch breast edge by four to give the centre front lines of sizes 40-, 42 and 44-inch breast sizes. Then divide the distance separating the 38-
inch breast and the 30-inch breast centre lines by four to give the three constructional points for the centre lines of 32-, 34- and 36-inch breast sizes. Rule lines from the gorge points through the breast line points to the bottom edge for intersecting the bottom construction lines marked across from the sideseam in accordance with the increase in length of the various sizes. At the sideseams, divide the distance separating the outer sideseam from the middle by four to give the sideseam points of the three intermediate sizes, 40, 42 and 44 inches. At the natural waist line, join up the outer and inner waist line points, and divide the distance between these points to find the waist levels of the intermediate sizes. At the bottom edge, join up the three sideseam termination points by a grading line, and divide the outer and inner distances by four in each case to locate the sideseam termination points of the six intermediate sizes, namely, 32, 34, 36, 40, 42 and 44 inches. Shape the outlines of the intermediate sizes at the sideseam to run through each located point to terminate at the bottom edge in the length required to agree with the back grade. At the front bottom edge, join by a grading line the three front bottom edge points as shown, and divide by four in each case to give the location points of the three intermediate sizes between the 30-inch and the 38-inch breasts and the 38-inch breast to the 46-inch breast. Shape the bottom edge runs of the six intermediate sizes from the front and back sideseam points as indicated, and then connect up the bottom front edge points with the centre line location points on the breast line. The shoulder section is the final operation. Here grading becomes more difficult owing to the gorge neck point remaining constant for breast sizes over 36 inches, which means a greater increase in the quantities taken out of the bust darts as the distance from the front neck point to the gorge neck point becomes greater with each increase in the across-chest width. This is clearly illustrated on the grade. The two outlines for 30-inch and 38-inch breast sizes show a forward diagonal increase of the shoulder end, bust dart points, and the gorge neck point, while, from 38-inch to 46-inch breast sizes, the shoulder end and bust dart seam points recede back in the opposite direction, the gorge neck point remaining constant and the gorge neck point advancing as usual with the across-chest width, the location of which is
dependent on the distance back from the front centre line. The shoulder end and bust dart seam points recede owing to the constant position of the gorge neck point and the greater quantities taken from the bust dart back across the shoulder from the neck point, for obviously, if the neck point is fixed, any increased quantity to be taken out must increase the distance of the shoulder end from the neck point. The grade is rather difficult to mark up clearly owing to the intersecting of lines caused by the advancing and receding of the shoulder ends and shoulder dart seams, but when the grade is being made to the full scale, the difficulty should disappear. Firstly, join the 38-inch breast and the 46-inch breast shoulder ends, and divide the distance in between the points by four to give the shoulder end points of the intermediate sizes. Then divide the distance between the 38-inch and 30-inch breast outlines by four to locate the shoulder ends of the smaller sizes below the 38-inch breast size. Shape the front of scye lines from the front pitch to each of the located points as indicated. A considerable amount of overlapping of seams is apparent at the front of the scye, but when the grade is being cut up, if each line is traced off on to the pattern first before an attempt is made to cut out the sizes, the outlines will become clearly defined. At the shoulder dart seam points, divide up the distance between the outer and inner points by two grading lines, and then mark up into four parts to give three location points in each case. Shape from the dart points to the shoulder end points to complete this section of the grade. At the front of the dart, join the 30-inch breast neck point to the 38-inch breast point, and the 38-inch breast point vertically upwards to the 46-inch breast point by grading lines. Divide the distance between the 30-inch and the 38-inch breast points by four to find the neck-point locations of 32-, 34- and 36-inch breast sizes, and then divide the vertical line joining the 38-inch and 46-inch breast neck points into four to find the three neck points of 40-, 42- and 44-inch breast sizes. Join the gorge neck points from the 30-inch to the 38-inch and 46-inch breasts by a single grading line as shown, and then divide the distances between the points by four in each case to find the location points for the
intermediate sizes. After locating these points, shape the gorge runs of the six new sizes from the front centre-line points as indicated and then from the gorge points to the front neck points in each case. No attempt will be made to indicate the shoulder darts for every size. It would be practically impossible to show each dart clearly owing to the constant overlapping of the lines, so that the termination points of each dart will be indicated, and then, when the grade is cut up or traced off on to a separate sheet of paper for each size, it will remain a simple matter to mark in the shoulder darts. Points 30, 38 and 46 illustrate the termination points of the shoulder darts on the breast line. To find the termination points of the intermediate sizes, divide the distances separating these points by four in each case to find the three location points to which to shape the shoulder darts. Mark the front seam lines of the shoulder darts from each of the neck points to their respective termination points as indicated, and the quantity taken from each of the darts is illustrated by the distance of the shoulder dart seam points from the neck point in each instance. This completes the foundation grade of the plain jacket draft. To obtain the intermediate sizes from the foundation grade, one method is to trace through the outlines of each size on to a separate sheet of pattern paper and then cut out, taking care to trace accurately and mark all the balance points. Another method is to pin the foundation grade either to a sufficient number of sheets of paper for the sizes required or to a separate sheet for each size, and then cut round the outlines, cutting away a size each time until all the sizes are obtained. This method may be suitable for the back part, but with the complications caused by the overlapping and intersecting of the front of scye and shoulder seams on the foreparts it would not be practical, and the best method to adopt, for the fronts at least, is that of tracing off the sizes from the foundation grade. In any case, the retention of the grade is an advantage for future use.
The Sidebody Jacket Grade

The sidebody jacket grade is illustrated by Fig. 228, showing the back and sidebody graded to nine sizes from a 30inch to a 46-inch breast. The fronts are identical with the plain forepart grade, as the position of the sideseam remains unchanged. The width of the back at the waist is definitely
fixed as one-third of the scale less 1 inches or to the shape desired as long as the waist suppression is reduced as described in the system. To make the grade of the back part, take a clean sheet of pattern paper and mark round the outline of the 46-inch breast size, marking in the back sleeve pitch, the breast line and waist and hip balance points. Then place the 38-inch breast outline pattern over that of the 46-inch breast size, making the breast lines lie over each other, mark the waist, hips and sleeve notches, and finally superimpose the smallest size over the other two outlines with the breast lines in alignment, making sure to mark the balance notches carefully. To obtain the intermediate sizes, join the back neck points by a grading line and then divide the distance between the 46-inch and the 38-inch breast outlines by four to give three location points for the 40-inch, 42-inch and 44inch back neck points. On the continuation of the depth of scye line from the 30-inch to the 46-inch breast centre back neck points, divide the distances separating each point from the other by four in each case to find the depth of scye quantities for 32-, 34-, 36-, 40-, 42- and 44-inch breast sizes, the increase being inch in each size. Shape the back neck curve for each of the six intermediate sizes as indicated on the grade, then join the three shoulder end points by a grading line and divide by four in a similar manner to find the location points of the graded sizes. Shape the three new shoulder seams above the 38-inch breast and the three seams below the 38-inch breast to the coinciding points of the back neck curves. The termination of the sideseam in each outline pattern is denned by a point 1 inches above the breast line for the 30-inch breast size, 2 inches for the 38-inch breast size and 2 inches for the 46-inch breast size. Connect each of these points by a grading line to find the sideseam termination points of the intermediate sizes, and then divide the two distances separating each point by four in each instance to give six location points for the graded sizes. Join the back pitch notches in a similar manner, and divide by four in each case to find the increase in the back width of each size from the 30-inch to the 46-inch breast. Shape the back-scye runs from the shoulder seams to the termination points of the sideseams as indicated, and connect up the waist balance notches and the hip notches. Then divide the distances separating the lengths of the three outline patterns by four in each case to find six jacket lengths for the intermediate sizes, and rule across from the centre back to meet the sideseam lines when graded down.
Join the corners of the outline block patterns by grading lines, divide up into the requisite number of sizes and connect up with the jacket-length points. Divide the grading line joining the waist notch of the smallest size with that of the middle size by four to locate the waist lengths and widths of the back for the three sizes between the 30-inch and the 38-inch breasts. On the breast line, divide the distance between the inner and middle outline patterns by four to locate the breast-line positions of the intermediate sizes. Then shape the three sideseams from the termination of the sideseam to the waist and thence to the bottom edge. Similarly, divide up the grade for the larger sizes above the 38-inch breast, and shape the three side-seams through the lengthened waist lines to the bottom edge and full jacket lengths for each new size to complete the grade of the back part. The grade of the sidebody is as follows. Lay the 46-inch breast sidebody pattern on a sheet of paper and mark round the outline, notching the breast, waist and hip balance lines, and marking the breast line from seam to seam. Then place the 38-inch and 30-inch breast patterns on the outline of the 46inch breast with the breast lines of each pattern superimposed on each other, and join the waist-line notches of the smallest size to the middle size and then to the largest size. Similarly, join up the hip-line notches by grading lines as shown. Divide the distances separating the three jacket lengths by four in each instance to locate the required length for the intermediate breast sizes from 32 inches to 36 inches and 40 inches to 44 inches. The corners of the sidebody at the sideseam are also joined by a grading line to locate the sideseam terminations at the bottom edge. Divide the grading lines at the bottom edge by four in each case to define the intermediate sizes, and then divide up the waist grading lines to locate the sideseams of the six graded sizes. Similarly, at the breast line, mark the distances separating the sideseams into four divisions and then shape the sideseams as indicated. At the termination of the sideseams at the back of the scye, divide the distances separating the outline points by four to find the point locations of the intermediate sizes, and then complete the grade of the sidebody by shaping the back-scye runs from the sideseam points to the termination at the back-scye.
Here, again, care must be taken in producing the sizes from the foundation grade owing to the close proximity of the size outlines. This completes the grade of the back and sidebody for a sidebody lounge jacket, and the next pattern to grade is the panel back and front style.
The Grade of a Panel Jacket (Fig. 229)

From the grading point of view, the panel jacket presents more difficulties and takes more time to grade than any other jacket. On some sections of the block pattern the additions made for a 2-inch increase of breast size only amount to 3 1/16 inch, so that accuracy is important and essential when grading out a complete range of sizes. For the block pattern cut the dimensions as standard; the width of the back waist panel is made one-sixth of the scale plus inch, and on the hip line this quantity is increased by another inch. At the shoulder seam, the panel is placed 2 inches back from the back neck point, or exactly in the centre of the shoulder, and is gradually shaped down to the natural waist line. To grade the back in a range of sizes extending from a 30-inch to a 46inch breast, take the largest block pattern and mark round the outline. Notch the waist and hip balance lines, and mark in clearly the breast line from the centre back to the panel seam. When this has been done, place the 38-inch breast outline block pattern on the 46-inch outline, with the breast lines superimposed over each other, and then mark round the 30-inch breast pattern, notching the waist and hip balance lines. Then to complete the outline of the grade preparatory to obtaining the other sizes, mark round the 30-inch breast pattern after it has been placed on the draft with the breast line agreeing with the original line marked on the 46-inch breast pattern. Connect by grading lines the following points of the three outline patterns: the depth of scye line, the back neck points and curves, the back panel seam positions in the shoulder seams, the breast lines, the waist balance points, the hip balance points and the lengths of jackets at the bottom edge of the panel seams. Then to produce the foundation grade, divide the distances between the three points on the depth of scye line by four in both instances to give six new points to determine the scye depths for
the 32- to 36-and 40- to 44-inch breast sizes. At the back neck curves of the outline patterns, divide the grading lines by four to locate the back neck points of the intermediate sizes. Shape the back neck curves from the back neck points to the depth of scye points as shown, and then divide the distances separating the panel seam points by four in each case to locate six panel seam locations for the intermediate sizes. Shape the shoulder seams from the panel seams to the back neck curve points as shown by Fig. 229, and then divide up the distances separating the outline panel seams at the breast line in the usual manner. On the waist grading lines, divide by four to relocate the increase in the waist length from the 30-inch to the 46-inch breast at the panel back seam, and at the bottom edges divide the amount of length increase between the three patterns by four in each case to agree with the division of the grading lines joining the terminations of the panel seams at the bottom edges. Shape the intermediate jacket length between 30-inch and 38-inch and 38-inch to 46-inch breast sizes as shown, and then complete the grade of the back panel by shaping the panel seams to each of their respective points at the shoulder seam, breast line, waist line, hip line and bottom edge lines.
The Side Panel Grade

The side panel is graded by taking the three outline patterns, 30-inch, 38-inch and 46-inch breast sizes, and then marking round the 46-inch pattern on a clean sheet of pattern paper and carefully marking the breast line, back sleeve pitch, waist line, hip line and full jacket length. Superimpose the 38-inch breast side panel pattern over that of the 46inch breast, making sure that the breast lines of both patterns are perfectly in alignment, and mark the waist, hip and sleeve balance notches as above. Finally, place the 30-inch breast pattern in position with the breast line running with the other sizes and mark the balance notches at the sleeve pitch, waist and hips. The waist and hip balance notches have not been marked on the grade as the variation is covered by the general gradual waist suppression at this point and, when the graded patterns are cut out, the balance notch can then be placed to agree with the back panel notch at the waist line.
To grade the side back panel, make the requisite grading lines by joining the outline patterns at the following points: the termination of the panel seam on the shoulder seam, the shoulder end, the back pitch of the sleeve, the breast line, the waist line, the hip line and the full length line. Continue up from the panel seam at the shoulder on the 30-inch breast outline to the 38-inch breast and then mark the distance between these points into four parts, obtaining three termination points for the panel seam of the side back panel. Similarly, divide the distance above the 38-inch breast to the 46-inch breast into four parts to give three location points for 40-, 42- and 44-inch breast sizes. On the grading line joining the shoulder end points, divide into four parts respectively from the 30-inch to the 38-inch breast and the 38-inch breast to the 46-inch breast, obtaining shoulder-point locations for the breast sizes over 30 inches. Shape the back shoulder seams from the graded points at the shoulder end to their coinciding points at the back panel seam as shown. Next, divide the distances separating the three sleeve pitches by four in each instance, to find the sleeve pitches and back widths of the intermediate sizes, and divide the distances separating the three sideseam positions from each other by four to find the sideseams of 32-inch to 36-inch and 40-inch to 44-inch breast sizes. Complete the grade at the shoulders and the back of the scye by shaping from the sideseam termination points through the respective sleeve pitches and shoulder points. On the waist line, divide the distance separating the waist balance notch of the 30-inch breast outline from that of the 38-inch breast into four parts to locate the waist length of the three intermediate sizes. Similarly, divide the distance separating the waist notch of the 30-inch breast size from that of the 46-inch breast size into four parts so as to define the waist lengths of the breast sizes above 38 inches. At the bottom edge of the grade, divide the distances between the three jacket lengths into four in each case, and shape the bottom edges of the additional six patterns from the panel-seam points to the sideseam termination points found by dividing the distances separating the sideseams by four as indicated.
To complete the grade of the side back panel, shape the intermediate sideseam lines from the under-scye points through their respective waist points down through the hip balance point to the bottom edge lines as indicated. The waist balance notches should be checked after each side panel has been cut from the foundation grade and balanced up with the back panel. This completes the grading of the side back panel, and the next operation is the grade of the side front panel in two sections for simplifying the outlines.
The Side Front Panel Grade

Fig. 230 illustrates the grade of the side front panel shown in two sections for clearness and simplicity. The first grade is from a 30-inch to a 38-inch breast and the second from a 38-inch to a 46-inch breast. Mark round the outline of the 30-inch breast side front panel and clearly show the breast line and the front of scye line location point. Then take the 38-inch breast outline pattern and superimpose on the 30-inch breast outline with the breast line and the front of scye location points in alignment above each other. To make the grade, join the shoulder-end points with a grading line and divide by four to give the shoulder-end points of 32-, 34- and 36-inch breast sizes. Similarly, join up the shoulder-panel seams by a grading line and divide the distance between these points by four to give the location points of the three additional sizes. On the breast line, divide the distance separating the panel seam of the 30-inch breast outline pattern from the panel seam of the 38-inch breast into four parts to give the positions of the three additional panel seams of the 32, 34-, and 36-inch breast sizes. At the waist line, join up the two waist lengths by a grading line and divide into four to give the increase in waist length of the 32-, 34-, and 36inch breast sizes. At the bottom edge, join up the two panel-seam terminations by a grading line, and then divide up the distance separating the two points to
find the panel seam positions and jacket lengths of the intermediate sizes. Similarly, at the sideseams, join up the two seam terminations of the sideseams to find the sideseam positions and lengths of the three intermediate sizes. After marking all the grading points, complete the grade by connecting up the points by lines to define the outlines of the intermediate sizes as indicated. To complete the grade from the 38-inch breast to the 46-inch breast, superimpose the outline of the 46-inch breast size over that of the 38-inch breast, making sure that the breast lines of the outline patterns are in alignment with the front of scye points directly above each other. Join up the two shoulder-end points by a grading line, and then divide the distance between by four to give three shoulder-end location points for the intermediate sizes. Join up the front panel-seam points by a grading line and mark into four parts to give panel-seam points for the 40-, 42-, and 46-inch breast sizes. On the breast line, divide the distance separating the front panel seams into four parts to find the location points of the intermediate sizes. Similarly, at the waist line join up the two waist length points by a grading line to determine the increase of width and waist lengths of the three intermediate sizes, and at the bottom edge connect the panel seams to find the increase of jacket lengths in proportion to the increase of size from the 32-inch to the 38-inch breast. The sideseams of the intermediate sizes are indicated by joining up the breast line and bottom edge sideseam points by grading lines and dividing up as usual. To complete the grade, shape the four front of scye lines to their respective points as indicated, and then join up the shoulder end and front panel-seam points as marked for the middle sizes. Next, shape the front panel seams from the shoulder to the waist and full length points as indicated, joining up the points of the three intermediate sizes. Grade the bottom edge lines by connecting up all the points, and then complete by shaping the three side-seams of the intermediate sizes, running
through the waist notches to define the increase of the waist length for the between sizes.
The Grade of the Front Panel

The grade of the front panel is indicated by Fig. 230. First, mark round the outline of the 46-inch breast front panel on a clean sheet of pattern paper and clearly mark in the breast line from edge to edge. Then take the two other outline patterns and superimpose over the 46-inch breast outline with the breast lines running in alignment. Connect up the panel seam termination points at the shoulder ends with a grading line, and divide the distance separating the points into four in each case to locate the shoulder points of the six intermediate sizes. Next, connect up the gorge neck points by a grading line, and divide the distances by four in each instance as usual. The gorge points at the centre front lines are then connected up to locate the centre lines of the intermediate sizes by dividing up the distances between the 30-inch breast and the 38-inch breast gorge points and the 38-inch and the 46-inch breast gorge points. Similarly, at the breast line divide the distances separating the centre lines by four and mark the intermediate points for the 32-inch to 36-inch and the 40-inch to the 44-inch breast sizes. Join up the centre-line termination points of the jacket lengths at the bottom front edge and divide into four parts as indicated, and then outline the intermediate sizes by connecting up each point by drafting lines to give the shape of the 32-inch to 36-inch and 40-inch to 44-inch breast sizes. This completes the grading of the panel jacket. A point to note is that the position of the front panel seam is the same proportionally for all the sizes, that is, the centre of the shoulder back from the front neck point. For the larger sizes, the width increases naturally to cause the front panel seam on the side front panel to recede, as the neck point remains unchanged for breast sizes over 36 inches and the increase in the dart quantity must be taken out back across the shoulder from the neck point. The chesterfield or lounge block pattern is not very suitable for grading on account of the underarm dart and the gorge dart requiring a change of location and size for every size increase. Also in breast sizes above 38 inches, the gorge dart is not very suitable and the shoulder dart should be
used. Therefore, the author prefers to draft this style separately owing to the wedging open of the body part for the insertion of the hip overlap.
The Grade of the Two-piece Sleeve (Fig. 231)

To obtain the grade of the sleeves, draft out three sleeve patterns to agree with the scye circumferences of the 30-, 38- and 46-inch breast outline blocks and then place in position as follows. Mark round the outline of the 30-inch breast sleeve block pattern and indicate the forearm seam notch and the original hind-arm notch position 1 inches back from the lowered hindarm seam. Then take the 38inch breast pattern, place on the outline of the 30-inch breast size and mark in the outline. Similarly, place the 46-inch breast block pattern on the outlines of the two smaller sizes and mark in the hindarm seam notch. Connect up the hindarm seams by a grading line and divide up the distances separating the three points into four parts respectively to give the hindarm seam positions of the intermediate sizes. The shoulder seam notches of the sleeves are then joined to find the sleeve crown height of the six intermediate sizes. Shape the sleeve heads of the additional sides by joining up the graded points as indicated in Fig. 231, with the grading lines tapering away to the front sleeve pitch. At the elbow, connect the three elbow location points by a grading line and divide the distances between the points into four in each case. At the end of the sleeve, join the three lengths of hindarm by a grading line to be divided as above. Complete the shapes of the intermediate sleeves by connecting up the located points as indicated in Fig. 231 and then proceed with the grade of the under-sleeve pattern.
The Grade of the Under-sleeve

Mark round the outline of the smallest size with the elbow location notched, and then superimpose the outlines of the two larger sizes on that of the smaller size, and position the forearm seams so that they run in alignment.
Connect the hindarm sleeve seams by a grading line and divide the distances separating the points by four to define the intermediate sleeve sizes. Mark up a -inch seam notch at each of the additional points and then shape the under-sleeve seam runs of the intermediate sizes. Connect the elbow notches by a grading line, and then divide the distances between these points by four to define the sleeve outlines of the intermediate sizes. Next, join the hindarm seams at the cuff end of the sleeves by a grading line, and then divide the distances between these points by a grading line to find the sleeve lengths and cuff widths of the sizes from 32-inch to 36-inch and 40inch to 44-inch breast sizes. Shape the under-sleeves for all the additional sizes by connecting up the grading points by continuous lines, as illustrated, to complete the grade of the under-sleeves.
The Grade of the One-piece Sleeve (Fig. 232)

The one-piece sleeve is graded in a similar manner to the two-piece sleeve, i.e. by marking in the outline of the smaller size and then superimposing the outlines of the larger sizes thereon. Fig. 232 illustrates the full grade of the sleeve with the wrist darts indicated in the correct positions for each sleeve. When the outlines of the block sleeve patterns are being marked round, the original hindarm seam position should be notched with the shoulder seam position on the sleeve. Connect up all the constructional points of the grade from the 30-inch breast block pattern through the 38-inch breast pattern to the 46-inch breast block. These points are the hindarm seam positions, the shoulder seam points on the sleeve outlines and the underseam position of the sleeve seams. Also connect the sleeve length and wrist dart points to each other, and then divide by four in each instance, as illustrated, to determine the sleeve outlines of the intermediate sizes. Complete the under-sleeve grade by connecting each graded point by a continuous line. The wrist dart position in each of the additional sizes is found by joining up the termination and commencement points of the three outline darts and, by a division of four, the intermediate points are located and the darts shaped out to complete the one-piece sleeve grade.
We have now completed the grading of our size range from the 30-inch breast to the 46-inch breast in the styles as follows: plain coat, sidebody coat and panel coat with one- and two-piece sleeves. As stated before, the possession of this pattern range should make for more uniformity of line and style in production in comparison with the drafting of special patterns for every client. The standard measurements to which the block patterns are cut may be easily varied when marking out on the material, as described in the basic system drafts showing the necessary alterations for larger or smaller hips and waist girths or for an abnormally erect or stooping attitude of the figure.
Style-reading by the Use of Block Patterns

Style reading is also simplified by the use of a block pattern, for more attention can be given to this part of the work when the vital constructional points are decided and clearly defined in the block pattern. As an example of the use of block patterns for style-reading purposes, the author has chosen a few rather cut-about coat designs to be drafted by the block pattern for size, and with the design to be adapted to the suppression factor as indicated in the block pattern proportions. There will be only the variation from the standard outline illustrated by the diagrams, and descriptive matter will be of the nature of a guide to the deviation from the normal block pattern outline in interpreting the designs.
Fig. 233
Fig. 233 illustrates the use of a plain front and back block pattern for the designing of the accompanying style. The design has two deep pleats at the back, held, in position by a belt and finished above the waist by two pressed-in darts, while the front is single-breasted, fastening with four buttons high to the neck and with a small single-breasted lapel and collar. Patch pockets are shown inset into a shoulder yoke seam, and similar pockets are placed on the hips. A tiebelt completes the picture and the edges and seams are suitably stitched.
Take the back block pattern and mark round the back neck shoulders and back scye and down the centre back, then swing the sideseam forward from the top of sideseam pivoting point and add about 6 inches to the hem width as indicated by the solid sideseam line. By this pattern manipulation, the standard quantity of waist suppression will have increased and the extra suppression is marked out in the two waist darts. From below the waistline the pleats are allowed to hang in two deep folds and should not be pressed in flat. At the fronts, mark in the front shoulder yoke, making B from the termination of the bust dart at A a distance of 2 inches forward. Mark down from the top of the sideseam to C a distance of 4 inches for the position of the yoke seam at the sideseam and then join C to B. Join B to the bust dart point at D and then wedge out the bust dart from D to E by pivoting from A. Add seams round the seam from D to B and C on the bodypart, and an extra wide seam round the seam from D to B and C on the shoulder yoke to allow for the lapping of the seam. Add 2 inches at the front edge for the single-breasted front button fastening, and then mark out the waist suppression in two darts at F and G. The sleeve has a formed cuff, which may be obtained by adding an extra inch to the sleeve length and then cutting through the sleeve and seaming up. The tie-belt should be cut 60 inches in length and in width 2 inches at the back from sideseam to side-seam and tapering out wider from the point where it ties to the extreme ends.
Fig. 234
Fig. 234 illustrates a travelling ulster coat cut on simple lines but with original treatment of the sleeve and shoulders. A centre back seam and darts each side in the waist shape the back to the figure and a back slit and half belt is included in the sketch. At the back shoulder, the sleeve is lapped over into a point. At the fronts, a similar sleeve treatment is shown, and a dart confines the waist to the figure in the absence of an all-round belt. Patch
pockets with flaps complete the detail and the fronts fasten over doublebreasted with three buttons. A whole back and front block pattern is used for this design. On the back, mark in at the centre on the waist line a distance of inch. Shape the centre back seam from the nape of neck down to the waist and down to the hem line at the centre line. The remainder of the waist suppression is taken out in a dart midway between the centre back and sideseam, and the shoulder yoke treatment is marked on the pattern as illustrated, making point C 3 inches below the back pitch. At the fronts, mark in the shoulder yoke shape as shown, making point D at the front pitch and the angle of the design seams 4 inches in length. Mark out the waist suppression in a dart at G and complete the pattern by adding 3 inches beyond the centre line for the double front fastening. The pocket measures 6 inches by 7 inches finished, and as this garment is an ulster travelling coat everything should be on the heavy side in the matter of detail, such as -inch lapped seams and a 2-inch width of back belt. The shoulder points should be cut away from the pattern and placed in position on the sleeve to complete the draft.
Fig. 235
Fig. 235 shows a panelled-front coat with pleated back fullness. Two darts are shown above the waist at the back, which is cut with a seam across the waist, and the skirt part has two knife pleats to the hem line, stitched down from the waist to the hip level. The fronts are cut double-breasted with an all-round roll collar and have two panel seams for detail at the attainment of a close-fitted waist effect. Below the waist on the front panel seam a welted pocket is placed. This design is cut by a solid block front and back pattern. To commence, cut through the waist line at the back and mark out the two waist darts equal to the suppression quantity. On the skirt part of the back pattern, wedge
open the pattern at the hem line and by pivoting from the waist line at the suppression position allow extra width for the pleats. This operation will cause the suppression lines at the hip level to open as indicated. When making-up sew down the pleats from waist to hip level on the lines marked. At the fronts mark in the front panel seam, making it 4 inches from the centre line at the waist and reduce the front waist suppression at A to B. Mark in the secondary panel seam from the front pitch down to C, making C from B equal to 2 inches, and thence down to the hem line, making D from the front panel seam equal to 3 inches. Mark in the welted pocket 3 inches below the waist as shown, and complete the pattern by adding 3 inches beyond the centre line for the front edge and the shape of the roll collar. The panel seams should be edge-stitched down to match the lapping of the waist over the skirt at the back.
Fig. 236
A "sporty" design is drafted in Fig. 236 by the use of a plain back and forepart block pattern. The back has a shaped yoke across the shoulders from the back sleeve pitch to the breast line, and below a centre slotted seam is indicated. Add 1 inches down the centre back and cut on the fold edge of the material for the slotted seam. Mark out a dart 10 inches in length for the back waist suppression. The fronts are designed with a shaped yoke across the breast and a seam to the pocket below. Therefore, when marking round the outlines of the block, add two seams to the width across the breast by marking round the sideseam and scye to the back shoulder dart seam, then move the block pattern forward inch and complete the remainder of the outline, marking from the front seam of the shoulder dart round the gorge to down the fronts. Mark the yoke to run from the sleeve pitch to the breast prominence and then upwards into the front edge on the lapel, close over the shoulder dart two seams, and recut the shoulder section in one piece as indicated by the dash lines. Mark out the waist suppression in the panel seams and cut in the marks. The top-sleeve has a shaped yoke across the head running from the pitch to a point on the hindarm, from which emanates a centre slotted seam
to the wrist to agree with the back design. Add inch to each centre seam on the top-sleeve, and, to make the slotted seam, cut a suitable strip of material and lay it under the two sleeve seams for stitching down. A plain under-sleeve completes the draft of the coat by block pattern manipulation.
Fig. 237
Fig. 237 illustrates the cutting of a sports jacket of unusual design. Pockets are incorporated into shaped front panel seams and a repeat design is shown for the back. The fronts fasten single-breasted with double-breasted lapels, and patch pockets with flaps are shown on the hips. The pattern is cut from a plain block front and back jacket. To commence, at the back mark in at the waist a distance of 2 inches for the shape of the panel seams. Square up from this point B to the level of the back pitch at C, and then square across to the back pitch to complete the outline of the panel seams. BB from B equals the back waist suppression quantity, marked out in dash lines up to point C and down to the hip level. Cut through the pattern from B and BB to the hip level, and then close BB to B to eliminate the back waist suppression and obtain the back pattern in one whole piece without any panel seams. At the fronts, mark the bust dart forward 1 inches towards the neckpoint as illustrated, and then mark down from the shoulder 6 inches to E, the commencement of the pocket position. Square across from E to F, 4 inches for the pocket mouth, and then square down from F to G 4 inches and from G square across to the sideseam at H. Square down from E to J, 2 inches below the waist line, and then square across from J to K at the sideseam. Mark out the waist suppression in a dart at L and complete the pattern by adding 1 inches forward from the centre line for the front edge and double-breasted lapel as shown. The pocket measures 6 inches by 7 inches and is placed level with the panel seam at the front. The skirt pattern may be cut through from L down to the hem line, and the waist suppression wedged out to provide for a plain block front to the skirt.
The Interpretation of Designs

The designing of garments by the use of block patterns is a matter of practice in the interpretation of line. Many cutters experience difficulty in cutting from a sketch by not being able to visualize the line of the design in relation to the flat draft. A good plan is to divide the sketch into sections by measuring the length of the head and dividing the remainder of the figure up in this ratio. One head width down from the nape of the neck would give the approximate position of the breast line, two heads find the waist line, and three heads the hip line. Five heads down is the approximate knee position. By dividing the figure up in this manner, the relation of design seams to each other and in comparison with the balance lines of the draft can be easily realized. Figure drawings are usually drawn to nine heads in length instead of the usual eight heads, the extra head length being added below the hip line, and it is better to keep the design seams well up on the draft as the finished coat will not appear as slender in appearance in comparison with the sketch. A good balance of design is most important, and a point to remember is that design seams below the hip line always tend to shorten and widen the figure, whilst the same design above the hip line will accentuate the length of the limbs and the slender effect. Another point is always, if possible, compare the design on one side of the garment with its appearance when both sides are seen. Very often a line on the draft may seem correct and well designed on the half, but when the whole line is seen, as in wear, it may be out of true perspective. For instance, a very narrow panel down the centre back of a long coat may be drafted about 2 inches for distance from the centre back as this quantity appears sufficiently narrow on the half-draft, whereas, when the whole back is cut, the width becomes 4 inches and may be too wide for the design. What may look good on the half does not always present so neat an appearance when seen on the whole width; this is a point always to be aware of when designing ladies' garments and the fault of many garments possessing a total lack of style and line.
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Vintage Sewing Main Page > 1940's > Ladies' Garment Cutting and Making > Chapter XVIII Search | Subscribe | Support

by F. R. Morris
Chapter XVIIIInlay ProvisionEconomical Layouts and Cutting from the Material

THE matter of inlay allowances is governed by the method of making and whether one or more try-ons are necessary. For a cut-to-finish garment, inlays are cut down to a minimum, while, if a try-on is needed, inlay allowances may be left round the most important seams to make provision for possible alterations. Inlay provision also governs the layout of the garment pattern on the material preparatory to cutting out. Laying a pattern out on the material becomes a matter of practice; one instinctively learns how to place the various sections of the pattern in rotation to the best
advantage. There are definite layout sequences in use, but the able cutter does not adhere slavishly to any particular method, for the knowledge of different layouts and the ability to switch patterns about are very useful when assorted lengths of material are provided from which garments are to be cut. As previously stated, the provision of inlays and turn-ups has an influence on the material layout. In the wholesale trade, where such inlays are reduced to a minimum, less length of cloth is allowed than in the case of the retail "measure" trade, owing to the necessity for ample turnings for the contingency of possible alterations of style and fit. With the cutting of a special pattern to the customer's requirements, laying-up of the various sections of the pattern on the material becomes simplified, and one can proceed in a definite sequence. In the event of the garment being cut out direct from the cloth by means of a stock pattern, it is still necessary to work in a definite order and cut out each section of the garment as we proceed. Before going on to describe the laying out of patterns on the material it will be necessary to decide the matter of inlay allowances for various garments. The three definite jacket and long-coat styles are the plain one-seam coat, the two-seam or sidebody coat, and the three-seam or panelled coat. The allowances for inlays necessary to each of these three styles remain the same if the number of seams decrease or increase by the addition of a forepart or back of one style to the back or forepart of another.
Inlay Provision for a Plain One-seam Coat

Firstly, we will deal with a plain oneseam coat. The inlays allowed are the same for a long coat as for a short jacket and are indicated by Fig. 238. The back part has a -inch inlay across the back neck curve to allow for any possible raising of the collar height in the neck. This inlay also forms a support to the collar when sewn by hand and should never exceed inch in height,
otherwise it will tend to tie the neck and shoulders of the coat into creases and make the neck finish very thick and clumsy. The shoulder seams also should be sewn out to the commencement of this inlay only and not right through to the end as is the practice sometimes. The other inlay on the back part is across the bottom edge. Here an addition to the length is made of 1 inch to 1 inches. A point to remember is the run of the sideseam above the bottom edge. If the sideseam slants back from the edge in a sharp angle or run, the inlay must be tapered back to agree with the sideseam run, so that when turned up the width of the inlay edge is not longer than the actual width of the back at the same distance up from the bottom edge. This checking up of the inlay width may be only a small detail, but it undoubtedly prevents a good deal of manipulation and shrinking of the turn-up which cannot be obviated if the inlay is not tapered. The double-breasted or single-breasted forepart for a skeleton try-on has -inch inlays allowed all round the shoulders, down the gorge to the crease line and round the scye from the shoulder seam to within 3 inches of the front pitch. The scye inlay is "stepped" to the scye seam, where it terminates. The author appreciates that there are cutters who disapprove of this point, but, having personally cut and made hundreds of coats, he likes to know where an inlay ends, especially round the scye. Inlays that taper away to nothing are a curse to machinists and tailors when basting and sewing in the sleeves. Either the tack marks have been brushed out and consequently they are without a definite sewing line round the scye or else the inlay has become a part of the shoulder and the back shoulder width has been adjusted to suit the end of the front shoulder and inlay. The author does not allow more than inch round the shoulder; a coat that requires more than inch of adjustment after the first cut and fitting must be radically faulty elsewhere than in the shoulders alone. Also, an allowance of inch at the gorge and the front of the scye provides for 1 inches of adjustment in the shoulder balance, which should be sufficient for every need. With the neck-point location as decided by the author's system drafts, it is very doubtful whether this inlay provision will ever be used to vary the shoulder balance. Having a faith in his cutting, the author very rarely leaves this inlay, believing that the majority of shoulder troubles, apart from a definitely incorrect balance, are due to faulty making-up of the shoulders by the back shoulder not being eased on to the front shoulder.
The position of the neck point from the front of the scye also influences the presence of creases in the shoulders. The fallacy of cutting garments with receding neck points and trusting in the ability of the tailor or tailoress to draw the crease line in to form a breast effect and bring the neck point more forward is the most fruitful cause of shoulder troubles. One cannot rely on the correct manipulation going into the shoulder, and it is very much better to cut a shoulder to take a natural lie on the figure without the necessity for a lot of working-up of the crease line. In any case, this extreme manipulation is not required by women in their garments these days, and the keen minds among cutters realize that they must cut their garments to fit without the aid of the work hand. In the old days it would be disastrous to cut a shoulder as we do to-day, for with the manipulation tailors infused into the shoulders then our straight-cut shoulder would become inches too short. To counteract such excessive manipulation, cutters in the past had to draft the shoulders of their coats with a long front shoulder and a crooked or receding neck point. Only by doing this were they in any way sure of having something approaching a normal shoulder after the working-up process was finished. To-day the majority of such manipulation has been eliminated, and the cutter can draft a shoulder to fit the figure with the knowledge that a great deal of manipulation will not ruin his efforts. At the sideseam, an allowance of inch to 1 inch is added equally all the way down. This inlay should be well stretched in the waist hollow to prevent any tying of the seam. The bottom edge has an addition made to correspond with the similar inlay at the bottom edge of the back part and is tapered back to match the run of the sideseam at a similar distance up from the bottom edge where the inlay turns back. For a skeleton baste, it is usual to leave on a certain quantity down the front edge and revers, which is basted back and left in reserve for letting out if the fronts make up too narrow. The actual shape of the lapel is only drafted very roughly and the finished shape is marked in after the fitting. Inlays are supplementary to good cutting. Every garment should be cut as though a try-on were impossible and the leaving of countless inlays is suggestive of an inferiority complex and a lack of faith in one's own cutting abilities. The author always endeavours to eliminate inlays as much as possible, for a cleaner-finished garment is achieved by doing so; in any case, inlays left should be trimmed down to a minimum after the garment has
been fitted and pronounced satisfactory. The very presence of an inlay is conducive to tampering with a seam or a section of the garment which otherwise would be left well alone. With good measuring and accurate cutting, we can cut close to the "bone" as it were, and eliminate many of the inlays formerly considered to be necessary. In the bespoke trade the author has seen coats cut out on which one could not see the coat for the inlays! He puts this down to the habit of tailors and cutters of adhering to established methods and a reluctance to vary their habits one iota. The shoulder dart may also be utilized as an inlay if it is sewn out without the cloth between the two dart lines being cut away. If cut through before being sewn out, the dart should be cut down a -inch seam inside the drafted line at the front of the shoulder, and then a marking thread placed a seam in front of the back seam of the dart. The edge of the seam at the front is placed against the marking threads at the back of the dart, and the machinist sews a -inch seam behind the edge of the dart seam and the marking threads in the original drafted dart lines. For a single-breasted cut-away front jacket, the inlay should be "stepped" to the bottom edge line as indicated by Fig. 238, and then the facing is cut to cover the "step." THE SLEEVE INLAYS The sleeve inlays in Fig. 239 are confined to the hindarm of the under-sleeve and to the bottom edge of the sleeve at the cuff. The question of the cuff finish is the governing factor in the additions made to the sleeve length. For the plain cuff sleeve, allow the usual 1 to 2 inches as indicated by Fig. 239 (A) at the bottom edge of the sleeve, making sure that the width of the inlay agrees with the width of the sleeve at the position on the sleeve to which it turns back. Fig. 239 (C) indicates the inlay allowance for an opened cuff finish. The standard inlay as described or the plain sleeve has an additional quantity allowed at the hindarm to the turn-up, equal to the length of the opening plus inch to hold the vent tack. Often, for these cuffs, the addition is supplemented by a piece of Italian cloth or lining added to the usual inlay in
place of the cloth extension. This variation is for the sake of a thin finish to the sleeve opening. For a "dummy" or "sham" opened cuff, the usual inlay is added to the sleeve length, and then a small inlay is added at the sideseam of the sleeve long enough and wide enough to take the number of buttons required as shown by Fig. 239 (B). This sideseam inlay is turned in before the sleeve end inlay is turned up, and, when the hindarm seams are sewn together, the front bottom edge inlay is lapped over the hind-arm sleeve end inlay to form an opening held in position by the buttons. THE UNDER-SLEEVES The under-sleeves are cut with a -inch inlay down the hindarm of the sleeve with the same bottom edge inlay added as for the top-sleeve shown for the plain sleeve finish by Fig. 239 (D). Fig. 239 (F) has identical inlay provision as described for Fig. 239 (C) with the extension as added for the top-sleeve at the hindarm seam to take the vent tack. The inlay provision allowed on the under-sleeve for a "sham" opening is the same as for a plain cuff indicated by Fig. 239 (E). This completes the description of the necessary inlay provision for a plain jacket or coat with a side-seam only.
Inlay Provision for a Sidebody Jacket or Long Coat (Fig. 240)

Fig. 240 shows the addition of inlays to a sidebody jacket or long coat. The back part has the usual -inch inlay round the back neck curve and 1 inch to 1 inches at the bottom edge on the complete length. The sidebody seam where it joins to the back part has an addition of inch to inch all the way down as indicated. The inlay across the bottom edge is tapered if the seam runs are acute in angle. This inlay at the top of the sideseam should be "stepped" to indicate definitely the commencement of the sideseam. The forepart inlays are as usual round the shoulder seam,
the gorge and the scye seam as indicated, while, at the sideseam and bottom edge, a similar quantity is left on as for the plain coat. Allow inch down the front edge for a skeleton baste.
Inlay Provision for a Panel Coat (Fig. 241)

Allow the usual -inch inlay across the back neck curve and 1 inches at the bottom edge. At the panel seam of the sidebody section, allow inch all the way down from the shoulder seam to the bottom edge as indicated and if inches extra to the length. Taper the inlay back as shown, so that when the inlay is turned up there will not be an excess of material to be shrunk or otherwise removed. The side front section has the usual -inch sideseam inlay and inch across the shoulder seam and round the front of the scye to within 3 inches of the front pitch. At the panel seam allow inch extra to provide for any variation of the neck point or increase of bust prominence; 1 inches are allowed at the bottom edge. The fronts have the usual -inch inlay allowed at the shoulder seam and round the gorge, and 1 inches at the hem line, "stepped" to take the front facing. This completes the description of inlay provision for plain, sidebody and panelled coats, and in all instances where the design of the garment resembles the above seam constructions, identical inlays must be provided for a try-on and making-up. Long coats are cut with similar inlay provisions, so that it is not necessary to illustrate these variations.
Skirt Allowances of Inlays for Making-up
Fig. 242 illustrates the back and front of a plain skirt pattern, with the usual inlays indicated. At the sideseams, back and front, an allowance of inch to 1 inches is made for the plaquet side fastening. It is advisable to make this allowance all down the sideseam to give a firm foundation to the plaquet fastening and to obviate unnecessary neatening-off of the seams. At the hem line it is usual to allow from 2 to 3 inches for the turn-up. This quantity is a reserve for lengthening and assists the "hang" of a straight-cut skirt. The back waist darts are sewn out without being cut down, to provide a means of increasing the waist size of the finished skirt without altering the plaquet.
Inlays for a Gored Skirt (Fig. 243)

The popular gored skirt showing a slightly flared hem line has a rather different inlay allowance in comparison with the plain straighthanging skirt. In this case we have to consider the hang of the hem line first, for wide inlays tend to upset the easy flaring of the hem. It is not advisable to allow any inlays down the front or back panel seam for this reason, and the bottom edge turn-up is kept as narrow as possible so as not to make the hem too stiff. It is not incorrect to allow only just sufficient on the length to allow for the bottom edge to be hem-stitched and then turned up a seam and machine-stitched. This method of finishing the hem is very often used for dresses in order to make a thin edge. Fig. 243 indicates the usual sideseam inlays of 1 inches for the side plaquet fastening, and at the hem 1 inch has been allowed as indicated, the side-seams of the inlay tapering back to match the seam runs above. When skirts of this description are being made, care must be taken not to stretch the seams when machining-up, and it is always advisable to re-mark the bottom edge run before turning up the hem. Panel skirts without a hem-line flare have similar inlays allowed, while skirts with inverted or knife pleats have inlay allowances made according as
to whether the pleats are allowed from the waist line or stepped out from the seam in their actual required positions.
Inlay Allowances for Raglan Coats (Fig. 244)

Fig. 244 indicates the usual inlays cut on a raglan coat when laying-up on the material. If the coat is required with stitched or lapped seam sleeves and sideseams, additional provision must be made by inlays to take the stitching. The draft indicates a single-breasted raglan with double-breasted lapels and a gorge dart. The centre back is cut on the fold of the material or, if it is a seam back, the sewing seam is indicated by the pattern edge as no allowance for a seam at this part is made in the basic drafts. Mark at the back neck curve the usual inch inlay to which to sew the under-collar, and, if the sleeve is to be stitched down to the back part, allow inch down the back shoulder seam to 1 inches below the back pitch mark as it is not customary to lap the sleeve seams underneath the scye. One and a half inches for the bottom edge turn-up are allowed as indicated. The forepart has a 1 inch allowance at the sideseam and inch down the front raglan shoulder seam and round the gorge to the crease line of the revers. The shoulder inlay is only added when the seams are lapped throughout. Add 1 inches at the bottom edge.
Three-piece and One-piece Raglan Sleeve Inlays (Fig. 245)

Fig. 245 (a) shows the inlays added to a threepiece raglan top-sleeve. At the apex of the sleeve horns back and front, inch must be added to agree with the inch allowed round the back neck curve and the front gorge.
Allow inch down the back part of the top-sleeve if the over-shoulder sleeve seam is to be stitched; in any case, make this addition to provide for any adjustment of shoulder fitting. Add 1 to 2 inches at the bottom end of the sleeve for a turn-up. The under-sleeve has inlays as indicated by Fig. 239 (E), so that it is not necessary to repeat the description. For two-piece sleeves, either with a seam over the shoulder and under the arm or seams at the fore and hindarm, the -inch allowance at the apex of the sleeve horns is added, and at the underarm seam allow inch to 1 inch as indicated by the one-piece sleeve inlay provision shown in Fig. 245 (b). In the one-piece sleeve in question, the -inch shoulder inlay has been omitted. Allow as for the three-piece sleeve. If a gauntlet cuff is included in the sleeve design, the sleeve end inlay is dispensed with, and the sleeve cut to net length. The shoulder dart in the one-piece sleeve style need not be cut out as it serves as a useful inlay provision for increasing the length of the front balance.
Inlay Provision for Trousers, Shorts, Plus-fours, Ski-ing Trousers, Breeches, and Jodhpurs
Inlays may be divided into two classes, namely, those that are inlays pure and simple and left to make provision for adjustments of size in the finished garment, and those which serve a useful purpose by being suitable for pocket facings or side opening facings. In the latter class may be included the side-seam inlays added to skirts and the sideseam inlays allowed on trousers or similar garments.
Inlay Provision for Trousers (Fig. 246)

For trousers cut with a waistband, allow a sideseam inlay 6 inches in length and 1 inches wide for the sideseam plaquet fastening. This allowance should be added at the left side for single-fastening trousers and the waistband carried round in one continuous piece from the
left sideseam to the right side-seam. When the trousers are cut up to the top without a waistband, the opening allowance must be at least 7 inches in length. Trousers with a plain bottom finish have an addition to the length of 1 to 2 inches according to the width of the bottoms. It is advisable to allow a wide turn-up to give weight to the bottoms if they are cut very wide. The undersides are indicated by Fig. 246 (b). At the sideseam add 1 inches for the button-stand of the side opening and as a backing if the sideseams are stitched over. The seat seam has inch allowed from the waist seam to within 2 inches of the back fork point; the inlay then tapers away to nothing so as not to restrict the fit of the trousers at this section. As a means of increasing or decreasing the waist or seat size in the finished garment, this inlay is not of much utility Unless the waistband at this point in the centre back is cut through and has a similar inlay provision. The inside leg seam usually has a -inch inlay added as a means of letting out the knee and bottom width and also for any adjustment of the fork and stride-room. If the trousers have a tendency to show diagonal creases from the legs forward in walking, letting out of the back fork inlay will give more freedom, and for adjustment of the knee and bottom widths it is much more practical to utilize this seam than to make the variation at the sideseam with consequent interference with the sideseam shape over the hips. For P.T.U. bottoms add twice the width of the turn-up required at the bottom edge plus inch for turning up inside the legs. This is indicated on the draft by markings of 2 inches, 2 inches, and inch. This completes the trouser inlays. A point to note is to cut the waistband long enough to match the front and back sideseam inlays in addition to the actual waist circumference.
Inlay Provision for Shorts (Fig. 247)

Inlays allowed on shorts when cutting from the material are identical with those added for trousers, i.e. 1 inches for the
sideseam fastening at the front and back and inch down the seat seam to taper away to nothing 2 inches from the back fork termination. Add inch down the inside leg seam and 2 inches at the bottom edge for the turn-up. Occasionally, ladies' shorts are made with P.T.U. bottoms; the addition is then made as indicated for trousers. For pleated shorts, the seat seam inlay cannot be allowed as it will tend to make the garment very thick and clumsy after the inverted pleat has been pleated over at the centre back seam.
Inlays for Plus-fours and Ski-ing Trousers (Fig. 248)

The standard inlays added for plus-fours are identical with those necessary for ski-ing trousers. The front sideseam has 6 inches by 1 inches added for the side plaquet fastening, and at the bottom edge of the legs a small vent of approximately 4 inches is left open. To face the vent, allow 4 inches by 1 inches as an addition on the sideseam. The undersides have 1 inches added down the sideseams to form the button-stand of the side opening and at the bottom edge to face back the side of the vent. Three-quarters of an inch is added down the seat seam in the usual manner, tapering away to nothing 2 inches from the back fork. Three-quarters of an inch is added from the fork to the bottom edge on the inside leg seam. As stated, ski-ing trousers have similar inlays, but, if the bottoms are gathered into a band of knitwear as they sometimes are, it will not be necessary to leave a sideseam vent as the garment should pass over the boot quite easily as the knitwear stretches.
Inlay Allowances for Riding Breeches and Jodhpurs (Fig. 249)

For breeches cut up into the waist line without a waistband and showing a sideseam plaquet fastening, allow
a 1-inch inlay at the front left sideseam 7 inches in length. It is always advisable to make the side-seam opening of ample length if only one side of the garment unfastens, and the stipulated length may be increased up to 9 inches, while very often the breeches have openings at both sideseams. On the undersides, allow inch down the seat seam and inch down the inside leg seam to where the gore seam splits the undersides of the knee, small and calf sections. One and a quarter inches are allowed for the usual sideseam inlay to take the side-opening buttons, also to provide a means of increasing the "bell" shape at the sides, and as provision for increasing the width of the breeches at the knee. The under section of the breeches below the gore seam has a 1-inch inlay provided at the sideseam to form a button-stand for the front kneeopening buttons, or to turn back and form a facing if the knees are laced for fastening. The inside leg seam has inch allowed for letting-out purposes to agree with the inlay added down the inside leg seam above the gore. Jodhpur breeches have similar inlays to riding breeches, though the sideseam inlay may be eliminated below the side-opening level, as these garments do not fasten at the knee by buttons or laces. On the other hand, a small vent is left at the inside leg seam to enable the rider to pass her boot through the bottom opening without straining the seams. This vent is fastened with a hook and eye, or a wide piece of elastic may be stretched across the opening from the front to the back. As previously stated, another method is to insert a piece of whalebone for stiffening at each seam, while other jodhpurs are shown with the popular zip-fastener closing the vent. A small addition must be made for the vent on the inside leg seam of the topsides, about 4 to 4 inches in length. For P.T.U. bottoms, add 4 inches to the drafted jodhpurs length.
ECONOMICAL LAYOUTS AND CUTTING FROM THE MATERIAL

There are no infallible methods of laying-up patterns on the material, but most cutters have one way of doing this to which they generally adhere. It is curious to observe the various ideas of material lengths required for different garments when talking to other cutters, and the diversity of opinion is due no doubt to the many pet layouts of personal choice.
To make a garment layout for a small size of figure would serve no useful purpose, and the author's plan will be to illustrate suitable close layouts for medium-size figures and then indicate the increase and reduction of material lengths for larger and smaller figures. With cut-about designs no specified methods of laying-up the pattern on the cloth can be indicated as a standard rule, but practice usually shows the most economical way and one becomes adept at switching patterns about to the best advantage. A short lay, though saving a few inches on the length, may not necessarily be a good layout if the facings are pieced and the inlays skimped to a minimum. It is much better to err on the easy side and order sufficient material to eliminate uncertainty of mind as to whether the garment can be cut out satisfactorily. When commencing to lay a pattern out on the material, examine the length for faults, which are usually marked by a string on the selvedge. Also examine the run of the design to see if it has become twisted in the drying process after shrinking. Very often check materials are stretched away from the square in this manner and it is important before cutting to make sure that the grain of the cloth is level from the selvedge to the fold edge. For materials with alternating stripes or checks, lay the pattern pieces all the same way of the cloth; this applies also to faced cloths or any weaves with a "way of the wool." The under-collar is the only part that is not laid on the straight of the material; all other sections are laid on the direct straight, except when the design of the garment indicates bias cutting. The layouts shown will not indicate small fittings such as pocket jeattings, etc., but the front facing, top- and under-collar will be provided for.
Layout for a Plain Double-Breasted Costume (Fig. 250)

The first layout will show how to cut a 38-inch breast doublebreasted costume jacket and plain skirt from a yards 20 inches of 54-inch width material. Ample inlays are provided at the coat and skirt bottom edges as well as in the usual sideseam positions. The
residue of the material leaves ample for pocket jeattings, flaps and welts. The material should be laid on the cutting board with the selvedge away from the cutter and the fold edge towards him. Firstly, lay the back on the material, starting from the bottom end of the length and mark round, allowing 1 inches for the bottom edge turn-up and inch for the back neck inky. Make a point of allowing for the seam at the back sideseam and "step" out at the top of the sideseam in the scye. The coat system does not allow for seams at the sideseam when it is placed towards the back of the coat, only when it is in its correct position under the arms. Lay the forepart alongside the back with the front edge to the selvedge. If an inlay is not required down the front edge, lay the edge of the pattern as close to the selvedge as possible. Allow 1 inches at the bottom edge and inch down the sideseam after the sewing line has been marked out a -inch seam from the pattern edge, as no provision has been made for a seam at the sideseam. Mark -inch inlays round the front scye from 2 inches up from the front pitch, across the shoulder seam and down the gorge from he shoulder to the crease line. The bust dart is not cut through, but is sewn out to provide an additional means of adjusting the front shoulder balance. The under-collar is taken out on the bias of the material between the scye. The skirt is the next section of the pattern to consider as it will be required on the fold of the material at the centre back and front. Lay the front of the skirt to follow on from the back of the coat. Allow 2 to 3 inches for the hem, and mark 1 inches for the sideseam inlay and plaquet-opening fastening. When laying up patterns, as a general rule it is advisable to keep the widest end of the pattern towards the end of the material already marked out so as to ensure that the widest material is left on which to mark. Follow on from the front of the skirt with the back pattern, laying the waist seam close up to the front waist seam. Allow 1 inches for the sideseam inlay and plaquet facing and 2 to 3 inches at the hem. The back waist darts are sewn in the marks and not cut down. Mark a balance notch at the hip line as an aid to machining.
On the selvedge side lay the under-sleeve pattern, allowing a 2-inch inlay at the bottom edge of the sleeve and inch down the hindarm as shown. By laying the narrow under-sleeve close up to the coat, sufficient will be left between the skirt front and the under-sleeve for the facing which is shown in outline. To keep down the length of the material, mark out the top-collar across the cloth as indicated, allowing inch at each end and a good inch round the leaf edge for manipulation in making. The top-sleeve is then laid on the cloth against the selvedge with a 2inch inlay at the cuff edge to complete the layout. Even allowing for pocket facings, jeattings, etc., there is sufficient material for the under-collar to be placed differently to the position indicated. As stated, the total length of material used is 2 yards 20 inches, but this may easily be reduced to 2 yards by allowing for smaller turn-ups at the back and front skirt. For a coat length of 26 inches and a skirt length of 31 inches for a figure with a 38-inch bust and 42-inch hips, this represents quite a close economical layout.
Layout of a Double-Breasted Costume with a Knife-pleated Skirt (Fig. 251)

To give a thoroughly practical demonstration of layout planning, the author has decided to illustrate the same jacket style with three different skirt designs, representing the three most probable combinations of coat and skirt styles. The first layout showed a plain skirt; the two following examples will be illustrated by a knife-pleated skirt and an inverted pleat panel skirt respectively. Dealing with the knife-pleated skirt costume first, the layout depicted by Fig. 251 shows the costume taken from 2 yards 20 inches of 54-inch width material. Firstly, lay the back on the fold of the material, allowing a 1-inch turning at the bottom edge and a -inch inlay round the back neck curve. The forepart is then laid opposite the back, with the front edge placed against the selvedge. One and a half inches are allowed for the bottom edge turn-up, inch at the sideseam and inch round the front shoulder, the front of the scye and the gorge to terminate at the crease line.
The front skirt follows on from the back, and is shown with the 5 inches allowed for the knife pleat down from the waist. Allow 2 inches at the hem and 1 inches at the sideseam for the plaquet fastening. The under-sleeve and facing cannot now be taken out by the side of the front skirt, so the topsleeve is placed here as indicated with 2 inches allowed at the cuff end. The back skirt is now laid to follow on from the front skirt on the fold edge of the material. A 2-inch turn-up at the hem and 1 inches at the sideseam are the usual inlays, and the back waist darts are sewn in the marks. The under-sleeve is placed after the top-sleeve with 2 inches at the cuff end and inch down the hindarm for inlays, and then it is possible to take the coat facing from between the back skirt and the under-sleeve as indicated. The under-collar is taken out on the bias and the top-collar across the width by the side of the skirt. By taking the top-collar out as indicated, 1/8 yard less material is used than if the top-collar were marked on the fold edge of the material following on from the skirt back and front.
Layout of a Double-Breasted Costume with an Inverted Pleat Panel Skirt (Fig. 252)
The addition of a panel skirt with inverted pleats at the back and front means an addition to the length of material required as the pleats consume approximately 8 to 10 inches more width of material than a plain skirt. The pleats are not carried right through to the waistband of the skirt for this would appreciably increase the consumption of material, but are "stepped" out from the panel seams at the positions where they are required. To eliminate the seam of the pleat join showing, one-fourth of the pleat is added to either the front or the side panels and the other three-quarters added to agree on the other seam. The layout illustrated takes 2 yards of 54-inch width material and represents a very close lay, consuming perhaps the minimum of material consistent with deep pleats and a coat facing in one piece without a join. To make the layout, first mark out the front skirt panel as indicated with one-fourth of the pleat allowance added 16 inches up from the hem line. Add 2 inches for the hem turn-up and "step" the pleat in a slanting angle to form a support from the panel seam.
The forepart is then laid by the side of the front skirt panel, with the front edge to the selvedge, and 1 inches allowed at the bottom edge and inch down the sideseams with the usual shoulder, scye and gorge inlays. Then mark the front side panel of the skirt to follow on from the forepart. Three-quarters of the pleat is added to this section of the skirt 16 inches up from the hem line and "stepped" in a slanting manner to agree with the shape of the front panel pleat addition. The under-sleeve can then be worked in between the scye of the forepart and the side and front skirt panels in the position shown, with a inch inlay at the hindarm and 2 inches at the cuff end. To follow on from the front skirt panel, place the similar back skirt panel as shown end to end with the front panel. Allow the same pleat addition as for the front panel and mark 2 inches for the hem turn-up. We now have the back of the coat, top-sleeve, side skirt panel with three-quarters of the pleat addition and the top- and under-collar and facing to take out of the remaining material. The top-collar follows on from the back skirt centre panel to give slightly more length of material down the centre of the width for placing the topsleeve between the back and front side panels. Allow the usual additions for making to the top-collar. Place the back of the coat to follow on from the top-collar and mark the usual -inch allowance at the back neck curve and 1 inches at the bottom edge. It is then best to place the top-sleeve on the length between the side front skirt panel with the cuff end close up against the back of the coat with 2 inches allowed for the turn-up. The side back skirt panel is then placed on the material as shown with three-quarters of the pleat allowance added at the panel seam towards the coat back, this enabling the coat facing to be taken from the material between the sideseam and the selvedge. The under-collar cut on the bias of the material is taken out between the pleat allowance and the end of the topsleeve as indicated.
As stated, the total quantity of material used is 2 yards, and there is ample for fittings in addition to the generous pleat and inlay allowances. For a plain panel skirt without pleats, the layout given for the doublebreasted costume with a plain skirt would suffice with the necessary allowances at the panels for two seams.
Layout for a Sidebody Costume with a Plain Skirt (Fig. 253)

In all these lays the author is allowing for a double-breasted jacket, for in the event of an single-breasted jacket being required, this would represent a saving in material, whereas if a close layout were shown for an single-breasted style, possibly the alteration to the double-breasted type would seriously interfere with the working out of the lay. The sidebody costume layout depicted by Fig. 253 shows all the pattern pieces laying one way of the material as for a faced cloth or alternating patterned materials. The total quantity of material consumed for the 38-inch bust size is 2 yards of 54-inch width. To make the layout, place the back part of the coat with the back neck curve to the end of the length, and mark inch for the neck inlay and 1 inches at the bottom edge. Allow the usual -inch seam at the sideseam from the top to the hem as indicated by the notched marks. The sidebody is then placed by the side of the back part and has a inch inlay at the back seam and 1 inches at the bottom edge to agree with the similar inlay on the back section. A -inch seam is added at the back sideseam before the inlay is marked, and the sewing line is inch inside the inlay mark. Place the under-sleeve alongside the sidebody so as to enable the coat facing to be taken from the selvedge side between the under-sleeve and the edge of the width. Allow inch at the hindarm seam and 2 inches at the cuff edge for inlays. To follow on from the coat back, place the top-sleeve against the fold edge of the material and allow 2 inches at the cuff edge to match the undersleeve inlay.
The forepart of the coat can then be placed against the top-sleeve as indicated, with inch for the side-seam inlay and 1 inches for the bottom edge turn-up. Three-quarters of an inch is allowed round the shoulder, scye and gorge as usual, with the bust dart sewn out without being cut. Take the top-collar from the fold edge of the material below the topsleeve as no saving of material can be made by laying it across the width elsewhere. The under-collar can be worked in between the side-body and the forepart of the coat. A slight variation of the general practice is now given for marking the skirt out on the material. As two folds are required for a skirt, at the centre back and the centre front, providing the skirt width at the hem line does not exceed the width of the material after the inlays have been added, it is possible to cut across the length and then fold the two selvedges to the centre, overlapping the original fold of the material and thereby making two fold edges. Place the back and front skirt parts against the two folds, allowing the usual 1-inch inlay at the side-seams and 2 to 3 inches at the hem. It will be found that the material is not folded to the exact centre as the back part of the skirt is approximately 1 inch wider than the front. The layout represents quite a close cut and is only suitable when the skirt hem width is less than the material width. The material length is equal to twice the skirt length plus the jacket length and the usual inlays at the hem of the skirt and the bottom edge of the coat. If the hem width is greater than the material width, however, 2 to 3 inches must be added to the material length.
Layout for a Sidebody Costume with a Skirt with an Inverted Pleat at the Centre Back and Front (Fig. 254)
The sidebody costume shown by the following layout has a variation of skirt design to give familiarity with different methods of making layouts. A skirt with an inverted pleat sewn down from the waist line at the back and front is included in this lay, and will necessitate an alteration to the sequence of the pieces as shown on the previous layout, since the skirt width throughout is increased by the width of the inverted pleat, namely, from 8 to 10 inches
according to the pleat width. The lay takes 2 yards 22 inches of 54-inch width material. It is impossible to take less than twice the skirt length plus the coat length with additions for bottom edge inlays. Lay the front skirt part on the fold of the material first, allowing from 4 to 5 inches for the centre front inverted pleat by moving the centre front line of the pattern back from the edge. At the bottom edge, mark 2 inches for the hem and 1 inches at the side-seam for the inlay and the plaquet facing. The top-sleeve is placed advantageously by the side of the front skirt part with 2 inches allowed on the length for the cuff turn-up. Next place the back part of the skirt against the fold of the material, and allow 4 to 5 inches for the inverted pleat at the centre back by moving the skirt centre line back this quantity from the edge of the material. Allow 2 inches at the hem and 1 inches at the sideseam in the usual manner; the back waist darts are sewn in the marks. The sidebody can then be placed towards the selvedge by the side of the skirt patterns as shown, with the coat facing taken out by the selvedge from the surplus width left after the skirt back part has been allowed for. The forepart of the coat follows on with the back part from the skirt back, as it is impossible to work it in elsewhere, since the surplus width left on the piece is not wide enough after the skirt sections have been marked out. Allow 1 inches at the bottom edge and inch down the sideseam with the usual -inch shoulder, scye and gorge inlays on the coat forepart. The top-collar is taken out across the width in the position indicated to save on the length, and the under-sleeve is placed by the side of the forepart with the usual hindarm and cuff inlays. There is plenty of material for fittings, yet the lay cannot be closed up in any part except by reducing inlays.
Layout of a Sidebody Costume with a Panel Knife-pleated Skirt (Fig. 255)

The following layout shows a sidebody costume jacket allied with a panelled knife-pleated skirt. The design of the skirt is a departure from the previous examples and consists of a four-piece panel without a sideseam either side. The plaquet is inserted in the left front panel seam, and an inlay is allowed for the facing on the front and side panel seams. To make provision for increasing the waist and hip size, as there is no sideseam inlay allowances, an addition is made to the back panel seams for this purpose, the inlays being added equally to the centre and the side back panels. Commence the lay by marking in the back of the coat and allowing 1 inches at the hem and inch round the back neck curve. The sidebody is laid by the back and has inch allowed on the sideseam and 1 inches at the bottom edge to agree with the back part. The next part of the pattern to mark in is the coat forepart as the other sections in this position on the lay would prove to be extravagant in space. Mark the usual 1 inches at the bottom edge, inch at the sideseam and inch round the shoulders, scye and gorge. The side section of the skirt is then followed on from the coat forepart, with 3 inches allowed for pleats at the back and front panel seams, commencing 16 inches up from the hem and "stepped" out from the seam to provide a means of support to each pleat in wear. On the plaquet side at the front panel seams allow 1 inches for the plaquet facing, the inlay being carried down in one with the pleat allowance. The under-sleeve can be worked in with the side skirt section, as indicated, with the usual inlay allowances. Next, on the selvedge side of the material, lay the back and front centre panels, with the centre lines meeting to form a whole panel shape as shown. Allow 3 inches on each panel seam for the knife-pleat provision, and then on the left panel seam only allow 1 inches for the plaquet facing. Two and a half inches are allowed at the bottom edge for the hem turn-up.
The top-sleeve is placed against the selvedge of the material and has 2 inches added to the sleeve length. The coat facing is taken out by the front and back skirt panels, and the top-collar from the fold edge of the material at the end of the length, while the under-collar is placed on the bias just below the sleeve on the length. The dash line on the front skirt panel indicates the centre line of the fronts and also the centre line of the back panel, as the two panels are cut together. The layout consumes 2 yards 20 inches of material 54 inches in width, and completes those layouts dealing with sidebody costume designs. Layouts for panel plackets will follow.
Layout for a Panelled Costume with a Plain or Panelled Skirt (Fig. 256)
The following layout consists of a panelled double-breasted jacket and a plain or straight panel skirt. The alteration for the panel seams will consume only approximately inch more width of material for the two additional seams. Two and a half yards of 54-inch width material are consumed by the layout, and the various parts of the pattern are placed on the cloth as follows Firstly, lay the back part against the fold of the material and mark round, allowing a -inch seam at the panel seam and 1 inches at the hem. Three-quarters of an inch is allowed at the back neck curve as usual. Place the side back panel section by the centre back panel as indicated. Allow a -inch seam at the back panel seam before marking a -inch inlay at this part. The usual 1 inches are added at the hem. The under-sleeve is then placed by the side of the side back panel and allows the front panel of the forepart to be placed against the selvedge to make up the width of the material without wasting any space. Mark a -inch inlay down the underarm seam of the sleeve and 2 inches for the cuff turn-up.
On the fronts, as a panel seam is run through the shoulders, the bust dart inlay is eliminated; so add 1 inches at the bottom edge and inch round the gorge to the crease line and across the shoulder to the panel seam. Mark a -inch seam down the panel on the fronts as no provision has been made in the drafting out of the pattern. As the skirt back and front are taken from the total width of the material by cutting off the skirt length and refolding to obtain two fold edges, the topsleeve may be taken out on the fold edge following on from the back. Allow 2 inches for the cuff turn-up. The side front panel is taken out immediately after the fronts. To make provision for any variation of the neck point or bust contour capacity, allow inch down the fronts from the shoulder seam to the hem. One and a half inches are added at the bottom edge for the turn-up and inch round the scye seam and across the shoulder seam to the panel. The coat facing may be cut back to the panel seam in width and, to make allowance for this, the facing has been marked between the side front panel and the top-sleeve. The top-collar is taken from the fold of the material above the topsleeve and the under-collar on the bias as marked. To lay out the skirt sections, cut across the width and fold to the centre, making two fold edges, then lay the front part of the skirt to the fold and allow 2 inches at the hem and 1 inches at the sideseam. For a plain panel skirt, move the centre front of the pattern over from the fold a distance of inch or two seams and then mark out the seam line as indicated to the position required. The back part of the skirt is laid on the material in a similar manner. To obtain a panel back, move it forward from the fold edge of the material the necessary seam allowance. It is interesting to observe that the panelled double-breasted jacket comes out of 1 5/8 yards of material and the skirt from 7/8 yard, in other words, the skirt length plus 2 inches. The next layout will show a double-breasted panelled jacket with a flared six-gored skirt. In this example, the width of the gores at the hem will
be appreciably greater in comparison with a plain panel skirt or straight pleated skirt.
Layout for a Double-Breasted Panelled Costume with a Sixgored Skirt (Fig. 257)
The double-breasted panelled jacket in conjunction with a sixgored skirt requires careful laying-up of the pattern pieces, otherwise the skirt will cut into more material than will be apparent at first sight. If a gored skirt is cut singly away from a jacket, it will take about 1 yards of 54-inch width material, and if this were added to the jacket length of 1 5/8 yards, the total length for the twopiece would be approximately 3 yards, which is excessively long. There is no reason why we should allow more material than the garments need, unless the job is a rush order, and then a little extra on the length will make for a speedier cutting-out of the costume. The layout for a double-breasted panelled costume with a six-gored skirt is indicated by Fig. 257. Lay the back of the coat against the fold edge of the cloth, and allow a -inch seam down the panel and 1 inches at the hem. Allow inch round the back neck curve. Follow up with the side back panel section and allow a -inch seam on the panel before marking a -inch inlay. Allow 1 inches at the hem, and notch the waist and hindarm sleeve balance marks. The fronts of the coat come next with 1 inches allowed at the hem and inch round the gorge to the crease line and across the shoulder to the panel seam. Allow a -inch seam down the front panel. There will just be enough room for the under-sleeve to fit in between the fronts and the selvedge. Allow inch down the hindarm and 2 inches for the cuff turn-up. The top-sleeve is then placed beside the back on the material with the widest part towards the commencement of the lay, so as to leave more width on the length for working in the gored panels. Allow 2 inches at the cuff turnup.
Lay the side front panel opposite to the top-sleeve, leaving a space between into which the side front skirt panel may be laid. Allow inch down the sideseam of the front panel of the coat, 1 inches at the bottom edge, and inch down the front panel seam after the -inch seam has been marked. Three-quarters of an inch is allowed round the front scye and across the shoulders. The side front panel of the skirt is then marked as indicated, with a plaquet allowance of 1 inches by 8 inches at the sideseam and 1 inch for the hem. The hem allowance for gored skirts is substantially reduced in comparison with pleated or plain skirts, as a wide hem disturbs the balance of the hem line and does not allow the gores to flare softly into a graceful "hang." A good method of finishing the hem of a gored skirt is to picot the edge and then press up about inch and edge-stitch once. This makes a very soft finish to the edge and is definitely to be preferred to a hand-made hem. To continue with the lay, the top-collar is taken from the fold of the material beside the sleeve on the length. The side back gore is then laid out to follow on from the top-sleeve and the top-collar on the fold-edge side of the material. Allow 1 inch at the hem and 1 inches by 8 inches for the plaquet catch to agree with the front sideseam allowances. Take care to taper the hem inlay to agree with the curved run of the panel seams, otherwise the hem will show an excess amount of length which cannot be shrunk away. The back and front panels are laid together and taken from the material by the side of the back panel, the necessity for two fold edges thus being obviated. Allow 1 inch at the hem on both back and front panels; the dash line shows the actual centre of both front and back. The coat facing is marked on the selvedge side of the material and the under-collar beside it on the bias, against the end of the length.
When marking round each of the skirt panels, allow -inch seams on the back and front panel seams as no provision has been made in the skirt draft except for seam allowances at the sideseam. The total length of cloth required for this layout is 2 yards of 54-inch width material, a saving of yard on the quantity which would be required if the two garments were cut separately.
Layout for a Double-Breasted Panelled Costume (Fig. 258)

The strictly tailored double-breasted costume has panel seams on the coat and skirt with inverted pleats from the knees, and as this design is probably the most popular of tailored costumes as distinct from the "dressier" types of sportswear suits, the following lay will give the most advantageous method of taking this style from the material. Two and three-quarter yards of 54-inch width material are consumed in the layout, and this represents the minimum for a 38-inch bust figure with a skirt 30 inches in length and a coat 20 to 26 inches long. The lay is as follows. First, lay the back of the coat on the fold of the material, allowing the usual 1 inches at the hem and inch round the back neck curve. The side front panel is then laid by the side of the back with threequarters of the 10-inch pleat allowance added at the panel seam 16 inches up from the hem. Add 2 inches for the hem turn-up and 1 inches at the sideseam for the plaquet allowance. On the selvedge side of the material, lay the side back panel with a inch inlay down the seam and 1 inches at the hem. On the fold edge of the material, follow on from the coat back with the centre front and back panels opened out and cut without a fold edge. Allow 2 inches at the bottom edge for the hem and one-fourth of the 10-inch pleat allowance at each panel seam, commencing at 16 inches up from the hem.
The side front panel is then laid by the skirt sections as indicated, and a -inch inlay left down the front panel seam, inch at the sideseam, 1 inches for the hem and inch round the shoulder and the front of the scye. The coat facing is taken out between the side front panel and the selvedge edge. Mark the under-sleeve to follow on from the facing with inch added at the hindarm seam and 2 inches for the cuff turn-up. From the under-sleeve follow on with the top-sleeve, adding 2 inches at the cuff for the turn-up. At the end of the length on the fold edge side, lay the side back skirt panel with three-quarters of the pleat addition added 16 inches up from the hem. Add 2 inches at the hem and 1 inches down each sideseam. The fronts are laid between the skirt panels and the under-sleeve, in the centre of the material with the usual inlay provision at the hem and round the shoulder and gorge, while the top-collar is taken out on the fold edge above the side back skirt panel. It is necessary to piece the facing, and sufficient material for this may be obtained on the fold edge between the front panels above the pleat provision. Generally speaking, all costumes except the above example can be taken from a length of material equal to the coat length plus twice the skirt length plus the necessary inlay provision. Above the 38-inch breast size an addition of 1/8 yard must be made to the above calculation, while for panelled costumes with deep inverted pleats an extra allowance of yard is necessary. Thus a costume with a 20-inch coat length and a 32-inch skirt length for a figure with a bust girth under 38 inches would take twice the skirt length, 64 inches, plus the coat length, 20 inches, plus 6 inches for inlays, a total of 90 inches or 2 yards of 54-inch width material. A woman of 48-inch bust girth requiring a plain tailor-made costume with a jacket length of 28 inches and a skirt length of 31 inches would take twice the skirt length, 62 inches, plus the coat length, 28 inches, plus 6 inches for inlays, a total of 96 inches, or 2 yards 24 inches. To this quantity must be made the addition of 1/8 yard for every 2-inch increase of the bust girth over 38 inches, so that the total amount of material required would be 2 yards 24 inches plus 5/8 yard, approximately 3 yards,
allowing for a good length of jacket and skirt. Reduction of the skirt and jacket length will mean a reduction of the material length as described above, and the only practical method of estimating material lengths is to work on the jacket and skirt lengths plus a suitable addition for increasing bust sizes over 38 inches. For bust sizes under 38 inches the material length remains practically the same as for a 38-inch bust, for the coat and skirt lengths are required in just the same manner, and the only advantage is the need for less time spent in laying up the patterns owing to the greater width of material in comparison with a smaller pattern requirement.
Layouts for Long Coats

A long coat on an average takes from 2 to 3 yards for a normal figure measuring up to 38 inches over the bust. For bust measures over 38 inches, the length is increased by a similar quantity as given for costumes. The length of the garment is again the governing factor, and generally speaking twice the coat length is a good quantity of material to order for any long coat of reasonable bust size. Coats of intricate cut will require more material, and it is advisable to make a special layout of the pattern before ordering the length. The first layout will show a plain double-breasted long coat taken from 2 yards of 54-inch width material with the facing cut in one piece without a join and ample left for fittings, pockets, collars, etc. The back of the coat is cut on the fold of the material, and this necessitates the fold edge of the length being laid towards the cutter at the commencement of the layout.
Layout of a Double-Breasted Long Coat (Fig. 259)

The double-breasted long coat has a sideseam placed at the back of the scye, an underarm dart to the pocket and a front breast dart from the shoulder to the bust point. The sleeves are cut plain, with a "false forearm" and a lowered hindarm seam. To make the layout, commence by placing the back on the fold of the material and allow 2 inches at the bottom edge and inch round the back neck curve for the collar sewing inlay. The top-sleeve is then placed by the side of the back sideseam and has 2 inches allowed at the cuff edge for the turn-up. Then lay the under-sleeve
to run the same way as the top-sleeve and allow inch down the hindarm seam and 2 inches at the bottom edge for the turn-up. Mark the top-collar on the fold of the length above the back neck, and then the fronts can be laid close up to the collar as indicated with the sideseam against the fold edge of the material. On the fronts allow 1 inch down the sideseam, 2 inches at the bottom edge for the turn-up, inch round the gorge from the crease line and inch across the front shoulder seam and down the front of the scye to within 2 inches of the front pitch. The facing is taken out as marked between the fronts and the selvedge of the length. This is cut in one piece with ample material left for working on to the lapels in making. Take the under-collar from the surplus cloth in the position indicated. The measurements of the long coat are a 38-inch bust and a 45-inch coat length.
Layout for a Sidebody Long Coat (Fig. 260)

Fig. 260 shows sidebody coat 45 inches in length taken from 2 3/8 yards of 54-inch width material, a very close lay with one join in the coat facing. There is no reason why the coat facing should not be joined if a saving in the length can be effected, and with long coats the facing length is a very costly matter if an attempt is made to cut always without a join. The lay is made as follows. Firstly, place the back of the coat against the fold edge and allow 2 inches at the bottom edge for the turn-up and a -inch inlay round the back neck curve. Mark the waist and sleeve balance notches, and then place the sidebody against the sideseam of the back. Allow a -inch seam at both the sidebody back seam and the sideseam of the back, and then mark a -inch inlay down the back seam of the sidebody. The actual sideseam or underarm seam has a -inch seam allowed for in the construction of the pattern.
Next, mark the top-collar on the fold edge above the back neck and allow inch round the fall edge and the collar end for making-up purposes. The top-sleeve is then laid on the material above the top-collar and has 2 inches allowed for the cuff turn-up. Mark off 2 3/8 yards of the length, and then lay the forepart up against the end of the length and add 2 inches for the bottom turn-up. Allow to 1 inch at the sideseam and inch round the scye gorge and across the front shoulder seam. Mark the waist balance notch, the front pitch and the shoulder dart, and then mark out the coat facing towards the end of the length from below, the forepart. The piece joined to the top part of the facing is taken from above the under-sleeve. Allow two seams when making the length of the facing agree with the coat length. The under-collar is marked between the back shoulder and forepart, as indicated, on the bias of the material, and there is sufficient material left for pocket facings.
Layout for a Double-Breasted Panelled Long Coat (Fig. 261)

The double-breasted panel back and front long coat is a favourite in all districts and with all classes of women, for its strictly tailored lines are becoming in their simplicity and impart a slender effect to the majority of figures. The length of such coats varies from three-quarter to full length these days as a form of variety to the design, and the shorter coats usually have heavy lapels to simulate a square-shouldered appearance. The layout is made as follows The fold edge of the material should be towards the cutter. Firstly, lay the centre back panel in position and allow a -inch seam at the panel seam and 1 inches for the bottom turn-up. Allow inch round the back neck curve and notch the waist balance. The forepart is then laid in position by the side of the back. Allow 1 inches at the hem and inch round the gorge to the crease line and across the shoulder seam to the panel seam. Allow a -inch seam at the panel.
The back sidebody panel comes next on the width, with a -inch inlay allowed down the panel seam after the usual -inch seam has been allowed. Notch the waist line as indicated. The coat facing is taken out in one piece by the selvedge between the back panel and the front side panel. At the opposite end of the length, on the selvedge side, mark the topsleeve with a 2-inch inlay at the cuff edge. On the fold edge of the material, mark in the top-collar and then outline the under-sleeve with a 2-inch inlay at the cuff and inch down the hindarm seam. The front side panel is then marked to lie between the top- and undersleeve outlines and has inch allowed at the sideseam, 1 inches for the bottom turn-up, inch at the front panel seam after the usual -inch seam has been allowed, and inch round the scye and shoulder seam. The under-collar is taken out on the bias of the material below the under-sleeve on the length as marked. The coat length is 45 inches and the sleeve length 29 inches for a figure with a 38-inch bust, and the total length of 54-inch width material allowed is 2 5/8 yards, equal to twice the coat length plus an allowance for bottom edge inlays.
Layouts for Raglans with Three-, Two- and One-piece Sleeves

Raglans with three-, two- and one-piece sleeves form the subjects of the next four layout descriptions. In each lay, the raglan coat will be doublebreasted to make the lay as extravagant of material as possible. The inlays will include those usually allowed for lapped or stitched seams. The raglan coat shown in each of the lays is drafted to a 38-inch bust, a 45-inch full coat length and a 29-inch sleeve, and is doublebreasted with heavy revers and patch pockets.
Layout for a Three-piece Sleeve Raglan (Fig. 262)

The following layout for a double-breasted raglan with a three-piece sleeve takes 2 yards of 54-inch width material and
includes ample for fittings, patch pockets and a wide facing in one piece. Firstly, lay the back part of the coat against the fold edge of the material if the coat is a whole back style, and then allow inch across the back neck curve and inch down the raglan shoulder seam to below the back pitch for the lap seam inlay. If the back has a centre seam, the pattern will require moving forward inch from the fold edge and then sewing down in the marked line. The front part of the top-sleeve is then placed against the sideseam of the back and has 2 inches allowed at the cuff for a turn-up. By the side of the front sleeve horn, place the corresponding back sleeve horn and allow inch down the centre seam from the neck seam. The cuff turn-up is 2 inches to agree with the similar inlay on the front sleeve horn. The coat facing is then marked out between the sleeve and the selvedge edge as indicated. At the opposite end of the length, lay the fronts of the raglan coat against the selvedge edge of the material and allow 2 inches for the bottom edge turn-up to match the similar back inlay. At the side-seam, allow 1 inches all the way down, inch round the front raglan shoulder seam, and inch for the lapped seam inlay if required. The shoulder dart is sewn out and not cut through; the marks indicated are the sewing lines. Threequarters of an inch is allowed down the gorge run to the crease line. The top-collar can be taken out above the back neck on the fold edge of the material; allow inch on the width and length for making-up purposes. Above the top-collar, place the under-sleeve pattern, and allow inch at the hindarm seam and 2 inches at the cuff end for the turn-up. The under-collar is taken out on the bias of the material as indicated, and the patch pockets and flaps are also outlined in the most advantageous positions.
Layout for a Two-piece Sleeve Raglan Coat (Fig. 263)

The following layout for a two-piece sleeve raglan coat differs from the three-piece lay as the top-sleeve, not being divided, does not take up so much space as the split style. The actual layout does not benefit from this alteration, and the total length of
material required for the coat, which is 45 inches in length, is 2 yards of 54-inch width cloth. To make the lay, mark the back of the coat against the fold edge of the material, and allow the usual 2 inches at the hem and inch round the back neck curve and down the raglan shoulder seam to below the back pitch. The top-sleeve is then placed against the sideseam of the back and has 2 inches allowed for the cuff turn-up. If a whole-top raglan sleeve is required instead of the dart shoulder, the position of the sleeve in the lay remains unaltered. The coat facing is taken out between the sleeve and the selvedge as marked. At the other end of the length, place the front of the coat against the selvedge and allow 2 inches at the bottom edge, 1 inch down the sideseam and inch round the gorge and down the raglan shoulder seam to the sleeve pitch. The shoulder dart is sewn out in the marked lines. The top-collar is placed at the fold edge of the material above the back and has inch allowed at the fall edge and collar end for making-up. The under-collar is taken from the material on the bias in the position indicated. The under-sleeve is marked by the front sideseam on the fold edge of the material and has inch allowed at the hindarm seam and 2 inches at the bottom of the sleeve for the cuff turn-up. Mark the patch pockets and flaps to the required shape to complete the layout. When cutting the facing from the fronts, allow approximately inch to inch on the width of the lapels for making-up purposes.
Layout for a Two-piece Deep-scye Sleeve Raglan Coat (Fig. 264)

The following layout illustrates the most suitable arrangement of the pattern when a two-piece deep-scye sleeve is required in the raglan coat. The sleeve has a seam over the shoulder and under
the arm to agree with the sideseam placement at the underarm in the coat. To make the layout, mark the back with the back neck up against the end of the length, and allow inch round the back neck curve and 2 inches for the bottom edge turn-up. On the raglan shoulder seam, allow inch for the lapping of the seams from the neck to just below the original back pitch level as marked on the layout. The back half of the sleeve is then placed by the side of the back on the length and has inch allowed down the centre seam for lapping purposes and as an inlay, and at the cuff end 2 inches are marked for the turn-up. At the underarm seam, allow approximately inch for the inlay, but make sure that the facing allowance is not skimped thereby. The coat facing is taken from the width between the selvedge and the back sleeve. At the other end of the length, mark in the fronts and allow 2 inches at the bottom edge for the turn-up and 1 inch down the sideseam. Allow inch round the gorge to the crease line and down the raglan shoulder seam to the front pitch level. The shoulder dart is sewn out in the marks. Mark the top-collar above the back on the fold edge of the material and the under-collar on the bias by the back sleeve horn. The front half of the sleeve is marked in by the front sideseam and has 2 inches allowed at the cuff end only. If patch pockets are required, take these from the material between the facing and the back, above the sleeve pattern. The layout takes 2 yards of 54-inch width material for a 38-inch bust figure and a 45-inch coat length.
Layout for a One-piece Sleeve Raglan Coat (Fig. 265)

The following layout for a one-piece sleeve raglan with a deepscye slip-on effect takes 2 yards of 54-inch width material. The sideseam of the coat is placed under the arms, and the sleeve underseam sews to this point. For a sleeve without the shoulder dart indicated on the layout, no alteration is made to the sequence
illustrated as the variation in the sleeve outline takes place within the limits of the pattern shown. To make the layout, firstly place the fronts against the selvedge of the material and allow 2 inches at the bottom edge for the turn-up and 1 inch down the sideseam. Round the shoulder seam inch is left on for lapping the seam or as an inlay, and a similar quantity is left round the gorge from the neck point to the crease line. The back is then placed on the fold of the material above the fronts and fitted in as closely as possible. Allow 2 inches at the bottom edge and inch round the back neck curve and down the raglan shoulder seam to below the original two-piece sleeve pitch. The facing in this layout is joined once, and the top is marked in below the back part by the side of the front sideseam. The one-piece sleeve pattern is laid on the length between the selvedge and the back shoulder. Allow inch on the back under-sleeve seam and 2 inches at the bottom edge for the turn-up. The layout indicates a sleeve with a shoulder dart, but it remains unaltered for a plain shoulder sleeve. The top-collar is placed against the fold edge of the material at the end of the length and the under-collar on the bias in the position indicated. The necessary amount to be added to the facing is obtained from below the sleeve outline as indicated. Allow inch for seams when making the join and checking up the length of the facing with the fronts. This completes the general principles for laying out raglan patterns on the material. In the majority of instances, twice the required coat length will be sufficient for the layout for bust sizes up to 38 inches. For bust sizes over 38 inches it is advisable to order 1/8 yard more for every 2 inches increase in the bust girth. Coat patterns with split-sleeves instead of full raglan sleeves may be laid out in the same manner as indicated in the preceding layouts, as the sleeve outlines are identical with the exception of the raglan shoulder sections which are eliminated.
Layouts for Trousers, Plus-fours, Breeches, Jodhpurs and Shorts
Layouts for trousers, shorts, breeches, jodhpurs, etc., present less difficulty in comparison with those for costumes and long coats as they consist of only top and undersides, and the provision for facings or sleeves does not exist. For trousers it is usual to order material equal to the sideseam length plus a suitable addition for the turn-ups and the back waist height, while breeches layouts are governed by the shape of the "pouch" effect at the side in the length of the material consumed.
Layout for Trousers (Fig. 266)

The quantity of material for trousers depends on the hip circumference and the leg widths at the knee and the bottom. If the legs are abnormally wide at these points, it will be found impossible to lay the undersides of the trousers against the legs without joining a fork-piece to the back fork. Lay the topsides against the end of the length, making sure to allow for the 1-inch plaquet side fastening at the waist. Mark round the outline of the pattern and allow 4 inches for the turn-ups or 2 inches for plain bottoms. The topsides are laid on the fold edge of the material so that the surplus length may be utilized for the waistband. Mark the waistband equal to half the waist measure plus 1 inches and 2 inches in depth if required to finish at 1 inches in width. The undersides are placed to run the reverse way to that of the topsides so as to allow the widest part at the fork to fit in with the narrowest part of the legs on the topsides. Mark round the pattern outline, adding the side plaquet inlay of 6 inches by 1 inches. At the seat seam, add the usual inlay of inch to 1 inch, tapering away at 2 inches from the termination of the back fork. When the trousers are sewn together, the seam is inch behind the marked line. Add 4 inches for the bottom turn-up and mark the knee balance notches as shown. If the legs are narrower, it may be useful to leave an inlay of inch down the inside leg seam. The amount of material consumed is 1 yards of 54-inch width. For ski-ing trousers the above layout will be suitable, and it is not necessary to illustrate the variation.
Layout for Plus-fours (Fig. 267)

Layouts for plus-fours take more material than trousers, even though the length of the leg is shorter, for the width of the legs at the thighs and knees is greater than in the case of trousers, and it is impossible to lay the top and underside patterns alongside each other on the width. The layout illustrated by Fig. 267 takes 1 yards of 54inch width material, and when the plus-fours are cut separately it is not possible to do with less. Firstly, lay the topsides at the end of the length, adding the sideseam plaquet allowance of 6 inches by 1 inches. At the bottoms on the sideseams, allow the vent inlay of 1 inch by 4 inches. The undersides are then placed against the opposite end of the length. Allow the sideseam plaquet inlay of 1 inches by 6 inches and the sideseam vent inlay at the bottoms to agree with the similar inlays allowed on the topsides. At the seat seam, allow a 1-inch inlay to taper away into the seam 2 inches from the fork point. In the possible event of the width of the legs requiring adjustment, an inlay may be allowed at the inside leg seam from the fork to the bottom edge, but the width of the undersides does not usually permit this. The waistband is taken out on the fold edge of the material in the position indicated and is made half the waist length plus 2 inches in length. The knee-strap is made the small width plus 1 inches in length and about 2 inches in width. The darts at the bottom edge of the plus-four legs are sewn out and not cut through in a similar manner to the back waist darts. Both the waistband and the knee band should be cut on the double to provide a facing in each case.
Layout for Breeches (Fig. 268)

Here again, as in the case of plus-fours, the deciding factor of the quantity of material for breeches is the width of the thighs or the amount of "pouch" at the sideseam.
The breeches illustrated in the layout are to have plain tops and a side opening, though the same length of material will suffice for waistband or split-fall top finishes. For the layout 1 yards of 54-inch width material are needed or 2 yards of 27-inch width. The breeches are drafted to an average waist and a hips girth of 28 inches and 40 inches respectively. Lay the topsides against one end of the length as indicated, with the fork and inside leg seam to the edge of the material, making sure that the pattern is laid perfectly on the straight of the grain. Allow the sideseam plaquet inlay of 1 inches by 6 inches in length at the waist, and mark the waist dart to be sewn out in the marks. The undersides are then placed on the length with the seat seam adjacent to the sideseam of the topsides as shown on the draft. Allow 1 inch at the seat seam in the usual manner, and taper the inlay to within 2 inches of the back fork point. On the inside leg seam allow a -inch inlay from the fork to the gore seam, on the undersides sideseam allow 1 inches at the waist for the plaquet catch facing, and continue the inlay down to the gore seam to make provision for any adjustment of the side-seam width. The back waist dart is marked to be sewn out in the marks. Mark round the under-gore section of the undersides, and allow 1 inches at the sideseam for the button catch and inch on the inside leg seam to agree with the similar inlay allowed on the above gore section.
Layout for Jodhpurs (Fig. 269)

Jodhpur breeches take slightly more material for a layout than breeches in view of the increased leg length, and an average length is 1 3/8 yards of 54-inch width material or 2 yards of 28inch width. Lay the topsides at one end of the length in the same manner as for breeches, with the fork point to the selvedge and the sideseam in the centre of the width. For side-opening breeches, allow an inlay of 1 inches by 7 inches at the sideseam as
marked. For P.T.U. bottoms, add 4 inches on to the length as indicated, and divide up into two parts of 2 inches and one of inch for the turn-up. The undersides are laid against the other end of the length with the gore seam to the edge of the material. Allow 1 inch down the seat seam, tapering to nothing 2 inches from the back fork point. Allow 1 inches on the underside sideseam from the waist to a smaller quantity at the knee. On the inside leg seam, inch is left to make any adjustments at the knee, small and calf widths. The back waist dart is sewn out in the marks. On the under-gore section, allow an inlay down the inside leg seam to correspond with the inlay above the gore seam. The P.T.U. bottoms are allowed for by adding 4 inches on to the length as indicated. The same quantity of material will be sufficient for split-fall or waistband breeches, which are laid on the length, as described above, with the fittings taken from the surplus material.
Layout for Shorts (Fig. 270)

Plain shorts can be taken from the length of the sideseam plus about 4 inches to allow for the height of the back rise of the tops and the bottom inlay, but pleated shorts cannot be taken from less than twice the length of the sideseam plus twice the above inlay and back-rise allowances. Fig. 270 indicates the layout for pleated shorts with a centre inverted pleat and two side knife pleats at back and front. Place the topsides to the end of the length and allow a plaquet inlay of 1 inches by 7 inches if the shorts are cut without a waistband. Allow 2 inches at the bottoms for the turn-up. The undersides have the centre back pleat carried through to the tops, and a sideseam plaquet inlay equal to the front plaquet allowance is left at the left sideseam. Add 2 inches for the bottom turn-up, and, if possible, a small inlay down the inside leg seam from the fork to the bottom edge. The layout takes 1 yards of 54-inch width material, and, as indicated above, for all shorts with pleats it is not possible to make do with less.
For plain shorts cut fairly wide in the legs, yard of 54-inch width material will be sufficient for the average sizes.
Layouts for Skirts

Economical layouts for skirts are governed by the style of the garment and the number and type of pleats or flares. Generally speaking, a skirt takes a material length equal to the skirt length plus 2 to 3 inches up to about 1 yards, the quantity depending entirely on the hip girth, the length and the design. The necessity for having two fold edges for the front and back of the skirt means a certain increase in the length of the material used, but to overcome this necessity in panelled skirts the author cuts the front and back centre panels together and opened out on the material to eliminate the need for two fold edges. This method makes for a saving on the length of cloth used in the layout and is practical for hip girths up to about 44 inches. Plain skirts can be taken out of the skirt length plus an addition for the hem turn-up for all hip sizes up to about 48 inches as shown by Fig. 271.
Layout for a Plain Skirt (Fig. 271)

The skirt illustrated by the layout is drafted to a hips size of 44 inches and a full length of 32 inches. The amount of material required equals the length plus 2 inches for the hem, i.e. approximately 1 yard of 54-inch width material. As the full width of the material is 54 inches it follows that a skirt measuring 27 inches round the hem on the half can be taken out of the width, and the hip girth equal to a 27-inch hem width would be approximately 24 inches or 48 inches on the full width. To make the layout, recrease the material to make two fold edges by laying the two selvedges together in the centre of the width as shown. Lay the front of the skirt to the fold edge and mark a 1-inch inlay at the sideseam for the plaquet fastening. Allow 2 to 2 inches at the bottom edge for the hem turn-up, and shape the sideseam inlay to taper back to agree with the run of the sideseam above.
The fronts should be laid as close to the selvedge as possible by means of creasing the fold extremely narrow for the fronts to leave the widest quantity for the back skirt. Lay the back skirt to the fold edge of the material as indicated, and allow 1 inches down the sideseam and 2 to 2 inches at the bottom edge to agree with the front skirt hem turn-up. Mark in the back waist darts which are not cut through but sewn out in the marks. For larger hip sizes, the sideseam inlay will be tapered away to nothing at the bottom edge as the hem width takes up more of the available width of material, and it will be necessary to leave only the plaquet allowance at the top of the sideseams 8 inches in length by 1 inches wide.
Layout for a Panel Skirt (Fig. 272)

The panel skirt is a favourite for strictly tailored costumes and consists of a panel back and front with or without a sideseam. Dealing with the sideseam design first, the layout shows how to mark out a panel skirt to take 1 yard of 54-inch to 56-inch width material. The skirt illustrated is drafted to a 44-inch hip girth and a length of 32 inches, an average size which permits a variation in girth over the drafted size of 3 inches, the same layout being used. To make the layout, it will be necessary to cut the back and centre front panels together and opened out to eliminate the necessity for two fold edges on the length. Firstly, lay the side front panel against the fold edge of the material and allow 1 inches down the sideseam and 2 to 2 inches for the hem turn-up. Allow a -inch seam down the front panel edge when cutting from the material, and, if the seams are required to be stitched-over or lapped, make an allowance of inch. The back and front centre panels are then laid in position, opened out as illustrated by the dash line showing the centre and the outline of the back
waist dart. Allow 2 to 2 inches for the hem turn-up and a -inch seam at each panel edge when cutting from the material. The side back panel is then placed by the selvedge edge and has 1 inches allowed down the sideseam and 2 to 2 inches at the bottom edge as described for the front side panel. Allow the usual -inch seam on the side panel edge when cutting. When the hip size is too large for this layout, an increase in the material length will be necessary to permit the side panel sections of the skirt to be moved farther down the length until the waist part will pass the corresponding width of the front and centre back panels.
Layout for a Panel Skirt Without a Sideseam (Fig. 273)

The following layout describes a panel skirt without a sideseam taken from 1 yard of 54-inch width material, with a hip girth of 44 inches and a side length of 32 inches. On the fold edge of the material, lay the front and centre back panels, opened out as indicated by the centre dash line. Mark round the patterns, allowing -inch seams at the panel edges and 2 to 2 inches at the bottom edge for the hem. When cutting from the material, make sure to mark the back smaller at the waist as shown by the dash lines. The side and back panels are then laid together and overlapped inch to eliminate the seams allowed at the sideseams. Mark in the side and halfback waist darts and allow 2 to 2 inches at the bottom edge for the hem and about inch on each panel seam for letting-out provision owing to the elimination of the sideseam inlays. Mark a -inch seam at each panel before allowing the inlays. The waist darts are sewn out in the marks. This layout permits of an increase in the hip girth up to a size of 48 inches without alteration to the lay. For hip sizes above 48 inches, an addition must be made to the length allowed to enable the front and centre back panels to pass by the narrower part of the skirt at the waist.
Layouts for Pleated Skirts
Economical layouts for pleated skirts are governed by the depth and number of the pleats required, and, in describing suitable lays, the author will endeavour to illustrate skirts from the plain knife-pleated style to the panel skirt with inverted pleats at the back and front. The first example is a skirt with single knife pleats at the front set-in from panel seams with a plain back.
Layout for a Knife-pleated Skirt (Fig. 274)

The knife-pleated skirt is taken from 1 yard of 54inch width material for all hip sizes up to 42 inches, and the material will require recreasing to the middle to make two fold edges for the centre front and back. Firstly, lay the front panel on the fold edge and allow 2 to 2 inches for the bottom edge hem. The knife pleat, which is made 2 inches in width, commences at 16 inches up from the hem and begins to taper up from the bottom edge 14 inches. Mark the pleat as illustrated, and then lay the side front panel by the side of the centre front panel section, allowing 2 to 2 inches at the bottom edge and for the pleat 16 inches up from the bottom edge. Mark the pleat to agree with the addition made to the front panel seam and add 1 inches at the sideseam for the plaquet inlay. The back skirt section is placed to the other fold edge of the length and has 2 to 2 inches allowed at the bottom edge and 1 inches by 8 inches for the plaquet fastening. Mark the back waist darts to be sewn out in the marks.
Layout for a Knife-pleated Panel Skirt (Fig. 275)

The following layout describes taking a knife-pleated panel skirt from 1 yards of 54-inch width material with 2-inch pleats and a sideseam. The skirt is drafted to a 42inch hip girth and a 32-inch side length. For all sizes above these measures allow 1/8 yard more length to enable the front and back panels to pass above the side front and back panels.
With layouts of pleated skirts, the sideseam inlay allowances may have to be eliminated below the plaquet allowance, for the addition of pleats materially affects the layout; but very little adjustment of the hem width is usually needed for pleated skirts as the pleats are meant to allow walking width. Firstly, mark the side front panel on the selvedge side of the material, allowing 1 inches for the sideseam plaquet inlay. Lay the sideseam as close as possible to the edge of the material at the bottom and allow 2 to 2 inches at the bottom edge of the panel for the hem. Mark the pleat 16 inches up from the bottom edge. The pleat is made 2 inches in width and commences to taper 14 inches from the bottom edge. The side back panel is then laid against the selvedge side of the length with the usual sideseam inlay of 1 inches and 2 to 2 inches allowed for the bottom turn-up. Mark the pleat as described for the front panel, i.e. 16 inches up and 14 inches in length at 2 inches from the panel seam. In the space down the middle of the length the centre front and back panels can be laid. The dash line shows the centre of the panels, and the dash lines at the waist illustrate the outline of the back panel. Allow 2 inches for the pleat 16 inches up from the bottom edge, tapering down to 14 inches at the pleat edge, and at the hem allow 2 to 2 inches for the turn-up. For larger sizes it will be necessary to move the centre panels farther up the length so that the edges of the pleats miss the side front and back panel edges.
Layout for a Panel Skirt Without a Sideseam (Fig. 276)

The knife-pleated panel skirt without a sideseam is the subject of the following layout. Drafted to the above measures, the skirt takes 1 3/8 yards of 54-inch width material. Lay the front and centre back panels together, opened out on the material as indicated by the dash lines. Allow 2 to 2 inches at the bottom edge and make the pleats 2 inches in width, commencing 16 inches up from the bottom edge.
The side front and side back panels are overlapped inch at the sideseams to eliminate the seam allowance and are then placed on the material as indicated. Allow 2 to 2 inches for the hem turn-up and commence the pleats 16 inches up from the bottom edge. Allow a 2-inch pleat allowance at each panel seam, and continue to the waist line an addition of inch to 1 inch at each seam for inlay provision. The darts are marked to be sewn out in the marks. With regard to the plaquet fastening, some panel skirts without a sideseam have the opening placed in the front panel seam, while others have a plaquet facing and catch sewn in at the usual sideseam position at the waist dart. If the panel position is required, an allowance for the plaquet facing is needed on the left panel seam, 1 inches wide and 8 inches in length as illustrated. This applies to all skirts of this style.
Layout for a Panel Skirt with Inverted Pleats (Fig. 277)

The panel skirt with inverted pleats at the back and front panel seams takes more length of material than other skirts owing to the larger pleat provision made on each seam. For an inverted pleat 4 inches in depth, an addition of 8 inches must be made to the panels back and front, and this represents a considerable amount of the width available for the layout. The total addition made for the pleat is divided up into one part of three-quarters and one part of a quarter so as to enable the seam of the pleat to be hidden. The three-quarters of the pleat allowance is usually added on the front and back panels, with the narrower addition made to the side panels in view of their greater general width. The layout illustrates a panel skirt taken from 1 yards of 54-inch width material and allows for pleats 4 inches in width. Firstly, lay the side front panel against the selvedge of the material and allow 1 inches for the sideseam and plaquet inlays. Add 2 to 2 inches for the hem at the bottom edge and 2 inches at the panel seam for the quarter-pleat allowance. Commence the pleat 16 inches up from the bottom edge and begin to taper it 14 inches from the hem as illustrated.
On the fold edge of the length, mark in the side back panel with 2 to 2 inches allowed for the hem and 1 inches at the sideseam for the plaquet catch. Mark the quarter-pleat allowance 16 inches up from the bottom edge and taper back to 14 inches, the width of the pleat being made 2 inches. The back and front centre panels are cut together and opened out on the material as illustrated by the dash lines. Allow the three-quarters pleat allowance on each panel edge as shown, commencing the pleat 16 inches up from the bottom edge and dividing it up into two parts of 2 inches and one of 2 inches, an addition of 6 inches being made to the panel. The extra inch is added for a seam where the side panel pleat addition joins. The pleats should taper from the panel seam as marked so as to provide a support from the panel above. Allow the usual 2 to 2 inches for the hem turn-up to complete the layout which is adaptable for hip girths up to 4 inches in excess of 44 inches.
Layout for a Panelled-front Skirt with Inverted Pleats (Fig. 278)

The panel front skirt with inverted pleats set in the panels, by reason of the back being cut on the fold edge of the material, takes as much material as the panel back and front style. The layout illustrated takes 1 3/8 yards of 54-inch width material. Place the back skirt on the fold edge of the length and mark round, allowing 2 to 2 inches at the bottom edge and 1 inches down the sideseam. Mark in the back waist darts which are sewn out in the marks. The centre front panel is then laid on the material in the position illustrated and has the usual bottom edge turn-up of 2 to 2 inches and a pleat addition equal to three-quarters of the total allowance commencing 16 inches from the bottom edge. The dash line indicates the centre of the panel, and the pleat addition is made in two parts of 2 inches and one part 2
inches in width; the extra inch is for a seam to join the front panel addition to the side panel allowance. It will be noticed that the side panel is not shown on the layout. This is taken out of the underpart of the material underneath the centre front panel. The side panel is the same as for a panelled back and front skirt, with onefourth of the pleat allowance added at the panel seam as described for the previous layout.
Layout for a Gored Skirt (Fig. 279)

The gored skirt with a slight flare at the hem is a favourite design for an odd skirt. There are many styles of gored skirts; some have four panels or gores, while others have as many as eight or ten panels. The six-gore skirt is the most general and consists of two panels back and front with a sideseam each side. The width of the hem line is the governing factor in gored-skirt lays; the greater amount of flare does not permit of the panels being laid alongside each other. From 1 to 1 yards are usually sufficient for a gored-skirt lay, and the layout described and illustrated takes just over 1 1/8 yards of 54-inch width material, allowing for a skirt length of 32 inches and a hip girth of 42 inches. The side front panel is laid against the fold edge of the length and has 1 inches allowed for the plaquet on the sideseam at the waist and 1 inch for the hem turn-up. The hem turn-up is made as narrow as possible to enable the skirt to hang softly in flares. Taper back the turn-up as shown to match the side-seam run above. The sideback panel is placed at the opposite side of the length and has 1 inches allowed down the sideseam and 1 inch at the bottom edge. Taper back the inlay as marked. The back waist dart is sewn out in the marks. Lay the front and back panels on the material, opened out as indicated by the dash line down the centre. Allow 1 inch for the bottom edge turn-up and taper back the inlay to match the sideseam run above. It is advisable to keep the sideseam inlay below the plaquet as narrow as possible, or, better still, after the skirt has been fitted, cut away all the
unnecessary inlay. This greatly improves the hang of the skirt if it is made up in tweed. Seams must be allowed on each side panel edge at the back and front when cutting from the material, and for larger hip girths than the example the centre back and front panels must be moved up the length as the width of the hem on the side panels increases.
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by F. R. Morris
Chapter XIXPractical Tailoring

THERE are so many different ideas on the correct methods of making a tailored costume jacket or long coat that it would be impossible to generalize and not disagree with many people. In tailoring as in cutting, there are the advocates of plenty of manipulation and working-up of the garment to secure the required effect, while, in the wholesale trade, such expensive work is cut right out of the production side, and garments are produced in great numbers with a clean-finished appearance much to be admired. Too often, owing to the constant pulling and manipulating it receives, a well-cut garment seems to have lost a lot of its "life" when finally finished. This is not to be wondered at, for there probably has been a number of "fiddling" alterations and fittings with the result that the garment bears no resemblance to the original cut when finally sent to the client. The author believes that every garment should be cut as perfectly as possible at the first cutting and made with the minimum of delay, and then we have a really smart and clean-looking garment. It is the speed of the wholesale trade in turning out the garments that retains their original smartness of cut; there is none of the hanging-up on the hanger until the client condescends to call for the frequent fitting, with the consequent stretching of the shoulders and scye out of shape. The price question is another most important factor to be considered, for no one but a philanthropist would put into a garment work that is not paid for, and a lot of the laboured tailoring that tradition compels us to insert into every garment before we can call it "tailored" can be dispensed with and the fit and style considerably unproved. Women these days are quick to note fashion changes and usually desire garments in the latest cut, and why ladies' tailors should still persist in putting enough work into a garment for a possible four or so years is on the face of it a mystery. A costume these days shows a variation of style every six months to a year, whether it is in the jacket or skirt length, size and shape of the lapels or the hem width of the skirt, and we should make our garment to last as long as the cut will remain modern and, in doing so, avoid some of the time-taking tailoring.
The question of canvas and padding is a sore point with many tailors. They cannot visualize a lady's coat made up without padding or canvas through the fronts, and if they get a young woman in the shop who wants a light-weight coat for summer wear, they still insert the usual quota of "French canvas." Canvas can be eliminated in the majority of the more "dressy" or "town" coats, and retained only in strictly tailored garments with definitely stereotyped lapels and collars where it is fundamentally necessary for the retention of shape. In this chapter on practical tailoring the author endeavours to illustrate the accepted methods of tailoring he uses for garments and, in addition, explains how to make a garment throughout by machine as in the wholesale trade. The general procedure may be different from other ideas, but the ultimate result and the practicability of the methods used are their own recommendation. Previously, the author has described the allowances for inlays and cutting from the material, and we can go straight on with the making. For an example of tailoring methods, the double-breasted costume jacket, with a panel back and plain fronts with shoulder and waist darts, has been chosen. Two cross jeatted hip pockets are indicated with a welt breast pocket. The edges are plain, and the coat is lined throughout.
Cutting the Linings (Fig. 280)

It is always better to cut the coat linings at the same time as the actual garment to save unnecessary ripping out after the fitting. If the coat fits perfectly without any alterations, it is a waste of time to rip the seams in order to cut the linings; therefore, the author always cuts linings and canvas from the garment and makes any alterations when re-marking the coat. When cutting the linings it must be remembered that the outer cloth will stretch, while the linings will not; so it is advisable to cut the linings to fit slightly easier. Whether or not the garment is to be made throughout by machine will also affect the cut of the linings, but for the present description we will work on better-class methods of making.
To cut the linings, refer to Fig. 280, which shows the back, side panel, and sleeves with inlay allowances as described in the section on the Provision for Inlays. Fig. 280 (a) shows the back panel, and the lining for the latter is cut exactly to the same length at the neck and the bottom edge with the identical inch inlay allowed at the back neck curve. From the back neck point add about inch to the panel seam on the shoulders, as shown by the shaded lines, and continue the addition down the panel seam to the waist level; from this point the linings follow the run of the outside cloth. It is advisable to cut the linings to the inlay length of the back in case the jacket length requires any adjustment. In a machined coat this cannot be done, for the linings are machined in with the inlay at the bottom edge and must be cut to the exact length plus seam allowances. Mark the back neck inlay by tracing through from the jacket back and notch the waist balance marks. Fig. 280 (b) shows the side panel, and from this the linings are cut identical with the run of the panel back seam and with the same inlay allowance and to the length of the panel at the bottom edge. Across the shoulder seam, add inch to the length to agree with the addition made on the back panel lining, and gradually increase this quantity to inch at the shoulder end. Allow inch round the back scye as indicated by the shaded lines and about inch down the sideseams from the scye to the bottom edge. Trace the panel inlay through on to the lining from the outer panel and notch the waist-line balance marks. Fig. 280 (c) shows the top-sleeve with a lowered hindarm seam and a false forearm at the front. When the sleeve linings are being cut, the addition of inch made on the forearm is disregarded owing to the non-elastic nature of the lining material, for a certain amount of stretching is necessary at the forearm seam with this cut to make the seams lie flat when they are sewn together. It is impossible to stretch linings to the same extent as the cloth, so that the top-sleeve lining is cut to take the shape of a plain equalwidth sleeve. This is shown on the draft by the dash lines down the forearm. Cut the lining to the turn-up length at the cuff and inch longer than the sleeve length at the sleeve head, and add about 3/8 inch at each seam to the
total width across the sleeve head of the linings as shown by the dash lines and shading. Fig. 280 (d) illustrates the cutting of the under-sleeve lining. On the draft inch is added to the width of the sleeve lining all down the sleeve to make up for the reduction from the top-sleeve width as described previously. Add inch to the full lining length as marked and spring out the sideseams of the lining 3/8 inch each side of the sleeve head. The lining is cut to the inlay length at the cuff edge.
The Cutting of the Forepart Lining and the Facing (Fig. 281)
Fig. 281 illustrates the forepart with the usual inlays added throughout. The facing must be very carefully cut to the shape of the neck gorge from the front neck point to the crease line, and then it is sprung out a bare inch to the peak commencement. Round the peak of the lapel, add about inch as shown for working on to the lapel point in making, continue this -inch allowance all down the lapel to the first button position and finish of the lapel shape. From the end of the lapel to the bottom edge, mark the facing identically in shape with that of the garment, and then make the width about 5 inches at the bottom edge, increasing to the shoulder to finish at the front seam of the dart, and add the same inlay to the facing as that added to the forepart. The lining is cut to the full length of the garment at the bottom edge, and then from the shoulder seam it is marked to commence at two seams in advance of the back dart seam to allow for seams in making, as no seams are allowed on the shoulder dart of the coat. At the termination of the shoulder dart of the coat, overlap the lining over the facing by inch for two seams, as indicated by the shaded and dash lines. At the sideseam, cut the lining equal to the outside from the bottom edge to the waist, and then add about 3/8 inch of extra width over the breast line. Round the scye, add inch of extra width to agree with the addition made to the back lining at this part, and then mark the shoulders with 3/8 inch increased length as indicated by the shaded lines and dash inlay mark from the shoulder dart to the shoulder end. This addition to the back and front linings is for ease and to allow for a small shoulder pad.
Mark the inlays by tracing through from the outside and mark the waist dart. Very often the linings may be cut without the shoulder dart being taken out, and the surplus is pleated over to provide for more ease over the bust prominence.
Marking Up (Fig. 282)

After cutting out the linings, the next operation is to tack-mark all the inlays. This is done in the usual manner with double basting cotton, and, by taking wide tacking stitches, mark up all the inlays and then cut through each tack loop. Next, by separating the material just sufficiently to enable the loops to be snipped through between the two cloth layers so as to make a tacking mark on each layer, complete the marking-up process. The shoulder dart may be either sewn out in the marks or cut down one side and then sewn out as an inlay. In the latter event, cut a -inch seam inside the chalk marks at the front mark, and then mark up the back dart seam inch inside the chalk mark as indicated. When the dart is sewn out the edge of the front seam goes to the marking thread and is sewn a seam inside to agree with the original shoulder dart marking. Mark up the pocket ends by crossing marking threads and the centre line by a few marks to give a balance when the garment is fitted.
The Canvas (Fig. 283)

All strictly tailored jackets and long coats should have an interlining of canvas through the fronts to give a firm foundation and retain the shape of the shoulders and lapels. The canvas should be cut to the shape of the shoulders and shoulder dart, and roughly to the shape of the lapels, so that they may be trimmed up when they are tacked to the coat. A seam should be run from the termination of the bust dart to the side edge of the canvas at the waist, and about inch taken out to provide for waist and breast shape in the canvas foundation.
The section of the canvas which forms the scye interlining should be cut on the bias of the material, to allow for stretching at the front of the armhole over the prominence of the shoulder bone. Cut the canvas wide enough at the pocket level to allow for the pocketmouth tack, and then taper back towards the fronts at the hem. A seam should be allowed each side of the shoulder dart when cutting from the canvas, and the two sections overlapped and stitched through instead of seamed out.
Inserting the Pockets (Fig. 284)

Having marked up the garment completely, we can now commence to insert the pockets. For the style chosen, the necessary pockets are two jeatted side pockets and one welt breast pocket to allow for a variation of procedure. The jeatted pockets each has a facing at the top and bottom and a backing of the same material to cover the pocketing. Each facing should be cut at least inch longer at each side than the pocket opening length and 1 inches in width as indicated by Figs. 284 (a) and (b). These pieces are cut on the double to make four single facings in all. The facing which forms the backing to the pocketing is cut approximately twice as wide as the top and bottom facings, as indicated by Fig. 284 (c), since it has to equal the height of the top facing above the pocket opening and the depth of the bottom facing below the pocket mouth. The pocket is usually made of silesia pocketing and is cut to the required length or depth less the width of the pocket facing; in any case, it is usual to trim up the depth before machining round. To machine the facings of the pocket mouth to the pocket, take the bottom facings, separate the two sections and, by laying the right side of the facing to the right side of the pocketing, machine across as shown by Fig. 284 (e). The bottom edge of the facing goes to the top edge of the pocketing; it is important to remember this point when the pockets are curved or placed on the slant.
After machining the facing to the pocketing, press over the seams to overlap the pocket over the facing for a thin edge, and then edge-stitch through as indicated on Fig. 284 (f). Make up the other front pocket section as described and then make the pocket backing section. Take the back facings, separate the two sections, then lay the right side of the facing to the right side of the pocketing and machine across the top edge as indicated in Fig. 284 (g). Press the seams of the pocket and facing downwards and then machine overlap the pocketing over the facing by edge-stitching as in Fig. 284 (h). This completes the preliminary work for inserting the pockets, and now we commence work on the coat.
Fig. 285
The waist dart should be seamed out before the pockets are inserted. After this has been done, on the wrong side of the material, baste a 1-inch strip of linen across the coat from the centre front to the sideseam to cover the pocket mouth equally and form a stay for the pocket jeattings. This is shown by Fig. 285 (a), and the waist dart is indicated cut through so as to be pressed out flat. On the right side of the fronts, mark the pocket mouth by a plain chalk line, and then tack the bottom facing and pocket with the edge of the facing to the pocket opening line and the right side of the pocket and facing to the right side of the fronts. Baste securely in position, overlapping each end of the pocket mouth by a quantity of inch to allow for machining round the edges of the pocket. The top facing is then basted to meet the edge of the bottom facing and pocket mouth line, with the right side of the facing against the right side of the fronts. Mark the termination of the pocket opening clearly in chalk as a guide for machining, and then machine along the top and bottom of the pocket mouth opening on the facings a distance of inch or a narrow seam inside the line. Do not machine across the ends of the facings, but finish off each line of machining securely as in Fig. 285 (b).
After machining the facings to the fronts, cut through the pocket opening to within inch of the ends of the opening, and then cut diagonally across the facings to the machine stitches as indicated, leaving a "lip" at each end of the pocket mouth. After cutting across the pocket-mouth opening, turn the forepart over to the inside, and then press open the seams where the facings are sewn to the coat. When the seams at the top and bottom of the pocket opening have been pressed open, pull the top facing through the opening and turn back inside to the width of the jeatting required, which is equal to the width of the seam of the facing after being pressed open. Before basting down the top facing inside, turn back the two "lips" at each end of the pocket and tack securely down on the inside so as to make a clean termination to the jeattings on the pocket opening. Baste down the top facing from one end of the pocket opening to the other, making sure that the width of the jeatting is equal all the way along on the outside. Do not baste past the ends of the opening as the pocket must be sewn close to these points. At the bottom edge of the pocket opening, press open the seam of the facing to the coat and then pull the facing and pocket through to the inside of the coat. Fold the facing and pocket back until the outside jeatting is the same in width as the top jeatting, and then baste along the facing to keep it securely in position, taking care not to tack past the ends of the pocket opening. After the top and bottom facings are basted down, the pocket opening on the outside should be completely filled by the jeatting edges, and the width of the jeattings should be equal to the width of the seams taken out when the facings are sewn to the coat.
Fig. 286
After basting down the bottom facing, the next operation is to machine-tack the facing through from the outside. This is done by machining exactly in the seam line of the jeatting so as to hide the machine stitching, from one end of the pocket opening to the other as indicated by the machine-stitching marks in Fig. 286 (a). The pocket should be trimmed to the correct length to
within inch of the bottom edge line, and then the pocket can be finished. The backing facing and pocket section are then basted down to cover the top and bottom facings as shown in Fig. 286 (b), and the pocket length trimmed to agree with the length of the under-pocket section. To complete the inside work on the jeatted pocket, rip out the tacking threads which hold the two corner "lips" in position, and then machine all round the pocket from one side of the facings to the other, catching in the corner "lips." Stitch as close as possible to the end of the pocket mouth and trim all surplus pocketing away after machining.
Fig. 287.
Before the pocket can be machine-tacked across the top jeatting to hold the back and front facings together, it is necessary to have the canvas tacked in the forepart so that the machine-tack has a "stay." To tack in the canvas, lay the canvas flat on the board, then place the forepart over the canvas and work back from the front edge to the sideseam. Baste down from the shoulder at the front neck point to the first button position, following the crease line of the lapels, and then continue tacking the outside to the canvas from this point to the bottom edge and across the bottom to the side of the canvas, making sure that the canvas is not short in length from the shoulder seam to the bottom edge. After this operation, baste down the shoulder dart to the waist, following the shape of the forepart by basting over the hand or a shaped board, and then continue from the seam of the canvas at the waist down to the bottom edge to meet the tacking thread from the fronts. Complete the tacking of the canvas by basting from the waist seam to the front of the armhole and round the scye to the shoulder seam as in Fig. 287. When the canvas has been inserted, turn the forepart over to the right side and then machine-tack the top facing of the pocket down on the canvas and to a linen stay from the back end of the pocket opening to the sideseam as indicated in Fig. 287 by the stitching marks. The stitching should be done very carefully between the jeatting and the forepart in the jeatting seam to be hidden from view.
At each end of the pocket opening, make a "V" tack by invisible stitching to appear as shown in Fig. 287. The inside top and backing facings may be "serged" together after being trimmed down as much as possible for thinness.
Fig. 288
Fig. 288 illustrates how the jeatted pocket appears when finished, with narrow jeattings and "V" tacks at each end of the opening. To make a smart finish to the pocket and also one which women invariably prefer, place a "sprat's head" at each corner of the pocket opening. Full directions on how to make this decorative stitching will be found in Chapter XXI. Fig. 288 also indicates the line of the breast dart from the hip point diagonally to the bust prominence, which gives extra length at the sideseam in the waist to enable the garment to follow round the natural curves of the figure without distortion or fullness at the wrong places. The other side of the coat has a jeatted pocket inserted in the same manner.
Welt Pockets
After the bottom pockets have been inserted, we turn our attention to the top breast pocket. This is invariably placed on the left side of the garment for women's as for gentlemen's garments and made about 3 to 4 inches in length. This pocket is simply for show purposes so that it need not be too extreme in length or width of the welt. The top breast pocket is inserted before the canvas has been tacked into the fronts, so that we must retrace our steps for this purpose. The first operation is the machining out of the shoulder dart. Indicated in Fig. 289 (a), we have the inside of the left forepart with the welt pocket marked and the shoulder dart cut through down the front and tack-marked at the back. Fold the shoulder over as indicated by Fig. 289 (b), place the front seam of the shoulder dart to the tack marks, and then machine down the shoulder dart from the shoulder seam to taper away gradually on the breast.
Carefully press open the shoulder dart, then turn the forepart over to the outside and mark the pocket to the required length and position, as in Fig. 290 (a). For a welt pocket it is necessary to cut a welt and a backing facing for the inside to prevent the pocketing showing. Each of these facings should be cut on the right side of the material to match the coat and at the correct slanting angle. Fig. 290 (b) illustrates the welt. This is cut to the length of the pocket opening plus about inch to inch at each end for making purposes, and about 1 inch wider than the required welt width. The backing facing is cut in the same manner as the welt part and to the same width and length. Fig. 290 (d) shows the pocket front which sews to the welt. As shown on the draft, the wrong side of the material is illustrated to allow the right side of the material to be inside the pocket in wear. Cut the pocket to the width of the welt and about 5 inches in length. The back of the pocket is cut about 1 inch shorter as shown by the dash lines in Fig. 290 (d), with the right side of the material to the right side of the front part.
Inserting the Welt Pocket

Commence by sewing the backing facing to the pocket back as illustrated by Fig. 290 (e) with the right side of the facing to the right side of the pocketing, making sure that when the facing is pressed back the sides of the facing and pocket are a continuous run. Press the facing and pocketing seam downwards, and then edge-stitch the two sections through as indicated in Fig. 290 (f). The right side of the welt is then sewn to the right side of the pocketing as illustrated by Fig. 290 (g), so that when the welt is in position on the coat and the top edge turns back with the pocketing, the pocket will be in alignment vertically with the welt. Machine-stitch across the edge of the two sections, then press the seams downwards over the pocket, and edge-stitch through the welt and pocketing as indicated in Fig. 290 (h). A 1-inch strip of linen should be tacked across the pocket mouth under the fronts from the scye for a pocket stay, and then we can proceed with the next step in the insertion of the welt pocket.
Fig. 291
Fig. 291 (a) illustrates the next process in the making. The backing facing is tacked to the line of the welt as indicated, with the right side of the pocketing and facing to the right side of the material, about inch being allowed at each end of the pocket opening. The right side of the welt and front pocketing is then tacked against the line of the pocket as indicated with the wrong side of the welt, etc., uppermost. Mark the pocket ends clearly with chalk and then baste a thin strip of linen across the welt to the width of the welt required when finished. Machine through welt and facing to each end of the pocket opening as shown by the stitch marks, then cut through the pocket line to within inch of each end, and "V" notch the forepart and the backing facing to the stitching lines as indicated. Do not "V" notch the welt as this makes it difficult for turning in the ends and tacking. When this has been completed, turn to the inside of the forepart, press open the backing facing and forepart seam, and pull the pocket through from the outside to the inside of the fronts. This is illustrated by Fig. 291 (b).
Fig. 292
The welt should then be marked to the width required as in Fig. 292 (a) and the seam of the welt and fronts pressed open to allow for the welt to be turned back and upwards on the fronts. When the welt has been turned back, fold in the width line and then pull the pocket through from the outside to the inside. It will be found necessary to trim the width of the pocketing to pass the width of the opening in a "V" wedge as illustrated by Fig. 292 (b), which shows the front part of the pocket underneath the backing section. Carefully tack the front and back of the pocket together, making sure that there are no drags from any point, then machine round the pocket from the side of the opening round the bottom edge to the other side, and trim away any surplus pocketing. This completes the work on the inside of the forepart, and the canvas should be tacked to the fronts. In practice, all the
inside work on the pockets is completed before the canvases are tacked in, and then the outside work of tacking the pockets is completed. In dealing with pockets, each must be described in detail, and it is necessary to give a complete description of one kind of pocket before proceeding with another type.
Fig. 293
To continue with the description of the welt pocket, trim the length at each end of the pocket opening to within inch of the end, and then carefully cut away at the inside of the welt any superfluous material in the shape of linen or pocketing so as to make a thin welt finish as in Fig. 293 (a). Mark the exact length of the welt, and then turn in each end and inside tack to the fronts by hand or by machine. This is done by back-stitching or machine-stitching the turned-in end of the welt from the inside of the pocket opening through the fronts and canvas as near to the end of the welt as possible. Cut away the surplus length of the welt after tacking each end, and then baste down the welt and hand-tack outside at each end as illustrated by Fig. 293 (b). Welts are perhaps the most difficult of all pockets to make, as a lot of care must be taken in accurately marking in the width, turning in each end and tacking inside. All surplus material inside the end of the welt should be cut away before the turning-in, and it is advisable to back-stitch the ends of the welt neatly for firmness and ease in making.
Making the Back Part and Sewing the Panel Seams (Fig. 294)
After making the pockets and tacking the canvases to the fronts, the next operation is making the back part. The inlay on the side back panel should be marked up. The right side of the centre back panel is laid against the right side of the material of the side panel with the seam edge of the back panel against the inlay tacking threads of the side panel. It is then basted down from the shoulder seam to the bottom edge, care being taken to keep the waist and hip balance notches level and in alignment. The draft shows only one half of the back panel; the other side
is treated in the same manner. Machine down the panel seam as indicated, and then either press open the seam as for a plain seam or press the two seams, inlay seam and single seam, towards the centre back to enable the outside stitching to lap the back over the side panel. For tailored costume jackets, the usual procedure is to edge-stitch the seams if they are not to be made plain; usually, only for sportswear jackets are the seams stitched wider than on the edge. The shape of the back part after the panel seam has been pressed open illustrates the increased length created at the sideseam by the suppression at the side back waist. The back and fronts are now ready for the linings, and the making of these is the next operation in the procedure.
Making the Linings for Back and Foreparts (Fig. 295)

All inlays on the linings should either be marked up with basting threads or traced through with a tracing wheel before machining is commenced. The waist dart or any darts are first sewn out in the marks and not cut through as in the coat, and then the right side of the facing is tacked to the right side of the lining and machined down from the shoulder to the bottom edge and vice versa for the left facing. The lining should always be underneath during machining to prevent the facing from creeping up under the machine and causing a tight lining when finished. Unless the machinist is very experienced, it is advisable always to pin or tack linings, for the sheen on the face of the linings always tends to slip on the smooth surface of cloth. While on the subject of tacking, it is difficult to understand why tailors do not take a leaf out of dressmakers' books and use more pins in their work. It indicates a stubborn attitude to look upon pins as suitable only for the dressmaker's use. It is a frequent occurrence to see a young worker, who has been taught by strict tailoring methods, try to insert a sleeve into a coat with correct balance and distribution of fullness round the scye. Very often the sleeve has to come out one or two times as perhaps the fullness may be too high, at other times too low; more often than not, one sleeve is pitched from inch to inch more or less than the other, and neither is correct. Too well have we heard the instructions to " ease the fullness gradually into
the scye over the shoulder bone," and our shoulder bones are anywhere from down at the bottom of the armhole to round opposite the blades, judging from where the fullness is basted! A few pins materially assist the putting in of a sleeve as all good dressmakers know. If we watch a dressmaker put a sleeve into a dress or coat we see that the sleeve is pinned into the correct hang and balance while the coat is on the stand before it is tacked in finally, the possibility of a badly balanced sleeve with misplaced sleeve head fullness thus being avoided. Contrast the usual method of the tailor-taught worker. He or she marks the front pitch if it has not already been marked by the cutter, tacks the front seam of the sleeve to the front pitch and the back seam of the sleeve to the back pitch, and then works round the sleeve from the front seam round the front of the scye to the back pitch, easing in the fullness of the sleeve by judgment. If there is too much fullness when the proximity of the back pitch is reached, the sleeve is taken out and the operation started again, and maybe the back pitch is lowered to allow for more top-scye circumference. Finally the sleeve is basted in, and then, and not before, does the worker inspect the hang of the sleeve. It may be correct or it may not, but the point is that the balance of a sleeve should not be found by trial and error methods, but should be determined before the tacking stage. This brings us back to the reason for this digression, the use of pins as an aid to good work, a point which cannot be overstressed. Tacking threads are very well in their way, but pins can simplify the work of basting seams, for all materials work up over the ringers when they are being tacked if care is not exercised, and a few pins down a seam before the tacking is commenced prevent this danger. The back linings are machined up with the edge of the back panel lining against the traced inlay mark of the side panel section and then pressed open. When machining see that the two linings are tacked together perfectly flat to prevent any distortion of the seams when the linings are in the coat.
The Back and Foreparts Ready for Joining Together (Fig. 296)
Fig. 296 illustrates a view of the back and foreparts from the inside after the canvas has been inserted and the pockets tacked down. The back part
shows the panel seam pressed open and the creation of side-seam length by back waist suppression. Before the back is joined to the foreparts, the latter may be lined and also the back linings tacked in. For a coat of this type of making, the sideseam and shoulder seams of the lining are usually felled instead of machined, to ensure a good-fitting lining and to allow for the front facing to be caught down to the canvas in order to prevent any rolling back of the edges, a fault common to tailored coats with sewn-on facings. The next operation is the padding of the lapels and the sewing of a linen stay-tape down the crease line of the lapels and down the front edge to give it a thin finish.
Padding the Lapels, etc. (Fig. 297)

The linen bridle down the crease line of the lapels is the first thing to tackle. Mark the crease line of the lapel on the canvas, and then cut a strip of linen about 1 inches in width and approximately 2 inches longer than the crease line so that it can be carried up on to the collar. Commence to tack the linen down the crease line of the lapel from the gorge to the fronts, and slightly draw in the fronts under the linen from the gorge to about half-way down the crease line, as in Fig. 297 (a). Do not draw in more than about 3/8 inch in all, as the neck point is sufficiently straight and enough contour shape is infused into the garment over the breast without unnecessary manipulation. The front edge linen is shown in Fig. 297 (b) before the stay down the crease line. In practice the lapels are pad-stitched to obtain the desired quantity of fullness in the canvas, and then the edge of the canvas is pared back about inch and the linen added to the edge for thinness. To continue, cut away about inch from the canvas at the edge of the lapels and about inch down the fronts below the termination of the lapels, and then commence to pad-stitch the lapels. Commencing about inch below the gorge run, insert the needle, just catch up the material and canvas, and make a series of such stitches down the linen stay, each stitch being about inch to 1 inch apart, and not on any account being taken untidily through the cloth to show on the outside. Do not pad-stitch to the end of the crease-line linen stay until the edge stay is in position. When the finish of the crease-line stay in a downward direction is reached, work back up the stay to the gorge, taking the stitches closely to
the first row. Continue pad-stitching up and down the lapel until the whole lapel is covered, and then tack the edge stay in position as indicated in Fig. 297 (c) and (d) showing the lapel edge stay continued down the front edge. Above the top button position, pad-stitch the linen stay to the lapel and, from the button position downwards to the bottom edge, serge the linen to the canvas without taking the stitches through the material, and also catch the edge of the linen to the material at the extreme front edge. Continue the front edge stay linen across the bottom edge from the fronts for a distance of about 4 inches, the canvas having been first cut away underneath. When pad-stitching the lapels, hold the coat with the hand curling the lapels back so that some length of canvas is worked in with the pad-stitching to retain the "curl" of the lapels in wear.
Putting on the Facing (Fig. 298)

After the lapels have been pad-stitched, the facing may be basted to the fronts and stitched round. As the methods of making described for this coat are based upon the "open coat" principle, that is, with the sideseams and the shoulders of the linings felled and not machined together, the fronts and back can be lined independently of each other and finally joined together afterwards. The coat facing has been cut with a suitable quantity of extra width for working on the lapels, so that it will not be necessary to estimate the required quantity of width for manipulation. It is always advisable to cut the facing as accurately as possible so that exactitude in working can be guaranteed. To tack the facing to the fronts, commence to baste round the gorge from the shoulder with the gorge seam of the lining in an exact position with the gorge run of the fronts. Then smooth the facing over the fronts, with the right side of the facing to the right side of the fronts, until the front edge of the lining is level with the front edge of the coat. When this is correctly placed, baste down the crease line of the lapels, leaving the excess width of the facing in front of the lapel edge. The most careful basting is needed round the lapel points where length of the facing must be worked on to the lapel and also extra width. Baste up from the break of the gorge run, easing in facing length with the basting, and then baste down the edge of the lapel with a similar quantity of facing length infused. The edge of the facing should now be tacked level with the edge of the fronts, which will give a quantity of
extra facing width between the creased-line tacking thread and the edge of the lapels, this extra width being worked over the lapels in the outside basting. Roughly baste down the front panel seam and down the side-seams from the armhole to keep the lining in position, then stitch round the facing and fronts from the point of the lapel to the bottom edge as marked, commencing the stitching directly below the gorge break as indicated by the "V" notch, and at the bottom edge below the inlay taper back the stitching diagonally from this point to the edge.
Turning Out the Foreparts (Fig. 299)

After machining round the edge of the coat, carefully pare away the edge until the seam is about inch wide, and then rip out all the old tacking stitches. Turn the coat inside out, carefully turn out the lapel point by means of a stiletto or thin-edged shears, and then baste all round the edge of the coat, lapping the facing over the lapel to cover the seam. Below the break, baste the facing about 1/8 inch back inside the coat fronts. After the edge-basting, tack over the lapels from the edge to the crease line and work on a sufficient amount of width to give a "curl" to the lapel. Also make sure that the point of the lapel has sufficient material worked over so that the seams at each side are covered.
Inside Basting of the Foreparts (Fig. 300)

Fig. 300 illustrates the inside basting out of the coat fronts. Baste down the facing seam of the fronts as indicated, and then catch the facing down inside the coat to the canvas. Baste round the scye and the shoulders and down the sideseam to the bottom edge as indicated, about 1 inches inside the inlay mark, easing in about inch to inch of lining length from the scye to the bottom edge.
Fig. 301
Fig. 301 shows the back part with the lining basted in. Ease about inch to inch of lining length when basting down the seams.
Joining the Back to the Foreparts
To join the back to the fronts, place the edge of the back sideseam against the inlay mark down the front sideseam, baste down from the scye to the bottom edge level, and machine a inch seam inside the edge of the back. Press open the sideseams and then tack the forepart lining down to each seam so that it lies flat towards the back. Turn in the back lining at the sideseams over the forepart lining and baste down for felling. At the bottom edge, baste up the inlay to the marks and secure to the coat by catch-stitches, making sure that these are not taken through to the outside. Baste the lining through to the outside about 2 inches above the bottom edge, then pare away all surplus length, and turn up and tack down for felling. Join the back and foreparts at the shoulders by basting the edge of the back shoulder seams to the inlay marks on the front shoulders, and machine across, making sure to commence the machining at the gorge inlay mark and not right through the shoulders to the end of the inlay. Press open the shoulder seam at each shoulder.
Collar Cutting and Making

The collar is made up separately before being sewn to the coat instead of the usual method of sewing the under-collar to the neck and then covering with the topcollar. The modern method is to cut the under-collar exactly to the right length and shape as required. The top-collar is sewn to the under-collar and basted out before the collar sees the actual coat neck. Very accurate cutting is necessary for this method, but in practice the benefit is great and results in a much cleaner finish to the collar and lapels. Fig. 302 (a) shows the neck curve of the gorge after the shoulder seams have been sewn together. Check up the length of the collar by measuring round the neck curve a -inch seam inside the inlay mark, and add inch to this measurement when measuring round the sewing edge of the collar as indicated in Fig. 302 (b). The top-collar is cut by the use of the under-collar outline, has inch added round the fall edge to the collar end, and is tapered back to inch at the front sewing edge. This is illustrated by Fig. 302 (c).
The canvas interlining is cut on the bias as shown by Fig. 302 (d), with a seam down the centre back, and is laid so that the bias of the canvas runs the same way on both sides. Cut the canvas slightly larger than the undercollar to allow for working-up. The crease line of the collar should be outlined with marking threads, and then the centre seams of the under-collar and canvas are sewn together and the canvas tacked to the under-collar. The stand of the collar is machine-stitched to about inch from the sewing edge of the under-collar, and about four lines of stitching are indicated. The canvas is then cut back about inch from the edge of the under-collar. Pad-stitch the fall of the under-collar from the crease line to within inch of the fall edge, as indicated by Fig. 302 (e), and, when this is done, cut the canvas back about inch from the fall edge so that it is not caught in with the collar seaming round the edge. In pad-stitching the under-collar, work the canvas over the collar to obtain a "curl" to the fall, and well pad the ends of the fall especially. When the collar has been padded all over, fold at the crease line and slightly shrink into a hollow shape as illustrated by Fig. 302 (f). Do not stretch the fall or stand edges intentionally, for it is more necessary to shrink the crease of the collar close to the neck than to stretch the fall edge to lie flat over the shoulders. One operation performs the other, but the correct method is to cut the collar to the correct length and then shrink in the crease. Similarly, fold the top-collar in half as with the under-collar, and shrink by an amount equal to that by which the under-collar is shrunk. With the top-collar, it is advisable to stretch the fall edges slightly over the shoulder seam positions, as it is cut on the straight of the material and has not the "give" of the under-collar (see Fig. 302 (g)). Baste the top-collar to the under-collar as illustrated by Fig. 302 (h), and ease in a slight amount of length at the collar end and round the fall edge as indicated. When the collars are basted together, machine round the fall edge from about inch up from the sewing edge of the collar end at each side. Pull out all the tacking threads and baste out the collar. Baste
round the edge, rolling the edge between the fingers for thinness, and then baste over the collar to the crease edge, making sure to work in plenty of extra material at the collar ends. The collar is now ready for sewing to the coat neck. Commence by basting the centre back seam of the collar to the centre back seam of the coat. Baste the stand of the collar a seam inside or below the inlay marking threads round the back neck, and then pin the collar end to the end of the gorge at the peak of the lapel, with the stand overlapping the notched seam left round the gorge about inch to 3/8 inch. Baste the stand to the gorge inch below the inlay mark from the centre back to the collar after the length has been verified by tacking the two collar ends in position. A slight amount of ease in the collar is allowed over the shoulder seam point; otherwise, the shoulders may crease owing to the collar dragging the gorge back from the front as the fall edge requires length to cover the shoulder. After basting round the collar stand it is then advisable to fell round the stand edge before continuing with the top-collar, hand drawing so that a firm foundation is made for this operation. Fell the stand edge with neat stitches and, when this is completed, turn to the top-collar and pad-stitch the creaseline linen stay to the under-collar canvas in a continuation of the crease line. Then turn the gorge edge back on the facing to the required amount and serge down on to the shoulder canvas from the point of the lapel to the shoulder seam. This must be done very carefully so as to obtain a straight seam to the collar when finished. Perform this operation on both sides of the gorge, and make sure to catch-stitch the canvas round the seam of the gorge at each side and also across the shoulders to the seams of the back and foreparts. The sewing edge of the top-collar is now basted down against the gorge edge of the shoulder and lapel, and turned in by the correct amount to allow for a slight shortness between the collar seam and the gorge seam for the drawing operation. With invisible stitches carefully draw the two edges of the collar and gorge seam together from the peak of the lapel to the shoulder seam at each side. Across the back neck from shoulder seam to shoulder seam, fell the top-collar stand neatly down over the back neck inlay. The back lining may now be turned in and felled across the back neck above the collar stand, and, across the shoulders to the shoulder ends, the
back lining is overlapped over the forepart linings and felled down. If shoulder pads are inserted on the shoulders, the lining must be adjusted and felled down after these have been inserted. After drawing the edges of the collar and gorge seams together, side-stitch invisibly across the stand of the top-collar to the under-collar and canvas to prevent the crease edge of the collar from shifting, and this completes the making and putting on of the collar. The secret of this collar is accurate measurement of the coat gorge before cutting the collar to length; otherwise the whole of the collar making is much simpler and more accurate than the usual method of felling the under-collar to the coat first and then basting and turning out the top-collar. Now the collar is completed, the sleeves are the remaining job before the coat is ready for felling out and buttonholing.
Making the Sleeves (Fig. 303)

The sleeves are to have an opening at the hindarm and they are cut with an extension on the bottom inlay as illustrated in Fig. 303 (a) and (b). To make the sleeves, first mark up all the inlays and then trace through the lining inlay at the under-sleeve hindarm seam from the outside. Sew the forearm seam of the sleeve together first and then press open as in Fig. 303 (c). With a three-quarter sleeve the forearm seam should be well stretched in the hollow at the elbow before it is sewn to the undersleeve; otherwise the under-sleeve seam will be longer than the forearm seam, and the sleeve will not lie flat when creased to the original forearm line, which is the natural creasing line of the sleeve. Baste the cuff turn-up to the required sleeve length with the right side of the cuff inlay to the right side of the sleeve. Mark the length of the hindarm opening up from the cuff end at each hindarm seam, notch in inch or one seam width, and then machine down each seam as illustrated by Fig. 303 (d). Remove the tacking threads, turn out the cuff, baste up as in Fig. 303 (e), and lightly catch-stitch the edge of the turn-up to the sleeve and at the seams.
Fold the sleeve over with the right sides of the material together (see Fig. 303 (f)), baste the forearm seam to the inlay mark on the hindarm seam, and then machine down the seam from the top of the sleeve to the hindarm opening notch. Cut across the hindarm seam inlay at a point approximately inch above the opening and then press open the hindarm seam as in Fig. 303 (g). Baste the hindarm opening and then turn the sleeve inside-out and make a hand tack to hold the opening in position. The tack may be made by invisible stitching or in the form of a button-hole stitch. Machine up the linings in the usual manner and then, to line the sleeves, turn these inside out and baste the hindarm seam of the lining to the hindarm seam of the sleeve, allowing a little ease in the length and with the lining inch to 1 inch longer than the sleeve at the top. Turn out the sleeve and lining so that the lining is uppermost, and then trim the lining level with the cuff. For a sleeve with an opened cuff, turn the lining up and tack round over the sleeve inlay to show about 1 inch of cloth and, at the opening, taper the lining back to the opening commencement as indicatedby Fig. 303 (h). Fell round the cuff linings and turn out the sleeves after basting the linings round the sleeve head at about 3 inches down from the sleeve crown to hold them while the sleeves are sewn to the armhole.
Inserting the Sleeve into the Scye (Fig. 304)

Basting and sewing the sleeves into the armholes are perhaps the most difficult operations for inexperienced workers to perform satisfactorily, and even experienced workers are sometimes at fault. The trouble lies in the hang of the sleeve in the scye and the distribution of sleeve-head fullness. These fundamentally important operations are subject to the personal feeling of the worker more than any other section of the making, and it is practically impossible for any worker to baste two sleeves into a garment and be sure that they are exact as regards hang and distribution of sleeve-head fullness. With fullness distribution governed by trial by error methods, it is not to be wondered that putting the sleeves into a garment is disliked by the majority of dressmakers and tailoresses. The remedy lies in a systematic distribution of the sleeve-head fullness by a system of balance
notches on the sleeve to agree with identical points on the scye, so as to control the fullness in its correct proportion and position in the scye, and with assistance from pinning to ensure that both sleeves are of identical balance before they are finally basted and machined. On the sleeve, after it has been lined, measure round the sleeve head from the hindarm seam to the crown the distance from the normal back pitch to the shoulder seam plus inch for fullness, and make a balance notch on the crown as in Fig. 304 (a). Then measure from the front pitch on the scye to the underarm seam and apply this quantity from the front pitch notch of the sleeve round the under-sleeve plus inch as illustrated by Fig. 304 (b). To baste the sleeve into the scye, first baste the forearm seam notch to the front scye pitch. This should be done on the outside of the coat and with the seam of the sleeve hanging in the natural downward balance and not square out from the front scye pitch, otherwise the sleeve hang will not be satisfactory. The forearm sleeve notch should be placed about inch above the scye pitch so that, when the sleeve is sewn in, the reduction of a seam from the sleeve and the scye will bring the two pitches in alignment. When this operation has been effected, turn to the inside of the garment and secure the hindarm sleeve seam to the scye notch, basting with the sleeve seam running downwards in the natural balance. Similarly with the front sleeve seam, the seam of the sleeve at the hindarm should be tacked just above the back-scye pitch so that, when the seam is taken off, both pitches will be above each other. Pin the sleeve-head balance notch to the shoulder seam of the garment and the under-sleeve balance notch to the underseam. At the hindarm between the hindarm sleeve seam at the shoulder seam, pin the sleeve fullness into position with more fullness towards the shoulder than towards the hindarm point. Round the front-scye from the shoulder seam to the front sleeve pitch, distribute the sleeve fullness with three pins into three parts as illustrated by Fig. 304 (c). For a distance of 1 inches from the front sleeve pitch position do not ease any fullness into the scye, but just baste in easily, and not tightly.
After the sleeves have been pinned and the balance of each checked up and found correct, baste round the sleeves in each scye and remove the pins. The right sleeve is basted from the front sleeve pitch round the underscye to the shoulder seam and thence down the front of the scye, while the left sleeve is basted from the front pitch up the front of the scye to the shoulder and then down the back-scye and round the under-scye. The difference in the direction of the basting of the two sleeves is the primary cause of unequally balanced sleeves when basting in without distributing the fullness accurately with pins; for usually, when basting the left sleeve from the front sleeve pitch to the shoulder, there is a tendency to work the sleeve fullness too high in the scye and, conversely, when basting from the shoulder down to the front pitch, the sleeve fullness gets distributed too low in the scye. So it is always advisable to pin the fullness first and check each sleeve for balance before machining. Carefully press away the sleeve fullness down over the crown of the sleeve, using a little water if the material is of an unyielding texture. Another aid to shrinking away the fullness is the use of a little soap on the seam. Always shrink the fullness before machining; otherwise the foot of the machine has a tendency to push the fullness out of place. In machining the sleeve into the scye, first carefully make sure that the linings and canvas are clear from the machine, and then machine the right sleeve in the reverse direction to the way it was tacked, that is, round the front of the scye to the shoulder and thence to the under-scye and the front pitch. The left sleeve is sewn from the front of the scye round the under-scye to the shoulder and down the front of the scye in the reverse direction to that for basting. After machining the sleeves into the scye, take out all the basting tacks and carefully pare away all surplus material, leaving the sleeve and scye seams about 3/8 inch in width. Most women's coats are improved by the addition of a small pad on the top of the shoulder point. The pad need not be very long or thick, but it certainly gives a well-fitting shoulder in comparison with the usual overhanging shoulders on women's coats. Make the pad of double-ply wadding and shape as illustrated by Fig. 304 (d) to about 5 inches by 3 inches at the widest part. Tack together with silk, or baste and pare away the edges for thinness. The pad should be shaped in a curve to match the shape of the shoulder in the tacking together of the two layers of wadding.
A narrow strip of wadding is placed in the sleeve head between the seam of the scye downwards inside the sleeve to fill out the sleeve-head fullness. This strip of wadding should extend from about 1 inches from the front sleeve pitch to the hindarm pitch, and is basted on the inside of the scye and sleeve seams to extend down the sleeve. The shoulder pad is then tacked to the seam of the scye and sleeve in the following position: one-third of the length forward from the shoulder seam and two-thirds of the pad back from the seam down the back-scye. Tack the pad firmly in position with silk, and it may be caught down to the shoulder canvas on the front shoulder. The pad, incidentally, is placed between the canvas and the lining. With the pads in position, the lining at the shoulders can be adjusted to cover the pads and then tacked over and felled. The lining is then tacked round the scye seams and any surplus width trimmed away, The cause of many tight armholes is due to the linings and canvas not being trimmed cleanly away from the scye seams. Make sure that the lining is not pulled out of position or tight in any place. Many tailors make a split in the lining over the shoulder point and cover it with a V-shaped piece of lining to allow the shoulder lining to open out over the prominent shoulder point. The sleeve lining is then tacked round the scye to cover the tack stitches holding the linings and pads in position and felled down. Distribute the sleeve-head lining fullness to agree with the sleeve fullness to prevent tightness across the sleeve linings over the crown. It is a fault with sleeve linings that they invariably come undone round the under-scye in wear, and a good plan is to back-stitch round the undersleeve lining at about 1/8 inch in from the felling stitches. The button-holes are the remaining item of the programme, and these should be made as described in Chapter XXI.
Making a Machine or Bagged Coat

With trade competition as it is to-day, the small tailor cannot always afford to make a garment with the same quality of workmanship as the better-class type when the price realized is not great. The wholesale houses cut down the cost of production in the making by the use of special machinery and the elimination of hand work, and the small tailor can benefit
by a similar thorough examination of his work to find out where time is spent which can be saved by machine work without detriment to the finish of the garment. Of course, the first essential to the reduction of hand workmanship is accurate cutting to eliminate manipulation as much as possible. In the old days, the tailor had to work the garment up because the cutter could not visualize a garment cut to fit without all this stretching and drawing in, but the wholesale tailors have shown that it is possible to cut a garment to fit without the extreme manipulation tailors formerly infused into it. To a certain extent, the old-time cutter was in the hands of his workman, depending on him for assistance in making the garment fit, but these days the cutter endeavours to cut his job to fit without the worker's assistance; in other words, to eliminate the possibility of indifferent workmanship reacting on the garment. Also, it is not possible to obtain workers who understand manipulation these days, and, in any case, the prices for which garments must be produced do not permit a lot of time spent on unnecessary hand work. To adhere to hand workmanship as an example of keeping up the standard of tailoring is a fool's game if the only reward is loss of custom and meagre profits. In a high-class trade good workmanship is essential, but as the vast majority of ladies' tailors and dressmakers cannot command the prices paid at that end of the trade for costumes, coats or dresses, it is imperative that they possess the ability to make garments with a clean finish with the least expenditure of time on hand sewing. The first essential towards the production of a machine-made garment is very accurate cutting and trimming; without this accuracy success cannot be guaranteed and the garment will look like an inferior machine production. Inlays may be left as usual on both the lining and the outside, as these have no effect on the actual making, except that they are nipped to prevent tying of the seams. For the machine-made example, a lounge style with a centre back seam and a gorge dart is chosen. The lapels are single-breasted and the fronts linked. Pockets are jeatted so that the same instructions as given in the previous tailoring example will apply. A sleeve with a dummy opened cuff is included for a variation from the plain opened style.
The Cut-out Garment (Fig. 305)
Fig. 305 illustrates the cut-out garment ready for tack marking. No inlays are left round the back neck curve, shoulder seam and scye, and there are only a sideseam inlay and a bottom edge turn-up. Fig. 305 (a) shows the back with a centre seam added, while Fig. 305 (b) indicates the foreparts with an underarm dart and a waist dart at the front. Figs. 305 (c) and (d) show the top and under-sleeves with a bottom edge turn-up only. Mark up all the inlays and the front waist dart by tacking stitches, and then proceed to cut the linings and facing as follows. Firstly, mark back from the edge of the lapel the desired length of the step opening, about 1 to 1 inches plus inch, and then make a notch at this point to indicate where the collar end should terminate. Before the linings are cut, the gorge dart should be sewn out to obtain the actual size of the lapels for the facing shape. At the bottom edge, make a chalk mark on the garment to where the bottom turn-up will turn back when finished. Mark this line of the back and foreparts, and then cut the back lining out as indicated by Fig. 306.
Cutting Out the Linings (Fig. 306)

For a distance of about 2 inches from the back neck curve cut the lining to the shape of the centre back-seam, and then add about inch out to allow for a lining pleat from this point to the waist level. From the waist level to the bottom edge cut the lining as the centre back seam. From the back neck curve add inch on the length upwards, and spring out to inch on the shoulder end and round the back-scye to cover the shoulder-pad thickness. From the top of the sideseam to the waist level taper the extra quantity from inch to nothing at the waist, and continue down to the bottom edge as the side-seam shape. The length of the lining is cut 1 inch longer than the chalk mark to which the bottom edge inlay turns back; inch is allowed for two seams and about inch for ease in the length. On the forepart, cut the facing to the shape of the gorge run from the neck point to the end of the lapel, and add about inch on the length of the facing above the end of the lapel and inch on the width down the lapel to
taper away at the break of the crease line in the waist. Measure back from the end of the facing and make a balance notch for the collar equal to the length of the step plus inch. On the shoulders, cut the facing about 2 inches in width and shape down the front to about 4 inches in width at the bottom edge. The length of the facing should be inch longer than the chalk mark to which the bottom edge inlay turns back; inch is for seams and inch for ease. Cut the forepart lining to lap inch over the facing down the fronts, and from inch at the facing and 1 inch at the sideseam longer than the inlay chalk mark, to agree with the length of the back lining. At the shoulder, add inch to the lining on the shoulder end and round the scye to the sideseam, and spring out the sideseam lining at the breast line about inch to taper back to nothing at the waist line. The underarm dart should be cut out of the lining to agree with the outside, and the waist dart sewn out without cutting.
Cutting the Canvas

The canvas should be cut before the gorge dart is sewn out as the latter must be taken from, the canvas to give the same foundation shape as the outside. Cut the canvas about inch wider down the lapels to the break and thence as the shape of the front edge of the garment to the bottom edge inlay. Cut wide enough to cover the pocket opening and to take the tack, and mark out a inch waist dart in the position indicated. Another method of cutting the canvas in order to obtain more breast shape and spring over the shoulder prominence is illustrated in Fig. 306. A seam is run from the shoulder seam to the waist line and inch reduced upwards from the waist and then on the shoulder, the scye section of the canvas being overlapped inch to inch as shown by the draft. When the seams are sewn together, the scye edge of the canvas will have a certain amount of "spring" to allow for the prominence of the shoulder point. Allow a seam on each section when cutting this canvas.
Cutting the Top and Under-collars (Fig. 307)

The under-collar should be cut as described in the chapter on Collar Cutting with the following attention to detail as shown
in Fig. 307 (a). Make sure that the length is a seam past the step balance notch. The width of the fall edge at the centre back seam should be 1 inches for a 1-inch fall depth and the stand 1 inches for a finished depth of 1 inch. At the step end, make the width of the collar step equal to the required width plus two seams, 2 inches in all for a 1-inch step. The top-collar is cut inch longer than the under-collar and inch wider round the fall edge as illustrated by the dash lines in Fig. 307 (b). Every section of the garment must be cut to fit for perfection and ease of making, and this principle applies more to the collar and facing cutting than that of any other part of the garment. With every part accurately cut and fitted, the facing can be machined round without basting, though it is always advisable to spend the little extra time in tacking. The author has made coats and machined the facing on without basting, but it is not to be recommended.
Making the Pockets and Foreparts (Fig. 308)

Firstly, seam the centre seam of the back as illustrated by Fig. 308 (a), press open the seam, and then insert the pockets into the foreparts as described in the previous tailoring example. Briefly described, the first operation is to baste linen across the pocket opening on the inside of the garment from the fronts to the sideseam, and then sew the bottom pocket to the bottom facing and tack the bottom and top pocket facings to the pocket opening on the outside of the garment. Machine across the facings to the length of opening required, then cut through the opening to within inch of each end, and slash diagonally to each corner where the machine stitching finishes. Pull the top and bottom facings through the opening from the outside and press open the seams of the jeattings and the coat. Baste the jeattings to the correct width, tack the pocket backing section to the pocket opening, and stitch round after having first machine-tacked through the bottom jeatting to hold it in place. Turn to the outside of the garment and press the pocket into shape before tacking the top facing and backing to the canvas and sideseam stay. A jeatted pocket should not take longer than ten minutes at the outside for an experienced worker to insert. The author once put in two side jeatted pockets in a shade over fourteen minutes when he was in a hurry, but this cannot be taken as a general rule.
Fig. 308 (b) illustrates the foreparts with pockets in and darts seamed and pressed, and now the canvas can be made and tacked to the fronts. To eliminate a part of the hand work, the author always machines the linen edge stay to the canvases instead of by hand. This is a very good method and saves quite a lot of time. Cut inch from the canvases down the front edge from the step to the bottom edge and back from the step end to inch past the step balance notch as in Fig. 308 (c). Cut a strip of linen 1 inch in width and machine this to the edge of the canvas, with the linen on top and the canvas underneath on the machine, so that the linen is sewn on tightly to the canvas as in Fig. 308 (d). Press away the ease in the canvas, then baste the canvases to the fronts in the usual manner, and complete the tacking of the jeatted pockets, as shown in Fig. 308 (e). Contrary to the previous tailoring methods described, the back is joined to the fronts before the linings are made and, to this end, machine the back to the forepart as illustrated by Fig. 308 (f) and press open the seams. join the shoulder seams of the back and foreparts together, making sure to allow plenty of ease in the back shoulder seam when basting, and machine and press open. The canvas should be caught down to the shoulder seams after they have been pressed open, and the coat is now ready for the under-collar to be sewn round the neck curve.
Making the Under-collar

The under-collar is made without hand-padding of the fall edge for a machine-made garment, as padding is wasteful of time to a great extent. Cut the collar canvas on the bias in the usual manner, and then tack to the under-collar after the seams have been machined and pressed open. Stitch the stand of the collar to within inch of the fall sewing edge with four rows of stitching, and then pad the fall by diagonal machine stitching as illustrated by Fig. 308 (g). Fold the collar in half in the creaseline mark, shrink in the crease line as described previously and pare away the canvas from the fall edge to allow for the machine stitching round the edge.
Sew the under-collar to the neck curve by first tacking at the centre back seam and then checking up the length by basting each end of the collar one seam in advance of the step balance notch, so that when a seam is taken from the lapel and a seam from the collar end the step will be the required width. Baste the collar completely round the gorge, working from the centre back to each end and allowing a little ease in the gorge opposite the shoulder. Machine round the collar from end to end, take out the tacking thread and press open the collar and gorge seams. Do not stitch past the balance notch of the step at each end. Catch the canvas of the under-collar to the seam of the gorge all round the neck, and then mark the crease line on each forepart to run with the collar crease edge. The crease-line stay of linen is basted on in the usual manner as illustrated by Fig. 308 (h) with a little drawing in of the material from the gorge downwards. Sometimes the linen stay is dispensed with and a narrow stay-tape machine-stitched down the crease line from the gorge to the first button position, but the better method is staying with linen. Pad-stitch the lapels as usual by working from the crease line towards the lapel edge until completed, and then press away the length worked on to the lapels by the padding action.
Making the Linings

Trace through the inlay marks on to the lining from the outside and then machine down the centre back seam. The back lining is cut on the fold of the material for the pleat, so that it is not necessary to machine down this. Machine out the front darts and then join the facing by machining with the lining on top of the facing to prevent drawing in under the machine foot. Special care must be exercised to ensure that the linings and facing are of the same length at the bottom edge for sewing to the bottom edge inlay of the coat. Join up the sideseams and shoulder seams and press the seam over one way to hide the machine stitching. The top-collar is slightly stretched at the fall edge and shrunk to the shape of the under-collar at the crease line, and then sewn round the neck curve of the lining. First, baste the centre of the collar to the centre seam of
the lining, and then tack each collar end a seam in advance of the balance notch at the step. Completely tack the collar on the lining, and machine round the neck and press open the seam. Do not machine past the balance notches.
Lining the Coat (Fig. 309)

After all the seams have been pressed on the out-sides and linings, commence to tack the lining to the coat ready for machining round the edge. Tack the collar seams together from one step end to the other round the neck curve, making sure that the seams are perfectly above each other, and separate the collar ends from the notched step. Baste round the collar fall edge, easing the top-collar to the under-collar up the step and for a small distance along the fall edge to the other end of the collar. Baste the facing to the lapel from the notch of the step to the end of the step, easing the facing on to the lapel over this part, and then baste down the lapel edge, working a little ease in length of the facing on to the lapel for a distance of approximately 2 inches down from the step. Continue basting down to the end of the facing, and then baste the edge of the bottom inlay to the lining and facing edge from one side of the garment to the other. Fig. 309 (a) illustrates the facing basted to the outside with details of the collar-end treatment and the sewing together of the facing and coat turnup at the bottom-edge. To machine on the facing, firstly machine across the bottom inlay seam and press open this seam before doing anything else. When the seam has been pressed open, tack from the inlay seam to the bottom edge of the fronts and machine up from the fold bottom edge to the notch of the step. Do not catch the collar in with this stitching but fasten off and then commence to machine round the collar by separating the collar end from the step and machining from the notch of the collar. When machining round the step of the lapel, make sure that the machine stitching runs in a perfect line with the seam of the collar and facing; otherwise there will be a break in the continuation of the collar seam to the end of the step when the facing is turned out. Continue down the opposite side of the garment after sewing
round the collar. Make sure of fastening off the machining at the collar ends and the facing to ensure a perfect joining up of the collar and lapel at the step. Take out all the basting stitches, trim the edge seams down to a minimum, and turn the coat out through the armhole. Carefully turn out the lapel corners and commence to baste round the edge of the coat from the left lapel round the collar to the right lapel and fronts. Completely baste round the fronts, turn the bottom edge up to the inlay marking threads, and baste along the bottom as illustrated by Fig. 309 (b). Baste over the collar, working on a quantity of length estimated by tacking the collar seams together and working the fullness upwards to the collar fall. Baste over the lapels, working a length of facing over the corner of the step and rolling the lapel in the fingers from the edge to the crease line. When this has been completed, fold the lapel over to retain the facing length and then baste down the facing inside the coat on the facing and lining seam. Tack the sideseams of the lining to the coat sideseams, baste the centre seam of the lining to the centre seam of the outside, and tack the lining round each armhole at a distance of 2 inches or so from the edge.
Making the Sleeves (Figs. 310 and 311)

The sleeves are made with a dummy opened cuff and are cut with inlays at the hindarm seams on the top and under-sleeves for the opening as described in Chapter XVIII. Fig. 310 (a) shows the cutting of the sleeve linings for machine-made sleeves. Mark the point to which the cuff inlay turns back on the sleeve and then cut the length of the lining two seams longer than the chalk mark. At the sleeve head, cut the lining inch longer and about 3/8 inch wider outside the sleeve fore and hindarm seams as indicated in Fig. 310 (a). Notch the cuff inlays at each sleeve seam and then commence to make the sleeves as follows Place the right side of the top-sleeve to the right side of the material of the under-sleeve, tack the opening inlays together as illustrated by Fig. 310 (b), and machine down the top and under-sleeve hindarm seams to about
inch past the commencement of the opening inlays. Press open the seam, then turn to the outside of the sleeve, and tack the opening down as indicated by Fig. 310 (c). Press the opening and cut away the inlay below the sleeve end for thinness. Next join the linings by machining the hindarm seams of the top and under-sleeves together. Do not machine the forearm seams together, but tack the sleeve linings to the cuff inlay at the bottom edge and machine from the forearm to the hindarm seam as in Fig. 311 (a). Press this seam up with the lining lapped over the cloth, tack completely down the forearm seams, and machine right through from the sleeve head of the outside sleeve to the sleeve head of the lining in one continuous line as in Fig. 311 (b). Press open the forearm seams and then pull the lining up over the sleeve until the inlay is turned up to the correct length as in Fig. 311 (c). Catch the seams at the forearm together and then baste round the lining at the sleeve head to prevent it rolling down when the sleeves are inserted into the coat. Fig. 311 (d) shows the sleeve finished with dummy holes and buttons which keep the opening in position. After the sleeves have been sewn into each arm-hole, the coat only needs button-holing and the buttons sewn on to complete for pressing off. As there is no difference in the methods of sewing in the sleeves, it is not necessary to repeat the instructions from the previous example. Working on the above methods of making, it is an easy matter for one person to make a jacket entirely from the cutting out to the pressing off in a matter of six to seven hours. This may also be a generous estimate easily beaten by an experienced wholesale worker. The author can make a jacket in the above time and he is not as quick in some tailoring points as others, but systematic organization and accurate cutting and fitting knock many minutes off the total time taken in making a garment.
Machine Collars for Double-Breasted Lapels (Fig. 312)
Machine collars for double-breasted lapels are somewhat more difficult to make in comparison with single-breasted lapels and are treated as follows. The collar is drafted to two seams past the peak edge of the lapel and two seams below the gorge run, and the stand depth is made 1 inches and the fall depth at the centre back seam 1 inches. Make the step end of the collar to the desired width. The author prefers a narrow strap collar and makes the width of the step end 1 inches plus two seams, as in Fig. 312 (a). Make up the collar as described for the single-breasted shape, tack round the gorge from the centre back seam to two seams past the lapel peak, make a vertical notch downwards from the corner of the gorge at the peak as illustrated by Fig. 312 (b), and sew the collar to one seam past the peak to this notch. The facing is notched in a similar manner and the topcollar sewn two seams past the peak of the lapel. Fig. 312 (c) indicates the facing basted to the under-collar and lapels. Work plenty of facing length on to the collar end and lapel peak, and then sew round the facing from the bottom edge to the notch as indicated by the stitch marks. Fasten off the machining, and sew round the collar end as a fall edge to the other side of the coat. A seam from the lapel peak and a seam taken from the collar end account for the two seams overlapping when the collar is drafted, and now the collar and lapels are level with each other as illustrated by the basted-over lapel and collar of Fig. 312 (d). All collars of the double-breasted or ulster type are similarly made; in all instances where there is a pointed lapel, allow the collar to come two seams past the edge of the point so that the reduction of a seam from the collar and from the lapel point will result in the parts finishing level when they have been basted out.
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Vintage Sewing Main Page > 1940's > Ladies' Garment Cutting and Making > Chapter XX Search | Subscribe | Support

by F. R. Morris
Chapter XXThe Making of Skirts, Trousers, Breeches and Shorts

SKIRT MAKING
THE most important factors in the making of skirts which require detailed instruction are the making of the side plaquet opening, the finish of the tops, and the hem finish. Variation of design by the addition of pleats or flares does not alter the making up of the above details, and after these have been described it is a simple matter to make any type of skirt. For the purpose of the description of practical making, a skirt with inverted pleats at the back and front emanating from panel seams has been
chosen. This is a fashionable tailored style and, in addition, provides for instruction in the basting and making of pleats. There are many types of pleats, and a few points to remember in the making of pleated skirts are as follows.
Box and Inverted Pleats (Fig. 313)

Never try to save material by cutting down the width of the pleat; otherwise it will be certain that the pleats will gape open in wear. Mark the lines of the pleat edges accurately with chalk, and do not level the pleat by notch marks only but always bring the edges together on the lines of the pleat, baste securely and press well (see Fig. 313 (a)). Box pleats should be levelled from the tack marks and basted through completely as illustrated by Fig. 313 (b), while inverted pleats, if not cut right through from the waistband or hip yoke, should be cut with the seam of the pleat at the side as in Fig. 313 (c). The seam of the pleat should lie flat against the skirt and not be pressed open except at the hem. The top edges of the pleat should be side-stitched to the skirt in order to hold the pleat firmly. Pleats stitched down are folded and basted before stitching, care being taken to make them retain an even width apart. Fasten off the machining immediately the pleat has been stitched and, to make sure that the stitching of each pleat is level, clearly mark the position at which the line of machining is to terminate, as in Fig. 313 (d).
The Inverted-pleat Skirt (Fig. 314)

Fig. 314 illustrates the sections of the inverted-pleat skirt. The back panel (a) is cut on the fold of the material, while the two side sections (b) and (c) are cut on the double of the material, with the front panel on the fold as the centre back. The usual inlays at the sideseam and bottom edge are allowed, and the pleat addition is made by three-quarters of the pleat on the centre back and front panels and one-fourth on the side back and front panels.
The first operation is to mark up the pleat edges and the inlay marks as illustrated in the diagram, and then commence the making by basting down the front panel seams to the pleat level and machine to the level of the break in the pleat allowance. Press open the seam, then baste the inverted pleat as illustrated by Fig. 315, and seam down the edge of the pleat on the side. Do not press the seam open, but leave it flat. After basting down the pleats, inspect the general "hang" and, if correct, sidestitch the top edges together and catch down to the skirt. The back panel seams and pleats are dealt with in the same manner, and, after these have been sewn down, the next operation is the making of the side plaquet opening.
Making the Plaquet Opening (Fig. 316)

The plaquet opening is usually placed on the left side of the skirt, either at the sideseam or in the front panel seam. There are many methods of making side plaquets; some are quicker than others but without the strength of the more detailed opening, and the method illustrated here gives a neatly-finished plaquet opening with plenty of stay for the press studs. The edges of the plaquet are faced back with silk lining to tone with the skirt material, and the method of making the opening is as follows. Take the back skirt panel and at the left sideseam sew a folded piece of lining to the edge of the inlay and across the waist line to finish in width a seam past the inlay mark, as illustrated by Fig. 316 (a). The right side of the skirt is shown and, when the lining facing has been sewn, the waist line of the skirt is notched at the end of the facing and on the side inlay at 8 inches down from the waist. The facing when first sewn to the sideseam is 9 inches in length and 1 inches in width on the fold. Turn the facing inside out to the right side of the material and tack down as shown by Fig. 316 (b). On the front skirt at the left sideseam inlay sew a strip of lining 1 inch in width and 8 inches in length, with the right side of the skirt uppermost as illustrated by Fig. 316 (c). The strip of lining is first sewn with the two right
sides of the material together and then pressed back and tacked down on the edge of the inlay as in Fig. 316 (c). When this has been done, fold the inlay over from a seam in front of the inlay tack marks, then turn the lining facing back as in Fig. 316 (d), machine across the top edge of the plaquet inlay facing, and notch down at the edge. Fig. 316 (e) shows the side plaquet opening of the front sideseam after being turned out when it has been machined. The notch of the waistband must be accentuated as this is where the petersham waistband is sewn on. Baste down the sideseam from the opening length of 8 inches below the waistband, and machine down a -inch seam inside the inlay marking threads. At 8 inches from the waistband on the back sideseam, notch the inlay back to the seam so that the front and back inlays can be pressed flat as in Fig. 316 (f). The bottom edge of the plaquet facing on the back inlay is then turned in below the inlay notch and felled down securely. Fell down the sides of the lining facings at the front and back edges, and then securely hand-tack the two plaquet facings together as shown in Fig. 316 (g). Baste down the right sideseam, machine a seam inside the inlay marks, and then press open. The waist size should then be measured up and, if too much fullness is present owing to faulty cutting or stretching of the top edge, reduction should be made before the petersham is basted on. Assuming the waist size to be correct, about inch can be allowed over the actual tight waist girth for easing on to the waistband.
Sewing the Waistband to the Tops (Fig. 317)

Fig. 317 (a) illustrates the waist tops after both side-seams have been sewn down. For one method of sewing the petersham waistband to the tops, firstly turn in the edge as indicated and press. Measure the waist length on the petersham and add about 1 inch at each end for turning in and for increasing the waist size if required. Tack the petersham to the absolute edge of the plaquet facing on the back sideseam and to the inside edge of the plaquet facing on the front sideseam, and then baste the tops on to the petersham by working from the outside of the skirt over the waistband so that the skirt tops are slightly eased on to
the petersham. The edge of the skirt should be absolutely level with the edge of the petersham, and then the petersham should be machined to the tops from the inside so that the machining does not go off the edge. Another method of finishing the tops is to sew the petersham waistband flat on the edge of the skirt tops as in Fig. 317 (b) and then turn back inside and catch down at the panel seams and sideseams. Three press studs and two hooks and eyes are sewn to the plaquet opening as shown by Fig. 317 (c) to finish the waistband.
The Bottom Edge Finish (Fig. 318)

The bottom edge should be levelled off, and then a strip of narrow Prussian binding is sewn flat to the edge of the turn-up as illustrated by Fig. 318. The bottom inlay is turned up to the marking threads, and the binding is felled down to the skirt. Well press the bottom edge before taking out the tacking threads and then, to complete the skirt, oversew the sideseam inlays and panel seams to the skirt for neatness if a fraying material, or notch if the texture of the cloth is firm. This is by far the neatest method of finishing the bottom edge of the skirt and is to be recommended in preference to turning in the edge of the turn-up and felling down, as this leaves a ridge mark on the outside of the skirt after being pressed off.
MAKING TROUSERS
The standard waist top finish for trousers, shorts and breeches is a side plaquet opening similar to a skirt opening. Trousers can be made very quickly if there are no pockets to complicate matters, and the first example of trousers making will have a waistband and pleats.
Fig. 319
The sections of the trousers are illustrated by Fig. 319, with the inlays tack-marked and ready for sewing. The trousers waistband is cut on the fold edge of the material for the top edge and in length is equal to the waist size plus 1 inches at each end to agree with the plaquet inlay widths, as illustrated by the inset diagram shown on the undersides.
Joining the Waistband to the Tops (Fig. 320)

Baste the pleats as in Fig. 320 (a) with the edges, as indicated by tacking threads, meeting and the pleats facing towards the fronts. Press the pleats and then sew the back waist darts out in the tack marks, as shown in Fig. 320 (b). Join up the centre front seam as indicated in Fig. 320 (a) by the stitch marks and press open. Similarly, machine down the centre back seam over the seat and press open. The seat seam should be sewn a -inch seam inside the tacking threads as -inch seams have been allowed throughout the draft. Seam the waistband across the fronts from the two inlay edges, face the plaquet openings with linen as in Fig. 320 (c), turn back the inlay, and fold the inside of the waistband down over the top of the plaquet inlay as illustrated by Fig. 320 (d). Cut away the unnecessary material under the waistband to make a thin finish, and then fell across the inside waistband down over the seam, after basting a thin strip of canvas across the tops to act as a stay.
Joining the Back Waistband (Fig. 321)

Fig. 321 (a) shows the back of the trousers with the waistband seamed on in a similar manner to the fronts. At each side of the inside waistband section, seam a strip of material equal in length to the length of the sideseam plaquet inlay below the waistband. Make this strip of material 1 inches in width, then turn back the waistband with the right sides of the back and trouser tops together and machine round the edges of the plaquet opening as illustrated by Fig. 321 (b). Turn out the plaquet openings and tack the waistband down to the seam inside as in Fig. 321 (c) and fell across.
Sewing the Sideseams (Fig. 322)
When the plaquet side openings have been prepared, baste down the sideseams and machine to inch above the plaquet inlay lengths so that sufficient material is left to be turned in to make a neat finish to the tops as in Fig. 322. Fell down each side of the plaquet opening and side-stitch neatly together for strength. The inside leg seams are finally joined together and seamed and pressed open.
The Bottom Finish (Fig. 323)

To make the P.T.U. bottoms, mark the length of the leg seam down from the fork and then mark three lines 1 inches apart as indicated by A, B and C in Fig. 323, C being inch from the bottom edge at D. Turn back the bottom edge D to inch above line A and baste round. Then turn line B up outside the trouser leg and baste the edge of line A. Cross-stitch the inside edge of line D to complete, and finally tack the sideseams together on the outside. Incidentally, the plaquet opening may be finished either with pressstuds and hook-and-eye fasteners as a skirt opening or with three holes and buttons. The latter method is preferable as it gives more strength and comfort in wear. Plain trouser bottoms are cross-stitched or felled for a finish, and a 2inch inlay is usually allowed.
BREECHES MAKING
Breeches making is a specialist's job and seldom comes the way of the ordinary tailor or tailoress. Occasionally an order may be taken, however, and a knowledge of breeches making is necessary. The cut of modern riding breeches simplifies the making to a great extent in comparison with the cut of breeches a few years back. The run of
the side-seam to the centre front of the knee obviates a good deal of manipulation as this part of the seam is on the bias of the material. The tops of the breeches are usually finished with a waistband and two side openings with jeatted cross pockets, while occasionally the split-fall and fly-front top finishes are seen. As an example of making, the type of breeches has a waistband and side openings with two jeatted pockets. The front sideseam curves towards the centre front of the knee, and buttons close the breeches below the knee tack.
The Breeches Marked Up for Making (Fig. 324)

Fig. 324 illustrates the various parts of the breeches marked up and ready for sewing. The waistband is cut to the half-waist length plus 1 inches at each end to agree with the plaquet inlays at the sideseams. Fig. 324 (a) shows the fronts with 1 inches allowed 6; inches down from the waist level for the plaquet facing. The front dart is sewn in the marks, and the knee and hip-line balance notches should be inserted. Fig. 324 (b) shows the undersides with the same sideseam plaquet inlay as the topsides and inch down the seat seam and inside leg seam. Notch the hip-line and knee-balance marks and mark the back waist dart to be sewn in the marks. Fig. 324 (c) indicates the under-gore section with a 1-inch inlay allowed at the sideseam for the button catch and inch down the inside leg seam as above the gore seam. Fig. 324 (d) illustrates the waistband cut on the fold of the material as the centre dash line with 1 inches at each end allowed to agree with the plaquet inlays. Take the topsides, seam round the fork curve from the waist line to the inside leg and press open. Seam out the front waist darts and then mark the cross pockets 5 to 6 inches in length, depending entirely on the width of the fronts at the waist level.
Making the Pockets (Fig. 325)

Baste a strip of linen 1 inch in width across the pocket opening line to be inch longer at each end than the length of the finished pocket opening. The pockets are cut as in Fig. 325 (b) on the fold of the material at the front edge and with a seam at the sideseam edge. They are made inch wider at each side than the pocket-opening length, and about 5 to 6 inches in length from the dash line which indicates the edge to seam with the pocket opening, while the back of the pocket as shown by the solid line above the dash line is extended in order to be sewn under the waistband. The pocket facings are cut 1 inches in width for the front jeattings and 2 inches for the backing facings as illustrated by Fig. 325 (c). To make the pocket, sew the front facing on the edge of the pocket as in Fig. 325 (d), machine with the right sides of the pocket and facing together, and then turn back and edge-stitch the facing over the pocket. Turn in the edges of the backing facing, and place on the opposite side of the pocket to lay half and half with the front jeatting sewing edge. Machine the backing facing to the pocket. As the pockets are required to be made up in a neat form by having the edges turned in, we must "bag" round the pocket before it is inserted into the fronts. So, as the facings must be inside the pocket, we must first machine round the edges with the facings outside. This is shown by Fig. 325 (e) with the right side or inside of the pocket on the outside, and a row of machining round the pocket edge from the front jeatting to the fold edge. Turn the pocket inside out after the machining is completed so that the right side of the pocket with the sewn-on facings is inside as shown by Fig. 325 (f). The pocket is now ready for sewing to the fronts, and Fig. 325 (g) shows the inside of the fronts with the top pocket jeatting sewn in and basted back.
Completing the Pockets and Adding the Waistband (Fig. 326)
Fig. 326 (a) illustrates the opposite front with the pocket facing basted and machined to the pocket-opening line. The right side of the pocket facing is sewn to the right side of the fronts, and the pocket opening is then slit through and notched in the corners in the usual manner for jeatted pockets. Pull the pocket and facing through to the inside and press open the pocket seam to lie flat. Baste along the edge of the bottom facing to make a jeatting equal to the width of the top jeatting, and then baste the back of the pocket up to the waist level as in Fig. 326 (b). Machine or hand tack the top pocket jeatting to the back of the pocket and tack the ends of the jeattings as illustrated, after which the pocket is completed. The waistband is made and sewn to the tops in a similar manner as with trousers, and the details will not be repeated here in a full form. In brief, baste a strip of linen down the plaquet opening at each side as Fig. 326 (b), and sew one edge of the waistband right across the front waist from the edge of the plaquet inlay at the right side to the edge of the plaquet inlay at the left side. Press open the seam, then turn back the plaquet inlay to a inch seam inside the tack marks, fold over the waistband into half, and baste down to the seam, catching in the tops of the pockets in doing so. The edges of the plaquet openings are turned in and felled down over the pockets as in Fig. 326 (c). For thinness the double waistband is substituted by a waistband lining of silesia. Fig. 326 (d) shows the fronts as they appear finished.
The Back Waistband and Making Up the Knees (Fig. 327)

The back waistband is made as for trousers, in the description of which full details will be found. Briefly, seam down the centre back seam and the back waist darts and sew the waistband from one plaquet inlay to the other. Face the plaquet with linen and join two strips of material on each side of the waistband edge at the top, equal in length to the length of the sideseam inlays from the waistband edge when finished. Lay the right sides of these two strips of material with the right sides of the plaquet inlay and seam down the edges. Turn out and tack across the top edge of the waistband to the bottom seam as in Fig. 327 (a). The plaquet facing is not completely basted down until the sideseams are machined
through. This completes the making of the tops, and we will now continue with the knee section. On the fronts, baste a 1-inch strip of linen down the knee seam from inch above the knee-tack notch on the inside of the material as indicated by Fig. 327 (b), and then machine a 1-inch strip of lining or silesia down the outside of the knee seam for a similar distance, as shown by Fig. 327 (c). Notch in a seam at the knee-tack position and turn back as in Fig. 327 (d). Baste down the inside edge and machine the knee-seam edge to hold the facing in position. The under-knee section, Fig. 327 (e), has a similar 1-inch strip of linen basted down the inside of the material and a 1-inch strip of lining or silesia machined down to be turned back and felled down as in Figs. 327 (f) and (g). Machine down the edge of the button catch as shown, and then join this section to the undersides by seaming together at the gore seams as shown by Fig. 327 (a).
Sewing the Sideseams Together (Fig. 328)

Fig. 328 (a) shows the gore seam pressed open. The seam may be taped and stitched through for neatness. Well press the seams and stretch the outer seam to prevent any restrictions. Fig. 328 (b) illustrates the closing together of the sideseams. Here is where experience in breeches making distinguishes the expert breeches maker. The knee and hip-line balance marks should be checked, and then basting of the sideseams is commenced as shown. The left side is basted from the waist to the knee, and the right side from the knee to the waist. For convenience, Fig. 328 (b) shows the left side basted from the knee upwards contrary to the above directions. The knee-tack notch on the front seam is placed about inch below the gore seam with both sides of the knee opening level at the bottom edge. Balance the two knee notches of the top and undersides and baste the fronts to the undersides, easing a little fullness in the basting. Balance the hip-line notches and then baste to the plaquet opening, easing in the undersides to the top-sides for about 4 inches either side of the
hip-line notch. Machine the sideseams from inch above the plaquet facings down to the knee-tack seam notch, complete the making of the plaquet opening by tacking the inside facing down over the front facing, and fell across the edge.
Completion of the Breeches (Fig. 329)

On the outside, make a bar-tack to hold the plaquet opening, and make three button-holes in the side-seams at either side as in Fig. 329 (a). Seam the inside of the legs together by laying the inside leg seam of the topsides to the inlay mark of the undersides, and complete the knee finish by facing back or binding the bottom edges of the legs. Strappings of the same material or buckskin are about 9 inches in length, shaped to the knee, and hand-stitched on as shown by Fig. 329 (b), commencing at the small of the knee. The knee button-holes are spaced about inch to 1 inch for the first five holes, and then twice this distance for the remaining length of he knee opening. Breeches should be well shrunk at the underside of the knee above the gore seam and pressed flat with sideseam to sideseam. As stated previously, breeches-making is a specialized branch of the tailoring trade, and the expert riders usually patronize houses noted for their cut and make, though, in later years, the well-known stores have featured and supplied riding garments made to measure or ready to wear.
SHORTS MAKING
Plain shorts are a simple matter from the making point of view. They are made in the same manner as trousers with the bottoms turned up and felled down. Pleated shorts are the only variety which need any detailed instructions, and by pleated is meant the style with an inverted pleat at the centre front and back seams to cover the fork. These are known as "skirt-shorts" and usually have two knife pleats either side of the fronts and backs in addition to the centre pleats.
Making Pleats in Shorts (Fig. 330)

Fig. 330 (a) shows the shorts cut out and with the side knife-pleats of the topsides basted down to agree with the pleat marking threads. Seam round the fork from the waist to the inside leg seam and press open the seam. Machine down the centre front pleating line to the fork level as shown, and then baste down this seam to the centre seam of the fork as in Fig. 330 (b) to form the inverted pleat. Fig. 330 (c) shows how the shorts appear when completed. The side pleats slant towards the centre, and the centre pleat is then left free and independent of the fork seam. The undersides are made up in a similar manner to the topsides, and the waistband is sewn to the tops as described for trousers and breeches. Make the plaquet openings at both sideseams, and finish with three holes and buttons.
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Vintage Sewing Main Page > 1940's > Ladies' Garment Cutting and Making > Chapter XXI Search | Subscribe | Support

by F. R. Morris
Chapter XXIVarious Stitches in Tailoring and Dressmaking

THERE are many different varieties of stitching used in the making of garments of a tailored character, and it will be useful for the novice if these are described in some detail. For instance, pad-stitching the lapels is an operation the principles of which many dressmakers cannot understand, and this is only one stitch of which knowledge is lacking. The stitches which finish off the commencements of pleats or pocket openings are another mystery to many workers; these stitches are known as the "sprat's head" or "arrowhead" and the "crow's foot." As befits one of the most important decorative stitches and one which is a hallmark of finish on a tailored garment, the "sprat's head" will be described first.
The Sprat's Head Stitch (Fig. 331)

To make a sprat's head stitch, mark a triangle with chalk to the size required and then begin the stitch at the lower left-hand corner. Take the thread to the top corner and insert the needle from right to left in the material and then back to the lower right-hand corner, inserting the
needle from right to left and bringing the stitch underneath the material to come to the outside in front of the commencement at the left corner inside the triangle. Draw the thread through and then take the needle to the top corner and insert from right to left below the previous stitch. Take back to the right bottom corner and insert the needle from right to left to come to the surface on the inside of the triangle at the left bottom corner. Repeat the above instructions until all the space inside the triangle is completely covered.
The Crow's Foot Tack (Fig. 332)

As a contrast to the sprat's head stitch, the crow's foot tack may be utilized. This tack resembles the sprat's head in shape, but the overlapping of the stitches is different and more complicated. Firstly, mark the shape of the tack as illustrated by Fig. 332 and then commence from the left corner. Take the silk through the top corner from right to left and then diagonally down to the right corner and continue the stitch through in an upward direction. From the right corner take the silk to the left corner and insert the needle above the previous stitch in a downward direction from the left side of the triangle to the bottom side. Next take the silk to the top corner and insert the needle from right to left, and then insert it in the bottom side at the right lower corner to come out on the right side of the triangle. Continue by taking the silk over to the left side of the triangle and insert the needle in a downward direction to come out on the bottom side of the triangle, and continue to the top corner as described until the complete tack is formed.
The Bar-tack (Fig. 333)

The bar-tack is used to a great extent in the making of trousers and breeches. This tack may be employed for the plaquet opening on skirts, the pocket openings on trousers, and the cuff openings of sleeves. To make the tack, with a single cord of silk take three long stitches to the length of tack required. Then work the barring stitch over the long stitches from side to side as illustrated by the diagram.
Cross-stitching a Hem (Fig. 334)

For catching down the hems of dresses, skirts, trousers turn-ups and almost every type of seam which needs neatening, the cross-stitch is indispensable. Fig. 334 shows the working of this stitch. The edge of the seam to be cross-stitched is held away from the hand with the edge of the garment towards the worker, and the needle is inserted into the hem or turn-up at the left side. The silk is then taken to the right and the needle inserted from right to left in the material to come out on the left side. Continue by crossing the silk over towards the right in advance of the lower stitch and insert the needle from right to left as before. Similarly, in the upper row cross the silk forward towards the right and insert the needle from right to left. The needle is always inserted towards the commencement of the stitch, while the silk is always taken forwards away from the start. Always endeavour to keep an even distance between the insertions of the needle, so that the slant of the cross-over stitches may be equal throughout.
Pad-stitching Lapels (Fig. 335)

Pad-stitching is an essential part of tailoring a coat, and in the absolute sense should form a perfect series of "V" stitches when completed. The right lapel is always commenced from the top of the crease line and the left from the bottom, so that width of canvas is worked equally over the lapel by the padstitching. Insert the needle and silk from right to left, making sure not to take the stitch untidily through the material on the underneath. Continue to work down the lapel by stitches as above and, when at the end of the crease line, work back by inserting the point of the needle into the hole of the previous stitch and draw the silk through from right to left. Similarly, connect up the stitches in rows of "V" lines to extend to the edge of the lapel. In practice, these stitches do not often form perfect "V" marks as the tune spent on padding the lapel would be too long, and so it is necessary to spread the stitches out more.
Making a French Seam (Fig. 336)

For unlined coats and dress seams, make a French seam. Allow inch for the seam when cutting from the material, and then lay the two wrong sides of the cloth together and machine down the edges a -inch seam inside. Trim the edge and turn back to let the right sides of the material lie together and then machine down again, taking care to machine outside the first seam so that only a single seam of stitching is shown when finished.
The Lapped Seam (Fig. 337)

Another method of making a neat finish to the sideseams of unlined coats is the lapped seam, in which one side of the seam is turned in over the other and neatly felled down. When cutting from the material, allow a -inch seam on one side and about 1 inch on the other, and then seam with inch allowed on the outside edge for the turning-in. Turn in the edge of the inlay inch, then fold over the edge of the narrow seam and fell down closely to the machine stitching.
Bound Button-holes (Fig. 338)

Bound button-holes should always be made before the facings of the coat are sewn on, and then the button-holes can be catch-stitched round to the canvas. Mark the button-hole length on the fronts of the coat and tack round to keep the parts together, as in Fig. 338 (a). Cut the facing for the button-hole on the bias of the material for ease in turning out and tack over the button-hole line. Make a chalk line on the bias material immediately over the original button-hole line and then machine round as illustrated by Fig. 338 (b). Keep the machine lines about inch apart so that the jeattings of the button-hole finish very closely. Cut down the centre of the chalk mark and notch into each corner to the machine stitching, as shown by Fig. 338 (c). Pull the bias material through into the inside of the coat and press open the edge seams (Fig. 338 (d)). Pleat over the corners of the facing and baste
round preliminary to catch-stitching round the edges (Fig. 338 (e)). Catchstitch round the edges of the facing, and then, after the coat facing has been sewn on, slit through and turn in the edges of the facing for felling down round the button-hole, as shown by Fig. 338 (f) and (g).
Bias Bindings (Fig. 339)

Bias bands should be cut on the exact bias, otherwise a twisted band will result in the finished work. To cut the band, commence by levelling up the material edge by tearing across or cutting in a drawn thread mark, and then fold the end of the material towards the selvedge to form a diagonal fold edge which is the true bias. The bias bands should be cut on this fold edge, marked off to the width required, and follow the fold edge accurately. When seaming bias bands for increased length, cut diagonally across the end of the bands and machine together on the straight of the material. The diagram shows the right way to machine bias bands, with the grain of each band agreeing. With diagonal stripes, match the bias bands so that the pattern runs the same way when machined together. Bias bands shape themselves to curves if they are not too acute, but care should be taken to ensure that the seam of the material bound is notched to prevent twisting. Bindings are cut to varying widths, depending on the material required to be bound. For velvets, a single-width band cut to four times the finished binding width is required. For thin materials, such as silks and transparent fabrics, a double band cut on the fold edge should be used so that less difficulty will be experienced in turning back and hemming down to a regular width.
The Button-hole Stitch (Fig. 340)

The button-hole stitch is one of the most important and difficult of all tailoring stitches and
has a distinct influence on the finished appearance of the garment. Mark a line for the button-hole with chalk and then cut in the line to the required length. If the hole has an eye, it is necessary to cut this out carefully. Serge round the button-hole to keep the edges from fraying out. The next step is the barring, which consists of carrying the barring thread or gimp round the hole at a distance from the edge in accordance with the width of the button-hole stitches. To commence, place the left side of the hole between the thumb and finger with the eye away from the hand, press the needle through the hole opening to the underside and then insert through the material to the outside. Before pulling the needle clear of the material, cast the button-hole silk round the needle as illustrated by the diagram. Completely draw out the needle and pull the stitch close to the edge of the hole. Continue making each stitch in a similar manner until the hole is completed. When button-holing is being carried out round the eye, the stitches must be made very thickly and the purl of each stitch pulled well up. When the end of the button-hole opening is reached, the two sides of the hole should be brought together by the last stitch; then the needle is passed twice through the material, and a bar may be formed by loop stitches made across the end of the hole. Button-hole making needs much practice before proficiency can be reached, and a point to note is that the stitches should be drawn slightly forward and pulled into place with exactly the same tension for each purl. In lieu of gimp, four-cord thread, well waxed, will serve for the barring thread.
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Vintage Sewing Main Page > 1940's > Ladies' Garment Cutting and Making > Chapter XXII Search | Subscribe | Support

by F. R. Morris
Chapter XXIIThe Art of Modelling

Modelling Patterns in Toile

MANY dressmakers prefer to cut their patterns by modelling in muslin or toile direct on to a stand or the actual figure. In the hands of practised modellers, modelling patterns becomes as accurate and simple as drafting on the flat, but, generally speaking, modelling is an art which needs a lot of study and accurate and patient work. The great French dressmakers, almost without exception, model their creations either on stands or the actual figure and spend much time and material before the garment is
satisfactory. In comparison with scientific cutting, modelling is a laborious job, but the knowledge of how to model will materially assist the pattern cutter in her job, for she will know how the systematic drafts are derived from modelling practice. There is more than one method of modelling or draping muslin to the stand or the figure. One way is to build up the design gradually on the stand by cutting and draping each section of the design piece by piece. This method involves much more waste of time and material than the second method described below, for the fitting of the stand and designing cannot be systematically carried out in sections without the balance of the various sections becoming disturbed. This method also means constant reshaping and recutting, as it is practically impossible to cut the exact line required without comparison with the other sections of the design as a whole. The most practical of all modelling methods is that of fitting the exact outline of the stand or figure with a muslin "shell," care being taken to obtain a perfectly fitting model by the unrestrained use of panel seams and darts. While this perfectly cut shape is on the stand, the lines of the design are marked in with chalk and then transmitted from the shaped model on to a flat plane by the outline of the design being traced from the modelled shape. Therefore, when the re-marked pattern is sewn together, the garment should be identical with the original model with the same waist suppression fitting as in the original, but obtained without the panel seams. For very cut-about designs, this method of modelling is to be preferred to flat pattern cutting, as the waist suppression can be infused into the muslin shape and subsequently into the traced-off pattern outline with a certainty of the accurate original outline being retained. The typical Parisian dress or coat is usually distinguished by extremely varied design with many pieces, and it is often impossible to infuse directly by straight cutting the required amount of waist suppression into the coat as the design lines may be so intricate as to give no possible position or run of seam to accommodate the suppression quantities. By modelling a shape to the size of garment required, we are making sure of the suppression and fitting before attempting the designing, which is the correct procedure, for the fitting qualities of any garment should be considered before points of design. It has been the experience of the author to observe cutters shirking the issue of waist suppression and fit when faced by a very cut-about design. They usually content themselves with attempting to reduce a large quantity
of the waist suppression from the sideseams, leaving the back and front waist to take care of themselves. The question of waist suppression is a strong point with the author, and he firmly believes that insufficient attention is paid to this important point simply because the majority of cutters are shy of deviating from their established ideas. To obtain the outline shape it is necessary to be armed with plenty of pins and muslin. The French method is to make a model of one side of the figure and design only, that is, of course, if the design is an even one and not two-sided. In the event of an uneven design it is advisable to make a complete model of both sides of the shape. For a dress model shape, firstly mark on the stand the exact centre line of the back and front from the neck to the end of the stand. Then take a suitable piece of muslin, long enough to take the full length of the dress and wide enough to pass round the figure shape to the sideseam position under the arms. Mark the height of the collar seam at the back neck and then commence to pin the muslin to the centre back line, allowing about 1 inches above the back neck line for adjustment of the neck height. Pin the muslin down the centre back line from the neck to the required length. After this has been done, smooth the muslin out over the hips to the sideseam, and then pin at the sideseam from the breast level down into the waist hollow and over the hip curve to the hem, making sure that the muslin lies smooth in and out of the side waist hollow without any tendency to "tie" at the waist line and without any dragging from the blade level or the hips. It will now be observed that, if the hips are fitted closely, it will not be possible to fit the breast level at the back to such a close degree. In fact, a certain quantity of ease at the breast level must be left, otherwise straining the muslin to fit the back at this point will result in the sideseam being pulled away from the waist hollow, which indicates that, when the waist is returned back to the waist hollow, a dragging crease will become apparent from the blade level to the side waist. Summing up, it is apparent that to fit the back perfectly at the breast-line level, it is not possible to reduce the garment to size at the side-seams only, but instead a certain quantity of the surplus size and material must be reduced under the prominence of the blades. The loose material in the back waist hollow is shaped to the figure after the shoulders have been fitted and the scye shaped.
To shape the shoulders, smooth the muslin up round the neck to the point where the shoulder seam is required, and then pin round the neck and mark a sewing-edge run. Roughly trim the material to the shape of the back neck curve, and then smooth down the shoulders and up over the blades to obtain the location of the shoulder seam. Pin from the neck curve down in the required shoulder seam position, and then gather in the shoulder length slightly over the blade to keep the armhole from the shoulder end to the breast line close to the figure and to provide shape for the prominence of the blade. Measure the shoulder width and back width and roughly shape the armhole from the scye level to the shoulder end, making the depth of the scye from the neck level equal to one-third of the half-breast measure plus 1 inches or 7 inches for a 36-inch bust girth. Mark the breast line square across from the centre back to the scye level and shape the scye. Then, at the sideseam, mark down from the breast line to the bottom edge of the shape to define the sideseam at exactly under the arm. The back waist suppression is the next point. Carefully pin away the surplus material in the back waist hollow and over the breast line to the blade. On the standard model shape it will be found that about 1 inches will be taken out in the suppression; but the point to note is that this suppression is correctly reduced at this point, for if we tried to take in the garment more at the sideseam, the result would be that the sideseams would not lie smoothly in the hollow of the waist at the side. This definitely means that suppression at the sideseams under the arms is correct only to a small degree, and not to the extent sometimes seen, quantities from 1 to 2 inches being incorrectly reduced at this point. The moulding of the back to the figure is now finished, and we can proceed with the more accurate shaping of the back to the half-width measure and the back of the armhole to the shoulder end. The fronts are the next consideration. Commence by marking down the exact centre of the stand a balance line to which to pin the muslin. Then with a suitably large piece of muslin, pin down the centre front line from the base of the neck to the length required. When this has been firmly completed, commence to smooth the muslin up to the shoulder seam marked on the back shape, making sure that the muslin is not dragged away from the fronts when shaping round the neck curve. Roughly shape round the neck and pin across the shoulder for about 2 inches.
Then smooth the muslin back over the round of the hips to the sideseam line of the back shape and, taking care not to drag the muslin out of balance, pin the sideseam from the hip level to the armhole level of the back, making sure of having sufficient length at the sideseam for the material to lie smoothly in the hollow of the waist. A certain amount of surplus material will be left in the waist hollow under the bust prominence, which cannot be reduced elsewhere than at this point. To endeavour to make the reduction at the sideseam would cause the material to leave the waist and set up dragging creases from the breast and hip prominence in front. So make sure that the sideseam length is sufficient before troubling about waist suppression. Mark down the sideseam line immediately above the back sideseam line and then continue with the shaping of the shoulders and the front of the scye. As the material lies at present, without the shoulder pinned throughout, there is a decided surplus at the front of the scye, causing a V fold of material diagonally from the bust point to the front scye. To get rid of this fold it is necessary to take out a wedge of material down from the shoulder to the bust point to pull the surplus length away and upwards from the front of the scye; in other words, the bust dart is taken out. When the surplus length has been taken away, and the bust dart pinned down to the prominence, complete the pinning of the front shoulder to the back, and then mark the shoulder seam immediately above the back seam and correct the shoulder width to agree with the back shoulder. Here it must be noted that the front shoulder is smoothed cleanly into the hollow of the shoulder, while the back shoulder is eased in slightly to make provision for the round contour of the blades. Now measure back from the centre front point on the breast line, for the front of scye or armhole position, one-fourth of the breast measure less 1 inches for all sizes. Mark a line square upwards from this point, shape the front of the armhole from the side-seam to inch in advance of this line, and terminate at the shoulder end to complete the model. The purpose of making the model is to illustrate the correct location of the waist suppressions and general balance points.
Fig. 341
Fig. 341 illustrates the modelled shape placed in the square. For the purpose of simplicity, measurements are used to denote the various lengths in their relationship. It will be noted that the sideseams are reduced only inch in quantity at the back and front from the breast width, while a very large quantity is reduced at the back waist in the panel. This suppression is carried well above the breast line to the blade prominence. The sideseam at the back skirt is rather straight in line, but the skirt width is usually increased in a panelled garment by an addition to each panel seam. This is obtained when cutting the modelled shape in one piece by cutting up the model from the hem to the hip level and opening out the skirt width until the modelled shape can be placed flat. The fronts have a diagonal suppression dart ranging from the hip bone to under the bust prominence and running on the "corner" of the body at this section. Again note the straight run of the sideseams from the bust to the waist, from the waist to the hips and from the hip level to the hem, and also note the quantity taken from the front waist dart. These outlines are not the result of mere system-making, but are the actual shape of a perfectly modelled and fitting shell pattern and, as such, have the convincing quality of being absolutely correct. With modelling, one cannot rely on the efforts of the person making the garment in order to obtain a good fit. The actual modelled shape must take the outline of the figure naturally, and so the balance of each part must be perfect, otherwise an adverse effect will be apparent elsewhere. In modelling, one cannot hope to achieve success unless each section of the garment has this perfect balance.
Making a Model Without Panel Suppression

The previous description was concerned with the fundamental modelling construction, and now we go on to more practical work in the making of a model to fit the shape without panel-seam waist suppression. With this model, there is a waist seam, and the suppression is modelled out direct without recourse to panelmodelling and recutting.
The breast, waist and hip balance lines should be clearly indicated on the stand in addition to the centre back and front vertical lines. Take a suitable piece of material and commence at the centre back neck. Allow about 1 inch above the nape of the neck for the back neck curve, and then pin down the centre back from the nape of the neck to the natural waist line. Make sure that the grain of the material is perfectly correct vertically and horizontally. After pinning down the back, smooth the material to the sideseam at the breast-line level and smooth over the blades to the shoulder seam. Pin the shoulder and back neck covering material in place and mark the run of the shoulder seam to the required angle. Measure round the back neck one-sixth of the half-breast measurement less inch and shape from the nape of the neck to meet the shoulder seam. The shoulder seam should be marked to the required width, about one-eighth of the breast measurement plus inch, and then the width of the back marked from midway of the nape of the neck and the breast line to the armhole. Mark roughly the shape of the armhole at the back, and then complete the modelling of the back bodice by pinning down the sideseam from the breast line to the waist level. The material should be carefully smoothed to the figure before pinning, and afterwards the sideseam and the waist line marked in. To model the back skirt section, take a piece of material of sufficient length and pin down the centre back line to the hip level and the bottom of the stand. Then carefully smooth the material towards the side-seam at the waist and hips, making sure not to force too much width into the skirt by distorting the balance of the material grain. The grain should run horizontally in accordance with the marked balance lines on the stand until at the side back "corner" of the figure where it is deflected in a downward direction, as the back waist hollow requires more length to fit into the sideseam. After pinning down the side-seam from the waist to the hip level, mark the waist seam and the sideseam run vertically from the hip level to the hem line. Additional width may be added at the sideseam away from the stand when cutting out. The back is now completely modelled, and the next consideration is the front. Commence by pinning from the neck to the breast and waist lines down the centre front, and then shape the material up to the shoulder seam round the neck column. The material will require to be cut away as illustrated in
Plate 5, and it is quite a good plan to cut out the neck shape and obtain the neck point before commencing to model on the stand. For this purpose, mark a straight line on the material or work from a straight edge, and then mark in a quantity equal to one-twelfth of the breast measurement for the neck point. A similar quantity should be marked downwards on the centre line, and then the circular shape of the neck curve can be cut away before the material is pinned down the centre front. Assuming that the neck point has been found, the next operation is to smooth the material into the hollow of the shoulder and down past the front of the armhole to the sideseam. Pin the shoulder and mark the seam run directly above the run of the back shoulder. Pin the material at the top of the sideseam on the breast level, and smooth the excess to the level of the bust prominence preparatory to reducing in a dart from the sideseam. Smooth the material over the breast to the waist line and then mould the muslin from the centre front line to the sideseam at the waist level, making sure to keep the grain of the material horizontal until the natural curving round of the figure into the side waist causes a divergence downwards from the horizontal. Mark the waist line, then pin the sideseam from the breast to the waist line and reduce the excess material in the breast dart as illustrated. On the breast line, mark back from the centre front line one-fourth of the breast measure less 1 inches for the position of the front of the armhole. Mark a line squarely up from this point, and shape the arm-hole from the sideseam to the shoulder end, advancing inch in front of the scye line. The skirt is modelled in a similar manner to the back, i.e. by pinning down the centre front line and then smoothing the material to the sideseams and into the waist hollow, care being taken to keep the grain level as far as possible. Mark in the sideseam to match the back sideseam, and mark the skirt run below the hip level to allow for sufficient stride room in the hem. An average width of the hem is approximately 4 to 6 inches more than the hip measurement for a straight skirt. The model is now completed and we can examine the outline on the flat by referring to Fig. 342.
Fig. 342
The first point which strikes the eye is the displacement of the breast and waist balance lines from the horizontal and the lower shoulder slope on the back shoulder. This is caused by the closing out of the waist suppression at the side back to obtain the shape in one piece, and is exactly as described in the chapter on Waist Suppression. The actual size of the backscye is the same as that of Fig. 341, so the shoulder slope is unchanged in principle. In the back skirt there is an increase of width at the hem and a curvature of the waist and hip balance lines to the extent of approximately inch from the horizontal. At the fronts, we have a raised breast line to keep the front of the armhole the same diameter as the draft showing a breast dart from the shoulder, for, in this instance, the front shoulder slope is rather higher than the previous example. The waist balance line is curved to the extent of inch, and a large dart equal to 2 inches is reduced at the sideseam to control the material forced down from the front of the scye and round from the waist hollow. On the front skirt section there is a curvature of the waist and hip balance lines to the extent of inch, and the hem width is increased in proportion. This increase of hem width is caused by the closing out of the waist suppression as illustrated in the chapter on Waist Suppression. As further examples of modelled patterns, a modelled "lounge" shape and a sidebody jacket shape are illustrated and described. The "lounge" shape has one sideseam only placed towards the back of the coat as in a man's lounge jacket. This style is generally admitted to be difficult to cut satisfactorily, and the modelled pattern will show how the method of drafting this style is correct in principle.
The Modelled "Lounge" Outline (Fig. 343)

Fig. 343 illustrates an exact outline of the modelled "lounge" pattern placed in the square. Although the model was pinned vertically down the centre front line as usual, the breast line showed a distinct break in an upward
direction from the underarm dart towards the back sideseam. The dash line at the breast level illustrates the continuation of the breast line after being diverted, and to indicate the similarity between this modelled pattern and the author's standard draft, the pattern has been placed with the breast line of the back running in line with the diverted breast line at the sideseam to the underarm dart. This indicates that the breast line from the underarm to the fronts is raised or, as the author has systematized the principle, the hip overlap has been inserted at the underarm seam. A large suppression has been taken out at the side-seam equal to 1 inches, and 1 inches have been reduced from the underarm dart. Many cutters may look askance at these suppressions, but the truth remains that if a garment is required to fit into the waist, these quantities must be taken out; otherwise how can the waist size be reduced to the figure? The author believes in cutting to an extreme generally; it is easier to allow for ease when the system provides a perfectly balanced garment to an extreme degree of fitting. It is only when we have a system giving a well-balanced garment to a looser degree of fit and then attempt to obtain a closer fit that we meet trouble. For it must be understood that if a garment is well balanced in the closest degree of fitting quality, a slight easiness of fit will not affect the balance, whereas a well-balanced cardigan coat pattern would be far from balanced if made close to the waist measure.
Modelled Outline of a Sidebody Jacket (Fig. 344)

Fig. 344 illustrates the modelled outline of a sidebody jacket. Here, also, the similarity between the author's system draft and this model is apparent. Again we see a straight sideseam suppressed only inch at the waist on both seams. The back waist suppression is well shaped to the figure as indicated by the hollow run of the back sidebody seam from the scye to the waist. A point to remember is not to hollow out the back scye too much at the point indicated by A; otherwise, when the sideseam and sidebody seams are sewn out, there will be too much of a hollow run at this point and a fullness will be seen at the top of the sideseam. Marking the design on the modelled outline should be performed on the stand so that the correct perspective and balance between the design lines are obtained. If the first example of modelling is used for the basic pattern,
the suppressions pinned out at the back and front waist should be manipulated as described in the dress-cutting systems in order that the modelled pattern may be placed flat on the pattern paper. On the back bodice, the model should be cut through from the shoulder seam to the blade at the point where the suppression ends, and the skirt should be cut through from the hem line to the hip level to obtain extra skirt width and enable the model to be laid out flat. The front bodice may have a shoulder dart or a sideseam bust dart. If the waist dart is not required, cut through the shoulder dart to the bust point and re-mark the pattern with the waist dart closed out of the model. If a sideseam dart is used, cut through from the sideseam to the breast prominence, lay the model out flat on the paper and re-mark with both shoulder and waist darts eliminated. The skirt should be manipulated in a similar manner to the back, i.e. by cutting through from the hem line and opening out the skirt width until the model lies flat on the paper. If a very close skirt is needed and panel seams are shown in the design, the skirt width as modelled will be ample and the waist suppressions are
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by F. R. Morris
Chapter XXIVPattern Construction for the Wholesale Trade

UNDOUBTEDLY the future of the garment trade as a career for men and women lies in the wholesale side of the business. For here the opportunities are as many and varied as the different branches of the trade allow. In comparison with the retail trade, scope for advancement is relatively more commensurate with individual ability, providing opportunities for graduation from a stock cutter's position to either foreman or forelady over a cuttingroom and eventually to designer or designer-cutter's office. Here one has undisputed sway over the entire production of the establishment, ranging from the actual designing to pattern-cutting and production of first samples and repeat orders in bulk. Whilst the work is less individual in comparison with the retail measure trade with its personal contacts in the fitting room, this lack of personal contact has its compensations, for the worker, being tree from the average customer's fads and foibles, can concentrate more successfully on the production of as perfect a garment as possible to a desired standard of fitting quality. It is the aim and the test of the wholesale designer to produce garments that will give a fair to good fit on the greatest number of persons of a similar bust size. On whether he can achieve this result or not depends the success or otherwise of the establishment with which he is associated, and also his own success. That there must be a certain amount of alteration when the garments are tried on individual customers in the shops is admitted, but, on the other hand, the balance of the garments must be such that these alterations remain minor in character; for example, shortening the sleeves, shortening the length of the coat or similar garment to the customer's own ideas, or moving buttons. The author has had the personal experience of trying on stock garments made by reputable wholesalers on average figures and finding them to be completely out of balancetoo long in the front balance from neck to bust, resulting in the garment falling away from the figure at the front, or too deep in the armhole, necessitating a major alteration by lifting the shoulders and bringing the garment up into its correct position on the wearer. This
particular alteration is far from simple, for as the shoulders are lifted the armhole becomes smaller in circumference, the collar too long, and the sleeve head too large to go back into the smaller armhole. So it cannot be emphasized too strongly that the fit and balance of garments in the wholesale trade must be as perfect as is humanly possible before they are passed and repeated in bulk orders. The chief fault lies with the wholesale pattern cutter having failed to test out his pattern on a number of different figures before going into production. Too often it is the case that designers work on a stand or dummy figure, a practice which, while being an excellent idea in its way and very adaptable to the cutting of special effects or trying out of different seam placements that cannot accurately be visualized on a flat draft, cannot bear any comparative resemblance to an. actual human figure. The wholesale cutter must test out his patterns on. living models, as many of the same or similar bust size as possible, and then cut coats for each figure,, using the same basic pattern in each instance. He must fit these garments and then note in a tabulated form the various alterations from the basic pattern necessary to find the average outline for each and every figure. These alterations should be transferred to the basic pattern and then an average taken which will give the pattern outline most suitable to fit the greatest number of varying figures of equal bust measurement. Every firm has its own ideas of style, which should be set by the designer to form almost a trade mark so that buyers will be able to recognize that each wholesale house can be relied upon to provide their style requirements. In other words, wholesale houses should specialize and create an individual style, so that a model has only to wear a sample for the buyer to recognize the house of origin. The basic outlines of fit, degree of ease, or closeness should vary only with changing seasonal fashion. It must be possible for a designer to produce garments to many different styles which are identical in fit and balance. It has been the author's own experience to cut many samples from the same pattern and yet find, on having them made up, that the fit in each instance was completely different. This may be due to a number of causes, namely, different texture of material, the human element in making-up, or errors in cutting out. But it only serves to point the fact that designers must be constantly on the alert whilst making samples in order to study the requirements of each design.
There is very little time or money in the wholesale trade for altering or adjusting patterns, for samples have to be cut, made up, and passed by the principals as quickly as possible so as to enable travellers' samples to be put in hand, costings made up, pattern ranges got out, publicity arranged and all the myriad details of making a collection attended to. Therefore it is wasting time, cloth and money to use a pattern of which one is not sure of the result. Far better to test out thoroughly beforehand in any old piece of muslin, canvas or odd cloth to ensure the reliability or otherwise of the base pattern. It is the purpose of this work to present tested patterns on a systematic basis so that cutters will be able to produce a corresponding result not only in their sample sizes, but throughout an entire size range. The degree of fit is close as befits modern style in garment cutting, but adjustments for degrees of ease or closeness will be illustrated by practical examples. The basis of the system is contrary to the accepted practice of the majority of designer-cutters. As a general rule cutters in drafting out their patterns use the bust measurement as a basis of construction, but the author's system is based on the chest measurement, taken on the level above the bust. The logical explanation of this is simple, for the chest measurement is a true measurement of the frame of the body, whilst the bust measurement is a measure of what is technically a disproportionate growth on the body. By this is meant that the bust measurement may vary in relation to the chest measurement when the latter remains constant. For example, a chest measure of 34 inches may have a corresponding bust measurement of anything from 35 to 38 inches, depending entirely on the development of the bust. Therefore to calculate important measurements affecting the balance and fit of a garment from such an inconstant factor in relationship to the actual frame of the body as the bust measurement is to court disaster. To base the balance of a coat, position of the armhole, depth of armhole, width across front shoulders, etc., on a measurement that may be taken on the figure in a position totally out of relationship to any of the above factors is to render pattern construction completely unscientific. To facilitate complete understanding of the system of cutting the master pattern, the constructional stages will be described in some detail with the logical reasons given for each point as we go along. Once the master pattern is constructed in perfect balance, all other variations of style and seam placement are more of the nature of pattern manipulation and as such can be mastered by anyone with a knowledge of pattern construction.
A first essential of pattern construction is accurate measurements. Upon these depends the success or otherwise of a cutting system, but whereas they are of paramount importance in the retail trade as garments are cut to individual measurements, in the wholesale trade we work to an imaginary perfect figure, the measurements of which are decided by the average measurements of a number of figures of similar bust size. Obviously there must be some standard of measurements which conforms to the average proportions of women of an equal bust size, but this standard must be varied to suit the trade and district in which the garments are sold. In the West End of London, for example, it is possible with success to make saleable garments with a proportionate increase of 2 inches between the bust and hip measurements, whereas this standard of proportion would be entirely inadequate for the North of England. For the purpose of the cutting system in this book, it is proposed to base the draft on the proportion of 3 inches difference between the bust and hip measurements. This is a proportion that works out very well in practice and provides a balanced garment suitable for the majority of customers desiring a well-fitting stock garment to fit the average woman. It must be realized that a stock garment must have the qualities of being fairly long in the back balance to lie well into the waist, easy over the bust to allow for easy buttoning and to fit a size larger in bust than marked size, easy in the armhole to fit over a jumper if necessary, and short in the front balance for a snug fit at the lapel and back of collar. To decide the shoulder balance of the pattern in respect of the front and back depth of armhole, take a check measurement from the nape of the neck at the back round under the armpit close up to the figure and up from the front of the armhole across the shoulder to the starting point at the back of the neck. The increase or decrease of this measurement automatically indicates whether the figure has a long or short neck or square and sloping shoulders. This measurement the author has found very reliable in practice and one that gives every satisfaction in measure cutting, and for this reason it has been embodied in the system for drafting the base pattern. The other measurements necessary are the net waist measurement, the hip measurement, and across back width. The height of an average figure is also necessary, for from this measurement we obtain our depth of armhole and natural waist lengths on the principle of the eight-heads theory. This
latter theory of figure measurement is sadly neglected by the cutting fraternity as a whole, but it needs only a little logic to understand that any increase in height must be proportionately divided throughout the figure. The measurements upon which the base draft is systematized are as follows

Height = 5 feet 4 inches. Natural waist length = 16 inches. Chest above bust prominence = 32 inches. Bust = 34 inches. Waist = 26 inches. Hips = 37 inches. Round arm measurement = 24 inches.
It should be pointed out that the pattern outline obtained from the working out of the system is essentially modern in character, with a wide shoulder effect, close fitting waist and close over the hips, and for designers whose trade lies on easier fitting garments the system will also provide for the necessary adjustment by simple deviations from the base outline. The system provides for seams round the armhole and gorge, and also down the sideseams. It will be found in practice that this method of cutting base patterns is most practical in general use as these seams are constant in their allowances and need not be altered for different styles. All other seams must be added where design lines are placed when cutting out the patterns, 3/8-inch seams are allowed, this being the usual quantity absorbed in the wholesale trade. The draft also carries the requisite allowances for ease throughout bust, waist, and hip measurements. To proceed, commence drafting out the outline points as illustrated by Fig. 346.
Outline of Constructional Points for Jacket Patterns (Fig. 346)

Commence from point X. This point represents the nape of
the neck at the centre back. Draw a straight line downwards the full length of pattern required, approximately 24 inches.
1 from X for the depth of armhole is 7 inches.
This quantity can be calculated in two ways, each of which checks the other. The height of the normal figure is 62 inches, and calculating on the basis of the eight-heads theory, one-eighth of this height gives us a depth of armhole measurement of 7 inches. As a check to this method, the application of the round armhole measurement will be explained later in the system.
2 from X is the natural waist length.
This measurement can be taken either direct on the figure or calculated as one-quarter of the height = 15 inches, to which must be added the 3/8-inch seam allowed round the back neck.
X to X = the fashion length. Square out from points X, 1, 2 and 3. 4 from 1 = the half chest measurement, applied net. 5 from 4 = 2 inches, the standard allowance for ease, and two 3/8-inch seams. 6 from 1 = the half bust measurement plus 2 inches for ease and seams. 7 from 1 = half from 1 to 5 for the position of the scye.
This division of the chest measurement illustrates the principle of obtaining the basic constructional points from the chest measure in contrast to the usual procedure of calculating from the bust measurement. The position of the armhole or scye is of paramount importance in the construction of a well-balanced pattern, and the method advocated here has given excellent results. Logically, as the armhole is situated on the chest line, and not on the bust line, it must follow that the position must be decided by a division of the chest measurement placed in the correct location in comparison with the front and back across widths. The actual width of the scye is based on practical experience rather than on proportions of either the chest or bust measurements. It is governed in part by the back width, but for the purpose of wholesale pattern construction an average width suitable for average figures is the most effective method.
A 34-inch bust figure is found in practice to carry 4 inches width of scye, and from this standard there should be an increase of inch for every 2 inches increase in the chest measurement. Chest measurement is taken because, if the bust measurement is out of proportion, this has no bearing on the width of the scye, which remains constant with the chest measurement.

Divide the width of scye equally each side of point 7 to 8 and 9. Therefore 8 from 7 = 2 inches and 9 from 7 = 2 inches.
We now have to consider the question of a cutting scale from which various sections of the pattern draft are derived. The cutting scale gives a basis of comparison and proportion by which the draft is balanced equally in all its sections. The author's cutting scale is based on a division of the chest measurement, for the reason that stable parts of the body such as the width of neck at back and front, slope of shoulders, etc., remain constant with the chest measurement whatever the degree of development of the bust measurement. The method of finding the scale is to take one-half of the chest measurement. This quantity applies up to and including 36 inches chest. Over 36 inches chest measurement the scale is found by taking one-third of the chest measurement plus 6 inches. To continue with the draft.

10 from X for the half back neck width = one-sixth of scale net. Square up from 10 to 11 for the shape of the back neck, inch. 12 from X for the back shoulder slope = 1 inch. Square up from 9 to intersect the line squared out from 12 at point 13. 14 from 13 for the width of the back shoulder = 1 inch. Square up from 8 to 15 for the shape of the scye = 1 inches. Measure the width of the back neck from X to 11 and then apply half the round shoulder measure from 8 to strike an arc at 16. Apply the same measurement from point 6 plus the difference between half bust and half chest measurements to intersect the arc at 16, thereby locating the neck point.
Join 16 by a line to a point 1 inches above point 1 on the centre back construction line. 17 from 16 for the front shoulder width = the back shoulder width from 11 to 14 less inch. Join 15 to 17 and shape the front scye inch inside the construction line. 18 from 6 = the half round shoulder measurement applied from 6 less the width of back neck. Square out from 18 to 19 equal to the width from X to 10. Square down the centre front line from 6 to 20 and 21 on the intersections of the lines squared out from 2 and 3. 22 is squared out from 7, and 23 is a continuation of the line from 7 and 22. 24 and 25 are each inch from point 22 for the side waist suppression. 26 from 21 = the half waist measurement plus 1 inch to 1 inches for ease, depending upon style. 27 from 26 = the waist suppression from 24 to 25 plus 3/8 inch for seams. 28 is halfway between points 27 to 20. 29 from 3 = the hip suppression. 30 from 21 = half 27 to 28. The hip overlap at 31 to 32 = half the difference between the bust and hip measurements = 1 inches. Shape the front and back sideseams as shown. 33 from 1 = 2 inches. 34 from 6 = 3 inches. Join 33 to 34 for the actual breast position. Join 20 to 17 to locate the bust point at 35 on the intersection of the line joining 33 to 34. Square down from 35 to the hem line. Suppress at the front panel seams the quantity shown from 27 to 28 less inch. Suppress at the hip line on the front panel seams the quantity shown from 30 to 21. Shape out the front panel seams as illustrated from the hem line up to 35.
36 from 16 = 2 inches. Join point 19 to 36. 37 from 19 = 2 inches. Shape out the bust dart from 36 and 37 down to 35 as shown. 38 from 14 = 17 to 36. 39 from 2 = 4 inches. 40 from 3 = 4 inches. Suppress at 39 the quantity shown from 28 to 20. Suppress at 40 the quantity shown from 3 to 29. Suppress inch at 38 and complete the shape of the back panel seams from 40 to the waist and up to the shoulder at 38. 41 from 18 = one-sixth of scale plus inch. 42 from 6 = 1 inches for the front edge beyond the centre line, for the single-breasted button fronts. 43 from the bottom edge line = inch. Shape the bottom edge run from 43 to the sideseam. Complete the shape of the lapel as illustrated. The front pitch is located diagonally at A from point 8 and the back pitch B is half X to 1 up from point 9 on the chest line.
The draft now completed provides for an easy-fitting jacket over the bust line, with a slight drape at the front of scye, slightly draped back scye, and a square wide shoulder appearance. Made up pads are allowed for in the shoulders and must be inserted to get the best results from the system. The waist and hip fitting are snug to the figure and the front bust dart and panel seam treatment accentuates the figure in the modern manner. It will be seen that there are a number of alterations from the standard basis draft given in Chapter III of this work, but this is understandable when it is realized that a wholesale jacket must fit a variety of figures and should be of such easy fitting proportions through the shoulders to fit any variations of these measurements in an increased quantity. The average wholesale jacket will fit a 35-inch bust figure quite well when the size ticket indicates a 34-inch bust, and it is to meet these contingencies that variations have taken place in the wholesale system in comparison to the bespoke diagrams.
Sidebody Jacket Draft (Fig. 347)

The foregoing has described the basis system for panel front and back jacket styles, and this draft will describe the drafting alterations necessary for the production of a sidebody jacket. This style of jacket is perhaps more popular to-day than the panelled jacket, as there is a tendency for ladies' jackets to become simpler in style and more approximating to the style of a man's lounge coat. The draft retains the panel front for perfection of bust and waist fitting, and the back is drafted from a whole back block pattern extending to the underarm sideseam. The outline points are the same as for the panel draft, and to make the alteration into a sidebody lounge back style proceed as follows

C from 2 = inch in all instances. D from 3 = the back hip suppression inch in all standard measurements. E is located at 2 inches up from the bust line on the back scye for the top of the sidebody. F from C = half of the bust scale as a general guide for the width of the back at the waist.
While this measurement is given, it must be understood that this is only a general guide for style, and it is up to the designer to make the shape of the waist in accordance with a definite style trend of his own, that is, what he considers is good style, and, having decided the position, to retain it in order to standardize the production style throughout the various ranges of designs.

G from D = inch wider than the distance from C to F. Shape the sidebody back seam from E to F and G and down to the hem line as illustrated.
H from F = the remainder of the back waist suppression indicated from 27 to 28 less the quantity from 2 to C. Shape down the sidebody seam from E to H and G down to the hem line to complete the draft of the sidebody. Add 1 inches beyond the centre line for the front edge and complete the shape of the singlebreasted lapel.
Block Front Jacket Style (Fig. 348)

The other standard basic draft for ladies' jackets is the block front style, without front panel seam and relying on waist darts for the waist suppression. Fig. 348 also illustrates a variation of the back. This consists of a centre back seam with two panel seams over the blades. The back part is as follows
The outline points of the block pattern are the same as Fig. 346, the basis draft, and to make the variation for the centre back seam mark in from 2 to C inch in all instances. D from 3 = the hip suppression quantity of inch. Shape the centre back seam from D through C up to the centre back neck point at X, suppressing inch at the breast construction line. E from 11 for the position of the panel seam at the shoulder = 2 inches or inch more than the position of the corresponding seam on the front shoulder. F from C at the waist line for the position of the panel seam = from 2 to 3 inches according to style and the personal views of the designer. G from D for the position of the panel seam at the hip level = from 3 to 3 inches.
Shape the side panel seam from E to F and G and down to the hem line. H from F = the remainder of the back waist suppression as decided from the basis draft. Shape the remaining panel seam from G through H and up to the shoulder seam at E, suppressing inch at E for the shape over the blades.
This completes the draft of the back part, and we will now proceed with the necessary manipulation of the block front pattern to eliminate the panel seam. Cut through the pattern on the front panel seams from the hem line up to the bust point at 35, and then by pivoting from 35 place the two edges of the panel seams together at the hem line as illustrated by the diagram and indicated by the dash lines. This pattern manipulation will have the effect of opening up the bust dart from 35 to 36 and 37, and this increase will have the further effect of increasing the bust shape that has been previously reduced by the closing out of the front panel suppression. Mark in the first waist dart in the position indicated on the diagram and reduce at K the amount of waist suppression shown between the dash lines at the waist. The standard waist dart suppression of inch is taken out of the pattern at J. Add 1 inches at the front edge to complete the draft.
Draft of a Sports Jacket (Fig. 349)

Fig. 349 illustrates the draft of a popular style of
ladies' sports jacket and illustrates a more complicated method of pattern manipulation. This style has a yoke across the back and front shoulders with the back gathered into the yoke to give fullness and ease of movement. The bodice is also gathered into the front shoulder in a like manner to balance up the style points. A half-belt is shown across the back waist, and the back skirt part of the jacket below the waist is cut without any seams or panels. Two waist darts are indicated on each side of the foreparts, and four patch pockets complete the style points. The fronts button high up to the neck line, finished with a small single-breasted lapel. The back pattern manipulation is shown by Fig. 349, and to obtain the required pattern a solid block pattern of the back is utilized. Points X, 11, 14, 7, 24, 32, 3, 2 and 11 are the same as described by Fig. 346. To construct the amended pattern, first fix the position of the shoulder yoke seam down from the shoulders. For the purpose of this draft, the shoulder yoke is placed at half the distance from X to 1 and located at A. Square across from A to B as shown by the dash-line. The back waist suppression quantity of 1 inches is marked out on the waist seam at points C and D, being spaced at approximately 3 and 6 inches from the centre back construction line at 2. The back hip suppression quantity of inch is marked out at E, and the other pivoting point F is located at approximately 3 inches from E.
These measurements are given approximately, as they would naturally vary with different size waist and hip measurements. The shoulder yoke cut separately from the back is shown by Fig. 349 (b). Take the pattern and split through from C to G and from D to H as shown by the dash lines. Close the dash lines together at C and D and then open out the dash lines at G and H by pivoting from C and D. The amount these dash lines are opened decides the amount of fullness to be gathered into the shoulder yoke. In this instance, each dash line has been opened out by 1 inches in each point, giving a total quantity of fullness equal to 3 inches on the half back and 6 inches across the whole back shoulder. This quantity is ample for fullness, and any excess only tends to affect the fit of the jacket under the scye towards the front by a lack of control. The skirt of the back is manipulated into shape by closing out the inch of back hip suppression at E and then, by opening up the dash lines from E to C and F to D, obtaining the solid pattern outline as indicated by the points from 2 to C, D, 24 and 32. The back patterns are completed by adding seams from A to B on the shoulder yoke seam, from A, G, H and B on the lower shoulder yoke seam, and from 2 to C, D and 24 on the across waist seam. Add a seam across the back skirt waist seam from 2 to C, D and 24 to complete the construction of the back patterns.
Forepart Pattern Manipulation (Fig. 350)
Fig. 350 illustrates the pattern manipulation necessary to obtain the shoulder yoke and front bodice fullness. First close out the front panel seams from the hem line to the bust point at 35 to obtain a seamless front pattern, and then proceed to fix the position of the front shoulder yoke down from the shoulder. While the position of the shoulder yoke is a matter of personal taste, the following measurements give a good idea of general style.

A from 17 is 4 inches down on the front of the scye for the termination of the shoulder yoke in the scye. B is 4 inches down from the gorge run at the neck on the centre line of the position of the shoulder yoke at the centre front. Square across from B at the centre line to locate point C midway the two bust dart seams. Square across from C to locate points D and E on the shoulder darts seams, making E from 36 = to 37 to D. Join B to D and E to A for the run of the shoulder yoke seam.
The appearance of the broken seam run from B to D and from E to A is necessary, so that when the shoulder dart is closed together this seam will make one unbroken seam line. If the seam had been marked across the shoulder in a continuous line, when the shoulder dart had been closed together, a point would have appeared at points E and D instead of the unbroken seam that is required. So the procedure is to square out to the centre of the shoulder dart and then make the joining points on each seam of the shoulder dart equal in length down from the shoulder seam. The shoulder yoke is now 1 inches smaller than the corresponding seam of the forepart from
A to E, D and B, and as this quantity is insufficient to give fullness over the bust with regard to the fact that the style of the jacket requires an extra quantity of width under the yoke, it is necessary to manipulate the forepart pattern in the following manner to increase the fullness. Cut through the dash lines from E and D to 35 and from 35 down to the hem line. By pivoting from the hem line at G, wedge open the pattern at 35 approximately inch to obtain the reconstructed pattern points from E to E1, A to A1 and 7 to 71. The pattern will also open at 25, but as the fullness is not required below the bust, point 25 is retained in its original position and the sideseam is re-shaped back from 71 to 25 as shown by the diagram. We now have a quantity of 2 to 2 inches of fullness in the shoulder yoke seam of the foreparts, and this quantity is sufficient for normal style purposes. The quantity of front waist suppression shown between the front panel dash lines is taken out in the form of dart at point F, and the suppression of the waist is completed by the standard waist dart of inch at H. This completes the pattern manipulation of the foreparts to obtain the shoulder yoke and bust fullness, and the draft is completed by adding 1 inches for the front edge beyond the centre line and shaping out the single-breasted lapel as indicated by the diagram.
Construction of the Canvas Pattern (Fig. 351)

The construction of canvas patterns is of
paramount importance in the wholesale trade as the shape of the coat depends entirely on the interlining retaining its shape in wear. The making-up of a jacket in wholesale production naturally has not the skilled handwork of a mantailored garment with its manipulation, pressing into shape, and general detailed work. Very often the work is made in its entirety by tailoresses, and when the jacket is finished it may be pressed-off on a flat Hoffman steam press and, consequently, stands a good chance of losing whatever shape the makers-up have succeeded in working into it. Therefore it is very essential that the framework of canvas should be cut in a shape to agree with the designed outline of the jacket, and made in such a way that it retains its shape. While a ladies' jacket canvas has not the reinforced shoulder haircloth padding of the similar man's jacket canvas as a general rule, it is sometimes advisable to make the canvas on the lines of a man's canvas if a permanent shape is desired. The majority of ladies' tailors use flax canvas for jackets to obtain a soft front effect, but the tendency to-day is to use a more substantial interlining, and various types of syddo are now in use. In the National Press and trade papers many retail shops are advertising their tailor-mades and coats as having unbreakable fronts, stressing the fact that their garments retain their shape in wear, and this is a revolutionary step in the right direction towards raising the standard of factorymade garments in the public mind. Too often the main objection to factory-made garments has not been over the question of style, but over the question of make and whether the garment will keep its first shape in the course of wear.
Generally speaking, so far as style is concerned, the productions of a good wholesale firm specializing in tailor-mades and coats are equal to the best measure garments after minor adjustments are made. Too often, measure garments are so fitted and recut about that their original shape and balance are completely distorted and the result may be a fit so far as fit is required, but something that lacks style. The wholesale garment, on the other hand, is designed and cut to an ideal, that of the perfectly balanced garment, with concentration on style as well, and so with minor adjustments it will retain its predesigned style and character. That is not to say that the top-class cutter in a retail house cannot improve on the wholesale. He can, admittedly, but every tailoring house in the retail ladies' trade has not the services of a highly-skilled cutter, and it is these smaller businesses that are in the greatest danger from wholesale competition. For a wholesale designer has only to concentrate on increasing the high standard of his productions in the realm of fit and style, and it follows that, by virtue of being a highly-paid specialist, his productions have all the advantages over those of his less skilled prototype in the retail trade. On the other hand, the wholesale trade cannot and does not wish to cope with the difficult figures of this world, and that is where the retail trade will always have its outlet. For these disproportionate figures need a good deal of fitting to approach anything like a satisfactory fit, and if they obtain that satisfaction then they are less concerned as to whether the garment carries the latest ideas in shoulder width or waist shape.
But to continue with the subject of canvas cutting for the wholesale trade. There are many methods of cutting the canvases. Some are good, but others leave a lot to be desired, as it often happens that designers underestimate the value and necessity of a good foundation for the shape of their garments and leave the cutting of the canvases to the tailor or tailoresses making the garment. But the question cannot be ignored, otherwise the production will suffer, with consequent fall in the demand for the wholesale firms' orders. First it must be realized that the canvas must conform to the shape of the outer cloth in all respects of suppression and shape. Too often canvases are put into coats that bear no relation to the outside of the garment, and the consequence is that in the course of pressing-off the garment, both canvas and cloth suffer distortion, resulting in loss of shape and a garment lacking the essentials for retaining the predesigned style points. Fig. 351 (A) illustrates the first method of cutting the canvas. Take the forepart pattern and mark round the shape of the front edge, shoulders, and front of scye. The front half of the canvas has an identical run with the front panel seam from shoulder seam to hem line as illustrated. The second part of the canvas, i.e. the shoulder part, is cut identically with the shape of the panel seam from waist level to bust point, and shaped up from the waist in a straight line to the front pitch. From the bust point it follows the run of the panel seam to within 4 inches of the shoulder seam, and then inch of spring towards the front of the jacket is added as diagram. This
shaped seam when sewn to the front panel seam produces a certain amount of ease at the front of the scye to compensate for the necessary ease over the shoulder point. Add inch of extra width to the canvas round the front of the scye, across the shoulder seam, round the gorge and step of the lapel, and, to complete, down the front of the lapel to the position of the first button. From the first button to the hem line the canvas is cut to the shape of the front edge. A seam must be added to the shoulder part of the canvas from A to B and C, and when the canvas is made the two edges should be overlapped one seam and machined up together overlapped, and not sewn out in an ordinary seam. Fig. 351 (B) shows the same canvas cut without the suppression from waist to bust point. In this canvas the bust dart terminates at the bust point, and the waist suppression from A to B is substituted by a diagonal dart from D to the bust point and is obtained by closing out the waist dart at A to B. Fig. 351 (C) shows the usual reinforcement pattern. This is obtained by closing together the two sides of the bust dart and then shaping the edge of the reinforcement pattern to run inch behind the crease line for approximately 6 inches, and then shaped down to the bust point and back to the front pitch point as shown by the diagram. A cut through the shoulder is made at E to F, 3 inches in length, and when the reinforcement is laid over the canvas this dart opens to fit the inch of spring infused into the canvas at C.
The Sleeve System (Fig. 352)

The points set out in Chapter V apply equally to the cutting of sleeves in the wholesale trade, but in addition it is necessary to be able to produce a sleeve that has a clean-hanging appearance at the back when on a model or display stand. The secret of this cleanhanging sleeve, which, in addition, possesses the required amount of freedom of movement, is what is termed "drape" in the tailoring trade, that is, a sleeve that has a reserve of material at back and front, which when the arm is moved comes into play, and yet when the arm is at the side lies cleanly in a soft fold at back and front of the scye. A high crown to the sleeve head also makes for a clean-hanging sleeve, and the method of sewing the sleeve into the scye also plays its part in the final result. At the front of the scye, the sleeve must be well fulled in so that the fullness has the effect of allowing the sleeve to fold forward over the arm muscle, and at the back scye the undersleeve should be fulled in by at least inch to allow the hindarm of the sleeve to fold back over the scye. These folds at back and front come into play when the arm is moved and then lie close to the coat when the arm is at rest. Fig. 352 illustrates the draft of the sleeve in conjunction with a normal scye draft.

Point A is the front pitch, marked on the scye diagonally from the front of scye point. B is the standard position of the back sleeve pitch, located at half the back depth of scye up from the chest line. C is the fashion sleeve pitch at the back scye, located at 1 inches down from B.
D is the shoulder point of the back shoulder. E is the front shoulder point. 15 is 1 inches up from the base of the scye, located on the front of scye line. E on the front scye is one seam below point E.
Commence the sleeve draft by squaring across from F to G on the back scye line.

H is one seam below the level of the back shoulder point at D. J for the crown height is located at midway G to H, and this point J represents the actual level of the shoulder of the jacket on the figure when the shoulder seams are sewn together. Square a line out from J for the crown height level. From point F and pivoting from 15 at the front of scye, sweep out to locate point K, 5/8 inch from F. Square down from K to L on the line squared out from the scye pitch B.
Now we come to the question of fullness in the sleeve. A draped sleeve effect can only be achieved by the addition of essential fullness in the sewing in of the sleeve, and the quantity for this draft is decided at 2 inches.

So mark from L to M 2 inches for the fullness addition. Then measure from the back sleeve pitch B up to the shoulder point at D and apply this quantity direct and net from M to N. Square out from the fashion pitch at C to obtain the point MN, which is 1 to 1 inches from a line squared directly down from N. Shape the run of the sleeve head from MN through N, midway through G and J, round to K and down to 15 at the front of
scye, making the sleeve run between K and 15 approximately inch from the front of scye.
Line through from K and 15 to locate point O, equal to the distance A is from 15. Add a 3/8-inch seam from O to P as indicated. Square down from P to Q, the forearm length plus one seam. Square out from Q to R 1 inch for the necessary forward hang of the sleeve. S is midway P to R for the position of the elbow. By the line from P to R, square out from S for the elbow line position. T from S = 1 inches for the shape of the forearm. Shape the forearm up from R to T and P. U from T = the distance P is from the forearm seam at A, after a seam has been added forward from A as shown. V from R, squared out from R = from U to T. By pivoting from point N, sweep back an arc from midway V to R to locate point W at the hindarm. W from midway R to V = the cuff width plus two seams. X from the line joining W to N = 1 inches for the sleeve width at the elbow. Y is inch from X. Z is 1 inch from the back pitch at C. Shape forward one seam and complete the shape of the under-sleeve as shown in the draft. Shape down the hindarm seams from MN to X and W and from Z to Y and W.
The width of the sleeve below the scye should measure in respect of a 34-inch bust size 14 inches. This measurement is given as a guide to obtaining a sleeve that will give the necessary freedom over the muscle in wear and should vary only if the width of the sleeve is of more importance than the amount of freedom required. Fig. 353 shows two sleeve cuff finishes that are self-explanatory and illustrates (A) an open cuff and (B) a sham open cuff.
Block Patterns for the Wholesale Trade (Fig. 354)

Every wholesale designer works from a set of reliable and well-tested block patterns, as it would be obviously non-practical to draft by system for every new design in addition to the risk of failing to repeat a successful pattern. The most useful patterns to have are as follows
1. A solid block outline of the back and forepart, joined together at the sideseams as shown by Fig. 354 (a). 2. Back and forepart cut separately as Fig. 354 (b). 3. Outline patterns of the panel back style as Fig. 354 (c). 4. Outline patterns of the back and sidebody style as Fig. 354 (d). 5. Outline patterns of the panel front as Fig. 354 (e). 6. Outline pattern of the block front style as Fig. 354 (f). All balance marks should be inserted on the patterns, and also pitch points and breast waist and hip level lines. With this complete set of block patterns it is possible to produce any style of jacket patterns and to retain the essential fitting and style points as decided by trial and error. A full range of sizes should be cut in all of the patterns and graded so that all seam positions give identical lines to the original master pattern.
Skirt Basis Draft (Fig. 355)

Fig. 355 illustrates the skirt basis draft.
This draft is very simplified in outline and will serve as an efficient block pattern for the designing and cutting of all styles of skirts. Measurements for the draft are as follows

Waist = 26 inches. Hips = 37 inches. Full length = 27 inches, or to present fashion.
Commence from point X.

1 from X = 8 inches down for the hip level. Square out from 1 to 2, onefourth of the hip measurement plus inch. Square up from 2 to 3 equal to X to 1. 4 from X = one-fourth of the waist measurement plus inch for the front waist dart. Square down from 2 to 5, making the length from 4 to 2 and 5 equal to the side skirt length plus one seam for the turning-in of the waist. 6 from 5 = 1 inches. Shape the sideseam from 4 through 2 down to 6. 7 from X = inch. 8 from 7 = the full length of the skirt. Shape the hem from 8 to 6 through 5.
This completes the draft of the front of the skirt block pattern.
THE BACK SKIRT DRAFT Commence from point 12 at the centre back waist.

13 from 12 = 8 inches down for the hip level. 4 from 13 = one-fourth of the hip measurement plus inch. The hip measurement has now in effect had 1 inch added for ease. 15 from 12 = one-fourth of the waist measurement plus 1 inches added for the standard back waist dart quantity. 16 from 12 = inch. Shape the waist seam from 16 to 15. 17 from 12 = 4 inches for the position of the back waist dart centre. 18 from 17 = inch. 19 from 17 = inch. Shape out the back waist dart from 18 and 19 down to 20, making the dart 6 inches in length. 21 is squared down from 14 and is equal to the sideseam length plus a seam from 15 measured through 14. 22 from 21 = 1 inches. Shape the sideseam from 21 up to 14 and 15 as shown. 23 from 16 = the full skirt length. Shape the hem line from 23 through 21 to 22.
This completes the draft of the skirt block pattern, and when cutting from the material an inlay should be added down each sideseam and 2 or 3 inches hem as required.
Manipul ation of the Skirt Block Manipul ation of the Skirt Block Pattern (Fig. 356)
Fig. 356 shows the use of the skirt block pattern in practice, and for the purpose of the diagram a skirt with an inverted pleat at centre front, two knife pleats at the side front, and an inverted pleat at centre back is taken. The skirt also has a slight flare at the sideseams, and represents a very fashionable and useful "odd" skirt style. The method of adding the side knife pleats and the centre back inverted pleat is in keeping with modern practice, which aims at
eliminating excess material inside the skirt. Take the front skirt block pattern and cut through from the hem up to the end of the front waist dart at 11, and then by pivoting from 11, close points 9 to 10 to open the width of the skirt at the hem.
A from point 8 = 14 inches up from the hem for the length of the centre front inverted pleat. B from A = the width of the front pleat 3 to 4 inches. C from 8 = the width of the pleat as above. Join points C and B for the fold edge of the pleat. D is half A to B, and then mark up from D to E. F for the position of the side knife pleat = 2 inches from 7. G from 8 = 3 inches. Join G to F for the centre of the knife pleat. H from G = 2 inches. J from G = 2 inches. Mark up the edges of the knife pleats from J and H to K and L. K and L, are 14 inches from the hem line and each point inch from
the centre line of the pleat. N and M are equal to K and L from point F.
THE BACK SKIRT DRAFT Take the back skirt block pattern and split through from the hem up to the back waist dart at 20 and then close out the dart from 18 to 19, half the total width of the dart, making the dart inch in width.
Add inch from 16 to O and inch from O to P for the top width of the tapered inverted pleat. Q from 23 = 2 inches. R from Q = 2 inches for the width of the inverted pleat at the hem. Mark up the crease lines of the pleat from Q to O and from R to P, and then add inch seam from P to S and from R to T. Add 1 inch inlay down the sideseam from 15 to 22 as shown, with a small step at each end so that the machinist has no difficulty in sewing out the right quantity. Add similar V steps to the dart and pleat as indicated.
This type of tapered pleat is usually edge-stitched down its entire length on the outer and inner edges so that it remains in crease in wear.
Allroun d Knife pleat ed Skirt (Fig. 357)

Fig. 357 illustrates the cutting of an all-round knifepleated skirt, with tapered knife pleats from the waist to the hem. All the pleats are edge-stitched and will remain in place in wear. This type of skirt has had a great success, and justly so, as it combines a very clean fit over the hips without the added bulk of material inside which most all-round pleated skirts have.
Extreme care must be taken with the making-up of this skirt as there is a tendency for the material to stretch under the machine where it is unavoidably cut on the bias. When cutting from the material, contrary to the usual practice, the sideseam is placed on the straight of the material so that the centre of the skirt comes on the bias. This method of cutting ensures the pleats over the sideseams hanging cleanly over the hips. Commence by taking a front skirt block pattern and close out the front waist dart as described in Fig. 356 to eliminate the waist dart and to widen the hem width. Points 4, 6, 7 and 8 are identical with previous drafts. Take the distance from 4 to 7 and divide into four equal parts, which, in the example of a 26-
inch waist, makes each fourth part equal to 1 5/8 inches. This division of the pattern provides for three pleats each side of the centre front pleat. Take the distance from 6 to 8 and divide by four. In this example, each fourth equals 4 inches. Join points A, B and C to points D, E and F at the hem line. These lines are the pleating lines for the knife pleats. Fig. 457 (b) shows the method of obtaining the knife pleats
Cut through the pattern from A to D and open out. AA from A = 1 inch. DD from D = 3 inches. Mark the crease edges of the first pleat from A to D and from AA to DD and join D to DD and A to AA.
Cut through the pattern from B to E and open out. BB from B = 1 inch. EE from E = 3 inches. Mark the crease edges of the second pleat from B to E and from BB to EE. Join E to EE and B to BB. Cut through the pattern from C to F and open out. CC from C = 1 inch. FF from F = 3 inches. Mark the crease edges of the knife pleats from C to F and from CC to FF. Join C to CC and F to FF. On the sideseam add 1 inch inlay at 4 and from 2 to 2A. G from 6 = 2 inches allowing for a seam. Join 2A to G for the sideseam knife pleat and complete by joining G to 6. At the centre front add 1 inch
from 7 to H and 2 inches from 8 to J for the centre front pleat.
Thi s qua ntit y allo ws for the nec ess ary sea m do wn the cen tre fro nt, whi ch as it is cut on the bia s can not be cut on the fold of the ma teri al.
This pattern is now completed and is suitable for both
the back and front parts of the skirt. The edges of all the pleats should be stitched both on the outer and inner edges right through to the hem line.
Grading for the Wholesale Trade

Grading of patterns plays an important part in the work of a wholesale designer and pattern cutter, for when he has made a successful sample and repeat orders are taken on it, it is necessary to cut a range of sizes incorporating the identical balance, style and fit of the original sample. Now it is not always possible to undertake, and certainly the amount of time at any designer's disposal does not warrant, the elaborate process
of cutting three or more sizes of patterns by system in order to obtain the intermediate pattern sizes as could be done in the retail trade when cutting out a set of block patterns. Hence a good knowledge of pattern construction and the amounts and increases in each section of the pattern is essential in order to eliminate the necessity for drafting more than one pattern to obtain other sizes exact in style and balance to the original. Sometimes it is only necessary to cut two other sizes from the original it all depends on how the garment sells and in what sizes. Usually in a general wholesale trade dealing with normal fashion as distinct from
specialist houses that make for outsizes, a range of sizes from 32-inch bust to 40-inch bust is sufficient, but here again much depends on the type of trade catered for by the retail house to which the garments are sold. Some retail departments sell only from 34inch to 38-inch bust, while others sell in American sizes (see size chart given in Chapter II). But whatever is the case it is a simple matter with a knowledge of pattern construction to be able to produce from one perfect pattern a range of sizes identical in balance and fit. Our knowledge of measurements and system tells us that the back neck width increases approximately 1/8
inch per 2 inches of bust size, and that the back width increases approximately 3/8 inch for every 2inch difference of the bust. Similarly, throughout the entire pattern the variations of size can be fixed and a set of graded patterns obtained without the process of drafting out each pattern singly by syst em.
Gra de of a Jac ket Bac k (Fig . 358)

Fig. 358 shows the grade of a jacket back from size 34-inch to 40inch bust. Take the 34-inch bust pattern, and, commencing at the back neck point Q,
mark up four inch points to represent the necessary increases in back depth for the four given sizes. Then at point A on the back neck, mark forward 1/8 inch for every 2-inch difference of bust size, making four-eighths of an inch in all. Then square across from point A to intersect these four lines, and on the first line raise the back neck point A inch. On the second line raise inch, and on the third line raise inch to represent the back neck point A for a 40-inch bust size jacket. At the back shoulder, mark a line square down with the shoulder end point B, and then mark forward from this point three lines at intervals of 3/8
inch. Square out from point B to intersect these three lines, and then on the first line raise the shoulder point B inch. On the second line raise inch, and on the third raise the back shoulder point inch to complete the grade of the back shoulder. At the top of the sideseam at point C, mark out 3/8 inch for every 2 inches increase in the breast girth. At point D, mark out 3/8 inch for every 2 inches of increase in the waist girth. Lastly, at the hip level mark out 3/8 inch for every 2 inches of increase in the hip level. Mark round the sidebody pattern, and then at the breast line add 1/8 inch for every 2 inches of the breast size. At
the waist line, add 1/8 inch for every 2 inches of increase in the waist girth, and at the hip level add the same increase for every 2 inches difference in the hip mea sure.
The Gra de of the Fore part (Fig. 359)

Take the forepart pattern, and then from the front neckpoint at A mark a line parallel with the breast line through A. Then mark three lines at inch intervals forward from A, and on the first line forward from A mark up 3/8 inch upwards. On the second line, mark upwards inch, and on the
third line mark upwards 1 inch and 1/8 inch for the neckpoint of the 40-inch bust size. Connect up the four points from A by a grading line, and then from point B draw a line parallel to the line from A. Then mark up in sections equal to the points marked on the line up from A. Square up from the breast line through C, and then mark up from C three points at 3/8-inch intervals. Join point D to E, and then on the extension of this line from E mark up three grading points at -inch intervals for the grade of the shoulders. At the top of the sideseam add 1/8 inch for every 2 inches increase in the breast girth, and add
corresponding quantities at the waist and hip levels. At the centre front line on the breast line, add 3/8 inch for every 2 inches of the breast girth, and at the waist line and hip level add similar quantities. At the gorge, square across from M and mark forward three lines at 3/8-inch intervals. Then on the first line mark a point inch up from the line squared out from M, on the second line add inch up from the line from M, and finally on the third line mark up inch for the grading point of the 40-inch breast size. At the bust point, mark forward 3/16 inch for every 2 inches increase in the breast size to
complete the grade o f t h e f o r e part.
The Sleeve Grade (Fig. 360)

The grade of the sleeve is as follows At point A on the sleeve head, mark forward three lines at -inch intervals, and then on the first line forward from A mark upwards inch for the 36-inch bust size. On the second line, mark upwards inch for the 38-inch bust size, and on the third line mark upwards inch for the grade of the 40-inch bust size.
At point B, mark a line through B and then mark three lines upward from B at -inch intervals for the grade of the three sizes, 36, 38 and 40-inch bust. Then on the first line mark out 3/8 inch, on the second line mark out inch, and on the third line mark out 1 1/8 inches. From point C draw a line parallel with the points graded out from B and then mark out three points similar to the points marked out from B. At point D on the elbow, mark out three points at -inch intervals, and at the cuff mark out three points at -inch intervals to complete the grade of the top sleeve. On the undersleeve, draw a line from the top
of the forearm through the top of the hindarm at F, and then mark out three points at inch intervals and complete by paralleling a line from F marked out in similar -inch intervals. At the hindarm, at point G, mark out three -inch intervals, and at the cuff mark out three similar points at H. Connect up all these grading points to complete the grade of the u n d e r s l e e v e .
A Child's Coat (Fig. 361)
The accompanying draft of a child's coat will satisfy the need for a practical system that can be adapted for the cutting of either boys' or girls' coats. The waist length of children varies a great deal through the various ages and a good size scale is essential for the producer of children's clothing. Other points are the provision for an easy scye for getting into the garment and a generally easy fit to allow for growing. The draft illustrates the cutting of a panelled coat, buttoning up to the neck with a prussian collar and flared from below the waist down to the hem. The measurements for
the draft are as follows

Breast = 26 inches. Waist = 24 inches. Waist length = 11 inches. Full length = 26 inches. Half back = 5 inches. Working scale = half the breast measuremen t plus 1 inch.
To commence Square from point X.
1 from X = the depth of scye, half scale, 7 inches. 2 from X = the natural waist length plus one seam. 3 from X = the full length plus one seam.
4 from X = onesixth of scale less inch. 5 from 4 = inch. Shape the back neck run from 5 to X. Square out from 1 to 6 for the breast line and make 6 from 1 equal to half the breast measure ment plus 3 inches. 7 from 6 for the across chest width = half scale less inch. 8 from 1 = half back width plus one seam. 9 is midway 7 to 8
for the position of the sidesea m.
10 from X for the shoulder slope = 1 inch. Square out from 10 to intersect the line squared up from 8 and then mark the shoulder end point inch out from the point of intersecti on. Shape the back shoulder seam from 11 to 5. 12 from 7 for the front neckpoin t = onesixth of scale plus 1 inch. 13 from 12 = from A to 1 plus one-
twelfth of scale less inch.
14 from 1 = 1 inches. Join 13 to 14 and make the front shoulder width from 13 to 15 equal to the back shoulder width from 5 to 11 less inch for easing-in the back shoulder to the front. Complet e the shape of the scye as illustrate d. Square down from 6 to 15 and 16 at the hem line. 17 from 15 = inch. Draw the
centre front line from 6 through 17 to the hem line.
Square up from 16 to 18, making 18 from 6 equal to 12 to 13. 19 from 18 = onesixth of scale. Shape the neck run from 19 to 13 and then take out a -inch cut at 19 down the centre front line, making the cut 3 inches in length. Square down from 9 to 20 and 21 at the sidesea ms and then shape out the
sidesea ms, suppress ing inch from 22 to 23 and overlappi ng 3 inches from 24 to 25.
26 from 2=3 inches. 27 from 5=2 inches. 28 from 3 = 5 inches. Shape the back panel seam from 28 to 26 and 27. 29 from 28 = 4 inches. 30 from 26 = 1 inch. Shape the side back panel seam 27, 30 to 29. 31 from 13 = 2 inches.
32 from 17 = 3 inches. 33 from the centre line = 5 inches. Shape the front panel seam from 33 to 32 and 31. 35 from 32 = inch. 34 from 33 = 4 inches. Shape the side front panel seam from 34, 35 to 31 as indicated . 36 from 19 = 3 inches. 37 from 17 = 3 inches. 38 from 16 = 4 inches. Shape the front of the coat as illustrate
d to complete the draft.
The front pitch is found on the diagonal line from 7 and the back pitch B at half the back depth from X to 1 up from 8. The sleeve for this coat can be drafted on the principles laid down by the sleeve drafts given previously with the necessary adjustments for width of cuff and elbow.
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Vintage Sewing Main Page > 1940's > Ladies' Garment Cutting and Making > Appendix Search | Subscribe | Support

by F. R. Morris
Appendix
LADIES' GARMENT CUTTING AND MAKING has now been before the tailoring trade for over twelve years and, while reports from readers have always been of the highest praise, it is felt that with the changing of style in cutting to a more accentuated fit and the changing of women's figures through the perfecting of foundation garments, uplift brassieres, and the like, the system perhaps needs some modification in practice though not in general principles. While the system as laid down throughout this work is adaptable to any demands made on it, to save unnecessary fitting adjustments it has been decided to describe the basis systems in a revised form suitable to the modern style of cutting and the modern figure. The necessary adjustments are from the point of view of style only; the basic principles of the original system are retained. The tendency of modern styling is to accentuate the width of shoulders at back and front of the scye, what is known in the trade as "drape," and whilst for a short period, in the "New Look" days, we had styling that narrowed the shoulders at front and back in order to accentuate the bust, the normal trend of styling is for width through the shoulders, tapering to a narrow waist. To the users of the original system, this change of styling would present no difficulties; it would involve only the addition of width in the parts where required, and this would mean an easing out of the constructional points throughout the draft. For example, we need a -inch wider back and forepart over the bust. The addition of the extra inch in the locations, where required, would involve adjustments in the hip overlap and the waist
suppression factors. The neckpoint forward from the front of the scye would remain constant in its present position, the extra inch being spread over the whole across the bust width and necessitating an increased bust dart to achieve the increased bust contour shape. Below the bust, there would not be any change in the fitting of the waist and hip sections, unless it is desired to accentuate the waist still further, as is customary in styling these days. The pattern would need the extra width added through the bust to be suppressed at the hip level. The extra width through the back is located at the sides and calls for increased waist suppression, but not of hip suppression as basically the blade points at point of hip prominences still bear the same relationship to each other as in the original draft system. The shoulder slope remains unchanged, allowing for a small pad on the point. For thicker pads it is an elementary procedure to raise the height of shoulder slope by adjustment of the point located on the line squared up from the centre of the scye.
Basis Draft for Short Jacket (Fig. 362)

The following is a description of changes and revision necessary to the basis draft for short jackets in order to eliminate unnecessary adjustments at fitting time for the achievement of the modern style outline. It must be understood that the changes made are within the framework of the basis system as described previously and may be incorporated in the block pattern without recourse to the present system draft, if so desired. The trend of style to-day is for a semi-draped jacket; tomorrow we may again be back to form-fitting style throughout the shoulders, but to-day semi-drape and drape are the current fashions. It does not present many difficulties to add width in the pattern where required, but for those cutters who prefer the width to be incorporated in a systematic draft, then the following will be of value. It has been decided, for example, to add an extra 1 inch across back and extra 1 inch across chest, i.e. inch on the x back measure and
inch on the x chest measure. These additions will provide for a moderately draped front and back scye. The measurements for the draft will read as follows

Chest = 34 inches. Bust = 36 inches. Waist = 28 inches. Hips = 40 inches. Natural waist =15 inches. Full length = 26 inches. Half back = 7 inches. Working Scale = half the bust girth = 18 inches.

1 from X = one-third scale plus 1 inches = 7 inches. 2 from X = waist length 15 inches. 3 from 2 = 8 inches for hip level. 4 from X = one-sixth scale less inch. 5 from 4 = 1 inch. Shape the neck curve from 5 to X. 6 from 1 = half back width plus inch = 7 inches. 7 is squared from 6. 8 from 1 = half bust plus 3 inches. Square up to 9 and square back from X. 10 from 9 = one-twelfth scale. 11 from 10 = one-sixth scale. 12 from 8 = one-quarter bust less inch. 13 from 12 = one-sixth scale. 14 squared from 13 = 8 to 10 less inch.
The width of scye from 6 to 12 may also be found as an eighth of the bust measure plus inch.
This is a useful variation from the system when a draft is being made on direct measure methods, using the across-back measure and across-bust measure plus the width of scye measurement as indicated.

15 is midway 6 to 12. 16 squared from 15 = one-third scale plus inch. Square up from 6 to 7, intersecting the shoulder slope line from 16 to 5 at 17. 18 from 17 = 1 inch. 19 from 14 = 5 to 18 less 3/8 inch. 20 from 12 = 1 inches. Join 20 to 19 and hollow the front of size inch. Square down from 8 to 21, 22 and 23. 24 from 23 = inch. 25 and 26 are squared from 15. 27 and 28 are each 3/8 inch. 29 and 30 are each 5/8 inch, making hips overlap 1 inch at half the difference between bust and hips less 1 inch. This quantity is calculated as follows From 1 to 8 = half bust plus 3 inches = 21 inches. From 3 to 22 = also 21 inches.
We need at the hips, half hip measurement plus 1 inches for ease and seams, inch and inch for two sideseams = 21 inches, which is inch more than 3 to 22. We then need to suppress the front panel seams inch and the back panel seams inch = inch. This makes a total of 1 inch which must be added at the sideseams to compensate. This equals half the difference between bust and hip measurements less 1 inch as stated. To look at this from another angle

1 to 8 = half bust plus 3 inches = 21 inches. 3 to 22 = 21 inches also.
Half the difference between bust and hip measurements = 2 inches. Add this 2 inches to 3 to 22 = 23 inches. We need 21 inches over the hips. Difference = 1 inches to be reduced on the draft. Reduce inch at the back panel, inch at the front panel and 1 inch from the side of seams.
Therefore, on this draft, the hips overlap always equals half the difference between bust and hip measurements less 1 inch providing that inch is also reduced at front and back panel seams. FORMULA

Half hip plus 2 inches = 22 inches = 1 inches seams/ease, three-quarter panel suppression. Half bust plus 3 inches = 21 inches Difference = 1 inch Difference = hip overlap at sideseams. 31 from 8 = 2 inches for bust point level. 32 from 31 = one-sixth scale plus 1 inch. Square from 32 to 34 and 35. 33 is pivoted from 32 and 14. 33 from 14 = 14 to 11. 36 and 37 from 34 are each inch, making 1 inch standard waist panel suppression for this style of jacket. 38 from 35 = inch or the amount of extra width added through the bust. Shape the front panel seams as shown.
The question of waist suppression now is considered. We have a standard inch taken from the sideseams, plus 1 inch from the front panel seams, plus inch for seams, which makes a total of 2 inches to be added to the tight waist measure of 28 inches. For ease on the draft, 1 inches may be allowed which is sufficient these days.
Therefore the total allowances on top of the waist measurement are as follows

2 inches for suppressions at side and front seams and allowances for two sideseams at inch each. 1 inches for general overall ease. Total = 3 inches to be added to the half waist measure.
The formula then becomes

Half the bust measure plus 3 inches = 21 inches. Half the waist measure plus 3 inches = 17 inches. Difference = 3 inches Suppression, one-third front and two-thirds back = 2 1/8 inches back and 1 1/8 inches front. Therefore 39 from 21 = waist measure plus 3 inches. Surplus waist increment = 39 to 2. One-third of 2 to 39 = 40 to 39. 41 from 39 = 40 to 2. 42 is midway. Square from 42 to 43. 44 from 43 = inch. 45 from 18 = 33 to 19. Shape the back panel seams as shown. Suppress at 46, the quantity indicated from 40 to 39. 47 from 46 = 4 inches. 48 from 46 = 3 inches. Shape out the dart as shown. 49 from 10 = one-sixth of scale. Join 49 to 11 and hollow the gorge inch. The back sleeve pitch is located at half X to 1 up from 6. The front pitch diagonally from 12.
The draft is constructed to fit a figure of 5 feet in height.
The across-chest width is now a style factor rather than a fitting factor in modern cutting and can vary from half scale, less inch to half scale less 1 inch, depending on the amount of drape required in the jacket. It is becoming increasingly apparent in modern pattern construction that the overall measurement of the draft is of no comparison to the size of the figure. The style factor plays an increasing part in the allowances over the bust measure, and, whereas in the past the allowances for ease, etc. had some relationship to the size of the bust, modern styling tends to ignore this and concentrate on the sense of style balance and, by predetermination, decide the style factor required in the draft in accordance with the alternate style objective. For example, a pattern cutter may decide to cut a full draped jacket. He decides on a certain width of back and then adds to it a standard width of scye which his experience tells him is necessary and then adds his across-bust width to the amount decided upon. To further this example, take a 34 bust draft. He will decide to use a 7 inch half back width plus a -inch seam; this will register 7 inches. Add to this amount the normal scye width of 4 inches, and then he decides the draped front scye will carry an 8-inch across-bust width. The overall total of these allowances will be 7 inches + 4 inches + 8 inches = 20 inches or 3 inches over the bust size. Going back to our original close-fitting basis draft, this would indicate a jacket large enough to fit a 37 bust figure. On the 34 bust figure, however, the jacket will carry a well-draped back and front scye and with the waist accentuated by the normal suppressions, will give a style outline of wide shoulders and narrow waist and hips.
So to be au fait with style in relation to pattern cutting is an important point. There is so much that can be disregarded in pattern systems in order to gain style and it is necessary to remember that a system is only the foundation of cutting, the scaffolding to which style is added. In the following diagram this subject is discussed in a practical way and shows the building up of a draft for pre-determined measurements.
The Style Factor (Fig. 363)

The first consideration is the style of jacket we are going to draft. If a draped scye jacket is required, we must consider the quantity of drape, whether semior full drape. For this example, we will decide on a full drape. The widths to be considered are as follows 1. The back width. 2. The scye width. 3. The across-chest or bust width. Normal widths for the above are, 6 inches for the half back, 4 inches for the scye, and 7 inches for the across-chest or bust. Measures

Chest = 32 inches. Bust = 34 inches. Waist = 26 inches. Hips = 38 inches. Natural waist = 16 inches.
Full length = 26 inches. Across back = 7 inches. Scale = half chest 17 inches. Height = 5 feet 4 inches.
To draft

Draw a line from X to X, the full length, plus a seam. 1 from X = one-third of scale plus 1 inches, for normal size depth plus an extra inch for the increased height, total 8 inches. 2 from X = waist length plus a seam. 3 from 2 = 8 inches for hip level. 4 from X = one-sixth of scale less inch. 5 from 4 = 1 inch. 6 from 1 = half back plus a seam, 7 inches. 7 from 6 = one-quarter scale plus inch, 4 inches. 8 from 7 = across chest, half scale less inch, 8 inches. This measure shows inch extra allowed for front drape. Square from 8 to 9, 10 and 11. 12 from 11 = inch. Square from X to 13. 14 from 13 = one-twelfth of scale. 15 from 14 = one-sixth of scale. 16 from 7 = one-sixth of scale. 17 from 16 = 8 to 14 less inch. 18 is midway 6 to 7. 19 from 18 = one-third of scale plus inch. An extra inch is allowed here on account of the -inch increase in size depth. 20 is squared from 6. Join 19 to 5 to locate 21.
22 from 21 = 1 inch. Make the front shoulder from 17 to 19, 3/8 inch less than from 5 to 22. A is 1 inches up from 7. B is half 1 to X up from 6. Square from 18 to 23 and 24. 25 and 26 are each 3/8 inch from 23. Measure up the waist from 9 to 27, half waist plus 3 inches. This quantity is made up as follows 1 inches for ease. 1 inch from the front panel suppression. 1 inches for sideseam suppression and two inch seams. 28 from 27 = one-third of 27 to 2 for the front waist suppression in the dart. 28 to 2 = the back waist suppression. 29 from 2 = inch. 30 from 3 = inch. 31 from 8 = 2 inches for bust point level. 32 from 31 = half 7 to 8. Square from 32 to 33 and 34. 35 from 34 = inch, or half the difference between half chest and half bust measures. 36 and 37 are each inch from 33. Overlap at 38 and 39, the hip overlap calculated as follows.
o o
Half hip 19 inches plus 1 inches = 20 inches. Suppression at 30, 34 and 35 = inch.
o Total = 21 inches. From 3 to 10 = 20 inches.

Therefore hip overlap to make up size to 21 inches = inch at 38 to 39. 40 from 6 = 2 inches.
41 from 29 = 4 inches. 42 from 41 = 28 to 29 or the remainder of the back waist suppression. 43 is midway. Square down from 43 to 44 and shape the sidebody seams. Suppress the quantity from 27 to 28 at the dart at 45. 46 from 15 = 2 inches, pivot from 32 and sweep from 46 to 47, making this quantity equal to the dart from 17 to 15. 48 from 14 = one-sixth of scale, join to 15 and hollow the gorge run inches.
The draft is now completed for the drape style basis pattern.
Draft by the Chest Measure (Fig. 364)

This draft will be of interest to readers as it shows an approach to pattern construction that may be new to some students of cutting. The importance of the chest measure, taken above the bust, has not been fully exploited in cutting systems, and yet the measure, taken in conjunction with the bust measure, provides the answer to the degree of bust prominence. When measuring a figure, the chest measure registered above the bust line is normally 2 inches less than the bust measure, and it can be said that the two measures are identical up to the front of the scye. This fact indicates that the extra 2 inches is made up by
the prominence of the bust. In short, the across-chest measure should be 2 inches less than the across-bust measure. It is possible after this has been established to draft a pattern by the chest measure as a basis of construction and to add at the bust level the difference between chest and bust measurements; on the draft this would be half the differences between bust and chest. In this way, we take the framework of the figure as a basis for pattern construction and treat the bust as a local prominence that must be allowed for, as an addition within the framework of constructional lines based upon the chest measure. Measures as follows

Chest = 32 inches. Bust = 34 inches. Waist = 26 inches. Hips = 37 inches. Length to waist = 16 inches. Full length = 27 inches. Across back = 7 inches. Height = 5 feet 4 inches. Scale = half chest 16.
The scale taken from the half-chest measure is in accordance with the principle of this draft, i.e. a system based upon the chart measure. To draft
Draw a line from X to X, the full length plus a seam.
1 from X = one-third of scale plus 1 inches, plus inch for extra height factor. 2 from X = waist length plus a seam. 3 from 2 = 8 inches. 4 from X = one-sixth of scale 16. 5 from 4 = 1 inch. 6 from 1 = half back width gives a seam 7 inches. 7 from 6 = one-quarter scale plus inch. 8 from 7 = half scale less 1 inch. Square from 8 to 9, 10, 11. 12 from 11 = inch. 13 is squared from X and 8. 14 from 13 = one-twelfth of half bust. 15 from 14 = one-sixth of scale plus inch. 16 from 7 = one-sixth of scale plus inch. 17 from 16 = 8 to 14 less inch. 19 from 18 = one-third of scale plus 1 inch. Square from 6 to 20. Join 19 to 5 and locate 21. 22 from 21 = 1 inch. Join 17 to 19. 24 from 17 = 5 to 22 less 3/8 inch. 23 from 7 = 1 inches. Square from 18 to 25 and 26. 27 and 28 are each 3/8 inch. 29 from 8 = 2 inches. 30 from 29 = one-quarter of scale less inch. Overlap at 31 to 32, half the difference between chest and bust measurements. 33 from 17 = 17 to 15 pivoted from 30.
Square from 30 to 34 and 35. 36 from 35 overlapped is equal to half 31 to 32. 37 from 9 = half waist plus 2 inches. 38 from 37 = one-third of 37 to 2. 39 from 2 = inch. 40 from 3 = inch. 41 from 37 = half 39 to 38. 42 is midway, square down 43 and overlap at the hip, 1 inch. 44 from 41 = 2 inches. 45 from 44 = half 38 to 39. 46 is midway, square down to 47 and overlap 1 inch. 49 and 50 are each 1 inch. 48 from 6 = 1 inches. Shape the sideseams as shown, and the back panel seams, commencing the distance 17 to 15 back from 5. Suppress the amount 37 to 38 from the front dart at 51. 52 from 14 = one-sixth of scale plus inch. Join 52 to 15 and hollow the gorge inch.
The principle underlying this draft is that while the chest, waist, and hip measurements may remain constant, the bust measurement may be variable and not in proportionate ratio to the other measurements. For example, the bust measure may be either less or more than the proportionate 2 inch variation with the chest and the increased or decreased size will always be locally and the
method of this draft is to apply the variation where actually required.
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Clo APR se Hel p 2008

Early 1940'sLadies' Garment Cutting and Making

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Chapter IBasis of the System for Coat Construction

Constructional Basis for the Location of the System Points

usually termed "the depth of scye," though this

This factor relates more to balance than

THE FRONT OF SCYE OR ACROSS-CHEST WIDTH.

This relates to the location of

The Divisional System

The Back Depth or Depth of Scye

The Working Scale

The Back Neck Width

The Front Depth

The Front Neck Point

The Front of the Scye

Shoulder Size and Capacity

Summary of the Constructional Points

Calculated as one-third of the scale plus 1 inches. (c)

one-sixth of the scale less inch. (d)

Calculated as one-sixth of the scale. (f)

Clo MAY se Hel p 2009

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Early 1940'sLadies' Garment Cutting and Making

Chapter IIThe Art of Measuring and Scales of Proportionate Measurements

Direct Check Measures

Scale of Proportionate Measurements and Working Tables

Scale of Proportionate Measurements

Table of Aliquot Parts

Inches 11 12 13 14 15 Scale or Breast Measure 16 17 18 19 20 21 22 23 24

1/9 1 1 3/8 1 3/8 1 1 5/8 1 1 7/8 2 2 1/8 2 2 3/8 2 2 5/8 2

1/8 1 3/8 1 1 5/8 1 1 7/8 2 2 1/8 2 2 3/8 2 2 5/8 2 2 7/8 3

1/7 1 5/8 1 1 7/8 2 2 2 3/8 2 2 5/8 2 2 7/8 3 3 1/8 3 3/8 3

1/6 1 7/8 2 2 2 3/8 2 2 2 7/8 3 3 3 3/8 3 3 3 7/8 4

1/3 3 4 4 3/8 4 5 5 3/8 5 6 6 3/8 6 7 7 3/8 7 8

2/3 7 3/8 8 8 9 3/8 10 10 11 3/8 12 12 13 3/8 14 14 15 5/8 16

Scales for Shorts

Small Woman's Shorts

Scale for Trousers

Scale for Girls and Maids

American Scales for Junior Miss Sizes

Waist Hips Length to Waist Sleeve Underarm Skirt Length Size

Clo se Hel APR p

Early 1940'sLadies' Garment Cutting and Making

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Chapter IIIConstruction of Patterns for Short Coats

The Basic Draft (Fig. 7)

To draft Commence by drawing line X to X, the full length of coat.

In order to shape the scye, 20 from 12 = one-sixth of scale.

Panel Back Basis Draft (Fig. 8)

Half the bust measure plus 2 inches = 24 inches.

Half the waist measure plus 2 inches = 22 inches.

o Difference = 1 inches. Two-thirds of 1 inches = inch approximately.

o Difference = 4 inches. Two-thirds of 4 inches = 2 inches.

The amended suppression calculation will now be

Two-thirds of 3 inches = 2 inches. One-third of 3 inches = 1 inches.

sweeping from 41, a point midway of 8 to 12.

Sidebody Coat Basis Draft (Fig. 9)

Basis for Singleseam Coat (Fig.

The Stooping Figure

inch, i.e. inch increase.

The Erect Figure