(1939)Pattern Drafting

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L I B R A R Y OF THE

NEW YORK STATE COLLEGE

OF HOME ECONOMICS

CORNELL UNIVERSITY

I T H A C A , NEW YORK


Date Due

RETURN TO

ALBERT R. MANN LIBRARY

ITHACA, N. Y.

Cornell University Library

TT 515.G8

Pattern drafting, pattern grading, garme

3 1924 003 596 545

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Tattern Drafting

^Pattern Grading

Qarment Making

Qarment Fitting

By

Edmund Qurney

Send All 0rders for Books to Dunn Bros.

Price $5.00


Printed by Dunn Bros., 421 East Sixth Street, Los Angeles


Clr

All rights reserved. This book, or parts

thereof, must not be reproduced in any

form without permission of the publisher.

THIRD AND REVISED EDITION

PRlNTED lN THE UNlTED STATES OF AMERlCA

Copyright 1939

by


EDMUND GURNEY


I

TABLE OF CONTENTS

Page

20—Living.

20—The satisfying life.

21—Preface.

22—To the teacher of sewing and garment

making.

22—To be happy.

23—To all who sew.

23—Nothing is, or can be too good for you.

25—Description of individual types and pos-

tures.

26—Description of measures.

28—Measures.

28—Standard table of measures.

28—Will power.

29—Three kinds of people.

30—The morning hope and evening content-

ment.

31—Pattern drafting by the Gurney self-grad-

ing method.

33—The Gurney sure-fit curve chart.

34—How to use the Gurney curve chart.

34—If any little love of mine.

36—Pattern drafting.

36—Drafting the dress back.

36—Drafting the two-piece dress back.

38—Drafting the dress front.

38—Drafting the two-piece dress front.

40—Adapting" the normal size standard pat-

terns to individual requirements applic-

able to all makes of patterns.

42—Fitting the round shouldered individual.

42—My business.

44—Fitting the round shouldered individual

(continued).


45—A quick easy method of adapting commer-

cial patterns for the round shouldered.

45—Altering ready-made garments for high

shoulders.

46—Pin tucks in the back.

47—I'll not confer with sorrow.

48—Fitting the individual with large bust.

49—Our greatest glory.

50—Fitting the large bust (continued).

50—I am.

51—Fitting the large bust (continued).

52—To make pin tucks in the front.

53—To enlarge a pattern over the bust with or

without the use of pin tucks.

Page

54—The primary cause of ill-fitting garments.

54—Shrinking woolens.

54—A little art, a little care.

55—Cutting the material and making gar-

ments.

55—Yesterday.

56—Drafting the sleeves with the use of the

Gurney curve chart.

57—Sleeves and sleeve measurements applic-

able to all makes of patterns.

57—Of rules that say "don't".

58—Drafting sleeves.

58—Oh, for faith and strength to win.

59—To draft the straight dress or coat sleeve.

60—The tight sleeve.

60—Hidden deep.

61—To draft the tight sleeve.

62—The straight coat sleeve made tight on the

wrist.

TABLE OF CONTENTS (Continued)

Page

77—Adapting the dress pattern for woolen

garments.

77—There is great economy, etc.

78—The costume slip.

79—To draft the costume slip.

79—All in the dark we grope along.

80—The kimono dress.

81—To draft the kimono dress.

81—A kindly deed.

82—To draft Peter Pan collars.

83—Maximum roll collar.

83—I wish, I can, I will.

84—The Gurney method of sure-f1t collar

drafting.

85—Roll collars.

86—To draft the shirt waist.

86—There is only one way to be happy.

87—The shirt waist.

88—The transposing of darts to obtain various

styles, applicable to all makes of patterns.

88—Fig. 1, the Gurney basic method.

88—Fig. 2, for gathers at the front.

89—Fig. 5, for shirring at the shoulder.

89—Fig. 6, for gathers at the armscye.

90—Fig. 7, for gathers at the V opening.

90—Fig. 8, for gathers at the neckline.

90—Fig. 8, for tucks at the front neckline.

91—Fig. 9, for fullness at the waist.

91—Fig. 9, for two darts at the side seam.

91—Fig. 10, the choker neck.

92—Fig. 11, for gathers or shirring at the ex-

tended shoulder seam.

92—Blest be the tongue that speaks no ill.

93—TO draft the Eton jacket (Bolero).


94—To draft the plain coat.

94—The man who trusts men.

95—Think.

95—Remember.

96—To draft the plain coat (continued).

96—Kindness.

98—Pressing and removing shine.

98—Let me today.

99—To enlarge a coat pattern over the bust.

99—Loving words.

100—To draft the jacket.

101—To draft the jacket pattern.

101—Silence.

Page

102—To draft a jacket pattern with a seam in

the center of the back.

104—To draft the fitted coat.

105—The fitted coat.

106—To draft the coat raglan.

108—The raglan coat (continued).

109—The raglan coat and sleeve.

110—To draft the dolman coat.

110—Believe in yourself.

112—To draft the dolman coat sleeve.

112—The world is wide.

114—To draft the swagger coat.

114—Smile a little.

115—To draft the swagger coat (continued).

115—Now.

116—To draft the dress raglan.

116—There are loyal hearts.

118—To draft children's dress and coat patterns.

122—To draft children's sleeve patterns.

123—The Gurney method of basting sleeves in

TABLE OF CONTENTS (Continued)

Page

142—The Gurney method of drafting sure-fit

skirt patterns.

142—Drafting the plain skirt front.

143—Drafting the plain skirt back.

143—Example.

144—To draft the gored skirt.

144—To draft the panel skirt.

145—To draft the yoke skirt.

146—To draft the circular skirt.

146—Better trust all and be deceived.

147—To make the inverted pleat.

148—To make the plain skirt and dress placket.

150—The Gurney sure-fit method of making

the concealed talon, hookless, sliding,

fastener skirt placket.

152—Meditation.

153—To make a dress hem in silk, crept and

very light weight woolen.

153—To sew hooks and eyes on a skirt belt.

154—To make a hem in heavy woolen material.

154—Making and finishing the hem for the

pleated skirt.

156—Easy method of making corners.

158—Skirt slacks.

159—Measures required for skirt slacks.

158—Drafting skirt slacks front.

159—Shorts for sport garments.

159—Banish the future.

160—Drafting skirt slacks (continued).

161—Skirt slack back.

161—Shorts for sport garments.

161—Today will be my busy day.

162—Economical cutting of slacks.

162—Making slacks.


163—Economical cutting of slacks (continued).

163—The easiest thing to find fault.

164—The Gurney sure-fit men's and boys'

shorts.

165—Normal standard measures.

165—When a bit of sunshine hits ye.

166—To draft men's and boys' shorts.

168—Wishing.

169—How to cut shorts.

Page

170—How to make shorts.

172—The song of the shirt.

172—Blessed are they who have the gift.

173—Shirt measures.

173—Methods of taking shirt measures.

173—Proportionate standard shirt measures.

173—How much easier.

174—To draft men's and boys' shirts.

175—Yoke and neck curves for all sizes.

175—To make the French front with Indian

head facing.

176—Shirt collar.

176—Neck band.

176—Cuffs.

178—To make the French shirt front with the

facing material cut on the front.

179—To draft the shirt sleeve.

180—The Gurney easy and correct method for

making the shirt sleeve placket.

181—Men's shirt sleeve placket.

181—Oh, for faith and strength to win.

182—The Gurney method of making bound

pockets and buttonholes in light weight

woolens, silk or lingerie materials.


I

Pattern Drafting

Dress Pattern

Drafting

Dress Sleeves

Dress Making

INDEX

Page

Before drafting patterns it is advisable to first read

pages 22, 23, 25, 26, 31, 34, 54, 55

Gurney Sure-Fit Curve Chart 32

To make the Gurney Curve Chart.... 33

To use the Gurney Curve Chart 34

Dress, one piece, to draft the back 37

Dress, one piece, to draft the front 39

Dress, two piece, the back 37

Dress, two piece, the front 39

Adapting patterns to individual requirements applicable to all makes

of patterns 40

Dress pattern, for woolens 77

Raglan dress 116

Butterfly ("Bat") sleeve dress 118

Shirt waist 86

Children's dresses... 120

Kimono dress 80

Costume slip 78

Before drafting sleeve patterns read chapter on sleeve measures ap-

plicable to all makes of patterns 57

To draft sleeves.... 57

The Gurney sure-fit curve chart 32

How to use the sure-fit curve chart for sleeves 56

Straight dress sleeve 58

Blouse sleeve 58

Tight sleeve 60

Medium tight sleeve 61

Sleeve variations 61

The Gurney comfortable short sleeve 68


Short or long sleeve with gathers at the top 70

Long or short sleeve with gathers at the bottom..... 71

Balloon long sleeve 72

Balloon short sleeve 72

Bell sleeve 74

Bishop sleeve 74

To enlarge the sleeve at the top for the large arm 66

To enlarge the sleeve, large arm sleeve 67

Gurney method of basting sleeves in the garment 123

Gurney method of basting sleeves in the garment 123

111 fitting garments 54

Shrinking woolens, etc 54

Cutting the material 55

Tailor tacks, how to make. 134

Placket opening 148

Talon zipper placket 150

INDEX (Continued)

Page

Dress Making Dress hem, Making the... - 153

(Continued) Pressing and removing shine. — 98

Dress Transposing Fig. 1. The Gurney basic method— 88

of Darts to Obtain Fig. 2. For gathers at the front 88

Various Styles Ap- Fig. 5. For shirring at the shoulder..... '... 89

plicable to All Fig. 6. For gathers at the armscye 89

Makes of Patterns Fig. 7. For gathers at the V opening. 90

Fig. 8. For gathers at the neckline.. 90

Fig. 8. For tucks at the front neckline...- 90

Fig. 9. For fullness at the waist 91

Fig. 9. For two darts at the side seam 91

Fig. 10. The choker neck 91

Fig. 11. For gathers or shirring at the extended shoulder seam 92

Fig. 3. For gathers at the waist 39

Collars See pages 136, 138, 82, 84, 85

Corners Easy method of making 156

Pin Tucks in Back Pin tucks Fig. 3 37

Pin tucks Fig. 8... 46

Pin tucks Figs. 5, 6, 7... 47

Pin Tucks in Front Pin tucks Figs. 9, 10, 11 52

Pin tucks Figs. 1, 2 53

Fitting Garments

Round Shoulders

and Large Blades

Large Bust

Coat and Jacket

Pattern Drafting

To Draft

It is advisable to first read the chapters, pages 25, 26, 31, 40

See illustrations and instructions on pages 42, 43, 44, 45, 46, 47, 94

See illustrations and instructions on pages 48, 49, 50, 51, 52, 53, 99

Primarily for all coat drafting the regular dress patterns are used,

as described on pages .37, 39

The Eton bolero jacket 93


Plain long coat back 95

Plain long coat front 96

Jacket with French fitted back 100

Jacket with seam in center back 102

Fitted long coat 104

Raglan coat 106

Raglan coat (continued) 108

Dolman coat 110

Dolman coat (continued) 112

Swagger coat.... 114

Children's coat... . 120

INDEX (Continued)

Page

Coat and Jacket

Sleeves

To Draft The straight sleeve 59

The straight sleeve made tight at the wrist 62

Two piece jacket sleeve 64

Two piece coat sleeve.... 64

The balloon sleeve 72

The bell sleeve...... 74

The fancy sleeve.. 75

Coat Making Ill fitting garments—primary cause of. 54

Shrinking woolens 54

Cutting the material and garment making 55

Coat lining, how to cut 131

Two piece sleeve lining, how to cut 132

Relining coat 130

Tailor tacks, how to make.... 132

Coat making short steps 136

Gurney Method of

Basting Sleeves

in Garment 123

Pressing, Removing

Shine 98

Collars Straight collar 139

Plain collar 140

Easy Method of

Making Corners 156

/

Capes To draft the cape 124

Grading Patterns To grade the dress back 126

To grade the dress front 127

To grade the straight dress sleeve 128

To grade the straight coat sleeve 128

To grade the straight tight sleeve 129

Skirts Sure-fit pattern drafting


The plain skirt—the front. 142

The plain skirt—the back 143

The gored skirt 144

The flared skirt 144

The panel skirt 144

The yoke skirt.. 145

The circular skirt 146

The inverted pleat 147

INDEX (Continued)

Skirt Making

Skirt Slacks

Shorts, Men's and

Boys'

Shirts

Necktie Making

Pockets and

Buttonholes

Page

The skirt placket 148

The talon zipper placket 150

Putting on the belt 151

Hooks and eyes 153

To make the hem in heavy woolens 155

Making the hem for a pleated skirt 155

Skirt slacks, to draft.... 158

To draft the front.... 159

To draft the back 160

Economical cutting of slacks 161

Making of slacks 162

Shorts for sport garments 159

Shorts for sport garments (continued)... ., 161

Men's and boys' shorts 164

Normal standard measures... 165

Drafting men's and boys' short patterns 166

How to cut material for shorts 169

How to make men's and boys' shorts 170

Shirt measures 173

Method of taking shirt measures '. 173

Standard shirt measures 173

To draft men's and boys' shirts (See Pages 175-181)

135

To make buttonhole loops 125

The Gurney method of making bound pockets and buttonholes in light

weight woolens, silk or lingerie materials 182


Bound buttonholes 184

The patch pocket for dresses 185

The Gurney method of making the inset stand pocket for woolens,

lingerie, silks, etc— 186

The inset stand pocket 188

The in and out flap pocket 190

Patch pocket for woolens. 191

Corded pockets and buttonholes 192

The Gurney new high grade method of finishing buttonholes 194

The older method of making piped buttonholes and pockets 195

The braid or bias tape pocket 196

The welt pocket 198

The welt pocket with pressed-open seams 200

The pressed, open-seam bound pocket or buttonhole 201

. HE poems in this book are a gathering of

several years and were copied from news-

papers, magazines, etc. They were selected

because of their uplifting, encouraging and

educational contents. As far as possible, the

authors have been quoted. It is sincerely

hoped that this explanation of acknowledge-

ment and recognition will, in a measure,

compensate for the printing of these poems.

Cordially yours,

EDMUND GURNEY.


;

LIVING

ON'T go through life as if you

were following a script written

by another. Live your lije with a zest

and a freshness of interpretation that

will set you above the ordinary indi-

vidual. Life is a garment, and wise is

the man who cuts his own

pattern.

THE SATISFYING; LIFE

For those who seek the larger happiness and the

greater effectiveness upon human beings there can be

but one philosophy of life. The philosophy of con-

structive altruism. The truly happy man is always a

fighting optimist. Optimism includes not only altruism

but also social responsibility, social courage and ob-

jectivity for the benefit of his fellowmen. This is the

golden way of life. This is the satisfying life. This is

the way to be happy though human.

—JT. Beran Wolfe.


[20]

In the year 1631 a peasant found a baby

basket containing a little boy, a purse of money

and a note stating that whoever found the

basket and took proper care of the baby would

never know want. It also stated that the much

desired and beloved infant was, because of de-

formity, not desired as a ruler of its family.

Accordingly money was for some period con-

tinuously received from an unknown source for

its upkeep. As the boy grew older he developed

a desire for sewing, thus the lad was named

Lodivicus (loves sewing), meaning in the Flem-

ish or Dutch language, Geerne-naien. This was

the start of the Gurney tailoring family, and

the trade has until now been continuously in

the same family under the same name. How-

ever, as education has progressed the name has

gradually changed first to Geernaei, then to

Geernay and further as the French language

became more in commercial use to Gernay.

An early branch of the family moved to

England, another to the United States. No

record was ever kept, only as it was related

from parent to son. No search has ever been

instituted, but it appears the name was again

changed to the more easily used language of

the country to Gurney.

Regardless of my love for the trade, I have

several times tried to give up the tailoring

business. However, Providence or destiny de-

creed otherwise and has indicated that I could

be of more benefit and service to my fellowmen

by doing precisely what my father, grandfather

and great-grandfather have done.

Hence, it has always been my desire to popu-

larize the Science of Tailoring and sewing by


making it attractive and accessible to all minds

desirous of learning it. I am the last descend-

ant of the Gurney family in the trade and aim

to simplify the work of all who sew or teach

sewing. Therefore, with this purpose con-

stantly before me I have written this book con-

taining practical knowledge of an art which is

as interesting as it is useful and profitable.

—Edmund Gurney.

[21]

TO THE TEACHER OF SEWING AND GARMENT MAKING

This is an age of production. Teaching trans-

lated means, instilling self confidence and con-

structiveness for ease and economic production.

Teaching is creating a hankering, a dreaming

and a thrilling desire for further accomplish-

ment to productive self independence.

I believe that all who wish to can accom-

plish. It is up to us as teachers to banish the

student's complex of "I Can't" and to instill

in its place ambition and pride in the students'

efforts. All people are not equally gifted, there-

fore, we must compliment and encourage the

reticent pupil. Many times we find that the

student who grasps things quickly frequently

forgets them just as readily, and because of

this fact our "retarded" pupil often becomes

our most efficient student.

Very frequently I observe seamstresses who

have exceedingly good garment making talent,

working hard and apparently very fast. How-

ever, because of unsystematic methods and im-

proper handling, their work does not progress

in accordance with their laborious efforts. The

reason for this is that no one has ever taught

them how to handle their work for progressive

and rapid sewing. Perhaps many of you teach-

ers have members in your classes who will be

going out into the sewing world without fur-

ther training. Are you presenting them with

the knowledge and the materials necessary to

simplify their work and make it enjoyable for

them ?

To Be Happy

Think things conitructlvely; don't defame.

Thlnk things good; don't betray.


Think things hopeful; don't thlnk fear.

Thlnk faith in Providence.

Then hang on, blng on, no matter what they >ay.

Slng on, cling on, things wlll come your way.

Slttlng down won't help a blt;

Only way to get there ls by keeplng up your grit.

—E. G.

[22]

TO ALL WHO SEW

Dressmaking does not consist solely of neat

and elegant sewing—it is knowing the purpose

of the stitch; whether it is permanent, will

show, etc. Too many or too few stitches are the

marks of a "home-made" dress, and that is an

outstanding feature which we wish to avoid.

Perhaps the first item that enters our mind

when we think of making sewing easier is good

equipment. Good equipment consists of: (1)

sharp scissors, (2) small pins as large ones

leave pin marks, (3) short needles, (4) a tape

measure that will not stretch or shrink, (5)

white tailor's chalk for making lines, etc. (col-

ored chalk should never be used because it does

not rub out), (6) a yardstick, (7) a thimble of

the correct size, (8) a table or working space

which will provide ample room for cutting pur-

poses, (9) a sewing machine of your own

choice, which you keep in good condition at all

times, (10) an iron, pressing block, pressing

cloths and sponge.

There is never any occasion in sewing for you

to have the needle pointed away from you or

toward you. (We, in daily life, often have pins

and needles enough in our hearts without stick-

ing them in ourselves.) The needle must at all

times be inserted so it will be parallel with the

body, thus the hand needs no special turn and

the arm is free for the right sewing. Also when

sewing, the garment should rest on all four

fingers; thus, the work will slide off the hand

holding it and will constitute progressive sew-

ing with the least handling and effort.

Do not try to put the whole garment on one

needle or on one length of thread. Use shorter


lengths of thread in basting and hand sewing

as then you will not be spending all your time

in untangling the thread or pulling it out arms

length between each stitch. Also, never "kiss"

your needle or pins before inserting them in

the material as they will leave marks.

With these few suggestions, and with the

information in the remainder of the book, all

of you can become adept in garment and pattern

making and fitting. Think of things only in a

constructive manner and you will find that it

will all be so easy and enjoyable.

Nothing IS, or can be too good for YOU.

Whatever is worth doing, is worth doing WELL.

Always do the very best you can, just for YOU.

Thusly! there will be no excuses or alibis,

And You will be contented.—E. G.

[23]


Fiy.J

[24]

DESCRIPTION OF INDIVIDUAL TYPES AND POSTURE

With few exceptions we are born with normal

posture and it is up to our individual selves to

remain normal. The distance from the tip of the

middle finger of one hand to the tip of the mid-

dle finger of the other with our hands out-

stretched is equal to our total height. The Cre-

ator made us upright, intending us to be and

act upright. He made us just as wide as we are

tall, consequently, we are upright and square.

This accounts for the saying, "Be true to your-

self," and if you are true to yourself, "upright

and square," you will think only of things con-

structive and feel good all of the time.

Nature intended us to be and walk erect with

our chin parallel with our shoulders. If we do as

Nature tells us, we will be well balanced, in Fig-

ure 5; up and doing, tireless, good-feeling, ever

active and always ready to go. We can all enjoy

this type of posture with a little practice each

morning in walking on our tip-toes with the

palms of our hands forward and our chins up.

This will create energy through your whole

body and give you the sensation of being pro-

pelled forward. You will feel light and airy and

you will be able to walk on eggs with heavy

shoes without cracking them!!!

Figure 4 is just the opposite of Figure 5. She

is pepless, usually tired, and looking for some-

thing on which to rest, hence her slightly round

back and shoulders.

Figure 1 is the high shouldered type of indi-

vidual, and usually have a broad face and short

neck.

Figure 2 is the sloping shouldered type of

individual and usually have a narrow face and


long neck.

Figure 3 is the large person with very round

back and usually with a large bust.

These figures all illustrate the normal types

of individuals and it is natural for us to won-

der what design of clothes should be worn by

each.

To dress in good taste, the contour and phys-

iognomy of the face should be of primary con-

sideration. Second, vivacity; third, posture

attitude; fourth, facial complexion; fifth, height

and size; sixth, sedateness; seventh, color of

hair and eyes.

Frequently twin sisters who look exactly alike

are so different in action that the same dress

will be becoming to one and not to the other.

One of the two is vivacious and has a certain

attractive swing. She can dress conspicuously

and our eyes are unconsciously responsive in

following her across the ballroom. However, her

sedate sister wearing a duplicate dress does not

appeal to the eyes the same as the vivacious

sister. Thus, the same dress is becoming to the

one and not to the other.

The same is true in nature, as for instance

the multiple colored butterfly moves slowly to

display her colors; whereas the single light col-

ored butterfly moves quickly because she real-

izes her tiring effect on our eyes. Regarding

color, note the different colors in a bed of pan-

sies. I have never seen a pansy but that it had

some little bit of life color, orange (the sun

color). Orange means life and light and a little

bit of orange is always flattering to all other

DESCRIPTION OF MEASURES

The All Wise Nature has made us all subjects

to its laws. The division of each and every part

of the body is a positive unit measure and cor-

responds with the whole body as Nature in-

tended.

The inch! What is the inch, why and whence

the inch? The inch equals the width of the

thumb, four times the width of the thumb

equals the width of the hand, and three times

the width of the hand equals the length of the

foot. Thus, 12 units, twelve inches is the length

of the foot. Why twelve inches? Twelve, be-

cause it is divisible in fourths, halves, thirds,

and sixths without fractions. We are eight

hands, 64 thumbs or 64 units high. Therefore,

64 inches is the basic height and is divisible in

fourths and eighths without fractions. The

length from the neck to the waist is one-fourth

of our total height, etc. For widths, twice

around the wrist over the wrist bone equals

once around the neck taut under the chin. Three

times around the neck equals once around the

bust. The basic standard size from which all

patterns are made larger and smaller is the

twelve-inch neck, the 34-inch bust, and the

64-inch height.

I do not advocate taking a lot of measure-

ments on the individual as no two persons will

take them alike. Instead of doing that, use the

combined wrist and neck measures to derive

the correct size pattern. Take the wrist meas-

ure tight over the wrist bone and multiply it

by six to obtain the bust measure as: the wrist

measures 6 inches multiplied by six equals 36

inches for the bust. Take the neck measure


taut under the chin and multiply it by three to

obtain the bust measure as: the neck measures

12 inches and multiplied by 3 is 36 inches for

the bust. This method of measuring has proven

96 percent correct for all sizes and makes of

patterns.

The actual bust measure of an individual may

be either larger or smaller than the size derived

in this method. This does not mean that the

size of the pattern obtained by the neck meas-

ure is not correct. Lines "A" in Figures 3 and

5 illustrate the normal figure and lines "B"

illustrate individuals with larger busts. How-

ever, both individuals "A" and "B" on either

figure require the same size pattern. Please note

that the measure across their backs has re-

mained the same and that only the measure-

ment across their bust has changed. Therefore,

to properly fit these individuals use the size

pattern indicated by their neck measure and

adjust the pattern to fit the bust as discussed

in the chapter on fitting, pages 40, 42, 44.

Although Figure 4 has a smaller bust than

Figure 5, she still requires the same size pat-

tern as Figure 5 because of the width across

her back. Thus, please observe that the neck

measure is a positive unit of measure for the

required width of the back, and that no matter

how large or small a bust the individual may

have she must use the size pattern indicated by

her frame.

Because of the more general athletic forms

and because of the types of material used today,

patterns are much larger than they used to be,

When taking measures it is "PRIMARILY IMPORTANT" to "eye fit" the individual.

By this I mean to take note of her posture, to observe whether her shoulders are high as

Figure 1; sloping as Figure 2; round as Figures 3 and 4, or normal and erect as Figure 5.


[27]

MEASURES

When taking measures always stand back of

the individual.

1. Tie a tape around the waist.

2. Insert pins at the sides and the back 7

inches below the tape for the hipline.

3. Insert a pin 8 inches, maximum 9 inches

from the neck in front for the bust line. The

bust may actually be lower than 9 inches but

9 inches is the maximum depth from the neck

that the bust measure is taken.

4. Insert pins 7 inches from the neck in the

back.

5. Take the bust measure snugly but not

tight over the pins.

6. Take the waist measure.

7. Take the hip measure taut but not tight

over the pins.

8. Take the length from the neck to waist.

9. For a dress or coat take the length measure

from the neck to the floor and subtract the

amount that the garment is desired shorter.

10. For the sleeve length make a two inch

fold on the tape measure. Insert a pencil in this

fold and place the pencil tight under the arm

at the armscye, and take the sleeve length and

subtract two inches from this.

11. For the skirt take the waist measure, hip

measure and the desired length.

In the measuring illustration you will note

that the neck measure is taken taut around the

neck close under the chin and that the wrist

measure is taken tight over the wrist bone.

STANDARD TABLE OF MEASURES

Size (Bust) 32(14) 34(16) 36 38 40 42 44 46

Waist.. 25 27 29 31 33 35 37 39


Hip 35 37 39 41 43 45 47 49

48 50 inches

41 43 inches

51 53 inches

WILL POWER

That which one wills to do, he has the power to do. A

knowledge of this, requires faith. When faith moves, the

soul begins its flight. Every act of will requires an object.

He who wills must will something, and he must have faith

in the thing he wills to do.

[28]

MEASURES

"There are three kinds of people in the world—the Can'ts, the Won'ts, and the Wills. The Can'ts fail in everything,

the Won'ts oppose everything, and the Wills accomplish everything."—WILLIAM T. ELLIS.


[29]

The Morning Hope

The morning star the night succeeds

I therefore meekly pray,

May God in all my works and deeds

Keep me from harm this day.

May He in love restrain me still

From tones of strife and words of ill,

And wrap around and close my eyes

To earth's absorbing vanities;

May wrath and thought that gender shame

Never in my breast abide

And painful abstinences tame

Of wanton flesh the pride.

So when this weary day is over

And night and stillness comes once more

I may repeat in gleeful mirth,

I am harmony, I am peace, I am good-will to all, and all.

GOOD MORNING

The Evening Contentment

Now that the daylight has died away

And night and stillness has come once more

The Maker of this World I pray

To watch my bed above.

Let dreams depart and phantoms fly,

The offspring of the night,

And keep me like shrine beneath thine eye,

Pure in my foes despite.

This grace and contentment providence confers

When we are in harmony and peace with all and all.

GOOD NIGHT!


[30]

PATTERN DRAFTING

BY THE GURNEY SELF-GRADING METHOD

The method of pattern drafting or garment

making given in this book is very simple, is very

concise and the directions are very easy to fol-

low. All terms or expressions used in the book

are explained just as they appear.

I do not aim to give the directions for draft-

ing patterns according to the numerous meas-

urements of the individual, because no two per-

sons take measurements alike. The directions

given are for the normal size patterns as used

by manufacturers and all commercial patterns.

Then I have given you the adaptations neces-

sary to adjust the pattern to all required meas-

urements. These methods of adjusting the pat-

tern are not only applicable to these patterns

but to all makes of patterns.

The detailed directions and illustrations in

this book are all for the size 16 pattern (34

bust, 37 hip). However, the same procedure is

used for all sizes of patterns. Size 16 is com-

mercially termed the "SL0PER" pattern and is

the size used by the manufacturing trade in

grading all larger and smaller sizes. When draft-

ing patterns by the directions in this book you

will note that the directions continuously refer

to plus and minus. As plus for each size larger

and minus for each size smaller. This is, in

every detail in accord with all pattern grading,

thusly you automatically become familiar with

the usual grading requirements because the

Gurney Method of pattern drafting is SELF

GRADING. By this I mean that all directions

are provided for making the patterns larger or

smaller than size 16 by the use of the words


minus or plus.

The materials required for pattern drafting

are not numerous, nor do they need to be of

great expense to you. A hard lead pencil (num-

ber 4 or 6 hard) is preferable as the lines will

be very fine and they will not add to the size

of the pattern. A tailor's square will be advan-

tageous to you as then no other measuring

equipment is necessary. However, if you do not

have a square use a letter sheet to square your

lines and use a common ruler for measuring. A

curved instrument facilitates the drawing of

curved lines. However, as you proceed in this

book you will find a curve chart which has been

made especially to draw curved lines in pattern

drafting. You will also need a scissors, a tracing

wheel and a tape line which will not stretch.

Therefore, with a minimum amount of equip-

ment and with the aid of the directions in this

book you will be able to draft all types and sizes

of patterns. If you will follow the directions

carefully and complete each step as it is given

you will be happy with the results.

You do not have to be a dressmaker to make

dress patterns, any 16 year old school boy or

girl can make these patterns, and "Believe it or

not" your husband will take pleasure in tak-

ing an evening off and make the desired pat-

tern for you, also with the simplified fitting

instructions he will be able to fit you. Just tell

that husband, father or kind brother that you

will make a shirt or a pair of shorts for him if

he will make the pattern, they will be delighted

with the comfortable fit of these garments and

THE GURNEY SURE-FIT CURVE CHART

Architects and draftsmen use various types

of instruments to draw curves. Therefore, to

aid you in drawing curved lines in pattern

drafting I have made this Gurney curve chart.

The chart on this page is full size. Place a

sheet of paper on top of the page and trace the

lines and letter marks of the chart. From this

tracing make a chart of heavy paper.

The use of the chart is explained on the fol-

lowing pages.

&


[32]

TO MAKE THE GURNEY CURVE CHART

B

B

Draft the back for size 16.

Draft the front for size 16 so that the under

arm seam will meet the under arm seam of the

back. The back curve of the chart follows the

back armscye curve as R to T to V to DD. The

front curve of the chart follows the front

armscye curve as Q to R to U to B. Mark 16

where the under arm points B and DD meet

and extend the chart lines beyond R and Q as

illustrated.

This chart is applicable for all curves in all

pattern drafting.

N

GURNEV

CURVE CHART


[33]

HOW TO USE THE GURNEY CURVE CHART

Figure 1. Drafting the dress back with the use

of the curve chart.

Draft the regular dress back, omitting the

armscye curve, neck curve and hip curve.

To draw the armscye curve for size 16, place

point 16 of the chart on point DD so the chart

touches point R and outline. This will locate

point T at the intersection of line C. For each

size larger than size 16, point 16 of the chart

is placed an added 14 inch in from point DD,

as: For size 36 point 16 is 1/4 inch in from DD,

and for size 38 point 16 is 1/2 mcn from DD, for

size 40 point 16 is % inch in from DD, etc. For

all sizes smaller we proceed just the opposite

of making it larger with the exception that we

reduce only % inch for each size at DD as for

each size smaller than 16, point 16 is % inch

out from DD, etc., for all sizes.

To draw the back neck curve place point J of

the chart on point N so the chart contacts line

B to BB and outline.

To draw the back hip curve place letter M at

dot M so the chart contacts dot L and outline.

Figure 2. Drafting the dress front with the use

of the curve chart.

Draft the regular dress front, omitting the

armscye curve, neck curve and hip curve.

To draw the front armscye curve for size 16,

place point 16 of the chart on point B so the

chart touches point Q and outline. This will

locate point R at the intersection of line CC.

For each size larger than size 16, point 16 of

the chart is placed an added 1/4 mcn m from

point B, as: For size 36 point 16 is 1/4 inch in

from B, and for size 38 point 16 is 1/o inch in


from B, for size 40 point 16 is % inch in from

B, etc. For all sizes smaller we proceed just the

opposite of making it larger with the exception

that we reduce only % inch for each size at B

as for each size smaller than 16, point 16 is

1/8 inch out from B, etc., for all sizes. Figure 2

illustrates the drafting of size 40, therefore, it

will be noted that point 16 of the chart is %,

inch in from point B.

To draw the front neck curve place point 16

of the chart on dot 5 so the chart will contact

point N and outline.

To draw the front hip curve place letter

M at dot M so the chart contacts dot L and

outline.

// any little love of mine

May make a life the sweeter,

lf any little care of mine

May make a friend's the fleeter.

If any life of mine may ease

The burden of another,

God give me love and care and strength

To help my toiling brother.

[34]


HOW TO USE THE GURNEY CURVE CHART

[35]

Drafting the Dress Back

Draw a line 1 inch from the edge of the paper nearest to you.

2 inches from the edge of the paper to the right of you mark A.

A to B is 34 inch.

B to C is 41/& inches for size 16 and increases ys inch for each size larger up to and including size

42, and decreases ys inch for each size smaller including size 12.

C to D equals B to C.

B to E is 16 inches.

E to F is 7 inches.

B to G is the total length of the garment.

Draw right angle lines from A, B, C, D, E, F, G. If you do not have a square use a letter sheet to

make the right angle lines.

A to AA is 9% inches for size 16 and increases yz inch for each size larger and decreases yz inch

for each size smaller.

F to FF equals A to AA. Draw line AA to FF and mark CC, DD, EE at the intersections.

FF to H is 14 inch.

EE to I is 14 inch. Draw a line from I through H the full length of the garment and mark GG

at the intersection with line G.

K is center of G to GG.

GG to J is yz inch. Draw line J to K.

H to L is % inch.

E to M is 14 of the total waist measure plus 1 inch. Draw the curved line M to L.

Draw line DD to M.

A to N is 2% inches for size 16 and increases V& inch for each size larger and decreases ys inch


N to O is 3 inches. Square a line down from O.

O to OO is 1V2 inches. Draw a line from N through OO.

A to P is 714 inches for size 16 and increases 14 inch for each size larger and decreases !/4 inch


D to PP equals A to P. Draw line P to PP and mark R and S at the intersections as illustrated.

S to T is lînch.

PP to U (both ways) is 114 inches. Draw line U to U and mark V in the center.

Draw curved line R to T to V to DD.

Square a line down from N and mark BB at the intersection with line B.

BB to W is % inch. Draw line N to W and mark X in the center.

B to Y is 1 inch. Draw curved line Y to X to N.


A dart is made in the skirt of the two-piece dress as follows:

2 is center of E to M.

2 to 3 (both ways) is yz inch.

F to 4 equals E to 2. Draw a line from 4 to 2.

4 to 5 is 1 inch. Draw lines 3 to 5.

E to 6 is % inch.

3 to 7 is 5/s inch. Draw line 6 to 7. Draw curve line 7 to M.

E to 8 is 14. inch.

3 to 9 is 14 inch. Draw line 8 to 9. Draw curved line 9 to M.

For a dart in the one-piece dress proceed the same as for the dart in the two-piece dress. Extend

line 2 to 10 five inches. Draw lines 3 to 10.

If the garment is desired very loose add yz mcn as DD to Z on the side and Y-i inch as R to Y on

the armscye.

If the shoulder length is desired shorter—R to y is 14 inch. Reduce from y to V as the dashed

line illustrates.

When cutting the pattern allow a Y-i inch seam at the neck line and % inch seams elsewhere.

Patience and will acquire courage and skill.

[36]

TO DRAFT THE DRESS BACK

Before drafting, read the chapters on Meas-

ures and Pattern Drafting. Then follow direc-

tions and as you proceed, complete each step.

To easily make the curves use the Gurney

Curve Chart, see Pages 32, 33, and 35.

For primary pattern drafting practise it is

advisable to first draft the normal standard

"sloper" pattern size 16 (34 bust, 37 hip). The

same procedure is used to draft all sizes. Then,

after you have drafted the pattern (both back

and front), and before cutting the paper pat-

tern, you will, to complete the pattern, refer to

the chapter on the Gurney method of Adapting

Patterns to the Individual Measurements and

Requirements, Page 40. Please note that this

method and all the fitting methods described

in this book are applicable to all sizes and makes

of patterns. When cutting the paper pattern

allow % inch seams on the pattern.

Figure 3 illustrates an easy method to pro-

vide pin tucks at the back for the slightly round

shoulder. A to 2 is 4 inches. Cut the pattern

from 2 to 3. Spread pattern open one-half inch

as 2 to 4. The pattern will now appear as dotted

lines 5-6-7-8. Straighten the line at 9. Line 2

to A is the fold of the goods. This method pro-

vides for 5 small pin tucks. Further illustra-

tions on Pages 42 and 46.

FIG.3


[37]

Drafting the Dress Front

Draw a line 4 inches from the edge of the paper nearest to you.

2 inches from the edge of the paper to the right of you mark A.

A to B is 8 inches for size 16 and increases 14, inch for each size larger up to and including size

42, and decreases 14 inch for each size smaller including size 12.

B to C is 214 inches always.

B to D is the amount of the dart and is 1 inch for size 16. The dart increases 1/& inch for each

size larger and decreases 1/8 inch for each size smaller.

D to E equals D to E of the back.

E to F is 7 inches.

Draw right angle lines from A, B, C, E, F.

A to AA is 9% inches for size 16 and increases 1/2 inch for each size larger and decreases 1/2 inch


F to FF equals A to AA. Draw line AA to FF marking BB, CC, EE at the intersections as illus-

trated.

Extend line FF to G. FF to G equals F to G of the back. Draw a right angle line from G.

F to H is 14 inch.

E to I is 14 inch. Draw a line from I through H until it intersects line G and mark this point GG.

GG to J is 1/2 inch.

K is center of G to GG. Draw line J to K.

H to L is % inch.

EE to M is 14 of the total waist measure plus 1 inch. Draw curved line M to L.

AA to N is 2% inches for size 16 and increases % inch for each size larger and decreases 1/6 inch


N to O is 4 inches. Square a line down from O.

O to P is 114 inches. Draw a line from N through P.

N to Q is the length of the back shoulder less 14 inch.

CC to R is 6% inches for size 16 and increases 14 inch for each size larger and decreases 14 inch


BB to S equals CC to R. Draw line R to S.

S to T (both ways) is i% inches. Draw line T to T.

U is center of T to T. Draw curved line Q to R to U to B.

B to V is 214 inches.

V to V2 equals B to D.

W is center of V to V2.

W to X equals C to R plus % inch. Draw lines V to X and V2 to X.


Draw line V2 to M.

AA to 2 equals AA to N.

N to 3 equals AA to 2. Draw lines N to 3, 2 to 3, an AA to 3.

AA to 7 equals AA to N, plus % inch.

N to 6 is 1/2 inch.

2 to 5 is % inch. Draw curved line N to 6 to 7 to 5 to 2.

For the two-piece front:

EE to 8 is 34 inch.

9 is center of EE to M.

9 to 10 is % inch. Draw the curved line M to 10 to 8. This line is the cutting line for both the skirt

and the blouse.

If the garment is desired loose add 1/2 inch as B to Z and 14. inch as Q to Y.

If the shoulder length is desired shorter—Q to y is 14 inch. Reduce as y to U illustrates.

When cutting the pattern allow a 14-inch seam at the neck line and %-inch seams elsewhere.

[38]

TO DRAFT THE DRESS FRONT

z

When drafting pattern always make back

portion first. To easily make curves use the

Gurney Curve Chart, Page 32.

Before cutting the paper pattern you will, to

complete the pattern refer to the Chapter

"Adapting the Normal Size Standard Pattern

to Individual Measures and Requirements."

Page 40.

THE 6URNEY

METHOD TO MAKE

MORE FULLNESS

AT THE WAIST

FIG. 3

To provide for gathers at the waist, cut the

pattern on line 12 to X and decrease the dart at

V to V as the shaded part illustrates.

Success links arms with Faith and Will


[39]

ADAPTING THE NORMAL SIZE STANDARD PATTERNS

TO INDIVIDUAL REQUIREMENTS

Applicable to all Makes of Patterns

Patterns drafted according to the Gurney

Sure-fit method of pattern drafting will produce

a pattern corresponding to the Standard Table

of Measures, Page 28. Thus a size 16 is a 34

bust, 27 waist, and 37 hip. Size 40 is a 34 waist,

43 hip, etc.

As you proceed and study the fitting illustra-

tions, you will note that in fitting by the Gurney

method, we never, never change the shoulder

point at the neck. We do the fitting where fit-

ting is required. For quick, efficient and eco-

nomic results in business and schools, it is

urgently advised to have a complete set of lin-

ings ready to try on to "pre-fit" the individual.

This gives an opportunity for extended observa-

tion to be used when cutting the material.

TO MAKE A PATTERN LARGER AROUND

THE WAIST AND HIP

Let us assume that the pattern was made for

a standard size, 34 bust and 37 hip, but the in-

dividual's hip measure is 38 inches. This indi-

cates that the pattern must be made one inch

larger around the hips. This amount is divided

into four equal parts as will be noted in Figures

1 and 2 on the opposite page. D to 3 of the back

and front is one-fourth of the amount (1/4)

inch, and a like amount is added at the bottom

as E to 4 on both front and back. We will now

assume that a size 40 pattern, 43 hip is used,

but the hip measure of the individual is 45

inches. This indicates that the pattern must be

made two inches larger around the hips. Again,

in this case, we will add one-fourth of the


amount, y* inch, on the hip line, D to 3 on both

back and front, and a like amount at the bot-

tom. By this method the pattern will have been

made proportionately larger from the hip to the

hem line. See dotted lines 3 to 4. If the waist

measure is correct we will continue the line

from the hip to the waist as dotted line 3 to C

illustrates. However, if the waist must be made

larger, add one-fourth of the amount at the

waist line as dotted line C to 5 both back and

front, then draw a line on the back as 5 to B

and on the front from 5 to the dart. We have

now completed the pattern for larger hips and

waist. For smaller hips the alterations can be

made when fitting the garment. When cutting

the pattern always allow % inch for all seams.

TO ALTER A PATTERN FOR HIGH

SHOULDERS

Figure 1 illustrates high shoulders. When

fitting a normal standard pattern on an indi-

vidual of this type, you will observe that a fold

or wrinkle is formed about 3 inches below the

neckline as letter A, Figure 1 illustrates. The

reason for this is because of insufficient mate-

rial at the shoulder point. The outline of the

pattern K to 0 and F to 0 is the normal shoul-

der line, and for the high shouldered individual

we add on both front and back 14 to 1/2 inch

as 0 to 1 illustrates. Now draw a new line as

K to 1 and F to 1. Then the armscye must be

raised a like amount on both front and back as

B to 1. By this method the circumference of the

armscye remains the same. Generally no pro-

vision is made for the high shouldered indi-

ADAPTING PATTERNS TO INDIVIDUAL REQUIREMENTS

The Gurney method of adapting the normal

standard patterns to the individual require-

ments for larger hips, high and sloping shoul-

ders, etc., applicable to all makes of patterns.

Primarily we have taken note of the indi-

vidual posture in accordance with description of

individual types and measures as on Pages 25

and 26.

H/6HSHOULDERS

SLOPlHG\


[41]

FITTING THE ROUND SHOULDERED INDIVIDUAL

It is an economical advantage and great time

saver to have ready to use a complete set of

dress patterns, also to have a set of dress lin-

ings ready made to try on. If so, you will be sur-

prised at the fitting qualities, and for abnormal

forms this will enable you to note essential

alterations which primarily can be taken care

of when cutting the material. Please note that

the illustrated alterations methods of fitting

are applicable to all makes of patterns.

Fitting means to obtain balance. To obtain

balance on the scale so the pans will hang

evenly the weight on the two pans must be

equalized. So it is with fitting the human figure,

all parts must be equalized before the garment

will hang correctly.

Figures 1 and 2 illustrate what happens when

garments are not properly balanced on the fig-

ure. Figure 1 outlined as G, B, N, R, DD, and

Figure 2 outlined as B, Q, N, 2, G illustrate a

well balanced garment for the normal figure.

The dotted lines illustrate what happens when

the figure is not exactly normal and they will

be referred to in the following discussion on

fitting.

Let us fit a lining on Figure 3B the size of

which has been obtained by the neck measure

and with the required hip alterations. Imme-

diately you will note the wrinkles formed as

numbers 1 and 2 on the back and which extend

to the front as in Figure 4B. Also you will ob-

serve that the lining spreads open at the hem-

line in the front as number 5 on Figure 3B

and protrudes at the hemline in the back. This

is very well illustrated by the shaded portions


G to G2 on Figures 1 and 2.

The cause for all of these things is the lack

of sufficient material from the armscye to the

neckline in the back as D to B in Figure 1. In

other words this individual has a slightly round

back or protruding shoulder blades, which re-

quire extra length.

VJ

My business is not to remake myself,

But to make the absolute best of what God

made. —Robert Browning.

[42]


[43]

FITTING THE ROUND SHOULDERED INDIVIDUAL—(Continued)

To correctly observe the required length at

the back for the round shouldered individual,

pull the garment down, (regardless of the

amount), until the back hangs in its proper

position as illustrated in Figure 5 B. It will then

be noted that the back is too low at the neck

as letters A to B, Figure 5 B illustrates. How-

ever, the amount indicated from A to B is the

correct amount that the back has to be made

longer from the armseye to the neck. If, for

instance, the garment has been cut this re-

quired amount, one inch may be obtained by

deepening the armseye at the back 1/2 inch and

by cutting the shoulder of the front 1/2 inch

lower. Thus, the combined two, equal the re-

FIG.
quired amount, one inch; and the circumfer-

ence of the armscye remains the same. Conse-

quently, by observing the posture attitude of

the individual this alteration can be made when

cutting the material. When a commercial pat-

tern is used, put a tuck or fold of V2 inch across

the front. For the back, cut the back portion

across the back 3 inches below the shoulder and

spread it open 1/2 inch. Thus, the combined

changes on front and back equal 1 inch. If the

individual is very round shouldered as Figure 3,

Page 24, then in addition to the already ob-

tained extra length provision may be made for

pin tucks at the neck as described and illus-

trated in Figure 3, Pages 37, 39.

Perhaps 6 B is a clearer illustration of how

to obtain the correct required extra length from

the armscye to the neck. Figure 6 B illustrates

a lining on which a piece of cambric, about 21/2


inches wide is basted firmly to position across

the back 3 inches below the shoulder line. Put

the lining on the individual so that the neck

portion is on the individual in the proper posi-

tion. Cut the lining across the back just below

the basting. Let the lower portion drop so that

it hangs in the proper position. Pin it firmly to

the lining. Thus, the amount from C to D and E

to F positively indicates the correct amount

that the back portion must be made longer to

obtain a well balanced garment.

For coats a small shoulder dart may be made

as Fig. 7. B to D is 21/2 inches. A is center of

N to B. Draw a line 21/2 inches long as A to C

parallel with line B to D. Cut on lines A to C

and C to D. Hold the pattern at C and swing

it until A to E is 1/2 inch. Point F will then

overlap point D. Add 14 inch as F to H and

draw line G to H to the sleeve curve. The pat-

tern will now appear as N, A, C, E, G, H, J, the

amount from A to E being a small dart. If this

does not add sufficient length you may create

more by lowering the armscye 1/4 maximum 1/2

inch as J to K.

[44]

A QUICK EASY METHOD OF ADAPTING COMMERCIAL

PATTERNS FOR THE ROUND SHOULDERED

\\\\\\\\\\\\\\\\\\\\\\\

\\\\\\\\\\\\\\\\\\\\\\

a ai4

For the round shouldered person the back

from the armscye to the neck is made longer

either by cutting the pattern as 5 to 5 and

spreading it open 1/o inch as the shading 5 to 6

illustrates, or by outlining the pattern as O-A B

and cutting the armscye V2 mcn deeper as B

to 2 and the dotted line 2 to 4 illustrates, in

addition thereto pin tucks may be made at the

neck see pages 37, fig. 3; page 46, fig. 8; page

47, fig. 6. Also the front part is made 1/2 inch

shorter either by making a V2 fold as 7 to 8—

or by cutting the armscye 1/4 higher as B to 3

illustrates thus the circumference of the arm-

scye remains the same size.

ALTERING READY-MADE GARMENTS FOR HIGH SHOULDERS

To alter the garment that has been made

up, as in ready made garments for a high shoul-

dered person, open the shoulder seams to 11/^

inches from the armscye and press the seam

flat. The back will then appear as E to A to C

to A and E. To recut the back. A to B and

C to D is 1/> inch. Draw line B to E. When re-

sewing the back hold the back portion tightly

on the front and sew the shoulder seams. Then

put the collar on the new line B. D. B. This

method will produce good results.

Ficf.4


[45]

PIN TUCKS IN THE BACK

Primarily pin tucks are made in the back of

the neck line to make the garment fit better

over the round or full part of the back of the

neck, and to create fullness for protruding

shoulder blades. These tucks may be made either

on the inside or outside of the garment.

However, for the back it is preferable to make

the tucks on the outside so they may serve as

a trimming as well as being purposeful. Also

if the tucks are stitched on the inside and there

is a little strain on the ends of the tucks the

stitching will spread apart and this will not

add to the appearance of the garment. It is

desirable to make the tucks on the straight

grain of the material rather than slanting them

as most patterns do. Graduated tucks are very

hard to make and at their best usually do not

appear very neat. Therefore, it is advisable to

stitch the tucks straight.

Figure 5 illustrates the position and the

stitching of the tucks for the back. You will

note that the tucks are 21/2 inches in length

and T^ inch on the double in width. Thus % inch

is required for each tuck.

Figure 6 illustrates a method of designing

the paper pattern for pin tucks. 0utline the

regular dress pattern as A, B, C, D, E, F. For

three ^ inch pin tucks slide the pattern for-

ward 3/8 inch as A to X and F to G. While the

center back is on line X to G outline the neck

as X to BB and the shoulder as BB to CC. Hold

the pattern at CC and swing the lower portion

of the armscye so that point D is on dot D as

previously located and outline the armscye as

CC to 4 illustrates. If the back is desired still


wider add 14 mcn as CC to 8.

Figure 7 illustrates a method of making pin

tucks for a slightly round back. Pin the regular

dress pattern to another sheet of paper as F,

G, D. G to 5 is 11/! inches. Draw a line parallel

with line G to D as 5 to 4. Cut the pattern on

line 5 to 4 and spread the pattern open V2 inch

as 5 to 6. Pin the pattern to position and it

will now appear as the dotted lines 6 to AA to

BB to CC to 4 illustrate. The amount from A

to X will provide the required amount for three

pin tucks.

For a high round back the pattern may also

be cut on line 9 to 10 and spread open as pre-

viously described.

Figure 8 illustrates a simple and easy method

of preparing the material for tucks when the

pattern has made no allowance for them. Pin

the pattern firmly on the fold of the material

as pins 3, 4, and 5 illustrate. For three ^ inch

pin tucks pull the material % inch out from

the pattern as A to D illustrates. Insert pins

6, 7, 8. For the regular back cut the material

along the pattern as D to 0 and 8 to 2. For a

round back D to 10 is 1/2 inch and 0 to 9 is the

same. Draw a curved line from 10 to 9 and

draw line 9 to 11 as illustrated. Cut on these

lines. See the Gurney method for marking the

location of the pin tucks on the next page.

(C fOW of THE

[46]


->xr

Av

7LiNEX -AA

/'// HII/ confer with sorrow

Till tomorrow;

But joy shall have her way

This very Jay.

—T. B. Aldrich.

[47]

FITTING THE INDIVIDUAL WITH LARGE BUST

Now let us fit a lining on an individual with

a slightly large bust as illustrated by line B in

Figure 5. Immediately you will note the wrin-

kles formed at the bust as numbers 1 and 2

and extending to the back as number 3 in Fig-

ures 5B and 6B. Also you will note that the

garment is too tight at the hip line, cups in, and

overlaps at the hem line in the front as illus-

trated by the shaded portions G to G3 on Fig-

ures 1 and 2 on page 42. Let us assume that the

individual requires a size 36 pattern by her neck

measure, but that her actual bust measure is

size 38. If you use a size 38 pattern for her you

will find that it will be too small over the bust

and will be too large across the back, neck and

sleeves. Then if you use a size 36 pattern you

will find that it will fit perfectly at the back,

neck and sleeves, but will be too small over the

bust. Therefore, to correctly fit this individual

we will use a size 36 pattern and adjust it to fit

the bust.

Cut a lining from the 36 pattern leaving it

open down the front and allow two inches on

the center front. Sew up the darts which will

be either under arm darts or shoulder darts.

Baste a piece of cambric 4 inches wide firmly to

position the width of the front two inches below

the armscye. Put the lining on the individual

and cut the lining across the front to the under

arm seam just over the fullest part of the bust.

Let the lower portion drop until it hangs in a

straight line down the center front and pin it

to position as 10 to 11 and A to B. Thus, the

amount from A to B is the extra length required

over the bust.


Inset Figure 1 illustrates the pattern as it

will appear from the lining just fitted. You will

note that the upper part is not in a straight line

with the lower part as 2 to 3 to 4. Therefore, N

to O is 114 inches. Cut the pattern on line O to

A and place line 2 to 4 in a straight line with

the center front as in inset 2. This illustrates

that the amount from O to S is required over

and above the dart already in the garment and

is usually used as pin tucks. However, this

amount may be decreased by cutting the pat-

tern on the original dart as A to X and increas-

ing the dart as X to X2, thus the amount from

O to S is decreased as 0 to O2. You may also

divide the fullness by spreading the pattern on

line Y to C for gathers at the waist line.

(Continued on Page 50)

[48]


Our greatest glory consists not in never fall-

ing, but in rising every time we fall.

[49]

FITTING THE LARGE BUST—(Continued)

B

I

Fig. 10

I AM

I know not whence l came,

l know not whither l go;

But the fact stands clear that l am here

ln this world of pleasure and woe.

And out of the mist and murk

Another truth shines plain—

/( is my power each day and hour

To add to its joy or its pain.

I know that the earth exists,

lt is none of my business why;

l cannot find out what it's all about,

l would but waste time to try.

My life is a brief, brief thing,

l am here for a little space,

And while l stay l would like, if l may,

To brighten and better the place.

The trouble, l think, with us all

ls the lack of a high conceit.

If each man thought he was sent to this spot

To make it a bit more sweet,

How soon we could gladden the world,

How easily right all wrong,

lf nobody shirked, and each one worked

To help his fellows along.

Cease wondering why you came—

Stop looking for faults and flaws.

Rise up today in your pride and say,

"l am part of the First Great Cause!

However full the world,

There is room for an earnest man.

lt had need of me or I would not be—-


/ am here to strengthen the plan.

—Ella Wheeler Wilcox.

[50]

FITTING THE LARGE BUST—(Continued)

Let us now fit the individual with the exces-

sively large bust as illustrated by line B in Fig-

ure 3. If we place a lining on this person we will

find the same wrinkles as we found in the nor-

mal large bust. We shall use a semi-french drap-

ing method to fit this individual and to do so

we will eliminate the original dart V to V1.

Figure 8. V to V1 is the original dart. E to E1

equals V to V1. Make a fold on the pattern so

that E to V meets E1 to V1 and cut the lining

by this pattern. Baste a piece of cambric 4

inches wide across the front just below the

armscye. Put the lining on and cut the lining

only across the front over the fullest part of

the bust to the under arm seam as in Figure

8B. Let the lower portion of the lining drop

until it hangs in a straight line down the cen-

ter front and pin it to the cambric which is

illustrated by the shaded portion.

Inset 9 illustrates the appearance of the lin-

ing just fitted. It does not lay perfectly smooth

and the upper portion is not in a straight line

with the lower portion. Therefore, N to O in

Figure 10 is 11/4 inches. Cut from O to A and

bring A to C parallel with C to B as A to C2

illustrates. Thus, C2 to 22 will be in a straight

with the center front and the pattern will

spread as O to O2 which is the required dart.

This shoulder dart may be transposed to the

under arm seam as in Figure 11.

For a dress dart the amount from X to X2 is

too much for the under arm dart and it may be

divided into two darts or it may be divided as in

Figure 12. Cut the pattern from O to A and

spread it open as O to OO one inch. This amount


is usually used as pin tucks. You will note that

this has decreased the under arm dart. If you

desire to decrease it still more cut the pattern

as F to B and spread it open as F to FF one

inch or more. This amount will be used as gath-

ers. Thus, you will note that the dart has been

decreased from X to X2 as D to D1.

[51]

TO MAKE PIN TUCKS IN THE FRONT

Pin tucks in the front are double and neutral

acting. We make tucks in the front for a flat

chested person or the individual with small

busts to make them appear broader. Pin tucks

are made for people with large busts to make

them appear smaller and also because they re-

quire the extra fullness created by the tucks.

Pin tucks are generally used as a trimming,

hence, it is a mistaken idea that no dart is

essential when pin tucks are used.

Figure 9 illustrates the position of the tucks

on the front. You will note that the tuck near-

est to the neck line is 41/2 inches long and that

the tucks gradually reduce in length to 31/2

inches for the one nearest the armscye.

Figure 10. Outline the regular pattern as 2,

N, Q, B, M. Mark the dart as V and V1. 2 to

3 is % inch. N to R is 1 inch. Place the cen-

ter front on line 3 to 3 and outline the shoulder

as Q2 to R. Hold the pattern at Q2 so that V

meets V and draw the curved line Q2 to B2 and

line B2 to V. R to S is 41/2 inches. R to 7 is %

inch. 7 to 8 is % inch. 8 to 9 is % inch. 9 to

U is 31/o inches. Draw line U to S to determine

the length of the other tucks. Draw line R to

9. The pattern will now be outlined as: M, V1,

V, B2, Q2, 9, R, N, 2.

Figure 11. To make the front larger with

pin tucks. Outline the regular dress front as:

2, N, Q, B, M and the dart V to V1. 2 to 3 is

V2 maximum •% inch. Place the center front of

the pattern on line 3 and outline the front as

R, Q2, B2, V3 and V2. Hold the pattern at the

lowest point of the dart and swing the pattern

back to the normal waist line M. By this


method the width of the front is increased %"

over the bust.

[52]

TO ENLARGE A PATTERN OVER THE BUST WITH OR

WITHOUT THE USE OF PIN TUCKS

The Gurney Method of Marking and Sewing

the Pin Tucks

For delicate material it is impossible to mark

the location of the tucks with chalk, etc. Cut a

piece of paper the same shape as the upper por-

tion of the neck at the back, also cut a piece

of paper the same shape as the front. Now

Figure 1. N to 2 is 1 inch.

Draw a line as 2 to 3 parallel with the center

front.

Figure 2. Cut on line 2 to 3.

Spread the pattern open % inch as 2 to 4 and 3

to 5. The amount from 2 to 4 will be used as

5 pin tucks and the amount from 3 to 5 will be

used as gathers. However, if gathers are not

desired at the waist line M to M2 equals 3 to 5.

Draw line V to M2.

To Enlarge a Pattern Over the Bust Without

the Use of Pin Tucks

Figure 3. R to S is % inch. Draw a line as A to

S to B parallel with the center front.

Figure 4. Cut on lines A to B and V to X.

B to B2 is y% inch. (Amount pattern is desired

larger.)

Hold the pattern at A and place point B on B2

and outline the armscye as the dotted line and

draw line B2 to V2.

V to V3 equals B to B2.

Hold the pattern at B and place V on point V3

.n and draw line V3 to M2. Thus the dart will have

increased as V2 to V3 illustrates and may be

divided into two small darts.

If fullness is desired at the waist line M2 to M

equals V to V3. Draw line V3 to M.


mark the location of the tucks on the paper

with a "very" light pencil line, pin it to position

on the garment and with a long stitch,—stitch

along the pencil line, then remove the paper,

thusly you will have a correct mark to stitch

the pin tucks. After the tucks are stitched re-

move the stitching mark.

[53]

THE PRIMARY CAUSE OF ILL-FITTING GARMENTS

AND SHRINKING WOOLENS

Woolen materials are always rolled in bolts.

When it is being rolled the inside half of the

material usually crawls forward, sometimes as

much as one-fourth yard. Salespeople generally

cut striped and checked material according to

the stripe, however, with plain material they

usually cut it on the double. If it is cut on the

double and the inner part of the material has

slipped forward in the bolting it is possible that

half of the width will be cut on the bias. Hence,

it is advisable at all times to have the material

torn and then the end will be on the true woof

thread.

Frequently when the material has been rolled

up and the woof threads are printed true at the

ends it will not lie smoothly on the table. If so,

one person will then hold one corner firmly and

a second person will hold the opposite corner

firmly and pull the material on the bias, thus

straightening the material as much as possible

in its dry state.

All woolen and shirt materials should be

thoroughly shrunk before cutting. To shrink

the woolens at home, pin the selvage edges to-

gether so the woof threads are even at the ends

regardless of whether the material will lie

smoothly. Place the material on top of news-

papers on the floor. Wet a piece of muslin thor-

oughly (preferably old sheeting) and wring it

out by hand as much as possible. Lay the wet

cloth smoothly on top of the woolens and roll

them together avoiding wrinkles as much as

possible. Leave it rolled for forty-five minutes

and then unroll it. Now while the fabric is damp


you can finish straightening it by having one

person hold each end of the material and pull-

ing it on the bias, first one way, then the other.

This must be done with the selvages pinned to-

gether as instructed before shrinking the ma-

terial. This pulling will straighten the woof and

warp threads and force them into their natural

position. Hold the cloth tight and lay it smooth-

ly on the paper. Have a hot iron ready and if

there are any wrinkles press them out while

the cloth is damp. However, it is not necessary

to press the whole cloth—press only the wrin-

kles and allow the goods to lie until it is thor-

oughly dry. In no instance should you hang

woolen materials to dry when shrinking them.

If you do not desire to shrink your material

at home take it to a dry cleaning establishment

and let them steam it which is sufficient for

shrinking. However, please note that it is ad-

visable that you observe whether the woof

threads are even and then baste the selvages

together. By so doing you have taken the pri-

mary precaution to obtain a balanced garment,

whereas, if the woof and warp threads are not

true you are inviting the primary cause of ill-

fitting and twisting garments.

A little art, a little care,

Some little changes here and there,

These combine with skillfull thought

And seeming wonders can be wrought.

[54]

CUTTING THE MATERIAL AND MAKING GARMENTS

After your material has been thoroughly

shrunk you are ready to lay your pattern on it

and cut out the garment. However, I often won-

der how it is possible to cut out garments on

the usual small home table. Just a few pennies

will buy a beaver board that can be placed on

the dining table and used as a cutting table,

then put in the basement for further use.

It is of utmost importance that all materials

be cut on the true woof and warp threads,

(lengthwise and crosswise) so that duplicate

portions of the garment will be exactly alike.

Therefore, to be positively certain of this with

silks, crepes and light weight woolens, pin the

fold and selvage edges on the edge of news-

papers. Also pin the end even with the news-

paper to obtain a true angle.

Commercial patterns have printed illustra-

tions for laying the pattern on the material.

They also have printed arrows or perforations

indicating the straight of the goods. However,

it is advisable to extend these lines the full

length of the pattern, which will make the plac-

ing of the pattern easier. When the material is

laid open and one portion is cut at a time, ex-

ceptional care should be taken so that the woof

and warp threads correspond to the piece al-

ready cut. To avoid mistakes it is preferable

to cut a duplicate of that portion of the pattern

and mark it right side, etc. Just a little differ-

ence will cause a twist in the garment, and is

the primary cause of ill-fitting garments. When

cutting you will also cut all duplicate portions

exactly the same length. If patterns could talk,

oh, how they would scream when they are so


often butchered and cut up. Therefore, to ob-

tain good results, THINK, and pin the pattern

in position on the material correctly. If you are

cutting silk materials or light weight fabrics

cut through both the material and paper.

Thusly, you will have avoided all uncertainty

and you have the primary essential of garment

making—that the garment has been cut cor-

rectly.

When the garment has been cut out you will

mark all corresponding notches and tailor tack

all marks. If you are using a commercial pat-

tern it is wise to use the direction sheet and

do each step as they indicate.

The back shoulder portion of the garment is

usually cut 14 or % inch longer than the front

portion. This must be eased onto the front to

create the fullness required by the shoulder

blades. Regardless of whether the pattern has

allowed this—do it anyway. When basting the

first shoulder seam start at the neck, the front

resting on the four fingers. The thumb will then

be on the back portion and it will be easy to

ease in the required fullness. (In sewing, it is

usually said that the thumb steals). If the front

is too long on this shoulder an equal amount

must extend on the other shoulder which is

basted from the armscye to the neck. Please

realize that on no pattern is the back too long,

but frequently the front will be too long and

can be cut off after the garment has been fitted.

When basting the side or under-arm seams

for coats, skirts and dresses place the garment

smoothly on the table with the edges even. Pin

S* *•?

2§

S

2

5

-

-

o S- m n

*» n n H>

e»«

0 o, _ C

3< W C3 o P

0»3S

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.

< t? c_. t» rf

(n c-i- 1^ o a>

A

w,

i

A

§

a

o*

o

p

5s

s.

N*

o <-(- e-t- cr

sr o =r g ..

» tn'6 g.?

a

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5'

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-§

"SL


B<

^ 95 sr <

e~*- 3 ps fo

[56]

SLEEVES AND SLEEVE MEASUREMENTS APPLICABLE

TO ALL MAKES OF PATTERNS

The question often arises in pattern drafting

and also when using commercial patterns how

to measure and be certain of obtaining the

right size of the sleeve for the upper portion

of the arm. The Gurney Self Grading Method

of Pattern Drafting automatically provides for

the right size of the sleeve and armscye (arm-

hole) according to the size of the pattern, but

unfortunately persons with large arms will cut

the armscye larger than it is required with the

results that the sleeves will be uncomfortable.

Secondly, both large and small persons fre-

quently insist upon using a pattern that is too

small, consequently they cannot expect a com-

fortable garment. When driving the automobile

the garment is subjected to sudden and severe

strain, therefore the required ease must be pro-

vided in the garment. As you proceed in this

book you will find various methods of making

sleeves larger or smaller. These methods are

adaptable to all makes of patterns. When draft-

ing sleeves by the Gurney Method you will note

that the dimensions for width, etc., are derived

from the neck measure, as the width of the

sleeve 3 inches from the armhole equals the

circumference of the neck taut under the chin

plus 1Vo inch. For the tight sleeve the width

of the sleeve at the elbow equals the neck

measure minus 1 inch. For the medium tight

sleeve the width at the elbow equals the neck

measurement.

It will thus be noted that the width of the

sleeve minus the seams for Size 16 is 13 inches

and increases % inch for each size larger and


decreases 1/o inch for each size smaller.

Or rules that say "Don't."

We may need a few,

But they never help life

Like the rules that say "Do."

[57]

DRAFTING SLEEVES

Figure 1. To draft the straight dress sleeve.

Draw a line 1 inch from the edge of the paper nearest

to you.

1 inch from the edge of the paper to the right of you

mark A.

A to B is 5 inches for size 16 and increases V4 inch

for each size larger up to and including size 42, and

decreases % inch for each size smaller including

size 12.

B to C is the under arm length and is normally 17%

inches.

D is center of B to C.

B to E is 1% inches.

Draw right angle lines from A, B, C, D, E.

A to AA is 13 inches for size 16 and increases % inch

for each size larger and decreases % inch for each

size smaller.

C to CC equals A to AA. Draw line AA to CC and

mark BB, DD, EE at the intersections.

F is center of A to AA.

FF is center of C to CC. Draw line F to FF marking

00 at the intersection of line D to DD. This line is

the straight of the goods for all types of sleeves.

A to G is 2% inches for size 16 and increases %

inch for each size larger and decreases % inch for

each size smaller.

B to GG equals A to G. Draw line G to GG and mark

J at the intersection of line E to EE.

F to H is 2 inches always.

F to I is 3 inches for sizes 14, 16,, 36, 38; 3% inches

for size 40 and all sizes larger, 3 inches for size

12 and all sizes smaller.

AA to K is 2 inches for size 16 and increases % inch

for each size larger and decreases % inch for each

size smaller.


BB to KK equals AA to K. Draw line K to KK and

mark L at the intersection of line E to EE.

F to M is 2 inches always.

F to N is 3% inches for sizes 14, 16, 36, 38; 3^4

inches for size 40 and all sizes larger; 3 inches for

size 12 and all sizes smaller.

Make short right angle lines from I, H, M, N.

I to O is 1% inches always.

N to O is 1% inches always

H to P is % inch always.

M to P is % inch always.

F to Q (both ways) is % inch always.

J to R is 1% inches always. Draw line R to GG.

GG to S is % inch always.

L to T is 1 % inch always. Draw line T to KK.

KK to U is % inch always.

Draw curved line B to S to J to O to P to Q to F to

Q to P to O to L to U to BB as illustrated.

V is center of C to FF.

W is center of CC to FF.

W to X is % inch.

CC to Y is Vt inch.

C to Z is % inch. Draw lines V to Z and V to X to Y.

Figure 2. To draft the blouse sleeve.

C to 4 is Hi inches.

CC to 5 is 1% inches.

6 is center of 4 to FF.

7 is center of 5 to FF.

7 to 8 is % inch.

Draw line V to 8 to 5.

B to 9 is 3 inches. Draw line 9 to 4 and mark II)

at the intersection, of line D to DD.

BB to 9 is 3 inches. Draw line 9 to 5 and mark 11 at

the intersection of line D to DD.


TO DRAFT THE STRAIGHT DRESS OR COAT SLEEVE

c

3

CO

53

a

0

-

O

[59]

THE TIGHT SLEEVE

Figure 3. To draft the tight sleeve. This is a continu-

ation of the straight dress sleeve.

00 to 12 is 5% inches for size 16 and increases %

inch for each size larger.

00 to 13 equals 00 to 12.

C to 4 is 2 inches for size 16 and increases Vs inch

for each size larger.

Draw lines 9 to 12 and 12 to 4.

4 to 15 is 7% inches for size 16 and increases 1/4 inch


Draw lines 9 to 13 and 13 through 15.

14 is center of 00 to 13.

Place the square on line 13 to 15 so it touches dot 14

and thus locate dot 16 on line 13 to 15.

Draw line 14 to 16.

12 to 17 (both ways) is 2 inches.

13 to 18 is 2 inches.



The fullness between points 18 and 18 on the back is

eased between points 17 and 17 on the front of the

sleeve.

Figure 4. To draft the medium tight sleeve. This is

also a continuation of the straight dress sleeve.

00 to 10 is 6 inches for size 16 and increases & inch



C to 44 is 1% inches for size 16 and increases Vs inch



44 to 21 is 8V4 inches for size 16 and increases J,i


Draw lines 9 to 11 and 11 through 21.


Place the square on line 11 to 21 so it touches dot 14


and thus locate dot 5 on line 11 to 21.

10 to 17 (both ways) is 2 inches.


44 to 20 is 2% inches. Draw line 20 to 22.

11 to 18 and 5 to 18 are each 2 inches.

The fullness between points 18 and 18 of the back is

eased between points 17 and 17 on the front of the

sleeve.

If desired the medium tight sleeve may be made %

inch larger at the wrist as 22 to 23. Draw line 11

to 23.

Jacket Sleeve.

The medium tight sleeve drawn on line 11 to 23 is

used for the one piece jacket sleeve, with the ex-

ception that it is used one size larger than for a

dress. Also the armscye is deepened J/i inch as B

to 2 and BB to 2. Illustrated in Fig. 1, Page 58.

Hidden deep within each heart is a longing

for greatness. A true longing is always prophetic

if actual accomplishment. As within the acorn

dwell the possibilities of the mighty oak; within

the brown bulb the fragrant Easter lily; and

within the gray silken cocoon the exquisitely-

winged butterfly; likewise within you are the

possibilities of greatness, but we must learn to

develop them scientifically.

[60]


TO DRAFT THE TIGHT SLEEVE

[61]

THE STRAIGHT COAT SLEEVE MADE TIGHT ON THE WRIST

DD

v,

18

~FoR COAT

< STRAIGHT OF GOODSi

Fot? COAT

.-17

Outline the regular straight coat sleeve.

CC to 15 is the amount the sleeve is desired

to be made smaller and is maximum 3 inches.

Draw line 15 to DD.

Place the square on line DD to 15 so it

touches dot 14 and thus locate dot 16 on line

DD to 15.


DD to 18 is 2 inches.

D to 17 (both ways) is 2 inches.

18 to 14 equals 17 to C.

20 is center of C to FF.

Draw line 14 to 20.

The fullness between points 18 and 18 of the

back is eased between points 17 and 17 on the

front.

Allow % inch seams when cutting the pattern.

After all, "a good sport" is one who finds

living itself a good sport.


[62]

HOW THE GURNEY SLEEVE DIFFERS FROM ALL

OTHER MAKES OF SLEEVE PATTERNS

13

.STRAIGHT Of &OODS-.

You will note that in the drafting of the Gurney

sleeve the lines are drawn straight down from

B and BB three inches as B to 9 and BB to 9.

From points 9 the lines are slanted to the elbow

as 9 to 12 and 9 to 13.

The commercial sleeves are drafted as the lines

from B to 10 to 12 and BB to 10 to 13. There-

fore, you will observe that the Gurney sleeve

provides width for the muscular part of the arm

as the shaded portion illustrates, hence there

will be more comfort for the wearer.

Within yourself is the cause of whatever enters

your life—to come into realization of your

own awakened powers is to be able to condition

your life in exact accord with what you would

have it.

—Ralph Waldo Emerson.


[63]


THE TWO PIECE JACKET AND COAT SLEEVE

[64]

TO DRAFT THE TWO PIECE JACKET AND COAT SLEEVE

To draft the two piece jacket sleeve draft the

sleeve pattern one size larger than for a dress,

and for the coat two sizes larger than the coat

pattern. All points are located as for the

straight sleeve.

Deepen the armscye 1/4 inch on both the

front and back as B to X and BB to X for a

jacket. For a coat deepen the armscye 1/k inch

as B to X and BB to X.

Draw curved lines X to J and X to L.

J to 2 is 11/a inches.

C to 3 equals E to 2.

Draw line 2 to 3 and mark 4 at the intersec-

tion of line D to DD and mark 6 at the intersec-

tion of the armscye.

4 to 5 is % inch. Draw lines 5 to 6 and 5 to 3.

BB to 7 equals E to 2.

CC to 8 equals BB to 7. Draw line 7 to 8 and

mark Y at the intersection of line D to DD.

Y to 10 is %. inch. Draw lines 10 to 7 and

10 to 8.




3 to 15 is the width of the sleeve and is 9%

inches for size 16. This amount increases %


The amount from 15 to 8 is the surplus width

of the sleeve.

14 to 16 is 1/2 of 15 to 8. Draw line 13 through

16.

14 to 17 equals 14 to 16. Draw line 13

through 17.

17 to 18 is % inch.

16 to 19 is % inch.


3 to 20 is 1 inch. Draw line 20 to 19.

Draw line 8 to 18.

7 to 21 equals 10 to 13 less V2 inch.

Draw line 13 through 21 and mark 22 at the

intersection of the sleeve cap.

13 to 23 is 1/4 inch. Draw a slightly curved

line at 23 as illustrated.

Draw line 24 to 24 parallel with line 6 to 3>

which will indicate the straight of the material.

Draw a line from 25 to 25 parallel with line

7 to 8, which will indicate the stra1ght of the

material for the under sleeve.

Make a notch at X on the under sleeve which

will meet the under arm seam of the garment.

*Allow all seams when cutting the garment. It is

advisable to allow 1% inch seams on 22 to 19 and 22:

to 18. This will be sufficient to make the tailored open,

vent or to allow for an outlet if required.

"We owe it to ourselves to believe that the

best and highest things are intended for us."

[65]

TO ENLARGE THE SLEEVE AT THE TOP FOR

THE LARGE ARM

Figure 3 illustrates a method of enlarging the

sleeve at the top for the large arm but is an

uncertain method.

The other illustration on this page is an easy

and sure method of correctly enlarging the

sleeve at the top.

Outline the sleeve as A, B, 4, 5.

Draw line A to B.

Fold the pattern so A meets B and thus locate

points F and FF. Unfold the pattern and draw

line F to FF and mark O at the intersection of

line A to B.

To make the sleeve 1 inch larger A to C is

1/2 inch. B to C is 1/2 inch.

Cut the pattern on line F to FF.

Hold the pattern at point 4 until point A con-

tacts point C and draw line 4 to C.

Hold the pattern at point C and swing the

upper portion of the sleeve until point F con-

tacts line F to FF as point D. Outline the

sleeve cap as C to E to D.

Hold the pattern at point 5 until point B con-

tacts point C and draw line 5 to C.

Hold the pattern at point C and swing the upper

portion of the sleeve until point F contacts line

F to FF as point D. Outline the sleeve cap as

C to E to D.

The outline of the sleeve cap will now be as the

dotted line from C to E, the solid line from E

to F to E and the dotted line E to C. Cut on

this line.


[66]

ENLARGING THE SLEEVE FOR THE BIG ARM

0utline the sleeve as A, B, C, D, W.

Draw line A to B.

E is center of A to D.

Draw line E to F parallel with line A to B.

E to J (both ways) is 2 inches.

F to K is 2 inches.

C to L equals D to J.

D to H is 51/<, inches.

B to G is 31/2 inches. Draw line H through G

and mark I at the intersection of the sleeve cap

and X at the intersection of line E to F.

Cut on the line H to I.

Spread the pattern open 1 inch as X to M and

pin the pattern as H to M and I.

The pattern will then be cut as H to CC to 4

to 5 to BB.

Thus the sleeve will be 1 inch larger as the

black space illustrates.

The fullness at the elbow will have increased

as 4 to 5 illustrates. Make notches at K2 and L2

to match notches J and J.


[67]

THE GURNEY COMFORTABLE SHORT SLEEVE

Tissue paper patterns usually indicate on

the long sleeve pattern where the pattern is to

be cut for the short sleeve. However, to posi-

tively obtain a sure-fit comfortable short sleeve

outline the sleeve on another sheet of paper as

A, B, C, D, E.

Draw line A to C and mark F in the center.

Square a line up from F to the sleeve cap as

Fto E.

F to G is % inch. Draw a line through G

parallel with line A to C.

Hold the pattern at E and swing the pattern

until point C contacts line G as I and outline

as E to I.

Hold the pattern at E and swing the pattern

until point A contacts line G as H and outline

as E to H.

Draw lines H to B and I to D.

NOTE: The sleeve cap F to E was shortened

but the line H to E and I remained the same

length as A to E to C. This method will pro-

duce a comfortable short sleeve that will not

draw across the upper part of the arm or tear.

A DAlLY THOUGHT

A little bit of kindness

To others now and then,

A little bit of blindness

To the faults of other men,

The wish to be forgiving

When things somehow go wrong,

And life is worth the living

And hope is in the song.


[68]

TO MAKE THE SLEEVE LARGER OR SMALLER AT THE WRIST

0utline the sleeve as A, B, C, D, W.

Draw line A to B.

E is center of A to D. Draw line E to F par-

allel with line A to B.

E to J (both ways) is 2 inches.

F to K is 2 inches.

C to L equals D to J.

L to I is 2 inches. The amount from I to F

is eased in between points J and J.

D to H is 5 Vo inches.

B to G is 3V2 inches. Draw line H to G, mark-

ing X at the intersection of line E to I.

Cut the pattern on lines H to G and X to F.

To make the sleeve 1 inch smaller at the

wrist H to M is 1 inch.

Place letter H on M and the sleeve will appear

as N to F. The notch L will be lowered as L2

illustrates, thus the amount for fullness at the

elbow will have increased. Notches L2 and K

will meet notches J and J when sewing the

sleeve.

To make the sleeve 1 inch wider at the wrist

H to 0 is 1 inch.

Place letter H on letter 0 and the sleeve will

appear as P to F.

Notch L will be higher as L3 illustrates and

the fullness at the elbow will have decreased as

the shaded portion illustrates. Notches L3 and

K will meet notches J and J.

To further increase the width of the sleeve

at the wrist place letter I on F and the sleeve

will then appear as R to F.

N0TE:

changed.

The front seam D to E is never


[69]

THE SHORT SLEEVE WHICH IS GATHERED AT THE BOTTOM

o

u<

CD

O

(O

6

Figure 8.

Outline the regular sleeve as 1, 2, 3, 4, 5.

Draw line 2 to 4.

A is center of 2 to 4.

A to C is 1/s of A to 2.

D is center of 2 to C.

B to I equals A to C, J is center of 1 to I.

A to E equals A to C, F is center of E to 4.

B to H equals A to E, G is center of H to 5.

Draw line J through D to the sleeve cap.

Draw line I through C to the sleeve cap.

Draw line B through A to 3.

Draw line H through E to the sleeve cap.

Draw line G through F to the sleeve cap.

GREETINGS

Question—How do you do!

Answer—/ always do just as I please.

Question—Gee! you are lucky- I wish I could.

How do you do it?

Answer—/ do the very best I can; that pro-

duces the pleasing exhilaration of having done

the best in me. Thus, justly, doing the best I can

always pleases me, and leaves no regrets.

—E.G.


[70]

FOR GATHERS AT

THE BOTTOM

Figure 9.

Cut the pattern from the bottom of the sleeve

to the sleeve cap as G through F, H through E,

X through A, I through C, and J through D.

0n another sheet of paper draw a line as 3

to B. Place line A to B of the sleeve pattern on

line 3 to B.

Spread the pattern open 11/4 inches as X to

X, H to H, G to G, I to I, and J to J.

0utline the pattern as 1, 2, 3, 4, 5, and draw

curved line 5 to 1.

FOR GATHERS AT

THE TOP

Figure 9B.

Prepare the sleeve as in Figure 8.

Cut the pattern from the sleeve cap to the

bottom of the sleeve as lines F to G, E to H

3 to B, C to I, and D to J.

0n another sheet of paper draw a line as B

to 3.

Place line A to B on line 3 to B.

Spread the pattern open 1 inch as X to X,

E to E, F to F, C to C, and D to D.

0utline the pattern as 2, 1, B, 5, 4.

3 to 6 is 1/2 inch.

Draw curved line 4 to 6 and 2 to 6.


[71]

TO DRAFT THE BALLOON

SLEEVE APPLICABLE TO

COATS AND DRESSES

The "balloon" effect may be just above the

wrist on a coat and half way between the elbow

and the armscye for the dress. Also for a dress

it may be located just over the elbow, thus

having a three-quarter length sleeve.

We shall describe the coat sleeve which may

be used as the basis for the dress sleeves.


[72]

L

FF

, ST/tA/GHT

Of QOOOS7

,10

K

Figure 1.

Outline the regular straight dress sleeve.

Draw line F to FF and B to BB marking X at

the intersection of the lines.

C to D is 6 inches.

CC to DD equals C to D. Draw line D to DD.

FF to O (both ways) is 1/2 of the desired

width of the sleeve.

Draw line B to O and mark G at the inter-

section of line D to DD.

Draw line BB to O and mark H at the inter-

section of the line D to DD.

The sleeve is divided into equal portions as:

2 is center of X to B.

3 is center of X to 2.

4 is center of 2 to B.

5 is center of X to BB.

6 is center of X to 5.

7 is center of 5 to BB.

8 is center of FF to O.

9 is center of 8 to O.

10 is center of FF to 8.

11 is center of FF to O.


13 is center of FF to 11.

Draw line 9 through 4 and mark I at the

intersection of line D to DD and 15 at the inter-

section of the sleeve cap.

Draw line 8 through 2 and mark J and 16

at the intersections.


Draw line 10 through 3 and mark K and 17


Draw line 13 through 6 and mark L and 18


Draw line 11 through 5 and mark M and 19


Draw line 12 through 7 and mark N and 20


For the lower portion of the sleeve trace on

lines G to H, H to O and O to G. Also trace all

the division lines and mark them.

Figure 2. For the upper portion of the sleeve

cut the pattern on line G to H. Cut on lines I

to 15, J to 16, K to 17, L to 18, M to 19, N

to 20.

F to W remains the straight of the material.

Spread the pattern open 1!/4 inches at I, J,

K.

Spread the pattern open iy$ inches at L, M,

N.

Pin the pattern to position and it will appear

as Figure 2.

Figure 3. The same method is used for the

lower portion of the sleeve as for the upper

portion.

Cut on the various lines and spread the pat-

tern open 114 inches at I, J, K and 11/2 inches

at L, M, N.

W to FF is the straight of the material.

Allow % inch seams when cutting the garment.

[73]


TO DRAFT THE BELL SLEEVE

ec

M

FIG.ll

STRAIGHT OF GOOD*

W 0) C

-;3 TZ-t->

O. ea

[74]

FANCY COAT SLEEVE (Large at Elbow, Small at Wrist)

STRAIGHT OF GOODS

FIG.14

FRONT

TM///////////////////V7V7.

STRAIGHT O GQOD

FIG.13

STRAIGHT OF GOODS

To make the fancy bell coat sleeve that is

large at the elbow and small at the wrist. Use

the desired size coat sleeve pattern and proceed

with the sleeve in the same method as de-

scribed for the dress bell sleeve in Figure 11.

Cut out the pattern, allow % inch for all seams,

cut the sleeve of muslin, baste it in the coat,

and try it on, this will enable you to locate the

seam indicated by the letter Q Figure 13, any

desired place, and also to pin the sleeve as de-

sired from the elbow to the wrist as L to M,

Figure 12, illustrates.

Figure 13, draw the desired seam line as Q

to 2 to 3 to 4, being sure to contact the elbow

point M, make notches at points 2, 3 and 4. Cut

the pattern on this line. The pattern will now

appear as Figures 14 and 15. Allow for seams

as the shaded portion illustrates.


[75]

TO DRAFT THE BISHOP SLEEVE

The Bishop sleeve may be made from the

two-piece sleeve so that it will be fitted in the

front as illustrated. It may be made as large as

desired.

In this illustration 15 to 15 is 2 inches.

X is center of 15 to 15.

Using X as the pivoting point make an arc

line from 16 to 19.

0n all two piece sleeves points 8 and 5 are

placed on the straight of the material.


[76]

ADAPTING THE DRESS PATTERN FOR WOOLEN GARMENTS

Woolen materials are more elastic than silk

materials, therefore, it is advisable for woolen

garments to use a pattern one-half to one whole

size smaller than for a silk dress. This applies

to the bust measure only and not to the hip

measure. Therefore to retain the hip measure

and to obtain the correct bust size proceed as

follows:

Outline the back dress pattern the size you

would use for a silk dress as: N, R, B, M, H.

Outline the front dress pattern using the

same size as for the back as: 2, N, Q, B, M, H.

R to X on the back is 14 inch.

B to W is % inch.

Draw curved line X to W and line W to M.

Q to X on the front is 14 inch.

B to W is % inch.

Draw curved line X to W and line W to M.

If you should desire to retain the shoulder

line as for the regular pattern reduce as R to S

and Q to S.

There is great economy in using good ma-

terials, not only for wear or appearance, but

also for the grand joyful satisfaction to your

own self. Why not save on the movies, and

spend it on something that is ever with you?


[77]


THE COSTUME SLIP

[78]

TO DRAFT THE COSTUME SLIP

To draft the back:

0utline the dress back as A, B, C, D, E, EE,

DD, 4, BB, 0 and K.

B to 2 is 114 inches. Make a short right

angle line from 2.

B to 3 is 114, inches.

2 to 4 is 21/2 inches. Draw line 3 to 4.

4 to 5 is % inch.

BB to 6 is 2 inches.

6 to 7 is 1/2 inch. Draw lines 5 to 7 and 7 to 4

at the waistline.

The bottom of the slip is made 1 inch wider

than the dress as EE to X. Draw line DD to X.

To draft the front:

0utline the dress front as L, BB, C, D, 13,

E, DD, 4, 12, 0, F.

12 to W equals the size of the dart 8 to 9.

W to N is 2 inches.

N to 13 is 1/2 inch. Draw line 13 to 9.

9 to 14 equals 8 to 9. Draw line 9 to 4.

Extend the dart 1 inch as 11 to H.

Draw line 14 to H. The dart will now be

twice the size of the original dart and may be

divided into two small darts if desired.

BB to 15 is 1 inch. Make a short right angle

line from 15.

BB to 16 is 1 inch.


17 to 18 is 1 inch.

Draw line 18 to 13.

The slip is made 1 inch w1der at the bottom

than the dress as E to X is 1 inch. Draw line

DD to X.

All in the dark we grope along,

And if we go amiss


We learn at least which path is wrong,

And there is gain in this.

We do not always win the race

By only running right,

We have to tread the mountain's base

Before we reach its height.

But she who loves herself at last

And knows the use of pain,

Though strewn with errors all her past,

She surely shall attain.

Some souls there are that needs must taste

Of wrong, ere choosing right;

We should not call those years to waste

Which led us to the light.


[79]


[80]

TO DRAFT THE KIMONA DRESS

To draft the back:

0utline the dress back as: A, B, C, D, E, 9, 11,

2, 5, 4.

11 to 14 is % inch.

2 to 15 is 1Vi inches.

15 to 16 is 11/o inches. Draw line 15 to 16.

15 to 17 (both ways) is % inch. Draw curved

line 17 to 17.

Draw a line from 16 parallel with the center

back as 16 to 13.

Draw line 9 through 14 and mark 18 at the in-

tersection of line 16 to 13.

If desired the shoulder length may be made

shorter as the dotted line 16 to 19.

To draft the front:

0utline the front as: K, N, T, 5, 4 and the dart

YtoZ.

N to 14 is % inch.

Draw line K through 14.

K to 15 equals 9 to 18 of the back.

T to 2 is 11/2 inches.


Draw line 15 to 16.

2 to 17 (both ways) is % inch. Draw curved line

17 to 17.

If the back is shortened as 16 to 19 the front

must be shortened also as 16 to 19.

The dart may be made 1 inch lower on the side

as Z to 7 to 8.

When sewing the under arm curve stitch a bias

fold in the seam from 1 inch below 17 to 16.

A kindly deed

Is a little seed,

That groweth all unseen;

And lo, when none


Do look thereon,

Anew it springeth green.

A friendly look

Is a better book

For precept, than you'll find

'Mong the sages wise

Or the libraries,

With their priceless wealth of mind.

The little dole

Of a humble soul,

In all sincereness given,

Is like the wings

Of the lark, as it springs,

Singing clear to the gate of heaven.

—Alexander H. Japp.

[81]

TO DRAFT PETER PAN COLLARS

Collar number 1 (round neckline)

Outline the regular dress back as: B, N, R, D.

R to S is 1 inch. Draw line N to S.

Place the front shoulder line on the line N

to S and outline the front as Q, 2, X, B.

B to 3 is 3 inches.

2 to 4 is S1/o inches.

4 to 5 is 1 inch.

Draw line 2 to 5.

2 to W is 2 inches.

2 to 6 is % inch. Draw curved line 6 to W

.as illustrated.

N to 7 is 3 inches.

8 is center of N to B.


8 to 9 equals B to 3.

W to Y equals N to 7 plus 14 inch.

Draw curved line 3, 9, 7, Y, 5.

The outline of the collar is: B, 8, N, Z, W,

•6, 5, Y, 7, 9, 3.

Collar number 2 ("V"-shaped neck line)

2 to 10 is the desired opening for the dress

and is normally 5 inches.

N to Z is 1 inch. Draw line 10 to Z.



B to 13 is the desired depth of the collar and

is normally 31/2 inches.

Draw a right angle line from 13.

N to 14 equals B to 13. Draw a line from 12

through 14 until it intersects line 13 and mark

this point 15.


Draw curved line 0 to 14.



16 to 17 is 14 inch. Draw line 12 to 17 to 14.


10 to 19 is % inch. Draw line 18 to 19.

The outline of the collar is: B, 8, N, Z, 18,

19, 12, 17, 14, O, 13.

Sailor Collar

Draft the sailor collar as the dotted line illus-

trates.

[82]

MAXIMUM ROLL COLLAR

COLLAR

No. 3

J — ROLL COLLARS— K

N..3, MAXIMUM ROLL COLLAR

Collar number three is the most widely used

roll collar and to draft it separately from the

other roll collars proceed as follows:

1 inch from the edge of the paper nearest to

you draw a line.

G to B is 2 inches.

B to C is 31/2 inches.

C to D is 14 inch.

Make a right angle line from G 15 inches

long.

Make a right angle line from B 3 inches long.

Make a right angle line from C 3 inches long.

G to X is 2% inches.

C to J equals G to X. Draw line J to X and

mark K at the intersection.

G to 0 is the length of the dress opening and

is usually 111/2 inches.

Draw line K to 0.

0 to Q is 21/2 inches.

0 to P is % inch. Draw line P to Q.

0 to R is 3 V& inches.

Square a line out from R. R to S is 3 inches.

Draw line P to S.

J to L is 14 inch. Draw line D to L.

J to T is 11/4 inches. Draw curved line L to T.

Draw line S to T and mark U in the center.

U to V is 14 inch.

Draw lines S to V and T to V.

/ wish, I can, 1 will — these are the three

trumpet notes to victory.


[83]

THE GURNEY METHOD OF SURE-FIT COLLAR DRAFTING

Collar number 1 is the Peter Pan collar and

will lay flat all around the neck.

Collar number 2 is the Peter Pan collar for the

"V"-shaped neckline and will also lay flat

around the neck.

Collar number 3 is the maximum roll collar and

will roll 11/2 inch at the back.

Collar number 4 is the medium roll collar and

will roll 1 inch at the back.

Collar number 5 is the mimimum roll collar and

will roll only 1/2 inch at the back.

Collar number 6 is the shirt waist collar and

will roll about 11/2 inches at the back.

The minimum opening for a dress is 23

inches. This may be obtained by having a neck-

line which fits close to the neck with an open-

ing down the center front or back, or by having

a "V" or "boat" shaped neckline.

The methods of drafting the roll collars num-

bers 3, 4, and 5 are so closely co-related that

they are most easily understood by being drawn

on one draft as illustrated. You will note from

this draft that the collar will lay flat when the

shape of the neckline is retained, but the more

the neckline is straightened the more the collar

will roll in the back.

To draft collars number 3, 4, and 5 we first

draw the basic lines as follows:

A to B is 6 inches.


C to D is 114, inches.

Draw right angle lines from A to E and B

to F, 15 inches in length.

Draw a right angle line from C about 5

inches long.


Draw line E to F.

A to I is 2%, inches.

C to J is 2% inches. Draw line I to J mark-

ing K at the intersection of line B to F.

B to M is 1/2 of the neckline and is normally

111/2 inches. Pivoting at K make an arc line as

M to N. To do this insert the pencil through

the tape line, place the pencil on dot M and

hold the tape firmly at K and draw the arc.

To draft collar number 3:

F to G is 2 inches.

Draw a line from G parallel with line F to

M, until it intersects the arc line. Mark this

point 0.

Draw line K to 0.

0 to P is % inch.

0 to Q is 21/2 inches. Draw line Q to P.

0 to R is 31/2 inches.

Make a right angle line from R to S 3 inches

in length.

Draw line P to S.

C to T is 4 inches. Draw line S to T and mark

U in the center.

U to V is 14 inch. Draw line S to V and V to

T.

C to D is 14 inch. Draw a slightly curved line

D to T.

The outline of the collar is: D, L, T, V, S,

P, Q, K, B.

To draft collar number 4:

G to H is 2 inches. Draw a line from H paral-

lel with line C to 0 until it intersects the arc

line. Mark this point 2.

Draw line K to 2.


ROLL COLLARS

COLLAR

No. 3

— ROLL COLLARS— K

No.3. MAXIMUM ROLL COLLAR

K>.4. MEDIUM ROLL COLLAR

N° 5. MINIMUM ROLL COLLAR

No.6. SHIRT WAIST COLLAR

[85]

TO DRAFT THE SHIRT WAIST

To draft the front.

Outline the regular dress pattern as A, N, Q,

B, M.

A straight line drawn parallel with the cen-

ter of the front as B to M3 will provide the

ordinary shirt waist.

If the shirt waist is desired very loose and

the shoulder longer add 1/4 inches as Q to Q2

and V2 inch as B to B2 and M3 to E. Equally

so on the back.

If you desire the shirt waist fitted make the

usual dart as V to V and cut the pattern on

line B to M. However, it is usually not desired

quite so fitted so we cut the pattern as X to Y

and reduce the dart.

Line A is the center front.

Line B is the edge of the garment.

A to B is % inch.


C to D is 11/4 inches.

To draft the back.

Outline the regular dress back as A, N, R, D,

M.

A straight line drawn parallel with the cen-

ter of the back as D to E will provide the ordi-

nary shirt waist, if desired, more fitted, reduce

at the waist line as desired.

If the garment is desired very loose add 1/£

inch as D to D2 of the back, and B2 to E of the

front; if so, a like amount must be added at

the sleeve.

Gathers or pin tucks may be made in the cen-

ter of the back and on the shoulders in the

front as explained on pages 36, 46, and 47.

Any desired style of sleeve may be used with


the shirt waist pattern.

The shirt waist collar is described on page 94.

To make the shirt waist front.

Make a small button loop and place it as let-

ter B illustrates.

Make the collar and sew the shoulder seams

together. Baste the collar to position so the

edge of the collar is at the center front as let-

ter A.

To make the front pleat, see inset 3.

Make a fold on line C to C with the wrong

sides together so that line D to D will meet

line B to B.

Fold on line B to B with the right sides to-

gether so the edge of the fold is over the collar.

Place a small strip of bias to position as let-

ter E.

Stitch all around the collar with a 1/4 inch

seam. Clip the seam in several places so the

collar will lay smoothly. Turn the bias and the

pleat to the inside of the garment.

Fell the bias to position.

The collar and the edge of the pleat may be

hand stitched as illustrated in Figure 4.


There is only one way to be happy and that

is to make somebody else so.

—Sidney Smith.

[86]


THE SHIRT WAIST

[87]

THE TRANSPOSING OF DARTS

Letters 2, N, Q, B, V, W, V2, M, EE, illus-

trate the outline of the regular dress pattern.

Square a line from the center front as W2

to W, Y is center of W2 to W.

Darts are made in the front of the garment

to create fullness over the bust. The dress dart

number 2 in Figure 1 is the usual type of dart

on the under arm seam and extends a maxi-

mum % inch beyond the armscye as illustrated

by letter X.

Darts may be made any place desired as

shown in Figure 1, but they must always point

to the fullest part of the bust as illustrated by

letter Y in the center of line W to W2. How-

ever, fashion now demands that this point be

nearer the center front as letter Z. W2 to Z

is 3V8 inches for size 16 and increases 1/8 inch

for each size larger. You will also note in

Figure 1 that the size of the dart is governed

by its length. All darts located the same dis-

tance from the center point Y as the under

arm dart will equal it in size as shown by the

circle. However, darts number 6, 3, 7 and 5

illustrate that the size of the dart increases

in proportion to the increase in length.

Figure 2 illustrates the transposing of the

under arm dart to the center front. To pro-

vide material for gathers at the center front

as the picture illustrates.

Square a line from the center front to W as

W2 to W.

Y is center of W to W2.

Draw lines V to Y and V2 to Y.

Cut on lines W2 to Y and Y to V. Place V

on V2 so Y remains as located and the center


front dart will be as W2 to Y to W3.

Cut the garment as the dotted lines illustrate

and gather in the fullness on the center front

like the inserted picture. More gathers may be

added if desired.

[88]

TRANSPOSING OF DARTS

Figure 5 illustrates method to provide the

required material for gathers at the shoulder

seam. Make a right-angle line from the center

front as W2 to W. Y is center of W2 to W.

Draw a line parallel with the center front as

Y to NN. Cut the pattern on this line. Make

a fold in the pattern on line V to Y and fold

it so it contacts dotted line V2 to Z. Pin it in

position. The pattern will now appear as dotted

line 4, QQ and BB illustrates. NN to 5 is %

inch. Draw a curve line from N to 5 to 4 as

illustrated. The amount from 4 to 5 is to be

gathered to the back, if more gathers are de-

sired, cut the pattern from Y to 8 and spread

the pattern open 14 to 1/2 inch at Y gradually

from 8 to Y. Thus, the amount from 5 to 6 will

be increased. When making the garment the

shoulder back is eased 14 inch onto material

i/2 inch wide cut on the straight of the goods.

The gathering is 11/2 inch from N and 2 inches

from QQ.


under arm seam to the armscye to provide

material for gathers as the picture illustrates.


W2 to W.


5 is center of the armscye.

5 to 3 is 3 inches. 3 is 1/2 inch lower than 5.

Draw lines 5 to 3 and 3 to Y. Cut on lines 5

to 3, 3 to Y and Y to V.

Place V on V2. The pattern will spread as

3 to 32 and 5 to 52, the amount from 3 to

32 being the amount to be gathered in on line

3 to 5. If more gathers are desired cut the pat-


tern on line Y to 8 and spread the pattern open

as desired.

[89]


FlG. 7

FIG. 8

FIG. 8


under arm dart to form gathers at the end of

a V-shaped neckline.


W2 to W.


Make a new dart 2 inches above the old dart

as W to 5.

Draw a line parallel with W to Y as 5 to Y2.

5 to 4 and 5 to 3 are each equal to W to V.

2 to 6 is 5 inches. Draw lines N to 6 and

6 to Y2.

Cut the pattern on lines N to 6, 6 to Y2 and

Y2 to 3.

Place point 3 on dot 4 and the pattern will

spread open as 6 to Y2 to 7.

Extend the line Y2 to 7 to meet the center

front line as point 8 illustrates.

Thus, the amount from 6 to 8 will be used

as tucks or gathers.


under arm dart to the neckline to provide

gathers or tucks as Figures 8 illustrate.

Square a line from the center front to W

as W2 to W.


Deepen the neck curve as 2 to 3 is 11/2 inches,

N to 4 is 1/o inch. Cut on line 3 to 4.

5 to 6 is 11/2 inches, 6 to 7 is \\'o inches, 7

to 8 is 11/2 inches.

Draw lines 5 to Y, 6 to Y, 7 to Y, 8 to Y and

then cut on these lines and line Y to V.


Place V on V2 and divide the amount of the

spread equally among the four cut lines, this

being the amount for each tuck, pleat, etc.

The amount of fullness may also be gathered in.

[90]



dart to create fullness at the waistline or to

make two parts as the picture illustrates.

Square a line from the center front to W

as W2 to W.


Square a line down from Y as Y to 3. Cut

on lines Y to 3 and Y to V.

Place V on V2 an dthe new dart is as 3 to

Y to 32.

The amount from 3 to 32 may be used as

tucks, gathers, darts, etc.

The dart may also be located on the under-

arm seam on a slanting line as 4 to Y.

Cut on the lines 4 to Y and Y to V. Place

V on V2 and the new dart will be as 4 to Y to

42.

Figure 10 illustrates the "choker" neckline.

Transpose the under arm dart to the center

front as illustrated in Figure 2, page 88.

The pattern will then appear as W3 to N2 as

the dotted lines illustrate.

Extend the center front line up.

Make a right angle line from the center front

line to N2 as C to N2.

C to D is %. inch. Draw curved line N2 to D.

The outline of the pattern is as B2 to Q2 to

N2 to D. The opening for this type of dress is

at the back.


[91]


Figure 11 illustrates the shoulder line dropped

forward with fullness on the blouse.

Transpose the shoulder line as N to NN and

Q to QQ 2 inches. Draw line NN to QQ. X is

center of NN to QQ.

Draw line X to Y and cut on this line and

line Y to V.

Place V on V2 and the new dart to be used

for tucks or gathers is as X to Y to X2.

X to 3 and X 2 to 4 are each 1/2 inch. Draw

curved line as illustrated.

"Blest be the tongue that speaks no ill,

Whose words are always true,

That keeps 'the law of kindness' still

Whatever others do."

"Blest be the hands that toil to aid

The great world's ceaseless need—

The hands that never are afraid,

To do a kindly deed."


[92]

TO DRAFT THE ETON JACKET (BOLERO)

To draft the back.

0utline the regular dress back as: A, D, E,

M, DD, R, N.

Draw line D to DD.

2 is center of N to R.

E to 3 is 31/2 inches.

Draw line 2 to 3 and mark 4 at the intersec-

tion of line D to DD.

4 to 5 is 31/, inches.

2 to 6 is 3 inches.

3 to 7 is 1 inch. Draw line 5 to 1.

Cut the pattern on line 2 to 5 to 7.

Place point 1 on dot 3, thus a small dart will

be formed on the shoulder as 2 to 6 to 8.

The pattern will now be as the dotted line

N, 2, 8, 9, 10, 11, E, D, A.

To draft the front.

0utline the regular dress front as letters 2,

EE, N, Q, B, V, W, X, M. For the Eton Jacket

the underarm seam dart is transposed to the

shoulder seam. To transpose the dart, make a

right-angle line from the center front line as

W2 to W. W2 to Z is 31/8 inches for size 16

plus V8 mcn for each size larger. N to NN is

11/4 inches. Draw line NN to Z. (The width of

the dart may be increased 1/4 inch at W to X.)

Draw lines X to Z and V to Z. Cut the pattern

on line NN to Z. Make a fold in the pattern

from line V to Z and fold it over so the fold

will contact with line X to Z. Pin it in this


line Z to N3, Q2, B2. The dart is sewed to 1'/o

inch above Z as Z2 illustrates.

Allow % inch seams


[93]

TO DRAFT THE PLAIN COAT

The usual dress patterns as described on

pages 37-39 are used to draft the coat patterns.

However, if the individual has larger hips or

high shoulders, etc., as explained in the chapter

of adapting patterns to individual measures and

requirements, page 40, the same changes should

naturally be made on both portions, the front

and the back, as described in said chapter before

drafting the coat pattern.

To draft the back:

Outline the regular dress pattern as B to D,

D to E, E to F, F to G, B to N, N to R, R to DD,

DD to M, M to H, and H to J. For coats the

armscye is made 1 inch deeper than for the

dress as DD to 8. Draw a curved line from 8 to

5 as illustrated. At the hip line, coats are made

1Vo inches larger than for the dress. Thus, H to

H2 is % inch, equalling 1/4 of 11/2 inches. J to J2

equals H to H2. Draw a line H2 to 32. M to 1 is

1 inch. Draw a curved line 1 to H2. Draw a line

1 to 8. This completes the back and produces a

garment that is slightly fitted at the waist. If it

is desired to have the coat less fitted at the

waist, E to EE equals D to DD. Draw a line 8 to

EE and EE to H2 as illustrated. This method

will produce a garment large enough. When cut-

ting the pattern, allow % inch for seams. If it is

desired to have the coat very loose, 1/2 inch may

be added on the pattern from 8 to J2. If so, a

like amount must be added on the sleeve seam.

The majority of coats have small darts on

the shoulder seam in the back, which are espe-

cially advantageous to people with prominent

shoulder blades. To make the dart proceed as

follows:


2 is center of N to R.

2 to 3 is 31/2 inches.

R to 4 is 3 inches.

4 to 5 is 1/2 inch.

Cut the pattern on line 2 to 3 and make a

fold so that point 4 meets point 5. The amount

from 2 to 6 indicates the size of the dart. When

cutting the garment cut as lines 6 to 7 and 7

to 5, the shoulder dart being as 6 to 3 to 2.

(Continued on Next Page)

The man who trusts men will make fewer mis-

takes than he who distrusts them.—Cavour.

[94]

TO DRAFT THE PLAIN COAT

THINK

Man is born with his hands clenched.

He dies with his hands wide open.

Entering life, he desires to grasp

everything. Leaving the world all

that he possessed has slipped away.

IU

REMEMBER

What you give you hate

What you spent you had

What you keep you lose.


[95]

TO DRAFT THE PLAIN COAT—Continued

To draft the front:

Outline the regular dress front pattern as let-

ters 2 to G, 2 to N, N to Q, Q to B, B to V, V to

V2, V2 to M, M to H, H to J. W is center of V to

V2. The underarm seam dart is transposed to

the shoulder seam to transpose the dart, draw a

right angle line from the center front line as

W2 to W. W2 to Z is 3V8 inch for size 16, 34

bust, 37 hip, plus % mch for each size larger.

N to NN is 114 inch always. Draw a line NN to

Z. Cut the pattern on this line from NN to Z.

For all coats, the dart is made 14 inch larger

than for the dress as V2 to X. Draw a line from

V to Z and X to Z. We now make a fold in the

pattern from V to Z and pin this fold so it con-

tacts the line from X to Z. Pin it to this posi-

tion. When thus folded, the pattern will be

spread open at the shoulder seam and appear as

the dotted line Z to N3 to Q2 and B2 illustrates.

For coats, the armscye is made 1 inch deeper

as B2 to 10. Draw a curved line 10 to 11 as illus-

trated. M to I is 1 inch. Draw a line from 10 to

I, H to H2 is the same as H to H2 of the back,

at the bottom J to J2 is the same as J to J2 of

the back. Draw a line H2 to J2 and 1 to H2. If

the garment is desired less fitted add at 1 to E

the same as 1 to E of the back and draw a line

from 10 to E to H2. For the front lap of the

coat 2 to 4 is 3 inches, G to 5 is the same. Draw

a line 4 to 5. For the summer coat, which does

not require so much lap, 2 to 4 is 11/2 inches, G

to 5 is the same amount. 2 to 3 is 1/4 inch, 4 to 6

is 114 inch. Draw a line 6 through 3. Draw a

curved line N to 3. For a straight coat it is pre-

ferable to cut the facing on the front. Thus,


there will be no seam. To cut the facing fold the

pattern on the line from 4 to 5, NN to 8 is %

inch, 5 to 9 is 5 inches. Draw a line from 8 to

9 as illustrated. Make a tracing on line 8 to 9.

We now cut a pattern all around and allow %

inch for seams. Open the fold on line 4 to 5. Cut

the facing on the traced line. The facing will

now appear as 6 to N, N to 82, 82 to 92. The col-

lar of the straight coat is cut on the crosswise

of the material and is 214 inches wide f1nished.

It is preferable to cut the collar on the double.

Thus there will be no seam. This completes the

coat draft. If the coat is desired very loose, 1/2

inch may be added on the pattern from 10 to J2.

If so a like amount must be added on the sleeve

seams. The dart is sewed to 11/2 inches above

2 as Z2 illustrates.

The Coat Sleeve

For the coat sleeve use a sleeve pattern 2

sizes larger than the dress pattern, as for size

36 coat, use a size 40 sleeve, etc., for all sizes.

KINDNESS

When a kind word comes

from the depths of the heart—

The shadows lift and the clouds

depart—lt's a wonderful

thing but it's always true

That our own heart gains

by the good we do.

[96]


[97]

PRESSING AND REMOVING SHINE

When making a garment of hard twisted ma-

terial pressing will cause the material to shine.

There is no harm in this and in tailoring we

frequently press on the right side of the mate-

rial, with a cloth on it, to obtain the required

amount of pressing.

When pressing all woolen materials the seams

are slightly dampened with a small sponge.

To remove the shine caused by pressing use a

starchless cloth as a piece of an old sheet, etc.

Wet it thoroughly and wring it out by hand as

dry as possible. Place this damp cloth on the

garment. Have a very hot iron ready, just touch

the wet cloth lightly with the iron and the

steam will remove the shine. It is impossible

to remove shine from wear, however. The gar-

ment may be freshened by dry cleaning.

Let me today—do something that shall take

A little sadness from the world's vast store,

And may I be so favored as to make

Of joy's too scanty sum a little more.

Let me not hurt, by any selfish deed

Or thoughtless work, the heart of foe or

friend;

Nor would I pass, unseeing, worthy need,

Or sin by silence when I should defend.

However meager be my worldly wealth

Let me give something that shall aid my kind,

A word of courage, or a thought of health,

Dropped as I pass for troubled hearts to find.

Let me tonight look back across the span

'Twixt dawn and dark, and to my conscience

say—

Because of some good act to beast or man—

"The world is better that I lived today."

[98]


—E. W. W.

TO ENLARGE A COAT PATTERN OVER THE BUST

For a large bust it is frequently necessary to

enlarge the coat pattern over the bust portion

only and not over the hips. To do so, use the

regular plain coat pattern, page 96, to outline

the complete pattern as 2 to 5, 2 to N, N to 7,

7 to Z, 72 to Z, 72 to Q, Q to B, B to M, and M

to H, as illustrated with the solid line. To en-

large the pattern 1/o, inch over the bust, 2 to 22

is 1/2 inch, 5 to 55 is the same. We now place

the center front line of the pattern on dots 22

and 55. When in this position make new lines as

the dotted lines illustrate from 73 to Z2, 73 to

Q2, Q2 to B2, B2 to M2, and H2. See dotted

lines. Z3 is center of Z to Z2. Draw lines from

7 to Z3, and 73 to Z3. Thus, the dart in the

shoulder will be increased Vo inch and the pat-

tern will be 1/2 inch larger over the bust. If the

pattern is to be made 1 inch larger over the

bust, 2 to 22 and 5 to 55 is 1 inch. Then proceed

the same as before. If the pattern for a still

larger bust must be made 11/, inch larger, add

1/o inch on the front line as 2 to X and 5 to X

illustrates. Then a dart, total % inch, is made

under the lapel as letter 0 illustrates. We now

reduce the underarm seam to the hip line as B2

to H illustrates. It is obvious that the front

edge of the coat pattern may be used to enlarge

the pattern.

Loving words cost but little,

Journeying up the hill of life;

But they make the meek and weary

Stronger, braver, for the strife.

Do you count them only trifles?

What to earth are sun and rain?

Never was a kind word wasted;

.'

[99]


Never was one said in vain.

TO DRAFT THE JACKET

To draft the jacket pattern use the regular

dress pattern one size smaller than you use for

a dress as: for a size 36 jacket use a size 16

dress pattern, etc.

To draft the back:

0utline the back pattern as: B, C, D, E, F,

N, R, T, DD, M, H.

B to G is the desired length of the jacket.

Make right-angle lines from C, D, E, F, G.

M to M2 is % inches. H to H2 is 1/2 inch.

Draw lines DD to M2 and M2 to H2.

2 is center of C to T.

E to 3 equals C to 2 less Vo inch.

F to 4 equals E to 3 plus % inch. Draw a

line from 3 through 4.

Draw a line from 3 through 2 and mark 5

at the intersection of the shoulder line and 6

at the intersection of line D to DD.

6 to 7 is 3 inches.

3 to 8 is 1 inch maximum 11/4 inches. Draw

lines 7 to 8 and 8 through 4.

5 to 9 is y± inch.

5 to 10 is 21/£ inches. Draw curved line 9

to 10.

9 to 11 is 3/8 inch.

5 to 12 is 31/4 inches. Draw curved line 11

to 12.

R to 13 is % inch. Draw line 11 through 13.

13 to 14 is 1/4 inch. Draw a curved line from

14 to 1/2 inch below T.

The armscye of a jacket is 1/, inch deeper

than for a dress as DD to D2.

This completes the back.

To draft the front:

0utline the regular dress front as letters 2,


EE, FF, N, Q, B, V, W,V2,M,H. For the jacket,

the under arm seam dart is transposed to the

shoulder seam. To transpose the dart, make a

right-angle line from the center front line as

W2 to W, W2 to Z is 3% inches for size 16, plus

I/K inch for each size larger. N to 5 is 11/4 inch,

draw line 5 to Z, N to 9 equals N to 9 of the

back, 5 to 5A is 3 inches, draw curved line 9 to

5A. For jackets the width of the dart increases

1/4 inch as V2 to X. Draw lines V to Z and X to

Z. Cut the pattern on line 9 to Z. Make a fold in

the pattern on line V to Z and fold it over so the

fold will contact with line X to Z. Pin it in this


lines Z to 9A, Q2, B2 to X. The armscye is deep-

ened 14 inch as B2 to B3 illustrates. The button-

ing lap is 11/2 inches as EE to E2. Draw a line

parallel with the center front as E2 to F2. The

dart is sewed to 11/2 inches above Z as Z2 illus-

trates.

To Draft the Lapel:

2 to 3 is % inch. Draw a line from 3 to the

neck curve as illustrated.

Make a right angle line from 3 to 33 is 2%

inches.

Square up from 33 to 34 2% inches. Draw a

line from 34 to 3.

34 to 35 is 1/4 inch. Draw a line from 33 to

the desired opening 11.


36 to 37 is % inch. Draw a curved line from

35 to 33 to 37 to 11 as illustrated.

N to 10 is 1 inch for the lapel crease.

Draw a line from 11 through 10 and mark


TO DRAFT THE JACKET PATTERN

Silence, or neglect,

Dissolves love

And many friendships.

[101]

TO DRAFT A JACKET PATTERN WITH A SEAM IN THE

CENTER OF THE BACK

To draft a jacket pattern with a seam in the

center of the back.

Personally, I prefer the jacket back as illus-

trated on pages 100, 101, because this will make

the back appear longer and narrower. However,

for striped material the back with a seam in the

middle of the center back is preferable.

At sight this method may appear to be com-

plicated, but if you follow instructions and com-

plete each step by step, it will after the first

practice prove to be very simple and you may

be certain of good results. It is also advisable to

make patterns of all sizes ready for use.

For jacket drafting a pattern one size smaller

than a dress pattern is used. As for size 38 use

size 36 dress pattern and for size 36 use 16 pat-

tern. 0utline the pattern as in Figure 1, letters

B, D, E, F, G, R, DD, M, H, J. B to E is the

waist line, letter G is the total length. C is cen-

ter of B to D. S is center of C to D. Make right

angle lines from dots C, S, D, E, F, G. At the in-

tersection of the armscye line mark T and S.

M to I is V2 inch. Draw a line DD to I and I

to H.

There are many jackets made of striped ma-

terial on which the stripes do not appear in

good taste, to avoid this, proceed as C to 2 is

3 inches. E to 3 is the same. D to 4 equals C to

T, E to 5 equals D to 4 plus Va inch. Draw line

4 through 5 and 2 through 3. These lines indi-

cate the straight of the material. 6 is center of

N to R. E to 7 is 4 inches. Draw line 6 through

7 the full length. At the intersection mark dots

8, 9, D3, 7, 10 and V. IMP0RTANT: Be sure to


mark these dot letters as illustrated on both

sides of the line. E to K is 1 inch, maximum

11/4 inch. F to L equals E to K less % inch.

Draw line B to K and K to L. We now cut the

pattern on the line B to K to L and all around

the pattern the full length. Then cut the pat-

tern on the line 6 through V the total lengh.

Figure 2.

0n another paper place portion No. 2 and out-

line all around as 11, 8, D3, 7, V, R, S, DD, I, H,

J. Also draw line 4 through 5 indicating straight

of goods. Dot 9 is % inch from dot 8. Dot 10 is

.14 inch from dot 7. Now place portion No. 1 to

position so that dot No. 9 touches dot 9 and so

that dot 10 touches dot 10 while in this position,

outline all around as 12 to 9, 9 to 10, 10 to W,

12 to N, N to B, B to K and K to L. Also, be-

fore removing this position of the pattern, draw

line 2 through 3 indicating straight of goods.

The amount between 11 and 12 is taken up in

the dart. 12 to 13 is 21/2 inches. Connect 11 with

13. It is obvious that the dart may be placed

nearer dot N or dot R if desired. Before remov-

ing the portions No. 1 and 2 be sure to mark

the lines indicating straight of goods.

K to 13A is 4 inches for size 16 plus 1/8 mcn

for each size larger. 13A to 14 is 1 inch. Draw

a straight line from dot S to 14. 15 is center

of S to 14. 15 to 16 is % inch. Draw a curved

line from S to 16 and 16 to 14. S to SS is 1V-j

inches. S to U is 14 inch. Connect U with SS.

Draw curved line U to DD, L to 17 equals K

to 13A plus % inch. 17 to 18 equals W to V

plus % inch. Draw lines 13A to 17 and 13A


TO DRAFT THE FITTED COAT

To draft the back:

0utline the regular plain coat back as de-

scribed on pages 94, 95, letters B, D, E, F, G,

N, R, DD, I, H2, J2. Deepen the armscye as

DD to 8. C is center of D to B. Draw right-

angle lines from C, D, E, F, and G.

2 is center of C to T.

2 to 3 is 1/2 inch.

E to 4 equals C to 3 less % inch. F to 7 equals

E to 4 plus % inch. Draw a line from 4 through

7 to the bottom of the garment as K. Draw a

line from 4 through 3 and mark 6 at the inter-

section of line D and mark 5 at the intersection

of the shoulder line.

4 to 8 is 1/2 inch.

7 to 0 is 1/4 inch.

Draw a line from 8 through 0 to the bottom

of the garment as L.

4 to 9 is 1 inch maximum 114 inches.

6 to 10 is 21/2 inches. Draw a line from 9

to 10.

Draw curved line 9 to 0.


5 to 12 is 1/4 inch. Draw curved line 12 to 11.

12 to 13 is 1/2 inch.

5 to 14 is 3 inches. Draw curved line 13 to 14.

R to 14 is % inch. Draw a line from 13

through 14.

14 to 15 is % inch. Draw a line from 15 to 1/2

inch below T as 16.

To draft the front:

0utline the regular plain coat front with the

dart transposed to the shoulder seam and the

armscye made 1 inch deeper as B2 to 10 as

illustrated on pages 96, 97, letters 2, W2, EE,


FF, G, N, NN, Z, N3, Q2, B2,I, H2, J2. (Change

letter Z to 12, N3 to 20 and NN to 12.)

EE to 13 equals BB to 12 less 1/4 inch.

FF to 14 equals EE to 13 plus 14 inch.

Draw a line from 12 to 13 and from 13

through 14 to the bottom of the garment as 15.

13 to 16 is 1/2 inch.

Draw a line from 12 to 16 and a line from

16 through 14 to the bottom of the garment

as 17.

If you should desire the garment to be more

fitted in the front:

16 to 18 is 1/2 inch.

14 to 20 is 1/2 inch. Draw a line from 12 to

18 and a line from 18 through 20 the full

length of the garment.

The amount taken off at these points must

be added on the sides as I to E, H2 to H3, and

J2 to J3.

If more fullness is desired over the bust add

1/2 as 12 to 21. Draw a line from 20 to 21 and

from 21 to 16 at the waistline as the dotted

line illustrates.

To cut the pattern, place the pattern on an-

other paper and with a tracing wheel trace the

center back portion. Also trace the front of the

front as outlined. Then cut the pattern and

allow % inch for seams on the pattern.

[104]


THE FITTED COAT

[105]

TO DRAFT THE COAT RAGLAN

Whereas raglan garments do not permit

much alteration it is advisable that you use a

pattern that has been fitted.

I have given the method of correct raglan

pattern drafting in a very elaborate, detailed

manner. But if you follow the directions, step

by step you will be happy with the results.

To draft the coat raglan, a regular dress

pattern is used of the desired size as described

on pages 36, 37, 38 and 39 on which, in accord-

ance to the chapter of adapting the pattern to

individual requirements for high shoulders, etc.,

page 40, have been noted. For the sleeve, the

regular sleeve pattern is used with the excep-

tion that for all coats, the sleeve pattern is 2

sizes larger than the dress pattern. As for

coat size 36, a sleeve pattern size 40 is used,

etc., for all sizes.

Figure 1. To prepare the back, to draft the

raglan, outline the desired size dress back pat-

tern as letters B, F, G, N, R, D, M, H, J.

Raglan coats are generally of easy fit, there-

fore D to D2 is 1/2 inch. M to I is U/2 inches.

H to H2 is 1/2 inch. J to J2 is 1/2 inch. Draw

a line D2 to I, I to H2 and to J2 as illustrated.

This completes the pattern to be used for draft-

ing the regular raglan coat.

N0TE: After the raglan coat pattern has in

total been drafted, the pattern may then, if so

desired, be made larger at the bottom 1V3 or

2 inches as J2 to J3 in a straight line from D2.

Inset Figure 2 illustrates method of making

the swagger back pattern. After the raglan

pattern has been drafted, to make the back

more swagger, draw a line from dot 14 or dot


15 to the bottom as 14 to S parallel with the

center of the back line. Cut the pattern on this

line and swing it open 2 inches or more as S

to S2 illustrates.

To prepare the front to draft the raglan

front, outline the desired size dress front pat-

tern as letters 2, FF, G, N, Q, B, V, V2, M,

H, J. W is the center of V to V2. Draw a right

angle line from the center front as W2 to W.

W2 to Z is 3V6 inches for size 16 plus % inch

for each size larger. N to NN is 114 inch.

Draw a line from NN to Z. For all coats, the

dart increases 1/4 inch as V2 to X. Draw lines

V to Z and X to Z. Cut the pattern on the line

W2 to Z. Make a fold in the pattern on the

line from V to Z and pin this fold so it con-

tacts with the line X to Z. The pattern will

now appear as in figure 4, W2 to W3. Extend

the center front line as W2 to 2A, B to C is

1/2 inch, M to I is 11/2 inch, H to H2 is 1/2 inch,

J to J2 is 1/2 inch. Contact C to I, I to H2 and

H2 to J2. We have now prepared the pattern

to easily draft the raglan coat pattern.

N0TE: After the raglan coat pattern has in

total been drafted, the pattern may then be

made larger at the bottom 1V2 or 2 inches in

the same manner as the back from C, as D

to J3 of the back.

[106]


THE RAGLAN COAT—Continued

[107]

THE RAGLAN COAT—Continued

Use a regular sleeve pattern that is 2 sizes

larger than the dress pattern. As for a size 36

coat, use size 40 sleeve pattern, etc. for all sizes.

Figure 5. Place the back of the sleeve 10

inches from the edge of the paper nearest to

you and 8 inches from the edge of the paper

to the right of you. 0utline the sleeve as

letters 1, 2, 3, 10, 11. Draw a line 1 to 3.

4 is the center of 1 to 3. 6A is the center of

10 to 11. Draw a line 6A through 4 at the

intersection of the sleeve top, mark dot 2. 2

to 5 is 1% inches. Make right angle lines from

5 at the intersections of the sleeve line, mark

dots 6 and 7. Dot 2 to dots 9 both ways is 1/4

inch. Place the back pattern so the shoulder

point touches dot 9 and the armscye of the

back touches dot 6, hold the pattern firmly in

this position and outline the whole back as

9 to R, B, E, 9 to 6, D2 to I to H2, and con-

tinue ot the full length. Dot D2 may come on

the line 1 to 3 or above it or below it according

to the size of the pattern. Dot 12 is % inch

from dot 6. R to dot 0 is % inch. Draw a

straight line from dot 0 to dot 12. 12 to dot

14 equals 12 to 13. 12 to dots T, both ways,

is 11/j, inch. For all coats, the armscye is made

1 inch deeper as D2 to dot X. 0 to dot 15 is

31/2 inches. 15 to dot 16 is % mcn- Draw a

curved line from dot 0 to dot 16 to dot T and

T to X as illustrated. This completes the back

portion.

Place the front pattern to position so the

shoulder point touches dot 9 and so that the

armscye, point C, touches either at the line

1 to 3, or above or below it according to dot


D2 of the back, thus the dots D2 and C must

always be parallel with the line 1 to 3. Hold

the pattern firmly in this position and outline

the pattern as 9 to N, N to 2, 2 to W3, W3 to

W2, to E and continue the full length. Also

mark the dart dot Z, and the side seam I, H2,

etc., the full length. Extend line 7 and mark

dot 17 at the intersection of the front arms-

cye. Dot 18 is the center of 7 to 17, N to 19 is

11/4 inch. Draw a straight line 19 to 18. This

establishes dot 20. 19 to 8 is 4 inches. The

armscye for all coats is made 1 inch deeper as

C to X. Draw a curved line from dot 8 to dot

17 to X as illustrated. The sleeve is made V2

inch deeper as 3 to Y and I to Y. Draw a

curved line from dot 7 to 21 to Y and S to Y

as illustrated. At the shoulder points, dot 2

to dots 33 is 1 inch. Extend the front and back

as dotted lines 9 to 33 illustrate. Place a piece

of paper under the pattern and with a tracing

wheel, trace the sleeve on the line 0 to 15, 15

to T, T to S, S to I, S to Y and Y to 11. Then

trace on lines 0 to R, R to 33. This completes

the back part of the sleeve. For the front

sleeve trace on line N to 33, N to 19, 19 to 8,

8 to 17, to Y and Y to 10. Remove the traced

part.

We now cut the back part on lines B to E

to the full length B to 0, 0 to 16, 16 to T, T

to X, X to I, I to H2, etc. To cut the front part,

cut on lines 19 to 8, 8 to 17, 17 to X, X to I,

I to H2, etc. Then cut from 19 to dot 2, 2 to

dot W3, W2 to E, and continue the full length,

cut line from dot 20 to Z and Z to dot W3.


THE RAGLAN COAT AND SLEEVE

[109]

TO DRAFT THE DOLMAN COAT

To draft the dolman back, the regular coat

back with the armscye deepened, as described

on pages 94, 95, is used on which all letters B,

D, E, F, G, N, R, 8, I, H2, J2 are marked. Draw

a right-angle line from the center back line to

the armseye as D to 8.

D to 12 is 2Vo inches. Draw line 12 to 14 paral-

lel with line D to 8.

D to 13 is 31/2 inches. Draw line 13 to 15 paral-

lel with line D to 8.

R to 16 is % inch.

14 to 17 is % inch. Draw curved line 16 to 17

and line 17 to 8.

Draw a line down from 17 parallel with the

center of the back as 17 to 18.

18 to 19 is 114 inches. Draw line 15 to 19.

15 to 21 and 19 to 20 are each % inch. Draw

line 20 to 21.

To draft the dolman front the regular coat

front as described on pages 94, 95, is used,

marked letters 2, 4, 5, N, NN, N3, Q2, 10, I,

H2, J. However, for a dolman coat the loca-

tion of the dart is under the lapel. Therefore,

the dart is transposed from the shoulder seam.

To transpose the dart make a new mark on

the regular coat pattern as 2 to X is 2V2 inches.

Draw a line from X to Z. We now cut the regu-

lar coat pattern on the line NN to Z and also

on the line X to Z. Place the line NN to Z

so it contacts with the line N3 to Z and pin it

to position, thus the new dart under the lapel

is indicaed by letters X, Z, 0 will be formed.

Draw a right-angle line from the center front

line as B to 10.

B to 12 is 21/2 inches. Draw line 12 to 14 paral-


lel with line B to 10.

B to 13 is 31/2 inches. Draw line 13 to 15 paral-

lel with line B to 10.

Q to 16 is 3/4 inch.

14 to 17 is % inch. Draw curved lines 16 to 17

and 17 to 10.

Draw a line down from 17 parallel with the cen-

ter of the front as 17 to 18.


19 to 20 and 15 to 21 are each % inch. Draw

line 20 to 21.

For the back sleeve portion trace on lines 17

to 20 to 21 to 8 to 17.

For the front sleeve portion trace on lines 17

to 10 to 21 to 20 to 17.

Cut these portions out for use later.

Cut the back garment on lines 16 to 17 to 19

to 15.

Cut the front garment on lines 16 to 17 to 19

to 15.

This completes the front and back.


Believe in yourself, believe in humanity, believe

in the success of your undertakings. Fear noth-

ing and no one. Love your work. Work, hope,

trust. Keep in touch with today. You cannot

fail

[HO]


TO DRAFT THE DOLMAN COAT

[in]

TO DRAFT THE DOLMAN COAT SLEEVE

To draft the sleeve:

Use a regular dress sleeve two sizes larger than

for a dress as described on page 58 and outline

the sleeve as X, CC, FF, C, X, P.

Draw a line through X and X.

The portion cut from the garment as Q to 16

and R to 16 must be added to the sleeve as F

to 2 is % inch. Letters P are located 11/o inches

above line X to X. P to 3 is % inch. P to 4 is

% inch. Draw curved lines 2 to 3 and 2 to 4.

Place the portion traced from the front part of

the garment so that 10 meets X and so point 17

contacts line 2 to 4. 0utline as 10 to 21 to

20 to 17.

Extend line C through X as 0.

X to A is 11/2 inches.

A to XX is 1 inch. Cut the pattern portion on

line 10 to 0.

Hold the pattern portion at 0 and swing it out

until point 10 meets XX and outline as: XX to

21 B to 20B to 0.

X to 22 is 21/2 inches. Draw curved line 21B

to 22.


This completes the front part of the sleeve.

Place the portion traced from the back part of

the garment so that 8 meets X and so point 17

contacts line 2 to 3. 0utline as 17 to 20 to

21 to 8.

Extend line CC through X as 0.

X to A is 11/2 inches.

A to XX is 1 inch. Cut the pattern portion on

line 8 to 0.

Hold the pattern portion at 0 and swing it out

until point 8 meets XX and outline as: XX to


21B to 20B to 0.

X to 22 is 21/o inches. Draw curved line 21B

to 22.


This completes the back part of the sleeve.

The world is wide

In time and tide,

And God is guide;

Then do not hurry.

That man is blest

Who does his best

And leaves the rest;

Then do not worry.

[112]

2 to W (both ways) is % inch. This % inch is

for a small dart 11/2 inches long.

The pattern will now be outlined as: C to 22

to 21B to 20B to 0 to 23 to W to 2 to W to 23

to 0 to 20B to 21B to 22 to CC.

*Allow a % inch seam on the sleeve around the

curve from 21B to 21B. Allow % inch seams

elsewhere on the garment.

To make the Dolman Coat:

Sew up the shoulder seams.

0n Dolman garments it is preferable to make a

lap seam with the garment lapping over the

sleeve. Therefore, turn under the % inch seam

from 15 on the front of the garment to 15 on the

back of the garment. Press firmly.

Tailor tack the seam line on the sleeve %, inch

from the edge.

Sew up the darts and press firmly.

Clip the seam on the sleeve at the curves from

20B to 0 to 23.

Place the folded edge of the garment against

the tailor tacked line on the sleeve. The dart

seam on the sleeve must meet the shoulder seam

of the garment. Stitch the lap seams 14 inch

in width.

•/-2IB

f'20B

2'2

DOLLMAN SLEEVE

TF

FIG. 3

BACK

'CC


[113]

TO DRAFT THE SWAGGER COAT

nN'

Figure 1. To draft the back.

0utline the regular plain coat back without a

shoulder dart as explained on page 96, 97, as:

B, C, E, F, G, J2, H2, EE, 8, T, R, N.


Hold the pattern at dot R and swing it so

that 8 touches dot 10 and outline back as: R

to S to 10 to E2 to H3 to J3.

The coat may be made more swagger by hold-

ing the pattern at 10 and swinging point J3

out and re-marking from 10 to J3.

If desired less swagger hold the pattern at 10

and swing point J3 in and remark from 10

to J3.

When cutting the sleeve, add the same

amount on the sleeve as 8 to 10. If the coat is

desired very swagger, cut the pattern from the

center of the shoulder seam N to R parallel with

the center back line to the bottom and spread

the pattern open as illustrated for the Raglan

back, page 106.

Smile a little,

Help a little,

Push a little,

The world needs you.

Work a little,

Wait a little,

Hope a little,

And don't get blue.


[114]

TO DRAFT THE SWAGGER COAT

LU

Figure 2. To draft the front.

' 0utline the plain coat front as described on

page 96, as: 6, 8, J2, H2, E, V, Q2, Z2, 4, N2.

V to 10 equals 8 to 10 of the back.

H2 to H3 equals H2 to H3 on the back.

E to E2 equals E to E2 of the back.

J2 to J3 equals J2 to J3 of the back.

Draw line 10 to E2 to H3 to J3.

When cutting the sleeve, add the same

amount on the sleeve seam as V to 10.

03

NOW

// you hare hard work to do,

Do it now.

Today the skies are clear and blue,

Tomorrow clouds may come in view,

Do it now.

If you have a song to sing,

Sing it now.

Let the tones of gladness ring

Clear as song of bird in spring.

Let every day some music bring;

Sing it now.

If you have kind words to say,

Say them now.

Tomorrow may not come your way,

Do a kindness while you may;

Loved ones will not always stay;

Say them now.

If you have a smile to show,

Show it now.

Make hearts happy, roses grow,

Let the friends around you know

The love you have before they go;

[115]


Show it now.

TO DRAFT THE DRESS RAGLAN

Whereas raglan garments do not permit

much alteration it is advisable that you use a

pattern that has been fitted.

To draft the dress raglan use a sheet of

paper 36 inches square.

Place the back of the pattern 1 inch from

the edge of the paper nearest to you and 12

inches from the edge of the paper to the right

of you.

Outline the regular dress back as: A, B, C,

D, E, F.

C to G is % inch.

Use the regular dress front and place the

pattern 14 inch above D as H so the neck point

touches dot G and outline as: G, I, J, K, L.

Draw a line connecting the front and back

under arm points through K and E.

M is center of K to E.

M to N is 1/2 of the total width of the sleeve.

M to O equals M to N.

Square lines down from N and O as N to NN

and O to OO.

On the sleeve pattern draw a line as P to Q

and mark R in the center.

Place the sleeve between lines N to NN and

O to OO so the sleeve cap will touch dot H and

so N to P and O to Q are equal.

Outline the sleeve.

R to T is 114 inches. Draw a line through T

parallel with line P to Q and mark U at the in-

tersection of the back sleeve curve and V at the

intersection of the front sleeve curve.

Draw line C to U and mark W at the inter-

section of the back arm curve.

C to X is 31/j inches.


C to Y is % inch. Draw line Y to X.

Y to Z is % inch. Draw curved line Z to X.

X to 1 is 11/2 inches.

W to 3 equals W to 2.

W to 4 is 1 inch.

Draw curved line 1 to 3 to 4.


Draw line G to V and mark 5 at the inter-

section of the front arm curve.

G to 6 is % inch. Draw line 6 to 5.

5 to 8 equals 5 to 7 less % inch.



Draw curved line 10 to 8 to 9.

This completes the front.

Raglan garments are supposed to fit more

loosely than other garments, therefore, we add

% inch on the under arms seam on both the

front and back as K to 12 and E to 11.

Trace and cut the pattern on the following

lines:

Back blouse: Z, X, 1, 3, 4, E, 11.

Front blouse: 6, 10, 8, 9, K, 12.

Back sleeve: Y, X, W, U, Q.

Front sleeve: 6, 10, 5, V, P.

When cutting the garment allow % inch seams.

"There are loyal hearts,

There are spirits brave,

There are souls that are good and true;

So give to the world the best you have,

And the best will come back to you."

—Henry Knight Miller.

[116]


DRESS RAGLAN

[117]

TO DRAFT THE BUTTERFLY DRESS AND SLEEVE

Draw a line 1 inch from the edge of the paper

nearest to you.

12 inches from the edge of the paper to the

right of you mark A.

Place the dress back at point A and outline

as A, N, R, DD, EE.

Draw a line from the center of the back to

DD as D to DD.

Extend line E.

Square a line down from DD and mark EE

at the intersection of line E.

Place the front shoulder line against the back

shoulder line and outline as: N, 2, BB, 8, E, B.

Draw line B to BB.

Draw a line connecting thee under arm points

of the front and back as B to DD.

3 is center of B to DD.

3 to 4 is 1/2 of the total width of the sleeve.


Square a line down from 4 the length of the

sleeve and mark X at the intersection of line

B to E.

Square a line down from 5 the length of the

sleeve and mark X at the intersection of line

DD to EE.

Place the sleeve pattern between lines 4 and

5 so the sleeve cap will touch point R and so

the front under arm point will contact line 4

as O and the back will contact line 5 as P.

Outline the sleeve.

OO is center of N to R or any desired width.

B to 11 is 31/2 inches.

DD to 6 is 31/2 inches.

Draw curved lines OO to 11 to E and OO to

6 to EE.


X to 12 equals X to E at the waist line.

Draw a line from E to 12 and mark 13 in

the center.

Draw line 13 to X.

13 to 14 is 2 1/o inches. Draw curved line E

to 14 to 12.

11 to 15 is 11/> inches. Draw line 14 to 15.

X to EE equals X to E of the front.

X to 7 equals X to EE.

Draw line 7 to EE and mark 8 in the center.

Draw line 8 to X.

8 to 9 is 21/2 inches. Draw curved line 7 to 9

to EE.


Draw line 9 to 10.

Trace the whole pattern as drafted.

For the sleeve cut on line EE to 10 to OO to

15 to E.

Cut on line 9 to 10 and spread the pattern a

minimum of 2 inches to a maximum of 5 inches

as the dotted line 9B to E:J illustrates. On the

front cut on line 14 to 15 and spread the same

amount as on the back. This will provide for

ease in lifting the arm.

Cut out the front and back patterns.

When sewing the under arm curve a bias fold

should be stitched in the seam from 7 to EE to

prevent the garment from tearing at this point.

[118]


THE BUTTERFLY DRESS AND SLEEVE

BUTTERFLY

DRESS

[119]

TO DRAFT CHILDREN'S DRESS AND COAT PATTERNS

Children's dress patterns are drafted by the

breast measure which is taken straight around

under the arm. The length of the sleeve is

taken from the armscye to the wrist. Take the

length of the garment from the neck to the

desired length.

To draft the back.

Draw a line 1 inch from the edge of the

paper nearest to you.

A to B is % inch.

B to C is 314 inches for size 6 and increases

l/x inch for each size larger and decreases %

inch for each size smaller.

C to D equals B to C.

D to F is always 6 inches.

B to G is the total length. Make right angle

lines from A, B, C, D, F, G.

A to AA is 7V2 inches for size 6 and in-

creases i/2 inch for each size larger and de-

creases 1/2 inch for each size smaller.

F to FF equals A to AA.

Draw line AA to FF and mark CC and DD


FF to H is % inch.

Draw line DD through H and mark GG at

the intersection of line G.

A to N is 2% inches for size 6 and increases

% inch for each size larger and decreases %

inch for each smaller.

A to P is 5% inches for size 6 and increases

1/4 inch for each size larger and decreases %


D to PP equals A to P. Draw line P to PP

and mark S at the intersection.

N to O is 3 inches for all sizes. O may come


either inside or outside of point P.

O to OO is 11/2 inches. Draw line N to OO.

S to T is -,\ inch.

PP to U (both ways) is 114 inches. Draw

line U to U and mark V in the center.

Draw curved line R-T-V-DD.

Square a line down from N and mark BB at

the intersection of line B.

BB to W is % inch.

TO DRAFT CHILDREN

To make the lap for the front of the coat:

Extend line 2 to 4 two inches.

Extend line G to G two inches. Draw line

4 to G3.

2 to X is 1/2 inch.


Draw line 10 through X to the neck curve.

To make the facing:

Fold the paper on line 10 to G3.

N to the dotted line on the shoulder is 1l/o

inches.

Draw line N to W and mark X in the center.

B to Y is 1 inch. Draw curved line Y to X

toN.

To draft the front.

Draw a line 3 inches from the edge of the


1 inch from the edge of the paper to the


A to B equals B to D of the back.

B to C is 214 inches.

B to F is 6 inches.

Make right angle lines from A, C, B, F.

A to AA is 71/2 inches for size 6 and increases


CHILDREN'S DRESS AND COAT PATTERN

[121]

TO DRAFT CHILDREN'S SLEEVE PATTERNS

AA

cc

KK-

Fig. 3

,FF

S ST&AlaHT OF- GOOD

.T

M

<5G<

,c

X,

Q

K


nearest to you.



A to B is 3% inches for size 6 and increases

1/4 inch for each size larger and decreases 14


B to C is the required length.

B to E is 114 inches.

Make right angle lines from A, B, C, E.

A to AA is 111/4 inches for size 6 and in-

creases 1/2 mch for each size larger and de-


C to CC equals A to AA. Draw line AA to

CC and mark BB and EE at the intersections.

F is center of A to AA.

FF is center of C to CC. Draw line F to FF

which is always the straight of the material.

F to Q (both ways) is 14 inch.

A to G is 2 inches for size 12 and increases

1/jt inch for each size larger and decreases 1/»



B to GG equals A to G. Draw line G to GG

and mark J at the intersection.

H is center of F to G.

H to P is 1/2 inch.

J to R is 11/4 inches. Draw line R to GG.

GG to S is % inch.

Draw curved line B to S to J to P to Q to F.

AA to K is 2 inches for size 6 and increases

% inch for each size larger and decreases 1/g


BB to KK equals AA to K. Draw line K to

KK and mark L at the intersection.

L to T is 114, inches. Draw line T to KK.

KK to U is % inch.

M is center of K to F.

M to P is 1/£ inch.

Draw curved line BB to U to L to P to Q to F.

Coat Sleeve

For a coat sleeve use the sleeve pattern two

sizes larger than for the dress as: size 6 coat

requires a size 10 sleeve, etc.

Also deepen the armscye Vo inch as the dot-

ted lines B to X and BB to X illustrate.

[122]

THE GURNEY METHOD OF BASTING SLEEVES

IN THE GARMENT

There is no advantage in trying on a sleeve

before it has been basted into the garment, as

it will always be too large, too small, too long,

etc. The sleeve cannot be properly fitted until

it is in the garment.

To baste the sleeve into the garment follow

the instructions of your pattern and match all

corresponding notches. However, if the indi-

vidual is round shouldered as illustrated by

Figure 3, page 24, the arm will hang forward.

To fit the sleeve for this person the notches

of the sleeve will be moved 14 to % inch fur-

ther forward than the notches of the garment.

Letters C on the above picture illustrate the

armscye of the garment. Letters A indicate

a method of pinning in the sleeve, but which

at its best is very uncertain as the fullness may

not be properly distributed.

Letters B illustrate an easy method of pin-

ning in the sleeves before basting them into

the garment. Have the edge of the sleeve and

the armscye even. Hold the sleeve even with the

garment at a point % inch back from the edge

as C to B, and insert the pins 1 inch apart as

illustrated. Baste the regular width seam as

indicated by the pattern. You will find that by

pinning it in this manner before basting the

sleeve that the fullness will be distributed

evenly and in the proper place.


[123]

TO DRAFT THE CAPE

The regular front and back dress patterns

are used to draft the cape.

1 inch from the edge of the paper nearest

to you draw a line as A to B to C.

Make a right angle line from A as A to E.

Place the back dress pattern on line A to C

and the front dress pattern on line A to E so

the shoulder points will meet as R.

Outline the dress back as: B, N, R, D.

Outline the dress front as: 2, N, R, B.

B to C is the desired length of the cape.

Just the art of being

Draw a line connecting the under arm points

B and D and mark X in the center.

Pivoting from R make an arc line from N

toN.

Draw a line from X through R until it inter-

sects the arc line N to N as point 3.

N to R to N illustrates one shoulder dart.

However, it is advisable to divide this into two

darts as:

3 to 4 is 1/4 inch.

kind is all this world needs


124]

R to 5 is % inch. Draw lines N to 5 and 4

to 5.

3 to 6 is 3/4 inch.

R to 7 is 1 inch.

Measure the amount for the one dart as N

to N and subtract the amount from N to 4

from this. The remaining portion is the amount

for the second dart as 6 to 8.


Draw a line from R to H parallel with line

B to C.

Draw a line as R to H2 parallel with line 2

to E.

Square out a line from C until it intersects

line R to H.

Pivoting at point R make an arc line from H

until it intersects line R to H2.

Square out a line from H2 until it intersects

line 2 to E as point E.

TO MAKE BUTTONHOLE LOOPS

Cut a piece of material on the true bias 11/2

inches wide and long enough for all the loops.

Fold the material double and stitch as in Fig-

ure 1. Stitch % inch from the fold for a short

distance and then reduce the width to VV inch,

maximum 1/4 inch from the folded edge as A.

Stitch a second time in the same row of stitch-

ing as B, stretching the material as much as

possible while stitching. This will prevent the

stitching thread from breaking when the loop

is finished and being used.

Cut the end which is stitched wider, on the

bias from the fold to the "stitching" as Figure

2. Thread a needle with very strong double

thread and insert the needle "Positively" from

the inside of the, fold. Make three or four


stitches as Figure 2 illustrates. Insert the nee-

dle with the eye first through the full length of

the fold. H0LD THE F0LD AWAY FR0M

Y0U and pull gently on the thread, this will

force the end into the wider part of the loop

and have an easy start. Pull only V2 mch at a

time and ease the outer portion over the inside

very gently. Always have the seam next to you

and do not attempt to pull the whole loop

through by pulling on the thread steadily as

the thread will break. Take it easy, pull just a

little at a time and work it gradually over the

seam, then you will be happy with the result.

Figure 3 illustrates a cord inserted in the

loop. A woolen yarn is used for silks.

BUTTON-HOLE. LOOP

Fig.X

Fid.

Fie. 3\

"A little bit of kindness

To others now and then,

A little bit of blindness

To the faults of other men,

The wish to be forgiving

When things somehow go wrong,

And life is worth the living

And /!<,/>«• is in the song."

[125]

TO GRADE THE DRESS BACK

H

F

D»

a

DD

5

Dz

Grading Means Making Patterns Larger

or Smaller

When drafting patterns by the Gurney

Method you noted that the various dimensions

continuously refer to plus for each size larger

and minus for each size smaller. Thusly the

patterns were drafted by the Gurney Self-Grad-

ing Method and this method of grading is ap-

plicable in the grading of all makes of patterns.

In manufacturing establishments the "Sloper"

pattern, Size 16, 34 bust, is used in the grading

to make patterns larger or smaller. However

any size pattern may be used.

To grade the back use the regular dress pat-

tern with the breastline D to DD, the waistline

E to M and the hip line F to H marked.

The back is made a total of 1/4 inch larger

for each size as B to B2 illustrates. However,

as you proceed with the grading you will note

that this 1/2 inch is distributed to various parts

of the pattern.


nearest to you.


right of you mark B.

Place the pattern at B and outline as: B, D,

D

E, F, H, M, DD, R, N. Outlining the pattern


first will enable you to observe the amount the

pattern is enlarged on the various parts as the

dotted lines illustrate.

B to 3 is Vft inch for each size larger.

D to 3 equals B to 3. Place the pattern on

line 3 and outline the neck and shoulder as B

to 4 and 4 to 5.

3 to 6 is Vft inch for each size larger. Place

the pattern on line 6 and draw the upper half

of the armscye as 5 to 7.

6 to B2 is 1/4 inch for each size larger.

6 to D2 equals 6 to B2. Place the pattern as

B2 to D2 and outline the side as D3 to M2 to

H2.

D3 to 8 is 14 inch for each size larger. Place

point DD of the pattern on dot 8.

8 to 9 is 14 inch for each size larger. Move

point DD of the pattern down to dot 9 and out-

line the lower half of the armscye as 7 to 9

to 10.

The enlarged pattern is illustrated by the

dotted lines. You will observe that it has in-

creased 1/ft inch on the neck, a total of 14 inch

from the center back to the armscye, and 14

inch under the arm, making a total of 1/2 inch.

There is nothing worth the doing but the doing

of things right.

[126]

TO GRADE THE DRESS FRONT

.'-5

To grade the dress front use the regular

dress pattern with the breastline B1 to B, the

waistline E to M, the hip line F to H and the

dart V to X to V marked.

The front is made a total of 1/2 inch larger

as 2 to 22 illustrates, and is distributed over

the various parts of the pattern as on the back.

The dart on the front increases 1/8 inch for each

size larger. Therefore, it is necessary to lower

the waistline 1/8 inch for each size as M to M,.


farthest from you.


right of you mark 2.

Place the center front of the pattern at dot 2

and outline as: 2, N, Q, B, V, V, M, H, F, E, B.

This again is done to show you just where the

pattern is enlarged.

2 to 3 is % inch for each size larger.

B1 to 3 equals 2 to 3.

The neckline is lowered V8 inch for each size

as 2 to O.

Place the pattern on line 3 and outline the

neck as O to 4 and the shoulder as 4 to 5.

3 to 6 is % inch for each size larger. Place

point 2 of the pattern on dot 6 and outline the

upper half of the armscye as 5 to 7.

6 to 22 is 1/4 inch for each size larger.

6 to B:! equals 6 to 22. Place point 2 of the

pattern on dot 22 and thus locate point B2.

Lower the pattern V& inch for each size at

the waistline as M to M,,.

NOTE—The hip line is also lowered 1/8 inch

by lowering the waistline.


Outline the side as V2 to M2 to H2 to H3.

B2 to 10 is 1/4 inch. Place point B of the pat-

tern on dot 10 and draw the upper part of the

under arm as 10 to V2.

V to V2 is the dart which you will note has

increased % mcn for each size larger.

B2 to 8 is 1/4 inch for each size larger. Place

point B of the pattern on dot 8.

8 to 9 is 14 inch for each size larger.

Move point B of the pattern down to point 9

and draw the lower half of the armscye as 7

to 9 to 10.

Point X of the dart extends % inch beyond

the armscye as the dotted line illustrates.

The enlarged pattern is illustrated by the

dotted lines.

[127]

GRADING THE STRAIGHT DRESS AND COAT SLEEVE

c

The Gurney Method of sleeve grading is ap-

plicable to grade sleeves of all sizes and all

makes of patterns. After you are familiar with

the method you will then be able to grade with-

out making any marks. In manufacturing estab-

lishments the "sloper" sleeve, Size 16, 34 bust,

is used to grade sleeves larger and smaller, how-

ever any size sleeve may be used.

Figure 1 illustrates a regular sleeve pattern.

Sleeves increase in width as A to B % inch for

each size larger and decrease V2 inch for eacn

size smaller. The sleeve cap O to F increases 14

inch for each size larger, (up to and including

size 42), and decreases 1,4 inch for each size

smaller.

Draw line A to B. O is center of A to B. O to

P is 11/4 inches always. Draw line P parallel

with line A to B and mark Y at both intersec-

tions of the sleeve curves. Square up from O to

locate F.

Figure 2.


nearest to you.


right of you mark A. A to AA is the length of

the sleeve.

Square out a line from A as A to C.

A to B is the width of the sleeve pattern.

B to C is % inch for each size larger. AA to

CC equals A to C. Draw line C to CC. Place

point C of the sleeve pattern on dot C and draw

line C to CC.

A to X equals O to P of the sleeve pattern

plus 14 inch for each size larger up to and in-


cluding size 42.

C to X equals A to X. Draw line X to X.

A to D is V6 inch for each size larger. Place

point A of the pattern on dot D and outline as

A to Y.

Move the pattern up so line Y of the pattern

meets point Y on line X to X and outline as

Y toF.

C to E is ys inch for each size larger. Place

point C of the pattern on dot E and outline as

C to Y.



Y toF.

2 is center of F to F and will be the center

of the enlarged sleeve.

By this method of grading you will observe

that the sleeve has increased in width 1/R inch

as X to Y on the front, % inch as Y to Y and

1/ti inch as X to Y on the back.

[128]

GRADING THE TIGHT SLEEVE

To grade the tight sleeve:

Prepare the sleeve pattern for grading as

illustrated in Figure 1 for the straight sleeve.

Place the sleeve pattern 1 inch from the edge

of the paper nearest to you and outline as A

to 8 to 9 to 10 to 11 and the bottom as 11 to 13.

Square a line out from A as A to C.

A to B is the width of the sleeve pattern.

B to C is 5/s inch for each size larger. Place

point C of the pattern on dot C and draw line

C to 8.

A to X equals 0 to P of the pattern plus 14

inch for each size larger up to and including

size 42.

C to X equals A to X. Draw line X to X.

A to D is % mch for each size larger. Place

point A of the pattern on dot D and outline as

A to Y.



Y to F.

C to E is % inch for each size larger. Place

point C of the pattern on dot E and outline as

C to Y.



Y to F.

2 is center of F to F and will be the center

of the enlarged sleeve.

The sleeve increases 14 inch in width at the

bottom for each size larger as 13 to 14.

Place point 13 of the pattern on dot 14 so

the sleeve will contact dot 8 and draw line 14

to 16.

Place point 8 of the pattern on dot 8 and draw


line 8 to 16 marking dot 15.

You will observe that the amount from 15

to 16 has increased slightly. Make notches at

9 and 10 to meet notches 15 and 16.

Sizes 16 and 36 remain the same length, sizes

38 and 40 decrease 14 inch in length and sizes

42 and 44 decrease Vo inch in length as the

dotted line illustrates.

We are all only a part of nature,

Consequently pray what do we live for

If it is not, to make life less

Difficult for each other.

—Elliot.

[129]

TO CUT A COAT LINING

Woolen materials usually stretch and silk

materials do not. Therefore, it is necessary to

make a pleat in the back lining of a coat to

offset the amount that the woolens will stretch.

For instance, when driving an automobile the

coat is subjected to a severe strain across the

back and unless the lining is large enough it

will split at the sleeves, etc. And now with the

use of rayon lining materials which ravel very

much, the seams must be large enough to hold

and thus give better wear to the garment.

The amount of lining material required is

determined by the length of the coat. Measure

the length from the front shoulder to the bot-

toms B to C in Figure 2. Twice this length,

plus 5 inches, is the amount necessary for the

average size coat.

To cut the lining, first open the material and

fold it double, pinning both the selvage edges

together. Place the back coat pattern 11/> inches

from the selvage as A to G and B to H in Fig-

ure 1. Cut along the pattern as A to C. Allow

% inch at the shoulder as C to I and D to J.

Allow % inch as D to K and reduce to V2

as E to L. Add 14 inch as E to M and reduce

to the waistline. Allow 1V2 inches at the

bottom.

The front lining is cut so that it will lap the

facing 11/0 inches as A to B and A to C in

Figure 2. Place line B to C on the other selvage

edge. Allow % inch as B to I, - F to H, and F

to G, and D to E, allow 11/2 inches at the bot-

tom. If the lining ravels very much or if it is of

poor quality allow at the side seams an extra

14 inch as X to W.


After the back and the front have been cut

out, place the sleeve in the center and allow

% inch as A to F, - F to G and equally so at

D to H and H to I as Figure 3 illustrates. See

next page for the two-piece sleeve.

To make the coat lining:

Sew the side seams.

Regardless of whether there is a dart at the

shoulder in the coat it is advisable to make a

1/2-inch dart in the lining as illustrated by N to

P to 0 as in Figure 1.

RELINING A COAT

This is especially so for ready made coats.

The garment is ensembled according to the

various notches which must meet the corre-

sponding notches at the seams. Therefore, to

avoid any difficulty in relining a coat, it is pri-

marily essential that before ripping the lining,

new location marks are made at the front and

the various seams with chalk or thread to later

identify the ensembling of the new lining. Be

careful to retain all the marks. We now rip the

lining. Preferably all around first, then the

seams. Press the lining. Use it as a pattern to

cut the new lining. Do not cut the lining any

smaller or shorter, preferably a little bit longer

and larger. Mark the new lining identically with

the marks of the old lining. Baste the lining in

the coat with all marks meeting, and you will

have no difficulty. This is the proper way to re-

line a coat.

The inner side of every cloud is bright and

shining,

I, therefore, turn my clouds about


TO CUT A COAT LINING

hi

[131]

TO CUT A COAT LINING—(Continued)

H,

TO CUT THE LINING FOR THE TWO-PIECE SLEEVE

If a two-piece sleeve is used the lining must

again be large enough to allow for the stretch

of the woolen material as illustrated in Figure

4. Allow % inch as A to G at the front to noth-

ing at F. C to H is % inch. Place point C of the

pattern on dot H. H to I is % inch. Cut as W

to I to H to J to D as illustrated. For the under-

sleeve A to X and B to W are 21/2 inches. Cut

the lining as B to A. A to G is % inch and cut

as G to X. Cut the pattern on line X to W and

spread as X to X, % inch, thus, point C will be

located as point H. H to I is % inch. Cut as I

to H to J to D. If the lining ravels a great deal

allow a little more at the elbow. Note: the

amount the sleeve has been made larger is indi-

cated by the black space. The seams in sleeve

linings are Never Pressed 0pen.


[132]

A SHRINE

She fits and she sews in the window there,

The sunshine around her fingers,

fust touching her braids of bright bronn hair,

And slender busy fingers.

And she fashions garments fair and fine

For the dear little baby—hers and mine.

Her swift, white fingers can scarce keep pace

As down the years she glances.

And sews into folds of mull and lace

Her own sweet thoughts and fancies

And her eyes are bright with light divine

As she croons to the baby—hers and mine.

She drops the work when the daylight dies—

/ see them working, rocking—

There are the dimpled arms, two dear, dark

eyes,

A wee blue shoe and stocking.

And my heart bends low before the shrine

Of my wife and the baby—hers and mine.

—Alice A. Allen

-


[133]

TO MAKE TAILOR TACKS

Tailor tacks are used to mark the location of

pockets, darts, wide seams, and also where an-

other portion of the garment is to lap. Commer-

cial patterns indicate these locations by per-

forations or painted dots, etc. And whereas the

goods is placed on the double it is to have both

portions marked alike necessary to mark the

under portion of the material by means of tailor

tacks.

To make tailor tacks use a double thread.

Make a stitch on the chalk line or through the

perforation mark, now take a second stitch

over the first stich leaving a loose loop as letter

A illustrates. Then about 1 inch apart as A to

A leaving the thread loose at both A and B re-

peat the double stitch (actual tailor tack). Now

cut the thread on the long stitch B only. Pull

the two portions of the garment apart gently

so the stitching will be exposed as C illustrates

and cut the stitch as D illustrates.

In loosely woven material the tailor tacks

may come out, therefore, it is advisable to in-

sert basting along the tailor tack marks to

retain a permanent mark.


[134]

THE GURNEY METHOD OF ECONOMICAL CORRECT

NECKTIE CUTTING AND MAKING

Regular necktie silk materials are 24" wide. To economically cut neckties, use McCall Pattern No. 518 by E. Gurney.

Outline a square 24 by 24 inches, then make a duplicate pattern, place the two patterns on the 24" square as illus-

trated and outline the patterns carefully. (Do not cut the patterns.) Now pin the outlined patterns onto several thick-

nesses of paper and with a long stitch, machine stitch on all the lines. Cut off the outer edges all around the 24"

square, thus you will have a number of correct patterns. To cut the material place the outlined pattern onto three

or more thicknesses of material, pin firmly to position, cut on all the lines through the pattern and material.

To cut bias ties of 38" wide material cut the pattern in two and use an extra pattern to mark No. 5 and 6 as illus-

trated. To cut ties crosswise of the material use the same method, thus one pattern is sufficient to supply the whole

world with tie patterns.

MATERIAL REQUIRED

24" material 24" wide will cut two bias neckties.

24" material 38" wide will cut three bias neckties.

Three-eighths yard 38" wide will cut two ties crosswise of the

material.

To make highest grade neckties by the Gurney method the

ties should be interlined with high grade all wool wrinkle-

proof interlining. The interlining for the largest portion of

the tie must be cut on the true bias. The interlining for the

small part of the tie may be cut either on the true straight

or true crosswise of the material. Your regular store will sell

you at 15c each, ready cut, ready made highest grade inter-

lining. If your store does not carry this material write

Edmund Gurney, care Dunn Bros., Los Angeles, publishers of

this book, and upon receipt of -one dollar, we will send you

six tie linings and further instruction on tie making.

/ TIP \*>,jAt S«l, Up

FACINS I FlRST-

PLACE No I,

Ms CALL PATTERN

N? 518


[135]

SIMPLICITY SHORT CUT STEPS IN COAT MAKING

For all straight front coats the facing por-

tion may be cut on the coat. If you use a com-

mercial pattern and the facing is not cut on the

coat, pin the facing on the pattern with\ the

seams to lap, thusly there will be no seam on

the edge of the front, therefore, it will improve

the appearance of the coat front.

1. Tailor tack the facing line as number 1.

(See page 134 to make tailor tacks.) Also tailor

tack the pocket and buttonhole location and

insert a basting in the mark to permanently

establish a mark.

2. When light weight material is used it is

advisable to re-inforce the front of the coat

with cambric from the edge of the facing to the

dotted line as Number 2 illustrates. If so, cam-

bric must be thoroughly shrunk before using.

To shrink cambric, place it on a table and lay

it smoothly, wet it thoroughly with a sponge

or towel. (Please do not souse it.) When thor-

oughly dry cut it as illustrated to V2 inch be-

yond the front edge of the coat. Sew up the

cambric dart and the coat dart individually.

Press the seam open and baste dart seams of

woolen and cambric together. Place the cambric

to position and baste from the right side, also

baste in the tailor tack mark, then fold the

edge of the cambric and sew to position as No.

8 illustrates. However if heavy material is used

a piece of cambric, cut as Number 3 to be sewed

in the dart and armscye seams is sufficient. The

cambric used should be of the same shade as

the coat so it will not show through the lining

when the garment is completed.

3. Cut a piece of cambric 11/j inches wide for


the back armscye as Number 4 and baste it to

position.

4. Cut a piece of cambric 1 inch wide for the

back of the neck as Number 5 and baste it to

position.

5. Sew up the dart with % inch seam to

within 1 inch of the end of the dart, then grad-

ually reduce the seam to nothing y% inch below

the dart slash as Number 6 illustrates.

6. If no cambric is used over the front of the

coat we should, to prevent the front edge of the

coat from stretching, a 1/£ inch wide tape or

selvage of cambric or silk is sewed to position

along the tailor tack marks of the facing fold.

When basting the tape to position as Number 7

hold the tape a little tight and then fell it on

the edge as Number 8.

7. Fold over the facing on the tailor tack

marks and baste it to position 1/2 mcn from the

folded edge. Insert a second basting further

back to hold the facing in place.

8. To prevent the garment from tearing at

the pocket, baste on the wrong side of the gar-

ment a piece of cambric large enough to cover

the pocket opening and so it will be sewed in

the side seam as Number 9. (This is especially

advisable for all children's garments and all

delicate materials.)

9. To hold the facing to position, place strips

of cambric 1 inch wide from the facing to the

side seam as Number 10 illustrates.

To Put the Lining in the Coat:

We generally put the body part of the coat

lining in the coat before we put in the sleeves.


TAPE

BASTED TO

Pos/r/o/v

TAILOR /*•

TACKS/S

DART

WED

B£LOW CUT

"Let HI endeavor so to live that when we come

to die even the undertaker will be sorry."

—Mark Twain

[137]

THE GURNEY METHOD OF MAKING THE HIGHEST GRADE

COLLAR APPLICABLE TO COATS AND DRESSES

• \ • /•••

Figure 1 illustrates from the wrong side of

the garment the facing stitched to position.

Figure 2. Before cutting the facing lower the

neckline 1/2 inch at D and G as explained on

page 87.

Cut the facing 1% inches wide at the shoul-

ders and 31/2 inches wide at the bottom.

Place the right side of the facing and the

right side of the garment together and pin the

facing to position. Pin a small piece of either

silk or cotton cut on the BIAS at the end of

the opening for re-inforcement as H, C, J.

On the wrong side of the garment as in Fig-

ure 1 place a pencil dot V2 inch below the end

of the opening as letter F.

Stitch the facing to position with a 14 inch

seam starting 1 inch below D, continuing to 1/2

inch above the end of the opening as E. Reduce

the seam from E so the width at F will be %

inch as illustrated and continue stitching to 1

inch below G.

From the wrong side of the garment as in

Figure 2 restitch around the end of the opening

as H, C, J and cut the opening POSITIVELY to

the end of the stitching as C.


[138]

Figure 3. Stitch the collar all around the

neckline from D to G as K illustrates. If the col-

lar is too long cut off the extra length straight

with the grain of the material.

Stitch the other side of the collar to the fac-

ing and press both seams open as letter L.

Baste the ends of the collar together being

sure to add a little fullness on the facing side

to make the point of the collar curl toward the

garment.

Stitch the ends of the collar with 1/4 inch

seams as M.

Figure 4. Turn the facing to the wrong side

of the garment and baste to position. Stitch the

facing on the very edge as letter N.

The lower edge of the facing is neither turned

under nor stitched but is pinked as letter O.

Fasten the facing loosely to the garment

along the stitched edges. Do not fasten the fac-

ing to the garment across the bottom as then

the length of the facing will not show through

on the right side of the garment.

Figure 5. Turn under the collar seam across

the back and fell it to position as letter P illus-

trates.


[139]

THE METHOD OF MAKING A PLAIN COLLAR

A

v\x//,

!

\\\\\

Figure 1 illustrates a plain collar. Plain coat

collars are usually 2% inches wide finished. The

straight collar will be a little tight at the neck

and to relieve this strain a small opening may

be made at the center as Letter C illustrates.

However very frequently tucks are made at the

back of the coat to 1V2 inch on the collar this

provides ease at the top of collar. The collar

may be stitched if desired and either square

or round corners may be made. Figure 2 illus-

trates a coat with a facing added to the front,

thus, there will be no seam on the edge of

the coat. Sew the back facing portion on to

the front facing portion as Letter F. Pin the

collar at the front facing fold and baste it to

the garment as Letter A. Baste the facing to

position as Letter B. Sew a %-inch seam as

Letter C. To make the seam as thin as possible,

cut the facing seam and the garment seam off

close to the stitching as D. Baste the facing

over as Letter E and press firmly.

If the collar is not stitched as illustrated the

collar may be sewed all around with a seam and

be pressed open. If there is a seam in the

front of the coat, the collar may be stitched

onto the facing on the coat ind1vidually as illus-

trated in Figure 3, Page 139.

The victory of success is half won when one

gains the habit of work.

—Sarah A. Bolton


[140]

// you want an interesting life, choose what

you think beautiful and good and tiy to make

it come true. As long as you are fighting for

something- you are expectant, and as long as

you are expectant, you are alive, you are real.

The world and its fullness is yours!


[141]

THE GURNEY METHOD OF DRAFTING SURE-FIT

SKIRT PATTERNS

FRONT

ALLOW FOR ALL SEAMS

M

,A

To Draft the Skirt

Fig. I. Draft the front:

Use a sheet of paper 36 inches long.


you draw a line.

1 inch from the edge of the paper to the right

of you mark A.

A—B is % inch.

A—C is 7 inches.

A—D is the total length of the garment.

Draw right angle lines from A, B, C. D.

A—E is X °f tne total hip measure plus }/+

inch.

C—F equals A—E.

E—G is }/2 inch. Place a ruler on dot G so it

touches dot F and draw a line the full length

of the skirt and mark this dot H.

I is center of H—D.

H—] is ]/2 inch. Draw line }—I.

F—K is 1 inch.

G—L is l}/8 inches. Draw curved line L—K.

A—M is 3 inches.

M—N is % inch. Draw line B—N and curved

line N—L

This completes the front.

Allow % inch for seams.

For the placket: L to W is 8^ inches. L to

8 and W to 8 is % inch. Allow % inch for

seams on the pattern everywhere. However, it

is advisable to allow a total of 1 inch for the


side seams, on both back and front, making it

possible to enlarge a skirt, frequently .neces-

sary when firm tailor material is used that does

not stretch, and which will also allow the re-

quired material for the zipper placket.

[142]

Figure. 2. To draft the back:

A—B is % inch.

A—C is 7 inches.

A—D is the total length of the garment.

Make right angle lines from A, B, C, D.

A—E is % of the total hip measure plus %

inch.

C—F equals A—E.

E—G is ]/2 inch. Place a ruler on dot G so it

touches dot F and draw a line the full length

of the skirt and mark this dot H.

H to J is Y2 inch.

1 is center of H—D.

2 is center of I—D.

2—3 is }4 inch.

D—4 equals 2—3. Draw lines J—3 and 3—4.

F—K is 1 inch.

G—L is 1% inches. Draw curved line L—K.

For all sizes two darts are appropriate in the

back.

A—M is 3% inches for size 16 and increases

Y& inch for each size larger.

C—O equals A—M.

M—R (both ways) is % inch.

M—P is 6 inches. Draw line R—P—R.

M—S equals A—M less J/£ inch.

O—T equals M—S.

S—U is 6 inches.

S—V (both ways) is % inch. Draw line V—

U—V.

M—X is % inch. Draw line B—X—L.


Figure 3 illustrates the method of making one

dart in the back.

M is center of A—L.

C—T equals A—M.


Apply the waist measure. The amount from S

to S is the waist surplus which is equally

divided on both sides of M.

M—W is 6 inches. Draw line S—W—S.

M—U is ^s inch. Draw curved line B—U—L.

Allow % inch for the placket as L—8 and

W—8 on both the front and the back.

Allow ^g inch seams everywhere, making a

total of 1 inch for the zipper placket.

"Example" To constructively try, and do, is

the best precept.

[143]

TO DRAFT THE GORED SKIRT

The front of the gored skirt may be made

with a panel front B to W is 3 V& inches and D

to R is 41/2 inches for a short person and 5

inches for a tall person. Draw line W to R as

dotted line illustrates.

A skirt may also be made with any number

of gores for silk or very light weight material

and a flare may be added on the seams B to 2

is 2 inches,—D to 3 is 3 inches. Draw line 2 to

3. 2 to 4 is 2V& inches,—3 to 5 is 3 inches. Draw

line 4 to 5. For the flaring part of the skirt 2

to 0 is 16 inches,—3 to 6 is 114 inches,—3 to 7

is 2 inches. Draw lines 0 to 6 and 0 to 7.

For the second gore 5 to 8 is 11/4 inches and

5 to 9 is 2 inches. Draw lines 0 to 8 and 0 to 9.

To cut the pattern place a piece of paper

under the pattern and trace on the lines from

2 to 0 to 6 and 4 to 0 to 9. This will then pro-

duce the gored portion. Now remove tracing

part and cut the front portion of the pattern

on the line 2 to 0 to 7 and the side portion of

the pattern on the line 4 to 0 to 8. Allow %

inch on the pattern for all seams.

Frequently in the gored skirt the seam will

have a rounded effect over the front. Therefore,

it is advisable to reduce the front panel as 2 to

X—14 inch and do the same at point 4 to X.

However, we add on the gored portion the

amount we reduced it as 2 to X and equally so

as 4 to X, thusly there is no dart taken in on

the upper part of the skirt.

Gored skirts made in woolen materials do

not drape very nicely, however, if woolen mate-

rial is used for a flared gored skirt the hem of

the garment should be very, very small.


[144]

TO DRAFT THE YOKE SKIRT

0utline the regular back skirt pattern as il-

lustrated.

1 to 2 is 6 inches.

Square a line from the center back point 2

to the side as K in Figure 5.

Cut off the yoke on line 2 to K as Figure 6.

Fold up the dart so that T meets T as in

Figure 7, thus the yoke will be in one piece.

Any desired style may be added on the front

to extend the yoke as illustrated in Figure 5.


•-


[145]

TO DRAFT THE CIRCULAR SKIRT

0utline the back skirt pattern as E, F, X, P,

C, D, D.

Extend a line from point H of the dart to

the bottom of the skirt as J.

Cut on line H to J.

Fold up the dart so that D meets D, thus the

pattern will spread as J to H to J in Figure 1.

Place the side seams of the front and the

back together as C to P and outline the front

as: C, P, X, B, A.

G is center of X to X. The side seam may be

drawn from P to G.

If the front is desired narrower than the

back: 0 is center of G to X.

Draw line P to 0.


Better trust all and be deceived,

And keep that trust and that deceiving.

Than doubt one heart that, if believed,

Had blessed one's life with true believing.

—Kemble.


[146]

TO MAKE THE INVERTED PLEAT

Commercial patterns usually have only a seam

allowance from the waist line to the opening of

the pleat. This is stitched from the wrong side

of the garment and the seam is then pressed

open. The pleat is then stitched on the right

side of the garment from the waist line to the

pleat opening. This is not a desirable method for

striped, plaid or any designed material.

Therefore, it is advisable for striped and plaid

materials to allow the material for the pleat the

full legnth of the skirt. Baste each fold of the

pleat individually 14 inch from the edge as let-

ters A and press the folds firmly. Insert a bast-

ing on the under portion of the pleat against

which the folds are to be placed and then baste

each fold to position as letters B. Stitch the de-

sired width of the seam as letters D. The end

of the pleat may be stitched as letters D to E

illustrate.

N0TE: All stripes must match when plaid

material is used.


[147]


TO MAKE THE PLAIN SKIRT AND DRESS PLACKET

[148]


[149]

The Gurney Sure-Fit Method of Making the Concealed

Talon, Hookless, Sliding Fastener Skirt Placket

After many repeated trials, I have evolved this positive Sure-Method of concealed

zipper placket making for Tailoring, Dressmaking and Home-Sewing. If you follow the

instructions and complete each step you will be happy with the results.

To prevent the zipper from catching to the under garments when putting the skirt

on, FIRST fasten or hook the skirt at the waist. Then pull on the zipper slider tab so

the zipper will be lifted away from the under garment and ZIP up. When taking the

skirt off, FIRST leave the skirt fastened at the waist, then pull on the zipper sliding

tab so the zipper is lifted away from the under garment and ZIP down. Thusly it is in

both instances impossible for the zipper to catch the under garment.

d]

USUAL SCAM \y& Â

Fie.1

and BACK

Figure 1. This illustrates the usual % inch seam allowance of the pattern, and also shows

that when cutting the material an additional % inch has been allowed the length of the placket.

Letter X illustrates that the stitching has been continued the full length of the garment.

Press the seam open very firmly, and then rip the seam J4 inch longer than the zipper metal.

Figure 2. Make a fold on the back panel a maximum !4 inch from the seam crease. Baste

in this seam crease through the fold as A—A—X. This basting MUST remain until the gar-

ment is finished.

Figure 3. Without stretching the folded edge baste it firmly against the metal of the ripper

as letter B.


[150]

FIG. 4-

FROA
*=—•

P/4NEL

Figure 4. Pin or baste the front panel firmly to position so it meets or laps the seam

crease A—A slightly.

Figure 5. From the wrong side insert basting M—M. Then starting at N stitch close to

the metal as O. If desired, the seam from the back panel may then be cut off and the zipper

tape sewed to the garment as illustrated.

Figure 6. Sew the belt to position in the usual manner. Sew the eyes on the under side

of the belt, and then pin the upper part of the belt so the front panel B will lap the seam

crease A. While it is pinned in this position sew on the hooks.

This method will produce the highest type of placket.

Figure 7. The same method for the side zipper dress placket.


[151]

Hare I helped, with all my might

and with all the strength I had

to lift a heavy burden from a heart, too sad,

then I'll feel, I've done some good

I've done the things I should

for the Lord has blessed me with a sense of right.

Have I taught some changeling boy

to invent some little thing

that will help to make him sing?

Then I'll have a nice warm feeling

thru my heart a stealing

for on the road of life, he'll be a joy.

Have I tried to lift the thoughts of a person in despair

over troubles bourne in mind

over acts that were unkind

saying, turn your thoughts from sin

to the good that wells within

for all may rest in mind without a care.

Have I shared with what I had

Just a little bit today

crumbs of comfort on the way

some small thing to old and young

just a ray of brightest sun

then I'll know, I've done my share and be glad.

If I've done my very best, all through this day

harmony, love and peace

and joys that will never cease

as I seek the deeper good

in mind and place and mood

will be a little bit of sunshine to light the way.

—Minnie N. Segrue.


[152]

TO MAKE A DRESS HEM IN SILK, CREPE AND VERY

LIGHT WEIGHT WOOLEN

Letters A and A indicate the desired length

of the garment.

Fold the hem over and insert a basting 1/2

inch from the folded edge A and A as letters

B and B indicate.

Trim the hem to the desired width as A to C.

Turn the hem under 1/4, inch and stitch very,

very close to the folded edge as D.

Insert a second basting % inch from the up-

per edge of the hem as E and E. Fold the hem

portion back, so the stitched edge of the hem

will extend about yK inch beyond the garment

as F illustrates. Sew the hem to position by

taking a firm stitch "just below" the stitch-

ing D as G illustrates. Then insert the needle

in the garment being sure to catch only "one"

thread as G2 illustrates. Take six stitches in

succession 14 m9n apart and when pulling the

thread leave a little loop at the end, thus you

will not pull the thread too tight. By sewing

the hem in this manner neither the hem nor

the stitching will show on the right side of the

garment.

TO SEW HOOKS AND EYES ON A

SKIRT BELT

Cut the required length of belt allowing

about 2 inches for a turn back.

Hooks and eyes are sewed to position before

the belting is sewed to the skirt. Fold the belt-

ing over 1 inch on each end. Note: the hooks

and eyes are sewed, so that the cut edge of the

belt will be next to the garment. Sew the top

hook % inch from the edge of the belting to

provide space for the presser foot of the ma-


chine when sewing the belt to the skirt. Note:

Stitches A are sewed through and through

thus providing maximum strength and equal

strain on the stitches. Insert four stitches at

the end of the hooks as B. Sew the eyes to posi-

tion letting them extend beyond the belting a

very little. Sew through and through as C

and D.

To pin the belt to position start with the eye

portion first. Then hook the belt together and

lap the skirt to position. Finish pinning the belt

to position, baste it firmly and stitch.

[153]

TO MAKE A HEM IN HEAVY WOOLEN MATERIAL

Making and finishing the hem on a skirt with-

out pleats is distinctive from the hem of the

skirt with pleats. To make the hem in a skirt of

woolen materials without pleats, proceed as

Figure 1 illustrates the right side of the gar-

ment. Trim the hem even to the desired width.

Baste seam binding tape to position on the edge

as letters X and X illustrate and stitch close to

the edge of the tape as letters A and A.

Figure 2 illustrates the wrong side of the

garment and indicates the stitched edge of the

tape as letter B.

Figure 3. Trim the woolen to a little less

than half the width of the tape as letters C

and C.

Figure 4. The binding is turned over the edge

as letter C and sewed with a long stitch as

letter D illustrates.

Figure 5 illustrates the hem basted V2 inch

from the fold as E and close to the binding as

letters F and F.

Figure 6. To fell the hem. Fold the garment

so the edge of the hem is exposed % inch, then

insert the needle, first in the hem portion as

letter G, then 14 inch from this stitch insert

the needle into the garment being careful that

you take only a single thread of the garment.

Take six stitches in succession, don't pull thread

tight, leave a little loop, and repeat. By this

method the thread on the loop will be dis-

tributed equally and neither the stitches or the

hem will show on the right side.

MAKING AND FINISHING THE HEM FOR

THE PLEATED SKIRT

Making and finishing the hem for the pleated


skirt so that the pleats on the seams will posi-

tively always lay flat, the seams are clipped one

inch above the width of the hem as Fig. 8, and

the whole seam is pressed to one side as illus-

trated. To prevent the seam from showing, the

hem at the seam is made % inch shorter. We

now proceed the same as in Figures 1, 2, 3, 4, 5,

6. After the hem is sewed to position, insert a

basting from the right side along the seam as

letter H, Fig. 7, and machine stitch close to the

seam the width of hem as letter H, Fig. 7. Then

on the wrong side fold the hem on the stitching

and stitch 14 inch from the edge of the seam as

letter K, Fig. 8. This will make the pleat lay flat.

[154]


jri cf. 1

SEAM

'RIGHT

SIDE-

B

Fig. 2

SIDE-

"CV O

rag- 3

SlDE-

SlDEr

Fig. 5

*J

METHOD OF

srncHiNG

5/DE-

Fig.

Hi

7

SEAM

Fig. 8

-U.

ix

^X

[155]

EASY METHODS OF MAKING CORNERS

RIGHT S/DE OF MATE/I ML

I U.< m; 1 llluntraten the vnrlonn l» IM-n of cornern Miat

will be dencrlbed.

CORNER NUMBER 1.

FlGURE 2 llluntrated the right nide of the Rarment anll

the t>;istiim line 0 lndlcatm the lteatn line.

Fold the neam over wlth the rltcht nlden toicether IIn A,

letting the neam extend beyond the under part of tin-

garntent nw B.

Stltch :is lilnntrated on the «r..nt nide of the garment

ln Figure «.

Cut off the corner an O to O ln I iuur. 2. Then out off the

top neant nn O to S.

Turn the corner to the wrong; nide nnd lt will then

nppear an ln Fliture 4.

NOTE: The neam create \ i* '„ lnch ln from the folded

edge B to prevent the neam from nhowini£ when the lap

neam ln completed.

[156]

COH.VER \TMBER 2.

Pin a piece of nilk or cambric to ponltlon on the right

nlde of the trnrment nw X ln Figure 2.

On the wrong nide of the tcarment nn ln Flgure 3 the

bantlng line ft lndlcaten the neam line.

Stltch the corner from the wrong nlde On Hluntrated ln

FlK•urc 8. N
Nenm line
Turn the nilk or cambric to the wrong; nlde of the gar-

ment IIn ln Figure 4.

flnnte to ponltlon very firmly having the neam creane A

% lnch ln from the folded edge R. •I•liis will prevent

the nilk from nhowing >vhen the lap neam ln completed.

CORNER Nl 1HBER «.

Banting line « ln Figure 2 lndlcaten the neam line.

Fold the neam over HO the right nlden are together.


Stltch the corner from the wrong nlde of the garment an

CORNER

No.1

VI •«• rfl;

llluatrnted ln Fliture 3. NOTE!: The ntltchlng lN % lnch

ln from the si-nm line 0.

Cut off the corner \\ on line O to O nn ln Figure 2.

Then through one thlcknenn of the material cut clone to

the ntltchlng ;is O to s.

Turn the corner :is ln Flgure 4 hnvinir the nenm creane

A % lnch ln from the folded edge to prevent the si-mn

from nhowlng when the lap sr.-int ln completed.

CORNER NUMBER 4.

Bnnting line 6 ln Flgure S lndlcaten the neam line.

Pin a piece of nllk or cambric to ponltlon on the right

nlde of the garment an X ln Figure 2.

Stltch the corner from the wrong nlde of the garment UN

llln»trated ln Flgure 3. NOTE: The ntltching ln M. lnch

away from the neam line 0. Slanh to the very corner of

the ntltching.

Turn the nilk or cambric to the wrong nide of the gar-

ment an ln Figure 4.

Bnnte to ponltlon very firmly having the neam creane A

% lnch ln from the folded edge B. Thin will prevent the

nllk from nhowing when the lnp nenm lN completed.

To siid-ii the lnp neum to ponltlon refer to Figure 1.

Innert a banting on the garment am letter A to lndicate

where the nenm in to lap.

1nnerf a thread in the very corner of the lapping portion

an llluntrnted.

I'rc-ss very flrmly and pull on the thread ln the corner

to have the cornern nharp or nquare an denired.

Bante the lapping portion flrmly to ponltion againnt the

banting neam mark. When ntltching the corner pull on

the thread ln the corner to be nure that you will have a

nhnrp corner an lntended.

Lap neamn may be ntltched any denired width from the

[157]


edge.

SKIRT-SLACKS

Skirt-slacks are different from the usual slack

garments because they hang straighter over the

hip and do not cup in. The garment fits closely

in the crotch but will not bind as most slacks

do.

Measurements required for slacks:

Waist measure.

Hip measure taken 7 inches below the waist

line, taut but not tight.

The "rise" or crotch depth is normally % of

the total height plus 1/2 of % of the height.

Example: the height is 64 inches. % of 64

inches is 8 inches. 1/£ of 8 is 4 inches. 8 inches

plus 4 inches is 12 inches. This applies for all

sizes and ages. If you should desire the crotch

a little longer add 1/2 inch.

The length is taken from the waist line to

the heel of the shoe.

To draft the front:


you draw a line.



A to B is 71/2 inches.

A to C is 11% inches for size 35 hip and in-

creases 1/4 inch for each size larger and de-

creases y% inch for each size smaller.

C to D for adults is 9 inches.

D to E for adults is 9 inches. These two lines

are made merely for matching purposes.

A to F is the total length of the garment.

Make right angle lines from A, B, C, D, E, F.

A to G is 14 of the total hip measure plus 114

inches for woolen material, for silk and cotton

fabrics that do not stretch A to G is 11/2 inches.


C to H equals A to G.

Draw line G to H marking I at the intersec-

tion of line B.

G to J is 1 inch. Draw line J through I.

H to K is 21/2 inches for size 35 hip and in-

creases 1/8 inch for each size larger and de-


F to L equals C to K. Draw line K through L.

F to M is 11/4 inches.

L to N is 11/4 inches.

Draw line K to N and mark 4 and 5 at the

intersections. Draw line C to M and mark 2 and

3 at the intersections.

K to O equals H to K. Draw line O to H.

H to P is 11 inches for size 35 hip and all

sizes larger and is 1 inch for sizes smaller than

35.

Draw curved line I to P to K.

A to Q is 1 inch. Draw curved line Q to B.

A to R is 4 inches for size 35 and increases %

inch for each size larger and decreases 1/a inch


Square down from R as R to S

R to T (both ways) is V£ inch.

inches.

J to U is % inch. Draw curved line T to U

as illustrated.

For the zipper placket Q to 6 is % inch.

B to X is 1 inch.

X to 7 is % mch. Draw curved line 6 to 7.

For the cuff F to 8 is 5 inches.

-L to 9 is 5 inches.

9 to 10 equals L to N less 1/8 inch.

8 to 11 equals F to M less 1/8 inch. Draw lines

THE SKIRT SLACKS FRONT

SHORTS FOR SPORT GARMENTS

For tennis, for bicycle, for beach, for gym-

nasium, etc., the same front pattern is used. Cut

the pattern the desired length. For pleats in

front cut the pattern on line 22 through 20 and

spread the pattern open a minimum of 5 inches

for the pleats.

Banish the future; live only for the hour and its

allotted work. Think not of the amount to be

accomplished, the difficulties to be overcome,

but set earnestly at the little task at your elbow,

letting that be sufficient for the day; for surely

our plain duty is "not to see what lies dimly

at a distance, but to do what lies clearly at

hand." —Osier.


159]

SKIRT SLACKS

To draft the back:


you draw a line.



A to B is 7V2 inches.

A to C is 11% inches, is the same as the

front, for size 35 hip and increases 1/j, inch for

each size larger and decreases 1/2 inch for each

size smaller.

C to D for adults is 9 inches.

D to E for adults is 9 inches. These two lines

are made merely for matching purposes.

A to F is the total length.

Make right angle lines from A, B, C, D, E, F.

A to G is 14 of the total hip measure plus 114

inches for woolen materials for silk and cotton

fabrics that do not stretch, A to G is 11/fc inch.

C to H equals A to G.

Draw line G to H and mark I at the intersec-

tion of line B.

G to J is 1 inch.

Draw a line from J through I.

H to K is 21/2 inches for size 35 hip and in-

creases 1/a inch for each size larger and de-


K to K K equals H to K. (See Note for Sport

Garments.)

F to L equals C to KK. Draw line KK to L.

F to M is 11/4 inches.

L to N is 11/4 inches. Draw lines KK to N

and C to M.

Note: If the material is wide enough 1/2 inch

or 1 inch or 11/2 inch may be added on the back

portion "only" on the line KK to N, this will


make the legs wider, then fold the line C to M

even with the new line KK to N to sew the

crease in the center.

K to O equals H to K. Draw line O to H.

H to P is 1V2 inches for size 35 hip and all

sizes larger and 11/4 inches for all sizes smaller.

Draw curved line I to P to KK.

A to Q is 1 inch. Draw curved line Q to B.

For the zipper placket Q to 6 is % inch.

B to X is 1 inch.

X to 7 is % inch. Draw curved line 6 to 7.

For one dart:

R is center of Q to J.

Square a line down from R as R to S 6 inches.

The waist surplus is taken in on both sides

of R as T.

R to T is usually % inch (both ways). Draw

lines T to S.

J to U is 3/8 inch. Draw line U to T.

Quite often two darts are desired instead of

one as:

Q to Y is 1/3 of Q to J less 1/2 inch.

Square a line down from Y as Y to S 6 inches.

Y to O (both ways) is % inch. Draw lines O

to S.

Z is center of Y to J.

Square a line down from Z as Z to S 6 inches.

Z to O (both ways) is % inch. Draw lines O

to S.

For the cuff F to 8 is 5 inches. L to 9 is 5

inches. Draw lines F to 8 and L to 9.

9 to 10 equals N to L less ys inch.

8 to 11 equals F to M less 1/8 inch. Draw lines

N to 10 andM to 11.

THE SKIRT SLACKS BACK

SHORTS FOR SPORT GARMENTS

For tennis, for bicycle, for beach, for gym-

nasium, etc., the same pattern is used with the

EXCEPTI0N that K to K equals half of H to K.

"Today will be my busy day,

With many things to do;

For strangers pass along the way

And I must have good words to say—

Then bid them bright adieu!

To weary, stupid, young and gray,

To prodigal and true,

I'll give sweet roses while I may,

And make of this a busy day,

With many things to do."

—Earl Bigalow Brown.

O

CM


[161]

ECONOMICAL CUTTING OF SLACKS

Botany flannel and other woolen materials

are usually 54 inches wide. 1V2 yards of 54-inch

material is sufficient to cut garments sizes 35,

37 and 38 hip measure as in Figure 1. Frequent-

ly woolen materials are 56 inches wide and then

a garment size 39 hip can be cut out of 11/2

yards. If the material is 58 inches wide a size

40 slack can be cut from 1V2 yards.

Figure 2 illustrates the cutting of slacks

sizes 39 and 41 out of 54-inch material. You will

observe that 2V! yards are required.

For very economical cutting for large sizes

it is advisable to cut two garments at the same

time as illustrated in Figure 3. Three lengths

plus the cuff lengths will be required for the

two garments.

The Making of Slacks

For permanent creases in the front and back

make tailor tack marks in the front and back

on lines 22 to 21 then make a fold along the

tailor tack marks and stitch 1/16 inch from

edge of fold both front and back. To obtain

longer wear of the garment of light and delicate

material it is advisable to line the back portion

with A. B. C. silk material which must be cut on

the same grain of the material as the outside

to 6 inches below the crotch seam. Baste this

lining to position and sew it with the dart and

side seams, etc. Press the seams open very

firmly and make a concealed talon zipper

placket on the left side of the garment as ex-

plained on page 150.

Apply the waist measure and if the waist is

too small decrease the size of the darts. If this

is not sufficient decrease the seam in the back


as J to I. If the waist measure is too large in-

crease the size of the darts and if not suffi-

cient increase the seam in the back as J to I.

Sew the inside leg seam. The belt is a mini-

mum of 1% inch wide f1nished. Sew the belt

to position as illustrated on the Talon zipper

placket, page 150. If the material stretches, sew

a piece of cambric or other material cut on the

straight of the fabric in the belt.

[162]

ECONOMICAL CUTTING OF SLACKS

CUFF

SIZE 25-27, WAIST, 35-37 HlP MEASURE

4O"LO/V6 REQUIRES f<%YDS. 54"WIDE.

FRONT

TJEP/A L

_ 4" —

WIDE

CUFF

•-£"—

BACK

FOR LARGER S/ZES

SEE FIG. 3

Fig. 2

FRONT

S/Z£ 39-4/ H/P MEASURE,

29 ~3/ WAIST 4O'LONG REQUIRES

YDS. MATERIAL 54-" W/DE.

CUFF

-S-

The easiest thing to find is fault,

And the hardest thing to keep is still.


[163]

THE GURNEY SURE-FIT MEN'S AND BOYS' SHORTS

"We can accomplish anything we feel the urge

to do. We all have within us the capacity to

achieve what our souls desire. lt all depends

on the extent of our will power, and our ability

to sacrifice unimportant things for the all-im-

portant goal. This alone is the measure of our

achievement. No obstacles are too great. No

matter what our past mistakes have been, no

matter how the false years may have misled and

neglected us, it is never too late to start anew,

never too late to attain to that complete ex-

pression of the self which alone makes for

richly contented living."

—From "Discoving the Genius Within You,"

By Stanwood Cobb.

THEV YIELD TO

THE BODY— J

Because of the numerous complaints of the

short garments tearing and being uncomfort-

able, I have made and patented this pattern.

You will note that the garment is cut bias in

the back and re-inforced in the front, there-

fore, it yields to the body and will not tear.

My adult education classes have used it ex-

tensively and have found it to be a very desir-

able garment. Not only do the men like to wear

them but the women enjoy making them. If you

will follow all the instructions step by step you

will have no trouble in drafting the pattern and

making the garment.


[164]

NORMAL STANDARD MEASURES

Waist Measure

Hip Measure

25

30

261/2

...32

28

34

30

..36

32

38

34

..40

36......

42

38

44

40

..46

42

...47

44

48

Material Required — 36" wide

25 waist _______________ ....... . ........ .. .......... . ............. .% yd.

28 waist. ............ _____________ ..................... . .......... 1 yd.

36 waist ................ ... ............. -11/8 yd.

40 waist ..... .. ..... . ....... . ....... .... ............... . ........ 11/4 yd.

42 waist.... ................... . ................. . .............. iy% yd.

The waist measure for men is normally 6

inches less than the hip measure.

Take the waist measure just above the waist

band of the trousers. The hip measure is taken

7 inches below the waist line and is taken over


the trousers. For children the waist measure is

larger in comparison to that of adults and the

hip measure is taken 6 inches below the waist

line.

When a bit of sunshine hits ye,

After passing of a cloud,

When a fit of laughter gits ye

And ye'r spine is feel in' proud,

Don't forget to up and fling it

At a soul that's feelin' blue,

For the minit that ye sling it

lt's a boomerang to you.

—Jack Crawford.

[165]

TO DRAFT MEN'S AND BOYS' SHORTS

The shorts pattern is drafted according to

the hip measure and the waist is adjusted as

required.

Draw a line 2 inches from the edge of the




A to B is 10 inches for size 36 hip and in-

creases % inch for each size larger and de-


B to C is 6 inches.

B to D is 3 inches for size 36 hip and remains

3 inches for all sizes larger, and decreases %


Draw right an
A to E is 1% inches.

B to F equals A to E. Draw line E to F.

F to G is 3/, inch.

F to H and F to I are each V2 inch.

Draw a line from H to I and mark J in the

center.

Draw curved line B to J and J to G.

B to K is 3/J. inch. Draw line G to K.

C to L is % inch. Draw line B to L.

E to M is 1/2 of the total hip measure plus %

inch.

F to N eouals E to M.

Draw a line from M through N and mark 0

at the intersection of line D.

N to P is 1% inches.

0 to Q is 6 inches for size 36 hip and in-

creases % inch for each size larger and de-

creases % inch for each size smaller.

P to R equals 0 to Q.

Draw a line from 0 through R and mark S


at the intersection of line N and T at the inter-

section of line C.

T to U is % inch. Draw a line from S to U

and mark V at the intersection of line P to R.

M to W is 214 inches for size 36 hip and in-

creases 1/it inch for each size larger and de-

creases VH inch for each size smaller.

Draw a line from W through 0 and mark X

at the intersection of line P to R.

Draw line Q to X.

X to Y is 1 inch.

X to Z (both ways) is 2 inches.

Z to 2 (both places) is 14 inch.

Draw curved line 0 to 2 to Y to 2 to V.

W to 3 equals W to M less 1/2 inch.

E to 4 is 14 of the total hip measure.

For a dart 4 to 5 is 1 inch.

6 is center of E to 5. Square a line down

from 6 four inches as 6 to 7.

6 to 8 (both ways) is 1/2 inch.

8 to 9 is 114 inches. Draw lines 9 to 7. This

completes the first dart.

For the second dart 10 is center of 4 to 5.

Square a line down from 10, 41/2 inches as 10

to 11.

4 to 12 and 5 to 12 are each 114 inches. Draw

lines 12 to 11. This completes the second dart.


Apply the waist measure from 13 to 4, 5 to-

8, 8 to E. If this measure is too large make a

third dart to consume the extra length at 14

which is the center of 3 to 4.

Some men have what we call a "bay" window.

By this we mean that their waist measure is


MEN'S

(CUTBELT I%*NID£

•

[167]

WISHING

Do you wish the world were better?

Let me tell you what to do.

Set a watch upon your actions,

Keep them always straight and true.

Rid your mind of selfish motives,

Let your thoughts be clean and high.

You can make a little Eden

Of the sphere you occupy.

Do you wish the world were wiser?

Well, suppose you make a start,

By accumulating wisdom

ln the scrapbook of your heart;

Do not waste one page on folly;

Live to learn, and learn to live.

If you want to give men knowledge

You must get it, ere you give.

Do you wish the world were happy?

Then remember day by day

Just to scatter seeds of kindness

As you pass along the way,

For the pleasures of the many

May be ofttimes traced to one,

As the hand that plants an acorn

Shelters armies from the sun.


[168]

HOW TO CUT SHORTS

WAIST BAND

CUT OAfE

AA

,.,,.., ., ...

MATERIAL

FIRST- Cur Mo. r

-CUT No. 2

THIRD - CUT /Vo.3

FOURTH- CUT No.

FIFTH - CUT tto.5

SIXTH - CUT No.

LEFT SIDE

OF GARMENT

RIGHT SIDE

OF GARMENT

Having completed the drafting of the desired

size of shorts you are now ready to trace the

pattern for use. Place a sheet of paper under

the whole draft, two small pieces under the

part for the facings and one piece under the

part for the bias portion. Trace all the lines,

thusly, giving you two body patterns, two fac-

ings and one bias pattern.

Cotton materials usually shrink one inch to

the yard, therefore, it is advisable to shrink

the material before cutting.

To cut the shorts:

Place the right side of the material down on

the table. Pin each piece of the pattern to posi-

tion as illustrated. Number 1 is the left side

(button hole side) of the garment. Please note

that this is the piece requiring the small fac-

ing. Pin the right side of the pattern to posi-

tion as number 2. Cut out both portions and be

sure to mark the darts and the notches.


Pin the bias portion to position as number 3

and cut it out, being sure to mark the notches

Y.

Cut the belt or waist band 114 inches wide

along the selvage as number 4.

Be sure to place the facings numbers 5 and

6 as illustrated and cut them.

[169]

HOW TO MAKE SHORTS

STEPS

SEW - CROTCH SEAM AS

THEN SEW

LETTER

H

Step 1. Place the wrong sides of the bias

piece and the body pieces together, letting the

bias portion extend a little. Match the notches

Y and make the regular flat fell seam.

Stitch the darts 114 inches straight down as

8 to 9 and 5 to 12 illustrate on the drafting

picture and then taper them to 7 and 11. Meas-

ure the waist line and if it is too large take in

the extra amount in a small dart at 14 as illus-

trated on the draft.

Step 2. Place the right sides of the facings

and the garment together. Pin the belt on top

of the facing and stitch all the way around the

whole garment with a % inch seam. Slash as

A to B and turn the facing and the belt to the

wrong side of the garment.

Step 3. Stitch on the very edge of the gar-

ment starting at 5 on the left side and continu-

ing to 4 on the right side. At 4 stitch y4 inch

from the outer edge of the garment as 4 to 3

to 2.

Turn under the outer edge of the facing and

the belt and stitch to position as letters G in

Step 5.

Step 4. Place 5 of the left side of the garment

against stitching 2 of the right side and stitch

up to 3. Place the two fronts smoothly together

and stitch as 3 to 6 three-fourths inch in

length.

Step 5. The crotch seam may be made with


the usual flat fell seam. However, there is a

method to make a thinner seam. Cut a piece of

material 1/2 inch wide on the selvage. Place the

right side of the garment together and then

place the strip on the front piece and stitch

with a regular seam. Turn the selvage strip

flat and stitch on the edge of the selvage as you

would a flat fell seam.

Make 14 inch hems on the bottom of the legs.

It is preferable to make four buttonholes on

the garment, however, only three may be made

if desired. The first buttonhole is made % inch

from the top and the others are 21/4 inches

apart.

[170]

PLACE E&GE 5 AGAINST STITCHING

£ AND SEW FftOM S TO 3. THEN

m POUR ROWS AS 3 TO 6

5 TEP 4

A

STEP

STITCH CLOSE TO THE £D6£ AS

THEN S Tl TCH '/+ FROM TH£ £O6£

2. 3. *. SLLUSTRATE. TH£N*

OH eDGE Of FACtNG AHCt

see Lerrer*s G STEPS.

f~ FACING STITCHING

STEP 2,

SEW FACINGS AND WAIST

BAND WITH SMALL

.

/

AFTER STITCHING SLASH

CORNER AS A TQ B"

FACING


[171]

THE SONG OF THE SHIRT

With fingers weary and worn,

With eyelids heavy and red,

A woman sat, in unwomanly rags.

Plying her needle and thread—

Stitch! Stitch! Stitch!

In poverty, hunger, and dirt;

And still with a voice of dolorous pitch

She sang the "song of the Shirt!"

Work—work—work

Till the brain begins to swim!

Work—work—work

Till the eyes are heavy and dim!

Seam, and gusset, and band.

Band, and gusset, and seam—

Till over the buttons I fall asleep,

And sew them on in a dream!

"O Men, with sisters dear!

O Men, with mothers and wives!

It is not linen you're wearing out,

But human creatures' lives

Stitch—stitch—stitch

In poverty, hunger, and dirt—

Sewing at once, with a double thread,

A shroud as well as a Shirt!

—Thomas Hood.

D

// is my joy in life to find,

At every turning of the road,

The strong arm of a comrade kind

To help me onward with my load.

And since I have no gold to give,

And love alone must make amends,

My only prayer is, while I live—

"God make me worthy of my friends!"

—Frank Dempster Sherman.


Blessed are they who have the gift of making

friends, for it is one of God's best gifts. It in-

volves many things, but above all, the power of

going out of one's self, and appreciating what-

ever is noble and loving in another.

—Thomas Hughes.

[172]

SHIRT MEASURES

Ready-made shirts are usually purchased by

the neck measure and the sleeve length. Com-

merial patterns are purchased by the neck

measure. When drafting shirt patterns it is ad-

visable to use the breast measure and the neck

measure combined. Frequently men have a

large breast measure in proportion to their neck

measure. It is then necessary to make the body

of the shirt one size larger than the neck meas-

ure. This is easily obtained by adding ^ inch

around the neck and the yoke. For sport shirts

use pattern one size larger.

METHODS OF TAKING SHIRT MEASURES

The neck measure is taken at the base of the

neck taut but not tight.

The breast measure is taken easy straight

around under the arms.

The length of the sleeve is taken from the

center of the back at the neck over the shoul-

ders to 2 inches below the wrist bone. This

length for adults is usually one-half of the total

height less 2 inches and for children less 1 inch.

The length of the shirt is one-half of the total

height and is usually 33 inches.

Age

4

6

8

10

12

14

16

PROPORTIONATE STANDARD SHIRT MEASURES

Adults

Neck Breast Neck Sleeve Length


11 inches

Children

Breast

24 inches

26 "

26 "

30 "

32 "

32 "

34 "

12

121/2

13

14

Breast

32 inches

34 "

36 "

38 "

40 li

42 "

44 "

46 "

Neck

131/2 inches

14 " "

141/2 "

15 " "

16

161/2

17

32 inches

34 "

24 "

TO DRAFT MEN'S AND BOYS' SHIRTS

Draw a line three inches from the edge of the


1 inch from the edge of the paper to the right

of you mark A.

A to B is 1/8 of the neck measure plus 14 inch.

(See table of measures.)

B to 17 equals A to B.

A to C is 81/j inches for a size 14 neck and in-

creases 14 inch for each size larger.

A to D is 14 inches.

A to F is 33 inches.

F to G is 4 inches.

Draw right angle lines from A, B, 17, C, D, F, G.

A to H equals A to B.

A to I is 7% inches for size 14 neck and in-

creases 14 inch for each size larger.

A to J is 10V2 inches for size 14 neck and in-

creases 1/2 inch for each size larger.

F to FF equals A to J. Draw line J to FF and

at the intersections mark CC, DD, GG.

J to EE is 25 inches.

B to BB equals A to B.

L is center of B to BB.

M is center of BB to H.

Draw lines A to BB, A to M and A to L.

A to P equals A to B.

A to 0 equals A to P.

A to N equals A to P.

Draw curved line H, N, 0, P, B.

It is very difficult to draw the curved lines ac-

curately for the necklines. Therefore, to sim-

plify the drawing of the neck curves I have

made the curved lines for each size, as Figures

1 and 2 on page 176. To reproduce these neck-

lines place a sheet of paper on top of the draw-


ing and trace the desired size. When drafting

the pattern place H on H, B on B and 15 on 15

and outline.

C to C, equals A to I.

Draw line I to C3 and mark Y at the inter-

section.

CC to S equals CC to C3.

C3 to R equals C3 to CC.

U is center of CC to C3.

T is center of C3 to R. Draw lines S to T, S to

C3 and S to U.

S to V equals S to CC.

S to W equals S to V.

S to X equals S to V.

I to Q is 11/2 inches for the normal shoulder,

1 inch for high shoulders, and 2 inches for

sloping shoulders.

Draw line H to Q.

Y to Z is A- inch.

Draw curved line Q, Z, R, V, W, X, CC.

DD to 2 is 34 inch.

EE to 3 is % inch. Draw line CC to 2 and 2 to 3.

3 to 4 is 1 inch. Draw curved line 4 to EE.

EE to 5 is 1 inch.

GG to 6 is 21/2 inches.

Draw line 5 to 6.

5 to 7 is 2 inches.

FF to 8 is 21/2 inches.


8 to 9 is 4 inches.


I1 is center of 8 to 6.

Draw lines 18 to 8, 18 to 10, 18 to 11.


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YOKE AND NECK CURVES FOR ALL SIZES

IT

CENTER FRONrLINE

r7

CENTER FWNTLIftE

To use the yoke and neck curves for all sizes,

place a piece of firm paper under this page. Be

sure that it is firmly held in position. Now make

a hole with pin or needle at A, B, H, and 15 to

19, all around the curve and repeat until you

have made a pattern for all sizes. Draw line A,

B, H, and 15 to 19, cut each neck size individu-

ally. To use the curves place lines A, B, H on the

rectangle lines of your draft and draw the neck

and yoke curve from H to B to 15. This will pro-

duce the correct curves for all sizes.

SHIRT COLLAR

The collar on this page is drafted full size for

a size 14 neck and allows V4 inch seams. To

make the collar larger or smaller add 14 inch

or reduce 1/4 inch at E and F.

The neck band is also drafted full size for a

size 14 neck and may be made larger or smaller

NECK BAND

by adding or reducing

inch as B and E.

CUFFS

Cuffs are 3 inches wide for all sizes.

For size 14 they are 10 inches long and increase

14 inch for each size larger and decrease 14


The corners are slightly rounded as illustrated.


[176]

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[177]


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TO MAKE THE SHIRT FRONT

SIDE

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RIGHT s/0£

The most stylish shirts are made with the

French fronts. This type of front may be made

either with an Indianhead facing or with a

facing of the shirt material.

The French front with Indianhead facing. (In-

sets 1, 2, 3, 4, on the shirt draft, page 175.)

Cut a strip of Indianhead 21/2 inches wide and

23 inches long and fold it double as illustrated

in Figures 1 and 2.

Place the Indianhead on the right side of the

shirt on both fronts and stitch to position with

a Vft inch seam.

Turn the Indianhead to the wrong side of the

garment letting the shirt material roll over

and bind the % inch seam just made. Stitch

,:!,T inch from the edge, which is illustrated from

the wrong side in Figure 3 and from the right

side in Figure 4.


The buttonholes are made % inch from the

edge of the shirt. However, if striped material

is used for the shirt the center front is placed

on the prominent stripe when cutting the shirt

and then the buttonholes are made in this

stripe.

The French front with material allowed for the

button and buttonhole facing.

Figure 5 illustrates that the total amount that

must be allowed from the center front for this

type of French front is 31/4 inches.

Line A to A is the center front which is placed

on the prominent stripe of the material if

striped material is used.

Line B to B is the folded edge of the shirt and

is % inch from the center front.


C to D is 1V4 inches. Thus you will observe

that there will be three thicknesses of material

for the button and buttonhole facings.

Figure 6. Fold the wrong sides together on line

C to C so line D to D will meet line B to B.

Figure 7. Make a second fold on line B to B,

which is the edge of the shirt. Stitch 1/4 inch

from the edge of the shirt as letter E illus-

trates.

Figure 8 illustrates the right side of the fin-

ished garment. Please note that the buttonhole

is made in the prominent stripe of the material.

He who begins and does not finish loses his

pride and his labor.

r 178 ]

TO DRAFT THE SHIRT SLEEVE

STRAIGHT OF GOODS

PROMT OF SLEEVE

The armscye for size 14 neck is 19 inches and

increases % inch for each size larger and de-

creases % inch for each size smaller.

A to C is the length of the sleeve and is 231/2

inches for a 34 sleeve.


you draw a line as A to C.

Square a line out from A as A to B which is

the total armscye less 1/o inch.

C to D equals A to B. Draw line B to D.

A to H is 2 inches for size 14 neck and in-

creases 1/jj inch for each size larger.

B to I equals A to H.

E is center of A to B.

F is center of A to E.

G is center of E to B.

C to H equals A to F.

C to EE equals A to E.

T is center of EE to D.

Draw lines F to H, E to EE, G to T.

Draw lines E to H and mark 2 at the intersec-

tion of line F to H.

Draw line E to I and mark 5 at the intersection

of line G to T.

3 is center of H to 2.

3 to 4 is 1/4 inch.

7 is center of 5 to I.

5 to 6 is 14 inch.

Draw curved line H, 4, 2, E, 6, 7,I.

J is center of C to H. Draw line H through J.

J to K is 34 inch. Draw line K to EE.

L is center of D to T. Draw line I through L.

L to M is % inch. Draw line M to EE.


R is center of T to EE.

R to S is 5V2 inches.

The sleeve may be gathered on the under-arm

seam, however, it is preferable to make the

sleeve smaller at the bottom as:

J to 0 is 1/2 inch.

J to P is 51/> inches.

Draw curved line P to 0.

L to N is 1/2 inch.

L to Q is 51/0 inches.

Draw curved line Q to N.

When sewing the sleeve in the garment extend

the sleeve % inch beyond the body part. Turn

the sleeve over 1/4. inch and stitch the seam with

two rows of stitching as usual.

[ 179 ]

THE GURNEY EASY AND CORRECT METHOD FOR

MAKING THE SHIRT SLEEVE PLACKET

Cut the facings as illustrated on the opposite

page.

Figure 1. Fold the wrong sides of the facing

together.

Stitch on the very edge of the fold either start-

ing or completing the stitching at point A

which is y% inch below the cut edge B. This is

very essential as it is referred to later.

Figure 2. Fold the right sides together at the

top and stitch with a small seam as C.

Figure 3. Fold corner C over so it will appear

as D.

The location for the placket is marked by a cut

line on the sleeve.

On the wrong side of the sleeve place the larger

facing on the wider part of the sleeve and the

small facing on the narrow part of the sleeve

as in Figure 3.

Stich 1/tt mcn seams as E and E.

Figure 4. Turn the narrow facing to the right

side so it will roll over the seam and form a

bound edge. Stitch 1/8 inch from the edge. Turn

under the other side of the facing and stitch

as B.

Figure 5. Turn the remaining portion of the

placket to the right side and pin to position.

Start stitching at A as in Figure 1 and com-

plete the placket.

Figure 6. Illustrates the placket from the

wrong side.


[180]

MEN'S SHIRT SLEEVE PLACKET

.F—'

CTLTC-l.! i f? A M 1 /£-

G

1

3 -T i rtrr~3 ^ C rVfi 1/T"

.2

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N> K)

-^FACING 1 F/C* 1 ~^ ^

_,_., *y iMrnr«r -

*Z FOLD 1/4"^

B\

i

* yA

FOLD

FACING 2

,ST4T-C-H--

The illustrations on this page are full size and

have 14 inch seam allowance.

Figu^ 1.

A to B is 7 inches.

A to C is 1% inches.

C to E is 1% inches.

E to G is 1 inch.

F to G is 514 inches.

Cut as illustrated.

Figure 2.

Facing 2 is 11/« inches wide and 514 inches long.


Oh, for faith and strength to win

Every battle we begin!

Oh, for patience to put through

Every task we plan to do!

—Robert Louis Stevenson

"vlr-

[181]

The Gurney Method of Making Bound

Pockets and Buttonholes in Light

Weight Woolens, Silk or Lingerie

Materials as Figure 1

The pocket material should be cut length-

wise the warp thread (the selvage) of the

material. Thus the desired contrast will be

obtained and the pocket will be stronger. Cut

the pocket material in one piece large enough

for both the upper and under part of the

pocket and 11/2 inch wider than the pocket

opening. Mark the location and width of

pocket with chalk, or preferably with tailor

tacks, so both pockets will be in the right

place.

FIGURE 2. Baste or pin the pocket ma-

terial to position, and commencing in the cen-

ter, as letter A, stitch with small stitches 14

inch from the pocket mark line. Thus the

stitching will be V2 mcn apart. (For button-

holes the stitching should be only % inch

apart.) Cut on the pocket line as letters C

to C to % inch from the stitching at the end,

then cut diagonally to the "very" corner of

the stitching as letters B illustrate. To make

a nice buttonhole or pocket, it is absolutely

essential that the diagonal cuts are made to

the "very, very" corner of stitching B.

FIGURE 3. Pull the pocket to the inside

of the garment. To insure a neat finish, the

pocket material should not show at the ends.

Rub the corners until they are absolutely

square and the pocket is forced back so the

garment shows a little as letter C. Put in

three stitches as letters A and press the ends

so the corners will be square.


FIGURE 4. To be certain that the seams

will be in the binding, baste the seams to the

pocket as letter G.

FIGURE 5. Fold the pocket material over

the seams to form a binding and baste just

below the seams as letters D.

[182]

FIGURE 6. Commence stitching- at A l/2

inch back from the opening of the pocket,

and stitch diagonally to the corner of pocket

opening B; then continue the stitching just

below the binding to C and D. Do the same

on both sides and remove the bastings.

FIGURE 7. Baste the pocket or button-

holes diagonally together, fastening firmly at

the ends as B. Now remove the stitches A.

Then to have the end of the pocket or button-

hole in perfect alignment, fasten the end

with two or three blind stab stitches through

and through. (A blind stab stitch means

bringing the needle from the bottom up, then

take a very, very little from the fold and in-

serting the needle back in the same hole

through and through.

Note illustration.

STAB STITCH

FIGURE 8. For button-

holes, the stitching referred to

in Figure 6 may be omitted,

and the binding may be fast-

ened with a blind-stitch just under the bind-

ing. To complete the buttonhole, refer to

Figure 3 of the slot buttonhole and fold the

garment over as A so the stitching at the

end is "exposed." Then commencing at B

1/2 inches from the fold, stitch diagonally to

the corner of the triangle, then in the "ex-

posed" stitching and continue to E as illus-

trated.

Note illustration.

EXPOSED STITCHING

For the pocket, fold the

back part of pocket down,


pin it to position, and com-

mencing to stitch at F, Fig-

ure 8, stitch to the top as

G, then in the "exposed" row of stitching,

and continue all around ending at H. To

prevent the pocket from gapping open, when

the garment is on, the front part of pocket

(the part that is next to the garment) is

easied to the back part of the pocket or a

small fold is made on the front part as letter

0. Overhand the pocket as illustrated. With

a little practice, this pocket as well as all the

pockets illustrated can be made without

basting.

[183]

Bound Buttonholes

The Qurney Method of Making Bound Buttonholes for Trimming

Cotton, Silk, or Silk on Wool

FIGURE 1. When making the button-

hole for a trimming as silk on wool, cut

the binding (preferable on the length-

wise of the material) Vii inch wider than

the desired width of the buttonhole. Fold

the edges over 14 inch. Baste the folded

material over the buttonhole marks A

with a small stitch, stitch % or 14 inch

from each side of the buttonhole mark;

when stitching in the manner as illustrat-

ed there will be no thread ends to fasten.

FIGURE 2.

ters A to A,

illustrated.

Cut the buttonhole as let-

and clip the corners as

FIGURE 3. Sew a blind stitch as let-

ter A close to the binding and if neces-

sary "put in a stitch at each end as let-

ter B.

FIGURE 4. From the wrong side

fasten the two bindings together with

three stitches as letters A and A. (2)

Turn the edges D under and hem them

to the facing. For a reversible button-

hole as on the lapel of a waist or dress

the buttonhole should be neatly hemmed

so that both sides will look exactly alike

as figure 5 illustrates.


[184]

The Patch Pocket

The Gurney Method of Making a Patch

Pocket in Cotton or Silk Material

FIGURE 6. Letter A illustrates the

pocket made in the usual way. After a

little use the corner shows as letter A

which is very undesirable. Letter B

illustrates the permanent neatness of the

patch pocket made by the Gurney method.

FIGURE 7. First make the usual hem

% to 1 inch wide and stitch from edge to

edge as letters A to A. (2) After the hem

has been stitched, cut just above the

stitching as letters A one inch deep.

FIGURE 8. Fold the edges under all

around the pocket, turning the hem

double as letters B and B. Thus the cor-

ners will always be neat and right as

letter B, figure 6, and never show wrong

as letter A, figure 6. When stitching the

pocket around the edge, the end of the

pocket can be strengthened by holding

the garment firm and stitching three

stitches on top of each other. Pull the

thread to the wrong side, tie and fasten

them by threading a needle and taking

two or three stitches.

A'"!

!


[185]

The Gurney Method of Making the

Inset Stand Pocket for Woolens,

Lingeries, Silks, Etc., as Figure 1

The pocket material should be cut length-

wise the warp thread (the selvage) of the

material. Thus the desired contrast will be

obtained and the pocket will be stronger. Cut

the pocket material in one piece large enough

for both the upper and under part of the

pocket and 11/2 inch wider than the pocket

opening. Mark the location and width of

pocket with chalk, or preferably with tailor

tacks, so both pockets will be in the right

place.

FIGURE 2. Baste or pin the pocket ma-

terial to position, and commencing in the

center, as letter A, stitch with small stitches

1/4 inch from the pocket mark line. Thus the

stitching-will be 1/2 inch apart. Cut on the

pocket line as letters C to C to % inch from

the stitching at the end, then cut diagonally

to the "very" corner of the stitching as let-

ters B illustrate. To make a nice buttonhole

or pocket, it is absolutely essential that the

diagonal cuts are made to the "very, very"

corner of stitching B.

FIGURE 3. Pull the pocket to the inside

of the garment. To insure a neat f1nish, the

pocket material should not show at the ends.

Rub the corners until they are absolutely

square and the pocket is forced back so the

garment shows a little as letter C. Put in

three stitches as letters A and press the ends

so the corners will be square.

FIGURE 4. From the right side bring the

lower part of the pocket up, so it is 1/2 inch


wide, thus exactly corresponding with the

width of the stitching and being equal to the

opening width as B B in Figure 3. Then,

basting through the stand portion "only",

baste 14 inch from the edge of the fold as A.

FIGURE 5. Fold the lower part of the

garment up so that the pocket seam is ex-

posed and stitch the seam to the pocket as

letter B. Part of garment has been cut out

to show the stand letter A.

FIGURE 6. Baste above the pocket as

letter B so that the seam is turned up, and

also baste just below the stand through the

stand portion only as letter C; then baste

the stand to the back part of pocket as

letter D. Now remove the stitches A.

Then to have the end of the pocket or button-

hole in perfect alignment, fasten the end

with two or three blind stab stitches through

and through.

(A blind stab stitch means

bringing the needle from the

bottom up, then take a very,

very little from the fold and

inserting the needle back in

the same hole through and

through. Note illustration.)

Stab

Stitch

r

[186]

FIGURE 7. Fold the garment over as let-

ter A so that the stitching at the end is

"exposed," note illustration.

Then commencing to stitch at F, stitch to

the top as G, then in the exposed stitching

all around the pocket and ending at H. To

prevent the pocket from gapping open when

the garment is on, the front part of pocket

is easied to the back part of pocket or a

small fold is made as letter O.

FIGURE 8. Overhand the pocket all

around. However, this type of pocket is

weak at the corners A, especially so in lin-

gerie and when the material ravels very

much. Therefore, if the seam is bound as

letter B, Figure 9, it will be stronger; or to

make the pocket maximum strong when

commencing the pocket, place a piece of light-

weight material (muslin or cambric) for re-

inforcement on the wrong side of the gar-

ment over the pocket position, then baste the

pocket material to the garment in the usual

way and stitch the pocket as in Figure 2.

Thus the reinforcement will be sewed with

the pocket and may then be used as a bind-

ing as letter C, Figure 9.


[187]

The Inset Stand Pocket

The Inset Stand pocket is very extensively used.

First mark the location of the pocket with tailor

tacks. (See tailor tack illustration, page 134.) For

the pocket material cut a piece of cambric or silk

11/2 inches wider than the pocket opening and V/%

inches deeper than the desired depth of the pocket.

For the back portion of the pocket cut a piece of

woolen the same size as the cambric. If you do not

have enough material cut the piece of woolen a

minimum of 3 inches in width, and for the remain-

ing portion of the pocket add cambric or silk as

Fig 11 illustrates. For the stand portion cut a piece

of woolen length wise of the material a minimum of

21/o inches in width and 1Vo inches longer than the

pocket opening.

Fig. 4. Letter A illustrates a tailor tack indicat-

ing the location of the pocket. Letter B illustrates

the cambric or silk, basted or pinned on the wrong

side so that it extends % inch beyond each end of

the pocket and 3/t. inch above the pocket line.

Fig. 5. For better illustration I have used a

contrasting striped material for the Stand portion.

When making the pocket of flannel or easy-tearing

materially, especially so for children's garments, it

is advisable to re-inforce the Stand portion with a

piece of cambric % inch wide and cut on the length-

wise of the material. With the right sides together,

baste or pin the stand portion to position as B and

mark the length of the pocket opening with pins or

chalk. Baste the back facing portion to position as

C and stitch both parts with 14 inch seams as D

and D. Be POSITIVELY SURE to fasten the thread

ends of the stitching very, very firmly.

Fig. 6. From the wrong side, cut through the

center to 1/4 inch from ends as O to O. THROUGH


THE GARMENT ONLY, and not through either of

the facings, cut diagonally to the ends of the stitch-

ing as O to A.

Fig. 7. Pull the Stand portion through to the

wrong side and press the seam open as A.

[188]

Fig. 8. Fold the Stand portion the total width of

the two seams as A to A, and baste in the center as

B. To keep the stand portion in position, machine

or hand stitch in the seam as needle C indicates.

Remove basting B.

Fig. 9. Fold only the seam portion towards the

top of the garment and baste as A. Force the Stand

portion of the pocket against this seam fold A and

baste it to the back portion of the pocket as B. C

illustrates the triangular corner which is turned

under and fastened neatly with the "Blind Stab"

stitch THROUGH ALL the pocket material as D.

(Note: Stab stitch illustration on page 186.)

Fig. 10. A illustrates the garment folded over to

expose the triangular corner O. To fasten the pocket

firmly at the ends, stitch (commencing 1/o inch from

the fold as B) straight to the corner of the triangle

as B to C and straight across to D and then off as

E. Stitch the facing to the cambric lining F.

Fig. 11. Complete the pocket as illustrated.

For children's garments it is advisable to re-

inforce the garment at the ends of the pocket as B

or to make a machine stitching 1 inch long as A.

This will prevent the pocket from tearing as fre-

quently occurs in frail or easy-tearing materials.

When you find yourselves overpowered, as it

were, by melancholy, the best way is to go out

and do something kind to somebody.—Keble.


[189]

18

The In and Out Flap Pocket

The Flap pocket is a continuation of the Stand

pocket, and it is essential that you first make a

Stand pocket before attempting to make the Flap

pocket.

The front of the flap is always rounded. Cut two

pieces of cambric 11/& inches wider than the pocket

opening and 11/^ inches deeper than the desired

depth of the pocket. For the Stand portion cut a

piece of woolen lengthwise of the material a mini-

mum of 21/2 inches in width and 11/o inches longer

than the pocket opening. To cut the Flap first make

a paper pattern which is 1/2 mch longer than the

pocket opening and 2% inches in width. Use this

pattern to cut both the woolen and the silk for the

lining.

Fig. 17. Baste or pin the woolen flap on the silk

% inch from the edge as C. Trim the silk even with

the woolen flap and then baste close to the edge as

D, pulling the woolens away so as to leave the silk

edge exposed a little as A and B illustrate. Trim the

silk even with the woolen and stitch from the LIN-

ING side with a small seam as E. Clip the corner

as F illustrates and turn the flap to the right side,

pulling out the corners with a needle (not with the

scissors).

THE

FLAP

From the silk side, baste with a small stitch so

that the woolen is exposed all around the edge, then

press. If desired the flap may now be stitched as in

Fig. 18.

Fig. 18. The back portion of the pocket is always

re-inforced with a silk facing 2 inches wide and

stitched to position as A to A. Baste or stitch the

to C.


flap on the pocket material the exact length as C

Fig. 19. Baste the flap portion to position as B

and the stand portion to position as D. Mark the

ends of the flap with pins and stitch with a 1/t inch

seam as C to C. Stitch the stand portion with a 1/4

inch seam EXACTLY the same length as the flap.

(Note: For easy-tearing material the stand portion

is re-inforced with cambric % inch wide as E.)

We now complete the pocket in the same manner

as illustrated by Figs. 6, 7, 8, 9, 10, 11 for the Stand

pocket, page 186. When stabbing the triangular cor-

ner D, Fig. 9, be sure you sew through ALL the

pocket material and fold the flap away a little so

that it will not be caught.

[190]

.._ r» _CA!TgRlC_ .

FIG 11

Patch Pocket

High grade patch pockets are lined with cambric or

silk.

Fig. 10. To make the patch pocket pattern, draw a

line as A to A 6 inches. The depth of the pocket A to F

is 7 inches, and A to B is 2 inches. Make a slash in the

pattern at A and A and round the corners at F. To

re-inforce the upper edge of the pocket baste a piece of

cambric Vz inch wide cut on the selvage as A to A.

Sew this with a small felling stitch as C. Make a fold

on line A to A and with a % inch seam sew the cam-

bric lining on line B to B leaving a \Vz inch opening as

E to E. Baste the woolen portion to the cambric 1 inch

from the edge, then cut the cambric even with the

woolen. With a small stitch baste close to the edge

pushing the woolen back from the edge so as to leave

the cambric exposed a little. Trim the silk or cambric

even with the woolen and stitch from the LINING side

with a very small seam. Pull the pocket through the

opening E to E and from the lining side baste on the

edge so the woolen is exposed a little. Sew the opening

from E to E by hand and then press. If stitching on the

edge is desired do it now. Baste the pocket to position

on the garment. Fold the garment so that the edge of

the pocket is a little exposed and sew the pocket firmly

to the garment. Insert the needle in the edge of the

cambric and in the garment and sew with a small fell-

ing stitch.

To prevent the garment from tearing at the corners

of the pockets, it is for easy-tearing material advisable

to fasten a piece of cambric or silk on the corner of the

pocket and sew it with a small stitch to the garment as

letters A and B on the Stand pocket, Fig. 11, page 18|f

Fig. 11. This illustrates the Patch pocket with a


turned down flap. To make the pattern make a three

inch fold on the paper as A to A. Cut the pattern the

same width and depth as explained for Fig. 10. For the

flap A to C is 1% inches, B to D is 3V2 inches. Cut the

flap portion on the line C to D to C and open the pat-

tern. It will now appear as C2 to D2 to C2 and cut the

main portion of the pocket like this. To cut the woolen

facing for the flap, A to I and A to J are 214 inches.

The remaining portion from I to E is the pattern for the

lining to which % inch must be added for seam on

line I to J. Sew the lining to the facing on line I to J as

illustrated in Fig. 10. Re-inforce the upper edge A to A

with cambric Vz inch wide and sew it to position as C in

Fig. 10. Baste the two portions together and complete

the pocket in the same manner as described in Fig. 10.

rL

MIL •

[191]

The Corded

and Piped

Pocket

Corded Pockets and

Buttonholes

For the cording or piping, cut a piece of woolen lengthwise

of the material 3% inches wide and 2 inches longer than the

pocket opening. For buttonholes cut the piece of material 212

inches wide and long enough to make cording for all the

buttonholes. For curved pockets the material is cut bias, and

for silks the cording is ALWAYS cut bias. Cut cambric and

woolen for the pocket as described for the Stand pocket on

page 186.

To make the cording for buttonholes proceed as follows: On

a piece of paper 21•, inches wide draw a pencil line ?« inch

from the edge. Draw a second line minimum Vz inch and

maximum % inch from the first line. Pin this paper on to the

woolens and with contrasting thread machine stitch with a

long stitch on the pencil lines. Tear off the paper, fold on the

stitched lines and stitch % inch from the edge of each fold

as A in Figs. 2 and 3.

To make the cording for pockets: On a piece of paper 3

inches wide draw a pencil line ?s inch from the edge. The

distance from this line to the second line varies according to

the width of piping desired. However, it must be four times

the width of the piping, as: a piping of 1A inch requires 1

inch between the lines. Thus, when stitched the distance be-

tween the stitching of the piping will be \z inch which is

equal to the combined widths of the piping.

Fig. 4. With a round bodkin needle insert ordinary wrap-

ping cord in the stitched folds as letter A. It is not necessary

to insert wrapping cord, however, if you do the buttonhole

will actually appear thinner and will look better. For button-

holes in silk insert yarn instead of wrapping cord.

Fig. 5. Buttonholes are made a minimum of % inch from

the finished edge of the garment. Mark the location of the


buttonhole with chalk, and if this does not show clearly on

the material machine stitch with contrasting thread in the

pocket and buttonhole marks as A, B, and C as "C" illus-

trates. (Red and blue chalk should NEVER be used on mate-

rial. Neither should a pencil be used on white material.) For

white material baste or pin a piece of paper to the garment,

then draw a "light" pencil line to mark the location of the

buttonhole or pocket. Stitch on the pencil lines and then re-

move the paper, thus a permanent mark is established.

The buttonhole in all woolen material must be re-inforced

with cambric or silk, which is ALWAYS placed on the wrong

side. For pockets refer to the Stand Pocket, Fig. 4, page 186,

and pin or baste the cambric portion to position as explained.

[192]

Fig. 7. For pockets and buttonholes baste the edge of the

cording against the pocket mark A. Stitch in the stitched line

as B to B on both sides the EXACT length of the mark. (The

cording was cut in the center for illustration purposes.) Be

POSITIVELY SURE to fasten the threads firmly at the ends.

Fig. 9. From the wrong side, cut the pocket or buttonhole

opening in the center to J4 inch from the end of the stitching.

Cut diagonally through ALL the material POSITIVELY to

the end of the stitching A. Now refer to Fig. 8. IMPORTANT:

For all woolens, cut the corded material the full length as B.

For silks the corded material is NOT cut as C illustrates.

Fig. 10. Pull the corded material through and from the right

side baste the EXACT length of the pocket or buttonhole on

both sides as A. Baste the edges together diagonally as B.

Fold the triangular corners X and X under as F in Fig. 11

and "stab" through and through neatly so the stitches will

not show. (See stab stitch illustration, Page 186.)

Fig. 11. Fold the garment at the end of the pocket or but-

tonhole so the triangular corner X is exposed. Starting \'z

inch from the fold as A stitch to the corner of the triangle

as B, then a little deeper in the center as C and then to D

and to E. This makes the stitching in a "V" shape. In heavy

material assist the machine by lifting the presser foot when

stitching these corners.

Fig. 12. This illustrates the wrong side of the garment.

Press very firmly.

Fig. 13. To finish the buttonhole first baste the garment

facing over on the edge and then baste % inch on both sides

of the buttonhole as A and B. From the right side insert pins

at the ends of the buttonhole through the facing. These pins

indicate the exact location of the buttonhole on the facing

side, as pins C and C. Cut the facing from pin to pin, turn

under the edge and "Fell" it with a small stitch as the needle

"D" illustrates. (For the GURNEY HIGH GRADE METHOD

of FINISHING BUTTONHOLES, see page 194.)

Fig. 14. To finish the pocket stitch the cambric pocket por-


tion as "A". Then, with the exception of the diagonal basting

"B", remove all the bastings. Baste the back portion of the

pocket to position. Fold the garment over and stitch very

close to the fold as "C". Also stitch three times across the

ends of the pocket as B and C, then continue stitching all

around. This completes the pocket.

-E^f^

Fie. 10

---N, •

.11

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[193]

The Qurney New High

Qrade Method of Finishing

Buttonholes

This method of finishing corded and

bound buttonholes on the facing side will

make the buttonhole appear the same on

both the right and wrong side.

Figure 10. Baste the edge of the coat

facing over in the usual manner. To hold

the facing to position, baste or insert pins

3/4 inch from each side of the buttonhole.

From the right side, insert pins straight

through at the ends of the buttonhole so

they will appear on the facing side as let-

ters A. Through the single thickness of

the material, insert a basting from A to

A as B illustrates.

Figure 11. Cut a piece of silk 2 inches

wide and 3 inches long, and on the right

side of the facing pin this to position over

the basting mark B. From the inside of

the facing stitch with a very small seam

around the basting mark B as illustrated.

Cut the opening in the center the full

length.

Figure 12. Pull the lining to the wrong

side. Force the lining so the woolen will be

a little exposed as C; baste with a small

stitch all around and press very firmly.

When pressing, pull on the lining at A and

press from the center to A. Press the

other side likewise, thus the woolen will

positively be exposed all around as C

illustrates.

To sew the facing correctly to the but-

tonhole so the buttonhole will be alike on


both sides, insert pins from the right side

at each end of the buttonhole. When sew-

ing the facing to position, start at the end

so the pins will be exposed and sew the

facing 1/s inch from the edge of the but-

tonhole. Do it in this manner and you will

be happy with the results.

l will do my work as I have never done it

before, with willing hand and alert brain. I will

put something of myself into it before it leaves

my hand, for as I work, so am l.

[194]

The Older Method of Making

Piped Buttonholes and

Pockets

As described before, pockets and buttonholes are

always re-inforced with cambric on the wrong side.

(See Fig. 4 of the Inset Stand Pocket, page 188.)

Fig. 2. Letter A illustrates the chalk line indi-

cating the location of the pocket or buttonhole. To

outline the buttonhole on the wrong side baste\on

the chalk line as B. /

Fig. 3. Letter C illustrates the pocket or button-

hole location on the wrong side.

Fig. 4. Basting A indicates the pocket line. B

illustrates the woolen which has been cut 21/2 inches

wide for the buttonhole and 3V2 inches wide for the

pocket. Baste or pin this to position over the but-

tonhole mark as C and C illustrate. (Note: Bastings

C and C are y% inch on each side of the pocket mark.)

Fig. 5. Starting in the center and with a small

stitch, stitch % inch from the basting mark A as B.

If the material ravels very much stitch twice around

the pocket or buttonhole.

Fig. 7. Cut in the center to 14. mcn from the end.

Cut diagonally through all the material POSITI-

VELY to the corner of the stitching.

Fig. 8. Pull the facing to the wrong side and

force it back at the end so that the garment will be

a little bit exposed as B. Using contrasting thread,

insert the needle straight down from B as A and

bring it up at the edge of the facing and make four

stitches as illustrated. Thus, the woolen will be a

little exposed as B.

Fig. 9. The seams are firmly pressed with the

edge of the iron so the seam will be folded towards

the garment as A. Do this on both sides. From the

right side baste with a back stitch close to the pip-


ing so that it will be exposed l/s inch as illustrated

for the corded pocket Fig. 10, page 193. Press very

firmly and complete the pocket or buttonhole in the

same manner as Figs. 11, 12, 13, 14, page 193 of the

corded pocket.

[195]

The Braid or Bias Tape

Pocket

Figure 2. This figure illustrates the pocket

material cut for the entire pocket. Place the

braid in the center of the pocket material and

stitch it on the edges as A and A. Place a second

piece of braid against the first piece and baste

as letters B and B. Stitch along side of the braid

(not on the braid) as letters C to C. Remove this

second piece of braid and the stitching line C to

C will be used as a "guide" line.

Figure 3. Place the portion with the braid just

below the marked location for the pocket. Stitch

just above the braid as letter A the exact length

of the pocket as B to B. Stitch on the "guide" line

C the exact length of the pocket as B to B. Cut

the pocket material only, between the two lines

of stitching just made as D to D.


[196]

Figure 4. From the wrong side of the gar-

ment cut as line C to C to % inch from letters B.

Cut diagonally through the garment only from

C to B as illustrated. Pull the pocket through to

the wrong side.

Figure 5. From the right side baste the upper

seam up as letter A. Fold the pocket on the edge

of the braid and baste as letter B.

Figure 6. Fold the garment up to expose the

seam as letter C' and stitch the seam to the

pocket as letter C. Now baste the seam down as

letter C in Figure 5 and baste the stand portion

to position as letter D, Figure 5.

Figure 7. Turn the triangular corners under

as A and stab stitch the ends through all the

pocket material. Fold the garment back as B and

stitch the pocket as illustrated.

We should start out in the morning looking

for the day to be good, to bring us peace and

happiness and prosperity, never failure, disap-

pointment, loss. lf we looked for the good in-

stead of the bad we might more often in the

evenings be able to agree with the thought of

Theodore Roosevelt that 'the joy of living is

his who has the heart to demand it."


[197]

The Welt Pocket

Because there are more details to the bias welt pocket than

there are to the straight welt pocket, we will make the bias

pocket as is used for the breast pocket of jackets and long coats.

Welts for the suit jacket (breast pocket) are 4 inches, maxi-

mum 4*,2 inches long, and 1 inch wide finished. Welt pockets for

long coats are 6% inches long and 1% inches wide finished.

Fig. X. All commercial patterns include the welt pocket pat-

tern. The grain of the material is marked with either perfora-

tions or arrows and there is a seam across the top of the welt.

To simplify the making of the welt pocket and to obtain better

results, we omit the top seam A to A. To do so a new pattern

must be made. Fold a piece of paper 3 inches wide and place the

fold on the seam line of the commercial pattern A to A. Pin it

to the commercial pattern and cut the folded paper along the

edge of the pattern. Mark the indicated straight of the material

and extend the printed or perforated line the full width of the

new pattern. Make a slash on the fold at A and B and cut the

material by this new pattern. The straight pocket pattern will

appear as Fig. 2 and the bias pocket as Fig. 3. Draw a line from

slash A to B and insert a basting on the chalk line as A to B

in Fig. 2 and 3.

Fig. 2. All welts must be re-inforced with cambric the length

of the welt. On the wrong side of the material baste a selvage

of cambric against the line A to B and sew it with a small "Fell"

stitch on the line A to B as C. (For illustration the cambric was

partially cut away.)

Fig. 4. Fold the material double with the right sides together

and stitch both ends with V4 inch seams as A. To make the welt

thin at the ends cut one thickness of the woolen off as C and C.

Also to obtain neat corners cut the corners off as illustrated.

A SEAM

-»

0

Â

SEAM

V/OF^


° STRAIGHT

0 GOODS

o

SEAM

> FIG.

X

FIG 2

4B

TME. WELT

4B

[198]

Fig. 4B. Turn the welt right side out and pull the corners out

with a needle, (not with a scissors,) and baste along the edge.

Welts for coats are usually stitched % inch from the edge. Welts

for jackets are not stitched, however, if the edge of the garment

is stitched the welt must likewise be stitched which is usually

Ve. inch from the edge. Press the welt and trim the edge even.

Fig. 5. Cut a piece of cambric or silk marked D to D 4 inches

by 5 inches for jackets and 5 inches by 8 inches for coats. Baste

or stitch this cambric or silk to the wrong side of the welt so

the edge of the welt is a little exposed. Stitch it to Vt inch from

the end of the welt at C and C and clip the cambric at these

points. (Note that for illustration the cambric is folded as D.)

Fig. 6. For the back facing of the pocket marked D for either

the jacket or coat, cut a piece of woolen SVz inches wide and

1Va inches longer than the pocket opening. Baste the welt to

position as B and the facing as D. Stitch the welt POSITIVELY

to the ends with a % inch seam as C to C. (Note that to expose

the ends of the welt the cambric is folded as A to A.) Fasten

the threads firmly at C and C. Remove the basting B.

To surely stitch the facing the right length, fold the welt

over and insert pins or mark the ends of the welt as O and E.

Stitch the facing to position with a

shorter than the pin marks as E to F.

inch seam and % inch

Fig. 7. Cut the seam in the center as A to A and up to the

stitching as A illustrates. Before cutting the corner diagonally

to B, pull the facing portion to the wrong side and press the

seam open as letter A, Fig. 8. Cut diagonally through the gar-

ment "only" POSITIVELY to the end of the stitching as Letters

B and B, Fig. 7. For heavy material cut off a little of the gar-

ment seam only from B to B.

Fig. 9. Pull the welt to the right side. Fold the material ex-

actly on the seam and baste as letter A. Lay the garment flat on

the table and baste as letter B. For long coats stitch in the

stitching, commencing at C to D and E to F, as illustrated. Thus,

on the wrong side the stitching will be as letter C, Fig. 10. If the


welt is not stitched, fasten it firmly from the wrong side as

letter B. Complete the pocket as Fig. 10 illustrates.

fC

[199]

The Welt Pocket with

Pressed'Open Seams

This type of welt pocket is preferable for the breast

pocket of jackets. The finished width for the breast

pocket is 1 inch, thus the width from B to B (Fig. 20)

is 11/4 inches. To make the welt pattern follow the

instructions for Figure X, page 206.

Fig. 20 shows the placing of the pattern on the

"right" side of the material so that the arrow or per-

forations are on the straight of the material. Cut the

welt allowing 1/2 incn as X to W and X to W. Make a

short slash at B and B. Remove the pattern and draw

a straight chalk line from B to B and insert a basting

on this line.

Fig. 21. 0n the wrong side of the welt baste a piece

of cambric or silk cut on the selvage, to position against

the basting from B to B as letter C illustrates. With

a small "felling" stitch, sew the cambric from B to B

as illustrated. (For illustration the cambric was par-

tially cut away.)

Fig. 22. Make a fold from B to B with the right

sides together and baste as D to D to D. Stitch the

ends of the welt with maximum 14 inch seams as E

and E. Cut off the corners as letters F and F illustrate.

Fig. 23. Turn the welt to the right side and baste

as letters G. Press the welt very firmly and trim the

edge from H to H even with the edge I to I. After the

welt has been pressed and trimmed, open the seams

V2 inch at the ends as J and J illustrate.

Fig. 24. Baste the welt to position as letters J and

J and the facing as K and K. Stitch the welt with a

1/4 inch seam "positively" the full length of the welt,

being sure to fasten the ends securely. Fold the welt

up and mark where the ends come as letters L and L.

Stitch the facing with a 14 inch seam % inch from

the marks L and L as M and M.


From the wrong side cut the pocket opening as de-

scribed in Fig. 7, page 199. Press both seams open very

firmly. Fell a piece of silk to position below the welt

seam and complete the pocket as Figs. 8, 9, 10, page 199.

\\u\\\\\\\

[200]

The Pressed, Open*Seam Bound Pocket or Buttonhole

Fig. 1. Illustrates the bound pocket or but-

tonhole.

Fig. 2. Illustrates the fancy bound pocket.

The procedure for making the Pressed-0pen-

Seam pocket or buttonhole is, with few excep-

tions, the same as Figs. 4, 5, 6, and 7 of the

Inset Stand pocket.

Fig. 4. Place the usual pocket material of

silk or cambric to position as explained for the

Stand pocket.

Fig. 5. The Stand portion and the facing

portion are both cut on the lengthwise of the

material, and stitched the full length of the

pocket or buttonhole. For the buttonhole the

seam is a minimum ,',.; inch and maximum 14

inch. For the pockets the seams are a minimum

VI inch or any desired width. It is obvious that

for a pocket as illustrated in Fig. 2 the width

of the seams vary accordingly.

Fig. 6. Repeat the same as for the Stand

pocket.

Fig. 7. Press both seams open and cut off

ê inch from both the facing seams.

Fig. 8. Baste the binding over the seams

and machine stitch or hand stitch in the seams.

Baste the pocket binding diagonally together

as letter B, Fig. 10, page 193.

Fig. 9. Turn the triangular corners C and C

under as D and "stab" stitch firmly to position.

Fig. 10. For heavy material assist the ma-

chine by lifting the presser foot up a little

when stitching the triangle corners from B to

C and D to E.

Complete the pocket as illustrated for the

corded pocket Fig. 14, page 193.


BIN&

V£ PR£$5£POf>£ft PQCXZT

#£&: . -"

m1

PIG 2

SPEECH

Talk happiness. The world is sad enough

Without your woe. No path is wholly rough.

Look for the places that are smooth and clear,

And speak of them to rest the weary ear

Of earth; so hurt by one continuous strain

Of mortal discontent and grief and pain.

Talk faith. The world is belter off without

Your uttered ignorance and morbid doubt.

If you have faith in God- or man, or self,

Say so; if not, push back upon the shelf

Of silence, all your thoughts till faith shall

come.

No one will grieve because your lips are dumb.

Talk health. The dreary, never-ending talk

Of mortal maladies is worn and stale;

You cannot charm or interest or please

By harping on that minor chord, disease.

Say you are well, or all is well with you,

And God shall hear your words and make

them true.


[201]

"The best of a book is not the thought which

it contains, but the thought which it suggests;

just as the charm of music dwells not in the

tones but in the echoes in our hearts."

—Oliver Wendell Holmes.


[202]


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(1939)Pattern Drafting

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