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DRAPING A N D FLAT P A T T E R N M A K I N G
MARION S. HILLHOUSE EVELYN A. MANSF|ELD Michxgar: Stale College
H O U G H T O N MIFFLIN C O M P A N Y ATLANTA - SAN FRANCISCO CHICAGO - oALLAs BOSTON - NEW voax Eh: Rihctsihr Orts: Camhnbgr
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Rl.GHT' T0 All, RIGHTS asssnven; INCLUDING msasos IN {IEPRODUCETHLS aoqx onpvprs _;.‚
PRINTED
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U.S.A.
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TO ETHEL G. WEBB
Whose many years of analytical
and inspiring presentation of draping led to the writing of this book.
I. THE DRESS FORM Part I.
The Dress Form Cover
Part 2.
Padding the Dress Form
2. BASIC BLOUSES Part I.
Part 2.
Part 2.
Part I.
Drahing and Fiat Pattern Designing Basic SetIn Sleeves
Part 2.
Designing Set-In Sleeves from the Master Pattern One-Piece Sleeve Block
Part 3.
Sleeves Cut In One with the Bodice or a Part of the Bodice
5. FITTING
Part 2. Part 3.
Page: 60-I I I
Draping Skins on the Dress Form The Fiat Pattern Method of Designing Skirts on a Master Pattern
4. SLEEVES
Part I.
Page: I6-59
Draping Basic Blouscs on the Dress Form The FIat Pauern Method oi Designing Blouses on the Master Block Paltern
3. BASIC SKIRTS Part I.
Page: I-I5
General Principles of Fitting Preparation of the Master Pattem for Fitting l-‘itting Problems of the BIouse
Page: I l2-l92
Page: I93-246
ibi-‘iiinsiiiüflönflln DESIGN: „
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Qsuggestion 1U Developing Line Arrangements by Suggestion —
Suggestion
Suggestion
Suggestion Suggestion
Suggestion Suggestion
Sketchmg Studying the Fabiic Draping for General Effect
Draping with Muslin for Details oi Design Interpreting Silhouettes as Complete Designs Molding the Fabric to the Form by Seams and by Concealed Darts Design Theme from Develodping the Variauons of Basic Darts Developing Unusual Skirt Cuts from the Basic Two-‚ Fou-r-, and Six-Gore Pattems
Suggestion 9. Suggestion 10. Suggestion 11. Suggestion 12.
INDEX
Carrying One Piece of Fabric As Far As Possible without Cutting Deriving Unusual Effects from Asymmetric Cuts Designing from a Detail
Introducing Original Details into a Standard Commercial Pattern
?M/M The purpose of this book is t0 explain in dctail lhe principles of draping from masler Iabric on the dress form, thc principlcs o! Hat paucrn dcsignilng an on and the of successlul flat blocks, paucrn dcpendencc paltern makmg linderslanding of draping. We havc devote-d thc enlirc book to the presentanon of thesc l w u systems in ordcr to show that a lacility in bolh frees the designer lo carry oul any original costumc with ease and confidence. Although drapiixg is the (iltlesl method ol‘ pattcrn designing, we have no— whcre been ablc l0 lind a text lor our own collegc classes (hat shows in detail how t0 drape Hat labric l0 fit the curves ol the body. Texts thal deal adequately with the Hat pauern syslem mcrely mcmion draping as a possible method but make no altempt 1o explain i1. We have therefore tricd to present draping as adequately and logically as the block system. From long experiencc in teaching both syslems of pattern making, we have also bccome convinced that one can work with greater underslanding, efliciency. and skill if able l0 use both. We should thereforc not want t0 present one system without the other. Each has many advantages, and only when one is able to use the system which beuer suits a particular situation, or even to use a combination of the (wo. can one derive the utmost satislaction and pleasure from Original costume designing. An understanding of each method helps to explain the other. For example, flat pattern designs devclopcd from drafted patterns will be utterly cold, set, and lifeless unless one has had experience in working with fabric on the form. Such designs may be accurate, but they will lack the finer line placement gained through draping experience. We have, therefore, attempted to show the improvement in design quality (hat comes when blocking is founded on an understanding of draping. lt is too widely assumed that in order to profit from draping one must have a mysterious Iceling for fabric or a gift for line, and that draping at best is a kind of vague hin or miss procedure, too impractical 1o be generally used. This false assumption is undoubtedly due to the fact (hat draping has not previously been analyzed and systematizcd and that procedures easy to lollow have not bcen established. We are not attempting to prove that merely by leaming to drape, any one can bccome a professional designer. lndeed, we wish to make clear our conviction that a succcsslul professional dress designer must be born not nnly with an innate feeling [ u r line and tcxture, an intcrest in and an apof all the ans, but with a keen busincss sense as well (hat enables her precialtion to design the right clothes a1 the right time. Bul we do maintain that any student or homemaker Wllh elcmentary at her
command can learn dressmakingakills 1o. (lrape deftly anld accurately, and (hat lhls abilily will help her to dcsign Original and beauuful costumes. A1 the very least, she will Iearn through ex-
perience in draping to recognizc Lhe qualities of a well designed dress and to a good design from a poor one. Draping also teaches one not only to recogtell mze an ill-fitting garment but to correct fitting errors- a learning process that (altes years by the trial and error method. The chapter on fitting (Chapter 5,) should be of great practical value to all clothing teachers as well as professional
dressmakers.
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The designs illustratcd in this book have been chosen both because of their mtrinsically good lines and because they explain a principle of design or pattern making. They are not intended as fashions, and we hope that the students who use this book will not regard them so, but rather as illustrations of principles which no fashion change can influence. lt should be obvious, then, (hat we have planned the book primarily as a laboratory text for college students and for students of clothing in technical schools of dressmaking and design ——— students who have already learned elementary dressmaking techniques and are familiar with the rudiments of handling commercial patterns. lt should also serve as a practical reference for high school clothing teachers, clothing extension specialists, and teachers of adult evening classes who need help with problems in pattern making as well as with alteration of patterns for both design and fit. This is not a suitable home economics text for high schools, nor is it intended for the homemaker who has never learned to sew. In short, it is primarily intended as a supplement to classroom teaching; yet we believe ‘that the experienced home dressmaker, as well as the professional dressmaker, will find that the detailed (lirections, and the profuse illustrations and diagrams, will be of value even without benefit of classroom instruction, not only in making and fitting basic patterns, but in designing costumes [hat are both individual and Original. We wish t0 express apprecialion to M. Rohr, Charles and Esther Kaplan, Harriet Pepin, Mabel Erwin, and Mary Evans for the help derived from their books on pattern making. We wish especially (o thank Shirley Hillhouse, the fashion illustrator, for so skillfully converting the rough drawings into finished illustrations. We also wish to give recognilion to the students whose draped designs in so many cases served as illustrations for Chapter 7. For the enof this book, we want t0 couragement which so greatly facililated the writing express appreciation t0 Dean Marie Dye ol" the School of Home Economics at of TexMichigan State College, and to Hazel Strahan, Head of the Department Arts. Relaled and tiles, Clothing, MARION S. HILLHOUSE EVELYN A. MANSFIELD
/ % Ü M 4 % A (lrcss lorrn should a0 uccurutcly duplicutc thc si/e und shupc ol thc pcrson lor whoin it is Inudc lhut shc (SH! diupc clothcs on it und be ussured thut thcy will lit hci with littlc ultcration. Although thcrc ure scvcrul Lind; ol lorllls thut can cithcr be bought or mude at hoine. nonc ol thcin gives thc sutisluctimi ol u stundurd. incxpcnsivc connnercial lonn paddcd out with couon to fill u lubric covcr which follows thc mcusureincnts ol thc individuul with absolute prccision. The udvunlagcs ol lhla typc ol lorin urc muny. ll well puddcd. it is finn ycl resilicnt, und it (locs not resist pins u: do hard unpuddcd lorms. Nloreover, the two sitlcs urc cxuctly ulike, so thut u hull gurmcnt (‘iill bc duplicultd without the risk of dotibling the sizc ol cnors. Finully‘. il the gurmcnt is draped carelully. it will fit will: only ininor ultcrations. Anolhcl’ (ype of lonn is made by sticking strips ol gunnncd lupc on u ganze vcst directly on thc ligure.
This typc thcorcticully duplicutes not only the individuuls nicusurcincnts but also her posture. Unlortunutcl) this l5 t r u c in thcory only. Actuully the model nnm stund sllll lor so long while thc tupe is being upplicd (hat hcr ligurc sugs und thc lorm too olten beconlcs u till‘l(‘illlll'c ol her real posture. lt is thus discouruging both to scc und to usc. (lunncnts drapcd on lhcsc lorins urc bound to bc inuccurute, and the unuttructivc us it usuully is furnishes lonn, ilscll no inspirution to thc druper. Bccause this type ol lorm is less sutisluctory thun the labric-covered lorm describcd ubovc, the following discussion will be limitcd 1o the procedure for making und filting thc labric drcss lorm covcr und lor pudding out u stundurd comnierciul form to fit the cover which you have made. The (liscussion includes the smallcst details of procedure in order to cnsure a lorm (hat will bc sutisfuctory.
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THE DRESS FORM COVER THE PATTERN STYLE
Thc dress lonn covcr should In: u sniooth, lirm garment fiued to the torso like a knitted suit
buthing without wrinkles or looseness. lt should lollow cvery curve ol the body so that. whcn it is filled out with pudding on lhc forni, i1 will exuctly duplicatc every nicusurcment ol thc figure. Dress lorins vury in length extcnd I2 to H generally inches below thc wuist. bin 1 hc _cover should be 2 or 3 inchcs langer thun this so (hat n can bc pullcd down und tacked t0 the wooden bracc undcrneath the lorm insecurely order to givc a tight and smooth surlace. The most satislactory pattern lor the cover is usually known us a Frenrh lining, a princess-style pattern with
front, sidc lront, centcr back, und side back verticul puncls. The cight verticul scuins muke it possiblc lor thc covcr to lollow thc body curves exactly without thc nccd l'on’ u wuistline seam. Such patterns are soinctinics sold by puttcrn coinpanies; bul since Center
they ure not ulwuys available. directions ure given on puges 9 to l2 lor (lruwing thcm in si/cs I2, l4. l6, l8. und 20. 'l'hc directions are eusy to follow und the patterns can be (lruwn in a leu- ininulcs with u pencil ll you urc a buy reg“. alule ilatztiltflz: ;allOl‘fi renc Ist-plane.puttern. you Wlll t0 need (o ‘ snnply ining truc lt up accordmg t0 your own measurcnlents. ll you cannot buy und do not wish to draw u French
o n s s s—in e s
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smaller thanlfröm waist t6hipfwßy ulsing m; q pattem size and lettingi auf the seams from w; hip‚ yqu will have ‘t0 make very little adjusttngn the fitting. "For class use, the instructor will find that it wird! time to make up in advance muslin French lining j samples of all pattern sizes (12, 14, 15, 1s, 2o). The‘ stqdent can then try them on and select the 0nd which fits her bes: above thc waistJ ’
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Fig. l. ‘Princess style drcss pattem, a possible Substitute for a reg-ulation French lining pattem.
lining pattern, a regular princess-style dress pattern is a possible substitute (see Figure 1) . If you use a be necpattern of this type, several modifications will on the marked line essary. First, rule the center front Center iront panel and c u t off the extension for the lap and lapel. Then alter the dress front slightly for a basic neckline, and c u t it off to a 36-inch bodice. Finally, draw the panel lines from the largest hip measuremem down absolutely vertically rather than outward on a slant, since a form cover must fit skin-tight all the way to the lower edge.
Fig. 2. Checking cover sample.
panern size by trying on
a muslin form
1 The sample models should be left open down the center back, and the neckline, armholes, and lower edge should be tumed under on the seam lines and stitched twice to pre-
THE PATTERN SIZE
Because the form cover must be skin tight, buy your smaller than the dress size you norpaltern one size size that will fit the mally wear, or in the smallest the seams below the to bust. Then, if necessary, add alwaist to let out the hips. This requires much less above teration than would be necessary to fit o u t excess find the waistline. Fully half of the college students
their proportions from shoulder
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t0
waist somewhat
be kept in a closed box when not in use to prevent soiling, since they would shrink and be inaccurate after being washed or dry cleaned. For class use the teacher will also find it convenient t0 cut several sets of each pattern size in tagboard without seam allowances. She should mark thc lengthwisc grain the full length of the pattem and mark or c u t nolchcs. and should put reinforced perforations in the top of euch piece and tie together the lour parts of each pattcrn sek. vent stretching. They should
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THE
D R E S S
F O R M
H sann: ul lhc body Incnsnnrcnlcnls dillvxr lrom U105!‘ ul (hc patu-In, lhcy ( a n bc :|uun|lcly' (hcrkfll 51ml noml whm lhc Inuslin is lriul ( m . Figurt‘ 2 SINN’ 3 muslin salllplr nn a Inmlcl who nccds unun- widlh fr_on| scaisl (o hip un lhc sidc und luuk wann. u-rtlral "Hu: scalms nlsu nccd l0 In: indcnlc-(I at n lnwer polnl l0 fil lhc luwcr uuisllinc ol lhc hgurc shuwn. H onc linkes ( a u - l u l h (lclailrsd Imlcs un xmh (lillcwntcs. lllc ou-lIinr ul lht‘ paucrxl ( a n In: allcrnl hclurc- (uuing. Thls wgn ul clltsxking si/c und pruporlinn Iun provcd t0 b6 qm} Lcr und nmrc clhcicnl lor u ( Iussroonl m shop lhan lhc Inclhuxl o! laknlg Inuny Incasurenlcius.
mmc ron m: COVER-OUALITY AND AMOUNT "Hu- prindpal rcquilclllcnl ul Ihc lahric lor thc u n u I5 lnnnnwss Mlhoul sllllncss. llcuvy wcighl muslin m u lnnn (will, smh a: khnki. mvcrt,
lighLwL-ighl clcnnn. lmny munn gnbardinc, m gnlutcn arc all satislauen}: Thc lalnn m m ! b4: pliablc In b4: cluscly fillcd
und rahil) pinrlcd. Im! il musl also In: Imu cnuugh l0 wilhsland lhc 51min ol bcing pullcd uvcr lllc paddctl lmm Wllllnlll slrcuhing, lur unlcss it is pullcd very lighl, lhc lmm will bc um soll (o rclam ils
shapc. Buy lorm Icnglhs (approxilnalcly ( w o yards) ol Sli-inxh Inalrriul Prcss lhc lnbric (o snmolh oul wrinklcs, bul usc no nloisture. 'l'hen strelch it diagonall) (o straighlcl: (he crossgrain as much as possiblc. (wo
(Iren
LAYOUT AND MARKING I. Fold a lwoyard piecc ol INS-inch labric crosswise lhrough (hcccmcr. (hus allowing a yard lcnglh lor lhe paucm picces und their (luplicales in thc under layer. 2. Placc lhe cenlcr back Iine ol lhc I inch pauem in lrom thc sclvage (o allow lor a lap. (Sincc thc (enlcr back is to bc left open. lhe it
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sclvagc prevcms lrom stretching.) 3. Allow 5/. inch lor seams on all other pauern edgcs. .4. Draw around the ccmer back pancl with a pencnl. Then placc the side back. side front. and Center lront panels a: shown in the layout diagram. Figur: 8. wilh (h:Iengthwisc of the pauerns on grain-marking lhe lengthwise grain o! lhc labric.
Fig. 3. Dress lorm mvcr layoul. Doucd lincs indicate alteratiom lnr lowcr waistlinc and lct-out on side and back scams lmm waist (o hip.
Thc doued lines of Figur: 3 show how to alter lhe scam Iincs on thc labric l0 conform to the proportions ol lhc ligurc in thc skclch. Thc waistline should be
y, inch lowcr than lhe paucrn. and lherc should b: a let-out on
(he side and back scams to provide extra width [ m m the waist to the broadest ol lhc hips. part ll thc bodice panern is less than 36 inches in length. rule vqrtical lines lrom the largest hip measurcment. approximalely 8%lo 9 inches bclow (he waisl. to the lower cdgc ol thc Iabric. Unless the paucrn has unusually wide shouldcrs. add 3/, inch to lhc end ol the from and back shoulder scams lor possiblc let-out or for unusually broad shoulders. (The broken lines in-
dicatc thc cuuing lines wilh % inch scams.) 5. Pcncil all notchcs on the cloth. paying spccia] anemion lo lhose on xhe side lrom and side back
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Offabfigtogether ‚t6 prevent!» an "i (‚duplicatefrbnx shifting in
pencilcd seam lines wand ctosswheel on achalk board or ngxgi usmga tracing bon paper to transfer them to lthe under layer.
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‘n ‘Gifte ‘al.
‘Agssuauue m5
PATTERN
was
Pirl all seams except the cemer back, and machinehaste them for the first fitting. Exception. When making a form cover at home without the help of a fitter, leave the cemer front open rather than the cemer back.
l. Pin the cemer front seam first before separating Ehe two layers.
2. Pin the seam, joining the cemer panels to the side froms at about one—inch intervals over the bust
shoulder, match the notches and distribute the ease evenly on the side front over
curve.
Beginning at the
the curve ol the bust. To join seam lines accurately, direct the pin the fabric through the penciled line of the top layer of the penciled and look to see that it comes through line on the under layer. Pick up with the pin only on the seam line. lf you 1Ainch of the fabric directly one layer will slip against the than this. more pick up other and the seam lines will not match. (See Figure
4.)
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3. After pinning side froms to cemer fronts and side backs to cemer backs, machine-baste all seams. 4. Pin and haste the underarm and shoulder seams. from neck For the first fitting, baste the shoulder seam to printo princess line and from annscye (armhole) seams. vertical cca line to avoid stitching across the the to longF01" basting, adjust the sewing machine in foot a use and hinged prcsser eu possible stitch lordcr to jump the pins without blunting or breaking fÄththfltdlc.
Fig.4. Method of pinning seams.
5. Press the cover throughout, but without giving any direction to the seams, as creases are a hindrance when making alterations.
FIRST FITTING
Remove your slip to avoid snagging it with pins‚ but wear a good foundation garment and then put on the form cover wrong side out in order to fit it skin tight. Although this places the right half of the garment on the left half ol the body and vice versa, it is wise to ignore small variations in the two sides of the body and to make both sides of a dress form exactly alike, for fitting clothes to minor figure irregularities emphasizes rather than conceals them. Fit only one side and duplicate all alterations on the other side alter taking the garment oll". Never trim oll" seam allowances, but use them to malch the two sides. lf the armscye and neckline are unusually high, the fitter will need t0 Clip lhe seam allowances at these points before putting the garmem on. She should then pin
the cemer back line, being carelul t0 nxatch the neckline and the four crossnlarkings. and should pull down the lower edge to scttle all Iines" imo pluce. lf the cover lails to settle down a1 thc collur bone and chest,
THE
DRESS
F O R M
llic nciklinc- um} ncul ncn inurc ilipping. „w huci sll()lll(l ( l i c r k scu-ral iinpmtnill polnls bclnn" inaking ‚im nlu-iuiions. "l lic (Clllcf lronl amil (einer lmik lincs sliuulil bc plau-(l un llu- ( c m 0 ! ul du» ligurr. llic gninii-nt shuulil lx- sinnullily pullul dann, 4nd llu" \llUl|l(l('l piuls shunld lw |)l;I((‘(l ul lllc annluxlc- cml ul uuli shnulilci scuni. Shouldcr pzuls. ul unnw, au: zipuunnl; lml whcn lxmnd padded 3h()|ll(l('I\ um in mguc, il is lwllcr (o lit ovcr thcln lhan u; pin llu- pmls m llN: ilress lmin nn top ol Ihc cover und llllh (()II((’.Il llic shoulilcr anil annscyc’ scaun lines so helplul wlicn iliuping. b
FRONT 0F COVER (see Figure 5}
I. Shouldor zum (n) Puxiliun. l l l c wann \l|()l|l(l lnc ilirctlly on lop ol ilu- xliuulilci und sllullltl lnimunspiiiiiiiis ll()lll cilhcr lrunl 0|" lmik. ll slinuld hc a snziiglil lIIlC lIOIII
m-(L l0 ninmyr. ll ll is nui. scc ilini ilic guinicni is plupcll) niljualul nn llIC liguic- In-lnn- ullviing ihis line. Yuu inuy lind lhul il wir pull llic ( m c r (lown a! Ihr: ( e i n e r lrunl. llic \llUlIl(l('l' wann will lull whcrc i! bclongx wilhoul an) ullcinlion.
Fig. 5. First fiuing ul drcss lnrm cnvcrwrong sidc oul.
I-"rl. Tlic
(h) shuulilci sciun \lI0l|l(l (ling (lusi-ly u) lhc bud) lruin iIIII|S(’\’(' l0 nuk. .\ shoulilcr pail usuall) iuiws lhc ncck und ul lhc si-ain abmc (lic bod)" w {hat il l|('('(l\ l0 In: ll()ll0\\’('(l in unlil il (lings (o lhe shuuldcr.
2. Undonrm nun linc Thc pcrson bcing fiucd sllould raiye her arm enough so (hat ihc fiuer can pin oul any looscncss along the underarm scmn. Wilh a lcw lhc samc pins, amoum on lhc opposile undcrarni pick up scaun. This will serw: as a cherk on (ightncss and will also keep lhe ccnicr lines in position. 'l'hc final underarm line, however. should be wpicd lrom the side first pinncd.
3. Amneyo (a) Clip Ihc seam allowancc in one or lwo along (h:lower half ol the annscye if it is (oo places high l0 sei smoolhly. (b) Pin a dar: from thc middle o! ihe directing in toward ihe busl to fil thc hollowarmscye. below die shoulder ball.
4. Nocllino Pin oul ol thc (Clllcr lroni scam Iine any cxcess width across thc lronl a! Ihr: base o!
lhe neck.
5. Primus: Iinc (a) Rip lhe scam lrom lhe poinl just below lhc busl to lhe waisilinc. (This invariably has l0 bc
donc.)
(b) Rciain ihr: original linc ol ihe Center from panel. bui iake in a deeper scam on lhe side front lo panel tighten thc form cover under the bust.
incrcases lhe curve on the sidc seclion.
This
(c) Follow (h1:
same method [mm waisl l0 {tlways kecp the center panel lhc same width 2nd hip. lake in or let out thc seam on ihe sidc section. 6. Conior front lino l0
Place horizontal dans from thc Center front scam ihc poim o! ihe busl lo indem ihe spacc betwcen
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s 1nAcx o5 coven
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front princess lines below the bust before duplicati that alteration‚ since more has been taken up on: side front panel than on the center front panel.
I. Armscye Clip the armscye seam allowance if it binds when the arm 1s down. Pm a dart from the center of the armscye to the pomt of the shoulder blade if there is tooseness and wrinkling at the armscye when the arm
PREPARATION FOR THE SECOND FITTING
U
1. Shorten the machine stitch and restitch all unchanged vertical seams directly on the first stitching. Carefully re-pin and stitch the altered seams, but either hand-baste or pin very closely the exaggerated curve over the bust to keep the line accurate and t0 distribute properly the ease over the curve. Stitch the shoulder seams in a continuous line from armscye to
ts down.
2. Princess line Follow the same procedure as for the front if there 1s excess above or below the shoulder blades. However, the back princess line from shoulder to waist seldom needs alteration if a small enough pattern has been used.
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neck.
2. Press open the Center front and underartn seams. Press the side front and side back seams toward the center and press the shoulder seams open. 3. Clip diagonally through all seam allowances at the waistline to within 1Ainch of the stitching. D0 the same for the front seams of the princess lines below the bust and for the shoulder seams where they curve up to the neckline.
3. Side seam The fitter should stand away from the person being fitted and observe the position of the side seam to determine whether or not the line is being pulled either forward or back. It should be as nearly as possible a plumb line from under the arm to the floor, but should divide the figure becomingly‚ so that the seam itself is inconspicuous from either the back or from view.
4. Trace the center back lines and crossmarkings t0. show on the right side of the fabric for accuracy in pinning the garment together for the second fitting.
MARKING AND D-UPLICATING ALTERATIONS
THE SECOND FITTING
l. Remove the garment. 2. With a pencil, rcplace all pin markings with with pencil. short‚ broken lines and crossmark all seams 3. Spread the garment on a table to smooth it out are and to true the alteration lines. lf the alterations extensive, rip o u t all bastings. a time, 4. Duplicate alterations on one panel at seam the carefully matching and pinning together before placing them on a chalk edges of the two layers to the board or carbon paper to transfer the markings the fold are slight‚ one beneath. lf the alterations and seam front out on the center garment wrong side of the garment into the right half left telescope the the two layers half. Pin togethcr thc raw edges of underarm‚ and shoulder, along the ncckline, armscyc, wax carthe and then placc the unfitted side against and tracc the alteration lines. Rip the
Put the eover on right side out. Adjust the shoulder seams correctly and slip in the shoulder pads if they are to be used. Pin the center back, matching the four crossmarkings. Pull firmly on the lower edge of the garment both in back and front to settle all lines down on the body and to smooth o u t any horizontal wrinkles due to tightness. Ordinarily no further adjustments are necessary if alterations have been made carefully, but do not overlook any possible improvements of fit at th'is time. The chief purpose of the second fitting is to mark basic lines on the form cover (see Figures 6 and 7) .
I. Neckline The prominent vertebra at the back of the neck is the center back point of the neckline, and the hollow of the neck establishes ils posilion ztt the Center
bon paper
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T H E DRESS F O R M
——
l5 kecping thc lllle narrowcst poim ol lhc ( u r w : 35 ‘T0111 l0 lhc (einer slraiglu und ncarly parallel lar so (h4: annscyc Ollll. llläl possiblc wilhout pulling lhan at lhc gonnlng rauher am: lhc ol on i1 rcsu lop lhis poim conllnuc ol lhc arm aml thc lxxly. Fron: l0 lllt’ llndflalm uulward und lhc cunc (luwnwald should bc al least onc wann, lhc mp poim ol whith (i a und b) . Follow inch bcluw thc unnpil (scc Figurcs thc lxack annscyc lm ustublishing lhc saunc pnx ululc should bring her arm: liucd ( u r v c . Thc pcuun heilig width across is lorwanl (u Inakc surc lhal lhcnc cnough lhc armscyc ol undcr parl thc shuuldm bludcs. "lhc lhc ol lmausc tighlness mal narmw will bc a Iallncr e r ‘ cm lonn ol lhc
nl bam nccklinc; (b) Armuyc. Fig. 6. (a) Pusilimn
lhc lim: joining lhcse l w n puinls should lollow ol lhc Ihr: Inccling u! (In: nctk colunnn wilh lhe plane as lhe a: bc slmulll batk high (cnlcr "lllc slmuldcr. coursc. ol lronl. sidc ur slighlly Ilighcr. and lhc Lcnlcr is lhc luwcst poim. Thc hasic nccklinc musl bc high a lailorcxl or roll cnough u) scrvc aus lhc loundalion lur collar. ll il is nol. lhe roll linc ol thc collar will bucklc douln aboul its away lrmn lhe ncrk. ll you arc in raw cdgc loward thc (rmn inlcrvals al acruracy. nlip lhc m-(klmc und l u m (he raw cdgc under. 'I‘hen mark Ihc linc [ m m Lcnlcr back l0 ccnlcr [ m m wilh soll lcad Chcck and rc. pcncil or pins (scc Figures 6a and b). cord lhc basc ol ncck mcasurcmcnt lrom ccnler back to lront 2nd also lhe Incasurennent ol the neck II/z inchcs abow: lhc basc. Use lhcse ( w o measurcmcuns whcn paddmg lhc lorm.
Ironl.
2. Armscyo (Annlnolo) Begin to form lhc linc a! lhe shouldcr scam. One Iine is way l0 eslablish the Iop poim o! lhe armscye lo measurc the length ol lhe shoulder scam of your most recent satislaclory dress or suit aml use thal measurcmem (o dclerminc thc shoulder scam lenglh lrom ned. l0 annscyc on your dress lorm. Another way xo poim ol the armscye is lo Iay a long eslablish thc lop the outside ol lhc upper arm and exagainst penul (end n a pcncil laid along thc shoulder scam. lomeel wherc lhesc ( w o pencils mecl indicales the The polnt nmersecuon o! the shoulder scam and Lhe armscye. a broad square-shouldered ellect is in fashion. Wllen wilhout dans or gathcrs should meel the sleeves plann Ihouldcr seam wilhoul being pulled inward. lineof thc From the top armscye curvc. mark a line Rom: dann to the pomt where the arm and body ioin (h:
—
Fig. 7. Sccond fiuing ol Ionn oovct-marking neckline. anmcye. bunt linc. waistlinc. hip Ievel and disunce (vom hip level (o floor.
3. Waisllino The placemem o! this line as well as (hat of the armscye varies with lashion. Place and pin a tape measure around lhc waisl, adjusling it up and dem; unul you find a position that is becoming from back,
DRESS DESIGN. and front views. The waistline at the center back ould never be lower than the side, and the center 530m Should be as low as or lower than the side. PenVaround the lower edge of the tape from Center back to Center Irom. Check and record the waistline measurement (see Figure 7).
„
4. Hipline Place and pin a tape around the largest hip measurement. W ith a yardstick measure from the floor to the tape in order to level and t r u e the line. Mark clearly on the dress form the distance from the hip level line to the floor. This measurement may be used later to indicatc whether the dress form is level as well as t0 show whether i: is set at the correct height. Pencil around the lower edge of the tape and record the hip measurement at this level (see Figure 7) . 5.
Busfline
Place and pin a tape around the largest bust measurement, being sure that the tape is kept level. Pencil lightly around the lower edge of the tape and record
the measuremem (see Figure 7). The recorded measurenlents of neck, bust, waist, and hip are checks on size when you pad the form.
FINISHING THE DRESS FORM COVER l. Remove the cover and duplicate line markings on the opposite half alter folding on the C e n t e r [ r o n t line and pinning the raw edges together along the neckline and armscye edges and along thc shoulder and underarm seams. 2. "Transfer all of the basic lines t0 the inside of the garmem, using a tracing wheel on carbon paper.
3. T0 makc lhe important basic lines permanent and easy t0 fcel even through heavy fabrics, couch cord or embroidcry floss along the penciled lines. To d0 this, wind the cord or floss on the machine bobbin‚ but leave the corcl out of the bobbin tension. Then if the tension of the top lhread is loosened, it will loop down through the labric nvcr thc cord. Stitch all basic the line: with thc right side of thc cloth down against On lie will bobbin thc [ m m (eed dog so that thc cord basic the to addition the right side ol thc garment. ln levcl lincs, shouldcr neckline, armscyc, waist, and hip
seams and center front
can
be quickly marked in thi
7
way. 4. Machine-stitch with regular thread thc Center’ back lines to stay them, as you will have to re-pin the center back line several times during the coürse of padding the form.
DRAWING THE FRENCH LINING PATTERN
Although it is usually possible to buy a French lining pattern which can be used in making a dress form cover, you may not always be able to" secure one readily. If you cannot get a pattern through commercial sources‚ you can always make one of your own, and it takes but little time and few tools to do so. A large sheet of construction or wrapping paper, a tailor's square, and a well-sharpened pencil are all you need. Moreover, the task requires no special skill, though it does require accuracy in reading and in marking the measurements correctly.
The following pages give you, in tabulated form, all the information you will need for the purpose. This consists of (1) a chart of measurements for the French lining pattern, in sizes l2, 14, 16, 18, and 20; (2) detailed pattern directions; (3) measurements for the four types of panel in each of the five sizes given; and (4) an illustration showing the patterns for the panels and the typical measurements for each (see Figure 8). Before you begin making your own patt e r n , examine this material carefully. You should begin by checking the measurements of the live pattern sizes given in the chart against your own measurements. In doing so, select the size which coincides with your own measurenlents. Be sure to take your hip measure where it is largest, (hat is, 8 or 91/2 inches below the waist, rather than 7 inches below the waist, as is usually done in commercial patterns. Once you have determined the actual nleasurements you will use, the next slep is t0 Substitute these for the avcrage measurelncnts given in Figure 8. Finally, draw Lhe lincs of the pattcrn on the paper. F01" best results, connect all points which should be joined (see (lirections below) with ruled pencil lincs. Then draw curvcs lrcchaml whercver thcy are indicaled. The like panels ( a n thcn bc cut out and used prccisely thosc of u commcrcial patlem.
THE
DRESS F O R M
C
D E F
äo
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.
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Fig. 8. Sile l6
CHART OF MEASUREMENTS FOR FRENCH LINING PATTERNS . . . . I4 |6 I2 I8
. BusQ . . . . . Waisf . . . . . "w "w edse of paflern) . . . Sin
Lengfh of poflern {vom base o‘ neclx a9 cenfer fronf fo lower edge . .
‘l
H.
Gfia/B" (lress
34 36 26V; 28
38 30
40 32
20 42 34
363/. 39
41v. 43
45
23V; 23% 24
24V.‘
H
[orm uwer dirccliuns.
PATTERN DIRECT|ONS Lengfhwise grain in all pieces is parallel lo fhe Iong side o5 fhe recfangle.
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2' M '
3
d d° '
ex"?° ‘an A 1o C
23l/4
f
D fo E
A l° J
I fo H
D R ES S
D E S I G N
3. Join:
J+0H
8. Wi+I1 inward curve ioin +0 p0in+s marked in from
H+0F
B.C.D.E.F.
F I° Measure in V4 inch frorn p0in+ G (halfway be+ween H inward curve from H +0 F +hrough F). Swing ‘and P°"'* G4. Draw neckIine B +0 J Beginning wi+ln righ+ angle a+ B and ending wi+I1 righ+ angle a+J.
9. Join p0in+s squared in from F and G and confinuer +0 H. |0. Join P +0 p0in+s squared in from N.M.L wi+h 00+ward curve. I I. Join p0in+ marked in from L +0 K wi+I| ruIer and +0 J wi+I1 0u+ward curve. I2. Join J +0 H. +0uching Iine HI a+cen+er 0+paneI.
_E
v
SIDE FRONT PANEL
I. C0ns+ruc+ rec+angIe
CENTER BACK PANEL
2. Measure and d0+: A +0 B A+oC A +0 D h) Measure up from G +0 find p0in+ F. Square in from Iine AG +he given measuremen+s 0+ B.C. D. E. Measure and d0+:
I. C0ns+ruc+ rec+angIe 2. Measure and d0+: A +0 B
A+0P O+0N
O+oL O+oK O+0J
ward curve. Join D +0 E wi+h inward curve. Join E +0 F wi+I| 0u+ward curve. Join F +0 H and H +0 I. Join P +0 N wi+h ruIer. Swing inward curve from N +0 +I1e poin+s squared in from M and L and 0n +0 K. I3. Join K +0 J wifh sIIgI1+Iy inward curve. I4. Join J +0 I wi+h sIigI1+Iy 0u+ward curve over hip.
8. 9 I0. H. I2.
Pa++ern Measuremen+s for
A+oC A+oD
P+0O
F?‘
Cenfer Bock PaneI
ReCIüngIe Wid+h __ Leng+I1
A-B A-C C-F A-D
A+0E AIOF AI°G
.
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. . .
.
25%" .
.
.
. . . .
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. . .
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measuremen+s a+ Square in from Iine AH +he given B, C, D, E. F. G. Measure and d0+:
AwP
Dress Form Cover
Size I2 Cen+er Fr0n+ PaneI
SIDE BACK PANEL
A+0B
A55
Square in +he given measuremenfs from Iine AF 0+ C. D.E, F. Measure and d0+: K+0J A +0 K J +0 I Join K +0 B. Join B +0 p0in+s squared in from Iine AF wi+I1 inward curve B +0 E, and ou+ward curve E +0 G. Draw neckIine K +0 I beginning wi+h righ+ angle a+ K and ending wi+h rigI1+ angle a+I.
O+0M Square in Irom Iine OI +he given measuremen+s a+ M. L.J. I. Join P +0 p0in+s marlzed in from B.C. D, wi+I1 ou+-
C0ns+ruc+ rec+ang|e 2. Measure and dof:
A +0 D
A b C
o
.
.
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THE
DRESS
F O R M
PADDING THE DRESS FORM SELECTlON OF THE DRESS FORM
form you prclei", niake ol" lonn prefer, as long as it has ßuy Buy any make over ua hcavy heavy iron base t0 prevent it from tipping a5 well as will serve scrve forni lonn An incxpensivc you easily. .—\n it is well il" il one a high priccd pudded. padded. priCCd or three w o 01' thc complcletl ("an try ll Il you (‘an coinpleled cover on [two u") Lhc can select size sizc own in lonns lorms you range, range, your Linpaddcd unpaddcd sliould bc space There should most ziccurately. size mosl the right uccurately. 'l'here righl sizc t0 thc cover lhc under Linder lor cnough givc give a resilient enough padding inost most The into. imo. to u) Ioundzuion pin louiulxuinm importunt iniportant measurewhere form at the level zuhere the lorm siLe of thc Lhe size check is Lhc (o chcck menL 1o ment of m mm68 .. The waistline ol rover zuill m Ihe zumstline uvznslline uf Ihr u] the mver be exactly the right size, but if the lorm may bc thc the lorm [hat far below that marketl on the cover falls im‘ waisllinc markcd waistline lf If not will serve thc lorm the you your purpose. point, poinl, lorm which is are exccplionally long-waisted, select a form exceptionally long-wvaisted, as small around the upper hip as your own waistline measurcment. measurement.
dress paltern An individual who wears a size l2 (lress pattern should usually choose a size 30 form; lorm; one who wears a If your waistwaislsize H, 16, a 34. lf l4, a 32 form; and a size l6, line is under 24 inches, use a size 28 form. PADDING MATERIALS Canon Cotton butting far Lhe the most satisfactory padbatting is by lar pad— used‚ but is much ding. Soft tissue paper can also bc used, slower and more awkward to t0 handle. Or‚ Or, it is possible to use the lhe two together, first filling out ouL with batting and then covering with tissue. Even newspapers are somelimes sometimes used for first layers where a great deal ol of padding is required. Paper is often unsatisfactory, however, because it has to be pinned onto the form, pinned omo and unless the pins are well pushed into the form, the (he heads tend to the finished covering. punch through lhe on the other hand, batting, clings to the form Couon Cotton Wllh or no pinning if placed directly against the litltle lit.tle cotton Jersey the usual surface of a standard commercial form. Il the shoulders of the form are narrower than those the cover‚ u t half circles of cover, ccut tagboard or other flexible and tack or chem them to the dress form pin ‚cardboard the shoulders as much as necessary before bewiden
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of t9
Smmng Slnmng l0
pad (see Figure 9).
pinnecl to the shoulder of the form t0 Fig. 9. Cardboard pinned
widen it.
PADDING COVCI‘ on the forni, lorm, pinning it the finished covcr First Lry try Lhc C e n t e r back openthe Center zu scveral at several points along together the cover tips Lhat [hat so seams shoulder the ing. ‚Adjust Adjusl (hat the ancl so [hat thc front, t0 the lrom, and to the back nor to neither 1o how determine Then level. uwiistlinc waistline and hipline are level. the t0 back [o and lront the front l0 t0 add to acld much padding keep Lhe centered in position. side scams ccntered mosl padding as well (jhcck Chcck the places needing the most I)o this [his by reaching as those which need the least. Do or points on und chalking any lines m‘ under uncler the cover and consicleration. at places which need special consideralion. the lorm form a: ol the basic neckline of the Also chalk the Lhe position of l'on’ incasuring 21s a guide for cover t0 servc serve as mcasuring down to the t0 the shoulder busl, bust, waist, and hip level and (lown to removc the cover. blades in the back. Then remove Carefully unroll Lhe cotton batting in preparation preparation for thc actual padding. padding. Throughout the entire process i1 in thin sheels, use it sheets, never in clumps, handling it lightly [0t0 avoid matting it. Begin to pad by covering the entire lorni lorm with a thin layer, layer, letting each sheet extend as far as i1 il will, then smoothing the edges into imo thosc of ol" the adjoining sheet. By blending one layer imo another‚ without usanother, you can pad the entire form wiLhout Even those places which need large ing any pins. Even amounts of padding can be built up without pins if the material is applied one layer at a time and if each layer is pressed carefully into the one underneath. Do not add any more than a first thin layer of cotton for a radius of two Lwo or three inches around the base of the neck. For usually if you pull [he cover cgver down firmly in the final adjtistment, adjustment, you need little padding around the neckline. neckline. Too much on the top of the shoulder near the neck raises the entire covering too
illioälder high. 1g .
DRESS D E S | G N . the elfect of the two can differ greatly if one is from side to side and the other thick from fionitüw: back. The form must round out exactly like the or garments draped on it will bang most disappoint-V ingly when tried on. Padding always puffs up much larger than a person’: actual size before the covering compresses it. If the batting seems very bulky and diflicult to manage; bind bias strips of muslin around the waist and hips and diagonally from the shoulder to the waist to hold it down. Check the various circumferences by pulling the tapeline tightly over the padding, and when the measurements check with your own, try the covering on the form. Do this carefully to avoid shifting the cotton. Place the shoulder seams correctly and see that the neckline is well up in the back and as much higher than the side of the neck as it appeared to be when you tried it on yourself. Pin the cover together every two or three inches down the center back. Then examine the form for flaws. Ordinarily there will be many places which are still too soft and which need more padding. If so, remove the cover and make the final corrections. Before putting the cover on for the last time, give it a thorough pressing, but still without
'
moisture.
from Fig. l0. Measuring bust and hip widths and thickness back. { m m to
As you pad, check the recorded measurements of bust, waist, and hip, and those from neck to waist, waist bust, and hip. Note the curve of the body from the and back, comparing padding on to hip a: the side If the of you are padfigure. the form to the contour of a fullfront in ding your own dress form, stand to your raised beside you, length mirror with the form own height, and cross two tailor's squares at the hip level to measure the hip width from side to side as shown in Figure l0. Also cross tailor’s squares of the irom back to front to determine the thickness of the that with body and compare this measurement the check form. The samc method should be used to and their width of bust and shoulders from side to side Evcn back. to though the hip thickness lrom front bc the same, measurements of two differcnt figures may
The importance of placing the covering on the {cm1 correctly cannot be overemphasized. T0 avoid having it tip to the back, pull the fabric down firmly along the lower edge at the center front. Before pinning the Center back, also examine the shoulder seam, the neckline‚ the waist, and the hipline for correctness of position. Begin to pin at the neck and work down, matching the four crossmarkings on the Center back line. Try to avoid pulling the garment downward in back as you pin. Pin the first time with the seam allowance toward the outside. After making a final check for errors, start re-pinning at the neckline, removing one or two pins at a time and lapping the right side over the left. Pin every half inch and bury all but the very head of each pin in the padding. Either leave the form pinned or slipstilch it together. Pull the lower cdge of the cover down firmly to smooth out all horizontal wrinkles and tack it securely to the wooden brace undcrneath the base of the form. If you expect t0 use the form lor a long time without impadding i1, it will be worth your whilc (o cover the armholc opening and add a shaped collar to the neck.
1
THE
DRESS
F O R M upper Neck Measurement 1/2 Upper
THE ARMHOLE COVER
Place a piece of paper against the armhole openshape‚ Crossmarking it at the shoulder ing and trace its shape,
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1_
d‘: Ö
underarm seams. and underann
2. True the pattern, 2, pattern‚ cCu t it out, and lay it on the fabriC labriC so that the lengthwise grain runs between the is‚ from the two crossmarks, that is,
shoulder seam to the
underarm seam. 3. Pencil around the pattern on the fabric and penCil the crossmarks. cil 4. Cut it with a 3/8 2%, inch seam. under and place the oval against the seam 5. Turn the armhole, aimhole, matching the Crossmarkings. Then pin pm the turned edge to the armscye line on the form Cover and finish by slipstitching.
COLLAR determined by The base of the neck is, of course, Course‚ (letermined the neckline marked on the cover. The The measurement ol of the neCk neck 11/2 inches above the base (recorded at the fitting) will be at least I inch and sometimes ll/_‚ 1% inches less than the base measurement. Pin the tape measure in a Circle circle equal to the Circumference circumference of the neck and drop it over the neck neCk of the form in upper neCk order to determine how much to pad the neck. Ordinarily the neck of a dress form is too erect at the back. lf your head tilts forward, it may be difficult difiicult t0 to give the neck neCk of the form the same slant. Place all of the padding padtling on the sides and front of the upper neCk‚ neck, neCk as building it up until it duplicates cluplicates your own neck nearly as possible. T0 draft the collar pattern, follow the directions below and see Figure l l . of the basic neckneCk. 1. Draw a rectangle the length ol line from lrom Center back to center Center front and 3 inches high. 2. On the center Center front line measure up 1/2 l/2 inch from the lower line of the rectangle. 3. On the Center back line measure down l/2 inch from from the upper line of the rectangle. 4. For the base of the collar follow the lower line
_ i‘ ‘
——>
B. 1/2"_‚.i 1/2"_.‚.
w
1/2/1
v
<_2 4_2 l
<—CB ..
r
1/2 Base of Neck Measurement
Fig. l l . Dress form collar draft.
one-half its length and then swing up in an outward e n t e r front l/2 inch up on the Ccenter point I/Z line (see Figure ll1). l). 5. Measure up at right angles from this base line 21/2 inches at Center front, C e n t e r back, and at a point halfway between. Beginning at the C e n t e r back, draw a line for the upper edge of the collar through these three points. Mark off along this line one-half the circumference of the upper neck measurement. Join this point to the end of the lower line for the Center Collar. front of the collar. Curve to meet the curve
6. Cut out the pattern. PlaCe il it on the fabric with the Center 7. Place center baCk back on the lengthwise thread and allow a 3/8 inch seam on all 2%, edges. 8. Pin the two collar pieces together along the Center C e n t e r back and try it on before pinning it to the dress form. The collar should fit Closely closely at the upper edge as well as at the base of the neCk, neck‚ where it will sew to the basic neckline of the cover. Cover. The Center center front and back seams may need to be sloped more to fit your neCk exactly. neck 9. Tu r n under the lower edge and pin it to the form cover Cover just above the Cord couched on the neCkneckline. Then slipstitch the collar to the cover at the base of the neck neCk and to the form at the Center center front and back seams. Tu r n the upper edge over the padding padding and slipstitch it to t0 the form. The dress form is now finished and should exactly duplicate your measurements and your body contours so that it will serve as a perfect model for all garments which you will design by draping.
The necessity of shaping a pattern to fit the body curves is the foundation of most of the best dress designs and certainly of the most functional ones. In the following pages, directions will be given for placing the basic dart on the shoulder, under the arm, and under the bust. This will be followed by a discussion of possible variations in design produced by handling the d'art or the fullness from the dart in a less conventional way. lt is therefore of first importance t0 understand the function of the dart before even starting to drape, and to consider its possibilities for inspiration in design while draping the first basic blouse out each patterns. lf the beginning draper will carry not only will of the following practice problems‚ she gain a thorough understanding of draping principles‚ but will also be able to apply them to the more diflicult designs included in Chapter 7.
The Fundamental Darf The systems of draping and flat pattern design are both founded on a clear understanding of the purpose of the fundamental dart. When you first began to sew, if you ignored the little v-shaped wedges marked on your commercial pattern, you probably wondered take why the dress did not fit. Those wedges, or darts, convert— up the excess in the outer edge of the pattern, ing a Hat piece of fabric t0 a rounded or conical shape that confonns to the contour of the figure. Darts alof the ways radiate outward from the highest point and shoulders the from bust in front (Figure l) and the shoulder blades in the back. A dart placed anywhere around the outside edge uf the blouse-front pattem will always point toward the bust (see Figure 2).
1
:
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1
1 ‘l lähmt“
il‚„
„im llm
w» Fig. 2. Possiblc
positions) .
from the bust. Fig. 1. Darts radiating
l6
(lart
positions (heavy lincs shnw Standard
B AA.SSII C
BLOUSES WAlST FRONT WAIST
For all practicc clrzxping usc light-weight unbleached practlce draping that is casy or u similar inexpexxsive inexpensive material [hat muslin o1" (lirections (Iirecnons the otherwisc statecl, stated, Unlcss othcrwisc 1o {o handle. a half lor draping pattern. given are for
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V
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Fronf Line Fronl’ Esfimafing The Fabric and Marking The Cenfer
(see Figure 3) 1. l. Measurc the dress form vertically from the highneck and est poinl es: point on thc shoulder (intersection of the the bust of curve the fullest over shoulder seam lines) lincs) walstline. Add 3 inches for seam allowances (l (1 to the waistline. the shoulder and 2 inches for the waistline). inch lor Lhe measurenlent will be approxiThe total lengthwise measurement 2l inches. mately 2! matcly
Problem lI WlTH SHOULDER AND DRAPING THE BLOUSE WITH WAISTLINE DARTS first problem The firsl problcm is to drape a basic waist with is the dart comdarts. This i5 waislline dans. shoulder and waistline bination [hat makes Lhe best fitting basic or foundato develop designs through _ tion pattern patten} from which t0 method. A foundation patlhe Hat pattern pauern blocking mcthod. _ the n l a s t e r pattern. See page 44 ltern e r n is commonly called a master for a complcte complete explanation of the master block patLern. The following directions for draping the basic lern. waist with shoulder and waistline darts explain not to place and pin the fabric, but also how to only how t0 alter they are draped check results and judge patterns after to predict their accuracy of fit before trying in order t0 1 them on.
lorm horizontally from Nleasure the thc dress form 2. Measure thc fullest curve of the bust to Center C e n t e r front across the sezun and add 3 inches (l inch for ease underarnn underarm scznn lCl-out seam under the arm) a large let-out 2 inchcs lor z: arm)..
v
a size l6 pauern this will total about 121/2 inches. puttern lhis in from the 3. Measurc lhe selvage of the fabric the Measure width widih medcd Center needed and mark the C e n t e r front with a pencil line on thc cxact exact straight lengthwise lcngthwise grain. Flguring Figuring thc the approxixnate amount unlount of material needed instead instead o1" ol" using [h6 the e x a c t C e n t e r of ol a 36 inch width helps you to acquirc acquire the habit of saving fabric. Obviously this can bccome become valuable practice whether the fabric you are workingwith is expensive or cheap (see Figure 4) . working" wiLh
4
' l
‚
Add
the the and For
1w_‚
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I
\\ \\
\\ \\‚ S
"-2 C.F. O
3L
Add 3"
1B
2
o
S eIvaJgL U)
3) 3}
ä
0e n 2
Fold u‘
a: .2
E
8
Selva
154‘:
c a:
Lengthwise .1
Add 2"
Wndth Of Wmth of 1/2 Blouse Front
5. Method of measuring for blouse. Fig. 3.
Fig.4. FiE-‘L Location of
17
center
front.
&
z . .
_
'
"
i. F‘? FGQEKISÜÄEVWÜhOU‘ 333m 31' bei-lt Siuähesbdeep at the Center lwide'meääufe‘d«horizontally from er from to the neck end of the shoulder seam ‚.
L
_
V
,5), „ Y. ori the muslin the» necli oval, 4 inches deep thevcenter from and 21/2 inches wide. measured 1
*
‚
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#91419?
(a) AThe‘ b the on the nxuslin should beßa; " 5 Veiaxiqtt baue of «onthe form. 6“’ (b) (C) Waisfline- E353 the C10“! 350V‘? 313513“ P allow length for slight blousing and ior action. V
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’
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’
'-
‘
L
'
Ch
.—hofizontally from the ccnter front to the neck end of the shoulder seam. The 4 inch depth includes a l inch shqulder seam.
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„2. Draw a second line along which to cut. This should be 1/2 inch above the first line at the Center from in Order to allow a 1Ainch seam. To allow for a slight stretching of the fabric away from the center front’ a: you drape, mark the cutting line closer to the armer line as it nears the shoulder seam. The cut neckline should be about 11/2 inches wide a: the shoulder seam by 31/2 inches deep at the Center from.
3. Cut
o u t the
4
„‚___‚__‚.
neckline on the upper pencil line. Af Seam
1M
nur-n:
I
'd th 2 112" Neck WI
i
Fig. 6. Pinning the fabric to the form.
shoulder
2. Start draping at the neckline. Smooth the fabric toward the slightly away from the center from and up to muslin the cling closely t0 i3 shoulder seam, forcing form as you the to the side of the neck. Pin the cloth {hat it fits more proceed and clip the neckline seam so x
\r
smoothly. Depth
Caution. Overstretching causes an ugly diagonal wrinkle and looseness at the chest. T00 little streichfrom neckline and ing causes looseness at the Center chest (see Figures 7 and 8). t0 3. Smooth the fabric across the chest and pin it the form 1o support it so (hat the filling threads {Ire far as the polnl perpendicular to the Center from as 05 ‘h9 b““-
Neck
3"
Fig. 5. Shaping the
neck.
18
ß:
BASIC
BLOUSES
uver-stretched causes diagonal wrinkle (oto 7. Neckline over-stretched Fig 7 bust. the bust. Fig. Fig, 8. Ncckline loose at cCeennt e r front. underarm to support 4. Place another pin pin at the underarnl across the bust. Ease all threads the filling horizontally ward to provide looseness at the point of lorward fabric lon the labric busl. the bust. Note. (a) Acquire the habit of pinning the fabric little as necessary. Do this to gain speed to the form as liule would when being fabric hang to let the labric and l0 hang as it woultl worn. (b) lt is a general rule to pin at right angles to the is being bemg edgt: edge except when forming a line. When this 1s line. on the to head done, place pins point
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Fig. 9. Shoulder and waistline darts placed tentatively. C e n t e r front from the top to the bottom toward the center l0 shows a dart that has been l ) . Figure I0 (see Figure lIl)
carelessly placed.
Den‘ (see Figure 9) Forming lhe Shoulder Darf clart laid excess at the shoulder in a dart Take the l. 'I‘ake up toward folded inward under with its smoothly edge the center Center front. Pin this dart to the form lightly with one or two pins at and near the shoulder end. Place it tentatively at first so that you can experiment with .- i1 both its size and its position.
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l0 and l l . lncorrect and correct c o r r e c t shoulder dart placeFigs. 10 place— ment. Note that in Fig. Fig. l0, the dart line wavers and curls toward the neck, whereas Fig. ll shows the normal shoulder
’
dart position.
2. Pin the rentaining rennaininlg excess under the bust into a tentative waistline dart. judge the size of each dart, z and if desirable, shift the [abric to divide the excess more suitably between the two. The size of the bust will, of course, determine the size of the darts, and the . position of the bust, low, may make it necesbust‚ high or low‚ the excess lrom from one dart to the other in sary to shift Lhe Order t0 to keep the crosswise grain at the bust line paral_lel to the lloor. 3. Pin Pin the shoulder dart accurately but leave the ’ waistline waistline dart pinned in the approximate size. (a) Decide on the best position for the shoulder ‘dart. The normal line is from the center of the Ädart. shoulder to the point of the bust and slants slightly sshotllder
Note. Since the direction of the dart changes somewhat with fashion, you should not consider the above statement a. a hard and fast rule. Your feeling for cont o u r will help you place this line to emphasize the fashion silhouette desired. In the l920's the line ran Center front (see Figure l3). practically parallel to the center Throughout the l940’s it was fashionable to emphasize broad shoulders and a slender waistline by Starting the clart dart slightly farther o u t from the neck at the shoulder and pointing somewhat more sharply inward toward tomxrd the center front (see Figure 12) . But in spite ol of fashion, the direction varies so little that (hat the dart always points toward the Center of the bust. bust.
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v.
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7
19
DRESS
D ESIGN’ (c) Slip the fingers under the fabric near the peu); ol‘ the dar: in order to stop it at zhe place desired, This should be belore it reaches the point of the busi. Doing this introduces some ease across the chcst; Avoid fitting so tightly across the chest that the blouse caves in laetween the shoulder seam and the bust.
Placing fhe Shoulder Seam (see Figures |5. |6. I7) The Standard position of the shoulder seam (Figure 15) is from the cord at the base of the ear along the inch back of the top of the shoulder out to a point M bone at the tip of thc shoulder. The line slants slightly toward the back. lt should appear to be directly on
not be visible from top of thc shoulder and should
either the direct front or back when viewed at the shoulder level. Follow the line already established on Lhe form if it appears to be a good one. The lollowing variations from the normal are duc to faulty posture or to a very large bust: (a) For round shoulders and forward head (see Figure 16) , move the o u t e r point of the shoulder line back slightly to minimize the defect; (b) For a large bust (see Figure l7), move the outer point of the shoulder line slightly forward to reduce the apparent bust size.
Figs. l2 and l3. lnfluence of fashion silhouette on dart
placemem.
(b) Fold the excess under toward the center front and pin the dart perpendicular to the edge. Slip the lingers under the cloth to prevem pinning into the form (see Figure 14). Caution. Never pin a dart wrong side out. It may be quicker, but it is impossible to form a good line by this method. Rule jor Establishing All Vertical Darts: Determine the position and line direction o] the dart first. Fold on this line, sliding the excess toward the Center under the folded edge. Pin frequently, placing pins perpendicular to the folded edge.
l. Standing at the side of the form, fold the fabric the excess forward along the shoulder line, turning side over the right (see Figure l8). Keep the cloth the taut along the shoulder line so that it bridges over hollow in front of the shoulder.
im" threc difFigs. l5. l6, and I7. Shnuldcr scnm positinn senm. nf shouldcr Normal fcrent figures. Fig. l5. positinn end. nulcr zu bark sczun move shoulders. Fig. l6. For round (‘Hdu n t e r m furwnrd scnm mnvc busl. Fig. l7. For largc
inaccuratcly pinncd (dottcd lines
Fig l4 Shouldcr on the grain). dicate the cflcct o! thc dar: (lan
20
-« '
‘
dnmmgmc
„.__‚_n‚
BASIC
BLOUSES few
folded loward righl side. Fig. l8. Shouldcr seam loldcd
fold-linle with the thumbnail and the fold-line 2. Crease thc t0 slrctch stretch the carelul not to form, being careful pin it t0 the lorm, fold. bias lold. the excess, allowing Il inch lor the Cut away lhe 3. Cul
width. Although shoulder widths vary, {ew slloulfler w1se‚ inchcs. lt 1s wnse, measurc less than 5 inches. scalns should measure ol of shoulder your own length nxcasure the t0 mcusurc however, to width Lhe the accordingly. and suit lavorile lavorite dress or suil gauge the tip narrowest 2. The poim of the chcst. From point the shoulder, thc armscye line curves slightly inward of lhc iL reaches the deepest until it [ m m umil deepesl center front the CCIIIEI‘ Loward thc [bis point, the chest. T0 find this a: curve the ol of point measure (lown 3 inches from the pit of the neck on from line and square out to the armscye. C e n t e r front the cemer {hat the line appears t0 curve is so slight that inward Thc The be almost straight when on the figure. If you adjust this curve so (hat it is practically parallel t0 the harmonize. [ w o lines will harmonize. Lhc two (lau line, Lhe shouldcr da11 shouldcl‘
seam.
the wrong s e a n ) allowance under to lhe Turn the seam 4. Tum fold lold turned lhe the und and side (sec perpenl9) pin Figurc I9) (see Figure at the ends lorm only aL Pin t0 to the form lhe edge. Pin dicular to thc TCHIOVCLl t0 slip later be removed as all pins must latcr of the seam, a5 the front. the back shoulder seam lorward under lhe
i/
4
ä*4 4 /ä 4ä
ä‘i,77 7»
_' l
‘
Shouldcr scam lolded (olded under and Fig. l9. Shouklcr
pinnled. pinnlad.
Fig. 20. Armscye curve.
b
(see Figure 20) VFarming fhe Armscye Curve [see »
' ' Three P oims serve as gguides in lormmg uide s m poims lorming a good armscye curve. (The terms armstye armstve and armhole are '
synonymous.) l. The tip of the shoulder' which should be the LlThe lip of‘the ‘shoulder, lme a: the juncStarting pomt. The ‘gamma’ Poim. 'Ih_e line normally starts at t tion non ol of the plane ol the shoulder and the plane of the ‘.a n " ‘_ (see Chapter Il ) . lf shoulders broader than nor(Set: Cllaptfr sholxlders mal ma a"? are in m lashlon, [llls poinl lashion, move this point out the desired
’
i?
—
Caution. Do not stretch the fabric across the chest chesl when estabhshlng the lhe lme, line. establishing armscye S. Depth 3. Depth of the underarm curve. From the pin pin a: the narrowest point of the chest, chest ‚ curve the line outout. ward in a smooth arc toward the underarm. underarm. Deter. DezerWard t the underarm by measuring down Lhe linine fnme (h? depth of <.)l' ' 1n a stranght m (tllepth t verucal lme lrom the up strang shoumer tip oi the shoulder a di": s of 7 to 71/2 inches. mches. 'Ihen Then square out from arlce fhstaace tthxs h_1s pomt underarm seam um; poxnt to the underarm
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a
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<
DRESS DESIGN 4. Armscye curve. Cut, allowing a 1Ato 5A, inch seam for the lower half of the armscye. and a 3/4 inch seam for the upper half. Extra width on the upper half o! the armscye allows for a possible increase in the size of the shoulder dart or added length on the shoulder seam. A narrow seam allowance under the arm is necessary to prevem the armhole from binding
waistline and should curve ever so little inordeVi the waistline at a right angle (see Figur: 23) .Ä. Form the waistline dart carefully, since you will u it later as basic paneling for blocking Original desigm lt will also determine the spacing of the skirt panel,
enter
since the two must coincide. If the dart line is allowed; to run parallel to the Center front from the bust to the waistline, it thickens the waist and makes the ure appear stocky. If the figure is slendcr, the dar! usually starts at a point about 25/4 inches from the center front and slants away from the center front about 1/‘, inch at its top end. If the figure is very heavy, the panel may be as wide as 31/2 inches at the
when the arm is down.
Placing {h0 Waisfline Der} Before finally pinning the waistline dart‚ examine the blouse around the armscye, especially toward the underarm. lf the fabric tends to gap at the side front of the armscye (see Figure 21) deepen the waistline
waistline.
dart.
l. Push the muslin with the flat of the hand downward and forward toward the Center from to fit the armscye smoothly but not tightly (see Figure 22) . Pin the muslin to the form at the waistline on the side seam.
Fig. 23. Waistline dart accurately pinned. 5, Push the excess fabric under the d'art line toward the front and pin it perpendicular to the edge.
Placing fhe Underarm Seam (see Figure 24) l. The line of the underarm seam should {all at the center of the figure from the underarm to the waist. Place it so [hat it is inconspicuous from either the back or the front view. ()n the average figure, it slants slightly lorwarcl, because the center ol the body at the armpit is usually slightly farther back Khan il is at the waistline. This is even t r u e ol a Standard dress lorm undcrarm line. ll your posturc is poor and you carry your shoulders either vcry lar back or very lar lorward, makc any Ilcccssary adjustment in the total undcrarn) line ulong the umleraml scanl line of the blousc. The arm will hang over this soction and will conccal cllectivcly any C()l‘l‘C(‘ll()I1 due t0 lnulty posture.
if the grain is raised t o o high Fig. 21. The armscye may gap a: the underarm. in Fig. 2| may be corrected by Fig. 22. The fault shown tlle excess into the waistline lowering the gmin and pushing dart
2 Clip the extension below the waistline to make the waistline fit closely.
Waistline 5 Smooth any excess ease along the toward the tcntatively pinncd dart. lt 4 Determine thc dart dircction and placement.
should slam toward the
ccnter as it
approaches thc 22
-
BASIC
BLOUSES WAIST BACK
fOFm an (h6 fOTm lhe best location on Before draping mark the (h6 and the under the at one ( w o pins: top lop „im two with firm arm waistllfle. wvalstllne. the lhe on C e n t e r center the a1 at other ogher position poslllon {Old and fold 2, Stand directly at the side of the form 2. the Tu r n Turn established. eslablished. thus the fabric along the line horizontal no Leave side. sidc. the over right excess forward line outward to alslam the Iine ease at the waistline but slant thc top of the at aL the bust the over ease of case I inch l to low 5/, Iow 2% underarm seam. This excess forms a small vertical fold 1s down and from of the armscye when the arm is in front fmd for and chest body acuon. expansion supplies ease for 3. Crease the fabric without stretching it and pin i; perpendicular perpentlicular to the edge, but not into the dress form. foml.
. i
2
.
’
Esfimafing Esfimafing fhe Fabric (see Figure 25) bafk anrount of cloth needed for the back lhC amoum Estimalc the Estinnate t0 l0 front. fronl. the for dld expect of the waist as you Ilf l'fm you two back the c u t separate however, fit the blouse‚ blouse, eut Center. mch lap a! the Center1/1 mch pieces, allowing for a 1/2 LP a
_.’r _.’/ I z
3" plus
Measurement
Len m ifih
„e
hest Measurement Measurement plus 3" Chest H2" Lap at Center Back 1!2"Lap
estimate for half of the blouse back. back. Fig. 25. Fabric eszimatc
Fig. 24. Underarm seam.
>
fhe Neckline Neclzline (see Fiqure Shaping the Figure 26) For a size l6, 1G, the back neckline without a seam allowance is 1/4, center e n t e r and 21/2 inches inchcs 1/2 inch deep at the C wide at the shoulder seam.
4. Cut, allowing a 11/2 to 2 inch seam. The wide seam allowance provides for correcting errors and for Iet-out let-out when fitting. 5. Turn the seam seaun allowance under to the wrong side sxde on the creased line and re-pin it. 6. Before finally pinning the fabric to the waistline of the form, push the material upward upward above the waistline from the dart to the sidc side seam. The slight blous‚ ing lengthens the underarm seam enough to permit LTaising raising the arm easily (see Figure 24). Note. To T0 acquire acquirö speed and deftness in draping Nore. do not attach the fabric to the form when 1leichnique. lgchrrlque, the armscye line‚ darts, p mmng pmnmg line, or the underarm r. line except at the lower end. 2563m lme Vseam _ Leave the front of the blouse on the form and pro-
-’ ’
Seam
V
Shoulder
‘
-
1rAr
L2\
‚ Q fi
'
C.B. Lap
'
äteed with the back. xteed
Fig. 26. Back neckline shapc. shape.
23
'
iii -
_
hefeis now ‚a l/g incl: seam allowance theftxeck, a "l vinch shoulder seam. and a 1/: wce-nter back _lap.
_
1.:
Fabric on fhe Form (see Figure 27) l. Fold under 2nd crease the 1/2 inch cemer back lap allowance. 2. Pin the fahric along the Center back am: (a) the
(a)
w
1ny’a;1;‚‘j„;ig‚g ;/.%{Ae„ ‘g/gfinch_ve_azsq—' - a
'.
j shoulder sfääni’ (see Eigürej27) (b). By pläcing small" dartQätA thne back oi 5 f line (see Figure 28). (c) By placing a small dart at the CehtEr‘ shoulder seam (see Figure 29) .
a
>
“
‘
r
*
baseof the neck, (b) the shoulder blades, and (c) the waistline. The fabric should be eased above the pin a: the waistline for blousing. 3. Clip the fabric to the basic neckline. Smooth i: slightly away from the center back and up toward the shoulder seam, forcing the fabric to cling closely to the side of the neck. As you do so, keep [he filling
threads perpendicular to the center back‚ and pin the cloth t0 the form as you proceed. 4. Pin the fabric t0 the form at the underarm seam level. just below the armscye to support the crossgrain Fig. 29. Shoulder dart pinned and waistline dar: tenlatively placed.
The ease of M to 8%, inch along the back shoulder seam is always used. lf the shoulders are somewhat round, either method (b) or (c) is usually used in addition for extra shaping. A figure with flat. erect shoulders, however, may need only the ease along the back shoulder of the pattern. 2. Shoulder easaThe amount of shoulder ease possible depends on the Hexibility and shrinking quality of the fabric. To keep the filling threads level, lift and swing the fabric from the end of the shoulder up and in toward the Center. This forms excess along the shouldcr which should be pinned into a temporary dart, latcr to be cased across the shoulder when the back is joined to the front. By kecpixlg the filling threads horizontal around thc underarm, you avoid ‚g [
rises slightly at arml-‘ig 27. Fabric placement (crossgrain xye)’ n n of shouldcr ease. Pi‘, 28, Neck dar: plus 1/, 4A;
BASIC BLOUSES
'
CUFVC ocCurs at the lower Curve sometinles oCCurs which sometinxes the gapping whiclr baCk armscye. of the back at the dart 11i 3_ lf you also use method (b) place a 3, it and neCkline place neckline 28), the of Figure (see back woman The lorm. when pinning the neckline to the form. bone häving an more mature figure with a prominent her having Carries who the or ol the girl at the top spinc, head lorward, will find this the better dart position. e n t e r back Place it from 11/2 to 2 inches from the CCenter to than be 21/2 t0 longer of the neckline. lt should not the Center to almost be parallel 3 inches and should inch at its outward not more than 1A M inCh back, slanting (xutward C e n t e r back under toward the Center lower end. Fold the dart undcr thc edge. and pin it perpcndicular perpendicular to the method ease you use method shoulder l0 to ll in addition 4. lf shoulder the at a dart (hat that ol of instcad instead is, (b), (c) seam (see Figure 29), this may be placed in line with both should start at about the lront dart, since both the front middle of the shoulder (see Figure 30) . The dart line should appear to be almost parallel to the C e n t e r back, aCtual measurement it should slope toward the but by actuul at its lower end, end. Keep the filling Center back slightly a1 threads horizontal at the lower armscye and swing swlng the form the dart at _ excess above this up and inward to lorm the shoulder line. Fold the fabric under toward the baCk and pin it perpendicular to the edge. Center back
Note. Before establishing the shoulder seam line, check the ease over the shoulder blades. lf If the fabric to the form too lower the clings Clings Closely, filling threads closely, a llttle little from the outer end ol of the shoulder seam line.
#5 9
tematively 21/2 t0 waistline dart tentatively 5. Place the waistllne t0’ 3 Flgback at the waistline (see Figlrom the Center baCk lnches from inChes back of ure 29). This is the main dart in the baCk the lme materlal under the dart llne excess material blouse. Push the exCess and point it toward the Center of the shouldenor shoulderor toward the shoulder dart if there is one. lf the warstfar outward toward tlle line dart tends to point too lar the Crosswlse indicates that the Crosswtse this the shoulder, of tip tlp raised too high at the outer tip of the grain has been raised shoulder. To Correct this, lower the grain at the end ol" the shoulder until the waistline dart points toward ol’ inCh lt is about 1/2 inch the C e n t e r of the shoulder, or until it at a: than the at line back Center C e n t e r the lrom from farther point the lower end.
Placing fhe Shoulder Seam Line (see Figure 30) neCkline and fabriC along the neckline 1. l. Smooth the fabric excess back over the right side, lold the exCess then fold shoulder, thcn ol" the fold flush against the edge of the with the edge of lront shoulder seam. front 2. Crease and Cut, allowing a l inch seam.
3. Unpin Unpln and turn the back seam allowance forward, lapping the front edge of the shoulder seam
lt. over it.
4. Keep the fabric t a u t along the front shoulder line so that the blouse when tried on will bridge over the hollow in front of ol the shoulder seam. 5. Stand directly at the side of ol the form while pinning this seam. Pin first the neck end, then the outer point. Then, leaving the ease along the back shoulder point. seam plnned pinned in, finish pinning plnning the shoulder seam, the placing pins perpendicular to the edge. Note. The shoulder seam should appear to be a ‘The ehoulder t r u e strarght lme. Overhandling of the bias while straight line. Curve. This effect should be pinning may make it curve. avoided.
fhe Armscye Curve (see Figure 3|) Forming the Two points of the back armscye Curve have already been determined by the bloüse front—the shoulder point and the armscye annscye depth. Only one point i5 „n. known, the point of the Curve where the back is nar-
k
rowest.
Fig. 30. shoulder seam "u
turned back ready to be
cut.
l. 1. Start the line at the shoulder tip and form a smooth continuation Continuation of ol’ the front armscye Curve Plac PlacIing n g the pins head to point, curve Curve the line
slightly
—
curve- upper
dotted line indicates the narrowest point of the curve. 4 inches below center back of neck.
Fig. 32. Finishcd blouse hand pressed agajnst fomx t looseness around bust. Vertical folds form on each side
inward towaxd the Center back line as it goes down toward the shoulder blades.
stopped before it reaches the shoulder blades or blouse will fit t o o closely at the point of the da11. 3. Check to see that the armscye clings closely. to the form. Any gapping along the side of the annscyq indicates (hat a larger dart is needed either at the
Fig. 3|. Armscye '
L
underann.
_
2. Find the narrowest point of the back by measuring down on the Center back line 4 inches (or one-
Iourth the length of the blouse at the center back) and saquam out at this level across to the armscye. Continue the curve from this point outward to the underarm, where it meets the lower end of the front armscyc curve. Notice the appearance of the armscye oval from the side view shown in Figure 52. To allow the arm to
waistline or at the shoulder.
4. Clip the extension below the waistline in Order
to fit the
Placing fhe Underarm Seam (see Figure 32) l. Fold the excess fabric on the blouse back over toward the right side. Leave no ease at the waistline
swing forward, the curve established between points curve on the (2) and (3) is somewhat higher than the two points. front armscye between the same 3. Cut, allowing a 1/3 to M;inch seam on the lower half of the armscye and increase the allowance to % inch Ior the upper half.
f
waistline closely.
Ä f
but slant the line out at the top to allow 3/4 to l inch of ease. This makes a slight vertical fold behind the 7 armscye when the arm is down. 2. Crease the fabric lightly and pin it perpendicular to the edge, but do not catch the pins into the form. 3. Cut‚ allowing a 11/2 to 2 inch seam. 4. Before finally anchoring the fabric to the waistline at the side seam‚ push the material upward above the waistlinc to blouse it slightly. 5. Remove the pins, lap the front over the back. and re-pin the seam perpendicular to the edge.
Placing fhe Waisfline Darf (see Figure 3|) l. Smooth the fabric downward from the armscye area toward the side scam and tentatively pin it at the waistline (see Figure 29). Take up any excess the center back and the along the waistline between of the waistline dart. size the side seam by increasing 2. Pin the waistline dart, placing it accurately to in toward {arm good panel spacing. lt should taper outthe Center back at the waistline and should slant be lt should end. ward about '/2 inch at the top
Note. To avoid pinning into the form, slip your hand inside the blouse when pinning the underarm seam.
26
BASIC BLOUSES THE BLOUSE ON THE FORM front and blouse. the lront The two basic sections of the blouse, certain Certain but complete, back, are now essentially Cornplete, the back, rnade before the blouse is must still be made adjustrnents adjustments lorm and a master pattern is made removed lrom the form
The Final Checking thc form, lorm, study lrorn the Belore removing the blouse from lrom stand Then 33. away frorn the lorm luorm away Figures 32 and the cheCk to check t0 lollowing pomts: lollowmg and view your draping lrom all 0L" the entire blouse from I. The general effect of l.
it. from il. {rom
angles. slant 2. The direction of all darts. These should slaint waistwa1st< the to shoulder the from Center in toward the center
Ease Around fhe Busf (see Figure 32) Press your fingertips against the draped blouse on the underarm seam to determine whether or not there is enough ease around the blouse at the bust level. A beginner tends to fit t o o closely. When you press folds should two vertical {olds your fingers against the form, with the line in in one back. back, and front lront in one form, narrowest point of the armscye. Lack of ease around the bust makes the fabric draw and form diagonal folds from the bust to the underarm.
line.
ol the lines of shoulder and 3. The stralghtness straightness of underarm seams. be about 4. Ease through the bust. (This should l)e center Center the to front C e n t e r the center back.) 11/2 11/1 inches from 5. Ease in length above the waistline to allow for
reaching. blousing and reaching. 6. The shape of the armscye oval from the side view. 7. Finally, you should compare Compare your blouse with the illustrations.
Placing fhe Waisfline (see Figure 32) followl. Place a line of pins along the waistline f0ll0w— to see Check cover. form the lorrn ntarked on ing the line marked the above for is there that blousing adequate length waistline.
MAKING A MASTER PATTERN FROM THE DRAPED BLOUSE
uraistline to seam allowance below the waistline Trim the scum 2. 'l‘rim ) r e s s Form Cover, Chapter 1, 2 inches. (See The IDress l, page uvaistline placement.) standard waistline 7, for the standartl
The next steps in the procedure are to remove the to t r u e it‚ blouse from the form to true it, and to transfer it t0 the opposite half.
Farming Forming fhe Neckline Curve (see Figure 32) continuous line of pins along the Place a smooth Continuous neckline following follotving the line established on the dress form Cover. cover. (See The Dress Form Cover, Chapter l, page 6, for the basic neckline placement.)
‘lhe Blouse from fhe Form (see Figure 34) Removlng Removing fhe l. 1. Take 'I‘ake out the pins at the Center C e n t e r front and Center baCk‚ back‚ and wherever they have caught Caught into the form. Leave the shoulder and underarm seams, darts, neckline, armscye, and waistline pinned. 2. Mark all important lines. Use a soft pencil when with practice praclice material and colored thread nrorking n/orking lmes or Chalk when using dress fabric. fabric, dressmakefis dressmaker's chalk Before truemg the pattern, mark with a broken line pattern‚ and not too heavily the following lines: Both edges of all seams‚ Crossmarks to (a) Both seams, with crossmarks match Correspondmg correspondmg edges. Crossmarks, sometimes also called Called balance points, are equivalent to [o notches on commercial patterns. There should be a crossCrossmarking at either end of ease and at either side of a. a, dart.
Finishcd blouse. front view. Fig. 53. Finished
27
=
«-?"(a) -
’Nöck1ihe {anarshouid-aer
3111.5’.
(b) Shgulqer dar: atrgcLshouVlgg; ggggn,__ (c) Shouldet seam and
A_
armscye; (lif die
angle of the intersectiön will bc Slightly Test degrees on the front and slightly more 011 the= (d) Armscye and underarm seam. (e) Underarm and waistline. (f) Waistline and each edge of the waistline d
‘IUf ‘
(g) Waistline and Center front.
Fig.34. Blouse pattern aher removal from the formscatns marked and a-ossmarked.
(b) Both edges of darts. and waistline. (c) The arm curve, neck curve, Trueing fhe Paflern (see Figure 35) Even though pattems are carefully draped, all lines that should be straight must be ruled with a ruler, the and all curved lines must be either drawn with aid of a curve or smoothed up freehand. I}. Remove all pins from thc pencil-marked pattern. m‘ ‘üble’ "2 5111003‘ ‘h3 Pawem m“ H“ V3 Pressing a ruler down firmly against the cloth on wie m‘! 0W":‘Olmwins 15'169“ maifihw"
Fig. 35. Method of trueing
°"
'
'
5. True up thc following curves either freehand or . with a curved ruler:
(a) The neckline. This should enter the shoulder seam and the center Iront at a right angle. The curve should be close to thc neck at the side.
fehle,
L
*
panern.
"
underarm scam.
28
'
BASIC BLOUSES ln the lront, front, this has its narrow(b) The annscye. In neCk of the neck inches down below the base ol est point 3 inchcs c5: narthe the In back, back, front. e n t e r lront. measured on the CCenter measured neckline the below rowest point is 4 inches Center on the Center baCk. The line Curves toward the of the level the to t0 shoulder the from back or tip front fronl Chest the from from the Center fronl Chest Chest‚ and Curves away lrom to the underarm.
of the pattern is a smooth curve (c) The waistline ol between the right angles at the intersection of seams and darts. allowance on all 6. Mark lines to indicate the seam allowanCe C e n t e r back, Center and front lront the Center pattern edges except as follows:
Selvage
Selvage
u: o: i’ .1’ 3 r: z‚...
— — — —— —2 inches. Underarm — —2 inChes‚ Waistline Waistline—— inches, clipped. Clipped.
inch, Clipped. 1/2 inCh, (a) Neck curve Shoulder— l inch, Clipped near the neck end. (b) Shoulder inch lower half. inch top half; 1/2 ß inCh 5%inCh 2%, (C) Armscye (C)
(d) (e)
n0 DB
c zu
.1 .4
fo fhe Opposife Half PaHern ‘lo the Pafiern Transferring fhe l. Smooth the pattern out with a warm dry iron. Press Carefully in the direction of the grain to avoid stretching. 2. Fold the pattern along the Center front line and to be sure that the fabriC Hat on a table t0 smooth the fabric threads run filling perpendicular to the lengthwise threads. Pin the two layers together. 3. Transfer all markings to the opposite half of the chalk pattern with a tracing wheel used on either Chalk Carbon paper. Trace against a ruler board or colored carbon wherever the lines should be straight. Press down hard on the ruler to keep the Cloth from slipping. 4. Open up the muslin pattern and trace all the lines through t0 to the right sidc side in order to mark the as well the as side. This is for Convenience right wrong when fitting and is done only on muslin proof-a proof—a muslin pattern that is to be basted and tried on to show (hat that it fits.
e n t e r front and of transCenter Fig. 36. Method of folding on C half of pattern by a tracing to opposite ferring markings Carbon papcr. wheel used on carbon
Problem 2 DRAPING THE BLOUSE WITH A HORIZONTAL UNDERARM DART
The procedure for draping a blouse with a horizontal underarm dart is in many respects a repetition of [horProblem l.1. It lt is therefore advisable to review thorStarting oughly the directions for Problem l before starting Problem 2. An underarm dart may be substituted for a shoulder dart, but is most suitable for the loosely fitting blouse shown in Figure 41 4| or for a supplementary fitting dart, because if as much muCh excess is fitted out at the underarm as at the shoulder, the underarm dart runs all the way to the point of the bust (see Figure Figure 37). Figure 38
Note. This procedure of trueing should be followed with all master patterns. Laying the pattern flat on the table lable and trueing it teaches you to observe pattern shapes in detail. The procedure for preparing a master {or a fitting can be found in Chapter 5 . pattern for
shows graphically why this is true. The distance from the underarm to the point poim of the bust is much shorter than from the shoulder seam to the point of the bust. The dart must therefore be smaller and shorter to taper out well. The longer dart is, of course‚ possible
29
_ ‘ihn’ Piti’ a3. in Pro .
V
-
es
v1
A
_._{-‚._n.i
to run to point of bust, allowed block
f
‚
Placing ihe Shoulder Seam Line l. Stand directly at the side of the dress fotm an fold the excess fabric above the shoulder forwardftd
pattern.
_. m “um” “W53 .P*m°'_‘1: b“ i5 m05‘ unbecoming in a blouse that is to bewom. Only when it is used I o t a looselyvfitted blouse is it possible to make the _
V
b!
and waistline. 2. Pin "a: the Chest neaxy": die armscgp. Thgs ‚m‘? . threads should be‘ level across the chest. 3. Pin around the neck as ü:Problem l. V
pofiible only -folf
,
{arm [he shoulder „ a m um;
2. Pin und crease lightly to avoid stretching the bias
dar: enough smaller and shorter so that i: will disappeär atjthc front o! the armscye line and be concealed b, {im 3 , 1 m 111e ‚emamder „f ‘h3 excess cm be Put imo a waistline dar: or can be worked into ease along the WIiSÜiIIC. ThC underarm darl C 3 D b6 successfully used as a concealed fitting dart but never as an ornamental one. Figure 4| shows the finished blouse wilh thc underarm dart shortened and concealed by the deeve‘
fold
_ _
Cut‚ leavmg a I mch
s"eam
allowance, and fold
thls under4_ Rgpin’ fastening the fabric sccurgly a; each end of (h3 shoulder „ a , “
[o
[he fofm
Fwmmg m, Armscye Cun, Proceed as in Problem 1.
?
distances of shoulCompau Iines show comparative bust ( m m daru point. Undcrarm dart. da and underarm without shonened being divided into be 314mg, anno: z? f gyqor more smaller dam.
m‘ 33.
’
.4 i
Fig. 39. Underarm (‘lan shortened to disappear at front of armscye.
30
L
BASIC
BLOUSES Waislline Darf Placing fhe Waisfline l. l. Decide on the location as in Problem 1. excess for 2. Pin accuratcly, accurately, but save some of the Distrlbute Distnbute waistline. the tbe gathers gathers along tucks Flgure 40). (see evenly by picking up tiny pin
37 and 39) Placing fhe Underarm Darf (see Figures a! the waistline edge of the the excess is now at All lhe that it is impossible demonslrated (hat Problem l demonstrated pattern. Problem paIterII. in one place and still dart basic entire to take up the emire obvious (hat an more is even lt out it smoothly. taper (hat underarm dart cannot take up all the excess and that between the underarm and a supmusl be divided betwcen it must dar: or galhers along the waistline (see plementary dart Figures 37 and 39). {hat the filling threads drop downward Notice that toward the underarm seam below the pin at the chest dar: (Figure on the armscye and above the underarm dart
Seam Placing fhe Underarm Searn the fabric downward and forward under I. Smooth Lhe l. lt at the side on the waistline. the arm and pin it Tu r n the fabric forward over the right side and 2. Turn proceed as in Problem l.
37).
WAIST BACK With this waist front use the back pattern pauern draped in Problem l, but since the front has ease for blousing waist— lhe back waistalong the waistline, distribute part of the t0 unify the into gathers along the waistline to line dart inlo back and front designs. Figure 41 shows all of the excess on the waistline pur put into gathers. darl into two or of dividing one dart For the method o! more parallel darts, see Figures 42 and 43.
Fold in a dart about I inch below the armscye 1. l. Fold and direct it toward the point of the bust. 2. Turn the fold upward and pin it tentatively to t0 taper to a see whether whether or not it is small enough to of the front the with in line armscye (see Figure point poim 39). 3. Take up the remaining excess in a waistline dart Problem l. This will be larger than the waistas in Problem line dart in Problem l unless part parl of the fullness is lhe waistline into gathers. distributed along the 4. Pin the underarm dart perpendicular t0 the caper ltit out in line with edge. lf it is impossible to taper into two or three smaller the armscye from, front, divide it imo [hat will taper out more smoothly (see Figure darts {hat 40).
Fig. 42. Procedure for dividing a dart into two or more parallel darts: Step l. Proccdure for dividing a dart into two or more Fig.43. Flg.43. Procedure parallel darts: Step Slcp 2.
Problem 3 DRAPING A FRENCH DART BOD|CE '
.
(see Figure 44) is formed by the Tlre Tbe French dart ‘(see verucal shoulder and waistline darts. vertical meetmg meeung of the tlre The 1s is panel palttern pzrttern therefore in two parts, a Center pancl and a slde sude section. It lt is used for tight bodices
40. Underarm darts dans divided dividcd and shortened, part of Fig. FigAO. put into waistline gathers. 41. Underarm dart concealed by sleeve. Waistline exFig. 4|. Cess ccss put into imo blousing.
excess
evening
31
DRESS
Fig. 44. Variation of French dart bodice.
and is also preferred by some designers as a foundation pattem. When fitted with ease‚ it also makes a basic pattern for tailored garments and is a fertile source of original design development (see Chapter 7 ‚ Suggestion 7) .
D ESIGN Farming fhe French Dorf Lina (Figure 45)’ Place the French dart line where it is most becom"' ing to the individual figure. The standard position from the center of the shoulder across the point of the " bust to the waistline. The line should slant in toward the center all the way from the shoulder to the waist. At the waistline end, it may be somewhat closer to the center front than is the waistline dart of the basic blouse. Note. If the line does not slant in enough‚ it seems rather to tilt out‚ and thus to thicken the waistline. If the bust is large, the French dart line will be more slenderizing if it begins out beyond the center of the shoulder seam in order to broaden the shoulders and reduce the apparent bust size. Figure 46 shows poor panel spacing. The line curves in toward the neck at the top and is too far from the center at the bust. l. Fold under a half-inch tuck to establish a satisfactory French dart line (see Figure 45).
BLOUSE FRONT CENTER PANEL (ONE-HALF PATTERN) Proceed as in Problem 1.
Shaping fhe NecHine
Hollow o u t as for the basic waist in Problem l.
Placing the Fabric on the Form the l. Place the selvagc at the center front with below mch base of the neck in the fabric (marked 1/2 as marked the cut neck line) at the base of the neck on the form. the 2. Pin the labric a1: (a) the neckline, (b) above little a it chest, and (c) the waistline, easing the last pin. to anchor the 3. Place a fourth pin at the chest the filling threads fabric to the form and to support so that they are level. neckline. Smooth 4 Clip the seam above the basic as in Problem l. the labric around the neck exactly threads, pin the 5 In order to support the filling near the neckline. fabric to the form at the shoulder
Fig. 45. Formation of French dart line by folding a tuck.
2. Place pins through the two upper layers of the muslin only and at right angles to the edge of the tuck. 3. Tu r n the edge of the tpck back toward the center front in order to c u t off the seam allowance beyond the [olded edge. Allow M;to 3/, inch for the seam. 4. Clip the seam over the bust. The pins hold the tuck in position and at the same time turn under the seam allowance t0 the wrong side.
shoulder at n right angle. the curves slightly outward. lop of the Hench tlart line ll it did not, it would appcar to curl in toward the Note. To unter the
32
_
BASIC
BLOUSES inorc ease lront panel, the more (unter front toward the Center there ovcrdo this‚ ll lf you overdo betweexi bust and shoulder. will be betwccn this, o o much m blouse ttoo however, you will tighten the howevcr, front ol" the armscye. lront t0 the form near the shoulder. labric to 3. Pin the fabric
labric back on itself along the French 4. Fold the fabric ol’ the side section just touchdart line with the edge ol" C e n t e r front panel. Pin it perpening the edge of the Center t0 the edge. dicular to 5. Cut, leaving a Il inch seam to allow for any adpin the necessary when you pln justment which may be neCessary section. front panel to the side seCtion. C e n t e r lront Note. There should be more length on the side front curve. section than on the C e n t e r panel over the bust Curve. vermore the front lront is, center C e n t e r The narrower the panel the side on bust the over be should there ease tical front section. A small amount of horizontal ease curve. should also be allowed over the bust Curve.
"fapeline showing poor line formation. Fig. 46. Tapcline a: it goes over the shoulder, as in Figure 46. neCk neck as French dart line also enters the waistline The normal French Curves slightly away from Center at a right angle and curves so. to do order in front from
SIDE FRONT SECTION
fhe Form (see Figure 47) Placing fhe Fabric on lhe fabriC on the form with the lengthwise l, l. Place the labric C e n t e r of the side front grain running up through the center (hat it is perpendicular to the waistline as section so that far up as the bust. Pencil the grain line on practice lar praCtiCe material. Hold the fabric in this position with the left hand and smooth it forward with the right hand to make sure that you have allowed enough material to meet the front panel and to provide a seam allowance as well. There also should be at least a l inch seam allowance above the shoulder. lront seCtion-grain Fig. 47. Side front section-grain perpendicular to waistline up to armscye and then forced forward {orward at Chest. chest.
Pin the vertical center 2. Pin Center grain line to the form at the bust level and again at the waistline as shown in Figure 47.
6. Crease the turned line lightly with the thumbnail, nail‚ unpin, unpin, and slip the seam allowance on the side section forward under the Center center front panel. Then re-pin to join the two sections. Starting at the top, top‚ down toward the bust; then from the waistline, pin waistline‚ ptn forces the ease over the bust pm up to the bust. This forCes
Placing fhe French Darf Line (see Figure 47) l. Smooth the fabric forward and upward against 1. the edge of the center Center front section. 2. Smooth the lengthwise grain above the bust line tovtard tovrard the side front seam enough to force the maamiscye. The more you terial to cling around the armscye. direct the lengthwise grain above the bustline inward inward
curve
(see Figure 48). 7. Clip the excess below the waistline to fit the bodice very Closcly closely around the waist.
53
‚.39.
Esfimafingv fhö 55555:. Seelflwieiigesflfiiäfäitfo
ollflio Ei Shaping fheiNeclxlinoe. See the Placing fhe Fabric an fhe Form. ‘See fho cenfer froqfpä‘ ‚
Farming the French Darf Line l. The French dart line in the back of the is a continuation of the side front line. It shouhfl enter the shoulder pcrpendicular to it, should curve slightly inward over the shoulder blades‚ and shouldi enter the waistline at a right angle. Figure 49 shouü a good position for the back French dart line. 2. Study the slope of the line to find the most be-_ coming position over the shoulder blades. If you exaggerate the inward curve, you will emphasizc round shoulders, as Figure 50 shows. Keep the shoulder area broad, but slope the panel in a: the waistline to slenderize it (see Figure 49) . 3. Follow the directions for pinning and cutting A
Fig. 48. joining o! ccnter and side from: (I) Dotted lines show grain position; (2) Pins close together show position of ease.
q
Placing the shoulder Seam l. Follow the directions for establishing the shoulder seam in Problem l.
2. Check the armscye to see that the fabric clings closely enough (o the form and yet does not draw too tightly. lf there is still looseness around the armscye, push it forward under the side front line.
i
the from French dar: line.
Farming fhe Armscye Curve (see Figure 48) Follow the directions given in Problem 1. The French bodice should cling to the figure somewhat more closely than the basic blouse in Problem l. Placing the Underarm Seam Line Follow the directions given in Problem I, except (hat (bis bodice should fit somewhat more closely around the bust. Placing the Waisfline l. Clip the fabric below the waistllne at the Center of the side from section so that it fits tightly along the waistline. A French dart bodice should have no esse whatevcr along the waistline. Between this seam, ease the fabric clippcd point and the underarmallow extra length beto upward above the waistline the arm (see Figure 48). low the armscye for raising 2. Mark the fabric with a line of pins following the waistline indicated on the form.
‘a
Fig. 49. joining of center and side back: (l) Well placed French dart line a: back (compare with Fig. 50): (2) AI‘rows show grain position; (3) Pins close together show p0sition of ease. emFig. 50. Poor French dar: line. An exaggerated curve the across back the and narrows shoulder: round phasizcs shoulder bladcs. .
34 .a.„ue.‚_„«‚-;
BASIC
BLOUSES the garment that Lhe Observe the entire bodice to sec {hat Ohserve garmenl scam seam lme, line, and shoulder the thc neckline, necklitxc, the zu fils closely fits dar: bodice Frcnch dart waistline. Although thc French the waistlitne. fits dlSearlier disblouscs blouses two ol’ the eithcr ol" more closely closcly than either lhere should still bc 2 to 3 inches of ease cussed, there bunt lor action and breathing and thc cntlre emire bust around Lhc wrinkles around the bust when horizontal to avoid thc side of to err on the the blouse is worn. lt is better t0 little ease around the bust. rather than too liltle much rathcr too much lront and back Crossmark the French dart lines in front and shoulder bust the 1o distribute the ease over to
SECT|ON SIDE BACK SECTlON
‘rhe side direclion for fhe Placing fhe Fabric on fhe Form. See direcfion fronf.
fhe French Darf Seam Line (see Figure 49) Forming the 1. Smooth the fabric toward the Center back and I. up against the edge of the Center back panel. 2. Force the lengthwise grain above the shoulder 1o keep the fabric smooth blades inward enough to shoulders need this more Round the around armscye. overdone‚ the than Hat ones, but if the lorcing is overdone, roundness will be exaggerated. Rather than overfit t0 take up the round shoulders, shoulders‚ use shoulder pads to
blades.
fhe Paflern (see Figure 5|) Marking and Trueing +he Remove the pattern from the form. Renmve lines. Pencil all seam lines. [0 2. Pencil
l.
excess. t0 the form near the Lhe side back section to Pin Lhc 3. Pin shoulder. fahric back on itself along the French 4. Fold the fabric seam line and follow the directions for pinning, dart seatn front French dart creasing, cutting, and repinning the {ront waistfor clipping the extension below the waist« line and lor line.
the shoulder seam, seam, (b) the Crossmark (a) Lhe 3. Crossntark ease‚ (c) the dar: line above and below the ease, French dart underarnl seam. underarm 4. True the pattern, paltern, ruling all straight lines and lreehand. smoothing all curves freehand. ol the French dart bodice 5l shows the shape of Figure 5! it is Hat. Nolice the ease over the bust when Notice pattem pauern in the side front seclion. section.
.
fhe Shoulder Seam Line Placing ‘lhe direclions for cstablishing Follow the directions cslablishing the shoulder l. in Problem seam givcn given
‚
.
+he Armscye Curve Farming Farming fhe Follow the directions for establishing the armscye given in Problem l.
’
i Placing ‘lhe Underarm Seam Line
;
l. Follow the directions given in Problem l. 2. Check the contour comour of the lhe blouse arountl around the bust. shoulder blade, and armscye while formlng forming this line. ttladg, side lront over the back. Sometimes raising _ Lap the SldC _ or lowering the crosswise grain of the front or back lhe snde side seam lme line improves the lines of the _‚along the
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l’Placing fhe Waisfline
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Before marking the waistline, raise the side back ‘Before to allow enough length below the Sllghtly 1o armscye so »bslightly (hat the arm can be raised Vfthat easily.
‚
French dar: dart bodice pattern, Fig.5l. French panem_
35
w
I?!
‘s K131i? ‘EENGIH_ FRENCH
2. Letthe, fabric drop from eihe-cliplfped. ‘i’;
establish the Frenchedart line from-the hip. The line should slant outward slightly ‚from the Center front) from the waist to the lügt i -. . Figure 52).
DART JACKET
)
a.popjllalestandarvxi pattem for jackets
and mit; and offei-smany poäsibilities for Variation in design "(see Chapter ‘7)‘.. .
e
-
SIDE PANEL—FRONT OR BACK
PANEL-AFRONT OR BACK
Draping from shoulder fo Waisfline Follow all the directions for the waist length Freud} dar: blouse from shoulder to waistline except for establishing the waistline.
Esfimafing ihe Fabric Lengfh Measure the length of the blouse from the highest im o: the shoulder over the bust in front and the shoulderblades in the- back to the waist and add to this measurement the length of the jacket below the waist.
Draping from Waisfline fo Lower Edge (see Figure 53) l. Clip through the seam allowance on boflr the underarm and the French dart seams from a point l 4 , inch above the waistline downward diagonally to within 1A, inch of the waistline. 2. Let the fabric drop from the clipped points for extra width below the waist to fit the hips smoothly or to produce a flare. „
Draping from shoulder fo Waisfline Follow all the, directions for draping the center dart bodice given panels of the waist length French for establishing the waistin Problem 3, except those
Z
line.
I‘ Fig.58. Side front section. Seams a: waistline clipped both sides, front and side.
section. Scam clipped from l inch m5. 52 Center from above wainline Io the waistline.
—
36
B A S Il C
B L LO O U SS EE S created by picking monk's hood. The cowl neckline is Created monk’s labnc and 3119Wol of fabnc a of corners two plece piece allo’wopposite up Cowls exempllfy t0 drop downward. C e n t e r to ing the Center Since the sense. SinCe its most literal sensc. beauty.of draplng draping in lts WhlCh matcrial m whnch material the ol textur e texture cowls COWlS depends on the between the as well as relationship they are interpreted curves, the most graceful fold-lines and the figure Curves‚ the lold-lines Cowls are usually those which are draped on the form cowls material. directly in the dress material. can absorb all, part, or none of the A cowl neckline Can Laken up in a dart‚ depending on the excess usually taken thc entire excess and lt absorbs the cowl. Cowl. of the depth labric to the figure only when it therefore shapes the fabric falls at least as low as the bustline. can be Although most exactly balanced designs Can must be a cowl lorm only, draped on one-half the form folds. on the the balance to balarlce t0 sides pull draped on both however, use one After draplng draping the cowl in this way, however‚ sides will be two that the so a pattern as u side only a5 patterl) alike. exactly
Fig.54. Completed hip length bodice, front view. inFig. 55. Completed hip length bodice, side view (flare the at a! lroduced troduced back).
Crosswise [hat the waistline is on the crosswise to sce (hat Check t0 does not rise at either the underarm or the and (locs grain und French dart seam lines‚ lines, and that the lengthwise grain Crosses the waistline at a ol" the section seCtion crosses Center ol a1 the center right angle. lrom waist to hip‚ 3. Pin the seams from 5. hip, lapping the over the side‚ Center section ovcr center side, and the side front over the side back on the underarm seam. Figures 54 and 55 show the front and side views of FrenCh dart hip length jacket. the completed French
A High Neckline Cowl excess and therefore reThis absorbs none of the exCess usual amount of the darting. quires l. I. Fold the fabric on a t r u e bias and place the bias at the cCeennt e r front of the form (see Figure 56) . PenCil Pencil this fold line on muslin or thread mark it on an actual
Note. The line from the waistline to the hip is alan outward slanting line. It is possible either to 3 ways fit the figure smoothly at the hipline or to introduce some flare on the peplum section by slanting the line out more than enough to fit the hips (see Figure 55) .
'
.
garment.
‘*
A seam at the center l.— C e n t e r back of the French dart jacket —adds still another line either for fitting more smoothly below the waist or for introducing a flare. To acquire an experimental to develop experimentell attitude and t0 - a feeling lor draping even while worklng i working with standard designs, designs. try out the minor variations in design suggested above. However, always follow exactly the . fundamental rules of grain position. L
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‘
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Problem 5 DRAPING BLOUSES WITH WlTH COWL NECKLINES— NECKLINESHlGH. HIGH. MEDIUM. AND LOW VARIATIONS The cowl is inherited lrom classic Greek drapery, inherited lrom i;: ut the termis.itself ltself is 1s (lerived denved from the drapery of a ‘Tbut
l-‘ig. Fig. 56. Fabric folded for cowl neckline.
37
Center front line of the center ‘front of the “C. ällouldlcoitgeidevewigh‘
shollidfir-„scaip
eL“
Fig. 60. Measurement for cowl neckline bust.
Fig.6l. Fabric pinned at
epding
_ —
sides of neck. um bias ro"
Center ( m m .
Fig. 62. Shoulder clipped tally.
Fig‚57. Measurement for a high cowl neckline.
l0
distribute folds more hofinong
A Cowl Ending Above fhe Bus} Line This absorbs some ol’ the excess usually taken up into (larts, the amount depending on the depth of the neckline. The Center front line of the fabric standsÜ l away from the bust line of the form about inch. the with increases amount depth of the though the neckline. Follow all the steps for draping the high-neckline cowl except number 3, which gives the measurement. For this Substitute the following dircction: Measure 3 on the dress fonn the distance from the shoulder seam at the necklinle to the desircd neckline depth a: the Center front (see Figure 60). Figures 61 and 62 show the procedure for pinning and clipping to establish ä the desired folds.
5. Pull the drapery down at the Center front. Since the Center front line of the fabric is bias, it is possible t0 adjust it imo small folds instead of one large one lower edge of (see Figure 58). Weights placed at the as folds the retain draped. the top fold help to more horizomally, stretch Note. To spread the folds the fabric along the shoulder seam from the neckline end toward the armscye in the following order: stretch, stab a pin through the shoulder line at a point l inch from the neck, and clip from the raw edge to the pin in order to give direction to the second fold (see Figure 59). Repeat for more folds if desired.
%
5W
'
A’Deep Cowl from fhe Neckfine This absorbs most of the nccessary pattern shaping and therefore rcquires little darting. l. Follow steps l and 2 given in the procedure f0!‘ draping the high neckline cowl.
2. With the fabric 3 inches above the highest poim of the shoulder seam, pin the Center front line marked on the fabric to the center front of the form at: (a) the waistline, and (b) a poim five inches above the waistline.
Folds {all from neck end of shoulder Fig. 58. High cowl. sezm. . dinnbutcd by chppmg shouldcr 123.59. High cowl. Foldsfrom neck. Jean: am! Itretching away
__
38
"7:
‚ünsgnag‘.
g
BASIC
BLOUSES Center front excess fabric in toward the center 6. Pull the exccss ‘from lolds folds three or falling vertically und and drop (lrop it into two intersection of the neckline and the shoulder from the intcrsection seam (see Figure 65). 65).
Note. This neckline will probably be at least 5 C e n t e r front. inches below the base of the neck at the Center For a higher neckline, follow the same procedure, but from. C e n t e r front. decidedly toward the Center pivot the fabric less decicledly This leaves some ease below the bust line which must be taken up into a supplementary dart below the bust. C e n t e r front is on the bias, run the added Because the Center lrom the lower end of the side seam up toward (dart l a r t from the bust. lt will then more nearly follow the grain and will press better when stitched than if it were on l)ias. Figure 66 shows the ( l a r t from the waistline. the bias.
l
— ——
[rom neckline. lolds fall from necklinc. Slep cowl, folds Step 3 Dccp wwl, Fig. 63. Deep For steps 4 and 5, drape in the m form. lorm. l-"or of pinuing Method uf pinning to ol the armws. direction of cowl draped from the neckline. Fig. 64. Step 6——Deep (i-Deep Cowl
center 3. To fit the fabric to the form, begin at the C enter lront of the waistline and smooth the fabriC fabric upward from to the armscye at the side seam, following and outward t0 D0 not the direction of the arrows in Figure 63. Do bust. Leave ease. tighten the [abric around the bust.
4. Smooth the labric from the armscye up to the shoulder point, point, aeain [ollowing following the direction ol the arrows in Figure (55. 15l. Pin Pin the Clcth cloth t0 lorm at the to the form end of the shoulder.
5. Smooth the fabric from the end of the shoulder seam inward toward the neckline and pin it to the form. You have now transferred the basic dart t0 to the neCkline (see F neckline Figure igure 64).
Fig. 66. Cowl draped from shoulder and witn part of excess placed in a waistline dart. Cowl draped from the shoulder. Fig. Fig. 67. Deep cowl Cess
A Deep Cowl from fhe Shoulder (see Figure 67) As in the cowl Cowl last discussed, this design transfers the emire entire dart into the center C e n t e r front from at the neckline. l. Follow steps l to 4 for a Cowl from the deep cowl neckline. neckline. 2. Smooth the fabric lrom from the armscye up to the Pin at this point and from the raw edge to the pin as indicated in Clip clip outer end of the shoulder seam.
Fl8-55- Deep FlS-55‚: Folds
Cowl cowl draped from the shoulder. Step [all from the intersectitxt: intersectioxi of ol neck and shoulder.
Figure 67. 3. Drop the grain from this pin in order to form a {old fold that runs toward the center Center front from at the bust level. level ’ Adjust the fabric in the same wa onn th thee Opposue wayy o opposite shoulder.
7-
39
DRESS D E S | G N 4. Pin the fabric to the line of the shoulder seam a: a point halfway between the neckline and the umso/e. and Chp from the raw edge to this pin.
5. Drop the grain toward the Center front again from the C e n t e r of the shoulder seam to make a second fold. Adlust the opposite side in the same way. 6. Pin to the shoulder line at the neCk for the third and top fold, as shown in Figure 67. Figure 66 shows the Completed eRect from the side view when a small dar: has been retained at the waistline. Note. The amount which the grain is dropped toward the Center {ront from the outer end of the shoulder and the halfway point on the shoulder deterrnines "both the depth of each fold and the depth of the neckline.
A Deep Cowl from ‘the Armhole Follow the same procedure, but start tilting the grain toward the Center front from a point halfway up the armscye. This directs a fold from the armscye toward the
Center
front.
Cowl Yokes (see Figure 68) Cowl yokes are often set into blouses to get deep Cowl folds and yet to retain a high neckline and avoid line. They are also used heavy folds over the bust the Iower when the bias would be unsatisfactory in half of the bodice either because of a conspicuous too tightly fabriC weave or because the bias draws and soft is clinging. fabric very around the bust if the
LAP D | R E C T | O N S FOR BUTTONS AND BUTTONHOLES AND BUTTONS AND LOOPS Although the correct method for making buttons’ and buttonholes, and buttons and loops is not, strictly f speaking, a draping problem‚ it seems desirable to give directions for these procedures at this point since so involve the many of the blouses that you will make .
techniques required. Buflons and Buttonholes (see Figure 69) l. Mark a vertical Center front line on both the Buttons are atright and left halves of the pattern. tached to the exact Center line of the left half of the the right half of garment. Buttonholes are placed on the garment; they begin 1/16 to 1Ainch to the left of the Center line marking and extend back to the right side of the C e n t e r. Since the button slides to the very end of the buttonhole, the latter should extend by the only the thickness of the button shank beyond balC e n t e r front line in order to keep the garment anced on left and right sides of the C e n t e r. 2. Decide on the width of the overlap‚ that is, the amount of fabric on the buttonhole side from the Center line to the edge of the closing. Since one-half the width of the button will extend to the left of the of the bulC e n t e r, the overlap should equal the radius ton plus at least 1/, inch for a margin beyond the button edge. Thus, a l inch button requires at least a M"inch overlap. Rule a line to mark the edge of the overlap. 3. D€Cld€ on the width of the underlap, that is, the amount of {abric on the button side extending beyond the
Center
line.
the under(a) If the fabric is transparent, extend the Center line as the lap the same amount beyond on both overlap, so that there will be exact symmetry sides of the C e n t e r (ront. the buttonholes are (b) If the fabric is opaqtle and so that it exlong, make the underlap wide enough tends at least as far as the opening of the buttonhole. Finish the edgcs of the overlap and underlap wilh fittcd lacings or with wide extensions cut in one with f0! the fronts. lf CXlCHSlOIIS arc used, cut the pattern and cutting line thcm by [olding under along the lap ol the under cxtension so that it follows the top edge
the trecklitre slmpe (sec Figure 69a) .
Fig. 68. Cowl yokc.
40
BLOUSES
BASIC
H
Facnng Cut On
Rnght Half
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Under
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Overlap
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[or buuons bunons und and buttonholcs. buttonholes. Either Fig. 69. Lap for
cut
{acing on as in (a) or cut facing [acing as a separate piece. Buttons Exactly on C.F.
Loops
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butlons and loops. Fig. 70. Lap for buuons
41
.
näcrapon thejleft half (fixe buttdn
ihhe Floops arejclosely spaeed
f
line. Allown extra width Vat the Center [tönt im‘ t o n lap if_ the design‘ requires one... .
‚rare extended Eton: therentcr Iine not more manch: lncrease the width of the underlap if V
v
ihclegps are extended more than this from the Center line
e
Designing fhe Lower Edge of fhe Yoke Before designing the lower edge there are points to consider in the spacing of a yoke (sce Figur; 71, 72. 73) . 1. Scale the yoke to the proportions of the figure A small yoke looks best on a small figure and a prö-j portionately larger one on a larger figure. 2. Whatever the size of the yoke on which you decide, place the line above the middle of the blouse to avoid dividing it horizontally into two equal parts. A half and half division is not only poor in design, but also cuts unbecomingly across the fullest curve o! the bust. A division above the Center is usually betten’ than one below because it. is less heavy in appearance. 3. To procluce the elfect of a straight yoke, curve the line slightly upward from the Center front to the armscye. This avoids a droopy effect. A line cut on
side.
I
*4.‘ Pate the underlap with a separately cut fitted facing o: “wich an extension folded back from its edge (o stay the buttons which are placed on the exact Center
'
line.
Problem 6 DRAPING A BLOUSE WITH A YOKE Instead of running darts to the outer edges of the blouse in order to shapc it, i: is possible to distribute pan or all of the excess along the edge of a yoke. A yoke in a blousc is a small scction of pattern around the neck or acmss the shoulders used to support the lower seaion o! the blouse, which is usually gathered along the yoke edge.
'
of yoke m lower section: (b) Yoke curvcs upward toward the ade!Pig. 71. Good yoke spacinß? (a) Pleasing proponion Line divides the blouse imo equal parts horizontally:(b) Line droops downward tnwafd iig. 72. Poor yoke spacing: (a) but poor lme. Lme droops downward townrd thc sides. M9273. Good spzcing
42
BASIC
BLOUSES
i
i
t0 curve crosawise grain always seems to lhe straight crosnvise the an the optical oplical figure, downward as itil ncars the side of xhe curves of the figure. This Principle due to the principle illusion (lue ' (hat lines [hat ol’ all design lmes establishment ol" lhe establishnlent 1o the applies to horizontal. to be shoultl should appear of the yoke and cut, Iower edge ol Mark with pins the lower seam allowance. Then turn the seam 5%; inch leaving a 5A l0 the edge. i: perpendicular t0 . untler, pinning it allowance under, allowancc '
'
WAlST FRONT WAIST
i
— —
S E C T | O N (see Figure 74) LOWER SECTlON
Placing fhe Fabric on fhe Form l. Pin the straight lenglhwise I. lengthwise grain or selvage to lorm at the top of the section. thc lonn cemer lront of the the center the lower edgc above inch seam inch Allow a 5/, edge ol" the yoke. 5%
'
‘
for draping blouse section below the Fig.74. Procedure lor
yoke.
e n t e r front. center [h6 chest on the C Pin at the 2. Pin center on the Center front, easing waistline am Pin at the 3. for the fabric upward above this pin blousing. pin 4. Smooth the fabric across the bust line and pin [hat the crossgrain is level. at a: the bust so that
»
Push waistline directly below the gathers in the yoke. Push the fabric upward slightly to provide greater length for blousing. Yoke and Lower Secfion fhe Yolre Joining +he the yoke edge over the lower section and pin it Lap perpendicular to the edge.
.
1o the form at a: the underarm to fabric to 5. Pin the labric so that it is the either level or very i support crossgrain arm. Ease the fabric forward to Lo nearly so under the arm. 2%inch of ease. For full gathers along pprovide rovide at least 3/, the yoke edge a larger amount may be desirable. . r
'
Forming fhe Lower Secfion of fhe Armscye Line Continue the pin pin line from the yoke down to the underarm seam, seam‚ following the directions given in Problem l for establishing the armscye line.
Disfribufing fhe Excess Disiribufing There will be excess fabric both above and below the bust as the a5 the tabric fabric is now pinned. Decide whether . t0 to force all ol of it upward to t0 the yoke cdge or t0 to divide ll between tucks or the gathers along yoke edge and a ‘i: dart or ease along the lhe waistline. lt is probably wiser to t0 Edart Lhe bust‚ -keep the grain nearly level across the keep bust, for if it l rises very much ilit is liable to wrinkle diagonally from -the yokc yoke edge toward the underarm. l. Pinch up tiny tucks along the top of the lower I.‘ section, 1o work in the fullness over the bust vsecuon, starting to ‚and and continuing t0 to within 11/2 1%jnches inches of the armscye. distribute lullness across the entire line‚ (ullness line, but „Do not. not‘ enter lt over the bust. Convert the tucks to unter gathers ‘later when joining the seam. Work in as much fullness (ess as is becoming; underarm pin becoming, releasing the underarm pin if Ccessary to ease the fabric farther forward horizon— horizon‘ecessary .' ly. '‚ Take up the remaining excess into a tentative stline dart dan or distribute it s mstlme i: into imo pin tucks lucks along the .
Underarrn Seam Placing fhe Underarm Handle according to the directions given for Prob-
lem l.
Farming fhe Waisfline Trim the waistline seam, leaving a 2 inch extension. It is unnecessary to clip the extension below the waistline if the blouse is gathered at the waistline. If a waistline dart is used the blouse will fit the waistline closely and the-extension below it must be clipped as explained in Problem l, page 22.
V
7
.
Do 1er
WAIST WAlST BACK
— —
YOKE SECTION
Draping fhe Upper Lines of fhe Yolte Yoke as in Problem Proceeding l, page 24; l. Mark the center back. 2. Cut out oul the neckline.
.»
43
DRESS
D E S I G N ‘ ;
3. Pin to the form. 4. ‘Form the shoulder line as in Problem l, except (hat ll is unnecessary to have a dart at the back of the neck or at the shoulder. The ease along the back edge of the shoulder is‚ of course, necessary. 5. Establish the upper armscye line.
Note. When using gatlters as a fonn of fultn; them throughout an entire design wherbvcr {u appears. Ncver mix gathers and pleats, or gathcrsi. tucks, in one design, as these various forms of {u are too unlike. Tucks and pleats, however, have’. _ necessary similarity of line to harmonize with egdfiä other. lf you do not want gathers at the waistli use a dart and press it so that it will be practicallyl;
Designing the Lower Edge of lhe Yolxe The back yoke should be approximately the same depth as the front so that it appears to continue the front line. The elfect is better, however‚ if the back is slightly shallower than the front. The line of the yoke should curve upward very slightly as it goes across the shoulder blades toward the armscye. Mark the yoke line with pins from the C e n t e r back t0 the armscye and trim, leaving a 2% inch seam allowance. Tu r n this under and pin it perpendicular to the edge. WAIST BACK
invisible.
SUMMARY: PRINCIPLES OF DRAPING BASIC BLOUSES l. lt is always necessary to take up excess at the outer edge of a pattern into darts, folds, or gathers in order to make Hat fabric conform to body curvcs.
‘
z i
2. All darts, starting from whatever points around the outer edge of a pattern‚ point toward the bust in front and toward the curve of the shoulders and shoulder blades in the back. 3. Always place the fabric on the form with the straight lengthwise grain at the Center unless the d0 sign demands t r u e bias as shown in cowl drapery. 4. Always drape with enough ease around the bust so (hat the fabric falls free at the front and back of the armscye and forms a small vertical fold. 1 5. Vertical design lines should usually slant toward 1 the center as they run from the shoulder down to the waistlixie in order to harmonize with the Silhouette ol the figure. 6. Horizontal design lincs should cut across the figure above or below the bust but never directly al its highest point, and should curve slightly upward as they approach the underarm in order to appear level.
—
LOWER SECTION
‘
Proceed as for the front, though there will be less
excess to take up into gathers or in a waistline dart. lf the blouse is designed for active sports wear, push in e x t r a fullness, more than the amount needed for shaping, but not so much that the figure appears round shouldered. Whenever the design is to have gathers at the edge of a yoke, it is consistent to have gathers at the waistline edge as well. Always push the fabric up above the waistline for extra blousing length whenever there are gathers. Form the lower armscye line and the underarm line
i
of the back in the same way as for the lower section of the front. Lap the front over the back at the underarm seam.
PART ll
THE FLAT PATTERN METHOD OF DESIGNING BLOUSES ON THE MASTER BLOCK
PATTERN
ing of the tcnns masler" bluck [ialrern and flnt patlcrn blocking. The mustcr blofk puucrn is a foundation pattern mzulc b)’ Cithcr (lraping on the individual drCSS
ßefore attempting to comparc the two systomspf drapmg and Hat pattern designmg pattern making it is essential to understand thomughly the mean-
--
3'
——
44
1753.75. Mauer pattern blouse from with shoulder dar:
Fig. 76. Mastcr pattern blouse back.
„ungut“, m „ a n fi n g
5_ Pins, 5_ 511e,“ 7, A sharp pencil. 8. Rulers, a triangle and curves if 9. A large flat work table.
shoulder. Although the position of the dart and du: shape of the pattem have both been changed by thise Operation, the size and fit have not been altered in any W37‘ 3. Redraw the new dart, curving it so that it entersv the shoulder at a right angle (see Figure 78) True up, all vertical darls, following the side of the dar: next; to thc Center of the garment. As i: is originally drawn, the will be so large. (hat i: will run all the way m the point of the hast.’ This is not only unattractive but causes the blouse l0. fit too closely. On the other hand, a single dar: in I f blouse front is too large to be shortened without bulß": ing awkwardly at ins tip. Problem 2, illustrated 5!. Figure 79. shows the dar: divided. .a design whidl’
possible.
.
Problem |
am
TRANSFERRING THE WAISTI-INE DART T0 THE SHOULDER (See Fiqure 77)
*
Q
I. BMW 3 “Taigm mlcd um’ ‘mm m‘ Wim °f ‘he mutet da?! 10 Ü‘? ‘hmflde’ P°’m°“' Rfifad ‘he di" cuuion o! shoulder dan location in Part I. DraPing Basic Blouses on the Dress Form (page 19)' ' ' basxc wanstline thc close ncnl lme, the on t u C 2' PC the ‘da:I am! transfer it to the new position on -’
«
-
gives ' a much better distribution of fullness in a M0030 (hat xsto be worn.
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46
C
B L O U S E S a1 the waistline and shift part dart a: retain part of the dar: relain i1 [o of iL to the shoulder.
both darts to shorten them, following 3. Redraw bolh Center that is, the edge toward the center [hat the inside edge line of the garment. Never change the size of darts at the outside edge of (he the pattern paltern when trueing them up.
—
Fol
Problem 3 DIVIDING THE MASTER DART BETWEEN WAISTLINE AND UNDERARM (see Figure 80)
CJ.
The underarm dart is usually placed as high up under the arm as possible without interfering with the armscye scam. seam. This is done because iLis not. not at all decorative and is used only as a supplementary dan in conjunction dart and fitting dart conjunclion with the waistline dar: occasionally with a small shoulder dart as well. The underarm underarnl dar: dart should always be invisible. (For further discussion, discussion, see Part I, Problem 2, Draping the Blouse with a Horizontal Underarm Dart, pages 29-
—
Transfer waistline waislline dart 1o t0 shoulder. Fig. 77. Step Il —Transfer dart to 1o emer shoulder at a right Fig. 78. Step SlCp 2—Curve dar: righz angle.
Problem 2 DIVIDING DlVlDlNG THE MASTER DART BETWEEN WAISTLINE AND SHOULDER (see Figure 79)
31.) 3|.)
The preceding problem showed (hat that a blouse fits beuer if i1" the excess belter exccss is divided between two darts radialing from the bust outward to two different edges iating of the (he pauern, since two of ( w o smaller darts taper out more moothly when shortened than a single large one. l. Draw the pencil line and slash exactly as in the receding problem. 2. Pivot the pattern at a1 the point poim of the old dart to
‘
l. Draw a line from the point of the waistline dart the location of the xhe projected new dar: dart under the arm. a r m , This should be Il to 11/2 lI/2 inches below the armscye seam. 1o
2. Partly close the old basic dart, pivoting it at its point to divide it between the two positions. poim 3. Redraw both darts to shorten shorlen them.
V
Fed l
vom
man I
c.r.
Cf.
o
dar: divided between shoulder shouldcr apd waist.79. Mastenr M astor . S; Dotted otted lme hne shows method melhod of trueing vertical’ darts. ‘v i.
dar: divided between waistline and Fig. 80. Master dart underarm. Doued Dotted lmes hnes show method method of
shortening dans.
47
V
v
darv-pointing‘ to’ the“ neck "may be I l t i amy s vnumbennof ideas, such as gathers
tie, a draped neckline with a clip‚ a cowl. and ‘sann. Trhe transfer of a dart to the cemer supplie: excess to put into gathers, tucks, or Jpäced knots. along the center from. (See Chapter 7.: Suggestion 7, for further discussion of the use of the basic dart as a starting poim in working out new designs.)
{matt ayoke, a
Prob|em
4
DlVlDlNG THE MASTER DART BETWEEN NECKUNE AND UNDERARM SEAM (see Figure 8|) I. Draw a line from the point of the basic dart to the new position, the neck at the center front. 2. Slash the new line and close the old dart; or 3. Divide the dart, placing part of it at the underarm seam near the waislline. This placement gen-
de. Fig. 82. Dan transferred to neck to’ form a bow
erally harmonizes with folds radiating from the w to the bust. 4. Add fabric for a tie if the design calls for (see Figure 82) . 5. T0 add more ease around the bust than the basic dart provides, spread the pattern apart at the top afgthe basic dart (see Figure 83). A good foundation pattern fits very closely, Willi“? dm. nearly all of the excess taken up in the basic This makes a very satisfactory block pattern‘ from which to cut designs because it includes no superfluous fullness. It usually fits too closely, however, to worn, and more ease should be allowed around thef bust. Figure 83 shows a blouse pattern with the entirtij ‚
Fald
Lanamwsie
E5"!""“"°“
dividcd between the center from neckPi}. 81. Mauer dar: near lhe waistline. line and the underarm
Fig. B8. Method of adding
extra
width around the bust.
BASIC
BLOUSES all pattern slashcd so (hat (a) Figure 87 shows a pattern t0 neck thc Lhc lrom fall to vertically folds will tend the lolds because littlc radiates fullness Thc very Lhe lhe waistline. the slashes are nearly vertical. Spreading the slashes intensifies the curve of the waistline, and fullness therelore tends to spring from [hat curve. underarm seam. 1o the underaml (b) Figure 88 has slashes t0 t0 tends case this in The fullness spring from the more than outward radiatc lines the and underarm, in Figure 87. This design will be somewhat less
III‘ i
‚f!
slenderizing.
ihm?
t0 to the (c) Figure 89 shows slashes distributed both ralines fullness The t0 the armscye. underarm and to bust the thus and more still outward diate emphasize more emphatically. illustrations carefully, these three illustralions lf you compare Lhese [hat folds and that conclusion the to draw will be able you t0 run in the direction in which you gathers tend to {hat this will slash. Be cautious, however, in assuming (hat factor that (hat other is one there because always happen,
l
'
follows the direcFigs. 84, 85, and 86. Fullness generally tion ol slashcs. to Lhe neck and with the point of the transferred t0 dar: translerred dart dart pivoted outward for e x t r a ease around the bust, (hat the but with the waistline the same size. Notice that incrcases as the dart point is pivoted waistline curve increases waisllinc outward.
FM
rau Feld
Fou
L unngm thvwriseisa
Fo eld
Lnann xthm wsoiso m
Lenngmwisoa
87. 88, 88. and 89. Gaihers or folds tend to run in thc direaion direuion ol’ slashes. Figs. 87, slaslies. In ln Fig. 87 (he {unness [uuness [ends u, w {an ' ‘ from verlicul vertical slashes' In Fig' 88' the fullness tends to radiate toward the under venically lrom vertically un derarm. arm. And in m Fig. F"‘g .89, t h e fullfu 1.l 89, the ness tends to 1o radiate toward the underarm and the armscye. y
i
_
6. The factors lactors Lhat {hat control comrol the (lirection (lircction of folds or galhers slashes, and (2) igalhers are (l) the (lirection of the slashes‚ the contour oI the figure. Note (hat that the three fmished finished cont.our_of 311eouses in Figures blouses Figures 84, 85, and 86 have the same partial[hat the Lhe lines of lullness fall {all dilferently yoke design but that difierently In Figure 84 the lines of fullness lullness are nearly lln each. '‘In ' ‘lilgurc r verti ‚ “zrfflcill: 8:) they radiale 8a radiate outward oulward somewhat Inflglire lnnhgtire ‘ialn Lima‘e, ‘imorlfa e. and in Figure 86 they radiate out still more.
— —
in
-
»1
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49
determines the Lhe direction of fullness lines the con. t o u r of the individual figure. Always take imo accoum the elfect of Lhe the curves of the body on Lhe the final pag. tern. lt is safe sale to say (hat that body contour is the greattem: grealest single es: smgle factor in determining the direction [hat that fuu. full. lines will take. This, of course, is flat course‚ block. block— why iiess mg cannot produce the same sureness of etfect elfect in design as does draping on the individual form.
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uee-„fjulluess_„a1qpg. "the „edgee oLa ‚simulated Vyke.;=»;‚thae„cux_yes.upwarde anits quter end. you will "lhflblhß pattem pieces in the lower section ;averlap the yoke. This shortens the pattern so that it dnws at the outer corner of the yoke. T0 correct this, slash Qnce from the outer corner of the yoke line either t0 theunderann seam or to the armscye. When it is spread out, this one slash swings the yoke section up out o! the way of the vcrtically slashed lower section and lengthens the blouse enough at the outer end of the yoke line to fit without drawing. This difficulty arises only when you slash vertically, as in Figure 87, and when the yolte is both simulated and curves upward. (See Chapter 7 ‚ Figures 31-33, for a similar example applied to simulated yokes in skirts.)
„an;
t
gxves you the «legt Fromme sidekof „the neck to» a p J bust‚ the fabric will fall into shallotigfold of the excess from the master dart (iee Figu A
4. Tovincrease the depth of the folds and of the neckline, it is possible t0 proceed in twog (a) Measure down from the side vof the neck e form the desired neckline depth. Placing an Lsq on the center front line, pivot the front patternn «v. outward from the waistline until the center front fa a right angle with the cowl neck at the point of t h e sired neck depth (see Figure 91). Pivoting the pattern outward in this way in the intensity of the waistline curve and forces some the cowl drapery to spring from the point on the Waise; ‘ line where the pattern was pivoted. If you prefer a cowl that hangs heavily at the cen front, follow Method (b). (b) Pivot the L square (not the pattern) out {r the center front at the waistline so that the upper edge touches the neck end of the shoulder seam at the sired depth measurement of the cowl neck. Draw new center front line and the cowl neckline. <
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V
Inierprefing the Cenfer Fron? Darf af fhe Necltline a: o Cowl 1. Reread the directions for draping cowls‚ pages 37-40 2. On a copy of the master pattern, draw a line from the point of the basic dart to the center front neckline. Cut this line and pivot the pattem at the dart to the neckpoint of the dart to transfer the basic line at the center front.
NOCH D1991
w‘
o! the master dar: 175g, 90 Cowl interpretation
so the
Center { m m
Fig.9l. Deep cowl madc by pivoting outward the from pattern segmem.
transferred
neckline.
50
mm“
BASIC
BLOUSES
lhe neckline, the heavier tne The (leeper deeper the the drapery the lhe and mature nlalure desngn appcurs more the (lignified dignified andd an deslgr} appcars fOr suitable for more is therefore, Cowl cowl is, The dee) m be, Th deep euxtaftle it also Since a for young girl. woman than foyr older wfonlarlx an beltier Smeelll it is most decidedly thickens the figure over the bust, 1t 1s mest ägcjijedly short a For woman. slender tall t0 a to girl. becoming shert glrl, To T0 cowl is generally a better Choice. me the very shallow Cowl ciholce. retain part of block a shallow cowl (see Figure 92) retam lhe waistline. lt is probable that dart at the master dar: the masler at the all of these designs (lesigns need a little extra width at‘ on the of Course, course, amount the lhe ughttightbust, depending, ness of the original master pattern.
m35
Gm n a rm
hm vnse
Neck Deplh DeDlh
Lenn-
Cowl yoke: Procedure for blocking blocking the cowl Figs. 94 and 95. Procedurc dart to the thc from the dar: line a line and the Draw (1) yoke (l) cowl off the yoke and add Cowl of [he the yoke; (2) Cut ofl gdge edge (‚f (3) Spread the lower section for ease at the yoke drapery; (S) yeke dart t0 lo the undcrarm near the waistlinc. wanstlmc. edge and insert a d'art
_
_
_
‘
Cowl with part of o! the master dart reFig. 92. Very shallow cowl tained at an the waislline. waistline. .. Fig.93. Cowl drapery in ua yoke.
Slep Stap l
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5. PlaCe Place the Center front of the pattern on the true . bias of the fabric. This cowl automatically places the Cowl neck edge o! of the pattern on the bias. Lneck Cowl drapery in a yoke. This cCut Figure 93 shows cowl ut folds and ihas _has deep yet fits more loosely around the bust center [front r o n t of the lower section is on y_bust because the Center ‘ the the straight grain whereas the yoke section is Cut cut with ilhe the center Center front from on a true bias. Fabrics used for cowl Cowl draping ‘draping should have grain which is very inconspicu‘ous. Figures igures 94 and 95 show the procedure for blockus.a Fcowl yoke. Figure 96 shows two steps in making fng "z‘ Cowl cowl yoke with fitted fitled folds falling from points along e shoulder and with a seam at the Center center front of e yoke. Figure 97 shows the finished effect of this wl yoke. .Wl r
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Fig. 96. Covl yoke with a shaped seam at Center front: 2—Slash and spread the Step l-Mark as shown. Step 2—-Slash pattern.
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ng
Fig. 97. Cowl yoke with a seam at Center center iront. front.
Fig. 98. Spaced bow ties a: the
Center
front.
Problem 5
knots (ab) Slash again a: point: placed froni the Center front to the undetarfi? and spread the pattern. Note. Always slash perpendicular to (her edge, if possible. 4. Place the grain indicator perpendicular waistline at the Center of the section. Figure 100 the placing of the gkain. Notice that, as a result of the slashing, the un u seam is curved and the armscye curve is inte The Center front is also an intense curve and therefcgae the grain must be placed at the Center of the 4
TRANSFERRING THE MASTER DART TOCTHE CENTER FRONT
V
This dart position should be used for designs that involveegathers along the Center front line, spaced bow knots at the Center front, or any design with dart interest at the Center front. Figure 98 shows a blouse with spaced knots. l. Draw a horizontal line from the point of the basic waistline dart to the Center front.
2. Slash the line and transfer the Original dart to
perpendicular to the waistline. 5. To add width over the bust (see Figure I0 _ slash vertically from the point of the basic dart up t" the shoulder. Spread the slash over the bust but keep it closed at both ends. Thus the waistline and: shoulder line remain unchanged in length, but the; curve of each increases. Do not forget to trace the ° exact curve in the final pattern. f
dart 17i; 99, Transfer of the matter
to the Center front.
in Fig. 98. Fig. I00. Pattern slashed to interpret design
Fig. 10l. A verticnl slash spreatl for width around the b“! (top and bottom cnds urc not sprcad).
*1‘
ßäfim r hdggü.}
.
BASIC
BLOUSES
lf you wish to convert the same pattern into Note. ll Note. one for a design with gathers distributed evcnly along e n t e r lront line, measure the original Original the entire CCenter ol the master pattern and iront ol" C e n t e r lront the of length enough so that the then spread sprcad the horizontal slashes cnough Center cemer front length alter it is spread will cqual one tneasuretnent. titnes the original measurement. (Jnc-hall to two times and one-half onethat [hat rule lt is a general gathers reqtiire require one and galhers gcneral and to be is that lS of the half t0 two times the length space length fulldesired the on amount the depentling depending gathered, ness and also on the t e x t u r e and thickness of the fabric
l
which is used. "-—u-._
Problem 6 CONVERTING THE MASTER DART TO A FRENCH DART SEAM LINE i
Darf Line Position French Dari
deterniine the French dart line, see the instrucT0 detcrmine ior draping the French dart ( l a r t (pages 3136) tions lor 3186) . First frorn the point of the waistline dart to the line from rule a linc shoulder position (see (sce Figure I02). Then, using the as a guide, redraw the line by hand, putting ruled line 21s in enough curve so that it enters the shoulder at a c e n t e r over the angle. curves slightly toward the Center right angle, .' bust, and enters the waistline at a right angle. The - line Inay coincide with the basic waistline dart (see may l
t
I04. French dart line drawn closer to center front than Fig. 104. the master dart. u t on line drawn in Fig. Fig. pattcrn ccut Fig. 105. French dart pattern increased for ease over bust; (2) Dotted I04: 104: (l) Length (I) line indicates a more pronounced curve over bust.
Figure I02), although in some cases the spacing may be improved if the front panel is narrowed at the waistline (see Figure 104). I04). Place the master pattern Order against the form or hold it up against yourself in order to sketch in a l)ecoming becoming line. I. Pencil the French dart line and crossmark it l. above and below the bust.
2. Cut the pattern apart along this line. 3. Add ease both lengthwise and crosswise, crosswise‚ because the side front section of a French dart blouse always fits better if the ease is increased over the bust. (a) For e x t r a length, slash from the point of the dart to the underarm and spread the pattern slightly at the bust (see Figure 103). I03). Spreading over the bust has the same effect eflect as forcing the grain inward above the bust when draping the French dart. master
Gvan i
(b) To provide e x t r a width and to smooth up the side front line, redraw it‚ it, rounding the sharp point at the bust into a smooth curve . (see Figure
103)
4.
ifig. I02. French dart sFig.
line drawn as a continuation of the
master dart. master dan (line curves
slightly).
103. French dart pattern with ease introduced ig. inuoduced over ig.l03. ee bust on the side front section (dotted line shows final i.’de front line) . i
Mark the straight grain in the side front section perpendrcular to the waistline at the Ccenter. perpendicular e n t e r. For a variation Variation in the position of the French dart 1in6, See Figure I04. Because a French dart bodice fits line, tightly and is frequently [requently used to provide contrast with a bouffant bouflant skirt, the French dart line is sometimes widened at the shoulder and narrowed at the waist
oasss
oEsv|s.Ns<’
a: in Figure I04, where the line is closer to the centcr Both Lfmnt. the length and the width of the side front secuon can be mcreased by cutting the slivcr of pattern between the old and the new dart positions from the
front panel and attaching it to the side front section (see Figure 105). This provides some of the ease which is required over the bust. Thc more the Center front panel is narrowed, however‚ the more ease the side from panel needs t0 provide a smooth fit over
Center
the bust curve.
Problem 7 TRANSFERRING THE MASTER DART T0 A YOKE EDGE (see Figure I06) A yoke is simply a combination of horizontal and vertical darts. lt acts as a support for ease or even for visible fullness over the bust as well as to introduce a line along which to shape the pattern. A dress with a yoke simply overlaid on a flat pattern, with no transfer of the dart to its edge, is a serious mistake; not only because the dart positions are unrelated to the line of the yoke, but also because no ease is introduced along the edge joining the yoke to the body section. The design is therefore still, tight, and totally unrelated to the body contour. Figure 107 illustrates this error. F igure I08, on the other hand‚ shows the transfer of part of the waistline dart to the yoke edge in
Fig. 108. (jorrect. Part of dart transferred t0 yoke edge. Fig. 109. Mastcr dar: entircly transferred to yoke edge and pattern pivoted outward lor e x t r a fullness.
order to introduce a little ease. Notice also the shap ing along both the lower and side edges of the yoke. This shows (hat the dart was really transferred from the wvaistline to the yoke edge. Figure 109 shows the same design except that gathers at the yoke edge have been obtained by transferring the entire waistline dart to the yoke edge and by spreading the pattern at the bust to let in even more fullness. l. Draw the yoke line on the master pattern while holding the pattern up against the {onn in order t0 relate the yoke spacing to the figure. Do nol draw the line with a ruler‚ but curve it slightly upward along its lower edge as i1 approaches the armscye. (See yoke spacing in Draping a Blouse with a Yoke,
pages 42-44.) 2. Crossmark and cul the yoke line.
Fig. I06. A yoke. shuuld bc lramlcrrcd H8, I07. lncorrcct. Dan
edge.
(o
yoke
3. Draw a line lrom the point of the basic dart to the yoke edge and slash it. 4. Pivot the paucrn oulward a1 lhe poim ol (h6 basit dar: to shift parl ol‘ the waistline dar: to thc yoke. Figure 109 shows thc paltcrn pivoled and all Ol the ( l a r l translcrrcrl to thc cdgc ol lhc yoke. Retaining somc o!" thc wuisllinc dar: is optional. Tuch» the gathcr, or casc thc cxccss along thc uppcr edge of lnwvr sccliun inlo Ihr: yoke. For 2| morc (‘onlpliculcd und unusual yoke design. scc (Jhuptcr 7, Figurcs 58 und 59.
l
BLOUSES
BASIC
(In this pattcrn, (m overlapped design of the ovcrlapped pattern. Sketch in the dcsigti Ieft sidc only (see Figure IIO). The Ieft (Ilc right side sidc, the extension extcnslon umler thc under as the lhc thc should (IupIIcalc sidc shouId right (Iuplicatc Lhe overIap IeIt usuaIIy on the IeII right. overlap on the right. llSlHlIIy equals the
Problem 8 TRANSFERRING THE MASTER DART
T0 TO AN ASYMMETRIC DESIGN WITH BALANCED FULLNESS (see Figures IIO and III) {hat is, balailced blouse pattern, that An asymmetricully asymmetrically balanced oIf Center, may be either very easy [hat is balanccd off one that u t . II", II’, for example, the blouse or very complicuted compIIcaled to ccut. sznne on the lhe right and Ieft sides, sides‚ but has is exactly exactIy the same Ironl or surplice Ior the the a side Iront sUrpIICC opening, pattern for wiII Ior will bc for the left side even duplicated though right otf C ccnter. e n t e r. On the other hand, if for the opening is olf lhe design has gathers or drapery radiating example the Irom one shoulder and the other shoulder is smooth, smoolh, Ich sides ot’ of the pattem wiII be shaped _ the right and Icft panern will diffcrently and the pattern will be much more emireIy dilferently entirely ’ u t . This Iatter type complicated to ccut. Lype of asymmetric l0. design will be discussed in Chapter 7, Suggestion I0. The method discussed here applies to t0 an asymmetri‘ caIIy balanccd blouse with all the pattern edges alike on the right und IcIt Iclt sides but with the opening ofl ofI lt is blocked exactly Center. It balexactIy Iikc a symmetrically sylnmetrically anced one cxcept [hat it i5 is necessary to t0 draw the design except that on an cntire front Iront of 0I thc master mastet‘ block pattern rather - than on a pullern Ior only pztttern onIy half the front. I. Make z: u paper copy of oI the entire front of the master pattern from clearly pauern with the C e n t e r front clearIy marked. A
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Ä
t0 the lhc basic waistline dart to oI thc 'l'rdnsfer most of 2. Transfer In addishoulder oI the yoke (see Figure I I I ) . cdge edgc over extra ease for e x t r a Ior the tion, sprcud slighlly puttenx pattern slightly sprcad T0 increase the gathers still more, pivot the the bust. To to spread the fuII cdge. edge. pattexn outward t0 pattem
at the Placc the lhe straight grain a1 3. Place around the tbe final pattern.
Center
Problem ProbIem 9 DESIGNING BLOUSE BACKS ON THE MASTER BLOUSE BACK PATTERN
The principles oI of blocking designs on the back of the mastcr pattern are essenlially essentially the same as for the front. There arc, Iront. ure. however, a few points typical of bIouse backs only. Becausc blouse Because the curves of the figure a1 the back are divided between the a: ol" the shoulder top oI and the thc shoulder shouIder blades, the foundation master pat[ t eCr nm has two darts a very smaII small one either at the back of the neck or ur at zu the shoulder seam, and a second waistIine up to the shoulder Iarger one from the waistlinc blades. See draping procedure for Ior the Waist Back, Problem I, pages 23 -27 .
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Ö
Guin
front. Draw
Grn ain
E ä
un L onm nhmscu
Front
F. C1
8Center
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4
"0IIO. master pattern [ r o n t with Iines drawn panern [ronl Coflllplete‘ Coniplete‘ asymmemc design. deslgn.
l l l . Right Fig. m. Right or overlapped side oI o! pattern with slashes spread for gathers at yoke edge.
55
o nEss oes
I
fullness in gathers along the waistline. Genmuy should take your cue for the design of the blnuse from the front, and let the back carry oA mulifs expressed in the front. Very complicated blq backs, especially chose involving gathers. too o_ _ tend to round the shoulders and distort the figure fro/ the profile view. lt is generally wiser to keep the backt, of blouses comparatively simple and Hat for the sak of the complete silhouette.
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I. C.
Transferring fhe Blouse Baclt Darf: fo a Yoke Edge l. Draw the yoke line and c u t the pattem apart. (See the discussion of yoke spacing on pages 42- 44.)
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Fig. l l 2 . Transfer of the shoulder dart to the waistline. The great size of the dar: increases the width across the shouldcr blades.
C.l.
lt is possible to transfer all of the dart from the shoulder t0 the waistline. lt is seldom desirable to do so, however, because this throws a great deal of fullness over the shoulder blades and a tremendous amount at the waistline, and this is usually dilficult t0 control, as Figure H2 shows. lt is‚ however, possible to transfer the basic shoulder or neck dart to a of the yoke edge‚ or to change the dart at the back il this neck l0 a shoulder dart change improves the for design. Figures l l 3 and l l 4 show the procedure waistline this transfer. lt is also possible to (livide the dart into two or more smaller darts or to distribute the
ol Fig. l l 5 . Closing of shoulder dart and translcr of part waistline dart t0 yoke edge. waistline Fig. ll6. Pattern pivotcd ouxward at point ol dart l0 introducc lullncss m. yoke cdge. 2. (Jlose the shoulder dart. The lower edge ol the
of (h6 yoke is now slightly longer than lhc uppcr edge SOHN body section and should bc the reverse. T0 gel translef section, thc ol easc along thc upper cdge body a small part ol lhe waistlinc (lan up t0 it, as shown in Figurc H5. For actual gathcrs, completcly close ll the Lhe waistlinc da11. For still luller gathcrs. pivot i waistline ( l a u . a1 its point, as shown in Figure ll6. ll lhc ynkc scclion is (lccp, mnrc ol the shoulder ( l u r l shnuld In: Lranslcrrul t0 ils lowcr cdgc. But whefl ull ol" thc shouldcr (lurt is trunslcrrcd u) lhc lower heuer l0 ctlgc ol’ n (Iccp ynkc. il Ins um lonscly. ll is lcmc 50m1‘ ul lhc ( l u r t ut 1h:- shuuldvr \s'hcrc it ca“ Im workcd in us casc ulong (lu- shnuldcl" scxnn. How(h8 cvcr. lhc pnrlinn nl lhv (lurt ul lhc luwor cdgc ol
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lor thc Blauer blnusc back with hncs drawn m thc ncck. [ e r ol thc shouldcr dan 115g H5
trans-
m ncck (dotted linc F’‚g. I14 Shouldcr dan transfcrrcd shouldcr und height correcshow: ncccssary ( l a n Icngth tions)
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5U
l
BASIC
BLOUSES the jacket lowcr edge of lhe the lower linc lor lhc the line 3. Draw thc to 9 inches below t0 7 about and waistlinc the to parallel parallel there is a slight curve along the waist(hat lherc it. Noticc that thc master blouse and skirt patterns. linc of both the 21s it is, because no overblouse or curve as Leavc Lcavc this curvc scam should be fitted as waistline without a jackcl jacket as a blouse with a sepwaislline waistline the around snugly waistline. waislline. at the atlached attached a r a t e pcpluln peplun) the dart in the back of the blouse is smaller Note. lf thc h a t at the back of the skirt, equalize them by than {that t0 the shoulder dart and transferring part of slashing to t0 the waistline. thc l a r t to the shoulder (dart
H7. Dccp yokc-part yokc- part of shoulder dart retained and Fjg. Fig. ll7. u) lowcr cdge Lranslcrrcd t0 cdgc of yoke, yokc. part translcrrcd
l7 yoke yokc supplies casc lor arm movcment. Figure lI17 umid tightness over the lhe shoulder shows this. l0 uvoid thcrc should always bc slightly more lenglh blades, thcre length on the lhc top edge cdge ol thc body section than on the lower 0|’ thc the yoke section. A deep yoke is not well edge ol for use in Sports adaplcd adapted sporls garments, for it obviously ' rcslricts rcstricts uction more than a shallow yoke with fullness lt. below it.
Gnn i Gvrain
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Lcnmwsic
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Leenm ghtwisee L
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|0 Problem I0
DESIGNING A HlP-LENGTH HIP-LENGTH JACKET PATTERN FROM THE MASTER BLOUSE COMBINED WITH THE TWO-GORE SKIRT lt is possible to 1o convert the basic pattern for a blouse to a hip-lcnglh l 8 a and b) hip-lcngth jacket (Figures lI18 zwithout na waistline seam by combining the basic ywithout blouse pattern with the top of the two-gore basic skirl. skirt. (For the two-gore skirt pauern, pattern, see pages 65 71 .) l. 'I’race Trace the outlines ol the basic waist pattern on ‚ construction paper. paper, 2. Place the waistline of ol the thc two-gore skirt against the waistline of the basic blouse Vthe walstline pattern. The darts »0f of the waist waisl and skirt are draped to t0 coincide but are in size. First draw equal around the center C e n t e r secn_0t 11.0! .uon ol the skirl skirt and then move the skirt uon pattern so (hat lthat the side slde section fits against the side section of _the blouse. the
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118. (a) Front of master mastcr pattern Fig. l-‘ig. ll8. pattcrn hip-leugth hip-length jackct; jacket; ol master masler pattern hip-length (b) Back of jacket.
French Darf Dar? Hip-Lengfh Jacke} Use this pattern for long torso lines (hat that fit very l 9 a and b) . Snugly (see Figures lI19 I. l. Place the lengthwise center of the . ‘lengthwise grain at the Center sxde SldC front and Slde side back sections so that it runs l
across
the waistline perpendicular to it. 2. Slash the side lront secnon sectmn of the blouse horizontally from the bust to the underarm seam to t0 add ease over the bust. (See directions for the French French blocklng blocking dart waist, pages 53 54.)
stretching thb fixuslin Lamm.
(a)
(b)
Fig. 119. (a) Front of French dart hip-length jacket; (b) Bach o! I-‘rench da11. hip-length jacket.
2. "Pin "the pattäm securely ‘towcänxtrdctuio„ 3. Trace around the pattärn with a traci Hold the wheel tightly against a ruler whercvbf’ “line should be straight. Trace curves freehand; the aid of a curved ruler. 4. Remove the muslin from the paper, and Ä, all traced lines on the paper pattern to malte du‘ clearer and more exact. 5. Cut out the paper pattern carefully. Cuty oul darts, cut away all seam allowances, and cut a which cuts pencil markings wich little U-shaped Ö5 be slippcd into. 6. Transfer the shoulder dart to the waistline. It was essential to drape the master blouse with a: both shoulder and waistline because a blouse i8“) better when so draped. After Lhe pattern has fitted, however, it should be prepared for use a: a3’ master block by having all of the dar: transferred w? one place‚ preferably the waistline. D0 this to simplify 2 the blocking procedures, even though the dm certainly look too wide at its lower end in relation " its length. shoulder dar! (a) Draw a line from the point of the to the point of the bust. the pattem t0 T; (b) Cut through this line and pivot close the shoulder dart and to transfer it entirely t0} the waistline. a (c) Redraw the waistline dart with ruler, carrr Follow {h0 bust. the ing it up to the highest poim of the Center to inside line of the dar: (the edge nearer line) when trueing il. A
3. lmensify thc curve over the bust to define the
bust line more sharply.
Fronch Darf Hip-Lengih Jacke} es a Princess Line Dress Paffem T0 adapt this bodice to a dress pattern, continue the rule the seam lines for the slope from waist t0 hip and and dcsired skin length. The lines are rulcr-straight, slam from the hip to the lower edge.
Blouse Erfended Below Waisfline Eliminafing Part of Waisfline Seam of the basic Attach part o! the two-gore skirt to part waistline a blouse for dresses which have only partial in discussed are seam. Examples o! this combination Chapter 7. PATTERN CUTTING A TAGBOARD MASTER BLOUSE FROM THE
V
V
(d) Cut out the dart. 7. Place the brown paper pattem on tagboard. und the"; pencil around thc emire paper pattcnx, leuing
pattern, Aue: experimenting with thc quarter-size the draped from pauem duyour own master tagboard
a
58
BASIC
BLOUSES dan changes the o!’ thc dart lhc position shih in thc 2. Thc shilt pnsition o!" its size or fit. All without wiLhouL changing dcsign puuem dcsigl] pauern the pattern. of the Lhe within lakes edges place changc
bolh Lhe crossmarkixlgs into the crossmarkings and along both dart. n l a s t e r maslcr o1 Lhc large 01 {arge
run encil um pencil
edges Lhe tagboard pattern (Jut oul the B. Cut 8. pattcrn without seam allowances. exactly Gut the back blouse pattern 9. Cut pattcrn in tagboard exaclly il was draped. as it Inasteu‘ pattern Your nlastex‘ pauern should be very similar t0 the Figures 75 and master l a s t e r pattern uarler sizc n Pa t t e r n shown in Figures qquarter
Lhe direction of lines of conlrol the 3. Two tactors comrol fullness:
direction of the slashes usually indicates (a) The direclion Lhe lines of fullness, but the direction of the
chicf determining Lhe chief (b) The body contour is the and will often upset all flat-paper calculations. 4. Slashes should be made perpendicular if pos[hat is t0 to be gathered. sible to an cdge (hat it is easiest for blocking purposes to 5. Although i: concentrale concentrate all excess in one large master waist-front the bust, the dart in a to the point dart running t0 poim of Lhe blouse to be worn is usually divided into two or more smaller darts pointing toward the bust from two or more different edges of the pattern, because the smaller darts taper out more smoothly.
76.
factor {actor
SUMMARY: PRINCIPLES OF DESIGNING BLOUSES ON A MASTER BLOCK PATTERN I. I, Thc SySlClfl system of designing on a master block patLhe transfer is founded on an understanding underslanding of the of the design detail, thereby thc location ot’ l a r t 1o the 01' the (dar: of ornanxemal and functional. making the dart both ornanxental tern lern
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?wz2’5%w'ä PART l
DRAPING SKIRTS ON THE DRESS FORM
STRAIGHT SKIRTS Straight skirts have seams on the straight lengthwise thread, and hem and hipline on the straight crosswise thread. They include the all-around gathered (the dirndl, or peasant skirt) ‚ the all-around pleated, and the wrap-around skirt. Most childrcn try t0 make a straight skirt at some time or other, usually on their first auempt at sewing for a doll. A child's natural procedure is t0 sew the the seams, put in a hem on the grain, and gather This waistline. perexcess fabric at the top to fit the
Draping skirts differs fundamentally from draping blouses in several respects. A blouse fits the figure on all of its edges and there is just enough ease to allow bending and reaching‚ whereas a skirt may fit the to figure from waistline to hips, but from there down the hem, it swings free of the body. The lines from without the hip to hem must therefore be established and to pin to follow form dress a 01' comour lines have must a skirt enough against. T0 be beautiful, freedom below the hipline to swing easily with the motion of the figure, and t0 do this it must widen as lt lengthens. Both gored and circular skirts increase in widlh a1 the lower edge, and il c u t with enough flare t0 swing freely, are both comfortable to wear and within the is gracelul in motion if the llare placed and the thighs. hips silhouette so (hat i1 slenderizes
be good fectly simple, natural procedure proves to with one exception. The seams and hem should be on the straight grain, it is true, but the waistline should not. The length from the waist t0 the hip Ievel the (a line approximately eight or nine inches below somewhat is waist and parallel to the floor) normally shorter in the { m m than in lhe back. On a figure with a very llat abdomcn but with a prominent back hip curve. this Llilferc-nce in length is very pronounced; whereas on u person with a prominent abdmxlen and flal hips, quitc the opposite is t r u e . For illustrations t0 of the ellect pf posture (m skirt lenglh lrom waist hip‚ sce Chaptcr 5V. Figurcs 2 c, d, e. and f.
have fullness drawn
Draped skirts, on the other hand, the lower edge, up t0 the waistline, [hus narrowing sometimcs so much
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and they tend to restrict motion hem t0 allow the (hat they must be slashed at the to prowearer to movc at all. lt is possible, however, fullness introducc to enough duce a peg-top eflect, yet move unhampered. al the lower edge l0 let the wearer be graceful in skirt a {hat Becausc lt is so important when the motion. it should always bc finally judged still. stands wearer movcs as wcll as whcn she arc The skirzs presented in the lollowing pages and (lraped, in classificd as slraiglzt, gnred, circular, becomc lamilial‘ with lhe Order listed. So (hat wumay ils possibilitics, you should ach (",3 3nd explorc the examples shown. draping and blocking
Problem | DRAPING THE STRAIGHT GATHERED SKIRT 'l‘his skin hus bccnmc n spring pcrcnnial und is extrcnlcly pupulnr, cspcciully with lhc lccn-agc glll-
praclicc
(i0
BASIC
. ‚J.
S
o1 tcxlure lcxlure on silhoucne. silhouctte. -(a) and (b). Inllucncc o! Fig.l v(a)
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nown as a dimdl, il is made in striped, plaid, and dirndl, it owcred fabrics of both stiff and soft, shiny and dull jiiowered : xtures, and is worn alike by the fat [ a t and the lean. lean, ‘extures, the short. shorl. Because it is so easy to make ‚ä:e tall and thc ilhout a pattern, it is attempted by both the skilled „ithout _‘dd the unskilled seamstress, though not always with dirndl must be planned svccess, cccss, for like all designs, the dimdl t0 the silhouette it i: produces. This depends _‘ I relation to i} U n thc height 'pon heighl and slenderness of the wearer and v»: ticularly upon her hip and waistline proportions, exture of the fabric, and the size and line direc‚e ttexture of the fabric pattern. A soft clinging material in ‚_ ull texture and color without pattem may be „gdull
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succcsslul even cven on a moderately plump girl but not a gluzed chintz chimz with a large glazed [arge Hower pattern. The dimdl
is generally a1 its bcst on the over-tall, over-slixn over-sliln girl, girl‚ [ o r it rounds out her sharp hip bones and for appears 1o her Liny waistline. Figgraceful when gathered in to ures I a and I) b show the influence of texlure lexture on the
silhouette.
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ihe Fabric Esfimafing Esiimafing fhe l. The average slraight wo straight gathered skirt requires (two widths of 36 inch fabric, minus a straight atraight lengthwise band Laken ofl off next to the selvage for a belt.
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KIRTS
fairly
(il
j-..___..":-2:v4a—_---_--.-_
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skin sliowing scams joined, hem turned, and gathering thread arthe hip le'vel.
Fix.2. Sdnaight
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5- Machinefadle‘ the waisflincv “fing “V3111” and m m ‘ _ 6. Draw all the gathering threads up at the Same time to make all of the rows equally tight. 7. Attach the skirt t0 a waistband. If the band i: n0 very narrow, use a straight lengthwise strip with inches wide. than 114 shaping. However‚ if it is more it will fit better if shaped slightly.
Calling a Waisfband
<
Cm 0E a straight lcnglhwise strip along the selvage twice the Widlh desiredFinishing Seams and Hems l. Pin and stitch the seams and press them open. lf there are two seams, plan to have one on each side, in linc with the side seams of the blouse. 2. Tu r n the hem on a straight crosswise thread. fo Waisfline Adiusfing fhe Skirf from Hip .
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.h
PWHW‘ 2 DRAHNG THE STRNGHT ALLAROUND PLEATED SKIRT
This skirt can be estimatcd and made with Av KT; w firm in its bes: at lt is form. on the a d'ustment J (hat stays pleated, and when well made is justly popuwith trim neamess and is even belar‚ for it hangs . . . . to a . wnh fanrly large hxps. gnrl comnng Note. Since it is a laborious process to pleat a n ’ A seams except one. entire skirt by hand. stitch all of the . . fimsh the hem, and have the slurt pleated by a professional pleater. Pressed pleats actually help to slenderize hips if the pleats are well scaled to the size 05 the figure. A plealed skirt is nol a good choicc, however. for a girl with a small waistline and a large hilf‘ l9 line, as Figure 4 shows. For this type of figure. it better to mount a pleated lower scction onto a filted
1
b 1;. Uiltriltgcgesdgzgl; igllfädgrgflaihefltcglgnzlgarafläfi (
' (see F g“ m 2) . °aftmg
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determme the length of cloth rcquxred, measure Irom the waistline the desired length and allow a hem on each piece. l
*2. To
l
a Fig. 5. Straight skirt gather 8 or 9 inches below Ihcjf the at form t0 the and pinned hip level.
1
t “i;
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d d_ 2' pmw the up.t° hlpfixägg lfngu‘: thgead m‘ ‘Km T12’ e fänxggfor; gcsee “gute s) ‘h3 h‘? 1°" Im‘? maf °f m level’ See age 8 ' > e“;“ m m 0 ” p (Fm a" e“? 5- P1305 3 *3?“ armmd ‘h3 Waisflmev mf°°fhmg Wmflmethe fullness up under i! t0 88i the COTTCC‘ front to the 4 Mark the waistline from the center from the the skirt unter back wilh pins. Remove the markings transfer d an linc, (am,smooth up the to the opposite half.
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yokc.
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BASIC S KIRTS
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a.4-H. 14
t0 a o!" zidjusting adjusting a straight pleated skirt to Difficulty ol Figxl. Fig.4. Difliculty waistline and large hips. waistlinc a small Wllll figure
Esfimafing fhe Fabric width ol the to have deep pleats, skin is t0 Ihc skirt l. lf thc pleats. the widlh the llie Limes be lhrce bc will largest hlp hip material rcquircd materiell reqtlircnl ts Limes ilIS thrce times measurcnlent, since each pleat measurement, plcal takes three inch a for 37 Thus hip own depth (sce Figure Figurc 5). lhree measurcnlent, the entire skirt width should be three measurcmem, lhrce inches plus the seam allowances and yards and Lhrce allowance for shrinkage. neccssary any plus
„MLNHFLLL ‘l\lNl\.lsl\hITl\l\l\
N\l\L\N>HLLLl*l‘ \L-\xhl„l\l.l«
skirt is adjusted PlCalCd skin adjusled a: hip level and each pleat Fig. Fig. 6. Plcated waistline. t0 the waislline. [ m m the hip to is tapercd tapcrcd lrom excess at waistline is fitted All skin. skirt. nnade made 7. Poorly Fig. Fig. side scams (comparc with Fig. 6) . at sidc out a1
plus
a5 for a straight gathered Heasure the lenglh 2. Measure length as skirt. skirl.
fhe Skirf from fhe Hip +0 fhe Waisfline (see Adiusfing ihe Adjusfing Figure b) lrom the top and t0 9 inches from I. Run a basting 7 to t0 form [orm parallel to to the line Pin this iL. Pin t0 il. to parallel the Hoor. floor.
2. Taper each pleat slightly so [hat it enters the waislline waistline perpcndicular to it. lt is far easier to adjust adjusl l0 d0 it mathematically. lf there pleats on a form thah t0 is an 8 inch difference diflerence between hips and waistline it among all of the pleats equally. Somedislribute distribute il times Limes in a cheaply made skirt the excess a: at the waistline is fitted out at the side seams with the unfortunate eflect effect shown in Figure 7. Conceal the seams at al the under-creases of the pleats.
of deep pleats is three times Fig. 5. The width requiremenlt requirement ol the deplh of the pleats. depth
Finishing Seams and Hem l. Pin and stitch all except one of the lengthwise
seams.
3. Baste and edge-stitch the pleats from waistline to t0 hips. 4. Mark the waistline, following the waistline marked on the dress form. The waistline should not be on the crossgrain but should curve downward a: a! the Center front for a normal figure. 5. Moum Mount the skirt skirl on a waistband cut on the Lhe lengthwise grain.
2. Turn the hem on the straight crosswise thread, finish and press it. fimsh skin skirt pleated. lndicale the kind and .3.oiHave thedesired. _3. snze size ol pleats
4. After it has been pleated, rip back the hem on After each sxde side of the open seam and join the last seam. 5. Turn the hem over the seam, finish‚ finish, and press it.
63
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Fig. 9. Procedure for draping a straight wrap-around with the hem on lhe crossgrain and the hip level parallel to the hem. F lg. l0. Adjustment of straight wrap-around skirt from hip‘ to waistline (excess Laken up into darts). side lront, and 5 Fig. l l . Wrap-around showing darts at side. side back.
Fig. 8. Straight wrap-around skirt.
l
Problem 3
l. Decide on the amount of overlap at the left of Center front, mark the center front the desired distance back from the overlapped cdge, and pin the Center front securely at the hip level. Keeping the crosswise around to grain parallel to the floor, continue to pin the Center back at the hip level (see Figure 9).
DRAPING THE STRAIGHT WRAP-AROUND SKIRT (see Figure 8) When there is a vogue for the very narrow, stemlike skirt, the wrap-around often comes into fashion. lt is a skirt c u t in one piece which is wrapped closely around 111e hips as its namc suggests. This style gives a narrower from and back silhouette than the two-gore at the sides. For skirl, which Hares almost entirely a suit skirt, particularly for this reason it is often used in line with Iront when the jacket opcns at the side skirt may, of the wrappcd cdge of thc skirt. The instead back at the side coursc, be wrapped to open for cut lavorite o! a: the side from. lt is also a and acbordered matcrials, since the border follows 12 shows the pattern cems the wrapped line. Figure
Adiusfing fhe Skir+ from Hip fo Waisf (see Figure l0) l. Fit out the excess with darts from hip to waistlt is usual to place darts at the side of the figure in line with the underarm seam o! the blouse, at the side back in the normal panel position, and a! the side front to balance the line of the opening. Slanl (h6 off the line o1’ the overlapped cdge slightly from tht with waistline to the hem so { h a t it harmonizes i5 nmterial hip silhouette. ll a bordered or slriped used, it is bettcr t0 keep the cdge straight on the grflifl all the way from waist to hem. The less differenü there is hetween the sizc ol the hipline and Lhe waistund line ol the form which is being used. the {ewer will them slant less thc smaller thc darts will be, and be on the ovcrlapped cdge.
shape.
on fhe Form (see Figure 9) Adiusling fhe Fabric skirt (m the form. As the final Dmpe Lhe wholc makc the adjuslment from hip szep in thc procedure, w waist, a9 lor all straight skirts.
64
BASIC S KIRTS Problem 4 DRAPING THE TWO-GORE SKIRT ()ne skirt is composcd ol two gores. One This skirl malaes maltes sklrt. the Ski"of ol back entire the one and front lront the entire from which t0 (lesigtl (lesigrl other lountlation lrom lt serves as a loundation It servcs and melhod, 3nd skirts through the llat-pattern blocking method‚ master a makes pattern together with the basic waist nrakes de— from which to dcsign the complete body of any deW C ? "W63"l0 skirl Sklrt a howevcr, however, lt is not, good sired costume. toward the flare is certain to swing towvard since most ol the Harc ol‘ the skirt tends to side seams, and since the back ol’ of any becatlse ol the lack ol thc hips hip: becausc cup under the gering reason lt 1s this l-‘or For back. ol" thc Center at the C e n t e r or side of the heavy, broadclloice lor thc unlortunate choice an espccially especizrlly unfortunate of Fitting", “General Principlcs o!" Principles figure (see hipped ligure for conreuson reason Another . 193-196 193-196. 5, pages Chapter lt" a tw0il" that is master the to tlte its use pattcrn fining is wearer Standing, gore skirt fits smoothly whcn the secms uncomlortably it ottetl olten seems uncornlortably tight when she is sitting. sonretimcs used as a suit skirt, it Although it is also sometimcs is not particularly well adapted to this purpose. lt howevcr, as a master block pattern. serves very well‚ well, howcver, look at the diagram skirt 100k Beforc drapirlg twugore sklrt draping the two-gore o! sec the shape of ol’ ol the pattern shown in Figurc Figure 22 to sce to are the gorcs that going drape. gores you
C.F. Cf
(62.8.
Ln ie
ap ‘La L p
Nomn unc HomuLino
Fig. l2. The
wrap-amund skirt pattern. wrap-around
front frorn center from 2. Mark the waistline wrth pins from l to center back. Figurc to Figure ll shows the side view. from the lorm and transfer all Remove the skirt lrom ’ 3. with a tracmg half the to tracing wheel used opposite ilines glines board. a chalk on or carbon Ln paper
‚lon
the top on a band. 4. Mount thc [ o r the wrap-around l2 shows the pattern lor Figure I2
tskirt.
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GORED SKIRTS
FRONT OF SKIRT
Draping a gored skirt diflers fundamentally from skirt‚ and since the gored skirt is lraping a straight skirt, ‚Idraping ‚y far the most important type, this difference should by ‘v thoroughly understand. In all straight skirts the be ams, hiplevel, and hem run parallel to the grain, \ams‚ ‘nd are either gathered, pleated, or darted to fit the rnd istline. All gored skirts‚ aistlinc. f: a skirts, on the other hand‚ hand, are l mposed of wedge-shaped pieces (called gores) _mposed the hip, ‘.5 hich are always wider at the hem than at d wider at the the than at waistline. A 3l hip gored f irt fits the waistline and hipline smoothly and flares utward ‚utward toward the hem line so (hat that the seams never i: n on the same lengthwise thread lor for their entire Ü ngth, and the hem hem line and hip level are never on „' e same crosswise threads. Because a gored skirt is o1 wedges that fit the waistline and hip line, mposed ol mposed can can be adjusted to Hare flare at any desired point and " be made to take on almost any silhouette. lt It is e; stly fltly the most popular of all skirts because itlt is so ptable not only to all fashion silhouettes but also ‚iivaptable all figure proportions. y
Esfimafing Esflmafing fhe Fabric (see Figure |3) 1. Measure from the waistline the desired skirt sklrt and add 5 inches for inches a hem allowlength (3 ance plus 2 inches for curving dnwn the waistline from the side seam to the center C e n t e r front) .
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2. Estimate the probable width at the lower edge and allow for a wide scam plus a little e x t r a to experL experiment with as you drape. Plan to make the circumlerence ol" the skirt at the lower edge somewhat less ference than one and one-half times the hip measurement. For instance, il if the hips measure 36 inches‚ hem inches, the hem
’
sweep should be about 50 inches. 3. To find the center lront, measure horizontally from the selvage one-half onehall’ the estimated width of the skirt from front at the hemline (see Figure l4) l4).. Mark the center from front line clearly. Use a pencil if you are workWorkif ing with practice material and thrqad thread markings you are draping the actual dress fabric. The center front line should be on the straight lengthwise grain.
E: ’
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65
173.13; ‘Fabric estimate for
front gore.
the Waisilbine (see Figure |4) the shears perpendicular to the
Fix. l4. (1)
center front
Center fold
position: (2) Shape o! waistline.
curve that 1%indhes below the top and cut a freehand of the The
length tapers up t0 "the side seam position. of the form measurement waistline curve equals the seam. side the to from the Center front
Adiusfing H10 Fabric on ihn Form l. Pin the Center irom line marked on the fabric of 1o the Center from of the form, with the top edge waistline. the above inch the cloth about V3 2. Pin the center front at the hip level. Check to see that the center front hangs in a plumb line. |5 a Esiablishing ihn Side Saum Posifion (see Figures
and b)
the side view. Ideally, Study the dress form from {all through the Center of the the side seam should the of hip in a plumb line to waist and the ccnter i: floor. lt should be directly on the side, so that the or {ront i: not noticeable ( m m either the straight fall perpendicdirect back view. lt should appear to and perpendicular (o the floor from hip to hem line, to waistline from hip. als: to the waist which throws the waistback a has sway figure mme adjustment in Sieiine’ fiorward and the hip: back.
m:
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with 300d Fig. l5. (a) Side seam poaition for a figure n for senm Side sway-backed 50l"adjustnxcrxt posture; (b)
Ant he
66
BASIC S KIRTS t0 suvitrg scam will tend to thc tlic side scani swing toward this skirt for the To T0 baCk. the the back. posture, poslurc, tilt the zldjust udjust C e n t e r of the hip Center the from lrom lorward searn seam "side ‚iside slightly meets the underwherc it n1eets ol" the waistline where . t0 to the Center of OH the U‘, 0“ *arm Figure l5 b). U, arm seam of the blouse (sec (see Figurc the and in are back, fother Äother hand, the hips prominent seam 593m side the is Hat, of the front ifront vcry P1366 place figure SlZC. larther back to reduce the apparent hip slightly farther‘ hip 1s relailflf the is abdomen and the in back Hat are hips atidomen Inne slightly forward. ltively large, move the side seam line Ätively I ln In general, however, place the line at about the Center inost becoming to ."lof of the hip, but always where it is most -the individuul figure being gthe heing fitted.
rnecessary or lnecessary
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af fhe Hip Level (see Figure |6) lAdiusfing fhe Grain a1’
The Character or “fall" of two-gore skirts is ConCrosswise grain is lowered amount the crosswise «along along the hip level toward the side seams. The more level, the more the you -you lower the grain at the hip level‚ at and flares the hem; conversely, the less you igore ’gore i: the less it flares. llares. The flare falls from the ‚lower l o w e r it al which you lower the grain. .points fvpoints zu
_
Ltrolled by the trolled
_
Showing grain adjustment at the ’l‘wn-gore skirt, showing Fig. l6. Two-gore hip level.
1/‘, 1/2 inCh of ease from the C e n t e r front to the side seam. This should be done because the total hip measurement of the skirt around the hips should be at least 2 inches larger than that of the body. The hip expansion when one is sitting determines the exact amount of ease needed.
l. Smooth the fabric from the Center front toward
the side seam along the hip level line marked on the fthe ifonn. iorm. Check the lengthwise grain to make sure that vit 'it stays perpendicular to the Hoor at the Center front of the skirt. Supporting the Crosswise grain level for ‘of about 3 inches from the Center C e n t e r front, pin the Cloth cloth about lorm to the [orm at This this should done be because point. to lowering the grain directly dircctly at the Center front throws ‘lowering at the Center Hare a: C e n t e r of the figure. ‚an awkward flare 2. with _ Experiment lowering the grain from the established in l ipin '_:pin step to the side seam. NotiCe that if jif the grain drops enough to fit the form smoothly at ‘both waist and hip, an undesirable flare falls near the both Äside seam. This flare can aide Can be reduced by lowering the ain to grain just enough produce an easy straight-hanging f "ne from the hip to the lower edge at the side seam. Jine D0 i o not worry about the excess from hip to waist at ’
fhe Side Seam (see Figure I7) Adjusfing +he Adiusfing l. Fold Fold the fabric [abric back over itself so that it drops in a line perpendicular to the floor from the hip level to the lower edge. [old will be the side seam line. edgc. This fold 2. Place a pin in the fold at the lower edge. Holdpin Crease it carefully ing the fold taut, crease Carefully without stretching, and pin the lold fold perpendicular to the edge. 3. Judge ol the front gore from the Center judge the width of Center front to the side scam at the lower edge of the edgc gore. Since this distance is approximately one-fourth the Circumference of the entire skirt, it should probably be about I2 |2 to l3 inches for a 35 inch hip measure-
an
bthis g 1s stage. i‘ e3. In order to retain the silhouette as draped, pin form along the hip level line, 1e fabric to the {orm line‚ bening 3 inches from the Center front and ending at ‘nning in 3- side seam. lfIf the hip measurement of the dress prm exactly corresponds to your own, ease slightly tween the pins until the skirt has „tween approximately
ment.
v
4. Cut the ‘side seam with a generous seam allowance (I (l 1/, 1/2 to 2 inches) at the mches) for possible
possible changes Changes anCe fitting. Wide Wtde seams are especially necessary if it is the first time you have used your dress form in draping a skirt of this type.
67
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Fng. I8. Back gore showing grain adjustmem at 1h: level.
17. side seam adjustment, side view.
5. Tu r n the seam allowance to the wrong side and
hips at the back‚ the excess at the top edge of the skirt pattern has to be taken up into dans. The more the grain is dropped at the side of the hip to increase the fullness at the lower edge, the smaller these darts will be. Conversely, the narrower the skirt is a: the lower edgg the larger the darts will be. The size of the dart also increases with an increase in the f, difference between waistline and hipline sizes. l. Smooth the fabric toward the side seam across ‚i Lhe hips, keeping the crosswisc grain level at the hip f line from the center back for a distance of 31,5 m4 Ä inches, the approximate end of the hip dart, and pin the fabric t0 the form at this point. 2. Lower the crosswise grain toward the side seam enough for a slender skirt that neither cups under in short, for l the hips nor flares out at the side satisfactory silhouette for a foundation master skin. 3. Pin the fabric to the form at the hip level in one or two places from the point of the dar: to thc sidt seam (see Figure l8) to retain the established SÜ" j houette. Remcmber that any lowering or raising 0E Lhc crosswise grain at the hip cntirely changes the f!“ _ of the skirt. 4. Fold lhc excess above lhc hip inlo a dart runninß from waist to hip and pin it temporarily. curve of the
re-pin it. Leave the skirt unfinished from hip to waistline.
„Note. The
ptocedure for draping all gored skirts is
Lhe samc in the {ollowing details: (l) The line from that from hip level t0 hem should be adjusted, and the entire until unfinished left be should waist hip to all seams. at is established skirt (2) character of the be should lower to level edge The side seam from hip a straight line slanting outward.
L_
BACK OF SKIRT the front Esfimafing fhe Fabric. See directions for
—
gore.
’
directions for the front Sluping fho Waisflino. See gore. See directions for Adiusfing ihn Fabric on H10 Form. the irom gore. Level (see Figure |8) Adjmflng fbo Grün cf fho Hip t0 Before draping the back of the skirt frnm hi_p of the relauonshxp 11cm, i! in necessary to understand of the figure the to dar: proportions vertical hip outward 1nd 1o the skirt silhouette. Because of the
V
b
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*
.':z„«.‚c.x\ «
68
S K I R T S
BASIC +0 Hem (see Figure Hlp fo Adiusfing Adiuging fhe Side Seam from Hip
5|9) l
from Lhe hip level un itself [rom thc labric ovcr on I. l, Fold Lhe — it il falls free, when This line. frce, should line, lowcr cdge. to the lowm" ‘u should flare und lloor and t0 the enough > be perpcndicular perpcndictnlar lrom edge lhc lront . to mcet the [o mcel easily. cdgc casily. lold slightly Lhc 101d stretching it. slighlly without slretching _ 2. Crcasc thc t0 the hip, holding it t a u t the hem hem 1o lThen Then pin it from lhe do so. as you d0 ‚as of 11/2 oH‘ thc lhc exccss. 'I'rim ofl" excess, allowing a seam ol 3. Trim 5. Il/g t0 " . 2 inches. v
.
C1 je
|
I
I
I
l-
__L_
Fig. Fig. 20.
dart. Positilm of hip dan. Position
l
the skirt The dart in lhe waisl ( l a r t mects it. Thc VVlICTC the waist whcrc t0 the contour of the hip. should carelully conform to dillerence in size between waistline The greater the Lhe diflerence lhis outward slant should be. and und hipline, [hC greater this hiplinc, Lhc Too much much outward slant incrcases the apparent width of the hips. On the other hand‚ if the lhe dart is parallel hand, i1’ nr center back, the waistline apor nearly parallel to the Lhe Center dar: where heavy and blocky. Lcarn [oto place the dart pears heavy’ it will be most beconlinlg i: becoming to the figure, and always make it lt appcar cominue the vertical dart at the appear to continue back of the blouse.
Lhe side seam at 4. Pencil a clear cmssnxarking crossxnarking on the levcl. This is the balance point of the side Ievel. comrols the hang of the skirt. seam and controls ‘seam
llhe hip lhe
'
A
lhC back edge of the seam and slip 5. Unpirl sllp the Unpin the from edge. Re-pin allowance lorward lorward under the front seam allowvance ‘lhe seam lrom hip t0 hem, matching the balance the
poims exactly. points l
‚>1o 10
lhc seam t0 scc {hat (hat it is perpendicular 6. Chcck thc (i. Check t0 the lrom Lhe hip l0 Lhe lower edge. thc lloor 1mm
l. Fold the dart dar: line, pushing the excess at the waistlinle waistline under toward the Lhe C e n t e r back (see Figure 20) 20)..
2. Pin the dart carcfully. The pins should be perpcndicular to the edge, and the dart should be long [o take up all excess enough to smoothly. That is, it should bc 6 to 71/1 inches 71/2 long.
Front Waisfline Darf (see Figure 2|) Placing fhe Side Fronf u s l bc ease or There mmust t0 shape the fabric (larling darting to over the hip bones just in from front of the side seam. Figures with hips which are small in comparison to t0 the waistllne waistline need only a very small side front dart and may need none at all. Normally, however, a twosknrt Iront from wnhout without a dart dar: has ttoo gorc gore skirl o o much much ease from waist t0 hip. Although ease along the side seam lrom can be worked in reasonably well, a skirt which is to servc as a master pattern is more satisfactory satlsfactory if the excess 1s is taken up into a dart. Some master ex‘cess Laken pattern pattem skm Iroms place the Lhe dart dar: near the side seam so that (hat äkm ‘fronts from hlp pomts toward the front hip bone, especially if the hnp bone 1s sharp and exaggerated. For the normal lhe dart in the skirt should be figure. figurtx however, the placed m line with that (hat in the blouse front in order to form lor the master block good panel spacing for pattern. pauem,
{ m m hip t0 hem. Fig. I9. Side seam from Flg.
of fhe Hip Dari Darf in fhe Skirf Skir? Bach Bacl: (see Figure osilion {Position
20) n. that ’ants the waist dart in the back 0E of the blouse Notilce Nollce y
(hat
mward lams Inward toward the waistline, conforming to g t0
the ntour of body. The dart in the back of the skirt 1n;Vntour of‘ r slants slams inward, mward, and meets the waistline a: the point
‘v
69
Mark the waistline with pin: from the cemg: to the Center back, following the waistline of thg? usually retained along the waistline above the bone at the side from.
v3.21.
side
front dan and side seam from
hip m waist.
l. Smooth the lengthwise grain upward from the waistline at a hipsso that it is perpendicular to the the side dart point halfway between the front this and point. seam. Pin the fabric to the form at
2. Work the excess between the pin and the center front imo the dart, and the excess between the pin and the side seam into the shaping of the side seam. 3. Lay a dart which coincides with the blouse dart to and which slopcs slightly outward from the waist center the toward the hip. Push the excess under This dart from, and pin it perpendicular to the edge. is i: much smaller Khan the one at the back and 5 to therefore shorter. lt is usually not more than 4 inches in length. from Hip fo Waisf (see Farming fhe Side Seam Line Figure 2|) o! the This line should be a smooth continuation but usually line {rom the hip to the lower edge, waistline the enter to in ordcr curves slightly [orward
a: a right angle. from waist I. Tum under the iront seam allowance but not the to edge w hip and pin it pcrpendicular the imo the form. Be careful not
GING.
to
stretch
slight
Marking fhe Hem Line l. Check to see that the form is level and that itß adjusted to exactly the correct height. 2. Mark with pins‚ measuring with a tailofs squaxej from the floor, or for speed, measuring from one pin to the next at not more than 3 inch intervals.
Checking fhe Skirf Before removing the skirt from the form. check i! 1 for the following points: 1. The Center front and center back lines should ‘L hang perpendicular to the floor. 2. The side seam line should divide the figure becomingly at the waistline and hipline. 3. The side seam should fall perpendicular t0 the floor [rom hip t0 lower edge. 4. The side seam should enter the waistline pefpendicular to it. 5. Crossnnarkings or hip balance poims on the sidc seams should match exactly. 3nd (i. The back dart should be bccomingly placed in Iinc with the blouse dart. be 7. The side seam o! the from gorc should *5 {mm slighlly cascd t0 the side seam o! the bnck gofe hip l0 wuist ovcr the hip bone. »
<
70
B A S I C SS K II R TT SS waiatlinc and the hem line should bc clearl} Thc waistlinc clearh S. The 8.
"markcd with pins. '
.
lrom und free from shottlrl hang straight struight and _ 9. Thc skirt should or back in o1" ot" trace tmce without cupping any hip to hem 1 front the at lhe awkward suddcn without anv wilhout and llaring Haring fronl, any 1' ‚ side. „
Cvossgraln °."’.“_"."1‘-
—
ÄPREPARING THE MASTER PATTERN FROM THE
ä
sxm DRAPED TWO-GORE SKIRT
v
3-
S
2
Selvage J5
3
Sewane
U
PaHern -Mar|ting Marking fhe Paflern the skirt [rom the form, Laking Remmc Lhc l. Removc taking out only form. to attached the which are few lew those ‘ pins
z
n
crossmztrk the seams. 2. Mark and crossmurk material with pencil and all Mark (a) practice malerial . fubric with colorcd thread lines or sharpened other fabric ; olher sharpelted that hold the seams rhalk ‘chalk beforc removing the pins [hat w together. _ (b) Mark the cdge of cach seam and each balance clear lines, lines, and crossmark once below and poim point with C1621!’ ; [wice twice above the [h6 bakmcc balance poim level. [hc hip 1eve|_ point at the the Mark lhe and hem line. waistline (c)
T =
lnlnlnlululnlulnm’
a g e r skirt. the two-gore master 5kg“ 22. «nueing Trueing [he [wofmre m Fig. Figr 22
V
When smchmg lme stitching the dart, curve the line inward toward the fold to taper the point and slightly tu bridge over the w [he hollow of the [h6 back. Note.
a“ Pms’ (d) Remove all pins.
True 6. Tr u e the hem hem line Iine by squaring out with the lhe Lcenter C e n t e r [ront front and from fmm the side seam until the two lines intersect. intcrsect. On each of these lines‚ find the halfway mark between the intersection imcrsection and the Starting at center front C e n t e r and side seam. join starting poim point Join the lhe two halfway points with the ruler. Then redraw the line by hand‚ i: smoothly (see Figure 22). hand, curving it
from the Lhe square Irom
iTrueing ‚vTrueing fhe PaHern (see Figure 22) I. Smooth both sections of the skirt out flat on the 1.
‘table. jtable. 2. Draw a smoolh smooth curve am at the waislline, waistline, starting Starting 5 to the Lhe center C e n t e r front and ccnter back and perpendicular perpendicular l0 erPendicular to the side sidc seams. .‘endin Pperpendiclnlar jending 3. Smooth up the curves from the waistline to t0 the hipnnt ipline. [rom the balance point > 4. Rule the side seam lines from poim {h6 hem_ hem. Press press the ruler „der down against the [h6 fabric ‘im the ‘f’ von do so’ [0 prevent Slipping. you d0 so, to slipping. Rule. Eule. Gore edges in a“ all gored skms skirts must be straight, traight, outward-slanting lines from the point on the p at which the skirt breaks away from the body to „hip ._ e hem line. Always mark these edges with a ruler. _the 5, 5. True Trug „p a“ dart dar; “ms lines Wim with a ‚ulen ruler. The back up all an as pinned is usually a slight outward curve that glatt n phasizes the hollow of the back. Replace this curve fmphasizes th ruler lmes. lines. v 1th
"w M°'ki"9‘ Hd‘ of °f Transferring Tramfarring the Markings bfo fhe Opposife OPP°SH° Half Fronf and Bock Back Gores I. Fold both I‘ bom [h6 the front “Cm and back gores 0E the ‘h3 skirt Ski" 30m5 of on the center lines. lmcs. The crosswise grain must be kept cgnter t0 the Lhe lengthwise perpendicular to lenglhwise grain in both layers Rerpendlbculfu‘ since it n 1s is liable hable to slip out of positicn in the under layer. 11:91::
l0
7
V
_
2E o
.2 u u’ „f
_
2. pm Pin um 2' the two ‘W0 layers 137°“ together. ‘Ogether3. Trace around the trued up pattern with a tracmg ing wheel on carbon paper or chalk board to transfer all a“ seam “"85 lines and crosslnarks Cmssmarks to m the ‘h6 under und" layer. 137°‘4. Cut with wiLh seam and hem allowances.
_
71
Et dmnges
l5.’
.1 aslxioxiiyinithe
A
the grace; and ‚individuality ‚und. will notß. büßte V
Ställe" decrease» tlte width of the hips by
l
typed. This is never moreitn-xe (hin„inxdm since each one is certain to show the individualn the draper.
placirxginearly all‘ of the Bare over the knees. thus pro«ducing {elender side silhouette, lt is a graceful skirt, n0: onlylfwhen the
she moveä;
Esfimafing fhe Fabtic Ä Because the top and bottom edges both curve, the when them extra length to shape figuring lengflj of iabric required. Measure from waistline to hell line and add the hem width plus an allowance 0U inches for the curves a: the top and bottom. V
wearer stands still, but also when l
A
‚
Beforeeliäping the six-gore
sbkirt, consider the following points on panel spacing and study Figures 23, 24. 2nd 25. (l) Always avoid equal spacing (see F igure 25). The Central pancl is usually wider than the two side ones unless Lhe figure is very slight or the design requires a narrow Central panel. i
Draping fhe Center Fron} Panel (see Figure 26) l. For a half muslin pattern, smart with the selvage at the center front; for an entire skirt to wear‚ estimate the approximate width of the Center panel atthe hem line (the widest part of the panel) and add a generous seam allowance on each side. l-lere the directions are given for a half muslin pattern only so thal they may be kept as simple as possible. 2. Pin the selvage at the Center front of the form at both waist and hip, allowing about l inch above Lhe waislline. 3. Smooth the fabric across the waistline and hip line. Pin i1 t0 the [orm at the waistline 21/, t0 3 inches from the center front in order to hold the muslin in position while you drape the skirt. 4. Decide how far below the waistline the Haft should begin. Thc poim where the skirt begins l0 swing away from the body is called the break. Note. The placing of the break is an imperial“ factor in establishing the final silhouette of the 5km Although oftcn at the hip level. it may be placed abojle or below that line at lhe poim where the seanx begms to slope outward more sharply. 5. Mark lhe panel width at lhe break poim and also at the hem line.
\Ä_‚L/
Panel divides skirt into 175x13, Poor panel spacing: (I) Central panel is parallel to center m “ ; equal spaces; (2) „ (mm. Panel dmdes 5km be(I) Good spacing: panel 1753.24. at waistline. ' comingly; (2) Panel lapers wide and does not taper mto too is Central 25, pancl Ei; waisxline.
_ _
72
f
BASIC
SKIRTS
Senam m
Sidce
[ront panel is draped from the side seam forFig. Fig. 27. Side front m e e l the cenler lrom panel. to meet center lmnt ward t0 wartl
skirl. Fig. 26. Center lmnt pancl, panel, six-gorc skirt.
if it is not easy t0 see, so [hat (hat the the straight grain, graiti, il ol" outward slant can be checked.
belwcen these two points, 6. Crease a lme line betwcen holding points. holtling without stretching it. t u u t withotit lhe labric tuul the
.
exacl amount anlount exact
_ 7. Cut with a generous seam allowance (II/Z 0% inches) ‚ flrom r o m the lOWCI‘ lOWCT cdgc u; the Lhe waistlinc. 'I'hc panel tvaistline. The edge to pnnel nari rows lrom from the thc hip lcvel lcvcl t0 the uuiistlinc. 111c wuisllinc. Adjust the :.rows nt thc the waistline waislline later. ; panel spncing spacing ut 8. Either Eithcr take takc the panel olf ofl the lorm form to truc t r u e it up 1o Iower from hip l0 lower edge or t (u u mm thc the seam allowance i1 perpendicular t0 (‘rease and pin it _under on the crcase l0 the ll while it i: still is on Lhe the lorm. ietlge edge
2. Crease and pin the fold. 3. Place it at the side scam position so {hat that it falls t0 thc i1 firmly t0 the lloor, to the form Iloor, Pin it perpendicular perpentlictilar to in two [ w o places a1 at the hip and again above it (see . Figure 27) 4, Smooth the fabric lorward a: 4. at the hip level and pin it to Support support the crosswise grain in a practically level level position position for about 3 inches from the side seam. From this point let the grain drop toward thc the side lront to t0 introducc introduce the Lhe Hare. flarc. Continue Cominue t0 pin and drop the grain slightly t0 to the side lront front seam.
— ——
‚
‘
lDraping Fron? Panel Draping fhe Side Front
(see Figure 27] 27) lt would bc lpossible JOSSlÖlC t0 >in to pin the thc strai ht len l straight 8thwise lengthwise torm at zu the centcr ol ol’ thlS this panel to gram to the lorm egrain panel and t0 outward in both directions, ‘drape direclions, but it is easier, and drape oumard it‚it savcs fabric, to start at an the side seam and work forward to the side lront. ‘ward
_
b
_g
Note. Il the grain drops at once [rom lrom the side seam it Lhrows throws the llare toward the side. By Supporting the supporting o r at least 3 inches, grain level [lor Hare tends t0 inches, the flare to fall am ut the side front lrom rather than a: at the side seanl. seam.
I. Eslablish Establish the side seam line before placing the fabric on the form. To ‚fabric T0 do d0 this, lold under the seam allowance, puuing ällowance, lhe desired Hare from hip to putting in the em. For a narrow Silhouette, hem. silhouette, do not slope out the side seam more than ll/Z "de 11/2 inches at the hem line. For slender figure and for a very narrow, stem-like skirt Thouette, an increase of y, "lhouette, 3/4 inch from hip to hem may ä enough. To save fabric, use the slanting edge just ‘V ut „t from the cemer center front from panel and reverse it. Pencil
n. Fold the fabric back on itself, slanting it forward enough so (hat that the panel hangs perpendicular to t0 lhe the Hoor and so that [hat it lt imroduces introduces the right amoum amount of Hare at the side front seam line. 6. Mark the width of the panel panel at the lower edge ol the skirt with a pin and crease the line ol" carefully between the break brcak point poim and the pin pin at the lower edge. 7- Cul. Cut, leaving a 11/2 1%inch seam allowance.
7
t
„
73
tÄo;
die 154m6 whätdgl;
toistart‘
be done with a seamällowance o! 11/, i‘ 5. Clip the seam allowance at the break VA‘ within a few threads of the seam line in order the panel fall perpendicular to the floor even u» the flare is pronounced. The panel should be enough at the lower edge to ripple, but not so {
-‚_ "
that the flare is heavy and clumsy. 6. Tum the fabric back over itself to gct a . slanting line from the point of break to the lower then crease and pin the fold perpendicular to . edge (see Figure 29). 7. Cut with a wide seam allowance (11/4 to 1%. inches) to allow {or let-dut. 8. Fold under the seam allowance and repinä carefully without stretching the bias line. Figure 30 shows the panel when it falls free.
Jqining oi cemer from and side from panels. 8. Crossmark clearly at the break poim. 9. Tum the side. front seam allowance forward and lap the cemer section ovcr it. Join the two (see Figure break 28) v,pinning perpendicular to the edge from the line. hem the point down to Note. Both the side seam and the side front seam should fall perpendicular to the floor from hip to hem. lf either does not, lower or raise the crosswise grain a: the hip umil the seam is a plumb line, and then re-mark the seams. Leave the skirt unfinished from hip to waist and proceed to drape „the back.
mag 28.
l
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wifh a Low-Placed Flora Draping a Cenfer Bock Panel (see Figure 29) the six-gore skirt is Ordinarily, draping the back of thc iront. But in order largely a repetition of draping the proto imroduce a new problem here, we give the cedure for adding a low-placed rippling flare at used in side back. The two kinds of flares may not be ehe aame skirt, but there is no reason as far as design have a slight flare i; concerned why a skirt should not back. the at a! the front and a decided ripple follow the I. Pin the cemer line, which should of the back to the center
su-aight lengthwise grain, [arm at both waist and hip. it to 2. Smooth the fabric across the hip and pin
Fig. 29. Center back panel llaring low. after Fig. 30. Panel [alling perpendicular t0 the floor seam i: clipped.
74
v
IhC
BASIC
I R T SS S KI falls into a deep unpressed on each side ol the seam or lalls o1" pleat. fold or between Fold the fabric back on itself and pin it ÖCIWCC" 7. Fold lower the and break of the point ol’ edge. seam allowance. inch inch to B. Cut with a 11A 8. 11/2 11/,
l
l
E
J! 3 Y I
J,
f Hin
LWOI q
'
to the hem, 9. Pin the scam from the break point t0 of the direction the in this time with pins running stitched. were it il iL if as falls that the seam so ripple [0 make it hang perpendicthe seam slightly t0 Stretch thc
f- 4.,
H001". ular t0 to the floor. Note. Since a bias line tends to bow out in the when it is stretched, straighten this line with a centcr c e n t c r whcn when trueing up the pattern after removing ruler long it from the form.
Caution. When you drape the side section of a easy to become confused and c u t in gored skirt, it is eas_v a: at the lower edge of the side section. on the grain Since every gore cdge must always be an outward Sincc carelully before cutting thc slanting line, check this carefully of the side gore. cdge edge
hat}; pancl is draped lrom the side seam toto— Sldc back Fig.3l. Side to the c e n t e r back panel ward the side back and pinned t0 t0 hem. ‚from hip to from
Draping fhe Side Back Panel (see Figure 3|) a m e way as the side _ l. Start the side back gore the Ssamc - front one. F01" For a slender side Silhouette, slant out the side seam about lI/g ‘side 11/2 inches from hip to lower edge. ‘Foltl und pin the side seam scam line to t0 the lorm in two [wo lFoltl at the and above it. The should line _ again ‘ places, hip fall against the side seam edge of the skirt front. ‘lall 2. Smooth the fabric across the form toward the Center center back. Support the grain ncarly level for about 3 inches, thcn drop the grain toward the Center c e n t e r back panel panel to introduce llare at the lower edge. 3. Pin the side scction against the Cc een t e r back panel at the point ol break. The point of break on the side back and centcr back panels must exactly coincide. ‚back {rom the waistline to the point _ 4. Trim the scam from f break, leaving of leavmg an allowance of ll/z 11/2 inches. At the ‚reak, clip the seam allowance as you clipped the reak, enter panel. f enter 5. Let the grain drop from this point for a ripple . u a l to that [hat of the Center panel. _ - G. 6. Place a pin at the lower edge to indicate the anel fiares anel width. The seam usually hangs better if it flares on both edges. However, if you ’ually place more ually 0" the Center panel‚ panel, a one-sided ripple swings i’ 9 0D F"? the seam from the center back. An F" away rät 0_V 01/61" el' ahzed flare, on the other hand, hand‚ balances the ripple «ä-ualnzed
Skirf from Hip ‘lo fo Waisfline (see Adiusfing fhe Skirl (See Figures 32 and 33)
Although the skirt is still unfinished from hip to
waistline, its character has by this stage been com-
pletely established.
_
.3
‚ ‚
32. Six-gore skirt front completed. completcd. F1g.35. Fxg. 53. Six-gore skirt back completed.
Frg. Flg.
75
f
grain in both the side fmnt-‘i-antlside bafick pälnels up toward the waistline so that itlis perpendicular t0 it at the Center of each gore. the wajstline seam above these points and pin the fabtic 1o the form a: the waistline. I5. Froui the’ Center of each side gore, work the excea fäbric toward the Center front and back, and lap at (heoemer panels over the side ones‚ pinning right angle: 1o the‘ edge. 6. From the Center of each side gore, push the excess toward the side seam and pin to the form at the waistline. D0 not stretch the waistline seam, but do not leave any ease. 7’. Lap the front edge of the hip seam over the baok, it to the back, easing the front slightly as you attach for pindirections and pin it a: close imervals. (See skirt, page 70.) ning the hip seam of the two-gore line with 8. Mark both the waistline and the hem
(a)
—
(b)
Fig.34. (a) Poor. Side pleats laid on the grain formt panel which appears narrower a: the hem; (b) BettenSülC pleats gored out slightly harmonize with the contour also increase the hem width. ’
meC7: thighs and a relatively small waistline, since of a 5km always unconsciously compares the shape Another panel with the silhouette of the figure. outward line the (See; son for goring slightly pleat so that (h: lower the widen to is edge 34b) Figure a press bei? pleat will not spread apart and will hold contributc : lower edge 1er. Pleats popping open a1 the it is, since But nothing t0 neatness and slenderness. far olf th!) impossible to press pleats (hat are very ol IhC_ grain, there must be a seam at the undercreaseor of two man’ pleat, and wherever there is a group undercrease o‘ the at a seam be must pleats, there each one. Otherwise each pleat lolded imo the C1011? takes on more bias than the one before and nenhd; presses nor hangs well. Ski“; The fiber and weave ol" labric for a pleated only not must also be considered. 'l‘he labric should take and hold creases but should stand many p“? choicc unlesv ings. A firm wool is obviously the best l0‘ in Pleats heavy tweed. it is too bulky or heavy. 1h‘ seams at 1 example, stand out awkwardly, and the 5 undercreases are thick and clumsy.
m:
pins. A DRAPING THE SIX-GORE SKIRT WITH PLEAT IN THE GORE
l
-
62-63 was a The pleated skirt explained on pages all around. A side pleat straight skirt and was pleated if laid on in a gorcd skirt, however, hangs awkwardly the grain, and the Center panel if absolutely parallel w the center front appears narrower at the lower edge line lhan a: the hips. This is because the silhouette to {rom the hip way o! the skirt flares outward all same the remains line center the panel hem, whereas illusion width a: shown in Figure 34a. The optical with heavy hips anal inevcn morc apparem on a figure
M
5 ä 1
76
5
3
ä
BASIC
i
S
Pleat in fhe wilh a Side Pleaf Center Panel wifh the Cenler Draping ‘the Fron? Seam (see Figure 35) Side Fronf 21s lor the Center front same procedure as the samc l. Follow thc but add to its skirt, a ol six-gore rcgulation panel allowance. a seam ol’ the pleat plus iwidth lwidth the depth (lepth ol waist and hip 2. Pin the panel to the lorm at the wvaist front. center Center on the 3. Measure the width of the panel at the hip and 3A also at the hem. lt should not increase more than 5/, to [o l inch at the lower edge, which is just enough to ol of amount The be to the straight. make panel appear Silhouette ol the inincreasc varies slightly with the silhouette dividual Figure. ‘dividual figure. 4. Mark with pins the panel width at hip and hem. 5. Dccide on the top point of the pleat.
c.r.
3} l
Seam
sSindde l
b
.
und
„m“ 6
"e."
‘
\*‘"«*N wx \sx\» e.\„x\“.‚
lront panel Showing allowance for pleat. pancl slrowing Fig. 36. Side [ront front panel and pleat to center lront lront front Side 37. joined t0 Fig.37. Fig. dotted at undercrease line). by (shown pinned P|ea+ in lhe fhe wifh a Side Pleal’ the Side Panel wilh Draping fhe From‘ Seam (see Figure 36) Side Fronf l. Follow the same procedure as for the side front ol" a iegulation regulation six-gore skirt, but add the depth panel ol seani allowance to the side front of the pleat plus a seam edge. 2. Establish the side seam position and pin it to und pin it to the form again at a polnt the lorm, and point about three tllree inches inclies in from lrom the side scam. seam. Then lower the crosswise grain tront to introduce graixl slightly toward the, lront just enough width on the side section so that the pleat will stay closed. A sudden dropping of ol’ grain would a which would be inconsistent with the produce ripple sharply shurply pressed pleat edge next to it. Anchor the side section to the form along the hip level up to the point where it Ineets meets the center C e n t e r panel edge. 3. Mark the width of the panel at the lower edge. 4. Fold Fold the [abric fabric back on itself between the hip und the hem, and pin the fold. 5. Mark the top of the pleat in line with the markmg ing on the Center Center panel, and measure back from the fold the depth of ol the pleat plus the seam allowance. ÖÖ. Trink Trim. leaving a 11/, 11/4 inch seam allowance.
p
9. Replace the panel on the lorm and pin it along und agaiti the Center center front line at waistline and hip, and the agair} at the side front at the hip to support the crosswise rain.
‘l Cf.
I
4 1/0’
.35. Center ;_'nt.35. nt seam.
4
A
G. Decidc on the depth (width) ol the pleat. 6. torm and rule the 7. Removc the panel from the form its then, linc marking line edge, parallel to it‚ the line Inarking of the the [llC pleat. marking ‚marking depth 8. Cut with a seam allowance, fold on the panel line, and pin. ‚line,
‚'
KIRTS
lront front pancl with a side pleat in the side
77
':7'I;I2?4‘>"
n rn e s s n e s‘. 7. Crossmark the break point carefully. Unpin the seam to and lap the front over the side frobm hip hem, the pmning pleat edge o! the Center panel to front: lhe side section (see Figurc 37) . Later. when trueing up Lhe side from panel‚ rule the line on which the pleat crease falls and crossmark it between hip and
hem. Always match the pleat ctease with this line beforc pinning the seam at the back of the pleat. 8. Finish the top from hip to waist exactly as for die top of a standard gored skirt. Note. The fabric is more nearly bias on the side front panel at the pleat line than on the center front pleat crease, as Figure 37 shows. This is the principal advantage of a side pleat over an inverted or box pleat in a side gore. The side pleat allows plenty of room over the thighs at the side front, and yet the pressed
edge is nearly straight and therefore holds a crease. Figure 38, on the other band, shows an inverted box pleat which must be pressed on both edges. Hence the grain at the side front edge must also be nearly is straight. Try both kinds and you will see that this
skirt. Fig. 39. The lines of a plaid curve in a four-gore
Problem 6
true.
When stitching is objectionable across the top of’ a the pleat pleat (for example‚ in a soft crepe) , carry at the up to the waistline so that it can be supported belt line. lt can then be stitched down as far as you wish on the wrong side in order to avoid top stitching.
DRAPING THE FOUR-GORE SKIRT The four-gore skirt with Center front and back seams can be adapted to either tailored or soft styles dependit _ ing on the amount of flare introduced. Since hasonly d the in one and back, possibility one seam in front is introducing flare by slanting the seams outward come must very limited, and any pronounced ripple toward primarily from lowering the crosswise grain circular type the seams. This produces a softer, more l‘ of skirt than one that is gored out at the seams. be inlroducfida any appreciable amount of flare is t0 to be so mufh have seams back and fronz Center Lhe for fabrlü suitable not is the that on the bias design fabrlü such since or {hat are loosely woven stretchy, Ü“ The them. pattern ol need more seams to “stay" fabric must also be considered in choosing this ‘YPC of skirt. The diagonal lines of a (will. for examplt» and bld‘ appear mismatched at the bias Center { m m seams. and slripcs and plnids take on curving diagonal lincs such as shown in Figure 39. But for a firm, S?“ 5km fabric without pronounccd pattcm. thc four-gorf is a good choice ol cut, espccially when lhC deslgn° the drcss locuscs interest at thc ccmer o! the figurfv ‚
l
i
box plcat in a side Fig 38. An invertcd
are apt
t0
{mm
gore. Pleals
spread apart.
78
l
B A S I C
S KIRTS
fhe Form (see Figure 4|) fhe Fabric on the Adjusfing Adiusfing the Lhe side seam line before placing the 1. Establish Establish the l. Fold the seam allowance under, fabric on the form. Fold under. 51lhem for a narrow silfrom inch l inch Out o u t hip to hem sloping at houette. On a selvage, fold the fabric back l lflCh inch the lower edge and 2 inches at the hipline, and pm the fold perpendicular to the edge. at the creased fold against theform 2. Place the Creased theiform to the it falls perpendicular that i: side of Lhe the hip so (hat perpendlcular hem. floor from hip to hem. 3. Pin the fold to the form once at the hip level that and again 2 or 3 inches above the hip level, so (hat a for hem, the seam will not shift. Except generous the excess length should all be above the waistline.
lov Flan Lenzth in: Flnu Lcngm
py
w:ist Sea m Wmsl seam 1/2 Front Hlpwndlh wlorFlare Hlpwndlh o Ulorflave
Slnnnntl
sSeeaum
Hn M ap n
Harn Horn
Donth Deut}:
Cenfer Front Fron} (see Figures 4| the Center af fhe the Flure Flare a? Adiusfing Adjusfing fhe and 42) l. Smooth the crosswise grain along the hip Ievel 1. level C e n t e r front. De— Deline lrom from the side seam toward the Center a: what point you wish the first flare to cide at Cide t0 fall. This will usually be over ovcr the knee and about 5 inches in from the rhe side seam toward the front. Pin the fabric l0 the form at this t0 lhis point on the hip line. Above this smoolh smooth the that it is pin, lengthwise grain upward upward so {hat to the Then waistline. the fabric perpendicular pin 1o the form at the waistline. lf to If the lengthwise grain is not anchored perpendicular to the waistline at this point, the flare will swing out toward the side seam. poim, 2. To T0 drop the grain from [rom this point toward the C e n t e r lront, front, slash through the excess fabric above the waistline (lown down t0 to within 1/2 inch inch of ol the waistline seam (see Figure 41). 41) . 3. Drop the grain at the hip Ievel level lor for Lhe the Center Center from front flare and pin to the form along this line to the C e n t e r front (see Figure 42) . 4. Smooth the fabric up to Lo the waist and pin along the waistline toward the center C e n t e r front, stretching the fabric slightly. 5. Trim the waistline seam to ß inch. 1/2 Note. A very slight drop in grain produces a practically straight skirt, whereas a decided drop creates a circular, flared effect. eflect. However, there is a limit t0 to the amount {hat that you can lower the grain and still fit the figure closely Closely from hip to waist. The greater the flare, the higher up it i: must begin. A skirt which flares
Fig. 40. Fabric estimate for four-gore skirt.
fhe Fabric (see Figure 40) fimafing the Bfimafing l. To determine the length length of the panels, measure to the hem line and add a hem alowance and a waistline seam plus approximately 4 inches for lowering the grain to produce flare at the nches 5ower edge. ower .
rom the waistline 1mm
V
2. Measure around the hips from the Center front r back to (o the side seam and add at least 5 inches for at the lower edge. As the lhe Hare flare increases‚ iare extra increases, the extra are for lowering the grain must also be increased. englh lor ength
r
_
-4
_ 4
1
Set.--
3'
ü-C
4 Sdiesleam
F1
FigAl. Four-gore-adjustment on the lhe form.
79
_
Follqw 15KG; 98m
are-Üfallsi
a;
hsp cum. even fliöugh ztgaskinhmrnix» '
hips t0 wahr;
*
'
r
-
_‚
41-4‘-
w‘ 4
«
i
173.42’. Four-gore —-aiTangement of the flares.
directly fmm Athe waistline should more properly be dassified as a circular skirt. See directions for draping Lhe circular skirt, pagc 85 . lt i: also true that the more the skirt flares the more curved the waistline becomes, which makes i: necessary to clipßand stretch rhe waistline to fit the figure closely above the hips. and placeStudy the skin contour for both amount far out flares the Guard ment o! flare. against placing a: the area flat a the of figure, leaving toward the side broadsame the have then C e n t e r, for the flares would Yet if you place all of ening effect a: a wide panel. “
Adiusfing fhe Sidc Salm ‘vom Hip b Wckflino 1. Smooth the fabric from the center of the; toward the side seam line. Pin the waistline ito form a: the side seam and trim the excess abov side seam nur 3/4 inch. Allow a more generous waistline for let out, since a prominent hip boi the side front, or a decided side curvc on the A„g throws the flare to the side. To ofisct (bis it i: sary to lower the grain a: the waistline near die seam and to ease the excess into the seam from‘ hip to the waist. 2. Fold the fabric back upon itself and trim seam to leave an allowance of about 11/4 inches. 3. Crease the folded seam line, turn the f: under to the wrong sidc on the crease, and lap front over the back, pinning it perpendicular to edge. Caution. Crossmark clearly the hip level balm points.
i
out lhe flare at the Center front seam, the Hare swings that so flares to awkwardly from the body. Try place all from is angles. the silhouette good
v
‘
i
Mnrlzing and Truoing fho Pafiern (see Figure 43) 1. On the side seam, crossmark the back and! w a: the hip level and twice above it, in order tovdir tribute ease along the front edge. Rule the side from the widest poim of the hip curve to the hem2. The waistline should be marked clearly und!“ thc curately. Since the curve of this line controls aifect will it in __ tion of the ripples, any Variation l S“ on waistline the skirt. the of Support hang waistband to preserve the curve exactly before fit“ the skirt. 3. Since the center front and Center back selmii‘ are on a sharp bias, stretch them slightly. Thß» even ü! 3 though necessary, bows o u t the bias line
Marling fhe Cenfer Front Line (see Figure 42) to the floor l. Mark with pins a line perpendicular from waistline to hem. allowance. 2. Trim the seam with a 11A, inch
Martin; fho Homlino l. Adjust the form to the correct height. 2. Mark the hem line with pins. inches, a: 5. Cugallowingagenerous hem (4 the least). raise grain to I! die flares are roo exaggerated, hem the reduces T his rcmove some of Lhe fuilness. skirt. maep but shortens the
_.'„\s_
80
.—_
e‘
.
„M M L
S K I R T S
B A S I C
‘O t0 i5 |1 1s i! Keeping in mind this one variable, posslble s PO-‘jibfi? all of gored gore summarize g u n n n a r l z e the prmclples drapmg draping principles siuirls. snr posltlon (the pOSItIOD The factors determining the character Charncterarei sklrts 8T?! o1" Hare) and amount o!" flare) of all gored skirtS side of the gore l. The amount and the xide 1. towztrd towaird llne is Crosswise grain whiCh which the crosswise hnp line dropped at the hip
within the gore. out slanled 0U‘ m o u n l that the seam edges are slanted 2. The aamount from the point of the break to the lower edge and the low placement of the break point. high or Iow location of body curves, that is, is‚ 3. The size and location the contour Contour of the figure itself.
Shape of Gore Edges 1. l. All gored skirts have ruler-straight outward slanting lines at all seam edges from the point of the break {all perpendicular to the floor if down, clown, and the seams fall the fabric is soft and clinging. The seams e n t e r the hem line perpendicular to it. 2. The lines of the skirt from the point of the break to the waistline are all straight lines slanting inward a: at all edges except whiCh is curved. Curved. All exCept the side seam, which seams enter the waistline perpendicular to it. 3. The waistline waistliixe and hem line are curves meeting the sides of the panels at right angles.
center front from seam bends _Fig.43. Line a shows how the Center Fig.45. when stretched. Line b shows the center outward whcn Center front from outward
trucd with a trued
ruler. Line c shows the Center center front line after
tension is relaxcd.
it originally appeared to be straight. To
correct correCt
this
’bowed eflect, follow the directions below (see Figure bowed 43) : 43) Cross(a) Lay the pattern Hat on the table with the crosswise threads at ut (o to the threads. right angles lengthwise fwise
(b) Stretch both biases. ‘lbiases.
Center
front and Center center back
Position Posifion of fhe Lengfliwise Lengfhwise Grain l. 1. Drape Center c e n t e r gores for two-‚ two-, six-‚ and ten-gore skirts with the straight lengthwise grain at the Center of the gore. 2. Drape all gores which whiCh have evenly balanced flares with the lengthwise grain at the center. Center. 3. Drape side gores and those with more flare at one edge than the other by establishing the less flared edge first between the hip and the hem line. The minimum flare should be 3% 5/, to 11/2 inches.
o! these lines and chalk Chalk (c) Lay a yardstick on each of
ew straight lines.
.-UMMARY: UMMARY: PRINCIPLES OF DRAPING ALL R RED SKIRTS
—
; After you have '_ two-, four-‚ four-, and six—gore draped a two-‚ i irt irl and have introduced weil as flares into pleats as well . e gores, the draping of eight, ten, ten‚ or even more res presents few {ew new problems. The _res principles and are always very much muCh the same with one [ocedures focednres '- ceptlon. Ception. As the gores increase in number and ConconÄ_uently Q uently become narrower, the flares must be introced more by slanting out the edges of the gores than nced 3 lowering the grain within the A_ gores.
e
‘
CIRCULAR SKIRTS The hem sweep of a circular Circular skirt is determined for the the by am 01o;- ccuwe mtensity u f y e o; mtenslty of the an; of mo-st molst Part the waistlme walstlme of the slurt skirt m in relauon relation to the waistline
81
.. The 30kg:;
ßflüfl liawflifl Lgenerally am; from level or lowgr, but the full circular skirt “statt: (0 ilafe” theiwaistlihe or immediately below it. Cirtular skirts arei of four general kinds, according to the amount of sweep a: the hem line. These may '
.
»
o
i
*
be called:
(I) the normal, (2) the less-than-nonnal, (3) the greater-than-nonnal, (4) the maximum. l. The Normal Circular Skirt (see Figures 44 a and b) fits the waist and hip lines smoothly. The hem sweep is determined by the dilference between the 'waistline and hipline measurements of the individual figure. That is‚ the greater the difference between the waist and hip sizes of the individual, the greater the
‘w:
‘arked diff renöö b:
q} on a few but in the back, ally cided curve on the side of the hip; H‘. you carefiu number of dilferent figures and dilferences between them in waist 4nd hip. ments, it is easy to understand why normal skirts vary so much in the amount of hem sw in the location of the flare. 2. The Less-Than-Normal Circular Skirt (see, ure 45) fits the hips smoothly but has less flare 5E hem than would ordinarly result from the dilf between waist and hip measurements. The hem s is controlled either to fit the limitations of a u: fabric or to get a particular silhouette. An example this is a skirt designed with a very Hat, plain freut" order to contrast with a bustle back. Such con; is essemial to relieve the flatness of the contour. skirt seldom has a side seam. Instead, the fabric usually carried beyond the side toward the back the limit of its width. Darts must be used at the matt; line to dispose of thc excess above the hips, and eitel: a peplum or girdle drapery is used to conceal the d m ; ‘
u
3. The Greater-Than-Normal Circular Skirl (auf Wahl-i Figure 46) is the typical one. lt fits only at the line ancl flares from well above the hips. The lowcxf edge may have any sweep desired. The relation of thci, waistline size t0 the sweep of the hem will determinem the fullness over the hips. This c u t is usually limiwil to evening dresses, hostess gowns. and skating 8nd; ballet skirts, and is at its best on a slim-waistcd figulta lt may, however, be used to camouflage broad hips“: the waistline is small and the fabric is still enough give the illusion (hat the extension around the hipsi? due to folds in the fabric rather than to hip size. T!“ 3 greater-than-normal circular skirt can be interprtld‘ in both still and soft fabrics. and its silhouette is 1h‘direct result of thc character of the fabric chosen. 4. The Alaximzun Circular" Skirt is a complete Cifd‘ i l‘ with a hole cut in (h6 Center t0 fit the waisuiuxe. flares straight out to thc hem without fitling the W7 C0‘ at all below the lcvel ol’ the waaist. Although this ä 1h‘? is called "maxinuun," it is possible (o increase ‘J 3 sweep still lurlher. ll thc cumplete circle has “d”;
m:
(a)
(b)
circular skirt. The waistline of thc Fig. 44. (a) Normal to thc hips: (b) Normal Cifcülaf figure i: small in relation in relation 1o the 1km. The waistline o! the figure is large
hips.
82
KIRTS Problem 7 SKlRT DRAPING THE NORMAL CIRCULAR SKIRT 48] (see Figures 47 and 48) which the remember, is the skirt in wllich This, you will remember‚ dlffereflce diffefenfle the of the hem is controlled largely by sweep between the waist and hip measurements and by the of the body. contour ol body. The following directions are for o! madraping a half-pattern hall-pattern in muslin. The estimate of _ma— desired terial required required will depend largely on the deslred length of the skirt.
fhe Fabric on fhe ‘lhe Form (see Figure 47) Adiusfing Adiusling lhe I. Place the selvage of the muslin at the center front l. ot’ of the lorm lonn with the top at least 21/2 inches above [h9 the waistline. Use the excess above the waist to drop the crosswise crossivisc grain gmin toward the side seam and to allow for a 1/2 seam. ß inch waistline seain.
Note. Since this is a half-pattern, center front half-pattern, the Center should be placed on a lengthwise fold when you cut cut the pattern pattem from actual dress fabric.
s}
2. Pin the cloth t0 to the form on the center front at the waist and hip with the selvage falling in a plumb line to the floor. Clip the selvage if it draws or curls.
i545. Less-than-normal circular skirt, Showing ig.45. showing excess out ol waistline. i’! rted oux a1 Fignlö. Greatenthan-normal circular skirt that fits only at \ig.46. e waistline. he waisilinc. ut l in the centcr C e n t e r to L0 fit not the entire waistline but
—
‘
Adiusfing Adiusling fhe Crossgrain the crosswise grain from the center Center front Drop thc from toward the sidc seam enough to fit the waistline snugly and the hips with slight ease. case. l. Pin the fabric at the waistline about 2 inches from the ccenter e n t e r lront, front, keeping the crosswise grain level.
ust the waistline front, ‘ust lront, and this circle is slashed from
‘..ee center Center
to the outer edge and seamed to a’ circle fits the back, there will be twice as much much fullness. ts, marquisettes, and chiffons, unless buoyed up by i eets‚ nusual lullness, hang limp and appear to be Ä Inusual skimpy. l he he fold upon fold o! of these exaggerated circular cuts "lso deepens the color of transparent fabrics. The lso bouflant elfect at the upper edge of the skirt can ulfy boulfant iufly ien be increased by cutling ven e n t e r of cutting the hole at the Ccenter circle larger than the waistline of the figure in er t0 gather it. Flares that come so close irder together d start at the waistline are small— becoming to petite, smallCisted figures only, and their exaggerated extension taisted ust be contrasted ust slender, closely fitted bodices by slender‚ ‚jgatt define a tiny waistline. Without t"his this contrast the ole elfect is bulky and clumsy. hole
a! g._‘ at
I.
‚
2. Clip through the excess above the waist to the pin. 3. Drop the grain from the pin outward just enough to fit the waist closely and the hips with slight ease.
‚
Place a second pin at the waist level two inches farther toward the side and in the same manner con tinue to pin, clip, and drop the grain to the side seam. Stretch the fabric Iabric slightly to (o make it fit more tightly at the waistline and to throw more fiare flare at the lower
e ‘
iNow (hat that we have seen something of the gNow general of ol circular skirts, and the principles on which 1:0‘ lare designed. let us examine the procedures for y_are ing them. 1pmg
w.
edge.
a
83
_ K’.
h
.
&
a
V
„Dummen-vs LEss-THAN-NORMALA
»
49 and 501 CIRCULfifR SKIRT (see Figures
hips and by a specified hem width.
p
c - fl
Adiusfing fhe Fabric on H10 Form (see Figure 49) l. Place the selvage on the center front or cen: back line cf the form with the top edgc less mm7
„u
inches above the waistline. 2. Pin the cloth to the center front or center v of the form at the waist and hip‚ with the sel {alling perpendicular l0 the floor. As in Problem this is a half-pattern.
skirt. Fig.47. Draping procedure { o r the normal cnrcular circular 55.48. Side seam adjustmem tot the normal ‘
slin.
x
«
Adiusfing fhe Crossgrain l. Determine the width a: the hem line accordi to the silhouette effect desired and mark the h width with a pin. Drape from hip to hem line fimL since these are the two determining circunlferenees
Adiusfing {h0 Side Seam Line (see Figure 48) 1. T u m the fabric back on itself and pin a line to the hem. perpendicular to the floor from the waistthis outward In thc normal circular skirt, continue curve from the hip to the hem line with a straight ruled line slanting outward. 2. Cut with a 11/4 inch seam allowance. 3. Crease the edge,. remove the pins, t u m the seam it perpendicular to the L0 the wrong side, and re-pin seam can be placed a: the edge. H’the fabric is wide, if the side back and concealed under a flare or fold doing so improves the design.
2. Smoolh the fabric over from the Center front the cemer back to the side seam along the hip lev allowing the crosswise grain to drop just enough _ the desired hem sweep. (Marked by a pin in step L); Note. A Variation of this method is given at the CM!‘ of the directions for this problem.
3. Anchor the fabric to the form at the hipline 9°’ that the side seam falls perpendicular to the 1100H" from hip to lower edge. 4. T o fit the waistline, take up the excess abOVC d“: 0Tm‘g; hipline into darts placed 1o nxeet the dar: lines blouse a: the waistlitle.
Duping fbe Skirf Bach I. Drape the back like the front. the 2. Pin the from and back together, lapping { m m over the back.
‘
V
84
TS S K I I RT
BASIC
(see Figure 5|) Adiusfing fhe Fabric on fhe Form [see the Center Lhe muslin on tne l. Placc the selvage of the 1. Center muslin_on fabric exfrom line of the fonn, form, with the t0? front top of the rabrIC exwaistline, dependrng depending tending 5 to 7 inches above the warstllne, amount of Hare to be introduced. When actuon thc amoum 68m6!’ the C enter ally cutting the skirt from dress goods, goodis, place fold. [ m m of the pattern on a lcngthwlse front lcngthwise front of the form center from to the Center xnuslin t0 2. Pin the muslin (‘he it hangs und hip, and check to see (hat n. a: the waist and at floor. l0 the Hoor. perpendicular perpcntlicular t0
or
-
F. L
Seam
Nao
c. C
Mefhod of Draping Flares t0 [h6 lhe waistline waislline at a point 2 inches I. 1. Pin thc lhc fabric l0 the C e n t e r from center front, from, away keeping the crosswise level. grain 2. Clip the Lhe excess above thc waistline down to the pm. pin. 3. Drop the grain enough t0 produce a flare of the
Snidde
Qfli00*"“‘'
M 49. g.49.
„D -5
Lcss-than-normal Less-than-normal circular form. 50. Lcss-than-ntirmul Lcss-lhan-nonnul Lirculur Lirculnr the side sidc back and a dzm (lzirt Zced at lhe aced
desired depth.
\Qn&«\
‘Q\‘\\
\g\@\
skirt— skin-udjustment udjustmermt on
.
L
.50. m.
r
vurizuinn. A scam is varintiun. subsmutcd [or subslitutcd for the hip
und Hemline Waisiline and rking fhe Waisfline rling Mark with wilh pins whilc the fabric is on the form. 1Mark Note. Variation beginning wilh with step 2 under Note. i“djusling the Crossgrain." Because Bccause this skirt skirL is very djusting lhe ow, the side seam may be omitted and the front ‘rrow. 1o the side back as far ;el may be carried around to nel the widlh width of the fabric will allow. This places the 22th: u a! the side back and substitutes 3.x a long curved for the seam at al the sideof Lhe the hip (see Figure 50) .
f
;
’
Problem 9
DRÄMNG DRAHNG THE GREATER-THAN-NORMAL (see Figures 5|. 52. and 53)
4D
SKIRT "(cm-AR 5K|RT ÄVCIRCULAR
e formed by the waisuine waistline chairacter of this skirt is {ormed chfnracter mhnc arcs. _„tniline
5|. Bull l-ull circular skirt Fig. 5J. umform, —adjustment on the skin-adjustment mm1.
85
a! *
‘the ‘waistlhine vto support
just gletexmined axidjio place Stmtdtgthe "fäbric along the Awaistline slm ämooth‘ immediacely below in, änd 75äipjanä 1cm": the grain to the side
m am v,
1
J
Fig. 53. Full circular back view. Note the position Auff grain. '
Note. If the flares are at all deep and the floor length, the fabric will be too narrow a: lower edge to reach the side seam without pi -v This is undesirable in any fabric that shows the ' ing, so that it is advisable when using such mit to place seams at the side { m m and back as weil’ directly on the side. See Figures 52 and 53. 5. Mark the side seam as for a normal circular
_
Sfandards for Draping Circular Skirfs In draping circular skirts, the following thme P0i“ should always be kept in mind: H l. Becoming placemem of flares. If placed o“! far on the _sides‚ they broaden and shorten the bod 2. Correct size of Hares [ e r the texture of the flw‘:S" and the heighl of the wearer. 3. Consistency in depth of all Bares. .
I
‘fldfllflofiiflm
um \ am “M.
with aeams a: side from and side back. m5, 52. Full circular
86
B A S I C
SKI RTS
6N !l|Wl|TflTFIlTWlmlnImlmnnnnmvmmm„
0,00
l
. .
mmuummumL‘
Fig. 54. Three possible grain positions in a full circular skirl: Fig.54. (1.) _(l _) L.inc Linc a.sh0ws n'shows the Skirl 55 (a); (2) Linc grain position in Skirt Line b shows shnws thc grain pnsiuon in Sklrt Skirt 55 (b) pnsumn m (f2): the grain position in Skirt 55 (c). (5) Line c shows zhe (8) dotled line lme shows the posmon (c) . (The dmted cf piecing for narrow fabric, i! of if lhC thc Center c e n t c r frnm { m m is placed nn lhC grain.) silhoucues produced by thc thrce grain pnsitions Fig. 55. Three silhoucttes laositions diagramed in Fig. 54.
Skirf Pafiern ‘n9 ‘ng fhe Grain on a Circular Slxirf Paflern -fl
3. Follow the Lhc procedure given in step 2, but place the lengthwise grain t0 the waistline at pcrpendicular to a point poinl about 3 inchcs in from Lhe the side seam at the {hat the grain is hip levcl, so (hat nearly straight at the side of ol‘ the body and at the practically on a true bias a: center Center from. Figure 55 a, b, and c show three varia-
re are three possible ways in which ‚Tberc
the grain g’ be placed in a full circular skirt. The one you oose widlh of the ‘oose should depend on the width thc dress fabric are using and the Lhe silhouette silhoueue you desire. 5 lf If the fabric Es is wide enough to lo accommodate the e skin skirt front, from, place the cemer Center front ol’ ol the circular patlern on the lengthwise fold. In ln some fabrics, lengthwisc lold. nspicuous piccing can be made at spicuous a1 the thc lower edge the side seam by joining along a lenglhwise lengthwise both the main panel and the d d on bolh piecing. Alpiece in the direction of the wale of a piquc‘ pique’ or oats of a satin weave. lloats 5
. ;u
‘
tions in Silhouette broughl brought about by the three differways of placing the grain.
’_
ent e nt
PEPLUMS
Peplums should be draped in much Lhe the same manner as circular skirts. One (hat { h a t fits the at both waislline and hipline should be treated figure uvaistlinfa like the exactly scction of thc normal top section circular skirt, and one (hat that ripples should be draped like the upper part of a greater-than-normal circular skirt.
When you use a separate width for each half half of ‘n "rt front, place the lengthwise at grain-marking an
ter of the pattern mer pattem section perpendicular to Lhe the e so (hat ne that the cemer center from seam will be on the r "partially partially on the bias. '
‚
87
i; given {o} xyhat from the
ure öa-shows d: cemgy ‘backf am}, placed a: the Center Bach o! the. the’ fabric all the-i: Procedure C. smooth the fabricdo To back. this, center waistline and pin, clip, anddrop the croxswise around to the Center back. Multiple ripples p ' center back seam on a bias beyond the ’ therefore the waistline will be a deep arc. V
stahdard.
'
A
iFaliiric on H19 Form (see Figure 56) 1L‘ Plate the fabric on {Ehe form wich the straight inches above the grain "a: the center front, allowing 21A for waistline for dropping the grain and hollowing out the waistline. 2. Pin the fabric at the center front at waistline und hipline. Adiusfing the Crossgrain side l. Smooth the cloth downward toward the waistline. the to seam, clipping from the top edge lower edge to the allow to Drop the grain enough stand slighlly away irom the figure. 2. Pin the waistline at the side seam.
_
PEPLUM BACK WITH A S|DE SEAM (see Figuro5
Placing fhe Fabric on fhe Form l. Place the fabric on the form with the s at the side grain perpendicular to the waistline form. bei dress the of back rather than a: the center that at waistline poinl. at least 3%inches above the the waxst‘ at form 2. Pin the straight grain t0 the Wulstthe above line and hipline, and clip the excess line down to the pin. 3. Work outward from the pin towand the oen thereis back, clipping and dropping the grain until back. enough flare at the Center
'
Marking the Center Back Line Mark with pins and cut with a seam allowance.
Adiusfing the Side Seam Lino l. Smooth the [abric from the pin at the Center“ lt m17’ the back section forward toward the side seam. improve the effect to drop the grain slightly l0W3'de__ the side seam. I 2. Form the side seam line and trim it with inch seam allowance. m:bachii 3. Pin the seam, lapping the ( m m over und 0W“ Ä Force any looseness out of the waistline strelch il slightly. "
1W
l
o! the fabric. 1:58, 55, Peplums- placcment m the side back. amuncl carried Fig. 57. Fabric back panel. bias at centcr back. 35g, 58. Center
88
BASIC
S
KIRTS the the bias wherever lhe frmn plncing resull lroun placing lhe 2. Flures result flare should lall. o1" llare greatest amount ol" grealest the thc 3. Flares will always tend to (‘all outwarcl fronx frorn theoulwafll fnlllhe 0* 51d? Ol Sldfi —— the o1 ol the back hlps, the body ol" lhe curves ol front. sidc side the Lhe at a: bone the hips‚ hips, and the hip
——
DRAPING "DRAPED" SKIRTS the term “draping" Up to this point we have used on the dress lorm. labric fabric or lnean Inodeling to mean t0 shapixig modeling shaping “draped‚" applied to skirts, means Literally the word “(lraped‚" more points ol‘ suspento one or nmre the grain up L0 raising Lhe at the skirt aL of the skln the width ol slon, sion, Lhereby thereby reducing Lhe at in size either skirts t0 to equal lower cdge edge in contrast the at or o1‘ bottom und and larger Lhe the top (straight skirts) bottom than at the top (gored and circular skirts) . A the figure to Lhe figtire sometiules as far "draped" skirt clings 1o down as the lhiglls thighs or even the ankles, is actually “draped" "draped" or pulled in against the legs‚ and has fullfolds at the top. The ness drawn up into gathers or lolds was its worst am at skirl skirt pulled in so excessively draped that it was called in ridicule a unkles [hat around the ankles “hobble "hobble skirt" — an awkward and ungainly cut that to at the cemer center front t0 lo be slashed to the knees a: had (o skirts But at all. move to wearer the allow draped can be lovely. Their beauly beauty depends largely on the skill ol the draper in handling soft pliable fabrics so {hat that they lorm dcep deep folds that define the figure without restricling restricting motion. I’eg—top Peg-top skirts, cowl skirt folds, and lunnel hip pockets all belong in the category of that they are "draped" “draped" skirts, and can be handled so {hat to allow moveLhe front lower edge t0 wide enough at the ment with ease and freedom. When worn by a person who is ls slender and well proportioned below Lhe the waist, waist‚ the draped Silhouette defines the slender waistline and und its lolds tolds emphasize the play of light on a hips‚ and hips, lustrous silk or rayon. Although individual directions for draped skirts of course, would‚ would, ol course‚ differ somewhat with each change in design, the example given is a conservative and wearable version Version {hat that explains the principles underLhe the lying manipulation of all draped skirts. Before the skirt in muslin‚ muslin, experiment directly with draping the fabric [abric to be used to see what lines lt it takes and l0 to get the “feel" of the cloth without cutting into it. (See Chapter 7 ‚ suggestion 3.)
u59. .59.
back toward hip LlC bad; Sltlt.’ m m Sl Back pcplum (lrapetl (lraped [lrmn buck. c m e r buck. loward (CCUICI” and toward
atking fhe Lower Edge arking to of pins parallel (o Mark the lower edge with a line ol ‚Mark waistline in order to produce a level effect if the the Hoor cdge on a level with Lhe ‘Hplum is short. Pin the edge plum lhun hip level and is actually „the vlhe peplum is longer thzm full< shorl peplum with definite full« flare ol of a short nic. The Hure unic. ' if the lower be more emphatic a! the back will bc s at emphzrtic t0 Center Center lronl C CCHICI‘ e n t e r lront to vge curves downward from ‚ge lorm the lower howcver. lonn lck. You should always, howcver, ck. lincs which dethe other lines ge line in harmony with lhc 2 ine the coslume. of the costume. design ‚
’
i
Waisfline fhe Waisiline rling lhe inrking Mark the waistline from Mark "th 'th pins.
center Center
lront to front t0 center cemer back
iPLUMS FORMED BY EXTENDING THE BLOUSE „PLUMS LOW THE WAlSTLINE WAISTLINE (see Figure 55, Chapler Chapfer 2. a Hip-Lengflw French Darf Jacke?) 37. ge Draping Hip-Lengfh Ege ‘
i
MARY: PRINCIPLES OF o|= DRAPING CIRCULARS
MMARY:
formulate three general t is possible _t Possible to ‘formulate the of the flare: Hare:
rules for lrollmg _atrolling position Flares result from dropping the grain at any (i Flares result point. This changes the waistline curve.
v.
89
l
lus
f
1.3“d“d°W\* v mleast Qjnches-aat top
y
‚.
*
V
and a-‘total of 4 25cm inches of ‚length this allowance for a more
Qnlflhlfi‘uat
ihr: "Ging
_
‚
‚
the .
'
.4};
-4 -4
Fühle on ihn‘ Form (see Figure 60)
l.» Startihgfat theside seam, place the fabric up ‘the foim at the hip level and pin it at least 5 inches in“ froni the selvage, allowing at least 2 inches above (h: waistline. The 5 inch extension at the side provides { o r slanting out the seam at the lower edge. The more you draw the fabric up from the bottom, the more biased the side seam eventually becomes. 2. Smooth the fabric forward along the hip level 4 line, supporting the crosswise grain level for about inches. Pin the cloth t0 the form at this point. 3. Smooth the fabric upward above this pin and anchor it 1o the form at the waistline (see arrow, Figure 61) .
—-o
-q-—<
Fig. 60. The draped skin
folds [ m m the waisdinc
l
sidc seam. the pin sup v Fig. 6 | . The draped skirt folds from front. the center t0 grain at the waistlinc
-—
A
either draw too tightly against the legs or they not be drawn tightly enough t0 keep the side «I» from wavering. To get the ellect of low side drape it is sometimes necessary to auach it as a sepa’ one thing «i piece to avoid just this difliculty. lt is and qunß drape beautilul {olds on a piece of statuary a skirt (hat is graceful in motion another to L
drape
Feld: from fhe Waisfline foward fhe Side Seam (see Figure 60)
Forming fhe Waisfline from fhe Feld: fo fhe Side 500ml 1. Smooth the [abric along the waistline to the seam, clipping the excess above the waistline.
from l. Draw these folds fonvard and downward waistline. the above and thc excess beside the hlipline Do not shift the grain along the hip level. side seam at 2. Clip through the excess beyond the fabric to the the outer end of the lowest fold, stretch to the in make the (old cling to the figure, and pin form a: the side seam. the side seam a: 3. Clip through the excess beyond the lowest one. above fold the outer end of the second and pin it to it stretch the fabric again t0 make cling, slash. the fom: a: the end of the second the hip level or above Bolh these folds point toward side seam much the i1. lf they were directed toward the thighs, for instance below the hip level as low as difiicult to manage. They would tbey would be very
—
—
2. Pin the clolh waistline.
l0
lhe [orm at the side seam onllR
{h9 Ccnhr h“ Laying fhe Folds from fhe Side Front fo (see Figure 6|) l. Lay a fold at the sidc { m m which runs from waistline toward the lower edgc at or near the seam. T0 get this lold, lift the crosswise grain im: ll the boltom so that the lold radiatcs outward. disappear a llule below thc hips. 50W“ 2. Draping toward the Center (rom, lay a lower [old an the waisllilne dircctexl lowalxl thc l
——
90
BASIC S KIRTS
"re
Marking fhe Hem Line hem line with an L-square and pins while Lhc hem Mark Lhe Nlark the form. skirl is on thc Lhe skin the
bc< lhc lold clisappears (hat Lhc the grain so Lhat just bedisappears just. "ing ing lhe been been has cmsuvise cromvise Thc hem. lhe reachc: the il reachcs grain re it rudiate. The sectolds rudiatc. l0 nlakc makc Lhesc 101d: L:' d noticeably noliceably t0 firsl. thc fim. [Iran Ihc _d '_- fold should go lower than wuistline still closer t0 lhc waislline a: thc kold 21l Lay a third told ;3. u Center from, timc lhis front, this kcepirlg the grain level. keepirlg lowcr edge because the the 111e falls onc ‘bis one thruugl: his raised. not was In ‘ain [rom either C e n t e r front 1mal" the center another fold ncar" :_4. Lay anothcr „4. Loward it im or thc grain levcl slightly toward dropping slighlly ping the fold if a from cemer ‘Ü Center running Lhrough deep very dcep ie lower edgc edge innproves the design. lhe ccnter front, this noL dropped lf lhe grain is not 3—V Llropped at the fabric. Lhe iabric. e can be placed on a lengthwise fold of lhc because in works well -_- is procedure rayon crepc crepe rayon very ihis i1" Lhc grain is dropped "fall." However, if its hcavy "f ils heavy “fall." Center front seam C e n t e r (mm, little toward the center fronl, the centcr little hem sweep and 7 Islam slant outward, producing a wider hem Üill Lhe t e x t u r e more graceful [ a l l of fabric, especially if the ;„more one. a n ot not <_ very clinging
'
The Back of fhe Skirf as Hat and closely be a» skirt should bc ol’ the skirl The buck o1" Thc cfiect cffect of the t0 otfset Offset as 21s Lhickening fiucd possiblc narrow of a back The front. from. the at six-gore drapery withoul cupping it fits closely without skirl is a good choice, as iL skirt under the hips. o! a draped skirt is the The greatest disadvantage disadvanlage 0k Lhickcn thickcn the figure over Lo to above-mentioned tendency Lendency Lhe abdomen from the profile view. T0 counteract the l0 attach the draped folds t0 a iL is possible to this effcct, it thc curve of the down over lhe folds the or to stitch t0 yoke, abdomen. Some such device usually Llsually improves lhe apLhe figure is unusually Hat ol" the skin skirt unless Lhc pearance of abdomen. For variations of the and slender across lhc abdornen. S. skirt sec ChapterChapter 7, Suggestion 8. druped draped skin
3.
-
»
e
<
’ '
b2) Marking and Trueing fhe Paffern (see Figure 62)
Fron? Seam Line (see Figure 6|) llrking arHng fhe Cenfer From‘ b!) L0 hem. l. Mark with pins from waistline t0 ;l. <2. Trim t0[o a ll/g 11/2 inch seam allowance. N
I. Remove thc paltern [vom the lhe form and mark all pattern [rom the waistline, and the hem line with a
scam seam lines, lines,
pencil.
_
Seam Line (see ming fhe Side Seem rming
Figure b0) 60) Fold the excess fabric beyond the seam forward the lowest clipped poim [0 the hem 1o to form a point to _-om Ääumb linc. line. lumb
l.1wl.
2. Pin it perpendicular to v? f2.
the edge and trim it t0 a inch seam allowance. ll/z 11/2 fave S.3. Form the line from the hips up (oL0 the waistline ‘s marking it with pins stabbed into the form. Stretch Streich g,
ve
>
e fabric slightly the side v: g. Pencil lhis line and trim
toward t0 make the folds and the seam Lo to l inch. Ing. .1 .0 1s s seam line will be a decided inward curve (see ‘ '_ re 62). Qgure
fhe Waisfline ‘farking nrking ihn i'nn a line following the waistline of the form, clipthe excess above the waistline. Then smooth the -v‘the aboye 1c toward the Lhe sidc snde seam beside the folds t0 to elimie any ease along the waistline. (The grain tips ard sharply toward the C e n t e r front Center from in this space e the side seam.) de y
skirt pauern Fig. 62. Draped skin pallern with folds and edgcs edges trued up.
91
Y
'
.
5, Trug PART
l
up
Ü.
"f.
and Qpace evenly
II
THE FLAT PATTERN METHOD OF DESIGNING SKIRTS ON A MASTER PATTERN With one fundamental dilference, the general principles ‘of designing waist pattems from a master block apply to the designing of skirts from a foundation pattern. The difference is that the skirt hangs free of the body Erom the hip t0 the lower edge and is therefore shaped to fit the figure only irom hips l0 waistline. Thcrefore you should always draw the hip level on the pattem block to indicate the extent of this fitted area. Notice too (hat the curve from hip to waist on the side seam is a significant part of the skirt shaping. You draped it to-duplicate your side hip curve exactly. Hence any change in the degree of this curve made by at the waistline taking in or letting out the side seam the hip skin. ‘of the Increasing will alter your hang to it allows and seam the sag; letting curve lengthens it and alshortens seam out o: straightening the hip lows it to flare sidewise. All of the four main kinds of skirts and their variations can be blocked from the two-gore master pattern, but since it is so easy (o Inake patterns for straight skirts either on paper or cloth from figure measurein mems, and sincc (hat has already been explained here of blocking Part l of (bis chapter, the examples to gored, circular, and draped confined be will given
skirts.
ms TWOßORE MASTER PATTERN saom BLOCK or may The uandard lwo-gore master pattern may waistline vcrtical not hzve been draped with a small
dart in the front gore‚ but it makes a much betten‘ m19 ter block pattem if lt has one. The dar: takes up (h: ease between hip and waist at the side seam edge _ the pattern and makes it possible to fit the skirt with little side flare below the hips. Then, too, indefinil‘: ease along a pattern edge is undesirable in a master block pattern. Results are more certain when all ol the excess is taken up imo a definite dart. Althougll the skirt-front dar: falls naturally above the hip bone well around toward the side seam, for convenienoe in 1 blocking, place it to form panel spacing which coinof the basic waistline dart of the Ä cides with the '
v
blouse.
spacing
“
Infroducing a Waisfline Darf cf fhc Front of lhe Muhr Pefiem (see Figures 63 and 64) lf you have draped your master pattern without a dart at the walstline it is possible to lmroduce 011€ to take up the ease at the side of the pattern between hips and waistline by following the directions below: l. Compare the measurements { m m the balanoe und point a: lhe hip t0 the waistline on both the back e150 of the front of the skirt u) determine the amount on the skirt lrom. In other wortls, find out exlctly how much longer the front edge is than the back 5mm hip to waist.
f ‘
‚prun-
j =
i,
2. Draw a horizontal linc on the skirt pattern im?‘ Itparallel to the waistline and about 5 inches below
8. Draw a vertical Iine
{mm
a point on the waisl‘ a
B A S I C
S K I R T S (i5 and 66) urcs ures 65 (i6) and delay using the the
size master S126 lnll Tut“
nf
the princnples prlnclples tof bloekpattern unul you understand blockmg sltlrt ing skirts. The supplies required for bloclung listed for blockmg patterns are the same as those twotwo. blouses (page (Page 45). Cut many duplicates of the brown in back and front heavy skirt patterns gore paper in preparation for this practice.
Problem I DESIGNING FOUR-GORE SKIRTS ON THE TWO-GORE MASTER PATTERN There are many possible variations in the Silhouette It may have more or less flare of the four-gore skirt. lt at the hem line, depending on the fashion and the flare may also start at a high of the skirt. The llare style ol" or low break point, and may be either concentrated or evenly distributed, as you discovered when you draped
master pattcrn '. 63. lntroduction of a dart into a maslcr ‘g. pattern draped thout one. Step l Draw the dar! dart linc line and the linc lrom fron: to the side seam. point of the dart t0 e; 64. Step 2 Pin the hip ease into a tuck and open the r istline dart. istline
— —
‚
four-gore skirts.
— v. f.n which matches the spacing of the blouse dart to
Narrow Skirf Fronf wifh Waisfline Darf Relained Refained (see Figure 67) This narrow four-gore style with the small waistline dart retained is excellent for the skirt of o!" a tailored suit made ol o1’ a firm labric. fabric. What little flare there is should be distributed between the Center C e n t e r front Iront and the side seam, but slightly more flare should be thrown toward the Ccenter e n t e r lront tront (see Figure 68) . lI h e only change in the master pattern pattcrn that needs to be made is to shift the C e n t e r front [ront (grain position grain position lrom the ccnter on a master pattern) to t0 a new position that will throw the skirt flare Hare more toward the center Center than toward the side. To do this, proceed according to the following directions which apply 1o l0 establishing establislting the grain in all skirts that more an on one xide side of the gore gored flare fiare than lhan an on the other side.
e e t the horizontal line. Slant it slightly outward (l/z (l/Z eet v'ch from waist to hip) . Slash this vertical line. ‘ 4. Fold in a dart on the horizontai horizontal line, taking up ease 5' easc on the of side seam the skirt and taper the ‘Ei ld to end at the vertical slash. The vertical slash f» opens automatically, thus transferring the ease 5m the side seam to the new vertical waistline dart. ‘iom
ch
’
en
‚
f45. 5. ll lf you wish to reduce the width at the hem. hem‚ ash the vertical dart line on through the lower edge ash ; the skirt and overlap the slashed pieces a little at e‚c hem line. Let the pattern pieces touch at the point _ the waistline dart and spread apart a little more g the waistline, thus increasing the size of the waiste dart. However, the waistline dart should be kept - . (See pages 69-70.) all. 6. Smooth the pattern at the point on the side seam 2 the dart was pinned in. lt is now ready to use here ere 1a master block pattern. A: convenience and speed in practicing the firsx first 81:01" flior problems, trace the quarter-size two-gore skirt 1 c Problems, 1c em placed in the book for that purpose (see v-tlern Fig-
"'
‘
A.
l. Mark a point at the center ccnter of the gore at the hip level and measure from that point to the side which is to Hare flare less. (This is almost the side
'
A
invariably seam.) 2. At the lower edge of the same side, measure in the same samc distance and add to it the amount of flare fiare desired — a t least 5/4 ——at inches- and place a sec3/4 to lI/z sec. 1%inches— 0nd point. 93
Fig. 66. Muster paztern skirt back.
front. Fig. 65. Mastcr pauern nkirt
94
BASIC SKIRTS
C.F.
Gnm
C. Hut
acnkn Bu ig
Plo H ut!
lour-gnrc Fig. 67. Very narrow four-gorc lnur-gore Fig. 68. Vcry narmw lour-gnrc intmduce llare w imroduce gruin gmin shiftcd m Fig. 69. Very narmw lour-gnrc (‚CHICT LCDICI’
skirt. skirtskirt—— mastcr pauern pattern with a: at Center front. lront. invcrted box pleat with invcned plcal at
from. lmnt.
l.3. Connect the two points l0 establish the line which the grain will run and continue the line f; ong wllich waistline. ough to the waistllne. The advamage of this skirt over the two-gore skirt advantage ol "fith no Center front seam has already been explained i e Draping the lhe Four-Gore Skin, To Skirt, page 78 ). T0 78). l tain a very narrow silhouette silhouetle and yet providc enough proviac ' ‘dlh lor idth for walking, you can add an inverted box pleal pleat the center Center front iront seam (see Figure 69). ; l
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t
ghfly Wider Four-Gore Skirf llighlly
Fron} (Darf Transferred) Figures Figuras 70 and 7|) l. Draw a ruled pencil line lrom the point of the l_ i1. to the lower edge and slash the line (see Figure
g‘ ‘ee
0).
Closc the dar: Close dart at a: the waistline and transfer iti: .2. 22.(h: the lower edge. This skirt will still fit closely (see e 71). ‘gute 71) .
3e
.
3. Follow the Lhe procedure given glven on page 93 for placthe grain in a gore that Bares more morc on one side on the other.
"
70. Flg. F
Line drawn from { m m end of ol dar: dart t0 m lower edge. cdge. 71. Dart closed and translerred 1g. 7|. Fng. lranslcrrcd t0 1o lower edge.
95
Font-Gare Slirf Front wifh Hiqh Mai-Eile; W5 i a? Horn Lino. und Plan cf {In Sich (See Figure 73l l. Raise the break-linc so that it is not more n 2 or 21/2 inches below the waistline and parallel i (see Figure 74). 2. Slash from the end of the dar: through the kam‘ and proceed as for the previous skirt. Let the just touch at the high break-line and spread apart below it. This spreads the lower end of the dm. 3. Because this skirt is to flare at the side as well as at the center front, placc the lengthwise grain petpendicular to the waistline at the Center of the galt. _“ dividing the flare about equally between the seams z: Ü’ the center front and the side. Notice (hat the xkin flares almost from the waistline and (hat the waistline arc is more intense than in the design previously described. Because it is so sharply curved and will stretch, the waistline should be shortened slightlyß V
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l
Fig. 72. Four-gore wider at lower edge. Pattem overlaps slightly at waistline, touchcs a: break-line, and spreads at lower edge. Font-Bon Slirf Fron} wifh Greaier Sweep (see Figure 72) All gored skirts should fit exactly at the waistline and as far below as desired. l. At the level at which the flare is to start breaking away from the figure‚ draw a line parallel to the waistline. For this skirt place the break-line high, ahout 5 inches below the waistline, since the fullness is to statt above the hip level. 2. Slash from the end of the dart through the hem line and pivot the pieces at the break-line so that they overlap a: the waistline, touch at the break-line, and spread at the lower edge (see Figure 72). Notice that the waistline is now a more intense arc, and that a ripple will probably fall at the point where the pieces overlap, since this is the sharpest point of the arc. H the hip bone a: the side from is very prominent, however, the ripple may tend to { a l l from that bulge t o o lar around at the side. As already explained, the than the pattern body curves are even more importam the fabric. This is shapes in determining the {all of the unknown quamity in Hat pattem designing. 3. Overlapping the pieces has decreased the waistline size. Correct this by placing the basic pauern the necessary agaimt the new waistline and adding be not more width a: the center from. This should
_
s
Gr.
Ihre. Fig. 73. Fnungorc wilh widc hcm sweep and side und break-Iinne m a smns llarc Wide 74. high lour-gorc Fig. i: dividcd cvcnly bclwccn ccnler lrom and side seam.
B A S I C
S K I R T S
Gnn i
’
e - begins low. Fig. 75. Four-gorc Fourgore fl a r c low placed flare a5 indi- S l a s h lines for Iow Fig. 76. Step ll——Slash cated by dotted lines. Cuted Fig. 77. Step 2—Spread slashes and overlap pattem pattern at waistline.
ur-Gore Skirf Fron? wifh Sltirf Front wiih a Low Placed Flare (see FigTour-Gare
4. Correct CorreCt the waistline sizc by adding l0 to the Center Center [ront the amount subtracted when the dar: from dart was overlapped. Rule a new C e n t e r front line from the corrected poim to the point of break. point at the waist t0
re 75) ‚ure 1 This skirt should fit the hips, but very low around thc ‚Zthee flare should ripple out noticeably around the hem ‘linc a! at the cemer I;Ä'ne C e n t e r front and side front, producing a eflect. fvery ery slenderizing effect. i l. Mark the break-line from 7 to 9 inches below e waistline. the '
5. Mark Lhe the posilion the position of the grain according to lhe [ o r a gore {hat that flares more procedure given on page 93 for on one side than on the other. This insures a slim side silhouette and throws practically all o1" of the Hare a! at or near the C Center e n t e r front.
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darl thxough -V2. Slash from the point poim of the dart through the and the ower so that Jower edge, edge‚ pivot pieces they chey will a: the break-line, vpread break-line, overlap at the waist3pread slightly at je,and spread at the lower edge. Figure 76 shows ine, ’tep 7ep l. C e n t e r front, ‘_'3. Slash again, this time nearer the center mu the lower edge up to the break point. Swing this 3» 3. z" 1 em ent out in order to provide flare along the Center m Center front rom seam. This produces a ripple at the center the side from. ; d another at Lhe front, and yet the skirt fits ly from hips to waist (see FFigure ugly igure 77). ‘
Problem 2 DESIGNING SlX-GORE SKIRTS ON THE TWO-GORE MASTER PATTERN
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The following examples of six-gore skirt blocking show how to develop both tailored and silrippling houettes. They also clarify the draping of the six-gore skirt (see Figures 23, 24, and 25 for Silhouette skirl silhouette effects
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and panel spacing).
97
v;
. ,2;
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e
_ sixeaffa-susrficäfirwsfisnap;
draw a lind that follows its inner edge and oontinues to the Iower edge ’of the skirt. The ccjntelfisection is now compllete except for the straight Plane the center front on a lengthwise
Sich am Stellen (see Figure 79) l. Plane a ruler along the dart edge at the top of the side iront section and cominue the line to the Iower edge. Slanting the line out in this way adds flare to the side from section and eliminates the bulge on the side from edge a: the poim of the dart. Both seam edges of the gores that are to be auached should slam outward about equally. The flare does not necessarily have (o be equalized, but it is easier to handle if i: is.
Fed l
3. :
Cenfer Panel (see Figure 80) 1. Draw in the line to indicate the height of da: break, placing it 8 or 9 inches below the waist (er; closely fitted hipline. 2. Draw a ruled line from the point of the was! linc dart to the Iower edge parallel to the Center Eton and cut the pattern apart on Lhis line. Slope the linc out from the break poim t0 the hem the amount. Clip the seam allowance a1 the break point3. Mark the grain at the Center from to be placed on a fold.
Gnin
CF.
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l Fig. 78. Nanow six-gore. Step
wr pauern.
—
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Sido Front Secfion (see Figure 8|) 1. On the side from. section draw a line from was! line to hem at about the center of the section or Wild‘ ever a flare is desircd, and slash it. 2. Pivot the pieces so that they (auch at the blflk‘ line, overlap a: the waistline, and spread for a smi} m ripple at the hem. Then draw around thc pieces F this position. This slashing and spreading pfodu“ an extra ripple which corresponds to the one created to 4 inche! j by dropping the grain from a poim about 3 in from the side seam when you draped.
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It has already been explained that the gored skirt is produced (I) by dropping flie.» toward the Center of the figure or toward bogh und Center, and (2) through increasing the ou slant at the seam line. Too much of eithcr is n0: visable, because exaggerated lowering of gnin duces a circular skirt rippling from the waistline, too much flare at any one seam produces heavy b ness at the seam. A little o! each makes a much o a graceful four- or six-gore skirt with more flat distribution of ease.
fold of the fahric.
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A
Low Brnkfoint (see Figures Sfllancflfl)
—
Draw slash lines on man-
add flare a: side front, and Fig. 79. Step 2 Slash pauerns, scctiom. both in malt the grain
98
S K II R T S S K
IC
t/Ie patlem P0i"! Slash and pivot lhe Rule. Rute. Slusl: pattem at a given P0571! to dropresull result a to produce when bIoc/ung comparable t0 blocking t0 ehe grain [rom draping. from a given giverx point when drapmg. ping the [h6 side gore, draw fronl edge of the 3. Along thc side from that slants irom the break to the lower edge [hat a line from side edge thc as samt degrce Lhc szunc a: about lhc outward am Hare at lhe seam. o1 the ccnler cenier gore. This introduces liare Clip the seam allowance at the break point. to the side 4. (Jorrect the Lhe waistline size by adding Lo the restore (o to of the ot" Lhe tront edge iront Original original gore enough waislline waistline measurement. 5. Mark the lengthwise lenglhwise grain with a minimum oi" Hure Lhe side seam, thus throwing most amount amoum of ( l a r e at the ironl. o! ol" the Hare toward the side front.
:
Fig. 80. ‘i580. -4-
aster
ne. J7“?-
wifh Side Fron’: Fron? Lap (see Figure 82) Gored Skirf wi+h from lap may be used A .—\ gored skirl skirt with a side front (h: opening at the side harmonizes with the dewhen lhc sign ol" the costume, or when you wam a side-lapped a: the lower edge than the straight wrapskirt wider at 3S for f0!‘ the around. fllüulld. The procedure is iS exactly the same as that the entire (hat. skirls discussed, already except gored used and the front from of the master pattern pattem must be used from line must be clearly marked (see Figures cemer c e n t e r front 83 and 84).
1- Draw slash 5135|, lines 1m“ on „n six-gore. Slcp Rippling sjxgore, Sxcp l-Draw two ripples starling irom a low Iow break— breakstarting from
[or pauern pattern for
a1 the l0 add flarc Harc an me side ig.8l. Step 2—Spread puuern pauern w ;ig.si. m seam and also within wilhin thc sidc gorc. rom
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. u
vc
U nder D
Gmn
E
s? ö E
CvF-
.4 Lin euFold L-_vy»_-_-——-
2
‚La .p 4
J2. Six-gore skirt lappcd ‚.582. Six-gore
a1 sidc side front. from. ‘U-Ü18-83. SIX-gore Six-gore skirt with side front lap. Step Mark Stcp Il-Mark Inne to balance cemer cenler panel. j ‚bp „Inne 5
—
Fig. 84. Lap allowance and placket plackct should be added a: left [eh side from.
‚
99
‘
'
f."
.
‚ .how_ jiexattly‘
bin addflare Aa; "the Center front_’and
the dart is closed the pattem automatiically. the point of the dart to the hem. This
grain position so that Center seams and shift oftheeach Center section
t
h
e middle
(see
’
Figuresö):
‚
hip width slightly at the break-linc. 4. Slant the edges of the gores outward s break-line to the lower edge (see Figure 88). 5. Mark the grain position on each section
A
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lows:
(a) On the cemer front section, the Center v line should come on a fold. (b) On the side front sections, the lengthwise ‚ should be perpendicular to the waistline at the u-«w of the panel, with equal flare on each edge. (c) On the side panels there should be l to l; inches of slope from hip to hem, thus throwing m of the flare at the front edge. ’
T“
(hin
“Wfimlnm
In this skirt almost all of the flare comes from shm that ing out the edges of the gores. Notice also seam. flares are equal on all edges except the side I15: is also possible to obtain a different kind of ripplfieif by adding a large flare on one edge of each seanl. KCCPÄ l ing the other edge (airly straight. This man: II the seam. gores bang; sided ripple that falls over more flare on one edge of a seam than on the the M!’ always place the edge with more flare on nearer the center so that the ripples curl outvild: rather than toward the cemer.
added to cemer front of sixFig. 85. Eight-gore-Flare at middle of cemer panel. gore and grain placed
The Ton-Gare Slürf (see Figures 86. 87. und 88) As it is usually monotonous to divide the hip width into ten equal spaces, space the center panel somewhat wider than the two side front panels, or so that the three form a group in the center of the skirt. The side panels should be somewhat wider than the side close to front sections, bccause panel lines placed too and curves the hip the side seams are judged against the with to harmonize always appear to be too straight comour o! the figure. inches below I. Draw in a low break-line, about 9
GORED SKIRT PATTERNS FOR FABRICS WITH GEOMETRIC DESIGNS When a six- or eight-gore skirt is to be mide m} be mm6‘ stripe, a check, or a plaid, two points must 0“‘ ercd. First. introducc the flare by sloping seams rathel‘ lhan by lowerinur the cmss-wist 8“"?
the waistline.
I00
Colsed
Dar!
G Gm nin Ga rm
Fron! Panel Slde SIde Fmnl
Panal Sud: Side Pnnel
C F Panel
_'6.
skin. The ten-gore len-gore skirl.
——
Draw slash 7. Slep _7. Stcp I —
should be done so
Fig. 88. Slep Step 2
lines on nn master pattcrn. paucrn. [hat (hat the Lhe horizontal
fabric pattern appear parallel I,‘lfabric
lines ol of
thus avoiding conlusion in the di« dilipped down, lhus lines. Second, in order to 1o match lhe the stripes ‘adjoining Üadjoining seam lines, equalize the angle of slope . ach seam edge. ieach
2. The panel spacing at the hip and waistline usuusu— [hat on the master pattern and coincides ally follows that wiIh with Lhe lhe spacing on the blouse.
{s f.ion of
._ ' "V
edges.
This should be 7 to 9 inches below the waistline for a narrow skirl. skirt.
to t0 the lloor floor rather
g3
1
— —— Cut panels apart and add llares a!
Problem 4
DESIGNING DESIGNING THE BACKS OF GORED SKIRTS ON THE TWO-GORE MASTER PATTERN
i: I I
ollow lollow the same procedures for blocking the backs ms ins as lor [or the fronts, introduce more ease a: but imroduce at froms, buI. a skirt is ugly when it fits too closely or as back, b ack, v’ "vu in under the hips.
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ow Six-Gore Skirf SIIirf Bach Bock he he directions for cutting a pattern pauern for the back of skm are given in detail because the larger back I; 5km makes Ihe the procedure dilferent diflerent (from m m that (hat for the V "t imont. iront.
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Panol Panel (see Figure 89) Draw in lhe the level desired for the break points. l‘
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skin hack. Step l-Draw Fig. 89. Narrow six-gore skirt l—Draw slash line for Center cemer back panel. panel.
lOl
---_‚l
—
(b)
o-
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Incorrect. Bulge a: point of dart has been oompletely taken out, but Bare is t o o wide a: lower edge: (b) lnconect. Lower edge width is correct, but
waislline size correction i: too large: (c) Berner Bulge at dar: point has not been completely taten waistline correction is reasonably small.
3. Draw a line following the inner edgc of the dar: (edge next to Center) and continue it to the hem line. 4. Crossmark and cut the pattern apart on this line. The Center section of the pattem is now complete. Mark the grain with the center back line on a lengtlr wise fold of the cloth.
subtracted from the waistline along the side but if too much correction is necessary this me n will not prove satisfactory. Look at Figur: 90c n‘?shows a compromise correction. The waistline w less correction and a little of the bulge at the point‘ the dart still remains. This proves to be the best solation of the problem of adapting the bacl: of a V81“ narrow six-gore skirt to a person who requires a Im!‘ dart at the back of her master pattern. To summarize the three proccdures: dm edgt» 1 (a) The dotted line exactly lollows the in other words, i: transfers thc entire dart l0 the lovllr edge, producing too much flare on the side sectioll‘ Ä_ (see Figure 90a). N410" (b) The line wilh the right amoum ol flare. eliminales tinued straight up to lhe waistline. the “f” bulge at the peak of the dart, but enlarges sld at line so much that it cannot be corrected thc seam (see Figure 90b). the top 161V‘? (c) The compromise correction at the amovmegk rcduces which line a liule bulge in the side can it easily b6 3W of waistlitne correction so that tracwd lrom the side seam (see Figure 90C). 93d‘ Note. When stitching the side seam and thC
Fig; 90. Step 2 (n)
Side Bad: Secfion (see Figures 90 a. b. und c) There will be a decided bulge a: the end of the dart on the side back section compared to the very small one on the lrom. This bulge varies in prominence with the size o! the dart. A figure with a small waistline and Iarge hips requires an unusually [arge dart and will therelore have a pattem with a very promi-
end of lhe dart. is lf the dart small, i1 is possible to follow the side o1 it and cominue the line down to the hem in the same way as on the front. But if the dart is large‚ wo much flare falls at the side back edge (see Figure at the peak of the bulge, 90a). lf it does, place a ruler tilt i1 umil the Hare equals that on the cemer panel, to the 3nd then continue the line at the same angle up of Lhe size the reduces This was“ (see Figure 90b). the waistline too large. original da11, (hereby making l0 M;inch) Can b6 A mlall amoum of the excess (1/4 nent bulge at the
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B A S I C
l seam seam shown in Figure 90c, avoid strelching stretching them to the curve lo to waist. Ease lrom curve the hip i;i; u it from sagging and cupping under the hips.
arises only when an altempt attempt is to adapt a narrow six-gore skirt, or one which l0 "a out fitled hipline, to a figure o u t from a very closely fitted figtire i. a small waistline ivaistline and prominent back hips. A hem sweep and higher break-line is what wider hern 5iewhat waist (o a figure with lhese these particular wvaist i becoming t0 i‘
isis whole problem
e
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TS S I R T S K I t0 see the best held held up vertically on the form in order to the it out to figure mechamcally. mechanically. proportion rather than t0 proporlion thc pattern Cut the 2. Cum pzxuern along the yoke line and close lhc the Original dart, thereby Lhereby transferring it to the lower Lhe of the ol 91). yoke (see Figure 9|). edge
"
A
*
‚
hip hip proportions.
Problem 5
ESIGNING ESIGNING A
GORED SKIRT WITH A YOKE
henL hem.
ON THE TWO-GORE MASTER PATTERN
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that mosl most of the bias is at the (b) Place the grain so (hat to 11/; lront with a slope at the side seams of l t0 front 11/2 from hip 1o inches {rom to hem. 2. To add gathers or folds to the edge joining a yoke (see Figure 94), slash in the same way, but spread [h6 pieces at a: both top and bottom. They may be the spread equally, or Lhey they may be spread more at one Lhan a1 at the other, depending on Lhe the desired effect. cdge than F at igure 95 shows how the folds may be spread more a: Figure tllc amthe bottom to produce a modified pegthe lop than at top thun lhe center Center folds running through the hem hem ltop o p with the and lhe the side front {ront folds slopping before reach stopping they
_
Center
Yolre Line (see Figure 9|) {Yolre 7 Draw in lhe the desired yoke line on the two-gore r block patlern pattern and crossmark it. Space the skirt .(er I" Vin relation t0to other lines of the dress. As with i3-se yokes, the lower edge should never be a perfectly center front, 'ght „ght cross line perpendicular to the cemer it is‚ vif is, it appears to curve (lownward as i1. (lowmmrd 21s it apÄif il ches the sicle side seams. Moreover, skirt yokes should l e d to 1o the size of the figure and should be shalaled lor for short women and deeper for tall ones. lt is lhis line with the pauern ‘ays pattern lys prelerable to design this
ches
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s\
Sltirf Secfion (see Figures 92 a. b and c) The Lower Skirf l. To T0 add a circular ripple to the edge joining the yokc yoke (see Figure 93): (a) Slash and spread the lower section at the lower edge. The upper and lower skirt sections will fit skirt will flare at the the joining, and the skirl exactly a: lhe
the hem. lhe
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sx
‘
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W’
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---\
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-
-
-
-
-
- - -
-
--.---.--.-.‚
"mü l rm l ml *
_-.--_-.--.-_.| D 1 C —
- --.-.-
-.-_ -.--._---.-\-.\
-.-.--.---.-->„ -—-._-_________‚_____&
-(a) - _
- - -
1. Gored skin skirt with an yoke and fullness {ullness in the lower l. g:_Step SÜCP I.
I03
Fig. 92. The lower skirt scction scctinn is sprcad in (a) {for o r circular circujar l" (b) f0’ Ü" 83m9”. "PPICS 'lPPl'-’5— i“ 831'193» 3nd in (f) for lor draped folds.
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section spread for circular ripples. Fig. 93. Dart closed and slashes in lower and bottom for straight Iolds nr gathers. Fig.94. Lower section spread equally at top folds. Fig. 95. Lower section spread at top for draped
the two witlI hIp curve to the lower edge, and attach flare much too is along the sidc Scotch tape. II there front and the seam of the master pattern, overlap thc decrease but back patterns slightly at the hemline. is i This level. overlap until it disappears at the hip skirt new done to malte the side silhouette of the the floor. hang straight and perpendicular to the 2. Draw a line Ior the break parallel to and desired depth below the waistline. basic 3. Follow Ihe panel spacing established by the I0 continue and darts at the side Iront and side back. rule the lines down to the lower edge. 4. Slash these lines to {orm the center panels. Afld the 51d! flare lrom the break line to the hem on both lront and side back panels. 5. Mark the center Iront and center back plntl 3 lines to be placed on lengthwise Iolds (see 5811"’ Im‘ 97 a and c), or gore o u t the seam at the center b. Ior extra flare, as illustrated in Figur: 97 I‘ 6. Place tlIe straight lengthwise grain indicatorü“ ; whIch the side seam position, that is, the line on Iront and back pattems are joined (see Figum 95l-
Problem 6
AT DESIGNING FOUR-GORE SKIRT WITH SEAMS THE ON BACK SIDE FRONT AND SIDE TWO-GORE MASTER PATTERN
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of the Seams are commonly found at the exact sides and side the curves most on figure, because the figure Sometimes‚ over the requires the most fitting lines of hips. decostume the however, the other design front and mand that the seams be placed at the side the When the of hip. side back instead of at the side is line an outward gored straight grain instead of draw to the skirt is liable tigluly placcd at the side, and and to define every httle legs the thighs against Thus if the side seam is omitted, bulge and hollow. must be substituted a deep curved dart over the hip from hip to waist, and on for it in Order to fit the skirt The following directhe lcft Iide, to aerve a: a placltet. the pattem. tiom will explain how to cut Two-Gore Master Procedure, Using a Copy of the Pattem (see Figure 96) front against the l. Platze the side edge of the skirt lowest point o! the sich edge oI’ the sltirt baclt lrom the
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I04
.
B A S I C
.
Lhc complctcd When you draw around the pattern, completed pattern. a: the side from hip t0 [o waist, retaining lhe dart at ce ce the will neccasarily curve exactly. lt wvill ncccssarily be a very large on most dart „in;g figures. ;' lways slope the front and back cdgcs edgcs of the side - outward [hat will so {hat meet the Center center enough they : U \nt n! and back panels easily. Be sure to allow for ‘ye flare as well. .4
4mary: Principles of Designing Gored Skirfs on a
‘ into a gored skirt by any may be introduced imo flares ’lares three methods: of lhree
Paffern Gore Masfer Paflern _'o-Gore
SKIRTS intensified by placing the bias where the flares should intensified fall.) to the summary of prunThe student should refer t0 prmall gored Skmss skirts, page to the ‚of a“ common Page draping ‚Of ciples for shaping edges of gores and placing the grain 8| , tor 81 ol ot the cloth. The same rules apply whethcr the patL e r n is drapcd or blocked. Lern
_
Problem 7 DESIGNING DESlGNlNC-I- CIRCULAR SKIRTS ON THE TWO-GORE MASTER PATTERN
I.
‚u
waistline dart to the lower edge. i-. Transferring the waislline
f;. Slashing the
[hat the [ w o pallern vertically so {hat pattern the waislline, a: the break« breakwaistline, touch at and am the a: hem hem line. y ‚ e, j spread apart sprcad llare within withix) the pattern „(Melhods pauem ‘(Methods l and 2 imroduce (lare Lend t0 to fall «es where there is no seam. Flares tend lhc pattern is slashed, but are always influenced ‘ere Jere the
‘tions overlap at itions
. es
.’ 3 body
contour.) comour.)
outward from the breakSlaming Slanting the seam line oulward to the lhe lower edge. ‘e je lo introduced but can be greatly (Flares cannot be imroduced [Flares
ol the figure are the greates! Since the proportions greatest proporlions o! factor in producing attractive attractlve circular dctermining tactor i1 seems reasonable [hat the most graceful circureasonablc (hat Hares, it Iar lar skirts will always be Lleveloped developed by draping rather than by Hat llat pattem alter some expattern blocking. However, after perience in draping circular skirts and in observing their effectivcness effectiveness on particular to panicular figures, it is possible t0 cslimate estinlate with considcrable considerable certaimy succertainty the probable suc< cess ol‘ ol" any punicular clrcular ccut u t when you use the flat Hat particular circular pattem pattern blocking method. Thc principlc The ol’ cutting any circular skirt from the principle of masler pattem is founded lounded on (l) the transfer Lransfer two-gore masten"
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Gored skin gored skirt with seams alat side front and back Iim: show scam lmcs seam position) .
(b) (b;
ol’ center from; Fig. 97. (a) Pattcrn of front; (b) Center Cemer back panel with seams on both ed edges; ges: (c) Center back pancl panel on a fold. placed nn
I05
(c)
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arcs of Qaisuxinä 3nd hipiiue. the master pattern from Iletqgetfethe line fromßhip to lower du the side seam so that it connects ‘dlfip ‘points, and rule from the hip lower edge.’ Aelgh go-rthe’ Iren; seam isdesired, place the grain __l_E.‚a i; au; Center of the pattem (halfway between the side seam and the Center front) perpendicular to the waistline. li you do n01 want a cemer seam, place the Center front on a fold. (See Placing the Grain on a Circular Skirt Pattern, page 87.) 5." For an evening skirt, continue the ruled seam— lines ‘to Boot length. S.11; Seaxftof
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The Loss-fhan-Normal Circular Skirf. Olonly‘ Hilfe! Front hat van. a Doeidod Flora cf H» ‘Sack (so: 99 a and b) 1. Place together the front and back hip
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back to form good panel spacing. the darts a: the sidc’ front and at the side, and enlarge them by slashing [rom the dart points thro the lower edge and overlapping the skirt at the lo edge if necessary in order to cut the pattem in ß piece from 39 inch fabric. the
center
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(B) i n . . .
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skin. from #71‘, 98. Nnrmal circular
two-gorc.
a: w!“ Fig. 99. Less-thnn-mtmal circulnr skin with flarc ndded Halt. fnr scrtion back (Zcntcr dmwn: lines Slash spread (b) (a) I06
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BASIC SKIRTS make few slaslies slashes and spread the patlern a3 greal 3mm deal paltfrn in one place, lhe i m o a few large the fullncss will break into flares. II If you make many slashes and spread slashef sprfad absmall aismall amoum a: at each one, Wlll break into Hares will inlo npples one‚ the llares around the entire skirt. emire skirl. 4. Place the slraighl Lhe least slraight grain where the lciaast amou'nt amouilt of llarc Harc should lall. (See Placing the Crain Gram on a CH‘Cir-
cular Skirt Skirl Pattern, page 87 .) 5. True up [h6 the side seam (see dotted line, line‚ Figure olf the curve from hip to waistline. waistline, The I00), cutting ofl side seam ol of a greater-than-normal circular skirt does not need to curve since the skirt does not fit the figure over lhe the hip.
Gm rnin
Note. Do not ignore or smooth over the abrupt changea in line direction along the waistline arc, as the flares Hares fall from those Lhose poims. points.
“x
Ä 'l00. 100. Greater-than-normal Greatcr-than-normal circular skirz skin (dotted (dmted linc s the lhe hip seam with hip curve removcd) .
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I01 shows a circular skirt with a maximum Figure l0l flare, in which one-lourth one-fourth of a skirt pattem pattern equals one-lourth one-fourth of a circle.
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Sldc Salm
Add to the center back panel enough to equal marked on the lhe diagram by the dotled space dotted line. r‘,
Slash and spread the
Center
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back section of the
1er pattem to form a circular wedge which intro(er pauern 1Vs s an emphalic emphatic back Ä ess of ol the front Iront
flare Hare to give contrasl comrast 1o [O the thc (see Figure 99 b). A peplum or lt drapery drapery can be used (oto conceal the front irom (Llart l a r l as t0 relieve the ‘l as to the lront. lrom. The silplainness ol" lhe is usually more eflective, ette ‘ette ls effeclive, too, if there is a bias center back to {v at the cemer (0 emphasize lurther the conwbetween the Hat flat front and the pronounced back '
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Greafonfhan-Normal Sliirf “Greofer-fhan-Normal Skirf (see Figure I00) Slash from the lower edge to the lhe poim point of the tline ine dan. dart. Close the dar: and spread the lower
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f!Draw additional lines from the waistline to the edge wherever you wlsh wish to 1o introduce flares. Slash diese lines t0 to the zhe waistline and ‘Slash these n outward from the waistline arc. pivot the The more ttern spreads a: at the hem the more intense the ‘tlem e ’
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arc becomes, and an: yet the two arcs (waistline cm line) will alwaysyct remain parallel. If you
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0 l . Maximum circular skirt. Fig. l10l. One fnurth fourth skirt pattern founh circle. equals one fourth
l07
D R RE ES SS S D
DESIGN D ESIGN
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up into one's lap. lap. To To achicve achieve this effecj, effect, sprg spread t up " center from front along along its entife entire I": length nearest the Center slash nearest may even be spread spread more a: at the bottom man than at th ltIt may top desired . Spread (or slashes) if desired. the next slash top Spread (er slagh" top but not at at the lower edge. edge. These fo folds a the top run through j directed toward the hem but do not tun point of the‘ the dart intersects this 91:13h; slash Ii Since the point pivot to spread of the dart to it close and increase the pivot spreadg at the waist. Spread Spread the slash towa toward‘eh slash line at at the top top edge edge only. only. Spread Spread all the sshash side seam at equally at waistline, at the so that all the folds will' equally of the same depth. depth.
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Center Fronf Front Cenfer Either mark the cemer center from. front to to be placed placed on lengthwise fold, or place the straight grain perpendi ‚ A._; lengthwise fold‚ or place straight grain pe ular to to the waistline over the hip hip in from front of die! the si drapery. This places places the side seam almost 0m? on drapery. straight grain places at the cen some flare a! (he and straight grain places front. The side seam sometimes even cuts cuts in _:’ on from. grain a: at the lower edge edge if the peg-top peg-top effect i 3 " grain pronounced. pronounced.
a.
Fig. I03. 103. Back peplum: peplum : (a) (a) Step Step lI —Draw - Draw flare lines; Jines; (b) (b) Fig. — Step Spread grain. 2 slashes for flare and mark Step Spread grain.
Pe plums Peplums peplums in the same way way as you you would block Block peplums edge of the peplum peplum circular skirts, but mark the lower edge on the master pattern and cut the pattern on that off on cut on master pattern pattern line. Figures Figures 102 and 103 aa and b show the procedure. procedure.
Problem 8
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"DRAPED" SKIRTS ON THE DESIGNING "DRAPED" TWO-GORE MASTER PATTERN
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(See the the discussion discussion of the characteristics of this (See classification, chapter, Draping, Draping, pages pages classification, in Part lI of this chapter,
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Placing fhe the Folds (see (see Figure Figure I04) I04) Placing On the the master master pattern pattern waistline, space space the numl.l . On ber of of folds desired. desired .
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2. Draw Draw radiating radiating lines Jines downward from the points points 2. the near are which on the waistline. From those on the waistline. from and center front draw Jines to edge, lower the to edge, Center from draw lines toward the side lines nearer the side, direct side those the the side, nearer those (hat Remember seam at at and and above above the hip hip level. that seam the where seam side slashes directed too the the on low t o o slashes directed waver. to seam side the skirt should fall free to waver. cause will [ r e e fall 5km should
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the Slash along all of the fold-lines, and spread the 33. Slash along slashes according according to to the effect desired (see Figure slas.hes I 05) . A skirt is always more graceful graceful if there is is enough 105) ‚ A skirt is always unmove can one that fullness at the lower edge so move unh 1 edge hampered ein‘; and Srexzithout sit without having the skirt balloon balloon a Lulylyrggjieät
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n‘ Fig. 104. I 04. Draped Draped skirt. Step Step 1 - Draw slash lines on m Fig. pattern. ‚ pattern. Fig. 105. Step 2 dart spread equally Fig. 105. Step 2 Close dar: and spread slashes eq waistline.
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108
B A S I C
S K I R T S
Fig. I06. Skirt draped inm a side fmnt fold. 1;}. { m m vertical fold. Fig. I07. Skirt draped into a side fmnt Stcp l Draw drapery (lrapery lines and side front opening. npening.
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ulion. ution.
Side Fronf Fron? Line
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l. Auach the right and left master pattern skirt [roms {roms at the C e n t e r front.
Do not fail to follow exactly the inward hipline. T0 straighten the curve A3 Ä mcrely add bulk and destroy the draped effect. isis blocked pattern for a draped skirt is almost e act duplicate of the draped example, but when act effect at each step is perIng on the form, the efiect ing clear. Flat pattern designing, on the other hand, hand‚ es more ability to visualize an idea and is likely ires _.done with more feeling for {or contour comour when it folexperience in draping. experience
ei along the
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d-Skirf Süd _' ' wifh a Side Front Opening ‘Ä
‘vinteresting interpretation inlerpretation
of the “draped" "draped" skirt
2. Draw in the line of the side opening on the left side front. This line should slant outward Ieft slightly from the waistlinle 1o to the hem line and should probably continue in the same direction from the inner edge of the waistline dart. 3. Draw a second vertical line to the hem nearer the lhe C e n t e r front in order t0 to form the Lhe vertical panel shown in Figure 106.
Fold Lines (see Figure I07) l. Draw lines where the (o radiate draped folds are to Irom from the fold a: at the edge of the vertical at the panel left side front, to l0 the right hip seam, fanning out the lines from points very close together at the left side to poims points farther apart along the Lhe right hipline. Do not noL draw any fold-lines much below the hip level‚ level, 9 inches below the waist. 2. Draw another [old-line (o the lower ‘Draw edge near the side sxde seam but not running through the lower edge. S. 3. Slash along these lines, 1o to the side seam‚ to t0 the
from opening (see yith folds caught into a side fronL Veyith e .
106) 106). When the folds are carried from a» side across
the the Center [rom front to 1o an opening on the :-‘ ere is more ithere space for them than when they end cemer front. Asymmetrie “x v‘Center Asymmetric balance is often more sct than formal ful _l and less set symmetry but must 'ed throughout the entire costume. Thus, if ied i: definite emphasis on the side front of the ‘_v_‘ n skirt, eu-ical motif should be repeated in another metrical f the garment so {hat that the total design will have
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Fig. I08 (b). Left side front section.
(a) Skin draped into side front vertical fold. Sie]! 2 —Spread slashes for folds.
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lower edge, and all the way through the vertical foldline that mm through the hem line. 4. Close lhe waistline dar: when you spread the
line shows where it was cut.
2. Rule down 1o the lower edge following the. 1.. of the dart. This takes out the bulge a! the point. Then add the same depth of vertical fokl the pattern edge as that added to the side front on right side (see Figure I08 b). with a minimum flare at the 3. Place the
top slash.
5. Spread the slashes directcd toward the hip and the hem at the left side from only, but spread the and lengthwise slash through the hem at both top lower the out edge slightly bottom edges, {anning more tban lhe upper one to malte the vertical fold
seam.
decper. Connor FroM Place lhc straight lengthwise grain marking at the the hem line up to Center from o! the pattern irom line. Lhc lowest diagonal slash
DESIGNING A "DRAPED" PEPLUM ON A TWO-GORE MASTER PATTERN
Luft Sido Froni ‘
‚f;
grain
hause all o! the [olds are on the right side from, and left side: are very pauem shapes for lhe right
H0
Follow the same procedure as for desigfli"! “draped" skirt on a master pattem. l. Mark on the master pauern the lower the peplum and cut the pauern oif along this Inne 2. Close the dann. lf the end o! the dart
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falls
äwa METHOD OF DESlGNz DRAFTING
Drafting, the method of developing a pattem u body measurements, is really the one reliable eyen for a. beginnen", to make a master slceve pa that proves to fit exactly each part of the arm inall positions. Since the master sleeve involves no probl of design and no choice in the placing of dans antl curves‚ but rather hinges on the problem of meticulolag accuracy of shape, the drafting method is obviously}
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The principle of shaping a flat piece of fabric to the contour of the body by darting or easing applies as well to the sleeve pattern as to the blouse or skirt. the The arm has two main points of articulation elbow and the shoulder ball. At each of these points, darts or ease must provide shaping {or the sleeve. The am: must be free to move forward and upward, and even when relaxed, to bend slightly at the elbow. Only when rigid does the arm form one straight axis from shoulder to wrist. Therefore, a dart must be provided for the elbow on the back edge of a long fitted sleeve. And since the shoulder ball rounds outward at the top of the arm, ease must be supplied across the top of the cap of all set-in sleeves to shape them ovcr this curve. The trunk of the body moves a comparatively little, whereas the arm performs great number of movements of a great many kinds. The to accommoadaptability which the sleeve must have it the most makes these in date the arm positions and requires abcomplicated of all pattern shapes solute accuracy of line. A method must be chosen to develop a basic master sleeve pattern {hat fits smoothly and yet gives {reedom. One method commonly used but not generally fitted (wo-piece muslin satisfactory is to pad a tightly at ease, and then to drape sleeve to duplicate the arm accurate sleeves on this form. But draping is not results and of the sleeve. enough lor the demands each individual draper. Anothcr vary widely with also a generally unsatislactory and common method, of a flat, foldcd one, is to cut a heavy cardboarcl replica this flat board. ovcr t0 (wo-piece long slecve, and drape vurics with also The success achievcd by this method {hat her finds the drapcr, and even the same pcrson resulls will (liffer lrom sleevc to slccvc.
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suitable. From the drafted master sleeve, allol the more unusual cuts can be speedily derived Lhrough blocking. Sleeves so designed will fit with the samt I'll? precision as the Original drafted master sleeve. to be minul relegated draping of sleeves can best alterations in design and fit.
most
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Fig. l. The scl-in slccvc. 1mm“Fig. 2. The slccvc cm in nnc with lhC
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dress sleeve, allpw ig l4 to throngh the girth, elboiv, and «m; Mm height to the cap to allow tot shöulder dress and to provide a deeper armscye. The ‘i measuremem for a coat sleeve should not bei r high under the armpit as for (h:dress sleevc; there will be a greater diflerence between an and overarm lengths. Metier Sloeve Draff. Sin I6 (b)
z’ (a)
The following draft is for a basic sleeve with elbow dart in a standard size 16. To understand procedure for sleeve drafting and to avoid erroß. tice drafting the standard size l6 before pattern from your own measurements.
Fig. 3 (a) and (b). Measurements for sleeve draft.
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The list of supplies required is as follows: l. Smooth unwrinkled construction or n‘ paper, approximately 27 inches long 1nd inches wide‚
Note. Use this measurement only to check the accuracy of the comparative overarm and underarm measurements. The cap height of the draft is really determined by the difference betweeix the two. Takarm bem too ing the overarm measurement with the much increases the diflerence between it and the underarm length and gives a false cap height. The indicate that the overcap height measuremem may should be taken measurements arm and underarm
A tailor’s L square, A well sharpened pencil (a fuzzy line is too„ accurate for satisfactory drafting) ‚ 4. An eraser. For accuracy. poim the pencil in against the edge in drawing ruled lines. '
again to correct the error. The cap height for a dress with a normal armhole and thin shoulder pads varies from 5%to 61/4 inches. individual Variation, Although there is a great deal of inch between sizes increase 1/4 cap heights generally on. so and I2 and l4, l4 and 16, with 5. Elbow. Measure around the elbow poim measurement normally the am: bem sharply. This is added no ease since but size. exact the girth e uals the girth w lt, the elbow will bc two inches less than in the slceve dran.
The measurements for sample size I6 sleeve I13 follows: 1. Overarm 28 inches
2. Underami 173/4 inches l3 inches ( l l 3. Girth
4. Elbow
5. Wrist
114
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7
inches inches
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S L E E V E S
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EDURE FOR DRAFTING (See (see Figures 4-8)
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Measuremenfs I Measuremenf: ‘cal
A
H
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uz 3/4" 3/4”
t Draw a line 23 inches long down the Center of inches above the lower V„paper‚ paper, ending at least 2 inChes t
J 3/4,; 3,4m
A
cC 3/490 3/4QD xK 1" L
f‘ square Square «.=
out in both directions from the Center ‘a: a! the top point A and the bottom point B.
"r Measure up from point B the underarm Iength, length, i‘ inches, and mark
point C.
f' Measure down on the Center line 3/, 2/, inch below Center
d mark
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zu point D for the girth Square out ut
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Mark E, the halfway point of the underarm
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h (one-half the length from C to B). Measure
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F. Square out at F for the inch from E and mark I". line.
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Measuremenfs Measuremenis Measure from F onefourth one—fourth of the elbow
nfal r‘‚onfal
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each side of the C ent, or 2% e n t e r line. Center ‘ent, 21/, inches, on eaCh
e.Measure from D one-fourth of
eent‚ n t , or 31/4 31„ inches, on each
_‘3
the girth measside of the Center line.
with straight y join and
lines the points marked on girth in steps 1I and 2. Continue these lines ‘th top and bottom horizontals. (Check for equal 3 ces on each side of the Center line ata: A and B.) "änces l
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sB Fig. l-‘ig. 4. Locate the sleeve measurements.
Cap Curves
Sleeve Cap Cap iSloevo Divide the vertical sides of the Cap into halves, 7,Dividc halves‚ flocate a dot 3% each halfway point. locale 2%inch above eaCh Ü I and j] on these dots. Divide each half half of the top line squared out A into imo halves and mark points G‘ G and H. Divide the lower line on the front of the Cap into b’. marlt K. I: I! i: customary l0 to draft a sleeve g» and mark the [mm t0 the left Iran! edge to _« l0 CHI: Ieft and the back edge 1o ‘ght. t . Mark point L on the lower line of the baCk back of the Ch from the Center line. ‚flinch Connect these points with ruled lines as shown rc 4 to provide guidc . re guide lines for drawing the of the Lhe sleeve cap. vof
l. On the upper half of the front, follow the guide line up from [ m m I for slightly over half the distance to G before curving Curving toward the Center line at A.
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2. On the upper half of the back, draw a curve {rom A that touches the from guide line H H]] M, 1A; inch below its halfway point. On the upper half, half, the back curve is slightly flatter than the front. 3. For the lower half of the Cap, cap‚ follow the guide lincs lines 1K [K and 1L down one-half their length before Curving curving in toward the underarm at point C.
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The Open Sleeve The sleeve is now essentially Complete but is i5 in a folded position position with the underann underarm seam at the Center line.
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5.,
aroünicf-thcWßVpiivibtedL
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bis; ‘linve " t o w r x g t d line { m m ‘elöow 1o wrist which front of the Original wrist point.
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inFig. 5. Feld on arrowed lines and trace to ptoduce lines dicaled by dotted lines.
l. Feld the paper under and crease it exactly on the { m m lengthwise line. With a tracing wheel, follow the lines of the lower half of the sleeve cap, the Center line, the girth, the elbow, and the wrist lines. Then opcn the paper again and you have the outside lines of the sleeve front. The center line becomes the underarm seam line on the newly traced pattem.
2. Rcpeat direction l
{or
the back.
Wrisf ‘Nidfh Corrocfion und Revision for Bonding {In Elbow
1. Measure the sleeve a: the wrist and subtract { m m it the correct wrist size. The lower edgc of the sample sleeve measures 81/, inchcvs. The wrist measures 7 finde, so thc diflerence shows w, inches of excess. Divide the exceu into halves and oubtract one-half
Im“ l-‘ig. 6. Correct ror wrist size. an shown by dotted
I16
SLEEVES
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F ront U-
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Balance Poinfs on Seams (Mafching (Maiching Marks or Nofches) l. On the front line, measure up 21/‘, 21/2 inches from (o the elbow to from inches Lhe elbow and down 2% the 21/2 mark the balance poims. points. To obtain corresponding markings on the back 2. T0 seam line, measnnre front seam from the measure down on the fronl underarm t0 Lhe the top balance poim point and up from the bottom bottom to the lower balance point and mark both poims a: the same distances down from the underarm and up from the wrist on the back seam. This places the extra length at the elbow on the back seam line between thc between the two notches if the dart dar: is t0 to be put in as ease. Elbow ease should never go above or below these two poinls.
----——-. __.- -_
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lhe elbow clbow dart. dan. Fig. 7. Making the
|bow Darf Ibow Dar}
the _Be_gin Begin Wldth wldth in
dar: one-third onethird of the point poim of the dart from the back seam line and halfway _'‚ _fen the Original elbow line on the sleeve draft Lhe Lraced traced seclion. section. This is the thc Ä elbow line on the dar! lcngth _Ll _t dart length for pattern blocking, though the not be more than one-fourth the _"dfm dfut should not wxdth at the ("wndth Lhe elbow. a line from the point of the dart to the »Draw Dmw elbow line on the back seam at a: F 2. easure the IMeasure of the 1 the samelength upper dart edge and [ o r the lower length for 50H loff edge. Rule same_length Irom from the lhe wnst wrist to this point in order to clear i) there may be on the back edge lfatever excess Lhere Wlfätever Ist to t0 elbow.
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3- The one-piece masler Fig. Fig- 8. master sleeve dran,
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Same Slope Elbow to Girth on Front and Back
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Same Cross Thread
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winh [ m m and back «Im?! m on center linc (dntted linc indicntcs slcevc opened hat):
Fig. l0. Slccvc
Slccve folded on center line (elbow and wristline „ m “ ,„ h “ ‚h; am»; i; clmed).
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(oldccl
SLEEVES :.i. The curvc on the lrom lronl ol" ol the lhc cap should rise [o 1o abovc above {hat [hat of the back at the 0/5 % inch) u): (I/ä d}: lronl of the cap dips slightly ‘in f the sleeve. The front 'nch) nch) below the back curve at the underarm.
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These comparisons ol of from front and back Conconto the needs of the average arm. From the der seam forward, lorward, the arm has a rounder and "r curve than lrom from the shoulder seam back. The lunderarm underarm curve should be hollowed hollowed out less than ront one, [hat it will be possible t0 one‚ so (hat [o Swing swing the Iorward comfortably without wilhout ripping Äforward ripping the back e sleeve from the garment. A deeper curve is v,» ’.oa on the from front underarm so that (hat the armscye Ä will not not bind bind when the lhe arm swings forward. 1
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’
Grain
‘o Folded so fhaf Fronf Fron? and Bock Bacl: Seam Lines Meef
nfer Line (see Figure infer
"
I0) l0)
5} will enable you to dctermine determine lhe the actual height In dislance from lrom A to (o C. lt is incorrect cap‚ the distance cap, f imate the of the (hc cap by measuring from timate height ol ‘g a straighl straight girth line drawn across the opened C1 to C2. ‘efrom C110
e
i. Opened 1o Flaf (see Figure I0) Openad Fiat
äenen the sleeve was
dralted, the lower half of the forward to give the necessary pivoted lorward at the back lor : v a: Ä for the elbow dart. This usually the front seam line from elbow to ._. t0 wrist to slope rdd slightly more than it does from girth to elbow. l ld be to draw this as a straight line from uld wrong 1o o wrist, because the front ‚f‘ to lront slope lrom girth to slopc from l would then no longer be the same as the back ;f and the sleeve would tend toLo twist when back 9a m seam edges were joined. L m
“mwas
‘I
l . Front and und lnuk Fig. lH. back undcrarm’ Fig. underarm seams straightened so that [ h a t slopc { fmm m m ginh girth m elbow is continucd mntinucd from elbow to t0 WTlSl. wrist.
'
bell, and slraight-hanging straight-hanging sleeves. You will hnd this a convenient procedure for changing a long fitted sleeve in a commercial dress pattern, or in reversing your cut-out master sleeve pattern to its Original drafted form before it was altered t0 dralted to fit from elbow t0 wrist.
i‘
_‘
i RLONG FITTED
l. To eslablish establish the Lhe lengthwise Center line, fold the sleeve so (hat the front and back seam lines coincide from girth to elbow, crease the fold lrom the Center along line from the top of the sleeve to the and rule wrist, il. im.
Problem 2
SLEEVE PATTERN MODIFIED BLOCKING SLEEVES LOOSE AT THE LOWER EDGE (see Figures I I—I3) I43)
sleeve draft eeonOriginal it is
with the basic lines . not available, you can easily modify w; »; sleeve with an elbow dart and a fitted wrist '- a workable block for the designing of 0E pattted Irom from elbow to wrist. fsjv filted wrist, such as bishop‚
2. Trace the sleeve and the center line on a second sheet of paper. 3. To establish straight back and front underarm 563m seam “n65. lines, place a ruler on the from girth to elbow and with a Original seam line pencil, continue this Lhis line to the wrist (see Figure ll) .
H9 119
along the sides o! the patterri, and pen(a) to showzthe quarter divisions. Foldlines fgild and the indicates the
’
L_
“
fing
V
äräfut
the ‘p, is corrected or 111e elbobw. ‘befdte wüst siz‚e to
top Slgcvignin this way the sleeve when it is worn.
undeßidepf
(b) Trqgce lhe lower armscye curve. (e) Rufe a line across the bottom of the sleeve perpendicular t0 the Center line to get the correct slope _{ e r the lower edge. 7. Open the sleeve and use it for blocking (see ’
I-‘igure l3)
..-„ "nahm.
.
' ‘x/ .u„‚
Fig. l4. Bishop slccvc. sleeve. Fig. |5. Bach n! arm mcasurcnlcnl fnr bishop
Meihod A: From Maxtor Paflorn Sloper‘ (see Fiqum I6 and I7)
l4;
m
l. Draw around the sleeve sloper. 0131““ lower armscye curve and the Center lme. 2. Detcrmine the depth o! the cufl‘ and mir 1s 2 this anxount on the Center line. The cufl
in order to dctermine sleeve Fig. I2. Slccve [olded m center, and correct lower edge. basc, Iines, cap quarter division and spreading. for rea slashing dy Fig. |5. Sleeve
0L!"
'“'
Problem 3
deep on the sleeve illustrated.
PATTERN THE BISHOP SLEEVE FROM MASTER (see Figure l4)
lFor the gcneral methuds uscd in the slecve d?!“ ‘ followa. the nuthors wish m makc gratcful acknowl. to M. Rohr, author u! Paucrn Draflmg and (Smdvfiß
irom its clerical The bishop sleeve derives its name
I20
SLEEVES
..
‚.
f
Fold &
‘ l6. Bishop sleevc from { m m mastcr paucrn pancrn slopcr. Lines are ‘ n for inaease increase in width nf o! wrist. wn ‘. Measure down 5% y, inch from the point poim marked in mustcr
l
"i- 2. This added length is needed on any sleeve imo a tight band L0 t0 aHow ‚ered into _ered allow for reaching and T’: "i o u t in both directions Irom sing. Square out from the ter l e r line to establish the construction line of the er edge of the sleeve (see F igure 16) ‘er _: I6).. lncrease the sleeve width by measuring forward x e wrist line one-half the amoum desired on the 111e 1 hall half of the sleeve. Figure 16 l6 shows che Lhe wrist extended I inch at the front edge of the sloper. rase lwice twice (bis this amount at a: the back. The diagram s 2 inches. Always maintain maimain this proportion. join the poims marked markcd on the wristline to the points ints of the front irom and back edges of the ?poims sloper
't »
‘L l
armscye. annscye.
_. Lengthen
the back of Lhe the sleeve l inch by dropwn that amount on the Lhe back edgc ‚‚i‘eflown lhat edge of the sloper
l2l
Trace Trace
& Trace Fold 8. Pancrn is folded lolded undcr nn the Fig. l7. Paucrn [h8 dotted lincs of Fig. and thc sides und l6, I6, und und luwer lower cdgc lraccd. traccd.
and also on the newly ncwly drawn back line. The additional back length provides lor for the diflerence between Lhe the measurement measurenlent over the back of the arm when held held bem at aL the elbow (see straighl straight and when bent Figure 15) l5).. Add more than lhan lI inch lor for exaggerated blousing.
7. Rule a line joining the lengthened back line of the sloper t0 to the front from line of the sloper a: at the wrist construction linc. line. The lower edge of the sleeve will be perpendicular to lo the C e n t e r line between the original lincs ol of the sloper and the newly drawn lines at the back and front. fronl. 8. Fold Lhe pauern the new lront pattem under on Lhe from line and the {{rom r o n t lower armscye, the Center line, and the wrist line to complete Lhe shaped wrisl the front half of the trace
sleeve (see Figure l7) l7).. 9. Repeat the same procedure for the back.
‘l
'
.
M
4; l
‚
engthwnse, grafiin line of the paitem
da} afxd the bottom. Sptead ‚the ‘front slash 11/, t0 2 inchqs _
twice t h e backt0 slash the
a! the that amount. Pin
the sifle paper. s. Jazxgend melength 1 inch on both edges of the back Lslash t0 allow for bending the elbow. 6; Rule a wüst line joining the lengthened inner edge of tbe back slash to the inner edge of the front slash.
bjottvom lixie
Problem? THE BISHOP SLEEVE WITH AND LENGTH FOR BLOUSING Ä (see Figures l9 und 20)
A Long Sloevo In a slecve which is very full all across the the arm, the entire spread should not be at thfi front and side back edges of thc central addition, vertical slashes should be made througi); Center section and a small amount of flame sho imroduced at each slash. However, even w fullness so distributed, the slash at the side should be spread more than the others, becanfi silhouette is more elfective il the flare and bl are most pronounced on the outside of the arm n I the back. As the width of the sleeve increascs length must also increase in order to produoe b1’ _ ing at the lower edge. The width of a sleeve can be successlully inae through spreading at the side front and side slashes up to the point where the width at the l0 ”. l0 edge equals that at the girth. lf you wiclen the 5nd!‘ more it is than much morc this, usually edge the top o? tory t0 introduce some ol the width on so thit sleeve. the ol arm by slashes at the center than lf rather sleeve will retain a column shape Ü tened two dimensional shape flarintg entirely 1" side front and side back ol the arm.
ou
I»
'
*
o
' 2"
A Threo-Ouarhr-Longlh Sleovo This sleevc lenglh is suimble for the mature since it does um have thc childish silhoueuc of l
2"
[ m m opcncd master pauern (shown Fig l8. Bishop slcevc center linc BF. in 111g, |5). AD 3nd CE should equal
122
.
SLEEVES
_ .
‚f l9 and 20.
has already been introduced. (See Problem 4 concernalreatly been Problent coocernto t0 which a slecve can satisfactorily the extent satislactonly be ing To reduce the from and side back.) T0 widened at side front flare, slash and lap out along these same lines from the bottom of the [he sleeve to the armscye. 2. Check the lower edge of the pattem to see that Hoor when the arm the sleeve will be parallel to the lloor hangs at the side of the body. Since the bell sleeve for blousing added lhe allowance {or free, remove the hangs lree. of t0 the bishop sleeve, but retain the to the lower edge at the side back of the sleeve one inch ol of added length a: ol the elbow. You may the bend to over Lhe go necessary even increase this length as you increase the bell flare. 3. The finish for the lower edge depends on the amount of shaping necessary. If the bottom of the amoum sleeve has t0 to be shaped t0 to hang gracefully, finish the lower edge with a dccp deep shaped lacing. Trace the the facing {lrom m m thc the lower section of the patlern lor lhc pattern slcevc, Lhe slceve, matchiilg matching the grain exaclly. exactly. However, if the sleevc sleeve is a column shapc, 01' is only very slightly shzipe, 01‘ hem hangs more softly. For the hem llared, Hared, a deep hcm lold the Lhe pattern, pattcrn, papex" paper pattern under at the hemline and trace the side seams t0 to the top of the hem.
sleeve. Fig. 2U shows Exaggcratcd bishop slceve. Exaggeratcd
ullness distributed evcnly the sleeve fullness cvcnly all across the top of lhe i
e xtra extra
blouse added on lhC the back. back.
sleeve. However, (hat falls at the However‚ blousing that
‚.
"53 1.6
..
out-
the level ol of the 1.olof the arm below the elbow is a:at thc ’
K and and therefore broadens (hem. them. Procced as lor for the long full-length sleeve. E‘ Proceed N Measure up from the wrist for lor the desired sleeve g
THE CORRECT METHOD FOR INCREASING OR DECREASING SLEEVE WIDTH
lcngth. length. Cut ofl 0E the bishop sleeve already designed on lines cxactly exactly parallel to the lower edge.
The correct method for increasing or decreasing sleeve width (see Figures 21 a, b, and c) is t0 to slash the sleeve where wherc the alteration alteralion is to be made and either eithcr spread to widen the sleeve or lap to narrow it. The first sleeve (Figure 21a) has the usual shape of a master masler sleevc pattern before belore being adjusted to wrist size. The seam lines slope inward from girth t0 to wrist. Dotled Dotted lines indicate the height ol of the cap and show the position position of the underarm half of the sleeve when it is lolded folded in to the cemcr. centcr. This diagram illustrates (hat if the lront front and back seam lines slope inward from the girth to (o the wrist‚ wrist, the girth points at the lront and back when brought together will meet above a straighl straight horizontal line drawn between them when the paltern is laid Hat. lt also follows [hat that the bottom bottom edge of this sleeve must curve upward at the Center center and down at the seam lines in order to appear straight when the seam is joined. The dotted underarm underarm seam lines and the overlapping on the quarter division
Problem 5
_‘
THE BELL SLEEVE
lhe "he bell sleeve, a Variation
of the bishop sleeve, like a bell, wider at the lower edge than at irth. lt is exactly like the bishop sleeve except girlh. the lower edge which hangs free. Sleeves that the (hat x«S; in a straight tubular column from shoulder to are also often loosely classified as bell sleeves, A arc though they may be the same size at girth and or cven Aor even slightly narrower at the wrisl. wrist.
i- out -_-» l
'
—«
Ä _Check Check the drafted bishop sleeve for correct wrist '73 T0 ‚Jv To increase the flare still further, slash and in a! the side front and side back where fullness
123
(b)
__l
(c)
‘ s -* — _
—-_
Fig. 21. Correct method of increasing or decreasing width of sleeve at lower edge: (l) Cap same height in each case; (2) Lower edge automatically correctcd; (3) Flare falls at sides of arm rather than a: underarm seam. (a) Slashing and overlapping at quarter division lines; (b) Slashing-and spreading a: quarter division lines; (c) Slashing and sprcading at quarter division lines.
lines show the correct method for decreasing the sleeve width. The cap height of the sleeve which has been narrowed in this way remains the same as in the orig-
inal master sleevc. The second sleeve (Figure 21b), made correctly the master pattern, shows by slashing and spreading seam lines at right angles to the girth line. They therefore fold in to the Center on a straight horizontal drawn from the front to the back. The bottom edge is also a straight line when the sleeve is open. The third sleeve (Figurc 2| c) ‚ also made correctly the master pattern, slopes by slashing and spreading irom girth to wrist. The lines outward along the seam folded in to the irom and back seam lines when horizontal line drawn Center, mcet below a straight when the between the lront and back girth points also curves downttem is laid Hat. The bottom edge when the ward a: the center in order to appear straight
back seam lines are joined. in Figure Since the front and back ginh comers those since and 21a have droppcd with zhe lapping,
{ m m and
in F igures 2lb and 21c have risen with the spreadißlfi: of the slashes in the sleeves. they will fold in m m at the original points, and the cap will remain same correct height in all three. The width added‘ the sleeve hangs exactly where the pattern was sl and spread, {hat is‚ below the points at the { m m back of the armscye where the slash has increased intensity ol the armscye curve. ln comrast, note what has happened to the cye curves in F igures 22a, b, and c. These illustratiollft show why increasing or decreasing sleeve width is in simply redrawing the underarm seam line lf you compare each ol lhese sleeves with the notlce sponding one in the correcl group, you will errors: the wrong method causcs lhe lollowing
__ m: k
um '
l. The armscye line is not autonmtically chafklfidlfi’ in correspotnd 1o lhe new slope ol the seam lines 0rd‘; t0 relain the Original cap height. lnward slopmß‘
the seam lines shorlens the Cap height (FiguN and outward sloping increases it (Pigums 22b and 5» (See Fitting Problems ol thc Sleeve. Chaptcl‘ 232-4.)
I24
V
2
R
SLEEVES
I I I I
I I
I I I I
l I I I
I
I I
I|
Il
In I
L---
(b) I
| _ _ _ _
_
sleeve nf IIIIrcIIsIIIg methnd uf Imurrul IIICIhIId (lerreusing slccvc innrezxsing nr (lccrcnsirIg Fig. 22. lnmrreu dezu sleevc a: slccvc a1 lnwer lnwcr edge: wvidth at width edges edgcs dcNnrnwving cdgc: (n) Nnrrnwing sleeve zu cdgcs crcascs creases cap hcight: cdges increascs widcIIiIIg slccvc" (b) widening height: (h) nur nnly increascs slccvc lutl l cdgcs Widening sleeve edges nnt height: (r) WidCniIIg cap height; Hure zu i l l underarm. undcrnrnl. but thmws all Ilzrrc height. hut cap IICigIIt.
sleeve for thc the lower erlge :2. The correclion lor j2. (‘Ilge of the slecve un— lhus lht: n01 Lhe sleeve will hang unindicited, and thus Lnot indicuted, _ nly when on the arm. ‚enly
3. 3.
width added to 1o the slecve undcrneath The widlh sleeve hamgs hangs underneath the sleeve cominucs continues t0 lhe seam line, and the Lhe slcevc column 21l u: thc und lop o1" of lhe Lhe lhe sidex sides and g in a narrow colunm
._ _
e arm atal "
‚ß
ole. o le.
_ o1_right _ und wrong methods This comparison of nght und ‘
.'Ih1s comparlsnn
lhe dangers turther emphasizes nchanging sleeve size further gchangmg Llungers emphasizcs the (m patlem „Igel Most (M, Filtering on (‚umges should be paltem edges. ‘um.’ changes V-flaltering de wl-‚hin wilhin lIIe ‚m, patlern. d‘ pauent ,7
Problem 6
5_EMASTER SLEEVE MODIFIED FOR CAP HEIGHT HE|GHT f; I,Lowor-fhan-Normal Cap Heighf (see Figures 23a. b, c) short sleeves and ancl those for sports or working ery aery w ents shorter than normal require a cap which is shoner er to provide freer arm movement. The master Örder n sleeve bIock ern block can be nnodified modified to t0 decrease the t of the Ihe cap without changing the measurement Ineasurenlent
ents
h!
the line. When such au change is made. lhc the urmsgyc ol o!‘ thc armscye linc. of lhe ot the widlh the wxdth 21s lhe as ol" the Lhe cap decreuses decreases cap height oI Lhe armscye length Lhe girth increases. but the and of Ihe constam‘ remains remalns constant.
PI occdu re. Prucedu I. 'l'ruee 'l'racc the l l a s l c l ‘ slecve lhe Inxaster sleeve pauern, paltern, including the Center line linc and Lhe the quarlcr quarter division lines (sce (see points
B und U on and 1) Lhe armscye) On um armscyc) . ‘2. Draw lines lmes Irom lronl the Center top ol the sleeve cap tup o1" 1o (o the lront and und back girth points, points, lines AC and Cli (see Figure 23a) .
_
Ä
_
3. Slash lrom A and E t0 to the cap edge an a1 the cemer Center C. top, Lop, «I. «l. Slash on lhe the quarler from line AC up quarter divisions Irom from line CE up to point D on the side point poim B and Irom o! OI the lhe armscye. l0 1o
5. Spread along Lhc thc slashes A t0 C and E 1o to C t0 Lhc thc underarnl seanI seam lines about h4 lenglhen Ienglherm II/_‚ inches. with the amount (hat you wish the (This may vary wiLh to be shortened.) The more the underarm underann scam seam cap t0 is lengthened and lhe thc cap thus shortened, lhe the more Lhe the bottom edge oI of Lhe the sleeve extends away Irom from the
arm.
slcievdfigpatiem.“ oiffhe Jnewof the liue bis
Q
Note. (a)
o
“
s
a
“'21
1 ‚s‘ 112"
\
l 1 l
3
\ \
I
\ \
‘ 1\m
I
s’ '11
(b)
The length
arrnscye
.. I
altered. The loss in cap neigmghas beien to increased girzh. This patcem is suited tlo’ short sleeve pictured in Figure 24a. Figure24b a sleeve with a shortened cap, but. with the ihre usually swings away from the top of the arm taten; show: by lapping on the center line. (Figur: 25 underarm how illustrates 24c procedure.) Figure also reduce the flare at the center top. The" i tailored shirtwaist (see Figure 26). has a shon.’ so that the arm can be raised comfortably wi Dresses (or aL pulling the blouse and skirt apart. uniforms are other » Sports, smocks, and nurses‘ lt is v _ amples of garments using the shorter cap. « times used in very bouflant puffed sleeves because its tendency t0 flare more than the normal sleevewl a deeper cap.
(a)
less-thanFig. 24 (n), (b). and (e). Sleeves with cap hcight.
‚ and (c). Dccrcasing thc normal cap height m;25 (a) ‚ (b)slcevc. Aoin the mzmcr
126
o
S L E E V E S
zon
Pattem fnr Fig. 24 (b). Top nf arm Hare line of sleeve.
lapped
Center
(b) (a) nf cap hcight lor shoulder pads: (a) Fig. 27. Extension of Fig.27‚ height {or Slash lines (lrnwn; (lrawn; (b) Slash lines sprcad spread and cap pushed up.
Procedure.
l. Place a pencil mark at the exact I. exaCt base of ol the cap on the lhe Center ccntcx‘ linc ol" thc lhe master mzister slecve sleeve pattern.
2. Draw a wedge-shaped piece at the Lhe the slccvc sleeve cap (see top ol" thc (sce Figurc Figure 27a) .
_
.26. Shirtwaist sleeve. Less-than-normal cap height .26. s free arm movemem. movement.
‚
v‘
al-
Higher-fhan-Normal Cap Heighf (see Figures 27a
dl bl b)
he normal cap height of a foundation sleeve may gThe too too short for lor shoulder padding‚ padding, and obviously, the er the padding the higher the cap needs to be. Cker f’ 7 eck the height ol of the master sleeve cap accurately Center beIolding olding the underarm seam lines to the center Center measuring from the base of the cap at the center p; v the top (see Page I19.) t0 119.) g
j
exact C e n t e r
3. Draw lines lrom a point on the side seams just below the base ol" the cap up to [o the lower corners of this lhis wcdge wedge (dotted (doued lines in Figure 27a). 4. Slash along the lines drawn in step 3 to the side slep seam and push up the wedge to t0 get the necessary height. height. 5. To T0 raise the height ol the cap without distorting the lhe underarm curve Curvc ol of the tlie armscye line, line‚ make additional slashes at a: the Lhe back and lront lronl. to t0 the lhe armscye line just below the midpoint between the top C e n t e r ol the armscye and the base ol the Can then cap. You can raise the top ol’ the cap without lop half ol appreciably liftCurve (see ing the underarm curve (sce Figure 27b). 6. For gathers held right at the Lhe top of the sleeve, use the same method, but push the wedge up still higher. This increases the height of the cap and the width also to some extent, but adds very little width at al the girth ginh linc.
DD RR EE SS SS DDESIGN ESIGN Problem 77 Problem THE MASTER MASTER SLEEVE SLEEVE MODIFIED MODIFIED FOR FOR A A DEEPERDEEPERTHE THAN-NORMAL ARMSCYE !see Figures 28 and 29 29 THAN-NORMAL ARMSCYE (see Figures 28 and a and b) o and b) From time time t0to time time fashion fashion emphasizes designs havFrom emphasizes designs having armsqes deeper than than normal, normal, and and atat such such times times ing armscyes deeper this slee\e variation adapted to all types of costhis sleeve Variation is adapted to all types of cos— tumes. It is especially desirable for coats and suits tumes. lt is especially desirable for coats and suits m Order order t0to allow allow {or lor easy fitting over dresses and and in easy fitting over dresses blouses. blouses.
front and back edges of the underarm seam of the blouse. blouse.
.47
Redraw the the underarm underarm curve curve (or for {mm front and back 2. Redraw (see dotted dotted line line in in Figure 29a). '
Figure 29a). 3. Trace the sleeve master pattem pattern and and dran draw i 3. Trace the sleeve master horiLOntal line extending through the front and back horizontal line exlending through the Eton: and „g 1 corners of of the the girth line. corners girth line. 4. Extend Extend the the sleeve sleeve girth girth line line a: at from front and and back back anI 4. amount equal to the increase in the length of (Es the amount equal to the increase in the Iength o!
(see
i
blouse armhole. armhole. With \V ith aa flexible flexible ruler, ruler, measnre measure the blouse armscye ol o( the the blouse blouse front front from from AA loto B, B, and and submd‘ subtract armscye lrom this the measurement from A to C. Repeat for lrom this the measurement from A to C. Repcatfo: the back. back. the
«
-.
ll)
(.) ()
‘L94
Fig. 28. Sleeve with deeper-than-normal armscye. Fig. 28. Slecvc with (lceper-than-normal armscye.
The main main problem in in designing designing and and fiuing fitting aa set-in set-in The problem sleeve with a deep armh ole is to provide the necessary sleeve with a (leep armhole is t0 provide the necessary lreedom lor lor raising the the arm, arm, especiall y in garment freedom especially in a.a. garment raising fitted snugly a t the waistline. Il the cap of the sleeve of the sleeve the ll waistline. fitted snugly a1 the cap is lengthened to correspond to the additiona l depth additional is lengthened l0 correspond to the depth ol the the armhole, armhole, the the top ol of the the sleeve sleeve will will lorm form aa vise vise ol top that holds the arm down at the side. Any attempt {hat holds lhe arm down ai the side. Any attempt toto raise lhe the arm arm causes causes the the garment garment t0to pull pull up up atat the the raise waistline, because the lower armhole has shortened waistline, because the lower armhole has shortened the underarm underarm seam seam ol of the the blouse. blouse. Lengthening Lengthening the th e lhe unde101m seam uf th e sleeve an amount equal an amount equal t0to underarm seam o] the sleeve that lost lost on on the the side side seam seam of of the the blouse blouse overcomes overcomes (hat these dilficulties. difficulties. these
(b)
Fig. 29. (a) Blouse armhole deepened; (b) Sleeve 3mm‘ armsC1; Fig. 29. (a) Blouse armhole deepened: (b) Sleeve 0 a nd undetarm seam lengthened to fit deeper armhole and underarm seam lengthened t0 fit deeper armholf
Measure down down the the new new armhole armhole depth depth on on the the I.I. Measure
blouse. blouse.
128
.. ‚
SLEEVES
front and back Measure in from the original Original lront
inches. At minimum of 2 inChes. of the sleeve girth a nlininluln ers ol t0 ( h e m to r c c l perpendiculars .—-- points eercCt perpentliculars and extend them
f armscye.
front and Cul out the sleeve, slash in from the from Cut
{l
.
to the perpendiculars corners t0 k girth Corners perpendiculurs and up to wedge-shaped pieces to armscye. Pivot up the tvedge-shaped as much as the blouse underarnl seam 21s en the underarm Lhen lowered. been has hole hole . Retrace the sleeve. Draw a new underarm line, corrler inward and raised girth Corner it from the raised ing il ' nward to meet the old sleeve seam at a point 2 or corner. the Original original girth Corner. 3‚ ches below the position of lhe i‘
_
‘’
_
to Center Folded (o
(he elbow. clbow. abnve the nfl a sleeve above cutling nff Fig. 30. Method of Cutting
Problem 8
a} Three-Quarfer OH‘ a’! Sleeve Cuf O5 Three-Ouarfer Lengfh (see Figure 3|) tlle wrist lroln the distallce up lrom desircd tlistancc tlle desired l. Measure the
MODIFlCATION OF SLEEVE LENGTH _ MODlFlCATlON Ofi Above the PaHern Cuf OFF fhe Elbow er Sleeve Paflern 1u Figure 3o) 30) oulline, trace the line at the '_ . On a sleeve pattern pallern outline, the cap and the Center of lhe C e n t e r lengthwise grain line g; the master pattem. pattern.
..
lhe on each seam, lhe Center, the side lront, and the at the seanl, al t0 l0 line a with back. Connecl. these points side back. Connect. thcse pencil poims ol the form the lower edge ol" Lhc sleeve.
.
be parallel t0 lhis line whiCh which should bc 2. Cut Cul along this the wrist line.
*r
_
Fold the seam lines in to the lhe
n line. „inline.
center Center
Folded to Center
t o o curved Curved t0 have a hem Note. This edge edgc is always too and should therefore therelore be finished with seam ribbon or a shalned shaped lacing.
lengthwise
u
'«. Measure down the desired sleeve length from the lhe Center ‚3- of the Cap center line‚ line, and square out cap on the of the Lhe sleeve. gfu this point. This is the lower edge ol en the lhe pattern is opened out. this line will slant out, lhis ward toward the underarm nward underarnl seam seanl lines a: at the to l0 the in the line lhe 1 ‚ and will be parallel parallel girth '
in
en
i: ;
bter section. Eiter "7 0te. This method for trueing the lower line by the untlerarm seams in to unclerarm lo the Center Cannot cannot be ‘I. 'ng "ng "o for a sleeve which has been derived by slashing center section, lullness seclion, since the fullness spreading the Center lIhee under and upper sections of the sleeve are not not "Esame. ‘Äsame. However‚ However, if the lower edge of the sleeve l is correct‚ correct, the slashed and spread parts will autocorrect lower line of the new ally "cally indicate the CorreCt
.
:
‘
._e.
‚
‚
To add a hem to the sleeve, measure 2 inChes inches [rom from the lower edge to provide the hem depth Äipattern. Fold the hem up and ‘re cutting off the pattem. lhe the side the lhe side of the sleeve line edges against E er to duplicate Lhe the exact side edges of the sleeve. _' T: e can be successfully hemmed only when it is a: the lower edge. t Call)’ cally straight at
‘_.
_;_
3|. Method of Cutting off Fig.3l. Fig. slcevc t0 to the thc three culting olf a long sleeve
quarter quaner length.
129
DESIGN D RR EE SS SS D ESIGN
Problem 9 CUTIING 0F OF CUFFS THE CUTTING (see Figures 32 a, b, c. c, and d) d) 32 a, b. (see Figures LMM I MSCGM I
Cuff Band Narrow Cufi A narrow culf cuff band ol of l1 to to 1% 1Y2 inches lengthwise piece piece folded at at the lower edge. edge. lengthwise and 33.) 33.) 32a and ‘
QMM
is a straight straight (See Figures (See Figures
iI
(b) (a) (3)
1
Fig. 34. (a) cuff pattern pattern cut cut from lower edgcd edge of Fig. (a) Wider cuE sleeve; (b) (b) Cufl Cuff cut cut in one piece, piece, with a buttoned buttoned closing sleeve; dem‘ and a free upper upper edge. edge.
v
Flared Cuff (see (see Figure Figure 32d) 32d) cuff pattern pattern made according according to the dimdirecUse the cufl shaped culf, cuff, draw slash lines Jines lrom‘ from tions in B for the shaped upper edge edge to to the wrist for the flares, flares, slash and and the upper spread (see Figure 35). pattern, Cut the new curved spread (see Figure 35). panem, straight lengthwise lengthwise grain grain to coincide and mark the straight with the Center center lengthwise lengthwise grain grain of the sleeve.
32 (a), (a), (b), (b), (c), (c), and (d). (d). Culf Cuff variations. Fig. 32 Fig.
I
lenlf:hw1se Gnln Grain Lenflhwm
''
V
I
Fig. 33. Narmw Narrow cuff band. band. Fig. Fig. 3E). 3:i. Flared cufl. cuff. Fig.
Cuff Wider Than Two lnches Inches (see (see Figures Figures 32b and c] c) Cufl‘ pattern from the lower part part of the oneoneTake the pattern piece master (see Figure 34a). tightly For a master sleeve fitted (see Figure 34a). tightly piece master pattern pattern with a vertical dart (see (see cuff, use use the master cufl, page I 35 for the pattern). Cut the top of the cuff on culf on a top ol pattern). pagel35 curve parallel to the wrist edge of the master pattern curve parallel to edge pattern grain running running in the same direction as and mark the grain sleeve, {hat that is, is, along along the C center line. When you you e n t e r line. in the sleeve, closing, place place it at at the vertical dar: dart use a buttoned closing, use line. If cuff is t0 to be lree free at at the upper upper edge, e<;lge, cut the lf the cufl pattern apart apart along along Lhe the vertical dart line and join join the pattern two sections on the underarm seam line so that cuff Iine [hat the cull two sections can be ccut piece and retain retain the grain grain Iine line itself can u t in one piece itself marked from the sleeve (see (see Figure 34b). for Allow lor a marked Figure 34b). lap on on the the placket placket line. A cuff sewed to to the sleeve lap along its its upper upper edge edge retains the underarm seam (see (see along Figure 32c). 32c). Figure
Problem 10 I0 TWO-PIECE SLEEVE SLEEVE DRAFT FROM FROM MASTER MASTER SLEEVE (see (see Figures 36-42) ONE-PIECE COAT SLEEVE Figures 36-42]
i
Draft one-piece sleeva sleere, n Drall and ccut u t out a pattern lor a one-piece pattem for using measurements for coat jacket and al· Ä andal’ the a measurements lor a coat or using jacket b!‘ lowing difference 1% be· inches no elbow dart. of A diflerence lowing 1% Ä girth and elbow will will be be more satisfactory satisfacwry Im“ than tween girlh the lwo-inch two-inch difference difference usually used for sleel'e 1 Lhe lor a dress sleevt usually used (see Figure 37) . (see Figure 37).
Division Lines Division Figure 38 should be followed followed carefully carefully in peflom’ perform· Figure ing steps I through 6. l ing steps through
130
S L E E V E S from quarter of lhe front I. l. Draw line B R O 1o t0 divide the the sleeve, ACNP, in half. inch toward the 2. On the girth 5A; inch ginh line, measure 5/8 {rom the back quarter division line, EK, back edge from und mark X.
% inch 1A
3. On lhe the elbow line, measure back quarter line and mark V.
from the
4. Rule Rulc a line connecting X and V and extend i1 through the armscye at F. From the wrist measurement this one-piece 5. Fron) measurenlent of lhis sleeve draft, subtract the desired wrist measurement for the Lhe new two-picce two-piece sleeve, and mcasure one-half of the (liflerence difference on each side of the back quarter line EK at thc lhe wrist, marking L and j. 6. Draw lhe the lines VL and V].
D Fig. 36. Two-piece sleeve. C
B A|
G
l l
\ l l Q
Grain
T
RS
N
|
l i
| i l \
l pp
u.37c7- One-piece sleeve from coat or suit measurement.
2
M LKJ To Remove Excess] Excesü width Width a! at was;
OO NN
LKJ,
Fig. 38. Division lines.
l3!
D RR EE SS SS D DESIGN ESIGN D ‘
Separating the the Pafiern Pattern an on Verfical Vertical and and Horizonfal Horizontal Linos Lines Separafing Cut on on lines lines BRO, BRO, FXVL, F XV L, and and V] V} (see (see Figure Figure l.I. Cut 39) . 39). 2. Cut Cut through through the the elbow elbow line line VUTSR l ' UTSR to to the the new new 2. front edge edge at at R R (see (see Figure Figure 40) 40) . front
3. Pin Pin the the cemer center line line of of the the sleeve sleeve grauem pattern mm, from D 3. to T to the line DY. Place the front girth corner DY. Place the irom to T to the line girth comggiB of the pattern against the parallel line. of the panem against the parallel line. 4. The The front front edge edge of the the sleeve sleeve in in the the crook crook o! of the_ 4. ” elbow should be o/s inch or more from the parallel or more lrom the pzral elbow shöuld be s/„ inch line depending depending on on the the amount amount of of shaping shaping desiredin desired in line the sleeve (F (Figure shows 7A; Vs inch.) inch.) Overlapthetwo, Overlap the two the igure 41 shows sectiom along along the the lront front quarter quarter line line CS CS to to indem indent liline sections BR the the desired desired distance distance from from the the vertical vertical line. BR
Slash the the front front quarter quarter line line CS CS from from the the elbow elbow to to 3. Slash the edge edge 0E of the the cap cap at at C. C. the
'
4. Slash Slash the the back back quarter quarter line line UE VE from from the the elbow elbow 4. up to to the the cap cap a: at E. E. up
5. Pivot Pivot the the back back quarter quarter line, line, EU, EU, out out at at the the el elbow 5. to add the amount subtracted in the front at point in the front a! points.S. t0 add the amoum subtracted ‘
Upper Secfion Section o? of Sleeve (see (see Figure Figure 4|) 41) Upper
‘
6. Pivot Pivot the the lower lower section section down down to to add add a! at least least h}; 6. inches ol" of length length at at the the elbow elbow point. point. Along Along the the bacl’ inches edge of of the the upper upper section, section, make make the the distance distance betwe between‘ edge and V1 Vl 1/2 V2 inch inch longer longer than than the the distance distance betweea between V and these poims points on on the the back back edge edge of ol the the underarm underarm secsecthese l . . . provide ‚ . . tion. This will extra ease over the elbow. over the uon. lhlS wrll e x t r a ease elbow. provnde
Now, on aa second second sheet sheet of o[ paper, paper, draw draw aa straight straight l.I. N ow‚ on line the length of the sleeve plus 4 or 5 inches. Mark Mark 5 inches. 4 or line the length of the sleeve plus it DY, and on this line place the center lengthwise it D)’, and on this line place the center lengthwise grain of of the the upper upper section. section. grain 2. Draw Draw aa second second line line parallel parallel to to this this and and to to the the 2. left of of itit the the distance distance between between the the Center center line line and and the the left front corner corner B B of o[ the the girth girth line. line. front
D D
D D
i
c C
r F1
A
B1 3 w Xx W
—-——"‘l
S
T
1 U V r----.1 V H
Q 1
1
u U
R1
U1
P L M J p 0 N P01 Fig. 39. Pattern separation.
OI0
N
M
\c
J
H
v1 v
„1
v1
J
LL Fig. 40. 40. Separation on on vertical vertical and and horizontal horizontal lmeslines. Fig. Separation
Fig. 59. Pauern separation.
132
.
' A
S L E E V E S
.
T7. ‚
the front section
mark (he the pattern lhe paltern Pencil around the paltern pattern and murk D)’ on the l0 follow lollow the line DY
‘vtlhe he lengthwise lenglhwise grain „w er paper. der y1,.
(i. sections lorward below the elbow 6. Pivot the [ w o seclions inClL l/z at V1 about 5/4 t0 the elbow line 1/2 llne 3Ainch, poinl point a1 open the opening on the top section. inch less than Lhe
Ler Secfion of Sleeve ler sheet of paper, rule a straight line . On a second sheel under seclion section plus 2 or 3 inches. ol the of f:I length (bis line AZ. >'_l this i: and t0 [h8 1o iL the right Rule a second line parallel parallel t0 p,distance A to from l0 B along the girth line. v (hat A rests on the line Ä.’. Place section ABIOIP so that
‚_ ‚
lhe lengthl m c e the and lrace Draw around the pattern und 7. Dran’ from the line AZ on the under paper. wise grain lrom paper. (See «l2 lor the final pattern.) Figure 42 secS. Mark notches on the back line FL ol upper seo 8. below inches and V above inches tion at points l% 1% 11/, poims 11/4 ofl an 1o upper nolch, V1. Measure from F [o notch, and mark off equal number of inches from F1 on under section for Measure from L to the lower nolch. Nleasure the matching notch. distance from j] on under ofi" an equal Llislance notch and mark Inark oll" section for the matching notch. The 1/2 inch excess (o the lower seclion on the upper scctlon scction will be eased to notches. between between these [( w o notches.
[o
’ and B1 on the parallel
line.
the elbow point R1, R1, indem the front section 4.. A! line inch. The indentaIine at a: least the >
5'» n 1/2 parallel lhe crook of the elbow on the under seclion section is I»in the A’, (hat on the top section. Lhan that seclion. slighlly slightly less than F1 Place the narrow back sectlon, section, FIGI], GI], up agamst agalnst
5. 5. “
AB1O1P. AB1OlP.
the sharp corners and straight lines 9. Round ofl lhc with slighl curves. slight
o D
E
F‘
F
3
A
N..-
s1
B1
B
x x1
.5
s
(5
= V
R1 + -12-
v f;{ v1 v1 ‚s g
Ü
E ‘E
L’) Graun
3—
R
H
T
2 I
‘(g
5
-" Lenghtwuse
E
m
an: g ... Grann
.1:
D0 c u;
11/4"
Lengthwuse .1
E» 3
.3 3 4C
J:
ü: C
‘so C
3
3
Lenglhwise
‘L
IP
J
z
4
‘8-9iE-il. Top section and underarm section o! of sleeve.
1 0o1 1
h / O Rv x/w/ON
J Y L 42. Completed pattern for Fig.42. Fig. sleeve_ two-piece lwo-piece sleeve,
133
DDRESS R E S S DDESIGN ESIGN
‚.
PART II II PART
SLEEVES DESIGNING SET-IN SET-IN SLEEVES DESIGNING PATTERN FROM THE MASTER F THE MASTER PATTERN BLOCK ONE-PIECE SLEEVE BLOCK ECE SLEEVE
The procedure for developing designs from theoneoneThe procedure fordeveloping designs from the piece master sleeve pattern is similar in principle piece master sleeve pattern is similar in principle toto that used used in in designing from from the the master master blouse blouse and and that designing skirt. In all sleeve patterns, the ease (at least 1Y2 skirt. ln all sleeve patterns, the ease (at least 11/, inches) atat the the top of of the the master master pattern should should be be inches) top pattern retained for fitting over the curve at the top of the retained for fitting over the curve at the top of the arm, but but the the elbow elbow dart dart can can be be shifted shifted atat will will toto proarm, produce changes in the design. duce changes in the design. For convenience convenience and and speed in in practicing sleeve deFor speed practicing sleeve design, trace trace the the quarter-size pattern from from Page I36 136 and and sign‚ Page quarter-size pattern proceed as as for for blocking blouses blouses and and skirts. skirts. blocking proceed
Problem II Problem TRANSFER OF OF THE THE HORIZONTAL HORIZONTAL ELBOW ELBOW DART DART TRANSFER TO A VERTICAL ONE (see Figure 43) TO A VERTICAL ONE (see Figure 43) The elbow elbow dart dart isis often often transferred transferred in in this this manner manner The in designs with the principal interest between the the interest between with the in designs principal elbow and the wrist. This may take the form of of take the form elbow and the wrist. This may
line of of ornamental ornamental buttons buttons atat the the little little finger 'line, aa line fingen‘ gathers blousinginto simulated cuff, cuff, or oreven evenaam mod. n5 gathers blousing into aa simulated with the the dart dart material material ha hanging erately loose loose sleeve sleeve with erately .;4‚.;„; free. The The vertical vertical dart dart isis longer than thanaa horizontal horizontal a»one free. s. longer andcan can be beused used for foraa sleeve sleevethat thatshould shouldfit fit very.4 closely and very from elbow elbow toto wrist, wrist, or or toto fit fit an an arm arm unusually large from unusually 13,-“ below the the elbow elbow but but with with aa small small wrist. wrist. below
Procedure (see Figures 44 und and 45) Procedure 45) (see Figures 44
'
Drawaa line lineirom from aa point markingthe theback back third v“ I.I. Draw point marking of the elbow width to a point marking the back third of the elbow width to a point marking the back t' n of the the wrist wrist width width (see Figure 44). The position on of (see Figure 44). The position the arm is approximately from elbow to little from elbow to little finger. the arm is
..
fingen". approximately Slash along the the new new line line and and close close the theold olddann dart. 2.2. Slash along Redraw the the dart dart toto stop itit before before itit reaches reaches the n! 3.3. Redraw stop elbow (see Figure 45), but not much below this point this below but not much elbow (see F igure 45) ‚ po’ because the the dart dart isis so so large. Taper itit oII off equally on because equally large. Taper both edges by placing aa point directly below below the the end both edges by placing point directly of the slash and ruling lines to that point. of the slash and ruling lines to that point. Note. Part Part of of the the horizontal horizontal dart dart of of the the masler master Note. sleeve pattern can be transferred to the wrist width sleeve pattern can be transferred to the wrist widlh for aa casual casual sleeve sleeve with with wrist wrist circumference circumference Ilarge for enough toto slip over over the the hand hand without without aa placket. F055 placket. Fol· enough slip low the directions for the transfer of the horizontal horizon the of low the directions for the transfer to the vertical dart, but instead of completely closing to the vertical dart, but instead of complelely closinß the horizontal dart, close it just enough to spread the the horizontal dart, close it just enough to spread IM sleeve at the wrist for the additional width desired. sleeve at the wrist for the additional width desired.
Problem 22 Problem THREE-QUARTER-LENGTH SLEEVE WITH GATHERS THREE-OUARTER-LENGTH SLEEVE WITH eATHERS RADIATING FROM FROM ONE ONE OR OR TWO TWO VERTICAI. VERTICAL RADIATING SLASHES SLASHES Gathers Radiating from from One One Vertical Vertical Slash Slash Line Line Gafhers Radiaiing The same same procedu re applies also also t0to aa The Iull-lellglh procedure applies sleeve, but the design seems to be particu larly 5U“ suited sleeve, but the design scems to be particularly’ to th e three-qua rter length (see Figure 46a). to the 46a).
Fig. 48. Vertical placket dart. Fig. 48. Vertical placket dart.
lhree-quartcr Iength (see Figure
134 I34
SLEE EVES
Gram
13 Elbow Wndtn Wadtn
r
Dart Length
'Length of lLength
Corrected
Stltcned Stitcned Dart
' .
. . 45. Transfer ol of horizontal horizontal t0 (o verucal Figs 44 and 45 vertical dart. To transfer Figs.44 transler a horizontal dart to a vertical d l'k (hat dart like h T0‘ honzonlal ‘shown in Fig. 43, 43. lines are drawn for transferring the dar! dart (Fng. flhown vertical dar: dart |sis sprca veälnca; an and tlhe larthl 1e horizontal on Zotm: (Fig. 44) and the verucal sprcad dar: closed closcd (Fig. 45). Klar! 45) . Ä '
l0
'
l. Cut off ofl the full-length master sleeve pattern at the threequarter three-quarter length. Remember always to ccul ut t0 the lower edge. parallel to 2. Decide on the position of the vertical line from position ol which the fullness is to radiate. radiate. lt would never do to place i: it at the back of the sleeve, as this would throw the fullness lullness under the arm. Place it at the center or even in front ol the Center, and draw it perpendicular to the lower edge of the sleeve. Do D0 not continue lt it much above. the elbow (see Figure
47a).
3. Draw lines from this vertical slash line to the back edge of the sleeve and slash to the back seam
(a)
edge.
4. Close the horizontal elbow dart dar: and thus automatically transfer it forward to the vertical slash line. (see Figure (See Flgure 47b). 47b) '
l 46 (a) »
3"'
and (b). Sleeves with Wim gathers (b)_ man“ ‘mm galhers radiating radiaüng [rom or er rwo two vertical slashes.
135
DESIGN D ESIGN
DRESS D RESS
Grain
u?
7
pattern fnr for nne-piece one-piece sleeve. Master pauern
I36
SLEEVES
——>
Grain
<—-
*1
lincs arc (lrawn tlrawn (as indicatcd 47 (a). Slash lines inditatctl by the a rmw arrnw ‚u; "'- pendicular t0 the lhC lower edge ndicular to of the slcevc) (b) eclge ol (b).. Shows
.
l
an cach side of a vertical Fig, 48. Slashes spreatl Fig. spread for gathers nn band. band.
nn the cdge slashes spread on m be bc gathered. edge tn
w
f-' 5. Spread the slashes, pivoting plvotlng
lrom the back etlge eclge Ä’: r gathers but leaving the length of the underarm "am line unchanged. For gathers moderalely moderately full, one-half times the Lhe length ol of the vertical low one and one-hall ng t; lor full lull gathers, at al least twice (wice the Lhe length.
m
über: Radiafing from Each Side Slde of a über:
Ü.ssh h > ‘The same
Double Verfical
Line
„The
principle employed for a sleeve with thers Ähers radiating radiatlng from one vertical slash line may %\.o be t0 a sleeve with lullness applied to radiating in i‘: from two vertical cuts that 7: directions [rom {hat form the of a band or panel (see Figure ges [es ol 46b) . 4l. On the three-quarter-length sleeve pattern‚ pattern, draw llnes perpendicular to 1o the lhe lower edge and "oparallel lines ning up to but not much above the elbow. Place nnlng ese lines not more than l to 11/2 ‚Li 1%inches apart, one at u: the lhe center Center of the sleeve and one in front y» from of ( e r (see F mer Figure igure 48) . .2. Draw lines perpendicular to the vertical slashes ning out in both directions to the underarm seam >=* ning
v
'.
es.
‘av es.
‘b. Slash to each underarm seam 3. Close the to
. 5a
line.
underarm dart. Spread equally at the edges to be gathered, addLr: enough flmugh length to cqual equal at least one and one-half -« the w» vcnical slash lengLh. vcrtical length.
‘f4. ._—_
I37
Both edges spread Fig, Fig. 49. Both sprcad equally for gathers. Gathers lie lic parallel and effect is heavier.
Since the underarm seams have not been increased in length, length, both the seam edges and the gathered edges have become decided arcs. Another possible design using this is achicved achieved by slashing through the underarmprinciple seam lines and spreading the pattern pattem at both ends of the slashes for gathers running across the underarm seam. The eflect, however, is heavier and more effect, because "clothy," the fullness lines lie parallel and tend to t0 look flat and crushed (see Figure Figurc 49) .
D R R EE S SS S D DESIGN D ESIGN
V
'will be be the the correct correct position pos1t1on for for thc the platte: placket opening will the little little Enger finger line. line. Add Add aa lap lap i! if buttom buttons and“: and but'. the — tonholes are are to to be be used. used. tonholes. 4. Slash Slash vertically vertically a: at the the side side back back and and side" side from 4.
Problem 33 Problem
SLEEVE WITH WITH SIMULATED CUFF CUFF SLEEVE (see Figures 50, 51 a and b) Sla und 50, (see Figures b)
'
from the ends of the design line of the cuff to the tap
This sleeve sleeve illustrates illustrates another another way way to to introduce introduce This deta il at at the the lower lower edge. edge. It It is is similar similar in in silhouette silhouette to to detail bishop sleeve, sleeve, but but has has the the cuff cuff and and sleeve sleeve cut cut all all in in the bishop the one piece piece (see (see Figure Figure 50) 50) .. one
of the the sleeve. sleeve. Draw Draw these these slash lines lines equidistam“ equidistant from of the center line to keep the sleeve balanced. the center line to keep the balanced. 5. Spread Spread the the pattern pattern equally equally t0 to add add fullnm" fullness at 5. the lower lower ends of of the the (two These slashes, slashes, plus w o slashes. These n?‘ the the spread spread derived derived from from the the transler transfer of of zhe the elbow elbow dart the to the the lower lower edge‚ edge, will will supply supply enough enough fullneso fullness x; (one to and one-half one·half to to two two times times the the length length of of the slash slash for and the cuff). cuff) . The The sleeve sleeve will will be be lullest fullest toward toward die the bad the ‚A because two two of of the the three three poinls points spread spread are are back of because back.' the Center center of of the the cufl cuff (see (see F Figure 51 b). the igure 51b).
. l.I. On On the the master master pattern pattern sleeve, sleeve, draw draw in in the the design design lme of of the the cufl. cuff. That That is‚ is, measure measure up up from the the lower lower line the depth depth of of the the cuff cuff and and draw draw aa line line parallel parallel to to edge the edge the lower lower edge‚ edge, but but extend extend itit only only through through the the center center the of the the sleeve, sleeve, not not out out to to the the underarm underarm seam seam lines. lines. of Start the the line line approximately approximately II inch inch from from the the back back Start and end it approximately 2 inches from the front edge and end it front 2 inches from the edge approximately edge (see (see Figure Figure 51a). 51 a) . edge
i
6. Redraw Redraw the the line line to to be be gathered, gathered, curving curving i: it ddown· n’ 6. . ward for enough extra length toward the back to allow ward lor enough extra length toward the back to. lag. the arm arm to to bend bend sharply. sharply. the Figure 52 shows the same same idea idea adapted adapted I0 to aa lh three· a. the Figure 52 quarter-length sleeve with curved line detail on the 2 line detail on wich curved sleeve quarter-length simulated cuff. cuff. simulated
2. Transfer Transfer the the elbow elbow dar: dart to to aa vertical vertical dart dart on on the the 2. little finger line. (See directions for the transfer of the little fingen‘ line. (See directions for the transfer of the horizontal to to the the vertical vertical dart, dart, Page Page 135) 135) .. horizontal 3. Slash across across the the design design line line of of the the cuff cuff to to the the 3. marked points. points. The line line on on which which the the culf cuff has has opened opened marked
I
I I
0:
"i!
Clos•
Dart
"'
I I I I
I
I
I I
I
,'
I I
I I I
I
I
I
: I
'---'Pllckct UM
(a)
Figs. 50, 50, 51 5 1(a) (a) and a nd (b) (b) .. Sleeve Sleeve with wi th blnused bloused lullness fulln ess above above Figs. 50 shows shows blnuscd bloused lullness fullness above a bove aa simula ted cufl. cuff. Fig. Fig. 50 aa simulated cuff. ln In Fig. Fig. 5| 5 1(a) (a) ‚, slasli slash lines lines are a re drawn: drawn ; and a nd in in simula ted cufl. simulatcd Fig. 5 1 (b), the slashes are spread fo r blousing and the full lor and thc lull are 5| the slashes blnusing spread Fig. (b) ‚ section is is lengrhened le ngthened (see (sec dotted do tted line) Ii ne) . section
138 I38
(b)
SLEEVES
ig.52. ig.52.
Simulated cuff cufl on thiiee-quaner-length thrcc-quarter-length sleeve.
Lantern sleeve. Fig. 53. Lamern
Problem 4 EVE WITH WIDTH BELOW THE ELBOW AND lEEVE A FITTED WRlST— WRIST—LANTERN LANTERN SLEEVE (see Figures 53. 54a and b)
hehe following directions explain how to t0 design a one horizontal horizontal seam below the w. _w. lt is easy to overdo intricate seaming. The ive is a very small part of the entire garment, and c u t up it is, _«smoother and less cut is‚ the better the geneffect will be. Silhouette is far more ‚f‘ Vl elfect important importam Lhe design will be less fussy and detail, and the lly bctter if made with few seams rather ralher than v‘!
‘cm sleeve with jem
ve
n
Ioud
77'
;=- On the one-piece master sleeve pattern draw a
_ parallel to the lower edge. This line divides the ‘ee into imo upper and lower sections. lt It should be i’t 51/2 inches up from the wrist or any other disdis— ‘fe that produces good proportion. Crossmark the line. i Rule lines from the top of the cap and parallel parallel 1: Center center line down to the division line established Malte the lines equidistant from the center. a‚pp 1.l. Make Continue the same lines drawn in step 3 through ower (hat they are Ofver section so that perpendicular to ‘st st
‘ i‘
(b)
Fig.54. Fig. 54. (a) Slash lines drawn (dottcd (dotted line). (b) Slashes spread. The matching edges of both sections must be the same length.
i
'
i
edge.
139
DRESS DESIGN 5. Cut the upper upper and lower sections apart. apart. to a vertical 6. Close the elbow dart and transfer it to slash line line at at the poim point of the dart. 7. Slash the vertical lines of the upper upper section and 7. spread at enough to produce produce the them at the lower end spread enough to at the lower edge edge (see (see Figure Figure 54b) 54b).. desired width at tip over 8. Measure the arm from the shoulder tip sharply bent elbow to to the wrist (see (see Figure Figure 15). 15). the sharply length over over the back of the arm Since the total sleeve length equal this measurement, measurement, at at least 1% l V2 inches must must equal be added to to the upper upper section. Drop Drop the bottom line be upper section to to lengthen lengthen it it at at the vertical dart of the upper position at side back, and up at the then curve the line up back, position toward the back seam so (hat that it it emers enters the seam at at a right angle. angle. The dotted line line in Figure Figure 54b indicates right shape this line should take. the shape 9. Slash the vertical lines in the lower section and spread at the upper upper edge edge umil until it it exactly exactly equals equals the spread at lower curved edge edge of the upper upper section. The lower section now has has a sharply sharply curved wrist line, and its upper edge is a far more rounded curve than the lower upper edge edge of the upper upper section. edge
Problem 5 SLEEVE WITH PARALLEL DARTS AT AT THE TOP SLEEVE (see Figure Figure 55a) 55a) OF THE CAP (see
1.
Fig. 55 (a). (a) . Sleeve Wllh with three parallel parallel daru darts at at lhe the topl top. Fig.
D, E, E, and F to to point point Q Q on the girth 3. Rule from D, ;. ‚.
line.
point C 4. Measure lI inch down from point point £) B. and mark A and between E) point measurement from G to to H. H. measurement
(the halfwa) n. (the Repeat Repeal. tilt»
Jines from B to to Q Q and H to to Q. Q. 5. Draw lines 6. Slash from E to to Q; Q; from Q Q to to P; from Q Q toR. to R. 7. Slash from Q Q to to B; B; from Q Q to to H. H. to point point Q. 8. Slash from D and F to Note. The direction slash to means cut cut 1o to a cer certain Note. point through point. that not but through poim. point on a second sheet oi of pa, paper 9. Rule a vertical line on place the Center center lengthwise lengthwise grain grain line of the sl slee1e: and place
‚
pattern along along this line. pattem l 0. Decide Decide on on the new cap cap height height before spre spreading I0. the slashes. Lhe
Use the basic master master pattern pattern for a fitted sleeve Use with dart, bishop, or or other a bell, bishop‚ but for an elbow dart, with sleeve basic sleeve wide at edge, change the lower the at sleeve wide edge, change into the desired style slashing spreading and before into the desired style spreading slashing darted cap. cap. itit for a daned
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Cap heights heights vary vary with fashion and de depend Note. Cap on the prevailing prevailing Silhouette silhouette and the length length of of the on w" the seam of of the blouse. blouse. F Figure cap shows 55c shoulder seam igure height of of the foundation sleeve increased 13/4 1% in '** height Since the original height cap 5 inches, 11 was of the Since 51/, inches. cap Original height
i’
Sleeve will: with Three Parallel Darf: Darts (see (see Figures Figures 55 b. b, c. c, d. d, Sleeve and e). e).
4
is now 7 inches high. high. Spread vertically vertically between between Q Q and [O JO lI inch, and« l11. l . Spread ‘t thesl between JO and KN % inch. Notice that the slashes between J0 and KN 5% in "f from j] to to B B and and O 0 to to H H make it possible possible to w increase from the height height without overincreasing overincreasing the width of the Lhe lower part of of Lhe the cap. The outer outer doued dotted line indicll indicato lower cap. part 3nd t0 the cap shape without the slash to ] , and the"i" B I» from slash the cap shape inner dotted line shows the Original or iginal armscye.
I. Trace Trace and cut cut out out the master master sleeve patlern. pattern. InInI. the clude Jines marking the center lengthwise grain, C e n t e r lhe clude lines marking lengthwise grain, girth, and vertical quarter quarter division lines. girth, 2. According According (oto the placing placing given given in in Figure Figure 55b, 2. mark the the dart positions: positions: E, E, Ccenter of cap; cap; D, 21/; 2V2 e n t e r 0E mark inches forward along armscye the curve; F, E from forward armscye inches along is measurements 2V2 inches (This of of series E. behind (This 2% inches variable.) variable.)
0F
140
SLEEVES
Original Armscye
— Fig. 55. (b) Stcps Steps 1-5.
l2. 2.
Determine L aagainst -_ gainst zto the
the width of the darts. Push secllon section section BDK to t0 estimate the distance from 510 E, Lhe amoum amount added to the length of the armann; line. Repeat on the opposite half for the distance E2 E2 to E. Figure 55c shows a total spread of 3% les from E1 to E2. Sincc Since darted daned slceves sleeves do not re‘es the 35/, easing over the top of the cap, add to Lhe 3% ‘g excess the amount of ease allowed in the master difference in measurement between 1cm 3cmsleeve (the diflerence eeve armscye and Lhe the dress armscye) . The founlsleeve in sleeve in Figure 55b had 11/4 11A inches of ease. t0 the spread of 3%inches on the sleeve {kadded to ides iides 5 inches to be divided among the three darts. ‘r each will be 1%inches wide. ‘ Draw the Center dart SUT lI/a 1%inches long (see
‘
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on A
g 55d). Measure Measure from the 4
Center
‚Ishu VWparallel to SU.
dart dar: 21/2 2% inches to
14l
Fig. 55. (c) Steps 6- l2.
15. l5. Measure 11A 1%inches on line VW and mark poim W.
I6. Measure along the armscye line and mark the dart width from V to X. dar:
l7. 17. Join join X and W. Then mark the correct dart length 11A, 11/3 inches on this line by measuring from W and ending at X1. Note that making darts parallel narrows the sleeve cap. l9. Follow the same method in placing the third
dart.
20. Dip the armscye line slightly between the darts
to make the corners right angles as shown from S to V and T to Y in Figure 55c.
21. To shape the cap edge fold the dann edgc darts in before cutting along the correctly, armscye.
DESIGN D RR EE SS SS D ESIGN
‘ s 1 5/8}
Fig. 55. (e) ( e) Steps Steps 20.21. 20-21. Fig.55.
Fig. 55. (d) (d) Steps Steps 13-19. Fig.
Sleeve wifh with Five Parallel Darf: Da rts (see (see Figures Figures 56 a. a , b. b, and c) c) Sleeve I. Trace Trace and cut cu t out the one-piece one-piece master sleeve 1. pattern. lnclude Include lines marking marking the Ccenter lengthwise e n t e r lengthwise pattern. grain line a! a t F, F, the girth, gir th, TU TUV, q uarter and vertical V, quarter grain divisions at at C and I (see (see Figure Figure 56a). 56a) . divisions
2. Mark the position position of the darts: F at at the Center center 2. inches D of the cap; 1 Vz F; 11f2 from forward inches F; E of the cap; 11/2 I14 from E; E; G 11/2 l Vz inches back from F; F; H 11A I Vz inches from from G. G. 3. Rule Rule from from D, D, E, E, F, F, G, G, and H to to U on the girth girth 3. line. 4. Measure Measure 1I inch down from point point C and mark 4. I to from B. Repeat to find find]. ]. measurement this B. Repeat 5. 5. 6. 6. and and
Draw lines from B and j] to to U. Draw Draw aa line WXY parallel parallel to to the girth girth line TUV TUV Draw at least least 1I inch below it. Slash from F through U at
142 I42
w to X. X. Slash on on the girth girth line from U to to T and from to to V; V; from X to to W Wand to Y. Y. and from X to U t0 to B; B; from U to to]. 7. Slash from U to ]. 8. Slash Slash from from points points D, D, E, E, G, G, and H to point point U. 8. For ·ease in handling spreading sections, avoid sections. the and Forease in handling spreading lri the cutting through point U in order to keep triangu· to In!“ Order keep cutting through point U Jar pieces pieces together together at at their tip tip point point U. lar lines 9. Spread along 9. Spread along the horizontal slash a.-to lengthen the Ccenter of the sleeve 1/2 V2 inch aboit e n t e r line of lengthen X, Vz inch above U , ¥4 points mal marked above inch and inch above U, pomts X, 1/2 3/, Land S. L and 11€ d.artl 10. Follow Follow the same same procedure procedure in placing placing 1the l0. i“ as in the sleeve with three darts. cap height The as in the sleeve and should not be over 7 inches for this sleeve may over 7 should nov. malbe t0 even less. Determine the amount of excess to divide amount o1 even less. Detennine 55‘ among the the darts. darts. The The darts shown in in Figure Figure 56c art among Il inch long. long.
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Sleeve with five parallel dans darLs at the top. (a)j Sleeve
5
55 (b). Fig. 56
Problem 6
«v7,
.5 wm-cpslA A SEAM SEAM ACROSS THE ms TOP OF THE CAP PARALLEL THE ARMSCYE ARALLEL 1o m: ,1(see Figure s7) 57) ’
Ififprptation of .fthe ._l_1e_ square-shouldered silhou'
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hatgout of the ordinary is the sleeve with curved over the top und and parallel to the '_i: Ehe squarest of all uhoulder shoulder lines and lf_n« of the square‘integfesting Variation an whgnever such aÖsilhpuette silhouette is in ’
“
„
‘
Fig. 56 (c).
l. Mark a line around the center 1. C e n t e r of the top Lop of the basic sleeve parallel to 1o the curve of the top edge and about 11A inches below it. Extend Extend this line about 3 to 4 inches to the front and to the back of the center Center of the sleeve. 2. Draw lines, spaced about 11/2 inches apart, from the top edge to the inner curve and to perpendicular (o it.
3. Cut around the inner curve, then slash out on each line marked in point 2, up to but not through the outside edge except at the Center top. Cut the Center slash clear through the top edge.
l
“and b).
I43 143
D R E S S DESIGN onessossnen
j;
da;
Spread these slashes along along the inside edge until 4. Spread the cap cap edge edge runs runs up up t0 to form a straiglu straight vertical band (see Figure 58b). (see Figure 58b) ‘
venical’
.
5. Since i: it has had 1%inches cm cut Iren: from the 191g," top, the 5. cap must be and increased is too now short, IV, inches cap at thc the top top center to meet the band-Ekel band-like section over at top of the sleeve cap cap without drawing drawing dann: down (sec the top ” Figure 58b) . Figure 58b).
'1
6. The central curve is also narrow and poinml pointed un.„_ less some width is added to the cap at the lower end to Iower less cap a: step l.I. T0 To do Iltis, this, rule of the inner curve marked in step of lhe the curve down (tooa:point lines from the lower ends ol «f: on the underarm seam below the armscye. armscye. Slaslxfisj Slash and on spread to to increase cap cap width (see (see F Figure 58b). igure 58b). spread
"
Problem 7 SHORT PUFF SLEEVE SLEEVE Fig. 57. 57. Sleeve with a dart parallel parallel Fig. square-shouldered effect) . effect) square-shouldered
.
to the t0
armscye (very (very armscye
v! There are three kinds of puff puff sleeves, and each ru be developed developed from the same slash lines. lines. The puft v»! be may be at may closely at the a: fit and shoulder all at the be closely may may edge, i: it may may be lull full a: at both the top top and bottom lower edge, edges, or or it may may fit smoothly smoothly at at Lhe the top top and pflfll puff at edges, 1 the lower edge. edge. Figures Figures 59a, 59a, b, b, and c show the three will! sleeves developed from the pattern with the but same sleeves developed pattem i’. obtain to slashes spread in three different ways the slashes spread ways . finished three effects. Place the gathers in the sleeve three effects. gathers in
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(b)
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"ü" Fig. 59. Short p u ff sleeves: (a) Fullness on bottom bottom edge Fig. 59.‘ ‘Short pufl sleeves: (a) Fullncss (b) Fullness on top edge; (c) Fullness on both both l0? top and (b) Fullness on mp edge: (c) edges. bottom edges.
Fig. 58. (a) Slash lines drawn; drawn ; (b) (b) Slashes spread spread and cap 175g, 58. (a) Slash of the elbow Part center increased in height and elbow width. height center increased width. dart is transferred to the wrist wrist dart is transferred to
«-
144
S L E E V E S come, (hat is, through the Central come‚ noL spread basic pattern. panern. They should not the top of the cap for more than 3 inches on each ".4r (he e of lhe shoulder seam. Never allow gathers to "nue to the underarm. Notice also the dotted lines lntinue l Lhe cap {hat indicate an increase in the ’e top of the . As a sleeve increases in width for fullness, it also increase in length or height correspondingly ide blousing or puffing, as a full gathered galhered sleeve provide out u! height enough for puffing at the top will draw arm. wnflat against the arm. An ‘extremely extremely abbreviatedpuff sleeve is expressive uth, and is suitable for a child or a slender girl. ‚youth, sleeves‚ in general, have exuberant youthful lpulf xpuff sleeves,
lhe slashes lheree the *
'*'on lion of the
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lor pufl Fig. 60 (b). Spread slashes for pufl zu lower edge (increase l0 width). length in proportion proporlion to
res 60a, b, c, and d should be studied carefully xgures “nection with the following directions. connection Cut ofl off the master pauern L Cm pattern sleeve the desired method for off a short sleeve, ‚_ culting ofl cutting gth. (See 129.) Draw mwlines through the central Central section of the er slceve sleeve paltern t0 the lower edge. pauern from the top l0 ead the slashes in any of the three ways preSpread Lhe effect eflect desired. sly explained, depending on lhc d alll slashes equally to keep the sleeve balanced balanced ch Side side oi of the Center. C e n t e r. ‘
’
x
‘Draw around the edge of the pattern pattem exactly, exactly, ncrease- the length or the height directly below or
ppints where
the slashes are spread in prowidth. Increase the height 'ore upward puffing, and determine the ’;he silhouette desired and the texture of
at top edge (increase Fig. 60 (c). Spread slashes for pufl pufl" a: height heighl in proporlion proportion t0 width) .
(h: increase in
21l
F’ Fig.. 60 (d).. Spread slashes evenly m‘ for Pufl at bmh both upper puff m
H‘: Dran slash lines.
and (1511);: auf! lower edägsfead edges.
I45
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D R RE ES SS S D
DESIGN N
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(a)
Fig. 61. 61. Leg Leg dmutton o'mutton sleeve. Fig.
(b) (b)
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,
,
Fig. 62 (a). (a) . Draw slash lines. Fig. Fig. 62 62 (b) (b) .. Spread Spread slashes, slashes, add height, height, and shape shape wrisl wrist dan Fig. to curve down hand. over to
Problem 8 LEG 0' O' MUTTON MUTION SLEEVE (see (see Figures Figures 6|. 6 1, 62a and b) b) LEG
"
being sure sure to to balance lhe the fullness evenly evenly on each side being of the center. Do not lengthen seam underarm sej the C e n t e r. D0 of lengthen
This is is a long long fitted sleeve with an an extreme pulf puff This extending bolh both upward upward and outward at at the shoulder. extending is aa type type of sleeve which comes into fashion from ltlt is time to to time, time, usually usually to to accent accent a very very tight tight bodice and time bouffant skirt. skirt. Often it is effective to to combine the aa bouflant exaggerated puff over Lhe the top top of the arm with a verexaggerated puff tical elbow elbow dart, dart, which provides provides both a lap lap for a line tical to of buttons and the opportunity to shape shape the line of buttons opportunity down over the hand (see Figure 6 1). down over (see Figure 61). Transfer the horizontal elbow dart to to the standl.I. Transfer ard vertical vertical position position (see page page I35). 13 5 ). Plan to to button ard the line line nearly nearly lo to the elbow, elbow, and shape shape it it so (hat that il it the exactly follows follows the curve ol of the arm.
Imes. lines. '
top, extending extending i! it up4. Draw a new line over the top, at the Center center for pufiing puffing the cap. cap. The ex extent ward at at least one-fourth the Original original heighl“ height of should be at cap. the cap. Notice {hat that the seam lines now slant outw outward Notice f oul sharply above the elbow, supplying outward extreme elbow, supplying sharply s’ this ex tension to the top of the sleeve. t/11s sidt Follow sleeve. extension to the top . seam line lme exactly exactly a5 as it is. Do not smooth over thr seam el the a! change in the direction of the seam lines at elbow of change in or the sleeve will not fit the elbow. To extend extend the sleeve sleeve downward over the hand 5. To 5. below the the normal normal wrist line, line, add a curved exle extension below 1in0 below this line as by dotted line in doned the indicated as this line below by Figure 62a, 62a, and and curve curve thc the sides ol of the wrist da“ dart as Figure shown in Figure 62b. 'otice that extension Rares extensionfl the shown in Figure 62b. Notice [ h a t out at at its lower point point to to fit over the hand. out
exactly 2. Slash Slash horizontally horizontall y from the point point of the elbow 2. dart straight across the sleeve (see 62 b) · (see Figure 62b)dart straight across 3. Draw Draw vertical vertical slash lines a: at the side front and 3. back and also al the center running Center running from the elbow back and also at slash to to Lhe the top of of the sleeve. Spread Spread them at at the top, slash top
146 I46
SLEEVES Problem Prob|em
9
iRT SLEEVE LAPPED ACROSS THE TOP OF THE WITH THE UNDERARM SEAM ELIMINATED W|TH (see Figures 63, 64a and 64b) I‘
6
ep
‘e pattern for this very short sleeve lapped Iapped across underarnl can be madc without an underarm arm the of 2V. x- The sleeve can be lapped either toward the or toward the back and can be lapped as much ‘u wish but probably not morc than 3 inches C e n t e r of the sleeve. side of the Center gide Lhe Mark on the basic one-piece sleeve pattern ‘Mark patterrl the it from continue and lower desired the for edgc l ‘nter at the lower edgc up to the top curve of the _nter Iine as you wish the cap as far past the C e n t e r line the overlapped portion Then be. to l0 duplicate ap ‘p 1“ o! the lhC Center line. This othcr side of linc on the other j- line under extension. the i} gCut the pauern pattern along the lower edge of the fCul
(a) 0' Sleeve 51"” 1°" Top n!
Top o! Sleeve
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sccond piece of Rule a straight vertical line on a second Ilule r
9
-
oi the underarm the back edge of ‘Place irPlace ‘
6‚lt this line and trace the back half slep v:e under extension drawn in step
seam
of the sleeve 1.
r o n t edge of the underLhe [from lace the sleeve with the VPlace
—
Problem I0
LONG
WITH COWL FOLDS AT THE SLEEVE W|TH SHOULDER (see Figures 65, 65. 66a and b)
This sleeve slceve has dignity (lignity and should be made of soft fabric such as transparent velvet or rayon clinging labric [or very dressy afternoon crepe. lt is appropriatc approprialc Ior wear or for a long formal dinner gown.
am against the traced back section and trace the sleeve plus the overlapped part E in step l. you wish to tighten the sleeve at the lower ash the basic pattern at the side front and side foverlapping the lower edge (see Figure 21a,
"m half of f,»
'
— ——
CuL (b). Step 2 Cut Fig. Fig. 64 (a). Step l Draw slash lines. sleeve aparnjoin underarm seanLand slecve seam‚and take out a little width slashes at a1 side [ront and back. back. by overlapping slasltes
4).
Fig. 65. Long sleeve with cowl folds.
4%
DRESS DESIGN D RESS D ESIGN
principle of blocking blocking this sleeve is exactly exactly the The principle as for blocking blocking the cowl foIds folds at at the neck of a same as at the center center falls down on the blouse. Excess added at into cowl drapery drapery (see (see Figure Figure 65). 65). outside of the arm imo center lengthwise lengthwise grain grain line on a duplidupliI. Draw the Center cate of the master master pattem pattern and rule the the cowl fold lines from the top top of the armscye armscye curve to to the Center center (see (see [rom Figure 66a). 66a). Figure point of o( 2. Draw a line across the sleeve from the point to the opposite opposite side. the elbow dart to along these lines (see (see Figure Figure 66b) 66b) and pivot pivot 3. Slash along pattern outward, outward, separating separating the two sides of the the pattem upper sleeve section. Spread Spread the top top of o[ the sleeve upper depth of the fold (hat that hangs hangs from the tip tip twice the depth of the shoulder. The fold can can have a hem allowance added lo to the top top edge edge and can {fall open to to show the a l l open arm. straight line lengthwise lengthwise through through the 4. Draw a straight place this line on the true bias. of the sleeve and place practicing these typical typical cuts cuts you you will see posposAfter practicing sibilities applying principles designing of the same for sibilities principles designing applying on a master master pattem pattern to to any any other set-in sleeves that you you on may choose to try. to try. may
L
center C enter
—
2-5“
Fig. 66 66 (a). (a). Step Step I - Draw slash lines. (b). (b). Step Step 2-Spread Fig. slashes for for cowl cowl drapery. drapery. at the Iop. top, and A hem is added a1 slashes the lower lower edge edge is curved down over the band. hand. the
PART III Ill
WITH SLEEVES CUT IN ONE WITH OF THE BODICE BODICE OR A PART OF THE
THE BODICE
Sleeves ccut as a pan part of the bodice are frequently frequently u t as Sleeves classified as a form of the kimono cut, but there is a cut, classified as a form of distinction bctween between the raglan raglan type, type, which retains the distinction and the identity of armscye idcntity o!" the lower armscye of the sleeve, of curve true kimono type, original the loses which Original lrue kimono type, the lower armscye. the Iower armscye.
Problem I1 THE RAGLAN RAGLAN SLEEVE (see Figure Figure b7) 67) SLEEVE (see THE The raglan raglan sleeve sleeve is fundamentally different from The fundamentally diflerenl“ the Ltrue kimono t ype in in that that i: it retains its 0F original r u e kimono the type lower armscye armscye line. line, whereas kimono and dolman Iower sleeves complelely completely Iose lose the Iower lower armscye armscye curve m‘; in the sleeves blending of of the the sleeve sleeve with the bodice. Becausfl Because the blending il raglan does retain the lower armscye it fits the raglan does retain lhe Iower armscye curve, fils‘ unde underarm more exactly fewer underart11 Iewer with and underarnm more exactly folds than than the the kimono type. type. II If the depth depth of the ann· (i . folds 35 scye is is normal, normal, lhe the raglan raglan falls falls in lhe the same man!“ manner scye
_ M
RAGLAN TYPE RAGLAN
)
This includes (I) (I) the raglan, raglan, (2) (2) (h6 the Cpaulet epaulet (07 (or This includes strap) sleeve, sleeve, (3) (3) the sleeve cut in one with a yoke, yoke, strap) and (4) the the sleeve sleeve set set on on (oto the drop drop shoulder line. and (4)
148
SLEEVES Procedure for Designing a Raglan Sleeve (see Figure 68a. b) masler sleeve pattern and l. 1. Trace around the master at mark the lengthwise C e n t e r and quarter divisions a: block the master and bottom. Remove pattcrn top and rule the vertical lines.
Note. Figure 68a shows the master sleeve block for at the lower edge. The regular designing sleeves loose a: dart should be used master pattern with the elbow dar:
for fitted sleeves.
line, from the back shoulder line‚ 2. Transfer the dart lrom but leave 1/, inch of ease on the shoulder seam. the points where the raglan Detennine and mark Lhe 3. Detemiine the front line swings into the normal annscye armscye line on Lhe and back blocks.
4. Measure on the blouse front armscye the lhe distance from the thc underarm undcrarm seam to the point marked in step 3. Measure Measurc this same distance on the Lhe sleeve armscye from the thc underarm I1 the Linderarm seam and mark a poim. point. lf inlo the normal sleeve armscye line linc raglan line swings into above the halfway point between the top of the sleeve lop and the underami underann seam, add I, 1Ainch before marking the point on the sleeve armscye and work this in when 1o the bodice. bodice. joining the sleeve to
Fig. 67. Raglan sleeve.
Set-in sleeve. However, set-in
thc tne
ol the armdeepening ot
e beyond the normal requires not only the lengthenC
o1 the sleeve, but also the of the lhe underarm seam of ‘of o1 the girth, so that (hat the arm can be raised raised ening of iening width 'I‘his This added and at the Jortably. length fortably.
erarm produce
the arm some wrinkling when Lhe o1 the body. Only in loose hanging ‘gs at the side of ': s which are free to rise with the movements movemems of am is it possible to l0 use a raglan sleeve with a low cye cye and long sleeve cap rather than a lengthened erarm sleeve seam. Since the raglan sleeve curves erarm from lhe the underarm to form the upper shoulder v’lrom j of the blouse, the armscye is often deepened for re gracelul ore graceful transitional line between blouse and {i e. The raglan with both the normal and the rr-than-normal -than-normal armscye will be explained in the ions which follow. use the raglan is really a modification of the ar set-in sleeve, let us analyze the basic difference xeen the two. The normal serin ween set-in sleeve has 11/2 11/3 1'.“ inches indies of ease distributed over the upper half ’ e cap. But when the upper section of the sleeve l": 3ltt in one with the blouse, there is no overarm along which to distribute the ease. The raglan 0te employs a shoulder line dar: 0m dart as a means of :'. in a part of this ease.
5. Repeat for the back.
'
G. 6. Place thc front blouse block against the from front of o1 the sleeve, matching the points on the armscye. Reback. peat for the back.
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I. Match thc armscye curve of the bodice front to 7. lront of the front o1 thc the sleevc cap as [ar lar a5 as the curves will blend without overlapping. lf the shoulder corner ol" the of thc blouse is I4 inch above the slecve sleeve cap, the lhe raglan will have about the same cap height as the master Inaster sleeve. Ti l t this corner in or out lrom 1mm the sleeve cap according to the cap height on your Original master sleeve and according to 1o the increase you wish on the cap height of the new sleeve.
J
8. Repeal Repeat for the back, adjusting it to match the front in distance of shoulder corner from sleeve iront cap. 9. Draw the shoulder dart lines. Rule from the neck end of the shoulder seam to a point 1/2 % inch below the top of the sleeve.
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149
DRESS D DESIGN DRE-SS ESIGN
A
Below Top of
Cap
H
R Fig. 68 (a). (a) . Raglan R aglan sleeve draft. Dotted lines at at sleeve Fig. girth and lower part part of bodice armscye armscye indicate changes changes i! it girth deeper armhole is desired (see (see Figs. Figs. 29 (a) (a) and (b) (b) for deeper sleeve with deepened deepened armscye). armscye) .
_
"
the sleeve sleeve is to to fit like. like. a set-in sleeve, i: it should cross lhe from the bodice into the sleeve at at a point point not much lower than halfway halfway down the armscye. armscye. The raglan lower F1" line is usually a compound curve (see Figure Figure 68a). line is usually (see compound crossmarkings. Place crossmarkings.
Note. This dart removes a small wedge wedge from the Note. some of the top center cap to top Center of the sleeve cap to eliminate excess on on the sleeve ordinarily ordinarily eased into the upper upper excess of half of length width and The armhole. blouse the of half length from the the dart increase front of corners the shoulder as the dart and back back blocks are pivoted pivoted farther away away from the and in the drafting sleeve cap. This is the chief drafting variable chief sleeve cap. of the raglan sleeve, and you may need to experiment Lo experiment of the raglan sleeve, you may before producing a sleeve in which the dart has the before producing correct length length and width. As the dar: dart increases in correct length and and width, width, the sleevetxtends sleeve ·extends farther out and length broadens the shoulders. broadens
w.
12. Place Place a new sheet of paper paper under the drail draft and I2. i‘ |6 trace off the sleeve, the area marked by the Jeuen trace sleeve. by PLBCDEFKQRSP. Place a second sheet under the PLBCDEFKQRSP. Im’ draft and trace trace off the the from front and back of the bodice. draft the areas areas A ABLMNOA GHl]KFG respeclively respectively (set E’ BLMNOA and GHIJKFG the lra Figure 68b). Include crossmarkings tracings. all on g‘ lnclude crossmarkings Figure 68b). If \4 inch of of excess was was Ich left on on the from front and bad If 1/, i: armscye of the sleeve, at or bodice at: the into it ease sleeve, armscye above the halfway halfway poim point 0E of the blouse armscye. above
IO. Modify Modify the straight straight dar: dart lines drawn in step step 9 l0.
to taper the the dart and t0 to curve the sleeve down over to taper
the top of of the the arm. arm. Begin Begin near the Center center 0E of the from front the top and back back lines lines and curve into lhe the point point as shown in and
13. Slash Slash the sleeve pattern pattern from the lower l3. up t0 to points L and K and spread spread as much as as d desired poims up i at the the lower lower edge edge of the sleeve. This step step should be a: omitted in in drafting drafting a fitted sleeve.
Figure 68a. Figure Draw the raglan raglan line. This may may vary, but if l11. l . Draw
‘
150
SLEEVES
_
traccd and cut c u t apart (dottcd Fig, Fig. 68 (b) . Raglan dralt traced (clntted lincs indicate Variation for deep dcep armscye).
allen A wer er fhe Armscye iw
underarm seam by an inward curving line as indi-
cated by the dotted line in Figure 68a. 5. After tracing the slecve slecvc pattern from the draft, slash the lines lincs (lrawn in step 3 and raise the wedges to lengthen the undcrann underarm seam 5% 2/, to lI inch. The tmtlerarm seam should be lengthened as much as the tinderarm
erform the first ten steps in the standard Standard procedure erform „the raglan sleeve slecvc outlined just above. abovc. Then follow the directions below. Vdirections x
urmhole in the bodice is lowered (see Figurc Figure 68b).
_ Drop the armhole lI inch on the underarm seam he front lront and back of the bodice and redraw a lle th ‚th curve into this lowered point (see Figure 68b). ; lncrease thc sleeve girth by ruling a line L through 1mm and back girth points and extending it until sfmnt "increase in the sleeve armscye equals that in the increase Ü’! ole ol the 3 bodice. You can determine the inin the length of the bodice armhole by measurthe lower curve of the Original „thc blouse original armscye L to M and subtracting it from the new length
Variation B Variafion To fransfer parf fhe shoulder darf fo +0 ease along fhe parf of ‘the lhe sleeve where iif raglan line of fhe 1’ curve: curves info fhe normal line. begin wifh fhe finished raglan sleeve draff armscye line, and perform fhe following sfeps: l. Slash irom { m m the point on the lront of the sleeve where the raglan raglan line swings into the normal armscye, point L, (see Figure 68b) to the end of the dart D. Repeat at the back of the sleeve. 2. Spread the front lront and back edges of ol the sleeve to introduce % to 1/2 inch of ol ease which will partially close the shoulder line dart. Thc amount of ease that is possible to work imo into the curve of the sleeve depends on the shrinking quality ol the labric. This Variation transfers some of the cap width from the top away C e n t e r of the arm to the side of the arm and improves improves the contour of the sleeve.
i
'
_ f
Rule a horizontal line in from the new front and girth points of the sleeve I14 h4 inches plus the mt added in step 2. lf a softer underarm drape ired. the ll/4 ired, 11/4 inch measurement can be increased. 3 Perpendicular perpendicular from the end ol this line to the ‚N.
w
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e line (sce (see Figure
68a). Connect the new girth end points to the original 15l
DESIGN D R RE ES SS S D ESIGN D Variation C Variafion transfer part part of the shoulder dar? dart fo to fullness along along To iransior To the raglan line of the sleeve above the point where it ‘the slaava abova Hin poinf when i? raglan curves tnfo into ihe the normal orrnseye armscye Iino line (see (see Figures Figures 69a. 69a, b. b, and c): 6U C: enges) R epeat step step l1 in Variation B or or make several severa l I. Repeat slash es spaced spaced for distributing distributing gathers gathers or or darts. slashes
Spread at at the [front edges of the sleeve r o n t and back edges 2. Spread only along edge you prefer a smooth (or if front the edge you prefer (or only along back lme) line) to to partially partially close the shoulder dart.
(a) (a)
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3. Take up up the excess into gathering gathering along along a corded line or as decorative darts. seam lme
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Variation D
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-"-‘}
To fransfer transfer parf part of fhe the shouldar shoulder darf dart fo to fullness af at the To center of a bishop sleeve: confer bishop
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1. Slash Slash from the Ccenter o f the lower edge edge of of the e n t e r of I. sleeve to the end of dart. the shoulder of sleeve to 2. Spread the sleeve at the Center center line and partially partiall y at 2. Spread close the shoulder dart line. close 3. Lengthen Lengthen the sleeve below the Center center of the bot3. tom line line in proportion proportion to to the increase in in width. lom
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N ote. The The transfer tra nsfer of the shoulder dart d art to to the Note. sleeves center of the sleeve su ita ble o nly gathered for suitable is sleeve gathered the only Center of at the the lower lower edge, edge, since the flare would swing swi ng out at loose sleeve in a. from top a awkwardly arm the of the top awkwardly and slash to the lower edge. It may necessary to at be necessary at the lower edge. lt may spread the the sleeve sleeve on on the th e vertical lines which wh ich divide spread the sleeve sleeve into into fourths fo urths in order to to balance balan ce the addithe tion al width at at the Center center of the sleeve. tional
r
(b) Stepl
Variation E Variafion To fransfer transfer pan‘ part of the slioulder shoulder darf dart +0 to widfh width a1’ at fhe the To top cenfer center line line of of fhe the sleeve in orcler order io to creale create a barrel barrel fop silhouette (see (see Figure Figure 70a): silhouefle Slash as in Variation see Figures Figures 70b and c. c, Slash as in Variation D and sec the at width which show two methods removing at of whiCh show two methods lower part ot ot the sleeve: the one by by a shaped shaped seam line lower part the sleeve: a long dart from as on the top of the arm which serves on the top of the arm the elbow; above the top of of the the wrist to to a point point well elbow; the top the elbow above slash and t he other by horizontal a other by and the which when when overlapped overlapped reduces the width at at the wrist wrist which the length length o! of the top top of the sleeve in in by shortening the by shortening seam. underarm relation to the length seam. the of relation to the length
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e
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Gnn i
(cl Step 2 51:02
dartl Fig 69. (a) Raglan sleeve part dart trans· 5 Fig 69. (a) Raglan sleeve with part of shoulder [erred into fullness along the raglan line; (b} Step l: line: ) Stepr (b front the raglan ferred into fullness along (c) Step Step 2. (c)
152 IQ Q3
SLEEVES
‘c: „ ‚ W w
Ä
(a)
Fig. 70 (a). Raglan sleeve with barrel Silhouette having dar: transfcrred transfcrrcd to Ccemer e n t e r line. part of shoulder dart {rom lower part of slceve removed from slcevc by Fig. 70 (b). Width rcmovcd c e n t e r dotled Center doued lines. lowcr part of o! sleeve sleevc by Fig. 70 (c). Width removed from lower ncar girth. overlapping on horizontal line near overlznpping
_— __ Problem 2
vTHE EPAULET OR SHOULDER ‘
'
STRAP SLEEVE
(see Figures 7|a and b)
h: epaulet Ehe
varies little from the normal set-in e except that i: is cut in one with a narrow strip 9o tthe he lop top of the shou-lder. The regular shoulder is omitted, but seams at a1 the front and back of „I ‘vstrap are substituted for it. Decorative detail on iftrap Iepaulet focuses imerest on it, especially if the Lepaulet i5 continued into a is ‚‚P HP high neckline or a collar. lIhe he edge of the strap can serve as a yoke line to gathers or folds {olds in the bodice from. front. Its horizon_phasis phasis tends to broaden the shoulder line and to lhc lhe height by holding interest a: at a point poim high ‘ C figure‘ figure.
‚
_
‚_
_
_
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L
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153
Fig. 71 (a). Epaulet sleeve.
D R E S S D DESIGN ESIGN DRfiiSS
on Curve on Blouse·· Not Blouse-Not on Strap Strap on
Follow Dotted Curve From Blouse to to Steeve Cross Cross Sleeve Marking Markmg
Fig. 7l 71 (b). (b). Draft for epaulet epaulet sleeve. Fig. w’ seam, since lhere there is no no opportunity opportunity to lO ease shoulder seam, 1 the sleeve armscye armscye imo into the armhole of the dress aacross thc strap area. area. Draw a smooth curved Iine line exlen.’ extending the strap upper part part of the cap cap to to meet the strap strap line on the upper the back and Iront front of of the bodice. Do nol not rule sstraight -7V lines Lo to lhe the edge edge of of the the sleeve cap. cap. The extension extenswn m must on the tlte sleeve. be an
lront and the back bodice blocks with l.I. Trace the front shoulder seam seam lines meeting. meeting. Fold out the ease in the the back shoulder seam line. 2. Rule a straight straight line t0 to extend the shoulder seam from thc the armscye armscye the length length of of the sleeve. [rom cente1 lengthwise lengthwise grain grain line of the 3. Place the center S. sleeve on 011 the line drawn in step 2 with the [rom front half half sleeve slep of the sleeve facing highest The front. bodice the of highest {acing point of of the the Center center of the sleeve should touch the armpoint scye end of of the shoulder seam. Overlapping Overlapping them rescye duces the cap height and should be done only only {or for duces cap height sport sleeves. (The armscye shows a sleeve sport slecves. (The dotted armscye line cap that Louches touches at at Lhe the front and back strap strap lines and cap overlaps at at the Center, center, thcreby thereby reducing reducing the Original original overlaps height of the cap.) sleeve cap.) height Draw the strap design on the back back. and front of 4. 4. Draw the strap design the bodice. At the armscye not extend more it should thc bodice. A1 armscye than lI/‚ 101 inches either in front or or in back back of the than
and back notches on both lhe the s1 sleeve 5. Mark front und '_ * lines, on on thc the strap, strap, and on thef the front and dress armscye Iines, of the bodice. and back of L
"i On the Iront front and back oi of the bodice. bodice, curve the 6. On H. adjoining the strap strap 1A Ys inch outward frolll seam lines adjoining 7' and the strap at a point hallway the the neck lhe between lhe slrap a1 point haltway armscye in order t0 to allow more ease below the sl strap armscye line. D0 Do not not change change thc the line on on the strap strap itself. <
"
Place the draft over over another sheet of p3p" paper and 7. Placc 7. trace oH off thc the sleevc sleeve and the connecting connecting strap. strap. Tract trace front und and back of the bodice separately. separately. the trom '
154 4
-_
SLEEVES
‘V Variation wifh Darfs f Variafion Darf: Exfending info fhe Sleeve
fhe Ends of fhe Sfrap (see Figures 72a. b, and c) Ü,ihe en very broad shoulders are in vogue, extend the imo the head of the sleeve slecve by means of darts at Ü ’ p edges (see Figure 72a).
Normal Sleeve Cap
o o 31l «Ä?
‚-
"72 "172 (a). (a) . Epaulet Epaulct ‘g-
sleeve slecxe with darts cxtcnding into imo sleeve
Grain
ends of the Lhe strap. slrap.
fb. v
Tracc off the strap sleeve previously described, Trace ofl described. Draw in the following slash lines:
Fig. 72 (b). Slash lines drawn on epaulet sleeve.
a) Center lengthwise line. v) Girth line ata: right angles l0to (b)
I
cemer Center line. Extension of lines at front, N, and back, c) strap Iines rc) ov the lhe girth line. line. d) Lines from the front and f!) th_e extended strap to the from underarm seam Ilines lines a: points M and L, 3 inches f; underann f; 4. the girth. (o poims ) Lines from the girth to points B and D on the ‚t and back armscye halfway between the edge of f-strap istrap and the girth (see Figure 72b for placemem _'e slash lines). „aSlash along lines HN and I0; slash NM. and 0L e underann underarm seam; slash NB and OD to the arm-
H
_ t
1: A:
.
; slash N0. ,2 Without spreading the slashes, pin the slashed Without cemer glcrn to a new piece of paper, placing the center ‘l: wise grain line on a vertical line drawn on the I: rpaper. Raise the strap section from the base of the a! the girth, N0, NO, the amount the strap is to cxtended tended thc annscye line, in other words‚ L beyond the of o! the dar: 3th length to 13/4 inches). j (usually 11/4 1%1o
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Fig. 72 (c). Slash lines spread and darts drawn.
I55
D R RE ES SS S - DESIGN D DESIGN 6. Co'mpare Compare thearmhole the armhole measurement measurement of the dress strap to. to the underarm underarm seam at back and and from the sttap front with the sleeve armscye armscye measurements. measurements. The froh: cap appears appears smoother if there is no more than sleeve cap Y2 ease on the back and 1/2 Y2 inch on the front. inch of 1/2 Place the remaining remaining excess in the dart width.
I. Draw the yoke yoke line on the master pattcm pattern b blouse. 1. ä
2. Measure the front bodice armhole {mm from the 2. seam to to the yoke. yoke. underarm scam amount on the sleeve armscyc 3. Measure the same amoum ampqä and mark this point. point. 4. Repeat Repeat both measurements fot for the back. paper, leaving leaving room room for the 5. Trace the sleeve on paper, yoke to to the upper upper cap cap a: at both both fro ... addition of the yoke {am and back. ß
‘
7. Spread Spread the pattern pattern for the increased height height and 7. cap as shown in Figure Figure 72c. Rule the width of the cap darts, following following the strap strap edge edge for the inner dart edge. edge. darts, edge of the dart from ]j to to P and Measure the inner edge make the ouler outer edge edge the same length. length. Note. The slashes B to to N in the front and D to to O 0 Note. provide a higher higher cap cap without overlifting overlifting m the back provide armscye (see (see Figure Figure 72c). 72c). the lower curve of the armscye
6. Place the from front and back yoke yoke against against the sind; sleeve at the points marked in steps 3 and 4. However, if the at However, i! points marked steps yoke line is above the halfway halfway poim point on the sie sleeve yoke i5; armscye, some sleel'e the sleeve. some ease on The s! leave armscye, armscye from underarm underarm t0 to yoke yoke can be 1/, inch inch longg longer armscye than the dress armhole. _‚
Problem 3
ü
edge of the yoke yoke so so (hat that it 7. Place the armhole edge follows the curve curve of the upper upper half of the slecve sleeve cap but with the shoulder seam corner of the yolte yoke (tlfq (the point where the armscye line and the shoulder seam and armscye point come together) together) rising rising 1/, inch above the sleeve cap. cap. lIt cap height height as the masle: master then has about the same cap To shorten cap, let the shoulder cornerofi! corner of shorlen the cap, sleeve. To yoke dip dip down imo into the sleeve. D0 Do this {or for aclivj active the yoke sports which need To increase incre T0 freedom. arm need dresses sports the height height of the cap, cap, let the shoulder corners of of the the ' yoke rise above the curve of cap V2 the sleeve cap 1/2 inch. yoke Do this if the n1aster master sleeve does not have enough enough cap. cap D0 height to go over shoulder padding, or in designing padding, designiflgq height to go over coats and and jackets jackets which need need extra extra shoulder room room to coats or slip puffed padded with and blouses over dresses pufled pad slip sleeves.
IN ONE (see (see Figures Figures 73a and b) b) YOKE AND SLEEVE CUT IN Many interesting interesting designs designs can be developed developed by by cut— cutMany ting the sleeve in one with the yoke, thus making lhe yoke, one making the ting yoke a more important important space space division. Eliminating Eliminating yoke top half half of the armscye armscye seam seam gives gives continuity continuity to to the top space without sacrificing sacrificing the advantages advantages of the the space neatness of of a set-in sleeve at at the lower armscye. armscye. neamess The lower half armscye controls the freedom conlrols the half of The lower armscye with which the arm can moved, therefore the and Lherefore can be lhe with yoke line should not enter the below the armhole enter yoke center armscye. C e n t e r of the armscye.
'
8. Draw Draw the the shoulder line dart as for the raglan 8. sleeve. am‘ 9. Trace Trace lhe the new new sleeve and yoke yoke pattern pattern on onraglfl] a sec· 9. ond sheet of paper. paper. 0nd
_
II0. 0. Trace Trace the blouse blouse {rom front and back and crossmatlii crossmark the yoke yoke and the lower sections of the bodice. 1 the Note. See variations of raglan draft (pagömf (pages 151· of the raglan See variations Note. 152) if, if, afler after trying trying out out a muslin proof. proof, you you find “m. that 152) the shoulder dart holds too much of sleeve cap the much t o o thc shoulder sleevf 9P“ width at the top center of the arm. Variation A See widlh at the top Center VarianoflAunder the Raglan Sleeve (page 151) instructions instructlofl’ for under the Raglan Sleeve (page 15l) on lowering armscye. lowering the armscye.
Fig. 73 73 (a). (a) . Yoke and sleeve cut in one. slcevc cut Fig. 156 I56
'
SLEEVES
Blouse 1 4” 4" Above
Sleeve sleeve at Shoulder Comers Corners
—-
Line
Center
Sleeve
Drah for sleeve cut in one with yoke. (Slceve (b). Draft bccn spread cemer e n t e r and quarter verticals for a (Sleeve block has bccn sprcad on C s
aight-hanging sleeve.) Plan grain placemem carefully. The lengthwise the Center of the sleeve places the CCenter enter through rough lhe nd Center back of the yoke on the bias or semisemi— a: the Center front of the yoke traight grain at Slraight Lhe Center line of the sleeve on the bias and i} the ter back on the crosswise grain or on the semi1er pending on the angle of the shoulder line dart. u a! the center line of the sleeve S»: provides more ities for Lhe the placemeni of the grain, but the l be matched at the Center usl center line of the sleevc sleeve Iran! and back halves if such a seam is used. ‘from u
‚
Problem 4
=
WlTH nnor SHOULDER (see Figures 74a. b. und c) V
shoulder provides another way of carryLshonlder lines of the dress drcss imo into thc the sleeve, some-
l e
Fig. Fig. 74 (a). Sleeve with a drop shoulder.
157 I57
DESIGN D RR EE SS SS D ESIGN yoke or a French French dart line, line, times as an extension of a yoke and sometimes as an extension of the blouse into a yoke. This ccut lrequently used to emsimulated yokc. u t is frequently phasize gracelul evening dresses a in evening shoulder line phasize graceful 01 hostess gowns with an extremely full lull gathered or or gowns extrcmely gathered cartridge-pleated mounted on it, sleeve moumed it, the tubular cartridge-pleated lolds on the sleeve contrasling contrasting wilh with the close fining fitting folds shoulder line.
3. Repeat Repeat for thc the back. S. armscye edges edges o! of die. the {mm front am! and back3 4. Place the armscye against those o! of the slecve, sleeve, m1. matching of the blouse against the marks on the sleeve t0 to poims points marked marked {o1 for 1," lhe lhe i" dropped line bodice. shoulder on the dropped 5. Match the curve of thc the blouse front ärmhoh armhole lo ot the sleeve cap, cap, so (hat that the shoulder cor· the curve of n: extends above the sleeve cap no ner of the bodice exlends czpw Ye to to 1/, \4 inch, but without overlappiug overlapping lhe more than 1A upper sleeve cap. cap. sides of the upper
I . Trace around the master master sleeve pattern pattern on a l. sheet ol’ ol paper paper large large enough enough for the front and back of the blouse as well as the sleeve.
um
It must be taken into accoum account that the Note. lt F’; shoulder ex· amount which the corner of the bodice shoulder tends above the slecvc sleeve cap cap depends depends on several condi· a lions. Direction 5 is for a master sleeve with correct o tions. ior master height, ready read y to to use without alteration. alteration. For more more cap height, height to lo go go over thicker shoulder pads, pads, the shoul shoulder height corner ot oi the bodice may may extend 1/‘, V2 inch inch abovc above the comer v cap. If the dropped dropped cap cap is to to fit the sho shoulden sleeve cap. am closel y without padding, padding, overlap overlap lhe the sleeve somcw somewhat. closely
2. Mcasure Measure the blouse from. front armscye armscye from the 2. underarm seam to the point chosen for the lower edge edge underarm to poim ol the drop drop shoulder line (see (see Figure Figure 74b). 74b). Measure of If the drop drop shoulder the same amount on the sleeve. lf the halfway halfway poim, point, add 1/4 y.t to to 1/2 V2 inch line is above thc to the measurement measurement of the sleeve to to ease in when setsetto ting and sleeve Crossmark the it into the armhole. ting blouse front.
Fig. 74 (b). (b) . Dmfl Draft lincs lines dmwn. drawn. Fig.
158
S L E E V E S
“B0
Fig. 74 (c). (r) . Complcted Cnmpleted pattern.
the armscye of the back bodice into posiposi— gainst the sleeve‚ keeping the same relationship against ‚een en shoulder of bodice and sleeve cap as on the
‘z. Pivot
Measure the bodice armscye from the shoulder too the drop shoulder line. Mark this same discenter line of the sleeve. measuring from on the Center ntt on the center line even with the back and shoulder corners (see Figure 74b). Draw a center e n t e r line of the ‚ th j o curve from this point on the C t0 the front and back armscyes to t0 establish the ge to f line of the drop shoulder. This line may dip ard at the cemer, ward center, but the directions given pro“ levcl line. alevcl Establish a shoulder dart line as for the raglan gEstablish *7 but continue it ‚ through the drop shoulder as rossmark front and back halves of the drop ‘ossmark the lront er line and the poim point of the shoulder line dart. ‘Trace Trace the sleeve on another sheet of paper. paper.
"Trance ‘Trance the bodice front and back. back, including the ulder section. Crossmark. oulder ’
Gut the back and iront ( r o n t apart on the center Center line ve. ‚CCVC.
Ulf the drop shoulder section is to fit smoothly, „(l«spread the sleeve alter after making the draft if " spread lness in the lower sleeve section. Howinllness fullness is to bang from the top of the arm, Tüllhens sleeve from which to draft, so that ripples nygles in the cap area as well as in the
ääcfiön.
e
KIMONO TYPE Kimono sleeves are cut in one with the bodice, and therelore lose the Original original curve of the lower armscye.
Problem 5 THE DRAFT FOR BASIC KIMONO SLEEVE lI WITHOUT A GUSSET Drall’ fhis Sleeve Use the Masfer Pafiorn To Draff Pafiern Sloeve Sleove wifh an Elbow Darf l. Figure 75 illustrates the method of establishing I. a new center c e n t e r line on the sleeve block. Line AB is the Center center of the normal sleeve only {rom the top of the sleevc curves forward lorward at cap to the elbow, since the sleeve this point. Because the shouldor shoulder line usually continues into a seam down the top ol" a kimono sleeve. the line AB should be replaced by a new vertical division line which falls down the C e n t e r top ol the arm all the way t0 to the wrist. The procedure for establishing this line is as follows: C e n t e r of the wrist line, (a) Mark the center point C. Measure lrom C toward the back seam (b) 5Ainch from 5/3 line and mark D.
(c) Rule a line from A to D to establish the placeline of the kimono sleeve.
ment of the top seam
Note. For a fitted kimono sleeve without a top seam, or for a straight loose sleeve with a seam top but wnthout without a horizontal elbow dart (see the dotted lines in Figure 75), use the original Original Center line AB rather than AD in drafting.
DESIGN D RR EE SS SS D ESIGN
;_
A
up (o to mag}; meet the corner M. Extend the sleeve line ML up at 0. 0. Line M0 MO should be 11/, 1Y2 inchg. inches. 3.‘ side seam a1
remove the 6. Trace around the blouse front and removefii:
pattern. pauern.
Note. The 1% 1Y2 inches between the side seam cf of the Note. girth comer corner of the sleeve providg provide the blouse and the girth length required required on the underarm underarm seam minimum extra lcngth 1:? ‘ to raise raise Lhe the arm comfortably comfortably in a long long fitted sleeve lo gusset. without a gusset. .
‘
‚‘
7. Measure the distance between N and 0 on on the 7. front of the blouse and an equal equal amount amount on on the side Irom to H. H. side seam of the back from I to
Q)
>
Q) Q)
Vi
Sleeve
.s
Q)
geeve
Extend the back seam line of the sleeve (K (Kl) 8. Extend up to point 1 Y2 girth corner ], to a inches above the up point 1% girth comer‘ point H on the side seam of the blo" blouse and mark point relation to back. This balances the back and front in relatioIi-_‚_ " the slceve. sleeve.
en
Setnin
.E for c
...
Kimono
-2 for
Q)
c :.J Line
2c
c.'"'5
Grain Q)
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_
corner D until it touches the uT 9. Pivot the shoulder corner top cap. the of the sleeve The measurement between top cap. point a: at D and the sleeve Center center line back shoulder point YZ need not equal the corresponding space on the YZ i" equal corresponding space on front. Individual blocks vary. vary.
cQ)
:
_J L engthwise
I"
Q)
u
Center
!I:
Q)
z
New
‘v5 I 0. Trace around the blouse back and remove the I0. pattern. pauern.
Center of
cD
point P on the side seam of the b blouse l. lI lI.. Mark poim ' front 6 inches above the waistline. Square Square out out 3/4 Iront P, and mark P1. Pl. from P,
B
'
Wrist
Fig. 75. 75. Establishing Establishing top top center center seam line of of kimono sleeve. Fig.
’
I2. Rule Rule lines trom from Q Q to to P1 p1 and P1 p1 to to L Lat a: the el· 12. bow. Square y.j at point halfway between a in inch at bow. 1/, point halfway betw Square and L. Q and Pl, at a point halfway p1 P1 between and at point halfway Q and P1, Make the the final underarm line slightly slightly concave by curving in at at these halfway halfway poinls. points. Use the origi. original curving ruled seam line (not a curved line) setting in. when seam line) (not gusset (pagesl65-l66). (pages 165-166 ). a gusset
2. On On pattern pattern paper, paper, rule a line, line, YZ, length of 2. YZ, the length the sleeve plus I 0 to 12 (see Figure 76). inches l0 l0 l2 lhc sleeve plus (see Figure 76).
A
3. Place Place the Center center line on on lhe the sleeve, AD, AD, to to coin3. cide with line YZ. cide 4. Trace Trace around the master master sleeve and remove it. 4. Label the front girth corners, corners, M M and j,] , and back and { m m lhe Label girth the front and eltiow points, L respecL and elbow K, respecback the front poims, the tively. The latter points below 8 inches be should lauer points tively. girth poims. points. girth
14. along the Center center line H, Measure down 3 inches along ’ top of lhe the cap cap and mark CC. of the sleeve from the top
s. Place Place the blouse front with the outer end of the 5. shoulder, B, against against the top top of the sleeve cap, cap, % V2 inch shoulder, B, from the center line of the sleeve, YZ. Pivot the blouse sleeve, from lhe center that the the side seam is "/2 I \4 inches above the girth girth so that so
15. Draw Draw the the shoulder shoulder seam seam une une on the blouse front l5. blousff by following original A to to withm within r; line from A the original by [ollowing begin t0 to curve upward upward l0 to a P°mx Po101 inches of B. Then begin Ys inch out out from B and round off t0 to C. 1/8
13. Repeat Repeat the procedure procedure in stcps steps 1| 11 and l2 12 for l3. "f! the back underarm line FGIK. FGlK.
'
160
D R E S S DESIGN nness oesieui
Z
Fig. 77. Variation of basic kimonn kimono sleeve t0 to provide provide more ease over over back hack of uppcr upper arm. Fig.
Problem 6
I this point point varics, varies, however, however, wilh with the fullness fullnes!> desi desired lhis in the cap cap o! of the sleeve. !>leeve. You can can even move lhe the fhoot n": shoulder seam seam at at point point B as much as 1I inch Fron! lrom the ‘i’ center l'Z, thereby thereby increasing increasing the sleeve will width C e n t e r line YZ, the top top by by making making lhe the d'art dan BCD BCLJ larger. larger. across lhe
SLEEVES W|TH WITH DRAFTS FOR BASIC KIMONO SLEEVES (Basic Kimono Sleeves 2. 2, 3. 3, 4) 4) GUSSETS (Basic fitting kimono sleeves without excesFor smoother fitting sive wrinkling wrinkling under the arm, arm, place place the bodice [lront ront and back blocks against against the girth girth corners of the sleeve, sleeve, or even even overlap overlap them t0 to reduce re
2. Place the blouse side seam .V Q so so that il it (auch touches side seam NQ !>leeve girth girth corner corner M, M, and an
A
v i
i /-1 againsl against lhe the girth girth corner corner] sleeve. 4. Place H ] of the sl
5. Pivot U at the shoulder point point to to touch touch the sleev sleeve.= l) at
Basic Kimono Sleeve 2 (see (see Figure Figure 78) 78) Basic Place the blouse front lront shoulder point point B 5% Vs inch l.I. Place lrom the center ol placing of YZ. The the slecve of line Center lhe trom placing 01'
6. Measure Measure up up Irom from the from front waistline point point Q P. the length desired for the side seam and mark P. Th The l'on‘ seam lhe lcngth side seam can can be any any length length extending extending between Q3“ Qand
162 I62
SLEEVES
Z
Draft for lor baslc basic knmono kimono slecve Number 2 with a Fig. Fig. 78. Dralt
'
{zittern shown in Figure 78, Q to P measures es, whlch allows 1/4 inch extension on the line lhe blouse and l4 neof the 1Ainch on the sleeve these two lines will meet a1 a: P1. To widen l t ‘ghese decrease the lenglh endecrease lurgher, length of the side seam blpuse or increase the space between the "imi, B B and the sleeve center line YZ, YZ. Q to P1 and P1 to L. D0 not curue the flding a gusset. '
Shoulder line t0 to point C. "ccompleted ß (teil shoulder w ‘C 6W: point C moved ihbved t0 to within I inch o! ol 5
.
an moved or down Clown from the top up ppgor " the "curve of o! the Center seam w top center
"
and spaces between A and
idens.
Basic Kimono Sleeve 3 (see Figure 79) ln this draft the girlh In ol the bodice and the girth corner oi sleeve overlap to l0 reduce the excess between the armscye ol of the blouse and slceve still further, lurther, as shown by the smaller open space belween between BN and BM in the lront, front. and D1 and D] in the back. Follow the same procedure for this thls draft as for the one, with the possible variations in space previous one. between lhe the bodlce bodice shoulder seams and the Center line of the sleeve. Balance thc the back and from front of the bodice Lhat the front underarm seam from evenly so {hat t0 P Q to equals the back from F to G, and so (hat that M0 on the from ol Iront of the sleeve equals jH [H on the back. In Figure 79. QP is 61/2 inches and M M0O is 1%inches. Basic Kirnono Kimono Sleeve 4 (see Figure 80) This dralt dran praclically exccss between practically eliminates the excess the sleeve and blouse armscyes armscycs and will fit almost as sei-in sleeve, but will smoothly as a set-in require a larger underarm underarm gusset to 1o free the arm. In Figure 80, the underami seam QP is 5% inches‚ underann inches, and M0 i: is 2%. 21/2.
53a from B y, inch
the s 1h: nnderarm seam
gusset. gussel.
length
168
DESIGN D RR EE SS SS D ESIGN
I
Fig. 79. Draft for basic kimono sleeve Number 3 with a Fig. gusset. gusset. with a for basic kimono sleeve Number 4 wiih Draft for Fig. 80. Drall Fig. gusset. gusset.
z or unshaped‚ unshaped, kimono fils fits lhe arm smoothly smoothly w’ when or it is held at a right angle to the body. sel· The a: it is right angle to lhe body. in sleeve, the opposite extreme, fits smoothly when in sleeve, opposite extreme, fils smoolhly the arm is is down al at the side. Thus wrinkles ap.‘ appear the on the the top, or or in in the overarm length, length, of a sel-in set-in slee1·e U on top, when the the arm arm is is held out, out, whereas wrinkles appear when at the underarm of a kimono sleeve when the ann at hangs down. hangs Because of of this shortness of of the overarm me measureBecause fil ment as compared to the underarm, the long fitted the underarm, mem as compared to lrom kimono sleeve tends to pull the blouse away from the away kimono sleeve tends to pull lhe Ü“ T0 side of the neck when the arm is lowered. To olfsel lowered. neck side ol this, lhe the Ccenter top line oi of the sleeve can be cm cul on e n t e r top this, the bias bias t0 to let let the fabric fabric give give with the lenglhenif lengthening the of the the top of of the arm arm as it it drops drops 1o to the side. The of top 10 greater on top the (as shown )hown "y" sleeve of lhe on the the (as lop slope greater l8 l marked degree in Sleeve 4), 4), the less the sleeve tends aa marked degree in Sleeve to pull down from the shoulder from and away line to pull down from the side of the neck.
Comparison of Kimono Draffs Drafts (see (see Figure Figure 8|) 81) Comparison The kimono kimono sleeve drafts illustrate a progressive progressive The of the seam decrease in the length underarm the of decrease in length the sleeve and a sharpening a ngle between the of angle sleeve and sharpening Whenunderarm ol the blouse Whensleeve. the and underarm seam of ever this this angle angle is sharper sh arper than a right right angle, angle, it will ever be necessary necessary to to set set in in some lorm ol of gusset gusset so that the be arm can can be be raised raised comfortably comfortably without pulling pulling up up the arm the underarm waistline. As angle sharpens, the length As waistline. angle sharpens‚ ol the sleeve shortens, length reoverarm the whereas length reof the sleeve shortens, the on maim constant. Therefore, on figure, seen when mains constant. Therelore, the overarm overarm length length appears appears longer longer in comparison comparison t0 to lhe more drait the underarm, and with each succeeding draft succeeding the underarm, nearly rcsembles resembles the comparative comparative arm measurements nearly when the the arm arm hangs hangs at at the side. The diagonal diagonal wrinkles when falling irom from the top top of of lhe the arm toward the underarm falling seam which which characterize characterize the Lypical typical kimono are alseam and 4. The japanese. most eliminated in sleeves Japanese. 3 sleevcs most eliminated in
'
v: >
w l
l
l’
„
'"
164
S L E E V E S
.81. ‘.81. Comparison of basic
s.and 4). l2. S. 4) .
drans (Sleeves kimono slecve dratts
L
onn— front gusset line when dress is o 82. Marking fmnt Fig.82. Fig. Methnd A. Nletlmd Fig. 83. Marking Fig. NIarkiIIg back gusset line.
x
Problem 7
Iength (d) With slashes made, determine the exact length raised needed in the gusset so that the arm may be raised above the head without pulling up the waistline. A l ) and DC gussel set in. A1) Figurcs 84 and 85 show a gusset Figures line. The disof slash front sides the the represent the to raise thc lance lrom A t0 (o C is the spread needed needcd t0 tance arm.
GUSSETS lhe directions below for cutSleeve 3, follow the Using Sleevc ikUsing in a and setting gusset. The same procedure g; to all plies patterns patlerns requiring gussets. plies 5Ül. ( w o ways of determining the slash l. There are two in for the gusset (see Figure 82). Method A should used in designing a garment for an individual, and Äused klhod B should be used in working with standard ‘fclhod pattern blocks.
‘y
i! 4
=
‘ i
.A
(a)_ Try on the muslin proof with your arm hang-
fyour side. 53‘Mark a pin line from the underarm seam up e inner edge of the natural fold which forms from and back of the sleeve along the normal ‚e ‘from e o! lhe the body (see Figures 82 and 83). Slash from the underarm underarm at the junclure juncture of the and 111e the side seam along the line marked in "for approximately pproximately 3 to 4 inches, the length Lhe tightness when the arm is raised. "hg on lhe him set imo h twhen into the garment will fall with I the «gfold and be inconspicuous when the F
'
Fig. 84. Gusset set in. AD and DC represent represem edges of front slash. Fig. 85. Gusset concealed by front and back fold { o l d lines whcn when arm is down.
165
DESIGN D RR EE SS SS D ESIGN
A
A\ '\[7' c ELF.
_. gfl-j
Fig. 86. Marking Marking gussct gusscl line on on a pattcrn. pallern. Fig.
mal"
Nute. When making making the actual acLUal garment, garmenl, machine Note. 1' stitch the seam lines marked for the gusset gusset before n4; m slashing lrom the underarm to points D and B. B. This to poims slashing from Ü stays the narrow seam allowance and lhe the still weä weaker stays w corners. Stitch Slitch before joining joining the underarm searm seams in corncrs. x lO handle lhe the blouse blouse Hat. flat. Nexl Next slash the lhe gusset order to h alfway between the lwo two stitching slitching lines and join line halfway seam of sleeve and a nd blouse. Tum Turn uunder the underarm seam lhe seam seam allowance along a long the slashed lines so so that the stitching is concealed, and lap lap the garment garment edge the stilching "H gusset. Pin and basle baste on the clearly clearly mar marked ‘. over the gusset. v‘ seam lines. Slip-baste you using plain seam. a are if seam lines. Slip-haste you using plain If you you are are top-stilching, wp-stitching, stitch stilch exaclly exactly on lhe the edge. edge. ll
Method B (see (see Figure Figure 86) 86) Melhod (a) Measure over from the lhe basic neck poim poim along along (a) lhe shoulder seam I V2 inches on lhe from and front blouse on the Lhe lß 2 inches on blouse back lO determine point Y. Y. This t0 2 inches on poim gives correct slope lo lhe X Y for a gusset gussel XY line the slash to the correct slope gives imet, if the underarm depth d epth is approximately approximalely 2 inches inches inset, below the normal scye scye line (see (see pages162-3)‚As pages 162-3). As you you below lower the underarm (leplh. d eplh , the slash line line will will be lower
-_
'i
’u
moved farther fanh er toward wward the armscyc anmcye end of o l the shoulder shou lde1 moved seam as illustrated by dolled x1y1_ X1Y1. line dotted seam as illustrated by (b) Rule Rule slash slash lines XB XR and XD XU which are directed (b) toward the point where armscye begins begins l0 to normal the loward lhe puint armscye curve unde; 1111de1 lhe the arm. runle
*'
1.7 Bodice lnsefs Insets es as Subsfilules Substitutes for Gasse}: Gussets (see (see Figure: Figures 87 . 88) and 88) Variously shaped shaped bodice insets in ets ingeniously ingeniously lengt lengthen Variously the kimono blouse under the arm. The T he two lWO types.“ lypes of the insets here presented presented explain explain the lhe general general princiä principles insets I‘ involved. The The insel inset may may either be shaped shaped l0 to ha harmon· involved. "i iLe wilh with lhe design design of lhe the garmem, garment, or or il it may m: merelv iu: be an an inconspicuous inconspicuous strip strip under the arm. be
2. Mark Mark lhe the seam seam line on on either side of the slash 2. lor aa seam seam allowance o1" of at al least 1/, y.j inch tapering lapering t0 to lor B. n oth ing at points D R . and I.) at nolhing points
»V
;!. To ·1 o draw draw the gussel gusset pauern, pattern, rule a vertical line 3. tlie length required lrom ,·J to C, and rule a horizonhoriwn.4 l0 die length required tal line BU through the cemer of AC and perpendicperpendictal line B!) lhrough ular lo to it. it. Place Place a ruler on on poim point C and extend it ular wward the lhe horizontal line, line, louching wuching it at at a poim point (hat thal toward marked will make DC equal lO line seam the t0 along DC will make equal the slash slash XD. XD. Then rule C (oto B in the same way. [h6 Join poinls A A l0 to D and A to to B.
KIMONO BLOUSE WITH STRAIGHT UNDERARM UNDERARM KIMONO INSET (see (see Figures Figures 87a. 87a, b, and c) c) lNSET
join poinls -L Place Place the the gussel gusset on on the lhe lengthwise lengthwise grain grain of the 4. and width AC labric as indicated, so that the length width (hat thc length labric as indicaled, seam inch a DB will will be be on on lhe the true true bias. bias. (Jul Cul with 3%; % seam DB allowance. allowance.
The straight underarm inset may may vary vary somewhal in2 The slraight underarm inset width, but but will will be be less less conspicuous conspicuous if it emers enters the width, "‘'. bodice armscye not not more more than 11/2 101 to 2 inches ffrom t0 bodicc armscye
166 I66
S L E E V E S
undcrnrnx insct. 7 (a) slraight undcrnrm (a).. Kimono blouse with a straight
Z
lnr kimono kimnno blousc with wilh straight Fig. slraight underFig. 87 (b). Drall [or insct. arm inset.
riginal underarm seam line. However, if narpriginal "
ils purpose. than this, it fails to serve iLs 3.; re 87b shows draft 3 of the basic kimono sleeve. ltIbener, draft 2 when more ease is l0 use dralt heller, however, to ‘ ed around the rcd armscye.
‘
A
_
«l. Trace ACZLPVRTA. 4. ACZLPFRTA. There should be at least belween FR and RT for seam allowances. between VR
1%inch
3A,
5. Trace the back, to see back, ECZKGWSUE, checking t0 is a: least 5A, inch between SW and SU as in 3Ainch front.
Eslablish Establish lines RT and SU for the edges of the a m ) inset by measuring in lrom from the Lhe side seam 42m1 —NQ and IF 1F 11/2 1%, inches. Draw the from front sleeve armscye line from R t0 to the lhe back from S W. to The V curve from R to I’ _ of the front blouse from equal the lenglh length annscye armscye that from S to W should equal the N, N, and (hat lhe length length i‘ back blouse 7back blousc armscye Iine Sl. SI. ’l'o 'l'o provide seam annscye line es on both edges, the curve must nces musl [ a l l at least Ü u within Lhe lhe inset seam lines drawn from [rom R in d S in back. FFigurc of ‚d8 igure 87b shows an increase ol 1 on n the length of the sleevc underarm seam front and back girth corners M and ]. „egfront j. end both the front and the back underarm 1F l inch for additional underarm Q and H" NQ '-"ähöuld should equal RN and SX2 3x2 should equal
(hat there Lhere
6. Trace the insert inserl lrom from the from front RTQXIR and back SUFX 2S. join the original SUFX2S. front and back underOriginal lront arm seam lines QXI and 17X2, FXÄ cutting the insert in one piece (see Figure 87c). Note. Before slashing the actual garment between lines VR and RT or WS and SU, machine-stitch from to R and down on RT lor V t0 for 3 inches. Repeat on the lhe back. This reinforces a 15/16 5V“, inch seam line. RV joined to RXI and SW joined to 5X? SX? form the gusset-like gussel-like extension on the underarm line. Either a wider inset insel or the use of sleeve draft dralt 2 would allow more extension on the sleeve armscye above M and ], _I‚ and would make it unnecessary to add to the length of the underarm underann inset above N and I (see Figure 87b).
K
d ld '
i
x
I67
DRESS DESIGN D RESS D ESIGN x' ·· 2 R
...i T
S
§
.)
.,; 0
u
u_ _ __,__ _ U
Fig. 87 87 (c). (c) . Complete Complete pattern pattern for kimono blouse with with Fig. straight underarm inset. straight
KIMONO BLOUSE WITH SHAPED UNDERARM SIDE (see Figures Figures 88a. 88a, b. b, c) c) SECTION AND DEEP ARMSCYE (see Figure 88b shows the same draft layout layout as that for Figure straight underarm inset‚ inset, but the side the blouse with straight begins 11/3 I V2 inches above the intersection of sleeve inset begins and bodice armscyes. armscyes. Greater length length above the front and back girth girth corners M M and ]j of the sleeve makes it possible t0 to increase the length length of of the sleeve underarm possible a lmost 2 inches. The sleeve seam needs greater greater seam almost length armscye is is lowered. as the bodice armscye length
horizontal line from V I' up up to R aand 6. Slash the horizontal up to to S. Swing up the girth corners V from W up V aand Swing up girth W to to within 5%; Ys inch of lines RT RT and SU to incr increase W the length length oi of the sleeve underarm underarm seam (see (see Figureflü Figure 88c). 7. Redraw the sleeve underarm seam lines! lines from V and W. W. V
down lI inch from N and I on on the front l.I. Measure (lown and back seam to points X 1 and X2, X 2, seam to underarm bodice and back points X1 and draw new curved lines Jines for bodice armscyes armscyes RX’ RX' and 5x2. sx2. 2. Extend horizontal lines through through the front and 2. back girth corners M and } . Draw new curved lines back girth corners M j. armscye lrom from points points R R and S equal equal to to for the sleeve armscye RX i and and 3x2, sx2, touching touching the horizontal lines at at points points RXI V and W. 3. Draw Draw vertical lines from the front and back 3. armscyes at R R and S S 1o to intersect the horizontal lines armscyes at through the sleeve girth. girth. through 4. Trace Trace the C center bodice, e n t e r front section of the bodice‚ 4. 1 RX 1 Q. ACZLPVRTA, QT front side the section, and ACZLPVR TA, QTIRXIQ. 5. Trace center section, ECZKGWback C e n t e r bodice section‚ the 5. Trace 1 SX2F. SUE, and the side section, FU FU1SX2F. back SUE, and thc side
Fig. 88 (a). (a). Kimono blouse with with slmped shaped underarm underarm sides side sec· Fig. tion and (leep deep armscye. armscye. tinn ‚
168 I68
SLEEVES
LIne
Center
Fig. 88 (b). Draft for kimono blouse with shaped underFig.88 arm ann side section and deep armscye.
I69
D R RE ES SS S D DESIGN D ESIGN
' '
*
«
.ua-.u-.'el-.:flifl
i
4
u r'
Q
Fig. 88 88 (c). (c). Draft cuL cut apart apart and sleeve underarm seam Fig. lengthened. lengthened.
1
3. Measure up up 6fi inches from thc the waistline on on I] 3. front tmderann underarm seam to point P. seanx t0 poim
Problem 8
‘r
DRAFT FOR KIMONO BLOUSE WITH BELL OR DRAFT BISHOP SLEEVE
4. Square out to p1 join Q Q_ to P1. fl. P1 and join 4. Square out 5/, inch to
5. Measure 8 inches inches down lhe the sleeve from lhegifi the girl Measure 8 5. point M M and mark L. poim
Use lhe the bishop bishop or or bell sleeve block (see (see Problem 3, Use pages 120-122). Set-In Sleeves, Set-In Sleeves, pages 120-122). Study Figure 89 and follow lo llow the general general procedures procedures Study Figure 89 for the basic kimono. This draft produces for the basic produces a sleeve very roomy over the upper arm because the blouse very roomy over lhe trpper shoulder points B placed approximately approximately 1 shoulder points B and D are placed YZ. znch from I he center lzne line inch [rom the Center
6. Rule the line P1 p1 to lo L. 6.
7. Curve Curve underarm line of blouse and sleeve asi as i 7. Problem Problem I. V
For gathered nt al the wrist, wrist, increasc increase 1 tt sleeve gathercd For aa sleeve a! M length lor blousing above the cuff band. at lea Add thc culf lcngth tor blousirlg I V2 l0 to 2 2 inches below points points R, R, T and U, and I ilfl inc T., und bclow inches 11/3 below S S and and Z. z. Sincc Since thc the underarm underarm and and lhe the line o!" ovt bclow the elbow elbow of of the the sleeve sleeve slip up [arther farther when the an an the slip up sleci the is raised or bent than the top center sleev of Center is raised or bent top add Inore more length al points. these at add points. length
I. Place Place the the sidc side seams seams of lhe the front and back of I. the bodice I inch from girth corners "1 M and ]j in order the bodice l inch girth to give additional additional undcrarm underarm lcngth length to lo the sleeve. to give Place [h8 the back back 01' ol the bodice so [hat that IH I H on on the Place of side the seam of the back equals NO seam on N0 scam of the back equals front. the Iront.
2. 2. side side
170 I70
SLEEVES
A
c.‘-
l l
\
B
\
__ o
P
:
-„1
N
M
\
\
\ \ \
\ \
‘
Kl
ü)
ä
L
2
Sieeve U)
D.
O L
‚E
Bishom m of s
d!
‚s Line _J
s
s
Grain (D
s
Z L„/_L\Z LRg-‘ß d" L1" x““ * 1.1/2" / --„ - „L L’! L/ m
;
- \ \ ‘ -“ ‘».„
Ll2
121/2"
— 4 _ _ r ”
„
Z111/2"
“ -4
Fig. 89. Draft for kimono blouse with bell or bishop sleeve.
DRESS DESIGN D RESS D ESIGN Problem 9 9 Problem
DRAFT FOR FOR THE THE KIMONO KIMONO BLOUSE BLOUSE WITH WITH A A YOKE YOKE DRAFT (see Figure 90a, b, and c} (see Figure 90a. b. and c) Combining a yoke yoke with with aa kimono kimono cut cut offen-s offers the adadCombining vantage of a smooth hanging sleeve with one definite of a smooth one definite sleevewith vantage hanging fold at at the the front front and and one one at at the the back back of of the the armscye armscye fold and a clean-cut close-fitting shoulder line, because the and a clean-cut close-fitting shoulder line, because the needed length at the underarm seam can radiate from needed length at the underarm seam can radiate from point at at the the lower lower yoke yoke edge edge rather rather than than from from the the aa point line of of the the shoulder shoulder seam. seam. ltIt also also olfers offers the the Opporopporline tunity to to incrcase increase the the overarm overarm sleeve sleeve length length by by lowerlowertunity ing the grain slightly at the top center line of the arm. line of the arm. C e n t e r at the the top ing grain slightly This, however, increases the difficulty of raising the of This, however, increases the difliculty raising the arm unless the sleeve is quite wide at the top. arm unless the sleeve is quite wide at the top. Follow the the general general procedure procedure for for the the kimono kimono laylayFollow out (see (see Figure Figure 90b). 90b). out I. Place the front corner corner of of the the bodice bodice shoulder shoulder at at l. Place the from. point B, B, l1 inch inch from from the the center center line line of of the the sleeve sleeve YZ, YZ, point and thc the girth girth comer corner of of the the bodice bodice against against the the sleeve. and Trace the the blouse blouse front. front. Trace 2. Repeat Repeat for for the the back, back, making making IH I H on on the the side 2. seam line of the back equal to NO on that of the the seam line of Lhe back equal to N0 on that of front. from. 3. Draw Draw the the style-line style-line of of the the yoke, yoke, R R to to C C and and S S to to 3. the C. Figure 90b shows a yoke extending down on the C. Figure 90b shows a yoke extending down on center line of of ihe the sleeve sleeve 31/2 3Yz inches inches to to point point C. C. C e n t e r line 4. Draw the shoulder seam lines ABC EDC, and ABC lines EDC, seam 4. Draw the shoulder the following the the original seam seam lines. lines. Do Do not increase the increase not Original following height a: at B B and and D. D . Draw Draw convex convex curves curves ending ending at at height point C. C. point 5. Measure up from from the the waist waist on on the the front front side side 5. Measure up the on down seam 6Yz inches and mark P. Measure down on the Measure seam 61/2 inches and mark P. P and to sleeve 88 inches inches from from M M and and mark mark L. L. Join Join Q Q to P and sleeve
90 (a) (a) .. Kimono Kimono blouse blouse with with aa yoke. yoke. FFig. ig. 90 9. Trace Trace the the from front and and back back of of the the yoke, yoke, A561? ABCTR 9. and EDCUSE. EDCUSE. Trace Trace Lhe the lower lower front front and and back back oif. of and "t blouse, RTCZLPQR RTCZLPQR and and SUCZKGFS. SUCZKGFS. blouse, I0. Slash Slash the the line line from from PP to to point point T T and and spread?” spread 1 l0. inches at P (see Figure 90c). inches at P (see F igure 90c). Repeat for for the the back. back. I11. l. Repeat
Note. You You will will notice notice that that aa sharper sharper arc arc has has r i Note. produced at at T T in in front front and and U U in in back. back. This in inwa '; produced curve when attached to the yoke lines RC and RC curve when auached to the yoke lines and’S causes a definite fold to radiate from points and T causes a definite fold to radiate from poims and to fall along the normal armscye line. and to lall along the normal armscye line. 12. Heighten Heighten the the cap cap of of the the sleeve sleeve slightly slightly all) at poi 12. C if you wish to increase the overarm length. C if you wish to increase the overarm length. T ' will reduce reduce the the diagonal diagonal wrinkling wrinkling from from the the topuf". top cent will of the the sleeve sleeve and and deepen deepen the the fold fold hanging hanging a1 at the the fro 1;" of " and back back of of the the armscye. armscye. and Note . Figure Figure 90a 90a shows shows aa very very conservative conservative aamou Note. of drapery from the one slash line at the the from front of drapery lrom lhe one slash line a: back. For afternoon or evening gowns of jersey back. F01" alternoon or evening gowns of jene soft crepe (see Figure 91), 91 ), slash the the basic basic patlem pattern on. soft crepe (see Figure about 11/2 l Yz inches inches lower lower on on the the side seam and and a. about i inches from from the the sleeve underarm underarm seam, seam, and and d1r. I Yz inches 11/2 both slashes slashes to to points on the yoke yoke edge edge from from wh• bolh points on the folds should fall. If you wish to obtain gathers obtain t0 wish lf tall. gathe folds should you thc in the lower blouse section, spread the slash folds in the lower blouse section. spread along the the edge joining the the yoke yoke as as well well as at at thelf the L eclge joining along arm. See See Figures 92a and bb for for still still another another V8113 vanau arm. Figures 92a and .' simul of a kimono sleeve with fullness held by simulat a of a kimono sleeve with fullness held by yoke line line a1 at the the upper upper armscye. armscye. ß
v.
L. PP t0to L. 6. Repeat for for the the sleeve sleeve line line of of the the back back t0 to join join ö. Repeat F, G, G, and and K. K. F, 7. To place the slash slash lines lines that that are are to to be be spread spread 7. T0 place the at the underarm in order to increase its length, measits length, measat the underann in order to increase shoulder the ure I Y2 inches over from the neck on the shoulder ure lI/ä inches over from the neck on seam and and mark mark I’ V on on the the front front and and W on on the the back. back. seam Mark Then rule lines from P and G to these points. Mark lhese to G‘ and P from points. Then rule lines points T T and and U U where where these these lines cross cross the the yoke. (See poinls marking slash slash lines lines for for gussets, gussets, Problem Problem 7, 7, Figure Figure 86, 86, marking page 166.) 166.) . page section. 8. Crossmark the yoke and the lower sect10n. lower the and the 8. Crossmark yoke
M
yoke
172
r
SLEEVES
_ __‚-—’:
R
A ‘*3.
I
n \
71V
\ \ \
x
G?
.
‚‚I
z
f
’ ’/\\x
, ‘ ’’ T7.
I
I
I
l
B x
‘L \
\
\
7k‘ \ \
/ I
IOM Px \
\
Q
i
\
\ \
<
x
°
w
2
L
c7:
E G)
o
Z
Fig. 90 (b). Draft for kimono blouse with a yoke.
K
.
Patlem for kimono blouse with a yoke. (TransI-‘ig. 90 (r) Fig. (t) Pattex-n fer master blouse dart to yoke edge. For I-‘or Fig. 91, 91. spread sprcad slash lines indicated by arrowed dotted lines under the
arm.)
173
DRESS DESIGN ES I G N D RESS D
(b)
(a)
Fig. 9|. 91. Kimono Kimono blouse blouse with soft drapery drapery falling falling {rom from yoke yoke Fig. line.
10 Problem I0
DRAFTS FOR FOR SHORT KIMONO SLEEVES DRAFTS
Fig. 92 (a). Kimono blouse with simulated yoke yoke Iline o F ig. 92 (a). Kimono upper armscye supporting sleeve fullness. upper armscye supporting Fig. 92 (b). Pattern for kimono blouse illustraled illustrated '_ in Fig. 92 (b). Pattern 92 (a) . Waistline dart transferred to and s am! shoulder to transfened dart 92 (a). Waistline sl made along upper armscye to separate and blouse to made along upper annscye separate ' Sleeve slashed for fullness. Sleeve
'
The shorl short sleeves sleeves shown in Figurcs Figures 94a, 956.; 95a, The
96a indicate a few of the possibilities for block'
original designs designs from the kimono draft. original A A
The short short kimono kimono sleeve can be made by by following The line shoulder simple steps. First, several the redraw First, several simple steps. line a on the original basic master pattern by master ruling on the Original basic pauern by above inch l from the neck end through point to to a from the neck end through point 3/, the arm3cye end of the shoulder seam. Lower the the armscye end of armscye at at least least 11/2 1Yi! t0 to 2 inches at at the underarm seam seam armscye the line and and increase increase the blouse width at at top point top line sleeve The of the underarm seam at 3/4 inch. least at seam 2%, underarm of the line may or or may not not be be curved to to give give it it a short underline may may front with the arm seam. Figure the blouse the shows 93 arm seam. Figure possible sleeve sleeve lines, lines, EDC, EDC, EDF, EDF, and EDGF. In In draftdraftpossible ing the back, use the same same measurements for shoulder ing the back, use the line, underarm underarm line, and sleeve. line, A more accurate {oundation foundation block for developing developing accurate more A from any made original short short sleeve sleeve designs designs can be be Original 55 Problems one of of the the basic basic kimono kimono drafts given given in one and 6, pages l59-l64. 159-164. When you you use this method, and 6, pages choose aa dral’: draft that that allows enough enough ease to to raise raise the the choose arm in in the the particular sleeve being being designed. designed. For aa arm particular sleeve ex tremely short, open on on the the top extremely short, for one left open sleeve of the the arm, or or for for one one {hat that is very very loose at at the lower lower arm, of underarm edge, choose choose aa draft draft with the minimum underarm
4"
C
F
If
Ii
1!
1! u
'/...
'hn-._._—5
1l
To
u..:
c..)
2"
••CnfG n.‚.uO .. -..D i
I
l"
: .. .' I
sleeve. Fig. 93. Draft for short Fig.93. Draft for short kimono
cdge, length. length.
174
SLEEVES
.
{h6 R1C1 t0 the front from edge RIC‘ 7. Slash the blouse from slash each and slecve UT, lower edge ol Lhe sleeve UT‚ spread Lhe back. twice the lhe depth deplh of each fold. Repeat for the
Sleeved Kimono Blouse wifh Simulafed Yoke
Basic Kimono o r [Basic drah [for design. dcsign. use lhe (halt underarnl underarm Extra 163. I63. 2, page length lenglh is not it is either flared or Hared sleevc because this slecvc in lhis ssary ‘ssary aL the lhe top. t0 hang open at wed Zwed to
or zor
*1;
(bis
ve
a: P and the underarm corners at 8. Round off lhe
9. Follow the dotted lines indicated from R1 to X, if a Lighter tighter lower sleeve edge produces a more effective live drape.
Kimono Sleeve wifh Fullness af fhe Yoke Edge (see 3res 94a and b) tront and back shouldcr seams of (he the Place Place thc lront extended they will meet are extentled u"ase so ([hat h a t whcn thcy arclhc sleeve. lhC top xlecve. Lop point poim of thc 3C, 7 ‚ 1/2 %inch below the ‚
J
v‘.
. A.
‚ ;
((J. J.
\
RC5. lor Lhe simulatcd simulated yoke RCS. linc for Draw a Iinc Draw lines for the lower edge of the short sleeve,
—Jand
TV.
[rom the Lhe yoke ß.. Draw lines from yvoke i’
‚. ‚
‚sleeve for folds.
to the lower edge of
lhe blouse from front and back. back. u t the Cul ooul V Cut front and back yoke lines from Slash along the from t0 S, and cominue to t0 slash from R and rough C to ihrough of the darts in order Order (o transwaistline lhe point j the poinl their fullness [ullness t0 to the yoke edge. "mosl the edgc. Note thc most of lheir Ä drawn above R1 and S1 to join to yoke (see Figure Figurc Ü
'
"
slecve with fullncss a! simulated fullness at Fig. ‘J4 (a). Short kimono sleeve Cdge. ynkc edge. yokc
Ji).
1u .-
j-
z)’
For F Flared Iared
Sleeve
ne Ln m
Center
Fig. 94 (b) . Slash lines drawn on kimono sleeve Draft 2 { o r short sleeve blouse with simulated yoke. shon
175 I75
DESIGN D RR EE SS SS D ESIGN
c1
Fig. 94 (c) (c) . Pattern slashed and spread spread for fullness at at yoke yoke line. Fig. Short Kimono Sleeve wifh with Flared LoweriEdge Lower Edge (see (see Figure Fig ure Shorf
95a ) 95a)
Use the draft d raft for Basic Kimono Sleeve 2. Continue the yoke yoke line in back to to produce produce a separate separate section, not a yoke. Figure 95b shows the yoke yoke and not a simulated yoke. Figure center back cut cut together together and the sleeve and side back center cut together. together. The T h e yoke yoke could also have been separated separated cut from the lower blouse. The transfer o! of the waistline from dart t0 to a large large shoulder dart in front makes it it possipossidart with the ble to block one piece one in line sleeve flared a block ble to piece in dart shoulder blouse, bu t no large no is there since large blouse, but be cut must back, the section sleeve flared the with section back, apart from from the yoke. yoke. Cut the front bodice in in one apart piece. The The space space between the center front and side piece. front sections sections merely merely indicates extra ease over the bust front in addition addition to to that provided provided by by the master pattern pattern in line. slash dart. Crossmark yoke edge at at each the Crossmark dart. yoke edge Slash from from the lower edge edge of the sleeve to to the l.I. Slash edge joining the yoke. yoke. Figure Figure 95b shows a 11/2 I Y:! inch edge joining spread between of the dart transtranswidth of spread between slashes. The of amount ferred to the shoulder spread the limits shoulder spread ferred to for flare flare as as shown shown where point point C1 Ci curves back almost for to the yoke yoke line RC. RC. to
Fig. 95 95 (a). (a). Short Short kimono kimono sleeve with flares a! at 10W lower Fig. radiating from simulaled simulated yoke yoke line. radiatirlg
'
176 I76
SLEEVES
95 (b). Pattern Pattcrn slashcd slushcd and und spread for Hare Fig.95 flarc a: Fig. a1 Iower lower shorl sleeve. edge of short
2.2. just v_ Just below point R, taper the width between lines RC and RIC! R101 to nothing. Measure down mpoint C on line RC approximately 4 inches and ‘v l
"
«‚u ’ R‘
rkk X. Mark a point X1 the same distance down C1R1. 1. Draw a convex curve from X1 to W, _mC1 on CIR inches below R. The Thc space between XIW X 1W and dart will give the blouse "R1 not taken up in the dar: blousc nttslightly 1W is X1W slightly more ease. Since the new line X ‚v;; r than X W, ease the convex curve XIW between between _nts W and X when pinning the dart. Draw a smooth convex curve for the lower Iower edge sleeve from U to T and from V to esleeve ‚the l0 T, and round corners at a: P and G. '_ l underarm comers Add a 5% 3Ainch seam allowance on lines CXR VCIXIW when cutting the Ä pattern in fabric. Mark pattem Lhe fabric the inward curved lines such j m tely on the tcly U“ which control the flares‚ ‘Xl L flares, and clip the seam alcc so lhat (hat the flares will {all [ a l l in definite clean lrom the yoke edge. ‚ (mm ‘
Shorf Kimono Sleeve wilh wifh Fullness Draped from Bofh Bo+h fhe Under and Overarm Info info fhe Yoke Edge (see Figure 96a) Use the draft for basic kimono sleeve 2, and follow Figure 96b.
I63I page I63,
l. Draw lines Hnes for the simulated yoke, RC and CS. C3. 2. Draw lines for the lowcr Iower edge of the sleeve, U UT T and TV.
.. .-
_
ms
3. Rule lines from the yoke to the side seam at the underarm and to the sleevc sleeve underarm for the folds. 4. Crossmark the yoke edge at each slash line‚ line, and also draw horizontal lines lincs WW1 WWI and XXI across thc the {rom and back group of slash lines. from
5. Cut out the blouse iront front and back. 6. Slash along the yoke line CR and CS. Extend Extend each yoke line slash to the point o! of the waistline dart dar: in order to lo transfer most of the dar: dart to t0 the yoke edge.
_;
I77
S L E E V E S 5. Rule a horizontal line across the sleeve at right to the Center c e n t e r line YZ to keep the sleeve slashes angles t0 in line when they are spread. t0 the poim (i. Rule lines from the front neckline to 6. point dart. waistline waislline
o1’ o1 lhe the
7. Trace the blouse from front and back. Cut the patt0 line of the sleeve to of the blouse on the straight lengthwise grain. 8. Slash through the vertical lines on the sleeve t0 spread for lor the pufiÄ pauern pattern lo pufl". 9. Rule a vertical and a horizontal line on a sec0nd sheet sheel o! ol paper 1o to serve as guide lines in placing thc the vertical slashes. center t e r n apart along the Lhe top Center Lhe center from front and back place the
‘
Kinmnn blnusc wilh with ahnn shnrt pufl slccvc. slceve. (u). Kinmno Fig. 97 (a).
3. Rule slash lines from the neckline t0 the lower o! the sleeve. edge of bdge lines on both both back and front from the 4. Rule lincs at the poim whcre the sleeve and the side underarm a: ünderarnn point where to z: a poim from the Center trom kann intersect t0 tront ‘kam point Il inch fronl of the neck, neck‚ intersecting the new nd back at the base o! h neckline, from front and back at W and X. Slash and antl t0 these to lines introduce imroduce e x t r a extra on the read jread length length nderarm for freedom to raisc raise the arm comforlably ‘; ’nderarm comfortably s at the lower edge. V3: a short sleeve which is tight a:
|0. Slash l0. slabh line PW PH/ in from „ m “ and GX Gx in back t0 the nccklmc’ Spread neckline. at the underSlashes 3 inches mches m under" these slashes Spmad the“: arm.
I l. Slash the three lines drawtt drawn from the front neckline Lhrough the of the waistline dart, and through point poim dart 5/, extra or e xtra spreati the durt spread 5%[0to I inch at the poim point {for {ullness ztlong fullness the bust line. Iine. Spreading illong Lhe Sprcading the neckline slashes (loses closcs the tlart dart at the Lhe waistline.
*
Drnw ncw l2. Drzm new unclerarm underarttr curves a: at I’ P and G, and draw slightl)’ comcx convcx Iines lincs for the neck and lower edge slighll} ol 111e the pull slecve. pufl sleevc.
—.-
-1 -|
Lme
Center
-‘-
Top
MIN
Snvead vor Snveaa Mmm Sleeve Tnght Alm a! Lowev Edge
Sleeve
Fig. 97 (b) . Draft for kimono blouse with short puff pufl slceve.
179
D D RR EE SS SS
—
DESIGN DESIGN
Kimono Blouses with Cowl Sleeves - Short Sllorf Cowl Cbwl Sleeve Sleeve Klmono Blousos will: Covvl Sleeves mlh Feld: Produced by with Folds the Basic the Basic by Slashing Slnhing and Spreading Spreading Kirnono Kimono Paffern Pattern (see and c) 98a. b, b. and (see Figures Figures 98a, c)
6. fi. Spread R folds between bez Spread twice the depth depch of the folds -_
anct RlT RtT and PY and P1)’. PtY. Figure Figure 98c shows a fov, ana and PY ahowsi: inch spread. spread. Repeat Repeat exactly back, si since ior the back, exactly for and from front seam joined man must dra back and scam lines when joined piece of labric. fabric. as one picce ‘
<
_
Use Use the draft for basxc basic kimono pages 163· kimono sleeve 3, 3, pagesl63I64 and and follow Figure 164 98b. Figure
7. R to point Won 7. Measure Il inch from R t0 poim W an the fro side seam and from S to point X on the side scam S the side: b point X seam.
l. I. Draw the line for the lower edge edge of the sleeve, UC UC and and CV. CV.
to U 8. 8. Draw a convex curve from W W t0 U in front, a from X X to V back. The remove v from V in back. T he curve should should removef points Rl R1 and and U, S1 and V. little at points V. U, s1
2. Draw the cowl lines, Jines, R RT bodice front and T on the bodice ST1 on the back. The illustration shows the cowl line STI entering the side seam at at R R and and SS 3V2 entering 3%inches above the shoulder seam at the waistline, at T T waistline, and entering entering and Tl Vi! inches from and T1 111/2 from the armscye end. armscye
l
A folds A convex v o m / e x curve curue is essential tu to allow cowl f0 fall into position, since the line TRt will fall on TRI will fall an. T2 fall into position, and yp1 will fall on YP. On each cowl and YPl YP. cowl line, (hat line, theed of the fold fold must be longer than the line that /al of langer than inside the fold. fold. inside
Short Shorf Cowl Cowl Sleeve on a True Bias Fold Feld
This sleeve shows way of producing shows another way producing; co drapery which also applies to co\\-ls in other p parts„ also t0 cowls drapery applies the costume. costume. The may begin begin as low as The cowl may as the wa· line or up part part way way on the side seams, as line or up as shown sho · Figure 99a. Figure Figure for aaß co illustrates the pattern u. layout for Figure 99b illustrates pattern layout sleeve with the underarm underarm on the true t r u e bias.
_; w: "
I. line YZ YZ on a sheet of paper. l. Rule a vertical line paper. b— 2. front a 2. Measure up up from the waistline on the fronil ' Vi! inches in the sleeve illustrat back side seams (2 illus slecve (21/2 and mark K. K. 3. Place the front and on the ve.' seams on and back side seams K. cal line YZ so that they will intersect al K. at YZ intersecl they
from kimono fig. kimono sleeve cowl sleeve designed designed from (a) . Short c.owl Fig. 98 (a) block.
_
4. Pivot outward the corners H and C on the. the sii’. YZ. seams of the front from line YZ. from. and back equally equally amount pivoting determines the depth co ol pivoting amoum of depth of the the" ' drapery. In Figure 99b, H and C are each 30! inch H 31A Figure drapery. from YZ. [rom line YZ.
normal 3. 3. Draw a second cowl line following following the normal B is [rom armscye in the draft layout, that is from P through {hat through B layout, armscye to Y and from G through to Y. The line passes Y. D t0 G’ through t0 Y passes about halfway between the armscye about halfway armscye of the blouse and the armscye of the sleeve.
K
5. Draw around the blouse back and front. and front.
From here on you From here on you may may copy copy the pattern pattern 1llustral nllustra v in ord drawing lines as indicated. indicated. But in *_ drawing in the cowl Jines to a little, cut the pattern in muslin, lea c u t 1o experiment little, panern cxperiment ing drawn between the en ing 2 inches above the line drawn B and of sealns at B ol the front and back shoulder seams 33d?G. Place YZ ruled on the muslin. > YZ on a true bias line ruled
4. and back (see [ront and Figure Cut out the blouse front (see Figure 4. Cut 98c).. 98c)
l.
at points 5. to the shoulder line at Slash the cowl lines to 5. Slash points D B T at YY above points B and D (see Figure and at Figure T1 and and Tl T and points 98b). 98b) .
180 I80
SLEEVES
A
slccvc Dran Drah 3 Ior [or Fig. 98 (b). (b) . Slash lines drawn on kimono slcevc Fig. slcevc. short cowl sleeve.
Y
iolds. (c) . Slashes spread for cowl folds. Fig. 98 (c).
18l I81
DRESS DESIGN Experimental draping with the approximztc p: bring: out many possibilitics for handling m; ‚
.
and sleeve cowl. After blocking this patticulzr %. the designer did not carry the cowl liuc in (um: to the shoulder point as she had planned, Im‘ it a: the corner N by makihg a neclnline slaah u
'
the center front. She then raised the section above ‚T‘ slash to form an open necklinc. As this section u upward, the inner cdge of the cowl linc, B Io N, f into a deeper fold. The back cowl line ftom C (o5: continued up to the shoulder as planned. 5b: 2-: revised the Center from line and from waistline by draping to repeal the curve o! the necklinc. addcd an inset to the waistline area below edge M" and KP since lhe cowl began above thc waislline.
“
.
Fig. 99 (a). Kimono bias fold.
use with short cowl sleeve on t r u e
Bias
Slash 8. ‘Raus: upper Sectio"
wilh umlcmrm un lruc bias. Fig. 99 (b). Pattcm layuul for cowl slccvc
I82
g
SLEEVES Problem II ll DOLMAN SLEEVE DRAFTS
slccvc with a deep urmhole and a The dolman, a sleeve (lccp armhole to thc kimono group Silhouette, belongs [o wing-like silhouelle, thc under annscye curve ol of ‚bgcause because it retains none of the sleeve. slceve. But sei-in Hut unlike set-in unlikc the t r u e true kimono. kimono. normal ‚(h5 ghe and blouse arc znrc cut in (two w o separate the dolman sleeve 3nd ‚du: fmm the lollowing illuslrations scc from illustrations junjts, flnniß. You will see it possible [o to lengthen ahnt lahm this makes i: lcngthcn the underarm sleeve section without the ol altcring the fit of allcring igam kam the ol blouse. the overarm length main Also, part äthe E {the dolman sleeve slcevc (can a n bc made matle than {hat Lhan that of longer ‘Eolthe true kimono.
Dnlman slccvc slccw: cul tut in onc um: with yoke front. Fig. I00 (u). Dolman t0 prevent of the normal sleeve slccve armscye above point poim ] to it from pulling out when the deep armhole. wllen set sei into thc a m e length lrom D t0 same The new line lroni 1o (i should be the S on the edge und the blouse. thc sleeve slccve und edgc ol both the
l
"Elbe Fthe
Yoke Fron} Fronf und and wifh a ‚Dolman Sleeve Cuf in One wifh a Yolie Dolman Line in Back Armscye (see Figure Dggp IOOa) Dnp sleevc 2, l„ Use the dralt lor basic kimono sleeve 2. page I63, ’hat u t place the shoulder poims lrom points B and D Il inch [rom Ä e center line ol the sleeve YZ. Place C, 2% inches the '- low Y, the lop center point of the sleeve (See in top Center (see Figure
7. Establish vertical slash lines Iines to the sleeve sleevc girth PC from PG the U on and from V, W, f1, front, [mm S, T, J1, X on the back. back. These lines lincs will be slashed and spread t0 to raise the lower armscye annscye curve when you lengthen the lront and back underarm slecve sleeve seams. 8. Trace 'l'race the blouse from, front, RSPQR, and the back,
EDGFE. EDGFE.
100b). _ l. Draw the dolman style-line from R to P on the ce front. lront. jinovc '‘ce
9. Slash lrom the line PG PC up to points U, T, and S on the front. Slash lrom line PC PG up to t0 points poims V, W, ]1‚ [1, and X on the back (see Figure 100c) 100c).. l(). l0. Spread the slashcs to lengthen lcngthen the underarm sleeve seam between P and P1 the same amount (hat the armhole was lowered on the blouse. Figure 100b shows the armhole line lowered 2%inches. Repeat to spread the back slashes.
2 2. Draw the back armscye line {rom D to G to i» espond to the depth o! F: of the from front armscye. Figure lH jH shows a dolman underarm line 6 inches above V
fI: waistline. l;5. D5.
Rule down from P and G, the girth points at
hont and back of the sleeve, to the sleeve points L ‘lhonl Ü‘
K. Draw a new girth line from lrom P to G. Find F ind the R and P on the between A. halfway poim point „man slylc-line style-line on the blouse front and mark S. The needcd for the underarm will radiate i length needed this point. Draw an inward curve from S to P for the sleeve ye. kceping ‘v ‘f’ ye, keeping it the same length as the line S to P e blouse section. The inward curve on the sleeve ‘lmach to the bodice without bulk along this edge, ‘laattach fullncss of the sleeve upward jwill direct the fullness jwill upward from
l l . Draw lines {rom from P1 and G1 to the elbow. These lines should be the same length on the front and back, PlL and GlK G1K are arc dilferent. different. although the angles on P1L l2. I2. Measure toward the back 2 inches from D at the top center dart on the slceve sleeve back, back, and slash to point C, the end of the dart. Spread the slash 1Ainch to convert pan l0 dart width into ease over the part of the dar: upper back armscye of the sleeve.
1;-
>.
V in w:
A ‘N
l3. Complete by tracing around the slashed and spread pattern. pattem. Note. The blouse lrom iront will be softer and prettier if you slash from S and from points l inch above and below S to the point of the waistline dart and spread line SP‚ partially closing the waistline waistlinc dart. This introduces fullness iullness along the cdge edge of the yoke.
kam line. mm
l
-
Draw a new back armscye line on the sleeve ynraw D t0 l0 G, adding 3/3 inch or about one-third of 3A
between the Original armscye line of the d the „im! lhe sleeve. Raise the sharp inward curve
183
DRESS DESIGN
Z mono sleeve Draft 2 for dolman cut wilh yoke
Fig. 100 (c)
.
Puttcrn parts
("ut
184
und slnsh linos sprcad.
[ronl
S L E EVES The procedures outlined in the Iollowing following steps are iilustraled illustrated in Figure 101c. W)’ (see Figure 5. Slash the sleeve on line VT and W1’ seam 2 inches underarm sleeve the and ‚ 101b), 101b) spread at I’ and W.
‘a. an Sleeve wifh Deep Square Armhole (see Figure 01a) In) ior designing this lhe method for illustrates the figure 101b illustrales draft kimono sleeve 2. it on i: ve, basing ‘wvc‚ 1.|‚ Draw style lines BRP and DSG for the dolman i i vc front and back of the bodice. Figure ve on the iront dolman line entering the side seam at the lb "lb shows above the waistline. inches x. G, 41/2 „and 41/1
".‚
Lhe sleeve girth and Measure down 8 inches from the for the under31kk points L and K. Draw a curve [or G to K on che 1mm and from (h8 the front L on L0 P l0 „n from
„ ' '
at the Center C e n t e r top of the sleeve 7. Either use the Lhe dart a1 as it is, converl it to ease along the cap edge by is‚ or convert t0 the Lhe point 01' of the dart dar: 2 inches down from slashing to Siashing do1and D. (See direclions for this under previous dolB und man sleeve Variation.) Note. The single slashes in the [rom front and back (V to T und m Y) give a c1ean—cut t0 and 1V W t0 a: the front clean-cut fold 101d at arm. For additional folds, slash from and back o1 of lhe 111e arm. [rom o1 1’ l’ and W to Cilhcl‘ side ol’ l0 points above and poinls on eilhcr poillls below T and Y.
ach.
Draw slash i," Dmw
to introduce x t r a length on 1ines t0 imroduce eextra lines at the half— halfunderarm seam. Mark poims T and Y a: Üunderarm S B on front and and R and the betwcen between j points from T and Y to the underlines [rom if‘n ". n the back. Rule Iines between the Original 39- points V and W, halfway iI’e seam and the blouse side seam.
Trace the bodice front, from, ABTRPQA: the back, ‘.‘f.SGFE; and the dolman sleeve, BTRPVLZKWGS-
i
lhe sleeve at B 6. Add 7A, 7/3 inch to the center top of the and D and mark U. Gradually curve down to points corners. The 7A; inch increase T and Y to l0 avoid sharp comers. 101d at VT and on the overarm length deepens the fold W1’ and reduces the tendency toward wrinkling from WY the top of the sleeve cap.
back,
5
B. Crossmark the dolman style-line as indicated. ÜCB.
Fig. 101 (a) (a).. Dolman sleeve with deep square armhole.
185
D R E S S DESIGN
Mastersleeve
of Line
Grain
Lengthwise
Center
drawn (m kimono Drall 2 tor Fig. I01 (b). Design lincs dolmun slccvc with dccp squarc armhole.
181i
‘.—‚.x.-_„_.
SLEEVES
3g)
cut apart
and slash lines spread.
D R E S S DES-IGN Deinen Show wiih StyIo-Lino Nur ihn Normal Armscyo (sog Figur» l02a) Use the for Basic Kimono Sleeve 2, page 163, and follow droft Fngures 102b, e. d, and e in carrying out the following directions.
order to revise the bulging convcx armscye linc the blouse between BRP and DSG to a sligluly cave liue for the lower part of the sleeve arm Place P1 in the from and G1 in the back so (hat touch the horizontal lines extending lrom the ginfl comers at the front and back o! the slecve. Shift the position of the entire slashed section BR and DSG1 so that the armscye line of the sleeve ‘ slightly separatcd from the armhole line of the bl This will get rid of a part of the excess between armhole of the blouse and the annscye of the sle Avoid a deep, sharp curve on the lower part of «„ l
b
-.
sleeve armscye, especially on the back, as it would when the sleeve is set imo the deepened armhole the blouse. Pencil carefully around the new armscye line o! sleeve.
3. Rule lines from P1 and G1 to the elbow a: L a K.
«u-
4. Trace the bodice front, ABRPQA; the bodi EDSGFE; and the sleevc, BR1P1LZKG1S1OÄ
back,
5. Rule the sleeve girth, P1G1 (sce Figure 102d) Erect perpendiculars from the line P1G1 to points and T on the front armscye of the sleeve, and to and W on the back. Slash and spread to increase n underarm sleeve length (see Figure 102c). ‚
Fig. I02 (a). Dolman sleeve with style Jine annscye.
v
near normal
I. Draw the slyle line for the armscyc on the front o! the blouse, BRP, and on the back, DSG. Figure I02b shows the armscye depth lowered 17/8 inches below the normal scye line at N and I.
6. Raise P1 in front and G1 in back a: least as m v7 from the girth line as the blouse armhole has v»
(leepened. Figure 102e shows these points raised 2 W inches for easier arm movement and for in drapery at the underarm. Note. In order to eliminate diagonal wrinkli '_ ‘
2. Establish the sleeve armscye line (see Figure 102c). On a second sheet of paper under the draft, trace the section BRPB, the front, and DSGD, the back (see F igure l02b) . Cut out these traced sections. Slash from the BP edge to the BRP edge of the front, and from the D0 to the DSG edge of the back. Superimpose the slashcd sections on the corrcsponding sections o! the draft and spread the BP and DG edges in
from the top of the sleeve, add 5%, inch to the ove length il" necessary. 7. Trace around the slashed sleeve to complete pattem.
8. Place YZ on the true bias.
I88
*
4
<
S L E E V E S
052m
.232
„o 0:3
E20
355mg»;
Eig. 102 (b). Design lines drawn on kimono sleeve Draft 2 ncar normal armscye. für dolman gmh with stylg style line near
DRESS DESIGN
.102
Scclinns
BRPB
und DSGI)
sprcad tn cstahlish slvevc armscyc.
I90
("ul
nul.
slnshcd.
SLEEVES
Girth Line
Pattern paru lines drawn. Fig. 102(d). (d). Haltern. pans cut and slash lincs
.
Fig. 102 (e) Dolman sleeve slashed and spread to increase length of underarm seam.
PART I
GENERAL PRINCIPLES OF FITTING this chapter the general principles of fitting fiuing
lincs ol a drcss musl lines must hung both when hung {recly freely and casily easily both one is aclive active and inactive, whercas whereas thc the form cover must fit skin-Light. w o m requires t0 be worn skin-tight. Fitting Fitting a garment garmem to lar kecncr lur kecner judgnxlcnt to determinc dctermine whal what alterations to t0 judgmem l0
are arc
d;' and although thc master pattern is the gar‘ 3owhich all Lhe the references are made, the solution for each problem is equally applicable to any garment, whether it is in the process of being garmem, that requires altera'30! is a ready-made garmem (hat
make, and it
requircs greater skill to make them. Ademust be provided without producing wrinkles or bulkiness in any pan part of the garment. Each because of ils its particular figure, becatnse panicular proportions and pos[o the fitter. Pert u r e , prescnts a diflerent problem (o of lit goes far beyond [cction lcction ot’ comfort mere and wearbeyond Harter the figure by ability. For a good fitter will flatter Hat skilllully skillfully bridging across the too narrow or too flat area imo 0 0 broad or rounded one, thus into the tlie (too making making both lcss less noticcablc. noticeablc. She will injcct stylc and smartinject style ness as well as comlort imo into a design. A basic pattern carefully draped on a personal dress form usually fits fils with liltle little or no alteration. However, women whose posturc posture varies from that of the Standard standard dress form may n01 not be able to t0 duplicate their variations by padding. And some may find it more 1o buy master patterns made convenient t0 by a commercial panern l0 pad forms and drape paltern company than to pad their own. Therefore, Therelore, it seems worthwhile to analyze the causes and corrections of fitting faults. to place the lengthwise and crostr Knowing where 1o crosswise grain on the body eliminates much of the guesswork from fitting. The Center from [ r o n t and back are, of course, the vertical balance lines and must hang pert0 the floor. lloor. Less well known are the horipendicular 1o zontal balance lines of o! the blouse and skirt. The scye thc balance line of the blouse‚ line, the blouse, is a level line ß 1/1 east quate casc
n a s t e r pattern serves careful fitting of the Imaster >careful one, of course, is to propurposes. The chief one, t0 develop other designs master block on which to flat pattern blocking method. Every correc‘flat '_wever small, vyhich perfects this pattem is imwhich perfccts because any flaw in the master pattern enters _ d blocked from it. design esign blockcd of the master pattern is of value even fining fit block, because its fit. nevcr used for a master block, _ up inaccuracies in the padding of the form . in draping. To determine the cause of an alter the master pattern back on the form after alter this alteran fitted and corrected. lf, If, after fits the lhe form correctly, then draping dress fils was to blame. But if it does not fit, then bwas thc figure ‚ should be changed to duplicate the another serves the master Fitting pattern pattem leam learn to h excellent lt an way well. provides "Will. Lhat are t0 be wom, eslof of fitting dresses that worn, confusion o! {confusion of intricate details of design. leamed how to fit a form _ Ä"have already learned that in no uscd for {hat the methods m1)", l1)", to be worn (hat is of a garment _ tfitting block to which tgern from designs. The {mm »
..
l
l
.
'
l
i
Zu
193
DRESS DESIGN lach below the armpit when the arm is down a: the side and i: the lowest point ol the annhole. lt crosses just above the largest circumference of the bust and wer the shoulder blades. In draping the basic pattern (Figure I). you will remember that the same crosswise thread was kept on the scye line. This was done by taking up the excess above the bust and shoulder blades in shoulder darts and the excess below this line in waist or underann darts. In order to maintain this balance when irregularities in body proportions or posture cause variations in length from shoulder to scye line. make adjustmems above this line, at the armscye,
In the skirt thc balance line i: a! the hip level. alterations should be made above i: to keep du wisc grain equally balanced in the lower pan o: skirt on the lelt and right sides of the cemer line at the back and from of the sidc seam. Figuren h, b, c, d, e, and f show various postures to illustrate hat the same body measurements may present quite du.’ ferent balance problems. On the first figure, wich m. rect posture, the waistline and hip level appeat panl. lel 1o the floor, and a vertical line through the Center of the side hip also passes through thc Center ol (h:
‘
side of the waistline, thc Center of the knee, (h:ankle bone‚ and up from the waistline through the Center ol the shoulder and ear. On each of diese figures die shoulder and arm havc becn thrust back to show (h: side of the waist and hip and are therefore not in a natura! position. The third figure leans back at the waistline; thus the cemer back of the waistlinc is
the shoulder, or along the neck edges; or through darts {rorn these edges.
l
7
lowered and the center front is liftcd. The lounll leans back from the hips in a position which lengthem the Center from and shortens the center back. The fifth figure leans back from the knees, stretching oul i the length along the front of the leg up to the Center from of lhe waist, and shortening the lenglh ol the leg in back. On each of these three figures (2c‚ d, and e), the center front is longer than the center back lrom the waist to the hip level, and a skirt madc lor a figure with correct posture will swing forward a! the center front and cup under thc hips in back. To correct the hang of such a skirt on one of these figulfl. ,1 III: you must start a: the hip level and first restore lengthwise lines to the perpendicular lrom there dowll. and then adjust the skin to the individual Variation! . from hip to waist by working lrom the hip level np to the waistline. For the postures shown in Figulel 2c, d, and e, extra length should be provided lroln IM center front ol the hip level to the center front o! tllt waistline, and some length should be removed al 1h! A
'
l
Fig. l. Fitting the master
panern.
the hip level and the wüstFigure 2f tilts lorward lrom lhe hip to lhe and back from the waist to the shoulder. This Im: the back hips and consequcntly shortens lhe SP1?’ belween the waist and the hips at the back. TUN. combincd with a backward tilt lrom waist to shollldlß produces a vcry cxaggcrated sway back. Swinging the sklflf‘ hips up in lhc back lihs lhe hip level ol the Ski“ ol Lhe back und causcs the ccnnten‘ back line center back between
on the entire scyc line Placing the samc crosswise thread fabric grain of the masler palgiveo cxccllent balance to the shoulder and tcm whcn the dar: ease is dimibuted bctween lollow cannm thread waistline. But thc same crosswise thus not is ease dart the whcn ummgh 1h: entire scye linc The bust. the below significant point dimibuzed abovc and have thal a; gqnembcr in correct filling is thal you should the lnr intcndcd was which scyc linc level o! the garmem fittcd. ol the line bcing tmc pcrson ncye (gn an the I
z
ß
I94
NG F II TT TTII N6
:
{N Ü ä). 3
3% l
‚
i
i
xa/«xa»
(C)
San m <°>
1x
x2
S
K’ “J (z)
(h)
Corrcct posturc; bnck Fig. 2. (a) and (b) Corrcu Figurc lcans back pusturc; (c) l5igurc Irom from the waist; (d) Figure back { m m thc hips; (e) Figurc leans bnck m m thc the knecs; knccs; (f) The sway-backcd figFigure leans back [from tilts lorward. lbrward. ure; (g) Overly c r c c t pusturc; poslurc; (h) Plczul tills
from the body. The adjustment for this irom the hip level to the also be made from
out
a!lt
tailed discussion is given under Htting etailed Fitting o} the Shirnpages n] Skirt‚pages 219-229, but this example t skirt fitting proceeds from a hip balance to the thc level t0 the waistline and from the hip levcl lt also shows that a posture which causes the hip "tion from thc the usual length from thc ‚rllon vthee waistline will make fitting alterations l
2g and h illustrate postures which produce blems in the blouse. On the over-erect blems ovcr-erect re 2g), C e n t e r back the from the Center gute 2g). length to the scye line is shortened. Also, the v the Center back of the neck to the bust ' ased, a Variation which will be especially n on a jacket with a high collar, " trying maltes makes the jacket hike up in the front out at the lower front edge. The stoopH flat-chested figure with the forward and )V’ has the opposite fitting problem. 2h), necltlines fnecklines push up in front and pull 1nd and proper balance in the blouse can
‚
*
‚
‘
I95
from the scye be restored only by adjusting the length {rom Iine to the shoulder in back and front. This may line changcs in the front and back armscye length, length, require changes shoulder seanls, ncckline. All variations in the seams, and ncckline. length ol the blouse which occur below the scye line lenglh should be adjusted at the waistline. A balanced garment garmcnt sets comlortably comfortably and does not shift out of position when one moves. Even a jacket shilt worn unbuuoned, unbuttoned, if it is correctly balanced, tilts neither forward nor back, rctains the proper posiback, but retains tion at the shoulder and neckline. More detailed alteration instructions for Figures 2g and h are given under Fitting Problems o] the Blouse, pages 198-218. When you begin a fitting, study the entire garment from front, back, and side views and make a careful beiore ripping a single analysis of any possible flaws before seam. To T0 learn to fit successfully, one must observe the figure keenly and study the relationships among its contours just as a sculptor would do. One must become conscious of grain in order Lo to know where and when to adjust it. And one must learn to trace wrinkles and unwanted bulges to their origin in order to know whether they are caused by figure irregularity, irreg-ularity, mistake in pattern shape, or posture.
DRESS DESIGN e
being fitted. The second metlfod requircs im o:Im; persons involved. For alterations can simply b; m. dicated during the fitting by pinning up dam and tucks where there is excess; marking lines for slashmg and spreading where more case or flarc is desired; and marking in new lines with pins where a seam or a dm line is poorly placed but the fit is corrcct. This i: really fitting through “blockingfl and has the double advantage of requiring less of thc fittcfs time and o! being easier for the amateur t0 do. Therc is also leu chancc o! losing the lines that are already corrccc-
which requires the readjustment and repin‘l-‘itting of
several seam lines on the figure is, in fact, mag o! drnping the most dilficult type. Since the body is never entirely motionless and there is little Chance to anchor the fabric in position, i: takes skill and deft handling to pin accurately and without pricking the model. In addition to basic skill needed in handling, fitüng also demands an understanding» of pattern shapes. Curves in a pattern edge do not necessarily indicate that a cumed seam line will appear in the garrnent but may denote a flare or simply ease over a rounded part of Lhe body. To fit without an underStanding of this relationship between pattern shape and body contour, and to work simply on the pattern edges. is to assume that the body is a flat board. The amaleur, in her zeal to remove one
an advamage of no small value. The changes are transferred to a paper pattern which is then altem! and used in remarking the correct lines on the dress. Both methods are shown in the diagrams (hat accompany the discussion of fitting problems in the blouse, skirt, and sleeve. To avoid repeating dircctions, the general procedure for changing a pauem through blocking is given on page 197. During all fittings the model should stand before a mirror so [hat the fitter may see her results withoul having t0 move away from the model. Watching the progress of the fitting also encouragcs the model lo keep her head up and face forward. The toocurious _ person who insists on twisting around to sec whal is happening is the fitter’s bane. The fitter should stand or sit as she works, whichever position brings lhe parl requiring adjustment to her eyc level. All fitting should be done with the garmenl right side out, and g lt should be done on only one side. All changcs
bulge or wrinkle,
another that is even more may unwittingly serious. lt would take years of practice in fitting by trial and error t0 gain an understanding of pattern shapes equal 1o that acquired by a short study of draping and pattern blocking. lt is this understanding o! pattern shapes and grain that gives one mastery of the principles of fitting. There are two possible fitting procedures, and both have their advamages. The first one is to open the seam lines and "redrape" the section requiring alteration. This method is useful when some experimenting is necessary in order to determine what changes will improve the fit and even the design of the garment. lt is also a good procedure for an alteration involving only a short seam line. But for a complicated alteratiomit requircs not only skill in draping on the part of the fitter but also tiresome standing for the person create
«
should be transferred to the other half ol the garmenl 4 after the fitting.
i
PARTII
PREPARATION OF THE MASTER PATTERN FOR FITTING
3. Center from and back. 4. Hemliuxe.
I. Mark fhe iollowing wifh clear pencil Iines: Blouse and Skirt I. All seams, darts, and crossmarkings. 2. Neckline, armscye, neck placket line a: center back, and placket linc in Ich side of skirt and
Sleeve (prepare only one) 1. Underarm seam. 2. Armscye linc. S. Center lcngthwise grain.
blouse,
l 96
NGG F F I I T TT I N Girth ‘_Ginh
Cente‘ {h8 center Wilh the lhe figure with 3. Adjust thc garmcnt ganncnt on the cemer of the a1 the exact center iront lront and back lincs at
t0 lengthwise (should be a right angle to
rain). ;gragn)_ and dart. Elbow line und „Elbow and 3Wrisl :Wrist placket line.
the floor. figure and pcrpendicular to Also floor.‘ A.lS0 (e Walstlmethe waistlme‚ smooth the shoulder seam lines, lmes‘, fhe
,
_
and thc neckline into correct position. posmon. Loo high; and clip if it is too cllp the 4. Clip the neckline il [ront lront and back of the armscye if it binds beol a large seam allowance. cause of
h (machine-basfe): blouse. skirt, and sleeve. am in blousc, Darts
scams ol bluusc, blouse, skirt, skirl, and sleeve. But nderarm seams tvnderarm ol the skirt; at zu Ielt side of 6 the lelt inch skirl; a eave leave placket plackel
lf you are fitting your own master pattern, Note. lt" t0 place the opening down the center you may prefer to a: the Lhe center back. ol’ the blouse rather than at front from ol"
4 inch placket l3_4
at the left side of the blouse; blouse: wrist of the sleeve. Lhc wrisl dd a 2 inch placket at the houlder seams. But Ieave leave a I0 l0 blouse. But hee Center back of the blouse. ’ at the ncckline. ch placket a1 Tu r n under the e waistline (hand-baste). (band-haste) . 'l‘urn and Iap waislline seani, i1. und rt waistlitie m seam, top-buste top-bastc it, lap it over I c waistline ol front e n t e r lronl of the blousc, blouse, mutching cCenter Caution. Cuulion. Since and und darts. darls. side d scunis, seams, _ back, buck and front, be sinnlan- in back “ve skirt appears similar I‘
ALTERlNG A PATTERN BY THE PROCEDURE FOR ALTERING BLOCKING METHOD AFTER MARKING CHANGES
‘
r e s l of to he be altered lrom the rest l. Separate the lhe part t0 I. the garnlcnl. garnient.
y
m" bulge witli nu pcncil: (a) a wrinkle m‘ Mark with 2. Nlurk a tuck; (b) thc position 21s a dart in a5 zi (lzirt or 21 posilion of pinned pinned slashes lor for sprcading or lapping slaslles lupping the pattern; pattern: (c) the (lart. ol a seam or a dart. reviscd rcviscd linc ol‘
lront C e n t e r front lo reverse it. Match the Center reful eful not t0 the cccnlel" c n t e r lrom lront of the zu thc lhe skirt carelully t0 the
o, ‚ouse.
lhe pattern, r a c e a copy of the over papcr 3. Place OYCX‘ paper and tLrace lhe outer ouler contour including all inncr lines as well as the scam allowanccs.) lines. (Du nol include inclutle seam (1)0 not allowances.) 4. Make lhC the aItei-utions «l. alteratlons on thc paper patlern. pattern.
i.
hemline (use long hand-basting e skirt hemlitic hemline and edge-baste; Tu r n on the heniline . tches) ktches). hem. te the upper edge ol the hem. aste 'l‘urn and edgelee wrist edge ol the sleeve. 'l’urn hand.' ste hand.‘ ‚te by
n. Placc the altcrcd allercd paper pattcrn back over lhe the match the grain lines. 'l‘race Trace the lhe reviscd Original und mzitch lhc muslin pattern. lines on thc p
Note. 'l‘he 'l’he same procedure proccdure applies to fitting an aclual dress that (hat is to be worn, tual [hat tailor's chalk, worn, except (hat lines should be used instead IhTCEKl lincs instead of ol pencil pins, or thread pins‚
muslin pattern well in order to check the thee muslin accurately and to obscrve the silhouette moislure in pressing ore gorc carefully. Never use moisture ‚pattcrns.
markings. markings. The rcmnintlci’ rclnaindcr ol this chaptcr intended primarily chapter is intended as rclcrcnce rcfercnce malerial material which you can consult when fitting problems arise. Consequently you will best understand the lollowing pages if il you use them when you are making some direct application of the procedures they discuss to a specific problem. Do not by any means limit the use o! of this chapter to the thc fitting of the
Ifion ‘tfion garmenfs foundation garment and wear a slip. 0
fhe person master mashr paflern on the neck and side plackets plackels closely, being
master pattern. pattern, which has merely served conveniently as a garment simple enough to be readily analyzed. a‘garment lt will also be valuable to 1o you in fitting actual garments to be worn and should be used for this purpose.
t0 catch pins into the slip. otto W
". oulder pads into place if they are in of the dress. d alte are to be a part o!
197
DRESS DESIGN PART III
FITTING PROBLEMS OF THE BLOUSE Some o! the commonest fitting problems in the blouse, and some of those which require greatest care. come in the neckline area. Others come a: the armscye, the shoulder. the underarm seam, the bust Iine‚ the shoulder blades, and the waistline. In the following pages, prciblems arising in connection with each oI diese areas will be taken up in t u r n .
Variation A. Figure 3a shows noticeabIc Iooseng; at the cemer front extending from thc neckline down t0 the waistline, where it tapers oIf (o nolhing. To correct this fault by blocking, Iollow the directions given below (see Figure 3b) . L Pi“ lhe exccss in“, a long da“ [ m m m8 m!‘ w the waisuine (See “gute 3a)
FAULTS IN _THE NECKLINE AREA
trace
2. Use this dart Iine as a new Center front linc, and a paper pauern from the muslin fronl followthe gcneral procedure for altering a paltern by ing the blocking method (see page I97 ).Figure 3b shows that the sinlplc procedurc of bringing the cenler dar! line of the papcr pattern to lhe Original center [rom line of thc Inuslin pattern revises cvery cdge and inside line in a single Operation. lt is simple t0 reblock the pattern, but t0 rcdrape il on the model wouldbe ‘edious and mighl bc inaccuram
LOOSENESS ‘N FRONT NECHJNE
appears ‘m56 This fault neckline. at or near the center front of the indicates loo much width across the neckline from shoulder seam t0 shoulder seam. Either the dress [orm was too heavily padded across the collar bone, or the fabric was not pushed away from the Center [rom enough when it was pinned around the neckline. m“
i
.
_
Problem I
_ _ s°memnes ‘h3 fabnc buckles
I
o‘
f
ä/ ä7 ä5 54
ä ä4
? Line ?
Conection
Fig. 3. (a) Fahric is loosc zu ccntcr Imnl ul" nctkliuc: excess tnpers nII at wuisllinc; (b) (Jurrcuicm linc pimtcd (u ccmcr fmnt t0 rcmovc cxccss. Dmtul linos indiuuc pauu-rn bcIore ullcration.
I98
=
FI lT T TT II N6 N G 9 2. from the neckline along the Smoolh the excess lrom shoultlei‘ shouldcr scam Iinc inlo thc lhc shoilltlci" shoulder (lart, keeping line into fronl and Lhe lhe crosswise grain Icvel a: Lhe lhe scye lcvel at scyc line in front back. back. 3. Re-Inark Re-mark the lhe shoulder seam, crossmarkings, and
loosencss near 1a shows looscncss ncar the lhe Varmlzon B. Figurc 1a -.lva„‘„„‚„1 which toward nccklixic the nccklinc thc Ihc n! nl points hom „(er "nur ll'()lll not cxlcnd bclow it. ducx n01 i.5s: but (lUCS i
[lront m m neckline.
4Ä (a).
lmnl nccklinc: zu Cclllcr ccnlcr lmni Ilccklinc: cxccss Fabric is loosc a1 of slmuldcr shuuldcr darl. anend ol ofl a: „.4 off
o‘o correct by blocking
(see (scc Figure 4b) follow the
Älions below. ctions
l
Pin lhe exccss into u diagonal (liagonal durt tapcring ol the shoulder the entl cnd 0|’ a neur lhe l0 neck lhe the n} poinl poim then pinch up an and lhen as shown in Figure 4a, und to rctain rclain the balthc oppositc oppnsitc sidc t0 a‘; amount on the al lo guard ugainst chcst und l0 “eacross the chcsl ugainsl over-fitting. ovenfitting. front the lront on paper, tracc and trace ofl Take oll lhe blouse paper, I; ncck to bust. dart from corrcction dan thc the uding Slash through of thc Original shoulder iL-Slash lhrough thc C e n t e r ol l0 the point of the bust. bust. i: __to
'
dart to of the new neck dar: lhe inner edge ol 5j Slash the the Ihr: and dart [o lhe shoulder dar: or (o the busl, bust, lap 1o! 10l ( w o lines of lcorrection dart by bringing the two correction togelher, thereby increasing the size of Llogcther, :I der dart. ldcr
'
._ z
Cnrrectinn (lun ( l u r t clnscd a1 ncLklinc ncckline and transFigni Fig.4 (b). Correuinn Ierred shnuldcr (dnrl. Dnttcd linc shnws pauern bclorc lerred t0 slmuldcr l n r l . Duttcd bcfore alteralion. alteration.
the out the the
Retrace the paper pattern the muslin master fRetrace pauern on thc
‘i pattem.
p“
this change involves only the neckline, the [I r dart, and the shoulder seam from neck (oto „der “n dart, (hc thc alteration can also be made on the bythe following draping procedure (see Figure ‘‚iby v
_ce
er
in lhe shoulder seam Irom lrom the neck to the '_)-‘ dart. 437l. "f4 (Opening only part of the seam in this f,“ ovcr causes less danger of losing the correct fit over ‘C3088; lders.)
transferred into shoulder dart. Fig. 4 (c) . Excess a: neckline Lransferred
‚
I99
DESIGN Probhm 2-
2. Mark and crossmark both sides o! the new dm Q a’ and trace a paper panern from the blouse from, S. Slash through the cemer of the shoulder dm ‘f i to the poim of the bust. 4. Slash one side of the correction dart and lap out the excess, thereby reducing the size of the shoulder dart (see Figure 5b). 5. Re-mark the muslin from the altered pattem. lt is also possible (o correct this fault by draping. This is donc simply by reversing the procedure illus
DIAGONAL WRINKLE FROM NECKLINE
l
A diagonal wrinkle radiates from the side of a toought neckline toward the lower poim of the shoulder dar! er toward the waistline dart. This fault, the exact opposite of that in the preceding problem‚ is caused by lctting the crosswise threads drop frorn the center ‘
trated in Figure 4c. 1. Open the shoulder seam as lar as the shoulder dart.
2. Open the shoulder dart and readjust it so that the crosswise grain is levcl from the Center from 1o the shoulder dart. This lifts the side of the dart nearer the C e n t e r. Reduce thc depth of the shoulder dan until the diagonal wrinkle from the neckline disappears. Then repin the dart. 3. Push the excess along lhe shoulder seam toward the neckline. The from ‘edge o! the shoulder seam a: the neckline is now higher than the back cdge. 4. Re-pin the shoulder seam and crossmark i1.
Fig.5 (a). A wrinkle radiating from neckline to the end o! the shoulder dart.
[rom to the armscye during the draping. The curve of the blouse neckline then becomes sharper than the curve of the neck, and this forces ease to radiate from Lhe neckline when it is stretched around the neck. This same fault appears when a person’s neck is larger around the base than is the neckline of the pattern. lf the diflerence i5 only slight, correct the fault by clipping the neckline, or retain a high neckline by letting out lhe neckline end of the shoulder seam. (D0 nol confuse this problem with the one in which wrinkles radiate from the intersection of the neckline
v
5. Re-mark the front neckline.
and shoulder seam, a fault usually caused by sloping "shoulders, or by too little shoulder padding in the costume, if the pattern allowed for padding.) Variation A. Figure 5a shows a wrinkle radiating from the neckline t0 the end of the shoulder dart. The crosswise grain drops from the: Center front of lhe ncckline toward the shoulder dart but is level at the scye line. T0 correct by blocking (see Figure 5b), pmceed as fallows. I. Pin (h:cxcess into a dar: tapering [rom the encl o! (‚h2 ohoulder dar: to necklinc as shown in Figure 5a.
Fig. 5 (b). Corrcction dart closcd to remove excess below shoulder dart. Stcp l Mark corrcclion dar! m show excess. Step 2 Bring AB m AC. Dottcd Iiuc shows D10050 bclore altcration.
———
Variation B. Figurc 6a shows u sinnilar but hr3“ wrinkle which runs to a point below (Ire bust. ThC
200
.
F I | TT T F
is loose, occur most frequemly frequently on a round-shouldered, chcst is concave beIlaL-chcstcd Ilat-chcstctl pcrson. pcrson, bccausc her chest Lhe front, and in lhe line lhe shonltlcrs tween the ihOllldCYS und the scye scyc nnakes the blouse too bnck conunn CUHLULII is convex. This nlakes her buck Iront above the scye level. By leveling the long in front crosswisc grain at the scye line, you can push up the crosswise lhe scye line from betweexi belween Lhe excess lcngth in the blouse front und and thc base o!" the neck. The 'l'hc horizontal wrinkles due the armhole or may l0 cxcess Cxccss length through lhe Iength may run lhrough ofi to Lo nothing therc. T0 get rid of them, pin a Lapcr oH tapcr the upper part of the chest horizontal tuck dan across thc und corrccl (sec (see lügurc by blocking. Figure 7c Figure 7b), shows how l0 u) changc the Lhc change putlcrn. pattcrn. the figure, rip the T0 'I‘o fit out oul Lhe the cxccss exccss length lenglh on lhe until the crossm m edgc scam und ruisc raisc the [front shoulder scznn edge umil i5 levcl level and the blouse fits wisc grain at a! the scyc line is to lhc shoulder. Pin m m thc scyc line Iine up t0 smoolhly {from slnoolhly lhe new shoultlcr scam and mark a new fronl neckline.
from thc Lhe Imticcublc (lrop froxn gruin shows u noticcublc drop line. thc below bclnw xidc 1o thc scyc front l0 m [er [ront 6b),‚ proceed as lügure 6b) (see Figure correcl b)‘ blocking (scc ffo ffo correct ilows. lows. aL the poinl da11 bcginning at excess into ua darl point lhc exccss Pin thc '|‚ '|_um ut0. ) nothing at the und (Jan da11 tapering tupering w aistline waistline me ‘kkasshown lügurc 6a. as shown in Figurc illustrated in Figure 5a. Follou‘ the procedure PTUCCÖUTC ‘_ ",2. Follow to correct be bc . would lt impractical t0 Figure 6b). fjgure lhe model. on the model. thc patterrl pattcrrx fault by rcdxuping rcdnaping
„ise k, „_W155
"' v
‘
.6(a). Large wrinklc radialjrxg 1mm neckline below the bust. ‘m bclow _int v
t0 1o
NG N6
a
x
below the base of wryinklcs horizonlally bclow Fig. Fig.77 (a). Blousc wr-inklcs chcstcd figurc. lhe neck on a Hat chcslcd shoulder and scye linc pinned bctween shouldcr Fig.7 Fig. 7 (b). Excess between out in a horizontal tuck.
"55(6). (Ionection dan dar: closed to remove excess below (b). Conection
Iine. . line.
V OÜSE ÄCROSS
Problem 3
OUSE FRONT
A
W|TH HONZONTAL WR|NKLES WRINKLES 0F OF NECK (see Figure 7a)
BASE
onzontal wrinlkles in the blouse from, sometimes ‘Jonzonlal wrinkles I3 Crosswnse Crosswlse fold near the bust line if thc the neckline
Correction tuck lapped out to shorten center Fig.7 (c). Con-ection front above scye line. This also tightens neckline slightly.
20l
DRESS D E S I G N Problem 4
Problem 5
ILOUSE IACK WITH HORIZONTAL WRINKLES ACROSS BASE 0F NECK (see Figure 8a)
NECKLINE PULLED DOWN AT CENTER BACK AND TOO HlGH AT CENTER FRONT
The
figure with shoulders and head arried far back will have a shorter-than-normal back scye depth. and the excess blouse length in back will push up into a neckline which is too high or into horizontal wrinltles just below the neckline. Or if it does not push above the scye line, it may sag into Wrinkles across the lower back with the crosswise grain dropping noticeably at the center back. When these irregularities occur, fit the garment in exactly the same way as in the preceding problem (see Figures 8b and c).
l
(see Figures 9a and b)
over-erect
This fault is related to the one illustrated in Figur: 7a, which shows horizontal wrinkles across the [mm neckline. The round- or stoop-shouldcred posture lengthens the back scyc depth so that eithcr the Center Q back of the neckline pulls down or the Center back of the waistline pulls up. The more forward the head, ä the longer the back scye depth needs to be. Otherwisc the shoulder seams pull toward the back. Also, the back of the blouse will be too nanow between the .3 armscye lines‚ since the rounded back brings the zum: forward and increases the width needed between the back armscye lines. To
this fault by blocking, Iollow these steps: l. Pull down the crosswise grain at thc center bacl f until the blouse scye line is lcvel. Then measure thc amount needed to raise the neckline to its proper height. correct
ä ’
(8)
— .‚
(b)
Fig. 8 (a). Blouse back wrinkles horizontally acmss the base o! the neck on an over-erect fig-ure. Fig. 8 (b) . Excess pinned out into a horizontal tuck or d a r t in order to malte the scye line level. r—-__
F ig. 9 (a) and (b). Round shouldcrs and forward-tilting hcad cause wrilnkling at lhe lront ol thc neck and pulling down at thc back uf thc neck.
2. Mark a line across the blouse where the shoulclers show the most [lromilment bulge. Or if you am usmg a muslin pattern. slush und sprcad it along lhlS lme (see Figure 9c) . 3. 'l‘rzu‘c a papcr copy ol thc blouse back. 4. Figurcs lld and c illustratc thc mcthml ol nlarlting thc papcr pattcrn and ol slashitxg and sprcadlnß-
fi g s (c). Pattcrn corrected. Dotted line shows shapc of blouse bcfote alteration. 202
t
FITT
N6 NG
Spread
S p r e +a d\\\\\\\»
.
-
-.. I
5 _3.’
Jul: 5:3: E9 Im 545°; ‚g I:... Eis, .°° t3 J2“«v 22°‘? U) C.B. C.
(c)
corrcction by slashing. Fig‚9 Fig.9 (c). Shows correction
»RRe-mark lincs from the spread pattem. e-mark the blouse lines pattern. from
o correct the same fault
_ ‘b’: f; uJ ““ (u
44.
by draping, proceed as
ws: "ws: ‘
vi’Open the shoulder seams and level the crosswvise crosswise seanls
'
..‚
at a!
the scye line, thereby reducing the back
der seam allowance. ider
Pattcrn sprcad t0 incrcase increasc Iength Fig.9 (e). Pattern length of the scye und width und u'idlh of o! the uppcr blouse.
7:Pin at the neckline and increase Pin in u small dar: a:
‘
se or the size of the shoulder dart. kase
‘_
R e-pin the shoulder seam. Re-pin to add width as Mark a ncw line a: the armscyc armscye t0 wn as necessary.
ä.
T0 make makc mund round or stooped obvious, slooped shoulders less obvious‚ fit the entire back of the blouse with plenty of room. To counteract T0 countcract the round-shouldcred round-shouldcred 100k, there lhere must be ease on all sides of the shoulder blades——above, blades—above‚ dar: and und shoulder ease; beside, through through a neck dart ease along the unnscyc held up by shoulder pads or shrunk out zu a1 the lowcr lnwcr armscye curve; and below, below‚ o! using a long by blousing blousing above the waistline instead of darl. figurc-fitting waistline dart. lf the entire back is somewhat tight, slash the paltern pattem Iengthwise through the shoulder and waistline darts and spread t0 1o introduce width as well as to increase scye length (see Figure 9e) 9e)..
FAULTS IN THE SHOULDER AREA
Since faulls faults in fiuing fitting between the bust line and the shoulders, front or back, requirc corrections involving the shoulder seam, any changes in the shoulder seam line itself should be made only aftcr aiter carefully the and smoothness of fit through ease. ease, grain, grain‚ checking the bust, chest, and armscye. If lf the fit proves satisf faults observed near details, any {aults factory in all these delails, the shoulder seam must be due to a lack of adjustmenf between the shoulder seam line of the garment and the shoulder line of the body.
es marked for slashing and spreading a fil-ines or round shoulders. f0!’ round
203
DRESS DESIGN To correct the blouse shown in Figur: 10a, decrem the slope of the garment shoulder by fiuing 100mm: out o] the neckline end o] the shoulder seam as shown by the pinned scam on the right side o! the figure. Do
Prgblgm 5
“
“AM UNE SLOPES T00 I
SHOULDER
„
SHARPLY
A Person Wim very square shoulders will very 0mm lind that there is_ too much shoulder slope in readymade clothes and in commercial patterns. This fault may also appear in a master blouse draped on a personal dress [orm if the shoulder pads used at the fitting are thicker than the shoulder padding on the dress form. When shoulders are very square and the blouse shoulder seam slopes too much for them, fit-
not make the mistake of letting out the armscye cnd
I I I
‚J
5}
ting problems of two different kinds arise. A distinction must be made between the two types of faults. One kind occurs when the back or front of a blouse fits contctly from the scye line up Io the armscye end of the shoulder seam but is too long from the scye line to the neckline" end of the seam (see Figure 10a) . The
I
‚EI
i
Ü
second, and the more serious kind of fault arises when the blouse is too short from the scye line to the armscye cnd of the shoulder seam, thereby pulling the entire blouse from waist to shoulder out of line (see Figure 10b). Pattems in Figures l l a and l l b show the dilfcrence in these two fitting problems.
.:|
“I 5
-'I I
_-..J. -7 3
/
E‘
„f?
4g’ I
I
II
is too long [ m m scyc line I0 ncck cnd o‘ ‚nannte: scam. (See Figurc ll (a)). . loo short from scyc lmc In armscyc pi‘, |0 (b). Blume III of nMumm „ a m v (See Figur‘, 1| (5)) '
173.10 (a). Blouse
j
J
(b)
Fig. ll (a) und (b). Shoulder slupc wroliß-
am
204
l N G F I TT TT I
v":
to have the person being fitted level level as well. lt helps t0 hold the cemer center front in position near the chest and the fitter smooths the fabric up neckline area while Lhe and establishes one shoulder seam from the scye line front seam edge first, turning Pin the at time. a edge under the raw edge and pinning it as in draping. lrom the scye line, slip the Then smooth the back up from back seam under the lront, front, and pin the two together.
i e shoulder sczun with thc the idcu idca [hat that the neck would scam wilh
‚
‘i seule settle the
(Iown (lown to fit the body. bod}. This would merely whole top half of the garment [0to droop by
t0 to the scye line. on a ready-made garment garmem the exccss length imo into a tuck ‘ch has a collar, pin thc o1‘ center C e n t e r lront to a point on the Center back o1" {u cemer «in i’ it fits correctly. ln this way, lder lder seam line whcre i1 wvay, ing and changes in pattern shapes can come alter ‘ing
lrom lhc the shoulder it too long from mg i! ing
this alteration Ömake lhis ‘imake
n’
_;fitting. fitting. I:o correct the blouse illustrated illustratcd in Figure 10b, i is too [ o 0 short from the scye line to the top of the the armscye decrcase the slope by Ietting „u „f ole, decrease letting out tlze shoulder seum seam until the crosswisc crosswise grain the shuulder o] lhe t0 bc levcl a: at the scye line. See thc the corCorenough l0 a of halt’ ol l0b. halt" the blouse in 10b. lt would ‚_Figure right to straighten the shoulder by rong in this case t0 the neckline end of the shoulder seam, be« beg in Lhe “ that hat would raise the scye line ol the entire blouse tthe he position for which it was intended. Since this error in fitting can not always be sults ol lhis ‚results «c m immediately to their source, let us look again at f: half of the blouse in Figure 10b. This scction eft section downward at the armhole cnd end of the shoulder The crosswise grain pulls upward from the r back waistline (or Center center lrom lront as the case may Äward ward lhe the armhole end cnd of ol the shoulder seam, and lorm in this direction. 5 able diagonal wrinkles form aistline at the side, side. and the ease from =waistline pulls up of the waistline dart strains toward the end nd nd sshoulder houlder seam away from the shoulder blade‚ blade, ’" i: was intended to be. Figure l l b analyzes a i! back pattem pattern which has this fault in fitting. litting. lleration is simple enough in a muslin pattern, ‘Vleration omplicated in a ready-made garment by the ‘complicated the sleeve. tyy of refitting refilting lhe
Problem 7 SHOULDER SEAM LINE LOOSE AT THE OUTER END. DIAGONAL WRINKLES FROM NECK TO ARMSCYE
i
.
p:
‘i. 1e
>e ‘i
Saum Shoulder Seam may ay mistakenly believe that the alteration of e? seam is an easy matter, but if you rip it ‘V ol the most diflicult „apart. apart, it is actually one of im amateur t0 an to re-pin accurately. It lt is imthis seam to balbalance in order correctly ‚sck and front scye length, and yet when the Ack In is completely ripped, the whole blouse from and Center front laoe. Not only must the center ‚laoe. the crosswise ntered on the body. "oentgred body, but die held atye iline front and back must be held acye
l2 shows a shollldß)‘ shoultler seam loose at the armFigurc I2 falling from the neckscye end, with diagonal wrinkles [alling Iinc end cnd ol lront of the line ol" the scam imo into lhe the hollow in front is arm. Similzir fsimilai‘ wrinkles lall toward the back. This i5 because bccatise the shoulders shouldcrs slopc morc than the Lhe shoulder seam ol the garmcm. wrinkles garmcnt. Sometimcs similar utrinkles occur when the Lhe shoulders are narrow and the unsupbone ported length |)e\0nd beyond the end of the shoulder bonc into lhe armscye. diagonal lines along the Lliagonal drops armscyc. \\’hen a broad-shouldcrcd Silhouette is in lashion. corCorsquare broad-shouldered rect lhese (lrooping rcct thickncss to the drooping lines by adding thickness outer edge ol o! the shoulder pads. ’l'o ouler lit the slope ol 'l‘o fit of the shoulder, reverse the procedure outlined in Problem 0G (see Figure 10b). That is‚ is, take up the armscye end of the shoulder seam until the crosswise grain at the scye line is level (see the corrected right a: shoulder seam in Figure l2).
‘H10 H10
v
i
Fig. l2. A figure with sioping shouldcrs has excess excca length sloping shoulders armscye end o! shoulder scam. armscyc
v
at a1
205
DRESS DESIGN E
moved forward and trace along the new pinnecl Im; with the wrong side of the blouse next to the catbon paper or chalk board. Then tum the seam allowance out of the way to transfer the line to the wtong sidc of the blouse front.
Preblcm 8 SHOULDER SEAM STANDING ABOVE HOLLOW AT CENTER OF SHOULDER
Figure 13a shows a shoulder seam which fits at both ends but fails to settle down into the hollow at the oenter of the shoulder. Thick shoulder pads exaggerate this fault. If the shoulder position and fit are otherwise correct, simply pin a small tuck across the hollow along the seam line without ripping the seam. l! the fabric appears looser in front than in back, pin more of the tuck out of the blouse front. It is also Vpossible that the shoulder seam is properly curved but has a wide unclipped seam allowance that keeps it from stretching out l0 its full length. In other words, the raw edge o! the seam may be tighter than the seam line. T0 correct this, clip the seam allowance (see Figure 13b) .
Fig. l4 (a) . Shoulder seam line is in an unbecoming position.
(a) (b)
Fig. l5 (a) . Pinning along curve in shoulder above a Fig. l3 (b). Tight seam edges must be clipped curve. seam.
Problem 9 SHOULDER SEAM IN UNBECOMING POSITION
When a shoulder seam line fits smoothly but needs the proper appear1o be moved forward or back for ance of the garmem, it is unnecessary to rip Lhe seam.. line with pins .(see Figure 14a) Simply mark the new to transfer thns new.l1ne to the how shows 14b Figur: foldmg so that undcr layer of fabric by tracing, then linc. Turn the lhis m, „w edges will comc along if the line is m be „am allowance toward the from
bul Fig- l4 (Ü). Shouldcr seam uuwcd forward. linc. rctainctl, by lracing ulnng pin
206
sann‘
fil-
F I T T I NG
' p
l0 Problem I0
Problem lI I
DRAWING AT NECKLINE END OF
SHOULDERS OF GARMENT TOO NARROW FOR BROAD-SHOULDERED. ANGULAR FIGURE
SHOULDER SEAM
occurs, the neckline end of the shoulder en this occurs‚ _ hen t0 fit smoothly because the base is f e neck unusually broad and slopes up the side Center of the shoulder (see Figure 15a). Ä». löa). A ‚’_:„ the cemer z‘. wilh a broad base requires a definite upward f. e a! the neckline end of the shoulder seam. Clip the curve belore before fitting the ‘lshoulder shoulder seam along lhe i’ - 2s as explained in Problem 8.
3.. u. generally falls i
„.
The angular figure with large bones should have h a t give the illusion of rounded conroomy garmems {(hat the chest and tours. lf the (he shoulders are broad but lhe bust line are rather Hat and narrow, the blouse should narrow‚ a: the have a definite vertical fold of fabric beginning at upper half of the armscye and tapering to nothing at the waist (see Figure l6a). This will act as a transitional line belwcen belween the broad shoulder and the narrow chest. D0 not fit this figure closely at the underarm. Broad shoulders Support so much e x t r a width {hat the Broad (hat lhe dar: in back shoulder dart in fr_ont thc waistline darf. figont and (he can be somewhat reduced, letting cxcess letling part of the excess go into looseness a: the sides of the figure. (See Figlöb and c for altering the pattern.) ures 16b
E15. (a) Broad neck base-the pattern draws a1 the l the shoulder seam. (b) Neckline end of shoulder Hhe and slde side of neck seam let Iet oul out for broad broad neck base. i'
relieve Lhe tightness ing the neckline seam to relicve to this problem, because dedly not the answer 1o dedly -of f the neckline should come above the broadmeasurement to make the base of the neck measuremem er and to minimize the difference between Ü!"upper part of the neck. Another reason upper pan line the (h: that roll collars attached high is (hat qg 110m neckline will buckle away from [rom the 40v of the neck. "tpartt o! e?. ßckline eckline for a looser yet higher line, rip d off thb shoulder seam for at a: least 11/, 11/2 cllcenter einer front line in place and smooth 3rd die front from the shoulder, letA the lhe frqnt seam allowance. fr_ont shoulder scam hich follows the side of the ziemlich lhe am’ e "mw l n w edgc t0 this new line in edge to this procedure “äkupeat Chi: ptocedure for the mm _and mark a new side hat-max]:
(a)
l
l
p
l
change.
207
l
l
o
(b)
(C)
l6. (a) Venical Vertical {old fold a: armscye softem Fig. I6. soflens line between broad broad shouldets shoulders and narrow nanow chest. (b) shoulder Shoulder line widened and waistline waistlinc dart reduccd. (c) shoulder Shoulder line 1in4: widened; wldened; waistline dart not reduced.
„DRESS D E S | G N Problem l2
Problem |3
SHOULDER SEAM LINE T00 IROAD FOR NA&ROW-SHOULDERED FIGURE WITH
ARMSCYE GAP CAUSED
LARGE IUST q
This ptoblem again‘ is one o! equalizing body proportions. I! the shoulders can be made to appear broader through the use of shoulder pads, the bust line will appear less heavy and the ease needed by the lüge bust will be more becomingly supported above
die hollow usually present in front of the arm. Instand of cutting olf the extra shoulder width, use i: t0 increase the depth of the dart. In garments other Ihm a master pattem. this width is often placed in a [ m m and back dart on the armscye line (see Figure 17).
IY INADEOUATE DARTING:
Variation A. Figure l8a shows looseness a: an’ lower curve of the back annscye tapering toward ehe"; upper end o! the waistlinc dart. The crosswise grain i1. level a: the upper back line but rises noticeably toward; each side seam from the waistline up (o the armscye, where it gaps. The pouch at the armscye was produced by an attempt to fit Lhe waistline by pushing the excess over toward the underarm seam instand of taking up a large enough waistline dart. This also raised the crosswise grain toward the side seams. Tot eliminate the excess a: the armhole 3nd 1o providp more ease at the lower point of thc shoulder blade. ‘ pin the excess into a dart running from thc armscye to the point of the waistline dart. Remove the blouse and alter the pattem by the standard procedure. Transfer the excess at the armscyc into a larger waistline dart (see Figure 18b for the pauern change). 1
'
W
»
between narrow shoulFig. l7. Dar: along armscye bridges ders and [arge bust.
FAULTS
m ms ARMSCYE AREA
Because any fitting changes near the bust or shoulder blades probably involve the armhole, observe the ease around the scye and bust line before fitting line should fit with armscye faults. The armscye l0 move freely without cnough ease to allow me arm at the fronl or binding, but also without gapping trace a gapping bgck armscye cdges. You can usually blades shoulder the for armscye 1o inadequatc darting the from. The armin bust in the back or for the even when the darting is ade„ye m3,: ggp, however, will bc discussed in ‚me, Corrections for this fault
.‚-.--
(b)
n}
'‚___‚
—-__J
0“" Fig. l8. (a) Exccss a1 lowcr curvc 0E annscyc pinned into corrcction dan. (b) Excess an lowcr armscye "am" lmclott. lcrred imu waistlinc darl. Doucd line shows paucm alteration. '
1h: iollowing problems.
208
FITT
NG
translerred to darts at the b6 transferred The excess should be l9b and shown in Figure as Fxgure 19b shoulder und shouldcr neckline and bclow. below. described ncck dart inlor the neck l. Draw a short vertical line for thc cnd ol lrom from tersecting a horizontal line (lrawn
looseness at the xhows loosexxess l9a shows 19a the crosswise with back the armscye „V.- part ol ‘Vper the center lrom neckline the dropping “n I; near this correct T0 line. dilhculty, ztrmhole dillicttlty, urmhole the to ,6‚i‘ thicker using the by length supcrlluous superfluous up the on thc dart to a it translcr transfcr larger der puds, or ulder At neckline. the neckline. at a dart and seam u» shoulder dart a into the pointing pouch annscye, pin ‚i:-i|pper upper armscye, side „the top of the shoulder blades (sce the right l9a) . Afigure igure 19a)
Figure ariatiun B. Figur: "Variation
‘i
I
the pouch. 2. Draw a line through the centcr of the shoulder meet the horizontal correction dart. dart to IIICCL line from the end of the 3. Slash the horizontal linc dart. neck ol the pouch to the end ol’
darts and spread ncck and shoulder darls Slash the neck 4. Slanh ln order to sprcad the correction dart. In closc the corrcction neck dart, also spreatl slightly along the horizontal the Center dart to thc [rom the tlart Redraw the neckline lrom line. Redraw‘ back. back. enter Center Variation C. Figure 20a shows a pouch at the C lrom the point of the of the lront armhole radiating [rom excess at the armscye into a dart the cxccss Pinch up thc bust. Pinch Figurcs 20b and c nothitrg at the bust. Figures tapering to nothing the shoulder translcr this excess eqtrally show how to transler equally to thc dart. waistline waistlinc the to and waistlinc darts or entirely cntircly mcthod that keeps Choose thc method Choosc kccps the crosswise grain line. A third method the scyc lcvel at thc more ncarly lcvcl scye linc. at the translcr the excess is to translcr‘ armscye into a horizontal to 11/2 seam approximately 1l t0 underarm scam dart at the underarnn lI/z inches below the armscye (see Figure 20d). Figure Variations A, dcscribed in Varlations thc faults laults described ll you correct the B, and C by fitting the garment directly on the person, seam lines to open and revise from determinc which scanx determine the (liagranns pattcrn changes. diagrams showing the pattem
‚'
n
t0 to
(a)
" Over—‚„uzzm1II/I/l/I/l/l/I/flfl/WW' oVel ..‚.‚„mmu/I/z/I/I/MIIW: Iapped
at front lront annscyc Fig. 20 (a). Exccss ut armscyc pinned pinncd out into correction recuon dart.
at upper nmscye armscye pinned out imo at upper armscye transferred B) Excess 35s
ab;
209
DRESS
D ESIGN Problem |4 ARMSCYE GAP CAUSED BYEXCESS LENGTH FROM SCYE LINE TO SHOULDERS The round-shouldered and flat-chested figure may have too much length from the scye line to the j shoulders in the front of the blouse. lf so, corrcct .3 this defect according to the directions givcn in fitting 3 problems in the Neckline Area, Problem S, page 20l. The over-erect figure may have excess length from the scye line to the shoulders in the back of the blousc and this should be handled as explained in fitting problems in the Neckline Area, Problem 4, page 202. ; The very slope-shouldered figure may have excess ä length from the scye line to the shoulders in the back or front and the difficulty may be corrected according to the directions given in fitting problems in thc Shoulder Area, Problem 7, page 205. ‚
Fig. 20 (b). Correction dar: at armscye transferred imo larger shoulder and waistline darts.
darl. 1511520 (d). lixwss trnnslI-rrcd inm umlcrnrnx
pgg 2o (c)
Lxwss
transferrcd
inm waislline dan.
2N)
F I I TT F T T I NG NG vertical (‘analzun B. Figure 22a shows an almost vemCal Variation and the a1 Lhe tapering fold staning with excess armscyc armscye lhe side seam. Thf: ncar the thc waistline near l0 nolhing to Imthixlg at Lhe Th? lold in this case is more nearly verpdireclion of the [old dircction vergcrosswise gram Lhe crosswlse Lhan in lhe previous one since the cal lhan scanl. Either change the patthe side scam. palrises less toward [h6 corrcclion darl (see Figure ttern e r n by overlapping the correction fronl over the undcrarnl seam, lap Iap the [ront 22b) ‚, or rip the underarnl Iower the back Iakc in the back seam, and lower back to takc
I5 Problem |5
wuom excess wmTH f" SCYE GAP CAUSED BY EXCESS MSCYE A’ AT UNDERARM shows a km3 21a | “ Shows A. "8""? 07l Ation triangular long "iangular Figure 2 t0 a poim near lower armscye tapfling the 10W" a: lhf tapcring m P9i“ "e?" crosswise 3mm dart. a " Thc Cmsswlse of ‘h6 the d end °f 1in9 9“‘! 'tline grain side seam‘ seam. T0 1o m“ the Side Lhc da" durt ‘O m m ‘h5 oticeably 663m)’ [from darl dart a into excess the long tapering (bis, is, pin f}. armscye to nothing at the waistline as shown 1te 21b, and change the pattern as indicated in
C l l TVC. armscye HTUISCYC curva
v
'
t‘. 21c. \
„. E
„1
.
B. B. C C.
ed p p
rla O verlapped Ove
I/II/I/I/l/Ilfi/ffi/I‚lfl!‚.
‚„mu/rnu/xl/Ifl/Mflm
(b)
(a)
l-Ixccss width in blouse back near ncar underarm Fig. 22. (a) Exccss scam seam pinncd out nut in corrcction dart; (b) Correction dar! dart
v
overlapped.
GB.
Problem I6 |6 ARMSCYE GAP CAUSED BY INCORRECT BALANCE OF BACK AND FRONT UNDERARM SEAMS .
___
(c)
at “ u m loosenßs atw underarm causes looseness m ih i‘ - . out. (im Cor(c). Co!‘ pinned mit (b). Excess ad oi hlouse blouse at under torefince width-‘of '
s
21l
See fitting fiuing problems of the underarm seam. pagts pages 212-215 for instructions to be followed in correcting 21221.5 thxs this dnfficulty. diflicully.
DRESS D E S | G N Problem I7 UNCOMFORTAILE’ annome AT ARMHOLE
Tightness in the armhole does not necessarily indithat the armhole should be lowered at the undersenm. In fact, lowering i; may even add to the Ix‘1n dxscomfon of the blouse. The armhole size depends on several things: first, the length from the scye line to the armhole end of the shoulder seam asfletermined by the slope from the neck to the armhole end o! the shoulder seam; and second, the amount of width under the arm which can be taken in or let out by the underarm seam (see Figure 23). The armhole line may be uncomfortable for any one of a half dozen diflerent reasons.
Cate
5. Even if the armhole circumference i: adequateff its lower curve may push up a1 (he armpit because slope of the underarm seam from the annscye m waistline has been increased. See fitting problems the underarm seam, pages 213 214. 6. There may be overdarting in the blousa,‘ Ar; excessively large waistline dart will excrt a downwarci»: pull on the lowest point o! the armhole, and shoulder dart, i! too large, will cxen an upward pulfa on the armscye line.
Clip
I. The shoulder seams may be too sloping. See fitting problems of shoulder seams, page 204. 2. There may be inadequate width in the side of the garmem from the point of the bust to the side seam and from the shoulder blades to the side seam. See fitting problems of the underarm seam, pages ‘.713214. for changing the underarm width. 3. The lowest point of the armhole may be marked above the L r u e scye line, which should be 11/2 inches below the armpit when the arm is raised. 4. The seam allowance on a sharply curved armhole may not have been clipped enough to let it (hat the spread lhe length of the seam line. Remember amount the intensity of the armhole curve increases as increases of darting (see Figure 24).
F.
C.
Fig. 24. Seam edge is shorter than seam line on sharply curved armhole.
7
FITTING PROBLEMS OF THE UNDERARM SEAM
Figures 25a through j show how changing thc slopc; of the underarm seam b)“ laking in the waistline a! the side automatically’ alters lhc line and fit a! bolh‘ the armscye and the waistline. Figure 25a shows the back and [ront seam lines balanced correctly. Herer the crosswise grain a1 lhe scye line is level and the; lowest point of the armscye curve is approximalely‘ when the” 11/3 inches below the C e n t e r of the annpit arm is raised. V
d
Problem |8 ARMSCYE AND WAISTUNE PUSH UPWARD UND“. THE ARM AFTER WAISTLINE HAS BEEN FITIED IN AT SIDE SEAMS (see Figure 25b)
The line which ionnerly Fell a1 thc normal annhfllfi? the walsl“ depth now riscs above it zu the urmpn. and
Fig. 23.
212
F I T T I NG N G Lhe garmcnt rises ubovc abovc Lhc tLrruuee waistOn the marked on garincnL risc-s ‚line markcd fing
502m1. The urinscyc underarrn 5021m, circumferaL Lhc undcrarm urmscye circuinfer{ine fine at nOL changc, buL Lhc length ce does not lengLh which previously ‘gnce undci‘ lhc Lhc armpit n O w hangs away frOm armpiL now awuy’ fmm hung ung down Linder thc lowcr curvc ol the Lhc Iowcr Ol Lhe armholc. a! aL urmholc. e body " i To correci on thc Lhc figurc, mark inark in au new ncw lower corrccL this On IOwer lhe normal Lhe armholc arinholc t0 zmd let out Lo and leL Out give depth (lcpth cye ye a1 thc wuistline at Lhc sidc seum t0 side seam Lo lower e lront and back waistline ieiront on [h6 Lhe side of Of the lhC blousc. blOuse. Sharpening i; ; ee waistline On Shurpening lhe side ol" Lhe on cziuscs On cuuscs Lhe lower scain, scuin, course, eslant eslanL LO bang lrOm the Lhe body, hang away from irmscye body, and if rmscye curvc t0 rcvrse the Lhc lincs Of the lines of Lhc i; is is undcsirably undcsirably‘ exaggcratcd, exaggcrutcd, rcvise smaller waistline waisLline by taking louse t0l0 fit Lhe sinallei" Laking up larger
u: am IV
'
rLs.
T0 correct the size of the waistline by the blocking 'ethod, pin lhc cxcess at the sidc of the waistline into darL (apering L0 nothing uL [hc Lhc point vertical dar: Lapering to noLhing a: pOinL where t0 Lo curve under the Lhc arm (see Figure ; earmscye begins ouL the Lhe dar: darL width in thc Lhc pattern ‘Jux Then lap out patiern reLuin the Lhe Original Figure 26b). This method will retain a_ scye deplh waisLlinc. The crosswvise crosswise grain will depLh and waistlinc. llow the Lhe scye line of the Lhe body to Lo the Lhe point where llow is darted Üexcess darLed buL but will from rise lrom Lhere Loward there toward ouL‚ out, snexcess
i
"
v
A
‘A:
side seam.
(b)
_
|9 Problem l9 GAP ON FRONT OR BACK ARMSCYE BECAUSE FRONT AND BACK SEAMS TAKEN IN UNEOUALLY Lhe front frOnL seam whcn the whaL happens when shows what Figure 25c Shows is Laken in alaL Lhe crossmarksaine crossinarkand the Lhe same lllC waistline waisLline und frOnL the Lhe front on muiched. The greutcr ings arc still malched. greatcr slope cuuses lhe Lhc lront armscye edge ol Lhe scam cziuses arinscye and waistline l0 rise, Lhe back armrise, und pushe» pushen a pouch out on the scye. Show: whaL whcn the Lhc back seam whut happens Figurc 25d Shows Figure happcns when is Laken in at aL [Lhc l l c wuisllinc wuistlinc und und [llC crOssmarkLhe original Original crossmarkarc still sLiIl rnutchcd. the back inutchcd. Tlie The grealci‘ ings am g l f a l c l ‘ slopc slope on Lhe seam Cdgc: lUYCCb Lhc lhc back arinscyc Lhe waistline wuistlinc cdgcs lorccs arinsqc und the l0 rise und pushcs t0 inLo the Lhc front lront annscyc. armscye. pushes au pouch pOuch into 213e und l show ‚show (hat LhaL il" the Lhe murc m O r c sloping Figures 25€ sidc is lillcd liltcd ubuvc ubovc the Lhe Original crossmarking, lhen iL Lhen crossinarking, it is Lhc lhc sidc (hat [hat gaps aL a1 thc Lhc arniscye. annscye. Thc lault: laulls ZlTC urc Cxaggeralcd Lhc illustrations to Lo cxuggeratcd in lhe OuL out Lhat (hat C \ c n excn Lhc smallesl of o! the cros5crosspOinL point shilting wise graiir Of the Lhe underarm seams has an grain or sloping ol inllucncc On Lhc balancc of the on the Lhe blouse. blouse. importam inlluencc iniportant
(d)
(e)
257(4). 753.25 (a). Front and back underarm seam correclly Waistline fittcd in at corrcclly balanced. (b). Waislline a1 thc Lhe sidc side scam. seam. Front underarm seam taken Laken in at uL waistline maLched. (d). Back underarm underarm seam taken crossmarking matched. Laken a‘: waistline and LTOSSWlSC tvvllistline ifilliltlihe crossmarking matched. (e) . Front underarm seam Laken in ät crosswise g-rain grain Back undenrm undetarm seam taken Laken in at a: waislline waistline and crosswise grain lifted. G) (T) Bach
.
—
—
(f)
..
DRESSDESIÜN
in the amoum of looseneac an the fromme armscye ——- that in, in the shape o! the umlaute a}? hangs away from the body. I! the side mm i f } halance correctly, the person being final shouß "A" : her arm no more than necesury for the fina- co the armscye end of the seam. The modcl u m ; her arm at a right angle to the side of her body ( ‚ is, pointing neither back nor from, bat araigln A in order to avoid uneven strain on the back and .„‚e scye lincs. The fitler should determine the {mm
’ .“ e
x
.
first, and should not attempt (o establish both u» and front lines a: the same timc. The model shou hold the Center front line of the blouse in a: lhe waistline. lf i: is neccssary t0 correct this man; smooth the fabric along thc waist over Io (I16 sikyä seam line and pin t0 thc foundation gaermem m3 anchor the position of the cloth after lihing or lower." ing the crosswise grain an the waistlinc cnough to keepiv thc scye line of the blouse level. Observe the fit around: the armhole. Then establish a straight seam line {mm1 the lower point of the armscye 1o the point pinned at the waist, and turn under the raw edge, pinning a‘: a right angle 1o the edge as in draping. Repeat this= procedure to establish the back seam line. Lap die. front over the back, pinning at the armscye and Ihe__ waislline. Check the balance a! lhe scye line, and check the shape of the armhole in back and from.‘ Then pin betweenn thcse two points from armscye I n : waist. e
(a)
f--..‚
(b) x ‚111
Problem 20
into a vertical dart Fig. 26 (a). Excess at waistline pinned tapering olf a: armscye. the underarm width of Fig. 26 (b) . Proper method altering and side back. front side the of the blouse‚ by overlapping causes the seam side the shows Dotted line why altering to waistline and upward. push armscye
sAeelNe 0F
(hat Figures 27a and b show an underarm seam seam lhe When sags imo wrinkles below the armscye. 10060. sags in this manner, thc blouse is probably l o o too linle under the arm and there is almosl ccrtainly blades. darting for the bust in front m‘ for the shoulder in back. Thc pouch due t0 insulficient darting n0?GOW“ mally shows up in lhe armhole but may (lrop blonst below lhe armpit into diagonal wrinkles ü the is looae undcr the arm. Althougln the fault is pur-e m‘ l1 posely exaggeratcxl in Figures.. 27a am! b, m37 lh: checks quently be overlookul unless the huer lllodeh’ the with vicw side underarm seam ( m m thc ’ crosswise grün a‘ arm slightlv Hfwd- Stutly thc h0 t CH"nin1e umcthcr lhe excess should Im: 10 t l‘: Scye 1'
ALTERATION OF THE UNDERARM SEAM
Since the underarm seam, like the shoulder seam‚ conlrols the balance of the from and back scye lines, front and lhe fitter must be able t0 see the “set" of the She lincs. seam the she ' pins k f thc armhole as than rather sit to uiually find i1 more convenient b 1h . b k and h 1‚ f0“and dfiddllatn lfrrlcfeaartfmrxll flieghtl‘; asßfy {im the the prouucc pouchmg' When ' aäroämnsngzuenoughgzo y u must be conslstency dress is viewed from the sxdc. thcrc
2;;
_
*
-_
A
H
‘i:
THE UNDERARM SEAM
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'
2M
FITTING puxhcd up imo the shotnldcr dart or down imo the waistline dart and also t0 sce whether b0“! 530k “ld front havc too little dartitlg or whelher the fault exists only in the blousc back or in the blouse lront. To correct the error. push the excess into thc armscye and then transler it to the shoulder or waistline dart according to the procedures given undcr fitting problems in thc ‚Annscye Arca. Problems I3, l4. and I5, pages 2082| l. lf the sagging occuns on the front only‚ before Iltaking the above corrections, raise the crosswise grain ol the lront seam above that on the back. H thc sagging occurs on the back. reverse the procedure. FITTING PROBLEMS AT THE BUST LINE AND SHOULDER BLADES
Problem 2| BULGE IN BLOUSE FRONT BETWEEN SHOULDER AND WAISTLINE DARTS CAUSED DY OVER-DARTING
Figurc 28a shows (larls too Iarge to fit the small bust smoothly. with the rcstnlt that there is pufliness between the points ol thc shoulder dart and the waistline dart. Thc Center lront ol thc blousc also pulfs o u l . because it is loo long bclween the base ol the neck and the waistline. (Ovcrdarting sometimes shows up sinnply in excessive Center front length.) T0 subtract thc cxcess length and width which bulges out lrom thc bust line. make the (larts smaller. T0 do this. follow thc procedurc outlinetl below. l. Pin the excess width imo a tuck lrom the point of the shoulder dart to the point o! the waistline dart. 2. Pin the excess length imo a horizontal tuck from the center front to the bust point. meeting the vertical tuck betwcen the two darts (see Figure 28a). 3. After removing the blouse, pencil along each side of the pinned tucks and crossmark thcm. 4. Following Figure 28l), lracc the blouse pattern on paper and draw lines from both sides o! the horizontal tuck at the bust poinl to a point along (h: amnscye where it begins to curve under the arm. 5. Slash the pattern along the inner o! the
edge
shoulder dart.
..
__ __
i'm .‚ '__.‚_ ‚Lau-ggf ‚t‘ ""-:.:(‚f=."""4"l‘i’-'{:'.'-L Ä‘ '. -.
'-
‘
'
__ ..
--. _. ‘.___ „ ‚_ x
DRESS D E S I G N
g
C.F.
äE
""43 jf///////x///x/‚
Overlap
2 -„_
(a) (b)
‘
*
Fig. 28 (a). Overdarting produces a bulge between shoulder and waistline darts-Excess should be pinned imo. vertical and horizontal tucks. (b). Correction tuck lines marked to indicate excess in length and width. (c). Overlapcorrection lines eliminates of the bulge by reducing the size of the shoulder and waistline dans. Dotted Iine ping shows pattern before revision.
6. Slash along the upper edge of the horizontal tuclt from the bust poim to the armscye and t0 the Center
from.
7. Lap the two sections to shorten the pattern. 8. Lap out the excess width and match the crossmarkings (see Figure 28c). 9. Close the dart from the bust poim to the armscye. With (he partial closing of the shoulder and waistline darts, the curve of the armscye is now also less imense. Problem 22
IULGE IN BLOUSE BACK AT END OF WAISTLINE DART CAUSED BYOVERDARTING The Ich side of Figure 29a indicates Lhe cffect o! thus giving morc overdarting a: lhe waistline and is necded. Thc lhan bladcs shoulder eine over Lhc
back of the blouse is also too long between t neck and the waistline. The right side of the figu shows the bulge pinned out on a line tapering fr _ the end of the waistline dart to the armscye. Figu g
Center
t
--
size. When thc darl. is made smaller, the bulge a! shoulder blade drops down imo excess length a! th waistline. Re-nlark the waistline from the Center b to the inner edge of the waistline dart so [hat it "Ä responds t0 the length lapped 0m of the ouler of the dart. Figure 29c shows how to lap out a bulge along line poinling t0 the juncture of the neck and shoul ° scam lines. This bulge occurs whenever the cross grain bcgins to drop from a poim as high as the n' line end of the shoulder seam. Follow the samt cedure for correcling this us ( e r correcting a V
'
I
pointing toward the armscye.
b“: '
FITT l N G
_ -
(a)
1
hludcs (zum-d In making ( o ) . Bulge al shoultlcr Extcss u: armscyr shnuld hc dal1: I00 largc I imo a dm.
—
(a) (n fit u lnwcr hust linc. (a) Fig. 30. AIIL-ring hlnusc { m m und sprcatl Bus! pninl Inurkt-(l: (b) Bluusc lrnnt slushcd durl. slmuldcr o! ln { m m wuisllinc|mim
‘_’l:')-‘_’I7 and rt-lcr givcn in Problcnn 2| und ‘J2. pagcs llul lhc pattern b. und 29a und h I0 Figurca 28a und lhnn Iappcd rulhcr casc intmdurcIn hc should splcntl 1o unkc il nul. ()n lhc buck ol lhc blousc. you may wish l0 cxlcnd thc slnsh (o lhc IICClLllIIC in ordcr (o cslabllsh u nccklinc" dal1, und lhrough thc C e n t e r ol Ihr: slluuldcl‘ in oulcx‘ lo incrcasc lhc ShOlIldCr easc.
Problem 24 h.-.---.i1
(b)
) und (t). Excess overlappcd in blouse bark pat. 'nale bulging above dan and um much lcngth «
hoch.
Problom 23 OVER BUST AND SHOULDER BLADES USE 0F TOO LITTLE DARTING
‘E.- the fit o} a blouse which pulls loo tightly '
- and shoulder
blades, increase thc size the ease at the from retain Vin order « it i: needcd. Letting o u t the side incteases the width ol the blouse under t does not revise the pattern shape in the ease (o the curve o! the ' D m : pointing toward a body ' 1h und lenglh over (hat pan 1o
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_v
f
[ollow the directions
BUST LINE OF GARMENT PLACED TOO HlGH (his lnull appcurs in filting a cummcrcial lt may bc (luc u) an unusually low busl line pallcrn. in lhc nuxlel. ll i1 xhows up in a pauem (lrapcd on a personal drcss lonn, lhc bunt padding may haw: bccn a placexl too high. m lhc modL-l nmy huvc worn difiercm slyle ol brassicrc whcn lhe drcss lorm covcr was fiued lrom (hat worn whilc fiuilng thc I n a s l c r pallcrn. See Figurcs 30a und b lor lowcring thc busl linc.
Whcn
I. Mark on lhe blousc lhc poim ol lhe busl and delermine how much more width is ncedcd lor comlonable ease along the aclual busl linc. L’. Malte a paper copy ol lhc blousc lronl und slash it from the waistline darl (o (hc poinl ol lhc shoulder dar: (w:Figure 30b). 3. Open lhe waislline ( l a r l to sprcad it a1 the poinl ol (h:busl. This will parlially closc lhe shoulder dart. Re-mark the dans.
ms1
r 7
6x;
n31]
ggsnag the jstbcedfixre
‘
dm purpm should"ibejße (mal the curve so tha-t die paucmi: '
tcrcorrect curves placed too »iüw»ioij_shöulfler’blades.
_
<
—
;
(n)
(b)
(a)
Altering blouse fmnt m fit a higher bust line. (a) 3:1‘.point marked: (b) Blouse front slashed and
‘fimfnshoulder seam to point of waistline dan.
A
„Q
*4
Fig. 32 (a) and (b). Dan im‘ a luw bust point Hans! shouldcr.
lo
spread
Imporfance of Marlxing fhe Poinf of Busf und Mode on fhe Masfer Paffern
h i: nccessary to know the exact point of the body vcunvc in Order to keep the pattern constant in width (h: broadest part of the bust or the most vrounded part of the shoulder blades when darts are itramferrcd from one position to another. Figures 32a and 33a show two patterns of the samc size, but on one du: waistline dar: is marked for a high bust point, and an the other, [er a low bust poim. Notice the differcnce in pancrn shape when the waistline dart is transfcrred 1o a shoulder dart. (See Figures 32b and 33b.)
*
ß
(n)
F‘
C.
vrmggu: 10110‘
H34 the poim of the bust been marked too high for Imv bun line, the width a: the low bust line would bc inadequate when the darting was transferred ohoulder. lt is not accurate simply to assume mp point o1’ a stiwhcd dart is the lrue point of
m
(b)
Fig. 33 (a) am! (b). Dar: Iota high busl puim traust:
m shoulder.
218
A.
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F I T T | N G PART IV
FITTING PROBLEMS OF THE SKIRT fitting problems o! skirts are gcnerally less ( o m ‚ than thuse o! blouses. But becausc the skirt ‘ supported edges, since the cmire area below '- swings free, the slightcsl fault in the balance ‘n i: at once made obvious by the way the 7.3 Postures which difler from a normal posi;„- ntly requirc alteration o! the skirt pattcnl ’_.- 194-195 and Figures 2r‚ d, e, and I). Bony k-j l l d weighl distributioln must also be conIactors in fiuing. since they too can change ' ';_ of a skirt. Keep in mind (hat the outward "Üthe body lilt the crosswise grain. and therev tends to jut out below these curves unlcss da11: or ease to hold in enough lenglh and t aatisfactorily at these points. to the fitting of skirts is found in observof the fabric and in knowing when the f ‘gnin should be lifted and when dropped. why leaming to drape skirts also pre3 so fit skirts. Review the discussion o! the ) the balanoe Iine for skirt fitting (pages
«
'
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»
4
*
Problem
.
n
stmns OUT AT cemsn rnom
nun: for either o! several reasons.
-
The
hat from hips to shoulders. or the be [arge and protuberant. : The figure leans back from hips to u
a”ihn which stand: o u t at center against the calf o! the leg in back Jean: back (rom the hips to the hip Ievel. the crosswise grain drops «und riaes at the side seams. The the Center ( m m and drops an the pitches the side aeams forward slitt in lüge enough, but r-The ' the Incl o: the hips, am:
Fig. 34 (a) and (b). Skirt alteration (or figurc which lcans back from hips to shoulders,
“
Raise the Center back by pinning a tuck just below thc waistline, tapering il [rom the center back to the side seam (see Figure 34b). lf lifting the center back fails to correct the side seam, lower the center front a Iittle at the waistline. Then remove the skin, pencil each side of the correction dart, and trace a paper copy of the oorrected part. Lap out the horiwntal dar: and Iay the pattem again on the muslin skirt to
219
that the Center ‘
larly.
s. Anclfärifie‘ im
a: thehip leye] apäi-e-‘pgh 13i: hiptohem. _ ment
.
_
y
. 4. Then pin i: from hip w cess length along the {vom scam up „F“; and over from the side gcam into du Note. Maternity skins 1o be worn with lang jackets are cut out over the rounded äbtlomen pulling the Center front lines o! the skin so ward and to allow them to bang perpend’
0.1
. »
(c)
(d)
skirt at Fig.A34 (c) and (d). Pattem alteration shortens unter back between hip level and waistline.
re-mark the waistline and the upper part of the side seam line. T0 make the adjustment on the person, raise the waistline across the back and readjust it at in die side seam. (See Figures 34c and d for change panem shape.) (b) Reason: A large abdomen. stands out at the Figure 35a shows a skirt which which
oenter front because of a prominent abdomen, the hip Iifts the crosswise grain at the cemer front on emire the out level, thereby shortening and swinging The hem. t0 armer front line of the skirt from hip
.
extra length from the center large abdomen requires front of the Irom of the hip level up to the center width across the largwaist, together wilh additional front from hip es: pan of the curve so (hat the skin line. Ievel 1o hem can bang in a plumb slash through the Center of the Figure 35b shows a along the waistline dart to the hemline, and toanother seam. side the (rom the Center front
(b) (a)
hip level around the abdomen Theo: Jlashes increase the width center from. am} du: length a: the as follows: T0 alter this skirl on a person, redrape the skin is tighl, the l. Rip the side ncam. lf
crosswise
a: ce
lihs grain Fig. 35 (a). Large abdomen front. a widens and lengthens sk Fig. 35 (b). Pauern alteration between hip level and waistlinne.
220
—
FITTING the hip lcvel (scc Figurc 36b), Thc hip level line remains constant am! the spread begins below it.
Problem 2
currme
UNDER
m: HIPS IN BACK
(see Figure 36a)
’
Reason: The crosswise grain has not been lowgh Irom the tlart at the sidt: back toward the
'
two-gore master pattern skirt, the crosswise the back hip level should drop toward the n in ordcr to provitle sonne flare at ' IIslightly the crosswisc threads along the hip level ‘‚ dropped as they approach the side seam, the ' threads at the center back, which should dicularly to the floor. will cling against Corrccl the hang of the skirt by slashing from l poim ol the dart through the hem and trans_ pan o! the dar: to width at the hem. This the cupping i! the skirt is not too narrow at „
.»
(b) Reason: The skirt i5 tight across hips which are prominent in back ruthcr than wide lrom side to side. ll the hips t-urve o u t morc at the back than at the side. introducc width at the back rather than at the side seam linc, This may be done by either of two methods: (l) Slasl) lrom the hem t0 a point on the waistline just outside the dart, and spread the skirt from waistline t0 hcln. ( ) r ‚ (2) slash through the waistline durt and continuc through the hem in order to spread the centcr antl side sections apart as much as is needcd at the hip level (see Figures 36c and d).
u-
----
"
‘\
-J-
‚
‘ —II
._.
(c)
u
(d)
Fig. 36 (c). Skirt slashcd and spread lrom hem to waist lor hips prominent in back. FigJG (d). Skirt slashed and sprcad from hcm through dart for hips prominent in back.
__
x.‚v„2.„1‚n.>;-J.x«-"
-— -
Both methods introducc case at the back where it i: needed. Also see Figur: 35b for still another treat- over the ment, which -introduccs length and width curve a body by combining vertical slash with a horizontal one at the hip level. Since the dan at the waistline may be made deeper In ways producing q.uite dilfcrent resulu. Iet u: both Fnrst, to retain the same size a! examrne the Iup leuel, tnethods. pwot the dart [rom in lower poim and
„i“
-—.-.-.J
w?
22l
_
v x
.
‚i9 G!
56m2 (h:wäistiifirexgd‘ the 1mm and spread the
am, Fasan-mm.
<
L
A
i
_
’
snü have a definite cufve on the side beam! «hip line. '
ümen
add the necessary width to itself (see Figure 36c). lt should be rehowever, that the two-gore is unfiattering ‚in ihis figun. since it does not flare from back to front to counterbalance the _’1.3! all 2nd such flare is needed (bis figure,
‘
.
“
a
m
juta‘ Garant} frdm wäist ta
__ an 2,
‘
>
back and the width from side should therefore be avoided of skirt t0 side. This type of by persons with figures this sort; Note. A slight cupping under at the back may be ‚tnrrccted by raising the waistline at the center back is notice2s shown in Problem I, but not if the skirt
fröm
( r o n t to
ably tight across the hips.
(e)
to skin a: side scams „B i’ 86 (e)- Width added
[or
causcs skirt to swing oul t Fig. 37 (a) Sway-backetl figure center back.
.
hips
widciram pidetoside.
222
FITT
A
N6
lhe hipline and llu- waistline (‘an bc rcmoved wing oul lhe waisllinc an lhc u-mer buck or by oul lhe side seam bclwccn ivaist und hip until i5 loose enough u) drop Iuwer on the figurc. y-back is pronounced howewer, lhc Center u die side seam line: will still n01 hang perrly, and i: will be nccessar} l0 raisc ihe grain along the hip lcxel lrom the ( e i n e r
4'
sides.
‘K
e lhis correclion on lhe person. lollow the outlined below.
zua skirt wilh the c o r r e c l hip lcvel '»
sile:
n the side seam and raise thc back edge
u‘ from umil the C e n t e r back falls perpendicu-
‘
xpin lhe back l0 lhc lronl a! the hip level in «_rctain the correctcd balance belwecn back and anchor lhe skirt securely t0 the foundal.
w
the side seam from hip lo hcm. die scam from hip l0 waisl, Ieuing oul lhe ancc on thc back as you smooth the excess
i‘
_ i
‘
too narrow acmss the hip level:
‚mthchip level by letting o u t the
flifiaemaswcllasby nisingthe '
Problem 4 SKIRT WHICH CUPS UNDER THE ABDOMEN
back waistline seam as far as the dan in "nahe up the amount which has been let o u t '- seam into a deeper dan. the fiuing time. open the side seam from lo lhe hip level. Lift the grain on ihe o! the side seam and take up the excess ‘fu- a horizontal dart that tapcrs to the end L wnistlixie dan. Re-mark the back hemline. {h skin and malte a paper pauern copy [ m m mcing in ihe lines o! the pinncd horinLap oul. die horizontal dar: which spreads dar! and thereby revises the side section « zum. die waisl dann, and lhe upper neun (so: Figur: 37b).
j- (he
l
Fig.37 (b). Allcraliml lor skin lila! swings oul .1! bnck hcm line. w i l l ) side seams (hat swing u) (hc back. Fig‚ 37 (r). Allemann (u widcn hipliile and l0 corrcct backward swing ol skin.
‘lhtfinlerhacktofliesideaeum.
223
(see Figure 38a) (a) Rmsun: 'l'hc (‘rosswisc grain has not been Iowered enough a: lhc hip Icvcl lrom thc center front to thc side scam. (This corrcsponds l0 the fault in the skirt back discussed in Problem 2a, pagc 22l.) Becausc Lhe crosswise grain is not Iowcred enough at lhc lront side seam, the lowcr skirt width is transferred up above the hip levcl, where i1 is taken up inlo too large a waistlixie dart. Thc skirl has thc appearance o! being smallcr below lhe hips lhan abovc them. To refil lhis on lhc pcrson, rip lhe side seam, lhc waistline from the side seam to lhe dart, and the waislline dart. Drop lhe crosswise grain a! lhe from sidc seam until the cemer front hangs perpendicular to the floor. Anchor the lrom and back at the hip level. Pin thc side seam lrom hip to hem. lemng out the from seam allowance 1o givc ease below the hip level. Malte a new smallcr dan a: the waistline. Re-pin the sidc seam from hip to waisl, taking in a larger front seam allowancc. Re-mark the waistline from the dar: to the sidc seam.
D R E S S DESIGN‘ and the side man): are perpendiculu m’ f: Then slip the exeeu up au: o! alle wainlinc. at the curve deepening the Note. This simple alteration man die f In; i: is not too exaggerated; otherwise u 1mm ' in m rected according 1o the procedures given
-.
'
Problem 5
IN FRONT AND IACK WITH 700;“ MUCH OUTWARD SWING AT SIDES (see Figures 39a and b)
SKIRT FLAT
Cf.
‘
.
slant out too (a) Reason: The side seams
‚ lrom hip to hem. swi slnin lf the side seam slants out too much, the out a: the sides. Alter the pattern for a straight the slope from hip lo hem» u houette
by reducing
(b)
abdomen. Fig. 38 (a) . Skirt cups under into wider skirt from translerred dar: of P a n 38 (b). Fig. bip m hem. the T0 make (bis correction more simply, slash from skirt is hem 1o the Iowcr point of the dart while the the on lhe person, and spread the lower section umil Confloor. the to Center from hangs perpendicular muslin trol lhe amount of the spread by inserting skirt the for When the pattern strips or gummed tape. section partially from is laid Hat, the spread lower 38b). dart Figure (see closes the waistline a: the back. (b) Reason: Hips prominent cause the to given for the fitting
This corresponds in Problem 3. The fault in the skirt back discussed level at the below easc and flare which should fall and thehip backward the Eton: is drawn to the back, w what indicates extent this swing of the side seams lront is the correct size, but has happened. The skirt side seams pulls the fabric lhe drawing back ol the the abdomen and over the thighs (see Fig-
—
4
a high c (c) Reason: A figure with pronounced, _'. on the side of the hip. the on curve Figures 39a and b show a (lecided waislline. the below ol the hip‚ beginning just crosswise the that grain n v so lilting the side‘ seam side. not drop enough lrom lhe cemer t0 lhe l0 the * [ skirt the ul throws the Hare lrom the Center A
h
w
lo of the figure. T0 correct this broad silhouette. 1 thc allow t0 the crosswise grain a! the side seam on the to fall a1 the side lront instead of directly hack a v; the ll the outward swing is equal on both waistline ._ lront edges ol the side seams. rip the and let i! * from the side lront to the side back to the l1 side seam *
_
tight under ures 57b and c). at the crosswise To correct this fault, lift lheumil lhe gram front cemer level ccmer front on the hip
’
» the side seam forms a line perpendicular t0 the um After making this alteration, increase the hem circu ference if necessary by slashing from the hem to darts at the front and back and translerring somc’ v«._ mfi the dar: to the hem width. For an example o! Ä alteration, see Figure 38b. ol the skirt is too I w f (b) Reason: The waistline When the waistline does n01 fit, it drops lower the Center from. and back than at the sides. wheref. is supported by the hip bones. The crosswise grai: and r’ at the hip level drops toward the center n’ flare lhe away toward the side seams. swinging the Center o u t toward the sides. This fault may in u corrected by laking up deeper darts or by laking it. „ß side seams at the waistline in order 1o tighten
until the ll the skirt fils
224
too
drops perpemlicular seam l suugly. let out the side
r
F I T T I N6
_-...—_—_——
(C)
(I)
_ '
’
(b). S l i n bang: flat au cemer irom and out too mach a: lhe sides. _h_ip level up Io the waistline. lf the allowance is too narrow a: the sides to the crosswise grain by raising the ter [ m m and back. Im’ die altention 1o lengthen the a high curve on the side of (h:hip. on the side seam where the hip up to a poim on the waist" halfwiy between the cemer Eton; erthe sich a: die side seam A
'
z
"ß
Fig. 39 (c). Side seams lcngthencd lor a very curved side hip.
in Figure 39a, but the silhouette still appears flat a! the cemer irom and wide from side to side. To narrow the silhoueue, allow ease above or beside the hip bone, or both above and beside i1, and place most or all oi the from dar! above the bone rather Khan in the usual posilion close to the Center front. To increase the length along the side of the front hip bone. rip the side seam Irom the waist to the hip level and ease the from seam on to the back aeam. See Figure 40 for the pauern alteration. l-‘or additional width, let oul the front edge of the side seam, tapering i: irom die wainline to the hem. Pin in the ease at the waistline directly above the hip bone. Re-pin the side seam. On the mutet pattem, carefully re-cronmatk
fromtheirontsideneamtothebackbetweenthehip
levelandthewtilhandmarktheaaanmflnnhtoi euetogoinlothcwaiafline.
woolnhrinkintlteeane.
"m: Fig.41 (a). Side seams cup in below the 11ips, ‘P . diagonal wrinkles.
' .
FigAO. Pattern alteration to provide increased length and width over hip bone.
Problem 6
nun...
SKIRT CUPPING BELOW THE HIPS ON THE SIDE SEAM (see Figure 4Ia)
(a) Reason: The side seam of the skirt bows out between the hip and the hem. Bowling out between the hip and hem on the side seam of a skirt pattern where it should be ruler uräight malten the seam line longer than the area directly in {vom and in back of the seam, and the extra length sags, forming diagonal wrinkles. Figur: 41b illustrates how the side seam should be ruled nraight from hip t0 hem if lhe skirt is too loose, and 41c illustrates how it should be ruled from a F’ Iow hipüne i! che skirt i: too tight.
.———-—.'——'2-—
0J.
'
L
a——.a—.————c——w (b)
(E)
Fig.4l (b). Curved side «am ruletl straight { m m hip
hem. if skirt ia too loose. FigAl (c). Curved side senm mled stmight fmm n I hipline. i! akirt i: tight ovcr thighs.
[
ü! —
FITTING ) V
Reason;
lhe waist
..
Thc sidc scam i:
lhe hip. much Iength hmn waisl
tun
sharply curved
lo
l0 hip (lrops below levcl imo a sagging seum. This happens if j seam is ( o 0 sharply curved m m ’ lhc hips l0 fit _ re. Since the e x t r a Icngth i: nut held up by '\v u o hip linc, il drops (Iown below the hip level. r diflicully ariscs i! lhc curved seam hom hip . is stretchcd in handling. For Ihis rcason. 7 stitching, und prtssillg o! lhc curvcd part of ’ ahould be donc wilh lhc utmost rare. (See Ü- 63 and 64 in Chapter 3 for the method of excess lengll) betwccn hip and waisl imo ing ' line dart.)
_>'p
"
_
.
Problem 7
-
EDGE OF SIDE SEAM CURVED TOWARD E FRONT AND SAGS INTO DIAGONAL
WRINKLES (see Figure 42a)
»
occurs when thc hip level crossmarking on zhe ‘dge o! lhe sidc seam is dropped bclow lhe corv ing marking on the back edge. This happens on the lront than on thc back bccause the ohcn \' usually eased to the back from hip l0 waislFigur: 42b), and i! lhe crossmarking a! the
hip lcvcl is lost or ignored, the extra Icngth which should bc rctaineti uhovc Ihc hip level drops bclow lhe hips, producirlg lhc curved seam line shown in Figure 42a. To corrcct lhe direction of the seam Iine, rip thc seam from lhe hip level to lhe hcm and raise lhe fronl crosswisc grain from lhc C e n t e r Irom t0 lhe side al the hip level until thc side seam hangs perpendicularly. Put the cxcess nn lhe Irom edge above lhe hip levcl imo eusc, or lransfer i! I0 lhe waistline dar: as shown in Figurcs 63 and 64, Chapler 3 .
Problem 8 FRONT SIDE SEAM CURLED TOWARD THE BACK NEAR THE HEMLINE This occurs when lhe from edge of lhe side seam has becn cascd onto thc back. In Figure 43 lhe from scaun was cascd m thc back I n c a r the lower edge of the skin so (hat lhe labric just in from of thc seam is langer than Ihc seam itself. and therefore sags, causing lhc scam Iine 1o curl luward lhe back. Mark the poim where lhc seam begins m curl. Rip and re-pin lhis porlion o! lhc seam on thc person, sincc lhe error
FigAS. Front side scams cascd to back near lowcr cdge. Senm curln.
Muss nassen thun when the nkirt is
lying In working with a slippery ctepe, Üfifiwxflifie‘malle statt: higher, it will be more acfgmnply indicate the position of the cm und aodmüy re-pinning and basting with the skirt on '
*
.. b
üble über: seam-line markings on the wrong side _unsbe Problom 9 THE CENTER FRONT LINE
T|LTED
SIDEWISE
(see Figure 44a) II thc skirt was c u t ofl-grain, or if the model has hip higher than the other, the skirt is likely to tilt sidewise in (bis manner. Figure 44b shows that when the crosswise threads fail to match in both the upper and under layers o! fabric, the crossgrain tilts diagonally across the figure, causing the center front line of the skirt to swing toward one side. The skirt one
cannot bang correctly until it is recut with the grain
balanccd. To halance the two sides of the skirt for a figure
with one hip higher than the other, let out the waistline scam allowance on the side of the higher hip until thc crosewise grain at the hip level drops equally "on the left and right sides of the skirt center line.
Fig. 44 (b). Crosswise threads must exactly manch on C e n t e r (o produce balanced skirt lines.
and right sides of
Ich:
Problem I0 SKIRT PULLS TIGHT OVER HEAVY THIGHS
u:
A narrow skirt cannot be adapted to a ligure wi hcavy thighs, since the e x t r a width needed on |k lower level exceeds the amoum needed along the In,’ line. And when a person sits, the lhighs round up o the front of the leg, and take up much morc ease lha Q when she stands. lf width is merely let inlo the si seam. the skirt will still be tight over the front of r a’ leg. lnstead, a flare must be introduced in front the side seann. See Figure 45b [ o r the pattern a l l tion. Slash the skirl front [rom lhe hem l0 lhe waist line betwecn thc waist dan and the side seam so the added flare will fall over the fullest part of thigh. When altering (luring the fitting, drop crosswisc grain at the waistlinc from the dar! 1.0 side sealn, and then re-pin thc side sealu. Thls only incrcases the width but throws flare over
_ o
v
‘m Wkkkää“
\\\
'.\
f]
f
44 (a). Crouwise grain i5 n01 balanccd on lcft and oidea o! cenwr ( m m . Skirt tilu sidcwisc.
da:
thighs (sce Figure 45a).
FITTING
3
7
v
Skin (or figure wun heavy lhighs necds somc
hip Ievel.
_
Fignis (b). Pallcrrl nllcralion (or a skirl Iurgc lhighs.
(00
(igh! ovcr
PART V
FITTING PROBLEMS OF THE SLEEVE
'
_lhe
master
panern blouse and
skirl,
lf errors previously overlooked show ‚ postpone pinning in the sleeve umil ‘been oonected. „_
[arm into the sleeve. re-checl
'
»
lhe
an the blouse. Determine the a: the shoulder seam. By
khponibletocan-ythelineof
kann! the normal shoulder tip
intenected by n venial
ehe upper arm. A in { m m o!
lt also conccals lhe bulge of a fleshy upper arm, gives the elfcct o! flauening wing-like shoulder blades. and makes less noticeablc a large bust line. Fashions vary the standard for shoulder width, however. and the Iines on the masler paucrn musl be consistent with thc prevailing silhoueue. The depth of the armscye for a normal sei-in sleeve is approximately 1V, inches below the center of the armpit whcn the arm i: extended, which is the samc as 1/, inch below the armpit when the ann is down. Viewed from above, the armscye Iine should appear to be a straight continuous line over the lop of the shoulder, 2nd viewed { m m the center from and cemer back it should look like a
nnight line almost parallel to the Center of the figure a: far down an the chest line, where i: gradually curvea toward the underarm seam. The line from a broad
DRESS D E S I G N q,’
57 the chest actually slopes in slightly Wink at the point whete the body and arm ‘Ihevnunhole must not fit so closely under the fiflfl. o!‘ the seam allowance be so wide at the side "the arm rises, that horizontal wrinkles form when d1: arm i: down. lf, in spite of plenty of ease and [bust scye line. thfough fhe wrinkles form when the 1s down. the armscye seam allowance should afm be
ü!
“im
dlpped at the point where the underarm curve begins. A! the front and back of the armhole there should be a fold of fabric from the chest line down (See page 27). which continues the upper half of the annscye line and hides the underarm curve. For difliculties involving the blouse armscye, see fitting problems of the ArmscyäArea, pages 208-212 Finning the Sleevo Info {In Merker Paffern Prepare the sleeve according to the directions under Preparation of the Master Pattern for F itting, pages 196-197. Check the measurements of a personal sleeve draft or of a commercial pattern before fitting it into the blouse. (See sleeve measurements, Chapter 4 ‚ pagts 113-114.) The armscye line of the sleeve should be I t0 2 inches longer than the armhole of the blouse in Order to fit smoothly over the outward curve of the upper a m l . Clip the sleeve armscye seam allowance a: the back and from where the outward curve over the top meets the inward curve under the arm. When having a sleeve pinned into a dress‚ stand in Irom of a mirror so that the fitter can see how it hangs in { m m or back even when she is working at the side. Relax your arm so (hat she can move it up, forward, or back without moving the rest of your body‚ because a slceve musl fit in many diflerent positions. Slip the arm into the sleeve afler checking it carefully to see that it is the correct one for the arm.
Fig. 46. Step l
— Pin slcevc
at shoulder seam.
2. Pin fhe sleeve af fhe underarm seam W ith the arm of the model held straight oul a: the I’ side, the fitter should pin the underarm seam of the‘; sleeve to the underarm seam of the blouse. The twai match if the blouse underarm seam dividcs the front-«r and back equally at the scye line (see Figure 47).
PINNING INVTHE SLEEVE I. Pin the sloevo fo the dress cf fhe shoulder seam Iine Ordinarily the cemer of the sleeve meets the shoulder seam or in 1At0 % inch in front of it. T0 (leterminc the exact position, adjusl the slecve until the lengthwise grain line from the shouldgr t0 th? clbow hangs Perpendicular t0 the floor (scc FI g u r c 4b).
l-"ig. 47. Slcp 2
230
—
l‘in slccvt‘ at umlcrarln.
F I T T I NG {In sleeve fo fhe dress a? fhe chesf line
up the sides of lhe slecve armsqc and lift the ‚ u - from equally so (hat thc crosswisc grain a: o! lhe sleeve is Icvcl, wixh thc 5168W: hanging nded column, and pin i: in lhis posilion, g o poinls, in back am! 1mm, should be ap-
.
.
’
ly halfway betweex! thc ahoulder seam a! iand lhe underann seam a: the bouom (see
Fig. 45|. Slcp 4
V
-
5. Pin fhe
s|eove
(see Figure
SO)
-— Pin slccve alnng I’mm underarm along
H19
bock anderem! es in sfop 4
froh? undonnn
poinu established, begin a con-
h
1
Athe sleeve seam allowagmbole neun, pin i:
mm
around
—
H3.50. Sczp 5 Pin oleevc along batk undcnm. (Pinning den; cop inalso indicated.)
(y
‚
J J
_ .
i
_
_
li petptndicular to the floor, islevel a“: the girth, and that immun ofiease ieft in the sleeve for the { m m and back of the shoulder tip.
_
‚
t0
„_.
ease the top curve for at least l to side of the shoulder seam because across the top, but work ease along
sections of the curvc at the side from Bad: (See Figures 50 and 51).
Fig. 51. Step
Chocking fhe Slicvoifqo} After pinning the sleeve into the blouse m8, i. ing it for appearance when the arm: bang: a1 1h test it also for comfort in all positions. Theta
‚
be enough width across the back o! the blouse am! the back of the sleeve cap so that it is possible to s the arms forward and place the hands on u shoulders or elbows without slraining the back o! dress. lt should be possible to reach above the h’ with no restriction at the arm girth. There should r enough length and width to bend the arm withou tightness at the elbow or strain from the back of tltaÄ v’ armscye to the elbow point. After completely checking the sleeve, mark auf‘ variations in the armscye line on both the blouse an the sleeve. Crossmark the blouse and sleeve annholesi at the shoulder seam, the underarm seam, the bachj and front of the chest line, and at a poim halfwaygf between the chest line and the shoulder seam on bollx 3 back and front. lf the underarm seam lines of the Ä blouse and sleeve do not match, re-mark the 0 m : ; which seems to be ofl center at the underarm seam l and then trace a new line without changing the fitq (See directions for moving the shoulder seam position. 1; page 206.) The sleeve girth is used to check the balance or "sei." of the sleeve just as the ‘scye line is used in the blouse i and the hip level line in the skirt.
—
-
' A‘!
P in sleeve over the top.
7. Pin {h9 mit? ploclef When pinning the sleeve armscye imo the dress‚ in mind (hat lifting or lowering the crosswise of the sleeve. If you remember grain mntrols the hangin hangs in a smooth rounded (hat a sleeve well set to decide whether to colunm, you will find it easier or down. If there are 345mg (h: cromvisc grain upfrom the girth of thc wrinkles pointing the cap is too shorl an?! „h“, w ammp of the cap, be pulled down at the top unul (h: ohne should ’ k! disa ar. du‘‘p l zaenuconsiggprzd the fault of the sleeve
Problem I
CROSSWISE GRAIN AT GIRTH PULLED UP AT CENTER
7
ln Figure 52a the sleeve has diagonal wrinkles pointand from ing from the shoulder seam toward the back the lop over of the armhole line. The crosswise grain sleeve. set-in of the arm should be levcl in a normal the i that When it rises at the Center. lhis indicates out let sleeve cap is too short. 'l’o correct this fault. the seam allowance over the lop half of the sleeve“? of (h: armscye until the crosswise grain at the Center V
o
ß
'
paar‘?!
232
F I T T I NG for increasing cap height.) For a large alteration of this (ype, changc thc paucrn according to lhc procedure shown in Chapter 4 ‚ Figures 27a and b. Note. lf you allcmpl l0 tighlen llle slecve a: the elbow. ewen lhough yuu do not takc in any width a: lhc ginh, lhis chungc will shorlen thc hcight of the cap und causc diagonal wrinkles. T0 tighlen a sleeve a: lhe clbow mukc thc alteration on the vertical quartcr divisions (scc Cllaplel’ 4 ‚ pages l‘.’.‘l-l25).
Problem 2
_ ‚Ö
Ä
f Flg. 52 (a). Slecvc cap Es m0 shon.
l‘ el.
lf the seam allowance a! the top of the lel out. rip lhe armhole seam arm 1o a point abom 2 inches below tlle i i: u seam, and lower the undcrarm curve o! l.’ mmcye (o increase lhe heighl of (h8 cap. fault in this second way, however, makes the cap nanower. (See Figures 52b and c
— -
nartow to
u‘
CROSSWISE GRAIN AT GIRTH PULLED UPWARD AT FRONT OF ARMSCYE
The slecvc shown in Figurc 53a has (he lengthwise grain line tilted [urward lrom the shoulder (o the elbow lur um: of lhe followin br reasons. (a) A prominent shoulder ball needs more height on thc lronl ol thc slccvc cap than at any other point. ln lhc normal dran, lhe highesl poim is a1 the center o! the slecvc, and sumc slcevc pauerns round up higher along lhc back armscye curve than along the front. 'l'o increase lhc height thc required amount. lel out lhc slccvc armscye scam allowance in front of the shouldcr seum unlll the cap fils over the prominent bonc and thc grain seules down t0 a level line a! lhe girth (sec Figure 53b). n
"
n
Fig. 53 (4).. Front o! slaeve ap i: shon; (b) Addition made t0 ap heught in from o! oemct line o! Ileeve for n promj. nem uhoulder ball.
"
b
m: iuxslilefvol. lioflltErS tlirownläaök
l
m
äxesleeve soothat the lengthdicülii- to the floor, move the -„jln„Eront of the shoulder seam.
im! the echter line of the sleeve
l
l.
cut so crosswise the grain. ifie-gilfi line does not follow it. to re-cut is correction pbasible j
J
släevämay have been carelessly
7A
Problem 3 A
(b)
(a)
ÖROSSWISE GRAIN AT GIRTH PULLED UP AT BACK OF ARMSCYE
made v" Fig. 54 (a). Back of sleeve cap is short: (b) Addition for of sleeve line to cap height in back of center square erect
The sleeve shown in Figure 54a has the lengthwise to elbow for one grain line tilted back from shoulder reasons. of the following at the top back (a) lf the sleeve cap is too short it pulls in the opposile for equarc, erect shoulders, in Problem 2. Let out way from the one described line the seam allowance on the cap behind the cemer the girth (see of the sleeve until the grain is level at F’131m: 54b). line of the sleeve is (b) If the Center lengthwisc it wo iar forward at the top of the armhole, move back until thc girth line is level. and flat chest require a longer (c) Round shoulders the front. armhole an the back of the blouse than a: is perTo sct thc sleeve so that thc lengthwise grain of the line ndicular (o the floor, move the center The height of the sleeve behind thc shoulder scam. need to be in { m m of the Center line may then
cap
of the sleeve may have been cut (d) The girth line result that lt will slant in the „g au: grain, with the described in Problem 2. way from thc sleeve
oppogiu: u w, „ a n ab: sleeve.
234
shoulders.
Problem 4 SLEEVE
DRAWS ACROSS UPPER ARM WHEN ARM |5 RAISED (see Flgure 55a)
too low, sel. the (a) ll Lhe armscye of the blouse is o! armscye line ol" the sleeve higher at the umlerann the blouse. the cap width (b) lf the sleeve cap is too long across the arm. bind will rather than the sleeve girth . reason when it is lifted. For this sports dresses and shirts have short sleeve caps. (See the Sleeve with f Lower-Than-Normal Cap Heighl, Chapler 4 pages ‚N 125-127 .) To correcl lhis fault, increase the width of i a! i? the cap by letling out the armscye seum allowance lessen— lhe sides ol the cap, und Llecrease lhe height by curve. thus de- f ing lhe (lepth ol the sleeve underarnl zmn (sec Figure creasinlg the sealn ullowancc under the
.
.
'
55b).
is l/‚ t0 1/3 inch ( o 0 (c) ll" lhe girth ol" the sleeve [ m m ginh t0 elbow. seums small, let out the undcrurun wnh a Bul for a largc incrmse, rctlrall thc pauem ncw
girth
mcasurclneut.
J
o.
F I T T I NG Problem 6 AT BACK CF ARMSCYE WHEN ELBOW IS BENT (see Figure 56a)
PULL5 SLEEVE PULLS
t o o deeply hollowed annscye may be too (a) The sleevc armscye lhus shortening the length from the out the the elbow poim. point. lf so, let oul add t0 lo necessary seam allowance on the back armscyc
a1 the oul zu Lhe buck, back, t0 back armscye L0
(see Figure 56b). Iength (See length too cither t o o high be either dart may bc high or too (b) The elbow dar: lhe lhe point where the a: the low l0 provide ease exactly exaclly at lhe dart. the posilion clbow elbow bends. H so, change lhe position of Lhe loo small t0 provide da11 may nlay be too (c) The elbow dar! slush from H so, slasl} H‘ lor bcnl elbow. Im" bcnt lhe lcngll} cnough lcnglh o1’ thc lhc slceve, m Lhc (lau u) lhc front edgc o!" slcevc, and lhc clbow (laut ol thc lhc dnrt dart (sce Figure l0 incrcasc lhc sizc o1 incrcnsc thc l5igure 56c). sprcud 1o splfäld
is [ U0 0 small H‘lhc clboxs’ clbow circulnlcleaxcc cinuunlcrexxu- i5 (d) lf
(b)
allow
lhc underunn scznn ullowance. unclenunu scam
whcnn arm is acmss upper arm WIICII Slceve draws across 55 (a). Sleeve scam lct uuL nur n)u; inDotted lines show armscye seam ; (b) Doued decrease cap hcight. width and to dccreasc cap widlh
Problem Prob|em
[o 1o
lnr Im‘ Hexing‘ Hcxing lhc zum, incrcase it a liule by letting out
5
VE E PULLS WHEN ARM IS BROUGHT FORWARD (hat nf the lhe sleevc and that annscyc ol ) lf the back lower armscyc Lhc 311ee dress are hollowed out too deeply, rip thc Inotlel the armscye. Havc the model the back of lhc along ilong " her er arm forward and re-pin the sleeve, leuing letting the the blouse and lhe e seam allowance on both lhe the
ä
'
o
lf the blouse armscye is too low, 71i a:t the underann. underarm.
set
the sleevc sleeve
(a)
[hin III the sleeve girth is too narrow, remedy (bis dircctions in (c) of Problem 4 y following {ollowing lhe dircclionls
a1 the Lhe back nf of Lhc thc armscye whcn Fig. 56 (a). Slccvc pulls zu lhe c-lbow lhc clbow is bcnt. bcm.
f wrinkles (hc armscye of the Tinkles show only in thc i“ k. not of the sleeve, the armscye of the dress. lhe (lress. small for the back armhole of the toow! ü] Ior size of the sleeve armscye by letting letling out sIceve underarm underarm seam. The letWpfI the sleeve to elbow. For anäven even amount from girth ginh t0 alteration, increasing tfiod o!f making this alteration. incrcasing iääshing; and spreading, see pages 123-125.
Problem 7
‘
[0
ELBOW OF SLEEVE DRAWS WHEN ARM IS BENT AND SLEEVE PULLS u? UP FROM WRIST Problem 5 (Ü). PTOIÜCI" (b). (C), (f), (d)
diflicully. difficulty. (J1
deals with wich this fitting
Add Length
at
Elbow
x}
(b)
A back armscye that i: too deeply curved t0 the elbow. ühorgens the sleeve from the armscye
516(11);
.
and spreadi Fig. 56 (c) Dar: size increased by slashing front the to dart edge. elbow the from
Problem B SLEEVE SEAM FROM ELBOW
_._I_.-„u.-A5
T0 WR|ST TWISTS
TOWARD THUMB WHEN ARM |5 BENT (see Figure 57) on the flat The Irom seam line, as i: would appear the center toward much too in pattem, probably slopeselbow t0 the wrist. The front o! the sleeve from the with an elbow seam line in a normal sleeve pattern and the dar: should be almost on the straight grain, the sleeve is being normal position of the seam when of the palm. Correct vom i: on a line with the ccnter the front seam (he seam direction by straightening back seam the edge and making edge o! the pattern
the thumb: Fig. 57. Seam twists toward bias. 100 is
"more bias.
236
[ront
edgc of scam
F I TTTTII NG NG Problem 9 EVE SEAM FROM ELBOW TO WRIST TWISTS LEEVE T‘ ARD THE LITTLE FINGER WHEN ARM lS |S BENT (see Figure 58)
-
When this happens either the elbow dar: is t o o "y lor the back seam edge is [t o0o0 sharply biased, since dart and the degree of the bias on the lhe dar: ‘Üsize ‚size of the 5 edge of the seam must correspond if the seam ol the palm. (See at the Center cemer of held a: t0 be held is to 118-1l9.) Sleeve, pages 118-119.) r ysis of Master One-Piece Sleeve‚ to the elbow‚ dar: does not point elbow, make poim t0 )) If the dart to have the back part of the sleeve o so in order t0 [hat part of ‚n elbow to wrist equal the length of (hat bem. bent. when . ) Fa)
'
-
Gran i
\
V
l|
I
l|
lI
I
l| I| lI
l I|
l|
|I
'-—— I..-
/
Girth increased, increased. without increasing Fig. 59. Ginh incrcasing width of cap.
dan is Hule finger; elbow dar: 68. Seam twists toward the liule e n t e r of the t0 the C center ImallI to bring back seam edge in 1o
to eqtlal armscye l0 equal the Original cap height. Figures 60a and b show a slceve slashcd slashed on the back quarter division and through the elbow dart. The elbow dart is then spread in order to allow thc the back part of lhe the sleeve to widen and lengthen. ll lhe the lower part of ol the sleeve armscye line is (b) lf Loo straight, the slceve too sleeve falls tight over the large muscle at a: (he the back of (hc the arm. Figure 61a 6la shows that an inward arc swings fullness into imo the area below it whcn when the arc is joined to a straighter straightcr line. When this sleeve is set into the armhole of the dress, thc the area falling below the armscye seam between the poims X and X will actually bc be fuller than Lhe the seam line. Figure 61b shows (hat a slraight forces no fullness to fall straight line forccs below it. This sleeve will be approximately as tight in the area falling below Lhe the points poims X and X as the
Problem I0
orVEDRAWS OVER oven MUSCLE AT BACK OF flvs
uns ARM NEAR GIRTH G|RTH LINE
.
often requires extra width ‚ ÜAlarge upper arm ohen h over the back girth muscle but no extra v; h, baclt armscye line. Figure 59 shows a the _ {h _ ‘liback ad and nd spread to increase girth width cap width. Slash the sleeve along " wise i m : grain line from girth to top of i 2o ö wrist. yvrist. Slash along the girth line ' the Center to allow thc mally a: the center 1in6 without changing line 5ehe Kap. Redraw the top of thc b
i’
seam line.
237
‘b’ ‘F’. Width inaeasea‘ for the elbow arid back upper _
‚1-3g.AAso;(q)-. "
r
9E
armscye retnains unchanged. GOI-(ä). ‘Sleeve folded. The {old will not fall on the lengthwise thread. V
a r t Reduced Grain
(a)
curve on sleeve m11. pm5| (a) und (b). Eflect of armscye neu below armscyc. curve (x-x) when stretched out 1755,51 (a). An inward i: toten fullneu into the area below (xi-xi). line (x-x) forces no fullalmon straight An 1:58 51 (b). neu w hang benow n (ad-xi)-
but small elbowFig. 62. Alteration for arm wich large girth
238 „.444.
„u.
F I T T I N G
Problem IIII
VEFALLS IN LOOSE FOLDS AT FRONT OF ELBOW around Lhe lhe girth but 5mal] small around an arm is Iarge amund ‚an
bow, a sleeve may fit the ginh girth correctly but be ‘glbow, elbow 1o the wrist. t0 fit Lrimly trimly from the eIbow n“ to {loose nlethod Ior reducing lhe the width widlh of e 63 shows the method I oI’ Lhc Lhe slecve. sIeeve. Slash SIash verlically n! quarter of V’ onl vertically on the division wrist (Iivision fronl Irom wrisl the t0 the armscye quarter this division on the eIbow on horizontally horizonlaIIy gain gain o the Imnt front seam edgc. lhe eIbow slash edge. Spread the out. ver‘in ‚n: quarter division Iine in order to Iap out Widlh in the Irom half of the sleeve the excess width sIeeve Iinc. Correcl Lhe eIbow Iine. Correct lhc 2nd below the the Iower and that any change in the slope indicated. Notice (hat E the sleeve must be accomunderarm seam of Lhe an alteration of the ‘kann by armscye curve.
f
‚
„_
_.-
f ‘I
ProbIem I2 SLEEVE FALLS IN HORIZONTAL WRINKLES UNDER
THE ARM JUST BELOW ARMSCYE LINE WHEN IS DOWN (see Figures 64a and b) THE ARM |5
than the armhole of the II lt‘ Lhe the sIec-m sleevc cup cap is shorter Lhan underarm seam, u) thc Lhc underann bIouse seam, the excess blouse from Irom the chest m lhe the sleeve scanl of underarm scam produces Iength on thc underarnl length lhe al Lhe the underann. underarm. Some e x t r a length Iength on Lhe blousing bIousing zu lhe arm, espeIor raising the sIeeve underarm is needed for sleeve blouses. But if the blousing bIousing is cially ciaIIy in lighlly (ightly fiued blouses. front Lhe from i: shows as Iwrizontal horizontal wrinkles aL the excessive, excessivc, it this diffiT0 correct and back just below thc To und lhe armpit. armpil. nol but not rcducc lhc underarnx Lmderarnl seam length, Ienglh, bul cull), cully, rcclucc arm. to it (o raise lhe t0 Inake UIICOIIIIOTIHDIC muke uncounforlable cnough enough NUN’. Xolc. Scc See Figurc 64v (Mr Ior correcting thc reverse of corrccting lhe this lhis problcnn. 100 loo Iinlc underarln IitlIc underarm Ienglh. problcnn, Iength.
(C)
o r Ieuing 145.64 (a). Position {for I-ig.64 under. lening out or taking up undey. arm Iength on sleeve and blouse. Sleeve with too much much underarm Iength Fig. 64 (b). Slecve the length for thc normal sek-in sei-in sleeve. Alteration of o! underarm length. Fig. 64 (c) Afteration
V
„fit! im„Fa: „.‚„:_„-..:
-.. „
„a,.
»‚
u umslope on the { m m is-nor ummag ‘äfläfixeihe
[W
hielt. the {vom atind back girthvcomers will "nogmatch wen» the sleeve is Eolded uhless thertomers fare fmsced
tdgether, and this causes the sleevg t0 twist. ‘Figur: 66a Shows d slceve with greater slope anVtlie bälclithan 0a the Eton: and Figures 66b and c shnw what happens when this sleeve is folded. Compare l-‘igm-e 66d. which illustrates a folded släeve with the same sIope on Incl and {vom underarm seam edges. Remove a den: which twists and check it for accuracy oi cut according to the directions on pages 118-119.
I
I
l
n i
1
Fig. 65. Sleeve miss [ m m nrmpit 1o elbow.
lw”,
„mal?“
(b)
(c)
o! 58d Girlh COTHET-‘l {an m meet, because slopes . mismatchcd. (b) are Iines seam back 1o manch. (d). Folded ‘m ‘mm and 758-56 (a) ' 31°?“ do not match. (W Slecve twisls whcn back and (mm.girth comers arc [orced am! ( m m wam lines oleeve with correct Ilope. 240
FITT I N G
_
l4 Problem I4
i
HIGH OF SLEEVE UNCOMFORTABLY H|GH SCYE 0F
n)’,
ü
size. e binding is due to the blouse armhole size, of the Area 208the blouse, blouse‚ Armscye pages ng g rrge g e fhe sleeve armscye: tout the seam allowance over the top curve o the width and height of the cap.
‘*tout tlout the underarm sleeve seam to increase the '
I6 Problem Prob|em |6
WRIST SLEEVE TOO LARGE AT WR|ST
wrisl size, pin out the excess on the T0 reducc the wrist the seam only. Remove the sleeve and back edge o!" 111e to {rom elbow t0 line against the front from back fold the makes more back the wrist. Slantixmg intensely edge Slanting {hat a new a: the wrist line, so (hat from am i: it slide above the front dart elbow the wrist line must be marked. lncrease back the on thc e x t r a length t0 take up Lhc (o edge. measurement, reverse this proT0 enlarge the wrist measurement. for both Chimges5°C Figme cedure. See “du”? changes. Figure 67 f0‘
length lenglh along the underarm curve, but do this short -the 1h: underarm curve of the sleeve is too shon blouse. derarm curve of the blouse. nderarm l
l
wilh wider ginh and redraft the sleeve with and or slash spread the pattern. p,p,
(her ther
I5 Problem |5
o; ‘E E ARMSCYE EXCEEDING LENGTH OF
m: USUAL BEYOND THE T0 2 INCHES 0| TO
uss USE ARMHOLE
H10 fho blouso Neun : ges 208-2|2).
armscye (see fiHing of armscye
- «w‘ihn sloovo armscye fho sleeve armscyo by: ’
4
-
v thc sides ning the seam allowance along the pening r edge of the sleeve cap.
under pg the seam allowance of the underpening sleeve girth is too large. 1h:aleeve fithe »
with a narrower girth and "fing the sleeve wich ßting Tharrower cap. '
ich: girth measuremem measurement exceeds the elbow thc more than the usual 2 inches, the by and too wide a Aue large very cap willghave "
mm
Doued section is pivoted back to reducc reduce dart dar: and Fig. 67. Dotted Wider! Wrist. widen wrist, forward to increase dar: and narrow wrist.
quired for prominent 5111p h?
Marking fhe Balance Lines (see Figure 68) After fitting the master pattern, mark the balance lmes the scye line in the blouse and the hip level line in the skirt, as well as any other lines which will be helpful in designing patterns on the master block. Platze a tape measure around the body under the arms so (hat its upper edge just touches the armhole at the side seams. Adjust it at the center back, center front, and sides so that it is level. Pencil the muslin blouse amund the lop edge of the tape, and mark the most prominent point of the shoulder blades. Place a sec0nd tape across the bust line in the front, but raise it to the scye line at the back. Pencil the upper edge of the tape across the front 'only and mark the point of the bust. Measure down 3 inches from the base of the neck on the center front line, and place a level Lapeline from this point to the armscye. Pencil this line. Measure down 4 inches from the base of neck on the Center: back (or farther if necessary to match the chest line in the from) and mark a level line. This line, when canied across the sleeve to match the line in front, should be level all around the chest. Pin a tape around the largest hip measurement, 7 center (o 9 inches below the waist, and adjust it at the front, Center back, and sides until it is level. (See Pencil marking the hip level. Chapterl page 8 .) is relf the of darting special the upper edge tape.
_—
All marking of balgnce _ efnuw til a second fitting ifeiimpöriant‘ alte ä“ a change of grain are xnäde ät fi D a ‘
4
A
_L
4
‘L
y
Making Alferafions in fhe Manier Paifern andRe-cbech ‚ fhe Dress Form _ Take 0E the mastei‘ pattem and mari all a l t tions indicated at. the fitting. lf therc are man): impq t a n t changes, duplicate them on the opposite half . prepare the garment for a second fitting. This usually not necessary when it has been carefu ” draped on a well padded personal form. lf the master pattern did not fit well, re-checlc dress form by placing the altered master pattern on th form again, readjusting the padding, or re-marking th _ basic lines to conform to the fitted pattern. If 1h‘ fitted master pattern fits the dress form, a review o the changes that were made during the fitting w’ help explain t0 the beginner her mistakes in drapi or her posture variations from the standard dress form See Chapters 2, 3 and 4 for suggestions in check ing the accuracy of the flat pattern pieces of the blouse skirt, and sleeve. Mark and measure the basic lines on the pattern pieces as shown on the following charts. e
’
'
_
242
F IT FI TTTIINNG G
Fig. 68. The marking of balance lines.
DRESSDESIGN.„ MASTER PATTERN MEASUREMENTS
; L, ’
BLOUSE WIDTHS
.. .. . ... ...... ‘ C.F. fo shou|der . . . . .
I. Shouldsr soam (fronf) Esse on Bock 2. Basic neckline Q; ‚o 9 n d “ ,
.... .... .... ....
Lznems
.
I. Conhr_— bes: cf noch 9o «am Conior hnck
...........
. . (total) .
___ ______
c°"*" “w” '
.. .. .
'
'
'
‘ ‘
'
2. Shoulder soamjas‘ noch) fo waisi ' ' Fmnf ' ' ' ' '
'
'
'
'
'
'
'
'
'
'
‘
_
4. Scye Iine fo upper edge cf blouso c‘ B°°k_"“k h n" ' ' Bad‘ Shoulder af nock fo scye Shoulder a? armscyo fo scye Fronf- C. F. neck fo scye Shoulder a? necl f0 scye Shoulder af armscye fo scye 5. Armscye Iengfh .
.
5
”
.... . . . . ...... . .. . . . . . . . . . (inkl) . . . . . .
Back............. Fronf............. Blouse Front
a|ouse 935k
JJW M T
I.’
Upper
>
5
g5
‘.3 3'
S"
g c
. m. v
f"
a O
i}
ä
v
v
.... ......... Underarm seam . . . . . . . . . . .
3.
..
_ _ ________ __
ä-
'
Bacl:
3‘ ch.ü(3„d°wn oncF) ‘ ' ' ' ‘ ' ' ‘ ' ‘ . 4. Upper becl (4" down C.B.) . . 5. . . . . . (fofa|) e circumference . . . sqc_a_ *0 ‘ade “ a m . . Cf. ‚o sich „ a m . . . . . . . . (fofal) 6. Bus‘? circumference . . ' ' C.F. fo side seam 7. Weist circumference . . . . . . . . . (fofal) C.F.fosidesearn......... C.B.fosideseam.........
‘
u
ä’ I!
‘
3
\ 244
{V
V
‚
F F I | TT TT II NN G MASTER PATTERN MEASU REMENTS SKIRT
WIDTHS
"sfline circumference . . . nisfline ‚B. fo side seam . . . . ‘‚C.B. f0 side seam . . . . ‚F. fo C.F. p Ievel circumference (falten rf of hip Iine) line) . . . . . . f0 side seam . . . . C3.. i0 .F. fo side seam . . . . CF. im sweep . . . . . . . fo side seam . . . . C3.. +0 io side seam C.F. fo Ä
.
Skirt Back
LENGTHS
. . . . . (fofal) . . . . . . . . . . over largesf
. . . . . . . . . . . . . . .
. . . . .
. (fofal) (fatal) . . . (fofal) (ich!) .
I. Waisf fo hem
Center Cenfer back . Cenier Center fronf . Side seam .
level {o hip Ievel 2. Waisf +0
Cenier back . Cenfer Cenfer Center fronf . Side seam .
Skirt Front
L ‘
L) 5 ..
[ L e v e l {
W
"O "d
ight
He Cap
h
Elbow
l
Len
Underarm
_——— Wrlst
246
ol collars lthough this chuptcr, on thc (lesignEIIg clcsigning ol" ‘Although to dcul (lcul with busic cuts, lt it hus necklincs, is thc last t0 d necklines, becutxsc its importance been placcd lcust; pluccd last becuuse inuportuncc is least; ol the difhculty ul thc subjcct. The becausc of Thc rather because (lifhculty ol kline or collur acts us u buckground lor the luce, lucc, C0llSl(lCI'C(l the most therefore bc considercd nlost important should therelore iunportunt 1 . of the entire COSlUmC. sllould bc givcn curccostuxnc. lt should lrom thc point of vicw of ol lushion lushiorl v;thought lhought both {rom ol individuul becolningness, slmuld always g of becunningncss, und should ulwuys of the COSllllIlC. costmnc. an integral part purt ol lor thc the busic lmslc typcs of ncckn this chapter, puttcrns Im" Iwckand collars are develupctl dcvclopcd both through druping (lruping llat puttcrn blocking mcthod. ln u through lhrough the Hat Gases, where ucctxrucy cases, ucctlrucy is of prinnury ixnpurtunce, impnrtutlce, directions are given. ()f tdirections ()[thc three thrce methods, mcthods, drapolfers the most opportunity offers lor creuting Original npportunity for originul becuusc n0 no purt ol" thc the dress (lress requircs nmrc morc ‚ but becutnsc "sion of fit than thc the neckline, it is cssential cssentiul that dress form necklinc be paddcd dress pucldctl und shaped to
. A
\
licate your own precisely. d:
i"
RS explanation me ‘y employed in '
' ‘
ol the terminology comhere o! discussions of collars will save 'tion in the [ollowing lollowing problems. The following e principal terms used: le-line denotes the frce outsidc outside edge of the collar to the neckline edge sewed to the garmcnt. poscd t0 garment. d refers rclers to the height of the collar roll, usually nount the collar rises above the basic neckline to lis is attached. lt is (hat part of the collar which from the neckline to the roll-line. l
or fold x01‘
is the tuming line of the collar along
ot the stand.
vovt
lold to fold thc lupel begins t0 Break is lllc point i5 thc puint whcrc the break-line und und ol" ol buck from thc fronn Lhe the cdgc cdgtgunncnt. tailorcd ol thc lapel luld-linc of rclcrs to thc lold-linc lapcl und the tuilorcd collur thcil‘ various ( l o l l u r s urc (lussilictl (lussillcd Mcording Collurs uccording to their ol‘ outside outsidc cdgc, neckCharucleristics churuacristics w idth, shupc ol" width, unost importunt line shupe, und roll. The lhc most inlportunt ol these (‘llill’zlCtCl'l5llC5 i5 i» thc wuy thc collur rolls lrtnn lrmn the neck— neckclluructcristics linc cdgc, und this thi» is lurgely rela(lClCTHllHCd by the rcla— lurgcly (lctcrxnincd ol" thc the nccklinc t0 the nccknccklixxc cdgc ol thc collur to tionship ol‘ ol’ thc gunncnt. For line ol" F01‘ instunce, if il" the thc collar necklinc hus thc sumc ( ‘uurrvv c us thc lhc gunnent ganncnt necklinc, it il" thc lies llut; il the collur Ilccklnme ncckline is lcss curvcd (or evcn even convcx cunvcx )it lllC collur neckline inlmcklinc is more in. ) i t mlls; und il" thc u n c d (or more morc concave) wurdly (("urvcd concuve) it ripples. lt is u) think of thc the collur collar roll as rcsulting Ihm, tu essentiul, thcn, lrom lroxn thc rclutionship ol ol" thc the two shupcd lincs which ure joincd the necklinc nccklinc of ol the garment und and that ol of collur. thc collar. lf u collur cullur is not not cntirely cnlirely Hat, its width also inlluenccs thc hcight ol" ol thc roll. That 'I‘hat is, thc the stand incrcuses as 21s thc crczlses the collar widcns. A collur lluttcns out until it finds im in its own Circumlcrence circumlcrencc on the body. For exil its circumlcrcncc circumlcrcrlcc 2 inches inchcs lrom the thc basic zmnplc, unnplc, il’ necklme necklinle is only us a5 grcut as the circuxrllcrencc l body circunllerencc hody inch from thc basic busic nccklinc, ncckline, thcrc is thut that e x t r a inch of collar width to go into a soft roll around the neckol line, giving the collar ua 1/2 l/_‚ inch stand. A straight struight strip scwed to the basic neckline produces a stand one-half its width, since its circumlercnce at the outside edge is the same as that ol the basic ncckline. neckline. A concavc collar neckline providcs a greater circumlerence circumference on the outslde edge of the collar, and stands less than onc-half its width, width‚ since the outside cdge cdgc of the collar
—— —
—
slides
out on the shoulders {arthcr larthcr from the basic neckline. As the collar neckline takes on a more innecklixle.
.
DRE
s:
ward curve, the circumference oI: the outside edgein. and therelore the proportion of ü; widgh #751895. goes l n t o the stand decmases. T“? Imeness or tighlness of the coIIar ‘along
um '
mll-lnne 1s important Iactor in determining anothef the collar style. Smce the upper pan of um„ d ; i, smaller than the base, a close fitting roll-line must be the as the basic neckline or even shorter, san_1e length and thls can be achieved only by a straight line or a curve on the neckline. Figure 68, page 272, convex showmg a diagram of a wide tailored collar with a reverse curve‚ gives a graphic explanation of the relationship between Lhe shape of the neckline and the
length ol’ the fold-line. A collar with an inward curve
94mg the netkline; nach an ure l4. page 25}, hat: iqldqgqg»_grgig 5 the circumierenceÜiofithe m51:
"fgigg
I
easy „toll thax Amndiiaaüqiärefitpm. fixe 1.. the rolled Peter Pan Collär, Figurefigfl, pggf255‚ By learning to usc thethree types of lings; wa concave, and convex, for ceIIar necklines, you an a sign an infinite vaxiety o! collars adjusting 131176 the right degree or conibining ‘line difcctions ‘m. « you produce thc exact effcct you wish. In all co‘ on the model fit the (h: by using designing, check entire collar, not one half. Thc pull across the of the neck by the opposite side vis essential in deterf mining the fold-line of the collar.’ —.V
b
PART I
DRAFTING AND FLAT PATTERN DESIGN In this chapter, we shall consider the drafting and flat pattem designing o! collars and necklines before we discuss the relevant draping procedures. This is done because the subtle modifications achieved by than precede, the draping Iogically follow, rather drafling process.
Problem I THE BUILT-UP NECKLINE (see Figure I)
Before building up the neckline of a master pattern basic neckline. As it is, blouse, you must revise the the basic blouse has Iengthwise threads very slightly the arc slrelched away from the Center Irom to makethan Lhe or curve of the neckline somewhat sharper of the circumIerence curve of the neck itself. The I inch above the blouse area which could be extended small to fit the too basic ncckline would therefore be neck. For this rcason, the sizc of thc upper part of the incrcased, and also basic neckline must be slightly so that ‘the lcngthwise 1h: grain must hc shiftcd, than necklme thc m ratIuer Pm‘ “mm4; are perpendicular IP07" 5L (See Dralmflä ‚ligmly stretched away Necklinc, Flgures l8-2I.) cccILm: Ior thc ßuiIt-tup
5Iw l vm„-.‚„
Fig. l.
The buiIt-up necklinc.
BLOUSE FRONT For your convenience. have blocks for the from a w" back of the blouse with built-up necklines ready t0 use:
whenever you design dresscs wilh nccklinles high than the basic one. The following directions explai how to make these blocks. I
Slash lines (see FIgure 2) ‘ I. Cut a copy of thc master pattern blouse froh‘ (m und on it draw a Iine Irom thc halIway poim, I, Sla 1 necklinc to lhc cml oI the basic waist (lart. D. Irom _Ito D.
COLLARS
A N D
NECKLINES (o AL. in Order l0 doucd line A1,. u» lhc thc IICW ncw sloping AB, m slopinlg doned this in thc posxPOSIshill shilt the thc grain slightly. Keep pattern pancrn lhc xelnaining lion lhroughuut Icmaining slcps. throughonnt thc (o ]. "2. Dran’ j. of lhe pattcrn lhC cdge uf Draw zalong paucrn from A t0 along the
Lhc hultway linc lrom the hullway point. K, on the 2,‚ Draw a line o!" thc busic hasic waistline dart, u: lhe cnd ul dan, 5021m, m ‘a. ulder ulder sczun, from 1) u) K. '‚ Slash hom N
’
incrcusc the size of the alash jl) (ul0 increuse thc slash 3. Sprcad the corner I louches point M. shouldcl‘ comer Ileckline Ilecklinc until the {h}: shouldel‘ zu amthe neck. Draw a inch 51:15h [hc 51:13h 3/5 This sprcuds ß/ö sprcads thc the pattern follou’ f0llo\x' thc I und linc 1mm j] Ihrotngh cuned line curved lhrough 1o K. edge lhc widlh at the umil thc 21l 1) l) unlil DK aL lhc 51:15h slush Dlx’ 4. Sprcud thc thc Original ol lhc sidc seum, scum. ((i, i , cquals the unnsqe unnsqc cnd o1 sizc. siLc. puucrn pultern markcd by the scflion Inarkcd Lhe pauern 5. Druw around lhc Dmw amund paltcrn scclion Thc inner edge of the waistline I(H(.'I<"lil)1. The poinls KHGI-‘Elfi. DIC to C1 to dem DIC remains the same. Extend D1C dart and B. The C1 Connect (Lonnect ol of DIE. the thc lcngth length Cqllkll equul ncw remuins AB. The [ m 0 lm4( e i n e r ("rnler pattern is [mm1 pallern [mal [runt [um] AIi(I'l)‘lfF(.'HKI]/I. ‚4B(.‘11)'liF(.'HKI]/l.
am guide (see Fiqure Figure 3)
l,‚ Draw around the master pattern on another oul. Draw a dotted um cul it out. of paper, but du not _ tof to point lhc front of Lhc from ccmer C e n t e r the neckline, A, t0 Irom „e CCIIICT [ m m of the waistline. 0m lrom the center out inch 1/2 the shoulder seam from the Measure 1/2 inch on thc 72. Measurc a2. y
end and mark M.
-ading Jding to increase the lhe pattern panern on the slash lines 1o pread the Spread and shih Lhe lhc grain (see ‘ckline ckline size und (sce Figure Figurc 4). lhc pauern shown in I5igure ‚l. l. Place thc Figurc 2 over the lhc Center front, 3, ern shown in Figure tem malching Figurc matchixlg the
J l
a
A
A
'
I
I’ :
l
‚
|
I
|
I| |
I’
'
z
‘l
u
I
a
n
|
u;
|
nI
o
'‘
C.F.
| |
|
| |
|
a
:
In
'
|
'
| | | |
|
l
I|
.| ...| 3B L
B
Fig. 2. fix
Slash lines. Sluh um.
guidc with tcnnpnrary Fig. 3. Pattern guide lemporary C e n t e r front fmm line AL. center
249
|
E
CY.—-' c
B-‘L
1o shifl shift grain Fig. 4. Slash lines spread m and Iincrcase n c r c a s c ncckline sizc. size.
"
d’: fiömär. gpar:
afpoilit; l itzxch up_ nght angle: 1/2 inch’ ‚to "öasur. necklme etid of Ehe shoulder seam. Labql’ w
.
a
1
L
edge bf the neckline, N to O, eLtqvfhe Basic neckline.
stitched. _ f? ü“ " K S. Draw a line ffom Ltonäntfifite‘ line dart, D. 4. Slash from ] to K to D, and spread 54' i neckline, tapering off to nothigg a; D. 5. Draw around the new pattern, ABCDHEFGHIJE: l
_
.
*
l
’
V
V
L_
.
.
for a built-up neckline, ‘Tfisytgvjsä the blouse ' back ' kl’ d ‘im’‘m: {
"whicheamflstiäffielxgäfisxfietflirfioslägfiffy |
|0
7/‘f
S; Pi:
IA-
‘
K
die 6. Dmw the new da”. fouowing um .forK11 1 lme Malte the outer for and inner edge Edge. K] equal K].
I I s‘ l JN
A
A
F.
C.
9
E—-—— neckline drawn. Pig. 5. BuiIt-up
dart Fig. 6. Part of waistline dart. t0 small ncckline
250
transferrcd
C
E
F
und dar! Fig. 7. Built-up necklinc drawn.
‘
COLLARS
thc Center back a: the xwckline at Lhe necklixie lrum the Measurc „Nleasurc lrom the collar, and of width the sezuns seams shoulder und at the collar), [h6 slyle-line (the outer line of the collar). draw in the in the neckline lor a low flat collar for Note. Design a Hat front blouse the on same way, but chunge the neckline the collar. block belbre you and back before
necHine on fhe final paHern (see Qhe builf-up buHf-up neckline awing fhe gwing
z’). 5.
gure 7) Hgure
»l. E].
Extend the C e n t e r back line up through A and k a point l inch above it, L. linc from the shoulder corner, l, I, par» par2, Extend a line i1 a point l1 inch up l0 the C e n t e r back; mark on it l to a! a right angle 5% nwasure in at 2%inch toLo I; and measure Label of the shoulder seam. end neckline the blish shoulder seam. the I M to t0 t0 to M. complete i"; Join join I, to t0 M parof the lhe neckline llCCkHnC L the Draw edge upper 3. ‘B. necklinc. el to the basic neckline. el a line from ] T0 complete the dart, darl, rule u 4. f4. To
NECKLINES
A N D
lhe to the
thc line linc very LM, sloping the vcry slightly away Ü;kline edge, LM‚ interscct line from linc Rule a back. center the 11 to intersect i. 3lhe same point. g neck edge ata: the
Problem 2 FLAT COLLARS DESIGNED FROM THE MASTER PATTERN
r
Huf Collar. owHai “now CoHar. Nof Wider fhan 3 lnches (see Figure 8)
'l /8” Raise’l Raise /8" ToITighte Ingme
l.
masler pauern Place the shoulder seams of the master pattern (hat they touch at use back and front together so that neckline neckline and overlap 1/2 inch at the armhole. The tne lcsscns the of the thc shoulder lessens ‘rlapping a: the end o[ rlapping i neckline curve across the shoulder seam. p e n t e r front of T0 remove the sharp curve at the Cccntcr lhe neckline inch below the a dot w, I/2 ‚_ neckline, place ". e center front, from, and another on the neckline halfbetween the shoulder seam and the center front. curvc. This insmomh curve. "Vthesc these two points‘with a smooth 'about inch es es the neckline « 1A on each half length pattern. gc pattern. ‘g’ To remove the excess length, draw the final line the neckline 1Ainch above the original neckline gthe 1,
1-
’ _’ ‘ 5e
Lower
u-
\ \1/2" er’?
w
"e. ; E.
‘
’
I-‘or a slight roll to cover the seam joining the For r and the dress, subtract 1A inch from the center Center w,inch [rom the off the collar and the same amount Irom front. A collar should usually be 1/4 inch from. t0 center back to than the dress neckline from Center ‚Mthan must roll collar the flattest iront. enough _nt. (Even -» the ‚the seam.)
. mm Fng. 8. Flat collar sloper designcd Fig. dcsigncd [frum blouse.
'
c
25l
mastcr
"
e
-
paucrn
nness oalsnenl ‘Mio Hai 0ull|t-“B_er+he" (see Figure 9) l. Platze the back und front of the‘ master pattern so that the shoulder seams touch at both the neckline und the armscye but do not overlap. 2. Remove the sharp curve on the center front of
the neckline as you did lor the narrow flat collar.
3. Remove the" length thzc this alddn anyan the narrow flat collar. 4. To keep the collar Hat in the back, incrucase che f circumference ol its outer edge by sloping au: in * center back line 1/, inch. This tiglnem the am zt the i cemer back and prevents the neckline from rolling up when a wide flat collar is preferred. The looser omer edge of the collar makes it fall morc gracefully over Ä the shoulder blades. For still more easc, or even lor a rippling edge, slash from the outer edgc of the pattem
l
to the neckline at a point at least l incl: from die '
Center
back.
5. Draw the style-line as you wish. . Note. Wide collars sometimes have shoulder scannt so (hat the width beyond the armscye can curve down over the arm (see Figure l0). Also see the lay-out plan for the sleeve with a dropped shoulder line‚ Chapter
Extend 1/8"
4 ‚pages 157-158.
Shoulder Seams Touch
Fig. l0.
Wide collar. Curved over arms with shoulder
seams.
Problem 3 COLLARS DESIGNED FROM THE COLLAR PATTERN SLOPER
collar designed lrom y - ‘ g Wide flat
mnsrlcr
puncrn.
Rippled Collar (see Figure I I) in To design rippled collars lrom the sloper made Problem 2, first draw lines from lhe outside edge perwhcre the flares will b6 pendicular to the necklinle ol the demosl Hattering and consistent with the rest ol the t0 sign. T hen slasvh anal sprcad producc ripples and size (lcsired. Figure l2 shows that the placcmem he cnnsixlcred in relation I0 sprcznd lor the llarcs must The thc number and posilion ol seznns in the collar. m‘ seanl one in Figure |2 rcquires eilhcr a shoulxlcn‘ a u scam or opcning down lhe ccntcr lmck. 'l‘o prcxlufe neckhnc. collar (hat ripplcs cvcnly urmuul thu cmirc
_—
—
C O L L A R S
with u small inner circle cach wilh circles, euch complete Lircles, (lctcnnincs thc (legree Hure, are cut and r whose si/‚c size (ictermincs (lcgree of Hure. [ i m seams on the lengthwise ‘1sgwed togethex’ togelher with {in} ‚V\ grain. gram. '.4
NECKLINES
A N D
j
man): many
C0113!’ Of a3 collar lhc pauern shape of 27 for thc Note. See Figure ‘Z7 paucfirn Hat at the Center llBS hes but back the thc in rolls high which mlls front.
„_/
0 3, Fig. Fig. ll3.
Fig. l l .
Rollcd Peter Pan collar.
[ m m mllar Lollur slopcr. dcsignctl fmm Rippled collar designed
Shoulder Seam
Flal cullar Lollar sloper slashcd zmd and overlappcd { o r rolled Fig. l4. Flut slupcr slashed ovcrlappcd for Peter Pan collar. Problem 4 Probiem
DRAFT FOR A HlGH-ROLL HIGH-ROLL COLLAR (see Figure I5) I52. Flat collar sloper slashed and spread fnr for ripplcd .12.
ar.
-Peter Pater Pan Collar (see Figure I3)
’
Collar
This3 is i: sometimes referred t0 to as a full—roll full-roll collar use i: rolls from C center e n t e r back to center front. The "Pan an collar, although often thought of as simio thee flat collar, actually has a soft roll which mm the side of the neck unlike the highaivay from fold-line. To design bärgwhich hidh dings clings along the foldoline. slash and a slish ‚ overlap copy of the collar in Figure l4. Keep the roll soft and shown ul-‘igure fim slash a: the Lhe eback by placing the first byplacing pemer cemer A ‘siraight Man. A straight line across the Center ä close-fitting toll. .ga.high. flogqfitting W
V
l
To appcar appcax‘ smarlly tailored, a high-roll collar should to a1 the C e n t e r back and sides. Since 1o the neck ncck at cling the neck is smaller at the ("old-line fold-linc than at a! the base, a collar cut cul Irom from a slraighl lends t0 to slraight slrip strip of material tends buckle along the lhe fold-Iine. fold-line. Howcvcr Howevcr a convex curve at the neckline edge of the collar increases the length length so that (hat it fits comfortably a: at the base and yet clings at the fold-Iine. fold-line. Note. Never attempt to 1o make a high-roll collar widc. wide. This collar can be so easily drahed drafted from the neckline measuremenls measurements (hat that draping directions will not be given. lf you wish to drape it, follow the directions for the die narrow standing collar (pages 262463 262-263 and Figures Figuren 36 and 37) 37),‚ but introduce less convex curve.
253
coflhr pamnv _
112p
‚.3‘
.
mp5.
Hfgh toll conar;
‘
o0C
Figur} 15a) Dnw a line AB the length of the basic neckline A
Ü
„
'
back soCenter front. For a coat or jacket, Ineasme over a gannent. out from A the collar widthi- not more 2. the twice height of the stand. dtlan 3'. Continue AC down 1/2 inch to D. 0.4. Square out irom D 21/, inches. If the curve on die ncckline begins closer to the center back than this. it will ovenighten the outside edge of the collar. at A5. Draw a line from D through E to AB, ending neckline the of poim. F. This line will be the length from Center baclr. to center front minus 11/4 inches. echter
L
M
A Neck Edge
( . _ _ _ _ >
2 1/4"
.
(I)
_Add1/4"
\
\ ‘ä-u-Fond o
G. Fallow thc slraight line AB for Lhe last 11/4 Thc original/point B will be slightly too far am heause the line curves from D. Move point B hast toward F so lhat line DEFB equals the neckline measnremenu from cemer back t0 cemer from. 7. Square out from C. out from B, cuuing the top line at >
h-
Line-->
— —
Neck Ed 6 (b)
l’ ——Spread 1/4" l
8. Squate poim G.
|‚|_sp‚ead
V4„
|
'
collar. 9. Finish the cenler from line of the indem the Center front (a) To shonen ihe fold-line, inch nearer the neckfing B6 1/, inch a: H, a point 2%, B and G. jom line B man the haliway point between
Btol-I. lhc outer or free edge, draw a line (b) To lengthen H t0 intersect line CG trau‘: the unter front at poim M,inch beyond G. side and cmout the J0,“Duplicate for thc opposite
‚_
I (c)
for Drall for hngh toll collar. (a) Dran of paucm scmn: (In with the collar; (b) Undcr-collar o! wml cum (c) Top collar o! wool coat.
Fig. l6.
254
C O L L A R S
A N D D
lrom F the curve from makc the curvc and make line drawn in stcp 6(3 und break t0 the Center n e brcak necklirle lrom tthe length ol the necklitle ( u n t e r lront neckline point G. lront. Lubel Label the cctttcr ol the collar and llCCkllllC ol’ Note. This cotnplctes complctes thc ncckline i5 is lt curve. curvc. it a possiblc possible t0 draw a gives tompotxnd compourld t0 the break-line bilfk back ( C H I C ! ccntcr lrom the line struight straight (1. HowI“ to (i. shown lrom I" as showtx und and then thcn cunc upward upwartl 21a which u collar a Irecklinc pmduccs evcr a stmight pulls pmduces straight trecklinc than one with a21 curved line. outsitle cdge edge thun tighter tighler on ils Ulllsltlc
Problem 5 _ FTFOR A CONVERTIBLE COLLAR (see Figure I7) Converflble Collar) (See also fhe Drapinq of a Converlible
easurements needed for the drafting of this collar
"ven below: iven nter back to center front along the basic neckline. nter back to shoulder seam. nter t0 break-line. break-line. nter back to nter for stand. desired eight llar width {[ m m fold-line to outer edge at center and shoulders.
l
ol the collar, perform T0 construct the style line of perlorm the follmving following steps.
-
.
and ol the stand und C thc the hcight l. Äleastzrc Alcasurc up lrom (I hcighl of [hat an’ are t0 tu bc worn under suits. H. ln In blouscs thztt suits, mark H, and it can seli» nbout about 3/, inch, na silll>l;t(’l0l'y inch. und salislnctory stand is dom bc highcl" than n; lI/‚Q inchcs. highcr tlmn
ol’ the collar, follow these o construct the neckline of «o v
Ions. ions.
'_L Draw horizontal line ‘
V
AB one-half the length of from neckline, or the length of the measurement lrom neckline, Center back to the Center front.
of the stand Front H II IIICJMIIC 2. Fron: mcasurc up twice twicc the height nf thc und and nmrk mark I. Sincc [IICIC therc is an inward curve on the necklinc ol 3/, inch at (‘cnlcr lhe collar will tend ccnler back, back. the t0 stand onc-thirtl ul ol its width and lall lwo-thirds two-thirds ol its width. ll" the trccklitle Irccklirle is constructed 21s as a straight across thc line acmss the back, lrom C to H and the hack, the stand from lall lrom H l0 1o I must hc bc madc made equal.
nter
At A, erect a perpendicular, perpendicular, line AI. Measure up from A 3/, 5/, inch and mark C. This ishes the depth lishes center deplh of the inward curve at the Center
‚
‘
to line AB, Draw a smooth curve lrom point C t0 lt the length of the neckline from the center ng it ‘ng t0o the shoulder seam plus l inch. Mark point E.
'
3. Sqttarc mm 1 line {lrorn I thc the lcngth Square ua linc length of AB. 4. «l. Squurtlronl AB at point E. Measure up Square out lrom from E [f on this linc line the lcngth of centcr back, or from C lo w l,I, and mark rnark point j.
Continuc on line AB the length of the neckline Continuc E l5 (the point. point l inch in front of the shoulder too the break-line of the lapel at point F. w a line 1/‘, inch above and parallel to AB in Dtaw for the o u t Blltablish the approximate rise ior koAestablish curvc at the end of thc the collar. convex rnvex curve
«
.«
z). Follow out lrom point Il on IK about half the lrom I to j belore curving in t0 distance distancc lmm to point ].
w
m:
NECKLI lNES
6. Draw au line through (.' (i parallel t0 to the Center back. The collar may cnd on end this line, or it may slope nnay out lrom G‘ (i and end lI/z ll/2 inches or more beyond it for a collar both both longer the pointed ends. longcr and wider at thc
convex curvc [rom F up to the parallel
l / ‚ KK
3/4": c P
C
1
3/01
g.
_ ‘
*
2 1/4"
4
n
A
.
„ In 1M
Shoulder Seam
l7. Duft for a convertible collar. F15. F13. ‘l7.
255
D R E S 8 Di 5164M TARTII
DRAPING Problem I DRAPING PROCEDURE FOR THE BUILT-UP NECKLINE
A neckline that curves up agalnsx the side of the neck is usually more becoming than one that stops abruptly at the base ol the neck, since it forms a softer tmnsitional line. Moreover, i: creates an impression of height in the figure and slenderizes a short heavy neck (See Figure l).
slash point. This eases ‚the fabrlic ahovg neck and avoids a tight upper edge man would da1; "d down and form horizontal wrinkles ‚around m:lower part of the neck. Note. The diagonal slash at the shouldet and noch intersection is not only important but necessai-y, since it makes it possible t0 pull forward the lengthwise threads above the basic neckline into a, positiotrmote nearly perpendicular to the neckline. lt is impossiblc to achieve an absolutely smooth fit over thc ( w o plane: (the horizontal area around the collar bone and the vertical plane of the neck) with one uncut or undarted piece of material unless thc fabric has some flexibility. Soft-textured wool is ideal because the lengthwise >
._._-.„;—.‚„;L.v_v„
.4-
Fron! cf Garmenl I. Placing the cemer front line marked on the fabric 1o coincide with the center front of the form, and with the top edge of the cloth 11/2 inches above the shoülder line, pin it at the following points (see Figure I8): (a) Base of neck. (b) l incl: above base. (c) Bust line. (d) Waistline. 2. Pin the fabric to the lorm again 3 to 4 inches from the cemer base ol the neck at the chest level to to the cemer supporl Lhe crosswise grain perpendicular
threads above the basic neckline can be forced out o! their normal position perpendicular to the crosswise threads by stretching and shrinking. 6. Pencil the neck end of the shoulder seam line inch seam allowance (see Figure and cut it with a 2% seam allowance and pin it the 19). Turn under perpendicular to the edge. 7. Measure up from the base of the neck the desired neckline height, usually between l/z and l inch. Mark and c u t it with a
1Ainch seam.
lrom.
S. Pin around the base of the neckline marked on thc Iorm from the cemer front to the shoulder seam‚ hand ahead of smoothing with the thumb of the lelt the right hand. (he pins, which should be placed by lines to broken Pencil the basic neckline with short the blouse correctly when guidc you later in placing you fit in. it with a 4. Pencil the shoulder seam line. Cut the lrom armscye end 2%inch seam allowance, cutting a: a o! the shouldcr toward thc neck and slopping thc neckline t0 slash diagonally poim 1%inches lrom line and the ncckto the intcrsection ol thc shoulder line (m:Figure I9). scam linc ab0V€ 5. Belorc marking lhe shoulder above the base nach base, pull thc lcngthwisc thrcads lmnl lrom the toward lhc ccnlcr
/7//Mww—-
ncckliuc. Front Fig. l8. Draping proccdurc Im" huilt-up ol garmml. steps l t0 3. Fig. l9. Stcps 4 l0 7.
o! (h: ncck lorward
25l‘)
COLLARS COLLARS
AND A N D
NECKLINES NECKLINES
m———
Back of of Garment Garmeni Sack I. r ic with the m arked center fabric marked center back I. Place the fab back the center b ack of the form a nd wi th the top line at and with line top J gdge above edge IV:! inches a bove the sh o ulder line; the n pin shoulder line; then 11/2 pin it at the following following points points (see ure 20) ‘a! (see Fig Figure 20):: 0|’ neck. (a) of neck. Base (a) (b) Il inch bove base. inch aabove (b) (c) Shoulder blade. (c) (d) Waistline. Waistline. (d)
8. Measure p from e· thc neck the ddebasc of the from the base Nleasure uup seam sired neckline t, a nd mark a nd t r im the seam to mm and und neckline heigh height, m atch the fro n t. match front.
No te. If sed , it provides lf a center Note. Center back seam is u used, provides lhe line a nd can even be substituted for the aanother nother fitting substituted bc und can line fitting sm all neck dart. small
t0 the basic neckline Il inch from the 2. Pin Pin again again to center back. Do not aallow llow the crosswise grain grain to to drop, «unter drop, keep it perpendicular perpendicular t0 to the C cente but keep e n t err back. ‘but
‘ 3.3. Place a sma small ll neckline neckline dart V:! inches from dar: about I11/2
the Center center back. ll It should eep should be from {rom Vs inch ddeep 1A, to y.; 1Ainch atJthe the base of the neck aand nd should taper off to nothing t0 taper nothing bothh near the upper upper edge neck line and 2 inch es inches edge of the neckline below neckl ine. low the neckline. '
w
’
4. Continue to to pi t he basic neck4. to the pinn the fabric to ing aahead head of the pins pins and keeping the line, smooth and keeping „ne, smoothing
Fig. m 8. Fig. 21. Back of garment, garment, steps steps 5 to
crosswise grain grain level until unti l you ulde r reach the sho shoulder you reach Aosswise seam. -*
Figu re 22, ra ting a var ia tio n of the Variation 22. illust the built-up Figure illustrating built-up neck line, shows tthat h a t ddarts arts oorr yokes e nte ring eckneckline, yokes entering the nneckine make ma ke it possible possib le to neckline even 1line t0 fit the built-up neckline even built-up ore closely nd offer interesting esig n possibilities possibilities m more closely aand interesting ddesign as well.
Pencil the sh o ulder seam lin e aand nd cut 5. Pencil 5; shoulder seam line c u t it exactl exactlyy
as you you did d id the lro nt (see (see F igure 22]). 1). front ‚— Figure
(i. 6. Force Force the lengthwise leng thwise th reads from the point point of threads " the slash toward the Center center back before before m a rking lash toward marking the bove the base of the neck. shoulder ylder seam line aabove
7. Finish Finish the shoulder e by by slipping shouldcr seam lin 7. line slipping the back seam allowa nce forward unde r the front aand nd pinpin· 7;” allowancc forward under ningfit it perpendicular perpe ndicular to the edge. _vI‚._; edge.
Fig. 22. Built-up art varia tio n. neckline with ddar: Fig. Variation. Built-up neckline
Problem 2
DRAPING PROCEDURE DRAPING PROCEDURE FOR FOR THE FLAT FLAT COLLAR COLLAR (see 23a. b, (see Figures b. and and c) Figures 23a, c)
A A flat Aat collar is pparticularly articula rly suited ild suited to aa. young child young ch a woman or a young woman with sma ll , d e licate fea tures. It wuh small. young delicate feagures, h <_>r 1s a is a basic collar form, form, however, nd since it can be howevcr, aand since it eanß he interpreted in m a ny differe nt ways, it as g reat v“. dilferent i: hhas many greax verintfefpreted
Fig. 20. Back of garme nt, steps I to 4.
sa tility. satxlny.
257
(b)
(c)
Figs.23 (a), (b), (c). Flat collar with variations.
I. Find the Center back line on the fabric by measuring from the selvage the planned width of the collar from the Center back to the outside edge at the shoulder plus 2 inches. Pencil the Center back line on the lengthwise grain. The approximate lengthwise measurement is the depth of the collar plus 9 inches.
9. Remove from the form and smooth and true- the lines. Mark the final neckline 1Ainch above the one marked on the form in order to introduce a slight roll that covers the scam line when the collar is attached to the garment. l0. Fold the fabric on the Center back line and duplicate the other half of the collar (o try on.
2. Pin to the form the Center back line marked on the muslin‚ allowing the collar depth at the Center baclt to bang below the basic neckline. Clip on the Center back line from the basic neck up 6 inches or more (see Figure 24a). 3. Trace a Crosswise thread along the neckline for
Variaiion A (see Figure 23a) Since a Hat collar is so extremely uncompromising in line that it is usually too harsh and flat for an adult, it is generally wise to take advantage ‚ o ! the many interesting variations that are almost bound to happen accidentally when you are draping. For instance, by clipping to the neckline at a point about 5/, inch in front of the shoulder seam line and flipping the fabric over above the neckline‚ you will have a lapel on top of the Hat Collar—a rolling transitional line more flattering to the neck and lace than the Hat collar. A crisp fabric will interpret this as a half standing lapel. The pattern shape for this Variation is illustrated in Figure 25a.
back to prevent the grain from dropping. Pin the muslin to the neckline of the dress form 11/2 inches from the Center back. 4. Beginning at the Center back, Cut along the neCkline 11/2 inches, allowing a 2%, inch seam. Clip w within 1Ainch of the neckline at this point. 5. Continue to smooth and pin the fabric toward the shoulder seam, clipping the seam allowance at intervals of I inch. Keep the Crosswise grain from the Center back t0 the shoulder seam almost level. Lowerand lifting the ing the grain loosens the lower edge, the collar to grain tightens the lower edge, causing roll. 6. Smooth the muslin over the shoulder to the and the lower Center { m m so that both the neckline for Varia(lirections edge of the muslin lie Hat. (See interonc-inch at giun A.) Continue to pin and Clip vals, strelching the necklinc slightly. cut it 7. Pencil the outsidc edge of the collar and Variation B). fnr directions (sec Figur: 24b and crossmark at the H Pcncil the basic necklinc and a! least l inchlrom the Center
shoulder seam-
Lon
v.
|".‘._ —'J—" "W33.
(a)
r u
(b)
| Fig. 24. Draping proccdurc lor Hat mllur. (a) Stcps 6; (b) Steps 7 and B.
258
l0
COLLARS
’
A N D
NECKLINES
afion B (see Figure f ‘afion
23c) Curve markcd enter thc curvc Inarkcd for the C Center fabric within the he Iabric The a5 a bc interpreted as cut uway, is not tut may be away, muy t, t, if it i5 in in shown the indicated inclicated puttern pattern shape Ijabot,
Fig, Fig. 26.
5. i5.
variations. (u) ( LJ ou l l u r Flat collar variatiuns. for Fig. 23 (1). (r). _j);, (b) Collar pattern {or
( J u l l a r mlls (lullar
fmnt. in's Hat in from. buck. hcs higl) in bznck.
[ur Fig. Fig. pnttcrn pzlttcrn {or
Problem 3 WITH A PING PROCEDURE FOR A COLLAR wm-a FLAT AT CENTER FRONT (see Figure 26)
IGH ROLL IN BACK AND „GH i”
_ ‘
ars that roll up against the neck in back are llars becoming and give a more tailored appearance reveal the base of the ume than those which reveal tostume the back. the V
o! this dtape a collar of drape
kind, proceed as outlined Pattern shztpe (‘nllznr shnwn shuwn in l-"ig. Fig. 27. Pattcrn shnpe fnr Cullar Fig. 26.
5 t ofl off a strip of muslin with the lcngthwise Cut lengthwise collar at the C center measured enter asured the depth of the Collar lus u‘; 44' inches. (For a collar which comes to a lt "the the Center center front, add several more inches.) rain of the strip should equal _„ossgrain direction o! I’ v rement ement of the neckline planned for the garus 2 inches for manipulation. cil center back line on the lengthwise cll the Center the e muslin. f
4. Pin the muslin to t0 thc the form with the 4 inch allowance hanging bclow below the base of the neck and with hanging the Center C e n t e r back line on the C center e n t e r back of the form. Pin Pin at the basc of the neck and abovc the base the desired height of the stand (see Figure 28). 5. Pin along the neckline from the the shoulder seam.
l
Center
back to
6. Clip from the bottom edge up to the base of the thc C155? ncck. (lhus neck. far the Collar collar is turned up against the (Thus lar neck of the form.)
easure Ü r e up from the crossgrain edge 4 inches
o u t from this point (Euter back line and square out ee length from the Center back to the conar with a high roll in back has seam, e; A collar i not a curved, back neckline (see the pattern 27), . '
7. Pin the Iabric [abric t0 to the form abovc above the basic neck at the shoulder line the desircd desired height uf of the Collar collar stand.
x
!0
man oness na-sneu
Fia- 23: Draping procedure for collar that rolls high in bacl. lies flat at C e n t e r front. Steps l to 7. Fig. 29. Step
s.
8. Fold the muslin ovcr on itself and anchor the outside edge to the form at the center back so that it will not shift (see Figure 29). Pencil the outside collar edge from the C e n t e r back to the shoulder, and clip from the raw edge to the penciled line. Caution. Keep the collar anchoretl at the back so [hat the Center back marking remains perpendicular t0 the ncckline, and pin the fold-line at the side.
9. Finish the collar from shoulder line to center front (see F igure 30). (a) F o r a V-neckline, [old the fabric back from the shoulder t0 the lowest point ol" thc center front and mark the outside edge ol the collar. Then flip the fold up out of the way t0 maxfk the ncckline edge of the collar. muslin back from (b) l"or a basic neckline, fold the neck. This rethe of base the follow but the shoulder, to prevent the neckline the at curve quires an inward side. at the Flip the fold collar from buckling away line followthe up out of the way and mark tentatively the form. Clip to within ing the base of the neck on and again check the fit_of tlte 3/4 inch o! this line, collar along the {old-line. When the curve 1s sausfactory, mark the outside edge (see Figure 31). I0. Remove the pattern [ m m the form alter cross— the shoulcler seam. marking thc point which matches Tme the pattern lines and duplicate the opposlte
side.
Alter the neckline ol the collar lrom the shoulder w the ccntcr front is cslablishcd, any changc scam will in the width ol the collar at the shoulder thc also change the stand. For instuncc, nnrrowingvcrsa. vicc und stand, the („"31- ag this point will lowcr Note
Fig. 30. Step 9. shows marking for lxoth basic and V-neck- ; lines. Fig. 31. Step 9, shows outside cdge marking
„
.
Problem 4
l
THE USE OF BIAS FOLDS
IN COLLAR DESIGNING
Many collars can be made from bias folds. Because it is pliable, cloth cut on the bias curves morc subtly and gracefttlly than a shaped piece of fabric. When attached to a high neckline, a roll collar made from a straight strip c u t on the grain rises half its width. whereas one made from a bias lold stretchcs along its outer edge and thus reduces the height of its stand. Vary the amount of roll by varying the amount you ease or stretch the neck edge of the bias when you attach it to the garment. For example, to force a collar t0 roll up very close t0 the neck (see Figure 32a), stretch the neck edge of the bias fold when you attach it to the neckline of the garment. Always handle the double thickness of cloth c u t on the bias as il" it were one layer. That is, never separate the two when you join the fold to the garment. For a Hattet collar (see Figure 32b), stretch the outside or lolded edge of the bias and ease the neck edge when you join it to the dress. The success of the Hattet collar will depend on the pliability of the fabric. You can steam a bias fold of wool into a curved shape before apply: ing it (see Figure 33). lowrut of Bias lolds are cllective arountl necklines cvening bodices, since the fold rolls gracelttlly over i the seam and clings or llarcs along the lme edge according to the way you manipulute it. and according to the inward or outward curve ol the neckline to which you apply it (scc Figurcs 32a am! d). lluth widc and narrow shawl collars (scc Figitfe j mudc lmm btas -1 32:2) can ollen bc Inurc succcsslully loltls than lrom shapml picccs with scams m1 the nut'
26l)
COLLARS COLLARS
N N EECK C K LLIN I N EES S
AN D A N D
'11) avoid seams at at the ends ide edges. edges. To cnds of the collar, side collar, 1 curve the neckline edge to the fold edge (see back to fold cdge edgc (see 1 Figure 34a), and ea.se ease edge and Figure 34a), and then stretch the fold edge the Ileckline neckline t0 to straighten igslraighlen the convex curve (see (see FFigt0 o1" make ure 34b), or even to make it concave (see Figure 34c). ure 34b), (see Figure 34c). is especially The bias shawl collar is when especially satisfactory satisfactory when cxcellcnt shrinking made of wool because of the excellent shrinking qualqualz ity of of lhis this material. material. „
m:
'
T ie collars (see raight Tie (see Figure Figure 32/), 32f), although although usually usually st straight u t on the lengthwise grain, can also be made bands ccut made lengthwise grain, ( a n either t0 of folds, to get a soft roll line around bias of around the the get play up laid or neck or to play or up the diagonal diagonal line of a pplaid stripe.
1
Fold
Bias
Fig. Fig. 33.
Too shape T fo ld by nd pressing. pressi ng. shape a bias fold by steaming steammg aand
' '
I I
I
|
:‚
I
n
‚ I 1
| I
I I
I
I
I
I II Ü
I
u?
0/ Öl
(f)
/\
/
2. Bias folds Fig. 32. folds und used in colla designing. (a) High bias bias collarr designing. (a) High roll (biaranczglxcd (bias stretched at neckline) ; (b) (b) Low bias roll (bias a; neckline); Low bias roll (bias taJed atnecklinc); at neckline) ; (c) (c) Bias flares Hares when auacbed attached to to outoutward thwe: curve; (d) (d) Bias clings clings when actached attached (o to inward inward curve; curvc; (t) Bias shaped for ashawl a shawl collnr; collar; (f) (I) Bias for for aa high roll ßhflpfld iot high roll collar Cading ending in a a tie. tie. ’
‚
/
Pull PulI Up Up
(b) (b)
Thread Line Lme
(c) (e)
34. To To shape the end Fig. Fig. 34. end ol o! aa bias fold fold shawl shawl collar. collar. (a) shapf: (a) Cm off 0E end end of of bnas Cut bias collar in a convex curve; (b) curve; (b) Stretch Sttetch fold shrink neck edge t fold edge, edge‚ shrink t0 bring neckline into edge to into aa straigh bring neckline straight, line; to neckline to proline; (c) further and (c) Shrink still further and ease ease 1o neckline to produce a concave concavc curve curve
“in
261
DRESS D E S I G N
‚
2. Pin the center back line to the u n t e r back o! ; iorm, leaving a 9/, inch seam allotvancibelow m: * basic neckline (see Figure 36). 3. Pin äthe strip to the basic necklinee {mm die center back over at least 1%inches following the m i t ; crosswise thread. From this poim drop thc slightly, so that the collar will cling to the side of die neck. At the point where the collar crosses the shoulder inch above thc f seam, the neckline marking may be 1A crosswise thread on which the Center back was started. ;
Problem 5
Dumas mocsnune von A NARROW STANDING COLLAR (see Figure 3S)
collar, commonly called the Ehe narrnw standing or Mandarin Chinese, collar, is particularly mllttary, when the neck is slender without
being
becomlng
enther extremely long or short, and when the column o! the neck is straight. This type of collar must be made o! a [abric firm enough to hold its shape.
Draping procedure for narrow standing collar. Fig. 36. Steps 1 to 3. Fig. 37. Steps 4 and 5. 4. Clip from the raw edge o! the seam allowance in toward the basic neckline, so that the muslin can be smoothed around the neck to fit both lcircumferences. The closer the upper edge of the collar should fit, the more the crosswise grain should be lowered. The sharpest (lrop in the grain should begin aboul 2 inches from the center front. The lower edge o! the collar at the center front should be somewhere beal tween 5A; and 1%inches above the crosswise thread the Center back (see Figure 37). 5. Mark the center front line perpendicular t0 the neckline edge; mark the upper edge of the collar: and mark the neckline edge. Crossmark at the shoulder
Fig. 35. Narrow standing collar. The collar must be shaped so that it fits the neck time fits closely along its free edge and at the same measthe Since neck. of the comfonably at the base least at is neck the 11/4 urement around the base of inches langer than (hat 1 inch above thc base‚ a at the upper edge. straight strip ol [abric would gap must have a concollar a circumferences, T0 fit both
curve on the lower edge. basic l. Cut a strip of fabric crosswise equal t0 the the Make inches. neckline measurement plus 2 or 3 inches. width ol the strip the collar height plus 18/, Mark the center back line on the lengthwise grain. inch above the lower Pencil the crosswise grain line 3% the center back from inches edge for a distance of 1% form. the Figure 38 beforc placing the muslin on m 0 “ ‘h3 Pmmm ‘hape f0’ ‘bis C0113"
vex
seam line. Remove the pauem { m m the 50mm True lines and cut the duplicate half. 6_
l2 3/4"
In
1 1/4" m: o :
=
_
Fig. 38.
:
L
Basic Neckline
1"
‘M0915
Shoulder Seam
Pattcrn lor narrow standing cnllar.
262
m:
‘V
n‘
l '
4'
"
C O L L A R S
A N D
NECKLINES
a?
o
l
Neckline Edge
Fignfi‘). Fig. 39. collar.
narrow Standing cnllur—a Vilflllllnn variannn ol the nzirrow \\'ing cnllur-a
Fig. 40.
lur Lollur Lollzlr shuwn in Fig. Pattcrn shapc Fig. 39. sllapc lor
will: the 5 inch form with the lonn 2. Plucc lhc uunlin Illllallll on thc 2, Placc thc cxtcnsion ubovc nbovc thc shouldcr scam, cxlcnsion sezun, and match the lines (scc (unter lront lincs 41). Anchor the muslin (sce Figure —ll). of the neck and also nt thc t0 thc hont zu the base ol l0 lhc ccntcr ccmcr lmnt the base. to the form at I incl: mch almw abmm lhc baxe. l’in Pin lhC the cloth t0 thc bust und und waist. wnist. l’in it to t0 the lorm at the chest lllc busl crussnvisc grain level when the pins linc 1o kccp thc crosswisc t0 turn at ut thc the nccklinc ure later Iater rcmovcd to { u m back the nccklirlc um collar or lapcl. lapel.
Variation (see Figure 39) Wing Collar Variafion The wing collar is one which fits snugly around the 111e w _ k and sides of the neck, rolls ovcr slightly along turns down at u‘ upper edge at the side front, lront, and turns 5Ie Center front. ol thc the narrow standfrom. lt is a Variation of S a m e draping procedurc, procedure, but r; collar. Follow the samc T}; I er the grain somewhat less from the shoulder to Ü Center [ r o n t to avoid overtightening the roll along center [ront upper edge. Figure 40 shows the pattcrn shape Ü this I’ collar.
e
_
3. l’in thc the lubric t0 thc neckline marked on the lonn lorm lroin lrom thc lhc centcr lront to t0 the shouldcr, smoothlhumb ol’ the thumb ol thc the lelt left hand ahead of the pins, ing with thc which should be bc placcd the right hand. It lt is implaced by tllc to t0 avoid too much but the neckIooscitess, lOOSCHCSS, portant line cannot fit 21s as snugly aus us the basic neckline of your ntastcr pattcrn nxastcr t0 roll efleceffecpattern und still allow the collar to
Problem 6
RAPING PROCEDURE FOR THE COLLAR CUT IRAPING J x IN ONE WITH THE BODICE FRONT 4|-50) (see Figures 4I-50) l"
tively.
as an extension of oi the bodice front . the dcsigner designer many opportunities to vary her ar eflects, ellects, and because it is cut all in one piece, piecc. °_ avoids the risk of cutting up her design. When ccollar ollar is interpreted freely, it leads l0 to invention and the both the shoulder use above of-excess 3ugh the neck area as explained inm Chapter 7. collar
‚_*
c ut cut
i7» iiin ‘ s
288-293.
. Determine how far the fabric must extend be-
center front to provide the desired width for *‘-' the Center from the center Japd or collar which turns back lrom flapel *' to the sel_‚t. Mark the center front line parallel t0 for the length ‘for Iength of the blouse front plus 5 or 6 {or which will extend above the shoulder line lor ‘ack of the collar. ._'
Fix. Fig. 4|.
V
Draplng procedure lor collar Draping
263
cut
in one with bodice iront. lront.
DRESS DESIGN shoulder line iumengl‘; 31ml e ahovxnce
and cut it with a 3/, (see Figure 42). Begin to cut at t oulder and proceed toward the neck. A‘ pomt 11,5 mches [rom the neckline, slash diagom ally t9the intersection of the shoulder line and the _ necklme.
“the
‘
.
_
under the shoulcler seam allowance and pm perpendicular to the edge. Pin the muslin to form a1 the intersection of the shoulder and necktlme lme. Finish the basic lines of the blouse‚ marking the amiscye, waistline dart, side seam, and so forth. The blouse should be shaped up before the outside edge of the collar is established. This should be done so that you will be able to see the relationship of the collar shape to the background area of the blouse.
.5. n‘Turn
6. Check to see (hat the fabric is still correctly anchored to the lorm at the upper chest level‚ and then remove the pins around the neckline. 7. Tu r n the muslin back on the fold-line desired for the collar or lapel (see Figure 43), delermining at (bis point the Widlh of the center from lap (see the lower Lap Directions, page 41 ). Determine and begin it at poim of the fold-line by the top buuon,fold-line will inthe of The the edgc of the lap. height there and seam, shoulder the acase until it reaches neck the of side the i: should be pinned up against The back. in to match the height of the collar stand the as height of stand can vary from % to l inch‚ but collar the roll increases, the width of the back of the
I»
z;
should decrease il the collar i: Ioding tojbelneck» along the fold-line. 8. Pencil the outside edge of the collar 1mm,keeping the roll in the collar pinned against the side o!’ Ü the neck. Cut along the pencil line to the shouldärfii .2 allowing a generous seam so (hat the shapc can beriÜ. } 5
M‘?
altered later on. 9. Carry the extension around to the back of the neck, continuing the fold-line from the from so that the stand a1 the center back equals the stand at the shoulder seam (see Figure 44). Smooth the under layer of muslin against the neckline, stretching and pinning it to the iorm. Notice that the amount of lilting or dropping ol the grain along the basic neckline lrom the shouldcr seam to the ccnter back determines the height ol the collar roll and the tightness along the edge of the lold. _ The higher the roll, the more the fabric must be form. dropped below the basic neckline ol the l0. Turn the muslin back on the lold-linc and establish the cemer back and lower edge, slashing in .. ; from the raw edge l0 allow the collar t0 set smoothly. 1o muslin of pen(see Figure 45). Lift. the upper Iayer '
‘
A
back line on the under Iayer. the l l . Remove the pattern from the form, smooth
cil the
Center
duplicate half. neckNote. This type of collar fits bes! when the the as as cul is seam high line end of the shoulder the basic neckline or even 1A, inch higher, and when as forward far possible. shoulder seam is moved as
lines, and c u t the
Fig. 44.
264
Fig. 45.
COLLARS
A N D
Collar (see Figures 46a. b, and c. c, Roll of fhe CoHar fl-wyying fhe Ro|| ivgyying ‘MA lnd 47) lhe Center C e n t e r back and outside ‘f l. Before establishing the decide whether you the Lhe across collar back, the i’ ee of 7‚ m a collar which is Hat in front, as in Figure 46a, one, as in Figurc curled one‚ f»: a curlcd Figure 46b. T0 produce thc outside cdge rl along the free edge, Icngthen lcngthen the outside i the collar. Pull the t0 thc front from untxl umil you Lhe collar to smoolh the lhc fabric falnic across then amooth lhe desired curl, and thcn v’l the fold-Iine slightly Lhe hcight of the {old-Iine fu’ back, reducing the slighfl) thc new Center back Iinc. linc. necessary. and establish the necessary, outside the thc outsidc of from the back line center Center c edgc unorc when the outside outsitle [old-line slzmts slants mure lo the fold-line l l a r t0 llar l0 the thc Center back seam at 1: e is lengthened. lenglhened. Clip to . fold-line. fold-line. See Figure 47 for the collar pattern paucrn Im’ thc collar shown in fold-Iine BH for "1 "A A B F with the fold-line wilh the Ihc re 46 a and the collar pnttem puuern G A B C with jgure 41i b. I1. lhc collar shown in Figurc 46 for the ld-line BH [or id-line
t
NECKLINES 46€ 46c indicuted in Fig‘ure 2. Producc the higher roll indicated Fig.ureneckthe dropping more of the fabric belou: by clropping baflC bzislcfor the 41 4/ line of o1" the lhe form at the back. (See (bee Flgure F1g_ure fold-lme EH). collar pattern G D E F with the fold-line
v: „e
..
Fig. 47.
Pattern Pauern lor lnr Figs. 46(a)‚ 46 (a) ‚
(b), and (c) . (b).
Fit und Shape of fhe Collar Pafiern Checlring Checking fhe Fif l. The Center bark back scam of the collar should not be made a straight line Iinc unlcss it is so marked when on Iorm. A linc sloping in from the neckline seam the form. 1o thc l0 lhc fold-line, t0 the outside edgc, foId-line, and out again to edge, ohen improvcs the often lhe fit of the collar at the center Center back and allows the lhe e x t r a length needed on the outside edge o! thc collar with a rolling efiect of eficcl as in Figures 46b and c.
2. The neclcline neckline seam may have a slight convex the center back. This produces a close fit IoId-line and prevents the cemer Center back of along the [old-linc lhe collar [rom standing away [rom the from the lhe neck. This precaution is espccially necessary for a pcrson with a prccaution slighlly forward head (see Figure 48). slightly
curve near
wilh bodice front. u t in one with of collar ccut _"Vlrying Vixfying toll o! in bact, Iront; (b) Collar curls bacl, becomes flat in front; from. Gollar toll: high high in back and front. In) ‘Collnr
collar fold-line Fig. 48. Use convex curve AG to tighten neckline. without tightening 3. The angle formed by the shoulder seam and the neckline seam for a collar with a high roll (about 5/,
I inch) should be a right angle. A neckline which mcets the shoulder to form less than a 90 (legree angle gives a lower stand. l0
4. Collar allerations. to the neck along (a) lf the collar does not cling thc the fold-line from the side to the cemer back when which muslin blouse is fitted, pin out excess in a dart at lhe base of the neck. This autotapers to nothing from the shoulder matically corrects the pattern shape back (sec Figure 49, which shows seam to the center for the collar illustrated (bis alteration on the pauern thc altered in Figure 50). The dottcd line shows has been collar alte: the dar: a: the shoulder position
Fig. 49. Collar alleralion to tighten upper cdge. the from oI Fig. 50. Variation o! collar cut in one with 49. the bodice. See collar pattern, Fig. of the shoulder seam‚ (altes up the excess at thc neckline without destroying the easy toll o! the collar. Such a dart is frequently needed to improve the fit of a collar of this type whcn it fastens high al the oonceal Center front. The collar or lapel rolls over to inside. the it on covers the dart line and the iacing ’
Problem 7 DRAPING PROCEDURE FOR A CONVERTIBLE COLLAR (see Figures Slo und b) be A convertible collar‚ as its name intplies, can a as highworn open like a lailored collar or closed roll collar. Howcver. a collar with enuugh lenglh cannot pusalong its outer edge t0 closc comfonably mrve as cunvcx much as with neckline a sibly havc band. a tailored collar. Neither can it bc a slraight Side o! thc ncck [or this would stand away [ m m lhc whcn whcn open and would buckle at lhc fold line
pinned in.
{ollows thc basic neckline posi(b) A dar: which [ m m (nr somclimcs cion beginning ncar the cemcr u; nathing in from and
a: (h:Center
from)
tapcring
266
COLLARS
.
l
A N D
NECKL L II N E S
Therefore, in order to make the collar cling
1ee closely to the side of the neck both when open Ü" closed, some convex curve is needed on the neck)' [rom the point poim where edge of a convertible collar from cdge ets the break-line of the lapel to the point poim where C e n t e r front of the garment. dd5 5 at the center *
...
‚
Fig. 52. collar.
(n) y
‚Fig. 51. Convertible collar. (a) closed (b) opened
'
0m ‘In the Center back to the point poim where it meets "cak-line rcak-line of the lapel, the collar neckline may be Lhat stands half its jtraight ight to produce a collar that a: the center back and sides when it is worn at However, it will be more flexible and will fit i! I! it is cut with a compound curve curve-that —that is‚ is, ard curve lrom from the center ward cemer back to a point poim l 7mfront of the shoulder seam, followed by a line to the break-line of the lapel, and then vex curve to the center front. F igure l7 nvex I7 shows for a convertible collar. _nshape Ior tern vertible ‘wen-üble collar should be joined to a dress 5 Standard Center back tandard basic neckline at the center The lap width of the dress (see Chapter ‘wie detennine the size oi of the lapel 4.1) will determine lapcl notch. «line oi of the lapel at the top button or ‚bfeak-line k it {from m m the lap edge to a point sMark poim on least 11/, tront of the ‘hatleast 1%to 2 inches in front
i
_ l
Figs. 52-56.
|
convcrtible Procednre for draping Procedure drupirxg convertible
Äleasure up on the Center C e n t e r back line lI inch from 3. Mcasure for the lower edge. 01‘ O1‘ this, SA 3/, inch is the allowance foi‘ the depth o1 of the inwurd inward curve across the back, and 1/, 1/4 inch is lor for the seam.
4. Square «l. Sqtlare out l inch lrom the Center back at the mcastnred in stcp 3, since a curve beginning expoint measured ut the (ccnter u n t e r mukes xnukes the collar stand away from actly at the
center Center
back of the neck.
5. Pin the (ccnter u n t e r back buck linc line marked on the muslin CCHICI’ back ol thc Ionn, CCHICI‘ form, nlatching matclting the line drawn in step l4 to l0 the basic necklinc (see Figure 53). lrom the lowcr lower edge l0 the pin. Clip from cdge up to to the
6. Pin to the form again 8/, 2%inch above the neckline to hold the muslin levcl. Ievcl. This pin will come at of the stand. approxiixiately the hcight approximately height o!
7. Pin along the basic neckline ncckline l inch over from {rom the center back point. The raw cdgc of the muslin edge ol should be l inch below the basic neckline. Clip to t0 the pin.
'
V
‘flresst.front‚ Erom, showing clearly the center necltline, the lap edge, and the 1233i; basiic neckline. aee Figure 52). elnpel (see v
'
for the collar are as follows: uycjmentsfforthe n) neckline length plus 4 b
äpoints.
M’) about 5 inches. Fig. 53.
oness t r i s t e n I-‘rfxm the? point pinned in step 7, lift the cross3ms: grau: unul the raw edge of the muslin is only 3/4 the base of the neck at the shoulder seam. "ichand belovf chp. Do this to produce an inward curve and Pln. to mcrease the ease on the upper edge of the collar. the lapel up against the neckline before .9. ‘Turn the collar from the shoulder seam to the pmmng Center front (see Figure 54). pin the muslin to the neckline, lift. |0. Proceedsotothat at a point l inch in Eront of the the mg grain shoulder seam, the raw edge is only 1/, inch below the neddine. _8.
s.
14. Fold the muslin over on itself (tue Figufe 55), Ä‚u! The strip is too wide for the blouac collar a: the Center , back and sides since it stand: a: least IIA inches} Clip V’ the outside edge of the collar at» xhe cemcr back um shoulder until the collar seules down to the dcsired’ width and stand.
.
.a,
Fig. 55.
Fig. 54.
l l . Continue on the same crosswise thread (IA inch above the raw edge) to the breakJine of the lapcl. Pin and clip. I2. A: the break-line, reverse the procedure and to produce an outbegin 1o drop the crosswise grain the upper edge of the ward curve and to tighten
15. Tu r n the lapel and collar back a! the centet front to see that it sets smoothly in this position, (hat it clings at the center back and sides and yet does m: draw or pull on the outside edge (see Figure 56). 16. With the collar open, mark the outer edge and check it again when you fasten it a: the base o! the neck. 17. Cut the outside edge with a 1/, inch seam allowance.
l8. Pencil the neckline of the collar and crossmark it at the shoulder seam, at the point meeting the break-line of the lapel, and at the center front. 19. Remove the fabric from the form and duplicatc the other half.
collar. muslin l3. A! thc Center front, the raw edgc of the the giraiu should be 2Ainch below the neckline, i.e.‚ mch a should drop w,inch and there should be seam allowance. to guide the Note. The above measurements help or tightness of fit mu_st beginnen but the looseness which the crosswise gram amoum really determine the collar the bulges away i9 t0 be lifted or lowercd. lt the crossraised have from the neck a: any point, you inward an too wise grain too much and crealed if great the collar pul.ls true for wyye, Thc reversc is also have droppcd the gram from, you dght near the Center wo much,
w
268
COLLARS
A N D
NECKLINES
Problem Prob|em 8
‚'NG PROCEDURE Ü‘ 7
FOR A TAILORED COLLAR (see Figure 57)
l
and Lapel
"Pencil encil the
front line on muslin 3 to 4 center Center from from the lengthwise edge. This distance ined by width of lapel (see Figure 58). fmined (he form, allowing a Il inch lace ÜPlace the fabric on the a: the base of the Center cemer front aL and er seam, f3": pin 5. ‚k. k. the bust, and the waistline.
”back
fi
mllar. tailored collar. a narrow lailored o r draping .1 Proccdure {for Fig. 58. Procedure Fig. to 7. Sleps Steps 1l t0 u) l1. Slcps 8 In Fig. Fig. 59. Stcps
Thc foId cdgc bebrcak) line from the lap fold (or break) Iap edge (a) The back of t0 u) thc Center lhc low Ihr: huuon lhc mp cominuing continuing lop thc collar. of collar and lapel. u! m1! (or stand) o! (b) Height Heighl o! I Iwck is 2/, stand a1 side of thc ncck thc sidc Thc averagc lhC uvcragc 3/, to 1
Nanow tailored lailored colIar‚ collar. Fig. 57. Narrow
the usual shoulder dart many tailored jackets, Lhe ierred to the neckline, as shown in FFigure igure 58. the bust, swing the exthe grain level across Lhe vc ve the bust line into a ncckline dart. The da lapel will almost completely complelely hide it. t0 the basic neckline of lhe the form, the fabric to xhe form. o! the pins. ngahead of chest line so thal the pins a: the also {so a: the chesl 'e neck can be removed later withoul without having o! position. shilt Shift out of theL_e shoulder seam, armscye, dan. annscye, waistline dart. (h: the basic lines of o! the jacket „sigompleting mpleting ' ; with the Iapel. lapel. thc lapgdge in the lapgdge from the beginning of lower e edge of the jacket. IOWC!‘ glhe ' the fold, or break-Iine, ck on 1h: break-line, the Pin fold-line 59). igure {iegflfigure seam 1o it line hold i: “Qhenxhoulder phoulder '
y
“
‘
'
v
o! a finished of 59 : indicated indicated in Figure 59:
(m:the (h: details .
269
inch. dislunce [mm the shoulder t0 the shuulder seam to (c) The dnsiance break-Iine o] lhe of the collar joins the pomt where the break-line poinl break-hne u] lhe Iapel. This usually Ineasures nleasures about 2 inchcs on Lhe lhe nccklinc Ilccklinc seann. scan).
slanl of the thc visible porlion o] (d) The Ienglh {engt/t and 511ml portion of lhe the seam juining joining the collar and the lapel. Pencil lhe
line CD.
widlh and shape o! lhc thc Iapel nolch. Pen— Pen(e) The width cil the upper cdge edge of the lapel, lapcl, BC. lhe lapel as it i1 continues cominues o] the (I) The size and shape of (rom the notch [rom nolch to the lhe lap edge. Pencil the linc line BA. |0. Draw the lhe enlire entire line of the lapel from the lap Lhe lapel resLs rcsLs against edge (o the poim whcrc the againsl the at D. Cut on lhc seam line neck a1 linc along lhe lap Iap edge and lapel edge up to 1o the poinl o! the notch at C (or where the collar joins the lapel). H. Mark heavily the visible portion of the seam l1’. .M'ark CD joining jonmng the collar and the lapel. lf this line does nol show through to the wrong side, place pins through the line and mark on the wrong side as well.
Tum the lapel up against the neck in order to the remainder ot the neckline (see Figure 60). malt Tlus must begln as a basic neckline at the shoulder seam und must follow the basic neckline as faras possible in Order to swing gradually imo the line previously marked for the visible portion of the notch seam. lf this line is marked too fai" above the basic neckline, lt tends to come up above the fold-line o! the collar. Ixave a 1/4 inch seam allowance on the neckline from the shoulder seam to the poim of the l2.
notch.
l3. Drape the jacket back with a basic neckline.
base of the neckline and l inch above the buntem ing a 1/4 inch seam allowance helow the umhin: the bulk of the collar fabric above 1h: necldine. 3. Carry the samc crosswise thread alöng the line for approximately 2 inches, o1’ to a point I inch ‘Ä back of the shoulder seam. Then begin to drop the Ä grain so that the collar will fit the. basic neckline yet cling to the neck a: the fold-line. This gives the nackline of the collar a convex curve. 4. To drape and pin the collar to thg front o! the jacket, keep the lapel turned up flat against the Iran: of the neck rather than rolled over (sce Figure 62). Continue to drop the grain on the collar all the wzy to the point of the notch so that the muslin fits above the basic neckline with neither strain nor excess. A
smooth, gradual curve is formed on the collar neck- l. line, swinging from behind the shouldcr seam poim to the end of the collar.
Fig. 60. Step l2.
Narrow Tailored Collar wifh Convex Curve 4 inches wide, with the l, Begin with a strip about gram‚ 4 inch measurement parallel to the lengthwxse the from form the on measured and twice the length of the lapel. Pencil the Center back to the notch back line on the lengthwise thread (see Figure
Fig. 62. Step 4.
the out- l 5. Fold the collar back on itsell and mark side edge. At the cemer back, the collar Füge should fall at least 1/4 inch below the basic necklnne (see Figure 63).
cemer 6|)’
gamma Gmn a:c.a.
ü:
n‘,
s],
Tailored collar, Stcps l
4
t0
Fig. 63. Step 5.
3-
270
COLLARS
'
A N D
collar neckline necklinc and Crossmark crossinark it Pencil the Collar
1
at
the break-llne break-line of oulder seam and also where Lhe ‘jhoulder of the lapel meels the break-line ol’ llar meets joollar lapcl (see Flgure Figure " Pencil the Collar collar lold-line fold-line from lrom the Center back
break.
NECKLINES wilh Reverse Curve Wide Tailored Collar wifh In 83 collar should be draned The wide tailored Collar draped a on slnce since narrow thc one, the way from slightly dilferent n'a)’ lhe convex neckline, the with a slraight or Convex Collar collar Wllh äland siland A stand hlghel‘ as lhe lhC width increases. .—\ rises a5 or roll rlses stand higher lhe (h6 l inch is apt to t0 seem uncomfortably hlgh lhan 1 than high wmter a back of lhe the ncck in am“ excepl heavy any garment gannent except T0 collar especially high for warmth. _T0 COal coal with a Collar collar wide with less roll (Figure 67), a slight make the Collar sllghl of back ol Curve will be needed across the baCk Concave concave curve (‘h6 lhe lrom a polnt Curve from into a convex Curvc necklinc. revcrsing imo neckline, from collar {T0111 the Collar To keep lhe ot (h8 the break-line. T0 back of Conconthe at lhe an the neck ncck side, [roni lhe [rom the carry Carry gapping away linle bcyond the shoulder seam. cavc curve Curve only a little Cave seani. until alinost slraight unul that point Inake inake the line almosl From (hat Curve. a Convex curve. it imo convcx lt reverses into
a? a1
.
Fig. 64.
Step 6.
Remove the Collar collar and jacket from the lorm „Remove form and lines. Iines. The of thc collar the Collar jhe flle shape pauern patlern is illusUu in Figure ‚Ü Figurc 65 and the pattern for the undercollar g re 66.
Fig. 67.
Break or Fold Line Llne L_.._..
-TShouIder -fshoulder 5
Pattcrn Ior Pattern [ o r typical tailored zailored suit suil Collar collar (add m, nch 1A, iinch allowances nllowances to all pattern cemer back pauern edges exccpt Center ting upper Collar) ning collar) . '
d Indent 6.8. 1/16" Indem
Break Line
y‘y
.
Il
I
_ ___ _ ___ _ __. J I e r undcr Collar Pancrn {tot Pattex-n collar (note grain posizion). posilion).
Wide tailored Collar. collar.
l. Bcgin with a slrip labric the width of the Bcgin wlth strip of fabric finished collar Collar plus lhe the scam seam allowances and about l inch for the Concave inCh concave curvc. lt will be helplul helpful to rule a line on the muslin ll4 inchcs lrom the lower edge I14 inchCs on Lhc thc Crosswisc CrOSSWlSC grain. Then rulc thc C e n t e r back line. a1 thC 2. Start a: the Center back and pin thc Lhc muslin at of the the base ol lhe neckline and l inch above the base. Allow lI/j 11/4’ inches of width below Lhe neckline. 3. To avoid producing a point at 3‚ a: the Center cemer back, crosswise thread along the neckline for carry the same Crosswise l inch. Clip lrom from the raw edge up 1o the basic ncckneckline and begin to lift the Crosswise [o lilt linc. The crosslcrosswise line. wise line drawn on the muslin shows clearly how much the graln lifted and Lhe resulting amount ol grain is lilted of inward curve. The amoum amount the grain is lifted will be determined by the width of the Collar collar and the height
na es s o z '
o! the stand. In the collar sketched, the crosswise gnin was lifted only 1,; inch to give the necessary inward curve beiore reversing the line into a convex Vary the curve until you obtain the desired l. 4. The remaining steps are like those given for the narrow tailored collar. Figur: 68 illustrates the pat-
T.
thefolgl-i-ifineV
-‘
collar 1in5. T?‘ s“ A. and’ B g? the necklinl: .59 und D i: lest man neckline i: concave; F i: greater man that curve is convex. A am. tionship betwegn the ‘Ihn length of the fOld-linefigyflä with the exact degree of ‚au. .
A
Ulm
m
tem shape. Note. vBy studying the shape of a collar with a reverse curve, one can plainly see that its length a:
Reverse Curve on Neckline Eo :
o
2
S
wide tailored collar shown in Fig. 67. Fig. 68. Pattern for
272
7
i!
. M
‚
7%”‘ZL%4ZW THE BACKGROUND FOR DESIGNING
iter maslering mastering
the principles and techniques of and standard patterns, Student ing blocking Standard pauerns, thc student l0 apply her inlormaxion able to beable be information t0 to the [h6 design(lCSlgIImorc unusual and complicated o! more conlplicated cuts. Although ying principles of carrying out intricate denderlying »? are o r slandard standard paucrns, exactly the same as [for pauerns, iti: is Üurse necessary to t0 practicc praclicc cutting patterns for designs ol varying degrces of difficulty dilficulty before develops the confidence and abilily ability required 1o (hat she may want. want. «f: any pattern pauern {hat studenl can hope not only 1o to interimaginative studem f: imaginalive the designs of others olhers but also to (o create creale new ones. ji/the women have a secrct urge 1o design LlCSlgH clothes for them for anyoxie ;- lves whether they lhey design lhem anyone else bul the lhe urge is often stifled by fear of ol crilicism. „i1but crilicism, pf confidence, and lack of skill. So much pleassatisfaclion can be satisfaction bc derived from creating orig(hat that jiesigns anyone who wants to do it should fen as much help and encouragemem encouragement as possible. Lhere are definite and langible ways of ac‘ly,‚ therc the necessary background for designing as of developing the ability 1o l0 use source material . ely. ‚any student to suggest where she should look (‚any for dress design, and her answer will be im. e and without hesitation in fashion magnop windows‚ and the clothes of recognized leadexs. I: leaders. lt is doubtful, howcver, however. whether she plan beyond looking for one particular idea iplan can copy exactly, or a: most, adapt t0 to her
‚w
nd
i
>
— —
V
The same student will probably be of using current «familiar cunent _ iar with the method o! a warne-cf Üis saure: of backg-round (V513 h background information on i
H
i
73
lushion lashion trcnda trenda und (iCtillls (lelnils ol" ol cul. c u t . Every woman, whuhci" whctlier a ‚slutlcnt ol’ drcss slutlcnl ol (lrcss (lcslgll (lcsign m" not, will glance lashitm muga/incs withoul witliout prompting. lhrough tashion ihrough prompting. Bul ol dies: suulcnls sludcnls ul (o (llcss (lcsign l0 l0 recognize nccd bc (lcaign tuught luughl lo lhc llic clitlcrcnccclillcrcnnc l)L'l\\'L‘Cll bcnvccn rcuding rcucling im" cusual enjoymenl enjoyment und uz: rcnll} acrious sludy o!’ lushions. lcull) scrloll: suuly 0|" .A\ uuulxl-hc .\ xmulxllic dcsignci" scrutinizc carelully lhe the (lL-sigiici" should scrulini/‚c bcsl (Luncnt b0b! u n c n l luslliun lusliiun nlugzi/incs, nol with any mugu/incs, not uny thoughl ol copyinu, nl bul iutlu-i iulhci wilh with lhc Ihc intention ol of saluraling (uliylng, Im: saturating her mind iniml will: with gcncml ol" lashion trends. lrends. gcncrul imprcssioiis 01' loo Tuu nlu-ix ulu-n n 2| nmiw sccs lricks (hat haponly thc cute tricks unly m nppcnl licr luncy ut M. lhe Lhe monlenl, und too pcn pcn u; moment, and nppcul m hcr olwn olien slic sllc (locs nol not puusc to look a1 u clesign am pause design il somc slllilll small dctuil ( l c l u i l ul n i» n01 |1 ls um what Wllal shc personally likes. The howcvcr, m u s l look lor more than pulcnliul (lesigncr, (lcsigilci, howcver, minor (luails minur (lclilllb und und (lolllcs (lOIlICS {tlial h a t suiL her hcr own taste. She nlusl musl consciously cultivalc culiivalc an awareness of currenl amxreness o! currem (Ullsclollsly lashion silhoucllcs silhoucttcs and und Inusl musl anulyzc the subtle sublle lashion fashion [hat inllucncc inlltlcncc lhcm. She must observc chungcs (hat observe and (lelails ol ol‘ auch euch line linc and cCul u t in order (o analyzc lhc Lleuiils analyze t0 u z: (und uf lashion and slylc information. Conlund nl acquire acqixire slam stam obscrvaiioxi obscrvzllion of currcm currem lashions supplies one basis lor rccognitiun for ul intriixsically rccogniticm ol [hat intriiisicully good lincs. lhose (hat are ccrlain ccrtain 1o to last, und o1 ol distinguishing lhem them [rom lrom dislinguishing the fads and tricks of the momenl. momcnt. T0 be sure, lhis is noL To not by any means the unly neceslor dcsigning. The studcnt sary background for Student should take for lor gramed (hat she will also need the granled {hat general ans (hat [ h a t will enable her to training Lraining in the fine arts apply the principles of design to a: first conevcry costume, at sciously, but alter long experience, expcrience, instinctively. Thc first steps, then, are to steep one's mind in current fashion inlormation, to 1o develop an understanding of principles of design‚ principlcs ol’ design, and to acquirc acquire the technical skill in draping and blocking which makes it possible
to carry
Only then a!design through to completion.acquired the beautiful
can a stu ent feel confident that she hat
ä??? c o es.
background
{or
designing really
SOURCES 0F INSPIRATION
lt is impossible to saturate one's mind with fashion without being stimulated to creative acinformation of clippings of the best designs of each A file uvity. year furnishes an imaginative mind with endless suggestions. This is obviously the most readily available material, but there is a danger in relying on aource it exclusively, for it is so simple and easy to transfer an idea { m m one costume to another that the source than used may unwittingly be merely copied rather of a invention the to the t0 stimulate imagination
.
new idea. Another source of inspiration closely related to current fashions, and only slightly less familiar to the national costume. beginnen is historic, peasant, and become thormust costume of design Every student and learn to apoughly acquainted with this source it is almost as But the designer. preciate its value to or a medieval a Grecian easy to interpret t o o exactly a current magafrom gown as it is t0 copy a clipping to transfer zine, since here also it is all t o o easy merely And deanother. a basic idea from one costume to from such sources will be signs taken too literally nor appropriate to a modern setting.
neither original countries Unless costumes from past eras or foreign for the suitable new designs can be used to inspire should not be used at all. present time and place, they are both so familiar Currem and historic costumes ol inspiration sources that they are sure to be used as are so many there without lurther urging. Moreover, have (hat scarcely olher prolific sources oi inspiration the folin the suggestions been explored at all, that ol fabric texture to lowing pages are limited problems labric through drapand to the many ways of handling authors present The blocking. ing and flat pattern that the confidence with these less lamiliar sources will not only stimulate carelul study ol each exercise will also lcad her to but the studcnt’: imagination, oi innumerable other investigate the possibilities [ o r herself. that she will invcnt
Suggofllow-d "_ DEVELOPING LINE An-RANesMmßIvf
i
-
Sketching, the most obvious mediitm ( o : „ an idea, has long been used by deiignero” the quicltest way of embodying an in": s in tangible form. Some ability t0 get an down on paper quickly beforc it i: "lost i‘: asset to the designer, and the sketch i: usually step in working out a design already in mind. You can also use sketching. playing with paper, to create new designs. Starting with’ l figure (see Figure l), a sheet of transparent wich no wg: paper, a pencil, and an eraser, but b" idea for a design in mind, you can work u» create many designs by merely using a certain -» lines in various arrangements. To creatc tlle illustrated in Figures 2, 3, 4, and 5, the designer tl|e lay ?_ placed a sheet of tracing paper over then and placed the drew a costume silhouette, used thc she casc each In within the silhouette. two and vertical horizontal combination of two
.‚ i
_ '
‘l
"
because it olfers so’ —an excellent basic design She let the i‘
two possibilities for Variation. of line: the and represent the French dart line di lines structural gore skirt panels as these silhouette into pleasing spaces; and she thought horizontals as yokes, pockets, Eton jackets, or merely as abstract space divisionaTry this y' The first step is to draw the verticals and v:
‘__
‘-
-
within the silhouette. Figure 2 shows where the n place them and incidentally points up ol up designing does not consist solely thinking and different idea, but rather involves an und lor form. a ing of design principles and leeling place lines to produce interesting shapes the figure but acce "77 only Hattet the lines ol harmonize with thc costume Silhouette already CA when lines ate Figure 2 shows what happens for without good space rcgard mechanically, the curves either ol and without consideration costume. the ol line ligtire or the silhouette the von Sketch, thc (lesigner intentionally drew shoulder lrom one continuous straight line the line in ordcr to show what happens when is waistline ignored. Thef ing of thc figure at lhc
—
«
. ‚.
V
techniques
274
SOURCES
OF F O
D E S I G N
"l l
l
1
.
\\; \\_‚:
//\{
//\
‚a z‘
Monumnous spacing. Fig. 2. Monmnnous S. The Thc samc linc llnc combinations combinznlirms as Fig. 3. ns in Fig. wlth ITlg. 2, but with thc spacing improved. the imprnved.
1o design with transparent Lay Figur: Figure on which to
Ü panex stilf and blocky. die Center panel not only looks am blocky, "ü: to ilsiuietüe slenderize thc the waisdine; waistline; and because Ä maight, _ ispetfcctly the straight, it exaggerates to thc l onion the curve over the side of the hip. 1h: 1th:‘iptlfmnula horizontals. The upper one cuts l
mmexacdy balfwayb halfway between the shoulder
275
and und lhc thc waisllinc. walsllinmc. This Tllls is lhc most HIUSI. HIUIIOIODOUS nmnotonous spac21ml besidcs, lng possiblc, ing posslble, and bcsidcs, lhc horizontal falls exactly zu lhe a1 thc highcsl point ol lhc bust, a cross line poinl of linc (hat [hat should avoidcd in costume always bc avoided coslumc (lesign bccause i! it overovcr(lcsign becausc thc curve of lhe emphasizcs emphaslzcs the lllc bust. lxust. The Thc lower horizontal cuts culs the Ihr: skirt skirl exaclly in half monotonous always monolonous
spacing.
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Nexl, Next, notice the sleeve. slceve. The contour lines should be parallel, and thcy bc if il the lhcy will not be lhc sleeve alecve is wider a: a1 the top lhan than a: the lower cdge. the reverse. cdge, or thc Look at the sleeve length lcngth t0 lhc elbow‚ an exaclly to exactly awkward half half and half division (livision as well as a s a length uncomfortable to lo wear. The Thc emire cntire spacing of this figure figurc shows just how badly badly a promising set ol’ of lines can nol not
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DRESS D E S I G N zum o u t when the principles of design have been i5. noied and no feeling has been shown for the relationshlp ot structural lines to the silhouette itself. N°w mm)’ Figure 3. The designer used exactlv the same basic combination of lines here as in Figure 2, but with completely different results. This time the verticals emphasize the width of the shoulders and tile slenderness of the waist. That is, they repeat the silhouette, and thereby strengthen its effect. MoteOVCF. the skirt paneling divides the width at the hips into three unequal parts and thus avoids the monotony of exact repetitioii. The paneling is narrower a: the waist than at the hip‚ and it flares out toward the hem to strengthen the lines of the Silhouette. Both
G“?
the blouse and skirt horizontals have been raised to
form an interesting relationship between the area of the yoke and the lower section of the waist and between the peplum and the lower section of the skirt. Notice also that both yoke and peplum vary in depth. Next, 100k at the sleeve, which this time is three— quarter length instead of the awkward elbow length shown in Figure 2. So much for the spacings. The next step, aftcr placing lines to break up the contour into interesting spaces‚ is to convert the design from an abstract set of crisscrossed lines to a real dress with style and originality. First of all, there are Erase obviously too many lines crossing one another. full have let and play of some them‚ your imagination across out. rub to ones which erasing By in deciding various connections you can develop many different 4 and 5, dcsigns from the same set of lines. Figures (lifferent conceptions for instance, show two entirely combination of same the from precisely developed lines. The dress shown in Figure 4, geometric and whereas tailored, might be interpreted as a wool dress‚ dress, afternoon the lines oi Figure 5 suggest a soft possibly of rayon crepe. be These examples serve merely to show what can lines. of set donc by difierent intcrpretations of one exhaust the possibilObviously, they do not begin to the over lay figure, see how itiaes. On tracing paper can invent [rom this same set many other clesigns you of proporof lines. Then analyze thcm for beauty Even tion and, of course, for wcaraluility. be 2?per_son to ‘ummagmawho has always consitlcretl hersell’ lhis pmnt [ m m that czin find will ‘she Will Harting tive vcry qulckly. dcsigns Shf: crcate innumcralylc t0 l r a l n hCT also discovcr that it is an exccllcnt way
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u Fig. 4. Geometrie, tailored interpretation o! two _ and two vertical lines. ' Fig. 5. Soft, curved interpretation o! the same sions as in Fig. 4.
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eyc to an awareness of good proportion, unily.
and balance.
A beginner may consider it futile to draw I’ n through the design both vertically and h when perfectly well aware thal she is going some segments oi them. But this is not a time. Drawing lines through the emire c iorces you t0 think of it as a whole instead" hcterogcneous mass of dctails. In other words, t0 keep the design unified. lt has the second [or alth tage ol" lining up darts and seams. muy erasc n section of a line, the eyc picklz. this w“. again on the samc axis. ll" you prnctice cunscientitntisly thcse points will bcconte cvide
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SOURCES S O U R C E S
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DESIGN D ESIGN
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After cxhausting exha usting the the possibilitics possibilities ol of this this combinacombinaAlter tion of lines, try o thers, a lways rcal it ing, however, tiou ol lines, try othcrs, ulways rcali/‚ing, however, that you must group several lines to form (hat you must group scvcral lincs to lorm enouglt spaces to suggest ideas.. For ex.ample, one v:rt1ca l spaces to suggcst itleas. For cxmnple, onc vcrtical o ne horizontal horizonta l linc !me at a t the waist waist are are center line line and a nd onc centei‘ meager to stimulate the imaginatio n very effecto stinmlate the 100 ellecm0 meagcr imagination very tively; and. and, asiclc aside from from the the fact fac t that th at such a designt design (ively; could not possibl y have much interest, it have much it not would be intercst, could possibly impossible to to fit fit a gannent ga rment with so so lew few seams, seams. impossible After lormulating ideas ideas into clear clear pencil pencil Sketches, sketches, cut cut l Al-terlormulating patterns l'on’ for the the (lesigxts designs from the the master m aster block block to to test test patterns ' iheir practicality. practica lity. ‘their
Suggestion 22 Suggesfion STUDYING THE THE FABRIC FABRIC STUDYING
Fabrics Patterned Fabrics Patterned fabrics, fabrics, such such as as checks, checks, plaids‚ plaids, stripes, stripes, and Patternetl floral rnotits, present many more problems for the defioral motifs, present many more problems for signer than do either of the two preceding groups. two preceding groups. signer than do The pattern pa ttern ol of aa fabric may may be be the the chief chief inspiration inspiration for a partictllar particular design. design. lndeed, Indeed, you you must must take take the the cue for structural lines lines from the the pattern pattern of the the fabric lor whenever you you select a nlaterial material with a dominant patpatwhenever tern. tern.
Texture, Surface Inferesi. Interest, and Body Body Texture. Give aa student with with little little (lraping draping experience experience a Give dress length of expensive fabric, tell her to drape dra pe and and of tell her to „dress length expensive fabric, cut it on the form , and will probably be too terriit on the and she will be too terri‘cm form, probably fied 1o to get get either aa goocl good idea idea or or to to apply apply the the prinprin"ed nples she has learned and with good reason. But and with good reason. But "ples she has learned actually working with the fabric on the form reveals ually working with the labric on the form reveals thee"‘feel" "feel" or or texture texture of of itit and and its draping draping quality. quality. It It ‘r -is possible to experiment without without cutting cutting into into the the possible to experiment at all all and and to to Substitute substitute muslin muslin for for dress dress fabric fabric tpiece c e at when draping draping to to ccut. ut. _en The lollowing following qualities qualities of of fabric fabric are are of of utmost utmost imim_ The portance to consider when designing.
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SjJaced Floral F/o1'{il Prints. Prints. Large Large spaced spaced floral floral prints prints spaced suggest softly gathered effects, suitable for dressy suggest softly gathered elfects, dressy afternoon or formal evening wear. It must also be be rerenoon or formal evening wear. It also membered that every cut through a large floral design membered (hat every c u t through a large floral design very conspicuous. conspicuous. And And because because itit is is not not poswill be very posto match match floral patterns, patterns, obvious obvious seams seams and and cuts cuts sible to will utterly utterly destroy destroy the the effectiveness of of the the gown by will gown by chopping up up the the motif. motif. The aim should should be be to to hide hide chopping as many many as as possible possible of of the the necessary necessary joinings joinings in in soft soft as tullness, and to place seams, if at all feasible, under and to fullness, feasible, under place seams, if at arm, where where they they are are least least evident. evident. In Jn short, short, the the the arm, pattern of the fabric, whenever it is an important one, pattern of the fabric, whenever it is an important one, always take precedence precedence over over the the cut cut of of the the should always design. Tiny checks, polka dots, and fine florals, on and checks, fme dots, design. Tiny polka florals, on other hand‚ hand, should be handled handled almost almost like like fabrics fabrics the other no pattem pattern at at all. all. with no
Texture Interest Without Pattern
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Mate/asses, Boucles, Ratines, and all Nubbed Surfaces. For a fabric with definite surface interest, such
as a matelasse, matelasse, aa coarse coarse boucle, boucle, or or aa nub nub weave, weave, plan plan ja
_
the design design so that that itit does does not not competc compete for for attention attention with the the fabric fabric itself. itself. Compose Compose itit of of large large unbroken unbroken areas mhcr rather than than intricate intricate fine fine details. details. Flat Fl at crepe, in crepe, in direct mnlrast contrast to to thcse these pronounced pronounced textures, textures, has has aa surface‚rso so lacking lacking in in interest interest that that itit needs needs to to be be given given texture aappeal by the addition of stitching, embroidthe of addition ppeal by stitching, embroid— ery, self-cordings, and so so an. on. But But never never use use such such apmildings, and applied design on ‚matelassö matelasse or or on on any any othcr other nubby nubby textexture which not suited suited to to surface surface decoration. decoration. r-n i‘:is not
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that must m mt bc be Luken ta ken into in to considcration consid era tion when designing designing thut cos tume. A diago na l weave in particula a in wcave twill a costtxlnlc. A (liagonlal partictllarr Presen ts severa l pro bl ems. It right and wrong sId€‚ side, and a has lt wrong sents scvcral problcnls. right lelt a nd in wool fa b ric the twill usuall y lef. t to to from runs und in wool labric the twill usually right, whereas whereas in in cotton cotton und a nd rayon rayo n it it runs runs from right right right. to lelt, left, regardless regardl ess ol" o f whicl} which end is used for the . to thetof‘). T he o nl y way t0 to change cha nge the (lirection d irection of the twlll twill 1s is 'I‘l1e only way to use use the the material material ltorizontally h ori zontall y in some areas. areas. Moreto Moteover, any a n y changc change in in the the direction of of the th.e grain grain is quxte quite over, conspicuo us, und and is is likely likely t0 to causc cause a mismatched effect conspicttotns, seams, such such 21s as the French dart line !me or or the the a t certain certa in seams, at center sea m of a four-gore skirt. . C e n t e r scam ol lour-gore ribbed weaves wea ves generally generall y suggest suggest straight straight T wills and a nd ribbed 'I‘u'ills lines ruther ra ther than than soft curves curves or or draped draped effects. lines
Figure 6 is aa design design suitable for for aa large floral print. Figure large floral print. ltIt has no no Center center front or or center center back back seam, seam, but but if if such such seams were were necessary necessary the design design should should be be changed so so changed that there would be be fullness fullness over over the the joinings t0 to make make joinings them less less noticeable. noticeable. The The sleeves sleeves are are lapped an on top lapped ol’ of the arm to to avoid avoid a seam, scam, and and the the side side seam seam of of m? the the skirt is is concealed in gathers. gathers. Thu; Thus the the underarm underarm
on
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Twilled prv or Rilibed Ribbed Fabrics. Fabrics. Twills, Twills, reps, reps, herring— herringbones and piques liorm form aa sgmnd second dass class of of fabrics fabrics with with definite diagonal, horizontal, horiLOntal, or or vertical vertical line line effects effects
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59MG ior Drnpcry
.
Mag? Design suitable i
Fig. 6.
I
ior a large, floral print.
Fig. 7. Pattern for Fig. 6. There an: four picces in dress.
qualm, since weaving technique requires angularity but a dress designer cannot eliminate a woman curves so easily! Her alternative is to adapt the h oppositional lines of a plaid to the soft curves oft figure by using the plaid diagonally. In (bis way makes a transition between figure curves and an an lar pattern. A woven plaid is o! course on the when used diagonally, and in most fabrics tends t ' stretch and thus produce soft curves instead of angl Figure 8 shows a dress designed especially for plai Notice that in the skirt the pressed pleats [ollow lines of thc plaid, since it is better to lay the ple b straight along a dominant line of the plaid than n? hal \ gore out at the pleat edge. The left and righl of the blouse front are each cut in one piece will) the ; deep dart running t0 the neck. This throws the and dart the diagon above bias the on repeats skin. the o! sections side in the the over line hip the = Ä_ of on seam matched a with slecve biased top silhou completes the eflect of the bias along the in caution of word A regard 7 lines of the figure. Order in of sense a maintain cuttirig zmy plaid: costume by carefully matching the plaids zuall se T0 d0 this. Hare both edges o! a goved scam t0 sinne degree.
blouse seam, the only seam that appears mismatched, is fairly well covered by the arm. F igure 7 shows (hat lhe pattern for the entire dress has just four pieces. The larger the motif, the more limited is its use, And very large ones are generally suitable only for floor-Iength evening gowns‚ since they require Iong skins l0 provide space for enough repetitions of the are at their best pattem. Obviously, too, large patterns on tall slender women and never appear to advan-
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on short, stocky, or rotund figures. Plaids. A plaid is another type of patterned fabric that demands special designing. Here again the pat— in the tem of the cloth musl be lhe dominant factor for a the whereas But design choice of the design. a for that and plaid Howing, floral should be soft with in be 1o harmony should be brisk and staccato Pressed pleats the geometric lines of the pattern. is reshould be substituted for gathers where fullness of in uscd be should place quired, and straight lines matched but visible carefully bc should Seams curves. to in both directions. Another problem peculiar plaid the with lines in the need of coordinating angular and skill natura! curvcs o! the figure. This requires the ‘rug designers cha.nge ingenuity. Navajo lndian to shapes wnthout a
7
a:
tage
figurcs in their patterns
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angular
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DES D E S IG IGN
Stnpes. well as a5 plaids 21s weil plaids need specla! deStripes as Slripes. Stripes signing perhaps more w1d:ly und handling. They are perhaps handling. They signing and wldoly 1nused lhan than any other kind of patterned kind othcr patterned fabric and. any and. 111Unless volve the designer in many problems. stripes stnpes (lesigrlcr many problems. are very very interestingly and very widc, they they tend very wide, intcrestingly spaced spaced and to t0 be monotonous Inonolonuus il if allowed u)to run in the same direction throughout at the same time, costume; at throughout a costume; t'hey direCtIOflS seem confused conlused if il" allowed ullowed to go many directions go in too many in a single Likc plaids, suggest usually suggest stripes usually singlc design design.. Like plaids, stripes and yet unlike plaids, they straight-line costumes; unlike costumes; plaids, they are yet sLraighL-line more not oppositional or static and are, therefore, nol therefore, are‚ uppositional versatile in interpretation. For example, Figure example, Figure 9 interpretation. shows a design a very stripe, perhaps in cotton for fine design vcry stripe, perhaps chambray rayon crepe. enough chambray or rayon crepe. The fabric is soft enough to gather runs both both horizontally horiwntally t0 and the stripe gathcr well and stripe runs and insignificant and vertically. lndeed, it would be very vertically. Indeed, very insignificant i: did if it not. A Liny, tiny, unimportant stripe from did noL. from benefits unimportant stripe a good deal of interest in cut. deal inlerest good Figure very wide stripe hand-woven Figure Il (0) shows a very stripe in a hand-woven suiting. The object here is to play down interest in is the suiling. object play the garment order to set off to advantage the cut of thc in l0 0E advantage garment the dominant important to use donlinant stripe, is far too [ 0 0 importam stripc, which is in more than one direction too important direction - in fact, fact, too important to to repeat repeat again to adjust stripes Lhe skirt. Try again in the Try adjust wide stripes on the form form so [hat that they they come at becoming at the most becoming positions on the figure lso try match the palpatand aalso positions figure;; and try to match ttern e r n ac.ross across the sleeve, and body body of slccve, so that the sleeve and the jacket is an 21s one onc unbroken unbroken unit. unit. This is jacket appear appear as advanced problem problem in designing, designing, for although there although must be darts to to fit the jacket, jacket, they invisible. they must be invisible. In this Lhis example Jn example three small darts under the arm, arm, in addition to a horizontal horiwntal one along along the waistline, waistline, fit the jacket jacket without being the grain lift thc being noticeable and lilt grain that of the peplum so the stripe does sag lower not sag peplunl stripe toward toward the side seam. seam. Stripes Stripes need not be used to emphasize emphasize a straight-line straight-line effect. In when effect. lact, diagonally, stripes, like used diagonally, fact, stripes, like tend to take curves. The takc on the effect of curves. plaids, tend The striped taffeta evening evening bodice (see (see F Figure striped tafleta shows igure 11) I1) shows effect. Not only does the stripe conform to such an effect. conform only t0 stripe of the figure the curves ol figure when it is used diagonally, is used diagonally, but more active and but it it is is far more than when when used used and dynamic dynamic than or horizontally. horizontally. lt perhaps unnecessary vertically or It is perhaps unnecessary to caution the student to match two sides match the two sides exactly exactly at the center Center so that the lines slope down at the the same same at the. slope down at angle from each side. angle from When When draping designs for plaids plaids or stripes, the stu draping designs stripex, the studem should Should work in muslin, lining dent off with pencil it lining off With pflicil to get the effect effcct of the fabric to to be be umL used.
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Fig. 8. 5.8. plaid.
V
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1
Structural lines (hat tha t cmphasi1e of emphasizc the character of
‘Since Since ehe the difficulties handling plaid plaid around difliculties of handling around the
es of the silhouette are so obvious and also imcurves «l
pose limitations limitations on the way way in which the cloth can be mit, cut, plaid plaid is often used merely merely to is einen 1o accent accent a solid color. example, a straight straight pleated pleated skirt of plaid plaid _‚ For example, with a jncket jacket ol avoids the problem problem of of a solid solid color avoids ä shaping plaid over thc the curve of the bust. '_g plaid m:i5 Plaid is notorious for enlarging apparent size enlarging the apparent of 111e the figulc figure and and because of its strong, straight-line strong, straight-line character its opposition opposition to curves, r and its curves, for overemphaoveremphasizing ‘a a pleasancly, pleasantly ronndcd rounded figure. figure. Large, Large, angular angular patterns „are are: a: at their bes: best an on girls girls with very subtle wilh very subtle curves, m! and 56cm seem to to be particularly particularly harmonious with o Amntions the sudden motions und and lively lively manner manner of adolescents. adole-scents. ‘
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279
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41% ' lllllllllllllllllllllll I1lllllllll \‘ \\\ >\\\\\\\% z/Wß/(f/Ml /im4 „m,
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and inneres: in the cosFig. 9. Fine stripcs need variety tume design.
Aside from the general effect of floral pattems, of are still other plaids, and stripes, there Woven or problems printed plaids, fabric pauem t0 considcr. to see examined be should slripes, and floral pauerns and a if they have an up and down direction, right side lefl side o! the pattern, and a right am! wrong adds to of the fabric. Any one of these characteristics all ’ thc problems o! handling, and a labric possessing avoid. to of thcm i: one for an inexperienced person
Thicknus 1b Iody cf fho Fabric: Sfifiness. Weiglw end and clarification, Except {or purposes of explanation the considerai: is, o! ooune, impossible to separate a fabric into neat iion o! 1h: various characteristics of that you examine linde catcgories. At the samc time you will thc Iize and dominancc of a fabric pauern, determine texture that also consider the qualitics of
m use in more Fig. l0. A wide stripe is too dominant one direction. to cunle around Fig. l1. Diagonally used stripes appear figure. n the effect it will produce. A little cxperimenlal about ing will very quickly answer your questions sort of silhouette a fabric will give. lf you look at Figure l l ‚ you will notice that the fabric has stiflness of a talleta or it would not produce Ihm silhouette. The fine striped unaterial shown in i“ 9 obviously has not only a soll texture bin‘ also
lacks bulkiness. an: entstand Rayon jersey and moss crepe close to the examples of fabrics that fall so as to be fairly liquid, and yet in spite of an. all. Th weight have no bulkiness or buoyancy said Ihn the quality generally mcam when it is lach material A may labric poasesses “drape." bulkiness, wirinesa. quality because of stiflness, silk llat cmpe or l0 A unweighted buoyancy. in weig even though thin and soft, is too light
[hat
l
280
m
fabric thc u ncut (Ircss length m lcnrn the Fig. I2. Drapc entire the nf a meinte and m wnrk ( n r quick imprcssion
dcoign.
for quick eflect. To a taufen: lightly Ifig‘. l3.mDrupe‘ Ileetllcs am! only w wilh i! lahmt, thc lnjury
necessary.
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SOURCES
OF O F
lllc llic wuiallinc, Limlci‘ Llic lhc pepluin waisllinc, pushcd puxhccl iL uu]; ] : undci" peplinn i1 liung u; am] lct it thc lloul’ und (h4: ll0o1'— ull all ol [lll>\\'l(l1— [llis Will]liang slash. Äloicover, alle Liscd uscd \van c n lcw ‘g cuuing Äloicovei‘, shc cuuiilg c w n a slzisll. [hat the labric would nol not be l)C injtncd. f! ‚ so [hat injuicd. Fignrc Figinc tallcla Lliuped a: Lhe “shows a still (allem shows [lle Lliaped up np into ua bustle zu slarlcd starlcd ( e r back. Herc tlic (lesigncr thc (er (lcsigncr b)‘ (lruping (lrziping by ot Ihc thc lubric lalnic uL ai thc Center CCIHCI‘ lront lmnt of the cing "cing onc end ol" l i1 uround around l0 [0 thc buck, back, diuped ; then shc pulled pulled it (liaped it lct il it lull [all m u) Ihr: thc llom‘ llour into lincs nutural 2nd lcl natural t0 [o ‚ and 7 talfeta. She Lhcn threw thrcw zhc oppositc cnd ol thc thc shouldcr lrom llOIIl lhc lront eta over lllC lmni und ancl (lrupcd (lrapccl v‘bodice lroin lrom lhc wuistlinc waistlinc up Lowuid l()\\'2ll(l Ihc Ilic shouldci". shoultlci. e in handling the tulletzi tallcta she hud had Io u) l)L‘ l)L' cspccially to pin und and crush as cruah it us ileful liltlc a» lcful l0 Iiulc u» pin possililc, posslblc, shc slcel nccdlcs lur lui pin: slituted steel stituted and uscd usccl \c1'_\ lcw ol pins und M1’) lew
(her Äther
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pery,
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Suggesfion 4
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PlNG WITH MUSLIN MUSLlN FOR DETAILS OF DESIGN
l
fo Produce Flares and Ripples hing "Accidenfally" lo aller inuking any ideas develop only alter l0 inaking a slash to I se se the excess lubric labric bcyond scani posibcyontl the normal sczun This lype ol “accidentuV “accidenlaV (cul u m will oltcn inspirc rson with any imuginatitm am ull all 1o u) imaginatitm a1 recogni/c recognizc ibililies for lhe the (levclopmcnt of ua good detuil (letail m" (levelopmcnt ol für the entire theme of ol ua (lrcss. drcss. But lhe experi. n fur T} Ztcan be frecly when (lruping lrecly indulgcd in only whexi (lraping u o! muslin, niuslin, lor then an error CITOI‘ in judgmcnt, scraps ol judgmcnl. in the wrong placc, involvcs nothing more lhun lhan nozhing inore sh h start stark wilh with a secoml second scrup ol pructicc maicrial. scrap of practicc inutcriul. fears ol of cuning lar or in the ihampcred hampered by lears thc cutting too lur i"g places. places, the expcrimenter can work with Will) specd speed Jet et ideas develop LlCVClOP as they will. hen a slash is made through thc exccss beyond thc ‘hen the to a seam line, the thc fabric falls over and forms ry whicl} can be handled in an endless vuriely variety i! is possible to Moreover, it l0 analyze this ys. ys. lhis "acci" l" occurrence und and to make malte it i: happen at will. by this method those who are in the habit ol elfects can learn to injcct uncing stereotyped eflects or even gor evcn Original ideas idcas imo their dcsigns. which seams or which points can you expect u ‘bilities for ideas to occur? possibilities Principally, they (hey lop a! points of articulation, or structural ‘ o’n n seams suitable for design emphasis. If you u v. above the shoulder to the lhe intersection inlersection of
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283
D E S I G N
lall al cascadc’ ol (lmpcry sliouldci‘ sllullldt‘! und nuk, ua cuanudc(liapcrlv will lull ‘al inlor llic nul; loral im" (lic ua xci‘) lmul nL-(l; —— (lcsigil (lcsign 1nlogicul \ci‘_\ logical puinl lclcsl. ll you (Cltsl. (o IlIC lhc shouldcr u : [o ilic intcrscction intcrstcclion ol lllC ‘um (cuL sciilll und (hc stulll m m the outer fall {lmm outei‘ lhc unnsc} annsc} c. diupciy (lrapciy will lull cnd ul ol lhc thc slloulder. u t horizontully slioulxlei‘, „Äguin. horizontally Again, il you ccul llic wuistlinc loward tlie uaistlinc [min lmni ll1C lhc sidc scum scam towurd lhe ulung alung Lhc (u c nt le c r lront, o n i inlo into u a pcplum. lalnic will ripplc oul l i o n t , 111c lubric pcplnm. 01' il you slilsll Or slnsll Lowurd Lowanl Ihc thc CCHICI‘ buck back ulong lhe waist2ilong the llaic will spring [min linc, ua lluic lroin 111c lhc cnd ol" Lhc end ol lllC slush. slash. A! AI whutexcr whalexci‘ point you slash, from beyond a scam seam toward slush, lrom an intclscdioll, un IllC lulnic‘ lalnic will curl ('Ul'l uwuy lrom lhc [hc iniciscuiuii, Ihc away lroni l l c shcun slicai» und lull lall inm imo ua circulur circulai‘ cuscude or cascade m‘ point puint ul [lllC am u) scc wliut what u a xuricd \ill‘l('(l source ol inripplc. iipplc. ltll i:i» cusy lllis uuion (HIlUll ul ol ((‘lulll l o l l l ( "aa n bccomc. spiraliun lllls spirution illusziatus llurc llarc pioduccd t0 thc Figurc H illuslrulcs produccd by a slash l0 iniciscitiun nl Ihc inlciscsuirni ilic nuk ncck und and Ihc (h0 shouldcr. shonldcr. The ellect ellcct shuwn (ould (Ulll(l only liuuliau- hccn l)CCll pruduccd protluccd by b)‘ (lruping, (lraping, simc ullcx alici" tlic lllc lnst lilsl slusll slash wus was mudc, Olllcl’ idcas niadc. muny inany olhcr llJHC lcsllllctl. rc-snlicil. Thc llic unly knmvn lucl lacl wilh which xnight niight lnnc nnly known Ihc lllL‘ (lxupL-i" slailul wus was lhul lliat sonlc sonic sort sorl ol‘ ol" dctail ( l c l a i l would (liapcr slunvd lmm llUIIl lllc ilic c u c ( ‘ H 0 5» 5 labiic lulnic abovc ulmvc die thc shouldcr. (lmclop (lcxclop Whcn 55U(ll \\'hcn u(ll u a giawlul circului‘ ripple lcll oul of ol the lhe gxutchil Clltlllin‘ du: l, sl1L' (laut, sl1('(;Il'll('(l uniicd lllC ilic cllcu still lunhci‘ lanlici" by (lroppinf; lhe the dropping‘ ai pulnls llic shouldci‘ slmuldci" lo giuin giain ul t0 rcpeat puinis alung ulmlg thc rcpcat lhe lfm und I» I; show slmw thc druping iipplcs. Figurcs Flgurcs 15a (lraping proccaml l-‘iguw (llll'('‚ und LllIH‘. lli thc ihc puucrn l-‘iguic Hi paucrn shapc, sliupc, which produced this tliis cllcu. cllL-(l. In ln lhis iliis (‘usc casc in il sccmcd SCCIHCd intcrcsting t0 (o conlinuc lhc tinuc llic llnrcs llaics uround amuiinl thc llic unn ann u)1o lllC llic buck back armscye urmscye linc. 'l‘l1ix lhis onc unc (lcluil (lClllll would wuuld In: cnough Cllollgll u) lurnish inlor un ltcrcsl c l c s l lm’ an cntiic cmiic ((usiuinc. o s u n n c . Thc 'l'hc skirt und and slecvc (can "an llicn scrvc nicicly lllcn us l)i.l( lnu kground lur lor lllc thc shouldci" shouldcr lrill, mcicly 2h or in ua subllc sllllllc wu)" it by rcpetition, way ( “aa n vinphusi/c vinphasizc il rcpelilion, so as lllc llic icpclilinns urc kcpl subordinulc. long us lung rL-pctilions arc suborclinatc. ll lt is ncvci HCYCI wisc u; m slruin slrain lur l0!‘ niurc murc lliun llian onc good idea at a (inne. liine. ll ua sccond scmnml onc ( m c uccurs uuurs l0 you, kccp i1 it lor a second cosllnnc. costuinc. Thc bcauiy nl bcuuly ol uny any Llcsign (lcsigil (lcpcnds (lepends on thc the dcvclopincnt inain llicnic. dcvelopnicm ol onc niuin lhcmc. und on playvarialions ol that lhut thcmc rathcr ing up vurialions rauher than introdixcing ducing a compcting unc. This one examplc example illustrates that anyone who is lor an idca ought 1o cut groping for cxcess fabric away excess with thc Lhc uunost caution und and alcrtncss, alcrtness, particularly when approuching structural localions approaching Lhosc struclural locations wherc treatment is most likely t0 original Original treatmem to develop. One should also cxpcriment experiment with thc labric beyond lhc thc normal seam line lme 1o to see how many details searn may develop from any piece of cxccss excess labric. fabric.
——
a u s : oesnsn
Fig. l4. Ripples produced by slashing of neck and shoulder.
t0
the intersection
Fig. l5.(a)‚(b).Draping pmcedure Fig. l6. Pattex-n for Fig. l4.
Figure I7 shows the result of another “accidemal" a horizontal slash along the waistline from the cut side seam toward the cemer front but stopping short o! that poim. The fabric fell from the point of the shears into a rippling flare later interpreted as a peplum. The diagonal line from the end of the slash to the side hip repeats the motif of the diagonal dart to lhe neck and gives it emphasis. Whenever you make such slashes and separate the two edges, you must use an inset to fill in the space. The inset may be frankly a space filler, or i1 may be so carefully designed that i: adds interest to lhc entire costume. In this case, the inset is really the back of the peplum extended atound 1o the from, as Figure I8 shows. The diagram also shows (hat there was no separation ol the pattern sections along the waistline until the peplum front dropped downward imo a flare. l9 was achieved by The design illustrated in Figure a of effect the obtain T0 a very similar proccdure. across without a waistline seam perky peplum flare was i1 ncccssary to slash along the (h: ccntet back, l0 separate waistline away lrom the Center back ancl Ich a triThis slash sharply. (h: two edges o! the waistline thc of back cemcr across the
[or
eflect shown in Fig. I
——
Fig. 17. Rippling peplunn the waistline.
angulsr space
284
{mm
a horizontal slash w
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Fig. l9. 19. Rippling Rippling Marc fl are produccd produu:d byslzlshing bv a lo ng wnistwaiHFig. alnng a t CCUICI‘ cen ter back. bac.k. line a!
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that had had ‚t0 to bc be fillcd filled M!!!
in. lt It would have have been been possible possible to set in in a plain plain Lriangle, triangle, but the pair pair o! of scrolls shown in Figure i9 19 scrve serve um not only only as the necessary necessary inset but Äslßfigure become Lhc the dccorative decorative feature of the costume costume as well‚ well, gßmc and whcu when repeated repeated at thc the front 01' of thc the neck, neck, give give balance‘ am! and cmphasis emphasis m to thc the whole design. design. Figure Figure 20 20 is the pattern fpr for thc the dcsignl design illuslralfid illustrated in in Figure Figure l9. I 9. ficpauem
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Pattern diagrann diagram Im for Fig. l9. 19. Pauern Fig,
Ü R E S S
DESIGN
Fig. 2 | . Peplum rippling {rom a vertical slash down to the waistline.
Figure 2| shows the results when a vertical slash was made to the point on the waistline where the basic dar: nonnally falls. When the slash was spread apart at its lop end, a striking flare rippled into a peplum below lhe waistline end of the slash. Figure 22 shows the pauern [or this design. Center Figure 23 illustrates a peplum Hared at the in shown that to bark somcwhat sinlilar in character is the ripple so Figure I9. The melhod of producing diflerem, however, (hat it Warrants special mention here. lf you compare the two illustrations, you will note thal in Figure l9 lhere is no possible way of back without creating the sudden flare al the centcr the imroduction of an insel into the waistlinc slash. shown in Figure 23,011 the othcr back oI thc
The
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Fig. 22. Pattem for Fig. 2|.
jacket
been dropped from the point wherc the first fold introducetl. 'l‘hcre was also the problem of keepi the waistline cIose-fitting. Dropping the grain onl along the downward curve below the waistlinte in! the Center accomplished this. Study Figure 24. lh finished block pattcm, which shows that the tanpres folds sprcad mnre at the lower edgc than a! the t0 This is a blocking procedtnre with results (tontparab to lhose ol lowcßring the grain whcu draping.
curved seams haml, is cut completcly apart by the long, the waist. bclow to just from below Ihe shouldcrs it nxakcs sections possible to Cuuing ofl the side back in that sections un these drop nhe grain very suddenly lhc whcre curves thc an slwrt space Iran! the points where thc thcy point lines (auch the waistlinc down w thc flaring intrurhtccs This Iine. back Center nlcet the
r
Thc
circular {olds across Ihe cemcr back. rulhor problem thzm to out was t0 induce Ihr: folds lo ripple
286
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a: Flare a1 3. Flarc
CEHICI‘ back pmduu-d hy luwcring center lht‘ lowcrirxg thu lhe waistlinc waisllinc m lhc (Cllltf from the ( u n t e r bzuk |):l(k scmn ul duscunl u! (lum.
-_
nolher poim ‘other point
(hat may bc puuling is lhc prcscncc lhe sidc cdges ot the thc ccnlcr (‘cnlcr scction. scction, ctlges ol along the eas ease is usually Lhc cdgc of thc lhC Llsually found along Lhe . seclion. section. The reason for { o r lhis rcvcrsul i; that reversal is {hat thc {er back section is very widc und Ihr: thc CcuL wcll l l l falls well and outside oulside the lhe point ol‘ thc lhC basic busic waistline waisllinc dart. durl. poinl of ease ase helps to curve thc_ labric around thc form lhe_ fabric ‘will ill nol not bc be visible if thc scum sann is curelully joined. joincd. u will rennember renlember that (hat lhc lhe blouse shown in Figure lustraled ustraled one way o1 ol producing ripples at the der. e r. And an a: first glance, glnnce, the cflect shown in Fig_V5 may appear similar, for here too there is a der er frill. But there the similarity cossimilarily cnds. The cos— illustrated lustraled in Figure 25 is an asymmetric design ' [abric hingg two opposite ways of handling [abric {olds along the first half g it up into draped folds shoulder oulder length, length, and then reversing the procefrom there in ordcr order to by lowering thc gvrain grain (rom Ihre: the lower edge. The method of gflares along lhis one i" ing the pattern diflerent, as this patlern is also diflercnt, blocked and tially lly partially draped. Starting 0E the main body o! of (mjefully ly blocked pattem pattern o! which thc the draped folds {olds to the shoulder ‚ on ‚which the dnpenadded ed, ‚die of draper added a fairly Iairly large pieoe picce o! fit: t0 aee what eflect she could get by drap'
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Dir: 951cm
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Grain
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Fig. 24. Fig.
Pullcrn lnr Ior dcsigun Puucru shnwn in Fig. 23. dcsign shown
the shoulder arca on the thc form. lorm. By slashing ing Lhe slashirlg lhrough thmugh the excess exccss above thc shoulder l0 u) thc shoulder shouldcr scam, and then by dropping lhc thc grain, grailw, she finally dcveloped the circular frill. lrill. There was somc doubt doubl whether to t0 lhe circular [olds folds thruugh the shoulder scam cdge, lay the througl: thc edge, or just to it; i1; but the experimental experimcntal draping quickly decided that xhat issue. Leuing the ripplc lines run t0, l0, but not lhruugh, the shoulder shouldcr seam scam created creatcd a Iighter, lighter, morc buoyant more buoyam eflect. T he diagram of the completcd completed pauern that the shoulder edge pattem (sec (see Figure 26) shows (hat beyond the drapery is a sharp arc from which the
Hares spring. Bares
DRESS D E S I G N ‘
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Fig. 25. Draped shoulder.
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and circular ripples combined
a1 the
Fig. 26. Pattern diagraln for garment shnwn in Fig. 25 with draped folds and circular Hares. 7
The diagrams of the patterns for all of these dealso signs show thc lrued up, blocked patterns. They blockwith show the advamages o! combining draping ing. After you havc (Ievcloped ideas by experimenting on the {orm with scraps of practice fabric, the blockbccomes a fairly quick ing of the accurale pattern it makes unneccssary t0 drape the design process and t0
complction.
Lines 9o Disfribufing Gaben und Feld: Along Slash Produco Drapory This experimcm is smncwhat sinlilar to the previous of droponc o! slashing to producc fiarcs, but instcad thc aim this timc is to try a ping (In: grain for ripplc,
gathering the Iree edgc of the slash or draping il into folds. Figurc 27 shows a shoulder ( l a r t converted inlo. drapcry with an extensiol) carried around 1o the back. lt also illustrates Lhe eflect ol slashing the dart line ’
und distributing guthers alonxg it. lf the fabric i3 . soft and heuvy, the lincs of the (lesignl are as fluid and rhylhmical as in the illustration. Although lhis idea f scems complicated, you can readily block it t0 perfect the pzutern shapc. The (liagrann o! the flat pauem‘ (seo Figures 28a und b) shows that the Center iront‘; linc hus bccomc u sharp arc, am! thc separation o! thc Lwo sides nf the slash shows the Iocation) and 5in0’ 0|" lhc dart. Ä
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u"Fig. Fig. 27. Shoulder dar: dart converted imo into drapery drapery and slashed u l9 to push push in gathers. gathers.
(a) Slash lines lines drawn [or for dcsign design shown in in Fig. Fig. 27: 27 : Fig. 28. (a) (b) Slashes spread spread [or for [olds folds and gathers. gathers. (b)
Simulated yokes yokes (see (see Chapter Chapter II, II, pages pages 000-000) 000-000) Simulaled employ this of slashing to push in gathers or of (bis method to employ slashing push gathers or folds along the cut line. more unusual version of c u t thc A version of _:U‚0_s along this same basic technique is shown in the asymmetrical Same „M: basic techniquc asymmetrical bodice design design in Figure Figure 29. Two slashes running running to to fljgicne " neck at lhe the the side front Support support gathers gathers radiating radiating h „ard (h: toward the shoulder on on one side side and toward toward the underv" arm on on the the 0111er. other. After thc the design design is is devcloped developed in in aa rough form by draping, the pattern should be trued h by draping, pattern should be trued up by exact blocking. blocking. For blocking blocking not not only only estabestab[y exact lishes1h: the grain grain line correctly, correctly, but also insures insures aa patpattern wilh with ushoulder, shoulder, armscye, armscye, and underarm underarm seams seams of of exactly same lcngth length evcn even though though not of of the the same same ly the Same shapean on bmh both sides. Scudy Study Figures Figures 30a 30a and and b, b, which which show -‘cwo two m steps producing the f:lat pattern. in flat p3 producingthe pattem.
Another method of of developing developing folds, folds, as we have have alalready seen, is to to introduce them into a vertical vertical slash. slash. ready One way way of using using this technique technique was illustrated illustrated in in aa skirt (see (see Chapter Chapter 3 ‚ page pagel09), methods and similar methods 109), were shown in two sleeves, sleeves, one with a simulated simulated cufl cutf vertical slash slash bebepage 138). 138), and the other with a vertical (see page low the elbow along along which gathers gathers were were distributed distributed (see page page 134-137.) 134-137.) (see A graceful skirt design design (see (see Figure Figure 31) 31) shows shows this this same principle principle of slashing slashing back to to push push in in gathers. gathers. Thc The skirt has a yoke yoke wich with a crossed crossed simulated simulated belt. belt, the along edges of which gathers have been lower along edges gathers have heen worked in. The seam at at the Center center fmnt front is is concealed concealed in in the gathers of the skirt. Figure Figure 32 32 shows shows the the method method of slashing slashing and spreading spreading used used to to obLain obtain (bis this cug, cut.
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289
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Fig. 29. Asymmetrical bodice slashed a: the neck m push in gathcrs.
Spvead fov Deep Armscye
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— — 02120531-
Ihr lnlds und guthcrs: (b) (a) Slash lincs drnwn und shnultlcr seams arc Undcrarm, armscyc. Slashcs sprcad. in Icngth m: right und Ich hnlvcs.
Fig. 30.
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Pattern for (Iress dress shnwn shown in Fig. Fil{. 31. 3 1. Pauern
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Fig. S]. 31.
Slashing back bac.k along a long a skirt ynke yoke t0 to push in gathers. Slashing push in gathers.
Slashes should be made to to the side seam, seam, but tapered tapered "bes should to ‘ßnothing nothing a1 at the point point on on the the hip hip where where the belt belt end. If It a suggestion suggestion of of draping draping toward thc thC' appears to cnd. msm side hip i5 is desired, desired, however, however, the slashes slashes should should be be tapered to a small dart rather than to a fine point. A
Figures 33a and b illustrate an important technical point nonccrning concerning thc the ‚shape shape of of sinnulated simulated skirt yokes. yokes. When4 you you man make aa slash slash from from the the ‚scam seam edge edge of of the the pattern (whida (which is a; at the center center front front in thc the skirt skirt ” discussion) (lpwnward as in in F Figure 33a, as as you you under gmmign) downward as igure 38a, you gain gain man: more and more more lenglh length on on spread fieVpxttem the pattern you
.„
(b)
(a) When slashed and spread. spread, the full full edge can Fig. 33. (a) edge can be easily easily gathered inm into a dcscending descending yoke yoke line; line : (b) When (b) When slashed and spread, sprea
m:
Lhe the gathered edge edge to to fit back into the the shorter shorter yoke yoke line. But study study the diagrams diagrams of the (two yoke segmentf.. w o yoke Segments. If If you slash in the opposite opposite direction, direnion, that that is, is, from from the seam edge upward, upward, you you will have trouble, trouble, because because gathered edge edge which which is is shorter shorter a: at you must push a gathered the the center center front lront up up into an ascending ascending yoke yoke edge. BeBeedge. cause cause you must must raise the grain grain of the the gathered gathered edge edge as as you draw up up the fullness, fullness, the skirt skirt gathers gathers tend ten
blouses.)
291 29l
.
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never Ongshould cu} along the base of the neckwnhout first
expenmenting to see what interestIng nec}: tfeatments may be offen-ad by the excess fabric both wnthm the curve of the neck and up beyond the shou_lder seam. Figures 84 and 35 show two ways of Ioldmg excess to [orm necklines which are unusual and lf you can accomplish the feat o! _becoming. cmeatnng pleasing lines around the face. then you will have made considerable progress in designing. The remaining costume lines may take their cue from the
Eine
necldine detail, or may be used merely as a foil to the neck design by being kept severely plain. Figure 34 Shows a striking neckline set off by the simplicity of the other lines of the costume. whereas Figure 35 shows how the neckline may serve as inspiration for the peplum detail. When the designer draped the jacket illustraled in F igure 35, she turned the excess under below the waistline at the from, draped it up to the waistline a: the back, and terminated it in a cascade. This peplum illustrates another way of producing a striking eifect by folding off excess.
Fig. 85. Thc fold of excess a1 ncckline inspired the fold o! excess below the waistline.
_
-
Again in Figure 36 the waistline detail illustrates —' what may be achieved by folding back the excess Ich i: g beyond the Center from line. Another possibility and to leave the excess at the lower edgc of the peplum fold it up to form a pocket. In fact, lhere is no limit i t0 the number of interesting variations that can be 5 baclL developed from the single expediem of folding all and the excess beyond the normal pattem edge one needs besides the idea and the will t0 experimem. ‘ is a dress form and a {ew scraps of muslin.
——
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Fig. 36. Folding back cxccss beyond
(einer
(mm.
‚
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sznnc poslllons n general, thc samc Ü.In [hat are a i e advantageous posltiuns (hat m‘ lor or loi ('.\(€ss um ulao suitable urc alao ‘r slaslling suilable lor slashing lolding cxccss - ng ilit into knots kllols or lmws. buws. lhus it is possible t0 "h cxccss above the shoulder h vertically Lhrough lllC extcss ahoulder lllrougll the i: inlo into (lecoralixc ‚T. decoraiixc knols on un Lop of the ‘g t0 tie i1 lup ol i1 was explained how to u l d e r. ln Chaplei l0 tie ulder. Chaptei 2 it excess from lroni u a dart zu lhe cxcess durt ui the C e n t e r lront centcr lronl ol [h6 (h6 neck‘ie into inlo a bow, and also how to plan lor knots tied several points along the ccnler ccnter front lrom linc. Not only 15several ol shaping the Lhe labric, but it ll ilymg ymg a decoralive wuy way of “ o v serves the ol of it i: is Xloreover, Moreover, purpose laslening. lastening. to end l: of the simples: and most natural ways wa): 1o i’
"c
PÜYPCTY" lhc exccss cxccss licyond igure 37 shows how tlic Iicyunnl the normal m and back shoulder seuni m seznn lincs cun bc iied llL'(l in ordcr function both funclion both 21s u: uzi Llosing und zu u21 (lC('()l'illl\’C dccorulivc neck iletk atment. lmenl. 'l‘ics Tics also ollcr ua Chance 1o m introilucc inlroduce (Cononol lhc cntls, if (hat ( l e tl u i l cmls, il ting color in lhc lming ting lzuing nl t0 inlprove Ihr: ms l0 the coloi‘ cnlur lizirinony. 7‘ms hunnony. shows lhc lhe soll lolda lolils lroni lroin tlic llic l)ilsl(’ l)2l5l(' Willstwaisl_flfigure igure 38 sliows thc peplum LlHlWH dmwn lugclllcl’ 2U. ihc lhc CCIHCI’ _"ce dar! und lhc ccnlcr logcthci’ zu m and tied. lncidentznlly. \\’l1{‚‘ll('\'(.'l‘ you lncitlcnially, \\'l)CllC\'CI' ‘um usc lies fasten aslcn drapery, ( u ! lhcin thcm in onc 0 m : pierc Wllll wilh the inuin drapcry, ("ut piecc the pattcrn in onler order u; (o avoid 2| u cluinsy y ol lhe clunnsy seam '
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i
D E S I G N fabric wrappetl ol labric extensiorl of 3U llluslrulcs illustruies an extension Figure 39 uxound Ihr; the wuistline wziistline 1o lonn a sollly znound soltly draped (lruped girdle. To inuke "I1; muke the die pultern Figurc 40). puuem lor this design (see Figure e a r the lront n near c e n t e r front lmsic durl dar: 1o [o ihe die Center translei ihc lllc l);I3l( irunslei (‘ul i! out. oul. lnstead, slash the u t it waistline. Im: lmi du do nol noi c waisilinc. f0r— labric forand draw the lzibric [T01]! A u) B und edge ol thc da11 lrom “und bius. Thc The doued line wunl u) Lo lonn u sush >u>ll cul on the Ihe bizis. shows the top not cut but folded lolded sliow: which is n0: dann, wliich lop ol thc (lzirl. to in. Add an cxlcnslon t0 cxicnsioi) CDl-J under the (lrnpcry drnpery lorm u supporl lor ihe skin an a: ihc Center lronl as us shown lllt’ slilll center front sllppull Im Lhe dollcd line. linc. Tlic The ends (can tied a! at the back " a n be lied In b} lllC o1" i m" nun u n tlnough a bucklc buckle or ring. Oncc your e(\c to look for lhe becomes [Ydlllfll t0 the source trained eyc ol n PSITIlClIlLII ul see ideu, you will repealedly design ideal, purliciilui tlcslgn repeatedly secol {hat idcu, l(lCi|‚ und will constaxitly npplicuiions ol" upplicnlions constanlly bc made uware ol niure ziwnre more und niorc inore possibililies growing oul out ol slash. blilall. ol lhe buck, or tying of cvery pnssiblc cxcry pussiljlc lolding back, lulding llllnlt. .\ml lill)ll(‚ And you will soon ccolnc o i n c (o sec see inany olher many olhei’
i-xcess ( a n l)(‚’ bc manipulated order N i l } : in \\'lll(ll c-xccss W21}: nmnipulateil in Order clliecls. produw oiiginul und striking pruducc (niginul slriking cllects.
l0 t0
i
lhe knot. der thP knol. der
Bias Draped Sash
Excess from shoulder shouldcr dar: dan and above thc shoulder Extra:
..
39- Thc ‘Yinß Fig. 39. i408 intcrprctcd tying idca wizle girdle. FEBinlerprclcd in a wide 40. Pancrn Pattern for lor clress shuwn Fig. 4oFix. shown in Fig. 39.
. an becoming neckline. 5mm necklinc. Fulda from ( m m basic waistline ‘Feld: waisdine dart dar: ticd. tied. t
293 293
bness Suggestion 5 INTERPRETING SILHOUETTES A5 COMPLETE DESIGNS
Fach year fashion magazines present new trends pnmarily as silhouettes. for the shape, of course, is the most important characteristic of every costume. lndeed, if you were not interested in cutting a pattern for a garment. the sllhouette would show all you would need to know about lashion and style. lt shows, for example, the current breadth of shoulder; the shape o! sleeves; whether bodices are rib-fitting or bloused; whether waistlines are nipped in or wide; whether skirts are pencil-slim or bell-shaped, short or
long, flared at the side‚ front, or back. lt also shows whether there is a vogue for peplums, whether or not they flare, and just where they flare. In short, almost the only important thing the Silhouette falls to show is the location o! the structural seams and darts required to produce its distinctive outlines. lt is, therefore, a challenge to try to interpret a certain silhouette by placing the seam and dart lines within the contour‚ not only to produce the desired deshape, but also to introduce harmonious seaming dart and seam tail. There are usually many possible how many inpositions, and it is good practice to see All designing teresting arrangements you can make. is fundamentally interpretatioi} ol silhouettes, and
DESIGN only those seam: und darts that contribute 1o m ing of the contour are o! vital importance. l ing out this exercise, you will become in conscious of this fundamental principle anthvi to work more and morc for complete eflect rauher" "
for minute detail. The central sketch in Figure 4| illustrates a typi fashion silhouette but shows no seams. Obv’ there must be seams somewhere to produce the rflß fitting bodice and the sharply llared peplum. S113i rounding this Central silhouettcd figure are four w sible intcrpretations of the design, each one with almost the same contour. But the various cuts couW; not possibly have exactly the same grain locationv through the flare. Hence the elfect of each would vary". „ slightly, though not much. When placing lines withi the Silhouette, always observe the laws o! good spacc division, and place seams where they will harmonilc with the lines of the Silhouette. The simples: way (o arrive at any ol the four interpretations is to draw lhc structural lines on transparent tracing paper laid overv the silhouetted figure, and then to bloclt each inter- . pretation from the master pattern. Figures 42a, b, c, and d show the pattcrns for each oi the four interpretations of the Silhouette shown in Figure 41. This one example of Silhouette interpretation should stimulate you to interpret in a variety of ways ‚ 4 many others of your own choosing. V
i’
‚
(b)
v
Sketches (a), (b), (c). (d) show [nur interpre(unter ul thv illustations of thc silhnuctte shown ut thc l-‘ig 4|
tmtion.
294
SOURCES S OURCES
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D E S S DE
N I GG N
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(b)
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.... (c)
Fig. 42. (a) Paucrn for Fig. 4 1 (a) ; (b) Pauern for Fig. 41 (b) ; (1') l'aucrn for Fig. 41 (t') : (d) Paucrn for Fig. 4 1 (d).
295
__
___ - - -- ---'•:..
__, (d)
DRESS DESIGN Suggafion 6 HOLDING THE FABRIC T0 THE FORM IY SEAMS AND BYCONCEALED DARTS Holding by 50cm: The purpose of this experiment is to achieve a
‚
smooth, form-fitting costume which takes its inspiration not from a costume silhouette but rather from the contour of the figure itself. To do this, mold the fabric to the form through seams that run from one edge o! the pattern t0 the other, rounding the fabric lo the {cm1 not only along seam lines but also in the unbroken areas between Lhem. A soft pliable woolen with good shrinking quality is essemial for such a design. ll you place seams to form the design detail of the costume they will thereby serve the double role of shaping and decoration. The French dart is a [amiliar example of a Iine that cuts clear through the pattern, and you have already observed that it molds more elfectively than any pair of short darts. If you double or even triple a continuous line, the pattern curves to the contour of the figure as if sculptured.
The three following examples illuscrme für principle but show that the lines cm tun in directions. The blouse in Figure 43, a variafimlä?
French clart, repeats the vertical linc t0 character of the dcsign and to give a secand Jim which to shape the fabric. In the design Show Figure 44, lines radiate outward from the nach. ß the bust to the underarm. And the conume illum in Figure 45 is shaped through horizontal seami" ln the first two o! these, the radiation o! the Ii improves the spacing and avoids the monotony of pur; allels. As shown in Figure 42, radiation can also {mit attention on broad shoulders and a slendcr waistlitle or, as in Figure 44, on the neckline, which i: arm» memed by a heavy metal chain. In the dress shown», in Figure 45, although the lines are parallel, the spac are graduated in size to give variety. The panem diagrams for all three designs (see Figures 46, 47, and 48) illustrate how t0 distribine the shaping between two seams rauher than all at one. T0 achieve this effect, the seams musl be placed so that F‘ no nne of thcm falls exactly at the poim of the bust. ‘
k
‘
y,
thrcc ways n! nurklinx a 85"‘ Figs 43 44. and 45. lllustrntc that cul cntirely ancmss scams the figurc through man‘: the pancrn.
u;
296
Es)
1u:}‚i;\ß‚ß„‘‚„n u‘ ‚
S O U R C E S
i
Iwticc {hat Lhat in lhe (he lhc pzillcms. ynu will noticc sind) (he pztllclns, wu study 1o [o [ w thc ( o «I3, 43, Figuic Figurc design) design corresponding of thc lhc busl point, and eithcr side o! und Lhe the ease easc ‘ I oonn either both cdges. buted thc pauern uled along bolh cdgcs, In lhc patlern for 1o lhc Lop lhe section nexl l0 lulls (lirectly 44,‚ the directly‘ wp Ialls ‘ bust, and lhe Lhc easc i: divided (livided betwecn belwecn the thc The sectioxl of lower section o! the d lhe lower edgcs. edges. e wn wn in Figure «l5, 45, which spans a wider spare space ' u! the mosl o1 lhe ease eusc along busl, has most ulorlg ils upper dv a narrower scclion been bccn uscd used ovcr the Lhe ahnost equally divided would havc becn almost ol (hat scclion. section. In 'upper upper and lower edges o1 lhree designs, e lhrce ease could have designs. all of the easc
" v
OF
DESIGN wherc it naturally uns cdge where nalurally {ell bccn bcc-n pluccd on thc one und the pattern wa: closed and dzm was basic dar: Lhe busic when [h6 pauenl was have would lhis this lincs. However, on thc lhc new neu" lines. slashed un the excess Lhe in (o t0 ease dithcult il more invisibly. madc it take advanlage l0 Luke haxe failerl to and would ha\e advantage of the opporor mold the section and lhe the ease t0 clixidc to dixide cup tunin} lllllil} o!’ lhe the busl. This is cune of the curve [hat lalls (hat talls direcll} dircctl} over (he more than one seam o! o1 structural advanlage thc slfllflllrai uaing using advantagc au matter of than is morc line. Holding, Imwevcr, hnwever, Holding. takes on shape becnlire blouse Lakes scnm lines. scnlll lincs, und lhc entire Ihc curves along the o1 lhc intensilicalioll of thc lhc‘ intensiliration cause ( a u s e oi lhc shaping i i s l r i b u l c : thu shuping over the whole cdgcs which ((iislribttlcs
puuern. PJIUCFH.
43. m; m: 51g. Faxe 1-13. 4s. idiagnm the along boxh cdga of Ehe
Fix. 46._ lästern
umam m.
[mm dar: Central cemral tection, section.
oness
DESIGN
SÜSht Pouch
44. Fig. 47. Paucrn clingnun fnr Fig. Nlnst u! lhc cusc falls 45. fnr I-"ig. Fig. 48. Patu-rn (liagnun thc busl. Nmv (hc undcr scnixm Ihc clirutly a1 Ihr mp nf spmul alnng othcr section cdges.
‘JJJS
S O U R C E S 0F
.
Olher additional seaxuing
’
emphasizc lhe dcsign.
lhe Conopcn lhe und lhe edgc of uppcr lop ‘(fction lowest section in onlcr l0 shape lhe bluuse outwurd smoolh convex runc lrom shouldcr (u busl am! from bust to waistline. H lhc small seclion “m; direclly over thc bust is cupped cxcessivcl} on nol neccssary" u: shape lhc [abric t0 lhe busl, docs Iuakc i! pussiblc 1o
1.. u.
t0
DESIGN
gh r of er edge of lhe
F‘ v
-
‘edge. lhe hust contour bccomcs ( o 0 prononnncccl. especially t r u e il lhe busl i: largc. T0 adjlul
_
lhe individuell hgure, slush und pivol the edges atlached u) lhe busl sccliun. as 75m Pigure 48. 3." ttern for thc dress shuwn in Figulc 4:’: (scc also clears up anolhcr (lifficult prublcm fahric across the waislline whcn (h: wuisthave becn closed in bolh hlousc und j « lhis is done. bolh waisxlines bccmnc inä ‘with lhc result (hat lhere is cxccss vcrticul the waistline at the side (rom. Eilhcr b break and blousc slightly a! the waistline, ‚die [abric slightly Irorizomally to rcducc _‘ThC|I fit o u t lhe cxcess width by indemlhe doued lines across , k a m a: shown by in Figur: 48. Seam lape held slightly n Ehe waislline o! lhc dress, and invisibly III: wrong side. will reduce the width “deine lhe waislline. Ease the dress just Ü}: bone where grcater width is necded be-
_ng (o
’
I
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design with a long S scroll runto n curve below the waislline. yn‘ u: fiure out how to hide lhc dmnoch und waislline scrolls so man van-pure o! fiuing the fabric 1o ‚ u :so impomnt umthe imrophil: l0 them would not only venea. but would give the o! a uneless addcd detail. "In: how Ihe dar! on the purpooe nlthough i: in 57h: dm: a! hoch nides __a
’
'
*
Fig. 49.
Molding thc
[alpric
lhmugh daru umtcalcd undex
(h:duign lines.
waistline. ßul lhis would have crcalcd loo much easc lo shrink out rcadily. lt also scemed to improve lho: dusign lo balance lhc waistline ( l a r l on lhc righl side Wllh thc small shouldcr dar: on lhe Ich. These two small darts am: scarccly visiblc when carefully pressed. This idea can bc dcvelopcd eithcr by draping or blocking, bul eventually the dcsign should be blockcd to the pauern and lo balancc lhe darts. true. up Figur: 5|. on the othcr hand. depicts a design much softer in characler than that shown in Figure 49, for
n has gathers falling (rom. simulated shoulder yokes and soft fullness fepeated m lhc skirt. Designs wilh galhen auch a: Lhls one has arc technically deceplivc. They seem an (im glancc w be complicaled and dilfibut actually lhey causc less lroublc than culf to cut, hke
the one shown in Figurc-49‚ which mun moldaed without visibgc [ullness along thc design lt llnef. uakes Iar-lcss slull and ingcnuity 1o put um enurc baue m one place and distribute it imo dfm lhan n does to gct rid o! i: subtly, a: m; gathen
deugns
ue
molded garment requires.
Dnass D E S I G N
Panttcrn fur Fig. 49. Dar! lines drawn: Fig. 50. (a) (above) whcrc (lnrts arc mnteadcd. (b) Pattcrn spread u) show cnnccalled undcr yokc cdgc. Fig. 5|. (bclow) Shaping
300
S O U R C E S 0F Suggoslion 7 DEVELOPING THE DESIGN THEME FROM VARIATIONS OF BASIC DARTS
"ng could
Ä
(o
E’;
De nmrc stercolyped or Lmimaginause the basic (larls the shoulder. vxaist-
French dans
—— —— cxactly as (hey
are
used in a
' 11ern. Bu! long belore you become adepl a! ‘ -"ning, you will discover lhat the vertical
d waistline dan posilions are ( w o of the e localions for lrom lhe poim of " ingness. Whatdarls could bc more reason‚ than to shape lhC pauern a: these „rtions. and a: the same lime 1o cemcr «n c so that lhe desigxl is both imaginan 11g? lt is nol necessary 1o slrain yuur hard l0 invcnl innumerablc Variation: ‚ and in so doing to explore anolher ‘lr
-x
inspiration.
‚
“nicht Dorf i; an exceptionally good position for 7iCenlcring auemion high makes the and also focuses imerest around eflecls are always desirahle. und: iletchcs in Figur: 52 illuslrales a lnterprctaxions of the shouldcr
_‚
DESIGN dann. Any ul thcsc idcas muld haw bccn devcloped lrom draping on (hc loi m, und an)" one ol them could hure becn first clurilied in a skelch and lhen blocked. Thc nlelhcxl used l0 (levelop lhe design nlakes liltle dilfcrence aml varics lrom onc individual l0 anolhcr und [ m m one (lcsign to nnolhcr. All uf lhe dcsigns illustratcd lurnish good piuctice problcms 1o be analyzcd lor design (lualit) und paucrn makiug. In working them, you will gain assurancc in designing as well as lechnical skill.
Varioliom of flve Waislline Darf .-\ waisllinc dann. cilllcr lhc slandard verlicnl one or a (liagunul onc slanling upward lrom the side scam toward (hc busl, will be lound in most blouses. regurcllcss ol olhcr da11 loralions. in order lo fit lhe wuistlinc mou: clusel} und lu retain some ease over lhc lowcr ( u n s : ol (hc busl. ll well placcd, (he verlicul wuisllinc durl tapcrs 1o dcfine (hc waislline becunlingl). ll is good praclice l0 play up lhis dar! posilion aml l0 makc i: thc cemer ol intcresl ol the coslunlc as wcll a5 a slnndard localion lor filting. Thc group ol skclchcs in Figurc 53 shows several possible ways lo l r c u l lllc cxucss lronl ihis dart in Order l0 makc a (lcsign bolh unusual und inlercsting. T0 gain expcricncc, you shuuld prauicc blucking thc pauern Im" cach ol lhcsc dcsigm.
DESIGN
Fig. 53. Six possible variations of the standard waistline dann.
Variafions of fho French Darf Several of the illustrations have already pointed up
the fact that the French dart line, because it cuts clear through the pattem from one edge to the other, offers a heuer opportunity for molding the fabric to the figure than any combination of short darts. For this reason it is a favorite in hip length jacket designing out over the bust, in at where adcquate shaping lhe waistline, and out again at the hipline requires a continuous seam rather than a series of short darts. Because the inward slanting line from the shoulder [0 a narrowed waistline is universally becoming, regardless of individual figure faults, the French dar: should be fully cxploited so (hat you may see how man_y unusual variations of the line can be devised.
—
——
The group of sketches in Figure 54 shows the um» . of the French dar: in both tailored and soft desiglu, and one example even shows its eflectiveness whcly used for a close-fitting evening bodicc with a contrasE-l ing bouflant skirt. For practice, you should see how‘ many variations of this theme you can contrive, and} should either block or drape the pattem for each. experimenting with variations of these three [amili dart locations, you can develop any number o! good
designs. The prime requisites are the necessary shap-L line» ing, a clear understanding of generally becoming for a in alerlness and con-_ locations, Seeing possibility theme fot; verting a conventional darl into an Original a design.
ol thc costulnnc. a standard French dan into the design thcnxc for cnnvcrting Six 54. Iuggcntitnns Fig.
302
SOURCES Variation: of lhe Mosfer Der? ough the shotildcr und waistline urc generall) u t advantugeous durt posiliuns lroni the point ‘ o! becottiittgness. there are lrequent Opporfor play on Iines (hat n i n lrom thc bust tb r lront at the tietkline, to the ( e i n e r lront '_ chest, and to the underann seani neur the or Ior that matter, to an) point un the lront blouse pattern. D0 not ignore thesc other f _possible centers of inlercsl C\L‘Il though less generully becoming u; all lypes ol
'
.
"
V
the bust to the Center lmnt ut the _‚a be used sparingly, sintc its tnuul ‘w’ i1: the size of the busl b) slantiirg u}die bust and inward toward the neck. crush the excess [ m m thc tlart and for a tie at thc center front o! the ‚ flattering foltls are lormed which J3 the inward pull of thcse lines. excess with a striking ornamcnt drape it over a necklace to givc Suit blouses take advantage ol dart position with great success x
’
v
-
-
‚
-
'
to the center front line at the to vary the theme of hori‘n ted along the vertical center dart position should be used ‚the tendency ol horizontal uce apparent height and to _paition. however, like the Iy good choioe for dressy ‘
,
c
‚
in the jucken opening i: illultnted in Figur: 55 f‘ ohviously appropriate
.
'
’
„für; drein.
5 nlmgle tnmfer o! M19" "WM!
_— k"twith the
OF
DESIGN "l u thapc it. pin the struight graut at the Center front. and then wmk lront the waistline up and outward tuwunl lhe shuultler. swlllglllg the entire excess in lrom the shoultlel point towartl the center as in the cmvl necklint- procedtirc. The bias at the neckline will stretth atlutntngcottsly tu ding to the sides of the tu-ck. The durt lrom thc busl tuward the tmderarnt at the n l o s t mnunonly usetl nierely’ as a supplelitting durt. but inay also serve to a minor e x t e r n an the stiurcc nl an idea. For example, the line n u r ) llt’ slushctl bucL und guthers ntay be pushed in ulmrg lls tippt’! cdge, or it may hure a sash cxtension zu thc tinderanti to bc carried around the waist to the lmtk. whme it ( a n bc tied or bucklcd. T0 most stutlents, this will tnulotibtetll) be a familiar use ol this datt. Hgtire .36 ‚how; a more tinustral interpretation of the undcutarni (laut. On the lront of the blouse. the 51:13h lurllls u slllllllaltd bolero line. which is attached nt the tintlexunn scam to a real bolero jackct back. Ute ‚mttetn diagram (scc Figurc 57) shows how the cxccss lrom lhe dart was lclt to slide up under thc Ioose edgc u-hcrc it was uttached to a support extending to the slunlldcl‘. This desigll is casual, looks elfortlcss, und yet takes carelul planning.
waistline is
mental“)
D R E S S DESQIGN back of the blouse, though to a mach man extent. since any design that seems to drittel: round out the back over the shoulder blank! sbonflb“ be avoided. Because of this, back dam uaually an’ purpose better if placed a: about thc samel tlleir uon as in the master pattern, that is, with thev divided between the shoulder and the waistline. plainness of the back may be relieved by button lines; by waistline sashes, or by details which add intercai; to the silhouette, such as bows, peplums, and drapeä} effects centered at the hollow of the waistline. ThereÄ i; fore, whilc designing around the basic back darßgä offers good practice and is often valuable experir mentally, waist backs in general can betten’ serve the purpose of carrying to completion the idea startet!” in the front. Never forget (hat any motil, howevet, interesting, clever, or unusual, must bc avoided i! it distorts the figure. lmricacy of dctail for its own sake ._ does not make good design. lt is the beauty o! thc costume silhouette from all angles—lront‚ back, am! sides- (hat really matters. i_
i
l
Variafions of Standard Yolxes
._).
Although the conversion of a dar: to a yoke is not properly a Variation of the basic dart, it is a closely
Grain
4: Support
related technique and therefore should be memioncd. here. A yoke, as its name indicates, is a segment of a pattem used to support gathers or lolds, and is usually. placed at the shoulder in the blouse and from the waisl to the hips in the skirt. Although yoke cuts arc fre» quently used to shape and mold the fabric to the form without visible fullness beneath the edg ‚ 1h: following example will deal solely with a yoke u conventionally as a meaxis ol support lor visible In! A
ness.
ln Chapter 2 the lechniques of both draping a ex! blocking a simple horizontal shoulder yoke were standard this to yoke t plained. lt is possible vary ide the of versions produce many other more unustnal Figure 58 shows a design with a crossed shoulder yok The fact that the gathers radiate loward the armsc 1 and thc undcrarm lrom the yoke, but disappear wh they reach the seam lines, accoums for their gracc! soltness and lack ol‘ hcaviness. Figures 59a and b sho._' the pattem shapes lor lhis blouse and illustrate t Thc First of th important poinls in yoke designing. should be cut lt concerns the placing ol the yoke. il the cu the bust, ("all across lhe figure cither above
lor Fig. 56. Arrows show slash Fig. 57. Pzuern diagram is Ich 1o slide up under the which line and undcrarm dar! the iuppmt. bolern and be auachcd to
L
'
of the The suggestions hcre oflered for Variation t0 hlnusc lhc ol produce lhe basic daru in the lrom thc many of a lcw themc o! thc costumc are only bc applicd to the The samc idea can
‘
’
i
poaibililicn.
304
SOURC S O U R C EE S
0 OFF
DESIGN DESIGN
Lends to be horizomal Lhe the underarm underarm horizontal,, or no closer ll’ lends Lhan Lhe of Lhe the curve is is more lhe point ol" the bust, bust. if lhc seam than u) ( l o s e r LO
t0
poinl
nearly vcrtical. vertical. Either way, there will be bc space way, lhcre nearly space for the
n1gathers t0 bust. If, hand, the [ a l l over the bust. lf, on the other hand, gathers to fall yoke line across figure beside or below the cuts the Lhc figure yoke
I
_,"""
bust, then ease falls lhe bust, 7point "im of Lhe falls on the yoke yoke edge edge raLher than on the edge edge (hat that should should be gathered. fqther gathered. The
effect is very if gathers puff ou outt too close to th thee Elfen very poor poor i! gathers pulf underar m, or in the case of a horizontal horizontal line, nderarm, line‚ below, below, rather tha n aabove bove the bust. than bust. "ther
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Skirt Segment
Fig. 58.
(a) (a)
Crossed shoulder yoke.
l
(b) E’
ig. 59.
Pattern ‘a?’ for 558? Fig. >.'i8.i
(b)
(a) (b) Pa ttern cut d sprea d lor gathers. 513531 lines “m?! drawn Panzern (a) Slash drawn:: (b) cut on on yoke line and me an yo ke 1· spread for gathers
305
DRESS D E S | G N The second poim t0 observe is that the gathen radiate and disappear before reaching the underarm seam. l! the slashes for gathers had been cut completely through the underarm seam and if both edges hnd been spread evenly, then the lines of Eullness would have been parallel, horizontal, and altogether laclning the animation of gathers that spring from curved seams like the underarm and armscye seams shown here. This example illustrates the generalizaüon previously made, [hat gathers and folds are infall into variably more animated and less inclined to outradiate when they heavy, "clothy‚“ parallel folds of one edge the ward ftom an arc; that is, when only pattem is spread for fullness. Yokes with suspended fullness are a favorite means of introducing softness to emphasize figure contour its and yet of controlling the fullness so that it serves fit of where closeness purpose without billowing out have is essemial. Hence various other yoke designs been illustrated earlier in this book.
Suggnfion O
DEVELOPING UNUSUAL sxm cm5 man BASIC 1wo-. Foum. AND smeona mmlnsi
In Chapter 3, the principles of both draping am! 9km: blocking standara gored, clrapcd, und circular 6xnow so diflicult be not lt should wefe explaixxed. more thc of and the with blocking (lraping perimem unusual variations of these basic skirt forma. skirt Figure 60 shows the back view of a two-gore (wostandard the resemble even [ h a t does not remotcly form a two-gore skin gore cut. Although in its usual for anything except a master is most unsatislactory and draped Variation: pattern, in its many gathered This particular designghows l; it can be very effective. l
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a: skirt pattem was Fig. 6|. The basic lour-gore
m den paucrn was used
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prnduce this design. dress shuwn in Fig. 6|. Fig. 62. Pattcm lnr
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drawn up omo u um! a1 lhc unter buck. The o! lhe blouse 1mm shmvs a rcpctitior) of lhis ui! t0 lorm a kcyhulc Ilccklinc. Notice {hat ' l all fullness diwucd loward thc hips dis.3‘ 0te il reachcs lhc sidc scmns. 111i: radiales and also fils lhc skin smuolhl)’ al lhc hip ‘
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nhows onc o! (hc counllcss surialious of z: and Figurc (32 shmvs Ihr: mclhod uscd 5» uern for lhis dcsign.
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D E S | G N In urdcl u; gcl lhc pruisc cflcu ol lhc lunnel pockel drapcry" shuwn in Figurc (i3. (hc (lcsigncr cul lhe skirt as u unrialiun 0| lhc aix-gorc slylc. First she cut lhe bclt cunc hnm (hc maslez (wu-gorc skirt pauern: lhcn shc ( u l lhc rcnucindcr u! lhc puttcrn inlo pauels zus ahmvn in l-‘igurc 6-1. ‚Shc nexl slashed lhe ccmer lronl xuliun. sprcud i! Im‘ gulhcra. und udded lhc lunncl pmLu ahupc u) cudl cdgc o! lhe sidc fronl. ‚wann. Shuping thc sidc { m m seam ducs away with [Julhng lxclow lhc pockels.
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DRESS DESIGN since cowl folds fall differently in Figure 67; showing a skirt with a sepafätd fabric set into the seam to form a semblanac“ drapery, illustrates the point that setaendtaixw usually inferior in design to drapery cut of the pattern. In this case, the Basic skitt 597 Hat and plain to besuddenly swathed in foldi‘ wir? appear to Abe stuck on rather than draped imov{o design. However, the difliculty of draping cowl such as those illustratcd in Figur-e 65 cxplzim whyr swathe draped cowl folds are often added as a bias of th cut the in Figure (i7, and not produced by
‘Figur: 65 shows another skirt variation, this time wnh a cowl drapery on the side of the hip. The pattem, illustrated in Figures 66a and b, shows how to place the hip seam on the bias and how to spread the (vom. and back sections of the skirt a: the top, thus eliminating the side seam through the drapery. Some o! the blousing at the hem on the side seam was taken o u t by making a diamond-shapetl dart. To cut the side seam section above the folds, follow Figure 66a, but extend the side section down to meet the under edge of the top fold. This is an extremely complicated design, and one which will most certainly need some adjusunent either on the form or on the model,
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Fig. 67. (Jowl (olds addcd to a basic skirt. The design Incl: (h: rhythm ol Fig. 65.
DRESS D E S I G N Suggestion 9 CARRYING ONE PIECE 0F FABRIC AS FAR AS POSS|ILE WITHOUT C U T T | N G Tilns is not by any means a new idea. Under Sug— gesnon „I. lleveloping Line Arrangements by Sketchlng. you dnscovered that erasing crisscrossed lines smoothed up the design and matle it continuous instead of cut-up and choppy. This idea has permeated all of the other experiments described in this chapter, because continuity, rhythm. and smooth flow of line fundamental t0 good design. The costume shown ‘are m Figure 27 (page 289)is an outstanding illustration of this rhythmical quality, especially the folds to the shoulder which are carried across the shoulder seam line around to the Center back instead of being ended abruptly at the shoulder. The blouse illustrated in Figure 39 (page 293). with smooth curved lines that merge into a girdle tied around the waist, is another particularly good example of continuity of line. F igure 68 shows a dress with both the right and left halves of the front c u t in a single piece from shoulder to hem. lt avoids the usual crosslines at the waistline and yoke and as a result has unbroken rhythm and an elfect of uncluttered simplicity of the kind that characterizes the most expensive clothes. lt appears to be kind of plansimple and yet requires the most careful 1o avoid obvious seams while retaining a smooth
a aeam and in distributing the einem! waist dart cf the master patgern in the smooth, molded elfect o! the illufiraßiw. complish this, the designer distributgd around ‘three sides ol the bust, easilig amount (but not enough to (man: gaben} under edge of the lower horizontal tuck Gans", also easing a very little at the center man} t0 shape thc fabric over the bust and take the flamen of the pattern. But the biggest part cf the dar: transferred to the underann, and divided it inkl smaller darts concealed under the arm. Molding the fabric across the waistline was possi _. because the shaped center front line helped to d"; up the arc between waist and skirt pattems. v ‘l also that the bias runs vertically across the waistl‘ and that it will therefore mold the fabric to the fi as it hangs. Any excess left at the waistline can taken o u t at the fitting by stretching lhe waislli u horizontally. The waistline as well as the Center f le correct the each A; to be seam should stay taped This front pattem plus the threequarter sleeves n out
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and a lour-gore skirt baclt for the design can all be v from two shoulder to hem lengths of fabric, leavi x for. only the blouse back and lacings to provide 3‘ one. cut is therefore not an extravagant J
uing fit. This cxperiment brings out another and more technical point. Regardless of the method used to develop an idta, it frcquently happcns that in the final blocksee small pattern pieces ing ol the pattern you will to cut (hat you can altach to larger sections in order unneccliminate to thcm all in one piece and thus the reverse to essary seams. ()r you may discover just bc true. When you spread the pattern o u t Hat, you seam along the waistline, lor may find that a hidden saves material, and examplc, simplifics the cutting, Exerlels you place the grain more advantagcously. the to as comparative value cisc your own judgment one piece or of concealing of cutting a pattern all in is to
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Suggesiion I0
DERIVING UNUSUAL EFFECTS FROM ASYMMETRIC CUTS
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The design balanced at the side lront or side bat: has always enjoyed the reputation ol being more sub in ellect than thc one with the two sides absolute alike. The asynmtetric design is less formal and stat‘ but the balance, although not so obvious, must nev theless be present and must be "lelt." The desig must possess much more than skill in pattern malti il" shc is to recognize o1‘ “leel" the right location oft lines so that thc two unlike sidcs will secm to have t same weight and importance in spite ol their di encc in size antl shape. T0 (lcsign an asyntmetricall balancetl costume, especially il it is a complicated 0 well as more tra' rcquircs mme natural talent ——as ol lines———than t1'. ing and experience in thc placing one cxactly balaitccd at thc Center. J
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dcsign
310
S O U R C E S
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Paucrn {or for Fig. 68. Notice the l-‘ig. 69. Panem Fig. thc method o! shapmg shapnng waistlinc. indcming indencing thc wainline.
the blome (h: blouse am! and also of o!
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Fifium 70 and 7| show two examples of asymmet-
In Figure 70, the larger plain area on the n.c balfmce. ade of the blouse balances the smaller but more rlghf detanled left snde. The fr_ont line swings in cominuous of the collar to the hip. from ‘the Pomtat the side front of the skirt movemelft lmes The smught vfmca}! sllhouette stabilize the design and and ‘oi the_ slu_n [umnsh relnef lrom the activity of curves and gathers.
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The { m m lines of the costume shown in Figure 71 are almost all curves, the upper one from shoulder to waist forming lhe loose simulated bolero which is balanced by the reverse curve of the peplum. The 71 straight-hanging sleeves in both Figures 70 andand supply necessary relief from drapery, gathers, curves. In all designing, some plain areas and strong. to the more destraight lines shoukl be used as foils these dresses, a both In tailetl or curvcd seclions. the eye effortlessly rhylhmical flow of line carries to the other side one through the entire costume from and from shoulder t0 hem. Two sleps in the development of each blouse pat-
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are so comtern have been shown because the cuts The corresponding to Figure 70 (see
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pattem plicated. that the and 72a b) illustrates the point Figures seams must be exshoulder, amxscye, and underarm they vary greatly actly the same length even thoughmentioned before, in shape. This point, although to is it likely very cannol be overcmphasized, because result disastrous the be forgolten by lhe beginner, with varies in size on opposite sides. (hat lhe
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7U pmves to On analysis, the dress shown in Figure in Figure 71, because be far easier to make than that the left side front are in the iormer, the gathers at line of joining. The alcached t0 thc right sidc at the shows a loose, second costume, on the other hand, must have not only a deep taciree, bolero eflect (hat set unclerbody in order to a the ing but also complete not only complncates weil (see Figure 73c). ’I'his dress the expensive because of construction but makes h. would spml the [arge amount o!’ material required.
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reduce eflcct, however, to the gracelul, Iree-flowing down the bolero edge. and rcquirement by sewing to intricale malfe This indecidedly both an i5 not fordcsxgr} the mexperlenced one; and it
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gathered spitze Asymmetrie 5 area. balances the larger plain balance is achieved through oppml 1 Fig. 71. Asymmetrie folds. radiating curves and through
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lrom Figure 74 develop from might develo.p design might Figurc 74 shows how a design that aa curve ess along Noti ce that lullness edge. Notice along each edge. curve holding holding fulln the detail in this instance was aa very ol the detail sourcc of Lhe source fullness along with a curve supporting along dressy shoe, supporting fullness dressy shoe, with she (hat both edges. It occu rred to the dress designer that t0 occurred both cclges. cou ld use this detail for a simulated belt holdmg holding deiail lor COUl(l usc then Shee the lower edges. Sh gathers at both its upper aund n d lower n an upper gathers eflecwould cuff u lated wou ld effecddecided ecided that a slecve with simulated Wllll a sim The motif. T tively he shoulder und strengthen strengthen the motif. tivcly repea rcpeatt and which rrun thee gathers which yoke tlurther u rther uses the nd th un thc curves aand yoke its at into it, there are ga thers a t Its up.per ed ge up no arc edge thcre but into upper im, gathers up the on much too m since the esign er felt uch emph.as1s on (hat too lelt that Lhc ddesigncr cmphasis final elfect. The basic ld destroy T he fin a l ddesign esig n would idca wou basic idea destroy the effect. shoe lhe no t possibly be ca lled a mere cop y of the. sh oe could called could not possibly copy il But d(letail. etai l. sincc the two uses are so different. Bu t 1( the are (wo similar n from nothe r aand nd simil ar belt, idea lrom aanother taken had been bcen take idea had considcred or'.gina th e design l. could nno0 :t strictl the Original. strictlyy be considered design could R ather, it wou ld hhave ave t0 to be called aptation oorr called aann ad would adaptation Rather, varia tio n ol" of th original form form,. thee Original Variation in d iagra mming the pa u ern (see T he two.steps The Fig(see Figpattern Lliagraniining twostcps of ures 75a aand nd /J) sh ow all-in-one cut o f the peplum all-intone the show peplum,, b) ted belt, and lower blouse section . Smoothness simula section. lowcr und simulated belt, and set sei it and continuity design and continuity of line mark this design (hat sleeves apan fro m more ordinary jackets a nd sleeves that are and ordinary jackets apart from and etely aro und the waistline a nd upper edge cut compl upper edge of completely around the cuff.
Suggestion Suggeslion IIII DESIGNING A DETAIL FROM A DESIGNING FROM
a t0 design a The usual procedure procedure when one plans plans to fashion is to make a preliniinary preliminary examination examinatitm of fash10n dress is 1o study orcler to magazines ready-to-wear clothes in order magazines or ready-to-wear You details of design as well as silhouettes. You can obdelails design serve details with two entirely different purposes m diflerent purposes in entirely mind. You can aim merely to copy them exactly, in t0 exactly, copy merely designs will sh ow a complete which case your show complete lack of your designs Lhem as a source imagination. to use them Or you you can plan plan t0 imagination. Or inspiration for an original design, of inspiration Original design, which is a very For exaniple, way to stimula te na tion. For good inlagination. your imagi good way t0 stimulate your a detail d etail used at the shou lder may suggest shoulder may suggest a similar a: idea to to be used at at the Center center back of the waistlinc, waistline, or idea even to be turned turned upside u pside ddown. own. Sh oe and hhandbag a ndbag Shoe even b uckles, even folds that designs may straps, or have buckles, straps, designs may re theme for dress or suit. There is suggest enti a a an entire suggest to the way way in which ideas can be ada pted in no limit t0 adapted shion if you you culti vate the hhabit abit ooff seeing cultivate fashion this fa seeing possipessiother you observe. On the oth er hand, h and, On Lhe bilities in everything everythiilg you fund amental image never forget never image forget that silhouette is the fundamental harmind, and that ddetail etail which does not not ha rto keep keep in mind‚ and (hat w should never be used used,, no monize with the silhouette should matter how good good it is in itself. matter
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315 315
(b)
Fig. Pattern for blouse shown shown in Fig. 75. Pattex-n in Fig. 74. (a) Fig. 74. (a) Design Design and slash lines lines drawn; (b) Pattern cut on design Pattern cm on (b) lines and am} design lines slashes spread gathers. ‚for gathers, spread for
D R E S S {assnan ure 76b shows one convcrtcd to
Suggmion |2 INTRODUCING ORIGINAL DETMLS INTO A STANDARD COMMERCIAL PATTERN Probably a woman’s commonest wish in regard to pauem making is ( o r enough skill to change commercial pattem designs to suit her own taste. She may have seen or thought up a design for which she is unable to buy a pattem or she may like to design her own clothes and yet may Fmd it convenient to use a commercial pattern, especially if her figure confonns t0 standard pattern sizes, The problem in this case is to change lhe design without altering the size or fit o! the pattem, and this is no different in principle from designing on a basic draped master patlem. lt the changes are at all intricate, however, the process may be somewhat involved. and FigFigure 76a shows a Standard tailored suit,
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style with softer, less severely tailoredlina. was chosen intentionally here to illustren" thaltibii .. wiser to leave the carefully drafted collzt, Iapelg. sleeve unchanged, and t0 introduce Iheinew design" detail on the body of the jacket only. To design the new paucrn, {ollow au: steps beidwi’ and study the accompanying diagrams (Figuresi77a and b). l. Cut a duplicate of Lhe commercial pattern so that for [ u t u r e use. you can keep the Original one intact ncw the draw and design lines 2. Pin in. the darts j
on the Original pattern, with the pauern eithef pinned up on the dress form or held up on yourself. 3. Remove the pattern from the form and mark the it frorn thc grain in the yoke section beforc detaching the grain parbody of Lhe jacket. ln thc yoke, place allel to the center front.
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Standard tailnred suit:
on a mmmercial pattcm. (a) Fig. 76. Designing dcvvlnpcd { m m me standard paucrn. (b) lmlividual design C
316
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DESIGN DESIGN
4. Draw in new dart lines from [rom the point point of the bust t0 to the yoke yoke edge and to the two new vertical to edge Divide large shoulder dart evenly waistline darts. shotllder the (larts. large into three tuck darts which can be eased into the yoke yoke darls imo edge to to form form softness rather than visible darting. "edge seam. 5. Draw a waistline seam.
lines 6. Cut the pattern design lines along the new design apart along pattern apart new dart lines so that it will dar: the and slash it along along along the waistline for an inconspicuous fiat. Hat. Cut lie inconspicuous along Ä partially hidden pocket flaps. seam partially hidden by Z-pseam flaps. by the pocket 7. Examine of various sections. the Examine the shapes "7. shapes There is still too much excess left from the old to ease it shoulder dart below the new shoulder yoke yoke to in invisibly. Transfer to two waistline darts new the gin invisibly. ’I‘ransfer enough of this to get rid of the superfluous ease at the superfluous „nnough lhis [0 get yoke edge but leave just enough for soft shaping over shaping yoke edge just enough the bust (see (see Figure method of doing this). 77bb for the method doing this). Figure 77 ‘lihe directions above illustrate a design The direclions change design change is about as complicated complicated as one would expect which is which expect make commercial pattern. Frequently a change to a malte on change pattern. Frequently gllo from a standard pattern involves nothing nothing more difz-‘fitom Standard pattern ficult Khan, than, for instance, leaving a of extra block extra fabric instance, leaving Tnficuil
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‘when you cut. out the so you can Chi: material on the furm into whatever Im» matment you may want. Becareful. if you t0 “I15. drape the new design lines in harmony mmthe other Iines of thc costume. (See Figur: 78b for a suggested change Erom Figure 78a, and for one dm Esvery mach easigr to drape than to block.) Another change that it is often necessary to make in a commercial pattern is to add fullness at a yoke edge whele no fullness previously existed. or to increase the (ullness where the amount allowed by the pattern might seem skimpy for a particular fabric texture
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1Eyou have trigd iaithiu m: ‚ suggestions in this chgpiuxgygo am! creztive yauij- 1 ingenuity your ing to the point where you pendent ot‘ others for suggestionb‘ . but also self-reliant in figuring au: how «t0 pattern. From this point on, how well entirely on how well you apply what to your own individual needs am! problems,
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or Slopers." 1940. Bock l, "Foundation Pattems Patterns. Bock l l , “Style Revised Edition. Art: o] Cosnune und The Morton, Grace Margaret. and Personal Appearance. New York, john Wiley Sons, lnc. 1943. Paltern Design. New York Pepin. Harriet. Modern Funk and Wagnalls Connpany. 1942. und GTOding. Revised Rohr, M. Pattern Drafting M-ROÖI‘. 240 W- 98th St. 1944.
NBLIOGRAPHY Erwin, Mabel.
Practical Dress Design.
N6:w York, The
Macmillan Co. i940. and Dress Design. Ann Arbon Evam, Mary. Draping Brothers, lnc. 1935. Michigan. Edwards and Esther. Principles and'Problems Kaplan, Charles t0 Women's Apas o] Pauern Making Applied
parel.
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Edition.’ New York.
l265 Broadway. New York. Streimin Studio,
318
ßzßyr 1‘ ABDOMEN,
ABDOMEN, fitting fitting skirt for. for, 220, 220, skin skirt cups cups under, 223-224
BELT, 62 BELT,
ALTERATION : masler master pauern, pattern, b1ouses‚ blouses, 198-218; 198-2 18; collars, collars, 266; 266; aALTERATION: of, blocking blocking skirts, 219-229; 219-229; slecves, sleeves, 229-241; 229-241; methods o], skirts. a nd draping draping compnred, compared, 196; 196; blocking, blocking, gcneral general proproand cedure for, for, 197: 197; cf of sleeves, sleeves, cap cap height, height, 125-127; 125-127; cap cap cedure wi!.lth, 123-125; 123-125; see see also Fitting Fitting width.
COLLAR, blocking blocking of, 252 BERTHA COLLAR, BIAS : collars and folds at at neckline, neckline, 260-261; 260-261 ; cowl sleeve in BIAS: blouse, 180; position of, in cowl necklines, 50; kimono blouse, 180; position position of, skirts, 308-309; position of, in in in cowl 308-309; skirts, of, position position sleeves, 161 kimono sleeves,
ANALYSIS, master master sleeve pattern, pattern, 118-119 HANALYSIS, ANGLE, o1 of seam imerseotion, interseetion, 28 SZANGLE,
BINDING, of too too Light tight armhole, armhole, 212 BINDING, SLEEVE, 120-123: blocking blocking o1, of, {from master sloper, sloper, m m master BISHOP SLEEVE‚ 120; blocking blocking o1, of, {rom from “0pened" "opened" pattern, pattern, 122: 122; blousing blousing 120; exaggerated, 122-123; in in kimono b1ouse‚ blouse, 170-171; 170-171; exaggcrated, measurements for, for, 120; 120; with raglan raglan armscye armscye 1in2, line, 152; 152; measurcmems with simulated cuff, cuff, 138 wilh
' CS, hemline and waislline, ARCS, waistline, 106-107 ARMHOLE, 7; 7; see also Armscye Armscye ÄRMHOLE, ARMSCYE : o] of blouxe, blouse, deeper deeper than nnrmal, normal, 128-129; 128-129; dress RRMSCYE: 208-214 ; formation forma tion o1, of, 7, 7, 21: 21 ; cover, 7; 7; fining fitting o1, of, 208-214: form cover. 2
BLOCK, MASTER: MASTER : quarter quarter size blouse to to trace, trace, 46; 46; quarter quarter BLOCK, si1.e skirt m to trace. trace, 94; 94 ; quarter quarter size si1e sleeve 1o to trace, trace, 136 136 size
of gapping gapping aatt,, 208-211; 208-211 ; side view illustralion illustration correction 01' of, 26, Fig. 31 ; causes of too tight, 212; of sleeve, back, o1 m0 tight, 212: o] sleeue, back, of, Fig. 31: fitting 235 ; d eep, kimono, 168-169; deep, in in 235: of, kimono, 168-169; deep, in fiuing deep. deep. square dolman, 185187; raglan, 151; dolman dolman, 185-187: raglan, deep. square cut in in one one with yoke yoke front. front, 183-184: 183-184; eflect effect 0on, of fining fitting n ‚ o1 girth, 237-238; 237-238; master master pattern, pattern, 118-119; 118-119; nmdifying modifying girth, length o1", of, 241; 241; raglan, raglan, 148-149 length
BLOCKING : defined, de fined, 45; 45; mcthod method o1 of pattern pattern alteration, alteration, 197; 197; BLOCKING: method o1 of designing d esigning b1ouses‚ blouses, 44-59; 44 -59; method of designing designing collars, 251-253: 251 -253 ; method of designing designing sleeves ccut in one one u t in 148-192 ; method of of designing desig ning skirls, skirts, 92-111; 92-111; with bodice, 148-192; of designing designing set-in sleeves, sleeves, 134-148 method o1’
cm
ARTICULATION ‘RTICULATION
POINTS, emphasis emphasis o1 of in design, design, 283-288 POINTS‚
BLOUSES, 16-59; blocking blocking o1, of. 44-59; 44-59; draping draping of, of, 16-44; 16-44 ; drapBLOUSES‚ dtapo1 ing of blouse, 16-27 ; fitting problems of, 198-218; 198-218; master 16-27; fitting problems o1, ing for master master pattern, pattern, 244 244 measurements Ior
ASYMMETRICAL BALANCE, in blouses alikc alike an on opposite opposite SYMMETMCAL BALANCE,
sides, 55; in in blouses blouses unalike on on opposite opposite sides, sides, 311-313; 311-313; sides, in aa draped draped skirt, 109; 109; equalizing equalizing o1 ol seam seam Iengths, lengths, 290 290 in
BODY,. of of fabric, fabric, discussion of, of, 277 277 BODY
BODY CURVES‚ CURVES, pmvided provided for by by darts: dans: abdomen, abdomen, 220; 220; back back hips, 68; 68 ; back o1 of shoulder, shoulder, 24; 24; bust, bust, 16; 16; elbow, elbow, 116; 116; 11ips‚ hip bone, side front, 70; hip, hip, side. side, 70; 70; shoulder shoulder blades, blades, 111p 26
BACKGROUND, for designing. designing, 273-274 273-274 I.C1(GRGUND‚ for BALANCE, blouse, 213, 213, Fig. Fig. 25, 25, 273-274; 273-274 ; in skirt, skirt, 22s; 228 ; in in ANCE. in blouse,
.
sleeve pinned pinned inm into garmem, garment, 231-232 231-232 512cm:
BALANCE LINES, horizontal horizontal and and vertical, vertical, 193; 193; marking o1, ‚LANGE LINES, marking of, master panern, pattern, 242-243; 242-243 ; of of b1ouse‚ blouse, 193-194: 193-194 ; o1 of skirt, skirt, on master
:
BOLERO, draped, draped, 312-314 BOLERO‚ BOWING, o1 of a seam, seam, 81, 81, Fig. Fig. 43 43 BOWING,
of slecve, sleeve, 232 232 194; of 194;
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-
BREAK-LINE, o1 of a collar, defined, defined, 247; 247; of of o1 collar, 267 ; of lapel, 269; of a tailored a Collar. 267: o1 tailored 1ape1‚
BALANCE POINTS, 27; 27 ; on on skirt seams, seams, 59, 69, Fig. Fig. 19; 19; See ue alxo also 111cc 901m5,
__ 1
‘i’
Crossmarks Ciwmaiks
F
of a gored gored skirt, skirt, defined. defined, 72: 72; o1’ of aa six-gore BREAK-POINT, o1 six-gore back, 75; 75 ; placcd placed high. high, 96; 96; placed placed low‚ low, 97. 97, 98 98 bflck.
BASIC BLOUSES, 11159 16-59
BASIC DARTS, variations variations o1, of, 301-306 301 -306 _D1\RTI—'S‚
BU|LT-UP BUILT-UP NECKLINE, draft for, for, 248-251: 248-251 ; draping o1’, 256 draping of, 256
BASIC SET-m SET - IN sLesvss. SLEEVES, 115-133 113-133
BUOYANCY or OF FABRIC, FABRIC, eflect effect on on handling, 280 handling. 280 draftt provision provision for, in master master pattern. pattern, 16; 16; ease ease around, BUST, draf around, pattern, 48, 48, Fig. 83 83 in master pattern, Fig.
BASIC SKIRTS, 511111 60-111 ’
convertible aa convefljble eollar, 269 collar, 269
BELL SLEEVE, 1blocking of, 12s; 123; in in kimono kimono blouse, blouse, 170-171 170-171 11mm; et,
319
5
u;
dran form cover. 8: fitting o! 1ten. 215-218; too ‘"81! in panern. 217: too low in pauern, 21s BUST man-r. marklng of, in patlem, 21s
B081’
40 UUTTUNHQLES. placement o1, C85’. o1 sleeve. drawing o! curves, 115
„
Coklxscfnou cm1’. u: COUCHING. s
afi-lfi ‘h:
-
_
cowL FOLDS: bloclzing of, in ‚mm3‘ kimono blouse, 180-182; lhoultler 148: Ikin drapery, 308-3119170849, general principle in designingfiiflx» f lines, 37-40 '
o.
CAD HEIGHT. o1 sleeve: alteration of, 233-235: highemhan. relation 2o daned lop, 140-144; in renofmal. 127: in lauon m sleeve width, 124-125; lower-than-normal, 125127: normal, 114 CENTER FRONT DART VARIATIONS, 303 CHALK BOARD, 4 CHEST, narrow poim of blouse back. 26; narrow point of blouse front, 21
‘
5 a: hip level, 69 caossmmxs, meaning of, 4: mismatcbod .‚.. skirvc’
CROSSMARKING,
‘
227
CROSSWISE GRAIN. See Grain
currs; bands, 130; cutting of, 138; wide, 130 CUPPING or 5mm", a!
CLIPPING SEAM ALLOWANCES: for armscye, too tight, 212; lor cowl folds, 39; for draped folds, 90; for flare in Franch dan jacket, 36; for low flare in gored skirt, 74; of shoulder, 206-207; waistline oi blouse, 22; waistline waistline 90; skirl, of waistline draped circular skirt, 85; o1 {our-gore skirt, 79 130-133 COAT SLEEVE, measuremems for, 114; two-piece, COLLARS: bias, 260-261; blocking of Hat, 251-252; blocking of rippled, 252-253; blocking o1 toll, 253-254; classification of, 247; drahing o1 built-up neckline, 248-251; o1 high m11, 253dralting o1 converlible, 255; drafting 253; draping o1 convenible, 254; drafting o1’ Peter Pan, with bodice front, 263one in cul 266-268; draping of, flat in front, 259; in back, roll 266; draping of, high 05 l3“262-263: draping of narrow standing, 258; draping10T. 25|, patterns ored, 269-272; flat. variations of, 01 Heck" 271-272; relationship 265-266. 261-263, 255; 259, determinaor stand, line (o garment necklinc, 247; toll 251; slopers, wide Hat. flat, narrow 247; gion o1, slopers,
252: terminology
(of,
flated,
-
m; simumdgi’ ‚
m: back, 22|; under abdomen,
224
CHINESE COLLAR, draping o1. 262
CIRCULAR SKIRTS: blocking of, 105-107; the greater-thannormal, less-than-normal, maximum, and normal, 105107; hem line and waistline arcs of, 106-107; principles of, I11; draping of, 81-87; flares‚ 85; grain placement, 87; the greater-than-nonnal, less-than-normal, and normal circular. 82-87; principles of, 89; standards for, 86
m;
'
i
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CURVES OF BODY‚ effcct on “bang” o! skin, 219
DART: basic, fundamental, or master, 16; conccaled under 1 design, 299; division of, 47; general [unction of, I6; 'method o1 making parallel, 31; function o1", in sleevcs, 112; shift or transfer of, 46; standard positiom in blouse front and other possible locations. I6, Fig. 2; usc in . correction of fitting faulls, 199; vaiiations o! basic. 301-306; vertical, rule for cstablishing, 20; in blouse, back, neck, 25, 250; shoulder, 24; waistline, 26; in ; blouse, front, shoulder, 19; underann, 29; waistlinc, 22; in xkirt, back, 68, 69; side from, 69, 92. 93; in sleevex, epaulet cap, 155-156; horizontal elbow. 117; parallel at top of cap. 140-143
DARTING: armscye gapping, correction of, 208. 209, 210; 1correction, 196, 198-201, 208-211; dress form cover, filexcessive ting o1, 5; excessive in blouse back, 216217; in blouse 1mm. 215-216; inadequale in blouse back and _ front, 217 ‚
DESIGN. principles. as backgrounct 273:
Sburces.
273-318
DESIGNING: avoiding unnecessary seams. 310; background on comIor, 273-274; basic dart variations, 301-306; 315; a source, as used mercial pauerns. 316-317; detail without 318; draping draping changes on a panern, 277: folding back excess cuuing. 281-283; labric study. labric, 292: for pauerned labrics. 277-281: interpreta1mm master tion o1‘ silhouene, 294-295; set-in sleeves fit the deto dans one-piece slceve, I34, 148; shaping seamstructural sign, 299: skelching, 274-277; thruugh
247
on. 316-317 COMMERCIAL PATTERNS, design changes basic CONTROL DART. See Dart. drafl for, 255; draping of, 266-268
ing. 296-299
CONVERTIBLE COLLAR,
320
A
'
.
V
‘
II NN DDEEXX
1
DETAILS, of design introduced on commercial patterns, 3161DETAILS‚ o1 (iesign introduced on commercial patterns, 316317; draping of, 283-293; source of design, 315 317; draping of, 283-293; sourcc o1 design, 315 DIRNDL. See Straight Skirts, gathered See Straight Skirts, gathered fDIRNDL.
i
DOLMAN SLEEVE, cut in one with yoke front, 183-184; definiDOLMAN SLEEVE, cut in one with yoke front, 183-184; definition of, 183; deep square armhole, 185- 187, Fig. IOla; tion o1. 183; deep square armhole. 185-187, Fig. 101a; drafts for, 183-192; style line line near near normal armscye, drafts for, normal armscye, 183-192; style 188-192 188-192
Ä
'
DRAFTING, collars, 248-250, 253-255; defini tion of, 112; -‘_AFT|NG‚ collars, 248-250, 253-255; definition of, 112; dolman sleeves, 183-192; basic kimono sleeves, 159-164; dolman sleeves, 183-192; basic kimono sleeves, 159-164; master o ne-piece sleeve, 11 3-119; master two-piece sleeve, master one-piece sleeve, 113-119; master two-piece sleeve, 130-133; raglan sleeves, 148-153; short kimono sleeves, 130-133; raglan sleeves, 148-153; short kimono sleeves, 174-182
174-182
DRAPE, of fabric, meaning of, 280 '
ing of, 89-92
DRAPERY, gathersand andfolds folds a long slash lines, 288-291 ; in APERY, gathers along slash lines, 288-291; in kimono sleeve with yoke, 174, Fig. 9 I ; in short kimono kimono sleeve with yoke, 174, 171g. 91; in short kimono sleevewith with simula ted yoke, 177-178, Fig. 96a sleeve
simulated yoke. 177-178. Fig. 96a
DRAPING, combined with blocking, 288; details, 283-293 ; ’P1NG‚ combinedwith blocking, 288; details, 283-293:
introduce design change, 3 I 8; without cutting, promtoimroduce 318; without cutting, prodesign cedure for, 281-282change, cedure for, 281-282
FIGURE, as design inspiration, 296-299 FIGURE‚ as design inspiration, 296-299 FILLING THREADS, 18; see also, Grain, crosswise FILLING THREADS, 18; see also, Grain, crosswise FINISH, in relation to fabric, 281 FINISH, in relation to fabric, 281 FITTING, adjustment{or for faulty posture, 194-195; blocking FITTING, adjustmem faulty posture, 194-195; blocking method of, 197; draping method of,. 196; fitter, position method of, 197; draping method of, 196; fitter, position of, 196; general principles of, 193-196; preparation of of, 196; general principles of, 193-196; preparation of master pattern for, 196-197 master pattern for, 196-197 FITTINGPATTERN: PATTERN : blouses, 198-218; bust line and shoulder FITTING blouses, 198-218; bust Iine and shoulder blades, 215-218; for for abdomen, large, 220; for armscye blades, 215-218; abdomen, large, 220; for armscye area, 208-214; hip area, 221-228; n eckline area, 198area, 208-214; hip area, 221-228; neckline area, 198203; shoulder area, 203-208; skirts, 219-229; sleeve 203; shoulder area. 203-208; skirts, 219-229; sleeve shoulders, 233-234; sleeves, 229-241 ; underarm seam of shoulders, 233-234; sleeves, 229-241; underarm seam of blouse, 212-215
DRESSFORM: FORM : armhole, cover for, 15; collar draft, 15; d ejESS armhole, cover for. 15; collar draft, 15; design inspiration,usc use as, 28 1; kinds of, I ; padding of, as, 281; kinds of, 1; padding of, sign inspiration, 13-14 ; selection of, 13 ‚
FABRIC : body, meaning of, 280-281; for cowl drapery, 5 1; FABRIC: body. meaning of, 280-281; for cowl drapery. 51: for drapingmaster master patterns, 17;for for makingdress dress form for {cm1 making draping pauerns, 17; cover, 3; patterned, designing for, 227-281; study of, cover, 3; pauerned, designing for, 227-281; studf-of, before designing, 277 ;use use of,asas d esign inspiration, 274 before of, design inspiration, 274 designing, 277; FABRIC ESTIMATE FOR : dress form cover, 3; master blouse FABRIC ESTIMATE FOR: dress form cover, 3; master blouse back, 23; master blouse front, 17; skirts: four-gore, 79; back, 23; master blouse front, 17; skins; four-gorc, 79; pleated, all-around, 63; six-gore, 72; straight gathered, pleated, all-around, 63; six-gore, 72; straight gathered, 6 I ; two-gore, 65 6|; two-gore, 65 FACING, fitted, cutting of, 40-42 FACING, fitted, cutting of, 40-42 FASH ION , influence on d art lines, 19-20; trends, study of, FASHION, influence on dart lines. 19-20; trends, study of, 273 273
PE, of labric, meaning of, 280
DRAPED SKIRTS, asymmetrica ll y balanced, 109; blocking APED SKIRTS, asymmetrically balanced, 109; blocking of, I 08-1 I I ; blocking, summary of principles, 1 I I ; drapof, 108-111; blocking, summary of principles, 11 l ; draping of, 89-92
'
EXCESS FABRIC, use of in designing, 283-293 EXCESS FABRIC, use of in designing. 283-293
13-14; selection of, 13
DRESSFORM FORM COVER,fabric fabric for, 3; making of, 3-8; pattern COVER, for, 3; making of, 3-8; pattern selection for, 1-8
blouse, 212-215
selection for, 1-8
DROP SHOULDER SLEEVE, 157-158 ‘ SHOULDER SLEEVE, 157-158
IN : four-gore skirt, low placed, 97; short kimono FLARE IN: FLARE four-gore skirt, low placed, 97; short kimono sleeve, 176; six-gore skirt, low placed, 74 ; six-gore skirt, sleeve, 176; six-gore skirt, low placed. 74; six-gore skirt, minimum side seam, 73; two-gore skirt, 67 minimum a:atside
_
FLARES, circular, draping of, 85; formed by slashing, 283-288 FLARES,
.
FLAT- CHESTED FIGURE, pattern alteration for, 201 FLAT-CHESTED
EASE : around bust, 27; around hips, 67; at back edge of ‚ : around bust. 27; around hips, 67; at back edge of shoulder, 24;division division of, between two seams, 297-298; ihouider, 24; of, between two seanls, skirt,front front hipseam seam edge, 70; around armscye297-298; of set-in ‘_fhip edge, 70; around armscye of set-in sleeve comparedwith with raglan, 149; around elbow, 116; ‚lggvc qompared raglan, 149; around clbow, 134; girthofof sleeve, 113; over top of sleeve, 116; .- aroundgirth sleeve, 113; over top of sleeve, 134; whensleeve sleeveisis pinned into garment, 230-232; upper Silben into garment, 230-232; upper pinned kimono arm, over back of,ininkimono draft, 161 ; at waistline _ lind. of, draft. 161; at waistline of blouse, 27
seam, 73; two-gore skirt, 67
‚
circular, draping of, 85; formed by slashing, 283-288 FIGURE, pattern alteration for, 201
FLAT COLLAR, drafting of, 251-252; draping of, 257-259 FLAT
COLLAR, drafting of, 251-252; draping of, 257-259
nur
FLATPATTERN PATTERN BLOCKING, definition of, 44-45; method of FLAT BLOCKING, definition of, 44-45; method of designing: blouses, 44-59; collars, 251-253; cuffs, 130; designing: blouses, 44-59; collars, 251-253; cufis. 130; kimono blouses, 170-192; set-in sleeves, 134-148; skirts, kimono blouses, 170-192; sei-in sleeves, 134-148; 35m; 92-111
ü! 27 EDGES OF A PATTERN, danger of altering, 125 PATTERN, danger cf altering, 125
92-111
.ELBOW, ease in sleeve over, 116; measurement of, for sleeve den: ovcr. 116; mcasurement of, for sleeve draft, 114; pullingofof sleeve from, 235-236; width of nleeve from. I'll; jnflling width o1 sleeve, decreasing and increasing of, 235-236; 238-239
FLORAL PATTERNS, designing for, 277-278 FLORAL
PATTERNS, designing for, 277-273 FOLDINGBACK BACK EXCESS, use in designing, 292 FOLDING EXCESS. use in
1 «dumm;und inaeasing of, 233239
designing, 292
,
LBOW DART, increasing size of, 236; introduction in masiggcnsing hize of. .236; introduction in master sleeve, ’ 117; transferred to vertical placket, 134-135; ‘I17’ mnsfcmed to vertica1 plackct, 134-135; wrong location or size, 235
FOLD LINE,ofof tailored collar, 270 FOLD LINE, tailored collar, 270
u; er 51'143. 235 PAULET SLEEVE, drafting of, 153-154; with darts, 155-156
FOLDS: drapingof, intoaa_ slash line, 289-291; in draped draping of'.into slash line, 289-291; in dtaped FOLDS,‘ skirts,9o: 90; placmgof. of,inm draped skirts, 108; radiating, placins draped skim, 108; draping of, 287-288
‚ms,
oß 153-154; wich daru, 155-156
draping; of, 287-288
321
radiam. A
*
161.. 1-1341.
7
MIWATDN: lahme unter ‚dann. 46; 1km mm1 p “ . Sultane m m 6 : purem, | 3 ; 9"“- Notkina 61.; 93.97: dnping o1. 16.61: a u :ade 1mm und lach. 104-105: varinion of. 806-307 “ n 9 19N“.zu:am:111m. I3; varintiom in design, 302 ‘ m 0 1W 1 ’ DQDICE. 8166x111; o1. 55; draping o1, 31-56;
w“?
panel fonnanon. 82-34
FRENCH
HIP-LENGTH JACKET. blocking cf. 57-58:
FRENCH
LINING. definition o1, 1; drawing pattern, 3.12;
PART dnpmg of. 36
meauremcm chart, 9
FULLNESS. direction contro1‚ 49; 101d: in draped skirt, 90; I5 entließ. 61: a: pleats. 62: gathen in pufl sleeves, 144-145; gathets in raglan sleeves, 152; radiation of, 49 GAPPING,
o1 armscye, 208
GATHERS. along a slash line in blouse and skirt, 288-291; for in along a slash line in sleeve, 154-137; allowance in 137; sleeve, appropriate use skin, 61; allowance for 306 o1, 44; radiaüon o1, GATHERED SKIRT, straight, 60-62
C-‘EMETRIC FABRIC PATTERNS, designing for, 278-280
a: back o1, GIRTH 0F SLEEVE, balance line‚ 232; drawing for increase t0 113; for drafz, 237-238; measutement 237-238" Iarge upper arm. 81-105; GORED SK|RTS. blocking o1 four, s1x‚- multi-gore, with 105; o1, comparison blocking principles. summary 65-81; and iour-, six-gore, o1 two-‚ nnight, 65; draping of,
draping, general procedure, 81
68;
Gossen
66111111161:
461,-;
vatious 1111110110 16:. 165-166
A
nii-‘r 1
H
HANDLE. o1 a fabric, 2806281
'
1,1
HÄNDLING. influence o!
on uleeve lower edge. l29zswäepfdfi parison o1 sweep in citculat and goml HIP LEVEL. adjustment at, in suaight skiro, 60; of, in fitting, 194; in two-gore 811118, on dress form cover, 8; marking o1, on matter 245
.3e
HEM‚
'
_
6 7 : A '
„
fitting problems: when bones are prominent. when broad or prominent in lach, 221-222; curve on side 1shigh, 224, 225; when uneven, 228
HIPS,
HISTORIC COSTUME, as source
o1design‚274
1111-.
INSET, 165-166; at waistline Center back, 284-285; underarm, 168-170; straight underamx, 166-168; Je: als’ A
Gusset INSPIRATION, for designing, 273-318 JACKET, master hip-lengtln pattem, 57
wi KIMONO BLOUSE, with hell or bishop sleevc, 170-171; 16Band section side amxscye. deep shaped underarm a -’sleevcs short with 179; sleevc, short 170; wich pufl im: Q simulated yoke. 175-178: wixh straighl underann "t <
with yoke, 172.174 vaiaxi. ‘i KIMONO SLEEVE, definition 01, 1411.159; dolman wi drafts 183-192; drafts, comparison o1’, 164, 165; 1in1 a without gusset. 159-162: gussels, 162-164: draft {nr short kimono, 174-182 166-168;
draping, principles
81 GORES, definition o1, 65; shape of, 67; adjustment o1 at adjustmem o1, a: hip level, 3; 5. sboulder bladaes. 25; crosswise and lengthwisc. Fig. 108; significance fiuing 75, cuuing in on, in 11111-1 gorc. ior: circular 11711121, 53; lowering, 52, indicator. 219; o1, in gored skirts, 67; raumg, 85; cowl lolds. 5940; 111m2: 90 Im‘ "dnped" 9111m, o1 slecvc, 252-234: in a 13101186. Q M M POSITION: anginh varioun pmsibilitien for; 87; m I94; in circular 7111m, sleeves, 148: m fowl am! ncctlinfl. 37-40; in cowlin with equalnzed “ a n ; in kimono blousel, 180; garen 81; in gored flam. Ihre: 96; in gom wixh unequal
-
GKAIN,
LANTERN SLEEVE. blocking o1. 139 41. l-‘ig. ‚ LAP. allowance 1er bunons und buttonholes. allowan 70: 42. and Fig. loops. allowance 1m‘ buttons seams. whe for. in side 1mm skirt. 99; direction o1 37 direction. seam vertical 76; draping 1111m. tailored collar. 269 LAPEL. o1 convenible collar. 267; o1
‘
'
LAPPED SLEEVE. blucking 01. 147
LAY FIGURE. 275. Fig. 1
322
IIND N D EX 146 LEG O‘ O' MUTTON MUTTON SLEEVE, SLEEVE‚ blocking of, 146 106o1, 106LESS-THAN- NORMAL CIRCULAR SKIRT, SK|RT‚ blocking of, ÄS-THAN-NORMAL 107 ping of, o1. 84-85 107;; dra draping
"LINE ‘INE ARRANGEMENTS,
274-277
LINE, continuity of, o1, 276 YINE, continuity LOOPS, 41. 41 , _-ps.
70 Fig. Fig. 70
See 136: see trace. 136; to trace, ONE-PIECE SLEEVE, quarter size pattern to size pattern ONE-PIECE SLEEVE. quarter also Sleeves in 164-165; in underarm, 164-165; OVERARM LENGTH, compared with underarm, OVERARM LENGTH, compared 113 draft, sleeve dolman sleeve, 183; measurement for sleeve draft, 113 185; measuremem
dolman sleeve,
2. o1 blouse for, 195, Fig. 2, OVER- ERECT POSTURE, alteration of OVER-ERECT POSTURE. 202 64 skirt. 64 0" wrap-around OVERLAP, “aP-around skirt, of, 40-42; on definition of, OVERLAP‚ definition
i
L-SQUARE, square 14, 50; see also Tailor's square JSQUARE, 14, '
o1’ 72: of PANELING blouse, 22, 32. 34; of six-gore six-gore skirt, 72; 22. 32, of blouse, PANELING. of 21; 70. Fig. 21; front. 70, skirt back, 69, 69, Fig. 5km back, Fig. 20; of skirt front,
..
MACHINE CHINE BASTING, 4
274-277 sketched sketched in designing. designing, 274-277
252 MANDARIN COLLAR, 262 NDARIN COLLAR,
277-278; PATTERNED florals, 277-278; 277-281;; florals, for, 277-281 FABRlC‚ designing designing for, PATTERNED FABRIC, 278-280 geometrics - plaids and stripes, I 00, 278-280 100, and slripes. plaids
.
masler patMARKING Jines, 242; measuremenls measurements on master ‘RKING:: balance lines, tern, 244 ; seams, 28, 29; with carbon paper, paper, 6; with tern, 244; seams, 28. 29;
geomelrics
—
foundaPATTERNS, basic, founda197; basic, of, by blocking, 197; alteration of. by blocking, PATTERNS, alteration 259. tion, or master, 17; for collars, 251-255, 259, 261-263, co11ars‚ tion, or master, 17; 196; Jee contour, 196; 265-266, 271-272; in relation relation to body contour, see to body 265-266, 271-272; also ]\faster pattern, blouse, skirt, sleeve skirt, blouse. block also Master pattern,
chalk board, 4 242;; MASTER BLOCK PATTERN balance Jines, marking of, 242 lines, marking PATTERN:: balance __-STER blouse, dxaping draping of, of, 16-29; completion blouse, completion of, 242-246, fitting, preparation preparation for, for, 196-197 196-197:; quarter quaner size blouse, 46; ling. 156; reasons quarter size skirt, 94; quarter size sleeve, 136; 94: skirt, quarter quarter 193; skirt, draping of, 65-71 ; sleeve, analysis for fitting, 65-71: analysis I93; skin, for fitting, draping 125of, 118-119; cap varied, 125sleeve, one-piece, 118-119; sleeve, height o1, cap one-piece, modi127; sleeve, one-piece, draft for, 113-119; sleeve, for. 113-119: sleeve, 127: sleeve, one-piece, 128-129 fication of armscye armscye depth. depth, 128-129
11|l PEG-TOP blocking of, 108, 108, 11 PEG-TOP SKIRT, SKIRT‚ 89; blocking 110-111; PEPLUMS, blocking of. blocking of, ll0-111; 108: "draped," of, 108; PEPLUMS, blocking “draped," blocking 11l draping of, 87-89; girdle draped all-around, 11 l all-around, 87-89; of, girdle draped draping
70 PERPENDICULAR FLOOR, skirt seam position, T0 FLOOR, PERPENDICULAR TO position, 70 PETER PAN COLLAR, 253 PETER PAN COLLAR‚ blocking blocking of, 253
4 MATERNITY "‚; TERNITY SKIRTS, 220
PINNING of seams, general method when draping, l9; o1’ PINNING:: method general draping, 19; method, 4, into armscye when fiuing, fitting, o1 sleeve into 4, Fig. mechnd, arrnscye when Fig. 4; of 230-232; 282-283, Fig. l3 230-232; of taffeta, 282-285. Fig. 13
MEASUREMENTS: chart of, form cover, 9; of arm, o1, for dress form ‘EASUREMENTS: chan arm, for master one-piece one-piece for bishop bishop sleeve, sleeve, 120; o1 arm, [er 120; of o1 sleeve, with tailor's squares, 14; of 1ai1or’s o1 body 113-114; of sleeve, 113-114: squares, body body with tape tape line, line, 9; of cowl neckline deplh. depth, 38; body of master master pattern skirt, 245; marked marked on master pattern, o1 pattern, pattem skirt, 244
PIVOTING, of pattern point of dart, dart, 96; pattern pieces, o1 pattem at point 96; of PIVOTING, o1 pieces, pattern at 99; to introduce elbow dart, 116-117 116-117 o1 pattern t0 inlroduce dan, 99; of panern
MILITARY COLLAR, 262 i‘1L1TARv COLLAR,
PLACKET, one-piece 109; vertical, venical, in one-piece PLACKET, in skirt side front, 109; sleeve, 134-135 134-155
MOLDING FABRIC, through through seaming, ‚ms FABRIC. seaming, 296-299
PLAIDS, im", 278-279 PLAIDS‚ designing designing for,
1 MULTI-GORE SKIRTS, bloc.king of, JOO 100 71-56315 smars, blocking
PLEATED PLEATED ALL-AROUND STRAIGHT SKIRT, 62 62
'
PLEATS, allowance for in PLEATS‚ allowance for in gored skirt, 77; 77: allowance gored skirt, straight skirt, 63, Fig. 5; inverted box, inverted skirt. 33. 63, box‚ 78, 78, Fig. straight Fig. p5g_ 38; side pleat in a gore, 76, Fig. 34b; tapering of into o; in“, gore, Fig, mpering 51d? Qleat waistline, 63 walslhne, 63
MUSLIN PROOF, 45 45 ‘LIN PROOF, NECK BASE, broad, broad, pattern pattern alteration alteration for, 207 207;; back of, o1, 23, K BASE. 24; front of, 18 ( m m 18 24: of,
PLUMB position of PLUMB LINE, o1 skirt seams, UNE. position 70 seams, 70
NECKLINE, built-up, design variation of, builto1, 257 257,, Fig. Fig. 22; 1mm. design Variation ‘H-LINE. built-up, up. dran draft for. for, 248-251; built-up, built-up, draping draping of, 256-257 ; of, 256-257; 311p, curve, on collars garments, 247 colla-rs and garmems, 247;; designing 292; „cüwe. designing of, 292; fitting of, 198-203 198-203 flning
POSTURE, for, 194-195; correct and POSTURE. adjustment for. and incorrect, 194-195; correct incon-ect, ‘adjustmem 195, 194; forward head, 195. Fig. eflect on balance lines, Fng. 2; effect lines, 194; forwatd hqad over-erect, sway back, 195 round shoulders, over-erect, round shoulders, sway back, 195
‚
NOTCH, of mnVflflibiß convertible 5011313 collar, 267; of tailored collar, E“. 01 269 collar, 269
PRINCESS, line, 58; pattem, pattern, 2, l PR'NCE55‚ 1in8, 2, Fig. Fig, 1
i’
OTCHES, Crossmarks -‘°" «1 4; 4; see also Crossmatks
PROOF, muslin, 45 45 PROOF, muslin,
323
"
144-145
WMTION. o1 101d: in “duptä” «cap-gär- ‚um, 9o MGUNfII-EEVES. 14115:; chuacteristics o1. 11s; 311m1" dassnficntnon, 148
and unequalizedfn RIPPLES. Circ111u.‘283-288; equalized 74: see also Fluren goresflä: In sIx-gore um, 74;
80H“. NL. genau! method for drafting 10H“.
master
one-piece 8160W. 113: method for drafting bishop sleeve. 120
ROU- UNE. 01 Collar. definition of. 247: 247; of collar cut in one wich hodice, Variation: o1, 265
8
blouse. 50: yoke. asccnding 1in3
m.291
«
».
smeoas sxmr, blocking of, 97-99H1rapingah- .. : '
ations o1 design, 307
’
A
1
‘
1
S1
chmification o_f‚ so. Fiuing a)?‘ SKIRTS, 50.111; classification 22l 011 cut whcn grain, 228; when cups undet when cups in on sides, 226: 226; when standaout a: front, 219-220; when stand: out at center 1:31:11, 222-229‘ when stands o u t at sides‚.224-225; when Ihighs am 229. Measurements 1o!’ master panem. 245; vanauou 9
ROUND SHOULDERS. alteration of blouse for, 202-205: a1teration of sleeve for, 234 SAMPLE MODELS. o1 dress form covers, 2 SCROLLS, 285, Fig. 19
"
of basic cuts. 306-509
j
SCYE LINE, definition of. 193-194; importance of, in fitting, 194; marking of, on master pattem, 244
SLANT‚ inward compared with
SEAM ALLOWANCE, on master blouse, 29; on master skirt,
SLASHING, t0 but not through use of, in designing, 283-288
67 to SEAMING, decorative, in s1eeves‚ 139; to mold fabric
236-237
SET-IN SLEEVES, designcd from master block, 134-148
SLEEVE, master
SHAPING, bias folds ior collars, 261
SHORT CAP IN SLEEVE, uses o1, 126 of, in SHOULDER BLADE, fitting over, 216-217; marking
pattern, 218 SHOULDER DART. variations of, 30l 127 SHOULDER PADS, influence on cap height,
I12.
SLEEVES: classification o1, 113. Cul-in-one-wilh-boditc, block [ o r drafting. Fig. 2, 148-188: himono type, 159-192: dolman cut wi u 180182; blouse. 160; cowl in kimono armholc. 185yoke. 183-184; dolman with deep squate 188-192; 187; dolman with style line near armscye,
alteration of, 206: dar: in raglan slceve. method, When filting, 205: 150; length, 21; pinning 15‚ 17 15. placcmcm o1, 20, Figs. bmad, 207; narrow. 208; 205-203: bmad, SHOULDERS, fiuing o1’, 205-208;
SHOULDER SEAM,
an
also Kimono blouse und Kimono sleeve; raglan typc 148-153. cm in one with yoke, 156-157; drop shoulder 157-158: epaulet, 153-154: raglan with barrel silhouetle 152-158. Set-in, 112, F13. 1. coat pauen: nxeasuremen 1101 114: deriued [vom mascer one-piece block, 134-148: 147-148 shoulder, 123; bishop. 120-123: cowl folds at
Iquared by sleeve c u l , 143
collan,
510i SEAM 0F SKIRT, altemion
pamern; analysis o1. 118-119: cap height.
124-125, higher and lower than normal. 125-127. musurement for draft, 113; cutting 011 above und below elbow, 129; decreasing or increasing width, 12l 125;, size 16. 114-117; drafting o1, 118-119; draiting standard marked on‚ 246: hem, cutting o1, 129; measuremems, 1er im:size 112: quanet methods o1 making compared, 154-185 184-185 dart, vertical with plackct ing, 136;
260-261
204;
an edge, cxplaincd. 287;
problems of. 2251-241; armscye too" 111511. 241; alteration, 133-135; pinning of sleewe im‘ height cap blouse on wearer, 230-232; underann seam edges mismatched, 240; underarm seam twists elbow In vnist.
SELVAGE, 17, Fig. 4
‚laping, 205; square, sl-RINKING. bias {olds [ o r
Slqpg
SLEEVE, filting
body, 296-299
SHAWL COLLAR,
oulward. 75: ‚sie
261
o1, 226-227; pnsition 01. 55:
aeam thzt cm1», 227
824
lNDEX 128-129: horizontal gathers armhole, 128-129; gathcrs below elbow, deep armhnle, 147; lantcrn Silhouette, silhoucue, 139; lapped across lop, 147: 134-137; lanzern loose a: a1 sleeves 10056 master 111011; block for slccves u t m n , 146; mastcr lcg leg o’ mmuuon, darLs a1 a: top, lower edge, 119-120; parallel darts 111p, 140-143; simulaled Lufl, shouldered, cufl, 138; square shouldcred. pufl, 144-145; simulated puff, 143; lwo-piece dm/t, dra/I, 130-133
’
see also o1’ shoulder scam, 204; of gored skirt, 67, 68; See seam, 204: E, of SLOPE, Slant Slam
o1 master skirl, skin. blnuse, quaner ÄSLOPER, ER, of master blouse, quarter sizc, 46; of of master slceve, slccvc. quancr sizc, 136; o1 quancr size, 94; o1 quaner size, o1 master collar, widc matter wide master collar, narmw Hat, 251; 25l: o!
of a seam, 299. 299, 310 TAPlNG‚ o1’ TAPING,
of. 100 TEN-GORE SKIRT, blocking o1’,
13 o1 in designing, TEXTURE. designing. 277, 282, Figs. 12, l3 TEXTURE‚ imponance importance of of skirt 101, for, 228-229 THIGHS, large, alteration o1 TRAClNG TRACING WHEEL, 4
01' darts in skirts, 95; darts in blnuses, of dnns blouses, 54, 56; of TRANSFER, o1 n1 (dar! l u r t in slecvc. sleeve, 134-135; of pattern pauem markings, 29, 71
1
11m. 252 flat.
OF IDEAS, RCES 0F ICES IDEAS. discussion
0
o1, 273-274 of,
of sklrl skirt panels, 72; o1 2: o1 monolonous, 275, Fig. 72: o1’ CNG. monmonous, AC1NG‚ Fig. 2; ol. 274-276 yokes, 42; study 01. yokes. '
slecves for, 125-126 TSWEAR, EAR, sleeves
5E
ARE ERECT SHOULDERS, SHOULDERS‚ fining Ior, 234 fiuing slccves for, A"
‘UARE SHOULDERED
SLEEVE, 143
o1, 273 TRENDS. sludy (11. TRENDS, {or skirl, {or blousc, TRUEING OF A PATTERN, for 28: for blouse, 28; skirt, 71
TURTLE NECK, biss, bius. 261
lor, 277 TWILLS, (lcsigning (lesignning fnr. TWO-GORE SKIRT, draping 306-307 o1’, 306-507 Llraping o1, 65-71; variations of, l r a fl 01'. 130-133 TWO-PIECE SLEEVE, SLEEVE‚ (dralt
TY1NG‚ usc in (lcsigning, TYING‚ designing, 293 measurcmerlt mcusurcnncnl lor for
of a seam, seam. 299, 310 N6. o! fl-AYING.
UNDERARM. UNDERARM,
o1‘ collan. definixion definilion 01. 01 tailorcd lailorcd cullnr. of, 247; o1 269 collor, 209 .1AND‚ofco1lars‚
UNDERARM DART, variations 01, 303-304 DART, varin1iu11s
_
slecve draft, 113 slccvc
1
on handling, 280 cflect an fabtic. effect fFNESS‚‚ of Iabric.
waist curvc, 103 TCHING, curve, I03 111p 1o waisl 1146. o! hip IGHT SIURTS, SKIRTS. 60-65: 60-65; all-around plculcd, 62: gathcrcd, pleated, 62; galhc-red, 60; ‘wnp-amund, wrap-around. 64 V
'
'
‘
-KLEE/E, 153-154; see also Epaulct SLEEVE, 153.154; Epaulet xce
lNG COLLARS. from bias folds, 261 for, 279-280 designing fot, 1'985, daignlng uns. oo!f a co1lar‚247 oollar. 247
-
0F: blocking circular skiru. 11; blocking draped skirts, 1 11l: 1‚_ RY‘G’: dmpcd = 111: i1: blocklng I05: dmping skim, 105; blocking gnred gored skiru, draping circular 89; dnping 81 8.9; skins. a1 goned skirls, draping gored u cowl Substitute, bin. und a: ‘Rat. 308-509 substitute, 303309 altention o! skin for, EACK. lltenüon of tot. 222-223 HEM, 80-82. 96
Innen, 259271; 5mm. 269271: wide, wide, 271-272
-
See alxo
UNDERARM SEAMS: n] blouse, fitting for exccss o] blouxe, o1, 212-215, excess 212-215. lor fiuing o1. {er sagging o1, width. 211. widlh. 211, for 01, 214-215; pinning mcthod, method, 214; taking in o1. o1, 213. 213, Fig. 25; o] xleeues, comsleeues,
length,
o1’ in kimonos kimonns and nnd in dolman, 163-165, parison pnriwn n1 165-165, 183; o1. lor dccp lcngthening Icnglhcning 01, dcep armscyc, armscye, 128; lengthcning lcngthcning in dolman, 187. 187, Fig. 101c: lcngthening lengthening or shortening shortcning in blouse and sleeve, blousc cflccl o1, 239 slecvc, cficrt 259
UNDSII 271
UNDERCREASE OF A PLEAT, 76
UNDERLAP UNDERLAP-. definition definililm o1, lor buuons 01. 40; for bultons and buuonholes and buuons and loops, 1oops‚ 41-42 UPPERÄRM. large, UPPERARM, sleew: alteration for, large. sleeve 257-238 (or, 237.238
52 wmsremo, 62 WAISTBAND,
45; anfing master blouse, blouse. 58 cuning o1’. for mutet
e. 14.
shaped as
UNDER COLLAR, o1 high ro11 roll type, 254; of tailored type, typc. 254:
'
3
UNDERARM INSET, in kimono kimnnu blouse, blouse, 166-168; 166-168: siLlc sidc scuinn, scclion, 168-170
uaqme
i000 vainline, skin panels, 41.156. 63; panell. 72 53111.11!
dar: in i“ 51005€ wNflUNE- da“ WAISTLINE, blouse back. back, 26; dar: dart in blouse front, da" varlations i" 22; 22: dan in deflß": 501-302; design. 301-302; dress position on dfesg 10m1. 10m1, 7; 7: vafim°nf of m in gored skirls, shape o1’ skim, 66 WAX CARBON PAPER, e 6
'
01' fabric in relation WÜGHT. WÜGHT. o1 relaüon to 1o draping, 280 draping 250
i
ivi’‘.
..
