fundamentals of patternmaking ii

j‘ FUNDAMENTALS OF PATTERNMAKING

FOR

WOMEN'S APPAREL

BOOK 2STYLE PATTERNS

by

ESTHER KAPLAN nvmcx

3rd REVISED EDITION

F U N D A M E N TA L S OF P A T T E R N M A K I N G

F O R

W O M E N ' S A P P A R E L

B O O K II

S T Y L E P A T T E R N S

by

Esther Kaplan Pivnick

3rd Revised Edition

DARWIN COIMUNITY COLLEGE LIBRARY

T1453o

INTRODUCTION

This book follows from Book I on Foundation Patterns. Book I describes theimportantbasic foundation patterns for all types of garments, their draping and grading.It also includes a set of pertinent measurement charts.

Book II uses the foundation patterns to make the most important and basic

types of style patterns. There can be many style variations, but only a few basic ways apiece of material can be cut into to make a style, from the patternmaker's point of view.Collars will have one type of roll or another; a sleeve can be handled only in certain basic

'ways; the procedure for making gathers is the same whether fo r a waist, a skirt or asleeve. The principles of cutting underlying these basic types is the concern here. Theyhave been kept as general and flexible as possible, suitable for all types of garments inall size ranges. Rigid measurements have been avoided as unnecessary. The relation-

ships between the instructions for the various parts of the garment have been carefullynoted.

The book has been laid out with a definite order in mind for learning. Oneproblem develops from another, and so each section should be followed in its sequence forbest results . Each problem should be careful ly worked out exactly as presented, at first.The patterns should be cut out in some kind of fi tting cloth such as unbleached muslin, andpinned or basted together. They can then be tried on the dress form or the person fromwhich the foundation patterns were made. Changes and corrections can be made in themuslin fi tt ing and transferred back to the paper pattern.

Later, a f te r the basic principles involved are clear, the completion of thestyle lines can be l e f t to the cloth fi tting. A sort of combination of "flat" patternmakingand draping can be used.

There is no need in my opinion for any argument about draping versus "flat"

patternmaking. Both make patterns. In each case, the patterns are based on the sameprinciples. Since the principles work out automatically in "fl at“ patternmaking, the be-ginner can achieve better results by starting his learning with the handling of paper foun-dation patterns. He can then bet ter apply his understanding to working with fabrics on adress form if he wishes. The more advanced worker can produce his effects more quick-l y . There is no clear l ine separating the two. I, in my own work as a patternmaker and anassistant designer have constantly combined the two methods. I have used the foundationpatterns to block out swiftly, direct ly in the muslin if possible, the important constructionlines, such as the shifting of the bust dart to some style l ine , the type of r o l l for the co l -lar neckline, the basic shape for a kimono sleeve, etc. The muslin was then cut with suf-fi cient seam allowances for any changes, and fi tted to the dress form. Working on thedress form I could perfect the shape of my style lines, take care of any change caused bythe nature of the fabric, shi f t fullness a l i t t l e , tighten up a bit where better design seemedto call for i t , etc. Even then, the pattern, carefully corrected and finished, might under-go l a t e r corrections because of the fabric used for the garment. A fi ne wool will give di f -ferent results from the same pattern than a slippery rayon. But these changes are minor,not affecting the basic construction of the pattern.

Draping shows the learner the significance of the grain of the fabric. It per-mits experimentation with fabric and allows for a sort of three-dimensional sketching."Flat" patternmaking shows the learner clear ly the relations between the parts of the pat -tern. It makes him appreciate the need for accuracy, for a "good“ l ine . It teaches himhow to maintain the same basic standards of fi tting no matter what the style variation. Itallows him to make well-fitted garments that can be mass produced with uniform resultsin fi t and style . It permits creativeness based on sound principles.

The tools needed are a sharp pencil , a sharp pair of shears, an accurateruler, a tape measure, and loads of paper, muslin and patience for much practicing.

Esther Kaplan Pivnick

February, 1958Cold Spring Harbor, N. Y.

i i i

T A B L E OF C O N T E N T S

DARTSBust Darts, Back Waist Darts, Yokes

INDEX............................................page 1

SKIRTSYokes, Pleats, Gathers, Flares, Circle Skirts,Godets

INDEX............................................page 31

SLEEVESSet-In Sleeves

Bell Sleeves, Bishop Sleeves, Lantern Sleeves,Special Style Sleeves, Gathered Cap Sleeves,Darted Cap Sleeves, Cowl Sleeves

I N D E X . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p a . g e 55

Sleeve- Waist Combination Sleeves’Fi t ted Raglan Type Sleeves, Gusset KimonoType Sleeves, Non-Gusset Kimono Type Sleeves

I N D EX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p a g e 77

COLLARS AND SPECIAL NECKLINESFlat Col lars, Rolled Col lars , Band Collars,Raised Necklines, Cowl Necklines

INDEX............................_................page 103

APPENDIXThe Two-Piece Sleeve, Cuffs, Pockets, Circu-lar Ruffles, Groups of Pleats, AComplete DressPattern and I t s Grading, Grading the Two—PieceSleeve '

INDEX............................................page129

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I N D E X TO DART-S

P\'I‘HE BUST DART....................... . . . . ...PAGES 3-24THE BACK DARTS . . . . . . . . . . . . . . . . . . . . . . . . . . . .PAGES 25-29

Shifting The Position Of The Bust Dart. . . . . . . . . . . . . . . . . . . . . . . . . pages 5-7

Page 5 Page 6 Page 6

., ’ Using The Bust Dart As Gathers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . pages 8-10

Page 9 Page 10

Using The Bust Dart As Pleats Or Tucks. . . . . . . . . . . . . . . . . . . . . . .pages 11—17

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Page 11 Page 12P

Page 14

WPage 15 Page 16 Page 16 Page 17

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Using The Bust Dart In A Style Line. . . . . . . . . . . . . . . .pages 18-24.' I .

Page 18 Page 18 Page 19 Page 20


DARTS

A dart is a seam made by joining the two edgesof a triangular section removed to shape a fl atpiece of cloth so that it covers a round form. The

pattern fo r a cone is a good example. The shadedsection has been removed. When lines A and Bare joined together, the flat circle‘ is forced intoa cone shape.

The dart shows the place where surplus materialhas been removed to fi t a piece of cloth smoothlyto a round form.

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@Fitted garments have darts wherever the body is rounded, for

example: the bust, the hip, and the shoulder blades. A loose-

ly flared or gathered garment provides ample fullness for theround parts of the body in its own design.

No darts are needed in the gathered bodicesince the fullness is more than enough tomake room for the bust.

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In the fi tted bodice the material used to cover thebust is reduced by the two darts to shape it to thesize of the waist.waist pattern. )

The bust dart has many style uses.

(See Book I on draping the front

The back waist and hipdarts are more limited. But the principles involved in theuse of a l l the darts is the same. The next two lessons onBust Darts and Skirts illustrate the basic principles.

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The bust dart, as explained in the introduction to Darts, removes

the surplus material resulting from fi tting the roundness of the

bust.

The surplus material need not be removed as one severe dart. Itcan be divided into many smaller darts, or tucks, or pleats, orgathers, e tc . It can be hidden in seam lines.

I

The Figures in this section illustrate a l l the basic uses of the bustdar t . The possible number of variations is limited only by the de-

signer's imagination.

Figure 1A a Figure 1B

This is the basic f ront waist pattern with The bust dart can be placed in any position onthe bust dart at the waistline. (See Book the front waist pattern so long as it points toI, The Front Waist Draft, Fig. 9.) the center of the bust (A) or to the bust area.

(The dotted line G outlines the average bustThe position of the dart at the waistline area, approximately two inches from the Cen-is convenient for most style uses of the ter A.)dart. The dart at the side seam can beequally useful. The dotted lines B, C, D, E, F show the other

basic positions: the center front, the neckline,the shoulder, the armhole, and the side seam.

The method of shifting the dart from one placeto another is the same for a l l positions. The

E following Figures 2A—2.C can be applied to any

{ position desired.

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Shifting T h e Position Of T h e Bust Dart.

Figures 2A, 2B, 2C show a simple way the dart is shifted toanother position; in this illustration, to the shoulder.

Figure 2AFigure 2B

Line D shows the new The pattern is cut in twoposition of the dart. on lines 1-A-D and 2-A-D.

FIGURE 2C. The pieces are placed together again,on another sheet of paper, so that l ines A-1 and A-2meet.

The dart is now open at the shoulder. It has beencompletely removed from the waistline. (The shoul-der dart opens wider than the waist dart becausethe distance from the center of the bust to the shoul-der is longer than to the waist.)

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FIGURE ZCC showsFi ure 2cthe muslin fitting of g

the pattern in Fig-Figure ZCC ure 2C.

Dividing T h e Bust Dart.

Figures 3A through 31-! show the shifting of the dart

to two positions.

Figure 3A

The two parts of the patternin Figure 2B can be placedtogether at Point A so thata dart is opened both at the‘shoulder and the waistline.

Figure 3B

The darts can be shortenedif desired by bringing themonly to the bust area. insteadof to the center point.

Figure 3C

The dart space can be divided

into two or even more dartsif so desired. The darts s t i l lfa l l within the bust area.

The correct shape of the shoulder and waist l ines at thedarts can be obtained by folding the darts in the paperpattern the way they are folded in ‘cloth and either cut-

ting through or ro l l ing a tracing wheel through the foldeddar t .

Figure 3D

The waist dart of Fig-ure 3B is shown folded.

Figure 3E

The two waist darts of Fig-ure 3C are shown folded.

Figure 3F

The shoulder dartis shown folded.

Figure 3G

This is the same as Figure 3Bwith the correct shape of the

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darts at the shoulder and waist-_' l ine.'11

Figure 3H

This is the same as Figure 3C withthe correct shape of the darts at theshoulder and waist l ines.

Figure 3GG

This shows the cloth fi tting of the patternin Figure 3G. (The pattern should be cutout in muslin or other fi tting cloth, withseaxns allowed, and basted together for atrial fi tting. Any desired changes in styleor fi t can be made in the fi tting and trans-ferred back to the paper pattern, if thepaper pattern is the fi na l step. Some-times the corrected muslin is used as apattern.)

Figure 3HH

This shows the cloth fittingof the pattern in Figure 3B.

Using T h e Bust Dart As Gather3_

FIGURES 4A through 4G show the use of the dar t as gathers.The bust dart shifted to the neckline is used for i l lustrat ion.The bust dart can, of course, be shifted to any place such

gathers are desired, in the same manner.

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Figure 4A Figure 4B Figure 4C

FIGURES 4A, 4B, and 4C show the bust dart shifted fromthe waist to the neckline.

FIGURE 4D. The neckline has to be redrawn as a con-

tinuous l ine fo r gathers from points 3 to 4. The correct

shape can be approximated by adding to one side of thedar t whatever amount has been removed from the other.A cloth fi tting should be made for fi nal adjustment of theshape of the l ine .

The neckline, when gathered to i t s original size, shouldhave the shape of the original neckline in Figure 4A. Ifnot, it can be redrawn while gathered. When the fabric

is opened flat again, the corrections can be transferredto the paper pattern.

Figure 4D

FIGURE 4DD shows the cloth fi tting. The gathers f a l lfrom the neckline to the bust. The waist area is smooth-

ly fi t ted with no dart.

Figure 4DD 8

Figure 4E

FIGURES 4E, 4F and 4G show how

only- part of the waist dart can beshifted to the neckline, if desired.

There wi l l be fewer gathers at theneckline than in Figure 4D.

The dart l e f t at the waistline canbe shortened for a softer effect.

Figure 4GG

Figure 4G

FIGURE 4GG shows the muslin fi ttingof the pattern in Figure 4G.

Adding More Fullness To T h e Waist PatternT h a n That Allowed By T h e Dart.

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B.

The pattern is that from Fig-ure 4G.

The pattern must be cut andspread for additional fullness.

Lines G and 1-1 show where theadditional fullness is to go.

A guide l ine is drawn acrossthe pattern at right angles tothe center front to help keepthe pattern pieces in l ine whenspread.

FIGURE 4J.

Figure 4.1

The pattern is cut into 3 pieceson lines G and H. A new guidel ine is drawn on a fresh sheetof paper."

The pieces of the pattern areplaced on the paper so that theguide line of each piece fal lson the guide line drawn on thepaper.

The pieces can be spread anyamount desired.

The waist dart is ‘dotted becauseit should become part of the newgathers at the waistline:

The approximate shape of thenew neckline is indicated by adotted l ine .

FIGURE 4K. The pattern pieces ofFigure 4H can be spread so that morefullness is added only to the waistline.

THE PATTERN PIECES MUST BECUT THROUGH TO SOME OUTSIDEEDGE OF THE PATTERN SO THATTHEY WILL LIE ABSOLUTELY FLATWHEN SPREAD.

THE CUTTING LINES MUST BEDRAWN IN THE DIRECTION THEFULLNESS IS TO FALL.

10

The pattern pieces ofFigure 4H can be spread so that morefullness is added only to the neckline.

Figure 411

This shows the muslin fittingof the pattern in Figure 41.

- This fitting should be comparedwith the fitting of the pattern inFigure 4G. In 4G, the gathersat the neckline fa l l only to thebust. The rest of the fittinghas no surplus fullness.

In 41, the gathers at the neck-l ine and waistline produce ex-cess fullness a l l through thefitting.

Figure 4K

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Using T h e Bust Dart As Pleats Or Tucks.

Figure 5A

FIGURE 5A. Figure 5A is the same as Figure4E. The dart fullness is used to make anin-verted pleat.

The dotted line B-A is drawn in the center ofthe dart space D-A-E.

Line F-G shows the length this inverted pleatwi l l be stitched.

FIGURE 5B. Line D-F is folded over to thecenter l ine B-A. Line E-G is folded over tothe center l ine B-A.

A tracing wheel should be rolled through theneckline over the folded darts, or the necklinecan be cut out with the dart folded.

FIGURE 5C. This is the shape of the foldedneckline when it is opened.

The shaded area shows the depth of the pleat.The waist dart can be shortened if desired.

FIGURE 5CC. The sketch shows the cloth fi t -ting of Figure 5C.

11

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Figure 5B

Figure 5CC

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If the dart is to be divided into many small pleats or tucks, it is easier todraw fi rs t the exact position of the tucks and then shift the dart into them.

Figure 6A‘

Lines B, C, and D show the posi-t ion desired fo r three shouldertucks. Each tuck. is drawn thelength desired and then connectedto point A, the center of the bustarea .

IT IS IMPORTANT THAT EVERYTUCK OR PLEAT MADE FROMTHE BUST DART FALLS WITHINTHE BUST AREA. (See Figure1B.)

The dotted lines continuing fromB, C, and D show where the tuckswould f a l l if they were continuedto the bust area.

Tuck D is as fa r out as it can befor satisfactory results.

Figure 6DD

Figure 6B

The pattern in Figure 6A iscut on lines B to A, C to A,and D to A. The Bust DartE-A-F is cut out.

ALL THE PIECES SHOULDBE LEFT JOINED AT POINTA.

The cut pattern is placed onanother sheet of paper. Thebust dart E-A-F can be com-pletely closed and the dartfullness .opened entirely inthe new tucks, or it can bepar t ia l ly closed, as here,leaving some fullness at thewaistline for slight gathers(between points G and H).

FIGURE 6D. The folded tucks inFigure 6C are opened. The arrowsat the bottom of each tuck show thedirection the tuck is to be foldedwhen stitched in cloth.

The dart fullness remaining at thewaistline is to be gathered betweenpoints G and H.

FIGURE 613]). This is thecloth fi tting of Figure 6D.

12

Figure 6C

The correct shape of thetucks at the shoulder linecan be obtained by fold-ing the tucks in the paperpattern the way they arefolded in cloth.

_The now broken shoulderl ine is redrawn using thebasic pattern as a guide.

A tracing wheel is ro l ledthrough the shoulder, overthe folded tucks, or theshoulder l ine can be cutout with the tucks folded.

The dotted lines show thetucks folded inside.

6GATHERS“

Figure 6D

FIGURES 6E and 6F show how it is possible to introduce morefullness into the pattern than the bust dar t allows.

(See Figures 4H, 41, 4J, 4K where the same procedure is usedfor gathers.)

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I‘ II II I‘ I' III I| II II II I| II II II II II II II II I

cut Figure 6E Figure 6F

Lines are drawn from each tuck or Each tuck is made wider by spreadingI-the , pleat in the same direction it fa l ls , the pattern pieces from the waistline," to some outside edge of the pattern.

(Here it is the waistl ine.)which changes i t s shape but remainsthe same size.

Each tuck wi l l have to be folded againas in Figure 6C to get the fi nal shapeof the shoulder line.

Figure 6G

It is possible to spread the pattern piecesof Figure 6E at the waistline only so thatthe tucks B, C, and D remain the samesize at the shoulder line, while the waist-line increases in size.

13

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Figure 7A

In this figure the tucksare drawn at the neck-l ine . Checking the tucks‘position in relation to thebust area shows that tuckE falls far outside.

TUCK E CANNOT BEMADE FROM THE BUSTDART.

Figure 7D

Figure 7B

Only tucks B, C, D can be openedby closing dart F-A-G. TUCK EHAS TO BE CUT ON ITS OWNLINE THROUGH TO AN OUTSIDEEDGE OF THE PATTERN.

THE FULLNESS FROM TUCKS B,C, D WILL DISAPPEAR AT THEBUST. THE FULLNESS FROMTUCK E GOES THROUGH THEENTIRE PATTERN MAKING THEPATTERN W_IDER ACROSS THEBUST.

Dart F-A-G can be shortened fora softer effect.

The tucks are opened flat showingthe corrected shape of the neckline.

14

Figure 7C

The tucks should be foldedin the paper as they will bein cloth, and the necklineshape corrected.

A tracing wheel can be runthrough the folded tucks atthe neckline or the necklinecan be cut out with the tucksfolded.

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Figure 7DD

This is the cloth fi ttingof Figure 7D.

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Figure 8A Figure 8B Figure 8C

Figure 8D Figure 8DD

FIGURES 8A, 8B, 8C, 8D and 8DD. These figuresshow the bust dart E-A-F shifted to three tucksdrawn from the center f ront at the bustline.

A cloth fi tt ing (Figure 8DD) is important to checkthe curve of the new center front line.

15

FIGURES 9A and 9B show the bustdart C-A—B shifted into six tucks orpleats drawn from the shoulder andwaistlines. F

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A foundation pattern with the bustdart at the side seam is used be-cause it does not interfere with theplacement of the style tucks. (SEEmethod for Shifting The Bust Dart,Figures 2A-2C.)

The tucks should be folded in placeas explained in Figure 6C to get thecorrect shape fo r the shoulder andwaistlines.

Figure 9A

FIGURES 9C and 9D show how thetucks can be made larger by cuttingand spreading the pattern. Figures6E, 6F and 6G show the same pro-cess with only shoulder tucks.

Cutting and spreading the pattern toadd more fullness than the bust dartallows increases the width of thepattern across the bust.

Figure 9C Figure 9D

FIGURE 9CC shows the cloth fittingof Figure 9C. The soft folds f a l lfrom the end of the stitched tuck tothe bust. THE FITTING IS SMOOTHACROSS THE BUSTLINE.

\ FIGURE 9DD shows the cloth fi t -ting of Figure 9D. The extra widthplaced in the tucks increased thefullness through the bustline. Thesoft folds continue from the shoul»

Figure 9CC der to the waistline over the bust. Figure 9131)

16

jhe busttucks orer and

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"th theJ; (SEEt Dart,

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FIGURES IOA, 10B, 10C, 10D show the bust dart shiftedfrom the side seam to make two other darts, retainingsome dar t at the side seam.

Figure 10A

The procedure followedis the same shown forpleats and tucks.

Figure IOCC

Figure 10B

Dart 2 is almost too f a r off thebust area to be a bust dar t . Ithas been made smaller than dart1 deliberately to offset its forcedposition. The extreme slant ofthe l ine which joins the dart topoint A indicates i t s limitations.A cloth fi tting may show it to beimpractical.

Figure 10CC

Figure 10C

The darts have been drawnin their new positions. Theyshould be folded in positionas shown in Figure 10-D toget the correct shape fo r thewaistline. The side seamdart should be folded, too.

Figure 10D

A cloth fi tt ing should be madeof the pattern in Figure 10Cto check on the lengths of thedarts and their positions.

17

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Using T h e Bust Dart In A Style Line.

When a style line goes direct ly over the bust, the dart fullnesscan be moved direct ly into the style line, seeming to disappear.

i i avFigure l1BB

c C A cloth fi tting should bemade to check the shape

' of the l ine D-A—B atFigure 11A Figure llB point A. Both parts of

the patterns should beD-A-C is the style l ine The pattern is cut into two cut in muslin or othergoing directly through pieces, cutting away the bust fitting cloth with seamsthe center of the Bust dart B-A-C. allowed. Line D-A-BA. is stitched to l ine D-A-C.

The corner at point A should Both l ines are the samebe rounded off. length.

In this figure the style line is not drawn

direct ly through the center of the bustA. It is so close, however, that pointA can be moved to the style line and an e w dart l ine AA-B drawn.

The new dart B-AA-C should be thesame size as the original dart B-A-C.

The pattern pieces are separated asshown in Figure 11B.

Figure 11C1

1’ 13

Figure 11D

The pattern is cut into two pieceson l ines B-AA-D, and C-AA-D.

Line D-AA-C is longer than l ineD-AA-B. , The extra length shouldbe kept between points E and F, orthe Bust Area.

Figure 1113

In this figure the style l ineD-A-G is drawn directlythrough the center of thebust A, but is not part ofthe waist dart.

E and F are two notcheslocated to aid in sewing.

Figure l1DD

A c loth fi tting should be made tocheck the shape of l ine D-AA-B.The fi tting will also show that the

unnoticeable.

Figure 11F

The pattern is cut in to two pieces onthe style l ine D-A—G. The bust dartB-A-C is cut out and closed by bring-ing lines B-A and C—A together.

I

The shape of line D-A—G in the lowersection changes when the bust dart isclosed, but remains the same length.The corner at point A can be roundedoff .

19

extra length in l ine D-AA-C fa l lseasily within the bust area and is

Figure l1FF

A cloth fi tting of the pat-tern in Figure 11F showsno visible evidence of thebust dart in the style l ineD—E—F-G.

Figure 12A

Figure 12B

The bust dart B—A-C is closed,causing the lines 1, 2, 3 to spreadapart.

The spaces 1, 2, and 3 should beabout even.

The style l ine D-E—F-G is drawn outside thebust area. It becomes a yoke l ine . (See Sec-tion on Yokes.) The bust dart B—A-C can beshifted into the yoke l ine but some evidence ofthe dart must be seen, as gathers or pleats ortucks or darts.

‘In this figure, the bust dart is shifted as gath-ers into the yoke line between the points E andF, covering the bust area.

The dotted lines 1, Z, 3 from A to the yoke l inehelp spread the dart fullness smoothly.

The pattern is cut in two pieces on l ine D-E-F-G. The dart B—A-C is cut out. Lines 1, Z,3 are cut ALMOST to point A.

Figure 12C

A new, curved l ine must bedrawn between E and F.

20

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Figure 12D Figure IZDD

This shows the finished pattern This shows the muslin fi ttingof Figure 12C. of the pattern.

Figure 12E Figure 12F Figure IZFF

In this figure, some of the The dart at the waistline This shows the c loth fi t -bust dart has been l e f t at may be shortened below ting of the pattern in Fig-the waistline. point A. ure 12F.

21

Figures 12Gand 12H show how more fullness can be added both to the yoke lineand the waistline by cutting and spreading the pattern. (See Figures 4H, 4I,4.}, 4K.)

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GUIDE LINE : LINE

Figure IZG Figure 12H

Figures 121, IZJ and 12.1.1 show a yoke style line made across an opendart. No shifting of the dart is necessary.

Figure l2I

The yoke line A-B-C-D is drawn as desiredacross the dart G-I-I-I.

Lines G-B and I -C must be the same length.(It helps to fold the dart closed when draw-ing the yoke line.)

Points E and F are notches between whichthe gathers wi l l be confined.

a4«1

Figure IZ J,

Q

The yoke pieces are cut away from the restof the pattern. Sections 1 and Z are traced :

Figure 12; together as one piece. The center f ront l ine' can be a fo ld l ine .

The dart space remaining (B-H-C) can beused for gathers, pleats, tucks, darts, e tc . Figure lZJ

Figure IZJJ shows the finished appearance of thepattern with the dart fullness used as gathers.

Figure IZJ J 22

FIGURES 13A,to a yoke l ine as pleats or tucks.

Figure 13A

D-E is a type of yoke style l ine that isnot cut away from the pattern.

The pleat lines 1, 2, 3 should f a l l withinthe bust area. Line lhere is slightlyforced. A cloth fitting la ter wi l l t e l lwhether this line is practical

Figure 13C

Figure 13D

FIGURES 13C and 13D. The two

pieces are joined at A leaving asmall waist dart B-C (or no dar tif so desired), causing lines 1,23 to spread.

The tuck spaces 1,2,3 should bemade even. The tucks should befolded in place either in the paperpattern or in the cloth fi tting sothat a straight line can be drawn

across the folded tucks from D toE. (Figure 13D.)

The dotted line across the tucksshows the corrected line D-E.

The waist dart may be le f t as adart, or gathered.

13B, 13C, and 13D i l lustrate the bust dart shifted

01

—_.__—_

Figure 1313

The pattern temporarily is cut in twofrom D to l ine 3, down to A and B.

Lines 1,2,3 are cut ALMOST to A.

Figure 13CC

Figure 13CC shows the cloth fi ttingof the pattern in Figure 13C.

Figures 14A, 14B, 14C illustrate how fullness can be added to a waist frontwithout using the bust dart to make the ful lness. (Here the bust dart remainsat the waistline as gathers. )

Although this does not add to the information on bust darts, it does show thatTHE PATTERN MUST ALWAYS BE CUT AND SPREAD IN THE SAME DIREC-THION TI-IE FULLNESS IS TO FALL.

Figure 1413

Figure 14C Figure 14CC

Figure l4CC shows the cloth fi tt ingof the pattern in Figure 14C.

24

T u g The Back Darts In A Style Line. . . . . . . . . . . . . . .pages 27-28

Page 27 Page 28

.|&hering The Back Waist Dart To A Yoke. . . . . . . .. . pages 28-29

Page 28 Page 29

25

Using T h e B a c k Darts In A Style Line.

The back waist pattern in the following figures is the basic back waist

pattern from Book I (Foundation Patterns).

Figure 1A

The shoulder and waist darts canbe moved in to any style line drawnin the same area as the darts.

Line A-B is a style l ine drawn anyshape. A-C is the length of theshoulder dart . B-D is the lengthof the waist dart .

Figure 1C

The pattern is cut into two pieces,eliminating the dart spaces. Thedarts are invisible, but present,when the two parts of the patternare sewed together. 27

Figure 1B

New darts are drawn from the

style line, the same width and

length as the basic darts (A-B-Cand B-D-F).

Figure ICC

Figure ICC shows the c loth fi ttingof the pattern pieces in Figure 1C.

‘_«....,.,....~a.

V

.x....,.

‘

-*

*3‘t‘i

:.2-;E}.3...EH

A!»

Figure 2AThe style line (D-E) in this

figure goes only through the

area of the waist dart (A-B-

C).

Gathering T h e Back Waist

A C

'.-

FAAHFigure 4A

In this figure a neck yokeline (D-E) and a waist yokeline ( I - J ) have been drawn.

The neck dart will be l e f tas a dart beneath the yoke.(It can be gathered or fo ld-ed as a small pleat.) The

waist dart will be gatheredbetween points K and L.

Figure 2B Figure ZBB

The pattern is cut into two pieces on thestyle line D-B-E.

Figure ZBB shows themuslin fi tting of thepattern.

The dar t space A-B-C is cut out. Lines

A-B and C-B are placed together, elim-

inating the dart space, and the new pat -tern piece is drawn.

Dart To A Yoke.

as-g1>\

T

Figure 4BB

Figure 4BB shows the c lothfi tt ing of the pattern in Fig-ure 4B. '

FIGURE 4B. 'The neck yoke is cut

away from the rest of the pattern.The dar t space from A to C is cut

out, leaving the neck yoke in two

pieces. The pieces are placed to-

gether at the dart lines and a new one-piece yoke is drawn without adart. The dart is hidden in the new shape of the neck yoke’.

Figure 4B

The same procedure is followed fo r the waist yoke.

The dart space l e f t in the body of the pattern is gathered between

points K and L to match points K and L of the waist yoke.28

-w—w—v-~mw...~,,.,.,.‘

oth

écut

'—cut

t o -‘ta

FIGURE 5A. The back waist has been joined to theback skirt to permit a yoke (I—E-H-L) to be drawnacross the waistline. (See Book I, Foundation Pat-terns.)

A shoulder yoke (M-N) is also shown.

The remainder of the skirt section is ignored fo rthis illustration.

FIGURE 5B. The pattern is cut into three sectionson the yoke lines M-N, E-H and I- L.

The shoulder yoke section shows the one dart madeinto two, as a style possibi l i ty.

The center section can be cut and spread to allowfor gathers between points M-O and 15-13, as shownin Figure 5C.

In the waist yoke section the dart space is cut outand points F and G and J and K are brought togeth-er, leaving a small dart (J-A-F-C-K).

In certain materials this small dart can be elimi-nated by removing some of it from the center backseam and some from the side seam as shown by thedotted lines. This can be tried in the cloth fi tting.(See Figure SCC.)

M Jo N

6 IDE _,LINEIIII

_..._._—<

F ‘G P H

"‘m‘'1

-=££€:€:'-’;'

X r‘-»’

Figure 5B

ON

LINE

\\\

\\\\\\

‘

.\\\

\\\\\\\‘

\\\\

\\\\\\\\

\

‘Ema pieces can be spread as much asI inszred.

gk :5 also possible to spread them so3‘I§It:2.t more fullness is added to the top,mt to the bottom.

M-O of the center section is gatheredin fzt M-O of the shoulder yoke sec-'m:m..m:. in Figure 5B.

E—P of the center section is gatheredrm 5;: 13-? of the waist yoke section infJF".g-re 5B.

Figure 5CC Figure 5CC

Figure SCC shows two cloth fi ttings. In one, the waistdarts have been kept in the waist yoke. In the other,the dart has been eliminated by removing it frorn thecenter back and side seams.

29

,.

;...4£.,1..E_»£f_..i

:...s...lI.§

3..\§.;

wl:.L¢-I!.,.i

..I..E.w.tu,...!uv

4l..Imn\1.:..\l“‘4*

I N D E X TO SKIRTS

Yokes And Yoke And Style Combinations . . . . . . . . . . . . . . . .pages 33-37_“\ ‘~~..'-”


\LLL /


Circle Skirts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . pages 43-46Whole Circle Skirts. . . . . . . . . . . . . . . . . . . . . . . page 43Half Circle Skirts . . . . . . . . . . . . . . . . . . . . . . . . page 45Quarter Circle Skirts . . . . . . . . . . . . . . . . . . . . . page 46—

Page 41

Page 44Whole Circle Skirt With Loose Pleats

SeamF1ares................... .pages47-50

Page 49

I I

HiPage 47

Seam Pleats.................................page 51

I)

inn-

nuL

n..-

..Hu-.U:'l"|"llllllls

Page 51Page 51

Page 53Page 53

pages 52-53

I\

§Page 52Page 52

Godets.......................

._.—....._—r-..y—..w

..—.-——.v

‘w,..,,A—

‘a.

csuren

aAcK

The following pages illustrate basic skirt style variationssuch as yokes, pleats, gathers, flares, etc . Al l of thestyles are drawn on the skirt foundations patterns fromBook I on Foundation Patterns.

SKIRT YOKES AND YOKE AND STYLE LINE COMBINATIONS

A yoke line, or any style line drawn in the area of the skirt darts is handled inthe same way as in a l l other dart areas. (See the sections on Bust Darts andBack Waist Darts.)

Figure 1A

D-B-E is drawn fo r the backhip yoke l ine.

Figure IBB

Figure lBB shows the muslin

fi tting of the pattern.

B a c k Skirt Hip Y o k e

33

Figure 1B

The yoke is cut away from the rest of theskirt pattern.

The dar t A-B-C is cut out and closed bybringing lines A-B and C-B together.

The pattern is then drawn as a one-piecehip yoke with no dar t . The dar t is hidden‘in the curve of line D-B-E. The centerback line is placed on a fold.

Figure 2A

When the back yoke line is drawn lowerthan the hip dart, a l i ne must be drawnfrom the bottom of the dart to the yokel i ne (B-F). The yoke l i ne should not bedrawn lower than the hip section in anycase, if the yoke l i ne is to remain a fi t -ted line.

s.3‘

JiT

, 1iI|‘I>l

FIGURE 2B. The yoke is cut away from theskirt pattern. The dart A-B-C is cut out.Line F-B is cut, ALMOST to point B. Thedar t A-B-C is closed, opening a small spaceat point F.

The extra space in line D-E can be gatheredand shrunk out so that it is invisible, if notmore than about 1/2", depending on the fab-ric used.

Figure 2B

T h e Front Yoke.

Figure 3A

A front yoke l i ne E-D has been drawn

slightly below the dart A-B-C.

A l i ne must be drawn from the end ofthe dart to the style line (B—F).

Points G and H help in sewing the yokeline to the sk i r t .

FIGURE 3BB shows the muslin fi ttingof the yoke pattern.

34

Figure 3B

The yoke is cut away from the rest ofthe pattern, and the same procedurefollowed as in Figures 2A and 2B fo rthe back.

Figure 3BB

A Front Y o k e A n d Center Panel

FT *1 L E

GIFLIDE

LNE “ -—LINE

__3 :_ 4'T

F_

z L ——2 I I2 3 4 __u_ _I ' — - —

-§In.— I _ tZ __In0 L - 2 - —

F G I F G _ ___ __F

Figure 4A Figure 4B Figure 4cFIGURE 4A. The yoke and panel lines (D-Eand E—F) are drawn as desired.

A panel line is more pleasing to the eye when it is drawn so that the panel isWider at the bottom than the top, by about one inch. (See Figure 14A.)

FIGURE 4B. The yoke and panel are cut away from the rest of the pattern.The dart space is cut out and the dart lines brought together, making the dartinvisible.

The ‘side section of the pattern can be cut into as many sections as desiredfor creating additional fullness either by means of gathers or flares, or evenloose pleats. (See Figure 4D.)

A guide line has been drawn to help spread the sections in a straight line.

FIGURE 4C. Here the side sections have been spread for gathers, or loosepleats, under the yoke.

The curve of the side seam no longer necessary, a straight l ine can be drawnfrom the waist to the hem as shown by the dotted line D-G.

FIGURE 4CC. This fi gure shows a cloth fi tting of the pattern with the side7

sections of the skirt gathered to match the yoke lines.35

Figure 4CC

an - T 1 " if

. : j: : j

_____ — — : — ———- F§‘

— - % . _ — _ — : : " ‘ —

Figure 4D

In this fi gure, the side sections are spreadin a circular fashion for circular flares. SeeFigure 9B also.

The sections are kept together at line D—E,while the width of the hemline is increased.

The dart space is eliminated since it is no

longer necessary.

Additional flares can be added from points Dand E as well as shown by the dotted lines.

FIGURE 4DD shows the clothfi tt ing of the pattern.

36

CENTER

FRONT

F

Figure 4B

A flare can be added to the centerpanel l ine from E to the hemline,

matching the flare from point E ofthe side section.

Figure 4 DD

A Front Y o k e A n d Loose Pleats

I 2 3 41 '5Figure4F

Tmthis figure, the front skirt has ayoke l ine beneath which f a l l loosepleats.

The yoke l i ne D—E is drawn at thebase of the dart to i l lust rate an-other basic style .

Lines 1, 2, 3, 4 represent the loosepleats.

\ /\ ~ _ — ’

fi tting of the pattern.

r—LFigure 4GCv

Figure 4G

The yoke is cut away from the rest of the pattern. Thedart space A-"B-C is cut out and the dart closed.

The rest of the skirt is cut in to sections 1,2,3,4 and

spread as desired for the loose pleats. The sectionscan be spread wider at the bottom as shown so that thepleats will have more depth at the hemline.

It is important that the sections remain level with eachother no matter how far apart they are spread.

The pleats should be folded in paper the way they will belaid in cloth and a tracing wheel rolled through l ine D—Eto get the correct yoke line in the pleat spaces. Thedotted lines from 1 to 2 to 3 to 4 show the shape the l inetakes to make the curve of line D-E.

FIGURE 4GG shows the cloth

37

PLEATS AND GATHERS

When the skirt is gathered or pleated throughout the entire waistline, no basicskirt pattern is needed. The final pattern can be drawn immediately by Calcu-

lat ing the amount needed to make the gathers or pleats desired.

Groups of narrow, pressed pleats are best lef t to the professional pleater whohas the proper machines.

Other types of pleats and gathers are made by cutting and spreading the sk i r tpatterns. Some types have been i l lustrated in Figures 4C and 4G.

All-Over Gathers A n d Pleats.

GATHERS B B B B

3 lEE; Figure 5Bl.|.l K(D Ill

'2*5 3(D

Figure 5A

FIGURE 5A. This pattern represents one-half a back or a front skirtto be gathered at the waist.

For gathers, a width two to three times the finished waist measure-ment is usually allowed.

Figure 5C

This diagram shows the pleatsFIGURE 5B. For all-over loose or pressed pleats, the amount nec- folded in place. Only the one-essary for the pleat inlays must be figured and each pleat space (or inch pleat spaces show on theface of the pleat)marked. surface. The two-inch pleat

inlay folds in half to‘rnake aThis figure shows only a section of the entire pattern which has been pleat one inch deep.marked off in pleat spaces. There are 28 one—inch pleats (A)makinga 28' ' waistline. The pleat inlays (B)or the amount the pleat folds i n ,are two inches, making a pleat 1" deep.

The skirt will have 28 pleats, 1" apart and 1" deep.

FIGURE 5AA shows a cloth fi ttingof a gathered sk i r t .

FIGURE SBB shows an all-over

pleated skirt.

m i x

Figure 5AA 38 Figure 5BB

A Limited N u m b e r of Loose Pleats.

The pattern must be cut and spread where each pleat is to fa l l .The procedure is the same one described in Figure 4G.

A back skirt is handled in the same way.C

.LNOUJ

H3.LN30

.LNOH:|

H3J.N33

MEN

CENTER

FRONT

— - 1 ' “ - §

I 2___._.__...._ 2 -§“‘*——‘

Figure 6A ---—-‘-—-J‘

Figure 6BLine 1-1 shows where one sideP163-t W111 fa11- The pattern is cut on line 1-1 and spread any depth desired

for the pleat .The center pleat will f a l l fromthe Center front l ine 2-2- The center pleat depth is allowed directly to the center f ront ,

making a n e w center f ront l ine which can be placed on a fold.

The arrows point to the directions in which the pleats are tobe folded. The pleats should be folded in the paper and atracing wheel rolled through the waistline to get the correctshape of the waistline in the pleat depths.

Pleat 1 can be folded over a l i t t l e deeper to point A to takein_ the space of the dar t . 0

FIGURE 6BB shows the cloth fi tting of the pattern. The twoside pleats facing each other at the center front make an i n -verted pleat.

The pleats can be stitched as far down as desired.

Figure 613B 39

_&_........‘.......‘..,.;._:

...

Ol"'|Z-4TH3U!POX

A flare is additional width orCircular flares are so named because the skirt is spread in a circular fashionto obtain the additional width.

Flares

In both the front and back skirt patterns the waist darts can beused to open fl ares in the skirt. This keeps the flare belowthe level of the dart.made in which the hipfall from the hipline.

Figure 7A

FIGURFigure 7BB

FIGURE 7A. A line (F-H)is drawn from the base of the dart to thehem in the direction the pleat is to fa l l .

FIGURE 7B. The dart space E—F-G is cut out. The pattern is cuton l ine H-F ALMOST to point F. The dart E-F-G is closed, open~ing space H-F—H. This flare fa l ls only from point F.

Additional flare can be added to the center back seam from the hip-l ine as shown by the dotted line I- J.

Additional flare can be added to the side seam as shown by the dot-ted line K-L. (See Figures 9A and 9B as well.)

CIRCULAR FLARES

fullness added to a skirt causing it to spread out.

F r o m T h e Skirt Darts

Thus, a four piece flared sk i r t can bearea is smoothly fi t ted because the flares

_ _ _ . . — . _ _ _ . _ . —

Figure 7B

E 7BB. This figure shows the c loth fi tting of the pattern.40 '

EFrEF5FEIFEE

Figure 8A

z?'JcZ'x dotted line representsapiace where a flare is tofili.

Adding More Circular Flares T h a n T h e Darts Allow.

The skirt pattern can be cut and spread as much as desiredfo r circular fl ares. These flares, however, must comefrom some outside edge of the pattern, usually the waist-

line, and cannot be confined below the hip.

—Figure 8B

The waist dart A-B—C is closed as described in Figure 7B.The pattern is cut on the fl a re lines from the hem ALMOSTto the waistline.

The sections are spread to give as much width at the hem-l i ne as desired. The pieces of the pattern must l i e abso-

lu te ly fl a t .

Additional fl ares can be added to the center front and sideseams if desired as shown by the dotted lines.

41

3 2 I

CENTER

FRONT

IIIII

4 IIIIIIIIFigure 9A Figure 9B

FIGURES 9A and 9B. These figures show the same procedure fo r thefront skirt pattern.

The front dart can be lengthened if desired to have the fl a re f a l l fromthe same depth as in the back.

The curve at the hip l ine in Figure 9B is no longer necessary.

FIGURE 91313. This fi gure shows the finished appear-ance of the pattern.

The skirt can be cut in four pieces with center front,back and side seams, or in two pieces, as desired.

The straight grain lines can be drawn as desired, pro-vided a l l the pieces are marked in the same way.

Figure 9BB

42

\

4&4‘

,...».aem-n

iI"'EGURE 10A. Lines A and B are drawn at right angles to each other."fl"T:.e edges of the paper can be used as guides.) The corner is mark-

yk 24'‘, the curve D—D—D-D-D, which is

Aw measure 6". It may be 1/4"

CIRCLE SKIRTS

A circular skirt can be cut on the basis of a circle without using a basic skirt,pattern. The amount andposition of the flares cannot be controlled in the same way they are when the skirt pattern is cut andspread. Skirts can be cut as a WHOLE CIRCLE, a HALF CIRCLE, and a QUARTER CIRCLE withcomparative differences in the sweep of the hem.

T h e W h o l e Circle Skirt.

ti C fo r identification. This represents ONE-QUARTER OF THE_,I3rI1RE SKIRT.

"Um draw the part of the circle which is the waistline, l i ne C-D mustK figured (the radius of the circle). C—D is one-sixth the measure-‘illmuent of the entire waistline. If the waist measurement is 24", lineID-D is 4". C—D is measured off as many times as necessary from

NJ I C to draw the waistline curve D—D—D~D—D. If the waistline is to

~« -quarter of the entire waistline,

« so too large, in which casee C—D is shortened a bita new curve drawn

m the waistline.

»w of the skirtmeasured offam the waist-circle and

‘ “'''iilel to i t .

D °/XDA

A D 0sum: SEAM /7?’

Figure l0A

Figure IOB

Figure 1GBB

43

FIGURE 10B. This fi g-ure shows how four ofthese sections are nec-

essary to make an en-tire skirt. The sectionscan be cut together mak-ing a skirt with no seam,or with only two seams,if desired.

FIGURE IOBB. This figure showsthe cloth fi tting of the finished skirt,spread so that half its width can beseen.

,.y.;.v.

.,;v...m,..=.

um,

.

A SKIRT CAN BE CUT AS TWO WHOLE CIRCLES IF AN EXTREMELY FULLSKIRT IS DESIRED. THE WAIST MEASUREMENT IS DIVIDED IN HALF ANDEACH HALF MADE INTO A WHOLE CIRCLE SKIRT. For a 24-inch waist

measurement, there would be two whole circle skirts, each measuring 12"at the waistline.

The waist measurement can be enlarged to include loose pleats, or folds or

gathers.

Figure 11A shows the construction of such a skirt with two pleats in each quar-ter skirt. Figure IIAA shows the cloth fi tting of the finished skirt.

The skirt resembles that in Figure 6BB but has a f u l l circle sweep at the hem.

SUE

SEAM

CENTER FRONT

Figure 11A Figure l1AA

44

T h e Half Circle Skirt.

ASIDE SEAM

ORCENTER BACK

FIGURE 12A. The procedure is the same asdescribed for Figure 10A EXCEPT THAT LINEC-D IS APPROXIMATELY ONE-THIRD THEENTIRE WAIST MEASUREMENT.

The waist curve D—D-D—D—D should measureone-half the entire waistline or be adjusted to\fi£ by shortening or lengthening l ine C-D. E

2 Olithe waistline is 24", l i ne c¢D is about 8" and < Ethe waist curve D should measure 12". $1: 1: Bm° #1‘Q 2

T 2 Figure 12A

FIGURE 1213. This figureshows the two sections nec~essary to make the entireskir t .

Figure IZB

FIGURE IZBB. This figureshows the cloth fitting of thefinished skirt spread so that; ha l f i t s width can be seen.

Figure IZBB

45

T h e Q u a r t e r Circle Skirt.

A cSIDE SEAM

FIGURE 13A. The procedure is the same asdescribed for Figures 10A and 12A, EXCEPTTI-{AT LINE C—D IS APPROXIMATELY TWO-THIRDS THE WAIST MEASUREMENT. Thewaist curve, D-D—D-D—D, should be the en-tire waist measurement, or adjusted to fi t bylengthening or shortening line C—D.

If the waistline is 24", line C—D is about 16",and the waist curve D should measure 24' ' .

SIDE

SEAM

Figure 13A

FIGURE 13B. This figure shows theone section necessary to make theentire skirt.

Figure 13B

FIGURE 13BB. This figure shows the clothfi t t ing of the fi nished skirt spread so that

ha l f its width can be seen.

Figure 13BB

46‘

S EAM F LARES

A seam flare is additional width or ful lness added to the lengthwise seams of theskirt. Skirts can have any number of lengthwise seams, dividing the skirt intopanels or gores. Figures 14BB and l5BB show a 6-gored skirt and an 8-‘goredskirt with seam fl ares. Figure l6CC shows a 16-gored skirt with seam flares.

G EH GH A H .A

1> IF I

F

..J _J

In

3O,4 O0 LLIL I--

Z;

ta: 3.n: ‘L“- 1::

LL]II I-. u.| ‘ Z, |- Lu1 Z_ O3 |.|.l. O

V

D 1 a o B‘V “V Figure 14A Figure 14B

F A panel l ine or gore line H-1 has been The skirt is cut into two sections on the panel line H- J'—I. Any3 drawn on the basic front skirt pattern. amount of flare (I-K) can be added to the hemline from the points

The panel will have a better shape if I. The new seam flare l ine is drawn from K to J. J-K must bethe bottom width (I- B) is made about made the same length as l ine J - I .: one inch more than the top (H—A).

'

Equal halves of the waist dart can be removed from each sectionPoint J is the level from which the of the pattern. The seam line now runs G-F-J-K or E-F-J-K.flare will f a l l , and can be any placeC. the l ine .

. FIGURE 14BB. This figure shows thecloth fi tting of the pattern.

47 Figure l4BB

Figures 15A and 15B follow the same procedure described in Figures 14A and14B, except that the center f ront or back is kept a seam l i ne instead of a fo ldline.

A fl are can be added to the center back and front seam lines, and the entireskirt cut as eight pieces.

CENTER

BACK

SEAM

Figure 15A Figure 15B

The waist dart E-F—G can be divided equally into three

parts, each part removed from a seam line as shown bythe dotted lines 1, 2, 3.

The center back seam is now l—F— J-K. The panel seamlines are Z-F—J—K and 3-F-J-K. The side seam l ine isC—J-K.

FIGURE l_5BB. This fi gure shows

the cloth fi tting of the pattern.

Figure 15BB

Figures 16A-16C show the procedure formaking a sixteen-gored skirt with goresof equal size.

4___.____

_ . — — _ _ . a — — - - *

Figure 16A

The f ront and back skirt patterns are traced

together at the side seams.

The entire skirt area is divided equally intothe number of gores desired.

49

CENTER

FRONT

P‘.; Z.2 O— 0:.3‘ 3: U-: 3 m ,_; "J Lu 3-I I-15 I Z 0:§ LIJ DJ LL,; l— 0.: 2 m.: Lu Lu0 |_1% 2g 8EE‘,§5:I‘E:W

:iit1

Figure 16B Figure 16C3:;

The to ta l amount of dart space, (the front, side Each gore or panel is traced throughseam and back waist darts) is divided equally

p

separately on to another sheet of pap-"among the gores, as shown by the shaded areas. er (without the shaded dar t areas) so

that flares can be added, or pleats, ifdesired. (See Figure 17A for the addi-

E - — ‘ tion of pleats.)

FIGURE l6CC. This figure shows the finished

appearance of a flared 16-gored skirt.

L r5115‘

Figure 16CC

50

SEAM PLEATS

Just as a fl are can be added to the lengthwise seams of the skirt,so can additional width for pleats be allowed.

51

FIGURE 17A. The same skirt sections of Figure14B are shown here with pleat allowances insteadof fl ares. The pleat allowance has width at thetop, different from the flare.

The pleat allowance may be the same width topand bottom, or the top can be made narrower asshown by the dotted lines. The pleat allowancesare usually held in place by top stitching alongthe seam l ines.

See Figure 6B for pleats running the fu l l lengthof the sk i r t .

:iZZi:_‘:::jFIGURE l7AA. This figureshows the finished appear-ance of the pattern. Theseare two side pleats, facingin opposite directions.

aFigure l7AA

J

,--—.._-- ~.-

_--_.'.2‘

I

--—“\,_-.

,-..-__-_-..__-

Figure 17C Figure 17D

FIGURES 17C and 17D. These figuresshow two other style possibi l i t ies.

Two side pleats facing each other makean inverted pleat. Two side pleats fair-ly close together, facing in opposite di-

rections, make a b_§ pleat.

A series of inverted pleats as in Figurel7D are also a series of box pleats.

Hc , ”l I A\

-FV-F

J ‘K KI J

O_I

ll...F-Z\ I oIIL

ILIi-Zll]

'3 I L L I 3Figure 17A

j t l K

! ‘ FIGURE 17B. An in-verted pleat can be _made from the sideI pleat, allowances inFigure 17A by add-‘ing a pleat inlay sec-tion to the pleat al-‘lowances.I The pleat inlay sec-

2 > tion is the size of;

L_:‘J 3 both side pleats. K-o_ 3 \ L is stitched to K-L

of the sk i r t .I \ Lines 51-1 of the skirt, sections are creased‘and folded over to Figure 17BB

meet on line J-L ofthe inlay section. This figure showsL L the cloth fi tting of.1 the skirt with in-

Figure 17B verted pleats.

GODETS

A godet is a separate piece inserted into a part of a garment to give adifference of width at a particular place.

Two basic types of godets are illustrated here as skirt godets. Theycan be used in the same way in any part of the garment.

Figures 18A-18BB show a triangular godet set into a slash, producing V

a flare. .

—-- B

Figure 18B

The tr iangle for the godet is drawnas large as desired. All the lengthl ines of the godet (A-B)must be thesame length as the slash l i ne A-Bof the skirt .

3

Figure 18A

The slash line A-B is drawn

any place on the skirt.

FIGURE 18BB. This figure shows two_ waysthis godet can appear in the finished skirt-—-

as a flare tucked away inside the slash, al-

most like a pleat, and as a flare which "pops"out of the skirt.

Figure ISBB

52

54

..

..1..i.w]!..uflJua.§,

Variations In The Cap Of The Sleeve. . . . . . . . . . . . . . . . . . . .pages 69-75


.56

is;1*

...=.,.uun.>uwu.mn.«

HEIGHT/ or

CAP / ‘

Figure IE

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XO>5

Figure 1D Figure 1F

FIGURES 1D and 1B. These figures show a cloth fi tt ing of the one-

piece fi tted sleeve. The sleeve fi ts best when the a r m is lowered.There is no excess fullness under the a r m or in the width of the shoulder and waistline without

sleeve. The wrist is t ight. The sleeve cap has the minimum full— pulling up the rest of the gar-ness necessary to fi t smoothly over the curves of the shoulder and merit. (As soon as the a r m is

the top of the arm. The amount of extra fullness in the sleeve cap

(from A to B to C in Figure 1C) usually averages about one inch

more than the armhole, depending on the fabric used.

The a r m can be raised no morethan about ha l f way between the

raised, diagonal wrinkles formfrom the top of the a r m to theunderarm. )

Variations In T h e Height Of T h e Sleeve Cap.

Figure 2A

FIGURES 2A, 2B, and 2C. These figures showwhat happens to the fi t of the sleeve when theunderarm is lengthened and the sleeve cap madeshallower. The sleeve has to become wider andso l i t t l e or no extra ful lness is needed in the capto fi t over the top of the arm. The a r m can beraised almost shoulder height without pulling upthe rest of the garment. But there is excessfullness in the underarm when the a r m is lower-ed. The sleeve shows diagonal wrinkles fromthe top of the cap to the underarm. This type of sleeve, found in sport shirts,

is best used when freedom of a r m movement is more important than a smooth-

ly fi t ted cap.

Figure 2B

Figure 2CMore details on the construction of such a sleeve cap can be found in Book I.The sleeve cap line can be made as shallow as desired, even approaching a

straight line. 58

Variations In T h e B o d y Of T h e Sleeve.

Style Variations Based On The Folded Sleeve.

Those style variations which affect only the front or back of thesleeve, or both, are most easily made when the sleeve is foldedlike an arm. The design can be drawn exactly as it is to appearfinished, and then the sleeve opened.

Folding The Sleeve.

(Refer to Figure 1C for the basic sleeve.)

s § “ ‘

Figure 4A

The back underarm line D—E-H is foldedover to the overarm or center line of thesleeve.

First the upper half D-E is folded over,

thenythe bottom half E-H.

The elbow dart fullness is folded in placeas one dart.

FRONT

Figure 4B

Line D-F of the front underarm line isfolded over to meet l i ne D-E of the back.

The elbow line must be cut from F to thefold before the bottom ha l f F—J can befolded over.

60

E Figure 5D

The bottom width of the sleevecan be gathered to a band cuff.

i‘ The cuf f usually is cut twice§. the finished width, plus what-

ever underlay is necessary forbuttons or snaps or any other

IIIIIIIIIAIIII

f fastening (the shaded section). IIII

IIII,1I

Figure SEEFIGURE 513. Extra length can beis added to the sleeve if more of a

puffed effect is wanted when thesleeve is gathered. (The straightgrain l i ne is usually shifted to thecenter of the sleeve.) I

'—~——___, I IL. 1..._ ———_ __I: _ . — . . — — _ — j

Figure SE B

This fi gure showsthe fi nished appear-ance of the gathered

I or "Bishop" sleevein Figure 5E.

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’«I.'lIl|(1!‘?.f”l’I.‘I!

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‘ T “ ” .1I Figure 5F Figure G

FIGURES 5F and 5G. More width can be added to the body of the sleeve as well as thebottom by cutting and spreading the sleeve pattern of either Figure 5C or SE, from thebottom almost to the cap line. The pieces must l i e fl at when spread, but they can bespread any amount.

62

\ |\T>

i l lHHHIIH

IIHH

WW

Figure SI-I

FIGURE SH. More width can be added to the capLine of the sleeve as well as the bottom, if desired,by spreading the pieces along a straight line. Thepieces can also be spread so that more fullness is /

to added to the bottom than the cap. (See Figure 11B.)‘ The new cap line can be drawn as indicated by the’ dotted lines.

The sleeve does not have to be made f u l l length.Wherever it is, the n e w bottom line should be drawnperpendicular to the center l ine of the sleeve. (Seethe lantern sleeve, Figure 8A, and also followingFigures 6A-6BB.)

FIGURE 5HH. This figure shows the finished ap- /pearance of the sleeve in Figure 5H, gathered to aband cuff, or l e f t loose at the bottom, gathered only31 the cap.

Figure 5HH

63

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anAnt:

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a

I...-.:a»..........‘.'..T.e.....i..-...~..~

.V-.a..,-s........,.,..-.....'

Figure 6A Figure 6B Figure 6BB

FIGURES 6A, 6B and 6BB. These figures show how width is added to the f ront andback of a short sleeve. The procedure is similar to that described for Figure 5A.The sleeve in Figure 6B can be cut and spread as much more as desired as des-cribed in Figures 5G and 5H.

(Figures 11A and 11B show other ways in which the short sleeve can be cut and

spread without first folding the sleeve.)

Adding To T h e Back Of T h e Sleeve Only.

Il FIGURE 7B. The sleeve

| is opened the same wayas“ described for Figures

I 5A-C. (The shaded sec-t ions are traced through.)

IK ‘_ iL

Léfflfl, ”M _Figure 7A Z ’ / F

\A straight line drawn from Lthrough K can be extended as Figure 7Bmuch as desired to point M.Point M is connected to thecap line. Point L can also be connected to the cap line by a straight line.The curve of the elbow is no longer necessary since there will be no elbowdart in this wider sleeve.

Figure 7BB

This fi gure showsthe finished appear-

A new underarm line can be drawn from D through the center of the new 3-RC6 Of the Sleeve-bottom l ine M--L. In this sleeve it coincides with the grain line, but it maynot always. The straight grain line can always be made the center of thesleeve. 64

.,..........a......, Figures 9A, 9B, and 9BB show another style variation that can be made on afolded sleeve. The sleeve flares out in a point at the back over a fi t ted cuff.

l1‘§l‘¢Vl.4LA‘.'ul’AJ4"tl>.‘)'J"Id‘;o.1,lI:'|1‘AnI-

v

.-«

.

-.

._._a...-.4..:;u....~...‘.«..-my

KFigure 9A

The fi tted cuff O-N-M-L-I-K-O canbe drawn as desired. The rest ofthe style line O—P is drawn as de-sired and joined to the cap line. Figure 9B ‘

A straight underarm seam l ine can The sleeve is opened in twobe drawn from D to N. The under- parts by tracing through thea r m seam line of the cuff is N- I . shaded sections.A straight f ront line can be drawnfrom M to the cap line.

..»..»...........................u.u.n..n»_...-.

.u.=..-...aumu:u:'n.a..u.m».....-_,..._A

_...

FIGURE 9BB. This figure shows thefinished appearance of the sleeve.

Figure 9BB

66

Figures 10A, 10B and IOBB show another style variation which can be made on a fo ld-ed sleeve.

Figure 10A

FIGURE 10A. The stylel ines for the puff at theback, and the cuf f (M-P-O-R to the cap l ine) aredrawn as desired. Thegathers will f a l l between0 and P.

A straight underarm seamfor the upper section isdrawn from D to N. Thef ront fo ld l ine is straight-ened from M to the capline.

In this sleeve, the seamof the cuf f runs down theback l ine O-K, instead ofthe underarm.

Figure IOBB

The back of the sleeve is a puff formed from gathers, over a fitted cuff .

Figure 10B

The sleeve is openedin two parts as in Fig-ure 9B.

Before the upper par tof the sleeve can be K L Kopened, the back curved l i ne R-O must be straighten-ed out to make a fo ld l ine . R-Q is extended from theback fold l ine the same length as line R-O. A curvedl ine is drawn from Q into line O—N.

The shaded sections of the sleeve are opened as ex-plained in previous figures.

Line Q - P gathers to meet line O-P of the sleeve cuff .

The cuf f is folded on line M- L, and the shaded sectiontraced through.

The seam line 0-K can be closed by buttons, a zipper,e tc .

FIGURE IOBB. This figure shows thefi nished appearance of the sleeve.

“W,~

Variations In T h e Cap Of T h e Sleeve.

Adding Fullness To The Head Of The Sleeve.

Fullness can be added to the top of the sleeve by means of gathers, darts,pleats, or tucks. The top of the sleeve can be cut and spread in variousways depending on the effects desired.

The following figures show the basic ways this fullness can be achieved.

Adding Gathers To The Top Of The Sleeve.

Figure 13A

Line E- G-F is drawn any place above the Figure 13Belbow line, showing the level at which thefullness to be added to the sleeve cap will The two halves of the sleeve head arenarrow down to the normal width of the spread equal amounts on each side ofsleeve. the center l ine .

The sleeve is cut on lines B—G to points The shaded section between the pointsE and F. THE PIECES SHOULD REMAIN G indicates the extra length being add-ATTACHED TO THE SLEEVE AT POINTS ed to the height of the sleeve cap atE AND F fo r ease in handling. the same time.

FIGURE 13C. This is one way thenew cap line fo r the sleeve can bedrawn. The maximum width of thespread of the sleeve has been kept.A l i t t l e more height has to be add-ed to fi nish the curve of the cap. Figure 13CC

A

av-_=....v..;.um.¢nvrun«se.xwr.u:..-:v

..

The shaded section at the top of thecap plus the shaded section betweenpoints G make the to ta l increase inheight of the sleeve cap. This extraheight enables the sleeve to stand upfrom the level of the shoulder likethe old fashioned ''leg 0' mutton"sleeve, or stand out from the shoul-der as a puffed sleeve.

This figure showsthe finished ap-pearance of thesleeve.

The sleeve fullness is gathered be-tween points A-B-C to fi t the arm-. hole.

Figure 13C

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E _____. _Figure 14A Figure l4AA

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This fi gure shows the same procedure as This figure shows theFigures 13A-C for a short sleeve. finished appearance

of the sleeve.The cap is shaped differently from that inFigure 13C to show a possible variation.Here the new cap line is drawn to makethe top of the sleeve narrower and withmore height than that in Figure 13C.

5;;m«...V..»..r.:-.u.......

M..

70

Adding Pleats, Or Darts,. 01:» T u c k s ,

making the entire sleeve head wider.

Darted Sleeves Can Be Made In Two Ways.

be made in this sleeve cap.

Figure 15C

(The sleeve in this fi gure is shown drawn only to the elbowl ine because the rest of the sleeve remains exactly the same.)

The sleeve is cut down line B-G almost to points E and F.

To T h e Top Of T h e Sleeve.

Figures 15A-15C show how the sleeve cap is cut and spread to make the darts,

Figures 16A, etc., show how a darted

These lines are continued to thelevel at which the fullness is to stop, line E-G-F.

cap can be made without affecting the width of the cap. 2I “— 3 3/§ .—3J 3

2 g2 32

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*—- E

Z-—$

D ig

o

G

FG EG F

_§L_B9v_v_ _|-LN§___-J 'Figure 15A —-——-——-—-—————-

Lines 1, Z, 3 mark the places for the three darts which are to Figure 15B

The sleeve is spread so that there are

equal spaces between lines 1, Z, and 3,if that is the way the darts are to be.The extra height (between the pointsG) added to the sleeve determines the

FIGURE 15C. The individualdarts can be made as long asthe space in the shaded sec-t ion between points G.

Darts 1-4-1, 245-2 and 3-6-3should be equal distances a-par t . Points 4,5, and 6 canbe drawn any place within thespaces made by spreading thesleeve. Both sides‘ of eachdart must be the same length.

Notice the new points 7 and 8.Line 4-7 is made the same

length as l ine 4-1. Line 6-8is made the same length asl ine 6-3.

A new cap line is drawn from

points 7 and 8 into points D. The cap l ine between points 1-2 and 2-3 will haveIbbe reshaped to make a smooth cap l ine when the darts are stitched. This isiclt done in the fi tting and transferred back to the pattern.

FIGURE 15D. This figure shows the appearance of a sleeve with longerdarts, spreading far enough apart to be individual points.darts, the sleeve pieces are spread further apart so that the space be-tween the points G increases.

71

For longer

length of the dar t .

Figure l5CC

This figure shows thefinished appearance ofthe sleeve in Figure15C.

Figure l5D

Figures 18A, 18B and l8BB show the construction of a sleeve with four dartswhich are not para l le l to each other. They cannot be spread more than 1/2"at the bottom in th is construction (see Figures l5A-15C).

Figure 18BB

E ——————— ———-—"Figure 18A Figure 183

FIGURE 18A. L-N is the combined length of the dart spaces 2-1 and 1-7. L-O is thecombined length of the dart spaces 3-4 and 4-9.

This figureshows thefinished ap-pearance ofthe sleeve.

FIGURE 18B. The dart sections are cut out and pivoted from points 5, M, and 6, mak-ing four even dart spaces. To complete the darts in this figure, the dart line must bedrawn from 8 through N (8-P)for the same length as line 7-8. 10-O-Q equals 9-10.

In this type of sleeve the dart spaces cannot spread more than about 1/2" at the bottom,otherwise points P and Q extend too far beyond the sleeve cap. New cap lines aredrawn from P and Q into the cap lines at A and C.

The fi nal shape of the sleeve cap is best determined by a cloth fi tting.

Figures 19A and 19B show the construction of two other possible style variations.~ lopFIGURE 19A. A separate "box cap" can be drawnany shape desired, but O-M can be no longer thanline L—M.

L-Q equals N-O. L-R equals O-P.M--S equals M-N. M-T equals M-P.The new cap lines are drawn from points S and Tinto the points D. Section M-N-O—P-M is cutaway as a separate section. In the fitting, line5- M-T is sewed to N- M~P.

Figure 19

FIGURE l9AA. This figure shows the finishedappearance of the sleeve.

FIGURE 19B. In this style variation, style l ineN-M-O is drawn fi rst .

N-P equals N-M. O-Q equals O-M.‘L-P should equal L-Q since they are sewn to-gether. Then line N-P, (1-0 is stitched to line Figure -19 IN- M-O. f

FIGURE 19BB. This figure shows the finishedappearance of the sleeve.

. _ . : _ : _ . —

GFigure 19B 74

Another variation possible on the fl at or open sleeve is the cowlsleeve. See Cowl Necklines as wel l . |

Figure 20A

The "cowl" l ines 1, 2, 3, 4, 5, 6 aredrawn as deep and as far apart asdesired.

The shaded sections show how theextra fullness in the normal sleeve Figure 2013 Figure 2033cap can be removed. It is no long-er necessary in a sleeve with cowl The sleeve sections are cut apart and spread This figurefullness. as desired. The shaded sections can be cut shows the

away first and the pieces rejoined at the cap. When spread, finished ap-points E and F should be kept together. The top sections pearance ofcan be spread apart less than the bottom or all the sections the sleeve.spread evenly.

H-I sews to I - J , making the inside fold of the top flcowl.The shape of this l ine can be adjusted in the fi tting.

Usually the sleeve is cut on the bias grain, as marked.

Figure 21A Figure 21B ’Figure ZIBB

FIGURES 21A, 21B and 21BB. These figures show another style variation includedhere because it illustrates the problem of inserting gathers in the middle of the headof the sleeve.

‘

A center section H—I-J-K has been kept fl a t just as a style possibil i ty. Only the sidesections have been spread to give increased width and length to the center of the headof the sleeve.

75

76

.

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Kimmie Type Combination Sleeves . . . . . . . . . . : . . . . . .pages 88-102

Gusset- Type Kimono Sleeves. . . . . . . . . . pages 89-94 '


Page 94 Page 94

Non-Gusset Type Kimono Sleeves. . . . . . . . . . pages 95-1021

‘\\ \\

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~...._........,

.,.,

\\Page 97 Page 98 Page 99

Page 101

78

rt1‘;:

Fitted Type Combination Sleeves.

Figure 2A shows the positions of the basic patterns for a l l fi t ted types of sleeve-

waist combinations.

The top cap l ine of the sleeve is placed with the armholes of the waist patternssimilar to the way it is sewed into them. It is then easy to combine the overarm

part of the sleeve with the waist patterns. The excess fullness at the sleeve cap,which normally is eased into the armhole when sewed together, becomes a shoul-der dart.

The underarm sections of the sleeve and the armholes are not changed. Anystyle l ine drawn on the waist patterns must be joined to the sleeve pattern at ap-proximately point D so that it can continue into the normal underarm and sleevecap lines.

Figure 2A

The sleeve pattern is marked on a sheet of paper.‘ (Any type of style sleeve

with a fi t ted cap can be used.) The back waist pattern is placed on the sleeveso that point D meets point I-1and point C is raised l/4" above the sleeve capline. The f ront waist pattern is placed on the sleeve in the same way. (The1/4" allowance helps keep the waist armholes from overlapping the sleeve

cap too much. As much as 1/2" can be allowed if necessary. )

The f ront and back shoulder lines B-C are brought together as a dart at pointJ, making a new shoulder line for the sleeve and waists.

The point of the dart should curve enough below J to make a line which will

follow the curve of the shoulder and top of the arm. This line is best adjust-ed in a cloth fi tting. Approximately, it can be drawn as shown here from thecenter of the shoulder lines to a point about 1/2" below point J.

80

The Fitted Raglan Sleeve.

Figure 3AD-Q and D—R are style lines, drawn as de-sired, making "Raglan" style lines K-D-Qand E-D-Q, and M-D-R and E-D-R.

Figure 3BWHATEVER STYLE LINE IS DRAWN MUSTCOME BACK TO POINT D ON THE ARM-HOLE OR WITHIN APPROXIMATELY ONE

HALF INCH OF IT, to retain a close-ly fi tted underarm.

FIGURES 3B, 3C and 3D. These fi g-ures show the pattern pieces tracedseparately from the construction dia-gram of Figure 3A.K-H-Q sews to E-D-Q of the back waist.M—L-Q sews to E-D-Q of the front.waist. B—Jsews to B-J.

Figure 3D

FIGURE 3DD. This figureshows the cloth fitting of thefi tted raglan sleeve pattern.Figure 3C Figure 3DD

81

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Figures 4A-4D show how the style lines of the fi tted raglan sleeve canbe modified by moving the shoulder

Figure 4A

This shows the same sleeve as in Figure 5A, butshortened to the elbow line because the rest of thesleeve is not pertinent.

The dotted l ine is the center of the sleeve-shoulderdart B- J -B . H-5 and L-T are notch points withinwhich the fullness in the armhole lines will fa l l .(The fullness should be placed in the area of theshoulder and top of arm curve. )

The shaded shoulder sections should be tracedthrough to another sheet of paper and cut out.

FIGURE 4C. New armhole lines are drawn approximatelyas shown here. They can be adjusted in the cloth fi tting.

K-H and M-L on the new armhole lines are the same meas-urement as K-H and M-L of the original sleeve.

The new fullness (shown by the shaded spaces) is spreadbetween points H and S and L and T. This fullness can begathered, pleated, or tucked, as desired.

dart fullness to the armhole lines.

_ _ . : : _ _ . _ _ . : . _ . _ - . _ _ . j — .

Figure 4B

The shaded sections which have been cut ,jout are placed back on the sleeve so thatpoints J meet and points B come togetheron the central dotted l ine .

This procedure opens two darts H-J-Hand L—J-L in the armhole l ines, replac-ing the shoulder dart B-J-B.

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4.-/"

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Figure 4C82

FIGURE 4CC. This figure showsa cloth fi tting of the sleeve in Fig-ure 4C, with the fullness laid inpleats.

Figure 4D

This fi gure shows another possibility. Here the shoulder dartB—.T-B is only par t ia l ly closed, opening a smaller amount offullness in the armhole.

This fullness can be gathered, as shown in Figure 4DD. If thematerial used is of such nature, and the fullness is not toomuch, the gathers can be shrunk out leaving no visible signsof the fullness. Only the shoulder dar t would remain.

It is possible to swing a l l the fullness of the shoulder dart intoonly one armhole, either the front or the back.

The shaded sections can be moved any way at all, pivotingfrom point J.

83

Figure 4CC

Figure 4DD

This figure shows thecloth fi tting of thepattern in Figure 4D.

..-NV’:

.,

..-.

T h e Fitted Dropped Shoulder Sleeve

FIGURE 5A. The position of the basic

pattern: is the sa.me as in Figures2A and 2B.

The dropped shoulder style lineO-P is drawn any way desired.(Usually it is not drawn anylower than points D on thearmhole.) The shoul-der dart lines arecontinued throughJ to the new

style l ine(point Q).

FIGURE 5AA. Thisfigure shows thecloth fi tting of thepattern in Figure5A.

Figure 5A

Figure 5AAFigures 5B, 5C and SD show the pattern pieces tracedseparately from the construction diagram of Figure5A. The dotted l ines show the procedure if a deeperarmhole l ine is desired.

PO Q

WFigure 5D

FIGURES 5B and 5C. Both the f ront and backarmholes must be lowered the same amount.

FIGURE 5D. The sleeve cap l ine must be ex-tended both front and back to match the newarmhole lines on the waist patterns. A l ine

is drawn through points K and M as a guide for extending the cap lines. The curve of the new cap lines should

approximate the shape of the new armhole lines, and must measure the same length. (O—T of the sleeve capsews to O-R of the back armhole. P—U of the sleeve cap sews to P—S of the front armhole.) K-T and M-—Ushould be the same size if possible. The shape of the armhole and sleeve cap lines can be fi nally adjusted inthe cloth fitting. ‘

84

Figure /5B Figure 5C

A Fitted Y o k e A n d Sleeve Combination.

cL____Figure 6A

FIGURES 6B and 6C. Thesefigures show the pattern

pieces traced separately from the construc-t ion diagram of Figure 6A. The dotted linesshow a modifi cation of the sleeve seam togive a more rounded effect.

Figure 6B

of the patterns in Figures

Figure 6AA 85

FIGURE 6A.terns is the same as in Figures 2A and 2B.

Figures 6A-6C show just one of many possible fi t ted yoke and sleeve combinations.

The position of the basic pat-

Here the yoke style lines are drawninto the waist darts. They can bedrawn any way desired. (Usually,the yoke line should not go lowerthan points D on the armhole.

The shoulder dart linescontinued through J,down the center of the

sleeve fo r whateverlength sleeve isdesired.

Figure 6C

FIGURE 6AA. This figure shows the cloth fi tting6B and 6C.

A Fitted Y o k e A n d Deep A r m h o l e Combination.

Figures 7A-7D show another one of many other style possibi l i t iesof the fi t ted sleeve and waist combination.

Figure 7A

The position of the basic patterns is the same as in Figures 2A and 2B.

In this figure a front yoke is combined with a. deep armhole (O-D-P).The back waist pattern has simply a deep armhole Q-R which matchesthe front in depth. F-R equals F-P.

Point S is simply a notch on the front shoulder l ine B-J marked off tomatch point 0 on the back.

FIGURE 7B. Only part of Figure 7A is shownhere to avoid the confusion of too many lines.

The cap lines of the sleeve have to be length-ened to match the deep armhole lines on thef ront and back waist patterns. (See Figure5D.)

The new cap lines D-T and D-U are drawn tomeet the guide l ine through points K and M.D-T is drawn the same length as the back arm-hole line D-R of Figure 7A, and similar inshape. D-U matches the f ront armhole lineD-P in Figure 7A and should be similar inshape. Points T and U are joined to the sleeveat any depth desired. \\F

VIt should be noted here that T-K is longer thanM-U because of the difference in shape betweenthe f ront and back armholes. If it appearspractical in the cloth fi tting, the side seam l ineof the waist could be moved toward the back tohelp make T-K and M-U equal so that both Figure'7Bsides of the sleeve are in balance.

86

FIGURES 7C and 7D. Thesefigures show the back andf ront waist patterns tracedseparately without the sleeve. Figure 7D

Figure 7C

FIGURE 7E. The sleeve lines T-V and U—Wshould be made the same length. Also, pointsT and U need not remain as sharp as they are. TThey can be dropped and flattened out becausethere is plenty of length in the underarm ofx \the sleeve.

The dotted lines show how these changes canbe made. D-X equals D-T. D-Y equals D-U.X-V equals Y-W.

The shape of these lines can be adjusted fur-ther in the cloth fitting, if necessary.

Figure 7E

Figure 7EE

This figure shows the cloth fitting ofthe patterns in Figures 7C, 7D and 7E.

87

K i m o n o Type Combination Sleeves.

When the entire sleeve is joined to the waist, there is always the problem of raisingthe arm comfortably. (See Figure 1F in the introduction to Sleeves.) More " l i f t "can be given to the underarm either by inserting a separate underarm section knownas a "gusset, " or by providing enough extra length for the underarm of the sleeve inthe construction of the pattern.

'

The gusset gives extra length without extra ful lness. It is diffi cult to set in and fre-

quently rips out, but it does allow for a more fi t ted type of kimono sleeve.

When extra length is added to the underarm as in Figures 10A and 10B, more f u l l -ness comes into the armhole. The shaded sections in Figures 8B and 10B should becompared. The a r m can be raised higher with no gusset piece, but there is more

excess fullness at the underarm.f.

E Gusset—Type K i m o n o Sleeves.3;;

52

*‘?'.‘E’.’?*2‘:'L‘!.'.,

..

Figure 8A

This figure shows the positions of the basic patterns for a l l gusset-type kimono combina-

tions in relation to the fi tted type combination sleeves. This figure is based on Figure2A of the fi t ted type combination sleeves, which is shown here in dotted lines. It is d i f -ferent from Figure 2A in that both waist patterns have been swung away from the sleeve,

(using points C as pivots), to keep the underarm lines of the sleeve entirely free from thewaist patterns. This causes the extra fullness (shaded sections) at the armhole which is

typical of a l l kimono type sleeves. The shaded sections in Figure 8B show this more

_. c lear ly.i‘ 88

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The Basic Position Of The Waist And Sleeve Pat ternsFor Al l Gusset-Type Kimono Sleeves

Figure 8B

The instructions for Figure 2A under Fitted Type Sleeves must befollowed fi rs t .

The sleeve pattern can be marked in place,but the waist patterns should not be markeduntil the following instructions are completed.

The back waist pattern is placed on the sleeve so that point D meetspoint H and point C is raised 1/4" above the sleeve cap l ine . PointC is pinned in position as a pivot so that the waist pattern can bemoved away from the sleeve unt i l the side seam l ine E~F meets theunderarm point K of the sleeve.

The front waist pattern is moved in the same way until the sideseam l ine E-F meets the underarm point M of the sleeve.

The pat terns’ are marked in this position. The armhole lines of thewaists and the sleeve cap l ine are no longer of any use except asguide lines for the drawing of style lines.

89

Figures 9A-9K show various types of gussets which can be constructed to give"lift" to the underarm of the sleeve.

The larger the gusset, the more freedom of a r m movement. A balance mustbe struck between the small gusset which is invisible when the arm is downand a gusset large enough for comfort when the arm is raised. This can beachieved only through many trials with cloth fi ttings. (Thegusset is usuallycut on the bias grain to lessen the strain on the corners.)

The basic procedures outlined here are the same whatever the size and shapegusset desired.

Figure 9A

The front and back armholes must be cut into to allow the insertion of thegusset. Enough space must be cut out to make room fo r small seam al-lowances. The slash line_s must be drawn to some outside edge of thewaist and sleeve patterns.

The front gusset slash lines U—T-M‘ meet the above requirements. Theback gusset slash lines Q-R-S must be drawn to fall the same way on theside seam and the sleeve underarm as the front. K-S must measure thesame as M-U. E-Q must measure the same as E—M. Points R and T canbe brought as high into the armhole as practical . The higher the points,the higher the arm can be raised.

In effect, new armhole and sleeve lines have been drawn. R-Q and T-Mare the back and front armhole l ines. R-S and T—U are the sleeve caplines.

90

Drawing The Gusset

Y B B

J w’vR

T

U,SFigure 9C

Figure 9B

FIGURE 9B. Only part of Figure 9A is shown for greater c la r i ty.

The dotted lines show the gusset pieces which will be joined and inserted in theshaded spaces. The underarm l ine of the gusset has to be large enough to makeup for the amount cut away from the sleeve underarm (K-S and M—U in Figure9A) plus the amount of extra "lift"desired for the arm.

In this figure, the underarm gusset lines S-V and U-W are about 4" long. (About1" to replace the sleeve underarm, plus 3" for " l i f t . ") Line T-W must be madethe same length as l ine T-M. Line R-V must be made the same length as l ineR-Q.

FIGURE 9C. Both the front and back halves of the gusset (T-U-W-T and R-S-V-R) must be traced through from the construction in Figure 9B and joined t o -gether at the underarm lines U-W and S- V.

The armhole lines T-W and R-V must be placed on the same side. The sleevel ines R-5 and T-U must be placed on the same side.

@\?Figure 9AA

This figure shows the cloth fi ttingof the pattern in Figure 9A.

91

‘K Figure 9D

U,$Figure 9E

,. FIGURES 9D and 9B. These figures show another gusset in whichthe armhole l ines are shorter and the sleeve lines longer.

w,vFigure 9F

R

T

u,sFigure 9G

FIGURES 9F and 9G. These figures show another gusset in whichthe armhole lines are longer and the sleeve lines shorter. '

92

Figures 9H—9K show how a gusset can be used in a short kimono type sleeve-

Figure 9H

Figures 9JJ and 9KK should be studied first to understand this figure.

Line 1-2 is the length of the short sleeve and only part of the finishedwidth of the sleeve at that leve l . Lines Q-R-1 and M-T-2 are theslash lines for the gusset. They can be drawn as desired.

THE SLEEVE IS SO SHORT THAT PART OF THE WIDTH OF THESLEEVE IS THE GUSSET.

Figure 91

The dotted lines show one type of gusset that can be made to fi nish the shortkimono sleeve.

Since l ine 1-2 is too short to make the finished width of the sleeve, the gus-set must have part of the sleeve width allowed in i t . Lines X-V and Y-W ofthe gussets are part of the width of the sleeve. X-V plus 1-Z plus W-Y makeup the complete width of the sleeve.

Lines Q-X and M-Y rnustbe the same length for they are the underarm ofthe gusset and the sleeve. These lines can be curved if desired, to blendmore smoothly into the side seam of the waists. Line R-V must be the samelength as R-1. Line T-W must be the same length as T-2.

93

, F

R T F

v w V. O M‘ 2— x v F

; Figure 9J

The front and back gussets should be traced separately, _5 and are best kept that way. *

The grain lines of the gussets should be drawn to match A’. the sleeve.‘ '

Figure 9JJ J

This figure shows thecloth fi tting of thegusset in Figure 9J.

é:7 R 1'

l v W .

|

1 ~ Q" M’F Figure 9K

F

)

j It is possible to make the sleeve gusset with no underarm exten-

i sion at a l l , but have the width of the sleeve join directly to the

i side seam of the waists. Figure 9KK

Points Q-V and M-W are joined directly by either a straight or This figure shows the§ curved l ine blending smoothly into the sleeve line 1-2. cloth fi tting of the

gusset in Figure 9K.

Figure 9L

This shows a short kimono sleeve similar to that in Figures 91and 9K, but without a gusset. It is more diffi cult to raise thea r m comfortably in such a sleeve unless it is cut very short.

FIGURE 9LL. This figure shows thefinished appearance of such a sleeve.

l‘ /

Figure 9LL

‘ 94

Non-Gusset Type K i m o n o Sleeves.

When there is no gusset to provide the extra underarm length needed to raise thea r m comfortably, the construction of the pattern i t se l f must allow for i t . (Seethe introduction to Kimono Sleeves.)

Figure 10A

This figure is based on Figure 8A of the gusset type kimono sleeveswhich is shown in dotted l ines.

Both waist patterns are swung further away from the sleeve patternto make room for more underarm length. A center l ine B—J is drawnbetween the two shoulder lines B-C. Using points C as pivots, thewaist patterns are moved toward the center l ine so that both shoulderpoints B meet on the center line. The patterns are marked in th isposition.

There is now more fullness at the armholes (shown by the shaded

sections) than in Figure 8A.

95

Figure 10B

This fi gure is the basic position of the patterns forall non-gusset type kimono sleeves and is madefrom Figure 10A.

(The dotted shoulder lines B-C have been retained

simply to make the position of the center l ine B-Jmore c lear. )

The sleeve cap and armhole lines are now usefulonly as guide lines.

96

FIGURE 10C. Thesleeve underarmlines can be joinedI with the waist pat— \ K ‘, terns in various ways \ \ M I // T’ as shown here by the dot- \ /ted lines. \ \ I /" I

IThe front and back underarm \lines should be drawn as nearly \ I‘alike as possible. Differences inlength can be adjusted la t e r as shown /in Figures 10D—l0F.

The new shoulder and sleeve l ine can bedrawn from point B down through the cen-ter of the sleeve, or any other way desired.

Figure 10C

F

Figure 10D

FIGURE 10D. This figure shows the back pattern with the deeperunderarm from Figure IOC.

FIGURE 10E. This figure shows the front pattern with the deeperunderarm from Figure 10C.

IF THE FRONT UNDERARM CURVE IS NOT THE SAME LENGTHAS THE BACK, IT MUST BE ADJUSTED TO MEASURE THE SAME ,as shown in Figure 10F. (The adjustment can be made along thedotted l ine X—Y.)

Figure 101-:97

2I

Figure 10F

Figure IOFF

This figure shows the clothfitting of the patterns.

FIGURE 10F. The front pattern pieces have been spread at point Y unt i l l ine W-F measures thesame as line U-F of the back (Figure 10D). THE FRONT AND BACK BASIC PATTERNS USUAL-LY DO NOT JOIN THE SLEEVE IN EXACTLY THE SAME WAY BECAUSE THEY HAVE DIFFER-

ENT SHAPES AT THE ARMHOLES AND SIDE SEAMS.

It is better to l e t the patterns f a l l in relat ion to each otherthe way they were originally fi tted, and make the adjust-ments later. This preserves the original "swing" of thesleeve. (Refer to the introduction to Set - In Sleeves.)

Figure 10G

(V) on the center seam line.

bias grain and will stretch.

FIGURE IOHH. This fi gure shows

Figure l0HI-I the cloth fi tting of the sleeve.98

FIGURES 10G and 10H. These figures showthe f ront and back patterns with the highcurved underarm from Figure 10C.

Figure 10G shows how the back elbow dart(U) can be closed by pivoting from a point F

This is pos-sible only because the kimono sleeve has a

Figure 10H

-—-:._———__lFigure 101

‘fl.YAFIGURES 101and 10J.—These figures show ’zvvanother possibil i ty. The underarm seam \’ ’

can ‘be lengthened so much that when the arm/

’ 3\’Xis lowered a cowl-like effect is obtained. ;The back pattern is used here to illustrate 2

how the underarm can be cut and spread toadd more length. The front pattern would ’have to be increased in the same way. 4

G FFigure 10J

Figures 11A-llD show another style possibility.A

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Figure 11A

FIGURE 11A. In this figure, the sleeve and part of the bodice are removed from~ therest of the waist patterns, making a sort of yoke and sleeve combination. The stylelines can be drawn any way desired. E-Q must equal E-R.

99

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Figure 11B

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Figure 11C

FIGURES 11B and 11C. These figures show the back and front waistpatterns removed separately from the construction in Figure 11A.

W_ : — — — . — : — — . : j _ :

Figure 11D

If desired, the sleeve underarm seams can be made

. longer for even more"1ift. "

X—1 must equal X-Q. Y-2 must equal Y-R. PointsX and Y can be placed higher or lower as desired.

The underarm seams 1-U and 2—W must equal eachother. ‘ '

100

Figure 11DD

This figure showsthe cloth fi tting ofthe pattern.

Figures 12A-12D Show another style possibil i ty.

I ____VI __ __W

Figure 12A

Here the armhole is "squared."

l Line Q—U should equal l ine T-W.' If the underarm lines are not the

same length because of the posi-tion of the patterns, they can beadjusted as shown in Figure 12B.

101

Figure 12CFigure IZB

FIGURE 12B. The "squared" armhole sections (shaded) should betraced through and cut out. They can be pivoted from points 1 and2 and moved up as much as desired to increase the underarm lengthof the sleeve.

In this procedure, the underarm lines Q-U and T-W can be madethe same shape and length.

The armhole lines O-1-P and R-2-S should be rounded off at pointsI and Z. This may require an adjustment in length as shown.

FIGURES 12C and 12D. These figures show the back and front waistpatterns removed separately from the construction in Figure 12A.

\\

Figure IZBB

This fi gure shows the c lothfi tting of the pattern.

102

Figure 12D

I N D E X TO C O L L A R S A N D S P E C I A L NECKLINESFlat Collars. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ---,pages 105-106


Rolled Collars - Type I. . . . . . . . . . . . . . . . . . . . . . . . .pages 107-113



Rolled Collars - Type II . . . . . . . . . . . . . . . . . . . . . . ..pages 114-119

/ R \§Page 114 Page 115 Page 116 Page 117

103

Baud Collars. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .pages 119-121


Raised Necklines. . . . . . . . . . . . . . . . . .page 122

Page 121

Cowl Necklines. . . . . . . . . . . . . . . . . . . . . . . . . . . . . ...pages 123-127

\/ /


Page 126 Page 127

104

FLAT COLLARSFlat col lars follow the exact shape of the neckline. They f a l l fl at from the neck-l ine without any standing ro l l . They are the simplest type of col la r to construct.

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Figure 1A

AFigure 1C

This is the pattern of the co l la r alone.The center back l ine is placed on afold to make a complete co l l a r. PointB is the shoulder notch.

FIGURE IA. The frontand back waist patternsare placed together atthe shoulder seam togive a continuous neck-line. '

Point B of the backneckline meets point Bof the front neckline.Point E of the backshoulder l ine can reston the extension of thefront shoulder l ine.

FIGURE 1B. A col la rhas been drawn aroundthe basic neckline.

The neckline of the col -lar is the same as theneckline of the garmentA-B-C. The style lineis any shape.

Figure ICC

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Figure 1B

This figure shows a muslin fitting of thecol lar.the col lar to l i e absolutelybe made.

Any adjustments necessary forfl at should

105

Any desired change in the style l ine canbe made on the fi tting. Sometimes it ismore satisfactory to cut the co l la r widerthan the desired finished width so thatthe fi nal shape of the style l ine can bedrawn directly on the fitting.

Figure 2B Figure ZBB

FIGURES 2A, 2B and ZBB. These figures i l lustrateanother type of flat co l la r, with a "V" neckline in-

stead of a round one.

A neckline of any shape can be drawn, and the co l la rconstructed around i t .

Figure 2A

A Convertible Flat Collar.

FIGURE 3A. In this fi gure, a flat co l la r is drawn to beconvertible, that is, to l i e fl at when the neckline is open-ed to form a lapel as well as when the neckline is closed.

D-E is the lap drawn to allow for a button closing. F-Gis the break or fold line of the lapel. The shaded sec-

D t ion F-A-D-G is folded back on l ine F-G and traced sothat the neckline is in i t s open or lapel position. Theneckline of the fl at collar is drawn following the shapeof the neckline A-F-B-C.

FIGURE 3B. This is the patternG for one-half the convertible fl at

llar. 'g °° ceursnN BACK1' FE OR L

DFRONT

EFigure 3A ,

Figure 3B

FIGURE 3AA. This figure showsthe muslin fitting of the co l la r inboth its open and closed positions.

Figure 3AA 106

ROLLED COLLARS

Rolled col lars rise from the neckline of the garment fo r some determined heightbefore folding over to rest on the shoulders.

Rolled col lars can be divided into two types:

I. Those in which the fold or break l ine of theco l la r hugs the side and back of the neckas, for example, the shirt collar.

II. Those in which the fold or break l ine of theco l la r stands away from the neck.

In Type I the co l la r is limited in i t s size. In Type II the co l la r can be any shape.

TYPE I (This group includes a l l small "tailored" type collars.)

Shirtwaist Collars .Figures 4A-4EE show the construction of the typical tailoredshirtwaist collar. The fold line hugs the neck t ightly. Thecenter back depth of the co l la r is just enough to cover theback neck seam.

FIGURE 4A. Point C is the center of the front neckline A-B.The dotted lines A-C and C-B are temporary construction l ines.Line C-B is continued beyond the shoulder l ine .

V The fold line is as fa r from point B as desired for the col lar torise at the side of the neck before it folds back. (See Figure 5A

\'° for a different rise.) In this construction it is about 1 1/4".

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B “ FIGURE 4B and 4BB. The shoulder line D-B is extended to theE {old l ine (point E). E-F on the fold line is the same measure-DC \

ment as the back neckline F-E in Figure 4BB.A The shaded section repre-

sents the stand of the col-lar up to the {old or break

Cl ine .

ENTERF

ERo EFN NT TER

EFigure 4A C

KFigure 4B Figure 4BB

107

Figure 4C

This figure shows that par t of the collar which fal lsfrom the fold line to the shoulder.

From point F a line (F—G) is drawn at right angles tol ine A-E-F for the center back of the co l l a r. Line

F-G should not be more than 1/2" deeper than thestand of the co l l a r.

Style l ine G-I-I-A is drawn as desired.

The collar is now completed, folded over the stand,or shaded section, which cannot normally be seen

through the cloth.

Figure 4E

Figure 4D

The stand must he opened flat to complete the collarpattern. '

The shaded stand section is traced through and drawnon the other side of the fold l ine A- E-] : ' ‘ . (The papercan be folded on l ine A—E-F and the shaded section

traced through with a tracing wheel. )

A smoothly curved neckline is drawn rounding off thecorner at point C.

B - I is made the same Length as E-F, the back neckmeasurement.

The center back l ine of the collar is I-F-G, usuallya shaped l ine .

'

This is the finished co l la r pattern fo r one-half the completeco l l a r.

If I—F-G is not a straight line, the co l la r will have a seam atthe center back. It is possible to draw a straight l ine from Ito G and place the co l la r on a fold. The dotted line from Gto I to B shows the fold l ine and the adjustment which needsto be made in the neckline for it to continue straight into thecenter back fold. When this is done, the fo ld l ine becomes

longer and the collar does not hug the neck so t ightly.

Sometimes the under col la r is l e f t with a center back seamto maintain the good fi t and the top col la r is cut on the foldsince it has to be a. b i t larger anyway. (See Figures 51-‘ and5G.)

108

Figure 4EE

This figure showsthe muslin fittingof the col lar.

Figure 5C

The stand of the col lar must be openedto complete the co l la r pattern.

The paper is folded under on the foldl ine D- E-F, and the shaded stand sec-t ion is traced through to the other sideof the fold l ine. The neckline of thecollar has to be adjusted.

A smoothly curved l ine is drawn fromC into the center back point I as shownby the dotted line.

Figure 5E Figure 5FFIGURES 5E and SF. The top col la r always shouldbe a t r i fl e larger than the under co l la r so that theco l la r will roll over easily.

The ‘center back of the top col la r is a straight l inefrom G to I. G-I is lengthened up to 1/2" (depend-ing on the fabric used) and a new neckline is drawninto point D as shown in Figure 5F.

(Refer back to the discussion under Figure 4E aswell. )

110

B

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Figure 5D

The completed [collar pattern is tracedthrough from A—D-C-B—I—F-G-H-A andcut out.

'

The collar is i l lustrated in this posi-tion only to show how it fi ts into thefront neckline. The lapel section isshown back in i t s original position.

The dotted line J-K is the facing line.The front facing is J-B-D-A aroundto L and K. (Refer to Figure 6D forfurther discussion on facings.)

Figure 5DD

This figure shows the muslinfitting of the co l la r in itsopen position. When closed,it would look like Figare 4EE.

open.of the neckline.

Figure 6A

The construction of the stand and lapel‘follows the instructions in Figure 5A.

The lapel is immediately drawn in i t sfinished position, from point D, anyshape desired.

The stand of the co l la r is narrowerthan that in Figure 5A because the‘lapel has been drawn open wider at theneckline.

FIGURE 6D.

eased in sewing and shrunk in pressing.

added.

non-convertible lapel .

When the lapel remains open permanently,the facing must be made larger than the lapel i tse l f so thatthe lapel can roll over on to the f ront easily.

Just as described for the co l la r in Figure 5F, the facingcan be made up to 1/2" longer than the lapel, and abityvider, depending on the material, i. e. how well it can be

Lines J- B—D—M-N and the center front l ine should be‘drawn first on another sheet of paper.then be moved down on the center front line, up to 1/2".In this position the rest of the facing from N to L down thecenter front to K and back to J can be drawn.

The dotted l ines are the finished l ines of the facing.show how the increase in length comes out when properly

The construction of the col lar and lapel proceeds in the same way described inFigures 5A, 5B, and 5C.

Figure 6B

The col lar is completed ac-cording to the instructionsin Figures 58 and 5C.

The pattern can

TheyFigure 6D

111

Non-Convertible Type Tailored Notch Collars.

Figures 6A-6D show the construction of a tailored notch col lar drawn to fi t into aThe shape of the lape l is such that it must always be worn

It cannot be worn closed around the neck since ' i t does not have the shape

Figure 6C

The completed col lar pattern is tracedthrough as described in Figure 5D.

The lapel section is opened fl at by fold-ing the paper under on the fold line D-Land tracing through the lapel lines D-M-N-L with a tracing wheel.

The co l la r can be treated as describedin Figures 5E and 5F. (When the standof the co l la r is made narrow, as it ishere, there is very l i t t le shape to thecenter back of the col lar. )

Figure 6CC

This figure showsthe muslin fittingof the pattern.

Tailored Shawl Collars.

Figures 7A-7C show the construction of the tailored shawl col lar in which the co l la rand lapel form an unbroken l ine from the center front to the center back neck.

The construction of the collar proceeds in the same way asdescribed in Figures 5A,5B, 5C and 6A—6D.

Figure 7A Figure - [B

FIGURE ‘IA. The lapel and col lar construction proceeds as described in Figures6A and 6B.

The style l ine of the collar, G-H, is drawn to make a. smoothly curved, continu-ous l ine with the lapel line L-}{.

FIGURE 7B. The under collar section is shown separated from the lapel, and thelape l is opened as shown in Figure 6C.

FIGURE 7C. The facing for the lapel can be cut in one piece with the top co l la rso that no seam is visible except at thecenter back.

The col lar and facing are kept joined atlines B—D—H. Extra length should be addedto the collar—lapel facing as was explainedin Figure 6D.

T

FIGURE 71313. This figure shows the mus-l i n fi tting fo r the co l l a r.

Figure 7C Figure 7BB1 12

Stand Collars.

Figures 8A—8CC and 9A—9BB show the construction of collars which do not rollover at the neck, but consist of a, stand alone, joined to the lapel. The proced-ure is the same as described for Figures 6A, etc .

The lapel can be drawn from any place on the fo ld line. Two different types oflapels are shown here, but any number of variations is possible.

At the back neck, the co l la r is just a band collar, as shown in Figure 8CC.

Figure 8A F Figure 8BG <3 F

Figure 9A Figure 9B113

Figure 8C

Figure 8AA

H Figure 8CC

Figure 9BB

l

V.l

There are many variations in this group of collars.

TYPE II

Some collars have a slight, uni-form r o l l from the center back to the center front; others r o l l away from back of theneck only, lying fl a t at the front; some are cut in one with the center front waist. Al lthe col lars are constructed basically in the same way.

Figures 10A-10E show a col lar with a slight roll around the entire neckline. G/

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Figure 10C

Figure 10A

Point C is the center of the frontneckline A-B. A temporaryguide l ine is drawn from A to C.From point A a l ine is drawn atright angles to A-C for the cen-t e r front l ine of the neck.

Figure 10D

The new back neckline J-K is drawnin the same way as the front F-G.

E-L should measure the same lengthas B-H of the front. (The shoulderdart is ignored.) The style l ine ofthe back collar is drawn as desired.Points K and L are joined.

Figure 1013

The center back l ine of theback waist pattern is ex-tended through point D forthe center back of the neck.

RFOLDBACK

Figure 10E

The f ront and back col la r sections arecut out. The shoulder lines are placedtogether so that points G and K meet.

Any necessary adjustment in the stylel ine can be made.

The shaded section is the depth of theroll or stand of the co l la r which turnsdown to meet the neckline.

114

F -G is the new neckline of thefront co l la r. If the co l la r isto have a one-inch roll, thatis, 1/2" up from the base ofthe neck and 1/ 2" down again,F-G must be drawn one inchabove the neckline A- B.

F-G is drawn paral le l to theneckline A-B and the samelength. The style l ine of thecollar (H-I-A) is drawn as de-sired. Points H and G arejoined.

Figure IOEE

This figure showsthe muslin fittingof the col lar.

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Figures 11A-11D show a type of collar in which the roll of the collar is greatestat the center back, gradually narrowing unti l it disappears at the center front.

It is easier to construct the back of the co l la r fi rs t , since the back r o l l of thecol lar is the height to be determined.

Figure 11A

Line A-C is continued from thecenter back line for twice thedesired rise of the col lar. Ifthe r o l l of the collar is to be3/4" in depth, line A-C is made1 1/2".

Line C-D is drawn at right an-gles to l ine A-C and is madethe same measurement as theback neckline A-B. The styleline E-F is drawn as desired.Points D and F are joined.

Figure 11B

The neckline for the col lar on thefront waist pattern can be drawn asdesired. In this figure the neck-l ine is a shallow " V "type necklineG-H.

H-I is the new neckline of the frontco l lar. I-I-I should measure thesame as the neckline G-H. Thedistance from I to G is the same asthe distance from D to B in theback collar (Figure 11A). G-J isthe same length as B-F of the backcollar. Points I and J are joined.

The style line J-K-H is drawn asdesired.

Figure 11D

This shown the finished pattern for one-half the co l l a r.L-E is the center back fold.

The shaded section is the depth of the roll or stand ofthe collar which turns down to meet the neckline.

115

Figure 11C

The back section of the co l la r (Fig-ure 11A) is cut out and joined to thefront so that point D meets point Iand l ine D-F meets l ine I- .]’ .

If points F and J do ‘not meet, thestyle l ine of the collar can be ad-justed as shown by the dotted line.

'I‘he back neckline (D-C)can be re-drawn so that it makes a bettercurve with the front neckline I-H asshown by the clotted l ine. Becausethis removes some of the collarroll, just enough shaping should bedone to prevent a sharp corner atpoints I, D.

Figure 1lDD

This figure showsthe muslin fi ttingof the collar.

Figures 12A-12D show the construction of the same type of col la r as in Figures 11A-Al1D, except that the co l la r is shown cut in one piece with the front waist pattern.

front with an overlap for buttons is shown fo r variation.E

Figure 12A

K

Figure 12D

Figure IZB

—IzO:I:I'n

zurn-czrnn

Figure 12C

FIGURES 12A and 12B. These figures follow the same pro-cedure explained in Figures 11A and 11B.

FIGURE 12C. The completed collar H-I-L-E-K-F-H can becut out and used as a separate col lar. Line H-1 sews to thefront neckline I-I—G. Line I-L sews to the back neckline A- B.L-E is the center back fo ld of the collar.

FIGURE 12D. The collar is joined to the waist pattern byjoining the collar neckline H-I to the front waist neckline H-G.M-N is the collar-front facing line (see Figures 7B, 7C).

FIGURE IZDD. This figure shows the front and back of themuslin fi tting of the collar.

//\Figure IZDD

116

Figure 13A

Figure 13C

Figure 13CC

Figure 13B

the pattern.

117

FIGURES 13A-13D. These figuresshow the same collar construction asin Figures 12A-12D. The necklinehas been drawn lower than the nor-mal neckline of the basic pattern justto show that the construction of theco l la r remains the same whereverthe neckline is drawn.

E

Figure 13D

FIGURE 13CC. This figureshows the muslin fi tting of

Figures 13E and 13F show a variation in the roll of the col lar. To make the collarstand away from the neck even more than this construction allows, the r o l l l ine canbe increased in length by means of darts, or tucks, or gathers.

NECK

LINE

NECK

LINE

Figure 13E Figure 13F H

The lines are cut almost to the edge of the patternand spread as much as desired. Line 5, the cen-ter back line, cannot be spread. The same amountof fullness is added to i t .

The dotted lines 1, 2, 3, 4 show where the co l -lar is to be cut and spread for the increase inlength. These lines can be drawn anywhereon the neckline depending on where the collaris to stand away from the neck.

The spaces formed (the shaded sections) can bemade into darts, pleats, tucks, or gathers, up tothe roll l ine. The neckline of the collar is reducedto its normal size so that it will fi t into the neck-l ine of the garment. The r o l l l ine retains its in-

creased length.

FIGURE 13FF. This figure showsthe muslin fi tting of the co l l a r.

Figure 13FF

118

B a n d Collars.

Band collars can be of two types:

a.. A simple str ip hugging the base of the neck.b. A double co l la r consisting of a band col la r plus

a fl at co l la r attached to the top of the band.

The Simple Band Collar.

Figure 14B

The collar neckline is drawn as a curved l inefrom points A to B, eliminating the corner atC.

Figure 14A The neckline of the band collar (A-D-E)_ equalsthe measurement of the front plus the back

Point C is the center of the neckline A-B. neckline: of the waist patterns. A-D equalsC and A are joined by a l ine. C and B are the front neckline. D-E equals the back neck-joined by a l ine which is extended through line.point B. From point A, a center front linefo r the collar is drawn at r ight angles to The col lar can be drawn any width and shapeline A-C. desired. Lines E-F—G-A complete the co l la r.

GF

AE 0

Figure 140 Figure 14cc

This is the pattern for one—half the band This figure showsco l l a r. The center back l ine E-F is . the muslin fittingplaced on a fo ld to make the complete of the coua_r_co l l a r.

119

FIGURES 15A, 15B and l5BB. These figures i l lus -trate one possible style variation of the band col lar.

Y

G

’ G

AE D

Figure 15A Figure 15B '

Figure ISBB.

The Double Band Col la r.

BAND 3E D G A

TOP COLLAR

Figure 16B Figure IGBB

This figure shows the This figure shows

finished appearance of 3 muslin fitting ofboth collar patterns. 311011 3 Collar.

Figure 16A Line F-G of the topI

co l la r is sewed to l ineThe band Col lar A-D-E-F-G-A F-G of the band col-

is the same construction shown lar.

in Figure 14B.The dotted curve from

§ Another co l la r G—I—H-F-G is A-B shows a type of1

drawn over the band co l l a r. button extension whichcould be added to the i

The top collar and band collar band collar to be but—patterns must be cut out sepa- toned at the center

‘

rately, f ront .

120

Figures l7A-17D show the procedure which would haveto be followed if a very deep top col la r were desired.

V

DE

J

H

Figure 17A . Figure 17B

The construction of the col lar is the same as that de- Line H—J on the back waist patternscribed in Figure 16A. The top collar is made as is the style l ine of the back sectiondeep as desired. of the collar.

The shaded area of the top co l la r represents the back Line E-H isthe same measurementsection of the co l l a r. As constructed, it could not as the back depth of the co l la r E-Hpossibly fi t around the body. It must be widened to in Figure 17A,measure the same as the back waist pattern at thatdepth.

Figure 17C Figure 17D

The top co l la r ‘of Figure 17A is cut out The top col lar is cut and spread so that l ine H-1 is the(G-A-I-J—I-I—F). The dotted lines show same length as l ine H—J of Figure 17B, PLUS l ine . ]’-Iwhere the col lar can be cut and spread of Figure 17A.to increase the length of l ine H- J - I .

The finished collar pattern consist of the band collarpattern of Figure 17A (A-G-F-E-D-A)and the top co l -lar pattern of Figure 17D. Line F-G of the top col larsews to l ine F-G of the band co l la r. The center backl ine }:‘-E of the band col la r is placed on a fold. Thecenter back line F-H of the top col lar is placed on afold.

FIGURE l7DD. This figure showsthe muslin fitting of such a co l l a r.

Figure l7DD

121

RAISED NECKLINES

The neckline of a garment can be moved higher up on the neck than thebasic neckline making a finish for the neckline without a separate co l la r.

Figures 18A and 18B show the construction of the "neck" on which theraised neckline can be drawn. -

CENTER iFRONT


“_ Point C is the center of the neckline A-B. A l ine is drawn The center back line of the waist pat- is. - from A to C. The center front Line of the neck is drawn at tern is extended above the necklinef right angles to l ine AA-C. The side l ine of the neck (B-D) through point E. The side line F-Gi is drawn parallel to the center front l ine. is drawn para l le l to the center back

line..- Because the human neck is not the same width from i t s

‘: base to the head, the side l ine should be tapered l/4"about (}.C,' is constructed in the same way i- 1" above point B. as D-D‘ in the front. The new side *_ l ine is F-G’. ;‘V B-D is one inch. D-D‘ is 1/4". The new side line is B-D‘. ‘6‘

__. » ’ F 1E ’

‘L~

é «

tFigure 1313 Figure l8BB

FIGURE 18B and l8BB. Any type of "raised neckline" can be drawn on the‘

"neck". Figure 18B illustrates one type of neckline. Figure l8BB shows ‘the muslin fi tting of such a neckline.

Since the shape of the "neck" is approximated, fi nal adjustments in theshape of the side of the neckline can be made in the muslin fi tting.

122

..,,..iJLs:~a.,y._..;, ~ ~-

COWL NECKLINES

A cowl is a sort of soft pleat or fold, usually cut on a bias grain.

Figures 19A-22B on the following pages i l lustrate basic types ofcowl necklines. (Themethod of constructing cowl necklines‘ canbe applied to skirts, sleeves, e tc . )

The Simple Neckline Cowl.

The cowl fold is confined to the neckline only. It is notcut into the body of the waist pattern as in l a t e r figures.

:_____2/

——————-—o'=

Figure 19A Figure 1.93

The depth of the cowl neckline Line A-B is raised any amount desired for the cowl(A-B) is drawn on the front fold. Line A‘-B‘ is the same length as l ine A-B,waist pattern. and is the new neckline.

If the center front is to be placed on a bias fold,point B‘ is joined to the waistline C by a straightline. If a center front seam can be made, point B’can be joined to the center front at any level (D),keeping the cowl fullness as close to the necklineas desired. The center front seam l ine would beB‘-D-C.

FIGURE 19BB. This figure shows themuslin fitting of the cowl with a centerfront seam.

Usually a small weight is attached topoint B‘ to keep it down in its properpo sition.

Figure 19BB

123

The Center—Front-To-Shoulder Cowl.

A


Lines 1, 2, 3 show where the The pattern is cut on lines 1, 2, 3 ALMOST to thecowl folds are to fal l . shoulder seam. The pieces are spread as much

as desired for the depths of the cowls. (The

pieces must be barely attached at the shoulderso that they wi l l l i e absolutely fl at when spread. )

The depth of the top cowl (3) is just added to thepattern as in Figure 19B. The new top line (3)is made the same length as the old neckline (3).The center front fold l ine is drawn from 3 to A.This l ine should be placed on a. true bias fold.(See Figure 21C.)

/

Figure ZOBB

This figure showsthe muslin fi tt ingof the pattern.

124

Figure 21A

The yoke l ine A-B is drawn on the center front waist pattern.Points C and D are notches marked to help stitch the yoke andwaist sections together correctly.

Line F-H is drawn to shift the waist dart E-F-G into the yokeline A-B. (See Figures 11E, 11F in the section on Bust Darts.)

Lines 1, 2, 3 are the cowl lines.

Figure 21C

The yoke section is cut away from the rest of the front pattern.Each of the cowl l ines (1, 2) are cut from the center front AL-MOST to the shoulder l ine and spread as much as desired.

In this illustration, the cowl spaces have been made differentwidths. The top cowl depth (3) is just added to the pattern.The new l ine 3 is made the same length as the old.

If the center front l ine of the yoke section can remain a seaml ine , it can be drawn as a curved l ine from 3 to B. This l ineshould be cut on a bias grain, as indicated.

The square is drawn so that part of the center f ront curve be-comes the diagonal of the square. One side of the square be-comes the straight grain l ine , as shown by the arrows. (SeeFigure 21E.) 125

cowl set into a yoke.

Figure 21B

The waist dart E—F-G isclosed, opening a smalldart (H-F-H)which la tercan be gathered or easedinto the yoke line.

Figure ZID

Figure 21D is the same as Figure21C except that the center frontl ine of the cowl has been kept astraight l ine so that it could beplaced on a fold. To achieve thisit is necessary to lengthen the newl ine 3 enough to meet the straightcenter f ront l ine continued up fromB. The new center front fold l ine3-B) should be made the samelength as the o ld curved l ine 3-B.

BIAS

‘V’

sum

BFigure ZIE Figure ZIDD

This is the finished pattern of the yoke section of This figure shows the *‘

Figure 21D. muslin fitting of the ‘patterns in Figures .

The center front fold is placed on a bias grain by 21B and 21D.making it the diagonal of a square, one side ofwhich is the straight grain.

Figure 21FF

Figure 2 IF

FIGURES 21F and ZIFF. These figures show the same type of cowl construction

as the previous figures, except that here the cowl pieces are spread apart at the

shoulder as well, allowing for pleats.

The cowl folds will f a l l from pleats on the shoulder l i ne , instead of from a smoothshoulder. This extra depth makes the cowls more sharply defined.

When the pleats are folded in place in the muslin fi tting, as indicated by the ar-

rows, the shoulder l ine should be the normal one in Figure 21A. Corrections can

be made in the muslin and the pattern adjusted from i t .

126

The Armhole-Center Front Cowl.

cam’:-:n

mom

//l

I

Figure 22A Figure ZZB

FIGURES 22A and 22B. These figures show the construction ofs cowl which originates from the armhole line instead of theshoulder. The neckline has been kept normal. To i l lustratesomething else that can be done, the center front is made withan extension for buttons.

Figure ZZBB

This figure showsthe muslin fi ttingof the pattern.

127 ‘

INDEX TO T H E APPENDIX

The Two-Piece Sleeve . . . . . . . . . . . .pages 131-132Grading The Two-Piece Sleeve. . . . . . . . . .page 145 Cuffs . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 133

I” I \\\

0,L

Q .


Pockets... .... . . . . . . . . . .page 134 Circular Ruffl es -Groups of Pleats. . . . . .page 135«(Page 135 Page 135

Page 134

129

A Complete Dress Pattern And I t s Grading. . . . . . . . . .‘. . . . . . . . pages 136- 144

130

THE TWO-PIECE SLEEVE

The two-piece sleeve is a tailored sleeve limited today to suits and coats.It is a basic-style sleeve based on the folded one-piece sleeve, with sep-arate overarm and underarm sections.

\

\

\\ Kv ‘K \K \

\\\‘ NN F \ F

E 1-:

Figure 1A Figure 1B

The one-piece sleeve is traced in i t s folded position. The wrist measurement usually is widened(See Figures 4A and 4B in the section on Sleeves.) , enough for a hand to slip through. The back

l ine G-K—E can be moved out to increaseThe underarm section of the sleeve has no rigid di- the width of the wrist. The new wrist linemensions. It can be varied as wished. The shape E-F usually measures 4 1/2"—4 3/4".illustrated here is a good average one.

The new back l ine G-E is drawn first. E-KThe back underarm l ine I-J-K is drawn as follows: is 4 inches. J-K is drawn.

I is the center of l ine A-D. ‘

G-J is 1/2". E-K is 4".

The f ront underarm l ine L—M-N is drawn as follows:L is the center of l ine D-C.M-H is 1". N-F is 3/4".

131

|L I

EFigure 1C

lFigure ICC

II’

0O0

Figure IDD

630

EFigure 1D Figure 1E

FIGURE 1C. The underarm section of Figure 1B is traced through separatelyfrom the rest of the sleeve. 1, 2, 3 are notches placed to aid in sewing. . . ] ' -1is about 3". M-Z is about 2''.

FIGURE 1D. The folded sections (shaded) of the overarm section of the sleevehave to be opened. (The underarm section has been omitted from this drawing.)

Back: The paper is folded under on l ine A- G. A-I—J is traced through. J-1 isthe same measurement as J-l of the underarm section. J is joined to K.

Front: The paper is folded under on l ine C-H. C—L-M is traced through. Thepaper is opened fl a t and re- folded on l ine H-F. M-N is traced through.

M-2 equals M-2 of the underarm section. M-3 equals M-3 of the underarmsection.

FIGURE 1E. Sometimes it is desirable to give more shape to the two—piecesleeve. The folded sleeve of Figure 1A can be cut on line G—H and spread atpoint G another ha l f inch or so, as shown by the shaded section. The sleeve isnow bent more at the elbow. The rest of the procedure follows as describedabove.

FIGURES ICC and IDD. These figures show the underarm and overarm viewsof the sleeve.

132

CUFFS

Cuffs can be pieces cut to match the sleeve and stitched back on, similar to anoutside facing. These are simply drawn from the fl a t sleeve.

The cuffs i l lustrated here are separate from the sleeve, with their own shape.They are drawn in their finished position on the folded sleeve. (See Figure 4Bof the section on Sleeves.)

‘ .

\\ .‘ .

\\\ix\ D D _

. 3 BA A A .

Figure 2A(Only the lower section ofthe folded sleeve is used.)

The cuff lines A-C-D-B aredrawn any shape desired.This cuff swings away fromthe back of the sleeve (A-D)and will be opened there.Line B-D is the front foldof the cuff.

C

A

Figure 3A

This cuff has a slight swingfrom the front and back ofthe sleeve (B-D and A—C).The cuff is seamed or open-ed at the underarm E-F.

Figure 2B

The cuff is opened by foldingthe paper under on the front-fold line B-D, and tracingthrough D-C-A-B.

Figure 3B

The front section of the cuffis opened by folding the paperunder on line D-B and tracingthrough D-E-F—B. The backsection C-E-F-A is opened inthe same way.

133

Figure ZBB

This figure showsthe finished ap-pearance of thecuff.

Figure 3BB

This figure showsthe finihed ap-pearance of thecuff.

POCKETS

All pockets stitched to the outside of the garment, or "Patch Pocket" types,can be cut any shape desired and stitched to the garment. They present no Iparticular problem and so are not illustrated here. ‘

"Inside Pockets” can be separate pieces of material stitched to an insideseam or some slash l ine . The type illustrated here is a special problembecause it is part of the garment. It can be applied to a skirt as wel l .

A Pocket Cut As Part Of A Front W a i s t Y o k e A n d P a n e l Sections.

Figure 4A Figure 4B R

The Yoke-panel Style lines are drawn The center front panel and yoke section (1) is tracedas desired. A-C-B is the outside '

through separately with the shape of the inside pocketpocket fl ap. The dotted line repre- joined to i t .sents the inside pocket. (The bustdart can be moved Over to the Panel The side section (2) is cut out separately after theline.) flap of the pocket (A-C-B) has been opened fl at from

l ine A-B. The dotted l ine showing the shape of theinside pocket is kept fo r later use.

Figure 4C

The pocket flap and inside pocket are traced through from section(2) of Figure 4B. This makes the facing for the fl ap and one—halfthe inside pocket. Figure 4BB

The flap facing A- C—B is stitched to the flap A-C—B of section (2). This figure showsThe curved pocket l ine A-B is stitched to the curved pocket line the finished ap-A-B of section (1). The fl ap turns back. The opening of the pock- pearance of theet is in the straight line A-B. pocket.

134

CIRCULAR RUFFLES

Circular ruffl es are circular flares and follow the same procedures. The one i l lustrat ion shownhere can be applied to any loose, fl ared section of the garment such as: flounces, peplums, etc.

AA

I I I I

CL|;2;3 45s;7gs7I

Figure 5B

A BV/////////Av///////// .C _ D Figure 5CCFigure 5A

FIGURE 5A. The shaded section of the sleeve (A-B-C-D) will be a circular-ruffle-cuff as shown in Fig- A I Bure SCC.

Figure 5c

FIGURE 5B. The section to be ru ffl ed (or flared) is cut away from the sleeve. Guide Flines are drawn (dotted lines) for cutting and spreading the section. DFIGURE 5C and 5CC. Each dotted l ine is cut ALMOST to the top line A-B. The sec- Htions are spread as much as desired. In th is fi gure, line A-B becomes almost a com—plete circle. The circular l ine A-B of the ruffl e is stitched to the straight l ine A-B of Cthe sleeve. This forces the flares to f a l l into place as shown in Figure 5CC. Figure 5D

FIGURE SD. A circular ruffl e can be cut immediately as a circle, if that much fullness is desired. The procedurefollows that described fo r the Circle Skirts, Figure 10A. Lines A—E and A-D measure 1/6 the length of line A-B ofthe sleeve in Figure 5A. Line D-E should equal 1/4 the length of l ine A-B. If it is too large, the l ine can be raiseda b i t to F- G. F—G—I-H—F makes one-quarter of the complete ruffl e .

GROUPS OF PLEATS (IN A SECTION OF THE GARMENT)

This is a supplement to the pleats shown in the section on Skirts.

FIGURE 6A. The pleats are folded fi rst as they willappear fini shed in the paper to be used for the pattern.(1 and 4 are side pleats; Z and 3 are box pleats makingone inverted center pleat.) The pattern section isplaced over the folded pleats and marked in position.This can be done with any section of the garment.Here the sleeve pattern of Figure 6B of the sectionon Sleeves has been used.

FIGURE 6B. The pattern is cut out while the pleatsare folded in position. The pattern is then openedfl at , and the pleats notched fo r use.

FIGURE 6BB. This figure shows the finished ap-pearance of the pleats.

$ Figure 6A /¢ ? é/ .g / \/é \/I/2 ?3 4

V

/ é \/ / // / \ /

Figure 6B Figure 6B3

135

A COMPLETE DRESS PATTERN AND ITS GRADING

This section summarizes some of the procedures which have been shown individually to make clear how a wholedress pattern is made and graded. _The grading procedure is based on the basic grading instruction in Book I on Foundation Patterns, which MUSTbe referred to in order to understand the instructions below. The parts of a style pattern must be graded sothat TOGETHER they grade the to ta l amount shown for the basic patterns. The amount each part of the stylepattern is to be increased, or decreased, as for example, a panel or a yoke, depends on the tota l effect desired.

But whatever the effect, no matter how many the parts into which a front waist pattern might be divided, thetota l measurement across the bust should increase or decrease no more than the total grading measurement forthe size. ex»

FIGURE 7A. This figure is the sketch of the garment for which the pattern is to <{'be made in size 14 and graded to size 16. /;FIGURE 7B. The waist and sleeve patterns are placed in position for a fi tted 1 \yoke and sleeve combination, Figures 6A, 6B and 6C of the section on Fitted \\Type Combination Sleeves. '

, » " "

The col lar is constructed according to the instructions for the co l la r in Figures " ’12A—12D of the section on Col lars . 4

The sleeve is made to fi nish the length indicated by line 1. Additional length (to \line 2) is added for the "push-up" effect.

If desired, the bottom l ine of the sleeve can be made a straight l ine fo r ease insewing and cutting. Some of the elbow dart fullness is lost , but that is not tooimportant in a sleeve of this length.

Figure 7A

_.——-4?

__ . _ _ _ . . ‘ L‘ JV’ Figure 7B

136

Figure 7C

The Skirt Pattern.

FIGURE 7D. The completed front skirtpattern is shown here with i t s seam a l -lowances. It is constructed accordingto the instructions in Figures 6A and 6Bin the section on Skirts. (See also Fig-ures 4A-4C.)

The back skirt. is made the same way.

The amount of grade necessary to go tosize 14 is indicated. This follows thebasic grading instructions in Book I forthe skirt foundation patterns.

The necessary 3/8" at the waist l ine isdivided here to keep the pleats in rela-

t ively the same positions as the size in-creases. The center front panel is in-creased 1/8" in width. The rest of themeasurement (1/4") can be placed afterthe l as t loose pleat.’ This keeps thegroups of pleats together as they are inthe original pattern.

FIGURE 7C. This is the pattern for the centerfront section of the waist.

The col la r is dotted because it is not part ofthe pattern. It is placed here only to makeclear how it is sewed on. (C-D of the col larwill be stitched to the back neckline. )

'

The width of the front facing is shown by thedotted l ine.

. 7 .«K‘‘’(\'

E l<--1/8-»F7’ I"*~I ' ———-I‘I Pl-EAT PLEAT

I’' II II II I I

FRONT SKIRT Iout 2 mac:-:s Isuzs I4 I I

II I %I I E

I 'I ' ‘"’

II I II II II II I =

< _ _ I I“‘"‘l/4 * ———— _ . ; < .—| /8 - - ->

Figure 7D

T h e Front W a i s t Patterns.

---9,——-*"8 <--—I/I6--->An" ‘ '161/ T \\ |{

3,416 .'/e \ *©~' is rF <-—--3/I6-_-\\__, I.’\\ CENTER \ I

3\/I6 FRONT \ '43‘\ WAIST-CUT ,'

N 2 PIECES \ ¢SIZE I4 _‘.®

4I

II

I/I8III/8 I .

‘x\ W '‘=' ® @ <--—|/e——-> (D g

Figure 8A I

FIGURES 8A and 8B. These are the completed front waist FACINGpatterns with seam allowances. CUT 2 i

SIZE I4The amounts the patterns are to be increased from size

14 to size 16 are indicated by the dotted lines and frac-tions.

The measurements of both the center front and side frontpatterns must be considered together. Together they f o l -low the measurements and instructions given for the grad-ing of the f ront waist foundation pattern and one-piecesleeve pattern in Book I.

FIGURE 8C. The facing pattern is best graded by copyingit direct ly from the graded center front waist pattern fo reach size, adding the extra length each time (as shown bythe dotted l ines) .

Figure 8C

138

T h e B a c k W a i s t Patterns.

I/I6

I/8

—OUT I PIECESIZE I4

4i———o

<—-——-——-

I/8

Figure 8D ©’ Figure BE

FIGURES 8D and 8E. These are the completed back waistpatterns with seam allowances. The procedure followedis the same as for the front patterns.

T h e Collar Pattern.

r — — — — H —_®..'_’.3_- ——'i°——»©} TCOLLAR SIZE I4I-—<I

7

; OUT I PIECE 1 IL _ _ _ _ _ _ . . . . _ _ _ _ _ . . _ _ _ JFigure 8F

This is the completed col la r pattern. Because the collar isa straight band, both the top and under col lars can be cuttogether as one piece, avoiding an unnecessary seam.

The col lar grade has to follow the neckline grade. Theback neck (1-2) increases 1/8". The part that sews to thelapel (2—3) increases 1/8"as the lapel does.

139

GRADING THE FRONT WAIST PATTERNS (from Size 14 to Size 16)

FIGURE 9A. The center f ront waist pattern (Figure 8A).

The guide lines for shifting the pattern are marked in the same way described in Book I fo r the Basic WaistGrade. The real measurements are used, not reduced to scale, because they would be too small. Anychanges result from the needs of the style pattern.

POINT 1 is the waistline at the center front.POINT 2, the end of the lapel, is drawn 1/8" above point 1.POINT 3, top of the lapel, is drawn 1/8" above point 2.POINT 4, the beginning of the shoulder l ine , is drawn 1/16"

above point 3 and 1/16"away from i t .POINT 5, the end of the shoulder line, is drawn 1/8" away

from point 4.POINTS 6, 7, 8 do not need to be drawn on the guide lines.

They will be explained l a te r.POINT 9, is on the same line as point 5, but 1/16" below. ‘POINT 10, is on the same cross l ine as point 1 but l/8"

away. @’\\

C5)

(‘D \'_._ avg)Figure 9AC

Q]

Shifting T h e Pattern To Increase T h e Size.

The pattern is shifted from point 1. The pattern is placed on the guide lines so that point 1 of the patternrests on point 1 of the guide lines and line 1-2 rests on l ine I, Z, 3. A small corner is marked at point 1.

THE PATTERN IS MOVED up the same l ine so that point 1 of the pattern meets point 2of the guide l ines. The notch and a small portion of the lapel line are marked.

THE PATTERN IS MOVED up the sameline so that point 1 of the pattern rests on point3 of the guide lines. The corner of the lapel is marked.

THE PATTERN IS MOVED up and away so that point I of the pattern rests on point 4 ofthe guide lines. The beginning of the shoulder line is marked.

THE PATTERN IS MOVED away from point 4 so that point 1 of the pattern rests onpoint 5 of the guide lines. The shoulder notch and a small portion of the shoulderand sleeve line are marked.

THE PATTERN IS MOVED down on the sleeve l ine 3/16" and the corner at point 6 ismarked.

THE PATTERN IS MOVED across on the bottom l ine of the sleeve for 1/8". The cor-ner at point 7 is marked and the corner at point 8.

THE PATTERN IS MOVED so that point I of the pattern rests on point 9 of the guidelines. The joining of the waist and sleeve are marked.

THE PATTERN IS MOVED down on the same line as 9 so that point 1 of the patternrests on point 10 of the guide lines. The corner of the waistline is marked.

140

MARKING THE NEW PATTERN

CENTER FRONTWAIST

OUT 2 PIECESSIZE I6

® Figure 9B ® ®The new pattern size 16 is completed by using the size 14 pattern as a. guide, centering it between thenewly marked points, and drawing the completed l ines. The sleeve cap l ine at point 8 is best drawnby placing point 8 of the size 14 pattern about l/8" away from the new point 8 and moving the pattern‘so that the cap line blends smoothly into the corner l ine from point 9.

FIGURE 9C. The side front waist pattern (Figure 8B).

POINT 1 is the side seam at the armscye, drawn on 3.

® vertical l ine made longer than the side seaml ine.

POINT 2 is 1/3"above point 1 and 3/16" away from 1:. @I\ POINT 3 is 1/4" below point 2 and 1/16" away from i t .

Shifting T h e Pattern ToIncrease T h e Size.

3 The pattern is shifted from point 1. Point ®1 of the pattern is placed on point 1 of theguide l ines and the side seam of the pat -tern rests on the vertical line. The cor-ner at point 1 is marked.

THE PATTERN IS MOVED so that point 1of the pattern rests on point 2 of the guidel ines. The corner of the armscye andyoke l ine is marked.

of the pattern rests on point 3 of the guidel ines and the corner at the waistline is

@ ©\J THE PATTERN IS MOVED so that point 1

Figure 9C marked.

, 3

Figure 9DTHE PATTERN IS MOVED so that point 1of the pattern rests on point 4 of the guide In this figure the new patternl ines and the waistline at the side seam is is marked from the old asmarked. described above.

141

GRADING THE BACK WAIST PATTERNS

The back waist patterns are graded in exactly the same way as the f ront waist patterns.

The shoulder dar t in Figure 10B can be retained in the center between points 2 and 3,or it can be kept the same distance from point 2 in a l l the sizes.

Points 4, 5, 6 are marked without the use of the guide lines as explained for points 6, 7, 8of the front .

X\-.5CD‘ 7

©<f

Figure 105 © Figure 10C

2 3,7 1\»— @ a

C5) 0 @

©' M

CENTER_BACK WAISTcur nPIECESIZE I6

Figure 1OD6) Figure 10B

142

GRADING THE COLLAR PATTERN

Two types of col lars are i l lustrated below. Figures 11A and 11B show the grading for thedress pattern co l la r from Figure 8F. The grading problem is a simple one because theco l la r is a straight band. Figures 12A, 12B and 12C i l lust ra te the special problem in-volved in grading the sharp curve of a fl at co l la r, or any col la r with a curved neckline.

Collars usually grade 1/2" in ent irety, or 1/4" fo r the ha l f co l l a r. The back neckline ofthe co l la r usually grades 1/8", and the front neckline 1/8", corresponding to the grade ofthe f ront and back waist patterns. Usually, the width of the col lar remains the same.

The col la r pattern is folded in half for grading. When the grade is completed, the papercan be folded on the center back l ine and the complete col lar cut out .

I is C?) @ 6) (9 ©I : A COLLAR___ SIZE I6I ’ ’—I cut I PIECE r

: L __._ _4_ __1 __ J.


A l ine is drawn (1) for the new The new col la r is completed by joining the markedcenter back fold line of the points with straight l ines. The col lar can then becollar, from which the pat- folded in half on the center back fold line and thetern is graded. complete collar cut out.

Line 2 is drawn parallel tol ine 1 and 1/8" away from i t .

Line 3 is drawn para l le l toline 2 and 1/8" away from i t .

The collar pattern of Figure 8F (folded in half) is placed on the guide l ines so that the centerback fold l ine of the co l la r rests on the new center back fo ld l ine . The width of the co l la r ismarked by short l ines top and bottom.

THE COLLAR PATTERN IS MOVED away so that the center back fo ld of the co l la r rests online 2. The shoulder notches both top and bottom are marked as well as short lines for thewidth of the co l l a r.

THE COLLAR PATTERN IS MOVED away so that the center back fo ld of the co l la r rests onl ine 3. The end of the col lar is outlined.

143

FIGURE 12A. This is one-half a fl at co l la r i l lustrated in Figure1C of the section on Col lars .

The extreme curve of the col lar neckline makes it diffi cult to getthe proper 1/4" grade working just from the center back fo ld line

as above. The grading will have to be done in two parts , fromthe center back and from the dotted line at the front part of theco l l a r.

Figure 12A

FIGURE 12B. Guide lines 1 and Z are drawn as described in Fig-ure l1A. The col la r is shifted from 1 to 2 in the same way. The

shoulder notch at 2 is marked, and a portion of the neckline a bit

beyond the dotted line. The dotted line is marked as well as a

portion of the outside edge of the collar.

A new guide l ine (3) is drawn para l le l to the dotted line and 1/8" ' 2away from i t .

The col lar is shifted so that the dotted l ine of the co l la r rests onthe new l ine 3, meeting at the neckline.

The shape of the end of the collar is outlined. . 5Figure IZB j

FIGURE 12C. The new collar, size 16, is completed by using thesize 14 col la r to finish the outline.

Points 1 and 2 of the size 14 col lar are centered between points 1and 2 of the new co l l a r. The back neck curve is drawn.

Points 2 and 3 of the size 14 collar are centered between points 2and 3 of the new col lar. The f ront neck curve is drawn. COLLAR

SIZE ISThe style line of the col lar is completed in the same way.

‘

Figure lZC

144

GRADING THE TWO-PIECE SLEEVEThe two-piece sleeve as a whole grades the same amount as the one—piecesleeve grade described in Book I.

The grading measurements are divided between the overarm and under-arm sections according to the part of the one-piece sleeve they represent.These divisions are i l lustrated in Figures 13A and 13B. The sleeve pat-terns used are from Figures lB—lD of the Appendix.

The methods for drawing the guide lines and shifting the patterns to makea new size are the same as described for the one-piece sleeve in Book I.They will not be repeated here.

I

I/I6 } I/|6_‘ - _ _ ._. I4 - - ‘

3/I6 1 LI ' L V—-——->I/I6 I/I6

. . 2 I '4 2

3 . .3

K

N NE ,, E { / -J" \/\6 I/I6


(The dotted curve and straight line show The underarm section increasesthe leve l of the underarm section.) 1/16" on each side of the cen-

ter l ine to fi nish the sleeve capPart of the sleeve cap belonging to the measurement and the width a-underarm is s t i l l attached to the over- Cross the sleeve bicep.-arm section of the sleeve (points landL). These areas grade only half the The wrist l ine E-N increasesusual amount, or 1/16". The rest is 1/16". or half the wrist grade.given to the underarm section. One-half the wrist measurement, or 1/16",is applied to l ine E-N.

145

v

ifwas g d}: ted from Emoklyn College trained to teach Biology, but the country was deep in a dc~on in 1933, gndfic _'York City needed no teachers. For want of work, she spent the summer hefping her

ynwrite his fies: (text book an pmernmaknng. (Charles Kaplan was then chairma_n of the Women‘s Garment

'ign Depunmena of the Cemnl High School of Needle Trades. Hehad been the first gn-ment design teacher in'¥m‘k City §_:hou|s .md'I.\id the foundations nix .n|l subsequent teaghing in the field.)

J r ;

,‘fh§%t|/”:',pro\'ed fascjnanng and Mrs Pnmd. begun her c.Irccr. zcachmg p.\uernmnk-i‘ng .1! the Traphagen SdnoolQ pshmn in Ncw'York City. writing 4-idumml hooks. md working on “Sex:-nrh Avenue" mia pmernmaker.

4 a.Her long, \_'aricd experiences proud: A umquc l'u<k;_-nuund fur U19 wnring of .| text which usample; yet practical,§uiKablc For the L'l.Issroom as well 1: fm pmresuinnml me

646:. 404PIVN

fundamentals of patternmaking ii

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