Practical Dress Design

Principles of Fitting and Pattern Making

REVISED EDITION

MABEL D. ERWIN
Professor of Clothing and Textiles
Texas Technological College

0 /

New York
THE MACMILLAN COMPANY
 Revised Edition© Copyright, Mabel D. Erwin 1954

All rights reserved. No part of this book may be reproduced or

utilized in any form or by any means, electronic or mechanical,
including photocopying, recording or by any information storage and
[Link], without permission in writing from the Publisher.

.Ninth Printing, 1966

Previous editions, copyright 1933 and 1940 by Mabel D. Erwin

\I

THE MACMILLAN COMPAJ,"Y, NEW YORJ:

COLLIER·!.Lo\.C!I!ILI.A.-; CANADA, LTD., TORO!>TO, O!>T.~RIO

PRINTED IN THE UNITED STATES OF AMERICA

 Preface
Practical Dress Design is iatended primarily as a text for college classes in pat-
tern making and dress designing. In its earliest manual form and later as a textbook
it has been used extensively by designers in both garment and pattern companies.
It gives practical assistance in obtaining better fitting garments and clothes with
more individuality than the ready-mades most people can afford.
Pattern designing falls naturally into three divisions: ( l) manipulating the basic
darts; ( 2) introducing or changing style lines and fullness; ( 3) adding extensions
such as overlaps, collars, facings, bows, and belts. It is logical to begin with the
first, but psychologically it is easier for beginners to reverse the procedure. By
the time college students have had a year's clothing course, they have had more
or less experience in the latter two areas with the first groups of learnings prac-
tically untouched.
It is observable that most adult groups as well as college students who have
had good basic clothing construction do not understand the principles of fitting.
Practical Dress Design endeavors to classify fitting problems into a few similar
types and to solve the problems by principles basic both to fitting and dress
design. With little intellectual ability one could cut cloth into many pieces and
rejoin them again into a flat piece like a quilt or jigsaw puzzle. But dress design
involves the third dimension of depth which is not at all regular in amount and
which in addition is round, not square.
This book is restricted to flat pattern designing in which a flat piece of paper
is manipulated by darts into a shaped garment to fit a woman's figure that is
curved and rounded. The method given is one that can be mastered without
special instruction in drawing or mathematics and with very few tools. However,
though the method is simple, the student is urged to be exact and neat in work-
manship. Experience in handling patterns and making dresses is presupposed.
Of very great assistance and importance is previous training in basic design or
applied art. A knowledge of textiles is invaluable. A lively interest in fashion,
current events, and the contributions to dress from the different historical periods
will provide enthusiasm and inspiration for the intriguing differences in cut that
are the essence of modern dress design. A due regard for yardage and cost, both
of fabric and labor, is certainly involved.
Even though one may not be interested in the unusual or in so-called originality
of dress, it is essentially worth while to be able to modify a ready-made pattern
or to create simple accessories or to fit clothes for oneself or for others. Teachers
of clothing in high schools, colleges, and adult classes need the basic ability that
comes only from a knowledge of the principles of fitting and simple dress design,
which in tum develop fro'm the techniques of dart manipulation.
Illustrators for fashion advertising sketch the human figure with stylized versions
of garments already made. Fashion originators may sketch garments and details
of garments as working drawings for the workroom. A pattern designer may use
these drawings or a verbal idea from a superior, or she may be the originator of
a dress design and never use a small sketch. It helps to be able to make small
fashion sketches, but it is not necessary. Many ideas on paper do not work out
well on life-size patterns. Small-scale drawings seldom can be followed in toto.
The real designing is done on the life-size pattern, and usually for some special
fabric.
v
vi Preface
In the author's classes, it has been found expedient to use a half-size dress form
for beginning lessons in both fitting and pattern designing. In fitting, each student
makes up a simple blouse with Y2" seams and fits it over the model on which
lm·e been pinned shaped pieces of foam rubber or other padding to simulate
square shoulders, round shoulders, full bust, or large hips.
In order to understana better the theory of the dart, it is often wise to have
students begin the course with Chapters 3 and 4, before altering their own blouse
patterns or having individual fittings. Transparent tracing paper should be used
to copy the patterns in half-size printed here, then transferred to Manila tag
board. Rerule lines before cutting. Lectures, laboratories, and demonstrations are
usually based on these half-size patterns. For skirts with pleats, French-dart jacket
variations, or circular skirts we even use the quarter-size patterns. For collar and
slee,·e lessons only the full-size individual patterns are practical.
The half-size patterns are used to save time, paper, table space; to demonstrate
several variations of a pattern idea, and, carried out in fabric, to demonstrate the
general practicality of an idea or cut. In reality, it takes just one fourth as much
fabric as the standard size. Darts and seam lines are traced accurately and most
of the sewing is done with long stitches on the machine without hand basting or
sewing. But even so, proportions are best visualized on the individual or standard
pattern, and many garments should be designed, cut, and carried through a
second fitting to check the value of the pattern designed.
Texture and color in the final garment are all important, hence student design
problems are best presented at each lesson around some real fabric in which it
is to be developed. Imaginary gathers for a batiste blouse do not always develop
into a satisfactory result unless some real batiste is at hand.
W hile in this book the major stress is placed on the techniques of pattern
manipulation-where and how to cut and spread-two other skills must accom-
pany each pattern problem: ( 1) using the basic design principles of proportion,
harmony, rhythm, balance, and emphasis; and ( 2) using tools with accuracy.
The finished garment is the ultimate test of a successful pattern, which is after
all a blueprint of directions for the dressmaker. A real designer will not be a very
prolific one if she hasn't a reasonable skill in sewing. She need not be a perfec-
tionist at stitching but she should be able to recognize perfection.
This book is not a text in clothing construction. Many students, because of
inadequate preparation and experience, have hazy ideas about construction espe-
cially of features that currently are not in fashion. Hence, in each major problem
the author has made dressmaking suggestions, especially when their understand-
ing is needed in cutting the pattern. A student may reject an interesting design
because she can't figure out how the pieces are put together. For example, a con-
vertible collar or a pocket set in a seam are avoided by beginners because they
don' t see an easy way t o sew them. A summary of the more basic principles of
dressmaking is included in Chapter 16.
A good teacher not only knows the principles in her subject matter but requires
students to recognize principles as being different from facts or skills and, further-
more, requires students to be able to formulate as well as quote major principles.
A principle may be defined as a fundamental truth which has wide application,
which has a cause-and-effect relationship clearly stated or obviously implied, from
which other principles may be derived, and the following of which yields con-
sistent, certain results. In stating a principle the student then must break it into
two parts: ( 1) that which will always result ( 2) if a certain procedure is followed.
In such skills as pattern making one will never be able to solve new fashion designs
unless she understands the principles- that is, not only know the "how" but also
 Preface vii
the "why." More words and illustrations and repetitions are needed in a book
that attempts to develop principles than in one that just develops skills. Studying
the text along with illustrations clarifies one's thinking. Each new problem in this
book has a definite tie-up with another in an effort to get the student to see the
real principle involved. It is often difficult t o get students to really try to learn
the "hang" of a thing, i.e., th,e principle involved, when they are more concerned
with the immediate product, a new dress. The book and the teacher must con-
stantly call attention to the fact that the present project of an apparently new
skill is practically the same as one of last week-just a different application .
Most of the patterns and garments illustrated in the revised manual have been
successfully executed in the author's laboratory classes. Like any other craft you
will experience satisfaction in proportion to the depth and breadth of your own
efforts. There has been entirely too much glamour and mystery about dress
designing. It is neither a secret nor a talent for a few, nor is it too difficult, but
it is demanding of your intellect and craftsmanship, challenging, financially reward-
ing, and creatively satisfying and enjoyable.
The author wishes to acknowledge the cooperation of Troy Allen Lockard,
Assistant Professor of Applied Art, Texas Technological College, in refining gar-
ment sketches and inking all drawings.

!\label D. Erwin
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 Contents

1. Your Foundation Pattern 1

2. The Basic Pattern-Fitting 8

3. Relocating the Basic Dart 27

4. Creating Styles Through Dart Manipulation 32
5. Decorative Darts and Seams 41

6. Fullness to Create Style 48

7. Yokes 56
8. Closings and Extensions 62

9. The French Dart 70

10. Sleeves 77

11. Bodice and Sleeve Combined 88

12. Collars 97

13. Skirts 117

14. Dresses 153

15. Completing Patterns 166

16. Principles of Dressmaking 171

Index 175

XV
Practical Dress De$ign
 Chapter I
YOUR FOUNDATION PATTERN

A foundation pattern, also referred to as Making Your Own Foundation Pattern

a block pattern, a basic pattern, a master pattern,
or (in the trade) a "sloper," is a perfectly plain I. Select a simple dress pattern nearest your
pattern which fits the individual and which con- size. Have it of five basic pieces (Fig. l ) . The
forms to today's silhouette. For dress designing front blouse dart may be from shoulder or under-
there are five basic pieces; front blouse, back arm but the vertical dart at waistline makes sew-
blouse, sleeve, front skirt, and back skirt. Each ing and fitting easier.
piece has at least one basic dart to control the 2. Copy on plain paper. Alter this pattern to
extra amount of cloth needed to cover a body fit by slashing and spreading or overlapping, or
bulge. For simplicity in designing, no seams, by redrawing seam and dart lines. Details will
hems, or extra fullness are desired in the basic be found in Chapter 2.
pattern- these are added after the stylized pat- 3. In muslin or gingham, cut out the garment,
tern is completed. grain perfect, with ¥2" seams in armholes and
In a factory, it is the responsibility of the head neckline, l " elsewhere. No hem is needed at
designer to provide an up-to-date master pattern bottom of skirt, but an l " seam or hem at center
based on the model adopted by the firm. It may front in both blouse and skirt makes it easier
be developed by draping on the model, by draft- to dress and fit. Stay-stitch on all seam lines and
ing from a set of measures, or by modifying pat- dart lines. Then, baste-stitch all darts and sil-
terns on hand. Specialists in taking body measures houette seams to create three units-blouse,
may easily draft patterns, but only if they are spe- sleeve, and skirt. Pin circumferences-sleeves
cialists can they locate points or landmarks on soft over armholes, and skirt over blouse; right side
fleshy bodies with any degree of accuracy. An- out, seam line on seam line lapped but not turned
thropometrists and people they have trained can under. Place pins parallel with seam at waistline
take such measurements, but homemakers, stu- and under part of armhole but at right angles
dents, and most dressmakers are not skilled to seam line over upper part of armhole to divide
enough in this field to create a pattern that fits the ease evenly.
one individual let alone a composite average. You, 4. Fit by changing size of darts and seam
the average dressmaker, homemaker, or individual allowances. Tucks may be pinned in some areas
dress designer, will use a good commercial pat- as a guide to altering the basic pattern both for
tern nearest your size, altered and fitted to you. length and width. If too tight around, unpin CF
You may have had sufficient training to model or seams to estimate the total amount of extra ease
drape a good pattern on the dress form which cor- needed but decide on better places to provide this
responds to your size and shape. In securing your ease. W aistline pins may be removed to estimate
master pattern use the following procedure: amount of extra length needed in front for promi-
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Fig. I. St andard foundation pattGrn-quart er-size 14.

2
 Your Foundation Pattern 3
nent bust or in back for prominent shoulder I0. Half-size basic patterns are printed in the
blades. If the skirt is not level with the floor, but preface of this book for your practice work. Quar-
shorter in front or back because of prominent ter-size patterns are shown in Figure 1. A quarter-
abdomen, side or rear hip, fit above hipline to size French-dart sloper is shown in Figure 181.
provide extra length and width needed. Exact de-
tails for fitting garments for standard problems Other Basic Patterns
are illustrated in Chapter 2.
Whether you develop your own French bodice
5. Correct the pattern on basis of changes
or raglan pattern or rework a commercial pattern,
just made. Correct muslin so tha~ right an_d l~ft
once it is proved satisfactory save it to use as a
sides are the same as pattern; restJtch. Repm Cir-
basic pattern in developing variations in styl~.
cumferences and have more fittings until satisfac-
Save copies of your most-used patterns as baste
tory. At the second fitting, concentrate on sle~ve
blocks for quick changing of details. Ones gener-
and armscye. Make neckline, waistline, and wnst-
ally used in each season are a shirt sleeve, a short
line comfortably snug and curved to fit na~urall~.
sleeve a kimono blouse, a dolman sleeve, a
Have hem line a becoming length to you, m thts
French-dart bodice, a gored skirt. Thus, it will
year's fashion. . " not be necessary to develop these styles from your
6. At last fitting, extend the baste dress-
foundation pattern each time one is needed.
maker" darts, which give a semicasual effect, to
end exactly on the most prominent part of the
bulge. These revised darts are fundamental or PATIERN SIZES
basic darts. This fitting will tighten the garment
Successful dress designing for an individual be-
slightly in width and accent the point of bulge
gins with a pattern of the right size based_ on
with not always a pleasing effect. Think of the
actual body measurements, not age. Pattern stzes,
shorter dart as a dressmaker dart-the effect in the
today, are fairly well standardized and should not
final garment but the long fundamental dart as
be confused with the varying sizes in ready-made
the designer's basic dart with which she works
clothing. Pattern manufacturers with the aid of
(Fig. 1) . After the designer has completed the
the national Bureau of Standards have accepted
stylized pattern, the long dart will gener~lly n_eed
a set of measurements for each size. These stand-
to be shortened an inch or two and strmght hoes
ards are promulgated by the U.S. Department of
converted to curves more like the body for final
Commerce and may be secured for five cents
fashion effect when stitched. Transfer the points
from the Superintendent of Documents, U.S.
of the basic darts to your pattern-two in back of
Government Printing Office, Washington 25,
blouse one each in front of blouse, back of skirt,
'
front of skirt, and elbow of sleeve.
D. C. in pamphlet form, "Dress Patterns (Fourth
Edition) Commercial Standard CS 13-44."
7. Check the pattern. Use a ruler on all darts,
Table I is an excerpt.
shoulder and underarm seams, and skirt seams be-
low the hipline. Use a curved ruler or original
pattern as a guide to true curves such as those
above hipline or in sleeve. A Manila tag board Table I
copy of the Dietzgen curve # 17 on title page of WOMEN
this manual is very useful. Correct adjoining seams [All measurements in inches ]
to be equal in length. Copy on Manila tag board
or any stiff, tough paper by tracing on corrected Bust 34 36 38 40 42 44 46 48 50
Waist 28 30 32 34 36 38 40 42 44
seam line, i.e., without seams or hems. Notches Hip* 37 39 41 43 45 47 49 51 53
should be retained only in the sleeve and arm-
holes and darts cut out. Then this foundation MISSES
patte;n or sloper can be quickly traced around to
begin pattern work. . Size (number} 12 14 16 18 20
Bust 30 32 34 36 38
8. Save the muslin garment to use later m Waist 25 261!2 28 30 32
establishing other dart or seam locations. Hip* 33 35 37 39 41
9. After each use of your foundation pattern, • Hip measurement taken 7 inches below natural waist
refine lines in the light of later fittings. line.
4 Practical Dress Design

.Va"

Fig. 2. Grading up one size by slashing and spreading con~istently. G rading down would use tucks each half as wide as amount
of decrease. Note that adjoining seams are made to match in each change. Tra nsitional lines will need to be made on each
curve ( he re illustrated in back armhole only because the fi gures a re small ).

Each pattern has an allowance over the basic is time consuming. Do not change the amount of
measurements to provide ease for action. In addi- ease the pattern has provided because it involves
tion each pattern company modifies the amount the risk of losing a great deal of the style quality
of ease over basic measurements to create differ- created by the designer. Constantly compare your
ent styles and designs. Because you cannot know personal body measurements with the measure-
the amount the pattern company has allowed, ments the pattern company claims.
you should compare your ovn1 body measures
with the measurements printed on the pattern en- GRADING
Yelope, or in the chart above, or in the fashion or Grading refers to the formal changing from
counter book for bust, "·aist, and hip. Do not try one size to the next. The standards set up in CS
to measure the pattern itself-a procedure which 13-44 indicate an increase of 2" in total circum-
 Your Foundation Pattern 5

Girls

'teen
Junior .
B Misses c

Fig. 3. A, method of taking measurements of bust, high bust, waist, and hip as basis for selecting correct size. 8, additional
measurements for checking pattern before alterations. C , comparison of recent attempts by one pattern maker to fit more people.
Another company may call the Junior size shown here "Chubby." The Girl's pattern has a very narrow bust dart for the
undeveloped figure.

ference of the pattern at bust and hip and 2" or graded down two sizes. Size 14 or size 16 is used
less at waist. For other measurements pattern extensively in this way but it depends on the
companies and dress manufacturers are not in type of merchandise being produced- for ex-
complete agreement but none would widen a ample, whether garments for college girls or ma-
pattern Yz" at the shoulder and neck-most of trons; sport or evening clothes; coats or dresses.
them use :yg" for length of shoulder. The term, In selecting a blouse or dress pattern for your-
grading, indicates that a gradual change is made. self use the commercial pattern which has the
vVe know that we do not grow as rapidly on bust measure nearest your own. Generally, this
some parts of the body as others. In general, bony measurement is taken snugly over tl1e fullest part
areas show smaller changes from one size to the of the bust in front, about 1Yz" below the armpit
next than do fleshy parts. Figure 2 sho\\'s the and raised slightly in the back to catch the shoul-
amounts of change used by most graders and a der blades. A (Fig. 3). If the size to \\'hich this
simple but accurate method of slashing and measurement corresponds also match es your waist
spreading for increasing sizes (or, similarly by and hip measurements, you are fortunate.* Some-
overlapping for decreasing sizes) . This method is times it is better to select a blouse in one size and
suited to the individual designer or custom dress- a skirt in another. Generally, however, one does
maker who occasionally may wish to develop other not want to pay for two patterns. Since the skirt
sizes. The professional grader uses mechanical
drawing and mathematics, but unless he h as a * Mrs. E dna Bryte Bishop, Home Economist for the
Advance Pattern Company, has suggested that a h igh bust
knowledge of basic art principles, he may change or chest measure taken well up under the armpits be used
the designer's dream in the original so that it is instead of the fuller bust measure to determine the correct
unbecoming to the wearer, especially in larger pattern size if the difference between bust and chest is 4"
or less. For example: a size 16 pattern is better than an 18
sizes. for the girl whose high chest is 34" even though her bust
is 36". If, howe\'er, the difference between bust and chest
is over 4Y2'', add 2" to the high chest measure to decide
SELECTING SIZE on pattern size. If she should be broad shouldered, the
larger size- 18-is a better choice. T11is high chest meas-
If you are a professional designer, you will use ure (plus 2") is good to follow if bust is prominent in pro-
a size which can be later graded up two sizes and portion to shoulders or hips.
6 Practical Dress Design

is easier to alter or fit than the blouse, it is wiser Sizes in Pa tterns for Different Age or
to buy a dress pattern in a size nearest the bust Figure Groups
measure.
Among young girls other body proportions such
Skirt patterns should be selected by the nearest
as height and width of back or sh oulders vary
hip measure 7" below the waist. If your waist
greatly. Pattern companies have designed a few
measure is smaller than this size, take up the
patterns for these different figure types, C (Fig.
extra darts at waistline. D o not buy a skirt pat-
3) . You may not find the kind of design you want
tern by waist measure, because a waist alteration
in the group of your type; hence, all the more rea-
is easier made than a hip alteration.*
son for you to know how to design your own pat-
Width Across the Back terns. But to save many alterations and try-ons,
it will be to your adYantage to decide which type
While it is difficult to locate satisfactorily land- is more like your figure and try to buy a size in
marks for measurements on the soft, fleshy body, that group (Table II ), especially if it is to be used
with practice you should be able to measure an- as a foundation pattern.
other person's shoulder width across the back 4" Suppose your measurements call for a size 14.
below the neck, B (Fig. 3). Check with Table II If you have a fairly flat bust, are short-waisted,
or with a garment of known size or with a gar- and fuller in the waistline, then select a Girl's
ment which you feel is right. size 14. But if you have grown taller, broader
If you are in doubt, try on both sizes of a gar- shouldered, and have more bust, then select a
ment made by the company whose pattern you Teen size 14. The Junior 14 has wider darts or
are considering. If it appears that you need a size more darts and is still longer and slightly wider
16 front and size 14 back, use the 14 and alter the but comes in size 13 or 15, not 14. The Misses'
pattern front or vice versa. The shoulder area and 14 is for a more developed figure, longer from
sleeves are the most important parts of the pattern bust to shoulder, in sleeve and skirt and wider
for style and comfort. Waist measures are more in both chest and back.
easily altered. Older women who are short and matronly may
find some patterns that come in half sizes but
Sizes in Patterns vs. Sizes of Ready-Modes there are few styles available; hence, learning to
Manufacturers of ready-to-wear garn1ents differ fit standard commercial patterns and ready-made
widely in their measurements for various sizes. or basted garments is more than helpful. Likewise,
For example, coat and evening dress manufac- selecting a simple pattern nearest your figure type,
turers often use such numbers as 10 or 12 for sizes simplifies fitting problems especially if you know
that fit girls with bust 34 or 36 inches. Although how to design interesting pattern details.
a size 12 blouse or a size 30 brassiere fits you, you
could not be sure that a size 12 dress pattern
would fit. The only way to be sure is to measure SUMMARY
your body and not follow preconceived ideas of To select the correct size of pattern take only
the size needed. three measurements-bust, waist, and hip. Other
measures you may need for checking or altering
the pattern. For separate skirts buy by hip meas-
ure not waist measure. For dresses and blouses,
compare high chest measure with bust measure.
If the difference is four or more inches, add two
inches to the chest measure to determine size of
• \\'here one has difficulty in deciding on the size ~r pattern to buy-otherwise buy by the high chest
has had trouble previously in securing a satisfactory fit, 1t measure. Best of all try on garments or sh ells to
is worth while to have available several garments made up note these and other differences. Buy fewer pat-
in fabric to try on. They may be of muslin, percale, or
similar inexpensh·e materials. Such "shells" need to have terns but better selected ones. You will find that
stavlined seams but do not need such finishing details as the different pattern companies do not use the
hei'ns or collars. Open down the front with Vz"-1" seam same models, so that by experience you may find
they are easily tried on to aid in selecting the right size and
later in deciding on amounts, types, and location of alter·
one fitting you better than another. It is unwise
ation for imprO\·ed fit. to make sweeping statements about certain makes
 Your Foundation Pattern 7
of patterns which may seem to ''run large" in your MISSES'
case, for they may seem too small for another Size 10 12 14 16 18 20
type of build. Do not compare a Teen pattern of Bust 28 30 32 34 36 38 Ins.
Waist 24 25 26112 28 30 32
one company with a Junior pattern of another. Hip 31 33 35 37 39 41
Width across back
ASSIGNMENT 4 00 below neck 12112 13 13112 14 14V2 IS
Back waist length
If a girl has 34" bust and 32" high chest what (From neck to waist-
171/s 11V4
00
line at center back) 161/4 16112 16% 17
is probably the best size for her to buy? Suppose Finished length from
she has broad shoulders what would be best? back of neck to hem 46 46 46112 47 47 47
If a girl has 39" bust and 34" high chest, which SEPARATE SKIRTS
size pattern would you recommend? Size 10 12 14 16 18 20 40 42 44
If a girl measures 33" high chest what size pat- Waist 23 24 26 28 30 32 34 36 38 Ins.
00
Hip 32 33 35 37 39 41 43 45 47
tern would be best? If she is athletic and broad Finished
across the shoulders which would be advisable? back
If a girl measures 34" bust and 39" hip what length
from waist
would be recommended? to hem 30 30 30112 31 31 31 31 31 31 oo
An older woman's high chest measure is 32". If your measurements do not correspond, order by hip
She is flat busted and short but not too small measure. It is easier to alter at the waist than at the hip.
in the waist. Which pattern will probably require HALF SIZES
less alteration? Size 12 112 14112 16112 181/2 201/2 221/2 24112
Bust 32 34 36 38 40 42 44 Ins.
If you measured 34" bust, 30" waist, 41" hip Waist 27 29 31 33 35 37 39
would you use a size 16 dress pattern? What Hip 35 37 39 4 1 43 45 47
would you do to the skirt pattern? Width across back
4 00 below neck 13112 14 14112 14% 15 15112 16
Back waist length
(From neck to
waistline at center
Table II back) ISV4 ISV2 15% 16 I6V4 16112 16% oo
Finished length
CORRESPONDING BODY M EASUREMENTS from back of neck
GIRLS' to hem 44112 45 451/2 46 46 46112 47
Size 6 8 10 12 14
Breast 28 30 32 Ins. WOMEN'S
24 26 40 42 44 46 48 SO Ins.
Size-Bust 34 36 38
Waist 22 23 24 25 26 00 44 00
00 Waist 28 30 32 34 36 38 40 42
Hip 26 28 30 32112 35
Hip 37 39 41 43 45 47 49 51 53 00
Finished length from
00 Width
back of neck to hem 24 28 31 34 37
across
TEEN-AGE SIZES back 4 00
Size 10 12 14 16 below neck
Bust 28 30 32 34 Ins. Back waist
Waist 24 25 26 28 00 length
Hip 31 33 35 37 00 (From neck
Width across back 4" to waistline
13112
00
below neck 12% 13 14 at center
Back waist length back) 17 17Vs 17V4 17% 17112 17% 17% 17'l's 18 oo
(From neck to waistline Finished
00
at center back) 14% 15V4 15% 16 length from
Finished length from back of
00
back of neck to he m 42 43 44 45 neck to
00
I- em 47 47 47 47 47 47 47 47 47
JUNIOR MISS
Size 9 II 13 15 17 FULLER FIGURE FASHIONS
Bust 28 29 31 33 35 Ins. Size- Bust 42 44 46 48 50 52
Waist 23112 24112 25112 27 28112 00 Waist 37 39 41 43 45 47 Ins.
Hip 31 32 34 36 38 Hip 47 49 51 53 55 57
Width across back, 4 00
below neck 12112 12% 13V4 13% 14V4
.. Width across back
4 00 below neck
Back waist length Back waist length
(From neck to waistline
at center back) IS 15% 15% 16V4 16%
.. (From back to waist-
line at center back) 17% 17% 17'l's 18 laVa 18V4
00

Finished length from Finished length f rom

back of neck to hem 43 44 45 46 47 back of neck to hem 49 49 49 49 49 49
 Chapter 2
THE BASIC PATTERN-FITTING

In pattern making for a commercial firm applying facings and interfacings, and setting a
the designer uses a standard pattern which is so sleeve smoothly in the arn1hole. There are others
proportioned that it will fit many customers with- but these construction skills are certainly funda-
out too many alterations. Details, like shoulder mental. If they are poorly executed, it may be
length and amount of bust ease, vary with the difficult to decide what is wrong with an ill-fitting
fashion and are developed in the basic pattern by garment.
the master designer for each establishment. The A wen-fitted garment feels comfortable, ad justs
designers working under the head designer will naturally to the activities of the wearer, is becom-
then have two problems: ( 1) manipulating the ing in line and amount of ease and consistent
basic dart, and ( 2) creating various style features. with current fashions. In general, it hangs or sets
However, the person who is designing patterns without wrinkles, sagging, or poking out, and it is
for herself or for individual customers, has the wen balanced. Figure 4 illustrates both the wen-
third problem of fitting. Economies of time, fitted standard and the common unflattering evi-
worry, and fabric are assured if the basic pattern dences of a poor fit either in a pattern or a gar-
is first fitted in every detail before style features ment.
are developed. Subsequent fittings will then be
slight, though necessary to suit the texture of the FIVE STANDARDS FOR A GOOD FIT
fabric and to approve spacings and amounts of Five basic factors present in every fitting prob-
fullness which are not easily visualized from small lem tell you what to look for in deciding whether
sketches or from flat surface designs later to be a garment fits wen or not. They are ease, line,
worn or seen in the third dimension. grain, set, and balance. These five are interre-
Poor sewing and pressing often give the impres- lated. Not all five are equally obvious in every
sion of a poor fit. Techniques of good dressmaking situation. Grain is difficult to see in fine weaves
are essential to good fitting and good designing. or firm, thick textures. In such a case look for
There is little point in your learning to design wrinkles (absence of a smooth set ) or look for
patterns if you do not know how to execute them balance at the lower edge as in a skirt, jacket, or
in cloth with finesse. Some of the skills we assume short sleeves. But if the lower edge of the blouse
you have already mastered are placing patterns is fitted into the belt or the sleeve into a snug cuff,
true with the grain, cutting accurately along lines, one cannot observe balance very well so she must
stitching and pressing darts, basting by hand and fall back on noticing grain or diagonal wrinkles
by machine accurately, stay-stitching with the or line direction. In a skirt it is easy to note the
grain, easing in fullness, shrinking out fullness, silhouette hipline seam but the underarm seam in
tailor pressing, machine stitching exactly on the a sleeve or blouse will not be so easily judged.
proposed line and corner, invisible hemming, mak- Most of us are already accustomed to recognizing
ing piped buttonholes and slide fastener plackets, looseness, tightness (ease), and length or evenness
8
 The Basic Pattern-Fitting 9

at lower hem lines of skirts, sleeves, and jackets. Ease at base of sleeve cap, 2"-3" ( l "-1 :Y2" tuck).
In a simple dress like the foundation pattern, Ease at elbow, l " (:Y2" tuck) -be able to bend
which is n ot purposely cut on the bias or in some elbow comfortably.
unusual style, there will be the following evi- 2. LINE. Lines to observe in fitting are the
dences of a good fit. basic silhouette seams, the circumference seams,
then style or design lines. The shoulder seam, the
I. EASE. The garment seems to be the right
underarm blouse seam, and the side seam of the
size, neither draws nor is baggy, and does not ride
skirt should appear in a continuous line from tip
up in sitting or wear. Evidences of lack of ease are
of ear to ankle-at right angles to circumference
drawing across the sleeve cap, over the bust or
seams and the floor. This line should seem to
shoulder blades, cupping under the seat, or a
divide the front and back of the body about
waistline too high. Evidences of excess ease are
equally, so that often the round-shouldered per-
too long a sh oulder seam, too many folds across
son requires a shoulder seam slightly back of the
the neck and chest, waistline too loose under
highest point of tl1e shoulders. This seam is basic
the belt. Ease is the extra amount a designer
to a good silhouette. If this line does not hang
leaves beyond the body measure at any given
straight, it indicates that either front or back is
point. This amount varies with fashion, your
too narrow at some place.
build and personality, even your age, your ma-
The circumference lines include neckline, arm-
terial, your activity or the occasion; hence, the
holes, \Yaistline, wristline, and hem line. They
following amounts are merely helpful guides for
should be smoothly graded cur,·es following the
a foundation pattern not to be followed too liter-
natural body curves. The neckline sets up well in
ally. Compare these figures with t oday's fash ion
the back, hugs the neck yet is comfortable. The
in ease.
armhole sh ould be oval, neither round nor
pointed under the arm. It follows the natural
creases made where the arm joins the body; if
Guide For Ease too low the arm cannot be raised comfortably
Back shoulder seam cased on to front about :Y2". with a set-in sleeve. The waistline seems parallel
Ease around bustline about 4". Be able to pick with the floor but a bit lower in tl1e back to fit
up a :Y2" tuck on each quarter of the blouse. A tl1e natural hollow there. Care in this feature
French bodice will have but 1" or 2" ease, a gives a natural, modern effect. The hem line
peasant blouse will have 6" or 8". sh ould be parallel witl1 the floor (except for un-
Ease across chest ~"-Ys ". Be able to pick up usual design irregularities). T he wristline of a long
an Ys" tuck at center front without pulling arm- sleeve should be long enough at underarm seam
hole out of line. tl1at it will not pull away in a point from the front
Ease across back :Y2"-%". but form a continuous curve to the top of the
"Blade" * or lengthwise fold in h ollow between hand.
ch est and bust, 1" ( :Y2" tuck ) . Such design lines wi thin tl1e silhouette as pleats,
Blade at back similar to front, the hinge neces- darts, gores should appear to hang perpendicular
sary for bending body forward. to the floor generally at right angles to the circum-
Ease through hips, standing, l W'. ference lines they enter, or to radiate from the
Ease of skirt at waistline t o fit on to bclt- 1" circumference they enter. C urved lines like yokes,
or Y4" on each quarter. sh ould be direct, smooth, graceful, and exactly
alike in symmetrical effects. In asymmetrical
* T11e blade is a long triangular fold on each side of the effects, lines in the blouse should seem to flow
blouse which bridges over the hollow between the shoulder into those of tl1e skirt if not actually match.
and the bustline. It begins as nothing several inches below 3. GRAIN. Threads or yarns, the units that
the end of the shoulder seam and ends at the bustline,
where it is aboat Y.z" wide (enclosing 1" ). There should make clotl1, are called ''the grain." Be careful to
be a blade on each side of the back, too-four in all. say "crosswise grain" or "lengthwise grain" for
Check this ease with the arms down. Fold the anus across clearness. H owever, most dressmakers assume that
the chest or on opposite shoulders to see if enough ease
has been allowed. Do not confuse this ease with the
lengthwise grain is meant when speaking casually
amount needed over the b ust. about the grain. Since grain refers to the direction
10 WHAT TO LOOK FOR-IN TESTING PATTERN

1. Standard os 2. Shoulde r seam. 3. Square shoulders 4. Sloping

to five factors. Too short for Too long for hovo lifted groin in shoulders or
wide shoulders. narrow shouiders. chest and sleeves. wide neck.

5. flat chest. 6. Sway back. 7. full bust. 8. full bust. 9. Round shoulders.
Belted. Unbolted. Bolte d. Unbolted.

I 0. Not enough 11. Short sleeve 12. Shoulder seam. 13. Waistline
Too for bock. Too far forward. Natural cvrve Bock too high, Too level.
ease on front of cap or squa re
shoulder._ down ot bock. front dips.
cop.

---r---
16. Prominent 17. Cups in· 18. Cut off 19. Standard 20. Darts pulled out
14. Standard. 1S. Prominent
abdomen. derTiire. darts too long- groin or one dart line._ of line.
too tight. hip larger.

Fig. 4. Observe grain, line, use, balanee and set {absenee of wrinkles).
 ALTERING OR FiniNG THE PATTERN 11

1. Three woys to widen shoulders- alter bock to match. 2. To narrow shoulders, 3. For square shoulders, 4. For sloping
dart or tuck instead of waise armholes as much ohoulders pr wide
sloshing os in 1, end dorl as shoulders. neck - ,alter back
on bust or waist. to match.

5. For hollow chest, 6. For over·erect or 7. For full bust, slosh cronwise and 8. For round ohoulders (some
dort to shorten, trim sway bock, crosswise lengthwise through one dort, to widen principle os 7).
excess at neck1 tuck dart to shorten; trim o dart or make a new one.
to narrow oho•lder excen ·at waistline
and basic dort. and narrow d art.

9. For bony knob 10. To lengthen 11 . For large orm1 12. More elbow room; 13. Short hack with full bust; tur.k
on upper arm. oleeve cap. raise top of cop or o new dart and more across bock to match new bust dart;
raise lower armhole. cop room at bock. let out seams.

Side Front CF

U. For promfnent abdomen and 15. for prominent. derriilre 16. For prominent side and bock hips. six-gored skirt;
extra length and width and a wider dart. chong: gradual from bock to nothing at front.

Fig. 5. Alt ering patterns by slashing and spreading, Method I.

 12 Practical Dress Design
of the threads, there is no such thing as a bias wrinkles are usually on the bias because it is more
grain. Just say bias! Usually lengthwise or warp elastic and will give to the strain.
threads are heavier than crosswise or filling but Crosswise wrinkles occur because at a circum-
there are exceptions like poplin, bengaline, faille, ference level above or below them the garment is
or shantung. The heavier threads tend to hang too snug. For example, a skirt t oo tight around the
downward on the figure. A good designer recog- hips rides up, p ushing wrinkles toward the waist-
nizes that cloth has a will of its own and takes line. T h us, if the grain and ease are corrected,
advantage of the fact. Graceful folds in gathers, there will be no wrinkles. Crosswise wrinkles
pleats, ruffies, and skirts occur if they follow the across the shoulders at the back of a jacket or
heavy threads.* But designers use darts, curves, blouse occur because the sh oulders are broad, or
and angles to make the cloth fit the body or create sometimes because shoulders are square.
interesting spaces, therefore the lengthwise grain Creases due to poor pressing detract from the
is not always at right angles to the floor. T he parts smooth look \\"e desire but are problems in press-
that are bias tend to flare or ripple. ing, not in fitting.
In the standard basic pattern at center front 5. BALANCE. The standard skirt should h ang
and back at both bust and hip, the lengthwise so that it extends the same distance from the legs
grain is perpendicular to the floor ( unless bias from right to left and from front to back. The
seams are in the design ), and the crosswise grain sleeve should apparently have as much ease back
is horizontal or parallel with the floor from CF of the sh oulder seam as in front of it; the standard
over as far as the point of the bulge at least. short sleeve should not poke out more in front
The grain on the right half of the garment should than in back, nor should it poke out on top of the
match that on the left half, except in asymmetri- arm ( unless it is a shirt or kimono sleeve) . The
cal designs as in a side draped skirt. In a plain shoulder seam should rest evenly on the shoulder,
sleeve, the lengthwise threads should hang verti- not tighter one place than another, nor bulge
cally from top of shoulder to the elbow and away from the neck more than it does at the arm-
crosswise threads in the upper sleeve should be h ole. If the lower edge of the skirt, sleeve, bodice,
parallel with the floor. In a shirt sleeve and its or jacket pokes out, you will find that it is caused
m odifications (kimono, dolman, raglan, or puffed ) by a bulge directly above the rise. At that point
the crosswise grain will curve on the figure but it the grain curves up instead of being straight
should balance from front to back. across. Diagonal wrinkles point away from the
If the crosswise grain curves up or down where bulge.
it should be parallel with the floor, it is because
of some body bulge or h ollow directly above the
Causes of Poor Fitting
curve. If you do not drop or raise this grain line
by letting out or taking up the seam directly We repeat that complete respect for grain
above the curve, wrinkles, sagging, or poking out throughout and precision in dressmaking or tailor-
below will appear. T he crosswise grain must inten- ing make for a good-looking garment. But even
tionally drop at hipline wherever circulari ty or though you are skilled or even though you buy
flare is desired below the hipline. the better well-tailored ready-mades, you may still
The grain line may be off because of failure to have fitting problems because the pattern was cut
cut "grain perfect," or to stay-stitch curves and for an imaginary average or model. Some of your
crosswise seam lines to keep them as cut. body contours will vary from that standard. If
4. SET. A smoothness of "set" or freedom from these differences are due to poor posture, you may
wrinkles is required for a good-looking fit. Grace- correct them by daily practice and better styled
ful folds creat ed by gathers or unpressed pleats or foundation garments. If your bones and flesh
draped features are style lines not to be confused differ only slightly, grain, line, ease, balance, and
with wrinkles, those slanting triangles straining set are disturbed and the result is a n oticeable
from some curve or bulge of the body. These lack of a pleasing fit.
The body is made up of many subtle curves,
but there are seven basic ones we call body bulges.
• For further discussion on grain, see Erwin, M abel D.,
Clothing lor 1\loderns (New York: The Macmillan Com- They are the bust, the end of the shoulder, the
pany, 1949 ), pages 210- 217. shoulder blade, the elbow, the abdomen, the side
 The Basic Pattern-Fitting 13

hip and the back hip. (A wide neck, fleshy thigh, we will use "alteration" for pattern fitting or ad-
and prominent front hipbone are minor but simi- justment and "fitting or pin fitting" for changes
lar bulge problems.) A flat piece of cloth must be in the garment proper.
folded into darts or cut in seams to allow enough
ease over each bulge. (Dart tucks or gathers may ADJUSTING THE PATTERN
be substituted for a long dart to create a softer
effect.) The larger the bulge, the more cloth is Preliminary Adjust ment of Pattern Size
needed to cover it and, consequently, the wider
Instead of measuring the pattern for bust, waist,
the dart to control the excess. Hence, a good
and hip, use the printed measures given on tl1e
knowledge of pattern design enables one to regu-
pattern envelope. Compare these with your per-
late the darts to control grain, remove wrinkles,
sonal measurements. You have already selected
create ease and balance, and straighten lines.
the pattern based on your bust measure, hence
Both pattern designing and fitting are based on
before trying on the pattern you should alter only
the same principle of the basic dart. A knowledge
length, waist, and hip measures by using arith-
of Chapters 3 and 4 will help you to alter pat-
metic to decide on amounts of change.
terns and fit garments.
I . Length. Use tucks at right angles to grain
Fitti ng Patt erns vs. Ga rments
line to shorten garment parts. Similarly, slash and
It is obviously more sensible to alter the pattern spread pattern for extra length (Fig. 6). However,
(Fig. 5) before cutting the cloth, but if one has if the lower part of a pattern piece does not vary
failed to do this or to have done it successfully much in width from the area abo,·e it, simply add
or if one has a ready-made garment needing fit- to or cut off lower parts. If it is important to re-
ting, one must learn to do both. In fact, you will tain the size and style detail in tl1e lower edge of
see that the principles of pattern alteration are ex- a pattern piece, the excess length cannot be cut
actly the same as those for fitting, so perhaps we off the lower edge.
should learn to use the phrases "pattern fitting" 2. Waistline. If your hip size is satisfactory but
and "garment fitting"; the same changes have to your waist measures 2" less than what your pattern
be made whether in paper or cloth, but we may go says, such as 26" for size 14, then 2" must be re-
about the process differently. To avoid confusion moved at the waistline only (not hip or bust) in

Fig. 6. Ad justing length.

 14 Practical Dress Design

CF

CF

To decrease waist Some a s C, but by To widen

meosure only; alter slipping pattern over front only.
bock to match if to cut wide r; odd a
needed. dart or two.

Fig. 7. Adjusting waist and hip width. Use arithmetic and a measure.

both skirt and blouse, or Y2" for each quarter of paper is stiff, but it is most helpful in showing
the garment (Fig. 7, A ). The easiest way is to lack of balance at lower edges and a tendency of
redraw the darts Y4" wider on each side, tapering garment to bulge away from the body at neck,
to the same end point ( Y4" at each of 8 places shoulder, or armhole. These indications may be
totals 2"); or add a new dart. In case of several measured to tell one how much to alter for body
seams redraw the hipline seam (a slight curve * bulges or hollows. F itting the pattern also checks
here) and the four darts, totaling 12 places, your previously measured corrections (Fig. 8).
therefore each 1/ 6". You may not have a ruler Pin pattern together, seam line on seam line by
with sixths and thirds, but by using 3/ 16" to overlapping. Since this paper is ' ''1ly half a gar-
make those darts or seams wider where you curve ment, be careful to anchor CF on your body's
out the most as side hip or back, and Ys" where CF, C B on C B, waistline at waistline to a tape.
you are flatter as in front, you may secure a total
satisfactory result. To change only the side seams
would pull the darts out of good position.
3. Hipline. If you measure smaller in the hip
than the pattern says, take lengthwise tucks the
entire length of skirt pieces, each one half as wide
as amount of decrease for a fourth of the skirt.
If you measure wider in the hips than the pattern
says, widen the entire length of each pattern piece
(Fig. 7, B), then widen darts if any, or draw in
new darts, C, to make waistline fit your measure.
In reducing the waist measure always leave a total
Fig. 8. Pin fitting
of l " for ease in attaching to belt or tape. paper pattern an
model.
FITIING THE PAPER PATTERN
T rying on a paper pattern is not completely
reliable for indicating a perfect fit especially if the

• Use a tailor's curve stick or copy the curve of the orig-

inal pattern in establishing the new curve.
 The Basic Pattern- Fitting 15
(Pull sleeve pattern in place later. ) Observe lines, wise grain rise or fall from a line where it should
ease, balance. Pin fit or change measurements be perfectly horizontal? Are the basic seam lines
needed for further correction in length and width slanting where they should be straight, or do they
(ease), then measure amounts where parts are off waver in untrue lines? Does the garment ride up
balance. Since paper is stiffer than cloth not all or draw because it is too snug, or is it too sloppily
fitting can be done at this time but much of it loose? Does it poke out of balance below the basic
can. body bulges so that lower lines are not horizontal
If a prominent bust draws the underarm seam and grain lines not balanced? How much are lines
forward, or draws armhole out in a hulge, or pulls off balance?
up from belt line, then fit the blouse separately The second step is to determine the cause. If
from skirt in order to note amount of hiking up a bulge is overly prominent, it lifts the grain; but
at CF. Measure amount that lower edge of blouse if there is a hollow instead, the grain sags and,
rises above the waistline due to the full bust (or along with it, the lower edge of that part of the
in back, due to round shoulders) (Fig. 4). garment hangs out of balance, below level.
Release one vertical seam to estimate total extra The third step is to decide on the remedy. It
width needed, 7 (Fig. 4). is easy to see that we take up a seam directly above
If skirt hikes up, measure amount off from level a sagging grain or edge line; or let out a seam
at that point, 15 (Fig. 4). directly above a rising grain or edge line. Which
Pull sleeve pattern in place, seam line on seam to do depends on the width of seam available and
line; pin at underarm, shoulders, and notches also on the effect upon adjoining seams. Will the
(with shoulder pad in ph:.ce if one is to be used ) . neckline be improved if the shoulder seam is taken
Make a tuck above elbow if elbow dart is too up or let out? Generally, it is easier to correct the
low; if too high measure amount. Measure amount neckline than to correct the sleeve and the arm-
of rising above the levd of the crosswise grain hole. Pin a tuck to narrow or shorten (alter pat-
at sleeve cap line. Measure needed changes for tern to match and recut) . For bulging, take
ease at cap, elbow, lower arm as indicated by deeper darts obtained by release of seams. For
vertical tucks or by the spreading apart at seams. hollows, let out darts and remove excess at seams.
On table, correct alterations made in darts, See page 11.
tucks, slashes, and spreads. If corrections are The fourth step is to make the change and try
needed for bulges, off-grain or off-balance effects on the revised version for approval or further
use the measur( :.ents just taken and follow pro- changes.
cedures in Figure 5. The fifth step is to understand the cause and
remedy and make conclusions to help make later
Fitting the Muslin Pattern alterations for the same difficulty. (Or decide to
alter your body by posture exercise, diet, or pads
Cutting a muslin copy of the pattern after the and foundation garments!)
preliminary adjustment of the paper pattern is
a more accurate way to check fitting needs. (If
no pattern alterations have been made use 1" seam
allowances, with 2" extra at lower edge of skirt Correcting the Pattern
and blouse.)
Changing the pattern to fit is generally called
Stay-stitch on the dart and all seam lines except
pattern alteration, but since the changes in the
lengthwise ones; then slash any curves. Draw,
pattern must produce the same results as fitting
rather than baste to mark crosswise grain lines,
in the cloth, it seems more accurate to speak of
if not clear; clip, rather than baste to mark CF
pattern fitting and garment fitting-one is done
and CB location points at seams.
before cutting the cloth, the other afterward. The
principles are the same. Most workers think of
Steps in Solving a Fitting Problem
pattern fitting as adjustments or alterations done
The first step in solving a fitting problem is inside the area of each piece just where the change
to study tlie garment and check each of the five is needed, but in garment fitting such a procedure
factors (Fig. 4). Are there any diagonal wrinkles is obviously impossible-all changes have to be
straining for release at a bulge? Does the cross- made on existing seam and dart lines.
16 Practical Dress Design
3 --- ----/4
PATTERN ALTERATION I
I
I
Method I. Slashing and Spreading Within I

Amateurs will do less damage to the exact lines

'",
\
.s
~-{"
cut by the pattern makers at the edges of patterns
if all alterations in the paper pattern are made
in the interior at or near the body area needing
the change. TI1is principle requires two slashes in
the pattern piece-one lengthwise and one cross-
I
wise, intersecting at the point of bulge and spread I
apart or overlapped independently as needed. It I
I
~--
is simpler if one of the slashes goes through a
2
basic dart, 7 (Fig. 5).
If one seam line such as the shoulder is to re- Fig. 9. Altering o pottern by p ivoting for extra length and
main unchanged, cut the slash over to, but not width, Method II.
through, the seam that is to be unchanged. It
helps to draw in a horizontal grain line at base of B. Trace shoulder, armhole, and underarm
armhole before separating parts to keep them in seams down to the waistline, 6. Swing pattern
alignment when spreading. Keep the CF or C B back and down so that the back edge of the dart,
line straight. 7, is opposite the front edge, 1. Connect with end
If spreading one end of the slash causes the of dart. Check to see that 6 to 7 is the same size
other end to spread too much, the extra must be as original pattern.
taken out by converting the space into a new dart C. The basic dart may be kept as low as, or
(or by widening the dart already there ) so that lower than, the original by redrawing a narrower
the original seam will remain unchanged in point. Fold in the new dart, then cut along new
length, 7 and 8 (Fig. 5). edge lines. The neck, shoulder, armhole, under-
This technique seems more logical to the arm, and waistline have not been changed in
author, but some people object to mutilating the length, but the bust area has been widened and
pattern and it may be confusing when altering a lengthened and the basic dart enlarged. Check
complicated pattern. It is certainly the easy and total width added and total length added to
accurate way to fit simple foundation patterns. match your intended alteration.
Strips of paper may be pinned across the spread- This method saves c:utting up the original pat-
out slashes, the pattern tried on and the spreads tern.
checked or altered while in position on the figure.
Of course, pinning tucks for hollows is naturally Method Ill. Redrawing Edges of Pattern
simpler than changing seam lines or slashing.
Either on cloth or paper trace around the pat-
tern of parts to be unchanged, then c:ut off or
Mothod II. Pivoting to Change Edges
widen seams, hems, and darts for bulges. The
You can pivot or shift the pattern to alter for problem is where and how much. Widen seams
a bulge without any slashing. The steps (Fig. 9) most on edges directly above or across from
are illustrated here for a prominent bust but the bulge. Use a gauge to mark the exact amount
technique will work on other bulges. of change required-just remember that extra
A. Begin at front edge of vertical dart. Trace length as well as width must be provided; that
it and the waistline over to CF ( 1 to 2) . darts are widened for bulges (or shortened and
Move CF up the length required, :Y2"-1", then narrowed for flat hollows ) . Then place pattern
trace it and the neck to point 3. on these marked points to draw in n ew silhouettes.
Raise the armhole end of the shoulder seam This method is more free-hand and quite accept-
enough (about Ys") to widen the chest slightly, 4, able in the hands of a caretul worker conscious of
and to widen the bust the desired amount ( 1/z"- the theory of darts and bulges, but has more
1")' 5. chances of error in the hands of amateurs. Figure
 The Basic Pattern-Fitting 17

I
I

I I
I I
I
I
CF CF cs :I
I
I
I
I
I
.)
'' _, )
~ .....
-- -------- s D E f
Fig. 10. Altering a pattern by redrawing the edges, Method Ill. Dotted lines show where original pattern was moved widthwise
as well as lengthwise t o alter for full bust A, B, C. D and E show two shifts for round shoulders, and F for fl eshy b ack at torso level.

10 illustrates such changes wh ich are exactly what increased the extra width at side seam is pushed
one should do in fitting. If you can do it in doth over and taken out with basic dart.
on a person, why can't you do it on paper on the These methods are practically the same in final
table? You can, if you know what you are doing results. One method may appeal to you more than
and are accurate! the others. Most people find Method I "fool-
proof" and easier to understand. Experienced ex-
Comparison of Methods of Altering Patterns perts prefer free-hand changes at seams.
Figure 11 compares the three methods of alter-
ing a pattern for full bust. In A, Method I, the
FITTING ON THE FORM
spread was equal in all four places. The shoulder
and underarm space was converted to two new In cutting out a garment then, one must fold
darts. In B the new darts were pinned in order in tucks or take up seams for h ollows; or add extra
to make one basic (waist) dart flatten out wider. width and extra length at edges (darts or seams)
In C, M ethod II, the basic pattern was pivoted opposite a bulge. The fitter uses these extra allow-
to provide the extra amount of length and width ances as she pins on the model. This procedure is
0\·er th e bust. In D, part of the length was added good if you enjoy freedom with the fabric as in
on top, part on bottom; width of chest was graded draping. If you are working for yourself altering the
to make armhole wider near bust; enough width pattern by slashing is better. If the garment is al-
was added at side seam to make the bust as wide as ready cut out or is a ready-made you are forced to
specified. Since the waist measure was not to be draw on many seams-Figure 10, B, and Figure ll,

D
Method ill

Fig. II. Comparison of methods of alt ering pattern : A, by slashing and spread ing; B, by closing darts of A, and combining
the three spreads or darts into o ne larger one; C, by pivoting; D, by redrawing edges. All methods provide extra width and
length for t he bulge. Final results are the same.
18 Practical Dress Design
D, for example-rather than working on just one likewise and recut; if garment is too long, pin
seam. InC (Fig. 10) we get along with less extra crosswise tucks similarly or decide whether to cut
width at waistline, but use extra length to make off bottom or lift at top.
the underarm dart. If you can't get all you need If you release one lengthwise seam, you can
in one seam, look elsewhere. This points up the measure the gap it leaves when adequate ease
fact that many seams on hard-to-fit customers give allows the garment to settle comfortably into
the fitter more leeway. normal position, 7 (Fig. 4) . Then decide how to
You can become a better fitter by comparing distribute this total amount of let-out among
altered patterns with the original. In cutting out the other seams so that proportions will be main-
a garment by a pattern that has had little or no tained. If the garment is too tight, let out all
altering for bulges, you can see why l " shoulder seams and darts slightly rather than letting out a
and underarm seams and 2" shirttail seams are great deal in one. Similarly if garment is too loose,
wise. take up many or all seams and darts. Shortening
darts will release some ease and add softness.
Fitting Garments LINE. Seam lines may be shifted forward by let-
ting out the back (at shoulder or underarm ) and
Fitting garments is free-hand work depending
then taking up the front the same amount; or
on an eye for the five factors of fitting, a light
vice versa. Lengthwise seam lines will usually
and skillful touch to rip bastings and repin new
straigh ten up when grain, ease, and balance are
seams and dart lines. It is the creative skill that
restored. Circumference seams may be adjusted
so few take the trouble to develop. It is like drap-
after lengthwise seams are corrected by marking
ing or modeling on a form. In fitting, one is re-
along a tape to establish the new line- as neck-
stricted by seam allowances, whereas in modeling
line or waistline of the blouse. Usually curved
only the width and length of fabric inhibits one.
seams set better if clipped from raw edge to, but
In fitting, one uses pins not only to hold parts
not through, stay-stitching. Use the shortened,
together but to establish lines. Tape is a good
hiking lower lines of blouse and skirt to indicate
guide to develop your eye but eventually you must
a need for alteration above that point to provide
see the lines and put them there with pins. After
more ease over a bulge. (Fig. 4). Do not try to
the fitting use gauges, rulers, or a pattern to true
work on skirt lines unless the top is stay-stitched
up lines-chalk them in or baste them or stitch
and either pinned or basted to a belt or tape.
them as you have ability and confidence in your-
Where a lengthwise seam line slants out of its
self.
vertical position, it is an indication that a bulge
In dressmaking, whether parts are pinned or
is pulling it away. Provide more ease above at
basted, the first fitting concentrates on lengthwise
the bulge by letting out the vertical seam or lifting
seams and we fit ch iefly for width or ease. Details
the cloth aJong the line and making a wider dart
and darts are checked for proportion, location,
for the bulge.
and size. Balance, grain, and set indicate necessary
After all fitting is completed, true up all seam
changes. The second fitting concentrates on cir-
lines and darts before stitching. Stitch true with
cumference seams, and the third fitting on minor
the grain and press with the grain to complete
changes, closings, and decoration.
"good lines."
In general, fit bust of blouse first, then above
Sometimes style or design lines need adjusting
and lastly below it; fit skirt hip first, then waist-
and if poorly executed they may prevent a good
line and then below hip; fit sleeve at elbow, then
fitting job.
above, then below.
GRAI N. If you are grain conscious, you have the
first guide for knowing what to do. Let out seams
FITIING FOR EACH OF THE FIVE FACTORS
above rising crosswise grain lines, A and B (Fig.
EASE. In fitting for width at first fitting, have 12); or deepen seams above drooping crosswise
garment right side out. Use pins at right angles as grain lines, C- the results are the same. Where
for lapped seams. Fit both halves on the figure. seam allowances are narrow, it helps to compro-
For slight ch anges simply pin deeper seams or re- mise by letting out one end and deepening th e
lease seams. However, if there is much excess ease, other end. In either case, consider the effect on
pin lengthwise tucks in garment; alter pattern adjoining pieces such as collar or sleeve. Taking
 The Basic Pattern-Fitting 19

of a skirt flare too much, the seam can be straight-

ened somewhat, but generally it is better to lift
the crosswise grain at hip somewhat and push the
extra hip fabric forward to make another vertical
waistline dart or widen the dart already there.
Gathers, dart tucks, and easing in the fullness
will hold the grain where you place it in fitting
( Fig. 12).
SET. A smooth set is our ultimate goal-the
absence of wrinkles or drawing. To remove a
Fig. 12. Pin fitting t o level grain. wrinkle, trace it to its point of origin which is a
bulge causing the trouble and there let out the
up the shoulder seam at the arm end requires seam, B (Fig. 14) . Or, smooth your hand at right
hollowing out lower armhole, C, to fit sleeve; or angles across the wrinkle and push the excess out
one must shorten the sleeve cap, D. by taking a deeper seam at this new point, C;
We assume that the garment was cut grain per- (however, the procedure may make the garment
fect; if not, recut. In general, lengthwise grain too snug) . M ost wrinkles are diagonal fom1ing
hangs straight down, whereas bias flares or ripples along the bias because it is more elastic. Some-
away from the body (Fig. 13) . If the side seams times you may push the \\'rinkle into a dart.
(A dart is a controlled wrinkle-a \\'rinkle is an
uncontrolled dart. ) Several darts are more be-
coming than one on most figures so do not hesi-
tate to form new ones or enlarge others.
Diagonal lengthwise folds in skirts similar to
circularity often hang in undesired places as over
a prominent front hipbone. Letting out the waist-
line seam there and taking it up a little farther
back is an example of tracing a diagonal wrinkle
to its source and there releasing the seam. Con-
versely, if a ripple is desired at a certain spot
(provided some width is available ) pulling the
seam deeper there creates such a "wrinkle" or
A
flare.
Fig. 13. Crosswise grain is parallel to flo or only where skirt B AL.\ NCE. If the garment hangs farther from
hangs straight below, A. In B, bias sid e seams c reat e side
one side of the body than the other, either it is
Rare, with crosswise grain droo ping . In C , the b ias is a t CF,
so that crosswise grain d rops more at CF than at hips. cut off grain or the body bulges more on one

I
C IS CB
I
I
I
I
I
I

Fig . 14. A , undesirable wrinkles must be removed. B, release seams at pointed end of wrinkle. Or, C , t a ke a d eeper seam
whe re you have smoothed your ha nd across the middle fold of a wrinkle.
20 Practical Dress Design

D, later to be steamed out. This procedure is

necessary because both extra length and width
m ust be provided to cover the bulge. Some width
at waistline may be taken out in the vertical seam,
but most of it should be smoothed into the dart
or darts.
In general, take up darts for bulges; and, vice
versa, let out for narrow darts and take up seams
for hollows in fitting. The principles of fitting
developed above are applied to the following simi-
lar problems. Most of these out-of-proportion
figures would appear better in designs with sev-
eral seams as four or six gores, and fitting would
Fig. 15. A, prominent derriere pulls back of two-gored skirt be simpler.
off balance. B, open side seam and lift back to provide width
and length above the hipline. C, because waistline is now
too large, make dart or darts in back and t rim off lower
front. 0, use two darts instead of one large one at waistline, Fitting Prominent Bust
or ease some of back to front along hipline.
Point out evidences of need for fitting based
side than the other. Note apearance from front to on the five factors, A (Fig. 16). To correct fol-
back as well. as from right to left. The part hiking low these steps.*
up is below a prominent bulge. Measure the I. Rip underarm seams so that back will settle
amount that this part is off level, 15 and 16 (Fig. into its normal position, B.
4) and use the measurement to tell you the 2. Smooth front over chest and down CF; pin
amount of extra length to provide, A (Fig. 15) . CF where it has slipped above waistline. (Or let
Figure 15 is used to develop a typical procedure. out shoulder seams and drop entire blouse below
To correct, it is necessary to rip the nearest length- neckline to make long enough at waistline.)
wise seams and lift the part covering the bulge 3. Shorten waistline dart to end about 2" below
above the adjoining sections; the lower part of point of bust. Pin the dart wider at waistline as
the adjoining section will then have to be evened much as the underarm seam can be let out, C.
off, B. Anchor hip and grain lines. To provide 4. Smooth the armhole fold or wrinkle down-
the width needed it is obvious that the vertical ward and the waistline wrinkle back and up to
seam must be let out- and let out all the way make a crosswise dart underarm, C. Or some of
down to provide both seat and knee room. Near the armhole can be smoothed up into a shoulder
the top the extra length may be smoothed into a
vertical dart, C-or two, D; or some of the extra * Fit a standard size muslin blouse over a model with
padded bust for practice. You will understand the principle
length may be eased into the lengthwise seam, if you follow these steps.

Fig. 16. Fitting blouse for full bust.

 The Basic Pattern-Fitting 21

CB CB CB

:,' ,''
,,
_:•
. ..
'

t
___I ] -- ---
-

c'-------"'1~--~-__:_..1
1
--++--_1
\\
j f
I
I
I

Fig. 17. Fitting jacket for round shoulders.

dart if the armhole seam is sufficiently wide, D. Fitting Round Shoulders

5. Let out front underarm seam as much as
Exactly the same procedure (Fig. 17) is fol-
possible; let out back only if necessary.
lowed in fitting round shoulders as for any other
6. Correct armhole by making front armhole
prominent bulge.
seam narrower, or back deeper (make matching
change on sleeve). Or cut an entirely new front.
Last, let out lower front waistline seam if it is Fitting Six-Gored Skirt for Prominent Back Hips
deep enough; or cut off lower back; or cut an en-
I. Measure amount that CB is higher from
tirely new front if it is too short.
floor than CF, A (Fig.18).
7. Crosswise wrinkles across the back on a short
2. Open one of the back seams and let skirt
person with full back may be removed as in E.
settle into easy position. Measure amount of
Pin a tuck across back extending it into a dart
spread, B.
in front. Let out both underarm seams. The
3. Repin and restitch both back gore seams to
proper pattern alteration is shown in F.
let out each ~ of total amount of extra ease
8. Conclusions: Generous seams are necessary
needed at hip- all the way down from hip to
for correct fitting. A prefitting and altering of
hem. From hip taper up to normal waistline, C,
pattern is safer and easier. For quick work when
on all seams.
cutting for unknown problems add about 2" to
4. Make a new waistline at back as much higher
bottom of blouse and 1" seams elsewhere.
as is needed for extra length at CB, graded around
to match front at side seams. For slight changes,
a deeper waistline seam across the front will help.
!f waistline seam is not wide enough to provide
tl11S length at back, rip side hip seams and move
enti:e back above the front, C. This will require
cuttmg off lower front of skirt to match.
If side hips also bulge somewhat let out that
seam similarly, especially if needed to keep sil-
houette seams centrally located.

Fitting Two-Gored Skirt for Prominent Abdomen

Figure 19 shows steps in fitting skirt for promi-
?ent abdomen, clearly a reversal of steps for prom-
Fig. 18. Fitting six-gored skirt for large derriere, ment rear hips (Fig. 15) .
22 Practical Dress Design

D E
Fig. 19. Fitting [Link] skirt for prominent abdomen.

FITIING SLEEVES ing; place pattern back on the blouse to reshape

the armhole so it will fit the sleeve. Or, you may
Fitting Armhole
pin the sleeve in armhole to balance grain and
If the blouse underarm folds over, the under- ease, thus establishing a new armscye line. Let
arm is too high or entire blouse too tight; or the the sleeve underarm follow the natural crease of
back is too short with a full bust needing more the body, D; later, perhaps use pattern to cut a
bust dart underarm to match the tuck that ought new armhole, smoother than your pinned lines.
to be taken across the back, F (Fig. 16) . All this If underarm seam was deepened in fitting, the
is blouse trouble but it affects the armhole appear- armhole becomes pointed underneath, E. Trim
ance. below the notches to convert the shape to an oval.
If the blouse bulges away at armhole front, pin If the sleeve pulls the blouse out of place when
a flat dart there to extend to the point of bulge the arm is raised above the head, the armhole is
at bust, A, B, C (Fig. 20). On the table slash one probably too long or too low (the body and sleeve
of the other bust darts until pattern flattens too short in underarm seams). For comfort in
down. Place on fresh paper to copy. Use original reaching, raise the underarm seam by letting out
pattern to shape a new lowered armhole and un- the lower armhole seam, or take deeper sh oulder
derarm seam of the same shape and size. (Prin- and neck seams, or set in a gusset. Dancers, mu-
ciple: a large bust needs a wide dart. ) sicians, and actresses require high smooth-fitting
If underarm or shoulder seams have been underarm areas. Many French dress designers
changed in fitting, the armhole may need chang- stress this idea.

D E F
Fig. 20. Fitting armhole.
 The Basic Pattern-Fitting 23

If a wide seam allowance makes the armhole I. It doesn't slip off the shoulder too far for
temporarily too tight, clip seam at ·curves to help comfort or style.
you decide. If it is really too tight, trim the arm- 2. The curve of the armhole is smooth and
hole raw edge about :V.." deeper below notches, gradual.
but avoid removing much width, F, or sleeve will 3- It appears loose enough to fit the upper arm
draw. If in extreme cases one must let out both but the eased-in fullness is not noticeably puffy or
shoulder and underarm seams, the size was too puckered.
small in the beginning. 4. It isn't so snug across the top that the
In testing an armhole, at the same time test the blouse appears eased onto the sleeve; for example,
sleeve cap for correct ease and the right location across the back.
of highest point. In G, too much ease at back 5. The eased-in fullness does not puff out
and not enough at front indicated that sleeve more at the back than it does at the front of the
needed to be shifted forward about :V.." at top of sleeve top.
cap, H. (As a rule notches are not changed.) 6. The crosswise grain is level with the floor
If armhole droops off the shoulder the blouse everywhere above the elbow.
is too wide through the chest. Pin in darts or tucks 7. The lengthwise grain hangs straight from
from shoulder to bust or waist until shoulder seam the end of the shoulder to the elbow.
is correct length; if they look right stitch them in; 8. There are no diagonal wrinkles on top or
if not, correct pattern, 2 (Fig. 5) and recut blouse. crosswise folds underneath near armpit.
9. A short sleeve does not poke out farther
from the front of the arm than the back.
I 0. A tight-fitting sleeve has a dart or eased-in
fullness to provide room at the elbow.
I I. A long sleeve is not too tight around the
lower part.
12. The seam does not twist. It ends on the
thumb side of the arm.
13. The wristline stays over the prominent
wristbone when the arm is bent.
Fig. 21. Preserving shoulder extension. A and B, wrong.
C, correct. At the First Fitting of Sleeve
A good procedure requires two or three fittings.
The armhole seam should be raised underneath
F or the first fitting in standard dressmaking, have
the amount taken off at top; if it is too narrow,
sleeve pinned on (not in and not basted) right
then lift shoulder seam. A correct pattern altera-
side out primarily to check width. Width depends
tion for narrow shoulders or chest would have
on ha,·ing sleeve pinned around armhole, and on
avoided all this trouble. It is fatal to cut off the
ha,·ing dart exactly at elbow.
shoulder extension (Fig. 21) . Since the shoulder
In muslin, a stayline on the under part of the
is naturally wider than the chest, the standard
sleeve cap seam and a long loose machine stitch
pattern shows an extension there of about Y2", A.
in the upper half pulled up for easing speeds the
To cut this off, B, gives a pinched-in look. If the
process. Clip the lower curves of sleeve seam; with
shoulder seam is too long, use the original pat-
seam line on seam line pin sleeve over the armhole
tern to hollow out chest curve of armhole when
right side out, G (Fig. 20) . Match seam on seam,
you trim off the shoulder seam, tapering to the
notches to notches, underarm seams, and high
notches or below, C. (This change often makes
point of sleeve cap to high point of shoulder.
the sleeve cap too short, a problem to be explained
Place pins parallel under arm for comfort, at right
later. )
angles to armhole abo,·e notches-not too many
-five will be about righ t so that we can judge
the ease left between pins.
Sleeve Fitting
Both sleeves should be pinned in to balance
A well-fitted, standard plain sleeve shows the pull on the blouse, rather than having only one
following characteristics : sleeve in.
 '
24 Practical Dress Design

I. Fit first the sleeve below the cap for width 2. See if the sleeve balances from front to back.
-have sleeve about 2" looser at upper arm and l " A (Fig. 23 ) . This problem is easier to see on a
looser at elbow when bent; ¥2" looser below the short sleeve.
elbow and ¥2" looser at wrist. If sleeve twists be- If the bony knob of the upper arm is very prom-
low the elbow, A (Fig. 22), the back of the sleeve inent in front, the top of the sleeve will appear
needs to be longer-rip below elbow and push strained there and puff out more back of the
more ease up, B. If the dart is too low or too shoulder seam; the lower edge in a short sleeve
pokes away from arm at lower front, A. T o
remedy, push some fullness forward, thereby
changing notch or mark tbat designates a match
for the shoulder seam (since the sleeve is pushed
forward, the mark must be moved back on the
corrected pattern ). It may be necessary also to
let out the seam slightly around the knob and
take a deeper seam on the back. ( Principle: a
bulge needs more width and length, a hollow
less.) This alteration is on the sleeve cap and
the armhole line should not be disturbed.
3. See if the crosswise grain is parallel with
Fig. 22. Fitting sleeve at wrist and elbow-by providing
the floor, B (Fig. 23).
more back length or a wider elbow dart. If the grain line curves up in the middle, the
.~leeve cap is too short either because the pattern
high, rip it out and refold properly. Note altera- was not well styled or because of too thick shoul-
tion in Figure 5. der pads or square shoulders. Let out the top of
On a thin arm, if the sleeve seems too wide the sleeve cap or take a deeper underarm seam in
throughout especially in the cap, pin two long, the sleeve but not the armscye. (Remove or re-
narrow tucks between notches and top of shoul- duce pads.)
der but do not fit too closely. Alter pattern simi- If the crosswise grain line slopes, the sleeve will
larly, recut and fit again. generally twist on the arm. If the sleeve is cut
On a plump arm, if the sleeve draws in cross- off grain, the only remedy is to recut it. Perhaps
wise wrinkles and the cap is too long and narrow, the sleeve is set in the wrong armhole-front to
let out the seams. Or in muslin slit the cloth back rather than front to front. If none of these
and pin in strips wide enough for desired ease. is causing the trouble, rip out the entire basting
Alter pattern to correspond (Fig. 5) . If the sleeve and move the sleeve around the armhole until
cap seems to draw only at lower back, provide the grain sets level, C. Pin the sleeve with the
width and length there, 12 (Fig. 5). The cross- crosswise grain level so there is about 2" fullness
wise cap line will now be off grain. Let it be- the left in the top part of the sleeve t o be eased in.
extra length of underarm seam is to be eased at x Then use more pins to see that balance is obtained,
to fit y. as in A. Note that the notches and underarm seam

@ /
I

Fig. 23. Fitting sleeve cap: A, for bulging knob at front of shoulder. 8, for too short sleeve cap. C , for tilting grain or notches
incorrectly located (inaccurately cut).
 The Basic Pattern- Fitting 25

of the sleeve no longer match those of the arm- mon defect is uneven distribution of fu11ness in
hole. the cap due to faulty basting for stitching, not
4. Pull up the ease thread of the machine stitch knowing how to ease or sh rink out fullness. But
to adjust fullness using pins to distribute it evenly. fullness of 1" to 2" must be there because suffi-
(This ease is later shrunken out by steam before cient cloth must lie across the fleshy arm to be
basting or sewing sleeve into armscye.) Check easy in appearance and comfort. Only in shirt and
again for width above notches. other full sleeves is extra width thrown there in
designing so that less can be left to be eased into
After the First Fitting armhole.
With the ease pulled up and adjusted at the Tailoring, handling the fabric, and just good
first fitting, unpin the armscye seam. Place sleeve sewing will maintain the right ease at armhole
cap over a pressing ham or the end of a tailor's to create the smooth look. In the final press, the
press board. \ Vith a steam iron, shrink out full- seam curren tly is pressed down into the sleeve. A
ness. Hold the long side (not the point ) next to pad that fits the body and armhole may be tacked
the ease thread to shrink out fullness in the seam to the shoulder seam. At its outer edge have the
only without a single pleat in it. Then press the shoulder pad even with the raw edge of the seam.
sleeve cap itself. The sleeve is ready to baste-
stitch into armhole. Fitting the W a istline
At the first fitting have the waistline of the
At the Second Fitting of Sleeve
skirt stay-stitched and pinned to a belt of the
For the second fitting, the emphasis is on right size if it is a separate skirt, or to a tape of
length. Changes indicated at the first fitting have the right length if the skirt is to be sewed to the
been made. T he sleeves have been basted in the blouse. The belt is previously interfaced. The
armholes. Approve adjusted width, elbow dart, bottom of the blouse may have gathers adjusted
ease in armhole, balance at lower edge of short and pleats or hems stitched across the bottom.
sleeve. Don't hesitate to move the ease into a new O n both skirt and blouse, CF's and CB's are
location if ease is not perfectly balanced front to indicated by notches or short slits.
back. If the ease is too great recut sleeve top by The blouse may be tried on separately or at
altering pattern to make it slightly narrower. the time of skirt fitting; if it is too long pin a tape
When the top is satisfactory, with arm bent over it at the waistline, adjust evenly, then chalk-
mark wristline to cover prominent wrist bone. If mark a line where desired. On the table fold along
the wristline slants up at the underarm seam, push CF and CB so that you can trim off the lower
more of the back up into the elbow dart ( Fig. edge with right and left !;ides alike, leaving Yz"
22 ) . \Vhen a good line is secured, the lower shape seam allowance.
of the pattern is not straight across but curved To fit the skirt, the pattern itself sh ould provide
with deepest part of curve on back near little l " ease above the finished belt or tape length or
finger. (The elbow dart requires length as we11 Y-1" extra for each quarter of the skirt top-more
as width. ) will be desirable if the h ips round out very sud-
A long tight-fitting sleeve should be comfort- denly, but not so much that puckers are evident.
able but snug enough that a placket is required In addition to the stay-stitching at top of skirt,
to get it on and off. T he thumb-side seam of the both h ipline seams should be stay-stitched for
sleeve is often used, but many designs accent the 7"-9"-the depth of the placket; not near the
outer or little-finger side of the sleeve. Divide seam line but ¥8- Y4" from the raw edge so that
the lower sleeve with about two thirds for the slide-fastener finish will not expose this stay-stitch.
front (top side of arm ) and one third for the Lengthwise seams are either pinned, or baste-
back (palm or under side resting next to body). stitched with the grain ( usually from hem to
The placket line slopes slightly toward the point waist) for the first fitting. Pin the belt or tape
of elbow bulge, C . first on the right half of the skirt from CF to CB,
Y4" of ease at least on each quarter of the top.
Armhole Finish Then make the left front match the right front
The set of the sleeve cap is the most significant in length, and the left back match the right back
feature in a good-looking garment. The most com- in length.
26 Practical Dress Design

Try on. Fit the hipline as discussed previously. 3. Alter patterns for simple width and length
Take up or release waistline, leaving underlap on changes by tucking or redrawing seam lines.
belt extension of back. The front end of belt 4. Pin fit patterns on body to check changes
should finish flush with the front placket on left and lack of balance due to hollows or bulges.
hip. If tl1e top of the skirt is too full to ease 5. For bulge problems slash (both lengthwise
nicely, stitch in small waistline darts to secure a and crosswise intersecting at point of bulge) and
smooth hip; if the top is tighter than the belt spread. The amount of spread is based on the
or tape, release seams and darts until there is 14" amount garment is off balance.
to 1" of ease. 6. For hollows tuck instead of slashing and
After fitting, if a separate skirt, stitch and press spreading as for bulges.
seams, apply pocket and zipper, before perma- 7. For both bulges and hollows at least one
nently finishing belt. of the alterations should bisect a dart.
If a dress, sew waistline seam with blouse and 8. Spreading a slash across a seam line requires
skirt right sides, centers and seams match ed; that tl1e adjoining seam be slashed and spread the
neaten the 1!2" seam. Clip concave curves that are same amount, unless a dart is made out of the
to be turned back. The placket will fit the waist- spread to keep the finished seam the original
line curve only if the waistline seam is stitched length.
narrower at the last half inch. 9. Make a trial garment (percale or muslin
When a separate belt is worn over the waistline, "shell") and fit for details-either when develop-
a plain skirt should evidence no folds, tucks or ing a foundation pattern, or when preparing a new
pleats. complicated pattern like a suit or coat.
I 0. After pin fitting garment or trial shell, cor-
Fitting the Skirt Hem Line rect pattern to match and use corrected pattern
to recut the fabric especially if you are not experi-
If the skirt has been altered in the pattern or
enced in cutting good lines free-hand.
properly fitted on the model, the hem line should
II. Altering a pattern by any method should
hang an even distance from the floor. If it is
create the same effect as obtained in pin fitting.
not level, study the fit again to see if all is well,
12. Redrawing seams on a paper pattern as a
then place pins at CF, CB, and side seams the
method of alteration should give the same results
same distance from the floor. Fold skirt along CF
as fitting, but it is a less accurate method for ama-
and CB so tl1at the right and left sides can be
teurs-than eitl1er fitting on tl1e person or altering
trued off alike. Place the original pattern on the
by slashing and spreading at the table.
skirt and follow it to cut an even curve.
13. Knowledge of the role of the basic dart in
If gores are very circular the weight of the
relation to a body bulge is essential for efficient
fabric may have caused the bias parts to stretch.
alteration or fitting.
It is well to allow skirts to hang a day or two be-
14. A body bulge and its controlling dart affect
fore trimming-even before stitching the length-
ease, line, grain, set, and balance. The trained
wise seams permanently in some cases. Only in
fitter uses these factors to diagnose and remedy
very unusual cuts or fabrics will it be necessary to
fitting problems.
establish a hemline by methodically marking it
15. \ Vidth and length are the needs for a bulge.
with many pins. You may look in a mirror and
To obtain length a lengthwise seam must be
judge the amount of unevenness for yourself with
ripped so the piece may be raised. This gives
a yardstick and a few pins.
length over the bulge but too much at the side
seam above the bulge level where the excess must
be eased in or folded into a dart. To obtain width
SUMMARY
let out the lengthwise seam.
I. Exercise great care to buy correct size. 16. In altering a pattern or fitting garment by
2. Adjust length, waist, hip, and bust meas- any method, the corrected seam lines need "tru-
ures by comparison of tape-measure measurement ing up"-easily and accurately done by laying the
of body \vith corresponding measures printed on original pattern dO\.vn to coincide with new chalk
the pattern envelopes. Do this before trying on or pin marking, then following the pattern edge
the pattern. Use arithmetic, not trial and error. for the new cutting line.
 Chapter 3
RELOCATING THE BASIC DART

The Principle of the Basic Dart wider the dart must be. If not enough fabric is
included in this basic dart a wrinkle, though
In draping a flat piece of cloth over the smaller, will still remain. It is e,·ident that ,,·rinkles
curved form of the human body, the designer is on the full busted figure almost always indicate
forced to recognize the presence of drooping folds that a wider dart is needed. A flat busted figure
or wrinkles, A (Fig. 24) . In cutting a blouse on such as a young girl's will thus require a narrower
a form, the designer causes these wrinkles or folds dart.
to fall where she chooses. Keeping the crosswise It is noticeable that the angle included in the
grain horizontal over the chest she folds the ex- basic dart could be measured in degrees and is
cess fabric into a neat triangular dart with the just the same degree of angle whether it is a shoul-
point on the fullest part of the bulge or point der, waist, or underarm dart, but because the
of bust and the wide end at one of the seams- shoulder dart is the longest it appears widest at
waist, underarm, or shoulder, B, C, or D. Excess the cut end. This fact is simply an example of
fabric is cut off at seams of neck, sh oulder, arm- the geometric principle that the same angle ex-
hole, underarm, and waist, but all the wrinkles are tended to the circumferences of concentric circles
included in the one dart. We call this one dart describes a small arc on the small circle and a
the basic or fundamental dart. It may be arranged larger arc on the larger circle (Fig. 25) .
in any position radiating from or pivoting about A single basic dart on a large figure generally
the highest point of the bulge. A dart is a con- is not satisfactory because it does not divide the
trolled wrinkle-a wrinkle is a potential but un- broad area into narrower slenderizing areas and
contro1led dart. The larger the body bulge the because the bias of one seam is too great. Hence,

A B
Fig. 24. Draping cloth over e model to fit by control of a fundamental dart.
27
r' 28 Practical Dress Design

Minor curves or bulges that require dart manipu-

lation either in seams or circularity are illustrated
in a wide neck, prominent front hipbone, pro-
truding ribs, thick thighs, and fleshy midriff. Con-
versely, examples of hollows requiring narrower
darts are flat chests, thin necks, and sway-backs.
This book concentrates on designing by the
flat pattern method. This chapter shows how to
change the location of the basic dart in a paper
pattern-an essential technique in creating orig-
inal, unusual, or becoming designs. Also, these
Fig. 25. A dart is a segment of a circle. The same degree techniques are necessary to understand and exe-
of angle appears larg.!r only d the cut end where the d art cute both the alteration of patterns and the fitting
is longer.
of a garment in actual fabric. The following ex-
good designers prefer to use two or three smaller amples illustrate one of the most fundamental
d:J,rts which give gradual ease throughout the gar- principles in pattern making.
ment and offer more places for fitting. We should
learn how to change this dart by flat pattern Moving Basic Dart from Waist to Shoulder
manipulation on a piece of paper not by expen-
sive draping in cloth. Practical Dress Design uses the following
The same procedure in modeling fabric on the method of changing the location of a fundamental
form is followed in draping the back across the dart. Master every detail because the complete
shoulder blades; in draping the sleeve to fit the procedure is a standard technique used through-
elbow; and in draping the skirt to fit the slight out the book.
I. In fresh paper cut a copy of the block pat-
curve at front over the abdomen, the large curves
over the side hips and the back hips or derriere, tern (having a waist dart but no seam allow-
B (Fig. 15 ). The method of changing the 1oca- ances). Outline the dart but do not cut it away.
tion of a basic dart in a pattern is the same in all (Practice first with quarter-size or half-size pat-
these pieces. terns copied from Fig. 1 or the Preface, then in
your own pattern.)
2. Close the basic dart by folding its front line
to meet the back line and pin in place, thereby
creating a bulge in the pattern, A (Fig. 27). The
pattern is now almost a hemisphere.
3. Draw a line from the point of this dart
up to or near the mid-shoulder to create a new
dart line becoming to you. Generally, the dart
should enter the shoulder seam at right angles to
it. On coats, it is often placed nearer the neckline
to be covered by a lapel. Often it is desirable to
have it match the back shoulder dart. Usually it
looks better if the front edge is not exactly parallel
Fig. 26. Darts control seven major body bulges.
with CF, but slanting toward CF at the bottom
T he body is made up of many subtle curves, in harmony with the natural body proportions.
but there are some major ones which we call 4. Cut along this new line until the pattern
bulges. They are the point of bust, the end of flattens out, B. The space left from spreading the
the shoulder, the tip of the shoulder blade, the slash is now the new dart.
elbow, the abdomen, the side hip, and the back 5. Arrange on a fresh piece of paper to copy
hip. Each requires a basic dart (Fig. 26). The in pencil, exactly outlining the new basic dart. (It
end of the shoulder dart shows up as the shoulder may be shortened about%" for a blouse.)
seam, but it is used as any other basic dart in 6. Temporarily pin in this new dart before cut-
pimting in raglan sleeves (Fig. 123), and the ting out the pattern or adding the seam allow-
side hip da rt is usually a side seam of the skirt. ances, C. Then unpin the dart so pattern will
 Relocating the Basic Dart 29

/-------1
_,,; I
I
\

' ',

Fig. 27. Standard procedure for relocating basic dart, Method I.

flatten out ready to use, D . You may find B useful I. Near the center of the sh oulder. place a
as another master pattern or sloper, but use D m ark on your block pattern " ·here you \\·ant the
for a garment because the dart is shorter. new dart, A (Fig. 28) . Start to copy on a fresh
The above method solves more pattern prob- piece of paper, B. Begin at the front edge of the
lems than does the pivoting method and be- basic dart and trace the waistline, on up CF,
ginners make fewer errors. It enables the designer around neck and shoulder as far as the mark made
to try the bulging block pattern on a model or for the new shoulder dart.
on herself before a mirror to sketch in a more 2. With a thumbtack, stickpin, or pencil
becoming location for the new dart or darts. A anchor the point of the dart. Pivot the blouse
three-dimensional effect is different than the view pattern until the waist dart is closed, C. Auto-
flat on the table. m atically a gap is left at the shoulder to become
the new dart.
3. Complete by tracing the new dart and on
around the pattern. True up all tracings.
Pivoting Basic Dart to a New Position
4. Draw lines to complete the new dart, which
However, the method of pivoting the master may be shortened, as in B, Figure 27.
pattern has the m erits of being quicker and of 5. F old in the new dart, add seam allowances,
clanfying the dart theory. It works well on simple and cut out, C . The front should lap over the
changes but there are chances for error if many back on the right side so that the fold underneath
or complex darts are to be created; besides, this turns towa rd the center.
method marks the master pattern, leading to later
Changing Waist Dart to Underarm
errors.
Use the same general technique as in Figure 27.
I. Copy basic pattern, A (Fig. 29) .
~ .... .-.
I
2. Fold in basic dart (waist ) to make a bulge,
I
I
I
B.
I
,-/ 3. Draw line for new dart from underarm seam
I
to point of bust. It may be horizontal or slanting
up.
4. Cut along this new line over to point of
bust until pattern flattens out, C. The space left
is the ne\\" basic dart. This pattern may be used
Fig. 28. Pivoting pattern llround the point to relocate basic
dart, Method II. as another sloper.
'r
3C Practical Dress Design

seams, hem, or overlap according to later use.

You now have three basic slopers, Figure 29,
A and C; Figure 27, B. It is more practical to be-
gin working with one in which the dar~ does not
conflict with new details, but any one can be used.
The waist dart is, perhaps, the most frequently
used because it opens into a seam which will not
need to be closed very soon and it adds a more
Fig. 29. Changing waist dart to underarm location.
slenderizing line.
5. Arrange on a fresh piece of paper to copy.
Principle Applies to Other Basic Darts
To convert the new basic dart into a becoming
dressmaker's dart shorten it-about 2" if slanting, The front of the blouse, because it is nearer the
or until 2Y2" long if horizontal, D. The slanting face, is the favored area for pattern design, but
dart is slightly decorative, but the horizontal is variations are desirable in skirts, sleeves, and backs
merely functional and should be concealed under as well as fronts. Figure 31 shows application of
the arm. the standard method of rotating a dart in other
6. Temporarily fold and pin in the new dart positions around the point of each major bulge,
before cutting underarm seam-with or without but details and variations will be shown in later
seam allowances according to later use, as in C, chapters.
Figure 27. On the wrong side vertical darts fold
toward the center, horizontal darts fold down. Relocating a Dart by Redrawing
In order to suit another style line or to make
Changing Basic Dart in Any Direction
proportions more pleasing, one may decide that
The above techniques show that a basic dart the dart should be moved slightly. As a rule it is
can be swung or pivoted around the point of the safe to move the point of a dart 1" to 1Y2" away
bulge on any radius. You can relocate the dart at from its original position, but more than this
any angle becoming to you, or to harmonize with amount may create unsightly diagonal wrinkles.
a design in the fabric or another style line in the The technique is simple but should be accu-
dress design (Fig. 30). rately executed (Fig. 32).
I. Copy pattern with basic dart. I. Make a paper copy of the dart and erase the
2. Fold in basic dart to make a bulge. original lines. (This pie-shaped piece or dart can
3. Draw in line for new dart location, as I, 2, be saved and used over and over, if the point
3, or 4. always ends on or near the original point of the
4. Slash on this line to point of bulge. Let bulge.)
pattern flatten out leaving a gap which is the 2. Use the paper copy as a pattern to trace
new dart. around-moved into a better position.
5. Copy on fresh paper. Fold in the new dart 3. F old in the new dart and recut the seam
before cutting around edges, with or without at the wide end of the dart.

'
'I
l~
I

Fig. 30. The ba5ic d art may be radiated in any direction around the point of the dart or bulge. These four are often used,
thou9h not as commonly as waist, shoulder, and underarm darts.
 Relocating the Basic Dart 31

Fig. 31. The basic dart in any pattern part may be relocated by the same method as used in the blouse front, i.e., pin in the
basic dart, draw a line (dotted ) for the new dart, slash, and let pattern flatten out to reveal new dart space.

bias of the underarm seam is greater, and so forth.

These differences influence you in planning a de-
sign; for example, for stripes, in making over an
old garment, or in fitting a garment that has
ample ease in the upper area but not much in
the lower.

SUMMARY
A basic dart may be relocated without chang-
ing the fit or size- all seam lines should be the
Fig. 32. Cha nging the location of a basic dart by simply same length as in the original pattern.
redrawing, Method Ill. A basic dart may be in any position radiating
from the point of the bulge and ending on any
A variation of this method consists of measur- outer edge.
ing the dart at the wide end. Erase the lines. With The larger the bulge the wider the basic dart.
a ruler measure and redraw a new dart of the same It is the angle that counts-it remains the same
width and length. Fold in and correct the seam no matter in what direction it lies. Longer darts
end of dart shape. Of course, you can always fold are wider at the seam end than short darts.
in the old dart and slash for a new one.
ASSIGNMENT
Checking Patte rns
I. Select a pattern book and count how many
Make a copy of your original master pattern blouses having just one dart will have it at waist-
and pin in the basic dart to make a bulge. line, how many at shoulder, and how many at
Pin in the dart or darts in your new pattern to underarm.
make a bulge. Slip the new over the original. The 2. Cut out and mount examples of the three
bulges should nest or cup over each other exactly. basic darts, then examples of the three other loca-
The patterns should fit in every detail in length of tions as in Figure 30.
all edges. Of course, when unpinned they will 3. Redraw the location of the back shoulder
spread differently-one requires more cloth in the dart on your foundation pattern. W hy would you
upper area, the other more below; in one the ever do this?
'
Chapter 4
CREATING STYLES THROUGH DART MANIPULATION

Designing creatively requires three major tion. G ood taste may be natural to you but the
skills, all of which can be learned. If you do not study of design goes farther and is needed to
have these skills the practice of making patterns secure true beauty. Use design principles in evalu-
step by step in this book will help you develop ating patterns. Modern design stresses functional-
them. If you already have them to some degree ism, i.e., the design should conform to the pur-
you can attain more polish by more care and prac- pose and the decoration should not interfere with
tice and by attacking more complex problems. A its function. Design principles are employed
good teacher or supervisor should be asked to th roughout this book, but their basic application
criticize your work, but you should be self-critical, is so extensive that you should study other publi-
too. Examine examples of high-grade patterns- cations for details.* Simplicity (not to be con-
both commercial ones and ones shown by your fused with plainness) is important, hence all the
instructor. The three skills are : more care must be exercised in placing and draw-
ing lines. Simplicity in a distinctive dress design
I. Technical knowledge-knowing not only the
is fairly expensive because few pattern makers
"how" but the "why" in the modern block pattern
know how to use the theory of the dart in cutting.
system. The principles are developed in the various
Cleverness of cut combined with simplicity rather
chapters of this book. than fussy trimming lends character.
2. Craftsmanship- being neat, accurate, and di-
rect in working, not messy, careless, dawdling. Be- Designing patterns requires consideration of the
cause you are neat in sewing or art work does not type of garment and fabric suitable for the pur-
mean that you are necessarily so in pattern work, pose. Texture, pattern, and color of the fabric
but general habits of accuracy should help. Lines should be a part of the mental picture, but better
in pattern making must be true and should not still actually at hand. Whether to gather or pleat,
be sketchy when completed. Good tools help. whether to make a vertical dart or a diagonal one,
Two are essential -a pencil, not too hard, not too how much to gather or ease can be determined
soft, such as #2, and a good eraser since a de- only by handling the actual fabric. Experience, of
signer must not be content with the first line course, helps but is not sufficient in itself and
drawn. After tracing around a pattern always true often prevents coming out with a new use of an
it up with ruler, yard stick, or a curve. Have long old idea. Study of historic costume in books and
cutting shears to cut exactly with long clean museums is necessary as well as acquaintance with
strokes on the lines drawn. Cultivate precision modern ways of living. Serious study of textiles,
with fair speed. Check adjoining parts and make fashion trends, the great designers, and fashion
notches match. Do not be too easily satisfied.
3. Design-applying the fundamental art prin- * Goldstein, Harriet and Yetta, Art in Everyday Life
(New York: The Macmillan Company, 1940); and Mor-
ciples of harmony, proportion, balance, rhythm, ton, Grace Margaret, The Arts of Costume and Personal
and emphasis both to structural parts and decora- Appearance (r ew York : John \ Viley and Sons Inc., 1943).
32
 Creating Styles Through Dart Manipulation 33

magazines will help to develop your style sense Aid for Dressmaker or Model Maker
and ability to create new ideas. In order to execute It is easier to stitch a dart accurately if the mid-
your ideas, whether they are your own original dle fold line is clearly marked on the cloth. Henc:e,
ones, or just something you've seen or a combina- the designer should draw this line bisecting every
tion from different sources, deciding where to dart in the finished pattern. For narrow darts this
loca~e the darts is all important. How to manipu- line is most important. It and not the edges
late them is essential. should be accurately traced, then directions given
The basic dart, though functional, may be ar- for proper stitching such as, "Stitch dart ~" wide
ranged at various angles to give a more stylized at seam tapering off at last perforation." Such
effect than the standard locations afford. It has directions are part of the designer's job and it is
::tlready been shown (Fig. 24, E) that several her responsibility to see that the model maker
darts instead of one give a softer more feminine does not have to trace too many lines. A good rule
effect, and that basic darts shortened or left par- is to trace each edge and the center of ordinary
tially open (Fig. 29, D) release the severe effect darts, but only the center of narrow ones (Fig.
of darts stitched to the point of bulge. 33 ).
This chapter shows how to divide the basic dart
and how to shorten it. In practicing these tech- Dividing the Basic Dart
niques use half-size or quarter-size patterns at first, I. As in Figure 30, make a copy of the founda-
then standard sizes. Make up some of the half- tion pattern, preferably having the basic dart not
size patterns in actual fabric and test them on in the area where new ones are desired. In Figure
the half-size model form. Stitch on the machine 3-f we are using the underarm dart sloper, A.
with long stitches without basting (Fig. 33). After 2. Fold lower edge of the basic dart and lap it
a dart is stitched and approved press it over a over to the upper edge of the dart. (Either pin it
rounded press cushion to retain that molded curve or fasten in place with Scotch tape. )
the dart has created-never smash it flat. Actu- 3. Draw in two new lines for darts, one shoul-
ally only one fourth as much fabric is used as for der and one waistline, B.
the standard size pattern. Often just half a blouse 4. Slash on both lines almost to the point of
without seams is sufficient to check on propor- bulge. Let the pattern flatten out leaving gaps for
tions and the success of the pattern. Vertical darts the two new darts, C.
are usually pressed to turn toward the center of 5. Arrange on fresh paper. The slashes may be
the garment on the wrong side, horizontal ones separated equally, C, or more space may be left
to tum down on the wrong side. in one than the other, D and E, to suit your

~; \ I
I I
I I

\I I
I
I

\
I

\ i
I ; I
I
I ; I
1
Correct \ : Only Fair; lncorred 1
Stitching I ~ Not 1
1
Stitching : F
of Dart ~l Professional ' I
I I
ti I \

A B k ~~ D E \,
~
Fig. 33. A, large dart will require time to match lines for ditching. 8, large dart bisected a nd correctly traced for ease in
folding to stitch. C, long dart tapered in slight curve while stitching will fit body better. D, only fair, follows straight lines; not
professional as in C. E, very poor, will pouch. F, correct m;~rking for narrow, short dart as generally USl!d at back of blous~.
34 Practical Dress Design

Fig. 34. Dividing one b,uic dart to create two new ones at different locations.

own idea. In studying a sketch observe such de- only about 2" leaving a soft ending. This is a dart
tails closely. tuck-watch that it is accurately marked so that
6. Make a dot mark to show how far you want it is not stitched up the same width all the way
each dart to be stitched-the shoulder dart about (as a real tuck) or the top may be too tight at
1" above the point of the bulge and the waist dart the midriff.
about 2" below. The basic dart may be swung into armhole,
neck, and center front seams in the same way that
Draw in these new dressmaker's darts. Fold
it was moved from waist to shoulder or underarm.
them in before cutting the seam lines.
Shorter and narrower darts should be used in en-
In pattern F the basic dart is divided between
tering armhole, neck, or center front as a rule
waist and underarm and both shortened. In G,
because they are less bulky and the grain is not
more of the basic dart is left in the underarm dart
changed drastically in order to minimize the
and only a slight amount in the waistline. Almost
dressmaking problem.
all patterns without a visible waist dart should
have this narrow 14" to Y2'' amount left to be
Dividing One Dart into a Group of Darts
eased in during dressmaking giving just the right
amount of fabric to cover the body rib cage with- If one dart 1n a location seems bulky or uninter-
out its being noticed. esting, it may easily be divided.

Moving Dart in Other Directions Method I

In H (Fig. 34), a rather narrow dart instead of I. Make a paper copy of the single dart, either
a wide one is left in neckline to avoid a bulky the basic dart or a dressmaker's dart. Erase the
seam that is to be finished with a narrow binding; [Link], A (Fig. 35) .
a very wide dart there could not be stitched to 2. Fold the triangular wedge into two or three
such a short point without pouching at the end. equal parts. Cut apart.
In H, the waist dart is marked to be stitched up 3. Place the parts in symmetrical arrangement

Fig. 35. Dividing one wide dart into groups of three or more narrow darts. 8, Method I. C, D, E, F, Method II.
 Creating Styles Through Dart Manipulation 35

CB

A D

Fig . 36. Changing location of back shoulder dart.

to form a group near the original dart location between will be wider at the bottom. (In such a
with the points not over 2" from the original point design the darts will look better if they are the
and the wide ends at edge of pattern, B. Trace same length, not graduated. One could draw the
around pieces, true up with ruler. Fold into posi- lines in D so they are farther apart at the bottom,
tion before cutting edges of pattern. then when stitched in F the dart lines will be
This method is limited to a group entering parallel if the darts are tapered in stitching.)
the same seam; for example, it will not work if
one dart is placed at waist and one at underarm. Using Basic Dart for Gathers
In Figure 35, G, an exact copy of F, the dart
Method II
lines were all omitted. The shoulder seam, now a
I. Begin with copy of foundation pattern, with convex curve, is long enough to be gathered,
basic dart folded aP..d pinned or taped to form the shirred, or smocked. There will be no extra full-
basic bulge. Hold over form to sketch location and ness either at or below the point of bust.
length of new darts, C (Fig. 35).
2. At the table, draw in the two or three new
dart lines with a ruler, D, either parallel or fan- ASSIGNMENT
ning out at the wider part of the body, narrowing
I. Use method in Figure 34, B and C, to ob-
at the smaller circumference. Mark desired end-
tain two ciarts like Figure 35, B. The result should
ings for each dart- they may be level or graduated
be identical patterns.
in length.
2. Use method in Figure 35, A and B, to make
3. Cut along each line but this does not flatten
three shoulder darts as in Figure 35, C. The re-
the pattern. At end of each line turn shears and
sults should be identical.
slash free-hand over to the point of bulge. Let pat-
tern flatten out to leave the two or three spaces
Changing Back Shoulder Dart to Neckline
for the new darts. Make them equal. Trace around
spaces as far as end of marks. I. On a copy of the back foundation blouse
4. If they seem too wide or if you think a little pattern draw in the proposed new dart line so that
ease at the waistline would be more consistent it slants away from the CB ~"-V2" at the end
open the basic waist dart ~"-Y2", E. This is a new point or so that the center fold line of the dart is
technique that saves slashing and spreading a on the grain, B (Fig. 36) .
narrow amount. 2. Pin in the original shoulder dart to make a
5. Fold in the new darts as dart tucks before bulge in the paper.
cutting the shoulder seam. If they are fairly nar- 3. Slash the new dart line to the end and across
row they may be stitched to a point even though to meet the point of the old dart line.
they are shorter than the basic dart, but the spaces 4. Flatten pattern out. Copy on fresh paper.
36 Practical Dress Design

Fig. 37. Back shoulder seam is longer than front, A. The e nds should be matched in 8 and C so that armhole and neck seams
are unbroken curves. D, incorrect matching.

Fold in the new dart before cutting neckline. You change the point of the dart to lower armhole,
will need to form a transitional neckline on the 1" or 2" from underarm seam, A. Fold and pin
jog made as shown by the dotted line, C; or cut in the new dart before cutting waistline seam,
CB a little higher at neckline for round shoulders. where you must correct it with a transitional
Generally it is better to leave part of the original (dotted) line, B. If some of the dart is not folded
dart in the shoulder seam to be eased to the front out the little ease left gives a softer effect. Such a
in dressmaking. Transferring only half of the basic pattern is sometimes useful in sun-back and eve-
dart to the neck distributes the cloth over the ning bodices.
shoulder "hump." In D and E, a more decorative
SUMMARY
location for the basic shoulder dart is shown but
the dressmaking would be more difficult. Why? I . A single basic dart is usually too wide to
look good. Very wide, it will pouch out if short-
Easing a Seam ened even slightly. For a large figure it should be
distributed into several narrower, shorter darts.
Amateurs often do not know why the shoulder 2. A narrow, unclosed dart may be eased into
seam of the back is ~"-1/2" longer than the front the seam.
- in sewing they push it out in neck or armhole 3. A wide, unclosed dart may serve as a
seams and trim it off. Then the back of the blouse gathered area.
is too narrow. But any good dressmaker can ease in 4. A dart that is stitched only part way is a
this amount either by hand or machine and steam dart tuck and provides more drape and softness
press it until a smooth seam results (Fig. 37) . than a completed dart. M ost people look better
in waist dart tucks ending 2" below the bust, but
Shifting Back Waist Dart to Underarm Seam waist darts stitched clear to the point are youthful
Because the lower back is relatively flat, if the if one is slender.
model has good natural posture, it is possible to 5. In stitching dart tucks do not carelessly
remove the back waist dart (F ig. 38). By drawing stitch them as tucks-they must taper ever so
slightly.
6. A dart tuck is usually stitched on the wrong
side through two layers of cloth, but it may be
stitched right side out giving a pleated effect. A
dart pleat is stitched on the right side through
three layers; since it is decorative longer stitches
look more tailored.
7. Leaving the basic waist dart partially open
CB
(~"-l/2") before changing its location in making
a pattern provides the subtle ease at waistline that
most professionals leave and most amateurs over-
look.
8. ' iVhere several darts are used to distribute
control and ease, usually it is better if dart t ucks,
ease, and shortened dressmaker's darts are used
with none or no more than one stitched to the
Fig. 38. Shifting bad waist d art over into underarm sea"' point of bulge.
 Creating Styies Through Dart Manipulation 37

I
CF
I
I
Fig. 39. Converting one basic underarm dart into one shoulder and two waist darts.

9. A dressmaker's dart may be l "-2" shorter b. Draw around entire pattern. \Vith a ruler
than the basic designer's-the narrower it is the draw in dressmaker's dart to the point marked.
longer it may be to be smooth. Long ones often See dotted lines in D.
need decorative arrowheads, pockets, or other 7. Fold in new darts before cutting edges.
devices to cover. 8. O verlap, collar, lapel, and facing will be de-
I0. Correct stitching and pressing over a veloped in later chapters.
rounded pad give a professional finish. 9. Another procedure would be to copy F igure
34, E, then divide the waist dart as in Figure
Applica tion to New but Related Proble m 35, B.
I. Study the sketch (Fig. 39, A). Draw a
dotted line down CF of sketch. Cut a whole front C ombining Several Da rts int o O ne
copy of master pattern so that you can plan pro-
To convert a commercial or stylized pattern
portions of collar, neckline, overlap, and button-
back to a basic pattern, extend all darts and dart
holes, B.
tucks with a ruler to the point of bulge, A (Fig.
2. Pin in the basic darts to make a bulge in
40). For gathers or ease, carefully measure each
each half. The underarm sloper is used. Why?
seam length and compare it with the length of
3. Draw lines for the three new darts prefer-
the seam adjoining- the difference is a part of the
ably on yourself. On table, correct each with the
basic dart; watch for this at shoulder and waistline
ruler. If the basic dart is unpinned temporarily
seams. Then, cut away all the darts, B. The gaps
you can do a smoother job. Repin basic darts. Try
left can then be swung together pivoting around
on again to check your final drawing-you might
the point of bulge to make one large basic dart, C.
like the waist darts more slanting, or the shoulder
Also, see Figure 11, B.
dart nearer the collar.
This completed drawing of all details in the
design is often called the elevation, as in house
plans-a complete front view.
Discard the left half leaving the overlap exten-
sion on the right half, C.
4. Mark the end point of each dart clearly. Cut
along each new dart line continuing on to the
point of the bust.
5. On a fresh piece of paper spread the new
darts apart any desired amount. Note that the
shoulder dart ends rather high above the bust, Fig. 40. Rev&rsi ng the principle-combining several narrow
therefore it should not be very wide. darts into one wider dart.
r 38 FAIRLY STANDARD BLOUSE DARTS

Tapered Darts Accent Small Waist

I \
Underarm Darts Keep Crosswise Groin Horizontal

.....

Curre nt Examples-Your Original Ideas

Fig. 41. Blouse styles varied by dart manipulation.
 UNUSUAL STYLES BY RELOCATING BASIC DART 39

Some of the Basic Dart Swung into Neckline

So me of the Basic Dart Swung to Center Front

Some of the Basic Dart Swung into Armhole

Develop More Interesting Arrangements in These Blank$_

Fig. 42. Different loc~tions of the basic blouse dart.

40 Practical Dress D esign

One needs to analyze the pattern carefully so by the class or your teacher. D evelop it in a similar
as not to confuse decorative darts with basic darts. manner. Write directions for executing each
This procedure also is valuable in checking a step. Being able to tell others just how a tech-
stylized or commercial pattern with your founda- nique is accomplished will test and improve your
tion pattern. skill.
4. Have a group discussion of several such at-
tempts. Evaluation and self-evaluation make for
ASSIGNMENT
progress.
I. Execute Figure 39 step by step in a small- 5. Select one pattern to make from Figure 41.
size pattern. 6. Select one design from Figure 42 and make
2. From magazines and pattern leaflets collect the pattern. If one seems impossible, study the
sketches of blouses illustrating various arrange- next chapter.
ments of simple darts. 7. From your own collection add to Figures 41
3. Select one of your collection or one chosen and 42 in the blanks provided.
 Chapter 5
DECORATIVE DARTS AND SEAMS

Basic darts and seams form good structural Draw in the radiating lines for new darts equally
design through smoothness of direction and for- spaced with endings marked to form a pleasing
mation of well proportioned spaces. They may be arc, A.
changed in size, number, and direction for more 2. Cut accurately on the radiating lines, then
decorative effects. Try first to use the basic dart slash on to but not through the opposite side
for the purpose, as in Chapter 4. However, there of the pattern (dotted lines, B). The pattern can-
are many instances where the new design lines do not flatten out if you cut only part way.
not end or cross the point of the (bulge) basic 3. Spread so each dart is the same width, such
dart. For more decorative features, added space as ~", and the length you marked, C.
must be secured by another method which con- 4. Copy around entire pattern. Draw a line
sists simply of cutting on the new line and spread- through center of each new dart as fold-line guide
ing the pattern apart. Follow Figure 43 to under- for dressmaking. Fold in new darts as planned be-
stand the technique. fore cutting neckline.
5. By spreading the dart spaces wider, you can
Darts Radiating from the Neck leave enough to form dart tucks with more soft-
I. Copy mas ter pattern with basic waist dart. ness over chest, D.
Trim out neckline to desired depth and shape. 6. Either at beginning or at end the basic waist

A D

,, \\
\\
,,
~
~
~

' \
\

Fig. 43. Radiating darts all added for decoration.

41
 Practical Dress Design

Fig. 44. Radiating darts partly added and partly from the basic: dart.

dart may be changed to two diagonal underarm amounts, D. Unpin the two diagonal darts enough
darts or dart tucks. for the pattern to flatten out, leaving them nar-
rower than they were before.
4. Pin in all darts again before cutting neck and
Part of Basic Dart Combined with
underarm seams.
Decorative Darts
I. Use same sketch as in A, Figure 43. Draw NOTE: A slash entering a seam slightly distorts the
in neck and dart lines. Extend new radiating dart seam line which you must true up by a transitional
lines to, but not through, opposite side of pattern. line after folding the dart in. Less distortion oc-
2. Draw two diagonal underarm basic dart lines curs if you enter seam at right angles rather than
to coincide with any one or two of the slashes obliquely.
drawn from ends of new darts, 2 and 3. Since the
remaining darts, 1, 4, and 5, do not come at all
near the point of the basic dart, they must remain Technique Applie d to Line from Armhole
strictly decorative and provide their own width.
I. A study of Figure 45 shows end of armhole
However, this pattern will be less full over the
dart across chest. Copy master pattern and draw
chest than the pattern developed in Figure 43.
elevation, A.
3. In spreading the new darts apart, C, if you
2. Fold in basic dart and slash on new dart
find 2 and 3 would appear too wide and thus too
lines-three decorative darts entering basic arm-
thick in the fabric selected, spread them just the
hole dart with one slash from the basic armhole
way you want, then spread l, 4, and 5 the same
dart ending on point of bulge, B. Obviously the
basic dart spreads dart 3 too wide.
3. Unpin the waist dart, C, to make it wider
than in B but narrower than it originally was in A,
until dart 3 is as wide as desired or so that 1, 2,
and 3 will all be alike, narrow enough to be
stitched as darts or wide enough for dart tucks.

Dressmaking: after stitching the cluster of three

vertical darts, stayline the horizontal dart before
closing. In some fabrics this dart is difficult to
execute because the seam allowance is narrow.
Hence, designers often cover this h orizontal dart
Fig. 45. Decorative dart space used for gathers, dart tucks,
or darts. with a band or other decorative treatment.
 Decorative Darts and Seams 43

Extra Fabric from Added Decorative Darts entering decorative dart lines, or fold lines of
Used as Gathers gathers, on over to, but not through, opposite
side of the pattern, B. The decorative dart that
Referring to Figure 35', C , we already know
crosses the basic dart will usually be too wide
that space left by the basic dart may be used as
and may be closed by partially opening the basic
gathers. In the same manner (Fig. 45) space from
dart.
decorative darts may be used for gathering, shir-
4. T race around pattern accurately. Fold in
ring, or smocking. The amount of space needed
darts before cutting seams. If the decorative darts
varies with the location, the texture of the fabric,
are to be used to form gathers, true up the con-
and the build of the wearer. It is best to gather
vex curve. Allow even width seams throughout.
several inches of your fabric to decide on the
In dressmaking, the seam line should first be stay-
amount to provide. Be sure you gather in the same
stitched.
direction on the cloth as you propose to use it in
5. The center front above the horizontal dart
the pattern. Gathers across corded ribs do not set
may be on the grain; or the area below may be on
nicely. In cutting the pattern make the slashes
the grain; both cannot be, but both may have a
in the direction of folds to be created, usually at
slight bias. A good plan is to fold CF to match
right angles to the line they enter. In B, a11 the
underarm seam- the resulting fold to be the grain
basic dart, less or plus the amount in the decora-
line, thus keeping the grain at right angles to the
tive darts, may be used-that is, for gathers either
waist o\·er the bust.
B or C could be used depending on the effect
wanted. In either B or C more fullness could be
Back Basic Dart Used for Decoration
provided by spreading each slash more.
The above summary is followed in developing
A Figure 47.

Fig. 46. Darts or gathers entering another dart.

Darts or Gathers Entering Another Dart

Summary of the technique is as follows, ap-
plied to Figure 46, but this time used in a dart
at center front of blouse. Fig. 47. Back shoulder dart used for decoration.

I. Pin in basic dart to make a bulge and trans- I. Fold in shoulder dart of back sloper. Fold in
fer to the stylized location, A. Draw in complete waist dart partially to leave about Y2" for waist-
elevation. line ease or gathers. The two darts may be con-
2. Cut along the main decorative dart line and nected into one slanting line, A.
continue to, but not through, the opposite side Sketch location of three decorative darts that
of the pattern. (If you end a slash in a corner, x, enter CB seam.
rather than in a seam line, it is easier. If it should 2. Cut on new lines until they meet the folded-
end on a seam line, y, later make a transitional in old dart line and spread until pattern flattens.
line to true up lhe seam line but do not destroy If the amount of spread is not sufficient to stitch
the curved shape thus created.) Spread far enough a dart you like or if you want to use dart tucks,
to leave two seam allowances, z. continue slashing on over to the opposite side of
3. At right angles to the dart cut along the pattern and spread as desired, B.
44 Practical Dress Design

The secret in sewing a curved dart is careful

tracing and stay-stitching of the new dart line;
then cutting midway through the space; then clip-
ping the curved seams so that the concave curves
will perfectly fit the convex curves, B. This dart
cannot be made by folding through the center
as in standard darts; hence, it is important to
spread it far enough to give adequate seam allow-
ances. Also, from a practical standpoint the nar-
row end of the dart should not have too much
,, curve in it.
,,, A skilled dressmaker will see many ways of
,, accenting such a dart: ( 1) making a slot seam
, of it with underlay of contrasting color or texture;
..._____________ ) ,
( 2) facing it on one side only; ( 3) top stitching
as a dart tuck wider at top than at end; ( 4) an
Fig. 48. Curved darts.
arrowhead at end of dart; (5) a shaped band or
pocket inserted. It is easier done in firm, nonfray-
Curved Darts
ing fabrics, with little texture or distracting prints.
There is no more clever device for subtle de- Rectangular shaped darts would be developed
signing than the creation of curved darts. The similarly.
curves should be smooth, direct, and fairly sim-
ple, neither double, reversed, nor too rounded. New Seams for Decoration
T he curved dart should borrow from the basic
The larger areas of blouse, skirt, and sleeve may
dart if you place it so that it meets the point of
be divided into sections to give design interest
or intersects the folded-in basic dart. Otherwise
(Fig. 49). The lines also create eye movement so
you will have to make it a decorative dart. Sug-
that horizontal lines generally make a person
gestions for developing Figure 48 are:
appear wider and vertical lines give an effect of
I . Sketch in the new curved dart line, A. Fold more height. Diagonal lines are more dynamic and
in the two basic darts until they meet as one verti- give a feeling of activity and zest and prevent the
cal dart; or leave the shoulder dart for easing and eye from lingering on areas too wide. Pleasing pro-
work entirely with the waist dart; or only partially portions require subtle, unequal space divisions.
fold in the waistline dart so that some gathers may Gradation in spaces makes for rhythm. Curved
be left, as in sketch. lines are always graceful but require special ac-
2. Cut on the new dart line beginning at the curacy in dressmaking, usually stay-stitching and
shoulder and ending on the point of original waist then slashing to make concave curves fit convex
dart. The left half would be made similarly, draw- curves. Careful marking of grain lines, centers,
ing on the folded-in shoulder dart. If CB is to be and notches is necessary.
kept straight (without a seam), work with a The French-dart line and yokes will be treated
whole back. in later chapters.

Fig. 49. Shaped seams for decoration.

 Decorative Darts and Seams 45

'

\ I
' I
I
I

~
\ X
~r.. ................ -........ · ---~---,.,,.- -

Fig. 50. Asymmetric seam lines.

Wherever you can make a design line cross the dimensional effect that helps to visualize results
point of a basic dart, cutting a pattern is very off the figure.
simple. In Figure 49, A, the panel effect is Unpin darts temporarily in order to work flat on
slenderizing, easy to cut, and easy to make. W hile table as you refine the lines and shapes. Decide
B has more design lines it is simple to cut but whether the narrow strips are insets, requiring five
requires more care in dressmaking and more spaces, or trimming bands like binding, piping, or
fabric for the many seams. Both of these are simi- facing.
lar to yoke problems, Chapter 7, and both are 2. Repin darts and try on. Rework as needed
symmetrical in design. and add to neckline.
In cutting fairly straight lines like those in C, 3. Mark notcl!es on each new seam line before
you will find that the lines will not begin and cutting apart to aid in later assembling, B. Be
end as you plan them if you try to use a straight sure that CF is clearly marked. Cut apart on the
ruler; you will have to cut a direct bnt slight curve, seam lines.
either free-hand or with a curved tailor's stick. 4. N ote how satisfactorily the basic dart in the
Such apparently straight lines should be slightly pattern's right half ends in the seam line and that
curved to make them conform to the natural the area where it was is smooth and flat. But on
curves of the human form. the left half there is still a bulge. T wo solutions
offer themselves. One is to extend the left dart
Asymmetric Design Lines up an inch or two until it disappears on the seam,
but this plan prevents a smooth fit on the torso
While C, D, and E are easy patterns t o cut they
if the original master pattern fitted correctly. The
are asymmetrical. In creating such designs make
better method is to leave part of the dart un-
vertical and diagonal lines of the blouse seem to
pinned at the waistline, x, and then slash from
flow into the same kind of lines in the skirt, but
the seam line between a and b to the point of
keep the skirt simpler to balance the intricacy of
the bulge to flatten it. The amount of spread
cut in the blouse. W hile repetition makes for
between a and b is so slight that it can readily
harmony, too much makes for confusion and
be eased in during dressmaking. If notches were
detracts from the original center of interest. T o
marked before cutting apart, the pieces will match
understand h ow to develop an asymmetric design
perfectly when assembled in dressmaking.
follow Figure 50.
5. Be extra careful to add standard seam allow-
I. M ark C F line in sketch D of Figure 49. Cut ances throughout. T he CF line is, of course, the
a whole, not half, copy of front sloper, with extra grain line.
space for high neck as in Figure 50, A. Pin in
darts for bulge over bust. On model sketch in new NOTE : Part of the basic ,,·aist darts were left as
design lines for complete elevation dividing into ease or sligh t gathers or dart tucks at the waist-
three h orizontal spaces in pleasing, unequal pro- line. But the major part of the basic darts now
portions. Folding the pattern as in A gives a three- lies in the seam between the lower and middle
 DECORATIVE DARTS AND SEAMS

Doris Entering o Dort Your Design

~I I
I

Dorts- Curved or Squored

II
Asymmetric Doris ond Seoms
Fig. 51. Vary the number, direction, shape, and combination of darts for originality.
 Decorative Darts and Seams 47

sections. Hence, the seam conceals the dart or we 8. If a new design line falls fairly near the
might say that the seam is really an extended dart. point of a basic dart, the pattern can be slashed
from the seam to the point of the bulge in sev-
SUMMARY eral places to make it flatten out; then the slight
extra space resulting must be eased into the seam
I. If the basic dart does not provide sufficient
it joins and the pattern so marked to inform the
room for decorative darts, cut a slash on the de-
dressmaker just where and how much to ease.
sign line and spread apart.
9. Design lines which use the basic dart by
2. The pattern will not spread flat unless the
crossing its point leave the basic dart between the
slash goes to the opposite side. It goes to but not
two joining parts. Such a garment is often re-
through the opposite seam line.
ferred to as one without darts but this is mis-
3. Since the decorative dart is not stitched as information-the dart is concealed in the seam.
far as the pattern was slashed, considerable ease
In other words, we may think of a seam as merely
is left in the pattern. To keep this ease to a mini-
an extended dart.
mum make the spread as narrow as possible for
I 0. Asymmetric designs use the same tech-
stitching.
niques as for any other pattern except that a
4. Slashes work better if the open end is at
whole front (or back) must be cut and used
right angles to the seam.
rather than just half.
5. Slashes cause less disturbance if they can
II. Spreading slashes must be done accurately
be made to end in a corner, but if they end at
for darts but they may be unevenly, free-hand cut
different intervals in a seam the resulting irregular
and spread for ease and gathers.
seam must be made into a transitional curve as
near like the cut pattern as possible, not ruled
ASSIGNMENT
with a yardstick.
6. Shaped darts and seams may be drawn any- I. Find current designs to correspond to the
where the designer wants them. Art principles and sections in Figure 51.
ease of construction should influence the loca- 2. Make four patterns-to illustrate each of the
tion. four groups.
7. If the new lines can cross the point of the 3. Make a front for the half-size model of the
bulge, the pattern making is simplified. one your instructor thinks is best.
 Chapter 6
FULLN ESS TO CREATE STYLE

Since the basic pattern fits rather closely, result if several slashes, as for decorative darts, are
more ease or fuHness is required when it is made cut from the gathered side to but not through
up to be worn as a garment. Previous chapters the opposite side of the pattern and spread more
have shown how to manipulate the basic dart in than the dart (Fig. 43). If one of the slashes
developing gathers and dart tucks or in introduc- crosses the point of the basic dart, the fuHness
ing added space for gathers and decorative darts. gains width from both the decorative slash and
Other types of fuHness include tucks, pleats, the basic dart ( Fig. 46, B ) . Close examination
folds, circularity, and drapery. AU of these are of a sketch or a mental picture of the blouse for
created by slashing the pattern and spreading. The your fabric helps you decide how to get the
slash must foHow the line of the desired fold and gathers in the pattern.
the spread must be several t imes wider than the Figure 52 compares ways of creating gathers in
sketch or finished article indicates at first glance. a pattern . In A, moderate fuHness is given the
This chapter shows some of the common uses of shoulder seam by using aU the basic dart. In B.
this principle and techniques to aid in good re- all the basic dart is placed underarm and extra
sults. fuHness provided by decorative dart slash es-fuller
through the bust and soft down to the waistline.
In C, the basic dart is absorbed with the decora-
Location of Gathers
tive dart slashes with much more fullness at the
A moderate amount of gathers results from the shoulder because the slashes are spread more-
release of a basic dart 1 Fig. 35, G). More gathers in fact so much fuHness that rows of shirring are

I I
, I I
)£ D

I I I
I I I
-- - - ; - f- L -·--
1 I
I

I I

Fig. 52. Ways of creating gathers.

48
 Fullness to Create Style 49

required to hold the fullness in place or the arm-

hole would slip too far off on the arm. In each
case the shoulder seam is slightly rounded-it
should be kept that way and not cut off by ruling
a straight line there (a bulge requires length as
well as width).
The preparation of a pattern where gathers are
desired at both top and bottom is shown in D.
Gathers should not come nearer than 1" from
the armhole and neck, marked with notches. A
few vertical slashes are made lengthwise through
the pattern where folds are desired. Since these Fig. 53. Pattern piece placed on tucked fabric.
slash es cut through both the upper and the lower
edges of the pattern, a horizontal grain line is too near the armhole. Do not have the tucks
drawn in before cutting. This line is then pinned and spaces all the same width. Avoid such obvious
on a horizontal line on a fresh piece of paper to measurements as Ys", Y..", Y2". But in designing
keep the parts in balance. with variety have more elements of likeness than
E shows the separation with basic dart in the you have elements of unlikeness to maintain har-
underarm seam, so that all folds are on the length- mony. It is better to work at first \\'ith a wh ole
wise grain. In F , the basic dart is divided between front, later wi th just a half. Begin "·ith an under-
shoulder and waist, so that the h orizontal grain arm basic dart to keep it out of the way of your
drops down as it nears the armhole. designing area. The method is identical with slash-
The gathered folds lie in the direction of the ing and spreading for gathers (Fig. 54).
slash es. Hence, if horizontal folds are desired, cut
the pattern crosswise just where desired and spread
as much as fabric calls for; if folds are to hang
straight, cut straight; if slanting or curved, cut
that way.

Tucks
Narrow t ucks, Ys" to pin size, add texture inter-
est to otherwise flat material such as organdy,
lawn, voile, chambray, broadcloth, handkerchief
linen, flat crepe, and taffeta. They are best made in
a piece of the fabric using a tucker attachment on
the sewing machine, each fold true in width and
grain. After pressing, th e tucked cloth may be Fig. 54. Tucks cut in t he pattern.
cut by a plain pattern piece such as collar, pocket,
yoke, or other inset. Similarly tucks may be made I. Draw two lines for each tuck- a solid line
in fabric for a blouse front, a block pattern placed to represent the folded edge and a dotted line to
on top for cutting (Fig. 53). represent the machine stitching. Use a ruler and
In home or custom workshops, the above gauge to make all measurements exact, A.
method is necessary when one desires each tuck 2. Draw a horizontal line at right angles to
(or pleat) to take up a certain stripe or other center front either above or below the basic dart.
figure of the fabric, no matter how wide the This line keeps the parts in perfect alignment
tuck. after slashing.
\ Vide tucks, V.." and over, are easily provided 3. On a fresh piece of paper draw another
in a pattern. Careful spacing on a copy of the
basic pattern is necessary to keep the proportions
horizontal line at right angles to the vertical edge
of the paper, CF. Place the pattern with lines
ruled for tucks over it before cutting apart to
-
interesting and unified. Do not have a tuck nearer
than 1" from the armhole- the space left there is save confusion.
not too pleasing- since at the lower end it comes 4. Cut apart on each fold line drawn for a
50 Practical Dress Design

tuck, B. Spread each slash twice as wide as the Pleats

amount planned for the tuck as shown by your
Pleats are developed in a pattern exactly like
stitching lines-:Y2" for a ¥." tuck, %" for a %"
tucks but in the finished garment they are un·
tuck, and so forth. Keep the horizontal lines
stitched or stitched only part way down. If folds
matched or the armhole will be too high or too
are stitched either right side out or wrong side out
low for the neck.
through two layers the same distance from the
5. With a ruler draw along edges of spaces.
fold, they are tucks or dart tucks, but if after fold-
Fold as planned before cutting shoulder or waist
ing down on the right side they are top stitched
seams, C. Replace basic pattern to test seams.
through three layers, they are pleats. The pleats
6. The basic dart now needs consideration. In
may be the same width throughout their entire
sheers it is well to keep most of it underarm per-
length or graduated to be wider at one end than
haps divided into two or three narrow darts. Part
the other, as in skirts.
of it may be swung down to the waistline for
Narrow pleats are difficult to press straight and
gathers or dart tucks. In nontransparent fabric
are best developed in fabric that is to be dry
the basic dart if it is fairly wide may be divided
cleaned, not laundered. Pleats set better if the
so that part of it lies under the outermost tuck at
fold line follows the heavier threads of the fabric
the shoulder and part down at the waistline. Natu-
which are usually warp threads. Thus, ribbed
rally such a dart would be turned fonvard in mak-
ing and pressing. fabrics are better tucked or pleated with the ribs.
usually crosswise.
7. The last tucks entering on the shoulder seam
Pleated blouse fronts and skirts usually set bet-
may not set smoothly over the bust. A fairly full
ter if the top fold of one pleat meets the under·
bust needs softness tl1ere anyhow. Hence, the last
fold of the next. Hence, each pleat requires three
tucks may not be stitched all the way down.
times its own width. If this takes too much fabric
NOTE: The idea used in making narrow tucks in or is too bulky, the pleats can be spaced to sui~
cloth may be used in paper. Rule every line and your needs.
fold carefully. Then place sloper over the folded The effect of narrow pleats can be obtained by
tucks to cut out. This procedure of course is tucking the fabric so that the fold barely overlap5
necessary if a paper pattern is made for the use the stitching. The stitching will show on the firs:
of other people. or last pleat, but it could be omitted leaving :.
Perforations will be necessary on the fold line true pleat or be stitched on the wrong side. On
for each tuck, especially narrow ones, with direc- washable fabric like voile this is a practical solu-
tions as to how far from the edge the stitching tion.
must be. A tucker attachment or other gauge is A box pleat is a pair of side pleats folded awa:-
necessary. from each other. When folded to meet each

I
' ' : I :
..--+--...~ .....-f--.1~
' I I

CB CB I
I
'
~ ~
'
*I I '!

Fig. 55. Box pleats first folded in paper, the n covered with basic pattern piece. Trace around pattern and add seam allowa nc~
before unfolding, C .
 Fullness to Create Style 51
other they are inverted box pleats. Figure 55 The slash must be just where you want the
shows paper box pleated before placing blouse flare, and in general it should enter the opposite
section over it, B. Trace around edge of pattern seam at right angles to it, not obliquely.
piece then trace a seam allowance before cutting Another principle to keep in mind is that the
out; doing so now saves errors and time later. straight of the goods hangs straight on the figure
Opened up, the pattern should be clearly labeled and bias tends to ripple. However, if the garment
to show lines to be folded and lines the folds is close fitting, the bias tends to stretch around
should met, C. It is not desirable to mark the back and thus it shortens, reducing the flare. In think-
or under creases. However, if cloth is not wide ing of the bias, remember that yarns which are
enough, each undercrease, marked x, is a potential soft or slippery tend to slip together on the bias
seam line. If cut apart for this purpose, a seam and hence the 4" of flare you provided may col-
allowance must be added to each side of the cut. lapse to 2". Therefore, you will need to provide
Seams do not look good at the center of the more spread for such fabrics and especially more
underlay or on the edges of top folds. Th e under- on the bias lines. There is no substitute for try-
lay may be made of contrasting fabric. ing out your pattern in such cases in the intended
This technique is also used for pleats in sleeves fabric-muslin does not act the same as crepe.
and skirts. It is quite simple, but accurate meas- Such trials are really draping or modeling on a
urements, drawing, folding, and labeling are essen- form. In Figure 56, D, the first peplum seemed
tial. skimpy. So we slashed it again, E, then spread it
until both ,·ertical seams were on the lengthwise
Flare grain.
In dressmaking with bias-cut seams, it is not a
Circular fullness or flare may be obtained, as in good idea t o stay-stitch lengthwise seams. It is
decorative darts, by cutting the pattern where flare better to stitch with the grain (usually up ) with
is desired, slashing on over to but not through the an easy tension. After basting, or after stitching
opposite side and spreading. A collar, a gore, a and pressing, such parts should be hung up for
cape, a peplum, and a cuff band are examples a time to allow adequate stretching of the bias
(Fig. 56). sections before the lower edge is evened off.

I
I
I
I

Fi9. 56. Flare in a peplum.

 52 Practical Dress Design

Notice in Figure 56 that the seam to which the Conversely, in the back or front of the skirt, a
slash was directed is now more curved, D. This t\vo-gored pattern tends to cup under the seat
curve is the secret of the style and sh ould not be or draw across the thighs on nonslender figures.
changed to a more transitional line. Many slashes Slash the pattern from hem to basic dart and
of course result in a smooth curve, but when one spread slightly, thereby reducing the width of the
large flare, drape, or fold is desired, an· angle will basic dart ( Fig. 31, C) .
result in the seam to which it is directed and Any part of a commercial pattern can be given
this must carefully be preserved, D and E, so that more flare by this method. Conversely, any part
the flare will always fall at this point. In dress- of a commercial pattern can have some of its flare
making, first stay-stitch the seam that supports the removed by folding narrow darts from the wide
flare, then make a sh ort slash to this definite point. part to the opposite side of the pattern or into a
A practical application of this fact is help in basic dart if one is there. In the latter case, the
fitting a ready-made skirt with the flare in the basic dart is widened in order to flatten out the
wrong place. Remove it by letting out the seam pattern after a slight bulge occurs from the fold-
in the belt line just above the unwanted ripple, ing.
and throw the ripple over where it is wanted by
taking the belt line seam deeper and clipping it Draped Folds
there. Slight changes in the waistline curve can
Unpressed, unstitched pleats or tucks create
make or lose style.
folds soft in appearance and easy to make. Deco-
Flare in a skirt also may be secured by releasing
rative folds or drapery may be arranged in horizon-
the vertical waistline dart front or back (Fig. 31,
tal, diagonal, or curved lines as well as vertically.
C, and Fig. 56, C). In boxy jackets and boleros
They h ave traditionally been developed by drap-
we frequently retain part of the basic dart in the
ing or modeling fabric on a dress form, but they
shoulder or underarm and let the rest hang free,
may be created successfully by the flat pattern
A (Fig. 57) . In B, we begin with the basic waist
method if not too complex and by some experi-
dart folded in and make a few slashes from the
mentation. As explained in the discussion of flare.
bottom to but not through the top. If the first
the fabric itself is all important. Trying out the
slash crosses the end of waistline dart, that is the
folds on different grains and bias of each fabric
same as if we had left it unpinned. The sketch
is necessary so that semidraping really occurs-
shows some flare near the armhole and some near
either on a form or yourself before cutting a pat-
the center back where the ripples were planned.
tern. The principle is the same as for any other
If one goes through the end of the shoulder dart,
fullness-cut pattern on the line of the folds
well and good; others may enter the neck; and the
(which you have in your mind or in a sketch ),
more the slashes are spread the more flare we
then spread as much as the fabric on that grain or
get, C.
angle required in actual trial of the cloth (Fig. 58) .
If possible have the basic dart or part of it in a posi-
tion parallel with the fold lines to be cut. In

m .i
bulky fabric make the underfold a little narrower
than the top fold, but if the draped folds are in
soft, flat, or sheer fabric the underfold may have
to underlap an adjoining fold to be wide enough
to drape nicely.

Draped Cowl Effect

CB
From the monk's hood of the Middle Ages.
but placed in front, we inherit the cowl neckline
-a restrained soft fold at the front of the neck-
line or a complexity of drape to play up lights and
shadows. Crepe, satin, chiffon, and jersey are ideal
Fig. 57. Flare in box jacket: A, retaining shoulder dart, less
flare; B, adding flare; C, more fl a re by pinning out ,houlder
for the purpose. With a center front seam cut on
dart. the bias the drape is better. A slim skirt balances
 Fullness to Create Style 53

Fig. 58. Draped folds by slt~shing and spreading.

well with the bloused look, but in sheers vertical Dressmaking: after stay-stitching shoulder and
drape lines in the skirt carry out a fluid classical, before sewing front to back shoulder seam, clip
Greek effect. at inside corners-the ends of slashes creating
Figure 59 shows several ways to cut a cowl pat- the folds. To keep the drapery in place a partial
tern. A and B throw the basic dart to a high sheer lining of the original bodice shape may be
neckline and C uses slashes-both techniques al- used to which some of the inside folds may be
ready demonstrated. In each case, additional tacked. Ordinarily, however, a tape about 6" long
width and length is provided. In each case the with a covered, dressmaker's weight attached can
neckline can be cut higher or lower. be tacked inside the neckline to hold it in place.
Figure 60 shows a deep cowl. An ornament may be used to pull the entire drape
to one side or to both sides.
The principle in creating a cowl is simply one
of drape or flare. The cowl effect is found on
backs, sleeves, and skirts, in collars and yokes
(Fig. 62 ) .

r(fr
Depth of Neck
- ---------- .I,
I
Fig. 59. Cowl neckline.

I . Begin with elevation to show shape of fin-

ished neckline and curved lines indicating folds.
2. Close waist dart or leave slightly open for
ease; open remainder of basic dart into neck.
3. Slash on lines for folds, B, and spread each
h,·ice (or over) the depth of fold in mind, pre-
ser,-ing angles at shoulder as explained on page
-,
) _,

4. Make a CF transitional line (dotted ) or

wider for first trial. The neckline may be raised
- if straight, the edge may be hemmed.
Fig. 60. A deeper cowl.
5. For grain use the line made by folding CF
to meet underarm seam. G rain line may be placed
on true bias.
54 FULLNESS FOR STYLE

Tucks and Pleats of Different Widths

Flare, Circularity, Drape

Draped and Cowl Effects

Shaping by Draping

Fig. 61, Style details created by tuds, pleats, folds, flar e, circularity, and dra pe.
 Fuliness to Create Style 55

Fig. b3. Gathered peasant style blouse and rippled sleeve.

3. Select one in each group and make both by

flat pattern designing.
4. In Figure 44, B, show how to change the
basic darts so that there is one at shoulder and
Fig. b2. Cowl effect in skirt drapery. May be on one hip one at waistline to lie under the last pleat.
only or on both, depend."ng on design of blouse.
5. Explain reasons for each step in developing
the blouse pattern (Fig. 63). It was designed so
ASSIGNMENT
that the neckline could be cut with the crosswise
I. Write a summary of basic principles in de- grain on such materials as stripes, plaids, bordered
veloping patterns with drape and flare. patterns, and embroidered flouncing. \Vhy would
2. Go through current fashion magazines to the top of sleeve pattern, D, need some darts
collect a variety ( 10 to 12 ) of up-to-date gar- pinned in before completing the pattern?
ments using folds. Sort into t wo groups-those 6. Select three designs from Figure 61 to make
that might be made by flat pattern designing and into patterns. Make one in cloth.
those probably best draped. Give reasons for your
classifications.
 Chapter 7
YOKES

Yokes furnish both inspiration and temp- dress decoration. The yoke may be joined to the
tation to the pattern designer- inspiration be- body of the garment in a plain seam, but if the
cause their variety is boundless, temptation be- seam is pressed away from the yoke, the yoke be-
cause that same variety of shapes, of tailoring, and comes an inset or underlay (we might call it a
of finishing intrigue the designer t o overdecora- bib or tucker) in which case there should be no
tion or obvious repetition. T he principal use of a fullness unless in tl1e yoke or bib itself. If tl1e
yoke is to control fullness-keep the upper area yoke is set on top, can it be edge stitched as a
of blouse or skirt trim and smooth yet releasing lapped seam or must it be faced and placed over
any amount of fullness where needed over th e an extension of the body section? Decorative
chest, bust, or hips. In addition the seam between seaming includes fagoting, insertion of ruffies, pip-
the yoke and body of the garment may be a con- ing, binding, lace edging, and slot seams. The yoke
cealed dart so that the visible darts may be made itself may be beaded, quilted, hemstitched, em-
narrower than usual (tuck-in blouses th ereby are broidered, shirred, smocked, tucked, draped, or
less bunchy at the waistline) . pleated. It may be of contrasting fabric or grain.
Basic design principles tell us to avoid obvious If none of these devices is used, the created
or equal space divisions; to use deep narrow yokes lines become just plain seams. But plain seams
to create vertical eye movements and h orizontal are more difficult than lapped seams on deep
lines for shortening the figure; to have the yoke curves, corners, and points. T he dressmaking
shape in harmony with the fabric (n ot to use secret is to trace seam lines exactly, then stay-
round yokes for plaids or stripes, for example); to stitch about ljl6" nearer tl1e cut edge. Then in-
have the yoke shape repeat some other feature as side corners and curves (concave) must be slashed
shape of collar, cuff, or pocket; to have lines to the stayline before joining. Do not cut such
fairly simple and direct, not cut up into too small "fancy" shapes that few people can give them a
or intricate pieces; to have lines in harmony with professional finish.
the shape of the body-most lines that appear O ther design ideas include repeating a line sev-
straight should be slightly curved, even square eral times for accent or variety; gradation of spaces
necklines and square yokes. to carry the eye on, or for rhythm; using a yoke
Yokes also offer pure design interest in them- shape related to, but enough different from, the
selves and may not have any fullness in connec- neckline and face as not to be trite.
tion with them at all (Fig. 64) . Besides good The yoke has unlimited possibilities in sleeve-
spacing, a successful designer needs to know the less blouses, in backs, in raglan, dolman, kimono.
techniques and tricks of good dressmaking * and and epaulet blouses, in negligees and sport clothes
to add width for activity, for fuller styles in sh eers.
and combined and cut in one piece with pockets.
'" Emin, l\label D., Clothing for Moderns (New York: collars, ties, panels. The yoke itself may be asym-
The Macmillan Company, 1949); and Mansfield, Evelyn metric in shape, a yoke entering a basic dart or
A., Clothing Construction (Boston: Houghton Mifflin
Company, 1953 ) . French dart; a semiyoke; part yoke and part a free
56
 . '

YOKES WITHOUT FULLNESS 57

Fig . 64. Adapt one of these yoke de,igns to your own block.
58 Practical Dress Design

Fig. 65. Cutting yoke pattern without fullness.

plastron, tab or bretelle; it may lap right over left a concealed dart line. The grain lines of adjoining
part way and left over right part way; the right parts are often unpleasingly awry. A binding or
half one tone, the left half another. If it is shaped piping inserted in the seam may be used to break
to accent the armhole it may give a bolero effect. such an effect. Of course, the basic dart could be
The t op of the skirt yoke may be so narrow it divided between underarm and waistline, or just
becomes a belt-the contour belt. The lower part one third of the basic dart left for the yoke-line
of the blouse cut off like a yoke becomes a fascia seam.
or cummerbund or girdle. An unusual sports In B, the basic dart was divided so that none
blouse had the yoke in the right front and back of it entered the yoke line. In C, part of the dart
but not in the left half. was left for dart tucks at the waist and part eased
However, if the part to which the yoke attaches into yoke line.
is full, the yoke itself should be simpler in shape The nearer the yoke line is to the point of bust
and treatment because both parts of a design the less ease will result from use of the entire basic
should not be equally interesting and because dart but the farther the yoke line is from the point
plainness in one part is needed to offset detail in of bulge the more ease there would be, hence the
another; then, too, construction may be needlessly need for division as to location. It is partly be-
involved. However, as a rule yokes are used to cause of this basic principle that the designer likes
support some kinds of fullness, such as gathers, to use gathers below a yoke so that all or just the
circularity, pleats, and darts. remnant of the basic dart can be absorbed in the
slashes for fullness.
A YOKE WITHOUT FULLNESS
YOKES WITH FULLNESS
I. Make a copy of the foundation pattern-
a whole front- to sketch neckline and overlap if ~ere gathers or other fullness enter a dart
open in front. Buttons should be on CF. Pin in the resulting yoke effect is spoken of as a semi-
basic darts. On form, sketch all decorative and yoke (Fig. 45).
structural lines (Fig. 65 ) . A t orso or waist yoke is a good device for secur-
2. On table temporarily unpin darts to rework ing fullness over the bust and smooth neatness
drawing. Try on to correct. around the waistline (Fig. 66). In A, the pinned-
3. Discard left half leaving overlap, if any, on in dart vanished because the design line of the
right half. If diagonal or curved lines are used yoke cut across it. A remnant of the dart was left
in the design it is possible that the yoke line can in the upper section, B, and from there a single
pass o,·er point of bulge and still be becoming slash \vas made through the dart to the shoulder
and in good proportions, A. Mark notch es and to flatten out the pattern and spread to provide
cut apart on yoke line. The seam of the yoke is space for ~ather~
 Yokes 59

Fig. 66. Tono yoke and gathers.

In C, three slashes were made to distribute the

fullness more evenly and hence the curve is
smoother. Where a bloused effect is desired, extra
length is required as well as extra width, hence
the cun'e should be cut deeper (dotted lines ) .
Note in C that in spreading two of the slashes
the dart slash seemed to want to overlap instead
of spreading (straightening the shoulder seam
above ) -indicated by the speckled section. This
overlapping frequently happens when many
slashes are being made and does no harm if the
total slashed areas are wider than the amount so
cut out.
Fig. 67. Transitional line for curved seam.
In D, the slashes start at right angles to the
yoke line so they end in the am1hole and the each such paper section. Then make a smooth
resulting folds of the gathers will slant just that curve through these points-first free-hand and
way. It is an entirely different effect-do you or do then with a curved ruler.
you not want it? Remember that resulting folds Note the care taken in Figure 67 to divide th e
will usually lie in the same posit ion as the slashes shoulder seam-three parts forming a unit each
were cut. T he ends of slashes affect the shape of equally spaced but the total yoke unit not equal
the pattern at the seams where they end. in width to the rest of the seam. The gradation in
Use notches freely in designing yoke patterns width toward CF is also pleasing.
to show where gathers begin and end, to enable
the user to assemble parts with speed and ac- Back Yoke
curacy. In general, gathers should not begin closer Back yokes are cut like front yokes. T he dart is
than l " from neck and armhole. left in the shoulder on deep yokes, but in a narrow
In Figure 52, D, E, F, and in F igure 54 we yoke it can and should be folded out to disappear
learned how to keep sections properly aligned in or be concealed by the yoke seam line (Fig.
after slashing by having a horizontal line, previ- 69).
ously drawn, placed on a horizontal line on the
fresh piece of paper. Shirtwaist Shoulder Yoke
Another technique that is most important is
that of forming a good transitional line along the The standard shirt stYle for women has a narrow
seam line to be gathered (Fig. 67). Slashes across shoulder yoke effect similar to a man's shirt. In
a slanting yoke line result in a jagged effect when reality the back blouse (or back yoke) simply has
separated. The trick is tentatively t o mark points the shoulder seam moved one inch or so forward,
midway between the high and the low points of A (Fig. 70 ) .
60 YOKES WITH FULLNESS

Fig . 68. Fullness for certain materials or areas is held in place by a yoke to reduce bulk there.
 Yokes 61

Cut apart and attach strip to back, A.

In C, we divided the basic dart, by repinning it
to keep two thirds at waistline and one third at
shoulder. The one waistline dart was redrawn into
two dart tucks. (See Fig. 89 for method of add-
ce CB ing peplum.) The shoulder seam was slashed and
spread for gathers.
A shoulder strap or epaulet effect is obtained by
cutting 1;2" off the back shoulder and Y2" off the
front shoulder, then joining them into a strip 1"
Fig. 69. Shoulder yoke in blouse back. wide for a very narrow yoke. Label ends and mark
notches on both strips before cutting apart. (Also,
see epaulet sleeves, page 90.)

ASSIGNMENT
I. Select one of the first three yoke designs in
Figure 64. Develop it on your own block, adjust-
ing shape of neck and yoke lines until they are
m ore suitable for you and more subtle in propor-
CB
tions or with more character.
CF 2. Select a yoke design cut on straight lines.
Adapt the idea to your block, using slight curves
to improve it.
L 3. Make a pattern for a shirtwaist blouse similar
A to one in a late fash ion magazine.
Fig. 70. Shirtwaist shoulder yoke. 4. Create a design for a blouse for a wool suit
- collarless, three-quarter sleeves not full, inter-
Begin by shifting the back shoulder dart to esting emphasis through a yoke near CF neck-
open into the neck, A (Fig. 31); or fold it in and the part seen when jacket is partially open. What
let it disappear in cutting a narrow back yoke fabric would you consider? Making patterns to
(Fig. 69). Mark a strip l" or 2" wide on front the specifications set up by someone else is the
parallel with shoulder seam, B. Label neck end kind of training you need.
as n and the annhole a to aid in reassembling. 5. Select one blouse from Figure 68 suitable for
Mark notches on the new seam line to indicate a linen dress and make h alf-size pattern.
beginning and ending of gathers, about l " from 6. Design a pattern for a girl's shirt to be de-
each end. Retain the slight but vital difference in Yeloped in den im-with some details that are not
the two ends. too mannish.
 Chapter 8
CLOSINGS AND EXTENSIONS

Closings on dresses and blouses may be spaces because you have not decided on the-but-
subordinated by flat plackets or fly closings but tons. It is surprising how much depends on their
since the closing is an important functional line, size and number (Fig. 71). Draw them centered
designers do not often evade the issue. Rather, on CF (or CB) and rearrange design until satis-
they make a point of accenting it in some ingeni- factory, A (Fig. 72).
ous or clever way. The better kind of designing Next draw a line for a buttonhole so that it
avoids tricky, novelty closings, but shows good ends about ~" (allowed for shank of button ) be-
proportions and harmony in relation to other fea- yond CF nearer the opening. Make it long enough
tures of the garment with the decoration used to for the button (diameter plus thickness). Then
accent good structural, functional lines (Fig. 172). draw in the fold line of the hem so that there i~
enough space between it and the button rim to
show off to advantage-about 11-.".
STANDARD BLOUSE CLOSING
The right half of the pattern is now ready for
On a whole front copy of the master pattern, the hem (or seam and facing), so we cut along
sketch in the complete elevation of all design the fold line and discard the left half of pattern.
lines. Many times you find it difficult to plan Plan the hem (or facing ) wide enough to com-

Fig. 71. Buttons to suit personality and stylo.

62
 Closings and Extensions 63

pletely cover the far end of buttonhole piping and Y2" in diameter must be used. If larger buttons
a little over. On a fresh piece of paper, B, make are important and a requirement, then the button-
a straight fold for a hem of this width. On the holes must be vertical and the garments styled
right side draw a line for a new CF line. Lay the with some ease at hips and bust.
right front pattern, A, in position on the new More decorative buttonhole placements may re-
paper with CF's matched, and trace around. Turn quire off-grain location and generally a facing
the pattern over and match CF's again to com- instead of a hem (Fig. 73). The line of cut
plete drawing of neckline and waistline on the ex- should be in the direction of pull or weight, or
tended overlap, otherwise the result is not accu- should emphasize some space or line in the de-
rate; add seam allowance and cut out, B. sign, or otherwise be on the grain.
The left half is cut from the same pattern; \,y}1ile piped buttonholes are much more pro-
when worn CF should match CF with buttons fessional than the machine-made ones, it is b etter
sewed on CF of the left half. to provide real machine-made buttonholes rather
This pattern requires markings or directions for than none at all. Buttons sewed on without a but-
grain line (either on CF or fold line ), for CF line, tonhole are nonfunctional and accent ch eapness
for fold line, markings for both buttonholes and -with the possible exception of groups of tiny
buttons, as well as the usual notches and seam buttons closely arranged and numerous enough to
allowances. make a unit of some strength and character.
\ ,Yhen the hem is unfolded the neck seam line I n a suit jacket have at least one button, located
presents a jagged line, but folded it fits exactly. at the waistline. D ouble-breasted jackets and coat
Beginners often place CF on the fold line, A, or dresses offer opportunity for unusual button place-
just draw an extension on the pattern, E, which ment, as do many of the surplice effects. Small
will not fit when folded. The same procedure of buttons are effective arranged in pairs as well as
folding hem before cutting pattern occurs at bot- rows. The top button should not be so high as t o
tom of short sleeve with sloping side seams (Fig. conflict with the neckline seam. Self-covered but-
6) . This is the same principle as folding in darts, tons keep the button line somewhat subordinate.
tucks, or pleats before cutting seams that cross Occasionally one or two quite decorative buttons
them. are used for accent in a dress or blouse combined
with several smaller self-covered ones.
Buttonholes Piped buttonholes may be made more decora-
tive if of contrasting fabric, corded, bias, or shaped
Buttonholes are best made with the slit on the
(Fig. 73) . Slits left in seams provide places for
crosswise-in the direction of pull. To avoid a
buttons and ties.
wide hem some makers get along by cutting but-
tonholes vertically, which generally gap, open
Box Pleat for Mannish Shirt Closing
easily, and look unsightly. In cardigan designs the
band is not over 2" wide, usually only 1Y2". To For a man's shirt the box pleat will fall on the
center a button and plan a crosswise buttonhole, left front; for a woman's, on the right. Fold
adequately covered underneath, a button not over t O\\·ard the \Hong side a straight edge of paper

-.'
I '
' '''
I --r' _1.'
I (If
' I

I __...'
' - '
'

Fig. 72. Providing ample hem in standard blouse.

64 Practical Dress Design

Fig. 73. Interesting buttonholes.

(or material with selvage removed ) the width you The left half of the shirt is given a plain hem
want the box pleat, as 1~". Then fold again com- narrower than the box pleat. A separate pattern
pletely over. Pin, baste, and/ or stitch a ~, tuck cut for the left half would be like the right half
along this second fold so as to enclose the first with the ~, tuck (of the box pleat ) entirely
raw edge (Fig. 74). Open out the body of the ma- missing.
terial and press flat as a real tuck back toward the Be careful to indicate all fold lines on com·
armhole. The first fold is now the free edge of the pleted pattern.

Shaped Edges for Closing

Shaping the closing line into scallops and simi-
lar units creates interest, A, B, C, D (Fig. 75 ) .
Shaped facings are required for finishing. The
individual shapes should not be developed until
the neckline and waistline are established. \¥hen
a number of repeats are used, they should all be
exactly alike, but if only two or three are used.
they usually appear better graduated in size. The
shape idea may be repeated elsewhere in the
dress but with restraint-scalloped collar, cuff.
and pocket are three times too many for accent of
' . ;~...::
a center of interest such as scalloped front closing
-use just one and then perhaps reduced in scale.
Fig. 74. Box p leat for shirt closing. The left side or underlap would be cut like
the right with a plain hem, so a separate pattern
shirt and should be stitched ~~~ from the edge to should be made. Some designs combine a straight
match the tuck. The center of the box pleat falls h emmed front with a shaped, faced section, E, F.
halfway between the two lines of stitching. The (Fig. 75).
CF of the foundation pattern is placed on the In dressmaking, it is wiser not to cut the scal-
exact center of the box pleat. Also, see Figure 53. lops until after the stitching is done. The edge to

Fig. 75. Shaped facings and hems.

 Closings and Extensions 65

Fig. 76. Cardigan styles.

be scalloped would be cut straight and the scallop Simple cardigan and surplice styles usually have
shape traced on the facing; with the facing pinned right and left halves cut alike, as do double-
(or basted) in place the operator would stitch on breasted styles.
the traced scalloped line, then trim to 1;8"-~" and
clip all curves before turning. On intricate designs Asymmetric Closing
the operator can stitch through a tissue pattern
Asymmetric closings involve designing the over-
basted over the facing- the tissue is torn away
lap in a different shape from the underlap, at least
before trimming.
as far as is visible. The standard traditional clos-
ing is right over left in both front and back in
The Cardigan
women's clothes (left over right for men ) . But in
The cardigan style is quite traditional yet it can dress designing, we find left lapping over right
be given distinction by careful shaping of the either because it lends an element of the unex-
neckline in the current mode (Fig. 76) . The piece pected or because other details require it for bal-
itself may be simply a shaped facing used decora- ance, rhythm, or proportion (Fig. 77). Some
tively by finishing to the right side-a simple unusual closings employ a lap in one direction
method in self fabric, flat like linen. In combin- above and in the other direction below. A series
ing contrasting textures as linen on lace or voile; may dovetail together.
satin on faille, or shantung on linen, the cardigan The surplice diagonal line is the most common
pattern is cut like a yoke and two of the pieces of all asymmetric designs.
are cut in the fabric. \Vhile tailored in effect, the Begin designing on a whole front (or back ) to
idea has been used in cocktail dresses with lavish secure good lines and spacing. Plan the blouse
embroidery and beading instead of buttons for lines in connection with the skirt. A surplice line
decoration. high 0\·er the bust is usually more youthful than

Fig. 77. Surplice and tab overlap.

66 Practical Dress Design

F
Fig. 78. Cutting facings to fit.

the low cut, matronly style. The surplice line is I. If the facing shape should cross a dart have
one of the major structural lines and should be the dart pinned in before copying, F-it usually
carefully developed and accepted before details disappears as you cut across it. Copy seam and
are added, if any, such as gathers, pleats, scallops. CF (or CB) first. Label CF. Mark notches to
Decorative details should strengthen, seem to be match notches on garment. All of this can be
a part of, or flow into or with the structural shape. clone on the original elevation, B.
The unclerlap may be modified from the over- 2. Remove pattern being copied. Sketch free
lap to reduce bulk. edge of facing as discussed above (line of dashes ) .
In some patterns the surplice line is cut on the If both back and front have a facing, cut the
lengthwise grain because it is more effective and shoulder seams the same length-2" or 3"-with
to prevent stretching. In order to retain the good notches to match, D and G.
lines created by the designer, good dressmaking is 3. Long narrow facings need a secondary grain
aided by interfacings and facings and, in tailoring, line drawn in to insure proper layout on the
by taping. fabric, D, (dotted line) . Use the greatest care in
drawing it to be exactly parallel with CF and ex-
Shaped Facing tended full length on the pattern-not just a
short line as many commercial patterns do. Cut-
Shaped facings are easy to cut and easy to
ting grain perfect is most important in good
apply-often without basting. They are the best
lapel work.
solution to a smooth effect on edges of unusual
4. In E is shown the narrow inset or vestee,
shape. They are used on sleeves, skirts, and collars
extended under the blouse front in exact shape
as well as on closings for blouses; also on edges
of facing. When finished it can readily be
of overlapping yokes. Finished on the right side
matched and basted, buttoned, or pinned to the
they are decorative if the maker has good tech-
free edge of the facing.
niques. They may give the effect of a yoke. They
5. Add the same allowances for seams as used
are the usual finish on cardigan cuts.
in piece to be faced.
As a wrong side finish the facing should extend
far enough back of the shaped edge to cover piped
buttonholes; to stay back without tacking; and to Facing for Overlapping Yoke or Dart
give enough body to set well. Frequently it helps
A yoke or dart to be stitched in position as an
to cut the facing back far enough to tack to the
overlap, not as a plain or lapped seam, needs a
French-dart line or other darts and seams. A neck
shaped facing. The part that lies under it needs
facing as inside finish for a collar is 2"-2~" wide,
an extension-or underlap-exactly the same size
G (Fig. 78). Sleeve facings vary-l ¥2" or over.
and shape as the tucked effect of the overlap, that
In home, school, or custom shops, the facing
is the space between the outer design line and the
is best not cut until the first fitting has approved
stitching. The stitching may be an even distance
or adjusted the edge t o be faced.
from the edge or graduated, A, (Fig. 79) .
The secret of good facing is to make it an exact
reproduction of the part to be faced, not only I. On the overlap draw a dotted line for the
in shape but especially in grain (Fig. 78), and stitching line, B. Use a tracing wheel to copy _on
stitching it so that it retains its shape. a fresh piece of paper the cutting edge line and
 Closings and Extensions 67

Fig. 79. Facing for overlapping seam.

the stitching line, as well as CF, grain, and other Pockets may also be de,·eloped from facings of
edges. overlaps. In Figure 80, h owever, the underlap is
2. The yoke section is cut on the original yoke on the yoke section and the overlap on the body
line, E; the body section on the dotted stitching section.
line, C; and the facing for the yoke, D, the area
I. On the overlap draw dotted lines to indicate
between the dotted stitch ing line and the original
the fin ished shape of the pocket, A (F ig. 80) .
line. In tracing, make one set of notches for join-
For the facing draw the overlap the \Yidth of
ing parts, and special perforations for the stitching
the stitching plus shape of the deep pocket-to
line.
make the top of the pocket, A.
3. All this work was done on pieces without
2. On the underlap, trace this facing shape to
seam allowances to save confusion. Now add seam
extend the underlap and thus make the under
allowances-all alike to make sewing easier, F.
layer of the pocket. T race to cut body separate
Check for accuracy.
from the yoke \vith its underlap.
4. Since the facing seam is enclosed it will be
3. Add seams, retaining grain and notches. T he
trimmed to Ys"-~" and slashed on inside curves
construction is similar to faced overlap. The
and corners. The decorative stitching will need to
pocket sections are joined on the wrong side with
be done on top alongside bastings that followed
a plain seam after the overlap is faced and before
the perforated guide lines. Raw edges will be neat-
top stitching.
ened, possibly graded-but standard width such
as Y2" since they are exposed seams.
Plackets
Directions for making plackets or any other
Pockets
finish arc only indirectly the job of the pattern
Patch pockets are merely carefully planned designer, but she must kno\Y how to make the ap-
shapes designed to be faced, lined, or edge fin- propriate placket in order to cut the facings. un-
ished- for which you cut a pattern free-hand. By derlaps. and so forth. Indeed, the serious designer
trial you view its effect on the finished pattern, must ha,·e skilled experience in far more than
muslin garment, or n early completed dress. sketching pretty pictures!

CF

Fig. 80. Facing overlap to make pocket.

6S Practical Dress b esign
Side plackets are usually in the left side seam to handle than wider ones. Retain notches. Con-
of a garment and slot seam plackets in center struction is best in a firm, not too thick fabric.
seams to retain a balanced effect, but also at un- The usual stay-stitching and slashing of inside
derarm seams of blouses. For slide fasteners allow com ers aid in construction.
at least %" seams for construction. F or shaped
princess seams a thin facing for the overlapping Fly Front
front is better, or the crosswise slashes at concave
curves may require gusset insets to prevent draw- A fly front is a tailored concealed closing fre-
ing. quently used in shirtwaist dresses, sport skirts, and
Plackets without slide fasteners require facings topcoats. It consists of a double fold cut length-
andj or extensions (see p. 138). wise the length of the opening and in width Yll"
T ailored plackets as for mannish shirt sleeves, or less than the hem of the overlap. Mark notches
are usually cut while being made. After you learn for attaching to overlap hem, CF, fold line, but-
tonholes, and cross sections for tacking to under·
hem. This pattern piece may be attached to under
edge of the hem of overlap so that fly is cut in one
piece with the overlap, but the separate piece is
easier in construction. Add seam allowances.
In making, the top and bottom are stitched
across before turning. After buttonholes are made
the pressed piece is located under the overlap hem
- to be stitched or tacked by hand crosswise be-
tween buttonholes to underside of hem. On the
right side the fly is stitched in one with the hem
of the overlap .
Fig. 81. Tailored placket at neck.

how to make one,* you will see its possibility for Exte nsions
use elsewhere. Decorative extensions must be drawn free-hand
For a neck opening of this style an extension or cut and then pinned or basted to the position
must be cut, with facing attached. If there is a desired. This kind of free-hand, truly creati,·e.
decorative triangle at the base of the strip y, then designing is similar to modeling on a dress form.
the right front only is cut that way (Fig. 81) . Scraps of cloth or paper may be tentatively pinned
O n a wh ole pattern front cut out a rectangle in position, trimmed to shape, th en incorporated
a b c x, in the width and length desired (about as an extension of the pattern piece itself. Some
l %" by 9") . C ut a shaped facing, a b c d e (or designers create more freely with a pair of shears
a b c x) . Attach the facing to the extension rec- than by drawing with a pencil and eraser.
tangles at a b. You can easily add tabs, flaps, scallops, and
M ark C F and fold lines. Add seam allowances points in this manner (Fig. 82), but avoid com-
to match seam allowances in the blouse front - monplace divisions; often straight boxy lines need
fairly narrow ones such as ~" or :Ys" are easier to be reduced to subtle curves. Avoid too many
• Erwin, Mabel D., Clothing for Moderns (New York:
repeats.
The Macmillan Company, 1949), p. 433. Bands, straps, belts, and t ies cut of straigl:t

Fig. 82. Extension tabs and fl aps.

 Closings and Extensions 69
pieces are often needed to finish off a pattern. As
a rule if cut lengthwise, they set and finish better.
Use bias if you want soft draped folds- for dry
cleaning, not washing. Straight pieces are inserted
in seams as fins or flanges. Bands may be shaped
1ike yokes and made to tack on, as a trimming, or
to partly button in place. Around armholes folded
bands soften and conceal the armpits. Crisscrossed
CF
at the shoulder they can be made to fit. Bretelles
are bands, straight or shaped, inserted in seams
across the shoulders. Shoulder extenders are Fig. 85. High neckline for extra casual softness.
found in seventeenth-century costumes and those
of the 1830's and the 1890's. Many of these extensions can be cut out of tl1e
space left in a wide basic dart or pleat (Fig. 83),
then faced or edge finished to reduce bulk.
Ties and ruffles are often added to a part of
the pattern to be cut in one with the main piece.
If the fabric width will not permit it, plan a seam
to be concealed in a fold or knot ( Fig. 84 ); a
seam is needed if the tie needs to be cut on the
opposite grain from the body.

Extended High Neckline

Fig. 83. Extension obtained from basic dart or underpleat. The high draped neckline may be cut like a
cowl, A, Figure 85) to secure extra height and
width.

Fig. 84. Ties, ruffles, b ands, and flanges either inserted in sea ms, tacked on, or extended from part of garment.
 Chapter 9
THE FRENCH DART

T he French dart is really a seam formed by more straight than curved to avoid accenting
combining the vertical waistline dart with a shoul- round shoulders. Place CB at waistline Yz" away
der dart. The standard line slants from mid-shoul- from a straight line which is perpendicular to the
der over the point of bust narrowing toward the midway point of waistline, F. T hus, a seam is re-
center front as it enters the waistline. The stand- quired in the center back to aid in good fitting.
ard line is a slight curve entering the shoulder and O n both the side front and side back sections
the waistline at right angles. fold the piece in two length wise to secure a
To begin the front pattern of a F rench-dart lengthwise grain at right angles to the bust or
blouse, pin in the · basic dart (or darts) of your waistline.
front blouse pattern, A ( Fig. 86). Sketch the most
becoming line either over the point of bust, a, Use of the French-Dart Blouse Pattern
or slightly to the front, b. Place notch marks 3" The French-dart blouse pattern may be used
above and 3" below the point of b ust. Cut apart, as the first step in developing patterns for a
B. If the line is in front of the bust, b, slash French bodice or basque, a French-dart jacket,
the side front over to the poin t of b ust to flat ten and a princess dress. D esigners often use it as
out the pattern. In any case, slash over to under- their basic sloper. It is the basis for middy styles.
am1 seam and spread Y.."-%" (less for slight fig- blazers, jackets, vests (Fig. 87) . The seam line
ures, more for full figures) to provide more ease itself may be accented witl1 decorative details such
between notches, C. as ruffling, pockets, scallops, insertion, cording. It
In the back pattern, first extend the waistline is a good seam for fitting and at different angles
dart as high as shoulder blade prominence, D . Pin divides the blouse area into shapes that flatter the
in both shoulder and waistline darts. Draw in new figure- ( wide-shoulder effects balance wide hips
French-dart line so it meets the one on front at and make the waistline seem narrower; vertical
the shoulder, slanting as desired, E. Draw the line lines give the effect of tallness) .

Fig . 86. Making French-dart blouse pattern.

70
 Tl1e French Dart 71

Fig. 87. Versatility of French dart.

THE FRENCH BODICE OR BASQUE pattern by changing the fundamental dart, mak-
ing other seam lines (panels, yokes), developing
The French bodice is a regular French-dart a new neckline, armhole, or waistline, and so
blouse fitted more snugly leaving only one or two forth. The new darts may be full length seams or
inches of ease at bustline and less ease on the shorter darts, asymmetric or curved. A good dress-
chest and neck. This type of bodice is best bal- maker will stitch them as curves and a good
anced with a full peasant or bouffant evening presser finish them over a round pad to retain
style of skirt. It frequently has a low neckline. the roundness.
Sleeveless and camisole types of blouses of jersey,
THE FRENCH-DART JACKET PATIERN
linen, or pique are built on such a bodice pattern
(Fig. 88). I. Use the principles discO\·ered in the French-
Make a muslin copy of the French-dart blouse dart blouse pattern. Begin with front blouse pat-
pattern and through fitting all seams more closely, tern with basic waistline dart pinned in to make
correct the pattern. Generally, the shoulder seam a bulge, A (Fig. 89) . Extend the vertical or
needs to be deeper (about ~") to make the French-dart line from shoulder to waistline in
neckline on low cut bodices fit closely, A (Fig. any desired slant or curve passing through pivot
88). The underarm seam will need to be closer point of bust, B. Cut apart. Slash the side front
to give a neater area around the annhole if sleeve- section from bust over to (but not through) the
less. If not sleeveless, be careful to tighten sleeves underarm seam and spread Yz"-%" for extra
as much as underarm seam. Fit the side front ease, C.
seam to emphasize the natural curve over the bust. 2. Cut a peplum from top of skirt front, A,
If the armhole flares or gaps near the front or if level with the floor- it will probably be 7" at
a diagonal wrinkle shows, there needs to be more CF, TW' at side hip, and 8" at CB. Fold in funda-
ease over the bust (rip side front seam and push mental dart extending it to lower edge of peplum.
some up, or in the pattern spread the bust slash On this peplum draw a line matching the French-
slightly more, Fig. 86, C ) . dart line of the blouse at waistline and slanting
The lower edge of the basque may be shaped awa~· from CF at lO\\·er edge so that both front
in curves or points, F, in which case the top of the and side front sections are wider at lo\\·er edge
skirt will need a matching shape removed before than at waistline.
gathers or pleats are introduced. 3. On a fresh piece of paper arrange the blouse
Use the corrected bodice pattern as a basic front section to fit the peplum front section at

Fig. 88. French bodice or basque.

72 Practical Dress D esign

Fig. 89. French·dart jacket.

waistline with both on the same vertical line at back section is developed in the same way as the
CF, B or C. side front section.
4. Fold the side front section and side front
All seam lines that have been ruled straight
peplum section in half lengthwise to make a
should now be trued with slight curves. In gen·
lengthwise grain line as nearly as possible per·
eral, have all lengthwise grain lines perpendicular
pendicular to the bust, hip, and waistline. Place
to the bust, waist, and hiplines.
top of side front peplum to fit lower side front
of blouse with grain lines straight. Should the two
waistlines not match exactly, draw in a transi- Fitting the Pattern
tional curve, B.
5. The back is first developed into a back panel Make up in muslin and fit the basic French·
section and a side back section, matching the dart jacket pattern. Do not try to fit as snugly at
front dart line on the shoulder. On a fresh piece waistline as in a dress. Some fitters like a tape
of paper draw a vertical line, E. Place CB of back tacked inside the jacket along the waistline to
section on the line at the neck and Y2" away from hold in the slight ease that should remain. Bath·
the line at waistline. For the grain line in the back ing suits, for example, might be fitted "skin tight."
section draw a line parallel with the last line drawn Frequently, the side front needs more letting out
- it practically bisects the back panel. Make over the bust curve, then easing and pressing t o
a new grain line in the back panel of the peplum get a smooth effect. Hips are fitted over a skirt
to bisect it or be perpendicular t o both hipline in curves to secure tl1e silhouette that is in the
and waistline. Arrange peplum to meet back panel present fashion. Use these changes to correct the
at waistline with grain lines matched. The side basic jacket pattern.

Fig. 90. Using basic French-dart pattern to develop a jacket pattern.

 The French Dart 73
Using the French-Dart Jacket Pattern

Use this new sloper of four pieces for all kinds

of hip length jackets and over-blouses. (Quarter-
size French-dart sloper will be found in Fig. 181.)
The two front pieces can be arranged in differ-
ent positions (Fig. 90 ) . I n A, all the bodice dart
is below the bust and since the hemline of the
side front section is not on the grain, it will need
facing instead of hemming. In B, the shoulder
dart is only the amount left after closing th e waist- Fig. 91. Chong ing dart location in French-dart jacket
pattern.
line dart until the h em hnes of the peplum meet.
In B, the hem line is straighter; thus sh oulder dart In general, where new design lines do not coin-
provides more softness over the bust and a place cide witl1 basic darts pin in the basic darts to
for extra fitting; and the dart below the bust is sketch the proposed lines which should not be
less wide and bulky. located m ore than 1" or 2" away from t he basic
Boxy jackets and middy blouses both use type ones, A, (Fig. 91). Then unpin pattern, erase
B; in the back the normal shoulder dart is retained old dart lines and dra,,· in new ones of tl1e same
but the waistline darts are omitted entirek Semi- size next to the design line, B. Repin and cut
fit the waistline darts m the front acco;ding to apart on design lines, C. Qb,·iously, it is easier
the present fashion. A bolero or Eton jacket is to secure a perfect fit if at least one of the new
made by cutting off the pattern at or above the darts is near the French-dart line or crosses the
waistline. Back shoulder darts are retained to keep point of bulge, but that location is seldom pleas-
grain straight across shoulder (F ig. 87, D and E ) . ing. The more darts you plan, the shorter they
Vertical waistline darts create closer styles. Front may be and hence the sm oother the result. Darts
shoulder darts h elp to keep the lower edge on entering darts and darts concealed in seams as
grain. Circularity is created by slashing wherever yokes or panels create interesting details and en-
flare is desired from lower edge up to but not able tl1e designer to conceal the standard basic
through opposite edge of pattern. darts, but they require more fabric and a higher
In Figure 90 no te that the lower dart is either degree of skill in tailoring. Try to arrange all parts
a triangle atop a rectangle, A, or an elongated dia- with the h orizontal lines on th e horizontal grain
mond, B. In either case it may be copied and and tl1e vertical parts cen tered on the lengthwise
divided into two or three narrower darts and grain, thereby creating a garment that will be more
arranged near by (see Fig. 35) . In C, (Fig. 90) easily fitted and will retain its shape longer.
the single dart is divided into two. Try to have The peplum section may h ave extra flare or
centers of new darts on the grain. Draw edges of pleats added along the edges of each seam (Fig.
all darts first with a straight ruler-later true them 92 ) . Figures that have large hips or bust in propor-
over the hips with a curved stick to give the tion to the waist are more easily fitted if there are
natural silhouette of the current mode. Since they extra vertical seams, or if the natural \vaistline
are so narrow they can be sh ortened considerably, seam is in part or entirely retained. The more
but the shoulder dart can be shortened not more seams there are, tl1e more opportunity th ere is for
than l " or 2". It is frequently covered with a d eco- flare, pleats, and other decorative details, as well as
rative pocket or arrowhead. snug fit. Investigate the cut of doublets in the six-
In D , the edge lines of these darts have been teentl1 and seventeenth centuries.
shaped into design lines. It is easy to pin in the
new basic darts to give the fitting bulges (bust and
hips) . Then, sketch :n th e new seam lines that
coincide partially with the darts. Mark notches
and waistline for ease in assembling and cut apart
on these new style lines, E. Add overlaps, under-
laps, facings, and pockets where indicated; lastly,
add seams. Fig. 92. Accent in peplum.
74 Practical Dress D esign
TUCK-IN BLOUSE desired length. T he waist darts, front and back,
unclosed, are absorbed in the flare or looseness of
The American standard blouse currently has the
the jacket. For more flare see Figure 57.
peplum or shirttail cut in one with the blouse.
Fo1low steps A and B (Fig. 90), then divide the SMOCKS
large waist dart into two or three narrow ones, C.
Develop the back pattern similarly. Have peplums A smock or duster is simply a long coat, cut like
5"-7" deep. Figure 93, A is the same as Figure 90, a loose box coat or developed from a French-dart
C, wi th shoulder dart converted to underarm posi- or princess foundation pattern. Flare may be cut
tion. by slashing for circularity. Raglan sleeves, roomy
armholes, yokes, cardigan neck lines, convertible
collars, shirt sleeves, fly fronts, shirtwaist closings,
and roomy pockets are some of the functional
features to include.
Uniforms for professional women are built on
similar lines b ut more neatly fitted at waistline.
They deserve more interesting details and smart-
ness of silhouette than they are getting, perhaps
an asymmetric collar or shaped closing. In many
cases white might be avoided.

THE PRINCESS CUT

The French-dart jacket pattern may be con-
Fig. 93. A, tuck-in blouse; B, over-blouse; C , box jacket.
verted into a princess style dress by continuing
the side seams with straight lines. Since the pep-
OVER-BLOUSE lum was 7" deep, the length of each line should
be the length of your skirt less 7" at CF, side
T he over-blouse avoids vertical darts in the pep- seams, and CB. A check on your personal meas-
lum and waist line. Begin with foundation blouse ures from the 7" line to the floor will reveal a
pattern having shoulder dart. C ut peplum 7"-10" difference in length-the back usually 1" longer
deep from top of skirt, B (Fig. 93), and fold out and the side :Yz" longer than the front-and this
the dart. The gap between peplum and blouse is fact should show up in your pattern. T his differ·
left in- thereby forming a wrinkle or soft fold ence was probably taken care of in cutting the first
across waistline. liddy and blazer styles are de- peplum for the French-dart jacket pattern (Fig.
veloped from this pattern. 89) .
First draw these lines down from the hipline
BOX JACKETS AND COATS parallel with the grain, A (Fig. 94 ) . Then flare
Make a foundation coat pattern and test in each one the same amount-as much or as little
m uslin before designing details like yokes, collars, as your design requires. Each new flared seam line
and lapels. Cut shoulders more square to allow should measure the same length as the adjoining
for shoulder pads or for coat to be worn over suits vertical one, but those at the front may be higher
depending on the current mode; lengthen sleeve and narrower, those in the back lower and wider.
cap accordingly. Cut the armhole l " deeper and Connect the lower h em lines in smooth curves as
sleeve with 1" longer underarm seam as in shirt in skirts. See skirts, Figures 157 and 158, and
sleeve, (Fig. 112) . It is common practice to let dresses, Chapter 14.
out seams 14"- :Yz", but this change is best done
COSTUME SLIPS
on the model. Also, see Figure 180.
F or the front begin with the French-dart jacket Slips are seldom made at home these days, but
pattern having part of basic dart at shoulder and a sheer dress usually requires its own special under-
part at the waist, C (Fig. 93) . For the back retain slip of matching color and design. The dress pat-
shoulder or neck darts. Follow the underarm seam tern is used in order to have the bodice top, dart,
straight dO\m or slan ting outward, slightly, to the yoke, and gore lines of the slip follow those of
 The French Dart 75

I I
I I
I I
I I
I I
I I
.I
Fig. 94. Princess dress d eveloped from French-dart jacket pattern.

the dress. T he b odice top, of course, needs to be The slip sh ould be considerably less full than its
cut lower but harmonious with the shape of the full-skirted dress; for example, a full net or chiffon
dress. Seams and darts in the bodice top sh ould dress 6 or 7 yards at the lower edge ,,·ould take a
be made more snug with darts in place of gathers. slip 3- 3:V2 yards wide.
In the skirt, take out some of the flare you put in Figure 95 shows a slip de,·eloped from French-
when designing the dress gores. dart princess dress or French-dart jacket pattern
Narrow slips cut bias are unsatisfactory, but for (Fig. 89) .
full evening dresses styles cut on the bias fit the Designing generah·ear slip patterns is a special-
hips snugly and flare gracefully below. If you are ized field not ,,·ithin the scope of this book. More
cutting on the bias, have alternating bias placement darts, yokes, and seams ,,·ith shadow-proof fabrics
for right and left sides to insure even balance. are re1l consumer needs . You can apply the prin-
76 Practical Dress Design
that looks like a triangle above a rectangle in front,
a long diamond in the back.
4. As in other basic darts it may be divided into
several, or relocated; or shortened into softer dress-
maker darts, or dart tucks, ease or gathers; or
diverted into new seam lines, as yokes; or be given
decorative darts or be combined with decorative
darts, tucks, pleats, drape, or circularity.
I I 5. Technique:
I I
CF I I Side Use a whole front. Pin in all darts and seams.
\ I f 1
1 I I Sketch complete elevation including new neck-
II I
II '
line, collar shape, overlaps, buttons, buttonholes,
Fig. 95. Costume slip developed from princess dress pattern.
pocket, new design lines.
Relocate darts to be nearer new seam lines or to
end on a design line.
ciples of pattern designing of dresses to make a
If a bulge occurs because new dart lines do not
satisfactory slip to your own specifications. See
fall on the French-dart line, relocate the French-
dresses, Figure 179.
dart line by redrawing. Or slash to the point of
Negligees and night gowns are developed like
bulge from nearest point to flatten out- then
coat, slip, and princess patterns.
spread to be marked by notches and labeled
"ease."
SUMMARY
Add seams, facings (or hems), and extensions.
I. The French-dart pattern is a handy sloper
ASSIGNMENT
for developing coats, jackets, and one-piece dresses
as well as the French bodice. Develop a pattern for a jacket that is symmetri-
2. It is basically a seam created by uniting the cal in design (Fig. 96) .
waist dart with the shoulder dart in a smooth line. D evelop a pattern for one that is asymmetrical.
3. The basic waist dart of blouse may be joined Complete the last sketch shown t o make an
to the basic waist dart of skirt, making a dart asymmetrical design.

~r(A \ \

Fig. 96. Jadet designs.

 Chapter 10
SLEEVES

Over the years the history of costume has occasions, fabrics, and personalities. The length
focused our attention on the silhouette of the of shoulder seam, the shoulder pad, height of un-
costume. Details intrigue our interest momen- derarm seam are slightly different each year, hence
tarily, and dressmakers are constantly making the your master pattern needs revising. Any changes
same kinds of decorations like tucks, shirring, made in these basic measurements are carried over
cording, and buttonholes but using them in differ- to change the sleeve. Check your sleeve pattern by
ent ways or different places. It is the silhouette a muslin fitting (Chap. 2) and the standards given
that changes-gradually from year to year. The on page 23.
silhouette is determined chiefly by outlines of A trim, snug wristline for long sleeves, or a neat
skirts and sleeves. In the 1890's the leg-o'-mutton three-quarter sleeve keeps the silhouette compact.
sleeve style prevailed but in that era of ten years Wide full sleeves at waist or hip level add that
it varied from a skimpy top to a voluminous puff. much to the silhouette. A little extra width care-
In the 1930's the darted top sleeve prevailed, in fully used near the sh oulders may offset or bal-
the 1940's a smooth sleeve but a padded shoulder ance wide hips. Fancy sleeves are to be avoided
ranged from tailored squareness to bulging, foot- for proportions that are off average. There is not
ball shoulders. The 1950's show a return to the as much room for detail designing in a dress sleeve
natural sh oulder with just enough padding to as in a larger coat sleeve. Very full or elaborate
make tailored garments smooth along the shoul- sleeves are best combined with slender cuts such
der seam (Fig. 97) . However, modern tendencies as a sheath dress, a basque blouse, or a low neck.
show that designers are freer to choose any style
or silhouette to suit a given problem, so that one Sleeve Length
does not appear exotic or freakish in either full Short sleeves provide comfort for activity and
or skimpy sleeves provided they suit the person, warm weather. How short varies with the current
the fabric, the occasion, and other lines in the fashion but spring blouses usually sh ow shorter
costume. short sleeves than those in the fall lines. Young
Whatever the variation in silhouette certain girls wear them shorter, too. In cutting them off
basic styles are used every year to suit different measure down from base of sleeve cap the same

Fig. 97. Silhouette of sleeves dates a frock.

77
78 Practical Dress Design
tions of the basic principles. Hence, many explana-
tions will be brief; either the illustration will
clarify the procedure or a reference will be made
to preceding chapters or illustrations.
I. As in blouses, to change the location of the
basic dart pin it in and make a slash where you
want the new dart, so that it ends on the point
Fig. 98. Short sleove~
of the bulge, B and C (Fig. 99, Fig. 31). Use the
lower dart for designs located in the lower slee\·e
distance on each side, rule a h orizontal line across
area, and the upper dart for top fullness, C.
parallel with base of sleeve cap- of course, both
2. As in blouses, change one dart to three D
are at right angles to the grain line. A sh ort sleeve
should not look like a long sleeve whacked off, so
(Figs. 99, 35, and 40 ) . Two or three darts are less
bulky and look smoother. The same pattern may
we straighten the underam1 seam, or even slant
be used when it is desired to gather or ease the
it out a bit. Hems and double cuffs may be cut
fullness at the elbow.
as part of lower edge (Fig. 6, F ig. 98) . Hand
hemming that shows does not look professional-
~· J: shaped_ yoke at the top or shaped cuff at
~vnst IS made hke any other yoke section, E, draw-
two or three rows of machine stitching or a hem
mg a line for the new design. Mark with notches
turned to the right side seem m ore tailored.
for help in reassembling and to indicate where
Shaped edges add interest and require a facing.
gathers begin and end, then cut apart.
Scallops, notches, or slits may add an interesting
4.•Fullness in sleeves, F, is obtained by the
note. If the short sleeve is the least bit circular a
s~me ~echniques as in Chapter 6. Circularitr or
sh_aped facing must be cut. A very sh ort sle~ve
npple IS added by slashing from the bottom to the
w1th most of the ease removed works up well if
top and spreading, A (Fig. 100). This pattern can
lined.
be gathered, also, into a band.
For t!uee-quarter length sleeves measure up the
_ Gathers at the top only, B, are ob tained by slash-
same d tstance from the wrist all around as 5 6
or 7 inch es, thereby retaining the curved ~hape~ '
mg from the top to the elbow dart or the wrist, or
short sleeve hem, and spreading. Gathers at botP
Cut the sleeve the correct length before work-
t?p and bottom, C, are developed by cutting on
ing on details. Cuff allowances should be cut off
lines where lengthwise folds are desired and
before developing fullness in the main part of the
spreading evenly with horizontal grain lines
sleeve. vVorking with a short sleeve pattern for
matched.
details in the upper sleeve simplifies the procedure;
P uffiness is also secured by added length at top
w_hen complete if you want a long sleeve it can be
or bottom. Free-hand drawing is used. The
pmned together with the lower section that was
amount of height or length to add is determined
cut off-of course, grain and backs matched.
by trying the fabric on your arm or a dumm\·.
See dotted lines added to A, B, and C. The cur~·e
Basic Principles
of the back at lower line should be deeper than
There are very few new principles to be found the front curve. Fold sleeve pattern (Fig. 101) in
in developing sleeve patterns, only new applica- half lengthwise to see that the back curves both

Fig. 99. Pivoting elbow dart. (You may center grain in cuff.)
 Sleeves 79

----- A -- ----- c
Fig. I00. Slashing sleeve for flare or fullness.

iop and bottom furnish more length than those master pattern to cut out, as was done for blouse
in front, A. If you are careful to have the horizon- front (Figs. 53 and 102) .
tal lines at bottom of sleeve enter the side seam 5. The vertical dart in a long sleeote is fairly
at right angles, the sleeve will not draw, B; also, wide. The space there can be left to hang free
the pointed effect in C is difficult to attach to a in a straight coatlike sleeve, or can be pleated or
cuff. A and B are correct shape. D shows shaped gathered into a cuff as in an ordina1y shirtwaist
facing. · sleeve. It may be used as space for designing de-
If pleats are desired draw fold lines and stitch- tails like scallops, tabs, and straps ([Link]. 83).
ing lines as an elevation on foundation pattern first,
Removing Ease in Sleeve Cap
cut on the fold lines, then separate twice the
width of pleat (distance between fold and stitch- The ease of 1"-2" in the top of tl1e sleeve cap
ing lines) . Keep horizontal grain line horizontal. is the direct result of need for easy coverage of
Draw and fold in the fold lines as planned, be- muscles in the upper arm. The sleeve should never
fore cutting seams (Fig. 55 and F ig. 102) . appear stretched or close fitting over the flesh
A pleated, tucked, or shirred sleeve cap may there. The more rounded the upper arm the more
be made by pleating, tucking, or shirring a piece ease will be needed in the armhole. "Easing in"
of fabric on the grain, then covering with the that fullness is difficult in glazed, firmly woven

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------ Front

Fig. 101. Technique at lowP.r ~art of sleeve,

80 Practical Dress D esign

Fig. 102. Pleats in a sleeve. Details for confining fullnes~.

fabrics, but easy in spongy, loosely woven fabrics speeds up sewing, thereby reducing factory costs.
and wools that inherently want to shrink. It is more casual in effect and most comfortab:e.
If in pattern designing we slash from the bot- The important result, however, aside from the
tom to the top to spread for flare or other fullness smoothness due to reduction of ease, is that the
across the upper arm, then there is no need for curve of the sleeve cap has ch anged so that the
the extra amount to ease in (Fig. 100, A ) . There- cap is now shorter. Because the cap is sh orte:_
fore, it is not only safe but better designing to diagonal wrinkles result-we expect it, howen~:
overlap the slashed sections to remove some of and accept it because it is less noticeable than the
the ease. But it must be done carefully and not resulting softness and folds in the sleeve. Often
overdone. these diagonal wrinkles are absorbed in other fold.>
Measure above the notches both the arml10le provided by the design.
and the sleeve cap front; then th e back separately. Cutting a lengthwise seam in the sleeve tc
Leave Yf" of ease on each half of the cap. Using match the shoulder seam permits the designer to
a plastic ruler or a stiff tape standing on edge, reduce the ease around the armhole by widenin~
measure the curves a little at a time. Repeat sev- the silhouette over the fleshy part of the arm ( Fig
eral times to check your accuracy as to the amount 103) . Coats have this seam curved out for extrc.
of ease on each half. Subtract Y4" from each to roominess over suits. Several such lines may be
learn exactly how much can be lapped out (Fig. accented with decorative stitching, cording..
103 ). "Wbenever vertical slash es enter the sleeve ruffles, fins, and so forth creating a semilantern
cap, some of them may be overlapped to reduce or barrel effect.
the ease.
The Shirtwaist Sleeve
Use this procedure for the circular sleeve, the
one with gathers at cuff but not at top, the cowl, Copy the standard foundation sleeve pattern.
the melon, the lantern, and the darted-top sleeves, with vertical dart thrown to the wrist. It is stand-
and variations of the mannish sh irt sleeve. Such a ard to have the placket on this line so make i:
pattern gives a smooth er, less homemade look and slant from end of elbow dart or divide the bottom

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Fig. 103. Removing ease in sleeve cap.

 Sleeves 81

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1~­ L - ___ . .
-
'-, I /
A .......... I
I C ~--
Fig. I 04. Shirtwaist and long full sleeve.

of the sleeve with two thirds at front and one Spread evenly; but more on th e center line if a
third at back to conform to silhouette lines nor- decorative shape is desired for the bell sleeve, A.
mally following the thumb and little finger. An Check the horizontal line and lower sleeve line
accented placket sh ould be on the little finger to see that you spread front and back to match-
side. the side seams will be bias and we want them
Cut 2"-3" off lower edge to be replaced by a alike; also, vve want the sleeve cap balanced as to
straight band 2"-3" wide, or a French-cuff band grain so it will droop on the figure as much at
.f"-6" wide, A (Fig. 104) . the fron t as at the back, C.
Draw vertical lines down from sleeve cap Added length at lower edge will provide more
parallel with the grain line; or draw a slanting puffiness. D ecorative extemions may be added.
(small dotted ) line instead of the vertical line, B.
Be sure to make the lines slant on the same degree Circular Puffed Sleeve
of bias. The width is often determined by half
This type of sleeve is often called the lantern
the width of fabric-as 18". If too much width is
sleeve. It may be any length , flared sligh tly or
added at the side seam the flare and puff will be
,·ery "·ide. There is a crosswise seam, wh ich may
at the wrong place- underarm. D raw lower curve
be accented " ·ith decoration or cut into unusual
sligh tly deeper (Fig. 101) . The top may be modi-
shapes. I t is cut circular to flare at the seam and
fied to the lowered armhole shirt type ( p. 86 ) .
to fit the armhole and cuff band without gathers
(Fig. 105) .
Long Full Sleeve
Begin with a sleeve pattern of the desired
Peasant, bish op, or bell sleeves are more casual length, A. Draw the crosswise line where desired .
and graceful if the fullness is obtained as for short M ark with notches, then separate. D ra\\· radiating
puffed or circular sleeves, A (Fig. 100) . lines from the armhole and cuff line to make
First cut to the desired length-three-quarter or vertical slashes mostly on top of the slee,·e. Slash
full length, h aving crosswise dart pinned in or a from th e h orizontal seam to but not through the
,·ertical dart open. M ark the h orizontal grain line. opposite side and spread into a semicircle to create
Slash on three to five lines that enter the sleeve fullness wh ere desired, B. Spread the underarm
cap line at right angles to it equally spaced, above slashes less than those on top of the arm.
the notch es, C, (Fig. 104 ) . O verlap at cuff line to fit a cuff band; overlap
Spread the lower part for desired fullness, and slightly to remo,·e part of ease in wh at was the
lap out some of the ease at the top, but leave ~". upper sleeve cap.
82 Practical Dress Design

Fig. I 05. Circular puffed sleeve.

Provide extra flare by extendwg the crosswise in a muslin fitting, even into squares. Such a bal-
seams (dotted lines ), B. Use the large circum- loon or lantern sleeve is best developed in or-
ference seam of the one part to make an exact gandy, taffeta, or stiff silk. Cording, braid, stitch-
copy on the large circumference seam of the ing, or even wiring, on the circular seam will help
other part. (The armhole and cuff line seams to keep it distended. Less spreading gives an ex-
differ in shape and size.) tended silhouette but is more practical for differ-
If a very full flare is desired make more slashes ent occasions and materials. The matching shapes
and bring the underarm seams together into a make it an easy sleeve to iron for children's dresses.
complete circle, C. The circles may be reshaped A gingham sun dress was recently advertised with
detachable organdy lantern sleeves.

Darted Top
The darted-top sleeve was in vogue in the
1930's, darts varying in length from 5" to 1''. It
was the forerunner of the shoulder pad era of the
1940's. The shorter darts create a neat square
cap widening the shoulder silhouette only slightly
(Fig. 97) .
On a short sleeve, sketch three, four, or five dart
lines and mark each the length desired. Slash on
Fig. I Ob. Darted top sleeve. these lines to but not through the opposite side
 Sleeves 83

Fig. 107. Cowl dropery in sleeve.

of the pattern (lower hem line of sleeve) and in the center where drape is to occur. The line
spread apart (Fig. 106) . Keep spread carefully on across the top becomes a seam when slee\'e is
a fresh piece of paper while you make a cross- folded through the center; to it a weight is at-
wise slash from armhole notches (or above or tached.
below, depending on where you want drape to If this method has not created deep enough
begin) . This crosswise slash permits pulling the folds, cut the pattern in two lengthwise to widen
upper sleeve cap sections up so that added length and lengthen farther, C. Note similarity to blouse
is provided for the puffiness of the darted area- (Fig. 60). In this case a lengthwise scam the full
sometimes an inch, but several inches for a large length of the sleeve is recommended, whereas the
puff. M easure on a model to decide on finished only seam in B was concealed under the drapery
length of silhouette. Arrange sections so that at the top. If C is used, placing the lengthwise
the front and back are balanced with each other seams on the alternating bias gives a more grace-
and arrange them as to the horizontal grain line ful drape.
so that side seams have the same bias. Spread the
top slashes less than those at the sides; remove
some armhole ease when drawing the new darts.
Draw in dart lines at a little less than right
angles. T he angles, of course, will be less than
right angles if pleats are longer.
Fold in darts before cutting seams and seam
allowances.
Because the spreads in both length and width
are free decisions, a sample should be made in
mushn to indicate whether you estimated too
much or too little and to proportion it to the
blouse or skirt.

Cowl Sleeve
The method of developing cowl drapery in a
sleeve is the same as for a blouse front or yoke
(Fig 59) . Begin with a short sleeve pattern (Fig.
107). Draw on it two or three straight or curved
lines to follow the folds you want in cowl, A. Slash
on these lines down the center of sleeve to hem.
D o not spread at armhole line but do spread down Fig. I08. leg-o'-mutton sleeve,
84 Practical Dress Design

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A
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Fig. 109. Cutting a shapAd cuff pattern.

The Leg-0'-Mutton Sleeve principles. Only the cuff may be new. It is quite
important that the fo undation pattern be well
The leg-o'-mutton sleeve, puffed at the top but fitted below the elbow (p. 24 and Fig. 22) .
slender from elbow down is a style that frequently Pin in the basic elbow dart. Draw the sh ape of
returns to the fashion scene. F or certain dress-up the cuff free-hand, keeping it slightly circular t0
occasions it always has a place, if nowhere else, conform to the arm and wrist, A (Fig. 109) .
on the stage. D esigns that appear angular or straight sh ould be
Vl hcn using a one-piece sleeve pattern, pin in slightly curved. Mark notches for later reassem-
the elbow dart to produce a bulge (Fig. 108). bling.
Decide where gath ers or pleats are to fall in the Cut placket line first-at little finger line-
sleeve cap. Slash vertically several places between then slash on up to b ulge of elbow dart. Cut off
these points ending one slash at elbow dart so that the cuff, now in two pieces, C . R earrange the cuff
the pattern flattens out on the table. If this d oes pieces so that they are joined as one on the thumb
n ot give enough width in the top, slash h orizon- seam line, open at the dart or little finger placket
tally from the cen ter of the sleeve over to the line.
seam across the elbow. Additional puffiness m ay The cuff needs an overlap and an underlap, C :
be obtained by heightening the curve at the top also see blouse fron t in F igure 72, if buttonholes
of the sleeve cap, free-hand. Keep the lengthwise are required. If small buttons are used, the over-
sleeve seams the same length as in the original lap need not be more than l/2" wide; if loops are
pattern. used, !4"-l/2" width is sufficient. The lengthwise
For coats, a two-piece sleeve pattern is usually grain sh ould center on top of the hand . T he cuff
used, A (Fig. 116 ) . Place the pieces so they join is better lined, cut double, stitched to leave top
from elbow to wrist along the back seams b ut open, turned, and applied like a band after sleeYe
spread apart above the elbow to p rovide width. placket is completed.
Connect the upper sections with a gradual curve T h e upper section of the sleeve may be slashed
above the original sleeve cap line, providing th e to provide gathers where indicated by n otches
length needed for puffing. D . The basic dart is included in the spread be-
tween slash es. T o provide length for puffiness,
Sleeve with Shaped C uff slash the pattern crosswise near elbow and pull the
pieces down in grad uated formation. U sing this
The full length or three-quarter sleeve with a method instead of drawing free-hand at the lower
shaped cuff is easily developed from preceding edge will insure a better line there and one that
 Sleeves 85

Fig. II 0. Designing in space from basic dart.

is certain to fit the cuff where there are irregular Begin with a standard sleeve pattern, F. If you
shapes like points. prefer the decorative detail a little more on top
Mark a short 1" placket at the original little of the hand, extend elbow dart clear across the
finger mark. sleeYe, F, then slash the middle fold of the sleeve
pattern up to but not through the top, G. Lap
Designing in Space from Basic Dart slightly at the top to remo\·e some of the ease.
Spread this one slash to provide whatever width
Long flowing and bell-shaped sleeves inspired
you need at the bottom. Sketch in shapes like C
by such shaped sleeves of the Zouave jackets, Don
(dotted lines) or add flare or points as in A.
Carlos mantillas, and doublets of sixteenth and
seventeenth centuries, the alba and dalmatica of
Horizontal Fullness
the eleventh century, and the sack sleeve of the
fifteenth century * attract and invite us to design The mousquetaire effect in sleeves (or gloves)
romantic and dramatic negligees and hostess refe:rs to the horizontally draped folds. Some of
gowns. They will look better if developed like B the C hinese mandarin robes have very, very long
(Fig. 104) with one middle or three slashes so sleeves to be worn wrinkled around the arm. In
that flare is on top of the arm n ot under the arm recent years we have had the push-up style, merely
as it would be if we used A (Fig. 104). Such de- long sleeves tight enough to stay draped when
signs as A, B, and C (Fig. 110 ) provide ventila- pushed up. Really draped sleeves require a sh eer
tion as well as a graceful silhouette. lining underneath to hold them in place or a
taped seam. Figure lll illustrates the principle
*Kohler, Carl, A Historv of Costumes (New York: of slashing where you \\·ant folds. and spreading
G. Howard ·watt, 1933). · the amount \·ou \\·ant.

v·
Fig. Ill. H orizontal f ullness.
86 Practical Dress Design
and back. Baggy folds will show underarm, but it
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is comfortable and easy to sew in and launder.

Two-Piece Sleeve
The modern one-piece sleeve is easier for aver-
age people to construct and "set," but the seam
Fig. 11 2. Deep armhole. starting at center underarm pit twists slightly to-
ward the thumb. The older version of a one-piece
Careful estimates of the draping power of your sleeve had the seam at the front from thumb to
fabric are required. Otherwise these styles will tendon that holds the arm muscle to the body.
be either too bulky or disappointingly skimpy. It did not match the blouse seam underarm and
was confusing to set, so that it is seldom used
Deep Armhole (Shirt Sleeve) today.
However, in coats and jackets a two-piece slee\·e
The shirt-sleeve blouse pattern with a deeper
with the two seams harmoniously following the
armhole is developed from the standard blouse
silhouette of the arm where it rests against the
and sleeve patterns to provide greater freedom of
body sets comfortably and smoothly without a
movement and less difficulty in construction. It is
wrinkle. It can be used more effectively than a
soft and casual in effect and use. It may be long
one-piece pattern in complicated decorative and
or short. The short, general-purpose style is illus-
leg-o'-mutton types. The lengthwise seams may or
trated here but it may be combined with the shirt-
may not meet the French-dart seams of the jacket.
waist sleeve, B (Fig. 104) .
To make the pattern for a two-piece sleeve pro-
This new pattern is a good block pattern to use
ceed as in Figure 113.
in developing raglan, kimono, and dolman pat-
terns. I. Redraw the elbow dart from the back seam
I. On foundation front and back patterns by extending it completely over to the front seam,
lower armscye 1", A (Fig. 112) . If more ease is A. F old and pin several places to keep secure.
needed for a sport shirt, slash and spread for a 2. Fold the side seams so that they meet on
blade or provide fullness otherwise in design. the center lengthwise grain line, B. Tape together.
2. On sleeve widen each side %"-1" and raise 3. D raw two new seam lines where they will lie
underarm curve 1". Thus while armhole has been just under the arm silhouette, about halfway be-
lowered, the underarm seam of the sleeve has been tween the fold and the seam but closer to the fold
raised. The longer the underarm sleeve seam, the than to the seam. Another estimate is to make the
more reach can be obtained without pulling under sleeve one third and the over sleeve two
blouse out of waistline position-this reach is thirds of the total girth at any point. Notch for
now on the sleeve. ease in distinguishing parts. Cut on the two new
3. Measure new armscye on front and back seam lines and separate, C.
blouse patterns with a plastic ruler or stiff tape
and compare with sleeve measurements.
4. Redraw top of sleeve cap; if necessary, lower
it to correspond to measurements just taken, leav-
ing a slight amount of ease. The standard set-in
sleeve normally has 1Y2"-Z" of ease, but in this
type %"-1" is sufficient because of the extra width
provided in the sleeve cap area. Watch to keep
the back curve higher than the front. Adjust
notches.
5. Cut in m uslin and fit to see if it is com-
fortable and has sufficient ease. N ote that cross-
wise grain cannot be horizontal when sleeve is
on the arm, but it should droop to balance front Fig. 113. Two-piece sleeve pattern.
 Sleeves 87
4. The upper section of the sleeves should have at the back of the under section and spread it
the elbow dart unfolded to restore original sleeve ~"-Vs", D.
length over elbow, C . In making this sleeve, the upper section should
5. T he under section is made by combining the be eased over the elbow to fit the under section
two narrow strips (taped together and ) removed for 2" or 3" in the dart area.
in Step 3. Keep the crosswise grain at base of 6. Smooth and slightly curve the vertical seams.
sleeve cap intact throughout. Establish lengthwise Cut in muslin, fit, and adjust pattern.
grain perpendicular to it. Unpin the elbow dart
 Chapter II
BODICE AND SLEEVE COMBINED

The founda bon one-piece sleeve, if well styles use the corrected pattern as you would a
fitted, is neat and reduces the silhouette to a mini- foundation pattern and apply to it the same prin-
mum. The am1hole acts as a hinge in action. How- ciples and techniques as used in regular blouse
ever, to some people it is constrictive especially and sleeve designing. Because you have already
if full length. In modem life, short sleeves and learned how, on these new slopers you can:
loose flowing sleeves are more comfortable. Sleeves
I . M ove the basic dart by swinging it around
cut in one with the bodice are generally roomy and
the pivot point of the bulge. ( F old in original
easy to make without appearing so h om emade.
dart, slash on a n ew line to point of the bulge.
Time, cost, and skill in dressmaking may often be
spread. ) The new dart m ay be up, down, across.
more effectively spent in techniq ues of tailoring,
or slanting.
decorating, or selecting handsome fabrics than in
2. Divide it into several smaller nearby darts.
setting a sleeve with perfection.
3. Introduce added fullness for decoration as
H ence, a bodice cut in one with the sleeves may
darts, tucks, pleats, ga thers, circularity, and folds.
lead to more originality and satisfaction in the
4. Cut new division lines, as panels and yokes.
finish ed product. D esigners in sh ops find such
5. Add extensions to both basic and style lines
patterns a "must." H owever, it is not necessary for
to affect silhouette.
the average h ome sewer to learn to make raglan
6. Conceal the basic dart in both decorative
and kimono blouse patterns, although the knowl-
darts and seam lines.
edge will enable h er to design more freely. M ore
7. Use the dart space for gathers, sh irring, or
garments for children should be cut on raglan
decorative shapes.
lines, but kimono sleeves usually cannot stand
8. Retain part of original dart where located
the strain. It is easy to adapt commercial patterns
and swing remainder elsewhere for ease or decora-
with standard sleeves into these styles.
tion.
Most of them need more ease in one area or
9. Leave remnants of dart where desired for
another than in the standard sloper, both for
"easing in" instead of for gathered fullness.
comfort and durability. The three-quarter push-
up styles relieve tension. If the blouse is very
Modified Armhole for Sleeveless Styles
voluminous or baggy, plan a narrow straight-line
skirt for it. If a long tight-fitting sleeve is desired, In a sleeveless bodice (Fig. 114) the armhole
plan more drape under the arm or elsewhere in may need raising; in oth ers it m ay be resh aped
the blouse. If the blouse or sleeve sections are into a curve, square, or point, A. U sually a slight
fairly puffy, keep the collar and cuffs trim and extension of the shoulder into a cap sh ape gives
narrow, unless you are very slender. a m ore finish ed, less naked look, B.
\ Vhether you buy a commercial pattern or de- Use the standard foundation blouse pattern.
velop one yourself in raglan, kimono, or dolman Draw an extension of the sh oulder seam. A short
88
 Bodice and Sleeve Combined 89
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Fig. 11 4. Modified etrmholes for sleeveless blouses.

l" or 2" extension, curved, can be connected with a smooth-flowing, continuous line. Mark notches
the underarm seam. Cut front and back alike. on the lines, A.
Shaped facings should be cut after a fitting. 2. Cut apart on the lines drawn. Slash the top
If the extension is shaped on straight lines, D, section of the sleeve on the lengthwise grain line
a hem can be provided instead of a facing. that matches the shoulder seam of the blouse, B.
If the extension is as much as 4" or 5" and cap 3. Attach the front half of this upper sleeve
shaped to fit the upper arm, the armhole may be section to the front of yoke so that the sleeve cap
too tight, in which case it should be lowered, C. fits the armscye. Slash from the top of the sleeve
cap to but not through the opposite side. Lap the
The Extended or Dropped Shoulder slashes until the cap fits the armcsye seam of the
yoke, C. The yoke lines should now be continuous
The extended or dropped shoulder line is usu-
and the shoulder seam continuous. Arrange the
ally (but not llecessarily) a part of a yoke design,
backs similarly. This will produce a shoulder seam
thereby providing means for extra fullness to off-
which curves down over the shoulder.
set the chance of drawing when the normal arm-
4. The lower blouse and sleeve sections are
scye line is so drastically changed (Fig. 115). The
generally most effective when gathered, shirred,
pattern is developed in the same manner as a
tucked, smocked, or pleated to produce fullness
raglan.
below the yoke line. Simply slash these sections
I. Sketch the shape of the yoke extension first \vherever fullness is indicated by the design, being
on the sleeve and then on the front and back of careful to keep horizontal grains aligned, to esti-
the blouse pattern, in such a manner that it makes mate the correct amount of fullness each texture

Fig. 115. Extended or dropped shoulder.

90 Practical Dress Design
n

Fig. II b. Epaulet sleeves.

requires, and to form transitional lines in reshap- that the lowered armhole shirt sleeve will have
ing seam lines. drooping grain and folds toward the underarm
but it is comfortable.
Epaulet Sleeves
5. If in the beginning you started with standard
The epaulet sleeve is a tailored, semimilitary, blouse and sleeve patterns, there would be an ac.
or casual style, hence does not need to be de- cumulation of ease between the strap and the arm-
veloped from the standard foundation pattern; hole notches. Some designers collect this extra
instead use the shirt sleeve with most of the ease ease at the corner of the strap in a little pleat, D,
removed and a lowered armhole to provide the or increase its width by slashing and spreading the
comfort desired (Fig. ll2) . desired amount.
b. During construction stay-stitch the seam
I. Begin with blouse front and back patterns
lines before slashing corners. For simplicity of
with darts located in some other direction than
tailoring, do not close underarn1 seams until the
the shoulder seam (Fig. ll6). A short sleeve is
strap and armscye seams are complete. Make the
used here to which the lower portion may be
plain armhole seam first, then top stitch the strap
added later if desired.
over the blouse. If top stitching is desired for the
2. Draw lines to form the epaulet or strap fea-
armhole too, begin with seam along strap lapped
ture Y2"-1" wide along the sh oulder of both front
over the body, but at corner reverse by lapping
and back, A. The strip may be cut the exact width
the body over the sleeve. (Dressmaking principle
of some decorative banding already on hand, such
requires a smooth lap over fullness.)
as peasant embroidery, a knitted strip, lace, or
insertion. If the strip is too wide, it will not fit so
KIMONO BLOUSES
well at the sleeve cap, and will tend to meet at
the center back of the neck at a point which is
Semifitted Kimono Blouse
not very attractive or easy to tailor. Very wide or
curved effects are really raglan in style and should I. Copy basic blouse pattern (Fig. 117).
be so cut. a . Use front with basic dart at waistline; back
Mark notches; label neck end of each strip, n, with shoulder dart left in to be used as
and cut apart. (See Fig. 69.) ease or shifted to back of neck for simplicity
3. Outline the short sleeve pattern on a large of construction; sleeve with elbow dart ex-
piece of paper, B. Draw in and extend the length- tended to center lengthwise line and folded
wise line marking shoulder seam contact point. in, A.
Arrange the strips so that their shoulder seams b. Lower armholes of blouse front and back
meet on this line. C heck to see that the front 1", x. Raise lower curve of armhole 1", y,
strip joins the front of the blouse and the back because a high underarm sleeve makes it
strip the back. The arm end of the strips should easier to raise the arm in comfort and with-
just touch the top of the sleeve cap and the ends out danger of tearing out. (Same procedure
marked n should make a short continuous curve as deep am1hole, Fig. ll2.)
as a small section of the neckline. c. Cut sleeve pattern lengthwise through cen-
4. Complete pattern by creating stylized full- ter. The elbow dart may be unpinned now
ness especially if the sleeve is long. You will recall or later.
 Bodice and Sleeve Combined 91

Fig. 117. Kimono blouse-semifitted.

2. Arrange front sleeve section so that center of shoulder, on both front and back patterns.
lengthwise line becomes an extension of shoul- 8. Copy for use as a kimono block pattern in de-
der seam and so that the two pieces do not signing loose dolman and raglan styles.
overlap, A. A space between x andy of 1" to 2" 9. The square corner at the underarm in this type
makes for some drape; if the lengthwise center of pattern is inclined to tear out easily, as is
of sleeve is lifted up higher (more horizontal also the rather sudden curve drawn in as a tran-
or less sloping), the space becomes ·greater and sitional line there. The corner or curve must
the drape greater. At the top, slip the sleeve be slashed to prevent its puckering or draw-
cap about Yz" above the shoulder seam of ing when turned to the right side. These slashes
blouse (not necessary if shirt sleeve pattern is also tear out easily and ravel. A neat finish
used). consists of buttonholing neatly and closely not
3. Arrange back pieces in the same manner as for only the seam but also the edges of the slashes,
front, except that the sleeve may be lifted an with extra close stitches at the weakest corner,
inch above the back shoulder seam to give C. Double stitching a curved underarm seam
greater back length, B. Also, the space x to y helps, as does stitching a narrow piece of tape
could be greater than in the front with some or 1" bias strip on each side of the slashed
easing in dressmaking at the underarm. seam. After fitting, or after one has torn out
4. Make an angle between x and y. If on your in wearing, a slash and gusset may be made
master pattern x is higher than y, change as in Figure 118.
waistline at z to compensate.
Fitted Kimono Blouse
5. Convert angle to transitional curve as low as
your design idea demands. The lower one is I. Copy basic blouse pattern (Fig. ll8).
generally called the wing or bat sleeve. a. Use front with basic dart at waistline, bad:
6. Draw a transitional line from neck to wrist to with shoulder dart left in to be eased or
raise end of shoulder seam slightly and to re- shifted to back of neck for simplicity of con-
move excess extension of sleeve. struction; sleeve with elbow dart extended
7. Make a muslin copy with 1" seams at under- to center lengthwise line and folded in.
arm and shoulder line and h" seams at neck b. Lower armholes of blouse front and back
and wrist. Fit to the person. The underarm 1", x. Raise lower armhole of sleeve 1", y,
curve may need slashing and reinforcing. The because a high underarm sleeve seam mak~s
shoulder seam may need to be let out or to be it easier to raise the arm in comfort and
ClWtecl more. The sleeve may be too long, espe- without danger of tearing out (same as deep
cially on the more baggy cut. If the blouse is armhole, F ig. 112) .
ton baggy, pin a dart at xy tapering off at end - . C ut sleeve pattern lengthwise through cer;.-
92 Practical Dress Design

A B

Fig. 118. Kimono blouse- fitted style.

ter. The elbow dart may be unpinned now 8. Without the gusset the wearer could not lift
or later. h er arms very far, but with the gusset strain is
2. Arrange front sleeve section to meet armhole relieved. This method produces a style less
of front, A. bulky than Figure 117, is neat and quite wear-
a. Pleat (or slash and lap ) sleeve pattern to able in larger sizes.
fit annhole as much as possible, allowing To set in a gusset, stay-stitch before slashing
t op of sleeve to extend about :Y2" above fabric ~" seam at open end to nothing at end
shoulder seam of bodice section. Basic of slash . Have gusset cut in two pieces and set
notches should be opposite each other. in front and back before making underarm
3. Note that sleeve overlaps blouse at underarm. seam : place right side of gusset to right side
Cut a gusset (diamond shaped) about 4" wide of blouse and stitch with :Y2" seam allowance
and 5" long to act as an inconspicuous hinge, on the gusset but tapering to almost nothing
C. Draw a line for a slash in the pattern to end on the garment. Avoid too narrow a point.
on normal armhole line, the same length as This means sewing with the garment side up
one side of the gusset-about 3:Y2" long. (Or and pivoting at end of slash. Then right side
you may cut the slash, then a gusset to fit.) out, top stitch on the garment (not the gusset)
C ut diamond in two to make two long triangles close to the fold. After each half of sleeve has
- the lengthwise center to be on true bias. a gusset, join underarm seam.
4. Arrange back sleeve section on back blouse as
Kimono Block Used in Other Ways
in Step 2, so that underarm seams of bodice
front and bodice back are the same length I. The two pieces of the kimono block pattern
and so that shoulder angles are about the may be joined along the arm to make one piece
same. with a dart for the shoulder seam, A (Fig. 119).
5. Draw transitional line from neck to wrist to If the back is placed on a fold the front will be
raise end of shoulder seam slightly and remove bias or vice versa, which may or may not be de-
excess extension of sleeve. sirable. Stripes are effectively used with center
6. Unpin and retain elbow dart. front seam on a true bias to form a chevron
7. Cut sample in muslin with 1" underarm and effect. Most fabrics are not wide enough to cut
shoulder seams, ¥2" seams on gusset, neck, and the entire blouse in one piece. In general it is
\nist. Fitting may reveal need for changing better to cut both the front and back on length-
location of gusset slash and length of sleeve. wise grain with the seam along arm and shoulder
Correct pattern and copy to use as a founda- on the bias as in the original block. Sometimes a
tion pattern in developing varied designs. panel or strip cut on the straight can be used to
 Bodice and Sleeve C ombined 93

Fig. 119. Use of kimono block- pivoting the shoulder dart.

break the bias effect and to prevent stretching. BLOUSE W ITH DOLM A N SLEEVES
2. A drop-shoulder effect obtained by cutting
D olman sleeves, sometimes referred to as web,
a horizontal, slightly curved line at upper arm
bat, de M edici, or V ionnet sleeves, developed in
(dotted line, A) enables the designer to cut lower
soft materials suggest a dressy quality and fre-
sleeve on lengthwise grain and the blouse in two
quently form the foundation lines for luxurious
sections, B. T his style makes for economical place-
furs and evening wraps, also for casual suit jackets
ment. It is popular in the Navajo squaw or fiesta
and dresses.
shirts and gives a good line for decoration.
The loose type of dolman sleeve may be made
3. If the front and back are joined as one at
by using a kimono block pattern (Fig. 120) . On
the shoulder seam, the basic shoulder dart falls
it sketch in the shape of the new armhole, A,
into the lower sleeve, C, providing fullness at the
mark notches and grain lines, and throw the basic
cuff line.
dart \\·here\·er required. Separate the sections. The
4. In C, also, the designer has placed C B on
underarm seams may be changed to alter the
the fold, and made a surplice line for the front
baggy effect.
to be cut also on the grain. Seldom is fabric wide
F or a standard dolman sleeve pattern (Fig.
enough for such a placement, so a seam or hem
121 ) :
will be necessary at CB, or a shoulder seam must
be made, or sh ort sleeves or a drop-shoulder style. I. Use standard foundation blouse pattern or
5. J'he lower sleeve section may be converted the modified deep armhole pattern (Fig. 112 ) .
into any type of sleeve design desired, or if you 2. The fundamental darts may be shifted to
already have such a sleeve pattern, pin the base of coincide with or terminate on the new stYle lines
the new sleeve cap to the base of the old one, or left in the bodice section for later develop-
keeping the fronts matched and grain lines bal- ment.
anced. 3. Sketch in the desired new armhole shape so
6. Use the kimono block pattern for developing that front and back sections match at sh oulder
yoke styles (an aid in fabric placement). Use it and underarm. :\. Remember that you are design-
for loose dolman and raglan effect ( Fig. 120). ing in the round not on a flat figure, so ch eck
94 Practical Dress Design

'
'
'\ I

- __\/,II
' I

/ I
b,'

A
Fig. 120. Kimono block used for dolman and raglan cuts.

shape on model. Mark notches and cut along the same for the loose effects; but if making a closer
new armhole lines. fitting type, swing the back slightly wider. The
4. Place the armhole sections in proper rela· lower part of the sleeve may be tigh t or full as
tionship to the foundation sleeve pattern with you wish, as in Chapter 10, but generally slender.
shoulder seams touching or slightly spread to The blouse section is cut on grain as for any other
make a narrow short dart, notches paired and blouse. T he sleeve is usually cut in one piece with
underarm seams touching at corners, B. From the center lengthwise on grain.
armscye edges slash at right angles to but not
through the opposite sides. Spread slashes until
BLOUSE WITH RAGLAN SLEEVES
corners meet but do not distort edges. One slash
ending on a deep curve or square corner gives a
Loose Fitting Raglan
looser more draped result; many slash es care-
fully arranged reduce the gap between sleeve and Use this style for casual clothes and children's
dolman section making a closer fitting pattern. simple gam1ents, B (Fig. 120 ). Begin with a
5. F or the underarm seam make a curved tran- kimono block pattern. Use a ruler to draw a slant-
sitional line rather than follow the pattern lines. ing line from neck to corner at lower armhole.
This line determines the amount of folds or bag- On this line sketch a shallow compound curve,
giness in the design. Make the front and back the above the line in the upper half and below tl1e

Fig. 121. Standard dolman sleeve.

 Bodice and Sleeve Combined 95

Fig. 122. Standard raglan sleeve.

line as it approaches the armhole. Mark notches style use Figure 121, B. The more closely the curve
and cut apart. follows the shoulder and armscye, the more closely
Standard Close Fitting Raglan
the blouse will fit.
3. Mark notches and cut apart on these lines.
I. Prepare the front, back, and sleeve patterns 4. Place the foundation sleeve pattern on a
as for a kimono or dolman blouse, or deep arm- large piece of paper and extend the center length-
hole (Fig. 112). The method is similar to that for wise grain line of the sleeve beyond the top of
developing the dolman sleeve. the cap 6" or 7". Arrange the armhole sections
2. On front and back patterns sketch in the above the cap of the sleeve so that the proper arm-
new raglan armscye, A (Fig. 122). It is a com- hole notches match, B. Note that the two shoul-
pound curve which follows the shoulder seam der seams do not come together but spread out
near the neck but curves to follow the armscye at the neck leaving a wide dart. In the case of
as it approaches the underarm seam. Do not try to quite square shoulders this dart forms a 90 degree
make this a straight ruled line. In the back avoid angle. It is one of the major basic darts.
having it come too close to the center back at 5. In order to make the sections of the blouse
the neck, or it will form an undesirable point or fit the sleeve cap more closely, slash them from
V there. Be sure that the front and back sections the armscye seam toward the raglan blouse line, C.
match at the underarm seam if cut low. The Cut the slashes so that they extend to but not
blouse will fit better or have fewer folds under through the raglan line and at right angles to it
the arm if the raglan line does not drop much as much as possible. Many slashes make a
below the normal armscye; if you want such a smoother, finished edge, while few slashes make a

c ~ I D n
0

0
o

I
\ '
\

.•',,,,
,.,,

__
a- --··-- !~
\ __, {'·"----

Fig. 123. Pivoting the basic raglan shoulder dart.

96 Practical Dress Design
very irregular one. Use plenty of pins until all ones entering the front shoulder line. In C, the
parts seem well balanced and the outer edges shoulder dart is swung partly into the front shoul-
fairly even. If the shape is still irregular, sketch in der line and partly into the cuff line. In D , all the
restrained transitional lines to correct. Correct basic dart is pivoted to the cuff line for a puffed
notches. Outline the new pattern just formed. sleeve. In E, cut apart, the dart becomes part of
6. The shoulder dart remaining is one of the the lengthwise seam line which may be extended
fundamental darts basic to pattern designing be- for a stylized silhouette. Other possibilities in-
cause of tl1e bulge where the arm joins the shoul- elude swinging a small part of the dart to both
der, therefore it may be pivoted or modified like front and back at the shoulder line similar to
any basic dart (Fig. 123) . In A, the wide dart has the front of B-the small amount to be eased
been divided into several nearby; in B, part of in dressmaking-a very desirable location on
the shoulder dart is pivoted into three narrow coats.
 Chapter 12
COLLARS

NECKLINES or a faced casing for elastic. Strapless-top dresses

need boning at the seams. Self-fabric edgings like
TI1e neckline for a collarless dress needs
loops, scallops, fringes, pleated ruffles, ruching,
care to enhance the natural beauty of the wearer
lace and embroidery edging, and commercial
and not emphasize undesirable features. As the
braids are some of the kinds of decoration that
focal point, it also needs to be perfectly shaped
may be applied as a finish. G enerally speaking
before designing the collar. The faced, plain collar-
these are used in less important dresses.
less neckline has been popular as a basic back-
A good neckline:
ground for necklaces, but it too needs a style line
somewhat different from the shape of the sloper; I. Maintains a pleasing relationship with the
otherwise it appears incomplete. The extended rest of the garment.
high neckline or one with a slight cowl seems 2. Is becoming to the wearer.
softer and more finished. Having the neckline 3. Is not stretched or puckered by careless h an-
deeper than it is wide lends height; width lends dling.
width. Broad necklines are best worn by women 4. Is fitted to lie flat on the body without
with good-looking neck and shoulders. Square wrinkles, bulges, ripples, or folds .
necklines n eed good curves in the lines (consult 5. Is exactly alike on both sides unless an asym-
Renaissance portraits) to harmonize with the metric design is intended.
body curves. D eep ovals, the "sweetheart" neck- 6. Forms a direct, smooth, continuous line
line, and deep curved V's flatter most people. throughout.
For well-proportioned neck and shoulders some
of the modern, free-fom1 (asymmetric) designs
COLLARS
may be worn, but they belong with good fabrics
and good dressmaking, and they are more or less N o phase of dress designing is more intriguing
sophisticated (Fig. 124) . or profitable than collar designing. Detachable col-
Such necklines should be finished with shaped lars are Yaluable accessories to have and to manu-
facings cut to fit. In construction a ( l j l 6") facture. An un usual collar is the only selling point
slightly deeper seam on facing both at sh oulders necessary for a blouse to become a best-seller.
and openings helps to keep them lying under out A study of museum p ortraits is most re\\·arding if
of sight when worn. T h ey are ruined if visibly you need some "new" ideas. Oriental, prehistoric,
tacked down by hand. An under-stitch finish helps primitive, classical Greek. and medieYal art
to keep the facing back from the edge. A well- abounds in suggestions for collarless necklines.
made shaped facing is the perfect finish for high- The Elizabethan ruff and the de ~Iedici standing
class necklines. A sheer yoke is usually lined, i.e., collars of the sixteenth century are beautifully
completely faced so that the edge of the facing illustrated in e\·ery exquisite detail by such artists
or stitch es to tack it in place will n ot be visible. as Van D yck, R ubens, and Hals. T he simpler ver-
Collarless dresses with fullness at the neckline sions, like the Juliet or Shakespeare collar, are
may be finished with a narrow bias or cord binding graceful and flattering in line. T he falling collar
97
98 NECKLINES

\ !) \ )
12 13 14

~~
.. I I 20

Fig. 124. Neckline shapes create different style effects.

 Coiiars 99
of the seventeenth century is pictured either in determines its comfort and also its style and be-
handsome lace or the simple white linen we know comingness. The silhouette, or outer edge, is char-
as the puritan collar-a slight roll at the neck, as acterized by such terms as round, shawl, tuxedo,
a rule, with wide and varied silhouette. The eight- cape, puritan, bertha, Peter Pan, sailor. A classifi-
eenth century gave us the fichu with tight sleeves cation of collars based on their set around the
and basque, capes of the Directoire, and the neck begins with a flat plastron, then a flat collar,
Robespierre collar with its accompanying cape, a low rolled collar, a high rolled collar, a standing
stock, or frilly jabot. In the nineteenth century collar, a rippled collar. There -are many degr~es of
we had the shawl, the Lord Fauntleroy, the roll as well, such as high, low, flat, medium, stand-
Tuxedo, and the Edwardian black Windsor tie. ing. To describe a collar it really is necessary to
The twentieth century uses all these styles and indicate both its degree of roll and its silhouette,
some of its own like the Peter Pan, the con- as a rolled Peter Pan or a flat cape collar. Obtain-
vertible, the cardigan. ing the right set or roll is a technical job; getting
a good silhouette is a problem in art or design.
Design In rolled collars the part we do not see which
provides the height of the roll is called a stand.
A narrow collar is neat, restrained, and slender- The line where the roll leaves the stand is called
izing. If a large collar is to be kept important and the break line, crease line, roll line, or fold line.
the whole ensemble not bul'k)' looking, it should The break is the point where a lapel starts to roll
be designed with a snug or semifitted bodice and back from the front hem.
plain sleeve. However, this width calls for flare or
width at hem of skirt to balance the figure. Long
hairdos, heavy coats, and large hats are of course General Procedure
in the way. Wide-brimmed hats for summery
In all collar designing there are certain steps
styles do better if they do not droop all around,
that save much time if followed. First, establish
probably with an uptilt on one side as seen in
the desired neckline before drawing the elevation.
eighteenth century portraits of ladies with fichus.
Second, roughly sketch the shape of the collar in
Almost any type of collar can be modified to
the elevation. Third, develop the roll of the collar
suit the shape of one's face, and almost any type
until it sets just right. Then, work on the final
can be adjusted to more becoming necklines. In
silhouette and, last, develop details after the
general avoid monotonous equal space divisions.
major shape and roll are approved.
The principle of emphasis is a most important
guide-repeating a shape emphasizes, but too
much contrast calls attention to the shape. For BANDS
example, a quite round face appears rounder in a
A strip of cloth cut an even width and doubled
very round collar, but a very pointed or squarish
stands up in a pleasing, casual manner when sewed
collar also accents the roundness because of the
to the shaped neckline (Fig. 125 ) . In transparent
great contrast in shape; a medium oval would be
fabrics it is best applied like a binding but stands
less conspicuous. Very thin, long (skinny or
up better if applied with a facing. It gives the
bony) necks need softness or some roll to the
effect of a flange. The strip may be a continuous
collar and not too low a neckline, but if swathed
circumference with seams matching the shoulder,
in folds or scarves or very high collars the thinness
or ends may be lapped over in crisscross fashion,
is accented by contrast. A mannish square-cut high
buttoned or tied; narrowed to end in points, or
collar only accents neck length. A long graceful
buttoned to close. Draping on the form may
beautiful neck is an asset and why shouldn't it
suggest easing in or stretching at certain places
show? After all, the neck holds up the head and
for certain effects. Easing will make it flare more,
as a mere functional area should not be concealed.
stretching will make it hug the neck or cup iu.
The doubled bias fold may be shaped on the iron-
Collar Types and Names
ing board.*
Collars may be described either according to
their silhouette or according to the position • Erwin, ~label D., Clothing for Moderns (New York:
around the neckline. The fit or set at the neck The :\facmillan Company. 19-+9) , p. 480.
100 Practical Dress Design

rtl~~~M~~
~fn ·~~
~
Fig. 125. Bands for collars. Experiment with draping end tying ends.

The band stands up better if the heavier line may be broken at the sides or at the opening
threads, usually the warp, lie across the strip. If and cut somewhat less high to make it m ore
cut so that the lengthwise is parallel with the becoming for anyone. It needs to be designed
folds, the folds crush flatter. It drapes nicely into so that it does not poke out at the top and not
folds if cut on the true bias but is not so launder- be so snug that it is tight (Fig. 126) . First, estab-
able. Jersey (because it is knit) and bias bands are lish a becoming, slightly lower comfortable neck-
usually used in making turtle necks. Strips (double line. Cut a strip of paper half as long as the meas-
or hemmed) in varying widths may be pleated or ured neckline and as wide as the collar is to be-
shirred into ruffles or ruchings. %"-1Y2" high. Make slashes about an inch apart
Try the turtle collar cut 4" wide to finish 3", from the top down to the neckline edge, A. Lap
folded lY2" h igh. A l 5Y2"1ength allows Y2" seams slashes slightly until the top measures what your
at ends for a 14" neckline. Stretch slightly on the neck measures at the height decided upon, B. The
model and adjust length. Close ends. D o not press neckline curve of the collar band is convex-just
fold. Apply with facing or flat ribbon to avoid the opposite of the concave curve of the blouse
ridge on neckline, or pink and tack loosely. neckline.
This pattern sh ould be cut in firm muslin and
Mandarin Collar-Standing Band
be fitted on the blouse on the model. The over-
The narrow standing Ch inese type of collar is laps in the pattern should be greater where the
slightly military in effect and requires good pos- neck itself slopes the most, which varies with the
ture. ~ile best for a slender neck, the severe individual. It should not be fitted uncomfortably

Fig. 126. Mandarin co1ler-stending band.

 Coliars 101

Fig. I 27. Convertible collars-three types.

close. After the basic pattern is approved, the cases is not objectionable. Also, see A (Fig. 130) .
shape of the closing and other details may be The strip is cut as wide as the collar and in length
worked out, C. to fit the neckline usuallv from CF around to CF.
F laps and tabs may be inserted in the seams, If a seam is not desired ~t the edge, the strip may
or the upper edge of the pattern may be extended be cut with the outer edge on a fold.
in points or wings. Firm material, sometimes inter- The second type, B, is made to hug the back
faced, gives best results. If this collar is not ap- of the neck. For half of the collar pattern draw
plied with a facing (because it would be too warm a rectangle half the length of the neckline (meas-
or too bulky ), when finishing the lining or fac- ured with a plastic ruler or stiff tape from CF to
ing to the seam by hand on the inside, turn just CB) and about t\,·ice as wide as you want the
a little more under so that the lining is actually collar to be. The silhouette or outer edge of the
narrower than the outside; thus, it will not show collar may be modified later. Add to the stand at
at the upper edge and it will serve to make the the back of the neck about 1/z" (the depth of the
collar stay standing up. back neck curve on your sloper). Gradually slope
this off in a convex curve to the original line at CF.
Measure length of curve and shorten collar at CF
The Convertible Collar
to restore correct neckline length. While this type
The American style shirtwaist came into being and the Mandarin collar both are convex in shape,
at the turn of the century with the advent of note that the outer edge of the Mandarin is also
women into business. The mJnnish shirt collar is cun·ed, ,,·hile in this collar the outer edge is
still the finish for the sport style shirt. But a more straight and may be cut on a fold . H o,,·e,·er, it
comfortable style is the convertible collar which may be modified in shape at the outer edge and
is simply a band around the neck of a blouse open- have to be lined or faced. Last add points or
ing at the front. With the blouse worn open, the curves to pattern at CF, and change silhouette in
front folds back to make lapels and the collar width and shape if desired. Cut in muslin and
ending on the center front gives a notched effect. check becomingness, set, and co\'erage of back
The front facing must be attached in such a neckline seam. The front results in a notched
manner that the neckline appears finished when effect where it joins the lapel or hem at CF.
worn either up or down. The third type, C, is cut to be lower in the
Three types of convertible collar patterns are back. It does not peak out at CB as much as the
made. The first type, A (Fig. 127), is a straight straight rectangle, A, and is cooler. It does not fit
band easier for beginners to attach and launder, up as well under a jacket as does type B. Begin
hence frequently used on sport blouses, pajamas, with a rectangle as in :\ and B, but hollow out
and children's garments. It is a go()d type to use CB Yz"-1" in a gradual cur,·e back to CF. Correct
for stripes and plaids. At the back of the neck it the length of the neckline, then the outer edge.
pokes out in a slighr peak, which in the above In this type the neckline cun·e is concave- very
102 Practical Dress Design

Fig. 128. Standard methods for aHaching convertible collars.

similar to a slightly rolled collar. See Fig. 143. pressed open on the garment; top collar sewed to
Depending on the fabric texture there are five facings with circumference similarly prepared, D.
or six methods of attaching the convertible col- Then, D and C put together, E, to stitch the sil-
lar.* A simple dressmaker method A (Fig. 128), houette seam, last. This detailed procedure in·
is suitable for washable fabrics. Another method, volving interfacings is required for heavier ma-
B, is only suitable if the under finish will not terials and generally used in tailoring.
show. It is not considered very professional be-
cause it is difficult to keep CF line perfectly con- Shirt Band
tinuous. Pins illustrate the need for keeping the
T he mannish sh irt collar is made in two parts-
collar edge in line with the garment edge. In both
the band, which is the stand, A, and the over-
methods, previous stay-stitching on the neckline
fold, B, or collar proper (Fig. 129) . T he stand
of the garment is necessary. T ype A convertible
is made by using type B convertible collar. C ut
collar being cut straight would need no stay-stitch,
the convertible collar along the fold line leaving
whereas types B and C would both need stay-
the stand Ys"-Y<I" narrower than the overfold of
stitching and also clipping of all curved seams be-
the collar. Taper off the top of the stand at CF
fore sewing together.
and add this amount to raise the neckline of the
C shows the tailored method- circumference
collar at CF, B. Add an extension at CF of stand
seams stay-stitched and joined, clipped, and
to provide room for button and buttonhole and
* Erwin, Mabel D., Clothing for Moderns (New York: match hem on front of shirt. T he silhouette may
The Macmillan Company, 1949), p. 375. be modified.

"' ... _---

\
\

\[_,.
<~c--+_
A_:==J>
c1s B
I
¢0-- ---¢0
I A
I

Fig. 129. Shirt collar band.

 Collars 103
The Fichu It would be possible to develop the fichu by
cutting a cape collar with a circular edge which
A fichu (Fig. 130) is only one step from a band would have to be faced, hemmed, or lined. T he
tied around the neck (Fig. 125 ) . So much de- cape collar could have the neckline slashed and
pends on the texture that you should drape some spread for decorative darts until the silhouette
of your cloth on shoulders and neck to get an idea became straight. Either method gets similar re-
of how long and how wide to make it, whether sults, but using the method illustrated, Figure 130,
to cut it bias, or to make it double, or how to end develops naturally with your fabric.
it-in a point like the end of a shawl collar, in a
group of pleats, in a lap, or in a tie.
Flared Standing Collar
It may be made from a triangle, A, hollowed
out or from a strip, B. The Elizabethan (the Betsey or de Medici )
To begin, have the neckline trimmed to a be- standing collar is cut in the same manner as a
coming lowness. Cut a strip of paper 6"-8" wide fichu. A low neckline is best. Many darts across
and half as long as you want the draped fold to be the back and around the sh oulder seam enable
( 36"-48") as in type A, convertible collar. Near one to cut the collar from a piece of lace about
the shoulder where the neckline curves or at 5" or 6" wide without disturbing its scalloped
corners of a squarish neckline, put in three or edge. Begin near CB and dart the strip until it
more darts on the neck edge, each about l" by 3" fits the neck, C (Fig. 130). At the end, pleat the
wide until the strip fits the neckline of the blouse. cut end or miter the corner to preserve the scal-
The darts have changed the straight strip to the loped edge. A pattern may be made in paper like
shape of a type C convertible collar-with the this so that fabric can be cut in one semicircular
outer edge straight. You may hollow out CB neck piece with applied edge finish.
edge a little more to reduce the stand, still type C, To secure a more modified effect-a sort of
or buildup the neck edge as in type B. Thus, the petal roll or Juliet style-begin with type C con-
silhouette is kept on a straight line so it can be vertible collar band that fits the chosen neckline,
cut on a fold there or of embroidered edging, D. After fitting slash the outer edge at intervals
bordered fabric, or ribbon. around the back and shoulders and spread slightly

......,,~--..;-
,, ,, ,,,,
- -";",-,,
,, " ,,
• ' ' f CF
cs

c
Fig. 130. Fic:hu, A and B. Elizabethan-flared st<~ nd in g c:ollar, C or D.
104 Practical Dress Design
until the silhouette becomes more convex. TI1is Rows of stitching in the stand help control the
band 3" or 4" wide is a subdued version of the roll or flare of a collar; they may be decorative
Elizabethan collar and attached, to a square, in design. A stand cut separately from the collar
sweetheart, or bateau neckline, gives quite an un- as in a man's shirt is one of the best ways to keep
usual effect. The silhouette can be modified or a collar up; the stand may be stiffened more than
increased (dotted line) . the collar. A tie around the collar band may serve
Both collars are dramatic and should be made up as a stand-stiff grosgrain ribbon, a self-made
in handsome material. TI1ey belong on wedding pique half-inch wide tie, or a six-inch black taffeta
gowns or frocks for concert appearances; as a rule bow.
they are too "arty," affected, theatrical, or overly Further stiffening is achieved by an interfacing
picturesque for general wear. In E, we have a of self fabric, lightweight hair canvas, nurses
separate stand used to support a flared or semi- "linen" or pennanent finish organdy, depending
circular piece. on the collar fabric. It should be preshrunk and
cut to match the facing (lapel, collar, pocket,
Reversed Roll Collar peplum, or belt). It should be stitched to the
wrong side of the under collar or facing about
On heavy winter coats and luxurious evenmg
~, back of the seam line-by machine if it won't
wraps, large collars of cloth or fur are used in
show or by small catch stitches that won't sh ow
which the outer edge (as well as the neckline
on the right side; then trimmed off l j l6"-Ys"
from the seam. The result is a professional look-
ing collar that h olds its shape and does not
wrinkle or crease in dry cleaning or washing, yet
c c is not bull-}' at the seam edge.
Collars cut with darts around the back (Eliza-
bethan) are stiffened by the darts themselves
(wire may be inserted or sewed to darts). Most
important is to apply the collar with a facing
Fig. 13 1. Reversed roll collar. wherever possible so the collar neckline seam
turns down on the blouse, not up into the collar
of the collar) is darted to make it stay up on the as it would if applied like a band.
shoulders. Begin with a straight strip or con-
vertible collar type A, B, or C (Fig. 131 ) . Have THE FLAT COLLAR PATTERN
the strip long enough to frame the face. First,
dart to fit the neckline as in a fich u. Then dart TI1e flat collar may be only an inch or two wide,
the outer edge almost as much. Such a collar or as wide as the sh oulder or wider like a cape
may be built on a separate stand, like the shirt but the method of making the patterns is the
collar band, to reduce bulk next to the neck. It same (Fig. 132) . The first step is to establish a
may also be made separate from the coat, then becoming neckline shape on the blouse often at
tacked on. the first fitting of a dress or blouse. For a regular
high neck, as a rule, we hollow the sloper neck-
line Y2 lower in front to give a little room for
11

Collars That Stay Standing

the collar, but we do not cut away the neckline
\mlile the cut is important, tailoring or dress- across the back or at shoulder seam, A (dotted
making controls the final effect of a stand-up line). Make a copy of the neckline by placing
collar. the front and back blouse patterns together at the
The fabric especially when doubled may be stiff shoulder seam, A. Mark the sh oulder seam, CF
enough in itself such as taffeta, organdy, poult- and CB, and sketch in a rough shape of the sil-
de-soie, barathea, or faille. Several rows of ma- houette. This procedure results in a one-piece
chine stitching on the edge of narrow linen or shaped facing as a basis for the collar. But it is
pique collars are often sufficient. Starching, wir- still a facing not a collar-in this state it would
ing, and featherboning have been used for cen- be like a flat pancake, rolling up at the edge a
turies and are still used in this mid-twentieth cen- little and exposing the seam at the neckline.
tury. Decorative cording, quilting, pleating, and \Ve need to be able to slightly stretch the
padding are used at times. collar on the dress so it will roll enough to con-
 Coliars 105

c
8 -" ~
A
\
\
\ 0
CB \
,}

I
I
I

\ ''

\ ' ' ...

'

~ I \

--------~
Fig. 132. Steps in making a flat collar pattern.

ceal the seam. A standard method removes %" each corner of the collar, or if the collar is cut in
from CF of the facing shape and adds Yz" to several sections, B (Fig. 133 ) .
CB, B. In this way on a half pattern the collar Don't forget to giYe special attention to the
is cut -!4" smaller than the half neckline it is to shape of the collar across the back of the neck, C
fit so that stretching of the collar is required. (Fig. 133) .
More important still is the fact that the neckline
curve of the collar has been sh ifted and thus the Plastron and Gilet
pitch or set at back of neck is improved.
The plastron is a flat collar cut like a facing
T he last step is to refine the silhouette, C and
and worn loose on top of the dress. The name
D. Simple direct curves in harmony with the
signifies the intention of giving a plastered-on or
face, the neck shape or other style features of the
flat effect. It may be cut as a one-piece facing like
dress are required. As a rule the collar appears
a collar or in two pieces with sh oulder seams (Fig.
better cut at an angle away from CF neck, C.
13-f) . There is less danger of the dress slipping
The ends of the collar should meet at CF, unless
out and shO\\·ing at the neck edge if the collar-
some design feature like a panel, tab, or band is
less plastron is cut 01" higher at the neckline or
there; or the ends of the collar should be far
the dress cut slightly lo,,·er. !\. :\ s the plastron is
enough away from CF that it plainly shows it was
a decorati,·e feature, unusual shapes are desirable.
intentional in designing not an accident in sewing.
Because it mav be entireh- remoYable, it is Yalu-
On square or similar shaped necklines, the col-
able in making quick and. complete changes in a
lar may look better and apply easier if a seam is
basic dress. It is held in place by buttons, clips.
made in each corner of the collar.
tabs, ties, or ornamental pins.
An extra firm edge or a broken line on the sil-
A gilet is similar to a plastron. usually a bib
houette of a flat collar helps to prevent the edge
effect or vestee, F . It is cut like a yoke \\ith a col-
from rippling. A flat collar is used when designing
lar attached. It is frequently worn like a vest in
two or three layers. In some cases a shaped facing
place of a blouse under a jacket.
applied to the right side of the garment is a better
choice than a flat collar (first sketch, A, Fig. 13 3).
Cape C olla rs
Sometimes part of the pattern is finished and ap-
plied like a collar and the rest like a facing (last The cape collar is simply an extra wide collar
sketch, A). which hangs \\·ell dO\\·n below the shoulders (Fig.
On square or similar shaped necklines, the col- 134) . It is unsuited for children's play clothes as
lar may look better if a mitered seam is made in it interferes with their activity. \ Voile it is con-
106 COLLAR SILHOUETTES

<>
<>

5 6 \
A. Flat Collars

B. Collars on Squared Necklines

~: ~ . \h4A ,6
13
12 ~ C. Collar Bocks
1~
~ ·. 1 \ \ . '0

\ ~1 ) \ · , ') \ 23 )

\ 24 ) \ 25 \ 26 27 \ 28 ) \

~
't ) ~~ 3;1 ~1" I : )
\ 30 31 \ 32 ) \
D. Rolled Collars
341 . 35 \ 36

Fig. 133. Silhouette is created both by the depth of roll and by the shape of the free edge.
 Collars 107

w D

I CB
I
I
I
I
I
I
G I
CB I

I
I
CF I
I
,... - - - .J
I
--- -- -'

Fig. 134. A-E, plastrons; F, gilet ; G and H, cape collars.

sidered youth ful and flattering it should genera1ly the blouse or the flat collar. Reviewing the flat col-
be avoided by th e middle-aged woman or she will lar (Fig. 132 ), begin with blouse neckline satis-
appear elderly. A cape is better if the lower edge factory in shape. Make a copy by joining blouse
misses the bust line and hangs longer in the front and back at shoulder seam. Remove %" at
back. A narrow rolled co1lar or a flat bow at the CF and add Y2" at CB to make it smaller and
back of the neck is a good filler above round change the pitch. Sketch in a temporary sil-
shoulders. The cape itself bridges the hollow of h ouette.
a sway back. It may serve as a substitute for short To create the roll (Fig. 135), from outer edge
sleeves. slash to but not through the neckline, A. Slashes
The cape collar is cut like a flat co1lar, G. Have sh ould be directed at right angles to the neck-
neckline approved, then place front and back line beginning about 2" from CB, B. Have more
blouse patterns together at the shoulder, remove slashes near sh oulder seam where curve is greatest.
%" at CF and add Y2" to CB to reduce neckline Lap more at back and sides than in front where
length Y2" over-all. Sketch in silhouette by extend- collar flattens down as a rule, B. If CF of collar
ing edge shape beyond shoulder seam. is to be buttoned together or have tie under-
To give a rippled effect, slash where flare is de- neath to keep the roll high, then slash and lap
sired from free edge to but not through neck. The here also. Too few slashes result in a crooked
spreads may be sufficient to bring CB and CF on neckline.
a straight line so both can be on the grain. A seam How much shall we lap? It is possible to lap
over the sh oulder line will .aid in fitting a curve so much that the result is a straight neckline
over the sleeve cap or adding to the silhouette, like convertible collar type A. A moderate lapping
and in addition enables one to cut CF as well as results in a shape similar to type C, a moderate
CB on the grain. It is possible to cut a complete concave curve at neckline-not as concaYe as the
circle as in H, with sh oulder seams converted blouse or facing neckline. Several trials should be
into a dart. made in paper and in muslin to secure various
degrees of roll. It is clear that the more nearly
the collar neckline approaches a straight line, the
THE ROLLED COLLAR PATIERN
more it rolls; and the more nearly the collar neck-
A rolled collar is developed from a flat collar line cun·es to fit the cun·e of the garment neck-
pattern by slashing and lapping the outer edge line, the flatter it is.
to produce a straighter neckline, less concave than The stand or depth of roll has consumed part
108 Practical Dress Design
r----
1 --
1
CB

f CB
''
'
'
"'
Flat Collar '
-+- - - -

Rolled Collar

\ I
A B c
Fig. 135. Steps in making a rolled collar pattern. A, flat collar marked for slashing. B, slashes lapped t o straighten neckline.
C , silhouette widened to replace width t aken up by stand .

or much of the collar width. If the stand is about stands up in back, and ripples in front giving the
1" high the collar needs about 2" or more added effect of a jabot. In this case the slashes are lapped
to the original width of the silhouette-about l" at the back and spread apart in front, D.
up and l " d own. Hence, one's first sketch should
allow for the stan d, or one should wait until the Jabot
roll or set about the neck is approved before care- A jabot may be m erely an accessory like a tie
fully sketching in the silhouette. for a collar or be cut in one with the collar (Fig.
137) . It is merely a variation of the rippled collar
THE RIPPLED COLLAR PATIERN or circular flo unce.
Rippled effects are used to secure a feminine, On the blouse elevation draw in the silhouette
dainty softness about the neck and face. Short of the jabot and a few lines to indicate the direc-
tucks and darts at intervals of half an inch part tion in which the folds lie, A. M ake a copy of
of the way across a band of embroidery or the shape; slash from free edge to but not through
h emmed strip of fabric release a frill at the edge. opposite side and spread two or three times the
Tucks will make the collar roll very decidedly width of each fold you wan t, B. Smooth the sil-
like type A about the neck but darts shape the houette line. It may be necessary to plan seams
strip into a semicircle which makes a flatter collar. which will come under a fold-plan the fold to
Godets, gores, and pleats may also be inserted to fall on bias and seams on th e straight under a
give a rippled effect. fold, or along the shoulder, or along som e other
A rippled collar is simply a circular frill or ruffle structural line.
cut to fit the neckline. It is designed exactly as Cowl Collar
we design a circular skirt. Begin with a shaped
facing and con vert it into a flat collar (Fig. 132). A cowl collar, like a cowl yoke, is made by
T o make the ripples, slash from the outer edge slashing any collar pattern on the h orizontal lines
toward the neckline, A (Fig. 136) . Spread the where you want the folds to be. Spread to make
slashes apart, wherever ripples or flares are desired, deep folds. Really a cowl collar is like a fich u
B. In a rolled collar we lap the slashes, here we turned around. It might need a lining like th e
spread . In the rippled collar, the more circular original pattern (before slashing) to keep folds
the neckline, the more flare in the final effect. intact.
If rippling is very extensive, the pattern can-
Halter Neck
not be cut from one piece of cloth. Seams should
be made to come in inconspicuous places, or to The halter neck may be a fiat or rolled collar
coincide with structural seams or lines in the across the back attached to blouse front at sh oul-
blouse such as the shoulder, C . (See Fig. 134, G der seam similar in appearance and m ethod of
and H. ) making to the collar and lapel cut in one (Fig.
Sometimes we h ave a collar which rolls or 138) .
 Co11ars 109
A ---- " -.
I

Fig. 136. Ripples in collar patterns.

Shawl Collar If the outer edge is of irregular shape, the shawl

collar would be cut like any rolled collar and
The shawl collar may be developed in three
applied with a facing, B.
ways (Fig. 139). If it is narr?w it rna~ b~ made of
The best method is to cut the shawl collar as
a bias strip folded lengthwise, A. Pm It around
the notch ed or tailored collar cut in one with th e
the neckline easing it at corners or deep curves
lapel, C. Part of the basic blouse dart is often
(shoulder seams) and stretching slightly where
thrown crosswise into CF to provide length from
you \\Cint it fiat (across the bosom or CB ) . G~du­
break to CB of the shawl collar so that it will
ally narrow the strip as you reach the opcm~g.
not rub the side of the neck. In cutting a deep
Since texture affects the stretch and roll of b1as,
V n eck. a great deal of this basic horizontal dart
this collar should be developed by draping fabric
disappears.
rather than drawing on paper. This type of shawl
The Tuxedo collar is cut in the same manner
collar i~ essentially a variation of type B con-
as the shawl collar, but is longer and hangs straight
vertible collar.

Fig. 137. J abots and frills.

 110 Practical Dress Design

Fig. 138. Halter neckline.

to lower edge of garment, D. TI1e opening of the (we will discard left side) and trace the lapel in
garment does not overlap but hangs free and the reverse. With lapel opened out, cut on front clos-
col1ar may be as wide at the bottom as at the top. ing line and silhouette edge of lapel, then re-
mainder of block, B.
COLLAR BAND ATTACHED TO LAPEL
On the fold line of lapel slit from top to but
Begin with large sheet of paper; draw on it the not through lowered end at beginning break.
blouse front elevation with CF, buttons, edge line Spread at the top the height of the stand 1"-2", C.
of closing, neckline V, break or roll line for lapel F asten to a piece of paper.
and shape of lapel, A (Fig. 141 ). Fold paper back Cut a band for back of neck half the exact meas-
on neckline (now the roll line) of right front ured length of back neckline and as high as stand

B
,

c
c

c
- ----.,
/
, ..- I

/
/
,;
,;
,;
,;
,;
I
B

Fig. 139. Shawl collars. A, folded bias strip shaped like type B convertible. B, standard rolled collar. C, lapel and collar cut
•s one. D, Tuxedo collar with ruffie.
 LAPELS AND COLLARS CUT TOGETHER 111

Fig. 140. C ollars cut in one with blouse o r jacket front.

 ''
''
''
'' ' ,, _J
I I
_j ---+
I I
I I

\
\
\
\
\
\
\
\
I
\
I
I
I

-- "~
I
I
I \
I \
' .... , I
I
\
\
I I \
\ I \
\ \
I
I \
\ \

I I
I I I
CF I I
I
--4 1-t
I I I
I
I I
I

Fig. 141. Steps in d eveloping collar eut in one with lapels.

112
 Collars 113
- 1" in this case, D. It may be straight type A snug or rolls too high, slash from silhouette to
convertible collar pattern or shaped like type B, neckline of collar and spread slightly. In correct-
i.e., Y2" deeper at CB. Arrange shoulder end of ing pattern you will find tl1e angle x is reduced
collar to fit the stand (provided in the slit) on and the collar neckline more curved. If, on the
an extension of the front shoulder seam, E. Tilt- otl1er hand, the roll line sticks out in a peak, pin
ing slightly so that the angle x is less than 90 de- in a dart; or in tl1e pattern reduce space at y.
grees prevents the band from peaking out at the It is obvious that this collar fits better if nar-
back and gives more ease around neck at point y. row in the back and especially at shoulder seam .
The higher tl1e band, the higher the break line; Note in last one in top row, Figure 1-+0, how the
the more the blouse laps (as double breasted ) tl1e wider collar crushes or wrinkles.
less angle x should be. On this band 1,-4" is suffi- Another way to improve this collar pattern is
cient spread. to take a narrow reversed dart under the lapel
With a generous seam at CB some fitting there from upper end of break line down in a curve
is helpful to suit texture and set of neck. This that removes the difference between the stand-
pattern should be cut in firm muslin and fitted. If ard neck curve and the straight break line you
it is too snug at the top against the neck spread y drew in A, (note shaded portion) thus resulting
sligh tly more. Correcting the pattern will make x in a softer curved V break line. It reduces the
less of a right angle. tendency for the break line to rub the neck and
Cut a facing, dotted line, E, to extend ZY2" gives a wider openness at chest.
along shoulder and wide enough to cover button- To make these collars more comfortable many
holes, with grain matching blouse, F. summer suits have tl1e basic neckline hollowed
out especially at shoulder seam before starting the
Rolled Collar Attached to Lapel
collar pattern making. For thick fabrics, as coat-
Tbe procedure in making a rolled collar cut in ings, swing some of the basic dart into CF to
one with a lapel is similar to making a band cut release the pull caused by collar back, as in J.
in one with the lapel A to F (Fig. HI ) . Make Finally, refine the silhouette and cut a facing, I.
the elevation and fold lapel as you want it. Slit
Notched Collar
the fold line and spread at shoulder twice the
amount of stand, as 2" for a 1" stand at shoulder T he notched collar pattern is developed from
-a little less than the amount at CB, (in order to the rolled collar with lapel attached, H (Fig. 141).
make the stand or roll gradual from CB to end Steps from the beginning A to H, include making
of break at CF). the elevation with careful shaping of lapel in
Cut collar pattern like convertible type A or relation to CF and buttons, the notch, the shape
B (or C if you want a flatter, cool summer collar), of the front end of collar to harmonize with the
but wide enough to provide two sections-the lapel, and most important the seam line from
stand and the overfold, G. The oYerfold should be end of V in notch. This seam line may follow
a little wider than the neckline of stand since it the original curve of neck in foundation pattern,
rests over it, and a little longer. The result is or it may be dra\,·n lo\,·er or straighter. Slit and
a slight curve at CB. spread the fold line of lapel 1W' and ottach
In attaching collar pattern to lapel have stand collar as in H . Cut out and fold lapel as it will
of collar match stand of lapel, spreading apart finally be worn, J. If fabric is hea\·y or the lap
slightly at y as in E, only more so. The longer very wide, swing some of the basic dart into C F
the fold line, the high er the stand, the wider the to release the pull caused by collar back
collar, and the more the blouse laps at front the On this new shape refine design lines, then
more pull there is at this point. Since there are draw a line from end of notch to intersection of
these factors involved you will need to try JA", neckline and shoulder seam. Place notch mark on
Y2", or 1" spread; you can judge the result par- collar where it meets shoulder seam and notch
tially in the paper pattern by trying it on tl1e form mark on lapel \\·here collar begins. Cut apart on
or yourself. seam line.
Then make the blouse up in muslin, basting Cut in muslin and fit for style. There are many
(not pinning) the seams, clipping inside curves ways of tailoring the notched collar (Fig. 128) .
and corners to the seam line. If the collar is too Briefly. for basting the muslin: cut two collar
 114 Practical Dress Design
pieces on the bias for use as under collar (cut
Silhouette of the Collar
-two pieces for top collar bias, or straight if for
lightweight cotton or silk); cut facings for lapels After the collar pattern has been developed to
in good materials; stay-stitch in good materials; the stage where it sets or rolls properly about the
clip inside corners and curves; seam CB of col- neck, center your attention on the outer edge of
lars; sew under collar to blouse right sides matched the collar. You will have observed by this time
along back as far as the notch mark. Have fitting. that wherever the collar rolls, width must be
When approved join over-collar to lapel facings; added to allow for the stand or depth of the roll.
then right sides to right sides, stitch entire sil- After sketching in the shape, cut the collar in trial
houette seam, trim, turn, and work edges before material and pin on the blouse or model.
pressing. If the collar does not roll or stand high enough,
There are countless variations in lap of gar- if it does not hug the body at its outer edge, or if
ment, depth of neckline, height of stand, sil- it tends to ripple, pin in a few darts at the outer
houette of collar lapel and notch (Fig. 140). A edge. If it rolls too much or stands too high, slash
muslin pattern is essential for a well-tailored re- from the outer edge and spread to allow it to flat-
sult. Except in rippled collars, the outer edge of ten out some. Then begin work on the silhouette.
all collars should be snug against the garment. To work with a whole collar pattern is better

I
I
&IF
I
I
I

Fig. 1-42. Cuff patterns.

 Collars 11 5
than half a pattern in determining proportions, nate to the neck or the collar by use of cuffs
widths, and decorative features, and is necessary simpler or smaller in shape; or the cuffs wide and
in developing asymmetrical collar designs. accented with a simple collar or collarless neck;
Determining the silhouette is by far the most or cuffs omitted entirely, A (Fig. 142) . The fol-
important step in collar designing and can rarely lowing require no special directions or have been
be carried out satisfactorily by working with ma- previously illustrated: hem (Fig. 6 ); facing (Fig.
terials flat on the table. Use crayon or scissors to 101); turned back fold (Fig. 98); shaped section
obtain new lines by working on the model. Cut of the lower sleeve (Fig. 109).
a little at a time. If too much has been cut off, pin A turn-back cuff, B (Fig. 142), may be de-
on a new piece until the most becoming size and veloped like a collar. It should open on a placket
shape have been obtained. Reread page 99. line or the little finger line rather than at the
After good lines have been secured in the sil- seam . Make a copy of the lower part of the sleeve
houette of the collar pattern, details may be de- with elevation in the shape desired-usually nar-
veloped like slits, points, scallops. T here is a rower but in harmony with the shape of the col-
fundamental rule in art for us to follow-be sure lar. Close the lengthwise seam and open the cuff
of good structural design before adding decorative on top of the arm where desired near the little
details, and if added, they should enhance not finger line, C. To roll slightly, slash and spread
detract. from the top to the lower seam line, D. Correct
the silhouette. The grain line may be on the top
CUFFS
of the arm to match the sleeve or at the under-
The lower edge finish of a sleeve needs careful arm seam. Make up in muslin to fit on the sleeve
planning to make it complement but be subordi- and the arm.

----Type A - - - - Type A convertible, greatest roll

................... Type B
- · - · - · - Type C
- - ------- Reverse roll

A
j - - - T y p e C convertible, much roll
-.. - ... - ... - Medium roll
- · ----- l ess than medium roll
----------------- little roll
........ ........ l east roll
'' '' ------- --- Flat
,/ '' ............................ Ripple
, ''
Blouse Patte rn , /,' \
-----
CB

CB Blouse Patte rn

-,
··.,
CB
··.,
'' ...--···\,
·----~:·· ........,.,\\. . ..Y
''·\ ":,--':
~ 1'
\

..:, \. :; .
,. I.
l _ _d : 1
;;·--;·- ·--··
.......···
·'
/:
..t;
,I,'.
r···· .'//... j
i
I I.
! I
1 ,'
'

l ' ••
I•
1 ,'

' ...""··
' •. .I :
L._. . . /·
Fig. 143. Summary of principles in coll ar designing.
116 Practical Dress Design
For a falling cuff, E, copy the lower sleeve line 6. A straight strip makes a very decided roll
and extend downward to the desired shape; slash collar.
and spread. 7. The more a co11ar rolls the straighter its
Either D or E may be treated as a basic pattern neckline is.
with countless variations in silhouette. 8. The most extreme rolled collar is cut as a
convex curve or reversed from the shape of the
neck of the garment-type B and Mandarin.
SUMMARY
9. Darts or lapped slashes at the outer edge of
I. Begin with a becoming, accurately corrected a collar pattern cause it to roll more.
copy of neckline, with all darts removed. Rarely I0. Slashes spread apart cause a collar to lie
use the uncorrected block pattern. flatter or ripple.
2. The exact copy produces a facing. II. A rippled collar has a neckline more con-
3. Most collars are cut smaller at neck edge cave than the neckline of the garment.
than neck edge of garment, so that neck seam will 12. A lapel and (convertible) collar cut as one
be concealed. (Decrease Y-4" on half pattern.) may be modified by the same methods and prin-
4. The flatter the collar, the more closely the ciples.
neckline curve of the collar must follow the shape 13. Cuffs may be cut to ripple or roll like a
of the neck, which is a decided concave curve collar. Generally they should be different in size
(Fig. 143) . and in amount of detail.
5. The stand is the height of the roll or the 14. To take advantage of the finished edge of
distance a collar stands erect in the back up on a straight strip, like ribbon, lace, or a plaid, for the
the neck, measured from normal neckline up to- silhouette of a collar we can develop such pat-
ward the hairline. A convertible collar, type B, terns as Mandarin, convertible, shawl, band,
represents the greatest amount of stand possible Tuxedo, reversed, cowl, crossed bands, halters,
- a straight strip cut twice as wide as the stand. bretelle, ties, drapes, vests, square necks, and
The neckline of the flat collar has no stand. bateau or Vionnet necklines.
 Chapter 13
SKIRTS

The silhouette of the entire costume is because her overslim figure is accented and be-
largely determined by the cut of the skirt. Of cause it usually results in a mincing gait due to
course sleeve and blouse lines contribute their legs long in proportion to the width of skirt. T he
share, and the texture of the fabric provides as- large-hipped person is likely to appear barrel-
sistance to the cut of the pattern in obtaining the shaped in a straight skirt-a modest flare at the
silhouette. Obviously soft bulky fabrics like velvet hemline is better to balance h er hips. A pencil-
require folds rather than tailored straight edges; slim skirt demands a girdle and good posture.
crisp, flat taffeta requires a design that ripples or The girl with a prominent abdomen, derriere or
folds voluminously not one that is pleated flat or sway-back needs more softness to conceal these
worked into straight wrap-around styles; firm crisp features, but not bulkiness. A prominent hipbone
linen responds to straight, neat tailored lines, is concealed by peg-top darts or pockets or gathers.
pleats rather than gathers or draped folds; stiff Thick thigh s require moderate flare in the skirt
bull]' woolens, poodle cloth, or felt require few such as four gores or six gores without the bulk of
seams, no top stitching and some gores to avoid pleats and gathers at the belt line.
waistline bulk-with not too much flare in the Slimming lines are obtained by vertical stitch-
thicker fabrics; soft satins, velvets, and prints lose ing, bands, tucks, pleats, or flanges at CF or just
their effectiveness if interpreted in too many inside the silhouette, by narrow belts and slanting
seams; soft, lightweight, or sheer fabrics like ,·oile, pockets.
batiste, and flat crepe lack texture so need fold To a\·oid hip emphasis, plan a placket at CF or
lines that hang straight and plenty of fullness to CB rather than at hip. Full hips are often camou-
avoid a skimpy look; stiff fabrics like moire and flaged by circularity in the skirt or a peplum. An
damask look best in straight but full bouffant optical illusion "·hich ,,·idens t11e " ·aist and re-
skirts; bias cuts fade out into skimpy, flim sy lines duces the hips is obtained by diagonal yoke lines
if developed in soft crep es or cottons but do well spreading away from CF at the waistline and to-
in firm, stiff-bodied fabrics. A straight suit skirt ward CF at the hipline. A small waist and. there-
requires heavy, firm, not too thick, fabric like a fore, wider hips are accented by diagonal lines
worsted, but a worsted is too wiry and springy to converging at CF waistline but fanning a\\·ay
be used in a straight gathered skirt. from CF at hips.
T he pencil-slim skirt seems the natural com- A straighter and narro,,·er silhouette in gored
plement of a suit jacket, but abbreviated jackets skirts is obtained if the side hip seam is cut on a
like boleros are balanced on many figures by mod- straighter grain than other seams-it is easier t o
erately flared skirts. Slim figures wear the straight obtain a straighter press, it stays in place after
skirt better than do large-hipped, rotund figures. cleaning or laundering and is easier to stitch
However, the skinny, bony-hipped girl should not straight than a bias seam at the silhouette. Addi-
wear the straight skirt fitted too closely, both tional walking room is obtained for the very nar-
117
 ,.
fJ

·:

.\ I

Fig. 144. Skirts vary in silhoueHe with the fashion based on changes in length and width. A-F, details as to darts, pleats, end
flare for walking room. G-L, asymmetric skirt d esigns require more fabric and aHention to details. M-Q, careful space divisions.
118
 Skirts 119
1920'S 1930'S 1940'S 1950'S

CF

CF
CF

Fig. 145. Fashion may change the waistline location at various times, but the natural location is still the most popular, easier
to make and fit.

row straight skirt by the use of kick pleats or slits of blouse is fitted to the top of the skirt and join-
in seams at the h em line, by cut away features as ing indicated by notches. For separate skirts, the
scallops, by flounces and insets of pleats and top of the skirt may be shaped into stylized curves,
godets, by front or back fullness controlled firmly points or semiyoke effects. For a lowered waistline,
by a lining underneath, and by wrap-around fea- whatever is cut off the top of the skirt needs to
tures at front, back, or side, often concealed under be added to the length of blouse.
aprons and floating panels. The longer a narrow
skirt is the more difficult it is to walk or sit Length of the Skirt
either with grace or safety without th ese fea-
T he length of the skirt is somewhat dictated by
tures.
the current mode, as ankle, calf, or knee lengths,
Horizontal space divisions should avoid equal
but variations occur according to the occasion,
width. Gradation of spaces is more satisfactory
purpose or use, the wearer's b uild, age, and shape
( Fig. 144).
of legs. French designers h ave repeatedly held
that mid-calf is more flattering than any length
Changing the Location of the Waistline
above the calf-especially unattractive are lengths
The waistline location should be changed for that reveal the back of the knee. Very sh ort skirts
some figures. The long-waisted girl may look bet- generally look better if full. However, good de-
ter if the waistline is raised, while the sh ort- signers, who use especial care in proportions in
waisted, chunky figure would be improved if the location of waistline, jacket lengths, yokes, and
waistline were lowered, though it becomes a trifle balanced interest from bust to shoulders, may
large in girth. create smart and attractive costumes contrary to
To raise the waistline, as much as two inches such a statement. It is all th e way it is executed!
may be added for a separate skirt; one inch is The pencil-slim skirt appears chopped off if too
more often sufficient. In raising the waistline, the short. Dirndl or peasant skirts, on the other h and,
top of the skirt needs flaring out to fit the in- appear sloppy and lack style if too long, especially
creased girth of the diaphragm-the lower part if not perfectly level or if n ot distended \\·ith
of the French-dart blouse pattern may be used as stiff petticoats. Short skirts cannot be divided into
a guide in drawing or measuring (Fig. 145 ) . so many h orizontal spaces as can longer ones, but
The French Empire style of skirt in a dress the straight narrow sh ort skirt can be impro\·ed by
design may need as much as six inches in raising a dipping or broken hem line, long O\·erskirt al-
the waistline by attaching the lower French most to the hem, a shorter-than-usual peplum,
bodice to the top of the skirt in a semiprincess a dipping peplum, shaped or cun·ed but shallow
effect. Such styles usually accent the slim torso slits, une:..:pected or concentrated bits of flare, or
and skirt by a wide top achieved by drapery, a narrow cuffed hem.
boleros or puffed sleeves. E\'ening dresses always seem more formal if
For dresses, whatever is cut off the lower ed~e floor len~th, but the \'Ogue may call for ankle
120 Practical Dress Design
or 10" waltz length both of which are semiformal fit in sample fabric as in Chapter 2. Make the
and girlish. The full length is better for women length consistent with the present style and your
no longer young. figure.
If your legs are fat avoid too short or skimpy The style most easily used is a two-gored skirt
skirts; if your ankles are bony and feet large by with normal waistline with one vertical waist dart
comparison, avoid too short or skimpy skirts. in front and one in back to keep the crosswise
Distended hip effects (Queen E lizabeth style)
Table Il l
are obtained by increased length of skirt above the
hipline-developed over hip pads (farthingales), WIDTH AT LOWER EDGE OF SKIRTS
wire, or buckram supports. Bustle styles are simi- Street Length, sizes 14-18, stated in yards
lar- the bustle may be of wire, buckram, ruffles, 1939 1953 This Year
or padding for side or back hips-the skirt must
be lengthened above the hipline as for prominent 2-g<>red, pencil I Y4 t o l ¥s IY2
derriere or abdomen. straight for slim
t ailleurs with hip
Trains are created by length at the hem line, darts B and F
usually graduated flare from the side seams. 3-gored (I 8 and 2F} 1% to l'h l'h
'!-gored, no d arts IY2 to I 'l'e 2Y4 to 2¥.1
to 3 ¥.1
Width of Skirt 5-gored (3F and 28} , ilh l'h t o 4
with hip dart
Study fashion books and ready-made garments
6-gored (3F and 38} 1¥!to 2 Ye l o/s to 3
0f similar cut and texture to decide on the width Peasant or dirndl 2 '/s t o 41f2 3¥.1 to 6
of the skirt you are designing. As to texture, we gathered or circula r
make heavier fabrics into narrower skirts; filmy 8- to 16-gored swing 2 Y4 t o 3 3 to 41f2
sheer chiffon, net, tulle into the very full widths; style to 8
medium weights into moderately full widths. Fill Unpressed pleats 2Y4 to 3 1h

in a chart similar to Table III as a basis for begin-

ning a skirt design. WIDTH AT LOWER EDGE OF SKIRTS
Such information gives a beginner a good start- Evening length, sizes 14-18, st ated in yards
ing point. Advanced students and creative design-
1939 1953 This Year
ers after sensing the trend in silhouette would
forget the exact measures and proceed by "feel- Straight silhouette I'!J IY4
ing," because the actual width is based on the (slit hem }
texture of the fabric, the build of the person, th e Siraight with slight 11h t o l 'l'e llf2 to 2
flare near hem
blouse design, and the intended use. Both be- Circular silhouette- 4Ya to 5 4to6
ginners and finished designers are forced to con- firm materials
sider the width of material to be used. Home- Circular silhouette- 6 to 8 plus 6 to 12
makers using remnants or making over gannents nets, chiffons, etc.
often design the pattern to fit the cloth, but in (Slip for circular 3to4
skirt)
so doing th ey must be careful to avoid forfeiting Informal (cott on} 3 t o 4¥.1
2'l's
the style originally planned. It is good training slight fla re
to see what types of skirts you can cut from one 4-gored, lace, 3Ya 3to4
skirt length of 54" material or from two lengths medium flare
of 36" material. After your pattern is placed on 6-gored 3'l'e to 41h
to 5lf2
the cloth, you may find that the circularity and
Gathered straight 2 1h 3 to 5'h
consequent width at the lower edge may be either full
decreased to fit the cloth or increased for added Short Waltz 3 t o 4Y2
"swing" in style. to 6

grain at hip girth almost parallel with the floor

A Good Foundation Skirt Pattern
(Fig. 1) . If these darts and the dart created by
First select a simple pattern nearest in line or the seam down over the h ips are wide enough at
::ut to the present mode. Use this year's pattern. the waistline, the crosswise grain at the hipline
Purchase a pattern by your hip measure, alter and may be absolutely horizontal and the skirt more
 Skirts 121
like a straight tube-difficult to walk in but a
good basic pattern. The straighter the tube, the
wider the darts must be.
The pattern at the hip should have about 1Vz"
ease at the 7" line or at the fullest part of the '
'I
'I
hips. After the seams and darts are fitted, there :I
CB ' I
should be about 1" ease in the waist measure to '
y•I
I
CF
fit the belt, or ~" on each quarter of the total I
I I
: I
skirt pattern. The basic dart at the front will end I
I
I
I
A B c
on the fullest girth of the abdomen 3"-4" long, I I

but for the dressmaker's stylized dart it is better '

'' I
if only 2" or 3" long. The basic dart at the back is
about 7" long, but the dressmaker's dart looks bet- A ---'
ter if 3"-5" long. Fig. 146. Front and back basic skirt patterns matched at
The vertical hip seam is supposed to follow the hip to remove side seam with all hem line flare removed.
B shows the wide dart needed for large hips and that such a
silhouette of the figure from ear to ankle so that figure needs more flare at the hem line, while C for small hi?s
when viewed from the side it appears about mid- indicates that less side flare is needed .
way between CF and CB. HO\Yever, in actual
width the standard pattern at the waistline is in the \'ertical hipline seam) . Extend the sides
narrower across the back than the front, but wider of angle x to make the normal flare at the sides,
at the 7" hipline across the back than the front. forming angle y, the equal to x. l\lore flare than y
The back dart is wider, th us longer, than th e will hang in a more or less floppy fold and sag.
front. The skirt is longer at C B than at CF by If more flare is desired ia the skirt, it may be
about 1". secured by other methods such as pivoting the
Larger bulges at derriere, abdomen, or side hip darts or slash ing.
will change these general proportions and for in- This basic pattern may be used to design a wrap-
dividual patterns we expect variation from the around skirt and other free-h and styles.
above standards. For a prominent abdomen the
whole front gore will be widened, or for promi- Manipulating the Basic Skirt Dart
nent rear hips the whole back will be widened in The advantages of a waist dart in the back gore
order to make the side seam appear continuous of a skirt are obvious:
from the shoulder seam and make the body ap-
pear more balanced. I. The silhouette is kept straight for a slender-
A zipper closing over the hip adds to the bulk izing silhouette-for such general purpose as suit
so that some skirt makers cut patterns for suit skirts.
skirts with the side seam slightly forward to match 2. The straight side seam and the fairly straight
a jacket underarm seam . In making this change waistline and hem line are easier to handle in sew-
the back is widened and the front narrowed so ing, fitting. and pre sing with less danger of get-
they become almost equal-in this way the skirt ting them out of shape, since there is little bias
may be reversed in wearing, that is by slender with ,,·hich to contend.
straight figures. In general, this change is not very 3. The garment ,,·ill retain its shape longer after
satisfactory. cleaning and use. It is not so likely to sag at the
The side seam by optical illusion even in a sides or cup in the back because of the strain in
straight skirt looks better if there is some flare sitting (unless fitted too tightly in loose wea\'es) .
below the hips-at least 1" wider at the hem. The basic skirt dart may be remo,·ed. shifted,
A good way to be sure of a standard flare is to and otherwise manipulated in exactly the same
place the two gores so that they touch at the 7" manner as for blouses, explained in Chapters 3, -+,
hipline with the CF and C B lines parallel (Fig. 5, 6. 7, 8. 9. There are fe\\·er traditional changes
146). The seam of the three darts at the \\·aist- in skirt de<;igning but there a:e larger areas in
line should equal the difference between half the which to dc\·elop details and the darts may be
measured hipline and half the measured waistline mo\·ed farther than can blou e darts because
(allowing the total 1" waist ease and total 1 Yz" there is not such a clear-cut point which one may
hip ease). The aPglc x is the hip dart (concealed definitely mark as the center of the bulge.
122 Practical Dress Design
Techniques we have used in manipulating darts 2. Slash the skirt from hem up to end of dart
are summarized as follows: and spread until flat, A.
3. Note that the side seam is more bias, the
I.. Move the basic dart (from hip to waist ) by
waistline more curved, and the lower skirt area
foldmg and pinning it in then slashing on the pro-
wider. When the skirt is made in cloth, you
posed new dart line.
will see that the horizontal grain line is parallel
2. Pivot the basic dart in any direction around
with the floor from the center of the skirt to the
the point of the dart.
point of dart, then drops over to the side seam, B.
3. Erase the old dart shape and redraw the
4. This pattern is used as the starting point for
same size and shape in a new nearby location.
designing circular skirts, skirts with unusual verti-
4. Change one dart into two or three by re-
cal, diagonal, or horizontal seams; for a four-gored
drawing or slashing and spreading.
skirt, for eight, ten, or more gores in a skirt.
5. Change the vertical waist dart into a dart
space below resulting in flare for the hem line. Basic Skirt Pattern Cut in One Piece
6. Retain part of the vertical waist dart and
throw part elsewhere, as into lower skirt area for I. Close the basic dart in both the front and
thick thighs or more walking room. the back sections of the foundation pattern. Slash
7. Add fullness by gathers, pleats, decorative from the hem up to the point of the dart and
darts~ horizontal and diagonal draped folds, cir- spread, A and B (Fig. 147) .
cular~ty, and flare by use of basic dart area or by 2. Place the side seams adjoining from hipline
slashmg and spreading. up to waistline, C.
8. C~eate new horizontal seams by yokes, 3. The three basic darts are now in the three
bands, hers, and flounces. spreads at the hem line, just the reverse of Figure
9. Create new vertical seams in gores, godets, 146, with the three basic darts at the top.
bands, or panels. 4. Either CF or CB may be placed on a straight
I0. Develop unusual styles by curved darts, fold but the other would be too bias to be prac-
asymmetric designs, and combinations of the tical, and it would be difficult to find material
above techniques. wide enough to fit the pattern. However, the pat-
tern is a good basis for cutting skirts of many
gores, for flared, irregular, or asymmetric designs,
Removing Basic Dart from Skirt Top and for skirts without a hipline seam.
I. Make a copy of the skirt back with the dart Changing Location of Vertical Dart
traced. Fold in the dart to produce a bulge (Fig.
147) . Why change the location of the basic skirt

I
I
Tl
I I
I
I

• Fig. 147. A, ~hanging basic dart from waist t o lower he m. 8, d rop in grain at sides as a result. C, front and b a ck cut in o ne
p1 ece by throwmg all three waist d arts int<> lower skirt.
 Skirts 123
dart? Sometimes it is not harmonious in line with stitched the completed dart lines are not parallel
a dart or seam in the blouse, and sometimes the but radiating around the waistline, such as 1"
spacing between the two darts in relation to CF apart at the waistline and 1¥2" apart at the lower
or CB or t o the side seam accents a person's hips end. The above figures are examples only and
or width. In cutting new gore lines, frequently should be modified for different sizes and needs.
the dart needs shifting. T he easiest way is to copy
the size and shape of the dart, erase the dart lines, Changing One Skirt Dart to Two or Three
and redraw the new dart in the desired location. One dart may be copied in tracing paper, then
However, you may fold in the original dart then divided into two or three, A (Fig. 148). Erase
slash on the new proposed line, then over to the the original dart (dotted line) and place the new
bulge and spread. ones as desired, so that they are not parallel with
The dart starting 3" from CB should slant away CF or with each other, but farther apart at the
from CB at its lower end (5" long) about 1/2" lower end than at the waist.
more or 31/2" from CB to make it appear at right Another method, B, is to:
angles to the waistline or radiate from the waist-
line. However, to suit other design lines in the I. Fold in the basic dart and draw new dart lines
blouse the darts may be angled differently, but to be interesting, well proportioned, and harmoni-
darts too far from the bulge tend to create diag- ous with the blouse or jacket. The ends of the new
onal wrinkles. In comparing dart location of the dart lines should be on or near the point of bulge
front with those of the back, the front darts or original dart.
should be about 1/2" farther from CF than they 2. Slash on new dart lines and spread. C urved
are in the back as 3%" at the top and 41A" at darts, C, should be wide enough to slash through
the bottom, but only 31/2" long as compared with the center in construction. See page 44.
the 5" in the back. If two darts are used in place Decorative Darts-Added Fullness
of one, they may be shorter because they are nar-
rower. The two darts must be spaced so that when Darts, unpressed pleats, and draped folds may

B D
A

CB

Fig. 14R. The b asic dart at t op of skirt may be arranged in any position radiating about the point of the bulge: A and B,
slightly differing ve rtical d arts-A by redrawing, B by slashing and spreading. C , horizontal darts slightly curved from the hip
sea m. 0, horizontal dart slashed from CB.
124 Practical Dress D esign

A 8 E

CF

A E

H
F

I I \

\ \ ',, __ ...
I \
''
\
\
'
---
CB CF CB '' ..... _ CF

Fig. 149. A, one new dart added to basic pattern for trouser-top skirt. 8, three new wider curved darts added for peg-top
skirt. C, two new darts added in middle of a gore or box pleat straightens side seams. D, pleated folds added to side drape.
E, horizontal fullne ss add ed to side front gore fo r swathed effect. F, horizontal drape or cowl effect at hip, just t he opposite
location but same principle as in B; G, drawing lines where folds are d esired ; H , slashed and spread for drape.

be added for decoration, softness, or fullness the trouser or peg-top effect, A (Fig. 149). As in
either to the basic skirt pattern or to gores or sec- a blouse, sketch the line or lines of the intended
tions of skirts after the structural shapes and lines new dart or fold, which may be vertical, slanting,
have been formed. or horizontal, A, B, E. Slash on each line and
For a straight skirt with more softness at the continue over to but not through the opposite
top, another dart or two may be introduced giving side and spread. Trace the new dart space for a
 Skirts 125
new short dressmaker's dart, or dart tuck, or mark and spread. Pin in new folds or darts before cut-
for a fold or unpressed pleat. The spread may be ting seams.
modest as in current skirts, A, or extreme as in Cowl effects or horizontal swags across the side
the 1914 styles, B (harem, gigolo, and hobble hips at both sides or one side are created exactly
skirts) . Fold new dart in before cutting seams. as are cowl necks or cowl sleeves (Figs. 59 and
A dart already in a gore may be made wider to 107). On a straight foundation skirt pattern, F
give a more spreading or pleated effect by slashing (Fig.\ 149), sketch horizontal or slightly diagonal
through the center of it and on to the opposite lines for draped folds curving down across the side
side, then spreading a little more. Some gores with hips, making front and back skirt folds match
circularity or pleats appear too plain around the at the side seam, G . The basic dart should be
hips, or have their seams too bias. Slashing and pinned in and the side seams straightened. Slash
spreading from the waistline down to the hem on the folds from side hip on the drape lines up
in a separate gore, C, not only creates a dart, dart to the waist and spread so that back and front
tuck, or dart pleat at the waist but straightens the match, H. With the hems touching, the front
seams. This procedure is a device to make adjoin- and back may be spread apart much or little at
ing seams have the same angle of bias and also to the top; and the slashes may be spread much or
make them less bias or straight. little, as shown by the dotted lines, a, b, c. After
For side drapes in tunics and skirts, the slash the new hip seam (notches matched ) is stitched,
may go not only to but th rough the opposite side a weight is attached at the center to keep the
to give added width at the bottom, D. Sketch folds down in position. Clipping the seam at the
the whole elevation, marking CF, diagonal line end of slashes is the same technique as in Figure
for overskirt, location of dart tucks, folds, and a 107. After the drapes are complete quite wide
horizontal grain line near the hipline. Place on godets or narrow gores may be set into CF or CB
fresh paper, pin in basic darts, slash on new fold to provide more walking room and fluid lines.
or dart lines; spread and correct silhouette lines. In this illustration the side seams have been
Horizontal gathers, E, darts, or draped folds omitted, thereby creating seams only at CF and
are used to give hipline and torso emphasis. They CB. The folds drape better if the hip seams are
depend on a snug fit to hold the horizontal folds on the bias~ ·The CF and CB will be bias, also;
in position-usually developed in silk or rayon some straight panel or other design detail may be
crepe. In the block pattern, straighten the side inserted to break the bias line if desired.
seams and pin in the basic dart. Draw elevation
Back or Front Fullness
and lines for gores or drapery (on a whole front
if asymmetrical). Horizontal or diagonal darts or \ Vhen fashion wearies of the plain gored skirt,
pleats may enter a vertical dart, pleat, or yoke. she adds fullness and then stylists argue pro and
Try on model to refine shapes and fold lines. Cut con as to the relati\·e merits of front fullness and

1
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A B c 0
Fig. 150. Fullness concentrated in CB developed in several ways from the back gore or panel. A, slashing and spreading equally
for straight gathers. B, spread more-a little at waist and more at hem. C, no spread at w~ ist and more at hem for circularity.
0, panel cut into two gores, each with a flare.
126 Practical Dress Design
back fullness. In either case the posture and shape 5. Place notches to distinguish front from back
of the individual concerned must be considered. and to aid in assembling parts. Cut apart on yoke
Back fullness is "easier" to wear, is generally grace- line, B.
ful, but the problem of creasing is involved. Front 6. Both pieces are flat and the yoke has no
fullness may conceal a tendency to be rotund, but dart in it-the dart will now be found in a hori-
unless smartly handled may give the appearance zontal position as the seam between the yoke
of a maternity gown. Straight fullness may be and the lower skirt section.
secured by simple gathering, shirring, smocking, 7. The lower sections may be left unchanged if
soft folds, or unpressed pleats. The fullness is desired, but usually the purpose of a yoke is to
more slenderizing if confined to a panel or space allow one the opportunity of adding gathers, C, or
well within the silhouette. A snug hipline and flare through circularity, D, or freedom in a
true lines may be maintained by having a lining straight-line effect through pleating.
or stay under the full panel to keep it in its orig- 8. The yoke also may be cut into other cross-
inal position on the figure, at least well below the wise or lengthwise sections, or have overlaps with
hipline. hems and buttonholes, but always the waistline,
To make this pattern, simply slash a copy of hipline, and seam adjoining the lower sections
the gore in question from the waistline through are accurately preserved in size.
the hem in several places and separate as much 9. A panel, attached in one piece with the yoke,
as desired (Fig. 150) . If no added fullness is de- is treated as a gore of a skirt. As such it may
sired at the hem, do not separate there, but usu- have a side pleat added part of or all the way up,
ally it is spread more or the same amount at the or some flare added to the sides in harmony with
hem as at the waistline, in which case a horizontal other skirt sections.
hipline before slashing will keep the parts in their
CIRCULARITY IN SKIRTS
proper relation.
3kirts for sport in various fashion eras have
SKIRT YOKES
been cut without yokes, yet very circular. Cos-
I. Use a foundation pattern with desired waist- tumes for fencing, skating, archery, and for the
line and with corrected length. A whole front stage often show this type. Today many party and
and a whole back will give a much better idea square dance dresses are cut circular. Recent fads
of proportions. of the circular skirt cut from a complete circle
2. Stand before a mirror and lightly sketch on were popular in skirts of felt, denim, broadcloth,
the front the desired yoke, using the shape and percale, and chambray. The latter fabrics soon
proportions most flattering to you. \Vhen the sagged on all the bias comers, but the firmer
yoke points down at the center front the interest weaves and plastic-coated fabrics remained rea-
is removed from the silhouette, giving a slenderiz- sonably even at the hem lines. Wash fabrics do
ing effect. Make the back yoke match the front not retain their hem lines cut by this style-for
yoke at the side seams. them it is better to use skirt patterns of several
3. Place the pattern on the table and correct gores each with some circularity.
the sketchy lines. Horizontal and oblique lines Where circularity is to be obtained within a
should be slightly curved. A horizontal line which skirt or gore, have the basic darts pinned in then
in the fashion sketch appears drawn with a ruler slash from the lower edge up to but not through
is usually a curve following the curve of the waist- the opposite seam line, A (Fig. 152). A technique
line. A plain horizontal yoke is usually deeper in in slashing is to avoid cutting the lines all parallel,
the back. If the yoke continues as a part of the but rather to divide the hem line equally in as
front panel, the vertical lines of the panel are many parts as the waistline, so that lines radiate
drawn with a ruler. After correcting, hold it up to from the waistline and enter it at right angles.
yourself before a mirror to check the effect and Every slash makes a ripple. If many slashes are
correct again. From this point, work with half made, the circularity will be gradual and hang
the skirt pattern unless an asymmetric design. in many folds; but one or two slashes will make
4. Shorten or extend the basic dart and fold one or two deep folds or triangular columns at
it so that it ends on the proposed new yoke line, A those places in the finished garment. If you want
(Fig. l 5l ) . more circularity in the back than the front spread
 Skirts 127

Fig. 151. Yokes offer opportunity to remove the basic waist dart for smooth hips and at the same t ime much f ullness below
the hips. A, basic pattern dart folded in. 8, yoke cut away leaving basic dart in the horizontal seam. C , lower section spread for
gathers; D, for circularity.

the slashes more where desired. A clip at the seam hipline. This effect may be reduced in two ways:
line at the end of each slash in the pattern will first, you can remO\·e the 1" ease in the basic
accent the flare at that specific place. The angular waistline by 0\·erlapping slashes at the waistline,
shape of the waistline must be retained (same A and B, (also see Fig. 59); second, you can cut
principle as Fig. 60) . the gore on the bias which will fit the hips more
This procedure throws ripple also above the snugly.
128 Practical Dress D esign
0
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c:F
0

:
0
D

Fig. 152. A, average spread of circ ularity for four-gored skirt. B, ballerina type of skirt, slashes spread to make whole front a
half circle. C, twice as much flare, a whole ci rcle for the front and another circle for the back, c ut as E. D, two widths joined and
cut for sunburst pleating.

If the slashes are spread apart a great deal, a producing two seams which may be joined to
semicircle is produced so that the two side seams other circular sections, on and on, E.
may be cut on the crosswise grain, B. If the cloth In all this process retain the original waistline,
is not wide enough, a seam may be necessary length, and hem line, and the result will be a
down the center front and back. skirt which fits without gathers at the waist, yet
It is obvious that this is the method used by with "worlds" of flare below. One must be pre-
amateurs (and children, in cutting doll skirts); pared, then, to use "worlds" of material. Such
that is, a large circle with a hole in the middle lavish effects are extreme cases and, therefore,
for the waistline, E, except that in professional should be used in suitable materials and not
pattern designing the waistline is accurately meas- skimped because of a desire to be economical.
ured by the foundation pattern and the slashes Patterns which seem very circular may not ap-
made to come where desired. The former is hit- pear so full in material (such as crepe ) because
or-miss designing-our method is designed the texture of the material affects the slipping
( planned ) designing, D. quality of the grain wherever the bias occurs. A
In preparing material for a skirt with sunburst good plan is to measure the hem line of a gar-
pleats, for the waistline cut two half circles (each ment of similar texture already made to get some
half the waist measure) with the straight edge of idea of how much spread to produce-othenvise
patterns on the selvage, D. Consult a shop that you must be prepared to suffer the consequences
specializes in pleating. There are disadvantages of your experimentation. One may measure an-
relative to hemming in each case, but usually the other dress or a commercial pattern to learn the
circular hem is not cut until after pleating, hence width of the skirt. Also study and prepare a chart
hemming ( !1!" width ) follows the pleating. It is similar to Table III. At times we spread these
an expensive skirt to keep up. slashes just enough to fit into the width of ma-
For dancing and fancy dress costumes this idea terial on hand, but of course we may not obtain
may be carried farther when tulle, net, chiffon, the desired effect by such skimping.
or other airy materials are used. T hat is, each front Pin on to a new piece of paper and spread the
or section of front or back may be spread to form slashes apart still more and cut the new pattern
l)Ot only a semicircle but a complete circle, C. retaining all notches.
A slash is made on one radius only of the circle, Note that the top curve of the skirt section has
 Skirts 129
been changed in shape or direction, but not in both edges will be cut on the straight of the
length. As it was first cut from the yoke, this line material. If the godet is either more or less than
was more or less horizontal. After slashing to this the true quarter, place the center of the godet on
line and spreading the hem line apart, this curve the straight of the material with the two side
has been raised to a much deeper concave curve. seams equally bias. The godet may be set between
Also note that if this curve has not been changed the seams or in a slash (Fig. 153). T he slash in
in direction, the circularity will then consist of the garment where the godet is to be inserted
deeper folds over the seam line, not within the is cut ~" shorter than the seam of the godet. Use
section itself. plain or lapped seams, a technique similar to the
To summarize, circularity may be added at any method of inserting a gusset. The lower edge of
lengthwise seam by swinging a new line away from a godet is often bound or hemmed narrowly in-
any given point extending the hem line any dis- stead of being finished with a wide 2" hem with
tance; but circularity throughout the skirt may be the rest of the skirt.
obtained only by slashing and spreading; the
Flounces-Circular Sections in Skirts
slashes must be directed to the waistline or yoke
line-nowhere else; the circumference seam needs Certain sections of a skirt are often cut circular
clipping at the point of flare. T he more circular and then set in or set on the rest of the skirt, such
the skirt the more circular the waistline. as peplums and flounces.
Conversely, applying these principles to the fit Begin with two identical copies of the skirt on
or hang of a skirt, if the hem line of a four-gored which the flounce is to be placed; on both draw
skirt pokes out too much at CF, let out the seam lines around the space the flounce or peplum is to
there which straightens the curve; or you can shift occupy. Use a tracing wheel to make them ex-
the flare away from CF over to the middle of the actly alike. Mark notches or perforations to indi-
gore by taking a deeper waistline seam at the cate ho\\. this section is to be attached . On one
middle of the gore where you wa nt the added pattern cut out the flounce or the inset and retain
flare to fall. Such shifting calls for a correction in these markings.
the hem line. Slash exactly where folds are desired from the
If one does not desire the circular effect to ex- lower edge of the section up to the seam line
tend up as high as the yoke line but merely to where the flounce or inset is attached to the skirt
the knees, either the skirt sections must be cut proper, E (Fig. 153) . Place on a fresh piece of
into more gores, each one flared out at the lower paper and spread apart where each ripple is de-
side seams, or godets m ust be set in. Slashing mid- sired. Sometimes the circularity is so great or the
way into a section of pattern prevents the pattern flounce is so long that piecing becomes necessary.
from flattening out. If one slashes up 12", for Plan the slashes with regard to the grain of the
example, then diagonally or h orizontally over to cloth and plan the seams or necessary piecings so
the side seam, the result will be identical with a that they come in the most inconspicuous place
line drawn t o widen the side seam. The flare will under a draped fold rather than on top, prefer-
fall along the seam line and not within the sec- ably on the grain, and if possible so that they
tion as first cut. The only way flare could be coincide with other construction lines in the gar-
obtained placed so low and without a vertical ment. Perhaps it would be wise to change the pat-
seam or gore would be to knit the skirt and cast tern to fit the cloth. Be sure that the slashes are
on stitch es wherever flare is needed, or make placed on lines where folds in the circulari tv are
the garment of plastic and mold or stretch it to be. A clip in the seam at the top of each. fold
at that point, as we have often done in crepe helps to make the ripples fold in a precise manner.
paper! Cutting a skirt gore on the bias often helps For a series of exact triangular folds. make'! each
in throwing in a suggestion of added circularity fold a separate godet or gore, D.
if it is slightly stretched in fitting over the hips.
Peplums
:\ peplum is defined as ··an o\·erskirt hanging
Godets
like the ancient peplos"': also ··a short fitted skirt
A godet is a section cut from a large circle, hav- attached to a waist or coat." If cut in one with
ing its radius equal to the desired depth of the waist or bodice. remo\·e from the top of the foun-
godet. If cut from a half or a quarter of the circle, dation skirt pattern the desired depth and shape
130 Practical Dress Design

Fig. 153. Flares-godets and flounces. A, circula r effect by curving flare added to sid e seams of skirt. 8, a godet inserted
in seams; 8', same godet with more circularity. C , godet set in a slash. D, inset sections slashed and spread as a shaped godet.
E, panel cut in one with le>wer flounce, slashed and spread for circularity; it could be spread still fa rther than illustrated. F,
chiffon and lace ruffles. G , satin; H, red lace; I, dotted Swiss and lace ruffli ng o n scallops. J , god et in a godet.

of peplum, A (Fig. 154 ). Sew this short little-skirt skirt attached in the waistline seam, concealed
(which resembles a yoke) to the bottom of the under the belt.
blouse or belt. If the peplum is flared at the lower edge, B,
For short peplums the fundamental dart folded simply slash the short skirt from bottom to top
in automatically disappears, A. For longer styles, and spread as desired.
which are often designated as tunics, permit the Pleats are often used in peplums. Make a
darts in the back to remain, unless they can be pleated section in a new piece of paper. Place the
relocated as curved darts, clusters, or circularity. foundation peplum pattern on t op of it and cut
The best looking peplum is usually not cut in out. Or slash the foundation peplum pattern
one with the blouse but is cut as a separate short wherever a pleat is desired and separate for each
 Skirts 131

Fig. 154. Peplum cut from top of skirt pattern, A. Pattern sIas he d an d sprea d f or fl are, B. Tunic or overskirt of asymmetric
cut-because it is long and straight it retains basic darts, C.

pleat twice the finished size of the pleat, whether Overskirts

it is a straight knife or box pleat or a gored flared
Tunics, overskirts, and aprons are merely sec-
pleat. .
tions of the basic skirt pattern. The elevation usu-
The designer should consider the peplum m
ally shows a plain tight fitting two- or fo~r-gored
relation to the placket of the garment and not
skirt with a full overskirt. All such designs are
make it too complicated. To avoid this danger,
good for the tall slender figure. Well-spaced divi-
the peplum is often made separately and attached
sion lines are essential. After copying such a sec-
to a belt or girdle, thereby aiding in changing the
tion, fullness is added by gathers, pleats, or cir-
effect of the dress for the wearer-an idea for
cularity.
changing the basic costume. .
Tiers of flounces or ruffles are usually planned
Some excellent suggestions for peplum designs
on a foundation skirt. Graduated widths are gen-
are to be found in costumes of the seventeenth
erally more pleasing than equal widths. Allowance
and eighteenth centuries.
should be made for lapping one over the other.

Fig. 155. Four-gored skirt pattern. A, basic front pattern with some flare at CF. B, basic dart t hrown into flare and ease over
thighs and knees. C, slashed and spread for new d arts, gathers, or pleats. .
132 Practical D ress D esign
Estimates must be made for hem finishes and frol!l the lower edge up to but not through the
m ethod of application-either by a heading or by waistline and spreading. This method causes some
a plain seam. After these amounts are allowed, of the ripple to show between hip and waist.
then slash and spread equally for pleats and It is removed by drawing a straight line from waist
gathers-unequally for circularity. to hem to replace the curve in the hip seam
(dotted line), C. Recall the ease of 1" at the waist-
GORED SKIRTS line and 1Y2" around the hip line in the straight
skirt. None of this is needed if this circularity in
Four-Gored Skirt Pattern C is added; thus the dart may be overlapped ¥!"
at waistline and spread more at the hem line to
Usually the four-gored skirt with seams at CF,
give a smoother hip.
CB, and clown the hips is so cut to avoid waist
4. The back is developed like the front.
darts, or to add more flare tl1an the two-gored
5. Pleats, tucks, or gathers may be inserted in
pattern affords, especially at CF or CB. It is much
the center of each of the gores in any arrange-
favored to form a continuation line from some
ment or style desired, C. If one spread in the
vertical design line at CF of the blouse such as
middle of each gore is ¥!", a tuck of Ys" may be
an inverted box pleat, hem, overlap, or seam. It
taken on the wrong side to create the effect of an
is useful for patterned fabrics and stripes cut on
eight-gored skirt. If the spread is 4"-8", a gathered
th e alternating bias. If the side seam is on the
type of skirt is obtained but it is less bulky at the
straight grain with the bias at CF and CB, a good
waistline than a straight gathered skirt and thus
straight silhouette is developed yet with graceful
more becoming to large waistlines and hiplines.
walking and sitting room. It is thus popular as
Such a skirt may be floor length for evening.
a design for the so-called basic dress especially for
6. The four-gored skirt pattern can have sev-
large hips or thighs and for the mature figure.
eral satisfactory grain placements according to the
H owever, there is no reason why one or more
effect you wish t o create, A, B, C, (Fig. 156).
short darts cannot be introduced at the waistline
D is due to careless cutting by the dressmaker.
as an aid in fitting wide hip girth to a smaller-
than-normal waist measure or to correspond with The four-gored skirt is popular cut on the bias
features in the blouse. ' ¥hile such darts may be from striped fabric. The stripes should match and
introduced for decoration, they h elp to make the be at the same angle. E and F are alternating bias,
gore seams less bias, and therefore easier to make, C is nonalternating bias, thus lacking balance in
press, and launder. design; it lacks balance in fit, too; since the warp
pulls heavier than the filling, the more bias side
I. Begin with the front foundation pattern.
will sag if soft, or ripple if stiff.
Some flare may be obtained by adding 2" or 3"
of flare to C F (clotted line) , A (Fig. 15 5) . The
Six-G ored Skirt Pattern
flare should begin 7"-10" below the wais tline.
Make the dotted line, new CF, as long as tl1e orig- I. Use the two-gored foundation pattern which
inal; thus, the hem line will curve up slightly at has a narrow basic dart in tl1e front and a wider
the lower edge. Better balance is obtained if some basic dart in tl1e back. Presumably these darts
of CF is darted out (dotted line ) at the waist- were placed during fitting to create space divisions
line and added to the hip seam above the hips in good proportion and becoming to the individ-
with a straighter line below the hips (dotted ual figure, and matching the basic blouse darts. To
line) . More interest is developed by moving or be sure of good proportions, begin with a copy of
dividing the one basic dart into several. the whole front or back, not the half pattern.
2. F or more flare and ease over the thighs, close Fold lengthwise along the sides to give a three-
the waist dart and throw fullness to h em, B. If dimensional effect of your figure, A (Fig. 157).
less flare is desired, leave part of the basic dart at Then, divide into three well-proportioned verti-
tl1e waist and throw part into the lower flare. Use cal spaces- not equal, as B. If the gore seam is too
the same technique as in Figure 35. Cut either of near the side silhouette, C , the silhouette is ac-
these patterns with the side seam on the length- cen ted, the center panel seems too wide and thus
wise grain. the whole figure seems wider. But if the center
3. Still more flare may be added by slashing panel is too narrow, D, tl1e figure appears wider
 Skirts 133

Fig. 156. Position of grain in a skirt. A, lengthwise grain centered in gore so that crosswise grain dips equally a t both CF
and hips-thus the he m line flares slightly a t both CF and hips. B, lengthwise grain a long hip sea m, hence bias CF gives more
flare there a nd crosswise grain dips a t CF. C , lengthwise grain along CF seam, makes hip seams bias therefore silhouette is
d ist e nded by ripple if of stiff fabric or sags if soft-crosswise grain fa lls at the sides. D shows unevenness in flare and c rosswise
grain because ends of cloth were not torn and straightened before placing pattern. E, accents the small waist and wide hip.
F, appa re ntly widens t he waist b ut reduces the hips as d oes B. In both E a nd F, of alternating bias, stripes (g rain) match and
so the side seams hang in balance. G, nonaltern ating bias will not hang in balance. H, same degree of bias was not used in
right half as in left half. I, example of the operator ignoring gore notches so that one hipline joins the CF. Even though not c ui
in stripes, the ripple at the hem does not balance, the flares from t he hips d o not balance.

in contrast. Take time to get these di\·isions suit- 4. After separating. additional flare should be
able for your figure, E. Plan the lines to match drawn along each side seam from the hipline
lines in the blouse. It may be necessary to change down to the hem, generally with the flare begin-
the blouse dart or the skirt darts. From this ning at a little higher le\·el in front than in back.
point, work with just half the pattern, F. Ordinarily when balanced S\\·ing or flare is de-
2. Draw the vertical gore line parallel with the sired all around the skirt, the amount of added
center front, not slanting, from h ip to hem, G width at the h em for flare at each seam is equal.
(Fig. 157) . From hip to waist the straight line For average skirts add 1 ' to 3" at hem.
should bisect the waist dart-you may need to If more is added at the edge of the front gore
redraw the basic dart in the desired location keep- than its adjoining seam, the front \\ill fold O\·er
ing it the same size. (Th e technique is the same the side front since it is cut more bias. In the
as in Fig. 32.) 189o·s. it \\·as common practice to flare the over-
3. Place notches before cutting apart. Generally lap h\·ice as much as the undcrlap; that is, 4"
the grain line in the new side front (or side back) added to the edge of the front panel then 2" to
gore is now drawn in parallel to the center front the adjoining edge of the side front; at the h ip
(or back) before cutting apart. the same. or 5" at the back edge of the side front
134 Practical Dre~s Design

8 c D E F
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ca CF I
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CF I
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---1/·--- I
__ _ JI IL ___
L

Fig. 157. Six-gored skirt pattern. A-E find ing the best proportions. F, draw line for front panel parallel to CF. G, shift dart over t o
panel or gore line in fro nt and back, H. I, J, K, L, ihe same amount of flare added to each gorA. Make ab' same length as ab,
so that bb' continues to curve up evenly.

gore but 2Y2" at the front edge of the side back seating and walking space, but always leave some.
gore; then, 6" at the back edge of the side back Generous seam allowances at twelve cut edges pro-
gore and 3" at the adjoining seam of the center vide plenty of places for adjustment to the figure
back panel. Thus a flowing rhythm of folds ( un- and to the belt to secure a smooth yet easy fit in
pressed pleats) toward the back was obtained. the hips.
5. The new gore line must measure the same 8. For prominent abdomen, have the flare be-
length as the vertical line from which it springs. gin higher in front than back; for prominent
M easure a b and make a b' the same length. At the derriere have the flare start at widest bulge of
hem connect band b' with a smooth curve, J. hips. Slim figures are not so restricted. The tulip,
6. The center lengthwise of each gore is placed flamenco, Spanish, 1890 skirts, and other flared
on the lengthwise grain if it is desired to h ave styles have the flare in the seam cut curved instead
a skirt with balanced flare at all points. If, on the of straight; to do this cut a pattern of the first
other hand, it is desired to have one side cling curve you develop on the front panel and use it
to the body as over the h ips, then not so much as a pattern for each of the others, A (Fig. 153) .
flare is added and that side of the gore is placed
on the straight or more nearly straight grain, with
Many-Gored Skirts
the other side of the gore more bias to produce
more of a flare near the center of the figure (Fig. Use a skirt foundation pattern made with waist
156) . However, for a balanced flare at a given dart thrown into circular hem, A ( Fig. 158), or
seam the bias of adjoining edges in a seam should the one-gored skirt pattern (Fig. 147). Decide on
be of the same degree. the number of gores to be made. Divide the
7. Not so much ease (1" at waist and 1V2" at waistline and hem line with half that many equal
hip ) is needed since the flares provide plenty of parts if there are to be .seams in both CF and
 Skirts 135

CF
I I I
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3 etc.
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Fig. 158. Many-gored skirt pattern.

CB, B. If the center front and center back gores correspond to the shape of the body, therefore
are on the fold, then make those two each half correct the pattern before adding seam allowances.
of the finished width of a gore. If equal di\·ision If your pattern calls for many gores, the correction
is difficult arithmetic, make the center or back made in the pattern would be infinitesimal, prob-
gores sligh tly narrower, or let the irregular amount ably best done in fitting or in stitching the seams.
fall in the side hip gores to be ch anged in fit- This is a very easy method and lends itself t o
ting. swing skirts, skirts of eight to twenty gores, and
After drawing in the desired gore lines, mark the extremely full or bouffant types of dance
notch es to keep ir. right sequence. Cut along lines frocks. For floor-length skirts, it saves time and
and separate. The center line of each gore is usu- work to lengthen the fou ndation pattern and pro-
ally made the grain line. vide desired hem width before beginning work.
After separating the gores, C, increase the width An eight-, twelve-, or sixteen-gored skirt may b e
at the lower edge of each gore-just 2" at each developed from a four-gored pattern by dividing
of 40 seams will add over 2 yards to the total each of the basic gores equally.
width of skirt. Use arithmetic and your O\\·n ideas Complete accuracy results in beautiful well-fit-
to decide on the amount. D ecide where the in- ting skirts. So many seams add to the yardage re-
creased flare should begin- at hip, just below hip. quired plus more time in cutting and sewing. T he
or at knees. vVith a ruler draw straight lines for seams need not be too wide.
these added flares. If a regular distended or um-
brella type of skirt is desired, make this flare uni-
Skirts Without Hipline Seam
form on all gores. (Each straight line may be
made into a curve later for tulip styles. ) Some- \ Vhere no seam is desired over the hip, place
times more is added at each seam line as you ( the two side gores or) the front and back foun-
work toward the back especially for a skirt with dation skirt patterns together at th e hipline and
a train. Be sure that the amount added does cut as one piece ( Fig. 159 ) . From the hipline to
not increase the length of the seam by measuring the waistline the resulting space is left as a dad,
the distance wh ere flare begins down to the bot- A. A placket may be set into this dart, b ut not
tom of the skirt as a band a b' in J ( Fig. 157) . too satisfactorily- it is better to plan an opening
T hen lay this same amount off on the new flared elsewhere. The one dart rna\· be converted into
seam line; this will cause you to keep a good two or three narrO\\·er and hence sh orter ones, B.
smooth curve at the lower hem line. Recall that In B. ~he gores were all kept straight but may
h ip seams should be slightly curved outward t o ha\·e been slanted out at seam lines before adding
136 Practical Dress Design

n
r w- r
I I
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II I
CB I I CF CB ~ I
CF CB
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CF
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Fig. 159. Skirt patterns wit hout o hipline seam usually give a straight smooth silhouette.

the pleats, as shown in the last gore of C. n ot lend itself to easy alterations and is not found
If circularity at the side seam is desired or not in the cheaper lines of ready-made garmen ts as
objectionable the dart could be removed when a rule. It requires wide fabric but in a four-gored
the side gores are placed together by joining gores design it will not require any different width of
above the hipline instead of below; or if already cloth than the standard four-gored pattern. It
drawn off, fold in the hip dart and slash from gives a straight slenderizing side silhouette.
th e hem up to bulge and spread, C. Either the
front or back section may be slanted off as sh o\'m
PLEATS
for the front gore, or the dart may be closed to
secure circularity as in the back gore. Pressed pleats give trimness and liveliness to a
Many asymmetric designs depend on this de- design wh en in motion, and freedom in walking.
\·ice to avoid a hip seam. The side panel over the They add interest, slenderizing lines, and a semi-
hip may be kept fairly straight for its slenderizing tailored quality. Unpressed pleats give more b ulk,
effect, \\·ith fullness of pleats or circularity in the but more softness. Slender figures do not need
front and back panels. This type of design does the pleats stitched in place, but larger figures re-
 137

. . . . . . ..
·.·.:. ~ · · . ~ · : : . . . : . .. .
:··.·: .:·. ·: . . .
. .· ·.·;. ·. . . : . ·.·. : .
. . ·.. .. ·. ·.· .
. · ... . ·. ·. ·.. . .. ..
. .. .
. . .. . . :. .. .. .. .. . . ~ . . . .......
. : : ..... '

CF
. .
. . ... ' ... ·
. .. ..
,
. .· ..
. ·.· .· .. ·: .·.· .· . ... : .
. . .. .
. .· . . . . . . . .
. .. . .
. .. .. . . . . . ...
. .. . . . . . . .
•'

. ..
. . .
..·.. ·.. . . ..
•• • •• • • • • • , f ••

:·.·:.:: ~ ·· ~ :·.·..... ·~ -A··.·. · .. :· :.·.. I /I

Fig. 160. A few straight p leats can be cut in one gore if placed near CF.

quire stitching above the hipline for flatness. The fold is to meet-twice the distance of the desired
stitching itself may be decorative; the pleats look pleat width, A. Two-inch pleats require four
better stitched farther down at the back than in inches. Wide pleats like this are easier to make
the front. and press and set better than pleats much nar-
Techniques for measuring and folding were ex- rower. Fold in the first pleat, before drawing two
plained in Figures 55, 74, and 102. more lines parallel for the next pleat-it is less
confusing and you soon can judge whether you
like your planned spaces or not.
Group of Pleats Full Length of the Skirt When pleats are folded in, place the basic
pattern you have prepared on top, B. Draw around
Groups of two or three knife or side pleats are
pattern, then add seam and hem allowances. Cut
often needed to provide walking room in wrap-
out before removing pattern or unfolding pleats.
around, and other straight-line skirts. Consider
Add necessary notches, mark grain line, CF or
these problems:
CB, and so forth . On a completed pattern two
I. How few or how narrow should ther be to lines must be indicated. one for the fold line and
keep the bulk at the waistline to a [Link]? one for the line the fold is to meet. T he back
2. N eed they meet underneath (requiring three edge of the fold needs no mark for construction
times the width of the space planned ) or could purposes. IJo,,·e,·er, it is a line needed when it
they be spaced farther apart? comes to piecing the fabric. The seam for piec-
3. Where should they be placed to continue ing must always be on this back fold line. After
some line in the blouse design? placing the pattern on cloth which is not wide
4. Will they interfere with the basic dart? enough slit the back or underfold. add notches
and seam allowances on each edge of the slit.
Use a fresh piece of paper longer than the skirt Such seams need not be as wide as other seams
and much wider (Fig. 160). Begin at one end since there is no strain on them. D uring construc-
which is at right angles to one side. Plan a h em if tion such scams must be clipped ,,·here they en-
needed, then draw a line parallel to the edge ter the hem.
(seam or h em) for the first fold of pleat-check In B. note that the basic dart has been redrawn
spaces not only at top and bottom but several to be concealed under the last pleat; also, the
places in between (paper can stretch out of shape dotted line at side shows narrowing the silhouette
as well as cloth) . Draw a second line which the since extra ,,·idth was introduced in the pleats.
 138 Practical Dress D esign
Kick Pleats Inserted in a Seam from the hem line to the center of the box pleat
at the t op . Cut a notch for putting together again,
Kick pleats are almost necessary in providing
add seams and cut on these slanting lines, sand s'.
walking room in a skirt when the narrow sil-
This method makes a seam come at the back
houette is in vogue. They may be inserted at the
or underfold of each pleat. As these pleats are
lower part of any or all gore seams. Study the
gored, in cutting attempt to have the outer fold
fashion magazines and try the skirt on yourself be-
on the grain, the underfold or seam on the bias.
fore a mirror to decide on their depth.
This will insure their hanging fiat and straight.
One may use a simple side pleat, an inverted
It is possible to have these pleats on the straight
box pleat, or a double inverted box pleat. By ac-
at CF, CB, or side seams but not on gored bias
curate drawing of parallel lines, fold in the pleats
seams.
as desired on a fresh piece of paper. Place over
If you cut three copies of the gored undersec-
this the two-gored patterns in the desired posi-
tion, b, two may be folded lengthwise through
tion. It is less confusing if these are pasted in
the center to form double box pleats.
place so that the gore line falls exactly on the
fold of the top pleat. Or simply draw extensions
Pleats Adjoining a Pa nel and Yoke
on the gores, B (Fig. 159).
Turn to the wrong side and cut notches in Begin with the simple pattern of a skirt having
the back folds and show where the seams may be the panel and yoke cut in one piece but with no
on one or all of these underfolds. Slit folds pleats (Fig. 162) .
lengthwise wherever these seams are to come. Prepare a gauge for making pleat lines, which
The top of the kick pleats may be held in may be equal width throughout th eir length or
position by stitching or an arrowhead. Occasion- slanting to be wider at the hem line. Draw an
ally the top of the pleat is supported by a tape extension on th e front panel to be turned back
tacked to the belt on the wrong side of the skirt. as the first pleat, A.
O n a piece of paper wider and longer than the
side skirt section draw two lines for the first pleat,
placed far enough over that an underlap is left to
be placed under the panel. Fold in this pleat, B.
Draw other pairs of lines to make the necessary
number of pleats and fold in the pleats.
Place the side skirt section on top of this
pleated section in the position desired and draw
around it; add seam and hem allowances. C ut out,
CF retaining notches and the underlap or extension
Side Front to go back under the pleat on the panel.
' I 1
F old in pleat on front panel and lap it over the
1 I I I
I
side pleated section in proper place for testing.
...,
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' (J' Check to see that the notches coincide for the
Q._ I I
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a:
a..
51
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,'S' yoke and the lengthwise seams and that the lap
I
extension matches exactly as to width and length.
'I
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1
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lb
I Turn to the wrong side and examine for correct-
I
'
ness of seams, pleats, and notches.
Fig. 161. Gored kick pleats. The pattern is now complete, C.

Gored Kick Pleats Pleats to Fit a n Inset

Since the problem of holding the kick pleats Begin with the pattern having inset designed
in place at the top is not always solved by stitch- and marked with notches. Cut out the inset sec-
ing, we may cut them narrow at the top and tion (Fig. 163) .
wider at the hem line (Fig. 161 ). Decide on the number of pleats. Measure the
Turn the pattern with the straight wide kick width of the inset at top and divide by the num-
pleats folded and pinned in position to the ber of pleats. T his will give the actual width of
wrong side. With a ruler draw a slanting line each pleat.
 Skirts 139

.---

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Fig . I o2. Ple ~ts ~d joini ng panel and yoke.

On the side of the main skirt adjoining the fit at the corners and that notches have been
pleats, A, make an extension from what is avail- placed to match .
able at the center to form the fold which is t o lap Draw around the inset pleated section, add
as a box pleat over the extension on the inset. It ample but accurate seam and hem allowances,
is obvious that the pleats cannot be any wider then cut out.
than this amount. In actual construction, make and press the
On another piece of paper draw and fold in the pleats before making the lengthwise seams. Be-
pleat or pleats as planned, B; in this case, two fore going on to the crosswise seam, stay-stitch
box pleats; or one pleat for half the inset. On corners and slash diagonally. You may find it
one side of this pleat add an extension to form easier to keep the crosswise seam in line by use
the underlap. Place over this the original inset of a lapped seam, but often the bulk of pleats
pattern, A. Check to see that the pleats exactly underneath prevents getting an even tension so

,.
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-o -.::: I CF
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A 0 _, -...l-..1._--L_J

Fig. I o3. Box pleats to fit a n inset.

140 Practical Dress Design

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Fig. 164. Side pleats flared in a seam, A, B, C, so there is little bulk at waist but much flare at hem, D. E, white linen skirt
with wcvy pleat inset at CF-first faced with white and edge stitched, then set over a red underlay.

that a good stitch results; hence many profes- be used between any two seams.
sionals prefer a plain seam even though it is I. Use the one-piece front foundation pattern
curved, not straight. It is unwise to select for this without a dart (Fig. 146) and divide into three
problem bulJ..:y, stretchy, or easily frayed materials. well-spaced gores, A.
There must be an exacting regard for grain and 2. Decide on the size of pleats desired as 1" at
the shape of the inset should not be too "fancy." waist and 2" (or 3") at hem.
3. Place the front panel on a larger piece of
Asymmetric Skirt Designs
paper, B. With yardstick draw a line for the pleat
Vl hen the left and right halves of the skirt are that is to turn under-1" wider than the notched
not alike in design, begin work with a whole front edge of the panel at the waistline and 3" wider at
or a whole back pattern or both. Fold in the the hem line.
vertical hip da rts. Draw in the new darts or yoke 4. Add seam and hem allowances (dotted
as desired . Sometimes it is necessary to work lines ) . Fold the pleat under the panel on the
with the skirt pattern in which the dart has been fold line (original gore line) before cutting out
rcmO\·ed by slashing from the bottom up. to provide a perfect fit at the waist seam and hem.
All lines placed in the skirt should harmonize 5. Place the side front gore on a larger fresh
with or seem to flow into lines of the blouse. piece of paper and draw an extension of the same
Backs should harmonize with fronts. Horizontal size and shape as the pleat- 1" at waist and 3"
seams as yokes should match exactly at the hip- at hem, C . Add seam and hem allowances to
line. match the front panel. Cut along the new gore
seam only, not the waist and hem.
Side Pleats Flared from Belt to Hem
6. Pin the front panel pleat in position to meet
Fhued pleats p rovide more swish at the hem the original seam line of the side front gore. The
and less bulk at the waistline. If there is too m uch back of the pleat should match the extension
flare, the bias fold may not be satisfactory in drawn on the side front gore.
fabrics that stretch easily or fabrics for laundering. 7. Cut out the side front gore with extension
If very bias, the fold may curl when pressed. This to match the panel at waist and hem. C ut notches
style has been satisfactory for unpressed pleats at back edge of pleat.
of voile, lightweight crepes, and mesh fabrics, but 8. Turn the front gore over on the side front
is at its best in taffeta, glazed cottons, faille, shan- gore, seams and pleats matched. Mark the grain
t ung, and tie silk. of the side front gore parallel with CF of panel
Figure 164 shows the method of making side or front gore. In this way the pleat will be the
pleats beb,·een the front panel and side front same degree of bias as the extension it fits. The
gore in a six-gored skirt, a method which can pleat " ·ill both press and hang better; otherwise
 Skirts 141
no seam would be needed under the pleat. In a to choose one that will repeat other features of
firm material one pleat like this without the seam the dress or harmonize with them. On wash
might be satisfactory, but if one tried to make a dresses, the top fold or pleat may be self (or
skirt front of five gores instead of three, each edge) stitched to insure repressing on the correct
one of the side pleats would be more bias than grain or fold line. T he back or underfold of each
the previous pleats-they would not hang alike, pleat may also be edge stitched by hand or ma-
and the side seam would be still more bias. chine, sometimes just over the hem (Fig. 167, E ) .

Piecing Pleated Skirts Inverted Box Pleats in Flared

Eight-Gored Skirt
Since regular pleating requires three times the
I. Convert block pattern front and back each into
width of material for the finished space it oc-
four gores (Fig. 165) .
cupies, it is not always possible to cut each skirt
a. Fold in fundamental dart.
piece from one width of material.
b. Slash from bottom to end of dart so that
Study your pattern with all the pleats folded in
pattern flattens out leaving basic dart as flare
and seams pinned in as they are supposed to ap-
at hem line, A.
pear wh en finish ed.
c. Straigh ten h ipline by drawing a straigh t line
The back edge of every underfold of a pleat is
from waist to h ip and on to ,,·iden the hem
a possible location for a seam. \\'hen there are
(about as much as \\'aS thro\\'n into hem
three pleats on the right side of a skirt, there are
from dart ) .
three folds on the wrong side of the skirt. H ence
d. Fold front half in b,·o length"·ise to make
each one of these three folds is a possible place
four fro n t gores. Repeat in the back.
for a seam. The width of material used will de-
e. ::\Iark all seams ,,·ith designating notches.
termine which ones to select.
Each gore becomes a box pleat. Cut apart
Cut notches of different kinds or clusters on
on the gore lines (back but not front is
each fold before cutting lengthwise on the fold
sh O\m here) .
to separate into sections.
2. Decide on the number and size of pleats.
The underlay of an im·erted box pleat often at
a. If fabric is not thick, the pleats may be
CF may have a seam on both edges, for economy
double or triple. If so have the underpleats
of cut. The center of the underlay should be on
slightly narrower so that bulk is avoided
the lengthwise grain. The underlay may be of
both on t11e pleat line and at the belt.
contrasting material for decorative purposes, simi-
b. T o reduce bulk at the hip and waist, yet
lar to a slot seam effect, E (Fig. 164 ) .
gain more swish at the hem, make them
narrow at the top-1" or 2"-and wider at
Edge Treatment of Pleats
the hem- 3" to 5". \ Ve shall plan finished
The folded edge of a pleat may be pressed flat pleats 1" wide at the belt and 3" at the hem.
or left unpressed to give a soft folded effect. It c. The turnunder of the pleat and the under-
may be stitched clown onto the skirt part way in lay on which it lies requires t"·ice the meas-
the more customary manner. In this case p ull the ure of the fini heel pleat- in th is case we
machine threads through to the wrong side to tie must allow 2" at the top and 6" at the hem.
but do not cut them off closely as they will rip d. Since the waist measure of the back is less
out easily. A more unusual treatment is a decora- than the "·aist measure of the fron t, the
tive design quilted over the pleat. Flaps, wings, back gores or box pleats "·ill be narro\\'er.
pockets, or shaped sections inserted in the seams \ V e must make the pleats at the top nar-
or under the pleats are often used, but they may ro\\·er than 1" such as ~ .... finished. But we
make the design too fussy or too bulky. rna\· make them \\·ider tl1an 3'' at the hem
O ccasionally we find a clever designer who to gi,·e a more backward flow or sweep of
robs part of the underfold for a scallop or point line that is both graceful and dynamic, such
pulled out as an extension of the fold. Such deco- as -t" finished.
rative treabnents are easily done and lend interest e. In al1\' case the underfolds or underfold
(Fig. 83) . seams should not o,·erlap. Hence, if the gore
It is necessary in using any of these variations or box pleat is 31 '2" \\·ide at the top there
 A
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. ht-g ored skirt.

. g a flared box pleated e•g
• m a k'"
Fig. 165. Steps '"
142
 Skirts 141
is not room for a 2" pleat turned under on effect would be bulgy, sagging, or disturb-
each side. There is room for a 1" pleat plus ing in design.
Y2" seam on the underfold if a seam be- b. In general a seam down CF, as z, is not
comes necessary-in fact, the pleat can be attractive, therefore the best place for a
increased to 1t4" if desired. (We shall use seam is at the back edge of any underfold
1'' because it is less confusing for the (dotted lines ) . In D, we cut the first pleat
reader.) Check the hem line in the same in one with the underlay z, but it could
way. have been separated on the first dotted line
3. Make pleats in fresh paper before cutting, B. (with four new notch marks ); then the fold
a . In this skirt there are two pleats at each line of the first pleat would fall on the same
edge of CF inverted box pleat, but only one angle of bias as the fold lines on x. In sepa-
on each side of the side box pleat. (None rating the underfold (with the four new
is planned at the hip, but one or two could notch marks) be sure to add a seam allow-
be introduced there also, with the placket ance on each side.
worked out to fall under a pleat.) If the fabric is wide enough, the z section
b. On a fresh piece of paper longer and wider could be left on the x section to be cut all
(almost two times wider ) than the original in one piece. If the center of the gore of box
skirt pattern, begin by marking off CF pleat is kept on the lengthwise grain, then
length (plus top seam and lower hem if CF will be off grain, necessitating a seam
desired ) . At the top mark a point 2" over there. Several skirts have been cut that way,
and at the hem 6" over. Connect by a ruled and the seam was relatively inconspicuous
line for the first pleat. Mark over from there because of the excessive fullness.
another 2" (or 1%") point at the top and c. If grain lines are placed in the center of
another 6" (or 5%") point at the hem, con- all gores or box pleats, and underlays, the
nected with a ruled line for the second skirt will hang beautifully.
pleat. d. If there is material and if you like more
Crease the first line then bring it to meet circularity, the center of each gore or box
CF line, thereby creating the first underfold pleat may be slashed and spread for greater
(dotted line ) . Crease the second line and width. Likewise some could be folded out
bring it to CF to create the top pleat and to fit your cloth.
its underfold (dotted line).
c. Place CF of gore x on the two pleats just Box Pleated Skirt-Narrow
made. Pin or Scotch-tape in place. Draw
The average figure looks good in a box pleated
around the gore including notches. Add
skirt not so full as the regular kilted three-layer
seam and hem allowances.
pleats, which reduces yardage and bulk. It may be
d. At the back edge of this gore ( h\·o notches)
de\·eloped from 2, ZY2, or 3 widths of 36" material
draw a line 2" over at the top and 6" over
as crash, denim, gingham, linen, crepe, or light-
at the bottom to form a pleat. Fold in.
weight flannel. The pleats are somewhat skimpy
The line just drawn is the center of the
at the hem, therefore better unpressed but if you
underlay, w. Draw another line 2" over at
use more widths of fabric they may be pressed.
the top and 6" over at the hem; on this
Make seams first to convert fabric into a tube.
place the side front gore, y, so that the front
(The last seam may be basted or pinned. )
side with two notches is exactly on the fold.
Pin or tape in position. I. Plan t welve box pleats at the waistline, six
e. Complete seam and hem allowances, and in front and six in back ( three in each half sec-
cut out, C. tion ) of the skirt (Fig. 166) .
4. Prepare pattern for use. 2. Use foundation skirt pattern with dart
a . Open out pattern still in one large piece thrown into the lower hem line.
and place on proposed fabric to decide 3. Divide the front and back each into thirds
where seams should occur to be most eco- at waist and hem. Use notches and label parts as
nomical. Each successive pleat has become 1, 2, 3, 4, 5, and 6 from CF to CB, or as front
more bias until the side seam is on the cross- panel. side front gore, hip front gore, hip back
wise grain or almost so. In many fabrics the gore, side back gore, back panel, respectively. C ut
144 Practical Dress Design

Fig. 166. Box pleated skirt-narrow; to fit your cloth.

apart on these lines. Crease each section in half shapes in a yoke are neither good design nor easy
lengthwise as the grain line marking. The back to tailor. The pleat lines should terminate at point
sections will be slightly narrower than the front. or comers in the yoke design. If symmetrical in
4. Use paper to develop the pattern . Have it design, after approval, work with one half only.
longer than the length of the skirt at CB, plus This problem is essentially the same as pleats to
seam and hem allowances, and the width of the fit an inset (Fig. 163) .
seamed fabric or tube. 2. Notch for ease in reassembling. Cut apart on
5. Pin the gores in order on the paper. Keep yoke line. Draw horizontal line across hipline of
the lower hem line curves as even as possible- lower skirt to keep parts in balance.
they will be practically straight with the hem or 3. Cut apart on each pleat line. Keep the hori-
edge of paper. Spread so the spaces between gores zontal grain of the original section on a horizontal
are equal, but CF and CB spaces half as wide. line of a fresh piece of paper. Separate each pleat
Check to have all grain line markings parallel line twice the width of the planned pleat. Pin or
with each other and the edge of the paper. tape into position.
6. Draw around the dart spaces thus left from 4. Fold the pleat lines as planned for side or
waist down to hem. These lines will be fold or box pleats. Draw around the block pattern.
pleat lines. Draw a line halfway between each 5. Add seam and hem allowances. Cut out.
pair for the line to which each pleat will fold.
Mark the hipline. SKIRTS WITHOUT PATTERNS
7. Fold and pin in the box pleats. Add seam
Skirts may often be designed and made without
and hem allowances before cutting waistline.
the use of a pattern, combining methods of simple
8. The fabric should be folded so that seams
draping with the free-hand methods of flat-pattern
lie at the back edge of pleats. (It may be neces-
work. Such methods are used in making the
sary to change the last seam you made.) Mark
gathered straight skirt, the straight pleated skirt,
pleats on right side for basting, pinning, pressing.
and the wrap-around skirt (Fig. 167).
The pleats may be top stitched from waist to hip,
or they may be marked on the wrong side and
The Straight Gathered Skirt
stitched as dart tucks.
For everyday wear in spring and summer, girls
After making several of these patterns you will like the dirndl or peasant type of skirt. Straight
be able to chalk the gore sections onto the cloth lengths of material can be sewed together in plain
instead of making a pattern. seams, gathered around the top and hemmed at
the bottom. Soft fabrics are best-printed crepes,
Pleats to Fit Shapes in Yoke
solids, horizontal stripes, and bordered effects
I. Make an elevation on a whole front of your have been popular. For evening dresses more
block pattern. Relocate dart as needed- usually widths are needed in lace, net, organdy, and taffeta
thrown into the seam. Too small or too intricate to create the distended silhouette.
 Skirts 145
A Discard"'l c
---- ~----- --- - ~--- --- --
I
I CF
I
Hip I T I I
Se9m I I I I

CF CB
I T
I
Paper Gouge
I etc.
I
I
-- -- ----- - - -- ~-- - - -- -------
Hem

Discord
r---
--'--··- --- ---
f - ---- - -~----
I
I
I
I
-o
-0 -I-
I
I T·
I
:CF I I CIF -0 I
I Hip
Line
Hip
Line
I
I ..
E
:J:
Cf E
Underlap: :Overlap c
~
I I
I I I I
I I
I
I I T
B I D

Fig. 167. Skirts without patterns. A, straight gathered skirt hollowed out at CF to make hem hang evenly. B, wrap-around .
C, use of pa per gauge t o mark pleats on fabric:. D, pleats pinned in for basting or pressing. E, edge stitching inside fold of
pleat. Seam must be clip ped where it enters hem.

I. Loosely gather one end of the cloth in your to tack in the hem.
hands and hold it up to yourself before a mirror 5. Fold the skirt flat on the table, with CF
to decide wh ether you need two, three, four, or on one fold. CB will be on a fold if there are an
seven widths. Perhaps, two widths of soft rayon even number of gores, or on a seam if an uneven
gabardine are too full and you will decide to cut number of gores, A (Fig. 167) .
2" or 3" off the side (to be used later for a belt ) . 6. N ote that the skirt for this girl should be
On the other hand, you may decide that two 1" longer in the back than in the front and :Yz"
widths of dotted Swiss are too skimpy and that longer over the hips than at center front. Measure
two and a half or th ree widths are better. down from the upper edge, and with chalk or pins
2. Have a measure taken over the petticoats mark a gradual curve which hollows out the front
or hoops to be used, from your waistline to the and side of the waistline. By this method the hem
floor at CF, CB, and over the side h ip. Subtract is on the grain and even, since the inequality is
from these three measures the distance from the taken care of by the curve at the waistline.
floor you desire the skirt finished. Add to these 7. Finish the placket, to leave a :Yz"- %" seam
the desired hem allowance and :Y2" for seam above the zipper.
allowance at the waistline. F or example, one girl 8. P ut in two rows of gathers ~, apart. If
measured 42" at CF, 43" at CB, and 42:Yz" over each \\·idth is gathered separately rather than
her hips. With h er skirts worn 16" from the floor, stitching across the seams, the gathering threads
the finish ed skirt should be 26", 27", and 26:Yz", will pull up smoothly without knotti ng. If you
respectively. Adding 3" for hem and seam allow- want to gather in one operation slash the seams
ance her skirt needs to be cut 29", 30", and 29:Yz"; at each line to be crossed by th e machine stitch .
therefore, she will begin by making h er skirt 9. P ull up and adjust gathers to a previously
lengths each 30" long. fitted belt band. Some girls look better \\;th more
3. T ear or cut the necessary lengths of the de- fullness over the hips, others \\·ith more in the
sired width. Sew them in seams, leaving one open back. Study style sheets but seldom is style ob-
for the placket. Press. tained with equal fullness all around.
4. Pin up the lower hem as planned. It is on Try on to adjust gathers and approve h em.
the grain and therefore easy to finish ; perhaps, it Check right and left halves to balance on belt
is better to wait until it is attached to the band band. Finish hem and belt.
146 Practical Dress Design
The Broomstick Skirt Wrap-Around Skirt-Without a Pattern

Broomstick skirts worn with squaw shirts in The wrap-around skirt is fitted closely at the
southwestern United States have been popular for hipline, keeping the border, selvage, or fringed
square dancing and other casual affairs. They are edge for the lower hem or for the side hem B
made from a straight gathered skirt pattern or (Fig. 167). '
from a tiered skirt pattern of three to five gathered
flounces well proportioned and joined to the one I. Cut the rectangle of the skirt in depth equal
above. In the latter the lower flounces are torn in to the desired skirt length and with border along
even widths, but the one at the top next to the the lower edge equal to hip measure, plus 2" to 4"
belt ~hould be hollowed out in front similarly to for ease (depending on build, texture of cloth,
A, F1gure 167. The lower width varies from 4 to present style tendency), plus amount you wish
10 yards. After being hemmed, decorated, and for ~l~e lap (half or all the front width), plus any
attached to a belt the skirt is hand pleated in add1honal fullness desired, as for a few pleats.
folds about Y2" deep, wet and tied in twisted 2. Hem or finish lower edge as planned.
fashion around a broomstick or pulled into a 3. Baste, pin, or press in the vertical hem and
nylon stocking to dry. The result is a crinkled pleats allowed on overlap.
irregularly pleated effect. Almost perfect accordio~ 4. Mark CF on overlap and underlap; then
pleats are obtained by using a stout gathering mark CB.
th read as long as the skirt circumference to make 5. Try on to see that this allows proper ease
small stitches taken from the wrong side 1" apart. around hips and make corrections for CF and CB.
Make several rows of gathers about 6" apart. Then 6. On the belt mark with pins the location of
pull the gathering strings all at once as in old- the side seam, where it is to meet the underarm
f~shioned gaug!ng to form neat pleats, before wet- seam of blouse. Normally the front measures
ting and blockmg on the stick. (Gauging like this about 1" more than the back.
is also used to make pleats preparatory to smock- 7. Estimate the difference between your hip
ing.) It might be commercially pleated. measure and your waist measure. Divide this differ-
ence by the number of darts to be taken. This
will give the width of each dart at the waistline.
Skirt from Tubular Jersey
Make a pattern of the dart by drawing a iong
triangle on stiff paper. The base of the triangle is
Use the one-piece skirt pattern (Fig. 146) you
the width you have just mathematically secured.
developed from the two-piece foundation pattern.
In depth it should be the distance from your
Have a length of 54" tubular jersey long enough
waistline to your upper hipline-about 5" or 6".
for hem and seam plus your greatest skirt length,
Avoid making these darts too long. The front
usually CB. Also, have a piece from which to
ones will need to be smaller and shorter than
make a belt.
those in back.
About 1Y2" ease should be allowed above your
Now draw slight curves inside the triangle to
hip measure. If you measure 35", then 36Y2" is
correspond to the natural hipline. A tailor's curve
used for the basic skirt, and 17Y2" left over for
stick, or a good curve obtained from a commer-
pleats on the hipline. These may consist of one
cial pattern, will help until your eye and drawing
inverted box pleat at CF using 8" and the remain- hand are better trained.
ing 9Y2" at CB; or there may be none at CB and
Place this pattern and draw around it at all
two or three side pleats on each side of CF.
points where darts are desired, as over the side
Since jersey falls better in unpressed pleats, you
hip and in the back, B (Fig. 167).
might make three pleats each 1Y2" wide on each
Several plans may be used:
side of CF or CB. Pin them in at first- later
stay-stitch around the waistline for a fitting. I. two in back, one on hip, two in front.
Place the pattern over the jersey with the 2. six in back, two in front, none on hip.
pinned in pleats. Mark the six basic darts, baste- 3. three in back, two in front, none on hip.
stitch or pin, and try on. Take up or let out darts
or pleats to fit. In fact, these will correspond to gore lines. The
 Skirts H7
flatter the figure, the fewer darts are needed, and 3. Before pleating, all lengthwise seams except
the narrower they are. The larger the figure and the last one left open for ease in handling are
the more rounded it is, the greater the difference finished and pressed. Then the hem is finished
between the hip measure and the waist measure, as flat as possible and pressed. After pleating, the
the wider the darts must be, and the more there last lengthwise seam is finished under a pleat so
must be. In studying the figure you will note that that it cannot be detected and so that the hem
fewer darts are needed in front. You may use the finish is invisible. Rip the hem a few inches to
front and back basic skirt patterns arranged as stitch the seam.
in Figure 159, B, instead of having to do the 4. If wider pleats ( l " to 3" wide, either side
arithmetic. or box pleats) are used, divide the hip measure
The preliminary marking may be done flat on by the size of pleat to find out whether this will
the cloth or on a paper pattern. After all the darts give an exact number of pleats or a number and
are fitted accurately, hollow out the center front a fraction over. It is better to change the size of
of the skirt as shown. the pleat rather than the number of pleats, un-
less the size is small wh ere an extra pleat would
Full Pleated or Kilted Skirt- not materially affect the fit over the hips. If a box
Without a Pattern pleat is made at CF, it can absorb the extra
amount.
Well-pressed pleats provide straight lines that
Since each seam is to be concealed and lie flat
give neatness and animation, yet a slenderizing
in the back edge of an underpleat, begin to pin
effect even to fairly large sizes. The pleats should
the first pleat over the first lengthwise seam and
be stitched flat above the hipline except on very
pin along the top edge of skirt before putting in
slender figures. For the girl with hips large in
the hem. Continue pinning these trial pleats un-
proportion to the waist measure, the pleats would
til you have reached the place for another length-
overlap too much at the waistline; for her it is
wise seam. Generally, it is necessary to waste a
better to have a yoke to which the pleats are at-
little of the material at this point to make the
tached.
second lengthwise seam fall in proper position un-
The best fabrics for pleated skirts are firm,
der a pleat. Continue in this manner until all
crisp, and not too thick with the heavier threads
pleats and all lengthwise seams are planned and
paralleling the pleated folds. Poplin and failk are
pinned. Then finish lengthwise seams and the
two examples of fabrics with crosswise ribs which
lower h emline and press, before marking entire
will make flatter pleats if pleated with the cross-
length of pleats and basting them preparatory to
wise grain (the selvage along the h em). Acetate
pressing.
sharkskin, worsteds, and linens take pleats we~l
To mark pleats easily and accurately, prepare a
and stay pressed if well steamed in. Bulky fabrics
paper or cardboard pattern or gauge. Slip this
do not look good, taffeta is too flat, and satin re-
gauge down the length of the skirt at intervals
quires unpressed pleats to play up its rounded
and mark with pins keeping on the grain, C (Fig.
softness. Plaids and stripes provide perfect grain
167) 0

lines to follow in folding but offer problems in

Baste in the pleats and press, D. See directions
planning spaces.
for pressing (p. 148) to insure success. Baste stitch
I. Take an accurate but easy measure over the along seam edge at the top of pleated sections to
fullest p art of the hips. If too tight, the pleats prevent the pleats from spreading.
will not hang straight but tend to flare apart. 5. This pleated straight skirt is now ready to
2. The skirt after seaming should be three times attach to a belt, yoke, or underbody. If attached
as wide as this measurement, plus 1" or 2" since at or below the hipline, no alteration is needed in
the material takes up some in the folding. the top of skirt. If slightly aboYe the hipline, the
If small pleats ( ~~~ to 1") are being made by top of the skirt will then need to be held in
a commercial pleating company, several inches slightly full to fit the smaller size of the under-
over this amount must be allowed for shrinkage, body, lining, or yoke.
for slippage of pleats over one another, and for If the top of the skirt is at the normal waistline,
matching seam s under the pleat. It is wise to con- tack a thin tape to the wrong side of the pleats
sult the shop having such a service. around the hipline. Place the skirt on the figure
148 Practical Dress Design
and anchor with pins to the beltline CF, CB, and the pattern is to be made. Be sure that edges
at side seams. Then from hipline up to waistline are at right angles. Mark off several pleats \\ith
lap each pleat over slightly to fit the hips and a ruler, and fold. Label line on which fold is made.
waist (yoke line or belt) . This is a very particular and the line it is to meet, C (Fig. 167).
piece of work, because it cannot be very easily 2. Place this pattern on the right side of the
done mathematically, but we know that the cloth and mark with pins parallel with the pleats.
equivalent of the basic darts must be removed Slip the pattern down at intervals and insert more
at the waistline near the normal location of these pins, until the hem line of the skirt is reached, D.
darts. To be exact, the difference between hip 3. In firm cottons and linens, pin in pleats.
and waist measure must be removed. For ex- then pin to the ironing board and press without
ample, if your hip measurement is 35", and the basting. In loosely woven materials baste and
waist is 27", then 8" must be removed. If 2" then press. In wools and silks it is better to mark.
pleats were planned eight on each side with a 3" baste, and press one pleat at a time, before going
box pleat at CF, one might take :Y,." out of each to the next. One cannot mark accurately the sec-
CF and CB pleat totaling 1"; and Yz" out of each ond pleat when measuring from a basted anc
of the others. rounded fold of a pleat. Either measure from a pin
It is better to have the pleats seem at right or from a pressed flat edge of the previous pleat.
angles to the waistline, even though the spacing or pin mark all pleats before creasing any. Plaids
is not the same at all places. This method does and stripes make pleating easier. In using pins to
very well, naturally, on the slender figures. The mark, always insert them lengthwise, exactly
more curved or pronounced one's hips are, the parallel on the pleat line. But when folding a
more difficult it is to achieve the correct effect in pleat over to a line to hold in position for press-
pleating. It may be necessary to change the top ing or basting, place the pin crosswise to the pleat.
fold of the pleat, also. The result is too much over- It does not slip and keeps the pleat from pucker-
lapping, which is obviously too bulky on the ing up and down.
heavier figure. This figure should have a shaped 4. Basting may be done first along the top folds
yoke to support the pleats and flatten the waist- only. Pressing these folds first until perfectly flat
hip area. and straight before basting down into position
6. As in the straight full skirt, A (Fig. 167), makes them flatter and prevents a mark, but there
it is necessary to hollow out the center front. is danger of stretching the edge of the pleat or
Great care is required in fitting on the figure. Note of shrinking unevenly.
that wfien this skirt sticks out at the lower front Another method is to baste all the pleats flat
and cups in at the back at the lower edge, the first, partially press, remove bastings, slip paper
center front was hollowed out or pinned up too under each pleat, and complete pressing.
far; therefore the whole skirt needs lifting in the Turn to the wrong side to press the underfolds
back and sides. This fitting may be done in one thoroughly. If the hem has not been taken pre,i -
of several ways: by taking a tuck across the yoke ously, learn not to press too thoroughly on this
or lining back; by cutting off lower yoke edge at line. When the hem has been finished, give the
the back; by taking a deeper seam at the top of the hem an extra hard pressing, especia11y on the
skirt in the back, cutting off the top of the skirt wrong side. Be sure to clip lengthwise seams at
at the back; or letting out the seam in the front the back edge of a pleat where they escape from
of the skirt. This fitting problem arises when the the hem, to allow them to lie flat in the proper
person being fitted has a poor posture or a large direction, E (Fig. 167).
abdomen. The opposite procedure would be re- 5. Pressing pleats is a most exacting process
quired for a prominent derriere. but easier with a steam iron working on the wrong
side. ' iVithout a steam iron place a dry pressing
Marking Pleats on the Fabric cloth on the right side of pleats, dampen evenly
• with a moist sponge, and press until almost dry.
Use paper to plan pleats and to form a gauge
lifting the iron often, pressing down on the iron
in marking.
with a slight rotary movement, and pushing the
I. Having decided on the size and number of iron with the pointed end of the iron lightly in
pleats, use a strip of paper 2" or 3" wide on which the lengthwise direction of the pleats (or with the
 Skirts 149

Fig . lb8. Skirt hems and facings.

grain if slightly bias) slightly up, never digging hipline, hem line, and any number of places be-
down into the cloth. Always remove bastings be- tween that seem practical, as in C, Figure 167.
fore dry, and complete the pressing with heavy 3. It may look better to save 2" or 3" for a dart
paper or cloth between the pleats. Lift up the over each side hip, perhaps concealed under a side
edges of the pleats, insert a dry cloth or paper and pleat.
press to remove any marks. Beat with a tailor's 4. Contrasting material may be used for under-
clapper just after removing the iron to h old the sections of pleats, if they enhance the design. This
steam and insure a flatter seam or pleat. Place the is especially valuable for the lower section of in-
pleated material on a table to dry. \·erted box pleats, and in remodeling problems.

Making Unpressed Pleats Fit a Belt SKIRT FINISHES

One may contrive a pleated skirt from two full Hems and Facings
widths of material, or any given amount one has
Average skirt hems require two to three inches
on hand, provided of course that it is wider than
for finishing. Decorative finishes may be applied
the hip measure. Casual unpressed pleats have
after careful pressing and hanging of a skirt. They
been popular for heavy weight cottons of two or
usually make alteration impractical or impossible.
two and a half widths to fit the belt instead of
Facings are often required and if so should be
the hips. A box pleat in center front with inverted
true bias or shaped exactly to fit the grain of the
box pleat at center back and side pleats 1" to 11f2"
skirt. They are needed for scalloped and zigzag
wide gives a less bulky effect than do gathers.
edges, slits, the peg-top skirt, and petal pleats.
Guatemalan and hand woven fabrics lend them-
Facings to finish hems, the skirt opening, over-
selves to this simple designing. The placket should
lapping yoke line, or sh aped darts are cut and
be made to come at the underfold of a pleat near
finished as facings (Fig. 79) on blouses. A facing
the underarm seam, just a seam left open with two
must be an exact copy of the pattern part to be
snaps for closing.
faced not only as to shape but also as to grain.
I. C ut s piece of paper 2" or 3" wide and equal Other suggested finishes include bias and
in length to half the width of the seamed ma- straight bands or cuffs, pleated ruffles, dust ruffles,
terial minus two seam allowances. Use this for piping, shell edge, lace edge, rolled hem, ric rae,
practicing different pleat combinations, as in C, braid, and hemstitching ( Fig. 168) . Because many
Figure 167. of these finishes are narrow, they solve some of
2. The difference between this length and half the problems of finishing the ,·ery circular skirt.
of the "easy" belt measure, gives the allowance In woolens, seam tape applied as a facing is help-
for underpleats. If th is difference, for example, is ful, for then only one seam of the skirt needs to
24", a space of 12" may be designed in pleats. be turned back, which will shrink out nicely. Sev-
This may consist of six 2" pleats, twelve 1" pleats, eral ro\\·s of machine stitch ing giYe firmness and a
four 3" pleats, eight l lf2" pleats, and so forth . tailored appearance.
W hen these have been made satisfactorily in A complete knowledge of the possibility of
paper, they may be marked by pins on the cloth. these finishes enables the designer to make better
Use this pattern to insert pins at the waistline, patterns.
150 Practical Dress Design

\
I
I
I

B -- ~
A D

Fig. 169. Side pockets in skirt.

Pockets shaped pocket piece is needed- to be sewed as an

extension on the right back hip. The faced front
Patch pockets are quite effective on skirts- gore is lapped over the pocket section so that ~ip
they are cut free-hand. Currently there are many seams match. Baste and stitch the pocket secbon
of the kind set into the hip seam or developed following the Yz" seam allowed on the edge of
from an underlap on the yoke with a faced over- the pocket; keep the vertical seam from pocket
lap on the body section, as in Figure 80. A poc~et opening to bottom of pocket free from the skut
on the right hip seam only leaves the left s1cle seam.
seam free for easier application of a slide fastener The skirt pocket, C, is made in the same
placket. . manner as blouse pockets (Fig. 80). The shape, a,
A simple pocket to cut and make conSISts of is sketched on the skirt fron t wi th the one or two
two identical pieces shaped as in A (Fig. 169), basic darts in the pocket section. The dotted line,
2" or 3" longer than the opening. One is sewed b, represents a decorative stitching on the faced
on the right front of the skirt above the placket skirt section. The lower pocket line, c, is three or
opening as a facing (seam stitched, then p~essed, more inches below the visible stitching.
trimmed to YE"- ¥4" or graded and under-sbtched With a tracing wheel make the underlap or
close to the edge, i.e., through the facing and two pocket inset from waistline to the deptl~ of pocket,
seams but not the skirt proper-to make the fac- c, including the darts or dart tucks to g1ve a .casual
ing always stay inside out of view).. ~e oth~r softness. Cut the skirt proper on the openmg, a.
is sewed to the right back of the skirt m a plam Cut a facing for a, down to match c. Ad~ the
seam and pressed forward as the undcrlap. Then same size seams and notches on a11 three p1eces.
the two pocket edges (notched ) are sewed to- In dressmaking, pin fit skirt first to be certain
gether. The top of the pocket is stay-stitched to of darts and hip seams. Face skirt with the piece
the top of the skirt before applying the be~t. ac, clipping curves. Top stitch on line b or closer
The maker should be warned to have the skut to a. Pin or baste the faced skirt section on top
properly fitted over the hips before applying this of the darted pocket section. On the wrong side
pocket. A faced side pocket * inserted in a se~m sew the seam c, free from skirt. This pocket
may be cut in one piece, then faced before m- creates some bulk over the hip so should be
serting in the opening, B. avoided in heavy fabrics or in a left hip witl1
Another simple set-in pocket consists of a fac- zipper placket; try a CF or CB opening, or u~e
ing 2" wide, to be tacked invisibly, down the the pocket on the right hip only. The pocket It-
opening left on the right front hip, C . Only one self may be clipped at the hipline on a, so that the
vertical edge of the pocket can hang free of the
• Erwin, ~ label D., Clothing for Moderns (New York:
The l\ lacmillan Company, 1949). skirt seam.
 Skirts 151
Placket BELTS
The standard placket opening today is finished
Straight Belt or Band for Separate Skirt
with a slide fastener. Good directions for inserting
one are found in the package. It is better to cut
Cut the belt longer than the measured length
the skirt with hip seams somewhat wider than Yz"
of your waist to allow for the flare of the hips
or the front edge of the placket will need a tape
or torso. \ -\!ide belts need to be longer. Add 211
or bias strip applied for facing extension. The
for the underlap extension of the back- the front
placket, of course, is not made until the hip and
end of the belt should finish flush with the left
waistline both have been approved in fitting and
underarm seam or placket edge. If the placket
stay-stitched. T he standard skirt slide fastener is
opens at CF or CB, it should lap right over left.
7" long; it is easier to dress with a slightly longer
Fit to body or model. .
one. With short jackets a shorter placket in the
Tear cloth strip (cut paper if a pattern) tw1ce
skirt is necessary-perhaps two short ones in place
as wide as the finished belt plus seams on two
of a longer one. Long ones are better at CF or CB
sides and ends.
than on the hip. The opening sh ould be long
The belt needs an interfacing half the width
enough to leave ~" free space above and below
of the finished belt plus W'. It is placed next to
the metal fastener plus the seam allowance-Y211
the wrong side of the outer half of the belt so that
-at the waist, thus one inch longer than the
the staY-stitch "·ill then be near the top of the
fastener metal measures. Some of the expensi,·e
inside belt after folding. t\fatching thread must be
h igh-style dresses have the placket finished by
used as this stitch is permanent. Stay-stitch 1/ 16"
hand; unless fine evenly spread stitches are used
from edge of interfacing.
it may look homemade.
Press the top fold of the belt in a semicircular
One of th e best modern meth ods * is to close
concaYe shape before basting to skirt. Right side
the hip seam with basting and work entirely from
of skirt is placed to right side of belt for basting
the wrong side.
in a plain seam. (Then fit, rip ends, make
I. Open and press basted seam line. placket. ) Complete belt by. closing ends of belt
2. ·w ork on wrong side with right side of with right sides together, stitched to forn~ ex~ct
fastener next to the seam, and left side of fastener right angles, trimmed and turned; by top sbtchmg
metal against the seam line. Stitch (from bottom preferably, from right side all around.
to top ~ 11 from right edge of metal ) the fastener
tape to the back seam allowance, using the regular Separate Belt
presser foot (left edge) and regular stitch.
3. C hange to cording foot with left toe. Tum A straight strip of paper (or cloth ) is folded
the fastener face up; fold a Y8 11 pleat from the in two lengthwise so that the pointed or curved
back seam allowance over to the edge of the
fastener metal. Stitch from bottom to top-this
completes the underlap.
4. To make the overlap, continue to work on A
wrong side. With fastener face down on .the
opened seam, spread skirt smoothly and stitch
from bottom up-first across the tape close to the
metal at bottom of fastener, up 1/ 1611 away from
metal, ~~~wider at top for the pull. D
5. Be sure to press on wrong side before re-
moving bastings. '
Incorrect 1

Other closings are made as in blouses : th e h em

on a shirtwaist dress and the fly closing. See F ig- E ::
ures 72, 73, 75, 76, 77. Fig. 170. Se parate belt. A, finished sha p e of standard sty e.
B, correctly stitched. D, finished pattern. E, i ncor~ectly fold ed
* Bishop, Mrs. Edna Bryte, Clothing Construction to c ut edges (instead of to the se am li ne} result1 ng 1n shape
M ethods (New York : J. C . Penney Company, 1953) . not symmetrical.
152 Practical Dress Design

~ ~
A
~~
:

Fig. 171. Contour belts designed from top of skirt pattern.

end can be cut perfectly symmetrical, A (Fig. Join these at the side scams and open at CF, A.
170 ) - then seams are added all around . The Add enough for overlap. Then shape to any style
length should provide for attaching to the buckle you wish, usually narrow in front and dipping in
plus overlap for eyelets. the back. The belt made for one type of figure
If one does not want a seam on both sides, cut thus may not fit some other person or garment.
the strip twice as wide as the finished belt plus Shaped girdles and cummerbunds may be made
two seams, B. Fold first lengthwise through the in two pieces with normal waistline seam, using 1"
middle, then bring fold to the seam line, before off the bottom of the blouse pattern and 2" or 3"
cutting the pointed end. off the top of the skirt, B.
Shaped belts without the commercial buckle Free-form, asymmetric designs, decorative quilt-
can be made more distinctive by ingenious but ing, ball fringe, dangles-handmade ( not home-
simple designing and by finishing in a well-tailored made or amateurish! ) buckles, ties instead of
manner. Such belts need an interfacing, and a buckles, piped buttonholes, ornamental beads, and
lining cut smaller than the outside belt. buttons may suggest unusual features to use with
simple cut or basic style dresses. Needless to say,
Shaped Belts
the shape of the belt should harmonize with some
A contour belt that fits cannot always be found other feature of the dress, but should not be too
ready-made. A pattern is easy to develop. Trace obvious a repetition. In fact contrasting textures
the waistline and 3" below on front and back skirt and colors frequently are smarter than the belt of
patterns with basic darts pinned in (Fig. 171 ) . self-material.
 Chapter 14
DRESSES

Earlier civilizations, some more civilized sizing the slee,·eless or dolman slee,·ed dress and
and others more primitive than our present in- suit rather than the time honored set-in normal
dustrial era, developed beautiful garments chiefly slee,·es. The \nap-around house dress and the
by draping or folding rectangles and triangles of tubular jersey worn with an elasticized "cinch"
cloth about the body. They were secured by ties, belt are further examples.
girdles, pins, and other ornaments. The clothing i\Iodern clothes are made under th ree systems:
industry was focused on harvesting the fiber and
I. By high-style dressmakers for indiYidual cus-
constructing the cloth. For complete functional-
tomers, designated as custom-dressmaking in
ism and pure beauty they are well illustrated in
America, and as the haute-couture in France.
the classical Greek chi ton and today by Oriental,
2. By the factory system, chiefly in United
South American, South Pacific, and African robes
States, turning out ready-to-wear for the millions.
like the sarong, kimono, sari, serapi, and huipil
The gannents range from crudest, ill-cut cheap
(Fig. 172), the peasant blouse, and the kilt.
clothing to beautifully styled and tailored well-
This primitive rectangle method of designing
fitting clothing. They are fairly well standardized
clothes intrigues us when we consider the ease of
as to size when compared with the output of
constructing, cleaning, and storing with the ac-
other countries. The styles are becoming more
cent on the inherent beauty of the textile itself
standardized as labor costs go up. The average
and the accessories. It is amazing that this gen-
or abO\·e aYerage lines are better made than most
eration of modern young people who demand
\\'Omen are able to duplicate at h ome.
contemporary housing and casual living ha,·e not
3. By the home se,,·er, mother, or career girl
adopted and adapted this type of dress more
\\'ho has higher standards or tastes than the budget
fully. It is both natural and graceful but it may
\\'ill bm· in read,·-mades, or ,,·ho has a creative or
not be so comfortable as semifitted clothes; how-
designi~g urge o.r lo,·e of pretty clothes.
ever, stores would be relieved of fitting depart-
ments. The emphasis for good dressing would be In each group there is a necessity for simplifica-
on skill in draping, on posture and, perhaps, charm tion of production and th is can be brought about,
of mind and wit. The recent success of the dirndl perhaps by changing our emphasis from cutting
skirt, the stole, and the peasant kerchief indicates and rejoining many pieces o,·er to making better
a desire for the simple, but how often did it de- choices in texture, color, and line (cut of pattern ) .
t eriorate to sloppy ways? Not every girl can ar- ImprO\·ed methods of se,,·ing are being developed
range a stole artistically. If we all lived on beaches and taught. Se,,·ing machines are being made
or did not use a subway every day, rectangles \\'ith impro,·ed attachments or adjustments. Mod-
might serve. However, we do see evidences of a em methods should free one's time without sacri-
return to simpler fom1s, n otably because of the fice of professional finish. \\no wants to spend
high cost of labor and sh ortage of skilled artisans t\\·o hundred laboratory hours making a padded,
in the needle trades. Many designers are empha- taped. interfaced tailored suit that looks like
153
154 Practical Dress Design

/lfltWIIflllllillllllfllllllllllll([Link]•

12

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I
9 I
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11
10

Fig. 172. Ga rments without patterns. Rectangles and tria ngles ingeniously used in d ifferent times •nd parts of t he world.

$29.50? There are too many attractions and bene- girls, career girls, and many other young women
fits to be derived from the release of time and the basic seven * forms the core or backbone of a
energy. well-planned wardrobe. These seven are a year-
A happy medium between the draped rec- round topcoat; a soft suit; skir~ ~weater and sepa-
tangles, the French hand-cut dress and the Amer- rate jacket unit; a shirtwaist type of dress; casual
ican ready-made seems to be the modern trend. sport or general wear dress; an afternoon, date, or
One needs to face economic facts and re-evaluate "Sunday" dress; a party dress-formal, dinner,
one's philosophy of living to design fashion-right "after-five," or dance dress. Each of these types
clothes. must be chosen to suit one's needs as to cost,
climate, business, or social participation and so
PLANNING THE DRESSES that some of them may be worn together. Ac-
cessories and variabons of any or all of the basic
In designing a dress as a personal problem one seven are the constant concern of most women
sh ould have either a specific use or a particular
type of occasion in mind. For the greatest satis-
faction the colors and textures chosen sh ould fit • Erwin, :\label D., Clothing for Moderns (New York:
into a coordinated wardrobe plan. For college The Macmillan Company, 1949), p. 60.
 D resses 155

Fig. 173. Trial sketches based on one ide a.

and the basis of the huge clothing industry in Where is the waistline? What effect will this
this country. For a particular dress you certainly have on space divisions? H ow is balance for a full
should have a general idea of the occasion, color, skirt or slim skirt achieved?
and texture as a basis for making your first plan. W here does the sh oulder seam end? Is it
In addition, there must be recognition of the padded-why?
limitations of, as well as the best lines for, the What types of sleeves and necklines seem domi-
wearer's build and personality. nant? W hy?
A designer for a manufacturer usually begins What accessories are fashion-right this year-
with a specific fabric and an assignment from the that will complement this dress?
manager or department supervisor as to the type \ \That decorative items (trimmings ) are avail-
of garment for which the cloth was first purchased, able that "·ould fit the total cost of the final gar-
such as slacks, girl's school dresses, wedding ment? \\"hat are the limitations of the operator
gowns, suits, or party frocks. or dressmaker and her tools?
Designing eith er for yourself with your personal After a survey of these h\·o general problems:
foundation pattern or for the general public \\·ith ( l ) the type of garment to design; ( 2) the general
the man ufacturer's sloper, you need design ideas. fashion trends-one must get something more
You already know where to get them-from first- specific on paper. Assemble all the clippings,
hand or second-hand observation of current styles sketches, and mental notes you can locate. You
by attendance at fashion showings, study of fash- may use a sketch provided by someone else, your
ion magazines, newspaper reportings; a fundamen- boss or your customer. Such a sketch need not be
tal knowledge of how to apply art principles to a true-to-life drawing, or one in perfect scale, but
costume and a basic understanding of h ow gar- it helps to have a working drawing that shows
ments are put togeth er and finished; a flair or location of seams, darts, and oth er lines. Details
enthusiasm for good-looking clothes and acquaint- of decoration or dressmaking finish may be extra.
ance with the better types through store selling If you are not so "good" at making these work-
or buying, window shopping, and attending affairs ing sketches, use transparent tracing paper as an
where well-dressed people are to be seen-just overlay on an outline of the silhouette you pro-
to mention the more obvious sources. pose to use. Make a dozen or so copies and de-
,-eJop your various ideas on these tracings. Copy
DESIGNING BASED ON SILHOUETIE each outline and modify the silhouette based on
th is season's fashion news. Block in general
An important consideration is the sillwuette-
space di,·isions before details. See how much bet-
a problem in the successful end product, and an
ter you can do. \\"hen you ha,·e a better idea,
economic problem, too. Silhouette is determined
consider the time and cost of making. \Viii you
by the length and width of the garment both of
or the operator ha,·e the technical skill for execut-
which affect the yardage as well as the fashion
ing the details? EYen so, do you ,,·ish to spend
quality. TI1e fashion world revolves around such
questions as: .your time that way? .
If YOU ha,·e a brief idea of some kind see what
How long are skirts this year? Are they straight
~-ou can do to make it different, more interesting,
and narrow or distended? If distended, are they
and more distincti,·e. For example, begin with an
full all around, or is the fullness concentrated at
ordinary blouse design ( Fig. 17 3) . Make a dozen
the back or at the hips to create an arched h ipline
tracings of the silhouette. ~lake the following
with flatness at both front and back (Eliza-
changes:
bethan)? Is gathered, pleated, or circular fullness
preferred? mo,·e lengthwise lines to change spaces,
156 Practical Dress Design
raise the motif, climate, to travel, or for work, easily gotten in
lower the motif, and out of, full enough, yet not obviously the
change its size, prim shirtwaist dress. Such an assignment requires
change its shape or contour, many trials to get a style that is neither kiddish
reduce or change the collar, nor matronly. There are countless restrictions set
reduce, add, or omit trim, up by the clothes-minded public-perhaps, based
change the number, kind, and size of buttons, on prejudices, sheer notions, but often for such
reduce size of motif and increase collar, reasons as hiding a scar and other personal defects;
increase size of motif and reduce collar, avoiding hard-to-reach openings, covering the
use two or more motifs, elbows, securing the sheath effect yet having free-
use asymmetric design, dom, securing a fashionable short length yet long
change spaces from vertical to horizontal, enough in parts to partially conceal thick legs; a
change from vertical to oblique, short skirted wedding dress, elegant yet useful for
change motif to asymmetrical shape, occasions afterwards; a battle jacket for a short
change the closing. plump woman to pull on during television in a
drafty recreation room, perhaps of velvet, and so
As you proceed other variations will come to
forth.
mind. Select several of the best, criticize and re-
Setting up some limitations of your own offers
fine the shapes and proportions. Select the best
possibilities for a design that may be different
one.
enough to be hailed as new or a successful seller
Or begin with a blouse, skirt, or sleeve sil-
because it fills a need. The following suggest ways
houette in vogue and becoming to you. Break the
of coming to a conclusion.
large area into two or three well-proportioned
Bolero-shall it be collarless, double breasted,
spaces: ( 1) with horizontal lines in the upper
flared in the back, sleeveless? Or shall it have a
area; ( 2) in the lower area; ( 3) with vertical space
Peter Pan, shawl, or Chinese mandarin collar;
divisions; (4 ) with diagonal lines; ( 5) with com-
kimono, raglan, or dolman sleeves; have collar and
binations of vertical, horizontal, and oblique; ( 6)
lapel cut in one, wide cuffs, three-quarter or short
convert some to curves in harmony with body or
sleeves?
silhouette curves; ( 7) repeat some; ( 8) accent
Child's dress-shall it have short yoke-like
some by parallel lines. Make mental or pencil
bodice, or be long waisted; have long or short
ideas of decorative accents on lines such as pleats,
sleeves, be sleeveless, or ruffle or band only on
tucks, stitching, scallops, hemstitching, braid,
armhole or have puffed sleeves, lantern sleeves; a
fagoting, tabs, flanges, loops.
Peter Pan collar or a binding at neck; three widths
Transfer the final idea to the foundation pat-
or two in the gathered skirt; a circular skirt; belt,
tern. Make first division lines in chalk or soft
sash, or ties?
pencil with bold smooth strokes. Avoid fine
Ballerina skating skirt-shall it have for a top
sketchy lines with hard pencil. Try on model or
a waistcoat, jumper, peasant sleeves, Mexican
self for proportions. Refine lines and fill in de-
blouse, squaw shirt, halter neck, bolero, strapless
tails last.
bodice, bat sleeves, mannish shirt, lantern sleeves,
Some excellent designers begin with a good
fichu, leg-o'-mutton sleeves, princess cut, Puritan
accessory like a leopard skin belt, a topaz ring, a
collar, fur collar, large cape with sleeveless blouse?
contemporary handmade silver neck band, or a
Jumper style dress- shall it be open down the
pair of red shoes. More specifically you need not
front or zippered at CB; sheath skirt, gored, or
begin with a small sketch, but work directly on a
circular; have a peg-top skirt; princess or Empire
copy of the block pattern. If you have an idea for
cut, longer torso; be wrap-around, have pleats?
a skirt go ahead and develop it then design the
Shirtwaist dress or coatdress-must it open
blouse to suit it.
down the front, or can it be off center, or have a
fly front, a shirt front or be a step-in style; flared
DETAILS AS SPECIFICATIONS
by circularity or godets rather than standard six
E very designer is confronted with a problem in gores? Changed from notch collar to basic neck-
designing to specifications-certain requirements lines for necklaces or to a sailor collar? Where can
of a customer, the public, or one's self. For ex- the pockets be? Can sleeves be genuine shirt,
ample a sheer cotton for half sizes-for Southern coat, or raglan sleeves? How change the buttons?
 Dresses 157

I
0
0
0

Jr
0 'I
I
0 I
I
0 'I
0 '
B
Fig. 174. What silhouette as basis for your dress design 7

How could it be developed in brocade for eve- into four differen t types of sleeves (long, three-
ning? quarter, slee\'eless, puffed) and four types of neck
Battle jacket-shall it be drop shouldered or finishes (halter, Peter Pan, shawl, asymmetric),
be cut with raglan or kimono sleeves; have a turtle making sixteen suggested choices. This may be
neck, cardigan, deep V pullover like a sweater; like paper-doll play but practical.
must it be wool or how about lace or velvet? T able IV provides further suggestions. Add to
A simple formula which helps many designers the list in each group. Looking through fashion
get started after selecting the fabric based more material for current popular ideas you should
or less on the purpose of the dress, is to decide check those that seem suitable or practical or new.
on the basic shape. Make a copy of one you have Combining the details with the basic cut in fresh
in mind, as A, B, C, D, or E (Fig. 174 ) . Suppose ways is not original designing, perhaps, but pro-
it is B- fitted bodice, round neck, short sleeves, vides less ordinary results. Pirating designs is cer-
full gathered skirt-you convert the basic shape tainly unethical. After all, there seems to be

Fig. 175. Modifying a design id ea.

158 Practical Dress Design
nothing new under the sun, but perhaps there are D, the silhouette has been changed by narrowing
new combinations of old ideas. the skirt but loosening the bodice to avoid a
Such mechanical devices are only helpful in skimpy look; the front fullness offers softness, the
getting started. To the basic concept you have scalloped pockets are not too obvious a repeat and
developed, you must add the lines and shapes accent a structural line. In fact, an inside skirt
that are becoming, suited to the fabric, suited to yoke or lining is needed to hold the front fullness
the skill of the operator and above all consistent in place and the pockets will thus have a two-
with the basic principles of good design. For ex- fold function, accented by the scalloped edge. In
ample, in Figure 175, the sleeves in A are in har- E, the designer forgot about scallops to secure a
mony with the neck but not an obvious repetition. more sophisticated styling, while in F, the classic
The puffed sleeves in B balance the full skirt but cardigan cut was combined with a shoulder yoke.
the bodice and collar are kept trim and petite to What improvements can you suggest for E and F
avoid bulk. In C, there is too much repetition without overdoing a design idea, yet developing
of the scallop idea; the pockets are too small. In a slightly refreshing innovation?

Table IV

FABRIC SILHOUETTE CUT WAISTLINE OPENINGS ARMHOLES

-
crepe sheath chemise standard CF set-in
chiffon bell princess high CB kimono
denim Empire one-piece low underarm raglan
pique hour-glass two-piece belted should er dolman
faille tulip asymmetric dra ped d ouble breasted square
Swiss long gored wide surplice sleeveless
flannel short circular narrow wrap-around
chambray back fullness gathered cummerbund slide f ast ener
shantung front fullness pleated drawstring tie s
jersey flat front darted elastic
cotton tweed hooped middy cinch belt
velvet pyramid coat contour belt
tulle arched hip wrap-around
bloused t op French dart

NECKLINE NECK FINISH SLEEVES SKI RT DETAI LS DECORATION

high collarless long apron pockets tucks

low stand ing short peg-top buttonholes pleats
v convertible sleeveless trouser top tabs shirring
bateau fl at three-quarter wrap-around flaps smocking
round rolled wide harem d ra pe yokes quilting
square mandarin leg-o'-mutto• swag drape panels embroidery
asymmetric turtle ned . puffed flamenco apron sc allops
portrait fi chu cuffed ballerina flounces loops
t ie push-up waltz length ruffles Angora
cape bishop broomstick vestee beading
cowl peasant train lapels f agoting
halter lantern fl ounced peplum t op stitching
shirt step-in removable pick stitching
surplice lace edging
knitted ribbing
fri nge
scarf
buttons
cord ing
intarsia
braid
ric rae
bias
insets
bows
fur
leather
 Dresses 159
BASIC CUTS IN DRESSES must be harmonious with those in the other.
A side placket or center front or center back open-
Cuts in dresses may be grouped into five basic
ing is necessary because the waistline is fitted . The
types :
one-piece type of dress ranges from such fashion
I. Chemise. favorites or classics as the shirtwaist or coat dress
2. Princess. and the casual afternoon dress to the "after-five"
3. Long torso or middy. dress, the cocktail dress; formal and informal, long
4. One-piece dress with waistline seam. and sh ort dresses in all silhouettes.
5. T wo-piece dress. 5. The two-piece dress, 18-23 (Fig. 176), may
be a jacket dress, a suit or ensemble, and all the
I. The chemise type, 1- 6 (Fig. 176) and 1- 6 numerous combinations of "separates" : blouses
(Fig. 177), has blouse and skirt cut in one piece varied as blouse with peplum attached, over-
without a waistline seam. It is designated as the blouse, weskit, jerkin, middy, camisole, and shirt;
sacque, shift, nightshirt dress, or the sheath. ·with- jackets varied as boleros, battle jackets, box jackets,
out waistline darts and hanging free from the F rench-dart jackets, dusters, three-quarter and
shoulder it becomes a duster, brunch coat, neg- full-length coats, redingotes; all worn with skirts,
ligee, smock, raincoat, shirt, wrap, or coat. By dart shorts, pedal-pushers, bloomers, or trousers.
man ipulation more fullness may be swung into 6. Combinations of the above basic types con-
both waistline and skirt area. Belted it resembles sist of having the front of the garment designed
a one-piece dress, but with a casual effect due to in one cut and the back in another-for example,
the necessity of arranging the fullness under the the front m;Jy have a waistline and the back be
belt each time worn. ch emise or princess in line.
2. The princess type, 7, 8, 9, and 11 (Fig. 176),
CHEMISE TYPE OF DRESS
also has no waistline seam but fits better than the
chemise because it has the vertical French-dart The chemise type of dress pattern is the sim-
seams both back and front over the prominent plest type of pattern-one step removed from the
bulges. It is the basis of the Empire high-waisted primitive rectangles. Because it retains the basic
dress. darts in all parts except the waistline, it fits fairly
3. The long torso, middy type, 10 (Fig. 176), well. It consists of a one-piece front and a one-
is a long-waisted type made by cutting a horizon- piece back. If cut without a seam at either CF or
tal seam between the waistline and hipline- de- CB it is at its best in the sheath styles, but flare
veloped from either the chemise or princess cuts. and fullness may be obtained in the usual ways.
T he skirt may then be straight gathered or pleated, It is suited to varied materials from cotton house
or circular- easy to cut and attach. dresses to pleated sheers and heavy silks and
4. T he so-called one-piece dress, 12- 17 (Fig. ,,·ools; and to varied uses from aprons to evening
176), is made of a separate blouse and skirt go\\'nS. The tops may be h igh, low, wide or narrow
seamed together at the waistline. It invoh·es more collared, slee,·eless. The \\'aistline may be neatly
dressmaking problems than the chemise or prin- darted or casually pleated in under a string belt
cess styles, of course depending on the details. or a wide cummerbund or left to hang free. M any
Since the basic darts in the blouse are not the of the \\'rap-around, easy-to-make sport and house
same width as those in the skirt especially on fig- dresses are cut this way. C oats, dusters, smocks,
ures m ore or less imperfectly proportioned, this and negligees are developed from this basic pat-
style is the best way of securing a smooth fit in all tern, A ( Fig. 177) .
parts. The princess can fit snugly but usually has Begin with the basic French-dart jacket pattern
to have a certain amount of looseness at the (Fig. 89), then extend the CF, CB, and hip seams
waistline; more vertical seams than the standard do\\'n the desired length, A. Check to see that
six in the princess cut aids in balancing the ease. the distance from waist to hem line (or floor)
At its best the waistline seam should be so corresponds to the m easures of yourself or your
smoothly fitted and constructed that a separate model (usually CB is longer than CF ) . Make
belt is unnecessary to cover it. The blouse and side and CB flares as for skirt, J (Fig. 157 ), unless
skirt are two separate units so that one may be fullness is to be pro\'ided otherwise as in pleats,
full and the other snug; of course, lines in one illustrated by dotted Jines at CB, A. The amount
160 FOUR BASIC DRESS DESIGNS

. 9
Pnncess and l eng Torso

.
20
•~PiM~T
T
Fig. 176' BliSIC
ypes
• cuts •In
/ 21 \
dresses.
 D

''
''
'
''
''
''
Groin ' ',

Fig. 177. Chemise dress pattern developed from Fren ch-dart jacket; A , baclt ; B, front. C, d ust e r with waist dart thrown into
skirt flare. D, waist da rt not stitched but crushed under belt. E, F, G , sug gested chang es. H, basic dart thrown to hem, marked
~:;:r yoke a nd slash lines f or gathers. I, more flare ; may be cut on b ias. Fairly standard ch emise cuts, 1-6.
161
162 Practical Dress Design
of flare is optional. toward the armhole, into a yoke, or modified by
Use this pattern as you would a blouse pattern more flare or pleats at the seams, 7-11 (Fig. 176).
for any details desired above the waistline, and The Empire top which places a horizontal line,
apply techniques on skirts for changes in the 8 and 9, such as a yoke near the bust serves to
lower portion. break the vertical lines. Whenever this style is in
The chief disadvantage is that the fullness in fashion, wide necklines, large bows, wide shoul-
the skirt must necessarily fall below the fullness ders, wide collars, and puffed sleeves serve to bal-
line in the blouse and be of the same width. In a ance the unbroken line of the princess sheath.
standard dress pattern with waistline seam, the Such dresses may be worn also with a belt for a
blouse dart is wider at the same point than more conservative effect. With0ut the belt the
the corresponding skirt dart. For many figures accent is on a smooth torso and soft roundness
more ease is needed at the bust than over the at the bustline.
hips, or vice versa. Standing before a mirror the Actually the princess-Empire style is a skirt with
wearer arranges the fullness into casual folds but a high waistline attached to a blouse with the
unless the belt is a cinch type and tight, the folds lower part removed (Fig. 145) . Hence, you may
do not long remain that way. For casual use, how- begin with a two-, four-, or six-gored skirt pattern
ever, the effect is not at all undesirable. Wrap- and the standard bodice. Make any vertical or
around effects are developed by extending the diagonal lines of your blouse match those in the
side seams of back or front surplice style to tie skirt at the waistline. Develop each independently
together, E. Side panels or no side seams, yokes, and later join together at the waistline. The more
circular flounces, elastic shirring at waistline, and vertical lines crossing the waistline the easier it
drawstrings in a casing are some of the com- is to unite them, keeping centers, seams, and grain
mon adaptations. lines continuous.

PRINCESS TYPE OF DRESS MIDDY OR LONG TORSO TYPE OF DRESS

The princess type of dress pattern was de- In Figure 178, the French-dart or chemise pat-
veloped from the French-dart bodice and jacket tern is cut off between the waistline and hipline
patterns in Chapter 9 (Fig. 94). If the garment to give a long torso effect. In itself it is a middy
is cut from the basic pattern, the wearer should or long over-blouse. Any variety of skirts may be
have good proportions, good posture, and good added- gathered, pleated, or circular. If the line
foundation garments. But the lines may be shifted is shaped, B, the skirt section will have this shaped
to more becoming locations as was done in de- cut-out retained in the slashing and spreading so
veloping well-styled jackets. To avoid accenting it will fit the original bodice line, as in yoke de-
the bust, the French-dart line may be redirected signing, C, (Fig. 161).

Fig. 178. Long torso or middy styles developed from a chemise cut, A-D. E, tie-around style with back of one-piece chemise
cut but front in two pieces.
 Dresses 163
c

I
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CF I
I
I
I I
i I
I I
I I
I
I I
I /
I I
____ ; I / ''
I

Fig. 179. A, one piece dress without waistline. B, elevation drawn on basic front and back with darts folded in and sides folded
under to give better idea of proportions on model. C, cut apart on style lines. D, bodice slashes fo r drape; three yoke pieces
joined as one for fitted torso; sid e seams of skirt narrowed, with slight flare added at side front over thighs, much flare in back
for sweeping style.
 164 Practical Dress Design
Since the back is straighter, it is often cut in A B
one piece and the front in two, perhaps with a
crosswise seam at the waistline in order to achieve
a smoother fit. In F, back flared gores were added.
If the neckline is cut low enough both CF and
CB may be cut on a fold.
ONE-PIECE DRESS WITH WAISTLINE
The so-called one-piece dress refers to the fact I
I I
that bodice and skirt are sewed together at the I I

waistline, 12- 17 (Fig. 176). Previous chapters L.- - - - ·- - - - _,

have developed the techniques and principles for Fig. 180. Bolero cut from basic blouse pattern. A, back
with waist d a rt retained for close fit. B, underarm seam of
each of the basic parts to make such standard front to match the back; darts for fitti ng at shoulder and
changes in dart and seam locations, closings, undera rm. C , box jacket with basic d art partly retained at
yokes, fullness, and gores. shoulder, part left at waist line for straight loose front.

In summarizing, design the one-piece dress by

making a copy of half (or whole) front bodice THE "BASIC" DRESS
and half (or whole) front skirt. Draw elevations The "basic" dress is generally thought of as one
on each to harmonize. T hen work separately in which can be quickly changed by accessories to
developipg the details of the two units but con- "dress it up" or "dress it down" for various occa-
stantly refer to and check the other unit. Do the sions, to give the wearer a feeling of change, and
same for the back. C heck to have horizontal or to act as a suitable background for special pieces
diagonal lines of the front bear a pleasing relation of jewelry. A slim skirt, neat waistline, and a sim-
to those of the back, actually matching if that is ple collarless neckline seem to be prime requisites.
the plan. Pin all parts together to check lines, The length of skirt and sleeve depend on the occa-
notches, and spaces preferably on a model or sions for which you will need it most. It might be
yourself, before completing details, seams, or a dinner dress to be worn for years, or it might be
hems. a party dress-tight bodice and full skirt; or a
Asymmetric dress designs require working with shirtwaist type; but probably it should be a more
a whole front or whole back. Many of these de- general or casual type than any of these. The pop-
, signs have vertical or diagonal lines intersecting ular "little black" dress has been one that could
the waistline, 16 (Fig. 176) . be worn in winter or summer, day or evening,
T he blouse and skirt units may be developed with or without a jacket, jewelry, hat, or furs.
separately then joined as one piece to meet at Schoolgirls select sheath and French bodice
the waistline (Fig. 179) . If much of the waistline styles as excellent basics developed in practical
seam is thus to be eliminated, begin designing fabrics like flannel, denim, linen, jersey, crepe, and
with a princess basic pattern, or the French-dart velveteen.
jacket pattern, or the chemise pattern-which- The basic dress should not be too tight, but so
ever one seems to have lines nearest the design cut and fit that it is kind to the bulges or hollows
in the sketch or elevation. Note similarity of dress each individual wants to minimize. It must not
(Fig. 179) to costume slip (Fig. 95) . be too plain- but be somewhat distinctive be-
cause of unusual dart manipulation, a slight full-
TWO-PIECE DRESS
ness entering some dart, broken lines in seams or
Essentially the two-piece dress consists of a closing and self-fabric fastenings; of course, no
separate skirt (attached to a belt or body) and a sewed on trimmings. The neckline sh ould be flat-
blouse or jacket. All of these have been developed tering for your age and build and be right for your
in various chapters of the book. T he problem in jewelry such as a deep V, a nice oval, or a high
designing such a dress is to have the parts well pro- draped neckline. An attached collar limits the
portioned and harnwnious, without undue repeti- changes that are possible.
tion . Jackets based on the French-dart bodice are For a woman with a noticeable abdomen, 3e-
illustrated in Chapter 9. Cutting a bolero is shown sign a dress with normal waistline or slight swath-
in Figure 180; a box jacket in Figure 57; a long ing at the midriff, a shallow hip yoke V-shaped
coat in Figure 177. at CF with a few soft unpressed pleats; a shallow
 Dresses 165
peplum; a small bit of concealing drapery; or a tie for adults but many blouses need lengthening at
slightly to one side. CF or a wider dart for fat abdomens; likewise the
Crepe is the ideal fabric, but shantung, linen, front of pants needs lengthening as in skirts (Fig.
faille, and soft woolens are successful. Black is not 5, 14). T he seat of pants to accompany this
the only color; consider a soft color that belongs change frequently needs a crosswise tuck or dart to
in your basic wardrobe plan, that will be versatile lift the grain so that the back balances the front,
and flattering such as brown, navy blue, teal blue, but the crotch in both back and front may need
or olive green. The color sh ould be wearable with hollowing somewhat. Sometimes the blouse or
your basic major accessories of shoes, gloves, bag, dress pattern is too long on the sh oulder or too
and hat. wide under the arm. The underarm seam in
The art of accessorizing is to use important or pajamas and coats frequently needs deepening but
handsome jewelry one, or at least not more than the sleeve seam lengthened as in Figure 112. In
two pieces, at a time. Will the dress look right general, it would be better to buy a smaller pat-
with your pearl necklace, rh inestone pin, or aqua- tern and lengthen it than to get too large breast
marine ring? Plan the dress so you will enjoy it measure just for the length.
one day with a smart contour belt or a fur belt, A mother who understands pattern making will
the next day with a cape, peplum, or apron; an- be able to vary a simple pattern that fits h er ch ild
other day with a perfectly cut white pique collar by the procedures in this book. Consult the Index
or a sequined dickey, a fur collar or a striped for any detail such as yokes, collars, hems on
taffeta scarf; or a pink carnation pinned on; with sleeves, circularity, puffed sleeves. Consider ease
\ a gray flannel blazer or a kelly green velveteen of laundering, ease of dressing, and youthful styles
bolero, a white angora stole, a fur jacket; white avoiding adult details. F or instance a circular ruffle
kid gloves, or string gloves. There are hundreds or lantern sleeve is easier to make and launder than
of spare parts to be dreamed up, designed, m ade, the gathered puffed sleeve. M any play clothes,
or acquired. n ight clothes, and coats will be m ore wearable if
you convert the standard set-in sleeve style to a
CHILDREN'S CLOTHES
raglan type. Princess lines, close fitting gored
The techniques of pattern designing developed skirts, and convertible collars are not youthful
in this book are applicable to children's clothes. looking on a little child especially one that is
The darts of course are smaller than in patterns thin.
 Chapter 15
COMPLETING PATTERNS

In pattern designing all parts are developed a tailor's curved stick for more flowing curves on
without seams or hems until the last step. To hiplines and skirt hems. T he curved stick is
complete a pattern seams and hems are added, marked in inches so that a good curve between
grain, darts and other construction features are certain inches on one hip may be repeated on
marked and labeled or symbols for them are ex- the other hip.
plained in a construction sheet. Each workshop Study the fashion silhouette of today. The
has its own policy and system. Patterns made for shoulder and underarm seams may be straight but
the use of other people require more specific and be sure of it. It might give a newer look if the
accurate aids than patterns to be used by one's underarm arched out slightly. If so, use the curved
self or by an experienced model maker in one's stick in the final correction.
own shop. Certain markings are needed by all. Recall (Chap. 4) that the designer's basic dart
Symbols serve as a message of directions or re- ended on the point of bulge. Check now to decide
minder from designer to dressmaker. how much shorter to draw it. Fold in the new
Lines drawn (or later printed) on the pattern, dressmaker's dart to make the necessary correction
perforations, notches, cross marks, and words are at the intersecting seam. Study the silhouette
used. formed. The fitting dart may need arching, as well
Before any of these aids are added, all darts as the peplum (Fig. 181). Performations to indi-
and pleats should be folded in to correct the edge cate such curved lines may be long slots so the
lines and all adjoining seams checked for accuracy line is more like a stencil and easier for the oper-
of length and matching of centers, and notches ator to follow in stitching. Of course, these style
or crossmarks. qualities you may have added earlier.
It is customary to make a muslin copy to check Place shoulder to shoulder (after dart or ease
for style and fit. Any changes in muslin m ust be is folded in) to actually check the lengths to
transferred to the paper pattern. make them match exactly; then see if the inter-
secting neck and armhole curves are good direct
TRUE-UP LINES lines.
It takes these touches for the pattern to be
Each time a line is copied no matter how care-
good, but it always needs a final trial in material
fully traced or cut, errors or unevenness may de-
- at least before undertaking to use it for cutting
velop. In the final copy straighten and refine all
a h undred dresses.
lines before adding seams and hems. The yard-
stick and ruler are most used, but a tailor's square,
LABELING PATTERN PIECES
marked not only in fourths but in thirds and fifths
enables one to do more exact drawing. A plastic Each pattern piece may be labeled by name or
triangle is excellent for square corners. Use a by n umber, according to the needs of the operator.
Dietzgen # 17 curve for armholes and necks and For a pattern to be sold every single piece needs a
166
 Completing Patterns 167

Standard
Dart Marking Method of
Marking for a
Narrow Dart

CB CF

---Designer's Basic Dart

~~~L --Dressmaker's Dart

I
I 'I'I
I
I
I
I
I

French Dart
Jacket - 1!4 Size

Fig. 18 I. French-dart jacket pattern [quarter size) with p eplum. Darts shortened a nd curved for the s oft rounded look. Narrow
dart a t shoulder is best marked with line through center only, accompanied by specific d irections for stitching.

label; for yourself or a knowing operator only CONSTRUCTION LINES

tricJ...-y pieces need a label. Asymmetric sections
should be labeled right or left to fit together right C ertain lines need to be marked or have per-
side up on the right side of the fabric. Any piece forations punched on them \\ith suitable labels
that is to be cut in duplicate should be labeled or ~ mbols. explained on the guide sheet to ac-
"cut two," or "cut two, two linings and two inter- compan~· the pattern. :\lark the following:
facings." CF and CB of all pieces.
168 Practical Dress Design
Fold lines near CF and CB. tern with special attention to intersections at
Lengthwise grain in each piece and crosswise corners, B (Fig. 182). It only intersections were
grain at base of sleeve cap. marked, garments might be put together more
F old lines for hems or overlaps. accurately.
Fold lines of pleats and the lines they are to Cutting notches out is a safe procedure for in-
match. (Two different sizes of perforations at experienced workers but they may be more inac-
lines are used in this case with printed arrow or curate. Cutting notches out often interferes with
label to indicate which way the pleat turns.) placing patterns so they touch without waste.
Dart lines. Both the triangle and mid-line bi-
secting the triangle to serve as fold line for ease SEAM AND HEM ALLOWANCES
and accuracy of construction; the mid-line only on
Hem allowances at CF or CB and overlaps are
narrow darts such as the back shoulder or neck.
part of the pattern designing, well iBustrated in
Lines for location of buttons, buttonholes,
Figures 72, 81, and 182. The hem must be folded
waistline, pockets, facings, and other finishing de-
in place before cutting the seam lines across it.
tails.
Better results are obtained if it is kept folded in
while adding seam allowances then cutting on the
ASSEMBLING MARKS
new seam line.
Notches, cross marks, and perforations (circles, The hem allowance at the bottom of a skirt is
squares, and triangles) are used as messages from made by use of a gauge, then the new line trued
designer to worker. They should be used to show with a curved stick (Figs. 160 and 162). With
exactly where one point matches another, where forethought enough paper can be provided at the
a placket is to be left open, where gathers begin first cutting of a skirt pattern to leave room for
and end without any chance of confusion. A single this allowance and thus save time and paper to
notch or groups of two, three, or four notches are recut.
commonly used (Fig. 158). Since the designer Darts, tucks, and pleats should be folded in
places these before seam allowances are made, the pattern for seam line correction, in the correct
cross marks with a tracing wheel or slits in the direction, then seam allowances added (Figs. 162,
seam allowances are more accurate than notches 182).
cut either in or out. The greatest error workers C ut a gauge for the seam allowance planned
make is matching cut edges rather than seam and use it to mark all edges extending beyond the
lines. line sufficiently that it will intersect tl1e adjoining
Therefore, we mark all seam lines on the pat- seam at a true angle, B (Fig. 182).

..:---
------ --:
I
\ I A
I I
I I
I
\ I
I I
I I
I
I
I
I
I I
I I
I_------ --l
Fig. 182. Seam and hem [Link] added with the pleats, darts, and CF hem folded in, A and B. Note intersecting seams at
corners extended to ma~e true angles. Irregular edges, A and C , will refold to retain original smooth seam lines.
 Completing Patterns 169
Each factory or workshop has its own specifica- second fold line has bisected a right angle giving
tions for width of seam allowances. Make seams a true 45 degree angle line. Instructions on this
which may require fitting 1" wide, others ¥2"- %". line would read, " Place on lengthwise grain."
On such simple pieces as ruffles, belts, and pockets There are two of these diagonals in each piece of
%" seams may be sufficient and %" for a stitched pattern; you have to decide which one is to be
fell. But it is confusing to the average worker to lengthwise grain and which crosswise. In which
have different widths in the same garment. Seams direction on the garment do you want the stripes
that are to be finished narrow should be cut wide or dominant yarns to run?
because it is easier to guide the machine and con-
trol grain especially on bias or curved seams-the ECONOMICAL PATIERN PLACEMENT
trimming requires extra time and cloth but the
In making a pattern layout, we aim to :
seam sets better and is more accurate in line.
Necklines and other curves are more easily stitch ed I. H ave all pieces cut correctly as to grain and
with the presser foot as a gauge, hence %" seams design in cloth in order to retain the true set and
might be advisable in such cases. Slide fastener style.
plackets require at least a .Ys" seam, preferably 2. Have as few waste pieces as possible, or to
%"-1". have a few large pieces or one large piece left over
for other uses rather than many small ones. Sav-
GRAIN LINE ing yardage is important to the individual con-
sumer as \\·ell as the factory.
In each unit or pattern designed there has been
a discussion or directions for selecting the grain Some guiding principles are:
line. In summary, we repeat that the lengthwise
I. H ave pattern completely finished (grain
grain, usually the firmest h eaviest yarns in the
line extended the entire length of the pattern, and
cloth, sh ould be so placed as to hang vertically at
so forth ) . If the policy of the user is to have
right angles to the floor, generally at CF or CB
notches cut out ha,·e them so cut, because enough
and center of the sleeve. Stripes are sometimes
room between adjoining pieces must be allowed.
cut the other way for design interest. Garment or
\ Vould clips be as satisfactory, or chalk marked
true bias seam lines tend to ripple or flare away
through perforations?
from the body (Fig. 156) . Such pieces as the
2. Never cut any pieces until a complete lay-
French-dart bodice and gores sh ould have the
lengthwise center of each section on the length- out provides for all pieces.
3. T emporary layouts must be as carefully
wise grain.
checked for grain as if they were p ermanent, or
The grain line sh ould be drawn full length of
actual spaces may not be large enough for other
the pattern, not a short length ,,·ith three per-
pieces to be fitted in later.
forations 6" apart or a 12" line with arro,,· as in so
4. A layout for an indi,·idual garment as
many commercial patterns. The ends of the pat-
planned by a commercial pattern company or for
tern have a way of slipping off line when pinned
home use is different from a factory layout where
t o cloth.
sizes 12. H 16, and 18 are placed together on
the same stack of cloth perhaps 10-50 yards long.
Marking for Bias-Cut Garments
In factories, layouts rna~· be planned by using
Garments may have parts cut on the bias to fit small patterns reduced in scale on paper cut to
m ore snugly, to create a more graceful draped scale- the same principles ,,·ould apply. In a gar-
fold or to secure a V or h erringbone effect at a ment factory an entire front or back pattern is
seam. The line on the pattern usually calling for cut instead of just half. since the fabric is spread
lengthwise grain is to be placed on a true bias out full width on the table. In asymmetric designs
line of the cloth . ( One marks a line of true bias it is always necessary to ha,·e a whole piece. Small
on the fold created by making all the lengthwise pieces like pockets. collars. and cuffs are usually
threads parallel with all the crosswise threads. ) whole instead of half. There must be a pair of
To mark the pattern correctly, fold the original slee,·es-mates not duplicates-for each garment.
lengthwise grain line or CF or CB line over on 5. Begin with largest pieces at opposite ends
itself, then bring the fold over to these lines. The of the cloth and work toward the center, fitting
170 Practical Dress Design
in smaller pieces. This scheme leaves all the left- ances, supplement with contrasting fabric as in
overs in one large section rather than several small facings, collars, or godets.
ones. Since grain line is all important in styling the
6. Place the wider end of the large pieces at designer who made the pattern should be con-
the cut ends of the material. This leaves a wider sulted before a single pattern piece is changed.
space rather than a "bottle neck" open along one The designer might make an actual improvement
side in which to slide the narrow end of another through restyling, whereas another person might
piece of a similar shape. really ruin the style by merely changing the grain
7. Place all pieces actually touching (unless just to fit a pattern piece on the clotl1. It seems
notches, seams or hems are yet to be allowed in that a designer should supervise or at least check
your free-hand work room)! all layouts. When making a pattern for yourself
8. "Dovetailing" refers to fitting pieces similar you are in a position to decide on t11e grain when
in shape next to each other as is done in jigsaw actually placing on the fabric.
puzzles. A pointed yoke may fit better next to the 14. If the trial layout is used as a method to
pointed part of the skirt to which it will later be estimate the yardage to buy, several layouts as in
joined than it will around the curve of a sleeve Step 12, should be tried until scraps and yardage
cap. The narrow end of a gore often fits beside are reduced to a minimum. After several such ex-
the wide end of another gore, cut on the same periences the beginner designer will try to cut
angle of bias, but this device cannot be used if pieces that actually fit the cloth. It will be im-
the fabric has a nap or up-and-down design. portant to the designer to know whether she
9. When only one garment is being cut from is cutting a princess dress pattern fvr a 35" or 39"
a dress length, the fabric is usually folded length- width of fabric.
wise; then as many pieces as possible are placed For commercial pattern layouts, it is necessary
along the selvage at first to save the folded edge to show layouts for each different size, for differ-
where it is actually required. ent fabric widths, for different designs or views,
I 0. Refolding cloth is necessary for certain and for fabric with nap or distinct up and down.
pieces. Make it exactly wide enough for the pat- Commercial pattern guide sheets contribute
tern piece throughout its length leaving all the much worth while information to both the ama-
excess on one side. teur and the experienced user. Some of it is too
II . To insure cutting a pair, cut both pieces at stereotyped; for example, detailed instructions on
the same time by having right sides folded to- making bound buttonholes when the pattern
gether; or cut a duplicate pattern, properly doesn't call for such a finish. It would be much
labeled, right or left. more to the point if directions were given as to
12. Several plans may be tried : how much pinning, basting, or stay-stitch ing to
Cloth folded lengthwise selvage to selvage. do before fitting.
Cloth opened up and folded crosswise torn end Pattern construction sheets elaborate on the
on torn end. making of the garment with the proper joining of
Cloth opened full width on the table right side seams according to notch or cross markings, the
up for ease in later tracing on carbon paper and making of darts, pleats, gathers, and other de-
for locating fabric design better; for use with tails. Step-by-step organization sh ould be based
duplicate or full width patterns and especially for on simple but good dressmaking procedures- how
asymmetric designs. to do a professional job, when to press, what to
Cloth folded for part of the layout and opened do next. The designer must be a party to such
out for tl1e remainder. planning. Dressmaking experience for her is in-
13. If the yardage is not sufficient decide valuable. This book has only suggested such de-
wh ether to buy more fabric, change the grain line tails when tl1ey were vital to cutting the pattern.
on certain sections, piece some sections, shorten Chapter 16 briefly outlines the mo~t commonly
pieces, narrow some pieces, reduce the seam allow- used principles of cloth ing construction.
 Chapter 16
PRINCIPLES OF DRESSMAKING

In the following principles of dressmaking and the reason for it, and the student is more
we have stated the effect first, followed by the likely to remember. She, thus, has a tool for future
cause, but you may reverse the statement if you use.
like. We placed the effect first because it states A principle may be defined as a fundamental
the problem you want to solve or the standard you truth which has wide application, which has a
want to achieve. The second column tells how to cause-and-effect relationship clearly stated or im-
do it or when to do it. If we left off the "effect" plied, from which other principles may be derived,
column the principle would become a rule, law, and the following of which yields consistent fairly
or precept, very good in itself, very useful but certain results.
it would be the "how" without the "why." Students and teachers are too prone to be satis-
For example, the question is often asked, "On fied with the rule or statement and neglect the
which side of the machine is the flat side of the reason, but \Ve will find it easier to find a rule to
needle placed?" If the answer is "to the right," follow if we decide what results we want, hence
we soon learn that the inquirer forgets and besides in this summary of dressmaking principles * we
on another model of machine it is not so. l-Ienee, have placed the effect or standards to be desired
the answer was not a principle, it was only a rule first. You should practice quoting them both
for that one kind of machine. But if the answer is, ways. There are others to be worded. Some of
"In setting a needle, have the grooved side on the these could be reduced or combined with others.
side of the needle bar having the last thread car- Each one needs explanations, illustrations, and
rier," we still hm·e a rule but a better rule than applications. In making decisions in the sewing
the first answer because it fits all machines, it is process, see if you have a good principle to re-
a generalization. To convert it into a real principle inforce your ch oice.
we need to complete it by saying, "otherwise the
thread will not lie in a channel, the threading will " Speci~ l acknowledgment is hereby made of the cooper-
ation of ~ I rs. Lila A. Kinchen, assistant professor of cloth-
be incomplete and the tension affected." Thus, ing and textiles, Te:xas Technological College, in the de-
first we have the cause and last the effect-the law ,·elopment and application of these principles.
171
 BASIC PRINCIPLES OF DRESSMAKING
Effect Sought The Cause
Or the Reason Why Or What to Do-The Rule to Follow

1. To save time, energy, and resources, to save confusion organize work by:
and error, and to create a satisfactory product, a. d oing like jobs in a group,
b. handling work as little as possibie,
c. completing one unit before going to another.
-------------------------------------
a. prepare fabric by cutting or tearing along
2. To keep grains of fabric at right angles to each other crosswise
so that garment will fit well ond stay that way, ends of cloth: by pulling cloth diagonally on true bias
throughout its length, in direction of short corners only;
or by dampening and pressing straight;
b. have grain line of pattern on grain line of fabric ;
c. stay-stitch circumference, crosswise, placket and other
tricky seams or corners before joining;
d. pin or hold together to baste for fitting or to stitch
so that notches and intersecting seams match.
-------------------------------------
3. To secure a straight-line effect and to increase dura-
because of the law of gravity, cut the part t hat is to hang
bility; straight down on the heavier gra in (usually the warp} ;
------------------
(inversely, to accent a rounded, bulgy effect, cut the part that is to hang down at right angles to the stiffer
threads.}

To secure a rippled or flared effect, cut the part or line that is to flare on the bias.

4. To make a pleasing, orderly design, stripes, plaids, and other motifs should match or balance.

5, To insure an adequate amount of cloth and accurate make a tempora ry placement of all pattern pieces before
cutting (grain perfect with a resulting good fit}, cutting any; then fasten each piece to cloth with few pins on
the grain line back far enough not to interfere with tracing.
--------------------------------------
have material folded wrong side out before placing pattern.
6. When cutting two layers at once, to facilitate marking
and to simplify assembling of garment at center front
or center back seams,

7. When sections must be cut separately from one layer of leave first section pinned to pattern, place that section of
cloth, to insure cutting one each for the left and right fabric so that like sides of fabric are facing each other, with
sides and to facil itate marking, pattern on top, and cut second section.
--------------------------------------
fold the cloth so that lengthwise and crosswise threads co-
8. To create a true bias, which is the most pliable direction
in the fabric, incide.

9. To have seams in b ias strips inconspicuous and non- trim and join ends on the grain, preferably along the heavier
stretchable, grain or a striking design line.

10. When the lower edge of a blouse, skirt, or standard the pattern should be altered for both length and width at or
sleeve either rises above or fa lls below the standard near the bulge or hollow; or else seams and darts must be
horizontal level because of a body bulge or hollow di- similarly adjusted in fitting.
rectly above,

11. To alter a pattern at the place of need (bulge or hollow} make changes:
and in order not to tamper with lines cre ated by the a. within the pattern,
pattern d esigner, b. between points of articulation,
c. perpendicular to the lenghtwise grain line to change
length, or parallel with the lengthwise grain to change
width.
d . at places which improve or preserve design details.
e . with the lengthwise and crosswise lines intersecting at
the point of trouble (bulge or hollow )-slash and
spread for a bulge; tuck for hollows.

12. To insure a satisfactory garment when finished and to all units {pinned or basted) should be tried on together and
save time, fitted before stitchi,Jg,

13. To check and secure a pleasing appearance in the gar- check for width at first fitting {with details and silhouette
ment with a minimum number of fittings {to save time seams basted, but circumferences only pinned} and ched for
and confusion), length at second fitt ing (with circumference seams basted}.
Other fittings may be needed to approve the basic two and
arrange accessories.
172
 Effect Sought The Cause
Or tho Reason Why Or What to Do-The Rule to Follow

14. If one has a well-sized and well-fitted pattern, to save details like darts within tho front and back of blouse and skirt
time, may be stitched to complete units before basting and fitting
silhouette seams.

15. In order to create a flat smooth seam without a tuck or finish completely (by removing basting, trimming, prossing)
fold in it, to save time, and to avoid damaging garment one line of sewing before crossing with another.
in pinking,

16. In order to keep the edges or ends smooth and unfrayed finish lengthwise seams (darts and pleats} before beginning
and to simplify fitting adjustments, circumference lines.

17. In order to have the opening a durable, smooth, continu- lengthwise closings (as hems or plackets) should be made
ous lengthwise line with no seams showing at edges, offer the <:ircumference seams are finished.

18. To avoid a small tuck or crease along a plain seam, the first step in pressing is to press it open, whether it is
finished opened or closed.

19. To reduce the effect of width in a seam, to make dry unless the fabric is very bulky, usually finish seams pressed
cleaning and laundering easier, together.

To red uce the bu l~ when one side of the seam is full press seams together away from t he fu ller, bulkier side.
(gathered, pleated),

To make plackets lap front over bad, to fill in hollow usually press silho uette seams toward t he front , vertical darts
at front of shoulder, or to follow groin in pressing closed and seams within a section toward t he center of the gar·
seams or darts, ment; horizontal darts and seams within o section down be-
cause of their natural weight ( law of gravity).

20. To reduce the bulk in seams and wide darts of heavy press them open; or if pressed in the same d irection, grade
fabrics and to avoid imprints, by trimming one 1/16"- lfs" narrower having the wider one
next to the outside of the garment.

21. To keep ttnclosecl seams flat and smooth, trim to '14"; or lfs" for under-stitching; or exact width of welt
for welt seam. (Pinking is superfluous and spoils a good line.)

It is easier and quicker, to press them open first, then under-stit ch; or wiggle out to
edge and baste before pressing or t op stitching.

Double layers are easier to iron and stay in proper place, if they are edge stitched or under-stitched (belts, collars,
pockets, facings) .

22. To look well tailored and stay that way, wit hout any stit ching, as well as stay-stitching, should b.: with the grain;
raveled endings, puckered corners, or visible knots, uniform end ings neat and strong ; corners pivoted.
-------------------------------------
23. When pinning and hand basting two edges together, one hold th e full or b ias side next to you ; use smaller stitches.
of which is fuller than the other, in order to see the diffi-
culty and to control it under your thumb,

When machine stitching without basting, have the bias seams (but not gores) first stay-stitched with
the grain, then have pins, or hol d your fingers, bad from the
edge that is to be eased in along the groin.

24. To avoid wrinkling the work and awkwardness in pinning hold the bulk of the work down or toward you with edge of
and hand sewing, seam or hem ( the small amount ) up in your hand.

25. For ease and speed if right-handed, (if left-handed, re- plan work to progress from rig ht to left for ordinary sewing
verse) (exceptions: o ut line, cat, and blanket stitches) .

26. To keep the hand graceful and to secure straight sewing use the side of the thimble, not the end to push the needle;
lines in hand sewing,

the closer the fingers and thumbs must be to the point of

the need le.
173
 Effect Sought The Cause
Or the Reason Why Or What to Do-The Rule to Follow

27. To be sure of a smooth join when pinning a pattern to have pins at right angles t o edge.
cloth or two pieces of cloth together for basting, or
during right side fitting,

To establish new guide lines in fitting, place pins parallel to and on the new line.

28. To keep seam lines at inside corners and curves (con- because the inside line of concentric circles or other shapes is
cave) smooth and as planned in shape and size, smaller than the outside,
slash them before turning under or back.

To be safe, it is wise not to slash until after stay-stitching and fitting .

To avoid damaging pattern or fabric before the lines when t esting patterns or basting for first fitting, do not turn
are approved, under corners and curves but lap and pin one section over
the other, seam line on seam line.

To make outward turning corners and curves {convex ) in remove wedges ~~nd miter corners and trim seams.
seams lie flat without pleats or bulk when pressed back,

To obtain a smooth, unpuckered bias binding, ease strip around convex curves-slightly stretch on concave
curves.

To obtain a smooth, unpuckered bias facing, stretch around convex curves, ease around concave curves.

29. To avoid wrinkles on outside of garment finished with an b e sure that facing matches g rain and shape of garment and
inside facing, that it is made smaller by ta king slightly d eeper seams.

30. To prevent a facing from showing around the edge being a . cut it slightly smaller;
faced, b. stitch it, not on the seam line but nearer the raw edge;
c. clip inside curves and corners, notch outside curves and
corners. trim t o V4";
d. after turning, work out the seam so that facing is back
1/ 16"-3/32" from edge. Baste firmly near edge; or
under-stitch;
e . press- if possible edge stitch. Tack raw edge down
loosely so facing fits exactly. Basting in d is more im-
portant than basting in b .

To under-stitch a facing that has a corner, first stitch the longer side only and under-st itch it, before
seaming the shorter side.

31. To preserv" gathers, in pressing, nose the point of the iron up to the seam.

32. To shrink out fullness, keep the side of iron parallel with stitching of the seam .

33, To be sure that hand hemming on a ba nd or binding catch the hemming only in the machine stitching of the seam.
d oes not show through on outside of garment,

For durability, make the stitches about lj4" apart or less and not slip stitches.

For speed, use slant hemming not vertical hemmin g stitches.

34. To obtain buttonholes adequate in length, that keep their a. have the minimum length equal t he diameter pl us the
shape, stay fastened, and pe rmit buttons to rest on cen- thickness of the button;
t er of garment, b. have the length of buttonhole run in direction of strain;
c. have the end of buttonhole extend over center, toward
closing, a dista nce equal to half the width of the shank
of the button.

35. To insure faste ners being secure yet inconspicuous, attach buttons with a shank ; snaps with ball side on overlap,
sewed over edges; hooks a t ends as well as in the eyelets;
curved eyes only when two edges meet and straig ht eyes
when edges overlap.
174
 INDEX

Abdomen, fitting, 10, 21, 22 Cardigan, 65

Accessories, 15-t, 165 Center front basic dart, 30, 39, 4 3
Adjusting pattern, 13 Changing dart location, 28, 30, 31
Age, 6 Chemise cut, 159-161
Allowances, seam, 45, 168 Children's garmen ts, designing, 156, 165; sizes, 7
Altering patterns, 11-16; principles of, 26, 172, 173 Circle, theory of, 28
Alternating bias, 13 3 Circularity, 51, 54; cuffs, 114; sleeves, 79, 82; skirts, 126-
Angle of dart, 27-31 129
Anthropometrists, 1 Circumference seams, 9
Appearance of well-fitted garments, 8; sleeve, 23 Clipping seams, 17
Armhole. See Armscye Closings, 62, 154
Arn1scye, bulge, 10, 20, 22; dart, 42; design, 77, 86-90; C oat dress, 156
finish, 25; fitting, 22, 23; lowered, 86 C oats, dart in, 28. See also Jacket and Box jacket
Art principles, 32. See also D esign C ollars, 97; attaching, 102; back, 101, 106; band, 110; cape,
Assembling marks, 168 107, 109; classifica tion, 99; colll'ertible, 10 1; cut with
Asymmetric, closing, 65; collars, 11-l; darts and seams, 46; lapel, 110. Ill; detachable, 97; flared , 108; Aat, 104-106;
designs, -t5, 47, 11 8, 164; dresses, 164; skirts, 131, 136, hei_!:ht, 100, 101, 108, 112, 115, 116; principles, 11 5,
140 11o; rippled, 108. 109; rolled, 108; shape, 99, 105, 114;
"stand," 99, 108. 113; terms, 97-99
Back, basic dart, 36, 43; shoulder dart, 35; collar, 106; Combining darts. 37
dcsi~1 , 43, 73; fulln ess in skirt, 125, 126; yoke, 59 Commercial patterns. 3. 7, 166, 169, 170
Balance, guide in fitting, 8-19 Completing patterns. 166
Ballerina skirt, 128, 156 Conca1·e curYes. I - -t
Band, 69, 154; collar, 110; cuff, 60, 114, 115; hemming, Contour belt. 55, 152
174; mandarin, 100; shirt, 102; skirt, 151; standing, 100; Com·ertible collar. 101; with lapel, 112-115
with lapel, 11 2 Com·ex cun·es, l 7-t
Basic cuts in dresses, 159, 160 Coordinated wardrobe, 15-t
Basic dart, 27-31, 33- 40, 45, 47, 76, 95, 121 C ostume sl ips, 75
"Basic" dress, 164 C owl collar. 108; neckline, 52-55; skirt, 12-t; sleeve, 83
Basic pattern, 8. See also Basic dart; Foundation pattern Crcati1·e designing. 32. 15 3
" Basic Seven," 154 C rosswise folds. 53; seams, 17 3
Basque, 71 Cuff line. See 'Vrist
Basting, 18, 172, 173 Cuffs, 78, 84, 114, 115
Battle jacket, 157 Cummerbund, 152
Bell sleeve, 81 Cup un der seat, 10, 11, 14, 20, 52
Bc:lt, 25, 68, 151, 152 Curved, dart, 44, 123; stick, 45, 166
Bias, 12, 51; alternating, 133; binding and facing, 174; cut Curves, 3, 44, 166; clipping, 174
in garments, 75, 127, 129, 161, 169; fitting, 19; princi- Custom·dressmaking, 15 3
ples, 172; sag in skirts, 129, 133 Cutting principles, 172
Binding curves, 174
Bishop sleeves, 79, 81 Dart, adding, 41; angle, 26, 28, 30; asymmetric, 46; back of
" Blade," tailor's, 9 neck, 35, H ; back of skirt, 10, 123, 125; basic, 26; center
Block pattern. See Foundation pattern back, -t3, 6 1; center front, 39, 4 3; changing location, 32;
Blouse, 2, 74; closing, 62; peasant, 55, 154; shirtwaist, 59, cun·ed, -t6; decorati1·e, -12; divided, 33; dressmaker, 3;
61 elbow, 78; extended, 69; faced, 66; French, 70, 72;
Bodice, French or fitted, 70, 164 fundamental, 26; in gore, 125; in sea m, 45; pressing, 173;
Body bulges, 12, 27, 28; measurements, 7 principle of. 1 3, 27; radiating, 30, 41; several, 34;
Bolero, 52, 156, 164 shaped, -t6, 47; shoulder, 28; skirt, 121; sleeve, 82;
Bouffant skirts, 120 stitching. 33; theory of, 13: tucks, 34
Box jacket, 52, 73, 74, 164 Decoration, collar, 97, 99, 105; principles of, 11 5; bor·
Box pleats, 50, 63; in closing, 64; in skirt, 139, l4 3, 144 rowed from dart. 69
Bretelles, 69 Decoratil'e darts, 39-47, 12 3
Broad shoulders, 11 Deep armhole. 66
Broomstick skirt, 1-t6 D erriere. I 0. 21
Bulges, body, 7, 12, 20, 26, 28, 76 D esign. 32, 156. 158: collar, 99; p irating, 157; principles,
Bust, prominent, 15-20 56. 11 -; skirt. 117
Buttonholes, 62, 64, 1H Designer. commercial. l'i. 8
Buttons, 62 Designer's dart. 3-. See also Basic dart
D etails, fin ishing, H5. LiS, 173
Cap, slee1·e, 24 Diagonal, closing, 65; seams, 4-t; wrinkles, 12, 19
Cape collar, 1O:Z-107 Direction of sewing. 17 3
175
176 Index
Dirndl skirts, 119, 144 French bodice, 164
Dividing dart, 33 French cuff_ 81
Dolman sleeves, 93, 94 French dart: 70, 75, 76, 159; sloper, 167, 181
Double breasted, 63-66 Front fullness, skirt, 133, 137, 139
Drafting, 1 Full bust, 10
Drape, 52, 54, 83, 125 Fullness added to pattern, 48, 54; basting ease-in, 36; enter-
Draping, 1, 18, 27, 28, 52, 54, 117, 168 ing a dart, 46; pressing, 174; with yoke, 60; shrinking,
Dress form, vi, 27 174
Dresses, basic cuts, 153, 159, 160 Fundamental dart. See Basic dart
Dressmaker, 153; aid for, 33, 166-170; dart, 1, 3, 34, 37,
167 Garment fitting, 18
Dressmaking, easing in, 45; management, 18, 172, 173; Gathers, 35, 43, 48, 127, 144, 173, 174
principles, 172; standards, 8, 44 Gauge, 137, 146, 168
Dropped shoulder, 89 Gilet, 107
Girdle, 152
Ease, amounts of, 8, 9, 48; indicator in fitting, 18; rem- Godets, 129, 130
nant of basic dart, 45, 158; sleeve, 79, 80 Gore, one, 122; with a dart, 125
Easing in fullness, 36, 45 Gored pleats, 138, 142; skirts, 130-132
Economy in placement, 169 Gradation of spaces, 44
Edge finishes, collars, 116; pleats, 141; skirts, 145 Grading, patterns, 4, 5; seams, 173
Eight-gored skirt, 141 Grain, 9, 12, 15, 18, 19, 22, 27, 131, 133, 169; defined,
Elbow dart, changing, 11, 24; pivoted, 31, 78 8, 9, 12; in French dart, 72; indicator in fitting, 18;
Elevation of design, 35, 37, 47, 163 locating, 132, 140, 143, 168; marking on pattern, 63,
Empire cut, 162 169; principles, 172; skirt, 133; sleeve, 24, 79; straighten-
Enclosed seams, 173 ing, 172
Epaulet sleeves, 61, 90 Group of darts, 34
Equipment, v, 3 Guide sheet, 170
Establishing grain, 53, 134, 161, 169 Gusset, 92
Evening dresses, 118, 120, 127, 130, 157, 163
Extensions, 68; from pleat, 141 Half-size form, vi, 3, 33; fitting, 20; pattern, ix
Halter neck, 108, 110
Fabric, relation to fitting, 8, 9, 12, 18, 25; to design, vi, Hand sewing, 173, 174
32, 49, 52, 83, 103 Harmony, 45
Facing, 64, 66, 149, 175 Haute couture, 15 3
Factory system, 15 3 Hemline, 9, 10, 19-22, 26; hiking, 20
Fashion, v, 153-158, 166; and ease, 9; and silhouette, 77, Hems, 13, 63, 137, 139, 143, 145, 149, 168, 174
118 High chest measure, 6
Fasteners, 62, 174 High collar, 100-102, 104; neckline, 69
Fichu, 103 Hip bone, 13
Finish of hem, 145; seam, 173 Hipline, altering, 14; bulge and dart, 121, 123, 135;
First fitting, 18, 2 3, 25 fitting, 11, 13, 14, 16, 19, 21; measurements, 3, 7. See
Fitted bodice. See French bodice also Derriere
Fitter, 18 Hollows, 20, 26
Fitting, 8-31; abdomen, 10, 22; armscye, 22, 24; back, 20, Horizontal, dart from armhole, 42; dart from hips, 12 3,
21; balance, 10-22; blouse, 19-21; bulges, 20; bust, 124; folds, 49; guide lines, 50, 59; sleeve fullness, 85
20; darts, 20-22; derriere, 20; ease, 8, 9, 18; first, 18;
five factors in, 18; French dart, 72; garments, 113; gore, Ideas, 153-158, 166
19-22; grain, 18; hi~s, 21, 22; hollows, 20; kimono, 92; Inset pleats, 138, 139
last, 3; length, 13; lmes, 9, 18; neck, 19; patterns, 13; Intricate cuts, dresses, 163
pin, 14, 18, 22-25, 173; plan, 18, 172, 173; problems, Inverted box pleats, 50, 51
10, 15; second, 18; sequence of, 18; set, 19; shoulders,
10, 11, 19, 23; skirts, 21, 22, 26, 129; sleeves, 22, 24; Jabots, 108
standards, 8, 10, 26; summary of, 26, 17 3; wrinkles, 19 Jacket, 11, 111; button, 63; designs, 76, 111; fitting, 72;
Five factors in fitting, 8, 18 · quarter-size, 167. See also Box jacket
Flanges, 69 Jumper, 156
Flare, 51-55, 133; collar, 103; skirt, 122-129
Flat chest, 10, 11 Kick pleats, 138
Flat collar, 104, 105 Kilted skirt, 143, 147, 153
Flat pattern designing, v, 1, 28 Kimono blouse, 91-93, 154
Flounces, 129, 130
Fly front, 68 Labeling pattern, 166
Folds, 52, 69, 124; in fitting, 12 Lantern sleeve, 80
Foundation garment, 12 Lap of garment, 114. See also Closings
Foundation pattern, xi-xiii, 1-3, 32; definition, 1, 73; Lapel, 111; cut with collar, 11 0-112; making, 102;
blouse back, 35, 52; blouse front, 34, 37, 38; half size, notched, 113
xi-xiii; kimono blouse, 91-93; quarter-size, 2, 167; skirt, Layout, 170
120; sleeve, 78; making, 1; to check commercial pattern, Leg-o'-mutton sleeve, 83, 84
31; to test new pattern, 31 Length, adjusting, 13; relation to fitting, 20, 22, 26; skirt,
Four-gored skirt, 128, 131, 132; fit of, 129 119
 Index
Lengthwise seams. 1- 3 Princess cuts, 74, 75, 159- 16_
Lines, controlled b:• 6.-:s. g:-am . .). 9: gmde to fitting. 15, Principles, alteration, 26. 1-:; an, ' - · ro:Z ,.::OS::§ ~
18; guide for g:-am. 59: relat:on to balance and bulges, 115; dart, 27; dressmaking, 171; firtmg. : 6. 1- - ' - ;
18, 16: true-up. 166 management, 172-174; need of, li, 111 ; pmnog. 1- ~ .
Lining, 53 time-sa\·ing, 172, 17 3
Long torso, 162 Problems, vii; in fitting, 15
Looseness. See Ease Professional designer, 32, 128; dressmaker, 33, I 53
Prominent, abdomen, 10, 21, 22; bust, 15, 20
!\Iandarin collar, 100 Proportions, 32, 130, 134
Manipulating darts, 32, 121 Puffed sleeves, 80, 82
Manufacturer, dress, 155
Many-gored skirt, 1 34 Quarter-size patterns, 2, 167
Markings, 50, 63, 148, 167, 168
Material, cutting, 172 Radiating darts, 30, 31, 41
Measurements, body, 5, 7; graded, 4-6; testing pattern, Raglan sleeves, 3, 94-96
13, 14 Ready-mades, sizes, 6
Middy style, 73, 159, 160, 162 Rectangles, uncut for dresses, I 53, I 54
Model maker, 3 3 Redrawing, edges, I6; darts, 30
Modeling. See Draping Relocating dart, 29
Modern, block pattern, 32; clothes, 153; designing, 1, 28 Removing skirt dart, 122, 131
Motif, 156 R eversed roll collar, 104
Mousquetaire sleeve, 85 Ripples, 12, 19, 51, 52; collar, 108; sleeve, 55; skirt, 131
Moving dart, 28, 34, 70, 72, 78, 81, 95, 122, 123, 127 Rolled collar, 104, 106-108, Ill
Muslin pattern, 1, 15 Rotating dart, 30
Round shoulders, 11, 21
Nap, 170
Neckline, altering, 10, 13, 19; asymmetric, 98; bulging, 10, Sagging, 10, 19-22
13, 19; dart, 35; design, 97, 98; fitting. 9, 19; high, 69, Saving time, 171, 172
101; measuring, 101; shapes, 98; tailored opening, 68 Scallops, 64, 68, !58
Negligee, 159 Seam allowances, 29, 44, 45, 50. 137, 139, 151, I 68, I72,
Notched collar, 113 174
Notches, 45, 58, 59, 61, 68, 70, 95, 168 Seams, corners, 168, 174; cun·ed, 44, I74; decorative, 41,
+f; fini shing, I 73; yoke, 56
Off-grain, 133 Second fitting, 18, 23, 25
One-gored skirt, 121, 131 Semiyoke, 56
One-piece dress, 159, 160, 163 Separates, 159
Openings. See Closings Sequence of construction, 172, 173; of fitting, 15, 18, 24
Organization of work, 172. See also P lan Set, 8, 12, 19
Originality, v, 15 3-159 Setting sleeve, 2 3
Over blouse, 74 Seven, basic, 154
Overlap, 63, 64, 66 Sewing, vi, 8, I71
Shaped, closings, 64; darts, 47; facings, 64, 66
Panel with pleats, 138 Shawl collar, I 09, 110
Pants, 165 Sheath, 164
Patterns, alteration of, 10-14: checking. 31: completing, Shells, 6
166; from rectangles, 154; plncement. 169. 171; sizes, 3. Sh irt slee\·e, 81, 86
See also Commercial and Foundation Shirtwaist. 37, 61, 63, 74, 156; tailored inset, 68; sleeve,
Peasant, blouse, 55, 153; skirt, IH; slee\·e, 81 SO: \·oke. 59, 61
Peplum, 51, 61, 71, 73, 129-131 Short slee\·e cap, 24
Perforations, 50, 167-169 Short slee\·es, 13. 78
P iecing, 141 z-
Shoulder dart. -19. 96
Pin-fitting, 14, 18, 22- 25, 173 Shoulder seam. 22, 2 3; altered, 16, 2 3; dropped, 89; fitting,
Pinning, 174 19. 2 3; indicator in fitting. I 0
Pivoting, dart for fitting, 16, 17, 23, 29; elbow dart, 78; Shrinking fullness, 15, 7-l, 1-4
French-dart, 72, 73. See also Moving dart Side pleats, 140
Placing pattern, 169, 172 Silhouette, 153-1 58; collar. 91, 99, 114; skirts, 117, 11 8;
Placket. 67, 68, 121 , 151, 169 slee\·e, 77. See also .\symmetric
Plan of, making dress, 172, 173; teach ing, vi; design, 154 Six-gored skirts, 16, 21, 132, 1 H
Plastron, 106. 107 Sizes, 3- 7; adjusting, 15
Pleated skirt, fitti ng, H7 Skating skirt, 156
Pleats, 50-54: basting, 145; blouse, 50; edge treatment, Sketches, working, 15 5
145, 149: extension from. 141; kick, 138; pressing, 148; Skirt, altering pattern of, 10, 13-22; ballerina, I 28, 156;
skirt, 136-149: slanting. 139, 140, 142; sleeve, 80; un- band, 151; basic dart, 121; belt. 151; broomstick, 146;
pressed. 149: \\ith panel. 138 circular, 126-128; cowl drape, 55; decorative darts, 123;
Pockets, 67, 150 design , 11 7; eight-gored, H 1; finishes, 149; fitting,
P osture. 12 13-22; four-gored, 131, 1 33; fullness, 12 3; gathered,
Pres, ing. darts. - 1: during construction, 173, 174; fullness, 144; grain, I33; h alf-size pattern, xii, xiii; hang, 129;
36: pleats. 14) hems, 26, 145, 1-!9; hiking. I 0; length, 119; level, 3, 26;
Primiti\ e s~ ~es. 15 3 many-gored, I H ; mO\·ing dart, 122; no hip seam, 135-
178 Index
Skirt (Cont.): Technical skills, 8, 32, 33
136; one-piece, 122; placket, 151; pleated, 136- 144; Techniques of dressmaking, 8, 171
pocket, 150; prominent abdomen, 22; silhouette, 118; Testing pattern, 5, 10, H
six-gored, 133; sizes, 6, 7; standard, 10, 20-22; straight, Texture, effect on fitting, vi, 32
full, 144; to lit cloth, 144; tubular jersey, 146; waistline, Thigh, 13
119; width, 120; without patterns, 144; yokes, 58, 126, Third fitting, 18, 23, 25
138 Three-quarter sleeve, 78, 84
Slashing, pattern, 42, 47, 48; for dart, 29-31; for fitting, Tie-around, 162
11-14; seams, 44, 174 Ties, 68, 69, 100
Sleeve, altering, 10-13; bishop, 81; circular, 82; cowl, 83; Tight, 10, 19, 21. See also Ease
dart space, 85; darted top, 82; epaulet, 61; fitting, 10, Time saving, 171, 172
21-24; grain, 12; horizontal fullness, 85; lantern, 82; Torso styles, 58, 59, 159-163
leg-o'-mutton, 83, 84; length, 77; off-grain, 24; peasant, Transitional lines, 59
81, 154; placket, 84; pleats, 80; puffed, 80, 82, 84; Trouser-top skirt, 124
removing ease, 79; rippled, 55; shirt, 80, 86; shirtwaist, True-up, 3, 26, 166
81; short, 79, 80; silhouettes, 77; twists on arm, 24; Tubular jersey skirt, 146
two-piece, 86 Tucks, in blouse, 49, 54; in pattern, 11, 13, 20
Sleeveless blouse, 88, 89 Tuxedo collar, 109
Slide fastener, 151 T"·[Link] slee,·e, 24
Slip, costume, 75 Two-piece, dress, 159, 160; sleeve, 86
Sloper, 30, 70, 73, 76, 167, 181. See also Foundation pat-
tern Underarm, dart, 29
Sloping shoulders, 10, 11, 19 Under lap, 37, 63-66. See also Closings
Smocks, 74, 161 Underlay, 140, 143
Space divisions, 32, 130, 134 Under-stitch, 174
Specifications for design, 156 Unit construction, 173
Speed, 172 Unpressed pleats, 149
Square shoulders, 10, 11, 19
Squaw skirt, 156 Vertical dart, skirt, 10, 20, 22, 121, 123
"Stand" of collar, 11, 99, 101, 113 Vestee, 66
Standard, body measurements, 3-7; blouse darts, 38
Standards of well-fitted garment, 8, 10-12, 23, 26 Waist yoke, 58
Stay-stitch, 15, 51, 173 Waistline, 9; altering, 13, 14; curve, 52; fitting, 25
Straight line effect, 51, 172 Wardrobe, 154
Straightening cloth, 172; grain in fitting, 9, 12, 19 Warp, 12
Strain. See Ease Width, across back, 6, 7; of skirt, 120
Style, 32, 39, 48 V/ ithout, darts, 47; patterns, 154
Summary of, collar, 11 5; darts, 39, 47; designing, 164; Workmanship, 8, 32, 33, 171
dressmaking, 171; fitting, 26; French dart, 76 ·wrap-around, 145, 146
Sunburst pleats, 128 Wrinkles, 8, 10, 12, 15, 19, 21, 26, 27, 174
Wrist, 24
Surplice blouse, 66
Sway-back, 11, 19
Yoke, 38, 56, 59; drop, 89; facing, 66, 67; in dress, 161
163; in skirt, 58, 127, 138, 139, 144; torso, 58, 59;
Tabs, 6;, 68 with fullness, 60; without fullness, 57, 58
Tailored placket, 68
Tailoring, 172 Zipper, 121, 151