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POINTS
f ITTING,
IrESS iUTTlNG AND
EMBRACING THE LATEST IDEAS CARRIED OUT THE LEADING EMPORIUMS OF FASHION OF
AND NEW YORK.
PARIS, LONDON,
TO WHICH
IS
APPENDED AN
AND SIMPLIFIED SYSTEM
ORIGINAL, COMPLETE,
OF DRESS CUTTING, EMBODYING ALL THE POINTS.
BY
G. M.
GREENWOOD.
/.,/'
o>»<c
BOSTON, MASS.: G.
M.
IN
GREENWOOD & r
890.
CO.
Copyright, 1890,
By G. M.
Typography by
greenwood.
J. S.
Gushing
Pkesswork by Berwick
&
&
Co., Boston.
Smith, Boston.
l)N(5I^0DiJQ50I^r.
rHE
present work was suggested during a
number
given to teaching Points on Cutting and solicitation of leading
and
in
work.
new
order to reach a
As
At the
my patrons,
dressmakers who constituted
more universal patronage,
the book advanced, the plan unfolded
I
undertook the
itself,
features, offering attractions of additional value.
has been given to a clear and
of seasons
Fitting.
presenting
Special study
concise presentation of the
French
bias,
notwithstanding the beauties of which are so thoroughly appreciated, the method has been so imperfectly understood. The more the subject was considered, the more was
it
recognized
system of cutthat a treatise on dress, combining with the points a one that ting free from all complications, scalings, and chartings until self-instructing and take the beginner step by step
—
would be
the perfect draft was completed
;
nor end there, but continue to the
point where the professional cutter would find value in
— would
its
teachings
long be to accomplish a work for which a demand has
existed.
ful
successAgain, the question of space arose, for such a work to be labor unremitting must be concise. This called for hours of
appeared to have the spent in selecting and condensing that which How far I have been successful the public will value. greatest judge.
On
the subjects of Color
—
its
Bearing on Dress, Complexion,
—
my labors have Line and Proportion, Ornamentation and Material of a very large been almost entirely those of a compiler. The works number Planche,
of writers
W. W.
^^""" "P°"-
have been consulted.
Story,
Chevreuil, and
Of
these, Charles Blanc-
Haneis have been largely G.
M.
GREENWOOD.
<sof(xEf(j5o»4c PAGE
Art
in
Dress
I
Fashion
The Dressmaker
....
Color
on Color
Effects of Light
14 14
20
Material
Trimming
23
Line and Proportion
24
Points in Cutting and Fitting
Boning
Hip
27 28
Effects
Difficult
Forms
The French Design
27
in
to be fitted
30 32
Bias
36
Stripes
To Draft a Basque
41
Rules for Measurement
41
Drafting a Basque
44
Draft of Back
45
.
Draft of Front
48
The Darts
48
Correcting Drafts
To The
Draft one Dart Sleeve
53 .
56 57
/^RT
'f
i^R^^^'
-ooXfcio
STANDING creat
city,
fashionable quarter of a a short time ago in a demolishing a building that I beheld workmen
few years ago, in order to had been erected as a palace a The mc.dent palace of to-day. make room for what was to be a changes what the world of to-day seemed to present an epitome of of forever pursued by the sp.nt we are undergoing how man is hamlet the old is giving way to In every city, town, and unrest commonplaces of the of the past are the :
;
the
new
present
means than
The
luxuries
Wealth and of art.
it
and wealth
art are taking giant strides,
Into every home, into every
did a decade ago.
And
as
life,
the homes
art
enters more
is
a
fully
of a people exhib.t
the refinement the raiment they wear cultivated taste, so too will in the other. found in the one reflects itself the dress has kept pace with That the development of art in The question. can be no art in other fields, there ;
advance of
adorn the windows and counters wonderfully ingenious fabrics that by the of the demand created our great stores are evidences of
homage to votaries of fashion who do inventive modiste and the world are kept weaving, the For these, the looms of the her skill of new fasheach season sees the birth art brains kept designing; For these, earth gives up her of the old. ions, and putting away and man his strength and science surrenders her learning, store, skill
And
the
web
is
woven
finer,
and the color
richer, fairer;
skilled the filmy fabric falls into while from the ponderous loom captivates that gives poetry to drapery hands, whose artistic touch
Art
2
until a season it
Dress.
in
And
ends and newer fashions come.
making
that, as of the
the thought
of dresses, there
Would
no end.
is
this brings with
of books, so of the
making
that the comparison might end
â&#x20AC;&#x201D; but
candor
forces the confession that the analogy can be carried farther,
though
and
here,
I
could say that the dresses are
not pursue
I shall
it.
Dress voices the wearer it
and prejudices,
whose
we
;
We
speaks of neglect.
taste
read character by
form an opinion wearer by
of the
for should not she
;
the color
otherwise,
make
goes to
the
attractive,
attire
line,
If
disregarded,
of the rank or station,
fault
know whether
ill-suited,
it.
Unfortunate the
it.
The
attire misleads us in this.
maker's
good,
all
is
woman
not alone her dress-
the style
is
becoming or
the drapery, and
that
all
an offence to art and good taste
?
With such a variety of fabric, such a world of color, such a latitude from which
of styles
unending display
to offer for the
us
woman
day have no excuse
garments
of tastelessly gotten-up
suppose that by some preconcerted movement every
them
as a rule before
became her
revelation
of our
our land having a garment to purchase should, on some
in
given day, start out and
style
women
upon our promenades.
that are daily seen
Let
to select, the
!
:
best.
What
make
their purchases with this one object
each one to study what material,
What
a parterre of
order out of chaos
!
It
loveliness
and
color,
!
What
remains with the
a
indi-
vidual to do her part, without any pre-arranged plan.
FASHION. If the definition of Fashion was asked,
Fashion
is
however
far short
beauty remains.
Art ion
rests is
it
might be answered
the expression of a desire to reach the beautiful
upon
it
may
fall
Fashion
is
ephemeral.
Art
is
eternal.
folly.
A fash-
merely a form of ugliness so absolutely unbearable that
have to alter
it
:
and
of reaching its aim, yet the tribute to
"Fashion," writes Oscar Wilde, "rests upon
law.
;
every six months."
The
we
despairing poet evidently
Art had a warm sympathizer
me
beguiled
my
of
one of
in
Madame, being a
ment
Parisian
loarlors,
by one
Paris, as well as the
in
New
3
York's leading modistes, who
one bright
hours
Madame's elegantly appointed the
Dress.
in
day
â&#x20AC;&#x201D; the
was
in
entitled
to
it
;
lady was
and having an
birth,
New
in
June
in
"
York.
establish-
The
fashion
exclaimed the lady, "the fashion!" repeating the words with a ing accent, as
in deprecation.
if
A
the fashion.
me
can lady comes to
my
striking,
;
American, she
it,
will look at
much and then What can I fashion
say
?
'
;
so
I
says,
'
Madame, can
she wants to look
But the Ameri-
.''
'
exhibit a confection
becoming and so
artistic
and be enraptured with
she will turn and ask,
!
guished
I
me and
uncommon
rooms, and to her
thing exquisite, impressive
oh, so
America to
fall-
hear of nothing but
something new, different from anything, from
something grand,
;
comes
Parisian lady
you not design
anybody
" In
" !
.-'
And
fashion.
some-
And
!
the
and admire,
Madame,
*
She does not want
â&#x20AC;&#x201D; the
it,
;
is
the
it
to look distin-
then she
will order
a robe like those book-plates on the news-stand, or like something you see in the shop-windows, because she wants
â&#x20AC;&#x201D; the
And
fashion.
all
the others, they want the same fashion, until the fashion becomes
And Madame
exaggerated, unbearable."
sank back in her /auUtn/,
resorting to her vinaigrette, a picture of Art in despair.
one thing that impressed establishment
;
it
me most
agreeably about
Madame and
was the ease and quietness with which
Her rooms were models
were done. shop
;
of taste,
There was
all
an entire absence
gauzy pretext of
"The
of shapely
young women, entering under the
cutter's awaiting further orders," and then
posing long enough to display an exquisite model of gown. it
of
no sign of rush, no talk of pressure of engagements, no silent
coming and vanishing
too,
her
things
may be Madame no
longer needed, had she ever done
so,
Then, these
accessories. If it is
true that fashion
is
a form of ugliness,
let
us be thankful
that the forms present themselves in such variety that
we have
still
the privilege of displaying our taste in selecting the least unbearable.
Art
4
my
For
do not hold
part, I
deplorable a condition.
Dress.
in
—
•
»
true that our fashions are in so
it
Indeed,
am
I
again and again confronted
with the most charming designs, and called upon to pay the
homage
to
of those whose conscientious labors make the world of fash-
skill
Nor
ion indebted to them.
are these the exceptions that prove the
In turning to the magazines of fashion, those of the highest
rule.
rank, the designs are invariably of a high order,
and the standard
of
excellence always sustained.
No the to
sooner does one style give place to anoth.er, as the bustle to
than
flat skirt,
all
the talents of these great designers are turned
producing the most graceful lines possible under the new order of
things. all to
If
some
admire,
made
of these are
so attractive that they
must be expected that some
it
compel
will purchase, regardless
of the eternal fitness of things.
After
all,
are not these unfortunate selections but tributes paid by
the wearer to the designer
Of course '
Must
?
one's cheeks vie with the color
one be forbidden to partake of the luscious
of the peach, or
is
it
most desirable that we possess good
fruit
.''
taste,
—
the faculty,' as Haweis writes, of distinguishing between the agree-
able and disagreeable.
Its function is to
arrange and display what
gives agreeable impressions, and to suppress what gives disagreeable
Natural taste will detect at once any flagrant breach of nat-
ones.
ural law
;
and
this
sense beautiful
which has no
;
is
why nothing
any part
j'aison d'etre,
of
—
in fact,
bad
is
purposeless
any part
and does not form part
form part of an harmonious whole, looking,
that
dress, like
is
is
of
in
any high
architecture,
of the rest,
and
ungraceful and uncomfortable-
in art.
In the usual recourse to fashion-plates the difficulty in selecting will
be greatly lessened by
first
considering the age of the customer,
second, her figure, which will call for such of the prevailing styles as,
if
the
conceal
patron
is
very defective in
fair
jDroportions,
will
best
those defects, and what also will best preserve her better
points or charms.
Presence
is
here to be studied and
life
given to
Art
who
those
in
Dress.
5
much quietness sufficiently down be toned
are burdened with too
vivacity can very well
while an extreme
;
to prevent
run-
it
such a
toned down ning into anything like loudness, and only that cannot be made attraction' reason, as vivacity in its place is an for
too
much
of.
as observed before,
Age,
must
in a
measure determine what they
can be made than to dress but are honorable beneath one's years. Old age and gray hairs youthful hat, or the body grey hairs, a Hned and aged face beneath a
No more
shall wear.
serious
error
;
burdened with fashionable trimmings intended
An
ble in the extreme.
for youth, are execra-
elderly person dressing as
becomes her age
and material, make herself can yet, by a tasteful selection of color contrast of age in the cosappear younger than her attire, while the
tume
of
youth
is
ghastly.
Having decided on the material and the most the artistic draping.
skill of
the modiste will next be
Cherish the observation of the
suitable fashion,
tested in the fitting
woman
of
fashion
and
who
a comfort, a sort of
" There is uttered the words of worldly wisdom, knowledge of being corsatisfaction, that comes to one, in the
calm
give." rectly dressed, that religion can never
To produce what we
often hear spoken of as a glove-fit
is
oft-
yourself of every seam and times a very easy matter, but to avail success. and make art lines of them is to be a dart
should not be accompanied by a neglected the beholder will be to force the conviction
A perfect-fitting bodice sleeve, as its effect
upon
stopped at the cutting of a that the education of the dressmaker some system, the ingenuity basque, and that she must have employed inventor was not equal to making a sleeve. of
whose It
heart, that ease, softness, cannot be taken too thoroughly to
and pliancy
in a dress are essential to art
and beauty.
The
first
sign
A
beauty and must be studiously avoided. drawing, but without seeming to waist should fit, not only without given to any drapery that have draw, and no lines should ever be
of stiffness destroys all
Art
6
in
Dress.
—
•
•
the appearance of dragging or restricting in any
Hmbs.
of the
Draping
is
not the piUng up of mountains of material or revelHng
in labyrinths of lace.
It is
the handling of these to an end
to an outline that carries with
moulding pery
way the movements
the touchstone that tests
is
faintest line,
We
art school
the result of their studies
drawn a head or a
art condition.
puff, the slightest loop, the
The
face.
and pass among the students, looking
we pause
;
and the shading unusually it
an
it
Dra-
— these can make or mar a dress.
go into an
picture
A
all.
the
;
before the work of one
There
is
much
seems excellent, yet somehow but a
something lacking
we cannot
something our
;
rance of art cannot
to
commend
;
for a
picture, just as there
associate with art
;
there
is
finer faculties sense, but our igno-
with a name.
fix
who has
features appear accurate, the color good,
fine.
are thousands of such that
at
The master comes
to our side,
he looks upon his pupil's work, he takes palette and brush, gives an imperceptible touch here, darkens a line there to bear
it
What
never possessed before.
The
simply soul. life
to the eye, an expression to the features,
life
a soul to the portrait
where
the brush seems hardly
upon the canvas, yet with these few touches he has given
beauty to a mouth,
It is
;
artist
and
the secret
had the soul within him, that gave
So too with drapery.
was wanting.
is
lines that are to tell of the art of the modiste.
A
It
is
?
life
the finishing
touch of an
artistic
hand, the lifting of a fold here, the suppression of one there, and the
garment gains an expression
Be not let
well
alone, does not apply here.
never be entirely satisfied satisfied.
By
could never have had but for these.
with having done well enough
satisfied
enough
it
this
I
;
rather, that
;
the old saying,
true artist should
indeed, a true artist will never be entirely
do not mean that when you have succeeded
securing an effect, that you should destroy
your success
to higher attainments
A
in
it,
to try
some
this instance should act as
other, but
an incentive
;
" That which you have clone but earnest of the things that you
in
shall do."
Art
The reward
is
in
certain to follow.
Dress.
7
Aside from the gratification of
feeling yourself a success, you have the knowledge that you are ele-
vating your labor to an
art.
but art dressmakers are few.
may
There are dressmakers by the thousand,
Once known, fame and fortune soon
not come to-day or to-morrow
but the lovers
follow them.
It
of the artistic
and the beautiful are watching and waiting, and
vated taste will eventually find one out.
;
culti-
5|iE
DI^ESS/ri/^}\EI^.
paraphrase the well-known lines of the great poet
To
women
"
Some
dressmakers, some achieve dressmaking,
born
are
:
and some have dressmaking thrust upon them." Should any for a business,
woman
my
my own
the
that
fair
" opening,"
I
advice as to taking up dressmaking
answer would be
young man who sought Confident in
my
ask
in the
words of the cynic
his counsel about getting married.
case that the advice would not be heeded, and
questioner would
hurry away to order cards for an
would, notwithstanding the slight rebuff, extend further
counsel and say
Since you have set your mind on this thing, and
:
are determined to go to the dressmaking in your
my
you
offer
blessing,
wise,
done for cash.
which we who are older are
row a dramatic expression, of
all
feel the
your best effort
mal
;
and woman
May
it
be long before
You offering
to
its
crosses will come, and you will
â&#x20AC;&#x201D;
can
being mostly,
with an eclat that
subjected to some very, very severe strains.
you are
it
is
well, there
meet them
still
blessif
you
are
many
types of
is
Despite
your temper
find
Man
the share
lustre dims, or
yoke that the calling has put upon you. ,
I
The opening will be as all others, with familiar. Your first appearance, to bor-
will pass off
young debutantes.
you
that
own way,
which you may cherish for future use, as
ings form a very small part of the business, are
to the
Don't.
a peculiar ani-
femininity, and
all.
many who might well go to you for instruction, many more you their advice many who have poor taste will find
;
;
with no taste at 8
all
:
and these people
will insist that
you put your
The Dressmaker. fine
work
bad selections
into their
receive their check,
â&#x20AC;&#x201D;
and you
;
at least, let us
will
be paid when you
hope that you
will.
On the other hand, you will meet some who are actuated by a sinof self in cere desire to see you succeed others again, with more ;
but both capable of rendering you great assistance. who have a refer to those having the entree of the best set, people
their motives I
of all that
knowledge will
:
is
passing in the fashionable world.
that while your occupation confines
remember
you
to
you
If
your room,
and catchthese patrons have more favorable facilities for observing These patrons can assist you, and ing the fashions as they rise. they will do its
in so refined a
it
that you cannot
way
to appreciate
value. It is
She
times.
vated taste
is
is
under obligation
is
an
what
and what
is,
assume the responsibility alone shirk assuming
it.
not,
is
becoming
;
I
am
it
fail
â&#x20AC;&#x201D;
born of the
falls into
the hands of a
If
:
the
weak
fully aware that there are customers
let
soul.
to her.
to recognize the
her prerogative
is
;
with such there
them.
great height in any art pursuit is
culti-
the duty of the dressmaker to
always insist on deciding for themselves
aspiration
quarry,
It is
indeed,
but one course to pursue,
No
world to see that
the customer cannot
artist,
value of the service rendered.
will
of the
puts herself in the hands of an artist should allow
that artist to decide
the dressmaker
improvements
all
to the refined
the art of
This much in starting.
not offended.
The patron who
who
make
a duty the dressmaker owes her patrons to
dress a complete study, to be well up in
is
fail
A
is
ever attained unless the
block of granite, rough from the
common
laborer,
and with
his rude
for a implements he hews out an ordinary building stone or flagging sculptor, of a walk the same block of granite, falling into the hands ;
and becomes a thing of beauty and a joy forever. mere trifle under In the hands of the one its value is increased a in the thousands. the spell of the other its worth will be estimated
takes form and
life,
;
What
is
true of the block of granite
is
equally true of a piece of
The Dressmaker.
lo dress goods artistic
As
;
the possibilities lying within
for
becoming a thing
of
elegance are limited only by the soul of the dressmaker. in the life of
study of light and
an
artist,
the experience of years, the careful
shade, of line
and proportion, and the mastering
details, to describe
thousand and one
of a
it
would be almost impossible, yet
all
of
which, or to single out,
which were so needed
in form-
ing a complete whole, so time, study, and experience can alone complete the dressmaker. calls for
Hers
is
an art embracing
all
other
arts.
It
the eye of the sculptor for line and drapery, the painter's
delicate discrimination of tone
and
color, the
harmony
of things as
by the musician, â&#x20AC;&#x201D;all these in the highest degree, and beyond
felt
these a patience becoming a saint.
Let us now consider the barriers to maker.
It
individual's
art for the
American
dress-
can be readily understood that a state of things where an
independence
is
lost, his
investigation handicapped with the
or her privileges restricted, and
knowledge that any
results of its
researches shall be submitted to a prejudiced censorship, are about
Art
the most unfavorable conditions under which one could labor.
and inventive
skill
must be untrammelled.
these are what most mortals
and the other
will suffice
;
toil for
;
Reward and
they want both
but take both, and
nothing remains to stimulate either
all
:
recognition,
take away one,
incentive
is lost,
and
artist or artisan.
These are about the conditions which our American dressmakers find,
placing limits on the development
environ the European.
The
first of
of
art
here,
that do not
these barriers might truthfully be
called the foreign craze.; indeed, there are two distinct types,
Anglo-mania and the Franco-mania. alone in the progress of
ment in
of
American
art,
They
â&#x20AC;&#x201D; the
are barriers standing not
but in the progress of a fuller develop-
industries.
That both England and France excel
the production of dress fabrics
after the goods are placed on the
we
cheerfully concede
common
;
but why,
market, the American
The Dressmaker.
i ^
modiste, or stand second dressmaker should give place to the French These there is no equitable reason. to the English dressmaker, that is, there was a time artificial barriers are both natural and ;
of those conditions left, when they were natural only haying little natural, and exist more on sentithey are now artificial rather than still new and our nation ment than on fact. While our country was :
older nations and countries for those yet young, our people drew on undeveloped here. No manufactures and luxuries that were still
was only from the looms of we could obtain those rich and France, Germany, and England that our homes and persons. We accepted rare fabrics with which to adorn they continue the supply goods and adopted their fashions, and
longer than a quarter-century ago
it
their
of both.
The
civil
war
called for a higher revenue,
and luxuries bemg the
taxation, these foreign manufactures natural and legitimate objects of almost prohibitory for the taxed to a point making their cost
were
goods stood upon the counters masses; and, when imported, the of of the many, the opportunity our large establishments, the envy discovered that for what But it was not long before the few the few over the counter of the American the imported material cost them could the American dressmaker, they dealer, and from the hands of where manufactured, and have forgo abroad, purchase their goods saving that paid the cost of their eign workmen make them, at a each year And thus the European exodus set in, forei-n tour. out-gomg to secure state-rooms in of
increasing, until to-day, in order
steamers during the panies' agents
These
weeks
summer
season, travellers
must notify the com-
in advance.
brought back their foreign dresses and Then dismay the American dressmaker.
tourists, returning,
foreign ideas to amaze and
To her, a trip to Paris meant a knowlshe was seized with the fever. and the prestige that a foreign trip edge gained of French methods, advertise French fashions and would give; and she returned, to abroad came the literature and fashionforeign importations, and from
The Dressmaker,
1
were
plates that
to guide her
Satisfied with
tumes.
knowledge
of
art
that
and be her model
in
making her
imitating and duplicating, she lost
comes
all
cos-
that
one who designs and originates.
to
Again, these models and fashions set the bounds beyond which her individual taste dare not o'erstep.
I
am
and seeing advertised French systems
fitting
son with American
There
common
good forms
to
fit
to
all
fact of their deficiency in alities,
partly
owing
other,
and do not
fitted,
can add that there
us take leave of defini-
waking up
to the
owing
to other conditions that space here I
say, allowing for the difference in
the American dressmaker, in this one branch,
is
also
much
rivals.
And, having
said this,
and improved upon,
to be acquired
in the cutting of a dress.
found
at
our
own
barrier to the
doors.
scales of ladies' wraps, mantles,
made, so as to
that has
fit
development
of art in dress
manufacturing on immense
in the
It is
and outside garments.
anything more absurd than beholding a
woman
Can there be
ordering her gloves
her hand, and then accepting a wrap or
been made for somebody
else
Yet
?
this is not
who must count
cloaks, wraps,
The
designs.
numbers
;
the cost
of
their
apparel.
gown
uncommon.
These manufactured outer-garments appeal most strongly class
fitting
form as compared with some other nation-
Another and growing
to be
let
are only of late years
need ask no favors from her foreign
is
as the other.
American dress cutting and
;
does not allow of enumeration.
even
humbug
a
in compari-
to the neglect of a proper study of the subject,
and, in a larger measure,
the forms to be
is,
The French cutter has a far larger percentage of in a given number of women than has the Ameri-
Our American women
can.
it
the one
;
though some can be found who forget the
sense, even
tion of patriotism.
much
almost as
fitting,
no question about
is
stands far in advance of
I
continually hearing of French
Many
to
of
that
these
and mantles are made after very attractive models and evil is in
the fact that they are
made
in
such vast
next, that they stand in the large warerooms, not until a
woman formed and
of the bearing
for
whom
such a particular gar-
The Dressmaker. ment was
originally intended appears, but to be disposed of to the
buyer without regard to any
first
it
and each new
risks,
styles, robs
cannot be otherwise style
is
a
new
He
risk.
them
who
So a
at a loss.
As
ficed.
limit is placed
far as the dealer
However,
are to blame.
on the
if
it
sacri-
is
the public
in this
of
is
art
it is
;
who buys
the lady
and to duplicate others,
willing to be duplicated
and
right
is
sell,
or dispose of
sell,
variety,
concerned he
is
charm.
all
assume too many
manufactures to
not to keep, and he must keep what he does not
fre-
one unending
street, the
even the best of
for the dealer will not
;
The
suitability or fitness.
quency with which they are seen on the parade of a few stereotyped
But
13
way
is
no moment.
Dress of any form, whether for out-door or the home, should be
made
specially
for the person
fine effect, that natural
individuality
factured on
and character, be found
some
way
The
worth hazarding.
as
it.
Rarely can that
line of a person's form, that
in a
garment or mantle manu-
Occasionally a person can be suited as
lay figure.
well in buying this
by a dressmaker, but the
correct style and
exception that proves the rule. of these
who must wear
moulding to the
fit,
if
is
hardly
found, will only be the
may appear
It
risk
to
some that the
manufactured garments, through the lower prices asked
fact
for
women of who cannot then suffer
them, appealing more to the masses, does not prevent the
wealth patronizing the fashionable modiste,
from the condition of things here tors, I
would
come.
It is
of
say, that
amusement.
must go with them
It
home
existence.
are cheap
them
such objec-
it
art
must
on the street or places
to their
homes, and become
art,
resent every exhibition
Let them understand that things bought because they
â&#x20AC;&#x201D; are
cheap.
That a value must be on everything.
learn that the purchase
a form of
to
Let them be so nurtured that they
be sensitive to every infringement of
of false taste.
Replying
stated.
from the masses that taste and
not sufficient that they behold
a part of their will
it is
economy
made
at a sacrifice of taste
that impoverishes.
and
Let art is
($OCOI^. a>Oic
EFFECTS OF LIGHT ON COLOR.
OTHER body
things being equal, the more highly the surface of a
is
light.
more
polished, the
The white
it
will reflect
light reflected
white and colored
by a colored body may be the body in some of
sufficient intensity to render the color of
of its
parts imperceptible.
When
the eye sees certain parts of the surface of a polished or
uniformly colored object which reflects to
it
proportionally to the col-
ored light less of white light than the other parts, the
appear
in
The
most cases of a more intense tone
of color
spiral thread of a piece of twisted silk or
first
parts will
than the second.
wool held perpen-
dicularly before the eye, appears in the part opposite to the light of a
much more decided color than on the rest of the surface. The folds of bright draperies present the same modification eye properly placed silk stuffs,
and
;
the effect
in sky-blue
;
for
is
to
an
particularly remarkable in yellow
we can
easily understand that
it
is
less marked when the stuffs are less bright and of dark colors.
There are some same
scale of color,
stuffs
which appear to be
and sometimes
also of
of
two tones
two tones
of
of the
two contigu-
ous scales, although the weft and the warp of these stuffs are of the
same tone and the same simple
;
color.
The cause
of this
appearance
is
very
the threads which, parallel to each other, form the designs,
are in a different direction to the threads which constitute the ground of the stuff.
Hence, whatever may be the position 14
of the spectator with regard
Color.
1
—•m — •
to the stuff, the threads of the design will always reflect colored
and
white light in a different proportion to that reflected by the threads of
the
ground, and, according to the position of a spectator, the
design will appear to be lighter or darker than the ground. Modifications produced by Colored Lights.
Red
rays falling
on
Black
make
it
White
u
u
u
Red
u
u
u
Redder.
Orange
^
«
a
Redder.
Yellow
u
a
u
Orange.
Deep Green
"
«
"
Red-black.
Light Green
"
"
"
Reddish gray.
Light Blue
"
"
"
Violet.
Violet
u
u
u
Purple.
appear
Purple-black. j^e(j
Modifications produced by Orange Light.
Orange rays
on
falling
(
make
Black
it
appear
Maroon, or Car-
{ (
,.
White
u
u
a
Orange
a
a
u
More
Red
u
u
u
Scarlet.
Yellow Light Green
,
melite-brown.
Orange. vivid.
((((((
Yellow-orange.
"
"
"
Yellow-green.
Rusty green.
Deep Green
"
"
"
Light Blue
"
«
"
Orange-gray. (
Gray,
slightly.
Deep ^ Blue
"
"
"
Indigo Blue
'<
"
"
Orange-maroon.
"
"
"
Red-maroon.
(
Violet
Orange-gray.
Modifications produced by Yellow Light,
Yellow rays
falling
Black
on
make
it
appear
Yellow-olive.
Color.
i6 White
make
Yellow
"
"
Red
"
"
"
Orange.
Orange
"
"
"
Yellower.
Green
"
"
"
Greenish yellow.
Light Blue
"
"
"
Yellow-green.
Deep Blue
"
"
"
Green-slate.
Indigo
"
"
"
Orange-yellow.
"
"
"
Yellow- maroon.
Violet
Light Yellow.
appear
it
'•'
Orange-yellow.
Modifications produced by Green Light.
Green rays
falling
on
Black
make
it
appear
White
u
u
u
Green
^
<.
«
Red
«
u
a
Orange ^
"
^^
«
Greenish brown.
Green.
.....
(
I
J (
a
Green
a
a
{
Violet
a
a
a
II
u
ti
and
brilliant.
Yellow,
Faint v
a
r^
i
htde Green. Greener, according
j f
Indigo
intense
Brown. (
»
More
,
.
to j)^\\
Its
,
depth.
Green.
Bluish green. Brown.
Modifications produced by Blue Light. Blue rays
falling
on
make
Black
Yellow
Green Indigo Violet
it
appear
Blue-black.
u
u
u
Green.
tt
u
u
Blue-green.
u
u
(I
u
u
u
Park
blue, Indigo.
i3ark blue, Violet.
Modifications produced by Black Light. Black rays
falling
White Blue
on
make
it
appear
Blue.
u
a
a
More
vivid.
Color.
1
»
Red
make »
Orange
appear
it
»
Violet.
Brown, having a pale
»
_ ^
j
^
of Violet.
tint
I
Modifications produced by Violet Light. Violet rays falling on ^,
,
,
make
Black
(
.
appear
it
Very
'
•
White
«
a
<<
Violet
u
u
u
^ Red
u
u
u
,
»
Orange
«
Yellow
u
black. Violet.
Deeper (
Red-violet,
Purple.
Ljg^^ ^^^^ (
«
Brown, with a very ^ slight tint
(
It
Violet.
(
..
u
faint Violet-
\
of Red.
Green
u
u
u
Ljg^^ Purple.
Blue
a
«
a
Yine Blue, Violet.
Indigo
a
a
a
Bcep
is
nomena
understood that exactly,
we must
in
order to represent the preceding phe-
take into account the facility with which
colored light penetrates every kind of glass, the color of the stuff,
and that
Blue, Violet.
more
or less intense
and the kind of scale to which the colored stuff
of the transmitted colored light respectively belong.
Juxtaposition of Draping with Complexion,
Rose-red cannot be put plexions without causing red,
them
with even the rosiest com-
in contact
to lose
some
of their freshness.
Rose-
maroon, and light crimson have the serious disadvantage of
rendering the complexion more or less green.
Delicate Green plexions which
are
is,
on the contrary, favorable to
deficient
in
rose,
and which
imparted to them without disadvantage. to complexions that are
a tint of
more red than
But
it
all
fair
com-
may have more is
not favorable
rosy, nor to those that
have
orange mixed with brown, because the red they add to this
Color.
1
â&#x20AC;&#x201D;
â&#x20AC;˘
â&#x20AC;˘
In the latter case a dark green will
be of a brick-red hue.
tint will
be less objectionable than a delicate green.
Yellow
imparts violet to a fair skin, and in this view
less
is
it
favorable than the delicate green.
To white
those skins which
more yellow than orange
are
but this combination
;
is
imparts
it
very dull and heavy for a
fair
com-
plexion.
When make
the skin
is
tinted
more with orange than
rosy by neutralizing the yellow.
it
the black-haired type, and
thus that
it is
we can
yellow,
produces this effect on
It
suits bncncttcs.
it
Violet, the complementary of yellow, produces contrary effects thus
it
imparts
ments the yellow there is
may be
one of the
some greenish-yellow
The
yellow and orange skins.
tint of
in a
to fair complexions,
complexion
it
makes
;
it
aug-
little
blue
This, then,
green-violet.
least favorable colors to the skin, at least
when
it
is
not sufficiently deep to whiten the skin by contrast of tone.
Blue
imparts orange, which combines favorably with white, and
the light flesh tints of fair complexions, which have already a more or less determined tint of this color.
blondes, and in this case justifies
Blue
brunettes, since they have already too
Orange
is
much
too brilliant to be elegant
blue, whitens those
is
thus suitable to most
reputation.
its
;
which have an orange
it
It will
not suit
of orange.
makes
tint,
complexions
fair
and gives a green hue
to those of a yellow tint.
Lustreless White, such fresh complexion, of which
it
as cambric muslin, assorts well with a
relieves the rose color
;
but
it is
unsuit-
able to complexions which have a disagreeable tint, because white
always exalts
all
colors
by raising their tone
;
consequently
unsuitable to those skins which, without having this tint,
very nearly approach
Very Light White more gray than white. which allows the
it
is
disagreeable
it.
draperies, such as muslin
We
or lace, appear
must thus regard every white drapery
light to pass
through
its
interstices,
and which
is
Color.
1
—
«—•—•
only apparent
to the eyes
by the surface opposed
to that
which
of the colors with
which
receives incident light.
Black
draperies,
by lowering the tone
they are in juxtaposition, whiten the skin
somewhat
rosy parts are
but
;
if
distant from the drapery,
the vermilion or
it
will follow that,
although lowered in tone, they appear relatively to the white parts contiguous to the same drapery redder than
of the skin
not con-
if
tiguous to the black.
For the
colors for dress of
women we must
begin by establishing
certain distinctions.
That
of the
two types, with skins more or
less
white and rosy.
The one with light hair and blue eyes. The That
other with black hair and black eyes. of the juxtaposition of
the articles of the
pertaining to the hair or to the complexion
;
whether
toilet,
for a color
may
contrast
favorably with the hair, yet produce a disagreeable effect with the skin.
The
color of light hair being essentially the result of a mixture
of red, yellow,
and brown, we must consider
orange-bro%v7i
the color of the skin, although a lower tone,
gous to
it
;
except in the red parts.
it
as a veiy pale,
subdued is
analo-
Blue eyes are really the only
parts of the fair type which form a contrast of color with the whole for the red parts produce, with the rest of the skin, only a of analogy of hue, or at
and the parts
most a contrast
of
hue and not of color
of the skin contiguous to the hair, the eyebrows,
eyelashes, give rise only to a
harmony
;
harmony and
of analogy, either of scale or
of hue.
The harmonies fair
of analogy, then,
evidently predominate in the
type over the harmonies of contrast.
The type with
black hair shows the harmonies of contrast pre-
dominating over the harmonies of analogy.
The
hair,
eyebrows,
eyelashes, and eyes contrast in tone and color, not only with the
white of the skin, but also with the red parts, which in this type are
20
Material.
— really redder, or less roseate,
•
m
than
•
—
in the
blonde type
;
and we must
not forget that a decided red, associated with black, gives to the latter
the character of an excessiveljf deep color, either blue or green.
The
which are usually considered as assorting best with
colors
light or black hair, are precisely those
thus, sky-blue,
known
which produce great contrasts
to accord well ivith blondes,
is
approaches the nearest to the complementary of orange, which basis of the color of their hair
esteemed to accord favorably orange — contrast
or less
Two
and complexions. hair
ivith black
in the
— yelloiv
;
the color that is
the
colors, long
and
red,
same manner with them.
more
Yellow
and orange-red, contrasting by color and brilliancy with black, and
and blue-green,
their complementaries, violet of the hair, are far
from producing a bad
in
mixing with the
tint
result.
-«-^t^»«^5«£^
/n/^5^i^i/»c.
selecting material, the complexion, the age, and the figure are
INthe it
first
is
wearer.
to be considered
;
then the time and occasion for which
intended, and the position in
In the same
way
and harmony cannot be disturbed. expression, a
sympathy
There
seldom look
is
not a source of delight.
her two tasks, to display and to conceal left to
is, if
well,
force upon us a sense of incongruity
the incongruous
and individuality
I
in goods, as in sealskin
of widely different cost
They
life
:
;
may be
and
and are
and
to
has laid relentless lines upon
it,
:
allowed the Materials
silk.
be avoided.
art teaches us that
The modiste has
before
as an elegant throat can be
prove the truth of the adage, beauty unadorned,
collars will
of the
colors harmonize, so also does material
so,
when time
the value of elegant laces and high
be readily appreciated.
Textures assimilate with the light of day.
Woollen textures
Material.
21
absorb rays, satin reflects them, velvet subdues them, and cloth
deadens them.
from
Again, variety
severe.
materials derive their characteristics
to regard
them
as grave or gay, as lively or
given to the character of the material by
is
being plain or figured, striped or checked, and this characteristic
its is
and we come
light,
way
In this
changed again as these
stripes or figures are large or small,
or obtrusive, while these are again affected
by
modest
their arrangement,
whether representing order by being regularly placed or by being Color next enters, demand-
carelessly placed representing confusion.
ing more care and study in the selection of the material. Stripes,
when used with
rare good taste, are capable of producing
They have
most gratifying sensations.
style of the goods, as well as the
stripes elongate,
and horizontal
the property of changing the
figure of the wearer.
stripes widen.
Plain
material, as
soon as
it is
folded or plaited, practically becomes striped.
shadow
cast
by the overlying
plait gives
So a sash gathered and
line.
color,
wound around
Vertical
Both the
and the crease gives
the waist breaks length,
and gives width. Stripes that alternate in either texture or color can in the
ing either
avoided
make
when
or
mar the
Narrow
dress waist.
a pronounced effect
is
sought.
A
mak-
stripes should be
stripe
from one
to
two inches in width has character, the width always being determined in proportions
These figures stripes tall
conformable to the height and figure of the wearer.
effects can only be
that
shown
to great
advantage on fine forms, or
have had their deficiencies of
demand smooth
When
fitting.
and slender form, they have
little
to
contour supplied, as
carried on the straight on a
recommend them.
For such
figures the stripe should be on the oblique or bias, brought in this
way
:
the stripe slanting from the shoulder toward the centre or
front, the effect is to give the
wearer the appearance of much greater
width and fulness of bust, and
if
cut according to the instructions
given under the division of Points on Fitting, the result will be both aCTeeable and attractive.
Material.
22
â&#x20AC;&#x201D;
â&#x20AC;˘
>
Though we while
I
are daily beholding such evidences of false taste, and
fear that the
amateur cutter
will
me
never forgive
ing attention to this abuse of both design and material, pelled to remark,
broken
purpose
all
off short
which they were
am com-
and emphasize the statement, that a waist having
when two
vertical stripes is simply ruined
darts destroy
for directI
;
the
lines,
whether
darts are taken.
The
vertical or oblique, are
long before they have carried out the object for selected,
and the painful spectacle
presented of a
is
waist of stripes as far as the line of bust, becoming a check at the bodice,
and running purposelessly into anything
There
is
one exception to
where two
It is
this, or,
subdue the other
shaded, the squares in a degree are
The
might
say, a modification.
stripes cut at right angles one, either
of tone or width of line,
restored.
I
at the basque.
lost,
through depth
the texture then appears
;
and unity
rule given for these conditions
is,
in
a
measure
that one of
shades must be three times deeper than the other, and the
is
the
first
line
the
arti-
three times wider than the second.
have endeavored to lessen these faulty occurrences
I
cle already referred to
on Points
in
Fitting,
in
and the dressmaker,
whether professional or amateur, can spend no more profitable hour than in the experimenting with material of this design. in
mind that
for stripes
effects can only
Plaids ered.
dren. all
one dart
is
sufficient,
Bear well
while the grandest
be obtained by leaving out darts entirely.
and checks are to be forsworn
if
dignity
is
to be consid-
They have never been considered suitable for any but chilAt long intervals they put in their unhealthy appearance, like
other plagues, and then disappear.
At
the present time of writ-
ing they are somewhat worn, and the cutters have striven to over-
come the square
effect that cutting
on the straight gives, by cutting
the material on the bias and having every part carefully matched
but their labor, while still
skill
in
leaves a waist that
a shght is
more an advertisement
than any recommendation of
;
measure showing an improvement,
taste.
of their
mechanical
Material.
â&#x20AC;&#x201D;
23
â&#x20AC;˘
>
TRIMMING.
The aim ot trimming is that demand trimming. The figure
need
little
Again must we
needed.
form or the well-rounded
slight, graceful
trimming to their waist
or no
repeat,
be relegated to the
Trimmings seen on
They have
closet.
â&#x20AC;&#x201D; these are
and the
tion for concealins: a
There
fitting.
is
is
all
that
adorned
like,
should
but not here.
their uses,
a perfectly formed figure only
somebody's bad taste or worse
a bow, a sash, a
;
"beauty unadorned
Plastrons, watteau plaits, blouses,
the most."
There are forms
line.
ribbon to relieve color or give color
scarf, a bit of is
improve the
to
seem
to advertise
no excuse or
pallia-
good form beneath a bad fashion.
\ViDTHS OF Material. Iks: Black (French)
Colored and Plain (French)
American
Summer and Japanese
.
Pongee and Foulard
.
.
.
.
.
18, 20,
24 inches.
18, 22,
24
... ... ...
24 18 27 22
Undressed Poplins
:
24 inches
Irish,
Ladies' Cloth,
Reps,
all
20
54
64
"
heavy.
28
"
all
wool,
32
Velours, silk-faced,
Drap
;
French,
wool
27
48
d'6t6
20, 22
Velvet
Number of Yards required to make a Dress from Material of Different Widths. The
first
figures in
numbers of yards being
for persons of
medium
size;
the second column
for larger size.
18 to 20 inches wide
from 20 to 25 yards.
22
"
"
"19
" 22
"
23 " 24
"
"
''18
" 22
''
21 "
24
Line and Proportion. 27 to 30 inches wide
from 15 to 20 yards. "
14 " 20
"
Line and Proportion. Alternation
velvet.
the latter
;
less elevated in its character
than repetition
;
be almost sublime, the former never passes the Kmits
ftiay
beauty
of
is
25
so
we may
say, alternation
has charm, repetition has
grandeur.
Symmetry.
The
original
meaning
word symmetry, according
of the
Greek etymology, meant the
state of a
body
of
which
all
to
its
members
the
common measure amongst themselves that is to say, it signiwhat we mean by proportion indeed, the words symmetry and
have a fied
;
;
proportion are almost interchangeable, because a symmetrical animal is
always well proportioned, and a well-proportioned animal
always
is
symmetrical.
Contrast. Contrast stripe follow
is
the highest degree of alternation.
an orange
stripe,
If
you make a red
you simply produce alternation
;
but
if
the stripes so placed are the complementary colors one of the other, as orange
most
and
blue, yellow
lively contrast.
and
violet,
In the same
red and green, you will have a
way
a series of circles and ovals
would only produce alternating forms, while a
circle
and rectangle, a
cube and sphere, would be decidedly contrasting forms.
To adorn seen, but
a person or a thing to cause
it is
them
to
is
not simply to cause them to be
be admired.
Contrast should only
be used as a means of rendering the whole more powerful,
and
orange must predominate in a decoration,
If
with
be
brilliant,
striking.
it,
its
let
blue be mingled
but sparingly, so that the complementary color of orange
auxiliary
and not
its rival.
A
may
contrast of round and angular
shapes would be displeasing in the highest degree
forms competed with the other in importance,
in
if
one of these
volume, or
in extent.
Vertical and Horizontal Lines.
The
vertical line raises itself, the horizontal line extends itself;
therefore
it is
natural that these two lines should be connected with
Line and Proportion.
26
The
totally different ideas.
gives height, because
While
it
divides the width
because
lines give width,
repetition of vertical lines on a surface
it
;
the repetition of horizontal
divides the height.
for the
dressmaker but to follow the prevailing
fashion, the consideration of
amplitude, as affecting dress, will be
little is left
carried out, subject to the limits that scribe.
It
may
any particular fashion may
mind
be well for her, however, to keep in
that ampli-
tude produces an aesthetic effect in the art of dress as in other
A certain presumption of dignity is because
it
to excess in width, to exaggerate
ping
The
it.
it,
is
to miss the goal
condition of fulness in dress
human
the natural shape of the
arts.
attached to width, which enlarges,
To run
the opposite of scantiness, which diminishes.
is
pre-
that
is,
it
by overstep-
does not alter
body, the outline of which ought
always to give boldly the all-prevailing direction of height.
Confined
within these bounds, amplitude produces an illusion of
not only
because
it
makes us
enlarges the image presented to our sight, but because
it
instinctively attribute increased importance to a person
amply dressed, by augmenting the place that by reason
size,
of the space that
it fills
it
occupies in the mind,
in reality.
Too much value cannot be set upon the possibilities of lines. They produce beauty, they produce symmetry, and the symmetrical is
always beautiful.
Their power to do this
we
the boundaries of truth and fact, and exist,
but as
the}/
is
carried even
see objects, not as they
appear through the tendency
of lines to
thoughts to height or width, accordingly as they for example, two' circles,
with horizontal, lines
;
and cross one with
these repeated, the
beyond
may
vertical,
direct
run.
our
Take,
and the other
have the appear-
first will
ance of greater height, the second that of increased width, while both will
have the appearance of
ovals.
The same
will
be the result where
squares or ovals are employed.
Lines can be broken by
color,
by trimmings and where so broken, ;
the effect will be to lessen the height
express motion.
They
are suited to
all
if
vertical.
figures, and,
Oblique lines
whether obtained
27
Points in Cutting and Fitting.
impression ot freedom, and lend shaping or draping, convey an lengthened at the waist should never be di-nity to the gown. The gives an .mpreslong waist and short skirt ex°pense of the skirt. at, and, secured, happy mean should be aimed
in the
sion of short limbs. will well
A A
repay the study devoted thereto.
poiflT$ 'H Q^TT'HC
f^P
F's^'HC'
o;*:c
BONING. a give and preserve shape to use of bones and steels to study than ever. waist is a more important curve, where the buttons Bec^inning at the front line or are used should be inserted; flat bones are fastened, a round bone back, the bone including the centre seam of in every dart and seam down and shaped with the others.
THE of
which can be carried well
When
the waist
last time, the fi ter being tried on for the of wa>st hne the most pronounced curve
is
should take a stitch to mark
bone, markcomes. Then remove each each point where boning The of curvmg. the stitch gave the point in. it at a point where over a lamp, or over holding it for a moment bo°,e is then shaped by conformmg to the then curving it to a shape the edge of a hot iron used for this the best whalebone can be contour of the waist. Only
at
;
annealed are used, the steel can be the watch-spring steels the following processes and tempered by either of flame Pass the steel through the spirit lamp (alcohol).
'"men
:
,
Use
a
-
Shape it novv out. then cool the temper is until thoroughly heated, and when pass it through the flame, conform to the figure again ;
lo
it is
;
quickly plunge a cherry-red heat,
m
water.
Points in Cutting and Fitting.
28
Put the steel
2.
in a pot of hot lead
then remove and allow
it
to cool.
the desired curve, and put
minutes
back
it
let
;
it
now
remain
five
in the lead, letting
minutes,
Shape
annealed. it
it
remain
to
five
then remove quickly and plunge in water.
;
The
It is
lead keeps 'the steel from warping
moreover, lead being
;
subject to but one height of temperature, gives a uniform heating to
the steel.
Cross-Boning. In order to preserve the shape to the waist, an extra bone can be
seam
carried from the side
bottom
to the
of waist,
of front, crossing the
where
be a fine one and cased.
It
it
A
very good plan,
spring steel in the following
way
if
:
all
seams, fastened at
correctly carried out,
and side seam)
;
will
steel,
bow
of waist
(between second
steel.
Fasten the
steel
firmly at both ends.
being longer than the line of cloth on which
But when the waist
out.
and
top
to use a
that will be one-third of an inch shorter than the
extreme ends of the
The
is
â&#x20AC;&#x201D;
Measure a distance from the bottom dart
to the under-
circle.
Bones can be placed between only.
The bone should
must be firmly fastened
arm seam about one inch below arm bottom
second dart down
can be secured.
is
it is
fastened,
put on the wearer and buttoned,
the steel shapes to the line of the figure, and the waist
is
held
down
firmly.
Always remember fit
that the cut gives the
fit
;
the boning holds that
to its shape.
HIP EFFECTS.
The method taught
in
for cutting
the System,
is
on the hips, as shown
in the
cuts and
a great improvement over the old ways,
insuring an accuracy and smoothness that can never be attained by
them. It
may be
well, in starting out, to say that these errors arose
the fault of the old teachers in studying the
from
human form from
the
Points in Cutting and Fitting.
wrong standpoint.
They only saw the
them, when, standing
they
by taking a
when standing
down
this
for a side view,
of
back
in
was a mistake the reader can
strip of cloth or ribbon
and standing behind some it
or,
by sloping the centre seam
That
their drafting and fitting.
and carry
itself to
the very easy error of mistaking the slope of the back
fell into
as a fact that could be treated
easily prove,
presented
it
they beheld an outline sloping at
full in front,
the side and springing at the hip,
figure as
29
about one inch wide,
friend, pin the ribbon at the collar line,
the back, the edge of the ribbon on a straight line
with the centre seam of back.
The
straight edge of the ribbon will
be seen to follow the seam, and the ribbon mould to the form.
Observe that
// is
not the edge of the ribbon that moulds to the figure,
but the flat surface shapes itself ; and this without any dart or curve
being
cut.
Now
a curve or dart
if
system teaching
it is
at fault.
be stretched into shape or not called
for,
is
cut
where no reason
for
For even while a piece
it
exists,
the
may
so curved
yet a dart has been taken where
fitting,
consequently at the sacrifice of the fitting at some
point at which a dart was required.
Bear well
in
mind
that the
dif-
ference between the bust and waist measures gives the exact amount of cloth to
At no
be taken out, when the
other point requiring
The
it,
being considered.
side of a person presents for a certain width the
time,
though
this, in
(A surface can be
flat
in its relation to
same
and slope
fit.
flat
at the
teaching, heretofore appears to have been
This principle has been carried out
overlooked.)
some
consequently at the expense of a perfect
surface as does the back.
same
scientific point is
point can an excess of cloth be taken but at the loss of
in this
system, both
the cutting of the under-arm piece and centre of
back patterns. Again, putting line joining
it
all
the spring on the front
line,
and drafting the
straight, as the spring of hip in front of basque, to
the straight front seam of under-arm piece as
shown
in
the dia-
grams, brings the material well over the hip, the straight line of one
Points in Cutting and Fitting.
30
holding the other well back, and having the added effect of bringing the seam
more
in a straight line,
offensive bunchiness seen in
all
while doing away with the painfully
basques where the lines are cut in
corresponding curves.
The where
only deviation from this rule for cutting the hip seams
be matched to a V, as shown
stripes are to
and which are to be
fully explained in the article
is
matched
in
the illustration,
Where
thereon.
to follow out the line, this
is
new method
stripes will
be
followed.
DIFFICULT FORMS TO BE FITTED.
the
As most systems human form, it
some
principle of proportions of
measure from these proportions, no
differing in a great cal results
are based on
naturally follows that where. a figure
can be obtained from a draft for such a
the gravest faults of such systems
is,
found
is
really practi-
One
figure.
of
in basing the widths of back,
both at waist line and across shoulder, on some proportion to the bust or waist measure, while
all
systems
will
be found
at fault,
where
the person to be fitted comes out of the quality of ratios on which
such scaling
The
is
calculated.
following are the causes of
rences of misfitting 1.
When
:
some
of the
most frequent occur-
â&#x20AC;&#x201D;
a person measures an extreme length from the promi-
nent bone at back of neck to the point of bust. waist
is
In this case the
short from the line of bust to shoulder seam, and
nate for the individual
if
it
is
fortu-
her dress has been so cut, that letting out
the shoulder seam will remedy the defect.
by this system provides for
this,
The
7th measure taken
and enables the cutter to correct
the draft before cutting out the material. 2.
Where
the measure of width of back on waist line has not
been taken, but a scaling followed.
While two people may correspond require four
require
five.
inches on If
the
in waist
measures, one
may
width of waist line back, while the other
system of scaling allows
five inches,
the one
3^
Points in Cutting and Fitting.
at the back, would have an inch of loose cloth the front. in by that amount while her waist would not come together back, front and taking in at the This would require letting out at the measure The 6th satisfactory. and the result would be anything but any such mistake. called for by this system obviates who have retained the There is a very large number of women 3 waist at back, that was theirs symmetrical back and slender, sloping the fulness to bust and increased before time had added the rounding imbeen not The handsome shape of the one has size of waist. These forms have of the other. paired in the splendid development and if any, it will be any, fleshiness at the back,
calling for four inches
acquired
little, if
conin no way changing the found above the line of shoulder-blades, scahng forms when subjected to these tour of the waist. These of anxiety systems are an unending source
there
tx>
the dressmaker.
For
System accompanymg again direct attention to the front for a front, which drafts a back for a back, and
we must
this work,
tape measintelligence of the cutter with a preferring to trust to the proporthe fate of scalings and risk the disaster that is
than
ure,
tions
when appUed
The
4th,
measures
to the
5th, 6th,
human
form.
and 9th measures are
in correcting
any draft
all
cutter
service as test
for the class of figures to
are referring.
Whatever system the
of
may be
using, let
which we
him or her remem-
is needed, safely drafted for where cloth ber that cloth can always be rule. for the front, follow this and where more cloth is required and carry the added width all Mark out for it on the line of bust to neck and in a slant from point of bust the way down on front line, order to waist in front, The cloth you have added to the curve dart. first can be taken out in the ;
m
bust, .et sufficient fulness at on waist hne the amount you have added by dart Increase your first enlarged dart, draft a line From your new centre of the in front where This rule will always apply point and curve.
and form a new
an excessive fulness
is
found
at the front
and
at
the point of bust.
Points in Cutting and Fitting.
32
Refitting. In trying on, see that the customer stands erect, and admit of no
on and
Pin from neck down,
criticisms until the waist
is
pulHng the waist well
and watching that the shoulders
circle allow of
freedom
draw well down
on,
on,
at
fitted.
pinning up.
in
arm
at
After the waist or lining
every point and watch the
is
Should
effect.
there be any fulness in front from point of bust to neck, or at shoul-
do not try to correct by pulling away toward point of shoulder.
ders,
Simply unfasten from point up, and bring the two fronts evenly together and pin a fingers inside of
each pin
is
new
As you
slope for front.
neck curve, lightly
lift,
as
it
proceed, with your
were, the front
After pinning up snugly,
fastened.
;
this as
any fulness or
if
wrinkle remains at shoulder seam, mark with a pin for change at that
The change should be made
point.
fault is in front.
Any
entirely from the front
ening the distance between those points.
more
likely to
imply an error
than in the system.
It is
in the
circle
and baste down
the
arm
;
do not join
origin of the so-called circle in
an oblique
at waist line.
BIAS.
French Bias came
in taking a gore
line to the top of the
purpose for which the gore was taken being to get fluous cloth or looseness caused
being
that the lining should
circle.
rid of is
was
and smooth when used
cut.
from
dart, the
the super-
found just
This gore was taken
fitted before the outside
lie flat
second
by the hollowness that
above the bust and near the arm lining, the lining
that a misfit
All seams should be joined at
THE FRENCH The
Remember
taking of measures or drafting
the system that tests the measurements,
not the measurements the system.
arm
the
by opening the shoulder seam and short-
of bust, should be corrected
is
when
wrinkle or looseness across back, above the line
in the
In order
for a pattern
on
the cloth, the second dart was cut from bottom to top through the
centre
;
otherwise the concave shape given to the lining by the gore
33
Points in Cutting and Fitting.
Such was the pattern being cut. would have prevented an accurate th.s method French Bias. But the value of origin oÂŁ, and such is, the cloth, was no getting rid of the superfluous of Cutting, aside from its when the came to be cut in th>s way, realized until striped material the large manipulation of the cloth, and handsome bias, caused by the dart
came prominently
This
into notice.
very elegant effect
was certain
of attracting attention,
and
minds of cutting turned their both dressmakers and teachers amusmg and both was done. The results were ing the way the thing conclusion, wh.ch was^ They arrived, however, at one to find-
lamentable.
much move
up could be obtained by takmg that the appearance was made up taken so The extra amount cloth in the second dart. seam that jomed wUh the waist line) to the or by adding cloth (on seam established by drafting piece, and a new side he under-arm the new width
L
point at at waist line to the
arm
circle
where the
ringm as This was a success so far former line or seam ended. concerned t>"t ^o calthe second dart was the stripes on a bias into cloth naturally ad e Jhaving been made for the extra pomt, and the dressfulness was found at this bust hne. an extra the idea. looseness it added, abandoned maker, dismayed with the make, to for any but an expert The error was a natural one mistaking the effect from the wrong end, from arose from starting ;
It
a^
for the cause.
How
BlAS. TO OBTAIN THE FRENCH
take the paper patefficient method is to simplest and most from bottom to top, then through the second dart tern of a front, cut from a pomt in the wide at arm circle, and take up a dart one inch formed by arm circle inches from the angle
The
afm
ircle
where
it
about two
seam. ends at line of under-arm dart. from arm circle to top of
V <.haDed
Thelange Plate No.
I.
effected from
The
dart will run obliquely,
the original pattern
is
illustrated in
34
Points in Cutting and
Plate No.
I.
â&#x20AC;&#x201D; French
Fittino;.
Bias.
Points in Cutting and Fitting.
Plate No. 2.
â&#x20AC;&#x201D; Draft
of French Bias.
35
Points in Cutting and Fitting.
36
To DRAFT THE FRENCH Plate No. 2 exhibits the draft of the 1.
French
Measure from the right-hand seam
lyi inches,
and
From
dot.
BlAS. bias.
of second dart, on line
this dot to top of
5,
second dart draft new
curve for dart. 2.
Measure on
line
Place your rule, with
from arm is
to the right of line
5,
its
edge touching
1%
T,
this dot,
inches,
and draft
and line
dot.
TT
This line must intersect line 7 where
circle to the dot.
it
crossed by line T.
The
lines
T and
the dart for arm
shown
in Plate
TT, crossing
circle,
at line 7,
form a V.
answering the dart taken
new width
draft the
3.
Measure the distance from the point where
arm
circle as
of basque at hip.
line 10, to line 9.
Measure double
line 8 (or beyond),
and dot on
to the point
4.
This becomes
i.
To
TT'
in
on
line 5
this distance
line
where
line
10.
From
line
from
T' touches on line
9 towards
this point draft line
TT touches.
Measure on line 10 the distance from the centre line of original
second dart to the point where line T' touches on line
from the point where
number
line
TT' ends on
of inches toivards dart,
and
line 10,
10.
Then
measure the same
Draft a line from where
dot.
new curve of second dart ends on line 5 to this dot, and below if Have the width of skirt of new pattern correspond with
the
required.
the width of old.
These
rules apply to
any correct system.
DESIGN IN STRIPES. Plates 3 and 4 exhibit a pattern in stripes, the front forming a V,
while the stripes of the under-arm piece are also brought to a
where
it
joins the front.
the matching carried out in every part, as
The
V
Stripes are purposeless unless matched and
shown
in the illustration.
hip effect taught in the system cannot be carried out here, as
Points in Cutting and Fitting. the matching of the stripes to a
be equal to each other. line, this is
Where
V
on
i:he
37
hip requires both sides to
the stripes are
made
to follow their
centre of not needed, as shown by the side form back and
back.
The neck to
front of the basque or waist
is
cut
first, its
being brought on a line with the
point,
arm piece
is
matched
to the front, reversing.
front line, from
stripe.
The
under-
To match the
side
form must lay straight form to the under-arm piece the line of the side the goods. The curve of with the line of the under-arm piece on line. back and side form back should be brought on a stripes are The plates will be found of great assistance, as the
piece. represented just as they should come in each
Round Shoulders. Plate No.
shows the correct method
5
of cutting for round-shoul-
dered persons. the indiback should be made one inch shorter than This inch is afterwards supvidual's length of back measurement. and can only be supplied and plied in the part where most needed,
The
draft of
properly fitted in this way.
been made, the
line
AA
is
After the ordinary draft of back has made and cut open, spreading the open-
which can be held down by gumming paper thereto. and give a flat pattern, a dart, In order to offset the concave shape This shortens the shoulder seam. is taken up in the shoulder
ing to a
V shape,
BB,
seam and lengthens the centre seam altered pattern is shown in the same
The
of back.
The appearance
of the
plate.
be made to correspond length of shoulder seam front must In basting, follow the curved line of the the back. o^f
with that
shoulder seam back.
38
Points in Cutting and Fitting.
Plate No. 3.
â&#x20AC;&#x201D; Design
in Stripes
(Front).
Points in Cutting and Fitting.
Plate No. 4.
â&#x20AC;&#x201D;Design
in Stripes.
(Back.)
40
Points in Cutting and Fitting.
"A A
Plate No. 5.
â&#x20AC;&#x201D; Draft
for Rounding Shoulders.
TO
Di^/^pT
f\
Bj\^qu^.
o>^c
RULES FOR MEASUREMENT. No. 6 PLATE should be taken over
illustrates the
method
of taking measures.
avoiding trimmed waists, belts and ornaments. the waist worn to be a guide.
Do
not allow
See that the person being measured
Stand behind the person, placing her before a mirror.
stands erect.
Take
They
as perfect a fitting waist as attainable,
the measures in the following
way
:
1.
Bust Measure.
2.
Waist Measure. Pass the tape around the waist
Pass the tape around the fullest part of bust, straight across back; take fairly snug. (See plate, i to i.) snug. 3.
circle, 4.
2 to
5.
4 to
take extremely
Width of Front. Measure across chest from arm circle to arm about four inches below neck. 3 to 3.
Neck
down
line
;
2.
to
Point.
Measure from the neck
to point of bust.
Width of Back.
in front in a straight
TV to P.
Across back from arm
circle to
arm
circle.
4.
Width of Back at Waist Line. Measure the desired width at having the width symmetrical with the width of shoulder. From back of neck measure well down full LengtJi of Back. 7. length. Be careful to observe how far the tape goes below 5 to 5. the horizontal line of waist that is, on a line where the under-arm This will show the drop of back, or length, the piece ends at waist. centre seam of back and seam of side form must be carried below draft of waist line, to conform to the shape of back at this point. The accuracy of fitting depends on the careful consideration of this point. Under-Arm Length. Measure from hollow of the arm to waist 8. line, well down. This is another essential measure and 7 to 7. governs the fit for length from waist line to neck. Place the tape on the promi9. Back of Neck to Point of Bust. nent bone at back of neck, bring forward over the shoulder, rather close to the neck, and down to point of bust as shown in illustration 6.
this point,
;
6 to P. 41
To
43
Draft a Basque.
10
Plate No. 7.
â&#x20AC;&#x201D; Outline
of Draft.
To
44
Draft a Basque.
DRAFTING A BASQUE. One-half the basque Plate No. 7 shows the outline of the work. alone being drafted, all the measurements of circumference will be one-half
drafted
the
of
Those
measurements.
actual
length.
full
The
square,
i,
2,
3,
4,
of
length will
be
gives the lines within
which all the work is confined. The space between vertical lines that between vertical lines 8 and 9 I and 9 will constitute the front side and that between 8 and 4 the back of the under-arm piece, or ;
;
basque, or waist.
Draft line No.
1.
i
about two inches from edge of paper, or
sel-
vage of material. Draft from the right of line No. i, at right angles with it, line 2. The length of line No. 2 will be one-half the bust measure. No. 2.
Measure on line i to the left of line 2 the number of inches 3. you have decided on for length of basque. Dot, and mark 5. This point when carried out will give you your waist line. Find your 8th measure (under-arm length), and measure that 4. number of inches on line i to the left of dot 5, dot, and mark 6. This when carried out will be your under-arm line. Now find one-fourth of the bust measure, and measure that 5. number of inches on line i to the left of dot 6, and dot. From this dot to the point where line 2 joins line i is the length of line i
;
i.e.,
length of front. 6. 7.
right 8.
and
Complete the square by drafting the two sides, lines 3 and 4. Draft line 5, waist line, from dot 5, parallel with line 2, and at Line 5 extends from i to 4. angles with line i. Draft line 6, under-arm line, from i to 4, parallel with lines 2
5.
9.
Draft line
parallel with
7,
line of bust
(Note.
it.
â&#x20AC;&#x201D; An
two inches below under-arm
line,
exact measure can be taken for this,
and the reader will find it explained in the article on Points.) The average length from the under-arm line to line of bust being about two inches, that number 10.
As i
used here.
below the waist
ally four inches
on lines
is
the greatest circumference of hip measurement
and 4
draft line 10
â&#x20AC;&#x201D;
line,
measure that number
to the right of line 5 (waist line).
parallel with lines
5
and
2,
From
is
gener-
of inches
these points
and coming between them.
To
45
Draft a Basque.
the will always be one-hal distance of line 8 from line 4 of width the Measure one-half (5th measurement.) width" of back. these and between line
The
1 1
back on lines 2 and
measuring from
3,
4,
points draft vertical line 8. from line 8 will be I. The distance of line 9
one-fourth the
the number on Hne 6 between i and 8. Measure of this one-fourth take lines i and 8; of inches on line 6 between i Jine line from 8 ^o-ard measurement and measure on lines 2 and 3 lines through points, Draft vertical line 9 between these and dot gives the side or space for and 10, parallel with line 8. This of inches
number
5, 6,
7,
under-arm piece.
DRAFT OF BACK. a back of waist. Plate No. 8 shows the draft of from the angle formed by starting Draft the oblique line A, 1 angle formed by lines right-hand side of line 9 to the
lines'
9 and 6
;
inter;ect1ng line
and 4, der seam 3
8.
Mark
this line
A.
This
is
of back.
your shoul-
^ measure where it is crossed by hne A, and dot. and A and line 6, two-thirds" of the distance between from line 4, the number of line), (waist line Measure on 5 3 (width of back on waist line), inches taken by 6th measurement the distance you On the same line, between line 4 and and dot width of centre of back at waist haveTust measured, measure the
Beo-in
2
^'"^
Vo'^TE
on
,
line 8,
-The
centre width
is,
as i to the side-form width, about inches, at waist measures yA
That is, if the width of back inches, and the centre one mch. the side form will have 2% side form, lay it on the draft Use the piece marked curve for 4 andj^ touching the dot on line 8 between ^ its pointed end (top) draft and line nearest 4, edge of curve to the dot on hne 5,
to
-^1/
Brine the curve
Une
2,
5
B
With your
waist rule continue straight line from
parallel with line 4.
Mark your
From the angle formed by
B and B' and 8 draft line
down
to
lines
lines 6
^
to
second from
to the Continue the line, slightly slanting and Mark your lines C this point, to line 2. line A intersects slightly curve from where pencil your 6 With the curve to armgive dves This no, c 8. Q i<^(^f- Plate i riate.; (bee angle 6,
dot on line
line 8
down
circle back.
left
C
5.
to
\
">
To
46
6
Draft a Basque.
To
Draft a Basque.
47
10
Plate No. 9.
â&#x20AC;&#x201D; Draft
Showing Front of Basque.
To
48 Note.
Draft a Basque.
â&#x20AC;&#x201D; The length of
determine what
it
shoulder
This
shall be.
is
will
not marked, as the front will
be completed farther on.
DRAFT OF FRONT. Plate No. 9 shows draft of front of waist.
Place your rule in the angle formed by lines i and 7, and draft 1. an oblique line to a point on line 9 that will measure one-third the number of inches of bust measure.
â&#x20AC;&#x201D;
Note. formed by mark it K.
i
If
the bust measure
and 7
will
is 36 the point on line 9 to the angle be 12 inches. Where the line ends on line 9
Place your rule in the upper angle of lines 6 and
2.
a line to a point on line 3 ure. 3.
its
Mark it L. Take the
piece
9
K, and draft
at
will
measure one-third
draft
measthat
and its right-hand end touches the shoulder seam and neck curve at the same line 3 at Z,
The curved .piece will give the correct bearing instructed. Mark the shoulder seam M, and neck N. time.
4.
and
8,
of bust
marked "neck, curve and shoulder," see
upper point touches
line
which
Measure the distance on
line
K
9 from where
if
placed as
touches, to the
angle formed by lines 9 and 6, and dot half-way between. From this point measure to the left 2^ inches, mark O, and dot. This dot
arm
gives the inside curve of circle "
for
arm
its
upper curve touching O,
with
curve naturally to point 5.
Undcr-arvi
circle.
Place the piece marked " curve
lower curved edge touching line
its
dot,
and
K on line
Piece.
9.
draft the
arm
circle,
6,
bringing
carrying the
(See Plate.)
The under-arm
piece
is
really drafted in
great part already, the pattern being the space occupied between the
and 9 and the horizontal lines 2 and 6, including the line 10 (shown in cut, but now to be 5, 7 and Of the under-arm piece the spring for hip remains to be Measure to the right of line 8, on line 10, three inches, Draft from this dot to the angle of lines 8 and 5, line S,
vertical lines 8
intersecting lines drafted).
drafted.
and
dot.
obliquely.
THE DARTS. To
number of inches to be taken out in the darts. the width of under-arm piece, at waist line, to the width of back at waist line, then subtract the sum from one-half the waist I.
find the
Add
To measure and the remainder
Draft a Basque. will
49
be the number of inches needed
in
front to complete the size of waist.
Find the number of inches on line 5 between lines i and 9 2. from that subtract the number of inches needed in front to complete the size of waist, and the remainder will be the number of inches to be taken out in the darts. Example. If the width of under-arm piece is 3 inches, and width of back on waist line 4 inches, these added give 7 inches, which subtracted from one-half the waist measure (say 12 inches)
â&#x20AC;&#x201D;
leaves five inches
;
five
is,
therefore, the
number
of inches of material
required to complete the size of waist.
Then
if
the width on line
5,
between
lines
i
and
'9,
is
9 inches,
inches found above from the 9 inches and the remainder is 4 inches therefore 4 inches must be taken out in the darts. The amount to be taken out in each dart will be governed by the subtract the
5
;
and
conformation of the
figure.
curving at the
then the second dart and side seam will have
side,
large darts and very
If
little will
the person
be taken out
is
very
flat
in the first.
in front
If
the form
curves in front and flattens at the side the greatest amount of cloth
be taken in the
will
first
dart.
If
the figure
each dart will have an equal amount. darts, the side
seam being
one.
This
is
very uniform, then
Practically there are three is
always considered in this
S3^stem.
For first
practice, supposing 3^^ inches
could be allowed
third, or side
i}{
was allowed
inch, the second dart
for the darts, the ij4
inch,
and the
seam, three-quarters of an inch.
(i) and the first dart must always on ordinary figures is a good allowance. I. To draft the dart measure from line i, on line 5, i}4 inch, and measure the amount to be taken out in first dart, and dot Now dot. centrally, between these dots, draw a vertical line, parallel with line I and running from line 2 through lines 10 and 5 to within threeTake your curve pieces for quarters of an inch of line 7 (bust line). darts, and draft the curved lines, as shown in Plate, from the top of With your straight rule conline just drawn to the dots on line 5. tinue the lines, leaving about one-half inch width between them where they touch on line 2. Measure from right-hand side of the This will be first dart, on line 5, three-quarters of an inch, and dot.
The
space between the front line
allow for button holes
;
i}4 inch
To
50
Z
Plate No. 10.
Draft a Basque.
'
2.
Appearance of Front and Back when drafted together.
To
52
Draft a Basque.
your space between first and second dart. Measure the amount to be taken out in second dart, and dot centrally, between these dots, ;
draft
an oblique
ending
at line
7.
seen in the Plate, beginning at line 2 and Carry out the curved lines, as in drafting the first
line, as
and continue the straight lines to line 2. A very handsome slope is obtained by making the distance between the first and second dart, at line 2, about one-quarter inch more than the distance between them on line 5. The remaining number of inches to be taken out will be taken at the side seam, the dart being entirely on the front, the under-arm piece being allowed to continue straight down on line 8. Measure on line 5, to the left of line 9, the remaining number of inches to come out in the darts, and dot. From this point draft line 7" to the angle where line 6 joins line 9. Continue and carry out the spring for hip below waist line, same as the spring to underdart,
arm piece, corresponding with Turn to plate No. 8, Draft (7), between line 8 and line
line
^S"
as
of Back,
C
shown
in line T' of plate.
and observe that on bust
of side forni, there
is
line
a lost space.
As
the length of line 7 is just one-half the actual bust measurement, the waist would be too tight if this lost space was not made up. The left it out, because the cloth was not and places it where required, to carry out the correct bust measurement, as well as secure the accurate fit. Measure the distance on line 7 between lines 8 and C, then measure the number so obtained as a continuation of line 7, where it touches on line i, to the left of line i, and dot. This is the point or swell of bust. Measure from curve of arm circle (letter O) toward line I one-half the measure taken for width of front (3d measurement), and dot. Place your rule with its edge touching this dot and the dot out from line 7, and draft line + from curve at neck to line 7. This gives the slope of front from neck to point. Continue from line 7, a slightly curved line to a point on line i, above line 5, as shown in the plate. If any great fulness is required at the front of basque below waist line, the same is obtained by carrying out a line,
draft
being
demanded
scientific,
has
at this point,
as in dotted line of plate.
Length of SJiouldcr for Back. To complete the length of shoulder Measure the number of inches on shoulder seam front, line M, then turn to draft of back and measure the same
for draft of back.
To number 8.
Draft a Basque.
of inches on line A, beginning
where
53 line
A
intersects line
Dot, and draw horizontal line
V (back
To Complete
Whatever length number of inches on
Draft of Basque.
the
hip below waist line, measure that
beginning
at line
of neck).
continuing to or beyond line
5,
Measure the desired length continuing to or beyond line
of front
on
line
is
desired at
and
9,
Hne
5,
lines 8
10.
i,
beginning
at
Draft the line for bottom of basque
2.
V
from this point to where touches on hip line, or to the point you have marked for length at hip line. Measure the length of line and make the front seam of under-arm piece (line 9 from 5, down) correspond in length. Make lines and 6" correspond in the same way. The length of line BB^ (spring of side form back), and line ^',
V
C
continuation of back, must be the same. it will appear when made in one and 9 having shown the drafting at
Plate No. 10 exhibits the draft as drafting.
The
three plates,
different steps, are
made
7, 8,
separately to prevent confusion in the
mind
of the learners.
Plate No.
1 1
exhibits the four sections of basque
when
cut out,
the dotted lines showing the seams.
When
the draft
tracing-wheel
when
is
completed, as illustrated on plate
mark out each
10,
with a
section separately, and allow for seams
cutting out.
CORRECTING DRAFTS. For certain material
it
is
very essential that the draft should be
as nearly perfect as possible, particularly to
be matched.
where
stripes or figures are
Plate No. 12 shows a front of basque with corrected
The measures taken from the prominent bone at back of neck to point of bust and from neck to point are the test measures They are applied in this way. For the 9th for front of waist. measurement, place your rule on point of bust (line 7, and measure lines.
the length of 9th
where neck curve
i^
measure, less joins shoulder
inches, to the point nearest
seam
front.
(J/ joins
N)
tape or rule calls for more length, then the shoulder seam
M
If
the
{M) must
in the diagram. be carried out, as shown by dotted line above was required the dotted line would come below A'l.
If
less
The 4th measurement, neck the height of neck. the
same
to point,
This measure
as the other.
The
is
is
the test for correcting
taken from the point of bust
correction
shown
in dotted lines of
54
To
Plate No. 12.
Draft a Basque.
Corrected Draft of Front.
To
Draft a Basque.
Plate No. 13.
â&#x20AC;&#x201D; Corrected
Draft of Back.
55
To
56 neck curve If
Draft a Basque.
illustrate that the line
more length had been required
has been dropped, or shortened.
it
would have been carried above
N.
line
The
dotted lines in upper points of darts show they have been
lowered as well as cate
that
seam
T'.
let
out
;
those in the darts of basque portion indi-
more fulness was required
Plate No. 13
The same
there.
shows a corrected draft
in the hip
back and side form. is found to run down below a line horizontal with the waist line, where it ends above hip joint, it naturally follows, that consideration must be given to the If the back measured 16 inches, showing fact in making the draft. a drop of i inch below line of waist, then the draft should be made from a point one inch lower than customary. Or measure 15 inches (i inch less than actual measurement), from line 5 to line F, above or below Fas the measure would determine. Line B would also be changed as shown in dotted lines of diagram, while line BB of side form must conform to the changed line B, the slanted line of cut showing how. The cut of side form on this plate also shows a dotted curved line C. It is a good plan to follow in all cases. The If in
of
taking the measure the length of back
curving of line
BB
at waist as illustrated
another point in artistic
fitting,
by the dotted
lines
is
giving a very pretty effect, and avail-
able in every basque.
TO DRAFT ONE DART. Plate No. 14 shows the all
method
dart.
For
one dart in cutting stripes has been
fully
outside garments and jackets this
The advantages
of
of drafting with is
one
the correct cutting.
dwelt upon in another part of the book.
To same
draft with
as
when
one dart the amount to be taken out
drafting with two darts.
The
will
be the
greater part will be
taken out
in the regular dart, though a slight curving will be allowed at front, and about one-half inch more dart taken at line T (side seam) than when cutting two darts.
Measure line.
2 inches
from
line
i
Then measure the amount
on
line 5
and dot
for first
sewing and
to be taken out in the dart,
Draft centre line, with very little flare, same as in drafting the other darts, using the curve piece to shape the dart.
dot.
To
57
Draft a Basque.
THE SLEEVE. Rules for Measurement. measures. Plate No. 6 shows the method of taking in illustration.) Around fullest part of upper-arm. (See 1. B. Around fore-arm below elbow, 2.
A
T,.
Around hand,
elbow, 5.
6.
7
A the
D to
easily, C.
E.
From elbow
E to
to wrist,
.
^ where sleeve joms waist .
,
a point in arm-circle back,
I From
*.^
to
F.
G
Inside length of upper-arm, Inside length of fore-arm,
to
H.
H to K.
measure can be taken from the
arm
to top of sleeve,
if
line of
where
A
passes around
desired.
Drafting the Sleeve. sleeve. Plate No. 15 represents the draft of a about 24 inches i, line draft square With your I inches long. rio-ht angles with it line 2, about 14
^
2
tS
the
left of line 2,
on
long,
and
at
^ measure 2^ mches and mark A. foreof length inside A, measure the
line
,
^
i,
On line i, to the left of (yth measure), and mark B. r measure the inside length of upper-arm 4 On line i, to left of B, 3'.
arm
,
(6th measure), On line 5.
and mark i,
,
,
C.
to the left of C,
measure 2 inches, and
draft
hne
^
j,
and 3. on line i draft line B, parallel with lines 2 inches, and dot. measure 2>^ i, line from On line B, 7 the circumference Measure from this dot on line B, two-thirds 8. BB. mark and dot, of 2d measure (fore-arm) to a point on line 2, draft Hne Q From point A, on line i, hand (3d measure). the around measurement measuring two-thirds of
^''6^'Vri^
foLtB
B
^"'lO^From pomt
C,
measuring two-thirds
on of
line
"'Ttrom 'ptinf ^^ (end of '^^f 'Onte'^i?
draft line i? to a point
line B), draft line
mea!!idng^from
^^T3"V4mThrrL^nt'°i;
on line
line
Fto
a point
3,
(ist
where
V, measure the length of
near A, draft a line to point A, and
measure the inside H, measuring from point A, dot. and fore-arm (7th measure),
"^^'^fon length of
i,
measurement around the upper-arm
line
To
58
Plate No. 14.
Draft a Basque.
â&#x20AC;&#x201D; Draft
of Basque having One Dart.
To
6o
Draft a Basque.
E
Draft a line from the point where line touches on line 3 on line F, and mark FF. Draft a line from point C, on line i, to the dot on Hne H, and
15.
to the dot 16.
mark HH.
H
Draft line K, from the dot on X.o the dot on F, and mark. Measure one-third of circumference of upper-arm (ist measure) on line E, from line i, and dot. Measure one-third of circumference of fore-arm (2d measure) 19. on line K, from line H, and dot. 20. Measure one-third of circumference of hand (3d measure) on line D, from line H, and dot. 21. Draft line L, from dot on E to dot on K, thence to dot on D^ and mark L. 22. Line is the height to top of sleeve measure from centre of line E, intersecting line 3, line J/ making it about 4 inches in length. 23. Draft circle N', top of sleeve, and the curve to inside of arm circle as shown in plate. 17. 18.
M
;
Observations.
Shape your sleeve
to
conform to the
lines
shown
in the plate of
the perfected sleeve.
The
and under side together.
draft gives top
curved lines
This preserves the
H and HH.
Place the pattern over a sheet of paper and run your tracingwheel over the lines constituting the under side of sleeve, and you have the pattern. All seams must be allowed for. In basting, join points marked
X
and O, sew toward notch, and
gather fulness at elbow.
Fitting the Sleeve.
To fit the sleeve, draw it well up on the arm, then raise the arm, and bring the fore-arm at right angle with the upper-arm, and note if the elbow is right. Smooth the sleeve toward shoulder, and when it is feeling comfortable, pin it in. There is no point at which a sleeve should be set in, so no notch is given. On the conformation and muscular movement much will depend. Follow the directions here given, and satisfactory results will be obtained.
To
use the large plate, cut
it
out, paste
each section.
~Ll 13'
it
on cardboard, and then cut out