TAILORING TECHNIQUES A CONSTRUCTION GUIDE FOR WOMEN'S WEAR
ROBERTO CABRERA /PATRICIA FLAHERTY MEYER
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2012
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CLASSIC TAILORING TECHNIQUES: A CONSTRUCTION GUIDE FOR WOMEN'S WEAR
CLASSIC TAILORING TECHNIQUES: A CONSTRUCTION GUIDE FOR WOMEN'S WEAR Roberto Cabrera Assistant Professor Fashion Design Department Fashion Institute of Technology
Patricia Flaherty
Meyers
Fairchild Publications
New
York
1
Book Design by Catherine Gallagher Barbara
Woolworth
Photographs by Gustavo Candelas
Illustrations
by Roberto Cabrera
CopyrightÂŽ 1984,
Fairchild Publications Division of Capital Cities Media, Inc.
All Rights Reserved.
No
part of this
any form without permission
book may be reproduced
writing from the publisher, except by a reviewer who wishes to quote sources in connection with a review written for inclusion in a magazine or newspaper.
in
in
Standard Book Number: 87005-435-X Library of Congress Catalog Card
Number: 84-80058
Printed in the United States of America
FIT.
COLLECTION
To
my
family, Elvira, Robert
and
Liliana.
R.C.
To Jonathan,
my husband — my joy. P.F.M.
Preface When
I
took
watched him so
my
tailoring
first
course with Roberto Cabrera, and
transform a length of fabric into a beautifully living suit, was both delighted and overwhelmed. What Professor Cabrera was offering to us was the sum total of his forty years of tailoring effortlessly
I
experience— construction techniques nowhere detailed
in
the available
tailoring textbooks.
The question was
how
to absorb
all
of this information before
it
disappeared again at the end of the course. This book, Classic Tailoring Techniques: A Construction Guide for Women's Wear is our joint attempt to present these tailoring techniques in
and precise manner, so that they can be understood and performed by any serious student from novice tailors to home sewers a detailed
—
ready for the next challenge.
and an expansion of our earlier work, Classic Tailoring Techniques: A Construction Guide for Men's Wear. Since women's tailoring is an adaptation of an art which originally belonged excluThis
sively to
book
is
a sequel to
men's wear,
many
construction procedures outlined
book are repeated here with only
slight
in
our
adjustments— pockets,
first
lapels,
vents, etc.
We
and for on the straight skirt, in order to respond to the almost endless variety of style and detail in women's wear. To afford yourself the best opportunity for success, we suggest that you complete the construction of the classic jacket and the basic straight skirt before moving on to the include construction techniques for three jacket styles,
three variations
variations of each.
Although pattemmaking
is
an
integral part of the art of tailoring, this
book, as its title indicates, concentrates on the construction techniques used in classic tailoring and deals with pattemmaking only indirectly in
Chapters
2,
The
Pattern,
and
3,
The
Fit.
We offer our sincere gratitude to those students and colleagues whose encouragement and assistance Patricia
De
Georges,
Sarita
Cabrera, Joan Kinateder,
Sew and Show, On-ke Street's Inc.,
S.
and
the presentation of
de Castro, Mary Gray, Suzanne
Edward
Barnes, Betty
Wilde, Steven Stipelman,
A
this
work-
Galimir, Coli
Novak and her students at Randy Dana, and Orchard
word of thanks to William Fioravanti Robin Ryan and Dara Lamb of Darabin Ltd., who most
Beckenstein to
facilitated
Inc.
special
graciously allowed us to photograph their work.
1984
Patricia Flaherty
Meyers
121
.
7
.
Contents 1.
TAILORING
1
Saddle Stitch Prick Stitch
5
Back
5
Stitch
Running
Length
The
Fly
5
13.
Pants Inseam
5
14.
Pants
15.
Knee Width Width of Pants
4
6
6
Cross Stitch
Double Cross
6
Stitch
Overcast
Stitch
/
Whip
Diagonal
Stitch
/
Pad
Roll
1
12 12
Line
2.
Shoulder Seams
Vents
4.
Revised Facing Pattern
5.
Pants Cuffs
30
Narrow
12 13
14
32
33
Sloped Shoulder Square Shoulder
34
Neckline— Too High/Too
Low
14
35
36 36
Tight Neckline
THE
FIT 15 Measurements 15 How to Take Measurements Center Back/Neck to 1
Waist
16
Center Back/Neck to Hip 16 3. Back 16 Sleeve Length
6.
Bust
7.
Bust Level
8.
Waist Hip Level
9.
Low
17
One
40 Much
42
Hip Higher than
the Other
17
39
Waistline— Too Little/Too Ease 41
Swayback 17
37
38 The Muslin Skirt Too Tight/Too Loose
Tight
16
17
16
Waistband— Too Loose/Too
16
Shoulder
5.
Loose Neckline Armhole— Too High/Too
Across Hips
2.
4.
18
Too Loose/Too Tight Below Waist 31 Shoulder— Too Wide/Too
Lengthening or Shortening
3.
Hem
29
Waist
3.
Patterns
at
19 The Muslin Fitting The Muslin Jacket 20 Lapels— Too Wide/Too Narrow 20 Lapels— Too Long/Too Short 21 Jacket Balance 21
Short
1
Adjustments Jacket
Outseam
Too Loose/Too Tight Above
8
Preliminary Pattern
1.
18 18 18
1
8
Pressing Techniques Tailoring Supply Sources
The Jacket Pattern The Skirt Pattern The Pants Pattern
18
9 9
7
THE PATTERN
1
"
Stooped Posture 22 22 Overly Erect Posture Low Shoulder 23 Bust— Very Full 26 Bust— Very Flat 27 Misplaced Front Dart 28 Front Dart— Too Long/Too
6
Stitch
Pressing Supplies
2.
6 6
Stitch
Stitch
6
Blanket Stitch
Hem
1
16.
5
Stitch
Slip Stitch
1
17
Skirt
2
Understructure Supplies Stitching
Hips
12.
General Tailoring Supplies
Hand
10.
44
Hips Thrust Forward
44
44
Flat Seat
Assembling the Canvas and
Protruding Stomach/
110 113 114
The Taping First Fitting
The Facing
47
Waistline— Too Little/Too 48 Ease Too Tight Across Hips Too Loose Across Hips Protruding High Hips
Much
Attaching Facing by
49
Attaching Facing by
115
Machine
50
Hand
52
Bowlegs/Knock-knees
54
Prominent Seat 55 Protruding Stomach 56 Rise— Too Long/Too Short
121
The Facing The Lining The Lining The Shoulder The Shoulder
51
Crotch— Too Short/Too 51 Long Flat Seat
125
Pocket 1
28
FABRIC
Seams Pads
Inserting Shoulder Pads
The
56
57
142
Collar
Constructing the
144
Constructing the
57
Selecting the Fabric
Properties of
Woven
58
Fabrics
60
Straightening the Grain
61
Shrinkage
The Nap 5.
62
LAYOUT/CUTTING
63
Chalkmarking, Cutting, Tacking 66
6.
JACKETS
Welt Pocket
Constructing the Buttonholes
The Handworked
Double-piping Pocket
88
Stitch
The Unlined Jacket Darts
in
Pockets
99 100
187
the Unlined
187
Jacket
95
102
184
186
Final Pressing
94
Patch Pocket (Plaids/Stripes)
The Pad
182
Setting the Buttons
Double-piping Pocket with Flap
Preparing the Canvas
The Bound Keyhole 181 Buttonhole The Bias Bound Buttonhole
89 The Cash Pocket The Double-piping Pocket with Flap 91
The Patch Pocket
179
Buttonhole
83 83
The Double-Piping Pocket
(Plaids/Stripes)
174
The Sleeve Head 176 177 The Plaid Sleeve Buttons and Buttonholes
(Plaids/Stripes)
(Plaids/Stripes)
1
Tacking the Armholes
76 78 78
in
the Unlined
188
Jacket
The Facing Jacket
in
70
70 173
Lining the Sleeve
76
Darts and Seams The Jacket Pockets The Welt Pocket
1
Setting the Sleeve
Tailor
70
Plaids or Stripes
Plaid and Striped Collars 155 The Collar Draft 156 The Sleeve 162 Reinforcing the Armholes 162 The Muslin Sleeve 164 The Sleeve Vents 168
Sleeves without Vents
63
Oaktag Patterns
150
Topcollar
58
The Grain
134 1 36 137 140
Undercollar 4.
107
Padstitching the Lapels
46 The Muslin Pants Waistband— Too Loose/Too Tight
103
Jacket
45
Buttocks
the Unlined
191
177 179
Covering Shoulder Pads the Unlined Jacket
Assembling
in
195 196
Interlining
The Peplum The Peplum
8.
198
The Peplum Jacket Lining 201 The Mandarin Collar 203 Constructing the Mandarin
205
Collar
Attaching the Mandarin
206
Collar
The Peplum Jacket Sleeve 7.
SKIRTS 1
.
207
208 208
Basic Straight Skirt
Curved Double-Piping
Piping
9.
218
Hem
ALTERATIONS
282
Tapering the Jacket Lapels
The Skirt Hem 222 Waistband backed with
Adjusting the Pants Waistline
289
Altering Skirts
Tapering the Pants Leg
224
282 284 287
Width
Altering the Jacket
Adjusting the Pants Length
289 290 290
Straight Skirt with
PATTERNS
226
Shirring
232 and
Side
227
Back
229
The Crescent Pocket Shirring at the
Center
Front
Assembling Skirt
Skirt
Lining
The Self-backed Waistband
Side
Seam Pocket
297
Slant Pocket Facing
297
Back Pocket Facing
234
299 Shoulder Pad Crescent Pocket Yoke
with Pleats 236 Three Pleats from Waist to Hem at Left Front
&
232
Skirt
The
291
291 Western Yoke 293 Western Facing 293 Western Shaper 295 Back Pocket Piping 295 Slant Yoke
Kick Pleat at Center
3.
277
Overlap Vent at Center Back 221
Grosgrain Ribbon 2.
248
Adjusting the Sleeve Length 286 Re-lining the Jacket
219
Finish
PANTS
Skirt
Side Zipper Closing
Hong Kong
245
Pleated Pants
212
The Grosgrain Waistband
248 The Pants Pockets 249 The Slant Pocket 253 The Side Pocket 257 The Western Pocket 262 The Back Pocket The Pants Fly 265 268 The Pants Side Seams Belt Loops 270 271 The Pants Waistband 272 The Pants Lining 274 The Pants Hem 275 The Heel Stay 276 The Pants Cuffs
Reinforcement 197 Assembling the Peplum Jacket
and
244
Skirt
194
The Peplum Jacket The Full Canvas
Skirt
Lining
191
Crescent Pocket Facing Facing Pocket
301
303
305
236 241
About the Authors
307
Courtesy of Darabin Limited and William Fioravanti
Inc.
1 Tailoring The least to
art of tailoring
can be traced back
the fourteenth century,
when
at
became
it
in Europe to add an underlayer of padding in the chest area of men's jackets. Rather than taking its form from the contours of the wearer's body, the garment fabric was cut and carefully shaped to fit over the padded form. Through the ages the padding was extended,
fashionable
according to fashion, to the sleeves, the shoulders, even to the stomach area. The padded understructure provided
what was considered
to
be improvements over the contours of the body. It also enabled the garment fabric to lie neatly, relatively
unaffected by the body's wrinkling
movements. The construction techniques developed to create these structured garments were quite different from those used to produce shirts and dresses. By the sixteenth century the makers of men's jackets had formed a separate branch of the clothing makers' guilds, complete with precise specifications for
the quality and color of
padding materials and linings for gentlemen's silk brocade jackets. By the late seventeenth century women's fashion began to be influenced by the mantailored coat. Tailors were presented with the new challenge of adapting their craft to feminine form and fancy. Not until the early nineteenth century did careful
fit
become
sharp, without noticeable bulk.
The
collar,
and
curved edges of the garment were to incline ever so slightly inward toward the body, a grace-
all
ful
avoidance of the awkward, upward curl of and pocket flaps. Pockets were never
collar tips
to
gape open
expected to
when
lie
not
and
flat
and vents were The result was a
in use,
firm.
clean definition of design
controlled yet
lines, a
graceful presentation of the
garment
fabric, im-
fit, form and detail. The construction techniques presented in this book and practiced today, with minor variations, by the finest tailors all over the world, have changed very little in the past 100 years. Although new machines and new methods of
peccable
fusing layers of fabric together offer today's tailor
speedy alternatives to time consuming handwork, relatively few of these faster methods have been adopted by custom tailors. The sewing machine is used for almost all seams and darts, but almost 75 percent of all stitches in a custom-tailored suit are still done by hand, to ensure the most accurate shaping of the fabric. The new fusible interfacings are being used by most custom tailors to reinforce certain small areas, such as dart tips or the inside of some pockets, however, they are not considered acceptable substitutes for the multi-layered, handstitched canvas interfacing which gives body to the entire front of the jacket.
a criterion of well-tailored gar-
Today's
continue to practice their
tailors
art
ments. The understructure remained, but the
almost exactly as
shaping became more subtle, its purpose now being to complement rather than to distort the
Not because slower is necessarily better, but because these methods produce body and form,
natural lines of the body. Great attention also given to the flawless lay of the fabric
over the canvas form. The lapel
gracefully
open
was
to
without pulling the from the body. All edges
were
to belie the existence of the
several layers of fabric beneath,
by being
flat
detail
and
and
was
durability
practiced a century ago.
which newer
faster
methods
of tailoring are simply unable to equal.
We
roll
at the chest,
garment forward, away of the jacket
was
garment
it
encourage you
process as
much
as
its
to enjoy the tailoring
afford yourself the necessary time to
become
and to and patience
beautiful product,
proficient in these
time-honored
skills.
GENERAL TAILORING SUPPLIES
Bent Handle Shears
Tapemeasure
These shears are designed
for the most convenand careful cutting of fabric. In use, the handle bends up and away from the cutting
Necessary
ient
able with inches printed
surface while the blade
also available for taking the
is
allowed to
slide
along
the surface without disturbing the lay of the fabric. A 10" (25.4 cm) to 12" (30.5 cm) pair will
handle most best service
when
tailoring needs. Fine shears will give if
they are oiled and sharpened
necessary,
and
if
they are not used to cut
materials other than fabric.
for taking
body measurements. on one side and
Availcenti-
meters on the other. Special tapemeasures are
ment
for
inseam measuretrousers. These tapemeasures have
cardboard stiffening at one end. The cardboard, and not the tailor's hand can then be placed at the top of the inseam for measuring. Plastic, rather than cloth tapemeasures should be purchased, since those
made
of cloth are inclined to
shrink.
Thread Snips Small, sharp, pointed scissors.
cess to small areas,
and
Used
for
easy ac-
for cutting threads.
Ruler Flexible, plastic
see-through rulers are very con-
venient for measuring curved areas on patterns
Clay
Tailor's
Chalk
and fabric, as well as for flat them away from the iron!
surfaces.
Do
keep
White
clay chalk. Used for marking pattern information onto the garment fabric. The edge of the chalk should be sharpened before use, for a clean, fine line. Clay chalk can be brushed away easily when no longer needed, however, avoid
on top of the chalkmarks, as this will make removal more difficult. Darker colored chalks are used for markings on interfacings. pressing
Hip Curve Ruler A
gracefully curved ruler essential for
and
adjusting pattern lines.
making
Needles
Straight Pins Either
dressmaker
thickness, or
silk
which are of medium which are somewhat thin-
pins,
pins,
ner, are appropriate for tailoring
needs.
Hand sewing needles variety
called
for tailoring
come
in
a
and widths, in categories sharps and betweens. Betweens are of lengths
Sharps are medium to each category, the needle sizes are numbered. The higher the number, the shorter and thinner the needle. A #7 sharp needle might easily take you from beginning to end of your tailoring project. shorter, stronger needles.
long
Basting Thread White cotton thread #40-#50, easy removal
when
to break for
necessary.
General Sewing Thread #0 or WO, or size A, both hand and machine
in
length. Within
Buttons
Mercerized cotton thread, silk
thread,
is
suitable for
The button
size
is
measured across the diameter
40 lines to the inch. 30-line buttons on the jacket front, 24-line buttons can be used for the sleeves, the pants, and back pocket. Dull bone or horn buttons are most attractive on the classic suit. Plastic buttons break easily and sharp edges in the hole of the button in "lines,"
stitching.
are used
Buttonhole Twist #8
making handworked buttonholes. It is also used for sewing on buttons. The twist comes on large spools, six strands of silk loosely intertwined. The strands are separated and used singly. If tailor's twist is Silk tailor's
twist
is
best for
often tear the thread.
Zipper
unavailable, size D, buttonhole twist, will do.
Gimp
1
garment the edges of hand-
cord, in a color close to that of the
Stiff
Use a strong zipper with metal teeth for the pants fly; one which is at least " (2.5 cm) longer than the fly measurement. For a skirt, the zipper should be the length of your hip level measurement (see page 7).
Used to reinforce worked buttonholes. fabric.
I
Muslin
Beeswax
A
hand sewing, to prevent the thread from knotting and gnarling. For hand topstitching the thread is also pressed between sheets of paper after having been drawn through the beeswax. This process keeps the several strands, which constitute the thread, flat and uniform. Used by
tailors to
Tailor's Worn area
coat thread for
Thimble
as a protection for the middle finger, the
which covers the
fingernail
is
used to push
the needle through the fabric. Tailor's thimbles are
open
at the
top for comfort.
which tailors Used to check
lightweight cotton fabric, from
make
a prototype of the
fitting details.
suit.
UNDERSTRUCTURE SUPPLIES Undercollar Melton A
strong
wool
fabric in a color that coordinates
with the garment fabric. Used to give and sharp edges to the jacket collar.
/
crisp
body
French Canvas A
/
stiff,
used
linen interfacing;
in
the undercollar.
Waistband Interfacing
Wool Canvas Woven
Interfacing
from wool and hair
used as a
fibers,
supporting fabric for the jacket front. The
and body
A layer of stiff interfacing; the garment fabric
in
used to give support to
the waistband.
inter-
Shoulder Pads
garment fabric, and reduces wrinkling. It should be soaked in cool water, allowed to drip dry and
Gracefully shaped layers of cotton
pressed before use, to ensure against
ered with muslin. Used to define shoulder area.
facing adds shape
to the
its
shrink-
wadding cov-
ing in the finished garment.
A used
if
weight wool canvas interfacing is your jacket has a full canvas (see page
lighter
A
100).
Head
Sleeve strip
of cotton
wadding
of wool canvas interfaccap of the sleeve. The head out the sleeve cap and helps create the
forced with a bias ing,
Pocketing Fabric strong cotton fabric, tightly
Soft,
without ets,
fills
sizing.
Used
woven and
and as a stay, or reinforcement on the jacket and pants.
graceful
for several
smooth
fabric of rayon,
silk
or
used in jackets, skirts, and pants. Debeing lightweight and soft, the lining must
polyester;
be strong enough to endure constant, long-term wear.
/s"
of the sleeve fabric.
(
I
cm) wide, used to define the outer edges
and jacket front, and to control the lapel roll line. The tape should be soaked in cool water, and pressed before use to ensure against shrinkage
Prepadded Collar Melton fabrics— French canvas and
melton—
machine-pad-stitched together, from which the jacket undercollar is constructed. The melton
should be of a color that matches or coordinates with the color of the garment fabric. Since this prepared undercollar fabric
is
often
difficult to
find in the color or guality desired, tailors often
buy the melton and canvas separately and handstitch them together.
in
the finished garment.
Grosgrain Ribbon A
Two
fall
of the lapel
Lining
spite
strip
into the
Cotton Twill Tape 3
lightweight,
sewn
to form the insides of pock-
areas
A
or lamb's wool, rein-
closely
woven corded
ribbon, usually of
silk
or
rayon. Used as a waistband or waistline backing.
Shirring Tape A
thin,
loosely
woven
underside of gathers.
bias tape;
used on the
HAND If
you
STITCHING hand sewing, we can you will begin by:
are not used to
A
• Pulling
more necessary in tailoring than in other hand sewing, because of the added pressure needed to drive the needle through several layers of fabric. The tailor's thimble is open at the top for comfort. The fingernail
•
area of the thimble, instead of the top,
almost guarantee that
your thread much too long your stitches much too tightly Resisting the use of a thimble until your
• Cutting
finger begins to bleed.
thimble
is
the middle finger of the
you can manage to pass through this beginning stage quickly, you will save yourself a great If
deal of aggravation.
ily
Using a very long thread does not necessarthat you will be threading your needle
mean
less often.
On
the contrary,
it
usually
means
that
your thread will gnarl and tangle, and that you will have to break off the tangled area repeatedly, losing all satisfaction in your work. Use a comfortable length of thread, one which does not require you to stretch your arm with each stitch. If you still have trouble with tangles, draw the thread through a piece of beeswax. Tightly pulled stitches are
usually placed with great care and concentration, and unfortunately, their intensity
is
usually clearly visible
the front of the garment. There isjust nail
no need
the layers of fabric this tightly together.
on to
Any
which goes through to the right side of the garment should pick up only one thread of the garment fabric, and should be drawn softly enough to leave that thread's appearance unchanged on the right side of the fabric. stitch
is
pressed
on and
against the needle. Simply place the thimble
hand you sew
with,
your finger will figure out how best to use it. Innumerable rows of basting are required in producing a tailored garment. Basting is more accurately done if the two layers of fabric to be joined are
laid flat
on the
table to avoid shifting.
With one hand holding the fabric flat in place, and the other hand placing the stitch, your work will progress quickly and accurately. Basting stitches, like other hand stitches, should be placed without tension. Since these are temporary stitches, more attention should be given to their location than to their appearance.
Each row of basting
is
to secure the thread.
begun with
a backstitch
Basting thread
is
never
would make the the basting more difficult
knotted at the end, since knots eventual removal of
and more hazardous to the fabric. The most common hand stitches are trated here. Others will
the text as their need
saddle stitch
back
prick stitch
running
stitch
stitch
illus-
be presented throughout
arises.
cross stitch
slip stitch
double cross
overcast stitch/whip stitch
stitch
stitch
hem
stitch
PRESSING SUPPLIES
Hl-STEAMO*
Heavy, Dry Iron About
12
pounds or more
Pleater in
weight; preferred
over lighter weight irons by most of the
tailors,
because
added pressure the weight affords, espethe job of flattening and reducing bulk
A wooden
on one side and flat on Used as a pressing surface or as
block, curved
the other.
pounding block
for flattening
bulky edges.
cially in
by
pressing.
Brush Used
Steam Iron
for
brushing the
fabric,
and
for
pounding
delicate areas.
Professional models offer a powerful surge of
by those
who
steam;
preferred
weight
irons difficult to manipulate.
find
heavier
Presscloth which is free of sizing. Used to garment fabric from direct contact with the hot iron. With a dry iron, the presscloth is dampened to produce steam. Soft cotton fabric
protect the
Sleeve Board A
small ironing board convenient for pressing
the sleeve and other
Tailor's
A
tightly
difficult
to reach areas.
Ham
packed, large or small, curved pressing
surface, preferably stuffed with sawdust.
Press Mitt A padded in
mitt
worn on
pressing areas that
tailor's
ham
sleeve cap
or
the hand. Used to assist
do not
ironing
and shoulder
lie
comfortably on a
board, area.
especially
the
PRESSING TECHNIQUES Pressing
an
is
on the presscloth until steam is produced. Pressure is added while the fabric is being steamed. Remove the iron and the press-
the hot iron
integral part of the tailoring proc-
ess. Besides ridding the fabric of wrinkles,
producing neat,
darts
flat
and seamlines, the
and iron
used in tailoring to gently shape the fabric. Using heat, moisture and pressure, fabric which is suitable for tailoring can be shrunk in some
you
and stretched in others, so that it will hang most gracefully as a finished garment. The amount of heat, moisture and pressure necessary to accomplish yourjob depends upon the weight and quality of your fabric. Therefore, before using the iron on your fabric, it is essential that you pretest, using a fabric scrap. If your heat setting
is
too high, the fabric
cloth
too wet, the fabric
is
Wool
fibers will flatten
fabric
is
will
very vulnerable
grain, the iron
A
etc.
lifted,
tween the
damage
and
iron
the iron,
to
and
placed and
is
this
the fullness can,
in
in
desired
fit
will shrink
as
ham
Using a dry
much
excess— dampening, ric
ham
damp
is
iron,
limp.
fabric
is
Remember
pressing,
pounding the
that the surface
quite vulnerable, as are the
and semi-bias
raw edges which can
life
many
all
fab-
of the bias
too easily
be stretched out of shape. If each of the several pieces of your garment are handled carefully during the tailoring process, and aside
the best procedure for
when
needed
to cover the fabric
with a uniformly (not dripping) presscloth, and then to lay
pressing
surface of your
will probably be able to eliminate it by lightly steaming the shiny area, and then using a soft brush to coax the fibers back to life. The beginning tailor usually sins by
into this limited space. For
so that the
on the
extreme heat or pressure,
you
might fill out the shape of the garment. Steam pressing a curved area in this manner will not result in shrinkage, since the fabric is being pressed in conformity with its own shape. tailor's
edge.
fabric as the result of
reason, curved areas of the garment are laid
over a
crisp
flat,
a shine appears
If
the fabric
order to
and rob
fibers
or heavier woolens will remore than the normal amount of pressure create sharp, flat edges. Pressing on a wooden
to the fabric.
seams can be safely pressed on flat However, if a curved area of the garment is placed on a flat surface for steam pressing, and restricted by the flat surface of the hot it
out the wool
its life.
surface— the area to be flattened can be struck sharply with a pounding block while the fabric is still steaming. This extreme pressure, coupled with the instant drying produced by the blow and the wooden surface, usually produces the
Flat
iron,
absorb the mois-
quire
surfaces.
as
particles will
Some worsteds
out
when damp.
lifted,
wood
will flatten
the fabric of
always needed beand the garment fabric to prevent
presscloth
not
in use,
the
laid
amount
carefully
of pressing
be greatly reduced.
will
TAILORING SUPPLY SOURCES Beckenstein
S.
Inc.
Louis A.. Lew Co., Inc.
125 Orchard Street
108
New
New
York, N.Y.
}0002
Fifth
Steinlauf
York, N.Y. 1001
9027
New
1
1
8
Greenberg & Hammer 24 West 57th Street
New
York,
New
York
Stoller Inc.
York,
Street
New
York
100U
Nat Gelfman Company Inc. 237 West 35th Street New York, New York 1000
Tailor
River
Gubi Linings and Trimmings Co. 6 Delancey Street New York, N.Y. }0002
&
239 West 39th
Avenue
and Cleaning Supply Corp. Sew and Show 401 North Avenue Road Garwood, N.J. 07027 Edgewater, N.J. 07020
Bergen
If
flat areas of the garment, the fabric can simply be hung up to dry. Drying the fabric completely before lifting
stretching the fabric off
placed and
is
sawdust the
If
Therefore, rather than pulling the iron back forth over the fabric,
being produced.
still
ture fairly quickly. After pressing
your pressshrink and matt.
unattractive shine.
is
are pressing a curved area of the garment,
allow the fabric to lay oyer the ham for a few minutes while it dries. If the ham is stuffed with
areas
and produce an
steam
cloth while the
is
Inc.
1
00
1
2 The Pattern Unless you are
skilled
enough
to
The
create
your own pattern, your job now is to carefully choose and adjust a commercial pattern in order to produce a personally flattering style and fit. Beautifully detailed construction is wasted on a garment which does not fit, or on a style which does not suit the wearer.
size of
the
skirt
and pants
patterns
is
determined by the hip measurement, and, for most women, the bust measurement will be the best
gauge
to determine the size of the jacket
If, however, your bust is very full or very check the information on pages 26 and 27 before purchasing and adjusting yourjacket pat-
pattern.
flat,
tern.
THE JACKET PATTERN In selecting
the jacket style of the pattern,
niques outlined
in this
book,
all
you
will
use from
moment,
the pattern envelope are the basic pattern pieces:
such things as styles of pockets, or whether there is a back vent, or if the jacket pattern includes a lining. Fortified with the tech-
panel and back, the sleeve, and the undercollar. You will be able to create the rest of the jacket on your own.
look to the broad style
lines.
For the
ignore
gorge
line
Look to the shape of the collar and lapel as they meet at the gorge line, and choose your jacket pattern.
width is a matter of taste and current trend. A safe width for a lapel which you would be able to wear for many years would be about 3" (7.6 cm). Remember that out of style, wide lapels may always be tapered (page 282), but lapels which are too narrow can only hang in the closet until fashion welcomes them back
The
again.
lapel
the jacket
front, side
double piping pocket welt pocket
double piping pocket with flap
You
patch pocket
be able to interchange patch pockets with double piping pockets, or to add a welt breast pocket \f there is none. You will not need your pattern envelope to help you with making these changes. will
If you will be working with a plaid fabric, choose a pattern that eliminates the seam below the pocket by using a dart instead of a separate side panel. The plaid below the pocket is then undisturbed by seamlines, and matching the
plaid during the construction of the pockets
not
!0
difficult.
is
THE
PATTERN
SKIRT
basic straight skirt
We
straight skirt
suggest that you begin with a basic
Once you have a wellyour pattern can easily be
straight skirt pattern. fitting
straight
skirt,
with shirring
skirt
with pleats
modified to create a variety of skirts
which
styles.
The three
are constructed in Chapter 7 are
adapted from the same
straight skirt pattern.
THE PANTS PATTERN
side pocket
slant pocket
In selecting a
pants pattern, select a high or
Western pocket
modified to create
all
three pockets using the
low rise, whichever your client has found to be more comfortable, and decide for or against
patterns included in this book.
pleats.
your option for a Western pocket.) The width of the pants leg should not be a determining factor in choosing the pattern, since this is a minor pattern alteration (page 290). Cuffs also can be added or subtracted without
No like,
matter
what
pockets you would
the best pants pattern to buy
side pockets rather ets.
style
This will give
waistline
is
one
that has
than Western or slant pocka pattern with side and
you
seams intact— a pattern that can be
(If
you choose a you forfeit
pattern with front pleats, of course,
difficulty
(page
14).
11
PRELIMINARY PATTERN ADJUSTMENTS
1.
2. Shoulder Seams
Jacket Roll Line
on your pattern if Draw the lapel not already indicated. The roll line begins is about 5 /s" (1 .6 cm) above the top button, and is 3 /s" drawn at an angle which would bring cm) out from the neck cutting edge at the (1 shoulder. Notch the top and bottom of the roll roll line
The jacket back shoulder seam should be
it
it
at
least V2" .3 cm) longer than the front shoulder seam, to allow for ease of movement. Measure your pattern shoulder seams. Add 'A?" (1.3 cm) to the back shoulder seam if it has not been (
1
included.
line.
JJ 3. Vents you would like to add a center back vent jacket which does not have a back vent,
If
If
to a
extend your pattern out 2" (5 cm) from the stitchline at the top of the vent, and 3" (7.6 cm) at the bottom. The top of the center back vent is
about
1"
(2.5
cm) below the waistline.
your pattern includes a back vent and you
wish to eliminate
it,
simply treat the vent foldline
and trim away the pattern beyond seam allowance.
as a stitchline,
the
If
V2" (3.8 cm) from and the undertopsleeve both the
the vent
the foldline
on
is
not at least
sleeve patterns, extend
it
1
to that
amount.
4. Revised Facing Pattern the outer edge of the facing pattern
If
is
curved to match the shape of the outer edge of the jacket lapel, the facing pattern must be
re-
drawn. This procedure is an inconvenience, but one which will produce a far more professional product.
We
are redrawing the facing pattern in
order to create a pattern that will enable us to place the straight of the grain
on the
the outer edge of the lapel. This
is
essential for a
controlled, graceful lay of the fabric.
add ease
facing at
We will also
to the facing to assist in the
roll
of the
lapel.
although detailed here,
This adjustment,
made
should only be
when
after the muslin fitting,
the jacket front pattern corrections have
been completed. Use the jacket front pattern as a guide, and a new facing pattern on oaktag or brown paper. Trace around thejacket front pattern leaving '/z" (1.3 cm) margin at the shoulder, neck and top of the lapel. The front of the facing
draw
pattern
a
is
straight
line,
which
is
drawn
h" (1 .3 cm) away from the center of the lapel and continues to O2" .3 cm) below the bottom ]
(
1
of thejacket.
The
front
edge of the facing does not yet
take the shape of the front of the jacket. This
shaping will be accomplished later with the help of the steam iron. Indicate the
waistline notch
move
bottom of the
on the
lapel
facing pattern,
and the and re-
thejacket front pattern.
The facing extends 3" (7.6 cm) past the center of the roll line, and should be 3" (7.6 cm) wide at the shoulder. The facing should be cut 5'/2" 4 cm) wide at the bottom for a jacket that curves in at the center front hem. For a straight front jacket, the bottom of the facing is 4" (
1
(10.2 cm) wide.
Add the
lapel,
a ]
seam allowance notch at the top of h" (1.3 cm) in from the edge. Your
revised facing pattern
is
complete.
5. Pants Cuffs your pattern does not include cuffs and you would like them, extend the bottom of your pants pattern below what will be the bottom edge of the finished pants— an amount equal to at least three times the cuff width. The average 72" (3.8 cm). If you have the cuff width is fabric, it would be wise to leave slightly more If
1
fabric, since
length
is
the
made
final
determination of the pants
only after the pants are com-
pleted.
LENGTHENING OR SHORTENING PATTERNS you have had
With the preliminary pattern check comskirt, and pants patterns as indicated by your measure-
flat
ments. Follow the instructions for length adjust-
If
ments given on your pattern. As a general guide pants should be long enough to reach to the middle of the back of the shoe. Leave yourself a generous hem at the bottom of the pants for now. Length of skirts and jackets is a matter of taste and the current style trends.
ories regarding pattern alterations, leave the ad-
pleted, lengthen or shorten yourjacket,
14
If
successful experience with
pattern alterations,
further adjustments to
you have no
you may wish
your pattern
to
make
at this point.
experience, or only painful
mem-
justments for the moment. The needed pattern alterations will become very obvious in the muslin
fitting.
3 The
Fit
MEASUREMENTS The following are standard measurements taken by tailors, and used by them to draft patterns which will fit their clients as closely and as comfortably as possible. In conjunction with
the measurements, the
tant information
tailor also
about the
notes impor-
client's
body:
whether her posture is stooped or overly erect; whether her shoulders are square or sloped; whether her bust and buttocks are full or flat, whether her stomach protrudes; whether one hip or one shoulder is higher than the other, etc. In order to get an uncensored picture, the keeps the
tailor
client
away from
the mirror
during these observations. The temptation to suck
in
mirror,
and stand up straight for the If the tailor were to note that the body, the suit would fit only in
the stomach is
too strong.
version of
front of a mirror.
tailor applies his craft to build into
whichever If
characteristics are
you
are, therefore, using a
and
tain fitting
the pattern
needed.
are not a skilled patternmaker,
style
commercial
adjustments
and
pattern, cer-
will
undoubt-
edly be necessary. Your pattern will have to be
customized
after the fact,
by means of a muslin
fitting.
measurements taken in this chapter will, therefore, most likely be used by you only to choose a commercial pattern closest to your client's fit, and to adjust the
The standard
tailors'
length of the pattern.
All
other adjustments of
the pattern will be diagnosed and the muslin
fitting.
/
\
While making the pattern, the
\
made
during
HOW TO TAKE MEASUREMENTS
The the best
first
five
fitting
measurements are taken over
jacket the client has available.
Don't be concerned if the jacket is not a perfect We will have an opportunity to improve the fit during the measurements and the muslin
depends on the style you have chosen. Take your measurement to the hip level as a point of reference for adjustments in the muslin
fitting.
fit.
fitting.
Center Back/Neck to Waist 1
With the jacket collar up, measure from the seam to the waist at center back.
3. Back At about center armhole level, measure across the back from the armhole seam to the center back seam.
4. Shoulder
collar
seam
Measure the shoulder seam from to armhole seam.
collar
2. Center Back/Neck to
Hip With the tapemeasure touching the body at the waist, measure from the collar seam to the hip level. Of course, the length of your jacket
16
5. Sleeve Length Measure the sleeve from the shoulder seam to the
hem
slight rise of
fold,
taking into consideration the
the sleeve over the shoulder pad.
JI 6. Bust Measure around the body at the fullest part of the bust. This measurement can be taken over a blouse, but not a sweater. Check that the tapemeasure is at the same level at the back as in the front. The measurement should be comfortable, neither
too loose nor too
belt.
The measurement should be comfortable,
but without additional ease.
9. Hip Level Measure
tight.
seam, to the
7. Bust Level Measure from the shoulder (about cm) from the base of the neck) center of the bust. Be aware that
ment can change bra that
significantly
down this
1"
(2.5
to the
measure-
depending on the
worn. Therefore, the type of bra that be worn under the jacket, should be this measurement.
is
will usually
worn
for
1
The waist measurement can be taken over a blouse, but not over a
skirt
level at
from the waist
which the
at the side
hips are
fullest.
0. Hips
The hip measurement can be taken over an unbulky straight skirt or trousers. The pockets, if any, should be empty and the client's feet should be together. With two fingers under the tape for ease, measure around the fullest part of the hip.
1
8. Waist
down
1
Skirt Length Measure down from the .
waist at the side seam, to the desired length of the skirt.
waistband, or a
17
12. The Fly Have your trousers she
body
is
wearing
at the crotch.
high on the
client,
position, the fly
the waistline of the
client raise
is
until
they just touch the
the waistband
If
when
is
much
the pants are
too
too long.
she cannot get the waistline of the pants up to her waistline, without the pants becoming the crotch, the
in
fly
is
too short.
from what should be the top of the waistband, down to the beginning of the curve of the crotch.
Measure the
inseam.
in this
If
uncomfortable
cardboard attached, so that the cardboard, and not the tailor's hand reaches to the top of the
fly
1
level
the shoe.
With the pants the
client,
waistline at a comfortable
measures
8
client,
there are special tape-
measurement. The top of the tapemeasure have a piece of
for taking this
few inches
Knee Width
crease to crease.
measure the pants inseam
from the crotch to the middle of the shoe. As a courtesy to the
5.
Measure across the knee of the pants from
3. Pants Inseam
level for
Outseam
With the pants waistline at a comfortable for the client, measure down the outseam
from the top of the waistband to the middle of
1 1
4. Pants
1
6.
Width
of Pants at
Hem
Measure across the bottom edge of the pants leg from crease to crease.
THE MUSLIN FITTING
The next pieces from a
check the
We
step
good
to cut the basic pattern
is
quality muslin fabric
and
to
on the
assume
that
you
on you support you
are anxious to get real suit,
and
that
can think of hundreds of reasons to in avoiding this seemingly over-cautious step. However, unless you are a tailor with years of cutting experience, a muslin fitting must be made. The muslin will serve as an inexpensive prototype of your suit, through which you can become aware of, (and then avoid) creases and wrinkles caused by the fact that your body is unique, and the pattern is an "average" size. These creases literally "point at" and advertise the peculiarities of your body, such as knockknees or protruding seat. for the
first
time
creases in the finished
you
suit,
it
are
aware
may be
too
of the
you will find you smoothly from a
the hip curve, takes
significant,
Now
and
then.
it
would be wise
all
to verify the correc-
you have decided be aware that is not an that
it
to
make
the
entire suit in
muslin. For the jacket, cut only the front, back
from muslin, and the undercollar from French canvas (for body). Eliminate the side panel
ets,
fit,
line.
by changing the muslin accordingly. Only then can the cutting of your suit fabric be done with full confidence.
procedure
to correct the
'//'
tions
facing
diagnose the problem, determine
that
the pattern correction has been at
If
which note their presence will. The pattern corrections given here are for some of the most common fitting problems. The to
new
contour of the
and
is
it
turn
of the original line as a general guide for the
ing seat will not disappear,
amount needed
you a place on newly added If
cm), back into the seamline. Use the curve
(1 .3
muslin,
the
will
cide with the contours of the body.
an early warning system. The knock-knees and protrudbut the wrinkles
at certain points
have to attach paper to the areas of the pattern that need expanding, so that new lines can be drawn, blending the corrected amounts gracefully into the original lines. A hip curve ruler is an essential tool for this procedure. The contours of the hip curve coin-
late to
eliminate them; but the muslin offers
amount
pattern.
You
fit.
with the job of making the
If
to apply the corrected
lin,
and the
topcollar.
lines that indicate
the buttons,
A
Chalkmark on the mus-
the placement of the pock-
and the center
muslin sleeve
will
front
not be cut at
this point.
19
When
the jacket
is
almost finished, the armhole
be cut will now. You for sleeve to fit (page 164). Forget the will need shoulder pads for the jacket fitting. Use a pair of commercial pads. (On page 137 there are instructions for making your own shoulder pads, however, you may wish to make them only after the fitting, when you will have determined the amount of padding best for you.) be measured and a muslin sleeve
will
The skirt and pants muslin should include and simple waistbands, so that you get a the actual hang of the garment. The of sense
zippers
pockets can simply be chalkmarked. Cut the muslin fabric with full attention to
the grain.
If
the muslin
is
be quite misleading: they draping, rather than
Machine
may be
fitting
may
indicating bias
problems.
seam allowances and and press the seams open.
stitch
darts accurately,
off grain, wrinkles
the
The muslin jacket should be
fit
over a well-
blouse. A sweater should not be worn under the muslin, unless one will be worn regularly under the finished suit jacket. Attention
fitting
should be given to the height of the shoe heel, since variation here may significantly alter the length of the pants.
The
add
you wish
widen or narrow the
to or subtract from the top of the outer
of the lapel, roll line.
20
to
and taper
figure.
Although the
below the
edge
suit
provides
hip, a
may
and
style line for
classic blazer
woman
length
is
the just
with long legs and a
comes well below her hips in order to create an attractive balance between top and bottom. Wide lapels and pleated trousers may combine to create too heavy an impression for a short torso
require a jacket that
shorter, slightly built
woman. A
long lapel
may
be better than a short one on a tall, broadshouldered woman. None of this is gospel. Use your eye and trust your judgment. If necessary, lengthen or shorten the jacket according to your pattern instructions, and then make whatever style adjustments you think best, using the guidelines on the following pages.
NARROW
Adjusting the shape of the lapel
lapel,
a line to the bottom of the
view of the muslin
vide a pleasing balance
LAPELS— TOO WIDE/TOO
If
first
important information about the overall impression. The jacket and skirt (or pants) should pro-
prove a problem with the facing since
will
not
we
will
eventually redraw the facing pattern using the
new
line of
the lapel as a guide.
LAPELS— TOO LONG/TOO SHORT
too long
/
you would prefer to raise or lower the draw a line from the top of the existing roll
If
lapel,
line to
the
the desired height of the lapel
roll line,
roll.
Below
too short
If you wish, the design of the collar can be completely changed during the construction of
the collar (page 142).
the jacket front tapers to a straight
line.
JACKET BALANCE
With the preceeding we will move on
the way,
The procedure
style
problems out of
to the problems of
fit.
be to correct the most obviand to work our way down to the finer details. The major corrections often eliminate the minor ones before we get to them. ous problems
will
first,
Far and away, the most obvious fitting problems are those caused by posture and body imbalance. If the client's posture is stooped or overly erect, or if one shoulder is higher than the other, the jacket will not
hang
correctly.
21
STOOPED POSTURE a woman with stooped posture towards the back and upwards. To prevent the jacket from pulling, fold the pattern h" (3.8 cm) at the back side seam about below the armhole. Approximately h" (1 .3 cm) to 3 A" (1.9 cm) is folded out of the pattern at the seam, and tapered across the pattern back. On the pattern front, about h" (3.8 cm) below the armhole, and about 2" (5 cm) in from the cutting edge of the side seam, draw a line
A jacket on
will
pull
l
1
l
l
1
across the pattern to the lapel edge, at a level just
below the top of the
W
(1.9
the
lapel,
cm)
fabric
The top of the equal
is
in
About 72" end
side panel
of the
1
.3
cm) to
is
line.
lowered so that
seam from waist notch to length with the newly ad-
seam on the jacket back
justed side
(
folded out of the pattern at
tapering to the
the side panel back
armhole
dart.
is
pattern.
OVERLY ERECT POSTURE A
a woman with overly erect towards the front and upwards. To prevent the jacket from pulling, slash the pattern, beginning on the back side seam, about h" (3.8 cm) below the armhole. The slash
posture
jacket
on
will pull
]
1
continues across the back of the pattern to about 2" (5.1 cm) from the center back seam. The pattern (1.3
is
cm) to
A
spread apart at the side seam
W
slash
is
]
h"
(1.9 cm).
cut into the pattern front from the
edge to about 2" (5.1 cm) from the side seam. The pattern is spread apart at the slash lapel
*h" (1.3 cm) to
W
The top of the the side panel back
armhole
is
justed side
22
equal
in
(1.9 cm).
side panel
is
raised so that
seam from waist notch to length with the newly ad-,
seam on the jacket back
pattern.
—
LOW SHOULDER
Many people have one shoulder lower than the other, usually as a result of their work, or some other regular activity which places the
hole smaller, which,
in turn,
would
necessitate
tion of this peculiarity of the
making the sleeve smaller. The fact is that the correction has nothing to do with the armhole. It has to do with the rib cage area. The shoulder is low because the body
sagging diagonal creases
is
body
in
an unbalanced
position.
A
clear indica-
body is visible in the along one side of the
jacket only. Pin the fabric
up
at the
shoulder
trated) until the creases disappear,
(as illus-
and measure
amount of the needed adjustment. It would appear that the logical pattern correction would be a deeper, slanting seam at the shoulder. Doing this would make the arm-
the
armhole and the
somewhere between the waist, on one side. The adjust-
ment required
is
contracting
able to
ment
somewhat complicated
The adjustment requires new muslin, or your confidence in being make the correction directly on the gar-
however, either a
itself
it
fabric.
works.
You decide.
23
Place the three main jacket pattern pieces on your fabric so that the side of the jacket which does not need the correction will be traced on the top layer of the fabric. In
the
right sides
jacket
is
illustration,
the fabric
is
folded with
together and the right side of the
being traced on the top layer of
This
is
low
shoulder.
to illustrate the
first
fabric.
step in correcting a
left
Arrange the pattern pieces so that all seams will eventually be joined are closest to
which each
other.
Using
onto the
tailor's chalk,
trace the pattern pieces
and remove the pattern. row of the pins horizontally across
fabric
Place a
the fabric at approximately the level of the top of the dart. The pins should go through both layers of fabric.
Cut through only the top layer of fabric (as illustrated) about h" (1.3 cm) away from the cutting edge of the armhole and the side panel. The fabric layers are still anchored together by ]
the
row of Now,
pins.
at the top of the lapel,
layer of fabric in "A" (6
the jacket front,
down an amount
move
move
the top
mm). At the shoulder
of
the top layer of fabric
equal to one half the needed
correction.
With one hand, hold the top layer of fabric its new position. With the other hand, smooth the fabric downward toward the pins, and outward towards the side seam. An excess of fabric will appear just above the row of pins. A second row of pins is now placed
flat,
in
through both layers of fabric, confining the of fabric to this area.
should be about
I"
The two rows
(2.5
cm) apart
ripple
of pins
at the side
panel.
With the fabric pinned in this manner, cut through both layers of the jacket front and side panel. Be attentive as you cut the rippled area. Follow the chalk guideline.
24
When
both layers of the front and side panel are placed together on the table it will be obvious that the underlayer is shorter between the underarm and waist, yet both armholes are equal.
The back of the jacket is adjusted in the same manner. The top layer of fabric is moved in •A" (6 mm) at the center back neck, and down at the shoulder an amount equal to one half the needed correction. The fabric is smoothed downward and outward towards the side. The excess of fabric which appears above the pins is pinned in place, and both layers of the jacket back are cut together.
25
BUST— VERY FULL
princess line
A
woman
with a very full bust who purchases her jacket pattern according to her small
bust measurement, as find herself
with a
size
we 1
have suggested, may
4 pattern even though
and hips indicate a size 10. and most flattering way to handle these many corrections is to begin by choosing a her shoulders, waist
The
easiest
princess line pattern. In a princess line the darts
are incorporated into the seamlines,
contrast
between
a large bust
can be made very smoothly.
26
and
and the
a small waist
you choose a classic line jacket, taper the pattern below the bust using the front dart, the side panel, and the side back. Reduce the shoulder seams equally on front and back. In order to maintain the jacket balance and prevent the If
from gaping open, the lapel dart is in'/2 (1 .3 cm) and the same amount is then added at the top of the outer edge of the lapel. The pattern is lengthened or shortened as lapel
creased by
ff
needed, using the pattern guidelines.
BUST— VERY FLAT
The bust measurement guide for choosing the
is
size of
usually the best
your jacket
pat-
however, you are an average- to largesized woman, with a flat bust, we suggest that you purchase your jacket pattern using your tern.
If,
waist
and
hip
measurements as a guide.
Any
excess fabric in the chest area should be tapered out of the armhole, the front underarm seam, and the jacket back.
21
MISPLACED FRONT DART
If
in line
the dart on the jacket front
is
with the center of the breast, the dart
and must be moved. A released at the end of the
misplaced, fabric
not directly
is
fullness
is
directed to a
is
fullness of dart.
If
this
point other than the
center of the breast, there will be a restriction of fabric across the breast, filled
and most
bulge of fabric off to the
likely,
an un-
side.
The correction is a simple one. Using a hip curve ruler, redraw the existing dart on your pattern at the correct position.
28
FRONT DART— TOO LONG/TOO SHORT
too long
The job of the
too short
front dart
is
to help create the
restricting the fabric where body is narrow, and releasing the fabric where the body is fullest. The front dart should, therefore, end about 1" (2.5 cm) below the
necessary shaping by
the
center of the breast. If
the dart continues
the breast, there
beyond the center
be noticeable pulling
will
in
of
the
below the center
of
the breast, there will be unnecessary fullness
in
fabric.
\f
the dart stops well
an area lower than
needed. of your dart lower or higher on your pattern, as needed, and with the help of a hip curve ruler, taper the sides of the Simply
it
is
draw the top
dart to the waistline.
29
TOO LOOSE/TOO
TIGHT
too tight
too loose
If
the jacket
is
wrinkling above the waist
because of too much or too little fabric, determine the amount of the correction by pinning (too much fabric), or by opening the side seams (too
little
fabric).
On
the pattern, add or subtract the cor-
rected
the
amount not only from
hip,
the underarm to
but also at the armhole.
The
horizontal line at the top of the side
seams, back and front,
When
is
equal to the side seam
your pattern correction is complete, that horizontal line must measure the same as it did before you began to correct the pattern. Therefore, whatever amount is added or subtracted from the side seam must inversely be subtracted or added at the armhole. Failure to do this will result in a gap at the back of the armhole which will destroy the armhole contour. allowance.
30
ABOVE WAIST
!
TOO LOOSE/TOO
TIGHT
too loose
too tight
There should be no wrinkling on the jacket below the waist, on front or back, and the vent should lie closed, without pulling to one side or to the other.
On rected
the pattern, add or subtract the cor-
amount
at the
and taper gradually
bottom of the
to the waist.
BELOW WAIST
side
seam,
SHOULDER— TOO WIDE/TOO NARROW
too wide
If
the jacket
is
too narrow
too wide or too narrow
amount
across the shoulder, determine the
of
the adjustment by pinning (wide), or measuring (narrow),
and add
or subtract that
amount on
the pattern shoulder, at the armhole.
32
SLOPED SHOULDER
If
your
client
has sloped shoulders, and the
jacket has been cut for normal shoulders, diagonal creases will appear,
on
front
and back,
at the
bottom of the armhole. These creases can most often be eliminated by increasing the amount of shoulder padding.
When padding cannot solve the entire problem, open the shoulder seam and re-pin it to eliminate the creases. Measure the amount of the pinned correction at the armhole edge of the shoulder.
On the pattern front and back apply that measurement from the neck edge of the shoulder. The lapel is also raised by the amount of the pinned correction. The center back neck is raised by that amount plus '/s" (3 mm).
33
SQUARE SHOULDER
your client has square shoulders and the jacket has been cut for normal shoulders, circular creases will appear at the base of the collar, on If
front
and back. Decreasing the amount of shoul-
der padding will sometimes solve the problem,
but not always.
Remove seam,
the collar and re-pin the shoulder
eliminating
amount
the
creases.
Measure the
of the pinned correction at the neck edge of the shoulder. On the pattern front and back, apply the amount of the correction down from the neck edge of the shoulder. Also, lower the lapel and the back neck by that amount.
34
NECKLINE— TOO HIGH/TOO
LOW
too high
too low If the bottom of the collar does not sit on the shoulder at the back, but sits above or below shoulder level, the collar must be removed and the back neckline raised or lowered.
Apply the depth of the adjustment to the pattern neckline at center back.
35
TIGHT NECKLINE
If
hole
the jacket neckline
seam
pulling
is
shoulder
at the
too
tight,
the arm-
will
show
signs of
towards the neck. There
on the
front shoulder,
tight,
if
the neckline
but the height of the collar
will
be
is
less
LOOSE NECKLINE
will pull
and
in
too loose, the jacket from the body at the back neck;
the jacket neckline
away
is
the front, the lapel will gape
open uncom-
fortably.
Remove center back
body more
the
collar,
seam
until
and
pin a tuck in the
the neckline hugs the
closely.
Apply the depth of the adjustment neck edge of the center back seam.
36
der
and
obvious than the pulling of the fabric in the shoulder and neckline area. Once the neckline is
If
height.
be creases
reaching out from the
neck towards the armhole. The collar will be a bit high too
will
released, the collar should settle to a comfortable
at the
Remove the collar. Open the muslin shoulseam and the top of the center back seam, let
the jacket
settle at
the neckline.
The adjustment should be distributed between the shoulder seam and the center back seam.
equally at the neckline
ARMHOLE— TOO HIGH/TOO LOW
too high
too low
Contrary to popular belief, the most comarmhole for a sleeve is one which is cut as high as possible without restricting the for-
Raise or lower the pattern the depth of the adjustment at mid-underarm, and at the top of the side seam, back and front. This adjustment at
fortable
ward movement is
of the arm.
only comfortable
With
if
A
a sleeve
low-cut armhole is
not attached.
a sleeve set into a low-cut armhole, raising
one's arm involves raising the entire side of the
The
edge of the fabric should be cm) below the center underarm.
cutting
1" (2.5
is
necessary to maintain
the contour of the armhole.
The armhole should slightly in
velop
jacket.
about
the top of the side seams
also
the front notch area,
when
the fabric, a
the
arm
little
is
be "scooped" if
wrinkles de-
resting at the side. Trim
at a time,
until
the wrinkles
disappear.
37
THE
SKIRT
The beauty of the straight skirt is especially dependent on a graceful fit. The fabric should lie smoothly at the waistline, and fall gracefully over the hips. The side seams must hang perpendicular to the floor, despite demands made by a high hip,
38
or a protruding rear.
TOO TIGHT/TOO LOOSE ACROSS
HIPS
too tight
too loose
If
the
hips the
made
skirt
side
necessary addition or subtraction
A
seams, hip
hip curve ruler
seam
hip to the waist, of the
too tight or too loose across the
at the pattern side
and back.
new
is
line,
is
is
level, front
used to draw a
tapered gracefully from the
and from the
hip to the
bottom
skirt.
39
WAISTBAND— TOO LOOSE/TOO TIGHT
The
skirt
waistband (discounting overlap)
should be equal
in
measurement
to the
body
waist measurement. Lengthen or shorten the
waistband as indicated.
40
WAISTLINE— TOO LITTLE/TOO
horizontal ripples/too
PiTTF
vertical
If,
7^
little
EASE
ease
T?~
puckers/too
much ease
despite the fact that the waistband
comfortably, the top edge of the
probably too
MUCH
or too
skirt
fits
does not,
much
ease at the waistline. Horizontal ripples just below the there
is
waistband back and
little
indicate insufficient
front,
ease at the waistline. Vertical puckers indicate
too
much
ease.
The waist seamline of a straight skirt must be equal to the body waist measurement, plus approximately h" .3 cm) ease at the front and ]
( 1
A?" [1.3 cm) ease at the back. This
total of 1"
cm) excess fabric at the top edge of the skirt, is "eased" into the slightly smaller waistband to allow for the fact that directly below the waist (2.5
the
body (and
therefore,
the
skirt)
begins to
expand. Adjust your pattern by adding or subtracting the necessary
amount
at the waistline side
seams, back and front. The
new
point
is
then
tapered gracefully to the hip.
41
SWAYBACK
back view
side
If
view
horizontal ripples of fabric are present just
below the waistband, only, the
problem
at the
back of the
may be due
body contour which
is
skirt
to a posture, or
descriptively
called
"swayback." The rippling can be eliminated by lowering the waistline of the to the
side seams;
darts slightly.
42
skirt at
center back, tapering
and by lengthening the back
skirt
back
ONE
HIP HIGHER
THAN THE OTHER ru~~~ —
If
one
hip
is
higher than the other, there
be diagonal pulling of the
hem
of the
fabric
skirt will
over the high
will hip,
be higher on that side, will not fall
and the center back seamline straight.
To correct in
length
and
necessary both width. Estimate the amount of
this,
in
extra fabric
is
and add this amount to the skirt up and out from the waistline at the side seam. Only the side of the skirt affected by the high hip is corrected. Use a hip curve ruler the correction, pattern, both
to taper these adjustments to the existing pattern lines,
as indicated.
43
HIPS
Even
FORWARD
THRUST
if
the stomach
is
flat,
if
the hips are
thrust forward the skirt will rise in the front,
the side
seam
will
This requires
not
fall
and
straight.
an addition of
fabric
and an
adjustment at center front of the pattern, tapering to the side seam.
FLAT SEAT
If
the client has very
may hang
longer
in
flat
buttocks, the
the back than
and cause the bottom of the
side
in
skirt
the front,
seam
to pull
forward.
The estimated adjustment the
skirt
back
at the hip level side
44
is
removed from and
at the center of the waistline,
seam.
PROTRUDING STOMACH/BUTTOCKS
protruding stomach
If
protruding buttocks
the stomach or the buttocks protrude
significantly,
the bulge
will
draw the skirt up and prevent the
either in the front or in the back, side
seam from
An
falling straight.
in both length and in width is necessary to accommodate the bulge. To correct for the protruding stomach, extend your skirt pattern up at center front, and out at the waistline side seam. Correct for protruding buttocks by extending your skirt pattern up at center back, and out at the side seam, at the
level of
addition of fabric
the buttocks.
45
THE PANTS
46
WAISTBAND— TOO LOOSE/TOO TIGHT
The pants waistband (discounting overlap) should be equal in measurement to the body waist measurement. Lengthen or shorten the waistband as indicated.
47
MUCH
WAISTLINE— TOO LITTLE/TOO
TjT-Tir
horizontal ripples/too
If,
little
ease
vertical
despite the fact that the waistband
fits
comfortably, the top edge of the pants does not, there
is
probably too
little
or too
much
ease at
the waistline. Horizontal ripples just
back and waistline.
below the waistband
front, indicate insufficient
ease at the
puckers indicate too
Vertical
EASE
77T
puckers/too
much ease
72" (1.3 cm) ease at the back. This total of 1" (2.5 cm) excess fabric at the top edge of the pants,
is
"eased"
into the slightly smaller waist-
band, to allow for the fact that directly below the body (and therefore, the pants) begins
waist the
to expand.
much
Pattern adjustments,
if
minor, are
made
ease.
the center back waistline. Adjustments of
The waist seamline of unpleated pants must be equal to the body waist measurement, plus approximately h" .3 cm) ease at the front and
than
]
(
48
1
line
h"
at
more
cm) must be applied to the waistside seams, back and front. ]
(1 .3
TOO
TIGHT ACROSS HIPS
view
back view
pants front
pants back
front
If
3
A
the pants are too tight across the hips,
(1.9
cm)
is
the most
we
can add without
W
The added at three points on the pattern pants front and back. The adjustment is out at the top of the inseam, out at the crotch at hip level, and out at the side seam at hip level. disturbing the balance of the pants. (1
.9
cm)
is
49
TOO LOOSE ACROSS
HIPS
pants front
If
V2"
1
(
the pants are too loose across the hips, .3
cm)
is
the most
we can
subtract without
disturbing the balance of the pants. (1.3
cm)
point
is
on the
The
l
h*
subtracted from the pattern at one pattern front,
and
at three points
on
the pattern back.
The adjustment level, in at
is
in at the side
seams at hip and in at
the top of the back inseam,
the back of the crotch at hip
level.
pants back
50
"
PROTRUDING HIGH
pants front If
there
pants back
horizontal pulling of the fabric
below the waistline, extra seam high hip level,
directly
needed
is
HIPS
at the side
fabric
front
is
and
back.
CROTCH— TOO SHORT/TOO LONG
pants back/too long
pants back/too short
area, the hips are probably fine, but the crotch
Depending upon the amount of wrinkling, adjust the crotch between (1 .9 cm) and
length must be corrected. Tight, pulling creases
(2.5 cm).
If
wrinkles are concentrated
radiating
in
the crotch
from the crotch indicate a short crotch.
Sagging, loose creases indicate a crotch that
too long.
is
W
Add
or subtract this corrected
I
amount
on the pattern back
only, by extending out or in from both the top of the inseam, and the center back seam at hip level.
51
BOWLEGS/KNOCK-KNEES
knock-knees
bowlegs
The pants knee
if
the client has bowlegs or knock-knees.
simple correction of will
wrinkle noticeably at the
will
]
h"
(1
cm) to
usually allow the pants to
despite the knee problem.
52
.3
fall
1
"
(2.5
A
cm)
smoothly,
pants front
pants front
pants back
pants back
Bowlegs
Knock-Knees
Apply the same adjustment amount in and down at the bottom of the outseams, and out at the bottom of the inseams.
at the
Apply the adjustment amount in and down bottom of the inseams, and out at the bottom of the outseams.
53
FLAT SEAT
pants front Semi-circular wrinkles, or folds will
appear
back of the pants if the client has very flat if she stands with her hips thrust forward. In both cases the pants will also hit the calf of the leg at the back, rather than fall at the
buttocks, or
smoothly to the f\oor Determine the amount of the correction by the volume of the folds. A 3 A" (1 .9 cm) correction is about average. Apply the adjusted amount at three points
on the front of the pants pattern and at four points on the back. for example, you use .9 cm) as the corrected amount, on the pattern back, measure out 3 A" (1.9 cm) at the hip, down (1 .9 cm) at the center back waistline, and in .9 cm) at both the crotch hip level and the top of the inseam. The correction on the pants
W
If,
(
1
W W
(
1
at the waistline side
WA (1
.9
cm) at the center front waistline.
hip curve ruler will be essential in taper-
ing these
the
new
new lines,
points to
meet one another.
All of
except for the center front seam,
are curved lines.
54
W
measuring in (1 .9 cm) seam, and both out and up
front pattern involves
pants back
—
PROMINENT SEAT
Pulling occurs across the
the buttocks are
full,
or
if
the
back of the pants
if
overly erect
client's
posture causes the hip to be thrown backward
and upward. The pants hitting the bottom of the
are also distorted
by
leg in the front rather
smoothly to the floor. Determine the amount of the pattern correction by the amount of pulling at the back (1 .9 cm) is about average. Apply this corrected amount at three points on the pants back pattern: out from the top of the inseam, and from the crotch at hip level, and up at the center back waistline. The pants must also be extended out at the side seam at hip level. However, -W (1.9 cm) additional shaping would be too much at the hip. Add h" .3 cm)
than
falling
W
]
(
at the side
seam
hip level
and taper the
1
line.
55
T
PROTRUDING STOMACH
pants front
A
protruding stomach
will
seam forward, and draw the lower
in
the front than
in
pull
the side
waistline
down
the back. Extra fabric
is
both length and in width at the front of the pants, and in width at the pants back. The
needed
in
pants back
estimated addition of fabric
If
seams front added up at the center the
front, to give length in
rise.
ened or shortened amount.
56
too short
the pants are too long or too short from
crotch to waistline, the pattern
is
either length-
at the waistline
by the desired
distributed equally
and back, and side and back. The same adjustment is
RISE— TOO LONG/TOO SHORT
too long
is
at the waistline center front
4 Fabric
SELECTING THE FABRIC If
you want
tailoring,
the very finest fabric for classic
choose wool. There
is
an endless
vari-
most respond favorably to certain tailoring features. There is no reason to limit your wardrobe to one fabric. However, full tailoring procedures (canvas, tape, etc.) will produce their best results for wool. Silk and linen are close ety of beautiful fabrics available to us today,
of
which
will
seconds.
Wool
fabric
has a distinctive personality
which relates better with tailoring procedures than any other fabric. There is no disagreement among tailors on this. The tailoring techniques described in this book, direct you at times, to stretch the fabric, or to shrink to mold to fit the contours of the it
it,
human take as
if
body.
Wool
fabric
is
somehow
on this newly molded shape and it had always been its own. This
among fabrics. Wool comes characteristics,
able to
to hold is
it
unique
in a variety of weights and which can be worn comfortably
from the tropics to the Arctic, year-round. It is durable, has a long-life expectancy, and handles beautifully at the sewing machine. There are two major wool categories: • Worsteds •
Woolens
Worsted fabric is woven from long, finely combed wool fibers which have been twisted tightly, and then woven tightly. The effect is a with a
firm, flat surface, as in a serge,
or a
gabardine. The traditional tailored business
suits
fabric
are
made from worsteds
rather
than from
woolens.
Woolens
are
woven from
relatively short
wool
fibers, which have not been combed smooth. These fibers are twisted loosely and then woven much less tightly than the worsteds. The effect is a soft, easy fabric, such as a Harris tweed, or a flannel. Woolens are more suited to
comfortable, sporty garments than they are to
business
suits.
57
PROPERTIES
OF
WOVEN
FABRICS
^ straight grain
n -i O Id
*v
aj
3
;
The Grain There are certain properties of rics,
woven
which must not be overlooked as
we
fab-
set to
work.
Woven
fabric
is
made by
interlacing threads
one another, evenly or in The lengthwise thread (the warp) runs parallel to the selvage (the finished edge along the length of the fabric at either end). The at right angles to
patterns.
lengthwise of the fabric grain.
is
The crosswise thread
called
the straight
(the weft), the cross-
grain, runs at a right angle to the selvage.
There
no thread running diagonally across the
fabric.
is
However, the diagonal direction of the fabric is called the bias. The lengthwise thread must be strong to withstand the workings of the loom, and to support the fabric. The crosswise thread need not be quite as strong. Because of the strength of the lengthwise thread, will
58
and the
fact that the crosswise thread
"give" or drape gently
in
response to grav-
ity,
most garments
will
hang
best
if
they are cut
so that the lengthwise thread hangs
vertically.
Garments cut on the crossgrain (with the crossgrain hanging vertically) hang less comfortably and somewhat stiffly. Garments cut on the bias (with the bias hanging vertically) have neither the lengthwise nor the crosswise thread to support
them
difficult
directly.
Therefore, the fabric finds
to hold a shape. Bias-cut
and they stretch. Whether you are cutting
it
garments drape
beautifully,
a bias
skirt,
or a
crossgrain waistband, or a straight grain pair of
always the same. Every pattern piece should be placed on
trousers, the directions for cutting are
the fabric so that the arrow parallel to the
on the
lengthwise grain of the
pattern
is
fabric.
To say that something is cut on the crosson the bias, has less to do with the direction in which it is cut than it has to do with grain, or
the direction
in
which
it
is
worn.
?
La.—
d
nj
The waistband and the skirt, have both been cut in the same direction. However, because the waistband
will eventually be placed garment with on the the straight of the grain in a horizontal position, the waistband will be said to have been cut on the crossgrain. And since the straight of the grain on the skirt will be in a vertical position, the skirt is said to have been cut on the straight grain. The major pattern pieces of tailored garments are cut on the straight grain. And for various reasons, certain smaller pieces of each garment are cut on the crossgrain or on the bias.
59
ÂŤ s
-
Straightening the Grain Now, a word about off grain. Somewhere from the loom to you, the fabric grain may have been distorted. Considering the importance the hang
of your finished garment, check the grain alignment before cutting the fabric. What we are doing is checking to see if the crosswise threads and the lengthwise threads are running at right angles or perpendicular to one another. If they are not, everything we have discussed about placing the arrows on the pattern parallel with the selvage, will be useless. grain plays in the it
would be wise
to
Fold the fabric selvage to selvage, sides together. See
ably
in
if
the fabric will
a perfect rectangle.
\f
lie
will
it
crosswise and lengthwise threads are
running perpendicular. The
must be coaxed back
60
fabric
into place.
is
right
comfortnot,
the
no longer and
off grain
To check the grain alignment, pull a crosswise thread from selvage to selvage, across either end of your fabric. Do this at the very end of your fabric yardage, so that you do not waste fabric.
The puckering along the
pulled thread
indicates the exact line of the crossgrain.
Cut the either end.
fabric
along the puckered thread
at
To coax the fabric back into place, pin the folded fabric into the rectangular shape
have. Steam press from selvage to
wrong pear.
side, until
Washable
the ripples
fabrics
in
which
it
fold,
should
on the
the fabric disapare off grain can
be gently pulled back into shape while they are damp. This should be done on a flat surface, a small area at a time.
Shrinkage Woven
natural
fibers
woven
fabrics,
are
susceptible
to
which will become part of your garment such as the wool canvas interfacing, the twill tape, the pocketing, and the garment fabric itself, must be preshrunk. The French collar canvas is an exception. Even if the label on the garment fabric says that it has been preshrunk, you are safer before cutting, you have the fabric steampressed and preshrunk professionally by a dry shrinkage. All
if,
wool canvas
interfacing by soakone hour. Let it drip dry and then steam press well. The cotton twill tape can be soaked in cool water and ironed
Shrink the
ing
it
wet.
in
cool water for about
It
will
not lose
its
shape. Pocketing fabric
and grosgrain ribbon
are sufficiently shrunk
simply steam pressing
them
rics
we
have suggested
well.
will
The
by
lining fab-
not shrink during
drycleaning.
cleaner.
61
The Nap When shrunk,
hand first
is
on
one
and ready to fabric, on the
direction,
fabric feels the
discernible
grain
over the
lightly
in
same
nap.
If
in
your
go, run
straight grain,
then in the other. If the both directions, it has no
there
is
even the
slightest
and which
difference to the touch, the fabric has a nap,
the direction of the
nap
is
the direction
in
the fabric feels smoother.
The direction of the nap is the direction in which short fibers on the surface of the fabric have been brushed. It is not important that these fibers feel different in one direction than in the other.
What
is
important
differently. Therefore,
ent co\or shading direction
The is
often
than
in
is
it
is
slight,
62
pieces; to
nap before you draw arrows on
nap
(the
fabric feels smoother);
and
the fabric indicating the direction of the direction in
which the
nap on all pieces of same direction. Most fabrics are cut with the nap down. Cut this way, the fabric feels smoother if you run your hand downwards on the front of the jacket, than it does if you run your hand upwards. It's the same principle as petting a cat to cut the pattern so that the
the finished garment
falls in
the
in
you
are
If
body with the nap down and the sleeves with the nap up, from across the room may look as if you have cut the sleeves from completely differit
your pattern
nap
differ-
you working with the fabric flat on ignore the nap and (for example) cut the jacket
fabric.
lay out
to
due
discernible while
is
to determine the direction of the
the other.
and not
to avoid such problems
one
held up
difference in color shading
way
in
the fabric will have a
when
simplest
from front to back. Velvet is sometimes cut with the nap up, because the deep pile catches the light best that way, and gives the fabric a richer color.
that they reflect light
the table.
ent
The
the garment fabric has been pre-
If the nap is so slight that you have difficulty determining which direction is smoother, sim-
ply
choose a
effect
on the
direction, fabric.
It
and mark arrows is
less
important to have
the direction of the nap correct than
the pattern pieces direction
consistently,
you have chosen.
to that
it is
in
to cut
all
whatever
5 Layout/Cutting If,
after
measuring the
client,
preshrinking
making and correcting a muslin, you are very anxious to get on with actually making
the
fabric,
the
suit,
you may not
care to hear at this point
that professional tailors
They are
patterns. terns,
not the
do not use
tissue
paper
just too unwieldy (the pat-
tailors).
The only
positive
quality
about a
tissue
paper pattern seems to be that it fits neatly, or not so neatly, into a pattern envelope. On the negative
side,
it
wrinkles,
it
tears,
it
flies
away
if
you sneeze.
own patterns on sturdy The oaktag pattern can be on oaktag. laid in place on the fabric, weighed down rather than pinned, and traced with tailor's chalk. Small Tailors
make
their
paper or
holes are
made
in
the oaktag pattern through
which
dart tips and pocket points can be marked. Notches are cut into the edge of the pattern at waistline, hemline,
not
in
use,
roll line, etc.
the patterns are
hung
When
neatly
on
pattern hooks.
Except rics,
this
more
when
method
cutting the sheerest dress fab-
of pattern layout
accurate, because
pattern
to
it
is
faster
and
eliminates pinning the
Besides being time-
the fabric.
consuming, the process of pinning disrupts the lay of the fabric,
two
making
it
very
difficult to
cut the
layers of fabric identically.
63
you simply don't have the patience to transfer your pattern onto oaktag at the moment, you can still avoid pinning the pattern to \f
the fabric by weighing Tracing will stiff
pattern
down
the tissue pattern.
not be quite as speedy without the
edge
to guide the chalk, but
it
will
still
be more accurate, and easier than pinning. Keep the oaktag alternative in mind, especially for
patterns that
you use over and over
again. first few tailoring you purchase more
For your gest that
64
projects, fabric
we
sug-
than your
pattern requires, to allow for a
judgment and
skill,
few
small errors in
flaps, etc.
For the jacket, lay out your main pattern pieces: the front, back, side panel, facing
sure this
is
the revised facing
on page
(make
13),
and
The sleeve should be traced onto the fabric along with the other main pattern pieces, as a reminder of its presence, and its demands on the fabric. However, we will not cut the sleeve until much later, when the jacket is almost completed. Until you are familiar with the construction techniques, the pockets and the collar sleeve.
2 3A yards
should be cut only as you need them, following the instructions
Do
in
each section.
same with your skirt and pants patterns. Set to work with only the main pieces of your skirt and pants cut. The facings, pockets and waistband are cut as you work along with the
ness sense as well as a
your work as
tightly as
good challenge
it is
takes experience. For the
sume
that
ducing a
fold
to plan
illustrated here.
moment we
It
you have challenge enough in well-tailored suit. The challenge
tight layout
can come
later,
also
will as-
pro-
of a
with experience.
the book.
Of lows
once almost economical use of your fabric,
course, cutting everything at
for the
and many tailors develop this skill to a fine art. The illustration shows a professional, nap layout of a size 10, woman's suit. It makes good busi-
65
pressed,
may be discernible in the sunlight, and not in your workroom. Lay your pattern pieces with
especially with wool, since slight color shading
The grain arrows on each pattern piece should be exactly parallel with the selvage. Measure to check the accuracy of your eye.
With your fabric well prepared (preshrunk, on grain and marked for nap), lay out your main pattern pieces. Use a nap layout unless you have a good reason not to (too little fabric). It is always safer to use a nap layout,
With sharpened,
clay
tailor's
chalk,
the
process of tracing around each pattern piece
is
and accurately done. Sharpen the chalk, so that you can produce a thin, clean line without the necessity of pressing heavily on the chalk and the fabric. Applying pressure to the chalk easily
instead of sharpening
termined
line,
it,
produces a
and may even
thick,
unde-
disturb the lay of
the fabric.
We
suggest clay
chalk with a
wax
tailor's chalk,
rather than
content, because with chalk'
you can
freely mark on the right side of your without ever worrying that the marks will be permanent. The clay chalklines can be brushed away easily when they are no longer needed. Pressing on top of the clay chalklines is not suggested, since this will render the marks
fabric
more
66
difficult
(though not impossible) to remove.
great respect for the fabric grain.
Trace around the jacket front pattern piece indicating
all
notches, including the waistline,
the collar notch, the top roll line,
and the
Mark the
front
holes
letting in
lapel
armhole notch.
dart tips
pocket placement
and
and bottom of the
lines,
and the ends of the by scratching the chalk
the chalk dust
settle
through the
the pattern.
67
r
5^ The pocket placement piping pocket
is
the center
for a
line
double-
line.
~J
For a welt pocket,
it
is
the bottom
line.
And ment
Remove
the pattern
and cut the
The best
(3
for a is
patch pocket, the pocket place-
at the top.
fabric, indi-
cating border notches by a snip into the
allowance (no deeper than Vs"
line
seam
mm)).
scissors to use for cutting
double
layers of fabric are bent-handle shears. The bottom blade can rest on the table as the fabric is being cut. The blade is in a position to slide along
with minimal disruption of the fabric. Resist the urge to pull the fabric towards you as you cut. Any such movement might ruin
your
careful grainline efforts.
After each pattern piece has
been
cut, the
chalk guidelines are preserved by tailor tacking.
^.nAnMAf\Afirifiny Tailor
tacking
is
through two layers of of extra thread
68
simply a fabric,
on the top
running
stitch
which leaves loops
layer (as illustrated).
J
1.MJ When
U1J II
!.)//[/
the
two
layers of fabric are sepa-
rated, the excess thread
is
shifted to the inside.
Snipping the thread ates
down
markers— neat loops on the of the fabric, and hair-like protrusions
wrong on the
side
right side.
HAAA
\J\J\J
\J
To
the center cre-
the thread
HAH
lines,
tailor
two
WW U
tack points or ends rather than
stitches are
taken on top of each other,
leaving the loose thread loop fabric.
Dart
tips
point-tacked
on the top
layer of
and the ends of each pocket are
in this
way.
and
Chalkmark the hemline and roll line. Tailor full length of the hem, and only the beginning and end of the roll line.
grain of the fabric
fabric.
now
The procedure for cutting skirt and pants is essentially the same as for cutting the jacket. The
will
later.
tack the
is
vital,
tern information should
be
all
pertinent pat-
tailor-tacked into the
The short time spent on tailor tacking save hours of guessing and correcting
69
PLAIDS
OR
STRIPES
The layout for a plaid or striped fabric readded attention. The horizontal lines at the top of the sleeve front should match those on the body of the jacket. Place the notch on the top sleeve pattern and the front notch on the armhole at identical points on the plaid design. (See page 77.) quires
1
The outer edge of the lapel on the facing should be on the straight of the grain, between two prominent vertical stripes. The stripe should run the whole length of the lapel, without veering off along the way.
Place the revised facing pattern (page 13)
so that the notch at the top of the lapel
the most control
70
falls
between two prominent vertical stripes. The facing on a plaid or striped jacket should be applied by hand (page 121) rather than by machine, for in
matching the
lines.
The center back seam, at the neck edge, should not interrupt the pattern of the plaid. Place the stitchline of the center back neck
edge
at the
stripes
very center between
on the
two
vertical
plaid.
The collar, viewed from the back, should not create any interruption in the plaid design of the jacket back. Therefore, the topcollar,
the undercollar
is
set,
which
is
cut after
should be attached to the
undercollar with an eye to continuing both the horizontal
and
vertical
design lines present on
the back of the jacket. (See page 155.)
The seamline at the straight part of the jacket front, below the lapel, should not fall on a prominent
vertical stripe.
\J 71
Place the straight portions of thejacket front on the plaid so that the stitchline falls
pattern
between two prominent
12
vertical stripes.
All
horizontal bars in a plaid
must match
at
the seamlines. Place the notches of
be joined,
all
at identical points
seams, which
on the
will
plaid design.
73
The hem should not
fall
Place the
foldline
on
on the jacket and
skirt
a prominent horizontal stripe.
hem
foldline of the jacket front,
back and side panel midway between two prominent horizontal stripes.
74
_
The fold at the top of the pants fly should be between two prominent vertical stripes. Place the notch at the center front waistline between
two prominent
vertical stripes.
The information needed for constructing pockets on a plaid or stripe fabric is discussed with the individual pocket directions.
75
6 Jackets
DARTS If
your
there
is
tailoring
AND SEAMS
a dart
on
thejacket, at this point
procedure
it
is
indicated
tailor tacks.
On
the
wrong
chalkline from top to
side of the fabric,
bottom
draw
a
at the center of the
dart.
On one
side of the dart,
draw
a slightly
curved line from the top of the dart to waist, and from waist to bottom of the dart. Use the hip curve to taper line gradually into the dart ends. An abrupt curve at the dart ends will create puckering on the right side of the fabric which will be impossible to press out.
76
Remove
in
by four
half,
the
tailor
tacks
and
press the dart in
using the center chalkline as foldline.
Machine stitch the dart from top to bottom. Sewing the fabric in the direction of the nap is an added courtesy to the fabric. In velvet or pile fabrics, it is an absolute necessity. It is
better to
tie
the threads at the dart ends,
rather than backstitching to tack. Backstitching
adds unwanted bulk and
stiffness into
cately thin area of the dart
tips.
the
deli-
on the center chalkline, beginning and ending the slit h" .3 cm) away from top and bottom. Press the dart open using a tailor's ham. The fabric at the dart tip is somewhat difficult to control, since it may pull to one side rather the dart
Slit
l
1
(
than allowing
to be pressed flat at the happens, it becomes obvious
itself
center.
When
on the
front of the jacket
this
by a
slight
wavering of
the dart seamline, instead of a perfectly straight seamline, at the dart tip. Before pressing, control the fabric at the
by
dart tip
needle as
inserting the
far into
eye end of a threaded
the dart
tip
as
will
hold the seamline straight as
dart
seam allowance
flat in
it
will go. This
you
the center.
the needle (by the thread, the needle press the dart
tip flat
the jacket, the dart
press the
is
Remove hot),
and
On the front of now be perfectly
once more. should
line
straight.
A
very lightweight,
bias-cut, oval-shaped,
nonwoven
fusible
can be used to reinforce the
and maintain the fabric's body in this area. Use only a fusible which presents no competition in weight with the garment fabric. Try a sample on a fabric scrap. If there is any indication dart tip
of the fusible from the right side of the fabric,
too heavy.
in
If
doubt, leave
it
it is
and trousers are also pressed in half before stitching, and then stitched to a gracefully tapered point. Skirt and trouser darts are not slashed open. They are usually small enough to be pressed toward the Simple waistline darts
on
skirts
side seams.
out.
front,
and sew your side panel to the jacket matching notches, and press the seam
open.
If
Baste
the jacket has significant waistline shap-
ing, there will line in
be some constriction
area at the seam. Stretch the
in
the waist-
seam allowance
the waistline area by steam pressing
curve opposite to
allowance will
is
its
shape.
When
it
into a
the
seam
then pressed open, the constriction
have been
relieved.
seam allowance at the waist to tightness weakens the garment unin this area, and it's always wise to
Slashing the relieve this
necessarily
keep seam allowances
in tact for possible future
alterations.
Gently press the jacket front from the wrong side. You are now ready for the construction of the jacket pockets.
11
THE JACKET POCKETS The most popular types
of jacket pockets
are:
tute a double-piping pocket for a patch pocket,
or to
add a flap if you wish. The perfection of the pocket construction
says
much about the
Welt Pocket
•
• Double-Piping Pocket •
•
skill
of the
Because of
the prominent position of the pockets
Patch Pocket
front of the jacket,
any
The construction sented here limit
of these pockets
great detail. Therefore,
in
is
pre-
you need
yourself to the style of the pocket given
on your commercial
pattern. Feel free to substi-
the overall beauty of the jacket.
you
on the
distortion in the pocket
line will call attention to itself,
not
tailor.
Double-Piping Pocket with Flap
and
detract from
We suggest that
practice the pocket construction
scrap before constructing
them
in
on
a fabric
your jacket
fabric.
THE WELT POCKET
The breast welt pocket is 4 'A" (10.8 cm) long and about " (2.5 cm) wide, placed on the 1
left
side of the jacket at approximately the level of
the front sleeve notch. The placement usually
upper
78
on
left
a
l
h"
when
(1.3
cm)
the jacket
lower worn.
slant, is
line
is
right to
Chalkmark the placement line on the jacket If you have adjusted your pattern at the front armhole, check to see that the pocket placement line is at least 72" (3.8 cm) away from the armhole stitchline. front.
1
'•'
•'.•///•• .<•. '.'/:''.
'.
'•'•./
>
'.••.••.',
Cut a piece of woven fusible, on the crossgrain, VI2" (1 1.4 cm) by (3.5 cm). Draw a 3 /s" cm) margin along the bottom edge on the unglued side. This line will eventually be the
1W
(
1
stitchline for
attaching the welt to the jacket.
Use a Trim
upper
away
right
will create
'A"
(6
and lower
mm) left
diagonals from the
wrong
mm) seam
to
sew
the top
each
and
W
side of a
3
/s"
(
1
cm)
cm) at the top. It important that the side of the fusible be parallel side
(
1
.9
with the straight grain of the garment that the
(6
the slant for the welt.
piece of the garment fabric, leaving
is
U"
edge of the garment fabric to the top of the pocketing, and press the seam open.
of the rectangle. This
Press the fusible to the
fabric at
]
fabric,
Fold the garment fabric, using the top
edge
of the fusible as a guideline.
*
and
nap be down.
At either end of the
fusible,
baste the welt
to the pocketing, easing the welt slightly
towards
the center. This easing creates a slight bulge in the welt, which will ensure that the pocketing
edges
will
be hidden
when
the welt
is
turned to
the right side.
Cut two pieces of pocketing, 6" (15.2 cm) by 6" (15.2 cm) on the straight grain, and cut a h" (1 .3 cm) diagonal off the top of each piece. ]
beyond the edge of the Tack the top, but not the bottom of each
Machine-stitch just fusible.
stitchline.
79
Slash the pocket to the chlines. Trim the
and
bottom of the
seam allowances
to 'A" (6
Carefully
stit-
mm)
trim the top corners.
open the weit seam just enough which is drawn on the
to expose the stitchline fusible.
Cut a piece of pocketing 2" (5 cm) by 6" (15.2 cm) on the straight grain, and place it on the wrong side of the jacket. The lower edge of the pocketing should fall about h" (1.3 cm) below the welt placement line which is drawn ]
Press the
seams open and turn the welt
to
on the jacket
the right side.
front. Baste or pin
place. This piece of pocketing
forcement since
its
purpose
is
which
we
fabric in the area in
Place the welt face
the pocketing is
in
called a rein-
to strengthen the will
be working.
down on
the jacket
matching the stitchline which is drawn on the fusible with the placement line drawn on the jacket. Don't be concerned if you notice that the front,
To
assist in
and gently
turning the corners, take
one
both ends of the thread. This is a safer procedure than poking the corners from the inside with the point of the scissors. Press the welt on the right side. stitch
80
pull
welt
is
upside
Baste,
down
at this point;
and then machine
it
stitch
should be. the welt to
the jacket, tacking well at either end.
â&#x20AC;&#x201D;
v_
<
From the wrong stitchlines will
be
side of the jacket the
clearly visible
on the
two
reinforce-
ment. Begin at the center and slash through the
Trim corners of the welt
seam allowance.
reinforcement and the jacket fabric, directly between the two stitchlines. While you are cutting, hold the welt seam allowance and the pocketing
W
way. Cut prongs about each end. Slash very close to the (1 last stitch on each line, but not close enough to cut the threads. Cutting the prongs correctly is a safely out of the
cm) long
at
simple, but essential step in the construction of a
perfect pocket.
â&#x20AC;˘
the prongs, especially at the bottom, are
If
not snipped directly to the
last stitch,
your pocket
corners will pucker.
> however, the cut overshoots the last will have a hole on the front of your jacket at the ends of the pocket. Avoid any puckers and holes by simply giving this step your If,
stitch,
full
you
attention.
second piece of pocketing under the welt seam allowance and stitch on the pockInsert the
eting,
very close to the welt seam allowance.
W
should be about cm) (1 shorter than the welt stitchline at either end. Tack well at either end.
This
stitchline
8
^ Reach through the opening and pocketing to the
seam
wrong
side.
Press
pull
The
the
open the
that attaches the welt to the jacket.
sides of the welt are attached to the
jacket by a diagonal handstitch from the side.
The
stitches
should not be
visible
wrong on the
outside. Machine-stitch the pocketing pieces to-
gether,
and
trim the
seam allowance. Do not
trim the reinforcement piece. for
On now
be
It
will
be used
later
attachment to the canvas.
the front of the jacket, the welt should sitting upright.
Baste the pocket closed.
You may wish to add a decorative bartack end of the top of the welt. If you wax the buttonhole twist and press it between two at either
pieces of paper, the
wax
will
melt into the thread
and give a better body. Take one stitch at either end of the welt, and anchor the stitch on the inside. The welt pocket is complete. it
82
WELT POCKET
(PLAIDS/STRIPES)
Because there are no darts or seams in the area of the breast welt pocket, the plaid or stripe should be able to run uninterrupted from the jacket, through the welt, both vertically and horizontally.
way
The best match of fabric
to guarantee
an accurate
is to draw the plaid design on the during the construction of the welt (page
fusible,
78).
Place the trimmed fusible, glue side up,
on
the jacket front, with the welt stitchline at the
pocket placement
line.
Draw
the plaid design
on the edges of the fusible. Place the marked fusible, glue side down, on the wrong side of a piece of garment fabric, matching the plaid. Be sure to match the plaid at the sides of the welt, as well as at top and
fabric,
bottom.
pocket as previously discussed.
lines
on the garment and continue construction of the welt
Press the fusible in place
THE DOUBLE-PIPING POCKET â&#x20AC;&#x201D;l The double-piping pocket on jacket
is
approximately 5 V2"
The and bottom.
(14.6 cm) long. at top
Draw
a
woman's
(14 cm) to S 2A"
visible piping
is
the pocket placement
jacket front using the hip curve.
A
'A" line
(6
mm)
on the
slight curve,
than '/s" (3 mm) deep at center, will be almost imperceptible in the finished pocket, but less
will
help prevent the pocket from gaping
when
not
either
end
in
use.
Remove
the
tailor
open
tacks at
of the pocket placement line
vL^^jW* ysuc VU VMS
tÂŁj/ VJ
and
chalkmark the ends.
83
Place the second piece of piping face
two pieces of garment piping; one 8" (20.3 cm) by
For each pocket cut fabric to 1
>/2"
(5
be used as
(3.8 cm), the other 8"
cm), straight grain,
(20.3 cm)
by 2"
on the jacket
front,
nap
up, the
down
edges of both
pieces of piping touching. Baste very close to the
edge.
nap down.
Chalkmark on the top piping, indicating end of the pocket placement line. Steam press the piping on a flat surface to
either
eliminate the rippling in the piping.
NHS ÂŁ
Cut a piece of pocketing to be used as reinforcement, 8" by 2 72" (20.3 by 6.4 cm), straight grain.
On
the
wrong
side of the fabric,
center the reinforcement along the pocket place-
ment
line.
Baste or pin in place.
Machine-stitch the piping to the jacket 'A" (6
mm) above and below
These
stitchlines
should not be exactly
The center of each closer to the
the placement
stitchline
placement
line
line.
parallel.
should be slightly than the ends are.
your guide for what This contour of the line
Refer to the illustration as
mm
we mean will
by
not be
"slightly."
visible in
not
Place the wider piece of piping face
on the jacket
front,
nap
up.
The top edge
and will open when
the finished pocket,
help prevent the pocket from gaping in use.
down of the
piping should be flush with the placement
line.
Baste very close to the edge, catching the piping,
placement
very important that the ends of the two stitchlines be directly aligned. If they are not, the
will
sides of the finished pocket will slant rather
the jacket, and the reinforcement. Because the line is on a slight curve, some rippling appear at the center of the piping. Chalkmark on the piping, indicating either end of
the pocket placement
84
line.
It is
stand straight, unprofessional.
and the whole
effect
than
will
be
>.
5 Working on the wrong
side of the jacket,
begin at the center and slash through the reinforcement and the garment fabric. Be careful to hold back the piping so that
it
is
not snipped
in
the process.
Cut
3
/s"
(
I
cm) prongs at either end of the
snipping as close as possible to the
slash,
stitch in either line.
It is
last
very important to slash
correctly here.
Using the seam allowance as a guide, and ignoring the prongs for the moment, backstitch by hand in the piping seam, using silk finishing thread. The piping must be kept even on top and bottom, and the stitches should not be seen. The pocket is now steam pressed on the right side using a
ham and
covering the fabric
with a presscloth.
>= the prong
If
stitch,
is
not snipped up to the
there will be puckering
on the
^
-^
last
right side of
the jacket at either end of the pocket.
Whip-stitch the piping closed so that
S
not
shift
while
we
it
will
attend to the prongs.
on the other hand, the slash overshoots the last stitch, you will have a hole on the front If,
of your jacket at the ends of the pocket. Avoid
the puckers step
your
and the hole by simply giving
full
this
attention.
Push the prong to the wrong side and hold end of the pocket is a straight line, not a slanted one. Backstitch the prong to the piping by hand for complete control. it
Pull
the piping to the
the seams open.
wrong
side
and
press
so that the
85
Cut a piece of pocketing, straight grain, 8" (20.3 cm) wide and 2" (5 cm) longer than twice the depth of the pocket. The pocket depth varies with the length of the jacket, but the pocketing should extend no lower than about " (2.5 cm) 1
above the top of the finished jacket hem. Cut a piece of garment fabric to be used as facing, straight grain, nap down, 2" (5 cm) by 8"(20.3 cm). Topstitch a folded edge of the facing to the top of the pocketing, leaving about ^h" (1 .3 cm) pocketing above the facing.
86
With the facing touching the wrong side sew the bottom edge of the pocketing to the edge of the bottom piping. Use a '/V
of the jacket,
(6
mm)
seam.
Pull
press the fold. eting
down and thumbnail Match the top edges of the pock-
the pocketing
and the top
piping.
m
Machine-stitch
on the reinforcement
close as possible to the
garment
fabric. Stitch
as
the
Trim the
seam allowance, but not the
length of the pocket opening, pivot to catch the
forcement. Layer the fabric above the top
prong area, and continue out and around the
chline,
pocketing.
seam allowances
and
snip
away
the excess fabric
in
reinstit-
the
to reduce the bulk.
87
If
you wish, bartack one
of the pocket, using
silk
end you between
stitch at either
buttonhole
twist.
wax
the buttonhole twist
two
pieces of paper, the
twist
and give it a better body. The pocket remains basted closed
and
wax
press will
it
If
a-
melt into the until
is ready to be worn. Steam press the finished pocket on the
the
jacket
side of the fabric, using a
ham and
right
a presscloth.
DOUBLE-PIPING POCKET (PLAIDS/STRIPES)
In
almost
all
the top of a hip-level, front dart
on the
and the
two seams cut into double-piping pocketâ&#x20AC;&#x201D; the
instances,
Depending one seam or no seam will
side panel seams.
pattern, either
continue below the pocket.
88
The best pattern to use for a plaid or striped fabric is one which eliminates the seam below the pocket by using a dart instead of a separate side panel. The plaid below the pocket is then undisturbed by seamlines. Above the pocket, you can't avoid seams if proper shaping is to be achieved.
In
on the and place it on the jacket so that the piping falls between the stripes, in the a striped fabric, cut the piping
crossgrain visible
solid area of
the fabric. Cutting the piping in this avoids the question of matching a stripe on the piping with a stripe on the jacket.
way
On a plaid fabric, the vertical matching cannot be avoided. You can, however, cut the piping to eliminate
any horizontal
lines
on the
finished pocket.
Cut the piping on the straight grain, and match the plaid lines at the center of the pocket. The plaid on the jacket at the end of the pocket will have been slightly distorted by the darts. Simply match the piping at the center, and ignore the slight mismatch at the ends of the pocket. Even the most expensive custom-tailored plaid jackets are not matched at the end of the pocket.
We the bias.
do not suggest cutting the piping on This would avoid the matching problem
by introducing a completely different line, but it would also leave us with bias, stretchable piping which would cause the pocket to gape open.
THE CASH POCKET 4"
Once you
are familiar with the construction
of the double-piping pocket,
it
is
simple to add,
during construction, a smaller inner pocket, used
most commonly
for
loose
changeâ&#x20AC;&#x201D; a cash
v/2"
pocket.
needed for the need a piece of pocketing, straight grain, 4" (10.2 cm) by 4 'A?" .4 cm) by 4' h" (1 .4 cm), rounded slightly at (1 the bottom edges. In
addition to the fabric
double-piping pocket,
1
you
will
1
41/7"
89
Press the seam open. Fold the bottom seam allowance under, and topstitch it in place.
on the wrong side of the pocketing, with the top edge of the cash pocket just above the top seam allowance. Stitch around the edge of the cash pocket using a Place the cash pocket fabric
Cut about 2 h" (6.4 cm) from the top of the main piece of pocketing, and then stitch the pieces together, using a 3 /s" (1 cm) seam. ]
90
3 1 a"
(1
cm) seam.
I
I
I
I
I
I
I
I
I
I
*
/
/
\
The garment
fabric facing
is
now
placed
the right side of the pocketing. Place the folded edge of the facing along the pocketing seamline,
and
topstitch the facing.
on the double-piping pocket no facing. In this case, simply topstitch just above the seamline, holding the top seam allowance in place. If
you
there
is
The seam
on
a flap
at
the top edge of the cash
pocket is now snipped open to allow access, and the construction of the cash pocket is complete. The construction of the double-piping
now
continues.
are making, there will be
THE DOUBLE-PIPING POCKET WITH FLAP
V
The is
about
added to the double-piping pocket U" (5.7 cm) wide, finished. A flap
flap 2'
which extends out slightly at the lower back edge compensates for the contour of the body and is more graceful than a perfect rectangle. The top edge of the flap should be '/e" (3 mm) larger (a slight '/s") than the opening of the pocket into which it will be placed. The extra ease is taken by the body contour, and allows the flap to
fall
comfortably.
accurate concerning the flap
if
pocket.
you make the
It
is
amount
flap
first,
easier to
be
of ease in the
V-i/ vÂŁj/.v_u_\/_i<!_v/k .y k_i/
\J
J
\/ \j \j
U-U
v/c
and then the n_
91
To make a pattern
for the
draw
flap,
a
rectangle equal to the dimensions of the finished flap.
For a 5'/2
ff
(14 cm) pocket opening, this
cm) by 2' A"
5
At the lower right corner, extend the rectangle by U" (6 mm). Add 3 U" (1.9 cm) seam allowance at the top edge and (6 mm) around the three sides. Use this pattern to cut flaps from
would be
5 /s" (14.3
(5.7 cm).
Machine lining side to
lowance
around the three
stitch
mm) seam
a '/V (6
sides using
allowance. Stitch from the
avoid slippage. Trim the seam
to '/s" (3
mm) and
al-
turn the flap to the
right side.
y
X
your garment
W
fabric, straight grain,
nap down.
A visible
Baste the flap face
down on the
thin border of garment from the lining side.
fabric
should be
right side of
a piece of lining, straight grain. Trim the lining
even with the
flap.
For a crisp
finish, prick-stitch
of the flap using
ÂŁ
-J
Ls LS 's /_ /_\ â&#x20AC;&#x201D;TJ/f//f///I/> >itII Vd. '/_i /_\ ;_>
/_v
j_\
/_\ i_i j__\ y_> (_5i
v
Baste around the flap close to the edge
easing the garment fabric
about Vs"
(3
mm).
in
This will
from the
make
finished flap. Trim the excess lining.
92
the lining
than the flap, and will ensure that will not show at the edges of the
slightly smaller
the lining
lining
silk
along the edge
finishing thread.
~^ll
Press the flap from the right side,
and baste
across the top of the flap to hold the lining place.
in
W
Measure up 2' (5.7 cm) from the bottom of the flap and draw a chalkline. This is the guideline for inserting the flap into the pocket
opening.
The double-piping pocket structed according to the
above.
When
is
now
instructions
congiven
the prongs have been secured to
open the pocket and insert on the flap as a
the piping (page 85),
the flap, using the chalkline guide.
Place the flap
on the
on the jacket
front.
n
Match the
f)
<\
pocket placement line on the jacket. Indicate the exact length of the flap by chalkmarking the jacket at either end of the chalkline
flap to the
flap.
Baste through the top piping to hold the flap in place.
should be
The
]
/a"
(3
drawn towards
mm)
ease
in
the flap
the center.
W
W
The pocket opening should be made l&" smaller than the flap. Therefore, mm) (3 chalkmark '/is" (1.5 mm) in from either end of ]
the pocket placement
ments
mm)
carefully.
line.
the flap
Take these measuremore than /a" (3 ]
is
than the pocket opening, the finished be puckered and quite unprofessional.
larger
effect will
If
From the wrong
side of thejacket, baste the
pocket closed, catching one layer of the top piping through the
flap.
93
Own iTtf w i
Using a ham, steam press the flap from the side. The ripples at the top of the flap should disappear. If they do not, steam press
wrong
once more,
this
time from the right side of the
pocket.
The
iif
i
^
i
inside of the
rirriuiufi ÂŤ
m
-ppnTuBBq
is
completed ac-
cording to the instructions for the double-piping pocket, with the exception of the facing. Since the flap covers the pocket opening, the garment fabric facing
pocketing.
is
may be
It
replaced by a
When
not necessary at the top of the
less
eliminated completely, or
bulky facing of lining
the pocketing
is
fabric.
being machine
stitched to the top piping (page 86J, the flap is also caught, and thus attached to the garment.
DOUBLE-PIPING POCKET WITH FLAP (PLAIDS/STRIPES)
w
1
--
--4 i
\ Place the flap pattern
(page 91) on the
jacket front, matching the flap placement line
and pocket placement
On
The
best jacket pattern to use for a plaid or
striped fabric
is
one which
below the pocket by using
eliminates the
seam
a dart instead of a
10). If there is no seam below the pocket open-
separate side panel (page to distort the plaid lines ing,
it
is
possible to cut the flap for a double-
piping pocket so that at the sides
matching the piping
94
it
of the
at the top.
flap,
draw lines around the edges indicating the placement of the plaid design. This procedure must be done for each pocket, since the lines
may
Place the flap pattern
differ slightly.
on the
right side of
the plaid fabric so that the lines around the edges of the pattern coincide with those
on the
fabric.
fabric
Cut the fabric and proceed with the con-
as well as
struction of the pocket (following the instructions
matches the jacket
and bottom
line.
the pattern,
given previously).
THE PATCH POCKET
The patch pocket is used on tailored jackets when a more casual effect is desired. For a hip-level patch pocket, the width at 5' h" (14
cm) to 5 3 /4" (14.6cm). The depth is approximately 8" (20.3 cm), however, this will vary according to the length of the jacket. The patch has a more graceful line if the width at the bottom is about 1" (2.5 cm) larger than at the top. the top edge
A
is
pocket runs from 4' U" 1.4 cm) at the top edge, and
breast-level patch
(10.8 cm) to4'/2"
(1
approximately 5V2" (14 cm) deep. The width at the bottom edge should be about h" more is
]
than the top edge.
Chalkmark the pocket placement line, (the top edge of the patch) on the front of the jacket.
Cut a piece of garment fabric
across the top
and
dimencm) extra
Apply a lightweight woven
fabric in the
sions of the desired pocket, plus '/V
allowance on the other sides. Notch both ends of the
1
" (2.5
(6
mm) seam
(2.5
cm)
to the (6
wrong
mm) margin
fusible, bias cut,
side of the pocket, leaving
of fabric free
all
'/â&#x20AC;˘Âť"
around.
fabric
extension.
95
( 1
.3
l
Place the lining
should be V2"
(
and pocket
1
.3
cm) below the notches
at the
top of the pocket. Baste around the pocket,
about
i
1
hn
(3.8
cm)
in
Working from the
together, right
the folded edge of the lining
sides touching;
96
Trim the lining even with the patch.
Cut a piece of lining, straight grain, slightly than the garment fabric. Press down h" cm) towards the wrong side at the top edge.
larger
from the edge.
fusible side, baste
around
the patch once more, this time easing the patch
from the edge of the lining about Vs" (3 mm) all around. This step ensures that the finished patch will be slightly larger than the lining and that the lining will not show at the edges. in
Trim the lining even with the patch
Using a 'A" (6 mm) seam, machine stitch around the pocket, tacking well at the top corners. Sew from the lining side to avoid slippage. Trim the corners, remove the basting, and turn the pocket to the right side.
Baste around the edges of the patch once
Fold the 1" (2.5 cm) extension back onto
the lining
and baste the ends down.
more, and then steam press on the right
side.
Use a handstitch to secure the folded edge of the lining at the
to
top of the pocket. The patch
is
ready
be attached to the jacket.
97
â&#x20AC;˘:
\:
'"â&#x20AC;˘,
Cut a piece of pocketing to be used as reinforcement, straight grain, 3" (7.6 cm) wide and 2" (5 cm) longer than the top of the finished patch. Place the reinforcement side of the jacket, centered
ment
line.
Baste or pin
On the at the
the
wrong
|\
side,
x
www \^ VN
secure the patch to the
jacket by hand, using a diagonal stitch and finishing thread.
Double the
stitch
in
silk
the rein-
forcement area.
over the pocket place-
in place.
top of the patch Baste the patch to
line.
may choose
You
right side, place the
pocket placement
the jacket.
on the wrong
On
"/ ////I
to
add
a
row
topstitching to the front of the pocket.
of If
hand
so,
use
buttonhole twist which you have waxed, and
then pressed between two pieces of paper. The heat
will
melt the
wax
thread a better body.
and you wish, add
into the twist
give the
If
a single
bartack at each corner of the pocket as a finishing touch.
98
PATCH POCKET
(PLAIDS/STRIPES)
The plaid on the patch pocket should match the plaid on the jacket perfectly along both sides and at the bottom of the patch. There will, however, be slight distortion in the plaid on the jacket at either end of the pocket at the top edge, due to the darts.
In
order to cut the patch so that the plaid place the patch pocket pattern
match,
lines
(page 95) on the front of the jacket. Fold back " (2.5 cm) extension at the top of the patch
the
I
and place the notches, which
are at the top of the patch, at the pocket placement line on the
Draw lines on the pattern, around the edges, indicating the placement of the plaid de-
jacket.
sign. This procedure must be done separately for each pocket, since the lines may differ slightly.
Open
out the " (2.5 cm) extension which folded at the top of the patch, and place the pattern on the right side of the plaid fabric, so I
was
around the edges of the pattern on the fabric. Cut the fabric and proceed with the con-
that the lines
coincide with those
struction of the pocket, following the instructions
given above.
99
PREPARING THE CANVAS The canvas in a woman's jacket is a lightweight version of the understructure originally designed for men's tailored jackets. For men's wear, the chest and front of the shoulder are built up with padded layers of wool canvas interfacing, haircloth, French canvas, and wool flannel. This solid breastplate is unnecessary and unflattering to the feminine figure. The canvas in a woman's jacket, constructed entirely of
wool canvas
The wool canvas
interfacing
interfacing,
is
cut
designed to give the jacket a soft yet controlled body, and to reduce the fabric's susceptibility to
and
show
commonly used canvas underOn page 103 we show the full canvas
structure.
interlining.
Remember
Draw
on the
cm)
guide. Trace around the pattern, h" (1.3 cm) from the edge at the armhole, shoulder, neck, lapel, and jacket front. Leave a bit of extra fabric at the hem curve and across the bottom of the pattern. Extend the underarm line about 2" (5 cm) out at the side, to approximately the center of the underarm.
stitchlines.
roll
00
that
it
necessary to soak the
is
canvas in cool water and drip dry before use to ensure against shrinkage.
(2.5
pattern.
will
is
y
of the
stretching. In this section
the most
straight grain using the jacket front pattern as
on the canvas, the top and bottom line and the dart points. Remove the
Indicate
we
wrinkling
at top
Draw point
the
Lengthen the dart
line.
and bottom, and draw new
a curved line from the
on the
dart stitchline.
hem.
roll
waistline 2
]
h"
(6.4
1
dart
armhole to a cm) from the
Curve gently from the waist
to the
Cut out the canvas. There is no right or side of the canvas fabric, however, for purposes of construction, indicate with an "X" the wrong side of each piece. Cut out the darts, using the dart stitchline as
wrong
a cutting
Cut a
bias piece of
The reinforcement
should be the width of the shoulder, and extend to just
above underarm
level.
Baste the reinforcement to the of the canvas,
line.
canvas as reinforcement
for the front of the shoulder.
l
hn
(1
.3
cm)
in
wrong
from the
lapel
side roll
line.
The together,
darts are closed
and
ing to the
reinforced
by butting the edges
topstitching a bias strip of pocket-
wrong side of the canvas. The by a row of zigzag stitching on
the pocketing
dart
is
top of
strip.
10
The reinforcement
is
now
pad-stitched to
the canvas front.
The pad
stitch
staggered from one join
two
or
more
is
a diagonal stitch
row
layers of fabric,
which
It is
as one, while maintaining their individual characteristics.
If
Here, because the stitch will not be visible
is
used to' so that they act
to the next.
the stitches are pulled too tightly
in
can be done in basting amount of fabric picked up by the size of the stitch on the underside)
the finished jacket,
it
thread and the
needle (the
can be a generous
'/s" 3
(3
mm). The
Do
size of
the
while padding, the fabric will pucker and create bulky ridges between the rows. We will be using
time measuring your stitches. Just get a general
the pad
sense of the
stitch at several
struction of the jacket.
02
points during the con-
diagonal
is
a
good size,
/s"
(1
cm).
and proceed.
not spend
ASSEMBLING THE CANVAS
The canvas and jacket together so that they
front are
now basted
may be handled
as
unit during the construction of the jacket.
one It
is
important that the jacket front lay smoothly over the canvas.
Any
rippling visible
on the garment
it has been basted to the canvas, will be impossible to press out. Therefore, several rows of stitching are used to control the two
fabric after
and great care is taken to gently smooth the fabric ahead of the needle as you baste. The arrows in the sketches indicate the direction in which the fabric is smoothed. On a flat surface, place the jacket front and layers of fabric,
canvas together with the wrong side of the jacket to the right side of the canvas. The canvas
and jacket
AND
JACKET
canvas however, they will
darts should meet. Since the
darts are longer (page 100),
extend above and below the jacket darts. (1.3 cm) margin of canvas should be
A
'/.â&#x20AC;˘"
visible
around the outer edges of the jacket. Beginning above the front dart, about 3" (7.6 cm) below the shoulder, baste down the front of the jacket, catching the canvas and smoothing the garment fabric gently ahead in the direction of the arrows. The stitches are about '//' (3.8 cm) long and are left comfortably without tension. Baste through the pockets, using dart as guideline, and finish at the hem 1
foldlme.
103
Before proceeding with the outside basting, the pockets must be secured into the canvas.
With one hand on the hip pocket to prevent the garment fabric from shifting, tug gently upwards at the tip of the canvas lapel. Gently is the word. This should eliminate any rippling in the canvas on the diagonal from the hip pocket to the lapel
Fold the garment fabric back in place. Smooth and baste the fabric across the waistline from the dart to * (2.5 cm) from the edge of the I
jacket.
tip.
Carefully fold back the
garment
the ends of the pockets are
visible.
fabric until
Baste
one
edge of the pocket seam allowance, and the reinforcement ends into the canvas using diagonal stitches.
04
Below the waistline, at approximately midthe second stitchline, baste down from waist to hem smoothing the fabric as indicated by the arrows.
way on
Approximately
1" (2.5 cm) from the jacket from the waist to just above the hem, and continue across to the end of the
down
edge, baste canvas.
Using the
tailor
tacks as a guide, chalkmark
on the right side of the jacket. Stitchline #6 moves up from the waist into the roll line. The fabric is smoothed up and out between stitchlines #5 and #6 as the roll line is the
roll
line
basted.
f,
.
~
!_ji
4 1
i
;
1
i
:
1
!
n
'
\
r
1
\
\
v J
1
1
1
1
1
I
1
I.I |
V
Above and
1
|
""-""â&#x20AC;&#x201D;f
smoothed up
If
from the waist to
jacket,
the waist, the fabric
out, as stitchline
#5
rises
3" (7.6 cm) below the shoulder.
is
you
working on the carefully fold back the are
inside of the welt pocket
is
left
front of the
fabric
visible.
until
One
the
side of
the pocket has already been basted into the
canvas (page 104). Now, following the same procedure as above, baste the second side of the pocket into the canvas. This side of the hip pocket cannot be basted, since it overshoots the canvas. Fold the garment fabric back in place.
05
#7 runs across the top of the other stitchlines, and traces the armhole, remaining 3" (7.6 cm) away from the edge. The basting curves into the waist, then out and down to the hem. Smooth the fabric gently, following the Stitchline
direction of the arrows.
^VV,^V^O,* v y v
\
The
'"J:
v
vvvv.y
,
YvyVl*
-~
armhole is the canvas. Care should be taken not
bias curve
basted into
â&#x20AC;&#x201D;
With the basting completed, hold the jacket front up and check that there is no rippling in the garment fabric between the lines of basting. Slight rippling is to be expected on the canvas side, and serves as ease for the garment fabric. Trim the canvas even with the jacket front.
Cross-stitch the
of the jacket
to stretch the fabric in this area.
ance
at the top of the pocket.
The assembly complete.
06
canvas into the seam allow-
of canvas
and jacket
front
is
PADSTITCHING THE LAPELS
In
body
order to give the jacket lapel the crisp will
it
canvas
lapel
need is
in
now
the finished jacket,
the
padstitched (page 102) into
the jacket lapel. Since these stitches will
the underside of the lapel
in
show through on the finished jacket,
in a color that matches the garThe stitches on the canvas side should be about 3 /s" (I cm) long. On the jacket
use
silk
ment side,
thread
fabric.
they should be tiny pinpricks.
As previously
discussed,
if
the stitches are
pulled too tightly while padding, the canvas will
pucker and create ridges which will be obvious through the facing on the finished garment. Draw a chalkline on the canvas lapel indicating the seam allowance. If you are working on a peak lapel, add a line across the bottom of the peak.
07
From the canvas side, begin padstitching mm) beyond the roll line, working across the lapel in rows parallel to the roll line. â&#x20AC;˘A"
(6
If
ond
you
are
working on a peak
lapel,
a sec-
suggested. To prevent the peak from drooping forward in the finished garment, it is padstitched while held rolled towards the jacket body.
About
] 1
h"
the lapel so that in
(3.8 it
cm) past the
turn
roll line,
takes the position
it
will
have
the finished jacket. Continue to padstitch with*
the lapel held rolling
This procedure of
in this position.
the lapel while padstitching ensures that
the garment fabric lapel
end up slightly and will, therefore,
will
smaller than the canvas lapel,
towards the jacket. It is exactly this tion or pulling towards the jacket that pull
trying to create for a natural
108
roll
inclina-
we
of the lapel.
are
rolling
is
your jacket is double-breasted, the left front must be shortened at this point to prevent it from hanging below the right front when the jacket is buttoned. Shorten the front edge of the canvas at the hem, by 3 /s" (1 cm), tapering to nothing 7" (17.8 cm) in from the edge. If
Beginning 'h" (1.3 cm) past the ro\\ line, the seam allowance on the canvasâ&#x20AC;&#x201D; across the top of the lapel, down the jacket front,
draw
and across the hemline
at the
bottom of the
canvas. Trim
away
the canvas
ance. Be very careful as to cut the
garment
you
in
the
seam
allow-
cut the canvas, not
fabric.
_^rThe
lapel
is
now
pressed from the canvas
side.
09
|
THE TAPING
Tape
is
of the lapel
now
applied along the outer edge
and jacket
front to give a
defined edge to the jacket. The tape
along the bias of the
roll
line,
is
crisp,
also run
as additional
support.
Use 3 /s" been soaked
(1
in
cm) cotton twill tape which has cool water and pressed. Begin-
ning V2" (1.3 cm) past the roll line, baste the tape along the top of the lapel with the top edge of the tape flush with the top
edge of the
canvas.
At the to the end,
the
tip
of the lapel, slash the tape almost
and bring
it
down
along the edge of
lapel.
Win
1
1
'/'V/i /
/"i/i/i
1/1/
'
U/|V
HI if
Snip tip,
away
At the bottom of the
the overlap of tape at the lapel
and baste down the
lapel
and the jacket
Extend the tape into the seam allowance, beyond the canvas, about '/i6 (1.5 mm).
front.
ff
(6
mm)
ease
free to fold
in
roll
line,
place '/V
the tape, so that the lapel will be
over without
restriction.
I
1 Tape across the top of the hem foldline with the bottom edge of the tape on the hemline.
Using line tape,
The
silk
thread, cross-stitch along the
stitching
through
all
roll-
layers of fabric.
should be along the very edge of the tape to prevent it from curling up. You will stitches
notice that the rippling in the jacket at the center
Tape the
is
also applied,
'A"
(6
mm) beyond
Baste the tape, through
roll line.
all
layers of
of the
roll
line
disappears as the tape
is
cross-
stitched to the jacket.
from the neck edge down for about 3" (7.6 cm). Take a couple of backstitches, and then begin pulling the tape as you baste for the next 3" (7.6 cm) or so. Rippling should appear on either side of the tape. Take a couple of backstitches at the end of the 3" (7.6 cm) span to keep the rippling in place and continue basting without pulling the tape. fabric,
is
Only the top two-thirds of the taped. The bottom third is left free
lapel to
roll line
area
to allow the
roll easily.
Pulling the roll-line tape creates the equivalent of a dart
through the
jacket, the effect
away from
is
a
roll line. In
roll line less
the finished
inclined to pull
the body.
1
I
1
Press the roll-line tape, allowing the lapel to fall
free.
The
rest of the tape is secured by slipalong both edges, using silk thread. Along the outer edge of the tape, stitch through
stitching
to the right side of the fabric.
The
stitches
should
be very small and sewn without pulling. On the inner edge of the tape, stitching through all layers can only be done in the lapel area. Below If you were to on the inner edge of the tape below the lapel, these stitches would be visible and unwelcomed down the front of the
the lapel catch only the canvas. stitch
through
all
layers
finished jacket.
Trim the
seam allowance along the jacket
W
front
and
(1.3
cm) seam allowance shows beyond the
tape.
12
at the top of the lapel, so that only
X
FIRST FITTING At
point
this
first fitting is
the jacket construction, the
in
taken.
Any minor discrepancies
(due to the differences
in
the
hang
in
fit
of the muslin
and the hang of the garment fabric) may be foreseen and corrected. The jacket is basted together at the back and shoulder seams, and tried on by the client. Place well-constructed
shoulder pads in the jacket for this fitting (page 137), so that the true contour of the shoulder, as it will appear in the finished jacket,
may be
observed.
With the
front of the jacket pinned closed at the buttonhole markings, check the entire front, back, and side of the jacket with a keen eye for
the
creases
we
observed during the muslin
fitting.
Chalkmark, or
pin,
any minor
ments. Check the shoulder width!
fitting adjustIf
the cutting
edge at the top of the shoulder extends out well beyond the shoulder edge, the fabric may need trimming. As a guide, place a ruler at the bicep and let it extend up towards the shoulder. If the
Give special attention to the armhole. With arm resting comfortably at her side,
the
client's
see
if
there
extends out beyond the ruler at the shoulder, the jacket shoulder is too wide and should
fabric
be trimmed before attaching the shoulder pad.
amount
fabric
With the arm
still
resting naturally at the
chalkmark on the hip-level pocket, a line indicating the natural placement of the arm. This chalkmark will be used in setting the sleeve to fall either forward or backward, in accordance client's side,
with the position of the
Remove
client's
arm.
the basting at the back and shoul-
der seams, and
make whatever adjustments
are
necessary.
The back seams the facing
is
will
not be
sewn
until after
attached.
The shoulder seams will be sewn after the of the jacket has been lined. If you have decided to make bound buttonholes on your jacket, they must be constructed now, before the facing is attached. Handworked buttonholes can wait until the jacket is com-
body
pleted.
The buttonhole section, which begins on page 177 includes instructions for two types of bound buttonholes and for the classic handworked buttonhole constructed with gimp.
is
any wrinkling or
notch area of the armhole.
must be trimmed at a time).
in
If
pulling in the front
there this
is,
area
the jacket (a
small
THE FACING The facing plays a prominent role in the It must be carefully cut and shaped, and laid gracefully o\/er the lapel, with enough ease to allow the lapel to roll freely. If the grain is off, or the ease is missing, there will be either ripples or strain on the front of the jacket. The facing can be attached to the jacket either by hand or by machine. (Read through both procedures and decide which one you would like to learn first.) The difference in the finished jacket.
hand
application of the facing
seems
to require a
"feel" for the fabricâ&#x20AC;&#x201D; more confidence in one's ability to control
Many tailors
the fabric.
use the hand application exclu-
because of the complete control it affords. Others, use it only for a plaid or striped fabric, where matching the design requires precision. There are also tailors who consider the hand sively,
application inferior to the
machine
application,
amount of time it takes to complete either method does not seem to be significant, al-
because a facing seam, stitched by machine, may be a more definite line, and more secure than one stitched by hand. You decide which
though one might expect
method
this to
be the case. The
to use.
by drawing the
The outer edge of the facing, which you have cut using the revised facing pattern (page 13), is a straight line, and, therefore, not shaped to match the front of thejacket. Before attaching
create a guideline for yourself
it will be necessary to steam press the lapel area of the facing into a curve which matches that of thejacket lapel.
facing along the guideline. Rippling will appear
the facing to the jacket,
If,
in
your eye
14
the beginning,
to
you
match the curve of
hesitate to trust lapel
and
facing,
curve on a piece of paper and pinning the paper to your ironing board. Place the raw edge of the lapel area of the lapel
edge of the facing, if we shrink these ripples away, the front edge of the facing will maintain the curve we have given at the center,
inner
it.
Here is where the flexibility of natural fibers can be appreciated. On the wrong side of the fabric,
and using steam
outer edge of the lapel
liberally, in,
iron
from the
using progressively
Depending on your fabric, this will require more or less effort; worsteds being a greater challenge than more loosely woven smaller arcs.
The
benefit of this
fabric,
since
it
is
obvious
in
a striped or plaid
allows the pattern to continue
uninterrupted from the top to bottom of the lapel.
Less obvious, but
no
less
important,
is
the
having the strongest grain at the outer edge of the lapel will be a safeguard against fact that
stretching
and
rippling in this area.
fibers.
The whole purpose of
this effort
is
to main-
tain the straight of the grain at the lapel edge.
ATTACHING FACING BY MACHINE
Place the right side of the facing to the right side of the jacket front, allowing
facing to extend
the lapel
]
beyond the jacket
and down the
h"
(1.3
cm)
at the top of
front of the jacket.
Beginning at the tip of the lapel, baste down through the center of the tape, attaching the facing to thejacket. Just roll
line,
facing to
place about
below the bottom
W
accommodate the
(6 roll
mm)
in
the
of the lapel. Tack
the ease into the tape so that
where you've placed
ease
of the
it
will
remain
it.
115
iHi/
If
the front of the jacket curves
at the
in
hem, the facing should be basted to the curve using a slightly different technique. Since this area may be inclined to curl outwards, away from the body, in the finished jacket, roll the bottom of the jacket towards the facing as you baste. This will shorten the facing slightly,
ensure that will incline
in
Machine stitch from the collar notch to the bottom of the jacket, using the tape as a guideline. Stitch about /\b" (1.5 mm) beyond the tape, in the seam allowance. ]
and
the finished jacket the curved edge
gently towards the body, rather than
curling outwards.
The tip of the lapel in the finished jacket should also incline comfortably towards the body, rather than curling upwards. For that reason, a small bubble of ease is now placed in the. facing at the tip of the lapel. This will prevent the possibility of
the facing pulling the lapel
ward. At the top of the slightly
When lapel
just
1
16
tip for-
lower the facing to create the ease, about '/V (6 mm). lapel,
the slight excess of fabric
tip,
is
visible at
baste across the lapel, from the
beyond the
collar notch.
the
tip to
good point at the tip of the lapel, take two stitches on the diagonal as you turn.
For a
one
or
A sharp pivot at the tip will
result in a
misshapen,
lumpy lapel tip, because there will not be enough room for the seam allowance to settle in.
.
^J i
i
,
I Remove the front of the jacket
If
hem,
stitch
is
with the curve to
rounded at the the end of the
facing. If
hem,
the front of the jacket
stitch
down
to the
is
the basting,
and
layer the
seam
allowances. From the bottom of thejacket to the tip
seam allowance to h" (1.3 cm).
of the lapel, trim thejacket
W
(1
cm) and the facing
to
]
straight at the
bottom edge.
From the
notch and around the lapel tip, trim a bit closer. Leave about '/-i" (6 mm) jacket seam allowance and (I cm) facing. collar
W
Press the facing
seam open.
17
If
the front of the jacket
hem, the seam
is
rounded
allowance at the curve
at the is
also
tacked into the tape. If
The
tip
of the lapel will be flatter
if
the
seam
allowance inside is controlled and evenly distributed. To accomplish this, both seam allowances are drawn onto the tape at the lapel tip, one at a time. A shirring thread is first run through the seam allowance and pulled. The seam allowance is then tacked into the tape, using silk thread. These stitches should not be visible on the right side of the fabric.
The
tip
of the lapel
is
then pressed
flat.
the front of the jacket
is
straight at the
hem, the facing seam allowance is tacked into itself at the hem. The hem, on both straight and rounded jackets fronts, is now basted up with large diagonal stitches, and then stitched into the canvas with a smaller diagonal stitch. (We'll leave the hem beyond the canvas for the moment.)
Working from the jacket side, baste from roll line, up and across to the
the bottom of the
notch or from the collar notch down (depending on which hand you sew with and
collar
which side of the jacket you are preparing). As you baste, bring the facing seam to the jacket side,
so that
it
will
not be seen
when
thejacket
is
worn.
From the bottom of the lapel to the hem, is done on the facing side, and the
the basting
seam will
is
drawn towards the
not be
On
visible
when
facing side so that
thejacket
is
a jacket with a straight front,
that the facing
is
turned up so that
shorter than thejacket,
and
will
it
worn.
make it
is
sure,
a bit
not be seen from
the outside.
119
On
the facing side, baste up from the bot-
once more and continue tom of the across, about " (2.5 cm) below the top of the tape. These stitches are about h" (1 .3 cm) long and are placed comfortably, without pulling or roll
line
1
With the lapel rolled, as it will be when worn, baste on the diagonal from the tip of the lapel, in towards the roll line.
x
tautness.
From thejacket roll line,
20
side,
baste the length of the
catching the facing underneath.
Chalkmark a past the
roll line.
under
directly
h"
cm) The top of the tape should be ]
(1.3
baste
this
]
h"
(1
.3
it
in place,
neath. Trim,
if
cm) point.
necessary before folding.
the collar notch to
now
h"
and
slip stitch
from
cm) past the roll line. pressed before continuing (see ]
The facing
is
illustration
on page
ATTACHING FACING BY
and
just covering the tape under-
Press the top of the lapel
this chalkline.
Slash the facing (not the jacket) from the
neck edge to
Fold the facing along the chalkline
straight line across the top of
the lapel from the collar notch to
(
1
.3
115).
HAND
To attach the facing by hand, the seam allowance at the outer edge of the lapel and down the front of the jacket should be trimmed to 3 /s" (1 cm). The seam allowance from the tip of the lapel to the collar notch should be 'A"
(6
mm).
Snip the collar notch "almost" to the tape,
and using the edge
of the tape as a foldline,
begin stitching the seam allowance onto the tape.
Use a diagonal
stitch,
with
silk
finishing
and the canvas. Be gentle with the fabric. The seam allowance should simply fold onto the tape, and not
thread, catching the tape
be pulled
tightly.
The hem is also folded up, using the tape as and diagonal-stitched into the canvas.
a guide,
12
I
Jackets front will
which are shaped
be inclined to
curl
at the
bottom
outwards,
away
from the body, unless the facing is manipulated to prevent this. If the bottom edge of thejacket is curled inwards,
Place the
wrong
side of the facing
has been steam pressed into shape, page the
wrong
generous
l
side of the jacket front,
h"
(1.3
1
1
5)
to
held
and basted
in this position,
cline gently
to the facing while
the finished jacket will in-
towards the body
at the front edge.
leaving a
around Baste the facing and
cm) of facing
the outer edge of the jacket.
(which
visible
the jacket together, following the stitches that
mark the length of the
roll line,
and then down
the front edge of the jacket. At the bottom of the roll line,
place 'A" (6
facilitate
the
If
roll
your jacket
tinue basting
curves
in at
mm)
ease
in
is
hem, conIf your jacket
straight at the
down the entire front. hem (as illustrated),
the
the facing to
of the lapel.
stop basting
about 8" (20.3 cm) or so from the bottom.
With the take
in
lapel rolled in the position
the finished jacket, baste a
nal stitches, parallel to the
22
roll line.
row
it
will
of diago-
Baste across the top of the lapel, to the bottom of the
about
}"
(2.5
cm)
roll line,
and down
keeping the stitches
away from
the edge of the
With the
facing from collar notch to shoulder
is
just
about
even with thejacket.
jacket lapel.
line of stitches
W
seam allowance to (1 cm) The of thejacket. collar notch to the bottom
Trim facing
from
lapel
still
from the
stitches, to just past
the
rolled, tip
On
baste a diagonal
of the lapel basting
roll line.
the facing, chalkmark a line
tends from the collar notch to the
(1
which .3
ex-
cm) past
The chalklme is exactly where the the tape is on thejacket. This line is called
roll
top of
'//'
line.
the gorge
line.
Snip the facing to a point
7/' (1.3 cm) past the
on the gorge
line
roll line.
23
and baste the facing seam allowance line and down the front of the lapel. Allow facing to extend about '/i6" (1.5 mm) beyond the jacket lapel, so that the facing seam will not be visible when the jacket is
Using
Fold
along the gorge
worn. The facing seam, from the bottom of the roll line to the bottom of thejacket, should not be
on the right side of thejacket. Therefore, you baste on the facing side in this area, allow
visible
as
about
'/i6"
beyond the
24
(1.5
mm)
facing.
of thejacket to extend
finishing thread, slipstitch
silk
along
the edge of the facing seam. The stitches should
be quite are
not
should
small,
and
visible
now
carefully placed, so that they from the outside. The facing
be pressed (page
115).
J
THE FACING POCKET N Cut a bias strip of woven fusible interfacing, 6" by 2" (1 5.2 by 5 cm). Press the fusible to the lining strip, (1 cm) from the left edge, and h" (1 .3 cm) from top and bottom.
W
]
Draw a 5" (12.7 cm) pocket opening down the center of the fusible, and press
A
small double-piping pocket
you wish,
may be
con-
line
the
right-hand margin of lining up onto the fusible.
be used for small flat objects such as theatre tickets, or paper money. (Also see lining pocket on page 134. structed in the facing
if
to
Using the pattern marked facing pocket on
page 305, cut two pieces of
lining
for
each
pocket.
Place
one
of the lining pieces under the
facing at the center of the lapel. Place the lining/ fusible unit
opening
on top
line
beyond the
of the facing with the pocket '//' (3.8 cm) extending at least 1
lapel
lining/fusible unit
For a facing pocket with a 5"
(12.7 cm) opening, cut a bias strip of lining 7" by 3" 7.8 (
by 7.6 cm).
1
roll
line,
and the
away from
the
fold
on the
roll line.
Baste the lining/fusible unit to the facing,
catching the pocket shape underneath. Baste the pocket opening line.
on
25
Inn
I i
i i i i
i
i i
I
I I
I I i
I
~7V Using a small machine the pocket opening
line,
]
sew around mmj from the
stitch,
l&"
(3
Bring the
leaving a thin piping
slash,
piping
line.
unit
lining/fusible
in place,
about 'A"
(6
through the
visible.
Baste the
mm) away from
the piping edge. Baste the piping closed.
St
ft
Slash the center of the stitching,
and
cut
prongs at either end.
Machine-stitch on the seamline at the top of the piping, and along the side of
and bottom
the piping furthest from the lapel
26
roll line.
On
the inside, topstitch the folded edge of
the lining/fusible unit to the pocket shape.
On
the inside,
sew around
the outer edge
of the pocket shapes.
The facing pocket
is
complete.
I
Place the second pocket shape under the first,
matching the edges. Machine-stitch
and bottom of the
on the seamline at the top and along the side of
piping,
the piping nearest to the lapel
roll line.
21
THE LINING 1
1
W
of lining overlaps facing
W-
The purpose
threads and seams and layers of canvas that
back and side panel pattern pieces, cut the lining larger than the pattern by
have gone
the amounts indicated
point.
It
of a lining
is
to hide
all
the
into the jacket's construction to this
also helps in sliding the jacket
on and
off
and feels much better through a blouse than wool canvas does. The lining should be cut slightly larger than the jacket, in both length and width, even though it is placed inside. The constant pulling and friction which the lining is subject to will without
difficulty,
cause tears
in
the lining fabric
sufficient living ease.
28
if
there
is
not
Using the
front,
in these illustrations. The on the jacket front pattern piece represents the point to which the facing extends. Draw this line on your jacket front pattern so that you will be able to mark the lining to overlap the facing by h" (3.8 cm). If there is no side panel, the lining at the side seam is cut 'A" (6 mm) larger than the jacket rather than '/s" (3 mm).
broken
line
l
1
"
To afford added ease in the back lining, the seam at the center back is sewn in a scalloped fashion. This creates a controlled pleat
open out only when required to body's movement. The seamline begins
will
lining
neck edge,
at
what was
which by the
ing
Above the vent, press the seam allowance to the left.
the right vent almost to the (2.5 cm) lengthwise from the
center back
lin-
Slash the top of
stitchline. left
Trim
1
vent.
at the
the seamline
on
the jacket pattern.
Sew down
approximately 2"
(5
cm) and
then begin a series of three or four scallops, about 3" (7.6 cm) each in length, extending back the depth of your jacket seam allowance.
The h" ]
(1
.3
cm),
which
we added
to the lining
seam allowance for the scallops. The pleats are
center back, serves simply as
the inner edges of
needed only above the The
stitchline
waist.
ends about
the top of the lining vent.
If
1
"
there
(2.5 is
cm) below
no
vent, the
stitchline below the waist continues along the
jacket
seam allowance.
29
I
Sew
and side lining same amount of seam
the front, back,
together, using the
pieces
allow-
ance as in the jacket. Leave the shoulder seam open. Press all seams to the side rather than pressing
them open.
we
Before stitching the jacket center back seam, we'll reinforce the vent area with crossgrain strips of pocketing, about 2" (5 cm) wide, from the top of the vent to the hem foldline.
the reinforcement on the vent extension, flush
Draw
with the chalkline. Leave
a chalkline from the bottom of the center
tions, since
On
the right side of thejacket back, place
the vent notch at the bottom of
garment
the jacket. Use the chalkline as a guide for the
On
placement of the pocketing reinforcement
reinforcement
pieces.
sion,
back
stitchline to
Because the
and the
left
side of the vent will fold
right side will
lie
flat
in
the finished
jacket, the pocketing pieces are placed in slightly different positions
on
either side, to
date that difference. (You
will
accommo-
note that
left
and
right sides of thejacket are reversed in the illustra-
30
are viewing thejacket from the
inside.)
x
h"
(1.3
cm) of the
fabric visible at the edge.
the
left is
side of the jacket back,
placed, not
on the vent
but directly to the right of
it,
flush
the
exten-
with the
vent chalkline. Baste the reinforcement pieces slip-stitch
stitches
the sides using
should not be
the garment fabric.
silk
in
place
finishing thread.
visible
on the
and The
right side of
"
J=n
H-
On
the right vent, fold over the V2" (1.3
cm) of garment diagonal
stitch
it
fabric at the in place.
show through on
The
the right
vent edge, and
stitches
should not
side.
vent extension completely, so that the seam allowance down the center back is even from top to bottom. Trim the
left
Machine-stitch the back of the jacket to the
and press the seams open. Baste up the jacket hem and press. Fold the top edge of the jacket hem forward
side panels,
and hem-stitch
Machine-stitch the center back (2.5
seam
1
cm) below the top of the vent. At the top of stitchline.
up about half the hem on the jacket back, and fold the vent Baste
of
in place.
ÂŁÂŁ to
The raw edge
the right vent, slash the garment fabric almost to the
it
left
either side in place.
of the facing,
and
that of the
vent, are double cross-stitched to the Slip-stitch
the
hem
hem
along the edge of the
right vent.
31
Working
flat
on
the jacket together,
a table, place the lining
wrong
wrong
side to
matching waistline notches. Pin the
and side,
lining to the
together from neckline to
1
"
(2.5
top of the vent, placing a small the lining.
cm) above the
amount of ease
in
jacket at the waistline. Baste the lining andjacket
Fold the lining over the
about 'A"
(6
mm)
of
garment
the edge. Baste the lining the top of the hem.
in
left
The
vent, leaving
fabric
showing at above
place to just
left
right
vent
now
which
is
placed
on top
of the
and back-stitched securely along the
vent,
through to the top of the left vent, underneath, but do not go through to
top. Stitch
the right side of the
32
is
fabric.
Fold
and baste the
right vent, so that
ment
fabric
The illustrated,
is
is
vent lining over the
only a narrow edge of gar-
visible at
lining
right
the vent edge.
now
basted to the jacket as
maintaining sufficient room around
and armhole for the sleeve to be set without interference. The lining is simply folded along the edge of the facing and basted. the shoulder
33
Baste up the lining hem so that it ends about (1 .9 cm) above the jacket he"m. Place your stitches about " (2.5 cm) above the lining hem fold, so that you will be able to lift the lining
W
1
and hem-stitch one layer of it into the jacket hem. This procedure creates a fold at the lining hem, which affords the lining lengthwise ease. The lining at the edge of the vent is finished with a
prick-stitch.
THE LINING POCKET
you have not chosen to place a pocket in the jacket facing (see page 125), you may wish to create a small pocket in the lining on one or If
both sides of the jacket
From
two
lining fabric,
front.
on the
straight grain, cut
pieces of pocketing, 8" (20.3 cm) long
and
4" (10.2 cm) wide. Taper the pocketing so that is
narrower
34
at the top, as illustrated.
it
Press a
]
h"
(1 .3
cm)
of each pocketing piece.
hem
along the length
(1 .3 cm) hem to the wrong side along the front edge of your jacket front lining;
lining
and place the folded edge
ing the 5" (12.7 cm)
Press a
]
Baste the folded edge of the jacket front
li"
of your pocketing
piece under the lining fold, at about mid-chest
facing
along the edge of thejacket facing, matchrows of stitching on both
and
lining.
level.
Prick-stitch along the edge of the lining fold, beginning about Vz" (3.8 cm) below the top of the pocketing piece, continuing for 5" (12.7 cm). Both the pocketing piece and the lining are 1
caught
in
these stitches.
edge of the second piece of pocketing on the edge of the jacket front facing. The placement level here must coincide with that chosen for the lining, since these two pieces will soon be placed together. Prick-stitch along the edge of the pocketing fold, beginning about h" (3.8 cm) below the top of the pocketing piece, and continuing for 5" (12.7 cm). Both the pocketing piece and the facing edge are caught in these stitches. Place the folded
Stitch
ing
pieces,
around the edges of the two pocketto
finish
the inside of the
lining
pocket.
]
1
35
THE SHOULDER SEAMS
Before stitching the shoulder seams, the
must be reinforced with
front shoulder
a strip of
Cut a semi-bias strip of the lining to be used as reinforcement, about (1 .9 cm) wide and the length of the front shoulder seam.
W
lining.
Baste the lining
strip
to the
wrong
side of
the garment fabric, at the front shoulder edge.
Catch the garment
allowing the can-
fabric only,
vas and the lining to
fall
freely.
and back
Baste the front
of the jacket to-
gether at the shoulder seams. Since the back
shoulder edge
about V2"
is
the front (page
12),
(
1
.3
cm) longer than
there will be rippling along
seam when the shoulder
the edge of the back
is
basted. Bring the ease to the center of the shoulder,
leaving
without
1"
(2.5
cm) or so
at either
end
The
rippling.
back of the shoulder is there to provide added room for the curve of the back in the shoulder blade area. We can eliminate the rippling at the seam, and still retain the ease in the shoulder blade area, by steam pressing carefully, before the shoulder seam is extra ease at the
machine-stitched.
Steam press on a flat surface, allowing the extend onto the fabric no more than V2" (3.8 cm) or so. Bring the iron flat down on
iron to 1
top of the ripples at the shoulder edge. The
combination of heat and moisture on the
flat
cause the ripples to shrink away. allowed to extend further onto the shoulder area, while still on a flat surface, the ease in the shoulder blade area will also shrink away, and the whole process will have been surface, should If
the iron
is
useless.
be done and not yet machine-stitched. Once the seam has been It
essential that this pressing
is
while the shoulder seam machine-stitched,
nate the
it
will
is
basted,
be impossible to
elimi-
ripples.
Machine-stitch the shoulder seam, remove
the basting, tailor's
ham
the shape
36
and
press the
seam open. Use
a
for pressing here, in order to protect
you have
created.
THE SHOULDER PADS
The shoulder pad at the right in this photois the best ready-made shoulder pad availAs you can see, it is flat and heavy, and
graph able.
does not coincide with the natural contour of the shoulder.
The shoulder pad
Separate the
at the
left
wadding
can be con-
wadding
into thin layers,
as
and
create on the muslin shoulder-pad pattern, a
smooth, sloping
filler,
and
bias muslin as the top
mound which
and back.
tapers to nothing
and bottom
covering. (Use the shoulder pad pattern on page 299 to cut the muslin coverings.)
Cotton wadding holstery supply stores;
structed quite simply, using cotton
at the sides
the
take the
is
available in bulk at up-
or,
wadding from
down
you
prefer,
a pair of
shoulder pads and reshape
Press
if
simply
ready-made
it.
gently at the front centermost
edge of the pad and measure the thickness. The amount of padding most flattering to your shoulder has been determined at the muslin fitting.
137
I
Cover the wadding with a second piece of muslin and baste across the top of the pad to anchor the layers together. By pulling the bottom layer of the muslin cover at either end, the
down
a
bit,
and tacking
pad begins to take shape.
pad from end to end, beginning at the center and working in rows, first towards the front, and then, from the center, towards the back. The stitches go right through all layers of the filling, and should be left Pad-stitch the shoulder
comfortably without pulling.
Trim slightly across the front of the pad
around the edges.
38
and
Press the shoulder pad, maintaining the curve
you have
created.
39
INSERTING
SHOULDER PADS
If
the cutting edge at the top of the shoulder
extends out beyond the shoulder edge, the fabric
may need
trimming.
As
a guide, place a ruler at
the bicep, extending up towards the shoulder (see
page
1
1
2).
If
the fabric extends out
beyond
the ruler at the shoulder, the jacket shoulder
is
too wide and should be trimmed before attaching the shoulder pad.
The shoulder pad
is
placed into the armhole
of the jacket, so that the center of the pad
is
at
the shoulder seam.
The pad should be between the
lining
and
the canvas, at the armhole cutting edge. Before the shoulder pad jacket,
is
sewn
into the
check the shoulder width once more,
with the pad
in place.
pad
Sometimes, when the top of the shoulder at the armhole cutting edge, the ends of
is
the pad are not.
Pull
the shoulder pad out
until
the ends of the pad are at the armhole cutting
edge. You can trim the excess
later.
With the shoulder pad exactly in place, reach into the armhole and pin the shoulder pad to the canvas. The shoulder pad is now padstitched to the canvas, the stitches covering the entire area of the Stitch
40
through
all
canvas touched by the pad. layers of padding.
Smooth the front lining up over the shoulder pad and baste the lining to the pad along the armhole and across the top of the lining.
With one hand
inside the shoulder area,
give the shoulder a concave shape
and baste
along the front neck edge of the jacket, catching the facing.
Smooth the jacket fabric out towards the armhole, and baste the entire length of the shoulder pad, about 3" (7.6 cm) in from the armhole edge. Catch the top layer of the shoulder pad as you baste.
The lining at the back of the jacket is still hanging loose at the shoulder. Smooth the back lining up over the shoulder pad and baste from the outside, right through the shoulder pad, to
catch the lining. Baste from the bottom end of the shoulder pad up, stopping about " (2.5 cm) 1
from the shoulder seam; and bring the needle through to the inside.
41
Fold the back iining across the shoulder,
and baste across the edge. Place a
you
baste.
fold,
towards the neck
of ease into the back lining as lining is left loose, 3" (7.6 cm) in
bit
The
from the armhole edge.
THE COLLAR The
collar
can be constructed by following
the design lines of your pattern, or
room
leaves
Essential to fit
for a bit of
your
in
own
a
way
that
designing.
both methods of construction
is
the
of the undercollar at the jacket neckline, from
collar
notch to
collar notch.
fitting, you adjusted any of the seams that extend into the neckline, you are already aware that your undercollar pattern needs adjusting. You may, however, have "unintentionally" adjusted some of the neckline seams. The first step is to check the fit of If
during the muslin
the undercollar pattern.
To do this, first trim away the seam allowance on the undercollar paper pattern. You will eventually need this seam allowance, but it is much easier to check the fit of the paper pattern if the seam allowance is not in the way.
42
Chalkmark the neck edge seam allowance on thejacket, and match the undercollar pattern, stitchline to stitchline, from collar notch to center back seam, first on one side of thejacket, and then on the other. If you need an extra '/s" (3 mm) or so, to help the pattern reach the entire distance comfortably, add to the collar pattern at the center back seam. is
much
If
you
with one which that
on the acies
slightly
a collar
too small.
on one side of thejacket, but not Whatever the cause (slight inaccur-
well
other.
in
is
remember that it which is than it is to work
doubt,
possible in checking the pattern, to find
fits
it
in
work with
than necessary,
slightly larger
It is
are
easier to
the shoulder seams,
stitching
or the
you must now make a collar on one side than on the other. This
center back seam), that
is
larger
not a problem. Simply prepare both sides of the collar using the larger dimensions, and we'll is
adjust
\f
it
later.
you have made
extensive alterations
in
your jacket pattern at the neckline and shoulder, it may be necessary to discard the collar pattern
and
to draft a completely
new
one. Instructions
for drafting a collar, using thejacket
guide, are
neck edge as
found on page 156.
Once you
are content with the
fit
of
your
undercollar pattern, consider the design. At this
you
point collar,
are
or to
free either to
still
go with the
collar
redesign the
design of the
commercial pattern.
Many until
tailors
leave the question of design
the undercollar has been attached to the
jacket.
They leave themselves room for designand the ends of the melton
ing by cutting the top
undercollar
much
larger
than necessary.
When
the undercollar has been attached to thejacket,
draw
which looks good with the existing lapel, and trim the excess away. This is a simple procedure, and quite exciting if you have the desire to branch out a bit on your own. On the other hand, the collars designed by they simply
Our
a collar
commercial patternmakers are usually in tasteful balance with thejacket lapel, and you may have chosen this pattern largely because of this style. Know your options, make your choice and forge ahead.
instructions for the construction of the
undercollar will
assume
that
you
are following
the lines of the commercial pattern. However,
methods measurement
the instructions are appropriate for both
The careful seam allowances at the top of the collar is not important if you are designing your own coll. however, the shape and seam allowances at the neck edge of the undercollar should be adhered
of collar construction. of
if,
to carefully.
143
CONSTRUCTING THE UNDERCOLLAR The undercollar is constructed of collar melton and French canvas, pad-stitched together. If you can find good quality prepadded collar melton, in the color that you need, by all means use it instead of pad-stitching the melton
Cut from
collar melton,
in
a color
coordinates with your garment fabric, undercollar pieces. Leave
]
h"
which
two
bias
cmj seam
(1.3
allowance at the outer edges and 'A" (6 mm) seam allowance at the center back. Machinestitch the center back seam and press it open.
Using the same dimensions as
in
melton, cut from French collar canvas, undercollar pieces.
seam and
topstitch
the collar
two
bias
Overlap the center back by machine.
on the wrong side and between the two, at either end, place a bias piece of pocketing to add body to the front of the collar. The pocketing covers about one half of either side of the unPlace the French canvas
of the collar melton,
dercollar. Baste the ing,
144
and the melton
French canvas, the pockettogether.
and French canvas together yourself. Because the quality of the prepadded collar melton varies greatly and the co\or choice is often limited, we give directions here for preparing and padstitching the undercollar yourself.
The French canvas
is
now
pad-stitched
We
(page 102) to the melton undercollar. want the two fabrics joined, but still flexible enough to
be shaped with the
iron.
To maintain
this
con-
trolled flexibility, we'll pad-stitch in a semi-circular
pattern,
which coincides with the
bias cut of the
canvas undercollar. Pad-stitch inside and then, beyond the semi-circle, maintaining the circular pattern of stitches. Use silk finishing thread close in
color to the collar melton, so that the stitches
will
not be noticeable on the right side of the
undercollar. Pad-stitch only within the limits of
seam allowance which
fabric.
the
Using a radius of about 2" (5 cm), draw a semi-circle at the neck edge stitchline of the
canvas.
The
tips
of the collar, about 2"
(5
is
drawn on
the
cm) from
either end, are pad-stitched while held in a rolled
position (as illustrated). This technique ensures that,
in
incline
the finished jacket, the collar
downwards towards
tips
will
the shoulder, rather
than curling up. Press the undercollar a
flat
on the canvas
side,
on
surface.
45
Since both the melton cut
on the
will
step,
bias, a certain
and the canvas are
amount
of stretching
occur during the pad-stitching. Our next therefore, is to redraw the undercollar
stitchline, this
time
on the
right side of the collar.
Sharpen the chalk so that you get a clean, accurate first
one
other.
chalk,
line.
draw and then the
Begin at the center back, and
side of the undercollar
Also mark the undercollar and then in basting thread.
roll
line,
in
From the melton side, trim away the seam allowance completelyâ&#x20AC;&#x201D; top, bottom, sides.
Trim a Vs"
(3
mm) margin
of canvas from
the top and bottom edges of the undercollar.
We're doing this to prevent the raw edges of the canvas from peeking through to the outside. There is no need to trim the canvas at the ends of the undercollar, since the to'pcollar will eventually hide any stray canvas threads in this area.
46
If your measurement of the jacket neck edge showed one side slightly smaller than the other, the adjustment in the collar can be made at this point. Before drawing the smaller of the two sides of the collar, fold back the necessary amount on the paper pattern, at center back. Place the folded edge of the pattern at the center back of the melton undercollar, and trace the
outline.
square shoulders
sloped shoulders
normal shoulders
The undercollar
is
now
pressed into shape,
taking into consideration the slope of the client's shoulder.
square shoulders Fold the collar
on the
roll line
and baste
it
in
Using a moderate amount of steam, press the folded edge into an arc, the depth of
which
depends on your determination of the
client's
as sloped, normal, or square. For sloped shoulders, the depth of the arc is about
shoulders
1
V2"
and
lapel.
If,
for
shoulders
place.
(3.8 cm); for for
shaping
normal shoulders, 2"
square shoulders, is
a fine point
in
the
2W fit
(7
(5
cm).
of the collar
cm), This
shoulders, up,
example, a collar shaped to
normal
set on a jacket shaped to fit sloped the lapel would not lie flat. It would lift
away from on
fit
was
the jacket.
A
"sloped collar"
would cause the jacket to pull away from the body at the lapel roll line. These are slight inclinations in one direction or another, but they are there, and they make a significant difference in comfort and fit. placed
a normal neckline
and
47
While shaping the undercollar you will have pressed a crease in the roll line. Now, remove the basting which held the neck edge back, and for a few inches at either end of the roll line,
48
press the crease out.
Begin basting the undercollar to the jacket
back seam. The raw edge of one is placed along the chalk guideline which you've drawn at the neckline. The front end of the collar should fall at the collar at the center
side of the undercollar
notch.
If
lar in
you have
left
your undercolto design the collar shape in
extra fabric in
order to be free
reference to the lapel (page 144),
Measure any discrepancy
do
that
now.
both sides of the collar accurately, as in
length will be
in full
view on
the front of the jacket. It
is
customary to stop
construction of the
the sleeve.
Once
collar,
At the
sleeve
are
checked
The second beginning
at
half of the undercollar
the front,
is
basted
and working around
towards the center back. Before beginning to baste the second half of the undercollar make sure that the distance from the tip of the lapel to the beginning of the collar is identical on each
Working on the canvas
side,
cross-stitch
the undercollar to the jacket neckline. Use
fitting,
checked
move ahead
is
to set
called in for the final
both the for
been
fit,
collar
and the
and the collar
is
for style.
you are making the jacket for yourself, and you are pleased with the collar shape, by all means, finish now. If you are working for someone else, you can reduce the number of fittings by moving ahead to the sleeve at this If
it
point.
After the
lapel.
to
a muslin sleeve has
into the jacket, the client fitting.
at this point in the
and
fitting,
the collar
the garment fabric sleeve
is
is
finished before
set.
silk
along the gorge line seam allowance, across the top of the facing, and the back neckline. Do not catch the back
finishing thread,
and
stitch
lining in this stitch.
49
CONSTRUCTING THE TOPCOLLAR To create the
ment h" ,
1
fabric
on the
topcollar, cut a piece of garfold, straight grain,
up,
x
1
(3.8 cm) longer than the undercollar pat-
Using a steam
150
nap
and about h* (3.8 cm) pattern, on top and bottom.
tern
iron,
stretch the fabric top
and bottom.
larger
than the
Place the undercollar face
wrong
side of the topcollar,
down on
and baste the two
together, from gorge line to gorge
the undercollar
the
line,
across
roll line.
Baste across the top of the undercollar,
about
1" (2.5
cm) from the edge.
Trim the topcollar, leaving
allowance lar,
and
visible
1" (2.5
W
(1
cm) seam
above the top of the undercol-
cm) at the
sides.
51
Baste across the top of the topcollar, folding
seam allowance
Allow the topcollar fold to extend about Vs" (3 mm) above the undercollar, so that the seam will not be visible when the jacket is worn. Both the top edge and the neck edge of the undercollar are the
to the
inside.
finished with a slip-stitch, using
With the
topcollar
flat
across the undercollar just
silk
thread.
The
is trimmed, if necessary, and then folded along the gorge line. From the collar notch to just past the roll line, the topcollar fold meets flush with the fold of fabric on the facing
lapel.
topcollar
Beginning just past the
roll line
and
contin-
uing to just past the lining shoulder seam, the topcollar fold overlaps
onto the facing.
on the table, baste below the roll line,
catching the topcollar fabric underneath.
Just past the lining shoulder seam, the top-
be able to take the curve of the neckline without pulling. Baste along the back neckline, catching collar
52
is
slashed several times so that
it
will
the undercollar. Since these stitches will remain in
the jacket,
make
through to the
sure that they
right side.
do not show
The lining is now folded and basted in place along the neckline. Finish the lining neck edge with a prick-stitch, using silk thread.
The excess is
now
fabric at either
folded back
end
of the collar
and pressed in place. It is and bottom, and along the raw edge. Use
finished with a slip-stitch at top
a double-cross-stitch silk
finishing thread.
53
The gorge
line
is
now sewn
from the out-
side using a ladder stitch, to bring the topcollar
and the facing fold together without visible The stitch is taken at the side of the fold rather than on top, and runs back and forth from
fold
stitching.
After each
facing to topcollar. stitches,
one
stitch
tween the two
is
folds,
three or four
taken at the center, be-
anchoring the thread into
the canvas.
With the collar complete, a final touch is added to the jacket front. Using #A silk thread, prick-stitch along the very edge of the collar, the lapel, and the jacket front, on the topside of the fabric. These stitches should be tiny and unnoticed.
Their purpose
nently crisp edge.
54
is
to guarantee a
perma-
— ^
\
AND
PLAID
STRIPED COLLARS
======== =
— =—
===== ======== = = = = = ==== = = == = ^=::^=
^~T~-
1
'
S
P^ 1
—(N
i
N — IS N
\
^ '
i
The topcollar on a should match the design back. Note that
in
Chalkmark on the canvas of the completed
plaid or striped jacket at the
top of the jacket
a plaid fabric this matching
should be both horizontal as well as
plaid or striped fabric design.
vertical.
which
undercollar, short vertical lines
indicate
the position of the centermost vertical bars rather than
a
necessary to
draw on
tal line,
stripe
is
If
in
the
a plaid fabric,
being used,
it
is
also
the undercollar a horizon-
indicating the next horizontal bar of the
plaid design.
Transfer these guidelines to your paper undercollar pattern.
Use the undercollar pattern, from which all seam allowance has been trimmed, to cut the topcollar from garment fabric. With the fold of the fabric at center back, carefully match the design guidelines, which are on the paper pattern, with those on the fabric. Cut the topcollar ]
1
You
will
the gorge line
be able to match if
the stripes
in
l2
n
(3.8
cm) larger than the pattern
all
around.
striped fabric at
the fabric are
3
I&"
To match stripes, which are farther apart than cm) or so, would (1 (
I
cm) or
less apart.
W
require excessive shrinking of the top collar at the
neck edge. In a plaid,
line
is
matching the design
at the
gorge
virtually impossible.
55
The attachment of the
plaid topcollar con-
which begin on page 50. The one point to remember is to match the design guidelines which were drawn on the canvas undercollar, with the topcollar tinues according to the instructions 1
fabric design, before
The
striped
beginning to baste.
topcollar
must be pinned
in
place before being basted, so that the topcollar fabric
can be placed to match not only at the
center back of the jacket, but also at the gorge line.
If
the stripes
apart, this
in
match of
the pattern are not too far stripes at
the gorge
the topcollar fabric
line
can
by a slight movement downwards.
usually be accomplished
of
THE COLLAR DRAFT
If
you have made extensive
pattern altera-
tions involving the jacket neckline,
necessary to draft a jacket neck
it
new collar pattern,
edge as guide.
may be using the
With the jacket folded the neckline
in full
ting the neckline
notch to
view,
flat
draw
on the
table,
and
a chalklme indica-
seam allowance, from coUar
collar notch.
56
ta-'
Place a folded piece of paper inside the jacket,
large
enough
to reach just
below the
line indicating
the neck area.
be shifted
lapel.
On one side of thejacket place a the lapel
roll line,
ruler
and draw on the paper,
along
at
the extension of the It
all
is
roll line
into
important that thejacket not
once
this guideline
has been
noted.
a short
Trace around the lapel as far as the collar notch. Be careful not to mark the fabric.
57
Gently fold back the seam allowance at the
gorge
line.
Mark the
collar notch,
and the gorge
line.
Pinprick
through the
fabric
and the paper,
along the neckline seam allowance from the roll line to the shoulder seam. Continue a few inches across the shoulder seam.
58
Measure the back neck shoulder to center back. Use a
stitchline ruler
from
which you
can curve, or a tapemeasure standing on end, to get an accurate measurement.
Remove the paper and open out so that is enough room to draft a collar. The information on the paper should look something
Extend the
it
there
like
the markings
in
the
roll line
and the shoulderline so
that they intersect. Label the point of intersection
A.
illustration.
59
B
A • • •
• • • •
Measure up from A to a distance equal the back neck measurement. Label B.
Label
to
pinpricks
E,
the point at which the neckline
meet the
lapel.
Draw a curved line, Draw a straight line
E-F, following the pinpricks.
from
C
to E,
and
a curved line from
A
to D.
B
y • • • • • •
Square out from
collar notch,
'/V
(6
(1.3 cm). Label D.
60
Draw
mm).
Label C. Square out from the center back, 72*
A-D.
a curved
line,
F to G, parallel to line
On
F-G
from which you can square up through D and beyond. Label a point (I) on the line about h" (3.8 cm) above point D. This measurement D-l is the width of the collar at center back above the roll line. line
Draw
find a point (H)
out from point C, a
front of the collar
Draw
y
1
for the
the
(J).
a straight line
top of the
style line for
collar,
from
I
to
J,
as a guide
and then curve the
line
gracefully at the front.
The undercollar is
now
pattern,
C-J-l-H-F-E-C,
complete.
The
collar roll line
Cut out the
is
E-A-D. and check the
collar draft
fit
on
the jacket.
The neck edge of your F-H,
is
now
collar pattern,
C-E-
complete.
61
THE SLEEVE For a
the
tailor,
fall
thing of beauty. There
than simply
fitting
of a well-set sleeve is
is
a
more involved here
the top edge of the sleeve
neatly into the jacket armhole. •
The armhole
•
A
reinforced
is
to
prevent
stretching.
muslin sleeve
the jacket.
It is
is
prepared and set into fall either forward or
set to
backward at the same angle the arm is held at rest. •
client's
Using the information gathered from the prototype, the garment fabric
muslin sleeve •
is
cut,
prepared, lined,
The sleeve head
is
added
to
and
set.
produce a
graceful draping of fabric out over the
shoulder.
REINFORCING THE ARMHOLES
Place the pocketing
strip
on the wrong
side
of the jacket fabric, flush with the armhole cutting edge.
The curved end of the
strip
is
placed at
the front armhole notch, about 2 h" (6.4 cm) x
Before the sleeve is set, the armhole must be reinforced with a strip of pocketing to ensure against stretching. Cut a crossgrain strip of pocketing about (1.9 cm) wide and 20" (50.8 cm) long. Press it into a curve (as illustrated).
W
162
forward of the center of the underarm. Working from the right side of the jacket, diagonally baste-stitch around the armhole, catching the outer edge of the pocketing strip underneath. Catch only the garment fabric and the pocketing, avoiding the shoulder pad completely.
At a point about
1
V2" (3.8 cm) beyond the
shoulder seam, at the back of the jacket, back-
on the tape and then begin basting
stitch
ripples of
ease into the jacket
continues to about
panel seam,
} 1
h"
(3.8
so that the
fabric. This
tiny
cm) above the side rippled
area
is
at
shoulder-blade level on the jacket, and affords added ease for movement in this area. The total amount of ease should not be more than 3 /s" (1 cm). On gabardines, or other tightly
woven
fabrics,
the ease
amount should
be (6 mm). The ease is basted into the pocketing strip and tacked, top and bottom, so that it will stay where you have placed closer to
l
k"
it.
Continue basting the pocketing strip down to about mid-underarm. The area from about mid-underarm forward about 2 72" (6.4 cm) is not reinforced, so that there will be no restriction of the forward
movement
The
process
of the arm.
ripples
placed at the back of the arm-
hole have brought extra ease beyond, to the ples
and
still
retain
We
can eliminate the ripthe ease by steam pressing
shoulder-blade area.
carefully.
Steam press the rippled area, on the wrong side of the fabric, on a flat surface. Be careful to allow the iron to extend in from the armhole edge no more than about V2" (3.8 cm) or so. A moderate amount of steam, applied flat and on top of the ripples, should shrink them away. 1
you were to press further in on the fabric, while still on a flat surface, you would shrink away the ease which the ripples represent, and If
render the entire process useless.
Keep the iron out and at the edge of the armhole for now. If you have trouble getting the ripples to disappear, you have probably placed too much ease in the area, and are dealing with a tightly woven fabric. If necessary, remove the pocketing strip
and
adjust the
of the problem
sleeve
is
sewn
in,
amount
of ease.
Do take care
before continuing.
Once
the
the ripples will be a permanent
distraction.
Baste around the armhole from the outside
second time, this time catching the edge of the pocketing.
of the jacket a
inner
63
THE MUSLIN SLEEVE
You'll notice
We
been waiting in
we
haven't cut the sleeve yet.
haven't even cut a muslin sleeve. until
We've
the shoulder pads are placed
the jacket, and the armholes are reinforced,
in
order to get an accurate measurement of the
Once we have this measurecan cut a muslin sleeve with the right amount of ease all around.
jacket armholes.
ment,
we
On the right side of the jacket, measure around the armhole cutting edge. It is somewhat difficult to measure a curved area, therefore, do it carefully, and double check your measurement.
Compare
this measurement with that of the edge around the top of your sleeve pattern. Measure both the undersleeve and the topsleeve, being careful not to include your side seam allowances in this measurement. The cutting edge around the top of the A" sleeve pattern should measure 2" (5 cm) to 2'
cutting
64
(5.7
cm) larger than the cutting edge around the
jacket armhole. (For gabardines
woven
fabrics,
more than 2"
and other
tightly
the measurement should not be (5
cm).) This
amount
necessary to allow the sleeve to from the shoulder.
fall
of ease
is
gracefully
If
the top edge of your sleeve pattern is not 2" (5 cm) larger than your armhole
at least
measurement, adjust the sleeve pattern by adding to or subtracting from the top
edge of the seam
topsleeve, tapering to nothing at the side
allowances. The undersleeve
is
not adjusted.
The maximum adjustment possible
at the top of
the topsleeve, before distorting the cap shape, 3
/s"
(1
If
is
cm).
cap is also involve the width of
further adjustment of the sleeve
necessary,
it
must
now
both the topsleeve and undersleeve in order to maintain the overall balance. Again, an adjust-
ment
of
3
/s"
(1
cm)
is
the
maximum
cient,
tern,
this
the
one
adjustment should
answer
is
an
still
entirely
prove
new
insuffi-
sleeve pat-
size larger or smaller.
suggested.
Adjust the pattern according to the using a hip curve to taper your
tions,
If
illustra-
new
lines
gracefully.
Check the sleeve
length, measuring
down
the center of the topsleeve, from stitchline to
hem
fold.
on page sleeve
Using the sleeve measurement taken 16 as a guide, lengthen or shorten the
by cutting the sleeve pattern
mately elbow
level.
Separate
or
at approxi-
overlap the
topsleeve pattern to achieve the correct length;
and then blend the sides of the pattern using a hip curve. The undersleeve pattern is adjusted by the same amount as the topsleeve.
65
1
With the sleeve pattern adjusted, cut the sleeve, sew the undersleeve and topsleeve together, and press the seams open. muslin
On crease
in
the right side of the fabric,
the topsleeve
about elbow
press a
seam from the hem
to
level.
cm) seam allowance to set the sleeve, even if your pattern indicates 5 /s" (1.6 mm). Since we have already checked the armhole fit and the cap ease, this adjustment can be made without concern. It is much easier to work with a 72" (1.3 cm) seam than with a larger amount in a curved area. The bulk in the seam is reduced and the cap ease has more
Use a
room
]
h"
(1.3
to comfortably settle
It
is
best to use a
in.
model form
to set the
With a model form, the entire armhole is and the matching curves at the bottom front of the armhole and sleeve are clearly visible. This area is called the front notch, whether it is notched or not, and it is the first point at which the sleeve and armhole are tacked for a fitting. sleeve. in
view,
66
The point at which the back seam in the sleeve falls on the armholes, is called the back notch.
In
order to determine this point, hold the
and allow it to fall forward until touches the chalk guideline on the pocket. This chalkmark indicates how far forward your arm falls when held naturally. The sleeve must hang in that same position to be without creases when it is worn. Tack the back sleeve at the top,
the
hem
notch into the armhole at the point which allows the sleeve to fall forward to the chalk guideline.
The sleeve length is to some degree a matter of preference. Comfort when wearing the jacket should be your main criterion. The most common gauge is for the sleeve to end just below wrist bone. Adjust the muslin sleeve length, and pin in place. With all the pattern corrections made, the garment
fabric
sleeve can finally be cut with
confidence. Machine-stitch
seam. the
On
and
press
the right side of the
and back notches tentatively tacked, baste around the armhole, distributing the 2" -2' A" (5-5.7 cm) ease around the entire reinforced area of the armhole. Only the 2 h" (6.4 cm) area from center underarm forward is without ease in the sleeve. There may be some front
chalkmark
vent foldlines. The foldline on the of the sleeve seamline. continuation a
hem and
topvent is On the undervent, the foldline
With the
open the underfabric,
is
3
/s"
(
1
cm) from
the edge.
]
puckering at the cap of the muslin sleeve. ever, rectly,
if
How-
you have measured your armhole
these puckers will be easy to control
in
cor-
the
garment fabric. Check the sleeve side view. If there are diagonal creases from the front or back of the sleeve pointing upwards, the sleeve should be set so that it falls a bit more forward or back, until the creases disappear.
When
the sleeve
falls
comfortably without these creases, chalkmark the front
the front
and back notches on the jacket, and notch on the sleeve. These notches
should also be transferred to your pattern. (For plaid sleeves see
page
177.)
67
THE SLEEVE VENTS
Cut a bias piece of pocketing to be used as reinforcement, 5" (12.7 cm) wide and long enough to extend from vent edge to vent edge at the bottom of the sleeve. Stream press the pocketing into a slight curve so that
it
will
lie
Trim the sides of the pocketing very close to
the basting on the undersleeve vent, and about l
h"
(1.3
cm) from the basting on the topvent.
Diagonal-stitch the reinforcement into the sleeve
seam allowance, above the hem.
comfortably at the bottom of the sleeve, on the wrong side of the garment fabric.
Fold and press, first the vents, and then the hem, using the basting lines as guides. Fold the bottom of the topvent into a miter, and press well.
Unless the fabric
is
extremely bulky,
we
suggest that you do not trim the excess fabric
in
catching the pocketing reinforcement, and diagonally baste-stitch across the top
The fold will give a certain amount of appropriate body to the topvent. It will also afford you the option of lengthening the sleeve, should this be desirable sometime in the future. Diagonal-stitch the vents and hem into the pocketing, using silk finishing thread, and slip-
of the reinforcement.
stitch
the corner.
Baste along the chalklines at the bottom of
the sleeve,
68
the sides.
With the topvent about 1/16" longer than the undervent, baste
and then the sleeve seam seam should be about
closed.
W
(
1
first
(1.5
mm)
the vent,
The topsleeve
cm) longer than
the undersleeve. (For gabardine, or other tightly
woven
fabrics,
'/V'
(6
mm)
is
in the top third of the topsleeve seam, and steam press the puckers out, before machinestitching the seam. Press on a flat surface, making sure that the iron extends onto the fabric no n more than about l2 (3.8 cm).
ease
]
1
better.) Place this
Machine-stitch the topseam to '/V (6 mm) below the top of the vent, and press the seam open. Fold and press the seam allowance on a diagonal just above the top of the vent, instead of clipping the seam allowance here and weak-
Back-stitch the tops of the vent together
using
silk
finishing thread.
ready to be
The sleeve
is
now
lined.
ening the area.
69
SLEEVES
WITHOUT VENTS
\f your sleeve does not have a vent, the bottom of the sleeve is reinforced with a bias strip of pocketing which is caught in the sleeve
seam, as
illustrated.
LINING THE SLEEVE
The sleeve lining is cut using the sleeve around the sleeve pattern, cutting the lining larger than the sleeve by the amounts indicated. Note that the vent on the topsleeve is pattern. Trace
eliminated.
70
"
and unseams open.
Machine-stitch the lining topsleeve dersleeve together,
With both the place the
A
two
W
and
press the
lining
and
sleeve inside out,
together, undersleeve to under-
cm) margin of lining should be visible above the sleeve. Beginning about 4" (10.2 cm) from the top of the top seam, diagosleeve.
Reach the lining lining
(
1
.9
and turn the sleeve to you can work on the Fold and baste the lining
into the lining, side,
hem and
so that vent.
along the edge of the undervent (the undervent is
on top when viewed from
hem about
W
this side);
and
fold
(1.9 cm) above the hem of the sleeve. Baste the lining hem about (2.5 cm) above its fold, so that you will be able to
the lining
"
nally baste one layer of lining seam allowance to one layer of sleeve seam allowance. Baste tojust above the top of the vent. Trim the lining to (2.5 cm) below the sleeve hem fold. 1
Repeat the process at the undersleeve seam.
The top
layer of lining
is
now
slashed hor-
about 'A?" (1.3 cm) below the bottom of the lining seam. The slash extends across, just past the edge of the undervent. This frees the lining to be folded along the garment fabric at the edge of the topvent. izontally,
1
lift
it
up
for hand-stitching, shortly.
71
on the diagonal at the the vent and basted in place. The sides
The top of
lining
is
folded
and top of the vent lining are finished with hand back-stitch, using silk thread.
a
Turn the sleeve to the right
side,
and with
the lining settled in place, baste across the topsleeve about 8" (20.3 cm) or so from the top, catching the topsleeve lining. This will hold the lining in place
sleeve
on the
while you right side,
set the sleeve. Press the
on
a
flat
surface, using a
presscloth. Press a light crease in the
from elbow to hem.
Lift
one
12
and hem-stitch the garment fabric hem.
the lining at the hem,
layer of lining into
topseam
SETTING THE SLEEVE
) \ The garment
fabric sleeve
jacket just as the muslin sleeve
set into the
is
was
set.
This time,
however, you have the benefit of the front and back notches as guides. Baste the sleeve using a straight running-
about 'A" (6 mm) long, with spaces of about the same length in between. If your stitches are too small, the ease will have no room to settle in. Do not be discouraged if it takes two stitch
or three attempts to baste the sleeve
hangs without
rippling at the
cap
in
so that
it
when viewed
from the outside.
Once you
hang
are pleased with the
of the
around the armhole a second time, stitching between the first stitches. This lockstitch is done to hold the ease securely in place, and to prevent the possibility of the sleeve shiftsleeve, baste
ing during machine-stitching.
There
is
one more
step
machine-stitching the sleeve. of the fabric, steam press shrink
away
on
a
take
to
On
flat
before
wrong
side
surface,
and
the
the ripples at the top of the sleeve
seam allowance. Be careful to press in from the armhole edge no more than one inch or so. If you steam press further, you will be shrinking the ease
in
fully
created.
which you have so careYou need the ease. Shrink away
the sleeve cap
only the
ripples.
Tuck the shoulder pad out of the way and machine-stitch around the armhole, catching only the garment fabric of the sleeve and armhole, and the pocketing reinforcement strip.
173
TACKING THE ARMHOLES
The sleeve
is
set,
but the shoulder and
needs some attention. The jacket lining is loose at the back armhole, and the shoulder pad needs to be tacked into the armhole seam allowance. With this completed, you'll be able to attach the sleeve head, and armhole area
still
around the armhole towards the sleeve seam. Baste from the front notch up and over the shoulder, to the end of the shoulder pad. As you baste from the front notch to the beginning of the shoulder pad, catch the lining. As you continue up and over the shoulder, catch one layer of the shoulder pad.
close the sleeve lining.
With one hand inside the jacket, giving shape to the shoulder area, smooth the fabric
On the inside of thejacket back, still
the lining
is
loose at the armhole. Baste from the under-
arm up the back of the armhole, as far as the lining shoulder seam. Use a large back-stitch, and place a bit of ease in the back lining as you baste.
Shoulder pad, jacket
allowance.
74
lining,
pocketing,
and jacket, all meet in the armhole seam allowance. Baste around the armhole, tacking all these layers together, so that the shoulder seam becomes a firm unshifting line. Tack first, the area of seam allowance untouched by the shoulder pad. The stitch is a diagonal-stitch, 7s" (3 mm) beyond the machine stitchline, in the seam sleeve,
you are working with thejacket inside be aware that the shoulder pad is now
Since out,
curving
in a direction
when
opposite to that which
it
worn. Before you baste the shoulder pad into the armhole seam allowance, force the shoulder pad into the correct curve. Experiment, by turning the jacket right side out, in order to be sure of the proper
will
take
thejacket
is
direction of the curve. It is not necessary to baste through the entire shoulder pad. One layer of the padding caught in the seam allowance is sufficient.
If
pad and lining are with the garment fabric seam
necessary, the shoulder
now trimmed flush
allowance. Be careful not to trim
away
edge of seam allowance from the back seam. ity
If
you
do,
you
the small
side panel
eliminate the possibil-
of ever letting thejacket out in this area.
75
THE SLEEVE HEAD
The sleeve head
is
a strip of cotton
ding, covered with muslin bias
and with
canvas interfacing. Itsjob
of the sleeve a
bit,
and
is
to
fill
wad-
a strip of
out the cap
to create a graceful
fall
of
The head is inserted into the sleeve with the canvas facing up, and hand-stitched into the
lining
is
now
brought up to be
basted along the armhole edge, just covering the basting already there. Fold back about '/V (6 mm) at the top of the lining and check that the
seams
in
the lining are aligned with the seams
the sleeve.
A
of the sleeve,
wear. hole
176
twisted lining will distort the
and
Slip-stitch
will
in
hang
be very uncomfortable to
the sleeve lining into the arm-
seam allowance using
silk
allowance, from the front notch, over the shoulder and down to about 2" (5 cm) below the
back notch.
the fabric at the top of the sleeve.
The sleeve
seam allowance using silk thread. Place the edge head even with the edge of the seam
of the
finishing thread.
THE PLAID SLEEVE
you are working with a plaid fabric, the must be cut so that the horizontal design on the sleeve match those across the jacket If
sleeve lines
(Because of the ease
front.
in
the sleeve cap, the
match jacket back.) on the those With the muslin sleeve well set, draw two or three horizontal guidelines on the front of the horizontal lines
on the
sleeve will not
muslin to indicate the placement of the horizonbars of the plaid design. Transfer these guide-
tal
to the front of
lines
pattern,
and use them
BUTTONS
your sleeve front paper as a layout guide.
AND BUTTONHOLES
The choice of buttons jacket should be
in
for a
fine tailored
keeping with the high quality
of the rest of the garment.
horn or bone buttons, close in color to the jacket fabric, are most traditional. Shiny plasDull
buttons are glaringly inappropriate on fine
tic
fabric.
The jacket button ton
is
is
30-line, the sleeve but-
24-line.
The top buttonhole on ajacket which has a should be placed about 5 /s" (1.6 cm) below the bottom of the lapel roll line. If the button lapel,
is
placed lower or higher, the lapel
roll
just
will
begin to
above whatever point that happens
to
be.
177
The buttonhole begins
in
from the edge of
one half 'A" (6 mm).
the finished jacket a distance equal to the diameter of the button, plus
The
size of
the jacket buttonhole
equal to
is
the diameter of the button, plus a "small" 'A' (6
mm). If
you choose
to
add a
lapel buttonhole,
it
should be cut parallel to the top of the lapel. The buttonhole on a peak lapel will, therefore, slant
upward.
On
a square lapel
it
down-
will slant
ward. For a
buttonhole
flat is
button,
the
size
of the jacket
equal to the diameter of the butmm). If your button is
ton, plus a "small" 'A" (6
not
flat,
the length of the buttonhole should
equal one-half the circumference of the button.
On
the sleeve, real buttonholes are a
dis-
custom touch. The buttonholes begin 1'A" (3.2 cm) above the hem fold, and h" (1.3 cm) away from the fold at the edge of the topvent. If three buttons are used on the sleeve, tinctly
]
the buttonholes are placed
3
A"
(1
.9
cm) apart.
If
four buttons are preferred, the buttonholes are
placed
5
/s" (1.6 cm) apart, so that the buttons be almost touching. The size of the sleeve buttonhole is equal to one half the diameter of the button, plus l&" will
]
(3
mm).
Handworked buttonholes, bound buttonholes, are
gimp, or
A"
the end.
The buttonhole is placed about cm) below the top of the lapel and V2"
1
in
reinforced with a
in tailoring. Machine buttonholes but are not nearly as beautiful.
78
The length of the buttonhole is between (1.9 cm) and 1" (2.5 cm) depending on the width of the lapel, and since it will not actually be used for a button, there is no keyhole cut at 3
custom touch
work
as well,
'A?" (
1
.3
(3.8
cm)
from the edge.
On
the
wrong
side of the lapel,
about
(2.5 cm) below the buttonhole, a thread loop
1
is
sewn. This serves to hold the stem of a small flower boutonniere.
CONSTRUCTING THE BUTTONHOLES A
o
The Handworked Buttonhole buttonhole through the jacket front, the canvas, and the facing. At the end of the buttonhole closest to the jacket edge, cut a
jacket fabric
small keyhole.
buttonhole.
the
Snip
away
Trim
the canvas around the very
Insert a
about
'/i6
Peel
ff
threaded needle, eye first, under the and the canvas, and have it exit (1.5
mm)
away about
edge of the buttonhole, so that stray white canvas threads do not find their way into the
thinner than the
buttonhole
of the
layer at the
end
1
before the end of the '/2
ff
(3.8
cm) of the outer
end is the peeled end
of the gimp, so that the
threads. These stitches will not be seen in the
rest; and insert gimp into the thread loop. You needn't cut a small piece of gimp for the buttonhole. Use the end of the entire yard or so you have purchased, and cut the gimp only
finished buttonhole.
after the
stitches.
Using
silk
finishing
thread,
blanket-stitch
around the buttonhole to control the fraying
Pull
the sharp end of the needle,
thread ends, and
draw
buttonhole
is
complete.
and the
the gimp through the
Anchored in this position, the gimp will lie on top of the buttonhole, right at the edge, fabric.
while the buttonhole the gimp to will
fall
is
into the
stitched. slit
in
the
Do
not allow
fabric, as this
produce a wider opening than you want. Cut one yard of silk buttonhole twist, wax
it
and press the twist between two sheets of The heat will melt the wax into the thread and give added body. well,
paper.
it
79
II
The buttonhole
twist
is
used as a single
When you
have
stitched
around the
entire
buttonhole, cut the gimp and bring the end
thread, knotted at the bottom.
the base of the buttonhole. Hide the knot be-
under the canvas and out, as you did before, using the threaded needle. Bartack at the base of the buttonhole and
tween the
secure the stitch on the inside.
Hold the jacket so that the keyhole buttonhole
is
at the top,
in
first
in
the
stitch at
layers of fabric.
For each
thread
and take the
end of the movement, across the the buttonhole and up under the stitch,
bring the double
a clockwise
bottom of needle.
The ends
gimp are pulled until a between the buttonhole and the gimp. If you snip the gimp close to the fabric, the ends will disappear under the ripple
appears
of the
in
the fabric
canvas.
Whip-stitch
the
after the final pressing.
Place the knot,
duces, right
on top
which this movement progimp with a firm pull of
of the
the thread.
around the buttonhole, encircling the gimp with thread. The stitches should be about '/s" (3 mm) deep and quite close to one another, Stitch
but not necessarily touching.
At the keyhole, the stitches should fan out, the outer ends of the stitches being a bit farther apart than the inner ends.
80
buttonhole closed
until
The Bound Keyhole Buttonhole
^ Draw
the buttonhole placement
jacket canvas using the
and for placement handworked buttonhole. length
line
on the
same dimensions for as were used for the
<D)
Working from the canvas side, slash through the center of the buttonhole. Cut out the keyhole, but be careful of cutting too close to the stitches. Cut a prong at the straight end of the buttonhole.
3
^O:-
Draw a line /&" (3 mm) above and 7s" mm) below the placement line, and round off
Trim the canvas
]
(3
the
end
leave the canvas
in
in
but
the buttonhole,
the prong.
of the line closest to the jacket front
edge.
Whip-stitch a piece of gimp around the
buttonhole
inside of the
basting thread, will
Cut a
wide and placement
(5
garment
if
you
in
like,
You may use
since these stitches
the finished buttonhole.
fabric 2" (5
cm) cm) longer than the buttonhole
bias patch of
2"
not be seen
stitchline.
line.
6\
Bring the bias patch through the button-
hole to the
On
wrong
side of the jacket.
the right side of the jacket front, center
and baste the
bias patch over the buttonhole
markings.
On Working from the canvas side, and using a small machine stitch, sew around the buttonhole top, keyhole and bottom. Do not sew across the straight end of the buttonhole.
the right side, prick-stitch around the
buttonhole stitches are
jacket front,
using
silk
finishing
thread.
The
taken just beyond the gimp on the
and should be
small
enough
to
be
barely visible.
8
>
<
Working from the
right side, slash
through
the center of the buttonhole, snipping the facing fabric.
Trim the bias
hole
patch, and
on the wrong
press the button-
side.
On
wrong
side extend the slash,
cut prongs at either
end of the buttonhole.
the
and
o Place the jacket facing over the buttonhole,
and baste around the buttonhole.
Fold under, and baste the facing around the edge of the buttonhole. Prick-stitch along the
folded edge, using silk-finishing thread.
The
Bound Buttonhole
Bias
If
Cut a
wide and placement
Draw the
bias patch of
2"
(5
garment
fabric 2" (5
cm)
cm) longer than the buttonhole
line.
line on the same dimensions for placement as were used for the
buttonhole placement
jacket canvas, using the
and for handworked buttonhole.
length
Draw mm) below 82
a line '/s" (3
mm) above and
the placement
line.
]
l&"
(3
Press a bias strip of very thin fusible to the
center of the patch.
Press the
seam open along the top and
bottom of the buttonhole.
On
the right side of the jacket front, center
and baste the
bias patch over the buttonhole
marking.
I Bring the bias patch through the button-
hole to the
wrong
side of the jacket.
II
Working from the canvas side, and using a machine stitch, sew a rectangle completely around the buttonhole placement line. small
Working from the right side of the jacket, and using silk finishing thread, stitch on the buttonhole seamline top and bottom. The piping should be evenly distributed at top and bottom.
From the canvas center of the buttonhole
end.
side,
slash
through the
and cut prongs
at either
At either end of the buttonhole, tack the prong into the bias patch.
The facing
side of the
pleted following instructions
buttonhole
on page
is
com-
182.
183
SETTING THE BUTTONS
\,
To mark the button placement on a breasted jacket, place the
two
single-
fronts of thejacket
together, right sides touching.
Place a pin through the keyhole of the buttonhole to mark the button placement on the left
Marking the button placement is
somewhat more
since there are both buttons
for a double-
complicated,
and buttonholes on
The buttonholes are placed on the
right
side of a double-breasted jacket using the
same
measurements as were used
84
away from
thejacket edge.
for
the
single-
closed,
and the center
front
guidelines matching, place a pin through the top
button mark on the right side of thejacket. This pin will indicate the placement of the
tonhole which
both sides of thejacket.
breasted jacket.
line
With thejacket
side of thejacket.
breasted jacket
The placement of the buttons on the right is determined by measuring from the keyhole to the center front line, and applying this measurement from the center front side of the jacket
jacket.
It
is
needed on the
also indicates the
left
one
but-
side of the
placement of the one
button which must be placed on the inside of the right side of thejacket.
After the final pressing of the jacket, the
layers of the fabric,
and
therefore,
do not show
double their thread by placing two strands through the eye of the needle (as
through the facing. The needle is brought through each hole in the button twice, anchoring each side of the button with four strands of thread. A 'A" (6 mm) shank is created by holding the button away from the jacket as you
illustrated)â&#x20AC;&#x201D; a challenge, indeed. This allows the
stitch.
buttons are strand of
sewn
double buttonhole twist
to the jacket using a
waxed, pressed,
silk
thread.
Most
needle to
tailors
move
to different points along the
length of the thread as
you sew, thus reducing
the probability of the thread being weakened, by
being pulled by the needle, over and over again,
same spot. The stitches taken on the front of the jacket attach the button, do not go through all the
at the
to
The
completed, the thread is wound around the shank several times. Four knots are then stitched at the base of the shank, catching the thread which comes from each of the four holes in the button. A button secured to the jacket in this way is not likely to be lost without warning. stitches
85
FINAL PRESSING Following the pressing techniques outlined is now carefully and comThe pressing is done before the buttons have been sewn on, to permit the iron greater access. The pressing proceeds step by
on page
8,
the jacket
pletely pressed.
step, as follows:
The underside of one lapel, the underside of the collar, and the underside of the sec-
1.
ond
On
lapel.
the Inside of the Jacket The
2.
facing,
from the bottom of the
hem on one
the
lapel to
below the waist, first thejacket, and then on the other. Be careful to use a tailor's ham to press shaped areas lining
of thejacket.
The
3.
4. Across the
and the on one side of
lining in the chest area
on both
sides of
hem on
the lining side, from
one
side of thejacket to the other.
side of the jacket;
On
the Outside of the Jacket
Each front of the jacket from shoulder hem, and the side seam. 6. Thejacket back from shoulder to hem. 5.
to
thejacket.
Sleeves
On
7.
the right side of the
fabric,
the front
seam, and the undersleeve.
8.
With the sleeve board
inside thejacket, the
11. The right side of each
lapel.
hem, creasing the elbow to hem. underarm area.
topsleeve, from biceps to
sleeve lightly from
9.
The
lining
10. Holding a press mitt inside the shoulder of thejacket, press each shoulder
cap on the
86
and sleeve
right side of the fabric.
12. With the lapel and collar lying flat over the pressing board, press the gorge line, and a light crease at the neck edge of the gorge line.
THE UNLINED JACKET The
lining
in
a
tailored jacket
•
serves to
•
the jacket; layers of canvas, pocketing,
loose-fitting jacket
with
little
the absence of a
In
struction details
must be
by means other than a
dart shaping.
lining,
full lining. In
concealed
the unlined
jacket presented here:
extended to conceal the
The shoulder pads are covered by a ing yoke at the back, and by the
tended facing in the front. Even when the rest of the jacket
is
lin-
ex-
unlined,
the sleeves are lined for the wearer's comfort, and to control excessive wrinkling in the sleeve.
the inner con-
tidied up, or
is
canvas.
conceal the construction details on the inside of
and cotton wadding. There are, however, some unlined versions of the tailored jacket that have been designed especially for tropical climates. The version demonstrated here is most suitable for a
The facing
In
presenting the construction of thisjacket,
we will assume that the reader is familiar with the tailoring techniques demonstrated previously in
the construction of the classic jacket.
and seam allowances are finished so that there are no raw edges of fabric visible on the inside of the jacket.
• All darts
•
The inner construction
details
of the
jacket pockets are covered with garment fabric patches.
DARTS
IN
THE UNLINED JACKET
an unlined jacket, the darts are not They are pressed toward the side seam, and are secured in place by a row of tiny In
slashed open.
on the right side of the fabric. seam allowances are also finished with Hong Kong piping (see page 187).
prick stitches All
87
POCKETS
In
IN
THE UNLINED JACKET
an unlined jacket the most convenient The patch is the patch pocket.
pocket to use
is simply tacked on to the front of the and does not involve construction that would be visible, and therefore necessary to hide, on the inside of the jacket. Other pockets, however, can be adjusted slightly to suit the unlined jacket. We'll demon-
jacket
strate
these modifications
in
the double-piping
pocket.
With the
darts
the pocket opening tailor's
chalk
and
a hip
pocket opening on a
tween 572"
front seams sewn, draw on the jacket front, using curve ruler. The hip-level
and line
woman's
jacket runs be-
to 5 3 /4" (14 to 14.6
cm)
in
length.
T Cut one piece of garment fabric as a patch back of each pocket, straight grain, h" cm) wider than your pocket opening and (3.8 about 7'/2* (19.1 cm) long. This patch will be used on the inside of the
for the
jacket as a backing for the pocket.
x
1
rr
Check the length of the patch by placing 3 fa" (1.9 cm) above your pocket opening line. The bottom edge of the patch should extend no lower than the top of the hem,
the top edge
when
the
hem
is
turned up.
Trim the length of the patch,
and round off the two corners seam of the jacket.
88
if
necessary,
closest to the side
-4
/
\
*
\
r\
J
on
Place the wider piece of piping face down the right side of the jacket front, nap up. The
top edge of the piping should be flush with the pocket opening line. Baste very close to the edge, catching the piping, the jacket, and the pocketing patch.
Cut one piece of pocketing for each pocket, h" (1.3 cm) larger than the gar-
straight grain,
ment
fabric
]
patch
all
around.
Turn to page 84, and continue the conof the pocket following instructions
struction
Cut two pieces of garment fabric, straight grain, nap down, to be used as piping. Each piece of piping is cut 2" (5 cm) longer than the h" (3.8 cm) pocket opening. One piece is 2" wide, the other is (5 cm) wide.
through to the bottom of page 85. Press back a 'A" (6 mm) hem on the bottom edge of the bottom piping, and machmetopstitch the folded edge to the pocketing patch.
]
1
On garment
the
wrong
fabric
side of the jacket, center the
patch on top of the pocket. The
top edge of the garment fabric patch should be at the
top edge of the piping. Baste the patch
place around the edges, catching
all
in
layers of the
pocket.
Place the pocketing patch side of the jacket,
its
top edge
above the pocket opening
line.
on the wrong
W
(1.9
cm)
Catch only the pocket and not the jacket in these stitches. Trim the pocketing even with the garment fabric patch.
89
N.
Machine-stitch
on the pocketing
patch, as
close as possible to the jacket at the top of the
pocket opening.
Stitch
opening and pivot prong area.
the length of the pocket
at either
end
to catch the
Cut a bias strip of lining about " (2.5 cm) wide, and long enough to extend around three sides of the pocket. This lining strip will be used as a piping finish around the edge of the gar1
ment
fabric
patch on the
wrong
side of the
jacket.
Because the edge of the patch closest to the front will eventually be covered by the jacket facing, the piping is placed only along three edgesâ&#x20AC;&#x201D; unnecessary bulk being undesirable. Using a '/V' (6 mm) seam, machine-stitch the lining strip along the edge of the patch.
On
the pocket edge
which
is
closest to the
center front of the jacket, continue stitching out
from the prong and down the edge of the patch, about V2" (1.3 cm) from the edge.
Bring the piping to the pocketing side of the patch,
and
fold the
raw edge
under.
Slip-stitch
along the folded edge of the piping, on the pocketing side of the patch. Press the piping.
The pocket
90
is
complete.
THE FACING
In
added facing
IN
THE UNLINED JACKET
an unlined jacket, the facing takes on the concealing the entire canvas. The
role of is
cut using the
same dimensions
as for the
canvas, however, the darts are eliminated
in
the
facing.
The facing essentially as
it
in
was
an unlined jacket in
is
handled
the lined jacket. The inner
edges of both canvas and facing are basted together, and finished with a Hong Kong piping.
COVERING SHOULDER PADS UNLINED JACKET
Since the jacket
pads
will
is
unlined,
the shoulder
be covered by a double-layered
lining
IN
THE
To create the yoke, fold a piece of maintaining the grainline as
lining,
illustrated.
yoke, on either side of the jacket back. The front of the shoulder pads will be covered by the
extended facing.
19
Using the jacket back pattern as guide, cut back, using the
sions indicated.
on the jacket same placement dimensions as
Baste the second lining yoke
the lining larger than the pattern by the dimenthe
first.
Above
the diagonal fold on each lining
yoke, place a second
row
stitches should remain at least 2"
the jacket shoulder edge, (10.2 cm)
away from
These cm) below
of basting. (5
and
at
least
the armhole, to leave
4"
room
for the shoulder pad.
Cut two of these folded each
pieces,
one
for
side of the jacket back.
Fold back the top layer of lining,
and baste
the underlayer to the jacket along the shoulder and armhole, about 1" (2.5 cm) from the edge. Trim the underlayer of lining flush with the jacket at the shoulder
on the jacket should be " (2.5 cm) above the back. The jacket at the shoulder, and h" (1 .3 cm) beyond Place
one
lining
of the lining yokes 1
]
the jacket at the side seam. Baste the lining to the jacket along the
diagonal
192
fold.
and armhole.
The shoulder pad
is
attached to the jacket
on page 140. In an unlinedjacket, the back of the shoulder pad is placed between the two layers of the lining
following instructions beginning
Machine-stitch the underlayer of lining to the jacket along
the
shoulder and armhole,
about 'A" (6 mm) from the edge. Your on the armhole should stop at least 2"
yoke.
stitches (5
cm)
above the side seam stitchline. Cut a h" (3.8 cm) deep slash into the underlayer of lining, just below your stitches in ]
1
the armhole. This slash will eventually free the
which is below it from being caught armhole seam when the sleeve is set. lining
in
the
The sleeve unlinedjacket as
is it
lined
was
in
and attached
to the
the lined jacket (page
170).
yoke above the slash is caught in The facing and canvas, of course, are not caught in the seam.
The
lining
the armhole seam.
When lining
is
ance.
In
the back side seams are sewn, the
folded
and basted
to the
seam
the finished jacket, the lining
here with a prick
is
allow-
secured
stitch.
After tacking the armhole (page
attaching the sleeve head (page
1
1
74),
and
76), the sleeve
lining is brought up and attached along the armhole. The folded edge of the lining yoke is
tacked along the side seam allowance.
93
THE PEPLUM JACKET A peplum is a flounce, or short flared attachment at the waist of a garment. We have chosen to demonstrate a pattern in which the peplum begins at the front princess line,
rather than at the center front. This style
provides for a continuous grainline
down
the
front of the jacket; places the straight of the grain at the center
back of the peplum to prevent
and places the bias of the seam for best draping over the hip. The shaping in the peplum is created by darts at the side seam and at the back princess line. This peplum jacket will also include; stretching from sitting;
peplum
at the side
canvas interlining Peplum reinforcement Mandarin collar
• Full • •
If
one
in
you would like to create this pattern from which the peplum extends to center front,
simply; •
•
Extend your jacket front pattern piece from waist to hem at center front. Measure the width of the extension, excluding
94
seam allowances.
•
•
Cut from the peplum pattern piece, center front, an amount equal to this width. Place the center back seamline on the fold, straight grain, and cut the peplum.
THE FULL CANVAS INTERLINING
A
full
canvas
interlining
provide uniform body
form vas
fitting.
is
used,
canvas
in
is
often used to
jackets that are very
For this purpose a lightweight can-
made
interlining
of wool, cotton, is
and hair. Full and heavy
also used in coats
warmth. If warmth is your aim, use average-weight canvas interfac-
jackets to provide extra
ing.
Using the major pattern pieces for front and back of the jacket, cut the canvas 3 /s" cm) (
larger
than the pattern
all
around. Canvas
1
facing
fer
all
not used
is
grainline
is
in
the
sleeve.
The same
followed for jacket and canvas. Trans-
pattern markings onto the canvas.
and canvas piece toand smoothing the fabric gently downwards. The basting should be about '/V (6 mm) inside the seam allowance, and above the hem. Trim the excess canvas at the edge of the Baste each
fabric
gether, beginning at the top,
fabric.
inter-
95
THE PEPLUM
7
Baste in
down
the center of each peplum dart,
order to control the
two
layers of fabric while
the darts are being sewn.
On
the
wrong
side of the fabric, press a
crease along the basted center line of each dart.
Machine-stitch the dart, tapering gracefully at the bottom.
open along the center basted canvas very close to the stitch-
Slash the dart line,
and
trim the
line.
Press the darts open.
96
Trim about half of the canvas peplum hem.
THE PEPLUM REINFORCEMENT
Using the peplum pattern as guide, cut a
cm) above the pattern (2.5 cm) shorter than the patand even with the pattern at
piece of canvas V2"
hem
foldline,
1"
tern at the sides,
(1
.3
the top. This will serve as a canvas reinforcement for the
peplum.
Cut the darts
Draw
on the peplum canvas reinforcement; one at the center back, and one at the center of each side. The side darts on the peplum reinforcement should fall between the darts on the peplum pattern. Draw the darts 3 (1.9 cm) wide and 3" (7.6 cm) long. three darts
W
Cut the darts
out.
out.
Using the peplum reinforcement as a guide cut a second reinforcement,
2V2"
(6.4
and the
on the
cm) smaller than the
sides,
and even
W
first
bias this time, at the
bottom
at the top.
Draw two (1.9 cm) darts on this second canvas reinforcement, evenly placed between the existing darts. The darts are 3" (7.6 cm) long.
The darts on both the canvas reinforcements are closed by butting the edges together and zigzag stitching across.
97
Baste the
two reinforcement
Pad-stitch the
pieces to-
gether along the edge of reinforcement #2.
second reinforcement to the
first.
ASSEMBLING THE PEPLUM JACKET
baste peplum to jacket matching seams
main pieces of thejacket front and back have been basted together and machinestitched, the peplum is stitched to the jacket along the waistline. The darts on the peplum are aligned with thejacket side seam, and the back After the
princess
98
line,
respectively.
The
waistline
The peplum
seam
side
is
pressed open.
seams are then sewn and
pressed open.
99
The peplum reinforcement is now placed on the wrong side of the peplum, the top edge under the peplum waist seam allowance. The reinforcement
The
is
secured
waistline
is
V2" (1.3 cm) cotton
and
slip-stitching
it
place as illustrated.
in
further secured twill
by basting
tape over the seam,
in place.
J
Two h" ]
(1.3
cm) wide
prepared, straight grain, long
strips
to extend
from the side front seamline to at least (2.5 cm) beyond the center front. Secure the end of each strip of lining to the tape and seam allowance at the waistline, side front seam. 1
200
Secure a small hook to the end of one of the and three eyes, at intervals, on the other
of lining are
enough
j
strips, strip.
THE PEPLUM JACKET LINING
The peplum jacket
lining
the jacket pattern pieces, as line
all
cut larger than
illustrated.
seams, and press open seam.
stitch
is
all
Machine-
but the waist-
20
and jacket together, wrong and diagonal-stitch the lining
Place the lining side to
wrong
waistline
which
side,
seam allowance
into
the
twill
tape
reinforces the jacket waistline.
Baste the lining to the jacket as illustrated
202
Although the
lining
is
slightly larger
than
the jacket, the seamlines of jacket and lining should match.
THE MANDARIN COLLAR
A
precise
mandarin
essential to the
fit is
collar.
It
would be
beauty of the
wise,
and very
own neck measurements of your jacket. With your jacket folded so that the neck area lies flat, measure from center back seam to shoulder seam (A-B) and from the shoulder seam to the collar notch (B-C). simple to draft your
collar using the
F
i.:Âť
A
Draw line
1W
a straight line
A-B-C
measurements. Square a
and label point line up from B
(4.5 cm),
Square a
1
label point E.
Square a
line
up from C
using the neck-
line
up from
A
D.
W W
(4.5 cm),
and
cm),
and
(1
.9
label point F.
203
Draw
a curved line from B to
from Fto G,
1
W
F.
Square up
(4.5 cm).
S
Draw round
line
off the
G-E
parallel
to
line
corner at G. Connect
IW
F-B and
E-D with
a
straight line.
The pattern
is
complete.
French canvas
Using your
on the wrong
collar pattern,
side
of
draw two
your garment
collars fabric,
we have seam allowance only at the neck edge, draw a 3 /s" (1 cm) seam allowance along the top and front edge of both collars.
straight grain. Since the collar pattern
created includes
204
o
from French canvasâ&#x20AC;&#x201D; no additional seam allowance is necessary here.
Cut one
collar
CONSTRUCTING THE MANDARIN COLLAR
wrong side mm) garment
Baste the French canvas to the of the undercollar, leaving 'A" (6 fabric
above the canvas.
Machine-stitch the canvas
Baste the
in place.
and topcollar toamount of ease at the
undercollar
gether, placing a small
center front topcollar.
and undercolbeyond the edge of
Machine-stitch the topcollar lar
together, stitching just
the canvas.
Trim both
seam allowances
close to the
stitchline.
Turn the
collar to the right side
along the top and
sides,
and baste
bringing the seamline to
the undercollar side. Press.
205
ATTACHING THE MANDARIN COLLAR
Begin basting the collar to the jacket at the center back seam,
and work forward on one
side.
Rather than press the neckline seam open
(which might cause stretching), we now baste seam open. The two rows of basting are stitched from the right side of the fabric, while the seam allowance is held open from underthe
neath. Place a slight lar at
amount
of ease
in
the topcol-
the shoulder seam.
Begin basting the second side of the undercollar to the jacket at the front notch,
working
back toward the center back. Machine-stitch the topcollar to the jacket using a
3
/s"
(1
cm) seam.
The undercollar is now brought down over the opened seam. Working from the right side of the
fabric,
using
stitches are
undercollar fabric side.
These
in is
stitches
and completely
206
silk
taken
finishing thread, tiny back-
the neckline seamlme. The
caught in place on the other should be in the seamline,
imperceptible.
The facing and lining are folded up over the raw edge of the undercollar, and basted in place. Slip-stitch
and
Press carefully maintaining the shape.
along the top edge of the facing
lining.
THE PEPLUM JACKET SLEEVE
Because the full canvas extends into the armhole seam allowance, front and back, there is no need to reinforce the armhole area as previously
canvas
in
shown
(page 162). This extra layer of
the armhole
seam
also
makes
it
advisa-
ble to set the sleeve before attaching the shoul-
der pad. This reversal of procedure full
canvas
is
whenever
a
used ensures better control of the
After the sleeve has
baste the shoulder
pad
been
in place,
the outside of the jacket.
shoulder pad
is
set
On
(page 173),
working from
the inside, the
cross-stitched into the
canvas
shown. The shoulder pad, the
interfacing as
lining, and the canvas are then tacked into the armhole seam allow-
ance following the instructions on page
1
74.
armhole.
207
7 Skirts In this
chapter
which include a
we
demonstrate three
skirts
variety of construction tech-
niques progressing from the simplest to the more
We would suggest that your first projbe a basic straight skirt. Once you have accomplished this, the variations in style and in construction that we suggest should present no more than a minor challenge. complex.
ect
BASIC STRAIGHT SKIRT
1
.
•
Curved double-piping pocket on
front
• Side zipper closing
hem
•
Hong Kong
•
Overlap vent at center back Waistband backed with grosgrain ribbon
•
piping
front
208
view
finish
back view
Use your basic straight skirt pattern to cut this skirt, but check the following. If your pattern has no center back vent, or one which appears in an "L" shape, as in the figure on the left, adjust your pattern. The vent will hang better if the fabric extends up to the waist where it can be secured into the waistline seam. Adjust your pattern so that the vent allow-
ance extends out from the center back seam '/2" (3.8 cm) at the waist, and 3' (8 cm) at the bottom of the skirt. The vent opening should be equal in length to one half the length of the skirt from waist to hem fold.
W
1
Measure the back and front skirt waist and seam allowance. Each half should be equal in measurement to one half of your body waist measurement, plus seamline, excluding darts
72" (1.3 cm). This
total of 1" (2.5
cm) ease at the waistline of a skirt which has neither shirring nor open pleats, is necessary for a graceful fall of the fabric directly below the waistband. If your pattern does not include this ease,
add U" l
the
skirt
(6
mm)
to the waist at the side
back and
front.
seam
of
Use a hip curve to taper
mm) to nothing at the hipline. Use the layout and cutting instructions in Chapter 5 to cut the front and back of the skirt. Do not cut the waistband at this time.
the
l
/4* (6
209
t
On • • •
the
wrong
of the • •
• •
to
bottom
skirt
The top of the vent The hem foldline
On •
side of the fabric chalkmark:
The darts The bottom of the zipper The vent extension from waist
the
wrong
side of the fabric tailor tack:
The bottom of the darts The bottom of the zipper The foldline from the top
hem The hem
of the vent to
the •
Cut the
l.
skirt lining
the
skirt
the
same length
v V v V V V
W
foldline
Vs"
pattern at the waist as the
(3
and
mm)
larger
side seams,
than
and
skirt.
210
m»-
Prepare the front and back waistline darts as per instructions darts
toward the
on page
77,
and
press the
side seams.
Baste the center back
seam from the waist
bottom of the skirt. Machine-stitch the center back seam from the waist to the top of the vent, tacking well at the top of the vent. Leave the basting stitches in the vent opening for the
to the
Press the center back to the
left
side of the
seam open, and then
skirt.
moment. Machine-stitch the center back skirt lining in
the
same manner
seam
as the
skirt
of the
back.
211
Machine-stitch a diagonal, from the top of
the vent
only the Press back 3 /s"
down, across the vent extension. Catch two layers of the vent in this stitchline,
cm) along the edge of the top layer of the vent, tapering to nothing just
and not the outside
above the top of the vent.
moment and move on
(
1
THE DOUBLE-PIPING
The double-piping pocket may be designed line, and placed accordto your preference on the skirt front or back.
as a straight or a curved ing
212
of the fabric.
We'll leave the back of the
SKIRT
skirt
for the
to the front pocket.
If
piping
the pocket opening is
opening
cut is
on
is
a straight
the straight grain.
a curved
line,
If
the piping
is
line,
the
the pocket cut
on the
bias.
We
have chosen a curved double-piping
pocket for the
skirt front,
placed at a comfortable
level just below the waistline. The end of the curve should be kept at least 2" (5 cm) away
from the side seam, so that
it
will
not interfere
in
possible future alterations.
To create the pocket facing, draw the same curve on a piece of garment fabric; extend the 72" (3.8 cm) at either end; and cut the line facing 2'/2" (6.4 cm) wide. 1
Press a "A"
(6
mm) hem
to the
wrong
of the facing along the outside curve.
Using a French curve ruler, and tailors' chalk, draw the pocket opening line on your skirt
working with a heavyweight
front, about 6" (15.2 cm)
folding
in
length.
better to it
fabric,
it
side
If you are would be
overcast this outer edge instead of in
order to avoid bulk.
213
X From garment of piping, 2"
strips
opening, and
'A"
1
Press a 'A"
of
one
fabric,
(5
(6
on the
bias, cut
two
cm) longer than the pocket (3.2 cm) wide.
mm) hem
to the
wrong
side
of the pieces of piping.
The piping which has the folded edge is basted just below the pocket opening, the top edge of the piping flush with the chalkline. The lining is caught in these basting stitches.
now
Cut two pieces of lining to be used as pocketing, 9" (22.9 cm) wide and long enough to extend from 3 /a" (1 cm) above the top of the skirt, to 5" (12.7 cm) below the lowest point on the pocket opening line.
The
side of the pocketing
curve of the
skirt
side
is
trimmed to the
seam.
Place the second piece of piping along the
top edge of the pocket opening, and baste
it
in
place, catching the lining as before.
Place
one piece
front so that
by
3
I&"
(1
it
cm),
of pocketing under the
skirt
extends above the top of the
skirt
and out beyond the lowest point
on the pocket opening Placed
214
this
line by 'A?" (3.8 cm). manner, there will remain
]
Machine-stitch the piping to the
1
h" (1.3 cm) distance between the skirt seam stitchline and edge of the pocketing.
about side
in
(6
mm) above and below
line,
tacking well at either
stitching.
skirt
"A"
the pocket opening
end
of the
rows of
Working from the wrong side of the skirt, slash through the skirt and the pocketing fabric, down the center of the two rows of stitching. Hold the piping out of the
way
so that
it
is
not
slashed inadvertently.
W
cm) from either end of the openprongs that extend directly to the last secure stitch in each row of stitching.
At
(
1
Using the seam allowance as a guide, and ignoring the prongs for the moment, back-stitch
by hand in the piping seam, using silk finishing thread. The piping must be kept even on top and bottom, and the stitches should not be seen. The pocket is now steam-pressed on the right side using a ham and covering the fabric
ing, cut
If
your
last stitch,
on the
slash overshoots or
you
front
undershoots
with a presscloth.
this
have either a bulge or a hole of your skirt. will
Whip-stitch the piping closed so that
not
Bring the piping to the press
wrong
side,
shift
while
we
it
will
attend to the prongs.
and
open the seams.
Tuck each prong to the so that the end of the pocket
hand
back-stitch the
inside, is
and hold
a straight
prong to the
line.
it
By
piping.
215
On
the inside,
machine-stitch the folded
edge of the bottom piping to the pocketing.
Now that the exact placement of the facing has been determined, the second piece of pocketing is removed, so that the facing can be machine-stitched to
tom edge
Place the facing right side
down on
on the wrong
illustration,
the broken line indicates the pocket
opening
Top-stitch along the bot-
top of
the piping,
side of the
it.
of the facing.
skirt. In this
line.
The two pocketing pieces are placed
to-
gether again, edges matching. From the inside, machine-stitch
on the
first
pocketing piece, as
garment fabric. Stitch the length of the pocket opening, and pivot to catch the prongs at either end. close as possible to the
Place the second piece of pocketing of the
first,
on top
matching the edges. Pin through the
second piece of pocketing and catch the facing. The broken line in this illustration indicates the position of the facing under the pocketing.
216
Continue to
stitch
around the edge of the
pocketing, closing the inside of the pocket. Overcast the
raw edge
of the pocketing by
hand
or
machine.
-l
lining
With the from the
skirt flat
on the
table,
and working
right side of the fabric, baste the
edge of the pocketing
top
to the skirt at the waist.
Baste and then machine-stitch the side seams of the skirt and the lining, separately. Tack well at the bottom of the zipper area on both skirt and lining. Press the seams open.
217
THE
SKIRT ZIPPER
Remove
the basting stitches
in
CLOSING
Using
size
A
silk
thread,
Close the zipper and place the front fold
the zipper
and place the opened zipper along the fold at the skirt back. The metal zipper stop should be placed just below the bottom of the seam opening. Only the zipper teeth should be visible along the edge of the fold. area
back-stitch
the
mm)
back overlap tapers to nothing '/s"
(3
o\/er the
fold at the waist. This at the
bottom of the
zipper.
Baste the front of the
skirt in
place along the
be done ruler under
front zipper tape. This basting should
with the
skirt
zipper to the fold, by hand, from the waist to just
your
above the zipper stop. The stitches should be small and evenly placed, close to the edge of the
and not the you baste.
lying
zipper, so that fabric
flat.
Slip
a plastic
your needle
on the other
will hit
the ruler
side of the skirt as
fold.
and with by hand across the bottom of the zipper, just above the zipper stop. Open the zipper, and continue backstitching along the zipper tape, up to the waistline. The stitches should be small, evenly placed, and equidistant from the fold.
From the
zipper closed,
Bring the thread to the inside stitches well at the
218
bottom of the
and tack the
zipper.
right side of the fabric
backstitch
HONG KONG
THE
'Z&^z^&z^. i-HEZE
We /-/o/ig skirt,
will
add
''.'..:!':'''' .
a 'A" (6
Kong piping, along
as a finish for the
PIPING
â&#x20AC;˘ mm)
piping, called a
the bottom edge of the
hem.
(6
Beginning at the vent, and using a 'A" seam, machine-stitch the piping to the
mm)
bottom edge of the Pull
you sew. Cut a
bias strip of lining,
and long enough hem.
to extend
I
"
(2.5
cm) wide
around the
skirt
skirt,
right side to right side.
the piping toward
you very gently
This will help prevent
the finished piping.
If
you
pull
your
lining strip
seam open.
in
will
not
lie
flat.
must be pieced,
pieces together following the grainline,
the
ease
as
the piping too
much, however, the top of the hem
I
If
ripples of
stitch
and
the
press
i
On a skirt without a vent opening, begin sewing the piping at the side seam, with a fold in the piping, and end by sewing the end of the piping
flat
on top
of the fold.
219
Bring the lining
the
skirt,
folding
it
strip
to the
wrong
side of
along the edge of the seam
allowance.
Working from the
right side, back-stitch
by
hand along the seam, catching the other end of The stitches should not be visible. This stitch is done by hand rather than by machine because the piping is cut on the bias, and is difficult to control neatly by machine. If you can manage a flat, unrippled piping by machine, by all means do. the piping underneath.
The
lining
is
waistline because (3
mm)
larger
and because in
making
and
Press the piping,
along the
hem
press the
Do not stitch
foldline.
we
have cut the
than the
we
skirt at
lining
'/s"
the side seams,
have not sewn
darts in the
Baste along the waistline, distributing the
lining.
ease
Jarger than the skirt at the
the lining evenly within each quarter, by small, flat pleats.
hem up hem in
the
place yet.
Remove
the basting stitches
area of the lining,
With wrong
and the
skirt
side seams,
220
sides
together at
and center
touching pin the lining the waistline, matching
front
and back.
and baste the
in
the zipper
lining fold
along
the zipper tape. Keep the lining a safe distance from the zipper teeth, to avoid the possibility of being caught in the zipper mechanism. Backstitch
the lining to the zipper tape.
THE OVERLAP VENT AT CENTER BACK
back and the lining back together along the center back seam, placing small ripples of ease in the lining, from the waist Baste the
skirt
to the top of the vent.
Fold
the vent,
down
cm) below the top of the vent, slash the top layer of the vent lining horizontally. Extend the slash to just past the vent opening. Beginning about
I
"
(2.5
and baste the
lining along the edge of from the edge. Continue as the top of the hem.
'/s"
as far
(3
mm)
Trim some of the lining vertically, leaving only about J" (2.5 cm) to be folded back along the second side of the vent. Fold and baste the lining along what we indicate as the right side of
Fold the top of the vent lining underneath
on the
diagonal,
and baste
in place.
the vent.
221
THE
SKIRT
HEM
The bottom edge of the skirt lining is now " (2.5 cm) below the hem foldline of the skirt, and stitched in place. Use silk finishing thread and small diagonal stitches to attach the lining to the hem. These stitches will not be visible in the finished skirt since they will be on placed about
the
hem
1
side.
Press the vent
222
edge
in place.
Turn the foldline. side.
hem
Press the
up, catching the lining in the
hem
foldline
on the wrong
N
~>
)
Baste the
below the
hem
piping,
")
">
>
\
1
h" (1.3 cm) and along the edge of the in
place about
x
vent.
Turn back the piping and hem-stitch, catching the skirt fabric through the lining. The stitches
the
should not be
fabric.
visible
on the
right side of
Fold the excess lining
hem, and press the the
hem
top of the
fold.
Back-stitch along the slip-stitch
down on
at the
edge of the
lining,
and
vent edge.
223
THE WAISTBAND BACKED WITH GROSGRAIN
1
W
,
back
HI
front
This waistband
is
is
an
ideal
one
of the
body waist measurement
P/2" (3.8 cm). stiffening, since
We it
is
1
IliilMTj^
Machine-topstitch along the top edge of the grosgrain, attaching the grosgrain to both
the grosgrain eliminates
length to the
'IM
.
stiffening equal in
It
basic waistband, especially useful with heavier
garment fabric. Cut a strip of waistband
1
/fe^
layer
on the outside, stiffening and grosgrain ribbon at the back.
the middle,
in
fabrics, since
II
â&#x20AC;&#x201D;
Place the grosgrain on top of the stiffening, with the top edge of the grosgrain Vs" (3 mm) below the seam allowance line, and the end of the grosgrain even with the end of the waistband.
constructed of garment
fabric
1
1
1
plus
suggest 1" (2.5 cm) wide
the waistband and the stiffeningâ&#x20AC;&#x201D; stopping V2" (1
.3
cm) from either end of the
stiffening.
less inclined to buckle.
Working from right to left, mark off one-half the body waist measurement for the front of the waistband, one-half the body waist measurement for the back of the waistband, and a V2" 1
cm) underlap extension.
(3.8
Fold the garment fabric back over the
ening and press the fold
Cut a piece of garment
fabric crossgrain,
in
stiff-
the waistband along
the top edge of the stiffening.
equal in length to the body waist measurement plus 3" (7.6 cm). The width of the fabric is equal
width of the stiffening plus the waistline seam allowance top and bottom.
to the
rfij
f
Lift
the grosgrain
stiffening to the
and machine baste the
garment
fabric
waistband.
Cut a piece of grosgrain ribbon the same width as the stiffening, and the same length as the garment fabric waistbandâ&#x20AC;&#x201D; 3" (7.6 cm) longer than the body waist measurement. Place the top edge of the stiffening under the waistband so that it is even with the seam allowance, and baste the stiffening in place stopping 72" (1 .3 cm) from either end. There should
be
3
W
beyond
224
(1.9
cm) extension of waistband
either
end
of the stiffening.
fabric
Pin the waistband to the sides touching,
front
and back.
matching
skirt
side seams,
with
right
and center
Press the waistline
seam allowance up
to-
ward the waistband. Trim the corners of the folded garment
At the back of the skirt, the neath the grosgrain extends fr" ]
1
yond the
stiffening be-
(3.8
fabric.
cm) be-
zipper edge.
fold and edge of the
At either end of the waistband, press the ends of the fabric along the stiffening.
At the front of the skirt, the stiffening beneath the grosgrain is flush with the zipper fold edge.
Baste
and then hand-backstitch the grosbottom edge of the waistband.
grain along the
Baste the waistband to the
skirt,
distributing
the ease evenly within each quarter. (You will recall that
we
edge of the
have
skirt
1"
made the top cm) larger than the
intentionally (2.5
waistband. See page 209.) Using a ham, steam press the to eliminate
any
ripples or
Machine-stitch
skirt
waistline
puckers of ease.
along the garment
waistband, just beyond the edge of the ing.
fabric stiffen-
Attach a
skirt
hook and
eye.
225
2. •
STRAIGHT SKIRT WITH SHIRRING:
Crescent pockets
• Shirring at center front •
back waistband
Kick pleat at center
• Self-backed
front
This a
skirt
straight
shirring
can be adapted from a pattern for that has neither pockets, nor
skirt
nor kick
The
back view
view
pleat.
shirring will
fabric that
and by adding
Add about
be created by using the
would have been fabric at the
W
in
the front darts,
skirt
top of the side seams.
cm) to the top of the side seam on your pattern front. Using a hip curve ruler, taper that (1 .9 cm) to nothing at the (
1
.9
W
#
hip. skirt will have no measure the back waist stitchline for ease. The back waist stitchline should equal onehalf the body waist measurement plus h" (1 .3 cm) If necessary, add the ease at the top of the side seam on the skirt back pattern, and taper to
Since the back of your
shirring,
x
nothing
226
at the hip.
front
The better
kick pleat in the finished skirt will
the fabric
if
in
the pleat extends
where
all
hang
the
way
can be secured into the waistline seam. If the pleat in your pattern appears as in the illustration on the left, adjust your to the waistline,
it
pattern.
Add
3" (7.6 cm) to your pattern at center
back from waist to the bottom of the skirt. (If you working with a heavyweight fabric, it would be wiser to make a vent rather than a pleat, to are
avoid bulk. See page 209.)
Mark the top of the pleat on the original The length of the pleat opening should equal about one-half the total center back seamline.
length of the finished
skirt.
n^
Follow the instructions layout
and
On •
• • •
•
wrong
for the
and back.
side of the fabric,
chalkmark
the
wrong
side of the fabric, tailor tack
The bottom of the darts The foldline from the top of the
hem The hem
the •
Chapter 5 front
The darts The bottom of the zipper The 3" (7.6 cm) kick-pleat extension The hem foldline
On •
cutting of the
the
in
skirt
pleat to / ^nnnnnnnyi,./.«^.n >
,t\
ft
A A AAnn/1A/lAimiM\^A!lL
foldline
227
Cut the skirt
front
lining '/s"
and back
seams. The lining the
(3
mm)
than the
larger
pieces, at the waist
and
side
cut flush with the bottom of
is
skirt.
Chalkmark on the fabric) a line indicating
lining (right side of the
the 3" (7.6 cm) extension
and mark the top of the pleat. The back darts are sewn, and pressed toward the side seams. for the kick pleat,
Place the
wrong
skirt
back
lining
and the
skirt
back,
Fold the
skirt
and
lining fabric
using the
wrong side, and baste together hem along the center. Work from
center back line of basting as a guide, right sides
and baste little ripples of ease in you stitch. Since the lining and the
pleat
side to
from waist to
the lining side,
garment fabric touching. Press the and then baste along the 3" (7.6 cm) kick
the lining as
extension from waist to
of the
two
skirt
fold,
bottom. This basting
and two
be stitched together, this ease is necessary to ensure that the lining will not pull on the center back seam of the skirt and prevent it from
the top of the kick pleat, tacking well at the top
falling gracefully.
of the pleat.
skirt will
catches
garment
layers of lining
fabric.
The basting
stitches
which run from the top
of the pleat to the hem, are
the
moment
in
left in
the fabric for
order to guarantee accuracy
pressing the pleat foldline.
228
layers of
Machine-stitch from the waist to
in
Press the pleat to the
left
side of the
skirt.
With the back of the skirt prepared, we will move on to the construction of the front crescent pockets.
THE CRESCENT POCKET
side
facing
need patterns labelled crescent pocket facing and crescent pocket yoke, found on pages 301 and 303. Trace these patterns onto oaktag or sturdy paper for For these pockets
you
will
yoke pattern on the skirt front and mark notches at the waist and side seams. Place the
use.
229
Place the facing pattern
on the
skirt front,
notch to notch, and chalkmark the inner curve.
Remove
the pattern.
If,
our design, you have chosen to add to the front of your skirt, stop at this
as
shirring
in
point in the construction of the pockets,
and
attend to the placement of the shirring tape.
Cut a piece of tape long skirt
enough
front
1
(2.5
"
shirring tape
W
(1.9
cm) wide
shirring
to extend across the top of the
cm) from either end. Place the
on the wrong
side of the fabric
along the waistline cutting edge. Machine-bastestitch the tape to the skirt Vs" (3 mm) from the top edge. Stitch a second row U n (6 mm) below x
the
first
row
of stitches. Leave excess thread at
the end of each row. These threads will eventually
be pulled to create the
shirring.
Trim the fabric above the curve.
Now
continue with the pocket construc-
tion. Place the lining yoke
Use the yoke pattern to cut two yokes for each pocket, one from garment fabric and one from lining fabric, both on the straight grain. The lining yoke should be cut about '/V (6 mm) larger than the pattern all around.
the
skirt,
and "A"
to extend 'A" (6 (6
mm)
on the wrong side of mm) above the waist,
out at the side seam.
Place the facing at the pocket curve, right
Use the crescent pocket facing pattern and one facing for each pocket. Overcast the outer edge of the facing by machine or by hand, or press a 'A" (6 mm) hem
cut from garment fabric,
to the
230
==
wrong
side.
and baste yoke as you baste.
sides touching, lining
it
in place,
catching the
Machine-stitch the facing and the lining
yoke
to the
skirt
using a
the pocket curve.
'/s" (3
mm) seam
along
On
Trim the lining above the pocket curve.
the
wrong
side,
machine
stitch
the
outer edge of the facing to the lining yoke. Catch
only the lining and not the front of the
Place the right side of the
Turn the facing and stay allowance.
Stitch close to
stitch
it
to the
seam
yoke
to the
wrong
side of the
garment
skirt,
pocket curve. Baste
W
Stitch
on top
fabric
the notches
on the yoke matching the top and the
the seam.
skirt.
side of the
in place.
of the topstitching for about
cm) at the top and at the side of the pocket curve to secure the yoke to the skirt.
Bring the stay-stitching
Vie" (1.5
seam
will
mm)
to the
not be
visible
(1
.9
and the seam about
wrong
side,
from the
so that the
right side.
On chine lining
the
stitch
wrong
side,
baste,
and then maand the
the garment fabric yoke
yoke together.
Press the facing in place, being careful not to stretch the bias pocket curve.
On hand
the right side of the
or by machine, 'A" (6
of the pocket.
by mm) from the edge fabric, topstitch
seam allowance evenly around the and overcast the edges. The pocket is complete. We now move on
Trim the
inside of the pocket,
to the shirring at the
skirt's
center front.
231
SHIRRING AT THE CENTER FRONT
Pull
the shirring threads
until
the
waistline measures exactly one-half the
waist measurement.
(If
the
skirt
body
has no shirring or
pleats at the waistline, the front
would have
to
measure one-half the body waist measurement, plus
}
h"
(1.3
Place the
front
skirt
cm) ease.)
skirt
front
and
right sides touching. Baste, stitch
skirt
back together,
and then machine
the side seams.
The back lining is not caught in this seam. From the bottom of the zipper area to the waist use a longer machine stitch. These stitches are placed only to provide an accurate foldline for pressing the seam in this area. Press the side seams open. The zipper is now inserted following instructions on page 218. Finish the bottom edge of the skirt using the Hong Kong piping demonstrated on pages 2 9-220. 1
ASSEMBLING
Place the
skirt
SKIRT
front to the skirt
back
AND
lining,
and then machine stitch the side seams. Tack well at the bottom of the zipper, using a longer machine stitch from right sides touching. Baste,
the zipper to the waist. Press the lining
232
seams open.
SKIRT LINING
Pin the lining waist,
wrong
and the
side to
skirt
wrong
together at the
side,
matching the
seams and the center front and back. The lining will be larger than the skirt at the waist, since we have neither shirring nor darts in side
the
lining.
Remove
the basting stitches
area of the lining,
and baste the
in
the zipper
lining fold
along
the zipper tape. Keep the lining a safe distance from the zipper teeth, to avoid the possibility of being caught in the mechanism. Back stitch the lining to the zipper tape.
The bottom
of the lining,
and the
skirt
hem
are completed as per instructions beginning
mr
on
page 222.
Baste around the waistline distributing the ease evenly within each quarter of the skirt, by folding small
flat
pleats in the lining.
233
THE SELF-BACKED WAISTBAND
,
W
1
front
back
3
/V
page 224, we demonstrate the construction of a waistband backed with grosgrain ribbon, an excellent waistband which can certainly be used on this skirt. The use of the grosgrain-backed waistband is most valuable on
back
Open
On
made
skirts
of bulky fabric, since the grosgrain
one
eliminates
waistband.
If
stiffening
fabric
is
not bulky, or
if
you do
not have grosgrain, or simply as an here demonstrate the self-backed waistband.
alternative,
the waistband
fabric,
along the foldline on the
and place the
wrong
side of
The "front" end of the stiffening should be on your right-hand side. There should be (1.9 cm) of garment fabric beyond the the fabric.
W
stiffening at either end.
Machine-stitch the stiffening to the garment
layer of the bulky fabric in the
your
W
front
fabric '/V (6
W
(1
.9
mm) below
the fold. Stop stitching
cm) before either end of the
stiffening.
we
Cut a
strip
of waistband stiffening equal
(3.8 cm). ing, since
We it
in
measurement plus h" 1" suggest (2.5 cm) wide stiffen-
length to the waist
less likely to
is
,
1
buckle with wear.
measure and measurement body waist for the front of the waistband, one-half the body waist measurement for the back of the waistband, and h" (3.8 cm) as an underlap
Working from
mark
right to
left,
off one-half the
]
1
extension.
fabric, on crossbody waist measure-
Cut a piece of garment grain, equal in length to the
ment, plus 3" (7.6 cm). The width of the fabric is twice the width of the stiffening, plus your waistline
seam allowance top and bottom.
Place the waistband at the top edge of the skirt,
right side to right side.
edge of the seam.
On
stiffening
the
skirt
On the skirt front,
should
fall
the
at the zipper
back, the stiffening extends
17?" (3.8 cm). Pin the waistband to the skirt at the side seams, the center front and back. Baste the waistband to the skirt, distributing the h" (1.3 cm) waistline
beyond the
zipper by
]
ease evenly at the back. Fold the waistband fabric wise,
234
wrong
sides touching,
and
in
half length-
press the fold.
Machine-stitch the waistband to the using a
'//'
(1.3
cm) seam.
skirt
Prick-stitch
wrong
along the bottom edge of the through all
side of the waistband. Stitch
but do not allow the stitches to show on the right side of the waistband. Press the waistlayers,
Working from the wrong side of the skirt, seam up toward the waistband; and press the top seam allowance down on top of the stiffening. press the waistline
Fold the waistband
bottom edge of the
down, and
stiffening
band from the
inside.
tuck the
under the waistline
seam allowance. Trim the corners of the waistband
seam
allowance.
â&#x20AC;˘n
At either end of the waistband, fold the garment fabric neatly along the stiffening, and
Use a blanket stitch to secure a skirt hook and eye. A small snap will hold the extension in
press.
place.
On
the
wrong
the waistband
in
side of the
garment, baste
place along the waist seamline.
235
SKIRT
3. •
Three pleats from waist to left
• •
WITH PLEATS at
front
Pocket in right-hand side seam Grosgrain waistband
front
or,
hem
view
Choose a commercial if you wish, modify the
skirt
1.
pattern for this front of
any
skirt,
straight
pattern as follows:
three pleats, each about 1" cm) deep, into a large piece of brown
Press (2.5
paper.
236
back view
2.
Place the
skirt
front pattern
on top
pleated paper, so that the pleats left
side of the
fall
of the
on the
and open out toward the toward the center. Make
skirt,
side,
rather than
sure
that
the pleats sre parallel to the
arrow on the pattern. 3. With your pattern placed correctly over the pleats, chalkmark on the pleated paper a line grainline
indicating the center front of the
skirt.
4. Trace around the edge of the pattern,
the
left
(pleated) side of the
skirt,
first
on
then on the
right side.
5.
Transfer onto the pleated paper, markings
bottom of the and the dart on the right side of the skirt front. The dart on the left side of the skirt is not marked at this time. It will be handled indicating the hemline, the
zipper,
during the construction of the 6.
Remove
7.
Add h"
the straight
skirt
skirt.
pattern.
cm) at the bottom of each side seam on your new paper pattern. Taper the h* .3 cm) to nothing at the hip. This extra fabric will enable the pleats to fall comfort]
(1.3
l
(
ably,
1
and make them
less inclined to
open
out.
Make
same addition at the bottom seams on the skirt back pattern. Cut out your new paper pattern, and open the
of the side
8.
out the pleats.
237
Use the layout and cutting instructions in Chapter 5 to cut the front and back skirt pieces.
On •
•
the
wrong
The The hem
side of the fabric chalkmark:
bottom of the zipper
To cut the
foldline
skirt
front lining, fold a 2" (5 cm)
pleat into a length of lining fabric.
238
On
the right side of the fabric chalkmark,
lightly.
• •
The The
dart pleat foldlines
With the
With the
your
pleats in
skirt
folded closed, place the pattern
so that the pleats
lining,
on top
in
front pattern
on top
the pattern
fall
of the
skirt
hem
pressed up, press each
Work on the right damp presscloth.
pleat foldline separately.
of the fabric, using a
side
directly
of the pleat in the lining.
There
is
no need
for a pleat in the skirt
back
lining.
Cut the front and back lining 7s" (3 mm) than the pattern at the waist and side seams, and flush with the pattern at the hem. larger
Then, press the pleats appear on the front of the
flat.
skirt
Any
ridges that
because of the be pressed out
underneath, can easily To avoid these ridges altogether (and if you have the patience), you might place strips of brown paper under each pleat fold.
pleats later.
Baste
two rows
of stitches across the pleats
at hip level. These stitches will hold the pleats in
place while Fold
and
press the
hem on
the
skirt front.
on the
left
we
take care of the dart allowance
side of the skirt front.
239
>
on the that mea-
Measure the top of the dart which right side of the skirt front,
surement
and
divide
is
On
the
wrong
underlayer of the pleats the hipline. The
into thirds.
side of the fabric, press the
pensate for the dart
Working on the right side of the garment add one-thi r d of the dart measurement to the right of each pleat fold at the waistline, and
disruption of the fabric
chalkmark.
without
fabric,
flat,
movement
in
the area above
of the pleats to
com-
have created
a slight
on the underside.
A good
will
pressing should be able to handle this disruption difficulty.
Machine-topstitch one row along the foldline of each pleat, from waist to hipline. End the stitchline at the
fold,
or take three or four
onto the pleat. Secure the end of the stitchline, by bringing the threads to the inside and knotting them. stitches
The dart on the right side of the skirt front sewn, and pressed toward the side seam.
Move
the top of each pleat over to the
and baste the
smoothly in place, from waist to hipline. This procedure reproduces on the left side of the skirt, the shaping that will be produced by the dart on the right
chalkmark,
side of the
240
skirt.
pleat
is
THE SIDE SEAM POCKET
On the
the right-hand side of the
wrong
side of the fabric,
skirt front,
on
mark the placement
of the side seam pocket. The pocket opening is 6" (15.2 cm) long, beginning 2" (5 cm) below
the waist stitchline.
The zipper side
be placed
will
in
the left-hand
seam.
Cut a
strip
of lining, straight grain, 7"
h" (17.8 by 1.3 cm), to be used ment at the pocket opening. l
On
the
the lining
extend
y
wrong
strip
h"
by
as reinforce-
side of the skirt front, center
on the seamline. The strip should cm) above and below the
(1.3
pocket opening. Baste the lining
right
strip in
place by stitching
seam allowance. Place the skirt front and back together, with sides touching. Baste and then machine-
along the edge,
in
the
skirt
stitch
the side seams, tacking well at the bottom
of the zipper,
and
at the top
and bottom
of the
pocket opening.
From the bottom of the zipper area to the waist, and in the pocket opening area, use a larger machine stitch. These larger stitches are placed in the zipper and pocket area only to provide an accurate foldline for pressing the
seam, and
will
be removed shortly. seams open.
Press the side
241
v
Cut a piece of facing from garment fabric, straight grain, nap down, 2 h" by 8" (6.4 by ]
20.3 cmj. Press a
front
VV
(6
mm) hem
of the fabric along the
your
fabric
is
left
to the
wrong
front
back
side
lengthwise edge.
(If
heavyweight, overcast the edge
instead of folding
it,
to avoid bulk.)
To create the pocket, machine-stitch the unfaced piece of pocketing to the front seam allowance of the skirt, and the faced piece of pocketing, facing down, to the back seam allowance. Use a 'A" (6 mm) seam.
Cut two pieces of
lining, straight grain, to
h" by 6'h" (29.2 by be used as pocketing, 16.5 cm). On each piece, round off the bottom ]
1
1
edge of one corner.
raw edge of the facing along the edge of one of the pocketing pieces, with the curved edge of the pocketing on your Place the
Press the pocketing back,
and machine-
right-hand side. Machine-topstitch the facing to
along the folded edge of each piece of pocketing. Catch only the lining and the seam allowance. These stitches do not go through to
the pocketing.
the front of the fabric.
straight
242
staystitch
Press both pieces of pocketing front of the
allowance
skirt.
in
toward the
Rather than slash the back seam
order to
simply overlap the
let
the pocket
fall
forward,
seam allowance and
press
it
flat.
Stitch
ing
and
around the outer edge of the pocket-
into the
seam allowance. To prevent edge of the pocketing
raveling overcast the outer
by machine or by hand, or use pinking shears.
On
the right side of the
skirt
front fabric,
remove the basting at the pocket opening, and top-stitch by hand along the edge of the pocket opening. You will be stitching through two layers of garment fabric, and the reinforcement strip which is in-between. Stitch a bartack at top and bottom. The pocket is complete. The zipper is now inserted following instructions on page 218. Finish the bottom edge of the skirt using the Hong Kong piping demonstrated on pages 219-220.
Baste the top of the pocketing across the skirt
waistline, placing a small
amount
of ease
in
the pocketing.
243
ASSEMBLING
Place the
skirt
front
and
SKIRT
skirt
back
AND
SKIRT LINING
lining
and then
together, right sides touching. Baste, machine-stitch the side seams. Tack well at the
bottom of the zipper area, using a longer machine stitch from the zipper area to the waist. Press the side seams open.
Pin
the lining and
waist, with side
wrong
pleats
fall
at the
matching the
same
skirt at
skirt
position as the
skirt. Since there are no darts in the the lining will be slightly larger than the
the waist. Baste around the waistline,
distributing the ease
pleats in the lining.
evenly by folding small,
the basting stitches
area of the lining,
and baste the
in
the zipper
lining fold
a\ong
the zipper tape. Keep the lining a safe distance
on the
lining,
Remove
together at the
seams and the center front and back. The pleat which was folded into the
front lining should
244
skirt
sides touching,
flat
from the zipper teeth, to avoid the possibility of being caught in the zipper mechanism. Backstitch
the lining to the zipper tape.
THE GROSGRAIN WAISTBAND
front
back
Beginning just beyond the overlap, mark off a length of ribbon equal to one half the body waist measurement, for the back of the skirt,
and one
half the
for the front of the
body waist measurement
skirt.
The grosgrain waistband, also called the invisible waistband, is on the inside of the skirt. This waistband
is
ideal
when
there
is
a difficult
problem in matching fabric design. It is also often chosen by women who prefer not to call attention to their waistlines, or for reasons of comfort.
The measurement of the skirt at the waist stitchline should equal the body waist measurement plus " (2.5 cm) ease. Chalkmark the waist stitchline at the top edge of the skirt. 1
Place the inner curve of the grosgrain Ve"
mm) above
on the
right
side of the fabric. Pin the grosgrain to the
skirt,
(3
matching
side
the waist chalkline,
seams and center
Baste the grosgrain to the
the ease
in
the
skirt
and back.
front
distributing
skirt,
evenly.
Cut a piece of grosgrain ribbon about 5" (12.7 cm) longer than the body waist measurement. We suggest ribbon about 1" (2.5 cm) wide. Ribbon wider than this will be inclined to buckle. Shape the grosgrain using the iron, and a moderate amount of steam.
Steam press the side of the fabric,
skirt
waistline
should eliminate any ripples at the waistline,
fold
With the outer edge of the curve at the top, back 1" (2.5 cm) at the left end of the
grosgrain. Machine-stitch the overlap of ribbon in place.
made
on the
right
using a ham. This pressing
due
in
the garment fabric
we
to the fact that *
have
cm) than the waistband. It is necessary to press these ripples out before we machine-stitch the waistband to the skirt. deliberately
the top of the
skirt
I
(2.5
larger
245
On
the right side of the
ease
will
again be
skirt.
Place the waistline over a
Machine-topstitch along the edge of the grosgrain, being very careful not to stretch the waistline of the
skirt
as
you sew.
visible at
away.
press the ripples
It
fabric,
ripples of
the top edge of the
is
ham, and steam
essential to use a
ham, in order to maintain the shape of the garment while eliminating the ripples.
front
The grosgrain which extends beyond the zipper at the front of the skirt is folded in half, and then, in half again, and machine-stitched in
the
place.
will
Back-stitch skirt
by hand along the top edge of
on the
stitchline will
produce a
right side of the fabric.
keep the grosgrain firm
edge
in place,
This
and
at the waistline.
/ skirt
back/wrong
side
X Using the waist chalkline as the grosgrain to the
wrong
side of the
skirt.
Baste
along the top edge of the grosgrain, to hold place.
246
On
foldline. bring
it
in
the
wrong
side of the skirt front, place a
hook on the grosgrain fold at the zipper edge. Half of the hook is under the grosgrain, and half on top. Stitch the hook in place. small
A
An
skirt
eye is placed on the wrong side of the back, underneath the grosgrain. The front
end of the grosgrain
is
now
stitched securely to
grosgrain to
band
is
added to the secure the extension. The waist-
larger, skirt
hook and eye
is
complete.
the zipper tape, clear of the zipper teeth.
247
8 Pants THE PANTS POCKETS
side pocket
back pocket
western pocket If,
11),
as suggested in the Pattern unit (page
you have chosen a pants pattern designed you will now be able to create
for side pockets,
any
of the three basic front pockets detailed
hereâ&#x20AC;&#x201D; the
slant pocket, the
Western pocket or
the side pocket.
The back pocket, shown
here,
is
a double-
piping pocket, with or without a buttonhole tab. Patterns for
all
four pockets discussed here
are found beginning
248
on page 291
THE SLANT POCKET
front
If
your pattern
is
designed
for slant pockets,
the pants front pattern has probably been cut
on
the diagonal at the top of the side seam.
you would like to put slant pockets in trousers which have been designed for side pockets, you can adjust your pattern by using the slant yoke pattern on page 295. Place the slant yoke on the pants front If
the top of the side seam. Chalkmark the notches at the waist and side seam, and remove
fabric, at
the pattern. The pattern assumes a pants side
seam allowance
of
5
/s"
(1
.9
cm).
249
Use the revised slant yoke pattern and cut from garment fabric, on straight grain, nap down, one yoke for each pocket. Press to the
wrong
side of the fabric '/V (6
bottom of the yoke and
mm) hems
at the
unnotched
at the side.
Chalkmark a line from notch to notch, and then add a second line, (6 mmj above the first as seam allowance. Trim the fabric above the seam allowance. Do not throw this trimmed piece away. }
W
Using the pattern labelled
on page 297, straight grain, one
facing
pocket.
On
side
and slant on
cut from garment fabric,
piece
of
facing
for
each
the longest side edge of each piece,
press a 'A" (6
mm) hem
to the
wrong
side.
6"
trimmed piece of fabric to the slant yoke pattern, aligning the fabric to the notches on the yoke. The side edge of the fabric will most likely be different from the side edge of the yoke Pin the
pattern.
If
the pants pattern
fits
you, the fabric
edge will coincide more closely to the contour of your body. Therefore, use this revised version of the yoke as you continue to work.
250
12'
Cut one piece of pocketing for each pocket, 16" (40.6 cm) wide and 12" (30.5 cm) long, on straight grain. Fold the pocketing in half
the bottom outer corners to a curve.
and
trim
Place
one piece
of pocketing
side of the pants front,
extending 'A"
above the top of the pants, and
On the
on the wrong
W
(1.6
(6
mm)
nal
along the diagofrom the fold.
right side, topstitch
edge about '/V
(6
mm)
cm) out
seam. Place the facing right side down on the pants front, the unfolded edge of the facing flush with the diagonal cut at the top at the side
of the pants. Machine-stitch the facing, pants,
and pocketing together, using seam along the diagonal edge.
a
'/V
(6
mm)
On
the
wrong
side,
topstitch
along the
folded edge of the facing, attaching the facing to
the pocketing only. These stitches
do not go
through to the front of the pants. Trim
away
the pocketing above the facing.
and the facing seam to the the pants, and press in place.
Bring the facing
wrong
side of
Place the yoke, notch to notch, at the top of the pants side seam,
and
pin
it
in place.
25
Fold the pocketing in half, matching the curved edges. Pin the yoke to the pocketing.
Open
out the pocketing and topstitch the
yoke to the pocketing.
Turn the pocket right side out and press. Topstitch around the pocketing seam (6 mm) from the edge. Just below the pocket opening, on the side X
of the pocketing closest to the slash
about
1"
(2.5
garment
W
fabric,
cm) into the pocketing and
facing. This slash will eventually enable
you
to
hold the pocket aside while the side seams are being sewn. The side seams will be sewn only after
all
pockets and the
constructed.
Fold the pocketing this time, in
once more,
inside out
order to begin a French seam. Begin
V2" (1.3 cm) below the side notch using a 3 /s" (1 cm) seam, and taper the seam to '/s" (3 mm) at the
252
curve and across the bottom of the jacket.
fly
have been
THE SIDE POCKET
12"
14"
12"
Cut one piece of pocketing for each pocket, 12" (30.5 cm) long and 14" (35.6 cm) wide. Fold the pocketing in half on the width, and trim the outside bottom edges into a
on
straight grain,
curve
(as illustrated).
The
side pocket is placed in the side seam on the front of the pants. The pocket opening is between 6" (15.2 cm) and 6'h" (16.5 cm) long, and begins 2" (5 cm) down from the top edge. Notch the top and bottom of the pocket opening. The notches should be no deeper than '/s"
(3
mm).
n
U Using the pattern labelled
side and slant on page 297, cut from garment fabric, on straight grain, one piece of facing for each side pocket. On the longest edge of each piece, press
facing
a 'A" (6
mm) hem
to the
wrong
side.
one piece
Place
of pocketing
side of the trouser front, allowing
on the wrong
W
(1
.6
cm)
pocketing to extend beyond the lower notch,
and
W
(
1
cm) at the center of the waistline.
253
one facing piece face down on top of 'A?" (1.3 cm) below the top. Chalkmark the notches on the facing. Machine-
Bring the facing out to the side of the
Place
the side seam,
trousers,
and
topstitch the facing to the
seam
allowance, very close to the seam.
from notch to notch, using a 5 /s" (1 .6 cm) seam allowance at the top and bottom of the cm) seam pocket opening, tapering to a 3 /s" allowance at the center. Tack well at the top and bottom of the stitchline. stitch
( 1
The pocketing and garment
fabric
is
now
slashed right to the stitchline at each notch. The excess fabric is trimmed away, leaving a 'A" (6
mm) seam allowance
254
along the
stitchline.
Bring the facing to the wrong side of the pants front. The facing seam should also be drawn to the edge of the wrong side, so that it is
from the front. On the right side, topstitch along the pocket opening, 'A" (6 mm) from the edge. Tack well at the top and bottom. not
visible
On facing
is
the
wrong
side,
pocketing and facing only. These stitches do not go through to the right side of the pants.
Place the second facing piece, face
down
matching edges at the top and bottom. The folded edge should be facing up.
on top
of the
first,
The pocketing
the folded edge of the
topstitched to the pocketing. Catch the
the facing.
Make
is
now folded over, on
top of
sure that the curved edges of
the pocketing are even. Pin through the pocketing
and catch the facing underneath.
With the pocketing opened
out, topstitch
the second facing piece to the pocketing.
255
French seam. Pull the trouser leg up and out of your way. Begin with a 3 /s" (1 cm) seam at the bottom of the pocket opening, and taper to '/a" (3 mm) as you stitch around the curve and across the bottom of
below the pocket opening, on the side garment fabric, slash about 1" (2.5 cm) into the pocketing and the facing. This slash will eventually enable you to hold the pocket aside as the side seam is being sewn. The pocketing is not to be caught in the
the pocketing.
side
The pocketing
is
again folded,
this
time
inside out, in order to begin a
Just
of the pocketing closest to the
seam.
The
side
seam
pockets and the
Turn the pocketing and press. Topstitch
around the bottom of the pocketing again, "A" (6 mm) from the edge to complete the French seam.
256
fly
be sewn only after all the have been constructed.
will
THE WESTERN POCKET
The western pants pocket opens at the top below the waistband.
of the trousers, just
your pants pattern was designed for a western pocket, the top edge of the trousers will most likely have been cut away (as illustrated). If
If,
however, you would
like
to put a west-
which was designed for a side pocket, use the pattern marked western shaper on page 293. Place the pattern on the front of the trousers, and chalkmark the notches at the waistline and side cutting edges. Chalkmark, also, along top edge of the pattern. ern pocket
on
Remove
a pair of pants
the pattern
and
trim
away
the top
of the pants, cutting along the chalk guideline.
257
.%"
Use the pattern labelled western yoke on and cut from garment fabric, on the page 29 1
straight
,
grain,
one yoke
Chalkmark the notches edges; (6
and
mm) hem
at
for
at
each pocket. and side
the top
bottom edge, press
to the
wrong
a
'/V
side.
Place
one piece
of pocketing
on the wrong
side of the trouser front, allowing '/V (6
extend above the waistline, and
Using the pattern labelled western facing on
5
/s"
mm)
(1.6
to
cm)
out at the side notch.
page 293, cut from garment fabric, on crossgrain, one piece of facing for each pocket. At the longest edge, press a "A"
wrong
(6
mm) hem
to the
side.
on top and notch
Place the facing, right sides together,
of the pants front, top edges even,
the side of the facing. Machine-stitch
down
from
the waistline notch, and then across the top of
you curve seam allowance to 5 /s" (1.6 cm) the amount of the side seam allowance on the pants. Stitch across, just below the facing, very close to the edge. As to the side notch, increase your
the notch at the side seam.
14"
From pocketing material, 12" (30.5 cm) by (35.6 cm), on the straight grain, cut one
piece for each pocket.
Fold the pocketing
on the width and
the outer bottom edges into a curve.
258
trim
Trim
away
the pocketing at the top of the
trousers.
Topstitch a '/V (6 of the pocket,
At the top of the facing, and
mm) seam
around and out
across the top
at the notch.
at the side
notch, slash to the stitchline.
On the wrong side, stitch the folded edge of the facing to the pocketing. Catch only the facing and pocketing, and not the front of the trousers.
Turn the facing to the in place,
wrong
side
so that the facing seamline
from the right side of the
is
and not
press
visible
fabric.
259
Fold the pocketing
on top
of the yoke,
matching the curves at the bottom edges of the pocketing. Pin through the top layer of pocketing to catch the yoke underneath.
Place the right side of the
wrong
side of the pants front,
yoke
to the
notch to notch,
pin the yoke in place. The folded hem at the bottom of the yoke should be visible from the
and
wrong
side.
With the yoke secured in place, open out the pocketing, and topstitch the yoke to the pocketing.
260
below the pocket opening, on the side of the pocketing closest to the garment fabric, slash about 1" (2.5 cm) into the pocketing and facing. This slash will eventually enable you to hold the pocket aside as the side seam is being sewn. The pocketing is not to be caught in the side seam. The side seams will be sewn only after all pockets and the fly have been conJust
Fold the pocketing inside out, 3
in
once more,
this time,
order to begin a French seam.
cm) seam at the side of the to /a" (3 mm) at the curve and across the bottom. Begin a
pocket,
I&"
(1
and taper
]
structed.
On
Turn the pocket and press. Topstitch once more around the pocketing, 'A" (6 mm) from
two
the edge, completing the French seam.
to the pants front. Tack
the right side of the pocket, topstitch
vertical
rows of
stitching at the
stitching attaching the
yoke
one diagonal row of bottom of these stitchlines.
At the side notch, topstitch the pants front
one diagonal row The western pocket is complete.
into the pocketing, using stitching.
of
26
THE BACK POCKET
Use the patterns labelled back piping (page 295) and back facing (page 297), and cut from garment fabric, on crossgrain, one piping and one facing piece for each pocket.
The back pants pocket
is
a double-piping
the
Press
one 'A"
wrong
side of
mm)
(6
each
lengthwise
hem
to
piece.
pocket, with or without buttonhole tab, constructed
somewhat
from the double-
differently
piping pocket for jackets.
r
&.
j
From pocketing material, cut two pieces, 8" (20.3 cm) by 7" (17.8 cm), straight grain. With the pocketing pieces together, trim top and bottom (as illustrated).
The pocket placement line, 5"-5'/2" (12.714 cm) long, is drawn on a slight curve, the center of the line being about Ve" (3 mm) lower than the sides. This curve will help prevent the pocket from gaping open when not in use. The pocket placement line is drawn at the bottom of
the darts, and 2"
(5
Check the length
of the darts.
than 3'/2" (8.9
and you keep
in
to 3
h"
]
will
cm) from the side stitchline. If they are longer cm), the pocket will be too low,
end up
sitting
on whatever you
the back pocket. Simply shorten the darts (8.9 cm) to avoid the
discomfort.
possibility of this
Place
one piece
of pocketing
on the wrong
side of the pants back, allowing '/V (6
pocketing to
show above
mm)
of
the pants at the center
of the pocket.
262
ir*a
Draw wrong
the pocket placement
side of the piping
the pants along this
line,
line
Draw
on the
and baste the piping
to
catching the pocketing
underneath as you baste.
the piping to the
edge of piping
the
pocket placement line. Stitch '/s" (3 mm) above and below the line, and exactly at the beginning and end of the line at either side.
Slash through the center of the stitchlines,
and cut
W
(1
cm) prongs at either end.
and
visible
above and below. Steam
press the pocket from the right side.
Using a small machine-stitch (about sixteen
sew completely around
side,
baste around the pocket opening, leaving a thin
m
stitches per inch),
wrong
sers,
1
a;
Machine-stitch on the right side of the trouvery close to the sides and bottom edge of
the piping.
On
the
wrong
side,
machine
topstitch the
folded edge of the piping to the pocketing.
263
The two pocketing pieces are again placed together, this time, inside out, in order to begin a
French seam. The trouser leg will have to be up and out of your way. Stitch around the pocket using a la" (3 mm) seam. pulled
On
the inside of the pants, place the facing
]
right side down, and center it on top of the pocket opening. The folded edge on the facing should be visible.
Turn the pocketing, and press. Stitch around the pocketing once more, this time 'A" (6 mm) from the edge, to complete the French seam.
Place the second piece of pocketing
on top
first, matching the edges. Pin through the second piece of pocketing and catch the facing. The broken line in this illustration indicates the position of the facing under the pocketing.
of the
The buttonhole tab is constructed from a h n (3.8 garment fabric, straight grain, cm) by 4" (10.2 cm). Stitch the strip lengthwise, using a 3 /s" (1 cm) seam, and press the seam strip
Now that the exact placement of the facing has been determined, the second piece of pocketing is removed, so that the facing can be machine-stitched to
tom edge
264
it.
Topstitch across the bot-
of the facing, along the folded edge.
of
open. Turn the
,
1
strip to the right side, and press the seam to the center. The strip is now folded into an anow shape and topstitched (as illustrated).
Insert the tab into the
ing a
5
/s"
(1
.6
cm)
slit
in
pocket opening, leav-
the tab
below the top
piping.
V2"
To complete the back trouser pocket, sew a .3 cm) button just below the bottom pip-
(1
ing.
Topstitch at the sides
and across the top
of
the pocket, very close to the piping.
THE PANTS FLY
Cut two
be used should be
bias strips of pocketing to
as reinforcement for the
fly.
The
strips
wide enough to extend '//' (1.3 cm) beyond the fly foldline, and long enough to extend from the waist to the bottom of the fly.
Trim the bias extension,
strips to
and baste them
each fly, "A" garment fabric.
(6
mm)
the shape of the to the
wrong
fly
side of
from the edge of the
265
On
and press the fly The reinforcement will be
At the bottom of the
the right front, fold
along the
fly foldline.
caught
the fold. Baste the
in
seam allowance.
left fly,
slash into the
Slash very close to
what
be the crotch stitchline. Turn and press the lining to the wrong of the fly, and baste along the outer edge.
place.
fly in
crotch will
side
Trim the bottom ends of the zipper tape to
A"
(6
mm) below
zipper face (6
down,
mm), along the
the zipper stop. With the
fold left
and
press a
hem, 'A"
side of the zipper tape.
Baste the folded edge of the zipper tape
On
the right side of the
left front,
then machine-stitch a straight-grain to the outer
edge of the
seam. The lining (2.5
serve as facing.
266
strip
cm) beyond the
fly,
using a
baste
strip
'/s"
and
of lining (3
mm)
should extend about fly foldline.
1"
This strip will
along the edge of the at
fly foldline.
The metal stop h"
the bottom of the zipper should be
]
cm) above the notch which we cut at the bottom of the fly. Using a zipper foot, machine(1.3
stitch
the zipper to the
bottom.
fly,
tacking well at top
and
On
the
wrong
side,
the zipper
seam
is
reinforcement.
The
lining
and reinforcement
are
basted and then machine-stitched or slip-stitched
along the edge. The garment fabric in
is
At the waistline, the
allow-
concealed by folding first the reinforcement, and then the fly-facing on top of the
ance
right front
should over-
by 'A" (6 mm), and taper naturally to the bottom of the zipper. Baste the fly closed; basting close to the fold on the edge of the right lap the
left
front.
not caught
these stitches.
On
the inside, pull the
left
fly
aside,
machine-stitch the zipper to the right
sides touching,
two pants and
stitch
from the notch to " (2.5 Tack well at either end. 1
fronts together, right
along the crotch seam cm) from the inseams.
and Only
and the zipper are caught in these and not the front of the pants. Machinestitch two rows on the zipper tape; one very close to the zipper teeth, the other at the edge of the
Place the
fly.
fly
stitches,
the tape.
267
cm) from center front, on the right front of the pants, chalkmark a line parallel to the folded edge of the fly, and curve the line to the center front, V2" (1 .3 cm) below the bottom of the zipper. Baste through the front of the pants, catching the right fly [but not the
About
left)
X
1
U"
(3.2
underneath. Machine-topstitch along the chalkline, from
the waist around to the notch, catching only the right fly fly
underneath. Tack well at the notch. The
complete.
is
THE PANTS SIDE SEAMS
The pants
side
pockets and the
fly
seams are sewn only after all have been completed, and
before beginning the construction of the waist-
band.
Cut a bias cm) long and
strip l
1
h"
reinforcement for
of pocketing about 8" [20.3
cm) wide, to be used as the hip area of the side seam. (3.8
Baste the reinforcement to the
you
wrong
side
are not lining the pants, follow the
of the back of the pants, at the top of the side
instructions given here for reinforcing the top of
seam. Machine-stitch the pants side seams, being sure to keep the front pockets out of the way as you stitch. The reinforcement is caught in the
If
the side seam,
and
finishing the
edge of the
pocket. If
the pants will be lined, the reinforcement
and pocket stitch
268
finishing
the side seams
is
and
not necessary. Simply press
them open.
stitchline.
Press the
seam open.
Bring the pocketing
strip
forward, fold
over the pants seam allowance, and press
it
it
in
place.
Fold
and
ing so that
it
edge of the front pocketreaches just to the edge of the back press the
seam allowance.
269
Machine-stitch along the edge of the front pocketing, catching the back
and the reinforcement outside of the trousers
BELT
strip.
seam allowance,
Do
not catch the
in this stitch.
LOOPS E
Z
2 seam allowance open, and
Press the
the fabric will
strip
be very
before turning
difficult
it
to turn a strip that
lent to the length of four loops or right side, press the
of the
If
you wish
waistband, cut a
belt loops,
enough to extend from the top of the waistline seam allowance down to 'A" (6 mm) below the waist stitchline, and then extend up and over the top of the waistband by about li" x
(1
cm).
The
cm) wide.
270
seam allowance
equiva-
On
the
to the center
cut the loops.
of
long
(1 .3
and
is
more.
It
or carriers at the
garment fabric long enough to construct seven loops. The length of each loop will depend on the width of your waistband, and the amount of seam allowance you are using at the waistline. The loops must be strip
strip
cut
to the right side.
finished loops should
be about
W
Baste the belt loops
on the
right side of
the pants, at the center of each pants front section, at
the side seam, and at the center of each
pants back section. The seams on the loops
should be facing up. The loop for the center back seamline
will
be attached
attached to the pants.
after the
waistband
is
THE PANTS WAISTBAND
Either the
grosgrain-backed waistband
(page 224) or the self-backed waistband (page
may be
used
Modify either waistband so that it is constructed in two halves, which will be joined eventually at the center back seam. A center-back waistband seam is most con234)
for the trousers.
venient for alterations
The
At
in trousers.
belt loops are
caught
in
the waistline
point the inseams are
sewn and is sewn
seam
from the top of the waistband, along the crotch, to the fly. Press the seam open.
seam.
On
this
pressed open. The center back
the right side of the fabric each loop is down 74" (6 mm) below the waist-
topstitched line
seam.
With the pants turned right side out, and the inseam and outseam of each leg aligned, press a crease from
hem
to
about hip
level, front
and back. Press first on the inseam and then on the outseam side of each leg. If
there are front pleats, the front crease
meets the deeper of the two pleats line (see
at the waist-
page 278).
271
cm) below the waistAt center back, 3 /s" seam, place the raw edge of the last belt (
line
loop,
seam
1
facing up. Back-stitch the top
edge of and
the loop into the pants. Bring the loop up back-stitch
once more,
stitches to hide the
far
enough above the
raw edge
first
you have decided to line the trousers, the must be constructed and attached now, before the completion of the waistband and belt If
lining
loops. If
ahead
of the loop.
you
will
not be lining the trousers,
to the last instruction
move
on page 273.
THE PANTS LINING
Cut the pants
lining '/s" (3
mm)
larger
than
the pants pattern at the side seams, crotch, and center back;
and
]
h"
(
1
.3
cm) beyond the
fly foldline,
cm) beyond the waist cutting line. lining seams, using the same seam allowances as used for the pants. Press the seams open. 1" (2.5
Sew
272
all
With the pants and the pants lining, wrong one layer of lining seam allowance, and one layer of pants seam allowance together along the crotch and center back seam. Finish basting about 2" (5 cm) below the sides touching, baste
waistline
On
the
left
side of the pants the lining
is
basted along the lining which already covers the fly.
With the pants
legs,
legs of the lining placed inside the
pin the lining
and pants
waistline
together at the side seams, the center back seam,
and
at the center of
each
side of the pants front.
Distribute the ease in the
by folding small
pleats
on each
back of the
lining,
side of the pants.
T
The waistband is carefully basted in place, and the belt loops are secured by hand at the top of the
wrong
side of the waistband.
Baste the front lining along the edge of the zipper
on the
right side of the pants,
and then
baste across the waistline, distributing the lining
ease
in small ripples.
With the pants inside out, baste the front along the edge of the zipper on the right of the pants, and then baste across the
lining
side
waistline,
distributing the
lining
ease
in
small
ripples.
273
THE PANTS HEM
hem up, keeping the stitches cm) below the top of the hem. A piece of cardboard placed in the pants leg at the hem, will facilitate the basting and prevent the stitches from catching the other side of the pants. Baste the
about
The pants hem should reach
to
1
"
(2.5
about the
middle of the back of the shoe, and cover the top of the shoe
in
the front.
If
the
hem
hits
the front
of the shoe, the pants will "break" at about
ankle
level.
A
slight
break at the front
is
abso-
is a The break or lack of matter of preference. The top of the shoe, however, should be covered. Pin the bottom of the
lutely acceptable.
it,
pants to the desired length.
Steam press the
hem
on the
flat,
right side
of the fabric, using a presscloth.
Fold back about 3 /s"
hem and using
silk
not be
hem-stitch the finishing thread.
visible
on
(
1
cm)
at the
hem These
stitches
visible,
from having
pulled the thread unnecessarily tight. side of the fabric.
274
hem
foldline
on the
right
are lined,
should
the right side of the garment;
nor should any puckering be
Chalkmark the
top of the
into the pants,
the lining at the
hem
the jacket (page 128) or the
is
skirt
If
the pants
handled as was (page 232).
THE HEEL STAY
D
t
A
strip
of fabric, called a heel stay,
applied to the
hem
is
now
back of the pants. Its purpose is to protect the hem from wear in the area that will come into contact with the back of the shoe.
at the
7.8 Cut a strip of garment fabric, about 7" cm) long and 3" (7.6 cm) wide, and fold (as (
illustrated).
Place the fabric just
1
above the hem
back of the pants. Secure the heel stay to the hem by back-stitching along
fold at the center of the
the folded edges, and by cross-stitching the
edges
at either end.
These
stitches
raw
should catch
only the hem, and not go through to the right side of the pants.
275
THE PANTS CUFFS
Working on the right side of the pants, fold the fabric on line #3, and bring the fold up to meet line #2. This fold will be the top of the finished cuff. Baste around the top of the cuff,
bottom edge
attaching
you have chosen
If
cuffs
instead
it
to the pants.
of a
bottom of the pants, you of fabric below what you left quite bit will have a determined to be the bottom edge of the pants straight
(page
hem
14).
for the
Now,
several lines are
right side of the fabric, as
guides
drawn on
the
creating the
in
cuff. First, draw a line indicating what will be the bottom edge of the pants; keeping in mind that cuffed pants need to start out slightly longer U" (6 mm) than those with straight hems. Some of the length always gets lost in the folds. Draw one line above the first, and two lines below it, all at a distance equal to the width of n the cuff. An average cuff is about fr (3.8 cm) ]
Fold the
3 /4"
side of the pants,
hem
cm)
(1.9
to the
wrong
and baste around the bottom
of the cuff, attaching the
hem
to the pants.
x
1
wide.
Below the last line leave about 3 A" (1.9 cm) hem, and trim away whatever fabric is left at the bottom of the pants.
k%<'V
W
W*^ÂťVV
On the wrong
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,
fcVUfr 'Vj
i
ysw
w
^
side of the pants, cross-stitch
along the top of the hem, catching the inner layer of the cuff as
Press the cuff
276
you flat
stitch.
from the
right side.
PLEATED PANTS 15/8 "1
A
The procedure
making a pattern
for
B
/8 " 3/4"
5
C D
for
pleated pants from an unpleated pants pattern, is quite simple. Cut a piece of tissue paper about 3" (7.6
cm) longer than the measurement of your
pants front pattern from waist to knee, and about 6" (15.2 cm) wider than the pattern.
Draw
a line
down
the center of the tissue
from top to bottom. This crease
line at
Draw the crease illustration.
line will
represent the
the center front of the pants.
three additional lines to the right of line,
at
Label the
distances indicated lines.
A,
B,
C,
and
in
the
D. '
Crease the paper along the length of line A, line A over so that it touches line
and then bring
B at
the top of the paper.
Smooth the paper downwards, so pleat disappears in the
paper
that the
at a level just
above
the knee.
Cover onto line D at the top of the and smooth the paper so that the pleat
Fold line paper,
disappears a short distance from the waistline.
277
Place your pants front pattern
on top
folded tissue paper, so that the crease line pattern
on the tissue does not have a crease and
that
coincide.
of the
on the If
your
drawn on divide your pattern in half at the knee and at the hem. Draw a line connecting these two points, pattern
line
it,
and extend the line to the waist. Trace around the edge of your pattern from waist to knee.
and cut out the
Remove
new
the unpleated pattern,
tissue-paper pleated pants
pattern.
This pattern
is
placed
on top
of your basic
pattern from knee to waist for cutting pleated pants.
There is no adjustment of the basic pants back pattern for pleated pants.
278
POCKETS
There
a variation often used
is
structing front pockets in sers.
PLEATED PANTS
IN
women's
involves the insertion of a panel
It
inside of the front trousers, for the
controlling the graceful
panel,
when
which doubles
fall
con-
pleated trou-
on the
purpose of
of the pleats.
The
as the back of the pockets,
extends from side seam to zipper.
It
controls the
from underneath, by restricting the width of the pants front, to the width it would be if there were no pleats. Let us demonstrate. pleats
With the
pleats in
your pants front pattern
folded closed, place a piece of paper over the pattern
broken •
and cut the paper as
by the
line:
'A"
72"
mm) beyond
(6
line at
•
illustrated
(
1
the pattern cutting
and side seam. cm) beyond the fly foldline, from
the waist .3
waist to fly notch. • 12" (30.5 cm) long at the center of the pattern. •
2"
(5
cm) longer than the bottom of the
pocket opening at the side seam.
279
Pattern
2"
A
Pattern
A
Cut out the pocket pattern and draw a line (5 cm) in from the fly edge. Draw the
grainline as indicated.
Pattern B
From pocketing piece from pattern A, Pattern B
first,
on the bias, cut one and one from pattern B for
fabric,
each pocket.
Cut out a second pattern piece, equal to the minus the 2" (5 cm) at the fly edge.
The
slant
is
then constructed accordon page 249, with
ing to instructions beginning
the substitution of
one
pattern B piece as the
pocketing.
Follow the instructions up to the right-hand
column on page 251
280
Instead of folding the pocketing in half, as indicated
on page 252, place the
pattern
A
Stitch
the
two
pieces of pocketing together,
and overcast the bottom edge.
pocketing under the pattern B pocketing, matching the side and waistline edges.
Move yoke
the pins
to the pattern
Topstitch the
up
A
carefully,
and attach the
pocketing.
yoke
to the
"A"
Baste the edge of the pocketing to the pants
pocketing. front,
V2" (1.3 cm) beyond the
is
fly foldline.
The
complete.
below the pocket opening, on the side garment fabric, 1" slash about (2.5 cm) into the pocketing and facing. This slash will eventually enable you to hold the pocket aside while the side seams dre Just
of the pocketing closest to the
being sewn.
The side seams will be sewn only after all pockets and the fly have been constructed (see pages 265-270)
28
9 Alterations TAPERING THE JACKET LAPELS
Because of constant changes frequent tailoring alteration
is
in
jacket lapels.
The
first
step
in
this
chalkmark on the front of the ting the desired
change
in
alteration,
jacket
roll line
you work.
282
is
to
lapel, a line indica-
width.
Baste through the lapel, just
Open
fashion, a
the tapering of
the facing
the bottom of the
seam from collar notch to and remove the tape
roll line,
from the outer edge of the lapel. It is not necessary to remove the tape which lies across the top of the lapel, unless
you
are also
changing
this
line.
beyond the
to control the layers of fabric while
Transfer onto the canvas a chalkline indicating the
new
finished
edge of the
lapel.
Trim the canvas (but not the garment fabric) along the chalkline, and baste cm) cotton twill tape (which has been soaked in cool water and pressed) along the length of the lapel. Allow
W
the tape to extend into the
beyond the canvas, by about
]
(
1
seam allowance, l\b" (1 .5 mm), to
give the lapel a thinner edge.
along both edges of the tape, The stitches should go through to the underside of the lapel, but should be small enough to be all but imperceptible. Slip-stitch
using
silk
thread.
seam allowance to cm) beyond the tape, and trim slightly
Trim the garment fabric 3
/s"
(1
The lapel seam allowance is now folded up onto the tape, and finished according to the instructions beginning on page 121. If the lapel adjustment has been of a significant amount, it may now be necessary to modify the collar, to maintain a pleasing balance between collar and lapel. The collar can be in the same manner as was the lapel, or, you wish, a new collar can be drafted (page 156) and applied (page 142) using a new undercollar and (if necessary) the garment fabric from
tapered if
the old topcollar.
closer at the tip of the lapel.
283
ADJUSTING THE SLEEVE LENGTH
The jacket
alteration
done most
often
is
Remove
the cuff buttons, and, with the
probably the adjustment of the sleeve length.
sleeve inside out, loosen the lining at the
The length
and along the vent. Bring the your work area.
preference,
may be
of the sleeve
and
is
primarily a matter of
of comfort.
as short as
hn
v
The jacket sleeve cm) above the
(1.3
bottom of the shirt cuff, or as long as is comfortable to your client. Because of the layers of fabric at the sleeve vent, the cuff is too bulky to be folded up and pinned accurately to determine the correct length. Chalkmark on the cuff the amount to be shortened, or make note of the amount to be lengthened. Baste around the sleeve about 8" (20.3 cm)
above the hem, work.
284
to control the lining while
you
lining
hem
up out of
Diagonal-stitch the
ment and
Remove the hem original
hem
stitches
and
slip-stitch
hem
into the reinforce-
the ends of the vent closed.
press out the
Use a sleeve board for this press mitt into the bottom of
foldline.
pressing, or insert a
the sleeve.
Baste the lining
A"
hem hem
place along the vent
and place the lining hem fold about cm) above the sleeve hem. Keep the basting about " (2.5 cm) above the lining
(page 3
in
1
70),
(1.9
1
fold.
Fold back the lining
one
layer of lining into
hem and
one
hem-stitch
garment
layer of
fabric.
Fold
and press the new hemline and press a bottom of the topvent (page 168).
miter at the
Replace the sleeve buttons (page
1
84)
and
press the sleeve (page 186).
285
RE-LINING THE JACKET
To re-line a jacket for which the pattern is not available, remove the old lining carefully. Separate the lining pieces into front, back, side,
and
sleeves;
The the
new If
and
press each well.
old lining
is
now
used as a pattern
for
With the
and jacket seams aligned, and around the edges of the lining (page 131). The use of a mannequin, or even a hanger, will make this job
is
The
poor condition
reason to believe that the is
due
to
its
enough
Once
being too small for
mm)
vertical
and
fabric at center
back to
the
(3
to
front of the lining
is
basted and then
attached into the facing using a
all
the jacket, add an extra Vs"
seams, and leave
lining's
lining
the center back seam
easier.
one.
there
down
baste
the
body
lining
lining sleeves are
seam allowances
is
slip-stitch.
complete, thejacket
turned inside out so that
of jacket
and
lining sleeves
create a controlled pleat (page 129).
can be basted together.
Sew the front and back of the lining together at the side seams and anchor this lining
basted to thejacket lining around the armhole,
shell into
286
the jacket at the waistline notches.
The top and
of the sleeve lining
finished with a slip-stitch.
is
folded
and
ALTERING THE JACKET WIDTH
A
jacket
which
is
too wide
in
the
body
should be pinned to fit, tapering gradually into the seamline. If the jacket is too tight, do not open the seams in order to decide how much of the
seam allowance
to
let
out.
control over the alterations stitches
only after the
new
if
If the alteration cannot possibly avoid the underarm, open the armhole seam, just in the
underarm
area.
You have more you remove old
ones are
in.
287
Open
the lining at the side seam, and baste
the front and back of the jacket together just
beyond the
pins.
press the
seam
there
If
Transfer the pin marks to chalkmarks,
and
flat.
Machine-stitch along the chalk guideline.
is
shaping in the seam, puckering at the waistline
significant
may now be
there
caused by pulling from the seam allowance. Steam-press the seam allowance at the waistline, stretching
it
into
a
reverse
lengthen the seam allowance
and
f
curve. in
This
will
the shaped area
relieve the puckering. If
the alteration has involved
less
than
1
(2.5 cm), it may be possible to ease the sleeve back into the armhole without adjusting the
sleeve. If,
however, despite valiant
impossible to gracefully
now
fit
effort,
you
smaller armhole, reduce the ease
ing the sleeve
underarm seam.
back seam. This would
find
it
the sleeve into the
by
taper-
Do not taper the
distort the
shape of the
sleeve.
With the armhole jacket lining (page
(page 173).
Remove
the old stitches, and trim the
allowance. Press the seam open.
288
seam
174)
finished,
replace the
and the
sleeve lining
ALTERING SKIRTS The
alterations
for
the
skirt
are
accom-
plished following the instructions given in the
muslin
fitting (see
pages 38-45).
ADJUSTING THE PANTS WAISTLINE
Machine-stitch the
new
seam, beginning at
the top of the waistband, and tapering gradually
Remove the old seamline, and you have the fabric, leave as much as V2" (3.8 cm) seam allowance at the top of the center back seam to allow for future alterations. Press the seam open. into the crotch.
trim the
seam allowance.
If
1
If
pin
the pants are too loose at the waistline,
them
to
fit
(as illustrated),
the center back seam. the
If
seam must be opened
Remove
first,
tight,
and then pinned.
the center back belt loop. Transfer
the pin marks to chalkmarks, ter
without opening
the pants are too
back seam allowance
flat.
and
press the cen-
Attach the center back belt loop (page 272). Back-stitch along the basted edges, using silk
finishing thread.
289
TAPERING THE PANTS LEG
Pants which flare at the bottom can be altered to a straight leg design quite simply.
With the pants inside out, and the hem down, press the seam allowances flat. The stitchlines which produce the flare will be obvious below the knee, at both the inseam and out-
Draw chalklines from the knee to the bottom of the pants, narrowing the pants leg the same amount at the inseam and outseam. seam.
Machine-stitch along the chalkline
away
and
trim
seam allowance. the seam open.
the excess
Press
ADJUSTING THE PANTS LENGTH The adjustment
of the pants length
following the directions
beginning,
290
let
down
is
done
on page 274. Before hem and press well.
the old
Patterns
western yoke
29
293
k
back pocket piping
*
295
side
&
slant
k
pocket facing
i back pocket facing
t
*
297
299
1
crescent pocket facing
301
J03
*os
About the Authors Roberto Cabrera,
a native of Argentina,
is
a graduate of the
Academy
Buenos Aires. After apprenticing with tailors in Europe and South America, he opened his own firmâ&#x20AC;&#x201D; Cabrera Coutureâ&#x20AC;&#x201D; first in Buenos Aires, and then on Madison Avenue in New York. He has been teaching tailoring at the Fashion of Design
and the
Institute of
Technology,
French-Italian Fashion School, both in
New
York City, since 1970.
Patricia Flaherty Meyers' background has been in the field of education. She is a graduate of Notre Dame College and of the Association Montessori International in London, England. She is the Director of the Vera Gander Montessori School in New York City.
307
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