j‘ FUNDAMENTALS OF PATTERNMAKING

FOR

WOMEN'S APPAREL

BOOK 2
STYLE PATTERNS

by
ESTHER KAPLAN nvmcx

3rd REVISED EDITION

F U N D A M E N TA L S OF PATTERNMAKING

FOR

WOMEN'S APPAREL

BOOK II

STYLE PATTERNS

by

Esther Kaplan Pivnick

3rd Revised Edition

DARWIN COIMUNITY COLLEGE LIBRARY

T1453o
 INTR ODU CTION

This book follows from Book I on Foundation Patterns. Book I describes the
important basic foundation patterns f o r all types of garments, their draping and grading.
It also includes a set of pertinent measurement charts.

Book II uses the foundation patterns to make the most important and basic
types of styl e patterns. There can be m a n y s ty le variations, but only a few basic ways a
piece of material can be cut into to m a k e a style, from the patternmaker's point of view.
Collars will have one type of roll or another; a sleeve can be handled only in certain basic
' w a y s ; the procedure for making gathers is the same whether f o r a waist, a skirt or a
sleeve. The principles of cutting underlying these basic types is the concern here. They
have been kept as general and flexible as possible, suitable for all types of garments in
all size ranges. Rigid measurements have been avoided as unnecessary. The relation-
ships between the instructions for the various parts of the garment have been carefully
noted.

The book has been laid out with a defi nite order in mind for learning. One
problem develops from another, and so each section should be followed in its sequence for
b e s t r e s u l t s . Each problem should be c a r e f u l l y worked o u t exactly as presented, at first.
The patterns should be cut out in s o m e kind of fi tting cloth such as unbleached muslin, and
pinned or basted together. They can then be tried on the dress form or the person from
which the foundation patterns were made. Changes and corrections can be made in the
muslin fi t t i n g and transferred back to the paper pattern.
Later, a f t e r the basic principles involved are clear, the completion of the
style lines can be l e f t to the cloth fi tting. A sort of combination of "flat" patternmaking
and draping can be used.

There is no need in my opinion for any argument about draping versus "flat"
patternmaking. Both make patterns. In each case, the patterns are based on the same
principles. Since the principles work out automatically in " fl a t “ patternmaking, the be-
ginner can achieve b e t t e r r e s u l t s by starting his learning with the handling of paper foun-
dation patterns. He can then b e t t e r apply his understanding to working with fabrics on a
dress form if he wishes. The more advanced worker can produce his effects more quick-
l y . There is no clear l i n e separating the two. I, in my own work as a patternmaker and an
assistant designer have constantly combined the two methods. I have used the foundation
patterns to block out swiftly, d i r e c t l y in the muslin if possible, the important construction
lines, such as the shifting of the bust dart to some style l i n e , the type of r o l l f o r the c o l -
lar neckline, the basic shape f o r a kimono sleeve, e t c . The muslin w a s then cut with suf-
fi c i e n t seam allowances f o r any changes, and fi tted to the dress form. Working on the
dress form I could perfect the shape of my s ty le lines, take care of any change caused by
the nature of the fabric, s h i f t fullness a l i t t l e , tighten up a bit where better design seemed
to call for i t , e t c . Even then, the pattern, carefully corrected and fi nished, might under-
go l a t e r corrections because of the fabric used for the garment. A fi n e wool will give d i f -
ferent results from the s a m e pattern than a slippery rayon. B u t these changes are minor,
not affecting the basic construction of the pattern.

Draping shows the learner the signifi cance of the grain of the fabric. It per-
mits experimentation with fabric and allows for a sort of three-dimensional sketching.
"Flat" patternmaking shows the learner c l e a r l y the relations between the parts of the p a t -
tern. It makes him appreciate the need for accuracy, f o r a "good“ l i n e . It teaches him
how to maintain the s a m e basic standards of fi tting no matter what the style variation. It
allows h i m to make well-fitted garments t h a t can be m a s s produced with uniform r e s u l t s
in fi t and s t y l e . It permits creativeness based on sound principles.

The tools needed are a sharp p e n c i l , a sharp pair of shears, an accurate

ruler, a tape measure, and loads of paper, muslin and patience f o r m u c h practicing.

Esther Kaplan Pivnick

February, 1958
Cold Spring Harbor, N. Y.

iii
 TABLE OF CONTENTS

DARTS
Bust Darts, Back Waist Darts, Yokes
INDEX............................................page 1

SKIRTS
Yokes, Pleats, Gathers, Flares, Circle Skirts,
Godets
INDEX............................................page 31

SLEEVES
Set-In S l e e v e s
Bell Sleeves, Bishop Sleeves, Lantern Sleeves,
Special Style Sleeves, Gathered Cap Sleeves,
Darted Cap Sleeves, Cowl Sleeves
I N D E X . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p a . g e 55
Sleeve- W a i s t C o m b i n a t i o n Sleeves’
F i t t e d Raglan Type Sleeves, Gusset Kimono
Type Sleeves, Non-Gusset Kimono Type Sleeves
I N D E X . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p a g e 77

COLLARS AND SPECIAL NECKLINES

Flat C o l l a r s , Rolled C o l l a r s , Band Collars,
Raised Necklines, Cowl Necklines
INDEX............................_................page 103

APPENDIX
The Two-Piece Sleeve, Cuffs, Pockets, Circu-
lar Ruffles, Groups of Pleats, AComplete Dress
Pattern and I t s Grading, Grading the Two—Piece
Sleeve '

INDEX............................................page129
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 INDEX TO DART-S

P\'I‘HE BUST DART....................... . . . . ...PAGES 3-24

THE B A C K D A R T S . . . . . . . . . . . . . . . . . . . . . . . . . . . . P A G E S 25-29

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

Page 5 Page 6 Page 6

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

Page 8 Page 9 Page 10

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

\ A

Page 11 Page 12 Page 14

 Page 15
5
Page 16
W Page 16 Page 17

'
P

.
I
Using The Bust Dart In A Style Line . . . . . . . . . . . .

.
. . . .pages 18-24

Page 18 Page 18 Page 19 Page 20

Page 21 Page 22 Page 23 Page 24

 DARTS

\
\ /
/ \
A dart is a seam made by joining the two edges
/ \
of a triangular section removed to shape a fl a t
piece of cloth so that it covers a round form. The I I
pattern f o r a cone is a good example. The shaded
section has been removed. When lines A and B
are joined together, the flat c i r c l e ‘ is forced i n t o
a cone shape.
\\A 3/
@
The dart shows the place where surplus material
has been removed to fi t a piece of c l o t h smoothly
to a round form.

Fitted garments have darts wherever the body is rounded, for

example: the b u s t , the hip, and the shoulder blades. A loose-
ly flared or gathered garment provides ample fullness f o r the
round parts of the body in its o w n design.

//
No darts are needed in the gathered bodice
since the fullness is more than enough to
// )1)
make room f o r the bust.

/V
/
In the fi t t e d bodice the material used to cover the
bust is reduced by the two darts to shape it to the
size of the waist. (See Book I on draping the f r o n t
waist pattern. )

The bust dart has many s ty le uses. The back waist and hip
d a r t s are more limited. But the principles involved in the
use of a l l the d a r t s is the same. The next two lessons on
Bust Darts and Skirts illustrate the basic principles.
 ~
.«<.»;va*°?-‘vs-r~.—

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

the surplus material resulting from fi tting the roundness of the
bust.

The surplus material need not be removed as one severe dart. It

can be divided into m a n y smaller darts, or tucks, or pleats, or I

gathers, e t c . It can be hidden in s e a m lines.

The Figures in this section illustrate a l l the basic uses of the bust
d a r t . The possible number of variations is limited only by the de-
signer's imagination.

Figure 1A a

Figure 1B

This is the basic f r o n t waist pattern with The bust dart can be placed in any position on
the bust dart at the waistline. (See Book the f r o n t waist p a t t e r n so long as it points to
I, The Front Waist Draft, Fig. 9.) the center of the bust (A) or to the bust area.
(The dotted line G outlines the average bust
The position of the dart at the waistline area, approximately two inches from the Cen-
is convenient for most style uses of the ter A.)
dart. The dart at the side seam can be
equally useful. The dotted lines B, C, D, E, F show the other
basic positions: the center front, the neckline,
.. the shoulder, the armhole, and the side seam.

The method of shifting the dart from one place

..
..
.
to another is the s a m e for a l l positions. The

.;unv-»«.u.{
E following Figures 2A—2.C can be applied to any
position desired.
um
I

¢.m.

uh

—~
‘-——
- <—
- —i-
 Shifting T h e P o s i t i o n Of T h e Bust Dart.

Figures 2A, 2B, 2C show a simple way the dart is shifted to

another position; in t h i s illustration, to the shoulder.

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

FIGURE 2C. The pieces are placed together again,

on another sheet of paper, so that lines A-1 and A-2
meet.

The dart is n o w open at the shoulder. It has been

completely removed from the waistline. (The shoul-
der dart opens wider than the waist dart because
the distance from the center of the bust to the shoul-
der is longer than to the waist.)

L}

FIGURE ZCC shows

Fi g ure 2c
the muslin fi tting of
the pattern in Fig-
Figure ZCC ure 2C.
 D i v i d i n g T h e Bust Dart.

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

dart
to two positions.

Figure 3A Figure 3B Figure 3C

The two parts of the p a t t e r n The darts can be shortened The dart space can be divided
in Figure 2B can be placed if desired by bringing them i n t o two or even more darts
together at Point A so that only to the bust area. instead if so desired. The darts s t i l l
a dart is opened both at the of to the center point. f a l l within the bust area.
‘shoulder and the waistline.

The correct shape of the shoulder and waist l i n e s at the

darts can be obtained by folding the d a r t s in the paper
pattern the way they are folded in ‘cloth and either cut-
ting through or r o l l i n g a tracing wheel through the folded
dart.

Figure 3E Figure 3F
Figure 3D
The two waist darts of Fig- The shoulder dart
The waist dart of Fig- is shown folded.
ure 3B is shown folded. ure 3C are shown folded.
_
Figure 3 G G

This shows the c l o t h fi tting of the pattern

in Figure 3G. (The pattern should be cut
out in muslin or other fi tting cloth, with
seaxns allowed, and basted together for a
Figure 3G trial fi tting. Any desired changes in style
or fi t can be made in the fi tting and trans-
This is the same as Figure 3B ferred back to the paper pattern, if the
‘ with the correct shape of the paper pattern is the fi n a l step. Some-
d darts at the shoulder and waist- times the corrected muslin is used as a
' line. pattern.)
'11

Figure 3H
Figure 3 H H
This is the same as Figure 3C with
the correct shape of the darts at the This shows the cloth fi tting
shoulder and waist l i n e s . of the pattern in Figure 3B.
 U s i n g T h e B u s t D a r t As Gather3_

FIGURES 4A through 4G show the use of the d a r t as gathers.

The bust dart shifted to the neckline is used f o r i l l u s t r a t i o n .
The bust dart can, of course, be shifted to any place such
gathers are desired, in the same manner.

‘}
,
:1
31
f

Figure 4A Figure 4B Figure 4C

FIGURES 4A, 4B, and 4C show the bust dart shifted from
the waist to the neckline.
FIGURE 4D. The neckline has to be redrawn as a con-
tinuous l i n e f o r gathers from points 3 to 4. The correct
shape can be approximated by adding to one side of
the
d a r t whatever amount has been removed from the other.
A cloth fi tting should be made f o r fi n a l adjustment of the
shape of the l i n e .

The neckline, when gathered to i t s original size, should

have the shape of the original neckline in Figure 4A. If
not, it can be redrawn while gathered. When the fabric
is opened flat again, the corrections can be transferred
to the paper pattern.

Figure 4D
FIGURE 4DD shows the cloth fi tting. The gathers f a l l
from the neckline to the bust. The waist area is smooth-
ly fi t t e d with no d a r t .

Figure 4DD 8
 Figure 4E

FIGURES 4E, 4F and 4G show how

only- part of the waist d a r t can be
shifted to the neckline, if desired.

There w i l l be fewer gathers at the

neckline than in Figure 4D.

The dart l e f t at the waistline can

be shortened for a softer effect.

Figure 4G

FIGURE 4GG shows the muslin fi tting

of the pattern in Figure 4G.

Figure 4GG
 A d d i n g M o r e Fullness To T h e W a i s t Pattern
T h a n T h a t A l l o w e d By T h e Dart.

.
_\_
41%» §\§*s~
\\

% \
i\% §
sums LINE
‘ um;

H G
H
S
\G

2 I
V
B.
Figure 411
The p a t t e r n is that from Fig- The p a t t e r n is c u t into 3 pieces This shows the muslin fi tting
ure 4G. on lines G and H. A n e w guide of the pattern in Figure 41.
l i n e is drawn on a fresh sheet
The pattern must be cut and of paper." - This
fi tting should be compared
spread for additional fullness. with the fi tting of the pattern in
The pieces of the pattern are Figure 4G. In 4G, the gathers
Lines G and 1-1 show where the placed on the paper so that the at the neckline f a l l only to the
additional fullness is to go. guide l i n e of each piece f a l l s bust. The rest of the fitting
on the guide l i n e drawn on the has no surplus fullness.
A guide l i n e is drawn across paper.
the pattern at right angles to In 41, the gathers at the neck-
the center front to help keep The pieces can be spread any l i n e and waistline produce ex-
the pattern pieces in l i n e when amount desired. cess fullness a l l through the
spread. fi tting.
The waist dart is ‘dotted because
it should become p a r t of the new
gathers at the waistline:

The approximate shape of the

new neckline is indicated by a
dotted l i n e .

FIGURE 4J. The p a t t e r n pieces of

Figure 4H can be spread so that more
fullness is added only to the neckline.

FIGURE 4K. The p a t t e r n pieces of

Figure 4H can be spread so that m o r e
fullness is added only to the waistline.

T H E PATTERN PIECES MUST BE

CUT THROUGH TO SOME OUTSIDE
E D G E OF T H E PATTERN SO THAT
THEY WILL LIE ABSOLUTELY FLAT
WHEN SPREAD.

T H E CUTTING LINES MUST BE

DRAWN IN T H E DIRECTION THE
Figure 4.1 FULLNESS IS TO FALL. Figure 4K

10
 U s i n g T h e Bust Dart As Pleats Or Tucks.

Figure 5A Figure SC

red FIGURE 5A. Figure 5A is the same as Figure

‘ t n in 4E. The dart fullness is used to make anin-
v e r t e d pleat.
I
the I WIQQ

us The dotted l i n e B-A is drawn in the c e n t e r of

the d a r t space D-A- E.

ck- Line F-G shows the length this inverted pleat

w i l l be stitched.
the Figure 5B

FIGURE 5B. Line D-F is folded over to the

center l i n e B-A. Line E-G is folded over to
the center l i n e B-A.

A tracing wheel should be rolled through the

neckline over the folded darts, or the neckline
can be cut out with the dart folded.

FIGURE 5C. This is the shape of the folded

neckline when it is opened.

The shaded area shows the depth of the pleat.

The waist dart can be shortened if desired.

FIGURE 5CC. The sketch shows the c l o t h fi t -

ting of Figure 5C. Figure 5CC

11
 If the dart is to be divided into many small pleats or tucks, it is easier to
draw fi r s t the exact position of the tucks and then shift the d a r t i n t o them.

Figure 6C

The correct shape of the

tucks at the shoulder line
can be obtained by fold-
ing the tucks in the paper
p a t t e r n the way they are
folded in cloth.

_ The now broken shoulder

l i n e is redrawn using the
‘
basic p a t t e r n as a guide.
Figure 6A Figure 6B
A tracing wheel is r o l l e d
Lines B, C, and D show the posi- The pattern in Figure 6A is through the shoulder, over
t i o n desired f o r three shoulder c u t on lines B to A, C to A, the folded tucks, or the
tucks. Each tuck. is drawn the and D to A. The B u s t Dart shoulder l i n e can be c u t
length desired and then connected E-A-F is c u t out. out with the tucks folded.
to point A, the center of the bust
area. ALL THE PIECES SHOULD The dotted lines show the
BE LEFT JOINED AT POINT tucks folded inside.
IT IS IMPORTANT THAT EVERY A.
T U C K OR PLEAT MADE FROM
THE BUST DART FALLS WITHIN The c u t pattern is placed on
THE BUST AREA. (See Figure another sheet of paper. The
1B.) bust d a r t E-A-F can be com-
pletely closed and the dart
The dotted lines continuing from fullness .opened entirely in
B, C, and D show where the tucks the new tucks, or it can be
would f a l l if they were continued p a r t i a l l y closed, as here,
to the bust area. leaving some fullness at the
waistline f o r slight gathers
Tuck D is as f a r out as it can be (between points G and H).
f o r satisfactory results.

FIGURE 6D. The folded tucks in

Figure 6C are opened. The arrows
at the bottom of each tuck show the
direction the tuck is to be folded
K
when stitched in cloth.
-,
:
~: The d a r t fullness remaining at the
waistline is to be gathered between
1-»
*7’ points G and H.

“6
,-a-.
.
GATHERS

Figure 6D

FIGURE 613]). This is the

Figure 6DD c l o t h fi tting of Figure 6D.

12
 FIGURES 6E and 6F show how it is possible to introduce more
fullness into the pattern than the bust d a r t allows.

(See Figures 4H, 41, 4J, 4K where the s a m e procedure is used

for gathers.)

I‘ III
I‘
I II
I
‘' I
I
the I
I I
‘' ee

1d.
|
I
I II
I
I
are I
| I
I I
I I
I I
I I
I I
I I G
I I
I I

cut Figure 6E Figure 6F

Lines are drawn from each tuck or Each tuck is made wider by spreading
pleat in the same direction it f a l l s , the p a t t e r n pieces from the waistline,
I-the
"
,

which changes i t s shape but remains

to some outside edge of the pattern.
(Here it is the waistline.) the same size.

Each tuck w i l l have to be folded again

as in Figure 6C to get the fi n a l shape
of the shoulder line.

Figure 6G

It is possible to spread the p a t t e r n pieces

of Figure 6E at the waistline only so that
the tucks B, C, and D remain the same
size at the shoulder line, while the waist-
line increases in size.

13
 .s.

.
.‘~wI.Stss\O¢Ia4:nnos.,v-nrm.

"

w~,r¢C34~

Figure 7A Figure 7 B Figure 7C

In t h i s fi gure the tucks Only tucks B, C, D can be opened The tucks should be folded
are drawn at the neck- by closing dart F-A-G. TUCK E in the paper as they will be
l i n e . Checking the tucks‘ HAS TO BE CUT ON ITS OWN in cloth, and the neckline
position in r e l a t i o n to the LINE THROUGH TO AN OUTSIDE shape corrected.
bust area shows that tuck E D G E OF THE PATTERN.
E falls far outside. A tracing wheel can be run
THE FULLNESS F R O M TUCKS B, through the folded tucks at
TUCK E CANNOT BE C, D WILL DISAPPEAR AT THE the neckline or the neckline
MADE F R O M THE BUST BUST. THE FULLNESS F R O M can be cut out with the tucks
DART. T U C K E GOES THROUGH THE folded.
ENTIRE PATTERN MAKING THE
PATTERN W_IDER ACROSS THE
BUST.
Dart F-A-G can be shortened f o r
a s o f t e r effect.

\\“
44:

V.

uam
rmsa./A-x¢.»4w,r Figure 7D Figure 7DD

The tucks are opened flat showing This is the cloth fi tting
the corrected shape of the neckline. of Figure 7D.

14
 V}/
\/

Figure 8A Figure 8B Figure 8C

ed
be

Figure 8D Figure 8 D D

FIGURES 8A, 8B, 8C, 8D and 8DD. These fi gures

show the bust dart E-A-F shifted to three tucks
drawn from the center f r o n t at the bustline.

A c l o t h fi t t i n g (Figure 8DD) is important to check

the curve of the n e w center f r o n t line.

15
 FIGURES 9A and 9B show the bust
dart C-A—B shifted into six tucks or
9qwv;‘P
I4
;F
' VV
‘1
‘Ii.-:v';”‘I
pleats drawn from the shoulder and F

waistlines.

A foundation pattern with the bust

dart at the side s e a m is used be-
cause it does not i n t e r f e r e with the
placement of the s ty le tucks. ( S E E
method f o r Shifting The Bust Dart,
Figures 2A-2C.)

The tucks should be folded in place

as explained in Figure 6C to get the
correct shape f o r the shoulder and
waistlines.

Figure 9A

FIGURES 9C and 9D show how the

tucks can be made l a r g e r by cutting
and spreading the p a t t e r n . Figures
6E, 6F and 6G show the same pro-
cess with only shoulder tucks.

Cutting and spreading the p a t t e r n to

add more fullness than the bust dart
allows increases the width of the
pattern across the bust.

Figure 9C Figure 9D

FIGURE 9CC shows the cloth fi tting

of Figure 9C. The soft folds f a l l
from the end of the stitched tuck to
the bust. THE FITTING IS SMOOTH
ACROSS THE BUSTLINE.

\
FIGURE 9DD shows the cloth fi t -
ting of Figure 9D. The extra width
placed in the tucks increased the
fullness through the bustline. The
soft folds continue from the shoul»
Figure 9 C C der to the waistline over the bust. Figure 9131)
16
 FIGURES IOA, 10B, 10C, 10D show the bust dart shifted
from the side s e a m to make two other darts, retaining
some d a r t at the side seam.

_
jhe bust
tucks or
er and

_e bust V

ed be-
"th the
J; ( S E E
t Dart,

i place
get the
, e r and

Figure 10B Figure 10C

Figure 10A

The procedure followed Dart 2 is almost too f a r off the The darts have been drawn
is the same shown f o r bust area to be a bust d a r t . It in their new positions. They
has been made smaller than d a r t should be folded in position
pleats and tucks.
NE 1 deliberately to offset its forced as shown in Figure 10-D to
position. The extreme s l a n t of get the correct shape f o r the
the l i n e which joins the d a r t to waistline. The side seam
point A indicates i t s limitations. dart should be folded, too.
A cloth fi tting may show it to be
impractical.

-«
.n
..
6!

‘lug..

Figure 10D

Figure 10CC

A cloth fi t t i n g should be made

of the p a t t e r n in Figure 10C
to check on the lengths of the
darts and their positions.
Figure IOCC

17
g
x

U s i n g T h e Bust D a r t In A Style L i n e .

When a style line goes d i r e c t l y over the bust, the dart

fullness
can be moved d i r e c t l y into the style line, seeming to disappear.

D-A-C is
'

Figure 11A
i

the style l i n e
c

Figure llB
i

The pattern is c u t i n t o two

C
av Figure l1BB

A c l o t h fi tting should be
made to check the shape
of the l i n e D-A—B at
point A. Both p a r t s of
the patterns should be
c u t in muslin or other
going directly through pieces, cutting away the bust fi tting cloth with seams
the center of the Bust dart B-A-C. allowed. Line D-A-B
A. is stitched to l i n e D-A-C.
The corner at point A should Both l i n e s are the same
be rounded off. length.

In t h i s fi gure the style line is not drawn

d i r e c t l y through the center of the bust
A. It is so close, however, t h a t point
A can be moved to the style line and a
n e w dart l i n e AA-B drawn.

The n e w dart B-AA-C should be the

same s i z e as the o r i g i n a l dart B-A-C.

The pattern pieces are separated as

shown in Figure 11B.

1
Figure 11C

1’ 13
 Figure 11D Figure l1DD
The pattern is cut into two pieces A c l o t h fi tting should be made to
on l i n e s B-AA-D, and C-AA-D. check the shape of l i n e D-AA-B.
The fi tting will also show t h a t the
Line D-AA-C is longer than l i n e extra length in l i n e D-AA-C f a l l s
D-AA-B. The extra length should
,
easily within the bust area and is
be kept between points E and F, or unnoticeable .
the Bust A r e a .

Figure 11F Figure l1FF

Figure 1113 The pattern is cut i n t o two pieces on A cloth fi tting of the pat-
the s ty le l i n e D-A—G. The bust dart tern in Figure 11F shows
In this fi gure the style l i n e B-A-C is cut out and closed by bring- no visible evidence of the
D - A - G is drawn d i r e c t l y ing lines B-A and C—A together.
I

bust dart in the s t y l e l i n e

through t h e center of the D—E—F-G.
bust A, but is not part of The shape of line D-A—G in the lower
the waist dart. section changes when the bust dart is
closed, b u t remains the same length.
E and F are two notches The corner at point A can be rounded
located to aid in sewing. off.
19
 The style l i n e D-E—F-G is drawn outside the
bust area. It becomes a yoke l i n e . (See Sec-
tion on Yokes.) The bust dart B—A-C can be
shifted i n t o the yoke l i n e but some evidence of
the dart must be seen, as gathers or pleats or
tucks or darts.

‘In this figure, the bust d a r t is shifted as gath-

ers i n t o the yoke l i n e between the points E and
F, covering the bust area.

The dotted lines 1, Z, 3 from A to the yoke l i n e

help spread the d a r t fullness smoothly.

The pattern is cut in two pieces on l i n e D-E-

F-G. The dart B—A-C is c u t out. Lines 1, Z,
3 are c u t ALMOST to point A.

Figure 12A

Figure 12B Figure 12C

The bust d a r t B—A-C is closed, A new, curved l i n e must be

causing the lines 1, 2, 3 to spread drawn between E and F.
apart.

The spaces 1, 2, and 3 should be

about even.

20
—wv-V
-ww-uys-my-Mggmm

Figure 12D Figure IZDD

This shows the fi nished pattern This shows the muslin fi tting
of Figure 12C. of the pattern.

Figure 12E Figure 12F Figure IZFF

In this fi gure, s o m e of the The dart at the waistline This shows the c l o t h fi t -
bust dart has been l e f t at m a y be shortened below ting of the p a t t e r n in Fig-
the waistline. point A. ure 12F.

21
 Figures 12G and 12H show how more fullness can be added both to the yoke line
and the waistline by cutting and spreading the pattern. (See Figures 4H, 4I,
4.}, 4K.)

, D

§Q‘
E
#7 —
E\F
1.
6

E
§ :
2 -E
GUIDE LINE : LINE

Figure IZG Figure 12H

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

Figure l2I

The yoke line A-B-C-D is drawn as desired

across the dart G-I-I-I.

Lines G-B and I - C must be the same length.

(It helps to fold the d a r t closed when draw-
ing the yoke line.)

Points E and F are notches between which

the gathers w i l l be confined.

a
4
«
1

Q
Figure I Z J ,

The yoke pieces are c u t away from the rest

of the pattern. Sections 1 and Z are traced :

Figure 12; together as one piece. The center f r o n t l i n e

can be a f o l d l i n e .
'

The dart space remaining (B-H-C) can be

used for gathers, pleats, tucks, darts, e t c . Figure lZJ

Figure I Z J J shows the finished appearance of the

p a t t e r n with the dart fullness used as gathers.

Figure I Z J J 22
 FIGURES 13A, 13B, 13C, and 13D i l l u s t r a t e the bust dart shifted
to a yoke l i n e as pleats or tucks.

01

—_.__—_

Figure 13A Figure 1313

D-E is a type of yoke style l i n e t h a t is The pattern temporarily is cut in two
not cut away from the p a t t e r n . from D to l i n e 3, down to A and B.

The pleat lines 1, 2, 3 should f a l l within Lines 1,2, 3 are cut ALMOST to A.
the bust a r e a . Line lhere is slightly
forced. A cloth fi tting l a t e r w i l l t e l l
whether this line is practical

Figure 13D

FIGURES 13C and 13D. The two

pieces are joined at A leaving a
small waist dart B-C ( o r no d a r t
if so desired), causing lines 1,2
3 to spread.

The tuck spaces 1,2,3 should be

made even. The tucks should be
folded in place either in the paper
p a t t e r n or in the c l o t h fi tting so
that a straight line can be drawn
across the folded tucks from D to
E. (Figure 13D.)

The dotted line across the tucks

shows the corrected line D-E. Figure 13CC

The waist dart m a y be l e f t as a Figure 13CC shows the cloth fi tting

dart, or gathered. of the pattern in Figure 13C.
Figure 13C
Figures 14A, 14B, 14C illustrate how fullness can be added to a waist front
without using the bust dart to make the f u l l n e s s . (Here the bust dart remains
at the waistline as gathers. )

Although t h i s does not add to the information on bust darts, it does show that
T H E PATTERN MUST ALWAYS BE CUT AND SPREAD IN THE S A M E DIREC-
THION TI-IE FULLNESS IS TO FALL.

Figure 1413

Figure 14C Figure 14CC

Figure l4CC shows the cloth fi t t i n g
of the p a t t e r n in Figure 14C.
24
T u g The Back Darts In A Style Line . . . . . . . . . . . . . . . pages 27-28

Page 27 Page 28

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

Page 28 Page 29

25
26
 U s i n g T h e B a c k D a r t s In A Style L i n e .

The back waist pattern in the following figures is the basic back waist
pattern from Book I (Foundation Patterns).

Figure 1A Figure 1B

The shoulder and waist d a r t s can New darts are drawn from the
be moved i n t o any style line drawn style line, the same width and
in the same area as the d a r t s . length as the basic darts (A-B-C
and B-D-F).
Line A-B is a style l i n e drawn any
shape. A-C is the length of the
shoulder d a r t . B-D is the length
of the waist d a r t .

Figure 1C Figure ICC

The pattern is cut into two pieces, Figure ICC shows the c l o t h fi tting
eliminating the dart spaces. The of the pattern pieces in Figure 1C.
darts are invisible, but present,
when the two parts of the pattern
are sewed together.
27
 Figure 2A Figure 2B Figure ZBB

The style line (D-E) in this The pattern is cut into two pieces on the Figure ZBB shows the
figure goes only through the style line D-B-E. muslin fi tting of the
area of the waist dart (A-B- pattern.
The d a r t space A-B-C is cut out. Lines
C).
A-B and C-B are placed together, elim-
i n a t i n g the dart space, and the new p a t -
tern piece is drawn.

G a t h e r i n g T h e B a c k W a i s t Dart To A Yoke.

A C
as-g1>\
*
-
‘

.x..,

*3
‘t
T
V

‘i

:. ‘_«.,~a.

..
E}
.3.
2-;

Figure 4BB

E
H '.-
Figure 4 B B shows the c l o t h
fi t t i n g of the p a t t e r n in Fig-
ure 4B.
'

FAAH
Figure 4A FIGURE 4B. 'The neck yoke is cut
away from the rest of the pattern.
In this figure a neck yoke The d a r t space from A to C is cut
line (D-E) and a waist yoke out, leaving the neck yoke in two
line ( I - J ) have been drawn. Figure 4B pieces. The pieces are placed to-
gether at the dart lines and a n e w one-piece yoke is drawn without
a
The neck dart will be l e f t dart. The dart is hidden in the n e w shape of the neck yoke’.
as a dart beneath the yoke.
(It can be gathered or f o l d - The s a m e procedure is followed f o r the waist yoke.
A!»
ed as a small pleat.) The
waist dart will be gathered The dart space l e f t in the body of the pattern is gathered between
between points K and L. points K and L to match points K and L of the waist yoke.
28
 FIGURE 5A. The back waist has been joined to the
back skirt to permit a yoke (I—E-H-L) to be drawn
across t h e waistline. (See Book I, Foundation Pat-
terns.)
w
-—w—v-~mw.~,.‘

J
A shoulder yoke (M-N) is also shown.
M o N
The remainder of the skirt section is ignored f o r
this illustration.

FIGURE 5B. The pattern is c u t i n t o three sections

on the yoke lines M - N , E-H and I- L. 6 IDE _, LINE
The shoulder yoke section shows the one dart made
I
I
into two, as a s t y l e p o s s i b i l i t y. I _._._—<

FI ‘G P H
The center section can be c u t and spread to allow
for gathers between points M - O and 15-13, as shown
in Figure 5C.

-
‘'1
In the waist yoke section the dart space is cut out
and points F and G and J and K are brought togeth-
‘m
"
er, leaving a small dart (J-A-F-C-K).

In certain materials this small dart can be elimi-

’»
nated by removing s o m e of it from t h e center back -=££€:€:'-’;'
s e a m and s o m e from the side s e a m as shown by t h e X r‘
dotted lines. This can be tried in the c l o t h fi tting.
(See Figure SCC.)
Figure 5B

\ ‘ ON

\\\\\\ \\\\\\\‘
\\\\\\\\ LINE

\\\\ \\\ .\\\

oth ‘Ema pieces can be spread as much as

Iinszred.

gk :5 also possible to spread them so

3‘I§It:2.t m o r e fullness is added to the top,
écut mt to t h e bottom.
'—cut
M-O of t h e center section is gathered
in fzt M - O of the shoulder yoke sec-
to-
'm:m..m:. in Figure 5B. Figure 5 C C Figure 5 C C
‘ta
Figure SCC shows two cloth fi ttings. In one, the waist
E—P of t h e center section is gathered darts have been kept in the waist yoke. In t h e other,
rm 5;: 13-? of the waist yoke section in the dart has been eliminated by removing it frorn t h e
fJF".g-re 5B. center back and side seams.

29
 .IE.w.tu,.!uv

4m
I.l n1
\“l\.:4
‘*

,
.

:.s.Il§

3.\§.;

;.4£.,1.E_»£f_.i

wl:.L¢-I!.,i
 INDEX

_ TO

Yokes And Yoke And Style Combinations . . . . . . . . . . . . . . . .

SKIRTS

pages 33-37

“\ ‘~~..'-”

Page 35 Page 36 Page 37

\LLL

—
/

Page 38 Page 38 Page 39 Page 40

Circle Skirts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . pages 43-46

.
Whole Circle Skirts . . . . . . . . . . . . . . . . . . . . . . page 43
.
Half Circle Skirts . . . . . . . . . . . . . . . . . . . . . . . page 45
Quarter Circle Skirts . . . . . . . . . . . . . . . . . . . . . page 46

Page 41

Page 44
Whole Circle Skirt With Loose Pleats
SeamF1ares................... .pages47-50

II

Page 47
Hi Page 49

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

n..-
inn-

nu
llll
s :'l"|" .Hu-.U LI)

Page 51 Page 51

Godets....................... pages 52-53

I\

Page 52
§
Page 52 Page 53 Page 53
 The following pages illustrate basic skirt style variations
such as yokes, pleats, gathers, flares, e t c . A l l of the
w
‘ .,A— styles are drawn on the skirt foundations patterns from
Book I on Foundation Patterns.
.—
.-—
—.v

SKIRT Y O K E S A N D Y O K E A N D S T Y L E LINE COMBINATIONS

A yoke line, or any style line drawn in the area of the skirt darts is handled in
._.—._—r-.y—.w

t h e sameway as in a l l other dart areas. (See the sections on Bust Darts and
Back Waist Darts.)

B a c k Skirt H i p Y o k e

Figure 1B
aAcK

The yoke is c u t away from the rest of the

skirt p a t t e r n .
csuren
The d a r t A-B-C is c u t out and closed by
bringing lines A-B and C-B together.

Figure 1A The pattern is then drawn as a one-piece

hip yoke with no d a r t . The d a r t is hidden‘
D-B-E is drawn f o r the back in the curve of line D-B-E. The center
hip yoke l i n e . back line is placed on a fold.

‘a.

Figure IBB Figure 2A

Figure lBB shows the muslin When the back yoke line is drawn lower
fi tting of the pattern. than the hip dart, a l i n e must be drawn
from the bottom of the dart to the yoke
l i n e (B-F). The yoke l i n e should not be
drawn lower than the hip section in any
case, if t h e yoke l i n e is to remain a fi t -
ted line.

33
 FIGURE 2B. The yoke is cut away from the
skirt pattern. The dart A-B-C is cut out.
Line F-B is cut, ALMOST to point B. The
d a r t A-B-C is closed, opening a small space
at point F.

The extra space in line D-E can be gathered

and shrunk out so t h a t it is i n v i s i b l e , if not
more than about 1/2", depending on the fab-
ric used.

Figure 2B

T h e Front Y o k e .

s
.3‘

J
i
T
, 1
i
I
|
‘I
>
l Figure 3A

A front yoke l i n e E-D has been drawn

slightly below t h e dart A-B-C.
Figure 3B
A l i n e must be drawn from the end of
the dart to the s t y l e line (B—F). The yoke is cut away from the rest of
the pattern, and the same procedure
Points G and H help in sewing the yoke followed as in Figures 2A and 2B f o r
line to the s k i r t . the back.

FIGURE 3 B B shows the muslin fi tting

of the yoke pattern.

Figure 3 B B

34
 A Front Y o k e A n d Center P a n e l

FT
*1 L E

LNE “ -— LINE
GIFLIDE

__ 3 :_ 4
' _
F
z
2
u_
I
I 2 3 4 __
T

L
——
_
_ __
I
I
.—
' — - —
-§

In
Z t

In
0 L
- 2 - —

F G I F G _ ___ __ F

Figure 4A Figure 4B Figure 4c

FIGURE 4A. The yoke and panel lines (D-E and E—F) are drawn as desired.

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

FIGURE 4B. The yoke and panel are cut away from the rest of t h e p a t t e r n .
The dart space is cut o u t and the dart lines brought together, making the dart
invisible.

The ‘side section of the pattern can be cut into as many sections as desired
f o r creating additional fullness either by m e a n s of gathers or flares, or even
loose pleats. (See Figure 4D.)

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

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

The curve of the side seam no longer necessary, a straight l i n e can be drawn Figure 4 C C
from the waist to the h e m as shown by the dotted line D-G.

7
FIGURE 4CC. This fi gure shows a c l o t h fi tting of the pattern with the side
sections of the skirt gathered to match the yoke lines.
35
 FRONT

CENTER

- T 1 " if
an

: : j
. : j

_____
§‘
— — : — ———- F
— - % . _ — _ — : : " ‘ — F

Figure 4D Figure 4B

In this fi gure, the side sections are spread A flare can be added to the center
in a circular fashion for circular flares. See panel l i n e from E to the hemline,
Figure 9B also. matching the flare from point E of
the side section.
The sections are kept together at line D—E,
while t h e width of the hemline is increased.

The dart space is eliminated since it is no

longer necessary.

Additional flares can be added from points D

and E as well as shown by the dotted lines.

FIGURE 4DD shows the cloth

fi t t i n g of the pattern.

Figure 4 DD
36
 A Front Y o k e A n d L o o s e Pleats

I 2 3 41 '5
Figure4F

Tmthis fi gure, the f r o n t skirt has a

yoke l i n e beneath which f a l l loose
pleats. Figure 4G

The yoke l i n e D—E is drawn at the The yoke is cut away from the rest of the pattern. The
base of the dart to i l l u s t r a t e an- dart space A-"B-C is cut out and the dart closed.
other basic s t y l e .
The rest of the skirt is cut i n t o sections 1,2, 3,4 and
Lines 1, 2, 3, 4 represent the loose spread as desired for the loose pleats. The sections
pleats. can be spread wider at t h e bottom as shown so that the
pleats will have m o r e depth at the hemline.

It is important that the sections remain level with each

\
\ ~ _ — ’
/
other no matter how far apart they are spread.

The p l e a t s should be folded in paper the way they will be

laid in c l o t h and a tracing wheel rolled through l i n e D—E
to get the correct yoke line in the p l e a t spaces. The
dotted lines from 1 to 2 to 3 to 4 show the shape the l i n e
takes to make the curve of line D-E.

F I G U R E 4GG shows the cloth

fi t t i n g of the pattern.

r—L
Figure 4GCv
37
 P L E A T S A N D GATHERS

When the skirt is gathered or pleated throughout the entire waistline, no basic
skirt pattern is needed. The final pattern can be drawn immediately by Calcu-
l a t i n g the amount needed to make the gathers or pleats desired.

Groups of narrow, pressed pleats are best l e f t to the professional pleater who
has the proper machines.

Other types of pleats and gathers are made by cutting and spreading the s k i r t
patterns. Some types have been illustrated in Figures 4C and 4G.

All-Over Gathers A n d Pleats.

GATHERS B B B B

3 l
E
E;
l.|.l K
Figure 5B
(D Ill
'2
*5
(D
3

Figure 5A

FIGURE 5A. This pattern represents one-half a back or a front skirt

to be gathered at the waist.

For gathers, a width two to three times the finished waist measure-
ment is usually allowed.
Figure 5C

This diagram shows the pleats

FIGURE 5B. For all-over loose or pressed pleats, the amount nec- folded in place. Only the one-
essary for the pleat inlays must be fi gured and each p l e a t space (or inch p l e a t spaces show on the
face of the pleat)marked. surface. The two-inch p l e a t
inlay folds in half t o ‘ r n a k e a
This figure shows only a section of the entire pattern which has been p l e a t one inch deep.
marked o ff in pleat spaces. There are 28 one—inch pleats (A) making
a 28'' waistline. The p l e a t inlays (B) or the amount the pleat f o l d s i n ,
are two inches, making a p l e a t 1" deep.

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

FIGURE 5 A A shows a cloth fi tting

of a gathered s k i r t .

FIGURE SBB shows an all-over

pleated skirt.

m i x

Figure 5 A A 38 Figure 5BB

 A L i m i t e d N u m b e r of Loose Pleats.
The pattern must be cut and spread where each pleat is to f a l l .
The procedure is the s a m e one described in Figure 4G.

A back s k i r t is handled in the same way.

C

MEN

H3.LN30 H3J.N33

.LNOUJ .LNOH:|

FRONT

CENTER

—-1'“-§
I 2
___._.__...._ 2
Figure 6A ---—-‘-—-J
-§“‘*——‘
‘

Figure 6B
Line 1-1 shows where one side
P163-t W111 fa11- The pattern is cut on line 1-1 and spread any depth desired
for the p l e a t .
The center pleat will f a l l from
the Center f r o n t l i n e 2 - 2 - The center p l e a t depth is allowed directly to the center f r o n t ,
making a n e w center f r o n t l i n e which can be placed on a fold.

The arrows point to the directions in which the pleats are to

be folded. The pleats should be folded in the paper and a
tracing wheel rolled through the waistline to get the correct
shape of the waistline in the p l e a t depths.

Pleat 1 can be folded over a l i t t l e deeper to point A to take

in_ the space of the d a r t . 0

FIGURE 6BB shows the cloth fi tting of the pattern. The two
side pleats facing each o th e r at the center front make an i n -
verted pleat.

The pleats can be stitched as far down as desired.

Figure 613B 39
 CIRCULAR FLARES

A flare is additional width or fullness added to a skirt causing it to spread o u t .

Circular flares are so named because the skirt is spread in a circular fashion
to obtain the additional width.

F l a r e s F r o m T h e Skirt Darts

In both the front and back skirt patterns the waist d a r t s can be
used to open fl a r e s in the skirt. This keeps the flare below
the level of the dart. Thus, a four piece flared s k i r t can be
made in which the hip area is smoothly fi t t e d because the flares
fall from the hipline.

...

_&_.‘,;_:

O
l"'|
Z
-4
TH
3
U!
P
O
X

___..—.___._.—

Figure 7B
Figure 7A
FIGURE 7A. A line (F-H) is drawn from the base of the dart to the
h e m in the direction the p l e a t is to f a l l .

FIGURE 7B. The dart space E—F-G is cut o u t . The pattern is cut
on l i n e H-F A L M O S T to point F. The d a r t E-F-G is closed, open~
i n g space H-F—H. This flare f a l l s only from point F.

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

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

FIGUR E 7BB. This figure shows the c l o t h fi tting of the p a t t e r n .

Figure 7 B B
'

40
E
F
r
E
F Adding M o r e Circular F l a r e s T h a n T h e Darts Allow.
5
F The skirt pattern can be cut and spread as much as desired
E f o r circular fl a r e s . These flares, however, must c o m e
IF from some outside edge of the p a t t e r n , usually the waist-
E line, and cannot be confined below the h i p .
E

Figure 8A

z?'JcZ'x dotted line represents

—
Figure 8B

The waist dart A-B—C is closed as described in Figure 7B.

apiace where a flare is to The pattern is cut on the fl a r e lines from the h e m A L M O S T
fili. to the waistline.

The sections are spread to give as m u c h width at the h e m -

l i n e as desired. The pieces of the pattern must l i e abso-
l u t e l y fl a t .

Additional fl a r e s can be added to the center front and side

s e a m s if desired as shown by the dotted lines.

41
 I
I
I
I
I
4
I 3 2 I

I FRONT

I
I
CENTER

I
I
I
I
Figure 9A Figure 9B

FIGURES 9A and 9B. These fi gures show the same procedure f o r the
front skirt pattern.

The front dart can be lengthened if desired to have the fl a r e f a l l from

the s a m e depth as in the back.

The curve at the h i p l i n e in Figure 9B is no longer necessary.

FIGURE 91313. This fi gure shows the finished appear-

ance of the p a t t e r n .

The skirt can be cut in four pieces with center front,

back and side seams, or in two pieces, as desired.
The straight grain lines can be drawn as desired, pro-
vided a l l the pieces are marked in t h e s a m e way.

Figure 9BB

42
 CIRCLE SKIRTS

A circular skirt can be cut on the basis of a circle without using a basic skirt, pattern. The amount and
position of the flares cannot be controlled in t h e s a m e way they are when the skirt pattern is cut and
spread. Skirts can be cut as a WHOLE CIRCLE, a H A L F CIRCLE, and a Q U A R T E R CIRCLE with
comparative differences in the sweep of the hem.

T h e W h o l e Circle Skirt.
A D 0
iI"'EGURE 10A. Lines A and B are drawn at right angles to each o t h e r. sum: SEAM /7?’
"fl"T:.e edges of the paper can be used as guides.) The corner is mark-
ti C f o r identification. This represents O N E - Q U A R T E R OF T H E
_,I3rI1RE SKIRT.
"Um draw t h e part of the circle which the waistline, l i n e C-D must
is
K figured (the radius of the circle). C—D is one-sixth the measure-
‘illmuent of the entire waistline. If t h e waist measurement is 24", line
ID-D is 4". C—D is measured off as many times as necessary from
NJ I C to draw the waistline curve D—D—D~D—D. If the waistline is to
yk 24'‘, the curve D—D—D-D-D, which is
~«
-quarter of the entire waistline,
Aw measure 6". It m a y be 1/4"
« so too large, in which case
e C—D is shortened a bit
a n e w curve drawn
m the waistline.

»w of the skirt
,.».aem-n
measured off
4&4‘
am the waist-
\

circle and Figure l0A

‘ “'''iilel to i t .

D °/XDA

FIGURE 10B. This fi g -

ure shows how four of
these sections are nec-
essary to make an en-
tire skirt. The sections
can be cut together m a k -
i n g a skirt with no s e a m ,
or with only two seams,
if desired.
Figure IOB

FIGURE IOBB. This figure shows

the c l o t h fi tting of the finished skirt,
spread so t h a t half its width can be
seen.

Figure 1GBB
43
 A SKIRT CAN BE CUT AS T W O W H O L E CIRCLES IF AN E X T R E M E L Y F U L L
SKIRT IS DESIRED. T H E WAIST MEASUREMENT IS DIVIDED IN H A L F A N D
E A C H H A L F MADE INTO A W H O L E CIRCLE SKIRT. For a 24-inch waist
measurement, there would be two whole circle skirts, each measuring 12"
at the waistline.

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

gathers.

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

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

CENTER FRONT

SEAM

SUE

.
um,

.,;v.m,.=.

,.y.;v.
Figure 11A Figure l1AA

44
 T h e H a l f Circle Skirt.

A
SIDE SEAM
OR
CENTER BACK
FIGURE 12A. The procedure is the same as
described for Figure 10A E X C E P T T H A T LINE
C-D IS APPROXIMATELY ONE-THIRD T H E
ENTIRE WAIST MEASUREMENT.
The waist curve D—D-D—D—D should measure
one-half the e n t i r e waistline or be adjusted to
\fi£ by shortening or lengthening l i n e C-D.
2
E
O
lithe waistline is 24", l i n e c¢D is about 8" and
the waist curve D should measure 12".
< E
$1: 1: B
m° #1‘2
Q

T 2 Figure 12A

FIGURE 1213. This fi gure

shows the two sections nec~
essary to make the e n t i r e
skirt.

Figure IZB

FIGURE IZBB. This fi gure

shows the c l o t h fi tting of the
fi nished skirt spread so t h a t
; h a l f i t s width can be seen.
Figure IZBB

45
 T h e Q u a r t e r Circle Skirt.

A c
SIDE SEAM

FIGURE 13A. The procedure is the s a m e as

described for Figures 10A and 12A, EXCEPT
TI-{AT LINE C—D IS APPROXIMATELY T W O -
THIRDS T H E WAIST M E A S U R E M E N T . The
waist curve, D-D—D-D—D, should be the en-
tire waist measurement, or adjusted to fi t by
lengthening or shortening line C—D.

If the waistline is 24", line C—D is about 16", SEAM

and the waist curve D should measure 24''.

SIDE

Figure 13A

FIGURE 13B. This figure shows t h e

one section necessary to m a k e t h e
entire skirt.

Figure 13B

FIGURE 13BB. This figure shows the c l o t h

fi t t i n g of the fi nished skirt spread so that
h a l f its width can be seen.

Figure 13BB

46‘
 S E A M F LARES

A seam flare is additional width or f u l l n e s s added to the lengthwise seams of the

skirt. Skirts can have any number of lengthwise seams, dividing the skirt i n t o
panels or gores. Figures 14BB and l5BB show a 6-gored skirt and an 8-‘gored
skirt with s e a m fl a r e s . Figure l6CC shows a 16-gored skirt with seam flares.
G EH G
H A
H
A .
1
> I
I
F

..J _J

In

O
,4
3
O
0 LL
IL I--
Z
;
ta: 3‘L
.n:
“- 1::
LL]
II ‘ I-
. u.| Z
, |- Lu
1 Z_ O
|.|.l
.
3
O

V
D 1 a o B
‘V “V Figure 14A Figure 14B

F A panel l i n e or gore line H-1 has been

drawn on the basic front skirt pattern.
The skirt is cut i n t o two sections on the panel line H- J'—I. Any
amount of flare (I-K) can be added to the hemline from the points
3
The panel will have a better shape if I. The n e w s e a m flare l i n e is drawn from K to J. J-K must be
the bottom width (I- B) is made about m a d e the same length as l i n e J - I .
:
'
one inch m o r e than the top (H—A).
Equal halves of the waist dart can be removed from each section
Point J is the level from which the of the pattern. The seam line n o w runs G-F- J-K or E-F-J-K.
flare will f a l l , and can be any place
C. the l i n e .

. FIGURE 14BB. This figure shows the

cloth fi tting of the pattern.

47 Figure l4BB
 Figures 15A and 15B follow the s a m e procedure described in Figures 14A and
14B, except t h a t the center f r o n t or back is kept a seam l i n e instead of a f o l d
line.

A fl a r e can be added to the center back and front seam lines, and the entire
skirt c u t as eight pieces.

SEAM

BACK

CENTER

Figure 15A Figure 15B

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

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

The center back s e a m is n o w l—F— J-K. The panel seam

lines are Z-F—J—K and 3-F-J-K. The side seam l i n e is
C—J-K.

FIGURE l_5BB. This fi gure shows

t h e cloth fi tting of the pattern.

Figure 15BB
 Figures 16A-16C show the procedure for
making a sixteen-gored skirt with gores
of equal size.

4___.____

_ . — — _ _ . a — — - - *

FRONT

CENTER

Figure 16A

The f r o n t and back skirt patterns are traced

together at the side seams.

The entire skirt area is divided equally i n t o

the number of gores desired.

49
—
.;

:
.2

.3‘

3
"J
3:
P‘
Z
O
0:
U-

m ,_
;
-I
15 I
Lu
I-
Z
3
0:
§ LIJ DJ LL
,; l— 0
.:
.:
2
Lu
m
Lu
0 |_
1% 2
g 8
E
E‘,
§
5:
I‘
E:
W

:i
it
1

Figure 16B Figure 16C

3:;
The t o t a l amount of dart space, (the front, side Each gore or panel is traced through
seam and back waist darts) is divided equally separately on to another sheet of pap-
" p

among the gores, as shown by the shaded areas. er (without the shaded d a r t areas) so
that flares can be added, or pleats, if
desired. (See Figure 17A for the addi-
E-—‘ tion of pleats.)

FIGURE l6CC. This fi gure shows the finished

appearance of a flared 16-gored skirt.

L r5115‘

Figure 16CC

50
 S E A M PLEATS

Just as a fl a r e can be added to the lengthwise seams of the

skirt,
so can additional width for pleats be allowed.

c
l , H
” A
\I FIGURE 17A. The same skirt sections of Figure

V -F
-F
14B are shown here with pleat allowances instead
of fl a r e s . The p l e a t allowance has width at the
top, different from the flare.

The p l e a t allowance m a y be the same width top

and bottom, or the top can be made narrower as
shown by the dotted lines. The p l e a t allowances
are usually h e l d in place by top stitching along
the seam lines.

See Figure 6B for pleats running the f u l l length

of the s k i r t .

J
‘ K K
I
J
O
_I
ll...

\ I
F-
Z
oI
IL :iZZi:_‘:::j
FIGURE l7AA. This figure
ILI
shows the finished appear-
i- ance of the pattern. These
Z
ll] are two side pleats, facing
in opposite directions.

--
a

_
Figure l7AA

'3 I I 3
L L J
Figure 17A
—“
jtl
! ‘
K
FIGURE 17B. An in-
_--_.'2‘

‘‘
verted p l e a t can be ,-—._- ~.- I \,_-.

I made from the side

pleat, allowances in
Figure 17A by add-
,-.__-_-.__-

ing a p l e a t i n l a y sec-
tion to the pleat al-
lowances.

I2 >
The p l e a t inlay sec-
tion is the size of
3 both side p l e a t s . K-

\
;
L_:‘J
o_ 3 L is stitched to K-L Figure 17C Figure 17D

‘
of the s k i r t .

I
FIGURES 17C and 17D. These figures

,
\ Lines 51-1 of the skirt
sections are creased
show two other style p o s s i b i l i t i e s .

Two side pleats facing each other make

and folded over to Figure 17BB an inverted pleat. Two side pleats fair-
meet on line J-L of
ly close together, facing in opposite di-
the inlay section. This figure shows
L rections, m a k e a b_§ pleat.
L the cloth fi tting of
.1 the skirt with in- A series of inverted pleats as in Figure
Figure 17B verted pleats. l7D are also a series of box pleats.
51
 GODET S

A godet is a separate piece inserted into a part of a garment to give a

difference of width at a particular place.

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

Figures 18A-18BB show a triangular godet set i n t o a slash, producing

.
V

a flare.

—-- B

Figure 18B

The triangle f o r the godet is drawn

as large as desired. A l l the length
l i n e s of the godet (A-B) must be the
same length as the slash l i n e A-B
of the s k i r t .

3
Figure 18A

The slash line A-B is drawn

any place on the skirt.

FIGURE 18BB. This fi gure shows two_ ways

this godet can appear in the finished skirt-—-
as a flare tucked away inside the slash, al-
most like a pleat, and as a flare which "pops"
out of the skirt.

Figure ISBB

52
 .
.

.1.iw]!.uflJua.§,
54
Variations In The Cap Of The Sleeve . . . . . . . . . . . . . . . . . . . . pages 69-75

Page 74 Page 75 Page 75

.56
 HEIGHT
/ or ‘
CAP
/
5
O>
X
XODW

<—
-—
-—
--

Figure 1D Figure IE Figure 1F

FIGURES 1D and 1B. These fi gures show a c l o t h fi t t i n g of the one- The a r m can be raised no m o r e
the a r m is lowered. than about h a l f way between the
piece fi t t e d sleeve. The sleeve fi t s best when
There is no excess fullness under the a r m or in the width of the shoulder and waistline without
sleeve. The wrist is tight. The sleeve cap has the m i n i m u m full— pulling up the rest of the gar-
ness necessary to fi t smoothly over the curves of the shoulder and merit. (As soon as the a r m is
t h e top of the a r m . The amount of extra fullness in the sleeve cap raised, diagonal wrinkles form
about one inch from the top of the a r m to t h e
(from A to B to C in Figure 1C) usually averages
m o r e than the armhole, depending on the fabric used. underarm. )

V a r i a t i o n s In T h e H e i g h t Of T h e Sleeve Cap.

Figure 2A Figure 2B
FIGURES 2A, 2B, and 2C. These figures show
what happens to the fi t of the sleeve when the
underarm is lengthened and the sleeve cap made
shallower. The sleeve has to become wider and
so l i t t l e or no extra f u l l n e s s is needed in the cap
to fi t over the top of t h e a r m . The a r m can be
raised almost shoulder height without pulling up
t h e rest of the garment. But there is excess
is
; fullness in the underarm when the a r m is lower-
ed. The sleeve shows diagonal wrinkles from
*1 the top of the cap to the underarm. This type of sleeve, found in sport shirts,
is best used when freedom of a r m movement is m o r e important than a smooth-
ly fi t t e d cap.
Figure 2C
More details on t h e construction of such a sleeve cap can be found in Book I.
The sleeve cap line can be made as shallow as desired, even approaching a
=u.,n>
.uwum
. n«.
straight line. 58
.
 V a r i a t i o n s In T h e B o d y Of T h e Sleeve.

Style Variations Based On The Folded Sleeve.

Those style variations which a f f e c t only the f r o n t or back of the

sleeve, or both, are m o s t easily made when the sleeve is folded
like an a r m . The design can be drawn exactly as it is to appear
finished, and then the sleeve opened.

Folding The Sleeve.

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

s§“‘

FRONT

Figure 4A Figure 4B

The back underarm line D—E-H is folded Line D - F of the front underarm line is
over to the overarm or center line of the folded over to meet l i n e D-E of the back.
sleeve.
The elbow line must be cut from F to the
First the upper half D-E is folded over, f o l d before the bottom h a l f F—J can be
thenythe bottom half E-H. folded over.

The elbow dart fullness is folded in place

as one dart.

60
 I
I
I
I
I
I
I
I
E Figure 5D I
The bottom width of the sleeve
A
can be gathered to a band cuff. I
i‘
§.
The c u f f usually is cut twice
the finished width, plus what-
I
ever underlay is necessary for I
buttons or snaps or any other I
f fastening (the shaded section). I
I
I
I

FIGURE 513. Extra length can be I Figure SEE

is added to the sleeve if m o r e of a I This fi gure shows
puffed effect is wanted when the
» sleeve is gathered. (The straight I the fi nished appear-
ance of the gathered
grain l i n e is usually shifted to the I or "Bishop" sleeve
I ,1 I

——
center of the sleeve.)
’«I.'l|(1!‘?.f”l’I.‘!

,
'—~——___

L. : _ . — . . — — _ — j
I

I
1..._ _
—_ _I
I
in Figure 5E.

4;_<.~m/“\‘[l4'Vx“!UVrI:‘

Figure SE B

I
‘ Figure 5F
T
“ ”

Figure G
FIGURES 5F and 5G. More width can be added to the body of the sleeve as well as the
bottom by cutting and spreading the sleeve pattern of either Figure 5C or SE, from the
.1
bottom almost to the cap line. The pieces must l i e fl a t when spread, b u t they can be
spread any amount.
62
 T>\
|\

WW
IIHH

HHHIIH

ill
Figure SI-I

FIGURE SH. More width can be added to the cap

Line of the sleeve as well as the bottom, if desired,
by spreading the pieces along a straight line. The

to
pieces can also be spread so t h a t m o r e fullness is
added to the bottom than the cap. (See Figure 11B.)
/
‘ The n e w cap line can be drawn as indicated by the
’
dotted lines.

The sleeve does not have to be made f u l l length.

Wherever it is, the n e w bottom line should be drawn
perpendicular to the center l i n e of the sleeve. (See
the lantern sleeve, Figure 8A, and also following
Figures 6A-6BB.)

FIGURE 5HH. This fi gure shows the finished ap-

pearance of the sleeve in Figure 5H, gathered to a
band cuff, or l e f t loose at the bottom, gathered only
/
31 the cap.

Figure 5 H H

63
 .
.4
Figure 6A Figure 6B Figure 6BB
FIGURES 6A, 6B and 6BB. These figures show how width is added to the f r o n t and
_.~.

An:t

an back of a short sleeve. The procedure is similar to t h a t described for Figure 5A.
The sleeve in Figure 6B can be cut and spread as m u c h m o r e as desired as des-
cribed in Figures 5G and 5H.
.‘;H;¢m.u:u.

(Figures 11A and 11B show other ways in which the short sleeve can be c u t and
spread without first folding the sleeve.)

‘-$s‘:.«4u-ur‘.«.‘:

A d d i n g To T h e B a c k Of T h e Sleeve Only.

I
l FIGURE 7B. The sleeve

a | is
as“
opened the same way
described f o r Figures

I 5A-C. (The shaded sec-

tions are traced through.)

I.-:a».‘'T.e.i-~.~

I ” ‘_ iL
.a.,-s.,-.'
V-
. M
Léfflfl,
K
Figure 7A
Z
\
’ / F _
A straight line drawn from L
through K can be extended as Figure 7B
m u c h as desired to point M.
Point M is connected to the
cap line. Point L can a l s o be connected to the cap line by a straight line. Figure 7 B B
The curve of the elbow is no longer necessary since there will be no elbow
dart in this wider sleeve. This fi gure shows
the finished appear-
A n e w underarm line can be drawn from D through the center of t h e n e w 3-RC6 Of the Sleeve-
bottom l i n e M--L. In t h i s sleeve it coincides with the grain line, b u t it m a y
not always. The straight grain line can always be made the center of the
sleeve. 64
 .a.,
.,
Figures 9A, 9B, and 9BB show another s ty le variation t h a t can be made on a
folded sleeve.The sleeve flares out in a point at the back over a fi t t e d cuff.

-.

.
-«
.
v

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

.4.:;u.~.‘«.-my

._
._a.- K
Figure 9A

The fi t t e d cuff O-N-M-L-I-K-O can

.._
.
be drawn as desired. The rest of
the style line O—P is drawn as de-
sired and joined to the cap line. Figure 9B ‘

A straight underarm seam l i n e can The sleeve is opened in two

be drawn from D to N. The under- parts by tracing through the
a r m seam line of the c u f f is N - I . shaded sections.
A straight f r o n t line can be drawn
from M to the cap line.
.u.=.-aumu:u:'n.a.u.m».-_,._A

.».».u.u.n.n»_.-

FIGURE 9BB. This fi gure shows the

finished appearance of the sleeve.

Figure 9 B B

66
Figures 10A, 10B and IOBB show another s ty le variation which can be m a d e on a f o l d -
ed sleeve. The back of the sleeve is a puff formed from gathers, over a fitted c u f f .

FIGURE 10A. The s ty le

lines for the puff at the
back, and the c u f f (M-P-
O-R to the cap l i n e ) are
drawn as desired. The
gathers will f a l l between
0 and P.

A straight underarm seam

for the upper section is
drawn from D to N. The
f r o n t f o l d l i n e is straight-
ened from M to the cap
line.

In this sleeve, the seam

of the c u f f runs down the
back l i n e O-K, instead of
the underarm.

Figure 10B

The sleeve is opened

in two parts as in Fig-
Figure 10A ure 9B.

Before the upper p a r t

of the sleeve can be K L K
opened, the back curved l i n e R-O must be straighten-
ed out to make a f o l d l i n e . R - Q is extended from the
back fold l i n e the same length as line R-O. A curved
l i n e is drawn from Q into line O—N.

The shaded sections of the sleeve are opened as ex-

plained in previous fi gures.

Line Q - P gathers to meet line O-P of the sleeve c u f f .

The c u f f is folded on line M- L, and the shaded section

traced through.

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

etc.

FIGURE IOBB. This fi gure shows the

fi nished appearance of the sleeve.

Figure IOBB
 ,~

“W
V a r i a t i o n s In T h e Cap Of T h e Sleeve.

Adding Fullness To The Head Of The Sleeve.

Fullness can be added to the top of the sleeve by means of gathers, darts,
pleats, or tucks. The top of the sleeve can be c u t and spread in various
ways depending on the effects desired.

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

Adding Gathers To The Top Of The Sleeve.

Figure 13A

Line E- G-F is drawn any place above the Figure 13B

elbow line, showing the level at which the
fullness to be added to the sleeve cap will The two halves of the sleeve head are
narrow down to the normal width of the spread equal amounts on each side of
sleeve. the center l i n e .

The sleeve is cut on lines B—G to points The shaded section between the points
E and F. THE PIECES S H O U L D REMAIN G indicates the extra length being add-
ATTACHED TO T H E SLEEVE AT POINTS ed to the height of the sleeve cap at
E AND F f o r ease in handling. the same time.
 FIGURE 13C. This is one way the
..
new cap line f o r the sleeve can be
drawn. The m a x i m u m width of the
spread of the sleeve has been kept.
A l i t t l e m o r e height has to be add-
ed to fi n i s h the curve of the cap.
Figure 13CC
av-_=.v;um.¢nvrun«se.xwr.u:.-v
A

The shaded section at the top of the

This fi gure shows
cap plus the shaded section between
the fi nished ap-
points G make the t o t a l increase in
height of the sleeve cap. This extra pearance of the
sleeve.
‘
height enables the sleeve to stand up
from the level of the shoulder like
the old fashioned ''leg 0' mutton"
sleeve, or stand out from the shoul-
der as a puffed sleeve.

The sleeve fullness is gathered be-

tween points A-B-C to fi t the arm-
. hole.
Figure 13C

_
g,.v-—pm«_—.—«=uwm.m~-»=r,ea~.=;-n.sza-xnumucnu-mm:.

,,,

~
‘

,.m,.

’,,..,.
'

I/n»:7~l‘»“
'
E ____ _ _.

Figure 14A Figure l4AA

-«art-ant. This fi gure shows the same procedure as This fi gure shows the
...
M. Figures 13A-C f o r a short sleeve. fi nished appearance
of the sleeve.
The cap is shaped differently from t h a t in
m«.V.».r:-u.
Figure 13C to show a possible variation.
5;; Here the n e w cap line is drawn to make
the top of the sleeve narrower and with
more height than t h a t in Figure 13C.

70
 A d d i n g Pleats, Or Darts,. 01:» T u c k s , To T h e T o p Of T h e Sleeve.

Darted Sleeves Can Be Made In Two Ways.

Figures 15A-15C show how the sleeve cap is c u t and spread to make the darts,
making the e n t i r e sleeve head wider. Figures 16A, etc., show how a darted
cap can be made without affecting the width of the cap. 2 3
I “—
3
/
§
J
.—3 3

2
2
— \
3
g

-—
2
*—- E
)
$
Z

D i g
o
G
F
G E F
G

_§L_B9v_v_ _|-LN§__ _-J

—-——-——-—-—————-
'
Figure 15A
Lines 1, Z, 3 mark the places for the three darts which are to Figure 15B
be made in this sleeve cap. These lines are continued to the
l e v e l at which the fullness is to stop, line E-G-F. The sleeve is spread so t h a t there are
equal spaces between lines 1, Z, and 3,
(The sleeve in t h i s fi gure is shown drawn only to the elbow if that is the way the darts are to be.
l i n e because the rest of the sleeve remains exactly the same.) The extra height (between the points
G) added to the sleeve determines the
The sleeve is cut down line B-G almost to points E and F. length of the d a r t .

FIGURE 15C. The individual

darts can be made as long as
the space in the shaded sec-
t i o n between points G.

D a r t s 1-4-1, 245-2 and 3-6-3

should be equal distances a-
p a r t . Points 4,5, and 6 can Figure l5CC
be drawn any place within the
spaces made by spreading the This fi gure shows the
sleeve. Both sides‘ of each fi nished appearance of
dart must be the same length. the sleeve in Figure
15C.
Notice the n e w points 7 and 8.
Line 4-7 is made the same
length as l i n e 4-1. Line 6-8
is made the same length as
line 6-3.
Figure 15C
A n e w cap line is drawn from
points 7 and 8 into points D. The cap l i n e between points 1-2 and 2-3 will have
Ibbe reshaped to make a smooth cap l i n e when the darts are stitched. This is
iclt done in the fi tting and transferred back to the pattern.

Figure l5D

FIGURE 15D. This fi gure shows the appearance of a sleeve with longer
darts, spreading far enough apart to be individual points. For longer
darts, the sleeve pieces are spread further apart so t h a t the space be-
tween the points G increases.
71
 Figures 18A, 18B and l8BB show the construction of a sleeve with four d a r t s
which are not p a r a l l e l to each other. They cannot be spread more than 1/2"
at t h e bottom in t h i s construction (see Figures l5A- 15C).

E —
———
——— —
——-—"
Figure 18 BB

This fi gure
shows the
Figure 18A Figure 183
fi nished ap-
FIGURE 18A. L-N is the combined length of the dart spaces 2-1 and 1-7. L-O is the
combined length of the dart spaces 3-4 and 4 - 9 . pearance of
the sleeve.

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

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

The fi n a l shape of the sleeve cap is b est determined by a c l o t h fi tting.

~ Figures 19A and 19B show the construction of two other possible style variations.

lop
FIGURE 19A. A separate "box cap" can be drawn
any shape desired, but O-M can be no longer than
l i n e L—M.

L-Q equals N-O. L-R equals O-P.

M--S equals M-N. M-T equals M-P.

The n e w cap lines are drawn from points S and T

into the points D. Section M-N-O—P-M is cut Figure 19
away as a separate section. In the fi tting, line
5- M-T is sewed to N- M~ P.

FIGURE l9AA. This fi gure shows the fi nished

appearance of the sleeve.

FIGURE 19B. In this style variation, style l i n e

N-M-O is drawn fi r s t .

N-P equals N-M. O - Q equals O-M.‘

L-P should equal L-Q since they are sewn to-

gether. Then line N-P, (1-0 is stitched to line
Figure -19 I
N- M-O. f

FIGURE 19BB. This fi gure shows the fi nished

appearance of the sleeve.

. _ . : _ : _ . —

G 74
Figure 19B
 Another variation possible on the fl a t or open sleeve is the cowl
sleeve. See Cowl Necklines as w e l l . |

Figure 20A

The "cowl" l i n e s 1, 2, 3, 4, 5, 6 are

drawn as deep and as far apart as
desired.

The shaded sections show how the

extra fullness in the normal sleeve Figure 2013 Figure 2033
cap can be removed. It is no long-
er necessary in a sleeve with cowl The sleeve sections are cut apart and spread This fi gure
fullness. as desired. The shaded sections can be c u t shows the
away first and the pieces rejoined at the cap. When spread, fi nished ap-
points E and F should be kept together. The top sections pearance of
can be spread apart less than the bottom or all the sections the sleeve.
spread evenly.

H-I sews to I - J , making the inside fold of the top flcowl.

The shape of this l i n e can be adjusted in the fi tting.

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

Figure 21A Figure 21B ’Figure ZIBB

FIGURES 21A, 21B and 21BB. These figures show another style variation included
here because it illustrates the problem of inserting gathers in the middle of the head
‘

of the sleeve.

A center section H—I- J-K has been kept fl a t just as a style possibility. Only the side
sections have been spread to give increased width and length to the center of the head
of the sleeve.
75
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76
 K i m m i e Type Combination Sleeves . . . . . . . . . . : . . . . . . pages 88- 102
G u s s e t - Type Kimono Sleeves. . . . . . . . . . pages 89-94 '

Page 89 Page 89 Page 93

Page 94 Page 94

Non-Gusset Type Kimono Sleeves. . . . . . . . . . pages 95-102

1

,
\\
.,
‘\\
.

~_
.,.

,v___

\\
Page 97 Page 98 Page 99

Page 101

78
rt

:
1‘;

Fitted Type C o m b i n a t i o n Sleeves.

Figure 2A shows the positions of the basic patterns for a l l fi t t e d types of sleeve-
waist combinations.

The top cap l i n e of the sleeve is placed with the armholes of the waist patterns
similar to the way it is sewed into them. It is then easy to combine the overarm
part of the sleeve with the waist patterns. The excess fullness at the sleeve cap,
which normally is eased into the armhole when sewed together, becomes a shoul-
der dart.

The underarm sections of the sleeve and the armholes are not changed. Any
s tyl e l i n e drawn on the waist patterns must be joined to the sleeve p a t t e r n at ap-
proximately point D so t h a t it can continue into the normal underarm and sleeve
cap lines.

Figure 2A

The sleeve pattern is marked on a sheet of paper.‘ (Any type of style sleeve
with a fi t t e d cap can be used.) The back waist pattern is placed on the sleeve
so t h a t point D meets point I-1 and point C is raised l/4" above the sleeve cap
line. The f r o n t waist pattern is placed on the sleeve in the same way. (The
1/4" allowance helps keep the waist armholes from overlapping the sleeve
cap too much. As much as 1/2" can be allowed if necessary. )

The f r o n t and back shoulder lines B-C are brought together as a dart at point
J, making a n e w shoulder line for the sleeve and waists.

The point of the dart should curve enough below J to make a line which will
follow the curve of the shoulder and top of the arm. This line is best adjust-
ed in a cloth fi tting. Approximately, it can be drawn as shown here from the
center of the shoulder lines to a point about 1/2" below point J.
80
 T h e Fitted Raglan Sleeve.

Figure 3A
D - Q and D—R are style lines, drawn as d e -
sired, making "Raglan" style lines K-D-Q
and E-D-Q, and M-D-R and E-D-R.
Figure 3B
WHATEVER STYLE LINE IS DRAWN MUST
COME B A C K TO POINT D ON THE ARM-
H O L E OR WITHIN APPROXIMATELY O N E
HALF INCH OF IT, to retain a close-
ly fi tted underarm.

FIGURES 3B, 3C and 3D. These fi g -

ures show the pattern pieces traced
separately from the construction dia-
gram of Figure 3A.
K-H-Q sews to E-D-
Q of the back waist.
M—L-Q sews to E-
D - Q of the front.
waist. B—J
sews to B-J.

Figure 3D

FIGURE 3DD. This fi gure

shows the cloth fi tting of the
fi tted raglan sleeve pattern.
Figure 3C Figure 3DD
81
 Figures 4A-4D show how the style lines of the fi t t e d raglan sleeve can
be modified by moving the shoulder dart fullness to the armhole lines.

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

~-\.«
Figure 4A Figure 4B
1.:-.

This shows the s a m e sleeve as in Figure 5A, but The shaded sections which have been cut ,j
-.».-:3-vw.
shortened to the elbow line because the rest of the out are placed back on the sleeve so that
sleeve is not pertinent. points J meet and points B come together
on the central dotted l i n e .
The dotted l i n e is the center of the sleeve-shoulder 4.-/"

d a r t B- J - B . H-5 and L-T are notch points within This procedure opens two darts H-J-H
which the fullness in the armhole lines will f a l l . and L—J-L in the armhole l i n e s , replac-
(The fullness should be placed in the area of the i n g the shoulder dart B-J-B. »ea»=e:«.;»*:‘«-M‘

shoulder and top of arm c u r v e . )

,-«,r

The shaded shoulder sections should be t r a c e d

through to another sheet of paper and c u t out.

” *§/\'>'§>fi“<‘/‘\/Z7[Z/
/
L

FIGURE 4C. New armhole lines are drawn approximately

as shown here. They can be adjusted in the cloth fi tting.

K-H and M-L on the new armhole lines are the same meas-
urement as K-H and M-L of the o rig inal sleeve.
«-4»
.,.

The n e w fullness (shown by the shaded spaces) is spread

between points H and S and L and T. This fullness can be
gathered, pleated, or tucked, as desired.

Figure 4C
82
 FIGURE 4CC. This fi gure shows
a cloth fi tting of the sleeve in Fig-
ure 4C, with the fullness laid in
pleats.

Figure 4 C C

Figure 4D Figure 4DD

This fi gure shows another possibility. Here the shoulder dart This fi gure shows the
B—.T-B is only p a r t i a l l y closed, opening a smaller amount of cloth fi tting of the
fullness in the armhole. pattern in Figure 4D.
This fullness can be gathered, as shown in Figure 4DD. If the
material used is of such nature, and the fullness is not too
much, the gathers can be shrunk out leaving no v i s i b l e signs
of the fullness. Only the shoulder d a r t would remain.

It is possible to swing a l l the fullness of the shoulder dart into

only one armhole, either the f r o n t or the back.

The shaded sections can be moved any way at all, pivoting

from point J.

83
 T h e F i t t e d D r o p p e d Shoulder S l e e v e

FIGURE 5A. The position of the basic

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

The dropped shoulder style line

O-P is drawn any way desired.
(Usually it is not drawn any
lower than points D on the
armhole.) The shoul-
der dart lines are
continued through
J to the n e w
style l i n e
(point Q).

FIGURE 5AA. This Figure 5A

figure shows the
cloth fi tting of the
pattern in Figure
5A.

Figure 5AA
Figures 5B, 5C and SD show the pattern pieces traced
separately from the construction diagram of Figure
5A. The dotted l i n e s show the procedure if a deeper
armhole l i n e is desired.
O P
Q

W
Figure 5D
FIGURES 5B and 5C. Both the f r o n t and back
armholes must be lowered the same amount.

FIGURE 5D. The sleeve cap l i n e must be ex-

..
-.
.,
Figure /5B
tended both f r o n t and back to match the n e w
armhole lines on the waist patterns. A l i n e Figure 5C
is drawn through points K and M as a guide for extending the cap lines. The curve of the new cap lines should
.-NV’: approximate the shape of the n e w armhole lines, and must measure the s a m e length. (O—T of the sleeve cap
sews to O-R of the back armhole. P—U of the sleeve cap sews to P—S of the f r o n t armhole.) K-T and M-—U
should be the same size if possible. The shape of the armhole and sleeve cap lines can be fi n a l l y adjusted in
the cloth fi tting. ‘

84
 A Fitted Y o k e A n d Sleeve C o m b i n a t i o n .

Figures 6A-6C show j u s t one of many possible fi t t e d yoke and sleeve combinations.

FIGURE 6A. The position of the basic pat-

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

Here the yoke style lines are drawn

into the waist d a r t s . They can be
drawn any way desired. (Usually,
the yoke line should not go lower
than points D on the armhole.

The shoulder dart lines

continued through J,
down the center of the
sleeve f o r whatever
length sleeve is
desired.

cL____
Figure 6A

FIGURES 6B and 6C. These

figures show the pattern
pieces traced separately from the construc-
t i o n diagram of Figure 6A. The dotted lines
show a modifi cation of the sleeve seam to
give a more rounded effect.

Figure 6B
Figure 6C

FIGURE 6AA. This fi gure shows the cloth fi tting

of the patterns in Figures 6B and 6C.

Figure 6AA
85
 A Fitted Y o k e A n d D e e p A r m h o l e C o m b i n a t i o n .

Figures 7A-7D show another one of many other style p o s s i b i l i t i e s

of the fi t t e d sleeve and waist combination.

Figure 7A

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

In this fi gure a f r o n t yoke is combined with a. deep armhole (O-D-P).

The back waist pattern has simply a deep armhole Q-R which matches
the f r o n t in depth. F-R equals F-P.

Point S is simply a notch on the front shoulder l i n e B-J marked off to

match point 0 on the back.

FIGURE 7B. Only part of Figure 7A is shown

here to avoid the confusion of too many lines.

The cap lines of the sleeve have to be length-

ened to match the deep armhole lines on the
f r o n t and back waist patterns. (See Figure
5D.)

The n e w cap lines D-T and D-U are drawn to

meet the guide l i n e through points K and M.
D-T is drawn the s a m e length as the back arm-
hole line D-R of Figure 7A, and similar in
shape. D-U matches the f r o n t armhole line
D-P in Figure 7A and should be similar in
shape. Points T and U are joined to the sleeve
at any depth desired.
\\F V
It should be noted here that T-K is longer than
M - U because of the difference in shape between
the f r o n t and back armholes. If it appears
practical in the cloth fi tting, the side seam l i n e
of the waist could be moved toward the back to
h e l p make T-K and M-U equal so t h a t both Figure'7B
sides of the sleeve are in balance.

86
 FIGURES 7C and 7D. These
fi gures show the back and
f r o n t waist patterns traced
separately without the sleeve. Figure 7D

Figure 7C

FIGURE 7E. The sleeve lines T-V and U—W

should be made the same length. Also, points
T and U need not remain as sharp as they are. T
They can be dropped and flattened out because
there is plenty of length in the underarm o f x \
the sleeve.

The dotted lines show how these changes can

be made. D-X equals D-T. D-Y equals D-U.
X-V equals Y-W.
The shape of these lines can be adjusted fur-
ther in the cloth fi tting, if necessary.

Figure 7E

Figure 7 E E

This fi gure shows the c l o t h fi tting of

the patterns in Figures 7C, 7D and 7E.

87
 K i m o n o Type C o m b i n a t i o n Sleeves.

When the entire sleeve is joined to the waist, there is always the problem of raising
the a r m comfortably. (See Figure 1F in the introduction to Sleeves.) More " l i f t "
can be given to the underarm either by inserting a separate underarm section known
as a "gusset, " or by providing enough extra length for the underarm of the sleeve in
'
the construction of the pattern.

The gusset gives extra length without extra f u l l n e s s . It is diffi cult to set in and fre-
quently rips out, but it does allow for a m o r e fi t t e d type of kimono sleeve.

When extra length is added to the underarm as in Figures 10A and 10B, more f u l l -
ness comes into the armhole. The shaded sections in Figures 8B and 10B should be
compared. The a r m can be raised higher with no gusset piece, but there is m o r e
excess fullness at the underarm.
f.
E
3;;
G u s s e t — T y p e K i m o n o Sleeves.

52

..
*‘?'.‘E’.?*2‘:'L‘!.',

-.«.um€??'\5“«‘"v“-‘*1"’-='-*\?"*W~«~’“'

r:“aemyum~vsn:mmrm_-m~
Figure 8A

This fi gure shows the positions of the basic patterns f o r a l l gusset-type kimono combina-
tions in relation to the fi t t e d type combination sleeves. This fi gure is based on Figure
mm.m:1o«ma.-~ 2A of the fi t t e d type combination sleeves, which is shown here in dotted lines. It is d i f -
ferent from Figure 2A in t h a t both waist patterns have been swung away from the sleeve,
(using points C as pivots), to keep the underarm lines of the sleeve entirely free from the
waist patterns. This causes the extra fullness (shaded sections) at the armhole which is
t y p i c a l of a l l kimono type sleeves. The shaded sections in Figure 8B show this more
_. c l e a r l y.

i‘3? 88
 The Basic Position Of The Waist And Sleeve P a t t e r n s
For A l l Gusset-Type Kimono Sleeves

Figure 8B
The instructions for Figure 2A under Fitted Type Sleeves must be
followed fi r s t .

The sleeve pattern can be marked in place,

but the waist patterns should not be marked
until the following instructions are completed.

The back waist p a t t e r n is placed on the sleeve so t h a t point D meets

point H and point C is raised 1/4" above the sleeve cap l i n e . Point
C is pinned in position as a p i v o t so t h a t the waist p a t t e r n can be
moved away from the sleeve u n t i l the side seam l i n e E~F meets the
underarm point K of the sleeve.

The front waist p a t t e r n is moved in the same way until the side
seam line E-F meets the underarm point M of the sleeve.

The p a t t e r n s ’ are marked in this position. The armhole lines of the

waists and the sleeve cap l i n e are no longer of any use except as
guide lines f o r the drawing of style lines.

89
Figures 9A-9K show various types of gussets which can be constructed to give
"lift" to the underarm of the sleeve.

The larger the gusset, the more freedom of a r m movement. A balance must
be struck between the small gusset which is invisible when the a r m is down
and a gusset large enough for comfort when the a r m is raised. This can be
achieved only through many trials with cloth fi ttings. (The gusset is usually
cut on the bias grain to lessen the strain on the corners.)

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

Figure 9A

The front and back armholes must be cut into to allow the insertion of the
gusset. Enough space must be c u t out to make r o o m f o r small s e a m al-
lowances. The slash line_s must be drawn to s o m e outside edge of the
waist and sleeve patterns.

The front gusset slash lines U—T-M‘ meet the above requirements. The
back gusset slash lines Q-R-S must be drawn to fall the same way on the
side seam and the sleeve underarm as the front. K-S must measure the
same as M-U. E - Q must measure the same as E—M. Points R and T can
be brought as high into the armhole as p r a c t i c a l . The higher the points,
the higher the a r m can be raised.

In effect, new armhole and sleeve lines have been drawn. R - Q and T-M
are the back and f r o n t armhole l i n e s . R-S and T—U are the sleeve cap
lines.

90
 Drawing The Gusset

Y
B
B

J
w’v
R
T

U,S
Figure 9C

Figure 9B

FIGURE 9B. Only part of Figure 9A is shown f o r greater c l a r i t y.

The dotted lines show the gusset pieces which will be joined and inserted in the
shaded spaces. The underarm l i n e of the gusset has to be large enough to make
up for the amount c u t away from the sleeve underarm (K-S and M—U in Figure
9A) plus the amount of extra "lift" desired for the a r m .

In this fi gure, the underarm gusset lines S-V and U-W a r e about 4" long. (About
1" to replace the sleeve underarm, plus 3" f o r " l i f t . ") Line T-W must be made
the same length as line T-M. Line R-V must be made the same length as l i n e
R-Q.

FIGURE 9C. Both the front and back halves of the gusset (T-U-W-T and R - S -
V-R) must be traced through from the construction in Figure 9B and joined t o -
gether at the underarm lines U-W and S- V.
The armhole lines T-W and R-V must be placed on the same side. The sleeve
linesR-5 and T-U must be placed on the same side.

@\? Figure 9AA

This fi gure shows the c l o t h fi tting

of the p a t t e r n in Figure 9A.

91
‘K Figure 9D

U,$
Figure 9E
,. FIGURES 9D and 9B. These fi gures show another gusset in which
the armhole l i n e s are shorter and the sleeve lines longer.

w,v
Figure 9F
R
T

u,s
Figure 9G
FIGURES 9F and 9G. These fi gures show another gusset in which
the armhole lines are longer and the sleeve lines shorter. '

92
 Figures 9H—9K show how a gusset can be used in a short kimono type sleeve-

Figure 9H

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

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

T H E SLEEVE IS SO SHORT THAT P A R T OF T H E WIDTH OF T H E

SLEEVE IS T H E GUSSET.

Figure 91

The dotted lines show one type of gusset t h a t can be made to fi n i s h the short
kimono sleeve.

Since l i n e 1-2 is too short to m a k e the fi nished width of the sleeve, the gus-
set must have part of the sleeve width allowed in i t . Lines X-V and Y - W of
the gussets are part of the width of the sleeve. X-V plus 1-Z plus W - Y make
up the complete width of the sleeve.

Lines Q - X and M - Y rnustbe the same length for they are the underarm of
the gusset and the sleeve. These lines can be curved if desired, to blend
m o r e smoothly i n t o the side seam of the waists. Line R-V must be the same
length as R-1. Line T-W must be the s a m e length as T-2.

93
—

.
5

é
:
7

l
. O
x
R

Figure 9J
w
T

v
M‘

The front and back gus sets should be traced separately,

and are best kept t h a t way.

The grain lines of the gussets should be drawn to match

the sleeve.

v W
1'
‘

cloth
,

Figure 9JJ

This fi gure shows the

fi tting of the
gusset in Figure 9J.

.
_
F

V
2
F

*
A’
'
J

1F ~
Q" M’
F

)
Figure 9K

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

i sion at a l l , but have the width of the sleeve join directly to the
i
side seam of the waists. Figure 9KK

Points Q - V and M-W are joined directly by either a straight or This fi gure shows the
§ curved l i n e blending smoothly into the sleeve line 1-2. cloth fi tting of the
gusset in Figure 9K.

Figure 9L

This shows a short kimono sleeve similar to that in Figures 91

and 9K, but without a gusset. It is m o r e d i f fi c u l t to raise the
a r m comfortably in such a sleeve unless it is c u t very short.

FIGURE 9LL. This fi gure shows the

fi nished appearance of such a sleeve.
l‘ /

Figure 9LL
‘ 94
 Non-Gusset T y p e K i m o n o S l e e v e s .
W h e n there is no gusset to provide the extra underarm length needed to raise the
a r m comfortably, the construction of the p a t t e r n i t s e l f must allow for i t . (See
the introduction to Kimono Sleeves.)

Figure 10A

This figure is based on Figure 8A of the gusset type kimono sleeves

which is shown in dotted l i n e s .

Both waist patterns are swung f u r t h e r away from the sleeve pattern
to make room for m o r e underarm length. A center l i n e B—J is drawn
between the two shoulder lines B-C. Using points C as pivots, the
waist patterns are moved toward the center l i n e so that both shoulder
points B meet on the center line. The patterns are marked in t h i s
position.

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

sections) than in Figure 8A.

95
 Figure 10B

This fi gure is the basic position of the patterns f o r

all non-gusset type kimono sleeves and is made
from Figure 10A.

(The dotted shoulder lines B-C have been retained

simply to make the position of the center l i n e B-J
m o r e c l e a r. )

The sleeve cap and armhole lines are now u s e f u l

only as guide lines.

96
 FIGURE 10C. The
sleeve underarm
lines can be joined
with the waist pat—
I \ K ‘
,

’
t e r n s in various ways
as shown here by the dot-
\
\ \ M I // T

"
t e d lines. \ \ I
I
/
/

The front and back underarm

lines should be drawn as nearly
\ I
\ I
‘alike as possible. Differences in
length can be adjusted l a t e r as shown /
in Figures 10D—l0F.

The n e w shoulder and sleeve l i n e can be

drawn from point B down through the cen-
ter of the sleeve, or any other way desired.

Figure 10C

Figure 10D

FIGURE 10D. This fi gure shows the back p a t t e r n with the deeper
underarm from Figure IOC.

FIGURE 10E. This fi gure shows the front pattern with the deeper
underarm from Figure 10C.

IF T H E FRONT U N D E R A R M C U RV E IS N O T T H E S A M E LENGTH
AS T H E BACK, IT MUST BE ADJUSTED TO M E A S U R E T H E S A M E ,
as shown in Figure 10F. (The adjustment can be made along the
dotted l i n e X—Y.)
Figure 101-:
97
 Figure IOFF

This fi gure shows the cloth

fi tting of the p a t t e r n s .

Figure 10F
FIGURE 10F. The f r o n t pattern pieces have been spread at point Y u n t i l l i n e W-F measures the
same as line U-F of the back (Figure 10D). T H E FRONT A N D BACK BASIC PATTERNS USUAL-
LY DO N O T JOIN T H E SLEEVE IN EXACTLY T H E S A M E WAY BECAUSE THEY H A V E DIFFER-
ENT SHAPES AT THE ARMHOLES AND SIDE SEAMS.
It is better to l e t the patterns f a l l in r e l a t i o n to each o th er
the way they were originally fi tted, and make the adjust-
ments later. This preserves the original "swing" of the
sleeve. (Refer to the introduction to S e t - I n Sleeves.)

2
I

Figure 10G

FIGURES 10G and 10H. These fi gures show

the f r o n t and back patterns with the high
curved underarm from Figure 10C.

Figure 10G shows how the back elbow dart

(U) can be closed by pivoting from a point F
(V) on the center seam line. This is pos-
s i b l e only because the kimono sleeve has a
bias grain and will stretch.

FIGURE IOHH. This fi gure shows Figure 10H

Figure l0HI-I the cloth fi tting of the sleeve.
98
 Figure 101

’ YA
-—-:._———__l

FIGURES 101 and 10J. —These ‘fl.

another po ssi b i l i ty.
fi gures show
The underarm seam
can ‘be lengthened so much that when the a r m
\’ zvv’ ’

; 3\’X
/
is lowered a cowl-like effect is obtained.

The back p a t t e r n is used here to illustrate 2

how the underarm can be c u t and spread to
add more length. The f r o n t p a t t e r n would ’
have to be increased in the same way. 4

G F
Figure 10J
Figures 11A-llD show another style possibility.
A
/ A

a 3 e
1"‘
Q _1H P

__
\
IIN‘ I
6

//
,c;I,|_lE
/ \
__
/ / \ \

0 / \ R
F

“’ \
M

3 T

Figure 11A
FIGURE 11A. In this fi gure, the sleeve and part of the bodice are removed from~ the
rest of the waist patterns, making a s o r t of yoke and sleeve combination. The style
lines can be drawn any way desired. E - Q must equal E-R.
99
 _.
,

#5?’

;.‘*’:"e€

4.
5‘

Figure 11 B
Figure 1 1 C
FIGURES 11B and 11C. These figures show the back and front waist
p a t t e r n s removed separately from the construction in Figure 11A.

_ : — — — . — : — — . : j _
W
:

Figure 11D Figure 11DD

If desired, the sleeve underarm seams can be made This fi gure shows
. longer f o r even more"1ift.
" the c l o t h fi tting of
the p a t t e r n .
X—1 must equal X-Q. Y-2 must equal Y-R. Points
X and Y can be placed higher or lower as desired.

The underarm seams 1-U and 2—W must equal each '

‘
o t h e r.

‘fl.‘’'v.2-"

«.».~.x.¥I:'
, 100
 Figures 12A-12D Show another style possibility.

I __VI __
__ __W

Figure 12A

Here the armhole is "squared."

l Line Q—U should equal l i n e T-W.
'

If the underarm lines are not the

s a m e length because of the posi-
tion of the patterns, they can be
adjusted as shown in Figure 12B.

101
 Figure IZB
Figure 12C Figure 12D
FIGURE 12B. The "squared" armhole sections (shaded) should be
traced through and c u t out. They can be pivoted from points 1 and
2 and moved up as much as desired to increase the underarm length
of the sleeve.

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

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

FIGURES 12C and 12D. These fi gures show the back and front waist
patterns removed separately from the construction in Figure 12A.

\\

Figure IZBB
This fi gure shows the c l o t h
fi tting of the p a t t e r n .

102
 INDEX TO COLLARS AND SPECIAL NECKLINES
Flat Collars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ---,pages 105-106

Page 105 Page 106 Page 106

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

Page 107 Page 109 Page 111

Page 112 Page 113 Page 113

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

Page 114
/ R Page 115

103
Page 116
\§
Page 117
Baud Collars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .pages 119-121

Page 119 Page 120 Page 120

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

Page 121

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

\/ /

Page 123 Page 124 Page 126

Page 126 Page 127

104
 F L A T COLLARS
Flat c o l l a r s follow the exact shape of the neckline.
They f a l l fl a t from the neck-
l i n e without any standing r o l l . They are the
simplest type of c o l l a r to construct.

FIGURE IA. The front

and back waist patterns
are placed together at
the shoulder seam to
give a continuous neck-
4:
line. '

V
3
Point B of the back
neckline meets point B E.‘
>-
of the f r o n t neckline. +-
Point E of the back (I)
shoulder l i n e can rest
on the extension of the
front shoulder l i n e .

FIGURE 1B. A c o l l a r
has been drawn around
the basic neckline.
znrn-czrnn

The neckline of the c o l -

lar is the same as the
neckline of the garment
A-B-C. The style line
is any shape.
-I203‘?! Figure 1B

Figure 1A

Figure ICC

This fi gure shows a muslin fi tting of the

c o l l a r. Any adjustments necessary for
the c o l l a r to l i e absolutely fl a t should
A be made.

Figure 1C Any desired change in the style l i n e can

be made on the fi tting. Sometimes it is
This is the p a t t e r n of the c o l l a r alone. more satisfactory to cut the c o l l a r wider
The center back line is placed on a than the desired fi nished width so t h a t
fold to make a complete c o l l a r. Point the fi n a l shape of the style l i n e can be
B is the shoulder notch. drawn directly on the fi tting.

105
 Figure 2B Figure ZBB

FIGURES 2A, 2B and ZBB. These fi gures i l l u s t r a t e

another type of flat c o l l a r, with a " V " neckline in-
stead of a round one.

A neckline of any shape can be drawn, and the c o l l a r

constructed around i t .
Figure 2A

A Convertible Flat Collar.

FIGURE 3A. In this fi gure, a flat c o l l a r is drawn to be

convertible, that is, to l i e fl a t when the neckline is open-
ed to form a lapel as well as when the neckline is closed.

D-E is the l a p drawn to allow for a button closing. F-G

is the break or fold line of the lapel. The shaded s e c -
D tion F-A-D-G is folded back on l i n e F-G and t r a c e d so
that the neckline is in i t s open or lapel position. The
neckline of the fl at c o l l a r is drawn following the shape
of the neckline A-F-B-C.

FIGURE 3B. This is the pattern

G f o r one-half the convertible fl at
°° '

gN
llar.
ceursn
BACK
1' F
E O
R L
D
F
R
O
N
T
E
Figure 3A ,
Figure 3B

FIGURE 3AA. This fi gure shows

the muslin fi tting of the c o l l a r in
both its open and closed positions.

Figure 3AA
106
 R O L L E D COLLARS

Rolled c o l l a r s rise from t h e neckline of the garment f o r some determined height

before folding over to rest on the shoulders.

Rolled c o l l a r s can be divided into two types:

I. Those in which the f o l d or break l i n e of the

c o l l a r hugs the side and back of the neck
as, for example, the shirt collar.

II. Those in which the fold or break l i n e of the

c o l l a r stands away from the neck.

In Type I the c o l l a r is limited in i t s size. In Type II the c o l l a r can be any shape.

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

Shirtwaist Collars .
Figures 4A-4EE show t h e construction of the typical tailored
shirtwaist collar. The fold line hugs the neck tightly. The
center back depth of the c o l l a r is j u s t enough to cover the
back neck seam.

FIGURE 4A. Point C is the center of the front neckline A-B.

The dotted lines A-C and C-B are temporary construction lines.
Line C-B is continued beyond the shoulder l i n e .

V The fold l i n e is as f a r from point B as desired f o r the c o l l a r to

rise at the side of the neck before it folds back. (See Figure 5A
f o r a different rise.) In this construction it is about 1 1/4".
\'°

D
B
\o
\
“E FIGURE 4B and 4BB. The shoulder line D-B is extended to the
E). E-F on the fold l i n e is the same measure-
{old l i n e (point
ment as the back neckline F-E in Figure 4BB.
C \

A The shaded section repre-

sents the stand of the col-
lar up to the {old or break
line.
C
E
N
T
E
R
F
R E
o
N
E
N
F
T T
E
R

Figure 4A
E
C
K
Figure 4B Figure 4BB

107
 Figure 4C Figure 4D

This fi gure shows t h a t p a r t of the c o l l a r which f a l l s The stand must he opened flat to complete the collar
'
from the fold line to the shoulder. pattern.

From point F a line (F— G) is drawn at right angles to The shaded stand section is traced through and drawn
lineA-E-F for the center back of the c o l l a r. Line on the other side of the f o l d l i n e A- E - ] : ' ‘ . (The paper
F-G should not be more than 1/2" deeper than the can be folded on l i n e A—E-F and the shaded section
stand of the c o l l a r. traced through with a tracing wheel. )

Style l i n e G-I-I-A is drawn as desired. A smoothly curved neckline is drawn rounding off the
corner at point C.
The c o l l a r is now completed, folded over the stand,
or shaded section, which cannot normally be seen B - I is made the same Length as E-F, the back neck
through the cloth. measurement.

The center back line of the c o l l a r is I-F-G, usually

'
a shaped l i n e .

Figure 4E

This is the finished c o l l a r p a t t e r n f o r one-half the complete

c o l l a r.

If I—F-G is not a straight line, the c o l l a r will have a seam at

the center back. It is possible to draw a straight l i n e from I
to G and place the c o l l a r on a fold. The dotted line from G
to I to B shows the fold l i n e and the adjustment which needs
to be made in the neckline for it to continue straight into the Figure 4EE
center back fold. When this is done, the f o l d l i n e becomes
This fi gure shows
longer and the c o l l a r does not hug the neck so t i g h t l y.
the muslin fi tting
Sometimes the under c o l l a r is l e f t with a center back seam of the c o l l a r.
to maintain the good fi t and the top c o l l a r is cut on the fold
since it has to be a. b i t larger anyway. (See Figures 51-‘ and
5G. )

108
 B
.a\ B
\ oA
\
\
\
D‘
\
\
‘\k
\\\
‘‘ ‘\\ J "'-
I
I
I
I
I
In
Figure 5C Figure 5D
The stand of the c o l l a r must be opened The completed [collar pattern is traced
to complete the c o l l a r p a t t e r n . through from A—D- C-B—I—F-G-H-A and
'
cut out.
The paper is folded under on the fold
l i n e D- E-F, and the shaded stand sec- The collar is i l l u s t r a t e d in this posi-
t i o n is t r a c e d through to the other side tion only to show how it fi ts into the
of the fold l i n e . The neckline of the front neckline. The lapel section is
c o l l a r has to be adjusted. shown back in i t s original position.

A smoothly curved l i n e is drawn from The dotted line J-K is the facing line.
C i n t o the center back point I as shown The front facing is J-B-D-A around
by the dotted l i n e . to L and K. (Refer to Figure 6D for
f u r t h e r discussion on facings.)

Figure 5E Figure 5F
FIGURES 5E and SF. The top c o l l a r always should
be a t r i fl e larger than the under c o l l a r so that the
c o l l a r will roll over easily.

The ‘center back of the top c o l l a r is a straight l i n e

from G to I. G-I is lengthened up to 1/2" (depend- Figure 5DD
ing on the fabric used) and a new neckline is drawn
into point D as shown in Figure 5F. This figure shows the muslin
fi tting of the c o l l a r in its
(Refer back to the discussion under Figure 4E as open position. W h e n closed,
well. ) it would look like Figare 4EE.

110
 Non-Convertible T y p e T a i l o r e d N o t c h Collars.

Figures 6A-6D show the construction of a tailored notch c o l l a r drawn to fi t i n t o a

non- convertible l a p e l . The shape of the l a p e l is such that it must always be worn
open. It cannot be worn closed around the neck since ' i t does not have the shape
of the neckline.

The construction of the c o l l a r and l a p e l proceeds in the same way described in

Figures 5A, 5B, and 5C.

Figure 6A Figure 6B Figure 6C

The construction of the stand and lapel The c o l l a r is completed a c - The completed c o l l a r pattern is t r a c e d
‘follows the instructions in Figure 5A. cording to the instructions through as described in Figure 5D.
in Figures 58 and 5C.
The lapel is immediately drawn in i t s The lapel section is opened fl at by fold-
finished position, from point D, any ing the paper under on the fold line D-L
shape desired. and tracing through the l a p e l lines D-M-
N-L with a tracing wheel.
The stand of the c o l l a r is narrower
than t h a t in Figure 5A because the The c o l l a r can be treated as described
‘lapel has been drawn open wider at the in Figures 5E and 5F. (When the stand
neckline. of the c o l l a r is made narrow, as it is
here, there is very l i t t l e shape to the
center back of the c o l l a r. )
FIGURE 6D. When the l a p e l remains open permanently,
the facing must be m a d e larger than the l a p e l i t s e l f so t h a t
the l a p e l can roll over on to the f r o n t easily.

Just as described f o r the c o l l a r in Figure 5F, the facing

can be made up to 1/2" longer than the lapel, and abit
yvider, depending on the material, i. e. how well it can be
eased in sewing and shrunk in pressing.

Lines J- B—D— M-N and the center front l i n e should be

‘drawn first on another sheet of paper. The p a t t e r n can
then be moved down on the center front line, up to 1/2".
In this position the rest of the facing from N to L down the
center front to K and back to J can be drawn. Figure 6CC

The dotted l i n e s are the finished l i n e s of the facing. They This fi gure shows
show how the increase in length comes out when properly Figure 6D the muslin fi tting
added. of the pattern.
111
 T a i l o r e d S h a w l Collars.

Figures 7A-7C show the construction of the tailored shawl c o l l a r in which the c o l l a r
and l a p e l form an unbroken l i n e from the center front to the center back neck.

The construction of the collar proceeds in the same way

5B, 5C and 6A—6D.
asdescribed in Figures 5A,

Figure 7A Figure - [ B

FIGURE ‘IA. The l a p e l and c o l l a r construction proceeds as described in Figures

6A and 6B.

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

FIGURE 7B. The under c o l l a r section is shown separated from the lapel, and the
l a p e l is opened as shown in Figure 6C.

FIGURE 7C. The facing for the l a p e l can be cut in one piece with the top c o l l a r
so t h a t no seam is v i s i b l e except at the
center back.

The c o l l a r and facing are kept joined at

lines B—D—H. Extra length should be added
to the collar—lapel facing as w a s explained
T

in Figure 6D.

FIGURE 71313. This fi gure shows the mus-

l i n fi tting f o r the c o l l a r.

Figure 7C Figure 7BB

1 12
 Stand Collars.

Figures 8A—8CC and 9A—9BB show the construction of collars which do not roll
over at the neck, b u t consist of a, stand alone, joined to the lapel. The proced-
ure is the same as described f o r Figures 6A, e t c .

The l a p e l can be drawn from any place on the f o l d line. Two different types of
lapels are shown here, but any number of variations is possible.

At the back neck, the c o l l a r is j u s t a band collar, as shown in Figure 8CC.

Figure 8C

Figure 8A F Figure 8B F
G <3

Figure 8AA

H Figure 8 C C

Figure 9A Figure 9B Figure 9 B B

113
 T Y P E II
There are many variations in t h i s group of collars. Some collars have a slight, uni-
form r o l l from the center back to the center front; others r o l l away from back of the
neck o n l y, lying fl a t at the f r o n t ; some are c u t in one with the center front waist. A l l
the c o l l a r s are constructed basically in the s a m e way.

Figures 10A-10E show a c o l l a r with a slight roll around the entire neckline. G

Z
/
/ ‘
CENTER H ’ I
v
pC6,4' BACK 9 F
0 $04,?» or NECK 9
/Vgc/r

I
.l
V

Figure 10C

F -G is the n e w neckline of the

front c o l l a r. If the c o l l a r is
Figure 1013 to have a one-inch roll, that
Figure 10A is, 1/2" up from the base of
The center back l i n e of the
the neck and 1/ 2" down again,
Point C is the center of the front back waist pattern is ex-
neckline A-B. A temporary
F-G must be drawn one inch
tended through point D f o r
above the neckline A- B.
guide l i n e is drawn from A to C. the center back of the neck.
From point A a l i n e is drawn at
F-G is drawn p a r a l l e l to the
right angles to A-C f o r the cen-
t e r front l i n e of the neck. R neckline A-B and the same
FOLDBACK length. The style l i n e of the
c o l l a r (H-I-A) is drawn as de-
sired. Points H and G are
joined.

Figure 10E

Figure 10D The f r o n t and back c o l l a r sections are

c u t out. The shoulder lines are placed
The new back neckline J-K is drawn together so that points G and K meet.
in the same way as the front F-G.
Any necessary adjustment in the style
E-L should measure the same length l i n e can be made. Figure IOEE
as B-H of the front. (The shoulder
dart is ignored.) The style l i n e of The shaded section is the depth of the This fi gure shows
the back collar is drawn as desired. roll or stand of the c o l l a r which turns the muslin fi tting
Points K and L are joined. down to meet the neckline. of the c o l l a r.

114
 Figures 11A-11D show a type of collar in which the roll of the collar is greatest
at the center back, gradually narrowing u n t i l it disappears at the center front.

It is easier to construct the back of the c o l l a r fi r s t , since the back r o l l of the

c o l l a r is the height to be determined.

Figure 1 1A Figure 11 B Figure 11C

Line A-C is continued from the The neckline for t h e c o l l a r on the The back section of the c o l l a r (Fig-
center back line f o r twice the f r o n t waist p a t t e r n can be drawn as ure 11A) is cut out and joined to the
desired rise of the c o l l a r. If desired. In this figure the neck- f r o n t so that point D meets point I
the r o l l of the c o l l a r is to be l i n e is a shallow " V " type neckline and l i n e D-F meets l i n e I-.]’.
3/4" in depth, line A-C is made G-H.
1 1/2". If points F and J do ‘not meet, the
H-I is the new neckline of the f r o n t style l i n e of the c o l l a r can be ad-
Line C-D is drawn at right an- c o l l a r. I-I-I should measure the justed as shown by the dotted l i n e .
gles to l i n e A-C and is made same as the neckline G-H. The
the same measurement as the distance from I to G is the same as 'I‘he back neckline (D-C) can be re-
back neckline A-B. The style the distance from D to B in the drawn so that it makes a better
line E-F is drawn as desired. back collar (Figure 11A). G-J is curve with the front neckline I-H as
Points D and F are joined. the same length as B-F of the back shown by the clotted l i n e . Because
collar. Points I and J are joined. this removes some of the c o l l a r
roll, just enough shaping should be
The style line J-K-H is drawn as done to prevent a sharp corner at
desired. points I, D.

Figure 11D
Figure 1lDD
This shown the fi nished pattern f o r o n e - h a l f the c o l l a r.
L-E is the center back fold. This fi gure shows
the muslin fi tting
The shaded section is the depth of the roll or stand of of the collar.
the c o l l a r which turns down to meet the neckline.

115
 Figures 12A-12D show the construction of the s a m e type of c o l l a r as in Figures 11A-
l1D, except that the c o l l a r is shown cut in one piece with the front waist p a t t e r n . A
f r o n t with an overlap f o r buttons is shown f o r variation.
E

zurn-czrnn

—IzO:I'n

Figure 12A

Figure IZB Figure 12C

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

FIGURE 12C. The completed c o l l a r H-I-L-E-K-F-H can be

c u t out and used as a separate c o l l a r. Line H-1 sews to the
f r o n t neckline I-I—G. Line I-L sews to the back neckline A- B.
L-E is the center back f o l d of the collar.

FIGURE 12D. The collar is joined to the waist p a t t e r n by

joining the collar neckline H-I to the front waist neckline H-G.
M - N is the collar-front facing line (see Figures 7B, 7C).

FIGURE IZDD. This fi gure shows the f r o n t and back of the

muslin fi tting of the collar.

\
Figure IZDD
//
Figure 12D
116
 FIGURES 13A-13D. These fi gures
show the same c o l l a r construction as
in Figures 12A-12D. The neckline
has been drawn lower than the nor-
mal neckline of the basic pattern just
to show t h a t the construction of the
c o l l a r remains the same wherever
the neckline is drawn.

Figure 13A

Figure 13B

Figure 13C
Figure 13D

FIGURE 13CC. This fi gure

shows the muslin fi tting of
the p a t t e r n .

Figure 13 CC
117
 Figures 13E and 13F show a variation in the roll of the c o l l a r. To make the c o l l a r
stand away from the neck even more than this construction allows, the r o l l l i n e can
be increased in length by means of darts, or tucks, or gathers.

LINE
LINE

NECK
NECK

Figure 13F
H
Figure 13E

The dotted lines 1, 2, 3, 4 show where the c o l - The lines are cut almost to the edge of the p a t t e r n
lar is to be cut and spread for the increase in and spread as m u c h as desired. Line 5, the cen-
length. These lines can be drawn anywhere ter back line, cannot be spread. The same amount
on the neckline depending on where the collar of fullness is added to i t .
is to stand away from the neck.
The spaces formed (the shaded sections) can be
m a d e into darts, p l e a t s , tucks, or gathers, up to
the roll line. The neckline of the collar is reduced
to its normal size so that it will fi t into the neck-
l i n e of the garment. The r o l l l i n e retains its in-
creased length.

FIGURE 13FF. This fi gure shows

the muslin fi tting of the c o l l a r.

Figure 1 3 F F

118
 B a n d Collars.

Band collars can be of two types:

a.. A simple s t r i p hugging the base of the neck.

b. A double c o l l a r consisting of a band c o l l a r plus
a fl a t c o l l a r attached to the top of the band.

The Simple Band Collar.

Figure 14B

The collar neckline is drawn as a curved line

from points A to B, eliminating the corner at
C.

Figure 14A The neckline of the band c o l l a r (A-D-E)_ equals

the measurement of the front plus the back
Point C is the center of the neckline A-B. neckline: of the waist patterns. A-D equals
C and A are joined by a line. C and B are the front neckline. D-E equals the back neck-
joined by a l i n e which is extended through line.
point B. From point A, a center front line
f o r the collar is drawn at r i g h t angles to The c o l l a r can be drawn any width and shape
line A-C. desired. Lines E-F—G-A complete the c o l l a r.

G
F
A
E 0

Figure 140 Figure 14cc

This is the pattern for one—half the band This fi gure shows
The center back l i n e E-F is
c o l l a r. . the muslin fi tting
placed on a f o l d to make the complete of the coua_r_
c o l l a r.

119
 FIGURES 15A, 15B and l5BB. These fi gures i l l u s -
trate one possible style variation of the band c o l l a r.

G
’ G

A
E D

Figure 15B Figure ISBB.

'

Figure 15A

The Double Band C o l l a r.

BAND 3
E D G A

TOP COLLAR

Figure 16B Figure IGBB

This fi gure shows the This fi gure shows

finished appearance of 3 muslin fitting of
both collar patterns. 311011 3 C o l l a r.
Figure 16A Line F-G of the top
I
c o l l a r is sewed to l i n e
The band C o l l a r A-D-E-F-G-A F-G of the band col-
is the same construction shown lar.
in Figure 14B.
The dotted curve from
§ Another c o l l a r G—I—H-F-G is A-B shows a type of
drawn over the band c o l l a r.
1

button extension which

could be added to the i
The top collar and band collar band c o l l a r to be but— ‘

patterns must be c u t out sepa- toned at the center

rately, front.

120
 Figures l7A-17D show the procedure which would have
to be followed if a very deep top c o l l a r were desired.
V

D
E

Figure 17A . Figure 17B

The construction of the c o l l a r is the same as t h a t de- Line H—J on the back waist p a t t e r n
scribed in Figure 16A. The top collar is made as is the style l i n e of the back section
deep as desired. of the collar.

The shaded area of the top c o l l a r represents the back Line E-H isthe same m e a s u r e m e n t
section of the c o l l a r. As constructed, it could not as the back depth of the c o l l a r E-H
possibly fi t around the body. It must be widened to in Figure 1 7 A ,
measure the same as the back waist pattern at t h a t
depth.

Figure 17C Figure 17D

The top c o l l a r ‘of Figure 17A is c u t out The top c o l l a r is cut and spread so t h a t l i n e H-1 is the
(G-A-I-J—I-I—F). The dotted lines show same length as l i n e H—J of Figure 17B, PLUS l i n e .]’-I
where the c o l l a r can be c u t and spread of Figure 17A.
to increase the length of l i n e H- J - I .
The fi nished collar pattern consist of the band collar
pattern of Figure 17A (A-G-F-E-D-A) and the top c o l -
lar pattern of Figure 17D. Line F-G of the top c o l l a r
sews to l i n e F-G of the band c o l l a r. The center back
l i n e }:‘-E of the band c o l l a r is placed on a fold. The
center back line F-H of the top c o l l a r is placed on a
fold.

FIGURE l7DD. This fi gure shows

the muslin fi tting of such a c o l l a r.

Figure l7DD

121
 RAISED NECKLINES

The neckline of a garment can be moved higher up on the neck than the
basic neckline making a finish for the neckline without a separate c o l l a r.

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

CENTER i
FRONT

.
“_ -
Figure 18A

Point C is the center of the neckline A-B. A l i n e is drawn

from A to C. The center front Line of the neck is drawn at
Figure 18B

The center back line of the waist pat-

tern is extended above the neckline
is

-
f right angles to l i n e AA-C. The side l i n e of the neck (B-D) through point E. The side line F-G
i is drawn parallel to the center front l i n e . is drawn p a r a l l e l to the center back
line.
.- Because the human neck is not the same width from i t s
‘: base to the head, the side l i n e should be tapered l/4" about (}.C,' is constructed in the same way i
1" above point B. as D-D‘ in the front. The new side *
_ line is F-G’. ;‘
‘V B-D is one inch. D-D‘ is 1/4". The n e w side line is B-D‘.
6‘
_
E
_. »
’F
’
1
‘L
~

é «

t
Figure 1313 Figure l8BB
FIGURE 18B and l8BB. Any type of "raised neckline" can be drawn on the
"neck". Figure 18B illustrates one type of neckline. Figure l8BB shows ‘ ‘

the muslin fi tting of such a neckline.

Since the shape of the "neck" is approximated, fi n a l adjustments in the

shape of the side of the neckline can be m a d e in the muslin fi tting.

122

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

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

Figures 19A-22B on the following pages i l l u s t r a t e basic types of

cowl necklines. (The method of constructing cowl necklines‘ can
be applied to skirts, sleeves, e t c . )

T h e S i m p l e Neckline C o w l .

The cowl fold is confi ned to the neckline only. It is not

cut i n t o the body of the waist p a t t e r n as in l a t e r fi gures.

:_____2/

——————-—o'=

Figure 19A Figure 1.93

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

If the center front is to be placed on a bias fold,

point B‘ is joined to the waistline C by a straight
line. If a center front seam can be made, point B’
can be joined to the center front at any level (D),
keeping the cowl fullness as close to the neckline
as desired. The center front seam l i n e would be
B‘-D-C.

FIGURE 19BB. This fi gure shows the

muslin fi tting of the cowl with a center
f r o n t seam.

Usually a small weight is attached to

point B‘ to keep it down in its proper
po sition.

Figure 19BB

123
 T h e Center—Front-To-Shoulder C o w l .

Figure 20A Figure 20B

Lines 1, 2, 3 show where the The pattern is cut on lines 1, 2, 3 ALMOST to the
cowl folds are to f a l l . shoulder seam. The pieces are spread as much
as desired for the depths of the cowls. (The
pieces must be b a r e l y attached at the shoulder
so that they w i l l l i e absolutely fl a t when spread. )

The depth of the top cowl (3) is just added to the

pattern as in Figure 19B. The new top l i n e (3)
is made the same length as the old neckline (3).
The center front fold l i n e is drawn from 3 to A.
This l i n e should be placed on a. true bias fold.
(See Figure 21C.)

Figure ZOBB

This fi gure shows

the muslin fi t t i n g
of the pattern.

124
 cowl set i n t o a yoke.

Figure 21A Figure 21B

The yoke l i n e A-B is drawn on the center front waist p a t t e r n . The waist d a r t E—F-G is
Points C and D are notches marked to help stitch the yoke and closed, opening a small
waist sections together correctly. dart (H-F-H)which l a t e r
can be gathered or eased
Line F-H is drawn to shift the waist dart E-F-G into the yoke into the yoke line.
line A-B. (See Figures 11E, 11F in the section on B u s t Darts.)

Lines 1, 2, 3 are the cowl lines.

Figure 21C Figure ZID

The yoke section is cut away from the rest of the front pattern.
Figure 21D is the same as Figure
Each of the cowl l i n e s (1, 2) are c u t from the center front AL- 21C except that the center front
MOST to the shoulder l i n e and spread as m u c h as desired. l i n e of the cowl has been kept a
straight l i n e so that it could be
In this illustration, the cowl spaces have been made different
placed on a fold. To achieve t h i s
widths. The top cowl depth (3) is j u s t added to the it is necessary to lengthen the n e w
pattern.
The n e w line 3 is made the same length as the old. l i n e 3 enough to meet the
straight
center f r o n t l i n e continued up from
If the center front l i n e of the yoke section can remain a seam B. The n e w center f r o n t fold l i n e
l i n e , it can be drawn as a curved l i n e from 3 to B. This l i n e 3-B) should be made the same
should be cut on a bias grain, as indicated.
length as the o l d curved l i n e 3-B.
The square is drawn so t h a t part of the center f r o n t curve be-
comes the diagonal of the square. One side of the square be-
comes the straight grain l i n e , as shown by the arrows. (See
Figure 21E.) 125
 sum

‘V’

BIAS

B
Figure ZIE Figure ZIDD

This is the fi nished pattern of t h e yoke section of This fi gure shows the *
‘
.
‘

Figure 21D. muslin fi tting of the

patterns in Figures
The center f r o n t fold is placed on a bias grain by 21B and 21D.
making it the diagonal of a square, one side of
which is the straight grain.

Figure 2 1FF

Figure 2 IF

FIGURES 21F and ZIFF. These fi gures show the same type of cowl construction
as the previous fi gures, except t h a t here the cowl pieces are spread apart at the
shoulder as well, allowing f o r pleats.

The cowl folds will f a l l from pleats on the shoulder l i n e , instead of from a smooth
shoulder. This extra depth makes the cowls m o r e sharply defi ned.

When the pleats are folded in place in the muslin fi tting, as indicated by the ar-
rows, the shoulder l i n e should be the normal one in Figure 21A. Corrections can
be made in the muslin and the p a t t e r n adjusted from i t .

126
 T h e A r m h o l e - C e n t e r Front Cowl.

/
/ I

mom

cam’:-:n

Figure 22A Figure ZZB

FIGURES 22A and 22B. These figures show the construction of

s cowl which originates from the armhole line instead of the
shoulder. The neckline has been kept normal. To i l l u s t r a t e
something else that can be done, the center front is made with
an extension for buttons.

Figure ZZBB

This fi gure shows

the muslin fi tting
of the p a t t e r n .

127
‘
128
 INDEX TO THE APPENDIX

The Two-Piece Sleeve . . . . . . . . . . . . pages 131-132

Grading The Two-Piece Sleeve . . . . . . . . . .page 145 Cuffs . . . . . . . . . . . . . . . . . . . . . . . . . . . . page 133

I” I \\
\

0 ,

L
Q .

«
Page 132 Page 132 Page 133 Page 133

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

(
Page 135 Page 135

Page 134

129
A Complete Dress Pattern And I t s Grading . . . . . . . . . .‘. . . . . . . . pages 136- 144

130
 T H E T W O - PIECE SLEEVE

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

K
v \\\ ‘ K

K \
\
\

N F
\
‘ \ N F
E 1-:

Figure 1A Figure 1B

The one-piece sleeve is traced in i t s f o l d e d position. The wrist measurement usually is widened
(See Figures 4A and 4B in the section on Sleeves.) , enough for a hand to slip through. The back
l i n e G-K—E can be moved o u t to increase
The underarm section of the sleeve has no rigid di- the width of the wrist. The new wrist line
mensions. It can be varied as wished. The shape E-F usually measures 4 1/2"—4 3/4".
illustrated here is a good average one.
The new back l i n e G-E is drawn first. E-K
The back underarm l i n e I-J-K is drawn as follows: is 4 inches. J-K is drawn.
‘
I is the center of l i n e A-D.
G-J is 1/2". E-K is 4".

The f r o n t underarm l i n e L—M-N is drawn as follows:

L is the center of l i n e D-C.
M-H is 1". N-F is 3/4".

131
 I
|L

630

l
Figure 1C

E
Figure 1D Figure 1E

FIGURE 1C. The underarm section of Figure 1B is traced through separately

from the rest of the sleeve. 1, 2, 3 are notches placed to aid in sewing. . .]'-1
is about 3". M-Z is about 2''.

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

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

Front: The paper is f o l d e d under on l i n e C-H. C—L-M is traced through. The

II’ paper is opened fl a t and r e - f o l d e d on l i n e H-F. M-N is traced through.

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

FIGURE 1E. Sometimes it is desirable to give m o r e shape to the two—piece

sleeve. The f o l d e d sleeve of Figure 1A can be cut on line G—H and spread at
point G another h a l f inch or so, as shown by the shaded section. The sleeve is
now bent more at the elbow. The rest of the procedure follows as described
above.

FIGURES ICC and IDD. These fi gures show the underarm and overarm views
0
O of the sleeve.
0

Figure IDD

132
 CUFFS

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

The cuffs i l l u s t r a t e d here are separate from the sleeve, with their own shape.
They are drawn in their fi nished position on the folded sleeve. (See Figure 4B
of the section on Sleeves.)

.
‘
\
\
‘
\
.
.

\
\
ix
\ D _
D

3 B
.

A A A .

Figure 2A Figure 2B Figure ZBB

(Only the lower section of
the folded sleeve is used.) The c u f f is opened by folding This figure shows
t h e paper under on the front- the fi nished ap-
The cuff lines A-C-D-B are fold l i n e B-D, and tracing pearance of the
drawn any shape desired. through D-C-A-B. cuff.
This cuff swings away from
the back of the sleeve (A-D)
and will be opened there.
Line B-D is the front fold
of the cuff.

A
Figure 3A Figure 3B Figure 3 B B

This cuff has a slight swing The f r o n t section of the c u f f This fi gure shows
from the front and back of is opened by folding the paper the finihed a p -
the sleeve (B-D and A—C). under on line D-B and tracing pearance of the
The cuff is seamed or open- through D-E-F—B. The back cuff.
ed at the underarm E-F. section C-E-F-A is opened in
the s a m e way.

133
 POCKETS

All pockets stitched to the outside of the garment, or "Patch Pocket" types,
can be cut any shape desired and stitched to the garment. They present no I
particular problem and so are not illustrated here.
‘

"Inside Pockets” can be separate pieces of material stitched to an inside

seam or some slash l i n e . The type illustrated here is a special problem
because it is part of the garment. It can be applied to a skirt as w e l l .

A P o c k e t Cut As Part Of A Front W a i s t Y o k e A n d P a n e l S e c t i o n s .

Figure 4A Figure 4B R

The Yoke-panel Style lines are drawn The center front panel and yoke section (1) is traced
as desired. A-C-B is the outside
'

through separately with the shape of the inside pocket

pocket fl ap. The dotted l i n e repre- joined to i t .
sents the inside pocket. (The bust
dart can be moved O v e r to the Panel The side section (2) is c u t out separately a f t e r the
line.) fl ap of the pocket (A-C-B) has been opened fl a t from
l i n e A-B. The dotted l i n e showing the shape of the
inside pocket is kept f o r later use.

Figure 4C

The pocket fl ap and inside pocket are traced through from section
(2) of Figure 4B. This makes the facing for the fl ap and one—half
the inside pocket. Figure 4 B B

The fl ap facing A- C—B is stitched to the fl ap A-C—B of section (2). This fi gure shows
The curved pocket l i n e A-B is stitched to the curved pocket line the finished ap-
A-B of section (1). The fl ap turns back. The opening of the pock- pearance of the
et is in the straight line A-B. pocket.

134
 CIRCULAR RUFFLES
Circular ruffl es are circular flares and follow the same procedures. The one i l l u s t r a t i o n shown
here can be applied to any loose, fl a r e d section of the garment such as: fl ounces,
peplums, etc.
A
I I A I I

45s;7gs7
CL|;2;3 Figure I
5B

A B
CV/////////Av/////////
_ D
.
Figure 5CC
Figure 5A
FIGURE 5A. The shaded section of the sleeve (A-B-
C-D) will be a circular-ruffle-cuff as shown in Fig- A I B
ure SCC.
Figure 5c
FIGURE 5B. The section to be r u f fl e d (or flared) is cut away from the sleeve. Guide
lines are drawn (dotted lines) for cutting and spreading the section. F
D
FIGURE 5C and 5CC. Each dotted l i n e is c u t ALMOST to the top line A-B. The sec- H
tions are spread as m u c h as desired. In t h i s fi g u r e , line A-B becomes almost a com—
p l e t e circle. The circular l i n e A-B of the r u f fl e is stitched to the straight l i n e A-B of C
the sleeve. This forces the flares to f a l l into place as shown in Figure 5CC.
Figure 5D
FIGURE SD. A circular r u f fl e can be cut immediately as a circle, if that much fullness is desired. The procedure
follows that described f o r the Circle Skirts, Figure 10A. Lines A—E and A-D measure 1/6 the length of line A-B of
the sleeve in Figure 5A. Line D - E should equal 1/4 the length of l i n e A-B. If it is too large, the l i n e can be raised
a b i t to F- G. F—G—I-H—F makes one-quarter of the complete r u f fl e .

GROUPS OF PLEATS (IN A SECTION OF THE GARMENT)

This is a supplement to t h e pleats shown in the section on S k i r t s .

FIGURE 6A. The pleats are folded fi r s t as they will

appear fi ni shed in the paper to be used for the pattern.
(1 and 4 are side pleats; Z and 3 are box pleats making
one inverted center pleat.) The pattern section is
placed over the folded pleats and marked in position.
This can be done with any section of the garment.
Here the sleeve p a t t e r n of Figure 6B of the section
on Sleeves has been used.

FIGURE 6B. The p a t t e r n is cut out while the pleats

are folded in position. The p a t t e r n is then opened
fl a t , and the pleats notched f o r use.

FIGURE 6BB. This fi gure shows the finished ap-

pearance of the p l e a t s .

$ Figure 6A
/
¢ ? é
g / \/é /

\
.

/I/2 ?3 4 V

/
é/ /
\
/ / /
/ \
Figure 6B Figure 6B3
135
 A C O M P L E T E DRESS PATTERN A N D ITS GRADING

dress pattern is made and graded. _

This section summarizes some of the procedures which have been shown individually to make clear how a whole

The grading procedure is based on the basic grading instruction in Book I on Foundation Patterns, which MUST
be referred to in order to understand the instructions below. The parts of a style pattern must be graded so
that TOGETHER they grade the t o t a l amount shown for the basic patterns. The amount each part of the style
p a t t e r n is to be increased, or decreased, as for example, a panel or a yoke, depends on the t o t a l effect desired.

B u t whatever the effect, no matter how many the parts into which a front waist pattern might be divided, the
t o t a l measurement across the bust should increase or decrease no m o r e than the total grading measurement for
the size. ex»
FIGURE 7A. This fi gure is the sketch of the garment for which the pattern is to
be made in size 14 and graded to size 16.
<{ '

/;
FIGURE 7B. The waist and sleeve patterns are placed in position f o r a fi t t e d
yoke and sleeve combination, Figures 6A, 6B and 6C of the section on Fitted
Type Combination Sleeves.
'

The c o l l a r is constructed according to the instructions for the c o l l a r in Figures

12A— 12D of the section on C o l l a r s .

The sleeve is made to fi nish the length indicated by line 1.

line 2) is added f o r the "push-up" effect.
Additional length ( t o
, » " "

\
1
"
4
’
\\
\

Ifdesired, the bottom l i n e of the sleeve can be made a straight l i n e f o r ease in

sewing and cutting. Some of the elbow dart fullness is l o s t , b u t t h a t is not too
important in a sleeve of t h i s length.

Figure 7A

4?
——- _.

‘
V’
J
__ . _ _ _ . . ‘ L
Figure 7B

136
 . 7 .« K ‘ ‘ ’ ( \ '

FIGURE 7C. This is the p a t t e r n f o r the center

front section of the waist.

The c o l l a r is dotted because it is not part of

the p a t t e r n . It is placed here only to make
c l e a r how it is sewed on. (C-D of the c o l l a r
will be stitched to the back neckline. )
'

The width of the f r o n t facing is shown by the

dotted l i n e .

Figure 7C
E l<--1/8-»

I’I'
F7’
‘I I"*~I
Pl-EAT
' ———-I
PLEAT
I
T h e Skirt Pattern.
I
I I
FIGURE 7D. The completed f r o n t skirt
p a t t e r n is shown here with i t s seam a l -
lowances. It is constructed according
to the instructions in Figures 6A and 6B
FRONT SKIRT
out 2 mac:-:s
II II I

in the section on S k i r t s . (See also Fig-

suzs I4 I
ures 4A-4C. )

The back skirt. is m a d e the same way.

I I
The amount of grade necessary to go to I I %
size 14 is indicated. This follows the
basic grading instructions in Book I f o r
the skirt foundation patterns.

The necessary 3/8" at the waist l i n e is

I
I ''
I E
‘"’
divided here to keep the pleats in rela-
t i v e l y the same positions as the size in-
creases. The center front panel is in-
I I
creased 1/8" in width. The rest of the
measurement (1/4") can be placed a f t e r
I I I
the l a s t loose pleat.’ This keeps the
groups of pleats together as they are in I I
the ori gi na l pattern.
I
I II
< _ _
“‘"‘l/4 —
——
I I
I
I
=
*
— _ . ; <.—|/8--->
Figure 7D
 T h e F r o n t W a i s t Patterns.

---9
,——-*"8
n" ‘\\<--—I/I6--->A'16
1/ T |{
3,416 .'/e \ *©
~'
F
is<-—--3/I6-_-\\__, r I.’
\\ CENTER \ I
3\/I6 FRONT \ '43
‘\ N WAIST-CUT ,'
2 PIECES \
SIZE I4
¢
_‘.
®
4
I
I
I
I/I8
I
I/8
II
W '.
‘x\
‘=' ® @ <--—|/e——-> (D g
Figure 8A I

FIGURES 8A and 8B. These are the completed front waist FACING
patterns with seam allowances. CUT 2 i
SIZE I4
The amounts the patterns are to be increased from size
14 to size 16 are indicated by the dotted lines and frac-
tions.

The measurements of both the center front and side front

patterns must be considered together. Together they f o l -
low the measurements and instructions given for the grad-
ing of the f r o n t waist foundation p a t t e r n and one-piece
sleeve pattern in Book I.

FIGURE 8C. The facing p a t t e r n is be s t graded by copying

it d i r e c t l y from the graded center f r o n t waist p a t t e r n f o r
each size, adding the extra length each time (as shown by
the dotted l i n e s ) .

Figure 8C

138
 —
T h e B a c k W a i s t Patterns.

I/I6

I/8
OUT I PIECE
SIZE I4

<—-——-——-

I/8

4i———o

Figure 8D
©’ Figure BE

FIGURES 8D and 8E. These are the completed back waist

patterns with seam allowances. The procedure followed
is the same as for the f r o n t patterns.

T h e Collar Pattern.

r————H— _®..'_’.3_- ——'i°— —»©

}
I-—< T COLLAR SIZE I4

1
7

I
; OUT I PIECE
I
L _ _ _ _ _ _ . . . . _ _ _ _ _ . . _ _ _ J
Figure 8F

This is the completed c o l l a r p a t t e r n . Because the collar is

a straight band, both the top and under c o l l a r s can be cut
together as one piece, avoiding an unnecessary seam.

The c o l l a r grade has to follow the neckline grade. The

back neck (1-2) increases 1/8". The p a r t that sews to the
l a p e l (2—3) increases 1/8" as the lapel does.

139
 GRADING T H E F R O N T WAIST PATTERNS (from Size 14 to Size 16)

FIGURE 9A. The center f r o n t waist pattern (Figure 8A).

The guide lines for shifting the p a t t e r n are marked in the same way described in Book I f o r the Basic Waist
Grade. The real measurements are used, not reduced to scale, because they would be t o o small. Any
changes result from the needs of the style pattern.
POINT 1 is the waistline at the center front.
POINT 2, the end of the l a p e l , is drawn 1/8" above point 1.
POINT 3, top of the l a p e l , is drawn 1/8" above point 2.
POINT 4, the beginning of the shoulder l i n e , is drawn 1/16"
above point 3 and 1/16" away from i t .
POINT 5, the end of the shoulder line, is drawn 1/8" away
from point 4.
POINTS 6, 7, 8 do not need to be drawn on the guide lines.
They will be explained l a t e r.
POINT 9, is on the s a m e line as point 5, but 1/16" below. ‘
POINT 10, is on the same cross l i n e as point 1 b u t l/8"
away.
@
’\\
C5)

Q]
(‘D
Figure 9A
\'_._ avg)
C

Shifting T h e Pattern To Increase T h e S i z e .

The p a t t e r n is shifted from point 1. The p a t t e r n is placed on the guide lines so t h a t point 1 of the p a t t e r n
rests on point 1 of the guide lines and line 1-2 rests on l i n e I, Z, 3. A small corner is marked at point 1.

T H E P A T T E R N IS M O V E D up the same l i n e so that point 1 of the pattern meets point 2

of the guide l i n e s . The notch and a small portion of the l a p e l line are marked.
THE PATTERN IS M O V E D up the sameline so that point 1 of the p a t t e r n rests on point
3 of the guide lines. The corner of the l a p e l is marked.
THE PATTERN IS M O V E D up and away so t h a t point I of the p a t t e r n rests on point 4 of
the guide lines. The beginning of the shoulder line is marked.
THE PATTERN IS M O V E D away from point 4 so t h a t point 1 of the pattern rests on
point 5 of the guide lines. The shoulder notch and a small portion of the shoulder
and sleeve line are marked.
THE P A T T E R N IS M O V E D down on the sleeve l i n e 3/16" and the corner at point 6 is
marked.
T H E PATTERN IS M O V E D across on the bottom l i n e of the sleeve for 1/8". The cor-
ner at point 7 is marked and the corner at point 8.
T H E P A T T E R N IS M O V E D so t h a t point I of the p a t t e r n rests on point 9 of the guide
lines. The joining of the waist and sleeve are marked.
T H E P A T T E R N IS M O V E D down on the s a m e line as 9 so t h a t point 1 of the p a t t e r n
rests on point 10 of the guide lines. The corner of the waistline is marked.
140
 MARKING T H E NEW PATTERN

CENTER FRONT
WAIST
OUT 2 PIECES
SIZE I6

® Figure 9B
® ®
The n e w pattern size 16 is completed by using the size 14 pattern as a. guide, centering it between the
newly marked points, and drawing the completed l i n e s . The sleeve cap l i n e at point 8 is best drawn
by placing point 8 of the size 14 p a t t e r n about l/8" away from the n e w point 8 and moving the pattern‘
so t h a t the cap line blends smoothly i n t o the corner l i n e from point 9.

FIGURE 9C. The side f r o n t waist p a t t e r n (Figure 8B).

POINT 1 is the side seam at the armscye, drawn on 3.

® vertical l i n e made longer than the side seam
line.
POINT 2 is 1/3" above point 1 and 3/16" away from 1:.
@
I\ POINT 3 is 1/4" below point 2 and 1/16" away from i t .

Shifting T h e Pattern To
Increase T h e S i z e .
3 The p a t t e r n is shifted from point 1. Point
1 of the pattern is placed on point 1 of the ®
guide l i n e s and the side seam of the p a t -
tern rests on the vertical line. The cor-
ner at point 1 is marked.

THE PATTERN IS M O V E D so t h a t point 1

of the p a t t e r n rests on point 2 of the guide
lines. The corner of the armscye and
yoke l i n e is marked.

, 3 \J THE PATTERN IS M O V E D so that point 1

of the p a t t e r n rests on point 3 of the guide
l i n e s and the corner at the waistline is
Figure 9C marked. @ ©
Figure 9D
T H E PATTERN IS M O V E D so t h a t point 1
of the pattern rests on point 4 of the guide In this fi gure the n e w p a t t e r n
l i n e s and the waistline at the side seam is is marked from the old as
marked. described above.

141
 GRADING T H E B A C K WAIST P A T T E R N S

The back waist patterns are graded in exactly the s a m e way as the f r o n t waist patterns.

The shoulder d a r t in Figure 10B can be retained in the center between points 2 and 3,
or it can be kept the same distance from point 2 in a l l the sizes.

Points 4, 5, 6 are marked without the use of the guide lines as explained for points 6, 7, 8
of the f r o n t .

-.5 X\
CD‘ 7

©<f

2 3,7 1
C5) @
\»—
@
a
0
Figure 10C
Figure 105 ©
M
'

CENTER_
BACK WAIST
cur n PIECE
SIZE I6

6) Figure 10B Figure 1 OD

142
 GRADING T H E COLLAR PATTERN

Two types of c o l l a r s are i l l u s t r a t e d below. Figures 11A and 11B show the grading f o r the
dress p a t t e r n c o l l a r from Figure 8F. The grading problem is a simple one because the
c o l l a r is a straight band. Figures 12A, 12B and 12C i l l u s t r a t e the special problem in-
volved in grading the sharp curve of a fl a t c o l l a r, or any c o l l a r with a curved neckline.

Collars usually grade 1/2" in e n t i r e t y, or 1/4" f o r the h a l f c o l l a r. The back neckline of

the c o l l a r usually grades 1/8", and the f r o n t neckline 1/8", corresponding to the grade of
the f r o n t and back waist patterns. Usually, the width of the c o l l a r remains the same.

The c o l l a r p a t t e r n is folded in half for grading. When the grade is completed, the paper
can be folded on the center back l i n e and the complete c o l l a r c u t o u t .

I
is C?) @ 6) (9 ©
:___
I
A COLLAR
SIZE I6
I
’ ’—

:
I
L _ _cut I_
._
PIECE
4_
r
__ __1 J.

Figure 11A Figure 11B

A l i n e is drawn (1) for the new The n e w c o l l a r is completed by joining the marked
center back fold line of the points with straight lines. The c o l l a r can then be
collar, from which the pat- folded in half on the center back fold line and the
tern is graded. complete collar c u t out.

Line 2 is drawn parallel to

l i n e 1 and 1/8" away from i t .

Line 3 is drawn p a r a l l e l to
line 2 and 1/8" away from i t .

The collar p a t t e r n of Figure 8F (folded in half) is placed on the guide l i n e s so that the center
back fold l i n e of the c o l l a r rests on the n e w center back f o l d l i n e . The width of the c o l l a r is
marked by short l i n e s top and bottom.

T H E COLLAR PATTERN IS MOVED away so t h a t the center back f o l d of the c o l l a r rests on

line 2. The shoulder notches both top and bottom are marked as well as short lines for the
width of the c o l l a r.

T H E COLLAR PATTERN IS MOVED away so t h a t the center back f o l d of the c o l l a r rests on

l i n e 3. The end of the c o l l a r is outlined.

143
FIGURE 12A. This is one-half a fl a t c o l l a r i l l u s t r a t e d in Figure
1C of the section on C o l l a r s .

The extreme curve of the c o l l a r neckline makes it diffi cult to get

the proper 1/4" grade working just from the center back f o l d line
as above. The grading will have to be done in two p a r t s , from
the center back and from the dotted line at the front part of the
c o l l a r.

Figure 12A

FIGURE 12B. Guide lines 1 and Z are drawn as described in Fig-

ure l1A. The c o l l a r is shifted from 1 to 2 in the s a m e way. The
shoulder notch at 2 is marked, and a portion of the neckline a bit
beyond the dotted line. The dotted line is marked as well as a
portion of the outside edge of the collar.

A new guide l i n e (3) is drawn p a r a l l e l to the dotted line and 1/8"

away from i t .
' 2

The c o l l a r is shifted so t h a t the dotted l i n e of the c o l l a r r e s t s on

the new l i n e 3, meeting at the neckline.

The shape of the end of the c o l l a r is outlined. . 5

Figure IZB j

FIGURE 12C. The n e w collar, size 16, is completed by using the

size 14 c o l l a r to finish the outline.

Points 1 and 2 of the size 14 c o l l a r are centered between points 1

and 2 of the new c o l l a r. The back neck curve is drawn.

Points 2 and 3 of the size 14 collar are centered between points 2

and 3 of the new c o l l a r. The f r o n t neck curve is drawn. COLLAR
SIZE IS
‘
The style line of the c o l l a r is completed in the same way.
Figure lZC

144
 GRADING THE TWO- PIECE SLEEVE
The two-piece sleeve as a whole grades the same amount as the one—piece
sleeve grade described in Book I.

The grading measurements are divided between the overarm and under-
a r m sections according to the part of the one-piece sleeve they
represent.
These divisions are i l l u s t r a t e d in Figures 13A and 13B. The sleeve pat-
terns used are from Figures lB—lD of the Appendix.

The methods for drawing the guide lines and shifting the patterns to make
a new size are the same as described for the one-piece sleeve in Book I.
They will not be repeated here.

I/I6_. } I/|6_
‘ - _ _ . I4--‘
3/I6
I ' L
1 L

V
—
—- — ->
I/I6
I/I6

..2 I'
42

3 ..3

N N
E
" J
,, E {/-
\/\6 I/I6
Figure 13A Figure 13B
(The dotted curve and straight line show The underarm section increases
the l e v e l of the underarm section.) 1/16" on each side of the cen-
ter line to fi nish the sleeve cap
Part of the sleeve cap belonging to the measurement and the width a-
underarm is s t i l l attached to the over- C r o s s the sleeve bicep.-
arm section of the sleeve (points land
L). These areas grade only half the The wrist l i n e E-N increases
usual amount, or 1/16". The rest is 1/16". or half the wrist grade.
given to the underarm section. One-
half the wrist measurement, or 1/16",
is applied to l i n e E-N.

145
 v

ifwas g d}: ted from Emoklyn College trained to teach Biology, but the country was deep in a dc~
on in 1933, gndfic _' York City needed no teachers. For want of work, she spent the summer hefping her
ynwrite his fies: (text book an pmernmaknng. (Charles Kaplan was then chairma_n of the Women‘s Garment
'ign Depunmena of the Cemnl High School of Needle Trades. He had been the first gn-ment design teacher in
'¥m‘k City §_:hou|s .md'I.\id the foundations nix .n|l subsequent teaghing in the field.)
Jr;

,‘fh§%t|/”:',pro\'ed fascjnanng and Mrs Pnmd. begun her c.Irccr. zcachmg p.\uernmnk-i‘ng .1! the Traphagen Sdnool
Q pshmn in Ncw'York City. writing 4-idumml hooks. md working on “Sex:-nrh Avenue" mia pmernmaker.

4 a.
Her long,
\_'aricd experiences proud: A umquc l'u<k;_-nuund fur U19 wnring of .| text which us ample; yet practical,
§uiKablc For the L'l.Issroom as well 1: fm pmresuinnml me

646:. 404
PIVN