ST. PAUL CAMPUS
LIBRARY
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INTRODUCTION.
This work has beeen prepared to aid the teacher
of sewing in the Public and Industrial Schools.
The author has tried to meet the demandfor prac-
- tical methods, by a systematic arrangement of the
subject, which will be of invaluable assistance to
the teacher. I
As a book of reference for the pupil, its arrange,
ment is so simple that it will afford her much useful
information, that will assist in fitting her for' the
duties of life. /
The chapters devoted to the manufacture and
weaves of materials, are intended to aid the teacher;
in giving talks to her pupils on kindred subjects,
also to render the pupil so familiar with the differ-
ent kinds of cloth, that she may become an intelli-
gent judge of them. I '




INDEX
PAGI
Introduction ..................................................... ..
Cloth .................................. .. ................. .Q ........... .. 11
Cotton ............................................................... .. 11
Average Width of Muslins ................................ .. 13
Wool ................. .._ ............................................. 13
Woolen Dress Materials .................................... .. 15
Linen ................................................................. .. 16
Average Width of Linen Fabrics ...................... .. 17
Silk ...... .; ............................................................ .. 17
Silk Fabrics ....................................................... .. 19
Running ............................................................. .. 21
Basting .............................................................. .. 21
Cat-stitch ................. ... ....................................... .. 22
Chain Stitch ................................................... 23
Feather Stitch .................................................. .. 23
Loop Stitch .................................................... .. 23
Seams ................................................................. .. 24
French Seam ...................................................... .. 24
Back Stitch Seam ..................................... .;. 24
Half-back Stitch ............................................... .. 25
Overcasting ..................................... ................. .. 25
Overhanding ...................................................... .. 25
Dorothy Seam ................................................... .. 26
Felled Seam .................................................... .. 26
Hemmed Seam .................................................. .. 26
Hems .................................................... .......... .. 27
Faced Hems ....................................................... .. 27
Extension Hem ................................................. .. 27
Rolled Hem ........................................................ .. 28
Hearst-itch Hem ................................................ .. 28


ILLUSTRATIONS
. PAGI
Canvas Showing Difierent Stitches ................... .. 20
Hands Showing the Position of Running ........ .. 21
Basting ..... ....................................................... .. 21
Overcasting and Half-back Stitch .................... .. 25
Overhanding ...................................................... .. 25
Felled Seam .............. .._. ...................................... .. 26
Rolled Hem ...................... ............................... .. 28
Hemstitch Hem ................................................ .. 28
Mitered Corner ................................................... .. 30
Hands Showing the Position for Gathering .... .. 31
Gauging with a Band ....................................... .. 32
Gussets ............................................................... .. 33
Overhand Patch ................................................ .. 34
Hemmed Patch .................................................. .. 35
Three-corner Darn ............................................. .. 36
Stockinet Darning ............................................. .. 37
Linen Darninz .................................................. .. 38
Stockinet Web Stitch ........................................ .. 39
Button Holes ..................................................... .. 39
Buttons .............................................................. .. 41
Hooks and Eyes ................................................ .. 42
Loops and Eyelets .................. ........................ .. 43








MODEL sawmo 13

\ fia~—~___A_ , _ __
_.\___.__
AVERAGE WIDTH OF )IUSLINS.
Long Cloth, 36 inches wide.
Lonsdale Cambric, 36 inches wide.
Berkeley Cambric, 36 inches wide.
Pride of the \Vest Muslin, 36 to 45 inches wide.
Alpine Rose Muslin, 36 inches wide.
Heavy Muslins—
New York Mills 1
\Vamsutta 36 inches wide.
Utica l
Medium— '
Masonville, 36 inches wide.
Fine—
Fern, 36 inches wide. \
WOOL.
Wool is a variety of hair or fleece, which is shorn
from the sheep, the angora, alpaca and cashmere
goat, and which furnishes the most important ma-
terial for clothing, in all cold and temperate cli-
mates. _
Wool is always more or less wavy, and, under the
microscope, is seen to be covered with scales, over-
lying each other. These conditions of the wool, are
what causes the fibers to retain the twisted state,
after being spun.
‘Vhen wool is shorn from the sheep it is divided
into two classes, short or carding wool, which sel-
dom exceeds a length of 3 or 4 inches; and long or
combing wool, varying in length from 4 to 8 inches.
Each of these classes is sub-divided into a variety
of sorts, according to the fineness and soundness of
the staple or fiber. The finest wools are usually of
a short fiber. By combing, some of the scales are
removed from the wool and it is better adapted for
the manufacture of light fabrics. Yarn made from
this wool is called worsted, and the cloths, worsted
goods.
The finest carding wools were formerly obtained
from Spain, from the merino sheep; but, as they are


14 MARGARET BLAIR SYSTEM
now raised in Australia, North and South America
and South Africa, it is more easily obtained, and’
less expensive. .
Wool is the most important of all animal sub-
stances used in manufacture and ranks next to cot-
ton as a raw material for textile fabrics.
The spinning and weaving of wool into cloth,
dates back to very ancient times. At the time of
the Macedonian conquest, 336 B. 0., we read that
the natives of India wore shawls of great beauty.
The Greeks learned the manufacture of woolen
fabrics from the Egyptians; the Romans from the
Greeks; and from the Romans the Britons derived
their knowledge of the art, soon after the Roman
conquest. The English improved upon the meth-
ods previously known, until the knowledge has be-
come general throughout the world.
It is difficult to tell which country produces the
best fabrics, at the present day, so great is the com-
petition.
The manufacture of the wool into cloth is a very
interesting process. After the sheep are washed
and sheared the wool is sorted, the carding wools
being separated from the combing wools. When
sorted, the wool is thoroughly beaten, not only to
remove any dust or other impurities, but to open the
fibers and render the material softer and more pli-
able.
The wool is then scoured, that is, dipped in an
alkaline lye, which, with the natural grease of the
fleece, forms a soap, and cleans the wool most thor-
oughly.
The more gently and uniformly the wool is then
dried, the better the result. But when dried the
wool is still found to contain' matted locks, dust,
sand and other impurities, which must be removed.
This is done by passing the wool through a teasing
or willowing machine. '
After being sprinkled with olive oil, to make it
soft and pliable, the wool is carded. Any remain-


MODEL SEWING 17

\ \mw
Flax is cultivated in the United States more for
the seed than the fiber.
The process of the manufacture of linen fabrics
is similar to that of the cotton and wool.
AVERAGE WIDTHS OF LINEN FABRICS.
Linen Sheeting, 72 to 108 inches wide.
Pillow Case Linen, 36 to 54 inches wide.
Household Linen, 36 to 45 inches wide.
Art Linen, 36 to 45 inches wide.
Shirt Bosom Linen, 36 inches wide.
Surplice Linen, 36 and 45 inches wide.
Dress Linens, 27 to 36 inches wide.
Linen Cambric
Linen Lawn
Handkerchief Linen
Table Linen, 54 to 108 inches wide.
Circular Table Cloths } 2"} X 2% yards'
3 x 3 yards.
- Napkins, 18 x 18 inches to 27 x 27 inches.
f 24 and 36 inches wide.
SILK.
Silk is a fine, soft thread spun by the silk worm.
The manufacture of silk appears not to have been
well known to the ancients. Among the Greeks,
Aristotle was the first to mention it in his writings.
Evidence collected would tend to show that the
manufacture of silk fabrics originated in China, in
which country the cultivation of silk is of the high-
est antiquity. According to Chinese authorities,
‘silk worms were raised by the wife of the Emperor
2600 years B. C. _
The cultivation of silk has become one of the
great industries of Italy, Turkey and Greece. Some
efforts have been made to raise the silk worm in
England, but with only partial success, for they re-
quire a warmer and less variable climate. And yet
the quantity of silk raised in the world is enormous,
for it takes 1600 worms to raise a pound of silk.


MODEL SEWING 19


The silk is not yet ready for the weaver,but has to
go through several processes, before it will be prop-
erly cleaned, twisted, or strong enough.
Of textile fabrics, silk is the strongest, most lus-
trous, and most valuable. -
The first silk mill in the United States, was es-
tablished at Mansfield, Conn., in 1810. Many other
factories were started, most of them surviving.
One of the best known was at Patterson, N. J ., and
that town became, and has since remained, the chief
seat of silk manufacture in the United States.
SILK FABRICS.
China, Japanese, Kai Kai Wash Silk, Habu-tai '
Wash Silk, Twill-ed India, Surah, Taffeta, Benga-
line, Foulard, Satin, Satin Rhadame, Armure,
Gros Grain, Poplin and many others-





MODEL SEWING 21

RUNNING.


Running is composed of small basting stitches
of equal size. ‘
Have the needle a little larger than the thread,
and the thread the size of the thread in the mate-
rial. '
Running is used in plain seams that do not re—
quire great strength, as for joining light materials,
gathering, making tucks and pleats, also in mak-
ing cord. Several rows are used in darning,
strengthening worn materials and for quilting.
In running, use as free wrist motion as possible,
and take as many stitches on the needle at a time
as you can. .
BAST'ING.
.__-____._..__.4_.-

. . .
~_——--___—-——
Basting is light sewing and is used as a guide for


22 MARGARET BLAIR SYSTEM
sewing. and to keep two pieces of cloth in exact
relation to each other. Never sew without bast-
1ng. .
"Begin by having the knot on the right side of
the work. .
Fasten the thread by taking two stitches in the
same place, over each other.
In basting for machine sewing, the stitches may
be-longer than for hand sewing. Uniformity in
length of stitches and straightness of line in bast-
ing are of the utmost importance.
Bastings should always be cut out.
Never allow your sewing to run into or across
the thread of basting stitches. -
Regular basting stitch, one-eighth by one-eighth,
should be used in basting seams that are subject to
any strain, as in fitting a waist.
Regular basting stitch, one-eighth by one-fourth,
is used in basting for overhanding and machine
sewing.
For overhanding, baste one-eighth of an inch
.from the edge, whether selvedge or crease, as the
edges need to be held firmly together.
In basting a hem, take one stitch at a time, and
be sure both folds of the hem are held in place.
Use one-eighth by one-half basting stitch.
A basting stitch one-eighth by three-fourths, is
used for basting seams in skirts, and the crosswise
basting is used in basting material on lining.
CAT-STITCH.
A cat-stitch is a crbss stitch worked from you,
holding the material over the left forefinger.
It is used in patching flannel and on raw edges
of a hem to avoid the ridge formed by folding the
edge; or in woolen seams, a row of cat-stitching
may be put through the center.


MODEL SEWING 25



HALF-BACK STITCH.

// //////M
Half~back stitching is the same as back stitching,
except that the needle is put only half way back,
thus leaving a space between the stitches.
It is used in sewing on gathers.
OVERGASTING.
Overcasting is a diagonal stitch taken loosely
through and over two raw edges of cloth to keep
Them from ravelling. ’
It is worked from left to right.
To make the stitches uniform, the distance be-
Itweeen them and the depth of each one, should be
1the same.
Before overcasting a seam, remove your basting
vthreads, and trim the edges evenly.
Overcasting is very difiicult to do nicely.
OVERHANDING.




\ \\\\




Overhanding is a stitch taken very closely over
‘two edges of cloth, which may be either selvedges
\or creased folds.


MODEL SEWING 27

M~W“_
HEMS.
A hem is a fold made by creasing a piece of cloth
and then sewing it down.
First crease an eighth of an inch, then crease the
second fold the desired width, haste and hem.
To join the thread in hemming, leave the end of
the thread in the fold of the hem, and fasten anoth-
er thread by hiding the knot under'the fold.
Fasten the thread by taking two or three stitches
over each other.
A narrow hem in stiff materials, as on table linen,
or a rolled hem, need not be basted.
NVhen basting a straight hem, the seams 0r
stripes should match exactly.
Hems on elastic materials, as woolen or mohair,
that do not stay folded, should be basted twice.
First crease an eighth of an inch and baste, then
turn the desired width and baste at the fold.
FACED HEMS.
A faced hem is used when the material is not long
enough to allow for a hem, or where a hem can not
be turned evenly. It is a finish or protection to an
edge of a garment, and has the appearance of a
hem. It is also called a facing and is said to be
“felled” on.
A bias facing fits better than a straight one, and
should always be used if the edge on which it is
to be sewed is curved or expected to give.
EXTENSION HEM.
Cut a piece of cloth twice the width of the de-
sired hem, and sew one edge on the garment in a.
seam; then crease the upper edge and baste on the
wrong side, even with the seam,. and hem down.
It is used where there is not enough cloth to allow
for a hem, or in a placket.


30 MARGARET BLAIR SYSTEM
A MITERED CORNER.


v _ L - - _ _ _ _ _
'?+:Eflf!-=Q:~—_::S___‘7:='
To miter a corner in needle work is to change
the direction of a hem, straight band or border, by
cutting it at an angle, so as to sacrifice a three
cornered piece.
In a hem cut off the corner one-eighth of an inch
deep, then, creasing the material each side of the
cut corner, one-eighth of an inch, (see hems), fold
the hem the desired width.
Open the hems and fold the corner towards you,
creasing it one-eighth of an inch outside of the point
where the creases of the hem meet. Cut ofi the cor-
uer on the crease, then fold and baste the hem at
the right of the bias edge. Fold and crease the
bias edge one-eighth of an inch. Fold and baste
the hem at the side, making the edge of the two
hems meet at right angles. Hem the corner fold,
taking the stitches through only one thickness of
cloth.
\A mitered corner is used on heavy cotton or linen
materials. '
“Miter” is a term derived from carpenter work.


MODEL SEWING 31



GATHERING.


Gathering is composed of small running stitches,
and the thread is drawn so as to full the material.
'llakc as many stitches on the needle at a time, as
possible, using rapid wrist motion. Draw the
stitches together on the needle, and fasten the
thread by winding it over and under the eye and
point of the needle;_then hold the gathers between
the thumb and finger of the left hand, and with
the other pull each gather in its place. Unwind
the thread, and pull the needle through. Do the
same with each needle full.
Gathering is used whenever a piece of material
is required to fill a smaller space.
The thread should be a little longer than the sec
tion to be gathered. Divide both the gathers and
the plain material into halves or fourths. Place
the marks together and sew the gathers in place
with half-back stitches, holding the gathers
towards you. The size of the gathering stitches
would vary with the quality and quantity of ma-
terial to be put into the arranged space.


32 MARGARET BLAIR SYSTEM
r
GAUGING.



Gauging is two rows of running stitches, one-
eighth by one-eighth inch, with the stitches of the
second row exactly below those of the first.
In heavy materials, as the backs of skirts, the
stitches would be long.
PLACKETS.
A placket is an opening made in a. garment.
To make a. placket for cotton garments, cut an
opening from eight to ten inches; hem the right
side one inch wide, and the left side with a narrow
hem. Place thewide hem over the narrow one,
and finish at the bottom with two rows of back-
stitching.
To make a placket for woolen garments, cut the
opening the same as for cotton garments.
Cut a facing for the right side two and one-half
inches wide, and one'half inch longer than the


34.- MARGARET BLAIR SYSTEM
falls over the point of the gusset and cut the square
diagonally. Baste to the material and hem (asillus-
trated on page 33).
The gusset can be made as large or small as de-
sired. This kind is used, principally, in plackets
of drawers.
PATCHING.


A patch is a piece of cloth sewed on a garment to
repair it.
There are several diilferent ways of patching, the
overhand and hem patching being used principally.
An overhand patch is much neater than a hem
patch, but the latter is the stronger.
\Vhen a garment requires a patch the worn partsl
must be cut away, until strong threads are found
to support the new piece placed on it.
Checks, stripes and figured materials should al-
ways match. Great care should be taken to have.


' 4o MARGARET BLAIR SYSTEM
Overhand the edges closely, not taking in any
deeper than necessary to hold the threads.
In working a buttonhole, always begin at the end
farthest from the edge of the material, working
from the right toward the left.
Insert the needle with the point towards you,
drawing it but half way through. Take the twd
threads at the eye of the needle and bring them
around from right to left, passing under the point
of the needle. Draw the needle out so that the
thread will be at right angles from the button-
hole, forming a knot or purl on the edge.
_ In the first position the needle points towards the
worker; in the second, it points in the opposite di-
rection.
When the buttonhole has been worked across onel
side, work several stitches close together, so that
the buttonhole will be rounding at the end. Work
across the other side and finish with a bar, which is
made by drawing the needle down through the
first buttonhole stitch taken, bringing it up on the
opposite side, through the last buttonhole stitch.
Draw this stitch tightly, so as to bring the sides
close together. Make four of these stitches, then,
bringing the needle under them, work four button-
hole stitches on them. Draw the needle down
through the cloth close to the purl of the last stitch
and fasten on the wrong side.
In working a buttonhole,if the thread should
be too short, pull the needle through the hole and
fasten the thread tightly on the wrong side, close
beside the last stitch. Fasten the new thread on
the wrong side, bringing the needle up through the
last purl. Proceed with the buttonhole stitch, as
if a new thread had not been necessary.
Buttonholes for shirts and shirt waists, and gar-
ments where the buttonhole is made lengthwise,
should be worked with a bar at each end, to make
it stronger. In addition to overhanding their but-
tonholes, very careful workers sometimes strand


MODEL SEWING 41





them—i. e., carry a thread of silk across each edge,
over which the stitch is to be worked. This is done
by bringing the needle up through the cloth close
to one end of the hole; down through the material
at the opposite end, coming up on the other side;
repeating these stitches so that there will be two
strands on each side. The buttonhole is then work-
ed as has been explained.
BUTTONS.


A button is a knob or ball, fastened to a garment
in such a way that it will go through a buttonhole
or loop, and hold different parts of a garment to-
gether.
They are made of horn, wood, mother of pearl,
etc.
In sewing on buttons, draw the needle through
the material from the upper side, to conceal the
knot under the button.
A: large button should be sewed on a cloak, with '
a smaller one under it and on the wrong side of
the garment, which will prevent the cloth from
tearing. Each button should have the same num-
ber of holes. The stitches should never be crossed


4-2 MARGARET BLAIR SYSTEM
but sewed lengthwise (as illustrated). Place a pin
across the top of the button, then, after sewing it
on_ securely, remove the pin, which will loosen the
stitches Then bring the needle out between the
top button and the cloth, and wind the thread tight-
ly around the stitches four times. This will allow
room for the buttonhole. Fasten the thread by
bringing the needle through to the wrong side, and'
taking several stitches under the small button.
In sewing on buttons for other garments, place a
pin across the top, and, after removing it, bring
the needle out between the button and the material,
wind the thread tightly around the stitches, as in
sewing on the cloak button. Bring the needle
through to the wrong side, and fasten by taking
several stitches over each other.
A boot button or one with a shank, should be
sewed on over and over, the stitches being length-
wrse.


There are different ways of putting on hooks and?
eyes. '
For the outside of a garment they are button-
holed (as illustrated). When they are to be cov-
ered, they are sewed on over and over. Always
sew on the hooks firmly through the rings and:
across the shank, close to the turn. Sew on the
eyes through the rings and across each side of the
eye itself. Under the name of crochet and loop,
this form of, fastening was in use as early as the
14th century. .






PART ll
GARMENT DRAFTING






INDEX
Page
System of grading . . . . . . . . . . . . . . . . . . . . . . . . 8
Implements Used in Cutting and Making Gar-
ments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Instructions for Taking Measures . . . . . . . . . . 11
Sleeve Measurements . . . . . . . . . . . . . . . . . . . . . 12
Child’s Drawers . . . . . . . . . . . . . . . . . . . . . . . . . 15
Child’s Night Gown . . . . . . . . . . . . . . . . . . . . . . 16
Child’s Apron . . . . . . . . . . . . . . . . . . . . . . . . .. 20
Child’s Waist and Sleeve . . . . . . . . . . . . . . . . . . . 24
Drawers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Under Skirt . . . . . . . . . . .l . . . . . . . . . . . . . . . . . . 34
Night Gown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Chemise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Corset Cover . . . . . . . . . . . . . . . . . . . . . . . . . . .. 44
Shirt Waist . . . . . . . . . . . . . . . . . . . . . . . . . . . .. 50
Plain \Vaist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5T
Sleeves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63
The French Bias Dart . . . . . . . . . . . . . . . . . . . 66
The Seamless Waist . . . . . . . . . . .‘ . . . . . . . . . . . . 7 3
Princess Dress . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 4
Jacket . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Dress Skirt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Boy’s Sailor \Vaist and Collar . . . . . . . . . . . .. 89
Boy’s Sleeve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Boys’s Pants . . . . . . . . . . . . . . . . . . . . . . . . . . . 93



INTRODUCTION.
In submitting to the public the result of years of
labor and experience, I feel that I am responding
to a genuine need and filling a place that has long
been vacant or at best but inadequately filled by
the use of patterns. My system is primarily for
use in drafting underclothing, aprons and child-
ren’s dresses, but it can also be used with the best
of results in dressmaking. This system is so sim-
ple that it can be taught to children, and therefore
might, without difficulty, be used in the public
schools. . .
Beauty in personal appearance is often almost
destroyed by the lack of knowledge how not to
spoil the beautiful gift of nature. This knowl-
edge can be best inculcated in the children, and a
wonderful change would soon be noticed in the
appearance of young women, if in the public
schools the little girls were taught what is proper
to wear and how to make their clothing. The art
of sewing really antedates history, for the first
clothing of man, the skins of animals, were rough-
ly sewn together, yet it has never, until recently,
been developed scientifically along utilitarian
lines.
As an art, sewing has long been popular and the
knowledge of making tapestries, embroideries and
other beautiful needlework has, for centuries,


been thought much of, but the more useful art of
making garments and making them beautifully
has been allowed to lie unused. The problem of
putting this art on a scientific basis and making .
of it a part of the education of women is now being
solved.
A hundred years ago our great-great-grand-
mothers were employing nearly all of their time—-
not only in making garments to wear—but in—
spinning and weaving the cloth of which they
were made, and in addition to this, all of the
table linen, bed linen and towels must be manu-
factured by the maidens’ own hands. No doubt
this constant employment became at times irk-
some, but fingers were deft and the end toward
which she was striving was most alluring, name~
1y, a well-filled linen chest and a large stock of
clothing, which we know the young matron of
1797 had in store.
And she was proudly conscious that everything
was perfect of its kind, for every thread had been
woven and every stitch taken by her own indus-
trious fingers. Has there ever been a woman, I
wonder, who has not felt the deepest pride in her
own handiwork, if she is so fortunate as to know
how to use her hands? These are her best ser-
vants, but, like all servants, they must be trained
or they can not obey the dictates of her mind.
In order to reach the state of cultured woman~
hood toward which we all aspire we must study
something besides literature and the arts—we
must study civilized dressing. A bird sings its
sweetest notes after its morning bath is taken and
its feathers plumed; so will we all do better any-
thing we undertake if we know how to dress well
and suitably. lVe may think that the making of



garments and keeping them in' repair is a thing
to which we do not wish to become a slave. Then
let us master this art, and when we know how, it
will all become so easy that it will not take up so
much of the precious time which we long to de~
vote to other things.


SYSTEM OF GRADING.
The understanding of principles makes the work
easy, hence the first thing in the course is the in-
culcating of those principles which are the foun-
dation of needlework.
The first grade pupils are taught the different
stitches used in sewing; basting, the different
seams, hemming, patching, flannel stitches, but-
tonholing and darning.
For children we arrange the work somewhat
differently, using an open canvas for the first sam-
pler stitches which are sewn with bright colored
thread on a gray or brown canvas. Hemming,
patching, darning and button holing should be
taught as second and third grade work in chil-
dren’s classes, and for them the work should be
kept simpler in all its grades than for older pu-
pils.
The aim should be to 'see that each step in the
work has been so thoroughly taken that the next
step becomes easy. If properly taught and the
child has taken up the primary work at the age
of six, she should be able to make her own dresses
by the time she is fourteen.
For older pupils the drafting and making of
underwear should be taught in the second grade.
The third grade pupils may be taught the draft-
ing and making of shirt waists and cotton dresses.


GARMENT DRAFTING 9

The fourth grade work consists of the drafting
and making of children’s garments. After these
steps have been taken, dressmaking may be taken
up, and to become a finished dressmaker requires
from one to two years of study.
IMPLEMENTS USED IN CUTTING AND MAK-
ING GARMENTS.
In work of any kind success depends largely up'
on the tools used and this is especially true in
garment making.
The first thing needful is a suitable pair of
shears. Scissors and shears are made in various
sizes and styles; strictly speaking, every pair over
six inches in length should be called shears. Bent
shears are best for cutting heavy material as they
are so shaped as to raise the material as little as
possible from the table. Avoid dropping your
shears or scissors upon the floor as the concussion
they thus sustain often loosens their adjustment
and may cause uneven cutting.
The next implement with which the work basket
should be supplied is the needle. Needles have
been used by women of every country, in every
age. The common sewing needle is made from
steel wire and is manufactured almost exclusively
in England. Three kinds of needles are in use
for ordinary sewing; they are Sharps, Ground-
downs and Betweens. Of these Sharps are the
longest and Betweens are the shortest.
Grounddowns are best for school work and for
all beginners. All needles are numbered from 1
to 12; number 1 being the coarsest and number 12
the finest.


10 MARGARET BLAIR SYSTEM
Always use thread the size of the warp of the
material upon which you are working. Do not
use too long a thread and always cut your thread,-
never bite or break it. Use a number 8 needle
with number 50 to 70 thread and a number 10 nee-
dle with number 80 to 100 thread.
A small pin cushion well supplied with the best
pins is a necessary adjunct to the work basket.
Those made of aluminum are excellent and do not
rust. Thimbles made of aluminum are also very
good and do not soil or irritate the finger.
The other articles belonging to the work box are
a 60 inch tape line, an emery bag and a piece of
wax.
In all the illustrations in this volume each
square, the sides of which measure three-six-
teenths of an inch, represents a full inch.


GARMENT DRAFTING 11

INSTRUCTIONS FOR TAKING MEASURES.
First tie a cord tightly around the waist so as
to find correct 'waist line.
The first measure taken is the neck measure and
is taken around the fullest part of the neck.
In taking the bust measure stand behind the
person and measure over the fullest part of the
bust. ‘
The waist measure should be taken tightly
around the foot of the waist. _
The front measurement is taken from the cen-
ter of back of neck to waist line in front.
The length of back is taken from back of neck
straight down to waist line, another back meas-
urement is taken from the shoulder to waist line,
this is sometimes called the back balance.
The under arm measure is taken from well up
under the arm straight down to the waist line.
The chest measure is taken straight across the
chest. Width- of back is taken straight across
the widest part of back.
The shoulder measure is taken from neck to
shoulder point. '
Dart No. 1 is measured from waist line to fullest
part of bust. '
Dart No. 2 is measured one-half inch higher
than dart No. 1.


12 MARGARET BLAIR SYSTEM
SLEEVE MEASUREMENTS.
The arm’s eye measurement is taken around the
arm just below the shoulder bone.
The next measure is from shoulder to elbow, the
next from elbow to wrist. The elbow measure is
taken around elbow with elbow half bent.
The inside measure is taken from the hollow
of elbow to arm’s eye.
The hand measure is taken around the fullest
part of the hand.


GARMENT DRAFTING 15


CHILD’S DRAIVERS.
To make a pair of child’s drawers requires from
one to one and one-half yards of material. Two
measurements are taken, the first, around the
smallest part of the waist; the second, from the
waist line over the hip to the knee.
First measure on fold of paper the required
length from bottom up, then mark for the width of
bottom one-half of band measure.
To find seat line, measure downward from 1
five-eights of the length to 3; from this point meas-
ure out three-fourths of the length, then connect
this point with 2 by an inward curve.
To find width of top, measure out from 1 four-
sevenths of band and mark, from this point meas-
ure up two and one-half inches to 6, connect 6 with
4 at seat line by a straight line and connect 1 and
6 by a straight line. _
Place the pattern on the folded material having
the bottom on a woof thread, pin and cut accord-
ing to the pattern. Make an opening on each
side and finish with a gusset.





GARMENT DRAFTING 19


seven inches long and measure down two, inches
to 1, from this point measure five inches to 2 then
from top of line out one and one-half inches to 3.
From 1 measure out eight inches to 4. Measure
one inch above 2 out one-half of the chest meas-
ure, this line will be 5. Draw the neck curve 6,
then the length of the shoulder measuring from
3 and connect the shoulder with 5 by an inward
curve, then connect 5 with 2 by an outward curve
which will be 9.
For the sleeve measure on fold of paper the
length of inside measure, always adding three and
one-half inches for the curve at the top. Measure
up from 1 one-half inch to 2, then up the length of
the inside to 3, then out the width desired and
mark 4. Slope two and one'half inches in at the
wrist or more if desired. Draw a curved line 6,
beginning four inches in from the top of fold to 4;
from 4 draw a curved line 7 to the edge of fold.
Connect 4 and 5 with the line 8 and 1 and 5 with
the line 9.
Another very good pattern for a child’s night
gown is out exactly like the child’s apron on page
21 with the exception of the neck which is
cut like the child’s “’aist, on page 25.


20 MARGARET BLAIR SYSTEM
CHILD’S APRON.
For the back draw a horizontal line the length
of the paper. From 1 to 2 measure three and
one-fourth inches; from 1 to 3 the length of back;
from 3 to 4 the under arm measure; from 3 to 5
the length from waist to bottom of skirt;
6 is one and one half inches from dot-
ted line; 7 is always seven inches from
dotted line and marks the shoulder slant.
8 is the width of back adding on one and one-quar~
ter inches to bring the seam under the arm. 9 is
the width on waist line slanting out one inch.
10 is the back balance. 11 is the shoulder, 12
marks the arm’s eye curve, 13 the neck curve, 14
is the slanting line below waist line and 15 is a
slightly curved line at the bottom.
For the front draw a horizontal line the length
of your paper. 1 is two inches from top of line;
from 1 to 2 is five inches for a child, from 2 to 3 is
the length of the under arm measure; from 3 to 4
is the length below the waist line; 5 is two inches
out from top of line; from 1 to 6 is always eight
inches; from 2 to 7 is the bust line which is obtain-
ed by subtracting the width of back from the bust
measurement, and making the back one and one-
'quarter inches wider. This must be taken off on
the front. 8 is the slant on the waist line; 9 is the


GARMENT DRAFTING
25





GARMENT DRAFTING 27

. back on waist line to shoulder point and deter-
mines where the shoulder seam should be; 11 is
the arm’s eye curve.
For the front, draw a horizontal line the length
of paper. From top of paper mark down two
inches to 1. From 1 to 2 is always five inches,
and from 2 to 3 is the underarm measure. Now,
from top of line mark out two inches to 4, from 1
to 5 mark out eight inches to get shoulder slant.
From 2 to 6 is the bust measure after taking off
the width of back.
3 to 7 is the width of waist line of front; to find
how vvide to make the front measure the back on
waist line and subtract from the waist measure,
then mark the remainder out on temporary waist
line from 7 to 3. '
8 is the chest measure taken one inch above bust
line; 9 is the length of shoulder from 4 out on
shoulder slant; 10 is the arm’s eye curve from
shoulder to bust line touching chest line; 11. is the
neck curve from 4 to one and one-quarter inch be-
low 1; 12 is the measurement used to get correct
waist line and is taken from center of neck to
waist line in front.
The measurements taken for the child’s sleeve
were as below and the sleeve was made for a child
of seven.
From shoulder to elbow, 9% inches.
From elbow to wrist, 6% inches.
Inside from arm’s eye to elbow, 6 inches.
Elbow, 8 inches.
Hand, 61; inches.
First measure down from top of paper the
length from shoulder to elbow to dotted line 1.
From 1 to 2 the length from elbow to wrist; from


28 MARGARET BLAIR SYSTEM
2 to 3 always mark off one and one-half inches for
slant at wrist.
From 1 to 4 mark the inside measure from el-
bow to arm’s eye; from 4 to 5 always mark one
and one-half inches for the curve of under sleeve.
From top of line mark in four inches to 6; from 5
measure out~one-ha1f of arm’s eye less one and
one-half inches to 7. 5 to 8 is one and one-half
inches more than one-half of arm’s eye measure.
From 4 mark off one-half of the distance from 5
to 7, this gives the line 4 to 9. From 1 always
mark in one and one-half inches for curve; from 10
mark off one-half less one inch of elbow measure
to 11. From 10 to 12 is one inch more than one-
half of elbow measure. Measure from 3 to 13 one-
half inch and mark from 13 to 14 one-half of hand
measure less one inch. From 13 to 15 one inch
more than half of hand measure. Connect 13 and
15 with straight line; 4 to 13 an inward curve;
from 7 to 14 an outward curve; from 8 to 15 an
outward curve; 4 to top of line with an outward
curve; 6 to 8 is an outward curve and 4 to 7 an in-
ward curve.
For the collar mark down one inch to 1 and out
from top of line one-half of neck measure, then
mark in one-half inch to 2. From 1 mark down
one inch to 3. At the end of top line mark down
one inch, connect 1 and 2 with an inward curve
which is the top of the collar. Connect 2 and 4
with a straight line which is the center of front,
and connect 3 and 4 with an outward curve. This
curve is joined to the neck of the dress.


GARMENT DRAFTING 31


DRAWERS.
For a pair of drawers two to two and one-half
yards of material, thirty-six inches wide is re-
quired. If lace is used for trimming, one and one-
half the width of the bottom is required, but if
embroidery is used, but one and one-third the
width will be needed. '
Two measurements are required for drafting
drawers. The first is the band measurement and
is taken around the waist, the second is the length
and is measured from the waist over the hip to the
knee.
On fold of paper measure from bottom up the
required length and mark at 1. At bottom from
fold of paper measure out one-half of band meas-
ure which is the width of bottom of drawers and
mark 2. For the seat line, measure down from 1
one-half of the length to 3; from this point meas-
ure out three-quarters of the length for width of
seat, then connect 4 and 2 by an inward curve.
For width of top of front, measure from 1 four-
sevenths of the band measure to 5, from this point
measure up two and one-half inches and mark 6,
connect 6 with 4 by a slightly inward curve and
connect 6 and 1 by a straight line.
For back of drawers measure out from 5 three
inches and mark 7, then measure from 6 up two


GARMENT DRAFTING 33

pattern from one of the edges and pin together,
place the pattern even with the raw edge of the
cloth and pin firmly, out both thicknesses by the
back and trace the front; remove the pattern and
cut the upper fold of cloth by the tracing; cut the
other leg by placing the one already cut on the
cloth with the right sides together and the bottom
on a woof thread of the material. Make with
felled seams and finish with gussets.


GARMENT DRAFTING 37

NIGHT GO'WN.
The night gown, chemise and shirt waist illus-
trated in this volume were all cut from the fol-
lowing measurements:
Neck 12.
Bust 34.
Waist 24.
Front 19%.
Back 16.
Back balance 14%.
Under Arm 8%.
Chest 13.
Width back 11%.
Shoulder 5%.
Back: '
Draw a“ horizbntal line seven inches long one
inch from the edge of the paper. Always mark
down one-fourth of an inch for the curve at the
neck to 1, then from 1 measure down four inches
to 2 and the bottom of the yoke is 3. Measure out
from the top one and one-half inches to 4, then
from 2 measure out eight inches to 5. Measure
out from 3 one-half of the width of-the back to 6
and up from 6 one inch. Measure on shoulder
slant the length of the shoulder from 4 and come
up one-half an inch and connect 7 and 4 with very
slight inward curve. Connect 7 with the mark an


38 MARGARET BLAIR SYSTEM
inch above 6 with an inward curve, this line is 8.
Then make the curve, 9 at the bottom of yoke.
For the front, commence two inches in from the
edge of paper and draw a horizontal line eight
inches long; first mark down two inches to 1, then
measure down six inches from 1 to 2 or the length
of the yoke. At top of line measure out two
inches to 3; from 1 measure out nine inches to get
the slant of the shoulder; at 2 measure out the
width of chest and come up one inch at the arm
to 6, then connect 3 and 4 and measure on this
line beginning at 3, the length of the shoulder
and mark 7; now draw the neck curve, making it
one and one-fourth inches below 1.
For a twelve inch neck measure, make the back
of the neck one and one-half inches and for the
front come out two inches and down from 1, one
and one-half inches; for every inch larger add one-
eighth inch and for every inch smaller take off one—
eighth. " '
Connect 6 and 7 by an inward curve and 6 and
2 by a slight outward curve. .
The measurements taken for this night gown
sleeve were: arm’s eye 12, shoulder to wrist 22,
inside arm’s-eye to wrist 17, hand 8.
For the night gown sleeve take the inside meas-
ure of the arm and add to it'five inches for the
curve at the top. Measure thewhole length on
fold of paper. -.
From 1 mark up the length of inside measure to
3, then mark from 1 up one inch to 4. Measure
out from 4 the desired width and mark, also meas-
ure‘ out from 3 the width desired at top of sleeve
and mark, from this point, draw the curve 5 to


GARMENT DRAFTING 39


within four and one-half inches of 2. From the
same point draw the curve 6 for the under part
of the sleeve. Connect the top of sleeve with the
wrist by a straight line 7 then finish with curved
line 8 at bottom.
To make the night gown hang evenly, measure
from bust line all around the correct length.
Overhand the gores and sew up in French seam.
'Another excellent pattern for a night gown is
out exactly like the Shirt Waist on page 51 with
the exception of the two lines 12 which should be
changed from curved lines to slanting lines from
the bust line to bottom of night gown.


40 MARGARET BLAIR SYSTEM
CHEMISE.
Back:—
Draw a horizontal line two inches in from the
edge of paper, measure down one-fourth inch from
top line to 1, from 1 to 2 is four inches, from 3 to
1 is the length of back to waist and from 3 to 4
is the under arm measure.
Now, begin at top and measure out one and
one-half inches for neck to 5, (for a neck measure
exceeding twelve inches see neck scale in night
gown). From 2 to 6 always measure out eight
inches to get the shoulder slant; from 4 to 7 is
the width of back, adding one and three-fourth
inches to bring the seam far enough under the
arm as no under-arm piece is used in this gar-
ment. Connect 7 and 8.by an inward curve. 9 is the
shoulder and is made two inches wide; 10 is the
arm’s eye curve; 11 is the neck curve from shoul-
der to three-fourths of an inch above 2. A square
neck may be made by following the‘dotted lines.
12 is an inward curve to waist line. The dotted
lines show the fullness allowed in the back, more
may be allowed if desired. >
Front:—
Draw a line three inches in from edge of paper;
1 is two inches from top, from 1 to 2 always meas-





GARMENT DRAFTING 43

ure six inches; 4 to 3 is the under arm measure-
ment. For 4 measure out two inches from top of
line (see neck scale in night gown). From 1 to 5
always measure nine inches for shoulder slant; 2
to 6 is the bust line which is obtained the same
as in corset cover, but as we have made the back
one and three-fourths inches wider this amount
must be taken from the front. 7 is the chest line
taken one inch above the bust line and out one-
half of chest measurement. 8 is the shoulder two
inches wide; 9 is the arm’s eye curve from shoul-
der to bust line and touching chest line; 10 is the
neck curve from shoulder to one inch above chest
measure. The neck may be made square by fol-
lowing the dotted lines.


GARMENT DRAFTING
51


GARMENT DRAFTING 53

line two inches from edge of paper. Measure
down two inches from top to 1, from 1 to 2 always
measure six inches.
From 2 to 3 is the under arm measure. From
top of line measure out two inches to 4 (see neck
scale in night dress). Always measure out nine
inches from 1 to 5, to get the shoulder slant.
Get the bust line and under arm seam the same
as in the chemise.
The dotted line, 3 to 7, is our temporary waist
line, 8 is the chest measure taken one inch above
bust line and out one-half of chest measurement.
9 is the length of shoulder and is drawn out on the
shoulder slant. 10 is the inward curve from
shoulder to bust line and touching chest line. 11
is the neck curve from 4 to one and one-half inches
below 1 (see neck scale in night dress). 12 is an
inward curve from 6 to waist line; 13 is the front
measurement; 14 is our waist line; 15 is an out-
ward curve three inches down and slanting one
and one-half inches. ‘
In making this waist use French seams for the
sleeves and under arm seams. In putting on the
yoke, cut the outside on the bias and the lining
straight. Sew the front of shoulder to the lining
of shoulder in back, then sew the outside of back
shoulder over on the seam. In sewing in the
sleeve the seam of sleeve should come from 2 to
21} inches in front of under arm seam and the full-
est part of the gathers should come just in front of
the shoulder seam. The Bishop or leg of mutton
sleeve is used in the shirt waist.
The cufi is a straight band ten inches wide and
three inches long. The neck band is one and one-


'GARMENT DRAFTING 57


PLAIN WAIST. ,
The same measurements were taken for this
waist as for the corset cover.
For the back, draw a horizontal line the length
of paper. 1 is one-fourth of an inch from top of
line; 2 is four inches from 1. Mark from 1 to 3
the length of back to waist. From 4 to 3 is the
under arm measure. Begin at the top and mark
out one and one-half inches—this for a twelve
inch neck measurement, see neck scale in night
gown—to 5. From 2 to 6 always mark out eight
inches to get the shoulder slant, from 4 to 7 is
the width of back, from 7 mark up one inch to get
the curve for the arm’s eye. From 3 at waist line,
first mark off three-fourths of an inch for the
slant in the back, then one and one-fourth inches
for width of back at waist line, then space three-
fourths of an inch; for the side body mark off two
inches to 8 (this for a twenty-four inch waist meas-
ure). Since for a twenty-four inch waist the two
back forms together will measure three and one-
fouth inches at waist line, allowing one and one-
fourth inches for back and two inches for side
body, then for each additional inch in the waist
measurement allow one fourth of an inch, one--
eighth on back and one-eighth on side body. For
each decreasing inch in the measurement take 011
a like amount.


GARMENT DRAFTING 59


half the front we divide this by two, which would
give us eleven and one-fourth. From 6 mark in
two and one-half inches to 7 for the under arm
piece; from the waist line, 8, draw a straight line,
9, extending one inch above 6; 10 is the dotted line
from 7 to waistline; 11 is the chest measurement
taken one inch above the bust line and out one-
half of chest measure. . _
12 'is the length of shoulder; this line is marked
out on shoulder slant five and one-half inches.
Now make the arm’s eye curve, 13, from shoulder
to bust line and touching chest line; 14 is the curve
one-half an inch in from top of line 9 to bust line.
Now draw a curve from the one-half inch point,
extending down two and one-half inches and con-
necting with the line 9.
15 is the neck curve from shoulder to one and
one-half inches below 1—-see neck scale in night
gown. 16 is the front measurement and deter-
mines the permanent waist line. 17 is the first
dart one and one-half inches in from front line.
Always make the first dart smaller than the
other. To find the quantity to put into the darts
measure the back which in this figure is six and
one-half inches, subtract this from the waist meas-
ure which is twenty-four, this leaves seventeen
and one-half which, divided by two-makes one-
half the pattern or eight and three-fourths inches;
then measure out on waist line eight and three-
fourths inches and the quantity we have left for
the darts in this figure is three and one-half inch-
es, so mark 01f one and one-half inches for the
first one and two inches for the other, 18. 'Always
leave a space of three-fourths of an inch between
the darts. 19 is the straight dart, the dart lines


60 - MARGARET BLAIR SYSTEM
are curved “to the waist line and straight below,
they are just half as large at the bottom as at the
waist line. 20 is slightly slanted toward the back
and is one-half inch higher than the first dart. 21
is an outward curve three inches down from waist
line, 8, and slanting one and one-half inches; 22
is an outward curve three inches down and slant-
ing one and one-fourth inches; 23 is an outward
curve slanting three-fourths of an inch.
The trimmings needed for a plain waist are
two yards of silesia, sewing silk, button hole twist,
basting cotton, buttons or hooks and eyes, three
whale bones and 4 yards of bone casings.
Always cut your waist lining crosswise of the
silesia. In basting the material onto the lining
hold lining slightly full from two inches above the
waist line to one and one-half inches below it.
Great care must be taken to hast the seams of
a basque according to the tracing marks; always
begin baSting at waist line, first basting up then
from waist line downward. After the waist is-
basted try it on.
After the seams are sewed take out the bastings,
pare the seams, making notches at the waist line
to allow for the curving of the dress. The under-
arm seams may be left wider than the others so
that the waist may be altered.
Overcast the seams closely or if in silk, bind
them with a narrow silk binding, then press open.
In sewing the whalebone casing which should
be single casing, hold it full; if possible soak the
whale bone over night before using, then place in
the seam and fasten firmly every 2 inches; sew
through the bone in finishing.





62 MARGARET BLAIR SYSTEM


GARMENT DRAFTING 63



SLEEVES.
The measures taken for the sleeves illustrated
here are as follows: '
Arm’s eye, 12 inches.
Shoulder to elbow, 15 inches.
Elbow to wrist, 11 inches.
Inside elbow to arm’s eye, 9% inches.
Elbow, 11 inches.
Hand, 8 inches.
For the plain coat sleeve, first draw a horizontal
line. From 6 to 1 is the length from shoulder to
elbow, 1 to 2 the length from elbow to wrist. For
3 mark up two inches from 2, 1 to 4 is the inside
measure from elbow to arm’s eye, from 4 to 5 al-
ways mark up one and one‘half inches, from 6 to
7 mark half the arm’s eye, from 5 to 8 measure out
half of arm’s eye and always add on four inches.
From 4 to 10 measure out one-fourth of arm’s eye,
from 1 measure in two and one-half inches; from
11 to 12 measure 'one-half the elbow measure less
one inch, and for the upper piece, 11 to 13 meas-
ure one-half the elbow measurement plus one inch.
Our elbow measure is 11 inches then the under
part of sleeve would be four and one-half inches
wide and the upper side would be six 'and one-half
inches in width. For wrist measure in one-half
inch from 3 to 14 and divide the hand measure,


GARMENT DRAFTING 67





70 MARGARET BLAIR SYSTEM
waist measure which is twenty-four inches, this
leaves seventeen and one-half inches, divide this
by two as we are making but one-half the pattern,
then measure out eight and three-fourths inches
on waist line and the quantity left on this line is
the quantity we have to put in the darts. In this
figure we have five and one-half inches for the
darts, we measure of one and one-half inches for
the first dart and four inches for the other which
in the illustration is marked 20. Always leave
three-fourths of an inch between the darts, 21 is
the center of the first dart, the outlines to the
waist are curved but straight below and one-half
as large at bottom as at waist. 22 marks the
center of the second dart which extends one-half
inch higher than the first. 23 is an outward
curve extending down three inches and slanting
one and one-half inches, 24 is an outward curve
extending down three inches and slanting one
and one-fourth inch, 25 is an outward curve slant-
ing three-fourths inch.





GARMENT DRAFTING 75





















l
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+1; ‘
‘1
cs
.JQ—l ’- [







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GARMENT DRAFTING . 77
Front.—'- . '
For the front draw a straight line two inches
from the edge of paper, measure down two inches
from top to 1, from 1 to 2 always measure down
six inches, from 2 to 3 measure the length of un-_
derarm. Begin at top and measure out two inch-
es to 4 (see neck scale in night gown). From 1
measure out nine inches to 5 for shoulder slant, 2
to 6 is the bust line to- get which see description
of Plain Waist, but for the Princess Dress add
two inches to the bust line, these, two inches are
used in the under arm dart. From 6 measure in
two and one-half inches to 7 and from 7 two inch-
’ es to 8. -9 is the same distance from front as 6,
from 9 to 10 measure two and one-half inches and
from 10 to 11 measure two inches, 12 is the
' straight line extending from 9 at waist line to one
inch above 6 and curving in one-half inch at top,
13 is a slightly curved line connecting 7 with 10,.
14 connects 8 with 11, 15 is length of shoulder
measured on shoulder slant from 4, 16 is the chest
measurement and is taken one inch above bust
line and out one-half of chest measure, 17 is the
arm’s eye curve from shoulder to bust line and
touching chest line, 18 is a curve from top of line
12 to 7, 19 is the neck curve from 4 to one and
one-half inches below 1, 20 is the front measure-
ment, 21 is the first dart, 22 the second (to get
size of darts see description of them 'in Plain
Waist.) 23 marks the straight line in center of
first dart and 24 marks the second which is slight-
ly slanting. 25 is a curved line extending below
waist, 26 is a curved line slanting three-fourths of
an inch and 27 is a curve slanting one and one-
fourth inches.
,/





fexRMlaxr DRAFTING ' 81






line, 17 is an “outward curve beginning one inch
below the dotted line marking width of back, ex-
tends to the “next'mark on waist line and mark
the curve ot side body. 18 is a slanting line eXtend»
ing five inches down from waist line and slant-
ing outward three-fourths inch, 19 extends down
. five inches and slants three-fourths inch, 20 ex-
tends down five inches and slants one and one-
fourth inches, 21 is an outward curve, extending
down five inches and out one and one-half inches.
For the front of Jacket draw a horizontal line
two inches from the edge of paper, measure down
two inches fromtop and mark 1, from 1 to 2 is
always six inches, 2 to 3 is the length of under
arm measure. Measure out two inches from top
of line to 4 (if more than twelve inches neck meas-
ure' see neck scale in night g0wn).’ From 1 to 5
measure out nine inches for shoulder slant, 2 to
6 is the bust line, (to get bust line follow descrip-
tion given in Plain Waist), measure in three inch-
es from 6 to 7 for, under arm piece. From one
inch above 6 to the waist line 8 is a straight line
9, 10 is the dotted line from 7 to waist line, 11 is
~ the chest measurement and is taken one inch
above the bust line and out one-half of chest meas-
urement. 12 is the length of shoulder and is
measured out on shoulderslant from 4, 13 is the
arm’s eye curve from shoulder to bust line, touch-
ing chest line, 14 is the neck curve from shoulder
to one and one-half inch below 1 (see neck scale
in night gown). '15 is the front measurement, 16
is the waist line, 17 is an outward curve extend-
ing five inches below the waist line and slanting
two inches, 18 is a curved line slanting two inch~
es, 19 is a curved line slanting one inch.


84 MARGARET BLAIR SYSTEM
measure out eight inches and at the bottom eight~
een inches. From the five inch mark at top draw
a curved line to mark on hip line and a straight
line from this point to the eighteen inch mark at
bottom. On straight edge at top curve off one-
half inch, draw the curve at top from the one inch
mark to five inch mark, measure the length down
on gored edge and mark, make a curved line at
bottom and cut by pencil marks.
For side gore No. 2, first mark down one and
one-half inch on edge of paper, from this mark
measure the length, at the top mark out three
inches, from this point measure out eight inches
and at bottom measure out twenty-two inches.
Connect this point with mark at top by a straight
line, measure the length on this edge and mark,
draw the curve at the top. From the three inch
mark at top curve slightly about six inches down
then from this on a straight line to edge of paper
at bottom. Draw a curved line at bottom.
For the back gore, mark down on fold of pa
per one-half inch, then the length. From fold at
top measure out four and one-half inches and at
bottom measure out fifteen inches, draw the curve
at top. Connect the points on gored edge with a
straight line and measure length on this line.
Then draw curve at bottom. -
This skirt when finished is about four and one-
half yards around the bottom.
In making a dress skirt see that you have
plenty of material for it will not do to piece the
material crosswise.
For the lining, if of silk, ten yards is required, of
percaline five and one-half yards or eight yards of


GARMENT DRAFTING 85



cambric. Double the lining crosswise, lay pat-
tern on and pin firmly. After cutting lining lay
the interlining on it (if the interlining is of hair
cloth it should always be shrunk before using).
Cut the interlining from four to five inches wide,
baste interlining on lining and stitch at the top of
interlining, (if of haircloth it must be bound at
the top.
New lay material on the table place lining on
it with interlining between, smooth the material
carefully from top toward bottom. First baste
through the center always beginning at top; baste
top and sides and so on until all the gores are
basted. Baste the gores together always begin-
ning at the top. Try on the skirt to see that it
fits nicely around the hips; if darts are needed
make them in lining and stretch material over
them. When stitching the cams always begin at
the top. Pull the basting threads out of the
seams and press thoroughly. Now make the belt
which should be of silk or some firm lining mater-
ial; cut it on the bias two and one-half inches
wide and the length of waist measure, adding one
and one-half inch for making. Now take a strong
cord, (wrapping cord will do) double it and twist,
fold your belt in center, lengthwise, run the cord
through and stitch on the machine, turn the ends
in nicely and overhand. Before putting belt on
overcast around the top of skirt and seams. To
put the belt on the skirt find the centre of front
gore and begin there; always hold the skirt next
you and slightly full. When you have b'asted the
belt on try on the skirt to see that it hangs evenly
all round the bottom. When it hangs evenly


86 MARGARET BLAIR SYSTEM
overcast the bottom and baste the velveteen on.
Now stitch the belt where it was basted and hem
down nicely on the right side of skirt.
For fastening skirt belt use a large hook and
eye in the back of the belt, sew on three eyes to
fasten to waist and two loops to hang the skirt
up by.