Svf \ ^>^. ^^ .-i^" •J- 7 ^"^ />/?:^^ .^^ XT' .'V ^^^ V' ?:-• 0^ -?: D *^ .^-\ ^im* ,/ <=>o ^ C o « o ' -.^ O O " .^•^ X: •.^°o ^'"<{». ^oV" 1 « 4 o 40^ '. .^^ -^^0^ -^^0^ h^-r^ ■ ■^Pti^ POINTS IrESS iUTTlNG AND f ITTING, EMBRACING THE LATEST IDEAS CARRIED OUT IN THE LEADING EMPORIUMS OF FASHION OF PARIS, LONDON, AND NEW YORK. TO WHICH IS APPENDED AN ORIGINAL, COMPLETE, AND SIMPLIFIED SYSTEM OF DRESS CUTTING, EMBODYING ALL THE POINTS. /.,/' BY G. M. GREENWOOD. o>»Oic EFFECTS OF LIGHT ON COLOR. OTHER things being equal, the more highly the surface of a body is polished, the more it will reflect white and colored light. The white light reflected by a colored body may be of sufficient intensity to render the color of the body in some of its parts imperceptible. When the eye sees certain parts of the surface of a polished or uniformly colored object which reflects to it proportionally to the col- ored light less of white light than the other parts, the first parts will appear in most cases of a more intense tone of color than the second. The spiral thread of a piece of twisted silk or wool held perpen- dicularly before the eye, appears in the part opposite to the light of a much more decided color than on the rest of the surface. The folds of bright draperies present the same modification to an eye properly placed ; the effect is particularly remarkable in yellow silk stuffs, and in sky-blue ; for we can easily understand that it is less marked when the stuffs are less bright and of dark colors. There are some stuffs which appear to be of two tones of the same scale of color, and sometimes also of two tones of two contigu- ous scales, although the weft and the warp of these stuffs are of the same tone and the same color. The cause of this appearance is very simple ; the threads which, parallel to each other, form the designs, are in a different direction to the threads which constitute the ground of the stuff. Hence, whatever may be the position of the spectator with regard 14 Color. 1 5 — •m • — to the stuff, the threads of the design will always reflect colored and white light in a different proportion to that reflected by the threads of the ground, and, according to the position of a spectator, the design will appear to be lighter or darker than the ground. Modifications produced by Colored Lights. Red rays falling on Black make it appear Purple-black. White u u u j^e(j Red u u u Redder. Orange ^ « a Redder. Yellow u a u Orange. Deep Green " « " Red-black. Light Green " " " Reddish gray. Light Blue " " " Violet. Violet u u u Purple. Modifications produced by Orange Light. Orange rays falling on ( Maroon, or Car- Black make it appear { ,. , ( melite-brown. White u u a Orange. Orange a a u More vivid. Red u u u Scarlet. Yellow (((((( Yellow-orange. Light Green " " " Yellow-green. Deep Green " " " Rusty green. Light Blue " « " Orange-gray. ( Gray, slightly. Deep Blue " " " ^ ( Orange-gray. Indigo Blue '< " " Orange-maroon. Violet " " " Red-maroon. Modifications produced by Yellow Light, Yellow rays falling on Black make it appear Yellow-olive. i6 Color. White make it appear Light Yellow. Yellow " " '•' Orange-yellow. Red " " " Orange. Orange " " " Yellower. Green " " " Greenish yellow. Light Blue " " " Yellow-green. Deep Blue " " " Green-slate. Indigo " " " Orange-yellow. Violet " " " Yellow- maroon. Modifications produced by Green Light. Green rays falling on Black make it appear Greenish brown. White u u u Green. ( More intense and Green ^ <. « ..... I brilliant. Red « u a Brown. ( Faint Yellow, a Orange " ^^ « J v i r^ ^ ( htde Green. » { Greener, according Green a a a j . , , f to Its depth. Indigo a a a j)^\\ Green. Violet II u ti Bluish green. Brown. Modifications produced by Blue Light. Blue rays falling on Black make it appear Blue-black. Yellow u u u Green. Green tt u u Blue-green. Indigo u u (I Park blue, Indigo. Violet u u u i3ark blue, Violet. Modifications produced by Black Light. Black rays falling on White make it appear Blue. Blue u a a More vivid. Color. 1 7 » ■ ■ Red make it appear Violet. Orange » » » _ ^ ^ j Brown, having a pale I tint of Violet. Modifications produced by Violet Light. Violet rays falling on ^, , , . ( Very faint Violet- Black make it appear \ ' black. White « a << Violet. • Violet u u u Deeper Violet. ^ , ( Red-violet, Red u u u ( Purple. Orange » u .. Ljg^^ ^^^^ ( Brown, with a very Yellow « u « ^ ( slight tint of Red. Green u u u Ljg^^ Purple. Blue a « a Yine Blue, Violet. Indigo a a a Bcep Blue, Violet. It is understood that in order to represent the preceding phe- nomena exactly, we must take into account the facility with which colored light penetrates every kind of glass, the more or less intense color of the stuff, and the kind of scale to which the colored stuff and that of the transmitted colored light respectively belong. Juxtaposition of Draping with Complexion, Rose-red cannot be put in contact with even the rosiest com- plexions without causing them to lose some of their freshness. Rose- red, maroon, and light crimson have the serious disadvantage of rendering the complexion more or less green. Delicate Green is, on the contrary, favorable to all fair com- plexions which are deficient in rose, and which may have more imparted to them without disadvantage. But it is not favorable to complexions that are more red than rosy, nor to those that have a tint of orange mixed with brown, because the red they add to this 1 8 Color. — • ■■ • — tint will be of a brick-red hue. In the latter case a dark green will be less objectionable than a delicate green. Yellow imparts violet to a fair skin, and in this view it is less favorable than the delicate green. To those skins which are more yellow than orange it imparts white ; but this combination is very dull and heavy for a fair com- plexion. When the skin is tinted more with orange than yellow, we can make it rosy by neutralizing the yellow. It produces this effect on the black-haired type, and it is thus that it suits bncncttcs. Violet, the complementary of yellow, produces contrary effects ; thus it imparts some greenish-yellow to fair complexions, it aug- ments the yellow tint of yellow and orange skins. The little blue there may be in a complexion it makes green-violet. This, then, is one of the least favorable colors to the skin, at least when it is not sufficiently deep to whiten the skin by contrast of tone. Blue imparts orange, which combines favorably with white, and the light flesh tints of fair complexions, which have already a more or less determined tint of this color. Blue is thus suitable to most blondes, and in this case justifies its reputation. It will not suit brunettes, since they have already too much of orange. Orange is too brilliant to be elegant ; it makes fair complexions blue, whitens those which have an orange tint, and gives a green hue to those of a yellow tint. Lustreless White, such as cambric muslin, assorts well with a fresh complexion, of which it relieves the rose color ; but it is unsuit- able to complexions which have a disagreeable tint, because white always exalts all colors by raising their tone ; consequently it is unsuitable to those skins which, without having this disagreeable tint, very nearly approach it. Very Light White draperies, such as muslin or lace, appear more gray than white. We must thus regard every white drapery which allows the light to pass through its interstices, and which is Color. 1 9 — «— •— • — only apparent to the eyes by the surface opposed to that which receives incident light. Black draperies, by lowering the tone of the colors with which they are in juxtaposition, whiten the skin ; but if the vermilion or rosy parts are somewhat distant from the drapery, it will follow that, although lowered in tone, they appear relatively to the white parts of the skin contiguous to the same drapery redder than if not con- tiguous to the black. For the colors for dress of women we must begin by establishing certain distinctions. That of the two types, with skins more or less white and rosy. The one with light hair and blue eyes. The other with black hair and black eyes. That of the juxtaposition of the articles of the toilet, whether pertaining to the hair or to the complexion ; for a color may contrast favorably with the hair, yet produce a disagreeable effect with the skin. The color of light hair being essentially the result of a mixture of red, yellow, and brown, we must consider it as a veiy pale, subdued orange-bro%v7i ; the color of the skin, although a lower tone, is analo- gous to it except in the red parts. Blue eyes are really the only parts of the fair type which form a contrast of color with the whole ; for the red parts produce, with the rest of the skin, only a harmony of analogy of hue, or at most a contrast of hue and not of color ; and the parts of the skin contiguous to the hair, the eyebrows, and eyelashes, give rise only to a harmony of analogy, either of scale or of hue. The harmonies of analogy, then, evidently predominate in the fair type over the harmonies of contrast. The type with black hair shows the harmonies of contrast pre- dominating over the harmonies of analogy. The hair, eyebrows, eyelashes, and eyes contrast in tone and color, not only with the white of the skin, but also with the red parts, which in this type are 20 Material. — • m • — really redder, or less roseate, than in the blonde type ; and we must not forget that a decided red, associated with black, gives to the latter the character of an excessiveljf deep color, either blue or green. The colors which are usually considered as assorting best with light or black hair, are precisely those which produce great contrasts ; thus, sky-blue, known to accord well ivith blondes, is the color that approaches the nearest to the complementary of orange, which is the basis of the color of their hair and complexions. Two colors, long esteemed to accord favorably ivith black hair — yelloiv and red, more or less orange — contrast in the same manner with them. Yellow and orange-red, contrasting by color and brilliancy with black, and their complementaries, violet and blue-green, in mixing with the tint of the hair, are far from producing a bad result. -«-^t^»«^5«£^ /n/^5^i^i/»c. IN selecting material, the complexion, the age, and the figure are the first to be considered ; then the time and occasion for which it is intended, and the position in life and individuality of the wearer. In the same way colors harmonize, so also does material : and harmony cannot be disturbed. There is, if I may be allowed the expression, a sympathy in goods, as in sealskin and silk. Materials of widely different cost seldom look well, and are to be avoided. They force upon us a sense of incongruity ; and art teaches us that the incongruous is not a source of delight. The modiste has before her two tasks, to display and to conceal : as an elegant throat can be left to prove the truth of the adage, beauty unadorned, so, when time has laid relentless lines upon it, the value of elegant laces and high collars will be readily appreciated. Textures assimilate with the light of day. Woollen textures Material. 21 ■ ■ ■ absorb rays, satin reflects them, velvet subdues them, and cloth deadens them. In this way materials derive their characteristics from light, and we come to regard them as grave or gay, as lively or severe. Again, variety is given to the character of the material by its being plain or figured, striped or checked, and this characteristic is changed again as these stripes or figures are large or small, modest or obtrusive, while these are again affected by their arrangement, whether representing order by being regularly placed or by being carelessly placed representing confusion. Color next enters, demand- ing more care and study in the selection of the material. Stripes, when used with rare good taste, are capable of producing most gratifying sensations. They have the property of changing the style of the goods, as well as the figure of the wearer. Vertical stripes elongate, and horizontal stripes widen. Plain material, as soon as it is folded or plaited, practically becomes striped. Both the shadow cast by the overlying plait gives color, and the crease gives line. So a sash gathered and wound around the waist breaks length, and gives width. Stripes that alternate in either texture or color can in the mak- ing either make or mar the dress waist. Narrow stripes should be avoided when a pronounced effect is sought. A stripe from one to two inches in width has character, the width always being determined in proportions conformable to the height and figure of the wearer. These effects can only be shown to great advantage on fine forms, or figures that have had their deficiencies of contour supplied, as stripes demand smooth fitting. When carried on the straight on a tall and slender form, they have little to recommend them. For such figures the stripe should be on the oblique or bias, brought in this way : the stripe slanting from the shoulder toward the centre or front, the effect is to give the wearer the appearance of much greater width and fulness of bust, and if cut according to the instructions given under the division of Points on Fitting, the result will be both aCTeeable and attractive. 2 2 Material. — > ■ • Though we are daily beholding such evidences of false taste, and while I fear that the amateur cutter will never forgive me for direct- ing attention to this abuse of both design and material, I am com- pelled to remark, and emphasize the statement, that a waist having vertical stripes is simply ruined when two darts are taken. The darts destroy all purpose ; the lines, whether vertical or oblique, are broken off short long before they have carried out the object for which they were selected, and the painful spectacle is presented of a waist of stripes as far as the line of bust, becoming a check at the bodice, and running purposelessly into anything at the basque. There is one exception to this, or, I might say, a modification. It is where two stripes cut at right angles one, either through depth of tone or width of line, subdue the other ; the texture then appears shaded, the squares in a degree are lost, and unity in a measure is restored. The rule given for these conditions is, that one of the shades must be three times deeper than the other, and the first line three times wider than the second. I have endeavored to lessen these faulty occurrences in the arti- cle already referred to on Points in Fitting, and the dressmaker, whether professional or amateur, can spend no more profitable hour than in the experimenting with material of this design. Bear well in mind that for stripes one dart is sufficient, while the grandest effects can only be obtained by leaving out darts entirely. Plaids and checks are to be forsworn if dignity is to be consid- ered. They have never been considered suitable for any but chil- dren. At long intervals they put in their unhealthy appearance, like all other plagues, and then disappear. At the present time of writ- ing they are somewhat worn, and the cutters have striven to over- come the square effect that cutting on the straight gives, by cutting the material on the bias and having every part carefully matched ; but their labor, while in a shght measure showing an improvement, still leaves a waist that is more an advertisement of their mechanical skill than any recommendation of taste. Material. 2 3 — > ■ • — TRIMMING. The aim ot trimming is to improve the line. There are forms that demand trimming. The slight, graceful form or the well-rounded figure need little or no trimming to their waist ; a bow, a sash, a scarf, a bit of ribbon to relieve color or give color — these are all that is needed. Again must we repeat, "beauty unadorned is adorned the most." Plastrons, watteau plaits, blouses, and the like, should be relegated to the closet. They have their uses, but not here. Trimmings seen on a perfectly formed figure only seem to advertise somebody's bad taste or worse fitting. There is no excuse or pallia- tion for concealins: a good form beneath a bad fashion. \ViDTHS OF Material. Iks: Black (French) 18, 20, 24 Colored and Plain (French) . . . 18, 22, 24 ... 24 ... 18 ... 27 22 20 54 32 27 48 20, 22 inches. American Summer and Japanese . Pongee and Foulard . . Undressed Poplins : Irish, 24 inches ; Ladies' Cloth, 64 " Reps, all wool, Velours, silk-faced, 28 " Drap d'6t6 Velvet French, heavy. all wool Number of Yards required to make a Dress from Material of Different Widths. The first figures in numbers of yards being for persons of medium size; the second column for larger size. 18 to 20 inches wide from 20 to 25 yards. 21 " 22 " " "19 " 22 " 23 " 24 " " ''18 " 22 '' 24 Line and Proportion. 27 to 30 inches wide from 15 to 20 yards. " 14 " 20 " 32 - 36 " 38 " 40 ' ' 42 " 44 " 46 " 48 " 52 ' ' 54 " 12 " IS 10 " 14 10 " 12 9 " II 7 " 9 o-i»ic LINE AND PROPORTION. All methods, says Mr. Blanc, that men have ever invented for the adornment of their persons, owe their existence to one of the follow- ing principles : Repetition, Alternation, Symmetry, Progression, and Confusion. Repetition. Everything that appeals to our feelings acquires an astonishing power by the simple reiteration of the active cause. The simplest mode of decorating a surface is by the repetition of any given figures. Any form, however insignificant in itself, becomes interesting by repetition. Numbers often suggest thoughts which unity would not have originated. A succession of curved lines are likely to suggest grace, while a succession of straight lines appear severe. Variety is, like repetition, one of the great laws of the universe, and these two great laws are combined in alternation, which is in fact a blending of repetition and variety. Alternation is the succession of two different objects recurring regularly in turn. If a stripe of blue be put by the side of a stripe of green, and if this juxtaposition is kept up, we have an alternation of colors. The manufacturer of striped fabrics makes use of alternate colors, sometimes boldly contrasted, sometimes alike in color but differing in shade. Occasionally variety is gained by the mere contrast of brilliancy and dulness, as when a black dress has stripes of satin-like lustre alternating with stripes of a dull tone like Line and Proportion. 25 velvet. Alternation is less elevated in its character than repetition ; the latter ftiay be almost sublime, the former never passes the Kmits of beauty ; so we may say, alternation has charm, repetition has grandeur. Symmetry. The original meaning of the word symmetry, according to its Greek etymology, meant the state of a body of which all the members have a common measure amongst themselves ; that is to say, it signi- fied what we mean by proportion ; indeed, the words symmetry and proportion are almost interchangeable, because a symmetrical animal is always well proportioned, and a well-proportioned animal is always symmetrical. Contrast. Contrast is the highest degree of alternation. If you make a red stripe follow an orange stripe, you simply produce alternation ; but if the stripes so placed are the complementary colors one of the other, as orange and blue, yellow and violet, red and green, you will have a most lively contrast. In the same way a series of circles and ovals would only produce alternating forms, while a circle and rectangle, a cube and sphere, would be decidedly contrasting forms. To adorn a person or a thing is not simply to cause them to be seen, but it is to cause them to be admired. Contrast should only be used as a means of rendering the whole more powerful, brilliant, and striking. If orange must predominate in a decoration, let blue be mingled with it, but sparingly, so that the complementary color of orange may be its auxiliary and not its rival. A contrast of round and angular shapes would be displeasing in the highest degree if one of these forms competed with the other in importance, in volume, or in extent. Vertical and Horizontal Lines. The vertical line raises itself, the horizontal line extends itself; therefore it is natural that these two lines should be connected with 26 Line and Proportion. totally different ideas. The repetition of vertical lines on a surface gives height, because it divides the width ; the repetition of horizontal lines give width, because it divides the height. While little is left for the dressmaker but to follow the prevailing fashion, the consideration of amplitude, as affecting dress, will be carried out, subject to the limits that any particular fashion may pre- scribe. It may be well for her, however, to keep in mind that ampli- tude produces an aesthetic effect in the art of dress as in other arts. A certain presumption of dignity is attached to width, which enlarges, because it is the opposite of scantiness, which diminishes. To run to excess in width, to exaggerate it, is to miss the goal by overstep- ping it. The condition of fulness in dress is, that it does not alter the natural shape of the human body, the outline of which ought always to give boldly the all-prevailing direction of height. Confined within these bounds, amplitude produces an illusion of size, not only because it enlarges the image presented to our sight, but because it makes us instinctively attribute increased importance to a person amply dressed, by augmenting the place that it occupies in the mind, by reason of the space that it fills in reality. Too much value cannot be set upon the possibilities of lines. They produce beauty, they produce symmetry, and the symmetrical is always beautiful. Their power to do this is carried even beyond the boundaries of truth and fact, and we see objects, not as they exist, but as the}/ appear through the tendency of lines to direct our thoughts to height or width, accordingly as they may run. Take, for example, two' circles, and cross one with vertical, and the other with horizontal, lines ; these repeated, the first will have the appear- ance of greater height, the second that of increased width, while both will have the appearance of ovals. The same will be the result where squares or ovals are employed. Lines can be broken by color, by trimmings ; and where so broken, the effect will be to lessen the height if vertical. Oblique lines express motion. They are suited to all figures, and, whether obtained Points in Cutting and Fitting. 27 in the shaping or draping, convey an impression ot freedom, and lend di-nity to the gown. The waist should never be lengthened at the ex°pense of the skirt. A long waist and short skirt gives an .mpres- sion of short limbs. A happy mean should be aimed at, and, secured, will well repay the study devoted thereto. poiflT$ 'H Q^TT'HC f^P F's^'HC' o;*:c BONING. THE use of bones and steels to give and preserve shape to a waist is a more important study than ever. Bec^inning at the front line or curve, where the buttons are fastened, a round bone should be inserted; flat bones are used in every dart and seam including the centre seam of back, the bone of which can be carried well down and shaped with the others. When the waist is being tried on for the last time, the fi ter should take a stitch to mark the most pronounced curve of wa>st hne at each point where boning comes. Then remove each bone, mark- in. it at a point where the stitch gave the point of curvmg. The bo°,e is then shaped by holding it for a moment over a lamp, or over the edge of a hot iron ; then curving it to a shape conformmg to the contour of the waist. Only the best whalebone can be used for this '"men the watch-spring steels are used, the steel can be annealed and tempered by either of the following processes : - , Use a spirit lamp (alcohol). Pass the steel through the flame until thoroughly heated, then cool ; the temper is novv out. Shape it lo conform to the figure ; again pass it through the flame, and when it is a cherry-red heat, quickly plunge m water. 28 Points in Cutting and Fitting. 2. Put the steel in a pot of hot lead ; let it remain five minutes, then remove and allow it to cool. It is now annealed. Shape it to the desired curve, and put it back in the lead, letting it remain five minutes ; then remove quickly and plunge in water. The lead keeps 'the steel from warping ; moreover, lead being subject to but one height of temperature, gives a uniform heating to the steel. Cross-Boning. In order to preserve the shape to the waist, an extra bone can be carried from the side seam of front, crossing the second dart down to the bottom of waist, where it can be secured. The bone should be a fine one and cased. It must be firmly fastened to the under- arm seam about one inch below arm circle. Bones can be placed between all seams, fastened at top and bottom only. A very good plan, if correctly carried out, is to use a spring steel in the following way : — Measure a distance from the bottom of waist (between second dart and side seam) ; that will be one-third of an inch shorter than the extreme ends of the steel. Fasten the steel firmly at both ends. The steel, being longer than the line of cloth on which it is fastened, will bow out. But when the waist is put on the wearer and buttoned, the steel shapes to the line of the figure, and the waist is held down firmly. Always remember that the cut gives the fit ; the boning holds that fit to its shape. HIP EFFECTS. The method for cutting on the hips, as shown in the cuts and taught in the System, is a great improvement over the old ways, insuring an accuracy and smoothness that can never be attained by them. It may be well, in starting out, to say that these errors arose from the fault of the old teachers in studying the human form from the Points in Cutting and Fitting. 29 wrong standpoint. They only saw the figure as it presented itself to them, when, standing full in front, they beheld an outline sloping at the side and springing at the hip, or, when standing for a side view, they fell into the very easy error of mistaking the slope of the back as a fact that could be treated by sloping the centre seam of back in their drafting and fitting. That this was a mistake the reader can easily prove, by taking a strip of cloth or ribbon about one inch wide, and standing behind some friend, pin the ribbon at the collar line, and carry it down the back, the edge of the ribbon on a straight line with the centre seam of back. The straight edge of the ribbon will be seen to follow the seam, and the ribbon mould to the form. Observe that // is not the edge of the ribbon that moulds to the figure, but the flat surface shapes itself ; and this without any dart or curve being cut. ' Now if a curve or dart is cut where no reason for it exists, the system teaching it is at fault. For even while a piece so curved may be stretched into shape or fitting, yet a dart has been taken where not called for, consequently at the sacrifice of the fitting at some point at which a dart was required. Bear well in mind that the dif- ference between the bust and waist measures gives the exact amount of cloth to be taken out, when the scientific point is being considered. At no point can an excess of cloth be taken but at the loss of some other point requiring it, consequently at the expense of a perfect fit. The side of a person presents for a certain width the same flat surface as does the back. (A surface can be flat and slope at the same time, though this, in teaching, heretofore appears to have been overlooked.) This principle has been carried out in this system, both in its relation to the cutting of the under-arm piece and centre of back patterns. Again, putting all the spring on the front line, and drafting the line joining it straight, as the spring of hip in front of basque, to the straight front seam of under-arm piece as shown in the dia- grams, brings the material well over the hip, the straight line of one 30 Points in Cutting and Fitting. holding the other well back, and having the added effect of bringing the seam more in a straight line, while doing away with the painfully offensive bunchiness seen in all basques where the lines are cut in corresponding curves. The only deviation from this rule for cutting the hip seams is where stripes are to be matched to a V, as shown in the illustration, and which is fully explained in the article thereon. Where stripes are to be matched to follow out the line, this new method will be followed. DIFFICULT FORMS TO BE FITTED. As most systems are based on some principle of proportions of the human form, it naturally follows that where. a figure is found differing in a great measure from these proportions, no really practi- cal results can be obtained from a draft for such a figure. One of the gravest faults of such systems is, in basing the widths of back, both at waist line and across shoulder, on some proportion to the bust or waist measure, while all systems will be found at fault, where the person to be fitted comes out of the quality of ratios on which such scaling is calculated. The following are the causes of some of the most frequent occur- rences of misfitting : — 1. When a person measures an extreme length from the promi- nent bone at back of neck to the point of bust. In this case the waist is short from the line of bust to shoulder seam, and it is fortu- nate for the individual if her dress has been so cut, that letting out the shoulder seam will remedy the defect. The 7th measure taken by this system provides for this, and enables the cutter to correct the draft before cutting out the material. 2. Where the measure of width of back on waist line has not been taken, but a scaling followed. While two people may correspond in waist measures, one may require four inches on width of waist line back, while the other require five. If the system of scaling allows five inches, the one Points in Cutting and Fitting. 3^ calling for four inches would have an inch of loose cloth at the back, while her waist would not come together by that amount in the front. This would require letting out at the front and taking in at the back, and the result would be anything but satisfactory. The 6th measure called for by this system obviates any such mistake. 3 There is a very large number of women who have retained the symmetrical back and slender, sloping waist at back, that was theirs before time had added the rounding fulness to bust and increased the size of waist. The handsome shape of the one has not been im- paired in the splendid development of the other. These forms have acquired little, if any, fleshiness at the back, and if any, it will be found above the line of shoulder-blades, in no way changing the con- tour of the waist. These forms when subjected to these scahng systems are an unending source of anxiety tx> the dressmaker. For there we must again direct attention to the System accompanymg this work, which drafts a back for a back, and front for a front, preferring to trust to the intelligence of the cutter with a tape meas- ure, than risk the disaster that is the fate of scalings and propor- tions when appUed to the human form. The 4th, 5th, 6th, and 9th measures are all of service as test measures in correcting any draft for the class of figures to which we are referring. Whatever system the cutter may be using, let him or her remem- ber that cloth can always be safely drafted ; for where cloth is needed, and where more cloth is required for the front, follow this rule. Mark out for it on the line of bust and carry the added width all the way down on front line, and in a slant from point of bust to neck curve The cloth you have added to the waist in front, m order to .et sufficient fulness at bust, can be taken out in the first dart. Increase your first dart by the amount you have added on waist hne in front From your new centre of the enlarged dart, draft a line and form a new point and curve. This rule will always apply where an excessive fulness is found at the front and at the point of bust. 32 Points in Cutting and Fitting. Refitting. In trying on, see that the customer stands erect, and admit of no criticisms until the waist is on and fitted. Pin from neck down, pulHng the waist well on, and watching that the shoulders at arm circle allow of freedom in pinning up. After the waist or lining is on, draw well down at every point and watch the effect. Should there be any fulness in front from point of bust to neck, or at shoul- ders, do not try to correct by pulling away toward point of shoulder. Simply unfasten from point up, and bring the two fronts evenly together and pin a new slope for front. As you proceed, with your fingers inside of neck curve, lightly lift, as it were, the front ; this as each pin is fastened. After pinning up snugly, if any fulness or wrinkle remains at shoulder seam, mark with a pin for change at that point. The change should be made entirely from the front when the fault is in front. Any wrinkle or looseness across back, above the line of bust, should be corrected by opening the shoulder seam and short- ening the distance between those points. Remember that a misfit is more likely to imply an error in the taking of measures or drafting than in the system. It is the system that tests the measurements, not the measurements the system. All seams should be joined at arm circle and baste down ; do not join at waist line. THE FRENCH BIAS. The origin of the so-called French Bias came in taking a gore from the arm circle in an oblique line to the top of the second dart, the purpose for which the gore was taken being to get rid of the super- fluous cloth or looseness caused by the hollowness that is found just above the bust and near the arm circle. This gore was taken in the lining, the lining being fitted before the outside was cut. In order that the lining should lie flat and smooth when used for a pattern on the cloth, the second dart was cut from bottom to top through the centre ; otherwise the concave shape given to the lining by the gore Points in Cutting and Fitting. 33 would have prevented an accurate pattern being cut. Such was the origin o£, and such is, the French Bias. But the value of th.s method of Cutting, aside from its getting rid of the superfluous cloth, was no realized until striped material came to be cut in th>s way, when the handsome bias, caused by the manipulation of the cloth, and the large dart came prominently into notice. This very elegant effect was certain of attracting attention, and both dressmakers and teachers of cutting turned their minds to find- ing the way the thing was done. The results were both amusmg and lamentable. They arrived, however, at one conclusion, wh.ch was^ that the appearance could be obtained by takmg up much move cloth in the second dart. The extra amount so taken was made up or by adding cloth (on the waist line) to the seam that jomed wUh he under-arm piece, and a new side seam established by drafting L the new width at waist line to the point at arm circle where the former line or seam ended. This was a success so far as ringm the stripes on a bias into the second dart was concerned ; t>"t ^o cal- It Jhaving been made for the extra cloth naturally ad e a^ bust hne. an extra fulness was found at this pomt, and the dress- maker, dismayed with the looseness it added, abandoned the idea. The error was a natural one for any but an expert to make, arose from starting from the wrong end, from mistaking the effect for the cause. How TO OBTAIN THE FRENCH BlAS. The simplest and most efficient method is to take the paper pat- tern of a front, cut through the second dart from bottom to top, then take up a dart one inch wide at arm circle, and from a pomt in the afm ircle about two inches from the angle formed by arm circle where it ends at line of under-arm seam. The dart will run obliquely, V <.haDed from arm circle to top of dart. Thelange effected from the original pattern is illustrated in Plate No. I. 34 Points in Cutting and Fittino;. Plate No. I. — French Bias. Points in Cutting and Fitting. 35 Plate No. 2. — Draft of French Bias. 36 Points in Cutting and Fitting. To DRAFT THE FRENCH BlAS. Plate No. 2 exhibits the draft of the French bias. 1. Measure from the right-hand seam of second dart, on line 5, lyi inches, and dot. From this dot to top of second dart draft new curve for dart. 2. Measure on line 5, to the right of line T, 1% inches, and dot. Place your rule, with its edge touching this dot, and draft line TT from arm circle to the dot. This line must intersect line 7 where it is crossed by line T. The lines T and TT, crossing at line 7, form a V. This becomes the dart for arm circle, answering the dart taken in arm circle as shown in Plate i. To draft the new width of basque at hip. 3. Measure the distance from the point where line T' touches on line 10, to line 9. Measure double this distance from line 9 towards line 8 (or beyond), and dot on line 10. From this point draft line TT' to the point on line 5 where line TT touches. 4. Measure on line 10 the distance from the centre line of original second dart to the point where line T' touches on line 10. Then from the point where line TT' ends on line 10, measure the same number of inches toivards dart, and dot. Draft a line from where the new curve of second dart ends on line 5 to this dot, and below if required. Have the width of skirt of new pattern correspond with the width of old. These rules apply to any correct system. DESIGN IN STRIPES. Plates 3 and 4 exhibit a pattern in stripes, the front forming a V, while the stripes of the under-arm piece are also brought to a V where it joins the front. Stripes are purposeless unless matched and the matching carried out in every part, as shown in the illustration. The hip effect taught in the system cannot be carried out here, as Points in Cutting and Fitting. 37 the matching of the stripes to a V on i:he hip requires both sides to be equal to each other. Where the stripes are made to follow their line, this is not needed, as shown by the side form back and centre of back. The front of the basque or waist is cut first, its front line, from neck to point, being brought on a line with the stripe. The under- arm piece is matched to the front, reversing. To match the side form to the under-arm piece the line of the side form must lay straight with the line of the under-arm piece on the goods. The curve of back and side form back should be brought on a line. The plates will be found of great assistance, as the stripes are represented just as they should come in each piece. Round Shoulders. Plate No. 5 shows the correct method of cutting for round-shoul- dered persons. The draft of back should be made one inch shorter than the indi- vidual's length of back measurement. This inch is afterwards sup- plied in the part where most needed, and can only be supplied and properly fitted in this way. After the ordinary draft of back has been made, the line AA is made and cut open, spreading the open- ing to a V shape, which can be held down by gumming paper thereto. In order to offset the concave shape and give a flat pattern, a dart, BB, is taken up in the shoulder seam. This shortens the shoulder seam and lengthens the centre seam of back. The appearance of the altered pattern is shown in the same plate. The length of shoulder seam front must be made to correspond with that o^f the back. In basting, follow the curved line of the shoulder seam back. 38 Points in Cutting and Fitting. Plate No. 3. — Design in Stripes (Front). Points in Cutting and Fitting. Plate No. 4. —Design in Stripes. (Back.) 40 Points in Cutting and Fitting. "A A Plate No. 5. — Draft for Rounding Shoulders. TO Di^/^pT f\ Bj\^qu^. o>^c RULES FOR MEASUREMENT. PLATE No. 6 illustrates the method of taking measures. They should be taken over as perfect a fitting waist as attainable, avoiding trimmed waists, belts and ornaments. Do not allow the waist worn to be a guide. See that the person being measured stands erect. Stand behind the person, placing her before a mirror. Take the measures in the following way : 1. Bust Measure. Pass the tape around the fullest part of bust, straight across back; take fairly snug. (See plate, i to i.) 2. Waist Measure. Pass the tape around the waist ; take extremely snug. 2 to 2. 3. Width of Front. Measure across chest from arm circle to arm circle, about four inches below neck. 3 to 3. 4. Neck to Point. Measure from the neck in front in a straight line down to point of bust. TV to P. 5. Width of Back. Across back from arm circle to arm circle. 4 to 4. 6. Width of Back at Waist Line. Measure the desired width at this point, having the width symmetrical with the width of shoulder. 7. LengtJi of Back. From back of neck measure well down full length. 5 to 5. Be careful to observe how far the tape goes below the horizontal line of waist ; that is, on a line where the under-arm piece ends at waist. This will show the drop of back, or length, the centre seam of back and seam of side form must be carried below draft of waist line, to conform to the shape of back at this point. The accuracy of fitting depends on the careful consideration of this point. 8. Under-Arm Length. Measure from hollow of the arm to waist line, well down. 7 to 7. This is another essential measure and governs the fit for length from waist line to neck. 9. Back of Neck to Point of Bust. Place the tape on the promi- nent bone at back of neck, bring forward over the shoulder, rather close to the neck, and down to point of bust as shown in illustration 6 to P. 41 To Draft a Basque. 43 10 Plate No. 7. — Outline of Draft. 44 To Draft a Basque. DRAFTING A BASQUE. Plate No. 7 shows the outline of the work. One-half the basque alone being drafted, all the measurements of circumference will be one-half of the actual measurements. Those of length will be drafted full length. The square, i, 2, 3, 4, gives the lines within which all the work is confined. The space between vertical lines I and 9 will constitute the front ; that between vertical lines 8 and 9 the under-arm piece, or side ; and that between 8 and 4 the back of basque, or waist. 1. Draft line No. i about two inches from edge of paper, or sel- vage of material. 2. Draft from the right of line No. i, at right angles with it, line No. 2. The length of line No. 2 will be one-half the bust measure. 3. Measure on line i to the left of line 2 the number of inches you have decided on for length of basque. Dot, and mark 5. This point when carried out will give you your waist line. 4. Find your 8th measure (under-arm length), and measure that number of inches on line i to the left of dot 5, dot, and mark 6. This when carried out will be your under-arm line. 5. Now find one-fourth of the bust measure, and measure that number of inches on line i to the left of dot 6, and dot. From this dot to the point where line 2 joins line i is the length of line i ; i.e., length of front. 6. Complete the square by drafting the two sides, lines 3 and 4. 7. Draft line 5, waist line, from dot 5, parallel with line 2, and at right angles with line i. Line 5 extends from i to 4. 8. Draft line 6, under-arm line, from i to 4, parallel with lines 2 and 5. 9. Draft line 7, line of bust two inches below under-arm line, parallel with it. (Note. — An exact measure can be taken for this, and the reader will find it explained in the article on Points.) The average length from the under-arm line to line of bust being about two inches, that number is used here. 10. As the greatest circumference of hip measurement is gener- ally four inches below the waist line, measure that number of inches on lines i and 4 to the right of line 5 (waist line). From these points draft line 10 — parallel with lines 5 and 2, and coming between them. To Draft a Basque. 45 1 1 The distance of line 8 from line 4 will always be one-hal the width" of back. (5th measurement.) Measure one-half the width of back on lines 2 and 3, measuring from line 4, and between these points draft vertical line 8. I. The distance of line 9 from line 8 will be one-fourth the number of inches on Hne 6 between i and 8. Measure the number of inches on line 6 between lines i and 8; take one-fourth of this measurement and measure on lines 2 and 3 from line 8 ^o-ard Jine i and dot Draft vertical line 9 between these points, through lines 5, 6, 7, and 10, parallel with line 8. This gives the side or space for under-arm piece. DRAFT OF BACK. Plate No. 8 shows the draft of a back of waist. 1 Draft the oblique line A, starting from the angle formed by lines' 9 and 6 ; right-hand side of line 9 to the angle formed by lines 3 and 4, inter;ect1ng line 8. Mark this line A. This is your shoul- der seam of back. ^ , 2 Beo-in on line 8, where it is crossed by hne A, and measure two-thirds" of the distance between A and line 6, and dot. 3 Measure on line 5 (waist line), from line 4, the number of inches taken by 6th measurement (width of back on waist line), and dot On the same line, between line 4 and the distance you haveTust measured, measure the width of centre of back at waist ^'"^ Vo'^TE -The centre width is, to the side-form width, about as i to -^1/ That is, if the width of back at waist measures yA inches, the side form will have 2% inches, and the centre one mch. 4 Use the piece marked curve for side form, lay it on the draft its pointed end (top) touching the dot on line 8 between ^ andj^ Brine the edge of curve to the dot on hne 5, nearest line 4, and draft curve B With your rule continue straight line from waist down to Une 2, parallel with line 4. Mark your lines B and B' 5 From the angle formed by lines 6 and 8 draft line ^ to second dot on line 5. Continue the line, slightly slanting to the left from this point, to line 2. Mark your lines C and C 6 With your pencil slightly curve from where line A intersects \ c Q i<^(^f- Plate "> This dves the curve to arm- line 8 down to angle 6, 8. (bee riate.; i no, give circle back. 46 To Draft a Basque. 6 9 8 / 7 \ \ 7 5 \ A \ A \ \ 5 ;o o 03 JO 9 8 1 Plate No. 8. — Draft Showing Back of Basque. To Draft a Basque. 47 10 Plate No. 9. — Draft Showing Front of Basque. 48 To Draft a Basque. Note. — The length of shoulder is not marked, as the front will determine what it shall be. This will be completed farther on. DRAFT OF FRONT. Plate No. 9 shows draft of front of waist. 1. Place your rule in the angle formed by lines i and 7, and draft an oblique line to a point on line 9 that will measure one-third the number of inches of bust measure. Note. — If the bust measure is 36 the point on line 9 to the angle formed by i and 7 will be 12 inches. Where the line ends on line 9 mark it K. 2. Place your rule in the upper angle of lines 6 and 8, and draft a line to a point on line 3 which will measure one-third of bust meas- ure. Mark it L. 3. Take the piece marked "neck, curve and shoulder," see that its upper point touches line 3 at Z, and its right-hand end touches line 9 at K, and draft the shoulder seam and neck curve at the same time. The curved .piece will give the correct bearing if placed as instructed. Mark the shoulder seam M, and neck N. 4. Measure the distance on line 9 from where K touches, to the angle formed by lines 9 and 6, and dot half-way between. From this point measure to the left 2^ inches, mark O, and dot. This dot gives the inside curve of arm circle. Place the piece marked " curve for arm circle " with its lower curved edge touching line 6, bringing its upper curve touching O, dot, and draft the arm circle, carrying the curve naturally to point K on line 9. (See Plate.) 5. Undcr-arvi Piece. The under-arm piece is really drafted in great part already, the pattern being the space occupied between the vertical lines 8 and 9 and the horizontal lines 2 and 6, including the intersecting lines 5, 7 and line 10 (shown in cut, but now to be drafted). Of the under-arm piece the spring for hip remains to be drafted. Measure to the right of line 8, on line 10, three inches, and dot. Draft from this dot to the angle of lines 8 and 5, line S, obliquely. THE DARTS. To find the number of inches to be taken out in the darts. I. Add the width of under-arm piece, at waist line, to the width of back at waist line, then subtract the sum from one-half the waist To Draft a Basque. 49 measure and the remainder will be the number of inches needed in front to complete the size of waist. 2. Find the number of inches on line 5 between lines i and 9 ; from that subtract the number of inches needed in front to complete the size of waist, and the remainder will be the number of inches to be taken out in the darts. Example. — If the width of under-arm piece is 3 inches, and width of back on waist line 4 inches, these added give 7 inches, which subtracted from one-half the waist measure (say 12 inches) leaves five inches ; five is, therefore, the number of inches of material required to complete the size of waist. Then if the width on line 5, between lines i and '9, is 9 inches, subtract the 5 inches found above from the 9 inches and the remain- der is 4 inches ; therefore 4 inches must be taken out in the darts. The amount to be taken out in each dart will be governed by the conformation of the figure. If the person is very flat in front and curving at the side, then the second dart and side seam will have large darts and very little will be taken out in the first. If the form curves in front and flattens at the side the greatest amount of cloth will be taken in the first dart. If the figure is very uniform, then each dart will have an equal amount. Practically there are three darts, the side seam being one. This is always considered in this S3^stem. For practice, supposing 3^^ inches was allowed for the darts, the first could be allowed i}{ inch, the second dart ij4 inch, and the third, or side seam, three-quarters of an inch. The space between the front line (i) and the first dart must always allow for button holes ; i}4 inch on ordinary figures is a good allowance. I. To draft the dart measure from line i, on line 5, i}4 inch, and dot. Now measure the amount to be taken out in first dart, and dot ; centrally, between these dots, draw a vertical line, parallel with line I and running from line 2 through lines 10 and 5 to within three- quarters of an inch of line 7 (bust line). Take your curve pieces for darts, and draft the curved lines, as shown in Plate, from the top of line just drawn to the dots on line 5. With your straight rule con- tinue the lines, leaving about one-half inch width between them where they touch on line 2. Measure from right-hand side of the first dart, on line 5, three-quarters of an inch, and dot. This will be 50 To Draft a Basque. Z ' 2. Plate No. 10. — Appearance of Front and Back when drafted together. 52 To Draft a Basque. your space between first and second dart. Measure the amount to be taken out in second dart, and dot ; centrally, between these dots, draft an oblique line, as seen in the Plate, beginning at line 2 and ending at line 7. Carry out the curved lines, as in drafting the first dart, and continue the straight lines to line 2. A very handsome slope is obtained by making the distance between the first and sec- ond dart, at line 2, about one-quarter inch more than the distance between them on line 5. The remaining number of inches to be taken out will be taken at the side seam, the dart being entirely on the front, the under-arm piece being allowed to continue straight down on line 8. Measure on line 5, to the left of line 9, the remaining number of inches to come out in the darts, and dot. From this point draft line 7" to the angle where line 6 joins line 9. Continue and carry out the spring for hip below waist line, same as the spring to under- arm piece, corresponding with line ^S" as shown in line T' of plate. Turn to plate No. 8, Draft of Back, and observe that on bust line (7), between line 8 and line C of side forni, there is a lost space. As the length of line 7 is just one-half the actual bust measurement, the waist would be too tight if this lost space was not made up. The draft being scientific, has left it out, because the cloth was not demanded at this point, and places it where required, to carry out the correct bust measurement, as well as secure the accurate fit. Measure the distance on line 7 between lines 8 and C, then meas- ure the number so obtained as a continuation of line 7, where it touches on line i, to the left of line i, and dot. This is the point or swell of bust. Measure from curve of arm circle (letter O) toward line I one-half the measure taken for width of front (3d measure- ment), and dot. Place your rule with its edge touching this dot and the dot out from line 7, and draft line + from curve at neck to line 7. This gives the slope of front from neck to point. Continue from line 7, a slightly curved line to a point on line i, above line 5, as shown in the plate. If any great fulness is required at the front of basque below waist line, the same is obtained by carrying out a line, as in dotted line of plate. Length of SJiouldcr for Back. To complete the length of shoulder for draft of back. Measure the number of inches on shoulder seam front, line M, then turn to draft of back and measure the same To Draft a Basque. 53 number of inches on line A, beginning where line A intersects line 8. Dot, and draw horizontal line V (back of neck). To Complete the Draft of Basque. Whatever length is desired at hip below waist line, measure that number of inches on lines 8 and 9, beginning at line 5, continuing to or beyond line 10. Measure the desired length of front on line i, beginning at Hne 5, continuing to or beyond line 2. Draft the line for bottom of basque from this point to where V touches on hip line, or to the point you have marked for length at hip line. Measure the length of line V and make the front seam of under-arm piece (line 9 from 5, down) corre- spond in length. Make lines C and 6" correspond in the same way. The length of line BB^ (spring of side form back), and line ^', continuation of back, must be the same. Plate No. 10 exhibits the draft as it will appear when made in one drafting. The three plates, 7, 8, and 9 having shown the drafting at different steps, are made separately to prevent confusion in the mind of the learners. Plate No. 1 1 exhibits the four sections of basque when cut out, the dotted lines showing the seams. When the draft is completed, as illustrated on plate 10, with a tracing-wheel mark out each section separately, and allow for seams when cutting out. CORRECTING DRAFTS. For certain material it is very essential that the draft should be as nearly perfect as possible, particularly where stripes or figures are to be matched. Plate No. 12 shows a front of basque with corrected lines. The measures taken from the prominent bone at back of neck to point of bust and from neck to point are the test measures for front of waist. They are applied in this way. For the 9th measurement, place your rule on point of bust (line 7, and measure the length of 9th measure, less i^ inches, to the point nearest where neck curve joins shoulder seam front. (J/ joins N ) If the tape or rule calls for more length, then the shoulder seam {M) must be carried out, as shown by dotted line above M in the diagram. If less was required the dotted line would come below A'l. The 4th measurement, neck to point, is the test for correcting the height of neck. This measure is taken from the point of bust the same as the other. The correction shown in dotted lines of 54 To Draft a Basque. Plate No. 12. — Corrected Draft of Front. To Draft a Basque. 55 Plate No. 13. — Corrected Draft of Back. 56 To Draft a Basque. neck curve illustrate that the line has been dropped, or shortened. If more length had been required it would have been carried above line N. The dotted lines in upper points of darts show they have been lowered as well as let out ; those in the darts of basque portion indi- cate that more fulness was required there. The same in the hip seam T'. Plate No. 13 shows a corrected draft of back and side form. If in taking the measure the length of back is found to run down below a line horizontal with the waist line, where it ends above hip joint, it naturally follows, that consideration must be given to the fact in making the draft. If the back measured 16 inches, showing a drop of i inch below line of waist, then the draft should be made from a point one inch lower than customary. Or measure 15 inches (i inch less than actual measurement), from line 5 to line F, above or below Fas the measure would determine. Line B would also be changed as shown in dotted lines of diagram, while line BB of side form must conform to the changed line B, the slanted line of cut showing how. The cut of side form on this plate also shows a dotted curved line C. It is a good plan to follow in all cases. The curving of line BB at waist as illustrated by the dotted lines is another point in artistic fitting, giving a very pretty effect, and avail- able in every basque. TO DRAFT ONE DART. Plate No. 14 shows the method of drafting with one dart. For all outside garments and jackets this is the correct cutting. The advantages of one dart in cutting stripes has been fully dwelt upon in another part of the book. To draft with one dart the amount to be taken out will be the same as when drafting with two darts. The greater part will be taken out in the regular dart, though a slight curving will be allowed at front, and about one-half inch more dart taken at line T (side seam) than when cutting two darts. Measure 2 inches from line i on line 5 and dot for first sewing line. Then measure the amount to be taken out in the dart, and dot. Draft centre line, with very little flare, same as in drafting the other darts, using the curve piece to shape the dart. To Draft a Basque. 57 THE SLEEVE. Rules for Measurement. Plate No. 6 shows the method of taking measures. 1. Around fullest part of upper-arm. (See A in illustration.) 2. Around fore-arm below elbow, B. T,. Around hand, easily, C. , . . ■ ^ *.^ I From a point in arm-circle back, where sleeve joms waist to elbow, D to E. 5. From elbow to wrist, E to F. 6. Inside length of upper-arm, G to H. 7 Inside length of fore-arm, H to K. A measure can be taken from the line of where A passes around the arm to top of sleeve, if desired. Drafting the Sleeve. Plate No. 15 represents the draft of a sleeve. I With your square draft line i, about 24 inches long, and at rio-ht angles with it line 2, about 14 inches long. , ^ ^ ^ 2 tS the left of line 2, on line i, measure 2^ mches and mark A. 3'. On line i, to the left of A, measure the inside length of fore- arm (yth measure), and mark B. , , , r 4 On line i, to left of B, measure the inside length of upper-arm (6th measure), and mark C. ^ 5. On line i, to the left of C, measure 2 inches, and draft hne j, ^''6^'Vri^ foLtB on line i draft line B, parallel with lines 2 and 3. 7 On line B, from line i, measure 2>^ inches, and dot. 8. Measure from this dot on line B, two-thirds the circumference of 2d measure (fore-arm) dot, and mark BB. Q From point A, on line i, draft Hne B to a point on line 2, measuring two-thirds of measurement around the hand (3d measure). ^"'lO^From pomt C, on line i, draft line i? to a point on line 3, measuring two-thirds of measurement around the upper-arm (ist "'Ttrom 'ptinf ^^ (end of line B), draft line Fto a point where '^^f 'Onte'^i? mea!!idng^from line V, measure the length of ^^T3"V4mThrrL^nt'°i; near A, draft a line to point A, and "^^'^fon line H, measuring from point A, measure the inside length of fore-arm (7th measure), and dot. 58 To Draft a Basque. Plate No. 14. — Draft of Basque having One Dart. To Draft a Basque. 59 — > ■ • — Ca> \ / \ / 7 / j: -^ / / o \ / -^ K \ ' \ \ 1 f . It- M 1 \ \ \ 1 a > TJ CO H B \ \ \ \ 7 \ O "I) ^~~^^ 1 / / Sleeve. // w / / / III > -V LI ^J r» — 6o To Draft a Basque. 15. Draft a line from the point where line E touches on line 3 to the dot on line F, and mark FF. 16. Draft a line from point C, on line i, to the dot on Hne H, and mark HH. 17. Draft line K, from the dot on H X.o the dot on F, and mark. 18. Measure one-third of circumference of upper-arm (ist meas- ure) on line E, from line i, and dot. 19. Measure one-third of circumference of fore-arm (2d measure) on line K, from line H, and dot. 20. Measure one-third of circumference of hand (3d measure) on line D, from line H, and dot. 21. Draft line L, from dot on E to dot on K, thence to dot on D^ and mark L. 22. Line M is the height to top of sleeve ; measure from centre of line E, intersecting line 3, line J/ making it about 4 inches in length. 23. Draft circle N', top of sleeve, and the curve to inside of arm circle as shown in plate. Observations. Shape your sleeve to conform to the lines shown in the plate of the perfected sleeve. The draft gives top and under side together. This preserves the curved lines H and HH. Place the pattern over a sheet of paper and run your tracing- wheel over the lines constituting the under side of sleeve, and you have the pattern. All seams must be allowed for. In basting, join points marked X and O, sew toward notch, and gather fulness at elbow. Fitting the Sleeve. To fit the sleeve, draw it well up on the arm, then raise the arm, and bring the fore-arm at right angle with the upper-arm, and note if the elbow is right. Smooth the sleeve toward shoulder, and when it is feeling comfortable, pin it in. There is no point at which a sleeve should be set in, so no notch is given. On the conformation and muscular movement much will depend. Follow the directions here given, and satisfactory results will be obtained. To use the large plate, cut it out, paste it on cardboard, and then cut out each section. ~Ll 13'