>.;; ' '- 1 yi-, ' -i ' j^ '! Jgij|-'! ' lil?l 
 
 LIBRARY^f^ONGRESsTll 
 
 ©§ap.--- enpt;ri3§t :^cr 
 
 UNITED STATES OF AMERICA 
 
TABLE OK PROPORTIONS. 
 
 Breast 
 and 
 Seat. 
 
 Waist 
 and 
 Scye. 
 
 Frock 
 Coat. 
 
 Sack 
 Coat. 
 
 Thigli. 
 
 Breast 
 and 
 Seat. 
 
 Waist 
 
 and 
 
 Scye. 
 
 Frock 
 Coat. 
 
 Sack 
 Coat. 
 
 Thigh. 
 
 30 
 
 25 
 
 26 
 
 27 K 
 
 163^ 
 
 40 
 
 33K 
 
 35^ 
 
 36f 
 
 22i 
 
 31 
 
 253^ 
 
 27 
 
 28>^ 
 
 17x^ 
 
 41 
 
 M% 
 
 36 
 
 371 
 
 22| 
 
 32 
 
 263X 
 
 27^ 
 
 29^ 
 
 173/ 
 
 42 
 
 35 
 
 37 
 
 38i 
 
 23i 
 
 33 
 
 21% 
 
 28M 
 
 30^ 
 
 1854 
 
 43 
 
 353/ 
 
 38 
 
 391 
 
 23| 
 
 34 
 
 m% 
 
 29-)^ 
 
 31^ 
 
 19 
 
 44 
 
 363/ 
 
 383/ 
 
 40| 
 
 241 
 
 35 
 
 29^ 
 
 30 >^- 
 
 32 
 
 19K 
 
 45 
 
 37K 
 
 393/ 
 
 4U 
 
 25 
 
 36 
 
 30 
 
 31 K 
 
 33 
 
 20 
 
 46 
 
 38K 
 
 40K 
 
 42i 
 
 25| 
 
 37 
 
 303^ 
 
 32>^ 
 
 34 
 
 20 >^ 
 
 47 
 
 m% 
 
 41>^ 
 
 43 
 
 26i 
 
 38 
 
 31^ 
 
 331^ 
 
 343^ 
 
 21% 
 
 48 
 
 40 
 
 42K 
 
 44 
 
 26| 
 
 39 
 
 323^ 
 
 34^ 
 
 353/^ 
 
 213/ 
 
 49 
 
 40^ 
 
 43 >^ 
 
 45 
 
 27i 
 
KEY LINE SYSTEA 
 
 — or — 
 
 Garment Cuttlngr 
 
 BY 
 
 rPANK A. VAN AARLE. 
 
 M 20 18° 
 >^e / 
 
 i^^Oj^ 
 
 E.itere<l accordiug to Act of Congress in the year 1892, by Frank A. Van Aarle, in the office of the 
 Librarian of Congress at Washington. Ai.L Rights Reserved. 
 
 
 > .,1. 
 
A 
 
 A' 
 
 •1 
 
 
PRETACE. 
 
 [HIS book is free from any intentional plagiarism, but as the subject 
 <^j treated on is one that has engaged the attention of many minds, it is not 
 at all improbable that some ideas ma)' coincide with those of others, who think 
 themselves the originators of them. For such, whether they have seen the light 
 of the world or not, I would respectfully beg pardon on behalf of the muses that 
 inspired me with them. 
 
 Firmly believing this work to be entirely different from any ever published 
 pertaining to this subject, to assure success to my patrons, I most respectfully 
 demand an unalloyed obedience of the rules laid down, hoping hereby to fulfill 
 its mission, that of raising the standard of the profession. 
 
 THE AUTHOR, 
 
TABLE OK F'ROF'ORTIONS. 
 
 Breast 
 and 
 Seat. 
 
 Waist 
 and 
 Scye. 
 
 Frock 
 Coat. 
 
 Sack 
 Coat. 
 
 Ttiigh. 
 
 Breast 
 and 
 Seat. 
 
 Waist 
 
 and 
 
 Scye. 
 
 Frock 
 Coat. 
 
 Sack 
 Coat. 
 
 Ttiigh. 
 
 30 
 
 -'5 
 
 2(3 
 
 27 K 
 
 163^ 
 
 40 
 
 33 5< 
 
 3514 
 
 3(3| 
 
 001 
 
 31 
 
 ■2o:4 
 
 27 
 
 283^ 
 
 l'^4 
 
 41 
 
 34K 
 
 3(3 
 
 37i 
 
 22| 
 
 32 
 
 ■mA 
 
 273X 
 
 29'4 
 
 173^ 
 
 42 
 
 35 
 
 37 
 
 38* 
 
 231 
 
 33 
 
 21% 
 
 2S% 
 
 3(Ji/^ 
 
 1814: 
 
 43 
 
 3534 
 
 38 
 
 39i 
 
 23| 
 
 34 
 
 28 1^ 
 
 29-)^ 
 
 311.^ 
 
 19 
 
 44 
 
 3(334 
 
 383^ 
 
 m 
 
 241 
 
 35 
 
 29^ 
 
 301^ 
 
 32 
 
 19>^ 
 
 4.') 
 
 'il% 
 
 39.% 
 
 ^u 
 
 2o 
 
 36 
 
 30 
 
 31>^ 
 
 33 
 
 20 
 
 40 
 
 38 >i 
 
 40K 
 
 42i 
 
 25 1 
 
 37 
 
 30K 
 
 323^ 
 
 34 
 
 20% 
 
 47 
 
 39^ 
 
 41>^ 
 
 43 
 
 2(3i 
 
 38 
 
 313X 
 
 3314 
 
 343^ 
 
 21% 
 
 48 
 
 40 
 
 421.^ 
 
 44 
 
 2(3| 
 
 39 
 
 32>^ 
 
 341^ 
 
 355^ 
 
 2i% 
 
 49 
 
 40^ 
 
 43^ 
 
 45 
 
 271 
 
PART I. 
 
Part I. 
 
 TTTT 
 
 THE KOUNI3ATION. 
 
 fO complete an)- work of art, science or mechanism successfully, a solid foun- 
 dation is indispensable. 
 
 Facts derived from close observation and successful experience, compose the 
 most solid foundation. 
 
 The art of garment cutting has for its foundation the; thorough knowledge of 
 the measurements and proportions of the human form. 
 
 The first principle of the measurement of man is found in Hoi)- Scripture, in 
 the Book of Revelations of St. John, as follows : 
 
 ' ' And there came one of the angels and spoke with me and he that spoke with 
 me had a measure, a golden reed to measure the city and the gates thereof and the 
 wall, and he measured the wall thereof a hundred and forty-four cubits the measure 
 of man," 
 
 A cubit, in the anatomical sense of the word, is the length of the arm from 
 elbow to wrist, 
 
 Enclosing man within the walls mentioned, that is drawing lines about him at 
 his furthest projecting points, we find that we get a parallellopiped one-half wider 
 from side to side than front to back. 
 
 Taking the arm comprising the cubit and enclosuig that also within walls, making 
 a cube thereof of four equal sides, and extending them the full length from elbow 
 to wrist, we find that six will fill the parallellopiped from side to side ; three from 
 front to back, and eight constitute the exact length, making a total of one hundred 
 
KFA' JANE SYSTEM OF GAJIMENT CVrTINC 
 
 and forty-four cubits, the measurement of man, be he dwarf or gfant, and estabhsh- 
 ing the fact that all widths are divided by sixths, and all lengths or heights bj- eighths 
 to obtain the proper proportions. (See fig. 1.) 
 
 These proportions have been the subject of much thought and writing, but facts 
 derived from observation and experiment dictate rules which are to the cutter of 
 Garments of the greatest importance, some of them in fact being indispensable, and 
 are as follows : 
 
 Neck is 3 g of breast. 
 Waist '' .5-6 " " 
 
 Hip " same as " 
 
 Thigh 
 Knee 
 
 3"8 
 
 of waist, 
 breast. 
 
 Calf is 3/s of breast. 
 
 Ankle " % " 
 
 Elbow " 14: " 
 
 Wrist " 1/6 " 
 
 Arm at shoulder is l^ of waist. 
 
 Eio-ht cubits make the total lenoth of man, and are divided as follows: 
 
 1 from top of head to nec'c 
 
 2 " neck to armpit, 
 
 3 " armpit to waist. 
 
 4 " waist to seat. 
 
 o from seat to centre of thigh. 
 G " centre of thigh to knee. 
 
 7 " knee to bottom of calf. 
 
 8 " bottom of calf to sole of foot. 
 
Fin. 1 
 
10 KEY LINE SYSTEM OF GARMENT CUTTING. 
 
 Placing the forementioned proportions in their proper positions in widths and 
 heights within the parallellopiped, tracing them from point to point, in graceful 
 curves, we get the outlines of the proportionate man (see figs. 2 and 3), which con 
 stitutes the foundation to garment cutting and from which we proceed to establish 
 the several laws and principles necessary to the completion of any work of art or 
 science. 
 
 THE LAW OF BALANCE. 
 
 The first law to be established is the law of balance. 
 
 The balance or equilibrium is the just place of a figure so that it may appear to 
 stand firmly, and for this purpose must be a point equally distant from its opposite 
 sides, which compels us to construct for all irregular bodies a rectangular cube with 
 their furthest projecting points as their dimensions of width and thickness, when the 
 following rule will be found to be correct and of the greatest value in garment 
 cutting. 
 
 One-sixth of its circumference added to itself will be the measurement of the 
 cube, of which one quarter will constitute the balance line, thus : 30 circumference 
 with one-sixth added to it gives us 42, one quarter of which is lOj^ inches, being 
 the balance line for a garment of 36 inches breast measure, and whereas this holds 
 good for any size, we derive from it the following rule : 
 
 One-third of breast measure less one twenty-fourth is balance line of garment. 
 
 When applying this in drafting by the ordinary division square, it may be better 
 understood as follows : Two-thirds less one-twelfth of breast measure is balance 
 line. 
 
 The laws established by the balance line are five, viz : 
 
 1. The neck point. 
 
 2. Front of scye. 
 3 Back " " 
 
 4. Waist suppression, 
 
 5. Spring of seat. 
 
 There are commonly speaking six different types of the human form, viz ; 
 
 1. The normal form. 
 
 2. " stooping " 
 
 3. " erect " 
 
 4. The higrh-shouldered form. 
 
 o. 
 
 low- 
 
 6. " corpulent 
 
V 
 
 Fig 2 
 
 Fig. 3. 
 
12 
 
 KEY LINE SYSTEM OF GARMENT CUTTING. 
 
 The last five of these forms are sometimes found in a decidedly positive degree 
 and are the great stumbling blocks of the trade, yet these five types are merely a 
 deviation from the proportionate or normal type, the foundation of garment cutting 
 and are governed by the same laws as the normal form. 
 
 THE NORMAL FORM. 
 
 A well-proportioned man, when stretching out his arms, will be of the same 
 length from tip to tip of his fingers that he is from the crown of his head to the 
 soles of his feet. Dividing this into eight parts, the same as we do the height, we 
 find that from tip of fingers to wrist we have one part, from wrist to elbow two parts, 
 elbow to end of shoulder blades three parts, and from this point to centre of body 
 we have four parts. 
 
 The distance from centre of body to arm-socket, on each side, gives us the 
 widths of the parallellopiped jnan is enclosed in, which is exactly half of his breast 
 measure (see fig. 4), from which we obtain the following table of proportions of 
 hcioht to breast measure: 
 
 Height. 
 Feel and 
 Inches. 
 
 Skin Measure 
 
 over 
 
 Breast. 
 
 Two Inch 
 
 Allowance 
 
 for Clothing. 
 
 Natural 
 Waist 
 Length. 
 
 Height, 
 Feet and 
 Inches. 
 
 Skin Measure 
 
 ovsr 
 
 Breast. 
 
 Two Inch 
 
 Allowance 
 
 for Clothing. 
 
 Natural 
 Waist 
 Length. 
 
 5. 4 
 
 32 
 
 34 
 
 16 
 
 6. 3 
 
 371 
 
 391 
 
 18,^ 
 
 5. r, 
 
 32 1 
 
 34A 
 
 161 
 
 6. 4 
 
 38 
 
 40 
 
 19 
 
 5. 6 
 
 33 
 
 35 
 
 m 
 
 6. 5 
 
 381 
 
 401 
 
 191 
 
 5. 7 
 
 33| 
 
 35i 
 
 i&i 
 
 6. 6 
 
 39 
 
 41 
 
 191 
 
 5. 8 
 
 34 
 
 36 
 
 17 
 
 6. 7 
 
 391 
 
 411 
 
 19^ 
 
 5. 9 
 
 34A 
 
 361 
 
 181 
 
 6. 8 
 
 40 
 
 42 
 
 20 
 
 5.10 
 
 35 
 
 37 
 
 17.1 
 
 6. 9 
 
 401 
 
 421^ 
 
 201 
 
 5.11 
 
 35| 
 
 37^ 
 
 17f 
 
 6.10 
 
 41 
 
 43 
 
 201 
 
 6. () 
 
 36 
 
 38 
 
 18 
 
 6.11 
 
 411 
 
 431 
 
 2(^ 
 
 6. 1 
 
 361 
 
 38^ 
 
 181 
 
 7. 
 
 42 
 
 44 
 
 21 
 
 6. 2 
 
 37 
 
 39 
 
 181 
 
 
 
 
 
KEY LINE SYSTEM OF GARMENT CUTTING. 
 
 It will be readily seen that proportionate forms are rare, especially above 38 
 breast size, and although the deficiency in size, according to breast measures, may 
 be at different parts of the body, the distance from armpit to natural waist and even 
 seat line, is so generally correct that it is absolutely necessary in drafting. 
 
 THE KE^" LINE OE GARMENT CUTTING. 
 
 An accepted theory in garment cutting is that in the proportionate or normal 
 form the waist should be four inches less than the breast. 
 
 The error of this theory has been fully explained in the proportions of the 
 human form, giving the size of waist one-sixth less than breast, 
 
 Its general acceptance, however, proved its having a purpose, which either is 
 not rightly understood or otherwise not deemed of sufficient importance to produce 
 better fitting gatments, and accordingly discarded, and with it the Key Line of Gar- 
 ment Cutting. 
 
 Claims to this tide of Key Stone or Key Line, have been theoretically laid by 
 the shoulder or neck point and the waist suppression. I say theoretically, because 
 practically they proved a failure, and to the actual difference between breast and 
 waist which is established by the 
 
 RUN OF KEV LINE 
 
 alone belongs this title, which it will not alone bear out theoretically ; but the 
 severest test in practice will fully establish its superior rights to this claim. 
 
 To prove the error of the theory that four inches should be the difference 
 between breast and waist, for the purposes which it brings about, I shall take the 
 human form proper, as described in the first part of this work (see fig. 5.) 
 
Fui. 5. 
 
16 
 
 TCEY LINE SYSTEM OF GARMENT CUTTING. 
 
 Drawing a line from front of neck A through the point of breast line B down 
 to natural waist line, the difference between C, the size of normal waist and D will 
 be one-twelfth of the circumference of the breast, which added to the size of the 
 normal waist, as given in the illustration of Frock Coat (see iig. 8), from dotted 
 line to 4 will give the size of waist necessary to complete the Key Line of Garment 
 cutting, and for the different sizes of breast is as follows : 
 
 
 RUN OF KEY LINE. 
 
 
 RUN OF KEY LINE. 
 
 
 
 
 
 
 
 
 Sack. 
 
 Frock. 
 
 
 Sack. 
 
 Frock. 
 
 30 
 
 271 
 
 26 
 
 40 
 
 36f 
 
 35J 
 
 31 
 
 -8;:, 
 
 26|.l 
 
 41 
 
 37/. 
 
 36,1, 
 
 32 
 
 29^ 
 
 27^ 
 
 42 
 
 38i 
 
 37 
 
 33 
 
 3<)i 
 
 28| 
 
 43 
 
 39,'J, 
 
 37}.J 
 
 34 
 
 3U 
 
 29§ 
 
 44 
 
 40^ 
 
 38g 
 
 35 
 
 32,^ 
 
 30,^ 
 
 45 
 
 ■lU 
 
 391 
 
 36 
 
 33 
 
 311 
 
 46 
 
 42i 
 
 40= 
 
 37 
 
 S'S\l 
 
 32.^ 
 
 47 
 
 43,', 
 
 41,1 
 
 38 
 
 34^ 
 
 33^ 
 
 48 
 
 44 
 
 421 
 
 39 
 
 35f 
 
 34i 
 
 49 
 
 441.1 
 
 43,1 
 
 In cutting a garment, the Run of Key Line, according to the above table, must 
 be retained, no matter what the form or size of waist may be, that is — 
 
 When every point of draft is placed in its normal position the Run of Key Line 
 must be as though the waist was of corresponding size with breast, as per above 
 table, which will form the necessary receptacle for the stomach, whether the same 
 be larofe or small. 
 
KEY LtNE Srs'TEM OF GARMENT CUTTlXG. 17 
 
 Fig'. <> illustrates the change necessar)' for a form measuring more than the size 
 of waist formed by Run of Key Line Point G is Run of Key Line, and K is one- 
 half of amount what waist measures more than that formed by run of Key Line. 
 Draw a line ivom K through L at breast. 
 
 From 3 to E is the same as 1 to F (j4 of breast.). 
 
 Form shoulder scye and gorge. 
 
 Now fasten pattern at A, B, C and I), draw E to F, where it will b:; when gar- 
 ment is on the man and we find that 3-4 will fall tlirectly over line 1-2, forming a 
 pocket commencing directly under breast line, and extending downward, increasing 
 between C and G and I) and H, locating the e.vtra cloth in the proper place to 
 receive the corpulency. 
 
1 .1 F 
 
KEY LINE SYSTEM OF GARMENT CUTTING. 
 
 Fig. 7 is just the reverse. 
 
 Where the placing together of points E and F, locating lines 1 and 2 and 3 and 
 4 directly over each other, produces fulness of cloth between points C-G and D-H 
 to receive the corpulency in Fig. 6 — here it is necessary to cut the pattern to reach 
 those points, making a funnel-like receptacle for the stomach. 
 
 The accuracy of the measurement as given here and in the table of proportions 
 for trousers may be cause for comment, but as one-twelfth of an inch either way was 
 thought to make it more acceptable, a table of proportions is hereby furnished in 
 forepart of book, based upon this idea. 
 
 The extra copy included in each book is intended to be hung or pasted in a 
 convenient place about the cutting board, for reference to insure accuracy. It is 
 customary in Frock Coats to make a fish in forepart, to produce a good form ; when 
 so applied it is equivalent to the waist measure bf^ing that much less than amount 
 given in table of proportions, and whereas this is a general rule and an advisable one, 
 a basis of 1^ inches less than Sack has been given for Frock, allowing the fish to 
 be 34 inch, with seams included. 
 
SI K F 
 
 -N^ 
 
KEY LINE SYSTEM OF GARMENT CUTTING. 21 
 
 PROPORTIONATE DRAKTS. 
 
 FROCK COAT. 
 (See Fig. S.) 
 
 To produce a correct draft for an_\- form, whether proportionate or dispropor- 
 tionate, two things are absolutely necessary — a perfect balance and accurate cor- 
 respondence of proportions on draft with those of form. The jirinciple of balance 
 having been explained, we proceed to obtain the accurate correspondence of pro- 
 portions on draft with those of form, as follows : 
 
 To obtain the length measures use skin measure, from the fact that although 
 taking a man's measure with his clothes on materially enlarges his breast size over 
 that of the skin measure, this does not lengthen his proportions, and considering 
 2 inches a fair average allowance for clothing, we draft the lengths on a scale 2 inches 
 less than breast. 
 
 Example: For a 36 breast use 34 in. lengths; 36 in. widths. For 40 breast, 
 use 38 in. lengths, and 40 in. widths. 
 
 Square lines AAA. 
 
 A to C is ^ natural waist (skin measure.) 
 
 C to D is 5 natural waist (skin measure.) 
 
 D to F is j'2 of breast for fashionable waist. 
 
 D to E is ^ natural waist (skin measure.) 
 
 A to 10 is full length. 
 
 C to 1 is 1\ inches always. 
 
 Square across from CDF and E. 
 
 Square halfway across from I. 
 
 C to Y is 3 of breast less ,0. 
 
 Square up and down from Y. 
 
 [This constitutes the balance line.] 
 
 Y to H is li inches. 
 
 Square up from H and down to line I. 
 
 Y to K on line C, \ of breast. 
 Square up from K. 
 
22 KKY LINE SYSTEM OF GARMENT CUTTING. 
 
 K to N is i of proportionate waist on 3rds. 
 
 [See table of proportionate waist] 
 
 N to L is I'g of breast. 
 
 N to M is I 
 
 D to S is i, 
 
 DtoTisi 
 
 Balance line to O is j of breast. 
 
 O to P is ^ of breast. 
 
 R to R is .}, 
 
 Balance line to 7 is ,1 of breast. 
 
 7 to 8 is ^ of breast. 
 
 Square up from P. 
 
 A to U is ^ of breast. 
 
 U to V is 2\ 
 
 Drav a line from A to S, 
 
 Shape bac ■: as represented. 
 
 B is halfway between V and N. 
 
 Shape side seam, reducing a laro-e seam at scye, touching back line at C, then 
 gracefully through O through 8. 
 
 Balance line to W is .1^ of breast. 
 
 W to X is J of breast. 
 
 To obtain the proper location of the so-called shoulder point and height of 
 shoulder, measure from A to point of intersection of balance and natural waist lines, 
 and apply less width of back, less ^ inch from A to U on line X for location of 
 shoulder point, and from B to same point without deduction, and apply same measure 
 on line W. Draw slope of shoulder through these two points. 
 
 Width of shoulder of forepart is same as back I of breast as to *. 
 
 Square down ^^ of breast as to 13. 
 
 Shape shoulder as from 13, 
 " scye " 13. 
 
 " under arm seam through R R. 
 
 Square down from X. 
 
 Shoulder point from 14 is A of breast. 
 
 Square out from 14. 
 
 C to 1 is 5 of full breast. 
 
KEY LTXE SYSTEM OF nARMENT CVTTING. 23 
 
 Advance square /j of breast with sliort arm down and mark on natural waist 
 line, as at 4. 
 
 Draw line through these two points forming the Key Line, which on line A 
 must be exactly \ of breast from X. 
 
 4 to 2 is ,o of breast. 
 
 2 to 3 is 1\ inches or allowance for seams. 
 
 End of gorge 9 is } of breast from X. 
 
 Key Line to Z on line 14 is ]., of breast and 1^ inches. 
 
 Draw a line from Z to 3. 
 
 Make lapel desired width. 
 
 Finish as represented. 
 
 In e.xplanation of the second requisite, an accurate correspondence of propor- 
 tions on draft with those of form, see fig. 8. 
 
 We commence with the base line from which we build and proceed to the line 
 which is exacdy half of the size for which we wish to draft the pattern (see dotted 
 line). We next obtain the perpendicular balance line, \ less ij of the rectangular 
 cube the body is contained in, which, in drafting b)- the ordinary division square, is 
 I less ,1 of the breast size we want. 
 
 The length measures are fully explained at beginning of draft. 
 
 The proportion of the neck is | of breast. Measuring from A to U and X to 
 dotted line, which is amount covering the neck, we find this to be exacdy I of the 
 breast size, the amount required. 
 
 The breast line is, of course, the full width. 
 
 The proportion of the waist is \ less than breast. 
 
 Measuring from S to T, O to R, and R to dotted line, gives the exact propor- 
 tion of the proportionate waist, which is I less than breast ; the fish taken out to give 
 
KEY LINE SYSTEM OF GARME.XT CI TTING. 
 
 shape to the forepart is not to be taken in consideration here, as due allowance is 
 made for that in drafting^. 
 
 The seat line is again the full width, without an)- deduction, as it is the same 
 size as breast. The proportion of the scye is | of waist size, and is oblong- in shape. 
 
 To obtain the accurate size of scye, corresponding with the breast measure, we 
 take the cube containing waist reduced to | and place in oblong shape. 
 
 This is done by marking the distance from line K — h of proportionate waist, on 
 fourths back of Y — up to line N, i of proportionate waist, on thirds of ordinary 
 division square, and concludes the explanation of accurate correspondence of pro- 
 portions on draft with those of form. 
 
KEY LINE SYSTEM OF (lARMEXT CUTTING. 
 
 SACK COAX. 
 
 (SeeFig.il.) 
 
 Obtain measures for lengths and widths same as in Frock Coat. 
 
 Square lines AAA. 
 
 A to C is i natural waist (skin measure.) 
 
 C to D is ^ " 
 
 D to E is 1 " 
 
 A to A is full length. 
 
 C to I is 1] inch always. 
 
 Square across from C D E A. 
 
 Square halfway across from I. 
 
 C to Y is 3 of breast less /,. 
 
 Square up and down from Y. 
 
 [This constitutes the balance line.] 
 
 Y to H is Ih inches. 
 
 Square up from H and down to line I. 
 
 Y to K is J of breast. 
 Square up from K. 
 
 K to N is ^ of proportionate waist on 3rds. 
 
 N to L is /„ of breast. 
 
 N to M is I 
 
 Balance line to 8 is .J, of breast. 
 
 8 to O is I of breast. 
 
 Balance line to 7 is .j, of breast. 
 
 7 to 9 is \ of breast. 
 
 D to S is .}, 
 
 DtoTis' 
 
 Balance line to W is ,', of breast. 
 
 W to X is i of breast. 
 
 A to U is J 
 
 U to V is .j, 
 
28 KEY LINE SYSTEM OF GARMENT CUTTING. 
 
 Shape back as represented. 
 
 B is halfway between V and N. 
 
 Shape side seam, reducing a seam at scye. touching back line at C, then through 
 !) 1o bottom. 
 
 I'"or location of shoulder point and height of shoulder, measure from A to 
 intersection of balance and natural waist lines, and ajjply less width of back, less 
 h inch on line X and from B to same point, and appl)' same measure without deduc- 
 tion on line \V. 
 
 Uraw slope of shoulder through these two points. 
 
 Width of shoulder of forepart is same as from V to N, J of breast. 
 
 Square down j^ as to 13. 
 
 Shape shoulder as from 13. 
 " scye " " 13. 
 
 " under arm seam. 
 
 Square down from X 
 
 X to 14 is J ot breast. 
 
 Square out from 14. 
 
 C to 1 is I of full breast. 
 
 Advance square .}^ of breast, with short arm down, and mark on natural waist, 
 as at 4. 
 
 Draw line through these two points, forming the Key Line. 
 
 End of gorge 10 is J of hreast from X. 
 
 Key Line to 2 is ,3 of breast and 1'] inches. 
 
 4 to 2 is 1 inch for seams. 
 
 2 to 6 is 1^ of breast. 
 
 Draw a line from Z to 6. 
 
 Bottom of line to o on Key Line is g\ of breast. 
 
 Draw a line from 11 to 5. 
 
 Make lapel desired width. 
 
 Finish as represented. 
 
KEY LINE SYSTEM OF GARMENT CUTTING. 
 
 THE SLEEVE. 
 
 To properl)- join two articlfs and preserve the harmony of dimensions, it is 
 necessary that they be of the same size and curvature, and which curves must fall 
 in their proper places, or otherwise the harmony of outlines will certainly be 
 destro)ed. The coat and sleeve are two articles to which the above rule is to a 
 certain extent applicable, because the purpose of the sleeve being to hold a solid 
 body, hanging perpendicular with coat, necessitates a surfdus or fulness which must 
 be forced into a curve of the same dimensions as that to which it is joined, so as 
 not to destroy the necessarj- harmon)-, and yet furnish the space required for the 
 body it is intended to contain. 
 
 TO DR.\FT SLEEVE. 
 (8ee Fig. 10.) 
 
 The most convenient way to draft sleeve is before cutting pattern and tracing it 
 afterwards with tracing-wheel. This assures a sleeve to correspond with the shape 
 of scye. 
 
 A to H is .l^ of breast. 
 
 L to D IS J " less aV 
 
 L to E is Ij 
 
 L to J is J 
 
 F to G is ij 
 
 Shape from D through i inch below point of back seam touching point J to A. 
 
 Shape from E through G touching I inch above line Y to A. 
 
 Extend line A. 
 
 B on line A to C is Jj of breast. 
 
 Draw a line from A through C. 
 
 Square by line C and point Y to P for inside length. 
 
 P to R is 1 inch. 
 
 P to S is desired width of bottom and ^ inch, with seams added, 
 
 P to T is desired width of bottom less | inch, with seams added. 
 
 Square down from D to natural waist line, K. 
 
 Square down from E to natural waist line, M. 
 
 Draw a line from K to S and M to T. 
 
 Finish as represented. 
 
 These drafts of the Frock Coat, Sack Coat and Sleeve, constitute the funda- 
 
KEY LINE SYSTEM OF GARMENT CUTTING. 
 
 mental drafts essential in garment cutting, and must be thoroughly mastered, for no 
 matter what kind of garment may be desired they must emanate from the funda- 
 mental principles contained in these drafts. 
 
/fc^ 
 
zt-=. 
 
42 KEY LINE SYSTEM OF GARMENT CUTTING. 
 
 THE ERIlCT form. 
 
 The erect form is but the reverse of the stooping form just described, causing 
 a shorter scye front from base hne, a smaller indentation at waist and larger spring 
 of seat. The waist indentation and spring of seat are, as in the stooping form, the 
 same distance from balance line as in the normal type. (See figures I") and 16.) 
 
'«'*''" "-■-'■ ~\^AX 
 
 Fig. 
 
44 
 
 KEY LINE SYSTEM OF GARMENT CVTTING. 
 
 Fio-, 17 represents a pattern for an erect form, with dotted lines showing where 
 balance line would be in normal form. 
 
46 ji^EV LINE SYSTEM OF GARMENT CUTTING. 
 
 Fig. 18 represents this pattern laid with balance and base lines on a propor- 
 tionate pattern. 
 
 This produces a narrower blade and larger breast as required by figures 15 and 
 16 describinq; the erect form. 
 
Zt:^ 
 
48 KEY LINE SYSTEM OF GARMENT CUTTING. 
 
 THE HIGH-SHOULDERED FORM. 
 
 (See Fig. 19.) 
 
 The deviation of the high-shouldered form from the normal type is merely in 
 the distance from the crown of head to the armpit, or more distinctly a shorter 
 neck. 
 
PART II. 
 
Part II. 
 
 TTTT 
 
 DISF>ROF»ORXIONATB KORMS. 
 
 THE KEY I.IXE IN DISPROPORTIONATE FORMS. 
 
 Whereas the Run of Key Line forms a basis of size of waist on a normal 
 pattern, it follows that with the changes caused in the pattern bj' the disproportion a 
 change in this part of the pattern ensues also, but the perfectly natural manner in 
 which this change is brought about makes it very easy to understand. 
 
 In the stooping form where the enlarging of the blade gives us a larger waist 
 suppression, we llnd that the exact amount which the blade is larger than in the 
 normal blade is taken from the size of waist, for instance, where the size of waist in 
 a 36 breast is 33, in the stooping form where the blade is A inch larger, which 
 increases the normal waist suppression, the amount covered is h inch less than in 
 normal pattern making the waist 32 inches. 
 
 In the erect form where the blade is ^ inch smaller, which lessens the normal 
 waist suppression, the amount covered is k inch larger than normal pattern making 
 the waist 34 inches. 
 
 The easiest way to obtain this is when marking the breast size advance ,1 for 
 hVock, .;', for Sack, and mark this point at natural waist line, when this and point of 
 width of breast will form the Run of Key Line, which is enlarged or decreased from 
 the table of proportions, according to the enlargement or decrease of blade, and in 
 which the following rules, wlicn committed to memory, will be of great assistance. 
 
 When balance line advances from normal balance line, the waist size on draft, 
 according to table of proportions, geh smaller. 
 
KEY LfNE SYSTEM OF GARMENT CUTTING: 
 
 When balance line recedes from normal balance line, the waist size on draft, 
 according- to table of proportions, £-e^s larger. 
 
 When waist size actually required is larger than that obtained as above on 
 draft, the shoulder point recedes and Key Line advances \ the amount that waist 
 is larger. 
 
 IV. 
 
 When waist size actually required is smaller than that obtained as above on 
 draft, the shoulder point advances and Key Line recedes -j the amount that waist is 
 smaller. 
 
 By the Key Line we also prove the draft, and in disproportionate drafts it must 
 differ from the \ of breast to X as much as the difference from normal to actual 
 balance line. 
 
 THE STOOPING FORM. 
 
 A disproportionate form is but a deviation from the proportionate or normal 
 type, and must be governed by the same laws as the normal type. 
 
 The solid lines of Fig. 11 represents the normal type or foundation of garment 
 cutting ; the broken lines represent a stooping form. 
 
 The deviation in the stooping form is the enlargement of the shoulder blade at 
 expense of the chest, leaving all other points proportionate and stationary, which 
 produces further scye front from base line, a larger indentation at waist and smaller 
 spring of seat (see fig. 12, which represents broken lines of fig. 11.) 
 
 Although front of scye is further from base line than in normal form, the 
 indentation at waist and spring of seat is exacdy the same distance from balance 
 line, which it is in the normal form, showing that this part of garment is entirely 
 independent from the upper part (neck to bottom of scye), and governed by laws 
 intended only for that part of garment, from which we deri\'e the following rules: 
 
 1st. Waist indentation exactly alike for all forms. 
 
 2nd. Spring of seat exactly alike for all forms. 
 
38 key line system of garment clttihg. 
 
 Figure 13. 
 
 Figure 13 represents a pattern for a stooping form. The dotted line sliows the 
 position of the balance line, where it would be in a normal form. All points are 
 obtained the same as in the draft for the normal type, from the balance line formed 
 by the disproportion of the blade. 
 
 The balance of all disproportionate drafts is obtained from the normal balance 
 point — 3 less ,1 of breast from base line on natural waist line (see B, fig. 13), regard- 
 less of where the actual balance line formed b)' measures ma)" come. 
 
40 KEY LINE SYSTEM OF GARMENT CUTTING. 
 
 Fig. 14 represents the same pattern laid with balance and base lines on that of 
 a normal pattern. 
 
 The dotted lines showing the normal, the solid lines the stooping form. 
 
 This gives us a wider blade, narrower breast, a proportionate waist indentation 
 and spring of seat, as illustrated by Figs. 11 and 12. 
 
60 KEY LINE SYSTEM OF GARMENT CUTTING. 
 
 Fig. 20 shows a normal pattern, changed for a high-shouldered form, the length 
 of back and shoulder being reduced the desired quantity ; all other points as in the 
 normal draft. 
 
62 KEY LINE SYSTEM OF GARMENT CUTTING. 
 
 THE LOW-SIIOULDEREP FORM. 
 (See Fig. 21.) 
 
 When the deviation in the high-shouldered form i.s the shortness of the neck in 
 the low-shouldered form, it is the superfluous length that causes the deviation. 
 
54 
 
 KEY LINE SYSTEM OF GARMENT CUTTING. 
 
 Fig. 22 represents the changes necessary for a low-shouldered form; the 
 lengthening of back and shoulder as indicated by the solid lir 
 
 lines. 
 
56 KEY LINE SYSTEM OF GARMENT CUTTING. 
 
 THE CORPULENT FORM. 
 
 There is probably no other form more apt to liave ill-fitting garments than the 
 corpulent form. A common excuse amongst cutters is — a big man wants a big 
 coat. 
 
 Nothing more absurd could be invented, as all forms are governed by the same 
 laws as the normal form ; the corpulent form is no exception. 
 
 Corpulency proceeds from an unnatural growth of the adipose tissues, which 
 are located about the heart and abdomen ; while the body is. naturally developing in 
 all other parts, about the breast and abdomen the body is developing more rapidly, 
 which makes the disproportion. 
 
 In fig. 23 the development of the body, in the back, is on a par with line A, 
 which would be the regular breast line ; the breast having developed unnaturally, 
 however, stands out as indicated by line B. 
 
 The breast line B being called into requisition to govern other points of the 
 garment, is the cause of the ill-fit. 
 
58 AT^K ^>/-V£ SYSTEM OF GARMENT CUTTING. 
 
 The dotted lines in figure 24 show a pattern of a corpulent form, with breast 
 line B of fig. 23 called into requisition, and is a true illustration of the coat as it 
 would be before it is altered and re-altered, when even then it does not fit. 
 
 The solid lines of fig. 24 represent the pattern of the same form. With breast 
 line A called into requisition it is proceeded with the same as in the normal type, 
 until we come to the size of the breast, when the full size, as per breast line in 
 fig. 23, is given. 
 
 This will in all instances produce a nice fitting garment. 
 
 The question now is how to ascertain the width of breast, as per line A 
 figure 23. 
 
 There are many ways, but one of the best is to take your client's measure 
 around the arm at shoulder, which will measure one-half of normal w^aist, which is 
 one-sixth less than breast, viz.: Suppose your client measures 45 inches around 
 breast ; this is to all appearances very large ; measure his arm at shoulder and you 
 will in all probability ha\'e 18 inches close measure ; this would make waist 36 and 
 breast 43 full ; proceed to draft by 43 breast measure, and allow full 4o at breast. 
 You will have a garment satisfactor)- all around, which it would be impossible to 
 obtain by calling his actual 4o breast measure in requisition. 
 

 
 
 
 
 
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0O KEY LINE SYSTEM OF GARMEM CI TTIKG. 
 
 Ficr. 2o represents the different forms, viz. ; the normal, tlie erect and corpulent 
 form, within one cube. 
 
62 KEY LINE SYSTEM OF GARMENT ClTTJi\G. 
 
 The following principles and rules are illustrated here as well as in figure 26^ 
 which contains drafts for the normal, the stooping, the erect and corpulent forms, viz. ; 
 
 That shoulder point is exactly alike for all forms. 
 
 That waist suppression and spring of seat is alike for all forms. 
 
 It will be well to state here also, that the part of body least deformed in height 
 is from armpit to seat, and consequently the distance from these places are to be 
 used according to the table of proportions, as given in this work ; for instance, 
 where the distance on a 36 breast, from line C to line D, and from line D to line E 
 (see fig. 5), is 85 inches, so it must be 8^ inches for all forms of 30 breast, short or 
 tall, as the case may be, making- the fashionable waist line to suit the size of man. 
 
64 KEY LINE SYSTEM OF GARMENT CbTJlNG. 
 
 BALANCE OK DISPROPORTIONATE DRAKTS. 
 
 It has been asserted in the beginning of Part II. that the balance of all dispro- 
 portionate drafts is obtained from the normal balance point — § less | of breast from 
 base line on natural waist line, regardless of where the actual balance line, formed 
 by measure, may come. 
 
 hi proof of this see fig. 27. 
 
 The solid lines indicate normal form and cube ; the dotted lines the stooping 
 form and cube ; the balance line by changing the form has beccwne advanced. 
 Measuring from point A to actual balance line and applying same measure to point 
 C we find it goes above the line of the cube, making this point too long. By 
 marking the balance point its normal distance from D to E, | less ,3 of breast, and 
 measuring again from point A to this point, E, and applying this measure to C, it 
 comes to exactly on the line of cube, and consequently balances perfectly. 
 
 Fig. 28, describing the erect form, is just the reverse. The balance line has 
 receded, and measuring from A to B, and applying to C, causes the measure to fall 
 short. By marking the balance point its normal distance from D to E, and applying 
 the measure A to E, from E to C, this shortage is gained and a perfect balance 
 obtained. 
 
PART III. 
 
Part HI. 
 
 TTTT 
 
 ACXUAL MEASUREIVIENXS. 
 
 The various degrees of the different types of tlie human form as described in 
 Part II., necessitates the actual measurement of the form to produce a o-ood fittino- 
 garment. 
 
 These measures to produce the desired results must be correct, for unless they 
 are so they are of no avail, and not onl)- must the)- be correct, but a thorough 
 knowledge of the application and result of each and every measure is necessarj-. 
 
 Which is the best mode of measuring is an open and unsettled question, con- 
 sidering, howe\-er, that we hfi\e to reproduce measures taken over an irregular form 
 on a smooth surface, we hold that the shorter and fewer the measures consistent 
 with producing good fitting drafts, the more practicable they are for drafting as well 
 as for illustrating the trifling or glaring deviations from the normal type. 
 
 To obtain the aforegoing requirements I use a pliable square, with hook at end 
 to fasten on shoulder while taking blade measure, and marking depth of scye. 
 
 (This square may be obtained of the author, and will be sent to any address on 
 receipt of $1.50.) 
 
 THE ME.A.SURES. 
 
 The measures to be taken are : 
 
 1st. The inside sleeve length. 
 
 Jnd. Width of blade. 
 
 3rd. Depth of scye. 
 
 4th. Fashionable waist. 
 
 •■)di. Full length. 
 
 <)th. Brea.st. 
 
 7 th. Waist. 
 
 8th. Seat. 
 In sack coats measure No. 4 is omitted. 
 
70 k'EY TANK SIYSTEM OF OARMENT CVTTING. 
 
 now Ti) TAKE THE MEASURES. 
 
 Before jour client takes off liis coat, place square under his arm and note 
 length of sleeve as desired, then request him to take off his coat. 
 
 Now raise his arm and place square as close as possible under the armpit, 
 takino- care to press the shirt well up under arm and fasten with hook on shoulder 
 (see fig. 29); bend square over blade, holding as level as possible and make cross 
 mark as A at middle of back, on top of square, for depth of scye, and note the 
 figure on square giving the middle of bick, which gives the width of blade. 
 
72 A'A'V IJNR SYSTEM OF GARMENT CUTTING. 
 
 Take off the scjuare and make a mark one inch below desired height of collar, 
 from here measure to mark made on back for depth of scye ; then to fashionable 
 waist; then full length. Next take breast (see fig. 30), waist and seat measures, in 
 usual manner, which should be placed in measure book as follows : 
 17_1( )^_8i— 181—33—3(3— 3U_3(3. 
 
 TO DRAFT FROM ACTUAL .MF:ASUREMENT. 
 
 The first thing to be done in drafting from actual measurement is to use 
 judgment. The controlling power of the mind over the body renders this an 
 absolute necessity. All disproportionate forms being but a deviation from the 
 normal t)pe, all patterns for these forms must be only a deviation from the normal 
 pattern, therefore any unreasonable deviation from the balance line of a normal 
 pattern will easily convey the sometimes exultant spirit of the mind in obtaining a 
 new suit, compelling the body to brace up most unnaturally, or again convey the 
 unwillingness to please some reasonable request showing the utter contempt with 
 which the request is granted. 
 
 In either of these cases, or any other where the deviation seems unreasonable 
 from some cause or other, it is well to draft a proportionate pattern, and trust to 
 good luck and the customary outlets on the goods, to produce a good fitting 
 garment. 
 
74 KEY LINE SYSTEM OF GARMENT CUTTING. 
 
 TO DRAFT FROM ACTUAL MEASUREMENT FOR FRUCK COAT. 
 
 From following measures : 
 
 10^_8i— 181—33—36— 3U— 36. 
 
 (Sleeve measure is omitted.) 
 
 Proceed with drawing lines, O O O (see fig. 3L.) 
 
 Mark depth of scye Sg on line O, as at C, and square out from this. Lay lOg 
 on line O and mark on line C; this produces point Y, which square up and down 
 for balance line. 
 
 According to the size of blade this line will advance or recede from the normal 
 balance point (3 less /, of breast), and before going further it is well to ascertain 
 whether there is any unreasonable deviation here. 
 
 By an unreasonable deviation may be understood any advance or recedence 
 from normal balance line over ,a of breast measure. 
 
 Having done this, mark natural waist line, same as in normal draft fashionable 
 waist, seat, same as in normal draft, and full length, and square out from each. 
 
I I I I I I I M I I I I I I 
 
 I I I I ' M I M I IMI I I I 
 
 Fi(j. 31 
 
 Orotindwork; of Draft. 
 
ie KEY LINE SYSTEM OF fiARMENf CVTTING. 
 
 Fig. 31 represents the foregoing, which is the groundwork of draft, on which 
 proceed as follows: (See fig. 32.) 
 C to I is Ij inch. 
 Square halfway across from I. 
 
 Y to H is li inches. 
 
 Square up from H and down to line I. 
 
 Y to K on line C is \ of breast. 
 Square up from K. 
 
 K to N is i proportionate waist on thirds. (See table of Proportionate Waist.) 
 
 N to L is ,8 of breast. 
 
 N to M is J 
 
 D to S is i, 
 
 D to T is J 
 
 Balance line to P is ,0 of breast. 
 " to O is J 
 
 R to R is II 
 
 Balance line to 7 is ,1 of breast. 
 
 7 to 8 is 3 of breast. 
 
 Square up from P. 
 
 A to U is J of breast. 
 
 U to V is 3I, 
 
 Draw a line from A to S. 
 
 Shape back as represented. 
 
 B is halfway between V and N. 
 
 Shape side seam reducing a large seam at scye, touching back line at C, then 
 gracefull)- through O through 8. 
 
 Balance line to VV is o\ of breast, and is advanced or receded according to the 
 size of waist. 
 
 W to X is J of breast. 
 
 To obtain the proper location of the so-called shoulder point and heiglit of 
 shoulder, mark on natural waist line the .proportionate balance point \ less ,'., 0/ breast, 
 and in all cases and for all forms nieasure from O to this point, and appl)- less width 
 of back, less i inch, from A to U on line X, for location of shoulder point, and from 
 B to same point, and apply same measure, without deduction, on a line the same 
 distance from X that B is from V on back shoulder. 
 
78 KEY LTNE SYSTEM OF GAliMENT CUTTING. 
 
 Draw slope of shoulder through these two points. 
 
 Get width of shoulder of fore part as to * * b)- width of shoulder seam of back, 
 and square down /g of breast as to 13. 
 
 Shape shoulder as from 13. 
 " scye " " 13. 
 
 " under arm seam through R R. 
 
 Square down from X. 
 
 X to 14 is I of breast. 
 
 Square out from 14. 
 
 C to 1 is i of full breast. 
 
 Advance square i*^ of breast, with short arm down, and mark on natural waist 
 line as at 4; advance or recede this point as case may be. 
 
 Draw a line through these two points, forming the Key Line. 
 
 4 to 2 is 1^ inches, or allowance for seams. 
 
 2 to 3 is ,2 of breast. 
 
 End of gorge is jg of breast, from Key Line on line 14. 
 
 End of gorge to Z is 1| inches. 
 
 Draw a line from Z to 3. 
 
 Make lapel desired width. 
 
 Finish as represented. 
 
 TO PROVE VOUR DRAFT. 
 
 On natural waist line mark i] inch back from Key Line — this is for fish taken 
 out; measure your waist, which must be exact to this point — if this is correct the 
 point of Key Line must, on a proportionattf height on line X, be exactly J of breast 
 measure from X, allowing for the advancing or receding of balance line from normal, 
 as explained in foregoing chapters, 
 
 SACK COAT. 
 
 To draft from actual measurement for Sack Coat, from the following measures: 
 l()i _8i_29— 36— 33— 3B. 
 
 (Sleeve measure is omitted.) 
 
 It will be presumed that the ground work of drafting from actual measurement, 
 which is alike for all forms and styles, is fully understood, and will therefore 
 proceed from there on. (See fig. 33.) 
 
KEY LINE SYSTEM OF GARMENT CUTTING. 
 
 C to I is 1| inch. 
 
 Square halfway across from I. 
 
 Y to H is li inches. 
 
 Square up from H and down to hne I. 
 
 Y to K is 6 of breast. 
 Square up from K. 
 
 K to N is 4 of proportionate tvaist on thirds- 
 
 N to L is ,'„ of breast. 
 
 N to M is J " 
 
 Balance hne to 8 is g", of breast. 
 
 8 to O is J of breast. 
 
 Balance line to 7 is 34 of breast. 
 
 7 to 9 is I of breast. 
 
 D to S is 24 of breast. 
 
 D to T is ^ 
 
 A to U is ;, 
 
 U to V is J^ 
 
 B is halfway between V and N. 
 
 Shape back as represented. 
 
 Shape side seam reducing a large seam at scye, touching back line at C, then 
 through O through 9 to bottom. 
 
 Balance line to X is J and ^ of breast, and is advanced or receded according to 
 the size or waist. 
 
 W is same distance from X that B is from V. 
 
 To obtain the proper location of the shoulder point and height of shoulder, in 
 all cases and for all forms, mark on natural waist line the proportionate balance point 
 l less ,2 of breast, and measure from A to this point, and apply less width of back, 
 less i inch from A to U on line X for location of shoulder point, and from B to 
 same point, and apply same measure without deduction on line W. 
 
 Draw slope of shoulders through these two points. Get width of shoulder of fore 
 part as to * * by widdi of shoulder seam of back and square down /g of breast as to 13. 
 
 Shape shoulder as from 13. 
 " scye " 13, 
 
 " under arm seam. 
 
 Square down from X. 
 
 X to 14 is i of breast. 
 
KEY LINE SYSTEM OF GARMENT CUTTING. 81 
 
 Square out from 14. 
 C to 1 is ^ of full breast. 
 
 Advance square .^4 of breast with short arm down and mark down on natural 
 waist, as at 4; advance or recede this point as case may be. 
 
 Draw a line through these two points, forming the Key Line. 
 
 End of gorge to 10 is | of breast from X on line 14. 
 
 Eng of gorge to Z is If inches. 
 
 4 to 2 is 1 inch for seams. 
 
 2 to 6 is 12 of breast. 
 
 Draw a line from Z to 6. 
 
 Bottoin of line to 5 on Key Line is .j, of breast. 
 
 Draw a line from 11 to o. 
 
 Make lapel desired width. 
 
 Finish as represented. 
 
 TO PROVE VOUR DRAFT. 
 
 On natural waist line mark ^ of breast back from Key Line ; this is for under 
 arm seam; measure your waist, which must be e.xact to this point; when the point 
 of Key Line must on a proportionate height on line X be exacdy » of breast 
 measure from X, allowing for the advancing or receding of balance line from normal, 
 according to the form. 
 
 It will be noticed that with the exception of the measures produced with the 
 square, everything else is obtained in the same manner as in the proportionate 
 pattern. This holds good for the fitting proportions of any garment and makes the 
 thorough knowledge of how to draft a proportionate pattern absolutely necessary. 
 
 THE SLEEVE. 
 
 But little more need be said about the sleeve. For any garment made up with 
 only the usual allowance of wadding on the shoulder, the rules as laid down in 
 illustrating figure 10 must be closely adhered to. Should the distance from point H 
 around top of scye to L be greater than A to D of sleeve head, with necessary 
 allowance, point D on line L must be extended the requisite amount; if shorter, 
 point D must be shortened; but in no case must the round of sleeve head go below 
 or above point ^ inch below point of back seam, unless the shoulder is padded 
 extra; in such cases only judgment can be used as to the exact amount necessary. 
 
 lu cutting garments be particular to notch as marked on drafcs, and 
 see to it that the jour puts notch on notch as intended. 
 
KEY LINE SYSTEM OF GARMENT CUTTING. 
 
 The various styles of the roll of front in s^arments, demand various shapes of 
 collars. Too little attention, and generall)- to the detrim -nt of the garment, is paid 
 to this part, and in the following illustrations will be found collars for every style of 
 roll of front, which if carefully observed will greatly add to the beauty of roll as 
 well as the perfect fit around the neck. 
 
 The first four illustrations are intended for soft and stationary rolls, while the 
 latter four are for stationary rolls only, 
 
 In making up the collar for free roll, it is but natural that the softest and most 
 pliable canvas be used, and crease line e.xtended only a short distance on either side 
 of middle of collar, and shaped as little as possible; for the stationary roll a heavier 
 canvas is desirable, with crease line creased its whole length, and as marked and 
 shaped according to style of roll required, which means, more for a stationary roll 
 to waist seam, and less for a coat to roll to first button, as the necessary length from 
 A to B is produced by drafting for the special style required. 
 
 Fig. 34 represents a collar for a coat to roll stationary to waist seam. Mark J, of 
 breast from shoulder point as C, draw a line through this poin^ and touching at 
 rounding of gorge; measure length of collar and allow 1| for collar stand; draw 
 crease line to within h inch from Key Line; make width of collar as desired and 
 finish as represented. 
 
 Fig. So represents a collar intended to roll a litde higher than the former; point 
 C is here placed !» from shoulder point and balance is proceeded with as in fig. 34. 
 
 Collar illustrated by fig. 36 is intended to roll still higher, and we recede from 
 shoulder point g of breast, and finish as before to obtain the desired result. 
 
 Fig. 37 is a collar intended to button a coat at first button, and if free roll will 
 button to neck, or roll where the fancy of wearer desires. Point C in this case is 
 6 of breast from shoulder point, and collar needs less shaping than any of the former 
 on account of the great length from A to B . 
 
84 KEY II.XE SYSTEM OF GARMENT CUTTING. 
 
 Fio-. 38 represents the turn do vn or so called Prussian collar, intended for 
 clerical, military and several other styles, where a buttoning to neck is necessary. 
 
 Fio-. 39 represents the collar for a full stationary roll to bottom of coat, and is 
 seldom used except for light weight overcoats, and then only by special demand of 
 Dame Fashion or the wearer himself. 
 
 Fig. 4() is an illustration of shawl collar, the different degrees marked from 
 shoulder point being intended for the different lengths of roll desired, as described 
 before. 
 
 Fig. 41 gives the correct shape for the stand up collar used in military and 
 clerical garments. Point C is here I of breast from shoulder point; a straight line 
 reaching the curve of gorge is drawn; measure length of collar desired, and make 
 width as required, 1 or Ij inches, without seam, being generally right. 
 
 The misplacement of pockets not only makes a garment unsighd)- and inartistic, 
 but is as well many times a discomfiture to the wearer. 
 
 To properl)' locate the pocket for an under coat, lay square, long arm downward, 
 on line C, even with front of scye, and mark pocket, according to length of coat, 
 4 to o inches shorter than length of sleeve; advance 1 inch for centre of pocket and 
 make pocket width consistent with style and size of hand. 
 
 To properl)- locate pocket for an over coat proceed as above, making from 3 to 4 
 inches shorter than length of sleeve. 
 
86 KEY LINE SYSTEM OF GARMENT CUTTING. 
 
 PROBABLE ERRORS AND THEIR ALTERATIONS. 
 
 The influence of circumstances upon man's mind causes errors to be probable in 
 anything dealing with animate subjects, still, when the cause and effect of an error 
 are understood it is no serious matter to correct them. 
 
 Except with the greatest carelessness, it is almost impossible, when instructions 
 are strictly followed on the part of the cutter, to produce an ill-balanced garment, 
 yet they will sometimes occur, but the reason thereof will appear very plain on 
 examination of the garment, that either the cutter has forgotten to notch the different 
 parts or notched them in wrong places, or the jour has not paid attention to them. 
 If neither of these reasons is the cause, an examination of draft will reveal a wrong 
 application of balance, which may be righted by altering the draft and re-cutting 
 part affected. 
 
 The ordinary faults of too long back, indicated by a close hugging of the 
 waist; or the too short back, indicated by a swinging avva)' from the waist, should 
 they occur through carelessness, can be remedied as follows: 
 
 For too long back — raise the notch of back ^ inch, or as much as is necessary, 
 above notch on side-body. 
 
 For too short waist — drop notch of back j inch, or as much as is necessary, 
 below notch on side-body. 
 
 Both of these errors will make themselves apparent onl)' as described, the coat 
 at shoulders, in these cases, being all that could be desired. 
 
 To remedy these faults b)- lengthening or shortening the shoulder point, as is 
 too often dono, would mean ruination to the garment, while the simple remedies as 
 given will insure perfect satisfaction. 
 
KEY USE SYSTEM OF GARMENT CTTTIXG. 87 
 
 CLASSIKICAXION OK KORMS. 
 
 Although, commonly speaking, there are but six different types of the human 
 form, viz.: The normal, the stooping, the erect, the high- shouldered, the low- 
 shouldered, and corpulent types, their various shapes and degrees of disproportions 
 form five distinct classes, which may be described as follows: 
 I. The form with normal waist. 
 II. " " " small " 
 
 III. " " " abnormally small waist. 
 
 IV. " " '' large waist. 
 
 V. " " " abnormally large waist. 
 
 Each type of the human form, except the corpulent type, is subject to these five 
 distinct classes, and by virtue of the Key Line, which is obtained by the breast and 
 waist size, we are enabled to give complete and accurate descriptions of each draft 
 for the five classes of forms, which again forms five classes of drafts, containing in 
 each class drafts for each form of each type, and are divided as follows: 
 
 CLASSES OF DRAFTS. 
 
 The draft in which the waist is of such size that shoulder or neck point is 
 normal. 
 
 n. 
 
 The draft in which the waist is of such size that waist suppression is enlarged. 
 
 The draft in which the waist is of such size that shoulder or neck point is 
 receded. 
 
KEY LINE SYSTE}f OF GARMENT CUTTING. 
 
 IV. 
 
 The draft in which the waist is of such size that shoulder or neck point is 
 advanced and waist suppression enlarged. 
 
 The draft in which the waist is of such size that shoulder or neck point is 
 receded and waist suppression decreased. 
 
 In illustrating the foregoing explanations, we will omit the high and low 
 shouldered types, as their deviation has nothing to do with the waist size. 
 
 The classes of drafts will follow in their regular order, with explanations of 
 type, and class of form they belong to. 
 
 By normal type, in this case, will be understood any form having its balance 
 line corresponding with the normal or fundamental draft of garment cutting, viz : 
 § of breast less jl, from base line. 
 
 By normal waist. Form Class I., will be meant any form with waist corresponding 
 with table of waist proportions formed by Run of Key Line. 
 
 The degrees causing the change of classes are based upon jg of the whole 
 breast measure, or .J4 as used in drafting. 
 
 CLASS I. 
 
 Drafts in which waist is of such size that shoulder or neck point is normal. 
 Fig. 42 represents the normal type, Form Class I., and is simply the normal or 
 fundamental draft of garment cutting. 
 
DRAFT CLASS I. 
 Normal Type, Form Class I. 
 
KEY LLVE SYSTEM OF GARMENT CUTTING. 
 
 Fig. 43 represents the stooping t) pe, Form Class II. The size of the waist of 
 this form is as much smaller as the distance from balance line, obtained by actual 
 measurement, is from the balance line of normal form, as indicated by heavy lines 
 at A. 
 
DRAFT Ct,AS8 1. 
 Stooping Type, Form Class II. 
 
&^ KP.Y LWR SYSTEM OF GARMENT CVTTMG. 
 
 Fig. 44 represents the erect t)pe, Form Class I\'. The waist is as much larger 
 as difference between actual and normal balance line, and is very general among 
 erect forms. 
 
DRAFT CLASS I. 
 E^rect Type, Form Class IV. 
 
94 KEY LINK SYSTE^r OF flAIiMENT (IVTTimi. 
 
 Drafts in which waist is of such size that waist suppression is enlarg-ed. 
 Fig-. 45 represents the normal type, Form Class II. 
 
 The waist of this form is smaller than the normal form, and is frequentl)' met 
 with. 
 
MKAFT CLASS II. 
 Normal Type, Form Class III. 
 
KEY LINE SYSTEM OF GARMENT CUTTING. 
 
 Fig. 46 represents stooping type, Form Class III., and owing to the great 
 decrease in size of waist is but seldom met with. 
 
11/ 
 
 / \ 
 
 1 / ^^ff- ^^" 
 
 1 / 
 
 
 \ / "^^ 
 
 \JI ff X 
 
 / 
 
 \ ' --=--"- — ' — 
 
 \ 
 
 
 
 
 . 
 
 DRAFT CLASS II. 
 Stooping Type, Form Class II. 
 
98 KEY LINE SYSTEM OF OMIMEST CUTTING. 
 
 Fig. 47 represents erect type, Form Class I. It is a form quite frequently met 
 with, and owing to its owner generally being well aware of its gracefulness, a cutter 
 is apt, from eagerness to please his customer, to overdo himself and take out the 
 extra waist suppression at the wrong place, making an ill-looking as well as ill-fitting 
 garment. 
 
 cl.Jlss hi. 
 
 Drafts, in which the waist is of such si/e that shoulder or neck point is receded. 
 
 Forms demanding drafts of this class are probably met with more than an)- 
 other, and as often ill-fitted as any other, owing to the wrong application of the size 
 of waist. 
 
 Until the increase of waist does not e.xceed the allotted .J4 (on draft), do not 
 attempt to enlarge the waist measure by decreasing the waist suppression at under 
 arm seam or side body seam, for as sure as this is done, will garment be too large at 
 breast, if it is buttoned to waist seam, and hang away from waist if unbuttoned. 
 
DRAFT, CLASS II. 
 Krect Type, Form Class I. 
 
KEY LINE SYSTEM OF GARMENT CUTTING. 
 
 Fig. 48 represents the normal type, Form Class IV. The size of waist may be 
 from Ij to If inches larger than normal waist, according to size of breast, and only 
 added on to front, causing the shoulder or neck point to recede correspondingly. 
 
DRAFT, CLASS III. 
 Normal Type, Class IV. 
 
KEY LIXE SYSTEM OF GARMENT CUTTINO. 
 
 Fig. 49 represents the stooping type, Form Class I. 
 
DKAFT CLASS III. 
 Stooping Type, Korm Clas^ I. 
 
KEY LINE SYSTEM OF GARMENT CVTriNC. 
 
 Fig'. 50 represents the erect type, Form Class IV. This form is quite frequently 
 met with, and perhaps more liable to the error described at head of this class than 
 any other, and consequently deserves careful observation. 
 
ff f. 
 
 K 1 
 
 1 
 
 ih-: 
 
 
 \ 
 
 
 1 
 
 II W 
 
 -^^L__ r 
 
 
 / 
 
 \^ 
 
 
 \ 
 
 
 
 DRAFT CLASS III. 
 Erect Type, Korna Class IV. 
 
KEY LWE SYSTEM OF (JAIl.MEXT CVVriNG. 
 
 CLASS IV. 
 
 Drafts, in which waist is of such size that shoulder or neck point is advanced 
 and waist suppression enlarged. 
 
 But little need be said in explanation of these forms, as they are but seldom 
 met with, yet most every cutter can recall a form coming under this class, and the 
 trouble they caused him. 
 
 Fio-. 51 represents the normal type, Form Class III., and is for a form almost 
 feminine in appearance, or more properly termed the French form. 
 
DRAFT CLASS IV. 
 Normal Type, Korni Classs III. 
 
KEY LINE SYSTEM OF GARMENT CUTTING. 
 
 Fig. 52 represents the stooping type, Form Class III, Tliis is rarely if^ever 
 met with. 
 
DRAFT CLASJS IV. 
 Stooping Type, Form Class III. 
 
KEY LINE SYSTEM OF GARMENT CUTTING. 
 
 Fio-. 53 represents the erect type, Form Class III., and maybe termed the high- 
 breasted or pigeon-breasted form, whose owner will never fail to call }our attention 
 to it. 
 
'ft /: 
 
 >// 1 
 
 1 
 
 1 ■ F,g, 53 
 
 i 
 
 ' 
 
 \ 
 
 
 
 \ i ^ 
 
 o 
 
 \ 
 
 V 
 
 \ 
 
 \ \ /-+— —^^^"'^^"""''^ 
 
 \ 
 
 
 \ 
 
 \ 
 
 1 
 
 
 DRAFT CLASS IV. 
 Krect Type, F"orm Class III. 
 
KEY LINE SYSTEM OF OARMENT CVTTINO 
 
 Drafts, in which wnist is of such size that shoulder or neck point is 1-eceded and 
 waist suppression decreased. 
 
 Forms requiring drafts of this class are those bordering on corpulency and are 
 very frequently required. The increase of waist size here is distributed around the 
 body, 04 being added to the front and balance equally di-vided on each side of side 
 body; they are generally short, thick-set bodies requiring but little spring over hips. 
 
 Fig. 54 represents normal type, Form Class V., is generally a solid man and 
 knows it. 
 
DRAFT CLALS V. 
 Normal Type, Class V. 
 
KEY LINE .SYSTEM OF GARMENT CUTTING. 
 
 Fig. f55 represents the stooping type, Form Class \'. The size of blade 
 measure in this form is at first sight puzzling, owing to his apparent normal build, 
 which is explained afterwards by the increase of waist size at back seam of side 
 body, giving the draft a normal appearance, to correspond with the normal appear- 
 ance of form. 
 
DRAFT CLASS V. 
 Stooping Xype, Form Class V. 
 
KEY LINE SYSTEAf OF GARMENT CUTTING. 
 
 Fig. 56 represents the erect type. Form Class V. When built in or nearly 
 proportionate height, this form is imposing in appearance, which can be greatly 
 heightened by a good-fitting garment. 
 
 A thorough understanding and familiarity with the different classes of drafts 
 for their respective classes of form, cannot fail to be of great aid to the cutter; the 
 reproduction of the form in his mind, from the formation of draft, gives him an 
 assurance of his work, worth the consideration required to gain the understanding 
 and familiarity. 
 
UKAFT CI.AS8 V. 
 Ereot Type, Korm Class V. 
 
PART IV. 
 
Part IV. 
 
 DIKKERENT STYLES. 
 
 For convenience sake but two styles of drafts have been used for illustrating 
 purposes, as fitting proportions were only taken in consideration. 
 
 In the following illustrations of different garments usually worn, these same 
 proportions up to the seams added to Key Line of garment are given, for although 
 we may and must change the lines of form according to the dictates of Dame 
 Fashion to preserve the fit, the proportions must be preserved. Line A B therefore 
 in the following illustrations will represent seams added to Key Line of draft. 
 
KEY LINE SYSTEM OF GARMENT (JUTTING. 
 
 Solid lines of Fig. 57 represents a sack coat to be buttoned to bottom. From 
 point 1 on seam line is to be added l^ of breast to 2, and the same from 3 to 6 ; 
 lapel is 1^ inches. 
 
 The inside dotted lines show the cutaway sack, which maybe varied according to 
 fancy, and for which line to button to bottom may be taken as a guide. 
 
 The outside dotted lines give the proper amount for a double breasted under 
 sack. From point 1 on seam line to 3, add /o of breast and Ij inches; 3 to 7 is the 
 same; lapel is 2j inches; take out a V at lapel. 
 
 These widths may be made w'ider or narrower to suit the fancy of the wearer 
 or the demand of fashion. 
 
^-^ 
 
124 KEY LINE fiY.STEM OF GARMENT CUTTING. 
 
 Fig. 58 represents the double-breasted Frock Coat, a garment much in vogue 
 and handsome in appearance. .}^ of breast is added to seams, which is sHghtly 
 rounded at top and bottom to almost reach seam line, to enable the wearer to button 
 without producing wrinkles caused by tightness ; lapel varies in size, and no definite 
 width can be given. 
 
 The skirt is drafted same as the ordinary frock and is squared down from line 
 C; ;i of breast is added from E to D, to give proper spring. 
 
126 KEY LINE SYSTEM OF GARMENT CUTTING. 
 
 Fig. 59 gives the proper amount for tlie Military Coat. 
 
 Square down from C, add ,^e of breast from seam line, and round slighdy to B; 
 for front of skirt draw line from B to D. 
 
^ 
 
 Fig. 59 
 
128 KEY LINE SYSTEM OF GAHMENT CUTTING. 
 
 Fig. 60 illustrates the Full Dress Coat. One seam is added to seam line A B 
 and gracefully rounded off so that at point B it is reduced ^ inch; lapel is made as 
 much longer than forepart as the desired width of strap of skirt. 
 
 From C to D is ^ of breast. 
 E to F is ^ 
 
 Draw a line from D to F and gracefully round the corners. 
 
 These variations as given here are not lazvs. Fashion dictates changes to be 
 observed, and close intimacy with trade journals and a never lagging desire to keep 
 up with the spirit of the times is the surest way of obtaining a thorough knowledge 
 of a most important factor in connection with the " Art and Science of Garment 
 Cutting, that of pleasing vour customer. 
 
Z5s^ 
 
ISO KEi LIl^E SYSTEM OF GARMENT CLUING. 
 
 OVERCOATS. 
 
 S. B. SACK OVERCOAT. 
 (See Fig. 61.) 
 
 The measures for overcoats are the same as for undercoats, but taken over 
 same. 
 
 Obtain the groundwork of draft, as for any other, and proceed as follows: 
 
 C to I is 1^ inches. 
 
 Square half way across from 1. 
 
 Y to H is lA inches. 
 
 Square up from H and down to line I. 
 
 Y to K^on line C is J of breast. 
 Square up from K. 
 
 K to N is ^ proportionate waist on 3rds and \ inch. 
 
 N to L is 16 of breast. 
 
 N to M is J of breast. 
 
 Balance line to 8 is ,\ of breast. 
 
 Balance line to 9 is ,o of breast. 
 
 8 to O is ;i of breast. 
 
 9 to 7 is i 
 D to S is ^ 
 D to T is 1 
 A to U is J 
 U to V is .], 
 B is half way between V and N. 
 
 Shape side seam, through O to 7 to bottom. 
 
 Balance line to X is i of breast, and is subject to changes according to size of 
 waist. 
 
 To obtain the proper location of the shoulder point and height of shoulder for 
 overcoats mark on natural waist line the proportionate balance point § less ,'3 of 
 
zi-=. 
 
KEY LINE SYSTEM OF GARMEST CUTTING. 
 
 breast, and measure from A to this point and apply less width of back, less i inch 
 from A to U on line X, for location of shoulder point, and from B to same point, 
 and apply same measure, without deduction, on line W, 
 
 Get width of shoulder of fore part as to * * by width of shoulder seam of back 
 and square down /g of breast as to 13. 
 
 Shape shoulder as froni 13. 
 " scye " * 13. 
 
 " under arm seam. 
 
 Square down from X. 
 
 X to 14 is \ breast and j inch. 
 
 Square out from 14. 
 
 C to 1 is ^ of full breast. 
 
 Advance square 21 of breast, with short arm down, and mark on natural waist, 
 as at 4. 
 
 Draw line through these two points, forming the Key Line. 
 
 End of gorge to A is j of breast and 1 seam. 
 
 End of gorge to Z is 3j inches. 
 
 5 to 6 on line D is 3 inches. 
 
 Draw a line froni Z through (j. 
 
 Shape lapel and finish as represented. 
 
 For D. B. Sack Overcoat add 1 inch to front all the way down and f inch to 
 lapel. 
 
 D. B. FROCK OVERCOAT. 
 (Sw Fig. (iL>.) 
 
 Take the measures the same as for Frock undercoat, but over same. 
 Obtain the groundwork of draft as for any other, and proceed as follows: 
 C to I is li inches. 
 Square halfway across from I. 
 
 Y to H is \h inches 
 
 Square up from H and down to line I. 
 
 Y to K is e of breast. 
 Square up' from K. 
 
 K to N is 5 of proportionate waist on 3rds and \ inch. 
 
 N to L is ig of breast. 
 
 N to M is i " ' 
 
KEY LINE SYSTEM OF GARMENT CUTTING. 
 
 Balance line to 9 is Jj of breast. 
 
 " to 10 is ^3 
 D to S is o'j of breast. 
 DtoTisJ 
 
 9 to O is ^ 
 O to P is I 
 R to R is i, 
 
 10 to 7 is ^ 
 7 to 8 is ,', 
 Square up from P. 
 
 A to U is J of breast. 
 
 U to V is I 
 
 Draw a line from A to S. 
 
 Shape back as represented. . 
 
 B is halfway between. \' and N. 
 
 Shape side seam, touching back line at C, then gracefully through O through <S. 
 
 Balance line to X is | of breast and is subject to changes, according to size of 
 waist. 
 
 X to W is same distance as B to V. 
 
 To obtain the proper location of the shoulder point and height of shoulder for 
 overcoats, mark on natural waist line the proportionate balance point, § less ,2 of 
 breast, and measure from A to this point, and apply less width of back, less ^ inch, 
 from A to U on line X, for location of shoulder point, and from B to same point, 
 and apply same measure, without deduction, on line W. 
 
 Draw slope of shoulder through these two points. 
 
 Get width of shoulder of fore part as to * * by width of shoulder seam of 
 back, and square down /^ of breast as to 13. 
 
 Shape shoulder as from 13. 
 " scye " " 13. 
 
 " under arm seam through R R. 
 
 Square down from X. 
 
 X to 14 is ^ of breast and ] inch. 
 
 Square out from 14. 
 
 C to 1 is ^ of full breast. 
 
 Advance square i^ of breast, with short arm down, and mark on natural waist 
 line as at 4; draw a line through these two points for Key Line. 
 
KEY LINE SYSTEM OF GARMENT (JUTTING. 
 
 End of gorge to A is ', of breast from X and 1 seam. 
 
 1 to 2 is allowance for seams. 
 
 4 to 3 is same. 
 
 Add a'l of breast and curve in very slightly at bottom. 
 
 Make lapel to fancy or st)le. 
 
 Draft skirt same as for double-breasted frock and shape as represented. 
 
 The closing lines of article on Different Styles should always be carefully con- 
 sidered in drafting' overcoats, and it is not to be supposed that the dimensions given 
 from line A B are definite, an)- more than anything else subject to changes in style 
 and finish. 
 
PART V. 
 
Part V. 
 
 TTTT 
 THE VEST. 
 
 The measures necessary for vest are — 
 
 Depth of scye. 
 Width of blade. 
 Breast. 
 
 Waist. 
 
 Length of opening, and 
 
 Full lenirth. 
 
 In determining size of waist, by Key Line, use Sack Coat measure. 
 
KEY LINE SYSTEM OF GARMENT CUTTING. 
 
 TO DRAFT PROPORTIONATE ^■EST. 
 
 (See Fig. 63.) 
 
 Square lines AAA. 
 
 A to C i» ^ of natural waist (skin measure.) 
 
 A to D is 1 
 
 Square across from C D. 
 
 C to I is Ij inch. 
 
 C to Y is 3 of breast less ,o. 
 
 Square up and down from Y. 
 
 This constitutes the balance line. 
 
 Square out halfway from I. 
 
 Y to H is li inches. 
 
 Square up from H and down to line I. 
 
 Y to K is B of breast. 
 Square up from K. 
 
 K to N is I of proportionate waist on 3rds. 
 
 A to U is J of breast. 
 
 U to V is I 
 
 Draw a line from V to N. B is halfway between these points. 
 
 Balance line to X is j of breast. 
 
 X to W is same as B to V. 
 
 Obtain shoulder point and height of shoulder same as for coat. 
 
 X to 13 is ^ of breast less ', or any desired width. 
 
 Y to M is same as X to 13. 
 .Shape scye as from 13 to F. 
 
 " " " M to G, ^ inch below point F. 
 
 D to S is ^ of breast. 
 Draw a line from A to S. 
 S to T is 24 of breast. 
 Shape from C on line A S to T, 
 S to R is J of breast. 
 R to P is I'e 
 
 C to 1 is i of full breast. 
 
 Advance square, with short arm down, ^ of breast and mark as at 4 on natural 
 waist line. 
 
KEY LINE SYSTEM OF GARMEXT CUTTING. 
 
 Draw a line through 1 and 4, for Key Line. 
 
 1 to 2 is 1 inch and /g of breast for button stand. 
 
 3 to 4 is 2^ inch less than 1 to 2. 
 
 Add J inch for collar stand. 
 
 Get length of opening and full length on Key Line and finish as represented. 
 
 TO DRAFT VEST FROM COAT PATTERN. 
 
 Most cutters are aware that a good many bad-fitting vests are worn, or else had 
 to undergo alterations before customers would wear them. 
 
 This arises from the fact that a great many vests are cut from a bloc < and the 
 necessary changes guessed at, with bad results. 
 
 This can be prevented by drafting vest directly from coat pattern and afterwards 
 tracing it out. This must produce a fit like the coat and requires no more time than 
 looking for a block of the size, guessing at its changes and afterwards making the 
 alterations. 
 
 TO DRAFT VEST FROM SACK COAT PATTERN. 
 (See Fig. 64.) 
 
 S to T is 24 of breast. 
 S to R is i 
 
 R to P is same amount as that taken out in coat between back and side seams. 
 A to 1 is 1 inch for seams and /g of breast. 
 B to 2 is ^ inch less than A to 1. 
 Add f inch for collar stand. 
 
 Get length of opening and full length on Key Line of coat 
 Reduce width of shoulders, front and back, as desired. 
 
 Shape scye, making back scye | inch lower than front scye, to give necessary 
 length over blade. 
 
 Finish as represented. 
 
KEY LINE SYSTEM OF GARMENT CUTTING. 
 
 TO DRAFT VEST FROM FROCK COAT PATTERN. 
 
 (See Fig. 65.) 
 
 Advance shoulder point f inch and recede Key Line at natural waist f inch; 
 this is done to offset the V taken out at waist in Frock Coats. 
 Draw through points 1 and 2 for Key Line of vest. 
 S to T is 2A of breast. 
 S to R is i 
 R to P is amount taken out between back and side body. 
 
 1 to A is l.inch for seams and /^ of breast. 
 
 2 to B is I inch less than 1 to A. 
 
 Reduce shoulders front and back to desired width. 
 
 Shape scye making back scye ^ inch lower than front scye, to give necessary 
 length over blade. 
 
 Get length of opening and full length on Key Line of vest, add | inch for 
 collar stand, and finish as represented. 
 
146 KEY LINE SYSTEM OF GARMENT CUTTING. 
 
 VEST COLLARS. 
 
 There are two ways of putting on vest collars and both being in vogue, we 
 deem it but proper to explain both as there is a slight variation between them. 
 
 To draft vest collar as in fig. 66, the gorge of vest must be hollowed a little 
 more than in draft of proportionate vest, as crease line of collar forms the shape of 
 opening. 
 
 The stand of collar should be 4 inches, including seam; turn of collar may be 
 made to suit the artistic fancy of cutter. An examination of draft makes any 
 explanation further unnecessary. 
 
 The shape of collar notched or round is entirely optional with wearer or 
 dictated by Dame Fashion. 
 
 In fig. 67 the stand of collar is added to shoulder point, and from this point the 
 desired curve of opening is given, as the collar is cut so as to be laid on flat to 
 correspond with this opening, and, as in the former, the shape is dependent on 
 circumstances. 
 
PART VI. 
 
Part VL 
 
 TROUSERS. 
 
 The measures for trousers consist of- 
 
 Inside seam. 
 
 Outside seam to knee. 
 
 Knee width. 
 
 Bottom. 
 
 Waist. 
 
 Seat. 
 
 To take these measures properly, ask your customer to draw his trousers well 
 up; place end of tape close in crotch and measure to heel of shoe. For the outside 
 seam, place measure exactly over hip, measure to knee-cap and to bottom, same as 
 for inside seam. Next measure width of knee and bottom as desired, and then 
 waist right above hips, and seat over the most prominent part. 
 
 The balance line for trousers is ^ less 24 of proportionate thigh measure at 
 bottom, and 3 less .J, of seat measure on seat line; and front line of waist is added 
 or receded from the proportionate waist to seat, as per following table. 
 
 SEAT. 
 
 WAIST. 
 
 THIGH. 
 
 SEAT. 
 
 WAIST. 
 
 THIGH. 
 
 30 
 
 25 
 
 16i 
 
 40 
 
 331 
 
 .JW9 
 
 31 
 
 25i 
 
 17^ 
 
 41 
 
 31^ 
 
 —9 
 
 32 
 
 26^ 
 
 in 
 
 42 
 
 35 
 
 231 
 
 33 
 
 271 
 
 181 
 
 43 
 
 351 
 
 23« 
 
 34 
 
 28^ 
 
 18| 
 
 44 
 
 361 
 
 24^ 
 
 35 
 
 291 
 
 191 
 
 45 
 
 sn 
 
 25 
 
 36 
 
 30 
 
 20 
 
 46 
 
 381 
 
 25^ 
 
 37 
 
 m 
 
 201 
 
 47 
 
 39^ 
 
 261 
 
 38 
 
 311 
 
 211 
 
 48 
 
 40 
 
 261 
 
 39 
 
 32.^ 
 
 211 
 
 49 
 
 40^ 
 
 271 
 
 For table to use in actual practice, see Table of Proportions, 
 
152 KEY LINE SYSTEM OF GARMEXT CUTTING. 
 
 TO DRAFT FOREPART. 
 (See Fig. 68.) 
 
 Draw lines A. A A. 
 
 A to C is length to knee and 4 inch. 
 
 A to D is outside length " \ " 
 
 B to D is inside " " \ " 
 
 Square out from BCD. 
 
 D to E is 3 less 04 of proportionate thigh. 
 
 B to F is 3 less g, of proportionate seat. 
 
 Draw a line from E to F. 
 
 Square up from F. 
 
 B to G is ^ seat. 
 
 G to H is I seat. 
 
 H to I is 8 inch. 
 
 J to K is desired width of forepart equally divided on each side of line E. 
 
 Draw a line from I to K. 
 
 Draw a line from B to J. 
 
 A to L is 12 of seat. 
 
 Square up from G; this gives 4 of proportionate waist from L to M. 
 
 If waist size desired is larger than proportionate waist add 5 of this amount to 
 M, but not to exceed ^ of seat; if more is required add from L, and if not yet 
 sufficient add to back part, as will be explained. 
 
 If extended from M, draw a line from M to G and form to I; add \ inch for 
 dress from M and form to H, which finishes forepart. 
 
 TO DRAFT HACK PART. 
 (See Fig. 68.) 
 
 Extend lines ABC and D. 
 
 1 to 2 is ]2 of seat. 
 Square up from 2, 
 
 2 to 3 is 6 of seat. 
 Draw a line from 3 to G. 
 X to 4 is § of seat less J. 
 4 to 5 is 1 inch. 
 
154 KEY LINE SYSTEM OF GARMENT CUTTING. 
 
 B to 6 is 1| inch. 
 7 to 8 is ^ knee and ^ inch. 
 9 to 10 is I knee and | inch. 
 J to 12 is I of bottom and ^ inch. 
 K to 13 is h " " i " 
 
 I to N is 8 of seat. 
 G to P is 8 of seat. 
 
 Curve seat Hne from P to N, as represented. 
 Draw a line from 3 to 5. 
 Make V /, of seat less ^ inch. 
 Shape from o through 6, through 10 to bottom. 
 
 Shape from N through 8 to bottom, curving in from knee to give desired spring 
 to bottom, according to style. 
 
 TIGHT TROUSERS. 
 
 The only change necessary for tight trousers is at knee. 
 
 Should width of forepart at knee, when drafted as per foregoing, exceed the 
 desired width, mark half of size required on either side of balance line and proceed 
 as usual. 
 
 CORPULENT TROUSERS 
 (See Fig. 09.) 
 
 Corpulency in trousers has reference only to an abnormally developed waist, all 
 other points being undisturbed, and we therefore consider it only necessary to explain 
 the part affected. 
 
 Draft trousers as in usual drafts; ascertain the difference between proportionate 
 waist size and size required; use one-half of this. 
 
 Add 2*4 of seat from M, .j^ of seat from L. i^ of seat on back part at o, and all 
 required above this add to the J^ from M. 
 
 Raise forepart from L to 2^4 for moderate corpulency ^ of seat; for extreme, 13 of 
 seat add enough to 6 to make a graceful line from ^ added to 5, and finish as in 
 proportionate trousers. 
 
KEY LINE SYSTEM OF GARMENT CUTTING. 
 
 KNOCK-KNEED TROUSERS. 
 
 (See Fig. 70.) 
 
 To correctly draft trousers for a knock-kneed form, we follow 1 1 1 i ini iiiuijjjjji^ 
 from the normal form, by causing the balance line to bend inward to as much as ^ of 
 seat, and making lines on either side correspond with them, same as in normal draft 
 (see fig. 70) ; tbe dotted lines represent the normal draft, the solid lines the change 
 necessary for a knock-kneed form. 
 
 BOW-LEGGED TROUSERS. 
 
 (See Fig. 71.) 
 
 This form is just the reverse from that just described and must consequently be 
 treated just the reverse; where in the former the balance line is changed inward, in 
 this case it is changed outward and further proceeded with as in normal draft. In 
 fig. 71, illustrating bow-legged trousers, dotted lines are for normal form; solid lines, 
 the changes required. 
 
INDEX. 
 
 I'eekace 3 
 
 TART I. 
 
 Tahle of Phoportions 4 
 
 The Foundation 7 
 
 The Law of Balance 10 
 
 The Normal Form 12 
 
 The Key Line op Gakmext Ci'tting 14 
 
 Proportioxvte Drafts — Frock Coats 21 
 
 Proportionate Drafts — Sack Coats 26 
 
 The Sleeve 1.'9 
 
 PART IL 
 DISPROPORTIONATE FORMS 
 
 The Key Line in Dispropurtioxatk Forms 35 
 
 The Sroop.-Nti Form 36 
 
 The Erect Form 42 
 
 The High-Shouldered Form 48 
 
 The Low-Shoildered Form 52 
 
 The Corpulent Form 56 
 
 Balance of Disproportionate Drafts 04 
 
 PART III- 
 ACTUAL MEASUREMENT. 
 
 The Measures 6!) 
 
 To Draft from Actual Measurement— Frock 
 
 Coat 74 
 
 To Prove Draft 78 
 
 To Draft from Actual Measurement — Sack 
 
 Coat 78 
 
 To Prove Draft 81 
 
 PAGE 
 
 The Sleeve 81 
 
 Collars 82 
 
 Pockets 84 
 
 Probable Errors and their Alteration 86 
 
 Classification of Forms 87 
 
 PART IV. 
 DIFFERENT styles- 
 Sack Coats 122 
 
 Double-Breasted Frock 124 
 
 Military Coat 126 
 
 Full Dre.ss Coat 128 
 
 Sack Overcoat 130 
 
 Frock Overcoat 132 
 
 PART V. 
 THE VEST. 
 
 The Measure , . . . . 139 
 
 Proportionate Vest 140 
 
 To Draft Vest from Sack Coat Pattern 142 
 
 To Draft Vest from Fuock Coat Pattern.... 144 
 
 Vest Collars 146 
 
 PART VI. 
 TROUSERS 
 
 The Measures ] 61 
 
 PpopoRTioNATE Trousers 151 
 
 Tight Trousers 154 
 
 Corpulent Trousers 164 
 
 Knock-Knebd Trousers 1.56 
 
 Bow-Legged Trousers 1 56