v-\' ^^ <, *-,. s^ .0 o > V o "^ .. o ' » - ^O ■V .^^ v ■■•■;ro^' o;^ V '<' i; ^•^°^ ■a? ^* ,0' v^^ .^^"-o. ?. .v^^ -^^ - - ■= ^''''' ,S!^ % ■'i'QI^i^. , 0^ . A . : * aV -K ,;• - «> ^^ • V, i ..- -^^ -b'J"'^ ^^^ / . ,0 -7- • '" 4 o •J^ b < ^ >>■ .Q> * r\ ^ ^ .^^ V %. -? ^p b .0 .5 • " ' \<(. ^^. •»t-. V?" O > ^^-^^ A" O o .\^ •C A^ .V _ ^ •f'. -U. * - .\ ^ ^ ^f. ,\ •S- b r^-" V^ . ^ -%. S^' ^^ v^ \* -V V -." .^" O > , . ,0 ^o^^^ .V^^ V^ A"*^ .V ■\ o /• .0-7- '^^ Xv -^^v ./"-^. V, -. "o V ■■'■ - ^ 0* ; 0,- ' '^ G" °o A*' V-- J ^-. ^O ^°-n ^> ..' .G °y rule. The English dressmakers try on each garment from one to three times duiing the process of making. The French dressmakers seldom or ever try on the garment until it is sent home complete. The fol- lowing directions ■will explain the principle of the two systems, and give full and complete instruction in both. |'>V ,\^ THE ENGLISH SYSTEM. t^ Tlie first fourteen les'^ons in this book explain tlie Engiisli System of drafting or cutting by rule. The object of these first lessons is to teach those ^lo wish to learn the first principles of cutting. Three hours close application to the study of the first lesson Avill enable any one to comprehend and understand the follo^ng thirteen lessons ; but if it takes six or even twelve hours it will be time well spent, as it will be of no use to proceed until this first lesson is thoroughly understood When you are able to cut and fit a dress waist perfectly, you will have mastered nine-tenths of all that is worth knoiving in the art of dress cutting; not merely a plain waist for a good figure, but for any figure or style of waist that may present itself. It is a rule ivith artistic dressmakers in Europe when giving instruction in cutting, to require the pupil to practice three months on the waist and sleeves alone, while ten days is considered ample time to learn everything else pertaining to the business. It is this thorough drilling, and mastering every detail in the cutting and fitting of the waist and basque that gives the man dress- maker the supremacy as a cutter and fitter. We consider this matter so important that we devote the first thirteen lessons to waists alone, and we here state for the encouragement of beginners, that any young woman who is able to cut and fit a waist pejfiectly, is able to accomplish almost any task in dress cutting- The entii-e contents of this Book is intended for beginners ; but the more experienced dressmaker may also find much valuable information, especially if she is in pursuit of knowledge. The author has tried to keep in mind tliat the highest attainment of the young dressmaker is to stand at the head of her profession as a cutter and fittei', and to this end the work was begun. Eeadei-, if you have that ambition, and have patience to go forth, step by step, learning each lesson as you go, j^ou will be rewarded "with success. Beai' in mind that Moschcowitz and Worth, no^v the greatest dressmakers in the v^oiid, were once as ignorant of dressmaking as you are. It "was by gathering up the little things, and binding them together, that make them great. In this w^ay they gained a fountain of kno"wledge, which has placed them on the highest pinnacle of fame in their profession. The plan of the pi'esent "work does not contemxDlate the invention of any new system of cutting or fitting, but gathers fi'om all sources, in Europe and America, the best ideas from the best dressmakers, \vhich are arranged and illustrated in such a manner as to biing the highest art in cutting and fitting within the reach of the humblest dressmaker. The principal object of the work is to show ho"w to avoid alterations, and how to make a perfect fitting garment. A good x^lain sewei-, with no other acquirements in the art, can learn the system in a fe"w weeks. A good plain sewer, -with a knowledge of dressmaking, can learn the system in one week. A dressmaker, seeking a more extended knowledge of cutting and fitting, can learn the system in three days. Any young woman with a definite ohject in view, who will sit down and seriously study the lessons in the following pages, will be sure to succeed. If the object in view is to fill a high position as cutter and fitter, that can be accomplished in three months, if you have a natural taste for the work. A strong desire, and a determined will to fill such a position, is an indication of natural ability. "What is wanted is skilled labor, and this will always command a high price. It is estimated that there are 7,000 dressmakers in the City of New York exclusively engaged in making ladies' and children's dresses. This includes 270 men dressmakers. The rate of wages average from $4.00 to $60.00 per "week ; the price is graded according to ability. In Moschcowitz & Russell's establishment in New "York, which is one of the best and most extensive in the "world, there are ninety men dressmakers, the average wages of each is $31.00 per "week ; some make as high as $50.00 per "week. AM IMP&MFAWF §WEBTmM, What qualifications must a lady have to fill a position as forewoman in a dressmaking establishment First : She must be able to cut and fit any kind of a garment perfectly without a pattern, chart or system of any kind. Second: The only tools she requires, or is allowed to use, are a pair of shears, an inch-tape, a pencil and a tracing-wheel ; with these she must be prepared to cut any thing and every thing. She must cut her own patterns and prepare her own models. In Paris, all applicants for a position as cutter and fitter are tried by this rule. If you apply for a position as forewoman, and you should be asked what rule you cut by, you should be able to say, as the French say, " My shears and my inch-tape is the rule I WQ;-k by," ^ollou' tlu ^Tfiuh rulf, ;^ rtrf,«i'.s to fit utU fihmM not br tijtht nor loo^ic, but pxtm gently on rrcrg part. |lo ivrinklr^' ;shoultl bf mn txrcpt thojit whkli arijit front tht natural ntovrwrnt of thf botlH. DIRECTIONS FOR TAKING THE MEASURE. Pass a tape-measure around tlie In-east just under the arms and above the bust, as seen above ; draw it one irich tighter than the dre> ; cut by the bust measure, that is, the measure about the bust. After the waist is drafted out, and before it is cut, make the necessary alterations, as seen by the dotted lines above. THE ENGLISH SYSTEM OF CUTTING. 9?. LESSON THE NINETEENTH. SHORT, STOUT, THICK-SET PERSON WITH VERY FULL BUST. Take the measure the same as for a plain waist, see page IS ; draft out the pattern by the bust meas- ure ; the second bust measure may be from one to four inches larger than the measure above the bust ; the measure above the bust only is to be used in drafting ; no matter how large the second bust may be, draft the waist the same as for a plain bust, as seen on pages 8 and 9. When the plain waist is drafted out, make the necessary alteration for the full bust, as shown by the dotted lines above. If the bust measure is three inches larger than the measure above the bust, allow 1^ inches in front. If only two inches larger, allow one inch in front; if but one inch larger, allow ^ an inch in front. The shoulder seam is shortened 1^ inches; the neck is f of an inch smaller at the throat. The darts are brought forward, and f of an inch is cut away from the centre of back at the waist, to enlarge the waist. See dotted lines at the seams under the arms. To draft the waist pattern, as above, first take the measures as directed on page 18; proceed to draft a plain waist as seen on pages 8 and 9 ; cut by the bust measure, that is the measure about the bast. After the waist is drafted out, and before it is cut, make the necessary alterations as seen by the dotted lines above. Note. — The fullness arising from the V in front should be pressed towards the arm-hole. This is done by placing the full part over a round block or cushion, and pressing with a hot iron, the fullness towards the arm hole. The outside material should be treated in the same way, only with more care. The front edge of the material should not be cut, but drawn in or shrunk, and the part over the bust should be stretched until it is quite rounding. In loose fabrics there is no difficulty in giving fullness, but in silks, satins, velvets, etc., it requires more care and experience. A silk dress requires two hours' work to prepare it properly for a full bust. Silk and velvet should not be pressed with a hot iron, but drawn and twisted over a hot, damp block, or drawn over the face of a hot iron. 24 THE ENGLISH SYSTEM OF CUTTING. LESSON THE TWENTIETH. ROUND SHOULDERS. To cut a waist to fit a round shouldered figure, first draft out a plain waist according to the measure. The plain lines on the above diagram show the plain waist. The dotted lines show where the alterations are to be made. The top of the back should be raised one and a quarter inches, the back should be half an inch wider, and one inch cut out at A ; the other alterations will be seen by the dotted lines ; the front should be shorter and the back longer ; the rounding part over the shoulder blades should be pressed towards the seam under the arm with a hot iron ; this is to remove the appearance of round shoulders, and at the same time give suificient material over the rounding part. When cutting and fitting by the French System, all deformities or irregular shapes will be detected at once. To draft the waist pattern, as above, first take the measures as directed on page 18 ; proceed to draft a plain waist, as seen on pages 8 and 9 ; cut by the bust measure, that is, the measure about the bust. After the waist is drafted out, and before it is cut, make the necessary alterations, as seen by the dotted lines above. THE ENGLISH SYSTEM OF CUITTNG. )iO LESSON THE TWENTY-FIRST. VERY STRAIG-HT, ERECT FIGURE. The dotted lines on the above diagram show where alterations are to be made for a straight, erect figure. The side seam on the back has little or no rounding fullness over the shoulder blades ; the centre of the back, near the waist, is taken in half an inch ; the top of the back is cut off half an inch, and made narrower across the centre ; tlie shoulder point, in front, is carried up and thrown back three-quarters of an inch, all of which are indicated by the dotted lines. • To draft the waist pattern, as above, first take the measure as directed on page 18 ; proceed to draft a plain waist, as seen on pages 8 and 9. Cut by the bust measure, that is, the measure about the bust. After the waist is drafted out, and before it is cut, make the necessary alterations^ as seen by the dotted lines above. 26 THE ENGLISH SYSTEM OF CUTTING. LESSON THE TWENTY-SECOND. A TALL, SLIM FIGURE. The alteration to be made for a tall slim figure is shown by the dotted lines on the above diagram. The shoulder seam, back and front, is made larger at the neck ; the waist is made longer; the length of shoulder is the principal point to be cared for. If the neck is long and the body short, make the altera- tions on the shoulder and top of back only. To draft the waist pattern, as above, first fake the measures as directed on page 18, proceed to drafl a plain waist as seen on pages 8 and 1>, cut by the bust measure, that is, the measure above the bust. After the waist is drafted out, and before it is cut make the necessary alterations, as seen by the dotted lines above. THE ENGLISH SYSTEM OF CUTTING. 27 LESSON THE TWENTY-THIRD. TO ALTER THE SHOULDER SEAMS. In cutting Cloaks, Sacques, Jackets, etc., the shoulder seam should be raised to come nearly on the top of the shoulder. See dotted lines above. Add one inch or naore to the back, at the shoulder seam. Take the same amount from the corresponding place on tlie front. When it is necessary to make the shoulder seam shorter, cut from tlie arm-hole, back and front, as seen by the dotted lines above. To draft the waist pattern, as above, tirst take the measures as directed on page 18. Proceed to draft a plain waist, as seen on pages 8 and 9. Cut by the bust measure, that is, the measure about the bust. After the waist is drafted out, and before it is cut, make the necessary alterations, as seen by the dotted lines above. 28 THE ENGLISH SYSTEM OF CUTTING. LESSON THE TWENTY-FOURTH. TO CUT A BASQUE OR POLONAISE, WITH SEAMS RUNNING- TO THE ARM-HOLE. You are supposed to thoroughly understand the cutting of the plain waist before commencing this lesson. If so, you will have little or no difficulty in understanding the following instructions. To cut a Basque or Polonaise, take the four measures as directed on page 18, draft out a paper pattern by the bust measure ; when the pattern is drafted out and cut, join the back and front together, as seen above. P P represents the joining of the seams under the arm ; when the pattern is thus joined, cut two seams or more under the arm, or cut the pattern in four separate pieces, A, B, C, D, as seen above. Turn to pages 30 and 31, and you will see these pieces reproduced, and each piece. A, B, C and D, laid in positions to cut a Basque. Turn again to pages 32 and 33, and you will see this piece again reproduced in positions to cut a Polonaise. The Polonaise and Basque are sometimes cut with three and foiir pieces under the arm ; this, however, is more a matter of taste than utility. A little practice will enable you to cut a Basque or Polonaise in an incredible short time. This will be explained more fully on pages 38, 39, 40 and 41. THE ENGLISH SYSTEM OF CUTTINa 29 LESSON THE T'WENTY-FIFTH. TO CUT A BASQUE OR POLONAISE WITH SEAMS RUNNING TO THE SHOULDER. You are supposed to understand all the foregoing lessons before commencing this. If so, you will have no difficulty in understanding all that is to follow. Take four measures, same as directed on page 18 ; cut a plain waist by the bust measures, (do not cut a side seam) when the pattern is cut join the front and back together, at the seam under the arms, as seen above ; separate the pattern into four pieces by cutting the two seams under the arms, and the back ^eam running to the shoulder. Turn to page 32, and you will see the two back pieces reproduced, and placed in positions to cut a polonaise; the front is cut the same as on page 33. The same rule applies to Basques as to Polonaise. When the back seam is run to the shoulder, see that the dotted lines are carefully followed ; the seam should be a little rounding over the shoulder blade, to do this the inside piece should be raised and cut away half an inch at the top, and the shoulder seam extended. See dotted lines above. PP shows where the back and front are joined ; five, and sometimes seven seams are cut in the back. The same principle applies to all. The object of a rounding seam on the back is to throw fullness over the shoulder blades. This will be explained more fully hereafter. 30 THE ENGLISH SYSTEM OF CUTTING. LESSON THE TWENTY-SIXTH. TO CUT A BASQUE WITH SEAMS RUNNING TO THE ARM-HOLE. Take the measures the same as directed on j^age IS. AVlieii tlie plain waist is cut, divide the pattern into four pieces, A, B, C and D, as shown on page 28. Lay each piece of the pattern separately on paper from which to cut a new pattern. These pieces are represented on the above diagram. A, B, C and D ; add the length of skirt required as seen above. The figures represent inches; the back is 9 inches long, and the bottom -ii inches wide. The measure .should be taken around the hips for the width of skirt. Make the bottom of the skirt from 2 to 4 inches larger than the actual measurement. For a medium sized l§,dy the width would be about 4^ inches at the back and 5 inches at the side as seen above. The proper spring over the hips can only be determined by the French System, which will be explained hereafter. See pages 38 to 41. THE ENGLISH SYSTEM OF CUTTING. 31 LESSON THE TWENTY-SIXTH -Continued. BASQUE WITH SEAMS RUNNING- TO THE ARM-HOLES. The front of the Basque is cut on the same principle that has just been explained for the back; add to the waist the length of skirt required. The tigures on the lower edge of the above diagram represent inches, and gives the width round the bottom ; the iigure S in front is the length from the waist down. It only requires a little practice to change the skirt to any shajie or form of basque required. To cut a double-breasted basque, or a basque with re vers, add to the front the shape and style desired. The dotted lines show the alterations or changes to be made from the ])lain waist to tlie basque. See pages 38 to 4 1. 32 THE ENGLISH SYSTEM OF CUTTING. LESSON THE TWENTY-SEVENTH. TO CUT A POLONAISE WITH SEAMS RUNNING TO THE ARM-HOLE. This style of Polonaise is cut in every way the same as if cutting a Basque, such as we have described on pages 30 and 31. The skirt of a Polonaise is simply the continuation of the skirt of a Basque ; the only difference is, it should be longer and fuller, according to the amount of drajiing required. The Princess Dress is cut in the same way, except at the bottom of the [skirt. The Pi'inceas Dress is a THE ENGLISH SYSTEM OF CUTTING. 33 LESSON THE TWENTY-SEVENTH.-Continiied. garment complete in itself. The train may be 10 or 30 inches long, according to the taste of the wearer. The Polonaise is made short so as to show the underskirt ; care should be taken to give fullness over the hips at the points marked 0, P, Q, R, S, T, and A, B, C and D. The fullness over the hips will be explained hereafter. TO CUT A POLONAISE WITH SEAMS RUNNING TO THE SHOULDER. Turn to juige 29 and }'t)U will see a jilaiu waist divided into four parts. The back se;ini runs to the shoulder. This style of Polonaise is cut in every way the same as a Basfj^ue ; the skirt of the Polonaise is a continuation of the Basque. 34 THE FRENCH SYSTEM OF BASTING. THE FRENCH SYSTEM OF BASTING. 35 S -T^ ^ - Q .ti 3 § 2 -r, .E :;:. "^ ^ .. -^ sr, > o o T1 (11 'O rrt 0) ,i4 ri^J 0) o l-l e^SSc -=«sco3.S" H^^.-s -^ ^ ? '^ a EH w W SoSSf^^^-ail -w«0 <13*^§g.-MSi. -^_^CQ S ^ -^ s 5 •" r ••£ P £ ° '^ « S c .S o. = s c4 'U ^i^'^^o'^Q-S'S^-^-2 ^bct^v, §S3o^2^^ ^ S ^ 03 rj *3Pa^?;S-S-MS^^«^cj''^:2-3to^S'-S <1 o o THE FRENCH SYSTEM OF BASTING. 37 tj 1. •" « ^ " a . *" a «, 2 c3 vv S Is — o « &D1 -- 0.- s sz=i:f ^-^1 s-s S^^d p^o ^^^,^^=^:^^:5:h si's «-i - - Cfi «= - Sh H '^.S 2 _ v, *" ^ -a * ■e3 =3 •-^^lll^-g ^ § ^ o^S B^.2 2 S^'i .a-^W-^'^.SS 0.^^"°" 'S'^a 2 S=^^2^ I g°5^2^t:S 5o o 2-^« >,"--|i:-5 ^ •? =s ^-gO^ ^-^.a § g ^ s-= f '" '= . a, •? i 1-^^ .-g^ I -^Z-^'t S^ eS |^« %^l % i.S g 2|-s ,^=5^ g-g --^^ £^ ^.^ §"S ^ a S^S o'S » ^,^^^ g 3 2 o 5 Sg I fe § i S t: ::-s J o g .|^^g^^^5tl2 > S-^^Ss^-S^^C'l-'S-wcoSKajOco'^^rq'Saacs^-jt:^ - _.,ir-< . - 2 c— a « ».t^ e-S' 38 THE FRENCH SYSTEM OF CUTTING. LESSON THE THIRTIETH. FRENCH SYSTEM-FIRST LESSON. The first part of this book explains the Englisli System of drafting and cutting by measure. We have now to explain the French System of ciitting. We will begin at the beginning, and try to explain in detail, so that no one, not even the most inexperienced, need fear a failure. The French dressmaker, before starting business, procures for herself a complete set of plain waist patterns. These patterns must be exact ; they must be perfect. They are all she wants, and all she requires. She makes these patterns a study, until she masters every detail, and can handle each and every size with perfect freedom and confidence. From these she is able to cut anything and everything, and such cntting and fitting is seldom seen outside of Paris, except by those who use the same system, and handle it with the same skill. It is a knowledge of how to use these patterns that we are now about to describe, and in which consists the French System of cutting. FIRST STEP IN CUTTING- A BASQUE. You are supposed to be provided with a complete set of plain waist patterns in all sizes. To cut a Basque, take the measure as directed ; select a waist pattern to correspond to the bust measure, that is the measure above the l)ust. From this pattern cut another ; or, rather, draw it out on paper, as seen in Fig. No. 1. Place the back and front together, and mark with a pencil all round the edge of the pattern ; but do not allow the seam under. the arm to appear on the paper; all that is to be seen is simply the pencil mark round the edge and darts. THE FRENCH SYSTEM OF CUTTING. 39 LESSON THE THIRTIETH.-Continned. SECOND STEP IN CUTTING A BASQUE. When the pattern is marked out on paper as described in Fig. 1, cut the pattern in four pieces, 2, 3, 4 and 5, as seen above. These pieces are to be cut with some degree of taste. The side seam on the back may be cut by a guide. The width of each piece at the waist is a matter of taste and fashion. It is better to keep as near as possible to the above diagram, or until you have more experience, and can change the position of any seam with safety. Before cutting the pattern, get the exact length of back and front, and size round the waist, so that no alterations will require to be made in the pattern hereafter. If the pattern is too long or too short in the back or front, lengthen or shorten as the case may be. If too small or too large round the waist, add or diminish at the darts and the two front seams under the arm ; that is, cut this pattern exact to the measure, as it is intended to fit. 40 THE FRENCH SYSTEM OF CUTTING. LESSON THE THIRTIETH.-Continned. THIRD STEP IN CUTTING A BASQUE. When the waist pattern has been cut and separated into four pieces as described on page 39, place each separate piece, A, B, C, D, as seen above, on a large sheet of paper, and mark with a pencil all round the edge, when so marked remove the pattern, and add to the waist the length of skirt required. Care should be taken to make the waist the proper length and shape. If you have any difficulty in giving the right shape to the skirt, take a rule, or straight edge, and draw the straight lines as seen above .on diagrams A and B, draw a line from H to rt. If you wish more spring, draw the Hue from J to G ; if still more spring is wanted, draw the line from K to G. The size and shape of the darts should be in proportion to the size and shape of the person to be fitted ; for a well proportioned figure the width in front should be as follows : at W, U inches, at X, U inches, at Y. f and at Z, 3 inches. For the width near the bottom at 3, 3, 5, 7, 9 and 13, (see pages 30 and 31.) Until you have experience, you should practice and cut from paper only. When you have experience, cut the lining which should be of white or light colored material. Caution.— In cutting the lining, you must allow for seams and laps everywhere, except round the arm-holes. To find the spring at 7 and 8, draw a straight line from F to O and from S to N. Continued on page 51. [Page 40. THE FRENCH SYSTEM OF CUTTING. 41 LESSON THE THIRTIETH -Continued. THIRD STEP IN CUTTING A BASQUE. The back and side pieces D and C as shown above are to be cut in the same manner as the front pieces A and B. Draw a straight line from Q to K, this will give the proper spring to the skirt, the line at 10 may be drawn without a guide as it is almost straight. The line from P to T will give the spring for the back skirt, and the lines from U to V the spring for the side. You will observe that Q is placed below F about one- (juarter of the whole length between F and E, and U is placed above T about one-quarter of the distance between T and M. It will be well to remember these points. It requires time and experience to cut a Basque perfectly. Ever remember, that practice makes perfect, it may take three hours to cut the first, two hours to cut the second, one hour to cut the third, and so on until you can cut a Basque in ten minutes. Let your first efforts be with good figures and plain Basques. Any shape or style of Basque can be cut from the plain waist ijattern. Continued on page 51. rpao-e 41 42 THE FRENCH SYSTEM OF CUTTING. LESSON THE THIRTY-FIRST. POLONAISE, WITH SEAMS RUNNING TO THE ARM-HOL,E. The Polonaise is cut, in every way, the same- as a Basque ; the skirt is made larger and wider, as the draping may require. The dotted lines (), P, Q and R, are a continuation of the skirts of the Basque ; the figures 1 to 8 correspond with the figures on the guides ; these seams are drawn by the guides the same as in cutting a Basque. For explanations see pages 40 and 41. The front and side piece A and B, represented above, are parts of the plain waist pattern from which the Polonaise is cut. THE FRENCH SYSTEM OF CUTTING. 4y LESSON THE THIRTY-FIRST.-Contimied. POLONAISE, WITH SEAMS RUNNING TO THE ARM-HOLE. The back and side piece for Polonaise is cut the same as for a Basque. The dotted lines T, U, Y, W, are a continuation of the Basque lines ; the figures 9, 10, 11 and 12, correspond to the figures in the guides. For explanations see pages 41 and 42. The two pieces D and C, are parts of the plain waist pattern from which the Polonaise is cut ; simply add to the waist the length of skirt required. 44 THE FRENCH SYSTEM OF CUTTING. o THE FRENCH SYSTEM OF CUTTING. 45 M M-i a? tH OJ ^ 11 »- 1— 1 ^ O ^ b ^ oj ■4J d •4-3 d S in o V- o< d d O o ■1-3 (A .1^ CE 05 >-* cS aj tM d -4^ d M ^ •*j "o 2 d o 2 B 'to ^ 4^ 11 -t^ c: pj 0) C8 «j=; 0) 4^ Ol a ^3 o c^ -^ ^ 0) <^ t— 1 S 03 ^ ^ W •5'^ bcdoj-r-^^'^^j.-^i'^'^^- ^dgfes^j-^§||g:l'-'^fes eL,oT3a-ddcsP >p-,,nis.t;pcscs^ h^ -. -*J >-l "- ™ d >^ i ^ H a; ^ .2 3 ^i-sjlia^^. i-s ^-^J^ g2 T3S?oodS^i2a^^g .22 -li (D ^ > -t-» CJ f/J d) 4-J .^ cd oj t- "^ ■ o d . ." ^ -3 I I -_ =1 I ■? I ^ ^ = •." ^ ^ r •■« CI o3 aj Ol fO j: o cS a o 2ddpH"S^=S-ea;^.-S^'-''S o^tu jhh^ 23 8 $?'^ d"9 >d a> d 2 ^..^d-^-jq I - -2 -s I s aj I I ^ o ^ I ;g I I ^ I I I - :! I : ^ i M s I i ^ .» Cb.2<»d-5o'«S-=^2^°tn£2 -^=s^2^ao«^g«2^S«s SSi2P«"d»i§.S'2'i«'^ •— ' fc« ^ 1-^ '^ '"^ ?3 .si 03 1h r^ S O rH p CJ -*J (Si d X o O) o ^ H t. 46 THE FRENCH SYSTEM OF CUTTING. No. 1. No 2. CUT-AWAY JACKET OR COAT. Tlie above engravings, Nos. 1 and 2, represent two different styles of the Cut-away Jacket or Coat for Ladies. The left hand figure represents a vest which is worn separately with these coats. There is no garment worn by ladies that is more difficult to fit or make than this style of jacket. Wlien cut, fitted, and made properly, they are becoming and stylisii ; otherwise they are a mortification to the wearer, and a disgrace to the maker. When made from heavy material, sucli as beaver cloth, tliey should be cut and made by a tailor or man dressmaker. To cut this garment, use the basque pattern, as rei)resented on pages iO and -il. Cut the waist 1^ inches longer than you would for an ordinary basque. Give exti'a spring to the seams below the waist. These coats are usually cut with one dart in front, and one seam under the arm ; the side seam should run to the armhole and not to the shoulder seam. Cut the skirt as represented above. The vest which is worn under the coat is cut the .same as a basque, without sleeves. The back of the vest is made from cambric or silesia. If you are a beginner, the best instruction we can give you is not to cut or attempt to make these coats until you have an experience that will warrant you to do so. Fig. 1 represents a single-breasted jacket. To make this double-breasted, add to the front about two inches, as seen on fig. 2. The dotted line D, on fig. 1, shows where the skirt may be cut or turned in to show the vest. A pleat should be made in the skirt at C ; this part should be held a quarter of an inch full on the back ; the seams at A and B should be stretched fully half an inch. For making and sewing the seams see directions on page 36. THE FRENCH SYSTEM OF CUTTING. 47 In dressmaking , as in all other branches of sewing, it is important that particular attention is paid to the selection of thread. Jfever use what is called cheap thread, not even for basting ; the best is the cheapest. Use a six-cord soft-finish thread for basting and sewing. We use Clark's 0. JV. T. Spool Cotton for all purposes. We consider it superior for dress- making. The beautiful shades in all the neiv colors, as well as the white and black, are for sale at all the stores, so that dressmakers and others will have no difficulty in findiny it. The letters, 0. JV. T. are printed on the end of each spool. We write this article without the knowledge or consent of the pro- prietor, and believe all dressmakers using the 0. JV. T. will endorse our recommendation. 48 THE FRENCH SYSTEM OF CUTTING. W H t) O I H w W |zi O m pq THE FRKNCII SYSTEM OP CUTTING AM) FITTIN(K 49 THE SLEEYE.— Continued. Fig. a— FREiSrCH SLEEVE The French sleeve is to be used only in tight-fitting body garments, siuli as Basques, Polonaise, etc. Begin- ners should not atlenipt to use this sleeve until they are well advanced in cutting. The under part of the sleeve IS cut narrow so that the back seam will come directly under the arm ; the upper part is cut nearly two inches longer on the back seam than the under part ; this is fulled in at the elbow between the notches. When this sleeve is jn'operly made it will fit like a glove on the arm, tight and smooth from top to bottom. The fullness should be exactly at the point of the elbow. The top of the sleeve should be cut less than two inches larger than the arm-hole, and held full on the most rounding part. We furnish three patterns for this sleeve. They are cut fcr small, medium, and large sizes ; each pattern is in two pieces, under and upper part. To make this sleeve larger or smaller add or diminish equally at the front and back arm seam, the shape of the arm and size of the arm-hole is the guide for the size of the sleeve. The top of the sleeve should not be altered. See Fig. A. page 48 ; also see Note A, page id. Pig. 25.— ENGLISH SLEEVE. Fig. 25 illustrates the English sleeve. This sleeve should be used tor all kinds of tight body garments, such as Polonaise, Basques, etc. The top should be cut two inches larger than the arm-hole ; the fullness should be gathered between the stars ; the double row of stars show where the most fullness should be placed. If the sleeve is too full, lay a small jileat under the arm at il. It is better, however, to cut the sleeve the e.xact size wanted. To make a tight sleeve measure the arm at D and E ; cut the sleeve one inch w-ider than a tight measure ; should the sleeve wrinkle across the arm, between C and D, it is caused by the point at C being too high or too low in the arm-hole, or the toi), at N, is not rounding enough. That part of the sleeve at O P Q .sliould be sewed quite plain. The sleeve should be cut so that the elbow will be exactly in the right place. In all tight fitting sleeves the space between P & C should be stretched about one-half an inch. We furnish three liatterns of this sleeve for small, medium and large sizes. The sleeve can be made larger or smaller by adding or diminishing at the l)ack and front seams ; the top or rounding part should not be altered. See Fig. 25, page 48. Fig. 24.— PLAIN SLEEVE. The plain sleeve, as illustrated by Fig. 24. should be used for Sacks, Cloaks, Ulsters, and all kinds of heavy outside garments. The sleeve at the top should be cut two inches larger than the arm-hole, and gathered or sewed full between the stars ; most of the fullness should be placed between the double row of stars. The sleeve at .7 and K should be sewed quite pilain. If the sleeve is too large for the armhole, lay a pleat in the under sleeve at L. We fui-nish three sleeve patterns of this sleeve, for small, medium and large sizes. If a larger or smaller sleeve is wanted, enlarge or diminish the size eijually, back and front. Do not alter the toji. Care should be taken to cut the sleeve the exact size wanted for the ■ivm-hole. See Fig. 24, page 48. THE SLEEVE. How often do we see the entire dress disfigured by a baggy or strained sleeve ; and the owner is continually reminded of its faults by discomfort in wearing. There is not one dres.smaker in ten, probably not one in twenty, that understands cutting, making, fitting, and sewing in a sleeve proi)erly. This defect is largely attributed to the use of one sleeve pattern for all kinds of garments. If the garment is made from heavy material, very little fullness will be required on the top of the sleeve. Cash- mere and alapaca require more fullness at the top than silk, and beaver cloth least of all. If there is any one thing in dre.s.smakiug in which the French excel, it "is in fitting the sleeve, and much of their success la_ys in pre- paring the sleeve for the arm-hole, and the arm-hole for the sleeve. DIRECTIONS. Cut three sleeve patterns, small, medium and large for each style of sleeve you want to use ; from each of the patterns cut a cloth model, sew the seams and mark the size on each model to correspond with the pattern from which it was cut, the models should be cut from light colored selica or soft bleached muslin ; th3se are called sleeve models. To fit the sleeve, select a sleeve model to correspond in size to the bust measure ; fit the sleeve on the arm, pin the top of sleeve to the model waist lining, place the pins an inch apart ; raise the arm, bend it forward ; if the sleeve draws at the elbow or across the top, change the position of the sleeve until it fits perfectly. Cut a notch in the arm-hole of the model waist exactly where each seam of the sleeve is placed ; also, cut two notches on the top to show where the fullness is to be placed. If the sleeve is too wide, pin to the size wanted — see that the elbow is in the right place. The sleeve should be cut the same as the model waist , transfer the impression to the lining. See page 52. In fitting a Polonaise, Basque, or any tight-fitting garment, use the French or English sleeve. In fitting a Sack, Cloak, or Ulster, use sleeve jxittern fig. 24. The fitting, making, and sewing in the sleeve is one of the most difficult tasks a dressmaker has to contend with, not when she sews it in herself, but when entrusted to inexperienced bauds. The sleeve should be prepared for the arm-hole, and the arm-hole for the sleeve. Cut the lining for the sleeve exactly like the outside, taking care that you do not cut two pieces for the same arm. Baste the pieces together, stitch them up and overcast the seams. For wash goods a neater way and one in which seams are hidden altogether, is this : Baste the lining, under and upper together, and the outside, under and upper together. Then baste the two parts, lining and outside together. When the seams are sewed, turn the sleeve, and everything is finished, inside and out. When dresses are cut very high on the shoulder, the top of a sleeve must be very rounding to correspond, and care is required in putting it in. Lay the sleeve so that the most rounding part comes directly on the top of the shoulder, and sew it in full across the top without gathering. This will prevent a strain across the arm, which is exceedingly uncomfortable as well as inelegant. It it is necessary to cut anything from the length of the shoulder, that same amount must be added to the top of the sleeve, making it more rounding. Wrinkles across the top of the sleeve or in front, are caused either by the top not being roimding enough, or the seam at the front of the arm is too low or too high. This will be remedied in fitting the model sleeve, which cannot be done in any other wa}', except by fitting the sleeve itself. The French sleeve should be made and fitted with great care. The fullness at the elbow should be gathered evenly between the notches and the point of the elbow, exactly at the centre of the fullness. The fullness at the top sliould be the same as in the English sleeve. If you can afford the expense cut the model sleeves from silk or some soft material that will yield to the movement of the arm. The sleeve should be finished before it is sewed in, overcast the top lining and material together, stitches four to the inch, gather the top or rounding part for the fullness, with short stitches, say eight to the inch, the top of the sleeve when gathered should be the exact size of the arm-hole. It is always safer to fit the sleeve to the arm before it is sewed in, it is not necessary to fit it on the person for whom it is made — select any person near to the size. All that is necessary in this "fitting is to get the fullness in tlie proper place ; with more experience this fitting will not be necessary. Note A. — If the arm is small, thin, or boney, an inter-lining should be made for the sleeve, and one or two thicknesses of wadding placed between it and the lining ; the wadding should be tacked with stitches an inch apart. If an inter-lining is not wanted the wadding may be tacked on the lining. The French sleeve should be used only for a fat, plump, round arm. Note B. — We furnish with this lesson nine sleeve patterns as described above ; these are intended for model patterns, to be used in cutting the various styles ; with a little experience you will be able to change the sleeve to suit any particular shai)e. 50 THE FRENCH SYSTEM OF CUTTING AND FITTING. LOOPING. In the proper looping of the surplus length and fullness in the overskirts, polonaises, and draper}' of trained skirts, consists the grace and beauty of dresses, and in no part of a dress is the master hand more perceptible than here. Yet, it is not possible to give more than a few general directions on this subject, for it all depends on the artistic perception of the dressmaker, of what is fit and what is graceful. To the beginner we would advise, that she get a lay figure and provide herself with about two yards in length and one and a half in width, of some soft and pliable material, merino, for instance, or even common cheese cloth, which, however, must be washed so as to render it soft, tliat it may fall into perfectly graceful folds, and then adjust the upper part of this to the waist of the figure in so many pleats as would be necessar}' if it were tlie back part of an overskirt. Then let her take a reliable fashion book, and a p.aper of jiins, and cliosing a simply drajied skirt as a model, proceed to loop tlie skirt into the same folds. She will not be apt to succeed at the first trial, nor for many more, but at last she will have looped her drapery like the model. After three or four successes of this kind she will have learned what nothing but experience could teach her. If at any time she should feel weary or nervous over her lack of success, let her leave oS at once for the day and work at something else, and try again, when rested, and again till success crowns her efforts. The looping of all drapery is on the same general principles, and if one possesses taste and an artistic eye for the harmonies, and perseverance to practice and learn, that person is on the sure road to success. There is no limit to the different effects that can lie ]iroduced by changes in the looping of dresses. As a rule, the simpler the draping the more graceful the effect. WHALEBONES. On the careful usage of whalebone depends much of the fit and grace of a waist ; every garment that is close-fitting needs whalebones in every seam except th<' two side seams that are next the middle of the back. To be jierfect, the bones should be of the best(|uahty, flexilile and straight. They should be about eight inches long and both ends sliould be rounded and scraped down to the thickness of a knife blade, otherwise they will show on the outside of the waist. The middle should be thick. If not thick enough two may be placed together and well fastened by winding them with tliread. Tlie casings are best when made of two jiieces of tape sewed together and the bone run inside. The ends of the tapes can be then tiu'ned over and the needle passed througli Die ends of the bones and tape .several times, after wliich the ta|ied bones can be sewed to the seams which should be laid open, taking about six or eight si itches to the inch. This is both a saving of labor and a great advantage in the fit and stabilit}' of the waist. The I'cason of jjaring the bones at the ends is to render them supple where tliey should be, and to throw all llie force to the waist line wliere all the strain comes, and no dressmaker will need to be lold twice to comprehend its advantages. The bones should extend five inches above the waist, and three inches below the waist ; the bone in centre of b.-ick should be three thick- nesses at the waist, and gradually taper off Id nothing, five inches above and three inches below the waist ; for sto\it jKTSons all the whalebones at the waist should be three thicknesses, tapering off to nothing at both ends. SKIRTS. There are four styles of skirts in common use, the Walking Skirt, the Demi-Train Skirt, the Train Skirt, and the Court Train Skirt. The Walking Skirt is made short. Tlie front will touch the instep, tlie back just clears the gi'ouud. The Demi-Train Skirt just escapes the ground in front. The back has a train from tliive to six ineiies. The Train Skirt just clears the ground in front, while the back has a train varying in length from twelve to thirty inches. The Court Train Skirt. — The front touches the instep or is short enough to show the embroidered shoe. The train is either scpiare or fan shaped, extending sixty inches on the ground. The Walking Skirt is cut in four pieces, one front, and one back widlli, and two side pieces. These should be sloped at the top to give a rounding fullness over the hips. Where the lady is corpulent a v should be taken out of the two side pieces at the top and the front widths cut rounding at the top. The Demi-Train Skirt should be cut in six pieces, one front and one back width, and four side pieces. Each gore or side piece should be sloped at the top .so as to throw the fullness over the hips. If the person is .slim two side pieces will answer instead of four. The Train Skirt should invariably be cut with si.x pieces, one front, one back width, and four side pieces. These should be slooped at the top and each width should grow wider as tliey extend towards the liottom. The train of a skirt when cut in four widllis is liable to have the train roll instead of spreading as a train should. The width of skirt at the bottom should be as follows : Walking Skii't, 90 inches. Demi-Train, 110 inches. Train, 140 inches. One cause of ill-fitting Train and Demi-Train skirts is in having two side pieces instead of four. In plain, well-iiroportioned figures the top of front and side widths should be cut straight across. In stout or corpulent ones the to|i of fnjnt widths should l)e rounded so as to allow the skirt to hang gracefully in front. In the cutting of the skirt of a dress there are certain principles from which one cannot deviate without destroy- ing the beauty of the entire garment, and tliough they are so simple it is jilain that they are not understood by the majority of dressmakers. DOLMANS. .V Dolman is at once the most graceful and stylish of "\\'raps, and the most difficult to make, and our advice to lieginners would be to let Dolmans alone, but as they will be'called upon to both cut and make them, we can only give a word of caution upon the points requiring the most attention. Dolmans belong to that class of out-door garments which come under" the head of Wraps. To fit perfectly they should hang lightly from the shoulders, delicately defining the outline'of the figure. The most difficult part of' fitting a Dolman is the sleeve. A slight variation in the putting in of the sleeve will make a material change in the ajipearance of the garment. To insuri' a perfect fit, the dressmaker should procure the most reliable pattern first, then cut a muslin pattern by this, baste it together and fit it on. The sleeves should fall gracefully without a wrinkle. The hand should then be raised ujiward even with the waist, and if the sleeve draws upon the forearni or forms a wrinkle, it is because the sleeve is tio long between the forearm and the shoulder. To remedv this,"a pleat should be taken up in the sleeve from front to back, half way between elbow and shoulder, and deep enough to allow the sleeve to hang perfectly easy on the arm ; tlie pleat should be fastened with pins ; the sleeve .should then be ripped out, leaving the pins still in the pleat ; a new sleeve pattern should be cut from the muslm sleeve. On no account must the top of the sleeve be changed. When the Dolman is made and before the sleeves are .sewn in, the garment should be fitted on and tb<' sleeves pinned to the arm-hole in order to get the full- ness into its proper place. The cutting of muslin patterns to try on first, is a mode that is in use in the finest dressmaking establi-shnient in iMirope, and has peculiar advantages, and ladies who really wish to .succeed in making a perfect Dolman need not begrudge the time, for while the Bazar Patterns are reliable, paper iiatterns cannot be basted, and it is not safe to cut into the material at once, for no two persons are formed exactly alike, hence the necessity for the extreme care. THE FRENCH SYSTEM OF CUTTING AND FFi'TING. 51 FRENCH SYSTEM OF CUTTING. The above diagram illustrates the French system of cutting, which is now in use by the best dressmakers in Europe, and by nearly every man dressmaker in the United States. It is to this .system of cutting that sucli men as Worth, Moschcowitz, Pingot and others owe m\ich of their success. DrnECTioxs. — Select a plain waist pattern the size wanted according to bust measure — when we speak of the size of a pattern we refer to the bust measure only — place the back and front together as seen on page 38. Cut the whole in four pieces as seen on page 39, separate each piece as seen above. The width of each piece at /, A", and L should be exactly the same. The diagram represents bust measure 34 and waist measure 22A. If you will add together all the figures at M, 0, J. K. L. and Q they will sum up Hi iuches or one-half the waist measure. The width of back at Q is a matter of taste : the prevailing fashion at this date of writing is to make the back the same width as the side piece and piece under the arm. All the straight lines running to R indicate the spring for tlie skirt, see pages 40 and 41 ; these lines are by no means perfect, they are simply a guide that with practice and experience mav be brought to great perfection, but never absolutely safe. The points at C, I), E, F, G. and 77, simplv indicate the place of beginning. The lines at W should be drawn with a straight rule, after which give shape and form as seen on page 52. The curved lines for the back and side piece X X should be drawn by the guide A ; different curves may be given to the side seam by placing the guide at differe'nt angles. The darts may be drawn by the guide B : these also may be changed by altering the curve of the guide. It is customary with all good cutters to cut a paper pattern for every garnicnl : tins is done to save material and to keep the pattern for fulsu-e use. The directions here given are for cutting the model pattern only. 52 THE FRENCH SYSTEM OF CUTTING AND FITTING. mODEL PATTER!>r, MODEL PATTERNS. With this page we commence tlie first pr.aetical lesson in the Frencli System of Cutting and Fitting. If you understand all that we have explained in the foregoing pages, you will have no difficulty in understanding all that is to follow. The above diagram is a continuation of page .51. It represents a basque pattern complete and ready for use. It is called a model jiattern, for by it the Basque, the Polonaise, the Princess Dress, the Wrapper, the Sacque, etc., are cut. The letters and stars on the diagram indicate the different parts requiring special care in basting. The following description of treating the waist to avoid wrinkles, is given to us by a French modest, a man of world-renowned fame in the art of dressmaking: Directions. — All the seams marked x x x x x on the above diagram are to be stretched as follows ; The dart seam at C stretch one-half an inch ; this is to prevent wrinkles in front at the waist. The dart seam at D stretch three-quarters of an inch, this is to prevent wrinkles at the waist between D and K. The side seam at E stretch one-half an inch ; this is to prevent wrinkles at the waist under the arm. The side seam at F stretch one-half an inch ; this is to prevent wrinkles at F. The arm-hole at .7 stretch until it turns over ; this is to prevent wrinkles or creases in front of the arm-hole. If the sleeve is tight- fitting it should be stretched at this place also from one- half to three-quarters of an inch ; this is to prevent wrinkles on the sleeve which are usually found at or near the front. Speci.\l Directio.ns.— The side seam at G should be held one-eighth of an inch full on the side piece lietween the .....''. The shoulder scam at // should be hel3 one-half an inch full on the front between the The sleeve should be sewed in full at K between the Caution. — Great care should be taken not to stretch the arm-hole between the points at www; at each place marked w, the sleeve should be sewed in perfectly plain. The waist lining should be cut one-half an inch longer at the bottom than the outside, this should be fulled in or scattered at the waist a little above and below the waist line ; this is to prevent wrinkles at the waist. Wrinkles in front just above the waist are caused by either too much cut out of the darts, or the garment is too tight in front ; to ascertain the cause, unbutton the waist from the point where wrinkles commence, to six or eight inches below the waist. If the wrinkles entirely disappear when the dress is open, the remedy is too add one inch more or less at B. In adding to the front at B, care must be taken to give the darts the proper shape. See page 21. If care is taken with the model waist in fitting, there will be no wrinkles in front except what may arise from the natural movement of the body. It is always safe to allow an extra inch in front at B. We furnish with this lesson free of charge a complete set of basque patterns same as the above in the following sizes, 33. 34, 301, 38, 40, 43 and 44 inches bust measure. These jiatterns are intended for practical use. We call these model patterns, as they are intended to cut the cloth models as described on page 53. From these patterns almost any style of garment may be cut. It is better for all who use the System to cut their own patterns ; those who have not the time to spend in drafting, can use these patterns with safety. THE FUEiNClL SYSTEM OF CUTTING ASU FITTING. THE FRENCH SYSTEM OF FITTING. There is an undefinablc something in the appearance iif ii ganneut made by a man dressmaker. The cut, the tit, tlie make-up and everj'tliing about tlie (U'ess impresses you vvitli its superior workmansliip. Wliat is it V we have asked tliis question over and over again. Is it iu the material V not that alone. Is it in the cutting ? not that alone. Is it in the fitting V not that alone. Is it in the making ? not that alone. Is it in the basting ? not that alone. What is it ? let the man dressmaker answer. " It is in all these details comliined, and strict attention to the little things, such as women generally orerlook. It is skilled labor combined with good judgment." For many years the use of the French System of fitting was confined to a few first-class houses in Paris, London and New York. It is now ad(5pted by most of the leading dressmakers in Europe, and ))y mercliants who carry on dressmaking iu connection with their other business, the percentage saved in time and material by the use of this system being in itself a handsome profit. In addition to this, there are many who excel in trimming, draping, and in giving to a dress an air of style, yet poor fitters, who could not sustain their position a clay were it not for this .system. If you have ever sojourned in Paris, you could not fail to have noticed the beautiful fitting dresses everywhere to be seen in that charming city. In Paris, dressmakers fit dresses in tlie same way tliat glove-makers fit gloves. The lady is fitted but the dress is seldom tried on until it is sent home complete. Trying on is unnecessary, as the impression or shape of the lady is taken just the same as the glove-maker takes the impression or shape of the hand. The system thus used by the French dressmakers, is called the French Glove-Fitting System, it should be called the "Moscow system," for Mr. M. S. Jloschcowitz, the cele- brated Hungarian dressmaker, is the inventor, and intro- duced the system in Paris twelve years ago ; see testi- monial on page 3. It is estimated that 30 per cent, ij .saved iu time, and 10 per cent, m material, by the use of the system ; but this is nothing compared to the satisfaction of being able to cut a dress, make it up, and send it home without refitting, and feel assured that the customer will be pleased with the fit of the dress. As we have stated elsewhere, the French dressmaker is provided with a complete set of Basque patterns — these are all they have and all they require — this set of patterns must be complete, and must be perfect, that is, one of every size from the smallest to the largest. They make these patterns a study until they master every detail, and know how to handle each and every size perfectly. With these patterns they are able to cut anything and everj'thing, and such cutting and fitting is seldom seen outside of Paris, except by those who use the same system, and handle it with the same skill. To use these patterns as the French use them wnulil appear, at first sight, to be troublesome and expensive, but such is not the case, as we shall now explain. DrRECTiON. — Prepare a full set of plain basque pat- terns, such as we describe on page 53, from these cut a set of cloth models froni common but good bleached muslin. These models should be sewed up ready for trying on. See page .54. JIark the size on each model to correspond with the pattern from which it was cut. When a lad}' calls to be fitted take the bust measure only, select a cloth model, to corresiwnd in size to the bust measure, fit on this model under the dress, fasten the front with pins an inch ajiart, when the fi-ont is properly secured examine carefully every part_;that may require alteration, pin the parts to be altered until you have the model to fit as perfect as you want the dress to fit, this is wliat the French call taking the impression, and as the Impression is taken so the garment will be when finished. After the model waist is fitted, it should be removed with all the pins in it. The impression or shape given to the model waist should now be transferred to the lining. Transfer the Impression. — Rip all the .seams of the model waist apart without stretching, first crease the edge of the model waist as close to the seam or basting stitches as possible witli both hands, between the forefinger and tluimb. If alterations are made, crease exactly where the pins are placed to indicate the alterations ; take each piece of the model waist separatelj', beginning with the front, spread it on a table over two thicknesses of lining ; it must be spread quite smooth, fasten all round the edge of the model, outside of the crease or seams, this is done with pins, which shovdd be driven through the model and lining into the pine table, the pins should be placed two or three inches apart, or close enough to hold the lining and model firmly and smoothly, when this is done, mark or pierce through the lining all round the edge, exactly in the crease, say, less than an inch apart, with the point of shears, or some sharp instrument, pierce so that the marks will show distinctly through both .sides of the lining. The back and all other pieces belonging to the model waist should be treated in the same way, remove the pins and cut the lining, allow for seams and laps everywhere, except round the aim-hole. If the model waist is iirojierly fitted, and the impression correctly transferred to the lining, there will be no need of refitting or trying on. In Moschcowitz's dressmaking establishment iu New York, they rip the shoulder se.am and dart seams only, and use a tracing wheel instead of a pointed instrument, they do not crease the seam but run the tracing wheel close to the seam over the stitches; this is a much quicker way, but requires more care and skill to accomplish the work. Special Motiec. — Your success as a fitter will depend on three things. First; the manner of taking the impression. Second : the manner of transferring the impression, and Third : the manner of basting. Yon may possess all knowledge in regard to dressmaking, }'ou may have worked at the business for twenty _years, but if you fail in any one of these particulars, you fail as a fitter. Where a large business is done it is customary to have sis to ten model waists of each size constantly on hand ready for use. When a waist is fitted the name of the customer and the date of fitting is marked on the model waist ; it is then laid aside until wanted. So perfect should the fitting be done, that a tliird person may take the model waist and cut a drc.'ss from it as perfect as the person who fit it. A model waist should be used for one fitting only. After it is u.sed, it should be kept for future use. The average cost of the muslin used in a model is seven cents ; this is a small outlay for so great a saving. Note A. — In fitting over a full bust, lay a small pleat in the front edge of the lining, just above the darts, this will give more width above the bust and keep the front edge straight. See pages 33 and 33. Note B. — The French dressmakers cut a paper pattern for every piece and part of any dress or garment they make, this is done to save material, and it pays well for those who will take the time and trouble to do so. We fiu'nish pa|ier for cutting ]>atterns. See last page. Note t'. — No matter how well you may understand the cutting and fitting, if you fail in basting your labor will be in vain. The forty lessons given iu this book are all of more or less importance to every dressmaker, but those on basting and how to avoid wrinkles are among the most important. No matter how well the model may be fitted if the waist is poorly basted the result will be a failure. Note D. — A good fitter can take from thirty to forty measures or impressions in one day. A good cutter can cut a Basque in twenty minutes and Polonaise in thirty minutes. At first you may take two hours to a Basque and four hours to a Polonaise. Practice makes perfect. Note E. — In taking the measure or impression it is important that the person to be fitted wear the same corset and underg.arments wlien fitted, that is to be worn after the garment is made, as a thick flannel undergarment, or an ill-shaped corset will make quite a difference in the appearance and fit of the dress ; as the model waist is fitted, so the dress will be when finished. Note F. — Dressmakers doing only a small business should keep constantly on hand a model waist lining for every size, to be ready for immediate use. Sizes 34, 36 and 38 will be most iu demand, and should be iu duplicates. 54 THE l-'liEAUlI SYSTExM oF Cl'TTLXC AXJ) ET'rTI\(i. I-ig. I Pis. 2, FITTING THE MODEL WAIST BY THE FRENCH SYSTEM. TAK1.\(; TilE I.Ml'KESSIUN. Tuking the measurp or impression forms an important l)art in tlie Freneli system. If tlic followiiij; directions are strictl_y adhered lo, you will liave no difficulty in cutting and titling |>erlreily witlumt tlie necessity of refitting. We will .suppose that you arc provided with a coinplcte .set of plain bas4, the waist measure should be 24, but as ladies are not all well-proportioned, it is necessarj' to give some directions that will govern these measures, ancl show the alterations to I)e made for a large waist. DiKEcrroN.— When the waist measure is ten inches less than the bust measure, the basque or polonaise may be cut with one piece under the ai'm, the same as model pattern on page .52. When the waist measure is only si.x or eight inches less than the bust measure, the basque or polonaise shoidd be c\it with two pieces under the arm instead of one; the above figure, 17T.5, shows a basque cut with two jiieces under the arm, bust measure 84, waist measure 2(>. The waist not only appears smaller, but the extra piece makes a better tit and allows more spring over the hips. All the pieces from the dart seam to the centre of Ijack are the same width at the waist. Any basque pattern may be cut as above, by dividing the waist from the dart seam to the centre of back into five equal parts ; give each the proper shape and spring. The above engraving, 177.5, represents a basque cut by tlie Bazar Glove-Fitting Pattern No. 1775. We have these patterns in all sizes from 32 to 44 inches bust measure. Price 25 cents for any size. WRINKLES IN THE AVAIST. The above engrnving. No. 27, represents an ill-fitting basque in front. The remedy is simple if proper care is taken when fitting the model waist by the Frencii System The wrinkles are caused by either too much taken out of the darts, or the front is too narrow. To ascertain the cause, unbutton the front from the point where wrinkles commence, to the bottom of basque ; when this is done the front will naturally fall towards the back, the basque will be too loose at the side and too tight at the front ; to remedy this add from one-half to one inch in front from A to B. and take up the surplus cloth at the side. If the basque is made up and finished the alterations can only be made at the expense of a new waist. A more simple way is to put in a vegt front, as seen above on figure 1775, when ladies are corpulent, or if the waist is large in front, these wrinkles will always appear luilcss provision is made in process of fitting. It is a safe rule to allow an extra inch in front, so as to let out if neces.sary. A little care and foretliought on the part of a cutter, will often save hours of labor. Fi(i. 1775 was cut and fitted by the French System ; the same pattern was used, but not fitted for Fig. 27, as in lioth cases the measiu-e was exactly the .same. " The French system of fitting is the only reliable method wherebv a dress can be made up with safety without re fitting. C.mttion. — Nine-tenths of all the difliculties arisiiisr from bad fitting waists in front, especially in the Polonaise, is caused by the garment being too tidit at B. From this point, or seven inches below the waist, the garment is usually cut too small, and when tirought together the strain across the hips throws fullness at the waist : open the front below the waist, and wrinkles will disappear. In stout, sliort, thick set persons it is sometimes necessary to place a whalebone in front, directly imder the buttons. As this interferes with buttoning the waist, it is seldom done. THE FRENCH SYSTE>r OF f'rT'riX(i AND I'lTTIXO. JIODEL PATTEKN FOR CHILDREN'S GARMENTS. The French System of cutting and fitting is pre- eminently tlie one by which to fit cliildren's garments ; for, as we sliall see I)}- this lesson, one model can ho used for every kind of garment, and therefore one fitting is enough for a whole wardrobe. Tlie manner of fitting children is precisely the same as that of fittnig adults. We furuisli with "this lesson a complete set of patterns same as the above, in the following sizes, 2, 4, 6, 8, 10 and 13 years ; these are called model patterns for by them all kin4) and you find that the garment contains 19 yards of material ; add .5 per cent.7or one yard in 30 for waste, and you arrive at the result, namely, that the garment requires 30 yards. Bows and small bias pieces must be calcidated as near as jiossible. This is the French rule by which, with a little practice you can come within a fraction of the exact measurement. THE ENGLISH RULE. The English Rule to ascertain the quantity of material in a garment after it is made up : Find the widtli of the material used in tlie make up of the garment. If it is 34 inches wide, cut a piece of paper or muslin 34x:i(j inches, or equal to the size of a yard of the material. Then measure the garment, jjiece by piece, and mark off on the pajier or muslin a space e(iual to the size and shape of each portion of the garment. AVhen every part has been thus measured, add 7i per cent, for waste. If you can have your paper or muslin from 2 to 3 yards long it will great_y facilitate the work of mea.surement. If you prefer, you can mark a space 34x30 inches on a table, and u.se instead of the paper or muslin. This is the English rule, and it is astonisliing how correctly the quantity can be ascertained in the most complicated garment. The time required to measure by the French rule is fifteen minutes, and by the English rule twenty minutes. Jlerchanls will find the above rules very convenient in finding the cost of ready made garments. TASTE. Taste is the key-note to all successful dressmaking. With taste, it is possible for you to stand on the pinnacle of fame ; without it you must remain at the foot of the ladder. Taste, like an instinct for art, is something to be systematically cultivated before it can amount to anything more than an impulsive and short-lived liking for whatever may momentarily please the eye. As a natural gift, left to take its natural course, it is an assertion in one moment to be conlradicled in the next. Taste must take lessons, to grow into anything worthy the name ; it must study the laws of consistency, master the unities of color, comprehend the effects of stature, familiarize itself with the subtle niceties of light and shade, and appreciate the dilTerence between abstract beauty and personal suitable- ness. With a taste that is so cultivated, a dressmaker may dictate terms to the leaders of fashion, command the attention of the public, and the respect of customers. It is a very common thing to say that such or such a lady dresses with taste, when the said lady has, in realitj', no taste at all. What is called ta.ste is, in" fact, the caprice of her dressmaker, and the praises of those friends who have told her that certain articles are "'so becoming." Her outward attire is simply an expression of her entire submission to the dictation of others. Taste in dress can scarcely lead its possessor astray, and is, indeed a moral guide. It is full of reminders and admonitions ; nor can a woman dress herself in perfect taste without a distinct knowledge of lier personal defects. A hundred fashions are pretty and charming in themselves ; but she knows they are not for her and resists them. They are forbidden by something in figure, complexion, station or age. Passion for "ilress is' profuse and extravagant ; taste in dress is not in its elaborate richness or expense, but in its adaptation. Taste in dress is essentially moderate and self-collected, never forgetting that the object of dress is not to exhibit itself, but its wearer ; that all that the most splendid toilet has to do is to set off a noble, graceful and winning presence, and itself to be lost in a pleasing effect. Pa.ssion for (h'ess is always intent on what others will think — or takini; some new eye by storm ; taste has self- re-^pect, and, before all things, mus"t satisfy its own notions of propriety and grace. Moschcowilz Drolhers arc considered the first dress- makers in the United States ; their business extends to all parts of the world. They have at times ninety men dressmakers in their employ besides a large corps of women. When a lady orders a dress in their establish- ment, they dictate the style, the material and the trim- ming ; their word is Law. " When the dre-ss is finished it is complete— it is admired. The secret of their success is taste— taste in material, taste in style, taste in color, taste in shade, taste in stature, taste in suitability, taste in everything thev touch. Their ideas are as far above the ordinary dressiiiaker as the school-boy is below his master. If you would be like them cultivate tbe laws of taste. To dress well is another important study for the young dressmalver. The love of dress is innate, immanent in the female heart, and it is absolutely innocent ; it is a charm and not a frailty ; is a talent and not a drawback. THE FRENCH SYSTEM OF CUTTING AND FITTING. 63 "DRESSING WELL" is quite distinct from "over-dressing," — wliicli latter is in reality, dressing hmlli/. We must insist upon its being the duty of every lady to dress as well as her means will properly permit. For, looking back through the vista of past ages, it must be born in mind that tlie love of dress was the prepartory step to tlie cultivation of the feelings, which diffused tenderness and refiuemunt throughout the whole structure of society. It placed a barrier between the progressive classes of mankind and barbarism. By serving to develope in woman a delicacy of taste, it must have imparted a puritj' to her habits that insensibly led her from too ancient a devotion to the materialities of life into tliose regions of reflecting and taste in wl.ich her mind found ample room for expansion. Therefore, "dress" has been a great civilizer, and must not be despised ; at the same lime, we do not wish to encourage an inordinate love for dress— much less should we like to be tliought advocates of "finery." But we wish our ambitious young- dressmakers to study well the happy medium which lies between extravagance and parsimony in respect to dress, and they will perceive that these extremes are as far apart and as much to be avoided as tawdriness on the one hand and slovenliness on the other. There are certain moralists in the world who labor under the impression that it is no matter what people wear or how they put on their apparel. Such people cover themselves up — they do not dress. No one doubts that the mind is more important than the body, the jewel than the setting ; and yet the virtue of the one and the brilliancy of the other is enhanced by the mode in irJu'ch they are presented to the senses. Let a woman have everv virtue under the sun — if she is slatternly, or even inappro- priate in her dress, her merits will be more than half obscured. If, being young, she is dowdy or untidy, or being old, fantastic or slovenly, her mental qualifications stand a chance of being passed over. Female lovliness never appears to so good advantage as wlien set off by simplicity of dress. A modest woman will dress modestly : the dress of a really refined and intellectual woman will bear the marks of" careful .selec- tion. It is easy to be well-dressed, without being extravagant ; and fashions do not essentially vary so often that a large outlay is required to keep pace with those changes and innovations. Dress must of course be varied to suit occasions, and to correspond with circumstances. A lady should not walk in a dress only fitted for the house : nor, if she go to market herself, should she on these occasions appear in an attire better adapted to the drawing-room. Very little jewelry should be worn in the morning : but if accompanying a walking-dress, in the afternoon, it should consist of plain gold ornaments, or those in which opaque stones are set. Brilliant stones are chiefly for the evening. A lady whose means are limited should also limit her stock of jewelry, and not make up for a deficiency of quantity by the purchase of a lot of trumpery. No watch or chain need be worn at evening parties, and never in the ball-room. When a young lady is engaged to be married she wears the "engagement ring," which her suitor lias given her, upon the same finger which in time is to wear the wedding ring ; and she should never be seen without the former during the interval until the advent of the "happy day." A lady should lever be seen in" the street without gloves ; and these should always be of the best possible fit, because she is not obliged to take off her gloves to shake hands with a friend or acquaintance. HOW LADIES SHOULD DRESS. If you should look from a window in Paris, and observe tlie first fifty women who passed, you would find forty with noses depressed in the middle, a small (juantity of dark hair and a swarthy complexion ; but then — what toilettes ! Not only suitable for the season, but the age and complexion of the wearer. How neat the feet and hands ! How well the clotiies are put on, and more than all, iiow well they suit each other ! Before the American women can dress perfectly, they must have the taste of the French, especially in color. One reason why we see colors ill-arranged is, that the different articles are purcliased each for its own imagined virtue, and without any thought what is to be worn with it. Women, while sliopping,"'buy what please the e3'e on the counter, forgetting what they have at home. That parasol is pretty, but it will kill, by its color, one dress in the buyer's wardrobe, and be unsuitable for the others. To be magnificently dressed costs monej', but to be dressed in taste is not expensive. It re(juires good taste, knowledge and refinement. Never buy an article unless it is suitable to your age, Iiabit. style, and the rest of your wardrobe. Nothing is more vulgar tlian to wear costly jewels with a common delaine, or clieap lace with expensive brocades. What colors, it may be asked, go best together V Green with violet ; cold colors with dark crimson or lilac ; pale blue with scarlet ; pink with black and white ; and gray with scarlet or pink. A cold color generally requires a warm tint to give life to it. Gray and pale blue, for instance, do not combine well, botli being cold colors. White and black are safe to wear, but the latter is not favorable to dark or pale complexions. The selection of colors suitable to the complexion is a matter that is too often neglected, as well as the contrast of h.-irmony or color, which is another point to which sufficient attention is not given. Women may be divided into two classes, the complex- ioiial distinction of which is brunette and blonde, or dark and fair. The former may be described as having black hair and dark eyes ; and the latter, light liair and blue eyes. If we take the trouble to study what colors best assort with the hair and complexion, we shall see that they are those which produce the greatest contrast ; thus, sky-blue accords well with blondes, as do also delicate greens. If, however, the red predominates over the rose in the complexion, dark green is preferable to light. Rose-red cannot be put in contrast witli even the rosiest complexions without causing them to lose some of their freshness. Maroon and light crimson liave the serious disadvantage of rendering the complexion moi-e or less green. It is necessary, then, to separate the rose from the skin in some manner ; and the simplest way of doing this is to edge the draperies with a border of tulle, which produces the effect of gray by the mixture of white tlireads, which reflect light, and the interstices, which absorb it ; tliere is also a mixture of light and shade, which recalls the effect of gray, like the effect of a casement window viewed at a great distance. " Dark red is less objectionable for certain complexions than rose-red, because, being higher than the latter, it tends to impart whiteness to them, in consequence of contrast of tone. Delicate green is, on the contrary, favorable to all fair complexions which are deficient in rose, and which may have more imparted to them without disadvantage, but it is not as favorable to complexions that are more red than rosy. Yellow imparts violet to a fair skin, and in this view it is less favorable than the delicate green. To brunettes, on the contrary, it is becoming. 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, lilue is thus suitable to most blondes. It will not, however, suit brunettes, since they have already too much of orange. Orange is too brilliant to be elegant ; it makes fair complexions blue, whitens those tliat"have an orange tint, and gives a green hue to those of a yellow tint. Lusterless whites, such as cambric muslin, assorts with a fresh complexion, of which it relieves the rose color ; but it is unsuitable to complexions which have a disagree- able tint, because white always exalts all colors by raising the 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 gr.ay than white, we must thus regard every white drapery which allows the light to pass through its interstices, and which is only apparent to the eyes liy the surface opposed to that which receives incidental light. But whatever the color or materials of the entire dre.ss the details are all in .all ; the trimming or lace around the bosom and sleeves, the flowers — in fact all that furnishes the dress. 04 THE FRENCH SYSTEM OP CUTTING AND FITTING. HOW TO TREAT THE WAIST. The following detailed description of how lo treat the waist of a dress is given by Mr. Moschcowitz of the firm of Moschcowitz Brothers, No. 399 Fifth Avenue, New York. He says: " Tlie question lias often came up wilh us : What can be done to prevent the .seams of the waist from drawing, the material from giving way, and the waist from stretching out of shape and form V From fifteen different methods of making tlie waist we have found only one thai is satisfactory to us, and which we have now adopted exclusively in our business. Description. — After the lining or model waist is fitted, that is, after tlie imjiression is taken, transfer the impres- sion of tlie model waist to a thin soft French cambric which should be used as an interlining ; from this inter- lining cut the real lining, mark exactly where the seams are to be sewed, for the real lining is to be sewed separately, and not with the material.' (See page 54 on transferring the impression.) From the interli"]iing cut the material, allow a good full inch for seams everywiiere except round the arm-holes and neck, whicli should be cut as they are intended to fit, baste the interlining and material togetlier, then sew all tlie seams in the waist, the interlining should be sewed in with each seam. Tlie basting is an important part of the work, and should be done only by skilful hands. Press all the seams open with a moderately hot iron over a lap board or table covered with three or four thicknesses of soft bleached muslin. For whalebone cases, cut a strip of muslin an inch wide, baste on each scam where whalebones are to be placed, the whalebone should fit tiglitly in the casing and directly over the seam, fastened at liotli ends ; sew on the collar, work the button-holes, cord the edges, and finish the postilion before the lining is sewed in. When the waist is thus completed sew up all the seams of the lining except the shoulder seams, baste the lining to the waist with the seams facing eacli other beginning at the centre of the back, the lining' sliould be "basted a little loose, especially at the waist ; fasten the lining to the back seam and seam under the arm, turn in the edges and sew neatly witli a fell stitcli, in this way the seams are covered giving to the waist a more finislicd appearance. All the waists we make are treated in this way except velvet, cloth, and .grenadine. In lieavy gobds the upper part of the inter- lining should be cut away, the real lining sIkjuUI be made from very thin material, such as muslin or light silk ; it is used merely as a covering, for inside of the waist." Note: — Tlie iiilcrUiu'ii;/ Klimihl he as thin as possible. The result of innkinf) a. traint ris descrihed above in perfection, hut too difficult for heginvers ; none but experienced dress- nidkei's should undertake the work. READING WITH PINS. In making alterations on the model waist in process of fitting, pins may be placed in different positions so as to ri'ad like letler.s. Mr. Moschcowitz in explaining this braneli of his business, stated that the model waist was liand<'d to the culler witliout a word of explanation frr)m llie filler, the )iins iudicaled all the alterations rei|uired in llie model or lining ; thus if a ]iiu is placed one inch from the edge, or from any seam, with the point down it means lliat one inch is lo be added to that particular.place, if the l)in is pointed up it means that an inch is to be cut oil from that parlicular place ; at or near the front edge of the waist there may be six pins, some jKiiiilcd up and^ome pointed down, all indicating different alleratious. To add or diminisli at the neck or arm-hole, or to lengthen or shorten Ihe waisi or skirl, place two pins logether when you want lo add or lenglben. or one pin wlien you want lo cut off or diminish. Every dres,smaker should make her own alphabet, placing Ihe pins in ei.irht or ten different positions, each jiosilion to mean a different alteration. Wilh a little practice, anv alteration can be indicated in tliis wav. :manilla paper. Sec price list in next column for manilla paper, for cutting model patterns. This is the kind of paper used for cutting standard patterns. It can be sent by post or express. EVERETT PATENT ADJLSTABL,E DREf<»J>» FIGLRE. 3 3 1 1 I _L.-^ 1''^ :io : U-^ S B B " We take great pleasure in slating that although this Figure is comparatively new, having been in the market but a short time, more tlian Five Tliousand are now in use, and tliat in every instance they have given the most unqualified satisfaction. It is the united leslimony of all Dres.smakers using these Forms that they will save their cost several times over in a single season. Private ladies find it indispensa- ble in their home for Drapiii.g imrposes. Specl\l Adv.\nt.\6Es. — They are made from the first (|Uality material, neatly bronzed "front and back. Japanned base and knob, mounted on casters, are of perfect shape, can be raised or lowered, so that the Artist can stand or sit when trimming or draping Ihe skirt. The Figure will soon pay for itself in the saving of the time lost in taking ladies from their work to drape and trim skirts. It also gives to the dress or suit a full, round and perfect form, tliereby allowing the patron to admire your work and taste. Price, - iiiS.OO. Delivered free in any part of tlic City. When sent out of the city, 25 cents extra will be charged for ])acking case and shipping. Persons ordering will remit by Draft, Money Order, or Postage Stamps. Address, JAMES McCALL .t CO., 48 East 14th Street, New York. PATTERN PAPER. ^lodcl patterns, such as we furnish on page .52 and 4)^, sliould be cut in heavy manilla jiaper, and for this purpose we furnish the following qualities and sizes ; Extra Heavy Manilla, .super-calandered, size 22x28 inches, 5 cents per sheet ; bj- mail, 10 cents per sheet. Heavy Manilla, .size 32x48 inches, 4 cents per sheet ; by mail, 10 cents per sheet. Manilla Tissue, for draping or other purposes, size 50x120 inches, 5 cents per sheet ; by mad, 10 cents per sheet. This paper is equal in size to seven yards of muslin, 24 inches wide. You may order one or more sheets at a time, and pay in jiostage stamps, if more convenient than currency. Order direct from JAMES McC.VLL & CO., 48 East'Uth Street. New York. Published isy James ilcCALL & Co., New Yohk. 6.5 NOTICE. The information given in tlie foregoing sixty-four pages, was gathered from the best authorities on dressmaking in Europe, prominent among which were, Worth, Moschcowitz and Pingat of Paris. Tlie information given in the following thirty pages is taken exclusively from ]\Ioschco\vitz of New York. The fame of this celebrated dressmaker has spread through every land. It is not surprising that dressmakei's in a high position should desire to know something of the system used by this celebrated man dressmaker. We have labored foi" months amidst many difficulties to make this work simple and accurate. It holds out an elevated standard Avhich cannot fail to inspire the heai't of the yoimg dressmaker, and the more experienced dressmaker who A\'ill study its lessons, will have her faith strengthened, and her determination fixed to follow in the footsteps of this renowned artist. Dressmaking is an art to Ije studied, it cannot be learned in a day. Many a mother will be disappointed when she sees how little her daughter may know after working a year with a dressmaker ; the time however will not have been lost, if she has got a good start in plain sewing, for mthout this knowledge, it is useless for any one to follow such men as Moschcowitz, or Worth. In the ai't of cutting and fitting, any person of ordinary intelligence with a knowledge of plain sewing, though limited, and a taste for dressmaking, Avill be able in a short time to master the details of cutting and fitting ; some may accomplish the work in a few days, others may require as many months ; patience and perseverence however, -will overcome all difficulties. Ever rememl)er that Moschcowitz and Worth, now the (jreatest dressmakers in the Avorld, were once as ignorant of cutting and fitting as you are. It Avas by careful study and strict attention to little things, that made them what they are ; these two men stand to-day as they have stood for many years, the l:)est dressmakers in the world. In New York, Moschcowitz is the highest authority on all matters pertaining to fashion. To this gentleman we are indebted for the information contained in the following thirty pages. We consider it a compliment of no little value to T)e permitted to publish in detail the system under which he has worked so successfully, not only this, but we have been permitted to dra^v on the expei'ience of all his assistants, a privilege A\hich no one else has ever been permitted to enjoy. The result of more than twenty years' exper- ience of this celebrated artist, is now at your dis2)osal. If you will study and ]>ractice the system as we here represent it, you will be rewarded with ^access. AVhile interviewing Mr. Moschcowitz (187 7), he -was asked wliat rule or system he cut by, his reply was, "a set of ]>lain waist patterns, a tracing wheel, a pencil and an inch measure. " It is oiu" purpose to show through the following pages, Moschccnvitz's system of cutting and fitting, and ho\\- much may be accomplished from the simidest means. The foundation of his system is, a set of plain waist patterns Avith Avhich he produces marvelous results. IVofe. — We furnish with the System a set of plain a\ aist patterns in the following sizes, 30, 32, 34, 36, 3S and 40 inches l)ust measure ; these are the same as those used by Moschcowitz; we also furnish a tracing -wlieel and inch measure. The original of these plain waist patterns can be re-produced from the English System of draftino;. 66 FRFA'Cir SVS'I'KM. The Plain Waist Pattern. J^ TAKiyr; TJW MEASUlil'J. TO CUT A BASQUE. Take three measures, the Lreast, waist, and leugtli of waist as follows: jiass a tajie measure ri)und the breast close under tlie arms, and aljove the bust as represented by the abovecut : draw the ta])e measure comfcu'tably tight ; the number of inches ascertained will be the breast measure; measure round the smallest part of the waist in the same way, and length of waist under the arm. Select a ])laiii waist pattern ti> enrrespond to the measure. If the breast measure is thirty-four inches, select a ])attern marked 34; the aliuvo cut rejji'e- sents a plain waist jiattern thirty-four inches breast measure. In a well jiroportioned figure, the breast uu'asure will l)e thirty-four inches, waist measure ten inches less or twenty-four inches, and length of waist under the arm about seven inches. For the liresent these three measures are all that is neces- sary; the bust measure ojiposite A will !.)0 explained hereafter. This is the first step in the process of cutting the Basque, that is, fii-st to ascertain the breast measure, then select a plain waist pattern to correspond to the measure. The patterns are cut in even sizes, from 3!i to 43 iuclies breast meas- ure; when the measure is in odd numbers as o:). 35, 37 etc., select a pattern nearest tlie size; if the measure is 33, select a 34; if 35, select a 36, and so on, IVotc— We furnish with this lesson a comjilete set of jilain waist patterns, the same as now in use by Mr. Moschcowitz; these patterns are in tlie following sizes, 30, 33, 34, 36, 38, 40 and 43 inches breast measure. Each pattern is in two ]>ieces, back and front, same as the above cuts, and size marked on each. Spfx'ial Cautiox. — The original plain waist pattern, should not be cut, changed, or altered in any way. It is from these patterns that all l)ody garments are cut, such as l?as(|ues, Polonaise, Jackets, Cloaks, etc. The following five ]>ages will illustrate the manner of cutting the liasquc from the i)lain waist pattern — from five to fifteen minutes is the time required to cut the basque. The next page will show the waist, back and front ioined together. PuuLLSiiKi) liv James ^IcCai.l & Co., Ni:\v York. cr The Waist Pattern placed in Position. SIZE OF WAIST. Take a piece of clean smootli paper, not news- paper, over which ])lace the waist pattern in posi- tion as represented above. Fig. 3. — Join the seam at P and Q. If the pattern is too large or too small at the waist, add to, or diminish the size; this is done by separating the two parts at Q, or overlaping them at the same place. To make the pattern two inches larger at the waist, separate the points at Q, one inch. To make the pattern two inches smaller at the waist, overlap the ^loints at Q, one inch. To find the size of the waist, measure the paiitern from front to back deducting for the darts. If the waist measure is twenty-five inches, the pattern slioukl measure twelve and a half inches at the lower edge of the waist. "When the pattern, back and front is jplaced in jjositiou. mark all i-ound the edge with a sharp pointed pencil. Cautiox. — Mark close to the edge of tiie pattern; when this is done, remove the pattern and proceed to cut as follows. See next page. Bfote.— Every prominent dressmaker has his own niles for placing the darts and dividing the seams. Worth, Moschcowitz and Pingat have each their rules, and each different and distinct from the other; so much so, that a garment made by any one of these master dressmakers, can readily bo distinguished. Moschcowitz's rules are given on the next page, and if remembered, will greatly facilitate the work of the young dressmaker. Much of the grace and elegance imparted to the dress and form are attributed "to these simple rules. 68 FRENCH SYSTEM. To Form the Seams. IIULES FOR THE TOUXG DRESSMAKER. Cut the i")attern in four ])ieces as represented al)oye. First draw two straight lines fur the piece imder the arm; next draw the side seam; this seam is formed by the guide which we furnish for that purpose. Before drawing these liues, study the followiug rules to find the distance hctween each jroint; the three spaces at the waist, E F G, should he equally divided; the back at II should be one and a half inches; the width of the two pieces K and L, should be eipial. Rules for the width of the darts, are as follows: At A, H inches wide. At B, 'I inches wide. At C. • -J inch wide. At D, 3 inches wide. At S T U, the distance between the pointsshould be nearly cfpial. Where there are two ])ieccs cut un- der the arm as represented on next page, the distance between the point S T U, should be ciiual. When there is only one jiiece cut under the arm as repre- sented above, the distance between the seams at U, will be a little more than that at S or T. The height of the darts are governed by the lower edge of the arm-hole. Draw a line from K to W — the top of the back dart should be about two inches below this line, and the toji of the front dart sliould be half an inch lower. Tlie ])oint at W is about the centre of the front edge, that is, at half the dis- tance between the neck and waist. Caution. — The waist of a dress is usually made to ap])ear longer than the natural waist; this is done to give effect and style to the garment. In doing this how- ever, great care must be taken to iirevent wrinkles at the waist; it is at this point the nuijority of dressmakers fail. The fifteen stars near the lower edge of the waist in Fig. 4, represent the natural waist; an inch below the stars at the edge, represent the waist of the dress; to make the waist one inch longer than the natural waist, you must allow for spring l)elow the stars or natural waist; to do this, citt a fish or strip out between the seams at the waist as shown above at X Y Z; cut out half an incli at X and Y, and a quarter of an inch at Z, also three-quarters of an inch is cut off the to]) of the side piece at J; this is to give a rounding full- ness over the shoulder lilade. Caution. — In cut- ting the side piece, allow half an inch more than the pattern at 0, as indicated by the line at that point. The following rules giving the distance from ])oint to point, should be committed to memory; this knowledge is of the highest import- ance, and nidisjiensable to the young dressmaker. We would urge upon all who study the System, to pay strict attention to these rules. RULES TO BE REMEMBERED. -1^ inches Avide. -'i inches wide. - 5 inch wide. -2 inches wide. A,- B,- C,- D.- „' f Divide the space equally, that is, make each p' r piece at E F and G, the same width. h", 1+ to 2 inches. J, f inch, cut this off the side piece. K, } Divide tlie distance equally, that is. make each L, \ piece at K and L, the same width. O. -i inch, add this to the pattern. S, 3 inches between front edge and dart. T. ;i inches between the darts. U. 3 to 4 inches between dart aiul seam. W. Centre of front. X, i inch cut out. Y, i inch cut out. Z, 5" inch cut out. 2;^= Ileighth of back dart, two inches below arm-hole. Jgf^" Heighth of front dart, half inch lower than back dart. |^=°Tlie above rules are for a medium or small size, and may bo changed to suit the fashion, form, or taste of the wearer. After reading the rules over two or three times, see if you can remember the figures by looking at the diagram. PrBLisHED BY James AfiCALL & Co.. New York. 69 To cut two Pieces under the Arm. Fia^. o A i( -^ \^ V K iT B C D LARGE TUK VAmr. In a well proportiniicd figure, the measure round the breast above the bii.-t will Ije ten inches more than the measure round the waist. AVhen the waist measure is only six or eight inches less than the bust measure, an extra piece is cut under the arm to give the garment a more slender appearance, and to prevent wrinkles at the waist. The above diagram represents a waist with two pieces under the arm. In all larger sizes from 38 inches bust measure and upwards, the waist is cut with two pieces; these pieces are represented by E P G IT, and equally divided; that is, each piece is the same width. The back, front and I'a'ts, are divided the same as in Fig 4, page 08. The top of each })iece J K and L are the same width; there is no special rule for placing the front seam in the arm-hole near J; the position of each seam as represented above, is correct. The same rules that are given on page 08, or where only one piece is cut under the arm, apply to tlie above diagram; where two ])ieces are cut under the arm, the distance between the darts at S 'i' U are about equal. The front seam between J and U must be brought near the dart; when two pieces are cut under the arm, the space at U between the back dart and seam, should be the same as the distance between the top of the darts at S and T. The distance at A B C and D are the same as the rule given on page 08. The pieces cut out at the seams N P R and V are a little less than the piece cut out at the same place in Fig. 4, ])ago G8; the stars represent the natui-al waist, which is one inch shorter than the waist of the dress; care must be taken to give extra spring below the stars. The Basque, with two pieces under the arm, will be further exi^lained in another part of this book. 70 FREXCJI SYSTEM. Outlines of the Basque. TO FORM THE PO.^TTLTON' OR SKIRT. TiiK SxARTixr; Poixx. — Wlicn tlio wnist pat- tern is cut and divided into sections, separate eacli piece and place in position as represented above; tlie straight lines below the waist, show the out- lines of the postilion. The points from which these lines begin, should be retained in the memory; they are fully exj)lained in the next page and sirn- plificd so that tlie whole may be easily remembered. Before drawing these lines, pin a ])iece of plain smooth paper to the waist, say nine or ten inches long; pin each i)iece separately abmat the size and length of the lines below the waist as they appear on the above cuts; pin the jueues so they "will not move or get out of place. The cuts on next page will sliow the basque completed and ready for use. A'ole.— After the lines for the postilon are drawn, measure the size and length of waist, this is done with the inch tape; for length of waist, measure the piece under the arm; if the measure is seven inches, the distance between A and B should bo seven and one-half inches or half an inch longer than the measure; if the waist measure is twenty inches, the distance from fmnt to back edge at the waist should be twelve inches exclusive of the darts. Xext page shows the basque com])letc. J'['BLrsirF,n by James JfrOAi.L & Co.. New York. The Basque Completed. FIG 6. The above cuts represent the waist with postil- ion added. To form the skirt, draw a straiglit line from point to point; begin witli the front as follows: draw a line from Y to 2; if more fullness is wanted below the waist, draw the line from X to 2; for less fullness, draw the line from Z to 2. To form the darts below the waist, continue the dart lines from the waist to the bottom, or eight inches below the waist; the spaceat J and K should be about the same as the sjiaee at B and D. The piece under the arm is formed by drawing a line from 3 to 4 and 5; the side piece is formed by drawing a line from to 7 antl 8; the point at is about three inches from the top; the bacK is formed Ijy drawing a straight line from 10 to 12 and 14. When the lines are drawn, it is necessary to give shape and form to the different parts; these lines and points are not to be considered absolutely perfect, they are simply to be used as a guide and may be changed according to fashion or circum- stances; the length of the skirt is a nuitter of taste; the shape of the postilion is a matter of style or fashion; with a little practice, the plain round basque, as represented above, may be readily altered into any shape or style desired; the polonaise is formed by continuing the lines P Q R S T U and W; the twenty-five stars show the length of natural waist; the lines directly under the stars show the length of dress waist, which is about one inch below the stars or natural waist; the most difficult part to fit is at the waist or a little below the stars. If the dress is too tight at this part, that is one or two inches below the waist, wrinkles will appear in a direct line with and below the stars. To Facil- itate THE Cutting. — Pin a ] ijce of plain smooth paper to the lower edge of each piece of the jjlaiu waist pattern; the size of the paper should be in proportion to the length of skirt; if for a polonaise, the paper must be quite large, if for a basque, the paper shouid be ten or twelve inches below the waist. It is safer to place two pins at each part of the waist to hold the pieces in place. Xote.— For corpulent people, little or nothing should be cut out at the darts below the waist at J and K, and in addition to this, one or two inches should be added to the front edge at I. On no account should the dart be cut out until the garment has been fitted. In very high or large hi]is, the jiiece at L should be cut wider. This will be more fully explained hereafter. rKEKClI SYSTEM. Art of Bastings and how to avoid Wrinkles. f i \ \ X-. I pi) j Ci) mm IS ^^ ■^^^ cn'TTXG ruK UNTxa. Take tlie -wai.-^t of a dress talit has liccu worn six montlis cir a vi'ar, rip it apart and ci)nii)are the old lining with the original pattern from wliieh it was cut; there will he little or no resomhlance; the old lining will he stretched in one plaee, and shrunk in another; it will be shapeless, and without form. Go one step further — cut a lining from the old waist, make it up, note the result — it will not fit. The difficulty is not in the cutting, nor in the making, but in basting and stretching the seams. Not only Mr. Moschcowitz, but all good dressmakers take a lesson from these old shajieless waists, and in cuiting, fitting, basting and making up, they try to make the new waist as much like tiie old one as ]K)ssible, that is, the scams and different j^arts of the waist must be stretched and basted in such a manner as to yield to the natural shajjo and movement of the body, otherwise it will not fit; it is to this stretching, fulling and basting, that we call your attenticni. and in which consiststhe art of bast- ing; without a knowledge of this art, you cannot succeed as a fitter. We will begin then with the lining. If you learn nothing more tlian the lesson on pages T'i, 73, 74 and 75, you will be well 2>aid for the money you have spent for the System. Figs. 1, 2. 3 ;ind 4 represent the lining for a plain round basque; this lining is cut from the pattern represented on page 71; seams are allowed on the lining, also a laj) in front; no seams or laps are allowed on the pattern, it is therefore nec- essary and important that seams and laps are allowed as represented above. Caution. — The dart ])iece should not be cut out of the lining or material until the seams are sewed and ready for the whalebones. A and B show the darts cut out; this should not be done. IVole.— The lining should be cut on the double fold; mark round the edge of the pattern with a tracing wheel: see that both sides of the lining are marked at the same time. If you have no tracing wheel, use the point of shears or some sharp pointed instrument to pierce the lining. Next page will show how to cut the material. I'l iii.jsiii:ii i;y .Iamks MiI'ai.i. & Co., \i;\v York. 73 Art of Basting" and how to avoid Wrinkles. CUTTmn TUE MAThmiAL. Place cacli piece of the lininr;' separately on the material; do not cut the material close to the edge of the lining — block it out as represented above: when cut, pin each part, lining and material, to- gether; T\-hen pinned, role each up separately, read^• for basting. In this way there will be no danger in cutting two ])iccGS for one side, or having the ])iece mixed or changed. The fullness in the lining, at and near the wai.st, will be explained on next 1 lage. • 74 FEEXCII SYSTEM. Art of Basting and how to avoid Wrinkles, TiASTryO TnE LIXING AND MArpJIlTAL. The lining should be liuld half an inch full on the material, at and near the waist, as represented by the above cuts; for this juirpose the lining should always be cut half an inch longer than the outside. To baste the lining and material together, begin with the front — always start at the top of front at A; baste down to the top of front dart; run the stitches an inch apart, basting through, the centre of the dart to the bottom. In the pro- cess of basting, hold the lining a little full at the waist as shown above; tliis may lie done witJi a slight upward movement of the thimble of left hand at each stitch. The second dart should be basted in the same way, beginning at the t(j]i at C. and basting down to the bottom. After tlie darts, baste all round the edge from E to F, and from F to E; the left side should be basted from F to E as repre- sented above; the right side should l)e basted from E to F. The above engraving shows the left side of the waist. Kun the basting stitches as rep- resented above, about an inch from the edge, and stitches one or two inches long; the jiiece under the arm, the side piece and back, are all basted in the same way. Take the stitches as represented on the engraving, hold the lining half an inch full at the waist on each piece, the same as in the front. When each piece is basted, trim the edge and overcast, as shown above; the overcast stitch should not be drawn tight. The order of basting the front is as follows: from A to 13 — from U to D — from F to E. Published by James McCall & Co., New Yoke. 75 Art of Basting and how to avoid Wrinkles. BASTING THE 8EAMP. When each piece of the lining and material are basted together, and tlie edge overcast, you will be ready for basting the seams. The letters and stars on the above engraving show how each seam and cacli part of the seam is to be treated. Begin with tlie dart seams, starting at the to]i, never at the bottom — these seams sliould be basted perfectly plain from top to bottom, stitches f(nu' to theincli. Next in order is the piece under the arm; tliis jiiece must be basted and sewed quite ])lain; before bast- ing however, the two seams at E and F must be each stretched about half an incli directly opposite the stars, or three inclies above the waist; this will prevent wrinkles at these points. In basting the piece under the arm, commence at the toj), never at the bottom. In basting tlie side seams, the edge opposite the small dots at G, must be basted easy, but not full; on the side piece, baste the seam perfectly plain below the dots — always baste the seam with tlie back next you; baste the right side first, starting at the toj). In basting the left side, first fasten the seam with pins, Iwo inches apart; as you baste remove the pins. In basting tlie shoulder seam, stretch the front between A and A three- quarters of an inch, or hold tlie back opposite tlie dots at H full on tlie front. In pressing the seam, the fullness will all disappear; tlie object of this is to pre- vent wrinkles in front between the neck and should- er; the arm-hole round tlie stars at J, should bo stretched until the edge turns over; this will pre- vent wrinkles in front of the arm-hole; the edge at W W is liable to stretch in sewing in the sleeve; to prevent this, a thread should be run near the edge to prevent stretching; the dots at K mark the position where the sleeve is sewed full in the arm-hole. If the seam in the centre of the back is stretched during the process of basting, sewing, or pressing, it will materially affect the appear- ance and lit of the dress; see lesson on pressing the seams. Witli the next page, we begin Moschcowitz's system of fitting. :(j .FRENCH SYSTEM. The Model Waist Lining. K- »i X I iSl'. a4) ■a Pi i i i ! / / / / A i„i FBENGII on MOSVnO. SYSTEM OF FITTING. Wc liave MOW cnmo to tlic most important part of the work, namely, ]irci)aring the mo(h'l waist lining, taking the impre.ssi(.m and transferring tlie impression. "We have ah-eady exphiined Mosch- cowitz's system of cutting and basting on pages CO to 75 inclusive; garments cut by that or any other system now in use, must be refitted or tried on from one to three times during the process of making. We have now to exjilain Aloschcowitz's system of fitting, or rather taking the impression from which a dress can be made and sent liome complete without refitting or trying on. Directions.— Every season, tliat is every six- mi inths, cut a new set of plain round basque patterns in all sizes, say 30, 3'2, ;U, 30, 38, 40 and 43 inches breast measure; these jiatterns should bo cut in the latest style, and the size marked on each piece, as shown above. From this set of patterns, cut a set of model linings, that is, one of each size; these linings should be cut from common but good bleached muslin and exactly like the i>attern; allow for seams and laps as none ai'c allowed on the pat- tern. Mark the size, that is the breast measure on each waist, sew uj) the seams Avith a fore and back stitch so the waist may be prepared and ready for use at a moment's notice. A complete set of these model waist linings should always be kept on hand; as soon as one is used, another should be nuide to take its place. The model pattern rep- resented on jiage 71, is wluit we call the model or standard ])attern, and from which all other jiatterns arc cut. These ])atterns should be renewed, altered, or changed every season. It is from these patterns the model waist linings arc cut. The above engrav- ing represents a model lining, size 34 with scams and laps allowed — the darts at A and B, should not he cut out. When a lady calls to be fitted, take the breast measure only; select a muslin model waist to correspond in size to the breast measure; fit it on un- der the dress, as seen on page 78. Fasten the front with pins au inch apart; when the front is properly secured examine carefully every part that may re- (piire alterati(m, pin tlie parts to be altered until you have the model to fit as jierfect as you want the dress to fit; this is what the French call taking the imj)ression, and as the impression is taken so the garment will be when finished. After the model waist is fitted, it should be removed with all the pins in it. The im])ression or shajie given to the model waist should now be transferred to tlu' lining. On next page we slmw liio manner of transferring the impression. PuBLisHKL) BY James McCall & Co., New Yokk. Gutting the Real Lining. r TRANSFER THE IMPRESSION TO THE LINING. The iiI)ove diiigram shows tlie manner of trans- ferring the impression to the lining. When the model waist is fitted, rip all tlie seams apart without stretching; first crease the edge as close to the alterations as possiljje with both hands, between the forefinger and thumb; crease exactly where the pins are placed to indicate the alterations; take each piece of the model waist separately, beginning with the front; spread it on a taljle over two thick- nesses of lining; it must be S]iread quite smooth; fasten all round the edge outside of the crease or seams, this is done with ])ins, which should be driven through the model and lining into the pine table. The pins should be placed three or four inches apart, or close enough to hold the lining and model firmly and smoothly. When this is done, mark or pierce through the lining all round the edge, ex- actly in the seam or crease, say, less than an inch apart, with the point of shears, or some sharp instru- ment; pierce so that the marks will show distinctly through both sides of the lining. The l.iack and all other pieces belonging to the nu)del waist should be treated in the same way; remove the pins and cut the lining, allow for scams and laps everywhere except round the arm-hole. If the model "waist is projierly fitted, and the impression ciu'rectly trans- ferred to the lining, there will be no need of refit- ting or trying on. In Moscheowitz's dressmaking establishment in New York, they rip the shoulder seam and dart seams only, and i;se a tracing wheel instead of a pointed instrument; they do not crease the seam but run the tracing wheel close to the seam over the stitches; this is a much quicker way, bnt requires more care and skill to accomplish the work. The dark ground work on the above cut, represents the double fold of the lining, over which the model waist is pinned. Run a tracing wheel j over the back or dotted lines, and the work will ' be com]ileted. The diagrams on the following I pages will show how to take the impiression. T'? FREXCH SYSTEM. Fitting the Model Waist Lining. Fis. 1. TAKING THE IMrRESSION. Fitf. 2. Taking the mea:,'e\v Yokk. Fitting The Model Waist Lining. :9 3. ris. 4. TAKING THE IMPRESSION. On page 78 we described two waists fitred, one requiring no alteration, tlie otlier with a very sliglit alteration. We have now to explain a more diffieult form of fitting — large hips icith small iraisf. Figs. 3 and 4 represent the same bust measure fitted with the same model waist. They appear here exactly as they appeared wlien fitted. The measure was taken, the model waist was selected to correspond to the measure. When fitted on, the waist appeared exactly as represented in Fig. 3. The two side seams were ripped from the bottom to tlie waist; immediately the seams sjiread apart, and the wrinkles disappeared, the front and back seams lapped each other two inches (see Fig. 4). Fig. 3 shows thai the skirt binds over the hips, causing wrinkles to appear above the waist. To tit this model waist, rip tlie two seams under tlie arm, from the waist down; allow the skirt to fall natural over the hips, fill up the gap with muslin; see the illustration on page 80; fasten witli pins on botli sides to keep the whole in place; the back and front pieces are too full, and must be pinned down to give the proper shape. When the model waist is fitted, as you would have lUe o-arment to fit when finished, it should be removed with all the pins in it; see that every alteration is distinctly marked. To transfer the impression from the model waist to the lining, see directions on page 76; to fit the sleeves see page 89. Fig. 4 shows the model waist partly fitted. The pos- tilion, that is the back skirt, is too full, and laps over; the same fault is in the front ; the side piece is too small over the hips. The space should be filled up with muslin, pinned to each side, so as to get tlie proper shape and spring over the hips; the muslin should remain pinned to the model until the impression is transferred to the lining. It is im- portant in fitting, that not only the width but the proper shape should be given to the side "pieces below the waist, ART OF BASTING. The importance of proper attention to basting, forces us to again call attention to that part of Moschcowitz's s3-slem which relates to basting, and to impress mo.st emphatically upon the minds of all who desire to master the art of dress- making, that it cannot be done unless the learner is willing to study and practice that lesson with the care and attention it demands. Even when a waist is cut w itli exact precision, if carelessly basted, it is spoiled, for tlie materials will draw and pull, and form wrinkles where none should be, be tight where it .-liould be easy, and look at once slov- enly and unworkman-like, whereas a waist that is properly cut, and liasted with care in all the minute points, will fit without a wrinkle. It is utterly useless for anyone to attempt to study dress- making, unless that person has the patience and industry tc learn the art of basting thoroughly. Ten minutes careful basting will obviate two or three hours ripping and changing and a dress never fits nor looks so well that has been pulled apart for alterations. The reason why gentlemen dressmakers attain a higher position in their profession than women, is, that they pay the closest atteuticm to these details, and a waist in course of construction under their hands is basted exactly as the model lesson indicates. No person can ex- pect to master the French System unless they have the will and determin.ation to master the details, which is the funda- mental principle of perfect dressmaking. Of all the lessons in the Instruction Book, we consider tlie one on ba.sting the most important. If you can learn but one Jcsson, let that be the art of basting. 80 frp:\('ii system. Fitting The Model Waist Lining. litf. 1. TAKiya riiE nipnEssiox Oil pages 78 to 81 we sliow six fit;'urc>;, all of which havo the same breast, Lust, wai^it and hip measure — while the measures are the same, ]io two are alike. <>u the^e there are seven distinet forms o''a't''ratioiis; it is to these and similar allerations. that gives Id ilic Freneh System of litting the advantage ovei- all other systems now in use. The above Figures 1 and 2 show the model waist lining in process of fitting. Published by James JIcCall & Co., 48 East- 14tii Street, New York. 81 Fig. 3 ropreseiUs the luanner cil' litting the model sleeve. Directions. — Proeiiro three sleeve pat- terns, small, medium and large; these should be cut from heavy manilla paper; from each of these patterns, cut a model sleeve, that is, cut one sleeve from each pattern from common bleached muslin, sew the seams and mark the size on each sleeve, ready for use. When the model waist is fitted, and before it is removed, fit a model sleeve as seen above. Pin the top of the sleeve to the arm-hole. rai-'e the arm. Ijeiid it forward, alter the position o the pins until you get the sleeve to fit perfectly remove the model waist with the sleeve pinned to it mark the position of the seams. The alteration, if any. on the sleeve may be marked with pins; see page 80. Fig. 4 and 5 are photographs of the same waist; one was taken licforo the scams were pressed, the other after; each engraving explains itself; every seam of every garment should be pressed; see directions for pressing the seams. FHENC'II SYSTEM. Fis. 1. Fig. i. Tig. 3. Fig. 4. Fis. 5. Published by James McCall & Co., New York. S3 y Fig. 6. -M A , (.-•' L WRINKLES AT THE WUST. When the breast measure is under 30 inches, cut the basque with one })iece under the arm as represented on pages G8 and 71. When the breast measure is 38 inches and over, cut two pieces under the arm as represented on pages 69 and 83. In any ease where the waist measure is large in pro- portion to the breast measure, cut two pieces undei- the arm. In figures 3 page 82, the garment is two inches too tight; in Fig. 5 the garment is an inch too tight in front at the waist, and two inches t(ES McC'ALX. vt t'u., 1881. ^ Fig. i. The Sleeve. There is not one dressmaker in ten, probably not one in twentj', tLiat understamls cutting, fitting, making and sewing iu a Sleeve properly. How often do we see the entire dre.ss disfigured by a baggy or strained Sleeve, and the owner is constantly reminded of its faults, by discomfort iu wearing and tne eye of the critic. The Sleeve is the most difficult part of dressmaking, and the part least nnderstoocl. Beginners, iu learning to cut and fit, pay little or no regard to the Sleeve, they are satisfied with ouc Sleeve pattern, from which they cut all kinds of Sleeves for all kinds of garir.ents, the result i.>, as might be expected, in many cases, the garment is spoiled through a bad-fitting Sleeve. Most, if not all, of the information given iu the following pages, is taken from the best and most experienced men dressmakers iu Eurojie. From a careful study of these lessons, you cannot fail to derive both-pleasure and profit. "While the cxperieuccd dressmaker will here find much to benefit and strengthen her position, it is not for Iier alone that this part of the work was beguu, but rather f(ir the licginncr or young dressmaker who will find the illustrations and explanations so plain and simple, that with a little practice, little or no difficulty will be experienced in making a perfect-fitting Sleeve. Fig. 1 shows a bad-fitting Sleeve, such as may be seen every daj-, woru by ladies iu all stations in life. All that is wanted to malie this Sleeve fit, is to rip the top and allow the Sleeve to fall from the shoulder to its natural position on the arm ; the top of the Sleeve requires to be more rounding. Fig. 3 represents the same Sleeve ripped at the top, showing where the necessary alterations are to be made ; fnnn an inch to an inch and a half must be added to the top at the most rounding part, running to nothing at the back and fore-arm seam. THE SL.EEVE. IcorVKIGIITED BY Jam McCall & Co., 1881.) Fig. 3. Fig. 4. The Sleevei— Continued. Fig. 3 represents a Sleeve in process of fitting; ■when tlie garment is completed all but sewing in the Sleeve, it should be re-titled thus : Fit on the garment without Sleeves, then fit tlie Sleave over llie arm, pin tlie top to the arm-hole a.s seen in Fig. 3 ; when pinned, raise the arm, bend it forward. U the Sleeve draws or -wriuliles unnaturally, change tlie position at (he top by re-pinning until it fits perfectly. See that the elbow is in the right place. In fitting the Sleeve, it is not necessary to fit on the person for whom the dress is intended ; select some one near the size. The object is to get tlie Sleeve in proper shape, and the fullness in the right place. Before fitting the Sleeve, tlie arm-hole should be prepared for the Sleeve, and the Sleeve for the arm-hole. When the Sleeve draws at the top near the arm-hole, it is caused by the fore-arm seam being too high or too low in the arm-hole, or the top of the Sleeve not rounding enough. Fig. i represents the back of the Sleeve, showing wrinkles at the top near the back arm-hole, which are \inavoidal)le, except in the French Sleeve or one that is tight fitting. When the Sleeve is tight fitting back and front, from shoulder to cuff, the arm cannot be raised above a level ; when the Sleeve is made to allow the hand to be raised aliovc the head, more or less fullness will appear at the back near the arm-hole as seen iu Fig. 4. It is no fault in the Sleeve to have a little fullness at the back, as represented above. THE SLEEVE. IcOPYHKiHTl'lt BY JaMKS McCaI.!. & <'().. 1881.] THE SLEEVE.— Coiitiiuied. Fig. 1 illu.4r;ites the English Sleevr. Tliis Sk't'vc should be ii^rd for uU kinds of tight body garments, sneh as Polonaises, Bas(iue.s, etc. The top should be cut two inclies larger than the arm-hole ; the fullne-ss should be gathered between the stars ; the double row of stars show wherethe most fullness should be placed. If the Sleeve is too full, lay a small pleat under the arm at .1. It is better, however, to eul the Sleeve the exact size wanted. We recommend this Sleeve for all kinds of tight-fitting garments. The upper part of the Sleeve should be gathered or fulled in about half an inch a', the elbow between the stars : this will make a better fitting Sleeve. Fig. 2 illustrates the French Sleeve, used only in light-titling body garments, sucli .is Basques, Polonaise, etc. Beginners should not attempt to use this Sleeve until they are well advanced in cutting, and more experienced dressmakers should use it witli caution. The under part of the Sleeve is cut narrow so that the back seam will come directly under the arm ; the upper part of the Sleeve is cut nearly two ir.ches longer on the back .seam than the under part ; this is fulled in at the elbowbetweeu the notches. When this Sleeve is projierly made it will fit like a glove on the arm. tight and smooth from top to bottom. The fullne.s.s should be exactly at the point of the eli)ow. The top of the Sleeve should be cut ie.ss than two inc'.ies larger than the arm-hole, and held full on the most rounding jiart. Fig. ;!. 'I'he plain Sleeve, as illustrated by Fig li, should lie used for Saecjues, Cloaks, Ulsters, and all kinds of heavy outside garments. The Sleeve at the top should be cut one and a. half inches larger than tlr,- arm holi-. and gathered or sewed fidl between the stars ; most of the fullness should l)e placed between the double row of stars. If tlic Sleeve is too large for the arm-hole, lay a pleat in the under Sleeve at .1. This Sleeve .should be the .same width from the elbow to the cuff. Fig. 4 represents a Sleeve with seams sewed ready for lilting, or .sewing in. Cvution. — When the fore-arm seam at the wrist turns round towards the top, it Is caused by liad b.isting ; wlien the upper point of the under sleeve at 7'^ is cut too long and basted even with the top of the upper Sleeve, it will throw the fore-arm seam at IT too far over on the top. This is the cau.se of great annoyance to dressmakers, especially to beginners ; to prevent this, baste the upper and imder part of the Sleeve perfectly plain, except at the elbow. If the under part is too long, cut it off at the top at F, not abruptly, but gradually, towards the fore-arm seam. C.vhtion. — If the jioint at F is not cut off, b\it bnnight down and sewed in with the upper part of tlie Sleeve, it will throw the fore-arm seam at // over towards the top. Extk.v C-\utiox.— The fullness should be over the elbow at B and not below, as indicated by the cut at ('. Note A. — The Sleeves represented by Figs. 1 and 4 are llie same : this is the style of Sleeve u.scd by many of the leading dressmakers in Europe. If the upper part of the Sleeve is held a little full at the elbow, it will improve the fit. I^OTE B. — Before the Sleeve is sewed in, the edge should be overcast, lining and material together, stitches six to the inch : the top or rounding part should be gathered with a runiung or overcast stitch PUKLISIIEI) ]5Y J.VMES McCaLI. & Co.. >,' KW YuUK. [COPYRIGUTED BY JaME? ^IcCai.t, . CUrTIXa THE SLEEVE. The ailjoining culs -1 A show how to place tlio Sleeve on the material. The back jfi-ound B C rcpresenls the material from which the Sleeve is cut : B B II repre- sent the two selvage edges, and (JC V represent the double edge of the material. To cut the Sleeve, (irst double the material, selvage to selvage, then place each part of the Sleeve so that the two points .Y 3' will toucli the selvage. If the material is striped the two edges on the back arm Orhould run even with the stripe, regardless of the points at JV N. Allow for .seams; the seams on the back arm sliould be a full inch, or large enough to allow for alterations it need be ; tliis is particularly necessary in cutting a tight .sleeve. The back seam of the Sleeve should be sewed by hand, as the sewing imtchine is liable to leave its mark where alterations are made. FITTING THE SLEEVE. &i In lilting the Sleeve for the Polonaise, Basque, or any tight-fitting garment, use the English Sleeve jjattern, Fig 1, page 90. In cutting tlie Sleeve, first ascertain the size ofihe arm-hole, then cutlhe top of the Sleeve two inches larger, that is, if the measure round tlie edge of the arm-hole is sixteen inches, the combined measure ro\md the top of the upper and under part of the Sleeve should be eighteen inches. When the Sleeves are made, or rather when the seams ait sewed, lit one Sleeve over the arm in the same manner as we have illustrated in Fig. 3, page 89; pin the top to the arm-hole from seam to seam with pins an inch apart; raise Ihe arm to the height of the bust; bend it forward or backward; if the Sleeve draws or strains at the elbow, remove the pins at the back or alter the position at the elbow. Great care should be taken to have the fullness in the right place; in nine cases out of ten, bad fitting Sleeves arise from this cause alone. If the Sleeve wrinkles across the top change the position of the .seams, especially the front seam; pin the fullness over the most rounding part. If the sleeve is too wide takeiu the front or back seam by pinning all the way down. Before the Sleeve is removed mark distinctly on the arm-hole the position of the seams and fullness. TIGHT FITTING SLEEVE. To make a tight Sleeve, measure the arm, cut the Sleeve one inch larger than a tight measure. A tight Sleeve should press gently on the arm. It the arm is small, cut a separate interlining from alpaca, cut on the bias; sew this between the lining and material ; the alpaca when cut on the bias gives the Sleeve a better shape. When the arm is round and plump the French Sleeve" can be used to advantage; for small arms use the English Sleeve. THE SLEEVE. The fitting, making and sewing in the Sleeve is one of the most difficult tasks a dressmaker has to contend with, not when she sews it in herself, but when entrusted to inexperienced hands. The Sleeve should be prepared for the arm-hole, and the arm-hole for the Sleeve. Cut the lining for the Sleeve exactly like the outside, taking care that you do not cut two pieces for the same arm. Baste the pieces to- gether, stitch tliem up and overcast the seams. A neater way for wash goods, and one in which seams are hidden altogether is this; Baste the lining, under and upper together, and the outside, under and upper together, then baste the tw o parts, lining aiui outside together. When the .seams are sewed, turn the Sleeve, and everything is finished inside and out. When dresses are cut very high on the shoulder, the top ',l¥ inele<-ant It it is necessarv to cut anvthing from the length of the shoulder, that s'lme'^ amount must be added to the lop of the Sleeve, making it more rounding. Wrinkles across the top of the Sleeve, or in front, are caused either by the (op not bein" r<.undino- enough, or the seam at the front of the arm is too far down. 1 his will be remedied in filling bv the French System, it cannot be done m any other way, except by fitting the Sleeve itself. Linings are now cut trom silk or some solt mate- rial that "will yield to the movement of the arm. done without showing the marl rubbing the velvet on the iron PRESSING THE SEAMS When the Sleeves are made from cloth or any heavy material, the seams should be pressed open with a hot iron; when made from silk, cashmere, or any thin mate- ri-il the seams should not be pressed; llie edge should be overcast, upper and under inrt lO"-etlier- the back arm seam should be turned towards the under part, and fastened to tlie linii5g. The seams may be pressed to one side provided it can be :s of the seam on the outside. The seams in velvet Sleeves should be pressed open, by instead of the iron on the velvet. FRENCH SYSTEM OF FITTING. In fitting Ihe Sleeve bv the French System, there will be no necessity of re-fitting, as described above. Tlu-se simple but important directions are intended for beginners or dressmakers who do not use the French System. Ihe lessons on the French System of cutting and fitting will be found of tha highest importance not only to beginners, but to experienced dressmakers. 0'2 FEENCH SYSTEM. SPECIAL NOTICE. This {tiid (he followinrj page u c.vclusii:ely for beginners Vis. 1. Fig. 2. Directions for Taking the Measure. Pass a tape measure around tlie breast just under tlie arms and above the bust, as seen above; draw it OIK inch tighter than, the dress is to ft; the number of inches tlien ascertained is Ihc size of tlie bust. The measure sliould be talvcn over llic dress above tlie bust, and com- fortably tight ; take one measure only. Uiiii^uriaii System of Cultliii; aixl riltini These simple but practical lessons are intended for beginners, or those having little or no previous expeiience in cutting, and who feel the necessity of commencing at once to earn a living. While we would urge every young dressmaker to thoroM-ighly understand the French System before they commence to cut and fit, we are Avell aware that there are n'laiiy who cannot aiforil to wait until they master every detail connected witli the System. To such we would s.ay, "give particular heed to the following directions, they will materially aid you and keep you from falling into many errors that might naturally result from incxperienee. You cannot cx])ect. until you have thoroughly mastered the whole of the French System, to be able to produce a perfect and satisfactory lit, "without trying on ; but by care, palience and experience, you will reach the desired result, and be able without delay, or fault, to master the most diflieuU work. While you are studying the I'^'cnch System, you can cut and lit with safety from the following DIRE€TIOM«i. To Cut and Fit a Basquk. First.— Take the meas- ure— one measure only — as described above. Set'Oinl.— Select a model pattern to correspon>ixth. — When this is done, mark or pierce through the lining all around the edge, exactly in the crease or seam with the point of the shear's, or .some sharp instrument ; iiierce so that the marks will show distmctly through both sides of the lining. The back and all other iiieces belonging to the model waist should bo treated in the same way. Sc^■t'll^h. — When all the seams are marked, remove the pins and cut the lining ; allow for seams and laps everywhere, except round the arm-hole. ElKlilil. — If the model wai.st is ]iroperly fitted, and the impressiou correctly transferred lo the lining, there will be little or no alteration needed in refitting or trying on. It is better to use a tracing wheel instead of a pointed instrument ; thus : Kun the tracing wheel close to the scam over the stitches ; this is a much (piicker way, but requires more care to do the work. Xiiilli. — When the linings are cut, lay each piece separately on the material beginning with the tw'o front pieces ; pin the lining to the material before cuttiug — see jiage 73 ; one pin only is required for each jiicce. Tciilh. — In cutting the material, do not cut close to the edge of the lining but block it out roughly ; when .all the pieces are cut, roll each np separately ready for basting. In basting the pieces together, that is, lining and material. It is necessary and important to have the lining quite loose at the waist. V Pl-BLISHED BY JaME8 McC'ALL & Co., NeW YuKK. 93 Elovcntll. — In all tiglit-fitting garments, such as Basques, Polonaises and .laekels, tlie lining slioukl be cut half an inch longer to allow for the fullness; the lining and material should he quite plain across the waist from hack to front, hut lengthways llic lining should he half an inch full at, and near the waist line; the fullness in the lining should be sewed in with the. seams. TAVClflll. — To baste the lining and material, first baste all around the edge, about an inch from the seam, stitches two inclics apart; keep the lining next you while basting; when the pieces are basted, trim the edges even with tlie lining, overcast lining and material together, stitches four to the inch. Tliirtccntli. — After the linings and material are basted, and the cdgi s overcast, baste all the seams perfectly plain except the back shoulder scam, that part sliould be cut half an inch longer and held full on the front; in basting the scams, hold the back next you. For further instructions on basting, see French S)'slem; for the present, follow the above directions. Foiirtcenlh. — Ileforc the garment is completed, it should be tried on, that is, before the sleeves are sewed in, before the button-holes arc cut, before the buttons arc .sewed on, and before the seams under the arm arc sewed, the garment sliould be rc-fitlcd as represented above. To fit tlie sleeve, sec French System on Fitting the Sleeve. When the garment is completed, press all the scams open with a hot iron. CuTTrNG ox THE Bi,\s. — Bad fitting waists arc sometimes caused by cutting (he side pieces and pieces under the arm on the bias. C.wtiox. — The thread or grain of the mate- rial and lining should be straight round tlie waist; there is no difficulty in cutting the back and front, these parts arc gaged by the selvage, but the side piece and piece under the arm are often spoiled from cutting on the bias; the lining and material should be cut with the thread running t..e same way; beginners often cut these pieces to save material regardless of the way the thread runs. Note A. — The set of basque patterns furnished with the French System arc called model patterns, and when we speak of model patterns, we always refer to the patterns accompanying the System. It is by these patterns the model waists are cut. See model patterns explained in French System. Note B. — The model waists are linings cut from com- mon bleached muslin; they are cut from the model paltern; when we speak of model pattern, we refer to the paper pat- tern; when we speak of model waist, we refer to these mus- lin waists; the.v are not to be used for lining, they are to be used only for taking the impression, after whicli they are ripped apart, and from which the real linings are cut. Sec model waist explained in French System. Note C. — Your success as a fitter will depend on three things, First: the manner of taking the impression. Second: the manner of transferring the impression, and Third: the manner of basting. You may possess all knowledge in regard to dressmaking, you may have worked at the busi- ness for twenty years, but if you fail in any one of these particulars, you fail as a fitter. Note D. — In fitting over a full bust, lay a srhall pleat in the front edge of the lining, just above the darts, this will give more width above the bust and keep the front edge straight. See French System on full bust. Note E. — The French dressmakers cut a pajier pattern for every piece and part of any dress or garment tliey make ; this is done to save material, and it pays well for those who will take the time and trouble to do so. Note F. — No matter how well you may understand the culling and fitting, if you fail in basting, your labor will be in vain. The forty lessons connected with tlic French System, are all of more or less importance to every dre.ss- niakcr, but those on basting and how to avoid wrinkles are among the most important. No matter how well the model may be fitted, if the waist is poorly basted the result will be a failure. Note G. — A good fitter can take from thirty to <'orty measures or impressions in one day. A good cutter can cut a Basque in twenty minutes and Polonaise in thirty minules. At first you may take two hours to a Basque and four hours to a Polonaise. Practice makes perfect. Note II; — In taking the measure or impression it is important that the person -to be fitted wear the same cor.sct and undergarments when fitted, that are to be worn after the garment is made, as a thick fiannel undergarment, or an ill-shaped corset, will make quite a difference in the appear- ance and fit of the dress; as the model waist is fitted, .so the dress will be when finished. Note I. — In basting the seams, hold the back next you; in basting the side seams, begin with the right side, starling from the top; first fasten the entire seam witli pins three inches apart, pin the left side in the same way, starling from the top — back next you; as you baste, remove the pins. If the pieces arc not cut even, let them run over at the bottom, never at the toj). The slioulder seam should be fastened with three pins before basting, one in the centre, and one at each end; divide the fullness equally. Note J. — Pressing the Se.vms. The waist seams of all garments, whether of silk, satin, velvet or woolen goods, should be pressed open ; for pressing the seam, .see directions in French System. Note K. — C'autiox. In cutting a garment, see that you do not cut two pieces for the same side. It is a .safe rule to plan all your pieces before cutting. Note L. — The Polonai.sc or Princess Dress is cut from the basque, by simply extending the skirt, and allowing for fullness and draping; for further instruction, see French System. Note M.— Fitting the Sleeve. To fit the sleeve, sec directions on sleeves. As the .sleeve is one of the most important, if not the most difficult part of a dress to fit, we recommend all youmr dressmakers to a care- ful and thorough study of every less m connected with the s'cevc; the sleeve is explained in different parts of the French System. 94 FKENC'U SYSTEM. GARMENTS REPRODUCED. When ;i garment is to be rc'i)rodiiced from a ]ii('tui-('. that is, wlien a polonaise is to be made fnini a fashion phxte, first cut a pattern in tissue jiaper. ])in it together and drape over a lav figure. The sivirt or part to be drai)ed should not be cut but left the full Avidtli of the pajier. When the drajiing is coniplett'd, cut off the surplus paper before the ])attern is removed from the figure; mark distinctly the points to l)e looped, otherwise you may liave diffieulty in relooping. With a little ])ractioe, any style of garment may be rei>rodueed over a figure. Among the l)cst for this jiurpose. is the "Everett," exjiiained on page 64. ONE SHOULD ER HIGHER THAN THE OTHER. There are very few ]ieo])le higher on one shoulder than tiie other, notwithstanding the assertion of nianv ili'essmakers to the contrary. The diffieulty is not in the shoulder, but in the basting. When the seams are basted crooki-d, that is, one side higher than the other, the garment will Ite mie- sided and give the ap])eai'anee of a high («■ hnv shouldc>r. Xearly all young dressmakers and bad liasters, eom])laiu of many customers being diffieult to lit (Ui account of one shouhh'r being higher tluin the other. WJien a dressnniker thoroughly under- stands the ai't of basting, she will have im trouble witii hiiiii and low shoulders. Another cause of higli and low shoulders is in fitting. Few ladies can stand erect in one jiosition longer tlian five minutes at a time; the tendency is to lean mi mie foot; when this is done, one shoulder goes uji, the other down. PAPER FOR CUTTING PATTERNS. You can purchase large sheets of manilla paper at any dry goods store for 2, :?. 4 or 5 cents per sheet, or lo cents per jjound. We will send you pajter at the following ratt's; Xo. 1 tisstte manilla, size of sheet 50x120 inches, 5 cents per sheet, or 1(1 cents by jiost. This jiaper is used for draping; one sheet is eipuil to seven yards of mnslin 24 inches wide. No. 2 extra, heavy manilla i)aper, size of sheet 22x28 inches, ."> cents ]>er sheet, or 10 cents by post; this is used for cutting model ])atterns. One sheet will cut a. complete pattern except the sleeves; seven sheets will cut the full set. TO DRESSMAKERS. Dressmakers or beginners who have not the time to cut model basi|ue patterns, will lie furnished with com])lete sets, cut in heavy manilla i)a])er for fifty cents each size, without sleeves; sizes ;50, 32, o4 and 3(i, are cut with one ])iece under the arm as rcjiresented on ])ages (iS and 71; sizes 3S, 40 and 42, are cut with two ])ieces under the arm as rep- resented on pages >on oii Bustin^^. — Select some friend who will allow you to fit a waist; take one measure — the breast measure only, as directed ou page 2; select a model basque ]jattern to correspond to the measure — seepage 71; cut a lining from this pattern from common bleached muslin; from this lining cut the materia', from cheap com- mon stuff, si.\ or eight cents per yard, or from any old mate- rial; cut the lining as directeil on page 72; baste the lining and material as directed on pages 73 and 74; baste the seams as directeil ou page 7.'); when the .seams are basted, fit on the waist; for jiractice j'OU may make such alterations as you see fit. The pomts to be gained iu this lesson are First: t'utting the lining — Second: Cutting the material — Third: Basting lining and material together — Fourth; Bast- ing the seams. Pi'actice on this lesson until _vou feel that you are master of each and every detail. Seoo3nl I^esson on Basting. — Select a friend with a very full bust; take the two bust measures only as described on page IH; .select a model pattern to correspond with the breast measure — that is the measure above the bust — see Note A, page 36. Pages 20. 21, 22 and 23 describe and illustrate the full bust. Cut the lining and material as directed above, only allow for the fullness in front. In basting tlie lining and material, first sew the V in front, then baste the lining and material from the toji of the darts to the bottom, after which baste al)Ove the darts over your knee. In a very full bust the lining will be a little loose over the fullest part; this will do no harm but rather benefit t'.;e front. On no account should you commence to fit. until you understand the art of basting. Your success iu fitting will depeud on your knowledge of basting. ART OF FITTING. If J'OU have carefully and thoroughly studied the les- sons on basting, and understand the details which are essential to your success, j-oii will have but little trouble in understanding the art of fitting. Study each lesson in the following course ; First. — Page 7G explains the first lesson in cutting the model waist ; this part of the work should be understood before any attempt is made at filling, Set'oncl.— Pages 78, 79, 80 and 81 explain fitting tlie model waist or taking the impression. The experienced litier will be able to do this work almost instanlaneoiisly ; the beginner will recpiire some practice, but after two or three trials the work will be .successfully done. Tliirtle— Page 77 — Transfekking tiiio Impi!Ession. This is the most imiiorlant wurk in the wlmle course ; the wiillh of a pencil mark if allowed on each seam will make a difference of one or two inches in the size of the garment. It is of the highest importance that care and attention be paid to the lesson on this page. ART OF OUTTIKG.— FRENCH SYSTEM. First. — Pages 06 to 71 explain Jloschcowitz's system of cutting. Begin at page 66 and go on step by step to the end of page 71. ^Ir. Moschcowitz's tools or .system consisteil of nothing more than a set of plain waist patterns, a tracing wheel and a pencil. We furnish you with the same tools; if you u.sc them aright, you will be able to cut a basque in en minutes, or a polonaise in twenty minutes. The work IS simple and yet reipiires a degree of artistic skill. Practice in drawing the lines and curves until you can imitate the hand of an artist. ENGLISH SYSTEM OF DRAFTING. Pages 4 to 17 explain the English system of drafting. After you have learned the three principal parts of the System — Basting, Fitting, and the French system of Cut- y ting — you will be ready to commence with the English system of drafting. On page 4 you will find the key to the lesson ; you may take three hours to learn this one lesson; when learned you will lie able to cut a waist, in five to ten minutes. Take the measure as directed on page 2; ]irocure a small square, fifteen inches long — you can buy one at any hardware store, or have one made by a car- lienter, or what is just as good make one from stiff paste lioard; if that is not at hand, use a .sheet of pajier, twelve inches squaie; it is not necessary to have the inches marked on the square or paper. To cut a lias(pie for a lady meas- ureing 34 inches, turn to page 9; draft a plain waist on paper; turn again to pages 66, 67, G8 and 71. A little practice will enable you to cut rapidly. The Engli.sh .system is used by tailors in cutting men's garments. It is calcslated on a division of the breast and shoulder measure. This system is but little used except by country dressmakers. It should be used onljf iu making ;jiodel patterns, which we recommend all dressmakers to do. MOS( IICO WITZ ',9 S YS TEM. Moschcowitz Brothers have an international reputation for artistic dressmaking. Tliej- are favored with the patronage of many of the first ladies of American society. They have had the honor to make the Inauguration drc.s.ses for the hist twelve years. The costumes worn by the wives and daughters of our Presidents, Governors. Senators, and wealthy citizens on distinguished occasions, have been, for the most part, products of these celebrated men dressmakers. Their system of cutting and fitting is perfection in every particular. Everything is done according to rule, and yet .so simple that a child may understand. We have the privilege and are permitted to publish their system 'of cutting, fitting and basting complete. Kot only this but we have been assisted by eighty or ninety of bis workmen, among whom are some of the best men dressmakers in the country. The system commences with page 6.5 and is continued to page 96. In this system you have the result of more than twenty j'ears' experience of the best men dressmakers in the world. THE MODEL PATTERNS. We furnish with the French System twenty-nino model patterns, cut in tissue manilla paper as follows ; Seven Pi-.viN AV.visT P.\tterxs in the following sizes: 30, 32, 34, ;!6, 38, 40 and 42 inches breast measure, the same as used by Moschcowitz and represented on pages 66 and 67. If these patterns are lost or injured, they can be reproduced \ aV'-U >^ o V ^0 '/%. 1*^' "^^ ♦ o „ o • -^^ v^^ •^^,..^ •^ • o V ,0^ ►!.•_"- > ■•■ ■ x^- iv- .0 4 * «0 1- 3* <'^ o V •^ .^^^^-^^^ ^ .„o %/-Ti^^;-.\,.^^ V'->^-V V--\^*" '■■=*■• %.^ ^ ■' ■ %/ .-mm;: %.^ if % » '. ,- G^ <= .. .- A <^ '-■ .G^ <= 'o . . » A '^^. «. .' 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