WfDRAPING A N D
FLAT PATTERN MA K I N G
MARION S. HILLHOUSE
EVELYN A. MANSF|ELD
Michxgar: Stale College
H O U G H T O N M I F F L I N C O M P A N YBOSTON - NEW voax CHICAGO - oALLAs -ATLANTA - SAN FRANCISCO
Eh: Rihctsihr Orts: Camhnbgr
AAll, RIGHTS asssnven; INCLUDINGm: Rl.GHT' T0 {IEPRODUCETHLS aoqx onpvprsmsasos IN - :: < .
_;.
PRINTED m m: U.S.A.
A
All, RIGHTS asssnven; INCLUDINGm: Rl.GHT' T0 {IEPRODUCETHLS aoqx onpvprsmsasos IN - :: < .
_;.
PRINTED m m: U.S.A.
TO ETHEL G. WEBB
Whose many years of analyticaland inspiring presentation ofdraping led to the writing of
this book.
I. THE DRESS FORM
Part I. The Dress Form CoverPart 2. Padding the Dress Form
2. BASIC BLOUSES
Part I. Draping Basic Blouscs on the Dress FormThe FIat Pauern Method oi Designing Blouseson the Master Block Paltern
Part 2.
3. BASIC SKIRTS
Part I. Draping Skins on the Dress FormPart 2. The Fiat Pattern Method of Designing Skirts
on a Master Pattern
4. SLEEVES
Part I. Drahing and Fiat Pattern Designing Basic Set-In SleevesPart 2. Designing Set-In Sleeves from the Master Pat-
tern One-Piece Sleeve BlockPart 3. Sleeves Cut In One with the Bodice or a Part
of the Bodice
5. FITTING
Part I. General Principles of FittingPart 2. Preparation of the Master Pattem for FittingPart 3. l-itting Problems of the BIouse
Page: I-I5
Page: I6-59
Page: 60-I I I
Page: I l2-l92
Page: I93-246
i, QsuggestionSuggestionSuggestionSuggestion
Suggestion
Suggestion
Suggestion
Suggestion
Suggestion
ibi-iiinsiiiflnfllnDESIGN: 1U
9.
Suggestion 10.
Suggestion 11.Suggestion 12.
INDEX
Developing Line Arrangements bySketchmgStudying the FabiicDraping for General EffectDrapingwith Muslin for Details oi De-signInterpreting Silhouettes as CompleteDesignsMolding the Fabric to the Form bySeams and by Concealed DartsDevelodping the Design Theme fromVariauons of Basic DartsDeveloping Unusual Skirt Cuts from theBasic Two- Fou-r-, and Six-Gore Pat-tems
Carrying One Piece of FabricAs FarAsPossible without CuttingDeriving Unusual Effects from Asym-metricCutsDesigning from a DetailIntroducing Original Details into aStandard Commercial Pattern
i, QsuggestionSuggestionSuggestionSuggestion
Suggestion
Suggestion
Suggestion
Suggestion
Suggestion
ibi-iiinsiiiflnfllnDESIGN: 1U
9.
Suggestion 10.
Suggestion 11.Suggestion 12.
INDEX
Developing Line Arrangements bySketchmgStudying the FabiicDraping for General EffectDrapingwith Muslin for Details oi De-signInterpreting Silhouettes as CompleteDesignsMolding the Fabric to the Form bySeams and by Concealed DartsDevelodping the Design Theme fromVariauons of Basic DartsDeveloping Unusual Skirt Cuts from theBasic Two- Fou-r-, and Six-Gore Pat-tems
Carrying One Piece of FabricAs FarAsPossible without CuttingDeriving Unusual Effects from Asym-metricCutsDesigning from a DetailIntroducing Original Details into aStandard Commercial Pattern
?M/MThe purpose of this book is t0 explain in dctail lhe principles of draping
Iabric on the dress form, thc principlcs o! Hat paucrn dcsignilng from maslerpaucrn blocks, and the dcpendencc of successlul flat paltern makmg on an linder-slanding of draping. We havc devote-d thc enlirc book to the presentanon ofthesc lwu systems in ordcr to show that a lacility in bolh frees the designer locarry oul any original costumc with ease and confidence.
Although drapiixg is the (iltlesl method ol pattcrn designing, we have nowhcre been ablc l0 lind a text lor our own collegc classes (hat shows in detailhow t0 drape Hat labric l0 fit the curves ol the body. Texts thal deal adequatelywith the Hat pauern syslem mcrely mcmion draping as a possible method butmake no altempt 1o explain i1. We have therefore tricd to present draping asadequately and logically as the block system.
From long experiencc in teaching both syslems of pattern making, we havealso bccome convinced that one can work with greater underslanding, efliciency.and skill if able l0 use both. We should thereforc not want t0 present one systemwithout the other. Each has many advantages, and only when one is able to usethe system which beuer suits a particular situation, or even to use a combinationof the (wo. can one derive the utmost satislaction and pleasure from Originalcostume designing. An understanding of each method helps to explain the other.For example, flat pattern designs devclopcd from drafted patterns will be utterlycold, set, and lifeless unless one has had experience in working with fabric on theform. Such designs may be accurate, but they will lack the finer line placementgained through draping experience. We have, therefore, attempted to show theimprovement in design quality (hat comes when blocking is founded on anunderstanding of draping.lt is too widely assumed that in order to profit from draping one musthave a mysterious Iceling for fabric or a gift for line, and that draping at bestis a kind of vague hin or miss procedure, too impractical 1o be generally used.This false assumption is undoubtedly due to the fact (hat draping has not pre-viously been analyzed and systematizcd and that procedures easy to lollow havenot bcen established. We are not attempting to prove that merely by leaming todrape, any one can bccome a professional designer. lndeed, we wish to makeclear our conviction that a succcsslul professional dress designer must be bornnot nnly with an innate feeling [ u r line and tcxture, an intcrest in and an ap-precialtion of all the ans, but with a keen busincss sense as well (hat enables herto design the right clothes a1 the right time. Bul wedo maintain that any studentor homemaker Wllh elcmentary dressmakingakills at her command can learn1o.(lrape deftly anld accurately, and (hat lhls abilily will help her to dcsignOriginal and beauuful costumes. A1 the very least, she will Iearn through ex-
perience in draping to recognizc Lhe qualities of a well designed dress and totell a good design from a poor one. Draping also teaches one not only to recog-mze an ill-fitting garment but to correct fitting errors- a learning process that(altes years by the trial and error method. The chapter on fitting (Chapter 5,)should be of great practical value to all clothing teachers as well as professionaldressmakers._ The designs illustratcd in this book have been chosen both because of theirmtrinsically good lines and because they explain a principle of design or patternmaking. They are not intended as fashions, and we hope that the students whouse this book will not regard them so, but rather as illustrations of principleswhich no fashion change can influence.
lt should be obvious, then, (hat we have planned the book primarily as alaboratory text for college students and for students of clothing in technicalschools of dressmaking and design students who have already learned elemen-tary dressmaking techniques and are familiar with the rudiments of handlingcommercial patterns. lt should also serve as a practical reference for high schoolclothing teachers, clothing extension specialists, and teachers of adult eveningclasses who need help with problems in pattern making as well as with alterationof patterns for both design and fit. This is not a suitable home economics textfor high schools, nor is it intended for the homemaker who has never learned tosew. In short, it is primarily intended as a supplement to classroom teaching;yet we believe that the experienced home dressmaker, as well as the professionaldressmaker, will find that the detailed (lirections, and the profuse illustrationsand diagrams, will be of value even without benefit of classroom instruction,not only in making and fitting basic patterns, but in designing costumes [hatare both individual and Original.
We wish t0 express apprecialion to M. Rohr, Charles and Esther Kaplan,Harriet Pepin, Mabel Erwin, and Mary Evans for the help derived from theirbooks on pattern making. We wish especially (o thank Shirley Hillhouse, thefashion illustrator, for so skillfully converting the rough drawings into finishedillustrations. We also wish to give recognilion to the students whose drapeddesigns in so many cases served as illustrations for Chapter 7. For the en-couragement which so greatly facililated the writing of this book, we want t0express appreciation t0 Dean Marie Dye ol" the School of Home Economics atMichigan State College, and to Hazel Strahan, Head of the Department of Tex-tiles, Clothing, and Relaled Arts.
MARION S. HILLHOUSEEVELYN A. MANSFIELD
perience in draping to recognizc Lhe qualities of a well designed dress and totell a good design from a poor one. Draping also teaches one not only to recog-mze an ill-fitting garment but to correct fitting errors- a learning process that(altes years by the trial and error method. The chapter on fitting (Chapter 5,)should be of great practical value to all clothing teachers as well as professionaldressmakers._ The designs illustratcd in this book have been chosen both because of theirmtrinsically good lines and because they explain a principle of design or patternmaking. They are not intended as fashions, and we hope that the students whouse this book will not regard them so, but rather as illustrations of principleswhich no fashion change can influence.
lt should be obvious, then, (hat we have planned the book primarily as alaboratory text for college students and for students of clothing in technicalschools of dressmaking and design students who have already learned elemen-tary dressmaking techniques and are familiar with the rudiments of handlingcommercial patterns. lt should also serve as a practical reference for high schoolclothing teachers, clothing extension specialists, and teachers of adult eveningclasses who need help with problems in pattern making as well as with alterationof patterns for both design and fit. This is not a suitable home economics textfor high schools, nor is it intended for the homemaker who has never learned tosew. In short, it is primarily intended as a supplement to classroom teaching;yet we believe that the experienced home dressmaker, as well as the professionaldressmaker, will find that the detailed (lirections, and the profuse illustrationsand diagrams, will be of value even without benefit of classroom instruction,not only in making and fitting basic patterns, but in designing costumes [hatare both individual and Original.
We wish t0 express apprecialion to M. Rohr, Charles and Esther Kaplan,Harriet Pepin, Mabel Erwin, and Mary Evans for the help derived from theirbooks on pattern making. We wish especially (o thank Shirley Hillhouse, thefashion illustrator, for so skillfully converting the rough drawings into finishedillustrations. We also wish to give recognilion to the students whose drapeddesigns in so many cases served as illustrations for Chapter 7. For the en-couragement which so greatly facililated the writing of this book, we want t0express appreciation t0 Dean Marie Dye ol" the School of Home Economics atMichigan State College, and to Hazel Strahan, Head of the Department of Tex-tiles, Clothing, and Relaled Arts.
MARION S. HILLHOUSEEVELYN A. MANSFIELD
/ % M 4 %A (lrcss lorrn should a0 uccurutcly duplicutc thc si/e
und shupc ol thc pcrson lor whoin it is Inudc lhut shc(SH!diupc clothcs on it und be ussured thut thcy will lithci with littlc ultcration. Although thcrc ure scvcrulLind; ol lorllls thut can cithcr be bought or mude athoine. nonc ol thcin gives thc sutisluctimi ol u stund-urd. incxpcnsivc connnercial lonn paddcd out withcouon to fill u lubric covcr which follows thc mcusure-incnts ol thc individuul with absolute prccision. Theudvunlagcs ol lhla typc ol lorin urc muny. ll wellpuddcd. it is finn ycl resilicnt, und it (locs not resistpins u: do hard unpuddcd lorms. Nloreover, the twositlcs urc cxuctly ulike, so thut u hull gurmcnt (iill bcduplicultd without the risk of dotibling the sizc olcnors. Finully. il the gurmcnt is draped carelully. itwill fit will: only ininor ultcrations.Anolhcl (ype of lonn is made by sticking strips ol
gunnncd lupc on u ganze vcst directly on thc ligure.
THE DRESSTHE PATTERN STYLE
Thc dress lonn covcr should In: u sniooth, lirm gar-ment fiued to the torso like a knitted buthing suitwithout wrinkles or looseness. lt should lollow cverycurve ol the body so that. whcn it is filled out withpudding on lhc forni, i1 will exuctly duplicatc everynicusurcment ol thc figure. Dress lorins vury in lengthbin generally extcnd I2 to H inches below thc wuist.1 hc _cover should be 2 or 3 inchcs langer thun this so(hat n can bc pullcd down und tacked securely t0 thewooden bracc undcrneath the lorm in order to givca tight and smooth surlace.The most satislactory pattern lor the cover is usuallyknown usa Frenrh lining, a princess-style pattern with
This typc thcorcticully duplicutes not only the indi-viduuls nicusurcincnts but also her posture. Unlortu-nutcl) this l5 t ruc in thcory only. Actuully the modelnnm stund sllll lor so long while thc tupe is beingupplicd (hat hcr ligurc sugs und thc lorm too oltenbeconlcs u tilll(illlll'c ol her real posture. lt is thusdiscouruging both to scc und to usc. (lunncntsdrapcdon lhcsc lorins urc bound to bc inuccurute, and thelonn, ilscllunuttructivc us it usuully isfurnishesno inspirution to thc druper. Bccause this type ol lormis less sutisluctory thun the labric-covered lormdescribcd ubovc, the following discussion will be lim-itcd 1o the procedure for making und filting thc labricdrcss lorm covcr und lor pudding out u stundurd com-nierciul form to fit the cover which you have made.The (liscussion includes the smallcst details of proce-dure in order to cnsure a lorm (hatwill bc sutisfuctory.
FORM COVER
Center front, sidc lront, centcr back, und side backverticul puncls. The cight verticul scuins muke it pos-siblc lor thc covcr to lollow thc body curves exactlywithout thc nccd l'on u wuistline seam. Such patternsare soinctinics sold by puttcrn coinpanies; bul sincethey ure not ulwuys available. directions ure given onpuges 9 to l2 lor (lruwing thcm in si/cs I2, l4. l6, l8.und 20. 'l'hc directions are eusy to follow und thepatterns can be (lruwn in a leu- ininulcs with u pencililatztiltflz: ;allOlfi Ist-plane.
ll you urc alule t0buy a reg.
renc ining puttern. you Wlll snnply need (otruc lt up accordmg t0 your own measurcnlents.ll you cannot buy und do not wish to draw u French
Fig. l. Princess style drcss pattem, a possible Substitute fora reg-ulation French lining pattem.
lining pattern, a regular princess-style dress patternis a possible substitute (see Figure 1). If you use apattern of this type, several modifications will be nec-essary. First, rule the center front line marked on theCenter iront panel and cut off the extension for the lapand lapel.Then alter the dress front slightly for a basicneckline, and cut it off to a 36-inch bodice. Finally,draw the panel lines from the largest hip measure-mem down absolutely vertically rather than outwardon a slant, since a form cover must fit skin-tight allthe way to the lower edge.
THE PATTERN SIZE
Because the form cover must be skin tight, buy yourpaltern one size smaller than the dress size you nor-mally wear, or in the smallest size that will fit thebust. Then, if necessary, add to the seams below thewaist to let out the hips. This requires much less al-teration than would be necessary to fit out excess abovethe waistline. Fully half of the college students findtheir proportions from shoulder t0 waist somewhat
o n s s sin e s I Msmaller thanlfrm waist t6hipfwy ulsingm;qpattem size and lettingi auf the seams from w;hip yqu will have t0 make very little adjusttngnthe fitting.
"For class use, the instructor will find that it wird!time to make up in advance muslin French lining jsamples of all pattern sizes (12, 14, 15, 1s, 2o). The
'
stqdent can then try them on and select the 0ndwhich fits her bes: above thc waistJ i
l1,l1|umifllllllllll ll;lI
Fig. 2. Checking panern size by trying on a muslin formcover sample.
1 The sample models should be left open down the centerback, and the neckline, armholes, and lower edge shouldbe tumed under on the seam lines and stitched twice to pre-vent stretching. They should be kept in a closed box whennot in use to prevent soiling, since they would shrink andbe inaccurate after being washed or dry cleaned. For classuse the teacher will also find it convenient t0 cut severalsets of each pattern size in tagboard without seam allow-ances. She should mark thc lengthwisc grain the full lengthof the pattem and mark or cut nolchcs. and should put re-inforced perforations in the top of euch piece and tie to-gether the lour parts of each pattcrn sek.
Fig. l. Princess style drcss pattem, a possible Substitute fora reg-ulation French lining pattem.
lining pattern, a regular princess-style dress patternis a possible substitute (see Figure 1). If you use apattern of this type, several modifications will be nec-essary. First, rule the center front line marked on theCenter iront panel and cut off the extension for the lapand lapel.Then alter the dress front slightly for a basicneckline, and cut it off to a 36-inch bodice. Finally,draw the panel lines from the largest hip measure-mem down absolutely vertically rather than outwardon a slant, since a form cover must fit skin-tight allthe way to the lower edge.
THE PATTERN SIZE
Because the form cover must be skin tight, buy yourpaltern one size smaller than the dress size you nor-mally wear, or in the smallest size that will fit thebust. Then, if necessary, add to the seams below thewaist to let out the hips. This requires much less al-teration than would be necessary to fit out excess abovethe waistline. Fully half of the college students findtheir proportions from shoulder t0 waist somewhat
o n s s sin e s I Msmaller thanlfrm waist t6hipfwy ulsingm;qpattem size and lettingi auf the seams from w;hip yqu will have t0 make very little adjusttngnthe fitting.
"For class use, the instructor will find that it wird!time to make up in advance muslin French lining jsamples of all pattern sizes (12, 14, 15, 1s, 2o). The
'
stqdent can then try them on and select the 0ndwhich fits her bes: above thc waistJ i
l1,l1|umifllllllllll ll;lI
Fig. 2. Checking panern size by trying on a muslin formcover sample.
1 The sample models should be left open down the centerback, and the neckline, armholes, and lower edge shouldbe tumed under on the seam lines and stitched twice to pre-vent stretching. They should be kept in a closed box whennot in use to prevent soiling, since they would shrink andbe inaccurate after being washed or dry cleaned. For classuse the teacher will also find it convenient t0 cut severalsets of each pattern size in tagboard without seam allow-ances. She should mark thc lengthwisc grain the full lengthof the pattem and mark or cut nolchcs. and should put re-inforced perforations in the top of euch piece and tie to-gether the lour parts of each pattcrn sek.
T H E
H sann: ul lhc body Incnsnnrcnlcnls dillvxr lrom U105!ul (hc patu-In, lhcy ( a n bc :|uun|lcly' (hcrkfll 51mlnoml whm lhc Inuslin is lriul ( m . Figurt 2 SINN 3muslin salllplr nn a Inmlcl who nccds unun- widlh fr_on|scaisl (o hip un lhc sidc und luuk wann. "Hu: u-rtlralscalms nlsu nccd l0 In: indcnlc-(I at n lnwer polnl l0 fillhc luwcr uuisllinc ol lhc hgurc shuwn. H onc linkes(au- lulh (lclailrsd Imlcs un xmh (lillcwntcs. lllc ou-l-Iinr ul lht paucrxl ( a n In: allcrnl hclurc- (uuing. Thlswgn ul clltsxking si/c und pruporlinn Iun provcd t0 b6qm} Lcr und nmrc clhcicnl lor u ( Iussroonl m shop lhanlhc Inclhuxl o! laknlg Inuny Incasurenlcius.
mmc ronm: COVER-OUALITY AND AMOUNT"Hu- prindpal rcquilclllcnl ul Ihc lahric lor thc
unu I5 lnnnnwss Mlhoul sllllncss. llcuvy wcighl mus-lin m u lnnn (will, smh a: khnki. mvcrt, lighLwL-ighlclcnnn. lmny munn gnbardinc,m gnlutcn arc all satis-lauen}: Thc lalnn m m ! b4: pliablc In b4: cluscly fillcdund rahil) pinrlcd. Im! il musl also In: Imu cnuugh l0wilhsland lhc 51min ol bcing pullcd uvcr lllc paddctllmm Wllllnlll slrcuhing, lur unlcss it is pullcd verylighl, lhc lmm will bc um soll (o rclam ils shapc. Buy( w o ( I ren lorm Icnglhs (approxilnalcly ( w o yards) olSli-inxh Inalrriul Prcss lhc lnbric (o snmolh oulwrinklcs, bul usc no nloisture. 'l'hen strelch it diag-onall) (o straighlcl: (he crossgrain as much as possiblc.
LAYOUT AND MARKINGI. Fold a lwoyard piecc ol INS-inch labric crosswiselhrough (hcccmcr. (hus allowing a yard lcnglh lor lhepaucm picces und their (luplicales in thc under layer.2. Placc lhe cenlcr back Iine ol lhc pauem I inchin lrom thc sclvage (o allow lor a lap. (Sincc thc(enlcr back is to bc left open. lhe sclvagc prevcms itlrom stretching.)3. Allow 5/. inch lor seams on all other pauernedgcs..4. Draw around the ccmer back pancl with a pen-cnl. Then placc the side back. side front. and Center' lront panels a: shown in the layout diagram. Figur: 8.wilh (h:Iengthwisc grain-marking of the pauerns onlhe lengthwise grain o! lhc labric.
D R E S S F O R M
Fig. 3. Dress lorm mvcr layoul. Doucd lincs indicatealteratiom lnr lowcr waistlinc and lct-out on side and backscams lmm waist (o hip.Thc doued lines of Figur: 3 show how to alter lhescam Iincs on thc labric l0 conform to the proportionsol lhc ligurc in thc skclch. Thc waistline should bey, inch lowcr than lhe paucrn. and lherc should b:a let-out on (he side and back scams to provide extrawidth [ mm the waist to the broadest part ol lhc hips.ll thc bodice panern is less than 36 inches in length.rule vqrtical lines lrom the largest hip measurcment.approximalely 8%lo 9 inches bclow (hewaisl. to thelower cdgc ol thc Iabric. Unless the paucrn has un-usually wide shouldcrs. add 3/, inch to lhc end ol thefrom and back shoulder scams lor possiblc let-out orfor unusually broad shoulders. (The broken lines in-dicatc thc cuuing lines wilh % inch scams.)5. Pcncil all notchcs on the cloth. paying spccia]anemion lo lhose on xhe side lrom and side back
.. gP an "i (duplicatefrbnx shifting in_ . n Gifte al. pencilcd seam lines wand ctoss-ngxgiusmga tracing wheel on achalk board orbonpaper to transfer them to lthe under layer.
;l Agssuauue m5 PATTERN was
Pirl all seams except the cemer back, and machine-haste them for the first fitting.Exception. When making a form cover at home
without the help of a fitter, leave the cemer front openrather than the cemer back.l. Pin the cemer front seam first before separating
Ehe two layers.2. Pin the seam, joining the cemer panels to the
side froms at about oneinch intervals over the bustcurve. Beginning at the shoulder, match the notchesand distribute the ease evenly on the side front overthe curve ol the bust.To join seam lines accurately, direct the pin
through the penciled line of the top layer of the fabricand look to see that it comes through the penciledline on the under layer. Pick up with the pin only1Ainch of the fabric directly on the seam line. lf youpick up more than this. one layer will slip against theother and the seam lines will not match. (See Figure4.)3. After pinning side froms to cemer fronts and
side backs to cemer backs, machine-baste all seams.4. Pin and haste the underarm and shoulder seams.
For the first fitting, baste the shoulder seam from neckto princess line and from annscye (armhole) to prin-cca line to avoid stitching across the vertical seams.F01" basting, adjust the sewing machine to the long-eu possible stitch and use a hinged prcsser foot in
' lordcr to jump the pins without blunting or breakingfththfltdlc.
l .9 Offabfigtogether t6 prevent!
Fig.4. Method of pinning seams.
5. Press the cover throughout, but without givingany direction to the seams, as creases are a hindrancewhen making alterations.
FIRST FITTING
Remove your slip to avoid snagging it with pinsbut wear a good foundation garment and then put onthe form cover wrong side out in order to fit it skintight. Although this places the right half of the gar-ment on the left half ol the body and vice versa, it iswise to ignore small variations in the two sides of thebody and to make both sides of a dress form exactlyalike, for fitting clothes to minor figure irregularitiesemphasizes rather than conceals them. Fit only oneside and duplicate all alterations on the other sidealter taking the garment oll". Never trim oll" seamallowances, but use them to malch the two sides. lfthe armscye and neckline are unusually high, the fitterwill need t0 Clip lhe seam allowances at these pointsbefore putting the garmem on. She should then pinthe cemer back line, being carelul t0 nxatch the neck-line and the four crossnlarkings. and should pull downthe lower edge to scttle all Iines" imo pluce. lf thecover lails to settle down a1 thc collur bone and chest,
.. gP an "i (duplicatefrbnx shifting in_ . n Gifte al. pencilcd seam lines wand ctoss-ngxgiusmga tracing wheel on achalk board orbonpaper to transfer them to lthe under layer.
;l Agssuauue m5 PATTERN was
Pirl all seams except the cemer back, and machine-haste them for the first fitting.Exception. When making a form cover at home
without the help of a fitter, leave the cemer front openrather than the cemer back.l. Pin the cemer front seam first before separating
Ehe two layers.2. Pin the seam, joining the cemer panels to the
side froms at about oneinch intervals over the bustcurve. Beginning at the shoulder, match the notchesand distribute the ease evenly on the side front overthe curve ol the bust.To join seam lines accurately, direct the pin
through the penciled line of the top layer of the fabricand look to see that it comes through the penciledline on the under layer. Pick up with the pin only1Ainch of the fabric directly on the seam line. lf youpick up more than this. one layer will slip against theother and the seam lines will not match. (See Figure4.)3. After pinning side froms to cemer fronts and
side backs to cemer backs, machine-baste all seams.4. Pin and haste the underarm and shoulder seams.
For the first fitting, baste the shoulder seam from neckto princess line and from annscye (armhole) to prin-cca line to avoid stitching across the vertical seams.F01" basting, adjust the sewing machine to the long-eu possible stitch and use a hinged prcsser foot in
' lordcr to jump the pins without blunting or breakingfththfltdlc.
l .9 Offabfigtogether t6 prevent!
Fig.4. Method of pinning seams.
5. Press the cover throughout, but without givingany direction to the seams, as creases are a hindrancewhen making alterations.
FIRST FITTING
Remove your slip to avoid snagging it with pinsbut wear a good foundation garment and then put onthe form cover wrong side out in order to fit it skintight. Although this places the right half of the gar-ment on the left half ol the body and vice versa, it iswise to ignore small variations in the two sides of thebody and to make both sides of a dress form exactlyalike, for fitting clothes to minor figure irregularitiesemphasizes rather than conceals them. Fit only oneside and duplicate all alterations on the other sidealter taking the garment oll". Never trim oll" seamallowances, but use them to malch the two sides. lfthe armscye and neckline are unusually high, the fitterwill need t0 Clip lhe seam allowances at these pointsbefore putting the garmem on. She should then pinthe cemer back line, being carelul t0 nxatch the neck-line and the four crossnlarkings. and should pull downthe lower edge to scttle all Iines" imo pluce. lf thecover lails to settle down a1 thc collur bone and chest,
T H E
llic nciklinc- um} ncul ncn inurc ilipping.bw huci sll()lll(l ( l icrk scu-ral iinpmtnill polnls
bclnn" inaking im nlu-iuiions. "l lic (Clllcf lronl amil(einer lmik lincs sliuulil bc plau-(l un llu- ( c m 0 ! uldu ligurr. llic gninii-nt shuulil lx- sinnullily pulluldann, 4nd llu" \llUl|l(l('l piuls shunld lw |)l;I(((l ul lllcannluxlc- cml ul uuli shnulilci scuni. Shouldcr pzuls.ul unnw, au: zipuunnl; lml whcn lxmnd padded3h()|ll(l('I\ um in mguc, il is lwllcr (o lit ovcr thcln lhanu; pin llu- pmls m llN: ilress lmin nn top ol Ihc coverund llllh (()II((.Il llic shoulilcr anil annscyc scaun linesso helplul wlicn iliuping.
FRONT 0F COVER (see Figure 5}I. Shouldor zum(n) Puxiliun. l l l c wann \l|()l|l(l lnc ilirctlly on lopol ilu- xliuulilci und sllullltl ln- imunspiiiiiiiis ll()lllcilhcr lrunl 0|" lmik. ll slinuld hc a snziiglil lIIlC lIOIIIm-(L l0 ninmyr. ll ll is nui. scc ilini ilic guinicni is
plupcll) niljualul nn llIC liguic- In-lnn- ullviing ihisline. Yuu inuy lind lhul il wir pull llic ( m c r (lowna! Ihr: (einer lrunl. llic \llUlIl(l('l' wann will lull whcrci! bclongx wilhoul an) ullcinlion.(h) I-"rl. Tlic shuulilci sciun \lI0l|l(l (ling (lusi-ly u)lhc bud) lruin iIIII|S(\(' l0 nuk. .\ shoulilcr pailusuall) iuiws lhc ncck und ul lhc si-ain abmc ( l ic bod)"w {hat il l|('('(l\ l0 In: ll()ll0\\('(l in unlil il (lings (olhe shuuldcr.
2. Undonrm nun lincThc pcrson bcing fiucd sllould raiye her arm enoughso (hat ihc fiuer can pin oul any looscncss along theunderarm scmn. Wilh a lcw pins, pick up lhc samcamoum on lhc opposile undcrarni scaun. This willserw: as a cherk on (ightncss and will also keep lheccnicr lines in position. 'l'hc final underarm line,however. should bewpicd lrom the side first pinncd.
3. Amneyo(a) Clip Ihc seam allowancc in one or lwo placesalong (h:lower half ol the annscye if it is (oohigh l0sei smoolhly.(b) Pin a dar: from thc middle o! ihe armscye.directing in toward ihe busl to fil thc hollow belowdie shoulder ball.
D R E S S F O R M
Fig. 5. First fiuing ul drcss lnrm cnvcr-wrong sidc oul.4. NocllinoPin oul ol thc (Clllcr lroni scam Iine any cxcesswidth across thc lronl a! Ihr: base o! lhe neck.
5. Primus: Iinc(a) Rip lhe scam lrom lhe poinl just below lhcbusl to lhe waisilinc. (This invariably has l0 bcdonc.)(b) Rciain ihr: original linc ol ihe Center frompanel. bui iake in a deeper scam on lhe side frontpanel lo tighten thc form cover under the bust. Thisincrcases lhe curve on the sidc seclion.(c) Follow (h1: same method [mm waisl l0 hip.{tlways kecp the center panel lhc same width 2nd lakein or let out thc seam on ihe sidc section.
6. Conior front linoPlace horizontal dans from thc Center front scaml0 ihc poim o! ihe busl lo indem ihe spacc betwcen
s1nAcx o5 covenI. ArmscyeClip the armscye seam allowance if it binds whenthe arm 1s down.
U
Pm a dart from the center of thearmscye to the pomt of the shoulder blade if there istooseness and wrinkling at the armscye when the armts down.2. Princess line_Follow the same procedure as for the front if there1s excess above or below the shoulder blades. How-ever, the back princess line from shoulder to waistseldom needs alteration if a small enough pattern hasbeen used.3. Side seamThe fitter should stand away from the person being
fitted and observe the position of the side seam todetermine whether or not the line is being pulledeither forward or back. It should be as nearly as pos-sible a plumb line from under the arm to the floor,but should divide the figure becomingly so that theseam itself is inconspicuous from either the back orfrom view.
MARKING AND D-UPLICATING ALTERATIONS
l. Remove the garment.2. With a pencil, rcplace all pin markings with
short broken lines and crossmark all seamswith pencil.3. Spread the garment on a table to smooth it out
and to true the alteration lines. lf the alterations areextensive, rip out all bastings.4. Duplicate alterations on one panel at a time,
carefully matching and pinning together the seamedges of the two layers before placing them on a chalkboard or carbon paper to transfer the markings to theone beneath. lf the alterations are slight fold thegarment wrong side out on the center front seam andtelescope the left half of the garment into the righthalf. Pin togethcr thc raw edges of the two layersalong the ncckline, armscyc, shoulder, and underarmand then placc the unfitted side against the wax car-bon paper and tracc the alteration lines. Rip the
. o R s s s o E s I e N5
6
front princess lines below the bust before duplicatithat alteration since more has been taken upon:side front panel than on the center front panel.
PREPARATION FOR THE SECOND FITTING
1. Shorten the machine stitch and restitch all un-changed vertical seams directly on the first stitching.Carefully re-pin and stitch the altered seams, buteither hand-baste or pin very closely the exaggeratedcurve over the bust to keep the line accurate and t0distribute properly the ease over the curve. Stitch theshoulder seams in a continuous line from armscye toneck.2. Press open the Center front and underartn seams.
Press the side front and side back seams toward thecenter and press the shoulder seams open.3. Clip diagonally through all seam allowances at
the waistline to within 1Ainch of the stitching. D0the same for the front seams of the princess lines be-low the bust and for the shoulder seams where theycurve up to the neckline.4. Trace the center back lines and crossmarkings t0.
show on the right side of the fabric for accuracy inpinning the garment together for the second fitting.
THE SECOND FITTING
Put the eover on right side out. Adjust the shoulderseams correctly and slip in the shoulder pads if theyare to be used. Pin the center back, matching the fourcrossmarkings. Pull firmly on the lower edge of thegarment both in back and front to settle all lines downon the body and to smooth out any horizontal wrinklesdue to tightness. Ordinarily no further adjustmentsare necessary if alterations have been made carefully,but do not overlook any possible improvements of fitat th'is time.The chief purpose of the second fitting is to mark
basic lines on the form cover (see Figures 6 and 7) .I. NecklineThe prominent vertebra at the back of the neck
is the center back point of the neckline, and the hol-low of the neck establishes ils posilion ztt the Center
..f.a
s1nAcx o5 covenI. ArmscyeClip the armscye seam allowance if it binds whenthe arm 1s down.
U
Pm a dart from the center of thearmscye to the pomt of the shoulder blade if there istooseness and wrinkling at the armscye when the armts down.2. Princess line_Follow the same procedure as for the front if there1s excess above or below the shoulder blades. How-ever, the back princess line from shoulder to waistseldom needs alteration if a small enough pattern hasbeen used.3. Side seamThe fitter should stand away from the person being
fitted and observe the position of the side seam todetermine whether or not the line is being pulledeither forward or back. It should be as nearly as pos-sible a plumb line from under the arm to the floor,but should divide the figure becomingly so that theseam itself is inconspicuous from either the back orfrom view.
MARKING AND D-UPLICATING ALTERATIONS
l. Remove the garment.2. With a pencil, rcplace all pin markings with
short broken lines and crossmark all seamswith pencil.3. Spread the garment on a table to smooth it out
and to true the alteration lines. lf the alterations areextensive, rip out all bastings.4. Duplicate alterations on one panel at a time,
carefully matching and pinning together the seamedges of the two layers before placing them on a chalkboard or carbon paper to transfer the markings to theone beneath. lf the alterations are slight fold thegarment wrong side out on the center front seam andtelescope the left half of the garment into the righthalf. Pin togethcr thc raw edges of the two layersalong the ncckline, armscyc, shoulder, and underarmand then placc the unfitted side against the wax car-bon paper and tracc the alteration lines. Rip the
. o R s s s o E s I e N5
6
front princess lines below the bust before duplicatithat alteration since more has been taken upon:side front panel than on the center front panel.
PREPARATION FOR THE SECOND FITTING
1. Shorten the machine stitch and restitch all un-changed vertical seams directly on the first stitching.Carefully re-pin and stitch the altered seams, buteither hand-baste or pin very closely the exaggeratedcurve over the bust to keep the line accurate and t0distribute properly the ease over the curve. Stitch theshoulder seams in a continuous line from armscye toneck.2. Press open the Center front and underartn seams.
Press the side front and side back seams toward thecenter and press the shoulder seams open.3. Clip diagonally through all seam allowances at
the waistline to within 1Ainch of the stitching. D0the same for the front seams of the princess lines be-low the bust and for the shoulder seams where theycurve up to the neckline.4. Trace the center back lines and crossmarkings t0.
show on the right side of the fabric for accuracy inpinning the garment together for the second fitting.
THE SECOND FITTING
Put the eover on right side out. Adjust the shoulderseams correctly and slip in the shoulder pads if theyare to be used. Pin the center back, matching the fourcrossmarkings. Pull firmly on the lower edge of thegarment both in back and front to settle all lines downon the body and to smooth out any horizontal wrinklesdue to tightness. Ordinarily no further adjustmentsare necessary if alterations have been made carefully,but do not overlook any possible improvements of fitat th'is time.The chief purpose of the second fitting is to mark
basic lines on the form cover (see Figures 6 and 7) .I. NecklineThe prominent vertebra at the back of the neck
is the center back point of the neckline, and the hol-low of the neck establishes ils posilion ztt the Center
..f.a
T H E
Fig.6. (a) Pusilimn nl bam nccklinc; (b) Armuyc.
Ironl. lhc lim: joining lhcse lwn puinls should lollowIhr: Inccling u! (In: nctk colunnn wilh lhe plane ol lhcslmuldcr. "lllc (cnlcr batk slmulll bc a: high as lhesidc ur slighlly Ilighcr. and lhc Lcnlcr lronl. ol coursc.is lhc luwcst poim. Thc hasic nccklinc musl bc highcnough u) scrvc aus lhc loundalion lur a lailorcxl or rollcollar. ll il is nol. lhe roll linc ol thc collar will bucklcaway lrmn lhe ncrk. ll you arc in douln aboul itsacruracy. nlip al inlcrvals (rmn thc raw cdgc lowardlhc m-(klmc und l u m (he raw cdgc under. 'IhenmarkIhc linc [ mm Lcnlcr back l0 ccnlcr [ m m wilh soll lcadpcncil or pins (scc Figures 6a and b). Chcck and rc.cord lhc basc ol ncck mcasurcmcnt lrom ccnler backto lront 2nd also lhe Incasurennent ol the neck II/zinchcs abow: lhc basc. Use lhcse ( w o measurcmcunswhcn paddmg lhc lorm.
2. Armscyo (Annlnolo)Begin to form lhc linc a! lhe shouldcr scam. One
way l0 eslablish the Iop poim o! lhe armscye Iine islo measurc the length ol lhe shoulder scam of yourmost recent satislaclory dress or suit aml use thal meas-urcmem (o dclerminc thc shoulder scam lenglh lromned. l0 annscyc on your dress lorm. Another way xoeslablish thc lop poim ol the armscye is lo Iay a longpenul against the outside ol lhc upper arm and ex-(end n lomeel a pcncil laid along thc shoulder scam.The polnt wherc lhesc ( w o pencils mecl indicales thenmersecuon o! the shoulder scam and Lhe armscye.Wllen a broad square-shouldered ellect is in fashion.plann sleeveswilhout dans or gathcrs should meel theIhouldcr seam line wilhoul being pulled inward.From the top Rom: of thc armscye curvc.mark a linedann to the pomtwhere the arm and body ioin(h:
DRESS F O RMnarrowcst poim ol lhc (urw:kecping thc lllle l5slraiglu und ncarly parallel l0 lhc (einer T0111
35
possiblc wilhout pulling (h4: annscycso lar Ollll. llll
i1 rcsu on lop ol lhc am: rauher lhan at lhc gonnlngol lhc arm aml thc lxxly. Fron: lhis poim conllnuclhc cunc (luwnwald und uulward l0 lllt llndflalmwann, lhc mp poim ol whith should bc al least oncinch bcluw thc unnpil (scc Figurcs (i a und b) . Followlhc saunc pnxululc lm ustublishing thc lxack annscyc(urvc. Thc pcuun heilig liucd should bring her arm:lorwanl (u Inakc surc lhal lhcnc is cnough width acrossthc shuuldm bludcs. "lhc undcr parl ol lhc armscycwill bc a Iallncr narmw mal lmausc ol lhc tighlnessol lhc lonn cme r
Fig.7. Sccond fiuing ol Ionn oovct-marking neckline.anmcye. bunt linc. waistlinc. hip Ievel and disunce (vomhip level (o floor.
3. WaisllinoThe placemem o! this line as well as (hat of the
armscye varies with lashion. Place and pin a tapemeasure around lhc waisl, adjusling it up and dem;unul you find a position that is becoming from back,
and front views. The waistline at the center back ould never be lower than the side, and the center530mShould be as low as or lower than the side. Pen-Varound the lower edge of the tape from Center backto Center Irom. Check and record the waistline meas-urement (see Figure 7).4. HiplinePlace and pin a tape around the largest hip meas-
urement. W ith a yardstick measure from the floor tothe tape in order to level and true the line. Markclearly on the dress form the distance from the hiplevel line to the floor. This measurement may be usedlater to indicatc whether the dress form is level as wellas t0 show whether i: is set at the correct height. Pen-cil around the lower edge of the tape and record thehip measurement at this level (see Figure 7) .
5. BusflinePlace and pin a tape around the largest bust meas-
urement, being sure that the tape is kept level. Pencillightly around the lower edge of the tape and recordthe measuremem (see Figure 7).The recorded measurenlents of neck, bust, waist, and
hip are checks on size when you pad the form.
FINISHING THE DRESS FORM COVER
l. Remove the cover and duplicate line markingson the opposite half alter folding on the Center [ rontline and pinning the raw edges together along theneckline and armscye edges and along thc shoulderand underarm seams.2. "Transfer all of the basic lines t0 the inside of the
garmem, using a tracing wheel on carbon paper.3. T0 makc lhe important basic lines permanent
and easy t0 fcel even through heavy fabrics, couchcord or embroidcry floss along the penciled lines. Tod0 this, wind the cord or floss on the machine bobbinbut leave the corcl out of the bobbin tension. Thenif the tension of the top lhread is loosened, it will loopdown through the labric nvcr thc cord. Stitch all basicline: with thc right side of thc cloth down against the(eed dog so that thc cord [ m m thc bobbin will lie Onthe right side ol thc garment. ln addition to the basicneckline, armscyc, waist, and hip levcl lincs, shouldcr
D R E S S D E S I G N .
way.4. Machine-stitch with regular thread thc Center
back lines to stay them, as you will have to re-pin thecenter back line several times during the corse ofpadding the form.
DRAWING THE FRENCH LINING PATTERN
Although it is usually possible to buy a French lin-ing patternwhich can be used in making a dress formcover, you may not always be able to" secure onereadily. If you cannot get a pattern through commer-cial sources you can always make one of your own,and it takes but little time and few tools to do so. Alarge sheet of construction or wrapping paper, atailor's square, and a well-sharpened pencil are allyou need. Moreover, the task requires no special skill,though it does require accuracy in reading and inmarking the measurements correctly.
The following pages give you, in tabulated form,all the information you will need for the purpose.This consists of (1) a chart of measurements for theFrench lining pattern, in sizes l2, 14, 16, 18, and 20;(2) detailed pattern directions; (3) measurements forthe four types of panel in each of the five sizes given;and (4) an illustration showing the patterns for thepanels and the typical measurements for each (seeFigure 8). Before you begin making your own pat-tern , examine this material carefully.You should begin by checking the measurements of
the live pattern sizes given in the chart against yourown measurements. In doing so, select the size whichcoincides with your own measurenlents. Be sure totake your hip measure where it is largest, (hat is, 8 or91/2 inches below the waist, rather than 7 inches belowthe waist, as is usually done in commercial patterns.Once you have determined the actual nleasurementsyou will use, the next slep is t0 Substitute these forthe avcrage measurelncnts given in Figure 8. Finally,draw Lhe lincs of the pattcrn on the paper. F01" bestresults, connect all points which should be joined (see(lirections below) with ruled pencil lincs. Then drawcurvcs lrcchaml whercver thcy are indicaled. Thepanels ( a n thcn bc cut out and used prccisely likethosc of u commcrcial patlem.
seams and center front can be quickly marked in thi 7and front views. The waistline at the center back ould never be lower than the side, and the center530mShould be as low as or lower than the side. Pen-Varound the lower edge of the tape from Center backto Center Irom. Check and record the waistline meas-urement (see Figure 7).4. HiplinePlace and pin a tape around the largest hip meas-
urement. W ith a yardstick measure from the floor tothe tape in order to level and true the line. Markclearly on the dress form the distance from the hiplevel line to the floor. This measurement may be usedlater to indicatc whether the dress form is level as wellas t0 show whether i: is set at the correct height. Pen-cil around the lower edge of the tape and record thehip measurement at this level (see Figure 7) .
5. BusflinePlace and pin a tape around the largest bust meas-
urement, being sure that the tape is kept level. Pencillightly around the lower edge of the tape and recordthe measuremem (see Figure 7).The recorded measurenlents of neck, bust, waist, and
hip are checks on size when you pad the form.
FINISHING THE DRESS FORM COVER
l. Remove the cover and duplicate line markingson the opposite half alter folding on the Center [ rontline and pinning the raw edges together along theneckline and armscye edges and along thc shoulderand underarm seams.2. "Transfer all of the basic lines t0 the inside of the
garmem, using a tracing wheel on carbon paper.3. T0 makc lhe important basic lines permanent
and easy t0 fcel even through heavy fabrics, couchcord or embroidcry floss along the penciled lines. Tod0 this, wind the cord or floss on the machine bobbinbut leave the corcl out of the bobbin tension. Thenif the tension of the top lhread is loosened, it will loopdown through the labric nvcr thc cord. Stitch all basicline: with thc right side of thc cloth down against the(eed dog so that thc cord [ m m thc bobbin will lie Onthe right side ol thc garment. ln addition to the basicneckline, armscyc, waist, and hip levcl lincs, shouldcr
D R E S S D E S I G N .
way.4. Machine-stitch with regular thread thc Center
back lines to stay them, as you will have to re-pin thecenter back line several times during the corse ofpadding the form.
DRAWING THE FRENCH LINING PATTERN
Although it is usually possible to buy a French lin-ing patternwhich can be used in making a dress formcover, you may not always be able to" secure onereadily. If you cannot get a pattern through commer-cial sources you can always make one of your own,and it takes but little time and few tools to do so. Alarge sheet of construction or wrapping paper, atailor's square, and a well-sharpened pencil are allyou need. Moreover, the task requires no special skill,though it does require accuracy in reading and inmarking the measurements correctly.
The following pages give you, in tabulated form,all the information you will need for the purpose.This consists of (1) a chart of measurements for theFrench lining pattern, in sizes l2, 14, 16, 18, and 20;(2) detailed pattern directions; (3) measurements forthe four types of panel in each of the five sizes given;and (4) an illustration showing the patterns for thepanels and the typical measurements for each (seeFigure 8). Before you begin making your own pat-tern , examine this material carefully.You should begin by checking the measurements of
the live pattern sizes given in the chart against yourown measurements. In doing so, select the size whichcoincides with your own measurenlents. Be sure totake your hip measure where it is largest, (hat is, 8 or91/2 inches below the waist, rather than 7 inches belowthe waist, as is usually done in commercial patterns.Once you have determined the actual nleasurementsyou will use, the next slep is t0 Substitute these forthe avcrage measurelncnts given in Figure 8. Finally,draw Lhe lincs of the pattcrn on the paper. F01" bestresults, connect all points which should be joined (see(lirections below) with ruled pencil lincs. Then drawcurvcs lrcchaml whercver thcy are indicaled. Thepanels ( a n thcn bc cut out and used prccisely likethosc of u commcrcial patlem.
seams and center front can be quickly marked in thi 7
T H E D R E S S F O R M
CDEF
o: F,
. V N
WlGfia/B" H.
lf HFig. 8. Sile l6 (lress [orm uwer dirccliuns.
CHART OF MEASUREMENTSFOR FRENCH LINING PATTERNS PATTERN DIRECT|ONS
Sin . . . . . I2 I4 |6 I8 20 Lengfhwise grain in all pieces is parallel lo fhe Iong sideBusQ . . . . . 34 36 38 40 42 o5fhe recfangle.Waisf . . . . . 26V; 28 30 32 34"w"w edse of E"."ZZT'Z?E. Iepaflern) . . . 363/. 39 41v. 43 45 2'M d d 3Lengfh of poflern ' ex"? an ' A J{vom base oneclx la9cenfer fronf fo A 1o C I fo Hlower edge . . 23l/4 23V; 23% 24 24V. D fo E
D R E S S D E S I G N3. Join: 8. Wi+I1 inward curve ioin +0p0in+s marked in fromJ+0H H+0F B.C.D.E.F.F I _E 9. Join p0in+s squared in from F and G and confinuerMeasure in V4inch frorn p0in+ G (halfway be+ween +0H. v iH and F). Swing inward curve from H+0F+hrough |0. Join P+0 p0in+s squared in from N.M.Lwi+h 00+-P"'*G- ward curve.4. Draw neckIine B+0J Beginning wi+ln righ+ angle a+ I I.Band ending wi+I1 righ+ angle a+J.
SIDE FRONT PANELI.2.
h)o
8.9I0.H.I2.
I3.I4.
C0ns+ruc+ rec+angIeMeasure and d0+:A +0 BA +0 D
Measure up from G +0 find p0in+ F.Square in from Iine AG +he given measuremen+s0+B.C. D.E.Measure and d0+:
A+oC
A+0P O+oLO+0N O+oKO+0M O+0J
Square in Irom Iine OI +he given measuremen+s a+M.L.J. I.Join P +0 p0in+s marlzed in from B.C. D,wi+I1 ou+-ward curve.Join D+0 Ewi+h inward curve.Join E+0 Fwi+I| 0u+ward curve.Join F +0 H and H +0 I.Join P+0 N wi+h ruIer.Swing inward curve from N +0 +I1e poin+s squaredin from M and L and 0n +0K.Join K+0 J wifh sIIgI1+Iy inward curve.Join J +0 I wi+h sIigI1+Iy 0u+ward curve over hip.
SIDE BACK PANEL
2.
F?
C0ns+ruc+ rec+ang|eMeasure and dof:
A+0B A+0EA+oC AIOFA+oD AIG
Square in from Iine AH +he given measuremen+s a+B,C, D, E.F.G.Measure and d0+:A w P O wMP+0O O+oLQQON O+oK
Square in +r0m Iine OI +he given measuremen+s afN.M, L,K.Measure up from I +0 J.Join P+0 p0in+ marked in from B. Use ruIer.
I0
I2.CENTER BACK PANEL
I.2.
Size I2Cen+er Fr0n+ PaneI Cenfer Bock PaneIReCIngIe RecfangleWid+h __ 5" Wid+h . . SI/g"Leng+I1 . . . . 25%" Leng+h . 25%"
A-B . . . ZI/g" A-B . . . . . . . . I73"A-C . . . . . . . . . I7I/4" A-C . . . . . . . . . . 6"C-F . . . .. 27/3" C . . . . I"A-D . _ _ 25%" A-D . 9"D-E .. . . . . . 3I/4" D . II/fA-J _ . . . . I%" A-E Ibyg"I-H I3/3" E . . . . . _ . . 2I/4"G- A-F...___...25%"one-half 0+FH V4" F i374"
Side Fr0n+ PenoI J.K _2"Rec+angIe J_| g 4 5/8"Widih 65/8" Side Bach PanelLeng+I1 . 20/4" Rec+angIe
A-B 7I/3" Wid+h 5%"B 7/3" Leng+h 24"A-C 9%" A-B I"c 3/." s 15/."
Join p0in+ marked in from L+0Kwi+I| ruIer and +0J wi+I1 0u+ward curve.Join J +0H.+0uching Iine HIa+cen+er 0+paneI.C0ns+ruc+ rec+angIeMeasure and d0+:A +0 B A +0 DA b C A55
Square in +he given measuremenfs from Iine AF0+C. D.E, F.Measure and d0+:A +0 KJ +0 I
Join K+0 B.Join B +0 p0in+s squared in from Iine AF wi+I1 in-ward curve B+0 E,and ou+ward curve E+0G.Draw neckIine K+0 I beginning wi+h righ+ angle a+K and ending wi+h rigI1+ angle a+I.
K+0J
Pa++ern Measuremen+s for Dress Form Cover
D R E S S D E S I G N3. Join: 8. Wi+I1 inward curve ioin +0p0in+s marked in fromJ+0H H+0F B.C.D.E.F.F I _E 9. Join p0in+s squared in from F and G and confinuerMeasure in V4inch frorn p0in+ G (halfway be+ween +0H. v iH and F). Swing inward curve from H+0F+hrough |0. Join P+0 p0in+s squared in from N.M.Lwi+h 00+-P"'*G- ward curve.4. Draw neckIine B+0J Beginning wi+ln righ+ angle a+ I I.Band ending wi+I1 righ+ angle a+J.
SIDE FRONT PANELI.2.
h)o
8.9I0.H.I2.
I3.I4.
C0ns+ruc+ rec+angIeMeasure and d0+:A +0 BA +0 D
Measure up from G +0 find p0in+ F.Square in from Iine AG +he given measuremen+s0+B.C. D.E.Measure and d0+:
A+oC
A+0P O+oLO+0N O+oKO+0M O+0J
Square in Irom Iine OI +he given measuremen+s a+M.L.J. I.Join P +0 p0in+s marlzed in from B.C. D,wi+I1 ou+-ward curve.Join D+0 Ewi+h inward curve.Join E+0 Fwi+I| 0u+ward curve.Join F +0 H and H +0 I.Join P+0 N wi+h ruIer.Swing inward curve from N +0 +I1e poin+s squaredin from M and L and 0n +0K.Join K+0 J wifh sIIgI1+Iy inward curve.Join J +0 I wi+h sIigI1+Iy 0u+ward curve over hip.
SIDE BACK PANEL
2.
F?
C0ns+ruc+ rec+ang|eMeasure and dof:
A+0B A+0EA+oC AIOFA+oD AIG
Square in from Iine AH +he given measuremen+s a+B,C, D, E.F.G.Measure and d0+:A w P O wMP+0O O+oLQQON O+oK
Square in +r0m Iine OI +he given measuremen+s afN.M, L,K.Measure up from I +0 J.Join P+0 p0in+ marked in from B. Use ruIer.
I0
I2.CENTER BACK PANEL
I.2.
Size I2Cen+er Fr0n+ PaneI Cenfer Bock PaneIReCIngIe RecfangleWid+h __ 5" Wid+h . . SI/g"Leng+I1 . . . . 25%" Leng+h . 25%"
A-B . . . ZI/g" A-B . . . . . . . . I73"A-C . . . . . . . . . I7I/4" A-C . . . . . . . . . . 6"C-F . . . .. 27/3" C . . . . I"A-D . _ _ 25%" A-D . 9"D-E .. . . . . . 3I/4" D . II/fA-J _ . . . . I%" A-E Ibyg"I-H I3/3" E . . . . . _ . . 2I/4"G- A-F...___...25%"one-half 0+FH V4" F i374"
Side Fr0n+ PenoI J.K _2"Rec+angIe J_| g 4 5/8"Widih 65/8" Side Bach PanelLeng+I1 . 20/4" Rec+angIe
A-B 7I/3" Wid+h 5%"B 7/3" Leng+h 24"A-C 9%" A-B I"c 3/." s 15/."
Join p0in+ marked in from L+0Kwi+I| ruIer and +0J wi+I1 0u+ward curve.Join J +0H.+0uching Iine HIa+cen+er 0+paneI.C0ns+ruc+ rec+angIeMeasure and d0+:A +0 B A +0 DA b C A55
Square in +he given measuremenfs from Iine AF0+C. D.E, F.Measure and d0+:A +0 KJ +0 I
Join K+0 B.Join B +0 p0in+s squared in from Iine AF wi+I1 in-ward curve B+0 E,and ou+ward curve E+0G.Draw neckIine K+0 I beginning wi+h righ+ angle a+K and ending wi+h rigI1+ angle a+I.
K+0J
Pa++ern Measuremen+s for Dress Form Cover
T H E D R E S S F O R M
A-D I03/," A-C 5'/4" A-P 4mm" E lD V3" C 2" O-N I1/4
" AoF 7%"A-E I57/g" A.D 0/4" O-M 55/," F 0E 3/4" D I%" M 2" A-G i535"F-G V4" A-E 5%" O-L 6%" GA-P 4%" E 1%" L I7/," A-H 24%"
8-: ggf s-F 72/," 0-x s"P-O I7/,"
' a '30" O-J l6" O-N 3"M w." A-G I5I/" J IV," N 7/,"O-L 6%" G I" I 1/4" 0.54 47."L I73" A-H 24" Mo-K 77/3" P-o max O-L o"s '77? s s;.4 L v4:l 2__
I .45, 0.x 15V,'
78CA-M 473
K
m 6n/a I-J v,L W Sixe |6_ Ccnicr Fron? Panol Cgncgr Bgck ?..|O K Isl/s R lK |7 ecffng e RecfangleLJ 3/2
Wndih 5'/4 " Widfh 5'546"' 4 - . IIz"
'::;;:::;'.:'"" ':;;;:':;.:'" 2:: '31," 2Widfh 5%" Widfh 535e" A-D 26|)" A D lLengfh 26" Lengfh 255/" D.E 3;?" D. . 9 .
-B 25/8" A_B 'ys AJ 1,4 f!A-C "v." A-C 61,8 I-H I H
A-E |7|/gnC" 3" C 7/." 64min.
W
oinf% i; W5N0 26" A'D 9" befwaenYFP d ' 25%"
A4 17/ " A-E n ; ' '
I ' '
"
"H "/:" E i353"sdRF*:::"- 7/a" D | 4" O-N - "/2" A-G _ .I6"G 36' AE H" A" y 0'" I - 5%" G. 1' 5%" M 2| w ' ' ' " A' - - I > > /| A-H . _ _ 24%"
D R E S S D E S I G N
O-L . . . . . . . . .. 6%" P-O . . . . . . . . .. U/g"L . . . . . . . . . . .. 2" O-N . . . . . . . .. 3"O-K . . . . . . . . .. 8%" N . . . . . . . . . . .. IO4 . . . . . . . . . . I6|/4" O-M . . . . . . . . . 45/3J . . . . . . . . . . .. I73 M . . . . . . . . . .. 7,"I . . . . . . . . . . .. "/3" O-L . . . . . . . . .. 6" Sile 2L ' ' ' ' ' ' ' ' ' ' ' 5/8 Center Front Panel CGMOI 586k P571O-K . . . . . . . .
152/4 Recnngle RecfimghK --- -3 -3 3 3 3- '|/e Wid+h . . . . .. 55/." was. . . . . .. 53/."4 -- -3 -----3- /2 Lengfh . 273/." Lengfh .....26:;:s. a A-B . . . . . . . 3" A-B . . . . .. I.Cenior Fronfi Panol Cenier Sack Panel A'C - --- " - |8 n A'C ' ' ' ' ' ' ' ' b]HRecfangle Recfangle C-F 3 3 3 3% C - - - - A - '51Width . . _. .. 53/." Widfh . . . . .. 5V," A-D . . . . .. 17% A-D 3 3 3 3 3 3 9
Leng+h . . . . .27" Leng+h . . . . 263/10 D-E 3 3 3 3 3 3 4l/4" D - 3 - 3 - - "/2"A-B . . . . . . . . .. 21/." A-B . . . . . . . . .. |I/" . . . .. H 2-5
3 3 3
A-C . . . . . . |8" A-C . . . . . . . . . . 6" ' 3 3 3 -3 3 8 ' " " 4c-|= . . . . . . . . .. 33/." c . . . . . . . . . . .. "m" G-Halfway poim A-F 3 - 26%:A-D . . . . . . .27" A-D . . . . . . . .. 9" be+ween F 3nd F 33
"3//20-5 . . . . . . . . .. 4" o . . . . . . . . . . .. 13/," H . -. 3/s J-K 2 sA". ' ' ' ' ' ' ' ' 2" A-E ' A ' ' ' ' ' A W4, Sidgiglgiel SHJ-Iafik 4PQI. . ' l 5/8 | n | e anLH ' ' ' ' ' ' ' "/4 E 4 . ' ' ' . . _' 42:48" Wid+h . . . . . . 8" RecfangleGPomf Ha|fway -F 3 3 3 3 - - - 3 3 10 L H 25| widfl 65, befween F and F . . . . . . . . . . . . Ia/a A Bang 4 A ' 8/2 L fh A A ' H zgufi.. . . (3H . . . . . . . . 3/3" J-K . . . . . . . . . 277m" ' ' I A-Beng |
Side Front Pnnel J-| . . . . . . . . . . 7g" ' ' ' ' ' ' N52 Bi
I 2V,RecfangIe Side Back Panel C' '
V2" A-C 5Vw.. . _ A _ b 31/4" Recftangle N AD.. . . . . . . lW4, C . .. . .
23/3Lengfh . 253/16" Wldfh . . 69/16" D" ' ' ' V4" A-D N i b 6VA-B . . . . . . .. w," Leng+h ..-24%, - - 3 3 - .635, D 3 " - 3 f,5 I37." A-B .. 7/." 2-5 33 H7" AE - 3 W3,A-C 93/" B . . . 3 . . . 3.2'/2 8 ' .C A 3/2" A-C .......5I/4" F-G 4? i: A-D . . |o3/." C . . . . . . . .. 23/." Q4; 3 3. 33 I57" F- 3 0 4 iD "A" M" 3" 3"" N. J3 w, 3 "3 su: los/s" o . 25/. o w3 3 3 3 3 3 5; G W 2E . . V4, A'E ' ' ' ' ' M- 4 ' . . u h 2V4 A_H b u 25346:.F-G V3" E ' ' ' " 2, o-|_ l 53/4" P-O |7. sA_p V 55/8" A-F . . . . . . . 83/3 L 3 3 3 W4" O-N A . 3 _o ' '55" F ' 3/" O-K Q" M 87:" N #40- - - 5%" AG ' " ' w" O-J ' ' ' IbVz" O-M 4%"M - v " 2W G " ' |3u J . . . IV," M . '/2"O-L . 6%" 9g - " - V -" 275/4, ' y," O-L . el/z"L V . 2" - . . . I ' ' L b - y nOK . 85/3" 0' " " - " " 3| 0-x w)0.4 . . Iov." N 3 3 3 5/2 K . w."J ..... . 1%" 0' ' 4/ |.J . I/ " 1/" - 3u . . w. M 3 3 3 4
D R E S S D E S I G N
O-L . . . . . . . . .. 6%" P-O . . . . . . . . .. U/g"L . . . . . . . . . . .. 2" O-N . . . . . . . .. 3"O-K . . . . . . . . .. 8%" N . . . . . . . . . . .. IO4 . . . . . . . . . . I6|/4" O-M . . . . . . . . . 45/3J . . . . . . . . . . .. I73 M . . . . . . . . . .. 7,"I . . . . . . . . . . .. "/3" O-L . . . . . . . . .. 6" Sile 2L ' ' ' ' ' ' ' ' ' ' ' 5/8 Center Front Panel CGMOI 586k P571O-K . . . . . . . .
152/4 Recnngle RecfimghK --- -3 -3 3 3 3- '|/e Wid+h . . . . .. 55/." was. . . . . .. 53/."4 -- -3 -----3- /2 Lengfh . 273/." Lengfh .....26:;:s. a A-B . . . . . . . 3" A-B . . . . .. I.Cenior Fronfi Panol Cenier Sack Panel A'C - --- " - |8 n A'C ' ' ' ' ' ' ' ' b]HRecfangle Recfangle C-F 3 3 3 3% C - - - - A - '51Width . . _. .. 53/." Widfh . . . . .. 5V," A-D . . . . .. 17% A-D 3 3 3 3 3 3 9
Leng+h . . . . .27" Leng+h . . . . 263/10 D-E 3 3 3 3 3 3 4l/4" D - 3 - 3 - - "/2"A-B . . . . . . . . .. 21/." A-B . . . . . . . . .. |I/" . . . .. H 2-5
3 3 3
A-C . . . . . . |8" A-C . . . . . . . . . . 6" ' 3 3 3 -3 3 8 ' " " 4c-|= . . . . . . . . .. 33/." c . . . . . . . . . . .. "m" G-Halfway poim A-F 3 - 26%:A-D . . . . . . .27" A-D . . . . . . . .. 9" be+ween F 3nd F 33
"3//20-5 . . . . . . . . .. 4" o . . . . . . . . . . .. 13/," H . -. 3/s J-K 2 sA". ' ' ' ' ' ' ' ' 2" A-E ' A ' ' ' ' ' A W4, Sidgiglgiel SHJ-Iafik 4PQI. . ' l 5/8 | n | e anLH ' ' ' ' ' ' ' "/4 E 4 . ' ' ' . . _' 42:48" Wid+h . . . . . . 8" RecfangleGPomf Ha|fway -F 3 3 3 3 - - - 3 3 10 L H 25| widfl 65, befween F and F . . . . . . . . . . . . Ia/a A Bang 4 A ' 8/2 L fh A A ' H zgufi.. . . (3H . . . . . . . . 3/3" J-K . . . . . . . . . 277m" ' ' I A-Beng |
Side Front Pnnel J-| . . . . . . . . . . 7g" ' ' ' ' ' ' N52 Bi
I 2V,RecfangIe Side Back Panel C' '
V2" A-C 5Vw.. . _ A _ b 31/4" Recftangle N AD.. . . . . . . lW4, C . .. . .
23/3Lengfh . 253/16" Wldfh . . 69/16" D" ' ' ' V4" A-D N i b 6VA-B . . . . . . .. w," Leng+h ..-24%, - - 3 3 - .635, D 3 " - 3 f,5 I37." A-B .. 7/." 2-5 33 H7" AE - 3 W3,A-C 93/" B . . . 3 . . . 3.2'/2 8 ' .C A 3/2" A-C .......5I/4" F-G 4? i: A-D . . |o3/." C . . . . . . . .. 23/." Q4; 3 3. 33 I57" F- 3 0 4 iD "A" M" 3" 3"" N. J3 w, 3 "3 su: los/s" o . 25/. o w3 3 3 3 3 3 5; G W 2E . . V4, A'E ' ' ' ' ' M- 4 ' . . u h 2V4 A_H b u 25346:.F-G V3" E ' ' ' " 2, o-|_ l 53/4" P-O |7. sA_p V 55/8" A-F . . . . . . . 83/3 L 3 3 3 W4" O-N A . 3 _o ' '55" F ' 3/" O-K Q" M 87:" N #40- - - 5%" AG ' " ' w" O-J ' ' ' IbVz" O-M 4%"M - v " 2W G " ' |3u J . . . IV," M . '/2"O-L . 6%" 9g - " - V -" 275/4, ' y," O-L . el/z"L V . 2" - . . . I ' ' L b - y nOK . 85/3" 0' " " - " " 3| 0-x w)0.4 . . Iov." N 3 3 3 5/2 K . w."J ..... . 1%" 0' ' 4/ |.J . I/ " 1/" - 3u . . w. M 3 3 3 4
T H E D R E S S F O R M
PADDING THE DRESS FORM
SELECTlON OF THE DRESS FORM
uy any niake ol" lonn you prefer, as long as it hasa heavy iron base t0 prevent it from tipping overeasily. An incxpensivc forni will serve you as well a5a high priccd one il" it is well padded.ll you ("an try thc coinpleled cover on two or three
Linpaddcd lonns in your own size range, you can selectthe right size most uccurately. There sliould bc spacelor enough padding Linder thc cover t0 give a resilientIoundzuion to pin into. The inost iniportant measure-menL (o check is Lhe siLe of the form at the level whereIhe uvznslline u] the rover zuill m m 6 . The waistline ofthe lorm may be exactly the right size, but if thewaistline marketl on the cover falls far below [hatpoinl, the lorm will not serve your purpose. If youare exceptionally long-waisted, select a form which isas small around the upper hip as your own waistlinemeasurement.An individual who wears a size l2 dress pattern
should usually choose a size 30 form; one who wears asize l4, a 32 form; and a size 16, a 34. If your waisl-line is under 24 inches, use a size 28 form.
PADDING MATERIALS
Cotton batting is by far the most satisfactory padding. Soft tissue paper can also bc used but is muchslower and more awkward t0 handle. Or, it is possibleto use the two together, first filling out with battingand then covering with tissue. Even newspapers aresometimes used for first layers where a great deal ofpadding is required. Paper is often unsatisfactory,however, because it has to be pinned onto the form,and unless the pins are well pushed into the form,(he heads tend to punch through the finished covering.Cotton batting, on the other hand, clings to the formWllh lit.tle or no pinning if placed directly against thecotton Jerseythe usual surface of a standard com-mercial form. -Il the shoulders of the form are narrower than thoseofthe cover, cut half circles of tagboard or other flex-ible cardboard and tack or pin them to the dress formt9widen the shoulders as much as necessary before be-
Slnmng l0 pad (see Figure 9).
Fig. 9. Cardboard pinned to the shoulder of the form t0widen it.
PADDING
First try the finished covcr on the forni, pinning ittogether at several points along the Center back open-ing. Adjusl the shoulder seams so [hat the cover tipsneither to the back nor to the front, and so [hat thewaistline and hipline are level. Then determine howmuch padding to acld l0 the front and back [o keep Lheside scams centered in position.Chcck the places needing the most padding as well
as those which need the least. Do this by reachinguncler the cover and chalking any lines m points onthe form at places which need special consideralion.Also chalk the position of the basic neckline of thecover t0 serve as a guide for incasuring down to thebust, waist, and hip level and (lown to the shoulderblades in the back. Then remove the cover.Carefully unroll Lhe cotton batting in preparation
for thc actual padding. Throughout the entire processuse i1 in thin sheels, never in clumps, handling itlightly t0 avoid matting it. Begin to pad by coveringthe entire lorni with a thin layer, letting each sheetextend as far as i1will, then smoothing the edges intothosc ol" the adjoining sheet. By blending one layerimo another, you can pad the entire form wiLhout us-ing any pins. Even those places which need largeamounts of padding can be built up without pins ifthe material is applied one layer at a time and if eachlayer is pressed carefully into the one underneath.Do not add any more than a first thin layer of cottonfor a radius of two or three inches around the baseof the neck. For usually if you pull [he cover down
firmly in the final adjtistment, you need little paddingaround the neckline. Too much on the top of theilliolder
near the neck raises the entire covering too1g .
T H E D R E S S F O R M
PADDING THE DRESS FORM
SELECTlON OF THE DRESS FORM
Buy any make ol" form you prclei", as long as it hasu hcavy iron base t0 prevent it from tipping overeasily. .\n incxpensivc lonn will scrve you as well a5a high priCCd one il it is well pudded.Il you (an u") Lhc complcletl cover on [ w o 01' three
unpaddcd lorms in your own sizc range, you can selectthe righl sizc mosl ziccurately. 'l'here should bc spacelor cnough padding under lhc cover t0 givc a resilientlouiulxuinm u) pin imo. The most importunt measure-ment 1o chcck is Lhc size of thc lorm at the level zuhereIhr zumstline uf the mver zuill m m 8 . The waistline olthc lorm may bc exactly the right size, but if thewaisllinc markcd on the cover falls im below thatpoint, thc lorm will not serve your purpose. lf youare exccplionally long-wvaisted, select a lorm which isas small around the upper hip as your own waistlinemeasurcment.An individual who wears a size l2 (lress paltern
should usually choose a size 30 lorm; one who wears asize H, a 32 form; and a size l6, a 34. lf your waist-line is under 24 inches, use a size 28 form.
PADDING MATERIALS
Canon butting is by lar Lhe most satisfactory pad-ding. Soft tissue paper can also bc used, but is muchslower and more awkward to handle. Or it is possibleto use lhe two together, first filling ouL with battingand then covering with tissue. Even newspapers aresomelimes used for first layers where a great deal olpadding is required. Paper is often unsatisfactory,however, because it has to be pinned omo the form,and unless the pins are well pushed into the form,the heads tend to punch through lhe finished covering.Couon batting, on the other hand, clings to the formWllh litltle or no pinning if placed directly against thecotton Jerseythe usual surface of a standard com-mercial form. 'Il the shoulders of the form are narrower than thoseofthe cover cut half circles of tagboard or other flex-ible cardboard and tack or pin chem to the dress formt9widen the shoulders asmuch as necessary before be-
Smmng l0 pad (see Figure 9).
Fig. 9. Cardboard pinnecl to the shoulder of the form t0widen it.
PADDING
First Lry Lhc finished COVCI on the lorm, pinning ittogether zuscveral points along the Center back open-ing. Adjust the shoulder seams so Lhat the cover tipsneither 1o the back nor t0 thc lrom, ancl so (hat theuwiistlinc and hipline are level. Then determine howmuch padding t0 add l0 the lront and back t0 keep theside scams ccntered in position.
(jhcck the places needing the mosl padding as wellas those which need the least. I)o [his by reachingunder the cover und chalking any lines or points onthe lorm a: places which need special consicleration.Also chalk Lhe position ol the basic neckline of thecover t0 servc 21s a guide l'on mcasuring down to thebusl, waist, and hip level and (lown t0 the shoulderblades in the back. Then removc the cover.Carefully unroll Lhe cotton batting in preparation
for thc actual padding. Throughout the entire processuse it in thin sheets, never in clumps, handling itlightly [0 avoid matting it. Begin to pad by coveringthe entire lorm with a thin layer, letting each sheetextend as far as il will, then smoothing the edges imothosc of the adjoining sheet. By blending one layerimo another you can pad the entire form without us-ing any pins. Even those places which need largeamounts of padding can be built up without pins ifthe material is applied one layer at a time and if eachlayer is pressed carefully into the one underneath.Do not add any more than a first thin layer of cottonfor a radius of Lwo or three inches around the baseof the neck. For usually if you pull [he cgver down
firmly in the final adjustment, you need little paddingaround the neckline. Too much on the top of theshoulder near the neck raises the entire covering toohigh.
Fig. l0. Measuring bust and hip widths and thickness from{ m m to back.
As you pad, check the recorded measurements ofbust, waist, and hip, and those from neck to waist,bust, and hip. Note the curve of the body from waistto hip a: the side and back, comparing the padding onthe form to the contour of the figure. If you are pad-ding your own dress form, stand in front of a full-lengthmirror with the form beside you, raised to yourown height, and cross two tailor's squares at the hiplevel to measure the hip width from side to side asshown in Figure l0. Also cross tailors squaresirom back to front to determine the thickness of thebody and compare this measurement with that of theform. The samc method should be used to check thewidth of bust and shoulders from side to side and theirthickness lrom front to back. Evcn though the hipmeasurements of two differcnt figures may bc the same,
D R E S S D E S | G Nthe elfect of the two can differ greatly if one is .from side to side and the other thick from fionitw:back. The form must roundout exactly like theor garments draped on it will bang most disappoint-Vingly when tried on.Padding always puffs up much larger than a person:
actual size before the covering compresses it. If thebatting seems very bulky and diflicult to manage; bindbias strips of muslin around the waist and hips and 'diagonally from the shoulder to the waist to hold itdown. Check the various circumferences by pullingthe tapeline tightly over the padding, and when themeasurements check with your own, try the coveringon the form. Do this carefully to avoid shifting thecotton. Place the shoulder seams correctly and see thatthe neckline is well up in the back and as much higherthan the side of the neck as it appeared to be whenyou tried it on yourself. Pin the cover together everytwo or three inches down the center back. Thenexamine the form for flaws. Ordinarily there will bemany places which are still too soft and which needmore padding. If so, remove the cover and make thefinal corrections. Before putting the cover on for thelast time, give it a thorough pressing, but still withoutmoisture.The importance of placing the covering on the {cm1
correctly cannot be overemphasized. T0 avoid havingit tip to the back, pull the fabric down firmly alongthe lower edge at the center front. Before pinning theCenter back, also examine the shoulder seam, the neck-line the waist, and the hipline for correctness of posi-tion. Begin to pin at the neck and work down, match-ing the four crossmarkings on the Center back line. 1Try to avoid pulling the garment downward in backas you pin. Pin the first time with the seam allowancetoward the outside. After making a final check forerrors, start re-pinning at the neckline, removing oneor two pins at a time and lapping the right side overthe left. Pin every half inch and bury all but thevery head of each pin in the padding. Either leave theform pinned or slipstilch it together.Pull the lower cdge of the cover down firmly to
smooth out all horizontal wrinkles and tack it securelyto the wooden brace undcrneath the base of the form.If you expect t0 use the form lor a long time withoutimpadding i1, it will be worth your whilc (o coverthe armholc opening and add a shaped collar to theneck.
Fig. l0. Measuring bust and hip widths and thickness from{ m m to back.
As you pad, check the recorded measurements ofbust, waist, and hip, and those from neck to waist,bust, and hip. Note the curve of the body from waistto hip a: the side and back, comparing the padding onthe form to the contour of the figure. If you are pad-ding your own dress form, stand in front of a full-lengthmirror with the form beside you, raised to yourown height, and cross two tailor's squares at the hiplevel to measure the hip width from side to side asshown in Figure l0. Also cross tailors squaresirom back to front to determine the thickness of thebody and compare this measurement with that of theform. The samc method should be used to check thewidth of bust and shoulders from side to side and theirthickness lrom front to back. Evcn though the hipmeasurements of two differcnt figures may bc the same,
D R E S S D E S | G Nthe elfect of the two can differ greatly if one is .from side to side and the other thick from fionitw:back. The form must roundout exactly like theor garments draped on it will bang most disappoint-Vingly when tried on.Padding always puffs up much larger than a person:
actual size before the covering compresses it. If thebatting seems very bulky and diflicult to manage; bindbias strips of muslin around the waist and hips and 'diagonally from the shoulder to the waist to hold itdown. Check the various circumferences by pullingthe tapeline tightly over the padding, and when themeasurements check with your own, try the coveringon the form. Do this carefully to avoid shifting thecotton. Place the shoulder seams correctly and see thatthe neckline iswell up in the back and as much higherthan the side of the neck as it appeared to be whenyou tried it on yourself. Pin the cover together everytwo or three inches down the center back. Thenexamine the form for flaws. Ordinarily there will bemany places which are still too soft and which needmore padding. If so, remove the cover and make thefinal corrections. Before putting the cover on for thelast time, give it a thorough pressing, but still withoutmoisture.The importance of placing the covering on the {cm1
correctly cannot be overemphasized. T0 avoid havingit tip to the back, pull the fabric down firmly alongthe lower edge at the center front. Before pinning theCenter back, also examine the shoulder seam, the neck-line the waist, and the hipline for correctness of posi-tion. Begin to pin at the neck and work down, match-ing the four crossmarkings on the Center back line. 1Try to avoid pulling the garment downward in backas you pin. Pin the first time with the seam allowancetoward the outside. After making a final check forerrors, start re-pinning at the neckline, removing oneor two pins at a time and lapping the right side overthe left. Pin every half inch and bury all but thevery head of each pin in the padding. Either leave theform pinned or slipstilch it together.Pull the lower cdge of the cover down firmly to
smooth out all horizontal wrinkles and tack it securelyto the wooden brace undcrneath the base of the form.If you expect t0 use the form lor a long time withoutimpadding i1, it will be worth your whilc (o coverthe armholc opening and add a shaped collar to theneck.
T H E
THE ARMHOLE COVER
1_ Place a piece of paper against the armhole open-ing and trace its shape Crossmarking it at the shoulderand underarm seams.2. True the pattern Cut it out, and lay it on the
labriC so that the lengthwise grain runs between thetwo crossmarks, that is from the shoulder seam to theunderarm seam.3. Pencil around the pattern on the fabric and pen-
Cil the crossmarks.4. Cut it with a 2%, inch seam.5. Turn the seam under and place the oval against
the aimhole, matching the Crossmarkings. Then pmthe turned edge to the armscye line on the form Coverand finish by slipstitching.
COLLAR
The base of the neck is, of Course determined bythe neckline marked on the cover. The measurementof the neCk 11/2 inches above the base (recorded at thefitting) will be at least I inch and sometimes 1%inches less than the base measurement. Pin the tapemeasure in a circle equal to the circumference of theupper neck and drop it over the neCk of the form inorder to determine how much to pad the neck. Ordi-narily the neck of a dress form is too erect at the back.lf your head tilts forward, it may be difiicult to givethe neCk of the form the same slant. Place all of thepadtling on the sides and front of the upper neck,building it up until it cluplicates your own neCk asnearly as possible.T0 draft the collar pattern, follow the directions
below and see Figure l l .. 1. Draw a rectangle the length of the basic neCk-line lrom Center back to Center front and 3 inches high.2. On the Center front line measure up l/2 inchifrom the lower line of the rectangle.3. On the Center back line measure down l/2 inch_from the upper line of the rectangle.4. For the base of the collar follow the lower line
D R E S S F O R M
1/2 Upper Neck Measurement
r
4_2
1/2"_.i
1/2 Base of Neck Measurement
Fig. l l . Dress form collar draft.
one-half its length and then swing up in an outwardCurve to meet the point I/Z inch up on the Center frontline (see Figure l l ) .5. Measure up at right angles from this base line
21/2 inches at Center front, Center back, and at a pointhalfway between. Beginning at the Center back, drawa line for the upper edge of the collar through thesethree points. Mark off along this line one-half thecircumference of the upper neck measurement. Jointhis point to the end of the lower line for the Centerfront of the Collar.6. Cut out the pattern.7. PlaCe it on the fabric with the Center baCk on
the lengthwise thread and allow a 3/8 inch seam on alledges.8. Pin the two collar pieces together along the
Center back and try it on before pinning it to the dressform. The collar should fit Closely at the upper edgeas well as at the base of the neCk, where it will sew tothe basic neckline of the cover. The Center front andback seams may need to be sloped more to fit yourneCk exactly.9. Turn under the lower edge and pin it to theform Cover just above the Cord couched on the neCk-
line. Then slipstitch the collar to the cover at the baseof the neCk and to the form at the Center front andback seams. Turn the upper edge over the paddingand slipstitch it to the form.The dress form is now finished and should exactlyduplicate your measurements and your body contoursso that it will serve as a perfect model for all garmentswhich you will design by draping.
T H E
THE ARMHOLE COVER
1_ Place a piece of paper against the armhole open-ing and trace its shape, Crossmarking it at the shoulderand underann seams.2, True the pattern, cut it out, and lay it on the
fabriC so that the lengthwise grain runs between thetwo crossmarks, that is, from the shoulder seam to theunderarm seam.3. Pencil around the pattern on the fabric and pen-
cil the crossmarks.4. Cut it with a 3/8 inch seam.5. Turn the seam under and place the oval against
the armhole, matching the Crossmarkings. Then pinthe turned edge to the armscye line on the form Coverand finish by slipstitching.
COLLAR
The base of the neck is, of course, (letermined bythe neckline marked on the cover. The measurementol the neck 11/2 inches above the base (recorded at thefitting) will be at least I inch and sometimes ll/_inches less than the base measurement. Pin the tapemeasure in a Circle equal to the Circumference of theupper neCk and drop it over the neck of the form inorder to determine how much to pad the neck. Ordi-narily the neck of a dress form is too erect at the back.lf your head tilts forward, it may be difficult t0 givethe neck of the form the same slant. Place all of thepadding on the sides and front of the upper neCkbuilding it up until it duplicates your own neck asnearly as possible.T0 draft the collar pattern, follow the directions
below and see Figure l l .. 1. Draw a rectangle the length ol the basic neck-line from Center back to center front and 3 inches high.2. On the center front line measure up 1/2 inchfrom the lower line of the rectangle.3. On the Center back line measure down l/2 inch
from the upper line of the rectangle.4. For the base of the collar follow the lower line
D R E S S F O R M
1/2 upper Neck Measurement
d:w
1/2/1v l
The Fundamental DarfThe systems of draping and flat pattern design are
both founded on a clear understanding of the purposeof the fundamental dart. When you first began tosew, if you ignored the little v-shaped wedges markedon your commercial pattern, you probably wonderedwhy the dress did not fit. Those wedges, or darts, takeup the excess in the outer edge of the pattern, converting a Hat piece of fabric t0 a rounded or conical shapethat confonns to the contour of the figure. Darts al-ways radiate outward from the highest point of thebust in front (Figure l) and from the shoulders andthe shoulder blades in the back. A dart placed any-where around the outside edge uf the blouse-front pat-tem will always point toward the bust (see Figure 2).
1 : 1lhmtl1ilimwllllm
Darts radiating from the bust.Fig. 1.l6
The necessity of shaping a pattern to fit the bodycurves is the foundation of most of the best dressdesigns and certainly of the most functional ones. Inthe following pages, directions will be given for plac-ing the basic dart on the shoulder, under the arm,andunder the bust. This will be followed by a discussionof possible variations in design produced by handlingthe d'art or the fullness from the dart in a less con-ventional way. lt is therefore of first importance t0understand the function of the dart before even start-ing to drape, and to consider its possibilities for in-spiration in design while draping the first basic blousepatterns. lf the beginning draper will carry out eachof the following practice problems she will not onlygain a thorough understanding of draping principlesbut will also be able to apply them to the more difli-cult designs included in Chapter 7.
w.
Fig. 2. Possiblc ( lart positions (heavy lincs shnw Standardpositions) .
The Fundamental DarfThe systems of draping and flat pattern design are
both founded on a clear understanding of the purposeof the fundamental dart. When you first began tosew, if you ignored the little v-shaped wedges markedon your commercial pattern, you probably wonderedwhy the dress did not fit. Those wedges, or darts, takeup the excess in the outer edge of the pattern, converting a Hat piece of fabric t0 a rounded or conical shapethat confonns to the contour of the figure. Darts al-ways radiate outward from the highest point of thebust in front (Figure l) and from the shoulders andthe shoulder blades in the back. A dart placed any-where around the outside edge uf the blouse-front pat-tem will always point toward the bust (see Figure 2).
1 : 1lhmtl1ilimwllllm
Darts radiating from the bust.Fig. 1.l6
The necessity of shaping a pattern to fit the bodycurves is the foundation of most of the best dressdesigns and certainly of the most functional ones. Inthe following pages, directions will be given for plac-ing the basic dart on the shoulder, under the arm,andunder the bust. This will be followed by a discussionof possible variations in design produced by handlingthe d'art or the fullness from the dart in a less con-ventional way. lt is therefore of first importance t0understand the function of the dart before even start-ing to drape, and to consider its possibilities for in-spiration in design while draping the first basic blousepatterns. lf the beginning draper will carry out eachof the following practice problems she will not onlygain a thorough understanding of draping principlesbut will also be able to apply them to the more difli-cult designs included in Chapter 7.
w.
Fig. 2. Possiblc ( lart positions (heavy lincs shnw Standardpositions) .
BA.SIC
For all practlce draping usc light-weight unbleachedV muslin or u similar inexpensive material that is casy{o handle. Unlcss otherwisc statecl, the (Iirecnonsgiven are for draping a half pattern.
Problem IDRAPING THE BLOUSE WlTH SHOULDER AND
WAISTLINE DARTS
The first problem is to drape a basic waist withv shoulder and waislline darts. This is the dart com-bination [hat makes Lhe best fitting basic or founda-_ tion pattern from which to develop designs through_ the Hat pauern blocking method. A foundation pat-tern iscommonly called a master pattern. See page 44
4 for a complete explanation of the master block pat-' Lern. The following directions for draping the basicwaist with shoulder and waistline darts explain notonly how to place and pin the fabric, but also how tocheck results and judge patterns after they are draped
in order to predict their accuracy of fit before tryingthem on.
Add 1w_
Add 3"
3}
Add 2"
Fig.5. Method of measuring for blouse.
B L O U S E S
WAlST FRONT
EsfimafingThe Fabric and Marking The Cenfer Fronl Line(see Figure 3)l. Measurc the dress form vertically from the high-
est point on thc shoulder (intersection of the neck andshoulder seam lines) over the fullest curve of the bustto the walstline. Add 3 inches for seam allowances (linch lor the shoulder and 2 inches for the waistline).The total lengthwise measurement will be approxi-mately 2l inches.2. Measure the dress form horizontally from the
Center front across the fullest curve of the bust to theunderarm sezun and add 3 inches (l inch for ease and2 inchcs lor a large let-out seam under the arm) . Fora size l6 pauern lhis will total about 121/2 inches.3. Measure in from the selvage of the fabric the
width needed and mark the Center front with a pencilline on thc exact straight lengthwise grain. Flguringthe approxixnate amount of material needed insteadol" using the exact Center of a 36 inch width helps youto acquire the habit of saving fabric. Obviously thiscan become valuable practice whether the fabric youare working" with is expensive or cheap (see Figure 4) .
| I\|\\\\\\
\\S
"-2O
1B 0 u3L 2 n a:o 2 .2U) 8 E
154:ca:.1
Wmth Of1/2Blouse Front
FiE-L Location of center front.
' 1o handle.
B A S I C
For all practicc clrzxping usc light-weight unbleached' muslin o1" u similar inexpexxsive material [hat is casy
Unlcss othcrwisc stated, the (lirectionsgiven are lor draping a half pattern.
Problem lDRAPING THE BLOUSE WITH SHOULDER AND
WAISTLINE DARTS
The firsl problcm is to drape a basic waist withshoulder and waistline dans. This i5 the dart com-bination [hat makes Lhe best fitting basic or founda-tion patten} from which t0 develop designs throughlhe Hat pattern blocking mcthod. A foundation pat-lern is commonly called a nlaster pattern. See page 44for a complcte explanation of the master block pat-lern. The following directions for draping the basicwaist with shoulder and waistline darts explain not
l only how t0 place and pin the fabric, but also how tocheck results and judge patterns alter they are drapedin order t0 predict their accuracy of fit before trying1 them on.
Add 3"
3)
Add 2"
Fig.3. Method of measuring for blouse.
B L O U S E S
17
WAIST FRONT
Esfimafing The Fabric and Marking The Cenfer Fronf Line(see Figure 3)1. Measurc the dress form vertically from the high-
es: poinl on thc shoulder (intersection of the neck andshoulder seam lincs) over the fullest curve of the bustto the waistline. Add 3 inches for seam allowances (1inch lor Lhe shoulder and 2 inches for the waistline).The total lengthwise measurenlent will be approxi-matcly 2! inches.2. Nleasure thc dress lorm horizontally from the
Center front across thc fullest curve of the bust to theundera
