GENTLEMEN’S GARMENTS JACKET AND COAT CUTTING
COLLAR CUTTING Diagram 25
T
HE diagrams shown here illustrate methods of cutting two standard types of collar—the step and the shawl (or roll) style.Instructions given for the former will apply, in principle, to the collar of the double-breasted reefer:
the design at the lapel peak only being different. The same basic construction is also applicable to overcoats in which the gorge shape is similar.
Instructions for Drafting
Section A
The upper part of the coat pattern is represented here, with the height of collar-stand registered at 24–N.
N is immediately opposite point 24.
Extend the crease line. 1–N–2.
2 from N is the same as the distance between 4 and 5 on the back neck, plus ½”.
The collar-stand in this case is 1”; the fall is 1⅝”.
6 from 2 is ⅝”; 7 from N is 1”.
Curve gradually from 6 to 7, as shown.
Draw a line through 6 and 2, locating 8 and 9.
8 from 6 is the stand width (1”); 9 from 6 is the fall width (1⅝”).
Curve the stand from 8, through a point about half-way between 10 and 24, down to 11. The last point is ¼” below the run of the gorge.
At the step, 12 is 1½” from 11 and 13 is 1½” from the line 11–12.
There is a “spring” of ¼” at 8 and 9.
Shape the outer edge of fall as from 9 to 12, hollowing slightly.
Complete the draft.
Section B
This shows the shawl style of collar which was mentioned in connection with one of the dinner jackets detailed earlier. Its main construction follows very closely that of the step collar.
N is ¼” above the level of point 24.
Extend the crease line 1–N–2.
2 from N is the same as the distance between 4 and 5 on the back neck, plus ¾”.
The collar-stand in this case is 1⅛”; the fall for the shawl style is about 2”.
6 from 2 is ½”; 7 from N is 1¼”.
Curve gradually from 6 to 7, as shown.
Draw a line through 6 and 2, locating 8 and 9.
8 from 6 is the stand width (1⅛”); 9 from 6 is the fall width (2”).
Curve the stand from 8 through a point ¾” behind 24 and continue to 13, keeping about in inside the gorge contour as indicated.
There is a “spring” of ¼” at 8 and 9.
Shape the outer edge of the fall as from 9 to 13, giving a graceful round running in line with the edge of the forepart lapel section, as shown.
Complete the draft.
Notes On Collars
It will be realised that widths and general shapes of collars are subject to the personal tastes of customers and to the style effects desired by different tailoring houses. The two styles depicted here are based on the most widely accepted lines. Variations can be effected without vitiating the principles of the system described.
Quite a number of cutters allow their tailors to cut the collar.
This is all right so long as the latter knows what style and shape are required. There must always be the closest co-operation between cutting-room and workroom in this important business.
No attempt will be made here to resolve the argument as to whether cutter or tailor should cut the collar. It is not possible to dogmatise on the subject without raising a lot of counter-arguments.
The cutter is advised to adopt the course which his experience tells him gives the best results, and which pleases his tailor (for he must be considered in the matter!). However, the cutter should certainly know something about the cutting of collars.
It will be noticed that on the diagrams the gorge dart is represented as being closed. This calculation must be made when collars are being cut, so that the gorge contour is the correct length.
DIAGRAM 25.
JACkET AND COAT CuTTING 79 DIFFERENT STYLES OF BACK
Diagram 26
B
EFORE the wider adoption of the Hacking Jacket, described earlier, there were various styles of so-called sports jackets in general wear. Many of these had fancy backs, with belts, pleats, yokes, and other features.The fronts of such jackets were cut very much the same as those of the ordinary lounge, though patch pockets would take the place of the standard flap and jetted styles.
Few backs of this order are to be seen today; but they are asked for on occasions. American and Continental visitors to this country request tailors to introduce certain features of the kind in the jackets they order.
The four examples illustrated here are up-to-date ones which might be required at any time. As will be seen, their construction is based on the back pattern of a standard lounge jacket. The pattern may be used as a foundation, the style features being drafted on the cloth when cutting; or a reconstructed pattern may be cut out.
Perhaps the latter course is the better one.
Instructions for Drafting
Section A
This style has two pleats, as at M and N, ¾”
to 1” deep. They are of the “knife” type and, on each half of the back, fold towards the side-seam.
1 to 4 is the chest line; 3 to 6 is the waist line.
2 represents the position of the back seam on the lounge. For the style now being detailed it is best to have a whole back, therefore the contour of the centre back is marked straight down from the neck and through 1 and 3 to the bottom.
The contour 4–5–7 is very much the same as in the lounge, but is about ½” farther out at the waist.
6 from 5 is ¾”; draw the new side-seam from 4 through 6 to 7.
(Beyond this to the bottom It is continued as in the lounge.)
It is not designed, in this case, that the back should be almost straight-hanging in the waist section. When the pleats are taken over there will be a certain amount of shape there—a good feature.
If larger pleats are made, or if the back waist is required to be looser, the distance from 5 to 6 will be increased accordingly.
Section B
Here is a type of pleat which runs from the shoulder point down to the waist at the side-seam position. There is a side-seam at centre back.
1 is the shoulder point; L is the “step” at the top of side-seam—slightly higher than in the ordinary lounge.
From a point on the back shoulder ½” from 1, draw a straight line to 2 on the waist line.
Strike guide lines through 1 to H and M, through L to K and P, and from 2 to 6.
These lines are parallel, as indicated.
3 from the point on the shoulder seam behind 1 is 2”, and is raised ½” above the
Now draw a line up from 7, parallel With the line 3–4, thus marking the pleat fold. The line from 7, when the pleat is folded, falls on the line from 2 to just inside 1 on the shoulder.
The extension 5–P–6 is the same contour as that of the original lounge back, as shown by the dash lines.
The best way of arranging the pleat is to fold the paper over the amount required and then to mark out the design on the folded paper.
When the resultant pattern is opened out, the effect shown in the shaded portions will result. When cutting from the material, it is a good plan to leave a small inlay above 1–3–M, taking away what is not required after the pleat has been folded over.
The finished appearance of the pleat is illustrated on Section C.
Note: There may be some difficulty in dealing with the bottom part of the pleat when it is folded back inside, there being nothing to hold its inner edge. One way of overcoming the difficulty is to place a piece of thin canvas across the back from side-seam to side-seam, tacking it lightly at the centre back-seam as well as at sides.
The bottom edge of the pleats can be attached to this canvas.
A more straightforward way, of course, is to have a waist seam; but this may not be pleasing to the customer—unless a half belt is adopted.
DIAGRAM 26. (A, B, C)
Section D
Another style of “sports” back is that with small tucks at the shoulder and waist. This has been very popular for some time, the tucks being set firmly and so having no tendency to get out of position—sometimes a fault with the pleated back.
The back is cut whole, the centre running from the neck through 1 and 3. (The lounge back is marked at 2.) Extend the back, about
¾” at 4 and the same amount from 5 to 8 and 7 to 9.
The dot-dash contour, 4–5–6–7, is the lounge outline; mark the
“tuck” back as shown by the solid lines.
Three small darts are marked on the shoulder at O, P, and R. The run of the seam is adjusted at these points, as indicated, so that the slope is preserved. Mark three or four tucks at the waist, as shown, spacing them about 1½” apart. These are usually stitched over ¼”
inside and are pressed down on the outside, folding towards the side-seams or the back.
Section E
The style depicted here is one with a yoke, two “knife” pleats, and a half belt. Again, the back pattern of the lounge may be used as a basis (its contour is indicated by the dot-dash line at centre).
When cut out, the centre back parts of each of the sections of this design will be laid on the fold of the material.
The upper section is cut exactly from the lounge pattern.
1 from 0 is 4½”; square across to locate F.
2 is in the natural waist line; square to 5.
3 from 1 and 4 from 2 are each 4½”.
6 from 1 and 7 from 2 are each 4”; connect 6 and 7. (This line will fall on the fold of the material.)
Now mark in from the line 1–2 to the shaded portion, ½”.
The pleat is indicated by this portion; when it is folded over, the
½” just referred to will be taken up by the thickness of the cloth.
The waist is cut along the line 2–5; the lower section of the back may be cut whole, or may have a vent from the half belt illustrated.
The vent is the better feature.
Two seams must be allowed on the middle section at 6–1–3–F and at 7–2–4–5—these are partly indicated by the shaded portions at 6–1 and 7–2.
DIAGRAM 26. (D, E)
JACkET AND COAT CuTTING 81 BODY-COATS
T
HE term body-coat is used to describe a type of garment which fits the figure closely in the waist section. There are many kinds of body-coat, though only two are in general wear at the present time—the Morning Coat and the Dress Coat, drafts of which will be given in this chapter.At one time the most frequently worn body-coat was the Frock Coat; this was, a little over fifty years ago, the standard garment for business wear. No tailor’s cutter would have appeared in his cutting-room clad in any other style of coat. It might be said that the Frock Coat was, in those earlier days, what the lounge jacket is to-day—a garment for everyday wear. It was certainly a very “dressy” coat, and one which gave its wearer an air of importance. Nowadays, however, the Frock Coat is regarded as an article of clothing which is too severe for popular acceptation. These are “easier” times, perhaps, and the relative freedom of the lounge and reefer jackets has made them the standard garments for general wear. Very few Frock Coats are seen in these days, and those are on the stage—or in the undertaker’s retinue!
A kindred garment, however, is still worn: the Hunting Frock Coat. This forms part of the gay “livery of the chase,” as one writer has expressed it.
For practical purposes, the Morning Coat may be taken as the basis for all body-coat styles.
In some respects it is a Frock Coat with the tails cut away. The latter had a “square” skirt section, whilst the former has the skirt sloping away from the waist seam. A cutter who has a set of Morning Coat patterns will be able to adapt them for the cutting of other styles of body-coat.
In the cutting of Morning Coats and Dress Coats, and particularly in the latter, there is much scope for the cutter to exercise his style sense. These garments lend themselves to artistic treatment, and if they are made up by a good tailor, their finished appearance is a pleasant reward to both cutter and maker-up.
The young cutter should use these body-coat drafts as a guide in the development of his own judgment and sense of “line.” He will find a number of runs and curves, the drafting of which will be helpful in giving him confidence in wielding the chalk, and which will provide him with ample practice as a draughtsman.
THE MORNING COAT