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Vintage Sewing Main Page > 1940's > Ladies' Garment Cutting and Making > Chapter I Search | Subscribe | Support

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Early 1940's—Ladies' Garment Cutting and Making

by F. R. Morris

Chapter I—Basis of the System for Coat Construction

You may select a topic from this lesson

WE must first realize that pattern production in its entirety cannot be based upon a mathematical formula. Calculations and measurements derived from the breast size will provide a working basis for obtaining the general outline of the pattern in accordance with the figure shape, but only practical knowledge and experience of modelling a garment to the figure give a

scientific method of approach for the attainment of perfection of fitting qualities.

The impracticability of attempting to define a section of the figure by fractional calculations of the breast size until we have proved the principles

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involved to be scientifically correct applies with equal force to the principles that govern the fitting qualities of a garment.

The question of balance of a garment is distinct from that of fit. Balance implies the relation of the garment in harmony with the form of the wearer. It is the principle of construction that decides whether a garment is suited to the figure form and attitude. For obvious reasons a garment perfectly

balanced in relation to a proportionate figure would be hopelessly out of balance and harmony when placed upon a figure of stooping or erect attitude.

We are able to decide the balance and calculate the sectional values of heights and widths in terms of geometry in relation to an accepted standard of proportion, after which experience and reasoning ability are the governors of whether the operator of a system is successful or the reverse. There is no royal road to success in garment cutting, yet many students expect to learn their job and earn a good salary as qualified cutters after a period of three or six months at a cutting or technical school. Knowledge of the constructional points of a cutting system is of small use, for it is only the foundation of knowledge. Knowledge of how to lay a foundation is of no use to a builder if he cannot continue with the work and erect his house on top!

The ability to adapt our system to meet the fitting demands of varying figures cannot be taught, yet it may be attained by an intelligent use of a knowledge of form growth and practical modelling experience. The author mentions modelling experience because the scientific school of cutters deprecate the method; but in his opinion a student should learn to model before attempting to assimilate a flat-cutting system, for modelling teaches us why we cut as we do. It is much more practical from a student's point of view to see clearly what he is aiming at and also what is necessary in order to obtain a good-fitting garment than to spend hours juggling with fractions of an inch and a mass of, to him, often unintelligible lines.

There are cutting systems that purport to locate every fitting and constructional point by direct scientific calculations derived from the breast measure, treating the figure as of regular and static proportions and applying definite laws of construction thereto. But the human frame is not of rigid and precise dimensions in regularity of shape; instead it is irregular, though possessing a relative regularity in each section. Geometry cannot be applied to the human figure in all its aspects, but there are sections of precise

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height, and when a cutting system is being evolved it must be scientific only to the degree that definite scientific calculations are applicable to the human figure.

Constructional Basis for the Location of the System Points

In the production of patterns for coats, two methods of calculating the dimensions of the various sections of the pattern are advocated and

practised by cutters.

One method is that of deductional calculations based upon divisions of the bust girth in conjunction with the actual height of the figure.

The second method is that of taking "short direct" measurement from one section of the figure to another, with the intention of definitely fixing the dimensions of the pattern by evidence of the inch-tape.

Each of these two methods has its advocates and exponents and neither method is perfect. As the author has previously mentioned, only practical experience and intelligent reasoning ability will decide whether we become successful cutters or not.

There are four sections of height and width for which provision must be made. They are—

(1) THE BACK DEPTH, usually termed "the depth of scye," though this expression is rather erroneous as the scye level is not in a constant position, being governed by style in its location.

(2) THE FRONT DEPTH OR BALANCE. This factor relates more to balance than actual depth. While the depth factor for a normal given figure may be arrived at by deductional calculations or by direct measurements of the figure, the balance of the coat for such a figure's attitude or stance may frequently contradict the predetermined depth factor and necessitate an increase or decrease of front and back depths. For example, a figure of stooping attitude requires relatively more back depth and less front depth in comparison with a figure of normal build to obtain a correctly balanced garment. The opposite applies for an erect figure. Therefore, the front depth as well as the back depth is governed by figure stance and balance adjustment. The provision of contour shape and length in relation to the form of the section to be covered is also a function of the front depth factor.

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(3) THE FRONT OF SCYE OR ACROSS-CHEST WIDTH. This relates to the location of the armhole or scye in its relation to the width of back and front sections. Some systems locate the "front of scye" by applying a measure from the centre back forward to a point in advance of the arm socket and allowing a quantity for ease of movement in the draft. Other systems use the "across-chest" measure, based on a direct measure taken from the front of the

armhole at one side to the other, or, alternatively, a calculation based upon a division of the breast measurement.

(4) THE SHOULDER CAPACITY OR THE OVER-SHOULDER MEASURE. This factor

decides the requisite amount of material required to cover the size and shape of the shoulders.

The method of estimating constructional points by calculations based upon divisional fractions of the breast girth and height factor is adopted by experienced craftsmen, but in the hands of students or inexperienced operators it often fails to give them the perfection they expect; so many cutters prefer to use the "direct measure system," a method which purports to define constructional points by short direct measures taken on the figure. They are called "short" measures because the body is divided into four smaller or shorter sections of the whole. They are called "direct measures" because the four sections are assumed to be defined by these "short"

measures taken direct on the body instead of by divisional calculations. The measures thus obtained are then applied to the pattern draft to locate the constructional points directly.

This method, however, is fraught with inaccuracies and places too much responsibility on the necessity for correct measurements. The tape-measure in the hands of any but experienced craftsmen can be very unreliable when registering "short direct" measures. It must be plainly understood that, when measuring from one section to another on the figure, a measure of contour is registered, which has to be applied to a flat plane on the pattern draft.

Obviously if we measure over a curve and apply the distance on our draft in a straight line, we are acting unscientifically and without logic. Yet the

operation of taking and applying direct measures is identical with this. Customers, too, are notoriously in the habit of altering their natural attitude when the tape is being passed over them, with the result that our direct measures of the figure, in which we place so much faith, may be just the record of an unnatural position.

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Yet cutters place abject faith in the infallibility of direct measures obtained in this way, after having tried the "divisional system" and found it wanting in respect of giving automatic adjustment of balance for varying figures. The direct-measure system professes to give this automatic adjustment for cutters to work by and may be compared to a safeguard against lack of experience and reasoning ability.

It is not the fault of the divisional system if, in the hands of some cutters, it fails to give satisfaction. Instead, condemn the reasoning power which fails to realize that human beings are not all of perfect proportions and consequently require adjustment of system points and balance in accordance with the variation from normal build.

For obvious reasons a garment cut to fit a figure of 5 feet in height would prove inadequate to cover the increased depth or height factor of a figure 5 feet 10 inches. There would be an insufficiency of shoulder depth and covering capacity in proportion to the increase in height even though the breast measured the same. Inexperienced cutters using the divisional system give the same depth allowances for the tall as for the normal figure. A depth factor based only on the breast girth cannot obviate this; here is where a knowledge of figure construction and form growth indicates why an increase of depth is necessary.

With the divisional system we cannot run before we can walk. A complete mastery of the scientific principles underlying this method is

necessary, for to expect a system to be self-adjusting without any brainwork on the part of the cutter is foolish.

It is the knowledge of the shortcomings of the system used, whether divisional or direct measure, that places the intelligent craftsman above his fellow who is but a blind imitator of direct measurements or divisional aliquot parts. Experience guides the user of a divisional system past the snares and pitfalls in cutting, while direct measurements, by reason of their very rigidity, more than often fail us if we let the inch-tape think for us, instead of

reasoning out whether the measurements as obtained are correct for the figure or not.

Direct measures may be put down as unreliable in general, though an experienced cutter using a divisional system may take them as a counter to his own calculations. For gentlemen's garments direct measurements are

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reliable on the whole, but they are more easily obtained than in the case of ladies' garments.

The Divisional System

The divisional system is the basis of the foundation drafts following, and all constructional points are located by deductional calculations from the breast girth and height factor. To use the system scientifically and rationally, it is necessary to take as a basis a standard approximating to the conception of a normal proportionate figure. Only by comparison with such a standard can we estimate for varying proportions and figure attitudes.

The figure that approximates nearest to the conception of normal proportions is that of a woman of 34 inches breast girth and 5 feet in height measured without shoes. With this figure, the front and back depth factors show their relative differences to a proportionate degree, and the height is an average standard in relation to the breast measurement.

Referring to the scale of proportionate measures, we find the chest size (measured above the bust prominence) is 32 inches.

Waist Measure equals 25 inches.

Hip Measure equals 38 inches—a proportionate increase of 4 inches over the bust size.

Back Width equals 13 inches. This measure is one that relates to style rather than a quantity which influences and bears upon the system.

The Natural Waist Length from the nape of neck to waist equals 15 inches.

The Front Waist Measure from the nape of neck to the waist line at the front equals 20 inches. This is a check measure to determine the variation of the front depth for figure attitudes other than normal.

The Back Depth or Depth of Scye

The back depth or depth of scye quantity is determined by two factors, namely, the height of the figure and the bust girth. The important factor is the height, for, providing we can ascertain the back depth quantity for the

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proportionate height, calculations can be made for increases or decreases of stature.

The author calculates the depth of scye from a division of the total height. It is an accepted theory of scientists and artists that the height of the head of a figure divides into the total height eight times, thereby dividing the figure into eight equal sections. This theory is centuries old, dating from Egyptian times, and is one of the few geometrical principles of measuring the human frame that is directly applicable to scientific pattern construction. Fig. i illustrates a figure measured on the basis of the eight-heads theory. For our purpose, the second and third divisions are considered, namely, from the nape of the neck to the base of the arm, and from this section to the waist level.

Now on examination of the figures, the line of measurement passes inside the form and is not a value of the contour shape of the centre back. This is why the system is based on a normal 34-inch bust girth, for in this size the contour increase over the direct division of the height is negligible. To be logical a slight value should be given, but in practice it has been found that one-eighth of the total height for the depth of scye is sufficient.

The depth of scye or back depth factor from the nape of the neck to the base of the armpit is equal to one-eighth of the total height for a

proportionate 34-inch bust figure 5 feet in height. Therefore—

The value of the depth of scye

= 1/8 of height 5 feet (60 inches) = 7½ inches.

The natural waist length being equal to a value of two heads of the actual height, from this the measure of 15 inches is computed.

Applying this calculation to larger sizes, we have to take into account the proportionate increase in height, so, when dealing with a woman with a 42-inch bust, the proportionate height would be 5 feet 4 inches.

Therefore, 1/8 of 5 feet 4 inches (64 inches) = 8 inches.

As stated previously, the value of the back contour shape is negligible for the base model of a 34-inch bust, but it must be obvious from Fig. 1 that

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the greater the breast girth, the greater must be the distance of the

perpendicular line taken through the figure, from the centre of the back; so from practical experience, and taking into account the fact that one-eighth of the height is a linear measure possessing no contour value, provision must be made for the increasing contour of the back.

Fig. 1—A Figure Measured on the Basis of the Eight-Heads Theory

The addition for the increase of back depth over one-eighth of the total height for bust sizes over 34 inches is calculated as 1/8 inch for every 2-inch increase of bust size.

Therefore 1/8 of 5 feet 4 inches = 8 inches, plus

1/8 inch increase for every two-inch increase in bust size from 34 to 42 inches = ½ in. This gives us 8½ inches from the nape of neck to the depth of scye.

Similarly, taking into account the increasing proportionate heights in conjunction with the increase of breast size, the depth of scye factors may be computed for all bust sizes.

We have only dealt with figures of proportionate height, but for figures of taller or shorter stature, the corresponding increase or decrease of scye depth may be easily calculated, as the depth factor is computed as one-eighth of the height. So for every inch increase or decrease in the total height, irrespective of the actual breast size, the depth of scye factor must correspondingly increase or decrease 1/8 inch for every inch of variation.

For example, a 34-inch bust figure with an increase of height to 5 feet 8 inches would require an addition of 1/8 inch for every inch of increase in height from the normal stature. Therefore—

 Normal height for 34 inch bust = 60 inches.

 Increase of height = 8 inches.

 Increase of depth of scye, one-eighth of 8 inches = 1 inch.

Add this inch to the normal scye depth of 7½ inches and we have the required depth for an increase of height to 5 feet 8 inches.

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Another example is the type of figure of very short and thick stature, having a 46-inch bust yet measuring only 4 feet 11 inches in height. Calculating on the above method—

 Normal height for 46-inch bust = 66 inches.

 Normal depth of the scye, one-eighth of 66 inches = 8¼ inches.

 Normal depth of the scye plus ¾ inch of contour value = 9 inches.

 Decrease in height = 7 inches.

 Decrease of depth of scye, one-eighth of 7 inches = 7/8 inch.

From this calculation the depth of scye for a woman having a 46-inch bust and measuring 4 feet 11 inches in height is 9 inches less 7/8 inch = 8 1/8 inches.

It has been shown how to compute the depth of scye factor for normal and abnormal variations of breast and height

quantities from calculations based on the normal height, but for simplicity in practice, however, it is found to be more

satisfactory to estimate this quantity by a division of the "working scale" based upon the bust girth. This division of the scale must necessarily provide the same increment of scye depth for a proportionate figure as the calculation based upon the height of the figure and the bust size.

The Working Scale

The working scale is a means of comparison whereby we are able to compute the relative values of the depth and width factors in their relation to the bust girth. Though, in the first instance, the height and width factors are calculated from the height of the figure, for practicability it is advisable to have a standard with which the various factors may be relatively compared. Therefore, we must evolve a scale that agrees with the proportionate increase or decrease of height and width quantities from the normal 36-inch bust size.

For bust sizes of 36 inches and under, the working scale is calculated as half the bust measure. This is workable down to a 30-inch bust, but, under this size for juveniles and children, a

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new scale must be devised to allow for the extra ease of fitting qualities essential to this class of trade.

The computation of the working scale as half the bust size is true only for the sizes mentioned, and for busts of more than 36 inches an adjustment must be effected. The relative

proportions of the figures of more than 36-inch bust girth do not increase regularly in relation to the increase in bust size, but, instead, when we come to a woman of, for example, 48-inch bust or over, the height quantity and back depth factor become constant and show no proportionate regular increase to

compensate for the irregular figure development at that size. A 48-inch bust figure would require a garment cut relatively larger in shoulder size in comparison with 36-inch bust

proportions, and a disproportionate increase of front length from the nape of the neck over the shoulder to the bust point to allow for the increased development of bust prominence. At the back, the scye depth would in all probability be decreased, but this type of figure is invariably of rather less than average height, thick through the shoulders and a trifle short in the neck.

Therefore, to cope with this general evidence of

disproportion in the larger sizes than the 36-inch breast, we must devise a scale which does not increase proportionately, but with a decreasing ratio between the fundamental constructional factors.

The working scale for all sizes over the 36-inch bust is therefore calculated as follows: one-third of the breast girth plus 6 inches.

For a 48-inch breast size, the scale calculated by this method will give a quantity of 22 inches, whereas on the principle of obtaining the scale by taking half the breast

measure net, the quantity would be 24. The former method of finding the scale gives the essential decreasing ratios of depth quantities which are necessary in the larger sizes.

The above principle of defining the scale is a well-known method and thoroughly reliable in practice. But the mere fact of

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finding a cutting scale is only a small step towards cutting progress. There are almost as many methods of finding the scale as there are cutting systems.

For the following bust girths, the working scales are calculated as one-third of the bust measure plus 6 inches.

 38-inch bust—one-third of the breast measure plus 6 inches = 18¾ inches.

 40-inch bust—one-third of the breast measure plus 6 inches = 19½ inches.

 42-inch bust—one-third of the breast measure plus 6 inches = 20 inches.

 44-inch bust—one-third of the breast measure plus 6 inches = 20¾ inches.

 46-inch bust—one-third of the breast measure plus 6 inches = 21¼ inches.

 48-inch bust—one-third of the breast measure plus 6 inches = 22 inches.

 50-inch bust—one-third of the breast measure plus 6 inches = 22¾ inches.

The object of evolving a working scale is to calculate the depth and width factors without recourse to deductions based upon the actual figure height and breast girth.

To calculate the depth of scye or back depth from the working scale, the calculation must agree with the scye depth estimated as one-eighth of the actual height plus the addition for the contour of the back.

The calculation from the scale which agrees with the back depth based on the height and breast girth of a normal figure is: one-third of the scale plus 1¾ inches in all sizes.

Depths of scye quantities for the following breast sizes are calculated from the working scale as follows—

 30-inch breast—one-third of the scale plus 1¾ inches = 6¾ inches.

 32-inch breast—one-third of the scale plus 1¾ inches = 7 1/8 inches.

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 34-inch breast—one-third of the scale plus 1¾ inches = 7½ inches.

 36-inch breast—one-third of the scale plus 1¾ inches = 7¾ inches.

 38-inch breast—one-third of the scale plus 1¾ inches = 8 inches.

 40-inch breast—one-third of the scale plus 1¾ inches = 8¼ inches.

 42-inch breast—one-third of the scale plus 1¾ inches = 8½ inches.

 44-inch breast—one-third of the scale plus 1¾ inches = 8¾ inches.

 46-inch breast—one-third of the scale plus 1¾ inches = 9 inches.

 48-inch breast—one-third of the scale plus 1¾ inches = 9¼ inches.

 50-inch breast—one-third of the scale plus 1¾ inches = 9½ inches.

The scye depth calculated by a division of the scale must be used in conjunction with the figure height, and every increase or decrease of height automatically is adjusted on the pattern by increasing or decreasing the depth of scye by 1/8 inch for every inch of variation.

Fig. 2

Fig. 2—Depth and Width Factors Applied to a Draft Basis

Fig. 2 shows the application of the depth and width factors to the construction of a draft basis. The constructional points are defined and allocated as they are indicated and described in the following text.

 Draw the construction line X to 2.

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 1 from X = the depth of scye, one-eighth of the total height 5 feet, or one-third of the scale plus 1¾ inches = 7½ inches.

 2 from X = the length to natural waist, 15 inches.

 Square out from these points to 3 and 4.

 3 from 1 = the half-bust measure plus 2 inches.

The allowance of 2 inches over the half-bust measure is estimated as follows: ½ inch for two seams at the underarm seam, 1 inch allowance for ease and linings, and ½ inch is lost under the blades when the back panel seam is sewn out.

It is always advisable to ascertain the height of the client when measuring in all cases, but as a general rule all figures tall in aspect require

treatment for more length of back depth, while those of short stature need a reduction of depth.

The back depth or depth of scye having been allocated, the next factor to consider is the width of the back neck and the location of the shoulder seam.

The Back Neck Width

The back neck width is determined by two factors, one being style, and the other the actual neck size. The question of style enters because the back neck width also governs the position of the shoulder seam. It is good style to have the shoulder seam placed well on top of the shoulder, instead of slanting over the back. Too much attention cannot be given to the question of seam placement and run, as the whole subject of good style and line is governed by the run of seams, to a greater extent than actual fit. A perfectly fitting and tailored garment is not necessarily one of good style unless the seam

placements are in harmony with the figure shape of the wearer.

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If we are good cutters with an eye for line, we do not give a bottle-shouldered woman a coat with the back shoulder seam running down from the neck to half-way down the back shoulder. Nor do we emphasize the squareness of a stocky woman by placing her shoulder seam right on top of the

armhole. In short, we must cultivate an eye for line and study the body-shape of the customer in order to place seams in the most advantageous style position. A shoulder seam placed well up on the shoulder is also an asset from the fitting point of view. A seam that slopes over the back invariably causes bad

creases in the hollow of the front shoulder, while the high run of seam permits the seams to be shaped to the hollow run.

There is only one width of back neck that is correct for the given bust size, unless the neck size shows some disproportionate increase or decrease of size. Obviously, if we are cutting a garment to fit round the neck, we must consider the factor of neck size. Yet many cutters and system makers calculate the back neck width from everything except the neck size.

Fig. 3

Fig. 3—Problems of Back Neck Width

Fig. 3 shows problems of back neck width considered in relation to the front balance and front shoulder. No system has been given for the location of the various width and

height factors mentioned, but they are shown as an example of the principles underlying the calculation of the back neck width in relation to the front

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(A) illustrates the perfect example of back neck width run in harmony and balance with the front balance. X, the centre back neck, is never moved from the fixed position. The front shoulder and neck point are governed in their location by the back neck; therefore, as point X is fixed allocated points in front are carried towards it. It must be obvious that there are only one width of back neck and one position of front neck point to give perfect balance, and to be scientifically correct these must be calculated from the neck size.

Points 2 and 3 are identical, while 4 coincides with 5.

 1 from X = the correct back neck width.

 2 from 1 = the amount the back neck run is raised to curve round the neck.

 3 is the correct location of the front neck point.

 4 and 5 from 2 and 3 are the back and forepart shoulder widths.

 6, 7, and 8 are the centre front and breast line balances.

 The breast line 6 to 8 remains in one position on the figure.

(B) shows an example of the effect a wide back neck width has on the balance of the front shoulder. The back neck width from X to 1 is cut ½ inch too wide in proportion to the neck size of the figure. The front neck point at 3 remains in the same location as normally.

We can now see the effect on the balance that a back neck cut too wide has. As X is always in the same location, point 2 is also immovable; when the shoulder seams are sewn together point 3 is pulled back to point 2.

Supplementary effects are: as point 3 sews to 2 points, 7, 8 and 5 are also moved back with

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it, but as line 6 to 8 does not move from its position on the figure, an excess amount of material is forced down to the front of the scye. An angular neck run is caused by the back neck being cut too wide.

(C) shows the reverse effect a narrow back neck width has on the front balance and depth. From X to 1 is cut ½ inch less than normal. The front neck point is located as normally. As X to 2 remains in a constant position, the front neck point must sew to point 2. Obviously, from the diagram there is a discrepancy between 2 and 3, and when the shoulder seams sew together this discrepancy must be dragged up from the fronts. But as 8 to 6 are fixed, there will be diagonal drags from the front of the scye to the neck point as the shortness of material becomes apparent.

(D) shows examples of variation of seam placement. If a wider back neck width and higher shoulder seams are desired for style reasons, as in the case of raglans, the best plan is to cut the pattern on the lines of construction described and then lay the back and forepart shoulder seams together as shown.

Points X, 1, 2, 3, 4 and 5 are the normal shoulder-seam location.

10 and 11 show a shoulder seam ½ inch higher on the shoulder than normally.

12 and 13 show a shoulder seam placement in accordance with an effect sometimes desired for blouse styles.

This method of marking the shoulder seams eliminates any inaccuracies in estimating the varying back neck widths in accordance with the change of seam placement. So we arrive at the

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following conclusions for calculating the back neck width based upon the neck size and shape.

The width of back neck must be taken into consideration with the location of the front neck point position and balance.

Any divergence of either factor has been proved to be detrimental to the balance of the shoulders.

There is only one basic width of back neck that is correct for the given bust and neck size, though variations of seam placement are

permissible.

Too often do we see ladies' coats the fit of which is ruined simply because the width of- back neck is cut too wide. These atrocities are

"distinguished" by the indications of the collar standing away from the back neck, and the shoulder and sleeve seams hanging down over the arm in a "drop-shoulder line." Sufficient to say the back neck width is of great importance, bearing on the scientific construction of coat patterns.

A sectional view of the neck shape is shown superimposed upon the constructional draft, Fig. 2. This section is based upon the neck size in proportion to a 34-inch bust, and illustrates the principle of obtaining the back neck width.

The position of the shoulder seam is the deciding factor and governs the back neck width by its location on the neck curve. For a normal position of shoulder seam point 6 is most satisfactory in practice. This is located at 2½ inches from B on the diameter line from X to A through the neck section. B up from X equals 1 inch.

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The neck size for a normal 34-inch bust figure is 12½ inches; therefore, we must

calculate in what degree the back neck width of 2½ inches is related to 12½ inches.

One-fourth of the neck circumference less ½ inch is the division most scientific in practice for all neck and proportionate bust sizes. Therefore, a fourth of 12½ inches equals 3 1/8 inches, which, less ½ inch, equals 2 5/8 inches. This quantity may be made 2½ inches in practice to counteract any stretching of the seam in making.

In Fig. 2, 5 from X equals a quarter of the neck circumference, 12½ inches, less ½ inch.

6 from 5 equals 1 inch. The curve from 6 to X is the sectional run of the neck shape.

It is not always possible to obtain the neck size, so we must again utilize the working scale as a basis of comparison. The width estimated from a division of the working scale must agree with the computation from the actual neck size. The division most effective is one-sixth of the scale less ¼ inch. With a 17 working scale this equals one-sixth of 17 less ¼ inch = 2½ inches. A scale of back neck widths in comparison with bust girths are derived from the working scales as follows—

 34-inch bust (scale 17)—one-sixth of the scale less ¼ inch = 2½ inches.

 36-inch bust (scale 18)—one-sixth of the scale less ¼ inch = 2¾ inches.

 38-inch bust (scale 18¾)—one-sixth of the scale less ¼ inch = 2 7/8 inches.

 40-inch bust (scale 19½)—one-sixth of the scale less ¼ inch =3 inches.

 42-inch bust (scale 20)—one-sixth of the scale less ¼ inch = 3 1/8 inches.

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 44-inch bust (scale 20½)—one-sixth of the scale less ¼ inch = 3¼ inches.

 46-inch bust (scale 21¼)—one-sixth of the scale less ¼ inch = 3 3/8 inches.

 48-inch bust (scale 22)—one-sixth of the scale less ¼ inch = 3½ inches.

 50-inch bust (scale 22¾)—one-sixth of the scale less ¼ inch = 3 5/8 inches.

The next consideration is the factor of the front depth and balance.

The Front Depth

This factor determines the correct balance of the garment on the wearer in accordance with the figure attitude. In a similar manner to the back depth, it is governed in quantity by the demands of the bust girth and total height.

The contour of the breast form has to be taken into account when deciding this factor. For obvious reasons the front depth cannot be equal to the direct linear measure of one-eighth of the height and, when deciding this factor, it should be noted that the length required to cover the contour of the breast is greater than the back depth in every normal instance.

As a basis we have the back depth measure, to which must be added a certain quantity for the additional contour shape of the front balance in comparison.

For the normal 34-inch bust figure, after the width of the back neck has been taken into consideration, the estimated increase of front balance for the increased contour capacity is 1 3/8 inches. This quantity is

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naturally governed by the back neck width, for any increase or decrease of this factor will affect the front depth.

For a bust of more than 34 inches this quantity must increase in a greater ratio to accommodate the increase in bust

development and additional contour capacity required in the larger figures. To reduce this quantity to practical proportions, it is

estimated that one-twelfth of the working scale equals the addition for contour shape of the front depth over the back depth.

For a bust under 34 inches the development of the bust is not so

pronounced, and one-twelfth of the scale gives the decreasing ratio necessary.

Referring again to our basic

constructional draft, Fig. 2, the front depth has been estimated as the back depth quantity plus an addition for the increase of contour; therefore, 7 from 3 = the back depth from X to 1; 8 from 7 = one-twelfth of the working scale, 17 = 1 3/8 inches

approximately.

The location of the front neck point is the next factor to contend with.

The Front Neck Point

The location of the front neck point is one of the most controversial questions in cutting. There are many systems that scientifically locate the neck point. Some cutters find the position at a distance forward from the front of the scye, while others decide the location at a distance back from the front centre line.

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It has been previously stated that the function of the front balance is to provide contour shape and capacity as well as length. In the bust prominence, we have a localized factor to consider that cannot be covered by a flat plane of material. If the neck point is located at a distance forward from the front of the scye, when the front shoulder sews to the back neck an uncontrollable amount of

material is thrown forward on to the breast. On the other hand, if the neck point is found at a distance back from the centre line, the fit down the front of the breast will be clean, but the front of the scye will show an excess of material which must be worked away to provide for the bust contour shape and to clean the front of the scye.

From this it is obvious there must be a location of neck point that eliminates the disadvantages of either method described above. The prominence of bust is the deciding factor, and provision for this is the function of the front depth controlled by the neck point. To provide for the contour shape of the bust, the two principles are necessary; therefore, a neck point located at a distance back from the centre line provides for a clean front, and a supplementary point placed at a distance forward from the front of the scye provides for a clean front of the latter.

With regard to the location of the front neck point, the same principles apply to this as to the back neck point, that is, it must be based upon the size of the neck to be

scientifically correct.

Referring to the sectional view of the neck in Fig. 2, it will be seen that B to 6 is

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slightly less than the widest diameter of the across section. So, as the back neck width is calculated as a quarter of the neck size less ½ inch, the distance from 8 to 9 is estimated as a fourth of the neck size less ¼ inch. If this increase were not made there would be a shortage of material forward from the neck point to the centre front when the front shoulder is sewn to the back. The increase of distance allows the front neck curve to take a natural position in accordance with the

sectional shape from X, 6, to A in Fig. 4. The front neck point never moves from its scientifically located position in relation to the centre line, as long as the neck size remains reasonably constant, except in an up-and-down direction.

This statement requires a little clarifying. Cutters will immediately say that for stooping and erect figures the neck point must be altered. Admittedly, an alteration from the normal draft is necessary, but this is more a question of balance below the breast line than above it.

The neck point in question we are discussing always remains in the same position simply because the neck size from which the neck point is derived does not alter its circumference; so, obviously, why should any change be made elsewhere for variation of figure attitude?

For perfect balance the front and back neck curves should sew together in harmony with the actual shape of the neck section.

Fig. 4

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Fig. 4—Location of the Front Neck Point and Front of Scye

Fig. 4 shows the back-shoulder section cut out and laid in alignment with the sectional neck shape and the front-shoulder

section, thus illustrating the function of the neck point and the means of providing for the bust prominence.

 9 from 8 = a quarter of the neck size, 12½ inches, less ¼ inch.

 A from 8 = 3½ inches, as shown on the neck section from A to B in Fig. 2

The neck point 9 is in true

perpendicular balance with the back neck curve, so the provision for bust

prominence is made apart from this point. The location of the second neck point forward from the front of the scye for the provision of bust capacity brings us to the question of the position of the scye on the draft.

The Front of the Scye

There are two means of determining this factor of width. One is the front-of-scye measure taken from the centre back under the arms to a point in front of the scye, and applied to the draft plus an allowance for ease and seams. The other method is to measure across the chest from the front of one arm to the other and apply direct to the draft as a net measure.

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Both of these methods have their advocates. The author prefers the "across-chest" measure based on a division of the working scale and applied direct from the centre of the front back to the front of the scye.

It must be thoroughly understood that though this measure is called the "across-chest" measure, actually this is not perfectly true. The bust prominence is the widest part of the front that we have to cover; therefore, the "across-chest" width must be the width of the widest part, i.e. over the bust, approximately two inches below the chest line. On the actual chest line the bust dart reduces the

material over the chest to the actual "across-chest" width, and also provides contour capacity for the bust prominence.

The actual location of the scye by means of the working scale is as follows. For the normal 34-inch bust figure, the front of the scye is located by a division of the scale 17 equal to half the scale less 1 inch, i.e. half scale 17 less ¾ inch = 7¾ inches.

This division is applicable when the scale is equal to half of the bust size, as is the case with a 36-inch bust and all sizes below. For sizes of bust above 36 inches, to allow for the increased amount of material for the increase of bust contour, the author disregards the working scale and, instead, uses the bust measure as a basis for calculation. Therefore, point 10 in Figs. 2 and 4 is located by a division of the scale as above.

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The location of the front of scye or across-chest measure for the following bust sizes is as follows—

 30-inch bust—half scale 15 less ¾ inch = 6¾ inches.

 32-inch bust—half scale 16 less ¾ inch = 7¼ inches.

 34-inch bust—half scale 17 less ¾ inch = 7¾ inches.

 36-inch bust—half scale 18 less ¾ inch = 8¼ inches.

 38-inch bust—a fourth of bust less ¾ inch = 8¾ inches.

 40-inch bust—a fourth of bust less ¾ inch = 9¼ inches.

 42-inch bust—a fourth of bust less ¾ inch = 9¾ inches.

 44-inch bust—a fourth of bust less ¾ inch = 10¼ inches.

 46-inch bust—a fourth of bust less ¾ inch = 10¾ inches.

 48-inch bust—a fourth of bust less ¾ inch = 11¼ inches.

 50-inch bust—a fourth of bust less ¾ inch = 11¾ inches.

The position of the neck point forward from the front of the scye for a normal 34-inch bust figure is one-sixth of the scale. This is shown in Fig. 4 at 11.

 12 from 11 = from 3 to 8 less ½ inch to allow for the natural slope of the shoulder.

From the diagram it must be apparent that if the front shoulder is to sew to the back, the front is too wide by the amount of 9 to 12.

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Therefore, this amount must be reduced, and a dart equal to the quantity is taken out of the shoulder at 12 to 13, and so contour shape for the bust is provided.

 14 is midway of 3 to 10.

 15 from 14 = 2 inches.

 Join 15 to 13 and 12.

 Half the bust measure (17 inches) = 8½ inches.

 Half the chest measure (16 inches) = 8 inches.

 Reduce the difference of ½ inch from the shoulder dart at the breast-line level.

This reduction in size is necessary as the breast above the prominence, on the chest line, is smaller and

corresponds with the actual chest measure and not the bust circumference.

There are cutters who make this distance ½ inch or more less than the allocation stated for the position of the neck point, but in the author's experience of present-day figures, a straighter-cut coat is necessary. The possibility of complications caused by moving the neck point was shown when dealing with the width of the back neck. The same principles apply and the same defects will be

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experienced if we tamper with the front neck point.

One-sixth of the scale is the most satisfactory position for obtaining a good-fitting shoulder and front of scye. The quantity stated applies to bust sizes under 36 inches only; for bust sizes over 36 inches the neck point remains constant at 3 inches forward from the front of the scye at 10. By making this point constant at 3 inches we provide for an increasingly greater quantity to be taken out of the bust dart from 13 to 12, for the across-chest

measure increases while the neck point remains in one position. Consequently, with busts above 36 inches the distance between the front neck point 9 and the point 12 becomes greater in an

increasing ratio as the bust becomes larger and more prominent with the need for increased contour provision.

Shoulder Size and Capacity

The remaining factor to be considered is that of

shoulder size and capacity. It is possible to allow for this quantity on an average basis only, as style and figure development have an important bearing on the

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amount necessary. A direct measure taken from the centre back over the shoulder to the front of the scye is very useful if taken accurately, but in the author's opinion it is better to work on an average of what is successful for the majority of figures. One thing to

remember is that an easy armhole is not gained by piling an excess of material on the shoulder top; instead, a deeper and wider scye is indicated.

Fig. 2 gives an indication of the method of deciding the shoulder slope and capacity.

 17 from 1 = the back width plus a ¼ inch seam = 6¾ inches.

 18 is midway of 17 to 10.

 19 from 18 = one-third of the scale plus ¼ inch.

 Join 19 to 6 and 12 for the shoulder slope.

The basic

constructional points for the estimation of the sectional heights and widths have now been defined for a normal figure and are ready to be applied to drafting proper. It may be thought that too much time has been given to the calculation of the points enumerated. It is absurd,

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however, to give a student a draft saying that so-and-so is such-and-such of the scale. Half the time what is meant by the "scale" is a mystery. One cannot expect students of either sex to understand technical phraseology without it being carefully explained. To explain definitely how we arrive at each quantity clears up what is just a mass of unintelligible lines and quantities to most students.

There is one point of which mention must be made. That is the

application of the nape of neck to the front waist measure. This measure is a useful check on the length of the front balance for estimating the extra length required and also, in

instances of

disproportionate figures, a means of arriving at the necessary quantity by which to increase or decrease the front depth factor.

Summary of the

Constructional Points

(a) THE WORKING SCALE. Calculated as one-third of

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the breast size plus 6 inches for all sizes over a 36-inch bust. For a 36-inch bust and under the scale is equal to half the bust size.

(b) THE DEPTH OF SCYE. Calculated as one-third of the scale plus 1¾ inches.

(c) THE WIDTH OF THE BACK NECK. Calculated as one-sixth of the scale less ¼ inch.

(d) LENGTH OF THE FRONT BALANCE AND DEPTH.

Calculated as equal to the depth of the scye plus one-twelfth of the scale.

(e) LOCATION OF THE FRONT NECK POINT FROM THE CENTRE FRONT LINE.

Calculated as one-sixth of the scale.

(f) FRONT OF SCYE

MEASURE. Calculated as half the scale less ¾ inch for a 36-inch bust and all sizes under. Over a 36-inch bust the calculation is one-fourth of the bust measure less ¾ inch.

(g) POSITION OF THE NECK POINT FROM THE FRONT OF THE SCYE. Calculated as one-sixth of the scale for a 36-inch bust and all sizes under. For sizes over a 36-inch bust the measure is constant at 3 inches.

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Early 1940's—Ladies' Garment Cutting and Making

by F. R. Morris

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Chapter II—The Art of Measuring and Scales of Proportionate

Measurements

You may select a topic from this lesson

As scientific garment cutting is based upon measurements of the human form, it is essential that accurate measures are always taken as a delineator of the general build of the figure to be fitted; they are the first need towards drafting a correct pattern. To endeavour always to obtain accurate

measurements cannot be sufficiently impressed on the student or cutter; the finest cutting system in existence would be an abject failure if the

measurements used in conjunction with it were inaccurate. Constant practice will give proficiency in this direction, and it is stressed that an identical

degree of closeness or looseness in applying the tape-measure should be observed as much as possible on all occasions. We cannot expect a cutting system to give uniform results if a different degree of tension in measuring is adopted on some occasions and not on others, for obviously, as the

allowances for ease and seams in the system are fixed, varying degrees of fitting quality will result if this factors not observed.

It is always advisable to take the measurements in a definite sequence. Some cutters arrange the measurements in one order, others differently, and if a salesman or saleswoman is taking these figures instruct them in the desired arrangement and method of measuring.

Accuracy in the act of measuring the client is of first importance, and there must also be cultivated the art of observing and tabulating in the mind the little peculiarities of the figure as the tape is passed over. A skilled cutter mentally allocates dimensions of height and width and, one might almost say, drafts the pattern in his mind's eye as he measures.

Cultivating the faculty of recognizing any little deformities is of great assistance later when at the cutting board. Having had a great experience of cutting garments to measures and figure descriptions supplied by other people, and knowing the weird and wonderful shapes they sometimes visualize in their minds, the author advocates that the client should be measured personally.

Always keep in mind the dimensions of a proportionate figure, and when the tape registers an increase or decrease of quantity note the position of the variation from normal. Most tailors have a code of their own for tabulating

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peculiarities of form growth by marginal notes in the order-book when they encounter a difficult figure whose characteristics of build are abnormal.

The advantages of such a code are obvious, for, in addition to acting as a refresher to a flagging memory, if the cutter is not able to deal with the job for a day or two, when the first clear-cut impressions of the figure have become indefinite, they are of great value on future occasions if the client is unable to call to be re-measured.

Abbreviations

The following are the abbreviations mostly used, though if more are needed it is a simple matter for anyone to invent suitable codes.

 S.R.B.—Slightly round back.

 R.B.—Round back.

 H.B.—Hollow back waist.

 P.S.—Prominent seat or hips.

 Sl. Sh.—Sloping shoulders.

 Sq. Sh.—Square shoulders.

 S.N.—Short neck.

 L.N.—Long neck.

 D.R.S.—Drop right shoulder.

 D.L.S.—Drop left shoulder.

When applying the tape to the figure, measures must be taken on the close side, for suitable allowances for ease are made in the working of the system. All measures should be taken on the left side of the figure. The reason for this is that, usually, the right shoulder is the lower of the two, and if the garment is cut to fit the left shoulder it is quite a simple operation to take-in the right shoulder and deepen the scye; whereas, though the left shoulder could be let out, we cannot decrease the depth of the scye.

The Measures

It should be specially noted that, in taking the measures, a waist belt or cord should be placed round the waist, in order to

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determine the natural waist position for the purpose of establishing a balance.

In Fig. 5 (a) and (b), the measurements should be made as follows—

(1) From A at the nape of the neck to the natural waist line, defined by the waist belt at C.

(2) From A to D, the desired length of the garment for short coats.

(3) The full length of the dress or coat taken from the nape of the neck at A to E.

(4) From C to E, the skirt length at the back.

(5) The width of the back measure taken from F to G. This quantity may be regulated by a division of the scale when drafting, but it is advisable to take this measure on the figure as a guide to any pronounced development of the blade section.

(6) The sleeve length, continuing from F and G to H at the elbow and on to the wrist at J. Two alternative measures are advocated by many craftsmen. They are the measure from the seam of the sleeve head to the wrist, as shown from points 1 to 2 in Fig. 5 (a), or a forearm measure from the front pitch to the wrist. Either of these two alternatives is but an approximation of the correct measure, as in each instance a variation of crown height or a higher run of seam on the shoulder than that of the garment measured would affect the finished length.

(7) The chest girth, taken over the dress, blouse or jumper with the tape well up on the blades at B (Fig. 5 (b)) on the back and passing round the figure to above the prominence of the bust in front as in Fig. 5 (a). With the tape still held in position at the back, lower in front to cover the bust prominence. This measure must be taken closely and accurately with observation as to the degree of development of the bust.

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Figure 5—Taking the Measurements

(8) The waist measure, taken very tightly as for a skirt measure. Additions are made in the working of the system for ease when using this quantity for the drafting of coats or dresses.

(9) The hip measure, taken over the most prominent part of the hips, approximately 8 inches below the natural waist.

(10) The skirt length at the front taken, as

decreed by the fashion of the moment, from L to M and N. The side skirt measure is taken from O to Q.

(11) The front waist length from the nape of the neck at A, over the shoulder to the bust prominence at T, continuing to the front waist at L. This measure is very useful as a delineator of balance when the figure is erect or stooping in attitude.

Direct Check Measures

The foregoing are the standard measures that are always taken; other shoulder or balance measures may be obtained as a check on the deductions calculated from the working scale when drafting the pattern.

These additional measures are termed "direct measures," and are intended to define by direct measurement on the figure its relative shape and attitude. Undoubtedly, if these quantities are carefully taken a great deal of benefit is derived, but, on the other hand, it is not always possible to ensure accuracy unless they are taken over a very well-fitting garment. To take direct measures on the figure, place a square under the arm as shown in Fig. 6 (a). Mark the level of the scye at the sideseam, and then mark a point at B on the centre back seam horizontal with the scye level. At the front of the armhole at G (Fig. 6 (b) ), make a balance mark, taking care that the square remains horizontal. The following measures are then taken—

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Figure 6—Taking Direct Measurements

(1) The depth of the scye, or the back depth to the base of the armhole, from the nape of the neck at A to B (Fig. 6 (a)).

(2) The natural waist length from A to C (Fig. 6 (a)),

continuing to D, the most prominent part of the hips. It is no use when drafting to measure the hip prominence at 8½ inches below the natural waist line, apply to the draft at 7 inches below the waist and then wonder why the garment is too large on the hips.

(3) The over-shoulder measure from B (Fig. 6 (a)) at the centre back to E on the shoulder, thence to G (Fig. 6 (b)) at the front of the scye.

(4) The front shoulder measure, taken from the nape of the neck at A (Fig. 6 (b) ), over the front shoulder to G at the front of the scye.

(5) The across-chest measure, taken above the bust

prominence from the seam of the sleeve at one side to the other. (6) The front waist measure from the nape A (Fig. 6 (b)) over the shoulder to H at the front waist, the prominence of bust length being also noted in addition.

The above measures are those usually taken and found to be most practicable for general use. When taking direct measures it is well to remember that such measures are only approximations even if the utmost accuracy is observed in their recording, and as such their use must be tempered with common sense. The author has had direct measures given to him to work by that would produce for a 36-inch bust figure a garment suitable in every respect of scye and shoulder size to a 48-inch or 50-inch bust. How some of these measures are obtained is a mystery, but a shrewd guesser would say that the garment measured over had an armhole down in the waist somewhere. Maybe the depth of the scye had been measured from the top of the collar!

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Scale of Proportionate Measurements and Working Tables

Tables of proportions are always of use as a means of

comparison with measures registered on the figure and as a guide to where the variation of development in abnormal figures is

apparent. For instance, if we measured a woman and the back width quantity was 6¼ inches for a bust girth of 38 inches, obviously the increase in size must be located disproportionately as the back width is only equal to a 32-inch bust girth. In this instance, the increase would be all at the front in the across-chest width.

Some useful tables, together with one showing aliquot parts of the scale or breast measure, are given below.

Scale of Proportionate Measurements Bust

Inches Inches Waist Inches Hips

Waist Length Inches Across Back Inches Elbow Sleeve Length Inches 24 24 24 10 4½

Half of Forearm Length

17 26 24 26 11 5 20 28 24 29 12 5½ 23 30 24 32 13 6 25½ 32 24½ 36 14 6¼ 27½ 34 25 38 15 6½ 28½ 36 27 40 15½ 6¾ 29 38 29 42 15½ 7 29½ 40 31 44 16 7¼ 30 42 33 45 16 7½ 30½ 44 34 47 16 7¾ 30 46 35 49 16 8 30 48 36 51 15½ 8¼ 29½ 50 37 52 15½ 8½ 29½ 52 38 54 15 8¾ 29 54 39 56 15 9 29

Table of Aliquot Parts

The following table of aliquot parts will give fractions of the scale or breast measure from one-ninth to two-thirds—

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Scale or Breast Measure Inches 1/9 1/8 1/7 1/6 1/5 ¼ 1/3 ½ 2/3 11 1¼ 1 3/8 1 5/8 1 7/8 2¼ 2¾ 3¾ 5½ 7 3/8 12 1 3/8 1½ 1¾ 2 2 3/8 3 4 6 8 13 1 3/8 1 5/8 1 7/8 2¼ 2 5/8 3¼ 4 3/8 6½ 8¾ 14 1½ 1¾ 2 2 3/8 2 7/8 3½ 4¾ 7 9 3/8 15 1 5/8 1 7/8 2¼ 2½ 3 3¾ 5 7½ 10 16 1¾ 2 2 3/8 2¾ 3¼ 4 5 3/8 8 10¾ 17 1 7/8 2 1/8 2½ 2 7/8 3 3/8 4¼ 5¾ 8½ 11 3/8 18 2 2¼ 2 5/8 3 3 5/8 4½ 6 9 12 19 2 1/8 2 3/8 2¾ 3¼ 3 7/8 4¾ 6 3/8 9½ 12¾ 20 2¼ 2½ 2 7/8 3 3/8 4 5 6¾ 10 13 3/8 21 2 3/8 2 5/8 3 3 ½ 4 1/8 5¼ 7 10½ 14 22 2½ 2¾ 3 1/8 3¾ 4 3/8 5½ 7 3/8 11 14¾ 23 2 5/8 2 7/8 3 3/8 3 7/8 4 5/8 5¾ 7¾ 11½ 15 5/8 24 2¾ 3 3½ 4 4 7/8 6 8 12 16

Scales for Shorts

Girl's Shorts Inches Bust 21 22 23 24 25 26 27 28 29 Waist 18 19 20 21 22 23 24 25 26 Hip 23 24 25 27 28 29 30 31 33 Leg 3½ 3½ 3¾ 3¾ 4 4 4¼ 4½ 5 Rise 7¾ 8 8¼ 8½ 8¾ 9 9¼ 9¾ 10 Knee 16½ 17 18 18½ 19 19½ 20 21 22 Woman's Shorts Inches Bust 32 33 34 35 346 37 38 39 40 Waist 24 25 26 27 28 29 30 31 32 Hip 35 36 37 38 39 40 41 42 43 Leg 4 4 4½ 4½ 5 5 5½ 5½ 6 Rise 11¼ 11½ 11¾ 12 12¼ 12½ 12¾ 13 13

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Knee 22½ 23 23¼ 23¾ 24 24¼ 24½ 24¾ 25

Small Woman's Shorts

Inches Waist 22 23 24 25 26 27 28 Hip 29 30 31 32 34 35 37 Leg 3½ 3½ 3½ 4 4½ 4½ 5 Rise 9 9¼ 9½ 9¾ 10¼ 10¾ 11 Knee 19½ 20 20½ 21½ 22 22½ 22½

Scale for Trousers

Inches

Waist 24 26 28 30 32

Hip 35 37 39 41 43

Leg (Plain Bottom) 29 29½ 30 30½ 30½

Rise 11½ 11¾ 12 12¼ 12½

Knee 24½ 24½ 25 25½ 25½

Bottom 22 23 23½ 24 24

Scale for Girls and Maids

Inches Length 16 18 20 22 24 27 29 32 36 39 Bust 22 23 24 25 26 27 28 29½ 31 32½ Hips 22 23 24 26 28 29 30 31½ 33 35½ Across Back 4¼ 4½ 4¾ 5 5¼ 5 3/8 5½ 5¾ 6 6¼ Sleeve 8 8½ 9½ 10½ 11½ 12 12½ 13½ 14½ 15½

American Scales for Junior Miss Sizes

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Waist 26 27½ 29 30½ 32 Hips 36 37½ 39 40½ 42 Length to Waist 15¼ 15½ 15¾ 16 16¼ Sleeve Underarm 17 17½ 18 18 18 Skirt Length 25 26 27 27½ 28 Size 12 14 16 18 20 Juvenile Costumes

Size Neck to Waist Length Coat Bust Waist Hips Across Back Sleeve Inside

2 10½ 17 31 22 33½ 11½ 12½ 3 11 18 32 22½ 34½ 11¾ 13 4 11½ 18½ 33 23 35½ 12 14 5 12¼ 19½ 34 24½ 36 12¼ 15 6 13 20½ 35 25 36½ 12½ 16 7 14 21 36 25½ 37½ 13 16½ 8 14½ 21½ 37 26 38½ 13½ 17 9 15 22 38 27 40½ 13¾ 17½

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Vintage Sewing Main Page > 1940's > Ladies' Garment Cutting and Making > Chapter III Search | Subscribe | Support

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Early 1940's—Ladies' Garment Cutting and Making

by F. R. Morris

Chapter III—Construction of Patterns for Short Coats

You may select a topic from this lesson

THE following diagrams and text form the basis of the system. All standard arrangements of seams are dealt with, and the systems described are applicable to style variations as they are encountered.

The variations for figure attitude and disproportionate shape are the general basis of alterations and can be equally applied to all diagrams, though, for the sake of simplicity, they are applied to one style of coat only.

Seams are allowed round the scye and shoulders and on the

underseams, for in the author's experience it is more advisable to allow seams on all panels and extra seamings when cutting from the material. The system is simplified when there is a standard allowance over the bust size, no matter whether the design has two seams or twenty-two. It is impossible

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to allow seams when the design has horizontal lines in addition to vertical ones.

We will now proceed with the preliminary constructional lines and points for the draft of a lady's short coat.

The Basic Draft (Fig. 7)

The system is based upon the following measures—  Bust = 34 inches.

 Waist = 27 inches. An addition of 2 inches is made to the tight waist measure for ease.

 Hips = 38 inches. This is a proportionate increase of 4 inches over the bust size.

 Waist length =15 inches.

 Full length = 24 inches.

 Half-back width = 6½ inches.

 Normal height = 5 feet.

 Working scale = half the bust size =17 inches.

To draft—

Commence by drawing line X to X, the full length of coat.  1 from X = the depth of scye = one-third of the scale plus 1¾ inches.

 2 from X = the natural waist length = 15 inches.

 3 from 2 = 8 inches down for the hip level.

 4 from X = the back neck width = one-sixth of the scale less ¼ inch = 2½ inches.

 5 from 4 = 1 inch always.

 6 from 1 = the half-back width plus ¼ inch = 6¾ inches.

 Square out from all the points from X to X as shown.

 Square a line upwards from 6 to 7.

 8 from 1 = the half-bust measure plus 2 inches for ease and seams.

 Square up and down from this point.

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 10 from 9 = the increase of front balance to agree with the additional contour length necessary, namely, one-twelfth of the scale = 1 3/8 inches.

 11 from 10 = the location of the front neck point = one-sixth of the scale = 2¾ inches.

 12 from 8 = the front of scye or across-chest measure = half the scale less ¾ inch = 7¾ inches.

 13 from 12 = the location of the neck point that provides contour shape for the bust prominence.

 Square up from 13 to 14 equal to ½ inch less than 8 to 10.

 Join 14 to 11; this amount is taken out of the bust dart to provide contour capacity for the bust shape.

 The position of the sideseam is located midway of the scye at 15.

 Square up and down from 15.

 16 from 15 for the angle of the shoulder slope is one-third of the scale plus ¼ inch = 6 inches.

 Line from 16 to 5 and 14.

 17 is located on the line squared up from 6 and intersected by line 16 to 5.

 18 from 17 = ½ inch.

 19 from 14 = the front shoulder width equal to the back shoulder 5 to 18 less ½ inch.

The necessity for cutting the front shoulder ½ inch less than the back is explained by the fact that a badly-fitting shoulder will result if the back shoulder is not eased on to the front shoulder by this amount. The reason for this manipulation is that approximately 2 inches back from the centre of the shoulder is the curve of the shoulder-blade prominence which requires more length to cover than the hollow of the shoulder on top. Therefore, if the extra length is not infused into the

shoulder seam and pressed back over the blade, then the blade prominence will take the extra length it needs and drag up the shoulder with it, causing a number of diagonal creases to appear in the front shoulder.

Easing on the back shoulder to the front gives the extra length at the blade prominence and also improves the fit of the

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front shoulder. It might be added that nine out of every ten badly-fitting shoulders are caused by insufficient back shoulder being eased on. It is a common occurrence for cutters to meet with drags and creases in the front shoulder, and to alter, rip the shoulders and repin into position. But this would be

unnecessary in the majority of instances if sufficient length had been eased on.

The tailor is to blame to an equal degree. The author is familiar with the cutter who allows ¼ inch for easing on, and gives the job to the tailor who promptly proceeds to stretch the front shoulder by anything up to ¾ inch! The tailor thereby has ½ inch of front shoulder to ease on to the back shoulder!

The author does not believe in stretching the front shoulder; that is an out-of-date practice to counteract the mistake of the cutter. The easing on of the back shoulder gives the hollow front shoulder effect that formerly the tailor

endeavoured to obtain by stretching.

To continue with the draft after this digression—

 In order to shape the scye, 20 from 12 = one-sixth of scale.

This is a check measure for the scye run, and it must be stressed that the good cutter should endeavour to achieve a clear run without such automatic aids.

 21 from 6 = 1¼ inches. Complete the shape of the scye as shown.

 22, 23, and 24 are squared down from 8.

 Square down from 15 to 25 and 26, 27.

 The quantity of hip overlap at 26 is governed by the hip size and the additional amount required for seams and ease. Two inches over the bust size are allowed for seams and ease, of which ½ inch will be lost under the blade at 28, which will be explained later. This leaves 1 ½ inches for seams and ease.

o Now on the hip overlap, ¾ inch of ease plus two seams is ample for a modern coat; so at 26 we must overlap half the difference between the bust and hip measures less ½ inch. The author

(45)

 From 1 to 8 = half the bust measure plus two inches.

Therefore, if we add the hip surplus at 26, we would have half the hip size plus 2 inches. But as we want only 1¼ inches over the hip measure for ease and seams, the amount at 26 is reduced by ½ inch, and ¼ inch is also taken out at a point approximately at 29. The total reduction is therefore ¾ inch.

 The 1½ inches of surplus at 26 is added equally at 30 and 31.

 The waist is suppressed 3/8 inch at 32 and 33.

This amount is standard for all coats, and the reason for this quantity is explained logically in the chapter on Waist Suppression.

 Join 15 to 32 and 31.

 Join 15 to 33 and 30.

 Lower the bottom edge ¾ inch from 24 to 34 to

compensate for the working-up of the fronts, and join to 27.

The basis draft of the system is completed. Waist suppression will be dealt with in the following draft with improved run

of seams.

Panel Back Basis Draft (Fig.

8)

The panelled coat is the most perfect example of fitting quality, and shows the application of cutting principles to the finest degree of exactitude.

With this style arrangement of seams, waist suppression and hip overlap are in their

fundamentally correct locations, and all other

variations of style seams are a compromise with the positions of seamings as shown with this style.

The measures and working scale are identical with those of the previous draft.

References

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