Chapter IBasis of the System for Coat Construction

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 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 definitions and dimensions of proportion in relation to the breast girth and 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. (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. 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 selfadjusting 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 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 inchesa 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 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) = 7 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 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. 1A 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 = in. This gives us 8 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 7 inches and we have the required depth for an increase of height to 5 feet 8 inches. 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 = 8 inches. Normal depth of the scye plus 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 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 36inch 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: onethird 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 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 bustone-third of the breast measure plus 6 inches = 18 inches. 40-inch bustone-third of the breast measure plus 6 inches = 19 inches. 42-inch bustone-third of the breast measure plus 6 inches = 20 inches. 44-inch bustone-third of the breast measure plus 6 inches = 20 inches. 46-inch bustone-third of the breast measure plus 6 inches = 21 inches. 48-inch bustone-third of the breast measure plus 6 inches = 22 inches. 50-inch bustone-third of the breast measure plus 6 inches = 22 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 1 inches in all sizes. Depths of scye quantities for the following breast sizes are calculated from the working scale as follows

30-inch breastone-third of the scale plus 1 inches = 6 inches. 32-inch breastone-third of the scale plus 1 inches = 7 1/8 inches. 34-inch breastone-third of the scale plus 1 inches = 7 inches. 36-inch breastone-third of the scale plus 1 inches = 7 inches. 38-inch breastone-third of the scale plus 1 inches = 8 inches. 40-inch breastone-third of the scale plus 1 inches = 8 inches. 42-inch breastone-third of the scale plus 1 inches = 8 inches.

44-inch breastone-third of the scale plus 1 inches = 8 inches. 46-inch breastone-third of the scale plus 1 inches = 9 inches. 48-inch breastone-third of the scale plus 1 inches = 9 inches. 50-inch breastone-third of the scale plus 1 inches = 9 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. 2Depth 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. X is the nape of the neck. 1 from X = the depth of scye, one-eighth of the total height 5 feet, or one-third of the scale plus 1 inches = 7 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: inch for two seams at the underarm seam, 1 inch allowance for ease and linings, and 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.

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. 3Problems 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 shoulder. (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 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 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 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 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 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 2 inches from B on the diameter line from X to A through the neck section. B up from X equals 1 inch. The neck size for a normal 34-inch bust figure is 12 inches; therefore, we must calculate in what degree the back neck width of 2 inches is related to 12 inches. One-fourth of the neck circumference less inch is the division most scientific in practice for all neck and proportionate bust sizes. Therefore, a fourth of 12 inches equals 3 1/8 inches, which, less inch, equals 2 5/8 inches. This quantity may be made 2 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, 12 inches, less 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 inch. With a 17 working scale this equals one-sixth of 17 less inch = 2 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 inch = 2 inches. 36-inch bust (scale 18)one-sixth of the scale less inch = 2 inches. 38-inch bust (scale 18)one-sixth of the scale less inch = 2 7/8 inches. 40-inch bust (scale 19)one-sixth of the scale less inch =3 inches. 42-inch bust (scale 20)one-sixth of the scale less inch = 3 1/8 inches. 44-inch bust (scale 20)one-sixth of the scale less inch = 3 inches. 46-inch bust (scale 21)one-sixth of the scale less inch = 3 3/8 inches. 48-inch bust (scale 22)one-sixth of the scale less inch = 3 inches. 50-inch bust (scale 22)one-sixth of the scale less 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 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 onetwelfth 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. 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 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 inch, the distance from 8 to 9 is estimated as a fourth of the neck size less 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 Fig. 4Location 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, 12 inches, less inch. A from 8 = 3 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.

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 inch = 7 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. The location of the front of scye or across-chest measure for the following bust sizes is as follows

30-inch busthalf scale 15 less inch = 6 inches. 32-inch busthalf scale 16 less inch = 7 inches. 34-inch busthalf scale 17 less inch = 7 inches. 36-inch busthalf scale 18 less inch = 8 inches. 38-inch busta fourth of bust less inch = 8 inches. 40-inch busta fourth of bust less inch = 9 inches. 42-inch busta fourth of bust less inch = 9 inches. 44-inch busta fourth of bust less inch = 10 inches. 46-inch busta fourth of bust less inch = 10 inches. 48-inch busta fourth of bust less inch = 11 inches. 50-inch busta fourth of bust less inch = 11 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 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. 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) = 8 inches.

Half the chest measure (16 inches) = 8 inches. Reduce the difference of 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 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 straightercut 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 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 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 inch seam = 6 inches. 18 is midway of 17 to 10. 19 from 18 = one-third of the scale plus 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, 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 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 1 inches. (c) THE WIDTH OF THE BACK NECK. Calculated as one-sixth of the scale less 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 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 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.

Chapter IIThe Art of Measuring and Scales of Proportionate Measurements

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 tapemeasure 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 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 takein 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 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.

Figure 5Taking 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
Figure 6Taking 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 8 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!
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 6 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 Waist Length Inches 10 11 12 13 Across Back Inches 4 5 Half of Forearm Length 28 30 24 24 29 32 5 6 23 25 Sleeve Length Inches 17 20

Bust Inches

Waist Inches

Hips Inches

Elbow

24 26

24 24

24 26

32 34 36 38 40 42 44 46 48 50 52 54

24 25 27 29 31 33 34 35 36 37 38 39

36 38 40 42 44 45 47 49 51 52 54 56

14 15 15 15 16 16 16 16 15 15 15 15

6 6 6 7 7 7 7 8 8 8 8 9

27 28 29 29 30 30 30 30 29 29 29 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 Inches 11 Scale or Breast Measure 12 13 14 1/9 1 1 3/8 1 3/8 1 1/8 1 3/8 1 1 5/8 1 1/7 1 5/8 1 1 7/8 2 1/6 1 7/8 2 2 2 3/8 1/5 2 2 3/8 2 5/8 2 7/8 2 3 3 3 1/3 3 4 4 3/8 4 5 6 6 7 2/3 7 3/8 8 8 9 3/8

15 16 17 18 19 20 21 22 23 24 Scales for Shorts

1 5/8 1 1 7/8 2 2 1/8 2 2 3/8 2 2 5/8 2

1 7/8 2 2 1/8 2 2 3/8 2 2 5/8 2 2 7/8 3

2 2 3/8 2 2 5/8 2 2 7/8 3 3 1/8 3 3/8 3

2 2 2 7/8 3 3 3 3/8 3 3 3 7/8 4

3 3 3 3/8 3 5/8 3 7/8 4 4 1/8 4 3/8 4 5/8 4 7/8

3 4 4 4 4 5 5 5 5 6

5 5 3/8 5 6 6 3/8 6 7 7 3/8 7 8

7 8 8 9 9 10 10 11 11 12

10 10 11 3/8 12 12 13 3/8 14 14 15 5/8 16

Girl's Shorts Inches Bust Waist Hip Leg Rise Knee 21 18 23 3 7 16 22 19 24 3 8 17 23 20 25 3 8 18 24 21 27 3 8 18 25 22 28 4 8 19 26 23 29 4 9 19 27 24 30 4 9 20 28 25 31 4 9 21 29 26 33 5 10 22

Woman's Shorts Inches Bust Waist Hip Leg Rise Knee 32 24 35 4 11 22 33 25 36 4 11 23 34 26 37 4 11 23 35 27 38 4 12 23 346 28 39 5 12 24 37 29 40 5 12 24 38 30 41 5 12 24 39 31 42 5 13 24 40 32 43 6 13 25

Small Woman's Shorts Inches Waist Hip Leg Rise Knee 22 29 3 9 19 23 30 3 9 20 24 31 3 9 20 25 32 4 9 21 26 34 4 10 22 27 35 4 10 22 28 37 5 11 22

Scale for Trousers Inches

Waist Hip Leg (Plain Bottom) Rise Knee Bottom

24 35 29 11 24 22

26 37 29 11 24 23

28 39 30 12 25 23

30 41 30 12 25 24

32 43 30 12 25 24

Scale for Girls and Maids Inches Length Bust Hips Across Back Sleeve 16 22 22 4 8 18 23 23 4 8 20 24 24 4 9 22 25 26 5 10 24 26 28 5 11 27 27 29 5 3/8 12 29 28 30 5 12 32 29 31 5 13 36 31 33 6 14 39 32 35 6 15

American Scales for Junior Miss Sizes Bust Waist Hips 33 26 36 34 27 37 36 29 39 37 30 40 39 32 42

Length to Waist Sleeve Underarm Skirt Length Size

15 17 25 12

15 17 26 14

15 18 27 16

16 18 27 18

16 18 28 20

Juvenile Costumes Neck to Waist 10 11 11 12 13 14 14 15 Coat Length 17 18 18 19 20 21 21 22 31 32 33 34 35 36 37 38 Across Back 11 11 12 12 12 13 13 13 Inside Sleeve 12 13 14 15 16 16 17 17

Size

Bust

Waist

Hips

2 3 4 5 6 7 8 9

22 22 23 24 25 25 26 27

33 34 35 36 36 37 38 40

Chapter IIIConstruction of Patterns for Short Coats

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 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 = 6 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 1 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 inch = 2 inches. 5 from 4 = 1 inch always. 6 from 1 = the half-back width plus inch = 6 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. 9 from 8 = the depth of the scye from X to 1 on the back.

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 = 2 inches. 12 from 8 = the front of scye or across-chest measure = half the scale less inch = 7 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 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 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 = inch. 19 from 14 = the front shoulder width equal to the back shoulder 5 to 18 less inch.

The necessity for cutting the front shoulder 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 front shoulder. It might be added that nine out of every ten badlyfitting 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 inch for easing on, and gives the job to the tailor who promptly proceeds to stretch the front shoulder by anything up to inch! The tailor thereby has 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 = 1 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 inch will be lost under the blade at 28, which will be explained later. This leaves 1 inches for seams and ease. o Now on the hip overlap, 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 inch. The author calculates this quantity as follows 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 1 inches over the hip measure for ease and seams, the amount at 26 is reduced by inch, and inch is also taken out at a point approximately at 29. The total reduction is therefore inch. The 1 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 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. To draft

Commence by drawing line X to X, the full length of the coat. 1 from X = the depth of the scye = one-third of scale plus 1 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 inch = 2 inches. 5 from 4 = 1 inch always.

6 from 1 = the width of the half-back measure plus inch = 6 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 seams and ease. Square up and down from this point. 9 from 8 = the depth of the scye from X to 1 on the back. 10 from 9 = the increase of front balance necessary to agree with the additional contour length, namely, one-twelfth of scale = 1 3/8 inches. 11 from 10 is the location of the front neck point = one-sixth of scale = 2 inches. 12 from 8 = the front of scye or across-chest measure = half the scale less inch = 7 inches. 13 from 12 = the location of the neck point that provides contour shape for the bust prominence. Square up to 14 equal to 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 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 = inch. 19 from 14 = the front shoulder width equal to the back shoulder width, 5 to 18, less inch. 20 from 12 = one-sixth of the scale = 2 inches. 21 from 6 = 1 inches. Complete the shape of the scye as indicated on the diagram. 22, 23 and 24 are squared down from 8. Square down from 15 to 25, 26, and 27. The hip overlap at 26 = half the difference between the bust and hip measures less inch, as described, added equally at 30 and 31. The waist is suppressed 3/8 inch at 32 and 33. Join 15 to 32 and 31, and to 33 and 30. Lower the bottom edge run from 24 to 34 to compensate for the working-up of the fronts and join to the end of the front sideseam. Points 1 to 34 are identical with those in Fig. 7.

We have now to apportion the waist suppression in its proper location and position. The quantity of waist suppression shown on the draft represents the standard amount for a proportionate figure with a 34-inch bust, a 27-inch waist, and 38 inches round the hips. The back-waist measure on the average woman is approximately 2 inches smaller from sideseam to sideseam than the front; therefore, the greater amount of suppression must be taken from the hollow of the back waist. Two-thirds of the surplus is taken from the back, and one-third from the front waist. On the draft, however, we have fixed the under-seam suppression of inch as standard, so this quantity must be added to the allowances for ease and seams over the half-waist measure before the amount for back and front suppression can be estimated.

For ease and seams 2 inches are allowed over the half-waist measure, and, to obtain the required amount of back and front suppression, measure back from the centre line at 22 to B the half-waist measure plus 2 inches, and the addition of the underarm suppression of inch, totalling 2 inches in all. Therefore, as 22 to 2 equals the half-bust measure plus 2 inches the difference from 2 to B equals 2 inches.

Half the bust measure plus 2 inches = 19 inches. Half the waist measure plus 2 inches = 16 inches. o Difference = 2 inches.

Of this amount, two-thirds, approximately 1 inches, have to be placed at the back waist and one-third, approximately 1 inch, at the front waist, thus making the total suppression equal to 2 inches. For the sake of an example and to apply the principle of allocating the quantity of waist suppression to a figure of less proportionate development, let us take a figure type with less difference between bust and waist, i.e. with a 44-inch bust and a 40-inch waist, assuming, of course, that the figure shows a proportionate increase of 4 inches between the bust and hip measures. Therefore, applying the same principles

Half the bust measure plus 2 inches = 24 inches. Half the waist measure plus 2 inches = 22 inches. o Difference = 1 inches. Two-thirds of 1 inches = inch approximately. One-third of 1 inches = inch approximately. Total suppression =1 inches.

The back panel receives inch and the front panel or dart inch. For the reverse type of figure, let us take as an example a woman of very slender proportions having a 33-inch bust, with an extremely small waist of 23 inches. Calculate in the same way as described

Half the bust measure plus 2 inches = 18 inches. Half the waist measure plus 2 inches = 14 inches. o Difference = 4 inches. Two-thirds of 4 inches = 2 inches. One-third of 4 inches = 1 inches.

But very few cutters would care to suppress a coat by this amount; in any case, a woman of these measurements does not usually care to be too closely fitted in the waist for fear of accentuating the comparative largeness of the hips. We can safely add inch to the allowance for ease over the half-waist measure, making this quantity 3 inches instead of the normal 2 inches. The amended suppression calculation will now be

Half the bust measure plus 2 inches = 18 inches. Half the waist measure plus 3 inches = 15 inches.

o Difference = 3 inches. Two-thirds of 3 inches = 2 inches. One-third of 3 inches = 1 inches.

The back panel therefore takes 2 inches of suppression and the front panel or dart 1 inches. It may be added that with figures of this build, the hip factor is invariably less than the proportionate 4 inches of difference; on the woman whose measurements are enumerated above the hip size was only a bare 35 inches, instead of the usual 37 inches. Therefore, the increased amount taken from the suppressions is not so excessive comparatively as might be first thought. An extra sidebody would be an advantage when dealing with a figure of these measurements, to distribute the waist suppression more evenly. To continue with the draft, we have decided that the back panel takes 1 inches of waist suppression and the front panel 1 inch. To shape the back panel seams

28 from 1 = one-sixth of the scale plus 1 inch. 35 from 2 = one-sixth of the scale plus inch. 29 from 3 = one-sixth of the scale plus inch. 36 from 35 = the back waist suppression = 1 inches. 37 from 28 = inch, as described in the text of the basis draft. 38 from 29 = inch. This has also been mentioned in the description of the basis draft. 39 from 5 = 2 inches, or 14 to 11 plus inch. Suppress at this point inch for blade contour provision. Shape the back panel seam as shown on the diagram. o No seams are allowed on the back and front panels, as the author prefers to add these when cutting to save confusing the student by adding varying quantities over the bust size for extra or fewer seams. 42 from 22 = 3 inch or one-sixth of the scale plus 1 inch. 40 from 14 = the bust dart provision 14 to 11 located by sweeping from 41, a point midway of 8 to 12. 43 from 23 = 4 inches or one-sixth of the scale plus 1 inch. 44 from 41 = the difference between one-fourth of the bust size and one-fourth of the actual measure chest. Shape the run of the bust dart to 45, 1 inches below 41, keeping the line 44 to 40 slightly hollowed so that, when the seam sews to 14 and 45, a certain amount of length is given for the prominence of the shoulder bone in front. o The 1 inch of front suppression is taken out diagonally in the dart at 46, which point is located at one-third of 25 to 22. o The author prefers the dart to run diagonally as shown, for the contour shape made is then forced over the bust and hip-point prominences. 47 from 10 = one-sixth of the scale. Shape to 11, as shown, for the neck curve.

This completes the base model for panel coats. As this system in its entirety is the standard with which all the variations of seam placement are compared, it is essential to have complete familiarity with and mastery of the constructional points.

It is worthy of mention that the placement and widths of the panel seams are not standardized, but are subject to variation; the measurements allocated to them in the draft are those of good style and line. Good style and line are of paramount importance in the cutting and designing of ladies' garments. There are no standardized rules of style and line to follow when drafting a pattern except the knowledge conveyed through one's own eye and feeling for line. If a woman is of large proportions, the widths and dimensions of the design should not increase proportionately to the increase in the figure size; otherwise we would only be making a copy of the wearer's form instead of endeavouring by the judicious placement of seams to convey an optical illusion of a slimmer build. On the other hand, a slender figure with narrow shoulders may have the appearance of breadth conveyed by the wider spacing of seams at the shoulders, tapering to a narrower width at the hip line. Definite rulings cannot be laid down, and only the guidance of good taste and artistic proportion can be relied upon. Always when we endeavour to clothe the human figure, we should try to improve on Nature's little deformities and inexactitudes if possible, by our cutting skill and artistic perception. It is to ladies' garment cutting that the "art of cutting" is most applicable. A man may master a system, calculate to the nearest fraction of an inch, and produce a perfectly fitting garment. Yet the finished article lacks a certain "something," that is line and style, and the garment on the wearer is "dead" and lifeless, instead of moulding the form of the figure into harmonious lines. The fault is that the seam runs are probably at variance with the shape and construction of the figure. Line can only be achieved by a study of the shape and form of a woman's figure, and then by our perception endeavour to transpose to the pattern draft this same shape, making our seam runs accentuate one part or minimize and disguise another. Courage and imagination are necessary to diverge from the lines laid down by the foundation draft; it must be understood that the system is the slave of man and not the master. We use the basis system as we will, or, if necessary, cast it totally aside. The system-bound cutter, who never thinks apart from the lines and dimensions laid down in the system, will not advance far, from the artistic viewpoint; his mental outlook is in proportion to the rigidity and limitations of the system he uses.
Sidebody Coat Basis Draft (Fig. 9)

The base model of the sidebody coat is the next in importance to the panel coat draft. In practice, there are not many designs to which the basis draft of either a panel or a sidebody coat is not applicable. It is not advisable to depart from the basic system points laid down in the base drafts, as they represent all that is essential for the attainment of perfection in fitting quality and style. Measures are as given previously. Draw line X to X. The basic constructional points are identical with those in Fig. 7, the draft basis.

The sidebody takes the place of the back panel as a means of creating shape and length at the side-seam to enable the coat to assume the natural contour shape of the figure. To draft the sidebody seam

35 from 6 = 2 inches. 36 from 1 = 6 inches. 37 from 2 = 4 inches. 38 from 3 = 5 inches. 39 from 36 = inch. 40 from 37 = the waist suppression = 1 inches. 41 from 38 = inch.

Shape the sidebody seam from 35, 36, 37, to 38 and from 35, 39, 40 to 41. Though the sidebody seam may appear to some to be too far towards the back, this, in the author's opinion, is a good style position, and the converging seams give a slender appearance to the hip line. Good style is the main object of the system, and if anything is done that clashes with stereotyped ideas it may not necessarily be incorrect. Stereotyped ideas of seam placements tend towards a stodgy outlook and uninspired cutting. The departure from set ideas and standards makes for refreshing variety in life; if everyone went about in clothes bearing the same lines and characteristics, uniformity of design would make the world a very dull place. Individuality of line is an attribute of genius in a cutter; some have that genius, others most manifestly have not. The cutter who aspires to rise above his fellows should master a system and then develop a "line" of individuality and keep to it, with the knowledge that all the garments he cuts will bear the stamp and hall-mark of his personality. An effective plan when dealing with larger sizes is to increase the width of the panel or sidebody seams by inch for every 2-inch increase of bust size, though no hard and fast rule can be applied. The fronts show a variation from the panel seam front, the bust dart finishing instead at a point just below the breast line at 43. No seams are allowed on this dart, so the maker must either sew in the marks or cut a inch inside the lines from 14 to 43 and 44 to 43. Costume coats of a "lounge" variety are cut from the principles laid down for the basis sidebody system, as the sideseam placed under the arm is essential for perfection of fit. The author always advises the use of the sidebody in coats of this character, in preference to the model that has no underarm seam, similar to a gentleman's lounge jacket.
Basis for Single-seam Coat (Fig. 10)

The basis for this style is identical in respect of constructional points with Fig. 7, with the exception of darts in the back to take the place of panel or sidebody seams.

This basis is usually adapted to the cutting of sports jackets, blazers, and cardigans, so there is not the need for such a degree of close fit, and we do not take the standard quantity of suppression from the back in the darts. The back suppression may be reduced by to of an inch as desired. The front suppression is left unchanged, for women like a clean-fitting coat at the front under the bust. Two darts placed close together at the back waist displace the surplus material.
Variation from the Normal for Erect and Stooping Figures (Fig. 11)

A measure of the success a cutter achieves is the ability to alter his system to fit all the multitudinous shapes and sizes of customers who pass through his hands and under his tape. The knowledge of a system in itself is of small value in the hurly-burly of active cutting practice; in fact, no sooner have we assimilated a normal system when we are required to ignore it or vary the procedure in dealing with a figure of disproportionate characteristics. So in addition to our knowledge of how to cut for women of proportionate development, we must also be armed with a rational and systematic method for meeting the needs of the awkward figures of people who depend on our cutting skill to minimize or disguise their peculiarities of build. The two most common alterations are those for stooping and erect carriage. Though not so pronounced in a woman as a man, the stooping attitude nevertheless presents difficulties to the cutter, as the "round" is more a case of very prominent blades than a general curvature. The erect figure is a different proposition. Here we have the prominence of the bust to take into account, and an increase in bust development coincides with an extra erectness of carriage as a result. The consequent treatment for one alteration has the effect of likewise proving judicious for the other. As a guide to the extent of variation from the normal basis for either stooping or erect figures, it is absolutely essential that the front waist measure is taken with the utmost accuracy. Without this valuable check measure, we can only estimate the variation and alteration required by a close study of the figure while measuring.
The Stooping Figure

The chief characteristics of this type of figure are a wider back stretch than normal, a correspondingly narrower front width across the chest, and prominent shoulder bones at the front of the scye. We will work on the basis draft for a 34-inch bust for ease of calculation, as the same principles apply to larger or smaller sizes.

Apply the front waist measure to B1 from W, less the width of back neck 1 to 2. The discrepancy from normal indicates the amount of shortness in the front depth measure, and the neck point is lowered from A to B by this amount. It will be noted that the neck point remains in the same vertical line as the normal one. The neck size from which the neck point is calculated remains constant in spite of the change of figure attitude; therefore, the location of the neck point from the centre front line remains constant at one-sixth of the scale. Figures of this type are flat on the chest and usually undeveloped in the bust, requiring a forward scye and less provision of contour capacity for the bust prominence. The quantity taken out of the bust dart decreases for a stooping figure by virtue of the shallower bust prominence; therefore, the neck point that governs the bust provision A1 is closed forward from A1 to B1, equal to the amount B is lowered below A. A decreased quantity, B1 to B, is then taken out of the bust dart from B1 to B3, pivoted from E. Check up the shoulder width from B1 to B2 and reshape the scye, advancing inch in front of the normal run. The reduction of the quantity taken out of the bust dart also provides for ease over the shoulder point in front by passing material back from the neck point. The back is treated in the following manner. Increase the depth of the scye at 5 and 6 from1 and 2, by the difference shown between the normal and stooping waist lengths plus inch, i.e. inch increase.

8 from 7 = inch. 9 from 4 = inch. 7 from 3 = from 6 to 2 less inch. 8 from 7 = the amount of disproportion A to B plus inch which is the normal quantity taken out of the back panel at 3.

Shape the back scye run as shown, increasing the back width by approximately 3/8 inch or to a special measure taken at 15. It is not always advisable to reduce the waist suppression at the back waist for a stooping figure, as a close fit in this section only accentuates the "round," and as our mission is to endeavour to minimize or disguise the deformity, the back suppression may be decreased at 17 and 18 by inch of each panel. This is the basis method of altering from the normal for a stooping figure. If the front-waist measure is not taken or is thought to be inaccurate, the difference must be estimated and the alteration to the pattern made in a manner identical with the above method.
The Erect Figure

This type is a combination of an erect attitude of figure and development of the bust prominence. The characteristics of the figure attitude are the inclination to walk with the shoulder blades held well back, a narrow back width and a hollow back waist. Coats cut on a normal basis invariably have folds of surplus material in the hollow of the back waist, with diagonal creases from the side waist to the bust prominence and front of the scye. An excess of material in the back waist is caused by, primarily, too long a back balance and, secondly, too short a front depth factor. Consequently, as the coat on the figure takes up the extra front depth to compensate for the erect attitude, the side waist is pulled upwards out of position and with it the back waist.

The measure from the nape of the neck to the front waist will delineate the increase of front depth over the front depth of a normal figure, for, no matter whether the waist line is placed high or low, the increase will be reflected in the difference of the front balance. From the front waist balance measure, the amount of erectness is estimated as inch. In Fig. 11 (b) the front neck point A is raised to C by the amount of erectness, inch, the neck point being kept in the same vertical line of one-sixth of the scale from the centre line. The provision for the increase of bust prominence is greater than normal owing to the erect attitude; therefore, the shoulder dart must be enlarged to provide for the extra breast shape. Sweep back from A1 to C1 equal to A to C, pivoting from point D. The distance from C to C1 therefore becoming greater, this creates the extra bust capacity. Make up the shoulder width from C1 to C2 when the back section has been reconstructed. By increasing the quantity taken out of the bust dart, which might be termed "crookening" the neck point, we keep the front of the scye clean and snug to the figure. At the back and shoulder, 10 and 11 from 1 and 2 are equal to the amount shown at C to A less inch. The back panel seam is overlapped at 12 to 13 by inch instead of inch being taken out as normally. Consequently, the back shoulder point is narrowed inch from 4 to 14 to counteract the effect of overlapping the shoulder seams inch. A reduction of inch of back width takes place at 16, in accordance with the relocation of the shoulder end and the requirements of the figure. The back suppression is not altered, as the normal amount is ample for the figure requirements; the shortening of the back depth and the lengthening of the front eliminate the excess of material in the back waist hollow. It is always advisable when altering for disproportionate figures to err on the safe side and not make drastic alterations from the normal. The degree of perfection we can instill into our cutting is necessarily governed by discernment and knowledge of the requirements of varying figures coupled with the practical supplementary knowledge of correct measurements. The ability to sum up a figure while measuring and mentally decide and allocate the depth and width quantities comes from constant practice and cannot be acquired in a short while, but we can always try to take measures as correctly as possible. We must not, however, become a slave to the inch-tape. We need always to keep our sense of the proportionate values of the human figure, and if our tape-measure registers a quantity which better judgment based upon experience regards with suspicion it is better to doubt the infallibility of the tape-measure and let our experience take command. Accurate direct measures are a great help and guide to cutters if implicit faith is not placed in them and their use is tempered with judgment. The human figure is not a body of definite regular shape, so that measures mechanically recorded at one moment may be disproved by similar measures taken when the body is in a different attitude.
Basis of Provision for Bust Development (Fig. 12)

The basis draft for dealing with figures of more than proportionate development of bust prominence is based upon the normal 34-inch bust figure of which the measurements were given at the commencement of the chapter. For the sake of convenience they are enumerated again, together with the additional measurements necessary

Chest = 32 inches. Bust = 34 inches. Waist length =15 inches. Full length = 24 inches. Front-waist measure = 19 inches. Half-back width = 6 inches. Waist = 27 inches. Hips = 38 inches. Normal height = 5 feet. Working scale = half the bust size = 17 inches.

These measures are those of a perfectly proportioned figure. A figure, however, may conform to the 34-inch bust standard at the back depth and width, yet the bust may be so developed that the over-bust measure registers 2 to 3 inches more. Women of this build and type are by no means rare; especially are they more prevalent in working-class districts, where practically every woman from her early childhood wears some form of corset, with the consequence that the bust is held firmly up in position and shape on the figure. The waist is usually thicker: through in proportion, while corseting keeps the hip size in conformity, with the normal bust size. So for the purpose of the examples we will use the following measures

Chest = 32 inches. Bust = 34 inches (normal 2 inches of increase over the chest measure). Bust = 37 inches (developed from 34-inch bust plus 3 inches of increase). Waist =28 inches. Hips =38 inches.

The other measures are as for the proportionate figure, with the exception of the front-waist measure, in which an increase of inch is recorded. This type is also well-developed in the region of the biceps muscles, and requires a slightly easier scye than for a normal figure. The method is based upon the fact that a figure type of this build will require a back balance equal to a normal 34-inch bust figure and a front balance and depth equal to the increased bust size of 37 inches. Therefore, we base our system on two scales, 17 for the back balance and depth and one-third of a 37-inch bust plus 6 inches for the front depth and balance, i.e. scale 18 . Obviously the increase does not all take place at the front at the bust prominence. The figure is generally thicker under the arms to the waist, and so it is not logical to add all the difference from the normal on the fronts as in the case of some methods. The need for an easier scye takes up some of the increase, and we can safely say that the enlargement is from the underarm seam forward to the centre front.

The drafting of the system will be described in full to show the variations from the normal draft.

Scale for the back depth =17 inches. Scale for the front depth = 18 inches.

Draw a line from X to X, the full length of coat.

1 from X = one-third of the scale (17 inches) plus 1 inches = 7 inches. 2 from X = the length to waist =15 inches. 3 from 2 = 8 inches for the hip level. 4 from X = one-sixth of the scale (17 inches) less inch. 5 from 4 = 1 inch. Shape the back neck curve from 5 to X. 6 from 1 = the half-back width plus a inch seam. Square up from 6 to 7 on the line square out from X. 8 from 1 = half the bust girth plus 2 inches. 9 from 8 = one-third of the front balance scale (18 inches) plus 1 inches. o This distance is at variance with the normal draft in which this quantity is made as X to 1. The increased front balance length is therefore provided by the use of the larger scale. 10 from 9 = one-twelfth of the scale (18 inches). 11 to 10 = one-sixth of the scale (18 inches). 12 from 8 = the across-chest width.

As the bust girth has increased to 37 inches from the normal proportion of 34 inches to 32 inches chest girth, the increase in the across-chest width must be in excess of the normal width for the 37-inch bust circumference since the width of back and scye remains proportionate for the 34-inch bust circumference. Therefore, the 3 inches of disproportion are mainly at the front, though not all this quantity is added to the across-chest width. Three inches in the overall girth indicates 1 inches on the draft, and this quantity added to the normal across-chest width for the 34-inch bust would give an increased across-chest width of 9 inches (7 plus 1 inches), equal to the across-chest width for a 40-inch bust figure. The increase is not as great as this, however, and this quantity is calculated as follows. Compare the normal across-chest width for a 34-inch bust girth with the normal for a 37-inch bust girth, and find the difference between the two widths.

Across-chest width for a 37-inch bust = 8 inches. Across-chest width for a 34-inch bust = 7 inches. o Difference = inch.

Two-thirds of the difference between the two across-chest widths is added to the across-chest width for a normal 37-inch bust girth to give an across-chest width equal to 8 inches plus inch, i.e. 9 inches, which indicates that the degree of prominence at the bust in front is equal to the normal development for a 39-inch bust figure.

Therefore, 12 from 8, the across-chest width = 9 inches. 13 from 12 = one-sixth of the scale (17 inches). 14 from 13 = 8 to 10 less inch. 15 is located midway of 6 to 12.

16 from 15 = one-third of the scale (17 inches) plus inch. Join 14 to 16 for the front shoulder angle or slope. Join 5 to 16 for the back shoulder slope. 17 is located where the line squared up from 6 is intersected by the line from 16 to 5. 18 from 17 = inch. Shape the back shoulder seam from 18 to 5 as shown. 19 from 14 = 5 to 18 less inch to find the front shoulder seam width. 20 from 12 = one-sixth of the scale for the front of scye shape. 21 from 6 = 1 inches. Complete the shape of the scye from 19 to 20, 15, 21, and 18. Square from 15 to 25, 26, and 27.

Now we come to the question of the hip overlap when the bust girth increases disproportionately at the front. As the system is drafted to a 37-inch bust girth on the breast line, the hip overlap applied in the usual proportion of 1 inches at the sideseams would give an increase of hip girth to 41 inches in proportion to a 37-inch bust. The hip girth does not show any increase in proportion to the bust increase and remains constant to the proportion for a 34-inch bust; therefore, as the draft is based on a 37-inch bust, there will be 3 inches of surplus hip size to be reduced, i.e. 1 inches on the draft.

Proportionate hip size for a 37-inch bust = 41 inches. Proportionate hip size for a 34-inch bust =38 inches. o Difference = 3 inches.

The principle is to compare the actual hip size with the proportionate measurement for the increased bust size to find the quantity to be reduced, or, in rare instances, to be added. In this instance, as stated, there are 3 inches or 1 inches on the draft to be reduced. The positions where the reduction takes place to the greatest extent are at the fronts, as it is understandable that an increase in the bust prominence does not extend below to the waist and the hips. Therefore, the hip size is reduced by the difference between the normal and increased across-chest widths, in this instance 8 inches less 7 inches, or inch. It is not advisable to reduce the hip size by the extreme difference between the across-chest widths of 1 inches, as this would unduly stress the bust prominence and drag the fronts back in wear. At the front panel, reduce inch from the surplus hips quantity of 1 inches; the remaining inch is reduced equally from the sideseam, as the increase in the draft size takes place from this point towards the fronts and not in the back section. To give another practical example of the principle of applying hip overlap when dealing with an increase of bust prominence disproportionate from. normal, the author has cut garments for a woman who is extremely well-developed in the bust and very slim in comparison round the hips. Her measures are unique, 40-inch chest, 46-inch bust, and 42 inches round the hips, surely a good enough example of disproportion anyone could wish for. To draft, working on the principles described previously, we commence by comparing the chest girth of 40 inches with a proportionate bust size of 46 inches. This indicates an increase

of bust prominence of 4 inches, the difference between a 42-inch normal bust and 46 inches actual measurement. The proportionate hip girth for a 42-inch bust would be 46 inches, and for a 46-inch bust the hips would measure 50 inches. Therefore, there is a decrease in the hip size of 4 inches for the normal 42-inch bust girth, and no less than 8 inches in comparison with the proportionate hip girth for a 46-inch bust figure. To make the hip size correct for the normal 42-inch bust, the draft at the hips must be reduced 4 inches in all or 2 inches on the half. Here we have an instance of disproportionate hips in comparison with the bust, and the reduction of 2 inches takes place at the sideseams and back panel, as the decrease of girth is general and not confined to one particular section. So instead of the usual sideseam overlap of 1 inches, this is reduced by two-thirds of the surplus hip size, i.e. 1 inches approximately, and the sideseam overlap becomes a bare inch instead of 1 inches, while the remaining inch of surplus is taken from the back panel seams. This makes the hip girth equal to the actual size for the proportionate bust size of 42 inches, but we now have to take into account the increase in the bust size to 46 inches, which indicates that the draft has an overall increase of size by 2 inches, the difference between the two half-bust measurements. Therefore, there is the necessity for another 2 inches of reduction of the hip size. Working on the principles described for allocating the degree of increase in the across-chest width, we have the following calculations

Normal across-chest width for a 46-inch bust = 10 inches. Normal across-chest width for a 42-inch bust = 9 inches. o Difference = 1 inch.

Two-thirds of the difference is added to the across-chest width for a 46-inch bust to give an across-chest width of 10 of inches plus 5/8 inch, the total being 11 3/8 inches, an increase of 1 3/8 inches on the across-chest width for the 42-inch bust draft on which the hip size has been corrected. Half of this quantity is reduced from the front panel and the remainder from the sideseams. At the sideseams there is now a suppression of 5/8 inch, calculated by the overlap of inch being reduced by 7/8 inch.

Proportionate hip girth for a 46-inch bust = 50 inches. Proportionate hip girth for a 42-inch bust = 46 inches. o Difference = 4 inches.

The total decrease of hip girth equals 8 inches or 4 inches on the draft, which is reduced by 7/8 inch from the front panel, inch from the back panel, and the remaining 2 1/8 inches from the sideseams. At the back panel, the total suppression equals 1 inch, as on the basis draft inch suppression is usually shown at this point. This is a very extreme instance and needs special treatment, but when the bust girth shows a normal increase over the chest measurement and the hips are disproportionately smaller, the decrease should be reduced at the back and sideseams only.

To continue with the draft

28 from 1 = 4 inches. 29 from 3 = 4 inches. 30 from 2 = 3 inches. 31 from 5 = 3 inches, or the distance from 14 to 11. 32 from 28 = inch.

The waist suppression is calculated as follows

Bust measurement = 37 inches. Waist measurement = 29 inches. o Difference = 8 inches.

On the draft, half the bust measurement plus 2 inches equals 20 inches and half the waist measurement plus 2 inches equals 17 inches, giving a difference of 3 inches to be taken out in the suppressions. The fronts have increased 1 inches from normal on the draft and this increase is not connected with the waist, so that 1 inches must be reduced from the front waist before the proportion of suppression at the back and front waist is calculated.

Measure from 2 to 33; the half-waist measurement plus 2 inches equals 17 inches. 34 from 33 = the increase of front width = 1 inches. o The surplus quantity indicated from 34 to 22 is to be reduced as suppression. 35 from 34 = the back waist suppression = two-thirds of the surplus from 34 to 22. o The front-waist suppression, irrespective of the 1 inches reduction of width, is indicated by the remaining one-third from 35 to 22. 36 from 30 = the quantity indicated from 34 to 35. 37 from 29 = inch. Shape the back panel seam from 31 to 32, 36 and 37 to 38. 39 from 25 = 3/8 inch sideseam suppression. 40 from 25 = the above quantity. o Overlap at the sideseams equal to 1 inches normal overlap less inch of disproportion as previously described. Complete the shape of sideseams from 15 to 39 and 42 and 15 to 40 and 41. 43 is half the distance from 12 to 8 for the front panel seam run. 44 from 22 = 4 inches. 45 from 23 = 4 inches. o These distances are comparative and subject to the needs of style and should not be systematized. Shape the front panel seam from 14 to 43, 44 and 45 to the bottom edge line. 46 from 45 = the front panel seam reduction at the hip level, equal to half the front width increase from normal = inch. 47 from 44 = half the quantity registered from 33 to 34 as it is not advisable to shape the waist too much below the breast prominence. Pivot from 43 to sweep 48 from 14 equal to the front shoulder dart width indicated from 14 to 11. 49 from 43 = half the total front width increase ( inch). Shape the front panel seam from 48 through 49 to 2 inches below the breast line and then shape out the waist suppression to 47 and down to 46 and the bottom edge run.

Reduce the front waist suppression quantity indicated from 35 to 22 from the dart at 50. 51 from 10 = one-sixth of the scale for the gorge run; shape from 51 to 11. Lower the front edge inch at 52 from 24 and shape to the sideseam to complete the basis draft illustrating the principles of drafting patterns for an increase of bust prominence on the normal proportion.

Location of Hip Size and Waist Increment (Fig. 13) Figure 13(a)Location of the Hip Size and Waist Increment

All women are not of proportionate build, and the majority are developed more at the hip section than elsewhere. The type of figure with an over-development of the hip girth can only be fitted by a ready-made coat or costume with a size larger hip girth, with the result that the bust and waist girths are much too large in proportion. Though of later years the wholesalers have improved the range of fittings available, women of this type are very good clients of the bespoke tailor and dressmaker. The method of allocating the increase of hip size is a simple procedure. It has been found that, for a proportionate increase in the hip over the bust of 4 inches, 1 inches of overlap is required at the sideseam. We then compare the increase in hip quantity with the bust size, and half the difference shown over the usual 4 inches of increase is allocated on the draft. It may be safely assumed that the increase will be more at the sides than the back, so two-thirds of the difference is placed on the sideseams and one-third at the back panel. With a 34-inch bust figure an increase of anything up to 7 inches would be quite feasible, which would mean an increase of 3 inches in total circumference and 1 inches on the draft. This difference is allocated by adding two-thirds of the increase at 1 to 3 and 2 to 4, or inch on each sideseam as shown. The remaining one-third is added to the back panels, at 5 and 6, resulting in a inch of overlap instead of the usual normal inch of suppression. We can also be very certain there will be a slight general thickening and increase in waist girth, so this must be taken into account. An increase in waist size of 2 inches is suggested for the purpose of illustrating the adjustment of the system. Calculate as described

Half bust 17 plus 2 inches = 19 inches Half waist 14 plus 2 inches = 17 inches. o Difference = 1 inches.

Therefore, the back suppression at 8 to 9 is made two-thirds of 1 inches, i.e. 1 inches approximately. The front dart is reduced by inch to suppress inch instead of 1 inch normally. A formula for the increase or decrease of waist quantity may be systematized as follows. For every 2 inches increase in waist size reduce the back panels by two-thirds and the front dart by one-third of the half difference on the draft, and for every 2 inches of decrease in waist quantity, suppress two-thirds of the difference at the back panel and one-third at the front dart. The principles of adding or decreasing-the quantities of hip overlap are identical; for every difference, either large or small, the ratio of two-thirds of the amount at the sideseam and one-third at the back panels holds good. An example is Fig. 13 (b) which is drafted to a 34-inch bust, a 25-inch waist, and 35-inch hips.

Difference from normal waist = 2 inches. Difference from normal hip = 2 inches.

Figure 13(b)Location of the Hip Size and Waist Increment

On the draft half of these two quantities has to be taken into account. One-third of the difference is taken out equally at 5 and 6, and twothirds of the difference is reduced from the sideseams at 3 and 4 as shown. Of the decrease in waist size, two-thirds is taken out at 7 and 8, and the remaining one-third from the front dart at 9. The author does not believe in reducing waist size from the front panel seam unless the figure is prominent in the bust, as there is a tendency to distort the balance of the fronts by so doing.
The Shoulder Dart and Provision for Bust Contour (Fig. 14)

In the basis drafts up till now a dart through the shoulders has been cited as correct for the provision of contour capacity to cover the bust prominence. This is the position by which best results are obtained in the fitting qualities, as the location is scientifically correct, but it is not always convenient or in accordance with the design always to use the dart through the shoulder. In some instances the customer's wishes are against it; therefore, we must find some other location for the dart so as to provide an equal amount of bust contour shape. To draft a ladies' coat without a dart for bust provision is obviously incorrect, but a transferen

Chapter IVThe Principles of Waist Suppression

The Correct Location of Waist Suppression

THE governing factor for balance and fit of a garment is the correct allocation and distribution of waist suppression. This factor is of major importance in the cutting of coats, as the influence for good or bad is felt throughout. The extreme variations of comparative size between bust, waist, and hips, and diversity in shape in each of these sections, call for a specialized cutting and modelling knowledge before the natural shape and contour of the human frame can be satisfactorily fitted. Scientific allowances for waist suppression are of no value unless the fundamental truth is realized that suppression in one location must always have the object of creating a closer fit elsewhere in conjunction, other than to influence the garment only in the location operated upon. To be skilful cutters, we cannot go on mistakenly doing things without endeavouring to reason why defects occur, when according to system they should not do so. On the vital question of correct waist suppression, we must get down to essentials. The principle involved is that a curve is longer than a straight line between two given points; this being so, length must be allowed and provided to enable the garment to follow the natural curves of the figure. Once this fundamental truth is realized, we are progressing in the right direction. From his experience of modelling on a stand, and on a figure direct, the author has found that for the purpose of suppression, the human figure from the bust to the hip level may be divided into four distinct sections; which means that there are four distinct "flats," and four "bends" of the trunk, where the garment may be suppressed to the shape of the figure curves. Suppression is only practicable and permissible on the "bends"; on the "flat" sections it is quite out of the question. For confirmation of these statements, examine the sectional views of the figure in Fig. 17. These sectional views represent the shape of an actual figure, and the measurements denote the positions where the body shape has the "bends" upon which suppression is possible and practicable.
Figure 17Sectional Views of the Figure Illustrating Waist Suppression

Measuring on the model as Fig. 17 (a), the width of the chest level is approximately 8 inches before the back curves round under the arms to the side. At the waist line, the width is 7 inches, increasing to 9 inches at the hip level, which brings us to Fig. 17 (b) showing a side view of the model. Now many cutters are misled by the apparent shape of the figure from A to B and C. This shape, they imagine (as the author was inclined to think once), is the shape of the centre back seam, and they endeavour

to infuse this curve into their drafts, believing that the centre seam so drawn agrees with the profile view of the figure at A, B and C. The profile view is not the shape of the centre back; it is the profile back "flat," which extends from the blades to the hip. If the centre back had a ridge or "bend" down it like the profile shape, suppression of the centre back seam would be correct, but, in this instance, the profile is the shape of the back at a point towards the side where the figure curves to the underarm section. Therefore, as this back plane is to all intents and purposes flat, a flat piece of material laid over and following the curves of the body would fit perfectly, within the bounds of the plane section. It is obviously incorrect and impracticable to suppress at the centre back seam in an endeavour to obtain the shape of the figure between A, B, and C in Fig. 17 (b), yet there are literally hundreds of scientific cutters who use this practice of shaping the centre seam to conform to the profile shape of the back. In Fig. 17 (b) there is a fiat section under the arms from the breast line to the waist line, in width approximately 8 inches at the top and 5 inches at the waist level. Below the waist line to the hip level, the hip prominence shows an increase of size and angle from the "flat" immediately above. From Fig. 17 (a) it will be noticed that the side hip projects beyond a vertical line from the breast line under the arms from A to B. To the author's mind this indicates that the quantity of hip overlap and increase of size must all be placed at the sides on the underarm seams. Now it is a common point in systems to place the hip increase partly at the sideseams and partly on the panel seams at the back. Examination of Fig. 17 (b) indicates that a vertical line from A to C just touches the hip prominence at the back, so, from this fact, hip overlap at the back is deemed to be incorrect except in the case of over-development of this section. The author finds from modelling experience that the increase of size is all placed at the underarm seam, and the shape of the section immediately above must be reviewed in conjunction.
Figure 17Sectional Views of the Figure Illustrating Waist Suppression (continued)

It is apparent from Fig. 17 (b) that there must be suppression to the figure curve at A, B and C, which is the "bend" of the trunk for which the measures are given in the description of Fig. 17 (a). For all practical purposes, and to keep the breast line straight, no suppression can be taken from the underarm seam from D to E. This whole section under the scye from the breast line to the waist line is approximately a "flat" plane, and there is no angle or bend of the body from D to E upon which we can suppress our coat to the figure. Coming to the front section Fig. 17 (c), there is a plane bounded by the centre of the bust prominences at each side, and by the hip points in front. Apart from the provision of bust capacity and contour, the front section presents least difficulty from the cutting standpoint. The dart for waist suppression under the bust runs in a diagonal line from the hip prominence to the bust point. These sectional views of the figure can almost give an indication of the lines the system will follow if the "bends" of the figure are visualized as seam runs.

Effect of Incorrect Suppression

Let us examine the result of endeavouring to fit the figure shape without scientific thought to the location of waist suppression, and its effect on the balance of the garment elsewhere.
Figure 18Draft Illustrating Incorrect Waist Suppression

Fig. 18 shows a coat cut with an underarm seam only for suppression, with no darts or panels. This draft will never fit, but is extremely informative as to how the fundamental principles behind good cutting are arrived at. There have been 2 inches or more taken out of the sideseams, and the hip overlap is placed at the sides as shown. Take the back separately; it is not necessary to baste the sideseams, and endeavour to mould it to the figure or stand. After a little time, it becomes apparent that, if the back fits into the waist curve, the underarm seam will not come round to the figure shape, and vice versa, if the underarm seam is in position at the side waist, there will be a loose amount of material thrown into the hollow of the waist and diagonal creases from the side waist to the blade and hip prominences. There must be a reason for this. The pattern in actual size of bust, waist, and hips conforms to the measurements of the figure. So either in the first instance there is insufficient length at the side to allow the underseam to follow the curve of the figure, or, alternatively, if the sideseam is correct there is too much material at the centre back. This is what is actually taking place. We all know and understand that if a hollow seam sews to a straight seam, a flare effect is produced. This is a principle of cutting flare effects well known to the trade generally. When we suppress an underseam in the manner shown in Fig. 18, we do so contrary to the shape of the body at this section as outlined in Fig. 17 (b) from D to E and the hip level. It has been stated that there is no scientific reason why the underarm seam may be suppressed, as this section is a flat plane and suppression can only be taken out on a "bend" of the figure. By suppressing this seam as shown, a flare effect is produced.
Fig. 19 Figure 19The Effect of Extreme Waist Suppression Figure 20Further Illustration of Incorrect Waist Suppression

Examine Fig. 19, which shows the back and forepart laid together, with the underarm seams at the hip line in the sewing position. There is a waist suppression of approximately 3 inches to 4 inches, where no suppression except that caused by the

overlapping of the seams at the hips is permissible. So it is easily understood that when the seams are sewn together an effect takes place as in Fig. 20. An uncontrollable quantity of length is thrown to the back and front waist, the balance of the chest line being absolutely upset. Yet cutters draft garments in this way time after time, simply because they imagine the shape of the underarm seam is the profile view of the body from A to B in Fig. 17 (a).
Fig. 21 Figure 21Fitting the Figure Contours

Fig. 21 shows what actually occurs when we endeavour to fit the back to the figure. Pin the back at the nape of the neck to the blouse or dress and down the centre back to the waist and hip level, following the natural curve of the trunk. Coming round to the underseam, it must be obvious that, when taking the "bend" of the body from A to B in Fig. 17 (b), a straight piece of material will be deflected upwards as indicated. A simple test on any stand or figure will verify this fact. The breast and waist lines are raised from their normal horizontal balance positions as shown in Fig. 21, and an additional reaction of this "bending" of the trunk on the pattern is the consequent displacement of the shoulder end and back scye from the normal locations to pass further back on the shoulder, causing a certain amount of uncontrolled material to appear in the centre of the shoulder. If the section below the waist to the hip is studied, it will be noticed that an identical reaction takes place in the reverse plane, i.e. the balance is deflected in a downward angle as the coat follows the "bending" of the body from B to C in Fig. 17 (b). The chief points to notice are the dislocation of the hip-line balance, an excess quantity of material in the skirt below the hips to the hem line and a deficiency at the sideseam below the hip level.
Fig. 22 Figure 22The Effect at the Sideseam

A study of Fig. 22 gives the clue to waist suppression. It is obvious that the coat, to fit closely to the curve of the trunk from centre back to side waist, must have an extra amount of length at the underarm seam, equal to the quantity the underarm seam shows a deficit at the sideseam, which is caused by the straight balance lines taking opposing angles as they pass round the bends of the body. This is the crux of the matter, and the secret of fit. There must be a comparative extra amount of length infused into the underarm seam, to enable the coat to follow the opposing curves of the trunk round to the sideseam, with consequent adjustments of other sections in their correct positions.

Fig. 23 Figure 23Remodelling the Back Pattern

Let us examine our original pattern of the back in a flat plane, with the knowledge acquired from modelling the back to the figure. In Fig. 21 an apparent deficiency is seen at the sideseam, equal to approximately 1 inches. Therefore, from this, the waist line or seam must be lowered inch on the above waist section, and raised inch on the section below the waist as indicated by the dash lines in Fig. 23. A wedge must be let in at the waist line from 1 inches at the underarm seam to practically nothing at the "bends" of the body represented in Fig. 17 (b). The shoulder section on the model indicated how the breast balance line was raised out of position in Fig. 22 to show an excess amount of material in the centre of the shoulder, after the shoulder end had been passed back. To correct the deflection of the breast-line balance, and reduce the length of the underarm seam to the waist, the breast line must be lowered and re-marked from the point where commencement of the deflection becomes apparent. Therefore, in Fig. 23 the breast line is lowered from A to 7, making 7 to 5 equal the original side seam from 1 to 6. Following up this reasoning, owing to the re-marking of the breast line from A to 7, the back-width construction line must be re-squared from this line, to relocate the shoulder end in its correct position, after it has been passed back. There still remains the quantity of excess material at 3 to 4, but, at the moment, in the light of further knowledge, this amount will not be taken into account. In dealing with the section below the waist, the hip balance line has become lowered and distorted, consequently throwing excess material into the skirt, with a deficiency of side skirt at the underarm seam below the hip point. To reconstruct the hip section, the hip balance line has to be relocated in distance from the waist line; so 9 from 11 is made equal to 6 to 8, and the hip balance line is raised from C to 9, parallel with B to 11. By squaring from C to 12, and C to 13, the amount of excess material in the skirt is located, for when the re-marked hip line becomes a straight line as the natural shape of the figure from the waist to the hips in Fig. 22 deflects the balance lines into their horizontal straightness, the quantity 12 to 13 becomes unnecessary at this point, yet is required to be added (at the sideseam) to make up the deficiency from 14 to 15.
Fig. 24 Figure 24Reconstruction of the Pattern

Examine the reconstructed pattern in two sections as shown in Fig. 24 (a) and (b). We can now manipulate the pattern to eliminate the faults shown by the shaded sections. The upper section is split up from B to A, and from where the excess material in the centre of the shoulder

terminates at D. This quantity, 3 to 4, is reduced until the reconstructed breast line once more becomes a straight line as shown in Fig. 24 (b) from A to 7. By resquaring down from A to 7 to E, it is apparent that the underarm seam waist suppression has become practically nil, instead of the 1 inch or more on the original draft, whilst at the "bend" of the back from D, A, to B, a large quantity has been suppressed, bearing out the author's contention that suppression is only correct at the "bends" of the body, and not on the flat sections at the back, nor under the arms. To adjust the balance of the skirt section to horizontal hip and waist construction lines, the excessive material in the skirt from 12 to 13 must be reduced by splitting up the pattern from B to C, and overlapping 12 to 13. This quantity has been added at 14 to 15, so the skirt width is as originally drafted, but instead of the excessive round over the hip of the seam at 9, we have a very gradual run of seam that fits perfectly, while at the "bends" of the back from B to C, there is a suppression equal to the amount shown at B on the above-waist section. It must now be conceded that suppression is scientifically incorrect at the underarm section; the only true position for suppressing to the figure is at the "bends" of the trunk on the back panel seam. Also exaggerated hip runs are out of keeping with the shape of the body from the waist to the hip; there is an increase of prominence beyond the vertical line from under the arm, yet by no stretch of imagination is there such a "round" to need some of the seam runs the author has observed drafted for covering. The underarm seam must always remain in its drafted position and equal in length to the other sections. Equal length is stated, but as it has been proved that extra length is needed, this may be a trifle confusing. What is really meant is that a comparative increase of material is created by an operation elsewhere, to provide length for enabling the curving round of the body to be covered without distortion. Comparatively more length of the underarm seam is required to allow the back section to come to the figure, and, as the coat passes round the opposing inclines of the body, our created extra length is taken up in fitting the underarm section shape. Many systems indent at the centre back seam at A and B in Fig. 17 (b), an endeavour being made, when the seam is sewn out, to create extra length in the underarm seam at D to E. Cutters following this practice do not take into account the extra length thrown up at A, and the disturbance of the breast line to an angle, instead of being a straight line.
Suppression at the Front Waist

At the front of the figure, waist suppression takes a subsidiary place in proportion to the greater problems of bust contour capacity and the location of the neck point. There is need for suppression under the bust, to create length at the sideseam, in harmony with the back; but this need is not so great, as there is nothing approaching the hollow curve of the back, in the shape of the front waist. From practical experience of measuring many women, the author finds that the back waist width is generally about 2 inches smaller than the front width, measured from a point central

on the waist line under the arms. Therefore, the front-waist suppression is of insignificant importance in comparison with the back-waist requirements. With the average figure we have under review, the hip prominence lies practically beneath a vertical line down from the waist point, and the waist may be suppressed to the extent of inch to clear the material between the two prominences, and create a certain amount of extra length at the underarm seam in the waist hollow. In the case of extreme development of the bust, apart from the size of waist and hips, a vertical line taken from the bust point will show the front waist and hip points to have receded; therefore, the material under the bust needs reducing before a close-fitting front is achieved. This point is fully dealt with by the basis diagram and system for Development of Bust Prominence from Normal (see Fig. 12). The question of waist suppression having been scientifically decided, it may be said that all coats are not panelled, and what then? Quite right! but in the author's opinion, waist suppression and fit are of more importance than the question of seam placement. We must have suppression, if we require a good-fitting coat, and it is the height of impracticability to ignore the factor of suppression if we cannot apply it to the design as a panel seam. Design must be fitted to the system, and not the system to the design. It has been said by some cutters, "The design does not permit waist suppression, so we must do without." What a great lack of scientific thought! They are deliberately sacrificing the fit of their garments, and knowingly doing so. We cannot say that the design does not permit suppression, that the design is too intricate. There obviously must be waist suppression if the coat is to be close-fitting. Design is subsidiary to fit, and suppression is as necessary when there are two seams in a panel back as in the case of an intricate design of ten or so pieces. Admittedly, as the design becomes more cut about, the suppression presents more difficulties, but that, in itself, is not a good enough reason for shirking the issue altogether. In the opinion of the author, if he dared to do so, the ghosts of those missing suppressions would haunt him for a long time! When we are given a design for a close-fitting coat, suppression is essential, so one must become a "manipulative" cutter, operating on the pattern draft to gain the effect from the knowledge obtained from modelling experience. One might drape a model to fit perfectly on a stand or the human figure, and mark thereon an intricate design, the design being transposed afterwards to a flat plane by being traced off on to pattern paper. One would then have the sure knowledge that no matter what the design, suppression would be taken out, to create the needed extra length at the sidearms for covering the figure contours correctly. It is necessary to transmit this knowledge to a flat plane when drafting a pattern, and if we bear in mind always the need for creation of length at the side-seam by back-waist suppression, we will begin to achieve the perfection for which we all strive.

This factor is of major importance. It is a sorry point that many of our scientific cutters argue for hours on neck points and balance, yet have the foggiest ideas or methods for defining the waist, preferring to adjust matters at the "try-on." In the author's opinion, every garment should leave the cutter's hands and shears in a "cut to finish" state, as though a "try-on" was an impossibility. It is the knowledge that accidents can be rectified later, at the fitting, which lowers the standard of cutting. If every cutter had to cut his job for a "finish," a much-needed overhauling of systems would follow, and a consequent raising of the standard of cutting.
Fitting the Figure Contours

These days, women are very particular about the fitting qualities of their garments, particularly in the waist section. The present trend of fashion and design calls for a high standard of cutting ability, for garments either have to fit perfectly or else faults are glaringly exaggerated, for the notion of a good fit in the minds of women these days is extreme to the point of faddiness. They do not appreciate a surplus amount of material in the back waist, or a little "round" for ease over the hips. Too often complaints are made that their coats wing away from the front as they walk, yet having ample material over the hip size, or else the coat will not go into the waist at the sides, or if pulled into position sets up a flared-skirt effect at the back and diagonal creases from the side waist to the blades and front of the armhole. These two instances are caused by incorrect allocation of the waist-suppression factor with resultant lack of length at the side waist to enable the other sections of the bodythe prominences of bust, blade and hipsto take up material for covering without causing stress or strain from the side waist. It is that little amount of created length at the sideseams which enables a well-cut coat to fit the curves of the figure naturally and evenly without distortion and, even if the garment is worn open, still retain the original shape. On the wearer, as each section of the coat becomes adjusted to the body, the balance of the garment is adapted to the needs of the figure and there is actually no more length at one section than another, though each has sufficient length for the purpose of following the curve of the body. Coming back to the statement that all coats are not panelled and so suppressions based upon this style do not always apply when cutting other styles, a panel coat is the criterion of fit; the waist suppressions are in their logically correct positions, and are fixed and unalterable. The systems described are based on the panel-coat system as being correct; therefore, we must adapt all seam placement variations to this basis of suppression. It has been stated that indenting the centre seam for waist suppression is unscientific to the degree that prevails in practice, and not in accordance with the shape of the figure at this section. Another point is the question of hip overlap. This factor has been definitely located as a surplus on the draft at the underarm seam only. If an underarm seam is not required, however, is it logic to move this surplus side quantity towards the back approximately 4 inches? This is the general practice, but there is only one definite position for this quantity, and to endeavour to transpose this factor elsewhere is to cause complications as shown by Fig. 16 (a). This change of location results in a shortness from the side hip to the bust and blade prominences, and it is directly the cause of many ill-fitting garments. It is quite obvious that a loss of 1 inches over the most prominent part of the hip at the side will be reflected in the fit elsewhere. We might as well allow for increased contour capacity for the bust by an addition at the sideseam only.

The author thinks that all ladies' coats should be cut with an underarm sideseam, but if there is reason to change this ruling, let us at least be logical and adhere to the basic principles of construction, which explains why the forepart of a block-fronted coat is opened to allow for the hip overlap at the side as in the basis draft for panel coats. Cutters are chary of darts as a means of improving fitting quality. But we have only to see the extensive use French designers make of darts to achieve their effect to realize that in the attainment of a good-fitting garment darts are as essential as panel seams, in as much as if we cannot have one, we must have the other for obtaining style and closely-moulded line. Those elusive qualities, style and line, which are recognizable in a garment, making it alive and part of the living form in wear, are characteristics that all cutters may infuse into their productions if a study of the human-figure construction is made. To be a good cutter, one must be also something of an artist with a working knowledge of form in order to visualize the line he is imparting to his pattern in its relationship to the body. A famous English designer once remarked, "I do not care whether a dress or coat looks anything or not on a hanger or stand, but it must become alive and move with the movement of the body when worn." That is the secret of style and linethe harmonious blending of seams with the actual shape of the figure. There should not be any excuse for unharmonious line if we keep the form and proportions of the wearer in mind when drafting out the pattern. We endeavour to impart an illusion of curves and shapeliness to the too slender by curving seamings instead of angles or vertical lines; in like manner we try to give the appearance of slenderness to possessors of unwieldy proportions by accentuating height with vertical seams and cutting across width with sharp angles of design. A high-closing neck line or narrow lapels are attributes of slimness in relation to the well-built person, and similarly the slender woman may wear square-cut revers and shoulders with assurance and confidence that her appearance is considerably enhanced by the breaking up of a too elongated silhouette. Design in dress is akin to design in architecture and interior decoration. At the moment, the general influence is for purity of line over "fussiness of detail," which means that, with less detail and trimming to distract the attention, the actual fitting qualities of the garment will be in the limelight. To compensate for the simplicity of the design, perfect fitting is necessary so that the garment is moulded to the form and takes to itself a character that is individual and one with the wearer. In the days of loosely-fitting garments, design had to take the place of line and good fit, the opportunities for imparting individuality were limited and cutting was not so difficult from the cutter's standpoint. The straight up-and-down knee-length coats and dresses worn in the middle 'twenties relied entirely upon intricate and fussy design to achieve an effect, so the requisite cutting skill necessary was directed to the interpretation of design instead of the achievement of a close fit. Loose-fitting styles of to-day are not easy to cut, and to imagine that their straight character simplifies cutting problems is quite erroneous; the lack of fit has to be nullified by an attainment of "swing" or "swagger" in the cut and hang of the back from the shoulders.
Analysis of Waist Suppression Figure 25Analysis of Waist Suppression Principles

Fig. 25 illustrates very clearly the adverse effects of reducing waist suppression from the sideseams only in preference to the correct locations at side back and front. Point X is the back neck as usual, and the side-seams are indicated in firm lines with the standard quantity of waist suppression indicated from 1 to 2; 1 from 2 equals inch. Point 3 is the bust prominence and point 4 the front neck point. Now as the quantity of waist suppression taken out, as points 1 to 2, is correct for the figure, a certain length must be registered from the sideseam at 2 to the bust prominence at 3 and continued to 4. Similarly, at the back, the length from 1 to X over the blade prominence is the correct length required to cover the contour shape of the back from the nape of the neck to the side waist. If the sideseams are suppressed more than the standard quantity, as 6 to 5, 1 inch each side from the centre line, the length from 5 to 3 and 4 will therefore be less than from 2 to 3 and 4. At the back, the distance from 6 to X over the blades from the side waist will be less than 1 to 2. As a result of this reduction in length from the waist to the back and front neck points, when the garment is placed on the figure, this shortage will cause diagonal creases from the side waist to the blades and bust prominence as there will not be sufficient length to enable the side waist to assume its correct position on the figure. As the waist cannot lie smoothly in the side hollow, there will be an excess of size over the hips and loose material in the back waist hollow drawn up by the shortness of length from the bust prominence to the side waist. This is the effect of attempting to take an excessive quantity of material from the sideseams in an endeavour to obtain a fitting garment. On the other hand, study the effects of taking the waist suppression from the garment in the correct positions. 7 from 8 indicates a similar quantity to 2 to 5, being reduced only under the bust prominence at the front panel seam; 9 from 10 indicates a quantity of 1 inches taken from the back panel seam, a quantity incidentally in excess of the suppression indicated from 1 to 6. Now it must be obvious that whatever quantity is reduced from 9 to 10, the length over the blade prominence from the back neck to the side-seam at 1 remains unchanged, so that this length ensures a correct balance of the sections, while the fitting quality is achieved by suppression in the correct location at the side back panel. A very hollow-waisted figure still requires as much length over the blade prominence from the side to the centre back neck as a figure of more stolid build. By retaining this length correctly, we are able to suppress the garment to the figure at the back panels and obtain a perfectly balanced and fitting shape. At the fronts, the side length from the waist over the bust prominence to the neck point remains of constant dimension no matter what quantity is reduced from the front waist in the panel seam or by darts. By this length, the waist goes to the figure at the side, the garment over the hips wraps closely to enable the front wrap-over to hang without winging away, and fitting quality is achieved without the expense of a disturbed balance. It is only possible to suppress a larger quantity at the sideseams than indicated when the material is cut on the bias, and then the natural pliability of the bias is intended to assume the shape of the figure.

Chapter VSleeve Cutting

Basic System for Sleeves

THE basis for drafting sleeve styles is divided into two sections, firstly the two-piece type with seams at the fore and hindarm, and secondly the one-piece variety having a seam underneath the sleeve to run with the sideseam of the coat or alternatively a seam at the forearm; in either instance there is no hind-arm seam. For strictly tailored styles of costume jackets or long coats, the usual rule is to utilize the twopiece basis for the shapely run of seams, and slim line is more in keeping with the general restrained and neat effect of the ensemble. The one-piece basis will be found advantageous for adaptation to present-day sportswear and dressy styles, with their unorthodox pleated or darted sleeve effects. In a hindarm in one piece without a seam the plain character of the sleeve permits of easier manipulation and variation of shape than the more definite lines of the two-piece basis. No decided seam runs are definite for either sleeve, while manipulation of the pattern by cutting open or transposing seams to meet the needs of the sleeve design is necessary to gain the requisite effect. For example, a "cartridge-pleated" sleeve has no definite fixed size or shape, but depends upon the number of pleats or amount of material taken up in the pleating for the alteration in shape from the original one-piece draft; a sleeve with fullness above the elbow may be based upon a two-piece draft with the seam at the hindarm above the elbow eliminated, and the whole upper-arm section cut in one piece, whilst the forearm is in two pieces for the attainment of a shaped cuff. Manipulation of the basis pattern by splitting open and opening out for darted and pleated effects is essential in the cutting of modern sleeves; we cannot expect a system to adapt itself to all the varied and intricate designs that are in vogue without departing from the orthodox principles governing the original draft. Modern sleeves cannot be cut by a systematic draft basis; the effect is more of drapery than cutting, so knowledge of where to manipulate a pattern to obtain a pouched or pleated effect is of more importance than attempting to achieve the same result by a straightforward draft system. The ability to visualize a design in its component parts before being sewn together, where length or width has been added to arrive at the finished effect, can be attained by experimenting with muslin, for there are set principles governing this manipulation which become familiar with a little experience. Elsewhere in the book an endeavour will be made to indicate the general methods adopted by the author for the production of pouched and draped sleeve effects. In deciding the dimensions and constructional points necessary for the basis sleeve draft, there are two factors to consider (1) The height, width and total circumference of the scye or armhole into which the sleeve must sew. (2) The balance or "hang" of the sleeve in the scye, in accordance with the figure attitude, to give a maximum of freedom of movement in wear.

The balance or "hang" of the sleeve varies with different figure attitudes inasmuch as a stooping figure requires adjustment of the sleeve to a more forward "hang," while for erect figures, a rebalancing of the sleeve backwards will be needed. Sleeves for special purposes also need adjustment of constructional points, for a garment used for golfing, motoring or riding exclusively to any other consideration will require a sleeve in accordance with the position of the arms for the majority of the time. The sleeve in the scye must be so balanced that a good "hang" is obtained when the arm is in the natural position at the side and also to give essential freedom in movement to the greatest extent and radius. Therefore, a point on the back scye and a point at the front scye, called the back and front pitches, decide the balance of the sleeve in the scye. With a normal sleeve raising or lowering of each of these pitches will result in a forward or backward hanging sleeve. The back pitch is decided by the position of the hindarm seam in two-piece sleeves, for a wider top-sleeve would need a lower pitch and vice versa. The front pitch decides the "hang" of the sleeve in the scye, for the sleeve hinges at this point, and sewing round to the back pitch locates this point on the basis of width across the sleeve head. After the location of the pitches the next factor to consider is the height of the sleeve in the scye above the back pitch, to cover the shoulder cap and meet the shoulder seam. This height is decided by the position of the shoulder end (from the back pitch and the breast line level) when the shoulder seams are sewn together. The width of the sleeve from the front seam to the back one is decided by the actual measure between the front and back pitches round the circumference of the scye. This measure is applied diagonally on the sleeve draft from the front pitch to the back one, thereby giving a workable allowance for the easing-in of the sleeve over the shoulder cap. Measurement of the actual scye circumference is the only practical method of assessing sleeve width in direct relationship with the needs of the scye. A sleeve system based upon the working scale does not provide automatic adjustment for variation in size or shape of the scye. Often we find the needs of a figure in armhole size are in direct contrast to the build; the big woman often does not require a scye much in excess of that applicable to a woman 4 inches or so smaller in the bust girth. By basing the sleeve system on actual scye measurements, we are sure of a sleeve that is equal to all the demands of the particular armhole irrespective of bust size.
Two-piece Sleeve Basis Draft (Fig. 26) Figure 26Basic System for Two-piece Sleeve Cutting

Fig. 26 shows the main constructional points superimposed upon the 34inch bust basis draft. The front pitch A is located at inch up from the breast line. This is the fixed position for determining the forward "hang" of the sleeve in the scye. The back pitch B is found at half the depth of scye quantity X to 1, up from the breast line.

As the sleeve hinges from these two pitches, the height of the sleeve in the scye is determined by the sewn-together position of the shoulder seams. This quantity is called the "crown height," and is found as follows. Make a sweep from a point C1, a seam below the front shoulder end, pivoting from the front pitch A. A similar sweep made from C2, a seam below the back shoulder end, is pivoted from the back pitch B, intersecting the front sweep at D. The height of the point where the two sweeps intersect at D from the line squared across from B to X equals the crown height in accordance with the requirements of the scye when the shoulders are in position on the figure. The back is laid in position for showing how the measurement between the back and front pitches is applied to determine the width of the sleeve diagonally from A to B. The sleeve is shown drafted in to the scye direct as an indication of how the measures derived from the scye are applied. To draft

1 from A = inch, or two seams. Square up from 1 to X, and from B to X. X from the breast line is therefore the same distance as point B. 2 from 1 = the distance round the top-scye from A to B, the measure between the back and front pitches = 8 inches. 3 from 2 = one-third of the distance 1 to B plus inch. 4 from 3 = the crown height as previously found = 1 inches. o Point 3 is located at one-third of 1 to B, plus inch, because the highest point of the scye is at the junction of the shoulder seams which is approximately one-third of the scye circumference between the back and front pitches. 5 is midway X to 3. Shape the sleeve crown run from 1 to 5, 4 and 2. 6 from 2 = the sleeve length less the half-back width applied from 2. 7 from 6 = 1 inches square out from this point. 8 from 7 = inch. Join 8 to 1. o This point controls the forward "hang" of the sleeve in conjunction with the front pitch location. It is safer in practice to cut the sleeve to hang forward than to rely on the tailor to pitch it always correctly. 9 from 8 for the standard width of the cuffs = one-third of the total scye circumference less inch. o By basing the cuff width on the size of the armhole, we always have this width in proportion to the sleeve. Join 9 to 6 to find point 10. 11 is equal to half 1 to 10 for the position of the elbow. Square out from 11 to 12, 13 and 14. 12 from 11 = 1 inches. Join the forearm construction lines from 1 to 12 and 10. 13 is found on the line squared out from 11. 14 from 13 = 1 inches. Join 2 to 14 and 9 for the hindarm constructional lines. 15 from 1 squared by line 1 to 8 = one-sixth of the scale. 16 from 1 diagonally = the distance round the under-scye between the pitches A to B = 7 inches. Shape the run of the under-sleeve from 1, 15 to 16.

Complete the hindarm seam run from 16 to 14 as shown.

The basis draft for two-piece sleeves is completed. Variations of seam placements do not affect the general principles described herein.
Separate Draft of the Two-piece Sleeve Basis System (Fig. 27 (a)) Figure 27Two-piece Sleeve Basis Drafted Away from the Scye

To produce the sleeve draft away from the scye, the following quantities derived from the measurement of the scye are necessary (1) The height of the back pitch from the breast line, 3 inches. (2) The height of the sleeve crown above the back pitch, 1 inches. (3) The width of the top sleeve measured between the two pitches in a straight line, 8 inches. (4) The width of the under-sleeve measured between the pitches round the under-scye, 7 inches. (5) The total scye circumference, 16 inches. To draft

Square from X, the starting point. 1 from X = the height of the back pitch from the breast line less inch. 2 from 1 = the top-sleeve width, measured between the pitches and applied diagonally from 1 to the line squared from X. 3 from 2 = one-third of the distance from 1 to 2 plus inch. 4 from 3 = the crown height as found in the basis draft = 1 inches. 5 is located midway 3 to X. 6 from 2 = the sleeve length measure applied diagonally from 2, less the width of the back. 7 from 6 = 1 inches. Square up and down from this point. 8 from 7 = inch always. Join 8 to 1. 9 from 8 = one-third of the total scye circumference less inch. Join 9 to 6 to locate 10. 11 is midway 1 to 10 for the position of the elbow. By line 1 to 8 square from this point. 12 from 11 = 1 inches. Join 2 to 9 to locate point 13. 14 from 13 = 1 inches. Join 12 to 14 and 10.

This completes the location of the basic constructional points for drafting the sleeve away from the scye.

Fig. 27 (b)

Here the seam runs are shown superimposed upon the constructional lines and points.

Shape the crown of the sleeve from 1 to 5, 4 and 2 as indicated. o The forearm is slightly hollowed as marked from 1, 12 to 10, and a slight amount of round is added on the hindarm seam from 2 to 14 and 9.

Fig. 27 (c)

To draft the under-sleeve section, measure up the under-scye between the back and front pitches, A to B in Fig. 26.

15 squared from 1 by line 1 to 8 = one-sixth of the working scale. 16 from 1 diagonally = the measure round the under-scye applied direct. Shape from 1, 15 to 16, and from 16 to 14 to complete the under-sleeve draft.

The above system will provide a good "hanging" sleeve for the majority of figures, without an excessive amount of fullness to ease-in over the shoulder point, as this section of the sleeve is kept fairly flat from the front of the scye up to the crown.
Basic Draft for One-piece Sleeves (Fig. 28)

The standard basic draft for cutting one-piece sleeves is illustrated by Fig. 28. Identical measures are taken as for the two-piece styles, with two additional measures, namely, the distance from the front pitch to the underarm seam and the distance from the back sleeve pitch to the same point. The following are the scye measures (1) The height of the back sleeve pitch from the breast line, 3 inches. (2) The crown height above the back pitch, 1 inches. (3) The width of the top-sleeve measured between the pitches in a straight line, 8 inches. (4) The width of the under-sleeve measured between the pitches round the under-scye, 7 inches. (5) The total scye circumference, 16 inches. (6) The distance from the front sleeve pitch to the underarm seam, 2 inches. (7) The distance from the back sleeve pitch to the underarm seam, 5 inches. To draft

The one-piece sleeve basis is shown drafted in the scye to illustrate clearly the constructional method. A is the front sleeve pitch, inch above the breast line. Commence the sleeve draft from point 1, inch in advance of point A.

Square up from 1 to X equal to the height of the back sleeve pitch above the breast line less inch. Square across from X to B, and then apply the top-scye width measure from 1 diagonally to 2 on the line from X to B. 3 from 2 = one-third of 1 to 2 plus inch. Square up from 3 to 4, the crown height, 1 inches. 5 is midway X to 3. Shape the sleeve head from 1 through 5 to 4 and 2. 6 from X = the height of the back sleeve pitch above the breast line. Square out from 6 towards the centre of the sleeve. Square down from 3 to 7 the full sleeve length applied from 2 less the half-back width; square each way from 7. 8 from 7 = inch. 9 and 10 from 8 = the cuff width, one-third of the total scye circumference less inch. 11 from 9 = inch. 12 from 10 = inch. Shape from 11 through 8 to 12. Apply the front under-scye measure from point 1 to 13 on the line squared out from 6. Join 11 to 1. By the line joining 11 to 1, square across from 13 to 14, making 14 from 1 equal to 1 to 13. 15 from 11 = one-third of 11 to 12 for the position of the sleeve seam. By the line from 1 to 11, square across from 15 to 16, making 16 from 9 equal to 9 to 15. o Measure round the back scye from the back sleeve pitch to the underarm seam and apply this quantity from point 2 to 17 plus inch. Join 17 to 15. Square down from 2 to 18, level with point 12. 19 from 18 = 18 to 12. By the line joining 2 to 18, square across from the inside sleeve seam at 15 to 20, making 20 from line 18 to 2 equal to 15 from the same line. By line 2 to 18, square from 17 to 21 and 22. 23 from 18 = 8 inches. Shape out the wrist dart from 12 and 19 to 23. Shape the under-sleeve from 2 to 22 and from 22 to 20. Shape from 20 to 19 and complete the sleeve draft.

Outline of the One-piece Sleeve (Fig. 29)

Fig. 29 illustrates the outline of the completed one-piece sleeve draft. Instead of squaring across from the lines joining 1 and 11 and 2 and 18 on the basis draft in order to locate the lines joining 14 to 16 and 22 to 20, another method is to fold over the pattern paper in the former lines and then trace through the inside sleeve seams 17 to 15 and 13 to 15. The outline will then be the same as though these lines were drafted across. This method is perhaps more accurate than by squaring, but it all depends on the individual accuracy of each worker; in any case, it is a simple

method for producing the under-sleeve sections, back and front.

One-piece Sleeve without a Wrist Dart (Fig. 30)

To draft a one-piece sleeve without a wrist dart, proceed as follows The scye measurements necessary for this sleeve variation are identical with those of the basis draft. To draft Square from X.

1 from X = the height of the back sleeve pitch from the breast line. 2 from 1 = inch. 3 from 2 diagonally = the top-scye width measured from the front of the back pitch in a straight line. 4 from 3 = one-third of the top-scye width plus inch. 5 from 4 = the crown height = 1 inches. 6 is midway X to 4. Shape the sleeve head from 2 to 6, 5 and 3. Square down from 4 to 7 the full sleeve length less the half-back width applied from 3. Square each way from 7. 8 from 7 = inch for the forward "hang" of the sleeve. 9 and 10 from 8 = the cuff width = one-third of the scye circumference less inch. 11 from 9 = inch. 12 from 10 = inch. Shape from 12 to 11. Join 2 to 11 and 3 to 12. 13 from 2 on the line squared out from 1 = the distance round the under-scye from the front sleeve pitch to the underarm seam. By the line joining 2 to 11, square across from 13 to 14, making 14 from 1 equal to 13 from 1. 15 from 11 for the position of the underarm sleeve seam = one-third of the distance from 11 to 12. By the line joining 2 to 9, square across from 15 to 16, making 16 from 11 equal to 15 to 11. Shape from 14 to 2 and 14 to 16. o Measure round the back-scye from the sleeve pitch to the underarm seam and apply this quantity plus inch direct from 3 to 17. Join 17 to 15. By the line joining 3 to 12, square across from 15 to 18, making 18 from the line equal to 15 from 10. By the line joining 3 to 12, square across from 17 to 19 and 20. 20 from 19 = 19 to 17. Shape the under-sleeve run from 3 to 20 and from 18 to 20. Shape from 12 to 18 to complete the sleeve draft.

If a narrower sleeve is required, the inside sleeve seams may be hollowed inch from the straight at the elbow width.
Manipulation of the Draft to Produce a Wider Sleeve at the Elbow (Fig. 31)

Fig. 31 illustrates the adaptability of the sleeve draft for producing a wider sleeve at the elbow, with a narrow cuff width and the sleeve perfectly balanced when sewn together. Measurements for the draft are as for the previous examples. To draft Square lines from X.

1 from X = the height of the back sleeve pitch from the breast line. 2 from 1 = inch. 3 from 2 = the top-scye width applied diagonally. 4 from 3 = one-third of the top-scye width plus inch. 5 from 4 = 1 inches. 6 is midway X to 4. Shape the sleeve head from 2 to 6, 5 and 3. Square down from 4 to 7 the full sleeve length less the half-back width applied from 3. Square each way from 7. 8 from 7 = inch. Join 4 to 8. 9 and 10 from 8 = the cuff width = one-third of the scye circumference less inch. 11 from 9 = inch. 12 from 10 = inch. o Measure round the under-scye from the front sleeve pitch to the sideseam and then apply this quantity from the sleeve pitch 2 to 13 on the line from 1. Then by line 2 to 11, square across from 13 to 14, making 14 from 2 equal to 13 from 2. 15 is one-third of the distance from 12 to 11 from 11. By the line joining 2 to 11, square from 15 to 16, making 16 from 11 equal to 11 to 15. Estimate the elbow width required and then square out from 10 to 18, the required increase of width. 18 from 10 = 6 inches. Join 3 to 18. o In order that the inside sleeve seam will agree with the position of the seam at 17 to 15, the reconstructed inside seam must be squared by line 3 to 18 so that it turns back to lie with the original line of the seam. Therefore, square from 12 to 19 by line 3 to 18, making the distance from 18 to 19 equal to 18 to 12. 20 from 18 = 8 inches. Shape from 12 to 20 and 19 to 20. Square from line 3 to 18 to 17 and locate point 21 and then square from 21 to 22, making 22 from 21 equal to 21 to 17. Square from line 3 to 18 to 15 to locate point 23 and then square back from 23 to 24, making the distance from 23 to 24 equal to the distance from 23 to 15. Shape from 19 to 24 and from 24 to 22. Shape from 3 to 22 for the under-sleeve to complete the sleeve draft.

The constructional variations for all increases of width in the sleeve at the elbow and wrist are similar to those in the above description; in all instances, it is possible to produce the sleeve outline by tracing through the inside seams on to the folded pattern paper and then relaying out to obtain an identical outline as that achieved by drafting direct.

This drafting method is the only practical system which furnishes us with a sleeve pattern in which the inside sleeve seams will be in alignment for sewing together. Very often, one-piece sleeve systems give a well-balanced sleeve without a wrist dart or with moderate elbow width, but are useless for obtaining a sleeve with abnormal elbow or wrist width, for the seams may not lie perfectly together for sewing and may need adjustment in length of either seam. The one-piece sleeve is very useful for drafting intricate sleeve designs, as the retention of only one seam allows for more latitude for designing on the base pattern outline.
Seam Displacement in a Two-piece Sleeve (Fig. 32)

Displacement of seam runs is a feature of ladies' sleeves, and Fig. 32 (a) shows a useful sleeve draft in which the forearm seam is placed further under the arm and the hindarm seam is treated in a like manner. The back pitch is lowered on the coat 1 inches or more to taste to agree with the lowering of the seam on the sleeve. This type of sleeve will be found useful for inserting in sidebody coats where the sidebody seam finishes in the scye approximately 2 inches or more up from the breast line; whereas the basis draft is in harmony with the seam runs of a patrol or similar panel-back coat when the back seams finish at the normal back pitch location. To draft Square from X.

1 from X = the height of the back pitch from the breast line less inch. 2 from 1 = the distance round the top-scye between pitches A and B in Fig. 26 = 8 inches. 3 is one-third of the distance 1 to 2 plus inch. 4 from 3 = the crown height = 1 inches. 5 is midway 3 to X. Complete the shape of the sleeve crown from 1, 5, 4 to 2. 6 from 2 = the sleeve length applied diagonally from 2 less the half-back width. 7 from 6 = 1 inches. 8 from 7 = inch; join to point 1. 9 from 8 = one-third of the total scye circumference less inch. Join 9 to 6 to locate point 10. 11 is midway 1 to 9 for the position of the elbow. 12 from 11 = 1 inches. By line 1 to 8 square out from this point. Join 2 to 10 to locate point 13. 14 from 13 = 2 inches; inch more than the basis draft is added to move the seam at the elbow further back in alignment with the variation of the sleeve head by lowering the back pitch. 15 from 14 = inch, to keep the sleeve width at the elbow correct to measure. 16 from 2 = the amount the back pitch has been lowered from B in Fig. 26. Shape from 16, 14 to 10 for the hindarm seam run of the sleeve. 17 from 1 = one-sixth of the scale squared out from line 1 to 6.

18 from 1 = the distance round the under-scye between the pitches = 7 inches less the quantity the back pitch is lowered. Sweep from 14 and 16 to locate 18 definitely. Shape the top of the under-sleeve and hindarm seam as indicated. o For the displacement of the forearm seam further under the arm, called "threequarter-sleeve finish or false forearm," reduce the under-sleeve inch at 1 to 19, 21 from 12 and 23 from 9 and re-mark the seam run. o Add inch to the top-sleeve from 1 to 20, 12 to 22 and 9 to 24 and then reshape the seam run. o The new forearm seam will require stretching in the hollow of the elbow at 22, to enable the seam to lie flat against the underseam from 6, 21 to 19, and make up the slight difference in length between these two seams.

Fig. 32 (b) shows a useful one-piece sleeve draft with a variation of the underseam to the forearm position. In all respects, this sleeve has the shapely run of the two-piece basis with the additional advantage in construction of being all in one piece above the elbow without a hindarm seam. A three-quarter finish to the forearm is shown. Square from X.

1 from X = the back pitch height less inch. 2 from 1 = the distance round the top-scye between the pitches = 8 inches. 3 from 2 = one-third of 1 to 2 plus inch. 4 from 3 = the crown height. 5 is midway 3 to X. Shape the sleeve crown from 1, 5, 4 to 2. 6 from 2 = the sleeve length applied as described previously. 7 from 6 = 1 inches. Square out from this point. 8 from 7 = inch. Join 9 to 1. 9 from 8 = 1 inches. 10 is midway 1 to 9 for the location of the elbow position. 11 squared up from 10 = 1 inches. B from 1 = the distance round the under-scye between the pitches = 7 inches. 12 from 2 = half the distance B to 2. Square down to point 13. 14 is squared from 10 and 11. 15 from 8 for the width of cuff = one-third of the total scye circumference less inch. 16 from 1 = one-sixth of the scale. Shape the top of the under sleeve from 1 to 16 and 12. Add inch to the forearm seam at 18, 20 and 22 from 1, 11 and 9. Reduce the under-sleeve inch from 1, 11 and 9 to 17, 19 and 21, point 21 coinciding with point 6. Shape the the forearm seam runs of the top- and under-sleeve as shown. o Increase or decrease of elbow width is obtained by moving point 13 up or down on the line squared from 7.

Fig. 32 (c) illustrates the sleeve as it appears when laid open. This draft is very useful for the cutting of pouched or pleated sleeves, when the design necessitates a hindarm without a seam in addition to a close degree of shape from the elbow to the wrist.

Chapter XXIIIBias-Cutting for Dressmakers and Model Cutters

FROM time to time, the well-known dress designers create models with intricate and unusual placement of seams; sometimes the sideseam is dispensed with, and, at other times, there may not be a waist seam in the design. The original design is probably modelled piece by piece on the stand or figure to achieve the required fit, and it is impossible to copy the line accurately by flat pattern cutting. At the other extreme, we have the moulded sheath outline, perfectly fitting to the figure and without a waist seam, darts or design seams of any description to help the cutting and fitting. The Princess line and, at the moment, the Directoire line are of this character and present great difficulty in cutting successfully to fit without dragging creases or an excess of material in the waist. The skirt width of these models is also reduced to the absolute minimum consistent with walking room and, if the skirt is cut on the straight, a very plain and uninteresting appearance will result. The absence of a waist seam round the figure complicates the cutting, as it is impossible to allow for the extra sideseam length in the waist hollow which enables the garment to follow the shape of the wearer, and the problem is how to obtain this extra length and achieve a close fit at the same time. Many evening dresses of the moulded line are cut with a skirt perfectly plain back and front, and with a high moulded waist line upon which waist suppression cannot be manipulated. Waist darts are one method of gaining fit without a waist seam, but these are definitely impossible in the cutting of evening dresses. The secret of cutting a moulded dress without any helpful waist or design seams lies in "bias cutting." By the term "bias cutting" is meant cutting the dress on the cross or "bias" of the material. The bias is diagonally across the width of the material and possesses stretching qualities which are necessary for the art of moulding a dress to the figure. A knowledge of the stretching qualities of the true bias is necessary before successful biascutting can be carried out. It is easy to see that if a dress is cut larger than the actual measurements of the figure by means of bias-cutting, it will drop down or stretch until the degree of looseness in the fit is taken up and the garment closes in to the shape of the figure. Further, if the garment is cut too large over the hips, when the dress drops down to the hips size the bias material in the waist will stretch out in a horizontal direction and the waist size will become increasingly too loose. Bias material stretches as follows: if one part of the material is stretched out larger, the part immediately above is reduced in width and narrows in. Therefore, if we require the dress to fit closely into the waist, we cannot achieve this by cutting the waist to the size of the figure, for if the hips are cut at all easy to measure, the waist size will stretch out larger as the dress drops down narrowly over the hips. Therefore, to ensure that the waist size remains as cut, the dress at the hips and bust must be cut exactly to the close measure to prevent stretching or dropping down when on the wearer. But, even if this is adhered to and the bust, waist and hip measurements drafted net on the dress, we still have only a flat draft without the necessary extra length at the sideseam in the waist hollow, amounting from 1 inch to 1 inches for a very small waist. This being so, the

draft is cut to the exact net measurements at the three balance lines and is illustrated in Fig. 345. If the dress is designed with a waist seam the garment should be curved at the bodice and skirt waist seams to enable it to follow round the lines and angles of the figure. The point to remember is that in Fig. 345 we are without any waist seams or means of providing for this length, and we know that without this length an excess amount of fullness and length will be thrown into the back waist hollow, and in addition the garment will have dragging creases from the nape of the neck to the waist. The solution of the problem lies in the stretching properties of bias material. Now take a piece of material and find the true bias, stretch the material from side to side and then, about 14 to 16 inches lower, stretch it in the same direction. It will be found that the effect of stretching the material in these two lines will result in the material between them becoming smaller in width, and, what is still more important, an increase in length is created between the two points of stretching in each line. A practical test will demonstrate this very valuable property of bias material to anyone who cares to carry it out. From this operation, the obvious point is to cut the bust and hip measurements smaller than the actual sizes to create the extra sideseam length in the waist. The bust and hip contours stretch out the bias to decrease the width of the dress through the waist, and so cause sufficient length to be created at the sideseams to enable the garment to follow round the curves of the figure. Another point of bias cutting is that, if the hip size of the garment is cut smaller than the actual net girth, the action of stretching the material out to fit the hips will result in a flare in the skirt at the hem line. This means that, even if the skirt is cut very narrow in width, a goodhanging skirt will be achieved instead of the converse; if the skirt were cut on the straight of the material, a perfectly straight-hanging tube effect would result. However narrow in width at the hem line, the bias-cut skirt is infinitely more smart and comfortable in wear, for the material stretches with every movement of the wearer and does not restrict the free movement of the limbs. The degrees of stretch in the varying materials must necessarily govern the closeness of our cutting; the usual method is to cut the garment one size smaller than the size required. This may require modifying if part of the design is cut on the bias while the remainder is cut on the straight of the grain. Very often, dresses are designed with a bias skirt from a high waist line and a bodice cut on the straight, or, as the author has designed recently for friends, a bias-cut bodice and the skirt cut on the straight. This latter method is adopted to achieve a very clean-fitting waist and hip line in the dress, for the bodice stretches down and allows the skirt to rest down over the hips. The following basic draft is intended for use when interpreting designs without a waist seam. For bias-cut designs with a waist seam, the standard dress basis system can be used as the sideseam length can be directly obtained by pattern manipulation.
Bias-cutting Basis System (Fig. 345)

Measurements for the draft are as follows

Chest = 34 inches.

Bust = 36 inches. Waist = 29 inches. Hips = 40 inches. Natural waist length = 15 inches. Full length = 43 inches. Half-back width = 6 inches.

The bust and hip measurements are cut a size smaller, i.e. a 35-inch bust and 39-inch hips. The waist measure has 2 inches added for the finished dress size and is drafted to this measure net. The stretching action of the material over the bust will reduce the waist to a smaller circumference, so that it is advisable to draft this factor without any such reduction as that which takes place in the bust and hip measurements.

Working scale = half the breast measure for bust sizes of 36 inches and under and one-third of the breast girth plus 6 inches for bust sizes over 36 inches. Therefore, the scale = 18 inches for a 36-inch breast, reduced to 17 inches for the reduced breast girth for biascutting.

To draft Square from X.

1 from X = one-third of the scale plus 1 inches. 2 from X = the natural waist length = 15 inches. 3 from 2 = 8 inches for the hip level. 4 from X = the full dress foundation length = 45 inches. 5 from X = one-sixth of scale less inch for the back neck width. 6 from 5 = 1 inch for the back neck height. Shape from 6 to X for the back neck curve. 7 from 1 = the half-back width. Square up from 7 to 8 on the line squared out from X. 9 from 8 = 1 inch. 10 from 9 = inch. Shape the back shoulder seam from 10 to 6. Square out from 3 to 11 half the hip girth net. Square up from 11 to 12, 13 and 14. 15 from 14 = one-twelfth of the scale. 16 is squared down from 11. 17 from 15 = one-sixth of the scale. 18 from 13 = half the scale less 1 inch. 19 from 18 = one-sixth of the scale less inch. Square up from 19 to 20. 20 from 19 = inch less than 13 to 15. Join 20 to 10, measure the width of the back shoulder seam from 6 to 10 and apply this quantity less inch from 20 to 21 for the width of the front shoulder seam. 22 from 21 = 1 inch. Shape the front shoulder seam from 20 to 22 as shown. The sideseam is placed mid-way of 3 to 11 at 23. Square up from 23 to 24 and 25 and down to 26. 27 from 13 = the half-bust measure plus inch. The surplus shown from 1 to 27 is taken from the side-seams at 25 to 28 and 29. Square down from 28 to 30.

Square down from 29 to 31. Measure from 12 to 30 plus 31 to 32 the half-waist measure, i.e. 15 inches. Two-thirds of the waist surplus is taken from the back sideseam for suppression and the remaining one-third from the front sideseam. 35 from 31 = 32 to 33. 34 from 30 = 33 to 2. Shape the sideseams from 28 to 34 and 23 and from 29 to 35 and 23; then overlap the sideseams at the hem line 1 inches from 26 to 36 and 1 inches from 26 to 37. Shape the neck opening 9 inches in length from 17 to 38. 39 from 20 = 20 to 17 for the shoulder dart. 40 is 1 inches above the line from 13 to 18 and is equidistant from these two points. Shape out the shoulder dart from 20 and 39 to 40 as illustrated to complete the draft.

As the bias or stretch of materials is not always constant, the reduction of 1 inch for the actual bust and hips may be too much in some instances, and, for a very closely woven material with practically no stretching properties, the reduction should be modified to the actual measurements as a drafting basis. Design seams in bias-cut dresses should be kept as near to the absolute bias or "straight" line as possible, for seams slightly off the grain in either direction tend to disturb the "hang" of the dress and, in addition, are difficult to baste and machine neatly. Always cut on the exact bias of the material, that is, with the fold edge of the bias at an angle of forty-five degrees with the selvedge. It is false economy to attempt to save material by laying the patterns on the material slightly from the true bias, for two seams which do not have the same amount of stretch will cause any amount of trouble before a satisfactory hang is obtained, and the dressmaker will be faced with twisted seams and bias material dropping unevenly from each sideseam towards the centre of the skirt. Bias-cutting gives us the opportunity for achieving marvellous fitting effects. A bias dress has a certain look which no dress, however well cut on the straight material, can emulate. A softly-hanging skirt may also be obtained under any conditions without endangering the achievement of a moulded hip line. In addition, the bias dress usually fits varying figures within an inch either side of the drafted size; in other words, a dress cut actually to a 34-inch breast girth will be adaptable to fitting either a 33-inch or a 35-inch breast figure. On the former, the dress will stretch down till it narrows to the decreased bust and hips circumference, while it will stretch out to the measurements of the latter figure. It is not advisable to cut very flimsy materials on the bias, as the success of this cutting method depends on the weight of the material dropping down to achieve a moulded fit. Also a flimsy material such as chiffon or georgette would stretch out of shape at the seam edges to a degree which would make it impossible for the garment to be a good fit. In short, bias-cutting forms a valuable stand-by for the cutter and dressmaker when a very closely fitted dress is called for, and is an inducement to produce special designs featuring stripes or checks.